Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/175

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BEGINNING OF WOOD-ENGRAVING

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As a draughtsman Kiyomasu seems to have excelled Kiyonobu, and to have been altogether more productive than he. His compositions, consisting both of black and white and of two-colour prints, are replete with life and vigour. Bing (Catalogue, p. 2) gives a list of some of them. The Tokio Catalogue (No. 40) mentions an urushiya by him of about 1728, and two-colour prints of about 1744 and 1747 (Nos. 69, 70). A chess-board pattern first occurs in one of his prints towards 1748. The Gillot Catalogue even makes mention of a three-colour print, a falcon on its perch. Kiyoshige, also, of whom Bing cites an actor (Catalogue, p. 3), belongs to this period. He executed, as appears from a kind communication from S. Bing, almost exclusively actor prints, of larger or smaller size, together with some kakemonos. His period of activity extends from 1725 to about 1759. The Tokio Catalogue (No. 51) mentions a hand-coloured kakemono by him, dated about 1745, and also a two-colour print of about 1759 (No. 83). An illustrated book appeared at Yedo in 1754. There are two illustrations in the Hayashi Catalogue (Nos. 224 and 226), the first of which already reminds us very much of Harunobu.

Finally, we must name Kondo Sukegoro (also Hishikawa) Kiyoharu, who, during the first part of the eighteenth century, was specially active as an illustrator of books, particularly children's books. One of his picture-books appeared in Yedo in 1720. We have by him Ginka-Zoshi, poems on the girls' festival, Tanabata, of July 7th, according to the old calendar; a new edition, in colours, is supposed to have been produced in 1835, at Osaka, in 3 vols. 8vo. He also represented theatrical scenes.[1] The Hayashi Catalogue (No. 232) mentions a certain Kondo Katsunobu as his son or pupil, and illustrates a very graceful drawing by him, done in a broad style.

Further artists of this group are as follows: Torii Kiyosomo,

  1. Anderson Cat., p. 338; Cat. Burty, No. 152.