The Tokyo National University of Fine Arts and Music preserves many drawings by Hōgai KANŌ (1828-1888) and a part of the collection was introduced by the author in No. 286 of the Bijutsu Kenkyu. In the present paper, six dated and datable works are discussed, namely four bound sketch books “Travel Record in Sanuki Province (Sanshū Dōki)”, “Sketches by Hūgai (Hōgai-o Jidori)”, “Landscape Sketches (Shinkei Shukuzu)”, “Landscape Sketch Book (Shinkei Zusha Kan)” and two sets of sketch scrolls “Sketches of Mt. Myōgi (Myōgi-san Jidori)” and “Sketches of Nikko (Nikkō Jidori)”. Their contents are as follows: “Travel Record in Sanuki Province” (Pl. VII a) is dated 1840 (Tempō 11). That means this work was done when he was twelve years old, the earliest remaining painting by him. The work starts with sketches done from a boat en route to Shikoku. It includes a record of the visit to Shiramine Shrine and ends with views of the Naruto Channel area where he drew the tidal swirl of Naruto. “Sketches by Hōgai” (Pl. VII b) is dated 1850 (Kaei 3) and was done when he was studying in a private art institute, Shōsen-in Gajuku. These are views of Edo and daily subjects. “Landscape Sketches” (PI. VIII) is dated 1857 (Ansei 4). It comprises sketches of his trip home to Chōfu via the Kiso Highway. This codex ends with drawings of the Ishiyamadera at Ōtsu. “Landscape Sketch Book” is a continuation of the codex titled “Landscape Sketches”. It comprises views around Lake Biwa. “Sketches of Mt. Myōgi” (Pl. IX a) is a set of three scrolls. Sketches done on his trip to Mt. Myōgi in March, 1887 (Meiji 20), were mounted as these three scrolls later. The order in which they are now mounted is questionable. “Sketches of Nikko” (Pl. IX b) is a set of two scrolls attributed to 1887. This is a work done on his trip to Nikkō and includes many sketches of waterfalls. The six groups of sketches dealt with above cover his life span broadly from boyhood to late years. The earliest group was done before he came up to Edo. The works of the training period show his straightforward attitude toward landscape. He tried Nanga style among others in the next formative stage. The pencil and colour pencil pieces of the late years have a different flavour from the earlier pieces. Throughout his life the traditional influence of the Kanō School, which lasted from the feudal age and to which he belonged, gradually disappeared and this artist of the transitional period explored the way to modern forms of sketching in Japanese painting.