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.
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 Shunyōsai (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—Tōbōsaku (9,000 years), Urashima Tarō (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.
SUNKICHIRŌ, Shunka (19th century). Key-blocks (8) for book-illustration. “Zōshō Mono-gatari.” History of Soldiers. By Hakō Shōbei. 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.
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.
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.

PAPER

Japanese paper, of the kinds used for artistic purposes, is made from the inner bark of various plants, chiefly the Broussonetia Papyrifera, Edgeworthia Papyrifera and Wickstrœmia Canescens. The young shoots of the plant are cut in the withy stage; the fibre freed from the wood, and the skin and green parts of the bark, and edges of knot-holes and other defective parts are cut out. The selected residuum is then laid in running water for several days, and boiled in an iron kettle with lye, till it is quite soft and pulpy. The pulp is next washed with fresh water until the water runs off without discolouration. The process of dealing with this pulp does not greatly differ in principle from the European method; except that the scoop-net is not of wire, but of fine parallel bamboo splints or silk net toughened with Shibu (a preparation containing a large proportion of tannic acid). There is no watermark in Japanese paper; but patterns are sometimes produced by arrangements of bamboo splints woven, in net fashion, with silk or hemp thread (Mon-shi—patterned paper). The Department of Engraving, Illustration and Design possesses a collection of specimens of various Japanese papers.

The fine quality of the colours in old Japanese colour-prints is due, to a considerable extent, to the nature of the paper and especially to its tough but highly absorbent character.