Background
The plot for the play Ogi awase nishiki-e sugata (Comparison of fans and brocade picture likenesses 扇競錦絵姿) is unknown to us.
Onoe Tamizô II (1799-1886; 二代目尾上多見蔵), the son of a theater hairdresser, was a skillful dancer and versatile actor. He had a long and successful career. When he was barely 20 years of age, Tamizô began an apprenticeship with Onoe Kikugorô III (1784-1849; 三代目 尾上菊五郎) in Edo for three years, then returned to Osaka in 1823. (He had several sojourns in Edo thereafter.) In Osaka he was championed by a coterie of artists in Osaka in the mid 1820s, led by Gatôken (Toryûken) Shunshi, who specialized in depicting him in many performances. Early on he worked mostly the middle theaters in Osaka, but by 1833, he was also appearing in the larger theaters, such as the Kado and Naka. Tamizô tended to be a flamboyant showman and was short, had become overweight, and was reputedly illiterate. (His weight problem is evident in portraits issued later in his career, quite unlike the early-career print being offered here.) Nevertheless, Tamizô was a notable actor on the Osaka stage for more than 60 years.
Design
Gatôken Shunshi (画登軒春芝) was a student of Shunkôsai Hokushû and the apparent leader of a subgroup of followers that included at least two other artists signing with the name "Shunshi" — Gakôken Shunshi (画好軒春枝 act. c. 1824-29) and Shunshi (春始 act. c. 1830s), who used different ideograms for "shi."
This design is fascinating for a number of reasons. Most obviously, it is an alternate of the left sheet of a diptych by Shunshi (shown here) with (1R) Onoe Umenojo (尾上梅之丞) as the daughter Okoma (城木やお駒) and Nakamura Tomozô II (中村友三) as Shirokiya Kizo (城木や喜蔵), and (2R) Onoe Tamizô II (尾上多見蔵) as Obana Saizô (尾花才三). Second, the background textile pattern printed in yellow is remarkable, but unfortunately its particular hue is very difficult to photograph or scan. Third, the figure of Tamizô II on the altered state is rendered in brilliant saturated colors contrasting with the "softer" background.
Prints from the mid-1820s with such fine colors are rarely available for acquisition.
References: IKBYS-II, no. 215 (Z0452-215(01)(02)); Tokyo Ukiyo-e Art Museum (inv. 8788 diptych)
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