1795 The actor Bandō Hikosaburō III as ōboshi Yuranosuke, from an untitled actor series from the play Kanadehon Chūshingura, Miyako Theater, IV/1795. ōban. Publisher: Iwatoya Kisaburō. Collection Peter Rieder.
1794 The sumo boy Daidōzan Bungorō, age 7. ōban. Publisher: Harimaya Shinshichi. Asian Art Museum, National Museums in Berlin.
early 1800s Kazusa Shichibei Kagekiyo. ōban. National Museum of Ethnology, Leiden, The Netherlands.
1791 The actor Ichikawa Ebizō as Yahei Hyōe Munekiyo in the play Kinmenuki Genke no kakutsuba, Ichimura Theater, XI/1791. ōban. Publisher: Uemura Yohei. Collection Peter Rieder.
Shuntei
1770–1824
Family name: Yamaguchi. Given name: Chōjūrō. Art surname: Katsukawa. Art names: Gibokuan, Shōkōsai, Shōkyūko, Suihō Itsujin.
Katsukawa Shuntei lived in Kanda Izumichō and he was a student of Katsukawa Shun’ei. His exact dates are not clear as some sources say that he passed away in 1820, while others say in 1824. Giving the fact that in 1821 and 1822 books were published with his illustrations, 1824 seems to be more likely.
His earliest extant works are actor prints from 1797/98 but actor prints did not ultimately become his strongpoint. Shuntei designed beauties, sumo wrestlers, and other genres, especially warrior prints. He eventually became
the forerunner for a new style of warrior print: illustrating entire battle scenes across all three sheets of an ōban- size triptych, a style which influenced future artists like Kuniyoshi.
In the fifth month of 1804, he was one of the artists who were manacled for fifty days for illustrating the events and identifiable figures from the Ehon Taikōki (Illustrated Chronicles of the Regent) in his prints. In the mid 1800s, Shuntei experimented with Western-style landscapes. He illustrated numerous books, produced some paintings, and also designed surimono.
1820 New Year’s celebration. Shikishiban. Library of Congress.
early 1820s P arody of the God Ebisu, from the series “Seven Gods of Good Fortune” (Shichifukujin) for the Hanagasaren poetry club. Shikishiban. Collection Erich Gross, Switzerland.
c.1797/98 The actors Segawa Kikunojō III and Ichikawa Yaozō III in unidentified roles. ōban. Publisher: Enomotoya Kichibei. Asian Art Museum, National Museums in Berlin.
1810s “Battle at the Nyoirin Hall in Washū" (Washū nyoirindō kassen). ōban triptych. Publisher: ōtaya Sakichi. Library of Congress. Iwakiri 1996, no. 5.22.
c.1813 The warrior Chinzei Hachirō Tametomo fights after the Battle of Ishiyama. ōban diptych. Publisher: ōtaya Sakichi. Library of Congress. Iwakiri 1996, fig. 51, no. 6.5.
c.1819-22 The warrior Fujiwara Hidesato (right) protecting the Dragonking’s daughter (center), battling the giant centipede with Fujiwara Sukune (left). ōban triptych. Publisher: Yamamotoya Heikichi. Library of Congress. Iwakiri 1996, fig. 48, no. 5.27.
Sharaku
Act. 1794–1795
Art name: Tōshūsai.
No biographical information on Sharaku is available, leaving him as the most enigmatic and nebulous of all print artists. Known only through his oeuvre, various theories have been expressed that identify him as another artist, using the name “Tōshūsai Sharaku” as an artistic name for a short period. This name, indeed, appears only for a very short period of time, from the fifth month of 1794 until the first month of 1795. In this period, he created 145 prints, all published by Tsutaya Jūzaburō. The designs can be divided into four periods; the first encompasses dazzling ōkubi-e (large-head pictures) portraits in ōban format, all related to plays staged in the fifth month of 1794. For these prints expensive printing techniques and material such as mica for shiny backgrounds were used. The second period covers full-length portraits in the large ōban format or the narrow hosoban format, all dated with the seventh month of 1794. A drop of quality is seen in the third and fourth period. Hosoban and aiban format prints for the eleventh month of 1794 are considered as third period, and the hosoban prints from the first month of 1795 are considered as fourth period.
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