//Edo Period (1603 – 1868)
  • Bando Mitsugoro II as Soga no Taro Sukenobu, the step-father of the Soga brothers, and Osagawa Tsuneyo II as Onio's wife Tsukisayo, in the play 'Omonbi Kuruwa Soga' performed at the Ichimura-za in the 1st month of 1799. Reference: Harvard Art Museums accession number 1933.4.525. Publications: Narazaki Muneshige, Ukiyo-e shuka [Collection of the Masterpieces of Ukiyo-e Prints in Museums] Volume 8: Foggu Bijutsukan [Fogg Art Museum, Harvard University], Neruson Bijutsukan [Nelson Atkins Museum]..., Shogaku-kan (Tokyo, Japan, 1980 [Showa 55]), Color Plate 107; p. 104 (entry p. 191). SOLD
  • 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 2nd 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".  
  • An iron tsuba of round shape inlaid with shakudō, gold, and silver with a motif of a weather-beaten (nozarashi) skull and grasses growing beside as well as through the eye-pit, and a crescent moon above the scene. Grasses on the reverse. Unsigned. Dimensions: 71.7 x 70.6 x 4.2 mm Reference: Skull, bones and grave markers SOLD  
  • Ebisu drawing wakamizu, the first water drawn from a well on the New Year. Kitao Shigemasa (北尾 重政, 1739 – 8 March 1820). Signed: Shigemasa. Publisher's mark: Nishimuraya Yohachi.

    References:

    Jacob Pins #547 [p.217] - Ebisu drawing wakamizu, the first water drawn from a well on the New Year. TNM II (Tokyo National Museum Catalogue vol. 2) #1373.

  • Ichikawa Ebizo V (1791 – 1859) a.k.a. Ichikawa Danjûrô VII was a great-great-great-son of Ichikawa Danjûrô I. He started his stage career in 1794, at the age of 4, playing in Shibaraku (the role he is depicted here). During his stage life, he played every role type. He was later banished from Edo for living too luxurious life for an actor. While in exile he flourished in Kioto and Osaka. Kichirei (Festive Annual Custom). Publisher: Takenouchi Magohachi (Hoeidô) Circa 1833. Description: 役者の舞台姿を描いた「舞台姿」シリーズと、日常図を描いた「千社詣」シリーズがあり、同じ役者が向かい合って対になる。(『五渡亭国貞』). Signed: Gototei Kunisada ga [五渡亭国貞画]. Censor's seal: kiwame 改印:極. Ref.: Shindo, Gototei Kunisada Yakusha-e no Sekai (1993), plate 88; Utagawa Kunisada, 150th Anniversary of His Death, Ota Memorial Museum, no. 169; MFA ACCESSION NUMBER 11.43128.
  • Artist: Utagawa Toyohiro [歌川豐廣] (Japanese, 1773 – 1828) Publisher: Takasu Soshichi (Marks 25-247 / 517) Size: pillar print (hashira-e), 69.2 x 13 cm.

    Signed: Toyohiro ga [豐廣画]

    Catalogue raisonné: Jacob Pins, The Japanese Pillar Print, № 923, p. 326.
  • Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861) Publisher: British Museum provides for the title as Enkyoku-zoroi [艶曲揃] (Set of Voluptuous Melodies) and the publisher as Sanpei. Indeed, 三平 (Sanpei) was a wholesale fan shop at the end of the Edo period. However, Andreas Marks identifies the publisher’s seal as 三平 Mihei = Mikawaya Heiroku (1848-56), a member of the Fan Producing Guild (AM 11-016|325a). Block carver: Hori Take [彫竹]

    Signed: Ichiyosai Kuniyoshi ga in a red cartouche and sealed with paulownia (kiri mon).

    Date seal and double nanushi censor seals: Fuku & Muramatsu, 1853 (Kaei 6, 2nd month).

    Size: Uchiwa-e (untrimmed fan print) 229 x 294 mm.

    Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 338; sold together with 10 other fan prints for $27,500. Before: Christie's, New York, 1994, lot 145 ($4,830). Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 361. Ref: Israel Goldman, Catalogue 2018, № 41: "Utagawa Kuniyoshi (1797-1861) A Woman on a Terrace Dancing with a Fan. From the series Enkyoku zoroi (Collection of Charming Music). 1853. Fan print. 22.9 x 29.4 cm. Provenance: Japanese Prints, Paintings and Screens, Christie's, New York, 1994, lot 145 ($4,830); The Collection of Paul F. Walter, Christie's, New York, 2017, lot 338. Fine impress." Known prints in this series:

    SVJP-0251.2018

     
  • Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Pubisher: Enshūya Matabei (遠州屋又兵衛) (c. 1768 – 1881), seal name: Enmata [ 遠又]. Signed: Toyokuni ga [豊国画]. Date-aratame censor seal: 未改, Bunsei 6 (1823). Size: uchiwa-e; 233 x 262 mm. Ref: Israel Goldman. Japanese Prints, Paintings and Books / Catalogue 28, 2022: № 14.
  • 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. Actor: Ichikawa Danjūrō VII 市川団十郎 (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I. Character: Tanbaya Onizo [丹波屋鬼蔵] Play: Koi Bikyaku Yamato Orai [恋飛脚大和往来] Performance: Kawarasaki Theatre [河原崎座] in the 2nd month of 1851. Double nanushi censor seals: Fuku & Muramatsu, from 3rd month of Kaei 2 to 11th month of Kaei 4 (1849-51). Another fan print from the pair SVJP-0212-2.2016: Sawamura Chōjūrō V as Kameya Chubei. Utagawa Kunisada. Fan print diptych. Sawamura Chojuro V as Kameya Chubei. 1851.
  • Iron tsuba of round form with slanting rays of light (shakoh) Christian motif (Jesuit’s IHS symbol) in openwork (sukashi). Traditional description of this kind of design is called “tokei”, or “clock gear”. Signed: On the face: Bushu ju Akasaka; On the back: Tadatoki Saku [Made by Tadatoki, resident of Bushu]. Probably, 4th generation of Akasaka School master Tadatoki (忠時), who died in 1746. Akasaka School. Edo period, first half of the 18th century. Size: 79.8 x 78.5 x 6.5 mm
  • Katsukawa Shun'ei. The Sumo Bout between Yotsuguruma (right) and Yamaoroshi (left). Date: 1800 or 1805/06. Similar sheet can be found at Edo Tokyo Museum. Size: Vertical Ōban. Sumo wrestler Yotsuguruma Daihachi (1772 - 1809) first appeared in the records of national tournaments in winter of 1794. Then he lost 3 matches and won zero. He first won in the spring tournament of 1797 in a match against maegashira (the fifth-highest rank of sumo wrestlers) named Kougamine. Yamaoroshi Gengo (born 1762) came in at the winter tournament of 1799 . He was much more successful in his career than Yotsuguruma, but he had never won a tournament. It was the time of great Raiden, who won most of them. In the spring tournament of 1800 Yotsuguruma and Yamaoroshi fought against each other for the first time. Yotsuguruma lost. The next time they met on the ring was at the winter tournament of 1805, and again in 1806. Both matches were won by Yamaoroshi. Yamaoroshi retired in 1809; Yotsuguruma died in 1809.  
  • Iron tsuba of round form with slanting rays of light (shakoh) Christian motif (Jesuit's IHS symbol) in openwork (sukashi). Traditional description of this kind of design is called "tokei", or "clock gear". Edo period.

    Size: 77.7 x 76.1 x 6.7 mm.

    For information regarding shakoh tsuba see article 'Kirishitan Ikenie Tsuba" by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91.  
  • 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").

    Signed: Tsukimaro hitsu (月麿筆); Publisher's mark; censor's seal: Kiwame + Yamaguchiya Tôbei gyōji seal (1811-14).

     
  • Artist: Utagawa Sadahide [歌川 貞秀], a.k.a. Gountei Sadahide [五雲亭 貞秀] (1807 – c. 1878/9). Signed: Gountei Sadahide ga [五雲亭貞秀画] Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869) Date-aratame seal: Bunsei 13 / Tenpō 1 (1830). Ref: Ritsumeikan University # Z0172-587. Title: Yukari no Edo-zakura [ゆかりの江戸桜], often translated into English as 'The Flower of Edo', is a one-act kabuki play Sukeroku, written by Tsuuchi Han'emon (fl. 1701 – 1743) under the supervision of Tsuuchi Jihei II (1673 – 1760 ) at the beginning of the 18th century. From the beginning of the 19th century, the play was performed in the style of katōbushi. 助六所縁江戸桜(すけろくゆかりのえどざくら。「助六」– one of the main melodies in katōbushi (河東節) type of jōruri [浄瑠璃]. For a detailed explanation in Japanese, see also HERE). Plot: In search of the stolen  Minamoto clan's precious sword called Tomokirimaru, Soga Gorō (historical Soga Tokimune [曾我時致], 1174 – 1193) came to a Yoshiwara brothel under the disguise of a debaucher named Hanagawado Sukeroku. His elder brother, Soga Jūrō (historical Soga Sukenari [曾我祐成], 1172 – 1193) ), has assumed the guise of a wine vendor Shinbei. The character who had the Tomokirimaru sword was Ikyū (historical Iga no Heinaizaemon, a Tiara clan's ally), see SVJP-0164.2014. A series of three prints is dedicated to a katōbushi performance of the Soga-themed plays.
    Yukari no Edo-zakura The tatami night robe of Iwao Tangled Hair and the Evening Braided Hat
    They all have a background of hail patterns (Arare-ko-mon) [霰小紋], similar to Kunisada’s Iwai Kumesaburō II as An no Heibei [SVJP-0304.2019], see below. Utagawa Kunisada, a.k.a. Toyokuni III . Kabuki actor Iwai Kumesaburō II as An no Heibei 1829
  • Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Artists signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Character: Kabuki actor Ichikawa Danjūrō VII [七代目 市川 團十郎]; other names: Ichikawa Ebizō V, Ichikawa Shinnosuke I (Japanese, 1791 – 1859). Series: Six choice modern flowers [當世六花撰] (Tosei rok’kasen). No publisher's seal, no date or censor's seal is present. Size: Fan print (aiban uchiwa-e); 232 x 289 mm. Provenance: Paul F. Walter. Izzard: "... six prints make up this set of fan prints, which compares contemporary artists with classic poets, in this case, Ichikawa Danjūrō VII with Ōtomo no Kuronushi [大友 黒主]  (Japanese, dates unknown)". Rok'kasen [六歌仙] – six poetry immortals. According to Izzard, identification of the portrayed person is made possible by mimasu-mon [三升] on the robe, scrolling peony on the back of the mirror, and cloth decorated with the characters Yauan, one of the actor's poetry names, and other signs and symbols, including the inscription of the acter's guild name Naritaya. The absence of the publisher’s emblem and censorship seals may indicate that this was a privately issued print, not for public use. Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1, fig. 42). (2) Lyon Collection. Mimasu-mon, or Mitsumasu, is the Ichikawa Danjūrō family crest – three wooden measures, nested square boxes.
  • Artist: Utagawa Kunimaru [歌川国丸] (Japanese, 1794 – 1829). Publisher: Ibaya Senzaburō [伊場屋 仙三郎] (fl. 1815 – 1869). Date-kiwame seal: Bunsei 10 (1827). Signed: Ichiensai Kunimaru ga [一円斎国丸画]. Play: Chūshingura [忠臣蔵] (The Treasury of Loyal Retainers), 11th act, Night Battle [十一段目夜討之図]. Act XI: The Attack on Kō no Moronao Mansion. Kō no Moronao [高 師直] (Japanese, d. 1351). Ref: Ako City Museum of History Inscription on the soba peddler box: Nihachi soba udon [二八そば うどん] –  twice eight soba and udon (16 mon per serving).
  • Utagawa Toyokuni (歌川豐國); 1769 – 24 February 1825. The kabuki actors Ichikawa Danzo IV as Jiroemon (in draw cape) and Morita Kanya VIII as Buemon. Play 'Oriai Tsuzure no Nishiki', performed at the Moritaza Theater in the 7th month of 1798. Publisher: Eijudo.