ten lines on white paper with silver and gold flecks; lines alternate between four and two characters; red relief stamp URC; square relief stamp LLC; mounted on cobalt blue — Poem, late 19th - early 20th century
Ichikawa Tokuan

Not on View

two lines; five large characters; grouping of smaller, loopy writing at LLC with two stamps; square, borderless stamp URC — Calligraphy, 1878
Hirano Gogaku

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four lines of calligraphy; fifth line of smaller characters at L, with larger characters forming signature at LL; bold rectangular red seal at URC; red seal LLC — Poem on Peach Blossoms, 1880
Kikuchi Sankei

Not on View

ten total lines; six full lines of scribbled cursive beginning at R; seventh line is shorter and indented; two shorter lines at L; closest line to L edge is written in very small script — Letter, late 18th - early 19th century
Kan Chazan

Not on View

ten lines of calligraphy, on a fan, alternating between three characters and one character; signature at far L; rectangular relief stamp at URC; two square intaglio stamps LLC; mounted on cobalt blue board — Poetic Quatrain, mid 19th century
Hirose Tansō

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eight lines of neatly written calligraphy; first two lines are only a few characters; last line is also short; oval relief stamp URC; large square intaglio stamp at L edge; large square relief stamp at L edge — Eight-Line Poem, late 18th century
Uno Genshō

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pink rock surrounded by wisps of graceful grasses and foliage; blossoming grey flowers at L and R sides of rock — Orchid and Rock, late 18th - early 19th century
Totoki Baigai

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fourteen lines of calligraphy on a fan; mostly alternating between four characters and one character; signature is very last (far L) line; previous two lines of two characters; one intaglio and one relief stamp LLC; mounted on white board with gold trim — Spring Rain, late 18th - early 19th century
Takemoto Tōtoan

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six total lines; four full lines of expressive, bold, angular calligraphy; the two lines near the L are shorter; small rectangular relief stamp URC; two square stamps, one intaglio, one relief, at LLC; ink stain on R edge LRC — Quatrain in cursive Script, second half 19th century
Ōnuma Chinzan

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three full lines of cursive with a very short line inserted between the first and second lines from the R; written on tall, rectangular tan paper within a thin black border; relief stamp at URC, and another at LLC — Poem, first half 19th century
Ōkubo Shibutsu

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collection of poems written with different styles of penmanship; with corrections; first sections have small corrections made in black ink within margins, including correction to characters, tic marks, and circles at bottom of lines; remaining sections have corrections made in red ink, including correction to characters, penmanship, notes, tic marks, and circles; last section is of different kind of slightly greenish paper — Poems with Corrections by Rai San'yō, 19th century
Takayama Shō-e

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fourteen lines of calligraphy; first six lines are written with slightly larger characters; remaining eight lines are smaller, and more closely spaced; signature at far L, overlapping large square intaglio seal; smaller rectangular intaglio seal at R center edge — Calligraphy in Running Script, mid 19th century
Murase Tōjō

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four full lines of calligraphy with two shorter lines at L; brown mount — Quatrain on the Green Mountains, mid 19th century
Satō Issai

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one very large character at far R; two lines of graceful calligraphy at center; two smaller lines at far L with inscription and signature; rectangular intaglio stamp URC; circular relief stamp with waves at LLC — Blessings, 1865
Sesshū

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seven lines of very angular, confident calligraphy; rectangular intaglio stamp URC; two square intaglio stamps LLC, signature is seventh line; mounted to large sheet of tan paper — Poem at Age 72, 1849
Tōjō Ichidō

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three figures in white robes; older figure with large white beard at L standing somewhat hunched forward; younger figure at R leaning forward towards L with arms outstretched; shorter, balding figure in back holding rolled scrolls in PL arm — Scholars Meet to Look at Paintings, late 18th - early 19th century
Ki Baitei

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four big, bold characters, one in each quadrant; rectangular intaglio stamp URC — Set of Three Poem Cards (shikishi), one of three, second half 19th century
Doi Gōga

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assortment of red seals in different sizes and shapes — Assortment of seals, second half 19th century
Murase Taiitsu

Not on View

three lines of very neatly written, evenly spaced calligraphy; rectangular intaglio stamp URC; square relief stamp LLC — Mountain Cherries, mid 19th century
Kikuchi Gozan

Not on View

three large characters, written horizontally across a rectangular page; signature with two characters arranged vertically at far L; red-orange rectangular intaglio stamp URC; square relief stamp at far L — The Way Compels Frugality, 19th century
Nangan Seisui

Not on View

cracked pomegranate revealing seeds at top center, growing out of vertical foliage; smaller pomegranate blossoms at UR; inscription at UL; mounted on cobalt blue — Pomegranate, 1833
Urakami Shunkin

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willows growing from rock formation at UR; two smaller willows at LL on a low bank; hints of river between the two formations; light color wash — Willow Bank, late 18th century
Niwa Kagen

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two short lines at top followed by two longer lines of delicate yet jagged and angular calligraphy on paper infused with varying gradients of blue and blue-grey fibers (or pigment?); paper is plain at center, darker blue gradient waves at top, lighter blue/grey at bottom; a few gold flecks throughout — Green Trees, mid 19th century
Ōkura Ryūzan

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fourteen lines of cursive calligraphy, small characters; fifteenth line composed of one character; two shorter lines just left of center with signature; writing occupies right 2/3 of sheet — Letter, mid 19th century
Shinozaki Shōchiku

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two lines of calligraphy; brown mount — Voice of the Rain, early 19th century
Nakai Tōdō

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two rubbings mounted one on top of the other; top image: portrait of man with head turned 3/4 toward PR; man has large nose and ear, wears kimono with round designs and holds paintbrush in PR hand; bottom image: large lotus blossom with large leaves; brown mount; ceramic roller ends with blue floral designs — Self-Portrait and Lotus, first half 19th century
Sugai Baikan

Not on View

thirty five lines plus a grouping of five smaller lines, written in smaller size, at L; mounted to tan sheet with gold flecks — Letter to Shinozaki Shōchiku, second half 19th century
Miyahara Ekian (Senso)

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twelve lines of angular, evenly spaced calligraphy; long sheet folded into three segments; one square intaglio stamp and one square relief stamp at LL — Colophon on five leaves (page two of two), 1851
Shinozaki Shōchiku

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fan with ten lines of characters, mostly alternating between approx. 4 characters and 2 characters; rectangular relief stamp URC; two plain square relief stamps LL; mounted on burgundy colored board — Poem, second half 18th century
Kan Tenjū

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rubbing: ten full lines of tightly spaced characters in top 3/4; shorter line at L; three other shorter inscriptions written in different styles, in small text at bottom — Poem by Gyokuzan, early 19th century
Rai San'yō

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four lines of carefully spaced, elegantly penned calligraphy; two-part oval relief stamp at LLC; mounted on a much larger sheet of paper — Poetic Couplet, late 18th - early 19th century
Gotō Shikkoku

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one long line of calligraphy (14 characters); signature center L edge; light mauve mount — Sound of waves, early - mid 19th century
Kikuchi Gozan

Not on View

three large characters written horizontally across sheet; four smaller, vertical characters (signature) at far L; horizontal relief stamp URC; square intaglio stamp full of characters at LLC; square relief stamp with relatively wide border LLC — Love of Living in Tranquility, second half 19th century
Saitō Nansai

Not on View

five large characters written across top of fan; vertical line of looping characters at far L; small rectangular relief stamp at URC; rectangular relief stamp at far L center — Five-word Phrase, second half 19th century
Maki Ryōtan

Not on View

rubbing: three lines of calligraphy — Autumn Poem in Cursive Script, early 19th century
Rai San'yō

Not on View

eight total lines; five full lines of calligraphy; three shorter lines at L with smaller characters; oval intaglio stamp URC; square intaglio stamp LLC, square relief stamp LLC — Poem in Chinese Style, first half 19th century
Urakami Shunkin

Not on View

twelve lines of cursive characters plus shorter line cut and pasted to LL edge of letter; unmounted — Letter of the Eighth Month, first half 18th century
Yamada Zeigan

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seven lines of sinuous, elegant, cursive calligraphy — Waka Poetry, second half 18th century
Ryū Kōbi

Not on View

black and grey image of a gnarled, twisting pine tree; fan-like foliage with thin brown outline — Twisting Pine, first half 19th century
Yamamoto Baiitsu

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horizontally oriented painting of two blossoming pink roses; foliage begins LLC, extends upward with a bud near top center, and horizontally towards LR with the two blossoming roses; black and blue butterfly at top rose; three lines of calligraphy at ULC with two part rectangular seal with rounded edges — Flowers and Butterfly, 1838
Yamamoto Baioku

Not on View

fourteen total lines (last line signature); lines proceed: four characters, one character, one character; four, one, one, etc.; very small rectangular intaglio stamp URC; two small square intaglio stamps under signature at LL; mounted to burgundy board — Misty Rain, second half 19th century
Tamate Kikushū

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15 lines of calligraphy; thin, precise lines; tan, brown and green mount — On the Calligraphy of Emperor Saga, 1783, 3rd lunar month
Ryū Kōbi

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three lines of text; last half of third (L) line contains smaller writing; two intaglio stamps LLC; one relief stamp URC — Villages East and West, second half 19th century
Ono Kozan

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six lines of bold calligraphy; signature at ULC; narrow red seal at URC; two small red relief seals at L edge near bottom — Poem in Running Script, late 18th - early 19th century
Murase Kōtei

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rubbing: rectangular stone with long inscription; teal mount — Grave Inscription, 1881
Pupils of Murase Taiitsu

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five small animals arranged in a V at center with pointed faces, black legs, and grey bodies with wispy lines coming off ends; crabs with large claws and black legs at LR; short inscription along R edge with two part oval relief stamp at LR; gold border, mounted on white board — Crabs and Tortoises, late 18th century
Sō Shizan

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abstracted pine tree extending diagonally up the scroll from LL with bristly, pointed, downturned branches and bristles along trunk; red sun in upper center; hints of pale pink clouds in background — Pine Tree and Rising Sun, Ca. 1942
Fukuda Kodōjin

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three lines of bold, blocky calligraphy; two square intaglio stamps at L edge — Set of Three Poem Cards (shikishi), one of three, second half 19th century
Doi Gōga

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five lines of very neatly written calligraphy; signature at LL; line at far L of smaller, more tightly spaced characters; written on powder blue silk; rectangular relief seal URC; rectangular relief seal LLC, and square intaglio seal LLC — Poem, mid 19th century
Umetsuji Kiretsu

Not on View

four total lines of calligraphy: two full lines; third line is shorter; fourth line is broken, containing signature at lower left; red seal URC; two seals, one inverted, at LLC — Quatrain in Running Script, mid 19th century
Umetsuji Kiretsu

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fan painting: delicate blossoming branch with L-shaped form — Plum Blossom, 1841
Kita Busei

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mountain landscape with three small huts at bottom rendered in short, quick brushstrokes; rolling mountain in background; hilly landscape with row of pines in middle ground; and three huts at bottom center with denser foliage at LR; four lines of calligraphy at ULQ with small square relief stamp — Small Ink Landscape, mid 19th century
Miura Gomon

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six full lines of bold, neat characters, evenly spaced; seventh line is half the length; three more lines (middle line is shorter) with smaller characters at L; gold colored outline around text; barrel shaped seal at URC; two seals at LLC — Album Leaf Poem, 1817
Hata Seichi

Not on View

ten total lines, on every other panel section; last two lines written much smaller; dark border at top and bottom edges; fully mounted to jet black board; two small square relief stamps LLC; small rectangular relief stamp URC — Things Seen at a River Village, late 18th - early 19th century
Ichikawa Kansai

Not on View

six lines of bold, expressive calligraphy on yellowish/tan paper; paper is decorated with impressed and highlighted image of a young woman standing next to a tall, gnarled tree, foliage and stones on ground, inscription at L; rectangular intaglio stamp LLC — Calligraphy, second half 19th century
Murakami Butsuzan

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forty lines of very small, compactly written and spaced calligraphy; last few lines have even smaller characters; rectangular relief stamp URC; two square intaglio stamps at L edge; mounted on jet black board — Poem, 1843
Shinozaki Shōchiku

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four lines of calligraphy, closely spaced with signature line near L edge; sprigs of bamboo drawn in ink in LRQ; light grey ink line across URC, and horizontal grey line to L of bamboo; red relief seal URC; two red relief seals in LLQ — Bamboo and Poem, late 18th - early 19th century
Murase Kōtei

Not on View

thick branch with black nodules coming from L; thin vertical ranch covered with blossoms rises at R; inscription L center — Plum Blossoms and Poem, 1923
Narita Gin'u

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accordion folded album with calligraphy; light brown cover with gold-flecked label — Calligraphy Album, second half 18th century
Seki Ki'nei

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at bottom: male figure in flat boat, gazing upward toward a wispy willow tree at L; reeds at bottom and rectangular intaglio stamp LRC; at center, three small birds flying; at top, mountains in the distance; four line inscription at top with square relief stamp at L; gilt edges — Boating, 1936
Hirai Sōin

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rubbing of a mound-shaped monument with carved Japanese characters down center — Memorial for Buddhist Writings, 1880
Murase Taiitsu

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rubbing: negative image of a stalk of bamboo growing from LRC; stalk is broken off near top; cluster of bamboo leaves in LRQ; graceful, narrow branch with a few leaves grows from near broken top; inscription at R (in white against black background) — Bamboo, second half 18th century
Sō Shiseki

Not on View

letter in two different styles; first portion at R written in closely spaced cursive, with some lines running at a very slight angle; the last few lines are written in very neat, carefully spaced Chinese characters, with the last two lines becoming more expressive and curvilinear; mounted on light yellow/tan with gold flecks — Letter to Takeshita sensei, mid 19th century
Kōno Tettō

Not on View

four full lies of calligraphy on greyish colored paper; many of the characters have feathered edges from bleeding; two characters at URC; two characters at far L — Small Calligraphy, early 18th century
Miyake Sekian

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six irregular lines of looping calligraphy on dark beige paper; very faded, almost bleached-looking hints of flowers in background — Waka on Decorated Paper, mid 19th century
Hiraga Motoyoshi

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oval shaped rock listing to R with a few sprigs of thin foliage; two smaller boulders to L — Rock, early 19th century
Nagamachi Chikuseki; Artist: Ishikawa Gengaku

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two large, bold characters at R; smaller characters, including signature, at L center; very faint impressed tan outline of a kimono-clad woman in background; faint tan characters at LL; rectangular red intaglio stamp at UR; square red intaglio stamp at LLC — Spring Blessings, 19th century
Ōchikuan (Wang Chu-an)

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four large characters on a small sheet of paper, one in each quadrant; signature at far L; red rectangular relief seal URC; and square intaglio seal LLC — Clerical Script Calligraphy, 19th century
Yamamoto Tōkai

Not on View

Crane Design for Sword-Guard, first half 19th century

Yamamoto Baiitsu

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eight lines of expressive calligraphy written with a relatively thin brush; rectangular intaglio seal URC; circular relief stamp at L center — Poem Leaf, mid 19th century
Kōno Tettō

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cluster of thin bamboo branches with leaves at L with a few delicate blossoming branches hanging from top; inscription at R — Bamboo and Plum Blossoms, mid 19th century
Fujimoto Tesseki

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five total lines: three full lines of calligraphy, fourth shorter line with signature; fifth longer line; red intaglio stamp URC; red relief stamp LLC — Snow Swirling in the Winter Wind, 1855
Miyahara Ekian (Senso)

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fifteen lines of scrawling cursive, first and sixth lines are bolder; far L line is much bigger, bolder, and written with more distinct characters; mounted on thicker paper freckled with gold leaf flecks — Letter, late 18th - early 19th century
Rai Shunsui

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one long line of writing, with a couple of connecting characters and long lines; two bands of gold flecks, one at top and one near bottom; signature at LRC — Spirit Festival, first half 20th century
Fukuda Kodōjin

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small human figure at center with red shirt and pointed hat riding a horse at center; leafless willow trees at ULC and along bottom half; small building at LLC; low hills in background; small boat (?) URC; inscription across top — Spring Landscape, second half 19th century
Taniguchi Aizan

Not on View

gnarled pine tree with dense foliage and roots to L of square-shaped rocks — Pine Tree and Rock, late 18th century
Signature of Yosa Buson

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seven lines of cursive script beginning just R of center of page; fold at R side with writing on back edge; mounted to white cardboard — Letter, mid 19th century
Kikuchi Gozan

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covered bowl with three feet; image of pine boughs on cover highlighted in light blue, green, and orange-yellow watercolor; bottom part of bowl has images of pine boughs, green, rocky landscape, and winding blue stream; also highlighted in blue, green, and orange-yellow — Design for Covered Bowl, first half 19th century
Yamamoto Baiitsu

Not on View

three long lines of calligraphy, some angular and connecting; short line with signature at far L; oval relief stamp URC; square relief stamp at LL edge; mounted to thicker paper with gold flecks — Autumn Waters, mid 19th century
Kikuchi Gozan

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twenty-four lines of angular, sometimes looping writing on long, narrow sheet; red intaglio stamp at LLC over final line — Letter, around 1700
Nangaku Etsuzan

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ten lines of very neat, evenly spaced calligraphy; second from last line contains a smaller character inserted between lines near top, and four smaller characters at the bottom; very old paper; red intaglio stamp with only two characters and plenty of negative space L edge, and circular relief stamp with spiraling dragon inside LLC — Chinese Poem, spring 1791
Ryū Kōbi

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robed kannon with large halo sitting on top of waterfall or cascading cloudbank; hands together under long robe sleeves at center; cascading lines forming impression of rocks and foliage; cloudlike or wavelike lines at bottom — Kannon, late 18th century
attributed to Totoki Baigai

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gnarled, twisting greyish tree trunk at L; mass of foliage growing out of a knot in center of trunk with wispy green leaves and puffy, red and white blossoms; gnarled branches with wrinkled, young green leaves and vibrant pink and white blossoms interspersed with forming fruits; large, swirling mass of light pink clouds at top; grey rocks and foliage at bottom center — Copy of Chinzan’s "Peach Blossoms", 1852
Kokubu Bun’yū

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four lines of bold, looping calligraphy; a fifth shorter line at center left; and signature with two square red seals at LLC — Four-Line Poem in Cursive Script, mid 19th century
Hitotsuyanagi Kihō

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three full columns of calligraphy on square sheet; one character on fourth column; signature at left center; red relief seal at UR; gourd shaped red seal at LL — Autumn Poem, mid 19th century
Ishikawa Godō

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nine lines of calligraphy written on every other panel; signature at UL; rectangular intaglio stamp URC; square relief stamp UL; dark border at top and bottom of fan; mounted on black mat — Poem, mid 19th century
Kikuchi Gozan

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eleven full lines of calligraphy; one character at top of twelfth line; two broken lines (including signature) at far left; light tan outline around text; red seal at URC; two red relief seals at LLC — Calligraphy in Running Script, 1817
Kasai Inze

Not on View

nine lines, spaced well apart; first line slants slightly towards L; second to last line lighter, and shorter; last line (signature) indented slightly; two stacked stamps at LLC, top stamp intaglio, bottom stamp relief — Poem While Traveling, second half 18th century
Ryū Kōbi

Not on View

small songbird perched on blossoming branch with pink blossoms; branch extends from URC to LLC; bird is situated near URC; small inscription along R edge in black ink — Bird Among the Flowers, mid 19th century
Aone Kyūkō

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rubbing: rectangular inner border and eight character vertical inscription — Taiitsu's Grave Inscription, second half 19th century
Miyahara Setsuan

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two facing figures, rendered in black ink with a very fine brush; musician L is kneeling, wearing flowing robes, with drum on lap; figure on R kneels, also wearing flowing robes, bracelets, holding an object with two hands in front of face; Japanese character at UR — Two Buddhist Musicians, first half 19th century
Yamamoto Baiitsu

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pine tree growing out of LLC, upward to top center; a cluster of small pinecones near center; inscription at R — Pines and Rocks Never Old, second half 19th century
Nakanishi Kōseki

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rubbing of three character inscription with heavy wood grain pattern; vertical inscription along L edge — Tanrakuzan, late 18th - early 19th century
Kameda Bōsai

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four lines of looping, but very evenly spaced, unattached characters; fifth broken line of smaller characters at far left; inverted red seal at URC; two square red seals at LLC: one relief, the other inverted — Quatrain in Cursive Script, 1832
Nakagawa Kensai

Not on View

five columns of calligraphy; very faint image of foliage in lower half; red seal URC; red, gourd-shaped seal LLC — Outside the Willows, mid 19th century
Maki Hyakuhō

Not on View

three full lines of expressive calligraphy; shorter line at far L with signature; light greyish-blue paper; rectangular intaglio stamp URC; large square intaglio stamp LLC; large square relief stamp LLC — Fishing Village Poem, mid 19th century
Kaiho Gyoson

Not on View

three large, bold characters written horizontally; smaller, neatly written, vertical characters at far L (signature); large rectangular relief stamp URC; large square intaglio stamp center L edge; large square relief stamp LLC — "Seemingly Clumsy" Studio, second half 18th century
Sawada Tōkō

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ten lines of delicate, very neat and carefully written and spaced calligraphy; first line is short at the top and followed by red/orange square relief tamp; majority of lines are indented from the top; last two lines are higher, matching first line; last line followed by red/orange square intaglio stamp and red/orange square relief stamp; mounted on white mat — Cherry-Blossom at Horinji, second half 19th century
Tanomura Chokunyū

Not on View

fourteen lines of neat calligraphy; last line is signature, second to last line contains just one character; first two lines and lines six-nine are indented slightly — Letter, second half 19th century
Kameyama Unpei

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five lines of calligraphy written on decorated paper; light greyish-green image of a crane standing on pine branch in background; branch extends up L side of paper towards top; oval intaglio stamp URC; square relief stamp LLC — Poem, late 19th century
Ikkadō Hansui

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