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A work made of color lithograph.

Tokyo Theater, 1930

Oda Kazuma

A work made of oak, ash, and original rush seat.

Side Chair, c. 1903

Charles Francis Annesley Voysey

A work made of lithograph in black with white heightening over a fawn tint on buff wove chine laid down on ivory wove paper.

Expedition to Rome, 1849: Your reception is neither polite nor politic, from Souvenirs d’Italie: Expédition de Rome, 1851

Denis Auguste Marie Raffet

A work made of lithograph on ivory wove paper.

Still Life for a Catholic Vinter, 1962

Wesley Chamberlin

A work.

Fragment (From Obi), Meiji period (1868–1912), 1875/1900

A work made of silk and rayon, plain weave with supplementary patterning wefts and self-patterning ground weft floats; interlinging: cotton, plain weave.

Nagoya Obi (Formal Belt), late Taishô period (1912–1926), c. 1925

A work made of lithograph in black on warm ivory wove chine laid down on off-white wove paper.

Assault of bastion no.8, from Souvenirs d’Italie: Expédition de Rome, published December, 1860

François Hippolyte Lalaisse

A work made of etching in black on ivory wove paper.

Brockenhurst, New Forest, 1878

G. R. Smith

A work made of rayon, plain weave self-patterned by rows of gauze crossings (yoko ro); resist dyed, stenciled and dye extracted through use of chemical discharge dyeing (bassen) (yûzen-zome: utsushinori and hitta shibori); embroidered with cotton, rayon and gold and silver-leaf-over-lacquered-paper-strip wrapped silk in satin stitches and underside couching; lined with silk and cotton, stripes of warp-float faced 4:1 satin weave and stripes of 3:1 (plain interlacing in alternate alignment) plain weave derived float weave (cannelé alternatif); printed.

Nagoya Obi (Formal Belt), 1920/26, late Taishô period (1912–1926)

A work made of silk, 4:1 satin damask weave (donsu); tie-dyed (hitta shibori); and embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped silk and wrapped rayon in stem stitches; couching.

Nagoya Obi (Formal Belt), 1920/26, late Taishô period (1912–1926)

A work made of lithograph on buff chine collé, laid down on off-white wove paper.

Ruin of an Amphitheatre at Pouzzoles (Kingdom of Naples), plate 9 from Oeuvres de A. Calame, 1851

Alexandre Calame

A group of light-skinned people accompanied by a horse and rider carry a palanquin, or box on two poles used to transport a person. A silhouetted backdrop of huts and trees in black and gray contrasts with the colored figures.

Mishima: Morning Mist (Mishima, asagiri), from the series "Fifty-three Stations of the Tokaido Road (Tokaido gojusan tsugi no uchi)," also known as the Hoeido Tokaido, c. 1833/34

Utagawa Hiroshige

A work made of lithograph in black on buff wove chine laid down on ivory wove paper.

April 30, 1849, from Souvenirs d’Italie: Expédition de Rome, 1850

Denis Auguste Marie Raffet

A work made of lithograph in black on buff wove paper.

Devotion of the Catholic clergy in Rome, April 30, 1849, from Souvenirs d’Italie: Expédition de Rome, 1858

Denis Auguste Marie Raffet

A work made of color woodblock print; oban.

Goldfish, from the series "Elegant Comparison of Little Treasures (Furyu kodakara awase)", c. 1802

Kitagawa Utamaro

Three adult figures walk on a boardwalk over reed-filled water, one carrying a baby, wearing clothes in red, blue, and gray tones, with shadowy trees and a tent structure in the background. Japanese characters in red and black ink appear at upper left and bottom right.

No. 37: Miyanokoshi, from the series "Sixty-nine Stations of the Kisokaido (Kisokaido rokujukyu tsugi no uchi)", c. 1835/38

Utagawa Hiroshige

Dialogic: Silver (Chair)

Dialogic: Silver (Chair), 1991

Michele Oka Doner

A work made of color woodblock print; oban.

No. 32: Seba, from the series "Sixty-nine Stations of the Kisokaido (Kisokaido rokujukyu tsugi no uchi)", c. 1835/38

Utagawa Hiroshige

A work made of color woodblock print; oban.

Lake Chuzenji, Nikko (Nikko Chuzenjiko), 1930

Kawase Hasui

A work made of screenprint on niahinouchi (japanese paper).

The Theater in the Rock, Oya I, Section, 1998

Tadao Ando

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