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A work made of engraving in black on paper.

Apollo and Marsyas, c. 1532

Master of the Die

A work made of patterned side: silk, plain weave; stenciled and resist dyed; lined with silk, plain weave; interlined with cotton, plain weave; silk, running "controlling" stitches along all edges; silk-wrapped cotton, knotted, re-plied fringe tassels.

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

A work made of silk and gold-leaf-over-lacquered-paper strip, slit tapestery weave (kossu); backed with silk, plain weave, creped wefts; tassels: painted and plied.

Uchishiki (Altar Cloth), late Edo period (1789–1868), 1801/25

A work made of silk, warp-float faced 7:1 satin weave self-patterned by ground wefts bound in weft-float faced 1:3 'z' twill interlacings.

Panel (Furnishing Fabric), Late Ming (1368–1644) or early Qing dynasty (1644–1912), 17th century

A work made of silk and gold-leaf-over-lacquered-paper-strips, satin damask weave with patterning and brocading; wrapped over cardboard and backed with paper; applied label of silk, plain weave; with inscribed title painted and/or printed with ink.

Sutra Cover, Ming dynasty (1368–1644), c. 1590s

Cloth fragment of dress, blue and brown floral design in circular patterns.

Fragment (Dress Fabric), Tang dynasty (CE 618–906), late 8th/early 9th century

A work made of silk and gold-leaf-over-lacquered-paper strip, plain weave with supplementary brocading wefts bound in plain interlacings.

Sutra Cover, Ming dynasty (1368–1644), c. 1590's

Silver bell-shaped saucepan with ebony handle, everted foot and domed lid. Vessel's body is engraved with

Brandy Saucepan, 1787/88

Hester Bateman

A work made of silk, gold-leaf-over-lacquered-paper-strip-wrapped silk, and peacock feathers, slit tapestry weave with interlaced outlining wefts; painted details; edged with silk, warp-float faced 7:1 satin weave; top facing edged with silk, plain weave; lined with silk, plain weave.

Buddhist Monk's Cape (Incomplete), Qing dynasty (1644–1911), 1650/1700

A work made of top: cotton, plain weave; block printed; narrow band: silk, warp-float faced 5:1 satin weave with weft-float faced 1:2 's' twill interlacings of secondary binding warps and supplementary patterning wefts; upper and lower panels: silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, slit tapestry weave with interlaced outlining wefts; painted details; outer bands: silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, dovetailed tapestry weave; ribbon: silk, plain weave with supplementary patterning warps; outer edging: silk, warp-float faced 4:1 satin weave; lined with cotton, plain weave; painted inscription.

Valance, Qing dynasty (1644–1911), 1799

Cottonwood Hybrid

Cottonwood Hybrid, 1956

Richard Hunt

A work made of watercolor over graphite on cream wove paper.

Rocky Shore, n.d.

Elizabeth Murray

A work made of watercolor on cream wove paper.

View from Sydney, 1847

Elizabeth Murray

A work made of watercolor over graphite on ivory wove paper.

Deer Park, possibly Kilkenny, 1843

Elizabeth Murray

A work made of watercolor over graphite (recto), and graphite (verso), on ivory wove paper.

Scarborough (recto), and Sketch of House with Mother and Children (verso), n.d.

Elizabeth Murray

A work made of watercolor over graphite on ivory wove paper.

Rotting Tree, 1850

Elizabeth Murray

A work made of watercolor over graphite on gray wove paper.

Woman and Child before Walled Town with Tower, n.d.

Elizabeth Murray

A work made of watercolor over traces of graphite on ivory wove paper.

Cows in Landscape, n.d.

Elizabeth Murray

A work made of watercolor over graphite on ivory wove paper.

Garden at Clifton Hall, July 1845

Elizabeth Murray

A work made of watercolor over traces of graphite on ivory wove paper.

Wicklow Hills, 1843

Elizabeth Murray

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