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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

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

G252

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

G251

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

G253

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

G253

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

G251

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

G251

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

G251

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

G251

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

G252

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

G253

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

G253

two album leaves mounted on boards and matted; left is calligraphic; right is landscape, rocky foreground with three central trees with birds (2), two trees (bare) on right, mountains in background, river (?) between; from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — Two album leaves from a landscape album, 1621
Li Liufang

G218

two album leaves mounted on boards and matted; left is calligraphic; right is landscape with mountains in background; rocky middle ground with two buildings; trees with leaves in foreground from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — Two album leaves from a landscape album, 1621
Li Liufang

G218

two album leaves mounted on boards and matted; left is calligraphic; right is landscape with mountains in background, three trees in center middle ground, two smaller trees to right in foreground with rocks, waterfall, and river from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — Two album leaves from a landscape album, 1621
Li Liufang

G218

two album leaves mounted on boards and matted; left is calligraphic; right is landscape with two trees on large rocks lower center foreground, left of trees in middle ground is a building, three smaller trees far right, mountains in background from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — Two album leaves from a landscape album, 1621
Li Liufang

G218

two album leaves mounted on boards and matted; left is calligraphic; right is landscape with two trees on a rock at center, large rock with vine or tree at right background, small rock at left foreground; from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — Two album leaves from a landscape album, 1621
Li Liufang

G218

two album leaves mounted on boards and matted; left is calligraphic; right is landscape with a group of four trees in center in slightly sloped landscape from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — Two album leaves from a landscape album, 1621
Li Liufang

G218

two album leaves mounted on boards and matted; left is calligraphic; right is landscape large mountain in center, two or three leafy trees at mountain base foreground, two buildings (?) behind them, other trees at right middle ground, other mountains upper left and right from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — Two album leaves from a landscape album, 1621
Li Liufang

G218

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

G253

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

G253

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

G253

The details of the figure are made up of calligraphic allusions to the deity's attributes and qualities. — Tenjin on His Way to China, mid 18th century
Hakuin Ekaku

G222

wild tangle of tree branches and roots; some mountains in background; painted on flecked paper — Cypress at jade mountain, 2010
Luo Jianwu

G201

Dragon [right of the pair Dragon and Tiger], Yamada Dōan — Dragon [right of the pair Dragon and Tiger], 16th century
Yamada Dōan

Not on View

Forest landscape with building at upper right; path through forest leads to bridge over water; small figure on path; wall surrounding building and forest — Hillside with Pine Trees, Water, c. 1630
Cheng Jiasui

G218

Sheriff I Deliver Ramerrez, the Highway Man to Your Charge. Justice Must Be Done., Nicolas Africano — Sheriff I Deliver Ramerrez, the Highway Man to Your Charge. Justice Must Be Done., 1963
Nicolas Africano

Not on View

Hanging scroll — Landscape, 18th century
Unknown Japanese

Not on View

few dwelling huts in an atmospheric rocky riverside setting; in a wood case — Misty Trees and Mountain Range, c. 1670
Dong Qichang

Not on View

Egrets in Willow [left of the pair Egrets in Plum and Willow], Sesson Shūkei — Egrets in Willow [left of the pair Egrets in Plum and Willow], second half 16th century
Sesson Shūkei

Not on View

Mountain landscape with two mounted figures and one walking on a path through the mountains; group of trees at lower center; at right lower center a small building — Mountain Grove with Path, c. 1630
Cheng Jiasui

G218

ink drawing of skinny elderly man in straw hat running toward L, carrying a long pole that he aims at a dangling object in a tree at UL; inscription at R — Bird Catcher, 18th century
Hakuin Ekaku

G222

House with fence and trees at left center; horse and male figure at right center; figure in a boat at lower left; mountains in background — Boat on River, Travelers and House on Shore, c. 1630
Cheng Jiasui

G218

Four figures and horse (donkey ?)in a boat at center foreground, lower left foreground trees and walking figure, two small figures right center, hills in right background — Boat Carrying Figures and Horse, c. 1630
Cheng Jiasui

G218

bridge between rocks — Bridge Between Rocks, c. 1630
Cheng Jiasui

G218

three larger trees in middle foreground; smaller leafier trees in URQ; rocky cliffs beneath leafy trees; rocky cliffs in LLQ; person sitting on middle of L hand rocks; chop mark in LR area; four columns of calligraphy characters plus characters above one large chop mark to L of columns accordian style album, wood covers; eight images, alternating with text, single page of text at end — Two leaves from a landscape album, 1621
Li Liufang

G218

image of woman rising out of a body of water, wearing a billowing garment and surrounded by waves; 8 men on shore observe woman, with 10 other men further from shore; image followed by panel of text — Nymph of the Luo River, 1591
Wang Shanggong

G203

large rock with open area in center, surrounded by tall grasses, flowers and leafy branches; 2 fields of text on L and R on silk — Plum, Narcissus and Rock, 1679
Wang Wu

G218

bald headed, friendly-appearing figure at left holding a bag open between his hands, which extends toward left; two bold text characters on bag and three thinner characters; two red seals at left center at bottom of bag; blue and brown mount — Budai Opening His Sack, mid 18th century
Hakuin Ekaku

G222

circle of a single brushstroke at right; text at left; 2 seals in LLC, 1 in ULC — Ensō, 19th century
Taidō Shūfū

G225

image of a black and white bird perched on a branch with orange fruit and two insects; brown frame with gold accent — Oriental Magpie Robin with Katydid and Leaf Hopper on Monkey Jack Branch, 1778
Sheikh Zain al-Din

G211

Page from the 'Shah Nama'; illustration of Alexander the Great (356-323 B.C.) subduing the Africans; depiction of a realistic sixteenth-century Islamic battle — Alexander the Great Battling the Zangi, c. 1550
Persia (Iran)

Not on View

Album of Twelve Inkstone Paintings, one leaf of twelve, 1729

Bian Shoumin

G217

trade card; reads "Gurney's Premium Gallery- 189 Broadway, New York. The oldest establishment in the city. Mr. G. attends personally to his sitters and no picture is allowed to leave his gallery unless it is perfectly satisfactory." — Untitled, 1840-1852
Jeremiah Gurney

Not on View

in the style of Sadi; two drunkards are trying to help one another up — Two Drunkards, second half of 16th century
Iran

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

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

Not on View

thin, tall bamboo sprigs at R in gray and black — Gift of Southern Mountain Bamboo, 1822
Ema Saikō

Not on View

triangular rock at center with two pines and portion of building visible at top; small island with pine at LR behind lone figure in boat; mountain peak at horizon with two sailing boats UL — Kinzan Island, mid 18th century
Ike Taiga

Not on View

shrimp in curled position with long feelers pointing downward; curving lines and grey and black curlicues along top edge and LR; inscription L — Shrimp, c. 1760
Kaigan Jōkō

Not on View

bamboo with dense foliage extending from R center to upper center; smaller branches with dense leaves extend outward; larger, curving branch with leaves sweeps towards LLC — Bamboo, late 19th century
Doi Gōga

Not on View

six long lines of delicate calligraphy preceded by two shorter lines at R and LRC — Two Autumn Poems, second half 18th century
Ike (Tokuyama) Gyokuran

Not on View

bony black figure with long fingers, straw hat, and gourd tied to back rests on a rock; two light grey lines extend from mouth, resembling a puff of air; smaller silhouette of figure in jumping pose between two grey lines at top; inscription at L — Kappa Blowing Out his Soul, late 19th century
Doi Gōga

Not on View

large boulder on side of hill; bamboo springing from lower segment of boulder; larger, grey stalk of bamboo with light foliage grows towards UR; smaller sprigs of black and grey bamboo with denser foliage at L of larger stalk; leaves appear to be blowing in wind; wisps of delicate black foliage at front base of boulder; small sprigs of bamboo growing at LR of boulder; inscription ULQ — Bamboo and Rock, 1747
Gion Nankai

Not on View

front view of cartoonish striped cat with tail sticking straight up in the air behind; large eyes with eyelashes; whiskers sticking straight out from dark linear mouth; inscription at top — Tiger, 1888
Iwao

Not on View

Darani sutra 陀羅尼経, from a set of One Million Pagodas (Hyakumantō 百万塔), 767

Japan

Not on View

monk figure wading through reeds, catching a shrimp on a rod; holding a shrimp in his PR hand — Xianzi the Shrimp Eater, 17th century
Kano Tan'yū

Not on View

large parade float with peaked roof and round forms under roof at R; tall point on top of float reaching skyward; abstracted buildings or other floats to L; oversized crescent moon at UL — Gion Festival Float under Moon, 18th century
Ike Taiga

Not on View

stylized magnolia blossoms at R; inscription at L — Calligraphy and Magnolia, 18th century
Ike Taiga

Not on View

gray outline of mountain with wisps of clouds at R and L; two gourds or eggplants and leaves at LLQ; persimmon near bottom C — Dream of the New Year, 18th century
Hakuin Ekaku

Not on View

vertical formal; black roughly triangular form at top, with line extending downward along left edge of sheet; some black and grey ink spots in lower section — Untitled (Sketch), 1966
Sam Francis

Not on View

single eye with cloudy shape with protrusions and rays extending outward in all directions; characters top left and in bottom right; shaded mass under eye; two linear elements that move upwards at an angle and curve horizontally in LRC — Title page of the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

Three Eggs on Newspaper — Flower and Eggs, 1964
Satō Nobuo

Not on View

panoramic image of curving, twisting rocky landscape rendered in black and white pigments — Range, 2014
Ichino Yu

Not on View

seated figure of a child with short hair, wearing a striped long-sleeved shirt and dark pants, lace up boots with socks folded over top; wears a transparent hooded sheet or cloak with a hood, PL arm raised; tree with draping branches and small oval leaves behind figure; two birds on top right and top left in tree branches — Page from the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

black triangle, LLC; black line top center; lighter grey lines with some diagonal marks — Title unknown [Abstract image with lines], 1968
Shinoda Tōkō

Not on View

eight shishito peppers lined up in a row; portion of a flat basket emerging at top — [shishito peppers], 1970
Satō Nobuo

Not on View

image a village or town with rushing river through center; wave crest in LLC with jumping fish and a turtle; leaping fish coming out of a house in center right; catfish (?) in top center, riding a wave from river; houses on left and right — Page from the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

black and white image of a body of water with circular ripples; wolf in center of water, with fish swimming in LLC, LRC, and in center right; eel swimming in water in center left; rising rocky structure with to cave openings in top center — Page from the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

image of houses nestled in a landscape with mountains; large house with fenced in courtyard in bottom center; figure in yard standing with outstretched hands; four eyes in sky, three eyes have protrusions jutting off right side; bottom eye has a dark figure caught in protrusions, located in top center — Page from the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

close up of tops of onion plants, frond tips, and blossoms in varying stages against olive green background — Onion flowers, 1966
Tanaka Ryōhei

Not on View

standing female figure with diamond pattern throughout body; bangs and long hair, with black eyes; owl seated on head of figure; scattered flowers surround figure, along with black shading — Page from the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

oval shape with image inside- wheel on left, seated child wearing a transparent cloak on right; two stars to the left of child's head; scattered trees and thickets at bottom of image — Page from the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

black and white image of a town or village with stylized image of a face in top center, with wispy undefined body with three butterflies stacked at an angle; flower at bottom of "body" — Page from the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

standing female doll in European dress with headscarf; printed in brown — Doll, c. 1970
Komai Tetsurō

Not on View

large house in a fenced in courtyard; smaller house on right; line of figures next to small house, with two larger figures facing line; flag pole in left; trees in top right and top left; mountain in top center; small animal at bottom standing outside of gate — Page from the book "Strange Tales of Matasaburō", 1952
Sekino Jun'ichirō

Not on View

black ink on yellowed paper; image of single figure holding a mask over their face; knee-length robe cinched around the figure's waist; striped long-sleeved top worn under robe; PL leg crossed in front of PR; figure holds a pomegranate in PR hand; loosely sketched exterior background — Self-portrait with pomegranates/costume design, 1943
Sylvia Fein

Not on View

image of three trees planted in a row; left tree has four separate segments that are conical and recede in size toward the top; center tree is a single cone shape; tree on the right has spiraling foliage winding around the trunk; each tree is planted in a mound of grass — Three Orders of Italian Trees, 1953
Dudley Huppler

Not on View

Family Portrait, Julia Pearl — Family Portrait, April 1952
Julia Pearl

Not on View

three trees with two large rocks at proper left — Lofty Pines and Great Rock, 1639
Cheng Jiasui

Not on View

two scholars sit beneath a large pine tree on the side of a rocky cliff overlooking a body of water; mountain peak towers over them at top center — Scholarly Communion, 18th-19th century
Aoki Shukuya

Not on View

small bird with long tail standing on one leg on a rounded rock; bird is facing L; sprig of reeds in background at R — Wagtail on a Rock, late 16th-early 17th century
Unkoku Tōgan

Not on View

wooden box with inscription on inside and outside of lid; wrapped in tissue; long wooden roller with decorative cut ends; pink and green fabric with cream accents; three lines of text on image; image of landscape with buildings in a valley on L and a pagoda on a mountain ledge to the R — Summer landscape, c. 1912-1918
Fukuda Kodōjin

Not on View

black bird grasps onto partial black fence and cranes neck upward, beak open, with a gray cloud overhead — Crested Myna, late 18th century
Itō Jakuchū

Not on View

five lines of calligraphy; light blue-green mount with tan borders — Confucian Text at Age 73, 1876
Yanagawa Kōran

Not on View

six lines of calligraphy; dark green, gold, and tan mount — Hanging scroll, 1868
Yanagawa Kōran

Not on View

21 lines; authoritatively written, looping and angular characters; second line from end (signature) begins after large indentation, approx. halfway down sheet; first and last line have larger characters — New Year’s Letter to Yamazaki, late 19th - early 20th century
Yamamoto Baisō

Not on View

continuous drawing of trees, buildings, water and mountains; followed by 7 lines of text — River Landscape, 1618
Li Liufang

Not on View

2 figures on horseback accompanied by 2 other figures, bottom center; 2 figures, ULC; sparse rocky landscape with trees and buildings; from an album of 12 drawings in ink and wash; short inscription and stamps in red — Album Leaf from "Landscapes from Nature, Poetry, and Art", 1774
Wang Chen

Not on View

buildings in LRC and LLC in a rocky landscape; building near top center on top of mountain peak; 2 figures, LLC; from an album of 12 drawings in ink and wash; short inscription and stamps in red — Album Leaf, from "Landscapes from Nature, Poetry, and Art", 1774
Wang Chen

Not on View

rocky landscape with waterfall at R; builidng nestled between rocks at L, preceeded by steps; from an album of 12 drawings in ink and wash; short inscription and stamps in red — Album Leaf, from "Landscapes from Nature, Poetry, and Art", 1774
Wang Chen

Not on View

rocky landscape with spotty trees; from an album of 12 drawings in ink and wash; short inscription and stamps in red — Album Leaf, from "Landscapes from Nature, Poetry, and Art", 1774
Wang Chen

Not on View

2 boats, LLC, with 3 figures seated in one boat; figure on a walkway near bottom center; rocky, mountainous landscape with bare trees; from an album of 12 drawings in ink and wash; short inscription and stamps in red — Album Leaf, from "Landscapes from Nature, Poetry, and Art", 1774
Wang Chen

Not on View

twenty-three lines of black text — Buddhist Text: Fragment from Tun Huang Cave Sanctuary, c. 600
Dunhuang

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

grove of sparse pine trees, rocks, and a low, small hut with bamboo sprigs in background; small rock formation at far L, a few sparse pine trees at bottom; hint of a waterscape at R with boulders, pines, and a rocky shore at R; inscription ULQ; rectangular stamp with rounded edges, gourd-shape inside; mounted to maroon colored mat — Landscape in the Manner of Ni Zan, 1836
Yamamoto Baiitsu

Not on View

6 panels, each with 4 columns of loopy calligraphy — Chang'an [left of a pair], 1818
Kameda Bōsai

Not on View

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