CATALOGUE OF THE EXHIBITION - ITEMS 187 TO 206
Titles with the mark
denote titles of the series while the mark
denotes the sub-title. Those titles without any mark are the additions of the compiler of the catalogue.
Exhibitors
187.
TŌKAIDŌ
GOJŪ SANTSUGI Fifty-Three Stations on the Tōkaidō.
56 sheets in a set. Chū-ban Yokoye. Published by Sanoki.
This series has in addition to the usual 55, a print of the Imperial Palace in Kyōto making 56 in all. On each sheet is a kyōka, comic verse, hence it is called the Kyōka Tōkaidō. Those illustrated in this catalogue are the scenes of *Hara and *Futakawa.
This series has in addition to the usual 55, a print of the Imperial Palace in Kyōto making 56 in all. On each sheet is a kyōka, comic verse, hence it is called the Kyōka Tōkaidō. Those illustrated in this catalogue are the scenes of *Hara and *Futakawa.
Mr. S. Sakai
188.
TŌTO TENMACHŌ HANYEI NO ZU. The Gay Street called Tenmachō, Yedo.
Triptych. Published by Marukyū.
Mr. T. Hirose
TŌTO MEISHO. Famous Sights of Yedo.
189.
SUDA NO WATASHI. Two water birds by reeds on the Sumida.
The Sumida river is also poetically known as the Suda river. Chū-tanzaku. Published by Murata.
Mr. M. Uchida
190.
SAGI, KIKU, TANUKI. Snowy Heron, Chrysanthemum, Badger.
The designs are in white on an entirely black background. Three prints on one plate.
Mr. J. S. Happer
191.
KOKON MEIHITSU ISHIZURI KAGAMI.
Harimaze containing the pictures of landscapes, figures and poems printed in the same way as No. 190.
Ō-ban Tateye. Published by Senichi.
Mr. S. Kaneko
Of the above pictures displayed in the exhibition, those from illustration
No.17 (Tōto Meisho produced at the beginning of the Tempō era) down
to those produced in the closing year of the same era are as a rule
numbered in the order of issue. (Among Uchiwaye there are some later
issues). It was during this period that the author was filled to
overflowing with artistic inspiration and productive zeal, so that
many of his masterpieces were then produced. (This must have been
noticed by those who visited the exhibition). As a result of sweeping
reforms effected in the municipal administration in the thirteenth
year of the Tempō era (1842) by Mizuno-Echizen-no-kami, publications
were subjected to strict censorship, colour prints among the number.
Prints passed by the authorities concerned were each stamped. This
official seal of approval was put by the side of either the title,
or seal and signature of the author or by the publisher's stamp.
All the prints issued since the latter half of the same year bear
this stamp. It is to be added that while those of earlier issue
bear the seal of approval only, viz.,
Kiwame, those issued from this time downwards have the censor's
official seal representing his family name such as
Hama.
Yonehara.
Watanabe.
Muramatsu.
Tanaka.
Kinukasa.
Yoshimura.
Murata.
in addition to the seal of approval. It is supposed that those bearing
one official seal are of the issue from the 13th year of the Tempō
to the end of the Kōka era (1844-'47) and those with two seals of
the issue for the fourth year of Kayei (1848-53).
Two seals of approval and one date stamp such as (February the Year of Rat) are found on prints issued about February of the fifth year of Kayei. Prints issued from the end of the following year and onwards bear a seal of approval such as instead of censor's seal and date stamp such as (December the Year of Cow) and (April the Year of Horse). In the sixth year of Ansei, the year following Hiroshige's death, this seal of approval and date stamp were formed into one stamp in an abridged style such as . Prints given below all bear these seals of approval denoting productions for the period from the 13th year of the Tempō era down to September of the fifth year of the Ansei era, in which Hiroshige passed away. It must be added that some of the smaller pictures such as Chū-ban, Yotsugiri and Harimaze have no official seal. This is because these prints were originally produced many on the sheet, and the seal was put only once on the sheet.
Two seals of approval and one date stamp such as (February the Year of Rat) are found on prints issued about February of the fifth year of Kayei. Prints issued from the end of the following year and onwards bear a seal of approval such as instead of censor's seal and date stamp such as (December the Year of Cow) and (April the Year of Horse). In the sixth year of Ansei, the year following Hiroshige's death, this seal of approval and date stamp were formed into one stamp in an abridged style such as . Prints given below all bear these seals of approval denoting productions for the period from the 13th year of the Tempō era down to September of the fifth year of the Ansei era, in which Hiroshige passed away. It must be added that some of the smaller pictures such as Chū-ban, Yotsugiri and Harimaze have no official seal. This is because these prints were originally produced many on the sheet, and the seal was put only once on the sheet.
192.
MITATE
UKIFUNE (Sumidagawa no Watashi). Beauty at the Ferry Boat-Station
on the Sumida in Snow. Each of this series has a beautiful woman
in a setting of some scene famous for Moon, Snow or Flower Viewing.
Ō-ban Tateye. Published by Marukyū.
Mr. T. Maeda
193.
YOSHITSUNE ICHIDAIKI ZUYE.
The Life of Yoshitsune in Ten Prints. Ō-ban Tateye. Published by Takō
().
Do.
KOKON JŌRURI ZUKUSHI. Grand Series of New and Old Ballad-Dramas.
Mr. K. Wada
194.
CHŪSHINGURA HACHIDANME.
Act 8 of the Drama of the
Chūshingura. Ō-ban Tateye. Published by Sanoki.
As indicated by the title, this series represents the subjects of ballad-dramas with the additions of backgrounds peculiar to Hiroshige.
Besides the above there are the following and a few others:
Gonpachi Yume no Dan. Chūshin Kōshaku Yukifuri no Dan. Himekomatsu Nenohi Asobi Shima Monogatari. Katsuragawa Renri no Shigarami Michiyuki. Kyara Sendaihagi. Kagamiyama Furusato Nishikiye. Chūshingura Sandanme Michiyuki. Karukaya Sōmon Tsukushi. Seishū Akogigaura Hamabe. Somemoyō Imose no Kadomatsu. Sekinoto no Shita. Hiragana Seisuiki.
As indicated by the title, this series represents the subjects of ballad-dramas with the additions of backgrounds peculiar to Hiroshige.
Besides the above there are the following and a few others:
Gonpachi Yume no Dan. Chūshin Kōshaku Yukifuri no Dan. Himekomatsu Nenohi Asobi Shima Monogatari. Katsuragawa Renri no Shigarami Michiyuki. Kyara Sendaihagi. Kagamiyama Furusato Nishikiye. Chūshingura Sandanme Michiyuki. Karukaya Sōmon Tsukushi. Seishū Akogigaura Hamabe. Somemoyō Imose no Kadomatsu. Sekinoto no Shita. Hiragana Seisuiki.
TOTO KYŪSEKI ZUKUSHI. Grand Series of Yedo in Legend and History.
195.
TAKATA
YAMABUKI NO SATO NO KOJI. The scene celebrated in the legend
Yamabuki no Sato.Ō-ban Tateye. Published by Wakasaya.
Mr. T. Maeda
DO.
196.
AZUMA NO MORI NO KOJI. The scene of the legend: Azuma no Mori.
This series shows the localities connected with stories of olden tunes in or near Yedo.
This series shows the localities connected with stories of olden tunes in or near Yedo.
Do.
There are several other plates of this kind. In these
days, Hiroshige drew comparatively a large number of historical
pictures. Principal among them are Honchō Nenreki Zuye
(Chronological Pictures of Japan) in 14 sheets issued by the Jōkin;
Chūshingura (Drama of the Forty-Seven Ronin)
in 12 sheets by the Aritaya;
Genji Monogatari Gojūyojō (Pictures of Fifty-Four Stories of Genji Monogatari) 5 sheets by the Isekane,
(The above are all lateral prints); Soga Monogatari Zuye
(Soga Vendetta) in 30 sheets by the Dansendō; and
Chūkō Adauchi Zuye
(Vendettas inspired by loyalty to parents and masters).
TŌKAIDŌ GOJŪ SANTSUGI SAIKEN ZUYE.
Scenes of the Tōkaidō with humorous figures.
197.
SHINAGAWA.
The Upper half of the plate consists of landscape and the other half humorous figures. This Tōkaidō Series was not completed, those having been drawn are probably from Nihonbashi as far as to, say, Hakone. Ō-ban Tateye. Published by Muratetsu ( ).
The Upper half of the plate consists of landscape and the other half humorous figures. This Tōkaidō Series was not completed, those having been drawn are probably from Nihonbashi as far as to, say, Hakone. Ō-ban Tateye. Published by Muratetsu ( ).
Mr. K. Wada
198.
KINJO HASSHŌ. Eight Famous Views of Kanazawa, Kaga Province.
½ plate series of Eight. Chū-ban Yokoye.
Iō Chōton. Renko Gioka. Hakusan Seisetsu. Jōkei Kōyō. * Kurotsu Bune Yau. Binkan-kei Seisen. * Haseyama Shūgetsu. Daijōji Banshō.
Iō Chōton. Renko Gioka. Hakusan Seisetsu. Jōkei Kōyō. * Kurotsu Bune Yau. Binkan-kei Seisen. * Haseyama Shūgetsu. Daijōji Banshō.
Mr. M. Uchida
199.
TŌTO HAKKEI. Eight Views of Yedo.
Margins outside the border of each print are coloured light green. Chū-ban Yokoye. Published by Fujikei ().
Nihonbashi no Yau, Evening Rain at Nihonbashi.
Asakusa no Bosetsu, Evening Snow at Asakusa.
Ryōgoku no Yūshō, Sunset at Ryōgoku (Scenes of Fireworks).
Uyeno no Banshō, Vesper Bells at Uyeno.
Takanawa no Kihan, Boats Sailing Back at Takanawa.
Susaki no Seiran, Clearing Weather at Susaki.
Sumida gawa no Shūgetsu, Autumn Moon above the Sumida.
Shinobazu no Rakugan, Geese Flying Down at Shinobazu.
Margins outside the border of each print are coloured light green. Chū-ban Yokoye. Published by Fujikei ().
Nihonbashi no Yau, Evening Rain at Nihonbashi.
Asakusa no Bosetsu, Evening Snow at Asakusa.
Ryōgoku no Yūshō, Sunset at Ryōgoku (Scenes of Fireworks).
Uyeno no Banshō, Vesper Bells at Uyeno.
Takanawa no Kihan, Boats Sailing Back at Takanawa.
Susaki no Seiran, Clearing Weather at Susaki.
Sumida gawa no Shūgetsu, Autumn Moon above the Sumida.
Shinobazu no Rakugan, Geese Flying Down at Shinobazu.
Mr. T. Nakamura
200.
TŌKAIDŌ GOJŪ SAN TSUGI. Fifty-Three Stations on the Tōkaidō.
This series consists of 54 sheets instead of 55 as in the ordinary Tōkaidō series, the two stations of Shimada and Kanaya being combined on one sheet. As prints were two on a block, an even number was desired. Those illustrated are
This series consists of 54 sheets instead of 55 as in the ordinary Tōkaidō series, the two stations of Shimada and Kanaya being combined on one sheet. As prints were two on a block, an even number was desired. Those illustrated are
Okitsuand
Tsuchiyama.This series is of the same size as No. 187 Tōkaidō series but the color is darker. Chū-ban Yokoye. Published by Tsutaya.
Mr. S. Kaneko
201.
GOJŪ SAN TSUGI. Fifty-Three Stations on the Tōkaidō.
This series emphasizes the people rather than the scenery of the highway and makes an even number by giving two views of Kyōto, the extra No. 56 is
This series emphasizes the people rather than the scenery of the highway and makes an even number by giving two views of Kyōto, the extra No. 56 is
Kyōto Shijō Yusuzumi- Enjoying evening cool at Shijō Kyōto. Chū-ban Tateye. Published by Muraichi () in 1852. Illustrations show NUMAZU and HARA.
Mr. N. Shimizu
202.
FUJI
SANJŪ ROKKEI. Sights of Mt. Fuji Viewed from Various
Places. 36 sheets in a set. Chū-ban Yokoye.
Published by Sanoki in 1852.
Mr. S. Sakai
203.
TŌKAIDŌ.
This general title is written in the reisho (formal) style.
So this series is called the Reisho
Tōkaidō. From the name of the publisher it is also known
as the Marusei Tōkaidō, since it was
published by Marusei. There are no very poor impressions of this
series unlike other Tōkaidō Series perhaps because the blocks were
lost by fire before many copies had been printed.
Those illustrated are Stations No. 3 Kawasaki, 11 Hakone, 13 Numazu, 23 Fujieda. Ō-ban Yokoye Size.
Those illustrated are Stations No. 3 Kawasaki, 11 Hakone, 13 Numazu, 23 Fujieda. Ō-ban Yokoye Size.
Do.
204.
TŌKAIDŌ. General title is also written
in the reisho style as Tōkaidō. Those
put on display were only two sheets representing Fujisawa and Ōiso.
But
Nihonbashi,
Shinagawa,
Kawasakiand
Hakoneare known to be in existence. How far the author proceeded with drawing stations on the Tokaido is not known. The style of prints and age are the same as those by the Marusei referred to above. But they are somewhat larger in size and entirely different in composition, so would appear to belong to still another series. Ō-ban Yokoye. Published by Hayashi-sho ().
Mr. S. Watanabe
TŌKAIDŌ GOJŪ SAN ZUYE.
Fifty-Three Stations on the Tōkaidō. Figures and Landscape Tōkaidō.
Mr. K. Wada
NIHONBASHI.
Below the scene of Nihonbashi there is a beauty reading a letter
sent with a present of fish.
*
MAISAKA.
Below the scene of Maisaka there is a beauty resting by the wayside.
Like the above two, each print of this series shows a beauty and a landscape. The printing of this series was stopped after about three fourths of it had been issued. Ō-ban Tateye. Published by Fujikei.
Like the above two, each print of this series shows a beauty and a landscape. The printing of this series was stopped after about three fourths of it had been issued. Ō-ban Tateye. Published by Fujikei.
TŌKAIDŌ GOJŪ SAN TSUGI MEISHO ZUYE.
Fifty-Three Stations on the Tōkaidō.
This is Hiroshige's production in his declining years. Ō-ban Tateye. 55 in a set. Published by Tsutaya in 1855. Those illustrated are No. 15 YOSHIWARA and No. 35 YOSHIDA.
This is Hiroshige's production in his declining years. Ō-ban Tateye. 55 in a set. Published by Tsutaya in 1855. Those illustrated are No. 15 YOSHIWARA and No. 35 YOSHIDA.
Mr. J. S. Happer