silvery white hitoe obi for summer with appliquéd patches of Saga brocade with rhododendrum blossom (shakunage) design
Artist
Artist Unknown, Japan
Physical Description
Single layer (hitoe) white silk weft with silver-coated threads for warp; appliqued patches in kinran brocade (paper, coated with gold in several tones) featuring rhododendrum blossoms.
Century
20th century
Object Creation Date
1960s-1970s
Accession Number
2005/1.338
Medium and Support
silk thread weft with silver-coated threads for warp, appliquéd patches
White Mountains in September, North Conway, New Hampshire
Artist
Sylvester Phelps Hodgdon
Physical Description
Landscape with trees in foreground, valley in middle ground dotted with minute figures of sheep and a farmer with a team of oxen pulling well-filled haywain. Mountains in distance with a snow-capped mountain in center background.
This is a very dense landscape painting. There are waterfalls, clouds, trees and cliffs present in the painting. The colors consist of muted greens and browns. Towards the lower half of the painting, there is a view of an interior with four figures present, three of which are sitting at a low table. There is a staircase on the lower right, with a man standing on it, looking upwards. There is also a house on a cliff towards the upper right of the painting. There is calligraphy in the upper right hand corner, with a red seal. There is another red seal, although a bit faded, in the lower left corner of the image.
A small jar of squat proportions with short, vertical neck and a pale yellow, crackled glaze. This jar is very similar to 2002/2.23, also in UMMA collections.
This print is vertically oriented with gray markings. A cream border surrounds it and it has “EVENING” written below it. The lower half of the print has a pastoral scene with several adults and children by a stream at the bottom of the print. Behind them, someone milks a cow. The upper half shows the tops of buildings and rolling hills. A sunset is taking place with dramatic clouds.
A small jar of squat proportions with short, vertical neck and a pale yellow, crackled glaze. This jar is very similar to 2002/2.20, also in UMMA collections.
A group of women can be seen in a field raking hay. The central woman faces the viewer in the foreground; she wears a hat that shades her face. Behind her are two other women, also raking hay, shown from behind.
Imari vase in the shape of a double gourd, with overall design of chrysanthemums
Artist
Artist Unknown, Japan
Physical Description
This vase takes the shape of a double gourd, with a large pear-shaped bottom topped by a smaller oval shape. The vase is decorated with overgalze enamels, primarily with an overall pattern of chrysanthemums. The design is also interspersed with plum blossoms, peonies, and auspicious birds.
Olive Nagoya-style obi with wax-resist dyed floral medallions in white, rose, green, and blue
Artist
Artist Unknown, Japan
Physical Description
Olive colored silk with wax-resist dyed (rokutsuzome) floral patterns in white, rose, green, and blue; floral patterns further embellished with embroidery originally in white thread, dyed at the same time as floral patterns. Embroidery thread sometimes shot with some strands of gold.
Century
20th century
Object Creation Date
ca. 1930s-1940s
Accession Number
2005/1.339
Medium and Support
olive colored silk with wax resist and embroidered patterns
Cantley Wherries Waiting for the Turn of the Tide, plate XIV from "Life and Landscape on the Norfolk Broads"
Artist
Peter Emerson
Physical Description
This photograph is horizontally oriented and portrays a marshy shoreline. The foreground is filled with rushes. The horizon line, in the upper portion of the work, depicts homes, a windmill in the distance, and patches of water. Bare trees also dot this outdoor scene.
Blue-and-white double-gourd wall vase, Wanli Era (1573-1619) mark and period
Artist
Artist Unknown, China
Physical Description
Porcelain bottle vase of double gourd design, flat on reverse side with a slot for hanging on the wall, possibly inside the chamber of a royal sedan chair. Dragon motif is represented on both the upper lobe and the lower one.
Double-gourd wucai wall vase, Wanli Era (1573-1619) mark and period
Artist
Artist Unknown, China
Physical Description
Porcelain bottle vase of double gourd design, flat on reverse side. Here, in the upper (heavenly) lobe, a pair of phoenixes is shown flying among clouds, while in the lower (earthly) realm, two phoenixes face each other in a garden setting.
Century
16th-17th century
Object Creation Date
1573-1620
Accession Number
1979/2.12
Medium and Support
Porcelain with underglaze cobalt blue and overglaze enamel decoration
This black and white print has a vertical format with a single standing figure. The figure, shown in profile, has the right arm upraised with palm up. He is wearing voluminous drapery and has a halo and bare feet. There is a long bladed saw on the ground beside him.
Studies of a Peasant Digging (Études d'un paysan bêchant)
Artist
Camille Pissarro
Physical Description
This quick pencil study shows five sketches of a man digging; he is not seen in a single pose, but these sketches seen from behind explore a number of actions that are part of the digging.
This fan painting shows a mountain village teeming with activity. The peaceful scene provides a glimpse at daily life, depicting villagers pushing carts of goods and traveling into and out of town, sometimes on horseback. The eye follows this lively village of white buildings and tan roofs as it weaves its way up the mountain slope to what appears to be a royal dwelling or city center capped with emerald green rooftops and enveloped by rolling white clouds.
Object Creation Date
1368-1644
Accession Number
1965/2.59
Medium and Support
fan mounted as hanging scroll, ink and color on silk
Phulkari shawl with stylized bagh tara (four-part flower) designs in 45 squares on central field
Artist
India, Eastern Punjab
Physical Description
Embroidery on a plain cotton fabric (khaddar). Red-orange khaddar with neon orange, green, white and red accents which make up the bagh tara (four-part flower) design.
Ten-panel screen depicting similar mountain scenes over changing seasons. A spring scene begins on the right, gradually changing over the ten images to winter on the left. In an upper corner of each scene is a corresponding seasonal poetic inscription. These images are created using ink and color on paper, which was mounted on the upper two-thirds of each panel of the screen.
