DIAGRAM:—The Baren.—Its internal construction
DIAGRAM:—The Baren.—Position of pad in sheath.
DIAGRAM:—The Baren.—Method of use.
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. [pg 15] Subject—Theatrical scene. The actors Nakayama Tomisaburo and Ichikawa Komazo in the parts of the Geisha Sankatsu and Hanshichi. Plate III. J. 8494. |
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| 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. |
| 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.