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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

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

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

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

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

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

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, 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 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 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 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

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 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

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

G201

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

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

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

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

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

G252

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

G252

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

G252

two lines of fat, bold calligraphy — The Carp in the Valley, 1972 (?)
Kaneko Tohta

G251

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

G252

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

G253

four large, bold characters arranged vertically; large square intaglio stamp LL edge; large rectangular intaglio stamp LL edge — God of Heaven, Spirits of the Earth, 1980s
Suda Kokuta

G251

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

G252

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

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

G251

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

G252

Hanging scroll — Landscape, 18th century
Unknown Japanese

Not on View

tan, textured paper ground with abstract, sparse painting in black comprised of two thick, round globs and wavy, broad strokes — Return, 1961
Morita Shiryū

G253

letter with many lines of thin script in black on white; two sheets-narrow sheet with three characters at L — Letter with Haiku to Mr. Yanagi, 18th-19th century
Sakai Hōitsu

G253

bamboo in varying shades, interspersed with lines of text; matted — Bamboo, 1735
Xu Bin; Artist: In the manner of Su Shi

G203

Scroll painting — Plum Blossom, 1454
Wang Qian

G203

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

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

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

six lines, seal LLC; mounted to sheet with gold flecks, brocade border, and gold background — Two Poems by Yan Xiufu, late 18th - early 19th century
Kameda Bōsai

G251

long line of expressive calligraphy, shorter signature line at L; light grey-green mount — Single Line from Zhuangzi, second half 19th century
Doi Gōga

G253

two and one half lines of soft, looping calligraphy; oval relief seal URC; large square relief seal LL; smaller square intaglio seal LL — Amid the Mountains, second half 19th century
Yamanaka Shinten'ō

G253

five lines of very small calligraphy on a tiny sheet of paper, mounted inside a circle with green and beige outer mount — Ninth Month, first half 18th century
Gion Nankai

G253

two large characters arranged vertically; gray and blue mount — Pines and Vines, second half 18th century
Chō Tōsai

G252

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

G252

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

G253

black and white image; group of three musicians rendered in geometric style — Untitled [musicians performing Owara-bushi], late 1950s
Amano Kazumi

G226

black and white image; blocky clouds in sky; mountains in center; groups of shrubs and buildings in in LLC — Untitled [mountain scape with river], late 1950s
Amano Kazumi

G226

mountains; village in middle ground; boater at bottom center — Untitled [mountains, village, and boater], late 1950s
Amano Kazumi

G226

unsigned and undated; two roosters facing each other against black background — Untitled [two roosters], 1960
Amano Kazumi

G226

blocky black and white image divided in sections; contorted figure at L with mouth opened, looking up; white tower with black text at R; two figures bottom C holding a pot of metal; stick figures at R stoking a kiln; two figures pulling rope nearby — Colophon (part 1), July 1957
Amano Kazumi

G226

blocky black and white image divided in sections; block of text at C shaped like a cauldron with line drawings of buildings in background; at top, a figure is bent over an object with silhouetted figure in doorway at R; three scenes at bottom: people working in front of a kiln, carving a mold, and hammering a vessel — Description (part 2), July 1957
Amano Kazumi

G226

blocky black and white image divided in sections; human figure at R holding long object, appears to be yelling; two figures in small building at C, text and workers nearby; laborer at LL hammering a vessel, and one at LR turning an object on a lathe; harvesting scene at top — Second song (part 4), July 1957
Amano Kazumi

G226

blocky black and white image divided in sections; figure holding staff overhead R of C; text and metal vessels to his L; foundry workers opening molds at bottom; large cast bell at LL; figure walking down dark alley at top, with another figure in a darkened building UR — Fourth song (part 6), July 1957
Amano Kazumi

G226

blocky black and white image divided in three parts; abstracted figure at R holding staff; village in center band with figures in front buildings, two of whom are holding a smelting pot; at bottom, figures fill pots, carve, and open molds; at top, a man pulls a cart at R; figures seated in building with vessels UL — First song (part 3), July 1957
Amano Kazumi

G226

blocky black and white image divided in sections; figure at R with head tilted; foundry workers at lower portion of image pouring metal and hammering; figures stoking fires at C, and driving poles; text around C; at top, a female figure delivers a box to a seated figure at L — Third song (part 5), July 1957
Amano Kazumi

G226

primitive "schoolgirl" drawing of seminary and school grounds with brick buildings and white building, gazebos and sheds; black oval border with yellow flowers in corners — Untitled, 19th century
Unknown American, 19th century

Not on View

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 — Iskandar (Alexander the Great) Battling the Zangi, c. 1550
Iran

Not on View

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

Bian Shoumin

G217

two chicks facing center, one above the other at opposite sides, place at lower third of sheet; blank background — Two Chicks, c. 1694
Zhu Da

Not on View

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

Not on View

long central panel of script flanked on left by newer text, smaller in scale, and on the right by a single line of horizontal larger scale text — Three Ancient Poems in Cursive Script, c. 1535
Chen Chun

Not on View

35 leaf album of ink rubbings with over 20 collector's seals; single loose page included in back cover — Rubbings of the Sheng-chiao hsu Stele, 12th century
Wang Hsi-chih

Not on View

Bamboo in Snow, Zhang Jian — Bamboo in Snow, 1689 (dated)
Zhang Jian

Not on View

13th century rubbing of the Li Sixun Bei, engraved in 720 A.D., incomplete; accordian album of nine rubbing leaves, three pages of hand written text; two pages with writing lines and no text — Rubbings of the Li Ssu-hsun, 13th century
Li Yung

Not on View

Bamboo and Rocks, Zheng Xie — Bamboo and Rocks, c. 1760
Zheng Xie

Not on View

rocky island with bare trees. Paintings - Album — Landscape in the Manner of Ni Zan, early 17th century
Cheng Jiasui

Not on View

Note artist also called Seng-mi, Kua-ch'ou and Kuan-yuan-sou. — Bamboo, 1629
Shao Mi

Not on View

Standing Nude, Marcel Gromaire — Standing Nude, 1964
Marcel Gromaire

Not on View

Boy with left hand on hip — Ragamuffin, 20th century
Max Unold

Not on View

grapevine that swirls up from LRC to ULC to URC and down again; three grape clusters in upper half; one at each side center; one squirrel URQ, one LLQ; cricket R center — Squirrels and Grapevine, 1905
Bai Haonian

Not on View

Verse in Cursive Script, Chieh Chin — Verse in Cursive Script, c. 1410
Chieh Chin

Not on View

four paintings mounted as two hanging scrolls; crabs crawling amid leaves and stems; inscriptions in ULC — One Hundred Crabs, 1835
Zhao Ziyong; Artist: Zhao Guangqi

Not on View

winding river through rocky landscape with small bridge; figure in boat; nearly invisible buildings, nestled in mountain crevices — Landscape after Dong Yuan, 1775
Wang Chen

Not on View

six-panels showing a landscape with two male figures and an ox; man in UL lies prone atop a rocky cliff with his right hand extended; man in center leads ox out of a wooden structure with a thatched roof; thick cloud cover present in first four panels — Xu You and Chao Fu [left of a pair of the Legends of Xu You, Chao Fu, and Bo Le], early 1760s
Soga Shōhaku

Not on View

rock at LR with thin frond like leaves, sharp brambles, and delicate orchid — Orchids, Bamboo, and Brambles [right of a pair], late 14th-early 15th century
Gyokuen Bonpō

Not on View

delicate orchid fronds with reed-like flowers and stylized rock at LL — Orchids, Bamboo, and Brambles [left of a pair], late 14th-early 15th century
Gyokuen Bonpō

Not on View

misty landscape with rolling hills; building at center; bridge in LLQ; 2 figures at lower center; inscriptions on silk panels — Landscape in the Style of Mi Fu, 14th century
Attributed to Gao Kegong

Not on View

image of a single, leafless tree rendered in faded transparent black ink; many thin delicate branches extend outward; simple, white background; certificate of authenticiy in a plastic sleeve on bottom center on back of frame — Study No. 1 for “New Amalgam”, 2016
Roxy Paine

Not on View

gnarled branch of a blossoming tree arching across lower portion of scroll, with vertical branches stretching upward; inscription ULQ — Plum Tree, 19th century
Nakabayashi Seishuku

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

A Man Gathering Plants, Persia (Iran) — A Man Gathering Plants, 1625-1650
Persia (Iran)

Not on View

Shiva sits with Parvati on top of a flayed tiger skin. Shiva wears a necklace of human heads and holds an antelope in his upper left hand, a blade in his upper right, a trident in his lower left, and rudraksha beads in his lower right. — Uma Maheshvara (Shiva and Parvati), late 19th century
India

Not on View

two ladies (recto), mother and child, probably Krishna and Yashoda (verso) illustration from a Ramayana series; Bikaner — Two Court Ladies, Mother and Child (reverse), c. 1810
India

Not on View

illustration from a Ramayana series; Bikaner — Poppy Blossom, c. 1650
India

Not on View

illustration from a Ramayana series; Chamba — Battle between the Monkeys and Ravana, c. 1735
India

Not on View

Rama and Lakshmana Visit Sita or Suparanakha, India — Rama and Lakshmana Visit Sita or Suparanakha, 1760
India

Not on View

Four of the Rubbings have been mounted as hanging scrolls. the rest are simply rolled. Dates refer to the date of the tombs; rubbings are XX c. — Rubbing from the Wu Family Shrine Depicting Centuries Meeting Lao-tz'u, 2nd century
China

Not on View

illustration from a Ramayana series; Sirohi — Megha Raga, c. 1780
India

Not on View

illustration from a Ramayana series: Kangra — Gods and Demons Adoring Siva, c. 1780
India

Not on View

Sotheby's, NY Lot 111 — Sign for Longevity in Running Script (xing shu), Date Unknown
China

Not on View

illustration from a Ramayana series; Kotah or an Imaginary Courtesan — Girl at Her Toilet, c. 1810
India

Not on View

illustration from a Ramayana series; Kishangarh — Two Caparisoned Horses and a Dead Tiger, c. 1800
India

Not on View

illustration from a Ramayana series; — Potter, c. 1775
India

Not on View

illustration from a Ramayana series; Chamba — Portrait Studies of Two Noblemen, c. 1680
India

Not on View

illustration from a Ramayana series; Kotah — Raja Ram Singh I On an Elephant, c. 1720
India

Not on View

landscape painting-album leaf mounted on scroll — Landscape painting, 18th century
China

Not on View

Cooking in the Open, Iran — Cooking in the Open, 16th century
Iran

Not on View

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

Not on View

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