Title: Ninth lunar month [菊月] (Kikuzuki 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.

Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Pubisher: Enshūya Matabei (遠州屋又兵衛) (c. 1768 – 1881), seal name: Enmata [ 遠又]. Signed: Toyokuni ga [豊国画]. Date-aratame censor seal: 未改, Bunsei 6 (1823). Size: uchiwa-e; 233 x 262 mm. Ref: Israel Goldman. Japanese Prints, Paintings and Books / Catalogue 28, 2022: № 14.

Half-length portrait of a beautiful young woman wearing a chrysanthemum-patterned green kimono, face directed 3/4 to the right, holding her hands together and fingers spread, arranging the hairpins in her elaborate hairdo; garments of different colours and pattern designs on the background. Series: The taste of the new type of woman (Shingata bijin konomi) [新形美人好]. 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 yellow double-gourd cartouche. No publisher seal. No censor/date seal. Media: Untrimmed fan print (Aiban yoko-e uchiwa-e), 228 x 305 mm.

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]

Date: 1832 — Tenpō 3 (辰, Year of the Dragon), plus Approved (kiwame, 極).

Publisher: Ebiya Rinnosuke [海老屋林之助] (Japanese, c. 1832–1895), seal 'to' (ト) Marks: 07-021 | 040a; a.k.a. Ueki Rinnosuke [植木林之助], seal name: 海老林 (Ebirin)

Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 222 x 285 mm.

A half-length portrait of a woman in a three-quarter view facing slightly left. She is pruning a flowering plum branch (梅, ume) for an ikebana (生け花) arrangement, holding a branch in her left hand and scissors in her right. Her black hair is styled in an elaborate updo with a gilt hairpin (簪, kanzashi) and a red ribbon. She wears a multi-layered kimono: a striped outer garment with white igeta kamon (井桁, well crib pattern), a black kawari-eri (変り衿) collar decorated with flying birds and stylized golden waves, and a red and green under-kimono with a blue-and-white patterned collar. The background features a wooden house with blue-tiled roofs overlooking a landscape with a winding stream, pines, and distant hills. The artist's signature, censor seal, date seal, and publisher's seal are placed in the lower left.

The seller, however, citing Ukiyoe Bijin to Tokaidō. Japan Ukiyo-e Association, 1987) no. 68, states that: The woman wearing a blue kosode, a black hood, and walking in the snow can be identified as Osono from the drama Chūshingura, a popular play recounting the story of the Forty-Seven Rōnin. Osono is the wife of the rōnin's arms supplier, who reluctantly expelled her from their home for fear that she might be drawn into the conspiracy. [La femme portant un kosode bleu, une capuche noire et marchant dans la neige est identifiable à Osono du drame Chushingura, pièce populaire reprenant l'histoire des quarante-sept ronin, Osono est l'épouse du fournisseur d'armes des ronin, qui l'a chassée à contrecœur de chez lui de crainte qu'elle ne soit entraînée dans le complot.]

Provenance: René Scholten (Dutch, 1943 – 2001)

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