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Hiroshige II (歌川広重 2代目, 1829 – October 21, 1869) was a designer of ukiyo-e and Japanese woodblock prints. He was born Suzuki Chinpei (鈴木鎮平?). He became a student and the adopted son of Hiroshige, then was given the artistic identity of, 'Shigenobu'. When the senior Hiroshige died in 1858, Shigenobu married his master’s daughter, Otatsu.<br/><br/>Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Published by Bellin and Schley for Prevost's' Histoire Generale des Voyages', this map is cartographically based on a 1702 map of the same issued by Scheuchzer and Kaempfer, which itself is most likely based on Japanese maps.<br/><br/>Centered on Edo Castle, this map depicts the whole of Edo as it existed, with numerous streets shown but not named. Edo Castle itself is fancifully depicted as a French style formal garden. Possibly due to the cartographers inability to translate Japanese, the only three named locations on the map are Edo Castle, Japan Bridge, and the Faubourg de Sinagawa.<br/><br/>From the establishment of the Tokugawa bakufu's headquarters at Edo, although Kyoto remained the formal capital of the country, the de facto capital was now Edo; it was the center of political power. Edo grew from what had been a small, little-known fishing village in 1457 to a metropolis with an estimated population of 1,000,000 by 1721, the largest city in the world at the time.<br/><br/>The city was laid out as a castle town around Edo Castle. The Sumida River (then called the Great River, 大川), ran along the eastern edge of the city. The 'Japan Bridge' (日本橋, Nihon-bashi) marked the center of the city's commercial center.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
Ishikawa Toyonobu (石川 豊信, 1711 - July 1, 1785) was a Japanese ukiyo-e print artist. He is sometimes said to have been the same person as Nishimura Shigenobu, a contemporary ukiyo-e artist and student of Nishimura Shigenaga about whom very little is known.<br/><br/> A pupil of Nishimura Shigenaga, Toyonobu produced many monochrome 'lacquer prints' (urushi-e) which reflected the influence of Okumura Masanobu as well. Many of these were yakusha-e (actor prints) and bijinga (images of beautiful women), including images of standing courtesans, whose faces conveyed an impassivity typical of the works of the Kaigetsudō school.<br/><br/> Later in his career, Toyonobu became one of the leading producers of color prints, chiefly benizuri-e ('rose prints'), but stopped producing ukiyo-e shortly after Suzuki Harunobu pioneered the full-color print (nishiki-e) in 1765.