Page:The Surviving Works of Sharaku (1939).djvu/258

 Rockhill Nelson Gallery of Art in Kansas City are in less good condition than the one we select, but both show the pattern and both have grounds that seem never to have had any trace of tinting.

Rumpf for his number 80 rephotographs from the Vignier-Inada Catalogue.

The subject is one of Sharaku’s finest designs in hosoye form and the impression shown here was printed with very great care in all its elaborate details.

Hosoye. Untinted ground. Signed: Sharaku.

Museum of Fine Arts (Spaulding Collection).

egawa Kikunojō Hanazono Gozen, the wife of Ōtomo no Kuronushi who is represented in the central print of the triptych of which this is the right-hand sheet.

The only colors that remain distinguishable are the faded rose of the kimono and a little pale yellow elsewhere.

There was no impression of this subject in Paris when the Vignier-Inada Catalogue was compiled and Rumpf in his number 81 rephotographs the inscribed copy, signed Sharaku, from the Ritchie Catalogue which he says was on a faded ground that may once have been yellow.

The only impression in America is deeply trimmed on the right so that the signature is invisible and only the inside portion of the publisher’s mark can be seen.

Hosoye. The background is in bad condition but shows no trace of having been tinted.

Schraubstadter Collection.