Artist: 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.

Sunrise on New Year's Day at the Musashiya Restaurant in Susaki

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.

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.

MFA Accession Number 11.43447a-c	Waseda 100-9683

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.

Artist: Utagawa Kunisada (歌川国貞) / Toyokuni III (三代豊国) (1786–1865)

Signed: 七十九歳豊国画 (Nanajūkyū-sai Toyokuni ga) – "Drawn by Toyokuni at the age of 79"

Publisher: Unknown: 和泉屋 (Izumiya), active 1845–1870, Marks 02-053 | U101a

Block Carver: Matsushima Daijirō (松嶋大次郎), active 1861–1865; seal: 松嶋彫大 (Matsushima hori-Dai)

Censor/Date Seal: 丑極 – Year of the Ox (1865, Keiō 1), with 極 (Kiwame) approval seal

Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 218 × 270 mm

Series: Mitate Sangokushi [見立三國志]

Actor: Ichimura Kakitsu IV [市村家橘] (Japanese, 1844 – 1903); other names: Onoe Kikugorō V [五代目尾上菊五郎], Onoe Baikō V, Ichimura Uzaemon XIII, Ichimura Kurōemon.

A half-length portrait, three-quarter view of the actor Ichimura Kakitsu IV in a female role. The character wears a richly decorated purple kimono adorned with mandarin orange flowers, maple, ginkgo, and oak leaves and holds a sake cup in her right hand. Under her left arm, we see a roll of hygienic paper (onkotogami, 御髪紙)—a detail that, combined with her hair decoration, suggests a geisha profession. The background features a gradient transitioning from red to green, with cherry blossoms framing the upper portion of the composition. Dishes with food are visible on the left.

The cartouches indicate that this print belongs to the Mitate Sangokushi (見立三國志, Parody of the Romance of the Three Kingdoms) series, suggesting a kabuki-related or literary allusion. The three lines of inscription in the white cartouche remain unread.

This print was produced posthumously. Kunisada passed away on January 12, 1865, according to the Western calendar. In the Japanese calendar, this corresponds to the 15th day of the 12th month in the year Genji 1. This date still falls within the Year of the Rat, which, according to the Western calendar, lasted until January 26, 1865. The Year of the Ox and the first year of the Keiō era (Keiō 1) began on January 27, 1865.

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.

Role: Hayano Kanpei (早野勘平)

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).

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