A painting identified as depicting the high-ranking courtesan Hanaōgi of the Ōgiya brothel (likely the fifth to bear this name) shows her looking back while on promenade, with a waka poem inscribed above her. She is dressed in multiple layers of kimono, with a tan-coloured outer robe (uchikake) embroidered with open fan crests and decorated with images of Lion Dance (shishi mai) hats. These hats are made from a pair of stacked fans, topped with a large peony and trailing hair meant to resemble the jaws and mane of a lion. She loosely holds the bottom of her outer robe closed with one hand, which peeks out from beneath her cascading blue obi belt, decorated with white and gold clouds. The top of her robe is left open, revealing a red polka-dot undergarment.

Her elaborate torobin (lantern locks) shimada hairstyle is decorated with a large transparent yellow comb, a hair stick, and several hairpins, two of which at the front, bear small fans. The recurring fan motif on her outer robe, hairpins, and personal crest links her to the prestigious Ōgiya (House of the Fan) brothel. Her identity is further hinted at through the lion dance hat motif on her robe, as her name translates to “flower fan,” the same materials from which these hats are made.

What confirms her identification, however, is a contemporary print by Kitagawa Hidemaro (active 1801–1818), titled Hanaōgi of the Ōgiya, Kamuro Yoshino and Tatsuta, a copy of which is held at the Museum of Fine Arts, Boston (Accession No. 11.2142). In this print, Hanaōgi is depicted wearing an ensemble nearly identical to that in the painting, with a tan outer robe adorned with lion dance hats and a dark-coloured obi featuring similar Chinese-style clouds. This strong visual correlation suggests that both depictions were likely based on an outfit Hanaōgi wore during public appearances.

Although the work is unsigned and bears only a highly stylised seal that is difficult to decipher, stylistic analysis attributes the painting to an artist of the Kitagawa school. A later label on the painting’s scroll box is inscribed with the name 春八於壱(?), which may be read as Haruhachi Kaichi. The name Haruhachi potentially identifies the artist as a student of Kitagawa Utamaro II (?-1831(?)), who was also known by the art name Koikawa Harumachi. Another contemporary artist believed to have studied under Harumachi is Banki Harumasa (active 1789–1818), who, like Haruhachi, appears to have received the character Haru from Harumachi.