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).

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.

Artist: Utagawa Toyokuni III (Kunisada) O-ban polychrome print1852 (Kaei 5), Publisher: Iseken (Iseya Kanekichi) This work is part of the series “Actors Assorted in Fifty-three Stations of the Toukaidou”. Right now 140 works of this series are found. The artist Toyokuni III was one of the most popular ukiyo-e artists. The landscape of the post station is illustrated at the background, and a figure in front is a character of kabuki play who has a connection to the post station. In the series, the figures’ portraits are based on the famous kabuki actors of that time. The landscape of Fujisawa Post Station is illustrated at the background of this work. The figure illustrated is Oguri-Hangan, the legendary hero from an old folktale and his grave is in Fujisawa. In this work, a portrait of a popular kabuki actor Bandou Takesaburou is illustrated. Utagawa Kunisada (Utagawa Toyokuni III) Tenmei 6~Genji 1 (1786~1864) Kunisada had a long career started from Bunka 4 (1807) till his death, became the most popular and successful ukiyo-e artist of that time. In the late Edo period, Kunisada’s reputation was far exceeded that of his contemporaries, more highly regarded than even Hokusai or Hiroshige. He was the most productive ukiyo-e artist and produced every genre of ukiyo-e. The pictures of beauties with his characteristic depictions of hunched back and short neck women were the distinctive features of Kunisada’s style and a famous example was the picture of “Fraudulent Murasaki’s Bumpkin Genji”.

Artist: Utagawa Sadahide Production date: 1863 (Bunkyu 3) The Toukaidou: Fujisawa, Yugyouji Temple In this picture, a party proceeding in front of the Yugyouji Temple is illustrated. Besides the title, the signs “The Direction for Edo” and “Kamakura Road” are indicated. In the wood beside the Yugyouji Temple, the signs ”Oguri Hall” and “The Grave of Ten Heroes of Oguri” based on the legendary tale of “Oguri-Hangan and Princess Terute” are illustrated. Below, at the right, beside the First Torii Gate to Enoshima, the indication of “Enoshima-michi (The Road to Enoshima Island)”is illustrated. As a master of bird’-eye view picture, Sadahide was conscious with the topographical contents of this land. This series was published with the event of the Fourteenth Shogun Tokugawa Iemochi’s procession from Tokyo to Kyoto (Shogun’s official visit to Emperor) that took place in 1863 (Bunkyu 3) and it is known as “Gojouraku Toukaidou (Samurai’s procession along the Toukaidou Highway)”. Iemochi’s visit was an unusual event since last time Tokugawa Shogun visited Emperor was 229 years ago when the Third Shogun Tokugawa Iemitsu visited Emperor. Therefore this event got a huge attention from the people of Edo. This series was very popular that 162 works were produced within this series. Since 16 artists from Utagawa School were involved for the production, it is considered that the publisher wanted to produce many works within a short period of time.