The sugoroku boardgame begins at Ōsaka's port Ōsaka Hakken-ya, and ends at the Edo capital. The poems included in each space are written by famous actors from Ōsaka and kyōka poets from Naniwa region in Ōsaka and Owari province. According to the publication information listed on the right of the print, this sugoroku was most likely made to be sold on New Years. The publisher's address lists Shinkyō-bashi in Ōsaka. Yoshiiku most likely was commissioned to create this work as he was based in the Edo capital.

The space for Fujisawa post station includes a poem by Kabuki Actor Morita Kanya XI. The poem discusses Yugyō-ji temple and Oguri Hangan, a legendary figure with deep ties to Fujisawa area, refering to his journey from the temple grounds to Kumano hot springs on a cart in order to heal his emaciated and sickly body.

This sugoroku boardgame is a rare example of a Meiji period sugoroku made from a base created with cooper-plate intaglio printing and colors applied with woodblock printing. The game begins at Shinbashi depicting the soon to be twenty-year old train station. The game utilizes the tobi-sugoroku rules in which the player "flies" to a new location based on what number they role. Each space comprises of a famous location abroad or within Japan, including Yokohama, New York, and St. Petersberg. They also include a short description of each location. The final space includes the Meiji Emperor and his family. To the immediate right of the goal space is a space with Enoshima island depicted.

The publisher Ozeki Toyo owned a shop in Nihonbashi and was also known for his copper-plate prints.

-From the International Christian University Museum Hachiro Yuasa Memorial
Museum Collection
Utagawa Hiroshige III
1868
This is satirical a satirical print of the Boshin War. It was published in October 1868.
The war is represented a snowball fight between children, with the shōgunates army on the right and the new government’s army on the left represented respectively. The child on stilts in the far left represents Arisugawanomiya, who is carrying Emperor Meiji on his back. The Yonezawa Domain, Sendai Domain, and Aizu Domain were suppressed in September consecutively. The Morioka Domain surrendered on September 28 waiting the complete surrender of the northern domain’s to the new government. This work symbolizes Edo people’s wish for the shōgunate army to make a turnaround in the Tohoku region, although the region had already been under control of the new government by the time the print was published. It suggests that satirical prints were not mere sources of information but reflective of political sentiments within the common population.

-From the International Christian University Museum Hachiro Yuasa Memorial　Museum Collection
Artist Unknown
1868
Two groups of children are playing a battle game on stilts. The group on the right represents the new government army led by the Satsuma Domain, while the group on the left portrays domains that support the shogunate. In the upper part, Kazunomiya (younger sister of Emperor Kōmei and wife of the 14th Shōgun, Iemochi) is leading the young Emperor by hand. On the left side, the 15th Shōgun, Yoshinobu is running away, saying that the one who escapes wins.
　At that time, Yoshinobu was living in seclusion in Mito and Shizuoka following the surrender of Edo Castle.

-From the Steele Collection
Artist Unknown
1868
This work presents major events and prices of rice during the 16 years between the arrival of commodore Perry in 1853 to the defeat of the Shōgitai in the Battle of Ueno in 1868.
It was published around the end of 1868 and suggests how ordinary people viewed various events that occurred from the late Edo period to the Meiji Restoration. Shocking events, natural disasters, cholera epidemics, battles, and large fires are illustrated. The price of rice is written per year showing the severe inflation that occurred over the course of these 16 years.

-From the ICU Library Collection
1856
This is an excerpt from an article titled “The United States Expedition to Japan” in the Illustrated London News. Women in kimono have been copied from the illustration of a mother and daughter in Shimoda, featured in the first volume of Narrative of the Expedition of an American Squadron to the China Seas and Japan by Perry. The first volume of this book contains many lithographs of places Perry visited, including Ryūkyū, Uraga, Yokohama, and Shimoda. Illustrations in the Illustrated London News were wood engravings which allowed detailed expression.

-From the ICU Library Collection
Ochiai Yoshiiku
1860
This work illustrates a French woman in an empire-style dress and a cigar-smoking Dutch man relaxing in a room that overlooks the port. Characterized by its high-waist, straight skirt, the empire style was popular around the time of the First French Empire (1790-1820). A black Dutch ship can be seen in the background.
　On the upper part, there is a presentation of the Dutch language, providing Japanese-Dutch translation of words such as the sun and moon.

-From the International Christian University Museum Hachiro Yuasa Memorial
Museum Collection
Artist Unknown
1854
In the summer of 1853, the US East India Squadron led by Commodore Perry arrived at Uraga and began to negotiate for Japan to open the country to foreign trade. The four ships of the Squadron were painted in black by anti-corrosive coal tar. Two of these ships were steam operated. This was the first steam operated vehicle people arrived in Japan, and people flocked to Uraga to see these large ships. People of Edo became interested in foreigners and foreign ships, and over 500 kinds of news sheets were printed then.
This drawing illustrates the Susquehanna steamship Perry boarded. It is equipped with paddle wheels. Artists who could not actually see these black ships referred to foreign ships that came before Perry. This drawing is also believed to be based on Dutch ships seen in Nagasaki.