Textile Fragments and Floral Designs

Intricate textile fragments showcasing floral patterns, embroidery, and historical textile designs from various cultures.

Textile fragment, print of autumn plants on blue ground, anonymous, Japan, 1764 - 1771, Meiwa period, silk, height 29 cm × width 20.5 cm

Textile fragment. Textile fragment, embroidery of plum blossoms and den on beige damask fond.

Bedspread Detail. Dated: 1935/1942. Dimensions: overall: 52.9 x 39.5 cm (20 13/16 x 15 9/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Mildred E. Bent.

Fragment. China. Date: 1601-1700. Dimensions: 19 × 10.8 cm (7 1/2 × 4 1/4 in.). Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Sidewall (France); block-printed on handmade paper; 201 x 52 cm (79 1/8 x 20 1/2 in.)

Yellow Chrysanthemums on a Blue Ground ca. 1825 Katsushika Hokusai Japanese. Yellow Chrysanthemums on a Blue Ground. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. ca. 1825. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Kosode Fragment second half of the 17th century Japan This fragment's auspicious patterning brings together a flowering plum tree and fans, one of them decorated with a pair of cranes among pine boughs, bamboo, and mandarin orange blossoms and fruit. The tiny, densely spaced kanoko spots of the textile's clouds and blue fan are typical of the kanoko shibori technique of the mid-seventeenth century.. Kosode Fragment 61790

Fragment satin on which a blue embroidered branch. Fragment cream colored satin on which a branch is embroidered in different shades of light blue. Oriental textile.

Textile fragment, Anonymous, 1748 - 1751 Textile fragment, embroidery of plum blossoms and the in beige damask stock. Japan silk Textile fragment, embroidery of plum blossoms and the in beige damask stock. Japan silk

Textile fragment, print of autumn plants on blue ground, anonymous, Japan, 1764 - 1771, Meiwa period, silk, height 29 cm × width 20.5 cm

Drawing, Design for a Woven Fabric of the "Fabrique de St. Ruf"; Designed by Fabrique de Saint Ruf; France; brush and blue, white, and purple gouache, impressed squaring lines on oily tracing paper; 40 × 31.2 cm (15 3/4 × 12 5/16 in.)

Textile fragment, embroidery and shibori seam on light brown silk ground, anonymous, Japan, 1596 - 1614, Keicho period, silk, height 21 cm × width 9 cm

Design for the Embroidery of the Left Bottom Part of a Man's Waistcoat of the 'Fabrique de St. Ruf', Fabrique de Saint Ruf, Lyon, France, Brush and gouache on glazed tracing paper, Lilac edges parts of which are to be paralleled by leaf staffs. Bunches of flowers are showon on the flap of the poocket, beneath its right part and in the corner. An ivy stem connects the two last ones., France, 1785-1795, Drawing, Drawing

Crewel Embroidered Panel. Dated: c. 1937. Dimensions: overall: 41.7 x 29.1 cm (16 7/16 x 11 7/16 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Phyllis Dorr.

Textile fragment, print of a house with autumn leaves on a blue-green background., anonymous, Japan, 1781 - 1789, Tenmei period, silk, height 30.7 cm × width 20.5 cm

Textile; silk; Overall: 89 x 53.2 cm (35 1/16 x 20 15/16 in.)

Fragment textiel, anonymous, 1688 - 1703 Textile fragment, embroidery and applique from chrysanthemums on dark stock. Japan silk Textile fragment, embroidery and applique from chrysanthemums on dark stock. Japan silk

Fragment. Japan. Date: 1701-1750. Dimensions: 37.5 x 33.7 cm (14 3/4 x 13 1/4 in.). Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Ralph Atkinson, Economy Sample of Silk, 1938 Economy Sample of Silk

Fairy and Crane. Culture: China. Dimensions: 25 3/4 x 14 3/4 in. (65.41 x 37.47 cm). Date: 18th century.The young lady walking on a bridge, carrying a long-handled sickle and a basket of plants, and accompanied by a white crane, may be Magu, a famous Chinese fairy who symbolizes eternal youth. She brews immortal wine from magic plants, such as those in her basket, and artworks with her image are ideal birthday gifts. In addition to the refined embroidery on this panel, tiny pearls and coral beads are used to render the white crane and the red pomegranate seeds. Museum: Metropolitan Museum of Art, New York, USA.

Wildlife Friends (Yasei no Tomo) Kawakami Ryoka (Japanese, 1887-1921). Wildlife Friends (Yasei no Tomo), ca. 1918. Ink, opaque watercolors and possibly lacquer on wove paper decorated with mica, 8 7/16 x 206 in. (21.4 x 523.2 cm). Asian Art ca. 1918

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo (1615-1868) or Meiji period (1868-1912). Textiles-Woven

Textile fragment, Anonymous, 1865 - 1868 Textile fragment, embroidery and pressure from the facade of a shrine with autumn leaves on a light brown background. Japan silk Textile fragment, embroidery and pressure from the facade of a shrine with autumn leaves on a light brown background. Japan silk

Bed cover, Medium: linen, wool Technique: plain weave with supplementary warp, Vertical panel with medium-scale diagonal repeat giving allover effect of large symmetrical urns with addorsed birds on either side of vase, confronted birds on either side of fleur-de-lis rising from the top. Top and bottom border of several small geometric bands., Spain, 17th century, woven textiles, Bed cover

Preparing Tea by a Mountain Gorge 1825 Aoki Mokubei The preparation or drinking of sencha (Chinese-style steeped tea) was a frequent subject of Chinese literati painters. Here Aoki Mokubei depicted a man and his servant in a mountain setting preparing sencha tea over a ceramic stove. The division of the composition into two distinct areas, as though painted on opposite sides of a large bowl, reminds us that the artist learned to paint while working primarily as a potter. Mokubei also established himself as a painter in the Nanga (Literati school) style. He grew up in the Gion district of Kyoto, where his family owned a restaurant and brothel. Mokubei began making pottery under the guidance of Okuda Eisen (1753-1811), and he was soon celebrated for his copies of Chinese ceramics. Together with Eisen and Ninami D?hachi (1783-1855), he is credited with reviving the ceramics traditions of Kyoto.. Preparing Tea by a Mountain Gorge. Aoki Mokubei (1767-1833). Japan. 1825. Folding fan mounted

Persimmon Tree. Artist: Sakai Hoitsu (Japanese, 1761-1828). Culture: Japan. Dimensions: Image: 56 9/16 x 56 5/8 in. (143.7 x 143.8 cm)Overall: 65 1/4 x 64 in. (165.7 x 162.6 cm). Date: 1816.This painting, while exhibiting the trademark mottled-ink (tarashikomi) technique of the Rinpa school, reflects the artist's interest in Western-style realism, which is combined with sophisticated, graceful forms. The intricately curling leaves of the tree and grass evoke the cold sky of the clear fall day alluded to in the inscription, which dates the screen to late autumn 1816.Hoitsu was born into a wealthy, influential samurai family and had all the advantages of the finest education, including the opportunity to study many of the painting styles available to artists in Edo Japan. He became a monk in 1797 and adopted the priestly name Monsen Kishin, which appears in the seal and signature on this screen. Museum: Metropolitan Museum of Art, New York, USA.

Peacock and peonies. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 38 x 17.5 cm (14 7/8 x 6 7/8 in.). Color woodblock print; otanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Design on Paper Japan. Paper .

Design for an Embroidered or Woven Horizontal Border of the 'Fabrique de St. Ruf,' Unfinished, Fabrique de Saint Ruf, Lyon, France, Brush and white, blue gouache on glazed tracing paper pasted on paper, Flower boughs rise from a waved white and blue rubbon. An oak leaf, the top of which hangs downwards, is a part of a garland, on top. Somewhat less t han three repeats are shown., France, 1805-1815, Drawing, Drawing

Piece 18th-19th century Japan. Piece 67127

Drawing, Desigsn for Embroidered or Woven Floral Motifs of the "Fabrique de St. Ruf," Finished and Unfinished; Designed by Fabrique de Saint Ruf; France; incised lines, brush and white gouache on glazed tracing paper pasted on paper; 22.4 × 13.7 cm (8 13/16 × 5 3/8 in.)

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo (1615-1868). Textiles-Woven

Fragment. Egypt, Akhmîn. Date: 201 AD-400 AD. Dimensions: 31.8 × 15.2 cm (12 1/2 × 6 in.). Linen and wool, slit tapestry weave. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Egyptian.

Flowers, butterflies and other insects. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Persimmon Tree 1816 Sakai Hōitsu Japanese This painting, while exhibiting the trademark mottled-ink (tarashikomi) technique of the Rinpa school, reflects the artists interest in Western-style realism, which is combined with sophisticated, graceful forms. The intricately curling leaves of the tree and grass evoke the cold sky of the clear fall day alluded to in the inscription, which dates the screen to late autumn 1816.Hōitsu was born into a wealthy, influential samurai family and had all the advantages of the finest education, including the opportunity to study many of the painting styles available to artists in Edo Japan. He became a monk in 1797 and adopted the priestly name Monsen Kishin, which appears in the seal and signature on this screen.. Persimmon Tree 45392

Panel (From a Skirt). Possibly designed by Anna Maria Garthwaite (English, 1720-1756); England, Spitalfields. Date: 1741-1742. Dimensions: 105 ×52.4 cm (41 3/8 × 20 5/8 in.)Warp repeat: 92.3 cm (36 3/8 in.). Silk, plain weave with weft-float faced 2:1 twill interlacings of secondary binding warps and brocading wefts. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

1 of 4-Panel Screen: Scenes of Four Seasons , 19th century. Ink and light color on paper, Image: 58 1/4 x 14 15/16 in. (148 x 38 cm). Asian Art 19th century

Reunion of Vessantara and Maddi with Their Children and Parents, Scene from the Vessantaraataka. Thailand, Bangkok, 1820-1840. Drawings; watercolors. Opaque watercolor and gold on cloth

Piece 18th-19th century Japan. Piece 66847

Piece 17th century China. Piece 71868

Fragment 18th century Italian, Venice. Fragment 230356

A Princely Hunt. Dimensions: Painting: H. 6 15/16 in. (17.6 cm) W. 4 9/16 in. (11.6 cm)Page: H. 11 3/4 in. (29.8 cm)W. 7 9/16 in. (19.2 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: late 16th century.Following the death of Shah Tahmasp in 1576 royal art patronage declined and artists sought outlets other than the court for their works. Artists increasingly made drawings that owners could include in albums that functioned like portable art galleries. One of the most influential masters in this period, Muhammadi of Herat, apparently served the Uzbeks, where he specialized in drawings of princely and rural pursuits in the countryside. Safavid artists, such as the one who drew this hunting scene, were inspired by Muhammadi's technique and his choice of subject matter, though here the treatment of each figural group as a separate vignette lacks the coordination of Muhammadi's original works. Museum: Metropolitan Museum of Art, New York, USA.

Sidewall, Block-printed, Garlands twist about a column as the main motif. Two red garlands and one green garland can be seen, though the other colors have faded. At the right a vertical band has cartouches in green and faded purple., USA, 1838, Wallcoverings, Sidewall

Fragment (Japan)

Birds and Flowers of Summer and Autumn mid-16th century Shikibu Terutada The hollyhocks and lilies of midsummer blooming in the right scroll are countered in the left by flowers of late summer and autumncotton roses, chrysanthemums, and eulalia grass. The profusion of detail is characteristic of the art of Shikibu Terutada, a prolific painter active in the Kantō region of eastern Japan. Although his many extant works reveal a familiarity with Kano-school styles and compositions, Terutada is thought to have begun his career emulating the style of Kenkō Shōkei (active before 1478-ca. 1523), the central figure of painting circles in late medieval Kantō. The pair of black-backed wagtails flying at the upper right and the oriole standing sentinel at the left, for example, are identical to motifs found in paintings by Shōkei and his numerous followers.. Birds and Flowers of Summer and Autumn 53221

Four textile jacks on a leaf, embroidery on silk. .

Peacock and peonies, Peacock among lushly flowering peonies, top left a poem., Hiroshige (I), Utagawa (mentioned on object), Japan, 1833 - 1837, paper, colour woodcut, h 378 mm × w 173 mm

Fragment (Japan)

Small Card Decorated with Chrysanthemums and Morning Glory Christopher Grant La Farge (American, 1862-1938). Small Card Decorated with Chrysanthemums and Morning Glory, ca. 1880. Watercolor on very thin card stock, 3 1/16 x 4 5/16 in. (7.8 x 11 cm). Created for use as calling cards, place cards, or menu cards, these charming items indicate how the Japan craze” permeated all facets of artistic production. Grant La Farge’s familiarity with Japanese motifs (such as Mount Fuji, chrysanthemums, and bamboo shoots) undoubtedly came from his family. His father, the artist John La Farge, embraced Japanese aesthetics in his own art and also collected and published widely on Japanese art; Grant La Farge’s mother, Margaret, was the grandniece of Commodore Matthew Perry. American Art ca. 1880

Piece from a Kosode with Cranes, Pines, and Waves Japan. Piece from a Kosode with Cranes, Pines, and Waves. Japan. Silk and metallic-thread embroidery on plain-weave silk crepe (chirimen). Edo period (1615-1868). Textiles-Embroidered

Textile fragment. Textile fragment, pressure and embroidery on linen ().

Piece 18th-19th century China. Piece 67160

Fragment textiel, anonymous, 1596 - 1614 Textile fragment, embroidery and Shibori-Zome on light brown silk stock. Japan silk Textile fragment, embroidery and Shibori-Zome on light brown silk stock. Japan silk

Case (Inrō) with Design of Rooster, Hen and Chicks beside Flowering Chrysanthemums 19th century Japan. Case (Inrō) with Design of Rooster, Hen and Chicks beside Flowering Chrysanthemums 58816

Tokyo, Ichimatsu, Yoshida, Goto Tokujiro, Wada Tokutaro, Seitei, Watanabe, Gyokusen, Mochizuki, back cover - stamped, White cover with autumn leaves and gray title strip; inside cover, table of contents; 16 pages, numbered: 1-16, illustrations of people, animals and landscapes and some pages of text; inside cover, colophon., book, prints, pictures, Japan (collection), World of the Arts - 19, Bijutsu sekai - 19, National School of Applied Arts, height 249 mm, width 161 mm, Suzuki Shonen, Japanese, 1848 - 1918, print maker, printmaker, 1892 - 1892, fourth quarter 19th century, paper, colour woodcut, 1794 - 1852, 1851 - 1918, editor, Publication (Event), Publication, publisher, block cutter, printer

Kesa Made 1875-1900 Japan. Silk and gold-leaf-over-lacquered-paper strips, warp-float faced 2 1 'Z' twill weave with supplementary brocading wefts bound in twill interlacings; patches silk and gold-leaf-over-lacquered-paper strips, warp-float faced 2 1 'Z' twill weave with 1 2 'Z' twill interlacings of secondary binding warps and supplementary patterning wefts; cords silk and cotton, silk wrapped cloth; lined with silk .

A pencil and watercolor drawing by Marie Lippert-Hoerner showing the left landscape details of a cotton roof design with reddish tones.

Table Valance with Autumn Garden 18th century China The autumn plants in the main decorative area of this table valance appear in a garden setting with rocks and a stream; a pair of birds, whose backs are woven with feathers, flutter among the branches at the right. The overhanging upper register of the valance features an entirely different pattern: the attributes of the Eight Daoist Immortals, beribboned and interspersed with clouds and bats, are seen on either side of the central motif of a bat holding a canopy.. Table Valance with Autumn Garden 65059

Fragment textiel, anonymous, 1764 - 1772 Textile fragment, embroidery of the Chinese character `Shou`. Japan silk Textile fragment, embroidery of the Chinese character `Shou`. Japan silk

Drawing, Design for Woven Textile; Unknown (French); France; brush and gouache, black chalk or pastel, pen and brown ink on tracing paper, lined; 54.8 x 65.1 cm (21 9/16 x 25 5/8 in.) Mat: 55.9 x 71 cm (22 in. x 27 15/16 in.)

Flowers 14th century Attributed to Lü Jingfu Chinese This decorative work of the Piling school of flower painting compares closely to signed works by the late-fourteenth-century painter Lü Jingfu. Originally one of a matching pair of panels, the painting shows butterflies and a praying mantis flying amid a late-spring bouquet of poppies, asters, Chinese pinks, and chrysanthemums; a salamander in the center foreground is flanked by an orchid on the left and a cabbage on the right. The flowers and insects are flawlessly executed in fine precise brushwork and colored in delicate hues of pink, white, green, and purple, with malachite green and powder-white highlights. Similar motifs are found on blue-and-white ceramics and other decorative arts of the period where floral elements appear with frogs, salamanders, praying mantises, and cicadas. The salamander, when shown with a praying mantis devouring a cicada, symbolizes cyclical predation in nature and echoes a famous passage from the Zhua

Henry Meyers, Curtain Drapery, c 1936 Curtain Drapery

Textile (England); Designed by William Turner (Scottish, active England); Collected by Ericson & Weiss; Manufactured by G. P. & J. Baker; linen

Drawing, Project for a Decorative Design; Walter Shirlaw (American, b. Scotland, 1838-1909); USA; graphite on paper; 26.1 × 45 cm (10 1/4 × 17 11/16 in.)

The Banquet of Guo Ziyi. Korea, Korean, Joseon (1392-1910), 19th century. Paintings; screens. Eight-panel screen, embroidery on silk satin

Weighing Books early 16th century Guo Xu Chinese This disconcerting image of a gentleman selling his books by weight presents a startlingly cynical commentary on the value of scholarship in the increasingly corrupt world of Ming dynasty politics. It may also reflect something of the life of the artist, Guo Xu, who abandoned preparations for an official career to become a painter.The artist's intention remains enigmatic. Does the painting depict the fate of the growing number of well-educated men who, unsuccessful in the civil-service exams, were forced to support themselves as artists, tutors, or professional men of letters Or is it a sardonic commentary on those members of the bourgeoisie who used their wealth to purchase examination degrees, official appointments, and other trappings of scholarship Either way, it reflects a new development: the professional artist as social critic. The painting's virtuoso drawing reflects Guo Xu's reputation as a leading artist of his day. Landscap

Curtain, 19th century, 62 x 37 5/8 in. (157.48 x 95.6 cm), Silk, embroidery, China, 19th century

Hunting Scene second half 16th century. Hunting Scene 451305

Screen China late Ming dynasty (1368-1644)

Chinese Lion, Peonies and Rock. Nishimura Shigenaga (attributed to) (Japan, circa 1697-1756). mid-1720s. Prints; woodblocks. Hand-colored woodblock print

How to Draw Plants and Flowers Simply 1813 Kuwagata Keisai Japanese. How to Draw Plants and Flowers Simply. Kuwagata Keisai (Japanese, 1764-1824). Japan. 1813. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Landscape Unidentified artist. Landscape 40426

Fragment (China); tempera on silk

Plate, Anonymous, 1725 - 1740 Plaat from Faience. Multicolored painted with 3 Chinese figures in a garden. Delft . Plaat from Faience. Multicolored painted with 3 Chinese figures in a garden. Delft .

Detail of Japanese textile print

And it's His Hands' Caress (Et c'est la caresse de ses mains). Dimensions: 53 cm x 41 cm, 39.1 cm x 28.9 cm. Museum: Van Gogh Museum, Amsterdam. Author: MAURICE DENIS.

Cream -colored satin decorated with embroidered bouquets ,, 1775 - 1800 Room-colored satin, on which eight different bouquets are embroidered in light-yellow and salmon-colored silk sporadically enlivened with red and blue. Persia silk. satin Room-colored satin, on which eight different bouquets are embroidered in light-yellow and salmon-colored silk sporadically enlivened with red and blue. Persia silk. satin

Embroidered Petticoat (Detail). Dated: 1935/1942. Dimensions: overall: 45.3 x 39 cm (17 13/16 x 15 3/8 in.) Original IAD Object: 34" long; 80" in circumfrence. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Mildred E. Bent.

Liu Hai with a Three-legged Toad. Date: 16th century. Origin: China. Period: Ming dynasty. Hanging scroll mounted on panel; ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Sutra Cover Made 1590-1599 China. Silk and gold-leaf-over-lacquered-paper strip, plain weave with supplementary patterning wefts .

Bouquet, draughtsman: Carel Adolph Lion Cachet, 1874 - 1945, paper, brush, h 295 mm × w 413 mm

Piece 18th-19th century Japan. Piece 67488

Wallpaper with trees, leaves and flowers, parrot and bird ,, 1700 - 1800 Two lanes, consisting of nine parts, from wallets on cream -colored paper painted to templates. The complete performance, which covers five jobs, shows three different performances of trees with leaves and flowers. China (possibly) paper Two lanes, consisting of nine parts, from wallets on cream -colored paper painted to templates. The complete performance, which covers five jobs, shows three different performances of trees with leaves and flowers. China (possibly) paper

Vertical scroll early 17th century Unidentified artist. Vertical scroll 51849

The Four Continents, Medium: cotton Technique: printed by engraved plate on plain weave, Four scenes personifying the four continents with the names written underneath; Africa, Asia, Europe, America. In red on white., England, late 18th century, printed, dyed & painted textiles, Textile, Textile

Fazant En Chrysanten, Hiroshige (I), Utagawa, 1833-1837 print print maker: Japanpublisher: Tokyo paper color woodcut / nishiki-e walker and runner birds: pheasant. plants and herbs

Wisteria blossoms. Date: early 17th century. Origin: Japan. Period: Edo period. Ink, color, and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Pair of Pheasants and Blossoming Plum Tree. Japan, circa 1800-1850. Textiles; embroidery. Hanging scroll; silk thread embroidery

Kennet, 1883. By William Morris

Flowers and Grasses, mid-1600s. Kitagawa Sōsetsu (Japanese, active 1639-50). Pair of six-fold screens, ink and color on paper; image: 153.7 x 329.2 cm (60 1/2 x 129 5/8 in.); including mounting: 170.2 x 348.4 cm (67 x 137 3/16 in.). Kitagawa Ssetsu painted for the Maeda family, powerful rulers of what is present-day Ishikawa Prefecture on the central northern coast of Honsh, Japan’s main island. Screens served as room dividers and backdrops in Maeda grand residences. This composition is considered one of the artist’s masterpieces. Kitagawa Ssetsu is thought to have been a student of Tawaraya Ssetsu, who was in turn the student of Tawaraya Statsu, the Kyoto-based master painter regarded as the creator of the style that came to be known as Rinpa. By selecting a painter of this lineage, the Maeda family consciously connected their aesthetics to those of the imperial capital as a means of proclaiming their elevated status.

Sample late 18th-early 19th century Style of Jean François Bony. Sample 223037

Calabash Flowers and Beetle early 19th century Maruyama shin. Calabash Flowers and Beetle. Maruyama shin (Japanese, 1790-1838). Japan. early 19th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Pinks in a Porcelain Pot 1760-1770 Japan. Color woodblock print; chuban

. Komachi looking at the blooming cherry blossoms from a veranda. Ono No Komachi (c. 825-900) was a Japanese waka poet who was very familiar to her beauty. With two poems. Facsimile from the Meiji period (1868-1912).

Depicts herons among various water plants, including lily pads and lotus plants, on the shore of a body of water. No seals, inscriptions or labels. Stained ivory roller knobs. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Shunga Album. Murasaki UIT Edo ENJI UIT HET HET YOSHIWARA, 1830-1835 book Part three (of three); white cover with blue genji emblems; blank cover (removed); 12 magazines: one three page, text against background with cloud pattern; 5 Erotic images of love -business couple; 13 pages, text. paper. color woodcut / polishing

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Textiles-Woven

Sidewall, Block-printed on joined sheets, Central motif of parrot sitting on lace panel suspended from bunches of peacock feathers. This alternates with floral bouquet. Printed in varnished green, pink and white on yellow ground., France, ca. 1810, Wallcoverings, Sidewall

Momotaro; Japanese fairy tales set; Japanese Fairy Tale Series. Number one out of the series: the Japanese fairy tale Momotaro, in English; roof with title and image of three decorated animals and a little boy under a pine; inside cover, colophon; Nine sheets, English text with illustrations; inside back leaf, frame of sequest titles; Green cover with image of origami cranes.

Plum Blossom Tanzaku, second half 19th century, Yamanaka Shinten'ō, Japanese, 1822 - 1885, 14 1/8 × 2 3/4 in. (35.88 × 6.99 cm) (image)46 5/8 × 9 1/8 in. (118.43 × 23.18 cm) (mount, without roller), Ink on paper, Japan, 19th century

Phoenixes and Paulownia left of a pair, early 18th century, Kano Tanshin, Japanese, 1653 - 1718, 140 1/4 x 63 1/2 in. (356.24 x 161.29 cm) (image)147 3/4 x 70 3/4 in. (375.29 x 179.71 cm) (overall), Ink, color, and gold on silk, Japan, 18th century, In 1674, Kano Tanshin succeeded his father, Tan'yū, to become head of the famous and powerful Kano House of painters in the capital of Edo, where the studio catered to the military rulers of Japan. The subject of this pair of screens suggests that it may have been commissioned to convey a political message. According to ancient Chinese and Japanese beliefs, phoenixes only descend from the heavens when earthly kingdoms are under just and compassionate leadership. There they raise their young in the boughs of paulownia trees, the nectar of which provides nourishment. Thus, these screens would have served as more than just a beautiful backdrop in a palatial hall; they would have suggested that their owner was an admirable governor.

of 2