Wives and Tatami Mats Are Best When New (Nyôbô to tatami atarashii ga yoi); One Sister-in-law Is Like a Thousand Demons (Kojûto hitori oni senbiki ni mukau); What Is Joined Together May Be Separated (Awasemono wa hanaremono), from the series One Hundred P

狂斎百図  「女房と畳は新しいが良い」 「小姑一人鬼千匹にむかう」 「合物ははなれもの」

Japanese
Edo period
1863–66 (Bunkyû 3–Keiô 2)


Catalogue Raisonné

Kaikan sanjû shûnen kinen Kawanabe Kyôsai kinen bijutsukan cat. (2008), p. 102, #0773 (sheet of 4); Oikawa and Yamaguchi, Kyôsai no giga (1992), #91

Dimensions

Vertical yotsugiri (quarter ôban); 18.5 x 12.5 cm (7 5/16 x 4 15/16 in.)

Accession Number

11.22646

Medium or Technique

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

Not On View

Collections

Asia, Prints and Drawings

Classifications

Prints

MFA impressions:
Uncut sheet: 11.45393.21
Right side only: 11.22646, 11.36997
Left side only: 11.22641, 11.37000

Signed

Kyôsai
狂斎

Markings

No censor's seal
No blockcutter's mark
No publisher's mark
改印:なし
彫師:なし
版元:なし

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