KUNISADA • Umegawa & Chūbei 梅川忠兵衛 • Ιαπωνική ξυλογραφία • Ukiyo-e - Ιαπωνία - Edo Period (1600-1868)






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Πρωτότυπη ιαπωνική λιθογραφία ξύλου από την περίοδο Edo του Utagawy Kunisada (Toyokuni III), διπύλη Ōban Tate-e από καγκούμπο Kabuki Umegawa–Chūbei, κάθε φύλλο περίπου 36 × 24 cm, ζωντανά χρώματα και γενικά良 κατάσταση.
Περιγραφή από τον πωλητή
Artist: Utagawa Kunisada (Toyokuni III, 1786–1865)
Subject: Kabuki actor print (yakusha-e) from the celebrated Umegawa–Chūbei drama. The role cartouches name Kameya Chūbei (亀屋忠兵衛), Tsuchiya Jiemon (槌屋治右衛門), and Umegawa of the Tsuchiya house (槌屋の梅川)
Date: Edo period, mid-1850s (round aratame censor seal with adjacent date seal)
Format: Ōban tate-e diptych, two separate sheets each approx. 36*24cm
Technique: Nishiki-e (full-colour woodblock)
Signature: Toyokuni ga (豊国画), in toshidama cartouche on each sheet
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Condition: Excellent colour and impression — bright, fresh and well-registered. The diptych was professionally removed from an Edo-period album: the original album folds (one horizontal, one vertical) have been flattened and the sheets stabilised, so the paper is now firm and supple. Good condition overall. Please refer to the images for full condition detail.
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About the print
A handsome two-sheet interior from one of kabuki's most beloved tragedies, the story of the courier Chūbei and the courtesan Umegawa — adapted for the kabuki stage as Koibikyaku Yamato Ōrai from Chikamatsu's puppet play Meido no Hikyaku (The Courier for Hell). Chūbei, a farmer's son working for an Osaka courier firm, falls in love with the beautiful Umegawa of the Tsuchiya house. Unable to raise the money to redeem her from service, he breaks the seal on gold entrusted to his firm — a crime punishable by death — and the doomed lovers flee together rather than be parted. The right sheet is given entirely to Umegawa, seated in a deep blue plum-blossom kimono against a screen of flowering autumn grasses; the left sheet pairs the two men of the drama, one holding the checked money pouch at the heart of the story. One continuous stage set of shōji and painted screens runs across both sheets — a fine example of Kunisada's mature theatrical interiors at the height of his production.
Ιστορία πωλητή
Artist: Utagawa Kunisada (Toyokuni III, 1786–1865)
Subject: Kabuki actor print (yakusha-e) from the celebrated Umegawa–Chūbei drama. The role cartouches name Kameya Chūbei (亀屋忠兵衛), Tsuchiya Jiemon (槌屋治右衛門), and Umegawa of the Tsuchiya house (槌屋の梅川)
Date: Edo period, mid-1850s (round aratame censor seal with adjacent date seal)
Format: Ōban tate-e diptych, two separate sheets each approx. 36*24cm
Technique: Nishiki-e (full-colour woodblock)
Signature: Toyokuni ga (豊国画), in toshidama cartouche on each sheet
----------------------------------------------------------------------
Condition: Excellent colour and impression — bright, fresh and well-registered. The diptych was professionally removed from an Edo-period album: the original album folds (one horizontal, one vertical) have been flattened and the sheets stabilised, so the paper is now firm and supple. Good condition overall. Please refer to the images for full condition detail.
----------------------------------------------------------------------
About the print
A handsome two-sheet interior from one of kabuki's most beloved tragedies, the story of the courier Chūbei and the courtesan Umegawa — adapted for the kabuki stage as Koibikyaku Yamato Ōrai from Chikamatsu's puppet play Meido no Hikyaku (The Courier for Hell). Chūbei, a farmer's son working for an Osaka courier firm, falls in love with the beautiful Umegawa of the Tsuchiya house. Unable to raise the money to redeem her from service, he breaks the seal on gold entrusted to his firm — a crime punishable by death — and the doomed lovers flee together rather than be parted. The right sheet is given entirely to Umegawa, seated in a deep blue plum-blossom kimono against a screen of flowering autumn grasses; the left sheet pairs the two men of the drama, one holding the checked money pouch at the heart of the story. One continuous stage set of shōji and painted screens runs across both sheets — a fine example of Kunisada's mature theatrical interiors at the height of his production.
