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attributed to Kobayashi EIKO (1868 - 1933)	Key Block for a print depicting playing children - with replaced block sections ('ireki'), pls. read below -
	Size:                          c. 39 x 25 cms (15 3/8" x 9 7/8") Date:                          19th century, with 'ireki' (*) of the late 19th / early 20th century ref. no.: # 551090 Price:  € 1,250.00

This is a highly interesting printing block showing the technique of (*) 'IREKI' which literally translates as 'to insert into wood', but in the context of ukiyo-e its meaning is more specific: to inlay a piece of wood into a key block for cutting and thus modifying a design. There were several reasons for using this technique which began to appear more frequently shortly after the full-scale commercialization of nishiki-e ('brocade' or full-color woodblock prints) in the 1760s. Frequently found instances for 'ireki' were: the repair of worn key blocks, or the insertion of a piece of wood harder than the commonly used cherry wood into a new block right from the start (to areas intended for particularly thin lines, like hair lines, e.g., which would permit the precise rendering of such delicate lines and provide a larger lifespan). Another range of application - as represented by our key block - was the replacement of heads, or the changing of hairdo. In kabuki actor prints the publishers simply replaced one actor's head by another when the role of the play was cast with a different actor; in 'bijin' prints changes according to new fashions were made by changing the hairstyle or parts of the dress. These are just a few examples when the 'ireki' technique was applied. Whatever the reasons for plugging-in new parts of wood were, one is common to all: avoiding the recut of the entire key block, and thus economizing on the production of woodblock prints. The key block shown here is an interesting example of the latter case: apparently a plate for a book publication or an album, it shows playing children. Judging from the drawing style of the faces, and above all, the hairdo and the cap of the boy at left, we assume that the new parts had been carved and inserted in the late 19th or early 20th century for republication of a book first published earlier in the 19th century. The more 'modern' look apparently made the republication at the time more sellable. EIKO studied the Tosa style with Matsumoto Haruki and the Kano style with Kobayashi EITAKU by whom he was adopted. He is known as a designer of kuchi-e, as for example of the boy's story 'Parental Love' by Miyazaki Zanmai, of 1892, and 'Collection of Leaf Tips' by Koda Rohan of 1891. (Merritt / Yamada, 'Woodblock kuchi-e prints', Honolulu, 2000; p. 203) For an in-depth discussion of the use of 'ireki' we recommend the following article:  Jan Lühl, "Ireki in Osaka actor prints", published in: Andon, no. 72/73; SJA, 2002; pp. 65-94.

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