Page 284 - japanese and korean art Utterberg Collection Christie's March 22 2022
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                TOSHUSAI SHARAKU (ACT. 1794-95)
                The actor Matsumoto Yonesaburo as the courtesan
                Kewaizaka no Shosho, Actually Shinobu, the Younger
                Daughter of Matsushita Mikinoshin
                Woodblock print with silver mica ground, signed Toshusai Sharaku
                ga, published by Tsutaya Juzaburo (Koshodo), 5th month 1794
                Vertical oban: 15 x 10 in. (38.1 x 25.4 cm.)
                $150,000-250,000

                The play is the story of the revenge taken by two sisters, Miyagino
                and Shinobu (shown here), for their father Matsushita Mikinoshin,
                who has been murdered by Shiga Daishichi. This character has
                become a courtesan in order to gain access to the assassin. Other
                impressions are held in the Spaulding and the Bigelow collections
                of the Museum of Fine Arts, Boston; the Musée National des Arts
                Asiatiques-Guimet, Paris; and the Honolulu Academy of Arts.
                The ground of thick, dark mica is indicative of luxury production
                by the publisher, Tsutaya Juzaburo, who was the promoter genius
                behind so many great artists of the late eighteenth century, among
                them Utamaro, Choki, Kitao Masanobu and Kiyonaga. The seal
                of a clump of ivy under Mount Fuji in the lower left of this image
                refers to the publisher’s establishment, Tsutaya, House of the Ivy.
                Tsutaya composed poetry with other sophisticates in the Yoshiwara
                Circle under the name Tsuta no Karamaru, Entwined in the Ivy.

                Tsutaya’s collaboration with Sharaku took place in ten months
                in 1794, resulting in twenty-eight actor close-ups of astonishing
                boldness and invention. They are close-ups in the modern sense,
                using a raised eyebrow, a furrowed brow, single prop or simple
                gesture to snap the scene. Debate continues on whether the
                existence of so few of the actor likenesses is because they were
                unpopular for their frankness or whether Tsutaya found their
                production too expensive. A reasonable theory proposed by Asano
                Shugo is that Tsutaya only released small editions on account of
                their fine printing, coloring and embellishments in the manner of
                deluxe commissions of surimono and poetry albums.
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