Serving tea under a willow tree

Held in the Art Institute of Chicago and printed as a [hosoban](/glossary/hosoban) benizuri-e, this print belongs to the moment around 1740-1750 when Edo printers were transitioning from hand-applied beni and urushi to two- and three-block color printing. The composition depicts a young female server at a wayside teahouse beneath a willow, an image that fuses the [bijin-ga](/glossary/bijin-ga) (picture of a beautiful woman) tradition with the iconography of teahouse waitresses (chaya musume), who were celebrities of mid-Edo popular culture in their own right. The willow tree, with its associations of fluid grace and erotic suggestion, was a stock motif for such subjects, and Shigenaga uses its trailing branches to frame the figure and direct the eye to her serving gesture. As a benizuri-e, the print uses a small palette, typically a rose pink derived from beni and a vegetable green, printed from separate blocks aligned by the [kento](/glossary/kento) registration marks then becoming standard practice. The lack of urushi gloss distinguishes it from Shigenaga's earlier work and signals his participation in the technical innovations of the 1740s. Impressions are scarce because the early benizuri-e palette is particularly prone to fading, and well-preserved sheets like this one in Chicago illustrate why printers and consumers welcomed the move toward printed color in the first place.