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A work made of embroidered.

Fukusa (Gift Cover), Meiji period (1868–1912), late 19th century

A work made of pattern side: silk and gold-leaf-over-lacquered-paper-strip wrapped cotton, slit and single dovetailed tapestry weaves (tsuzure); lining: silk, plain weave; sewn with front and lining matched to size (tachikiri awase); corners: gold-leaf-over-lacquered-paper-strip wrapped cotton, knotted, re-plied fringe tassels.

Fukusa (Gift Cover), late Edo period (1789–1868)/ Meiji period (1868–1912), 19th century

A work made of patterned side: silk, plain weave, with creped wefts (chirimen); embroidered with silk and gold-leaf-over-lacquered-paper -strip wrapped cotton and wrapped silk, in satin, silk padded satin and stem stitches; laidwork and couching; lined with silk, plain weave; interlined with cotton, plain weave sewn with front and lining matched in size (tachikire awase).

Fukusa (Gift Cover), Edo period (1615–1868), 1750/1800

A work made of mon side: wool, plain weave; fulled (gorofukuren); embroidered with silk and gold-leaf-on-lacqueréd-paper-strip wrapped cotton in laidwork, couching and paper padded couching; lined with silk, weft-float faced 4:1 satin weave (shusu); outer edges interlined with paper; sewn with front and lining matched in size (tachikiri awase).

Fukusa (Gift Cover), early Meiji period (1868–1912), 1870/80

A work made of woven in one piece (hikikaeshi); mon side: silk, twill weave, self-patterned by areas of plain interlacing; dye extracted through stenciled chemical dye stripper (bassen); patterned side: silk, plain weave (shioze); painted with india ink (sumi) and gold paint; silk, running "controlling" stitches along all edges; corners: silk, oblique interlacing over wrapped cotton ball, knotted and re-plied fringe tassels.

Fukusa (Gift Cover), 1912/26, Taishô period (1912–1926)

A work made of woven in one piece (hikikaeshi); mon side: silk, weft-faced, warp-ribbed plain weave; patterned side: silk, rayon, cotton, and gold-leaf-over-lacquered-paper-strip wrapped cotton, weft-faced, warp-ribbed plain weave with plain interlacings of secondary binding warps and supplementary brocading wefts (gotenori); woven on a loom with a jacquard attachment.

Fukusa (Gift Cover), early Shôwa period (1926–1989), 1926/40

A work made of mon side: silk, plain weave; stenciled and resist dyed (yûzenzome); patterned side: silk, plain weave; stenciled and resist dyed (yûzenzome: utsushinori yûzenzome hikizome); embroidered with silk and gold-leaf-on-paper-strip wrapped cotton, silver-leaf-over-lacquered-paper-strip wrapped silk and gold-leaf-over- lacquered-paper strips in individual back, satin, stem and straight stitches; couching; sewn with front and lining matched in size (tachikiri awase); corner: silk-wrapped cotton and gold-leaf-over-lacquered-paper-strip-wrapped cotton, knotted, re-plied fringe tassels.

Fukusa (Gift Cover), early Shôwa period (1926–1989), 1926/40

A work made of oil on canvas.

Self-Portrait, 1878

Walter Shirlaw

A work made of daguerreotype.

Untitled (Young Man Standing), 1839/60

Unknown

A work made of hand-colored gelatin silver print.

Untitled, c. 1965/67

Keith Smith

A work made of color woodblock print; double-page illustration from album.

Delivering New Year Gifts in the Snow, from the illustrated kyoka anthology "The Young God Ebisu (Waka Ebisu)", New Year, 1789

Kitagawa Utamaro

A work made of photogravure.

Silent Room, April, 1966

Keith Smith

A bronze lion, deep green and muscular, looks out in the distance from its pedestal in front of the Art Institute of Chicago.

Lion (One of a Pair, South Pedestal), 1893

Edward Kemeys

A work made of chromogenic print.

Untitled, 1971

José Lopez

A work made of engraving in black on cream laid paper.

Simon Vouet, 1630/36

Robert van Voerst

A graphic, grotesque painting of a balding, bug-eyed man with white hair and decaying flesh and open boils in dominant shades of gray and magenta, his clothing tattered and torn. Behind him, a crumbling home is suggested through objects and voids of space rendered in swirls of prismatic colors like those reflected by an oil slick: dark purples, greens, blues.

Picture of Dorian Gray, 1943–44

Ivan Albright

Woodcut of a man's face in profile, his gaze cast toward the lower-right corner of the print, which is darkened.

Holy Emissary, from Yiddish Motifs, 1926

Todros Geller

Woodcut print of a street scene with storefronts and awnings and a crowd of people gathered in front.

Maxwell Street, Chicago, from Yiddish Motifs, 1926

Todros Geller

A rectangular garment of patchwork dark silk patterned with golden dragons and green, blue, and brown clouds

Kesa, late Edo period (1789–1868), early 19th century

A work made of gelatin silver print.

Untitled, c. 1960/69

Keith Smith

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