background is dark, not white, mica and this background appears in the space formed by the curving over of the actor’s top-knot as well as elsewhere. The kamishimo visible at the left shoulder probably was printed in blue in all impressions of this state, though in most cases it shows now, through the action of time or otherwise, either as solidly dull yellow or as a blue that still is in process of completing its change to the other tone. A color block around the eyes appears never to have been used in this subject; but those who have an opportunity to study impressions in different coloring from that of the supposed first state which we have attempted to describe, and which are not so recent as to have been made with the help of photography, are advised to observe the drawing of the hands. In any case the variations in the calligraphy of the signature show that at least one new block was cut, probably very soon after the first appearance of the print and certainly long before the later copies were made.
We have before us reproductions in nineteen different books and catalogues, but in most of them it is impossible to tell which state is represented, especially in the calligraphy; and for this reason we refer only to Rumpf number 16, the Vignier-Inada Catalogue, number 264, Kurth, Nakata, Noguchi and Ukiyo-ye Taika Shūsei which illustrates the subject in what we consider the proper color.
Ōban. Dark mica ground. Signed: Tōshūsai Sharaku.
Ledoux Collection.
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