An album of 28 pages. Cover is brown with a faded image at the center, possibly of leaves on an off-white background. The inside of the album primarily contains hand-written text, though some of the text has faded images in the background, and some of the pages are completely images. The first page depicts a seated man in formal attire. and across from him is a seperate painting of a landscape with green mountains. Other images contained within are of various topics with various colors and styles.
This twenty-seven leaf album contains letters, drafts of poems, and some sketches by Sakai Hôitsu. Many of the letters are addressed to his assistants, giving them detailed painting instructions, sometimes with sketches, and reminding them of their deadlines.
Durga sits with her legs in a half lotus position, crossed in front of her, but not interlaced. She has a narrow waist and rounded pointy breasts with broad shoulders. Her front two hands hold a rosary (also in a reassuring gesture) and a pot. Her other hands fan out around her. Reading clockwise, she carries a wide assortment of weapons, an arrow, sword, feather, club, discus, trident and [?] on her right and conch, bell, noose, trident, club?, shield, bow and a kapala (skull cup). She has large open eyes and a full mouth and nose. She wears jewelry including necklaces and shoulder loops, armlets, bracelets and large floral earrings. Her crown rest atop her head, but there are wing-like elements that fan out behind her ears. She sits on a squared base with stylized lotus petals over simpler moldings.
Durga is a common name for the Goddess. She has a large following in Hinduism and often the title Durga is an umbrella name covering a wide assortment of goddesses. The fact that she has so many arms suggests this collective identity. It relates to stories told in the Devimahatmya, part of a larger work, which tells how the gods could not beat particular demons and it is only when the goddess was created and imbued with the individual powers of all of the gods that the demons could be vanquished. Consequently she holds weapons associated with a number of the gods.
Text: Team Work Wins! Your Work Here Makes Their Work Over There Possible - With Your Help They Are Invincible - Without It They Are Helpless - Whatever You Make, Machine Gun or Harness, Cartridges or Helmet, They Are Waiting For It. Issued By Authority Ordnance Department, U.S. Army
A nude man seen from behind raises a staff to ward off the blow of a standing female figure, also with a staff. The woman's swing is directed to two seated figures at the lower left: a nude woman and a satyr. In the distance is an elaborate gated city and landscape.
Dürer combines myth, in the figures of Hercules and the satyr, with allegory, the seated woman possibly a figure of Vice and the standing woman representing Virtue. The interpretation of the scene remains enigmatic.
Inscription of artist in the left edge: Painted in the first year of the T'ien-ch'i reign (1621), autumn, seventh month, sixteenth day, at Sheng-hu t'ien-she. Sheng Mao-yeh. (T'ien-ch'i yüan-nien ch'iu chi-yüeh chi-wang hsieh yü sheng-hu t'ien-she). Seal of artist: Mao-lin hsiu-chu jen-chia, Fang-wai-she, Nien-an chü-shih, Fang-ch'ing ch'iu-ho, Mao-yeh chih-yin, Yü-hua fu. Additional inscriptions and seals: Box label: Nien-an Sheng Mao-yeh hsiu-ch'i chüan, Sheng Mao-yeh pi Lan-t'ing ch'ü-shui mi-hua chüan. Seals: (unidentified) T'ai (?)-chou pi-ts'ang.
Handscroll depicting figures (42 men and 6 boys) in a landscape, most of whom are sitting along the banks of a stream as cups on lotus leaves float by. A small cluster of figures sits in a shelter over the water examining a handscroll. The painting includes an inscription, six artist’s seals and one collector’s seal.
This elegant handscroll brings to life a famous historical event, a literary gathering of forty-one scholars celebrating the annual Spring Purification Festival at the Orchid Pavilion in the city of Shaoxing, Zhejiang province. Held on the third day of the third month in the year 353, on this special occasion literati enjoyed a ritual drinking game which incorporated composing poetry. Cups of wine, resting on large leaves, were floated down a stream and if a scholar could not recite a suitable poem, he had to drink a cup of wine. The celebration grew ever merrier as retrieving wine cups became more precarious.
What made this particular gathering so memorable was the presence of the great calligrapher Wang Xizhi (303–361). Inside the pavilion Wang is seated at a table writing his preface to the collected poems of this gathering. His preface, which vividly describes the event and laments the rapid passage of time, is a classic of Chinese literature and calligraphy.
Bust-length portrait of figure in black on green background using thickly applied paint.
One of a number of figurative pieces produced by Johnson, who while using expressionist techniques, was one of few artists depicting figurative subjects during a pro-Abstract Expressionist period. Gestural but representational, this work nonetheless contains many of the characteristics of Abstract Expressionism, especially the thick application of paint and the sense of the artist’s hand in the creation of the work.