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

Edo period
1855 (Ansei 2), 4th month
Artist Utagawa Hiroshige I (Japanese, 1797–1858), Artist Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864), Publisher Maruya Kyûshirô

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


Vertical ôban; 34.7 x 23.9 cm (13 11/16 x 9 7/16 in.)

Accession Number


Medium or Technique

Woodblock print (nishiki-e); ink and color on paper

Not On View


Asia, Prints and Drawings



No. 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.


Hiroshige ga (above); Toyokuni ga, in toshidama cartouche (below)


Censor's seals: aratame, Hare 4
No blockcutter's mark


By 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)

[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.

Credit Line

William Sturgis Bigelow Collection