Poem by Suô no Naishi: Shirai Gonpachi, from the series Ogura Imitations of One Hundred Poems by One Hundred Poets (Ogura nazorae hyakunin isshu)

「小倉擬百人一首 周防内使 白井権八」

Japanese
Edo period
about 1845–48 (Kôka 2–Kaei 1)
Artist Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864), Publisher Ibaya Senzaburô (Dansendô) (Japanese), Blockcutter Yokokawa Takejirô (Hori Take)


Catalogue Raisonné

Herwig and Mostow, The Hundred Poets Compared (2007), #67; Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S46.67

Dimensions

Vertical ôban; 36.6 x 25 cm (14 7/16 x 9 13/16 in.)

Accession Number

11.30440

Medium or Technique

Woodblock print (nishiki-e); ink and color on paper

Not On View

Collections

Asia, Prints and Drawings

Classifications

Prints

No. 67 from a series jointly designed by Hiroshige, Kunisada, and Kuniyoshi.

Inscription

Poem: Haru no yo no/ yama bakari naru/ ta-makura ni/ kai naku tatan/ na koso oshikere

春の夜の ゆめばかりなる 手枕に かひなくたたむ 名こそをしけれ

彼村正の切味ハ 色にも手練の若衆より 八重梅うたふ土手節ハ 其通ひ路の業呉事 一節切とハ名を聞も いと憂し

 柳下亭種員筆記

Signed

Ôju Toyokuni ga

応需豊国画

Markings

Censor's seal: Murata
Blockcutter's mark: Horikô Take

改印:村田
彫師:彫工竹

Provenance

By 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.

Credit Line

William Sturgis Bigelow Collection