[DIAGRAM:—The _Baren._—Position of pad in sheath. ]
DIAGRAM:—The _Baren._—Position of pad in sheath.
[DIAGRAM:—The _Baren._—Method of use. ]
DIAGRAM:—The _Baren._—Method of use.
[DIAGRAM:—Printer’s Desk. ]
DIAGRAM:—Printer’s Desk.
20. WORKING PROOF from the key-block, with colour added by the artist;
and the following note in his writing, “Please gradate the colour
like this.” The register marks are seen at the sides. By Utagawa
Toyokuni I. A.D. 1769-1825. _Subject_—Theatrical scene. The actors
Nakayama Tomisaburo and Ichikawa Komazo in the parts of the Geisha
Sankatsu and Hanshichi. _Plate_ III. J. 8494.
21. PRINTING COLOURS. Specimens of colours as mixed by printers for use,
in glazed earthenware bowls, with small brushes. E. 3892-3895-1910.
22. BRUSHES made of horse-hair. The smaller brushes are used for
applying the colour to the blocks. E. 4324-4332-1909.
23. RUBBERS _(Baren)_ with which the print is taken. E. 4347-4348-1909.
These are made with bamboo sheath fibre, twisted into cord and
coiled edgeways round a card centre; then fixed into position with
paper string of two or three strands and paste. This is then
enclosed within a large soft bamboo sheath, the ends of which are
twisted and turned upwards to make the handle. The sheath must be
very fine and be softened with a little oil before use.
24. DIAGRAM, showing internal construction of the pad of the _Baren_
(fig. 3).
25. DIAGRAM, showing position of the pad within the sheath of the
_Baren,_ before the ends of the latter are turned over, and twisted
to make the handle (fig. 4).
26. DIAGRAM, showing how the _Baren_ is held in the hand, and the line
it follows when used (fig. 5).
27. DIAGRAM, showing printer’s desk, with block in position, resting on
pads of damp cotton (fig. 6).
28. WOOD BLOCKS (7) used in the production of a colour-print by Utamaro
II. (worked c. 1800-1840 A.D.), with a set of progressive proofs
made by a modern Japanese printer. E. 4316-4322-1909.
The KEY-BLOCK, for printing the black outlines only.
First printing from KEY-BLOCK.
Second printing, with GREY added to proof from key-block. The
block is also cut for the twelfth printing, GREEN.
Fifth printing, PALE BLUE. The block is also cut for the
fourth printing, BROWN.
Sixth printing, BLUE PATTERN. The block is also cut for a
printing not used.
Seventh printing, BLUE. Eighth printing, YELLOW
Ninth printing, GREY. Tenth printing, BROWN (second time
used).
Eleventh printing, BROWN PATTERN. The block is also cut for
the third printing, PALE PINK.
Thirteenth printing, CRIMSON. Fourteenth printing, CRIMSON
PATTERN. Fifteenth printing, PURPLE.
Sixteenth printing, BURNISHED BLACK, giving the completed
print.
NOTE.—The above are exhibited, in a separate case, in the Museum. In the
Students’ Room is a set of proofs showing separate printings from each
block. The key-block of the above series is original; the colour-blocks
were made in the and half of the 19th century.
The Museum also possesses the following original Woodblocks.
BAIREI, Kono (d. 1895). Wood-blocks (4) used for a leaf of “The
Hundred Birds.” 1881. Cut both sides. (9¼×14¼). 583-1886.
Exhibited with an original drawing and a proof from one of the
blocks. The Museum contains the whole of the original drawings,
which were specially preserved, and a copy of the publication.
BUNKEN (19th century). Key-block for a colour-print. Eagle flying
over the sea. (9½×10 3/8) E. 4934-1903 The back is engraved to
print one of the colours, c. 1880.
GAKUTEI, Harunobu _(worked_ C. 1800-1830).
Key-block for a _Surimono._ A carp swimming upwards. (8½× 8
3/8) 262-1903.
Key-block for a _Surimono._ Geisha and peacock. (8¼×10).
4946-1903.
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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