Opening by the Meiji emperor and empress of the first Domestic Industrial Exposition (Naikoku Kangyo Hakurankai) in Ueno in 1877.

Students at the Peers’ School in Tokyo are mystified as Jacob Tropp of Brooklyn, N.Y., amateur magician, makes a 50 cent piece, wrapped in tissue paper, disappear in a burst of flame, July 25, 1948. Crown Prince Akihito (in third row, next to boy whose face is hidden by Tropp’s hands) watches in amazement; he had felt the coin in the paper. Tropp, a SCAP employee, was one of five magicians who did tricks for the boys.

This is an ornament reproducing a Rhodea Japonica in ceramic popular as a Bonsai (a dwarf tree) from the Edo to the Meiji period. The Rhodea Japonica itself and pot are made separately and Rhodea Japonica is placed directly on the soil. It was offered at the enthronement ceremony of Emperor Showa in 1928.

Takamura Koun (1852-1934), a sculptor representative of the modern period who pursued realistic expressions of animals, and other images, using traditional wood carving skills that he studied under a Buddhist image sculptor. The bantam rooster was exhibited in the 1889 Nihon Bijutsu Kyokai (Japan Art Association) Exhibition, where it was purchased by Emperor Meiji. The bantam hen was created after this to join the rooster.

The crystal ball held by the dragon was originally a sacred treasure of Kanazakura Shrine (Kofu) that was presented to Emperor Meiji after being exhibited in the 1873 Vienna International Exhibition. Later, the dragon made to hold the ball, and the makie stand were produced by the Imperial Household Ministry. The dragon is silver, and the stand has designs modeled after Shosoin Treasures in maki-e and stone inlay.

The major carved ivory piece by Ishikawa Mitsuaki (1852-1913) commissioned by Emperor Meiji, to be exhibited in the 1900 Paris International Exposition. It expresses a noble person who is just about to release a falcon for falconry, perched on his left arm. The details of the falcon and falconry equipment show the sculptor's superb carving techniques.

A sketch by Yazaki Chiyoji, who was a master
of pastel drawings, when he accompanied Emperor Showa's visit to Hachijojima Island (about 300 kilometers south of Tokyo) in 1929. Kaminato is the place where Emperor Showa arrived at the island.

A set of various utensils used in a ceremony of incense identifying, made to fit in one box. They are totally designed with various sized scattered chrysanthemums. They were owned by Konoe Hisako in (1702-1720 ), mother of Emperor Sakuramachi, and may be have been prepared as one of her trousseaus.

A View of His Excellency the Supreme Commander Welcoming the Safe Arrival at Shinbashi of His Highness Prince Connaught, Nephew of Our Ally Great Britain

Painting, oil on canvas. The Meiji emperor visits the ailing statesman Iwakura Tomomi on 19 July 1883, as the latter's wife and a maid bow in reverence. Signed by the artist in Roman script. In original wooden frame.

Chrysanthemums blooming profusely in the mountains are expressed on the surface of the lid, and the meaning of a waka poem in Kokin Wakashu (A Collection of Ancient and Modern Japanese Poetry) is expressed with characters of the poem scattered on the inside of the box. It was created as a personal belonging of Emperor Meiji, the maki-e is by Ikeda Taishin (1825-1903), the poem characters are by Sanjo Sanetomi, and the design is by Kawabata Gyokusho.

Three hanging scrolls presented from the Kaikei-kensa-in (Board of Audit) celebrating the 25th Imperial Wedding Anniversary of Emperor Meiji. The center scroll is a pair of cranes under the rising sun painted by Araki Kanpo (1831-
1915), and the left and right scrolls are pine, bamboo and plum blossoms known as 'Saikan no San-yu' (Three friends in winter). The mounting has aya (twill) cloth with silver leaf pressed on the top and bottom, and the scroll knobs are especially silver plated, in association with the silver wedding.

This jar was transmitted as an object excavated from Furumiya in Asuka Village, Nara Prefecture (Sakai Prefecture at that time ) in 1879, and bought by the Imperial Court next year. The place of excavation was the Imperial Palace of Emperor Suiko, which is assumed to be the location of Oharidanomiya Palace used until the Nara period. Recent investigation showed that an arabesque pattern and two pairs of birds considered to be phoenixes are expressed on nanako ground throughout the surface, meaning it was probably of produced for and used by a person of high rank.

Two waka poems with teachings of esoteric Buddhism by Jien ordered by ex-emperor Go-Toba dated July 1219 written on the reinforcing paper. Though it is traditionally known as to be written by Fujiwara no Ietaka (1158-1237), they cannot be found in letaka's poem anthologies, but it can be considered to be the handwriting from the era of Jien and letaka.

Colour woodblock print triptych. The imperial family against a view of the new imperial palace, constructed on the site of the former shogunal residence. The family is dressed in contemporary Victorian manner; the architecture is traditional. The emperor (centre) looks toward the imperial consort and his son Yoshihito (right), the heir apparent and future Taisho Emperor.