- 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.
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NEWArtist: 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: -
NEWArtist: [画工] (Gakō): Murai Seima [村井 静馬], address: Honjo-Sotodechō, 18 [本所外手丁十八番地], a.k.a. Utagawa Fusatane [歌川房種] (Japanese, fl. 1854 – 1889) Signed: Ōsai Fusatane Hitsu [桜斎房種筆] in a cartouche with a red round stamp Block carver: Wada Yūjirō (和田勇次郎), seal: 彫勇 (Hori Yū), Friese 2009, № 225 Publisher: Kawaraski Sotokichi [河原崎外吉]Round Nengō Seal: Year of the Ox, Meiji 15 (1882)
Media: Uchiwa-e (団扇絵), color woodblock print, 253 x 260 mm
Actors and Roles:
- Actor: Nakamura Shikan IV (中村芝翫)
- Role: Ōtaku Tarō (大屋太郎)
- Actor: Suketakaya Takasuke IV (助高屋高助)
- Role: Princess Takiyasha (滝夜叉姫)
Nakamura Shikan IV, as Ōtaku Tarō, wears a richly decorated kimono with floral patterns and grips a sword. Suketakaya Takasuke, as Princess Takiyasha, appears in a layered kimono with cloud motifs, her hair adorned with multiple ornaments. The actors are depicted in imagined roles.
Iwai Hanshirō VIII as Princess Tsuruhime, Onoe Kikugorō V as Ushiwakamaru
Onoe Kikugorō V as Princess Wakana, Ichikawa Sadanji I as Toriyama Shusaku
Iwai Hanshirō VIII as Tamagohime, Ichikawa Danjurō IX as Jiraiya
Here is Kunisada's print from 08/1856, featuring the same characters: The Syllable Ma（ま）as in Masakado (まさかど): Iwai Kumesaburō III (岩井粂三郎) as Takiyasha-hime (瀧夜叉姫) and Nakamura Fukusuke I (初代中村福助ヵ) as Ōtaku Tarō (大屋太郎) from the series Seven Calligraphic Models for Each Character in the Kana Syllabary (Seisho nanatsu iroha - 清書七伊呂波) – from Lyon Collection.
- Actor: Nakamura Shikan IV (中村芝翫)
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NEWArtist: Toyohara Kunichika (豊原国周, 1835–1900)
Signed: 豊原国周筆 (Toyohara Kunichika hitsu) with a red toshidama seal
Publisher: Ibaya Senzaburō (伊場屋仙三郎)
Censor seal: kiwame (極), no date seal
Media: Uchiwa-e woodblock print, 235 x 294 mm Actors:- Nakamura Kanjaku III [中村翫雀] (Japanese, 1841-1881), a.k.a. Arashi Kakuzô I [嵐珏蔵]
- as Saijō Kichinojō [最上吉之丞]
- Sawamura Tosshō II [沢村訥升] (Japanese, 1854 – 1879); other names: Sawamura Genpei II, Sawamura Sōjūrō, Suketakaya Takasuke IV, Sawamura Tosshi VI ; Poetry names: Kōga, Tosshi VI, Tosshō
- as Keisei Takao (けいせい高尾)
Sawamura Tosshō II as Keisei Takao
Nakamura Kanjaku as Saijō Kichinojō
- Nakamura Kanjaku III [中村翫雀] (Japanese, 1841-1881), a.k.a. Arashi Kakuzô I [嵐珏蔵]
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NEWArtist: Yōshū Chikanobu [楊洲周延], a.k.a. Toyohara Chikanobu [豊原周延] (Japanese, 1838–1912)
Signed: 周延画 (Chikanobu ga)
Publisher: Enshūya Ichibei [遠州屋市兵衛] (Japanese, before 1875–c.1887); Seal name En'ichi 遠市; family name Watari Ichibei 渡市兵衛; Address Tokyo Nihonbashi Horiechō Nichōme 10-banchi 日本橋堀江町二丁目十番地. Sealed as Watari Ichibei from 1876. Marks 26-165 | 056b
Date: No date seal
Media: Fan print (uchiwa-e, 団扇絵), 182 x 173 mm
Actors and Roles:
- Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
- as Fuwa Banzaemon Shigekatsu [不破伴左衛門重勝]
- Onoe Kikugorō V [五代目尾上菊五郎] (Japanese, 1844 – 1903); other names: Onoe Baikō V, Ichimura Kakitsu IV, Ichimura Uzaemon XIII, Ichimura Kurōemon.
- Nagoya Sanza [名古屋山三]
Kabuki21: "May 1879: Sawamura Tosshô II took the name of Suketakaya Takasuke IV at the Shintomiza, playing the role of Nagoya Sanza Motoharu in the drama "Mukashi Moyô Sato no Sayaate"; the role of Fuwa Banzaemon Shigekatsu (Sanza's rival in the sayaate scene) was played by Ichikawa Danjûrô IX."
Hankyu Culture Archives:
Ichikawa Danjūrō IX as Fuwa Banzaemon Onoe Kikugorō V as Horimono-shi Unji (Tattoo Artist Unji) Suketakaya Takasuke IV as Nagoya Sanza Ichikawa Danjūrō IX as Fuwa Banzaemon Onoe Kikugorō V as Nagoya Sanza - Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
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NEWArtist: 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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NEWArtist: 楊洲周延 (Yōshū Chikanobu, 1838–1912)
Signed: 周延画 (Chikanobu ga) Publisher: Enshūya Ichibei [遠州屋市兵衛] (Japanese, before 1875–c.1887); Seal name En'ichi 遠市; family name Watari Ichibei 渡市兵衛; Address Tokyo Nihonbashi Horiechō Nichōme 10-banchi 日本橋堀江町二丁目十番地. Sealed as Watari Ichibei from 1876. Marks 26-165 | 056b Date: No seal. Media: Uchiwa-e (団扇絵), multicolor woodblock print, 195 × 175 mm Actors and Roles:- Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
- Role: Omiwa (おみわ)
- Ichikawa Sadanji I [市川左団次, old writing 市川左團次] (Japanese, 1842 – 1904); other names: Ichikawa Shōjaku I, Ichikawa Koyone, Ichikawa Tatsuzō.
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- Role: Kanawa Gorō (金輪五郎)
Play: Imoseyama onna teikin (妹背山婦女庭訓), Shintomi-za, Tokyo, 10/1883
Half-length view of two actors. The female figure on the left is identified as Ichikawa Danjūrō IX, shown in a richly decorated kimono, slightly turning her face. The male figure on the right is identified as Nakamura Shikan IV, dressed in a bold-patterned outfit, gazing forward with an intense expression. His face is adorned with kumadori (隈取) makeup, emphasizing his dramatic role and reinforcing his imposing stage presence.
Lyon Collection: Roger Keyes in The Theatrical World of Osaka Prints wrote on page 74: "Act IV of Imoseyama is a domestic subplot. Omiwa, the daughter of a sake seller, falls in love with the son of Kamatari, one of the leaders of the anti-Soga party. When he refuses to reveal his identity, she attaches a spool of thread to his cloak and follows him, winding the reel. Her lover is following an unidentified princess with the same device, and all finally find themselves at Iruka's palace. Omiwa is noticed by one of Kamatari's subjects, Kanawa Gorō, who is loitering nearby disguised as Fukashichi, the fisherman. He stabs her. As she dies, he reveals that her lover was a courtier and that she will now be helping him to overthrow Iruka. Fukashichi then mixes her blood with the blood of a black-toed deer and smears it on his magic flute, making it possible to recover a certain Sacred Sword from Iruka at last, and sap his power."
Images from Hankyu Culture Archive:
[Thanks to Horst Graebner: www.Kunisada.de]
Ichikawa Sadanji I as Fukashichi; Ichikawa Danjūrō IX as Omiwa; Nakamura Shikan IV Tōfu Goyō (とうふ御用)
Ichikawa Danjūrō IX as as Omiwa Ichikawa Sadanji I as Fukashichi (ふか七) - Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
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NEWArtist: Yōshū Chikanobu [楊洲周延], a.k.a. Toyohara Chikanobu [豊原周延] (Japanese, 1838–1912)
Signed: 周延画 (Chikanobu ga) Publisher: Enshūya Ichibei [遠州屋市兵衛] (Japanese, before 1875–c.1887); Seal name En'ichi 遠市; family name Watari Ichibei 渡市兵衛; Address Tokyo Nihonbashi Horiechō Nichōme 10-banchi 日本橋堀江町二丁目十番地. Sealed as Watari Ichibei from 1876. Marks 26-165 | 056b Date: No seal. Media: Uchiwa-e (団扇絵), multicolor woodblock print, 195 × 175 mm Play: No play, no performance/theatre identified. Actors and Roles:- Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
- Role: Shigetada (重忠)
- Suketakaya Takasuke IV [助高屋高助] (Japanese, 1838 – 1886); other names: Sawamura Tosshô II, Sawamura Genpei II, Sawamura Sôjûrô VI, Sawamura Tosshi VI.
- Role: Akoya (あこや)
- Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
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NEWArtist: Yōshū Chikanobu [楊洲周延], a.k.a. Toyohara Chikanobu [豊原周延] (Japanese, 1838–1912)
Signed: 周延筆 (Chikanobu hitsu)
Publisher: Enshūya Ichibei [遠州屋市兵衛] (Japanese, before 1875–c.1887); Seal name En'ichi 遠市; family name Watari Ichibei 渡市兵衛; Address Tokyo Nihonbashi Horiechō Nichōme 10-banchi 日本橋堀江町二丁目十番地. Sealed as Watari Ichibei from 1876. Marks 26-165 | 056b
Date: No seal
Media: 団扇絵 (uchiwa-e, fan print), 190 × 175 mm
Play: No play, no performance/theatre identified.
Actors and Roles:
- Ichikawa Sadanji I [市川左団次, old writing 市川左團次] (Japanese, 1842 – 1904); other names: Ichikawa Shōjaku I, Ichikawa Koyone, Ichikawa Tatsuzō.
- Role: Watōnai (和藤内)
- Bandō Kakitsu I [初代 坂東 家橘] (Japanese, 1847 – 1893); other names: Ichimura Kakitsu V, Ichimura Uzaemon XIV, Ichimura Kakitsu V, Ichimura Uzaemon XIV, Ichimura Takematsu III.
- Role: Kinshōjo (きんせう女)
- Ichikawa Sadanji I [市川左団次, old writing 市川左團次] (Japanese, 1842 – 1904); other names: Ichikawa Shōjaku I, Ichikawa Koyone, Ichikawa Tatsuzō.
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NEWArtist: Yōshū Chikanobu [楊洲周延], a.k.a. Toyohara Chikanobu [豊原周延] (Japanese, 1838–1912)
Signed: 周延画 (Chikanobu ga) Publisher: Enshūya Ichibei [遠州屋市兵衛] (Japanese, before 1875–c.1887); Seal name En’ichi 遠市; family name Watari Ichibei 渡市兵衛; Address Tokyo Nihonbashi Horiechō Nichōme 10-banchi 日本橋堀江町二丁目十番地. Sealed as Watari Ichibei from 1876. Marks 26-165 | 056b Date: No seal (between 1876 and 1887).Media: 団扇絵 (uchiwa-e, fan print), 185 x 170 mm
Play: No play, no performance/theatre identified.
Actors and Roles:
- Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
- Role: Kuemon (九右衛門)
- Onoe Taganojō II 尾上多賀之丞 (Japanese, 1849-1899); other names: Onoe Kikumatsu [尾上菊松].
- Role: Kojorō (小女郎)
Play: While the specific play isn't explicitly mentioned, the character names suggest it could be 恋湊博多諷 (Koi Minato Hakata no Hitofushi) or a related version such as 博多小女郎浪枕 (Hakata Kojorō Nami Makura) or 和訓水滸伝 (Yamato Kotoba Suikoden).
The print captures a dramatic scene featuring the pirate chief 毛剃九右衛門 (Kezori Kuemon) and the courtesan 博多小女郎 (Hakata Kojorō). Kuemon, portrayed by Ichikawa Danjūrō IX, is depicted with a commanding presence adorned in elaborate attire befitting a smuggler leader. Kojorō, played by Onoe Taganojō II, is shown in elegant courtesan garments, reflecting her status in the Hakata pleasure quarters. The background features maritime elements, hinting at the seafaring aspects of the narrative.
The story centres on 毛剃九右衛門 (Kezori Kuemon), a notorious smuggler, and 博多小女郎 (Hakata Kojorō), a courtesan of the Okudaya brothel in Hakata. A young merchant from Kyoto, 小松屋宗七 (Komatsuya Sōshichi), becomes entangled with Kuemon during a voyage. Unaware of the ship's illicit activities, Sōshichi refuses Kuemon's invitation to join the smuggling operations and is cast overboard. Surviving the ordeal but losing his funds intended to ransom Kojorō, Sōshichi faces despair. In a twist, Kuemon, recognizing the genuine affection between Sōshichi and Kojorō, decides to assist them. He offers to ransom Kojorō on the condition that Sōshichi joins his crew. Reluctantly, Sōshichi agrees, leading to a series of events where they amass wealth through smuggling. However, their activities draw the attention of authorities. As they attempt to escape, Sōshichi is apprehended and takes his own life. Kojorō, seeking to join him in death, is instead pardoned by imperial decree upon the emperor's accession, as she is deemed innocent of any crime.
- Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
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NEWArtist: Utagawa Hiroshige III [三代目 歌川 広重] (Japanese, 1842/3 – 1894); other names: Andō Tokubei [安藤徳兵]. Signed: Hiroshige hitsu. Publisher: Ebiya Rinnosuke [海老屋林之助] (Japanese, fl. c. 1832–1895); also known as Ueki Rinnosuke [植木林之助]; Seal name: 海老林 (Ebirin); Marks: 21-017 | 040b Date: No seal. Media: 団扇絵 (uchiwa-e, fan print), 233 × 290 mm Title: Famous Places of Tokyo: Horikiri Irises (Tōkyō Meisho Horikiri Shōbu) [東京名所 堀切菖蒲]Two elegantly dressed women stand on a veranda overlooking the Horikiri iris fields. The woman on the right, wearing a blue kimono decorated with ducks and waves, gestures with both hands in a manner suggesting she is describing something tall—perhaps emphasizing the impressive height of the irises below. The woman on the left, dressed in a kimono featuring a stream and blossoms at the bottom and bats at the upper part, is sitting on the veranda’s barrier, gazing at the bystanders in the field below.
A teapot, two cups, and a red folding fan are arranged on the veranda, suggesting that the women have been enjoying a relaxing moment. Red-and-white lanterns hang from the structure while a pine tree extends nearby, framing the upper left of the scene.
Below, the iris field is in full bloom, with enormous irises creating a vibrant display. A worker, distinguishable by his traditional blue attire and round straw hat (sugegasa, 菅笠), tends to the plants. Three men in European-style Meiji-era outfits stand on a path running along the iris field—one holds an umbrella, while all three carry swords, signalling their status. One of them gestures toward the women, possibly in admiration or conversation.
In the background, distant hills, village rooftops, and haystacks stretch across the horizon. The sky transitions in a striking gradient from deep red to blue, a feature of Meiji-era prints. This red pigment, often called bengara (紅殻, iron oxide red) or aniline red, was commonly used in Meiji-era woodblock prints to enhance atmospheric effects and convey dusk or early evening settings.
The house in this print could be a place of entertainment, catering to well-off visitors who enjoyed the irises, drinks, and possibly geisha company or courtesan services. While Horikiri was not as famous as Yoshiwara, its beautiful surroundings and teahouses made it an ideal place for refined leisure—sometimes with an implicit erotic element.
Utagawa Hiroshige III. Thirty-six Views of Modern Tokyo: Irises at Horikiri.
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NEWArtist: Utagawa Toyokuni I [歌川豊国] (1769–1825) Signed: Toyokuni ga [豊国 画] Publisher: Ibaya Kyūbei [伊場屋久兵衛] (Japanese, c. 1804-1851); seal kyū (久) in circle; Marks: 08-055 | 126a Date-aratame seal: 子改 – Year of the Rat with aratame = Bunka 13 (1816) Media: fan print (団扇絵, uchiwa-e), 229 x 267 mm Play: Ume sakura aioi zōshi (梅桜松双紙), Nakamura-za, 3/1816 Actors and Roles: Matsumoto Kōshirō V (松本幸四郎) as Matsubei (松兵衛) Nakamura Matsue III (中村松江) as Chiyo (ちよ), Matsubei's wife Bandō Mitsugorō III (坂東三津五郎) as Umeroku (梅六), a fisherman from Chikushi.The scene depicts a moment from the play Ume sakura aioi zōshi (梅桜松双紙), with Chiyo, Matsubei, and Umeroku confronting an unseen opponent. The three figures are positioned against a backdrop of rushing water and a large waterwheel, indicating a setting near a river. Chiyo, at the front, wears a brown kimono with pine needle motifs, a black obi, and red underlayers visible at the sleeves and hem. Her hair is arranged formally, and her arms are extended forward. Matsubei and Umeroku, standing behind her, wear checkered (plaid) kimonos in brown and beige tones with black borders, tied with wide yellow sashes. Matsubei wears a haori (羽織). Both men hold long wooden oars crossed in an X-shape.
Toyokuni depicts the same actors in the same performance in a series of ōban-size prints (images from Waseda University Cultural Resources Database)
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NEWArtist: 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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NEWArtist: 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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NEWArtist: Utagawa Fusatane [歌川 房種] (Japanese, fl. 1854 – 1889), other names: Ippyosai; Isshosai; Murai Seima; Utagawa Seimas; Osai Signed: Drawn by Fusatane (Fusatane ga, 房種画) within Toshidama cartouche Block carver: Nakamura Fujiyoshi, seal 彫藤 (hori Fuji); Friese 2009: 306/7 Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); san (三) in a circle. Date: 亥極 Year of the Boar + kiwame, Bunkyū 3 (1863) Media: Uchiwa-e (団扇絵), color woodblock print, 155 x 188 mm (for a child?) Play: Kyō Ningyō (京人形), The Kyoto Doll, date and place of the performance not found (mitate?) Actors and Roles: — Nakamura Shikan IV [中村芝翫] (Japanese, 1831 – 1899); other names: Nakamura Fukusuke I [中村福助], Nakamura Masanosuke I, Nakamura Komasaburō, Nakamura Tamatarō I. Role: Hidari Jingorō (左甚五郎), — Sawamura Tanosuke III [沢村田之助] (Japanese, 1845-1878); other names: Sawamura Yoshijirō I; poetry names: Shozan. Role: Kyō Ningyō (京人形), The Kyoto DollThis uchiwa-e (fan print) by Utagawa Fusatane (房種画) depicts a scene from the kabuki dance-drama Kyō Ningyō (京人形), featuring the legendary sculptor Hidari Jingorō (左甚五郎) and his magically animated doll. In the scene, Nakamura Shikan (中村芝翫) portrays Hidari Jingorō, seated in a green kimono with a contemplative expression, possibly just after witnessing his doll come to life. He gently touches his face in a subtle gesture of astonishment. Standing behind him is Sawamura Tanosuke (沢村田之助) as Kyō Ningyō (京人形), dressed in a bright red kimono adorned with chrysanthemum motifs. The background features a screen with a woodgrain pattern on the left, inscribed with Kyō Ningyō (京人形), and a blossoming plum branch against a gradient sky.
Various kabuki plays based on this legend of Hidari Jingorō and the living doll were staged multiple times throughout the 19th century, with different adaptations and performances keeping the story alive on the Edo and Meiji-period stage. The popularity of this tale extended beyond the theatre, as it was also widely depicted in ukiyo-e prints by numerous artists, capturing both the kabuki productions and the legend itself in various visual interpretations.
Lyon Collection: Hidari Jingorō (左甚五郎) (role 1596 – 1644) Basil Hall Chamberlain called him "Japan's most famous sculptor... born in 1594."//"Hidari Jingorō (1596-1644), a master temple carpenter (miya-shi) by trade, who is reputed to have crafted life-sized ningyō on the side, is probably the earliest documented carver of what were later to be termed "iki ningyō." Legend has it that in order to accomplish all of the tasks assigned to him, Jingorō decided to create his own assis tants. [sic] To this end, he crafted a group of ningyō that were so realistic they actually came to life and helped him in all of his labors. When he was done with them, however, he threw them all into the river where they became kappa (water demons)." Quoted from: Ningyō: The Art of the Japanese Doll by Alan Scott Pate. The MET: “The Famous, Unrivaled Sculptor Hidari ‘Left-Handed’ Jingorō” (Meiyo: Migi ni teki nashi Hidari Jingorō) by Utagawa Kuniyoshi (1848) // “At the center of this complex triptych composition is the famous sculptor Hidari “Left-Handed” Jingorō at work in his studio, carving a statue of Shōtoku Taishi (574–622), one of the great proponents of Buddhism in ancient Japan”. Wikipedia: “Hidari Jingorō (左 甚五郎) was a possibly fictitious Japanese artist. Some people and sources state his real name was Itami Toshikatsu. A Renaissance man, he worked as a sculptor, carpenter, painter, architect, comedian, actor, kōdanshi (rhythmical storyteller) and professor of art. Although various studies suggest he was active in the early Edo period (around 1596–1644), there are controversies about the historical existence of the person. Jingorō is believed to have created many famous deity sculptures located throughout Japan, and many legends have been told about him”.
A 1-minute Youtube presentation of the Hidari Jingorō Legend. -
NEWArtist: 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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NEWArtist: 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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NEWArtist: 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
[Thanks to Horst Graebner of Kunisada Project]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.
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NEWArtist: 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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NEWArtist: Utagawa Toyokuni II [歌川豊国二代] a.k.a. Toyoshige [豊重] (Japanese, (1777 – 1835) Signed: Toyokuni ga (豊國画) Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c.1815–1869); seal: san (三) in circle. Additional publisher red stamp in the form of a double gourd. Date and Censor Seal: 1830 / Aratame seal (改) plus (tora, 寅) = Year of the Tiger, Bunsei 13 (文政十三年) Media: Uchiwa-e (fan print), color woodblock print, 227 x 267 mm Actor: Iwai Kumesaburō II [岩井粂三郎] (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Hisajirō I, Baiga (poetry name), Shūka (poetry name). Role: Osono (おその), wife of Amakawaya Gihei (天川屋義平) Play: Kanadehon Chūshingura, performed at Ichimura-za in the 4th lunar month of 1830This uchiwa-e (団扇絵) depicts Iwai Kumesaburō II (岩井粂三郎) as Nyōbō Osono (女房おその), the wife of Amakawaya Gihei (天川屋義平), in Act 10 of Kanadehon Chūshingura (仮名手本忠臣蔵). Osono is shown in a half-length portrait, three-quarter view, turned to her left. Behind her, an arrow (矢, ya) has pierced a target (的, mato) in the bullseye. In her hand, she holds a severed lock of her own hair. She wears a green-spotted kimono patterned with white plum blossoms (梅, ume), with a red under-kimono featuring a blue lattice-decorated collar (襟, eri). Her hair is adorned with a gilt comb (櫛, kushi) and hairpins (簪, kanzashi).
In Act 10, Gihei (義平), recognizing that the rōnin’s attack on Moronao is imminent, sends Osono (おその) back to her parents, an act equivalent to divorcing her. Since a divorced woman would typically be remarried by her family, Ōboshi Yuranosuke (大星由良之助) orders Ōwashi Bungo (大鷲文吾) to cut her hair, ensuring that this does not happen, leaving her unmarriageable and still tied to her husband during their separation. "Once we finish our business of killing the enemy, you can celebrate your reunion," said Ōboshi Yuranosuke.
A red slip of paper (短冊, tanzaku) with the actor’s name and role is placed near the upper right.
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NEWArtist: 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). -
NEWArtist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle to verso. Date seal: Year of the Snake (巳, mi), Tenpō 4 , 1833, to verso. Censor seal: kiwame (極, approved), to verso. Media: Double-side fan print (uchiwa-e); 226 x 291 mm. Series: Tosei rok’kasen or Tosei rokkasen [當世六花撰] – two translations: (1) by Sebastian Izzard: Six choice modern flowers, (2) by Horst Graebner: Modern Six [Immortal] Poets. Character: Nakamura Shikan II [中村芝翫] (Japanese, 1796 – 1852); other names: Nakamura Utaemon IV [中村歌右衛門], Nakamura Tsurusuke I, Nakamura Tōtarō, Nakamura Kanjaku I, Fujima Kamesaburô (dance), Hirano Kichitarō; nicknames: Narikomaya Utaemon, Shijaku Utaemon; Poetry names: Kanjaku, Shishô [芝賞]. Poet: Kisen Hōshi [喜撰法師] (Japanese, fl. 810-824 CE) – one of Six Immortal Poets (六歌仙, rokkasen) A double-sheet uncut fan print featuring a half-length, three-quarter view, turned to the left portrait of Kabuki actor Nakamura Shikan II (中村芝翫 二代目) engaged in a tea ceremony (chanoyu, 茶の湯). He holds a chashaku (茶杓, tea scoop) in his right hand and a natsume (棗, tea caddy) in his left. The natsume is red lacquer, adorned with gilt karakusa (唐草, arabesque) and a meander motif. He wears a black robe with blue-patterned details, and a white mokkō-mon (木瓜紋, family crest) is visible on his sleeve. A red scroll with an inscription hangs behind him; the inscription reads: Kisen Hōshi (喜撰法師). The name of Nakamura Shikan II (中村芝翫) is written in hentaigana and hiragana as Narikomaya Shikan (なりこまやしかん), reflecting his guild name. The series title Tōsei Rokkasen (当世六歌撰) appears in the red cartouche to the left, and the artist’s signature is in the double-gourd red cartouche to the right. The background features a green and purple gradient decorated with floral roundels. The reverse side features a decorative design with floral roundels in blue and green. A paper slip (tanzaku, 短冊) with a red cloud-like gradient at the edges is positioned diagonally across the composition. It contains a calligraphic inscription in cursive script. Three standard seals—publisher, approval, and date—are in the bottom right quadrant of the print.Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1. (2) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 58. [With tremendous help from Horst Graebner of Kunisada Project].
Mokko-mon of Narikomaya guild
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NEWArtist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle to verso. Date seal: Year of the Snake (巳, mi), Tenpō 4 , 1833, to verso. Censor seal: kiwame (極, approved), to verso. Media: Double-side fan print (uchiwa-e); 225 x 292 mm. Series: Tosei rok’kasen or Tosei rokkasen [當世六花撰] – two translations: (1) by Sebastian Izzard: Six choice modern flowers, (2) by Horst Graebner: Modern Six [Immortal] Poets. Character: Ichikawa Danzō V [市川団蔵] (Japanese, 1788 – 1845); Ichikawa Shikō I, Ichikawa Danzaburō IV, Ichikawa Danjirō I, Ichikawa Morinosuke I. Poet: Fun'ya/Bunya Yasuhide [文屋康秀] (Japanese, ? – c.885) – one of Six Immortal Poets (六歌仙, rokkasen)A double-sheet uncut fan print with a half-length, three-quarter view, turned to the right, portrait of kabuki actor Ichikawa Danzō V holding a sensu (扇子, folding fan) with a yellow and red design in his right hand, gripping it close to his chest. He wears a blue kimono with circular floral motifs and a white undergarment with a purple geometric pattern; a white hexagonal crest with three stripes is visible on his sleeve. A red scroll with an inscription is hanging behind him. The inscription on a red background reads: Fun'ya (or Bunya) Yasuhide (文屋康秀). Ichikawa Danzō V (市川団蔵) is written with hentaigana and hiragana as Mikawaya Shikō (みかわやしこう), the guild and poetry names of Danzō. The series title Tōsei Rokkasen (当世六歌撰) appears in the red cartouche to the left, and the artist's signature is in the double-gourd red cartouche to the right. The background features a green and purple gradient decorated with floral roundels.
The reverse side features a decorative design with floral roundels in blue and green. A paper slip (tanzaku, 短冊) with a red cloud-like gradient at the edges is positioned diagonally across the composition. The slip contains a calligraphic inscription in cursive script. Three standard seals, publisher, approval, and date, are in the bottom right quadrant of the print.
Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1. (2) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 58. [With tremendous help from Horst Graebner of Kunisada Project]. -
NEWArtist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle to verso. Date seal: Year of the Snake (巳, mi), Tenpō 4 , 1833, to verso. Censor seal: kiwame (極, approved), to verso. Media: Double-side fan print (uchiwa-e); 225 x 283 mm. Series: Tosei rok’kasen or Tosei rokkasen [當世六花撰] – two translations: (1) by Sebastian Izzard: Six choice modern flowers, (2) by Horst Graebner: Modern Six [Immortal] Poets. Character: Sawamura Tosshō I [沢村訥升] (Japanese, 1802 – 1853); other names: Sawamura Gennosuke II, Suketakaya Takasuke III, Sawamura Chōjūrō V, Sawamura Sōjūrō V, Sawamura Genpei I, Sawamura Tosshi V; Poetry names: Kōga, Tosshi V, Tosshō; Guild: Kinokuniya. Poet: Ariwara Narihira [在原業平] (Japanese, 825 – 9 July 880) – one of Six Immortal Poets (六歌仙, rokkasen) A double-sheet uncut fan print featuring a half-length, three-quarter view, turned to the right portrait of Kabuki actor Sawamura Tosshō I. He holds a bow (yumi, 弓) and an arrow (ya, 矢) in his left hand, while his right hand grasps the collar of his under-kimono, with his thumb tucked inside. He wears a blue outer kimono patterned with a woven lattice motif, lined with red and yellow on the sleeves. Beneath it, his red under-kimono with a black collar is visible. A white towel (tenugui, 手拭い) is draped around his neck and shoulder. A red scroll with an inscription hangs behind him, reading: Ariwara Narihira (在原業平); Sawamura Tosshō I (沢村訥升). His name is written with kanji, hentaigana, and hiragana: Kinokuniya Tosshō (きの國やとし志ょう)—his guild and poetry names. The series title Tōsei Rokkasen (当世六歌撰) appears in the red cartouche to the left, and the artist’s signature is in the double-gourd red cartouche to the right. The background features a blue and yellow gradient decorated with floral roundels. The reverse side features a decorative design with floral roundels in blue and green. A paper slip (tanzaku, 短冊) with a red cloud-like gradient at the edges is positioned diagonally across the composition. It contains a calligraphic inscription in cursive script. Three standard seals—publisher, approval, and date—are in the bottom right quadrant of the print. Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1. (2) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 58. [With tremendous help from Horst Graebner of Kunisada Project]. -
NEWArtist: 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 roundel with winged insects. Date: 1834 — Tenpō 5 (午, Year of the Horse), plus Approved (kiwame, 極) Publisher: Iseya Ichiemon [伊勢屋市右衛門] (Japanese, fl. c. 1820s – 1860s), seal tsuji (辻) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 225 x 280 mm. The Wikipedia article on Kyokusui no Utage states: "A winding stream party (Chinese: 流觴曲水/曲水流觴; pinyin: liúshāngqūshuǐ) is an old Chinese custom in which the participants wait by a winding stream and compose poems before their cups full of rice wine float down to reach them. [...] It was also adopted by the Japanese and was called Kyokusui-no-en." According to Horst Graebner: However, the Japanese article provides different transliterations:きょくすいのうたげ（えん) kyokusui no utage (en) or ごくすいのうたげ（えん） gokusui no utage (en). This indicates that both kyokusui and gokusui may be acceptable readings for the term 曲水 (winding water), though kyokusui appears to be the more commonly used form.A half-length portrait of a woman in a three-quarter view facing left. She holds a paper scroll with the saaya pattern along the edges in both hands. Her black hair is styled in an elaborate updo with a gilt hairpin and a comb. She wears a multi-layered kimono featuring blue clematis (鉄線, tessen) on a brown outer garment and white plum blossoms on a red collar. The green and brown checkered obi has gilt flowers and tendrils brocade. The background is deep blue with two red circular cartouches—the left containing a peony, the right featuring winged insects alongside the artist's signature. A third cartouche, shaped like a red lacquer sake cup, bears gold lettering reading Bijin kyokusui no utage (en) [美人曲水宴].
Provenance: René Scholten (Dutch, 1943 – 2001)
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NEWArtist: 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)
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NEWArtist: 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). -
NEWArtist: 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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NEWArtist: 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
Taian (大安) – The most lucky day Senshō (先勝) – Lucky in the morning -
NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signature: Toyokuni ga (豊國画) in a red toshidama cartouche Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Signature: Hiroshige ga (廣重画) in a red rectangular cartouche Date and Censor Seal: 1858 — Ansei 5 (午, Year of the Horse) plus Approved (kiwame, 極) 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, 232 x 298 mm Title: Muronotsu in Harima Province (Harima Muronotsu, 播磨室ノ津) Series: A Set of Ports in the Provinces (Shokoku minato tsukushi, 諸国湊尽) A half-length portrait of a woman in a three-quarter view facing right, seated in a boat, gazing toward the Muronotsu harbour. She extends her right hand as if pointing toward the merchant ships anchored near the shore. Her black hair is arranged in an elaborate updo, adorned with gilt hairpins (簪 kanzashi) and a decorative comb. She wears a multi-layered kimono featuring a purple outer robe with delicate butterfly and floral embroidery, a blue-patterned collar, and a red underlayer with a geometric motif. The background landscape, designed by Hiroshige, depicts Muronotsu in Harima Province, an important Edo-period port along the Inland Sea. Several merchant ships with masts loaded with goods are docked near the tree-covered coastline while a smaller sailing vessel moves across the bay. The sky transitions into a soft pink and purple gradient, suggesting sunrise or sunset.In Kunisada: Imaging, Drama and Beauty by Robert Schaap [LIB-1212.2017], we see the following description: In this composition, Kunisada was responsible for the female figure seated in a boat and Utagawa Hiroshige for the background landscape. The setting is Muronotsu in Harima province, which was known at the time as an important harbour catering to traffic along the Inland Sea to Kyoto. It also had the reputation for its female entertainers and prostitutes. They feature in the no play Courtesans of Muro (Murogimi) in which the deity at Muro performs a dance, lured in by the singing of these women.
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NEWArtist: 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).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].
Another fan print from the same series by Kunisada: {あつらへおり・弁慶好) Atsurae ori - Benkei gonomi
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NEWArtist: 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. -
NEWArtist: Utagawa Sadahide [歌川貞秀] or Gountei Sadahide [五雲亭貞秀] (Japanese, 1807 – c. 1879) Signed: Gountei Sadahide ga [五雲亭貞秀画] in a beige 'bark' cartouche Publisher: Tsuruya Kiemon (鶴屋喜右衛門) (enterprise, c. 1620 – 1898); Marks 22-066 | 553m Date: early 1840s – no date seal, no censor seal Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 233 x 304 mm The composition is set against a coastal landscape, featuring a large pine tree and the two maidens carrying brine buckets on shoulder yokes, dressed in layered red and patterned robes. The background includes stylized waves, flying plovers, two sailing vessels, and a pink-hued sky. Matsukaze and Murasame were sisters who lived as brine-gatherers along the shores of Suma Bay. Their story is immortalized in the Noh play Matsukaze (松風):The exiled nobleman Ariwara no Yukihira (在原行平) stayed in Suma and fell in love with them. After his departure, the sisters mourned his absence, with Matsukaze in particular losing herself in longing and madness. The pine tree (松, matsu) symbolizes her unfulfilled love, as matsu also means "to wait" in Japanese.
Suma Bay (須磨浦, Suma-ura) is a coastal area in Kobe, Hyōgo Prefecture, Japan, located along the Seto Inland Sea (瀬戸内海, Seto Naikai). It is historically significant and a prominent setting in classical Japanese literature, particularly in The Tale of Genji and The Tale of the Heike. -
NEWArtist: 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 cartouche Date and Censor Seals: 1832 — Tenpō 3 (辰, Year of the Dragon), plus Approved (kiwame, 極) Publisher: Enshūya Matabei [遠州屋又兵衛] (Japanese, fl. c. 1768 – 1881); seal (ト) under the roof Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 225 x 285 mm. The print depicts a bijin (beautiful woman) holding a paper lantern (chōchin, 提灯) with the kanji 獅子 ("Lion," shishi/jishi) written in bold black strokes. She is shown in a three-quarter view, turning her head to the left, her gaze directed towards the lantern. Her red and blue checkered over-garment adorned with sickle-shaped (鎌, kama) kamon and other ideograms. A red under-kimono is decorated with peonies (botan, 牡丹) and bats (kōmori, 蝙蝠)—symbols of prosperity and good fortune. A black collar with a red accent adds contrast to her attire. Her hair is styled with only a headband, and her teeth are not blackened. The background features a gradient transitioning from green to orange, then to teal, from bottom to top. On the left, swallows (tsubame, 燕) fly upwards, while on the right, blue geese (gan, 雁) descend, creating a balanced movement across the composition.Provenance: René Scholten (Dutch, 1943 – 2001)
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NEWArtist: 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. -
NEWArtist: Utagawa Kuniyoshi (歌川国芳) (1797–1861) Signed: Ichiyūsai Kuniyoshi ga (一勇齋國芳画) with kiri seal Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal san (三) in a circle Censor Seal: aratame (改) Date Seal: tatsu, ni (辰 弍) — 2nd month of the Year of the Dragon, Ansei 3 (2/1856) Block Carver: Yokokawa Takejirō (横川竹二郎) (fl. 1845–1863); seal: 彫竹 (hori Take) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 227 × 286 mm Series: Images of Sansen (三川圖會, Sansen zue), or The Three Rivers Illustrated The print depicts a summer scene along Tatekawa, or Takegawa (竪川), a canal running east-west along the east bank of the Sumida River (隅田川) in Edo (Tokyo). In the background, boats are seen floating on the Sumida River, likely engaged in yūsuzumi (夕涼み, evening cool-off), a popular summer pastime during the Edo period. In the foreground, a woman dressed in a deep blue kimono with red underlayers and a red obi sits inside a riverside establishment. A towel rests on her arms as she reaches for a sliced watermelon. Her hair is styled with decorative hairpins, a comb, and a red ribbon. She is positioned against a bamboo railing that opens onto the river, framing the distant bridge and water traffic. Inscription in the red cartouche to the left of the woman's head: Sansen zue, Tate kawa; 三川圖會 竪川 [reformed writing: 三川図会] [furigana: さんせん づゑ] The print belongs to the series Images of Sansen (三川圖會, Sansen zue), which depicts scenes along three Edo waterways: Fukagawa (深川), Tatekawa (竪川), and Miyatogawa (宮戸川) (see Kuniyoshi Project):"This series of uchiwa (non-folding fan prints) is listed in Kuniyoshi by Basil William Robinson (Victoria and Albert Museum, London, 1961) as number 99". On p. 45 it is listed as: Sansen dzuye (Tategawa). The Three Rivers Illustrated. Women's heads. Fan Prints. (3)
[Thanks to Horst Graebner of Kunisada Project]
Fukagawa (深川); 1st month of 1856
Miyatogawa (宮戸川) ; 2nd month of 1856
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NEWArtist: 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)
