One anthology is known for the New Year of 1827, the Kyoka and Records of People, Kyoka jinbutsushi, also published in Edo. The last Edo publication he illustrated was issued in 1822, and the first kyoka collection with his illustrations, Kyoka Poems by 50 Poets, Kyoka gojunin isshu, selected by Ki no Osamaru 8 was published in 1823 in Osaka. Shigenobu resided there from 1822 4 until the spring of 1823 (Nagata, idem), or 1825 (as proposed by Mirviss & Carpenter) 5, 1826 6 or simply the mid-1820s 7 when he returned to Edo. This also explains the addition 'from the Eastern Capital', Toto, to the signature. This design dates from the period Shigenobu lived and worked in Osaka. I believe instead that Shigenobu may have produced the commercial series from 1822/V, initially as oban prints, soon after his arrival in early 1822 (also designing a print later that year commemorating the name change of Arashi Tokusaburo into Arashi Kitsusaburo, 1822/IX, with Hokushu), and the nerimono surimono version only for the New Year of 1823. Indeed, Keyes 3 suggests that this series of surimono was produced at the same time as the festival that took place in 1822/V. Mirviss & Carpenter date this untitled series to VI/1822 2 a rather improbable date for the issue of a surimono series, although Osaka customs may have been different. Some of these prints are, indeed, direct counterparts of the designs in the surimono format. In addition to this series of surimono prints, Shigenobu also designed a similar series in the standard oban format, entitled The Nerimono Festival at Shinmachi, Osaka, Osaka Shinmachi nerimono, all on a yellow ground. This untitled series of dancers is based on the annual Nerimono Festival held in Shinmachi, the licensed quarters in Osaka.
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