Clausen knew Yoshijiro Urushibara (1888-1953),
who over many years, up to the start of the second world war, taught
Europeans the Japanese art of colour woodblock printmaking, living
mainly in England and France.
As well as making his own, he converted the drawings and watercolours of other artists into colour prints.
He travelled to London at the age of nineteen,
having grown up in Tokyo, and demonstrated Japanese printmaking at the
vast Japan-British Exhibition of 1910 at White City (we were allies),
which Clausen will certainly have visited.
He collaborated with Frank Brangwyn in various books and series of prints. The first was a portfolio of woodblock prints in 1919 called Bruges, designed by Brangwyn to illustrate some poems by Laurence Binyon (see post before last).
A colour print from woodblocks entitled Camblain l’Abbé “by Y. Urushibara after G. Clausen, RA” is in the V&A. According to the records (I haven’t seen it), it is signed with a seal (presumably Japanese) and, in pencil, Y. Urushibara and George Clausen, presumably in separate hands. The V&A gives the date as 1923.
This V&A print is illustrated in black and white in British Printmakers, A Century of Printmaking, 1855-1955, edited by Robin Garton, Scolar Press, 1992, where it is called Chamblain l’Abbé. Clausen’s signature is visible in the reproduction. Urushibara’s isn’t, nor is the seal.
The illustration suggests a snow scene. Garton doesn’t say what Clausen’s original was, but he suggests 1910, I would think wrongly, as its date. It is surely based on Camblain l’Abbé – Snow (RSPW 1920). I don’t have a scan of either the watercolour or the print to show here.