Drawing 14,  19.1 X 27.4 cm.

Manga.  Ten figures, by Hokusai and a pupil.

These sketches were all published in the same book, Oguri gaiden, vol. 6, 7 and 9, in 1814 ( ?).
There are two changes which are unique (each type only occurs only once in these yomihon drawings):

           1.) Oguri, seated  upper right (14E) was printed turned over so as not to publish him as a left-handed swordsman
           2.) The woman seated lower right, smoking a pipe ( 14A ) had been originally planned for volume 9 but was removed and placed in volume 6 with a changed expression for her new role.

14 A.  Woman sitting calmly smoking a pipe, by Hokusai.

Published in Oguri gaiden, vol. 6, pp. 26B – 27A, in 1814 (?).

As mentioned several lines above this woman has changed expression, in changing location, activity and company, as well as print. Sketches 14A and 14D were clearly drawn at the same time, for the same project. There is no doubt that Hokusai noticed, when taking up this ichiji shita-e for inclusion into the shita-e, that the woman in 14A would have too much visual strength. He decided not to include it in this scene and therefore put it to one side to be used in a later project. She appears, in another volume in the series, but goes from being an onlooker in a pleasant scene to a witness of a torture scene whose smile has become a look of disdainful disgust. Her name has, however, remained the same. 

14B.  Hanako,  by Hokusai

Published in Oguri gaiden, vol. 7, pp. 3A, in 1814 (?).

Changes from drawing to print:

-   Hanako is the same, but the scenery which she is turning round to look at has been added along with some text.
 

Artist's shorthand:

-    The pattern for the clothes, as well as the frequency of repetition have been shown. Hanako’s obi shows an excellent example of this economy in drawing: the folds in the obi are clearly visible in the drawing but become lost in the print, surrounded by the details of the pattern.

 -   The hair.

 -   The framing.
 

The Victoria & Albert Museum owns a drawing of the full scene, with Hanako turning round to look at her mirror and, very surprisingly, identical artist’s shorthand with regard to the motifs in the pattern, but arranged in a different way (reproduced in Ukiyo-e Masterpieces in E. C., vol. 4, plate 18-6). The line, whilst very similar to that in 14B, seems different, the drawing is attributed to Taïto II.

14C.  Kwanon  on a buffalo, standing woman, tattooed man, by Hokusai and a pupil

Published in Oguri gaiden, vol. 7, p. 4 A, in 1814 (?).

Changes from drawing to print:

The positioning of the elements in this sheet seems to be due to pure chance, or in order to make the sketches fit into the available spaces on the sheet and this, surprisingly, has been kept in the print. The differences are minimal: The smoker and the standing woman have been slightly moved apart, the frames and text have been added.
 

Although these 3 sketches were drawn on the same sheet of paper and published in the same print, there are strong differences between them.
Only the tattooed man can be immediately attributed to Hokusai.
Upon careful observation, the child on the buffalo and the basket are by Hokusai, while the buffalo, grass and the two kanji  at top-left are by a pupil. We can see here the surprising working method seen previously in sketch 8A, where Hokusai first drew the rider sitting on the horse and the pupil then added the horse underneath him. The grass portrays the same slenderness as the reeds in 8B and the branches in 24 and has certainly been drawn by the same pupil.
The lines of the standing woman are to elegant to have been done by a pupil. Two corrections have however been applied to the bottom of the kimono to the left of the foot, and some of the lines which cross over each other betray the unusual speed with which they seem to have been drawn. This no doubt explains the relative weakness of the lines.  

14 D. Four figures, by Hokusai

Published in Oguri gaiden,  vol. 9, pp. 4 B – 5 A, in 1814 (?).

The positioning of the figures in this drawing, and also in the print, although very different from each other, can easily be explained. Hokusai first drew the three women in the bottom right-hand corner (in the largest remaining blank area). He then did the woman behind the curtain. For this, he turned the sheet in a different direction, as he had no space to do otherwise. Finally, he drew the man reading by the bench (the letter that he is holding is behind the woman’s hair). All the important elements in the print are here. The fact that they aren’t in order doesn’t seem to matter any more than the fact that they are mixed in with sketches for other projects, since they are all intended to be used and positioned on the shita-e.

14 E. Oguri seated, by Hokusai.

Published in Oguri gaiden, vol. 9, 23 B – 24 A, in 1814 (?), reversed.

Changes from drawing to print:

There is only one, but very unusual. The figure has quite simply been laterally reversed, very likely to avoid Oguri from appearing as left handed on the print. Usugami paper was particularly well suited to this sort of manipulation, as it only required that Hokusai turn the sketch over before  copying it.