Original woodblock print triptych – Paper – Utagawa Kunisada II (1823-1880) – “Hana-soroi haru no taimen” 花揃春対面 (Collection of Flowers in Spring) – Japan – 1868 (Keiô 4/Meiji 1)

Description

Original woodblock print triptych – Paper – Utagawa Kunisada II (1823-1880) – “Hana-soroi haru no taimen” 花揃春対面 (Collection of Flowers in Spring) – Japan – 1868 (Keiô 4/Meiji 1)

This woodblock print has creases and holes due to poor management.
In addition, there are some parts that have been fixed with paper.

See National Diet Library: https://dl.ndl.go.jp/info:ndljp/pid/1312629

At the end of the Edo period, “Genji-e” became a boom.
Therefore, this subject has a wide variety of pictures with different scenes.

The second generation Kunisada is less noticeable than Yoshitoshi and Yoshiiku in modern times, but was more famous than Yoshitoshi and Yoshiiku among the people at that time.
II Kunisada was good at Genji-e.

The characteristics of Genji-e in Ukiyo-e differ slightly depending on the Ukiyo-e artist, but it is characterized by having one lord and several maidens and attendants.
Another feature is that it is depicted as if you are playing something different or sightseeing depending on the season.

The signature says “Kunisada hitsu,Ouju Kunisadahitsu”国貞筆,応需国貞筆”.

A disciple of Kunisada Utagawa. His surname is Nakazato and later Iwatake. His childhood name is Masakichi, and later Seitaro. He used art sign Baido(梅堂) during the national affairs, Ichijusai(一寿斎), Umechoro(梅蝶楼), and Horaisha(宝来舎) during the second Kokusada era, and Kochoro, Ichiyosai(一陽斎), and Horaisha(宝来舎) after the Ⅳ Toyokuni.
In the 7th year of Tenpo (1836), he entered Kunisada (III Toyokuni), and in 1850, he became the son-in-law of the 3rd generation Toyokuni’s eldest daughter, Suzu, and succeeded the name of “national affairs” and became the 2nd generation Utagawa Kunimasa. I called it. He is in the 5th year of Kaei, and he has signed a seal as “Kunimasa change Kunisada II”. Since then, he has succeeded the writing of Master Kunisada in the illustrations for feature-length gōkan. The third generation Toyokuni died in the first year of the Genji era (1864), and then from the 3rd year of the Meiji era to the 4th year of the Meiji era (1870-1871), he called himself the “third generation Toyokuni” (actually the fourth generation).