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「江戸の花名勝会 万 一番組」 「番町」 「浅山鉄山 嵐吉三郎」（三代目）
Man (10,000; = Ra) Brigade, First Group, Banchô: Actor Arashi Kichisaburô III as Asayama Tetsuzan, from the series Flowers of Edo and Views of Famous Places (Edo no hana meishô-e)
「江戸の花名勝会 万 一番組」 「番町」 「浅山鉄山 嵐吉三郎」（三代目）
Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864)
Other artist: Kawanabe Kyôsai (Japanese, 1831–1889)
Publisher: Katôya Iwazô (Seibei) (Japanese)
Blockcutter: Koizumi Minokichi (Hori Mino) (Japanese, 1833–1906)
Other artist: Kawanabe Kyôsai (Japanese, 1831–1889)
Publisher: Katôya Iwazô (Seibei) (Japanese)
Blockcutter: Koizumi Minokichi (Hori Mino) (Japanese, 1833–1906)
Japanese
Edo period
1863 (Bunkyû 3), 12th month
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban; 36 x 24.4 cm (14 3/16 x 9 5/8 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.42533
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
Catalogue Raisonné
Kaikan sanjû shûnen kinen Kawanabe Kyôsai kinen bijutsukan cat. (2008), p. 101, #0760
DescriptionMFA impressions: 11.42533, 11.45396.8 (in album, creped)
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); Gakôjin Tokyô (utsushi-e figures at top); Obake Kyôsai ga (ghost at top); Ôju Seisei Chikamaro (bottom left)
豊国画(年玉枠)、画工人都鏡、おばけ狂斎写、応需 惺々周麿
豊国画(年玉枠)、画工人都鏡、おばけ狂斎写、応需 惺々周麿
Marks
Censor's seal: Boar 12 aratame
Blockcutter's mark: Hori Mino
改印: 亥十二改
彫師: 彫巳の
Blockcutter's mark: Hori Mino
改印: 亥十二改
彫師: 彫巳の
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.