SHASEIGA (Sketches), SHITAZU (Rough Sketches), HANSHITA (Block Copies), KYOGOZURI (Proof Sheets), HANGI (Wood Blocks).
These things are necessary for making prints. To state in brief the manner in which prints were produced in the days of Hiroshige, the artist draws a rough sketch of a picture. After finishing it, he consults a publisher regarding the form of issue. When this is decided, the artist makes a finished design without colour on a regular size sheet of thin paper and sends it to a wood engraver. The picture which is thus ready to be transferred to the wood block is called Hanshita-ye or block copy. Prints of this copy are called Kyogozuri or proof sheets. The number of these proof sheets struck off depends on the number of colours to be employed. These proofs are sent to the artist who paints one of them as a model from which to produce the finished print. He also colours in red a part or parts to be coloured on the rest of the sheets. All are then sent to a wood engraver together with the model. The blocks engraved according to these red coloured sheets are called colour blocks. (Block copy and trial proof are both produced on Usumino (thin paper). These blocks are then given to a printer who prints a trial sheet in accordance with the model and shows it to the artist. When this is approved, a set of 200 sheets of pictures is printed and sent to a publisher. It will thus be seen what an elaborate process must be gone through before the finished colour prints are supplied to the public.
Sketch Album 1 Vol. Festival of the Inari Shrine, Teppozu.
Mr. W. Hayashi
Sketch Album 1 Vol. Various designs.
Sketch 1 sheet. Sacred dance.
Sketch Album 1 Vol. No dance of the Hosho School. Dated 1848.
Rough Sketch 1 sheet. Water falls at Fudo Shrine, Oji.
Rough Sketch 1 sheet. Play. Scene of Tsuzumibashi.
Rough Sketch 1 sheet. Play. Scene of Tsujido.
Rough Sketch 1 sheet. First Scene of Chushingura Drama.
Rough Sketch 2 sheets. Farce.
Mr. K. Ishii
Block Copy. Fan-shaped sheets. 1 copy.
Natsu no Sanseki Kawasuzumi.
Two river boats each with a beauty on board enjoying cool of the evening.
This block copy bears two censors' seals in black, each differing in shade of colour. This is proof that before sending it to a wood engraver, the publisher got a copy censored by the district officials. Besides, there is a seal of the Publisher, Wakasaya, stamped outside the border.
Mr. Y. Takei
Proof Sheet 1 sheet of fan-shape. Meiyo Shokunin Zukushi no uchi Katanakaji, Two swordsmiths forging sword.
Block Copy 2 sheets. Tanzaku Shape. Crane in Pine tree and Pheasant in Plum tree.
Mr. J. S. Happer
Block Copy. 3 sheets. Tanzaku Shape. Crane in Pine tree, Tortoise among weeds and Sparrows in Bamboo tree. Drawn by Shigenobu, Hiroshige's pupil.
Block Copy. Triptych.
Sumidagawa Yuki no Asa. Morning scene of the Sumida in Snow.
The fact that these block copies remain uncut shows that for some reason the design was never engraved.
Mr. Y. Takei
Proof Sheet. 5 sheets. 0-ban Tateye. Toto Kyuseki Zukushi. Grand series of the ruins of Yedo.
Mr. Y. Takei
Proof sheet. 11 sheets. Oblong, the same size and prints as No. 210.
Model for finished print. 1 sheet.
Hira no Bosetsu, Evening Snow at Hira, from Omi Hakkei.
This is the model employed for making a print contained in the series No. 57. This model sheet contains a notice to the printer concerning the shades of color and the mode of printing.
Mr. K. Ishii
Old Key-Block. Two tanzaku on the block representing birds and flowers. There remains no colour-block.
Mr. S. Matsui
Old Key-Block. Two Chu-ban on one
block representing Numazu and Hara on the Tokaido.
Illustrations No. 201 on the plate No. 68 show the prints made from this block.
Mr. S. Watanabe