Utagawa Kunisada (Toyokuni III)

1786-1865

View of Backstage and Dressing Rooms, Backstage at a Newly Opened Theater
(Odori keiyo gakuya no zu, Odori keiyo nikai-iri no zu)

each sheet signed Toyokuni ga; publisher's seal Hon, Sen'ichi (Izumiya Ichibei of Kansendo), with censor's seal aratame (examined) and date seal Tatsu-ni (year of the dragon [1856], 2nd month)

oban tate-e double triptych 28 3/8 by 29 1/2 in., 72 by 75 cm

In October 1855 the Edo theater district was destroyed by a fire triggered by the Great Ansei earthquake. Only five months later, the first theater to rebuild and reopen was the Ichimura Theater. This print, issued the previous month, would have functioned as a grand announcement in advance of the opening. Although there were prohibitions at the time against portraits of actors, several prominent actors included in the composition are recognizable by their features and mon (personal crests) on their clothing, including, Nakamura Daikichi III, Morita Kan'ya XI, Nakamura Kozo I, Asao Yoroku II, Kataoka Gado II, Onoe Kikugoro IV, Seki Sanjuro III, Nakamura Kantaro I, Ichimura Uzaemon XIII, Sawamura Tossho II, Arashi Kichisaburo II, Bando Hikosaburo IV, Nakamura Fukusuke I, Iwai Kumesaburo III, Ichikawa Komazo VII, Onoe Kikujiro II, Rashi Rikan III, and Arashi Kichiroku I.

References:
Sebastian Izzard, Kunisada's World, 1993, pp. 176-177, no. 92
Sarah E. Thompson, KUNIOYSHI X KUNISADA, MFA Publications, 2017, pp. 102-103, no. 45
Museum of Fine Arts, Boston (www.mfa.org), from the Bigelow Collection, accession no. 11.44200a-f (identified actors)

(inv. no. 10-5784)

SOLD

Utagawa Kunisada (Toyokuni III)

1786-1865

A Popular Selection of Six Flowers: A Handmade Flower
(Furyu rokkasen no uchi: Tsukuri-hana)

figures on a stage lit with candles and andon (paper lanterns); signed Kochoro Kunisada ga, with publisher's mark Kyu of Yamamoto-ya Heikichi (Eikyudo); censor's seal kiwame, ca. early 1830s

oban tate-e triptych 14 7/8 by 30 3/8 in., 37.8 by 77.3 cm

This print depicts a scene from the famous kabuki play, Yoshitsune and the Thousand Cherry Trees, the earliest variation was first performed in 1747 at a puppet theater in Osaka, only one year later a kabuki version was staged in Edo at the Nakamura-za. The story is part history and part fiction, with with magical elements well-suited for a theatrical production. In this scene, Shizuka-gozen (the beloved mistress of Yoshitsune) and Sado Tadanobu (a retainer of Yoshitstune identified by the cartwheel motif on his dark outer-robe) are traveling in the mountains of Yoshino which is resplendent with its famous cherry trees in full bloom. During their journey Shizuka-gozen pauses to plays a fox skin hand-drum, named 'Hatsune.' As she plays the drum Tadanobu dances in a curious fox-like way. Little does she know that it is actually a protective fox-spirit who has taken the form of Tadanobu in order to follow the drum which was actually made from the skin of his parents. In a later scene when Yoshitsune encounters the real Tadanobu and the Fox-Tadanobu, the fox-spirit reveals himself as Shizuka-gozen plays the drum again.

Reference:
Arendie & Henk Herwig, Heroes of the Kabuki Stage, 2004, pp. 167-177

(inv. no. 10-0901)

$2,400

Utagawa Kunisada (Toyokuni III)

1786-1865

Nakamura Utaemon IV as Yadoneya Tarobei; Onoe Eizaburo III as Sakuraya no Oyae; and Ichikawa Kuzo II as Isami Miyoshi no Kidai

each sheet signed Gototei Kunisada ga, with censor's Kiwame seal and publisher's seal Toriaburacho, Tsuruki-han (Tsuruya Kiemon of Senkakudo), ca. 1839

oban tate-e triptych 14 7/8 by 30 in., 37.7 by 76.1 cm

From right to left, the actor Nakamura Utaemon IV (1796-1852) in the role of Yadoneya Tarobei, pauses to turn back towards the onnagata Onoe Eizaburo III (Kikugoro, 1808-1860), who likewise looks over his shoulder at Ichikawa Kuzo II (Danzo VI, 1800-1871). The actors are bundled up and carry umbrellas on a snowy evening in a scene from the play Sekai wa Yoshida sato no inazuma, staged at the Nakamura Theater in the 9th lunar month of 1839.

References:
Shindo Shigeru, Kunisada: Yakushae no sekai (Kunisada: The Actor Portraits), 1993, no. 97
Waseda University Theatre Museum, reference. no. 100-9871

(inv. no. 10-5378)

$2,000

Utagawa Kunisada (Toyokuni III)

1786-1865

Parody of the Twelve Months: November Kaomise Performance, December Izaemon
(Mitate junikagetsu: Juichigatsu kaomise, junigatsu Izaemon)

signed Kochoro Toyokuni hitsu with artist's seal Ichiyosai, inset signed Kunihisa ga (Utagawa Kunihisa II) with artist's red Toshidama seal, combined censor and date seal, Mi-juichi aratame (year of the goat [1859], 11th month, examined), carver's seal Yokogawa Hori Take (Yokogawa Takejiro), publisher's seal Kichi Ise Kane (Iseya Kanekichi), 1859

oban tate-e 14 1/8 by 9 5/8 in., 36 by 24.5 cm

A portrait of the actor Kataoka Nizaemon VIII (1810-1863) depicted within a frame formed by the Toshidama seal of the Utagawa school of artists. The actor is portrayed in the role of Fujiya Izaemon from the play Kuruwa Bunsho, a rare example of a love story with a happy ending. The story revolves around the love-sick Izaemon who has been disinherited by his mother because of his inappropriate love for Yugiri, the most beautiful courtesan in Osaka. Despite of a period of separation and bouts of intense jealousy, the lovers manage to reunite, and in a surprising turn of events, Izaemon's mother forgives him, and thus he is financially restored as well.

The inset panel by Kunihisa II (1832-1891) illustrates an actor presenting a kaomise (lit. 'face-showing') performance of the famous role known as Shibaraku. During the Edo period, Kabuki actors would sign one-year contracts with the theaters which start in November and ends in October. The annual kaomise was an important performance that took place in November to introduce the actors for the upcoming season. As one of the most famous and dynamic scenes, 'Shibaraku!' (lit. 'Wait a moment!') was frequently utilized for the kaomise. By the late Edo period actors' contracts were increasingly open-ended and kaomise performances became a rarity.

References:
EdoTokyo Museum, collection id. 39212341
Ritsumeikan University, accession no. Ebi0328
Waseda University Theatrical Museum, ref. no. 500-4106

(inv. no. 10-5802)

$750

Utagawa Kunisada (Toyokuni III)

1786-1865

Mirrors as Stylish Collage Pictures: Ichikawa Ichizo III as Dekiboshi no Sankichi
(Imayo oshi-e kagami: Ichikawa Ichizo)

signed Toyokuni ga in Toshidama cartouche, carver's mark hori Take (Yokokawa Takejiro), publisher's seal Shorindo (Fujiokaya Keijiro of Shorindo), with combined censor and date seal Hitsuji-yon, aratame (year of the goat [1859], 4th month, examined)

oban tate-e 14 1/2 by 10 1/4 in., 36.7 by 25.9 cm

This print is from a series featuring actors viewed as a reflection from a black and gold framed bronze mirror accompanied by a poem in their own hand. The actor Ichikawa Ichizo III (1833-1865) is in the role of Dekiboshi no Sankichi from the play Tanomimasu Soga no Kamigaki as performed at the Morita Theater in the 2nd lunar month of 1859. Two years before this portrait was published, Ichizo was made famous by a bizarre tragedy that took place during another production at the same theater during which a real samurai seated in the audience became so caught up with the performance he leapt to the stage with his sword drawn and attacked the actor. Unfortunately several staff members who tried to assist Ichizo were killed by the deranged samurai, and Ichizo suffered a minor injury, although he was able to appear on stage the following day, and not surprisingly, the grisly affair ensured that the play was a resounding commercial success.

References:
www.kabuki.21.com (on the 1857 attack)
Tokyo Metropolitan Library, accession no. 5114-C025-02
Waseda University Theatre Museum, accession no. 006-3910
Museum of Fine Arts, Boston, accession nos. 49.1764

(inv. no. 10-4881)

SOLD

Utagawa Kunisada (Toyokuni III)

1786-1865

Backstage: Nakamura Shikan IV

signed Kio Toyokuni ga within Toshidama cartouche, with block carver's seal Yokokawa Hori Iwa, publisher's seal Kinkaido shi (Tsujiya Yasubei), combined censor and date seal, Tori-juni, aratame (year of the Tiger [1861], 12th month, examined), 1861

oban tate-e 14 1/2 by 9 3/4 in., 36.8 by 24.9 cm

The actor Nakamura Shikan IV (1831-99) is seated before a red lacquer mirror stand as he puts on a wig with the help of an attendant, unseen except for his hands, whose holds a hair pick at the ready to fix the coiffure. Shikan IV, the son of a former kabuki actor who had become a backstage manager in Osaka, took to the stage at an early age. Having already performed as a child in Osaka, Shikan was adopted by another actor from the same Nakamura clan who brought him to Edo where he developed further and became one of the most successful and versatile actors of his time, touring widely throughout Japan.

References:
Edo Tokyo Museum, acquisition no. 91200235
Waseda University Theatre Museum, acquisition no. 120-0214

(inv. no. C-1261)

SOLD

Utagawa Kunisada (Toyokuni III)

1786-1865

Backstage: Ichikawa Ichizo III

signed Kio Toyokuni ga within Toshidama cartouche, with block carver's seal Yokokawa Hori Iwa, publisher's seal Kinkaido shi (Tsujiya Yasubei), combined censor and date seal, Inu-ichi, aratame (year of the Dog [1862], 1st month, examined), 1862

oban tate-e 14 1/2 by 10 in., 36.9 by 25.3 cm

The actor Ichikawa Ichizo III (1833-65) is seated before a bronze rectangular mirror in his backstage dressing room. He drapes a hand towel around his neck and turns to an attendant, unseen but for his hands, who holds a red garment decorated with a pattern of interlocked circles. Ichizo III was a promising actor who mostly specialized in roles known as jitsugotoshi- a righteous and clever man, although he also took on katakiyaku (villainous) and onnagata (female) roles as well. However he died in his early thirties before he could develop a more extensive repertoire.

References:
Museum of Fine Arts, Boston, acquisition no. 00.449
Waseda University Theatre Museum, acquisition no. 006-0645

(inv. no. C-1260)

SOLD

Toyohara Kunichika

1835-1900

The Mirror of Backstage in Full Bloom: Nakamura Shikan IV
(Hanazakari gakuya no sugatami: Nakamura Shikan)

signed Kunichika ga with artist's Toshidama seal, publisher's seal Bun, Tsujibun han, Yokoyamacho Sanchome (Tsujiokaya Bunsuke of Kinshodo), carver's seal Asakura Hori Man, censor's seal Ushi-roku, aratame (year of the Ox [1865], 6th month, examined)

oban tate-e 14 1/4 by 9 5/8 in., 36.3 by 24.3 cm

The multi-talented Nakamura Shikan IV (1831-99) is seen in the reflection of an oblong mirror framed by red and gold lacquer draped with handling cloths. He wears a lightweight indigo and white cotton yukata and leans forward with a small sake cup in his hand with a large red uchiwa fan poking into view. The mirror rests propped up on an angle, in the foreground we see small containers of make-up, and an elaborate wig adorned with combs and hairpins in a coiffure suitable for the role of a high-ranking courtesan. Shikan IV was one of the rare kabuki actors that could play romantic leads, bombastic heroes, and elegant female roles, all with equal aplomb. In his day his skill was only matched to that of the similarly talented Bando Hikosaburo V (1832-77), with whom the two actors shared a simmering rivalry.

References:
Nobutaka Imamura, ed., Ukiyo-e (Kunichika), Kyoto University of Art & Design, March 2018, p. 10, no. 16
Amy Reigle Newland, Time Present and Time Past: Images of a Forgotten Master: Toyohara Kunichika, 1999, p. 79, cat. no. 45 (for another print in this series)
Tokyo Metropolitan Library, acquisition no. 577-C013-02
Waseda University Theatre Museum, acquisition no. 007-264

(inv. no. C-1265)

$900

Toyohara Kunichika

1835-1900

Photographic Mirror of Modern Actors: Actor Ichikawa Sadanji I as Matsuomura, Actor Iwai Hanshiro VIII as Yodogimi, and Actor Onoe Kikugoro V as Kimura Shigenari
(Imayo haiyu shashin kagami: Iwai Hanshiro, Ichikawa Sadanji, Onoe Kikugoro)

each sheet signed Oju (by special request) Toyohara Kunichika hitsu with red artist's seal Toyohara Kunichika, carver's seal Hori Enkatsu (Noguchi Enkatsu), dated within the cartouche Meiji juyo-nen ichi-gatsu (Meiji 14 [1881] January), followed by artist and publisher's information, gako (artist) Arakawa Yasaohachi (birth name of Kunichika), shuppan-nin (publisher) Asano Eizo, 1881

oban tate-e each approx 14 by 27 3/4 in., 35.5 by 70.6 cm

Kunichika prefaces his signature on each of these prints with the honorific, 'Oju' (by special request), indicating that the portraits were commissioned privately from the artist. The production was handled by Asano Eizo, a publisher active for only approximately five years from 1876 until 1881. Kunichika utilizes the trendy term 'shashin' in the series title, which can be translated as 'duplicated from reality' or 'true image,' but by this time in the Meiji period the term had evolved to refer to photographs or photography.

From right to left, the portraits illustrate three major kabuki stars of the era: the comely onnagata actor Iwai Hanshiro VIII (1829-1882) in the role of Yodogimi from the play Chausuyama gaika no jindate; actor Ichikawa Sadanji I (1842-1904) in the role of Matsuomaru from the play Aiju no yuki hanatomi yoshino; and actor Onoe Kikugoro V (1844-1903) in the role of the samurai Kimura Shigenari from the play Nanba senki.

Reference:
Andreas Marks, Publishers of Japanese Woodblock Prints: A Compendium, p. 101, no. 020 (on Asano Eizo)

(inv. no. 10-5803)

$850

Toyohara Kunichika

1835-1900

Actors Nakamura Fukusuke IV, Ichikawa Sadanji I, Ichikawa Danjuro IX, and Kataoka Gado III with Wigs for Various Roles

signed Toyohara Kunichika, with publisher's information on the bottom left margin, on todoke Meiji - nen - gatsu - nichi (registered, Meiji -year - month - day) gako ken shuppan-nin (artist and publisher) Hasegawa-cho niju-banchi Matsuno Sadashichi, ca. 1883-1886

oban tate-e 14 3/8 by 9 7/8 in., 36.5 by 25 cm

Each actor is identified in the larger red cartouche at upper right corner of each of the four quadrants. Viewed clockwise from the top left, Nakamura Fukusuke IV (Shinkomaya, 18651940); Ichikawa Sadanji I (1842-1904), Ichikawa Danjuro IX (1838-1903), and Kataoka Gado III (1851-1895).

This composition is an omocha-e (toy print), the various wigs could be cut out and placed on the actors' unadorned heads. Designed to be used and typically destroyed in the process of playing with them, omocha-e, for board games like sugoroku or paper cut-outs like this example, are quite scarce.

(inv. no. 10-5773)

$900

Hasegawa Chikuyo (Suiken)

active ca. 1876-1889

Newly Published Wigs to Put On: Actors Kataoka Gado III and Nakamura Fukusuke IV
(Shinpan katsura-tsuke: Kataoka Gado, Nakamura Fukusuke)

signed Suiken Chikuyo hitsu, publisher's information on bottom left margin, Nihonbachi-ku-dori sanchome ichibanchi, Ishijima Yae (Shinshodo), and dated on the upper left margin, Meiji nijunen (Meiji 20 [1887])

oban tate-e 14 1/2 by 9 7/8 in., 36.8 by 25 cm

The actor Nakamura Fukusuke IV (Shinkomaya, 18651940) on the left, is paired with Kataoka Gado III (1851-1895).

This composition is an omocha-e (toy print), the various wigs and applications of make-up or facial hair could be cut out and placed on the actors seen below in their dressing rooms. Designed to be used and typically destroyed in the process of playing with them, omocha-e, for board games like sugoroku or paper cut-outs like this example, are quite scarce.

(inv. no. 10-5774)

$900

Toyohara Kunichika

1835-1900

Actors Back Stage: Ichikawa Danjuro IX Being Cooled by an Unseen Attendant Fanning Him
(Haiyu gakuya no omokage: Ichikawa Danjuro)

signed Toyohara Kunichika hitsu, the carver's seal Hori kosan, the title at the top right, Haiyu gakuya no omokage: Ichikawa Danjuro, dated with the publisher's information in the left margin, Meiji nijuichinen gogatsu hatsuka insatsu (Meiji 21 [1888], May 20th), donen gogatsu nijugonichi shuppan (published in the same year, May 25th), published by Sasaki Toyokichi with his address in Kyobachi, 1888

oban tate-e 14 5/8 by 9 7/8 in., 37.1 by 25.2 cm

The actor Ichikawa Danjuro IX (1838-1903) is one of the most important kabuki actors of the Meiji Period (1868-1912) who is credited, in part, with revitalizing and redefining the theater for the modern era. The wooden panel with a small shelf at the upper left is inscribed with his name Danjuro, and the paper fan jutting in from the left is decorated with his mimasu-mon 'three rice measure' actor's crest.

(inv. no. 10-5002)

$775

Utagawa Kuniyoshi

1797-1861

Songs for Spring Worth One Thousand Gold Coins
(Shun ei, atai sen kin)

signed Ichiyusai Kuniyoshi ga with artist's Toshidama seal, censor's seal kiwame and publisher's seal of Izumiya Ichibei, ca. 1829-1830

oban tate-e pentaptych 14 7/8 by 49 3/4 in., 37.8 by 126.3 cm

From right to left: the beautiful onnagata Iwai Shijaku I (Iwai Hanshiro VII, 1804-1845) is seated beside Ichikawa Hakuen II (Ichikawa Danjuro II, 1791-1859, who held this name from the 5th lunar month of 1829 to the 7th lunar month of 1830 while performing in Osaka and elsewhere) playing a flute, the young Ichimura Kakitsu III (Ichimura Takenojo V, 1812-1851) plays a drum held up to his shoulder, while Nakamura Kanjaku I (Utaemon IV, 1796-1852) beats a larger drum held at his hip, and Arashi Rikan II (1788-1837), who spent much of his career in Osaka or with a traveling troupe, uses mallets to beat a drum mounted on a stand.

Reference:
The Kuniyoshi Project, Polyptychs of Four or More Sheets, Part I (kuniyoshiproject.com)

(inv. no. 10-5387a)

$1,500

Utagawa Kunisada (Toyokuni III)

1786-1865

Iwai Shijaku I as Oiso no Tora, Sawamura Tossho I as Kudo Suketsune, Ichikawa Ebizo V as Goro Tokimune, Iwai Tojaku I as Kewaizaka no Shosho, and Ichikawa Danjuro VIII as Juro Sukenari

a rare five panel print intact; each sheet signed Gototei Kunisada ga; with publisher's seal Kyu (Yamamotoya Heikichi of Eikyudo), 1sth lunar month of 1841

oban tate-e pentaptych 14 7/8 by 49 in., 37.8 by 124.5 cm

The onnagata beauty Iwai Shijaku I (Hanshiro VII, 1804-1845) stands at far right beside Sawamura Tossho I (Suketakaya Takasuke III, 1802-1853) seated on a raised platform, who is being confronted by Ichikawa Ebizo V (Danjuro VII, 1791-1859) and his son, Ichikawa Danjuro VIII (1823-1854), in their roles as the heroic Soga brothers, with the gorgeous onnagata Iwai Tojaku I (1776-1847) standing between them. The actors are depicting in a scene of high tension from the drama, Koi-zumo Yawaragi Soga, presented at the Kawarazaki Theater during the first lunar month of 1841. Variations on the tale of the Soga Brothers were extremely popular and were traditionally staged during the New Year holiday during which it was possible for more of the working populace of Edo to attend performances.

References:
Waseda University Theatre Museum, 100-1795 - 100-1799
Museum of Fine Arts, Boston, accession no. 11.42167a-e (photographed with the positions of Danjuro VIII and Iwai Tojaku I reversed)

(inv. no. 10-5387)

$2,800

Toyohara Kunichika

1835-1900

Emperor Meiji Viewing the Play, No. 1 Kanjincho's Benkei by Ichikawa Danjuro IX
(Inoue kuntei goran no engeki, daiichi Kanjincho Benkei Ichikawa Danjuro)

signed Toyohara Kunichika hitsu with artist's red Toshidama seal, dated within the title Meiji nijunen shigatsu (Meiji 20 [1887] April), followed by the location Inoue kunshiki (the foreign minister Inoue Kaoru's mansion), publisher's seal Ningyocho Gusokuya, 1887

oban tate-e diptych 14 by 18 1/2 in., 35.6 by 47.1 cm

This design of Ichikawa Danjuro IX (1838-1903) in the heroic role of Benkei is based on an earlier Kunichika print published in 1875 with different text on the left sheet. This version was produced as a special publication commemorating the very first Tenran Kabuki (Kabuki production for the royal family) in April 1887 at the residence of the Foreign Minister, Inoue Kaoru (1836-1915). The landmark performance by Ichikawa Danjuro IX (1838-1903), the leading actor of his time, earned him the honorific nickname Gekisei ('master of theater'). The prominent display helped elevate the status of kabuki, redefining the popular entertainment as a traditional Japanese art form. In recognition of the prestigious event, Kunichika modified his earlier design by adding the Japanese flag jutting into the composition in the upper left corner of the composition.

(inv. no. 10-5804)

SOLD

Toyohara Kunichika

1835-1900

Actor Nakamura Shikan IV as Boatman Matsuemon, Actually Higuchi no Jiro Kanemitsu
(Sendo Matsuemon jitsu wa higuchi jiro kanemitsu)

signed Oju Kunichika hitsu with artist's seal Toyohara Kunichika, and publisher's seal with date Meiji juroku-nen go-gatsu (Meiji 16 [1883], May), hanmoto Ueki Rinnosuke (Ebiya Rinnosuke, Kaijudo), 1883

oban tate-e triptych 14 by 29 1/2 in., 35.7 by 74.8 cm

The actor Nakamura Shikan IV (1831-1899) is in the role of the warrior Higuchi no Jiro Kanemitsu who is disguised as the boatman Matsuemon in the play Hashi Kuyo Bonji no Mongaku (The Austerities of Mongaku).

Reference:
Tokyo Metropolitan Library (archive.library.metro.tokyo.lg.jp), call no. M248-18-2

(inv. no. 10-5438)

$1,900

Toyohara Kunichika

1835-1900

Actor Ichikawa Enjuro as Meakashi, Actor Ichikawa Danjuro IX as Kiuchi Sogoro, and Actor Seki Sanjuro IV as Ferryman Jinbei

right sheet signed Toyohara Kunichika hitsu with red artist's seal Kunichika, dated Meiji junana-nen roku-gatsu (Meiji 17 [1884] June), gako (artist) Arakawa Yasaohachi (birth name of Kunichika), carver's signature Wada Hori Yu (Wada Yujiro), titled Edagawa tsutsumi watashi koya no zu (On a Ferry by the Cottage at the Edo River Embankment), published by Fukuda Kumajiro, 1884

oban tate-e triptych 14 by 27 3/4 in., 35.5 by 70.5 cm

From right to left, the acctor Ichikawa Enjuro (dates unknown) is in the role of a Meakashi, a semi-official detective. He is being held by actor Ichikawa Danjuro IX (1838-1903) who is in the role of the brave farmer and husband, Kiuchi Sogoro. The left sheet shows the actor Seki Sanjuro IV (1838-1889) in the role of the ferryman Jinbei (Watashimori Jinbei). They are in the play Toeizan Nofu no Negaisho (A Farmer's Petition at Mt. Toei). The story is based on the legend of Kiuchi Sogoro, the headman of a small village who presented a petition directly to the shogun in 1652 asking for tax relief. In bypassing the nefarious governor Hotta Masanobu, Sogoro was in violation of the laws at the time which forbade direct appeals. The brave gesture was met with a brutal rebuke, he was arrested, and according to legend, executed by crucifixion (according to some accounts), alongside members of his family. Kunichika depicts the scene from the play in which Sogoro is forced to leave his family behind in their modest cottage during a snow storm.

Reference:
Tokyo Metropolitan Library (tokyo.lg.jp), accession no. M248-024-03

(inv. no. 10-5807)

$1,100

Toyohara Kunichika

1835-1900

Onoe Kikugoro V as Benten Kozo, Nakamura ?-suke as Akujiro, Nakamura Shikan IV as Nihon Daemon, and Sawamura Tossho II as Fujitsuna

each sheet signed Kunichika hitsu, with publisher's seal of Tsujiokaya Kamekichi, and censor's date seal Uma-ichi aratame (year of the horse [1870], 1st month, examined)

oban tate-e triptych 14 5/8 by 29 7/8 in., 37 by 75.9 cm

The kabuki star, Onoe Kikugoro V (1844-1903), is in the titular role of Benten Kozo as performed at the Morita Theater in the first lunar month of 1870. The drama was based on the classic theme of Gonin Otoko, a grouping five 'dandy-theives.' The center figure in the relatively minor role of Akujiro may be the actor Nakamura Sagisuke, while to two fighting figures reflected in the mirror on the right sheet are the multi-talented Nakamura Shikan IV (1831-1899) as another 'dandy thief' Nihon Daemon, and Sawamura Tossho II (Suketakaya Takasuke IV, 1838-1886) as Fujitsuna.

(inv. no. 10-5091)

$850

Toyohara Kunichika

1835-1900

Actor Arashi Riko as Okimi, Actor Ichikawa Kuzo III as Ume no Yoshibei, and Actor Nakamura Fukusuke III in Two Roles, Chokichi and Koume
(Komeya musume Okimi, Arashi Riko, Ume no Yoshibei, Ichikawa Kuzo, Nagayoshi Koume niyaku Nakamura Fukusuke)

signed Toyohara Kunichika hitsu with artist's red Toshidama seal, carver's seal Hori Gin (Asai Ginjiro), published by Matsuki Heikichi, 1886

oban tate-e triptych 14 by 27 3/4 in., 35.5 by 70.5 cm

In the circular cartouche on the right, the actor Arashi Riko (dates unknown) is in the role of the rice seller's doughter, and Chokichi's lover, Okimi. The center sheet includes actor Ichikawa Kuzo III (Ichikawa Danzo VII, 1836-1911) in the role of the otokodate hero Ume no Yoshibei. The left sheet depicts the actor Nakamura Fukusuke III (Takasagoya, 1841-1921) in two roles (niyaku), Yoshibei's brother-in-law, Chokichi, and Yoshibei's wife, Koume, seen within the circular cartouche. The play is titled Suda no Haru Geisha Katagi (Code for Geisha at the Sumida River in Spring). This scene takes place on the bank of O river (Ogawabata no ba). Yoshibei is gripping the money bag that hangs on Chokichi's neck. The bag includes 100 ryo, a large sum at the time, that would free Kosan, the love of Kanaya Kingoro who Yoshibei promised to help. In this scene, both Chokichi and Yoshibei are in need of the money for the same purpose, but neither recognize each other as brothers-in-law and tragically, Yoshibei kills Chokichi to retrieve the money. Later Koume sees Yoshibei's severed finger in Chokichi's mouth realizes that her husband murdered her brother. In despair, Koume she cuts off her own finger and kills herself.

(inv. no. 10-5806)

$1,300

Toyohara Kunichika

1835-1900

The Vow to Help Revenge: Actor Onoe Kikugoro V as Osono and Actor Nakamura Fukusuke IV as Rokusuke
(Hikosan gongen chikai no adauchi: Ichimisai Osono, Onoe Kikugoro, Keyamura Rokusuke, Nakamura Fukusuke)

signed Oju (by special request) Toyohara Kunichika hitsu with artist's red Toshidama seal, carver's seal Hori Yata (Watanabe Yataro), dated within the publisher's seal, Meiji nijuni-nen ichi-gatsu (Meiji 22 [1889], January) published by Fukuda Kumajiro, 1889

oban tate-e triptych 14 by 27 3/4 in., 35.5 by 70.5 cm

The print illustrates a scene from the revenge story Hikosan gongen chikai no sukedachi (The Vow to Help Revenge) but the title of this print replaces the word 'sukedachi' with 'adauchi', both of which can be translated as 'revenge.' The plot revolves around a case of mistaken identity. The Actor Onoe Kikugoro V (1844-1903) is in the role of Osono, an elegant but fierce woman who disguises herself as an itinerant monk and goes on a journey to avenge her father Yoshioka Ichimisai. The Actor Nakamura Fukusuke IV (1865-1940) is in the role of Rokusuke, a virtuous young man and skilled martial artist who used to be a student of her father. Ichimisai had arranged his daughter Osono to marry his best Rokusuke, his best student, but was tragically murdered by Kyogoku no Takumi. This print depicts the scene when Osono mistakes Rokusuke as the family enemy and attacks him. Later it is revealed that Rokusuke was in fact the man she was betrothed to marry, and her niece and mother happened to be in his care. After Rokusuke realized their identities, he marries Osono and vows to carry out the family's vendetta.

(inv. no. 10-5805)

$1,250

Toyohara Kunichika

1835-1900

First Kyogen at the Haruki Theater: Nakamura Fukusuke as Takiyasha-hime
(Togo harukiza hatsu kyogen: Takiyashahime, Nakamura Fukusuke)

signed Oju (by order) Toyohara Kunichika hitsu with artist's red Toshidama seal, followed by the carver's seal Nisei Hori Ei (Watanabe Tsunejiro), and publisher's seal with address, Ningyo-cho Gusokuya han (Gusokuya Kahei), 1893

oban tate-e triptych 14 1/4 by 29 3/4 in., 36.2 by 75.5 cm

This print is not found in either Newland's 1999 monograph, Time Present, Time Past: Images of a Forgotten Master, or Imamura's comprehensive 2018 publication, Ukiyo-e (Kunichika).

(inv. no. 10-5732)

$1,200

Toyohara Kunichika

1835-1900

Biography of Shiobara Tasuke; actor Onoe Kikugoro V as Michizure Kohei in the Yokobori Village scene
(Shiobara tasuke ichidaiki: Michizure Kohei Onoe Kikugoro, Yokoborimura yamagoe tanimichi no basigned Hoshun Kunichika hitsu with Toshidama seal, date and publisher's information within the yellow cart)

signed Hoshun Kunichika hitsu with Toshidama seal, date and publisher's information within the yellow cartouche, Meiji nijugo-nen ichi-gatsu -nichi insatsu, do-nen do-getsu shuppan (printed on January of Meiji 26 [1892], published on the same year and same month), insatsu ken hakkosha Fukuda Kumajiro (printer and publisher Fukuda Kumajiro at Gusokuya), and carver's seal Horiyata (Watanabe Yataro), 1892

oban tate-e triptych 14 5/8 by 30 in., 37.3 by 76.2 cm

The drama Shiobara Tasuke Ichidaiki (Biography of Shiobara Tasuke) by playwright Sanyutei Encho (1839-1900) premiered at the Kabukiza in January 1892. The actor Onoe Kikugoro V (1844-1903) portrayed two roles, the eponymous lead, Shiobara Tasuke, as well as Michizure Kohei, as depicted here. The composition is divided by a large pink hikimaku (curtain), which folds open diagonally to reveal Kikugoro standing in the snowy landscape of the Yokobori village scene as Ao (Blue) the trusty horse belonging to the other role that he plays, Tasuke, approaches in front of the curtain from stage left. The circular cartouche in the upper right illustrates a seated figure identified as Sakuotoko (or Gensakusha) Encho (author Encho), who according to an article published contemporaneously in the magazine, Kabuki shinpo, purportedly gifted the curtain to the actor to commemorate the premiere.

References:
Kabuki shinpo, vol. 1322, ca. 1892
Japan Arts Council Cultural Digital Library, accession no. 09053

(inv. no. 10-5567)

$1,100

Utagawa Kunisada III (Kunimasa IV, Hosai)

1848-1920

Kabuki-za Program for March Performances: Actor Ichikawa Somegoro as Gosho no Goromaru & Actor Ichikawa Danjuro IV as Soga no Goro
(Kabukiza sangatsu kyogen: Gosho no Goromaru, Ichikawa Somegoro, Soga no Goro, Ichikawa Danjuro)

signed Hosai hitsu with artist's red Toshidama seal, in the lower left corner of the left sheet, the block carver's seal Nisei Watanabe Hori Ei (Watanabe Hriei II), publisher's seal Ningyocho Gusokuya Han, Fukuda Kumajiro publisher seal dated Meiji sanjusan-nen ni-gatsu (Meiji 33 [1901] February)

oban tate-e triptych 14 by 27 3/4 in., 35.5 by 70.5 cm

On the right sheet, actor Ichikawa Somegoro VII (Matsumoto Koshiro VII, 1870-1949) is in the role of Gosho no Goromaru. On the left sheet, actor Ichikawa Danjuro IX (1838-1903) is in the role of Soga no Goro.

This composition is based on an earlier triptych designed by Toyohara Kunichika (1835-1900) and produced by the same publisher, Fukuda Kumajiro, depicting the actors Ichikawa Yonezo as Gosho Goromaru and Actor Ichikawa Sadanji I as Soga no Goro Tokimune in a scene from the play Juni-toki kaikei Soga performed at the Kabukiza in May 1893. Apparently Kumajiro was able to economize and reuse most of the color blocks to depict different actors in the same roles eight years later by altering the faces slightly and replacing their names, the artist's signature cartouche, and the date in the publisher's cartouche.

Reference:
The British Museum, accession no. 1993,1109,0.1.JA (Kunichika version)

(inv. no. 10-5816)

$1,600