Part 2

HARUNOBU(1724-1770). Key-blocks for a set of five book-illustrations by Harunobu, c. 1770. _Av. size_ (8¼×10¾). E, 2168-2172-1909. Presented by J. S. Happer, Esq. HIROSHIGE (1796-1858). Key-block for an early set of lateral prints by Hiroshige, entitled “Toto Meisho Saka Tsukushi-no Uchi-Yedo.” Series of steep roads in Yedo. Sub-title on face of print: “Aoizaka-no Dzu.” The reverse was used many years later for a set of views by Hiroshige and Toyokuni (Kunisada). (10¾×15 ½). E. 2166-1909. Presented by J. S. Happer, Esq. Key-block for a half-plate set of “Toto Meisho” (views of Yedo) by Hiroshige. On the reverse is one of the colour-blocks for each half. (15×10¼). E. 2167-1909. Presented by J. S. Happer, Esq. HOKKEI, Todoya ShunyoÌsai (c. 1780-1850). Key-block for a _Surimono._ A woman with writing materials. (8 3/8 ×8½). 261-1903. KAGESHIGE(19th century). Key-block for a _Surimono._ Fan and incense-burner, each on a stand. (9×10¼). E. 4945-1903. The back is engraved to print two of the colours. KIKUSAI(19th century). Block for book-illustration. The three long-lived men—ToÌboÌsaku (9,000 years), Urashima TaroÌ (8,000 years), and Miura-no-Osuke (106 years). (7×10½). E. 4941-1903. On the back are several incomplete engravings. ODAKE (19th century). Wood-blocks (8) for illustrations to “Mitford’s Tales of Old Japan” (1871) with a set of proofs. Various sizes. E. 1401-1888. SADANOBU _(worked_ c. 1820-1840). Key-block for a colour-print. Daikoku and Okame wrestling before the rest of the Seven Gods of Good Fortune. (6½×9 3/8). E. 4942-1903. The back is engraved to print gold. SEIKA (19th century). Key-block for a colour-print. Landscape with Mount Fuji and Storks. (6 3/8 ×8½). E. 4936-1903. SUNKICHIROÌ, Shunka (19th century). Key-blocks (8) for book-illustration. “ZoÌshoÌ Mono-gatari.” History of Soldiers. By HakoÌ ShoÌbei. Published by Fusi Kiken at Kyoto, Osaka and Yedo, A.D. 1846, 3rd month. Cut both sides. (8×13). 381, 382, 387, 388, 393-396-1895. SUGISAKI, S. _(Living Artist.)_ Engraved wood-block, showing a decorative design of bamboo plants: designed, engraved and printed by S. Sugisaki. (51×18 5/8). E. 3790-1910. A print from the above. E. 3790a-1910. Presented by the Artist. SUIKO (19th century).

Key-block (part missing) for a colour-print of a fan-design. “Shiki Bijin Sugatazoroye.” Beauties representative of the Four Seasons. Spring. A woman of the Yoshiwara with her attendant (Kamuro). One of a set of four. (9×8¼). E. 4940-1903. The back is engraved to print gold and a colour. Key-block (part missing) for a colour-print of a fan-design. Shiki Bijin Sugatazoroye. Summer. A geisha enjoying the evening breeze. (8¾×8). E. 4938-1903 The back is engraved to print one of the colours.

UTAMARO II. _(worked_ c. 1800-1840). Wood-blocks (7) used in the production of a colour-print. (15×10½). E. 4316-4322-1909. UNSIGNED (19th century).

Key-block for a colour-print. Farmer turning an irrigation water-wheel, in rice fields. (8¾×9¾). E. 4935-1903 The back is engraved to print one of the colours. Key-block (on each side) for two colour-prints. Chrysanthemums and butterfly; on the back, peonies in a flower-vase (9¾×10¾). E. 4933-1903.

NOTE.—_Proofs were taken (in 1910), by a Japanese printer, from each of the above, except in cases where such were already in the Collection. They can be seen on application in the Students’ Room of the Department._

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PAPER

Japanese paper, of the kinds used for artistic purposes, is made from the inner bark of various plants, chiefly the _Broussonetia Papyrifera, Edgeworthia Papyrifera_ and _Wickstrœmia Canescens._ The young shoots of the plant are cut in the withy stage; the fibre freed from the wood, and the skin and green parts of the bark, and edges of knot-holes and other defective parts are cut out. The selected residuum is then laid in running water for several days, and boiled in an iron kettle with lye, till it is quite soft and pulpy. The pulp is next washed with fresh water until the water runs off without discolouration. The process of dealing with this pulp does not greatly differ in principle from the European method; except that the scoop-net is not of wire, but of fine parallel bamboo splints or silk net toughened with Shibu (a preparation containing a large proportion of tannic acid). There is no watermark in Japanese paper; but patterns are sometimes produced by arrangements of bamboo splints woven, in net fashion, with silk or hemp thread _(Mon-shi—_patterned paper). The Department of Engraving, Illustration and Design possesses a collection of specimens of various Japanese papers.

The fine quality of the colours in old Japanese colour-prints is due, to a considerable extent, to the nature of the paper and especially to its tough but highly absorbent character.

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BOOKS OF REFERENCE

The following works contain descriptions of the various technical processes mentioned above.

REIN, J. J. The Industries of Japan. (Paper, p. 389.) (10×7.) London, 1889. WASHINGTON: _U.S.A. National Museum._ Report of the Smithsonian Institution for the year ending 30 June, 1892. Japanese Wood-cutting and Wood cut Printing, by T. Tokuno. Edited and annotated by S. R. Koehler (p. 222). _Illustrated._ (9×9.) Washington, 1893. WOOD-CUT Printing in Water-colours, after the Japanese manner. _Illustrated._ (In _The Studio,_ vol. 3, pp. no, 144. 1894.) LONDON: _Victoria and Albert Museum Handbooks._ Japanese Colour-prints, by Edward F. Strange. (Technique, chapter xi.) 3rd edition. (8×6.) London, 1910. SAKAKIBARA, Yoshino. Bungei Riusan. Essays on Japanese literature, with additional chapters describing the manufacture of paper and the processes of printing and engraving. (The Museum copy has MS. translations of the portion relating to engraving.) _Cuts._ 8 vols. (10×7.) _ToÌkyoÌ,_1878.

NOTE.—_The Department of Engraving, Illustration and Design includes a large collection of Japanese Colour-prints and Drawings, which can be seen on application in the Students’ Room (Room 71) at any time (except on Sundays) when the Museum is open to the public._

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[ORIGINAL DRAWING FOR THE SERIES OF PRINTS CALLED “THE 100 POEMS EXPLAINED BY THE NURSE” ]

HOKUSAI.—Original drawing for the key-block of an unpublished colour-print in the series called “The Hundred Poets explained by the Nurse.” A junk, with straw sail, conveying three travellers; at the bow a breaking wave. At the top right-hand corner is a poem by Hoshoji no Nyudo Saki no Kwampaku Daijo Daijin. O’er the wide sea plain, / As I row and look around, It appears to me / That the white waves, far away, / Are the ever-shining sky. From a drawing in the Victoria and Albert Museum. J. D. 1447.

[WORKING PROOF OF A COLOUR-PRINT SHOWING REGISTRATION MARKS.]

TOYOKUNI. I.—Working proof from the key-block of a colour-print. A theatrical scene; with the actors Nakayama Tomisaburo and Ichikawa Komazo in the parts of the Geisha Sankatsu and Hanshichi. The artist has added a wash of red colour to the print, with the following MS. note to the printer, “Please gradate the colour like this.” From a print in the Victoria and Albert Museum. J. 8494.