http://collections.mfa.org/collections/315256/objects/rdfMFA Images: Sea Lifehttp://collections.mfa.org/internal/media/dispatcher/783027/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/923866/resize%3Aformat%3DfullAbalone, Needlefish, and Peach Blossoms, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.1303, 11.17170, 21.9608Poems translated in Mann, Sixty Years with Japanese Prints (2021), p. 304.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/237226/rdfhttp://collections.mfa.org/internal/media/dispatcher/923914/resize%3Aformat%3DfullAmulet of a fishFaienceFaience; light blue; glazed; back flat and plain; no hole.http://collections.mfa.org/objects/137508/rdfhttp://collections.mfa.org/internal/media/dispatcher/1593812/resize%3Aformat%3DfullAmulet of a fish1550–1070 B.C.FaienceAmulets of fish pendants.http://collections.mfa.org/objects/140080/rdfhttp://collections.mfa.org/internal/media/dispatcher/928328/resize%3Aformat%3DfullAmulet of a fish664–525 B.CSteatiteFish. Steatite. Traces of blue glaze.http://collections.mfa.org/objects/146796/rdfhttp://collections.mfa.org/internal/media/dispatcher/1022608/resize%3Aformat%3DfullBatik samplelate 19th centuryCotton, natural dyes; plain weave, hand-drawn (tulis) wax-resist (batik)Sample of cotton batik cloth with an overall pattern of scale motifs with a dot in the center on which is a fish, crabs, lobsters and other crustaceans in light brown, dark blue and natural ecru.http://collections.mfa.org/objects/67795/rdfhttp://collections.mfa.org/internal/media/dispatcher/960210/resize%3Aformat%3DfullBlack Sea Bream, Small Sea Bream, Asparagus Shoots, and Sansho Pepper, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.950, 11.17176, 21.9606Poems translated in Mann, Sixty Years with Japanese Prints (2021), p. 296.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/176758/rdfhttp://collections.mfa.org/internal/media/dispatcher/1012553/resize%3Aformat%3DfullBowl with blue-and-white decoration of fish among aquatic plants (yuzao) motif1521–66Porcelain, Jingdezhen warehttp://collections.mfa.org/objects/20741/rdfhttp://collections.mfa.org/internal/media/dispatcher/606690/resize%3Aformat%3DfullBrillabout 1660Albert FlamenEtchinghttp://collections.mfa.org/objects/160986/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016155/resize%3Aformat%3DfullCampanian fish plateabout 350–325 B.C.D'Agostino PainterCeramic, Red Figure"Fish" plate. Has a flange falling from edge of base. Interior: Two fish and an octopus.Circling the central depression are a bream, a striped perch, and an ocopus. A band of black dots cirlces the upper rim; around the overhanging rim is an ivy vine. As usual on Campanian fish-plates, the central depression is black and circled by a broad reserved stripe. The fish are carefully drawn, with much attention given to details such as the mouth, gills, mottling of the head and belly and placement of the stripes. Dilute glaze was used extensively on all three creatures particularly to define the eight arms of the octopus. The sketchy quality of the dilute glaze may have been achieved by feathering it with a dry brush.VASE PAINTING in ITALY, #88 (01.8096)Fish-PlateRelated to the D"Agostino Painter3rd quarter of 4th century B.C.Circling the central depression are a bream, a striped perch, and an octopus. A band of black dots circles the upper rim, around the overhanging rim is an ivy vine. As usual on Campanian fish-plates, the central depression is black and circled by a broad reserved stripe. The foot is reserved. The fish are carefully drawn, with much attention given to details such as the mouths, gills, mottling of the head and belly, and placement of the stripes. Dilute glaze was used extensively on all three creatures, particularly to define the eight arms of the octopus. The sketch quality of the dilute glaze may have been achieved by feathering it with a dry brush. McPhee and Grendall draw attention to the unusual use of black for the gills and fins, instead of the more normal white; they note also an affinity with early Paestan fish-plates, particularly in the drawing of the octopus and the use of a dotted outer border.http://collections.mfa.org/objects/154132/rdfhttp://collections.mfa.org/internal/media/dispatcher/746009/resize%3Aformat%3DfullCarp and Wisteriabeginning of 20th centuryOhara KosonTanzaku; ink and light color on silkhttp://collections.mfa.org/objects/29933/rdfhttp://collections.mfa.org/internal/media/dispatcher/960221/resize%3Aformat%3DfullCarp, from an untitled series known as Large Fish (supplemental group)about 1840–42 (Tenpô 11–13)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 11.17179, 11.17180, 21.9616The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/210255/rdfhttp://collections.mfa.org/internal/media/dispatcher/923874/resize%3Aformat%3DfullCarp, from an untitled series known as Large Fish (supplemental group)about 1840–42 (Tenpō 11–13)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 11.17179, 11.17180, 21.9616The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/237234/rdfhttp://collections.mfa.org/internal/media/dispatcher/923840/resize%3Aformat%3DfullClematis and CrabUtagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/237201/rdfhttp://collections.mfa.org/internal/media/dispatcher/925423/resize%3Aformat%3DfullCosmetic jar in the form of a fish1479–1425 B.C.Red potteryRed glazed vase in form of fish. One handle. Black painted decoration. Tail mended.http://collections.mfa.org/objects/146078/rdfhttp://collections.mfa.org/internal/media/dispatcher/921214/resize%3Aformat%3DfullCrabPottery or porcelainESM: [no description provided]Morse Cat.#: 4725http://collections.mfa.org/objects/180881/rdfhttp://collections.mfa.org/internal/media/dispatcher/888260/resize%3Aformat%3DfullCrab plate1896–1929Dedham PotteryStoneware (high-fired) with crackle glaze and cobalt decorationCrab patternhttp://collections.mfa.org/objects/432918/rdfhttp://collections.mfa.org/internal/media/dispatcher/868890/resize%3Aformat%3DfullDish in form of fishPotteryESM: Kaga Province, Green Kutani, "[one of] Various pieces, with typical green Kutani decoration...[date] 1800-1870"Morse Cat#: 1026Dec: Inside, scales of fish in relief and waves in overglaze purple, yellow, green and black. Clay: White porcelain. Glaze: Outside, green with black spiral marks.http://collections.mfa.org/objects/186236/rdfhttp://collections.mfa.org/internal/media/dispatcher/1174704/resize%3Aformat%3DfullDollarfish and Sheepshead1860William Aiken WalkerOil on canvashttp://collections.mfa.org/objects/33230/rdfhttp://collections.mfa.org/internal/media/dispatcher/829451/resize%3Aformat%3DfullDolphin or Fishabout 1944Charles James PrendergastGilded and painted woodhttp://collections.mfa.org/objects/40619/rdfhttp://collections.mfa.org/internal/media/dispatcher/736414/resize%3Aformat%3DfullDried Fish19th centuryKôhôsaiStained ivoryhttp://collections.mfa.org/objects/27723/rdfhttp://collections.mfa.org/internal/media/dispatcher/1495680/resize%3Aformat%3DfullDrinking cup (kylix) with youth fishingabout 510–500 B.C.the Ambrosios PainterCeramic, Red FigureCup Interior tondo composition: A small nude boy is fishing as he crouches on a rocky ledge. He holds a woven bag in his left hand, and has a fish on the line. There is also a trap, shown under water, probably for the octopus hiding behind the rock. Above are the Greek letters: "P" "A" "S".Exterior: Both sides show drunken satyrs cavorting. On one side, the satyr on the left holds aloft an amphora, while the one on the right balances a high-handled cup (kantharos) on his phallus. Above is the Greek inscription KR[A]TES ELE[--]O, which may refer to the action of one of the satyrs, who is named Krates. On the other side two satyrs dance. The one on the right holds a drinking horn (rhyton). Above is an inscription which appears to say: E[-]KEA[-]SE, too fragmentary to decipher.http://collections.mfa.org/objects/153702/rdfhttp://collections.mfa.org/internal/media/dispatcher/628947/resize%3Aformat%3DfullFish and Abalone Shellabout Kôka (1844–48) - Ka'ei (1848–54) erasHokushinHanging scroll; ink and color on silkhttp://collections.mfa.org/objects/25020/rdfhttp://collections.mfa.org/internal/media/dispatcher/735915/resize%3Aformat%3DfullFish and Duckweedfirst half of the 19th centuryKano Isen'in NaganobuHanging scroll; ink and light color on silkhttp://collections.mfa.org/objects/25693/rdfhttp://collections.mfa.org/internal/media/dispatcher/924684/resize%3Aformat%3DfullFish and Spiny Lobster (Ise ebi)1860 (Man'en 1)Hasegawa SettôHanging scroll; ink and color on silkhttp://collections.mfa.org/objects/26041/rdfhttp://collections.mfa.org/internal/media/dispatcher/939382/resize%3Aformat%3DfullFish in the Water1882 (Meiji 15)Usui GyokurinUnmounted composition for a pair of six-panel folding screens; ink, color and gold on silkhttp://collections.mfa.org/objects/26825/rdfhttp://collections.mfa.org/internal/media/dispatcher/939385/resize%3Aformat%3DfullFish in the Water1882 (Meiji 15)Takeda GyokkaUnmounted composition for a pair of six-panel folding screens; ink and color on silkhttp://collections.mfa.org/objects/26828/rdfhttp://collections.mfa.org/internal/media/dispatcher/939394/resize%3Aformat%3DfullFish in the Water1882 (Meiji 15)Fujii GyokushûUnmounted; ink, color and gold on silkhttp://collections.mfa.org/objects/26835/rdfhttp://collections.mfa.org/internal/media/dispatcher/939387/resize%3Aformat%3DfullFish in the Water1882 (Meiji 15)Utsumi GyokuenUnmounted composition for a pair of six-panel folding screens; ink, color and gold on silkhttp://collections.mfa.org/objects/203419/rdfhttp://collections.mfa.org/internal/media/dispatcher/637013/resize%3Aformat%3DfullFish near Shoremid–1880sHashidate ShisenHanging scroll: ink and light color on silkhttp://collections.mfa.org/objects/27007/rdfhttp://collections.mfa.org/internal/media/dispatcher/757450/resize%3Aformat%3DfullFish plateabout 340–320 B.C.The Painter of Boston 282.1970Ceramic, Red FigureInterior: two striped fish with spiny back fins and an octopus around central depression. Details in added yellowish-white. Standing wave pattern decorates the overhang. Glaze on most of underside, rim of foot and inside foot. Broken and repaired.http://collections.mfa.org/objects/154109/rdfhttp://collections.mfa.org/internal/media/dispatcher/847046/resize%3Aformat%3DfullFish-shaped paletteNaqada I–III, 3850–2960 B.C.GreywackeFish-shaped palette; notched tail; drilled eye and suspension hole; mouth indicated by small .5 cm incision on both faces; one side more convex; no signs of wear.http://collections.mfa.org/objects/132416/rdfhttp://collections.mfa.org/internal/media/dispatcher/1243670/resize%3Aformat%3DfullFish shaped vase with rouge box with cover1736–95Glasshttp://collections.mfa.org/objects/10706/rdfhttp://collections.mfa.org/internal/media/dispatcher/964717/resize%3Aformat%3DfullFlatheads and Eggplant, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.849, 11.17191, 11.17192, 11.17193, 11.17194, 21.9607No publisher's mark on this impression.Poems translated in Mann, Sixty Years with Japanese Prints (2021), p. 301.The first edition of this series was privately printed in the form of a kyōka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/178084/rdfhttp://collections.mfa.org/internal/media/dispatcher/923865/resize%3Aformat%3DfullFlatheads and Eggplant, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.849, 11.17191, 11.17192, 11.17193, 11.17194, 21.9607Poems translated in Mann, Sixty Years with Japanese Prints (2021), p. 301.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/237225/rdfhttp://collections.mfa.org/internal/media/dispatcher/820509/resize%3Aformat%3DfullFuchi-kashira with designs of fishLate 18th century (?)Iwamoto KonkanMain material: shibuichi; surface treatment: nanako-ji; other metals: gold, silver, shakudo and shell; decorative technique: iroe takazoganhttp://collections.mfa.org/objects/25306/rdfhttp://collections.mfa.org/internal/media/dispatcher/804616/resize%3Aformat%3DfullGoldfishKawabata GyokushōColor woodblock; embossing; ink on card stockhttp://collections.mfa.org/objects/394421/rdfhttp://collections.mfa.org/internal/media/dispatcher/972252/resize%3Aformat%3DfullGoldfish and Killifishabout 1837 (Tenpō 8)Utagawa KuniyoshiWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/177099/rdfhttp://collections.mfa.org/internal/media/dispatcher/932963/resize%3Aformat%3DfullGoldfish and Water Plantsabout 1850?IchimeiWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.1142, 06.2607http://collections.mfa.org/objects/176969/rdfhttp://collections.mfa.org/internal/media/dispatcher/923839/resize%3Aformat%3DfullGoldfish, Killifish, and Morning GloriesUtagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/237200/rdfhttp://collections.mfa.org/internal/media/dispatcher/923861/resize%3Aformat%3DfullGurnards, Flatfish, and Bamboo Grass, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.1313, 11.17184, 11.17185, 21.9603Poems translated in Mann, Sixty Years with Japanese Prints (2021), p. 306.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/237221/rdfhttp://collections.mfa.org/internal/media/dispatcher/924324/resize%3Aformat%3DfullThe Happy Moment1847James Goodwyn ClonneyOil on canvashttp://collections.mfa.org/objects/33093/rdfhttp://collections.mfa.org/internal/media/dispatcher/783027/resize%3Aformat%3DfullHiroshige and the Goldfishabout 1926Kanji NakamuraOil on canvashttp://collections.mfa.org/objects/32356/rdfhttp://collections.mfa.org/internal/media/dispatcher/960222/resize%3Aformat%3DfullHorse Mackerel, Freshwater Prawns, and Seaweed, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.1524, 11.17181, 11.17182, 21.9604No publisher's mark on this impression.Poem translated in Forrer, Hiroshige (1997); and Mann, Sixty Years with Japanese Prints (2021), p. 302.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/210257/rdfhttp://collections.mfa.org/internal/media/dispatcher/923862/resize%3Aformat%3DfullHorse Mackerel, Freshwater Prawns, and Seaweed, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.1524, 11.17181, 11.17182, 21.9604No publisher's mark on this impression.Poem translated in Forrer, Hiroshige (1997); and Mann, Sixty Years with Japanese Prints (2021), p. 302.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/237222/rdfhttp://collections.mfa.org/internal/media/dispatcher/787289/resize%3Aformat%3DfullHorseshoe crab effigyA.D. 450–1520GoldOpen back cast gold pendant in the form of a horseshoe crab. A double wire suspension ring is cast on the rear surface below the tail-body junction point.http://collections.mfa.org/objects/5873/rdfhttp://collections.mfa.org/internal/media/dispatcher/850557/resize%3Aformat%3DfullIncense box in form of fish1860CeramicsESM: Kaga Province, Ôhi, "[one of] Various forms of Ôhi. [date] 1850-1875"Morse Cat#: 1081Clay: light red. Glaze: mottled greenigh-white and transparent. Back of fish roughened, dark red. Mark: Ohi (imp).http://collections.mfa.org/objects/178921/rdfhttp://collections.mfa.org/internal/media/dispatcher/917732/resize%3Aformat%3DfullKanamono in the form of an octopus, with backplatemid to late 19th century (before 1890)Main material: gold; other metals: shell and coral (broken); decorative technique: uchidashi, takabori, zoganhttp://collections.mfa.org/objects/10233/rdfhttp://collections.mfa.org/internal/media/dispatcher/917680/resize%3Aformat%3DfullKanamono in the form of two crayfishmid to late 19th century (before 1889)Main material: silver; decorative technique: uchidashi, takaborihttp://collections.mfa.org/objects/10179/rdfhttp://collections.mfa.org/internal/media/dispatcher/1062225/resize%3Aformat%3DfullKingfisher and Wild Roses1847–52 (Kōka 4–Kaei 5)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/177127/rdfhttp://collections.mfa.org/internal/media/dispatcher/938302/resize%3Aformat%3DfullKuwana: Baked Clams (Yakihamaguri, in semi-rebus form), cut from sheet 12 of the harimaze series Pictures of the Fifty-three Stations of the Tôkaidô Road (Tôkaidô gojûsan tsugi zue)1856 (Ansei 3), 2nd monthUtagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperFrom a sheet of four pictures showing Chiryû (TL), Narumi (TR), Miya (BR), and Kuwana (BL) stations.MFA impressions: 21.8687 (Chiryû), 21.8688 (Narumi), 21.8689 (Narumi), 21.8690 (Miya), 21.8691 (Miya), 21.8692 (Kuwana), 21.8693 (Kuwana), RES.49.95 (uncut sheet)http://collections.mfa.org/objects/236309/rdfhttp://collections.mfa.org/internal/media/dispatcher/938303/resize%3Aformat%3DfullKuwana: Baked Clams (Yakihamaguri, in semi-rebus form), cut from sheet 12 of the harimaze series Pictures of the Fifty-three Stations of the Tôkaidô Road (Tôkaidô gojûsan tsugi zue)1856 (Ansei 3), 2nd monthUtagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperFrom a sheet of four pictures showing Chiryû (TL), Narumi (TR), Miya (BR), and Kuwana (BL) stations.MFA impressions: 21.8687 (Chiryû), 21.8688 (Narumi), 21.8689 (Narumi), 21.8690 (Miya), 21.8691 (Miya), 21.8692 (Kuwana), 21.8693 (Kuwana), RES.49.95 (uncut sheet)http://collections.mfa.org/objects/236310/rdfhttp://collections.mfa.org/internal/media/dispatcher/1029494/resize%3Aformat%3DfullThe Lair of the Sea Serpent1864Elihu VedderOil on canvashttp://collections.mfa.org/objects/30939/rdfhttp://collections.mfa.org/internal/media/dispatcher/591221/resize%3Aformat%3DfullLarge lepidotus fish664–525 B.C.BronzeHollow cast bronze fish with modeled fins and scales. The eyes are of inlaid glass with painted irises. Originally, it would have stood on a metal or wood base.http://collections.mfa.org/objects/142192/rdfhttp://collections.mfa.org/internal/media/dispatcher/1777170/resize%3Aformat%3DfullLeaping Trout1889Winslow HomerWatercolor over graphite on paperhttp://collections.mfa.org/objects/4991/rdfhttp://collections.mfa.org/internal/media/dispatcher/960195/resize%3Aformat%3DfullLobster and Shrimp, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.1525, 06.2569, 11.41801, 21.9605Poems translated in Mann, Sixty Years with Japanese Prints (2021), p. 300.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/177442/rdfhttp://collections.mfa.org/internal/media/dispatcher/964851/resize%3Aformat%3DfullLobster and Shrimp, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.1525, 06.2569, 11.41801, 21.9605Poems translated in Mann, Sixty Years with Japanese Prints (2021), p. 300.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/472784/rdfhttp://collections.mfa.org/internal/media/dispatcher/960893/resize%3Aformat%3DfullMackerel, Crab, and Morning Glory, from an untitled series known as Large Fish (supplemental group)about 1840–42 (Tenpô 11–13)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 11.17188, 11.17189, 11.17190No publisher's mark on this impression.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/210264/rdfhttp://collections.mfa.org/internal/media/dispatcher/979144/resize%3Aformat%3DfullMarine mosaic (central panel of three panels from a floor)A.D. 200–230Mosaic (stone and glass tesserae)A floor mosaic of three panels. The central panel features three erotes riding on dolphins and fishing in the sea. Twenty-five recognizable varieties of fish (red and gray mullet, abalone or garfish, colorful wrasse, mackerel, bream, flounder, and many more) as well as a pink shrimp and a clam are depicted in the mosaic against a white ground.These 3 panels comprised the mosaic pavement of an open courtyard reception space from the "House of the Drinking Contest" in Roman Antioch (modern Antakya). The Erotes face in three directions of the courtyard in which the three part mosaic ensemble was found. Panel B: Central Figural scene; Labeling panels A,B,C follows the orientation of the mosaic in situ from east to west; primary entrance into room is on the east side. Border of red meander and black and yellow crowstep. Glass tesserae (oranges, yellows, reds, yellow-green, dark blue, bright blues, greens).http://collections.mfa.org/objects/359049/rdfhttp://collections.mfa.org/internal/media/dispatcher/830308/resize%3Aformat%3DfullMenuki in the form of a bream, fishing rod and basketearly to mid-19th centuryMain material: gold; other metals: shakudo; decorative technique: uchidashi, takabori, takazoganhttp://collections.mfa.org/objects/9877/rdfhttp://collections.mfa.org/internal/media/dispatcher/1032806/resize%3Aformat%3DfullMoon on the Dark SeaWada SanzōColor lithograph; ink on card stockhttp://collections.mfa.org/objects/499598/rdfhttp://collections.mfa.org/internal/media/dispatcher/960205/resize%3Aformat%3DfullMullet, Asparagus, and Camellia, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.843, 06.1192, 21.9611Poems translated in Forrer, Hiroshige (1997); and Mann, Sixty Years with Japanese Prints (2021), p. 310.The first edition of this series was privately printed in the form of a kyōka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/178087/rdfhttp://collections.mfa.org/internal/media/dispatcher/836861/resize%3Aformat%3DfullNew Year's Card: Seahorse1928Takahashi Haruka (Shunka)Color lithograph; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/399962/rdfhttp://collections.mfa.org/internal/media/dispatcher/836863/resize%3Aformat%3DfullNew Year's Card: Seahorse in a Triangle Shape with Pink Background1928Takahashi Haruka (Shunka)Color lithograph; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/399965/rdfhttp://collections.mfa.org/internal/media/dispatcher/806026/resize%3Aformat%3DfullNew Year's Card: Seahorses1928Takahashi Haruka (Shunka)Color lithograph; ink and metallic pigment on coated card stockhttp://collections.mfa.org/objects/394696/rdfhttp://collections.mfa.org/internal/media/dispatcher/836763/resize%3Aformat%3DfullNew Year's Card: SeahorsesArtist unidentified, JapaneseColor lithograph; embossing; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/400102/rdfhttp://collections.mfa.org/internal/media/dispatcher/924995/resize%3Aformat%3DfullNew Year's Emblem: Spiny Lobster, Pine, Bamboo, and Plum1854 (Ka'ei 7)Yoshimura Kobun (Ryôsai)Hanging scroll; ink and color on silkhttp://collections.mfa.org/objects/26987/rdfhttp://collections.mfa.org/internal/media/dispatcher/941792/resize%3Aformat%3DfullÔtsu-e: Monkey, Catfish and Gourd19th centuryArtist unknown, JapaneseInk and color on paperhttp://collections.mfa.org/objects/233494/rdfhttp://collections.mfa.org/internal/media/dispatcher/1775906/resize%3Aformat%3DfullOuananiche Fishing, Lake St. John, Province of Quebec1897Winslow HomerWatercolor over graphite on paperhttp://collections.mfa.org/objects/5015/rdfhttp://collections.mfa.org/internal/media/dispatcher/917641/resize%3Aformat%3DfullPair of kanamono in the form of a crab and young and a turnip, with backplate engraved with reeds and watermid to late 19th century (before 1889)Main material: gold; other metals: shibuichi and silver backplate; decorative technique: uchidashi, takabori, katakiri-borihttp://collections.mfa.org/objects/10135/rdfhttp://collections.mfa.org/internal/media/dispatcher/964995/resize%3Aformat%3DfullPair of menuki in the form of two crayfishearly to mid-19th centuryOtsuki MitsuokiMain material: copper; other metals: shakudo; decorative technique: uchidashi, takabori, takazoganhttp://collections.mfa.org/objects/12728/rdfhttp://collections.mfa.org/internal/media/dispatcher/847556/resize%3Aformat%3DfullPaper weight (crab)1878CeramicsESM: Bizen Province, Imbe, "Dull reddish clay. Tips of large claws and eyes touched with white. [Glazed.] Dai Nippon Imbé to (imp.) [date] 1878."Morse Cat#: 446http://collections.mfa.org/objects/187716/rdfhttp://collections.mfa.org/internal/media/dispatcher/909393/resize%3Aformat%3DfullPaperweight in form of crab1888Kiyomizu Rokubei IVKyoto ware; stoneware with iron glaze, white slip, clear glaze, overglaze enamelsHand-modeled paperweight in form of crab. Clay body not visible under iron glaze on legs and portion of body, white slip on remainder. Red and black enamels over clear glaze detail claws and eyes. 型成形の蟹形の文鎮。素地は不明。白化粧して足の一部と胴部に鉄釉を掛け、残りの部分は透明釉をかけ、蟹の爪や目などを赤や黒で上絵付けする。Red-framed paper label: "4295"　　赤枠貼紙「4295」http://collections.mfa.org/objects/196549/rdfhttp://collections.mfa.org/internal/media/dispatcher/964723/resize%3Aformat%3DfullSea Bass, Golden-eyed Sea Bream, and Shiso, from an untitled series known as Large Fish (supplemental group)about 1840–42 (Tenpô 11–13)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.2543, 11.17195, 11.17196No publisher's mark on this impression.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/200450/rdfhttp://collections.mfa.org/internal/media/dispatcher/925016/resize%3Aformat%3DfullSea Breammid 19th centuryMatsuyoshi ShôkeiHanging scroll; ink and color on silkhttp://collections.mfa.org/objects/27010/rdfhttp://collections.mfa.org/internal/media/dispatcher/960219/resize%3Aformat%3DfullSea Bream and Sansho Pepper, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.854, 11.17175, 21.9612, RES.49.27 (key block)First poem, by Namiyasu, translated in Mann, Sixty Years with Japanese Prints (2021), p. 294.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/210250/rdfhttp://collections.mfa.org/internal/media/dispatcher/923870/resize%3Aformat%3DfullSea Bream and Sansho Pepper, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.854, 11.17175, 21.9612, RES.49.27 (key block)First poem, by Namiyasu, translated in Mann, Sixty Years with Japanese Prints (2021), p. 294.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/237230/rdfhttp://collections.mfa.org/internal/media/dispatcher/842269/resize%3Aformat%3DfullSea Lifelate 19th centuryKōno BaireiHanging scroll; ink and light color on silkhttp://collections.mfa.org/objects/26760/rdfhttp://collections.mfa.org/internal/media/dispatcher/1634137/resize%3Aformat%3DfullSeal Rocks, Farallons1872Albert BierstadtOil on paper mounted on paperboardhttp://collections.mfa.org/objects/33124/rdfhttp://collections.mfa.org/internal/media/dispatcher/973196/resize%3Aformat%3DfullShiohi no tsuto (Gifts from the Ebb Tide)1789 (Tenmei 9/Kansei 1)Kitagawa Utamaro IWoodblock-printed book; ink, color, mica, and brass dust on paperhttp://collections.mfa.org/objects/355684/rdfhttp://collections.mfa.org/internal/media/dispatcher/985241/resize%3Aformat%3DfullShiohi no tsuto (Gifts from the Ebb Tide)1789 (Tenmei 9/Kansei 1)Kitagawa Utamaro IWoodblock printed book; ink, color, and metallic pigments on paperhttp://collections.mfa.org/objects/491091/rdfhttp://collections.mfa.org/internal/media/dispatcher/658731/resize%3Aformat%3DfullShrimplatter half of the Bunka era (1804–18)Katsushika HokusaiHanging scroll; ink and color on paperhttp://collections.mfa.org/objects/29797/rdfhttp://collections.mfa.org/internal/media/dispatcher/783562/resize%3Aformat%3DfullSoprano ocarina (in the shape of a fish)1912EarthenwareSopranino in E-flat. The lowest tone is e''-flat. In the shape of a fish; of pottery, gilded. Eight holes in front, one thumb-hole in the rear.http://collections.mfa.org/objects/50377/rdfhttp://collections.mfa.org/internal/media/dispatcher/936552/resize%3Aformat%3DfullSpiny Lobster and Clamsmid 19th centuryMochizuki Gyokusen ShigeteruHanging scroll; ink on paperhttp://collections.mfa.org/objects/29316/rdfhttp://collections.mfa.org/internal/media/dispatcher/1098272/resize%3Aformat%3DfullStill Life—Fish about 1900William Merritt ChaseOil on canvashttp://collections.mfa.org/objects/31341/rdfhttp://collections.mfa.org/internal/media/dispatcher/960209/resize%3Aformat%3DfullStriped Sea Bream, Rock-trout, and Nandina, from an untitled series known as Large Fish (supplemental group)about 1840–42 (Tenpô 11–13)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.949, 06.2571, 11.17173, 11.17174No publisher's mark on this impression.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/176757/rdfhttp://collections.mfa.org/internal/media/dispatcher/927627/resize%3Aformat%3DfullSweetfish and HydrangeasUtagawa Hiroshige IWoodblock print (aizuri-e); color on paperRight half of an ōban sheet; 21.9649 is the left half (from a sumizuri edition).http://collections.mfa.org/objects/237268/rdfhttp://collections.mfa.org/internal/media/dispatcher/928543/resize%3Aformat%3DfullSweetfish Swimming in a Clear Streamabout 1830–44 (Tenpō era)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/237299/rdfhttp://collections.mfa.org/internal/media/dispatcher/972643/resize%3Aformat%3DfullSweetfish under Bush Clover, from an untitled series of Water Creaturesabout 1837 (Tenpō 8)Utagawa KuniyoshiWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/257304/rdfhttp://collections.mfa.org/internal/media/dispatcher/978217/resize%3Aformat%3DfullSweet Sea Bream, Mebaru, and Horseradish, from an untitled series known as Large Fish (supplemental group)about 1840–42 (Tenpō 11–13)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.2544, 11.17183The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/210258/rdfhttp://collections.mfa.org/internal/media/dispatcher/875152/resize%3Aformat%3DfullTea Bowl with design of crayfish18th–19th centuryUnknown IzumoCeramic; Fujina wareESM: Izumo Province, Zenshiro, "Dull brick-red clay, warm gray glaze. Over-decoration of prawn and plant in red, green and gold. High basal ring with deep notch._Unzen_(imp.). [date] 1750."Morse Cat.#: 1852http://collections.mfa.org/objects/24071/rdfhttp://collections.mfa.org/internal/media/dispatcher/878454/resize%3Aformat%3DfullTea bowl with design of spiny lobster19th centuryKashu MimpeiAwaji ware; stonewareESM: Awaji Province, Mimpei - Second Generation, "Fine fawn clay, yellowish-white glaze. Over-decoration of prawn in bright red, green eyes, back touched with gold. _Mimpei_ (imp.). [date] 1865."Morse Cat#: 1442http://collections.mfa.org/objects/6610/rdfhttp://collections.mfa.org/internal/media/dispatcher/953086/resize%3Aformat%3Dfull"The Fish" (or "The Fish and Flowering Branch") windowabout 1890John La FargeLeaded stained and opalescent glasshttp://collections.mfa.org/objects/40175/rdfhttp://collections.mfa.org/internal/media/dispatcher/936493/resize%3Aformat%3DfullTroutmid 19th centuryHasegawa GyokuhôHanging scroll; ink and light color on silkhttp://collections.mfa.org/objects/26812/rdfhttp://collections.mfa.org/internal/media/dispatcher/924970/resize%3Aformat%3DfullTrout and Falling Petals1872 (Meiji 5)Suga KisuiHanging scroll; ink and color on silkhttp://collections.mfa.org/objects/26927/rdfhttp://collections.mfa.org/internal/media/dispatcher/1777322/resize%3Aformat%3DfullTrout Breaking1889Winslow HomerWatercolor over graphite on paperhttp://collections.mfa.org/objects/4849/rdfhttp://collections.mfa.org/internal/media/dispatcher/964716/resize%3Aformat%3DfullTrout, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.844, 11.17171, 21.9609No publisher's mark on this impression.The first edition of this series was privately printed in the form of a kyōka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/178086/rdfhttp://collections.mfa.org/internal/media/dispatcher/923867/resize%3Aformat%3DfullTrout, from an untitled series known as Large Fishabout 1832–33 (Tenpō 3–4)Utagawa Hiroshige IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 06.844, 11.17171, 21.9609No publisher's mark on this impression.The first edition of this series was privately printed in the form of a kyôka poetry album in the orihon format, with ten illustrated sheets and four sheets of text only. Soon afterward, the blocks were reused for commercial prints, with the publisher's mark and censor's kiwame seal added (and in a few cases, different poems). One additional design, the trout, was included in the commercial series; and another nine designs were added still later by a different publisher. For a full reproduction and detailed discussion of the first edition, see Mann 2021, pp. 290-311.http://collections.mfa.org/objects/237227/rdfhttp://collections.mfa.org/internal/media/dispatcher/1510507/resize%3Aformat%3DfullTrout in Stream and Poem by Koyo from the series Postcards of Haikai Poetry (Haikai ehagaki)Saitō ShōshūColor lithograph; embossing; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/394484/rdfhttp://collections.mfa.org/internal/media/dispatcher/924897/resize%3Aformat%3DfullTrout Under a Branch of Cherrylate 19th centuryMochizuki Gyokusen ShigemineHanging scroll; ink and color on silkhttp://collections.mfa.org/objects/26821/rdfhttp://collections.mfa.org/internal/media/dispatcher/939389/resize%3Aformat%3DfullTrout Under Branches of Cherry1882 (Meiji 15)Atomi GyokushiUnmounted composition for a pair of six-panel folding screens; ink and color on silkhttp://collections.mfa.org/objects/26830/rdf