Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/334

154 self Kitagawa Tetsugoro. But his only real successor and pupil is said to be Shikimaro, of whom we have the work—

Zensei tagu no kurabe (?), a concourse of women in the flower of their beauty.

He, however, is not nearly so refined, nor so delicate in his colour as Utamaro (Goncourt, page 153); he is the author of the series of three prints, each representing an oiran in her out-of-door dress (Hayashi Catalogue, No. 944). His pupils, Mitemaro and Yukimaro, worked with him after 1785 on the yellow books; on the Yoshiwara, from 1804, his pupils, Kikumaro, Hidemaro, and Takimaro. Kikumaro died in 1829; about 1796 he employed the name Tsukimaro; a book by him appeared at Yedo in 1805 (Hayashi Catalogue, No. 1676). Strange, page 44, gives us a reproduction from him of a woman seated, preparing tea. Other illustrations in Hayashi Catalogue, Nos. 936 and 938. This Catalogue has been followed in making both names apply to one artist, whereas in the first edition they appeared as those of two men, on the authority of Anderson (Catalogue, p. 363).

The Hayashi Catalogue mentions the following further pupils of Utamaro: Isomaro (No. 945); Hiakusai Hisanobu (No. 954); Chikanobu (No. 955) and Shintoku (No. 956). Kurth (Utamaro, p. 146) follows Strange in adding Kyosai Chikamaro, who appears to have worked in the manner of Hiroshige.

The following were influenced by Utamaro: Bunro, perhaps derived from Buncho (Hayashi Catalogue, No. 946); Hayami Shungiosai (Riukoku) (ibid., No. 947), a book by whom is mentioned in Duret; and finally Banki (ibid., No. 951).

In immediate connection with Utamaro must be mentioned Nagayoshi, an excellent and very rare artist, who worked toward the end of the eighteenth century. He is usually called Choki,