No. 67 from a series jointly designed by Hiroshige, Kunisada, and Kuniyoshi.
Poem: Haru no yo no/ yama bakari naru/ ta-makura ni/ kahi naku tatan/ na koso oshikere 春の夜の ゆめばかりなる 手枕に かひなくたたむ 名こそをしけれ 彼村正の切味ハ 色にも手練の若衆より 八重梅うたふ土手節ハ 其通ひ路の業呉事 一節切とハ名を聞も いと憂し 柳下亭種員筆記
Ôju Toyokuni ga 応需豊国画
Censor's seal: Murata Blockcutter's mark: Horikô Take 改印: 村田 彫師: 彫工竹
By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES:  Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.
William Sturgis Bigelow Collection
Japanese, Edo period, about 1845–48 (Kôka 2–Kaei 1)
- Artist Utagawa Kunisada I (Toyokuni III), Japanese, 1786–1864
- Publisher Ibaya Senzaburô (Dansendô), Japanese
- Blockcutter Yokokawa Takejirô (Hori Take)
Herwig and Mostow, The Hundred Poets Compared (2007), #67; Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S46.67
Vertical ôban; 36.6 x 25 cm (14 7/16 x 9 13/16 in.)
Medium or Technique
Woodblock print (nishiki-e); ink and color on paper