Superb Edo pictures illustrating dances (Odori keiyô Edo-e no sakae): Interior of an imaginary theatre with a performance of Shibaraku 「踊形容江戸絵栄」. Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Nōshūya Yasubei (Japanese, fl. c. 1851 – 1870). Year: 1858 (Ansei 5), 7th month. Size: Vertical ôban triptych; 36.9 x 75.7 cm. Signed: 一陽斎雛獅豊国筆(年玉印) – Ichiyôsai Hinashi Toyokuni ga (on the left sheet only). Censor's seal: Horse 7 [午七 彫師]. Subject: Shibaraku. Ref.: MFA impression: 11.44263a-c; Robert Schaap. Kunisada (2016), p. 101 [LIB-1212.2017]. Ref.: [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; p. 38. [LIB-3316.2024] Chris Uhlenbeck, Jim Dwinger, Josephine Smit. The Riddles of Ukiyo-e: Women and Men in Japanese Prints. — Brussels: Ludion, 2023, p. 218-9, № 107.

Okon's Lover Fukuoka Mitsugi, from the series Mirror of Virtuous Women (Teijo misao kagami)「てい女　美作保鏡　おこん　福岡貢」. Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Kojimaya Jūbei [小嶋屋重兵衛] (Japanese, fl. c. 1797 – 1869). Year: 1843–47 (Tenpô 14–Kôka 4). Signed: 一勇斎国芳画 – Ichiyûsai Kuniyoshi ga. Censor's seal: Watari. Size: Vertical ôban; 36.8 x 25.6 cm Ref.: MFA № 11.16085.

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 [国貞画] in a red double-gourd cartouche. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862). Date seal and kiwame censor seal: 1840 (Tenpō 11). Media: Untrimmed fan print (uchiwa-e), 227 x 293 mm. Title: Benzaiten Shrine at Honjō Block One [ひとつ目乃弁天] (Hitotsume no Benten). Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341; sold together with 5 other fan prints for $25,000. Before: Christie's, New York, 1997, lot 93 ($5,520). Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 363. Ref: Israel Goldman, Catalogue 2018, № 31: "Utagawa Kunisada (1786-1865) A Woman Reading a Letter by the Light of a Lantern. Hitotsume no Benten (One-eyed Benten). 1840. Fan print. Provenance: Japanese Prints, Paintings and Screens, Christie's, New York, 1997, lot 93 ($5,520), The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341. Fine impression and colour. Expertly restored wormholes in the lower margin." Markus Sesko comment regarding the series title: "Some time between in the latter half of the 17th century, blind acupuncturist Sugiyama Waichi (1614–1694) cured a neurotic disease afflicting Shōgun Tokugawa Tsunayoshi. Tsunayoshi asked Sugiyama what he would like as a reward, he answered that all that he would really desire was just one functioning eye. Now here we arrive at a wordplay. “One eye,” as you know, is Hitotsu-me in Japanese. As Tsunayoshi obviously could not reward Sugiyama with an eye, he gave him the entire first block of the Honjō neighbourhood in Edo, measuring about 1.2 ha. So, Honjō Block One is Honjō Hitotsu-me in Japanese as me not only means “eye,” but also “number.” Sugiyama moved there, but as he was praying to Benzaiten enshrined in the Enoshima-jinja southwest of Kamakura, Tsunayoshi gave Sugiyama permission to erect a small shrine on his new premises that was then dedicated to Benzaiten as well. To spare the old blind man the long trip so to speak. This shrine was named Honjō Hitotsu-me Benzaiten Shrine, short Hitotsu-me Benten, meaning the “Benzaiten Shrine at Honjō Block One.” That is, the label in the print refers to this context, i.e., location, not to a one-eyed Benzaiten. Sugiyama also had some rock formations of the “original” Benzaiten Shrine at Enoshima copied at his place, which was named Iwaya (い王や) (see picture attached). The lantern the woman is holding in the print is inscribed “Imuya” (い無や). Usually, the character mu (無) is not read wa in replacing a syllable, so maybe Imuya can be attributed to artistic freedom on part of Utagawa Kunisada, referring to the local Iwaya garden?"

Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Ōju Toyokuni ga [応需豊国画] in a toshidama cartouche. Double nanushi censor seals Mera & Murata (1846-50). Publisher: Kojimaya Jūbei [小嶋屋重兵衛] (Japanese, fl. c. 1797 – 1869). A gentleman, probably a kabuki actor Nakamura Utaemon IV [中村歌右衛門] (Nakamura Shikan II, Nakamura Tsurusuke I, Nakamura Tōtarō, Japanese, 1796 – 1852) drinking tea on a veranda under the shining moon. Series Moon, Sun, Stars [月日星] (tsuki-hi-hoshi/boshi), the three sources of light (sankō) [三光]:

SVJP-0211-1.2016: The Moon

SVJP-0211-2.2016: The Sun

SVJP-0211-3.2016: The Stars

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 Hiroshige II (二代目 歌川広重] (Japanese, 1826 – 1869). Signed: Hiroshige ga. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862); seal: Hanmoto, Ue [板元 上] (Marks 19-047 | 156d). Combined date seal and kiwame censor seal: Bunkyū 2 (1862) Media: Fan print (uchiwa-e, 団扇絵), 230 x 296 mm.