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 are probably first states (first editions; shozuri), however, 160 years later, it's impossible to identify canonical first states with absolute certainty. Identifying the earliest known prints is based carving errors that were later corrected; paper weight; prints with tight registration and unworn blocks; prints with greater number of impressions, including overprinting; prints with the most carefully executed bokashi (colour gradation); and prints with expensive pigments, 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. 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 recommended reference book is by Henry D. Smith due to unequalled print preservation reproduced at almost full-size (93% size).
- First states generally had the best colour and composition (an exception nos. 58a, 58b). Earliest prints tended to have greater colour saturation due to overprinting on heavier paper. Many prints featured extensive bokashi, mica and nunomezuri on standard paper (65 gsm) however this in itself does not indicate a "deluxe edition".
- 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. "Poor copies outnumber the good a hundred to one." Ficke.
- 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 make up to 200 prints in a day, 1000 prints in a batch, 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.
| Seq | Title | Remarks | Censor date | First state |
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| 1 | Nihonbashi, Clearing after Snow Nihonbashi yukibare 日本橋雪晴 | Remake of Upright/Vertical Tokaido 1855 print. | 5/1856 | 
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| 2 | Kasumigaseki 霞がせき | Earlier impressions had bokashi on edges of trees' foliage and on robes. | 1/1857 | 
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| 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 | 
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| 4 | Tsukudajima from Eitai Bridge Eitaibashi Tsukudajima 永代橋佃しま | Mica on boat masts. | 2/1857 | 
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| 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 | 
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| 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 | 
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| 7 | Cotton Goods Shops, Ōdenma-chō Ōtenma-chō momendana 大てんま町木綿店 | 4/1858 | 
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| 8 | Suruga-chō する賀てふ | 9/1856 | 
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| 9 | Yatsukōji, inside Sujikai Gate Sujikai uchi Yatsukōji 筋違内八ツ小路 | Unique tortoise-shell background in cartouche. | 11/1857 | 
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| 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 | 
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| 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 | 
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| 12 | Ueno Yamashita 上野山した | First state had bokashi on all trees. Often said to be by Hiroshige II (Shigenobu) due to date and style. | 10/1858 | 
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| 13 | Shitaya Hirokōji 下谷広小路 | Earlier impressions had wisp of grey on path from lower-centre to lower-right. | 9/1856 | 
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| 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 | 
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| 15 | Suwa Bluff, Nippori Nippori Suwanodai 日暮里諏訪の台 | 5/1856 | 
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| 16 | Flower Pavillion and Dangozaka Slope, Sendagi Sendagi Dangozaka Hanayashiki 千駄木団子坂花屋敷 | 5/1856 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 20 | Kawaguchi Ferry and Zenkōji Temple Kawaguchi no watashi Zenkōji 川口のわたし善光寺 | 2/1857 | 
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| 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 | 
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| 22 | Furukawa River, Hiroo Hiroo Furukawa 広尾ふる川 | 7/1856 | 
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| 23 | Chiyogaike Pond, Meguro Meguro Chiyogaike 目黒千代か池川 | 7/1856 | 
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| 24 | New Fuji, Meguro Meguro Shin-Fuji 目黒新富士 | 4/1857 | 
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| 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 | 
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| 26 | Armour-Hanging Pine, Hakkeizaka Hakkeizaka Yoroikakematsu 八景坂鎧掛松 | 5/1856 | 
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| 27 | Plum Orchard, Kamada Kamada no umezono 蒲田の梅園 | Skillfully printed red and white contrasted in sky and blossoms. | 2/1857 | 
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| 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 | 
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| 29 | Moto-Hachiman Shrine, Sunamura Sunamura Moto-Hachiman 砂むら元八まん | 4/1856 | 
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| 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 | 
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| 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 | 
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| 32 | Yanagishima 柳しま | Earliest impressions had multi-colour foliage. | 4/1857 | 
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| 33 | Towboats Along the Yotsugi-dōri Canal Yotsugi dōri yōsui hikifune 四ツ木通用水引ふね | Later impressions used the same keyblock with new quite poorly cut colour blocks. | 2/1857 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 38 | Dawn Inside the Yoshiwara Kakuchū shinonome 廓中東雲 | 4/1857 | 
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| 39 | Distant View of Kinryūzan Temple and Azuma Bridge Azumabashi Kinryūzan enbo 吾妻橋金龍山遠望 | 8/1857 | 
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| 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 | 
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| 41 | Ichigaya Hachiman Shrine Ichigaya Hachiman 市ヶ谷八幡 | Often said to be by Hiroshige II (Shigenobu) due to date and style. | 10/1858 | 
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| 42 | Blossoms on the Banks of Tama River Tamagawa tsutsumi no hana 玉川堤の花 | 2/1856 | 
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| 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 | 
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| 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 | 
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| 45 | Yatsumi Bridge Yatsumi no hashi 八ツ見のはし | In earliest prints registration of Fuji was perfect. | 8/1856 | 
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| 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 | 
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| 47 | Seidō and Kanda River from Shōhei Bridge Shōheibashi Seidō Kandagawa 昌平橋聖堂神田川 | 9/1857 | 
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| 48 | Suidō Bridge and Surugadai Suidōbashi Surugadai 水道橋駿河台 | Mica on the carp. | i5/1857 | 
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| 49 | Fudō Falls, Ōji Ōji Fudō no taki 王子不動之滝 | 9/1857 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 52b | Night Rain in the Paulownia Garden, Akasaka Akasaka kiribatake uchū yūkei 赤坂桐畑雨中夕けい | Hiroshige II (Shigenobu) replacement for reportedly damaged No. 52a. | 4/1859 | 
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| 53 | Zōjōji Pagoda and Akabane Zōjōjitō Akabane 増上寺塔赤羽根 | Early impressions had yellow wisp across watchtower. | 1/1857 | 
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| 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 | 
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| 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 | 
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| 56 | Mannen Bridge, Fukagawa Fukagawa Mannenbashi 深川萬年橋 | Early impressions are quite dark. | 11/1857 | 
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| 57 | Mitsumata Wakarenofuchi みつまたわかれの淵 | 2/1857 | 
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| 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 | 
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| 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]](hundred-edo/058b.jpg)
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| 59 | Ryōgoku Bridge and the Great Riverbank Ryōgokubashi Ōkawabata 両国橋大川ばた | 8/1856 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 63 | Ayase River and Kanegafuchi Ayasegawa Kanegafuchi 綾瀬川鐘か淵 | 8/1856 | 
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| 64 | Horikiri Iris Garden Horikiri no hanashōbu 堀切の花菖蒲 | Printing error in foreground irises. | i5/1857 | 
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| 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 | 
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| 66 | Sazaidō Hall at Five Hundred Rakan Temple Gohyaku Rakan Sazaidō 五百羅漢さゞゐ堂 | Earliest impressions had green figure in bottom-left. | 8/1857 | 
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| 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 | 
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| 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 | 
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| 69 | Sanjusangendō Hall, Fukagawa Fukagawa Sanjusangendō 深川三十三間堂 | 8/1857 | 
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| 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 | 
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| 71 | Scattered Pines, Tone River Tonegawa barabara-matsu 利根川ばらばらまつ | Sail in nunomezuri. | 8/1856 | 
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| 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 | 
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| 73 | The City Flourishing, Tanabata Festival Shichū han'ei Tanabata matsuri 市中繁栄七夕祭 | 7/1857 | 
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| 74 | Silk goods Lane, Ōdenma-chō Ōdenma-chō gofukudana 大伝馬町ごふく店 | 7/1858 | 
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| 75 | Dyers' Quarter, Kanda Kanda konya-chō 神田紺屋町 | Unique cartouche pattern. | 11/1857 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 81 | Ushimachi, Takanawa Takanawa ushimachi 高輪うしまち | 4/1857 | 
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| 82 | Moon-Viewing Point Tsuki no Misaki 月の岬 | 8/1857 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 88 | Takinogawa, Ōji Ōji Takinogawa 王子滝の川 | Orange dyed trees have oxidised to brown. | 4/1856 | 
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| 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 | 
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| 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 | 
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| 91 | Inside Akiba Shrine, Ukeji Ukechi Akiba no keinai 請地秋葉の境内 | Probably a self-portrait. | 8/1857 | 
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| 92 | Mokuboji Temple, Uchigawa Inlet, Gozensaihata Mokubōji Uchigawa Gozensaibata 木母寺内川御前栽畑 | 12/1857 | 
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| 93 | Niijuku Ferry Niijuku no watashi にい宿のわたし | 2/1857 | 
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| 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 | 
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| 95 | View of Kōnodai and the Tone River Kōnodai Tonegawa Fūkei 鴻の台とね川風景 | 5/1856 | 
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| 96 | Horie and Nekozane Horie Nekozane 堀江ねこざね | 2/1856 | 
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| 97 | Five Pines, Onagi Canal Ongagigawa Gohonmatsu 小奈木川五本まつ | 7/1856 | 
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| 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 | 
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| 99 | Kinryūzan Temple, Asakusa Asakusa Kinryūzan 浅草金龍山 | 7/1856 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 103 | Senju Great Bridge Senju no ōhashi 千住の大はし | 2/1856 | 
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| 104 | Koume Embankment Koumetsutsumi 小梅堤 | 2/1857 | 
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| 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 | 
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| 106 | Fukagawa Lumberyards Fukagawa kiba 深川木場 | Early impressions had black wisp in centre of sky. | 8/1856 | 
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| 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 | 
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| 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 | 
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| 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 | 
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| 110 | Robe-Hanging Pine, Senzoku Pond Senzoku no ike Kesakakematsu 千束の池袈裟懸松 | 2/1856 | 
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| 111 | Meguro Drum Bridge and Sunset Hill Meguro taikobashi Yūhi no oka 目黒太鼓橋夕日の岡 | 4/1857 | 
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| 112 | Atagoshita and Yabu Lane Atagoshita Yabukōji 愛宕下薮小路 | Imitation goldleaf cartouche. | 12/1857 | 
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| 113 | Aoi Slope outside Toranomon Gate Toranomon soto Aoizaka 虎の門外あふひ坂 | 11/1857 | 
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| 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 (Shigenobu) due to date and style. | 10/1858 | 
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| 115 | Takata Riding Grounds Takada no baba 高田の馬場 | Target in nunomezuri. Dark grey cartouche. | 2/1857 | 
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| 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 | 
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| 117 | Hilltop View of Yushima Tenjin Shrine Yushima Tenjin sakaue chōbō 湯しま天神坂上眺望 | 4/1856 | 
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| 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 | 
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| [contents] | | Contents is by Baisotei Gengyo. Nunomezuri in lower boxes (autumn and winter). Later impressions had a very dark background. | after 10/1858 | 
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