seven lines of text; two square red seals, LLC; light rectangular red seal, URC — Du Fu's Eight Immortals of the Wine Cup, second half 17th century
Kitajima Setsuzan

G252

first of two albums; tan silk covered cardboard covers; inside of front cover has abstracted foliage imagery with gold leaf; double-sided pages of calligraphy with four characters per page; primarily bold characters; four pages near front of scroll with characters made of very thin lines — Model Book of the "Thousand Character Classic", pt. 1, second half 17th century
Sasaki Shizuma

G252

three long lines of text; shorter (horizontal?) line of text, LLQ; two tusk-shaped elements with radiating spirals at top and bottom; scalloped lines at top and bottom; cream paper fading at top and bottom to pink tone; seal, LLQ — How Amazing, late 18th - early 19th century
Sakai Hōitsu

G252

second of two albums; tan silk covered cardboard covers; inside of front cover has abstracted foliage imagery with gold leaf; double-sided pages of calligraphy with primarily four characters per page; primarily bold characters; some characters are very pointed; two pages of thin, closely-spaced, freeform characters; two pages of very looping, organic characters — Model Book of the "Thousand Character Classic", pt. 2, second half 17th century
Sasaki Shizuma

G252

three full lines and one partial line of bold text; two short lines of smaller text below partial line of text at left edge; two square red seals, LLQ — Mount Fuji, late 18th century
Shibano Ritsuzan

G252

two larger characters in horizontal format; two small characters with two red seals at left; one red seal, URC — Window Snow, late 17th - early 18th century
Kō Gentai

G253

loose connected characters, both saturated and dry brush marks — Li Bai's Preface for a Spring Evening Banquet with Cousins in a Peach Plum Garden, first half 17th century
Shōjō Shōkadō

G252

five large, bold characters; two red seals at left edge above bottom character — Peaceful Words, second half 17th century
Kitajima Setsuzan

G252

one vertical line of eight characters; two red seals LC with line of smaller characters above — A Confucian principle, 1771
Itsuzan

G251

short columns of bold calligraphy; four lines of smaller text at end — Du Fu's Eight Immortals of the Wine Cup, late 17th - early 18th century
Terai Yōsetsu

G252

nearly square format; four lines of text in a block; two smaller characters at left; red seal below smaller characters; another red seal, URC — Evening View, late 18th - early 19th century
Urakami Gyokudō

Not on View

left of a pair of hanging scrolls; two long and one short lines of text; line of small characters, LLQ, with two seals in red — Spring and Autumn Quatrains [pt. 2, left], first half 18th century
Hattori Nankaku

Not on View

vertical strip of paper with marble appearance--cream/tan ground with grey, pink and blue; black calligraphy — Charcoal Kilns, late 18th - early 19th century
Takabe Sōchō

Not on View

many short lines of various heights of connected calligraphy; red seals, URC and LLC; shadowy drawing (unidentifiable imagery), URC — Six spring haiku, mid 18th century
Kaga no Chiyo

Not on View

loopy, connected calligraphy on a background of two pieces of paper painted with gold, blue, black and grey plant forms — (Two Waka Tanzaku), late 16th - early 17th century
Konoe Nobutada

Not on View

looping, contrasting lines of calligraphy; vertical format; tan paper; organic forms of trees in gold and grey — Longing from Afar, 16th-17th century
Karasumaru Mitsuhiro

Not on View

right of a pair of hanging scrolls; two long and one short lines of text; line of small characters, LLQ, with two seals in red — Spring and Autumn Quatrains [pt. 1, right], first half 18th century
Hattori Nankaku

Not on View

tan paper; approximately seven paragraph-like text blocks with various styles of calligraphy--regular, looping, thin lines; gilt at edges — (Chinese and Japanese poetry), first half 17th century
Shōjō Shōkadō

Not on View

short vertical lines of connected (like cursive) characters--20 lines total; small red seal, URC; two small red seals, LLC — Flowers of the Four Seasons, 18th-19th century
Tagami Kikusha

Not on View

five bold lines of calligraphy on greyish paper; two red seals, LLC; one oval red seal, URC — Autumn View, first half 18th century
Gion Nankai

Not on View

two sections--top and bottom--with four lines of text each, with alternating lines beginning at different levels; short line of text at left, LLQ; two red seals below short line of text; red oval seal, URC — (Four Seasons Haiku), first half 19th century
Sakurai Baishitsu

Not on View

four long lines of text with one smaller short line at left in LLQ; two red seals below shorter line of text — Rain Over the Stream, first half 19th century
Yanagawa Seigan

Not on View

block of four lines of regularly-spaced characters at left; one long line of text at right with two short lines between block at left and line at right — Facing the Moon, first half 17th century
Hayashi Razan

Not on View

three lines of looping, bold text; two square red seals, LLC; one red seal, URC — Old Trees, late 18th - early 19th century
Kameda Bōsai

Not on View

two columns of bold text; two red seals in LLQ; one red seal in URC — The Setting Sun, early 18th century
Ogyū Sorai

Not on View

right of a pair of six-panel folding screens; each panel framed in gilt; four panels at left have connected, looping calligraphy with three columns per panel; red seal in URC of third panel from right; second panel from right has two very large characters and a short line of small characters at left edge, with two red seals below; rightmost panel has two very large characters and red seal in URC — Account of the Pavillion of an Old Drunkard [right of a pair], 1729
Hosoi Kōtaku

Not on View

left of a pair of six-panel folding screens; each panel framed in gilt; connected, looping calligraphy with three columns per panel, with left-most panel having two columns; two square red seals below calligraphy on left-most panel and smaller red square seals on the LL side of the second panel from the left; second panel from left has a short line of small characters at left edge next to red seals — Account of the Pavillion of an Old Drunkard [left of a pair], 1729
Hosoi Kōtaku

Not on View

rectangular format; many uneven vertical lines of loopy, connected text — Letter to Tomioka Tessai, late 19th century
Ōtagaki Rengetsu

Not on View

two lines of large, bold calligraphy--4 characters in each line; two red seals at left edge, below center; one red seal, URC — Dragons Growl, mid 18th century
Ryū Kōbi

Not on View

five bold characters; one short line of connected characters at left; two red seals below short line of text at left; one red seal, URC — Clouds, mid 19th century
Tōkai Okon

Not on View

14 lines of rather small, looping calligraphy; two large red seals at left edge, below center — Su Shi's First Ode to the Red Cliff, 1826
Tōkai Okon

Not on View

three lines of bold text; three small characters above two red seals at left edge, LLQ — Du Fu's Over the Blue River, late 17th-early 18th century
Sasaki Shōgen

Not on View

six lines of very regular text; three red seals, LLC; nearly square format — Spring in Kitano, first half 19th century
Uno Meika

Not on View

two very large, bold characters; two large red seals at left edge, center; one red seal, URC — Bring the Qin, first half 17th century
Nakae Tōjū

Not on View

left scroll of a triptych; five large, curving dry-brush text characters; three smaller characters and two red seals along left edge; iridescent blue and pink brocade strips with white background above and below calligraphy; turquoise ceramic (?) roller ends — River Winds [left scroll of a triptych], mid 18th century
Chō Tōsai

Not on View

fan shaped format; nine bold lines of calligraphy; light red seals, LLC and URC — Song Zhiwen's Layered Peaks, mid 18th century
Ike Taiga

Not on View

center scroll of a triptych; five large, curving dry-brush text characters; iridescent blue and pink brocade strips with white background above and below calligraphy; turquoise ceramic (?) roller ends — River Winds [center scroll of a triptych], mid 18th century
Chō Tōsai

Not on View

light pencil-drawn grid with characters in each space, with some empty spaces in leftmost two rows; two red seals, LLQ — Lu Tong's Tea Song, first half 19th century
Maki Ryōko

Not on View

11 lines of text; red seal in URC, square red seal in LLQ; light blue-grey paper with floral and leaf watermarks; bamboo roller ends — On Becoming Fifty, 1836
Ema Saikō

Not on View

14 lines of text, with vertical linear elements; horizontal sheet format — Letter of congratulations, late 16th - early 17th century
Konoe Nobutada

Not on View

right scroll of a triptych; five large, curving dry-brush text characters; one red seal, URC; iridescent blue and pink brocade strips with white background above and below calligraphy; turquoise ceramic (?) roller ends — River Winds [right scroll of a triptych], mid 18th century
Chō Tōsai

Not on View

(Letter with a poem), mid to late 17th century

Kumazawa Banzan

Not on View

Falling Rain, late 18th - early 19th century

Inoue Shirō

Not on View

The Ballad of Sanjō Bridge, early 19th century

Rai San'yō

Not on View

Ripening Plums, second half 17th - early 18th century

Itō Jinsai

Not on View

Du Fu's Eight Immortals of the Wine Cup, 18th century

Mitsui Shinna

Not on View

Lu Tong's Tea Song, mid to late 18th century

Araki Zesui

Not on View

(Draft with corrections), first half 17th century

Ishikawa Jōzan

Not on View

Qin Guan's Ink Bamboo Song, first half 19th century

Ichikawa Beian

Not on View

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