An intended one hundred designs, of which twenty appear to have been completed, for an advertising campaign to help revive flagging demand for the traditional Takasago dyeing process. The designer of the prints, Itō Shinsui 伊東深水 (1898-1972), was the best-known bijin-ga designer of the time, working to create designs to be reproduced through traditional woodblock technique or through new technologies employing photo-offset technology. It appears that all the designs for the series were newly drawn by Shinsui. It is unknown who financed these prints (possibly a trade association) and while the name of the publisher, Kisendō 喜扇堂, located at the time in Suitengu-mae, Tokyo, appears on all the prints (except that of "No. 0" as explained below) no information is readily available on this publisher.
With the exception of the first print, sometimes referred to as "No. 0" or as the "cover sheet" in the series, (see IHL Cat. #2507 below), all extant prints carry a number in the top margin along with the series title 高砂染浴衣美人百姿 Takasago-zome yokui bijin hyakushi (One Hundred Beauties in Takasago Dyed Yukata). While titles are often applied to each of the prints, no titles appear on the prints, only numbers between 1 and 20.
"No. 0" carries no number and is in a slightly larger format than the other prints in the series. Dr. Ross Walker notes that his inclusion of this print in the series is based upon his observations in Japan, often seeing it included with other prints in the series.
Assuming it is part of the series, it is the only print carrying a date, 昭和六年初夏 (early summer 1931), and neither the series title or the names of the publisher or printer appear on it, as they do with the remaining prints.
An extensive web search failed to find any images or references to prints numbered 8, 12,15 or any number higher than 20. Dr. Walker believes that these three prints, 8, 12, 15 likely were issued and "haven't been seen in the market yet." He also points to a set of postcard-size prints using images from the series (see http://www.jaodb.com/db/ItemDetail.asp?item=40756&varscholar=&varlanguage=E) which contain three images not seen in the full-size prints, which could be the images for the supposed missing numbers.
Each of the extant prints with the exception of "Number 0" bear the printing company name and the patented plate-making process they employed in the lower right margin. The plate-making and printing for the series was done by two large printing companies, Toppan Printing Co., Ltd 凸版印刷株式会社, still thriving today, and Nisshin Printing Co., Ltd. 日清印刷株式会社, which merged with the publishing house Shūeisha 秀英舎 in 1935 to become part of Nippon Printing Co., Ltd., still in operation today. Toppan used the patented H-B (Huebner-Bleistein) process of photo plate-making and Nisshin used the patented KI Banton process. These processes employed photo lithographic plate technology and mechanized offset-printing to realize accurately registered multi-color prints. The H-B process, which was a tightly held patent by the Huebner-Bleistein Patents Company of Buffalo, New York, was licensed by a consortium of six Japanese print companies, including Toppan. Nisshin Printing used the KI Banton photo-mechanical lithographic system, also patented, as they were not part of the consortium which purchased a license to use the H-B process. The H-B system was used to create the plates for prints numbered 3, 4, 5, 6, 7, 9, 10, 18, 19 and the KI process was used for prints numbered 1, 2, 11, 13, 14, 16, 17, 20. Dr. Ross Walker on his website provides an interesting comparison between the two systems which can be seen at https://www.ohmigallery.com/DB/Artists/Ito_Shinsui.asp.
Takasago Dyeing Method
Source: Compiled from information on the EmozTlab website and other sources
 also seen translated as One Hundred Figures of Beauties Wearing Takasago Yukatas and One Hundred Beauties in Takasago Dyed Yukata Light Kimono.
Photos taken in the EmozTlab in Takasago