Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/196

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  • Yehon hime bunko 1760, ladies' book.
  • Togoku meishoshi 1762, landscapes of Eastern Japan.

In the Tokio Catalogue (p. 41 seqq.) the two following pupils of Sukenobu are mentioned: Nishikawa Suketada, probably a son of Sukenobu, more original and imaginative in his colouring than the latter; illustrated books by him occur from 1748 onwards (Hayashi Catalogue No. 1477 seqq.); and Tsukioke Settei, who represents the transition to the following generation which is already influenced by Yedo.

Further names to be mentioned are: Nakaji Sadatoshi, of the Kano school; he published drawing exercises in Kioto about 1730 (Hayashi Catalogue, No. 355).—Kitao Sekkosai, from Osaka, a pupil of Buncho? Illustrated books by him are dated 1754 and 1767; in the latter of these a separate plate for the general tint is first employed. A large broadside folio sheet of 1764 represents, in forty-eight divisions, women of various classes and professions (illustrated in Hayashi Catalogue, No. 479).—Kanyosai in Kioto, called also Tatobe Riosai and Mokio (1712-74), one of the best draughtsmen of the period. One of his works is Kanyosai gwafu, Yedo 1762, 5 vols, of plants, birds, and landscapes, in the style of the old Chinese masters (Hayashi Catalogue, No. 1612); Mokio wakan zatsuga, after old pictures (1772), 5 vols., new edition 1802; drawings of fishes, 1775 (Duret, No. 462 seqq.).—Ippo, collections of drawings, Osaka 1752 and Yedo 1758—Rinsho, drawings, Yedo 1770.—By Ito Jakunobu are: Gempo Yokua, plants and animals, black and white (1768), 55 sheets, a work of unusual power and largeness (Hamburg Museum). The artist lived from 1716 to 1800. He studied the Kano school to begin with, and then the Chinese school and Korin.