Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/281

Rh the strong distribution of black and white, the rich and yet restrained patterning of the dresses, and the pure outline of the nude. Towards the end of his career he turned again to the representation of actors, resuming the tradition of his school and entering into direct and victorious rivalry with Shunsho. Theatre-programmes in black and white by him date from 1785 to 1799. Although he began to retire from the field in the nineties, probably feeling that a new day was dawning which could conduct him no higher but only into regions where his co-operation was not absolutely needed, he yet continued at work as late as 1801 at least, from which year dates a still extant print of children at play (Hayashi Catalogue, No. 701). He transferred the successorship to Toyokuni, and retained for himself, as the last great representative of the brilliant Torii school, only the part of chief leader and master of the school. Fenollosa is accordingly mistaken in assuming that he gave up working for the wood-engravers as early as the beginning of the nineties.

Among his numerous works, some especially beautiful kakemono-ye deserve mention:—

The woman under the umbrella (according to Fenollosa, No. 233, about 1782).

The woman in the storm (about 1787).

A woman standing, and one crouching on the ground, engaged in writing.

Of other single sheets the following may be mentioned:—


 * Actors, early three-colour print.
 * Temple festival, eight geishas carrying a lion. 1783.
 * Woman in bath-robe, with a little dog.
 * Kintoki playing with young tengus.
 * Kintoki with two bear cubs.
 * Boy seated, playing with mice.
 * Children at play. 1801.
 * The actor Danjuro making up; oblong surimono.