Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/300

136 of the eighteenth century, and who developed a graceful and distinctively decorative talent. His artistic name was Chokusai. He, too, devoted himself principally to the production of triptychs, among them the following:—

Three women in the interior of a house sitting in front of a screen decorated with a huge Howo bird.

A young nobleman waited upon by women.

Young women at a banquet.

Young girls gathering iris in a garden.

Under the cherry trees.

An illustrated book of 1798 is mentioned in the Hayashi Catalogue.

Yeisui, whose artistic name was Ichirakute, worked in the first decade of the nineteenth century. Bing's Catalogue cites by him a young man with a falcon. Of Yeiri, Fenollosa cites (Catalogue, No. 392) a painting which he places about the year 1803. His name in art was Rekisentai. According to the Tokio Catalogue (p. 107) he was a pupil of Yeishi, and later, after about 1800, came under the influence of Hokusai.

The Hayashi Catalogue (No. 1002, with illustration) mentions as his pupil Rekisentai Sarin.

Further pupils of Yeishi were: Gokio (Hayashi Catalogue, No. 996: but the Gillot Catalogue calls him a pupil of Sekiyen); Choyensai Yeishin (Hayashi Catalogue, No. 997); Yeiju (ibid., No. 998).

Akin to Yeishi are the following: Soraku, who was also a poet (ibid., No. 999); Tamagawa Shuncho, who is perhaps connected with Buncho: according to Kurth (Utamaro, p. 148), his work is wholly in the direction of Utamaro; Kyritera, by whom there is a print in the Straus-Negbaur Collection in Frankfort, a geisha with two attendants amid blossoming trees, with a hedge in the background.