Utagawa HiroshigeⅡ 1865 The series “Fifty-three Stations of the Tōkaidō” by Hiroshige II are delicately designed works, with the series title in a vermilion frame towards the top of the print. A view of each Tōkaidō post station is depicted within a yellow frame. Hiroshige II created this series taking inspiration from various ukiyo-e series depicting the Tōkaidō created by Hiroshige I, not limited to but including the “Famous Views of the Fifty-three Stations”. This print draws inspirations from the Utagawa Hiroshige I’s “Famous Views of the Fifty-three Stations: Nihonbashi”with similarities in its composition and structure. It was created after Hiroshige II divorced Tatsu, Hiroshige I’s daughter, in 1865. He left the family and began creating works under the name “Risshō.”

Jippensha Ikku 1809 This was a popular novel written by author Jippensha Ikku. The title of the novel Enoshima Miyage, translates to Souvenirs of Enoshima Island. The story centers around two main characters Nesuke and Tontarō, with episodic tales of their comical mistakes and perplexing incidents that occur on their pilgrimage to Enoshima Island. The illustrations for Volume II are by Kitagawa Tsukimaro, a disciple of Kitagawa Utamaro. Tsukimaro began his art career under the name Kikumaro and changed his name to Tsukimaro in 1804. He was skilled at bijin-ga (paintings of beauties) and also worked on illustrations of various novels.

Utagawa HiroshigeⅡ 1863 Consisting of ten consecutive prints that create one bird’s eye view of the Tōkaidō Highway, this great work had been created during 14th Tokugawa Shōgunate, Tokugawa Iemochi’s visit to Kyoto. The entire work is made to resemble the shape of a scroll, with the shōgun’s procession depicted with the numerous post stations and famous places, that could be found along the way.

Utagawa Hiroshige 1847-52 Hara post station was the closest station to Mt. Fuji along the Tōkaidō Highway. In order to express the magnificence of Mt. Fuji, the peak of the mountain is illustrated beyond the frame of the composition. Between Mt. Fuji and the highway, a huge swamp stretches out in the foreground.

Utagawa Kunisada (ToyokuniⅢ) 1830-1843 The background landscape is the same composition as “Morning Scenery of Nihonbashi Bridge” from Hiroshige’s Hoeidou edition of the Toukaidou series. In Hiroshige’s work, the scenery of a procession of samurai is illustrated on the bridge. However, in this work, mundane cityscape traffic of ordinary people, such as a two-wheeled cart full of luggage crossing the bridge and a man carrying luggage with a pole are illustrated. On the left back, Mt. Fuji is also illustrated, and the feeling of New Year is enhanced by the lined flying kites. The large-flowered plum design of the woman’s kimono also enhances the mood of New Year season.

Kitagawa Tsukiemaro 1808 This print illustrates people gathering around the cave called Iwaya of Enoshima Island. A feast is taking place at the center of this print and people are eating expensive fish such as tai (sea bream). The flat rocks near the cave were called “Manaita-iwa (lit. cutting board rock)” and having a picnic on the rocks was a trend among pilgrims to Enoshima Shrine. Some people are fishing, while others are asking the sea divers to catch abalone. On the right, some people are entering the cave with a torch in hand.

Kitagawa Utamasa Although there is no signature on this six-panel byōbu (folding screen), it is considered either the work of Kitagawa Utamasa or Utamasa II. Utamasa (also active under the artist name Maki Bokusen) was a retainer from Owari Domain (present day Aichi Prefecture) who became a pupil of Utamaro during his stay in Edo¹ and was allowed to use the artist name Kitagawa Utamasa. Utamasa also later became a pupil of Kastushika Hokusai. A view of Enoshima Island, Mt. Fuji and Cape Koyurugi seen from Shichirigahama Beach are illustrated. On the left, a hazy Bōsō Peninsula can be identified. The depiction of many people, such as travelers and porters, and a temporary teashop on the beach reveals the lively atmosphere of Shichirigahama Beach of that time. 1　Daimyos from various Domains throughout Japan were required to periodically, often biannually, reside in Edo with their retainers.

Kitagawa Utamaro Ⅱ 1804-18 Naked women diving for abalones and women wearing gorgeous kimonos watching the divers are illustrated. This print is a mitate-e (parody picture) thus the scene illustrated is not based on reality. Only male abalone divers were active on Enoshima Island. The sexes of the divers were switched since female subjects were more popular in ukiyo-e.