Given title: Three Figures on a Bridge

 
Artist
Creation date
Publisher
Fujioka-ya Keijirō
Period
Edo
Materials
color woodblock print
Mark Descriptions
Artist's signature: Ichiyōsai Toyokuni ga (A and C); Kōchōrō Toyokini ga (B) Publisher's mark: Fujioka-ya Keijirō (each) Censors' seals: Fuku (Fukushima Wajirō) and Muramatsu (Muramatsu Genroku)
Dimensions
13 1/2 x 28 1/2 in. (total image) Panels are all trimmed, pasted together with overlapping edges.
Credit line
John Herron Fund
Accession number
06.139
Collection
Not Currently On View

The hairstyle and footwear of the woman on the right-as well as the fact that she holds the lantern for the other two-indicate that she is a lady-in-waiting. The rich kimono patterns are typical of Kunisada's facility with decoration, and the scene allows him to introduce an element of landscape, which many consider his strength.

The signature Kōchōrō Toyokuni on the two end prints is one of Kunisada's early epithets, Kōchōrō, referring to a period when he studied painting in the school of Hanabusa Itchō (1652-1724) under its fourth generation head, Hanabusa Ikkei, after being passed over as successor to Toyokuni at the time of the latter's death in 1825. On the center panel he uses his master's pseudonym, Ichiyōsai Toyokuni.

The surface of the paper has been abraded, evidenced by some pilling and thinned areas. The paper is discolored and the colors faded. The gauffrage, or embossed, patterns have flattened out, and the lacquer-black design on the dark grey areas of the man's robe has lost much of its sheen. It is difficult to explain the white areas below his hands; it is doubtful that such large and prominent areas could be simply attributed to misprinting.

Signed Kōchōrō Toyokuni ga and Ichiyōsai Toyokuni ga.

Purchased with money from the John Herron Fund for the John Herron Art Institute, now the Indianapolis Museum of Art, in 1906.
Reproduction of these images, including downloading, is prohibited without written authorization from VAGA.

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