Summarizing the conclusions reached in the four preceding parts, we can give a date of 1830 or Tenpō 1 (天保元年) to the so far identified subjects of Nihonbashi (日本橋), Ōji (王子), Sumidagawa (隅田川), Fukagawa (深川), Shibaura (芝浦), Ōhashi (大橋), Mimeguri (三園), Ueno no hana (上野花), and Yanaka (谷中), all picture envelopes, efūto (繪封筒), measuring 191 x 51 mm., signed Hokusai changing his name to Iitsu (Hokusai aratame Iitsu 北斎改為一), forming part of the series A Hundred Views in the Eastern Capital (Tōto hyakkei 東都百景), published as prints in tones of blue, aizurie, by an unidentified publisher using a seal reading ‘to’ (ト) within a circle. 

Dating from the same year 1830 are the prints titled Suruga Hill in the Eastern Capital (Tōto Surugadai 東都駿河台), Under the Mannen Bridge in Fukagawa (Fukagawa Mannenbashi no shita 深川万年橋下), The Oval Pine at Aoyama (Aoyama Enza no matsu 青山圓座松), Senjū in Musashi Province (Bushū Senjū 武州千住), In the Hollow of a Wave off the Coast of Kanagawa, popularly known as ‘The Great Wave’ (Kanagawa oki namiura 神奈川沖浪裏), A Shower below the Summit (Sanka hakuu 山下白雨), South Wind at Clear Dawn (Gaifū kaisei 凱風快晴), The ‘Fuji-Viewing’ Plains in Owari Province (Bishū Fujimigahara 尾州富士見原), and The Inume Mountain Pass in Kai Province (Kōshū Inumetōge 甲州犬目峠), all full colour horizontal prints in the ōban format (265 x 390 mm.), signed Hokusai changing his name to Iitsu (Hokusai aratame Iitsu 北斎改為一), forming part of the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei 富嶽三十六景), published by Nishimuraya Yohachi.

Dating from 1831 or Tenpō 2 (天保二年) are ten prints depicting A man washing potatoes in a tub; Mōsō finding a fresh bamboo shoot in the snow; Boats passing under rocky cliffs with a moon in the sky; A Mountain landscape with a bridge across a waterfall; Two fish: a halfbeak and a bream, and a crayfish; Two fish: a sole and a kasago, and two ark shell; Three sparrows and morning glory; A Sparrow trying to catch a fly; Plovers flying over waves, and A Finch on a Hibiscus, all in the koban format (c.227 x 168 mm.) and printed in shades of blue, aizurie, signed the Former Hokusai (saki no Hokusai 前北斎), with various seals among which one that gives Hokusai’s age as 72 years, corresponding to 1831, and published by Moriya Jihei.

Also dating from 1831 are prints of A pilgrim standing on the back of another one and writing on a pillar; Two men working on the covering of a roof with roof tiles; Ebisu catching fish from a boat; A Woman rope-walking and juggling balls; Two men making a large wooden tub; Acrobat performance; A Monk sweeping maple leaves; A Man seated by a tsuitate and chanting from a book; Bushishi on a scroll; A Sparrow by a chestnut; A Woman washing a length of cloth in a stream; A shōjō eating rice cakes and not drinking; Farmers doing the sparrow-dance; and A Shishi lion in a waterfall, all in the narrow upright tanzaku format (c.350 x 67 mm.) and printed in full colour, the first two signed the Former Hokusai (saki no Hokusai 前北斎), the others signed Iitsu, the former Hokusai (saki no Hokusai Iitsu 前北斎為一), published by Moriya Jihei. As these were printed three at a time from an aiban block, there remains at least one more design to be identified.

Dating from the same year 1831 are three prints depicting A tenaga and an ashinaga; A Deer and the full moon; and A Waterfall, in the narrow upright tanzaku format (c.350 x 67 mm.) and printed in shades of blue, aizurie, signed Iitsu, the former Hokusai (saki no Hokusai Iitsu ), published by Moriya Jihei. We cannot know whether these represent a different group or whether they are just an incidental exception within the group of full-colour tanzaku prints mentioned above. 

Still dating from 1831 are ten prints titled The Honganji Temple at Asakusa in the Eastern Capital (Tōto Asakusa Honganji 東都浅草本願寺), Tsukudajima Island in Musashi Province (Buyō Tsukudajima 武揚佃島), Ushibori in Hitachi Province (Jōshū Ushibori 常州牛堀), The Coast at Shichirigahama in Sagami Province (Sōshū Shichirigahama 相洲七里浜), Left of (or: In the Outskirts of) Umezawa in Sagami Province (Sōshū Umezawa no hidari [or: zai] 相洲梅澤左 [or: 在]), Mishimagoe in Kai Province (Kōshū Mishimagoe 甲州三島越), Ejiri in Suruga Province (Sunshū Ejiri 駿州江尻), In the Tōtōmi Mountains (Tōtōmi sanchū 遠江山中), Lake Suwa in Shinano Province (Shinshū Suwako 信州諏訪湖), and Kajikazawa in Kai Province (Kōshū Kajikazawa 甲州石班澤), all horizontal prints in the ōban format (265 x 390 mm.) and printed in shades of blue, aizurie, signed Iitsu, the former Hokusai (saki no Hokusai Iitsu 前北斎為一), forming part of the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei 富嶽三十六景), published by Nishimuraya Yohachi. These are the prints that the publisher Nishimuraya Yohachi announced in I/1831 at the end of the Tanehiko novel. The remaining twenty-six designs in the Fuji series were probably published subsequently, from 1832. Anyway, we now know that the ‘Great Wave’ dates from the year 1830, and that is what we wanted to find out to begin with.