who was perhaps already influenced by Masanobu; his works are rare and distinguished. In the Hayashi Catalogue (No. 221), which also gives a reproduction, he is called a pupil of Kiyonobu I. In the Tokio Catalogue (No. 52) there is an urushi-ye by him of about 1739. Katsukawa Terushige, a pupil of Kiyonobu (illustration in Hayashi Catalogue, No. 531). Tamura Yoshinobu (illustration, ibid., No. 233). Fujikawa Yoshinobu, middle of eighteenth century (illustration, ibid., No. 294). Tamura Sadanobu (illustration, ibid., No. 234). Shimizu Mitsunobu (illustration, ibid., No. 292).
The second generation of the Torii is represented by Kiyonobu II., who worked from the thirties to the middle of the fifties, and so stood in the midst of the two-colour print period, which began in 1743. He is stated in the Gillot Catalogue to have been the third son of Kiyonobu I.[1] Bing (Catalogue, p. 1) mentions several of his sheets, but the question whether they belong to him or to Kiyonobu I. has still to be examined; the same applies to the lovers reproduced by Strange (p. 22). In the Jaekel Collection at Greifswald, there is an urushi-ye by him dating from the early thirties. On a colour-print of about 1752 there is already the suggestion of a landscape.[2] On the picture of an actor as Soga no Goro of about 1753 (illustrated in Fenollosa's Outline, pl. v.) the spots of red and green are as subtly distributed in their relations to the black and the white as the pattern on the shell of a tortoise; on a two-colour print of about 1754 (ibid., p. 47) the black is already more prominent. Fenollosa (Catalogue, No. 61) singles out for special praise a triptych with figures under sunshades, printed in colours. He is perhaps identical with the Torii Shiro, one of whose sheets is illustrated in the Hayashi Catalogue, No. 227. Two
