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Similar image at MFA under title: Actors and Women in the Snow MFA ACCESSION NUMBER: 11.13568 Date: 1809 (Bunka 6), 12th month Artist: Utagawa Toyokuni I (1769–1825) Publisher Tsuruya Kinsuke (firm name Sôkakudô), № 554 in Marks's "Publishers". DIMENSIONS: Vertical ôban; 38.2 x 25.8 cm (15 1/16 x 10 3/16 in.) MEDIUM OR TECHNIQUE: Woodblock print (nishiki-e); ink and color on paper. Signed: Toyokuni ga (豊国画) Censor's seals: kiwame (改印：極) MFA assumes that this may be "one sheet of incomplete triptych?" -
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). -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). An untrimmed fan print titled Fuji Tsukuba aiaigasa, shows the actors Ichikawa Ebizo V [市川海老蔵] and the onnagata actor Iwai Shijaku I [岩井紫若] sharing an umbrella against the wind. Tsukuba, about 50 kilometres from Edo, was an area where both Fuji and Mount Tsukuba could be viewed together. Mount Fuji being the female and Mount Tsukuba the male. An aizuri-e background (common to all the designs in this set). A play on images and words. Actors: Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V [市川海老蔵], Ichikawa Hakuen II, Ichikawa Shinnosuke I. Iwai Matsunosuke I [岩井松之助] (Japanese, 1804 – 1845); other names: Iwai Hanshirō VII, Iwai Shijaku I [岩井紫若], Iwai Komurasaki I. Publisher: Ibaya Senzaburo [伊場屋仙三郎] (Japanese, fl. c. 1845 – 1847). The publisher’s seal is on the umbrella. Date: circa 1832. Signed: Kōchōrō Kunisada ga in a red double-gourd cartouche. From the series of fan prints:
Two more prints from the series 'Fuji and Tsukuba sharing an umbrella' (Fuji Tsukuba aiaigasa), not in this Collection:
SVJP-0341.2021
Kabuki actors Onoe Kikugorō III and Iwai Kumesaburo II. Year: c. 1832; Publisher: No seal; Signed: Kōchōrō Kunisada ga From Kunisada Project. 
Kabuki actors Bandō Minosuke II and Iwai Shijaku I. Year: c. 1832; Publisher: No seal; Signed: Kōchōrō Kunisada ga From Kunisada Project. -
Kabuki actor: Matsumoto Kōshirō V [五代目松本幸四郎] (Japanese, 1764-1838); other names: Ichikawa Komazō III, Ichikawa Sumizō I. Role: Nikki Danjo (仁木弾正): "Evil retainer Nikki Danjo who plots to overthrow his lord in the play Precious incense and the bush clover of Sendai (Meiboku sendai hagi)" [R. Kruml]. Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Block cutter: Horikō (Kiyomizu) Ryūzō [彫工 柳三]. Publisher: Ebisuya Shoshichi [恵比寿屋庄七], Kinshōdō (Japanese, fl. c. 1846 – 1883). Year: 1863 (Bunkyū 3), 7th month. Size: Vertical ōban, hōsho paper. Signed: Nanajuhassai (aged seventy-eight) Toyokuni ga within toshidama cartouche. Censor’s seal: date-aratame. This print is from a series of portraits that Kunisada undertook very late in life and has been named Kinshodo-ban yakusha okubi-e (Kinshodo’s Large-Head Actor Portraits) in reference to the publisher, Ebisuya Shochochi of Kinshodo. The series depicted great actors in their famous roles from the past and present. Ref.: (1) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 118 and 167 (№ 42):
Ref.: (1) [LIB-1197.2016] Arendie and Henk Herwig. Heroes of the kabuki stage: an introduction to kabuki with retellings of famous plays, illustrated by woodblock prints. — Amsterdam: Hotei Publishing, 2004; pp. 243-249.
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An uncut aizuri fan print showing two travellers admiring the view of the Tama River [多摩川] (Tamagawa) and Mount Kōya [高野山] (Kōyasan) in Kii Province [紀伊国] (Kii no Kuni). Artist: Utagawa Sadahide [歌川貞秀] (Japanese, 1807 – 1879). Signed: Gountei Sadahide ga [五雲亭貞秀画] (Picture by Gountei Sadahide). Publisher: Unknown. Published: c. 1849. No date seal, no censor seal (privately printed?) Media: Fan print [団扇絵] (uchiwa-e), 235 x 300 mm. -
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. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862), seal Marks 21-216. Double nanushi censor’s seals: Hama & Magome (1849-53). Title: Wisteria in Kameido [亀戸乃藤] (Kameido no fuji). An uncut fan print (uchiwa-e), depicting a young woman coming down Taikobashi bridge at Kameido Tenjin Shrine. -
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 -
Ogata Gekkō [尾形月耕] (Japanese, 1859 – 1920). An uchiwa-e (fan-print) of advertisement of tobacco of Kagoshima Prefecture, c. 1890 (Meiji Period). Barefoot Tengu* is sitting on a torii (entrance to a Shinto shrine), smoking a cigarette through a mouthpiece. _______ * Tengu [天狗] (heavenly dog) is a type of legendary creature found in Japanese folk religion and are also considered a type of Shinto god (kami) or yōkai (supernatural beings). -
A young woman playing a four-string musical instrument with a bow (kokyū). Series: Assortments of Beauties Accomplishments [美人芸盡] (Bijin gei-zukushi). Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kochoro Kunisada ga [香蝶楼 国貞画] in a red double gourd cartouche. Publisher: Ibaya Kyūbei [伊場屋久兵衛] (Japanese, 1804 – 1851); seal: Hanmoto, Kyū [板元久] (Marks 19-040 | 126e) Date seal: Bunsei 12 (1829). Censors' seal: Kiwame. Size: Fan print (uchiwa-e). -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kōchō(rō) Kunisada ga (香蝶国貞画) in a red double-gourd cartouche. Publisher: Surugaya Sakujirō [駿河屋作次郎] (Japanese, fl. c. 1844 – 1865); Marks 06-005 | 501a. Single nanushi censor seal: Muramatsu (1843-6). The date is attributed to c. 1844. Title: Narihira [なり平]. Ariwara no Narihira [在原 業平] (Japanese, 825 – 880) – one of the Six Immortal Poets – The Rokkasen [六歌仙]. Series: A parody of six immortal poets [見立六花撰] (Mitate Rokkasen). Media: Untrimmed fan print (uchiwa-e), 227 x 293 mm, depicting a beautiful woman with a bow and arrows in her left hand. Series: Mitate Rokkasen [見立六花撰] – is sometimes interpreted as "A parody of six immortal poets" or "A comparison of six select flowers". [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016; pl. 28, p. 58. This is another fan print with another immortal poet, Bun'ya no Yasuhide [文屋 康秀] (Japanese, -d. 885?), from the same series, provided in the book:With special thanks to Horst Graebner for help with the description and date attribution: "The print can be dated to 1844: censor seal is Muramatsu (Muramatsu Genroku); he acted in 7/1844 and 4/1845 (and also later) as censor but Kunisada changed his name to Kunisada early in 1844."
Robert Schaap, 2016.
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Artist: Utagawa Kunisada, a.k.a. Toyokuni III (Japanese, 1786 – 1865) [歌川 国貞]. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847). Date aratame seal: Bunsei 12 (1829). Signed: Gototei Kunisada ga [五渡亭国貞画]. Media: Fan print (uchiwa-e), 238 x 267 mm (overtrimmed). Actor: Iwai Shijaku I [紫若] (Japanese, 1804 – 1845); other names: Iwai Matsunosuke I [岩井松之助]; Iwai Hanshirō VII, Iwai Shijaku I, Iwai Komurasaki I. The background is Arare-ko-mon [霰小紋] hail pattern. In the red cartouche at the top right is the series title "Edo no hana – itsutsu Karigane" (江戸の花 五雁金), to be translated as "Flowers of Edo - the five Karigane blood-brothers" (or "the five Karigane gang members"). Another print from the series in this collection: SVJP-0304.2019. -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Block cutter: Horikō (Kiyomizu) Ryūzō [彫工 柳三]. Publisher: Ebisuya Shoshichi [恵比寿屋庄七], Kinshōdō (Japanese, fl. c. 1846 – 1883). Actor Morita Kan'ya XI as Saito Tarozaemon Toshiyuki (Morito Kan'ya, Saito Tarozaemon Toshiyuki) Signed Toyokuni ga within the artist's Toshidama cartouche, publisher's seal Sho, Kinshodo, carver's seal Horiko Ryusan, censor's seal aratame with date 1860, 3rd month. Date: 3/1860. Oban tate-e; 36.5 x 25.3 cm. The actor Morita Kan'ya XI (1802-1863) is in the role of Saito Tarozaemon Toshiyuki from the play Oto no Miya Asahi no Yoroi (Oto no Miyo and the Armor of the Rising Sun). The play picks up following the Genko War of 1331-33 in which Emperor Go-Daigo (1288-1339) led a failed uprising against the ruling Hojo clan. Tarozaemon was a Hojo warlord and is credited with much of the victory. After the conflict, his lord Norisada receives a summer festival lantern from the courtesan Sanmi-no-Tsubone, which bears a riddling inscription. He and Tarozaemon deliberate over the courtesan and her message for quite some time until they realize that she is attempting to manipulate Norisada in the hopes of returning the Emperor from exile. Following this revelation, Norisada reinterprets the message to mean kiriko, literally "to cut a child," and determines that Sanmi-no-Tsubone's son must be killed. He instructs Tarozaemon to do the deed. However, unbeknownst to Norisada and in spite of his allegiance to the Hojo clan, Tarozaemon is sympathetic to Sanmi-no-Tsubone and her son. At one time, his own daughter had served in the Imperial Palace and was spared execution only through Sanmi-no-Tsubone's intervention. As repayment of that debt, he kills his own grandson in the other boy's stead and returns to Norisada to report that he had accomplished the mission. This print is from a series of portraits that Kunisada undertook very late in life and has been named Kinshodo-ban yakusha okubi-e (Kinshodo's Large-Head Actor Portraits) in reference to the publisher, Ebisuya Shochochi of Kinshodo. The series depicted great actors from the past and present in their famous roles. Kunisada was guided by images from his own oeuvre: he recorded Kan'ya in this role in the 8th month of 1829. As this was meant to be Kunisada's grandest actor series, it was executed on thick paper with the best possible pigments and the highest level of craftsmanship. In this unusual frontal portrait, Kunisada presents Morita Kan'ya XI as the loyal Tarozaemon with his eyes rolling upward and his jaw set in grim determination to commit the unthinkable act in an ultimate display of samurai honour. Text by Scholten Japanese Art, New York. Ref.: Waseda University Theatre Museum (enpaku.waseda.ac.jp), accession no. 100-5261 (for 1829 portrait of the same); [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 165 (№ 16). Andreas Marks. Publishers of Japanese woodblock prints: A compendium. Ebisuya Shoshichi (1846-83) - P6032. -
Suzuki Harunobu (鈴木 春信; c. 1725 – 15 July 1770).The Ide Jewel River, a Famous Place in Yamashiro Province (Ide no Tamagawa, Yamashiro no meisho), from the series The Six Jewel Rivers in Popular Customs (Fûzoku Mu Tamagawa).
Signed: Harunobu gaInscription - Poem: Koma tomete/ nao mizu kawan/ yamabuki no/ hana no tsuyu sou/ Ide no Tamagawa
References:MFA # 21.4540.
Waterhouse cat. #562; Pins, The Japanese Pillar Print (1982), #139; Ukiyo-e shûka 4 (1979), list #795.4, and supp. 2 (1982), pl. 565; Gentles, AIC cat. II (1965), p. 125, #201.
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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.
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.Yukari no Edo-zakura The tatami night robe of Iwao Tangled Hair and the Evening Braided Hat 
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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.
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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: The tatami night robe of Iwao [巌の畳夜着] (Kyusue Iwao no tatami yogi); 灸すゑ巌の畳夜着（きゅうすえいわおのたたみよぎ。「灸すえ」– 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). The night robe of Iwao is decorated with characters resembling Arabic numerals, and Latin and Cyrillic letters. A similar kimono can be seen on Kunisada's print Hotoke Gozen, Mirror of Virtuous and Wise Women (Kenjo Kagami) at RISD museum accession number 13.1383, portraying Hotoke Gozen (佛御前), a character of The Tale of the Heike [平家物語] (Heike Monogatari); published by Yamamotoya Heikichi (山本屋平吉) (Japanese, fl. c. 1812 – 1886) in the 1830s (see below).A series of three prints is dedicated to a katōbushi performance of the Soga-themed plays.
RISDM 13-1383
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.Yukari no Edo-zakura The tatami night robe of Iwao Tangled Hair and the Evening Braided Hat
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The right sheet of (optional) triptych: Geisha (Geiko) and kabuki actor Iwai Hanshirō V as Katanaya Hanshichi from Three pleasures of present-day Osaka (Tōsei Naniwa no sankō)「当世浪花の三興 芸子」 「刀屋半七」五代目岩井半四郎. Publisher: Iseya Rihei [伊勢屋利兵衛] (Japanese, fl. 1790s – c. 1879) Year: 1821 (Bunsei 4). Size: Vertical ōban; 36.5 x 25.2 cm. Signed: 於浮瀬亭国貞画 – Drawn by Kunisada in Ukabuse (Ukabuse ni oite Kunisada ga). Ukabuse is the name of a famous restaurant in Osaka, this signature can be found only on a three print bijin series [Kunisada Project]. Censor's seal: kiwame 改印：極 Actor Iwai Hanshirō V [岩井半四郎] (Japanese, 1776 – 1847); other names: Iwai Tojaku, Iwai Kumesaburō I. Character: Katanaya Hanshichi [刀屋半七] Ref: MFA ACCESSION NUMBER 11.21938; LIB-2967.2022 Izzard. Full series (triptych) Three Pleasures of Present-day Osaka (Tōsei Naniwa no sankō):
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Artist: Utagawa Toyokuni I (1769–1825) Title: Actors Bando Mitsugorō, Ichikawa Danjūrō, Onoe Kikugorō in play The Maiden at Dōjō Temple. Presumably Bunka 13 (1816) at Nakamura Theater in Edo. Publisher: Mikawaya Seiemon (c. 1805-1829); Marks' "Publishers" № 328, p. 235. Size: Vertical ôban MEDIUM OR TECHNIQUE: Woodblock print (nishiki-e); ink and color on paper. Signed: Toyokuni ga Censor's seal: kiwame Detailed discussion on the topic can be seen at: The Maiden at Dōjō Temple
