Gallery 8: Matchbox Prints
Shoki the Demon Queller. 1920s to 1930s. 3.6 x 5.5 cm
The miniature woodblock prints in this gallery were designed as matchbox labels. The collecting of matchbox labels, like the collection of other ephemera in Japan, became popular shortly after their introduction in the late 1800s. In 1903, the Japanese Association of Matchbox Label Collectors was established. The majority of the labels in this collection are affixed within a collector’s book or came from another large collection, both dating to the 1920s or 1930s. Others derive from smaller sets designed around specific themes (e.g. women, historical events). These prints represent some of the smallest of Japanese miniatures. The most elaborate of these labels are a testimony to the amazing skill of the carvers and printers who produced them.
Most matchbox prints do not have an identifiable artist. Information will be added as it becomes available. Additional matchbox prints can be seen in Galleries 8A (Theater Matchbox Series) and 8B (Landscape Matchbox Series). Prints are approximately 3.1-3.3 by 5.1-5.2 cms in size unless otherwise indicated.
This set of matchbox prints illustrates the seven lucky gods (shichi fukujin).
Hasegawa Sadanobu III (Konobu III) (1881-1963)
Kyoto Beauties: Twelve Maiko. Twelve matchbox prints with envelope. August, 1930.
The prints in this section are singed by the artist Yamakawa Seisen and came from a collection of matchbox prints owned by a family whose ancesters were woodblock carvers and matchbox print collectors. The second image text reads Shukuseikai and Japan Rinka Renmei.
The following set of 24 matchbox prints depict different aspects of the story Chūshingura (The Treasury of Loyal Retainers) which recounts an episode at the begininng of the eighteenth century in which forty seven-ronin (samaria without a lord or master) avenged the death of their master, Asano Naganori. The story has been told in multiple formats including kabuki, bunraku, novels, film, and television. Most of these prints refer to specific scenes for the play although several also depict ronin who play minor parts in the stage production.
Act 1: Enya Hangan's wife Refuses to Accept a Love Letter from Moronao
Act 3: Enya Hangan Attacking Moronao
Act 4: Enya Hangan's Retainer's Rushing to Hangan's Castle with Instructions How to Proceed
Act 4: Okaru Persuades Kanpei Not to Kill Himself
Act 4: Yuranosuke After Surrendering the Castle
Act 5: Sadakurō after Robbing and Killing Yoichibei
Act 7: Kudayū Trying to Spy on Yuranosuke's Letter
Act 7: Heiemon Ready to Kill Okaru
Act 7: Yuranosuke Acts Drunk and Dissipated as Moronao's Spy Kudayū Looks at Him
Ronin Horibe Yasubei' Duel at Takadanobaba
Act 10: Testing the Loyalty of Merchant Gihei
Act 11: Breaking into Moronao's Palace
Act 11: Attack on Moronao's Palace
Act 11: Fighting Inside Moronao's Palace
Act 11: Fighting in the Garden of Moronao's Palace
Act 11: Capture of Moronao
The following set of matchbox prints depict the different ronin and others in the story Chūshingura (The Treasury of Loyal Retainers). As noted above, the story recounts an episode at the beginning of the eighteenth century in which forty-seven ronin (samaria without a lord or master) avenged the death of their master, Asano Naganori. This appears to be an incomplete set, as there are only 44 portraits. Images are approximately 3.6 x 5.4 cm.
This set of 42 images of Bijin-ga (Beautiful Woman prints) was reportedly printed in the 1920s. The images appear to be adaptations of various elements of works by the artist Kitagawa Utamaro (c. 1753 – 1806). Images (without margins) are approximately 3.3 x 5.1 cm in size.