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C1852
Itabashi: Inuzuka Shino with Hikiroku, Samojirô, a…
Artist:
Utagawa Kuniyoshi (1797–1861) 2nd station called Itabashi, on the Kisokaido Road. Rare c.19th-century ōban tate-e colour woodblock print, signed Ichiyūsai Kuniyoshi ga within the red gourd-shaped cartouche at lower left, with the artist’s Yoshi kiri (paulownia flower) seal. The main scene depicts … Read Full Description
$A 950
S/N: JWB-TSNPS-002–303682
(C117)
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Details
Full Title:
Itabashi: Inuzuka Shino with Hikiroku, Samojirô, a…
Date:
C1852
Artist:
Condition:
In good condition with excellent original unfaded colouring.
Technique:
Colour woodblock
Image Size:
245mm
x 360mm
Paper Size:
245mm
x 360mm
AUTHENTICITY
Genuine antique
dated:
1852
Description:
Utagawa Kuniyoshi (1797–1861) 2nd station called Itabashi, on the Kisokaido Road.
Rare c.19th-century ōban tate-e colour woodblock print, signed Ichiyūsai Kuniyoshi ga within the red gourd-shaped cartouche at lower left, with the artist’s Yoshi kiri (paulownia flower) seal.
The main scene depicts Inudzuka Shino holding on to a tree in the water while Sabojir swims towards him while Totaro sits on a boat in the background. The insert at top left is of a river scene.
The Kisokaido Road was an inland route connecting Edo (present day Tokyo) with Kyoto. There were sixty-nine rest stops along the Kisokaido Road. In this series, Kuniyoshi designed one print for each of the sixty-nine rest stops plus prints for Edo and Kyoto. The main design of each print portrays a historical, legendary of fictional scene associated with the location. A small panel in each print shows a view of the station.
From the series : Kisokaidô rokujûku tsugi (The Sixty-nine Post Stations of the Kisokaido Road.)
Size: ōban tate-e
Date seal: 1852 (Kaei 5), 5th month
Publisher: Sumiyoshiya Masagorō
Block cutter: Horikô Sugawa Sennosuke
Censor seal: Hama, Magome, Rat 5
History of censor seals.
Restrictive edicts for print publishers by the shogunate were issued over many years:
1790 – The shogunate issued a new edict to control the print industry, it demanded that single-sheet prints with text were required to be checked by censors prior to publication.
1796 – No images that named and depicted unlicensed prostitutes (who worked outside the Yoshiwara district)
1800 – Large head portraits of women or pictures of luxurious dresses were unacceptable
1804 – Named warriors dating from after 1573 were regarded as inappropriate
1842 – Banned prints of actors and beauties and only allowed prints focusing on loyalty and filial piety.
1842 – Restricted the use of colour to no eight and the price to 16 mon (equal to a bowl of noodles)
1868 – Removal of the ban of depicting contemporary events
References:
Robinson, B.W. Kuniyoshi. The Warrior-Prints. 1982 Oxford:: S74.3.
Collections:
Museum of Fine Arts Boston: Accession Number 11.37061
V & A, Victoria & Albert Museum: Accession number E.10773-1886
Smithsonian Institution: Accession Number S2021.5.567
Robinson, B.W. Kuniyoshi. The Warrior-Prints. 1982 Oxford:: S74.3.
Collections:
Museum of Fine Arts Boston: Accession Number 11.37061
V & A, Victoria & Albert Museum: Accession number E.10773-1886
Smithsonian Institution: Accession Number S2021.5.567
Utagawa Kuniyoshi (1797 - 1861)
Born in Edo (present-day Tokyo) in 1797, Kuniyoshi was the son of a silk dyer, Yanagiya Kichiemon, and was given the childhood name Yoshisaburō. At the age of fourteen, he entered the Utagawa School of ukiyo-e under the direction of Utagawa Toyokuni I (1769–1825). It was Toyokuni who bestowed on him the name Utagawa Kuniyoshi, combining elements of “Toyokuni” and “Yoshisaburō.” Although Kuniyoshi is now universally known as Utagawa Kuniyoshi he also used the names: Ichiyûsai Kuniyoshi, Chô-ô-rô Kuniyoshi, Ikusa Kuniyoshi, and Saihôsa Kuniyoshi. Kuniyoshi completed his apprenticeship in 1814 and began his career as an independent artist, initially producing actor portraits in the manner of his teacher, though with limited success. His breakthrough came in 1827 with the publication of the first six designs from The 108 Heroes of the Suikoden, inspired by a c.14th Chinese novel recounting the exploits of a band of 108 righteous bandits and rebels. The series established Kuniyoshi’s reputation and remains among his most celebrated works. In 1843, he produced the famous triptych In Minamoto’s Residence the Earth Spider Appears as a Monster, a work widely understood as a satire of Mizuno Tadakuni, the shogun’s chief councillor and enforcer of strict censorship policies. Its immense popularity, evidenced by the multiple editions brought Kuniyoshi both acclaim and official censure, cementing his place as one of the most dynamic and politically engaged ukiyo-e masters of the c.19th.
