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「江戸の花名勝会 わ 八番組」 「池乃端仲町」 「石亀屋次団太 坂東村右衛門」（初代）
Wa Brigade, Eighth Group, Ikenohata Nakamachi: Actor Bandô Muraemon I as Ishigameya Jidanta, from the series Flowers of Edo and Views of Famous Places (Edo no hana meishô-e)
「江戸の花名勝会 わ 八番組」 「池乃端仲町」 「石亀屋次団太 坂東村右衛門」（初代）
Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864)
Other artist: Hasegawa Settei (Japanese, 1813 – 1882)
Publisher: Katôya Iwazô (Seibei) (Japanese)
Blockcutter: Ôta Komakichi (Hori Koma, Hori Tashichi) (Japanese)
Other artist: Hasegawa Settei (Japanese, 1813 – 1882)
Publisher: Katôya Iwazô (Seibei) (Japanese)
Blockcutter: Ôta Komakichi (Hori Koma, Hori Tashichi) (Japanese)
Japanese
Edo period
1863 (Bunkyû 3), 8th month
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban; 36.3 x 24.8 cm (14 5/16 x 9 3/4 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.42497
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
DescriptionMFA impressions: 11.42497, 11.44612
The term “flowers of Edo” (Edo no hana) can refer, among other things, to fires. The title panel for each print in this series shows the lanterns and identifying standard (matoi) for one of the brigades of firefighters (hikeshi) assigned to various districts. On the west side of the Sumida River were 48 brigades named for the symbols of the kana syllabary and grouped into 8 numbered groups (1 to 10, minus the bad-luck numbers 4 and 7). On the east side of the river, brigades were numbered and assigned to directional groups. Outlying districts were covered by special brigades, here designated “extra” (bangai). Each title gives the name or number of a brigade, its group, and its district, followed by the kabuki scene chosen to match it.
(見立)
The term “flowers of Edo” (Edo no hana) can refer, among other things, to fires. The title panel for each print in this series shows the lanterns and identifying standard (matoi) for one of the brigades of firefighters (hikeshi) assigned to various districts. On the west side of the Sumida River were 48 brigades named for the symbols of the kana syllabary and grouped into 8 numbered groups (1 to 10, minus the bad-luck numbers 4 and 7). On the east side of the river, brigades were numbered and assigned to directional groups. Outlying districts were covered by special brigades, here designated “extra” (bangai). Each title gives the name or number of a brigade, its group, and its district, followed by the kabuki scene chosen to match it.
(見立)
Signed
Toyokuni ga, in toshidama cartouche (bottom right); Manjirô Hokuei e (top); Chikudô sho (calligraphy, top); Ganshôsai utsusu (bottom left)
豊国画(年玉枠)、卍楼北栄絵、竹堂画、蔵松斎うつす
豊国画(年玉枠)、卍楼北栄絵、竹堂画、蔵松斎うつす
Marks
Censor's seal: Boar 8 aratame
Blockcutter's mark: Hori Ôta Tashichi
改印：亥八改
彫師：彫太田多七
Blockcutter's mark: Hori Ôta Tashichi
改印：亥八改
彫師：彫太田多七
ProvenanceBy 1911, purchased by William Sturgis Bigelow (b. 1850–d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: January 19, 2005)
NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.
NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.