明治28年（1895）、17歳の清方は『文藝倶樂部』に掲載された樋口一葉の「にごりえ」に出会います。本作は、その時以来「いくたびとなく讀みかへしてゐるうちに、いつしか宿る幻をそのまゝ繪筆に托し」（「小説『にごりえ』を畫にして」『鏑木淸方文集 一 制作餘談』）て描いた作品であると述べています。
銘酒屋「菊の井」の一枚看板お力は、男振りも気前もよい客の結城朝之助と馴染みになりますが、自らの境遇に不安を抱えています。一方、かつてお力の客であった源七はお力への思いを断ち切れず苦しんでいました。やがて二人に悲しい最期が訪れます。
清方は、美しくも心に憂いを抱くお力の、表情、仕草、たたずまいを情感豊かに表しました。

From the Novel Nigorie by Higuchi Ichiyō (1934)
ink and pale color on paper; matted
26.2 x 35.5 cm each
(First exhibited at the 3rd Rikuchōkai Exhibition (as a support member’s work))

In 1895, the seventeen-year-old Kiyokata came across Nigorie, a story by Higuchi Ichiyō published in Bungei Club, a literary magazine. Discussing the illustrations for the story, Kiyokata says, “Having reread the book any number of times since then, the spirit of the story simply transferred itself to my paintbrush.” (“Shōsetsu Nigorie wo e ni shite” [Illustrating the novel Nigorie] in Kaburaki Kiyokata bunshū I—Seisaku yodan [Collection of writings by Kaburaki Kiyokata—Digressions on painting]).
O-Riki, the star attraction at the Kikunoi House, a brothel, is growing close to Yūki Tomonosuke, a good-looking and generous man who is one of her regular customers, but she feels apprehensive about her situation in life. Meanwhile, Genshichi, who used to be Oriki’s regular customer, is troubled because he is unable to stop thinking about her. Before long their story comes to a tragic end.
Kiyokata has brought great sensitivity to his depiction of the emotions, gestures, and appearance of the beautiful and sorrowful O-Riki.