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「双筆五十三次 荒井 遠湖 堀江 風景」 目録：「湖」 改め婆
Arai: View of the Distant Lake and the Horie Area (Enko Horie fûkei); Identity Inspection Granny at the Lake (Mizuumi), from the series The Fifty-three Stations [of the Tôkaidô Road] by Two Brushes (Sôhitsu gojûsan tsugi)
「双筆五十三次 荒井 遠湖 堀江 風景」 目録：「湖」 改め婆
Utagawa Hiroshige I (Japanese, 1797–1858)
Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864)
Publisher: Maruya Kyûshirô
Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864)
Publisher: Maruya Kyûshirô
Japanese
Edo period
1855 (Ansei 2), 4th month
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban; 34.7 x 23.9 cm (13 11/16 x 9 7/16 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.36763.35
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
Catalogue Raisonné
Marks, Kunisada's Tôkaidô (2013), #T79-32; Watanabe, Sôhitsu gojûsan tsugi (2011), #32; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 252, ôban #34.32
DescriptionNo. 32 in the series.
Landscapes by Hiroshige, figures by Kunisada I (Toyokuni III). The subtitles of the landscapes, if present, appear on the individual prints; the subtitles referring to the figures are found only on the title page for the series, 11.36763.3 .
Album of all 55 prints in the series, plus cover slip, title page, and hand-written preface and colophon: 11.36763.1-59
At the stations of Hakone and Arai were government checkpoints where travellers had to show their papers and confirm their identities, sometimes even being physically inspected by old women hired for the purpose. Here a young boy is apparently proving that he is really a boy and not a woman travelling in disguise, since the wives of daimyo were required to stay in Edo as the shogun's hostages.
Landscapes by Hiroshige, figures by Kunisada I (Toyokuni III). The subtitles of the landscapes, if present, appear on the individual prints; the subtitles referring to the figures are found only on the title page for the series, 11.36763.3 .
Album of all 55 prints in the series, plus cover slip, title page, and hand-written preface and colophon: 11.36763.1-59
At the stations of Hakone and Arai were government checkpoints where travellers had to show their papers and confirm their identities, sometimes even being physically inspected by old women hired for the purpose. Here a young boy is apparently proving that he is really a boy and not a woman travelling in disguise, since the wives of daimyo were required to stay in Edo as the shogun's hostages.
Signed
Hiroshige ga (above); Toyokuni ga, in toshidama cartouche (below)
広重画、豊国画(年玉枠)
広重画、豊国画(年玉枠)
Marks
Censor's seals: aratame, Hare 4
No blockcutter's mark
改印：改、卯四
彫師：なし
No blockcutter's mark
改印：改、卯四
彫師：なし
ProvenanceBy 1911, purchased by William Sturgis Bigelow (b. 1850–d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: January 19, 2005)
NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.
NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.