39.7 cm x 52.4 cm x 2.8 cm (15 5/8 in. x 20 5/8 in. x 1 1/8 in.)
Skewed lines stream downward across the print indicate torrents of rain. The trees near the pathway are blown over by the strong storm. Several travelers with hats and parasols are struggling to walk up along the path under the extreme weather.
Vertical lines stream downward across the print indicate torrents of rain. The dark color pallette and black strip across the top indicate that the image is set at night. A giant tree on an island looms over the image, surrounded by water. A poem in the upper left corner reads:
"Elsewhere will they talk of the music of the evening breeze
that has made the pine of Karasaki famous; the voice of the
wind is not heard through the sound of the rain in the night."
This print is one of eight that depicted the beauty of Ômi province, centered around Lake Biwa. Specifically, this print shows Karasaki, a small cape with a famous enormous pine tree, depicted here in the rain. The tree was said to be sacred and a small shrine is located on the island near the tree.
This six-fold screen, a half of a pair, is meant to represent six of the twelve months of the year, with keen attention paid to the birds and flowers associated with each. Although this screen bears Kano Tan’yu’s signature, it was probably created by his studio or by followers working in this famous artist’s style.
Depictions of the seasons have a prominent place in the tradition of the Kano School (the official school of painting of the Tokugawa shogunate) and Japanese art. But painters were not alone in their masterful use of seasonal references—poetry also drew heavily on such motifs and exchange often took place between these genres, with poems inspiring painted scenes and paintings finding representation in poetic verse. The following late Heian (794–1185) and early Kamakura (1185–1333) period poems would have been part of the artistic dialogue that informs the motifs on these screens:
Spring is the cherry blossom
Summer is the cuckoo
Autumn is the moon
And in winter,
the shimmering snow is fresh to the eye.
Eihei Do-gen (1200–1253)
In the evening, the biting autumn wind blows through the field
White silk with zigzag pattern lining, black with silver threading throughout, braided thread in gold, purple, red and green, all over the fabric in a random continuous pattern.
On the back of this haori is an embroidered kusudama, a medicine or flower ball originally used for incense and potpourri. In contemporary times kusudama are often made from origami paper, folded into multiple pyramids and connected together to form stylized flowers. A decorative tassel can be attached to the bottom of the ball; here one wraps around to the front of the haori.
Purple silk damask with hitome kanoko floral design in graduated scale, from small at collar to large at hem. Lining is plain white silk at the top, the lower third and sleeve ends are purple.
This kimono required a labor intensive technique called shibori, in which hundreds of hours would have been spent tying up each small section where white can be seen on the kimono before immersing it in dye. Shibori textiles are very expensive due to the time and skill required to produce them.
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.
“White Mountains” was a popular subject amongst 19th century Americans, who, stirred by the doctrine of Manifest Destiny, wanted patriotic emblems of an optimistic and expanding nation. Using the popular tenets of the sublime and the picturesque, Hodgdon juxtaposes an awe-inspiring snow-capped mountain in the distance with a lush valley just beginning to show evidence of a fading summer.
This piece depicts boats decorated with lanterns, the evening sky and festivities. The shore is lined with teahouses set up for the event. The title for the print is located in the upper right corner in a red box.
The series Rokujuhoshu meisho zue depicts a famous place from each of the 68 provinces and the capital, Edo. Each of the 69 prints in this series, and the contents page, is a vertical composition.
In Tsushima, Aichi Province, on June 14th and 15th a festival is held, called Tenno Matsuri. Teahouses like the ones seen in this print would have been set up along the riverbank for the occasion in honor of the deity Gozu Tenno. This piece depicts boats decorated with lanterns, which would normally have close to 400 paper lanterns, decorating the evening sky and festivities. This particular arrangement is based off of the 1844 illustration "rokugatsu jyuyon nichi yuu" by Odagiri Shunko, from Owari Meisho Zue.
In black on stretcher brace, u.l.: 6436 / 36" x 36" In black on stretcher brace, u.r.: Oli Sihvonen 1962 / FenesTRA #7 / (GReen, Violet-Blue) In white chalk on stretcher brace, u.r.: 1563/6 71CM / S(...) [hidden by label] Label on stretcher brace, u.r.: 900.-- Label on stretcher brace, u.r.: STABLE GALLERY 33 EAST 74TH STREET NEW YORK 21 / ARTIST OLI SIHVONEN / TITLE FENESTRA #7 / DATE 1962 / SIZE 36" X 36" / MEDIUM OIL ON CANVAS / PRICE $600.00
Vertical hanging scroll of calligraphic text consisting of five Chinese characters in black ink, with artist signature and seal. One of a pair.
These two calligraphic works are done by Chang Ku-nien’s wife, Chen Shu-chen, who was an accomplished painter and calligrapher herself. Written in semi-cursive script, it demonstrates the artist’s affinity for bold and well-defined lines. The couplet of poetry, reads from right to left, praises the importance of one of China’s classics: There are many old books which have many special characters; yet only great I Ching (Book of Changes) shows us a path through past and future.