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 yellow toshidama cartouche Censor seal: Fuku (福) & Muramatsu (村松) Date seal: 1853 — Kaei 6 (丑, Year of the Ox), 2nd month Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869), san (三)  in a circle Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); Seal: hori Take (彫竹) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 214 x 295 mm A half-length portrait of a woman in a three-quarter view facing left. She holds an almost full sake cup—with three blue toshidamas—in her left hand and a shamisen plectrum (bachi, 撥) in her right. Resting on her lap, partially visible in the lower part of the print, is a shamisen (三味線). Her black hair is styled in an elaborate updo, adorned with gilt hairpins (簪, kanzashi), a comb, and a blue ribbon. She wears a blue outer kimono featuring a chrysanthemum diaper pattern (青海波, seigaiha) with black shippō (七宝) roundels, a red under-kimono, and a blue latticed collar. The obi (帯) is purple, decorated with green-and-blue dragons and waves over a sayagata (紗綾形) lattice pattern. The background features a hemp-leaf geometric pattern (麻の葉, asanoha) transitioning from black to crimson in a gradient, with a mist-like effect at face level. A round red cartouche in the upper right contains the title "The six days [of the week], the 5th day" (Roku hisei — butsumetsu, 六陽盛 物(ぶつ)愛(めつ)). The artist’s signature (豊國画, Toyokuni ga) appears in a yellow toshidama cartouche in the lower left, accompanied by the publisher’s and censor seals, as well as the block carver’s seal (彫竹, hori Take). There has been extensive discussion regarding the meaning of the title in the red round cartouche, which reads 六曜盛物愛. Breaking Down the Inscription: The first two characters, 六曜 (Rokuyō), refer to the six-day Buddhist calendar cycle, which determines lucky and unlucky days. This system became widely used in the late Edo and Meiji periods. The six days are:

• 先勝 (Senshō) – Lucky in the morning
• 友引 (Tomobiki) – "Pulling a friend" (good for social matters)
• 先負 (Sakimake) – Lucky in the afternoon
• 仏滅 (Butsumetsu) – The most unlucky day
• 大安 (Taian) – The most lucky day
• 赤口 (Shakkō) – Bad luck

Upon reviewing the available information and expert analyses, it appears that the inscription 六曜盛物愛 contains an unconventional representation of 仏滅 (Butsumetsu), traditionally written as 仏滅. Deciphering the Inscription: 六曜 (Rokuyō): Refers to the six-day Buddhist calendar cycle, indicating auspicious and inauspicious days. 盛 (Sakari): Translates to prosperity, peak, or prominence, possibly suggesting a focus on the significance of these days. Together, 六曜盛 (Rokuyō Sakari)—the series title—can be interpreted as "The Six Days in Their Peak" or "The Prosperity of the Six Days" (where "盛" carries the meaning of "prosperous, prominent, or significant"). The two kanji to the left of the series title (物愛) seem to represent 仏滅 (Butsumetsu, the most unlucky day). However, 仏滅 is the standard notation, making the use of 物愛 highly unusual. Comparison with Other Known Prints in the Series: There are two other prints in this series, documented by The Kunisada Project, which feature correctly written names of other Rokuyō days: Taian (大安) – The most lucky day Senshō (先勝) – Lucky in the morning Since both Taian and Senshō are written correctly, it is logical to assume that 物愛 (Butsumetsu) was intended to represent 仏滅 (Butsumetsu, "Buddha’s Death," the most unlucky day). Possible Reasons for the Unconventional Notation: The use of 物愛 instead of 仏滅 remains unexplained, but possibilities include: — A woodblock cutter’s error, possibly confusing the characters 仏滅 with similar-looking ones. — An artistic variation, though this would be unusual since Butsumetsu is almost always written as 仏滅. — A play on words, but no documented precedent has been found for writing Butsumetsu as 物愛. Conclusion: The most accurate title for this print should follow the established pattern in the series and could be phrased as: "Butsumetsu: The Most Unlucky Day, from the series Rokuyō Sakari" or "Rokuyō Sakari: Butsumetsu, The Most Unlucky Day". [With special thanks to Horst Graebner of Kunisada Project]

Taian (大安) – The most lucky day	Senshō (先勝) – Lucky in the morning

Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861) Signature: Kuniyoshi ga [国芳画] with a paulownia seal. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Date seal: (寅西) Year of the Tiger plus (改) Aratame — 4th month, Kaei 7 = 4/1854 Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 229 x 289 mm Description by Kunisada Project: Two Ise Ondo dancers in identical costumes on a terrace with folding fans. The print depicts two Ise Ondo dancers performing on a terrace, wearing matching costumes and holding folding fans (sensu, 扇子). Their layered kimonos are grey, red, and black, featuring a wave motif (seigaiha, 青海波) on the black fabric and large, bold kanji characters on the grey fabric—静 (shizu, "calm, quiet") and 連 (ren, "group, association, troupe"). Their obi (sashes) are red, secured with a yellow obi-jime (cord). They dance with open folding fans decorated with yellow clouds and Genji-mon (源氏紋). Their distinctive costume elements and synchronized movement identify them as Ise Ondo performers, a dance tradition rooted in festival celebrations and kabuki adaptations. The kanji 静 (shizu) references Shizuka Gozen (静御前), a legendary shirabyōshi dancer linked to the Minamoto clan, further reinforcing the connection to classical dance heritage. The dancers’ detailed hair ornaments (kanzashi, 簪) and layered clothing emphasize their elegance and status as skilled performers. The background transitions from green at the bottom to deep blue at the top, with three large paper lanterns hanging above, enhancing the festive setting.

Artist: Unknown No censor seal, no date seal. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 228 x 265 mm. The fan print (uchiwa-e, 団扇絵) depicts the Eitai Bridge (永代橋, Eitai-bashi), one of Edo’s famous landmarks, spanning the Sumida River (隅田川, Sumida-gawa). The wooden arched structure is crowded with pedestrians. Below, the river is bustling with boats, including pleasure barges (yakata-bune, 屋形船) and transport vessels. In the background, Mount Fuji (富士山, Fujisan) rises above the horizon, while the soft gradient of the sky suggests early morning or evening light.