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

G252

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

G251

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

G251

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 and Sun, first half 20th century
Fukuda Kodōjin

Not on View

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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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

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)

Not on View

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

Not on View

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

Not on View

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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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

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

Not on View

blossoming grey lilies with sinuous foliage at R; signature and two seals URQ — Orchid, second half 19th century
Sō Dokuro

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

Not on View

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

Not on View

four large characters, one in each quadrant — Set of Three Poem Cards (shikishi), one of three, second half 19th century
Doi Gōga

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

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

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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

Not on View

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

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 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

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

Not on View

six lines of calligraphy; another line at L edge; small red seal at URC; square red seal LLC; orange-red pigmented border with thin black outline — Four-line Poem, late 19th century
Kazeyama Hōin

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

three characters written horizontally across white sheet; reddish-orange rectangular intaglio stamp URC; four vertical, smaller characters at L; two large square stamps at far L: top stamp contains four squares, three of which are intaglio, the fourth is relief; bottom square with thick outline is relief — Laziness is Truth, 19th century
Kawamura Keikō

Not on View

Writing Calligraphy, mid 19th century

Kida Kadō

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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

Not on View

four human figures; figure at far R sits, cross-legged playing an instrument on his lap; second figure sits with PR side to viewer, facing instrument player, with white robe and black head covering; a small object sits between the first two figures; third figure sits cross-legged, 3/4 view to viewer, wearing grey robe, hands in sleeves; fourth figure at L sits hunched over a bundled object; two characters at URC — Playing the Qin, mid 19th century
Kida Kadō

Not on View

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

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

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

Not on View

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

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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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

Not on View

23 very short (1-3 characters) lines of calligraphy on white fan with black borders; small, rectangular intaglio stamp at URC, small rectangular intaglio stamp ULQ; mounted on yellow board with gold flecks and tan border — Poem, second half 19th century
Yanagawa Kōran

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

Not on View

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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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

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

Not on View

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

Not on View

three full lines and a fourth short line of very neatly, clearly written, evenly spaced characters; red intaglio seal URC; two red seals (top intaglio; bottom relief) LLC; mounted onto thick paperboard with gold leaf flecks on border — Poem in Regular-Running Script, first half 19th century
Tachi Ryūwan

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

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 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)

Not on View

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

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

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

two loopy characters; loopy signature at L; mauve mount — Hazy Mooring, mid 19th century
Kameda Ryōrai

Not on View

four lines of calligraphy; fourth line is indented slightly; two shorter lines at L; red seal at URC; two dark red seals LLC — Poem at Age 67, 1871
Miyake Ryūjō

Not on View

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

Not on View

rubbing: eight lines of tightly spaced characters; last three lines are slightly smaller; dark brown paper mount — Poem of 1849, 1849
Fujita Tōko

Not on View

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

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seven lines of expressive, widely spaced characters written with a thin brush; some characters are smaller and thinner than others; red rectangular intaglio stamp URC; lighter red, circular relief seal LLC — Poem, mid 19th century
Kōno Tettō

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

Not on View

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

Not on View

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

Yamamoto Baiitsu

Not on View

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

Not on View

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

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

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

Not on View

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

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

Not on View

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

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

Not on View

billowing mountains through left half of fan; three small buildings including a short pagoda nestled in the mountain crevasses through the center; trees and pine trees, represented by short, horizontal brushstrokes line the mountains; large stump with a tall tree at center in foreground; four line inscription at R with signature and rectangular relief stamp; short signature with two small square stamps at ULC; greenish-gold border at top and bottom; mounted to black board — Landscape, second half 19th century
Yanagawa Kōran

Not on View

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

Not on View

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

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

Not on View

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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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

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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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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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)

Not on View

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

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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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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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four lines of bold, confident calligraphy, mounted on white board with thin gold outline; rectangular intaglio stamp URC and at LLC — Ocean Clouds, 19th century
Kaneko Sanmin

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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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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

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

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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album with heavily worn dark blue cover; images of flowers, landscapes, and a few calligraphic poems inside — Album with Paintings and Calligraphy, second half 19th century
Urakami Shunkin; Artist: Kikuchi Gozan; Artist: Aone Kyūkō; Artist: Ueno Setsugaku; Artist: Ikeda Unshō; Artist: Yamamoto Chikuun; Artist: Taigadō Teiryo; Artist: Tomitori Hōsai; Artist: Tanomura Chokunyū

Not on View

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

Not on View

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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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

Not on View

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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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

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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

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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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

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

Not on View

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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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

Not on View

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

Not on View

rubbing: outline of balding man with excited expression chasing a mouse at L with a long bamboo pole; basket (?) at bottom center; inscription top half — Chasing a Mouse, mid 19th century
Morita Sessai

Not on View

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

Not on View

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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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

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