Rose No. 10

Rose No. 10 continues Sugiura Kazutoshi's serial treatment of the rose as a single isolated [kacho-e](/glossary/kacho-e) subject, a numbered variation in an extended sequence rather than a one-off composition. The print likely presents one fully opened bloom, or a small cluster, framed against a flat decorative ground in which areas of metallic leaf or burnished surface alternate with passages of solid color. Sugiura's method — layering silkscreen with gold-leaf application and textured grounds — converts the rose's dense, concentric petals into an ordered sequence of overlapping shapes, each registered cleanly against the next, with the petal edges describing the flower's volume more through silhouette than through modeling. Compared to Rose No. 7, a later number in the series typically signals further refinement of palette and ground rather than a change in subject. The work sits within the same body of flower prints — irises, peonies, poppies, roses — that earned Sugiura inclusion in the Brooklyn Museum, MoMA, the Art Institute of Chicago, and the British Museum.