Textile Fragments from Japan

Beautifully embroidered textile fragments featuring floral and decorative patterns from 18th to 19th century Japan.

Two excerpts textile, anonymous, 1764 - 1772 Textile fragments, two, decoration of flowers and leaves on reddish -brown stock. Japan silk Textile fragments, two, decoration of flowers and leaves on reddish -brown stock. Japan silk

Reverberations of Taiga, Volume 2 (leaf 9), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Landscape, 1827, Urakami Shunkin, Japanese, 1779 - 1846, 46 1/4 x 16 7/16 in. (117.48 x 41.75 cm) (image)76 5/8 x 22 15/16 in. (194.63 x 58.26 cm) (overall, without roller), Ink and color on silk, Japan, 19th century

Four Landscapes, possibly stage set designs. Artist: Herbert E. Crowley (British, London 1873-1939 Zurich). Dimensions: Image: 8 15/16 × 15 11/16 in. (22.7 × 39.8 cm)Sheet: 12 3/16 × 18 5/16 in. (31 × 46.5 cm). Date: 1911-24. Museum: Metropolitan Museum of Art, New York, USA.

Textile Fragment 1599-1600. Textile Fragment 444976

Utagawa Hiroshige, Kinryūzan Temple, Asakusa, 1856, color woodblock print.

Panel (Furnishing Fabric). England. Date: 1801-1825. Dimensions: 180.4 × 139.7 cm (71 × 55 in.). Cotton, plain weave; printed. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Ehon Azuma Kagami, Vol. II Kitao Masayoshi (Japanese, 1764-1824). Ehon Azuma Kagami, Vol. II, 1810. Paper, 8 7/8 x 6 1/8 in. (22.5 x 15.6 cm). Asian Art 1810

Fragment, 1700s. China, 18th century. Satin ground; silk diasper weave; overall: 13.4 x 7.7 cm (5 1/4 x 3 1/16 in.).

"Mount Utsu" (Utsu no yama), from The Tales of Ise (Ise monogatari). Artist: Painting by Tawaraya Sotatsu (Japanese, died ca. 1640); Inscribed by Takeuchi Toshiharu (Japanese, 1611-1647). Culture: Japan. Dimensions: Image: 9 11/16 × 8 3/16 in. (24.6 × 20.8 cm)Overall with mounting: 49 5/16 × 16 11/16 in. (125.3 × 42.4 cm)Overall with knobs: 49 5/16 × 18 3/8 in. (125.3 × 46.7 cm). Date: ca. 1634.This poem card comes from a set of more than twenty surviving sheets, each of which is illustrated with a scene from the tenth-century Tales of Ise and accompanied by a poem from the relevant chapter inscribed by a calligrapher of the day. In this episode, a courtier traveling on Mount Utsu (literally, "mountain of sadness") meets an itinerant monk on his way to Kyoto and asks him to give his regards to a lover in the distant capital.Suruga naru Utsu no yamabe no utsutsu ni mo yume ni mo hito ni awanu narikeri Amid the "sad hills"of Mount Utsuin Suruga Province,I cannot meet my lover,not even in

Landscape with Man Crossing Bridge. Artist: Fan Hong. Culture: China. Dimensions: 5 x 6 3/4 in. (12.7 x 17.1 cm). Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th-19th century Japan. Piece 67060

Morning Glories ca. 1847 Utagawa Hiroshige Japanese. Morning Glories 39648

Two textile fragments. Two textile fragments to the same rug on a leaf, embroidery on orange silk fond.

Hybrid white and scarlet chrysanthemum, Chrysanthemum indicum. Handcoloured woodblock print after Keika Hasegawa from Keika Hyakugiku, Keika's 100 Chrysanthemums, published by Naosaburo Yamada, Kyoto, Japan, 1893. Keika Hasegawa drew flowers and patterns for kimono in Kyoto in the final years of the 19th century.

Bell-Flower and Dragonfly, from an untitled series of large flowers. Katsushika Hokusai ; Japanese, 1760-1849; Publisher: Hibino Yohachi; Japanese, unknown. Date: 1827-1837. Dimensions: 26.0 x 37.5 cm (10 1/4 x 14 3/4 in.). Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Maple viewers. A six-section folding screens by Hideyori, Kano (active 1565-1576)/ Tokyo National Museum/ 16th century/ Japan/ Watercolour and ink on paper/ The Oriental Arts/ 150x365,5/ Landscape,Genre

Lotus leaf; Album Shijo-Surimono from the period 1840-1900. Lily / lotus. From: Album Shijo-Surimono from the period 1840-1900

Towering Mountains and Fantastic Waterfalls, c. 1600, Zhang Chenglong, Chinese, active late 16th - early 17th century, 73 7/8 x 24 7/16 in. (187.64 x 62.07 cm) (image)113 13/16 x 31 7/8 in. (289.08 x 80.96 cm) (without roller), Ink and color on silk, China, 16th-17th century, This large painting displays a range of fantastic mountains towering above a group of scholar-recluses gathered together on a pavilion to survey the dense bamboo forest and extraordinarily complex array of waterfalls. Beyond these unlikely watercourses loom magnificently dark and imposing peaks. Zhang Chenglong shows the viewer a duality: the distant mountains are seen as greatly distorted fantastic forms, while those elements in close relationship to the everyday world in the foreground, including human figures, architecture, and bamboos, are all rendered in extreme detail that maintains a great truthfulness to reality. The mountain imagery is thus uniquely different from other worldly phenomena, signifying the n

Scroll III.. 1501 - 1599. Illustrations, Manuscripts. Spencer Collection

Textile, Medium: cotton Technique: printed by engraved copper plate on plain weave, Textile printed in red on white showing a design composed of two motifs. A shepherd playing the flute sits on a ruin before a shepherdess with a spindle. Nearby animals recline. The other motif shows a peacock and other birds among ruins and trees., England, 1761, printed, dyed & painted textiles, Textile

Pieter Holstein, Frank Lodeizen, 1970 print On the left a portrait of a man with a trim eyes and mustache, on the right naked women on the outside of a vase. paper etching portrait, self-portrait of graphic artist

New Year Picture of Two Pairs of Immortals of Harmonious Union early 20th century Unidentified artist(s). New Year Picture of Two Pairs of Immortals of Harmonious Union. Unidentified artist(s) , early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Textile, Cupid and Psyche; Manufactured by Gorgerat Frères et Cie.; France; cotton; Repeat H: 85.5 cm (33 11/16 in.) Warp x Weft (Selvedge on right): 177.5 x 83 cm (5 ft. 9 7/8 in. x 32 11/16 in.); 1978-140-1

Painting by the Chinese Ming Dynasty artist Chen Hongshou (1599-1652)

Mus on booming Magnolia branch.

Shono: Shiratori Mound (Shono, Shiratorizuka), section of sheet no. 12 from the series "Cutouts of the Fifty-three Stations (Gojusan tsugi harimaze)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1852. Dimensions: 17.7 x 7 cm (7 x 2 3/4 in.). Color woodblock print; section of harimaze sheet (uncut sheet: 1939.1297). Origin: Japan. Museum: The Chicago Art Institute, USA.

A Tang Palace. Artist: Attributed to Qiu Ying (Chinese, ca. 1495-1552). Culture: China. Dimensions: Image: 33 in. × 30 3/4 in. (83.8 × 78.1 cm)Overall with mounting: 73 3/4 × 35 5/8 in. (187.3 × 90.5 cm)Overall with knobs: 73 3/4 × 39 in. (187.3 × 99.1 cm). Museum: Metropolitan Museum of Art, New York, USA.

Detail of Japanese textile print

Figures Approaching PalaceGates. Artist: Deng Qichang, Chinese Artist: Wang Kun

Ladies Shooting from a Pavilion, c. 1830. India, Rajasthan, Kota school, 19th century. Graphite and watercolor on paper; overall: 28.5 x 26 cm (11 1/4 x 10 1/4 in.).

Six No and Kyogen Pieces, 17th century, Unknown Japanese, 8 15/16 × 64 7/8 in. (22.7 × 164.78 cm) (image)9 1/2 × 88 1/2 in. (24.13 × 224.79 cm) (mount, without roller), Ink and color on paper, Japan, 17th century

Sutra Cover. China. Date: 1590-1599. Dimensions: 35 × 12.2 cm (13 3/4 × 4 3/4 in.)Warp repeat: 10.3 cm (4 1/8 in.). Silk and gold-leaf-over-lacquered-paper strips, gauze weave with supplementary patterning wefts; label: silk, plain weave; painted with ink; glued over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Vietnamese ornamental panel decorated with poems written in Chinese calligraphy kaishu. Ca.1840. From Vietnam. Naval Museum. Madrid. Spain.

Rank Badge with Phoenixes. Culture: China. Dimensions: Overall: 13 3/4 x 13 3/4 in. (34.9 x 34.9 cm)Mount: 17 1/2 x 18 in. (44.5 x 45.7 cm). Date: 16th century.The phoenixes appear in a symbolic landscape of clouds, waves, and a decorative rock surrounded by colorful flora: (clockwise from lower left) auspicious fungus, camellia, prunus, and (dominating the right) tree peonies. Unpatterned edges at the top and bottom of the textile (now hidden under the mat) suggest it was woven for a special purpose, probably as a decorative rank insignia for a female member of the imperial household. Museum: Metropolitan Museum of Art, New York, USA.

Large Landscape, 1785, 8th lunar month, Niwa Kagen, Japanese, 1742 - 1786, 66 5/16 × 38 in. (168.43 × 96.52 cm) (image)88 1/2 × 39 1/4 in. (224.79 × 99.7 cm) (mount, without roller), Ink and light colors on paper, Japan, 18th century

Flowering IDE, Octagonal print in album with 39 prints., Ayaoka Yûshin (mentioned on object), Japan, 1880 - 1890, paper, colour woodcut, h 223 mm × w 287 mm

Miniatur; Miniatur.. Prints. 1912. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

Bamboo, Chrysanthemums, Orchids, Rocks and Fungus Ike-No Taiga (Japanese, 1723-1776). , 18th century. Hanging scroll, ink on paper, (exclusive of mounting): 53 x 11 1/8 in. (134.6 x 28.3 cm). Asian Art 18th century

Famine Relief Herbal (1593): Lotus root

Sketch of Foliage and Branches. Angeluccio; Italian, 1620/25-1645/50. Date: 1635-1650. Dimensions: 393 × 232 mm. Black chalk, white and gray gouache, on tan laid paper, laid down on perimeter to cream wove card. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Le Rageur, 1887. Auguste Louis Lepère (French, 1849-1918). Wood engraving;

Tiger Calligraphy. Artist: Weng Tonghe (Chinese, 1830-1904). Culture: China. Dimensions: Image: 51 x 26 1/2 in. (129.5 x 67.3 cm)Overall: 83 1/2 x 31 3/4 in. (212.1 x 80.6 cm)Overall with knobs: 83 1/2 x 35 1/8 in. (212.1 x 89.2 cm). Date: dated 1890. Museum: Metropolitan Museum of Art, New York, USA.

Island, sun, and flying swallows. Origin: China. Date: 1368-1644. Period: Possibly Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Hanauri, Flower vendor., between ca. 1840 and 1866, 1 print : woodcut, color ; 19.7 x 22.2 cm., Print shows a man watering flowers on a shelf suspended from a shoulder-pole.

Feuille de vigne.. 1866 - 1878. Avery, Samuel Putnam, 1822-1904. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Decorative arts , France, Porcelain, French, Porcelain, European , Japanese influences, Plants

Panel piece Made 1800-1850 China. Satin, with couched cord .

Owl on a Pine Branch Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Owl on a Pine Branch, ca. 1833. Color woodblock print on paper, Sheet: 14 11/16 x 5 1/16 in. (37.3 x 12.9 cm). Asian Art ca. 1833

Warbler on a Plum Branch. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 14 1/2 x 5 1/8 in. (36.8 x 13 cm). Date: ca. 1835. Museum: Metropolitan Museum of Art, New York, USA.

Hawk Holding a Small Bird. Artist: Okada Baison (Japanese, 1864-1913). Culture: Japan. Dimensions: 14 5/8 x 11 in. (37.1 x 27.9 cm). Date: ca. 1891-92. Museum: Metropolitan Museum of Art, New York, USA.

Sutra Cover. China. Date: 1590-1599. Dimensions: 33.3 × 11.7 cm (13 1/8 × 4 5/8 in.). Silk, plain weave double cloth; wrapped over cardboard and backed with paper; applied label of silk, plain weave; with inscribed title painted and/or printed with ink. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Desk Album: Flower and Bird Paintings (Bird with Plum Blossoms), 18th Century. Zhang Ruoai (Chinese, 1713-1746). Album leaf, ink and color on paper; image: 14.4 x 20.3 cm (5 11/16 x 8 in.); album, closed: 15 x 10.8 x 3 cm (5 7/8 x 4 1/4 x 1 3/16 in.).

Sutra Cover. China. Date: 1590-1599. Dimensions: 36.9 × 12.3 cm (14 1/2 × 4 7/8 in.)Warp repeat: 16.8 cm (6 5/8 in.). Silk and gold-leaf-over-lacquered-paper strip, wrapped silk, 4:1 satin damask weave with supplementary patterning weft bound in weft-float faced 1:4 satin interlacings; label: silk, plain weave; painted with ink; glued to paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Textile, Medium: cotton Technique: printed by engraved copper plate on plain weave, Fragment, cream white cotton printed in red, copper plate. Incomplete design: Castle or towered gate, village beyond. Approach by winding road over water; horsemen, herald with trumpet. Foreground part of group, cart drawn by horses. Other personages and groups., Nantes, France, 18th century, printed, dyed & painted textiles, Textile

Wallpaper Panel. Dimensions: 121 1/2 x 49 1/2 in. (308.6 x 125.7 cm). Date: 1700-1730.This wallpaper panel is part of a set originally consisting of seventeen pieces (see 14.106.1-.16 for set.). The panels depict mountain landscapes, scenes with houses, birds, and flowering shrubs. They were hand-painted in China during the early eighteenth century for export to England. There, as in America, such exotic wallpaper enjoyed a vogue among the fashionable gentry. Considered a great luxury, it added richness and colors to walls. This wallpaper hung in an English home for two hundred years. The panels are installed, in whole or in part, in the Powel Room in The American Wing. Museum: Metropolitan Museum of Art, New York, USA.

Embroidered Panel (from set of four) 19th century China. Embroidered Panel (from set of four) 39804

Fan. Dated: c. 1936. Dimensions: overall: 30 x 22.6 cm (11 13/16 x 8 7/8 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Vincent Burzy.

Java sparrow and clematis. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 34.3 x 11.4 cm (13 5/8 x 4 1/2 in.). Color woodblock print; aitanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Japan, Nagoya, Castle, Hommaru Palace, interior, paintings,

Seto Inland Sea: Osaka to Nagasaki Sea Route. Date/Period: Late 17th century. Screens. Pair of six panel screens, colour and gold on paper. Height: 137 mm (5.39 in); Width: 282 mm (11.10 in). Author: UNKNOWN.

A White Macaw. Artist: Original by Ito Jakuchu (Japanese, 1716-1800). Culture: Japan. Dimensions: 10 7/16 x 10 1/2 in. (26.5 x 26.7 cm). Date: ca. 1900. Museum: Metropolitan Museum of Art, New York, USA.

Fragments; silk

Tiger Emerging from Bamboo, early 18th century, Kano Tsunenobu, Japanese, 1636 - 1713, 58 1/2 x 55 in. (148.59 x 139.7 cm) (image)108 1/2 x 63 in. (275.59 x 160.02 cm) (without roller), Hanging scroll; ink and color on paper, Japan, 18th century, Tigers as a subject for painting became popular among Japanese artists as early as the 15th century when Chinese examples were brought to Japan. Within Zen monasteries, they became symbols of the earthbound spirit and were often paired with images of dragons, emblems of the soaring enlightened spirit. Among Japan's military elite, they were symbols of power, and artists often painted them among thick trunks of bamboo, a plant admired for its strength and resiliency. Within the context of an impressive reception hall, such large scale paintings contributed to the grandeur of the setting. Since tigers were not native to Japan, artists had to conjecture how they actually looked based on imported hides. As a result, they often appear to be overgro

Monster head with horns, Anonymous, 1800 - 1899 drawing China paper

Narcissus Tani Bunji (Japanese, died 1850). , 19th century. Hangin scroll painting, ink on paper, 15 1/8 x 17 1/8 in. (38.4 x 43.5 cm). Asian Art 19th century

Paper with phoenix pattern early 20th century Unidentified artist(s). Paper with phoenix pattern. Unidentified artist(s) , Chinese, early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Flowers of a Hundred Worlds (Momoyogusa): Cranes (Tsuru), 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Color woodcuts with gold and silver; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). This print from a set of three woodblock printed albums displays the graphic design prowess of Kamisaka Sekka. The images were first distributed one by one to subscribers to the series but later were reissued in bound form, like this book, for mass consumers. Each print features a vignette taken from nature or Japanese literature. Many of the scenes have a long history in Japan, originating in the 900s or 1000s and having been interpreted by all manner of artists since that time. Sekkas selections hew closely to precedents from the Rinpa style originated by painter Tawaraya S?tatsu (c. 1570-c. 1640) and calligrapher Honami K?etsu (1558-1637).

Bóstwo pięciu zbóż. unknown, graphic artist

Japan, Nagoya, Castle, Hommaru Palace, interior, paintings

Picture of Masakiyo's Challenging Battle as Retold in the Chronicle of the Great Peace, 1866, 10th lunar month, Tsukioka Yoshitoshi; Publisher: Yamashiroya Jinbei; Carver: Tanaka Ushinosuke, Japanese, 1839 - 1892, 14 × 9 1/2 in. (35.56 × 24.13 cm) (sheet, each, approx., vertical ōban triptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century, Instead of depicting a standard battle scene with samurai fighting each other, Yoshitoshi captures the blast of an explosion in this unusual composition. The shock waves, rendered by black and gray swirls, whirl an uncountable number of warriors through the air.

Tang Stone Pillar Inscribed with Names 20th century China. Tang Stone Pillar Inscribed with Names. China. 20th century. Ink on paper. Rubbing

Interior: a man coming to visit a woman lying on her bed. Ink, full color and gold powder. Signature and seal. Date: late 17th-early 18th century. Origin: Japan. Period: Edo period. Hanging scroll; ink, color, and gold on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Paper-cutting of dragon

Kakemono: Orchids, Bamboo, and Thorns - Left panel Gyokuen Bompo (Japanese, 1348-1420). Kakemono: Orchids, Bamboo, and Thorns - Left panel, late 14th-early 15th century. Ink on Korean paper, Exclusive of mounting: 25 x 12 1/4 in. (63.5 x 31.1 cm). Asian Art late 14th-early 15th century

Full Moon over Takanawa (Takanawa meigetsu), section of a sheet from the series Cutouts of Famous Places in Edo (Harimaze Koto meisho) 1852 Japan. Color woodblock print; section of harimaze sheet . Utagawa Hiroshige

R.M.S. "Queen Elizabeth" Cunard Line, ltd.. 1957. Buttolph, Frank, 1850-1924. Menus. Rare Book Division

The Ayase River and Kanegafuchi (One Hundred Famous Views of Edo) by Hiroshige, Utagawa (1797-1858) / State Hermitage, St. Petersburg / 1856-1858 / Japan / Colour woodcut / Landscape /

Seven sea sick luck gods. The seven Japanese happiness gods, unhappy looking, aboard their ship (takalable, a new year symbol), with a poem referring to seasickness on either side; From the waves a mythological long-haired turtle (minogame) climbs on board; Above left a rising sun and a crane, which is just like the minogame symbols for a long life.

A drawing by Daniel Gran depicting Aurora and Silene, executed with pen and pencil, showing mythological figures and dynamic composition.

"Seal of Zhiliu" (Zhiliu zhi xi); "Spirited Old Man" (Zhuangmu Weng)". Artist: Zhang Wenkang (Chinese, born 1959). Culture: China. Dimensions: Overall (a): 1 7/8 x 13/16 x 13/16 in. (4.8 x 2 x 2 cm)Overall (b): 2 5/16 x 11/16 x 11/16 in. (5.9 x 1.7 x 1.7 cm). Date: Dated 1996."Chicken-blood" stone, with its deep red veining, is particularly prized for making seals. Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th-19th century Japan. Piece 66493

Design for Silk Brocade. Date/Period: Ca. 1750. Drawing. Pastel, pen and brown ink squaring on bluish grey laid paper. Author: UNKNOWN.

Page from the Ishiyama-gire (dispersed volumes of the Anthology of the Thirty-Six Poets). Date/Period: 12th century. Painting / poem. Ink on album leaf, assembled dyed paper decorated with silver and gold. Height: 131.8 cm (51.8 in); Width: 44 cm (17.3 in). Author: Artist Unknown.

Oh! How Pretty That Is! He Would Say', c1930. Artist: W Heath Robinson.

paper, papier, houtsnede

Newly Published Dutch Perspective View: The Tomb of King Mausolus in Asia. Utagawa Kuninaga; Japanese, 1788-1829. Date: 1820-1830. Dimensions: 22.4 x 34.8 cm. Color woodblock print. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Lacquer Paintings of Various Subjects: Plum Branch with Oil Lamp. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 7 1/2 x 6 1/2 in. (19.1 x 16.5 cm). Date: 1882.Well known in the West as a painter and a lacquer artist, Shibata Zeshin enjoyed longevity in both his life and his career. At age eleven, he began an apprenticeship with the leading lacquer artist, Koma Kan'ya (Kansai II, 1767-1835); at sixteen, he began to study painting under Suzuki Narei (1795-1844) of the Shijo school. The paintings in this album reflect his early training and longtime involvement as a lacquer artist with a deep commitment to the realistic portrayal of nature that the Shijô school championed. These paintings also show Shibata Zeshin's skillful lacquer techniques. Museum: Metropolitan Museum of Art, New York, USA.

Mandarin square (buzi) of the 6th rank civil official. unknown, craftsman

Fragment (Japan)

CHINA - CIRCA 1997: A Stamp printed in China shows the stone carving art of getting drunk into the innocence , circa 1997

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