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Japanese Prints @ St. Kate's: Selections from the Archives & Special Collections at St. Catherine University Main Menu Japanese Prints at St. Kate's: Selections from the Special Collections at St. Catherine University Introduction Essay: Nostalgia as Remedy Essay: Unfolding the Tradition Artists in Our Collection Print Collection Timeline of Our Prints Exhibitions Biographies Acknowledgements

Nostalgic Femininity

31402

MIZUNO Toshikata 水野年方
1866–1908

First Warbler: Woman of the Manji Era [1658-1661]
初音万治頃婦人

From the series Thirty-six Beauties Compared
1893 (Meiji 26)
Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University Archives & Special Collections

Two girls observe the seasonal bloom of the plum blossom tree as they celebrate the transition between late winter and spring. One of the girls serenades the perched warbler outside her window with a traditional three-stringed instrument called a shamisen (三味線). Inspired by Fujiwara-no-Kintō’s poetry anthology titled Thirty-six Master Poets, Mizuno Toshikata created this and thirty-five other prints to encompass the customs, manners, and fashions from Japanese ancient times to the Meiji present.

UTAGAWA Kunisada II 歌川国定二代
Japanese, 1823–1880

Genji at Sugatami Bridge, 12th Month
十二ヶ月源氏の姿見

From the series Twelve Months of Genji
1867 (Keiō 3)
Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University Archives & Special Collections

A woman in a purple kimono crosses Sugatami bridge. She fights the wind and protects herself from the engulfing snow with merely an umbrella. Originally, this print was but one panel in a full triptych that illustrates figures from The Tale of Genji, one of the greatest Japanese literary works and the world’s first novel. The famous work was written by Heian-period lady-in-waiting Murasaki Shikibu in the twelfth century.

YŌSAI Nobukazu 楊斎延一
Japanese, 1874–1944

November
十一月

From the series Twelve Months in the Present Day
1891 (Meiji 24)
Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University Archives & Special Collections

A woman teaches the traditional art of a Japanese tea ceremony (sadō, 茶道) to her two young female apprentices against the backdrop of a garden. The blue water and sky contrast with the rich orange glow of Japanese maple trees (momiji, 紅葉). Rather unexpectedly, the top left vignette hints at the modern context of the print with the inclusion of gas lamps that were not introduced to Japan until 1872. The deep red color seen in the carpet is also indicative of new synthetic dyes imported from the West. Yōsai Nobukazu thus carefully blends traditional subject matter with new technologies of the modern age.

TOYOHARA Kunichika 豊原国周
Japanese, 1835–1900

Courtesan of Okamoto-ya, no. 7
岡本葉うた虎之巻七

From the series How to Master Marginal Songs
1862 (Bunkyū 2)
Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University Archives & Special Collections

A courtesan of House Okamoto leisurely tunes her shamisen. She is about to play a type of song called hauta (端うた), which was originally performed by blind and amateur musicians in mid-18th century Osaka. She warms her sake and wears loose robes, enjoying the winter landscape outside her window. This print highlights the relaxed atmosphere of the brothel.

YŌSHŪ Chikanobu 楊洲周延
Japanese, 1838–1912

Spring-Colored Garden in Snow
春色園の雪

1879 (Meiji 12)
Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University Archives & Special Collections

While this interior scene lights up in bright spring colors, snow blankets the outside garden and plum blossom tree in late winter. Women engage in music and merrymaking entirely in feminine company. The screen in the background features pheasants amid peonies. Peonies—or the “king of flowers,” as they were known in East Asia—are associated with spring. They symbolize love and feminine beauty, in addition to wealth and rank. Here, the flower is repeated across the folding screen, several women’s kimonos, and the floral pattern of the floor beneath them. The abundant use of a deep synthetic red is a hallmark of this print and showcases new modern technologies transforming printmaking in the late 19th century.

UTAGAWA Kunisada I 歌川国定
Japanese, 1786–1864

Three Kinds of Drunks in the Modern World
当世三人上戸

1853 (Kaei 6)
Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University Archives & Special Collections

Three women imbibe and enjoy each other's company under the plum blossoms in late winter. The bottle of sake is warmed in a pot hanging from a tree over a fire. Utagawa’s inscriptions describe the various reactions people have when intoxicated. They are, from right to left: the sad drunk (泣き上戸), weeping into her sleeve; the angry drunk (怒り上戸), rolling her sleeve in anticipation; and the merry drunk (笑い上戸), giggling at the others. This humorous tale of the dangers and pleasures of alcohol touches on universal qualities of intoxication in the modern world.

MIYAGAWA Shuntei 宮川春汀

Japanese, 1873–1914

First Month: Oibane (Battledore & Shuttlecock)

其一追羽子

From the series Twelve Months of Beauties

1898 (Meiji 31)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

In his series Twelve Months of Beauties, Miyagawa Shuntei showcases the month of January by illustrating a traditional New Year’s game often played by women. The game depicted here, called hanetsuki (羽根突き), is similar to badminton in that it is played with a wooden paddle (hagoita, 羽子板) and a vibrantly colored shuttlecock. The game can be played in two fashions: by one person attempting to keep the shuttlecock aloft as long as possible, or by two people batting it back and forth. In this scene, the woman in the purple kimono failed to keep the shuttlecock aloft. As a rule, her defeat entails receiving a paintbrush mark in India ink on her face. The bystanders on the right giggle at the scenario as the loser is chased by the brush wielder against the backdrop of a barren tree and a tangled kite.

YŌSHŪ Chikanobu 楊洲周延

Japanese, 1838–1912

Snow in the Park

公園之雪

From the series Customs and Manners of Old Japan (Yamato)

1892 (Meiji 25)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

A group of women enjoys the beauty of freshly laid snow in a temple garden. This print showcases women’s fashion in the Edo period with rich details such as the winter hood (okoso zukin, 御高祖頭巾) and striking, bold patterns such as the polka dots on the left and a purple line-wave pattern on the right. A woman bends down to knock the snow from her sandals (geta, 下駄) and delicately holds the hem of her sleeve in her mouth to prevent it from touching the ground. The intense, red structures of a Buddhist temple visually punctuate the snowy landscape. A five-storied pagoda rises in the background of the right panel.

YŌSHŪ Chikanobu 楊洲周延

Japanese, 1838–1912

Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon

全盛廓の黄金撒キ玉菊紀の国屋文左衛門

1886 (Meiji 19)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

In a lively winter scene, Kinokuniya Bunzaemon, a successful merchant of the Edo period, scatters money upon the floor. Women and children tumble about the brothel trying to grab their share as Courtesan Tamagiku sits off to the right with an amused expression. Bystanders, intrigued by the commotion, look on in curiosity. A grouping of stacked rice cakes (kagami mochi, 鏡餅), topped with a lobster decoration behind Tamagiku, hint at the coming of a New Year.

YŌSHŪ Chikanobu 楊洲周延

Japanese, 1838–1912

Depiction of an Official Hearing at Fukiage

於吹上公事上聴ノ図

From the series Chiyoda Outer Palace (Chiyoda Central Office)

1897 (Meiji 30)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

Two high-ranking shogunal concubines present a case to an official and his retainers at Fukiage, a manor in the private sector of Edo Castle. The beauty in the center dons an elegantly patterned red outer kimono with Japanese cranes dancing above crashing waves. Her black obi (帯), a broad sash worn around the waist of a Japanese kimono, features a dynamic golden dragon. She kneels down on a bamboo tatami mat atop a rocky surface before the male officials on the veranda. Yōshū Chikanobu shows off his attention to fine detail by delicately embossing the white crane and burnishing the black parts of the obi. The print offers a behind-the-scenes look at courtly life and politics prior to Japan’s modernization.

YŌSHŪ Chikanobu 楊洲周延

Japanese,1838–1912

Cherry Blossom Viewing

御花見

From the series Customs of the Inner Palace of Chiyoda Castle

1894 (Meiji 27)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

With Mt. Fuji looming in the distant background, sixteen women of the Tokugawa court enjoy cherry blossoms (sakura, 桜) on a spring day. Their court affiliation is apparent through the clan seal (mon, 紋) printed on their umbrellas in the pattern of three hollyhock leaves. On the left, women can be seen giggling and clapping as they play a game of tag (onigokko, 鬼ごっこ). On the right, three women walk and converse under a shared umbrella beneath the pale pink blossoms of flowers in full bloom.

YŌSHŪ Chikanobu 楊洲周延

Japanese, 1838–1912

Parading of the Mochi (Rice Cakes)

鏡餅ひき

From the series Customs of the Inner Palace of Chiyoda Castle

1895 (Meiji 28)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

A New Year’s festival procession unfolds before five court ladies who watch excitedly as a float of giant stacked rice cakes (kagami mochi, 鏡餅) passes in front of them. Kagami mochi is a popular New Year’s decoration that symbolizes the coming and going of years. The orange on top represents the continuation of a family from generation to generation. Two generations of court ladies observe the parade dancers, who are adorned with auspicious New Year’s symbols, such as a lobster hat and a mythical tengu mask. The three observers on the right are the oldest of the five women, while the two girls in the center are between five and twelve years of age. The two girls wear their hair in a chigo-mage (稚児髷) style, a youthful style based on what boys wore in the 16th century Momoyama and Azuchi eras.

Contents of this tag:

Depiction of an Official Hearing at Fukiage, B Part of a triptych (center). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.
Cherry Blossom Viewing, A Part of a triptych (left). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
Cherry Blossom Viewing, B Part of a triptych (center). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
Spring-Colored Garden in Snow, A Part of a triptych (left). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)
Cherry Blossom Viewing, C Part of a triptych (right). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
Parading of the Mochi (Rice Cakes), B Part of a triptych (center). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
Depiction of an Official Hearing at Fukiage, C Part of a triptych (right). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.
Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, A Part of a triptych (left). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.
Spring-Colored Garden in Snow, B Part of a triptych (middle). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)
Parading of the Mochi (Rice Cakes), C Part of a triptych (right). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
Snow in the Park, B Part of a triptych (center). Missing left panel. Features women walking in a park in the snow, against the backdrop of a red Buddhist pagoda and temple complex. One of the women in the center panel is knocking the snow out of her geta (shoes). This triptych showcases women's winter fashion. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with toshidama seal. Missing left panel which would likely contain publisher/carver information.
Snow in the Park, C Part of a triptych (right). Missing left panel. Features women walking in a park in the snow, against the backdrop of a red Buddhist pagoda and temple complex. One of the women in the center panel is knocking the snow out of her geta (shoes). This triptych showcases women's winter fashion. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with toshidama seal. Missing left panel which would likely contain publisher/carver information.
Parading of the Mochi (Rice Cakes), A Part of a triptych (left). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
Three Kinds of Drunks in the Modern World, A Part of a triptych (left). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)
Three Kinds of Drunks in the Modern World, B Part of a triptych (center). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)
First Warbler: Woman of the Manji Era [1658-1661] Two girls, one with a shamisen, looking outside a circular window at a green bird (a warbler) perched on a plum blossom tree. Next to them is an octagonal lacquer box with gold feet containing what looks like rice and food for the New Year (osechi ryōri). From the print series 36 Beauties Compared that visually explores a famous anthology of waka poetry titled "Thirty-six Master Poets" compiled by Fujiwara-no-Kintō. The series addresses 36 beauties from ancient times to the Era era and showcases the customs, manners, and fashions of each period. Additional notes: Signed: Toshikata (年方); Title also frequently transcribed as Thirty-six Elegant Selections (Sanjūroku kasen). This is No. 22 in the series.
Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, B Part of a triptych (middle). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.
12 Months in the Present Day, November
Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, C Part of a triptych (right). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.
First Month: Oibane (Battledore & Shuttlecock), B Part of a triptych (center). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.
Depiction of an Official Hearing at Fukiage, A Part of a triptych (left). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.
Spring-Colored Garden in Snow, C Part of a triptych (right). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)
Courtesan of Okamoto-ya, no. 7 A woman is playing marginal songs (hauta 端うた) on the shamisen against indoors against a winter landscape seen through a circular window. These songs, performed by blind and amateur musicians, were popular in Osaka in the mid-18th century. It appears as if she is tuning the shamisen with a book on her lap, while warming sake. Her hair is slightly dissheveled and kimono is worn loose, indicating we are looking at a courtesan. The title tells us that she is of House Okamoto (brothel). Additional notes: Signed Kunichika-ga (国周画); Publisher's seal: Etsuka (越嘉); Blockcutter's mark: Hori Tashichi (彫多七)
First Month: Oibane (Battledore & Shuttlecock), A Part of a triptych (left). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.
Three Kinds of Drunks in the Modern World, C Part of a triptych (right). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)
First Month: Oibane (Battledore & Shuttlecock), C Part of a triptych (right). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.
Genji at Sugatami Bridge, 12th month Part of a triptych (right). A snow scene featuring Prince Genji and attendants on Sugatami Bridge from a set of twelve months. Right panel shows a woman crossing the bridge with a snow-covered umbrella. Our collection is missing the left and center panels of this triptych. Additional notes: Publisher’s seal: Yamajin (山甚); This version is missing the black gofun (paint splatter) on the surface of the print as seen in other editions. Our collection is missing the left and center panels of this triptych.

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First Warbler: Woman of the Manji Era [1658-1661] Two girls, one with a shamisen, looking outside a circular window at a green bird (a warbler) perched on a plum blossom tree. Next to them is an octagonal lacquer box with gold feet containing what looks like rice and food for the New Year (osechi ryōri). From the print series 36 Beauties Compared that visually explores a famous anthology of waka poetry titled "Thirty-six Master Poets" compiled by Fujiwara-no-Kintō. The series addresses 36 beauties from ancient times to the Era era and showcases the customs, manners, and fashions of each period. Additional notes: Signed: Toshikata (年方); Title also frequently transcribed as Thirty-six Elegant Selections (Sanjūroku kasen). This is No. 22 in the series.
12 Months in the Present Day, November
Courtesan of Okamoto-ya, no. 7 A woman is playing marginal songs (hauta 端うた) on the shamisen against indoors against a winter landscape seen through a circular window. These songs, performed by blind and amateur musicians, were popular in Osaka in the mid-18th century. It appears as if she is tuning the shamisen with a book on her lap, while warming sake. Her hair is slightly dissheveled and kimono is worn loose, indicating we are looking at a courtesan. The title tells us that she is of House Okamoto (brothel). Additional notes: Signed Kunichika-ga (国周画); Publisher's seal: Etsuka (越嘉); Blockcutter's mark: Hori Tashichi (彫多七)
Genji at Sugatami Bridge, 12th month Part of a triptych (right). A snow scene featuring Prince Genji and attendants on Sugatami Bridge from a set of twelve months. Right panel shows a woman crossing the bridge with a snow-covered umbrella. Our collection is missing the left and center panels of this triptych. Additional notes: Publisher’s seal: Yamajin (山甚); This version is missing the black gofun (paint splatter) on the surface of the print as seen in other editions. Our collection is missing the left and center panels of this triptych.
Nostalgic Femininity
Spring-Colored Garden in Snow Triptych