Lot Essay
Sakata Hangoro III (1750 - 1795) acceded to his name in 2/1783. He specialised in either strong man roles, for example Asahina Saburo or Nikki Danjo, or in villainous roles, such as the part portrayed here. Hangoro doubtless used his actual life experience as a brothel keeper during a short period of retirement from the stage to add the element of viciousness necessary for these latter performances.
As with many Sharaku prints the signature block is of two types, with the third kanji character, sai, differing. The present impression belongs to the first group. The first state has kumadori makeup beneath the eyebrows and around the nostrils. This is the second state. Another, variant state exists with the grey/green block of the robe replaced with a black robe.
Examples of the first signature type are illustrated in Suzuki, Sharaku (Tokyo 1963), pl. 7, p.60; Ukiyo-e Society, 10th anniversary exhibition (Tokyo 1969), pl. 238; Yamaguchi Keisaburo, "Sharaku", Taiyo ukiyo-e series (Tokyo 1975), Vol IV; Hillier, Japanese prints and drawings from the Vever collection (London 1976), Vol. II, pl.585, p.573; Ukiyo-e Society, 20th anniversary exhibition (Tokyo 1979),no. 113, p.21; Beres et al, Sharaku - portraits d'acteurs 1794 - 1795 (Paris 1980), front cover; Narazaki et al, "British Museum II", Ukiyo-e masterpieces in European collections (Tokyo 1988), no. 151; Smith, Ukiyo-e images of unknown Japan (London 1988), no. 140, p.120
For the second group see T.N.M.C. #2344; Yoshida, Sharaku (Tokyo 1957), pl. 3; Yamaguchi Keisaburo, "Sharaku", Ukiyo-e taikei, Vol. VII (Tokyo 1976), pl.4; Narazaki, The enigmatic ukiyo-e master (Tokyo 1983)
Of the thirty-two known impressions of this print eleven are held in the following museums and institutions: Rijksmuseum, Amsterdam; Museum of Fine Arts, Boston; Art Institute, Chicago; British Museum, London; Metropolitan Museum, New York; Allen Memorial Art Museum, Oberlin; Musee Guimet, Paris; Achenbach Foundation for Graphic Arts, San Francisco; National Museum, Tokyo, Ota Museum, Tokyo; Yamatane Gallery, Tokyo
Three other impressions have been sold in these rooms: March 21, 1989, lot 64; October 16, 1986, lot 69; December 2,3 & 4, 1982, lot 1006
As with many Sharaku prints the signature block is of two types, with the third kanji character, sai, differing. The present impression belongs to the first group. The first state has kumadori makeup beneath the eyebrows and around the nostrils. This is the second state. Another, variant state exists with the grey/green block of the robe replaced with a black robe.
Examples of the first signature type are illustrated in Suzuki, Sharaku (Tokyo 1963), pl. 7, p.60; Ukiyo-e Society, 10th anniversary exhibition (Tokyo 1969), pl. 238; Yamaguchi Keisaburo, "Sharaku", Taiyo ukiyo-e series (Tokyo 1975), Vol IV; Hillier, Japanese prints and drawings from the Vever collection (London 1976), Vol. II, pl.585, p.573; Ukiyo-e Society, 20th anniversary exhibition (Tokyo 1979),no. 113, p.21; Beres et al, Sharaku - portraits d'acteurs 1794 - 1795 (Paris 1980), front cover; Narazaki et al, "British Museum II", Ukiyo-e masterpieces in European collections (Tokyo 1988), no. 151; Smith, Ukiyo-e images of unknown Japan (London 1988), no. 140, p.120
For the second group see T.N.M.C. #2344; Yoshida, Sharaku (Tokyo 1957), pl. 3; Yamaguchi Keisaburo, "Sharaku", Ukiyo-e taikei, Vol. VII (Tokyo 1976), pl.4; Narazaki, The enigmatic ukiyo-e master (Tokyo 1983)
Of the thirty-two known impressions of this print eleven are held in the following museums and institutions: Rijksmuseum, Amsterdam; Museum of Fine Arts, Boston; Art Institute, Chicago; British Museum, London; Metropolitan Museum, New York; Allen Memorial Art Museum, Oberlin; Musee Guimet, Paris; Achenbach Foundation for Graphic Arts, San Francisco; National Museum, Tokyo, Ota Museum, Tokyo; Yamatane Gallery, Tokyo
Three other impressions have been sold in these rooms: March 21, 1989, lot 64; October 16, 1986, lot 69; December 2,3 & 4, 1982, lot 1006