GOJO SANTSUGI Fifty-Three Stations on the Tokaido.
56 sheets in a set. Chu-ban Yokoye. Published by Sanoki.
This series has in addition to the usual 55, a print of the Imperial Palace in Kyoto making 56 in all. On each sheet is a kyoka, comic verse, hence it is called the Kyoka Tokaido. Those illustrated in this catalogue are the scenes of *Hara and *Futakawa.
Mr. S. Sakai
TOTO TENMACHO HANYEI NO ZU. The Gay Street called Tenmacho, Yedo. Triptych. Published by Marukyu.
Mr. T. Hirose
TOTO MEISHO. Famous Sights of Yedo.
SUDA NO WATASHI. Two water birds by reeds on the Sumida. The Sumida river is also poetically known as the Suda river. Chu-tanzaku. Published by Murata.
Mr. M. Uchida
SAGI, KIKU, TANUKI. Snowy Heron, Chrysanthemum, Badger. The designs are in white on an entirely black background. Three prints on one plate.
Mr. J. S. Happer
KOKON MEIHITSU ISHIZURI KAGAMI. Harimaze containing the pictures of landscapes, figures and poems printed in the same way as No. 190. O-ban Tateye. Published by Senichi.
Mr. S. Kaneko
Of the above pictures displayed in the exhibition, those from illustration
No.17 (Toto Meisho produced at the beginning of the Tempo era) down
to those produced in the closing year of the same era are as a rule
numbered in the order of issue. (Among Uchiwaye there are some later
issues). It was during this period that the author was filled to
overflowing with artistic inspiration and productive zeal, so that
many of his masterpieces were then produced. (This must have been
noticed by those who visited the exhibition). As a result of sweeping
reforms effected in the municipal administration in the thirteenth
year of the Tempo era (1842) by Mizuno-Echizen-no-kami, publications
were subjected to strict censorship, colour prints among the number.
Prints passed by the authorities concerned were each stamped. This
official seal of approval was put by the side of either the title,
or seal and signature of the author or by the publisher's stamp.
All the prints issued since the latter half of the same year bear
this stamp. It is to be added that while those of earlier issue
bear the seal of approval only, viz.,
Kiwame, those issued from this time downwards have the censor's
official seal representing his family name such as
in addition to the seal of approval. It is supposed that those bearing
one official seal are of the issue from the 13th year of the Tempo
to the end of the Koka era (1844-'47) and those with two seals of
the issue for the fourth year of Kayei (1848-53).
Two seals of approval and one date stamp such as (February the Year of Rat) are found on prints issued about February of the fifth year of Kayei. Prints issued from the end of the following year and onwards bear a seal of approval such as instead of censor's seal and date stamp such as (December the Year of Cow) and (April the Year of Horse). In the sixth year of Ansei, the year following Hiroshige's death, this seal of approval and date stamp were formed into one stamp in an abridged style such as . Prints given below all bear these seals of approval denoting productions for the period from the 13th year of the Tempo era down to September of the fifth year of the Ansei era, in which Hiroshige passed away. It must be added that some of the smaller pictures such as Chu-ban, Yotsugiri and Harimaze have no official seal. This is because these prints were originally produced many on the sheet, and the seal was put only once on the sheet.
MITATE UKIFUNE (Sumidagawa no Watashi). Beauty at the Ferry Boat-Station on the Sumida in Snow. Each of this series has a beautiful woman in a setting of some scene famous for Moon, Snow or Flower Viewing. 0-ban Tateye. Published by Marukyu.
Mr. T. Maeda
KOKON JORURI ZUKUSHI. Grand Series of New and Old Ballad-Dramas.
Mr. K. Wada
CHUSHINGURA HACHIDANME. Act 8 of the Drama of the
Chushingura. 0-ban Tateye. Published by Sanoki.
As indicated by the title, this series represents the subjects of ballad-dramas with the additions of backgrounds peculiar to Hiroshige.
Besides the above there are the following and a few others:
Gonpachi Yume no Dan. Chushin Koshaku Yukifuri no Dan. Himekomatsu Nenohi Asobi Shima Monogatari. Katsuragawa Renri no Shigarami Michiyuki. Kyara Sendaihagi. Kagamiyama Furusato Nishikiye. Chushingura Sandanme Michiyuki. Karukaya Somon Tsukushi. Seishu Akogigaura Hamabe. Somemoyo Imose no Kadomatsu. Sekinoto no Shita. Hiragana Seisuiki.
TOTO KYUSEKI ZUKUSHI. Grand Series of Yedo in Legend and History.
YAMABUKI NO SATO NO KOJI. The scene celebrated in the legend
Yamabuki no Sato.
0-ban Tateye. Published by Wakasaya.
Mr. T. Maeda
AZUMA NO MORI NO KOJI. The scene of the legend: Azuma no Mori.
This series shows the localities connected with stories of olden tunes in or near Yedo.
There are several other plates of this kind. In these days, Hiroshige drew comparatively a large number of historical pictures. Principal among them are Honcho Nenreki Zuye (Chronological Pictures of Japan) in 14 sheets issued by the Jokin; Chushingura (Drama of the Forty-Seven Ronin) in 12 sheets by the Aritaya; Genji Monogatari Gojuyojo (Pictures of Fifty-Four Stories of Genji Monogatari) 5 sheets by the Isekane, (The above are all lateral prints); Soga Monogatari Zuye (Soga Vendetta) in 30 sheets by the Dansendo; and Chuko Adauchi Zuye (Vendettas inspired by loyalty to parents and masters).
TOKAIDO GOJU SANTSUGI SAIKEN ZUYE. Scenes of the Tokaido with humorous figures.
The Upper half of the plate consists of landscape and the other half humorous figures. This Tokaido Series was not completed, those having been drawn are probably from Nihonbashi as far as to, say, Hakone. O-ban Tateye. Published by Muratetsu ( ).
Mr. K. Wada
KINJO HASSHO. Eight Famous Views of Kanazawa, Kaga Province.
½ plate series of Eight. Chu-ban Yokoye.
Io Choton. Renko Gioka. Hakusan Seisetsu. Jokei Koyo. * Kurotsu Bune Yau. Binkan-kei Seisen. * Haseyama Shugetsu. Daijoji Bansho.
Mr. M. Uchida
TOTO HAKKEI. Eight Views of Yedo.
Margins outside the border of each print are coloured light green. Chu-ban Yokoye. Published by Fujikei ().
Nihonbashi no Yau, Evening Rain at Nihonbashi.
Asakusa no Bosetsu, Evening Snow at Asakusa.
Ryogoku no Yusho, Sunset at Ryogoku (Scenes of Fireworks).
Uyeno no Bansho, Vesper Bells at Uyeno.
Takanawa no Kihan, Boats Sailing Back at Takanawa.
Susaki no Seiran, Clearing Weather at Susaki.
Sumida gawa no Shugetsu, Autumn Moon above the Sumida.
Shinobazu no Rakugan, Geese Flying Down at Shinobazu.
Mr. T. Nakamura
TOKAIDO GOJU SAN TSUGI. Fifty-Three Stations on the Tokaido.
This series consists of 54 sheets instead of 55 as in the ordinary Tokaido series, the two stations of Shimada and Kanaya being combined on one sheet. As prints were two on a block, an even number was desired. Those illustrated are No. 187 Tokaido series but the color is darker. Chu-ban Yokoye. Published by Tsutaya.
Mr. S. Kaneko
GOJU SAN TSUGI. Fifty-Three Stations on the Tokaido.
This series emphasizes the people rather than the scenery of the highway and makes an even number by giving two views of Kyoto, the extra No. 56 is () in 1852. Illustrations show NUMAZU and HARA.
Mr. N. Shimizu
FUJI SANJU ROKKEI. Sights of Mt. Fuji Viewed from Various Places. 36 sheets in a set. Chu-ban Yokoye. Published by Sanoki in 1852.
Mr. S. Sakai
Toto Ryogoku-bashi Shita.
Kazusa Tenjin-yama Kaigan.
Kai Suga-yama Ura.
Inume Toge. +
Sagami Shichiriga Hama.
Tago no Ura.
Chiyo ga Saki.
Kazusa Kano-zan Toriizaki.
This general title is written in the reisho (formal) style.
So this series is called the Reisho
Tokaido. From the name of the publisher it is also known
as the Marusei Tokaido, since it was
published by Marusei. There are no very poor impressions of this
series unlike other Tokaido Series perhaps because the blocks were
lost by fire before many copies had been printed.
Those illustrated are Stations No. 3 Kawasaki, 11 Hakone, 13 Numazu, 23 Fujieda. 0-ban Yokoye Size.
TOKAIDO. General title is also written
in the reisho style as Tokaido. Those
put on display were only two sheets representing Fujisawa and Oiso.
Hakone are known to be in existence. How far the
author proceeded with drawing stations on the Tokaido is not known.
The style of prints and age are the same as those by the Marusei
referred to above. But they are somewhat larger
in size and entirely different in composition, so would appear to
belong to still another series.
O-ban Yokoye. Published by Hayashi-sho
Mr. S. Watanabe
TOKAIDO GOJU SAN ZUYE. Fifty-Three Stations on the Tokaido. Figures and Landscape Tokaido.
Mr. K. Wada
NIHONBASHI. Below the scene of Nihonbashi there is a beauty reading a letter sent with a present of fish.
Below the scene of Maisaka there is a beauty resting by the wayside.
Like the above two, each print of this series shows a beauty and a landscape. The printing of this series was stopped after about three fourths of it had been issued. O-ban Tateye. Published by Fujikei.
TOKAIDO GOJU SAN TSUGI MEISHO ZUYE.
Fifty-Three Stations on the Tokaido.
This is Hiroshige's production in his declining years. O-ban Tateye. 55 in a set. Published by Tsutaya in 1855. Those illustrated are No. 15 YOSHIWARA and No. 35 YOSHIDA.
Mr. J. S. Happer