Title: Fourth lunar month [卯月] (Uzuki no zu); Series: Fashionable Twelve Months (Imayo juni-kagetsu). Another version of translation: Modern Beauties of Twelve Months. Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869), seal: Dansendō [伊場仙]. Signed: Toyokuni ga and sealed with toshidama. Date-kiwame seal: Ushi (ox), Bunsei 5 (1822). Size: double-sheet uncut fan print ( aiban uchiwa-e), 219 x 295 mm.

Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Title: 「しなのやおこん 瀬川菊之丞」「帯屋長右衛門 嵐雛助」 Kabuki play: Katsuragawa Renri no Shigarami [桂川連理柵]. According to Waseda University Cultural Resource Database, the play was performed at Ichimura-za (Edo) on the 2^nd month of Kansei 12 (year 1800) under the title 楼門五山桐 さんもんごさんのきり. Publisher: Nishimuraya Yohachi [西村屋与八] (Japanese, c. 1751 – 1869)., Play by Suga Sensuke [菅専助] (ca. 1728 – 1791) in two acts. First performed at Kita Horie-za in Osaka in October 1776. Based on a real incident occurring sometime in the Kyōhō era (1716-35), this story was first dramatized in 1761. The first Kabuki drama to stem from this play was in 1777 at Osaka's Araki-za. Obiya Chōemon, a married obi merchant (sitting with abacus) in his forties, meets his neighbour's daughter Ohan (standing behind Obiya), who is young enough to be his daughter, at an inn in Ishibe; the two fall in love and pledged their troth. Ohan becomes pregnant. After a series of misfortunes, the lovers rush to Katsuragawa (Katsura River), where they drown themselves.

Segawa Kikunojō III (Japanese, 1751 – 1810); other names: Segawa Senjo, Segawa Rokō III, Segawa Tomisaburō I, Ichiyama Tomisaburō, Ichiyama Shichinosuke. The actor held the name of Segawa Kikunojō III from the 11th lunar month of 1774 to the 7th lunar month of 1801. He surpassed all the actors of his time in both female and male roles, especially in the former, and achieved tremendous public acclaim.

Arashi Hinasuke II [嵐雛助] (Japanese, c. 1774 – 1801); other names: Nakamura Jūzō III, Kanō Hidenosuke I, Arashi Hidenosuke I. The actor held the name of Arashi Hinasuke II from the 1st lunar month of 1794 to the 2nd lunar month of 1801. Hi died in Edo on the 4th day of the 2nd lunar month of 1801. For the same characters illustrated by Utagawa Kuniyoshi see SVJP-0333.2021. Sources:

1. Historical Dictionary of Japanese Traditional Theatre By Samuel L. Leiter. Second edition, 2014.
2. Kabuki Encyclopedia. An English-Langauge Adaptation of Kabuki Jiten. Samuel L. Leiter. Greenwood Press, 1979.
3. http://www.kabuki21.com/
4. Waseda University Cultural Resource Database

Woodblock print album of thirteen prints, ōban, nishiki-e. Artist: Chōkyōsai Eiri [鳥橋斎 栄里] (Japanese, fl. c. 1789 ~ 1801 ). Models of calligraphy (Fumi no kiyogaki), New Year 1801. This title is taken from Chris Uhlenbeck's Japanese Erotic Fantasies Sexual Imagery of the Edo Period. — Hotei Publishing, 2005, ISBN 90-74822-66-5):. A detailed description of the album can be found at The Complete Ukiyo-e Shunga №9 Eiri, 1996, ISBN 4-309-91019. Most of the edition is in Japanese, though Richard Lane writes a section in English: Eiri: Love-letters, Love Consummated: Fumi-no-kiyogaki. The article starts with the following statement: "Why all the fuss about Sharaku? Because he is so "mysterious"? No, not at all: because he is such a good artist. But Sharaku is not the only great yet enigmatic ukiyo-e artist and I propose to resurrect here one of his important contemporaries who has been all too long neglected: Chōkyōsai Eiri. As with many of the notable ukiyo-e masters, nothing is known of Eiri's biography. All we can say is what we learn from his extant prints and paintings: that he flourished during the second half of the Kansei Period [1789-1801]; and that he was a direct pupil of the great Eishi - who, being of eminent samurai stock, may well have attracted pupils of similar background." Another citation from Japanese Erotic Fantasies: "This album is one of the boldest sets of ōban-size shunga known, The first edition contains thirteen instead of the customary twelve designs". Here I present all thirteen prints, though the edition I bought in Kyoto in 2014 contained only twelve. The thirteenth print was purchased later in the United States (sheet №12). №1: "...one of the most exotic scenes in all shunga. A Dutch kapitan is discovered coupling with a lovely Japanese courtesan, beside a large window opening upon a garden...". №2: "...a fair young harlot is seen masturbating with a grinding-pestle - a man watches intently from under bedding." [I have two specimens of this design; the one from album is more soiled but less faded]. №3: "...the artist has effectively contrasted the lovers by depicting the man's face as seen through the geisha's gauze skirt. [...] we are impressed more by strikingly elegant composition, the dramatic coloring, rather than feeling any great urge to participate in the energetic proceedings..." №4: "This scene is a most straightforward one, featuring the standard Missionary Position [capitalization by R. Lane].; but withal, the contrast of the young and naked, secret lover and the richly-clothed courtesan amid luxurious bedding..." №5: "In a striking lesbian scene (which has no equivalent in Utamaro, and is, incidentally, often omitted in later editions of this album), the girl at left prepares to receive the harikata (dildo) worn by the older girl at right (who holds a seashell containing lubricant)." №6: "In the first appearance of a matronly heroine in this series, we find a widow - with shaven eyebrows and clipped hair - sporting with a handsome yound shop-clerk, mounting him with all her might." №7: "... lady of samurai court: here, shown taking advantage of an official outing to temple and theatre, to rendezvous with a secret lover on a teahouse balcony." R. Lane considers this design the least successful in the series, especially in comparison with the same theme by Utamaro: "Utamaro female is almost ferocious in her lust for sexual gratification", which does not sound true to me. See Utamaro's sheet №5 from the album Utamakura (歌まくら, Poem of the Pillow) [courtesy The British Museum without permission]: Then, as Richard Lane states, "we are flung suddenly to the bottom rung of Edo society": №8: "Here we find a fair yotaka ('night-hawk', e.i. streetwalker) accommodating a lusty client in a lumberyard by the bank of the Sumida River". №9: '... a slightly plump harlot of the lower class receives a night visit from her lover, whose naked form she tries to cover with a cloak." №10: "...likely maidservant and lackey - are depicted in bath-room, their passions are all too obviously fired by steaming water." №11: "...this scene of courtesan and secret lover ranks high not only in Eiri's œuvre but also in the annals of the ukiyo-e genre itself. Both design and colouring are impeccable and, for this period, there is nothing even in the work of great Utamaro that really surpasses it." Again, a doubtful statement, however, this is Utamaro's design for the reader to judge: The last design in my album is this: #13: In most reference books it goes under number 13, and we will assign this number to the sheet. "The final scene of the album features naked participants, probably samurai man and wife. The print is rather subdued in tone and colour, if not in the degree of the passion displayed..." An additional sheet, acquired separately from a reputable dealer in New York, is usually listed as №12: №12: "One might think that Eiri has reached his peak with the preceding plate 11 - and indeed he has, in both esthetic and erotic terms. But the album is not yet finished, and the next scene lends a needed variety to the series, a slightly comic tableau featuring a middle-aged lackey attempting to forcibly seduce a servant girl of the same domicile". Utamaro's design, that inspired Eiri is here: All descriptions are taken from Richard Lane's article at The Complete Ukiyo-e Shunga №9 Eiri, 1996. He concluded: "...Eiri's erotic series represents a major contribution to shunga art towards the close of ukiyo-e "Golden Age". In part inspired by Utamaro's classic album, this series withal constitutes a unified and original achievement, providing a cumulative effect of gracefully  elegant yet glowing eroticism, which remains in the mind's eye long after the pictures themselves are far away." I only would like to mention here that in several reference sources this album goes under name of Eisho; unfortunately, this mistake is reproduced at www.ukiyo-e.org, which miraculously shows exactly my print, but under the wrong name of the artist. The same mistake can be found at Shunga. The art of love in Japan. Tom and Mary Anne Evans. Paddington Press Ltd., 1975. ISBN 0-8467-0066-2; plates 6.74-6.77: Chōkyōsai Eishō, c. 1800. Even the British Museum edition of 2010 gives the same erroneous attribution: Chōkyōsai Eishō (1793-1801); they provide the following translation of title: "Clean Draft of a Letter" [see: Shunga. Erotic art in Japan. Rosina Buckland. The British Museum Press, 2010; pp. 110-112]. To the honour of the British Museum, I must admit that they have corrected themselves in Shunga. Sex and pleasure in Japanese art. Edited by Timothy Clark, et al. Hotei Publishing, 2013. Now, they say Chōkyōsai Eiri (worked c. 1790s-1801); they also provide a new title: "Neat Version of the Love Letter, or Pure Drawings of Female Beauty". I have already mentioned Richard Lane's version of title: "Love-letters, Love Consummated", and Chris Uhlenbeck's "Models of calligraphy". In poorly designed and printed Shunga. Erotic figures in Japanese art. Presented by Gabriele Mandel. Translated by Alison L'Eplattenier. Crescent Books, New York, 1983, the artist is named Shokyosai Eisho (beginning of the 19th century); title provided: "Models of Calligraphy". Correct attribution to Chōkyōsai Eiri also can be found at Poem of the pillow and other stories by Utamaro, Hokusai, Kuniyoshi and other artists of the floating world. Gian Carlo Calza in collaboration with Stefania Piotti. Phaidon Press, 2010; though the title is translated as "Clean Copy of Female Beauty".  

Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Publisher: Ibaya Senzaburō [伊場屋 仙三郎] (fl. 1815 – 1869). Signed: Toyokuni ga [豊国 画]. Publisher's seal: Ibaya Sensaburō (Marks 08-067 | 127b). Date-aratame seal: Bunsei 3 (1820). Size: Uncut fan print (uchiwa-e), 224 x 254 mm. Ichikawa Ebijūrō I as Nuregami Chōgorō [濡髪の長五郎], Nakamura Daikichi as Hanaregoma Oseki [放駒のお関], and Ichikawa Danjūrō VII as Hanaregoma Chōkichi [放駒長吉] in a kabuki play Futatsu Chôchô Kuruwa Nikki [双蝶々曲輪日記] (A Diary of Two Butterflies in the Pleasure Quarters (see: LIB-0879.2015 | Brandon, James R., Leiter, Samuel L.  Kabuki Plays on Stage: Brilliance and Bravado, 1697-1766 (Volume 1). — Honolulu: University of Hawai'i Press, 2002.) The play was performed at Kawarasakiza (Edo) in May of 1820. Actors: Ichikawa Ebijūrō I [市川鰕十郎] (Japanese, 1777 – 1827); other names: Ichikawa Ichizō I [市川市蔵], Ichinokawa Ichizō [市ノ川市蔵]. Nakamura Daikichi I [初代中村大吉](Japanese, 1773 – 1823); other names: Fujikawa Daikichi [藤川大吉]; poetry name Hajō [巴丈]; pen name Naruo Yatarō [藤川大吉]. Ichikawa Danjūrō VII 市川団十郎 (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I.    

Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Matsumura Tatsuemon [松村辰右衛門] (Japanese, fl. c. 1793 – 1832). Year: c. 1820–22 (Bunsei era). Signed: 五渡亭国貞画 – Gototei Kunisada ga. Censor's seal: kiwame 改印：極

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SVJP-0179-6.2014

The Hour of the Dragon, Fifth Hour of Day (Tatsu no koku, Hi no itsutsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　辰ノ刻　日ノ五つ時」 MFA impression: 11.15315.

SVJP-0179-1.2014

The Hour of the Rabbit, Sixth Hour of Day (U no koku, Ake muttsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　卯ノ刻　明六つ時」. MFA impression: 11.15317

SVJP-0179-2.2014

The Hour of the Monkey, Seventh Hour of Day (Saru no koku, Hi no nanatsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今様時計十二時　申ノ刻　日ノ七つ時」 MFA impression: 11.39692

SVJP-0179-8.2014

The Hour of the Horse, Ninth Hour of Day (Uma no koku, Hi kokonotsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　午ノ刻　日九つ時」. MFA impression: 11.15314

SVJP-0179-4.2014

The Hour of the Boar, Fourth Hour of Night (I no koku, Yoru yottsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　亥ノ刻　夜四つ時」. MFA impression: 11.15552

SVJP-0179-3.2014

The Hour of the Tiger, Seventh Hour of Night (Tora no koku, Yoru nanatsu), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　寅ノ刻　夜七つ」. MFA impression: 11.15313 Ref.: Izzard. Kunisada’s world [LIB-2970.2022].

SVJP-0179-5.2014

The Hour of the Ox, Eight Hour of Night (Ushi no koku, Yoru no yattsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　丑ノ刻　夜ノ八つ時」. MFA impression: 11.26906

SVJP-0179-7.2014

The Hour of the Rat, Ninth Hour of Night (Ne no koku, Yoru kokonotsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　子ノ刻　夜九つ時」. MFA impression: 11.15312