Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/329

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  • I. Kibiyoshi (yellow books of small size) from 1780 to 1784, then from 1788 to 1790 (see Goncourt, p. 171 ff.); the earliest is the 800 Lies of Mampachi, 29 sheets: Yedo, 1780.
  • II. Books in Mangwa size, 1787-90 (Goncourt, p. 174). Also a book of 1802.
  • III. Books of erotic contents, beginning with the Yehon mina mezane (All the World Awakens) of 1786, in collaboration with Rantokusai (Shundo), with delicate half-tones (see Goncourt, p. 263); the Yehon Tamakushige of 1789, printed with especial care.
  • According to a personal communication from Kurth, Rantokusai signs together with Utamaro on the last print but two, and alone on the sixth, while Utamaro signs alone on the last.

Books in polychrome:—

  • Yehon ginsekai, the Silver World, poems on snow, 5 double sheets with figures, of very great charm, with little gradation in the colours, important for the landscape, 1790.
  • Yehon kiogetsubo, poems on the moon, 5 double sheets, landscape compositions with a few figures, 1789.
  • Yehon waka yebisu, New Year's Day Customs, 5 double sheets with very spirited figures, exceptionally delicate in colour and very finely cut, 1786 (Kurth, pl. 8).
  • Yehon hananokumo, poems on the cherry blossoms (lit. flowers of the clouds).
  • Yehon matsu no shirabe, the Testing of the Pines, 1795, several volumes. In this he signs himself Karamaro, i.e. the Chinese Maro.
  • Yehon shikinohama, flowers of the four seasons, in 2 vols., 1801; therein an interior during a thunderstorm (Kurth, pl. 37).
  • Fugenzo, promenades during the cherry-blossom season, 5 double sheets, 1790.
  • Occupations of women according to rank, 16 small sheets (Coll. Duret in Paris).

His principal work is:—

  • Seiro yehon nen ju gioji, the events of the year in the Green Houses (Yoshiwara), with the addition: Umpire of the lists for one year;