Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/361

Rh tales and novels, which he illustrated at the same time. He is also said to have been an adept at the popular forms of poetry. In 1792 he illustrated the story of the "Tongue-cut Sparrow," still signing himself Shunro, but not Katsukawa. In the following year he styles himself alternately Mugura (instead of Katsukawa) Shunro, Toshu formerly Shunro (as pupil of a certain Torin, according to Bing), Tokitaro Kako (in two books of about 1798-1801 (Duret, Nos. 287, 283) and on the "Eight Views of Lake Omi," which are represented by female figures), and Sori, as pupil of the painter Tawaraya Sori, whom he had succeeded about 1795; this name he later gave up to his pupil, Soji. He signed himself Tawaraya Sori, Hiakurin Sori, and Hokusai Sori (Tokio Catalogue, p. 101), and under this name published a book in 1803 (Hayashi Catalogue, No. 1771), and a series of fine landscapes in large oblong format. His publisher at that time was Yeirakuya Toshiro, of Nagoya, who had a branch establishment in Yedo. Before the end of the century he had already used the name Tokimasa Taito (not Tatsumasa Raito, as Anderson states in his Catalogue), which he assumed again later on, as is proved by a Santei gwafu of 1816 and the Hokusai gwashiki of 1818. In the year 1797 he illustrated books together with Yeishi, Shigemasa, and others; in 1798 he brought out with them and Utamaro a work: Dantoka (?) "Dancing Songs for Men." In the sesame [sic] year is dated the foreword to the work Onna niobo