Utagawa Kunisada 1786 12 January 1865 Wood Block Print

Utagawa Kunisada, also known as Toyokuni III, was the most commercially successful ukiyo-e designer of the 19th century. For collectors and appraisers, his output offers a rich field of study in signatures, censor and date seals, printing techniques, and market tiers. This guide focuses on identifying, dating, and valuing Kunisada woodblock prints with practical pointers for condition assessment and care.

Who Was Utagawa Kunisada (Toyokuni III)?

• Lifespan and names: Born 1786; died 12 January 1865. Trained in the Utagawa school under Toyokuni I. He signed early works as “Gototei Kunisada,” later “Kōchōrō Kunisada,” and, after assuming the headship of the school in 1844, “Toyokuni” (often identified as Toyokuni III to distinguish him from his predecessors).
• Specializations: Actor prints (yakusha-e), beauties (bijin-ga), book illustrations, and series illustrating contemporary kabuki, historical and literary subjects. He designed many diptychs and triptychs and collaborated widely with leading publishers.
• Reputation: Prolific and popular, he dominated the market of his time. While some later critics favored contemporaries like Kuniyoshi or Hiroshige, today Kunisada’s best impressions and deluxe editions are prized.

Why this matters for appraisal: Kunisada’s long career and multiple signatures, combined with changing government censorship systems, make his prints ideal candidates for dating and authentication via marks on the sheet.

What to Look For: Identifying a Genuine Kunisada Woodblock

1. Subject and composition

• Actor portraits: Half-length or full-figure kabuki actors in dramatic mie poses, with character and actor name cartouches. Facial features are stylized with strong linework; robes often display elaborate textile patterns.
• Beauties: Elegant courtesans and townspeople, with attention to coiffures, kimono patterns, and fashionable accessories.
• Multi-sheet works: Many designs were issued as diptychs or triptychs. Look for shared background patterns or continuous scenery across sheets.

2. Signature styles (common forms)

• “Gototei Kunisada ga”: Common on 1810s–1820s works.
• “Kōchōrō Kunisada ga”: Mid-career.
• “Toyokuni ga” within the Utagawa toshidama cartouche (an oval/rounded rectangle framing the name), especially after 1844. He often continued to include “Kunisada” while transitioning, and later used forms indicating the succession to Toyokuni. Note: Genuine signatures vary in calligraphic style and cartouche shapes depending on series and publisher.

3. Publisher marks Common Edo publishers for Kunisada include Sanoya Kihei (Kikakudō), Tsutaya Kichizō (Kōeidō), Fujiokaya Keijirō, Iseya Rihei, and others. The publisher seal typically appears in a margin or within the design. Matching the publisher to the date seals and signature helps authenticate and date a print.

4. Formats and sizes

• Ōban tate-e (vertical): Approx. 37 x 25 cm; the most common single-sheet format for actor and beauty prints.
• Ōban yoko-e (horizontal): Approx. 25 x 37 cm.
• Chūban: Around 26 x 19 cm; used for some series.
• Hosoban: Narrow format around 33 x 15 cm, less common in Kunisada’s mature period. Sheets are often trimmed; one should not assume exact modern dimensions. Excessive trimming can remove seals and margins and depress value.

5. Printing and pigment cues

• Fine-line carving in hair and facial details, complex patterning, and controlled bokashi (graded color) reflect early, high-quality impressions.
• Deluxe effects: Mica (kirazuri) backgrounds, blind printing (karazuri), and burnished blacks (shomenzuri). These indicate higher production standards and typically command higher prices.
• Pigments: Prussian blue (berurin ai) spreads widely after the 1820s. Highly saturated aniline purples and magentas are mostly Meiji-era (post-1868); their appearance in a Kunisada design can indicate a later reprint or restrike rather than a lifetime impression.

Dating Kunisada Prints: Censors, Dates, and Names

Government oversight of woodblock prints changed over time, leaving a trail of seals that makes dating possible.

• Pre-1842: Kiwame seal The “kiwame” approval seal typically appears near the publisher’s mark, certifying the print’s approval. Many early Kunisada actor and beauty prints carry this seal. Signatures likely read “Gototei Kunisada” or “Kōchōrō Kunisada.”

• 1842–1846: Tenpō Reforms aftermath Strict moral regulations temporarily curtailed certain subjects (including actor prints). Production patterns shift; some areas show reduced indulgence in luxury printing effects.

• 1847–1852: Single nanushi censor seals Censors’ names (e.g., Murata, Mera, Watanabe) appear as single round or oval seals. These seals are helpful for narrow dating, as each censor served specific years.

• 1853–1872: Aratame and date seals The “aratame” (examined) seal is paired with a cyclical year-month date system using zodiac characters. For example, a seal indicating “year of the tiger, 8th month” corresponds to a specific year in the sexagenary cycle. In Kunisada’s case (d. 1865), aratame/date seals from the 1850s–early 1860s are common on late works. Tip: Align the seal set (aratame + zodiac date), publisher imprint, and the artist’s signature form (Toyokuni vs. Kunisada) with known time ranges to triangulate the year.

• Name transitions and the toshidama crest After 1844, Kunisada adopted the name Toyokuni (III). Many late prints show “Toyokuni ga” inside the red toshidama cartouche—the Utagawa school crest. Early-to-mid career works may show “Gototei” or “Kōchōrō” before the Toyokuni succession. When a print’s signature and censor system don’t align chronologically, investigate for later editions or recut blocks.

Evaluating Condition and Impression Quality

Condition and impression quality often drive more value than subject alone. Key points:

• Early vs. later impressions Early pulls display crisp linework, deep embossing where intended, and subtle bokashi. If the hairlines, textile patterns, and contour lines appear soft or filled in, it may be a later impression or a worn block. On the verso, light circular baren marks suggest hand-printing; their absence is not definitive but can be informative.

• Color integrity Prussian blue holds up well. Organic reds and yellows often fade to tan or pale orange. If the palette looks unusually neon or includes vivid purple/magenta, consider the possibility of a Meiji (or later) reprint using aniline dyes. Uneven fading from display (sun-struck fronts, darker under mat windows) is common; it reduces value.

• Paper and margins Edo-period nishiki-e are printed on kozo-based paper. Look for:

  • Wormholes (mended or not)
  • Thinning, foxing, or toning
  • Evidence of album backing or laid-down mounts
  • Trimmed margins removing seals or publisher marks Intact margins with full seals generally bring stronger prices. Trimming is tolerated, but loss of seals limits authentication and value.

• Tears, creases, and inpainting Check under raking light for repaired tears, scuffs in the pigment layer, or over-painting. Professional conservation can stabilize but usually does not fully erase visible losses. In-painting should be disclosed in appraisals.

• Sets and completeness Completeness matters greatly. A single panel from a triptych is less valuable than the full set, though exceptional single sheets remain collectible.

Value Drivers and Market Notes

While individual price outcomes vary by venue and timing, consistent value drivers include:

• Subject desirability Actor prints of star performers and dramatic roles (e.g., Ichikawa Danjūrō lineage, Bandō, Onoe houses) are perennially popular. Bijin-ga series with strong designs and deluxe effects also perform well.

• Date and quality Early 1820s–1830s sheets with fine carving and color gradation command more than routine later work. Late 1850s–early 1860s designs can be strong, but market preference still leans to earlier, well-printed examples.

• Publisher and series Major publishers known for quality control support higher prices. Iconic series or identifiable commissions (e.g., deluxe surimono-like issues) receive a premium. Not all series are equal; consult reference cataloging when possible.

• Condition and impression First-rate impressions with original color and full seals are most competitive. Clean paper, minimal trimming, and minimal repairs significantly improve desirability.

• Completeness Full triptychs can be several times the value of a single panel. Matched condition and color across sheets are important to buyers.

• Later editions and reproductions Meiji, Taishō, and Shōwa restrikes exist. Some were pulled from surviving blocks; others were recut. Very bright aniline color schemes, machine-made paper feel, or modern margins can indicate later productions. These have decorative appeal and historical interest but are valued below lifetime impressions.

Indicative ranges (broad, for orientation only):

• Common ōban actor prints (later impressions, moderate condition): often low hundreds.
• Strong early ōban actor or beauty prints with good color and seals: mid hundreds to low thousands.
• Complete triptychs, deluxe series sheets, or exceptional impressions: into low to mid thousands, occasionally higher for standout works. Always calibrate with recent sales of comparable designs, condition, and completeness.

Care, Storage, and Ethical Conservation

• Mounting: Use acid-free, lignin-free mats and museum-grade, reversible wheat-starch hinges. Avoid pressure-sensitive tapes.
• Environment: Stable relative humidity (around 50%) and moderate temperature. Keep away from kitchens, baths, and damp basements.
• Light: Display with UV-filtered glazing. Limit exposure to low lux levels and rotate off display. Light damage is cumulative.
• Housing: Store in archival folders or boxes with interleaving. Avoid tight enclosures that press textured areas (mica, embossing).
• Cleaning and repair: Do not surface-clean aggressively or attempt washing at home. Consult a paper conservator for stain reduction, deacidification, or tear mends.

Rapid Appraisal Checklist

• Identify the subject: actor portrait, beauty, historical scene? Note any series title and print title cartouches.
• Read the signature: “Gototei Kunisada,” “Kōchōrō Kunisada,” or “Toyokuni ga” within the toshidama cartouche? Does the name align with the likely date?
• Locate seals: publisher mark, censor/approval seals (kiwame, nanushi, aratame), and zodiac month-year if present.
• Confirm format: ōban tate-e is most common; note if part of a diptych/triptych (check for matching background/ground lines).
• Judge impression: crisp linework, visible bokashi, embossing or mica; early vs. worn block indicators.
• Assess color: original, unfaded pigments vs. later aniline hues; look for sun-fade lines from old mats.
• Check condition: trimming, wormholes, tears, foxing, toning, backing paper, and any over-painting or inpainting.
• Verify completeness: Is it a single sheet from a set? If so, note which panel (left/center/right) when identifiable.
• Compare market data: Seek recent sales of the same design, similar condition, and completeness; adjust for conservation needs.
• Document: Photograph recto/verso, detail seals and signatures, record measurements, and note any inscriptions.

FAQ

Q: How can I tell a Kunisada actor print from one by Kunichika or Kuniyoshi? A: Start with signatures and seals. Kunisada’s late works often read “Toyokuni ga” within the toshidama cartouche; Kunichika typically signs “Toyohara Kunichika,” and Kuniyoshi signs “Ichiyūsai Kuniyoshi” or similar forms. Cross-check the censor/date seals and publishers against known timelines for each artist.

Q: Does a missing margin destroy the value? A: Moderate trimming is common and not fatal, but loss of seals, publisher marks, or parts of the design significantly reduces both scholarly interest and price. Full margins with complete seals are optimal.

Q: Are bright purple and hot pink colors a red flag? A: Often, yes. Vivid aniline purples and magentas are mainly Meiji and later. Their presence on a Kunisada design suggests a posthumous impression or reproduction. Lifetime impressions favor organic reds and Prussian blue.

Q: What is the impact of owning one panel of a triptych? A: Single panels are collectible but typically bring a fraction of the price of a complete set. If you can identify and reunite matching panels in compatible condition and color, overall value improves.

Q: Should I clean stains or foxing myself? A: No. Amateur cleaning can cause abrasion, color loss, and paper tide lines. Engage a qualified paper conservator who can evaluate treatments such as local stain reduction, washing, and reversible repairs.

By focusing on signatures, seals, printing quality, and condition, appraisers and collectors can place Utagawa Kunisada’s woodblock prints accurately within his career and the Edo publishing system, leading to better authentication, fair market assessments, and informed stewardship.