1964 After Sharaku "Actors Sawamura Sojuro and Segawa Kikunoji", Full-Color Print From Japan

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Unique large full-color Ukiyo-E Hanga print after original woodblock print "Actor Sawamura Sojuro as Nagoya Sanza and Actor Segawa Kikunoji … Read more Unique large full-color Ukiyo-E Hanga print after original woodblock print "Actor Sawamura Sojuro as Nagoya Sanza and Actor Segawa Kikunoji as Courtesan Katsuragi" by Toshusai Sharaku. Comes from a rare Collection of 24 Masterpieces by Sharaku. Produced & published by Shuei-Sha, Tokyo, in September, 1964. Printers: Toppan Printing Co., LTD. Printed on one side. Attached at the top to a board of heavy textured paper, covered with lighter sheet of paper for protection, numbered 16 on the label on the front of the cover. Excellent condition - minor edge wear on the board, never framed, ready to be framed. Copy of the commentary by Dr. Kiyoshi Shibui and Mr. Sadao Kikuchi (below) in Japanese and English is included.

Overall (folded) 12.50"W x 18.25"H
Overall (unfolded) 25"W x 18.25"H
Image 9.55"W x 14.75"H

Commentary by Ukiyo-e Art consultant & editor Dr. Kiyoshi Shibui and Mr. Sadao Kikuchi:
Signature: signed Toshusai Sharaku
Printers: Tsutaya Juzaburo (with a signature)
In the possession of Dr. Seiichiro Takahashi, Oiso

This was created in connection with the play "Keisei Sambon Karasaka" (Courtesan's Three Umbrellas) staged at Miyako-Za in July 1794. This is one of th seven full-length double figure pictures in large sheets SHARAKU did during his second production period. The play concerns the household disturbance of Shogun Ashikaga in the medieval age. The play principals - Nagoya Sanza and his favorite courtesan Katsuragi - are pictured in this unique composition. Sojuro as Sanza stands and Segawa Kikunojo's Katsuragi is seated, which imparts the picture a sense of stability. The multi-colored clothes of both figures are set off by the mica background making this resplendent Kabuki picture. The actors' faces do not have the expressiveness of his first production period pieces, but a full-length figure taking in two figures in one sheet is something one cannot find in the first period and it is gives one a chance to see SHARAKU's versatile compositional power. See less