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The Cleveland Museum of Art also possesses a painting bearing Ôi's signature. "[[Guan Yu]] Having his Arm Bled" depicts the ancient Chinese general allows himself to be bled, in order to prevent the poison from an enemy arrow from spreading through his body; meanwhile, he resolutely plays a game of ''[[go]]''. This work displays much of the same attention to light and shadow as some of Ôi's other works, and is interesting further for bearing one of her father's seals, an indication, perhaps, that Hokusai had entrusted her to produce this for a commission he had received.

The Cleveland Museum of Art also possesses a painting bearing Ôi's signature. "[[Guan Yu]] Having his Arm Bled" depicts the ancient Chinese general allows himself to be bled, in order to prevent the poison from an enemy arrow from spreading through his body; meanwhile, he resolutely plays a game of ''[[go]]''. This work displays much of the same attention to light and shadow as some of Ôi's other works, and is interesting further for bearing one of her father's seals, an indication, perhaps, that Hokusai had entrusted her to produce this for a commission he had received.

Only two books are known which list Katsushika Ôi as their illustrator. One is an [[1847]] edition of an earlier encyclopedia edited by Takai Ranzan and entitled ''E-iri nichiyô onna chôhô-ki'' ("Illustrated Handbook for Daily Life for Women"). The other, ''Sencha tebiki no tane'' ("A Concise Dictionary of [[Sencha]]"), published the following year. No single-sheet prints by Ôi are known.

Only two books are known which list Katsushika Ôi as their illustrator. One is an [[1847]] edition of an earlier encyclopedia edited by Takai Ranzan and entitled ''E-iri nichiyô onna chôhô-ki'' ("Illustrated Handbook for Daily Life for Women"). The other, ''Sencha tebiki no tane'' ("A Concise Dictionary of [[Sencha]]"), published the following year.

 

Ôi had a series of ''[[Hyakunin Isshu]]'' prints published in [[1829]], entitled ''Senzai Hyakunin Isshu Yamato Kotobuki''<!--千歳百人一首倭寿-->.<ref>Ewa Machotka. ''Visual Genesis of Japanese National Identity''. Peter Lang, 2009. p18.</ref> These may have been the only published single-sheet prints designed by Ôi.

A number of other works, signed or sealed as ''Fumoto no sato'', or as ''Tatsu-jo'' (also read ''Toki-jo''), are known to be by one of Hokusai's daughters, and closely resemble the style of Ôi's other works, though they may have been painted by another of his daughters, either Omiyo, Onao, or Otetsu.

A number of other works, signed or sealed as ''Fumoto no sato'', or as ''Tatsu-jo'' (also read ''Toki-jo''), are known to be by one of Hokusai's daughters, and closely resemble the style of Ôi's other works, though they may have been painted by another of his daughters, either Omiyo, Onao, or Otetsu.