Drawing 18,  19.3 X 27.2 cm.

Eight figures, by Hokusai and a pupil.

18 A. Woman kneeling, Published in Bei bei kyôdan, vol. 4, pp. 15B – 16A, in 1815.   Artist's shorthand: Hair and clothes; the way in which the pattern on the clothes has been placed is characteristic. The first time, very clearly and legible and two other times to help show the detail in the folds. However, the pattern has been copied as indicated, but placed in different positions.   This woman was originally drawn as the witness of a suicide (see comment for 18C). Her presence was fully justified and above all, balanced the composition. It would seem that she was removed from the intended print (18C) due to lack of space. She can be seen a few pages later, in a print where the composition is made up of a motley assortment of elements, where her presence seems mainly justified by the way she balances the scene.     Print from the 3rd edition, which is a close copy of the 1st. (1st ed. is reproduced in Hokusai and his school, Frans Halsmuseum, n° 60b.)

18 B. Three men, seemingly Edoites, including a laughing porter who helps an unsteady friend get back onto his feet, by Hokusai.

This drawing seems to be out of place in the yomihon, and this is surely why we have not been able to find it amongst Hokusai’s published works.

However, the working of the line, which is light and fine for the faces, strong, deliberate and sometimes disjointed for the clothes, leaves us in no doubt that it is the work of Hokusai. The amazing strength of expression in the face of the laughing porter further confirms this.

18 C. A faithful wife (upper drawing), by Hokusai and a pupil and her servant (lower drawing), by Hokusai, commit suicide.
Published in Bei bei kyôdan, vol. 4, pp. 6B – 7A, in 1815.

                                                                                                                                                Print from the 3rd edition, close copy of the 1rst.

  Changes from drawing to print:

• In the lower drawing, the bottom of the child’s clothes, which are checkered in the drawing, have changed pattern in the print.
• The long and beautiful calligraphy, clearly by Hokusai, changes in position and content in the print.
• Originally, the lower drawing in 18C also contained a woman witnessing the suicide scene  ( see 18A).

Artist's shorthand:

• These are numerous, the main one being that only the top drawing shows traces of blood.
   

The top drawing shows clear differences between the lines of the woman, which are hesitant, lack finesse and seem to have been drawn haphazardly, and those of the child which are elegant, strong and confident.

The woman’s hair is clumsily drawn and seems to fall awkwardly and unrealistically, in comparison with the child’s hair, which is perfectly drawn and full of charm. The woman, seen in profile, has no ear, which would been unthinkable for Hokusai. Finally, while the gesture of the child is spontaneous and vivacious, the woman’s hands are truly ugly.

This leads us to believe that Hokusai and a pupil drew this together, one drawing a man, the other drawing a woman, both committing suicide. Hokusai, on seeing the drawing by the pupil, would have added the child.