The collector will do well to bear in mind that the books of Sukenobu were frequently reprinted long after his death; and these later impressions, lacking the original sharpness of line and intensity of tone in the blacks, are not desirable acquisitions. The original editions of his books are still to be found occasionally. His single-sheet prints are, however, of great rarity. KWAIGETSUDŌ. In the period immediately succeeding Moronobu--the early years of the eighteenth century--the work which of all others stands out with a unique and colossal grandeur is that of Kwaigetsudō. Kwaigetsudō has long been a puzzle to the student. The original idea held by Fenollosa and other authorities, that all the prints signed Kwaigetsudō were by one man, has been abandoned; and the theory now prevails that there existed a group of artists, headed by a dominant master named Kwaigetsudō, and that all of these artists produced prints signed with his name together with their own. The most perplexing problem has been to determine which of the print-makers was the original master and which were his disciples. Dr. Kurth confidently states that Kwaigetsudō Norishige, was the original master. On the other hand, Mr. Arthur Morrison has recently expressed the opinion that the original Kwaigetsudō was solely a painter, who produced no prints whatsoever. His studio name was Kwaigetsudō Ando; his personal name was Okazawa Genshichi; he was a late contemporary of Moronobu, and worked in Yedo from about 1704 to 1714, when he was banished to the island of Oshima in consequence of his participation in a scandal involving a gay banquet party at a theatre tea-house attended by certain Court ladies. Later he was pardoned, but did not resume his work. According to this theory all the prints were the work of his followers, who signed the name Kwaigetsudō with various additions. This view is probably the correct one. The names of the Kwaigetsudō group of print-designers that have so far come to light are-- KWAIGETSUDŌ ANCHI (or YASUTOMO); KWAIGETSUDŌ DOHAN (or NORISHIGE); KWAIGETSUDŌ DOSHU (or NORIHIDE); KWAIGETSUDŌ DOSHIN (or NORITATSU). The Kwaigetsudō work is perhaps the most powerful and imposing in the whole range of Japanese prints. The sheets, of large size, generally represent the single figure of a standing woman clad in flowing robes. So much for the theme; it is nothing. But the treatment consists of a storm of brush-strokes whose power of movement is like that of writhing natural forces; out of this seething whirl of lines is built up the structure of the monumental figure. [Illustration: KWAIGETSUDŌ: COURTESAN ARRANGING HER COIFFURE. Black and white. Size 24½ × 12. _Signed Nippon Kigwa Kwaigetsu Matsuyo Norishige._ Spaulding Collection. _Plate 3._]