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
Unknown Japanese

Not on View

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
Unknown Japanese

Not on View

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

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
Unknown Japanese

G220

black and brown eagle with white tail perched on dark rock with back toward viewer, craning head around to face viewer; darker clouds at UL with snowflakes beginning to fall; brambles with white leaves in lower portion — White-tailed Eagle in a Snowstorm, after 1901
Takeuchi Seihō

G223

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

Not on View

four large characters written vertically; signature at L — Qin and Calligraphy - 100 Delights, mid 18th century
Yanagisawa Kien

G251

bold, expressive, splattered characters written across 6 panels — Words Concerned with Existence [right of a pair], 1984
Suda Kokuta

G252

six panel screen with large, expressive, splattered characters written across screes — Words Concerned with Existence [left of a pair], 1984
Suda Kokuta

G252

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

Not on View

two lines of very large characters; light brown mount — Clouds and Dew, second half 18th century
Ryū Kōbi

G251

massive eagle flexing its wings on a bank next to a waterfall near center; rocky shoreline on either side of waterfall; gnarled pine to R and above eagle, with hanging vines; brambles at L — Sea Eagle amidst the Three Friends of Winter, second half 19th century
Ikeda Unshō

G223

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

Not on View

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

Not on View

very large sheet of white fabric with oversized kanji for "love" painted and splattered in black ink mixed with gold dust; signature at L with red relief stamp; splatters throughout and shadowy footprints along bottom, and a sweeping footprint at LR — Love, 2009
Hirano Isa

G253

one of a pair of landscapes; once grouped with white-robed Kannon that was placed in center; left landscape; rocky cliff at LR with trees and boulder below; to men crossing an arched bridge near LL; small building in background; far background a misty rock outcropping with pine trees — Landscape [left of a triptych of White-Robed Kannon with Landscapes], late 15th century
attributed to Kenkō Shōkei

G221

one of a pair of landscapes, right; once grouped with a white-robed Kannon that was placed in the center; tall, vertical rock formation at L; water at R with a boat and more rock formations and a flock of birds in the background; in foreground, smaller rock formation with pine trees, small village, and two men walking away from fishing boat — Landscape [right of a triptych of White-Robed Kannon with Landscapes], late 15th century
attributed to Kenkō Shōkei

G221

25 lines of very neat calligraphy separated by columns of thin, red vertical lines; framed — Zhang Zihou's "Western Inscription", 1836
Ichikawa Beian

G252

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

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

Not on View

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

Not on View

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

Not on View

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

Not on View

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

Not on View

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

Not on View

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

Not on View

Prostitute at a Parade, early 19th century

Hosoda Eishi

Not on View

round form with reeds in fanned, spiraled pattern spilling over the edges — Wind Vessel, January 2010
Uematsu Chikuyū

Not on View

detailed drawing of dragon in waves — Dragon, August 2010
Asakura Takafumi

Not on View

front view of somewhat rotund woman clutching decorated black kimono in PR hand and holding white origami crane in PL hand; woman appears within round vignette against brilliant red background; pink and green lips, white nose, and high, painted eyebrows — Otafuku, 1907
Ayaoka Yushin

Not on View

three figures seated in long boat; fourth figure standing at rear, steering boat with long pole; some brambles in foreground and behind boat — Boating Scene with Poem, second half 19th century
Hoashi Kyōu

Not on View

blue covered book; kabuki scenes and text inside; brightly colored images — Kabuki News, Vol. 4, 1881
Japan

Not on View

balding figure with white beard, white wings, and long, beaklike nose standig at the edge of a steep cliff scratching head with PR hand; inscription ULQ — Cowardly Tengu, summer 1817
Nakabayashi Chikutō

Not on View

diving tortoise with splayed front claws and beady eyes; black flame-like forms at its rear end extend upwards to top center — Tortoise, second half 18th century
Follower of Itō Jakuchū

Not on View

rear 3/4 view of a seated older man with a few strands of hair pulled back, scraggly beard; man is wearing billowy garments; folded fan (?) at figure's PR side; cursive inscription at R — Fifty Years Old, late 18th - early 19th century
Matsumura Goshun

Not on View

two rows of neatly written calligraphy — 1000-Word Essay, late 17th - early 18th century
Terai Yōsetsu

Not on View

three full lines of cursive calligraphy, shorter line at L; mounted on blue fabric — Poem by Du Fu in Cursive Script, first half 18th century
Gion Nankai

Not on View

bold landscape; bird's eye view of buildings, stream, mountains and trees; block of text and three seals, ULC; ivory roller ends — Landscape, late 19th century
Tomioka Tessai

Not on View

fan-shaped painting; bald man with bushy white eyebrows and bushy white beard, eyes squinted shut; wearing light green robe, hands clasped in front under robe; brown gourd at man's PR — Jurojin, early 20th century
Tsuji Kakō

Not on View

two vertical cliffs along L and R edges; red sun at upper center; lines of wispy clouds across cliffs; gnarled tree at lower center; small, robed human figure carrying staff stands with back to viewer — Cliffs, Pine Tree, and Rising Sun, c. 1932-1933
Fukuda Kodōjin

Not on View

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 Shōkoku

Not on View

large rock formation with two tall pine trees at lower center with an elderly couple enjoying tea on boulder; in middle ground, three people sit in a long boat with awning; in background, two rock formations, one with a small, open walled structure and three leafless trees, the other with a few buildings at R; two sailboats in distance at UR; inscription at L; small moon at UL; a few details highlighted in pinkish wash — Boating Past Pine Trees, early 19th century
Ikeno Kanryō

Not on View

seated man in gray robes with square cap; man has faint smile; hands under sleeves in lap; inscription at L — Bashō with two Haiku, late 18th - early 19th century
Ki Baitei

Not on View

grouping of trees with dense, dark foliage LRC; at center, a small hut with lightly tinted thatched roof and a figure in blue near side window; shadowy, tall mountain rises at R, with a shorter, more well defined cliff with trees and foliage at center R; inscription ULQ — Landscape, first half 20th century
Mizuta Chikuho

Not on View

landscape with poem on fan; expressive landscape with fence in foreground and gate; tall trees and pine trees drawn with horizontal lines lie outside of fence in foreground; more pine trees in middle ground; hut with human figure just inside fence; rolling mountains, hills, and trees in background; calligraphic inscription at ULC; mounted to yellow board with gold flecks and tan border — My Natural Place, second half 19th century
Murase Taiitsu

Not on View

long, delicate branches of bamboo growing from LL foliage thickens at center ad UR; small inscription URC and along UL edge — Bamboo in the Wind, 1763
Nakayama Kōyō

Not on View

tea bowl with very dark brown-black glaze; area of tan, brown, orange, and burgundy glaze on one side; slightly lighter glaze dripping from lip; small area of brown, orange, and burgundy glaze inside — Tea bowl (chawan), before 2010
Takatori Hassen

Not on View

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

Not on View

Two Crows, late 18th - early 19th century

Matsumura Goshun

Not on View

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

Not on View

black and white landscape; various ragged, cone-shaped mountains dominate the scene; small pagoda with out building and two trees in middle ground; trees top rock formations in foreground near bottom; inscription URC — Landscape after Mi Fu, December 1914
Fukuda Kodōjin

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

Not on View

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

Not on View

ghostlike female figure with ashen grey face and horns holds a brilliantly colored red and orange robe like a canopy over body; arms spread outward; figure wears gold and white triangle patterned top and navy blue bottom with brilliantly colored circles; top and bottom mount are painted with silver — Emerging from the Robe, 2012
Yamamoto Tarō

Not on View

snow scene with woman with two children close to her body, all in very stong winds that are blowing their clothes; the woman's hat has just flown off of her head; another overturned hat at bottom; all are wearing red kimonos — Lady Tokiwa Fleeing with Children, 1850s
Utagawa Kunitsugu

Not on View

square form with waving pattern open weave, round bamboo pieces; decorative knotting — Shimmering of Hot Air, 1999
Tanioka Shigeo

Not on View

mountain landscape with two men in boat at lower center; large rocks with trees jut into calm bay; small huts just off shoreline at L; small building upper center of mountains; moon URQ; inscription URQ; white paint spots throughout resembling snow — Boating on a Snowy Evening, early 19th century
Yokoi Kinkoku

Not on View

large, narrow, squarish vase with narrow, raised oblong mouth; horizontal gray and burgundy glaze pattern — Jar, c. 1976
Yasuda Zenkō

Not on View

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
Unknown Japanese

Not on View

unsigned; female ghost wearing a white robe, holding front sections of her slightly unkempt hair in each hand, with a horrified facial expression with bulging eyes and wide open, grimacing mouth; grave markers at right; torn lamp in LLQ; ivory roller ends — Ghost in a Graveyard, late 19th century
Unknown Japanese

Not on View

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

Not on View

two men seated in tatami room; older man, wide stance, wearing large black robe and tall headdress sits on a carpet; in front, a younger man with pink robe kneels, offering a plum branch with a bird; clouds at top and LR with inscription — The Syllable U: A Gift of an Artifical Plum Branch and Pheasant, c. 1770-1773
Katsukawa Shunshō

Not on View

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

Not on View

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

Not on View

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

Not on View

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

Not on View

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

Not on View

organic, bud-shaped vase forming two separate "feet" at base; concentric, curving, V-lines incised around sides; narrow opening at top; salmon pink and charcoal glaze — Vase, 2008
Uetake Satoshi

Not on View

woman in red kimono with blue, orange and green; she is holding kimono closed from the wind; treee behind her on R — Kyoto Maiden [left of the pair Kyoto Maiden and Peeking Boy], 1830s
Mihata Jōryū

Not on View

boy with bulging eyes within circle with flowering branch below — Peeking Boy [right of the pair Kyoto Maiden and Peeking Boy], 1830s
Mihata Jōryū

Not on View

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

Not on View

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
Unknown Japanese

Not on View

triangular shaped vase: narrow mouth flaring to wide base with very narrow foot; raised geometric shapes punctuated with grid patterns and intentionally aged with green patina — Vase with overlapping geometrical patterns, early 20th century
Shūhō

Not on View

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
Unknown Japanese

Not on View

five men with exaggerated phalluses wrestling over each other in an attempt to rape a woman lying on the ground — Five Men Raping a Girl, 19th century
Unknown Japanese

Not on View

abstract, playful procession of five figures with very tall, cone-shaped heads, exaggerated eyes and noses, minimal bodies; moon in background right — Five sages, late 19th century
Doi Gōga

Not on View

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

Not on View

three blue and pale green flying fish with delicate, transparent white wings against a vivid background of blue, green, and gold diagonal lines; white surface cuts across lower quadrant; gold pigment and white splatters punctuate background; two fish arranged near bottom, one near top in an arc — Flying fish, early 20th century
Kōho

Not on View

two severed heads sitting side by side on top of a flat surface at L; matted hair, dripping blood onto surface; cropped lantern URC — Decapitated heads, early 20th century
Unknown Japanese

Not on View

thick tree branches with dense, new twig growth, and many white and pink buds and blossoms; green, gray, and whitish tinges to branches; two doves perched at L — Two Doves in a Wild Plum Tree, late 1920s
Onda Tokuju

Not on View

large, hoop-shaped basket; with raised mass at center; made of wider, darkly stained bamboo and filled in with lacquer, so it has a muddy appearance; copper tube for water — Circle, 1990
Nagakura Ken'ichi

Not on View

white cover with white pattern and Japanese label at R; variety of partially colored images inside including landscapes, people, and animals including dogs, cats, mice, and a camel — Transmitting the Spirit and Revealing the Form of Things: Hokusai's Sketchbooks, vol. 14, 1878
Katsushika Hokusai

Not on View

small white plastic figure with large head, blonde hair, two mouths, and many green eyes sits in meditation position atop a green plastic orb covered with brightly colored flowers, each smiling at the center; orb comes apart revealing small CD supported on white base with blue swirl; underside of top of orb is decorated with white lotus with eyeball at center; sits on silver base with eyeballs — Oval on a Cosmos Ball, 1999
Murakami Takashi

Not on View

heavily worn ribbon bound book with black and white copied images of birds, flowers, insects, and decorative designs and motifs — Collected works of Kōtōsha, 1923
Kishimoto Shōdō; Artist: Fukuda Suikō

Not on View

colorful landscape; steep cliff along R with path leading to a shrine just visible between rocks; pine trees at top of cliff at center; tall, jagged mountains in mist in background; a flock of cranes fly in front of sun at UL; churning ocean at bottom — Mount Horai, first half 20th century
Komuro Suiun

Not on View

bulbous, squat, delicately shaped flask with very narrow neck; white with hints of lavender, gray, and pale blue over glazes; tan around lip — Flask (tokkuri), 2012
Tabuchi Tarō

Not on View

wide, shallow cup with tapered, narrow base; mostly white glaze with pink, lavender, and mustard highlights — Sake cup (guinomi), 2012
Tabuchi Tarō

Not on View

cylindrical white cup with faint celadon and lavender over glaze; simple, clean silhouette — Sake cup (guinomi), 2012
Tabuchi Tarō

Not on View

graceful, squat flask with short neck; black clay with crazing celadon over glaze; deep glaze pooling at bottom — Flask (tokkuri), 2012
Imaizumi Takeshi

Not on View

round, bulbous sake cup; black clay with crazed celadon over glaze; deep blue pooling on sides — Sake cup (guinomi), 2012
Imaizumi Takeshi

Not on View

three white birds on tree on R; duck in water with water plants on L — Birds in Landscape [right of a pair], first half 17th century
Kano Naonobu

Not on View

three figures fighting against the wind with hat being blown away in snowy landscape; grey, red, yellow, blue, green — Lady Tokiwa fleeing with her sons through the snow. The Secrets of Strategy, no. 1, c. 1848
Utagawa Kuniyoshi; Publisher: Ibaya Kyūbei

Not on View

snow covered bare tree and plants on L with five birds; snow covered branch coming down from top in panel 3 with large bird seated on branch; small flying bird in panel 6 — Birds in Landscape [left of a pair], first half 17th century
Kano Naonobu

Not on View

standing heavy-set man with long hair, beard and moustache, scowling, and wearing slippers, belted robe with an additional belt across his chest and a hat; demon figure behind man, holding a sword; ivory roller ends — Shōki with Demon, early 20th century
Mano Kyōtei

Not on View

dramatically arched dragon body emerging from swirling black mist, face at LLC; three sharp claws are visible, the claw at LLC is clutching a golden spiral; dragon is flanked by lightning bolts; swirling cloud pattern with pink, green, and blue shading circles and frames the dragon — Dragon, 1919
Unknown Japanese

Not on View

four large, bold characters arranged vertically; large square intaglio stamp LL edge; large rectangular intaglio stamp LL edge — A God in the Heavens, a Spirit in the Ground, mid - late 20th century
Suda Kokuta

Not on View

two pieces that bolt together to form long open vessel with jagged upper edges; brown/grey/taupe; component b is on left when viewed from front and is higher on the end — Fallen Moon 1, 1994
Kofushiwaki Tsukasa

Not on View

4-part sculpture composed of long, black leaf like forms highlighted with red pigment, eminating from base like a fountain when assembled — A Leaf, so It Has a Back and Front, 2000
Kofushiwaki Tsukasa

Not on View

large, rippled black form resembling a wrinkled, windblown tarp — Flag-01, 2013
Kofushiwaki Tsukasa

Not on View

flat, kidney-shaped basket with slightly pointed end; low handle arcing over basket between pointed end and rounded end; vertical weave alternating between wide and thin slats with spiraled horizontal stitching; low lacquered bamboo cylinder — Swallowtail Basket, 2000
Tanioka Shigeo

Not on View

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