//Aiban yoko-e uchiwa-e
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    Utagawa Kunisada (Toyokuni III). Bandō Minosuke II as Momonoi Wakasanosuke in Kanadehon Chūshingura / Fan print, 1830.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Gototei Kunisada ga (五渡亭國貞画) Date and Censor Seal: 1830 / Aratame seal (改) plus (tora, 寅) = Year of the Tiger, Bunsei 13 (文政十三年) Publisher:  Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle. Additional publisher red stamp in the form of a double gourd. Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 228 x 266 mm.

    Actor: Bandō Minosuke II [坂東蓑助] (Japanese, 1802 – 1863); other names: Morita Kan'ya XI, Bandô Mitsugorō IV.

    Role: Momonoi Wakasanosuke (桃の井わかさ之助)

    Play: Kanadehon Chūshingura, performed at Ichimura-za in the 4th lunar month  of 1830

    This uchiwa-e (団扇絵, fan print) by Utagawa Kunisada (歌川国貞), also known as Toyokuni III (三代歌川豊国), depicts the actor Bandō Minosuke II (坂東蓑助) in the role of Momonoi Wakasanosuke (桃の井若狭之助) from Kanadehon Chūshingura (仮名手本忠臣蔵), performed at Ichimura-za in the fourth lunar month of 1830 (Bunsei 13, Year of the Tiger, 文政十三年寅). The actor is shown in a half-length portrait, three-quarter view, facing right, with his hand lifting the hilt of his sword (刀, katana), signalling a moment of restrained fury. His narrowed eyes and pursed lips suggest inner turmoil, reflecting Wakasanosuke’s frustration with Kō no Moronao in Act 1 of the play. He wears a black kimono richly decorated with chrysanthemums (菊, kiku) over a lattice motif. On his sleeve, a heraldic crest (家紋, kamon) features a standing mulberry leaf (梶の葉, kaji no ha) enclosed in an octagon, the emblem of Tsuruoka Hachiman Shrine in Kamakura, where his historical counterpart, Wakisaka Yasumasa, had his residence. Beneath the black outer garment, he wears a red under-kimono with floral designs and a blue collar. In his right hand, he grips the hilt of his sword, adorned with gold menuki. A red cartouche framed with golden mulberry leaves in the upper left contains the inscription — right: Momonoi Wakasanosuke (桃の井わかさ之助), left: Bandō Minosuke (坂東蓑助).
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    Utagawa Kunisada (Toyokuni III). Bandō Mitsugorō III as Nowaki-hime no Yūkon and Seki Sanjūrō II as Watashimori Jinzō / Fan Print, 1831.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786–1865). Signed: 五渡亭国貞画 (Gototei Kunisada ga) Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1820–1850) Date-Aratame Seal: 辰改 (Tenpō 2 [1831], 3rd month) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 225 × 266 mm

    Actors and Roles:

    • Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775–1831); other names: Bandō Minosuke I, Morita Kanjirō II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I.
      • Played Nowaki-hime no Yūkon (野分姫のゆうこん), disguised as a Shinobu seller (しのふ売り), performing a shosagoto (tari shosagoto, たり所作事).
    • Seki Sanjūrō II [関三十郎] (Japanese, 1786–1839); other names: Seki Utasuke I, Nakamura Utasuke, Arashi Sōtarō.
      • Played Watashimori (ferryman) Jinzō (渡し守甚三), also referred to as Dōguya Jinzō (道具屋甚三), a merchant.
    Play: Somewake te Shinobu no Irozashi (染分忍彩色) Theatre: Ichimura-za, Edo, 3rd month of 1831 Full-length view of Seki Sanjūrō II as Watashimori Jinzō, standing under a weeping willow inside a boat or ferry, holding a wooden ladle in his right hand. He wears a checkered kimono with alternating olive and white squares, symbolizing the divining rod (sangi, 三木). His inner kimono is blue with stylized pine motifs; over this, he wears a haori decorated with shippo (七宝) and pines. A long wooden oar reinforces his role as a ferryman. Reeds growing near the riverbank and mooring stakes (kui, 杭) suggest a ferry dock or landing point. In the upper right, within a cloud-shaped inset, Bandō Mitsugorō III, as Nowaki-hime no Yūkon, is depicted in disguise as a Shinobu seller, carrying a basket filled with dyed textiles on her head. She is not physically present but rather an imagined or longed-for figure in Jinzō’s thoughts. She wears a blue and beige checked kimono with a black obi, evoking the image of a noblewoman travelling in disguise. Reference images from 阪急文化アーカイブ (HANKYU CULTURE ARCHIVE):
    We examined multiple documents from the Waseda University database, specifically related to the kabuki program at Ichimura-za in Edo on March 22, 1831 (Tenpō 2, 3rd month):
    1. Tsuji banzuke (辻番付, street playbill) – A printed advertisement listing the plays and performers.
    2. Yakuwari-bon (役割本, role listing) – A document detailing actor-role assignments.
    3. Illustrated playbill pages – Containing scenes from the performances.
    4. Crest record (kamon, 家紋) – Indicating actor affiliations.

    Performance Overview

    • Theater: Ichimura-za, Edo
    • Date: March 22, 1831 (Tenpō 2, 3rd month)
    • Plays Performed:
      1. 楼門五山桐 (Rōmon Gojō no Kiri) – A historical drama (jidaimono), possibly the first-ranking large performance (ichibanme ōdai, 一番目大切).
      2. 鐘渕劇場故 (Kanegafuchi Shibai no Furugoto) – Likely a domestic drama (sewamono) forming the middle section of the program.
      3. 染分忍彩色 (Somewake te Shinobu no Irozashi) – A second-ranking large performance (nibanme ōdai, 二番目大切), potentially a concluding dance (shosagoto, 所作事).
    The print commemorates a performance in the third month of 1831, one of the last appearances of Bandō Mitsugorō III before his death later that year.
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    Utagawa Kunisada (Toyokuni III). Bijin-ga / Fan print, 1849-51.

    Artist: Utagawa Toyokuni III (歌川豊国, 1786–1865)
    Signed: 豊国 (Toyokuni) [Toshidama cartouche, with "画" (ga) absent after repair]
    Publisher: Ibaya Senzaburō (伊場屋仙三郎)
    Censor Seals: 福・村松 (Fuku, Muramatsu) – 1849–1851
    Block Carver: Yokokawa Takejirō (横川竹二郎, fl. 1845–1863) [彫竹 (Hori Take) seal trimmed away]
    Media: Uchiwa-e (fan print), color woodblock print, 213 × 265 mm

    Title: [Unclear, in red cartouche]

    Half-length portrait of a woman, turned to the left, wearing an outer garment with olive, brown, and yellow stripes. The inner kimono collar features a wisteria (fuji 藤) pattern, and her obi is decorated with scalloped roundels. She holds an object under her arm, wrapped in yellow and purple covers. Behind her, a possible folding fan adorned with chrysanthemums is visible. A container with flowing water and pink and white flowers, possibly daisies, is also present.

    Her hair is styled traditionally, secured with a blue ribbon and an ornamental hairpin. The censor seals are faint but identifiable to the right of the title cartouche. The print has been heavily over-trimmed on the left side, cutting into the carver’s seal. A repair in the bottom left corner has removed the "画" (ga) character from the toshidama cartouche containing the artist’s signature.

    Full image:

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    Utagawa Kunisada (Toyokuni III). Chūshingura, Act VI (Rokudanme): Ichikawa Komazō V as Kanpei and Segawa Tamon II as Okaru / Fan Print, 1834.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786–1865). Signed: 五渡亭国貞画 (Gototei Kunisada ga). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1820–1850). Date: 1834 — date aratame seal: 午改 – Year of the Horse,  Tenpō 5. Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 235 x 263 mm. Play: Chūshingura, Act VI (Chūshingura, rokudanme, 忠臣蔵 六段目) Actors and Roles: Ichikawa Komazō V [市川高麗蔵] (Japanese, 1812 – 1849); other names: Matsumoto Kinshō I, Matsumoto Kōshirō VI, Matsumoto Kinshi.

    Role: Hayano Kanpei (早野勘平)

    Segawa Tamon II [瀬川多門)] (Japanese, 1815-1857); other names: Nakamura Daikichi III, Nakamura Matsue 4.5, Sawamura Kitō, Nakamura Keishi, Nakamura Naruo.

    Role: Okaru (おかる), Kanpei's wife or lover

    This print depicts a dramatic moment from Chūshingura, Act VI, where Kanpei and Okaru are living in seclusion at the home of Okaru's parents in the countryside. Kanpei, wearing a plaid kimono (格子, kōshi pattern) with a yellow sash, sits cross-armed, gazing at his lover with a tense expression. Okaru, dressed in a blue kimono adorned with butterflies and a diaper motif, with black and red accents, leans toward Kanpei in a pleading gesture. The background landscape, enclosed within a decorative cloud frame, suggests a possible mitate (thematic reinterpretation) of the scene. We were unable to confirm these actors in these roles in either 1834 or 1833. The red cartouche on the right reads 忠臣蔵 六段目 (Chūshingura, Act VI).

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    Utagawa Kunisada (Toyokuni III). Conversation Under the Full Moon (The Tale of Genji) / Fan print, 1849-50.

    Artist: Utagawa Kunisada (Toyokuni III) (歌川国貞) (1786–1865) Signed: 豊国画 (Toyokuni ga) in a red toshidama cartouche Publisher: Iseya Sōemon (伊勢屋惣右衛門), Marks reference 19-047 | 156d, seal Hanmoto, Ue (板元, 上) Censor Seal: Double nanushi (Watanabe & Kunigasa) Date: Kaei 2-3 (1849–1850), based on censor seals. Media: Uchiwa-e (fan print), color woodblock print, 230 × 297 mm

    An elegant moonlit conversation unfolds between a man and woman beneath blossoming cherry branches. The full moon and falling petals create a romantic yet fleeting atmosphere, reminiscent of courtly themes in The Tale of Genji (源氏物語).

    The woman on the left wears a multi-layered kimono featuring pinwheel floral motifs and geometric patterns in red, blue, and gold. She lifts a hairpin (kanzashi, 簪) to adjust her hair, suggesting modesty, refinement, or quiet engagement in conversation.

    The man on the right wears a dark purple haori (羽織, outer robe) adorned with gentian (rindō, 竜胆) mon, a crest associated with nobility and refinement. His red and white obi features Genji-mon, further reinforcing the aesthetic and symbolic ties to Genji Monogatari.

    The gentian mon and purple hues evoke Heian-era literary aesthetics, aligning with Genji Monogatari's visual traditions. Though the characters in this fan print are not explicitly named, the composition closely resembles the scene "At moon-viewing night, Genji visits Yūgao," presented below.

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    Utagawa Kunisada (Toyokuni III). Flower-comparing contest, artificial flower making at the festival / Fan print, c. 1840.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: ōju Kōchōrō Kunisada ga (應需香蝶楼國貞画)

    Date: no date seal, no censor seal.

    Publisher: Jōshūya Jūzō [上州屋重蔵] (Japanese, 1812 – 1876); seal jū (重)  under roof; Marks 01-065 | 191a; Seal name: Jōjū (上重)

    Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 227 x 297 mm.

    A half-length portrait of a woman in a three-quarter view facing right. She holds a glass vessel with water and a goldfish in her left hand, while her right hand delicately grasps a small black folding fan with a red circle, possibly symbolizing the sun (日, hi). Her black hair is arranged in an elaborate updo, adorned with a red fabric bow and hairpins. She wears a layered kimono of blue gradient fabric with floral motifs, a red under-kimono (襦袢, juban) with white plum blossoms (梅, ume) on the collar and a hemp leaf motif (麻の葉, asanoha) on the sleeves, and a black obi with red lining, decorated with peonies (牡丹, botan). To the left, wisteria flowers (藤, fuji) and umbrellas (傘, kasa) hang above a ritual display stand (祭壇, saitan), which holds a miniature portable shrine (神輿, mikoshi) and a tengu Noh mask (天狗能面, tengu nōmen). The artist's signature is in the lower right, and the publisher's seal appears in the lower left quadrant. The title in the upper right corner reads: "Flower-Comparing Contest, Artificial Flower Making at the Festival" (Hanakura Sairei no Zōka - 花競 祭礼乃造花).
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    Utagawa Kunisada (Toyokuni III). Gathering of Famous Pleasures / Fan print, 1851-52.

    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 (豊國画) in a red toshidama cartouche Censor seal: Kinugasa (衣笠) & Murata (村田), sealed together from 1/1851 to 1/1852 Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, 1776 – 1862); seal: hanmoto ue (板元上) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 229 x 296 mm No date seal. Title (in red cartouche, top right: Mei yoroko [no] awase; 名喜之合 / 名喜合 — possible translations: Facing of famous pleasure, or Gathering of Famous Pleasures, or Assembly of Celebrated Joys.

    A woman is depicted in half-length, facing right, with her mouth modestly covered by her raised right sleeve. She wears a deep purple kimono decorated with spiderwebs and large butterflies—some rendered in fine detail, while others appear worn or damaged, with yellow wings mottled by black spots. A red under-kimono is visible beneath, along with a blue collar featuring a repeating saya-gata (紗綾形) lattice pattern.

    Scrolls tied with blue ribbon are tucked beneath her left arm. Her red obi is adorned with gold cloud motifs and blue floral designs, possibly peonies. Her hair is styled in the taka-shimada fashion and is fastened with a simple white cord (shiro ito), without kanzashi or additional ornamentation. Behind her is a low bamboo fence. The background presents large blooming chrysanthemums (菊, kiku) and what may be roses or peonies, set against a sky that transitions in gradient from blue to purple.

    A companion uchiwa-e print with the same title, catalogued by the Kunisada Project and depicting a kabuki actor, was likely intended to serve as the reverse side of the present print when mounted as a complete fan.

    [With special thanks to Horst Graebner of Kunisada Project]. Provenance: René Scholten (Dutch, 1943 – 2001)
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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Ichimura Kakitsu IV, from the series ‘Mitate Sangokushi’ / Fan print, 1865.

    Artist: Utagawa Kunisada (歌川国貞) / Toyokuni III (三代豊国) (1786–1865)

    Signed: 七十九歳豊国画 (Nanajūkyū-sai Toyokuni ga) – "Drawn by Toyokuni at the age of 79"

    Publisher: Unknown: 和泉屋 (Izumiya), active 1845–1870, Marks 02-053 | U101a

    Block Carver: Matsushima Daijirō (松嶋大次郎), active 1861–1865; seal: 松嶋彫大 (Matsushima hori-Dai)

    Censor/Date Seal: 丑極 – Year of the Ox (1865, Keiō 1), with 極 (Kiwame) approval seal

    Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 218 × 270 mm

    Series: Mitate Sangokushi [見立三國志]

    Actor: Ichimura Kakitsu IV [市村家橘] (Japanese, 1844 – 1903); other names: Onoe Kikugorō V [五代目尾上菊五郎], Onoe Baikō V, Ichimura Uzaemon XIII, Ichimura Kurōemon.

    A half-length portrait, three-quarter view of the actor Ichimura Kakitsu IV in a female role. The character wears a richly decorated purple kimono adorned with mandarin orange flowers, maple, ginkgo, and oak leaves and holds a sake cup in her right hand. Under her left arm, we see a roll of hygienic paper (onkotogami, 御髪紙)—a detail that, combined with her hair decoration, suggests a geisha profession. The background features a gradient transitioning from red to green, with cherry blossoms framing the upper portion of the composition. Dishes with food are visible on the left.

    The cartouches indicate that this print belongs to the Mitate Sangokushi (見立三國志, Parody of the Romance of the Three Kingdoms) series, suggesting a kabuki-related or literary allusion. The three lines of inscription in the white cartouche remain unread.

    This print was produced posthumously. Kunisada passed away on January 12, 1865, according to the Western calendar. In the Japanese calendar, this corresponds to the 15th day of the 12th month in the year Genji 1. This date still falls within the Year of the Rat, which, according to the Western calendar, lasted until January 26, 1865. The Year of the Ox and the first year of the Keiō era (Keiō 1) began on January 27, 1865.

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    Utagawa Kunisada (Toyokuni III). Kabuki actor Matsumoto Kōshirō V as Hanakawado no Sukeroku / Fan print, 1822.

    Artist: Utagawa Kunisada [歌川 国貴] a.k.a. Utagawa Toyokuni III [三代歌川豐国] (Japanese, 1786–1865)

    Publisher: unknown (Ichi-To, 未詳); Marks 05-012 | U085a; seal (一、ト). Date-aratame seal: Bunsei 5 (文政五年, 1822). Media: Fan print (Aiban yoko-e uchiwa-e, 合別横絵団扇絵); 234 × 264 mm. Actor: Matsumoto Kōshirō V [五代相本幸四郎] (Japanese, 1764–1838); other names: Ichikawa Komazō III [市川高麻蔵], Ichikawa Sumizō I [市川寿美蔵]. Role: Hanakawado no Sukeroku [花川戸の助六]. Play: Sukeroku sakura no futae obi [助六桜の二重帯].
    This bust-length portrait depicts kabuki actor Matsumoto Kōshirō V in the role of Hanakawado no Sukeroku under a vast umbrella, in a three-quarter view, facing right, with his fist firmly clenched, and with an expression of intensity and determination. His protuberant nose is accentuated, a defining feature of Matsumoto Kōshirō V. The actor wears a black outer robe adorned with stylized peonies (牡丹, botan), a floral motif symbolizing strength, nobility, and elegance—qualities that define both the Sukeroku character and Kōshirō V’s acting style. The print belongs to the yakusha-e (役者絵, "actor print") genre, celebrating kabuki stars of the Edo period. The artist's signature, publisher’s seal, and censor’s seal are written on the umbrella. Play Sukeroku sakura no futae obi was staged in March 1822 (Bunsei 5) at Kawarazaki Theater (歌川戸室) in Edo (Tokyo). In this version of the Sukeroku narrative, the protagonist is revealed to be Jirō Suketoshi of Kyoto [京の次郎祐俊], a nobleman in disguise. Like other Sukeroku adaptations, the story centres on themes of chivalry, revenge, and romantic rivalry in Edo’s pleasure quarters. Another Kunisada's portraits of Matsumoto Kōshirō V as Sukeroku, in Ōban format:

    The History of Sukeroku in Kabuki Theater

    The play Sukeroku (English title Sukeroku: Flower of Edo), originally titled Hana Yakata Aigo Zakura (花館愛護櫻), premiered in the 3rd lunar month of 1713 at Yamamuraza in Edo. The script was written by Tsuuchi Han'emon (津打半右衛門) under the guidance of Tsuuchi Jihē II (津打治兵衛, 1679–1760). The inaugural performance featured Ichikawa Danjūrō II as Sukeroku, Tamazawa Rin'ya as Agemaki, Ikushima Shingorô as the shirozake seller (白酒売り) Shinbē, and Yamanaka Heikurô I as Ikyū. Three years later, in 1716, Tsuuchi Jihē II revised the play, integrating it into the well-known Soga brothers' revenge tale. In this adaptation, Sukeroku, Agemaki, and Shinbē were revealed to be Soga Gorō Tokimune, the courtesan Kewaizaka no Shōshō, and Soga Jūrō Sukenari, respectively. This revised version was staged at Nakamuraza in the 2nd lunar month of 1716, with Ichikawa Danjūrō II reprising the role of Sukeroku, joined by Nakamura Takesaburô I (Agemaki), Mimasuya Sukejûrô I (Shinbē), Sodeoka Masanosuke II (Soga’s mother Mankō), and Ôtani Hiroemon I (Ikyū). Over time, Sukeroku became closely associated with the Ichikawa Danjūrō acting lineage, captivating Edo audiences and securing its place in the kabuki repertoire. Though traditionally performed by members of the Naritaya guild, the role of Sukeroku was occasionally played by actors from outside the Ichikawa family. The play was later staged under the title Sukeroku Yukari no Edo Zakura for the first time in the 4th lunar month of 1782 at Ichimuraza, with Ichimura Uzaemon IX portraying the titular role. Comparison to Toyokuni I’s 1816 Print Kunisada’s portrait can be viewed as a homage to his mentor, Utagawa Toyokuni I [初代歌川豊国] (1769–1825), whose earlier 1816 bust-length portrait of Iwai Hanshirō V [岩井半四郎] as Sukeroku (published by Ibaya Senzaburō [伊場屋仙三郎]) shares a similar composition and dramatic pose. While Matsumoto Kōshirō V’s portrayal (Kunisada, 1822) emphasizes power and masculinity through the peony motif, Iwai Hanshirō V’s 1816 version (Toyokuni I) reflects grace and refinement, featuring a kimono adorned with irises (菖蒲, shōbu)—a flower symbolizing purity and elegance. Additionally, the word shōbu (iris) is a homophone for 尚武, meaning "martial spirit", subtly reinforcing Sukeroku’s strength beneath his stylish exterior. These contrasts highlight the differences in kabuki acting styles—with Kōshirō V specializing in strong, heroic roles and Hanshirō V excelling in onnagata (female-role) performances.
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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Onoe Kikugorō III / Fan print, 1828.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kunisada ga (國貞画) in a double tosidama cartouche Date: Year of the Rat (子, Ne); Bunsei 11, 文政十一年), 1828. Censor seal: kiwame (極) Publisher: Ibaya Kyūbei [伊場屋久兵衛] (enterprise, op. c.1804-69); Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 222 x 293 mm.

    Actor (not stated): Onoe Kikugorō III [尾上菊五郎] (Japanese, 1784 – 1849); other names: Ōkawa Hashizō I, Onoe Baikō III, Onoe Matsusuke II, Onoe Eizaburō I

    Role (not stated): Nuregami Chōgorō (濡髪長五郎), a sumo wrestler.

    A half-length portrait of Onoe Kikugorō III (三代目尾上菊五郎), shown in a three-quarter view, turned slightly to the left. He wears an elaborate kimono with a geometric pattern adorned with round pine crests (matsu mon, 松紋). His under-kimono, visible at the sleeves and neckline, features red and black tones, strikingly contrasting. A white towel draped over his shoulder signifies his role as a sumo wrestler.

    The background consists of a checkerboard pattern in two shades of purple, filled with alternating butterflies (chō, 蝶), plovers (chidori, 千鳥), and melon flowers (mokko, 木瓜).

    In 1828, there is only one documented performance in which Onoe Kikugorō III played a male role:

    The role of Nuregami Chōgorō was played by the Third-Generation Onoe Kikugorō (濡髪の長五郎が 三代目尾上菊五郎,  Nuregami no Chōgorō ga Sandai-me Onoe Kikugorō.

    The play is mentioned as Chōchō no itohan (also Chōchō futago no kyōdai) (蝶々☆梅菊) by Kunisda Project. However, the paper accompaneying my print it is called  二番目「蝶蝶亀菊のちょうようふたまたさいかく」, Nibanme "Chōchōkyō Kiku no Chōyō Futamata Saikaku" (The second feature: "Butterflies, Turtles, and Chrysanthemums: A Tale of Dual Wisdom". It was performed at Kawarazaki-za in the 1st lunar month of Bunsei 11 (1828).

    Nuregami no Chōgorō was a composed sumo wrestler, in contrast to his counterpart Washi no Chōkichi (鷲の長吉), or Hanaregoma Chōkichi (放駒長吉), who was more hot-tempered. The play revolves around themes of duty, loyalty, and conflict between sumo wrestlers in the pleasure quarters (kuruwa, 廓). In one of the key moments of the drama, Chōgorō takes responsibility for a crime he did not commit, accepting blame out of a sense of duty. His role embodies bushidō-like loyalty and self-sacrifice, making him a compelling character in kabuki performance.

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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Onoe Kikugorō III as Nagoya Sanza / Fan print, 1820-30s.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: ōju Kunisada ga (應需國貞画) – "Drawn by Kunisada on commission" Date: No date Censor seal: kiwame (極) Publisher: Nishimuraya Yohachi [西村屋与八] (enterprise, op. c. 1751 – 1860); Marks: 01-008 | 391a Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 225 x 292 mm.

    Kabuki Actor: Onoe Kikugorō III [尾上菊五郎] (Japanese, 1784 – 1849); other names: Ōkawa Hashizō I, Onoe Baikō III, Onoe Matsusuke II, Onoe Eizaburō I

    Role: Nagoya Sanza (名古屋山三)

    A half-length portrait of Onoe Kikugorō III (尾上菊五郎) in the role of Nagoya Sanza (名古屋山三), depicted in a three-quarter view, turned slightly to the right. His chonmage (丁髷) hairstyle, with a neatly tied topknot and wrapped hair cords, reflects his status as a samurai.

    He wears a purple kimono decorated with swallows (燕, tsubame), bamboo umbrellas (唐傘, karakasa), and streaks of rain—a dynamic and symbolic pattern. Swallows are often associated with change, travel, and perseverance; the umbrellas and rain may evoke a sense of wandering and hardship, themes relevant to the character of Nagoya Sanza, a disgraced samurai seeking revenge. The inner collar features green and gold-striped layers, contrasting the outer robe.

    The background is a muted yellow-green monochrome, highlighting the rich details of the actor’s costume and facial expression. To the left of the figure, the inscriptions identify the character’s name (名古屋山三, Nagoya Sanza) and the actor (尾上菊五郎, Onoe Kikugorō III). The artist’s signature, 應需國貞画 (Ōju Kunisada ga), appears in the lower left, indicating that the print was created on commission.

    This uchiwa-e likely dates to the late Bunsei era (c. 1820s–1830s). Onoe Kikugorō III played this role in 1823, 1827, 1831, and 1836, with the closest match in kimono design traced to 1827. That year, the play Ōichiza Soga no shimadai (群曽我島台) was staged at Kawarazaki-za in the 1st lunar month, suggesting this print may be associated with that performance.
    MFA Accession Number 11.43447a-c Waseda 100-9683

    Nagoya Sanza (名古屋山三) is a legendary samurai and a central figure in the classic kabuki and bunraku play Meiboku Sendai Hagi (伽羅先代萩). His story is rooted in historical events from the Date clan of Sendai, although it has been highly dramatized in Edo-period theatre.

    Sanza is a loyal retainer falsely accused of stealing a valuable sword and subsequently banished. Stripped of his honour, he takes on the appearance of a wandering samurai dressed in a distinct kimono with a cloud and dragonfly pattern. Meanwhile, his rival, Fuwa Banzaemon (不破伴左衛門), flaunts the stolen sword and openly taunts him. Their encounters, particularly the famous rainy night duel scene, are among kabuki's most visually striking moments. Sanza’s story is of perseverance and revenge, as he ultimately seeks to restore his name and expose the true culprit behind the theft.

    [Thanks to Horst Graebner of Kunisada Project]
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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Segawa Rokō / Fan print, 1827.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Gototei Kunisada ga (五渡亭國貞画) Date seal: Year of the Boar (亥), Bunsei 10, 1827. Censor seal: kiwame (極) Publisher: Unknown; seal ト本 (to, hon); not in Marks. Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 225 x 292 mm.

    Kabuki Actor: Segawa Rokō (瀬川路考), a.k.a. Segawa Kikunojō V [瀬川菊之丞] (Japanese, 1802 – 1832); other names: Segawa Tamon I.

    A half-length portrait of the actor Segawa Rokō (瀬川路考) in a three-quarter view, turned slightly to the left. He is depicted in a female role (onnagata), dressed in a vibrant green kimono with a subtle wave-like pattern and scattered floral motifs. The red under-kimono features a white design of waves and a waterwheel (suisha, 水車). A blue towel draped over his shoulder is adorned with white chrysanthemums and pine needles, possibly alluding to The Seven Grasses of Winter (Fuyugusa Nana-kusa, 冬草七草). His hair is styled with a decorative ribbon and a gilt kanzashi hairpin.

    The background consists of bold diagonal stripes in alternating shades of black, blue, and lavender, strikingly contrasting the figure. A red and gold toshidama cartouche in the upper right contains the actor’s name, 瀬川路考.

    [Thanks to Horst Graebner of Kunisada Project]

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    Utagawa Kunisada (Toyokuni III). Musashi, from the series ‘Collection of the dinner plates of enchanting appearances’ / Fan print, 1865.

    Artist: Utagawa Kunisada (Toyokuni III) (歌川国貞) (1786–1865)

    Signed: By the brush of the old Toyokuni (Toyokuni rō hitsu, 豊国老筆)

    Publisher: Iseya Sōemon (伊勢屋惣右衛門), Marks reference 19-047 | 156d, seal Hanmoto, Ue (板元, 上)

    Date/Kiwame Seal: 丑 極 (Year of the Ox & kiwame, Kieō 1, 1865)

    Media: Uchiwa-e (fan print), color woodblock print, 218 × 280 mm

    Title: Musashi (むさし)

    Series: Collection of the Dinner Plates of Enchanting Appearances (艶色 さら づくし, Enshoku sara tsukushi), figuratively meaning "Collection of the Dinner Plates of Charming Looking Women."

    Half-length portrait of a woman seated indoors, facing slightly right. She wears an elaborate hairstyle adorned with multiple kanzashi hairpins. Her kimono is red with a white tie-dye (shibori) pattern, similar to examples in museum collections. A deep purple background features cherry blossoms and flowing water motifs. The sleeves are adorned with embroidered gourd or squash flowers over green fabric. She rests her cheek on her left hand while frying tempura on a small stove with a wire mesh, using chopsticks in her right hand. A lacquered tray to her left holds a blue-and-white porcelain bowl and several pieces of cooked tempura. A candle on a stick stand burns to her left.

    Musashi refers to the Musashiya restaurant in Susaki, a well-known establishment depicted by Hiroshige.

    The print is trimmed on the left, partially cutting off the publisher and date/kiwame seals. It is possible that this print was published posthumously.

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    Utagawa Kunisada (Toyokuni III). New Types of Dyeing (Shingata Atsurae Zome) / Fan print, 1849.

    Artist: 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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    Utagawa Kunisada (Toyokuni III). Onoe Kikugorō III as Denbei and Iwai Kumsesaburō II as Oshun / Fan Print, 1825.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786–1865) Signed: 五渡亭国貞画 (Gototei Kunisada ga) Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1820–1850) Date: 1825 — date aratame seal: 酉改 – Year of the Rooster, Bunsei 8 Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 230 x 270 mm Play: Sono uwasa sakura no irodoki (其噂桜色時), Nakamura-za, 3/1825 Actors and Roles: Onoe Kikugorō III [尾上菊五郎] (Japanese, 1784 – 1849); other names: Ōkawa Hashizō I, Onoe Baikō III, Onoe Matsusuke II, Onoe Eizaburō I.

    Role: Denbei (伝兵へ)

    Iwai Kumesaburō II [岩井粂三郎] (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Hisajirō I; poetry names Baiga, Shūka.

    Role: Oshun (おしゆん)

    A dramatic encounter between Denbei and Oshun, set beneath a blooming cherry tree. The background features a fenced garden and a veranda, suggesting a domestic setting with a sliding fusuma (襖) screen on the right.

    Denbei, dressed in a blue striped kimono adorned with cherry blossoms and chrysanthemums, sits on the floor (tatami?), gripping a length of cloth, the other end of which is held by Oshun. Oshun, wearing a plaid kimono (格子, kōshi pattern) with butterflies and a red and black obi featuring gold cloud brocade, leans forward with an assertive gesture, pulling at the cloth Denbei holds. Her hairstyle is highly ornamented with combs and pins.

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    Utagawa Kunisada (Toyokuni III). Ten’ō Festival: Bandō Minosuke II as a Goldfish Vendor and Iwai Kumesaburō II as a Geisha / Fan Print, 1830.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786–1865). Signed: 五渡亭国貞画 (Gototei Kunisada ga). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1820–1850). Date-Aratame Seal: 寅改, Tora-aratame, Tenpō 1 (1830). Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 229 × 266 mm. Actors and Roles:
    • Bandō Minosuke II [坂東蓑助] (Japanese, 1802–1863); other names: Morita Kan'ya XI, Bandō Mitsugorō IV.
      • Depicted as a goldfish vendor (kingyo-uri, 金魚売).
    • Iwai Kumesaburō II (二代目 岩井 粂三郎) (Japanese, 1799–1836); other names: Iwai Hanshirō VI, Iwai Hisajirō I, Baiga (poetry name), Shūka (poetry name).
      • Depicted as a geisha.
    Full-length view of Iwai Kumesaburō II as a geisha, standing and holding a glass container with a goldfish. She wears an olive kimono decorated with white plum blossoms and a blue obi. She carries a folding fan (扇子, sensu) in the back and hygienic tissues (御髪紙, onkotogami) in the front, reinforcing her identity. Her companion, Bandō Minosuke II, a goldfish vendor, sits nearby, adjusting a towel on his shoulder, wearing a blue kimono with stylized butterflies. In the background is a festival procession with a large float (dashi, 山車), a rooster on top, a crowd, and banners. The inscription 天王御祭礼 (Ten’ō Go-sairei) confirms that this scene takes place during the Ten’ō Festival, an important Edo-period event in Nihonbashi Kobuna-chō, associated with Gozu Tennō (牛頭天王), a deity protecting against plagues. This print is an example of benigerai-e (紅嫌絵, "red-avoiding pictures"), characterized by the absence of red pigments and the use of Prussian blue and olive tones. Produced in Tenpō 1 (1830), this colour scheme reflects a stylistic trend in early 19th-century ukiyo-e. However, in this case, the absence of red may be due to deliberate artistic choice or the natural fading of red pigments over time. A closely related print from the same festival-themed series depicts a nearly identical composition featuring different actors and a different festival. Title: "Asakusa Shimanrokusennichi" (浅草四万六千日). Festival: Sanja Festival at Sensō-ji (associated with the hōzuki market). Actors: Nakamura Shikan II as a water vendor (mizuu-uri) and Segawa Kikunojō V in a role similar to the geisha in our print. While not depicting actual kabuki performances, these prints serve as actor-centric promotional works, using seasonal festivals as a recognizable and engaging backdrop for Edo audiences. They share a common design structure, suggesting they were created using a standardized template, with variations in actors, festivals, and small details. This approach allowed Kunisada to efficiently produce multiple fan prints, catering to kabuki enthusiasts who collected actor portraits. These prints exhibit characteristics of mitate-e (見立絵), where actors are placed in imagined or symbolic settings unrelated to specific stage roles, further emphasizing their public personas rather than any particular performance.
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    Utagawa Kunisada (Toyokuni III). Woman holding a fan, from the series ‘Atsuraeori Benkei Konomi’ / Fan print, 1849-51.

    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 (豊國画) in a red toshidama cartouche Censor seal: Fuku (福) & Muramatsu (村松), sealed together from 3/1849 to 11/1851 Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869), san (三)  in a circle, in a 'boar eye' shape Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 222 x 285 mm Series: Benkei-chequered fabrics woven to order (Atsuraeori Benkei Konomi, 誂織弁慶好) or Fabric woven in Benkei taste (atsurae ori benkei gonomi, 誂織弁慶好) A bijin (美人, beautiful woman) is depicted in a refined setting, holding an unadorned uchiwa (団扇, flat fan) in her left hand while delicately raising a writing brush (筆, fude) in her right, "poised as if she is about to write something, perhaps on the fan" (LIB-1212.2017. Robert Schaap, Kunisada: Imaging Drama and Beauty). Her attire is elaborate, featuring a kimono (着物) with bold purple curves complemented by an underlayer with red geometric motifs. The background is dominated by a chequered fabric pattern, referencing the Benkei-checkered cloth (弁慶縞, Benkei-jima), traditionally associated with the twelfth-century warrior monk Musashibō Benkei (武蔵坊弁慶). This pattern holds historical and cultural significance, often symbolizing strength and resilience. The woman's elaborate hairstyle (日本髪, nihongami) is adorned with large decorative hairpins (簪, kanzashi), further emphasizing her status and elegance. The print belongs to a series that incorporates this distinctive checkered motif, connecting it to the visual traditions established by Kunisada (国貞) and his contemporary Utagawa Kuniyoshi (歌川国芳), who also produced a series of beauties wearing Benkei-checkered kimono, such as Women in Benkei-Checkered Cloth (島揃女弁慶, Shimazōroi onna Benkei, c. 1844).

    Another fan print from the same series by Kunisada: {あつらへおり・弁慶好) Atsurae ori - Benkei gonomi

    Reference: Robert Schaap. Kunisada: Imaging Drama and Beauty / Introduction by Sebastian Izzard, contributions by Paul Griffith and Henk. J. Herwig. — Leiden: Hotei Publishing, ©2016, p. 68, pl. 42. [With special thanks to Horst Graebner of Kunisada Project].
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    Utagawa Kunisada (Toyokuni III). Woman holding a scroll, from the series ‘The taste of the new type of woman’ / Fan print, c. 1835.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kōchōrō Kunisada ga [香朝楼國貞画] in a red double-gourd cartouche. Date: No censor/date seal. Publisher: No seal. Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 217 x 283 mm. Series: The taste of the new type of woman (Shingata bijin konomi) [新形美人好].

    A half-length portrait of a young woman in three-quarter view, turned slightly to the right. She is elegantly dressed in a blue kimono adorned with floral motifs, worn over a red under-kimono with a blue collar featuring a lattice pattern. Her elaborately styled hair is adorned with kanzashi hairpins and a comb, indicative of her status, possibly as a courtesan or geisha. The background is filled with intricate textile patterns, including a central pink scroll embellished with golden embroidery of waves and plovers. She holds a rolled scroll featuring a snowflake-like pattern, possibly a stencil used for dyeing fabrics. The blue cartouche on the right reads: 新形美人好 (Shingata bijin konomi) – the series title.

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