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| AcNo. CoGNo. JA13104 AlGNo. JA13104 |
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Artist:
豊国〈3〉
(Toyokuni (3))
Signature:
一雄斎国貞画 (芳桐印) / Ichiyûsai Kunisada ga, and paulonia´s seal (kiri)
Search artist
Block Varver, Printer: 彫工巳の, Chōkōmino Search person Person in picture: 海老名軍蔵 [4]大谷友右衛門 八百や娘お七 [1]坂東しうか 五尺染五郎 [7]市川高麗蔵 / Otani Tomoemon IV as Ebina Gunzo; Bando Shiuka I asYaoya Musume Oshichi; and Ichikawa Komazō VII as Goshaku Somegoro Search person |
| Size & Tech.: 大判/錦絵 / ôban nishikie Size(cm): 35,7 x 24,4 Continued direction: 竪 Position: 001 of 001 th 03 of 02 Pages |
| Col Overlap: 1 All Overlap: 1 |
| Publisher's mark: Publisher's note： シ夂賣 / shita uri |
| Publisher seal1 Publisher code1 Publisher name1: 越村屋平助 Koshimuraya Heisuke |
| Censor's Seal: 衣笠、村田, Kinugasa, Murata Date of publication: 1851 ()・ Place of publication: 江戸 / Edo Same time |
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Title:
「海老名軍蔵」 「八百や娘お七」「五尺染五郎」
Ebina Gunzo; Yaoya Musume Oshichi; Goshaku Somegoro Ebina Gunzo; Yaoya Musume Oshichi; and Goshaku Somegoro |
| 1851・05 (09) Area: 江戸・ 市村 興行年表 |
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Performance Title:
恋模様振袖妹背
こいもようふりそでめおと
Play Title: 恋模様振袖妹背 こいもようふりそでめおと Act and Scene: 鈴ケ森の場 / Suzugamori´s place |
| Cast: 海老名軍蔵 [4]大谷友右衛門 八百や娘お七 [1]坂東しうか 五尺染五郎 [7]市川高麗蔵 / Otani Tomoemon IV as Ebina Gunzo; Bando Shiuka I asYaoya Musume Oshichi; and Ichikawa Komazō VII as Goshaku Somegoro ActorsDB |
| Group Description:The shita-uri seal (シ夂賣, lit. low sale seal) appears in actor prints from 1850/1 to 1853/3. The purpose remains unclear. The position of the ‘shita-uri’ seal is mostly next to the signature or the publisher seal. The actors of the woodblock triptych print are: Arashi Kichisaburo as Nita Shiro, seated with an attendant kneeling alongside wearing robes patterned with scenes of hell (right), Otani Tomoemon as Gunsuke seated on a stool, with Bando Shuka as O-Shichi, and an unidentified actor to their right (centre), and Ichikawa Danjuro VIII as Kichisaburo, with Ichikawa Kuzo as the maid O-Sugi, kneeling. This seal has been documented between II/1850 and II/1853. It was probably used for some years after the relaxation of the severe Tenpô Reforms (1842-47) that banned prints of theatrical subjects. Kabuki depiction had progressed from historical scenes with actors as heroes to flagrant depictions of kabuki, marked only with the "shita-uri" seal that meant such prints were not to be displayed openly in shops, where they might receive the notice of an official (i.e. low sale, or under the counter). Andreas Marks however, mentions that the term ‘shita-uri’ was in use in other business as well, for example in the fish wholesale where it meant a “negotiated transaction” between two parties. Marks raises the question if this seal was not a new constraint to the market but rather a way of liberalizing it by allowing publishers, with a restricted and limited number of prints, to get away from fixed prices and be more flexible in their pricing. (Andreas Marks, Publishers of Japanese Woodblock Prints: A Compendium, Hotei, 2011, p. 479-480). |
| Genre: 役者絵, yakushae Theme: |
| Collection:The Complutense University of Madrid (UCM) Object Genre: 浮世絵 |
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