Utagawa HiroshigeⅡ 1865 This print depicts the port of Yokohama that had opened in 1859 with a view of Kanagawa. There were only two routes to this port: the first by land using a side route called Yokohama-michi off of the Tōkaidō Highway between Kanagawa and Hodogaya post stations, and the second by sea from Kanagawa post station and its shores. This image illustrates the pier at Yokohama port.

Utagawa Kunisada (Toyokuni III), Utagawa Hiroshige 1854 This picture depicts the couple Iinuma Katsugoro and Hatsuhana on their way to take their revenge. Originally a Japanese puppet theater play, the story continued to be popular after it became a Kabuki play. Katsugoro infiltrated Hojo-ke, the home of a retainer, under the guise of a live-in servant, but lost the use of his legs. The picture shows Hatsuhana, the daughter of the retainer, pushing Katsugoro, who was still seeking a chance to take revenge despite his condition, on a cart. In the background, we can see Mount Futagoyama and Hayakawa River in Hakone. Hakone Station lay beyond Mount Futagoyama. The picture depicts high mountains that give the visual impression of perilous passes.

Utagawa Hiroshige Ⅱ（Rissyo） Production date:1865 In this picture, the rest stop located between post stations “Tateba of Yotsuya”, which was in Fujisawa, is illustrated. Since Oyama-michi (Oyama Road) forks from the Toukaidou Highway from this point, the indication “Oiwake michi (the fork)” is written in the picture

This ukiyo-e depicts the chronological process of rice production by a farmer. The scene moves forward diagonally from planting on the top left to harvesting on the bottom right. In the house on the right, there are various rice polishing tools such as grain fans and rice threshers to remove husks and dirt. At the center, a child in red clothes is walking a pet turtle. The overall scenery is relaxing and heartwarming.

“Kaiko Yashinai-sō” (How to Grow Silkworms) is a collection of twelve paintings by Katsukawa Shunshō and Kitao Shigemasa who worked on six paintings each. This is the fourth work that depicts the process of growing silkworms, taking threads, making silk threads, and selling them. In the upper part, there is an explanation of the scene: “The fourth sleep of silkworms is called the big sleep. People make preparations while waiting for the silkworms to wake up.” Silkworms shed their skin four times. As they stop moving during the shedding, it is called “sleep.” The scene shows the fourth shedding (fourth sleep). After shedding four times, silkworms grow bigger and make cocoons. Katsukawa Shunshō studied under Miyagawa Shunsui and Kō Sūkoku and was famous for his woodblock prints, illustrations in woodblock-printed books, and nikuhitsu-ga. In particular, his paintings of actors were highly appreciated for their realistic portraits, different from the traditional Torii School method.

Sericulture (silk throwing) has been promoted across Japan in the late Edo period due to encouragements by the government and industrial policies by the domains. Ukiyo-e that illustrates sericulture and silk throwing therefore became popular. “Kaiko Itonamino-zu” (Scenes of Sericulture) depicts the process of making threads from silkworms. It is a humorous work that features Seven Lucky Gods working with people. The thread-making process is illustrated in eight parts. The work in each scene is explained in a strip. ① Move newly born silkworms to paper to grow. ② Finely slice mulberry leaves as the feed for silkworms. ③ Collect mulberry leaves for grown-up silkworms. ④ Move grown-up silkworms to a box. ⑤ Boil cocoons and make fibers. ⑤ Dry the fibers. ⑥ Pull cocoons to make threads. ⑦ Take out cocoons of silkworms turning into moths. ⑧ Release silkworms that turned into moths. Two scenes are numbered five, probably because they are continued. Fibers in the explanation mean floss silk, and not cotton. Floss silk is fibers of silk obtained by boiling and pulling cocoons. The Seven Lucky Gods who work with people are ① Daikokuten, ③ Hotei, ④ Bishamonten, ⑤ Fukurokuju, ⑥ Ebisu, ⑦ Jurōjin, and ⑧ Benzaiten. The gods look happy to work. Their presence may bless production of high-quality silk.

Many dolls made with clay and paper-mache works are hanging. These toys were popular in the Edo period, and those with celebratory or rare shapes were particularly preferred. In this painting, the treasure boat of the Seven Lucky Gods, sake barrels, and an elephant can be found. There are also foreign ships (black ships), as the painting was created in 1867 after Japan opened its ports.

This illustrates the scenery of the beach and coast. The beach with pine trees lies in the front of the screen, and mountains line in the back, adding depth to the composition. Water scenery extends, and people, horses, and ships are depicted on the land. Pine trees on the screen are all in different curved shapes and look as if they are about to move. Pine trees served not only as road signs for travelers but also as shades and places to rest and protect themselves from wind and rain. The exact place illustrated in this work is unknown, but there are many pine trees along the Tōkaidō and other major roads. The artist, Imura Eii (1798?–1863) was a painter from Mito Domain in the late Edo period and a student of Seisen-in Osanobu (1796–1846) of the Kano School. He is also known as Yamauchi Imura. Although his life is mostly shrouded in mystery, he is known for his work “View of Gunnery Practice by Takashima Shirō Taifu” (owned by Itabashi Historical Museum) which details the Western-style gunnery practice in Tokumarugahara on May 9, 1841.