back to overview
 
1,060 photos
From the Illustrations to 100 poems by 100 poets: Fujiwara no Yoshitaka,954-974:Four men and two women enjoy bath and rest;two cormorants swim in the pond.
#33010836

From the Illustrations to 100 poems by 100 poets: Fujiwara no Yoshitaka,95...

From the Illustrations to 100 poems by 100 poets: Dainagon Tsunenobu,1016-1097:Autumn;wind over the rice-paddies;a Buddhist pilgrim with drum and drumstick holds his hat;men carry rice in baskets;the rice is washed in its basket in the river.
#33010840

From the Illustrations to 100 poems by 100 poets: Dainagon Tsunenobu,1016-...

The Apotheosis of Napoleon I, 1859. This image was the design for an imperial cameo. In 1859 Napoleon III commissioned the sculptor Adolphe David to carve a companion cameo to the largest surviving cameo from the classical world, the Grand Camee de la Chapelle Royale. Ingres made this design for David in the shape of the Grande Camee, based on a design for a ceiling in the Hotel de Ville in Paris. The ceiling, executed by Ingres in 1853 (but destroyed by fire in 1871) showed the same subject. Although David worked on this commission for thirteen years, no large enough stone was ever found and the final cameo showed only the central group of figures. The date (1821) inscribed by Ingres next to his name at the lower left of the drawing is the date of Napoleon's death. PD, 1949-2-12-6
#33010919

The Apotheosis of Napoleon I, 1859. This image was the design for an imperial ca...

"Linda maestra" - "Gentle mistress",etching No.68 from the "Caprichos",around 1798
#33010966

"Linda maestra" - "Gentle mistress",etching No.68 from the "Caprichos",aro...

A demon flies from the Thunder God, Edo period, 17th-early 18th century. A winged demon has been surprised by Raijin, the Thunder God. Raijin can be identified by the ring of drums which he beats to sound like thunder. A wild boar and an owl watch from the right. These scenes are from a handscroll with comic pictures which may have been intended as a model for other artists to copy. JA,JP 657 (1902.6-6.012)
#330110 4

A demon flies from the Thunder God, Edo period, 17th-early 18th century. A winge...

Partridges, Edo period, 1790. A government official, Seki Mitsubumi, was visiting Nagasaki in 1789 and commissioned a resident Chinese artist to paint a set of five handscrolls, showing birds which had been imported from China in 1762 on a boat called the Hachiban (Boat No. 8).On his return to Edo, Mitsubimi showed the paintigs to the publisher Matsumoto Zembei, who decided to publish a selection as a deluxe woodblock -printed album. Masayoshi was employed to copy the Chinese artist's paintings. JA, JIB90
#330110 8

Partridges, Edo period, 1790. A government official, Seki Mitsubumi, was visitin...

Birds and flowers, Edo period, Japan, 1791. A white parrot perched on a blossoming branch. The parrot is not native to Japan, but it was imported from as early as the ninth century, when the birds were presented to the imperial court. Parrots remained rare even during the Edo period (1600-1868), but featured at entertainment stalls in several cities. The white parrot was already a popular theme for paintings, but the artist Sessai may well have observed one in real life at one of these stalls. Although Sessai has here followed the thematic tradition of kachôga (bird-and-flower painting), and used conventional monochrome brushwork on the tree, he has adopted a sharply empirical style for the parrot. JA, JP ADD607 (1979.11-12.01)
#33011042

Birds and flowers, Edo period, Japan, 1791. A white parrot perched on a blossomi...

Ivory statue of a falconer, Japanese, Meiji period, late 19th century. The masterly carving here reproduces every fold of the falconer's costume, the straw of his gaiters and boots, the individual strands of the cord and the soft plumage of the bird. It also suggests the textured pattern of his outer coat. After the Meiji Restoration in 1868, many changes occurred within Japan forcing craftsmen to adapt their skills or change trades completely. The new preference for western dress over the traditional Japanese kimono meant that there was no longer a demand for ivory netsuke. The vast new overseas market for traditional Japanese arts and crafts meant that some carvers turned to producing purely ornamental sculptures. This piece was probably made by a member of the Tokyo Ivory Sculptors' Association, which was set up by the government to ensure that such skills were not lost. JA, 1979.7-2.7
#33011052

Ivory statue of a falconer, Japanese, Meiji period, late 19th century. The maste...

Marriage ceremony
#33011057

Marriage ceremony

The Hermits Saint Anthony the Great and Saint Paul. Around 1503/04. Woodcut, 212 x 140mm. (monogrammed)
#33020143

The Hermits Saint Anthony the Great and Saint Paul. Around 1503/04. Woodcut,...

The coat of arms of Michael Behaim (Councillor of Nuremberg). Around 1518/20. Woodcut, 279 x 195mm.
#33020169

The coat of arms of Michael Behaim (Councillor of Nuremberg). Around 1518/20. W...

The Annunciation. (Small Passion, 4). Around 1510. Woodcut, 127 x 97mm. (monogrammed)
#33020218

The Annunciation. (Small Passion, 4). Around 1510. Woodcut, 127 x 97mm. (monog...