Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 37 works by Utagawa Kunisada in our catalogue
In short
Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig (1825) is the Utagawa Kunisada painting that draws the most eyes; the original belongs to the Brooklyn Museum, Brooklyn. After it, the eye goes to The Kabuki Actor Kawaharazaki Gonjuro as Kagekiyo and Sumo Spectators (1853). Among the 37 works of Utagawa Kunisada in our catalog, these 36 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
The woodblock print titled Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig captures a singular moment of theatrical intensity. Created by Utagawa Kunisada in 1825, the work focuses on the Kabuki actor Ichikawa Danjuro VII. The figure is frozen in a moment of dramatic tension, defined by the weight of the axe and the starkness of the white wig.
To gaze upon this woodblock print is to step directly onto the vibrant, charged stage of Edo Japan during its zenith. We are presented with The Kabuki Actor Kawaharazaki Gonjuro as Kagekiyo, a masterful depiction by Utagawa Kunisada. This is not merely a portrait; it is a frozen moment of high drama, capturing the very essence of theatrical performance. The subject, clad in the imposing regalia of a samurai warrior,…
Sumo Spectators is a woodblock print by the artist Utagawa Kunisada. This work is a representation of a traditional Japanese scene. The piece is signed and dated 1853. It belongs to the Ukiyo-e art style.
The air feels heavy with the scent of salt and exertion. Somagahana Fuchiemon, a sumo wrestler of formidable presence, occupies the center of the frame in a moment of quiet, intense recovery. He is captured in a three-quarter view, his massive form dominating the space as he lifts a white cloth to wipe his face. This simple, human gesture provides a sudden, intimate respite from the violent energy of the…
The artwork titled Lesbians having sex by a harikata (dildo) was created by the artist Utagawa Kunisada. This piece dates to about 1840. The print originates from the Edo period in Japan.
In the vibrant, bustling world of nineteenth-century Edo, where the lights of the Kabuki theater served as the heartbeat of urban culture, Utagawa Kunisada captured a rare moment of stillness. His Portrait of Iwai Kumesaburō II is not merely a depiction of a man, but a profound meditation on identity and status. The subject, a celebrated onnagata—an actor specializing in female roles—is presented here not in the flamboyant, transformative costumes…
In the delicate interplay of ink and aged paper, the Memorial Portrait of the Actor Ichikawa Ōmezō I emerges as a profound testament to the enduring spirit of the Edo period. Created in 1858 by the legendary Utagawa Kunisada, this hanging scroll is far more than a mere likeness; it is a soulful encounter with a titan of the Kabuki stage. The portrait captures Ōmezō I in a moment of…
Ichikawa Danjûrô as Unno Kotarô Yukiuji (Disguised as Yamagatsu Buô) from a Kamoise at the Ichmuraza Theatre1828
12
View of Fuji from Miho Bay, May1830
13
Actor as Nikki Danjo1857
14
Boy's FestivalMinneapolis Institute of Art
15
The Spectre
16
Ronins attack on the house of lord Kira (left panel of a triptych)
17
Ohnomatsu_Midorinosuke
18
Dietary Life Rules
19
The Actor Ichikawa Kodanji IV as Subashiri no Kumagoro1859 · Brooklyn Museum
20
The Hell Courtesan1850
21
Seascape
22
Portrait of Hiroshige
23
The Ghost
24
Surimono
25
The Actor
26
Sumo
27
Kagamiiwa Hamanosuke, sumo wrestler
28
The Actor in the Ichikawa Family
29
Fifty three Stages of the Tokaido (Tokaido Gojusan)
30
The Actor Playing a Farmer
31
Genji
32
The Actor Reading a Scroll
33
The Actor
34
The Actor in Female Role
35
Moonlight View of Tsukuda with Lady on a Balcony
36
Goemon Ishikawa and his son Goroichi
The four subjects that come back most often in these originals, each with its finest example.
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Utagawa Kunisada | Paintings from this list |
|---|---|---|---|
 Brooklyn Museum |
Brooklyn | 3 | Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig, The Kabuki Actor Kawaharazaki Gonjuro as Kagekiyo, The Actor Ichikawa Kodanji IV as Subashiri no Kumagoro |
 Metropolitan Museum of Art |
New York | 1 | Portrait of Iwai Kumesaburō II |
 Minneapolis Institute of Art |
Minneapolis | 1 | Boy's Festival |
Pick a decade to see the original that defines it.
The woodblock print titled Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig captures a singular moment of theatrical intensity. Created by Utagawa Kunisada in 1825, the work focuses on the Kabuki actor Ichikawa Danjuro VII. The figure is frozen in a moment of dramatic tension, defined by the weight of the axe and the starkness of the white wig.
The artwork titled Lesbians having sex by a harikata (dildo) was created by the artist Utagawa Kunisada. This piece dates to about 1840. The print originates from the Edo period in Japan.
Sumo Spectators is a woodblock print by the artist Utagawa Kunisada. This work is a representation of a traditional Japanese scene. The piece is signed and dated 1853. It belongs to the Ukiyo-e art style.
Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig (1825), Brooklyn Museum, Brooklyn. The Kabuki Actor Kawaharazaki Gonjuro as Kagekiyo and Sumo Spectators (1853) come next.
39 years old: Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig dates from 1825, and Utagawa Kunisada was born in 1786.
Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig, The Kabuki Actor Kawaharazaki Gonjuro as Kagekiyo, Sumo Spectators, Sumo wrestler Somagahana Fuchiemon, Lesbians having sex by a harikata (dildo), The Actor Kawarazaki Gonjuro I as Osarabakuzo Denji, Portrait of Iwai Kumesaburō II, Memorial Portrait of the Actor Ichikawa Ōmezō I, Four seasons: Spring, Summer, Autumn, Winter and Sexual Life Rules. The ranking above gives each one's year and museum.
Our catalog holds 37 works by Utagawa Kunisada, dated from 1825 to 1859.
Mostly in Brooklyn Museum (Brooklyn), Metropolitan Museum of Art (New York) and Minneapolis Institute of Art (Minneapolis). The museum table above lists them all.
In 1850s: 6 of the 36 works on this page were made then, Sumo Spectators among them.
On this page, the earliest is Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig (1825) and the latest The Actor Kawarazaki Gonjuro I as Osarabakuzo Denji (1859).
Men (11), Edo period (5) and Theaters (5), across the 36 works on this page.
Woodblock Print, for 7 of the 36 works on this page.
Ukiyo-e, judging by the originals on this page.
Ichikawa Danjuro VII Wielding an Axe wearing a White haired Wig, The Kabuki Actor Kawaharazaki Gonjuro as Kagekiyo and The Actor Ichikawa Kodanji IV as Subashiri no Kumagoro: the Brooklyn Museum, Brooklyn holds 3 of the works on this page.
Utagawa Kunisada, born Sumida Shōgorō IX in the vibrant district of Honjo, Japan, stands as arguably the most celebrated ukiyo-e artist of the 19th century. His prolific output and unparalleled commercial success cemented his position as a titan amongst his contemporaries—Hiroshige, Hokusai, and Kuniyoshi—establishing him as the undisputed champion of color woodblock printing during the Edo period. While European collectors initially regarded these masters as inferior to classical ukiyo-e artists, a resurgence of appreciation in the mid-20th century has rightfully elevated Kunisada’s stature, recognizing him as one of the foremost figures in Japanese artistic history.
Kunisada's formative years were marked by familial stability stemming from his father’s modest ferry service business, a circumstance that afforded him a degree of financial security uncommon for artists of his time. His father, an amateur poet, instilled in Kunisada a deep passion for literature and artistic expression. Recognizing his innate talent, the legendary Toyokuni I, the dominant figure of the Utagawa school and a renowned Kabuki designer, took Kunisada under his wing as an apprentice. This apprenticeship imparted invaluable knowledge of theatrical art and printmaking techniques, solidifying Kunisada’s connection to the Utagawa lineage. The studio name kuni-sada, derived from Toyokuni I's surname, symbolized this heritage and foreshadowed Kunisada’s own enduring legacy as a leader in the field.
As his career blossomed, Kunisada became a master of capturing the ephemeral beauty of the "floating world." His work is characterized by an extraordinary ability to breathe life into his subjects through vibrant colors and meticulous detail. He achieved unparalleled success in several distinct genres:
The technical brilliance of Kunisada lay in his ability to push the boundaries of woodblock printing. He utilized a rich palette that became synonymous with the aesthetic of late Edo Japan. His compositions were not merely decorative; they were narrative powerhouses that reflected the social pulse of the era, from the high drama of the theater to the quiet elegance of the tea house.
The historical significance of Utagawa Kunisada cannot be overstated. He was not just a painter but a cultural chronicler who documented the zenith of Edo's urban culture. His work bridged the gap between traditional craftsmanship and the burgeoning commercial art market, making high-quality art accessible to a wide audience. Though his fame faced a period of relative obscurity in the West during the early modern era, contemporary scholarship has reclaimed him as a central pillar of Japanese art.
Today, we look back at Kunisada not merely as a successor to Toyokuni I, but as an artist who redefined the possibilities of the ukiyo-e medium. His influence can be seen in the evolution of graphic design and the continued reverence for Japanese printmaking worldwide. To study Kunisada is to witness the very heartbeat of 19th-century Japan, captured in ink, pigment, and wood.
