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unsigned; left of a pair of six-panel folding screens; many scenes against gold leaf background; edge of building on left panel with snow; building at top across panels three to six the many seated figures wearing black with a few wearing red and blue; procession in LR of panels five and six with figures in black carrying covered dias and pulling two green carriages behind — Autumn and Winter [left of the pair Scenes from the Tale of Genji in the Four Seasons], mid 17th century
Not on View

figure with six heads, arms, and legs astride crouched bull on wood base; metal bands around wrists, some biceps, and most ankles; halo with flames attached at back; two hands of two arms together in praying position, other arms bent and flare outwards. Upper left arm holds long staff, lower one holds implement with "curly q"-shaped end. Upper right arm holds a trident. Lower right arm fingersshaped like it was holding something in hand. Three bottom heads have crystal inlay eyes. Three smaller heads on top considerably smaller. — Daiitoku Myōō, the Wisdom King of Awe-Inspiring Power, second half 13th century
Japan

G220

unsigned; right of a pair of six-panel folding screens; many scenes on gold leaf: attendants with carriages at Land center among pine trees and clouds; interior scenes at top: male figure in red inside open walled room; court women at top center with pulled screens; trees; interior scene at R with court women in large robes admiring art on scrolls; group of robed men among blossoming cherry trees at UR — Spring and Summer [right of the pair Scenes from the Tale of Genji in the Four Seasons], mid 17th century
Japan

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unsigned; scene with figures in foregreound: group of attendants on L with man in white facing woman in white; landscape with water in background on R; interior on L; gold leaf background — Emperor Ming Huang and Yang Guifei, around 1600
attributed to Kano Naganobu

Not on View

black lacquered box with stylized thatched-roof house with peaked gray roof and low eaves; gold fence at R; gold tree at L with round mother-of-pearl blossoms — Small box with country house, 1920s
Kamisaka Sekka

G238

two-paneled screen with silver background; each panel has two gold fans; R panel: moss-covered tree with white blossoms; red chrysanthemums with blue flowers; L panel: tree with arced limbs and bushy clumps of foliage; blue wave cresting in front of red sun — Screen with four fans, 1920s-1930s
Kamisaka Sekka

G238

black lacquered, high walled tray with crescent-shaped cutouts on sides near top; simple, silver wavelike pattern painted on each side; celadon glazed cup with vertical incised lines and incised square motif around lip; small bamboo cylinder — Tobacco tray with wave design [one of a pair], 1920s-1930s
Kamisaka Sekka

G238

wooden calligraphy box with two stems of bright blue flowers with green leaves and gold veins; includes brush, silver weight or brush rest, wooden tool rest, two metal and wood tools, green ceramic ink stone, and yellow ceramic water dripper — Calligraphy box decorated with gentians, 1920s
Kamisaka Sekka; Ceramist: Eiraku Zengorō XV; Manufacturer: Ichinose Kohei

G238

black lacquered, high walled tray with crescent-shaped cutouts on sides near top; simple, silver wavelike pattern painted on each side; celadon glazed cup with vertical incised lines and incised square motif around lip; small bamboo cylinder — Tobacco tray with wave design [one of a pair], 1920s-1930s
Kamisaka Sekka

G238

large frog in center and small mouse in LRC; text filling background — Frog and Mouse, late 18th - early 19th century
Getsuju

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string-bound book of block printed images of birds, landscapes, trees, and foliage; decorated paper cover with blue wavy fibers — Picture Cards, Vol. 2, February 1901
Kamisaka Sekka; Publisher: Tanaka Jihei

G238

collection of colorful, humorous, abstract images and designs secured with metal brad at top; comes in hard cover folio with Japanese title and anthropomorphized kanji character in red circle; English information on back — Humorous Designs, April 1903
Kamisaka Sekka

G238

Boy on a Bull, Ueda Kōchū — Boy on a Bull, late 19th century
Ueda Kōchū

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wooden tray with tree: wide brown trunk with moss; three puffs of green foliage; silver rim; rounded edges — Tray with old pine tree, 1920s-1930s
Kamisaka Sekka

G238

standing wavelike form with pointed, outturned corners; horizontal waving bands in matte dark blue, with gold flecks, matte black, and shiny black; small cutout near center; one of pair — Look, 1994
Sasai Fumie

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open circle that appears to be rotting tire or circluar piece of wood; white/brown — Cercle, 2010
Futamura Yoshimi

G252

string-bound book of block printed images of birds, landscapes, trees, and foliage; decorated paper cover with blue wavy fibers; two color images at beginning — Picture Cards, Vol. 1, February 1901
Kamisaka Sekka; Publisher: Tanaka Jihei

G238

L door: mallard at center behind reeds — Sliding Doors with Ducks and Reeds [left of a pair], second half 19th century
Shibata Zeshin

G221

round box with black lid painted with a cluster of silver and gold violets; wood grain sides; black lacquered feet — Sweets box with violets, 1920s
Kamisaka Sekka

G238

black bowl with fine grained, gritty texture; hints of red on inside and outside wall — Black Raku Tea Bowl, before 2006
Kitamura Tatsuo

G224

four pieces: realistic ceramic newspaper pages all the same front page of "Cultural News"; two of the pieces are coated in gold; one of the gold pieces is somewhat folded, while the other is bundled up like a parcel; other two pieces are realistically crumpled — Cultural News, 2007
Mishima Kimiyo

G251

tromp l'oeil box for Kirin Lager beer stuffed with newsprint; primarily red and white; three detached pieces of "newsprint" included--see condition report and notes — Untitled, 2007
Mishima Kimiyo

G251

skull with snake coiled on top; tail curving down back of skull; no lower jaw — Snake sitting on a skull, 19th century
Japan

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four lines of calligraphy with smaller, shorter fifth line at L; brown mount with blue brocade — Confucian Exhortation, second half 18th century
Chō Tōsai

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delicate sprigs of bamboo extending from LRQ up to ULQ; front foliage is black, back foliage lighter grey; nine line inscription URQ — Bamboo and Poem, mid 18th century
Miyazaki Impo

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smiling comical mask face near lower right side with exaggerated features; approx 2/3 of the image area is blank — Comical Demon Mask, late 18th - early 19th century
Matsumura Goshun

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rooster with head held low to ground, fiercely looking toward R side of scroll; tail feathers erect, wide stance; blossoming crooked branch with big white flowers and green leaves at center L edge — Roosters in Face Off [left of a pair], late 16th century
attributed to Kano Yukinobu

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onnagata at LL with blue, red, white kimono holds a wine cup in PL hand, looking up at a man holding a wine jug in his hands; the men exchange gaze; in background, a blossoming begonia — Begonia (The Actors Nakayama Ichizō and Bandō Shuka), 1854, 6th month
Utagawa Kunisada; Artist: Utagawa Hiroshige; Publisher: Ebisuya Shōshichi

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two full lines of calligraphy, boldly and expressively written; shorter line with stray characters at far L — American Ship, first half 20th century
Fukuda Kodōjin

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standing woman with hair in an updo with ornaments, wearing a kimono with maroon, blue and black dragon and cloud designs and black lacquered geta; woman wears wide black obi with blue flowers; woman holds folded white cloth in her PL hand; boy attendant peers out from behind woman; boy wears light blue kimono with fan design and Daruma netsuke (?); mount has pattern of blue, green and orange leaves and white branches on orange brocade with tie-dye elements and appliqued and some areas of gold metallic stitching — Kamigata Beauty, 19th century
Japan

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one long vertical line of calligraphy; two shorter, smaller parallel lines at bottom; mounted to textured steel blue paper mount — Single-line Calligraphy, mid 19th century
Shinozaki Shōchiku

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very large image of Shoki in black robes and black boots holding very tall straight sword in PR hand; very full, windblown beard and hair, fierce face, bushy eyebrows — Festival banner of Shōki, the Demon Queller, 19th century
Shōka

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two separate images mounted together on scroll, both are portraits of a male and female figure in outline — Portrait in Outline, late 18th - early 19th century
Minagawa Kien; Artist: Tachihara Kyōsho

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eighteen lines of linear, sometimes looping calligraphy; thin, black border along top of fan; mounted on jet black board; no stamps — Farewell Poems, first half 18th century
Gion Nankai

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painted fan; owl perched on branch at UR, surrounded by black birds; blackbirds are all facing owl with beaks open, as if mocking — Owl and Crested Mynas on a Plum Branch, 14th - 16th century
Japan

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colorful image of a daimyo procession, with male figures marching, carrying large parcels, and some carrying a massive palanquin — Daimyo Procession, 19th century
Japan

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rear view of abstracted pear-shaped figure at LR seated behind low table; near center, converging lines resemble abstracted, scattered papers; blocks of inscription weave back and forth down scroll, ending in vertical inscription down LL edge — Figure with Inscription, early 20th century
Higashiyama Bugyoku

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flat square plate with two feet running the length of two sides; reddish-tan base glaze with irregular stripes of green flanking a stripe of dull grey — Plate, 2010
Hasu Yoshitaka

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bronze flower with curving stem; sculpture rests on leaf and arching vine; flower petals curve outward and have large circular cutouts — Flower, first half 20th century
Okuni Jurō

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text in varying styles; a few corrections in red near end; landscape image with rolling hills, pine trees, small houses, and rocks at end — Travel Poems [left of a pair], 1834
Sō Unge

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man with black beard and cap restraining small tan demon with PL hand after kicking green demon into UR; figure wears decorated blue coat and black boots — Shōki Kicking Demons, early 20th century
Matsumoto Fūko

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hexagonal basket with tapered, round mouth; squarish handle; patterned weaving along top of handle; swirling, elegant supports and decorations along handle; ornate, star-shaped close weaving pattern; carving on supports; large copper lined bamboo cylinder with grate at top — Chinese-Style Flower Basket, autumn 1921
Tanabe Chikuunsai

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frog riding toad in center surrounded by frogs wearing white robes; other white robed frogs on L and R as well as unclothed frogs carrying various objects; some tadpoles on L — Procession of Frogs, c. 1738
Ogawa Haritsu

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vertically oriented, diamond-shaped vessel; incised line around circumference and on each side of vertical face; rough charcoal grey and off-white surface — Vessel, 2007
Mihara Ken

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man sitting on black chair holding black rod; wearing brown robe with white and blue on lap and PL arm — Portrait of Dengai Sōsa, 1671
Not on View

frogs in an interior dressed in various types of garments; many frogs writing or reading; screens on R with two frogs outside on street wearing hats — Frogs in Writing Contest, c. 1738
Ogawa Haritsu

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gold background with colorful embroidered trees, flowers, carriages, bridges — Wedding robe (uchikake) with design of carriages, bridges, pine, maple leaves, and cherry blossoms, 20th century
Japan

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seated figure wearing a rose-colored and black robe, with hands inside sleeves; man is balding with long wavy black hair and short black beard; ivory roller ends — Daruma, 1980s
Japan

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two-panel screen of an aviary: small octagonal structure bottom center with second, elevated round roof on pole at upper center; set on small island in shallow, green pool with concrete edge; chicken wire fence in background; white and multi-colored pigeons roosting on elevated roof; ducks on edge of pool at R; other water birds wading and swimming; three white feathers floating in pond at R — Aviary, 1920s
Japan

Not on View

man in grey robes seated, facing outward toward viewer; minimal detail; hands and knees seem to vanish into background; inscription UR edge and LL edge — Self-Portrait at Seventy-Seven, 1941
Fukuda Kodōjin

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large rocky mountain formation with waterfall; small cluster of huts center R with trees; larger rocks at LR with trees; figure on flat landing at L gazing up towards waterfall — Landscape with Waterfall, late 18th - early 19th century
Kushiro Unzen

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abstract bird-shaped form; narrows at one end with small opening; opposite end is wider with blunt end; dark red glaze — Bird, 1992
Suzuki Osamu

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rectangular form with uneven ends; made of thin bamboo sticks; organic, oval form rising at C — Passing Through the Wilderness, July 2009
Uematsu Chikuyū

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two lines of calligraphy, line at L is shorter; small signature at LL; on pink mount — No Amida in the South, second half 18th century
Kan Tenjū

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long red petal shaped form with top edges curving inward; horizontally oriented — The Tactile Memory: Floral Impression (2011-II), 2011
Tanaka Nobuyuki

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three lines of calligraphy — Mists off the Lake, late 18th - early 19th century
Tachihara Suiken

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male figure stands at LR scratching head with PL hand, and holding red sword in PR hand; woman at man's PR holds other end of sword in PR hand while shyly turning away; both figures are on a bridge or platform; tall tree along L side — Michiyuki, first half 19th century
Hosokawa Rinkoku

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left print: two actors in center; one actor dressed as a woman with ornate kimono and headdress clutches kimono with PL hand and looks toward PL; actor at bottom has shadow of a moustache and wears a kimono decorated with morning glories; sword under PL hand; actor reels back thrusting PL hand in front; background with cartouches, flowers — Left sheet of a kabuki triptych, 1884
Utagawa Kuniume

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flat square plate with two feet running the length of two sides; reddish-tan base glaze with irregular stripes of green flanking a stripe of dull grey — Plate, 2010
Hasu Yoshitaka

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heavy white robe with golden rectangular bars, flowers, clouds; gold lined; padded hem — Wedding robe (uchikake), 20th century
Japan

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two full lines of calligraphy plus third shorter line in sharp, cursive text — Threads of Gold, mid 19th century
Kōno Tettō

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three sleeping figures and one sleeping tiger; two boys at left--one crouching face down in front, one slumped over crouching figure; seated man at right wearing grey and red, leaning against tiger; broom in foreground; ivory roller ends — The Four Sleepers, 17th century
Japan

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crooked, delicate branch with white blossoms entering at L almost vertically upward — Plum Branch, 1863
Hidaka Tetsuō

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three male figures sitting on an outstretched blanket enjoying a picnic at LL; gigantic gingko tree occupies majority of image — Picnic Under a Giant Tree, 19th century
Japan

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thirteen lined letter mounted to board with mustard colored fabric border; presented inside mustard colored fabric and board case with label with Japanese inscription at center cover — Letter to Kyūchō, second half 19th century
Hoashi Kyōu

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irregularly shaped tea bowl; pink glazed interior; white and earth tones outside; red underside — Teabowl Tea Bowl with White, Black, Silver, Red, and Pink Glazes, c. 2010
Kim Hono

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flat square plate with two feet running the length of two sides; reddish-tan base glaze with irregular stripes of green flanking a stripe of dull grey — Plate, 2010
Hasu Yoshitaka

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squat round form with blue glaze; small mouth; soft nodules subtly poking out around upper side — Vase, 2008
Tsugane Hitomu

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large stepped mountains with boulders, pines, and waterfall at back; small open pavilion on flat topped rock just below waterfall; pathway ascending lower stepped rock formation at center; a few houses on stilts in water at L center, surrounded by pines; two figures cross bridge at LL — Landscape in the Manner of Dong Yuan, mid 19th century
Nakabayashi Chikutō

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four different insects climbing on an arrangement of two pomegranates (one is split open) and a few dry leaves — Pomegranate and Insects, 1834
Urakami Shunkin

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large, square base with long, round neck; wide mouth opening; closed weave; wide strips of bamboo woven around neck — A Man of Aoshima, 1970s-1980s
Tanabe Yōta

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eleven lines of calligraphy; brown mount — Poems on Fishermen, first half 18th century
Gion Nankai

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center/right print; two actors in center of image; actor in front wears heavy red eye makeup, black robe with red underneath, a red obi with sword tucked in, and a blue sash around his head; actor in back wears red and blue robe with light blue headdress; print is richly colored with red, black, blue, and teal; white blossoms in background, text in cartouches in URQ — Center sheet of a kabuki triptych, 1884
Utagawa Kuniume

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woman wearing beige kimono with white dragon stencil pattern; woman wears red apron-like garment; woman holds a small black and white dog with a blue and gold ruff on a mint green silk cord — Court Lady with Dog, 1830s
Mihata Jōryū

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large concave rectangular plate with slightly bowed edges attached to short platform; top has gold background with rippling blue mother-of-pearl lines and gently raised designs in form of chevron over surface; black lacquer base and underside with tiny gold flecks — Plate, 2010
Okada Yūji

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print in shades of blue with red lightning bolts; man with ornately decorated, windblown robes and wild, windblown hair with hands bound and clasped at chest looking to PR; branch with blossoms in mouth; lightning striking around him — Actor Bando Mitsugorō IV as Kan Shōjō, c. 1832, 5th month
Utagawa Kunisada; Publisher: Ibaya Senzaburō

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multiple scenes: man in Chinese dress with 3 attendants sitting behind red table looks at gold paper before him, while two demon-like creatures look on; ogre runs towards devilish figure at center who stands next to room with man in red praying to Amida; at R, Buddha with Bodhisattvas surrounded by orange tinted clouds with small figure in red at LR; text border — Sketches (shukuzu), mid - late 17th century
Kano Tan'yū

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black ceramic form; one continuous form made to look like two separate, cylindrical pieces merge together at top; one side of base has a deep, cracked texture; the other side has a lumpy texture; the two sections join at top, ending with a droplet shaped opening at top with smooth surface — T-065, 2006
Akiyama Yō

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three men laughing in front of multi-level waterfall; men painted in vibrant colors, waterfall in grayscale; center man holding butterfly shaped teal fan in PR hand — Three Laughers of Tiger Ravine, early 20th century
Enaka Mugyū

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large, bulbous, smooth bronze vase with reddish flame-like markings along sides — Large vase with flame-like markings, late 19th century
Ten'yo

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red-faced monkey at UL peering over a snow-covered embankment; web-like waterfalls between snow-covered cliffs in LR; red fern to L of waterfall — Monkey on a snow hill, mid 19th century
Ōhara Donshū

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tall, slender deep red/black basket; 4-sided base flairs out into octagonal form near top; open weave with very thin, wiry strands of bamboo that form a star-shaped pattern; woven handle tapers towards center, with looping ornamentation; center lacquered bamboo cylinder with copper lining — Openwork octagonal flower basket, early 20th century
Tanabe Chikuunsai

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U-shaped form made of U-shaped bent thin bamboo, decreasing in size towards middle of U; openwork; diagonal supports near base, into middle; two oval rings supporting near top; stands on 2 feet — Forest in Ki Province, 2008
Uematsu Chikuyū

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Shōki, the Demon Queller, early 18th century

Yamaguchi Sekkei

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bound book with colorful images of various and animals including birds, frogs, turtles, and crabs; cover is beige with pale blue flowers and reeds — Seitei's Book of drawings of flowers and birds, 1891
Watanabe Seitei

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landscape with trees and mountains: cluster of trees, shrubs and rocks at LL with small open structure at center of grouping; taller pine rises toward center; mountains at center with waterfall at L; shorter, grey, cone-shaped mountains at R; inscription at URQ — Flying Waterfall and Cold Stream, second half 18th century
Fukuhara Gogaku

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crooked tree with two entangled trunks at center; monkey in branches at UR, another monkey on rock at LL; praying mantis carrying wasp in front claws at R; valley landscape with cascades in background — Monkeys Watching a Praying Mantis Catching a Wasp, second half 18th century
Iwai Kōun

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delicately painted landscape; small cluster of trees at bottom with boulders and a small open-walled structure; boulders and low mountains in background; small inscription at ULC — Landscape in the Manner of Ni Zan, spring 1838
Nakabayashi Chikutō

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square slab with upward curving edges; thin gold line curving towards center from outside; line meets with curved, thin slice; rough texturizing near slit and on sides; earthtone gradient — Plate (ban), 2010
Tabuchi Tarō

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tall, narrow, triangular vase with gently twisting angles; thin layers of colored slip in gradient from dark blue to green, yellow, and pink in cloudlike pattern; thin, tiny strands around opening — Budding Wind, early 21st century
Miyashita Zenji

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irregular, rounded mountains; small pavilion at center; small waterfall at R; two groups of huts in middle ground at base of mountains; two figures fishing in boat at LR; figure crossing a bridge LRC; figure raking small piece of land near hut LLC — Quiet Mountain on a Slow Day, October 1914
Fukuda Kodōjin

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globe-like vessel with off-center, oval mouth; slightly raised lip; incised linear markings throughout, including an equator line around the middle; green and rust colored glazes with thick, green drips; sharp, white knobby inclusions throughout — Jar, c. 2009
Tsujimura Shirō

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red elevated bowl with three carved short black legs — Bowl with legs, 16th century
Japan

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three solders in ocher colored uniforms with arm bands featuring Japanese flag design walking towards entrance of burned-out building; two of the soldiers carry a sword in PR hand; center soldier has fierce look on face; background rubble painted in gray — Soldiers Entering a Building, mid 20th century
Yamamoto Shokoku

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landscape with mountains and water: tree lined mountain range near top; shore and peninsula lined with small huts; tall cliffs on either side frame the water; at bottom, a tall pine tree creates depth; at LL, a small figure in white robe with walking stick looks out onto scene — Glowing Pines and Sailboats, May 1928
Fukuda Kodōjin

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cover decorated with wispy lines resembling reeds and fronds; bound with red ribbon; variety of richly colored images inside, including beautiful women, insects, landscapes, birds, and men of different ages — World of Art (Vol. 13), 1891
Watanabe Seitei

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shaggy man in white robe seated on river bank; long, scruffy hair, flat head, large, grimacing face, pointed, claw-like nails; man resting PR hand on large frog; waves from river at lower edge; tree with blossoms at L — Gama Sennin, late 18th - early 19th century
Kuroda Ryōzan

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hexagonal stoneware box; grey background, painted with persimmon decoration; three acorns painted inside bottom; cloth imprinted texture — Box (tōbako), late 20th century
Itō Motohiko

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night scene with moon in URC; dark mountain at bottom, LRC; cherry tree with white blossoms, LRC; clouds passing over sky — Cherry Blossoms in Moonlight, mid 20th century
Umehara Tōha

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frog at LL strutting on two long legs, holding open fan in PR hand, balancing white mochi in mouth; young frog swaddled to back with red cords carrying bag of mochi balls; rabbit in black robes in round vignette at UR fanning tray of white mochi balls — Frogs and Rabbit, mid 19th century
Japan

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