Case Study with Technical Commentary
Version without technical commentary


Home page

Watanabe seals

Doi seals

Other publishers

Artists

Articles

Calendar

Books

Dubious distinctions

Links

Title: Kawaguchi Ko (Lake Kawaguchi)
Artist: Kawase Hasui
Publisher: Doi
Date: Showa 7.5 (May, 1932)

Click for medium view

State A

Publisher: Doi Teiichi
Carver: Katsumura
Printer: Matsushita
Source: Thomas Crossland
Click for larger views [medium] [large]


Click for medium view

State B

Publisher: Doi Hangaten
Carver: Harada
Printer: Ito
Source: online auction - composite image
Click for larger views [medium] [large]


Click for medium view

State C

Publisher: Doi Hangaten
Carver: Harada
Printer: Yokoi
Source: Marc Kahn
Click for larger views [medium] [large]


Click for medium view

State D

Publisher: Doi Eiichi
Carver: Harada
Printer: Hamano
Source: Andreas Grund
Click for larger views [medium] [large]


Deterioration of the Key Block's Finer Lines

1. Tree Trunk Lines

In print A, the tree trunk next to the sailboat has about seven separate line segments running parallel to the line of the trunk, about a millimeter in from the left side of the trunk. This series of line segments starts just a bit higher than the highest point on the sail, and extends down about 5 centimeters, to below where the bough comes across the trunk.

In print B, the upper part of this line has run together, but there is still a separate line segment below the bough. In print C, this is a single line of varying thicknesses, but definitely a solid, connected line. In print D, the same line has become so coarse as to almost blend in with the left line of the trunk.

Technical Commentary: What is noticed is that wear and tear has taken its toll. There has been some minor recutting of the original key block. What is more evident, however, is the surface treatment of the tree trunks. Print "A" has a "speckled" surface while prints "B" and "C" have none. Then print "D" shows up with the "speckled" surface again. Reuse on "D" of the "speckled" color block cut for "A"? Looks like it. There is definitely wear and tear of the key block black markings and outline of the tree trunks. The "kento" of the brown tree trunk area block on print "D" is either poorly positioned or the printer flubbed the printing of the brown block. Another possible explanation is that the brown block of print "A" was reused, and over the years had dried out sufficiently to cause shrinkage of the block, ergo, misalignment.

2. Dots on the Shore

There are dots on the shore to suggest shrubbery. In some places, the dots on prints A and B are more distinct and separate than the dots on print C. On print D, there are many places where the dots have run together.

Technical Commentary: Looks like the green color block was a victim of wear and tear. Until print "D", however, the variation in intensity of the dots appears to be more the amount of ink and the intensity of baren pressure - or more simply how the printer felt as he did the printing. At print "D" the block is clearly worn with thicker lines and clusters of dots bunching or missing altogether. The firm short diagonal line breaking the shoreline at the left of the sail is weaker in "B" but stronger in "C" (printer baren pressure) and again weaker in "D" (due to wear of the block). The dots are beginning to run together on "C" and have run together on "D".

Unexplained Anomalies

1. Shading on the Lowest Bough

Prints B,C and D have darker shading in the lowest bough of the tree, which is consistent with the shading in the other parts of the tree. Print A is missing that shading at the lowest part of that bough, even though it is present in the upper part.

Technical Commentary: Can't tell from the copies how the two colors (perhaps three or four which would mean three or four different color blocks) are sequenced in the printing. Is light color applied first then a dark shade of green or vice-versa? On prints "B", "C" and "D" it seems that a thin yellow tint is applied over the light green. In print "A" it seems that the darker color was applied last and no thin tint was used. If after the first prints were produced, Koitsu or Teiichi (or whoever was in charge) decided that the leaves should reflect sunlight it is quite possible that a new carver was called on to either recut the yellow block or make a new one to include the yellow tints found on the leaves in later prints. Apparently, Katsumura was not called upon (and there are any number of reasons, personal, financial, other commitments, etc.) and Harada did so. The amount of yellow to be applied was a function of the printer and perhaps Matsushita (again for whatever reason) was no longer available and Ito did the job.

2. The Sail's Reflection in the Water

The sail's reflection in the water is the same shape in prints A, B, and C. In print D, it is a different shape, with a curve to the left. Does this mean that (at least) part of the wood block was replaced?

Technical Commentary: There are two conditions (it seems when comparing the copies) that have significance. The original blue water block was recut between the printing of "A" and "B" so that two blocks exist for the blue printing. In addition a yellow block (perhaps the same as the yellow block for the tree bough highlights) was applied in prints "B" and "C" or left out in prints "A" and "D". The "D" block appears to have a new blue block with the irregular cutouts seen on the resulting water reflection.

3. Shading on the Sail

The lines in the sail in print A have a blue highlighting. There is a yellow shadow on the sail in prints B and C. Print D is missing both of these features.

Technical Commentary: The blue highlight on the "A" print was simply omitted in later copies. A minor recutting of the original blue block removing the blue line would be a simple quick procedure. However, once done, without cutting new blocks, it could not be reprinted on later prints. The yellow color is simply a matter of altering (or making new) the yellow block already devised for the tinting of leaves, etc.

4. Four Ripples in an Arc

On prints B and C, there is a pattern of four dark ripples in an arc, starting at the left margin and stretching through the bottom of the sail's reflection to the tree. Print A is missing all of these ripples except the one next to the margin. On print D, the rightmost ripple (the one next to the tree) is missing.

Technical Commentary: As noted previously in "The Sail's Reflection in the Water" the original blue water block was recut. In addition a new dark blue block was cut for the ripples which included the new upper ripples. It was used in prints "B" and "C". Notice that the "kento" (or alignment marks) had to be recut after print "B" or more care was taken in placing the print on the block for print "C". In print "B" the ripples run into the tree trunk. Subsequent printings also show signs of wear with later removal of some ripples. The highest ripple next to the leftmost trunk, clearly shown on "B" and "C", is missing altogether on "A" and "D".

Position of Signature and Red Hasui Seal

While the position of the signature seems to be consistent, there are slight differences in the relative position of the red Hasui seal in each of the prints. This leads one to the conclusion that the signature is part of the keyblock, while the seal is an actual seal applied independently of the blockprinting process.

Technical Commentary: One block is responsible for each, the signature and the seal, and accordingly are printed separately from each other. The signature may have been part of the key block and/or it could have been a separate block. The freshness of the signature on print "D" indicates, to me at least, that at that time it was separate from the key block. (I hope that it is not my computer printer that is causing this observation). The red block for the seal has been recut since print "A". It too leaves a slightly different impression. Placement may be a misalignment of the "kento" or sloppy printer work. The seal is a function of the printing system and not a separate "chop" mark applied after printing was complete. The Honolulu Academy of Art has a complete set of woodblocks (about ten each, carved both sides) for a print by Ishiwata Koitsu. These were prepared by Watanabe along with an example of each step (around 20 steps in all) in the printing process complete with the step being shown and ending with a fully complete print. The seal is on the last block along with other interim steps so that the blocks are fully utilized. The signature is on the key block.

Format of Publisher/Printer/Carver Information

Most Doi prints that I have seen have the multiple box format as in prints B, C and D. The format on print A is certainly the exception.

It is perhaps possible that the left margin text from print A was carved into the keyblock. If that were the case, then that area of the keyblock would have been removed for subsequent printings. The relative darkness of left margin text might seem to support this theory, as does the deterioration of the key block's finer lines. The publisher's info in the left margin of print A is equally dark as the title and date in the right margin. The left margin info of prints B, C and D is lighter than the keyblock text in the right margin, implying that it was applied as stamps, independently of the keyblock printing.

Technical Commentary: I agree with the Case Study up to a point, particularly the area of the disappearing key block side line of the picture in the area of the publisher's and carver/printer cartouches. However print "D" in addition to newly cut cartouches appears to have an intensifying of the blue water in that area effectively blending out the original line in that area. However, the cartouches were newly carved blocks as the timing of the print progressed. They were not a separate "chop" mark added after the print was finished.

Printer and Carver Information

It is hard to understand that print A is attributed to the carver Katsumura while prints B, C, and D are attributed to Harada. Indeed, the evidence seems to indicate clearly that these prints came from the same blocks. Some of the anomalies noted above defy explanation, but none of them support Doi's "claim" that there were different carvers.

According to what we know of the chronology of Doi's printers, the progression of printers is plausible: Matsushita (A), Ito (B), Yokoi (C), and Hamano (D). Both Matsushita and Ito worked for Doi in the early 1930's. Yokoi worked from the early 1930's through 1945. Hamano started printing for Doi in 1993.

Technical Commentary: Evidently Katsumura who carved print "A" was not called on (as noted earlier) to make desired adjustments to the blocks. Harada made the adjustments. It is possible that Harada died before print "D" was produced but the blocks as they then stood had been attributed to Harada. Subsequent prints would still have his name. The use of a Katsumura block, for instance, the brown bark of the tree trunks and the original key blocks would not alter the Harada cartouche of print "D". The question of the printer is different from the carver. The printer can be anybody as long as he/she is reasonably adept at printing. The somewhat cruder printing of print "D" may be due perhaps to Hamano's lesser ability but more importantly probably due to the wear and tear of the blocks delivered to Hamano for printing.

Summary

These dates, along with the deterioration of the keyblock lines and dots, give us a set of consistent evidence of the order in which these prints were produced. Print A is almost certainly a "first" printing, from 1932. Print B is probably from no later than 1935. Print C was produced sometime between the production date of Print B and 1945. Print D was produced in 1993 or sometime after that.

The unfortunate conclusion is that Doi was less than accurate in attributing work to carvers. By extension, the attribution of work to printers may also be inaccurate. This throws into question the wisdom of trying to use printers' seals to date Doi prints. However, even with this shadow of doubt, the chronology of printers is probably the best tool available to a collector attempting to age a Doi print.

Technical Commentary: I agree that print "A" is a first edition. Subsequent dating of prints "B" and "C" is more difficult based on the carver or printer. Of more importance is the publisher's cartouche. I would say that any print with the Doi Teiichi cartouche would have been done before Doi Teiichi died. After that the print cartouches contained Doi Hanga Ten which continued until Doi Eiichi took over and used his seal. Now Doi Eiichi is dead. What now? Are they still printing today, 12 days from the year 2000? Perhaps Dr. Grund should revisit Mrs. Doi Eiichi?


Original text as written and submitted by Marc Kahn for this article is his property, copyright © 1999, all rights reserved.

Your feedback is welcomed -- please send in your comments and suggestions.

Technical commentary contributed by ukiyo-e scholar Philip H. Roach, Jr..

"Kawaguchi Ko" - click for larger view



Except as noted, the original content herein is the property of
The Shin Hanga Skull & Bones Society (TM).
Copyright © 1999-2004. All rights reserved.

Comments?