Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/328

150 Here belong also his sheets in surimono style:—

The play scene with seventeen actors.

Five sheets of a series (Gonse Coll. in Paris, see Goncourt, p. 257) and two sheets of the same series (Bing Coll. in Paris).

Three sheets in narrow vertical form, but not kakemono-ye (Coll. Gillot in Paris, see Goncourt, p. 259).

Of the kakomeno-ye may be mentioned:—

A woman standing, leaning against a lattice, at her feet crouches another, playing with a casket (Coll. Gillot).

A woman bending down towards a young girl and carrying a child on her back (Coll. Bing).

A woman fishing, below a young man in a boat (Bing).

A young man carrying a young woman on his back.

Two girls playing the game of Makura-hiki, oblong.

Of single sheets, we may name the following:—

A young woman crouching allows a white mouse to run over her arm, while another, looking on, holds in her arms a child playing with a wooden horse.

A woman nursing her child under a mosquito net.

A mother and child reflected in a basin of water.

A mother tossing her child in the air (la gimblette).

The maid of the inn, front and back view, on two sheets made to fit over each other exactly; a magnificent facsimile of this is in Kurth (pl. 24).

The stationer Jihei abducting Koharu, the singing girl, half-length (la sortie nocturne).

Benten, the goddess of fortune, appearing to Utamaro (illustrated in Kurth, pl. 11).

Books in black and white:—


 * Four prints with songs from plays date from 1776-77, and are signed Kitagawa Toyokira (Hayashi Catalogue, No. 1649). His earliest book is the Hundred Ronins, 20 sheets: Yedo, 1777.