First states of One Hundred Famous Views of Edo

Woodblock print series One Hundred Famous Views of Edo (Meisho Edo hyakkei 名所江戸百景) by Utagawa Hiroshige () was published in –58.

This page displays the earliest known prints from the series. The displayed prints probably are first states (first editions; shozuri), however, 160 years later, it's impossible to identify first states with absolute certainty. Identifying the earliest known prints is based carving errors that were later corrected; prints with crisp lines and registration; prints with the maximum number of impressions, including overprinting; prints with the most careful bokashi (colour gradation); and prints with expensive dyes, kirazuri (mica), nunomezuri (fabric printing), karazuri (blind printing), nikuzuri (embossing), and nikawazuri (glue printing).

References, in order of importance: Ukiyo-e taikei Vol. 16 & 17 (1976) (Hirose collection); One Hundred Famous Views of Edo by Henry D. Smith (1986) (Brooklyn Museum collection); One Hundred Famous Views of Edo by Trede and Bichler (2010) (Ota Memorial Museum collection); Ukiyo-e.org

General remarks:

  • No known collection holds exclusively first states. No collections share the combinations of early and later states so it's unlikely the publisher sold complete albums. Edo-Tokyo Museum holds the most first states 117 of 119 (later nos. 58, 64); Ota Museum holds 113 of 119 (later nos. 6, 44, 58, 77, 80, 105); Brooklyn Museum holds 111 of 119 (later nos. 35, 46, 55, 77, 84, 87, 100, 105).
  • The best reference book is by Henry D. Smith due to unequalled print preservation reproduced at nearly full-size (93% size).
  • As a general rule of thumb, printing attention to detail deteriorated quite quickly, blocks were lost, and later prints from original woodblocks (atozuri) were truly awful. Note also that visible woodgrain is not an indicator of age but simply the type of baren and how hard it was been rubbed.
  • First states generally had the best colour and composition (an exception nos. 58a, 58b). Early prints tend to have greater colour saturation due to overprinting. Early prints are remarkably consistent between one another, unlike previous series. Many prints featured mica and nunomezuri so a 'deluxe edition' because of these is a misnomer.
  • Blockcarver Sugawa Sennosuke (Horisenn) was named on four early 1856 prints (nos. 27, 28, 83, 108). Yokogawa Takejiro (Horitake) was named on a 1857 print (no. 76). The latter was busy carving most of Views of Sixty Provinces in 1856.
  • Many of the styles and techniques in this series were developed in Views of Sixty Provinces.
  • Given that ukiyo-e printers were reported to create up to 200 prints in a day, 1000 prints in a run, and given that in modern experience block wear doesn't show until well into the 1000s, any print showing wear is not early. Based on atozuri block wear it's entirely possible that 10,000 prints were pulled, 1 million prints as a series whole.
  • Unfaded early states can be acquired for less than $1000 (as at 2018) albeit with trimmed margins. Collectors of this series tend to pay first and foremost for margins (collecting margins? originals can be easily identifed without margins).
Seq Title Remarks Censor date First state
1 Nihonbashi, Clearing after Snow
Nihonbashi yukibare
日本橋雪晴
Remake of Upright/Vertical Tokaido 1855 print. 5/1856 Nihonbashi, Clearing after Snow
2 Kasumigaseki

霞がせき
Earlier impressions had bokashi on edges of trees' foliage and on robes. 1/1857 Kasumigaseki
3 Hibiya and Soto-Sakurada from Yamashita-chō
Yamashita-chō Hibiya Soto-Sakurada
山下町日比谷外さくら田
12/1857 Hibiya and Soto-Sakurada from Yamashita-chō
4 Tsukudajima from Eitai Bridge
Eitaibashi Tsukudajima
永代橋佃しま
Mica on boat masts. 2/1857 Tsukudajima from Eitai Bridge
5 Ekōin Temple in Ryōgoku and Moto-Yanagi Bridge
Ryōgoku Ekōin Moto-Yanagibashi
両ごく回向院元柳橋
Abnormally flat and basic printing. i5/1857 Ekōin Temple in Ryōgoku and Moto-Yanagi Bridge
6 Hatsune Riding Ground, Bakuro-chō
Bakuro-chō Hatsune no baba
馬喰町初音の馬場
In first state the depicted fabric was purple, yellow and white; the lower white was actually nunomezuri. The fabric in background was same dye as foreground purple (this dye oxidises to brown). 9/1857 Hatsune Riding Ground, Bakuro-chō
7 Cotton Goods Shops, Ōdenma-chō
Ōtenma-chō momendana
大てんま町木綿店
4/1858 Cotton Goods Shops, Ōdenma-chō
8 Suruga-chō

する賀てふ
9/1856 Suruga-chō
9 Yatsukōji, inside Sujikai Gate
Sujikai uchi Yatsukōji
筋違内八ツ小路
Unique tortoise-shell background in cartouche. 11/1857 Yatsukōji, inside Sujikai Gate
10 Dawn at Kanda Myōjin Shrine
Kanda Myōjin akebono no kei
神田明神曙之景
Earliest impressions had extensive bokashi rainbow colours on priest's robe and nunomezuri on right figures' robes. Blue bokashi for water in pail. 9/1857 Dawn at Kanda Myōjin Shrine
11 Kiyomizu Hall and Shinobazu Pond at Ueno
Ueno Kiyomizu-dō Shinobazu no ike
上野清水堂不忍ノ池
4/1856 Kiyomizu Hall and Shinobazu Pond at Ueno
12 Ueno Yamashita

上野山した
First state had bokashi on all trees. Often said to be by Hiroshige II because of date (no evidence). 10/1858 Ueno Yamashita
13 Shitaya Hirokōji

下谷広小路
Earlier impressions had wisp of grey on path from lower-centre to lower-right. 9/1856 Shitaya Hirokōji
14 Temple Gardens, Nippori
Nippori jiin no rinsen
日暮里寺院の林泉
Earliest impressions had overprinted green line under the canopy of two foreground cherries. Later impressions printed all the trees' foliage. This was clearly not an error as several blocks must be cut in a precise way and early impressions are doubtless aesthetically superior. 2/1857 Temple Gardens, Nippori
15 Suwa Bluff, Nippori
Nippori Suwanodai
日暮里諏訪の台
5/1856 Suwa Bluff, Nippori
16 Flower Pavillion and Dangozaka Slope, Sendagi
Sendagi Dangozaka Hanayashiki
千駄木団子坂花屋敷
5/1856 Flower Pavillion and Dangozaka Slope, Sendagi
17 View to the North from Asukayama
Asukayama kita no chōbō
飛鳥山北の眺望
Earliest state had blockcarver's seal ("Hori-senn") above publishers seal in left margin. River in the far distance was depicted by overprinting blue. Foliage in multiple greens. Imitation goldleaf cartouche. 5/1856 View to the North from Asukayama
18 Ōji Inari Shrine
Ōji Inari no yashiro
王子稲荷の社
In earliest impressions registration of keyblock and colours was out. Signature backed in yellow. 9/1857 Ōji Inari Shrine
19 Dam on the Otonashi River at Ōji / Great Waterfall
Ōji Otonashigawa entei, sezoku Ōtaki to tonau
王子音無川堰棣 世俗大瀧ト唱
2/1857 Dam on the Otonashi River at Ōji / Great Waterfall
20 Kawaguchi Ferry and Zenkōji Temple
Kawaguchi no watashi Zenkōji
川口のわたし善光寺
2/1857 Kawaguchi Ferry and Zenkōji Temple
21 Mount Atago, Shiba
Shiba Atagoyama
芝愛宕山
Name of custom was above signature backed in yellow. Remake of Famous Places in Edo print. 8/1857 Mount Atago, Shiba
22 Furukawa River, Hiroo
Hiroo Furukawa
広尾ふる川
7/1856 Furukawa River, Hiroo
23 Chiyogaike Pond, Meguro
Meguro Chiyogaike
目黒千代か池川
7/1856 Chiyogaike Pond, Meguro
24 New Fuji, Meguro
Meguro Shin-Fuji
目黒新富士
4/1857 New Fuji, Meguro
25 Original Fuji, Meguro
Meguro Moto-Fuji
目黒元不二
Orange dye (cinnabar) has oxidised to brown and eventually black. Print depicted Autumn but is in Spring chapter. 4/1857 Original Fuji, Meguro
26 Armour-Hanging Pine, Hakkeizaka
Hakkeizaka Yoroikakematsu
八景坂鎧掛松
5/1856 Armour-Hanging Pine, Hakkeizaka
27 Plum Orchard, Kamada
Kamada no umezono
蒲田の梅園
Skillfully printed red and white contrasted in sky and blossoms. 2/1857 Plum Orchard, Kamada
28 Gotenyama, Shinagawa
Shinagawa Gotenyama
品川御殿やま
Earliest state had blockcarver's seal ("Hori-senn") above publishers seal in left margin. 4/1856 Gotenyama, Shinagawa
29 Moto-Hachiman Shrine, Sunamura
Sunamura Moto-Hachiman
砂むら元八まん
4/1856 Moto-Hachiman Shrine, Sunamura
30 Plum Park, Kameido
Kameido Umeyashiki
亀戸梅屋舗
Exceptional bokashi in sky and tree trunk. Prints with partial or total blue sky were later impressions. Copied in oils by Vincent van Gogh in 1887. 11/1857 Plum Park, Kameido
31 Azuma Shrine and the Entwined Camphor
Azuma no mori Renri no azusa
吾嬬の森連理の梓
Purple dye is oxidising to brown. Unique blue cartouche. 7/1856 Azuma Shrine and the Entwined Camphor
32 Yanagishima

柳しま
Earliest impressions had multi-colour foliage. 4/1857 Yanagishima
33 Towboats Along the Yotsugi-dōri Canal
Yotsugi dōri yōsui hikifune
四ツ木通用水引ふね
2/1857 Towboats Along the Yotsugi-dōri Canal
34 Night View of Matsuchiyama and the San'ya Canal
Matsuchiyama San'yabori yakei
真乳山山谷堀夜景
Early impressions were very dark in black night and blue water. 8/1857 Night View of Matsuchiyama and the San'ya Canal
35 Suijin Shrine and Massaki on the Sumida River
Sumidagawa Suijin no mori Massaki
隅田川水神の森真崎
Early impressions had extensive bokashi including subtle pink on embossed flowers, walking path and tree trunk. 8/1856 Suijin Shrine and Massaki on the Sumida River
36 View from Massaki of Suijin Shrine, Uchigawa Inlet, and Sekiya
Massaki atari yori Suijin no mori Uchigawa Sekiya no sato wo miru zu
真崎辺より水神の森内川関屋の里を見る図
8/1857 View from Massaki of Suijin Shrine, Uchigawa Inlet, and Sekiya
37 Kilns and Hashiba Ferry, Sumida River
Sumidagawa hashiba no watashi kawaragama
墨田河橋場の渡かわら竈
4/1857 Kilns and Hashiba Ferry, Sumida River
38 Dawn Inside the Yoshiwara
Kakuchū shinonome
廓中東雲
4/1857 Dawn Inside the Yoshiwara
39 Distant View of Kinryūzan Temple and Azuma Bridge
Azumabashi Kinryūzan enbo
吾妻橋金龍山遠望
8/1857 Distant View of Kinryūzan Temple and Azuma Bridge
40 Bashō's Hermitage and Camellia Hill on the Kanda Aqueduct at Sekiguchi
Sekiguchi jōsuibata Bashōan Tsubakiyama
せき口上水端はせを庵椿やま
4/1857 Bashō's Hermitage and Camellia Hill on the Kanda Aqueduct at Sekiguchi
41 Ichigaya Hachiman Shrine
Ichigaya Hachiman
市ヶ谷八幡
Often said to be by Hiroshige II because of date (no evidence). 10/1858 Ichigaya Hachiman Shrine
42 Blossoms on the Banks of Tama River
Tamagawa tsutsumi no hana
玉川堤の花
2/1856 Blossoms on the Banks of Tama River
43 Nihonbashi Bridge and Edobashi Bridge
Nihonbashi Edobashi
日本橋江戸ばし
No attempt to give shadow to round top railing of Nihonbashi, unlike the masts in No. 77 12/1857 Nihonbashi Bridge and Edobashi Bridge
44 View of Nihonbashi Tōri itchōme
Nihonbashi Tōri itchōme ryakuzu
日本橋通一丁目略図
In earliest impressions green at base was concave and not straight across. Unique cartouche. Unsodo reproductions of this print used 15 colour blocks plus the key block. 8/1858 View of Nihonbashi Tōri itchōme
45 Yatsumi Bridge
Yatsumi no hashi
八ツ見のはし
In earliest prints registration of Fuji was perfect. 8/1856 Yatsumi Bridge
46 Yoroi Ferry, Koami-chō
Yoroi no watashi Koami-chō
鎧の渡し小網町
In earliest impressions cartouche was backed in white and kimono was dark purple. Kimono later altered to grey then blue. Early on cartouche background was changed to yellow. 10/1857 Yoroi Ferry, Koami-chō
47 Seidō and Kanda River from Shōhei Bridge
Shōheibashi Seidō Kandagawa
昌平橋聖堂神田川
9/1857 Seidō and Kanda River from Shōhei Bridge
48 Suidō Bridge and Surugadai
Suidōbashi Surugadai
水道橋駿河台
Mica on the carp. i5/1857 Suidō Bridge and Surugadai
49 Fudō Falls, Ōji
Ōji Fudō no taki
王子不動之滝
9/1857 Fudō Falls, Ōji
50 Kumano Jūnisha Shrine Tsunohazu / Jūnisō
Tsunohazu Kumano Jūnisha zokushō Jūnisō
角筈熊野十二社 俗称十二そう
Extensive bokashi on trees, banks, horizon, and nunomezuri cartouche. Earliest impressions had baren suji (scratching) on pond surface. 7/1856 Kumano Jūnisha Shrine Tsunohazu / Jūnisō
51 Sannō Festival Procession at Kōjimachi itchōme
Kōjimachi itchōme Sannō Matsuri nerikomi
糀町一丁目山王祭ねり込
Foreground fabric was purple. 7/1856 Sannō Festival Procession at Kōjimachi itchōme
52a Paulownia Garden, Akasaka
Akasaka Kiribatake
赤坂桐畑
Earliest impressions had very dark sky and black on all tree tops. Blocks reportedly damaged or lost before 4/1859, but there were many poor atozuri prints showing wear, so perhaps reports incorrect. 4/1856 Paulownia Garden, Akasaka
52b Night Rain in the Paulownia Garden, Akasaka
Akasaka kiribatake uchū yūkei
赤坂桐畑雨中夕けい
Hiroshige II replacement for reportedly damaged No. 52a. 4/1859 Night Rain in the Paulownia Garden, Akasaka
53 Zōjōji Pagoda and Akabane
Zōjōjitō Akabane
増上寺塔赤羽根
Early impressions had yellow wisp across watchtower. 1/1857 Zōjōji Pagoda and Akabane
54 Benkei Moat from Soto-Sakurada to Kōjimachi
Soto-Sakurada Benkeibori Kōjimachi
外桜田弁慶堀糀町
Earliest impressions had bokashi on walking path. The moat woodblock was changed, as observed in woodgrain, between early and late impressions. Remake of Famous Places in Edo print. 5/1856 Benkei Moat from Soto-Sakurada to Kōjimachi
55 Sumiyoshi Festival, Tsukudajima
Tsukudajima Sumiyoshi no matsuri
佃しま住吉の祭
Fine bokashi on the tree leaves and trunk. Banner in nunomezuri. 7/1857 Sumiyoshi Festival, Tsukudajima
56 Mannen Bridge, Fukagawa
Fukagawa Mannenbashi
深川萬年橋
Early impressions are quite dark. 11/1857 Mannen Bridge, Fukagawa
57 Mitsumata Wakarenofuchi

みつまたわかれの淵
2/1857 Mitsumata Wakarenofuchi
58a Sudden Shower over Shin-Ōhashi Bridge and Atake
Ōhashi atake no yūdachi
大はしあたけの夕立
First state is commonly known as "Two boats". There was a blockcarving error in central pylons, which was sometimes handpainted. Storm clouds in atenashi bokashi (free-hand colour gradation). 9/1857 Sudden Shower over Shin-Ōhashi Bridge and Atake
58b [variant state]

Earliest of this variant state had left edge of cartouche complete and generally showed no sign of wear. Depicted far bank and rain used different blocks to No. 58a. Copied in oils by Vincent van Gogh in 1887. 9/1857 [variant state]
59 Ryōgoku Bridge and the Great Riverbank
Ryōgokubashi Ōkawabata
両国橋大川ばた
8/1856 Ryōgoku Bridge and the Great Riverbank
60 Asakusa River, Great Riverbank, Miyato River
Asakusagawa Ōkawabata Miyatogawa
浅草川大川端宮戸川
Atozuri impressions were retitled Ryogoku senchu Asakusa enkei 両国船中浅草遠景 7/1857 Asakusa River, Great Riverbank, Miyato River
61 Pine of Success and Oumayagashi, Asakusa River
Asakusagawa shubi no matsu Oumayagashi
浅草川首尾の松御厩河岸
Skillfully printed. Silhouette was very subtle in early impressions. 8/1856 Pine of Success and Oumayagashi, Asakusa River
62 Komakata Hall and Azuma Bridge
Komakatadō Azumabashi
駒形堂吾嬬橋
Early impressions had a uniquely printed sky with three wisps of cloud. Mica on the sky. 1/1857 Komakata Hall and Azuma Bridge
63 Ayase River and Kanegafuchi
Ayasegawa Kanegafuchi
綾瀬川鐘か淵
8/1856 Ayase River and Kanegafuchi
64 Horikiri Iris Garden
Horikiri no hanashōbu
堀切の花菖蒲
Printing error in foreground irises. i5/1857 Horikiri Iris Garden
65 Inside Kameido Tenjin Shrine
Kameidō Tenjin keidai
亀戸天神境内
Earliest impressions printed blue water colour under the bridge arch, probably in error. Error reintroduced in reproductions. 7/1856 Inside Kameido Tenjin Shrine
66 Sazaidō Hall at Five Hundred Rakan Temple
Gohyaku Rakan Sazaidō
五百羅漢さゞゐ堂
8/1857 Sazaidō Hall at Five Hundred Rakan Temple
67 Sakasai Ferry
Sakasai no watashi
逆井のわたし
Earliest impressions had blue with very subtle green overprinting on weeds where egrets stand. Later editions printed a green riverbank. Karazuri feathers. 2/1857 Sakasai Ferry
68 Open Garden at Hachiman Shrine in Fukagawa
Fukagawa Hachiman yamahiraki
深川八まん山ひらき
Meiji-style bright colours observed in earliest impressions. Later editions muted colours and introducted green to cartouche. 8/1857 Open Garden at Hachiman Shrine in Fukagawa
69 Sanjusangendō Hall, Fukagawa
Fukagawa Sanjusangendō
深川三十三間堂
8/1857 Sanjusangendō Hall, Fukagawa
70 Nakagawa River Mouth
Nakagawaguchi
中川口
Earliest state depicted a small island on centre-right and roof on bottom-left had bokashi. 2/1857 Nakagawa River Mouth
71 Scattered Pines, Tone River
Tonegawa barabara-matsu
利根川ばらばらまつ
Sail in nunomezuri. 8/1856 Scattered Pines, Tone River
72 Haneda Ferry and Benten Shrine
Haneda no watashi Benten no yashiro
はねたのわたし弁天の社
In earliest impressions all waves were shades of dark blue. 8/1858 Haneda Ferry and Benten Shrine
73 The City Flourishing, Tanabata Festival
Shichū han'ei Tanabata matsuri
市中繁栄七夕祭
7/1857 The City Flourishing, Tanabata Festival
74 Silk goods Lane, Ōdenma-chō
Ōdenma-chō gofukudana
大伝馬町ごふく店
7/1858 Silk goods Lane, Ōdenma-chō
75 Dyers' Quarter, Kanda
Kanda konya-chō
神田紺屋町
Unique cartouche pattern. 11/1857 Dyers' Quarter, Kanda
76 Bamboo Yards, Kyōbashi Bridge
Kyōbashi Takegashi
京橋竹がし
Earliest impressions were quite dark. Bamboo and bridge is grey-brown. Inspired oil painting by Whistler ca. 1872. Blockcarver's name ("Hori-take") written on red lantern. 12/1857 Bamboo Yards, Kyōbashi Bridge
77 Inari Bridge and Minato Shrine, Teppōzu
Teppōzu Inaribashi Minato jinja
鉄砲洲稲荷橋湊神社
Masts were overprinted in dark brown to give right-hand shadow and depth. Dark blue on water was usually, but not always, in the bottom-centre. 2/1857 Inari Bridge and Minato Shrine, Teppōzu
78 Teppōzu and Tsukiji Monzeki Temple
Teppōzu Tsukiji Monzeki
鉄砲洲築地門跡
Sails in nunomezuri. Unique cartouche design. Series title was Supplement to One Hundred Views of Edo. 7/1858 Teppōzu and Tsukiji Monzeki Temple
79 Shiba Shinmei Shrine and Zōjōji Temple
Shiba Shinmei Zōjōji
芝神明増上寺
Series title was Supplement to One Hundred Views of Edo. 7/1858 Shiba Shinmei Shrine and Zōjōji Temple
80 Kanasugi Bridge and Shibaura
Kanasugibashi Shibaura
金杉橋芝浦
In early editions tenugui (towels) at top-left were blue and white. In later editions they were green and then later, red. 7/1857 Kanasugi Bridge and Shibaura
81 Ushimachi, Takanawa
Takanawa ushimachi
高輪うしまち
4/1857 Ushimachi, Takanawa
82 Moon-Viewing Point
Tsuki no Misaki
月の岬
8/1857 Moon-Viewing Point
83 Shinagawa Susaki

品川すさき
Earliest state had blockcarver's seal ("Hori-Senn") above publishers seal in left margin and a wisp of blue cloud from lower-left of cartouche. Baren suji on the water. 4/1856 Shinagawa Susaki
84 Grandpa's Teahouse, Meguro
Meguro jijigachaya
目黒爺々が茶屋
Earliest impressions had the red horizon under the mountains and bokashi on the teahouse roof. 4/1857 Grandpa's Teahouse, Meguro
85 Kinokuni Hill and Distant View of Akasaka Tameike
Kinokunizaka Akasaka Tameike enkei
紀ノ国坂赤坂溜池遠景
Imitation goldleaf cartouche. 9/1857 Kinokuni Hill and Distant View of Akasaka Tameike
86 Naitō Shinjuku, Yotsuya
Yotsuya Naitō Shinjuku
四ッ谷内藤新宿
Whatever the meaning of this print it was skillfully printed. 11/1857 Naitō Shinjuku, Yotsuya
87 Benten Shrine, Inokashira Pond
Inokashira no ike Benten no yashiro
井の頭の池弁天の社
Earliest known impression is damaged. It had multiple bokashi colours on mountain peaks and on green grass. Seen to right is slightly later copy. 4/1856 Benten Shrine, Inokashira Pond
88 Takinogawa, Ōji
Ōji Takinogawa
王子滝の川
Orange dyed trees have oxidised to brown. 4/1856 Takinogawa, Ōji
89 Moon Pine, Ueno
Ueno sannai Tsuki no matsu
上野山内月のまつ
Earlier impressions had dark blue directly under the loop and green overprinted moss on tops of tree branches. 8/1857 Moon Pine, Ueno
90 Night View of Saruwaka-machi
Saruwaka-machi yoru no kei
猿わか町よるの景
Wisp of cloud across moon was unique to each print. 9/1856 Night View of Saruwaka-machi
91 Inside Akiba Shrine, Ukeji
Ukechi Akiba no keinai
請地秋葉の境内
Probably a self-portrait. 8/1857 Inside Akiba Shrine, Ukeji
92 Mokuboji Temple, Uchigawa Inlet, Gozensaihata
Mokubōji Uchigawa Gozensaibata
木母寺内川御前栽畑
12/1857 Mokuboji Temple, Uchigawa Inlet, Gozensaihata
93 Niijuku Ferry
Niijuku no watashi
にい宿のわたし
2/1857 Niijuku Ferry
94 Maple Trees at Mama, the Tekona Shrine and Tsugihashi Bridge
Mama no momiji Tekona no yashiro Tsugihashi
真間の紅葉手古那の社継はし
Orange dyed leaves have oxidised to brown. 1/1857 Maple Trees at Mama, the Tekona Shrine and Tsugihashi Bridge
95 View of Kōnodai and the Tone River
Kōnodai Tonegawa Fūkei
鴻の台とね川風景
5/1856 View of Kōnodai and the Tone River
96 Horie and Nekozane
Horie Nekozane
堀江ねこざね
2/1856 Horie and Nekozane
97 Five Pines, Onagi Canal
Ongagigawa Gohonmatsu
小奈木川五本まつ
7/1856 Five Pines, Onagi Canal
98 Fireworks, Ryōgoku Bridge
Ryōgoku hanabi
両国花火
Earliest impressions had large bright area where fireworks were exploding behind cartouche and overall quite dark. The bright area's shape was unique to print. 8/1858 Fireworks, Ryōgoku Bridge
99 Kinryūzan Temple, Asakusa
Asakusa Kinryūzan
浅草金龍山
7/1856 Kinryūzan Temple, Asakusa
100 Nihon Embankment and Yoshiwara
Yoshiwara Nihondzutsumi
よし原日本堤
Earliest impressions had green foreground up to embankment and a wisp of cloud under the moon. Purple dye on horizon and cartouche is fading to brown. 4/1857 Nihon Embankment and Yoshiwara
101 Asakusa Ricefields and Torinomachi Festival
Asakusa tanbu Torinomachi mōde
浅草田甫酉の町詣
Earliest impressions had bokashi and embossing on cat and overall dark. 11/1857 Asakusa Ricefields and Torinomachi Festival
102 Minowa, Kanasugi and Mikawashima
Minowa Kanasugi Mikawashima
蓑輪金杉三河しま
Cranes' feathers in karazuri over white-lead. i5/1857 Minowa, Kanasugi and Mikawashima
103 Senju Great Bridge
Senju no ōhashi
千住の大はし
2/1856 Senju Great Bridge
104 Koume Embankment
Koumetsutsumi
小梅堤
2/1857 Koume Embankment
105 Oumayagashi

御厩河岸
Variant states exist: one shown on right with lightness across middle of sky; another darker one with additional red on robes that is probably later. 12/1857 Oumayagashi
106 Fukagawa Lumberyards
Fukagawa kiba
深川木場
Early impressions had black wisp in centre of sky. 8/1856 Fukagawa Lumberyards
107 Fukagawa Susaki and Jūmantsubo
Fukagawa Susaki Jūmantsubo
深川州崎十万坪
Eagle's feathers overprinted in mica; its claws in nikawazuri (or possibly lacquer). i5/1857 Fukagawa Susaki and Jūmantsubo
108 View of Shiba Coast
Shibaura no fūkei
芝うらの風景
Blockcarver's seal ("Hori-senn", probably Sugawa Sennosuke) was inside the lower-left margin. High probability it was the first print made in the series. 2/1856 View of Shiba Coast
109 Minami Shinagawa and Samezu Coast
Minamishinagawa Samezu kaigan
南品川鮫洲海岸
Earlier impressions overprint the seaweed in green. 2/1857 Minami Shinagawa and Samezu Coast
110 Robe-Hanging Pine, Senzoku Pond
Senzoku no ike Kesakakematsu
千束の池袈裟懸松
2/1856 Robe-Hanging Pine, Senzoku Pond
111 Meguro Drum Bridge and Sunset Hill
Meguro taikobashi Yūhi no oka
目黒太鼓橋夕日の岡
4/1857 Meguro Drum Bridge and Sunset Hill
112 Atagoshita and Yabu Lane
Atagoshita Yabukōji
愛宕下薮小路
Imitation goldleaf cartouche. 12/1857 Atagoshita and Yabu Lane
113 Aoi Slope outside Toranomon Gate
Toranomon soto Aoizaka
虎の門外あふひ坂
11/1857 Aoi Slope outside Toranomon Gate
114 Bikuni Bridge in Snow
Bikunibashi setchū
びくにはし雪中
Carver's errors on edge of sign on far-left and on panier, neither were plugged in later impressions. Often said to be by Hiroshige II because of date (no evidence). 10/1858 Bikuni Bridge in Snow
115 Takata Riding Grounds
Takada no baba
高田の馬場
Target in nunomezuri. Dark grey cartouche. 2/1857 Takata Riding Grounds
116 Sugatami Bridge, Omokage Bridge, and Jariba at Takata
Takata Sugataminohashi Omokagenohashi Jariba
高田姿見のはし俤の橋砂利場
Despite wear, image shown is same as earliest impressions. 1/1857 Sugatami Bridge, Omokage Bridge, and Jariba at Takata
117 Hilltop View of Yushima Tenjin Shrine
Yushima Tenjin sakaue chōbō
湯しま天神坂上眺望
4/1856 Hilltop View of Yushima Tenjin Shrine
118 Kitsunebi on New Year's Eve at the Enoki Tree, Ōji
Ōji shōzoku wenoki ōtsugomorihi no kitsunebi
王子装束ゑの木大晦日の狐火
Mica on tree, green overprinting on haystacks, and bokashi for each tiny fire. 9/1857 Kitsunebi on New Year's Eve at the Enoki Tree, Ōji
[contents]

Contents is by Baisotei Gengyo. Nunomezuri in lower boxes (autumn and winter). Later impressions had a very dark background. after 10/1858