Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/289

 series of pictures from woman's life from childhood to motherhood (Berlin Kunstgewerbemuseum).

Of Shuncho's single sheets, the following may be mentioned:—

Pictures of wrestlers.

Triptych (about 1790, according to Fenollosa, No. 272), women stepping out of a boat; one of his most beautiful things.

A little girl journeying on horseback.

Promenades and feasts.

Young prince taking riding exercise.

Two princes shooting with the bow.

A print in five sections: travellers, with Fuji in the background.

Katsukawa Shunzan also began as a pupil of Shunsho, and later followed closely Kiyonaga; nor was he either lacking in force and originality. He worked from the middle of the eighth decade till the end of the century. Of his triptychs, one which represents a scene at the gate of a temple is cele&shy;brated. Reproduction in Strange, page 80; a triptych in the Hayashi Catalogue (No. 772). Fenollosa (Outline, pl. xiii.) reproduces a print of about 1777.

Fellow-pupils of Kiyonaga were the following artists: Torii Kiyotsune, who is wrongly cited by Burty (Catalogue, No. 148) as a pupil of Kiyonaga. On the contrary, he betrays every&shy;where his descent from Kiyomitsu by the graceful formation of his figures and by their very small feet and hands; he also exhibits the influence of Harunobu. Besides actor prints he produced book-illustrations; one of his books, in two volumes, appeared in Yedo in 1774 (Duret). There are mentioned as being by him:—


 * Twenty-four examples of filial love; from the Chinese.

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