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「日千両大江戸賑」「寄千両 三遊亭円朝」 「日千両大江戸賑」「廓千両 稲本楼小稲」
Flourishing Business to the Tune of a Thousand Gold Pieces a Day in Great Edo (Nichi senryô Ô-Edo no furumai): The Star of Comedy (Yose senryô), San'yûtei Enshô (R), and the Star of the Pleasure Quarters (Kuruwa senryô), Koina of the Inamoto-rô (L)
「日千両大江戸賑」「寄千両 三遊亭円朝」 「日千両大江戸賑」「廓千両 稲本楼小稲」
Toyohara Kunichika (Japanese, 1835–1900)
Publisher: Kogaya Katsugorô (Japanese)
Blockcutter: Ôta Utakichi (Hori Uta) (Japanese)
Publisher: Kogaya Katsugorô (Japanese)
Blockcutter: Ôta Utakichi (Hori Uta) (Japanese)
Japanese
Edo period–Meiji era
1868 (Keiô 4/Meiji 1), 1st month
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban diptych; 37.4 × 49.7 cm (14 3/4 × 19 9/16 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.21584-5
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
Catalogue Raisonné
Waseda db 007-1484 (R), 007-1483 (L); website Koina A densetsu
DescriptionDiptych (two sheets of incomplete triptych): 11.21584 (right), 11.21585 (left)
The three places in Edo that were popularly said to do one thousand gold pieces' worth of business every day were: the fish market in the morning, the theater in the afternoon, and the Yoshiwara in the evening. In this triptych, the three profitable places are altered to the kabuki theater, the Yoshiwara, and the rakugo (comedy) theater. The missing third sheet shows actor Nakamura Shikan IV.
The three places in Edo that were popularly said to do one thousand gold pieces' worth of business every day were: the fish market in the morning, the theater in the afternoon, and the Yoshiwara in the evening. In this triptych, the three profitable places are altered to the kabuki theater, the Yoshiwara, and the rakugo (comedy) theater. The missing third sheet shows actor Nakamura Shikan IV.
Signed
Ôju Kunichika hitsu (on each sheet)
応需国周筆
応需国周筆
Marks
Censor's seal: Dragon 1 aratame
Blockcutter's mark: Hori Ôta Utakichi (on right sheet)
改印：辰正改
彫師：彫太田卯多吉
Blockcutter's mark: Hori Ôta Utakichi (on right sheet)
改印：辰正改
彫師：彫太田卯多吉
Inscriptions右
「日千両大江戸賑
三題はなし
芝居
題 よし原
席亭
ある人が道にて○○をきけば
当時役者ハ中村芝翫（なかむらしかん）
よし原の全盛ハ
まず、これでありやしょう
これといって他にはいない
稲本樓小稲（いなもとろうこいな）さんサ
名こそ小稲といいやすが
今はいっかどの大株（おおかぶ）で
客は日にまし一粒萬倍そこで」
中
「内鏡（ないきょう）の實入（みいり）もよろしく
實（じつ）にあそこは米櫃（こめびつ）サ
まずそれどうりじやない
此のあいだ芝居と
席へ幕をやりやしたが
よゆうの○向が○つうりサ
ぜんてん稲は雀（すずめ）という注文のところ
さる人がいうのには
雀は稲の實（み）をくうからそれよりハ」
左
（どこ迄も羽を伸○ようにと
稲に鶴と光琳風の極ざんしきで
画（うつせ）しが
イヤ見事見事
ハアそれじゃあ芝居（しばゐ）や席亭（せきてい）の
量と○○大入ハやつ○り稲にあやかってのぅ
どうしてどうして
芝居や席（よせ）の大入を
作（さく）のよいのでありやしょう
応需
三遊亭圓朝 作）
「日千両大江戸賑
三題はなし
芝居
題 よし原
席亭
ある人が道にて○○をきけば
当時役者ハ中村芝翫（なかむらしかん）
よし原の全盛ハ
まず、これでありやしょう
これといって他にはいない
稲本樓小稲（いなもとろうこいな）さんサ
名こそ小稲といいやすが
今はいっかどの大株（おおかぶ）で
客は日にまし一粒萬倍そこで」
中
「内鏡（ないきょう）の實入（みいり）もよろしく
實（じつ）にあそこは米櫃（こめびつ）サ
まずそれどうりじやない
此のあいだ芝居と
席へ幕をやりやしたが
よゆうの○向が○つうりサ
ぜんてん稲は雀（すずめ）という注文のところ
さる人がいうのには
雀は稲の實（み）をくうからそれよりハ」
左
（どこ迄も羽を伸○ようにと
稲に鶴と光琳風の極ざんしきで
画（うつせ）しが
イヤ見事見事
ハアそれじゃあ芝居（しばゐ）や席亭（せきてい）の
量と○○大入ハやつ○り稲にあやかってのぅ
どうしてどうして
芝居や席（よせ）の大入を
作（さく）のよいのでありやしょう
応需
三遊亭圓朝 作）
ProvenanceBy 1911, purchased by William Sturgis Bigelow (b. 1850 – d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911)
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.