with artist's CWB monogram at lower left with title cartouche, NEGISHI.1916, signed below in red pencil Charles W. Bartlett with red copyright mark above and publisher's seal Watanabe on lower left margin
oban tate-e 14 7/8 by 9 7/8 in., 37.7 by 25 cm
A comparison with extant impressions of this print reveals that there are some variations in the color palette. The brown building closest to the foreground on the far left is also found printed dark purple or green. 'Purple building' versions of this design seem to correlate with the presence of the circular series title seal which is associated with early impressions from the series issued as part of a portfolio set. 'Brown building' versions do not have a series title seal but seem otherwise unchanged. 'Green building' versions (arguably the most successful in delinating the structure in the foreground from the cluster of buildings in the distance), also do not have a series title seal but the figure holding an umbrella is lacking color printed on the lower half--a simplification in production which suggests a later printing.
Meech, Japonisme: Graphic Arts in the 20th Century, in The New Wave, 1993, pp. 46-47
Merritt, Points of Contrast, 1993, pp. 36-39; p.65, no. 16
Yokohama Museum of Art, Eyes Towards Asia: Ukiyo-e Artists from Abroad, 1996, p. 81, no. 93 (brown building)
Miles & Saville, A Printmaker in Paradise: The Art and Life of Charles W. Bartlett, 2001, p. 117, no. 29 (brown building)
Koyama Shuko, Beautiful Shin Hanga- Revitalization of Ukiyo-e, Tokyo Metropolitan Edo-Tokyo Museum, 2009, p. 59, no 2-23 (purple building with circular series title cartouche)
(inv. no. 10-4921)
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