CATALOGUE OF THE EXHIBITION - ITEMS 187 TO 206
Titles with the mark solid diamond denote titles of the series while the mark open diamond denotes the sub-title. Those titles without any mark are the additions of the compiler of the catalogue.

 

 

 

Exhibitors

187.

 

TŌKAIDŌ GOJŪ SANTSUGI Fifty-Three Stations on the Tōkaidō. 56 sheets in a set. Chū-ban Yokoye. Published by Sanoki.
This series has in addition to the usual 55, a print of the Imperial Palace in Kyōto making 56 in all. On each sheet is a kyōka, comic verse, hence it is called the Kyōka Tōkaidō. Those illustrated in this catalogue are the scenes of *Hara and *Futakawa.

Mr. S. Sakai

188.

open diamond

TŌTO TENMACHŌ HANYEI NO ZU. The Gay Street called Tenmachō, Yedo. Triptych. Published by Marukyū.

Mr. T. Hirose

 

solid diamond

TŌTO MEISHO. Famous Sights of Yedo.

 

189.

open diamond

SUDA NO WATASHI. Two water birds by reeds on the Sumida. The Sumida river is also poetically known as the Suda river. Chū-tanzaku. Published by Murata.

Mr. M. Uchida

190.

 

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

191.

solid diamond

KOKON MEIHITSU ISHIZURI KAGAMI. Harimaze containing the pictures of landscapes, figures and poems printed in the same way as No. 190. Ō-ban Tateye. Published by Senichi.

Mr. S. Kaneko

 

 

Of the above pictures displayed in the exhibition, those from illustration No.17 (Tōto Meisho produced at the beginning of the Tempō 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 Tempō 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., japanese text Kiwame, those issued from this time downwards have the censor's official seal representing his family name such as japanese text Hama. japanese text Yonehara. japanese text Watanabe. japanese text Muramatsu. japanese text Tanaka. japanese text Kinukasa. japanese text Yoshimura. japanese textMurata. 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 Tempō to the end of the Kōka 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 japanese text (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 japanese text instead of censor's seal and date stamp such as japanese text (December the Year of Cow) and japanese text (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 japanese text. Prints given below all bear these seals of approval denoting productions for the period from the 13th year of the Tempō 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 Chū-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.

 

solid diamond

YEDO MURASAKI MEISHO GENJI.

 

192.

open diamond

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. Ō-ban Tateye. Published by Marukyū.

Mr. T. Maeda

193.

open diamond

YOSHITSUNE ICHIDAIKI ZUYE. The Life of Yoshitsune in Ten Prints. Ō-ban Tateye. Published by Takō (japanese text).

Do.

 

solid diamond

KOKON JŌRURI ZUKUSHI. Grand Series of New and Old Ballad-Dramas.

Mr. K. Wada

194.

open diamond

CHŪSHINGURA HACHIDANME. Act 8 of the Drama of the Chūshingura. Ō-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:
open diamond Gonpachi Yume no Dan. open diamond Chūshin Kōshaku Yukifuri no Dan. open diamond Himekomatsu Nenohi Asobi Shima Monogatari. open diamond Katsuragawa Renri no Shigarami Michiyuki. open diamond Kyara Sendaihagi. open diamond Kagamiyama Furusato Nishikiye. open diamond Chūshingura Sandanme Michiyuki. open diamond Karukaya Sōmon Tsukushi. open diamond Seishū Akogigaura Hamabe. open diamond Somemoyō Imose no Kadomatsu. open diamond Sekinoto no Shita. open diamond Hiragana Seisuiki.

 

 

solid diamond

TOTO KYŪSEKI ZUKUSHI. Grand Series of Yedo in Legend and History.

 

195.

open diamond

TAKATA YAMABUKI NO SATO NO KOJI. The scene celebrated in the legend Yamabuki no Sato. Ō-ban Tateye. Published by Wakasaya.

Mr. T. Maeda

 

 

DO.

 

196.

open diamond

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.

Do.

 

 

There are several other plates of this kind. In these days, Hiroshige drew comparatively a large number of historical pictures. Principal among them are Honchō Nenreki Zuye (Chronological Pictures of Japan) in 14 sheets issued by the Jōkin; Chūshingura (Drama of the Forty-Seven Ronin) in 12 sheets by the Aritaya; Genji Monogatari Gojūyojō (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 Dansendō; and Chūkō Adauchi Zuye (Vendettas inspired by loyalty to parents and masters).

 

solid diamond

TŌKAIDŌ GOJŪ SANTSUGI SAIKEN ZUYE. Scenes of the Tōkaidō with humorous figures.

 

197.

open diamond

SHINAGAWA.
The Upper half of the plate consists of landscape and the other half humorous figures. This Tōkaidō Series was not completed, those having been drawn are probably from Nihonbashi as far as to, say, Hakone. Ō-ban Tateye. Published by Muratetsu ( japanese text).

Mr. K. Wada

198.

solid diamond

KINJO HASSHŌ. Eight Famous Views of Kanazawa, Kaga Province. ½ plate series of Eight. Chū-ban Yokoye.
open diamond Iō Chōton. open diamond Renko Gioka. open diamond Hakusan Seisetsu. open diamond Jōkei Kōyō. * open diamond Kurotsu Bune Yau. open diamond Binkan-kei Seisen. * open diamond Haseyama Shūgetsu. open diamond Daijōji Banshō.

Mr. M. Uchida

199.

solid diamond

TŌTO HAKKEI. Eight Views of Yedo.
Margins outside the border of each print are coloured light green. Chū-ban Yokoye. Published by Fujikei (japanese text).
open diamond Nihonbashi no Yau, Evening Rain at Nihonbashi.
open diamond Asakusa no Bosetsu, Evening Snow at Asakusa.
open diamond Ryōgoku no Yūshō, Sunset at Ryōgoku (Scenes of Fireworks).
open diamond Uyeno no Banshō, Vesper Bells at Uyeno.
open diamond Takanawa no Kihan, Boats Sailing Back at Takanawa.
open diamond Susaki no Seiran, Clearing Weather at Susaki.
open diamond Sumida gawa no Shūgetsu, Autumn Moon above the Sumida.
open diamond Shinobazu no Rakugan, Geese Flying Down at Shinobazu.

Mr. T. Nakamura

200.

solid diamond

TŌKAIDŌ GOJŪ SAN TSUGI. Fifty-Three Stations on the Tōkaidō.
This series consists of 54 sheets instead of 55 as in the ordinary Tōkaidō 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 Okitsu and Tsuchiyama. This series is of the same size as No. 187 Tōkaidō series but the color is darker. Chū-ban Yokoye. Published by Tsutaya.

Mr. S. Kaneko

201.

solid diamond

GOJŪ SAN TSUGI. Fifty-Three Stations on the Tōkaidō.
This series emphasizes the people rather than the scenery of the highway and makes an even number by giving two views of Kyōto, the extra No. 56 is Kyōto Shijō Yusuzumi - Enjoying evening cool at Shijō Kyōto. Chū-ban Tateye. Published by Muraichi (japanese text) in 1852. Illustrations show NUMAZU and HARA.

Mr. N. Shimizu

202.

solid diamond

FUJI SANJŪ ROKKEI. Sights of Mt. Fuji Viewed from Various Places. 36 sheets in a set. Chū-ban Yokoye. Published by Sanoki in 1852.

Mr. S. Sakai

 

 

Tōto Ryogoku-bashi Shita. *
Kinegawa Tanbo.
Sagamigawa.
Eitai-bashi, Tsukudajima.
Kōnodai.
Kazusa Tenjin-yama Kaigan.
Ōmori Nawate.
Kai Suga-yama Ura.
Shinano Suwako.
Suruga Fujinuma.
Tamagawa.
Fujigawa.
Inume Tōge. +
Sumida-zutsumi.
Musashino.
Nihon-bashi.
Ōyama.
Tanabata Matsuri.
 

Sagami Shichiriga Hama. *
Surugadai.
Koganei-zutsumi.
Satta Tōge.
Tago no Ura.
Hakone-yama Kosui.
Kanagawa Kaijō.
Izu Kaihin.+
Tōto Awayama.
Asukayama.
Honmoku Kaijō.
Kisarazu Kaijō.
Chiyo ga Saki.
Nokogiri-yama.+
Otsukihara. +
Yamashita-cho Gashi.
Suidō-bashi.
Kazusa Kanō-zan Toriizaki.

203.

solid diamond

TŌKAIDŌ. This general title is written in the reisho (formal) style. So this series is called the Reisho Tōkaidō. From the name of the publisher it is also known as the Marusei Tōkaidō, since it was published by Marusei. There are no very poor impressions of this series unlike other Tōkaidō 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. Ō-ban Yokoye Size.

Do.

204.

solid diamond

TŌKAIDŌ. General title is also written in the reisho style as Tōkaidō. Those put on display were only two sheets representing Fujisawa and Ōiso. But
Nihonbashi, Shinagawa, Kawasaki and 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. Ō-ban Yokoye. Published by Hayashi-sho (japanese text).

Mr. S. Watanabe

 

solid diamond

TŌKAIDŌ GOJŪ SAN ZUYE. Fifty-Three Stations on the Tōkaidō. Figures and Landscape Tōkaidō.

Mr. K. Wada

205.

open diamond

NIHONBASHI. Below the scene of Nihonbashi there is a beauty reading a letter sent with a present of fish.

 

*

open diamond

MAISAKA. 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. Ō-ban Tateye. Published by Fujikei.

 

206.

 

TŌKAIDŌ GOJŪ SAN TSUGI MEISHO ZUYE. Fifty-Three Stations on the Tōkaidō.
This is Hiroshige's production in his declining years. Ō-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