Utagawa Kunisada, Kabuki Scene in an Oil Shop, 1850s, Woodcut

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Woodcut print on two paper sheets (dyptich). A highly dynamic and exceptional mid-19th-century yakusha-e (actor portrait) diptych by the preeminent … Read more Woodcut print on two paper sheets (dyptich). A highly dynamic and exceptional mid-19th-century yakusha-e (actor portrait) diptych by the preeminent master of the utagawa school, utagawa kunisada (who assumed the prestigious name toyokuni iii in 1844). This complex theatrical scene unfolds inside a traditional edo-period oil shop (abura-ya), immediately identifiable by the large wooden oil storage vats (abura-daaru) bound with thick ropes, and the paper lanterns inscribed with characters for fish oil (uoyo) and water oil (mizu-abura). The composition is split across two sheets to convey maximum dramatic tension: right panel: a fierce confrontation is taking place. An actor portrays a rugged antagonist or desperate hero, brandishing a large cleaver-style knife over a distressed, partially undressed bald character pinning him to the floor. The intensity is heightened by the actor’s dramatic mie pose, stylized scars across his face, and paper scraps (kesho-gami) caught in his disheveled hair. Left panel: a high-ranking beauty (bijin) or courtesan rests on the tatami mats next to a serving tray. She turns back with a look of alarm, her hand gripping her textile sash in a moment of narrative shock. The work captures the apex of late-edo period theatrical printmaking, showcasing elaborate geometric check textile patterns on the kimonos and stylized, intensely expressive character composition that made toyokuni iii the most commercially successful ukiyo-e designer of his generation. The diptych consists of two unattached, vertical oban sheets. The colors remain remarkably well-preserved, showing deep indigo blues, vibrant terracottas, and clean block registration. Minor structural wear consistent with 19th-century ephemera, including slight fraying and small losses along the outer left margin of the left panel, and soft vertical flattening folds. The margins have been slightly trimmed but retain the crucial publisher, carver, and artist signatures intact. Overall, a highly expressive and clean theatrical example. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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