Currently Documented Edition Signature and Seal Markings:
||+ Seal A
||+ Seal B
[For illustration of seals listed by seal code letter, see the Seals article.
For edition characteristics applicable to this series as a whole, see the Edition article.]
This woodblock print was produced from an original painting on silk dating from the late 1920s whose current location is unknown.
The indentification of this design as number 37 is original to Rakusan who published the print as the 37th design in his series of one hundred woodblock prints called 楽山花鳥畫譜, Rakuzan Kachou Gafu
, lit. 'Rakusan's Flower and Bird Print Series'.
Initial edition I publication of 37 was in November 1930 (or perhaps slightly later) in installment nineteen (of fifty).
However, additional edition I reprintings may have continued until 1933.
The copy illustrated here is typical of edition I.
Rakusan considered 37 to be one of his best designs and included edition I copies of it in at least four formal presentation albums between 1935 and 1940.
(Only one of these albums is known to be in a public collection, see below.)
That edition I copies were still available so late makes it extremely unlikely that an edition II would have appeared before studio closure in 1941.
86 was reprinted at least in a small edition III print run sometime between 1948 and 1955.
The colors used in edition III copies of 86 vary subtly but significantly from those used in edition I.
37alt, a woodblock print of an alternate sketch of the same design subject was issued the month before the initial printing of 37 as a preview advertisement.
Copies in Public Collections:
Edition I: Mead Art Museum at Amherst College, Amherst, MA, USA; (AC 2004.151.04) [illustrated online]; from an October 29, 1935 presentation album.
Edition I: Museum of Fine Arts, Boston, MA, USA; (1952) 52.119 [not illustrated online except as a slightly-cropped greeting card reproduction].
Various kinds of silverberry or oleaster (genus Elaeagnus
), グミ, ぐみ, 茱萸, or 胡頽子, gumi
, are found throughout Japan in a bewildering array of closely related species, subspecies, and cultivars.
The tart berries are prized by both people and birds.
The form named by Rakusan as あわどりぐみ, アワドリグミ, awa-dori-gumi
, is interpreted to be from 淡鳥茱萸, lit. 'pale bird-silverberry'.
This variety has not been located in current botanical literature, but it appears to be an apt description since the berries are small and paler than those of most silverberries.
It is tentatively identified here as a form of the common Japanese Silverberry (Autumn-olive, Oleaster, Elaeagnus), Elaeagnus umbellata
, 秋茱萸, アキグミ, aki-gumi
, lit. 'autumn-silverberry'.
(Siberian) Blue Robin, Erithacus (Luscinia) cyane, 小瑠璃, 小琉璃, こるり, コルリ, ko-ruri, lit. 'small lapis-lazuli', is a native Japanese species.
Rakusan illustrated this same species in two different designs in this series, 37 and 6.
For the title-caption of 6 Rakusan used the modern name just mentioned.
However, for 37 he used a today-non-standard name, 瑠璃駒鳥, ruri-gomadori, lit. 'lapis-lazuli robin'.
(駒鳥, komadori, is the name for Japanese Robin, Erithacus akahige, which Rakusan used in design 89.)
Although not named in the title-caption, the composition also includes three hanging chrysalides of Bagworm Moth, (family Psychidae), ミノムシ, みのむし, 蓑虫, mino-mushi, lit. 'straw-raincloak insect', whose caterpillars conceal themselves beneath a bag-like cloak of twig and leaf litter.
The alternate sketch also includes a hanging chrysalis.
Rakusan reinforced that the season is early winter since although snow is falling, there are still the remnants of a frost-beaded spiderweb in the lower right of the image. The alternate sketch omits the spiderweb.