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 CHICAGO. CATALOGUE .j* 
 
 OF A LOAN EXHIBITION 
 
 
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THE ART INSTITUTE OF CHICAGO 
 
 CATALOGUE 
 
 OF A LOAN EXHIBITION OF 
 
 COLOUR PRINTS 
 
 BY 
 
 ICHIRYUSAI HIROSHIGE 
 
 1797-1858 
 
 WITH AN INTRODUCTION 
 AND NOTES 
 BY * 
 
 FREDERICK WILLIAM GOOKIN 
 
 APRIL 1912 
 
The prints included in this exhibi¬ 
 tion are loaned by Messrs. Charles H. 
 Chandler, J. Clarence Webster, Fred¬ 
 erick W. Gookin, and Clarence Buck¬ 
 ingham, and by the heirs of the late 
 John H. Wrenn. 
 
 With only a few exceptions the 
 prints shown are of the finest possible 
 quality, strictly Ichi Ban as the 
 Japanese would say. The few that do 
 not quite come up to this standard 
 have been included because of the 
 notable character of the design. 
 
 nii. t 
 
 Li 
 
INTRODUCTION 
 
 Ando Tokitaro, known to the world by his artist name 
 Ichiryusai Hiroshige, was born in the year 1797. When he was 
 in his fifteenth year he became a pupil of Utagawa Toyohiro, 
 having previously applied to Toyokuni without success, as 
 that artist, then at the height of his popularity, had no room 
 in his studio to accommodate another pupil. At that time 
 Toyohiro was giving his attention very largely to landscape 
 subjects, and in all probability it was his interest in them that 
 influenced Hiroshige to select for his own special province this 
 wide field hitherto, comparatively speaking, untilled by the 
 Ukiyoe artists. 
 
 For many centuries the Japanese artists of the classical 
 schools had been painting landscapes, for the most part in the 
 style of the old Chinese masters, though with various modifica¬ 
 tions. The task Hiroshige set himself was to design color 
 prints that would portray the beauties of the familiar scenes 
 of every day life. Instead of classical idealizations he would 
 present subjects well known to the mass of the people, such 
 as famous places in the two capitals, Yedo and Kyoto, the 
 Post Stations on the Tokaido, as the highway between them 
 was called, the sights of Osaka, then known as Naniwa, and 
 the celebrated eight views of Lake Biwa. Though each print 
 should be an accurate picture of the place represented, it should 
 also be a distinctive design. As other Ukiyoe artists had 
 played with figures of men and women so he would play with 
 hills and fields and buildings and trees and lakes and rivers, 
 with vistas over land and sea, with the ever-changing effects 
 of cloud and sunshine, with fog and rain and snow, with morn¬ 
 ing mists and evening shades and the tender charm of moon¬ 
 light. 
 
 5 
 
Further invading the territory of the classical schools he 
 would make prints of birds and flowers, not confining himself 
 to the few species the artists of these schools looked upon as 
 fit subjects for representation, but going out into the fields 
 and tramping over the hills and through the groves and mak¬ 
 ing drawings of what he should see there. In each drawing 
 the structure, characteristic growth, and beauty of the plants 
 depicted should be faithfully rendered, the action of the birds 
 should be as realistic as possible, but every line, every form, 
 every hue should blend into a harmonious rhythmic whole, 
 structurally strong and fairly quivering with life. 
 
 How early in his career Hiroshige decided to devote him¬ 
 self to this range of subjects we do not know. The prints of 
 the very rare “Honcho Meisho” series were perhaps his earli¬ 
 est published works. The infrequency with which prints of 
 this series are seen may be taken as an indication that the 
 edition was not a large one. The “Toto Meisho” series of 
 Yedo views published by Kawaguchi Shozo marked a decided 
 improvement in design. The ten prints forming it are all of 
 great beauty. In the absence of definite knowledge it is not 
 possible to speak with certainty, but it would seem not un¬ 
 likely that the popular approval of this series led to a com¬ 
 mission being given to Hiroshige by the publisher Takeuchi 
 to design a series of views of the Tokaido, the post-road be¬ 
 tween Yedo and Kyoto. As a preparation for this Hiroshige 
 made a journey to Kyoto stopping everywhere to make draw¬ 
 ings and bringing back with him many books filled with 
 sketches of the scenery along the route. The date of this 
 journey was possibly as early as 1825, though perhaps it was 
 not undertaken until several years later. And it may be that 
 the stimulus to popular interest in landscape prints given by 
 the publication of Hokusai’s famous “Thirty-Six Views of 
 Fuji” which began to appear about this time, influenced 
 Takeuchi in commissioning Hiroshige to design the Tokaido 
 set. 
 
 Instant success attended the placing of the first prints of 
 this series on sale at Hoyeido, as Takeuchi’s shop was called. 
 
 6 
 
From his master Toyohiro, Hiroshige had adopted the name 
 Ichiyusai (Profoundly Deep) and with this appellation his 
 earlier prints are signed. Confident that his fame was secure 
 he now changed this to Ichiryusai (One Standing Alone). 
 The consciousness of power which this somewhat boastful 
 phrase implies was amply justified. That the fifty-five prints 
 of the Tokaido series are impressed with the hallmark of 
 genius no competent observer would question for a moment. 
 Throughout Japan these prints found wide appreciation. Even 
 the connoisseurs who looked with contempt upon the vul¬ 
 garities of the Ukiyoe school and held that no print could 
 have sufficient vitality to entitle it to be considered a work of 
 art, could not withhold their admiration. Edition succeeded 
 edition until the blocks were entirely worn out. The first 
 edition was printed with the greatest care, and great pains 
 were taken with the colour and the quality of the impression. 
 Changes made in the designs from time to time bear witness 
 to the artist’s efforts to make his work as perfect as possible 
 in every detail. As some of the blocks wore out, or were, per¬ 
 haps, accidentally destroyed, they were replaced by new ones. 
 How many copies were printed we cannot even guess, but it 
 must have been somewhere in the tens of thousands. At first 
 the prints were issued separately as the blocks were designed 
 and engraved. When all were finished sets were made up and 
 sold together in albums. Very few, if any, of the choicest im¬ 
 pressions were included in these sets. 
 
 The Tokaido series was speedily followed by the several 
 Toto Meisho, Yedo Meisho, Kyoto Meisho, Naniwa Meisho, 
 Kisokaido, Yedo Kinko Hakkei, Omi Hakkei, and Kanazawa 
 Hakkei series, and by a long list of others. Kwa Cho, or 
 Bird and Flower prints, were also designed in considerable 
 numbers. The Yedo publishers vied with each other to secure 
 designs by this great artist and popular favorite. Hiroshige’s 
 energy seems never to have flagged as long as he continued 
 to live. When we consider the very large number of designs 
 that he turned out it is difficult to see how he could have found 
 time to make the journeys which he must have taken to pro¬ 
 cure the material for them. 
 
 7 
 
During his early and middle period Hiroshige made most 
 of his landscape compositions in horizontal format. Toward 
 the end of his life he changed to a vertical format. The prints 
 done in his last decade are vivid in color in accordance with 
 the prevailing taste of the time, and are seldom seen in their 
 best state. The finest impressions, however, are superb, and 
 basing our judgment upon them, and not upon the ordinary 
 copies, we reach the conclusion that in spite of the introduc¬ 
 tion of the red cartouches bearing the titles and signature, 
 which at first sight are very disturbing, these later works are 
 among the greatest achievements of the master. Even the 
 red cartouches, we discover, have been introduced for the 
 purpose of balancing the composition. 
 
 It is impossible to form a correct estimate of Hiroshige's 
 power or of the artistic value of his work from ordinary 
 copies of his prints. The later editions were so changed in 
 color and so carelessly printed as to have little relation to 
 the artist’s design. That they could not be utterly spoiled by 
 this treatment shows how masterly is their composition in 
 line and mass. The examination of choice copies shows clearly 
 that every one of all the many designs is delightful when pre¬ 
 sented as Hiroshige conceived it. The finest printing, how¬ 
 ever, was both difficult and expensive, and when the blocks 
 had worn so that the edges of the finest lines lost their sharp¬ 
 ness, it was quite impossible. It is fairly certain, therefore, 
 that what for lack of a better phrase we may designate as 
 proof impressions were never many. Because of the great 
 care that the best printing required they were perhaps fewer 
 in the case of Hiroshige’s prints than in that of the prints of 
 figure subjects by the earlier Ukiyoe masters. 
 
 Although he was primarily a print designer Hiroshige 
 found time to execute a considerable number of paintings. 
 These are highly esteemed by the Japanese critics who find 
 in them ample warrant for conceding to Hiroshige high rank 
 among the artists of Nippon. It is, however, upon his designs 
 for wood-block prints that his fame must finally rest. These 
 were among the first of the Japanese color prints to find favor 
 
 8 
 
in Western eyes. Yet it may be doubted if even today we 
 have come to estimate them at their true worth or to realize 
 how splendid they are in all the essential qualities that every 
 work of art should have. 
 
 Hiroshige died on the sixth day of the ninth month of 
 the year 1858, at the age of 62. On the title page of his last 
 great work, the Meisho Yedo Hyakkei, the Hundred Yedo 
 Views (118 in all), issued a sheet at a time during 1856, 1857, 
 and 1858, the last appearing about a month after the artist’s 
 death, he is described by his publisher as Issei Itto, “the 
 greatest of his age.” In accordance with Japanese custom he 
 left behind a farewell poem:— 
 
 Azuma ji ni 
 Fude wo nokoshite 
 Tabi no sora. 
 
 Nishi no mikuni no 
 Meisho wo minu. 
 
 This has been rendered into English by Mr. John S. Happer: 
 
 Dropping my brush at Azuma (the eastern capital, i. e., 
 Yedo) I go the long journey to the 'Western country (the 
 Buddhist Heaven) to view the wonderful scenery there. 
 
 This was signed Temmei Rojin, the Buddhist name that 
 appears upon Hiroshige’s tombstone. 
 
 FREDERICK W. GOOKIN. 
 
 9 
 
CATALOGUE. 
 
 ROOM 46. 
 
 1 Evening Cherries at Goten-yama. View overlooking 
 
 Yedo bay. 
 
 Series: Toto Meisho. This print and the following 
 number are two of the early series published by Ka¬ 
 waguchi Shozo. 
 
 2 Twilight Moon, Ryogoku Bridge. 
 
 One of the extremely rare impressions printed entirely in dif¬ 
 ferent tones of blue except the pink clouds. 
 
 Series: Toto Meisho. 
 
 3 Hamamatsu, Toko. Dreary Weather at Hamamatsu. 
 
 Series: Tokaido Go-ju-San Tsugi no Uchi (The Fif¬ 
 ty-three Post Stations of the Tokaido). 
 
 4 Shirasuka, Shio Mi Zaka. Sea View Hill. A daimyo 
 
 cortege passing down the hill, and beyond, a wide 
 sea-vista framed between scrubby pine trees. 
 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 5 Shono, Haku-u. Travellers at Shono crossing the pass 
 
 over the mountain range dividing Ise from Omi and 
 Iga in a heavy shower. 
 
 First state of this famous print which is one of the artist’s mas¬ 
 terpieces. 
 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 ii 
 
6 Fuchu, Abe-kawa. Travellers fording the Abe river. 
 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 7 Okazaki, Tenshin no Hashi. The long bridge over the 
 
 Tenshin river; daimyo cortege crossing. 
 
 Second state. In the first state the low blue hill on the hori¬ 
 zon does not appear, and the tall blue hill has a different con¬ 
 tour. 
 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 8 Ejiri, Miho Embo. Distant view of Miho beach. 
 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 9 Kameyama, Yuki Hare. The slope of Mount Kame in 
 
 clear weather after a snow fall. 
 
 One of the masterpieces for which this series is renowned. 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 \ 
 
 10 Narami, Meibutsu Arimatsu Shibori. The shops at Na- 
 
 rami for the sale of shibori, a kind of dyed cotton 
 cloth which was (and is still) the meibutsu (famed 
 product) of the neighboring village of Arimatsu. 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 11 Fukoroi, De Chaya. Wayside tea booth, early morning; 
 
 travellers halting for refreshment. 
 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 12 Asuka-yama Shita, Haru no Kei. Spring scene at the 
 
 base of Asuka hill, the famous cherry-blossom-view¬ 
 ing resort. 
 
 Series: Panel Toto Meisho, published by Matsu- 
 barado. 
 
 12 
 
13 
 
 Shin Yoshiwara Emonzaka Aki no Zuki. The Autumn 
 Full Moon at Emonzaka, New Yoshiwara, Yedo. 
 Series: Panel Toto Meisho, published by Matsu- 
 barado. 
 
 14 Okabe, Utsu no yama. The road winding upward be¬ 
 
 tween the green slopes of Utsu Hill. 
 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 15 Annaka Station on the Kisokaido. Early spring. 
 
 Series: Kisokaido Roku-ju-ku Tsugi no Uchi (The 
 Sixty-nine Post Stations of the Kisokaido). 
 
 Two publishers, Takeuclii and Iseiri joined in issuing this se¬ 
 ries which consisted of seventy designs, forty-seven by Hiro¬ 
 shige and twenty-three by Keisai Yeisen. Early impressions in 
 fine condition are extremely rare. 
 
 16 Nakakubo Station. 
 
 This is one of Hiroshige’s famous prints, which is 
 very rare in the right coloring here shown. In late 
 impressions the effect designed by the artist is en¬ 
 tirely lost. 
 
 Series: Kisokaido Roku-ju-ku Tsugi no Uchi. 
 
 17 Oi Station. Travellers in a snowstorm. 
 
 Series: Kisokaido Roku-ju-ku Tsugi no Uchi. 
 
 18 Mijranokoshi Station: Moonlight. 
 
 This print is justly celebrated as one of Hiroshige’s master¬ 
 pieces. 
 
 Series: Kisokaido Roku-ju-ku Tsugi no Uchi. 
 
 19 Asuka-yama, Hanami. Cherry trees in bloom on Asuka 
 
 Hill. 
 
 Series: Yedo Meisho, published by Sanoki. 
 
 13 
 
20 Kinryusan Temple, Asakusa, Yedo. The yearly festival. 
 
 Series: Toto Meisho, published by Sanoya Kihei, 
 otherwise known as Sanoki. 
 
 21 Ikegami, Bansho, The Vesper Bell at Ikegami Temple. 
 
 Series: Yedo Kinko Hakkei (Eight famous Views 
 of the Environs of Yedo), published by Sanoki. 
 
 The eight prints forming this series are regarded as among 
 Hiroshige’s finest works. 
 
 22 Tamagawa, Akitsuki. The Autumn Full Moon seen 
 
 over over the Tama River. 
 
 Series: Yedo Kinko Hakkei. 
 
 23 Asuka-yama, Bosetsu. Evening snow on Asuka Hill. 
 
 Series: Yedo Kinko Hakkei. 
 
 24 Azumashi, Yoru Ame. Night rain at Azumashi. 
 
 Series: Yedo Kinko Hakkei. 
 
 25 Shibaura, Seiran. Clearing Weather at Shibaura. 
 
 Series: Yedo Kinko Hakkei. 
 
 26 Haneda, Rakugan. Geese Flying Down at Haneda. 
 
 Series: Yedo Kinko Hakkei. 
 
 27 Ume Yashiki. People viewing the red and white blos¬ 
 
 soms of the ume (plum) tree. 
 
 Series: Panel Toto Meisho, published by Matsu- 
 barado. 
 
 28 Kambara, Yoru no Yuki. Evening snow at Kambara. 
 
 Series: Tokaido Go-ju-san Tsugi no Uchi. 
 
 14 
 
29 Nihon Bashi no Shirasame. White rain at Nippon 
 
 Bridge. 
 
 Series: Toto Meisho, published by Sanoki. 
 
 30 Kisoji no Yama Kawa. Winter view of the mountains 
 
 and streams on the Kiso highway. Triptych. Hiro¬ 
 shige’s largest snow scene. 
 
 Dated Ansei, Snake 4 = 1857, fourth month. 
 Published by Tsutaya. 
 
 31 Goten-yama. A picnic under the cherry trees. 
 
 Dated, Second month Ram year, i. e., 1852. 
 
 Series: Panel Yedo Meisho. 
 
 32 Tsukuda-jima, Fukagawa. Fishing boats at anchor off 
 
 the island of Tsukuda, Fukagawa. 
 
 Series: Toto Meisho, published by Masugin. Wheth¬ 
 er several publishers joined in bringing out the long 
 series of Yedo views designed by Hiroshige, or 
 whether there were a number of different series bear¬ 
 ing the same title is not definitely known. 
 
 33 Uruga. View of the Harbor on a Snowy Day. 
 
 Series: Nihon Minato Tsukushi (The Harbors of 
 Japan), published by Marusei. 
 
 34 Meguro, Fudo Mo-ode. The Fudo Shrine at Meguro. 
 
 Series: Yedo Meisho, published by Sanoki. 
 
 35 Go-hyaku Rakan Sazaedo. The Hall of the Five-hun¬ 
 
 dred Rakan. 
 
 This building was destroyed by fire some years ago. The fields 
 shown in the print are now built over. 
 
 Series: Toto Meisho, published by Sanoki. 
 
 15 
 
36 Arashi-yama. Cherry trees in bloom on the mountain 
 
 side at the foot of Yoshino rapids, and on the river 
 in the foreground two men poling a raft. 
 
 Series: Kyoto Meisho no Uchi (Famous Kyoto 
 Views), published by Kawaguchi Shozo. 
 
 37 Shiba Akabane no Yuki. Akabane bridge and the bar¬ 
 
 racks at Shiba, Yedo, in snow. 
 
 Series: Toto Meisho, published by Sanoki. 
 
 38 Oji Inari No Yashiro. The Shinto shrine to Inari Sama 
 
 (the Fox-God, so called) at Oji. 
 
 Series: Yedo Meisho, published by Sanoki. 
 
 39 The Ume Garden at Gammada. 
 
 Dated second month 1857. 
 
 Series: Meisho Yedo Hyakkei (One hundred views 
 of Yedo), published by Uwoya Teikichiji. 
 
 40 Mama no Koyo. Kotena no Yashiro, Tsugi hashi. Ma¬ 
 
 ple leaves at Mama; the Shinto Temple of Kotena, 
 and Tsugi Bridge. 
 
 Dated 1857, first month. 
 
 Series: Meisho Yedo Flyakkei. 
 
 41 Sunamura, Moto Hachiman. The original Hachiman 
 
 shrine at Sunamura. 
 
 Series: Meisho Yedo Hyakkei. 
 
 42 Asakusa, Kinryusan. The snow covered buildings of 
 
 Kinryusan Temple seen through the entrance gate 
 above which a huge lantern is suspended. 
 
 Dated 1856, seventh month. 
 
 Series: Meisho Yedo Hyakkei. 
 
 16 
 
43 Sumidagawa Suishin no Mori. The temple grove at Sui- 
 shin on the Sumida River. 
 
 Dated 1856, eighth month. 
 
 Series: Meisho Yedo Hyakkei. 
 
 44 Minami Shinagawa, Sunshu Xaigan. Sunshu beach, 
 South Shinagawa. 
 
 Series : Meisho Yedo Hyakkei. 
 
 45 Kwachu, Shino Nomi. Early morning in the Yoshiwara. 
 Dated 1857, fourth month. 
 
 Series: Meisho Yedo Hyakkei. 
 
 46 Meguro Taiko Bashi, Yuhi no Oka. Taiko Bridge and 
 Yuhi Hill at Meguro in snow. 
 
 Series: Meisho Yedo Hyakkei. 
 
 47 Inaba. Kajiko-yama. 
 
 Dated 1855. 
 
 Series: Roku-ju-yo Shu Meisho Dzu Kwai (Views in 
 the Sixty-odd Provinces), published by Heisuke in 
 the autumn of 1856. 
 
 48 Oji. Shozoku Enoki, Omisoka no Kitsune be. Fox-fires 
 on New Year’s Eve beneath the Shozoku enoki tree 
 at Oji. 
 
 Series: Meisho Yedo Hyakkei. 
 
 49 Senju no Ohashi. The great bridge at Senju. 
 Series: Meisho Yedo Hyakkei. 
 
 17 
 
50 Yoshiwara, Fuji no Numa, Narushima ga Hara. View 
 
 of Fuji swamp and Narushima field at Yoshiwara, 
 Fuji san in the distance. 
 
 Dated 1855, seventh month. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye, known as 
 the vertical Tokaido set. Published by Tsutaya. 
 
 51 Odawara, Kaigan Ryoshi. Fishermen’s houses on the 
 
 beach at Odawara. 
 
 Dated 1855, seventh month. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 52 O Yuki Furishikuru Dzu. Picture of a great snow fall. 
 
 Uchiwa fan-mount, published by Marusan. 
 
 53 Kameido Temple Grounds in Snow. 
 
 Series: Toto Meisho, published by Sanoki. 
 
 54 Kameido, Tenjin Kyodai. Within the grounds of Tem- 
 
 mangu temple, Kameido. Wistaria in bloom above 
 the drum bridge over the Shinji-no-Ike or “Pond of 
 the Word Heart,” so called because of its shape, 
 which resembles the Chinese character for “heart.” 
 Series: Meisho Yedo Hyakkei. 
 
 55 Fishing boats at anchor in Yedo bay. 
 
 Uchiwa fan-mount. 
 
 56 Asakusa, Kinryusan Setchu. Kinryusan Temple, Asa- 
 
 kusa, in snow. 
 
 Series: Yedo Meisho, published by Sanoki. 
 
 18 
 
57 Musashi, Tama-gawa. View of Fuji from the Tama 
 
 River in Musashi. 
 
 Dated 1858, fourth month. 
 
 Series: Fuji San-ju-rokkei (Thirty-six views of 
 
 Fuji), Hiroshige’s last work, completed shortly before 
 his death and published by Tsutaya in July of the 
 next year, 1859. 
 
 58 Futagawa, Saru ga Baba Tachiba. The starting place of 
 
 the Monkey race-track at Futagawa. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 59 Asuka-yama. View of Fuji san from Asuka Hill, Yedo, 
 
 in the time of the cherry blossoming. 
 
 Series: Fuji San-ju-rokkei. 
 
 60 Narami. Meisan Arimatsu Shibori Mise. Shops for 
 the sale of Arimatsu Shibori at Narami. A different 
 view of the scene depicted in No. 8. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 61 Shinagawa, Goten-yama Yori Ekichu O Miru. The wide 
 view over Shinagawa from Goten-yama. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 62 Minaguchi, Meisho Hiramatsu Yama no Fumoto. View 
 of Minaguchi, a famous place at the foot of Mount 
 Hiramatsu. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 63 Otsu, Miidera Kwannon do Yori Otsu no Machi Kosui 
 Chobo. Distant view of Lake Biwa from Kwannon 
 Flail, Miidera Temple. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 19 
 
64 Zoshigaya. Fuji seen from the tea-house called Fuji- 
 
 mi-chaya at Zoshigaya. 
 
 Series: Fuji San-ju-rokkei. 
 
 65 Fujisawa, Miho no Matsubara, Hidari Fuji. The pine 
 
 grove at Miho no Matsubara, Fuji at the left. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 66 Miho no Matsubara. View of Fuji San from the sea. 
 Series: Fuji San-ju-rokkei. 
 
 67 Meguro, Hidari Fuji. View of Meguro, Fuji at the left. 
 Dated 1857, fourth month. 
 
 Series: Meisho Yedo Hyakkei. 
 
 68 Seichi Akiwa no Kyodai. View within the grounds of 
 the Seichi Akiwa shrine. 
 
 Series: Meisho Yedo Hyakkei. 
 
 69 Hakone Sanchu. Yako no Dzu. In the Hakone moun¬ 
 tains. Travellers climbing the pass by night. 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 70 Awazu, Seiran. Clearing Weather at Awazu. 
 
 Series: Omi Hakkei no Uchi (The Eight Famous 
 Views of Omi). 
 
 71 Karasaki, Yoru ame. Night rain at Karasaki on Lake 
 Biwa. The famous old pine-tree shown in the pic¬ 
 ture is one of the most curious trees in the world 
 because of the great spread of its branches. 
 
 Series: Omi Hakkei no Uchi. 
 
 20 
 
/2 Ishiyama, Akitsuki. The autumn moon at Ishiyama, re¬ 
 nowned as one of the most beautiful sights in Japan. 
 Series: Omi Hakkei no Uchi. 
 
 73 Miidera, Bansho. The Evening Bell at Miidera Temple 
 
 at Otsu on Lake Biwa. The grave of the late Pro¬ 
 fessor Ernest F. Fenollosa is on the hillside back of 
 this temple. 
 
 Very rare impression in different tones of grey. 
 
 Series: Omi Hakkei no Uchi. 
 
 74 Okabe, Katazu no Yama, Tsuta no Hosomichi. Mount 
 
 Katazu and the Ivy Path at Okabe. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 75 Mitsuki, Tenryu-gawa Funa Watashi. Ferry boat on 
 
 the Tenryu River at Mitsuki. 
 
 Series: Go-ju-san Tsugi Meisho Dzu Ye. 
 
 76 Bizen. Tanokuchi, Kaihin Yukasan Torii. Yukasan 
 
 Torii on the beach at Tanokuchi, Province of Bizen. 
 Dated 1853. 
 
 Series: Roku-ju-yo Shu Meisho Dzu Kwai. 
 
 77 Yamato. Tateyama Tatsuta-gawa. The Tatsuta River 
 
 at Tateyama in the Province of Yamato. 
 
 Dated 1853. . 
 
 Series: Roku-ju-yo Shu Meisho Dzu Kwai. 
 
 78. Higo. Gosuisho. View of Gosuisho in the Province 
 of Higo. 
 
 Series: Roku-ju-yo Shu Meisho Dzu Kwai. 
 
 21 
 
79 Hamamatsu. A storm approaching over the sea at 
 
 Hamamatsu. 
 
 Series: Tokaido. This series in which the hori¬ 
 zontal lines in the compositions are emphasized is 
 known as the Marusei Tokaido set, from the name 
 of the publisher. 
 
 80 Scene from the Eighth Act of Chushingura. Tonase, 
 
 wife of Kakogawa Honzo, and her daughter Konami, 
 journeying from Yedo to Kyoto. 
 
 Series: Chushingura. The Drama of the Forty- 
 seven Loyal Ronin. 
 
 81 Scene from the Eleventh Act of Chushingura. The 
 
 Loyal Ronin Embarking on the Fishing Boats that 
 conveyed them to make the Night attack on Moro- 
 nao, the Lord of Musashi. 
 
 Series: Chushingura. 
 
 82 Takeda Baba. The Race Course at Takeda. 
 
 An extreme rarity. 
 
 Series: Surimono Yedo Meisho. 
 
 83 Bakuro cho. Hatsune no Baba. The Hatsune Race 
 
 Course, Bakuro Street. 
 
 Series: Meisho Yedo Hyakkei. 
 
 84 Asuka-yama Kita no Chobo. North view from Asuka 
 
 Hill. 
 
 Series: Meisho Yedo Hyakkei. 
 
 22 
 
85 
 
 86 
 
 87 
 
 88 
 
 89 
 
 90 
 
 91 
 
 92 
 
 93 
 
 94 
 
 95 
 
 96 
 
 97 
 
 ROOM 47a. 
 
 The Saru-Bashi (Monkey Bridge) in snow. 
 
 A Waterfall in a narrow gorge. 
 
 Small Bird and Poppy; the bird flying and the poppy 
 tossing in a breeze. 
 
 White Heron and Purple Iris. 
 
 Buncho and Wild Rose. 
 
 Yellow Bird and Wistaria; the bird preening its feathers 
 while perched on the vine. 
 
 Uso (Bullfinch) and Peach; the bird clinging to a droop¬ 
 ing branch in bloom. 
 
 Impression in two tones of blue. 
 
 Red Parrot on a branch of Kobai (Red Ume). 
 
 Ducks and Wild Rice. 
 
 Yellow Bird and Wistaria. 
 
 Swallow and Weeping Willow. 
 
 Impression in two tones of blue. 
 
 Swallows and Wistaria. 
 
 Quails and Poppy. 
 
 23 
 
98 
 
 99 
 
 100 
 
 101 
 
 102 
 
 103 
 
 104 
 
 105 
 
 106 
 
 107 
 
 108 
 
 109 
 
 no 
 
 Pheasant and Snow-laden Bamboo. 
 
 Owlet and Pine; the bird on a bough, blinking and turn- 
 its head from the crescent moon. The poem that 
 appears on the print has been translated: “Owlets 
 may sail in the boat-shaped moon while their ears 
 catch sounds like a koto tune, played by the breeze 
 passing through the pines.” 
 
 White Herons and Iris. 
 
 Kingfisher and Iris. 
 
 Two Small Birds on a branch of a Maple tree with Au¬ 
 tumn foliage. 
 
 Swallow and Wistaria. 
 
 Mandarin Ducks in Winter swimming beneath drooping 
 branches of snow-laden Bamboo. 
 
 Swallows and Wistaria. 
 
 Impression in grey and black. 
 
 Camellia and Swallows in Snow. 
 
 Swallow and Wistaria. 
 
 Kingfisher and Hydrangea. 
 
 A Cliff Crowned with Autumn Foliage. 
 
 Pheasant and Young Pines on a Steep Hillside. 
 
 24 
 
Ill 
 
 112 
 
 113 
 
 114 
 
 115 
 
 116 
 
 117 
 
 118 
 
 119 
 
 120 
 
 121 
 
 122 
 
 123 
 
 124 
 
 Chrysanthemum Flowers. 
 
 Pheasant on a Snow-laden Pine. 
 
 Falcon, Pine, and Rising Sun; the bird just taking flight 
 from the trunk of the tree, in front of the sun’s red 
 disk. 
 
 Onaka-dori and Azalea. 
 
 Buncho and Wistaria. 
 
 Onaka-dori and Ume; a long-tailed bird perched on a 
 branch of blossoming plum, preening its feathers. 
 
 Uso and Camellia. 
 
 Small Bird and Kobai. 
 
 Uso and Autumn Vine. 
 
 Asagao (Morning Glories). 
 
 Bird and Kobai. 
 
 Green Bird and Kobai. 
 
 White Egret and Bullrushes. 
 
 Parroquet and Wild Cherry. 
 
 25 
 
125 Two Birds and Autumn Maple. 
 
 126 Swallows, Peach Blossoms, and Moon. 
 
 127 Falcon, Pine, and Autumn Vine. 
 
 128 Swallows and Poppies. 
 
 129 Green Bird and Wild Cherry. 
 
 130 Frogs and Yamabuki. 
 
 131 Swallows and Nanten. . 
 
 132 
 
 Buncho and Asagao. 
 
< 
 
 * 
 
66q