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「相続栄三扇」「前三代ヲ略」「三代目白井権八」（六代目岩井半四郎）、「元祖召仕はつ」（四代目岩井半四郎）、「二代目三日月おせん」（五代目岩井半四郎） 「四代目傾城揚巻」（七代目岩井半四郎）、「五代目八百屋娘お七」（三代目岩井粂三郎） 「相続栄菊蝶」「元祖白拍子桜木」（三代目瀬川菊之丞）、「二代目与茂作娘しのぶ」（四代目瀬川路考）、「三代目杉酒や娘おみわ」（五代目瀬川菊之丞）「前二代ヲ略」
Generations of the Iwai Family (Toshidoshi o iwai no suehiro), Omitting Three Earlier: Actors Iwai Hanshirô VI as Gonpachi, no. 3; Hanshirô IV as Meshitsukai Ohatsu, no. 1; Hanshirô V as Mikazuki Osen, no. 2 (R); Hanshirô VII as the Courtesan Agemaki, no. 4; Iwai Kumesaburô III as Yaoya Oshichi, no. 5 (C); Generations of the Segawa Family, Omitting Two Earlier: Segawa Kikunojô III as Shirabyôshi Sakuragi, no. 1; Segawa Rokô IV as Shinobu, Daughter of Yomosaku, no. 2; Segawa Kikunojô V as Omiwa, Daughter of the Sugi Sake Shop, no. 3 (L)
「相続栄三扇」「前三代ヲ略」「三代目白井権八」（六代目岩井半四郎）、「元祖召仕はつ」（四代目岩井半四郎）、「二代目三日月おせん」（五代目岩井半四郎） 「四代目傾城揚巻」（七代目岩井半四郎）、「五代目八百屋娘お七」（三代目岩井粂三郎） 「相続栄菊蝶」「元祖白拍子桜木」（三代目瀬川菊之丞）、「二代目与茂作娘しのぶ」（四代目瀬川路考）、「三代目杉酒や娘おみわ」（五代目瀬川菊之丞）「前二代ヲ略」
Japanese
Edo period
1849–52 (Kaei 2-5)
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban triptych; 35.8 x 74.1 cm (14 1/8 x 29 3/16 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.44022a-c
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
DescriptionIwai Kumesaburô III played Yaoya Oshichi at the Nakamura Theater in the 1st month of 1849, but the censor's seal "Watanabe" did not begin to appear until the 6th month of that year.
代々の岩井半四郎と瀬川菊之丞を描いたもの。嘉永2年1月中村座で<3>岩井粂三郎がお七を勤めており、渡辺が名主となるのは嘉永2年6月なので本図はそれ以降のものヵ。
代々の岩井半四郎と瀬川菊之丞を描いたもの。嘉永2年1月中村座で<3>岩井粂三郎がお七を勤めており、渡辺が名主となるのは嘉永2年6月なので本図はそれ以降のものヵ。
Signed
Toyokuni ga, in toshidama cartouche (on each sheet)
豊国画(年玉枠)
豊国画(年玉枠)
Marks
Censors' seals: Mera, Watanabe
No blockcutter's mark
改印：米良、渡辺
彫師：なし
No blockcutter's mark
改印：米良、渡辺
彫師：なし
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.