Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/246

110 He distinguished himself to a marked degree as an illustrator. Besides the excellent polychrome illustrations which he executed in collaboration with Shunsho, and of which we shall speak when we treat of the latter, the Seiro Bijin awase sugata kagami (Beauties of the Yoshiwara), 1776, and the twelve representations of sericulture, he also produced independently the following:—

Yehon fuku jiro, illustrations of legends. Yedo, 1791.

Tales for children. 1791.

Kwacho shashin zuye (flowers and birds), 1805, 3 vols.

Album with fish, Yehon tatsu no miyako.

In black and white he produced:—

Yehon biwako, representations of women. 1775.

Yehon yotsu no toki. 1775.

Yehon yasu Ujikawa, celebrated Chinese and Japanese heroes. 1786.

Yehon Kamagadake, celebrated horses and their owners. 1802.

His pupil was Kitao Masanobu, called, as poet, Santo Kioden, his family name being Iwasi, his personal name Denzo; he lived from 1761 to 1816 (the dates: 1775–1830 given in the first edition are corrected according to the Hayashi Catalogue). He signed himself Kitao Shinsai, Risai, Kankoku, Seisai, Hosan, &c. He did not produce much, as he followed also the vocation of poet. His activity began in 1778 (Fenollosa Catalogue, No. 217). Fenollosa reproduces, on pl. xi. of the Outline, a print from the Illustrations of Pretty Women (Shin Bijin Awase Jhhitsu Kagami, 1784).

By him we have:


 * A series of the Fifty Poets, printed in deep but very harmonious colours.
 * A pamphlet, New Illustrations of Pretty Women, seven double sheets in large folio; on each are two or three women, sometimes with children, with a slightly indicated landscape background; the colour is gay, the drawing careless, the expression defective.
 * Eight landscapes of Kanazawa, represented by women.