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Title: Eleventh lunar month (Chuto 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. -
Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).A man with a shaved head (a monk), holding a paper lantern and an umbrella, walks with a young woman (a geisha) in the rain.
SIGNED: Gototei Kunisada ga [五渡亭国貞画]
Censor's seals: kiwame, futakata.
Blockcutter's mark: Seizô tô [改印：極、貳方]
MFA ACCESSION NUMBER 11.15150; MFA dating: about 1815–21 (Bunka 12–Bunsei 4);
Size: Vertical Ōban (382 x 260 mm). SOLD -
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.
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Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).A young woman adjusting her hairpins in the light of a paper lantern. Series: Arigataki miyo no kage-e (Shadow Pictures of an Auspicious Age). There are five known prints, half-length portraits of beauties, in this series, designed by Kunisada in ca. 1844. Another print from the series in this collection: SVJP-0309.2020: A young woman reading a book in the light of a lamp.
Signed: Kōchōrō Toyokuni ga (香蝶楼豊国画). Publisher: Maruya Kiyojiro.
Size: Vertical Ōban (37.5 x 25.4 cm). Utagawa (歌川) SOLD -
Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).A young woman reading a book in the light of a lamp. Series: Arigataki miyo no kage-e (Shadow Pictures of an Auspicious Age). There are five known prints, half-length portraits of beauties, in this series, designed by Kunisada in ca. 1844. Another print from the series in this collection: SVJP-0306.2020: A young woman adjusting her hairpins in the light of a paper lantern.
Signed: Kōchōrō Toyokuni ga (香蝶楼豊国画).
Publisher: Maruya Kiyojiro.
Size: Vertical Ōban (37.5 x 25.4 cm). -
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. -
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: Yokokawa Takejirō, seal: Carver Taki [彫竹] (Hori Take)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) 296 x 230 mm.
SVJP-0303.2019
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Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865)Promotional fan for a hairpin shop, with a poem by Ichikawa Danjuro VII, signed Hakuen.
Date seal plus rectangular kiwame seal: Bunsei 8 (1825).
Size: Fan print. Uchiwa-e (27.5 x 21.1 cm) Publisher seal: Maru-To (2) (Marks U204). Date seal plus rectangular kiwame seal: Bunsei 8 (1825). -
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. -
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: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Date seal and aratame censor seal: May of the Year of Dragon [辰五] (Tatsu-go) (5/1856) (Not in Marks).
Uncut fan print (uchiwa-e) depicting Onoe Kikugorō IV as Karukaya Dōshin parting from his son, Ishidomaru (played by Ichimura Uzaemon XIII), and Kawarasaki Gonjūrō I as Yamazakiya Yogoro in the kabuki play Karukaya Dōshin Tsukushi no Iezuto [苅萱桑門筑紫𨏍], written by Namiki Sōsuke [並木宗輔] (Japanese, 1695 – 1751) and performed at Ichimuraza [市村座] in 05/1856.
Media: Fan print [団扇絵] (Uchiwa-e); size: 235 x 305 mm.
Actors:
Onoe Kikugorō IV [四代目 尾上菊五郎] (Japanese, 1808 – 1860); other names: Onoe Baikō IV, Onoe Eizaburō III, Onoe Kikue, Nakamura Tatsuzō, Nakamura Kachō.
Onoe Kikugorō V [五代目尾上菊五郎] (Japanese, 1844 – 1903 other names: Onoe Baikō V, Ichimura Kakitsu IV, Ichimura Uzaemon XIII [十三代目市村羽左衛門], Ichimura Kurōemon.
Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
Plot: It was a popular belief at one time that jealous women had their hair transformed into writhing serpents and Kato Sayemon Shige-Uji, a daimyo of Tsukushi, a much-married man, suffered from the delusion that his wife was so affected. He fled to the mountains to escape her and led the life of a hermit under the name of Karukaya Doshin [苅萓道心]. One day, on Mount Kōya (高野山, Kōyasan) Karukaya meets a young man who was wandering in the mountains. Being questioned, the youth tells his name, Ishidomaru, and elicits the information that he is seeking his lost father. Karukaya then recognizes the boy as his own son, but firm in the resolve to remain lost to the world, he refrains from disclosing himself, and bids the youth return home.
Provenance: Paul F. Walter (American, 1935 – 2017).
Ref.:
- [LIB-2110.2019] Samuel L. Leiter. Historical Dictionary of Japanese Traditional Theatre (Historical Dictionaries of Literature and the Arts). / 2nd edition. – Lanham: Rowman & Littlefield, 2014; pp. 379-380.
- [LIB-2206.2019] Basil Stewart. Subjects portrayed in Japanese colour-prints. — London: Kegan Paul, Trench, Trubner & Co. Ltd., 1922.
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Seated portrait of Russian diplomat Count Semyon Romanovich Vorontsov (Семён Романович Воронцо́в; 26 June 1744 – 9 July 1832). Engraved by August Weger (Born: 1823 in Nürnberg; died: 1892 in Leipzig) from the portrait painted by Richard Evans (1784–1871). Circa 1825-50. Semyon Romanovich Vorontsov, the son of Count Roman Illarionovich and Marfa Ivanovna Surmina, was born on June 15, 1744; Active Privy Councillor; Ambassador to Venice and London from 1784, for over 20 years. Died in London on June 26, 1832.
Inscription: Графъ Семенъ Романовичь Воронцовъ. Родился въ Москвѣ Iюня 15-го/26 1744, Скончался въ Лондонѣ Iюня 9-го/21 1822. | Le Comte Simon Woronzow. né à Moscou le 26 Juin 1744, Mort à Londres le 21 Juin 1832. | Richd. Evans, Peintre. - Gravé par A. Weger, Leipzig. Vorontsov family coat of arms in the middle.
Dimensions: 23 x 15 cm. Ref.: Подробный словарь русских гравированных портретов Д. А. Ровинского, том. 1, 534-540. -
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." -
Le Petit Chaperon rouge (Little Red Riding Hood), three wood engravings by Gustave Doré, 1864: "En passant dans un bois elle rencontra compère le Loup"; "Le Chaperon rouge fut bien étonné de voir comment sa grand'mère était faite en son déshabillé"; "Cela n'empêche pas qu'avec ses gran dents il avait mangé une bonne grand'mère". Engraved by Adolphe Pannemaker. Le Petit Poucet (Little Thumb), one wood engraving by Gustave Doré, 1864: "Une bonne femme vint leur ouvrir". Engraved by Héliodore-Joseph Pisan. La Belle au bois dormant (Sleeping Beauty), one wood engraving by Gustave Doré, 1864: "Il marcha vers le château qu'il voyait au bout d'une grande avenue où il entra". Engraved by Héliodore-Joseph Pisan. Medium: Paper; Wood engraving. Illustrations for P.-J. Hetzel's edition of Perrault's Fairy Tales (Les Contes de Perrault) by Gustave Doré published in 1864. Size: frame: 428 x 302 mm; sheet: 280 x 231 mm; image: 194 x 244 mm. -
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).
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Katsukawa Shun'ei. Signed: Shun'ei ga (春英画). Vertical Ōban. No reference whatsoever. Unidentified play, actors, roles, year, theatre. SOLD -
Woman Looking out a Round Window at a Woman with a Komusō Hat.Artist Koikawa Harumasa (a.k.a. Banki): fl. 1801–18. Wikipedia: Koikawa Harumasa (恋川 春政; active 1800–1820), later called Banki Harumasa (晩器 春政). Associated with Katsukawa school.
Signed: Banki ga (on the bamboo flower container in the background). Censor's seal: kiwame. Mark of unidentified publisher, Genshoku #1017; Marks U084 Ibiko, p. 387.
References:
Jacob Pins #828.
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This print was sold to me with the following description: "Ikkansai EISHO (Fl. early 19th c.). A portrait of the wrestler Kuroyanagi Matsujiro, ring name Kumagatake Inosuke. Eisho was a pupil of Eishi. Published c. 1820s by Uoya Eikichi. Signed Shunsai Eisho ga." As a result of our joint effort with my beloved sister, we have so far found the following: The artis is mentioned in The Hotei Encyclopedia of Japanese Woodblock Prints, 2005, Vol 2; p. 438 under the name of Harukawa Eichō. From this source we learned that the artist was active from about 1818 till 1844, and was a print designer in Kyoto. He was a student first of Harukawa Goshichi and later studied in Edo (Tokyo) with Keisai Eisen, when he assumed the art name 'Eichō'. Other names: Shunsai. The Japanese web page dedicated to Harukawa Eichō provides more details: The artist lived from the 4th year of Tenmei ( 1784 ) to the first year of Kaei ( 1848 ). He was a student of Harukawa Goshichi, Kikukawa Eizan as well as of Keisai Eisen. His popular name was Kamenosuke. He was from Kyoto. He took "gagō" (artistic names) of Eishō when he was a student of Harukawa Goshichi; later, when he became a student of Kikukawa Eizan and Keisai Eisen he took the name of Kikukawa Eichō. The artist was mostly known for his bijinga (beautiful women) prints as well as kanazōshi illustrations. Nothing is said anywhere about his sumo prints, though the reference to another Kyushu sumo wrestler portrait has been found. The sumo wrestler Kuroyanagi Matsujiro is also a somewhat obscure figure: information about his life and career is quite inconsistent. It may so happened that two different persons were combined together. Wikipedia page about Aoi Aso Jinja, a Shinto shrine in Hitoyoshi in Kumamoto prefecture, tells us the following:This information has some inconsistencies already. If our hero was born in 1807 and promoted to ōzeki at the age of 32, it should have been the year 1839, not 1847. I found Kumagatake Isuke at "Sumo Reference" website:Kuroki Matsujiro (黒木松次郎) was born in the village of Itsuki in Kuma district, Kumamoto prefecture, island of Kyushu in Bunka era, 4th year (1807). Since from his childhood he was blessed by great physique and tough strength. He had affection for sumo. At the age of 18 he became a sumo student of Kumamoto Shimakawa Ikuhei and took the name of Toyama Hidekichi (遠山日出吉). At the age of 23 (1830), he entered sumo stables in Kyoto, mastered the art of taming of young horses, and his talents improved. At the age of 31 he went to Edo, and became a disciple of the ōzeki Oitekaze Kitaro of Hirado domain in Hizen province, also from Kyushu island. After that, he changed his name and became Kuroyanagi Matsujiro (黒柳松次郎 – as on the print). In 1847 (Bunka era, 4th year) he distinguished himself by advancing to the first grade, and at the age of 32 he was promoted to ozeki level, becoming sekitori. After changing his name to Kuma-ga-take Inosuke (熊ヶ嶽猪之介 / くまがたけいのすけ) he displayed further efforts, and became one of the strongmen that fermented sumo wrestling in Edo. In 1853 (Kaei era, 6th year) he retired and returned to his village, becoming an employee as a strongman of Sagara domain (相良藩), and worked hard as instructor of the sumo training hall to train successors until 1855 (Ansei era, 2nd year) when he passed away at the age of 48. Even today Kuma-ga-take's home exists in Itsukimura (his native village). Also, on those grounds a descendant of Kuma-ga-take runs minshuku (guest house) that bears the name of "The Kuroki Pension (lodging) ", and tourists come to visit from various parts of Japan. In 2015, tenth month, within the borders of Aoi Aso Shrine there was built a gravestone publicly honoring Kuma-ga-take Inosuke, sumo wrestler from Edo / of Edo period.
The real name is the same, the ring name Kuroyanagi Matsujiro is the same, however, the date of birth here is 1815. He fought from 1836 till 1853 - which is quite similar to "At the age of 31 he went to Edo, and became a disciple of the ōzeki Oitekaze Kitaro". Though, in 1836 he might be 29 years old. His bouts are listed from spring 1841 to spring 1848 under the name of Kuroyanagi and from winter 1848 till spring 1853 he listed under the name of Kumagatake Isuke [Inosuke].Highest Rank Maegashira 4 Real Name Kuroki Birth Date 1815 Shusshin Kumamoto-ken, Kuma-gun Death Date March 6, 1855 (40 years) Heya Oitekaze Shikona Kuroyanagi Matsujiro - Kumagatake Isuke Hatsu Dohyo 1836.02 (Sandanme) Intai 1853.02 On another important sumo history website, I found that Kuroyanagi first appeared at ring in the spring of 1823 (he might have been 16 years old then, which does not seem right). Then, in the winter tournament of 1848 Kuroyanagi took the name Kumagatake. At the spring tournament of 1853 Kumagatake (Kuroyanagi) retired. This is quite consistent so far.
Then, I found Oitekaze Kitaro, allegedly the teacher of Kuroyanagi.
Everything look good with an exception of ring names (shikona): Kuroyanagi Matsujiro (1823-1828) - Kuroyanagi Sumiemon (1829-30) - Oitekaze Kitaro (1831-1839). May it be that Sato Matsutaro fought under the name of Kuroyanagi Matsujiro until Kuroki Matsujiro took this name from his master? I don't have another explanation of the enigma. What we know is that we have a portrait of a sumo wrestler called Kuroyanagi Matsujiro from Kyushu, but we don't know whether this was the one from Kumamoto (Kumagatake Inosuke, 1807/1815-1855) or the other from Kanagawa (Oitekaze Kitaro, 1799-1865). Subsequently, we may declare that the artist is Shunsai Eishō, a.k.a.Harukawa Eichō from Eishi school (The Hotei Encyclodepdia, p. 524), we can date the print from 1818 to 1844, and only tell that the wrestler is Kuroyanagi Matsujiro from Kyushu (either Kumagatake Inosuke or Oitekaze Kitaro). The publisher of the print is Moriya Jihei (Marks №353, p. 243-5). That's it.Highest Rank Ozeki Real Name SATO Matsujiro (Matsutaro#) Birth Date 1799 Shusshin Kanagawa-ken, Tsukui-gun Death Date May 4, 1865 (66 years) Heya Oitekaze Shikona Kuroyanagi Matsujiro - Kuroyanagi Sumiemon - Oitekaze Kitaro Hatsu Dohyo 1817.10 (Jonokuchi) Intai 1839.03 -
Richard Parkes Bonington (1802–1828 ). British/French. Evreux: Tour du Gros Horloge (Evreux: Large Clock Tower). Inscription: The tower was built in 1417 when the area was ruled by England. Lithograph. From the Taylor and Nodier set "Normandie", Vol. II, pl. 226. 1824. MET# 22.87.2. Catalogue Raisonné: Curtis 1939, no. 19. MET description: "This view in the French town of Evreux focuses on the clock tower, with vendors and customers in the street below. Bonington produced the print for the multi-volume series directed by Baron Isidore Taylor, Charles Nodier and Alphonse de Cailleux titled "Voyages Pittoresques et Romantiques dans l'Ancienne France" (Picturesque and Romantic Travels through Historic France). This image appears in volume 2, devoted to Normandy."
