Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Date-aratame seal: 1827 (Bunsei 10). Inscription: Ohan [おはん], Chōemon [長右衛門] | Dainingyō [大人形] | Yoshida Senshi [吉田千四)] | unclear (work in progress). Sam. L. Leiter describes the play in his Kabuki Encyclopedia (1979) p. 183, and Japanese traditional theatre (2014), p. 252 as "Love Suicide of Ohan and Choemon at the Katsura River" (Katsuragawa Renri no Shigarami) [桂川連理柵], a two-act play by Suga Sensuke [菅専助] (ca. 1728 – 1791) written in 1776 for the puppet theatre jūruri and adopted for Osaka kabuki in 1777. Yoshida Senshi, a.k.a. Yoshida Bunzaburo III was a Japanese puppeteer of a Yoshida lineage. The line was established by Yoshida Bunzaburō I [吉田文三郎] (Japanese, fl. 1717 – 1760), who was one of the greatest in the history of Bunraku [人形浄瑠璃] (ningyō jōruri) and who around 1734 introduced the three-man puppet manipulation system. A portrait of Yoshida Senshi, who died in 1829, can be found in the Kunisada's triptych at Jordan Schnitzer Museum of Art, ID Number 2016:37.2.). The design on our fan print looks very much like the one of Toyokuni I at MFA (Houston): OBJECT NUMBER 2006.378. "Seki Sanjuro as Obiya Choemon and Ichikawa Denzo as Ohan of the Shinonoya from the Kabuki Drama Katsuragawa renri no shigarami (Love Suicide of Ohan and Choemon at the Katsura River)", according to MFA-H published by someone Tsuruya in c. 1810 (though the publisher's seal is Suzuki Ihei [鈴木伊兵衛] (seal name Suzui [鈴伊]), Marks 01-028 | 502; the censor's seal is gyōji, date 1811-14).  Interestingly enough, the description provided by Kuniyoshi Project is this "Actors: Onoe Kikugorô III as Shinanoya Ohan (おはん, female) and Ichikawa Ebizô V as Obiya Choemon (長右衛門, male). Play: Go chumon shusu no Obiya (御注文繻子帯屋). Date: 3^rd month of 1840. Theater: Kawarasaki. Publisher: Iba-ya Sensaburô". The play Go chumon shusu no Obiya was indeed staged at Kawarazaki theatre in 1840 (Tenpō 11), 3rd month; Ichikawa Ebizō V was indeed playing Obiya Choemon but Onoe Kikugorō III had the role of  Kataoka Kōzaemon, not of Ohan, as can be seen on Kunisada's diptych at MFA (Boston): ACCESSION NUMBER 11.40671a-b. 

Series: Pictures Associated with the Iroha Syllabary [伊呂波画合]. Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Signed: Ichiyûsai Kuniyoshi giga [一勇斎 國芳戯画] (Playfully drawn by Ichiyūsai Kuniyoshi) in a red double-gourd cartouche with a kiri-mon seal beneath. Publisher: Iseya Ichiemon [伊勢屋市右衛門] (Japanese, fl. 1823 – c. 1864); seal [辻]  (Marks 16-029 | 143a). Single nanushi censor seal: Mura [村] = Murata Sahei [村田佐右衛] (VI/1842 – V/1846). Media: Fan print (uchiwa-e, 団扇絵), 231 x 296 mm. Theme: The Treasury of Loyal Retainers [仮名手本忠臣蔵] (Kanadehon Chūshingura) – an 11-act puppet play composed in 1748, based on a historical event. "Most historians now agree that there were forty-seven rōnin of Ako who attacked and killed Kira Yoshinaka (吉良 義央, 1641 – 1703) in Edo in the twelfth month of 1702, twenty-two months after their lord Asano Naganori (浅野 長矩, 1667 – 1701) had been put to death for his own failed attempt on Kira’s life". [Henry D. SMITH II. The Trouble with Terasaka: The Forty-Seventh Rōnin and the Chūshingura Imagination / Japan Review, 2004, 16:3-65]. The reader shall remember that the fictional, romantic version of the Akō incident [赤穂事件] (Akō jiken) may not (and most probably does not) reflect the historical truth of events. Uncut fan print depicting a beautiful young woman covering another woman's mouth with a blue striped cloth, possibly an obi. The picture on the wall represents the scene from the final act of The Treasury of Loyal Retainers (Kanadehon Chūshingura, Act 11) when 47 loyal retainers (rōnin) of the late lord En'ya Hangan came to the house of Kō no Moronao in order to avenge their dead master. The leader of 47 rōnin, Ōboshi Yuranosuke, divided his accomplices into several groups which attacked the Moronao mansion from different directions. To coordinate the attack and keep communication among the groups, the rōnin were signing the first syllables of their names in the hiragana syllabary. There are two major types of the ordering of the hiragana syllabary, the Gojūon one and the Iroha order (pangram poem), the latter being used here. The number of avengers exactly matches the 47 letters of that syllabary. The group entering Moronao's house from the front gate was 'chi-ri-nu-ru-wo-wa-ka'. Yoshida Sadaemon Kanesada [葦田貞右衛門兼貞] (1675 – 1703) depicted on this fan print belongs to this group. The character on the lantern hanging from Yoshida's spear reads Chū [忠] – for Chūshingura.  Alternating black and white triangles on the picture frame allude to the 'signature' 47 ronin's uniform. This motif is usually described as a zigzag pattern [雁木模様] (gangi moyō), a mountain-shaped pattern [山形模様] (yamagata moyō), or a mountain road [山道] (yamamichi). The rōnin were allegedly wearing this uniform in imitation of firefighters. The government allowed the firefighters alone to gather in large groups and carry equipment akin to that of the military. Such equipment was necessary for firemen to tear down the burning buildings to stop the flames. The design can be seen in Kunimaru's fan print [SVJP-0233.2018] in this collection. Fighting Moronao's guards, the 47 rōnin entered the mansion and searched for their enemy but in vain. Finally, Yazama Jujiro Motooki [矢間重次郎元興]  found the villain in the charcoal chamber and called his friends. This is the exact moment we see in the picture on the wall: Yoshida entering the charcoal chamber with a spear in his hand amid falling baskets and charcoal. Kō no Moronao was brought to justice and beheaded; his head was offered before the memorial tablet of En'ya Hangan to appease his spirit. After that, Ōboshi Yuranosuke and his 46 friends committed seppuku. They were buried at Sengakuji (泉岳寺) – a small temple near Shinagawa in Edo (Tokyo). Another fan print from the same series can be found at Kuniyoshi Project: The same subject is portrayed by Kuniyoshi  in the series Mirror of the True Loyalty of the Faithful Retainers [誠忠義臣鏡] (Seichû gishin kagami), publisher: Kagiya Hanjirô, c. 1851 (Kuniyoshi Project) – Yoshida Sadaemon Kanesada (葦田貞右衛門兼貞) raising his sword amid falling baskets and charcoal:  

Artist: Utagawa Sadahide [歌川貞秀] (Japanese, 1807 – 1879) Publisher: Kojimaya Jūbei [小島屋重兵衛] (Japanese, c. 1797 – 1869) No date seal, no censor seal (privately printed?) Media: Fan print (uchiwa-e, 団扇絵), 235 x 297 mm. Kalimeris incisa, or Japanese Aster, is a daisy-like flower that belongs to the family of Asteraceae; it blossoms all summer and attracts butterflies. Peony [牡丹] (botan) – per Merrily Baird it is "the king of flowers", associated with erotic love, and especially with the sexual activities of women.

Artist: Utagawa Sadahide [歌川 貞秀] (Japanese, 1807 – c. 1878-9). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Date-kiwame seal: 1831 (Tenpō 2). Size: Uchiwa-e, 298 x 232 mm. Signed: 五雲亭 貞秀 (Gountei Sadahide) A pair of uncut fan prints with the god of wind and the god of thunder meant to be pasted on two sides of a uchiwa fan. This is an allusion to the famous painting Wind God & Thunder God [Fujin Raijin, 風神雷神図] by Ogata Korin [尾形光琳] (1658 - 1716). And the earlier versions of the same by Tawaraya Sotatsu [俵屋宗達] (1570-1643).

An uncut aizuri fan print showing travellers arriving at Inba Lake [印旛沼] (Inba-numa) on Shimosa Plateau [下総台地] (Shimōsa-daichi). Artist: Utagawa Sadahide [歌川貞秀] (Japanese, 1807 – 1879) Publisher: Unknown. Published: c. 1849. Signed: Gountei Sadahide ga [五雲亭 貞秀画] (Picture by Gountei Sadahide). Inscription in cartouche: Shimosa Plateau, Inbanuma (Inba Lake) [下總國印幡沼]. No date seal, no censor seal (privately printed?) Media: Fan print [団扇絵] (uchiwa-e), 235 x 300 mm.

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.