Mt Fuji from Lake Suwa

A second treatment of the same Lake Suwa vantage, this version represents an alternate state, a different printing run, or a reworked color scheme of the subject. Variant impressions were not unusual in Koizumi's practice; because he carved and printed every block himself, he could revisit a composition with adjusted ink loads, modified bokashi transitions, or recut color blocks without involving a separate workshop. The lake provides a still horizontal plane against which the conical silhouette of Fuji asserts itself, and the print may register a seasonal or atmospheric shift between editions—perhaps a lighter morning palette versus a deeper evening one. This kind of dual production reflects the sosaku-hanga commitment to printmaking as ongoing investigation rather than fixed reproduction. Where shin-hanga publishers like Watanabe Shozaburo standardized editions for the export market, Koizumi's self-published output retained the looser, study-like quality of an artist working through a motif. The print belongs to his peripheral Fuji views rather than to One Hundred Views of Great Tokyo, his sustained 1928–1940 series of the capital.