Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/328

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Here belong also his sheets in surimono style:—

  • The play scene with seventeen actors.
  • Five sheets of a series (Gonse Coll. in Paris, see Goncourt, p. 257) and two sheets of the same series (Bing Coll. in Paris).
  • Three sheets in narrow vertical form, but not kakemono-ye (Coll. Gillot in Paris, see Goncourt, p. 259).

Of the kakomeno-ye may be mentioned:—

  • A woman standing, leaning against a lattice, at her feet crouches another, playing with a casket (Coll. Gillot).
  • A woman bending down towards a young girl and carrying a child on her back (Coll. Bing).
  • A woman fishing, below a young man in a boat (Bing).
  • A young man carrying a young woman on his back.
  • Two girls playing the game of Makura-hiki, oblong.

Of single sheets, we may name the following:—

  • A young woman crouching allows a white mouse to run over her arm, while another, looking on, holds in her arms a child playing with a wooden horse.
  • A woman nursing her child under a mosquito net.
  • A mother and child reflected in a basin of water.
  • A mother tossing her child in the air (la gimblette).
  • The maid of the inn, front and back view, on two sheets made to fit over each other exactly; a magnificent facsimile of this is in Kurth (pl. 24).
  • The stationer Jihei abducting Koharu, the singing girl, half-length (la sortie nocturne).
  • Benten, the goddess of fortune, appearing to Utamaro (illustrated in Kurth, pl. 11).

Books in black and white:—

  • Four prints with songs from plays date from 1776-77, and are signed Kitagawa Toyokira (Hayashi Catalogue, No. 1649). His earliest book is the Hundred Ronins, 20 sheets: Yedo, 1777.