ON RECTO. Signed in paint, lower right corner: 'BY THE LIGHT / OF THE MOON' PJ91 + ON VERSO. Inscribed on frame backing in black marker: _ PJ1991 + Affixed on back, top left: Eldred Wheeler business card
The daibutsu, or giant buddha, statue takes up the bulk of the pictorial space. Curving upwards and towards the statue is a large pine. At the feet of the green hued daibutsu statue are three women of different generations: a young girl, an adult woman, and an elderly woman. Although a few clouds hover in the sky, the sun appears to be shining brightly, casting some shadows of nearby trees into the picture.
Kawase Hasui worked in concert with the prolific twentieth century publisher of woodblock prints Watanabe Shôzaburo (1885-1962).
Kawase Hasui was especially known for his skillful depiction of landscapes and night scenes. His passion for landscapes led him to travel extensively throughout Japan, keeping a sensitive eye on his surroundings and sketching scenes from his journeys. His close attention to atmospheric conditions and light brought him much success and one year before his death Kawase was awarded the great honor of Intangible Cultural Treasure for his 1956 print “Snow at Zôjôji Temple.”
This mirror features designs of two birds, coupled with floral motifs, positioned symmetrically on the left and right sides. Eight-foiled barbed bronze mirror is general. This type is a modified form of that.
This type mirrors have survived in great numbers, and are being continuously discovered in Goryeo period tombs.
A massive, baroque, and busy wood-carved headdress with stylized face (showing classic Yoruba features) of bulging eyes with defined upper lids, long, straight, triangular nose, symmetrical scarification patterns consisting of three horizontal lines on each cheek, a short beard from ear to ear just underneath the lower lip. Two large “ears” protrude on either side of head and act as “scaffolding” for numerous attachments of symbolic content: birds and lions predominate, but also visible are amulets, wooden claws and beads, crosses, and an insignia shield of some kind. The ears terminate in two oblong mirrors with lions leaping off of each. Layers of pigment are visible, giving impression it has been repainted over time.
Egúngún--meaning “power concealed”--is a masquerade performed to honor the sprits of important Yoruba ancestors. This marvelous headdress is worn with a voluminous costume made from layers of brightly colored cloth strips that billow and flare with the whirling rotations of the dancer, the spirit manifest. Distinguished by its large ears, it is called erin, or elephant, named for both the grandeur of its costume and the wealth of its owner.
This black chalk drawing on gray-blue prepared laid paper is vertically oriented. The piece is a still life of the contents of a pantry portrayed within a lightly indicated arched niche. A rabbit and a fowl hang upside-down from a string, dominating the composition. Below them are, from left to right, two vessels, a prepared fowl, long root vegetables, and a wicker basket.
Jean-Baptiste Oudry began as a portrait painter, but gained great success as a painter of animals, hunt and still life subjects. In the traditional manner, he created preparatory drawings to design a painting composition. In this still life drawing, "The Pantry," he arranges the fresh game so that it hangs above the prepared meat and other meal ingredients. In still lifes such as this, the artist frequently creates an intricate compositionby carefully arranging the elements. Here, Oudry deftly plays on the notion of pairs: two suspended game, a pair of bottles to the left, the pair of long-stemmed vegetables to the right; the basket, fowl, and leg of game are used to knot the pairs together compositionally. J-B-S. Chardin, later in the 18th c. will become the consumate master of this type of still life.