Collection database

Various groups of travelers pass each other in the Ōi River as they journey on the Tōkaidō road between Edo and the Kamigata region of Kyoto and Osaka. On the right is the troupe of Seki Sanjūrō II (1786–1839). Behind him is a wooden sign that reads “Seki Sanjūrō’s luggage” (関三十郎荷物). They are on their way to Osaka (Naniwa), a city with a vibrant Kabuki theatre scene and Sanjūrō’s birthplace. During his career his was mostly active in Edo but sometimes performed in Osaka as well. In the centre sheet is the actor Asao Tomozō (1797–1851, also known as Yoroku), another Osaka-born actor who performed in both cities. Both actors traveled to Osaka in the autumn of 1826 to perform in the play Genpei no Nunobiki no Taki (Minamoto and Taira, and the Nunobiki Waterfalls) in the 12^th month of 1826, which allows us to date this print. Coming from the opposite direction, in the left sheet, are the actors Onoe Kikugorō III (1784–1849, also known as Ōkawa Hachizō) and his son, Onoe Matsusuke III (1805–1851), who travelled from Osaka to Edo around the same time (he also has a luggage sign). Kunisada jokingly suggests with this print that the actor troupes crossed paths while making their way across the Ōi River. Special carrier services had to be hired to be able to cross because there was no bridge – frequent flooding prevented a bridge from being built. The triptych might have also served as an advertisement for an upcoming play: in 1827 Kikugorō III played the role of Nippon Daemon in the play Hitori tabi gojūsan tsugi (A Lone Journey along the 53 Stations), which contains a reenactment of an Ōi River crossing. To add liveliness to this scene, Kunisada added two ‘castle maids’ (jochū), female servants in wealthy samurai households, who are on a pilgrimage to the great shrines of Ise (Ise mairi jochū ren 伊勢参り女中蓮).

This print is from a set of three portraits of actors paired with flowers. Here Kawarasaki Gonjūrō I is paired with peony flowers. The other two prints are of Nakamura Fusuke I with a plum blossom and Sawamura Tanosuke III with chrysanthemums. The prints are characterized by poems that relate to the paired flower, inscribed within cartouches in the shape of the actors’ personal crests. Gonjūrō I is not portraying any particular role here, but he is depicted wearing casual clothing while holding a tobacco pipe. A silhouette of a stone lantern (ishi-dōro) can be seen on his right side. The dark leaves of the peony are printed with a shiny black pigment, and Gonjūrō I’s towel is printed with a slight relief pattern (karazuri).

This multiple-sheet design by Kunisada portrays a Sukeroku play. First performed in the early 18^th century, many adaptations of the vendetta tale have appeared on the stage since. The story always centers on Sukeroku, a young hotheaded samurai who searches the Yoshiwara brothel district for his father’s killer, the bearded villain Ikyū. At the same time, the courtesan Agemaki is caught up in a love triangle with the two men. In 1822 in the Kawarasaki Theatre in Edo a version was performed called Sukeroku sakura no futaeobi (Sukeroku, Two Cherry Blossom Sashes), with the kabuki superstar Matsumoto Kōshirō V (1764–1838) in the lead role of Sukeroku. Kōshirō V was actually more famous for his depiction of the story’s villain, Ikyū. However, on this occasion that role belonged to Nakamura Daikichi (1773–1823), in one of his final performances.

Left two sheets of a triptych. The missing sheet depicts the actor Nakamura Shikan II in the role of Tadabumi. The play, Kin no zai saru shimadairi, was performed in the Nakamura Theatre in the eleventh month of 1829.

Left sheet of a diptych. The missing half depicts Seki Sanjūrō II as Kamiya Niemon.

Each of the prints from this set portrays a famous actor paired with a location near Ryōgoku Bridge and carries a poem composed and signed by the depicted actor. This print shows Ichikawa Kuzō II (1800–1871). The location in the fan-shaped inset is at the eastern end of the bridge, a 'place of ablution' (koriba) where people ritually purified themselves in the Sumida River.

Each of the prints from this set portrays a famous actor paired with a location near Ryōgoku Bridge and carries a poem composed and signed by the depicted actor. Here Ichikawa Danjūrō VII, who was the most prominent actor in the world of kabuki, is paired with the splendid bridge itself.

Hirokōji (‘Wide Lane’) was a spacious terrain at the western end of the Ryōgoku Bridge, of which the purpose was to stop the spread of potential fires. It was also a lively entertainment district with numerous market stalls, small theatres, and teahouses, one of which is illustrated here together with Ichimura Uzaemon XII (1812–1851).

Each of the prints from this set portrays a famous actor paired with a location near Ryōgoku Bridge and carries a poem composed and signed by the depicted actor. This print shows Onoe Kikugorō III (1784–1849) and pairs him with the Ekō Temple near the eastern bank, on the particularly auspicious day that the temple allows the public to visit and see the sacred icon it houses (kaichō). The Ekō Temple was also known as a popular venue for sumo wrestling.

This print pairs the actor Sawamura Gennosuke II (1802–1853) with Yanagibashi. The latter was an important entertainment district just northwest of the western end of the Ryōgoku Bridge. Besides being home to various teahouses and restaurants, it was also known for its boathouses where clients could board rental pleasure boats that took them upriver to the Yoshiwara brothel district.

This series depicts actors on an outing to watch the fireflies at one of the many rivers in Edo. To combat the heat, they are donning light summer robes (yukata) and are equipped with uchiwa fans to cool themselves and towels (tenugui) to wipe the sweat from their necks. At least nine prints from this set are known. Edokko 江戸ッ子 (‘Child of Edo’) in the series title is what typical inhabitants of Edo liked to call themselves; an Edoite through and through, born and raised.

This series depicts actors on an outing to watch the fireflies at one of the many rivers in Edo. To combat the heat, they are donning light summer robes (yukata) and are equipped with uchiwa fans to cool themselves and towels (tenugui) to wipe the sweat from their necks. At least nine prints from this set are known. Edokko 江戸ッ子 (‘Child of Edo’) in the series title is what typical inhabitants of Edo liked to call themselves; an Edoite through and through, born and raised.

This series depicts actors on an outing to watch the fireflies at one of the many rivers in Edo. To combat the heat, they are donning light summer robes (yukata) and are equipped with uchiwa fans to cool themselves and towels (tenugui) to wipe the sweat from their necks. At least nine prints from this set are known. Edokko 江戸ッ子 (‘Child of Edo’) in the series title is what typical inhabitants of Edo liked to call themselves; an Edoite through and through, born and raised.

De inscription contains the dialogue between the two actors from this particular scene. An alternate edition exists with the publisher seal of Emiya Kichiemon (firm Rankōdō).

The inscription above the actors contains the dialogue of this particular scene. A reissue of this same design exists, also published by Kawaguchiya Shōzō, in which the two actors are replaced by Bandō Mitsugorō (Iwafuji) and Nakamura Shikan (Ohatsu). They played the roles some ten years later in the play Sakura-doki onna gyōretsu. In this later edition the faces and names, including those given in the dialogue, are changed. Remarkably, in this later edition Kunisada's signature is replaced by that of his fellow Utagawa school member Kuniyoshi (1798-1861). Kuniyoshi also created a triptych of this play in 1832 for Kawaguchiya's publishing firm Shōeidō.

From the series The Twelve Months (Jūni tsuki no uchi 十二月の内)

Reissue after publisher Kiya Sōjirō bought the printing blocks from Enshūya Hikobei.

Reissue after publisher Kiya Sōjirō bought the printing blocks from Enshūya Hikobei.

Left sheet of a triptych. In the play Asagao nikki the handsome young man Miyagi Asojirō ventures to the Uji River to watch the fireflies in the evening cool. There he encounters Miyuki, the daughter of an influential lord, and it is love at first sight. He write a poem on her fan about asagao (morning glory flowers). Afterwards, fate separates them for a long time, but eventually they meet again in the port of Akashi, when Asojirō follows the sound of a voice singing his asagao poem. Miyuki decides to follow her heart and leave her father's side, but just as she is about to jump from her boat unto Asojirō's, a strong wind drifts them apart. Miyuki only manages to throw her fan with Asojirō's poem towards him before they are separated forever.

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

(lower margin)

下京第三組玉藏町百三十一番地　筆者　幸野豊 Shimogyō dai-3-gumi Tamakurachō 131 banchi hissha Kōno Toyo (Bairei’s address in Kyoto, author: Kōno Toyo)

東京日本橋通一丁目十九番地　出版人　大倉孫兵衛 Tōkyō Nihonbashidōri 1-chōme 19 banchi shuppanjin Ōkura Magobei (publisher’s address in Tokyo, publisher: Ōkura Magobei)

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

From a series of 50 prints that depict and describe flowers and birds in encyclopedic style, divided in the four seasons. The prints were also bound and sold in two sets; one for autumn and winter and one for spring and summer. The series was later reissued without the decorative frame and descriptive texts. This particular set was treated with the technique for making crêpe paper. The process of creating crêpe prints (chirimen) goes as follows: after printing, the sheet is moistened and, together with other sheets, wrapped around a cilinder, after which the roll is compressed. This is repeated from various angles, causing the print to reduce in size and obtains a wrinkly texture. Chirimen were especially popular among the French public in the late 19th century and were exported in great numbers around that time.

Right sheet of a triptych. From a series of triptychs that pairs chapters from the popular novel Nise Murasaki inaka Genji (Fake Murasaki, Countryside Genji) with the five big festivals of the year. This work depicts Boy's Day, celebrated in the fifth month (satsuki).

The poem was composed by Adachi Chiyono (also known as the nun Mugai Nyodai, c. 1223–1298), who reached sudden enlightenment when her bucket broke: she realized that just like the moon in reflected in the water, her own outward appearance too is merely an illusion, and must look within for a true understanding of the self.

The print makes a pun on the name of the play, Sakura sōshi gonichi no bundan. The play takes its name after the protagonist, based on the historical figure Kiuchi Sōgo (1605–1653), who was a farmer in the Sakura Domain (present-day Chiba Prefecture). In this mitate (playful comparison), Yoshitoshi pairs Ichikawa Kodanji IV (who used the poetry name Beishō) in his role of Asakura Tōgo, a pseudonym for Sōgo, with the plant depicted in the background. This is Siebold's primrose (Primula sieboldii), which in Japanese is called sakurasō (cherry blossom weed) for its likeliness to cherry blossom when in bloom.

Kodanji performed the role in the Morita theatre in the eighth month of 1861, the same time this print was issued. Publishing kabuki prints on the occasion of new performances was a common marketing strategy.

From a set of at least 15 historical subjects in the vertical diptych format. This format is sometimes referred to as kakemono-e (hanging scroll pictures), because of its elongated shape that is suitable for hanging scroll mountings.

Shunkan (c. 1143–1179) was a Buddhist monk who was exiled along with his co-conspirators from the imperial capital of Kyoto to Kikai Island after a failed attempt to overthrow the Grand Minister of the State (daijō-daijin) Taira no Kiyomori (1118–1181). Shunkan is mentioned in the Tale of the Heike and the Kikai Island mentioned in the epic is presumably the island with the phonetically same name near present day Okinawa. When his fellow exiles were suddenly pardoned and allowed to return to Kyoto, Shunkan was left alone on the island and fell into despair. Shunkan was a recurring figure in the popular kabuki theatre.

From a set of at least 15 historical subjects in the vertical diptych format. This format is sometimes referred to as kakemono-e (hanging scroll pictures), because of its elongated shape that is suitable for hanging scroll mountings.

There are several version of the story that was the basis for this gruesome print, of which the most well-known goes as follows. A wet nurse who cares for a young, sickly princess is order to search for a remedy for the young child, which requires the liver of a newborn baby. Abandoning her own daughter, she ventures out seeking a willing donor. After months of searching without success, the desperate wet nurse decides to lie in waiting in an old abandoned house on the Adachi Fields in Mutsu Province. It was common for pregnant women to return to their hometown for the birth of their child, and eventually she sees a very young pregnant woman traveling on the path near the house. The wet nurse ambushes her and kills her, only to realise it was her own daught. Her terrible deed drives her mad and she transforms into an onibaba (old demon woman) who, full of rage and sorrow, haunts the Adachi Fields, in search of new victims.

Posthumous edition issued by Daikokuya (Matsuki) Heikichi. The original series appeared first in 1881, and was finished in 1887, by publisher Tsuda Genshichi. In the early edition by Genshichi the title cartouche is red, the signature is framed, and the background has various colours.

Stories of Modern Chivalrous Men is a series of 36 designs Yoshitoshi made early on in his career. The set revolves around two rival gambling gangs that clashed in a bloody turf war during the 1840s, in around the area of the Tone River bedding in present-day northeastern Chiba Prefecture. The two gangleaders (oyabun) were Iioka no Sukegorō (1792–1859) and Sasagawa no Shigezō (1810–1847), their names derived from their turfs around Iioka Beach and the Sasa Riverbed. In the texts written by light novel author Sansantei Arindō (real name Jōno Saigiku, 1832–1902) the two rivals were renamed Sutegorō and Higezō to avoid censorship. Their feud continued for a couple of years until Sukegorō had Shigezō assassinated in 1847, in such an underhanded way that even some of his underlings (kobun) disliked it. A few of Shigezō's henchmen, including his successor Seiriki no Tomigorō, wanted to retaliate and attacked Sukegorō but failed, and Tomigorō committed suicide when he was surrounded by Sukegorō's men. The conflict seems to have stopped afterwards. The turf war was on such a large scale that it caught the attention of the Edo populace and reminded them of the large-scale samurai battles of old. It was soon heralded by professional storyteller (kōdanshi) Takarai Kinryō I as the "Suikoden of the Tenpō Era", referring to the extremely popular novel Suikoden (Water Margin) about 108 heroic bandits who defied the corrupt authorities. The Japanese of the Edo period loved rough strongmen with a disregard for authority, and later a kabuki play based on these events was performed in Edo, turning the gambling kingpins and their followers into exaggeratedly strong, rough, yet noble characters. Yoshitoshi followed suit, and depicts them displaying superhuman feats of strength, with the texts emphasizing their chivalry and kind-heartedness.

The text explains how, as a young man, Sukegorō made a name for himself by stopping Ikeda Kaku, a notorious rōnin, from terrorizing a small town during a drunken rampage. The image shows how he subdues an armed Kaku, a renowned swordsman, using his bare hands. The text also highlights his personal traits: level-headed, reserved, and calculated, Sukegorō values wealth and power above all and has little regard for human life (“has more disdain for human life than for a goose’s feather” inochi o gamō yori mo karonzu 命を鵞毛よりもかろんず). It also lists his most important followers: Sunosaki Matakichi 洲の崎亦吉, Niimachi Kanta 新待勘太, Oshita (Oshita no Rishichi) 尾下 ([sic] 小下), Kirishima (Kirishima Matsugorō) 桐島, and Sageo (Sageo no Isuke) 下緒. Lastly, it briefly describes the conflict between Sukegorō and his rival Sasagawa no Higezō (Shigezō), and ends with saying that he scaped death three times and died peacefully from old age.

Stories of Modern Chivalrous Men is a series of 36 designs Yoshitoshi made early on in his career. The set revolves around two rival gambling gangs that clashed in a bloody turf war during the 1840s, in around the area of the Tone River bedding in present-day northeastern Chiba Prefecture. The two gangleaders (oyabun) were Iioka no Sukegorō (1792–1859) and Sasagawa no Shigezō (1810–1847), their names derived from their turfs around Iioka Beach and the Sasa Riverbed. In the texts written by light novel author Sansantei Arindō (real name Jōno Saigiku, 1832–1902) the two rivals were renamed Sutegorō and Higezō to avoid censorship. Their feud continued for a couple of years until Sukegorō had Shigezō assassinated in 1847, in such an underhanded way that even some of his underlings (kobun) disliked it. A few of Shigezō's henchmen, including his successor Seiriki no Tomigorō, wanted to retaliate and attacked Sukegorō but failed, and Tomigorō committed suicide when he was surrounded by Sukegorō's men. The conflict seems to have stopped afterwards. The turf war was on such a large scale that it caught the attention of the Edo populace and reminded them of the large-scale samurai battles of old. It was soon heralded by professional storyteller (kōdanshi) Takarai Kinryō I as the "Suikoden of the Tenpō Era", referring to the extremely popular novel Suikoden (Water Margin) about 108 heroic bandits who defied the corrupt authorities. The Japanese of the Edo period loved rough strongmen with a disregard for authority, and later a kabuki play based on these events was performed in Edo, turning the gambling kingpins and their followers into exaggeratedly strong, rough, yet noble characters. Yoshitoshi followed suit, and depicts them displaying superhuman feats of strength, with the texts emphasizing their chivalry and kind-heartedness.

Here Sasagawa Shigezō (also known as Iwase Shigezō, and here under the pseudonym Kasagawa Higezō) is shown wrestling with a raging bull and is about to give the animal a hard smack on its head. The text sheds some light on Shigezō's life, including the incident with the bull. (see Inscription)

See Iioka no Sutegorō for a detailed description of the series

Collector seal of Emile-Louis Mathon (1842–1893)

Originally printed in Osaka by Maeda Shōsaburō, this triptych was reissued by Maruya Tetsujirō.

Collector seal E. Mathon, Artiste-Peintre (Émile Louis Mathon)

Text byTamenaga Shunsui II 為永春水

Tekst door Takabatake Ransen 高畠藍泉

One of most dramatic accounts of women wielding swords in anger concerns this revenge killing, in which the avengers were the man's two daughters: Miyagino and Shinobu.

Popular accounts of this affair exist in many versions. The factual basis of the story concerns a samurai called Shiga Daishichi, who was on the run because of a misdemeanor and hid in a paddy field, in a village near Shiroishi Banashi in Mutsu Province. By chance, he was observed by a farmer, Yomosaku, who had been transplanting rice seedlings, and in his surprise Shiga Daishichi panicked and killed him. Yomosaku had two daughters, the eldest of whom, Miyagino, had (according to the more romantic versions of the tale) been engaged to be married to a samurai, but through poverty had been sold into prostitution and become a tayū — a sex worker of the highest status — in Yoshiwara, in Edo. The younger daughter, Shinobu, intending to tell her elder sister about her father's death, went to Edo, where she tracked down her sister. They then secretly slipped away from Yoshiwara in order to seek revenge for their father's death, and began to study the martial arts under the guidance of Miyagino's samurai fiancé. They were eager in their pursuit of knowledge, and the result was the vengeance on their father's enemy, Shiga Daishichi, in 1649.

The sisters were determined to carry out the revenge themselves, and the details are largely historical. When the time was ripe, they went through the formalities of asking their daimyō for authorization to avenge the death of their father. There was, in this case, no need for a long search for the enemy, as he had remained in the daimyō's service. The lord accordingly ordered the man to be brought before him to face the girls in combat. Miyagino was armed with a naginata while Shinobu wielded a kusarigama, the sharpened sickle with a long weighted chain. Shiga Daishichi's sword was rendered ineffectual with the aid of the chain, and the other sister finished him off with her naginata.

Stephen Turnbull, The Samurai Swordsman: Master of War, p. 152

Collector seal: E.M. (Émile Louis Mathon)

Ōkubo Hikozaemon, also known as Ōkubo Tadataka (1560–1639), was a samurai who served the Tokugawa clan. He protested a ban on entering the shogun’s castle ground in a palanquin by having his men carry him to the castle in a bathtub, much to the amusement of onlookers.

The author of the preface is Itō Senzō 伊東専三 (1850–1914), pen name Kyōtō 橋塘, the proprietor of an okashi shop (Japanese sweets), who also worked at the Ministry of Finance. As a writer, he was the pupil of the well known author of popular fiction Kanagaki Robun (1829–1894).

Left sheet of a diptych

From a large, untitled series of actor portraits paired with poems composed by and in the handwriting of the actors themselves. Most of the backgrounds were designed by Miyagi Gengyo (1817–1880). Kunisada made a series with the same format for publisher Uoya Eikichi in the same year.

The Battle of Jiameng Pass is a fictional battle from the 14^th-century novel Romance of the Three Kingdoms, during which the historical figures Ma Chao (176–222) and Zang Fei (d. 221) engage in a duel.

Part of a triptych depicting all actors involved in the play, wearing formal clothing. The Waseda Tsubouchi Memorial Theatre Museum has a full set (inv. nos. 120-0014, 120-0052, & 120-0053).

Centre sheet of a triptych

Right sheet: Arashi Otohachi III as Yamakaze Hirama (山風平馬), Bandō Takesaburō IV as Itsuya Tōji (逸弥藤次), and Bandō Hikosaburō IV as Iwaki Tōma (岩木當馬)

Centre sheet: Ichikawa Kodanji IV as Ishikawa Goemon (石川五右衛門), and Seki Kasuke as his son Gorōichi (倅五郎市)

Left sheet: Onoe Kikujirō II as Oritsu (おりつ) en Morita Kan’ya XI as Iwaki Hyōbu (岩木兵部)

Ishikawa Goemon (1558–1594) was a semi-legendary outlaw folk hero who stole from the rich and gave to the poor. He and his son were sentenced to being boiled alive after he made a failed attempt to assassinate the warlord Toyotomi Hideyoshi. According to popular legend, he managed to save his son by holding the boy above his head while he endured the boiling water for as long as possible. This heroic deed inspired his executioners to spare the boy. Goemon was an often-recurring character in popular theatre and literature.