Ikko Tanaka

Ikko Tanaka
The 8th Sankei Kanze Noh
1961
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Hanae Mori
1978
screenprint (advertising poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Nihon Buyo
1981
screenprint (tour poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Green and Water Campaign
1982
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Morisawa Photo-Typesetting Company
1986
screenprint (advertising poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1987
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1987
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Affichiste Ikko Tanaka
1988
screenprint (exhibition poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
NOMAD
Nouvelle Organisation Maїmé and Denise
1988
screenprint (advertising poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Isaac Mizrahi
ca. 1990
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Graphic Art Exhibition - Ikko Tanaka
1990
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1992
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1992
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
International Design Center: Nagoya
ca. 1995
offset-lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1996
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Issey Miyake
1997
lithograph
(advertising poster with photo by Irving Penn)
Cooper Hewitt, Smithsonian Design Museum

from Idyll I

A Goatherd perswades the Shepherd Thyrsis to bewail Daphnis who dy'd for Love, and gives him a large Cup and Goat for a reward. The scene Sicily, about the River Himera.

I dare not, faith I dare not pipe at Noon,

Affraid of Pan, for when his Hunting's done,

And He lyes down to sleep by purling streams,

He's very touchy if we break his dreams:

But Thyrsis (for you know fair Daphnis pains,

And singst the best of all the tuneful Swains)

Let's go and sit beneath yon Myrtle boughs,

Where stand Priapus, and the Nymphs repose,

Where thy Hut's built and many an Acorn grows,

And there if thou wilt pipe as sweet a Lay

As when you strove with Crome and wan the day,

Ile give Thee my best Goat, a lovely white;

She suckles Two, yet fills Three Pails at night;

Besides a Cup with sweetest Wax o're lay'd,

A fine Two-handled Pot, and newly made:

Still of the Tool it smells, it neatly shines,

And round the brim a creeping Ivy twines

With Crocus mixt; where Kids do seem to brouze,

The Berryes crop, and wanton in the bough:

Within a Woman sits, a work divine,

Thro envious vails her dazling Beautys shine,

And all around neat Woers offer Love,

They strive, they quarrel, but they cannot move:

Now smiling here, now there she casts her Eyes,

And now to These, now Those her mind applyes:

Whilst They, their Eyes swoln big with watchful pain,

Still Love, still beg, but all, poor hearts, in vain.

Near These a Fisher on white Rocks is set,

He seems to gather up to cast his Net:

He stand as labouring, and his Limbs appear

All stretcht, and in his face mix hope and fear:

The Nerves in's Neck are swoln, look firm and strong,

All-tho He's old, and fit for one that's Young:
Next him ripe Grapes in blushing Clusters twine,

And a fair Boy sits by to keep the Vine:

On either side a Fox; one widely gapes,
He eyes the Vines and spoils the ripening Grapes:

The other minds the Skrip, resolv'd to seize

And rob the Fondling of his Bread and Cheese;

While He sets idly busy, neatly tyes

Soft tender twigs, and frames a Net for Flyes;
Pleas'd with his vain designes, a careless Boy,

And more than Grapes or Skrip he minds the Toy.

Round all a Creeping Woodbine doth aspire,

A curious sight, i'me sure you must admire:

'Twas Calydons, but when he crost the Seas

I bought it for a Goat, and Rammel Cheese:

It never toucht my Lips, unsoild, and new,

And this I freely will present to you,

If you will sing how in the shady Grove

Young Daphnis pin'd, and how he dy'd for Love,

I am in Earnest, I will love Thee long,

And surely mind the favour of thy song.

– Theocritus (early 3rd century BC), translated by Thomas Creech (1684)

Art - Japan

Anonymous Japanese Artist
Map of the Ming Empire in China
1681
ink and pigment on paper
Denver Art Museum

Furuyama Moromasa
Actor Ichikawa Danjuro II
as Kamakura no Gongoro
1736
ink and pigment on silk
Art Institute of Chicago

Kusakabe Kimbei
Wisteria at Kameido Temple, Tokyo
ca. 1870-75
hand-colored albumen print
National Museum of Asian Art, Washington DC

Anonymous Japanese Photographer
Portrait of a Woman
ca. 1880
hand-colored albumen print
National Museum of Asian Art, Washington DC

Anonymous Japanese Photographer
Portrait of a Samurai
ca. 1880
hand-colored albumen print
National Museum of Asian Art, Washington DC

Anonymous Japanese Photographer
Tattooed Porters
ca. 1880
hand-colored albumen print
National Museum of Asian Art, Washington DC

Anonymous Japanese Artist
Design for Decorated Jug
ca. 1880-1910
watercolor and gouache on paper
Cooper Hewitt, Smithsonian Design Museum

Anonymous Japanese Artist
Fan decorated with Grape Vines
ca. 1890-1910
gilded and painted paper, bamboo sticks
Cooper Hewitt, Smithsonian Design Museum

Anonymous Japanese Photographer
Group of Women
ca. 1900
hand-colored albumen print
National Museum of Asian Art, Washington DC

Anonymous Japanese Photographer
Sumo Wrestlers
ca. 1910
hand-colored albumen print
National Museum of Asian Art, Washington DC

Anonymous Japanese Printmaker
Sacred Red Bridge
ca. 1920
hand-colored halftone-print (postcard)
National Museum of Natural History, Washington DC

Anonymous Japanese Printmaker
Japan Air Transport Co., Ltd.
ca. 1930
lithograph (advertising poster)
National Air and Space Museum, Washington DC

Anonymous Japanese Designer
Textile Sample
1936
printed silk
Cooper Hewitt, Smithsonian Design Museum

Anonymous Japanese Designer
Shopping Bag from Seibu (Tokyo)
ca. 1980
offset-print on paper bag
Cooper Hewitt, Smithsonian Design Museum

Anonymous Japanese Designer
Shopping Bag from Yaohan (Tokyo)
ca. 1985
offset-print on paper bag
Cooper Hewitt, Smithsonian Design Museum

Ikko Tanaka
Japan
1986
screenprint (exhibition poster)
Cooper Hewitt, Smithsonian Design Museum

Hiroshi Sugimoto
Bay of Sagami, Atami
(Seascapes series)
1997
gelatin silver print
Guggenheim Museum, New York

from The Ecclesiazusae

Enter Praxagora, speaking to her Candle

O glorious Eie, thou miracle of Sight

        That in the dark canst see, and viewst the Earth

When it is wrapt in pitch; thou Day by Night,

        Thou artificial Sun: whose wondrous birth

And fortune both are from a Woman's hand,

        Assist our Meeting with thy choysest flames;

Dart out such raies, as those when thou dost stand

        By lovers bedds, and seest the youthfull Dames

Melting with heat, and from their fires dost learne

In a refined sympathie to burne.

Thou are noe Traytour, that wee neede distrust

        Thy slippery Faith; thy beams are wont to aide,

Not to disclose: wee ever found thee just

        And true to our Designes; when any Maide

Steals to the Cellar for a cuppe of wine,

        Or undermines a pie, thou holdst thy tongue.

Or if a Lady will bee smoothly fine

        And shave her selfe, thou n'er wilt doe her Wrong:

The criticks of our sinnes, if they will know

They may goe looke; thy Light will nothing show.

Trusty and well-beloved, wee admit

        Thee to our Councell – But now I thinke on it, why doe

none of them come? wee must bee at the Towne-hall by Breake

of day; or else wee may chance to have the Men there before us. 

– Aristophanes (445-385 BC), translated by Nicholas Oldisworth (1631)

Felice Beato in Olden-Days Japan

Felice Beato
Three Women and a Girl
before 1877
hand-colored albumen silver print
National Museum of Asian Art Archive, Washington DC

Felice Beato
View of Lake Ashi and Mountains at Hakone, Japan
ca. 1860-70
albumen silver print
National Museum of Asian Art Archive, Washington DC

Felice Beato
Group of Men looking at Photographs
before 1877
albumen silver print
(carte de visite)
National Museum of Asian Art Archive, Washington DC

Felice Beato
Merchant's Family
ca. 1865
hand-colored albumen silver print
(carte de visite)
National Museum of Asian Art Archive, Washington DC

Felice Beato
Ferry at Kanazawa
before 1877
hand-colored albumen silver print
National Museum of Asian Art Archive, Washington DC

Felice Beato
Wrestlers with Retainers
before 1877
hand-colored albumen silver print
National Museum of Asian Art Archive, Washington DC

Felice Beato
Musicians
ca. 1865
hand-colored albumen silver print
(carte de visite)
National Museum of Asian Art Archive, Washington DC

Felice Beato
Mendicants
before 1877
hand-colored albumen silver print
(carte de visite)
National Museum of Asian Art Archive, Washington DC

Felice Beato
Sisters
ca. 1865
hand-colored albumen silver print
(carte de visite)
National Museum of Asian Art Archive, Washington DC

Felice Beato
Official with Supplicants
before 1877
hand-colored albumen silver print
National Museum of Asian Art Archive, Washington DC

Felice Beato
Satsuma Clan Envoys
1863
albumen silver print
National Museum of Asian Art Archive, Washington DC

Felice Beato
Porter
ca. 1865
hand-colored albumen silver print
National Museum of Asian Art Archive, Washington DC

Felice Beato
Porter
before 1877
hand-colored albumen silver print
(carte de visite)
National Museum of Asian Art Archive, Washington DC

Felice Beato
Tennoji Temple, Osaka
(mislabeled as "Kioto")
ca. 1870
albumen silver print
National Museum of Asian Art Archive, Washington DC

Felice Beato
Woman in Winter Dress
before 1877
hand-colored albumen silver print
(carte de visite)
National Museum of Asian Art Archive, Washington DC

Felice Beato
Tea-Seller
ca. 1865
hand-colored albumen silver print
National Museum of Asian Art Archive, Washington DC

from Ars Amatoria

If in this Town an unflusht Puny be,

Unpractis'd in Loves weighty Mystery,

Let him a while these pow'rful Precepts prove,

And proceed Master in the Art of Love. 

By Art swift Ships to their lov'd Port arrive,
By Art our Charriots in the Circus drive:

And who in Love would his great end attain,

Must guide the Boy too with an artful Rein.

Automedon by Charriots got a Name,

And steering Argo purchas'd Typhis Fame;

Great Venus to my Charge commits her Son,

Calls me his Typhis, his Automedon.

Tho' the wild Thing my Counsel oft reject,

Yet tender years excuse the Boy's neglect,

And promise for the future more respect.

Thus Reverend Chiron (as 'tis said) of old,

To musick did his young Achilles mould.

This gentle Art his roughness soon refin'd,

Softning the growing Passions of his Mind. 

– Ovid (43 BC-AD 17), translated by Thomas Hoy (1682)

18th-Century French Furniture in New York

Anonymous French Workshop
Dressing-Table Mirror
ca. 1700
ebony inlaid with exotic materials, gilt-bronze mounts
Metropolitan Museum of Art, New York

Anonymous French Workshop
Console Table
ca. 1700-1725
carved and gilded oak, marble top
Metropolitan Museum of Art, New York

André-Charles Boulle
Commode
ca. 1710-20
walnut veneered with ebony,
marquetry of engraved brass and tortoiseshell,
verd-antique marble top, gilt-bronze mounts
Metropolitan Museum of Art, New York

Charles Cressent
Commode
ca. 1745-49
oak and pine veneered with exotic woods,
gilt-bronze mounts
Metropolitan Museum of Art, New York

Bernard II van Risenburgh
Writing Table
ca. 1755
oak veneered with exotic woods and other materials,
gilt-bronze mounts
Metropolitan Museum of Art, New York

attributed to Bernard II van Risenburgh
Folding Card Table
ca. 1755-65
oak veneered with exotic woods, gilt-bronze mounts
Metropolitan Museum of Art, New York

Gilles Joubert
Writing Table
1759
lacquered oak, gilt-bronze mounts
Metropolitan Museum of Art, New York

Denis Genty
Commode
ca. 1760
oak veneered with exotic woods,
marble top, gilt-bronze mounts
Metropolitan Museum of Art, New York

Jean-François Hache (Hache l'ainé)
Slant-Top Desk
ca. 1760-65
walnut with marquetry in exotic woods
Metropolitan Museum of Art, New York

Joseph Baumhauer
Writing Table
ca. 1760-65
oak veneered with tulip wood, gilt-bronze mounts
Metropolitan Museum of Art, New York

Léonard Boudin
Work Table
ca. 1761-70
oak veneered with exotic woods,
gilt-bronze mounts
Metropolitan Museum of Art, New York

attributed to Léonard Boudin
Commode
ca. 1765-70
oak and pine veneered with exotic woods,
gilt-bronze mounts
Metropolitan Museum of Art, New York

Jean-Henri Eberts
Tripod Stand (Athènienne)
ca. 1773
carved and gilded pine, gilt-bronze fittings
Metropolitan Museum of Art, New York

Guillaume Benneman
Drop-Front Secretary
1786-87
oak veneered with exotic woods,
marble top, gilt-bronze mounts
Metropolitan Museum of Art, New York

Adam Weiseiler
Drop-Front Secretary on Stand
ca. 1790
oak veneered with exotic woods,
Japanese and French lacquer panels,
gilt-bronze mounts
Metropolitan Museum of Art, New York

 
"The ébénistes were responsible for veneered and marquetried case furniture such as tables, cabinets, and commodes or chests of drawers, one of the popular new types of furniture introduced during the eighteenth century.  Instead of marquetry, panels of Chinese or Japanese lacquer could also be used as veneer.  The eighteenth-century marchands-merciers (dealers), who played an important role as decorators, creators of new fashions, and middlemen between craftsmen and clients, would supply the cabinetmakers with such lacquer panels.  These were often cut from old-fashioned chests or cabinets that had been imported from the Far East during the previous century." 

– extracts from the Heilbrunn Timeline of Art History at the Metropolitan Museum of Art, New York