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「江戸の花名勝会 と 十番組」 「隅田川」 「漁し浜なり 市川市蔵」（三代目）
To Brigade, Tenth Group, Sumidagawa: Actor Ichikawa Ichizô III as the Fisherman (Ryôshi) Hamanari, from the series Flowers of Edo and Views of Famous Places (Edo no hana meishô-e)
「江戸の花名勝会 と 十番組」 「隅田川」 「漁し浜なり 市川市蔵」（三代目）
Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864)
Other artist: Hasegawa Settei (Japanese, 1813 – 1882)
Publisher: Katôya Iwazô (Seibei) (Japanese)
Blockcutter: Matsushima Masakichi (Hori Masa) (Japanese)
Other artist: Hasegawa Settei (Japanese, 1813 – 1882)
Publisher: Katôya Iwazô (Seibei) (Japanese)
Blockcutter: Matsushima Masakichi (Hori Masa) (Japanese)
Japanese
Edo period
1863 (Bunkyû 3), 2nd month
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban; 36 x 24.6 cm (14 3/16 x 9 11/16 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.45142
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
DescriptionMFA impressions: 11.42530, 11.45142, 11.45162
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.
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.
Signed
Ôju Toyokuni ga, in toshidama cartouche (bottom right); Hasegawa Ganshôsai (bottom left)
応需 豊国画(年玉枠)、長谷川巌松斎
応需 豊国画(年玉枠)、長谷川巌松斎
Marks
Censor's seal: Boar 2 aratame
Blockcutter's mark: Matsushima Hori Masa
改印：亥二改
彫師：松島彫政
Blockcutter's mark: Matsushima Hori Masa
改印：亥二改
彫師：松島彫政
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.