Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/385

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the Seven Gods or Fortune represented by beautiful women in gorgeous robes. Gonse, i. 144, gives a reproduction from him of the year 1822. Of his works may be mentioned:—

  • Ichiro gwafu, drawings of an old man. Yedo, 1823.
  • The thirty-six poets, double sheets, 1826.
  • Riakugwa shokunin zukushi, the craftsmen, 46 sheets, 8vo.
  • Illustrations of poems, mostly landscapes, 11 double sheets.
  • Landscapes, 40 sheets, 8vo; not very good.
  • Dancing girls in the light of a red lamp; a series or five small sheets (Gillot Catalogue).
  • The Ko-Shoguns, five surimonos (Hamburg).

Yanagawa Shigenobu, 1787–1842, married Hokusai's daughter Omiyo, who later obtained a divorce from him; after this he imitated Kunisada's style.[1] From his father-in-law he had received, about 1820, the name Taito. Of his works the following may be named:—

  • Satomi Hakken den, illustrated in collaboration with Sadahide and Keisai Yeisen.
  • Yanagawa gwacho, album with various representations, in black and red, 8vo. Owari, 1821.
  • Yanagawa gwafu, the same, 1821.
  • Landscapes, 20 double sheets, 8vo; not very good.
  • Kioka meisho zuye, 1826, tinted.
  • Sansui gwajo, 1835, landscapes.

Yanagawa Shigeyama was his pupil; he produced the Yehon Fujibakama, famous women, Yedo, 1823; new edition 1836, 2 vols.

Katsushika Isai counts among the later pupils of the master.[2] Of his work may be mentioned:—

  • Kwannonkio riakuzukai, a Buddhist tract. 1851.
  • Nichiren Shonin ichidaizuye, the life of Nichiren, 6 vols. 1858.

  1. Anderson Cat., p. 368; Goncourt, Hokousaï, p. 344; Cat. Burty, No. 687.
  2. Anderson Cat., p. 370; Cat. Burty, No. 726 f.; Duret, No. 417.