id:			103294
accession number:	1921.360.b
share license status:	CC0
url:			https://clevelandart.org/art/1921.360.b
updated:		2020-11-04 19:29:52.193000

Courtesans of the Ōgiya on a Spring Outing, mid- or late 1790s. Utagawa Toyokuni (Japanese, 1769-1825). Woodblock print, ink and color on paper; sheet: 36.9 x 23.8 cm (14 1/2 x 9 3/8 in.). The Cleveland Museum of Art, Gift from J. H. Wade 1921.360.b

title:				Courtesans of the Ōgiya on a Spring Outing
title in original language:	
series:				
series in original language:	
creation date:			mid- or late 1790s
creation date earliest:		1794
creation date latest:		1799
current location:		
creditline:			Gift from J. H. Wade
copyright:			

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culture:	Japan, Edo period (1615-1868)
technique:	woodblock print, ink and color on paper
department:	Japanese Art
collection:	Japanese Art
type:		Print
find spot:	
catalogue raisonne: 

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CREATORS

* Utagawa Toyokuni (Japanese, 1769-1825)  - artist

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measurements: Sheet: 36.9 x 23.8 cm (14 1/2 x 9 3/8 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

	inscription:	Signature: Toyokuni ga
Publisher: Izumiya Ichibei (Senichi han)
Censorship Seal: kiwame
	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		Japanese Gallery 235 Rotation
	opening date:   2017-03-27T04:00:00
	<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (March 27-July 10, 2017).

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LEGACY EXHIBITIONS

* Cleveland Museum of Art, 1994: Ukiyo-e: The Floating World Revisited.

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PROVENANCE

	Jacquin Collection (sale: Walpole Galleries, January 20, 1921, lot 158)
	date: 
	footnotes: 	
	citations: 	


	(Yamanaka & Co.)
	date: 
	footnotes: 	
	citations: 	


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fun fact: 


digital description: 


wall description: 
In these prints, two courtesans of the Ōgiya brothel are entering an open pavilion, while another group gathers around a Japanese hibachi inside. Hanaōgi, the most celebrated courtesan of Ōgiya in the late 1700s, is depicted at a desk. Holding a brush in her hand, she turns her head to one side as if gathering her thoughts before writing in the book before her. Both her position and her loosened hair separate Hanaōgi from her courtesan companions who wear elaborate coiffures. This depiction of her captures both her knowledge of poetry and her skill as a calligrapher.
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