The print is signed in the lower right hand with the signature that translates to "Harunobu Ga"(Harunobu painted). There is a lengthy inscription in kanji at the upper left corner - not translated. The back of the print presents a real puzzle as the paper on which the print was made appears to be some type or patterned paper almost like modern wallpaper. It is possible that this had to do with the fact that Harunobu made a number of illustrated books and that this print had been a frontispiece or the like. We have no way of definitively dating the print – mainly because of the strange paper backing it. It clearly dates from sometime after 1750 – but could be a later edition or copy. It is also possible that a later collector stiffened the print by pasting it on to a printed paper that was later removed. To be conservative we will date it to the late 18th to early 19th century, Edo period. It is in good condition with light fading and a couple of wrinkles – registration is excellent.

Suzuki Harunobu ,1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints. Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties. Between 1765 and 1770, Harunobu created over twenty illustrated books and over one thousand color prints, along with a number of paintings. He came to be regarded as the master of ukiyo-e during these last years of his life, and was widely imitated until, a number of years after his death.

Harunobu's personal style was unique in a number of other respects. His figures are all very thin and light; some critics say that all his figures look like children. However, it is these same young girls who epitomize Harunobu's personal style. Richard Lane describes this as "Harunobu's special province, one in which he surpassed all other Japanese artists - eternal girlhood in unusual and poetic settings"[. Though his compositions, like most ukiyo-e prints, may be said to be fairly simple overall, it is the overall composition that concerned Harunobu. Unlike many of his predecessors, he did not seek to have the girls' kimono dominate the viewer's attention.