...Aishō kagami “Mirror of compatibility”, a beauty against a stylized wave-and-fish-patterned background reading a letter, below a round mirror cartouche enclosing a bust portrait of Shirai Gonpachi, signed Ichiyusai Kuniyoshi ga and published by Ibaya Kyūbei...
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NEWArtist: Utagawa Kuniyoshi (歌川国芳) (1797–1861) Signature: Ichiyûsai Kuniyoshi ga (一勇斎 國芳 画) in a red double gourd cartouche with kiri seal Publisher: Ibaya Kyūbei [伊場屋久兵衛] (enterprise, op. c. 1804-69); seal: hanmoto, Kyū (板元, 久) Censors: Mera & Murata, 2/1847 – 11/1850; Kōka 4 (弘化四年) – Kaei 3 (嘉永三年) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 237 x 303 mm Series: Aisho kagami [逢性鏡] — translated as Perfect Matches or Mirror of Compatibility or Meeting in a Looking Glass (Kuniyoshi Project) A bijin (beautiful woman) is shown in half-length, turned three-quarter to the left, shielding her forehead with her right hand while her left rests on her knee. She wears an over-robe with vertical stripes in shades of blue and grey, trimmed with a purple collar, and a red under-kimono featuring a saya-gata (紗綾形) lattice and floral design on the collar. Her voluminous shimada hairstyle is tied with a red ribbon and adorned with two long ornamental hairpins (kanzashi). She smiles while reading a letter that lies open in her lap. The background is filled with stylized swirling waves and white koi fish (carp). In the upper left, a circular inset resembling a mirror or medallion shows a kabuki actor (likely Sawamura Sōjūrō V) wearing a white cloth headdress and a purple robe decorated with a 井 (i) crest—representing a 'well frame' (i-zutsu or i-geta) on the shoulders. He is identified as Gonpachi (権八). The mirrored format reflects the series theme: imagined romantic compatibility between Edo beauties and kabuki actors. A red cartouche on the right reads: 逢性鏡 (Aishō kagami) – Mirror of Compatibility. Provenance: Nelkin Collection Reference: [LIB-3428.2025] Christie’s, New York: Japanese Prints, Paintings, and Screens, Monday, 24 November 1997 / Sales Catalogue; p. 64, lot. 135. -
NEWArtist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858) Signed: Hiroshige ga (廣重画), with seal Ichiryūsai (一立齋) Publisher: Anonymous/Unknown Date: Circa 1844–1845 Media: Color woodblock print, fan print (chuban uchiwa-e), 190 × 243 mm Title: View of Lake Kawaguchi in Kai Province (甲斐川口湖水之図, Kai Kawaguchi Kosui no Zu) Series: Untitled series of views of Mount Fuji Provenance: Nelkin Collection The print depicts an expansive view of Lake Kawaguchi (河口湖), one of the Five Lakes of Mount Fuji, located in Kai Province (modern-day Yamanashi Prefecture). Dominating the composition is the majestic silhouette of Mount Fuji, rendered in delicate gradation from grey to white, with snow at the summit. The lower portion of the mountain is softly enveloped in mist, heightening its monumental presence.In the foreground, a steep bank supports two pine trees (松), while the middle ground shows a peaceful lakeside with scattered villages and trees. The upper section of the print fades into a gradient sky of pale green and blue, reinforcing a tranquil atmosphere.
Executed with Hiroshige’s characteristic economy of line and subtle use of colour, the composition makes striking use of negative space and vertical layering. As noted by Faulkner, this design belongs to a rare group of fan prints by Hiroshige that are small in size, square in format, and lack the typical cut-away lower section found in most uchiwa-e. No other prints from this series are known beyond the two recorded examples.
Reference:
[LIB-3429.2025] Christie’s, New York: Japanese Art, Thursday 24 April 1997 / Sales Catalogue; p. 144, lot 288.
[LIB-1344.2017] Rupert Faulkner. Hiroshige Fan Prints: Victoria and Albert Museum Far Eastern Series. — London: V&A Publications / New York: Harry N. Abrams, Inc., 2001; p. 92, Plate 64.
The second print from the series at Rupert Faulkner — Plate 65, View of the Sea at Kisarazu in Kazusa Province (Kazusa Kisarazu Kaijō no Zu)
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NEWArtist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858) Signed: Hiroshige (廣重); seal: Ichiryūsai (一立齋) Publisher: Mikawaya Heiroku (三川屋平六); seal: sanpei (三平) fan-shaped Censor seals: Hama (濱) & Magome (馬込) Date: c. 1849–1851 Media: Color woodblock print, fan print (chuban uchiwa-e), 223 x 260 mm Provenance: Nelkin CollectionTwo rabbits are shown under a large full moon silhouetted against a softly graded blue night sky. One rabbit, rendered in white with a red eye, sits upright facing the moon, while the other, lightly shaded in pale pink, rests in the foreground, partially crouched. The hill they occupy is gently sloping and dotted with tufts of autumn grass (susuki, 薄), their thin, curving stalks swaying in the breeze. The minimalist composition and subdued palette evoke the quiet stillness of an autumn evening and the poetic associations of moon-viewing (tsukimi, 月見).
This elegant uchiwa-e (fan print) reflects classical seasonal imagery rooted in Heian poetry and visual traditions. Rabbits and the full moon symbolize mid-autumn and harvest time. The simplicity and balance of line and colour are characteristic of Utagawa Hiroshige's approach to nature motifs.
Reference: [LIB-3426.2025] Christophe Marquet. Hiroshige: Les éventails d’Edo / Estampes de la collection Georges Leskowicz. — Paris: In fine, 2022; p. 272, pl. 115.
"At least seven examples of this print are known, one of which presents a different background (former collection Werner Schindler), with the addition of a green tone in the lower part to evoke a meadow—possibly constituting an earlier version. Art historian Narazaki Muneshige (Narazaki 1973, p. 37) considered that this print may have been intended as the reverse of a fan, but the existence of numerous examples contradicts this hypothesis, as this type of print is very rarely preserved in good condition".
Bibliography:
- Matsuki 1924, no. 64 (former coll. Nakamura Tatsujiro)
- Ukiyo-e geijutsu, no. 14, 1967, p. 3 (coll. Uchiyama Susumu)
- Narazaki 1973, no. 79 (Achenbach Foundation for Graphic Arts, San Francisco, Katherine Ball Collection)
- Schindler 1985, no. 52
- Okuda 2010, no. 174 (Ota Memorial Museum of Art), list no. 479
- Museum of Fine Arts, Boston, 21.10128 (acquired by Frank Lloyd Wright in 1913 for Spaulding)
- The Art Institute of Chicago, 1934.274 (former coll. Clarence Buckingham)
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NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signed: Kōchō Toyokuni ga (香蝶豊國画) in a red toshidama cartouche Censor seal: Kinugasa (衣笠) & Yoshimura (吉村) Date: 1849 (Kaei 2) – according to Marks, the only year Kinigasa and Yoshimura sealed jointly Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869), san (三) in a circle, in a 'boar eye' shape. Block carver: Matsushima Fusajirō [松島房次郎], seal: hori kō Fusajirō (彫工房次郎) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 228 x 293 mm. A half-length portrait of a woman in a three-quarter view facing left. She delicately holds a blue-blossomed flower, possibly sumire (菫, violet), in her right hand, using its stem to fish clams from a pot of water. In her left hand, she holds a small, dark object—likely a freshly retrieved clam. Rather than referencing textile dyeing, this action appears to illustrate a playful or symbolic act, possibly related to traditional customs or metaphors in Japanese culture. Her black hair is styled in an elaborate updo, adorned with gilt hairpins (簪, kanzashi) and a brown ribbon with a tie-dye pattern (絞り, shibori). She wears a multi-layered kimono featuring a blue floral-patterned outer robe (花模様, hanamoyō) with a red and white kawari-eri (変り衿) and a blue and black inner collar. The obi (帯) is purple and black, with subtle decorative elements. The background is divided into three decorative panels: — Left: Orange with a swastika-based geometric pattern (紗綾形, sayagata). — Middle: Deep purple. — Right: Dark grey with a yellow interlocking circles pattern (七宝, shippō). The title, in a red cartouche with gilt framing in the upper right, reads “New Types of Dyeing” (Shingata Atsurae Zome, 新形誂染). While the title suggests a reference to textile techniques, the imagery instead depicts a whimsical or metaphorical scene of clam-fishing using a flower stem. The artist’s signature appears in the lower right within a toshidama cartouche (年玉枠), with the publisher’s seal below and the censor seals above. The block carver’s yellow seal is placed near the flowers in the lower left.Provenance: Ruth Sylvia Nelkin (American,1927 – 2022); Christie's NY: Nov 24, 1997, lot 98; Heritage Auctions Jun. 27, 2024 (Ruth Nelkin Collection)
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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 yellow double-gourd cartouche. Publisher unknown (privately printed?) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 228 x 298 mm. Series title: Six Jewel Faces (六玉颜, mu tama-gao), a pun on Six Jewel Rivers (六玉河, Mu Tamagawa). The date seal and censor seal are absent. Another print from the same series in the Metropolitan Museum of New York reads:The colorful background, with explosions of tie-dyed floral motifs, is a reminder of how Kunisada made all his thousands of Genji-print designs a visual record of different textile patterns of the day. The title Six Jewel Faces (Mu tama-gao), along with its allusion to the literary theme of Six Jewel Rivers, suggests that this set of fan prints captures the appearance of a half-dozen attractive individuals, and, indeed, the other five works in the set show images of beautiful women, mostly courtesans of the pleasure quarters.
Mitsuuji with Mountain Roses (Yamabuki), from the series “Six Jewel Faces” (Mu tama-gao).
MET Accession Number:2019.3
References:
1) [LIB-2967.2022] Utagawa Kunisada: His world revisited / Catalogue 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021.
2) [LIB-3428.2025] Christie’s, New York: Japanese Prints, Paintings, and Screens, Monday, 24 November 1997 / Sales Catalogue, №№ 84-89.
Description by the latter: "aiban uchiwa-e (22.7 × 29.8 cm.); a beauty against a background of tie-dyed fabric patterns holding a pipe looking at toy birds hanging from bamboo, from the series Mutamagao “Six jewel faces”, the bird decorations alluding to the Jewel River in Noda (Chidori no Tamagawa) in Rikuzen province, signed Kunisada ga".
