Skip to main content
Advanced Search
Koshikibu of Takeya House, from the series Hinagata wakana no hatsu mo yô (Models for Fashions: New Designs as Fresh as Young Leaves)
Koshikibu of Takeya House, from the series Hinagata wakana no hatsu mo yô (Models for Fashions: New Designs as Fresh as Young Leaves)

Koshikibu of Takeya House, from the series Hinagata wakana no hatsu mo yô (Models for Fashions: New Designs as Fresh as Young Leaves)

Artist (Japanese, active 1765 – c. 1785)
Date1777-84
Period18th century
MediumWoodcut on paper
DimensionsImage Size: 14 x 9 1/2 inches
Object Size: 15 1/4 x 10 3/8 inches
Credit LinePurchase with funds provided by the Arthur and Helen Baer Foundation
Object number2002.009
Curatorial DepartmentAsian Art
_Place of OriginJapan
The Syllable Wi for Revenge of the Cripple [Izari no adauchi]: Actors Iwai Kumesaburô III as Hatsuhana and Nakamura Fukusuke I as Katsugorô from the series Seven Calligraphic Models for Each Character in the Kana Syllabary [Seisho nanatsu iroha]
The Syllable Wi for Revenge of the Cripple [Izari no adauchi]: Actors Iwai Kumesaburô III as Hatsuhana and Nakamura Fukusuke I as Katsugorô from the series Seven Calligraphic Models for Each Character in the Kana Syllabary [Seisho nanatsu iroha]
Utagawa Kunisada I (Toyokuni III)
1856, 6th month
Object number: 1981.004
Tekhni mebeli dlya spektaklya "Inga" [Furniture Set Designs for the Play "Inga"]
Tekhni mebeli dlya spektaklya "Inga" [Furniture Set Designs for the Play "Inga"]
Aleksandr Rodchenko
1929/printed later
Object number: 2014.231
Varvara Stepanova Wearing a Dress Made from One of Her Fabric Designs
Varvara Stepanova Wearing a Dress Made from One of Her Fabric Designs
Aleksandr Rodchenko
1928/printed 1994
Object number: 2014.249
Christ Taking Leave of His Mother from the Life of the Virgin series
Christ Taking Leave of His Mother from the Life of the Virgin series
Albrecht Dürer
c. 1600
Object number: 1990.036
Ladies with Fashion Designer, Wente Vineyards, Livermore, California from the series Our Kind of People
Ladies with Fashion Designer, Wente Vineyards, Livermore, California from the series Our Kind of People
Bill Owens
c. 1973
Object number: 2017.347
Ehon Tsurezure-gusa Sukenobu Gakan (A Mirror of Sukenobu’s Pictures: Picture Book of Leaves of Idleness), Vol. I
Ehon Tsurezure-gusa Sukenobu Gakan (A Mirror of Sukenobu’s Pictures: Picture Book of Leaves of Idleness), Vol. I
Nishikawa Sukenobu
1738
Object number: 2016.383
Samurai Warrior (Ronin) from the series Seichu gishi den
Samurai Warrior (Ronin) from the series Seichu gishi den
Utagawa Kuniyoshi
1847–48
Object number: 1992.030
Samurai Warrior (Ronin) from the series Seichu gishi den
Samurai Warrior (Ronin) from the series Seichu gishi den
Utagawa Kuniyoshi
1847–48
Object number: 1992.031
Maple leaves and pine needles. Tamworth, New Hampshire. from In Wildness
Maple leaves and pine needles. Tamworth, New Hampshire. from In Wildness
Eliot Furness Porter
1956, October 3
Object number: 2012.031.05
85. A clearcut as seen from within the edge of a “beauty screen,” Clatsop County, Oregon. Timber companies now leave thin strips of woodland along public roads to mask clearcuts. When these deceptions cannot obscure the facts, corporations sometimes employ landscape architects to design clearcuts so that they will mimic the appearance of naturally open areas like meadows and rock slides. To further disguise their work, the forest products industry generates voluminous propaganda. Not many wars, even, have been justified by so much lying. From Turning Back, A Photographic Journal of Re-exploration
85. A clearcut as seen from within the edge of a “beauty screen,” Clatsop County, Oregon. Timber companies now leave thin strips of woodland along public roads to mask clearcuts. When these deceptions cannot obscure the facts, corporations sometimes employ landscape architects to design clearcuts so that they will mimic the appearance of naturally open areas like meadows and rock slides. To further disguise their work, the forest products industry generates voluminous propaganda. Not many wars, even, have been justified by so much lying. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.085
86. A clearcut as seen from within the edge of a “beauty screen,” Clatsop County, Oregon. Timber companies now leave thin strips of woodland along public roads to mask clearcuts. When these deceptions cannot obscure the facts, corporations sometimes employ landscape architects to design clearcuts so that they will mimic the appearance of naturally open areas like meadows and rock slides. To further disguise their work, the forest products industry generates voluminous propaganda. Not many wars, even, have been justified by so much lying. From Turning Back, A Photographic Journal of Re-exploration
86. A clearcut as seen from within the edge of a “beauty screen,” Clatsop County, Oregon. Timber companies now leave thin strips of woodland along public roads to mask clearcuts. When these deceptions cannot obscure the facts, corporations sometimes employ landscape architects to design clearcuts so that they will mimic the appearance of naturally open areas like meadows and rock slides. To further disguise their work, the forest products industry generates voluminous propaganda. Not many wars, even, have been justified by so much lying. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.086
Every Day the Children in Day Nursery #155 Have the Chance to Nap in the Fresh Air
Every Day the Children in Day Nursery #155 Have the Chance to Nap in the Fresh Air
Dmitri Baltermants
n.d./printed 2003 under the supervision of the estate
Object number: 2018.120