Silk crepe repp with interwoven brown and silver- and gold-colored synthetic metallic threads in the design of chrysanthemum blossoms. Lining is plain weave silk for upper half; purple for lower half and inner cuffs.
This kimono is one of several in the Yamaguchi Collection that were worn by Iwata Shizuka for informal occasions. Here, the chrysanthemum patterns are woven rather than hand painted. Though woven kimono may be as labor-intensive and expensive to produce as hand-painted y?zen, they are mostly used for casual wear. Over this kimono she would have worn a haori (see haori in the gallery) with a family crest, which made it appropriate for business. The combination of a woven kimono and haori creates a sense of formality similar to wearing a jacket and tie over a sporty shirt. Iwata Shizuko vividly remembers her mother wearing haori to her office every day.
It is decorated with the seedpod of the lotus medallion. The pod contains seven seeds, one seed in the middle surrounded by six peripheral ones(1+6 seed pattern)
Roofs and ceilings are important focal points of many traditional East Asian structures. Roofs often extend several feet beyond the walls of the structure, creating large, overhanging eaves. These two tiles would have been part of the decorated outer edge of such an eave.
Ceramic roof tiles were introduced to Korea from China around the first century BCE By the time these two examples were made, during the Silla kingdom (57 BCE–668 CE) and Unified Silla dynasty (668–935), Korean ceramic tile roofs had reached their peak in intricacy and design. Roofs made from interlocking ceramic tiles kept cold air, wind, and rain from entering a house. Due to their heavy weight, the structure supporting the roof had to be very strong. Expensive to produce, tile roofs were typically found on the homes of aristocrats and government officials, and on Buddhist and Confucian ceremonial buildings.
Inscribed in the plate, l.l.: Drawn & Etched by I.M.W. Turner Esqr. R.A.; l.c.: RISPAH/2nd Book of Samuel. Chap. 21/Published April 23, 1812 by I.M.W. Turner, Queen Ann Street West; l.r.: Engraved by R. Dunkarton; u.c.: H; l.l. corner: A
An empty covered passageway dominates this image. In the foreground are three young saplings. At the far end of the passageway a man can be seen sitting in the sunlight alongside the edge of the canal. On either side of the passageway in the foreground are windows and indications of cornices, etc. of the architecture.
Otto Henry Bacher saw Whistler working on this plate, one of the earliest Whistler drew in Venice. Whister was dissatisfied with the progress of the plate and began the composition again on another copper plate; it is the second plate that was included in the "First Venice Set." Because this plate was abandoned in Venice, proofs taken from the plate are very scarce. As with the second plate of "Traghetto, No. 2", the site is identified as the courtyard of the C'da Mosto, north of the Rialto bridge.
5 physical tears on left edge, indicating the original book bindings.
TOP IMAGE. A river appears in lower right corner, traveling from "front" to "back" of image. Along its banks two distant windmills occur, indicating Holland as the location. A distant boat with sails, and a closer group of three row boats on river. The closer group has thee figures bent over their work, which looks like hauling nets. In the center is a nearly barren twisted tree, at whose base is a rough hut of blanks and branches. A path from the bottom right bends up and around the hut and tree, on which a small group of three are poised (two sitting figures appear to listen to a standing third) and a single man travels further into the distance. Houses with thatched roofs, some patched with boards, appear on the right of the image, along the riverbanks into the distance.
BOTTOM IMAGE. A river curves gently back from the bottom right. Boulders surround the bank on the left half of the image, with scraggly trees and vegetation. Several boulders stretch out into the water, and on one of these, on the bottom right, is a group of perhaps three viewers. Two are seated, and appear to be listening to a third, who is standing and pointing to the right. Hills can be seen in the bottom right corner, stretching into the distance along the river.
TOP IMAGE. Fishermen haul nets in boats on left, while other figures appear along a path on right. Huts and thatched houses are visible to the right and along the riverbank into the foreground. Several windmills are also visible in the background.
BOTTOM IMAGE. A riverscape with boulders and trees. A small group of figures sit or stand on boulders, with tallest figure pointing to the right. Hills are visible in the distance.
A dark passageway dominates the middle and left portions of the composition; to the right is a group of men seated outside at a table. The passageway has a view at the far end of a man seated while a gondola passes by. In front of the passageway re three young trees, the leaves of which fall in front of the passageway. To the left of the passageway is a child holding a baby. On either side of the passageway are windows that indicate the walls that fill the plate.
Otto Henry Bacher saw Whistler working on the "Traghetto, No. 1", one of the earliest Whistler drew in Venice. Whister was dissatisfied with the progress of the plate and began the composition again on another copper plate; it is this second plate that was included in the "First Venice Set." The Glasgow catalogue raisonné identifies the site as the courtyard of the C'da Mosto, north of the Rialto bridge.