Artist: Katsushika Hokusai c. 1831 (Tempou 2), Publisher: Eijudou Although the title suggests the scene of Shichiri-ga-hama Beach, in this picture the beach was omitted, and instead, a unique composition with a tall tree in the middle of the picture and closed-up Mt. Fuji are illustrated. This picture is aizuri (indigo printing), a printing technique to express the picture using only the gradation of blue color. This work was one of the trial product to create new color for new age, and new pigment Prussian blue (bero-ai), which was imported from abroad at that time was abundantly used. This work is from Hokusai’s representative series Thirty-six Views of Mt. Fuji. This type of picture is called as aizuri or blue printed picture, since the pigment of Prussian blue (bero-ai) imported from Europe was used as a material. The expression of this piece is slightly different from the ordinary ukiyo-e print, inherits more elements of Chinese monochrome painting. The production year of this piece changed from Bunsei era (1818-1830) to later period circa Tempou 2 (1831), according to the recent research of the imported year of Prussian blue, and the year of it started to be used as a pigment. Katsushika Hokusai Hōreki 10~Kaei 2 (1760~1849) Hokusai was a pupil of Katsukawa Shunsho; also said to have studied under Kano Yusen, Tsutsumi Torin, and Sumiyoshi Hiroyuki. He produced of wide variety of art and media. Later in his life, he focused more on the paintings and worked beyond the framework of the established ukiyo-e. He had students such as Hokuba, Hokkei, Hokuju and Shinsai. He had a long career period started from An’ei 8 till his death (1779-1849).

Utagawa Kunisada(Utagawa ToyokuniⅢ) 1845-55 This works is part of a series in which each of the Seven Gods of Good Fortune is identified by a haiku and written explanation that accompany the picture. In this picture, the woman's head is wrapped in a hand towel making her head look enlangated, which is reminiscent of Fukurokuju. Sugita (now Isogo Ward, Yokohama City), which is mentioned in the poem, has been known since the Edo period (1603-1868) for its ume plum blossoms. The Kamenoko Senbei mentioned in the poem, a specialty of Kanagawa-juku, are also depicted in the painting, placed in a palanquin.

Yoshida Hatsusaburou 1933 By placing the bustle of Yokohama Port in Right side, Hakone Mountain on the left side, we fold Kanagawa Prefecture diagonally to contain Kanagawa Prefecture in a picture of a horizontally long picture. An English notation was attached to the main tourist attractions

Utagawa Kunisada(Utagawa Toyokuni Ⅲ) 1833 The background landscape of this picture is based on the Hiroshige’s Hoeidou edition of the Toukaidou series “Fujisawa, Yugyouji Temple”. The Toriido Bridge illustrated at the back of a woman is Daigiri Bridge (Today’s Yugyouji Bridge) and the First Torii Gate of Enoshima Shrine, which used to stand at this place is illustrated by the bridge. In Hiroshige’s work, group of pilgrims heading to Mt. Oyama carry a large wood sword and an omiki-waku (container that carries water or liquor from Mt. Oyama), are illustrated on the bridge, but in Kunisada’s picture they moves to the front of the Torii Gate. The lady illustrated in front fastens obi belt as she departs for a journey and travel kits such as cigarette case, a luggage wrapped by a close and a sedge-woven hat are illustrated by the foot. “Beauties with Landscapes of the Toukaidou Highway” Known with the more familiar title of “Toukaidou with Beauties”, this series illustrates the beauties with the customs of the related regions at the foreground and the sceneries of fifty-three stations of the Toukaidou on the background. This series has a special feature that the background sceneries are based on the “Hoeidou Edition of the Toukaidou Highway” series produced by Utagawa Hiroshige. Although the sceneries illustrated from Miya post station to Kyoto (Although Yokkaichi post station is the only exception) are produced based on Kunisada’s original designs.