1964 After Sharaku "Actor Tachibana-Ya Chusha as Warrior Hanhiman-Taro-Yoshiie", Full-Color Print From Japan

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A stunning full-color Ukiyo-E Hanga print after original woodblock print "Actor Tachibana-Ya Chusha as Warrior Hanhiman-Taro-Yoshiie or Gengo Narishige in … Read more A stunning full-color Ukiyo-E Hanga print after original woodblock print "Actor Tachibana-Ya Chusha as Warrior Hanhiman-Taro-Yoshiie or Gengo Narishige in Disguise" 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 21 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 8.90"W x 12.75"H

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

This is taken from an all-star play named "Glory to the Fast Foundation of Edo" (Edo - former name of Tokyo) staged at Kiri-Za in November 1794. This comes under SHARAKU's 3rd production period. Villain Kamakura Gondayu thinks he has killed the great warrior Abe-no-Sadato, but it so turns out that the man he had killed was no Yoshiiye but his loyal substitute Gengo Narishige, and the real Yoshiiye destroys the villain and Evil with him. The portrait represents actor Ichikawa Yaozo in the role of Gengo Narishige who dies substituting his Master.

SHARAKU turned in a number of works in medium size sheet. One great change visible from his earlier work is his style of exaggerating the facial traits of actors is getting milder and milder to the point of dullness. The color scheme is prettier than before, the red of the outer garment and the purple and white patters sprinkled with green bamboo leaf pattern against solid yellow are actually striking in effect. But one searches in vain for SHARAKU's personal impressionism and famous deformation, the style which had such power to move. See less