Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1845 – 1847). Combined date and kiwame seal: Ansei 5 (II-XII/1858). Size: Untrimmed fan print (uchiwa-e), 300 x 232 mm.

A young woman adjusting her hairpin on a balcony during the Tanabata festival, as inscribed on the white folding fan: [七夕] (Tanabata).

Inscription on the blue book (print title): Early autumn [はつ秋や] (hatsu akiya), inscription on the purple book (series title): Short love songs, second volume [端唄の意 二編] (Hauta no kokoro nihen). According to Marks (2010), Hauta no kokoro nihen series of fan prints was published by Ibaya in 1858 (p. 267|P6871).

The series refers to love songs of a certain type popular in late Edo. They were performed with the accompaniment of a shamisen, “Seven herbs of autumn, the song of the insects is not heard; the bodies of lightning bugs are burnt, and the precious writings of love are getting thinner like the song of the insects as I am waiting for you. So, on an early autumn evening, I spot the glitter of a lightning bug that lingered among the autumn grasses, and while listening to the pine cricket, I am singing with my heart troubled by love". [Tokyo National Museum; translation provided by Elena Varshavsky].

Tanabata [たなばた] or [七夕] – meaning "Evening of the seventh", also known as the Star Festival [星祭] (Hoshi matsuri) – is a Japanese festival originating from the Chinese Qixi Festival. One popular Tanabata custom is to write one's wishes on a piece of paper and hang that piece of paper on a specially erected bamboo tree, in the hope that the wishes become true.

Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865).

Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche.

Publisher: Kojimaya Jūbei (c. 1797-1869), seal: Hanmoto, Jū [板元, 十] (Marks 19-043 | 264c).

Double nanushi censor seals: Mera & Watanabe – Kaei 4 (1851).

Uncut fan print (uchiwa-e), 298 x 228 mm depicting a young woman adjusting her hairpin and holding a portable lantern (andon) on a marine background with the full moon, nearby boats and distant cormorant fishers.

Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865).

Uncut fan print (uchiwa-e), 295 x 230 mm, depicting kabuki actor Bandō Shūka I as Shirai Gonpachi (白井権八) reading a scroll by the light of a lantern. From the series A Parody of the Five Chivalrous Commoners; a Cup of Sake From Their Fans (Mitate gonin otoko, go-hiiki no omoizashi).  According to Paul Griffith, the term omoizashi refers to the act of pouring a cup of sake for one's chosen partner, here giving an impression of intimacy and affection between famous actors and their patrons.

Actor: Bandō Shūka I [初代坂東しうか] (Japanese, 1813-1855); other names: Bandō Tamasaburō I, Bandō Mitsugorō V (posthumously). The print was probably published by some unknown Yama-Ta (Marks U421b). Double nanushi censor seals and date seal: Muramatsu and Fuku, Kaei 5, 2nd month (2/1852). As Kabuki Encyclopedia put it: "Gonpachi. A parasite. From the character named Shirai Gonpachi who lives at the home of Banzui Chōbei and sponges off him" (An English-Langauge Adaptation of Kabuki Jiten. Samuel L. Leiter. Greenwood Press, 1979, pp. 26, 98-9). There were many kabuki plays based on the story of the lovers Miura-ya Komurasaki and Shirai Gonpachi. (See: [LIB-2226.2019] Algernon Bertram Freeman-Mitford. Tales of Old Japan. — London: Macmillan and Co., 1883). Ref.: Art shop Ezoshi Ukiyoe new collection news, vol. 66, 2023.1 (Jan) # 31, p.8.  

Untrimmed fan print (uchiwa-e), 231 x 300 mm. Title: A geisha eating edamame aboard the boat of the Atari-ya teahouse. Series: Three summer women [九夏三婦久] (Kyūka sanfuku). Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Artist: Utagawa Kunihisa II [歌川国久] a.k.a. Katsuda Hisatarō, Ichiunsai, Ritchōrō, Toyonobu, Yōryūsai, Yōsai] (Japanese, 1832 – 1981). Block cutter: Yokokawa Horitake [横川彫武] a.k.a. Yokokawa Takejiro [横川竹二郎] (Japanese, fl. 1860s). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847) Combined date seal and kiwame censor seal: 1860 (Ansei 7 / Man'en 1 from 18/III). Signed: Toyokuni ga in toshidama cartouche, and Kunihisa ga. Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341; sol together with 5 other fan prints for $25,000. Before: Israel Goldman, Japanese Prints, Catalogue 9, 2003, no. 35. Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 363. Ref: Israel Goldman, Catalogue 2018, № 52: "Utagawa Kunisada (1786-1865) and Utagawa Kunihisa II (1832-1891) A Geisha Eating Edamame Aboard the Boat of the Atari-ya Teahouse. From the series Kyuka sanfuku (Three Summer Women). 1860. Fan print. 22.7 x 29.6 cm. Provenance: Israel Goldman, Japanese Prints, Catalogue 9, 2003, no. 35. The Collection of Paul F. Walter, Christies, New York, 201, lot 341. Fine impression, colour and condition. The title is a pun on “kyuka sanpuku” meaning the hottest point of the summer. The background view is by Kunisada’s pupil Kunihisa."

Kitagawa Tsukimaro (Kikumaro): 喜多川 月麿, fl. c. 1794–1836.

Mother is playing with her child: they left playing with shadow lantern for freeing a turtle (Hojo-e, or "Rite for the Release of Living Beings").

Santō Kyōden (山東 京伝, September 13, 1761 Edo – October 27, 1816) was a Japanese poet, writer and artist in the Edo period. He studied ukiyo-e under master Kitao Shigemasa (北尾 重政) [see SVJP-0006], and began illustrating kibyōshi under the pseudonym of Kitao Masanobu (北尾 政寅).

Signed: Masunobu ga.

"Parody of the Nō Play Chōryō" (elsewhere) or "Parody of Huáng Shigōng and Zhāng Liáng" (David Waterhouse, The Harunobu Decade, Hotei Publishing, 2013, v. 2, №651). "The story [...] is about an encounter between the Chinese government minister Chôryô (Zhāng Liáng) and the legendary elder Kôsekikô (Huáng Shigōng) in the 3rd century BC. While riding a mule across a bridge, Kôsekikô dropped his sandal. Chôryô returned it to him. As a reward, Kôsekikô gave Chôryô a book of military strategy. Later, Chôryô helped to establish the Han Dynasty (207 BC-AD 220)." [The Walters Art Museum]

References:

Waterhouse, The Harunobu Decade (2013), #651; Ukiyo-e shûka supp. 2 (1982), pl. 625; Pins, The Japanese Pillar Print (1982), #274/p.145;  J. Kurth, Die Geschichte..., vol. II, Leipzig, 1928; S. Kikuchi, Ukiyo-e, 1966.

Katsukawa Shunshō ( 勝川 春章; 1726 – 19 January 1793).

Signed: Shunchô ga (春潮画); Censor's seal: kiwame (改印：極)

Publisher:  Iwatoya Kisaburō (Eirindō); c. 1760s – 1832. Marks #173/p.169.

Reference: MFA ACCESSION NUMBER 11.21263. Not in Pins.

Act VII, Gion Ichiriki no ba ("The Ichiriki Teahouse at Gion") This act gives a taste of the bustling atmosphere of the Gion pleasure quarter in Kyoto. Yuranosuke is feigning a life of debauchery at the same teahouse to which Okaru has been indentured. Kudayū, the father of Sadakurō, arrives. He is now working for Moronō and his purpose is to discover whether Yuranosuke still plans revenge or not. He tests Yuranosuke's resolve by offering him food on the anniversary of their lord's death when he should be fasting. Yuranosuke is forced to accept. Yuranosuke's sword – the revered symbol of a samurai – is also found to be covered in rust. It would appear that Yuranosuke has no thoughts of revenge. But still unsure, Kudayū hides under the veranda. Now believing himself alone, Yuranosuke begins to read a secret letter scroll about preparations for the vendetta. On a higher balcony Okaru comes out to cool herself in the evening breeze and, noticing Yuranosuke close by, she also reads the letter reflected in her mirror. As Yuranosuke unrolls the scroll, Kudayū, too, examines the end which trails below the veranda. Suddenly, one of Okaru's hairpins drops to the floor and a shocked Yuranosuke quickly rolls up the scroll. Finding the end of the letter torn off, he realises that yet another person knows his secret and he must silence them both. Feigning merriment, he calls Okaru to come down and offers to buy out her contract. He goes off supposedly to fix the deal. Then Okaru's brother Heiemon enters and, hearing what has just happened, realises that Yuranosuke actually intends to keep her quiet by killing her. He persuades Okaru to let him kill her instead so as to save their honour and she agrees. Overhearing everything, Yuranosuke is now convinced of the pair's loyalty and stops them. He gives Okaru a sword and, guiding her hand, thrusts it through the floorboards to kill Kudayū. The main actor has to convey a wide variety of emotions between a fallen, drunkard rōnin and someone who in reality is quite different since he is only faking his weakness. This is called hara-gei or "belly acting", which means he has to perform from within to change characters. It is technically difficult to perform and takes a long time to learn, but once mastered the audience takes up on the actor's emotion. Emotions are also expressed through the colours of the costumes, a key element in kabuki. Gaudy and strong colours can convey foolish or joyful emotions, whereas severe or muted colours convey seriousness and focus.

Kikukawa Eizan (菊川 英山, 1787 – July 17, 1867) Signed: Eizan hitsu (英山筆)

Jacob Pins #972/p.341. Leiden, Rijksmuseum voor Volkenkunde.

"The Lovers Miura-ya Komurasaki and Shirai Gonpachi: Tragic love stories taken from real life and dramatized were a staple of stage and print; the darkly romantic combination of desire and death was hugely popular in the eighteenth century. Hirai Gompachi was a warrior of the Tottori fief in western Japan who fled to Edo after committing a murder. He was apprehended and sentenced to death in 1679. His distraught lover, the courtesan Komurasaki, committed suicide at his grave." [MET]

 

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The Seven Gods of Good Luck in the Takarabune (ship of fortune) with a crane (the phoenix) above them.

Attributed to Katsukawa Shunshō, fl. 1726–92. Publisher: Uemura from Shiba (Edo). Marks "Publishers": U361|25-300: Uemura han (1793-1813). Marks "Artists, publishers...": Emiya Kichiemon (1688-1835). Artist signature absent. Looks very much like Pins #565 [p.223], but NOT the same. This exact design has not been found anywhere.