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Ach iNe b Fehr ev en hy KEAN RTS att Pd ea NM bal Sie patnanheig tas oat atta Na ote PETROS al earn Me velba whch ty Van fom Woes as mts ‘ Wh oprie inh etc eS oReanrainy etee Set hahe tent igh LRmanA SNPS Padwiahehemae atoane aistatheges warbler anathrtsiatinthivian sRanat woe is eka ure wAumsnanes at <8 peste siereaiir ir eisee eco ati Ree eteenastae te Tea eared : Seen cureseds bre Tendon yonar ot SA gata be Nah yA aA sierra eked fe tar ince cae eed taebinn ja tuhalbut atone Rgres Mat aBla lama chaial phe ioe ath * Nano Non stsN AbSanbn Anat Ratorso ean ae emia Nutheratre breast pning Neete Wit arte Be Ripe ter tar Be Lance tenthg sa tearm ten at phat nolo Sater tales oho TASS atenonatinh Bi eNRb Mam he bute od ES MS tae at et ate OPEL perecenenc pre oe Se pr Peet oe wee int” a ee ete uti Bal PsA Ny Saeed ates! tarecwit iat beh ete ee iwhinehetes ' " ? ; a ar ; i is iy at i wy * , La { : ‘ ? je a ry yd « ; ih Md ih i M Bal #\ Py : i i 4 p a i § ¢ AY J ; c ON 6 TIE W DAY AND EVENING Ay ‘THE AMERICAN ART GALLERIES vay ae SQUARE SOUTH, NEW YORK RICTED PUBLIC SALE MERICAN ART aes 280H, 307TH AND 31ST, AND 2ND AND 93RD, AND ON THE w aaa dike 7 The Hercommen Oat? of Art, a oe um vy on ROP DP. a ie 2 ert or TPS OAS Se « t ee se a7 f « rs. ¥ CATALOGUE DE SPE THE A} ERICAN ART ASSOCIATION te Mise - MANAGERS r co NEW YORK pk ee 1508 Peta. is Ms ‘THE ART TREASURES L, G2SK4 hanes _¥ Ee ae ne fs re ORDER OF SALE EVENING SESSIONS AFTERNOON SESSIONS - ESDAY AFTERNOON, JANUARY 25rn , JAPANESE See PIPE CASES, ee ae TOBACCO FRIDAY AFTERNOON, JANUARY 271TH AT THE AMERICAN ART GALLERIES, at 2.30 o'clock. ANTIQUE CHINESE POTTERY, ANCIENT CHINESE AND JAPANESE BRONZES. Catalogue Nos. 571 to 831, inclusive. SATURDAY AFTERNOON, JANUARY 28TH AT THE AMERICAN ART GALLERIES, at 2.30 o'clock, COREAN POTTERY, ANTIQUE CHINESE PORCELAINS DECORATED BLUE AND WHITE, SOFT PASTE SINGLE COLORS AND CELADON SPECI- MENS AND JAPANESE AND CHINESE CLOISONNE ENAMELS. Catalogue Nos. 833 to 1140, inclusive. MONDAY AFTERNOON, JANUARY 30TH AT THE AMERICAN ART GALLERIES, at 2.30 o'clock. SWORD GUARDS, SWORD ORNAMENTS, KNIFE HANDLES, JAPANESE DAGGERS, SWORDS AND FAMOUS SWORD BLADES. Catalogue Nos. 1141 to 1361, inclusive. TUESDAY AFTERNOON, JANUARY 31st AT THE AMERICAN ART GALLERIES, at 2.30 o’clock. ANTIQUE JAPANESE POTTERY AND PORCELAINS. Catalogue Nos. 1366 to 1636, inclusive. WEDNESDAY AFTERNOON, FEBRUARY Ist AT THE AMERICAN ART GALLERIES, at 2.30 o’clock. ANTIQUE JAPANESE PORCELAINS, POTTERY AND SATSUMA FAIENCE. Catalogue Nos. 1637 to 1919, inclusive. THURSDAY AFTERNOON, FEBRUARY 2np AT THE AMERICAN ART GALLERIES, at 2.30 o’clock, ANTIQUE JAPANESE FAIENCE AND PORCELAINS., Catalogue Nos. 1920 to 2249, inclusive. FRIDAY AFTERNOON, FEBRUARY 3rp AT THE AMERICAN ART GALLERIES, Concluding Session, beginning at 2.30 o’clock. ANTIQUE JAPANESE FAIENCE, STONEWARE AND MISCELLANEOUS OBJECTS, GALLERY CABINETS AND FURNI- TURE. Catalogue Nos, 2251 te 2542, inclusive. ras Bin LOUIS APOL ee the band of Dutch artists who began to establish a Be icistion in the seventies, Louis Apol holds a very distinguished place. — Be has. a eee fondness for winter scenes, which he ren- A WIN’ TER M OON 37 Steed i "The Hague, 1835. Pupil of his father. A landscape painter of great merit, reproducing nature’s beauty in a true and ae manner. His ienps fais are mostly taken from the province i THE FORD 1" NICOLAAS BASTERT Be ma Ryiceed, 1858. Pupil of the Amsterdam Academy. ented | landscape painter. His work is refined and his inspira- ceived directly from nature. He is at his best when paint- rivers which reflect the trees along their borders. The ss he sent to the Chicago Exposition were all bought by urs of the United States. He has exhibited in Paris, om ,) c ra. Munich, Chicago, Amsterdam and The Hague with success, rece oa ing a medal in each city. ana OCTOBER—HOLLAND MRS. BILDERS-VAN BOSSE Born in Oosterbeek. Studied principally with her late | J. W. Bilders, and Anton Mauve, who taught her to paint interiors, especially in water color, which are much a mir Holland. IN A BEECH FOREST Academy. His first exhibit was made in 1869, was hung next to one by Israéls. This led to a f them, the influence of which is clearly percepti work. But his temperament is sunny, and while sympathy into the life of the peasants, his ge domestic scenes are happier in suggestion than» t fC) man. ‘The picture, exhibited at Paris, a large can a mother and three children paddling in the shallo set; a subject altogether charming in spirit and Holland, Blommers is highly esteemed, his work principal public galleries, while his Tepe steadily advancing. HAILING THE BOAT | GIRL KNITTING E | rawing-school of the Rue de l’Ecole de Médicine. For more than eur: “thirty years he was a constant exhibitor at the Salon, gaining the ~ i % egion of Honor in 1870. In 1881 he entered the Hospital of c Saint Jean de Dicu to be operated on, and for the rest of his life at 2 was an invalid. He died in 1888. es THE CLOISTER i. RY ee is now anneeee as one of Holland’s ee ; “painters. Pines his death his works have rapidly been absorbed _ into collections. He was unexcelled in his specialty of church in- -teriors. | Beautifully drawn and executed, they are filled with air and also with the suggestion of those sentiments that are inspired by r the grand architecture that has been a silent witness of great its in Holland’s history. His landscapes are also full of fine 4 eeling. He received many honors; none that he greater esteemed ba than to be chosen, as he was in J uly, 1885, to unveil Rembrandt’s ; $ masterpiece i in the new museum at Amsterdam. I UTCH BARN , 23 CHURCH, MIDWOLDE, HOLLAND 28 e D. C., where he has established: a aah as a ; of ability and an art critic of sound judgment. HARVEST FIELD 46 T CORNER ) 94 Fee» DOLLY’S HANDS : 87 ee Fie Lay ae Foe Boer ie ne ee, meee ai wags es Bl atid tte sg ee ee fis aie mae epee he a een ear agh 5 ‘ " > af : Sin Ye Dunthorne, who gave his instruction wags in thet Finally deciding to be a painter, he entered the Academ at the age of twenty-four, and exhibited his first picture later. He studied the works of Ruysdael i in the ee Xe advance the study of light and air, ne for the to ir mosphere moves and has its being in painted “a i ahead of his time, anticipating the triumphs of the 7 to the Royal Academy in 1837. His faith in the jud Bis terity has been ee pga justified, and he i is no A HEATH HAMPSTEAD - a 1 eAN BAPTISTE CAMILLE COR! Bie Born in Paris in 1796; the son of a court 1 od sent to the high school at Rouen and then appr draper, his father, after eight years’ opposition to his desire to be a painter, and allowing him nance of twelve hundred francs. He studied un ea : = Pay 3 ; Re be * ait ‘Bertin, accompanying the latter in 1826 to Italy. Here with prac- = ee tice he achieved the accomplishment of rapidly portraying the action of moving figures, a skill that he afterwards extended to the delineation of foliage stirred by air. His early pictures, __-whether of figures or landscape, are of the orthodox academical Bee type, hinting at the future Corot only in the exceeding delicacy Be of their tonal effects and their increasing regard for the qualities ght of atmosphere. It was not until he had returned from his third ne visit to Italy, in 1843, that Corot fell under the influence of Rous- : seam and discovered the charms of French landscape. In Pro- ia ve ence, Normandy and Fontainebleau he studied nature, recom- neing his artistic life at the age of forty and studying for eight ars before the Corot that the world now recognizes as a master ; finally evoked. Communing with nature in Ville @Avray and nting in his studio in Paris, he produced during the next nty-five years a series of masterpieces, distinguished as much truth to nature as by their exquisite poetry. The latter was an effluence of his own quiet, happy spirit, and of the perennial _ youth of his soul, that found its pleasure in music and in nature and in the companionship of his friends. He lived with his sister, _ who died in 1874, and the old bachelor followed her ae next year. es “Rien ne trouble sa fis est le soir d’un beau jour.” _ NIGHTFALL: A STUDY 50 DAVID cox Born near Birmingham, England, in 1783. He began his career as a scene painter in a Birmingham theatre, and went to ei ,ondon in 1803, where he became a teacher of drawing and paint- in , and practised his profession with great success. His name - is identified with a flourishing school of English landscape paint- f which he was one of the leaders. In 1844 he settled at rb iy Heath, near Birmingham, where he died in 1859. COLLECTING THE FLOCK, VALE OF CLWYD 81 This artist was a pupil of Gétine and sella ee ae Salon in 1877, and in 1878 received a-medal for his “ Manon Lescaut.” In 1880 M. Dagnan-Bouveret receiv: class medal; in 1885 the Legion of Honor, and in medals of honor at the Salon and the Universal Exp his own country could not do for him, except to suppo: her patronage, and this she has honestly done. Comme! foundation of neo-classical art which characterizes school, M. Dagnan has created a school of his own, has many followers. Tenacious, patient, persevering. with the extremest care, leaving nothing to accident, b sincere French artists of the present day. from any of the mannerisms or convenienaliiad ) ing, and equally free from any personal affectat Bastien-Lepage, himself an artist of a very sim’ in the highest esteem, and since the death of | gnan comes closer to taking his place than any day. M. Dagnan takes his surname Bouver in order to distinguish himself from another now deceased. A DUET IN THE STUDIO studio of Delaroche. From 1838 he was a constant the Salon and became identified with subje ects — of recognition won by the older men. He was ni soneeptions ; : ae opie simply and yee a lover of the country. Such a ola of nature is a survival of, or a return to, the simple | 4 sons LANDSCAPE 53 E 60 CK Rocks, COAST OF NORMANDY "3 LY MORNING ON THE OISE 58 rape ‘entitled é Late Afternoon.” The artist was Charles H. s. At the Exposition of 1890, in Chicago, another of the rks secured the prize of $500, donated by Mr. and Mrs. mer, for the best landscape. Two exhibitions of the painter’s pictures in New York further introduced him to lic and confirmed his footing. Mr. Davis is a native of Am sbury, Massachusetts, born in 1856, and at twenty years of ag e | Maas A WINTER EVENING — has gained from his master a broad and vigorou ing. His skies are admirable. His landscapes well composed, and have a certain strength and at that are very attractive. He has in his work modern Dutch school. ec A LANDSCAPE he freed himself from classic principles of style | tion of the antique. As a boy he had spent several farm, and the love of nature was strong within hin accompanied Garneray, a marine painter, to Con Asia Minor, and his journey proved a voyage French painting. He dared to paint what he s y 1g Bihcouph the vision of a true ee fascinated by color and ight, and in a spirit of hee mystical poetry. His death oc- A ae DAVID 16 P. DE JOSSELIN DE JONG Contemporary , | SCHEVENINGEN FISHER-GIRLS 26 OTTO DE THOREN eo! ne Paris, 1865; Munich, 1869; Vienna, 1882. Chevalier f the Order Francis Joseph. Russian Order of Vladimir. Mem- er of the Vienna and St. Petersburg Academies. APPROACHING STORM 67 qi, : si! ¥ ie balers yh = LUDWIG DETTMAN ake a —e + abet et, pi Contemporary POTATO IARVEST 295 HENRI LUCIEN DOUCET n si - Genre and portrait painter; pupil of Lefebvre rer. Awarded a medal at the Salon of 1879. : ae BALL 82 EUGENE FROMENTIN _ | Me nt fin, Rochelle in 1820. He was the son of a successful and sensed to follow his father’s profession. But after xe 4 y: ae L * 4 PF =v rs im, 4 net Ray ey : ‘ nat 4 ee ‘A cn! 7 Pi abt re ” bs 35 a) 5 * 7 ~*~ Aen a ae ei eee ; et bt Las * ae x. 7 TL fork 4 4 4 . al _ » 1 a af We ena 4 thy toward the cae of law, and he became a pupil of. Rémond. He had visited Algeria as a youth, and, ‘att Marilhat’s paintings of the Orient, now made up his turn to that country. He eer epee three; Salon, ae in a few years was repoeeiaes as the most and poetical painter of Oriental subjects, and became, | leader of a school. Meanwhile he established his repu brilliant and facile writer, not only as a critic of novelist. He received medals at the Paris Salon and 1859, and at the Exposition in 1867. He was of the Legion of Honor in 1859 and Officer in 186 i ARABS ON THE MARCH This distinguished Catalonian cae was, 1870 Baldomero Galofre arrived in Madrid w pocket and two portfolios of pier the Z under Rane Mare. de Rome. He was Pica Be Fein. in Date : independent and exclusive in his habits. He w occupied a leading position among modern Eph death occurred at Barcelona on July 26, falas BESIDE THE BAY OF NAPLES WALTER GAY Born in Hingham, Massachusetts, Walter | known in Boston as a painter of flowers and still-li a nephew and pupil of Walter Allan Gay, who Prof. R. W. Weir at West Point, and Troyon travelled and painted widely in 1 Europe and the E ee ON eee chap be Oe . = t * A EB Bat and since that time he has devoted himself almost entirely to | figure subjects, in a cheerful and pleasing genre, which have won for — a ye reputation. At the Salon of 1885 he was of the Society of American Artists, and was made a Chevalier of the Legion of Honor in 1894. His best known pictures are genre “subjects of the eighteenth century, but during the past couple of ears he has varied them with realistic motives of modern life, pt | in es which show him to be fully abreast with the “4 PRovinctat ASYLUM L568 eg North Africa as a field for subjects, was born in Paris on a Bech en 1840. He studied at the Ecole des Beau Arts, and eg the first of his many visits to Algeria. His scenes of life the nomadic Arabs of the waste “a the. Arabian husband > be Ie Me ertations of actual life, whose et is eal nt on themselves. It is in this that their strong appeal to : vj ld REBT IN . AL KANTARA 52 s AT LAGHOUAT 5G rm » Nt a hee Soe? aay \ Prien 2. Peat Geter sc AUGUST HAGBORG Born at Gothenburg, Sweden. Pupil of the Academ: - of fs. Arts, Stockholm, and of Palmaroli, Paris. Medal, Paris, 18 PAT, maj jestic stature, with a handsome and chateelas heac fatigable fighter and worker, whose eyes, flashing with and spirit, have in them still that tenderness which bel ; Swedish eye, tinted with the beautiful blue of the sea. is robust and vigorous in the talent which confirms the masters of the future.”—August H. asta BELina. MEETING THE BOAT WILLIAM H. HOLMES © Born in Harrison County, Ohio, in 1846. color drawings at an early age, but without a me tey ce the United States Geological To be the tice of his favorite art. VENICE pa ab Born at Paris in 1804. He was the son of a. Y ture painter, Jean Baptiste Isabey, and was the pt He began his career as a genre painter, but shorth marines, and, indeed, during his whole professional sixty years, he divided his time between these t In 1830 he was appointed royal marine painte a omenaiore for sea pictures, he continued to pe unt ably facile, vivacious and rich-toned is pay * x edals at the Paris Salon in 1824 and 1897, and at the Exposition a in 1855; was made Chevalier of the Legion of Honor in 1832 and ie - Officer i in 1852. Died in 1886. A SHIPWRECK 65 = JOSEF ISRAELS ag _ Born at Groningen, North Holland, in 1824. As a boy he . fecha to be a rabbi, but on leaving school entered his father’s small ee ees business, and in 1844 went to Amsterdam to study under ae _ the fashionable portrait-painter, Jan Kruseman. But it was the . s g etto of the city, swarming with life, that affected his imagina- Hon. The following year he proceeded to Paris and worked under BA: cot and Delaroche, entering the latter’s studio shortly after se Millet had left it. Like Millet, he had no inclination for “ grand painting,” and, though he tried to practise it upon his return home, - it was in the little village of Zandfood, whither he went for his health, that he discovered his true bent. Again, like Millet, he Pe found his inspiration in the lives of the poor; but, unlike the French master, he invests his subjects with intimate peace and vl ca melancholy, veiling his figures in an exquisite subtlety of ied atmosphere. Amongst the moderns he is “one of the 'N THE BABY-CHAIR 41 DFATHER’S CONSOLATION "0 awards in 1851, 1861 and 1863. His influence had much t with the revival of interest in the art of etching, and eo ») his plates are held in high esteem by collectors. Meany 1845 he had been training himself to paint, although it until 1861 that his pictures received official recognition. | J pathies were with rustic life, and particularly with animals. . pig-attracted him as a subject; he not only painted the b fowls, but bred them and wrote a book about them. Y his representation of sheep that he is most highly e experience with the burin and needle had made him cise draughtsman, while his profound study of « complete mastery over construction and details, as we to represent their character. His fondness for t from any possibility of triviality; he selects the fuses them into a dignified unity. His pictures | poetry which characterized the Barbizon ae ol, ar patrons during his life. He died, 1894. 3 HOMEWARD BOND arte OONLIGHT A native of Edinburgh. An Associate o: Academy. His specialty is in characteristic Irish, though he also paints landscapes. __ A CONNEMARA BAILIFF JACOB SIMON HENDRIK Born at Amsterdam, bd Pupil and the his future career. Kever has a Pevige Dutch peasant home life, and none has k ally painted children. He expresses in sentiment with a strong, free brush. His subjec but pemanghy painted. eae nares of ey excellent. His Barks are steadily rising in| he : 1 He received the gold medal of Amsterdam in 1892, a ind was ean medals at Munich, Chicago, and other places. yi _ DIVIDING THE PROFITS 10 IE NOONDAY REPAST 31 bi MUSING THE BABY 62 ? ei GOTTHARD KUEHT oe. ox the Munich school, with a predilection for media- onPHAN SCHOOL | 64 native ae Philadelphia and a .student of the Pennsylvania m eioihs went to Paris in 1872, and since that date has mued to reside in France. He entered the Beauw Arts and under Gleyre, later on being received into the studio of mn RIVERSIDE 92 Academy, where his “ Assassination of Czar Féder Borissovich ” was awarded the second prize. He painted portraits almost ex- clusively for several years, but in 1869 he exhibited the “ Carnival in St. Petersburg,” now belonging to the Czar. Makovysky is a member of, and Professor in the St. Petersburg Academy. HEAD OF A WOMAN 89 JACOB MARIS The eldest of the three brothers, whose father and teacher was an able artist of the last century, was born at The Hague, 1837. Pupil of Stroebel, van Hove, de Keyser and Hébert. Jacob Maris was greatly impressed, while in Paris studying with Hébert, with the works of Daubigny, Millet, Rousseau, Dupré and Corot. Returning to Holland, his serious nature was drawn towards the Dutch landscape, its windmills, towns, canals; also to the seashore with its picturesque fishing-boats. He was regarded by all his brother artists as the greatest living landscape painter in Holland. His pictures have steadily grown in the estimation of connoisseurs. ~ He died in 1899. AT DORDRECHT 11 SUBURBS OF THE HAGUE 19 THE OLD CANAL AT DORDRECHT 1 WILLEM MARIS Born at The Hague, 1843. Brother and pupil of Jacob Maris, but taught more by nature. There is no artist who can depict so well the delicious atmosphere that envelopes Holland on a summer day. His favorite subject is a pasture with the sunlight resting on the backs of cows standing dreamily near ponds, or ditches or in milking corners. He is seldom satisfied with his own work. His art is wonderful, and the brush with which he has charmed so many lovers of nature is handled with ease and as by magic. Let one who wishes to understand the work of Willem Maris take a walk from one of the villages of Holland to some neighboring farm, sit ie : = down on the roadside between the pastures, enjoy the country in all its beauty, inhale the balmy perfume of the land, and then he 3 e 4 will feel the sentiment that Willem Maris so well interprets. MILKING ee Oa _ A COOL SPOT 20 os i oe «COWS IN THE MARSH Q1 _ MILKING TIME 45 oe |. ANTON MAUVE "i «Tt was truly said when Anton Mauve died that Holland had ae sustained a national Bee eee comparatively” a young man, di ea bis, any of his contemporaries to infuse into the minds ee of his fellow-artists higher aims and to lead them toward that close : sympathy with nature which was his own inspiration. He loved tlie Dutch farms, dykes and heaths, and he painted them lovingly and tenderly i in a direct, simple way. To him his country was not ae lways dull, gray and damp, as other artists would have us believe. ‘saw and felt, and shows us, its light and sunshine, too. gh his pictures we may know Holland as it is, with its peace- easant life in both field and cottage—not that life of hard opeless toil that Millet so often painted, but the life of peace- d contented labor which, happily, is, after all, the peasant’s frequent lot. I auve was born at Zaandam, September 18, 1838, and died Wo ai 2G eA “Te. a wed pe ot = ao ie fs ie ae a >a. at 7 “ a . : - ae t ; aS ne 7 — si 2. f ‘ ! ‘ 2% am oe roe s MS) ee oy, burg, in the principality of Mentz, or at Memline, near Ale in North Holland. He probably settled in Bruges in or befor 1467. In May, 1480, he was im possession of two houses i street leading from the Flemish bridge to the ramparts, now St. George’s Street. In the town accounts of 1480 he among the two hundred and forty-seven burgesses who ) é . money (a forced loan) to the municipality towards the ex] the war between Maximilian and the King of France. was married; his wife’s Christian name was Anne, and sh three sons: John, Nicholas and Cornelius. Anne died i Hans on August 11, 1494. Memlince most likely s prenticeship under some master-painter at Mentz or must have worked in | the latter city as a Journey uae . dini says that Memlinc was the pupil of Roger de la Ps Der Weyden) of Tournay, who settled in Brussels judging by the many points of similarity in their we possibly be true. These points of resemblance are, entirely confined to ahaa representing ae ) tion, now in the Gallery at Munich, fepecue ado the church of St. Columba at Cologne, where Memli and studied it. ‘There is no contemporary document nected with the author of the centre. Ga is quite ‘ : he worked with Simon Marmion at Valencienne ters. For harmony of color and purity oe exp : surpasses all the masters who settled in Bruges. VIRGIN AND CHILD AND DONORS—A JEAN BAPTISTE MILLET ae A brother of Jean Frangois Millet. Pupil of Troyon and lousseau, whose pictures he frequently copied. GORGES D’APREMONT—EVENING 72 JEAN FRANCOIS MILLET led that he should study art. He consequently went to Cher- rg and became a pupil of Mouchel and Langlois. He had been C yore but two months when his father died, and he was a to te small site In 1848 he sold his first pic- “The Winnower,” and went to Barbizon. is pictures, a “The W ”” and went to Barb His pict t unrecognized, gradually gained public attention and esteem, the ppp oetion of ‘1867 his Spake Oars, was imailly assured. “— Salon in 1853 and 1864, the Grand Medal at the - in 6% and was made Chevalier of the Legion of sei DAY 38 _A pupil of the Amsterdam Academy, has received many com- DEVOTEES | 82 Philadelphia, Thomas Moran taught himself to ris in} = Tr colors and afterwards in oils. He had some inspiration and en- 3 couragement in his work from his elder brother, Edwarc , who, under instruction from James Hamilton and Paul Web acquired sufficient proficiency to set himself up as a lands marine painter. In 1862 Thomas Moran visited E ete which country he was a native, ee been born in ee ti ashire a which was reflected in his paintings of this ue made another European tour, this time travelling ¢ delphia; of the American Water Color ae on Etching Club, and the Society of Beate Rtchers. VIEW OF WINDSOR CASTLE ALPHONSE MARIE DE NEUVIEEE Ei ae ' the eee school at Lorient. Mid his bri ; also in the law school in Pa where he atten cessful. The Pinned War gave hiss Bas > x “sary stimulus and opportunity, and his pictures of that epoch are ar among the most remarkable war pictures ever painted. It is said ‘ re e: that upon his bed of death he thought himself once more on fields -— of battle, and imagined, in his last hours, the reality of the pic- a wait 3 tures in which he had made his country’s heroism immortal. Be- fore his fading sight floated the smoke of Magenta; in his dull ears 3 roared the cannon of Buzenville; he heard, in the echoing cham- in is “bers of his memory, the erackling fusillade of Le Bourget, and the sh shouts of victory in the guttural German tongue. He received it medals at Paris in 1859 and 1861; was made Chevalier of the _ Legion of Honor i in 1873 and Officer in 1881. Died in 1885. ‘THE FLAG OF TRUCE 42 oe Bivirse: ALBERT NEUHUYS s: “ e ) G. renee. “An his life he has been a student in the school ; f nature. His subjects treat of the familiar life of the Dutch eople. His works show a thorough understanding of the life of the _humbler country people and personal sympathy with them. also. iene. great fechmieal skill and are steadily increasing in 7 IN THE WORLD 40 FRUGAL MEAL 69 % . MISS A. NUGENHOLTZ eS Contemporary ‘TONY ~OFFERMANS orn at The Hague. Pupil of the Academy. A conscientious ble painter of peasant life. The village mechanic has been y him as by no one else. He enjoys the greatest popu- a s 2 naa ; ik 4 > ~ Paes J fay Se Se Sa ae er not, howeved) forget his nee add often disappears W to some remote hamlet, to meses alten months of work, with a wealth of studies. _ mA ee ie IN 4 DUTCH FARMHOUSE FLOWERS DAVID OYENS Contemporary ‘ INTERIOR OF 4 STUDIO. |. he Lita) etoae FRANCISCO After studying under Federico Madrazo visited Paris and then settled in as: He we good reputation, when, through the defalcati lost his fortune. Broken in health, te return tive city, and died there in 1896. , A GLASS OF WINE is very conscientious ae i Aeveeis brother artists. His painting is very pure and charming. He is one of the best wa ay: country notable for this art. va i - NIGHT: se. « 2 CALVES IN A CLOSE SIR JOSHUA REYNOLDS, P.R.A. De ie A native of Plympton in Devonshire, where he was born in Se yy. (1783, Reynolds went to London at the age of seventeen and be- came apprenticed to Hudson. Two years later he established him- Bier as a portrait-painter in Devonport, and in 1744 moved his studio to London. In 1749 Commodore (afterward Admiral) ~ Keppel invited the young painter to accompany him to the 4 [editerranean, and he was thus enabled to spend four years in ; few Italy, during which he studied the old masters to such purpose that his own work reproduced their qualities. Subsequently he added “te 0 his 3 research of Italian art that of the Dutch, and in his dis- courses: delivered before the Academy proved himself a master of : enetrating criticism. He founded “The Club,” and in 1768 was elected first President of the Royal Academy. Angelica Kauff- ; ann having declined his hand, he remained a bachelor, and in his Jendid house i in Leicester Square lived luxuriously, on terms of qmasity, with the greatest | men of his day. He died in 1792, 85 Be flowets bie dl free ‘ich sympathetic ince and leaving the school, went direct to nature. He first went to Fon- tainebleau in 1833, and in the following year painted the first pic- ture, which attracted much attention, the ** Cotes de Grandville.” During twelve or fifteen years following this success he was un- recognized by the artistic institution. ‘These had been years of penury, in which, however, his powers had ripened fully, and he had become recognized as the “* Eagle ” of the little group at Barbizon. But he still had to contend with the prejudice of officialdom and of the public, and it was only at the Exposition Universelle of 1855 that the world began to realize that he was indeed a master. By this time the evening of life was upon him, and it was clouded by the domestic sorrow of his wife’s insanity. In tending her he spent his strength, and when, at the Exposition of 1867, the officership in the Legion was withheld—an honor that was his due, since he had served as president of the jury—his spirit was broken, and he died the same year. He lies buried in the churchyard at Chailly, on the edge of the Forest, and upon the “ Barbizon Stone” a panel in bronze, executed by Chapu, bears the sculptured portraits of himself and Millet. EVENING 54 VICTOR LEON FERDINAND ROYBET When, at the Salon of 1866, the “ Jester of Henry III” won for its painter his first medal, France hailed in Roybet a new prophet in current art. His cavaliers and ladies, his groups and cavalcades, were not only picturesque in themselves and realized with remarkable vividness and vitality, but they were presented in picturesque incidents and surroundings. The painter is a native of Uzés, in the Garde, and was born in 1840. He had begun the study of art at the Ecole des Beawx Arts at Lyons, and settled in Paris long before his début at the Salon. An immediate favor followed the warm critical reception of his first works, and he entered upon a career of success which years have only added to, and which has made his name familiar throughout the civilized world. THE PAGE 48 a, ay _ _ FRANCOIS PIETER TER MEULEN Siar oa at Bodegraven, Meulen became a pupil of Van de Sande- - a I ‘Bakhuyzen the elder. He works at The Hague, devoting himself ida landscape, often with flocks and figures introduced. They are inted “loosely,” with charming suggestion of atmosphere and ht, and at times have a fresh and tender tone more than a little ; a reminiscent of Mauve. His “ Guardian of the Flock ” was one of the most agreeable pictures in the Dutch gallery at the recent a ve 1 sal Exposition. 1 SAND CART 13 cows IN THE FOREST 34 Sakai } = - sail ee: fe 5 é opined Bias W. B. THOLEN Born in Broad, 1860. One of the rising young artists of _ Holland. He is working for art’s sake. All subjects are handled , by y him with tenderness and feeling. The Museum of The Hague ossesses a very fine canvas by him, as also does the Pinakothek of _ He has already received honors at various exhibitions. BUTCHER SHOP | 29 CONSTANT TROYON e Saloni in 1833. Up to the time of his visit to Hol- 7, he painted landscapes exclusively, and became well is branch of art. His studies in the Netherlands ap- nged his purpose thoroughly, and from that time on landscapes subordinate to his cattle. His “ Oxen Go- ’ now in the Louvre, was painted in 1855, and repre- the apogee of his career. He was a legitimate suc- C ascassat, but his art has no rival in its grandeur of olicit ‘a and serenity. “While Troyon excelled in paint- Dens ~~ a ing a variety of animals, as dogs, sheep, and even barnya1 still it was as a painter of cattle that he reached his ea Nor was it merely their outward forms that he portrayed. a realizing sense of their character, their habits, their life, willing servants of man. ‘To us, those heavy-yoked oxen, necks and measured tread, dragging the plough along the are living; breathing creatures ; and those oa a most fears that a near en might ee a | feet, and they would walk out of the canvas. — I cattle have the heavy step, the philosophical inc resignation, the vagueness of look, which are— of their race.’” He received medals at the Sa 1846, 1848 and 1855, and was made Chevali Honor in 1849. Troyon died in Paris, 1865. CATTLE AT REST TRIUMPH OF CHRIST H. VALKENBURG _ rectness of drawing and skilful SS lb wi with gr of color than Israéls and others of the Dutch y tomed to use. His pictures are truthful and re: THE SPINNER Born of a soda family at BLY twelve. His father was a silk merchant B a flower painter and embroiderer. When ten years old he was ap- = - _ prenticed to Hendrik van Balen, and in 1615 entered the Academy of Rubens, remaining five years as pupil and assistant. ‘The mas- ter procured him an introduction to James I, whose portrait he ‘painted at Windsor, and assisted him to visit Italy. Here he 7 painted the portrait of Cardinal Bentivoglio, now in the Pitti Gal- a tery. After five years’ stay he returned to Antwerp, and again ae Rubens peepee him to favor. He paid an unsuccessful visit to si C: as L, ae ae of the king, queen and deat family lla ow at Windsor, was knighted and appointed Court painter. He _ lived in sumptuous style at Eltham, and in the winter at Black- _ friars. Here he died in 1641, and was buried in the old Cathedral [HE VIRGIN, INFANT CHRIST AND ANGELS 84 J. VAN ESSEN " siptitnde for his profession. His fata | faithfully me scenes of aotiand:; and often with much sentiment. He x Syed ‘ ghter and pupil of the eminent painter H. W. Mesdag. be A PEASANT’S HUT ae 39 J. H. WEISSENBRUCH Weissenbruch lives at The Hague, where he was born in 1822. He was a pupil of B. J. Van Hove, and has been a notable figure among the Dutch landscapists, especially in his water colors. AT TWILIGHT 5 ON THE CANAL 43 RICHARD WILSON, R.A. Son of the parson of Pinegas, Montgomeryshire, where he was born in 1714, Wilson’s taste for drawing attracted the attention of Sir George Wynne, who introduced him to a portrait-painter in London named Wright. In the same branch of art he contrived to make a living until 1749, when he visited Italy; and by the advice of Zuccarelli devoted himself to landscape. After six years’ stay in Italy he returned home to find Zuccarelli wor- shipped and himself neglected. In 1760, however, his “ Niobe ” made a great impression, and at the foundation of the Academy in 1768 he was one of the thirty-six original members. His struggle with poverty was slightly alleviated by his appointment as Libra- rian of the Academy, but it was not till he received a legacy in 1780 that he was able to return to a pleasant home in Llanberris, where he died two years later. It has been reserved for posterity to hail him as one of the great masters of landscape. TIVOLI 83 ALEXANDER H. WYANT, N.A. The Adirondacks was the school in which Alexander Wyant found his art. He was a tolerable painter when he started from his home in Ohio for study in Diisseldorf,.and there, also, must have added something to his craftsmanship. But it was face to face with nature, as far removed as possible from conventions of the artistic workshop, or of any other kind, that he learned the secret of expression. Nature had much to say to him and he to her, and little by little he found the means to record their com- - peeree So far as the world is concerned, the life of a true , 4n8 was a Rune Academician, a member of the Society of merican Artists, one of the founders of the American Water or Society, and a contributor to all the exhibitions. So were er painters, much less memorable. These facts are merely mile- s in his life. For the life itself—what it meant to him and se he made of it—one must search his works. In these one the qualities of poetry; not of the dramatic, kindling style, ender, alluring and infinitely delicate in expression. And l, there is strength, only it is held in firm reserve. He was ) gray and sombre effects, but could be sunny and buoyant of landscape, and of the sea. Its picturesqueness is endless, ee of ‘pictorial wealth inexhaustible. The people in ; He 88 L a - . mete 4 A Srey pb 33) =F me F a 9 ‘ “ i a a sal : i ‘ Pa é 7 = , F ‘ * : »*% he 7; AY : } ¢ Pi * Pd ‘ & a P 5 A y - se 4 j bow A a - i ’ F fan - * *M ’ F ide he ~ ~ od _< + ’ \ 5 ~ ™ : ¥ ‘oa m , “ < ' . ¥ 3 : ‘ i » 7 i » é M 7 : ” 4 % . * at ALY ew ATER COLORS .. CATALOGUE a — AT MENDELSSOHN HALL canal FRIDAY EVENING, JANUARY 27, 1905 a BEGINNING PROMPTLY AT 8.30 0’CcLOCK | No. 1 = fe. DAVID: O¥ENS Contemporary a with bric-d-brac. In front of it, nearly in the of f the composition, a lady reclines in an arm-chair, 4 ae to the left. In a recess on the right of round stand a piano and stool. ‘he lower left, Davin OvENs. -Height, 11 inches; width, 9 inches. No. 2 H. W. KERR, AS. Ae gee A CONNEMARA BAILIFF Oe ol eg The figure is represented half ae an ; high black hat, resting his scrubby : wearing a brown waistcoat, unbuttone hve 3 ¢ ee bo. cs His right thumb is inserted in the somole hand grasps a stick. Signed at the upper right, H. W. lies F fag PE oN ah ade ome COW IN STABLE) 47) 3 The scene is the interior of a Ton vt dle + Co weather-stained plaster walls, and | Facing this and standing : : ¢ Laos cow with a black head pages jk left shoulder. pad 8 eae a Signed at the lower right, Mauve. ih 9% ix No. 4 GEORGE POGGENBECK 1855— oe The misty whiteness of the buildings is in- ed by the yellow glow in one of the windows on is | round floor. Conspicuous against the roof, the gable / 6 ig BEE hich mounts in steps, is a large dormer window. € ay at the lower left, Guo. PoccenBEcK, 89. va he cn Shes Height, 10 inches; length, 14% inches. an a << : No. 5 z ee J. H. WEISSENBRUCH eo — 1824—1903 left of it is a 1 green meadow. ‘The era is ae th e effect of waning light. Ss ned at tthe lower left, J. H. WerisseNsRucn. Height, 13% inches; width, 9% inches. ION St INS Fat OS Re eit te sr le A Ieee a Ss be IE aie E Se NS SN Te Meat cig a SE eg oN _ - « é we ve #5 >. No. 6 B. J. BLOMMERS 1845— eee An? ow) HAILING THE BOATS | 7? yh eA out to sea, where a fishing smack approach ee water. Both wear white caps; the.« Signed at the lower lefi, BLommers. | Height, 14% inches; No. 7 MISS A. NUGENHOL! Contemporary = THE CART : stormy. Beyond the trees on each” Si bes polders. L a Signed at the lower right, A, NucrNwoirz. No. 8 TONY OFFERMANS 1854— IN A DUTCH FARMHOUSE < wi The fireplace is on the right, and under the hood of it stands a woman in dark skirt and white tippet and cap, Petding the pot. To her left, a bluish cupboard, with two dishes on it, stands against the whitish drab wall. ~ Overhead i is a raftered ceiling. On the left is a timber _ construction of post and brackets, through which streams of light reflect upon a brass pot that stands on the floor. a. Siguad at the lower right, T. OFFERMANS. Height, 13 inches; length, 18 inches. No. 9 GEORGE POGGENBECK = 1855— ‘ALVES IN A CLOSE In a green spot, enclosed with a stout timber fence and trees, lie three calves. The black and white one in front of the group faces to the left; the others, respect- ively brown and white and black and white, are turned the Jia direction. A fourth calf, black and white Signed at the lower right, Gro. PoGGENBECK. Height, 12% inches; length, 18% inches. $80 ra ep No. 10 J. S. H. KEVER 1854— DIVIDING THE PROFITS A. little boy in blue shirt sleeves is sitting in a chair, his feet in sabots dangling above the floor. In front of him, to the left, stands a smaller child, dressed in a dull blue skirt, drab waist-body, and long-sleeved white chemise. Her hands are joined to his, and both heads bend down in absorbed interest. Upon the left is the glow of the fire- place. Signed at the lower right, Keven. Height, 18 inches; width, 131% inches. No. 11 JACOB MARIS 1837—1899 AT DORDRECHT The sky’s paling light is reflected in the water of the harbor, the scene otherwise being shrouded in gloom. Barges, one of them with a sail flapping loose, are moored on the right against a high bank, which is covered with trees. Above their tops, near the centre of the composi- tion, is visible the sloping roof of a church tower. To the left an arched bridge makes a dark band between sky and water. Signed at the lower right, J. Maris. Height, 13% inches; length, 19 inches, Pte: No. 12 WILLEM MARIS “i Reteue = Beside a post and rails on the right of the bright green A AR A me > - Pasture a boy sits milking a red and white cow, which faces the spectator. In the distance on the left appear ‘Signed af the lower left, WitteEm Manis. . Height, 134% inches; length, 19 inches. No. 13 FEF. P. TER MEULEN os E 1843— ¢ nm Sows on a pool of water in the sandy fore- d. A two-wheeled cart drawn by a brown and ee, ox is moving across toward the right. As the driver Height, 11 inches; length, 20% inches. Hyp) Lf $400. - £425, - No. 14 MRS. M. P. BILDERS-VAN BOSSE 1837—1900 Fiagk ae pr wd IN A BEECH FOREST Near the centre of the composition, conspicuous in front of the other trees, stands a big gray trunk, whose smooth finger-like roots grip the mossy ground. The latter rises gently toward the back, where feathery trees show against a fresh gray-blue and white sky. The top of the picture is filled with tawny yellow foliage. f P2Zo0e.- Signed at the lower right, M. Brrpers-Vawn Bossz. Height, 12% inches; length, 21 inches. No. 15 ! Firsthes 7 - MISS MARGARETHE V. ROSENBOOM Contemporary ROSES On the left corner of a table lies a spray of roses. There are three very full-blown white blossoms tinged with pink, and, projecting on the left, a bud. A 2170, - Signed at the lower right, Manet. Voce RoseNBoom. Height, 13% inches; length, 20% inches. No. 16 THEOPHILE DE BOCK 1851— i LANDSCAPE _ Against a gray sky, full of clouds, lies a dull olive- ~ green hill, divided up into fields. On the right rises a slender tree. From the base of the hill water stretches *, tothe front of the picture; a bright green spur of pasture jutting into it from the right, and another of lighter hue ef _ projecting from the left nearer the foreground. The ee and the water itself are sprinkled with rushes. ‘Signed at the lower left, Tu. pe Bock. d Height, 14 inches; length, 21 inches. No. 17 JAN VAN ESSEN Pe yaee gti 1854— _ LION COUCHANT 3b The lion is lying with his head to the right, the cheek a flat to the ground; the legs and tail extended on the left. ; His ; left hind paw protrudes between the other hind leg fe and the right front one. His eyes gaze sleepily at the _ spectator. | é 2 Paes vey Height, 13% inches; length, 22 inches. Wr auaek gar. $ i So H.C CUarpe $ Fo, a Tn tt dhe * Lo, g we 17 23: a - / Ton tt dhe % Cp, ae — No. 18 ANTON MAUVE 1838—1888 WINTER IN HOLLAND The level country is covered with snow, out of which stand up a few blades of grass, in the distance on the right a single slender tree, and on the left of the fore- ground a scrubby hedge. Opposite to it on the right are indications of a ditch. The fence rail between these two is being lifted by the shepherd, around whom the sheep are massed. The sky is dark gray on the horizon, but slightly tinged with rose in the upper space, where a few birds are flying home. Signed at the lower right, A. Mavve. Height, 15 inches; length, 22 inches. No. 19 JACOB MARIS 1837—1899 SUBURBS OF THE HAGUE From the centre of the foreground a stream winds back irregularly between mossy banks. Stretching al- most across the front of it is a punt; a man in blue sitting in the stern of it by the left bank. The meadow from this point extends back to a clump of trees. In the centre of the horizon roofs are visible. Over the horizon is a tall white sky, with a patch of blue half-way up on the left, and gray toward the right. Signed at lower left, J. Manis. Height, 16 inches; width, 13 inches, “TANVIN NOLINV 4@ “GQNVTIOH NI WaLNIM ST ‘ON te No. 20 WILLEM MARIS 1844— mo A COOL SPOT 4 There is a peep of sky in the upper right-hand corner; _ otherwise a profusion of greenery forms the background - of the green bank, which slopes down to the limpid green acl that occupies the foreground. On the edge of the water, while her little ones are coming down the bank or already swimming, a white duck is preening her feathers. On the bank itself rests a black duck with a white one be- hind it. Height, 17 inches; width, 12% inches. No. 21 WILLEM MARIS \ 1844— that Beans: on the side opposite to the spectator, ae to the eis A little farther back in ye moist, i. : ‘ y square to the front. Others appear in the aes hiee Height, 15 inches; length, 20% inches. wale Sree / $$ SO, - o/ r0Tk % end. free Llank. $7. 100, - ime) Fhe ake, $3 Ogs= No. 22 ANTON MAUVE 1838—1888 BOY AND COW In front of a hedge which crosses the picture, against a gray and white lowering sky, stands a boy, holding by a rope that passes from its horn a cow; both facing to the right. The beast is white, with a black mark on her neck and black patches on her flank. The boy, dressed in a blue shirt, drab suit, and sabots, holds a stick, which pro- jects behind him. Signed at the lower right, A. Mauve, Height, 16% inches; length, 23 inches. No. 238 JOHANNES BOSBOOM 1817—1891 IN A DUTCH BARN A row of timber stalls extends along the left of the barn. At the end of it is a large fireplace, with some Delft plates resting against the wall on the mantelshelf. A woman stands in front of the fire, the light from a win- dow in the right wall falling upon her back. Against this wall leans a spade and broom. ‘Two cats are sitting on the floor to the left. Signed at the lower right, J. Bosroom. Height, 14 inches; length, 27 inches. “HANVIN Se #w.> a i hate tt et to amen Pare co ie TRY Ia; Pe AEG, ie NOLINV 48 “MOO CANV AO 66 ON as psy ‘ ae . ‘—o Ghig a ue oot Nd No. 24 M. KAMERLINGH-ONNES 1860— FLOWERS In a glass globular vase is a profusion of roses, of - white and delicate pink color. Behind them appears a = screen with dark panels enclosed in gold mounts. iY) Se tf Ra, . eMigted at the lower right, M. Kamertincu-Onnes, 1890. Height, 21 inches; width, 16 inches. No. 25 2 LUDWIG DETTMAN o one 1865— Shs Tn, the Aa of the field, toward the left, a oman kneels beside a basket, picking up potatoes. Her > is seen in profile, facing to the right. Behind her, with his body turned in the opposite direction, a man is digging, and beyond him stoops another woman. Near ge ee are little coils of smoke from the burning vines. On the elt of the picture a Toad winds up to the sloping ee Height, 16% ae length, 22 inches. No. 26 3 P. DE JOSSELIN DE JONG © 1861— ‘ oy | SCHEVENINGEN FISHER-GIRLS cf e The heads of the three girls, close together, n ou i a diagonal line from the right lower corner. Each h we: a white cap; the centre having metal disk omaments a ands. The hands of the girl in the middle aoe engaged in knitting, over which she bows her head shoulders of the outside girls are crossed with the fi striped gown. Signed at the lower left, P. pE JossELIN DE JONG. Height, 16 inches; len, ; No. eit ALBERT NEUHUYS: 1844-— IN A eee HOUSE on to a little child that stands by the table, a ‘ dow. On the left of this group and nearer sits an older girl reading esletter. Dressed i in a gown, her figure is seen in profile, f. ‘acing to makes a dark spot against the light. Be id. wall on the right of the picture stands a Ted cupboard. Signed at the lower right, Apert Nevuvys. Height, 22 inches; wid eye ie No. 28 JOHANNES BOSBOOM 1817—1891 IN THE CHURCH, MIDWOLDE, HOLLAND A portion of the church is shown in the foreground, separated by a pointed arch from the transept beyond, in which under a lancet window is a tomb with a recum- bent figure upon it. A man and a boy are standing in front of it, facing the window, in which is colored glass, representing among other designs what seems to be a coat of arms. Outside the arch upon the right is a wooden pulpit, surmounted by a sounding-board, and in front of it are rows of dark oak pews. The following inscrip- tion appears at the bottom of the picture: “ Kerk met Graf Tombe te Midwolde, prov. Groningen.” Signed at the lower right, J. BosBoom. Height, 22 inches; width, 17 inches. No. 29 W. B. THOLEN : 1860— AT THE BUTCHER SHOP The scene represents the dim interior of a butcher shop, with a view through the open door at the end of a pale-lighted street. On the left of the shop a beef and a sheep are hanging from the ceiling. With his back to them the butcher in blue blouse stands at the block, cut- ting meat. His figure shows dark against the light in _ the doorway. ; ' Signed at the lower left, W. B. THOLEN. Height, 19 inches; width, 12 inches. Opt Her. Ff oa i No. 30 ANTON MAUVE 1838—1888 IN THE SHEEP STABLE, LAREN The interior is of drab-colored boards, with a post on the right that helps to support the ceiling. Along the back wall, above the feeding rack, is a slit, where the woodwork has broken away; and through it the light strikes on the blue blouse of the shepherd. He is stoop- ing to place an armful of food in the rack, and the ie are crowding to it. Signed at the lower righi, A. Mavve. Height, 17% inches; length, 24% inches. No. 31 J. S. H. KEVER 1854— THE NOONDAY REPAST In front of the window on the left, which is screened with a white muslin blind, stands a table with two dishes on it. At the side removed from the spectator, so that she is facing him, sits a mother with a baby on her lap, feeding it with a spoon. In the centre of the floor a little boy, in slate-colored trousers and blue shirt, kneels on the tiles, eating his meal from the top of a box. Signed at the lower left, Krever. Height, 23% inches; width, 17% inches. ‘AANVW NOLNV 44 ‘NAUVT “ATAVLS daaHS AHL ay — ~ | 4 aa ras ea" m a ra » = j = A " NC. 32 . MISS WALLY MOES YOUNG DEVOTEES a mee Five little girls with rosaries in their hands are kneel- Fe ae with their faces toward the left. Three of them are ae poets their heads; one gazes sidenays toward the altar, Height, 22% inches; width, 14 inches, No. 33 H. VALKENBURG 1826—1896 ae ction is dimly lighted from a window at the Oren: and from another one, high up on the right, beyond a bee supported opening. Beneath the former window the spinning wheel, in front of which sits a woman, f at the wool on to a winder at her left side. - es Height, 17% ae length, 201% inches, ¢ ae < a eae een A 4 * at nk: a iy oH +e Be fia a 5 4 a oe . is cs eS a Se 7 : - a : bi ie i No. 34 F. P. TER MEULEN 1843— COWS IN THE FOREST In the foreground of a leafy spot a are grow cows. In front on the left is a dun, almost acl and to her right a black one, her body turned three ters to the right, but the head full to the fre grazes. Behind this one are two others. A on the left appear the head and shoulders of 3 a, the bushes. Signed at the lower left, Ter Mrvien. Height, 17% inches; ler No. 35 Boa BLOMMERS 1845— GIRL KNITTING oe A young girl is sitting on the left e seat knitting. Over one of the casen drawn, but the other is open, showing a 1 with trees beyond. The girl wears a blue , low it peeps out a bare foot. To her righ on a chair, its little body shown in profil sticking up. Signed at the lower right, BuomMers. Height, 241% inches ; The Corcoran Gallery of Art Te ‘ashingron, eG Oe: : = No. 36 NICOLAAS BASTERT 1854— ~ OCTOBER—HOLLAND. A large slate-colored barn fills the right half of the i background. In front of it is a flock of sheep, with a _ shepherd in blue coat and black trousers at their head, ; his’ black dog sitting to the right of him. Upon the left bs the eee oaks and plane trees reach to the f ore- Height, 18 inches; width, 27 inches. No. 37 LOUIS APOL 1850— A ay covered with snow, leads back from the pe cad to a gate between stone posts. The road + ae Height, 20 inches; length, 26 inches. g gor Cie ZL > 13 FOO, 7 No. 88 JEAN FRANCOIS MILLET 1814—1875 THE CLOSE OF DAY Pastel Standing among the clods he has been hoeing, a laborer in drab clothes has laid down his mattock and is drawing the sleeve of a dull red waistcoat on to his left arm. Far- ther back on the left of the field, already silvered over with the paling light, stands a plough, the two horses appear- ing over to the right, on the way homeward to a village indicated on the horizon. The lower sky is slightly tinged with rose, but high up, where the evening star gleams, it is pale blue. Signed at the lower right, J. F. Mize. Height, 28% inches; length, 36% inches. From the Sale of the M. E. May Collection, Paris, 1890. Catalogue No. 80. (Exposition Centennale de 1889) No. 39 MRS. S. MESDAG-VAN HOUTEN 1834— A PEASANTS HUT Three corn sheaves stand erect on the right of the foreground. Behind them is a white-walled cottage with a pitched roof of thatch, which at the side slopes clear down to the ground. Nestling close to it, on the right, is a haystack. On the left of the cottage a woman in a white cap stands with four hens dotted round her. Signed at the lower right, S. Mespac-Van HovrTen. Height, 20 inches; length, 28% inches. ‘LATIIN SIOONVUA NVAL 44 “AVG AO ASOTIO AHL 86 ON No. 40 ALBERT NEUHUYS 1844— NE IN THE WORLD F In the middle of a comfortable kitchen an old woman o sits peeling apples, her figure being turned a little toward the: right. At her left stands a table with a white cup it, and by the leg of the table a black hen is pecking , oor. Behind the woman’s figure, to the right, a Ss ee a bright fire. Height, 21 inches; length, 27 inches. No. 41 JOSEF ISRAELS ; 1824— a) orth x Syn. 4 Ce eT pc A PN ae $3 Coe. 7. A Uhart. F $§ 500.7 1836—1 885 THE FLAG OF TRUCE From under the arched gateway int : the snowy road, approaches a Ger panied by a bugler and a sergeant black flag. Blindfolded, they are k tachment of French troops. As the tered house on the right of the st baby in her arms rushes forward, hurling maledictions. A man checks h arms, and an old woman at her ba ing her to restrain herself. Other group. On the right me the for ing the trap-door of a b — nent, a tracted by the outcry, s » Ste the street. On the extreme barking dog. oy ek at the lower right, A. DE cba UVILLE. x 4 NE 4 de TRUCI py oN — G THE FLA AQ. No. No. 43 Ae H. WEISSENBRUCH 1824—1903 ON THE CANAL oy, Pe see hen a row of hoses, while on the opposite side of the ter appear two other houses. In the foreground of et, opposite to one of the landing stages, a woman e cap is walking away from us. A little farther “e) eae women are Sciam and a man stands Height, 18% inches; length, 26 inches. on nf pa oe Pe hw ea 4 O IL PAINTINGS oe No. 44 ve Ce a _ FRANCOIS SAINT BONVIN 1817—1887 Bee ground' is paved with large squares of alter- lack and white marble. In the centre of it is a standard candlestick, and in the left corner a nun, habit and white veil, kneels at a prayer-desk in a crucifix which hangs upon the wall. Above window, beside a red stone arch that opens into a. sp a ‘Here another nun, similarly habited, is moving : brightly lighted court, the walls of which are Height, 13 inches; width, 11 inches. ol Hee. £1 275) No. 45 EUGENE FROMENTIN 1820—1876 ARABS ON THE MARCH The scene is a level stretch bounded by rocky hills. On the right advances a camel bearing a howdah with curtains of striped red and blue. It is attended by footmen and a rider on a gray horse. In advance of it, occupying the centre of the picture, caracole two horsemen: the nearer to us, with an amber-colored cloak over a red bodice, upon a dapple-gray ; his companion, dressed in dark blue, upon a black horse. On the left of the picture, with his back to the spectator, is the leader of the cavaleade, mounted upon a chestnut, with the white veil of his head-dress falling over a black cloak. merging from a gully in the middle distance appear other men a-horse and on foot. Signed at the lower right, Kua, Fromenvin, and dated on the lower left, ’75. ITeight, 12% inches; length, 16 inches. NTIN. FROME KUGENE By MARCH, ry. ‘ ‘ 4 ON ARABS No Ve te c a: \ : a Sh lle No. 46 1847— - | e/a $ dé) Ine, and sickle, two sheaves are lying in the stubble. a line of shocks extends diagonally across the the end of which is the figure of a man at work. is terminated by two smooth hills under a whit- —- the lower right, R. N. Brooke. i‘ Height, 10 inches; length, 15 inches. No. 47 J. B. C. COROT | LAKE NEMI ee _ Beyond the foreground of richly « grass a figure is descending the f. i left are two beech trees, on its right their trunks and branches showing | creamy sky, upon which the foliage is. 1 darkening toward each side. = Signed at the lower right, Conor. . Height, 8% inc No. 48 FERDINAND ROYBET 1840— : je pad eee . the WEARS The ae soft erat: plone the felicesy of which 3 oan Pee + brighten the front of the d left, Fo hae <2 til Height, 16% inches; width, 12% inches. No. 49 J. B. C. COROT 1796—1875 VILLE D’AVRAY The foreground is a meadow of soft gray-green grass, in the centre of which a woman in a red cloak and white cap stands by a child. Some distance back the ground descends, and above the brink of the bank appears in the centre the pollarded top of a willow, from which a few branches spread. To the left of it the chimney and brown roof of a cottage are visible between two tree trunks. On the opposite side of the picture are two other trees and the roof of another cottage. Farther back a line of water crosses the composition, bounded by low hills. The dark olive and amber-gray foliage of the trees is softly blurred upon the white cumulus clouds, that pass above into a warm gray sky. Signed at the lower right, Coror. Height, 11% inches; length, 16% inches. “LOWOO 0 ‘A f£ 44 CAVUAV.G ATTIIA ‘6% ON oe ee No. 50 J. B. C. COROT 1796—1875 c bs masses Sat oe, pi aieen foliage. The foreground slopes up to an edge, on the other h is a descent. On the brink, beside the foot ink, stands a leopard, its form silhouetted t, rosy horizon. Above it hang flakes of in oe warm, oe Shyei ie A Height 15% inches; width, 12% inches. $7425. eo Adlon. $3700. ; No. 51 CONSTANT TROYON 1810—1865 CATTLE AT REST In the foreground of a level pasture rests a group of cattle, surprised in their ruminations by a black sheep- dog. He is looking up at a black cow, whose head, with a tuft of white between the horns, is gazing down at him from over the back of a white cow with a red head and a red spot on its back, that lies facing to the right. Seen above her broad back, on the left, stands a brown- ish-black bull-calf, with a light patch on its hind leg. Overhead is an expanse of grayish-white sky, broken by a space of pale blue high up on the left. Signed at the lower left, C. Troyon, and bears seal, VentE Troyon. Height, 18 inches; length, 21% inches. ‘NOAOUL LINVLISNOO 4€@ ‘LSHUY LV AILLVO TS ON ey, ’ at cas : { SE NE ee Se wee oe a ee ee No. 52 GUSTAVE GUILLAUMET ~ )¥840—1887 EET IN AL KANTARA © ‘he sun strikes down into the narrow street, lighting reamy-colored architecture on the right and a yellow 1 at the end, where a figure in red appears, and palm < , show above the masonry. Ata doorway in the shade left of the street a figure stands as a black donkey ad ges. On the opposite side of the way, a woman in anium-colored garment sits playing with a child that ide the doorway. Behind her stands a woman with in her arms; and farther back is a group of chil- t the lower right, G. GuittaAuMET. Height, 161%% inches; width, 13 inches. Fy e ral 7 a a ss " oa Rober a gots Pal ae ae Wiss ie Pe yee Pe 4 ~~ al rp on ete eee hse aa, re : 4. 2" Bap on eet uns eS) . “os Ager te, a oe » ae wal EL He le $160, ay No. 53 CHARLES FRANCOIS DAUBIGNY 1817—1878 A SUMMER LANDSCAPE A man, with a burden on his back, approaches along the dusty road, which stretches from the left of the pic- ture to a spot in the centre of the horizon marked by three slender poplars and a clump of dark willows. Between these and a mass of trees that fill in the left of the hori- zon appear the church spire and roofs of a village. The ground slopes gently toward the right, where the bend of a river is visible. Gray cumulus clouds roll over the horizon, softly blurred on the right, but toward the left tossing and smoking in volumes of whitish and darker gray. Signed at the lower right, Davieny. Height, 164% inches; length, 28% inches, "-ANODIGCOVG A ‘OO 48 “AdVOSGNVI WHNWOS V 69 ON bier A = * greed | os No. 54 ‘THEODORE ROUSSEAU . 1812—1867 SN oat: left of the foreground is a steep bank, covered and fern and boulders. A man in a white Tose clouds. ee left, Tu. Rovssrav. ; Height, 13% inches; width, 81% inches. a iy . aay Coen ak i 5 pect sane Ms Plan - No; 55 ’ = 4 CONSTANT TROY + ‘tero—aa6s ‘Sig Fe ote } * *3 SOUVENIR DE LA FERM Standing in a pasture that tant line of trees are a coy is seen in profile, fronting to the to the spectator its head, which i patches, divided by a narrow li to the nose. The rest of the turned three-quarters to the | gh black except for a spot of white al other on the chest. ae ‘a Signed at the lower right, C. Trovox, and bea ‘NOAOUL LNVISNOD 48€@ ‘NIGAV WS TA ANUAT VI Ad UINAANOS ‘se ‘on Os e ANU le se AA f ep Pe Fel eS eee Ct kere Soha No. 56 ‘GUSTAVE GUILLAUMET 1840—1887 @ Di the ate of the picture, beside a sleep- rudely constructed of undressed timber, on ee stands another woman in white costume. Height, 15% inches; length, 20 inches. < . i y ° 5 yt ny in & J J tad a 4% ‘ A } oe ie a ; « 7. " * | dle A AP ae, is | ae " 9 ' Porte fy ~atT 4 pee MS ¢* ti iy ‘ae i= ; i ¥ a ai haa ee cs Me Veet o - Pn , : a. or pes Ti os Dy : om a ane ae Ld Ps a Aree ieee seed te" fr af a waa 8 Bay - op Blank. oo Lig No. 57 JOHN CONSTABLE, pean : A HEATH Two donkeys stand in a s hollow occupies the right of the fo ar back in the centre se a man and two donkeys, and and sl of the water is a smaller mout aman in a red shirt. eye oontiinied across the Teal and rising to a windmill on the lowest point hovers the funnel | spreads away through the right o drab mist. Against the latter shi wings of a number of plovers. Height, 24 ‘Vu “HIGVLSNOO NHOf 44 “‘HLVAH V ‘LS ON ‘ - a: ? P =) Pe J me ip ae Ce) 7 7 ab - Fs - * oe ; No. 58 KARL DAUBIGNY 1846—1886 LY MORNING ON THE OISE the high bank to the left is a row of white, cottages, beside which a tall poplar rears up e other trees. By the path which descends to ; edge a woman in white bodice and blue skirt poaching to fill her pitchers. The ferry-boat has ouched the bank, carrying a woman in a red cap, cow and two black ones. The ferryman is pull- a small boat alongside. Beyond this group, the rushes which grow in the river, is a man in a clump of small trees closes in the right of the the left, Kant Davsicny, 1871. | ea Height, 15 inches; length, 25 inches. “ a ps f &. y ow.) am nL es peraneA > i9 Age The * Col. Wovduward.. - $ goo. rad Dr onT oud $ 5, JZ OOo. No. 59 ANTON MAUVE 1838—1888 HUNTER AND DOG—EARLY MORNING A cold glare lies along the horizon, above which gray clouds are scudding under a roof of dark gray. A hunter, in a black coat, with game-bag slung under his left arm, and his gun carried, with muzzle down, under his right, moves across the rough ground, on which patches of sand show between the scanty grass. By his side is a white and tan setter, that is looking off toward a bunch of leafless bushes on the left of the picture. Signed at the lower right, A. Mavve. Height, 20 inches; length, 31% inches. ‘AANVINN NOLNV 44 ‘“ONINYOW ATYVA—DOd GNV UAINNH ‘69 “ON Ein Brac pe ‘FF No. 60 1817—1878 cen. fie right of the foreground, lush green grass ex- | ds to the water’s edge, where two laundrywomen kneel eir work. Farther back along the same bank a le-masted barge is moored, a rowboat floating at each The mast rears up against the range of a yellow- above which is a bright horizon, overtopped with es of pearly-gray clouds. Upon the left bank, in ddle distance, stands a clump of poplars pp shorter ed at the lower right, DauBieny. a Height, 11% inches; length, 21 inches. p.. C $3 [oI nat > ioe Lan Font. Ra Ge nn tye eee No. 61 JOHN CONSTABLE, RA. 1776—1837 HAMPSTHADA( #102) alt ahem The foreground is occupied by a 1. ing from left to right in a somewhat crowned by a white house with red tom of the hill, upon the right, t cart, to which a brown horse is one, loosed from the traces, sté round the foot of the hill, ee charge of three donkeys. | blue water, on the edge of 1 man in a white shirt, is dr middle distance rises an eminen house shows among the trees, two poplars. Another white house dots stretches back to the horizon. ee. across the sky, which, however, grows lig right and shows a glimpse of blue. CD Height, 25 inches; ‘Va “ATGVISNOO NHOC 44 ‘AVALSdWVH ‘19 ‘ON ® a . = . Ley. ht espe, bs f A 1 a pe DP AA No. 62 J. S. H. KEVER 1854— a child sits holding a baby on ha lap, whose fat ends forward to look at the antics of a black kit- Height, 21% inches; length, 26% inches. oe Os an 3 wee are a > ie ae i 4 ee AS * OAS gait ig ieee 4 es | siege So cate’ ; aby = eth. Tm et No. 63 WALTER GAY 1856— A PROVINCIAL ASYLUM The scene is the corner of a sunny room with win- dows on both sides. White curtains are drawn across their lower part, but above appears a view of a court with red brick walls, enclosing trees. Along the left-hand window stretches a table, at which, with her back to the light, sits a young woman. In the centre of the room an old woman in a dark drab dress with a blue apron, and a shawl over her shoulders of creamy stuff with rosy flowers, stands occupied with her needle. Back to the right-hand window sit two other women, stitching; one wearing a pale blue, the other a yellow apron. On the extreme right of the foreground is a basket filled with needlework. Signed at the lower left, Waurer Gay. Height, 28 inches; length, 37 inches. 2 alli mong atte iy hl ces \ PF WIZE ee a WALTER GAY. By A PROVINCIAL ASYLUM. No. 63. No. 64 GOTTHARD KUEHL > 1851— eae of brown-topped desks, spotted with , fill the angle of the school-room, which is bright fof her hand, sits cate! #5 the left another ; two gaze through the window, while three oe a doll. On the gray wall Benne: them Height, 37 inches; width, 27 inches. nshine that streams through the tall windows . $400.— ee dP ? ie eae -moving forms. ie a No. 65 EUGENE ISABEY 1804—1 886 A SHIPWRECK | Ris.¢) ee A slash of scarlet appears to the k sky. In the gloom which wraps the ¢ masted ship is dimly visible. The cre the small boats, and these are huddled clearly lighted foreground, tossing water. One boat is capsizing; two its gunwale; others struggle in the of the survivors present a tangled n Stamped on the lower right, Vente Isapey. r a “AXCAVSI aNGONA 44 “MOWUMdIHS V ‘$9 ON No. 66 ANTON MAUVE 1838—1888 Mi the same time he exhibited a much larger and some thought a more nt picture, which is now owned by Mr. Joseph Jefferson. Many persons ee een that use latter is. oon received the medal. Mr. Richard ie Ftc Lee pee om es » are which won the medal. To assure him that she was not mi i to conduct Mr. Brooke to the spot itself from which the picture to which she referred. This she did, and Mr. Brooke saw bef exact background of Mr. Waggaman’s picture. As Mme. husband when he painted both pictures and when he received not probable that she was mistaken in the matter—L. E. Van Art Interchange,” June, 1894. Gy vie fe Oa SE iain ee x. ‘“HANVIN NOLNV 44 ‘“LSaYOI AHL JO LAO ONINOD dHaHS “99 “ON > eee No. 67 OTTO DE THOREN 1828—1889 ACHING STORM the threat of a dark slaty sky, angrily slit with white and gray, a man, in blue blouse, is un- his three horses from a plough. A dapple-gray n horse stand facing him, while a white one - to us, his mane and tail blown by the wind. level of the field on the left appear the roofs of some buildings; and a path winds back the pring ground, passing a haystack and stretching onward to some low hills on This ane is mentioned in the Cyclo- rs and ints: its date being 1867. see Gb ng 28 inches; length, 36 inches. 4 es eee > ve J ee: | Smaart ido: a empires P ¥ ee Ph ake 1 a oa a s ra " Y my S i gee Nae —_— vv ea et ee toa a Oe pe a iff | hare Cea CTS ae 7 r mh ae et Sage . 7 - diversity of paler reflections the heads and No. 68 CHARLES EMILE JACQUE 1813—1894 bpeh . HOMEWARD BOUND—MOONLIC On the edge of a hill which slopes do to right of the picture, is a moving flock of which rises the figure of the sheph waist up it looms dark against the grayer the sky. To the right, hanging low above t a three-quarters moon, which spreads through that portion of the sky, and lig sheep. Signed at the lower left, Cu. Jacaue. Height, 28 inches; 1 +h f ri x L aye ta ‘UOPG aEY fo hiaaqyPP ‘nA “andove HINA SHATAVHO 44 “LHOVINOOW—AND08 GuUuVMHNOH 89 ON is GELDER 2 EB SSRIS x " bias i i a og No. 69 ALBERT NEUHUYS 1844— THE FRUGAL MEAL In a dimly lighted kitchen the family are seated -s. ‘round a table, in the centre of which is the dish of food. _ The father’s back is toward the spectator; opposite to him sits the wife; to his left the grandmother, while on _his right a daughter holds the baby on her lap, as it _brandishes a bright metal spoon. On the red-tiled floor, to the right of the picture, a buff cat is feeding out of an earthenware bowl, near it lying a turnip. The walls _are dark drab in color; a recess appears on the right; and, _on the other side of the kitchen, a white post catches the pet * A a es pen at the lower left, Atserr Nevnuys, 1892. Height, 30 inches; length, 40 inches. [Copy] Laren, July 22d, 1893. Mr. Waccaman, Washington, D. C. Dear Sir: It was a great pleasure for me to know that one of my pictures the Chicago exhibition [was] owned by you. I did not know which it was, I asked Mrs. Mesday; it was “ A Frugal Meal.” I have given myself much trouble for that picture, I have worked a long time at it, and I have studied along t Fame the characters in their poorly domestic life, and I think I have suc- ie he rl ft eh he lds epi and he mas tunity to mend the clothes. Your drawing is a real piece of poetry, the old we the shadow of life remains; all is old, the walls, the cl all speaks for passed sufferings. pvdieeprnsatt ae is sonetdnes he a room | the conscientious little figures. ‘SSANHOUN LYATV 44 “IVAW IVONUA AHL 69 ON No. 70 JOSEF ISRAELS 1824— oe NDFATHER’S CONSOLATION ‘he light comes through a window on the left, near ; an old man holding a baby on his knee. a blue shirt, slate-colored waistcoat, and ‘drab e looks down tenderly at the child, while his ds carefully support it. The rosy-faced baby, rofile, dressed in a white cap and blue apron, cker rattle. Under the window stands a bench her on it; the baby’s seat is in the corner, and behind the figures a green curtain can be dis- - dim light. oe left, Joser Israéts. ied Height, 47% inches; width, 3114 inches. (See Frontispiece) be [Copy] i Tue Hacvue, 19 July, 1893. GAMAN, Washington, D. C. r: Your oil picture and water colour belonging from really of the best things I ever did, subject and treat- _. My greatest pleasure is always to tell the story [ believe. You can feel in the picture of the grand- s grand child the corresponding sentiment of both water colour is a dialogue between little John and en all that can be told is painted in both. elieve me, dear Sir, re ) Truly yours, (Signed) AR JoseF IsraEts. No. 71 JACOB MARIS 1837—1899 THE OLD CANAL AT DORDRECHT Cold, pale light is bursting through the scurry of gray clouds which fill the sky. Against it cut the mass of the church tower and the lines of the masts of the barges, which are moored beside the wharf on the right of the picture. From one of them goes up a thin stream of smoke. At the back of the shipping are drab and brown roofs and buildings, framed in by dark trees, while to the left an arched bridge spans the water, lead- ing to warehouses that border the harbor on the extreme left. Almost in the centre of the stretch of dark slaty- colored water is a rowboat with a man sitting in its stern. Signed at the lower left, J. Manis. Height, 36 inches; length, 44 inches. SIUVIN dOOVE 44 “LHOAUGCUYOd LV IVNVO CIO AHL ‘Ts ON PAP EVO rare ING2 72 ‘inal, froma which Jean Baptiste, a brother angois Millet, made this copy, is in the W. bilt Collection, and at present hangs in the n Museum, New York. It was first seen at rtion of the circle of rocks, some clothed with ie one conspicuously bare, is shown, slumbering in olden brown and olive-green against a creamy s which are ruffled waves of gray and pinkish etd hues and the forms of the trees and hills No. sy 181 axl 878 a BLACK ROCKS, COAST OF NO Dark olive-green rocks jut out fr scene in craggy spits, and close in the : blue water as it runs against them is - A white streak of light cuts along th it is a fluster of white clouds, lying 10 sky. : Signed at the lower left, Davaicny, 68. change; ” June, 1894. ‘ANOIGNVG d ‘0 4€@ “AQNVWUON AO LSVOO ‘SHOOU WOVIA ‘sh “ON No. 74 HANS MEMLINC 1425 (?)—1495(?) a VIRGIN AND CHILD AND DONORS a A TRIPTYCH bay Centre Panel: The Virgin sits enthroned, with the un Child upon her lap, her right hand supporting its nude _ body, and the left held under its feet, which are crossed, Dake one over the other. Around the neck of her blue robe by, is a narrow border of gold lace, edged with little pearls, oa and studded with larger pearls, alternating with gold cir- cular ornaments, each of which has a concave quatrefoil, enamelled red. But only a small part of the robe is vis- ible behind the Child’s body, for a white veil covers the irgin’ s head, and over this is a rose-colored mantle that escends from her head, concealing the arms and the rest of her figure in its ample folds. Its edges are decorated with a border similar to the one upon the robe, except a that the quatrefoils are enamelled blue, and there is an addition of delicate needlework in gold thread upon the fabric of the cloak. z _ The Child, seated upon a white cloth, holds the first finger of its left hand to its mouth, while the right arm _ hangs straight down. Upon the floor, on the right, Bp pds a blue and white vase holding a spray of lilies. Behind the figures hangs a dossal, suspended from Boi tree trunks, of which the right-hand one only is vis- >. But their foliage spreads above the Virgin’ s head frames i in a distant landscape, showing 1 in tones of delicate gray a river, winding past a series of rocky hills, a one of which is crowned with a tower and spire. The dossal itself is of dark green damask silk, with gold floral “designs, among them of snowdrops and primroses, re- as ated in regular succession. It is painted with a mi- | Ce. Sheree, f $2428: - nuteness of realism that represents the weave of fabric. The landscape = Bosee! are continued os the side panels. if’: ee Left Panel: A little hill in ae janie spires upon it rises just above the head of the de kneels with his hands together before the book prayer desk. By a comparison of the face with panel by Memlinc in the Brussels Museum, it is the donor in this votive picture is the cele master, William Moreel. Over a tunic of bordered with brown fur, he wears a drab-; Z brown fur upon the broad collar and down | | of the garment. A gold ring encircles | the ir his right hand. Right Panel: The daughter of the d her prayer desk holding an open | * ing on the first finger of her left hand projecting from the back of it, is a st in shape, covered with damask silk, the is composed of alternate rows of gold and forms. Over it floats a white tran needlework decorates the neck of — which is a rose bodice, while over this ag 1 cut very low in front. It has a border of which also appears as the lining of the per that are turned back to form a broad cuff. The antique frame, surmounted by a % with circular rise in the centre, oe wh the side panels fit when closed, is | bi with lines of gilding, faint with SP ‘ en ONTIKGAN SNVH 48 ‘“HOALdMIYL Y—-SUYONOG ANV CTIHO AGNV NIDUIA ‘FL No. 75 WILLEM MARIS~> 1844— ee TIME shadow except for a glint of light on her back, ee with the fence, pe to the right. A —_ Height, 30% inches; length, 41% inches. pe Lie ke f Hie O Gees / 1: Van Fk ofre— . / PR: STO ar No. 76 ALEXANDRE GABRIEL DEC 1803—1860, SAUL PURSUING DAVID The shadows of evening are creeping c in contrast with which the sky is gle with dull, greenish-gray clouds, its r with layers of blue and white, de a warm, creamy light stretches Strongly silhouetted against ‘it is a from which a road descends and 1 x ie yj f of the scene. Here, amon} red mantle, sickening | oat iis arm David i in the shadow of the left le fissures, ianaeee to a horses foot advanced, extends his arms in 3 : At the back of him is a white-stemmec its branches against the foliage eye ay beyond the upper foliage of which is se SdWVOUd “‘D ‘V 4@ ‘CIAVG DNINSUNd TAVS ‘94 ON rs = oe No. 77 aie VAN DE SANDE-BAKHUYZEN : 1835— THE FORD lope on the left troop the cows, in charge ) is dressed in drab trousers and a blue shirt. with brown markings is already drinking. covered with dark yellowish reflections, ex- ch of white in the centre, where it catches 4 the sky through an opening in the back- oliage. This is broken only by a few slender on each side the tree trunks are bigger, and green leafage fills in the top of the picture. & er right, J. V. vp. Sanpe-Baknuyzen. ye a tas Height, 30% inches; length, 414% inches. FC Fowler. A $2 4g0. - / aie * See sa Ree prank, Jak 2 whos AT SUNSET | This unusual a of tik: ground of coarse grass, threaded by which reflects the ae Miss of stretches a dark peti of vei gre ae the primrose glow which fills the float loose, shagsy —— sien is a canopy of duyitet gray. Signed at the lower left, A. H. Write is a AM "H WHONVXATV 44 “LASNNAS JV ‘84 ‘ON SS Wi ta oa ere pe © Se de a ” Pas = —s i © af + > (pn we aE ier 4, No. 79 CHARLES H. DAVIS 1856— ~ ah Le NE $/35-0.- No. 80 P. A. J. DAGNAN-B 1852— A DUET IN THE STUDIO Through rose silk blinds, which ¢ the left, where a statue of | Narciss leaves the ceiling i in fe ec reflections from a hangings ch dressed in a dehtitang tage : the window. Behind his right in black coat and blue waiste group, in the foreground, sits a silk Pompadour gown, sprinkled w with soft shell-pink silk. Almost in music holder, and to the right of ita music lying upon it. | Signed at the lower right, on Sheet of Mie, Panis, 1883. F “Height, 44 inch By . f - % AA of = DAGNAN-BOUVERET. J. Ly same ever: STUDIO. THE y if A DUET IN No. 80. ) . [a ae ee Pe No. 81 DAVID COX 1783—1859 CLWYD Fe in the centre of the composition is a windmill pon an eminence. On its left appear the gabled roofs of two houses embowered in greenery. ‘The road from the mill descends to the left of the foreground, where, under bank of brown earth, covered with grass, stands a black onkey. Opposite to it, on the right of the road, is a “stile, and near it, in the centre of the front, a puddle of water. In the middle distance upon the right, where a npost stands by the roadside, a man with a red cap sa a BODY: driving a flock of sheep. Behind Seine under a sky filled with volumes of gray and hite cloud. To the left the sky darkens to drab and tele ior ¥ d at the lower left, Davi Cox, ’84. Height, 3542 inches; length, 58 inches, No. 82 HENRI LUCIEN DOUCET 1856—1902 AFTER THE BALL There is a marble mantelpiece on the left, with a bowl of chrysanthemums on it and brass andirons on the hearth. To the right of it, in a gilt Louis XV chair, reclines a lady. Her head rests upon a pearl-gray cush- ion and the delicate pink of her cloak is bunched beside her face. Her right hand rests upon the arm of the chair, and the left, holding a fan, lies on her lap. Her dress is of white crépe de chine, embroidered with flow- ers, over a skirt of grayish-white silk. Beneath her foot is a blue silk cushion, striped with bands of gold. On the parquet floor lies a rose, with scattered petals. Signed at the lower left, LL. Doucet. Height, 55 inches; width, 37% inches, No. 82. AFTER THE BALL. By HENRI LUCIEN DOUCET. No. 83 RICHARD WILSON, R.A. 1718—1782 3 ‘ifts itself up against the centre of the pale blue sky, on 4 ~ which float little wisps of white, hazy clouds. The dis- ES es on the right, reveals a range of tree-clad hills, e white horizon. The middle distance is filled with , which, half-way, where a rocky spur juts out from eft, drops i in a smooth fall. Upon the left of the eround stand three stately trees, in the shade of cs ms beside a Hermes, appear two women and a child. IIeight, 48 inches; length, 70 inches. hae Se eae, _ A Sy AO, er oP = ea / No. 84 SIR ANTHONY VAN DYCK 1599—1641 THE VIRGIN, INFANT CHRIST AND ANGELS Clothed in a dark blue raiment, the Virgin sits en- throned, the Infant Christ standing on her lap, nude ex- cept for the white drapery which the mother’s hand holds as it supports His body. His head is turned toward an angel on the left, who, clad in a robe of geranium red, is playing a lute. On the right of the group another angel, in brownish plum-colored drapery, plays upon a © violin, held at the level of her waist. In the clouds at the foot of the picture appears the Serpent, breathing out fire. From the Infant’s head pours upward a golden radiance, which surrounds the head of the Virgin and is enclosed within the circle of her floating veil. Height, 64 inches; width, 52 inches. The above-described painting was obtained by Mr. Waggaman from Mr. V. G. Fischer of Washington, who has furnished the following information re- lating to the picture: “ As to the Van Dyck which I bought myself in London, I give you this information. “The painting was sold in London in 1804, in the Bryan Sale, by Lord Exeter, for £375. It again appeared in a sale in 1863 in the collection of J. Allan, and was bought by a dealer named Cockburn, who sold it to Lady Bloomfield, and was again sold four or five years ago at Robinson Fisher's, London.” This is said to be the finished study for the master’s picture in the Accademia di San Luca, at Rome. The latter varies from the present picture in being a proportionately wider composition, and yet the left arm of the angel, which plays the lute, is excluded, the canvas terminating in a line that passes through the hand, the fingers of which are alone exposed. The head also of the Virgin in the San Luca picture is still more inclined to the right, and the direction of the eyes is toward the angel with the violin. The latter, moreover, holds the instrument to her shoulder, and the right hand, balancing the bow, is shown. No. 84. THE VIRGIN, INFANT CHRIST AND ANGELS. By SIR ANTHONY VAN DYCK No. 85 SIR JOSHUA REYNOLDS, P.R.A. 1723—1792 indow representing the Seven Virtues. The figure of ope is standing with her back to the spectator, beside ie base of a column, pointing upward with her left hand yward the shaft. Her right hand embraces a child, whose ead appears under her arm, while he holds his hands to- ether, as if in prayer. To the right is another boy, with face turned toward the front, holding aloft a torch, ich lights the group with a rosy golden glow. Above -a dark blue sky. Height, 84 inches; width, 36 inches. Purchased by Lord Normanton of Lady Thomond, the niece of Sir Joshua, 1. Afterwards in Lord Northbrook’s collection, and sold by Lord North- to Messrs. Laurie & Co., Bond Street, and then to Mr. Angus at Mon- , from whom it was secured by Mr. T. J. Blakeslee of New York and to Mr. Waggaman. The painting was inherited by Mary Palmer, niece Sir Joshua (afterwards Lady Thomond). When exhibited at a Loan Exhibition in Montreal some years ago, the above -“ Another Reynolds comes from Mr. Angus. It is an upright panel, one of corative designs made by Sir Joshua for stained-glass windows for | of New College, Oxford. In 1773 the college had conferred on him / ile eg the honorary degree of D. C. L. In 1779 he p senting ‘ Faith, ‘Hope’ and ‘Charity,’ respecti' as well as a large picture of ‘The Nativity’ for the ter was bought by the Duke of Rutland for 1,200 guin the fire which destroyed Belvoir Castle. The other three Thomond, and purchased at the sale of her pictures by the ton for 2,550 guineas. This special panel is the ‘Hop deep in tone and rich in color, with a graceful female Richard Brinsley Sheridan, ‘the beautiful Mrs. 1 inley,’ r ‘ ¥ ‘ ¢ a = t = , Sam 4 7 = - Wit Basie ¥ 4 rena rea | : + oo, fayette Sone \ Le a 2S ee febs ie - ed STeRe Rh Se t me ah te by 1 aes al inl, seis of prt ae GONE ae Pt a ADDENDUM TINGS AND WATER COLORS USED DECORATION OF THE RESIDENCE MR. WAGGAMAN AND NOT EX- io sae , - JIBITED IN HIS GALLERIES ~* a ea ra. AD ~ a jong ~ 7 al 7; Pa ‘e" ef “ae bs Ae - “ 4 y No. 86 ES PERALTA. Deceased BA. GLASS OF WINE . As he smokes his long pipe a man sits facing us. hate legs are astride of a bench on which stands a tum- bier, into which he is pouring wine from a pitcher. His costume consists of a red waistcoat, unbuttoned over me shirt, buff breeches and gray stockings. ss Signed, Prrara, | Height, 11 inches; width, 7 inches. No. 87 GAETANO CHIERICI e 1838— x + WARMING DOLLY’S HANDS 1 is sitting with her feet on the raised hearthstone. As : leans back in her chair, sideways to the spectator, she holds her doll toward the fire. To her left, close up to a 1e side of the fireplace, a smaller child, with a bib round a. _ her neck, stoops forward to warm her hands, at the same time pieming her head toward the doll with a smile. On feo. Signed at at the lower left, GarTANo Curerict. ' Be ntl Vy Height, 34 inches; width, 20 inches, Jae No. 88 ROBERT WYLIE 1839—1877 THE THIEF On the right of the picture, lurking in the shadow of — ‘an open-air stall, is a man holding a club threateningly. Round the corner, in the street, is the proprietor, who has caught up a big flounder, while he kicks out with his left foot at a cat, which is disappearing with a leap into the stall, after overturning a basket of fish and vegetables. To the right a dog is escaping, with his tail between his legs. Behind the group extends a narrow street, termi- nating with a tower. Signed at the lower left, R. Wyum, “71. Height, 21 inches; width, 16% inches. No. 89 KONSTANTIN MAKOVSKI 1839— HEAD OF A WOMAN The picture shows the head and bust of a lady; the bust being full to the front, the head turned toward the left. Over her black hair lies a soft brown velvet bon- net. She wears a lace fichu, low down on the shoulders and bosom, fastened in front with a bunch of flowers. A glimpse of a lavender silk gown appears on the right. Signed at the lower left, K. Maxovskt. « Height, 23% inches; width, 19% inches, No. 90 UNKNOWN , (Attributed to the Byzantine School) TRIUMPH OF CHRIST _ Represented as if in a masque, Christ and the Vir- _ gin are being drawn along in a triumphal car by dig- nitaries and emblematic figures. Pulling at the head of 7 - the cortége, on the right, are a bull, a lion, eagle and a winged man, emblematic, respectively, of the four evan- ae gelists, SS. Matthew, Mark, Luke, and John. On the side of the car, facing the spectator, the front wheel is on being propelled by a pope, crowned with the tiara and _-vested in a cope of cloth of gold, the hind wheel by a cha cardinal. Beside the corresponding wheels, on the far- a cu - ther side, appear the head and shoulders, respectively, of _a bishop and a soldier. The latter, possibly Longinus, who pierced the sacred side, turns his head adoringly to the Christ, who, clad in a white cloak and rose-colored _ robe, holds an orb in His left hand, and raises the right Ap in blessing. Facing the Christ on a lower seat is the Virgin. Clothed in light blue, with a white veil over head and shoulders, she holds her hands in prayer. , i Height, 22% inches; length, 304% inches, [Copy] Notre Dame UNIVERSITY, Norre Dame, InpIAna, Jan. 27, 1896. ay _ My dear Mr. Waggaman: In the notes to Longfellow’s translation of Dante’s Purgatorio I found a description of a painting, or rather of a window in the hurch of Notre Dame de Brou, which seems to be the original of your “ Tri- 7 apie of Christ.” Longfellow says (notes to Canto XXIX) that in Didron’s Christian Iconography (translated by Millington) this account is given: “In i the centre of all rises the Hero of the Triumph, Jesus Christ, who is seated in an open car with four wheels. He alone is adorned with a nimbus formed of , 18y% departing from each point of the, head, and which illumines everything a pha around. . . . His face resembles that drawn by Raphael and the masters of the period of Renaissance . . . it is serious and gentle. In the centre of the chariot is placed a starry globe traversed by the ecliptic, on which the twelve signs of the zodiac are brilliantly figured.” (I do not remember whether this globe is shown in your picture or not.) “This globe is symbolic of the world, and forms a throne for Christ; the Son of God is seated on its summit. The car is placed upon four wheels, and drawn by the four attributes or sym- bols of the Evangelists. The angel of St. Matthew, and the eagle of St. John are of celestial whiteness; the lion of St. Mark, and the ox of St. Luke, are of a reddish yellow. . . . The eagle and the angel do, in fact, fly; while the lion and the ox walk. Yet upon the painted window all the four have wings. A rein of silver, passing round the neck of each of the four symbols, is attached to the pole of the chariot. The Church, represented by the . . . four chief Fathers, St. Gregory, St. Jerome, St. Ambrose, and St. Augustine, urge on the car.” As far as I can remember this is a close description of your picture with perhaps a few changes in minor details. The picture at Brou scems to be a central picture on a large stained-glass window. Brou is a small town in the Department of Eure et Loir, about sixty miles southwest of Paris. Always very sincerely yours, (Signed ) Austin O’MAttey. CNMONMNOA) “LSIUHO AO HdNOAIUL 06 “ON No. 91 WILLIAM H. HOLMES 1846— VENICE Water Color In the foreground floats a barge with high-peaked stem and pointed stern. The space between its two ‘masts is occupied by an arched roof, over part of which hangs a red and yellow striped awning. These colors bs inate reflected in the water, which stretches back to a dis- _ tant view, on the right of the horizon, of the Campanile, ising above the group of adjacent palaces. _ Signed at ge lower right, W. H. Hormes, 1879 Height, 17% inches; length, 29% inches. No. 92 DANIEL RIDGWAY KNIGHT About 1852— fc . BY THE RIVERSIDE a On the right of the scene, a girl, who is wheeling a “barrow ‘filled swith laundry, has halted. By her side is - another g girl, carrying a zinc bucket. They are turning ' to talk to a man who sits, fishing, in a punt moored close ) the rushy edge of the water on the left. The river ‘a rom this point extends back, until it winds round under- ‘some low hills and disappears on the left behind a _ group of houses that are interspersed with poplars. On 3 the river’ s bank beyond the fisherman some women are ishing linen. The sky overhead is broken up into gray, ng clouds. ned at the lower right, D. Rroaway Kyicrt, Parts, 1880. eee 21% inches; length, 29 inches. ble Sndib avd” A $2o00,- og zy tr a on - IVS, - No. 93 B. GALOFRE BESIDE THE BAY OF NAPLES Water Color In the centre of the foreground of sand, gleaming white in the sunshine, three boats have been beached. Fishermen are busy unloading or lolling round them, while a white and a brown donkey stand waiting for their burdens. Nearer the front a man squats on the sand, attending to a seine net. The strip of blue sea which stretches across the picture beyond the group is dotted with two specks of sails and a distant steamer. The sky, passing from white to blue, quivering with luminous warmth, is carried high above the horizon. Signed at the lower right, B. Gatorre. Height, 25 inches; length, 38 inches. No. 94 RICHARD NORRIS BROOKE 1847— A QUIET CORNER A negro boy is seated, holding a large brass stew- pan between his knees. Some remains of red jam cling to the bottom and sides, which he is scraping out with a spoon. Behind him on his left is a brown dresser with a blue and white plate on it, and a bunch of corncobs hangs upon the wall to the right. Signed at the lower left, Ricuarp N. Brooke. Height, 44 inches; width, 36 inches. No. 95 AUGUST HAGBORG te MEETING THE BOAT _ The fishing smack lies grounded in the shallow water at the back, keeling over, so that her two masts point in- “land, _Coming from her across the sand is a man in the middle peor’ with a burden on his back. On the . * an old man, at whose side stands a woman with a baby. en a M. Signed at the lower left, Hacporc, Parts, 1881. Height, 30 inches; length, 46 inches. No. 96 THOMAS MORAN, N.A. 1837— EW OF WINDSOR CASTLE Ee & The castle, with its prominent features of Czesar’s tower and St. George’s chapel, rises in the distance po ; the “bape It has see viewed from a point near dis is a stretch of grass, bordering ron the stream, ake) runs diagonally across the picture. Height, 40 inches; length, 72 inches. O), Pe he $0 Pe Mes aa Ba * ‘ : eos ae eee at Fate! C >» Pee ee *32 = = ot , 3 ? LEE ie, wave ee A age 2 SS a - ORIENTAL ART key \\ » * a . 4 j T : a : . -% ‘ . ors . tan Le A * 2, : ‘ i age de Ot eg 7 4 See" ’ ; ea” he, : : aes . Pat : ee 7 i +7 Secs 1 7 : eg oe . a om ay Paved og te AT Seen bent! WEDNESDAY, JANUARY 25ru, 1905 THE AMERICAN ART GALLERIES esl. est NETSUKES Sy MS Z 0 RVED NETSUKE Peon. An old man laughing and showing his ned, Riukei. Nineteenth century. fen. ceeiree a contemptuous rejection of the re- ee ig ea The fruit is made of coral and set in. Signed, “,-1wo NETSUKES (779) Carved wood. A blind man trapping a nee Ikko. Nineteenth century. (780) A veteran fisherman with net on an ivory st Tomotada. Eighteenth century, 5—TWO NETSUKES CVE j re ] (781) Carved wood. A happy old fellow. (782) A big-headed old man. Nineteenth cen’ 6-—TWO NETSUKES (788) “Carved wood: A grindstone cutter. : ands A man n and monkey asleep. Eigl _7-NETSUKE (785) Carved wood. A Chinese warrior with 4 ably Lihi, surnamed Black Whirlwind, one « eight bandit heroes.” Signed, Hide Kadsu. ; 8—TWO NETSUKES (786) Carved wood. An aged flan of Nineteenth century. . (787)__A “No” dancer, cove ih ol, Eighteenth century. | 1. 9—TWO NETSUKES Peat See "(10 Gateeh mine A rustic lai bagful of masks. Eighteenth « (789) Dancer with lion mask, la Shuzan. Bigherse century. 0) Carved wood. Three Chinese children playing hide and ; around a ball. Eighteenth century. arved wood. A “No” dancer. Signed, Riukei. Nine- rk. Eighteenth century. atte z af t5aS . ° ed wood. A “No” dancer. Signed Mainsetsu. ld woman bearing the heat of Moxa. Signed, Sev- year-old man. Eighteenth century. ered wood... A Chinese figure with mallet. Signed, Eighteenth century. Fukurokuju caressing turtle. Nineteenth century. ene ees ee ed ‘wood. Daruma gaping. Signed, Sukeyuki. ruma sitting in meditation. Signed, Minko. Eighteenth A . 4: The Corcoran Gallery of Art, = Ss Washington, D. C. £ F “a me te vi - ca ook : , 15—TWO NETSUKES (800) Carved wood. A Rishi, or ascetic sage, in contemplation, holding his long beard. Eighteenth century. (801) Hotei reposing by the side of his bag. Eighteenth cen- tury. 16—TWO NETSUKES (802) Carved wood, covered with red lacquer. Hotei and his boy companion. Eighteenth century. (803) Chinese boy with fan. Signed Raku. Eighteenth cen- tury. 17—TWO NETSUKES (804) Carved wood. Chinese boy sitting on a rattan stool. Nine- teenth century. (805) Fagot gatherer asleep on a big basho feat Eighteenth century. 18—TWO NETSUKES ; (806) Carved wood. Shojo resting on a large sake saucer. Signed, Takusai. Eighteenth century. (807) Shojo asleep. Signed Ikkwau. Nineteenth century. 19—TWO NETSUKES (808) Carved wood. Mermaid nursing her young. Eighteenth century. (809) Tengu, or winged imp with raven’s bill, coming out of shell. The original name of this design is Saitaku, a stig yi on a philosophical discourse. Eighteenth century. A Carved wood. Fukurokuju, God of Longevity. Eigh- ~ Sennin with gourd and cane. Signed, Soshin. Eigh- ath | century. 4 12) 2 Cita wood. Emma, the king of hell, amused by the sing- ing of one of his demons. Eighteenth century. - he wood. “ God of Thunder ” withh drum on his back, eee ; Carved wood. Mermaid holding precious ball, which is in | lacquer. By Unjudo Shumemaru. Eighteenth century. - Standing figure of Daruma. Signed, Ino Yoshihiro. ae wood, and partially lacquered in red canal green. -eyed demon holding a tea cup. By Hogen Shuzan. Eigh- zen Shuzan. Eighteenth century. an a partially lacquered in red and green. Ka- yy street acrobat with a mask of a Chinese lion. By Hogen Eighteenth century. 26—NETSUKE (820) Carved wood, partially lacquered in green and red. Dragon king. By Unjudo Shumemaru. Eighteenth century. 27—TWO NETSUKES (821) Carved wood. Dragon horse. By Hogen Shuzan. Eigh- teenth century. (822) Carved wood, partially lacquered. Tengusanjin, or mountain imp, after bath. By Unjudo Shumemaru. Eighteenth century. 28—TWO NETSUKES (823) Carved wood. Tengusanjin, or mountain imp, after a bath, partially lacquered. By Hogen Shuzan. Eighteenth cen- tury. (824) Street acrobat at play. Eighteenth century. 29—TWO NETSUKES (825) Carved wood. Mermaid resting her head on tail. Eigh- teenth century. (826) Demon crying over his cut arm, “a caricature from the story of Watanabe no Tsuna.” Eighteenth century. 30—TWO NETSUKES (827) Carved wood. A skull. Signed, Tadashigé. Eighteenth century. (828) Mask of an old man. Signed, Riukei. Nineteenth cen- tury. 31—TWO NETSUKES (829) Carved wood. Mask of Otafuku. Signed Shumin. Nine- teenth century. (830) Mask of a female. Signed Riukei. Nineteenth century. er: REE NETSUKES 832) Mask of demon, eyes gilded. Signed, Kutoku. Nineteenth Tis. NETSUKES f POetred wood. A strong woman pulling the nose of Tengu. enth century. isk of a demon. Nineteenth century. sk of demon. Eighteenth century. 4, a> Carved wood. ‘ Thousand” miniature masks on peach Signed, Seimin. Eighteenth century. oup of egg plants and pumpkin. Eighteenth century. bad ITSUKES ved wood. In imitation of worm-eaten chestnut. tsuhiro. Eighteenth century. ‘ bag containing Hotei and his boy, playing Sugoroku 87—TWO NETSUKES (843) Carved wood. Mice. Signed, Kadsutomo. Eighteenth century. (844) A mouse, finely carved. Signed, Kadsutsura. Eighteenth century. 358—TWO NETSUKES (845) Carved wood. Mouse on dried persimmon. Signed, Ma- sanao. Eighteenth century. (846) Ox reposing. Eighteenth century. 89—TWO NETSUKES (847) Carved wood. ‘Tiger protecting her cub against hunter. Signed, Shugiokusai. Nineteenth century. (848) A tiger. Eighteenth century. 40—TWO NETSUKES (849) Carved wood. 9 * ers = Pe las Ng . , ma wo ee = ieee ye. 4 As Sh La Cs ~ uy yi fe, - - we 7 “ is a z 7 => xe ~ oa a> ; f % - Nal Py ha ie +? : s , Cire von a. ee - + 5 eat CT ae ie hE a) Shee 48—TWO NETSUKES (867) Carved wood. Puppies at play. Eighteenth century. (868) Puppy. Signed, Norizane. Eighteenth century. 49—THREE NETSUKES (869) (Carved wood. Group of nine turtles on rock. Signed, Kokei. Eighteenth century. (870) Group of turtles. Signed, Tomokadsu. Eighteenth cen- tury. (871) Turtle in shell. Nineteenth century. 50—THREE NETSUKES (872) (Carved wood. Water imp in shape of turtle. Eighteenth century. (873) Turtle. Nineteenth century. (874) Snail on an old hat. Signed, Masanao. Eighteenth cen- tury. 51—TWO NETSUKES (875) Carved wood. Lotus pod, with small crab of bronze. Eigh- teenth century. (876) Frog on persimmon, watching fly, which is of ivory. Ejigh- teenth century. 52—THREE NETSUKES (877) Carved wood. A toad on zori (Japanese footgear). Signed, Masanao. Eighteenth century. (878) A frog on a bucket. Signed, Masanao. Eighteenth cen- tury. (879) ‘Toad with its young on its back. Signed, Masanao, High- teenth century. ‘WO NETSUKES (880) Carved ivory. Toad with its young. Signed, Masanao. oho century. ie x3 wandering poet. Signed, Saishinsai. Eighteenth cen- 1B | NETS UKES ) ¢ Carved ivory. Man washing a rice mortar. Eighteenth ye AEs és af) an holding eel. Signed, Hoyen. Nineteenth century. Lac rved ivory. A slim old man and a short demon testing ae oP their arms against each other, on a lotus leaf. igh Two a warriors (Kwan-u and Chohi). Signed, To- 58—THREE NETSUKES (890) Carved ivory. A badger playing. Signed, Shunkosai. Nineteenth century. (891) A pet dog. Nineteenth century. (892) Hen and her chicks. Signed, but obscure. Nineteenth century. 59—THREE NETSUKES (8993) Carved ivory. Quails and millet. Eighteenth century. (894) Cow and calf. Signed, Tomotada. Eighteenth century. (895) Chrysanthemum. Signed, Mitsuhiro. Nineteenth century. 60—TWO NETSUKES (896) Carved ivory. Chrysanthemum flower. Eighteenth cen- tury. (897) Rat on branch of fruit. Signed, Masanao. Eighteenth century. 61—NETSUKE (898) Carved ivory. A box case, design of pine cone with plum branch, containing Takasago, old couple of pine spirits taking sake under overshadowing pine tree, crane and tortoise by their side, all finely carved. Signed, Kwagiokusai. Nineteenth century. 62—TWO NETSUKES (899) Carved ivory. A view of Amano hashidate, encased in a clam shell. Signed, Kwaigiokusai. Nineteenth century. (900) View of a temple in a clam shell. Nineteenth century. 63—IVORY NETSUKE (900A) Button design. Figure of genii carved in bold relief. On the reverse a scroll, inkstone and brush. Signed, Korinsai, Early nineteenth century. = (6008) Button design. Daikoku making New Year’s call with an A attendant, carved in relief. Signed, Komin. Early nineteenth re seabes- nee IVORY NETSUKE - (900) ~ Button design. Jurojin and boy carved in relief. By 4 in ie kei eisai Hojitsu. Eighteenth century. TRA JAR, IVORY b dies San _Egg shape, flattened on both ends, ornamented with pheenix and conventional scrolls pencilled in gold. Has teakwood stand. eteenth Pe aa rad _ Monkeys mother of pearl on rock of horn. Seventeenth th Bi. God of Wealth, Health, and Happiness, with and fan | finely carved. Nineteenth century. Height, 41% inches. ORY FIGURE 9) RS Biebasa, or a mask dancer (a curtain raiser in the theatre), | able tongue, finely carved. Nineteenth century. vory lobster. An articulated life-like specimen. Tinted with red lacquer. Signed, Tomotoshi. Eighteenth century. Paces: =" : . Fee hae 7 a La? Ee Ace ee Fe Be 71—FIGURE (921) Daruma breathing. Head, hands, and feet of ivory, and body of wood, all carved. Nineteenth century. Height, 6%, inches. 72—OKIMONO (923) Bone. Turtle with frog on its back, finely carved. Signed, Toshio. Eighteenth century. Height, 2¥% inches; length, 6 inches. JAPANESE PIPES (KISERU) 783—PIPE, SILVER (728) Engraved floral designs. Eighteenth century. 74—PIPE, SILVER (729) Finely wrought, carp fish, in relief in gold and shibuichi, upon an engraved representation of water. Eighteenth century. %5—PIPE, SILVER (730) Engraved ornamentation of peonies and chrysanthemums. Nineteenth century. 76—PIPE, SILVER (731) Fine workmanship. Carp ascending waterfall, wrought in relief in shakudo and gold, and carved. Nineteenth century. v7—LARGE PIPE, SHINCHU (732) Hawk perched on rock, and watching sparrow, cascade and turbulent water, carved and wrought in relief in various metals. Signed, Masatoshi. Nineteenth century. _ <9) Ornamentation illustrating the fable of the “ tongue-cut | is sparrow,” wrought in high relief in silver, gold, copper, and a “i ‘shakudo. Signed, Konkwan. Eighteenth century. Pia: PIPE, SILVER | 734) Bamboo design engraved and filled in with shakudo, and vider carved in relief. Eighteenth century. : LVER AND SHIBUICHI Pe em oa Ornamentation of the seven gods of good fortune, inlaid shakudo, silver, and gold. Nineteenth century. 736) _ Sprays of flowers exquisitely wrought in relief in gold and a d incrusted with coral. Nineteenth century. be helen . PLABORATE PIPE, SILVER (737) Dragon pursuing the sacred pearl through~ turbulent » skilfully wrought. Signed, Kurosawa Yoshiakira. Nine- IRON AND SILVER Damascened brocade pattern and imperial crests in gold. Damascened Kiri crest on an irregular ground in gold Nu- ogan style. Nineteenth century. 85—PIPE, SILVER (740) Finely engraved ornamentation, representing the “ Thunder God” trying to rescue his drum, which has dropped from the clouds into the sea. Eighteenth century. 86-—LARGE PIPE, SILVER (741) Autumn flowers and butterflies, engraved and filled in with gold, silver, shakudo, and copper. Eighteenth century. 87—PIPE, SILVER (742) Crest and peony scrolls deeply carved. Eighteenth century. 88—PIPE, SILVER (743) Ribbed surface. Nineteenth century. 89—ELABORATE PIPE, SILVER (744) Lions and tree peonies, boldly engraved and wrought in re- lief. Eighteenth century. 90—PIPE, SILVER ; (745) Bamboo design, engraved and inlaid with shakudo and gold. Nineteenth century. 9{—PIPE, SILVER AND SHIBUICHI (746) Flowers and landscape in various panels, wrought in low relief and inlaid with precious metals. Nineteenth century. 92—PIPE, SILVER (747) Flying storks, rocks and turbulent water, exquisitely wrought in low relief and inlaid with shakudo. Eighteenth cen- tury. EH, SILVER (é pce 8) Sparrows and sheaves of rice in relief gold, copper, and Baeeksdo, after Hoitsu’s design. Nineteenth century. on IPE, SILVER, SHAKUDO, AND SHIBUICHTI me C749} Chrysanthemum flowers. and roosters, etched and inlaid with ty -shakudo, and silver. Nineteenth century. peek Gil ms) hs iy 8 Be riacs masks wrought in high relief gold, silver, and sha- <1 ie if ee Ishiguro Masayoshi. Eighteenth century. tae 4 "Finely ett: relief ornamentation of lions training cub, rocks and waterfall in a silver, and copper on nanako aier PIPE CASES Carved open-work design. Nineteenth century. si elief ornamentation of Kwan-on and sacred dragon ex- wrought in gold. Signed, Sei-i. Nineteenth century. rough openings. Nineteenth century. JAPANESE WRITER’S PORTABLE CASES (YATATE) 101I—ELABORATE YATATE (713) Design of sacred dragon, pursuing the pearl of omnip- otence, and turbulent water skilfully wrought in shibuichi and ornamented with applied gold. Made for the shop sign of Yatate- seller Otomo Chuzo, of Okuramaye Asakusa, Tokio, by Mizutani Issen, and decorated and carved by Tounsai Shomin. 1868. 102—YATATE (714) Design of a lotus pod with stem, wrought in bronze, and a Chinese poem finely engraved. Nineteenth century. 1083—YATATE (715) Design of flower vase, with relief ornaments of lion, dragon heads and flowers wrought in shinchu. Eighteenth century. 10J—YATATE (716) Wrought in shibuichi. Toshitoku and stork, engraved and inlaid with gold and silver. Signed, Shokwasai Komin. Nineteenth century. 105—YATATE (17) Wrought in bronze. Dragon, phoenix, cloud, and wave designs. Eighteenth century. 106—YATATE (718) Wrought in silver. Chrysanthemum and scrolls in repoussé. Eighteenth century. m8) Hammered silver. Nineteenth century. fs Wrought in silver. Spoon design, finely polished and with- rnamentation. Eighteenth century. . ay, _ Wrought i in silver. Bucket-shaped and of corsupeted sur- Brite re. po century. 2) Finely wrought in silver. Engraved floral scrolls and crest. geet, | h century. a v7 > ae ; :) Wrought in silver. Repoussé figure of Daruma as inkwell, ached brush holder. Signed, Kazutora. Eighteenth cen- ) Wrought in silver and shakudo. New Year’s decoration in f in gold, shibuichi, and copper, with engraved stem. The ink- mented with turtle, various shells, and plants, in gold various metals. Eighteenth century. 115—YATATE, PORCELAIN AND BAMBOO (727) The porcelain ink-holder in three sections, with design of landscape in blue under the glaze, made at Kameyama, Province of Hizen. Nineteenth century. 116—YATATE (PORTABLE INK WELL), BRONZE (697) In design of persimmon, with carved ivory netsuke. Ejigh- teenth century. TOBACCO POUCHES (TABAKOIRE) 117. -ELABORATE TOBACCO POUCH (752) Of old illuminated leather. Mountings and ornaments throughout of ivory, and profusely carved with scenes illustrating Buddhistic and religious subjects. Pipe case of illuminated leather attached. Carvings by Chikusai. Nineteenth century. 118—TOBACCO POUCH, WITH PIPE CASE (753) The pouch made of sharkskin and shagreen, the pipe case of carved bone of bamboo design, and the ojime of carved ivory. Nineteenth century. 119—CARVED WOOD TOBACCO POUCH (754) Panels illustrating Chinese subjects, cover surmounted by a locust, carved wood and enamel netsuke in a design of a Chinese shoe, and ivory ojime. Nineteenth century. 120—TOBACCO POUCH WITH PIPE CASE (755) — Of illuminated leather, with bronze clasp ornament in shape of frog, the pipe case of wood ornamented with a silver snake, and ojime in design of a coiled snake wrought in silver. Eighteenth century. co) The ck of oha with a silver clasp ornament in de- . sign of skull and vertebra. 'The pipe case of carved bone, in design of two skeletons, and the chain of metal representing three skulls. Nineteenth century. _ 122—TOBACCO POUCH, WITH BONE PIPE CASE 457) The pouch of green deerskin, with metal work clasp in . _ design of octopus in tub; the pipe case of carved bone, representing the long-legged man frightened by a water i imp. Bronze ojime in design of an octopus. Nineteenth century. (-123—TOBACCO POUCH, WITH PIPE CASE, USED BY “NO” DANCERS (758) The pouch made of fine leather, embellished with elaborate ote ss clasp ornament, wrought in gold, silver and shakudo, representing a mask, fan, and mask box. Netsuke of carved ivory, with a 4 medallion wrought in gold, in design of mask, fan, and hat-box. Ojime, a group of “No” masks wrought in various metals by ON ata Naa Katsunor!, and signed. Nineteenth century. 4 (759) Pouch of leather and ornamented with a dragon in silver te repoussé. The netsuke, of carved ivory, with a gold medallion _ representing a tiger, waterfall and rocks. Elaborately wrought i chain. — Nineteenth century. ) ats of a Chinese warrior a Hirochika. Elaborate oo , sht in bronze and gold, representing five scenes of the famous ation of Raiko to Oyeyama, by Hidechika. Nineteenth cen- 1388—TOBACCO POUCH (773) Wood, ornamented with lilies in relief in lead and various lacquers ; netsuke of sea-pine, with carved monkey emerging from opening in rock; amber ojime. Nineteenth century. 139—TOBACCO POUCH (774) Wood, design of bag with lacquer ornamentation; netsuke in design of an old seto tea jar, by Kwansai; ojime, carved ivory Daruma. Nineteenth century. 140—TOBACCO POUCH (775) Carved wood, with relief ornamentation of puppy and other designs in ivory and mother of pearl. Carved wood dog for net- suke and ivory dragon for ojime. Nineteenth century. 141—SMALL POUCH RACK (7534) Screen design, black lacquer and gilded metal mounts. 142—LOW POUCH SCREEN WITH WINGS (753B) Velvet panel with fixtures for hanging pouches or inros. Decorated cedar panels for wings. 143—LOW POUCH SCREEN WITH WINGS (754C) Similar to the preceding. INROS (MEDICINE CASES) 144—I NRO (187) Four sections, polished mirror-black lacquer. Decoration of chrysanthemums and quails, artistically painted in gold; the inside is finished with fine Hirame lacquer. The netsuke a group of masks carved in ivory. Ojime, bronze: a persimmon, with stem and leaf in silver. Made by Toshitoyo, signed. 1800. 145—INRO 24 (188) Five sections, polished black lacquer, Hagi flowers, dragon- fly, and butterflies, painted in gold lacquer and incrusted with mother-of-pearl and gold; the inside finished in Nashiji lacquer. Netsuke, ivory; a carver at work on a mask of Tengu. Ojime, cloisonné ball. By Kakosai Tori, signed. 1800. 146—INRO (189) In three sections, Nashiji lacquer. A mill boat towing a small boat,in mother-of-pearl and lead on a ground of wave designs, bordered by aventurine lacquer; the inside, finished Giobu Nashi ji. Netsuke, ivory: a carver at work on a mask of Tengu. Ojime, Koma Kansai, signed. 1800. 147+INRO : (190) Four sections, Nashiji lacquer. Embellished with a dragon and plum-tree, delicately painted in gold and silver lacquer; the inside finished in Nashiji. Netsuke, a small lacquer box, with floral decorations in gold lacquer. Ojime, brown lacquer ball, with a stork and pine-branch in gold lacquer. By Kajikawa, signed. 1750. 148—INRO~ Spee i92} Four sections, black lacquer. Historical landscape repre- senting Gentoku on his way to Komei’s cottage, whom he is seek- ing for his chief adviser, most delicately pencilled; in gold and _ silver lacquer; the inside, finished in Nashiji. Netsuke, black lacquer box, decorated with leaves and vines in gold lacquer. Ojime, coral ball. By Kajikawa, signed. 1750. 149—INRO (192) Four sections, Hirame Nashiji lacquer. Decoration of chrysanthemums, butterflies and a fern hedge painted in gold _ lacquer and inlaid with coral, mother-of-pearl and ivory, on a Be _ ground of gold-leaf mosaics; the inside finished with Nashiji. By -———s-* Yoyusai, signed. 1800. Netsuke, an ivory group of nuts. Ojime, ame cloisonné ball, . 7 Poe Kooy? 150-—IN RO (193) Four sections, black lacquer. ‘The Seven Sages of the Bamboo Forest, in gold and silver lacquer, applied in low relief ; the inside finished with Nashiji. Wood netsuke, with metal orna- ment. Ojime, cloisonné ball. 1700. 151—I NRO (194) In one section, polished brown lacquer. Court hanging- screens, in gold lacquer, inlaid with mother-of-pearl; the inside of plain black lacquer. Netsuke, ivory, representing an old straw hat. Ojime of gold. By Suichikuken, signed. 1750. 152—INRO (195) Three sections, gold lacquer. Decoration of flying storks in relief, in lead, mother-of-pearl, silver, and gold lacquer. Net- suke, ivory: combat between water imp and frog. Ojime, coral ball. By Korin, signed. 1700. 153—INRO (196) Four sections, carved black lacquer. T'suikoku, decoration of chrysanthemums and leaves. Netsuke, wood carving: an imp hiding under a straw hat. Ojime, ivory: a snake and tree-trunk. 1700. 154—INRO (197) Four sections, Wakasa lacquer. A family crest, painted in black lacquer ; the inside finished in black. Netsuke, Wakasa lac- quer, with a crest. Ojime, ivory ring. 1750. 155—IN RO (198) ‘Three sections, Giobu lacquer. Landscape, painted in gold lacquer, applied in high relief ; inside finished in Nashiji. Netsuke, a bronze saddle with a golden crest. Ojime, coral ball. By Kagi- kawa. 1700. ss: 466-INRO ee 00 Fry, sections, gold lacquer. Embellished with historical ndscape of Ashigara Yama, the figures wrought in various met- als and applied in high relief ; landscape and mountains painted in - gold lacquer ; the inside finished in Giobu Nashiji. Netsuke, gold lacquer, with ornamentation of peony flower in mother-of-pearl. — Ojime, silver filigree work. By Shokasai, signed. 1800. : Bras rit e & : 00), Five sections, black lacquer. On obverse a man on horse- | back, and on the reverse a rooster in low relief and inlaid with “mother-of-pearl, lead and gold; the inside finished in Nashiji. Net- 8 wood, with metal-work medallion, inlaid ornamentation. | 201) In one section, polished lacquer. Made in imitation of veins Sof maod, eo eee and ferns, i in eed and silver ; the inside V An autumn scene, il Bl reseanains into Hagi grove, most delicately pencilled in gold equer; the inside finished in Nashiji. By Koma Korin, 1. 1800. Carved ivory netsuke. ) Fike deationys gold lacquer. Embellished with a landscape, crossing stream, and various houses, painted in gold lacquer low relief, and partly inlaid with gold-leaf mosaics ; the inside shed 3 wae By sar 1700. 161—INRO (204) Three sections, polished black lacquer. Landscape and lions, painted in gold lacquers; the inside finished in plain gold. Made by Toyo, signed. 1770. Carved ivory netsuke: group of persimmons. 162—INRO (205) Seven sections, polished black lacquer. Spider-webs, deli- cately pencilled in gold lacquer, and a spider of incrusted mother- of-pearl; the inside finished in Nashiji lacquer. By Shunsho. 1700. Carved wood netsuke. 163—INRO (206) our sections, polished black lacquer. Decoration of young pine-trees, pencilled in gold lacquer; the inside of plain gold lacquer. By Koma Yasumasa, signed. 1800. 164—INRO (207) "Three sections, polished black lacquer. Decoration of bam- boos, painted in gold lacquer ; cloud and stars in powdered gold and silver; the inside finished dull-brown lacquer. By Koma Kiuhaku, and signed. 1700. Wood netsuke, with metal-work medallion. _ 165—INRO (208) our sections, polished black lacquer. Finely executed decoration of bamboos by river, in gold and silver lacquer; the inside finished in plain gold. By Koma Korin, signed. 1770. Carved wood netsuke: elephant. 166—INRO (209) our sections, polished black lacquer. Artistic decoration, representing the departure of fishing-boats in the early morning, in gold lacquer, the rising sun in red; the inside finished in plain gold. By Koma Korin, signed. 1770. Carved wood netsuke, 167—I NRO (710) Four sections, polished black lacquer. Decoration of weep- ing-willow-tree and long-tailed bird, delicately pencilled in gold and silver lacquer; the inside finished in dull gold and vermillion lacquer. By Koma Yasutaka, signed. 1800. Carved soo-chow ; lacquer. 168—INRO (211) Three sections, polished black lacquer. Decoration, repre- senting the trinity of natural beauties—viz., moon, snow, and cherry blossoms—pencilled in gold and silver lacquers, partially applied in relief; the inside finished in Nashiji. By Kajikawa Shosui, signed. 1750. Carved ivory mask, netsuke. 169—I NRO (212) One section, black lacquer. A figure of Hotei on one side and Chinese letters in panel, surrounded by a border in design of musical instruments, all in high relief; the inside, plain black lacquer. Copied by Zeshin after Ritsuo. 1850. Netsuke, wood, with an inlaid decoration. 170—INRO (213) Three sections, black lacquer. Made in shape of Chinese ink-block, and decorated with an incense pagoda on one side and with Chinese characters in panel surrounded by an archaic border on the obverse, all in high relief, and tinted with gold and various colors; the inside, plain black. By Hanzan signed. 1750. 171—INRO (214) Four sections, polished black lacquer. Decoration of flying swallows, in black lacquer, in low relief, and weeping-willows deli- eately pencilled in gold; the inside is finished in plain black. By Shunsho, signed. 1750. Finely wrought metal-work netsuke. 172—INRO (215) Four sections, polished black lacquer. Decoration of pine trees, delicately pencilled in gold; the inside of plain black lacquer. By Shiomi Masazane, signed. 1700. Finely carved ivory netsuke. 173—INRO (216) Four sections, polished black lacquer. On the obverse a bridge crossing stream, in relief gold and mother-of-pearl; on re- verse the symbolical bat in silver ; the inside finished in Nashiji. By Toyo, signed. 1770. Carved red lacquer netsuke. 174—INRO (217) Four sections, fine gold lacquer. Artistic decoration of figures of two actors, in gold and vermillion lacquer, the faces wrought in silver and shakudo; on reverse two young pines; the inside finished in Nashiji lacquer. Made by Kogiokusai, signed. 1800. Netsuke, a walnut shell finely carved. | 175—INRO (218) Four sections, gold lacquer. Decoration of legendary sub- jects, the spirits of the old pine tree, and the long-lived couple, the latter wrought in precious metals, in low relief, and pine-tree, storks and wave designs, in high-grade gold lacquer, applied in high and low relief; the inside finished in Nashiji lacquer. By Kashosai, signed. 1800. Carved ivory netsuke of openwork design. . 176—INRO (219) One section, silver lacquer. Decoration of various Chinese coins, in gold lacquer, applied in low relief; the inside finished in Nashiji lacquer. 1750. Carved wood and lacquered netsuke: head of lion. ‘¥ Ca: '—INRO _ @20) Four sections, Nashiji lacquer. Artistic decoration of a ah helmet, flag, saddle, stirrups, and spear, in bronze and gold lacquer, in high relief ; the inside, Nashiji lacquer. 1750, Metal work net- suke of intricate workmanship. > INRO a > (221) _ Three sections, black lacquer. Decoration of figures in tor- _ toise-shell, and garden scene in gold lacquer; border of fern esigns, pencilled in gold; the inside, Nashiji lacquer. 1750. Gourd netsuke, finely carved. cated 3h -179—INRO- 222)“ Four sections, polished lacquer. Decorated with alternate bands, showing ten different styles of lacquer; the inside finished in P Nashiji lacquer. 1750. Carved wood netsuke: historical group. oe ae Cre section, wood. Decorated with a carved design, “ Shoki pursuing a demon,” carved by Naokata in the spring of 1829. Signed. Carved ivory netsuke. ur ; Sere sections, wood. Design of a turtle. 1800. Carved _ wood netsuke: shell trumpet design. _ Three sections, wood. Two dragons pursuing the sacred loud forms, and fire emblems, carved in high relief ; inside d in Nashiji. 1800. Carved wood netsuke: dragon, en- ng ball. Ojime, coral. 183—I NRO (226) our sections, polished gold lacquer. Embellished with a beautiful decoration of brocade patterns, delicately pencilled in gold and vermilion lacquer; inside finished in Nashiji. 1800. Carved ivory netsuke, with metal ornament. Ojime, inlaid with various metals. 184—IN RO (227) Four sections, Tameiro lacquer. Decoration representing Japanese playing-cards, figures and characters, inlaid with mother-of-pearl and cinnabar lacquer, on a dull gold ground, after Korin. By Toyo and signed. Ojime, copper, with shell designs, engraved and filled with enamels. Netsuke, ivory, made in shape of a rock and ornamented with a silver peony flower. By Giokkei. 1770. 185—IN RO : (228) Four sections, polished black lacquer. Artistic decoration of playing lions in peony garden, intricately inlaid with gold and mother-of-pearl, after Chinese; inside finished in Nashiji 1750. Ojime, wood, carved and lacquered in colors. Netsuke, carved wood lions playing with a ball. 186—INRO (229) Two sections, yellow soapstone. Decorated with a seated figure of Kwan-on carved in low relief, and a poem pencilled in gold lacquer. By Shozan, signed. 1800. Carved wood netsuke and ojime. 187—INRO (230) "Three sections, wood. Outer case wrought in brass of open- work design, illustrating an old priest going to worship in a rain- storm; reverse, pine-trees and flying bird. By Nara Shigemitsu, signed. 1800. Netsuke, ivory: a dog and fishes. Ojime, cloisonné bead. ; ive sections, polished black lacquer. Finely executed tion of iris in bloom, in gold lacquer and enamels. By Shi- m Masazane, signed. 1700. The inside of Nashiji. ee; = wee sections, black lacquer with thread line ground. Deli- coration of flowers by hedge, rocks, and stream, in gold, and id with mother-of-pearl and cinnabar ; inside, Nashiji. Ojime, ee in ie metal. Ecoaas a nee one on Mokugio Eighteenth ur sections, deep Tameiro Chinkin lacquer. Decoration ree in blossom and a bird of paradise, in cinnabar ; inside Seventeenth eenVany Netsuke, wood, Five . sections fine vermilion lacquer. Embellished with an » decoration of crows and weeping willow in black and gold applied in low relief. Signed, Giokusen. Nineteenth cen- ‘arved wood netsuke: a monkey. < 193-—IN RO (427) Four sections polished black lacquer. Delicately painted decoration of kingfisher and willow tree pencilled in gold lacquer. Signed, Shiomi Masazane. Eighteenth century. Netsuke of carved cinnabar lacquer, design of gourd. Stone slide. 194—WOOD INRO (27194) Tn two sections. Teakwood, with ornamentation of fungus and characters in mother-of-pearl inlay. By Isosai Isseki. EKigh- teenth century. Carved wood netsuke dragon clutching sacred ball. Cloisonné ojime. 195—IN RO (2327) Wood, with open work hirado porcelain panels inserted. Made at Okawachi, province of Hizen. 1800. Ivory netsuke and slide. 196—INRO | (2328) Kameyama porcelain. White glaze, with birds and flowers in blue under the glaze. Nabeshima porcelain bead ojime, with chrysanthemum in green, red, and blue over the glaze. Netsuke, porcelain figure of Gama Sennin (the toad sage), in blue and red under the glaze. Made at Kameyama, Hizen. 1850. 197—_INRO (2329) Kameyama porcelain. White hard paste, dragon in clouds in blue under the glaze. Ojime, miniature Fukusuké (happy man), decorated in black, red, and gold over the glaze. Netsuke of porce- lain, an eagle killing a monkey. Made at Kameyama, Hizen. 1850. 198—INRO RACK (367) Black lacquer. Elaborate embellishments of landscape, mountain and river scenery, intricately incrusted in mother-of- pearl. 1750. Height, 10; length, 27 inches. a (1874) Luminous brown clouded texture. Ch’ien-Lung period. ; in ; Height, 2% inches. (2825) Bena with colored landscape and inscription painted on the inside wall of the bottle, so that they can be seen through sry transparent body of the glass; the top of fei-tsue jadcite. Oa period. Height, 2% inches. 1 and brown mottled texture. Ch’ien-Lung period. fei-tsue. Ch’ien-Lung period. 206—ROCK CRYSTAL SNUFF BOTTLE (1318) Carving of fabulous animal in relief in hair crystal. 207—LARGE AGATE SNUFF BOTTLE (1317) Soft gray opaque texture, dancing boy and symbolical bat carved in relief in the brown matrix. Ch’ien-Lung period. 208—AGATE SNUFF BOTTLE (1316) Soft, grayish texture. Horse beneath pine tree, carved in the white matrix. Ch’ien-Lung period. 209—FEI-TSUE JADEITE SNUFF BOTTLE (1315) Snow-white texture with emerald-green spot, stopper tipped with coral. Ch’ien-Lung period. 210—ROCK CRYSTAL SNUFF BOTTLE (1314) Pinkish texture, ornamented with the figure of Kwan-on on fish, on one side, carved in high relief, and on the reverse a tree peony in low relief. Ch’ien-Lung period. 210A—MOSS AGATE SNUFF BOTTLE (1312) With pronounced marking. Ch’ien-Lung period. 210B—ROCK CRYSTAL MINIATURE STATUE (1310) Chinese philosopher sitting in meditation. 211—MURRHINE AGATE SNUFF BOTTLE (1309) Gourd shape, stopper capped with fei-tsue. 212—AGATE SNUFF BOTTLE (1307) Mottled brown texture. nic side ey (emg in low relief, stopper Eapeed t. Ch’ien-Lung period. 1 texture, archaic ornaments carved in low re- Cl’ien-Lung period. — texture, stopper inved with green 2292—AGATE SNUFF BOTTLE (1297) Mottled brown texture. 223—ROCK CRYS1AuL SNUFF BOT TLE | (1290) Clear texture, archaic side ‘ornaments c Chien-Lung period. ¢ GR IES 22h—MAORI STONE SNUFF BOTTLE ——— (1296) Mottled gray and green texture, arc carved in low relief. Ch’ien-Lung ete 225—JADE SNUFF BOTTLE * | (1292) Dragons carved in low nef 2%—AGATE SNUFF BOTTLE — ' hn s Abie (1295) Gray and mottled brown texture, ASS 227AGATE SNUFF BOTTLE Me (1293) Gourd-shaped, golden-brown | textul ey marking. Ch’ien-Lung period. = eo : 228—AMBER SNUFF BOTTLE (1294) Golden-brown color. Carved ‘tT. | 2e0 AGATE SNUFF BOTTLE (1291) Mottled Ri JASPER SNUFF BOTTLE 308) Mottled brown and green texture. Ch’ien-Lung period. ee lazuli. Persian lapis of brilliant color, with flecks Gray and brown texture. Tiger, monkey, and plants n low relief. Ch’ien-Lung period. SNUFF BOTTLE White and soft shades of gray. Has coral tip to stopper. E , ORJECTS IN ROCK CRYSTAL, AGATE AND STONE. 30) Carved stone. Crest and other design in relief. By Ritsuo. med, Kwan. Eighteenth century. ROCK CRYSTAL NETSUKE in design of plum fruit, and ornamented with metal in shape of plum flower. Nineteenth century. ved in design of skull. N ineteenth century. been 238—ROCK CRYSTAL NETSUKE (1123) Carved in design of tortoise. Nineteenth century. 239—AGATE WINE CUP (1311) Mottled brown texture. 240—AGATE CUP AND SAUCER (1258) Clouded texture, highly polished surface. Ch’ien-Lung period. 241—AGATE LIBATION CUP (1259) Flower shape with fungus handles. Ch’ien-Lung period. Height, 1% inches. 242—AGATE COUPE (1260) Pine branches in high relief and undercut, and plum blos- soms in low relief. Height, 14% inches. 243—ROCK CRYSTAL CUP (1261) Fine clear texture. Octagonal shape with openwork scroll handles. Carved teakwood stand. Ch’ien-Lung period. Height, 2% inches. 244—AGATE ORNAMENT (1287) Carved gourd with leaves and vine. Ch’ien-Lung period. Length, 2 inches, 245—-AGATE MINIATURE VASE (1313) \fottled brown texture. Archaic side ornaments carved in high relief. Cl’ien-Lung period, 36) Carved archaic handles and inscriptions. Ch’ien-Lung riod. Teakwood stand. ° ; Height, 3 inches, ~ Clear texture, with moss green and hair markings. Ch’ien- Height, 3% inches. Height, 3%4 inches. te, es and red texture. Carved in design of trunk Height, 3%4 inches. Nineteenth century. caer teutic Length, 2% inches; diameter, 1% inches. 253—ROCK CRYSTAL BALL. (1122) Clear texture. Mounted on a silver stand, which is crna- mented with engraved crests of Tokugawa. Nineteenth century. S Diameter, 354 inches. 254—INK STONE (1129) QOrnamented with bean vine beautifully carved in relief. The cover of teakwood, surmounted by a carved jade ornament; has teakwood stand. Nineteenth century. ; 255—OKIMONO (1126) Miniature lions of carved wood and sacred ball of rock crystal. Signed, Issen Nobuhide. Nineteenth century. 256—ROCK CRYSTAL STATUETTE (1272) Seated figure of Kwan-on. Teakwood stand. Cl’ien-Lung period. Height, 434 inches. 257—AGATE VASE (1253) Of red and white texture. Carved in design of pine tree trunk, with branches of fungus in relief and undercut. Group of teakwood stands. Height, 434 inches. 258—CHINESE GLASS COVERED BOWL (1327) Mottled tortoise-shell texture. Ch’ien-Lung period. Carved teakwood stand. Height, 3; diameter, 416 inches. 259—-SMOKED CRYSTAL WATER HOLDER (1275) Design of magnolia spray. Teakwood stand. Height, 2 inches; length, 54% inches, | oo. Soft yellow texture. Oviform, with band round shoulder ; — the hoe mark, carved in low relief. Round the foot in dark “red a band of lotus leaves. Ch’ien-Lung period. Has fine carved aes is teakwood stand. Height, 5 inches. : “Fine fibrous texture, artificially colored rose-pink. Ch’ien- ng : period Teakwood stand. alee Height, 2% inches; diameter, 5% inches. ary ¢ Carved black rock crystal, God of Longevity and his deer. ie Carved teakwood stand. Height, 34 inches; length, 64% inches. Height, 6 inches; diameter, 4 inches. RYSTAL VASE, WITH COVER Clear texture. Fabulous birds carved in bold relief and : te = ee period. Teakwood stand. a Height, 6% inches. Oviform, with dragon handles in openwork carving. In- sed ornamentation of dragon, pine and bamboo. Teakwood stand. Site Height, 634 inches, 266—CHINESE GLASS VASE (1328) Bottle shape, soft green texture, engraved seal mark under foot. Ch’ien-Lung period. Height, 944 inches. 267—ROCK CRYSTAL FIGURE (1276) (Clear texture, seated figure. Philosopher Lao Tsze, the founder of Taoistic philosophy in China. Ch’ien-Lung period. Teakwood stand. Height, 13% inches. SAKE SAUCERS 268—SAKE SAUCER (235) Fine vermilion lacquer. Decorated with the strand scene of Suminoye in gold lacquer. 1750. 269—SAKE SAUCER (236) Vermilion lacquer, decoration of Yoro waterfall, pine tree and rocks in gold lacquer. 1750. 2x0—SAKE SAUCER (237) Vermilion lacquer, decoration of pine tree, sake jars and rocks, from Shojo. 1750. 271—SET OF THREE SAKE SAUCERS (238) Vermilion lacquer. Turtle, storks, pine tree, and rising sun, in gold and black lacquer. By Torinsai, signed. 1800. 2792 SET OF THREE SAKE SAUCERS (239) Vermilion lacquer. Decorated with young pine trees, in gold and green lacquer. 1800, Vermilion lacquer. Pine needles, bamboo leaves, and plum ms delicately pencilled in gold lacquer. 1750. (241) Vermilion lacquer. Chinese characters of happiness, wealth, and longevity, in gold lacquer on black, surrounded by terra-cotta colored borders. The outer surface decorated with branches of ~ blossoms, ferns, and fan design, delicately painted in gold. These cups are used on New Year’s Day. Made by Seiyosai, signed. gns, ~ Vermilion lacquer. Decoration of plum, bamboo, and pine, lacquer, after the design by Sukoku. 1850. 7—SET OF THREE SAKE CUPS AND SAUCERS — fermilion lacquer. Chrysanthemum flowers in various lac- in Johana style. By Hakugioku, signed. 1800. rmilion lacquer. Artistically executed decoration of branches, of blossoms, reeds and grasses, in gold, silver lacquer. 1800. x jlion lacquer. Decoration of flying storks, delicately 1 gold, silver, and black lacquer. By Yoyusai, signed. Ae 230-SAKE SAUCER aig Ses pe yi ) peri ee 281—SAKE SAUCER (248) Vermilion lacquer. a : lished with detached fae eB flo we s Johana. style. By Hakugioku, signed. af 282—-SAKE SAUCER 2 ne ie (282) Vermilion lacquer. Chinese charact lacquer on brown and pes | 1800. $ me Blige Seen 2883—SAKEH SAUCER (250) Vermilion lacquer. Outer. ar design of bale water, delicately % aed 284—SAKE SA UCER | ee aoe Sipe (251) Vermilion lacquer. Inver adittaces design of pine needles, pencilled in gold and. 286—SAKB SAUCER det y Ri (252) Vermilion lacquer. — grasses in gold and silver eae A60-SARM SAUOEE sete oe ate x ” Poiheake ira ane Vermilion lacquer. Artistic decoration of carp and seaweed, painted in gold and black lacquer. By Kajikawa, signed, 1750. | (255) Vermilion lacquer. Decoration of pine tree and crests, pen- - cilled i in eat 1800. iat S5:... be . Se SAUCER (256) Vermilion lacquer. Decoration of pine needles, painted in ; aga At ppohalcnaai, signed. 1800, 8] Vermilion lacquer. Decoration of pine needles, bamboo leaves, and plum blossoms delicately etched and filled in with gold oo This em is known as Chinkin bori. 1750. et te ee} | ee vermilion lacquer. Decoration of moon, and autumn ses laden with dew drops, delicately pencilled in gold and silver OW 50. Vermilion lacquer. Decoration of landscape and domestic yainted in gold, silver and bronze lacquer. By Ukifune, 294-SAKE CUP AND SAUCER (261) Vermilion lacquer. Decoration of snow-cla light, painted in gold and silver lacquer. 1800. — 295—SAKE SAUCER (262) Vermilion lacquer. Decorated with Japanese theatre, delicately eee in signed. 1800. ‘ 296—-SAKE SAUCER (263) Vermilion lacquer. Decoration of pit gold and silver, after a design by beers . fine bamboo basket work. By H Ld 297-SAKE SAUCER _ ver (264) Vermilion lacquer. Decors with Fuji mountain seen in n dst, Iwamotoin of Fnoshina sue 4 298—SAKE SAUCER ie Eg igi (265) The inner surface covered with v orated with cherry blossoms floati ? showing the natural grains of ¢ Tosa Mitsusada. 1800. 299—SAKE SAUCER Rar (266) Aventurine lacquer. Decc leafy scrolls, painted in pare and si. 300—LARGE SAKE SAUCER ~ (267) Vermilion lacquer. lion, tree peonies and r in high relief. 1750. B SAKE SAUCER Vermilion lacquer. Decoration of stork and pine branches, cately etched. Chinkin bori style and filled in with gold lac- r. By Tonami, signed. 1788. = 2EE SAKE SAUCERS nilion lacquer. Finely decorated with numerous flying fully painted in gold and black lacquer. 1750. ies - AND SAUCER : gold lacquer, delicately painted plum tree branch. a é uer. Decoration of “ six famous poets ” painted r lacquers. By Shigemitsu. 1800. i ? af oe i ~F ae: re A a p a . gf a = a » = a - a ral « a oF ied Tae 2 Bees 1 pee ee | SECOND AFTERNOON'S SALE THURSDAY, JANUARY 6ru, 1905 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 2.30 o’cLOCK SUPERB LACQUERS f ae famous Nain Yama Hacirig the season of pes at Pons, executed in gold, silver and other lacquers, and inlaid with gold-leaf mosaics. Inside finished in fine Nashiji. 1750. 4 > . ° Read HAY hs Height, 1% inches. er ~ Nashiji lacquer. Small kidney-shaped incense box. Pine lack lacquer. Decoration of plum blossoms, in gold lac- pvdered gold-dust; the inside of Nashiji.. 1750. cquered in imitation of an old specimen of Seto. 1800. Height, 2% inches; diameter, 2 inches. 309-SAKE CUP OF BASKET DESIGN . (416) Made of coiled paper-twine and painted i in red | ‘ gilded. 1800. oo 310—BASKET-SHAPED CUP STAND WITH SAKE CUP (404) Black lacquer with basket work etched and fil bori style; cup, of yermilion lacquer. Eigl Lee ee 311--SET OF TWO, SMALL INCENSE BOXES * ae (276) Fine gold lacquer. Water falls and painted in gold lacquer of various tones, ap) side finished in Nashiji. 1800. = = 312—SUPERB LOZEN GH-SHAPED BOX (273) Gold lacquer of fine ea eae crests artistically painted in gold lacquer of v and foot finished in fine Nashiji. 1750. 313—SMALL INCENSE BOX (286) Fine gold and brown ue Design The inside of dull gold finish, and dec “ Sparrow Dancers.” 1800. 31j—TEA JAR TE Sng oes (387) Tsuishu lacquer. Boldly carved a 315-SUPERB PERFUME BOX = = (289) Fine oot aps con: design, the fone cn baste d leaves. Inside finished in & Neonat = yal “pe, - 7 setae Ae es > as 275) Double lozenge-shaped; gold lacquer of high grade. Elab- rate and exquisite ornamentation of mountain scenery, river coe ews, and brocade designs artistically painted in gold lacquers of ‘ious shades in successive layers. Inside of cover decorated with landscape in various shades of gold lacquer. Inside and foot finished in Giobu Nashiji. By Okuda Shoju-sai, signed. 1800. oA most artistic production. Height, 2% inches; width, 444 inches. 17—PERFUME BOX (294) Helmet-shaped. Decorated with various lacquers in alter- nating stripes, design of leaf scrolls delicately pencilled in gold. ide of fine Nashiji. 1700. Height, 2% inches; diameter, 3 inches. ey kysie gold lacquer. Decoration of branches of plum blos- saa in gold and silver PACANETE, applied i in Hea relief Length, 2% inches. MALL INCENSE BOX ne Gurnee shape, eee ela Brocade ee a in Bosgin: 2% inches. Gold Jacquer. Landscape and flowering plants pencilled in quer ; the inside of Nashiji. 1750. ae is $ Length, 2% inches. ein gold Be ee Fede finished in gold eae 1750. e Length, 2% inches, Sec Fe 3 xy: its ae fe ad, : ee ad vo re Foe aie ae Cee 822—TEA BOX (316) Natsume shape, polished black lacquer. crests in gold; the inside black lacquer. 1750. Height, 2% inches; am 823—CYLINDRICAL INCENSE BOX (320) In two sections. Red lacquer decoration « dragon and Héwé bird, and Sleek pei in sil quer. 1700. 324—INCENSE BURNER (360) Lacquered in imitation of wwood-grain, an ated in imitation of basketwork, in black over N. i 2 inside lined with copper. 1800. ‘ys, ae mele | Height inche 825—TEA JAR (442) Polished mirror-black eae of ex e By Fujishige, signed. 1800. 326—ROUND INCENSE Box (292) in gold, under ikioh are Pay in Rs A Isc Nashiji. 1700. | $27—MALLET-SHAPED INCENSE BOX (280) Fine Nashiji lacquer. Exquisite various symbols and leafy cee in gold lacquer ; the inside: finis : 1850. oe HEXAGONAL INCENSE BOX ; drum and trumpet, pencilled in gold, red, and black lacquers relief ; the inside, finished in fine Nashiji. 1750. | Diameter, 234 inches. r; the inside of Nashiji. 1700. Height, 2% inches; diameter, 2%4 inches. D INCENSE BOX lacquer. Carved design of plum tree blossoms. e of black lacquer. 1750. a Height, 1% inches; diameter, 2% inches. BEES rhe | INCENSE BOX d lacquer of dull finish. Decoration of landscape, | mountain scenery in various shades of gold. The t finished in Hirame. 1750. cquer. Carved ornamentation of chrysanthemum borders. By Zokoku. 1800. Sees Si)! pew Dédaneter, 2% thehes. Length, 2% inches. wer ~- of agate, called Wakasa Nuri lacquer. { +. Yecoration of bird on branch in 8385—TEA BOWL STAND (417) Tsuishu lacquer. Elaborate decoration of peony and chrysanthemum flowers boldly carved. 1750. Height, 3 inches. 836—+-SAKE CUP STAND (415) Nashiji lacquer. Decoration of chrysanthemum crest, painted in gold. 1750. Height, 3 inches. 337—TEA BOX (408) Red-brown lacquer. Decoration of Kiri crest in black. 1800. Height, 3 inches. 838—TEA BOX (407) Black lacquer. Decoration of Shippo patterns and vine scrolls, in gold lacquer; inside, finished in black lacquer. Eigh- teenth century. Height, 3 inches. 339—SMALL INCENSE BURNER (406) Polished black lacquer. Decoration of landscape in gold. Metal cover of openwork design. Eighteenth century. Height, 3 inches. 340—SMALL INCENSE BOX (384) Tsuishu and Tsuikoku lacquers. Satirical design of Da- ruma stretching himself, carved in relief on a red background. By Zokoku, and signed. 1800. Diameter, 3 inches. 3841—ASH RECEIVER (321) Bucket shape. Polished mirror-black lacquer with imperial chrysanthemum and a band of Greek fretwork, in gold and red lac- quer ; the inside metal lined. By Shunsho. 1750. Diameter, 3 inches, ’ Covered with gold and black lacquer in designs of chrysan- themums; the inside of black lacquer. By Sotetsu, a noted lacquer tea-jar maker, and signed. 1750. patter bs Height, 3%4 inches; diameter, 3 inches. 5 ns) Fine gold lacquer, of exquisite workmanship, dull finish with : gold, mosaic and mother-of-pearl inlays; the inside finished in - - Nashiji. By Shiomi Masazane, signed. 1750. Pe ae Height, 3 inches; length, 3 inches. 4-SMALL SQUARE INCENSE BOX _ (405) Gold lacquer. Herons by stream, and various symbols, pen- = sede in gold and silver lacquer. Nashiji finish inside. nay 142 > heat = Diameter, 3 inches. U Natsume shape. Fine gold lacquer, with decoration of fly- ing ae pple in black, bronze, red and gold lacqaer, over a nee 3% inches; diameter, 3 inches. se Fiat bottle shape. Rich, brown lacquer beautifully pol- 1800. : Height, 314 inches. “a BOX of brocade pattern; inside finished in Nashiji. Seventeenth in 1G | Height, 31% inches. | In two sections. Fine Nashiji lacquer with artistic decora- of young pine and plum trees in blossom, painted in gold lac- of various tones applied in relief; the inside in Nashiji. Height, 3% inches; diameter, 4% inches, .- 349 SMALL SQUARE INCENSE BOX (311) Nashiji lacquer. Finely painted decoration of chrysanthe- mum crests, and plum blossoms pencilled in gold lacquer; the in- side finished in Nashiji lacquer. 1750. Length, 3% inches. 350—ROUND INCENSE BOX (272) Fine gold lacquer. Profuse decoration of detached cherry blossoms, beautifully pencilled in fine gold lacquer of dull finish; the inside of fine Nashiji. 1750. Diameter, 3% inches. 3851—_CHRYSANTHEMUM SHAPED PERFUME BOX (290) Gold lacquer of dull finish and incised surface; the inside decorated with Kiri crests, in gold; cover and box rimmed with lead. 1700. Diameter, 345 inches. 352—INCENSE BOX (295) Flat round shape. Polished black lacquer with detached flowers and maple leaves within net, finely pencilled, in gold, silver, and red lacquer ; inside finished in Nashiji. 1750. Diameter, 3% inches. 353—GLOBULAR INCENSE BOX (336) 'Tsuishu and Tsuikoku lacquer. Finely carved design of a grasshopper and chrysanthemums in high relief on a red ground. The relief part in Tsuikoku lacquer, and the ground in Tsuishu; the inside of polished black lacquer. 1800. Height, 2 inches; diameter, 3% inches. 354—SUPERB BOX (429) Gold lacquer. Spring and summer landscapes beautifully painted in gold and silver lacquers, interior in Nashiji finish. Eighteenth century. Length, 3% inches. u = Height, 3 inches; 7 inches square. Et Black lacquer. Elaborately inlaid with mother-of-pearl floral scrolls, various symbols and leaf borders. Ch’ien-Lung Diameter, 7% inches. 3 “209, ‘Cimaba ee “gest subject, pine, plum and bam- af Ch’ien-Lung period. Height, 8% inches. MANUSCRIPT BOX = (1202) Black lacquer. Elaborate relief ornamentation in gilded brass, silver and mother-of-pearl, of dragons, fire emblem and the earl of omnipotence. On the sides and ends are flowers and blos- s in various enamels and mother-of-pearl. Ch’ien-Lung pericd. ae 7 Length, 1444 inches; width, 7% inches. AINED CINNABAR LACQUER BOX The entire surface covered with an elaborate decoration of Ur ot symbols, all most carefully carved in cinnabar on a zround. Probably early part of K’ang-hsi period. ma her : Height, 7 inches; diameter, 18 inches. 472—LARGE OBLONG BOX ON FEET (1204) Black lacquer, with panels of fine bamboo basket work. Decoration of Chinese domestic scene, river view and other designs pencilled in gold. Ming dynasty period. Length, 20% inches; width, 14 inches; height, 54% inches. CARVINGS IN WOOD, BAMBOO, AND IVORY 473—OKIMONO (901) Wood. Group of mice, skilfully carved. Signed, Hokindo Masayoshi. Nineteenth century. Height, 334 inches. 474-—TEA SCOOP (908) Teakwood. Ornamented with dragon, carved in relief. Nineteenth century. 475—W RITER’S BRUSH WASHER (906) Bamboo. In design of gourd and vine skilfully carved. Nineteenth century. 476—NIOI, PRIEST’S SCEPTRE (910) Carved branch of lotus, bud and curled leaf. Nineteenth century. 477—NIOI, AN ENSIGN OF THE PRIEST OF JEN SECT (909) Wood. Carved in design of turbulent water. Nineteenth century. 4°8—BAMBOO MASK (908) Carved face of a jolly fellow. Nineteenth century. (905 Wood. Chinese lion with sacred ball Carved and partially lacquered with gold. Eighteenth century. ae Height, 5% inches. Length, 6 inches. 007) Bamboo. In design of pine tree, with branches of pine 5 aes carved. Has fine teakwood stand. Nineteenth 482—OKIMONO (902) Wood. Sacred ox in repose, skilfully carved. Signed, Ikko. Nineteenth century. Teakwood stand. 7 o al Height, 2Y% inches; length, 64% inches. - (021) es in disguise of a priest (caricature), boldly carved and covered with layers of red lacquer, except face. Eighteenth "i ceentury. ou Heiaht, 12 inches. ~- Iragon. Signed: Takuyeisai oy Sr ihas Nineteenth century. :IEST’S SWORD | ) Carved wood, ornamented with the design of tea-party set, 1 with stone, ivory, whalebone and bamboo. Kodsuka of th New Year’s decoration in relief. Nineteenth century. > | at 487 CARVED WOOD STAND (930A) Table design, covered with red lacquer and mounted in gilded brass. Height, 9% inches; length, 14 inches. 488—CARVED WOOD STAND (929A) Finished in gold lacquer. Eighteenth century. _ Height, 9¥% inches. SPECIMENS OF CARVED JADE 489—BEAUTIFUL IMPERIAL FEI-TSUE BUCKLE (1266) Carved in open-work and undercut dragon amid cloud forms. Ch’ien-Lung period. 14%x3% inches. 490—MAORI JADE RING (1278) Moss green texture, with pink markings. Ch’ien-Lung period. 491—FEI-TSUE AMULET (1279) Floral spray carved in open-work. Ch’ien-Lung period. 492—FEI-TSUE AMULET (1280) Gourd vine carved in open-work. Ch’ien-Lung period. 493—FEI-TSUE AMULET (1281) Carved floral spray, carved in open-work. Ch’ien-Lung period. 494—PAIR JADE PANELS (1270) Beautifully carved in intricate open-work. Deer in forest. Ch’ien-Lung period. Teakwood stand. 1%x4% inches. (1267) Thin texture, with branches of peach fruit, bat, and plum : blossoms, carved in low relief. Jewelled border. 3144x414 inches. 2x3%4 inches. "2B “Branches of pomegranate carved in low relief. 4 2x2% inches. ADE NECKLACE _ (1284) Indian. Numerous pendants of jade stones incrusted with ie gold and mitached to a gold braid cord. eee ek 2x2% inches. With Fei-tsue marking. Ch’ien-Lung period. reen white texture, carved in design of an antique musical Ornamented with figures of Chinese sages and storm ‘1 ing from the sea. On the obverse an inscription of characters, all carved in low relief, suspended by a chain t from uaolia piece of jade. Ch’ien-Lung period. 504—YELLOW JADE VASE (1283) Cylindrical shape, highly polished surface. Height, 2% inches; diameter, 134 inches. 505—YELLOW JADE ROUGE BOX (1234) Circular flat form, highly polished surface. Diameter, 2% inches. 506—J ADE STATUETTE (1213) Figure of a boy carrying treasure-bag. Carved teakwood stand. Height, 2% inches. 507—J ADE ORNAMENT (1224) Green white texture. Design of a mandarin duck holding floral spray in beak ; finely carved and polished. Teakwood stand. Height, 2% inches. 508—WHITE JADE RING (1214) Carved archaic designs and incised fret borders. With stand and cover. Diameter, 2% inches. 509—WRITER’S DESK ORNAMENT (1238) Small disk of white jade carved in open-work. Boy hold- ing sacred symbols standing on monster fish. Mounted on a stand carved to represent clouds exhaled by a monstrous animal standing in a pine grove. Diameter, 34% inches. 510—WRITER’S DESK ORNAMENT (1239) Small disk of white jade, carved in open-work, pheenix and peony scrolls. Carved stand of cloud forms. Ch’ien-Lung period. Diameter, 3% inches, Thin eparan texture of greenish tint, with a slight marking of brown and yellow. Exquisitely carved ornamentation of floral and leafy scrolls in low relief. Ch’ien-Lung period. Finely carved teakwood stand. Beet |S Height, 3 inches; diameter, 5 inches. : ee Tr a texture, with beautiful moss green markings, highly ee surface. Ch’ien-Lung period. Teakwood stand. eS ao Height, 3% inches; diameter, 3% inches. whens a ipo ae a se 4 ates SMALL JADE VASE _ (1235) Flat gourd shape, with rudimentary elephant head handles - and gourd vine carved in low relief. | ae SE ead : : Height, 3%4 inches. JADE GIRDLE CLASP (1277) Dragon design. ae | Length, 3 inches. “Tablet of white jade, beautifully carved in open-work nea ot dragon, with the pearl of omnipotence, arising the sea. Mounted in a carved frame in design of turbulent rater Sad oad forms. Ch’ien-Lung period. 216 x4 inches arved design of trumpet. Ch’ien-Lung period. : , Length, 4%, inches. 618S—J ADE COUPE (1229) Jade stone of green and brown texture. Lily, stem, buds and leaves beautifully carved in bold relief. Length, 4 inches; height, 1% inches. 519—WHITE JADE INCENSE BURNER (1222) With cover and rudimentary head handles. Ornamented with band of Haou-teen face designs and floral scrolls carved in low relief, surmounted by a peony in high relief and openwork. Ch’ien-Lung period. Carved teakwood stand. Height, 4% inches; diameter, 4% inches. 520—GREEN JADE CUP (1247) Beautifully carved in design of a dragon head, ornamented in relief with three dragons, floral scrolls and incised cloud forms. Ch’ien-Lung period. Carved wood stand in design of turbulent water. Height, 4% inches. 621—INDIAN JADE VASE (1215) Thin gray texture. Graceful bottle shape, with an elab- orate floral and scroll design carved in openwork, and polished sur- face. Finely carved teakwood frame and stand. Height, 4% inches. 522—INDIAN JADE JAR, WITH. COVER (1237) ‘Thin transparent texture. Ornamentation of floral scrolls and various borders fashioned to imitate the “ rice grains ” decora- tion. ‘Teakwood stand. Height, 4% inches. 523—JADE BEAKER (1245) Green-white texture. Ornamented with archaic designs carved in low relief. Carved wood stand. Height, 434 inches, adavf dO SNAWIOddS AUVNIGUOVULXA 11S gzS GES > ee Dace d es et a ee a nS ae ; ci 3 on waves, carved in high relief and highly polished. Ming Dynasty period. Finely carved teakwood frame and stand. eh ret Height, 5 inches; width, 4 inches. oe Height, 54% inches. Pearl-gray texture and highly polished. Slender octag- tte with rudimentary scroll handles. Ch’ien-Lung period. Height, 5% inches. Th VASE _Finely carved in undercut, in design of fish, rising from the Height, 5% inches. 530—CONVEX MEDALLION (1223) Green-white jade. Branch of peach fruit, and bat, sym- bols of “long life and happiness,” carved in low relief and highly polished. Ch’ien-Lung period. Teakwood stand. 5% inches in long diameter. 531—IMPERIAL JADEITE BOWL (1226) With beautiful emerald-green tints, highly polished. - Ch’ien-Lung period. ‘Teakwood stand. Height, 2% inches; diameter, 5% inches. 532—IMPERIAL PAPER WEIGHT (1241) Pearl gray jadeite. Rain dragon carved in bold relief, and undercut, highly polished surface. Ch’ien-Lung period. Width, 1% inches; length, 9% inches. 533—GREEN JADE INCENSE BURNER WITH COVER (1218) Globular shaped, on tripod of grotesque heads and elaborate dragon head and loose ring handles. The entire outer surface covered with archaic designs and sceptre head bor- ders, finely carved in high and low relief, and highly polished. Ch’ien-Lung period. Carved teakwood stand. Height, 6 inches; diameter, 5 inches. 534—JADE VASE (1221) Green-white, thick texture and highly polished. Design of pine tree trunks finely carved in high relief and undercut branches of bamboo, fungus and stork. Yung Ching period. Teakwood stand. Height, 6 inches. 535—JADE VASE (1220) Gray-white texture and highly polished surface. Beautiful carved design of magnolia flower, the stem and buds forming the base. Carved teakwood stand. Height, 64% inches, ae 536— JADRITE BOWL (1246) "Thin texture, slightly clouded with fei-tsue green and highly polished surface. Carved teakwood stand. Diameter, 6% inches. é #5. Height, 5% inches. OF PRIEST, SEATED ON LION Cochin-Chinese. Soft texture, covered with rich green, brown, and yellow glazes. Wood stand. 1600. : . , Height, 5% inches. - } : as : Height, 5% inches. 575—COCHIN-CHINESE ORNAMENT (2746) Shape of hare. Cochin-Chinese, bright green and yellow glaze. 1700-1750. Height, 6% inches. 576—OVIFORM JAR (2711) Cochin-Chinese. Pottery, of soft reddish-brown texture. Enamelled with a soft amber yellow crackled glaze, over which are splashes of olive-green. Borders of gadroons, modelled in relief round the shoulder. Openwork teakwood cover and stand. Height, 7% inches. 577—COCHIN-CHINESE ORNAMENT (2747) Symbolical lion on pedestal. Covered with a green glaze and touched with brown. 1680-1700. Height, 8% inches. 5"8—OVIFORM VASE, WITH SPREADING BASE (2465) | Ancient Cochin-Chinese stoneware of dense texture. Coated with a verdigris glaze. Openwork teakwood cover with jade orna- ment. Height, 9 inches. 579—FLOWER VASE (2748) Sky Lion. Cochin-Chinese. Decoration in pink, yellow, blue and green. Ch’ien-Lung period. Height, 94% inches. 580—LARGE OVIFORM HANGING JAR (2433) Cochin-Chinese. Stoneware of soft yellowish texture, covered with a golden-brown glaze. Dragons pursuing the sacred pearl, modelled in low relief in the paste. Height, 14 inches. HAN, SUNG, AND OTHER CHINESE POTTERY _ 68I—WRITER’S GLOBULAR WATER VESSEL (273) With lizard modelled in high relief. Stoneware of the _ Sung Dynasty. Coated with a thick crackled glaze of clair de lune om type. Beran ey 2 Height, 3% inches. ae 582—GALIPOT (2704) Stoneware of fe Yuen Dynasty. Thick running glaze of ‘mottled brown, flecked with clair de lune. Carved teakwood stand. Height, 5 inches. - 683—DESK ORNAMENT (2749) Kylins. Chinese stoneware. Dense texture, coated with a robin’s-egg eid glaze and gilt. Ch’ien-Lung period. Teak- _ wood stand. Length, 5 inches. hy (2489) _ Stoneware of the Yuen Dynasty. Outer surface covered eg with an opaque violet glaze; inner surface invested with turquoise A blue Baas which has a pronounced crackle. Diameter, 5 inches. TERA BOWL WITH SCALLOPED EDGE 2 - (2488) Stoneware of the Sung Dynasty, coated with a soft glaze of creamy-white and mottled brown. Carved teakwood stand. ? SS ia Diameter, 5 inches. From the Cuarzes A. Dana Collection. = nae (eH) eatiapare of Sung Dynasty. Invested with a_ thick ex “crackled glaze of clair de lune type. Carved teakwood stand. SPN Fe Height, 5% inches. 587—TEA BOWL (2440) Stoneware of yellow texture. Partly covered with a thin greenish-yellow glaze over a crackle. This specimen is said to be one of the Summer Palace tea bowls, and is quite rare. Probably fifth or sixth century. Teakwood stand. Diameter, 5% inches. 588—TEMPLE VESSEL ON ATTACHED STAND (2697) Stoneware of the Sung Dynasty. Invested with a thick clair de lune crackle glaze. Teakwood stand. "i Height, 6 inches. §89—TEA BOWL (2441) Outer surface invested with a tea color crackled glaze, inner surface with a soft, creamy glaze. Early Sung Dynasty. Teak- wood stand. Diameter, 6 inches. 590—VASE ON ATTACHED STAND (2701) Soft gray stoneware of the Sung Dynasty. Square shaped, with rudimentary elephant-head handles. Ornamented with the symbols of natural elements essential to Chinese philosophy and the eight Trigrams on two sides in low relief. The whole coated with a thick clair de lune glaze, which has a pronounced crackle. Height, 6% inches. §91—_SUNG VASE (3022) Bottle-shaped, with a lizard carved in bold relief encircling the neck. Coated with a mottled brown crackled glaze, and a clouding of clair de lune. Teakwood stand. Height, 7 inches. 592—LARGE TRIPOD INCENSE BURNER (2707) Soft pottery of the Sung Dynasty. Coated with a poly- - chromatic flambé glaze of blue, gray and brown. Repoussé bronze cover and carved teakwood stand. Diameter, 9 inches; height, 5 inches. AYWALLOd ONNS AUNV NVH Qgor geri 109 12g gs 2743) Seated figure of a general. Chinese stoneware, invested ow vith a lustrous green glaze. Yuen Dynasty. Carved teakwood Height, 9% inches. 4 es Bernt of fine reddish texture, coated with a soft gray os crackled glaze, which has an iridescent lustre. Mouth rimmed with brass. ‘Sung iat opin Handsome carved teakwood stand. mie ee Height, 10 inches. og Be 4 er 2 _ - ea Sa. on a e, ‘i re ero) Pe rit ranehies Gray texture, covered with a clair de 4 At lune glaze over a pronounced crackle. Yung-Ching period. Carved 4 a wood stand. 2 . Height, 10 inches. Diameter, 10 inches. Height, 10% inches. Chinese stoneware. The figure is Height, 11% inches. 599—LARGE GALIPOT (2434) Thick stoneware of the Sung Dynasty. Invested with a grayish-white soft glaze, which 1s finely crackled. Carved teak- wood stand. Height, 12% inches. 600—FLAT OVIFORM VASE (2708) ard brown stoneware of the Sung Dynasty. Coated with a thick clair de lune glaze, crackled throughout with a network of blue and brown lines. Height, 12% inches. 601—LARGE GLOBULAR-SHAPED VASE (2418) With bold, flaring mouth and rudimentary butterfly handle. Dense pottery of the Han Dynasty. Invested with a mottled green glaze resembling malachite, and coated with silvery incrustation. Said to have been taken from an ancient burial place. Han Dynasty, second century, a. D. Carved teakwood stand. Height, 14 inches. 602—LARGE VASE (3017) Bulb-shape with high base and rudimentary lion-head handles. Coated with a delicate pearly iridescent glaze. Taken from an ancient tomb, latter part of Han Dynasty. Height, 15 inches. 603—LARGE BOTTLE-SHAPED VASE (24184) With bulb-shaped mouth and rudimentary butterfly handle. Dense pottery of the Han Dynasty. Coated with a fine apple-green glaze, over which are silvery incrustations. Said to have been taken from an ancient tomb. Stand of wood. Height, 15 inches. 604—LARGE BOWL (3019) Persian faience of soft texture. Covered with a white creamy glaze, with panels pierced through the paste, and the openings filled in with a transparent glaze. An obvious resem- blance to the Chinese “ grains of rice” ware. Has incised band at top. Sixteenth century. ANTIQUE CHINESE BRONZES (8) Panel of cover ornamented with flowering plant, and “fungus of good luck” carved in relief. Bands of fret design inlaid with silver wire. Incised mark under the foot, Fu Weng bet, nien-chih. Ming Dynasty. e e Diameter, 2%4 inches. ss (1149) Band of incised brocade design, with spots of gold. Fine patina. Ming Dynasty. 1368-1644. oY. E Height, 2% inches. ie ~ (ats0) On tripod and with rudimentary handles. Brown patina, oe ey with an overlay of incrustation. Ming Dynasty. 1368-1644. ae Height, 2% inches. 4 (a5) 2 circular shape, with elephant-head handles, covered a ; ath beautiful patina of red, slightly mottled. Ming Dynasty. . Carved teakwood cover with jade top. 2 Height, 2% inches; diameter, 4 inches. GOLD BRONZE STATUETTE “ 181) Figure of Gautama Sakya Muni standing on the sacred “Tatas feo modelled and cast in bronze and eee An ex- aS Chinese eracters.i in low relief, fine patina. sayin k century. EE * : Height, I, inches. 611—-CHINESE BRONZE CENSER (11674) Yellow texture. Elaborate decoration of lions amid cloud forms and fire emblems and sacred treasures, carved in high relief. Six character marks underneath of Ta Ming hsiian-té nien-chih. Has teakwood stand. Height, 3 inches; diameter, 4% inches. 612—SMALL BRONZE INCENSE BURNER (1147) Design of fabulous animal, head as cover hinged to the body, fine patina with gold cloudings. Ming Dynasty. Height, 314 inches. 6183—CHINESE BRONZE MINIATURE VASE (1166) Ornamented with dragon-head handles and Haou-teen faces in relief, and inlaid with gold and silver. Ming Dynasty. Teakwood stand. Height, 3% inches. 614—BRONZE MINIATURE VASE (1159) Bottle shape. Peony, plum, and pine in medallions, in low relief. Ming Dynasty. Height, 3% inches. 615—BRONZE INCENSE BURNER (11388) Low form, with rudimentary handles. Archaic design in relief and inlaid with gold and silver. Fine brown patina, with an overlay of verdigris-green. Sung Dynasty. Height, 3%4 inches. 616—BRONZE INCENSE BURNER ; (1174) Globular shape on tripod, with top handles. Yellow tex- ture with gold spots. Carved teakwood cover with coral top and teakwood stand. Six character marks, Ta Ming, Hsiian-té nien chih. Height, 434 inches; diameter, 6% inches. / BRONZE INCENSE BURNER 2 ah) Low octagonal shape, with cover of openwork, and sur- | mounted with Chinese deity seated on a lion. Ming Dynasty. Heighi, 5 inches; diameter, 3%4 inches. 618—CHINESE BRONZE INCENSE BURNER _- 1140)__Dense texture. Low globular shape on tripod with top e¥ihe handle. Fine, smooth patina, spotted with gold. Underneath, en- graved seal mark, Hsiian-té. een 4 > é Height, 5 inches; diameter, 8 inches. ry 619-BRONZE VASE 1160) Drum shape with short neck. Ornamented with a series of bosses, and covered with a fine red and brown patina. Ming Dy- _ hasty. eo asa Height, 5 inches. 620-COREAN STATUETTE OF BUDDHA _ (1180) Standing figure of Gautama Sakya Muni, finely modelled and cut i in bronze. 1000 a.p. Height, 5% inches. au) Low circular form, with rudimentary handles. Fine brown _ patina with gold souffle. Seal mark under foot, Hsiian-té. Open- work teakwood cover. 2 a eae os. Height, 5% inches; diameter, 6 inches. 622—BRONZE WATER JAR ‘5 3 ~ (1169) Globular shape, with ring handles, for hanging purposes. Interesting patina. Sung Dynasty. Height, 5% inches; diameter, 8 inches. ais) Flat oviform. Band of archaic design round neck inlaid in: silver and copper. Fine mottled red and green patina. Mark, a . Tan (Hall of Gaee Learning). Ming Dynasty. Teak- Height, 5% inches. 624—BRONZE VASE (1143) Inverted bell shaped on tripod of elephant heads, which are gilded. Fine mottled patina. Mark, Hsiian-té. Carved teakwood stand of lotus design. Height, 534 inches; diameter, 74 inches. 625—IRON INCENSE BURNER (1165) Square shape, on four short feet and swinging handles. Ornamented with show mark and bats, symbolical of “ long life and happiness,” and fret borders, finely inlaid in silver. Rimmed with bronze. Ch’ien-Lung period. Height, 5 inches; diameter, 5% inches. 626-—BRONZE WATER JAR (1167) Globular shape on tripod with teakwood cover. Fine patina. Tang Dynasty. Height, 5% inches. 627—BRONZE VASE (1173) Beaker shape. Archaic bands around neck in low re- lief, covered with green and brown patina. Ming Dynasty. Height, 6 inches. 628—BRONZE INCENSE BURNER (1146) Rectangular shape on four slender feet. Archaic designs in relief and covered with a verdigris-green patina. Teakwood cover with agate ornament. Sung Dynasty. Height, 6 inches. 629—BRONZE INCENSE BURNER (1145) Yow circular form on tripod, with rudimentary handles. Dragons in waves and low relief round the body. ‘The cover, orna- mented with the emblems of Yan and Yin (positive and negative, the fundamental ideas of Chinese philosophy), and a fabulous animal in low relief and openwork. Tang Dynasty. Teakwood stand. . Height, 6 inches; diameter, 8% inches. SHZNOUd ASANIHO LNAIONV gf9 1t9 Lrg L£9 gsg aa 630-SMALL IRON VASE bs (286) Square bottle shaped, with Babantley ring handles. | _ Elaborate ornamentation of birds, floral scrolls, and fret borders ee in gold. Mark, Ta Ming Hsiian-té nien chih. Height, 6 inches. 631—BRONZE INCENSE BURNER (1152) Globular shape on tripod. Corrugated surface, and cov- ered with a very fine patina. Tang Dynasty. Carved teakwood Height, 614 inches. 632—STA TUE TTE OF BUDDHA (1178) » | Finely modelled in bronze and gilded. Kwanyin is seated on a low pedestal of lotus design after Hindu school. 1200 a.p. _ Black and gold lacquer shrine. —BRONZE INCENSE BURNER _ 1070) Mouse on large radish. Fine patina. Eighteenth century. 697—BRONZE INCENSE BURNER (1035) Globular shape on tripod, ornamented with archaic border round the neck. Silver openwork cover. Cast by Teijo and signed. Nineteenth century. Teakwood stand. Peis j Height, 44% inches. 698—BRONZE HANGING VASE (1001) Shape of egg-plant with ornament of locust in. relief. Fine patina. Eighteenth century. oo: q - Height, 41% inches. 699—SUPERB INCENSE BURNER _ (1049) Shibuichi and gold. Quadrilateral shape on four slender feet. On two panels of gold is a relief ornamentation exquisitely wrought, the scene depicting Daikoku, the god of wealth, with his treasure-bag open to receive the fabulous rats, who, after stealing gold coins, are depositing the same therein. The balance of the surface is embellished with pheenix, cloud forms, scrolls, and vari- ous minute brocade patterns, executed in gold “ Zogan ” or dama- scene. Made by Riounsai Moritoshi. 1880. Height, 4% inches. -900-—-SHRINE INCENSE JAR (1048) Gilded brass. Engraved ornamentation of lotus flowers amid leafy scrolls upon a stippled ground. Eighteenth century. . Height, 5 inches, 701—BRONZE VASE (1038) Beaker shaped. Ornamented with various musical instru- ments in relief casting on a ground of cloud forms; border of gadroons round the foot. Fine golden-brown patina. Eighteenth century. Height, 5 inches. "02—BRONZE INCENSE BURNER (1011) Square form on four legs of Kiri crest design. Ground of fine diaper pattern, with Kiri crests in relief casting and carved. Cast by Téiin and signed. Nineteenth century. Teakwood stand. Height, 3% inches; diameter, 5% inches. 7083—BRONZE VASE (1065) Bottle shaped, with rudimentary dragon head handles, and incised ornament and fret band round mouth. Exceedingly fine brown patina flecked with red and green. Carved teakwood stand. Fifteenth century. Height, 5 inches; diameter, 3% inches. 704—BRONZE JAR (1032) Cylindrical shape. Fine red and brown mottled glaze. Eighteenth century. Height, 4 inches; diameter, 5% inches. 705—BRONZE INCENSE BURNER (951) Globular shape on tripod, of elephant heads. Elephant- head handles and pierced cover surmounted by sacred elephant. Fine mottled patina. Eighteenth century. Teakwood stand. Height, 5 inches; diameter, 4 inches. Y06—BRONZE JARDINIERE (966) Diamond shape, on four feet, of lion heads. Archaic de- sign in relief casting. Signed, Komin. Nineteenth century. Height, 3% inches; diameter, 5% inches. 707—BRONZE TEMPLE WATER VESSEL (1005) Circular shape on low tripod. Incised double Greek fret band. Fine patina, with cloudings of gold. Eighteenth century. Height, 3 inches; diameter, 514 inches. SMALL IRON KETTLE 1028) With bronze lid. Cone shape with top handle. Nineteenth Height, including the handle, 5% inches. in with is Cast ee Teijo and en. Nineteenth _ Teakwood stand. Height, 4 inches; diameter, 7% inches. Feces design. Hammered bronze lid and top handle of eu ee Peel century. In ie: of a ball of twine, cast from a wax medel. By Eighteenth century. Height, 5% inches; diameter, 6 inches. ae Diameter, 6 inches. _ Square oviform. Very fine mottled green and red patina. geass Teakwood stand. Seyi” Height, 6 inches, 715—BRONZE INCENSE BURNER (1037) Drum shape, on tripod. Chased design of peony flowers and dog foo by Yanagawa Naomasa. Shakudo cover, with re- poussé and openwork ornamentation. 1757. Teakwood stand. Height, 6 inches; diameter, 6 inches. %16—IRON SAKE KETTLE (1029) Cylindrical shape, with thread line surface. Has bronze top handle and porcelain lid. Eighteenth century. Height, including the handle, 6 inches. 717—BRONZE VASE (962) Qviform. Incised archaic design and band of bosses round shoulder. Mottled brown patina. Seventeenth century. Teak- wood stand. Height, 61% inches. %18—BRONZE VASE (963) Bottle shape, with tall, tubular neck. Very fine mottled patina. Seventeenth century. Height, 64% inches. %19—IRON SAKE KETTLE (1042) Branches of camelia in relief casting. Twisted top handle of gilded copper, and lid of silver, which is ornamented with fine chasing of chrysanthemum flowers floating on stream. Eighteenth century. Height, including the handle, 6% inches. 720—BRONZE VASE (1079) Trumpet shape, with wide flange mouth, beautiful patina of red and green. Made by Gorosa. Seventeenth century. Height, 6% inches. %21—BRONZE INCENSE BURNER (1054) Design of wild goose, fine patina. Seventeenth century. Height, 6% inches, f mr m ae yes te SS ee {MMERED BRONZE JAR ala With cover. Incised ornamentation and cloud forms in . Ejighteenth century. . ; ; \ Height, 64% inches. RONZE WATER JAR WITH COVER : (995) Globular shape. Very fine mottled green and red patina. Seventeenth century. ts Height, 6% inches; diameter, 8% inches. (1026) ~ Globula shape on tripod. Fine mottled red and brown alee "ca iron kettle stand. Nineteenth century. Height, 6 inches; diameter, 10 invhes. a shaped, with a very wide flange at neck, and ribbed ‘Fine quality of patina. Eighteenth century. Height, 6 inches; diameter, 11% inches. Height 1 inches. esign of carp, ie modelled and engraved surface. nottled patina. Attributed to Kame-jo of Nagasaki, who ist J lapancse female artist in bronze. Eighteenth cen- Height, 7 inches. le shaped, with tall slender neck. Fine Beng Made Seventeenth century. ; i Height, 7 inches. neo. ’ 5 2 7 i , eee eee Fe ee oy - #09 PORTABLE CANDLES TICK (1100) With folding frame. Iron, with relief decoration in bronze. Eighteenth century. Height, 2% inches; length, 7 inches. %30—J APANESE BRONZE VASE (1031) (Corrugated bottle shape, with tubular handles. Mottled brown patina. Eighteenth century. Height, 7 inches. %81—TEMPLE INCENSE BURNER (1051) Gilded brass. Globular shape on tripod of leaf design. The body ornamented with passion flowers in relief and engraved scrolls. The cover of openwork scroll designs, with passion flowers in relief surmounted by the sacred ball. Eighteenth century. | Height, 7 inches. 782—BRONZE VASE (988) Lily shape, with leaves in relief casting, and lotus leaf handle, mottled brown patina. Seventeenth century. Height, 7 inches. 7383—BRONZE VASE (986) Gourd design, with indented neck and elephant-head han- dles, fine mottled patina. Seventeenth century. Height, 744 inches. 734—-BRONZE VASE (1036) Bottle shaped, with wide flange at neck. Very fine mottled brown and red patina. Cast by Gorosa. Seventeenth century. Height, 7 inches; diameter, at the mouth, 6 inches. %35—BRONZE WATER JAR (1000) Qviform. Wave designs in relief casting. Seventeenth century. Height, 7 inches; diameter, 7 inches. _ 736—BRONZE WATER KETTLE ‘dee: ~ (954) Archaic designs in relief casting. Dragon head spout, and | a? per handle. Nineteenth century. Height, including the handle, 714 inches. | 737—BRONZE SAKE BOTTLE : (958) Exceedingly fine mottled brown patina. Made by Gorosa. Seventeenth century. Carved teakwood stand. Height, 7% inches. 788—BRONZE HANGING VASE ee. Gourd design, with vine in relief casting, and characters in low relief. : Fine mottled brown patina. Eighteenth century. Height, 7% inches. 1956) Tron. Life-like snake, skilfully wrought in iron. Made by Jiritsu-sai. Signed. Eighteenth century. fe Bk ae? Length, 7% inches. 4 (1034) ‘Bottle dese with tall, tubular neck, partially gilded. _ Eighteenth conHiry. Height, %, inches. a (1008), caddlatetel: _ Lion-head handles and openwork cover. ee PEinhorate incised ornamentation of peony scrolls. Fine mottled _ green patina. Eighteenth century. Teakwood stand. : ; Height, 74% inches. “a5 (904) Bottle shaped, and covered with a fine malachite green | patns: poe eth century. ics: nr Height, 7% inches. 3RONZE OKIMONO oo wy Group of nine life-like turtles on rock. Coated with a green patina. Made by Seimin. Signed, and dated 18th of May, poe »Hokurgiokuo Seimin, in his sixty-sixth year of age. eee 7 inches; diameter, 10% inches. 744—LARGE BRONZE HITACHI (980) Globular shape on low tripod. Elaborate ornamentation of chrysanthemum flowers and leaves in relief casting, openwork cover of similar design. Eighteenth century. Height, 7 inches; diameter, 10 inches. 745—LARGE BRONZE BRAZIER (981) uro, used in tea ceremonial. Very fine mottled red and brown patina. Eighteenth century. Height, 7 inches; diameter, 14 inches. 146-—-BRONZE HANGING VASE (952) Archaic design, with bold handles. Fine mottled brown and green patina. Seventeenth century. Height, 7% inches. 147—-IRON WAR FAN, OR BATON (1084) Crest of Tokugawa in openwork. Made by Miochin Mune- suke. Signed. Eighteenth century. 748—JAPANESE HAMMERED IRON POWDER HORN (1056D) Repoussé ornamentation of lion inlaid with gold. Bronze openwork netsuke attached. Engraved inscription, “ Made at re- quest of Takahashi Toshi-Kiyo, eleventh year of the period of Bunkwa, third month. By Hagata Hisahiko.” 749—WAR MASK (1086) Finely wrought in iron by Miochin Muneakira. Signed and dated, 1713. 750—WAR MASK (1085) Finely wrought in iron by Miochin Munenaga. Signed and dated, 1710. %51—WAR MASK (1087) Finely wrought in iron by Miochin Muneharu. Signed. Eighteenth century. Wrought in iron. Seventeenth century. Lehn x2 MET ORNAMENT 3 in design of turnip. Attributed to Miochin Nobuiye. Damascened ornamentation. ned. Sixteenth century. t F a a4” ak itn. £29 : in iron. Dragon in relief by Unkai Mitsu- a rnamentation of cherry blossoms ~ Inscribed, Kanazawa Ju, Uji-tsugu. mt of city of Kanazawa. Eighteenth "60-—BRONZE INCENSE BURNER (965) Oval form, on four slender legs of palm leaf design. Archaic and crest ornamentation in relief casting, cover surmount- ing a fabulous animal, “Baku.” Signed, Seimin. Nineteenth century. Height, including the cover, 8 inches %61—BRONZE VASE (990) Corrugated bottle shaped, with tubular handles. Golden- brown patina. Seventeenth century. Height, 8 inches. %62—HAMMERED COPPER HAND WARMER (1019) Gourd design. Band of leafy scrolls in repoussé, and open- work cover of gourd design, with repoussé leaves. Fine mottled brown patina. Made by the first Nagoshi. Seventeenth century. Height, 8 inches; diameter, 8 inches. %683—BRONZE WATER POT (964) Rich brown patina. Ornamentation of two panels of archaic designs in relief casting. Dragon handle and incised fret border. Made by Nagoshi. Signed, Masaharu. Nineteenth cen- tury. Height, 8 inches. %64—-BRONZE VASE (938) Bottle-shaped, with collar at the shoulder. Clouded green patina. Seventeenth century. Height, 8% inches %65—PRIEST’S BEGGING BOWL (1704) Ffammered bronze. Indented surface, with very fine mot- tled patina, and the inner surface gilded. Inscriptions, Meireki ichinen shigatsu. Yedo Kichshoji (April, first year of Meireki, Kichishoji temple, Yedo). Dated, 1655. Height, 414 inches; diameter, 8 inches piles { (1098) Japanese bronze. Héwé birds and Kirin, cast in relief. Cover surmounted by Dog Foo. By Takusai. Signed. Nine- ia teenth century. Height, 8% inches. ‘ - (1060) Stork and reeds, finely modelled. Seventeenth century. Height, 8% inches. ; viel ne ” (79) rae sickea, with bold, flaring cite and base, and rudi- = ‘ mentary handles. Very fine mottled patina. Seventeenth century. ai ro eee Height, 814 inches. _INCENSE BURNER : (1059) Hammered copper. Crudely designed crab. Seventeenth _ century. 2 8x4 inches. —SMOKER’S CABINET (1022) Kujaki wood, with copper mountings and brazier. Nine- teenth century. wee 4 ed Height, 8% inches. 171—BRONZE VASE _ (989) Oviform. Coated with a rich verdigris patina, bands of archaic and brocade designs. Seventeenth century. | +o a - Height, 8% inches. _ (1025) Globular shape on tripod, with rudimentary handles. Rich ins eau Salle p p y _ patina of mottled red and brown. Eighteenth century. neh & ais Height, 8% inches; diameter, 12 inches. Height, 8% inches. 774—BRONZE INCENSE BURNER (1020) Design of carp, finely modelled. Engraved surface, and fine brown patina. Attributed to Kamejo. Eighteenth century. Height, 8% inches. %75—BRONZE INCENSE BURNER (1058) Life-size crab, skilfully modelled by Kamejo. Signed. Eighteenth century. 814 x4 inches. 776—BRONZE CAKE BOX (1017) With cover and top handle. Panel decoration of landscape views in low relief. Very fine patina. Made by Yamashiro. Signed. Eighteenth century. 8% x 9% inches. VV—IRON KETTLE (1027) With bronze lid. Surface covered with bosses. Nine- teenth century. Height, including the handle, 9 inches. 778—TEMPLE EWER (1053) Gilded bronze. Repoussé chased ornamentation of phoenix, lion, and floral scrolls, and handle in design of priest’s sceptre. Eighteenth century. Height, 9 inches. %9—HAMMERED SILVER INCENSE BURNER (1024) Globular shape on tripod, with rudimentary head handles. Incised and repoussé ornamentation of dragon amid cloud forms. Dragon wrought in relief surmounting cover. Nineteenth century. Height, 9 inches. 780—H AMMERED COPPER KETTLE (1021) With top handle. Etched ornamentation of chrysanthe- mum flowers and butterflies, partially gilded. Eighteenth century. Height, including the handle, 9 inches. 781—HAMMERED COPPER KETTLE (1010) [ndented surface. Rich golden-brown patina. Eighteenth century. Height, including the handle, 9 inches. 782—BRONZE VASE ’ (987) Bottle shaped, with dragon-head handles. Bands of incised archaic designs. Rich brown patina. Seventeenth century. ‘ Height, 9 inches. 783—BRONZE VASE | (940) Beaker shaped. Archaic designs in relief casting. Seven- teenth century. Height, 9 inches. 784—BRONZE VASE (941) Bulb shaped, with tall, slender neck. Fine mottled patina. Made by Gorosa. Seventeenth century. ‘Height, 9% inches. %85—BRONZE VASE ~ (989) Quadrilateral oviform. Ornamented with ears, a band with archaic design round the neck, and handles in design of treasure- bag. Fine green and brown patina. Seventeenth century. Teak- wood stand. Height, 9¥% inches. 786-—LARGE BRONZE FIRE BOWL (1033) With iron kettle. The fire bowl globular shape on tripod, and covered with a mottled green-brown patina. Eighteenth cen- tury. | Bowl—Height, 9 inches; diameter, 12 inches. . Kettle—Height, 7 ince diameter, 8 inches. 787—BRONZE STATUETTE (957) Kwan-on (Bodhisattva Avalokitesvara), or the spirit of a mercy. Finely mottled. Eighteenth century. rea Height, 9% inches. 788—HAMMERED BRONZE WATER KETTLE _ (999) Fine mottled green patina. Eighteenth century. PSE yf Height, including handles, 9% inches; diameter, 8Y% inches. 789—BRONZE VASE _ (1004) Cylindrical body, with spreading mouth and base and rudi- : mentary ring handles. Ornamentation of archaic designs, inlaid with silver. Made by Riuyen, and dated 1818. : Height, 9% inches. 790—BRONZE VASE, SILVER RIM (1080) QOviform. Band of archaic designs round neck, and rimmed with silver. Fine mottled patina. Seventeenth century. Height, 9% inches. - 791—SILVER PAPER WEIGHT (1095) Peony flowers wrought in relief in gold and shakudo. Made by one of the Gotds. Eighteenth century. Length, 94 inches. 792—IRON SAKE KETTLE (1030) With bronze top, handle, and lid. Eighteenth century. Height, including the handle, 10 inches. 793—BRONZE HAND-WARMER (1023) Hexagonal shape, with top handles. Design of branches of cherry blossoms in elaborate openwork, and repoussé openwork cover in design of storks amid cloud forms. Eighteenth century. Pine-wood stand. Height, including the handle, 10 inches. 794—BRONZE VASE (1016) ow, round shape. Panels of brocade design, incised and in relief round the mouth. Fine patina. Eighteenth century. Height, 5 inches; diameter, 10% inches. 795—BRONZE GALIPOT (1012) With rudimentary head handles. Incised and carved ornamentation of archaic designs. Very fine patina of mottled red and brown. Seventeenth century. Height, 10 inches. 796—BRONZE VASE (1009) Globular body, with bold, flaring mouth and lion-head handles. Incised bands of Greek fret and archaic designs, fine pa- tina. Made by Seimin. Signed. Nineteenth century. : Height, 5 inches; diameter, 10% inches. 797—BRONZE VASE (961) Qviform. Fine brown patina. Eighteenth century. Height, 10 inches. _---798—BRONZE VASE (1006) Graceful bottle shape, with bulbous mouth. Fine patina. Sixteenth century. Height, 10 inches. 799—BRONZE VASE. (959) Made in design of Japanese Tsuzumi (hand-drum). Orna- mented with Kiri crest, floral scrolls, and various borders delicately etched, and in low relief. Fine patina. Seventeenth century. Height, 10 inches. 800—BRONZE VASE (1082) Oviform, with spreading neck and rudimentary head han- dles. Ornamentation of bands of bosses, wave and archaic designs. Fine mottled patina. Sixteenth century. —— Height, 10% inches. 80I—BRONZE VASE . (1039) Tall hexagonal bottle shape. Handles in design of butter- flies. Exceedingly fine golden brown patina. Seventeenth century. Height, 10% inches. - 802—BRONZE VASE a) Bottle shape, with tall tubular neck. Band of bosses in relief round the body. Fine mottled green and brown patina. ‘ Eighteenth century. Teakwood stand. . Height, 10% inches. 809—PAIR OF IRON CHARCOAL STICKS _ 1097) Ornamented with Kiri flower and the characters Fuku _ (happiness) and Roku (wealth) inlaid with silver. Eighteenth century. Length, 10% inches. s0)—nRowzE VASE (996) Bottle shape, with tall slender neck. Fine mottled green and brown patina. Seventeenth century. ual ee ae Height, 10% inches. 805--IRON STATUETTE (1075) Jurorjin. Sixteenth century. Height, 11 inches. 806—BRONZE KETTLE (1018) Globular shape with top handle. Mottled patina. Ejigh- teenth century. Height, including the handle, 11 inches. 807—BRONZE FLOWER VASE (1013) With wide flange. Tripod support, formed of elephant heads. Eighteenth century. Height, 6% inches; diameter, 11 inches. 808—BRONZE VASE ; (949) Trumpet shape. Mottled patina showing red lacquer mixed with the molten bronze. Made by Nagoshi. Signed, Masaharu. Nineteenth century. : Height, 11% inches. 809—BRONZE VASE (997) Tall slender trumpet shape. Verdigris green patina. Fighteenth century. Height, 11% inches. 810—BRONZE VASE (1077) Tall bottle shaped. Fine mottled green patina. Seven- teenth century. Height, 11% inches. 811—BRONZE VASE (1081) Graceful beaker shape, with very wide mouth. Bold dragon head and scroll handles, rich and very fine patina of mot- tled red and olive green. Seventeenth century. Height, 12 inches. 812—BRONZE VASE (1078) Bottle shape, with tall slender neck; rich and very fine patina of mottled red and brown. Sixteenth century. Height, 12 inches. 813—BEAUTIFUL SILVER INCENSE BURNER (1052) Design of drum of Peace on an elaborately wrought stand and surmounted by a rooster. The sides of drum, engraved to represent wood grain, and the ends in “ Tomoye ” design in gold and shakudo. The rooster of exquisite workmanship finely chased and ornamented with applied gold. Made by one of the Gotés. Eighteenth century. Height, 12 inches. 814—H AMMERED BRONZE WATER KETTLE (993) Tall shape with top handle. Very fine mottled green patina. Eighteenth century. Height, 12 inches. 815—BRONZE VASE (960) Graceful bottle shape with tall, slender neck, known in Japan as “stork neck.” Coated with an exceedingly fine and rich patina. Seventeenth century. Height, 12 inches. 816—JAPANESE BRONZE VASE (1083) Low beaker shape, with bold flaring mouth and rudimen- tary handles in design of long eared hares. Fine patina. Made by Echigonokami, the signature incised. Eighteenth century. Height, 1214 inches. 617—BRONZE HANGING VASE, WITH CHAIN (1008) Gourd design and vine in relief casting. Fine mottled red _and brown patina. Eighteenth century. Length, 13 inches. - 818—BRONZE CYLINDRICAL FLOWER VASE (937) Design of bamboo basket. Ornamentation of dragon flies, butterflies, bees, and other insects in high relief. Signed, Teijo 28 (cast by Teijo). Nineteenth century. Height, 14 inches; diameter, 5% inches. 819—-LARGE BRONZE BELL (953) Relief ornamentation of sacred dragons, deities, cloud _ forms, archaic designs and Chinese characters. Coated with a fine golden brown patina. Cast by Teijo. Signed, and dated the 5th year of Kayei (1852). eat 3 Height, 14 inches; diameter, 8% inches. 820—LARGE BRONZE VASE NARS (1014) Globular body with bold flaring neck and Covered with an meee: fine’ ae Eighteenth century. he y 821—IRON OKIMONO ; (1062) Hawk on a perch, an estncnti 2 articulated metal work. The perch orne Tokugawa and leaf scrolls in silver be : 822—BRONZE. VASE (1099) Tall oviform, with small ring se x green and red. pie century. siacsiescg 19 ine 823—IRON FLUTE em: (1096) Ornamentation of Jovan desig, copper. The instrument is provided wi a literary note of the maker concerning this unique musical instrument. Loe 1767. 82}—FINE JAPANESE BRONZE Litwin: G0 (B) Of perfect tone. Ham Incised inscription of dekolte es ample mnt is 823—LARGE HAMMERED BRONZE JAPAN. (A) Of fine tone. Mounted on rv d 826—LARGE BRONZE BASIN (991) Rich brown and green patina scrolls, and palm leaf band; hammerec shima Moru, so called from the Moo tury. ; Tee at . SHOVWI OILSIHGGNG LNAIONV Ifg { esa SFT SEL? PVONEGY 8 ¥ te 827—BRONZE INCENSE BURNER i (978) Square oviform. Incised band of Greek fret pattern. Fine brown patina. Eighteenth century. 3 Height, 17% inches. —-898—-LARGE IRON OKIMONO E (1063) Life size eagle, perched on a rock; articulated neck, wings, and tail. An extraordinary example by one of the Miochins. Eighteenth century. Height, including the rock, 26 inches. _ 829—BRONZE STATUE (1076) Gautama Sakya Muni (Buddha) with halo, standing on lotus. This statue represents the buddha returning to the world glorified with perfect enlightenment after his long retirement in solitude. Thirteenth century. 830—BRONZE STATUE OF BUDDHA (1067) Seated on a dais of natural, gnarled wood. The figure is skilfully modelled and shows at various places the original gilding. Interesting patina. About 1200 a.p. Height, 29% inches. 831—STATUE OF KWAN-ON - . (1066) Beautifully wrought in bronze, and coated with a gilding, and patina. The figure is in standing posture, holding a lotus bud in her left hand and attired in flowing robes, on a base of lotus design. From the temple Horiji, in Nara, Province of Yamato. Ascribed to fourteenth century. Height, 43 inches. FOURTH AFTERNOON'S SALE at, SATURDAY, JANUARY 28TH, 1905 a THE AMERICAN ART GALLERIES Lehn BEGINNING PROMPTLY AT 2.30 o’cLOCK DECORATED PORCELAINS _— se—Rovan BOX 3 (2638) Pure white porcelain. Decoration of figures and symbols in miniature, painted in brilliant enamel colors. Character mark a the Chéng-hua period painted in underglaze blue. Diameter, 24% inches. f (2639) Feta enaert eggshell texture. Outer surface covered with : x9 souffle glaze of rose pink. Peony flower painted in pink and - green enamel on the inside. Ch’ien-Lung period. + teeing mm Diameter, 234 inches. LINDRICAL INCENSE BURNER, ON TRIPOD | (2618) Fine white porcelain of the Ch’ien-Lung period. Deco- - rated j in brilliant enenel colors, landscape, river view and mountain Height, 2% inches. SMALL OVIFORM VASE re ee. White porcelain of the Yung-Chéng period. Sere pied colored with blue, erie and green meen Teakwood stand. : : Height, 3 inches. P< “a+ 836—MINIATURE BOTTLE SHAPE VASE (7478) Hard paste of the Yung-Chéng period. Mirror-black glaze, with birds and flowers pencilled in gold. Height, 3% inches. 837—SQUARE INCENSE BOX (7634) Fine hard paste of the Ch’ien-Lung period. Gilded sur- face, with panels enamelled in imitation of agate. Impressed seal mark underneath the foot. Height, 3% inches. 83S—CYLINDRICAL SNUFF BOTTLE (7645) Soft paste type of the Ch’ien-Lung period. Enamelled with a creamy white glaze, with network of brown crackles. Deco- ration of imperial dragon pursuing the sacred pearl, turbulent water and cloud forms, painted in two shades of underglaze blue. Height, 334 inches. 539—OVIFORM SNUFF BOTTLE (2616) Fén-Ting. “Soft paste” type of the K’ang-hsi period. Decoration of historical subject, domestic and garden scenery finely pencilled in mazarine blue under the glaze which is of soft creamy crackled texture. Height, 3% inches. 840—BLACK HAWTHORNE CUP (2420) Tall form. Clear white thin porcelain of the K’ang-hsi period. Branches of the prunus blossoms running upward and downward, in white reserve and tinted with yellow, green and pur- ple enamels. Height, 4% inches. 841—EGG-SHELL BOWL (7637) Decoration of two five-clawed dragons pursuing the pearl of omnipotence, painted in coral red over the glaze. Band of the “eight precious things ” painted in various enamel colors round the rim. Ch’ien-Lung period. Diameter, 4144 inches. 842—BOWL (2614) _Enamelled with a metallic brown glaze. Lilies and storks modelled in low relief in the paste. Diameter, 5 inches, ings “or eh aes ieee , cs Ma Te ae ae _ 843—PORCELAIN Disk (2503) Mounted in finely carved teakwood screen. The porcelain of pure white texture; the decoration consists of a boldly drawn -five-clawed dragon pursuing the sacred pearl, in peach bloom under the glaze. Etched character mark of Hsiian-té. Diameter of disk, 5% inches. 844—M EDALLION (2644) Of thin transparent white porcelain of the eke pe- riod. Embellished with a picture of the Mountain Sage, his boy, and favorite deer painted in fine polychromatic colors of enamels. Rimmed with silver. Height, 5% inches. 845—OVIFORM VASE (2620) Semi-eggshell porcelain, of the Ch’ien-Lung period. Mi- _nutely painted and decorated in finely combined enamel colors. _ The subject of decoration is a children’s festival and ceremonial _ seene. Band of sceptre head round the shoulder. Teakwood stand. F Height, 5% inches. 846—BOWL (2461) Sonorous porcelain, of the Wan-li period. Apple green _ glace with decoration of imperial dragons amid cloud forms and fire emblems chasing the pearl of omnipotence painted in purple enamel. Six character mark pencilled in blue. . | Diameter, 5% inches. _SP—PBAR-SHAPED VASE (2557) White hard porcelain of the Ch’ien-Lung period, and coated with a glaze of mazarine blue color. Decorated over the oe glaze are sacred flowers and scrolls pencilled i in gold. ; Height, 6 inches. 848—BOWL | . (2640) Fine sonorous porcelain, of the K’ang-hsi period. Outer - surface covered with an opaque golden-brown glaze of brilliant et lustre, and the inner surface covered with a panelled decoration of ae flowers, arabesque and foliated scrolls painted in bright enamel colors. - at aS Diameter, 6 inches. 849—SMALL OVOID VASE (2619) eggshell porcelain of the Yung-Chéng period. Decorated with a beautiful design of a plum tree in blossom, painted in most delicate transparent enamels. Carved teakwood stand. Height, 6 inches. 850—OVIFORM JAR (2453) Thick porcelain of the Wan-li period. Invested with a monochrome glaze of apple green tint thinly applied. Decoration of five-clawed dragons and cloud forms within four panels and numerous Buddhistic symbols and borders which are incised in the ~ paste and painted in yellow. Six-character mark pencilled in blue. Teakwood stand. Height, 6% inches. 851—INCENSE BURNER | (2622) Square form on high perforated stand. Thick porcelain of the Chéng-hua period. Decorated with figures of the Immortal Sages and floral scrolls, in fine enamel colors, green predominating. Cover surmounted by a seated lion holding the symbolical ball. In- cised mark underneath the foot. Height, 6%4 inches. 852—BOWL WITH SILVER RIM (2549) Fine sonorous porcelain of the K’ang-hsi period. Enam- elled with a fine glaze of powder blue and an over decoration of four fishes in fine coral red. Six-character mark of the Chéng-hua period. Diameter, 7% inches. 858—BLACK HAWTHORNE LANTERN (2483) Eggshell porcelain of the Ch’ien-Lung period. Invested with a monochrome glaze of metallic black. Branches of plum blossoms, sprays of peonies, narcissus and birds in white reserve and tinted with pale yellow and outlined in brown. Carved teak-. wood stand. Height, 7% inches. 854—-W ALL VASH (2643) Fine white porcelain of the Ch’ien-Lung period and coated with a rose pink soufflé glaze. Panel decoration of landscape, rocks and cascade finely painted in brilliant enamel colors. Butter- fly shaped handle at neck. Height, 7% inches. 855—ROSE-BACK SAUCER (641) "Transparent eggshell porcelain of the Ch’ien-Lung period. Outer surface covered with a souffle glaze of rose pink and on the inner surface are sprays of peonies and butterflies painted in pink, yellow and green enamels. Diameter, 734 inches. =. 856—POWDER BLUE GALIPOT Fe | (2559) Fine clear white porcelain of the K’ang-hsi period. Deco- rated in gold over the glaze of various ornaments and symbols, and round the shoulder a floral medallion and diaper patterns. Height, 834 inches. Gprrigah Height, 834 inches. ‘ eae tA O BOWL _ (2529) Thin porcelain of the K’ang-hsi period. Brilliant sang de beuf glaze displaying a characteristic mottling and streaked play of color applied over a pale celadon crackled glaze. Coated is f ages supderneath, with a celadon crackle glaze. Teakwood stand. Diameter, 9 inches. 40—FLOWER-SHAPED DISH ON TRIPOD (2705) Thick porcelain of the K’ang-hsi period. Outer surface Ss paint with an iridescent purple splash glaze and inner surface = * Sated with a soft glaze of the clair de lune type. Mounted on a dg carved teakwood stand. nisin Phe caer 9 inches. ~ 1041—OVIFORM VASE (2516) White porcelain of the Ch’ien-Lung period. Coated with a mottled glaze to represent agate, and decoration of various orna- ments and symbols delicately etched in the paste and filled in with pale underglaze blue. Height, 9% inches. 1042—OVIFORM JAR (2491) Fine hard paste porcelain of the Yung-Chéng period. Enamelled with a fine monochrome glaze of mottled red of fine quality. Engraved seal mark under the foot. Height, 9% inches. 1043-—CYLINDRICAL VASE (2474) Hard paste porcelain of the Ch’ien-Lung period. Covered with a green, blue and red mottled glaze. Incised seal mark. Height, 9% inches. 1044—CYLINDRICAL VASE (2466) Fine hard paste porcelain of the Ch’ien-Lung period. Coated with a mottled blue glaze to represent turquoise, and an overglaze of mottled brown in imitation of the matrix. Incised seal mark underneath the foot. Height, 9% inches. 1045—BOTTLE-SHAPED VASE (2560) Hard paste porcelain of the Ch’ien-Lung period. Invested with a purple flambé glaze of rich translucence. Carved teakwood stand. Height, 9% inches. 10j6-—OVIFORM VASE (2421) Panelled body. Clear white hard paste porcelain of the Yung-Chéng period, and invested with a pistache green glaze. Height, 954 inches. ee = er ina = pt ae ied — -e . ‘" 10f)-SANG DE BQ@IUF VASE (2832) Oviform bottle shape, with tall slender neck. 'The glaze is typical of the celebrated Lang-Yao and exhibits the rich, full tones of the copper-red, deepening almost to black upon the shoulder and at the base. The foot is of mottled green under- neath. K’ang-hsi period. Teakwood stand. aa Od Height, 9% inches. 48—TALL OVIFORM VASE (2519) With rudimentary elephant handles. Hard paste porce- lain of the Yung-Chéng period. Covered with a dark brown glaze _which is invested with a tea-green be -Incised mark under the foot. Height, 9°4 inches. (2480) With spreading neck. Fine white porcelain of the K’ang- bsi period. Invested with a monochrome glaze of metallic black, _ which Pacrens round the foot. Teakwood stand. Height, 10 inches. (2686) Fine thin porcelain of the Yung-Chéng period. Coated with clair de lune glaze mottled with sang de beuf tints, and the decoration consists of bunches of grapes incised in the paste and - filled in with purple and white enamels. Seal mark-etched in the paste underneath the foot. Carved teakwood stand. Diameter, 10 inches. | (2346) Of reddish stoneware of tlie K’ang-hsi period. Invested with « a mottled brown and blue glaze. Teakwood stand. Height, 10 inches. an ope Dense stoneware of the Yuen dynasty. Coated with a clair de lune glaze of granulated surface. Carved teakwood Height, 10 ‘inches. L058—V'IGURE OF KYLIN (300!) With a vase on its back for joss-stick. Porcelain of the Ming Dynasty covered with a fine tea-dust glaze shading to brown. Teakwood stand. Looted in 1901. Height, 10 inches. 1054—PEAR-SHAPED VASE (7678) With spreading mouth. Thick porcelain of the Yung- Chéng period. Invested with a pellucid glaze of starch-blue, and the decoration consists of two bands of gadroons modelled in the paste. Seal mark pencilled in cobalt-blue, underneath the foot. Height, 10 inches. 1055—CYLINDRICAL BOTTLE-SHAPED VASE (2677) With corrugated body. Thick sonorous porcelain of the Yung-Chéng period, invested with a monochrome glaze of “ moon- light ” white or clair de lune of fine even quality. A unique speci- men and of finished technique. Seal mark pencilled in cobalt-blue. Teakwood stand. Height, 10% inches. 1056—LEAF-SHAPED TRAY (7555) Hard gray stoneware of the Wan-li period, coated with a brown and blue running glaze. Has stand. Diameter, 10% inches. 1057—TALL CYLINDRICAL VASE (2561) Dense porcelain of the K’ang-hsi period. Invested with a translucent starch-blue glaze, which is applied over an elaborate incised floral decoration. Height, 1034 inches. 1058—BOTTLE-SHAPED VASE (2500) Clear white porcelain of the Ch’ien-Lung period. Invested with a monochrome glaze of ashes of rose tints of even quality and orange peel surface. Teakwood stand. Height, 11 inches, 1059—PEAR-SHAPED VASE (2475) With bold flaring mouth. Hard paste porcelain of the Ch’ien-Lung period. Covered with a turquoise blue glaze, which is profusely flecked with metallic spots. Teakwood stand. Height, 11 inches. 1060—BOTTLE-SHAPED VASE (2524) Enamelled with a mottled red glaze of the sang de boeuf type. Neck rimmed with metal. Carved teakwood stand. Height, 11 inches. 1061—TALL OVIFORM VASE : (7547) With spreading base. Reddish gray stoneware of the _Wan-li period. Coated with a fine brownish red and mottled blue glaze, with iridescent lustre. Teakwood stand. Height, 11 inches. - (24t3) Fine porcelain of K’ang-hsi period. The glaze is of a m ape turquoise tint of soft texture, and the minute crackle is of the 2 “fish roe” variety. ia Height, 11% inches. a0" OBLONG FLOWER VASE (2468) "Thick porcelain of the Yung-Chéng period. Coated with a thin pistache green glaze, with birds on branches carved in low relief in the paste. Six character mark pencilled in dark-blue. i: death) 114% inches. vty fnahiited with bosses, is ov eRe with a thin running cof the same Bhs which thickens towards the foot. Mounted < pie atm Diameter, 11% inches. 1065—BOTTLE-SHAPED VASE (2548) Globular body with tall cylindrical neck, which is sur- mounted with a silver rim. Enamelled with a rich flambé glaze of purple, olive-green, and sang de beuf tint. Ch’ien-Lung period. Height, 12 inches. 1066—OVIFORM JAR WITH COVER (2417) Dense pottery of the early Ming dynasty, invested with a fine green glaze. Incised inscription around the shoulder signi- fying: “ A healthy brain gives a good temper.” Four large char- acters carved in high relief forming medallions around the body, signifying: “‘ Drink good wine if you wish to live long.” Height, 12 inches. 1067—BOTTLE-SHAPED VASE (2455) Globular body with tall cylindrical neck. The entire sur- face covered with a basket pattern; carved in low relief in the paste and invested with a brilliant orange color glaze. Ch’ien- Lung period. Carved stand. Height, 12% inches. 1068—TRUMPET-SHAPED VASE (2447) Hard paste porcelain of the Ch’ien-Lung period. Coated with a monochrome glaze of mustard-yellow color, anda network of minute crackle. The inner surface of the mouth and the foot underneath are invested with the same glaze. Height, 12% inches. 1069—GQLOBULAR BOTTLE-SHAPED VASE (2696) With tall tubular neck. Soft gray stoneware of the Yuen dynasty. Coated with a mottled gray soft glaze; crackled throughout with a network of blue lines. Carved teakwood stand. Height, 121% inches. 1070—BEAKER-SHAPED VASE ; (2490) With bold flaring mouth. White hard paste porcelain of the K’ang-hsi period. Enamelled with a rich brown monochrome glaze thickly speckled with minute points of deep metallic lustrous aspect. Teakwood stand. Height, 13 inches. _ (2509) With rudimentary handles. Sonorous porcelain of the Ch’ien-Lung period, and invested with a tea-color glaze of fine and — even texture. Height, 13 inches. ei 102—-BOTTLD-SHAPED VASE (2476) Thin porcelain of the Ch’ien-Lung period, covered with a aia glaze of rich translucence and minutely crackled. Height, 14 inches. (2502), a White porcelain of the Chien Lung period. Coated with a mottled monochrome glaze of crushed strawberry tint, and the _ symbolical dragon pursuing the sacred pearl etched in the paste. - Teakwood stand. — solfigihs Ti oe : . Height, 14 inches. (9353) a “With dragon head handles. Dense stoneware of the Ming “dynasty: : eta running glaze of brown and mottled blue. a: tiny oe reserve and covered with splashes of ici and ‘green enamels. been crackled eer Height, 14 inches. With bold "aa ‘mouth. Hard paste porcelain of the ig period, and coated with a monochrome glaze of bril- Height, 15% inches. 1077—TALL GALIPOT (2575) Dense porcelain of the Ming period, enamelled with a monochrome glaze of sea-green tint. Teakwood stand. Height, 16 inches. 1078S—SANG DE B@UF VASE (2501) ‘Tall oviform. Enamelled with the crackled glaze of the sang de beuf mottled tints of the celebrated Lang Yao. It ex- hibits rich tones of red deepening almost to black, and clouds of “ashes of roses” tint. Inner surface of the mouth of the vase and the foot underneath is enamelled with “ rice-color ” crackled glaze. Height, 16% inches. 1079—LARGE BOTTLE-SHAPED VASE (2471) Thin porcelain of the K’ang-hsi period. Invested with a minutely crackled peacock-blue glaze, which is flecked with metallic spots. Height, 164% inches. 1080—LARGE BOTTLE-SHAPED VASE (2565) Globular body with tubular neck. Thick white porcelain of the Yung-Chéng period. Coated with a dense monochrome glaze of intense sapphire-blue. Height, 16% inches. 1081—LANG YAO VASE (2533) ‘Tall oviform. Enamelled with the celebrated red glaze of the Lang Yao, of the reign of K’ang-hsi. The surface of the glaze exhibits fine depth and reflects the rich tints of sang de beuf type with lighter shades. The foot underneath is covered with a rice colored glaze. Teakwood stand. Height, 17 inches. 1082—TALL OVIFORM VASE (2564) White hard paste porcelain of the K’ang-hsi period, coated with a mazarine blue glaze of rich translucent quality. Height, 17 inches. _ 1083—-SANG DE BQ@UF VASE : (2530) "Tall graceful cylindrical shape. Clear white porcelain of the K’ang-hsi period. Knamelled with a red glaze of extraordinary _brilianey and fineness varying from a transparent blush to the deepest crimson blood color; made during the prefecture of Lang Yao. The foot is covered underneath with a celadon crackle glaze. Height, 18% inches. 1084—TALL OVIFORM VASE (2562) With spreading neck. Fine clear white hard paste of the _ K’ang-hsi period, and covered with a fine glaze of powder blue. 2 ; Height, 18% inches. 10865—LANG@ YAO VASE (2834) Tall oviform. Covered with a characteristic monochrome : glaze of sang de beuf color. The colors, of varied tones, pass _~ from a ruby red to peach-bloom tints; the rim and foot underneath ) are of pale celadon and the inner surface of crackled “ rice-color ” glaze. K’ang-hsi period. Carved teakwood stand. : oa Height, 19 inches. 1086—TALL AMPHORA-SHAPED VASE (2510) With archaic dragon handles and bosses. Fine hard paste porcelain of the Yung-Chéng period, invested with a monochrome eee glaze of tea dust color of fine quality. Teakwood stand. a, . Height, 21 inches. CELADON SPECIMENS SMALL BOTTLE-SHAPED VASE 2700) Thick porcelain of the Ch’ien-Lung period. Enamelled , ha pellucid glaze of the celadon color, crackled with bold lines. ad SF tee Height, 4 inches. 1089—TEA BOWL (2442) [hick stoneware of Yuen Dynasty, and invested with a pale celadon crackle glaze. Fine teakwood stand. Diameter, 4 inches. 1090—SMALL GALIPOT (2572) Dense porcelain of Hsiian-té period. Enamelled with a sea-green celadon glaze and foliated band and leaf pattern worked in low relief in the paste. Height, 4% inches. 1091—GLOBULAR-SHAPED JAR (2574) Clear white porcelain of the Ch’ien-Lung period. It is enamelled all over with a pellucid glaze of pale celadon color and decorated with a band of archaic patterns engraved in the paste. Carved teakwood stand. Height, 4% inches. 1092—INCENSE BURNER AND COVER (2742) Chinese porcelain, shape of fabulous animal and covered with a celadon glaze with brown mottling. Yung-Chéng period. Height, 454 inches. 1093—MELON-SHAPED VASE (2428) Of graceful shape and finished technique; thick porcelain of the Ming period, enamelled with a pellucid celadon glaze of the purest sea-green tint. Openwork teakwood cover with agate ornament. Height, 4% inches; diameter, 614 inches. 1094-SMALL BEAKER-SHAPED VASE (2570) Old Chinese celadon. Coated with an opaque sea green glaze; band of floral scrolls and palm leaves engraved in the paste in low relief. Height, 6% inches. “of ose iiss and fine technique. Covered with a 2) Bik sbieroine glaze of pale celadon of pellucid quality. Seal mark _ pencilled in deep-blue. Teakwood stand. ae ee . Height, 7% inches. 1000 —GALIPOT ; (2569) Dense porcelain, of the Ming period, enamelled with a ~eeladon” ‘monochrome glaze of sea green tint, varying in tone according to the depth, so as to bring the decorative details under- ; neath, which are worked in low relief i in 1 the paste. This decora- Height, By, inches. ‘ ~ Clear white porcelain of the K’ang-hsi period. Invested ; swith r= eh celadon sa which is mottled with brown. Carved Height, 8% inches. een wee eevee with fine Pitilation of brown lines. of grass pattern round shoulder incised in the paste; open- Teakwood stand. = Height, 10 inches. With et a panels. Dense porcelain of the Ming and coated with a celadon glaze of sea green tint. Teak- Diameter, 10% inches. col - ri Detetoed stand. Maat Se, et Height, 10 inches. 1101I—LARGE OVIFORM JAR (2579) Thick sonorous porcelain of the Ming period. Invested all over with a celadon monochrome glaze of purest sea-green tint which varies in tone according to depth, so as to bring out the decorative details underneath, which are worked in high relief in the paste. This decoration consists of an elaborate band of floral scrolls and phoenix birds, and a border of palm. leaves around foot. Height, 11 inches. 1102—BOTTLE-SHAPED VASE (2710) Thick porcelain of the Yung-Chéng period. Coated with a pellucid glaze of green celadon color, crackled with bold reticula- tion of black lines; the foot underneath coated with fine gray crackle glaze. Height, 11 inches. 1108—WINE EWER (2568) Thick porcelain of the Ming period. Covered with a cela- don monochrome glaze of the purest sea green tint, The decora- tion consists of elaborate peony scrolls and palm leaf band which are engraved in the paste. Height, 11% inches. 1104—LARGE CELADON PLATE (2582) Thick porcelain of the Ming period. Coated with a mono- chrome glaze of pellucid green, and decorated with a fluted band and incised floral spray. Underneath the foot is a ferrugmous ring mark. Diameter, 11% inches. 1105—OVIFORM BOTTLE-SHAPED VASE (2567) Of graceful form and very fine technique, dating from the Yung-Chéng period. Enamelled with a pale celadon glaze of exceeding purity. Gadroon band round the foot carved in relief in the paste. Seal mark in underglaze blue. Height, 12 inches. 1406—PEAR-SHAPED VASE (576) With slightly spreading nears Fine white porcelain of Ch’ ien-Lung period. Coated with a celadon glaze of sea green tint _ of even quality; slight mottling of brown and black. Dragon en- gerbes the shoulder modelled in high relief. Height, 12 inches. 1107—CELADON PLATE (2681) Thick sonorous ‘porcelain of the Ming period. Covered with a monochrome glaze of sea green tint, and floral sprays in- cised i in the paste. Ferruginous oe mark underneath the foot. Diameter, 12 fates (2580) "Thick porcelain of the Ming period. Enamelled with a _ sea green glaze and decoration of floral scrolls and sprays incised in the paste. Ferruginous ring mark underneath the foot. Diameter, 14 inches. LARGE CELADON PLATE , ee With fluted border and scalloped edge. Thick sonorous xf porcelain of Ming period and enamelled all over with a pellucid pee of pure sea green tint. Ferruginous ring mark underneath Diameter, 14 inches. as - Die form. Thick sonorous texture of the Ming period. ‘overed all over with a monochrome glaze of sea-green tint and ea _ conventionalized floral patterns worked in low relief in the paste. | _ Ferruginous wang mark upderpeath the foot. ak Diameter, 15 inches. bea monochrome bats and purest sea-green sie Con- lized floral design etched in the paste. Ferruginous ring i, tN Diameter, 17 inches, 1112-—-LARGE CELADON PLATE (2586) Peep form. Dense porcelain of the Ming period. Enam- clled all over with a pellucid glaze of sea green tint, and a floral design etched in the paste. Marked underneath with a ferruginous ring. Diameter, 17 inches. 1113—LARGE CELADON PLATE (2587) "Thick sonorous texture of the Ming period. Covered all over with a sea-green celadon glaze. Elaborate decoration of peony scrolls of tesselated patterns engraved in the paste. Fer- ruginous ring underneath the foot. ice Diameter, 17 inches. 1114—TALL OVIFORM VASE (2694) With tubular handlesat neck for hanging purposes. Thick sonorous porcelain of the Yung-Chéng period. It is enamelled all over with a pellucid glaze of grayish celadon color, crackled with a bold reticulation of brown lines. Seal mark in blue. Carved teakwood stand, Height, 17% inches. 1115 -—VERY LARGE CELADON DEEP PLATE (2588) ‘Thick, sonorous porcelain of the Ming period. Coated with a monochrome glaze of sea green tint over an elaborate flori- ated pattern worked in the paste. Diameter, 19 inches. 1116—TALL VASE (2577) Of graceful shape and perfect technique. Fine white porcelain of the Ch’ien-Lung period. Invested with a pellucid celadon glaze of sea green tint, varying in tone according to the depth, so as to bring out decorative details underneath. This deco- ration consists of an elaborate design of conventionalized dragons amid leafy scrolls, and a series of bands of palm leaf, fret and gad- roons. Seal mark pencilled in underglaze blue. Height, 21 inches. : (2580) With fluted border and scalloped edge. Dense porcelain of the Ming period. It is invested with a celadon monochrome glaze of pure sea green tint, deepening in tone as it thickens in the recesses of the decoration, which is worked in the paste under- neath. The decoration consists of branches of fruit and floral We sprays and foliated scrolls, which almost cover the inner and outer Diameter, 22 inches. COREAN POTTERY ° vhite oe aad ‘hich is a Btown! crackle. Incised and wave design. 1600. Re Height, 5 inches. n stoneware of gray clay. Covered with dull ivory- rough surface. 1500. OE ey Lee Diameter, 5 inches. stoneware of gray clay. Bluish-gray glaze, decor- ima design. 1600. Diameter, 5% inches. Diameter, 6 inches. 1123—TEA BOWL (2730) _Corean stoneware of gray clay. Yellowish-gray mottled glaze. 1500. Diameter, 6% inches. 112}-TEA BOWL (2733) Corean stoneware. Dull celadon glaze, with lotus flower design carved in slight relief on the outer surface. 1400. Diameter, 6% inches. 1125—BOWL (2734) Dense Corean porcelain. Bluish-white glaze. 1500. Diameter, 6% inches. 1126—BOW L (2726) Corean stoneware of hard gray clay. Mustard-yellow glaze over a profuse crackle, flowers incised in the paste. 1600. Diameter, 6% inches. 1127—BOWL (2716) Corean stoneware of sonorous gray texture. Covered with a celadon glaze under which are vertical crackles. Found by a Japanese merchant at Seoul in 1886. 1800. Diameter, 64% inches. 1128—BOTTLE-SHAPED VASE (2714) Corean pottery, and covered with hard, yellowish-gray clay, finely crackled, light brown soft glaze. Thirteenth century. Height, 7 inches. 1129—BOWL (2731) Corean stoneware of gray clay. Bluish-gray glaze, with brush marks in white. 1600. Diameter, 7 inches. 1130—COVERED JAR (2719) Hard gray clay and coated with a crackled celadon glaze. Archaic design of birds and flowers painted in black and white under the glaze. . Silver rims and ornament surmounting cover. Has tall teakwood stand. Twelfth century. Height, 74 inches. 1—BOWL a? th! Corean stoneware of hard yellowish clay. Covered with a : pelt _ celadon glaze under which are peony scrolls carved in the paste in low relief. 1800. = Pe? 4h Diameter, 74% inches. Tere 182—BOWL . (2727) Corean stoneware of gray clay. Light brown crackled glaze. 1500. Height, 3 inches; diameter, 74% inches. J—-SHALLOW BOWL (2729) Corean stoneware of gray clay. Dull white glaze with - incised decoration of Mishima design. 1600. ae Fe Diameter, 8 inches. "amy CESK stoneware of hard gray clay. Incised scrolls under mous os crackled light green glaze. Twelfth century. Pony? Catt Height, 9% inches. E-SHAPED VASE : < — stoneware of dense, brownish-gray ae Dull - Height, 1144 inches. 3 -Corean stoneware of hard gray clay. Bold incised scroll unde a celadon glaze, with pronounced brown crackle. Twelfth Height, 11% inches. 1188—LARGH JAR-SHAPED VASE (721) Corean stoneware of dense gray texture, which is coated with a creamy white glaze on the inner and outer surface. The decorations consist of three panels in which are figures of Taoist sages, symbolical and other subjects, surrounded by scrolls and floral designs, and at the top and bottom are bands of foliated scrolls, all painted in dark red and bright green enamels. The specimen is said to have been in a palace in the province of Kaga since the year 1598. Thirteenth century. From the Grery-Brinkiey Collection. 1139—LARGHE OVIFORM JAR (2720) Corean stoneware. Dense texture, covered with a cream colored glaze finely crackled; round the base and shoulders are lines and a band of diaper patterns in dark brown. On the sides are three large medallions bordered by broad black lines. One medallion contains the figure of the sage Laon, who sits beside a tree on the branch of which hangs his gourd; his face turned to- ward the “ Seven Stars,” presenting a design intended to repre- sent the constellation of Ursa Major (Sh’chija no hashi). In the second medallion a stork, reeds and lotus plants, and in the third a full bloom lily surrounded by leaves. The inside is covered with a glaze of dark brown. Date 1300. From the Greey-Brinxtey Collection. 1140—LARGE OVIFORM JAR (2722) Corean stoneware. Dense gray texture, which is covered with a pale gray glaze, with a pronounced crackle. Boldly drawn dragons, cloud forms and fire emblems in two shades of cobalt blue. Band of sceptre head scrolls round foot and shoulder. Thirteenth century. Height, 18 inches. FIFTH AFTERNOON'S SALE MONDAY, JANUARY 307TH, 1905 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 2.30 O'CLOCK SWORD MOUNTS, ETC. iene (698) Shakudo. Fishes and bamboo spray, in gold, silver, and io ae on nanako ground. Signed, Iwamoto Konkwan. Eigh- é (699) “Horses in pasture in relief on nanako ground and inlaid with gold, silver and shakudo. Signed, Yoshida Kiyotern. Eigh- Ds Shibuiehi Design of turbulent water carved in high relief Signed, Omori Teruhide. ce ee Shakudo, plum and pine branches in gold and silver, nan- aes Signed, Kishiba Tomonori. Eighteenth century. Mass of reek blossoms exquisitely wrought in ‘Shakudo. Tegel dancing, wrought in gold, silver, and er. Signed, Iwamoto Konkwan. Eighteenth century. (704) Gold. Sprays of millet exquisitely wrought. Signed, Issai mei. Nineteenth century. ‘Cloisonné on bronze. Bamboo leaves, inlaid with blue, nd red enamels. Eighteenth century. 1144—THREE SETS OF SWORD ORNAMENTS (705) Shakudo. Running horses, finely wrought. Seventeenth century. (706) Shakudo. Archer’s outfit, wrought in shakudo and gold. Sixteenth century. (707) Shakudo. Tadamori capturing a priest who has pur- loined a temple lantern; finely wrought in gold, silver and other metal. Eighteenth century. 1145—SIX SWORD ORNAMENTS (708) Shakudo. Mice and millet, wrought in gold, silver and shakudo. Signed, Nagatsune. Eighteenth century. (709) Shakudo. Sword Ornaments (Menuki). Cat taking nap under peony flowers, wrought in gold, silver, and shakudo. (710) Silver. A tiger finely wrought in silver and inlaid with gold and shakudo. Eighteenth century. 1146—FOUR SWORD ORNAMENTS (711) Shibuichi. Fish finely wrought in shibuichi copper and silver. Signed Hozui. Eighteenth century. (712) Spool of silk, wrought in gold and shakudo. Eighteenth century. SWORD KNIVES 1147—TWO SWORD KNIVES (594) Shibuichi handle. A waterfall, engraved by Tomotsune. Signed, Shokatei Tomotsune. Blade made by Masatsune, and signed, Sagami no Kami Masatsune. Eighteenth to nineteenth century. (595) Red copper handle. Grotesque Daruma, strongly carved by Yoshiyuki. Nineteenth century. Blade engraved with Fudo, by Umetada Hichizayemon. Signed. Seventeenth century. -1148-TWO SWORD KNIVES _ (596) Shakudo handle. Miniature books of dramatic poetry, closed and open; titles on the cover and text on the pages are in microscopic characters, with an inlay of gold. Blade has also miniature pictures of six sage poets of Japan with sonnets—an extremely fine example of minute engraving. Signed, Moriyo. Nineteenth century. (597) Shibuichi handle. Millet, finely wrought in relief in gold and shakudo, and a poem incised. Made by Gotd Ichijé, and signed. Nineteenth century. Blade decorated with wistaria, en- graved by Natsuo. Nineteenth century. ae 1149—-THREE SWORD KNIVES _ (899) Silver handle. Maple leaves on stream, in relief gold and chased. Signed, Kazutoshi. Blade by Zumei. Signed. Ninc- teenth century. . ; (600) Gold handle. Numerous monkeys at play, in openwork and x chased. Unsigned. Eighteenth century. Blade by Kane-uji. as Signed, Shidsu Sam’ro Minamoto no Kane-uji. Seventeenth century. (601) Shakudo handle. “The Seven Treasures,” in gold and ae cloisonné enamel. Blade engraved with the names of Nagasone oe - Kotetsu, a swordmaker of Tokio, and Okimasa the Second. Seven- teenth century. Nien SE ha (602) Shakudo handle. Two crests and circular wistaria flowers in relief gold and chased, and an emblematical moon in silver, on _ fine nanako ground. Made by Minriu-shi Hisazane. Signed on the blade. Eighteenth century. (607) Kogai. Shakudo handle. “Companion to the above. 7B SWORD KNIVES _ Shibuichi handle. Kiri crest, incised on a ground to imi- the bark of a tree. Made by Yoshimichi. Signed on blade, ‘no Kami Yoshimichi. Eighteenth century. (604) Shibuichi handle. Crest of Sasaki family and Kiri flowers in gold on fine nanako ground. Seventeenth century. (613) Shakudo and gold handle. Birds perched on handle of hoe and grasses wrought in relief in gold and silver. Blade engraved with six famous poems. Signed Iwamoto Riokwan. Eighteenth century. 1152—THREE KOGATIS (605) Shakudo. A hare running on the waves. Made by Hashi- moto Isshi. Nineteenth century. (606) Shakudo. Archer’s outfit, wrought in relief and gilded. Sixteenth century. (608) Shakudo. Horses, carved in relief on nanako ground. Seventeenth century. . 1153—TWO SWORD KNIVES (598) Silver handle. Flying cranes and cloud forms. Engraved by Yanagawa Naoharu, and signed. Eighteenth century. (609) Shibuichi. Wild geese in flight by moonlight, in gold, silver, and Shakudo. Signed, Haruaki Hogen (carved), and a seal stamped in gold. Nineteenth century. (610) Shakudo. Horses, carved in high relief on nanako ground. Seventeenth century. KNIFE HANDLES 1154—THREE KNIFE HANDLES (611) Shakudo. Musical instruments and an actor’s mask in high relief in gold and silver on nanako ground. Eighteenth century. (612) Shakudo. Phenix, wrought in relief in gold. Signed, Yoshioka Inabanosuke. Nineteenth century. (614) Shakudo. Archer’s outfit, in relief and ornamented with gold. Sixteenth century. 1155—THREE KNIFE HANDLES (615) Shakudo. Rising sun and crane perched on rock, project- ing over a stream, wrought in relief and inlaid in gold and silver. Signed, Hashimoto Isshi, at the last part of the winter, 3d year of Meiji (1870). (617) Shakudo. Fine nanako carving, tipped with gold in imita- tion of a sword hilt. Seven miniature tsubas, wrought in relief in gold, silver and other metals. Eighteenth century. (619) Shibuichi. Lady in a boat, after Hanabusa Itcho, carved in relief and inlaid with copper and gold. Signed, Iwamoto Konk- wan. Eighteenth century. 1156—THREE KNIFE HANDLES (616) Shibuichi. A spray of chrysanthemum, hoe and a frag- ment of paper on which the name Got6 is delicately etched and inlaid with gold; on the back is engraved a verse referring to the chrysanthemum. Signed, Mitsumasa. Eighteenth century. (618) Shibuichi. Design of turbulent water carved in high relief. Signed, Omori Fusahide. Eighteenth century. am (620) Red copper. Egg plants in relief, and on the back an en- Ae graved verse and gold clouding. Signed, Noriyuki. Eighteenth century. 1157—THRER KNIFE WANDLES ; ms _ (621) Shakudo and Shibuichi. Butterflies and stream, in gold and silver on fine nanako ground. On the back, wild flowers, en- _ graved and ornamented with gold. Signed, Goto Hokié Ichijo. Nineteenth century. ate (622) Shibuichi. A hen and chick, wrought in relief in gold and ¥ : silver. Signed, Hide-hisa. Nineteenth century. ss (628) Shibuichi. Fruits, wrought in high relief on fine nanako ground. Signed, Gotd Mitsu nori (Jujo). Eighteenth century. mg eat Se ie ed -THREE KNIFE HANDLES (625) Shibuichi. Chrysanthemum flowers, chased in low relief. ‘Fighteenth century. (626) Silver, Sennin, or ascetic sage, deeply carved. Signed, Gotd Kwosa, a son of Jujo. Eighteenth century. (631) Tron. Damascened ornamentation of peony scrolls in silver. Eighteenth century. 1159—THREE KNIFE HANDLES (627) Shakudo. An arrow bearing a message wrought in relief in gold, silver, and shakudo. Signed, Gots Denjo. Seventeenth century. (628) Tron panel in a frame of shakudo. A scene near a temple, a mountain, a torii, a sacred tree, and crescent wrought in relief in copper and silver. Signed, Tsuki Mitsuoki. Nineteenth century. (630) Tron. Monkeys trying to catch a crab, wrought in relief in copper and other metals. Signed, Ishiguro Toshitsune. Nine- teenth century. 1160—THREE KNIFE HANDLES (624) Shakudo. A sparrow flying over snow-laden trees. Signed, Soyenshi (Masahiro). Eighteenth century. (632) Tyron. Sea-birds and stream, chased in gold and silver inlay. Signed, Tsuki Mitsuoki. Nineteenth century. (633) Red copper and shibuichi. A man on a raft in moonlight. Signed, Shoju Noriyuki. Eighteenth century. 1161—KNIFE HANDLE ' (629) Shakudo. A burlesque representation of ‘‘ monkey on horse- back.” A horse which was painted in the panel of picture dedi- cated to a temple has suddenly awakened to its infused vitality, and is quitting the frame for a wider world, the monkey, which was painted as sitting on it, is surprised by the conduct of his com- panion, and is trying to stop him by the rope, forgetting that he is also acting more than a painted object. The entire surface, except space for the panel, is finished in nanako; and figures are chased in relief and incrusted with gold. Signed, Tsu Jimpo. Eighteenth century. 1162—TWO KNIFE HANDLES (634) Shibuichi. Jurojim, one of the seven gods of happiness, wrought in high relief in gold, silver, and shakudo. Signed, Tamagawa Yoshikiyo, at the third year of Meiji (1870). (635) Shakudo. Fishes, finely wrought in high relief on fine nanako ground. Signed, Goté Mitsutaka (Yenjo). Eighteenth century. 11463—TWO KNIFE HANDLES (636) Shakudo and gold. Illustrating the transportation of an old plum tree, which is on a cart and drawn by twelve Japanese, wrought in relief in gold and other metals. Signed, Gotd Rihioye _ Mitsumasa (Teijo). Seventeenth century. (637) Shakudo and gold. Three flying cranes skilfully wrought in relief in gold and silver on nanako ground. Signed, Gotd Mit- sumasa (Jujo). Eighteenth century. ——-1164-TWO KNIFE HANDLES (6388) Shibuichi. Bold dragon amid cloud forms, wrought in gold. Signed, Hitotsu Yanagi Tomoyoshi. Nineteenth century. (639) Shakudo. A “No” dancer in relief in gold and silver on young pines, on nanako ground. Signed, Shokatei Motohiro. Eighteenth century. 1165 WO KNIFE HANDLES : (640) Shakudo. Bundles of fagots under a thatched roof, relief * and shakudo on nanako ground. Signed, Yoshioka Shigesada. Eighteenth century. ny (641) Shakudo and gold. A swimming duck finely wrought in ; voit | relief in silver. Signed, Yoshioka Inabanosuke. FKighteenth century. 1166 THREE KNIFE HANDLES (642) Shibuichi. Etched ornamentation of ‘The Hundred “= - Horses,” on the reverse an old cherry tree by a stream. Signed, - _ Minko Chinjin. Eighteenth century. (643) Shakudo. Bundle of bamboo shoots, wrought in relief in gold, silver and shakudo on nanako ground. Signed by Mitsu- kuni. Eighteenth century. (644) Tron. Various toys, in relief in gold, silver and shibuichi. Signed, Toshinaga. Eighteenth century. 11467—THREE KNIFE HANDLES (645) Tron. Plum blossom on tree trunk, in relief. Signed, Nao- fusa. Eighteenth century. (646) Tron. Clouds and waves carved and inlaid with gold. Signed, Umetada. Eighteenth century. (647) Akagane and shakudo. Landscape in rain, temple gate and junks etched and inlaid with gold and silver. Signed, Umeza- wa Muratane. Eighteenth century. 1168—THREE KNIFE HANDLES (648) Shinchii. A farmer trying to catch a sly fox who in dis- guise on a moonlight night is investigating the trap set for him, wrought in relief and etched in silver and gold. Signed, T'suki- Mitsuoki. Nineteenth century. ’ . (649) Shakudo and Akagane. Straw baskets of shells wrought in relief in gold and silver on nanako ground. Signed, Goto Mit- suteru. Eighteenth century. (650) Shibuichi. New moon seen through fishing nets, the moon in silver and the nets etched. Signed, Tobari Tomihisa. Eigh- teenth century. 11469—KNIFE HANDLE (651) Gold. Finely etched ornamentation of “The seven gods of good fortune.” Signed Yanagawa Naomasa. Eighteenth century. 1170—THREE KNIFE HANDLES (652) Sinchii. New moon, and nightingale in flight in silver, shakudo and gold. Signed, Shozui, in his sixty-third year. Eigh- teenth century. eo (654) Shibuichi. Flowers and butterfly delicately etched and in- laid with gold. Signed, Goté Mitsumasa. Nineteenth century. (655) Red copper and shakudo. Court hat and cherry branch, wrought in relief in gold, silver, and shakudo. Signed, Takejima Katsutoshi. Nineteenth century. 117I—LARGE KNIFE HANDLE (653) Silver. Beautiful engraved ornamentation of tree peony. Signed, Hogen Haruaki. Nineteenth century. :1172—THREE KNIFE HANDLES _ (656) Bronze. “ Eight views of Lake Biwa,” delicately etched and inlaid with gold and silver. Signed, Hosono Sozayemon Masamori. Nineteenth century. (657) Shakudo. A flying stork and cloud forms, in relief in gold and silver, on nanako ground. Signed, Gotd Mitsunori. Nine- teenth century. (659) Red copper. Autumn flowers and grasses, in gold and silver, and on reverse Mount Fuji and cloud forms delicately etched. Signed, Morichika. Eighteenth century. - 1173—KNIFE HANDLE _ (658) Shakudo and gold. Cherry blossoms and tent curtain, _ finely wrought in relief in gold, silver, and shakudo. Made by one of the Gotéds. Eighteenth century. : 1174—THREE KNIFE HANDLES ___ (660) Shibuichi. Kwan-on with lotus flower and cloud forms, finely carved and wrought in relief in gold and silver. Signed, Juka- -_kusai Katsubumi. Eighteenth century. (661) Shibuichi. Two Chinese looking at the full moon, wrought in relief in various metals. Eighteenth century. . (662), Shibuichi. An Onihari man in court dress on a balcony, throwing beans at an imp, a legendary subject. Carved and in- laid with gold, silver, shakudo, and copper., Signed, Koriuken _ Kikutei Yeizui. Nineteenth century. a. By 1175—THREE KNIFE HANDLES (663) Shibuichi. Fukurokuju, one of the seven gods of good fortune, carved in relief and inlaid with gold and silver. Nine- teenth century. (664) Shibuichi. Hotei carved in low relief. Signed Kenzui. Eighteenth century. (665) Shibuichi. Prince Susano in act of killing a dragon, finely carved in low relief and inlaid with gold. Signed, Ihosai Shinzui. Nineteenth century. 1176—THREE KNIFE HANDLES (666) Shibuichi. A “ No” dancer, carved in relief and inlaid with gold, silver, and shakudo. Signed, Itosai Shumin. Nine- teenth century. | (668) Shibuichi. Street musicians, wrought in high relief in gold, silver, shakudo, and copper. Signed, Ihosai Shinzui. Nine- teenth century. (669) Shakudo. A hanging lantern, wrought in high relief in gold, silver, and copper on hammered ground. Signed, Yukinobu. Nineteenth century. 1177—THREE KNIFE HANDLES (667) Shibuichi. Plum tree in blossom delicately inlaid’ with silver. Nineteenth century. (670) Tron. A heron perched on stump of a tree, in high relief and ornamented with gold and silver inlay. Eighteenth century. (671) Shibuichi. Herons on willow tree by stream, wrought in high relief and gold, silver and other metals. Nineteenth century. 1178—THREE KNIFE HANDLES (672) Shibuichi. Carpenter’s tools in relief in gold and silver on nanako ground. Seventeenth century. (673) Red copper. A dove perched on an arrow, wrought in relief in shakudo, silver and gold. Signed, Gots Mitsumi. Eighteenth century. (674) Shakudo and gold. Chrysanthemum flowers in high relief in gold and silver. Eighteenth century. L79—THREE KNIFE HANDLES (675) Bronze and akagane. Pheenix amid cloud forms, carved and in relief. Signed, Mitsuhiro. Eighteenth century. —SHORT SWORD (COMPANION OR WAGIZASH!) (467) Length of blade, 1214 inches. Made by Kanenaga. Four- teenth century. Hilt of shark-skin, covered with brown silk braid; and ornaments of bronze in designs of eels, and the scabbard of black lacquer made in imitation of cherry bark and tipped with a crayfish wrought in solid silver. The hilt head and joint of shakudo, ornamented with octopus in copper relief. Sword guard is of shibuichi, in design of turbulent water, and was made by Teruhide. 1777. Shakudo kogai decorated with crabs in relief. Made by Mitsuyuki. 1299-SHORT SWORD (COMPANION OR WAGIZASHI) (468) Length of blade, 1214 inches. Sixteenth century. Hilt covered with fine, black whalebone thread, and the scabbard of black wood. The hilt head, joint, ornament, and sword guard of copper, ornamented with Daruma, horse, and tea utensils. By Nagatsune. Kodsuka of copper, with landscape and flying spar- rows. By Yoshikuni. 1298 -SHORT SWORD (COMPANION OR WAGIZASHI) (469) Length of blade, 15 inches. Fifteenth century. Hilt of shark-skin, covered with blue silk braid, and the scabbard of green lacquer, with ornamentation of running stream and water plants in gold, black lacquer with mother-of-pearl soufflé. The hilt head, joint, ornament, sword guard, kodsuka, and scabbard tip wrought in copper, with frogs, snail, shell fishes and other designs in relief. By Humano Kaneyuki. 1299—SHORT SWORD (COMPANION OR WAGIZASHI) (470) Length of blade, 11 inches. Made by Kanetomo. Four- teenth century. Hilt of natural wood with ornament of fireflies ‘1 shakudo and scabbard of lacquer, in imitation of pine tree bark. — Hilt head, joint, sword guard, and kodsuka of iron, with autumn grasses, in relief, and moon inlaid in silver. By Otsuki Mitsuoki. 1300—SHORT SWORD (COMPANION OR WAGIZASHI) (471) Length of blade, 1214 inches. Made by Nagamitsu. Fourteenth century. Hilt of shark-skin, covered with brown silk braid, and the scabbard of brown lacquer. Hilt head, joint, and scabbard tip of shibuichi, with monkey, bear, and other designs, in relief. Sword guard of shakudo, with moon and rabbit wrought in relief. Kodsuka of red copper, a stag, in relief. By Hiromasa. a_i... rae ‘ey " 1301—SHORT SWORD (COMPANION OR WAGIZASHI) (472) Length of blade, 111% inches. Made by Nobukuni. Six- teenth century. Hilt of shark-skin with ornament of copper in design of three sparrows in flight, covered with tea-color silk braid; and scabbard covered with brocade and lacquer. The hilt head, joint, scabbard tip, and cord ring of copper, ornamented with sparrows and strings of beads in various metals. Kodsuka of shakudo, with flying sparrows in gold. Sword guard of sha- kudo, with sparrows and strings of beads in copper and other metals. 1802—-SHORT SWORD (COMPANION OR ee IAS HET _-~(473) Length of blade, 1714 inches. Fourteenth century. Hilt a _ of shark-skin, covered with brown silk braid, and the scabbard of natural wood. Hilt head, joint, sword guard, and knife of sha- = kudo, with signs of the zodiac in relief metal work. Hilt orna- ment of monkey and rat in solid gold. By Iwamoto Konkwan. 3083—SHORT SWORD (COMPANION OR WAGIZASH1) (74) Length of blade, 1214 inches. Made by Motoshige of Osa- fune, and dated Koan Gannen (1361). Hilt of shark-skin, cov- _ ered with black silk braid and ornamented with two sages in copper; and the scabbard of black polished lacquer. Hilt head ey of horn, and hilt joint of shakudo, ornamented with running 3 _ horses wrought in relief in various metals. By Nagatsune. Sword guard of Shakudo, with landscape, a cottage and figure in fore- ground, by Shozui of Humano school. Kodsuka of shibuichi, with _ chased designs of figure and clouds. Made by Goté Yené. ith. Length of blade, 27 inches. Made by Kunitsugu. Eigh- fe ~ teenth century. Hilt of shark-skin, covered with black silk braid; bi es and the scabbard of dark green lacquer, upper part with incised conventional cloud forms. Hilt head, joint, ornament, sword guard, kodsuka, and scabbard tip, are of copper, in design of tur- tles, lobster, snail and cherry blossoms. 1305—LONG SWORD (KATANA) (476) Length of blade, 25 inches. Fifteenth century. Hilt of shark-skin, covered with black silk braid, and ornamented with a group of storks in shakudo and gold; and the seabbard of polished black lacquer with wood-grain finish and gold-leaf mosaics. Hilt head, joint, sword guard, and scabbard tip are wrought in silver, with birds and flowers in relief. By Masanori. 1306—LONG SWORD (TACHI) (477) Length of blade, 2714 inches. Made by Yokoyama Suke- kana of Osafune. Dated August, 1863. Hilt of shark-skin, covy- ered with blue silk braid, and a stork wrought in silver; and the scabbard of polished black lacquer, with family crests painted in gold lacquer. The hilt head, joint, sword guard, scabbard bands, scabbard tip, and cord ring of solid silver, with chased designs of plum trees in blossom. By Yoshiakira of Higo, and dated 1867. 1307—LONG SWORD (TACHI) (478) Length of blade, 26 inches. Fourteenth century. Hilt of gilt bronze, covered with damascened iron in imitation of braid ; and the scabbard of iron, profusely damascened and inlaid with Tokugawa and other crests and floral scrolls in gold and silver. The hilt head, joints, sword guard, cord rings, scabbard bands, and tip and other mounts of similar metals and ornamentation. 1308—LONG SWORD (TACHI) (479) Length of blade, 2614 inches. Made by Kiyomitsu of Osa- fune, and dated August, 1533. Hilt and scabbard of leather, cov- ered with yellow braid. The sword guard of iron, ornamented with two smaller guards of gold and shakudo. Hilt ornament, sha- kudo helmets, and the hilt head, joint, cord rings, scabbard bands, and scabbard tip are of bronze, covered with yellow leather. 1309—LONG SWORD (KATANA) (480) Length of blade, 27 inches. Fifteenth century. Hilt of shark-skin, covered with brown silk braid, and the scabbard of red-brown lacquer. The hilt head, joint, scabbard band, and scabbard tip wrought in iron and inlaid with gold. si guard of iron, with cherry flowers pierced. 1310—LONG SWORD (KATANA) AND COMPANION SWORD (WAGIZASHI) _ G81) Length of blades, 27 inches and 20 inches. Made by Mune- shige. Seventeenth century. Hilts of shark-skin, covered with black leather braid, and the scabbards of polished black lacquer, with scrolls painted in gold lacquer. The hilt heads, joints, and sword guards are wrought in iron. Hilt ornaments of silver; seabbard bands and scabbard tips of copper. Kodsuka attached to the companion sword is of iron, ornamented with frogs in sha- kudo and gold inlay. 1311—LONG SWORD (TACHI) — (482) Length of blade, 26 inches. Made by Kaneyoshi Zenjo of Seki in Mino. 1390. Hilt of black lacquered metal, covered with black silk braid, with ornament of shakudo in design of the golden sun and silver moon issuing from the clouds, and the scabbard of polished black lacquer. ‘The hilt head, joint, sword guard, cord . rings, scabbard band, and scabbard tip are of shakudo and gold. wares Funada Ikkin. _ 1812—LONG SWORD (KATANA) (483) Length of blade, 2014 inches. Made by Yasutsugu of - Aoye. Twelfth century. Hilt of shark-skin, with white silk braid, and ornaments of solid gold coiled dragons, and the scabbard of lacquer, with conventional clouds, carved and tinted in gold and - other lacquers. The hilt head, joint, cord ring, and scabbard _ tip are of solid silver, with golden Kiri flowers in relief floating on sea. Sword guard of solid silver, wrought in design of tur- _ bulent water with birds in relief gold. 1318—LONG SWORD (KATANA) (496) Length of blade, 2814 inches. Made by Masamune. 1290. The finest blade by the most famous sword-maker of Japan. The scabbard is of brown lacquer, with a surface of fine thread lines. The guard of shakudo is ornamented with dragon- flies, wrought in relief in gold; the fuchi, kashira, and kojiri are of shakudo and gold, with storks and kirin in gold and silver inlay. The kodsuka and kogai are of shakudo, ornamented with dragons in gold. Has extra case for blade. Fine black lacquer box, and is accompanied by a Japanese MS. giving the history of this famous sword and names of previous owners. . 1314—LONG SWORD BLADE (484) Length, 28 inches. Made by Sadamune of Sagami, the pupil and adopted son of Masamune, the greatest swordsmith of Japan. The blade is ornamented with beautifully engraved dragon on one side and a Sanskrit character and two hollowed straight lines on the other. Inscribed, Sagami no Kuni Jiu nin Sadamune (Sadamune, inhabitant of Province of Sagami), and dated August in the 2d year of Geno (1820). 1315—LONG SWORD BLADE (485) Length, 2734 inches. Made by Tametsugu of Yetchiu, pupil of Gono Yoshihiro, one of the three greatest swordsmiths of Japan. The blade is forged in a very remarkable manner, showing fine wood-grain wave pattern. His masterpieces, espe- cially when unsigned, often were and are passed as the Masamune blades, which they so closely resemble. This blade was considered by its former owner a genuine Masamune blade. 1370. 1316—LONG SWORD BLADE (486) Length, 31 inches. Attributed to Nagamitsu of Osafune of Bizen, one of the celebrated swordsmiths of that province. 1280. | SS oengetad SWORD BLADE (487) Length, 25 inches. The blade is forged, showing fine wood- grain and wave pattern, and has “ blood” channel on each side. Made by Yukiharu of Takata, the Province of Bungo. Signed, Takata Kawachino Kami Minamoto Yukiharu, and dated a lucky day in August, the 6th year of Yenpo (1678). 1818—LONG SWORD BLADE (884) Length, 2914 inches. The blade is ornamented with fine cutting of dragons on two sides, and has an engraved crest of Tokugawa on the hilt. 1650. Inscribed, Nanban Tetsuwo motte Bushiu Yeddo nioite Yechizen Yasutsugu (made by Yasutsugu of Yechizen with foreign iron at Yeddo in the Province of Mushashi). 1319—LONG SWORD BLADE | = (489) Length, 291% inches. Made by Tadatsune of Osaka, who a noted for his skill i in producing beautiful sword-edge marking. ~ Inscribed, Awataguchi Omino Kami Tadatsune Asai Uchi (made by Tadatsune of Awataguchi, “ruler of Omi,” of the family of Asai). 1700. ‘ 1820—LONG SWORD BLADE ~ (490) Length, 2814 inches. Made by Mutsu no Kami Tadayoshi of Hizen, one of the most famous swordsmiths of the great T'ada- yoshi family, and the third of that family. Inscribed, Hizen no Kuni no Jiu Mutsu no Kami Tadayoshi. 1662. BS 1821—DAGGER BLADE | (491) Length, 13 inches. Made by Muramasa of Ise, the Second, and ‘son of the great Muramasa. 1400. 1922DAGOER BLADE Hachem (492), ‘Length, 14 inches. Made by Hankei of Tokio, who was =a “considered to be the best swordsmith of his time in Tokio, and his ae blades were and are much esteemed by sword collectors. 1700. 13823—DAGGER BLADE (493) Length, 13 inches. The blade is inscribed with two stanzas engraved—-“ Charity overflowing even out of Akitsushima and benevolence greater than the green foliage of Mount Tsukuba.” By Kunihiro of Kioto, one of the greatest swordsmiths of modern time, and noted for his skill im engraving on blades. “ Rakuyo Jiu Fujiwara Kunihiro Tsukuru, Keicho jugo nen Chiukanohi ” (made by Kunihiro of Horikawa, living at Kioto, on a midsummer day in the 15th year of Keicho, 1610). 1325—DAGGER BLADE (494) Length, 1014 inches. Made by Kanetsugu of Yamato, a famous swordsmith of his time and signed. 1330. 13825—DAGGER BLADE (495) Length, 14 inches, ornamented with elaborate carved fig- ures of Niwo, or two kings (Buddhistic), and two hollowed lines. Made by Tadayoshi of Hizen and signed, Hizen no Kuni, Tosa no Kami Tadayoshi. 1600. 132-—SWORD RACK FOR TWO SWORDS (369) Covered with fine grade Nashiji lacquer and beautifully decorated with chrysanthemum scrolls in gold and snow-flakes painted in gold and silver lacquers. 1750. Height, 11% inches; length, 14% inches. 13827—SWORD RACK FOR THREE SWORDS (369A) Fine polished black lacquer. Crest of Tokugawa pen- cilled in gold. 1328—SWORD RACK FOR FIVE SWORDS (369B) QOwari porcelain of dense texture. Coated with cobalt blue and ornamented in relief with crest of Tokugawa in white reserve. ewe er! og we ——-1329—SWORD RACK WITH CABINET COMBINED (KEYAKI WOOD) : (428) Place for three swords. Decorated with carved designs, 5 and mounted with bronze handles. Five small drawers. Height, 16 inches; width, 16 inches; depth, 8¥% inches. 1330—SW ORD CASE, BLACK LACQUER (366) Decorated with elaborate mother-of-pearl inlay ; the inside, black lacquer. 1700. TT os ; : CHINESE CLOISONNE ENAMELS _1831-CLOISONNE SPOON a (120) Design of a goose, gilded bowl and tip, handle covered a with Reeak scrolls i in various enamels. Ming Dynasty. a Anu CHAMPLEVE INCENSE BOX (1191) Gilded bronze square form. Archaic scrolls and Haou-teen fs qi faces in champlevé, inlaid with red, purple, and blue enamels on ee blue ground. Ch’ien-lung period. Diameter, 2 inches; height, 1% inches. Hoeph 31% inches. pike 180) Gilded bronze. cyenbreeoa he shape on four feet. Archaic es 2s in blue enamels, tinted with gold on a turquoise blue ground. _ Sceptre head and gadroon borders. Ch’ien-Lung period. Diameter, 3% inches. SE CHAMPLEVE INCENSE BOX ; Gilded bronze. Quadrangle shape, on four feet. Archaic al and Haou- teen faces in champleyé, inlaid with green, red, = * : A ili ; | Height, 3% inches. 13836—CHINESE CHAMPLEVE COVERED BOWL (1189) Gilded bronze, decoration of “ long life ” in Chinese char- acters in eight different styles, in champlevé, the spaces between the characters being filled in with deep blue enamel. Ch’ien-Lung period. Height, 3% inches; diameter, 4% inches. 183)—PEKING ENAMEL COVERED BOWL (1196) Floral scrolls in green and red on a lapis blue ground, border of lotus pattern round foot. Ch’ien-Lung period. Height, 3% inches; diameter, 4% inches. 1338—CHINESE OHAMPLEVE, ON GOLD BRONZE (1192) Quadrilateral archaic scrolls and Haou-teén faces in champlevé, inlaid with red, purple, and blue enamels on turquoise blue ground. Ch’ien-Lung period. Height, 4 inches. 1339—CHINESE CLOISONNE BOWL (1188) Passion flowers amid floral scrolls in white, red, yellow, green, purple, and blue enamels on a turquoise blue ground. Ming Dynasty. Height, 254 inches; diameter, 5 inches. 13}0—CHINESE CLOISONNE PLATE (1186) Decoration of passion flowers amid leafy scrolls in finely combined low tones of enamel on a turquoise blue ground. Under- neath foot engraved character mark. Ta Ming Ching-t’ai nien chi. Diameter, 81% inches. 1341—LARGE CLOISONNE BOWL (1119) On the outer surface rampant horses, amid fire emblems and cloud forms; wave design and a series of borders in red, green, brown, and other low tones of enamel. On the inner surface a center panel containing religious symbols and a wide border of passion flowers amid leafy scrolls, all in finely combined low-tone enamels. Early Ming Dynasty. Diameter, 914 inches; height, 4% inches. -. 1342—CHINESE CLOISONNE VASE (1184) ~Pear-shaped. Passion flowers amid leafy scrolls in dark red, white and blue enamels on a turquoise blue ground. Gilded mouth and foot. Ming Dynasty. Height, 9% inches. 1343—CHINESE CLOISONNE PLATE (1187) Floral scrolls, dragon, sacred pearl, cloud forms and fire emblems in white, red, yellow, green, purple, and blue cnamels. Underneath foot, sacred flowers and leaf scrolls. Ch’ien-Lung period.” - Diameter, 11 inches. 1344—PAIR OF CHINESE CLOISONNE VASES, ON BRONZE (1185) Bronze oviform with flaring base and neck, gilt handles of scroll designs, floral scrolls and various borders in red, white, yellow and green enamels on a turquoise ground. Ch’ien-Lung period. Height, 11 inches. 1345—CHINESE CLOISONNE VASE (1194) Globular body, with spreading base and neck, lion head and ring handles. Passion flowers amid leafy scrolls in low tones of red, white and dark blue enamels on a turquoise blue ground, Ming Dynasty. ; Height, 12% inches. 1346—LARGE CHINESE CLOISONNE VASE (1195) Beaker shape. Elaborate ornamentation of conventional- ized dragon scrolls, Haou-teén heads, various symbols and palm- ettes, in white, red, yellow, green, purple, and blue enamels. Re- y _ lief of three rams’ heads and scroll designs wrought in bronze and gilt. Ming Dynasty. Height, 20 inches. 184Y—-LARGE CHAMPLEVE JAR, WITH COVER re (221) Tall oviform, with gilt lion head and ring handles. Elab- RS rastie ‘ornamentation, of archaic and scroll designs, in dark blue, red, yellow, green and turquoise blue enamels; figure of lion sur- mounting cover. Ch’ien-Lung period. ” " ; Height, 20 inches; diameter, 1344 inches. JAPANESE AND OTHER CLOISONNE ENAMELS 1348—WATER HOLDER (1104) For writer’s box. Bronze and cloisonné enamel. Eigh- teenth century. 1349—CLOISONNE SAKE CUP (1114) Bronze, lined with silver; floral design in colored enamels. HKighteenth century. Height, 2 inches. 1350—CLOISONNE ASH RECEIVER (1113) Design of miniature bucket. Chrysanthemum crest in col- ored enamels on a blue ground. Eighteenth century. Height, 2% inches. 1351—SMALL OKIMONO (1105) Design of turtle of longevity, wrought in bronze and par- tially inlaid with green enamel. Seventeenth century. 1352—CLOISONNE ENAMEL INCENSE BOX (1107) Made in form of sacred ball; chrysanthemum flowers in colored enamels on a blue ground. Eighteenth century. Height, 2 inches. 1353—CLOISONNE ENAMEL INCENSE BOX (1108) Circular shape. Chrysanthemum crest and cloud forms in various colors on turquoise blue ground. Eighteenth century. Diameter, 334 inches. 1354—BRONZE INCENSE BOX. (1106) Made in shape of imperial crest. Outer surface coated with green and brown enamel, thickly applied. Eighteenth cen- tury. 33%, x 4% inches. Qi10) Circular shape on tripod, with shakudo cover. Floral scrolls in colored enamels on turquoise blue ground, openwork. Eighteenth century. Height, 4 inches. _ 1856—BRONZE INCENSE BURNER low (12) Cylindrical shape, surface in imitation of tree bark, with ornamentation of shell and scroll designs wrought in relief and _ partially filled in with yellow, white, blue and red enamel. Open- — * work bronze cover. _ Mark, Haku chin riu tsukuru. Nineteenth ee century. SREY & Height, 4% inches. CLOISONNE INCENSE BURNER wey. ‘Cylindrical shape. Archaic and fish designs in red and white enamels on a mottled blue ground. Foot with similar orna- mentation. Seventeenth century. ’ Height, 5 inches. 358—BRONZE HANGING FLOWER VASE : Cli). ‘Shape of fisherman’s basket. Design of turbulent water partially enamelled. Seventeenth century. J NE eee Height, 5% inches. : —BRASS SAKE KETTLE . - 2108) _ Square shape, with tip handle. Lotus scrolls in cloisonné enamels in low tones. Eighteenth century. las a Height, including the handle, 6 inches. t Bocce . tones. Eighteenth century. Lae Height, 6% inches. NE ENAMEL INCENSE BURNER C blong shape on four slender legs. Archaic design in red, black and dark blue enamels on a pale blue ground, fret inlaid with silver wire. Kang-hsi period. Height, 6% inches. “Rae <> Tea as 4 * pala 7 ay * ¥ vt ’ aie a as te 3 See ie eo noah asia - ee . atcha i) = bees es Sees cri, ates = . ‘ae eer ne Pa od : = . ; k 1362—BRONZE AND nia vase 5 38 (16) all, xia le 1363-BRONZE REUTER ; (1102) Globular shape, ae of fundies a signs and lid of cloisonné enamels obi age D] clouding. i ile century. itis oe ¥ "key soya 1364--CLOISONNE vr (us) — Gourd shaped. Various medallio + ele! pM blue ground. Pighteenth cet? aa See tek? Raves 1365—HAND-WARMER a (1101) Repoussé brass, with cover aul age enamel. Eighteenth conta ys, Ree ate \ ; POTTERY * 'TIQUE. JAPANESI : SIXTH AFTERNOON'S SALE * TUESDAY, JANUARY 31st, 1905 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 2.30 o’cLOCK ANTIQUE JAPANESE POTTERY PROVINCE OF AWAJI But few records are obtainable concerning the pottery of this province. In the last twenty years an enormous amount of pottery with clear green and yellow glazes undecorated has been made for the foreign market. The province can preserve with pride the memory of Mimpei, one of the great potters of Japan. MIMPEI.—In 1830 Shuhei, the Ky6t6 potter, went to Igano village, and there became acquainted with a doctor named Mimpei, who, interested in the potter’s art, studied with Shuhei, and travelled about Awaji in search of clays. In this experience Mimpei became a potter. His work shows taste and origi- nality, though the Ky6to influence is strongly marked. Examples of his work are extremely rare. 1366—BOWL (1350) Awaji porcelain. Flambé glaze in brilliant green, purple and yellow on white. Made by Kaju Mimpei at Igano, province of Awaji. Mark, small square characters in blue. 1830. Height, 2% inches; width, 5% inches. 1367—TEA BOWL (1351) Awaji faience of creamy-white texture. Over the glaze are flowers and plants delicately painted in green, black, gold, red, pink and purple. Made by Kaju Mimpei at Igano, island and province of Awaji. Mark, Mimpei, impressed. 1830. Height, 3 inches; width, 4 inches. 1368—TEA POT 1369— (1352) Awaji faience of fine yellowish-gray clay. Creamy-white, crackled glaze, with decoration of flowers painted in gold and coral red over the glaze. Made at Igano, island of Awaji. Mark, Mimpei, painted in red. 1830. Height, 4 inches. TEA BOWL (3007) Awaji faience. Fine cream-white glaze, with an over decoration of prawn in bright red with touches of gold. Mimpei, impressed. Diameter, 41% inches. PROVINCE OF BIZEN This province produces in its hard, reddish-brown pottery one of the most characteristic types in Japan. Once recognized, it can rarely be confounded with the pottery of other provinces. There are many varieties, yet a certain gradation can be seen from the earlier forms, resembling in color an over- burned brick, to the slaty-blue, and through various shades of red to speci- mens resembling bronze. The evolution of these varieties from a primitive form can be easily traced. The old Bizen, going back six hundred years or more, is rough and unsightly, being rudely potted and imperfectly stoved. From this rude type, with better wheels and ovens, the work gradually improved. IMBE.—The name Imbe, as applied to pottery, is derived from the name of the village in which it is made. Pieces recognized under this name are made of a hard, dark gray clay, with a dark brick-red or brownish-red exte- rior, usually with fawn-colored spots of overglaze, and in rarer cases completely covered with this overglaze; in other instances it may resemble dark bronze, or even appear quite black with glistening and roughened surface. Such are a few of the varying features of this unique pottery. Nearly every piece bears a mark of some kind, usually impressed. These marks are often in the form of circles, squares and lozenges, within which are the characters for j as 3, 10, etc., and hence called maru ichi, maru ni, maru san, maru ju, ete. Pieces almost absolutely identical will often bear different marks. ‘These represent the work of individual potters who baked in a communal oven, Ninagawa, in a visit to Bizen, got from an old antiquarian a list of these marks purporting to represent successive generations of potters. As I haye had access to other lists of marks, equally authoritative, with successive generations indicated, and as there is not the slightest accordance between any of them, either as to name or date, they have all been rejected. A few of the marks are always associated with the best work. The earliest forms are rough and unsightly. The height of the art was evidently attained in the eighteenth century; at least specimens assigned to that period are much finer than subsequent work. Those of the best period resemble bronze, or have a rich fawn-colofed glaze with a surface like polished wood. 1370—TEA JAR (1354) Bizen stoneware of sandy red clay. Covered with a mottled - brown glaze. Made at Imbe, province of Bizen. Mark, line in circle, impressed. 1700. Height, 354 inches. y @ 1871—GLOBULAR SAKE BOTTLE (1353) Bizen stoneware. Covered with a reddish-brown glaze. “Made at Imbe, province of Bizen. 1750. r Height, 4% inches. 1372—W ATER JAR , , _ (1363) Bizen stoneware of dense grayish clay. Covered with a mottled brown and splashed glaze, border of incised sceptre heads round shoulder. Made by Terami at Imbe, province of Bizen. Mark, Terami. 1800. P Height, 7 inches. 1373—SAKE BOTTLE (1362) Bizen stoneware. Cone shape, covered with a thin brown glaze mottled with yellow. Incised thread marks. Made at Imbe, province of Bizen. 1750. - Height, 9 inches. _ 137—-SMALL OKIMONO, SACRED LION (2283) Imbe stoneware. Hard blue clay, with red spots. Made at Imbe, province of Bizen. 1800. ‘Teakwood stand. 1 x 2% inches. 1375—MINIATURE OKIMONO, SACRED LION (2277) Imbe stoneware. Hard red clay, slightly glazed. Made at Imbe, province of Bizen. 1750. Height, 1% inches. _ 1376—NETSUKE, DARUMA es Tia (2266) Imbe stoneware of fine, hard red clay. Decorated with gold. Made at Imbe, province of Bizen. 1750. oa Height, 114 inches. 1377—WATER JAR * ! t ; 6 dt eecoe. fied (2278) For writing sshd made in form of oat. of hard red clay, thinly glazed. Made at Imbe, prov ak uae Terami, impressed. tal seat uth Pae Hite, eh 1878S—INCENSE BOX (FUKUROKUJU) (2265) Imbe stoneware of hard red clay, thinly glaz Imbe, province of Bizen. 1750, | 1879—OKIMONO : (2272) Monkey. Imbe stoneware of hard gray 1880—OKIMONO - de = - hed (2279) Hitomaro the poet. Imbe stoneware ) ish-gray clay. Thinly glazed, and fine modell province of Bizen. 1750. : 1381—OKIMONO ets (2268) Bird on log. Imbe stoneware of fi slightly glazed. Made at Imbe, province f pressed. 1750. Kayes whe ar sata : es 1382—-OKIMONO ee (2270) Large gourd with a crab in 4 of hard red clay, with pear-skin hans of 1 Imbe, province of Bizen. JBMog 13883—OVIFORM SAKE BOTTLE (1356) Imbe stoneware. Dark brown 5] spots, and numerous lines encircling Imbe, province of Bizen. 1700. | 1384—W ATER JAR (1361) Imbe stoneware of fine grayish texture unglazed. Carved basket design covering outer surface. Made at Imbe, province of Bizen. 1700. Height, 6% inches. 1385—OKIMONO (2273) Cat with rat sitting on fire brazier. Imbe stoneware of hard red clay, covered with a pear-skin glaze. Made at Imbe, province of Bizen. 1750. Height, 6% inches. 1386-—OKIMONO (2274) Yebisu with carp. Imbe stoneware. Hard red clay. Made at Imbe, province of Bizen. 1800. ; Height, 7% inches. 1387—_OKIMONO (2262) A heron standing on lotus leaf. Imbe stoneware. Green- ish-gray clay, slightly glazed, fine modelling. Made at Imbe, province of Bizen. 1700. Height, 71% inches. 1388S—_SAKE BOTTLE (1360) Gourd shape, with vine and leaves forming handle. Imbe stoneware of gray-blue texture, unglazed. Made at Imbe, prov- ince of Bizen. Mark obscure. 1750. Height, 7%4 inches. 1389—-EXTRAORDINARY VASE (1364) Double bulb shape, with wide mouth and elephant-head handle. Imbe stoneware of hard reddish clay. Covered with a thin brown metallic glaze with a silver patina. Made at Imbe, in the province of Bizen. Mark (imp.), inside of circle. 1700. Carved teakwood stand. Height, 8 inches. 13890—OKIMONO, A LION ON ROCK (2269) Imbe stoneware. Hard red clay, slightly glazed. Imbe, province of Bizen. Mark, Kiki, impressed. 1800. Height, 8 inches. 1391—OKIMONO (2261) Pheasant standing on rock. Imbe stoneware of greenish- gray clay. Slightly glazed, in imitation of the patina of old pewter and skilfully modelled. Made at Imbe, province of Bizen. Cho, impressed. 1700. Height, 8 inches. 1392—BULBOUS SAKE BOTTLE (1357) Imbe stoneware. Partly covered with mottled brown glaze, and encircled with numerous engraved lines. Made at Imbe, province of Bizen. 1750. Height, 8% inches. 1393—OKIMONO (2282) Shojo holding a sake bottle. Imbe stoneware of hard red clay. Thin glaze, decorated in colors and gilding over the glaze. Made at Imbe, province of Bizen. 1750. Carved teakwood stand. Height, 8% inches. 1394 HANGING VASE (2276) Design of dragon with sword. Imbe stoneware. Hard red clay, slightly glazed. Made at Imbe, province of Bizen. 1800. Height, 8% inches. 1395—OVIFORM SAKE BOTTLE (1355) Jmbe stoneware. Hard red clay covered with mottled brown glaze and spots of inky blackness. Made at Imbe, province of Bizen. Mark, letter “I” in circle, impressed. 1650. : Height, 9 inches. 1396—QUADRILATERAL SAKE BOTTLE (1359) Imbe stoneware. Unglazed; hard, fine grayish-blue text- ure, resembling old pewter. Made at Imbe, province of Bizen. 1700. Height, 9 inches. he Mi = 1897—GLOBULAR JAR (1367) With four loop-shaped handles at shoulder for hanging. Imbe stoneware, covered with reddish-brown mottled glaze. Made at Imbe, province of Bizen. Mark, Ichi (imp.). 1780. Height, 9 inches. 1398—OKIMONO (2280) Pigeon on stump. Imbe stoneware. Hard fine gray clay, with white glaze. Made at Imbe, province of Bizen. 1750. A rare specimen of white Bizen. Height, 9 inches. 1399—OKIMONO (275) Kanshin and the impudent peasant. Imbe_ stoneware. Hard red clay, with pear-skin glaze. Made at Imbe, province of Bizen, by Kimura Kiyochika. Mark, Dai Nippon Imbe To Ki- mura Kiyochika, impressed. 1850. Height, 914 inches. 1400—OKIMONO (2271) Two quails on large radish. Imbe stoneware. Hard red clay, with pear-skin glaze. Made at Imbe, province of Bizen. Mark, Teiko, impressed. 1800. Height, 9% inches. 1401—SAKE BOTTLE (1366) Quadrilateral. Imbe stoneware. Gray glaze, with brown and white running glaze at shoulder. Mark, Mushi-age (imp.). Made at Imbe, province of Bizen. 18380. Height, 914 inches. 1402—INCENSE BURNER (2263) Shape of rooster on log. Imbe stoneware. Greenish-gray clay, slightly glazed in imitation of old bronze. Made at Imbe, province of Bizen. 1700. a Height, 10% inches. 1403—OKIMONO (2281) Shojo holding a sake bottle. Imbe stoneware. Hard red clay, with thin glaze. Made at Imbe, province of Bizen. 1750. Height, 11 inches. 1404—TALL HEXAGONAL VASE (1365) JTmbe stoneware. Brown streaked glaze showing brush marks. Made at Imbe, province of Bizen. Mark, Tomi-hisa (imp.). 1750. Height, 12 inches. 1405—OKIMONO (2267) Hitomaro the poet. Imbe stoneware. Fine red clay, slightly glazed. Made at Imbe, province of Bizen. Mark, Cho, impressed. 1750. Height, 12% inches. 1406—INCENSE BURNER (2264) Form of boat with a fisherman sitting in the bow. Imbe stoneware. Greenish-gray clay, slightly glazed in metallic texture. Made at Imbe, province of Bizen. 1700. Height, 5% inches; length, 12¥% inches. PROVINCE OF BUZEN Though little pottery is made in Buzen to-day, yet in past times its first important advance, like that of Satsuma, Higo and other provinces, dates from the advent of Korean potters in the latter years of the sixteenth century. Since that time potteries have been started in Kaharu and other places. AGANO.—The pottery known as Agano takes its name from the town in which it originated. Kijé, a Korean potter brought from Korea with Hide- yoshi’s army, built an oven in Agano, and began making pottery with coarse clay and black glaze after Korean models, Later a reddish clay was used and a thick purplish-brown glaze with a surface which the Japanese in their descrip- tions likened to a melon. No signature is known. ‘This early oven became long since extinct. Within sixth years an oven was started in Agano, where large bowls of extraordinary lightness were made of a light yellow clay and transparent glaze. Other bowls were of a harder clay and white glaze. In some is seen an over- glaze of robin’s-egg-blue running from the rim or radiating inside from the Pror 1Sti IvgI S11z obrr 6Str eeLi toti Iori ziti AUALLOd ASANVAVE AAOLINY centre, sometimes alternating with a rich brown glaze. These pieces are unique in character and unmistakable. The characters from Agano may be read Ueno and also Kozuke, the name of a northern province. 1407—-SAKE SAUCER (1369) Agano stoneware. Fawn-colored glaze, with irregular splashes of bluish green. Made at Agano, province of Buzen. 1750. Height, 11% inches; diameter, 31% inches. 1408--TEA BOWL (1872) Agano stoneware. Rough, reddish-brown clay, coated with a rich chocolate glaze. Made at Agano, province of Buzen. 1750. \ Height, 2% inches; diameter, 4 inches. 1409—TEA BOWL (1368) Agano stoneware. Rough reddish-brown clay, covered with a rich chocolate glaze. Made at Agano, province of Buzen. 1650. From The Ninagawa Collection. Diameter, 4 inches. 1410—SAKE BOTTLE (3009) Agano stoneware. Covered with a brown crackled glaze, thick black running glaze round neck and shoulder. Made at Agano, province of Buzen. Impressed mark. Height, 11 inches. | 1411—TALL OVIFORM VASE _ (1873) Agano stoneware. Rich yellow and brown glaze with run- ning white glaze at shoulder, with partly rough surface. Marks impressed. Made at Agano, province of Buzen. 1800. _ Height, 11% inches. 1412—TALL OVIFORM VASE (871) Agano stoneware. Covered with a soft creamy-white glaze iid of dense texture which is crackled. Made at Agano, province of -Buzen. Mark, two stamped marks and the incised signatures of --- Yoshida Kisaburo. 1780. Ra on Height, 18 inches. 1413—HANGING VASE (1370) Agano stoneware. Design of bamboo root of pale gray texture covered with a creamy-white crackle glaze. Made at Agano, province of Buzen. Mark, two stamp marks, obscure. 1780. Height, 20 inches. PROVINCE OF CHIKUGO Scant information is available concerning the pottery of this province. Brief references are made to it by Ninagawa, and allusions to it are found in the book Tokik6. The enormous quantities of blue and white porcelain made in the adjacent province of Hizen doubtless overshadowed the efforts of the Chikugo potters. A white stone pottery in the form of incense-boxes, with moulded diaper and light blue glaze, is said to have been made within recent years in the town of Kurume. A single piece in the collection is believed to be Kurume, but the evidence is conflicting, and it is therefore included among the doubtful objects. YANAGAWA.—A number of bowls in the collection, suggesting Karatsu, and bearing the impressed mark Yanagawa, were made in the town of that name in the early part of this century. Mr. Takewara, a native of the province, told me that the oven was established by order of Prince Yorimori Arima. A potter was employed who first learned the art from one of the Kyot6 Raku potters. 1414—INCENSE BOX (1374) Yanagawa stoneware. Bluish-gray clay, finely crackled gray glaze, decorated in blue under the glaze. Made at Yana- gawa, province of Chikugo. 1800. Height, 2 inches; diameter, 1%4 inches. 1415—THA BOWL (1376) Yanagawa stoneware. Dark brown clay, covered with thin brown glaze. Province of Chikugo. Mark, Yanagawa, stamped. 1800. Diameter, 5 inches. 1416—TEA BOWL (13877) Yanagawa stoneware. Dark brown clay, greenish-gray glaze. Province of Chikugo. Mark, Yanagawa, incised. 1800. Diameter, 51% inches. 1417—WATER JAR _ (878) Yanagawa stoneware. Dark reddish-brown clay, partly covered with thin yellow glaze. Mark, Yanagawa, stamped. 1800. ee Height, 6 \% inches; diameter, 6 inches. 1418—CAKE PLATE (1375) — Yanagawa stoneware. Oblong form, pinkish-gray glaze, erackled ; decoration of landscape in blue under the glaze. Made at Yanagawa, province of Chikugo. Mark, impressed, obscure. 1800. Diameter, 7% inches. PROVINCE OF CHIKUZEN In the latter part of the sixteenth century two potters from Korea were brought to Chikuzen, and erected an oven in Takatori village. These potters were known as Hachizod and Shinkuro, They were afterwards assisted by a skilful potter, named Igarashi Jizayemon, who is said to have resigned his position in Karatsu, Hizen, and come to Chikuzen as a wanderer. According to Ninagawa, Hachizo with his son journeyed to Kyoto, or more accurately to Fushimi, and there came under the influence of the great master of the tea- ceremony, Kobori Enshi. By his advice the Chikuzen potters carried back with them either the veritable objects or the suggestions of the kinds of pot- tery and forms of utensils most desirable in the tea-ceremony. Thus it was that the early productions of Takatori took so high a rank. Records show that the descendants of these potters moved from place to place. There are many forms of pottery, with many marks, recognized as Taka- tori; but little information, however, is at hand to separate the material into distinct ovens and makers. Many of the marks are evidently for the same purpose as those of Bizen, namely, single characters or conventional marks of individual potters who baked in some communal oven. _ Typical Takatori is a most characteristic pottery. Its fine clay, rich brown glaze and delicious overglaze readily distinguish it from other kinds of pottery. The tea-jars are particularly refined and delicate, though these objects have been successfully paralleled in other provinces, notably in Zeze, Omi and in - Agano, Buzen. In late years there have been produced large numbers of pieces, among which may be found mythological figures made for the export trade. Some clever modelling is seen at times, but*their recent issue may be recognized at a glance. ; ‘ “1419—TEA JAR. 7 (1894) Takatori stoneware. Globular shaped, covered with brown metallic glaze, with white glaze round neck. Made at Taka- tori, province of Chikuzen. Thread mark. 1800. Reh Height, 2% inches. L4200—TEA JAR (1403) 'Takatori stoneware. Dark brown clay, covered with bril- liant thick brown glaze with iron rust and blue mottling. Made at Takatori, province of Chikuzen. 1750. Height, 2% inches. 1421—TEA JAR (1397) 'Takatori stoneware. Covered with a metallic brown glaze, with irregular flecks in black and gray. Made at Takatori, prov- ince of Chikuzen. Thread mark. 1700. Height, 2% inches. 1422—TEA JAR (1398) Takatori stoneware. Mottled brown metallic glaze. Made at Takatori, province of Chikuzen. Thread mark. 1800. Height, 2% inches, 1423—INCENSE BOX (2292) Daruma. Takatori stoneware. Reddish hard clay, yellow- ish-brown glaze. Made at Takatori, province of Chikuzen. 1750. Height, 3 inches. 12j—-TEA BOWL (1390) Takatori stoneware. Mottled brown running glaze, over a copper color. Made at Takatori, province of Chikuzen. 1750. Diameter, 3 inches. 1425—TEA JAR (1400) Takatori stoneware. Reddish brown clay, covered with a chocolate-brown soufflé glaze. Made at Takatori, province of Chikuzen. Thread mark. 1750. Height, 3 inches. L426—TEA JAR (1402) 'Takatori stoneware. Gray clay, covered with dark pur- plish-blue glaze, with yellow soufflé. Made at Takatori, province of Chikuzen. 1800. Height, 3 inches. yer JAR (1401) 'Takatori stoneware. Reddish-gray clay, brown and olive- green glaze. Made at Takatori, province of Chikuzen. Thread mark. 1800. Height, 3% inches. ‘U4%8—TEA BOTTLE (1380) Takatori stoneware. Low flat shape, covered with mot- tled brown and black glaze. Made at Takatori, province of Chi- kuzen. 1800. Height, 3% inches. 1429-THA JAR (1396) Takatori stoneware. Covered with mustard yellow over a _ brown glaze. Made at Takatori, Prowncs of Chikuzen. Thread mark. 1800. Height, 334 inches. —-1480-SAKE BOTTLE (1385) Takatori stoneware. Covered with a brilliant chocolate brown glaze. Made at Takatori, province of Chikuzen. 1750. Height, 4 inches. 1431—TBA JAR (1395) Takatori stoneware. Brown glaze with streaks of blue chocolate. Made at Takatori, province of Chikuzen. Thread Praxk. 1750. Fins Height, 4 inches. Pas (1432—TEA JAR : (1399) 'Takatori stoneware. Dark brown, with running glaze of a lighter shade. Made at Takatori, province of Chikuzen. _ Thread mark. 1800. an Height, 4 inches. (1405) Takatori stoneware. Reddish clay, thick dark brown glaze, slightly mottled. Made at Takatori, province of Chikuzen. io. hi saiige tt Seal Diameter, 44% inches. U34—-TEA BOWL (1381) Takatori stoneware. Covered with a brown metallic glaze, with running glaze inside and running over the outer edge. Made at Takatori, province of Chikuzen. 1850. Height, 3 inches; diameter, 4% inches. 1435—UNIQUE BOWL (1401) 'Takatori stoneware. Coated with thick mottled brown and blue running glaze. Made at Takatori, province of Chikuzen. 1750. Diameter, 41% inches. 1436—OKIMONO, JAPANESE BOAT (2285) Takatori stoneware. Hard gray clay, with yellowish- brown glaze of metallic lustre on the outside and dull gray crackled glaze inside. Made at Takatori, province of Chikuzen. 1800. Size, 434 x 11 inches. 1437—SAKE BOTTLE (1391) Takatori stoneware. Dark brown clay covered with a pale gray crackled glaze, with splashes of brown. Made at Taka- tori, province of Chikuzen. 1750. Height, 5 inches. 1438—SMALL SAKE BOTTLE WITH LIP (1886) 'Takatori stoneware. Golden brown and gray running glaze over a mottled brown. Made at Takatori, province of Chikuzen. Mark, character, Taka, in a circle. 1800. Height, 5 inches. 1439—OKIMONO (2290) Lotus leaf and bird. 'Takatori stoneware. Hard gray clay of celadon running glaze. Made at Takatori, province of Chikuzen. ‘Taka, impressed. 1850. Height, 5% inches. eyed JAR ’ __- (@1410B) Tall cylindrical shape. Trakatori stoneware. Parti-col- ored glaze of light brown and soft white. Made at Takatori _ province of Chikuzen. 1810. = on’ £4 AF Height, 5% inches. -1441—-WATER JAR } ray i (1379) Takatori stoneware. Inside and outside covered with mot- ~ tled running glaze of chocolate brown and black. Made at Taka- i: lands province of Chikuzen. 1800. Height, 5%4 inches; diameter, 6 inches: ee ‘1y2—BOWL WITH SPOUT eee : é 02 (1406) - Takatori stoneware. Inner and outer surface covered with ee a rich yellow and brown glaze. Made at Takatori, province of cal # Clad: 1700. Diameter, 6 inches. 3—-SQUARE TRAY (1409) -'Takatori stoneware. Covered in imitation of basket-work, = “the centre coated with a yellow-brown and border of green glaze. Made at ‘Takatori, province of Chikuzen. Mark, Ki inside the "circle, impressed. 1800. _ Diameter, 64 inches. ‘ (aos) torn Takatori stoneware. Reddish clay of thin "texture, covered with a rich mottled brown glaze. Made at Taka- te 1, province of Chikuzen. 1800. Teakwood stand and cover. as é Height, 6% inches. ‘ re of ego plant. “Takatori stoneware. Hard gray ay ant PEP and gray glaze. Made at Takatori, province Height, 634 inches. U46-—SHELL-SHAPED DISH _ (1410) 'Takatori stoneware. Sonorou and green running glaze. Mark, Ki Cds : province of Chikuzen. 1800. ie. : sit? U4i—GOURD SAKE BOTTLE (1384) Takatori stoneware. Covered with a yellow glaze, gray running glaze round ‘the Made at Takatori, province of Cl 1448—OKIMONO (2286) Tekkai exhaling his spiritual ware. Hard gray clay, with greenish bro at Takatori, province of Cae ee pressed, 1800. 1449—VASE WITH INDENTED SURFACE ; (1393) Bottle-shaped. Takatori stoneware. Dar covered with a pinkish-gray crackled, glaze over | Made at Takatori, province of ee zen. 1j50—LARGE SAKE BOTTLE (1387) Gourd-shaped. Takatori stonew ms mottled glaze. saris at Takatori, pens of oven) ae Beate Mal reused 151—SAKE BOTTLE (1383) With indented sides. Takatori si a yellow brown glaze, Brey running Relief figure of Hotei in depression. of Chikuzen. Mark, characte 1452—OKIMONO (2284) Chinese boy with fan. Takatori stoneware. Strong modelling, white clay, brown, gray, and blue glazes. Made at Takatori, province of Chikuzen. 1800. ITeight, 9¥% inches. 1453—OKIMONO (2288) Owl perched on a thatched roof. Takatori stoneware. Yellowish-brown glaze. Made at Takatori, province of Chikuzen. Mark, Taka and Shigechika, impressed. 1850. Height, 9% inches. 1454-OVIFORM VASE (1382) Takatori stoneware of reddish texture. Rich brown glaze, with greenish-blue running glaze. Made at Takatori, province of Chikuzen. 1700. ITeight, 9Y inches. 1455—-SAKE BOTTLE (14104) Tall oviform. Takatori stoneware. Partly covered with iron-rust glaze and running glaze of dull white thickly applied, with decoration in brown. Made at Takatori, province of Chi- kuzen. 1810. Height, 10 inches. 1456-—OKIMONO (2287) Jurojin. Takatori stoneware. Hard gray clay, with olive-green glaze of lustrous quality. Made at Takatori, province of Chikuzen. 1800. Height, 10% inches. 1457—BOTTLE-SHAPED VASE (1392) Takatori stoneware of gray texture, covered with a dark- brown soufflé glaze landscape, embossed in white enamel. Made at Takatori, province of Chikuzen. 1800. Height, 10% inches. 1458—LARGE OKIMONO (2334) Bas relief of Fujiyama. Takatori faience. Soft yellow- ish clay, invested with white, green, brown and yellow glazes. In the foreground are rocks and temple modelled in high relief. Mark, two “ Ki,” one in Japanese Kana and the other in Chinese char- acter. Made at Takatori, province of Chikuzen. 1750. Height, 11 inches; length, 30 inches. 1459—TALL OVIFORM VASE (1389) -'Takatori stoneware. Fine gray texture. Numerous cir- cles incised in the paste and covered with a dark brown running glaze, with splashes of mottled gray round shoulders and neck. Made at Takatori, province of Chikuzen. 1800. Height, 11% inches. 1460—INCENSE BURNER (291) Cock on temple drum. Takatori stoneware. Hard gray clay covered with green glaze and the cock’s comb in red. Taka- tori, province of Chikuzen. 1850. Height, 11% inches. 146I—LARGE HANGING JAR (1388) 'Takatori stoneware. Covered with brilliant golden- brown mottled glaze, the neck and shoulders splashed with light gray. Made at Takatori, province of Chikuzen. 1800. TTeight, 14% inches. 1462—LARGE GLOBULAR HANGING JAR (1407) 'Takatori stoneware of thick texture. Covered with a mot- tled brown glaze, over which is a running glaze of tea color. Made at Takatori, province of Chikuzen. Teakwood stand. Height, 17 inches. PROVINCE OF HARIMA The pottery of this province is most characteristic. Surrounded as Harima is by provinces famous for their pottery, such as Bizen on the south, Tamba on the west, Settsu on the north, Yamashiro but a few leagues away and Awajo just off the coast, it is somewhat remarkable that up to within a few years its pottery, with the exception of that of Tdzan, has remained unaffected. Indeed, one has to go four hundred miles north to find the nearest approach to it. The pieces are readily identified, as most of the work bears a mark of some kind, though sometimes two marks are combined on one piece in a puzzling manner. SUMA.—A modest: gray or light brown pottery in the form of bowls, cups, etc., bearing the mark of Suma, was made in a village of that name about five miles from Akashi. Examples are not common. 1/63—SAKE CUP (1414) Suma stoneware of coarse gray clay. Covered with a erackled gray glaze, and decorated with two bands of brown. Made at Suma, province of Harima. Suma, impressed. 1840. Height, 1% inches. MAIKO.—The origin of this pottery dates from the middle of the last century. The clay is usually grayish in color, the glaze olive-brown or gray mottled with brown dots. Many of the pieces are modelled by hand and are in the form of dishes with crenulated edges, leaf-like forms of irregular con- tour, ete. The pottery is unique in many ways. Within recent years there has been made some pottery after Awata style, which is, however, without merit. L{64—LEAF-SHAPED TRAY (1413) Maiko stoneware. Yellowish-gray glaze, flecked with brown splashes of gray-green. Made at Maiko, province of Har- ima. Maiko, impressed. 1840. Height, 1% inches. L4{65—SQUARE-SHAPED BOWL (1411) Maiko faience. Covered with splashes of yellow, purple, green, and fawn-color enamels. Made at Maiko, province of Harima. Totoken, impressed. 1840. Height, 2% inches; diameter, 5 inches. 1j{66—SAUCER WITH SMALL SPOUT (1418) Maiko stoneware of reddish gray clay. Covered with a bluish-gray glaze inside, and yellowish-brown glaze outside. Made at Maiko, province of Harima. Sohei, impressed. 1800. Diameter, 515 inches. 1467—SAKE BOTTLE (1415) Maiko stoneware. Indented surface covered with a mot- tled brown and splash glaze. Made at Maiko, province of Har- ima. 1840. Height, 7 inches. 1468S—OVAL TRAY (1417) Maiko stoneware of gray clay. Covered with a mottled brown glaze with a pine branch modelled in low relief. Made at Maiko, province of Harima. Maiko, impressed. 1800, Diameter, 8 inches. AKASHI.—Akashi pottery is said to have been first made by Seisuke, a pupil of Ninsei. The oldest specimens in the collection date back over two hundred years. ‘The early work is superior in every way to the more recent products, and bears evidences of a skilful hand. 2469—TEA BOWL (1416) Akashi stoneware. Fine gray clay, creamy-white crackled glaze, chrysanthemums and waves in gold, blue, and green enam- els over the glaze. Inner surface of light brown crackle. Made at Akashi, province of Harima. Akashi stamped. 1700. Diameter, 5 inches. 1,70—CAKE DISH (1419) Akashi stoneware. Gray glaze with pronounced crackle. slight decoration of bamboo in brown. Made at Akashi, province of Harima. Akashi, impressed. 1800. Diameter, 6% inches. 1471—SAKE BOTTLE (1412) Quadrilateral. Akashi stoneware of dark gray texture. Covered with a yellow glaze and decoration of figures, flowers and diaper patterns, modelled in low relief. Made at Akashi, province of Harima. 1780. Height, 7 inches. PROVINCE OF HIGO The pottery of Higo, as we know it to-day through the exquisite produc- tions of Koda, began with the introduction of Korean potters, after the Japanese invasion of Korea in the last years of the sixteenth century. Before this, tea utensils after Seto models were probably made. Antedating these by untold centuries, however, the platyenemic savage had left the evidences of his rude skill in the shell heaps. Hosakawa Sansai brought back from Korea potters who were first settled in Agano, Buzen. Afterwards they were brought to Koda, near Yatsushiro, and here they began the making of pottery, which has continued to the present day. At the outset the work was rude, At what date the Mishima type of decoration began to be made it is difficult to say. A Japanese authority of 1700 says, “ Nothing is baked in Higo but tea-jars, and these are made in great quantities.” But little reliance can be placed on this statement, as he was a Chajin, and consequently ignored the pottery of the people. 1472—INCENSE BOX (1424) Yatsushiro stoneware. Yellowish-brown glaze, with radi- ating lines in white inlaid under the glaze. Made at Kéda, prov- ince of Higo. 1850. Diameter, 234 inches. L478S—INCENSE BURNER (1423) Yatsushiro stoneware in reddish-brown clay. Covered with gray glaze. Decoration of chrysanthemum and storks, white and brown inlaid. Has perforated metal cover under the glaze. Made at Koda, province of Higo. 1750. Height, 3 inches. U74—-TEA JAR (1435) Yatsushiro stoneware of gray clay and glass. Slight dec- oration round shoulder, consisting of radiating lines in white in- lay. Made at KGda, province of Higo. 1850. Height, 3% inches. L4v5—TEA BOWL (1428) Yatsushiro stoneware of fine red clay. Covered with a chocolate-brown glaze, which is minutely crackled. Pine tree in dark brown under the glaze. Made at Koda, province of Higo. 1700. Height, 4% inches. LZ6—BOW L (1426) Shape of cherry blossom. Yatsushiro stoneware of dark brown clay. Covered with a greenish-gray glaze, engraved designs partly inlaid in white under the glaze. Made at Kéda, province of Higo. 1800. Diameter, 534 inches. Lhe Corcoran Gallery of Art, 33 ry tug 4 ' Eee 1477—BOWL (1422) Shape of chrysanthemum flower. Yatsushiro stoneware. Dense reddish-brown clay, covered with a gray crackled glaze. Disks and archaic designs in creamy white. Made at Koda, proy- ince of Higo. 1750. Diameter, 6 inches. 1478—IRREGULAR-SHAPED DISH . (1436) Yatsushiro stoneware. Dark gray glaze, with brush marks in white under the glaze. Incised blossoms filled in with white enamel. Made at Kéda, province of Higo. 1800. Diameter, 634 inches. L,79—BOW L (1421) Yatsushiro stoneware of dark reddish-brown clay. Cov- ered with dark gray glaze. Made at Kéda, province of Higo. 1800. Diameter, 7% inches. 1j80—W ATER JAR (1425) Yatsushiro stoneware. Light reddish clay, covered with dark gray glaze, Greek fret border, and vertical lines in white inlaid under the glaze. Made at Koda, province of Higo. 1850. Height, 7 inches. 1481-—-SAKE BOTTLE (1480) -Yatsushiro stoneware of dense reddish brown clay. Cov- ered with a bluish-gray crackled glaze. Bamboo branches incised and filled in with cream-white enamel. Made at Koda, province of Higo. 1750. Height, 7% inches. 1482—HANGING VASE (1427) Yatsushiro stoneware of dark-brown texture. Covered with a dark gray glaze, and incised decoration of floral designs filled in with white enamel. Made at Kéda, province of Higo. 1700. Height, 8% inches. ‘ CO tuildd J cit : ennai MO iat a ~ 1483—-SAKH BOTTLE (1431) Yatsushiro stoneware of hard reddish clay. Covered with dark gray glaze, decoration of Chinese characters, “ Long Life,” inlaid in white under the glaze. Made at Kéda, province of Higo. “T'S ” and two circles, impressed. 1850. Height, 9 inches. 148f—-SAKE BOTTLE (1429) Quadrilateral. Yatsushiro stoneware of dark brown clay. Covered with a dark gray glaze. Incised decoration of archaic design, filled in with creamy-white enamels. Made at Koda, prov- ince of Higo. 1700. Height, 9% inches. 1485—LARGE PLATE (1432) Yatsushiro stoneware. Hard reddish-gray clay, covered with a dark gray glaze, scroll and crest designs, inlaid in white under the glaze. Made at Kéda, province of re Ges manent I kaa a cised. 1800. Diameter, 13% inches. PROVINCE OF HIZEN “The keramic products of Hizen are known the world over through its famous porcelain. After China, its ‘blue and white’ and ‘polychrome’ stand preéminent. During the early days of the Dutch commerce with J apan, the porcelain ovens near Nagasaki turned out large numbers of huge vases and plaques made expressly for the Dutch trade. The famous collection at Dresden is made up almost exclusively of these big vases in polychrome. When one considers the beautiful work, made in accordance with the refined taste of the Japanese, which the Dutch merchants might have obtained, the con- templation of the Dresden collection is simply disheartening.” BOGASAKI.—An oven was established in the little village of Bogasaki, near Nagasaki, in 1830. The potter’s name was Hidekichi Kamachi. He was a poet as well as a potter, and on many of his pieces are incised or written poetic inscriptions. His pieces were made for the tea-lover, and though some- what rough show considerable taste and skill. The work continued with nume- rous interruptions for ten years. Some of his unsigned work has been variously identified by Japanese experts as Shigaraki, Soma, and even Izumo. 1486—SAUCER (1437) Bogasaki faience of reddish-brown texture. Decoration of a dragon inlaid in white under the glaze. Made at Bogasaki, Na- gasaki, province of Hizen. Bégasaki, incised. 1840. Diameter, 4 inches. 1487—F AN-SHAPED TRAY (1438) Bédgasaki faience of soft buff texture. Covered with a gray glaze, decorated with Chinese characters reading: “ The hills in the front, and the long harbor at the foot, give pleasure whether one looks up or down.” Made at Bogasaki, Nagasaki, . province of Hizen. Béigasaki, impressed. 1840. 1488—WATHR POT (1439) Bodgasaki stoneware. Hard reddish texture, unglazed, Greek fret border in pale blue enamel. Made at Bégasaki, province of Hizen. Béigasaki Tsukuru, incised. 1840. Height, 9 inches. KAMEYAMA.—A hard stone pottery bearing the written mark Kameyama was made at Irahayashi Kuchi, Nagasaki, in the first half of the century. Porcelain was also made, and though many of the pieces were in good taste, the work did not attain special excellence. In 1830, or thereabouts, clay was imported from China, and many forms were made. Typical Kameyama pot- tery has a hard, fine reddish clay, and an even, pale bluish-gray glaze, with decoration of flowers, diapers, as well as stanzas of poetry, in a darker blue. 1j89—BRUSH REST (1443) Kameyama porcelain. Floral scrolls and Greek fret bor- ders in blue under the glaze. Made at Kameyama, Nagasaki, province of Hizen. 1840. 1490—MELON-SHAPED BOWL (1441) Kameyama porcelain of sonorous texture. Landscape in under-glaze blue. Made at Kameyama, Nagasaki, province of Hizen. Mark, written in blue under the glaze, Kameyama Sei. 1840. Height, 6% inches. 1j91—-SAKE DECANTER (1440) Kameyama stoneware of dark texture, Pale gray glaze, and decoration of storks in blue and white enamel. Made at Kame- yama, Nagasaki, province of Hizen. Mark, written in brown under the glaze, Kameyama Nite Kitsuroku Tsukuru (made by Kitsuroku, at Kameyama). 1850. Height, 7 inches. : ees |) L92—WRITERS’ TABLE SCREEN (1442) Kameyama porcelain of thick sonorous texture. Land- scape and mountain scenery in under-glaze blue and engraved fret border. Made at Kameyama, Nagasaki, province of Hizen. 1840. Height, 8 inches. UTSUTSUGAWA.—This village is near Yagami, and not far from Naga- saki. In the sixteenth century a Korean potter worked here for a while. In the early part of the seventeenth century the oven was again started by Tanaka and Shigodomi, and continued until the eighteenth century, when work again ceased. Within recent years a peculiar pottery has been made of fine red clay, chocolate glaze and white over-glaze applied with wave motions of the brush, and slight decoration in color. 1493—BOWL (1447) Utsutsugawa stoneware of fine reddish texture. Coated with a brown glaze intermixed with white. Made at Utsutsugawa, province of Hizen. 1700. Diameter, 4 inches. L494-CAKE TRAY (1445) Utsutsugawa stoneware. Covered with dark brown glaze, with conventional clouds and flowers in white. Made at Utsutsu- gawa, province of Hizen. 1700. 1495—TEA BOWL (1448) Utsutsugawa stoneware of fine reddish texture. Coated with a brown glaze with soft creamy white patches. Inner sur- face of soft cream crackled glaze. Made at Utsutsugawa, prov- ince of Hizen. 1750. Diameter, 5% inches. L{I6E—LARGE GLOBULAR JAR (1449) Utsutsugawa stoneware of coarse brown texture. Coated with a grayish-white glaze, decorated with pine trees in blue and brown. Made at Utsutsugawa, province of Hizen. 1800. Carved teakwood stand. Height, 13 inches; diameter, 13 inches. UI—LARGE OVIFORM SAKE BOTTLE (1446) Utsutsugawa stoneware of dense texture. Partially glazed with a soft gray crackle and decorated with a crude floral design in brown and green and numerous circles in the same colors. Made at Utsutsugawa, province of Hizen. 1650. Height, 20 inches. 1j9S—LARGE SAKE BOTTLE (1444) OQviform, with tall tubular neck. Utsutsugawa stoneware of dense texture. Dark brown glaze, with brush marks in green and blue under the glaze. Made at Utsutsugawa, province of Hizen. 1650. Height, 22 inches. KARATSU.—Under this name a very wide range of hard pottery is in- cluded. This pottery is designated by different names, according to age or variety. I have found it difficult to harmonize conflicting opinions among Japanese experts, and shall avoid making further confusion by considering the entire group under the generic name of Karatsu. In the ancient town of Karatsu pottery has been made from remote times. Records show that glazed pottery was made in Karatsu in 1200 or thereabouts. Korean potters were at work there as late as the sixteenth century. The pot- tery varies greatly in the color and the quality of the glaze. If decorated at all, the painting is done in black or brown, in the rudest manner; if in Mishima style, the designs are simple. Despite the hard, rough clay, which presents in many pieces a resemblance to cast iron, and the archaic appearance of the pottery, there is a certain charm about it, which increases with study. The older pieces belong to the past; they are like fossils, never again to be repro- duced. The quarries from which the clay was derived are exhausted; the formule for the glaze are lost. Old Karatsu pottery is therefore unique. ‘The earliest forms have a bluish-black clay and glaze. Subsequently Korean potters settled in Karatsu,.and objects made by them are known as Oku Korai (dis- tant Korea). The pottery resembling Korean work is known as Chosen (Korea) Karatsu. Castaways dug up from the ruins of old ovens are recognized under the name of Horidashi (dug-up) Karatsu. Those decorated with rough sketches, or rude splashes in black, are called Ye (painted) Karatsu. And those with a broad brush-mark of white are termed Hakeme (brush-marked) Karatsu. The designs, incised or impressed, and filled with clay of contrasting color, either white or black, are known under the general name of Mishima Karatsu. Cer- tain forms of fine clay, rather delicately made, for the purpose of presenting to some Daimyé, are called Kenjo (present to superior) Karatsu. Many of these distinctions are absurd as well as useless, for they rarely indicate either special potters, ovens or periods; and at the same time the distinctions are * = - ften so egie that native experts differ in distinguishing them, and even in jab 4 TEAR JAR - Karatsu stoneware of brown texture. Covered with a de lune glaze over a pronounced crackle. Made at Karatsu, ec of Hizen. 1650. ts Height, 14% inches. a atsu stoneware. Covered with yellowish-brown glaze nto gray. Made at Karatsu, province of Hizen. 1800. Height, 2% inches. su stoneware. Covered with a dark gray glaze. ign in white under the glaze, inside and upper part in » blue thick glaze. Made at Karatsu, province of Diameter, 3% inches; height, 4 inches. Be ince of Hizen. 1700. = Diameter, 3% inches. 1 FOR SMOKER ratsu stoneware of red-gray texture. Covered with a and yellow glaze. Made at Karatsu, province of Height, 3 inches. 7 stoneware of coarse red texture. Covered with a gray glaze over a decoration in brown. Made at Kar- vince: of Hizen. 1800, : | Sab Height, 3% inches. 18085—TE.A JAR WITH IVORY COVER (1452) aratsu stoneware of dark brown texture. Covered with brownish-gray glaze. Made at Karatsu, province of Hizen. 1700. Height, 3 inches. 1506—TEA BOWL (1472) Karatsu stoneware of hard gray texture. Covered with a pink-gray crackled glaze. Made at Karatsu, province of Hizen. 1700. Diameter, 4 inches. 1507—LARGH BOWL (1464) Karatsu stoneware of fine gray texture. Covered with a gray glaze with purple shading over a pronounced crackle, and decorated with a conventional design of detached blossoms and leaf-band engraved and filled in with brown enamel under the glaze. Made at a private kiln of Prmce Ogasawara in Karatsu, province of Hizen. 1800. Height, 5% inches. 1808—OVIFORM JAR (1456) _Karatsu stoneware. Bluish-green glaze with splashes of purple. Made at Karatsu, province of Hizen. 1700. Height, 5% inches. 1509—GLOBULAR SAKE BOTTLE (1466) Karatsu stoneware of gray texture. Covered with brown crackled glaze and decorated with Mishima design, inlaid with white enamel. Made at the private kiln of Prince Ogasawara in Karatsu, province of Hizen. 1800. Height, 6% inches. 1510—LARGKH SAKE BOTTLE (1451) _Karatsu stoneware of dark sandy texture. Covered with a bluish-gray glaze over a network of crackle. Made at Karatsu, province of Hizen. 1600. Height, 634 inches. 1911I—OVIFORM JAR (1473) Karatsu stoneware of brown texture. Covered with pink- ish-gray crackled glaze and brown streaks. Made at Karatsu, province of Hizen. 1700. Height, 7 inches. 1512—SAKE BOTTLE (1465) Gourd-shaped Karatsu stoneware of brown crackle texture. _ Japanese poem in black. Made at the private kiln of Prince Ogasawara, Karatsu, province of Hizen. 1800. enh Height, 14 inches. bain bi ee 15183—CYLINDRICAL WATER JAR (1463) Karatsu stoneware of brown texture. Covered with a dark gray glaze and decorated with incised storks and various ___ borders, which are filled in with brown and white enamel. Made at Ss ‘Karatsu, province of Hizen. 1750. tiie § | Height, 7% inches. 151f-CAKE DISH = (1454) -Karatsu stoneware of fine red texture. Covered with a brown glaze and decorated with an archaic design inlaid with white a4 enamel under the glaze. Made at Karatsu, province of Hizen. a ete h(). aig ear res ia st Diameter, 7% inches. - 1515—GLOBULAR SAKE BOTTLE a (1469) Karatsu stoneware of finc gray texture. Covered with thin gray crackled glaze and decorated with Shojos dancing around a large wine jar, in black and white under the glaze. Made at Karatsu, province of Hizen. 1750. ‘ Height, 844 inches. so (A408) Bottle-shaped, with wide flange at mouth. Karatsu stone- ware. Covered with an opaque gray glaze and decorated with ; . cloud and storks, incised, and filled in with brown under the glaze. Made at the private kiln of Prince Ogasawara, Karatsu, province of Hizen. 1800. oo? pall he Height, 8 inches. 1517—OVIFORM JAR 010) Karatsu pottery. Brick-e texture with an thick paste of eream color, regu shoulder, leaving areas of whee brown ‘and.d stripes. Made at Karatsu, province of Hizen. of Héwé bird in repose. Teakwood stand. : - Tia iat i e ay tl ; 1518—LARGE BOWL ry “on a ali (1470) Flower shape. Karatsu stoneware of f . Covered with a pale yellow crackled glaze, with sp lune and dark brown. Made at ay pre 1750. ae 1619-BOTTLE-SHAPED VAs “ae Oe ee (1160) Karatsu stoneware of dark brown xture a gray and brown glaze, under which is an flowers and scrolls inlaid in white enamel. | province of Hizen. 1650. ; 7 1520—-OVIFORM SARE BOTTLE’® § °° <0) © DE (1458) Karatsu stoneware of red-brown ie a blue and gray crackled glaze over an i design. Made at Karatsu, province of E stand. RAPT, 1521—SAKE BOTTLE oe t tgs (1457) Tall, slender, sera deci ered with a variegated glaze of . orOW ‘ Karatsu, province of Hizen. 1700. 1522-JAR FOR HANGING bah ahaa (1467) Qviform with Pee abe Karatsu | texture. Covered with an opaque over incised conventional wave d intie ince of Hizen. 1700. i ae "1523 —LARQE SAKE BOTTLE a AR (1462) Oviform. Karatsu stoneware of reddish-brown texture. ee = Covered with a brown-gray and green glaze, and decorated with ; a an archaic floral design in dark brown. Made at Karatsu, province oe ofl Hizen. 1650. Height, 13 inches. Siifiris with slender, tapering neck. Karatsu stoneware ense texture. Covered with bluish-gray glaze, and decorated th conventional forms of cherry and chrysanthemum flowers, and rtical lines inlaid with white enamel under the glaze. Made at , province of Hizen. 1600. Height, 15 inches. ‘“MIKAWACHI .—The porcelain of this Aes known as Hirado, has been Paciebratea for one hundred and fifty years for its beautiful blue and white ati | Bs marvellously modelled and perforated pieces. gene ¥ t ja 3 ) Branch of chrysanthemum on stand. Hirado porcelain. White glaze, exquisitely modelled. Made at Mikawachi, province of Hizen. 1800. ? eure Height, 1% inches. Two puppies. Hirado porcelain. Fine white clay and with collars in brown and blue. Made at Mikawachi, proy- Hizen. 1850. ; Height, 1% inches. pita of puppy. Hirado porcelain. Fine white clay and : te at Mikawachi, province of Hizen. 1800. Height, 1% inches. ysanthemum shape. Hirado porcelain. Covered with Ze. Made at Mikawachi, province of Hizen. 1750. Diameter, 1144 inches. 1529—OKIMONO , ! are (2302) Figure of Hotei. Hirado Pee Whi rated in blue under the glaze. Made at Mika a Hizen. 1800. . 1530—NETSUKE fe (2297) Monkey with large peach. Hirado por and glaze. Made at Mikawachi, province of EB , z sh S Ogee Le -. ane 1591—NETSUKE i NaS ee “ae (2298) Figure of Daikoku. “Hirado _porelin ag 1532—OKIMONO ste spaniel (2294) Figure of iaphenke Hirado pore decorated in blue under the glaze. Made at of Hizen. Mark, Shibata, Tomo Uchi, i 1538—INCENSE BOX (2303) Shape of bird. red poreslain. with colored enamels and gilt over the oo province of Hizen.. 1850. | 1534—NETSUKE meg (2299) Hee of Sennin. | “Hirado pore (1487) PR e. Hirad® pore flowers outlined in silver eR . of Hizen. 1750. — | 1596 -OKIMONO | ey = (2822) Bird-shaped bell. Hirado porcelain. Pure white Hirado , him Wippredain with Chinese characters engraved in the paste. Made at _ Mikawachi, province of Hizen. 1800. tbo eh! +, Height, 2% inches. (2301) Figure of Sennin. Hirado porcelain. White clay, deco- ain a rated with gilt, blue, and black. Made at Mikawachi, province of pe Hizen. 1800. en eee | Height, 2% inches. so _veMsURE | 48 2300) ee of Sennin. Hirado porcelain. Brown, blue, and Le white glazes. Made at Mikawachi, province of Hizen. 1800. ie % fee Height, 2% inches. a “as ie Celie bison silver cover. Pure white Hirado porce- Bi pad | lain. Peony flowers, rocks and grasses carved in the paste under Pyb sane fine white glaze. Made at Hirado province of Hizen. Hirado - Sei, in blue. 1800. Teakwood stand. _ = eed Height, 2%4 inches. ye : WRITER'S WATER HOLDER 4489), Shape of Temple drum. Pure white Hirado porcelain. . gc: at. ” iid eat province of Hizen, 1800. ay Height, 2% inches. Length, 3 inches. Bess shape. Hirado porcelain. Covered with brilliant brown glaze. Made at Mikawachi, province of Hizen. Diameter, 3 inches. 1543—OKIMONO (2307) Puppy. Hirado porcelain of pure white clay. Flowers and rocks carved in the paste and decorated in cobalt blue. Made at Mikawachi, province of Hizen. 1760. Height, 3 inches; diameter, 6% inches. 1544-INCENSE BURNER (1488) Hirado porcelain of fine white clay. Cover pierced in form of chrysanthemum flower, and sides to represent a bamboo basket with three reserved panels. The first panel decorated with a view of Fujiyama, the second with chrysanthemums and orchids, and the third with a Chinese sage and boy painted in blue; the imner vase decorated with Chinese sages in blue. Made at Mikawachi, province of Hizen. 1850. Height, 344 inches. 1545—-INCENSE BURNER (1502) Fine white Hirado porcelain. Decoration of three boys chasing butterflies, pine tree and rocks painted in cobalt blue under the glaze. Made at Mikawachi, province of Hizen. 1750. Height, 3% inches. 1546—SAKE SAUCER (1484) Thin Hirado porcelain. Fish in blue, under the glaze, on the inner surface, and Daruma painted in blue, and the name “ Hiodoshi ” in raised characters on the outer. Made at Mika- wachi, province of Hizen. Hirado Ontome Yaki, painted in blue. This cup is one of a number that were made especially for the prince, to be presented to his favorite wrestler “ Hiodoshi.” 1800. Diameter, 3% inches. 1547—COVERED RICE BOWL (1508) Hirado porcelain of pure white thin texture. Cherry blossoms in pate sur pate in bleu de nankin. Made at Mikawachi, province of Hizen. 1800. Diameter, 4 inches. i aN “oe | oF tly eee bl ale ad —— ~~ et : oe : y - 5 . eda Fine white Hirado porcelain. Decoration of flowers and a Re Height, 4 inches. Heth CENSE BURNER, WITH PIERCED COVER den, painted in blue under the glaze. Made at Mika- ince of Hizen. 1750. ta Height, 4 inches. Quadrilateral. Fine white Hirado porcelain. Flowers and é esign delicately engraved in the paste under a white laze; bamboo pattern in blue around the neck. Shakudo ne over. Made at Mikawachi, province of Hizen. 1750. She Height, 4% inches. gure of genie with gourd. Hirado porcelain. Brown, white glazes. Made at Mikawachi, province of Hizen. Height, 4% inches. do porcelain. ~ Dark gray glaze, decorated with the al s gns in blue under the glaze. Made at Mikawachi, prov- Hizen. 1650. ee ees Height, 4%4 inches. ut Mikawachi, province of Hizen. 1800. Height, 5 inches. 1554—INCENSE BOX (1496) Yezenge-shaped. Hirado porcelain. Carved design of pine, plum, bamboo, and storks, carved in the paste, and covered with white and red enamels, gilded interior. Made at Mikawachi, province of Hizen. 1700. Diameter, 5% inches. 1555—W ATER JAR : (1505) Hirado stoneware of reddish clay texture. Covered with light celadon crackled glaze, with decoration of landscape in blue and white. Made at Mikawachi, province of Hizen. 1800. Height, 5% inches. 1556—OKIMONO (2325) Sheaves of rice. Finely modelled in Hirado porcelain, and covered with thin yellow glaze. Made at Mikawachi, province of Hizen. 1800. Height, 542 inches. 1557 —-OKIMONO (2311) Figure of Hotei. Hirado porcelain. Face and hands un- glazed and the body covered with a fine celadon glaze. Made at Mikawachi, province of Hizen. 1800. Height, 5% inches. 1558—INCENSE BURNER (2309) Sleeping cat. Hirado porcelain. Fine white clay, invested with a pale yellowish-celadon glaze, decorated in black. Made at Mikawachi, province of Hizen. 1760. Height, 5% inches. 1559—DOG-SHAPED INCENSE BURNER (2308) Pure white Hirado porcelain. Decoration of carp, wave designs and chrysanthemums in low relief and blew de nankin. Made at Mikawachi, province of Hizen. 1760. Height, 534 inches. 1560—SMOKER’S FIRE BOWL (1493) Pure white Hirado porcelain. Flowering plants, painted in fine cobalt blue under the glaze. Made at Mikawachi, province of Hizen. 1800. Height, 6 inches. 1861—CYLINDRICAL WATER JAR (1485) Fine white Hirado porcelain. Minutely painted landscape and mountain scenery in cobalt blue under the glaze. Made by Kuchiishi Rizayemon and painted by Imamura Riyemon at the private kiln in Mikawachi, province of Hizen, in the middle of _ August in the 6th year of Tempo. 1835. Height, 634 inches. . 1562—LARGE BOWL WITH SPOUT (1507) Pure white Hirado porcelain. Decoration of pine branches in cobalt blue. Made at Mikawachi, province of Hizen. 1750. Carved stand. : Diameter, 7% inches. _ 1663—CYLINDRICAL WATER JAR (1480) Fine white Hirado porcelain. Conventional wave designs engraved in the paste under a white glaze. Made at Mikawachi, province of Hizen. Teakwood cover, inlaid with silver wire, wave pattern. 1750. Height, 7% inches. fe 156—CYLINDRICAL WATER JAR (1479) Hirado porcelain of pure white texture. Leafy scrolls f i rs : : Pp ° Pp y painted in fine cobalt blue under the glaze. Made at Mikawachi, province of Hizen. 1800. oe Height, 7% inches. z 1565—LARGE GLOBULAR JAR, WITH COVER 5 (1494) “Fine white Hirado porcelain. Decoration of plum and : ~ Made at Mikawachi, province of Hizen. 1800. Height, 8 inches. 1566—CAKE TRAY ON TRIPOD (1486) Hirado porcelain of fine texture. Covered with a clouded blue glaze in imitation of lapis lazuli. Made at Mikawachi, proy- ince of Hizen. 1800. Diameter, 8 inches. 1567—SAKE BOTTLE (1477) Globular shape, with tall slender neck. Pure white Hirado porcelain. Decoration of garden scene of group cf boys enjoying cock fight, painted in fine blue. Made at Mikawachi, province of Hizen. 1750. Height, 8 inches. 1568—V ASE (1476) Oviform, with bold flaring mouth and stork-shape handles. Hirado porcelain of pure white texture. Finely painted decoration of pine and bamboo in mazarine blue, applied under the glaze. Made at Mikawachi, province of Hizen. 1750. Tall teakwood stand. Height, 8 inches. 1569—PHAR-SHAPED VASE (1475) Fine white Hirado porcelain. Seven boys at play under pine trees, delicately painted in blue under the glaze. Made at Mikawachi, province of Hizen. 1750. Height, 8 inches. IS70—SHELL-SHAPED DISH (1506) Fine white Hirado porcelain. Mottled brown glaze, deco- ration of floral scrolls in various enamel colors. Made at Mika- wachi, province of Hizen. 1800. Diameter, 8 inches. 1S7I—HANGING VASE (1495) _Hirado porcelain. Fine white clay, partly glazed with brown, blue, and white enamel colors; pine branch, rock, and grasses, in low relief. Made at Mikawachi, province of Hizen. 1700. Height, 8 inches. —LARGE GLOBULAR JAR es i) Hirado porcelain of pure white and sonorous texture. Euineke symbols of long life and happiness, numerous crests and : easy painted in fine mazarine blue under the glaze. Made at Mikawachi, province of Hizen. 1800. Teakwood stand and lacquer cover. rey Height, 8 inches. ¥ iy Hirado porcelain. Covered with a pale ee = > te? Prinze; skilfully modelled. Made at Mikawachi, province of = -— Hizen. e a 50. H eight, 8 inches; diameter, § inches. (1501) Fine white Hirado porcelain of sonorous texture. Wave eon “designs carved in the paste and flying bird in blue under the glaze. es pone at “Mikawachi, ee of Hizen. 1750. Diameter, 8% inches. VI ‘DRICAL VASE (1500) ‘Shape of tree trunk. Fine white Hirado porcelain. Cov- “ ‘ered with chocolate brown glaze. Made a Mikawachi, province af Hizen. 1750. ae ‘ Height, 8% inches. Sa : 5 SAKE BOTTLE "°) Pure white Hirado porcelain. Flowers and vegetables, = fine under-glaze blue. Made at Mikawachi, province of Height, 10 inches. * Fine white Hirado porcelain. Covered with a celadon id decoration of bamboo in white outline. Made at Mika- rovinee of Hizen. 1750. con aee ' Height, 10 inches. oe a8 ea, a Py ‘ a a 7 0: 1578—OKIMONO (2324) God of Longevity. Strongly modelled in Hirado porce- jain. Face and hands are thinly glazed in brown, the cap and dress are covered with celadon glaze, and his sceptre and shoes are enamelled in black. Made at Mikawachi, province of Hizen. 1850. Height, 10 inches. 1579—OKIMONO (2323) Jar and group of five boys. Hirado porcelain. White, brown, blue, and celadon glazes. Made at Mikawachi, province of Hizen. 1800. Height, 10 inches. LSSO—V ASEH (2305) Clump of bamboos and figures. Modelled in Hirado poree- lain, covered with white, brown, and blue glazes. Made at Mika- wachi, province of Hizen. 1750. Height, 10 inches. 1881—OVIFORM SAKE BOTTLE (1497) With indented sides. Unglazed Hirado porcelain. Deco- ration of tiger flowers, dragon and wave designs carved in the paste, silver stopper. Made at Mikawachi, province of Hizen. 1650. Height, 10% inches. 1582—LARGE VASE (1499) Globular body, with bold flaring mouth and two frogs forming handle at neck. Pure white Hirado porcelain of dense texture. Finely painted decoration of weeping willows and run- ing stream, in fine cobalt blue under the glaze. Made at Mika- wachi, province of Hizen. 1700. Height, 124% inches. 15883—MINIATURE SAKE CUP (1529) Nabeshima thin porcelain. Bamboo and birds, painted in cobalt blue. Made at Okawachi, province of Hizen. 1800. Height, 1 ineh. 1584—BEAD (1520) Nabeshima porcelain. Decoration of floral scroll, in red over and in blue under the glaze. Made at Okawachi, province of Hizen. 1800. Diameter, 1 inch. 1585—WRITER’S WATER BOTTLE (1626) Clear white Nabeshima porcelain, Chrysanthemums, painted in blue under the glaze, and carved in relief around the mouth and the central opening. Made at Okawachi, province of ~ Hizen. 1800. ier Diameter, 1% inches. 1886—INCENSE BURNER ; (1512) Fine white Nabeshima porcelain. The Nabeshima crests _ surrounded by floral scroll, pencilled in gold over the glaze. Made at Okawachi, province of Hizen. 1750. Height, 1% inches. 1587—NETSUKE # (1521) Ege shape. Fine white Nabeshima porcelain. Dog foo _ and peony flower in blue. Made at Okawachi, province of Hizen. ts How Teh 760, Diameter, 2 inches. 1588—MINIATURE JAR (1547) Fine white Nabeshima porcelain. Bamboo and plum branches in blue. Made at Okawachi, province of Hizen. 1800. Diameter, 2% inches. 1589—WINE CUP _ (517) Fine Nabeshima eggshell porcelain. Maple branch, in gold and red over and in blue under the glaze. Made at Okawachi, _ province of Hizen. 1800. : I Height, 2% inches. : e fata PROVINCE OF KAGA The name of this province, like that of Satsuma, has become widely known through its faience and porcelain. The output of the Kaga ovens in furnishing _ pottery for the world’s demand is very great. Yet just in proportion to the effort to fill this demand is seen a corresponding deterioration in the work. One had only to compare the exhibit of Kaga potters at Chicago in 1893 with a similar exhibit in Philadelphia in 1876 to realize this deterioration. There is little variation to be seen in the pottery. One piece of the bright red and gold decorated faience of Kaga will stand as a type for the thousands of pieces exported. The difference between this modern stuff and the original red is very striking. KUTANI.—The pottery derives its name from the village in which it was first made. Pieces in the form of tea-bowls, tea-jars and the like were first made by Tamura Gonzayemon in the first half of the seventeenth century. His work followed Seto models, and it is possible that some of the tea-jars aboye catalogued were made by him. In 1650 Goté Saijiro began the making of porcelain after his return from Hizen, to which place he had gone to learn the secrets of the art. He worked with Kakiyemon, and went so far as to marry his daughter in order the more readily to learn the mysteries of porce- lain decoration. The famous artist came to Kaga at this time and made many designs for porcelain decoration. Mr. Takano, an intelligent citizen of Kaga, told me that Yoshiya Hachiroyemon, a native of Kaga, in the early part of the century, copied designs from an old book in which were pictures of famous Chinese inks. These sticks of ink had in relief pictures of dragons and other mythological creatures, and hence in old red Kutani one sees these subjects used as motives in decoration. Native authorities say that green Kutani dates back to 1680 or thereabouts, and that red Kutani began in the early years of this century with Hachiroyemon. In 1815, owing to a disastrous landslide, the ovens were removed from Kutani to the village of Yamashiro, some distance from Kutani, and here they have remained, though the product is still signed with the old mark Kutani. There are a number of other places in Kaga where red Kutani is made. It is said that the Kutani showing a cloudy or mottled red was decorated in Kaga, while the red applied evenly has been decorated in Tokyo. 1590—FLAT INCENSE BOX (1698) Kutani porcelain of thick texture. Minutely painted landscape in black and purple, on a yellow ground, with bands of blue, green and yellow. Made at Kutani, province of Kaga. Mark, Bunsei Fuku. 1820. Height, 2 inches. 1591—SMALL INCENSE BURNER (1691) Kutani porcelain of white hard texture. Landscape and pine willows and flowers, in circular panels of white, surrounded by a green ground covered with scroll designs in black. Made at Kutani, province of Kaga. 1800. Diameter, 2% inches. 1592—-INCENSE BOX _ (694) Gourd-shaped. Kutani porcelain. Landscape, in green, purple, yellow, and red enamels over the glaze. Made at Kutani, province of Kaga. 1750. ae Height, 2% inches. "1593 -SAKR CUP | , (1705) Kutani porcelain of white texture. Coated with a green glaze and decorated with maple leaves in purple, yellow and black. Made at Kutani, province of Kaga, Fuku. 1800. Diameter, 2% inches. 1594—I NCENSE BOX “a (1704) Kutani porcelain. Flowers and scrolls on lid, painted in oie yellow, purple and blue, surface of box covered with an opaque . green glaze, and scroll design painted in black. Made at Kutani, cia shure of Kaga, Fuku. 1800. Diameter, 2%4 inches. oe CULAR INCENSE BURNER _ (1697) Kutani porcelain. Bamboo, pine, and plum design in red, __ green, and purple enamels, over a red and white square-pattern. Made at Kutani, province of Kaga. With open-work shakudo cover. 1750. MER goe : Height, 2% inches. i aes INCENSE BURNER (1695) Kutani porcelain. Four panels, with figures of Japancse 3 children at play, in enamel colors; fine diaper border decoration. eae hana at Kutani, province of pte 1800. ; Height, 3 inches. ! ee earree TRA JAR (1696) -Kutani porcelain of fine white texture. Bamboo, pine, and “ plum, and irregular bands of diapers in green, purple, and red . _ enamels over the glaze. Made at Kutani, province of Kaga. 1750. a) ieee ent, 3 inches; diameter, 2% inches. 1598—TEA JAR (1699) Kutani porcelain. Covered with a silver and red glaze. Made at Kutani, province of Kaga. Mark, thread lines. 1850. Height, 3 inches. 1599—INCENSE BURNER (1701) _Kutani porcelain. Bright red glaze, with dragon in gold and wave designs in silver. Made at Kutani, province of Kaga. 1850. With open-work shakudo lid. Height, 3 inches; diameter, 3 inches. 1600—TEA BOWL (1720) _Kutani porcelain of fine white hard texture. Brocade de- sign and various borders painted in enamel colors over a pale yel- low glaze. Made at Kutani, province of Kaga. Mark, Fuku. 1800. Diameter, 31% inches. 1601—PLATE (1718) Leaf shape. Kutani porcelain. Covered with white glaze, and decorated with peach and flowers in yellow, green, purple, and blue enamels. Made at Kutani, province of Kaga, by Yeiraku. * Kutani-ni oite Yeiraku Tsukuru,” in black. 1858. Diameter, 3% x 5%. inches. 1602—GLOBULAR FIRE BOWL (1709) Kutani porcelain. Covered with a metallic brown glaze, and peony flowers painted in green and purple enamels. Made at Kutani, province of Kaga. 1750. Height, 3% inches; diameter, 5¥% inches. 16083—SQUARE INCENSE BURNER (1707) With open-work silver cover. Kutani porcelain of dense texture. Birds, landscape, plum and crests in various enamel colors in white panels. Made at Kutani, province of Kaga. 1750. Height, 3% inches; diameter, 34% inches. a “ 1604—COVERED RICE BOWL | (100) Kutani porcelain of thin white texture. Numerous circles, painted in coral-red, crests of the Prince of Kaga in silver applied over the glaze. Made at Kutani, province of Kaga. 1800. * ‘ Diameter, 4 inches. - 1605—BOWL (1689) Kutani porcelain of thin white texture. Plum tree, painted in brown and silver on a coral-red ground. Borders of leat and fret designs. Made at Kutani, province of Kaga. 1750. eit. Diameter, 4 inches; height, 21% inches. TEA BOWL ae (1727) Kutani porcelain of thick white texture. Dragons and a wave designs, painted in gold on a red ground. Made at Kutani, "province of Kaga. Yeiraku (written). 1800. tie ia Diameter, 4% inches; height, 2% inches. “arn Kutani porcelain of hard white texture. Brocade designs, “i in gold and silver on a dull red ground. Made at Kutani, province s of Kaga. 1750. Teakwood stand. Diameter, 41% inches. a (aos) eieant stoneware. Crude floral designs in green, purple } and yellow running glaze. Made at Kutani, province of Kaga. Diameter, 4% inches; height, 3 inches. My Kutani porcelain of hard reddish texture. Melon and vine, ted in yellow, green and purple. Made at Kutani, province of ga. Mark, Fuku. 1750. : Diameter, 414 inches. 1610—TALL BOWL ON FEET (170?) Kutani porcelain of thin texture. Bright green glaze, with peony and scroll designs painted in purple, yellow and black. Made at Kutani, province of Kaga. Mark, Fuku and Kasui. 1850. Diameter, 5 inches; height, 4% inches. 1611—TEA BOWL (1719) Kutani porcelain of hard white texture. Partly covered with tea-brown glaze, and leafy scroll in yellow and black on a white ground. Made at Kutani, province of Kaga. 1750. Diameter, 5% inches. 1612—BOWL, WITH SILVER RIM (1706) Kutani porcelain. Inner and outer surface decorated with bold floral designs in green and purple upon a yellow stippled ground. Made at Kutani, province of Kaga. Fuku. 1800. Diameter, 5% inches; height, 2% inches. 16183—SAKE BOTTLE (1725) Kutani faience of fine gray texture. Creamy-white crackled glaze, with a mottled running glaze at neck. Made at Kutani, province of Kaga. Mark, Yeiraku (imp.). 1850. Height, 6 inches. 1614—SAKE BOTTLE (1722) Gourd-shaped. Kutani stoneware of hard reddish texture. Covered with a gray glaze, and decorated with a river view and mountain scenery in green, purple and yellow. Made at Kutani, province of Kaga. Mark, obscure. 1800. Height, 6% inches. 1615—OCTAGONAL WATER JAR (1726) Kutani porcelain of dense texture. Incised and relief decoration of flowers and diaper patterns beneath green, yellow and plum color glazes. Lacquered lid. Made at Kutani, province of Kaga. Mark, cross. 1750. Height, 6% inches; diameter, 64% inches. ney aes) Kutani baie’ of hard gray texture. Covered with metallic brown running glaze. Made at Kutani, province of Kaga. SORTS. 7 | sabe gra. Height, 634 inches. “opto TRAY mia) Kutani porcelain of clear white texture. Landscape panel he grape vine painted in green, purple, and yellow enamels. Made oat OD province of Kaga. Fuku. 1750. Length, 7 inches; width, 3% inches. (1088) nate porcelain of thin sonorous texture. H6éw6 and ae; Shishi in « enamel colors and gold over the glaze, and blue under the glaze. Made by Yeiraku at Kutani, province of Kaga. Mark, qed ni oite Yeiraku Tsukuru, in black enamel. 1858. - Diameter, 7 inches; height, 3% inches. l SAKE BOTTLE (1692) _ Ring-shaped. Kutani porcelain of dense texture. Leaf 1 -serolis a diaper patterns in purple and green. Made at Kutani, “4 ss) Pe "province of Kaga. 1750. ay : Height, 7% inches. ~ Oviform. Kutani porcelain of thick texture. Scene de- ng rice culture, wave design and leaf border, painted in bright purple and yellow. Made at Kutani, province of Kaga. ¢, Fuku. 1700. get Ahypot: Height, 8 inches; diameter, 14% inches. ‘ “Made at nen a of Kaga, Fuku. 1800. ais t ier Height, 8% inches. : - oe Bare ¥ a . 2 2 < re ; es oe: i) eee San a 1622—PLATE ts %: = Nae a (717) Kutani porcelain of thin white ees birds and rocks, painted in blue, red, purple and ye Made at Kutani, province of Kaga. 1700. (1716) cee ire Kutani oe of wl Covered with a rich green glaze and leafy Made at Kutani, province of Kaga. 1750. 1624—BOWL (1686) Kutani porcelain of fine thin text striped pattern of coral red, gold io silver al Kutani, province of dicatgh> 185002. ~via Diameter, 8% inches; 1625—LARGE TEA JAR 1626—SAKE BOTTLE Se, Sea nets : (1710) Oviform. Kutani pares of peony, arabesques, and various borders, yellow enamel colors. Made at Kutani, prov 162/—SAKE BOTTLE (1693) Oyiform. ration in red, green 1623—SAKE BOTTLE (1714) Pear-shaped. Kutani porcelain of thin texture. Medal- lions of flowers and crests in colored enamels. Made at Kutani, province of Kaga. 1750. Height, 10% inches. 1629—SAKE BOTTLE (1713) Tall oviform. Kutani porcelain of white hard paste. Flowers and symbols in bright enamel colors in various white panels; ground of bold leafy scrolls, painted in dark red. Made at Kutani, province of Kaga. 1750. Bg é Height, 114% inches. 1630—JAR, WITH COVER G71) QOviform. Kutani porcelain of thick white texture. Flowers, fruits and vines, painted in bright green, red, purple and yellow enamels. Made at Kutani, province of Kaga. 1700. Height, 114% inches. 1631—T ALL CYLINDRICAL VASE (1687) Kutani porcelain of clear white texture. The decoration in fine mazarine blue under the glaze, consists of numerous medal- lions, within which are birds, flowers, and symbols of long life; intervening spaces covered with conventional scrolls and sacred animals, border at foot and shoulder of sceptre heads and gad- -roons. Made at Kutani, province of Kaga. Mark, Kayo utani 4 -Gankwado sei, painted in blue. 1850. Teakwood stand. Height, 15 inches; diameter, 5% inches. _ 1632-INCENSE BOX (344) Sleeping duck. Kaga porcelain. Coarse white clay, with blue, green, purple, and yellow enamels over the glaze. Made at -_ _Kutani, province of Kaga. 1850. hia Height, 1% inches; length, 3 inches. bee to ee Kag . 1800. Teslbioed gong 168-ORIMONO 4) A (23424) Daikoku with — “ai Coarse gray clay, decorated in pte purple, over a dull white glaze. Made at Rat 1800. bat 1635—OKIMONO ae (2343) -Yebisu with a ee -Kagay Decoration of fisher and bamboo purple enamels over a dull wwhitte glaze. Mae al of Kaga. 1800. — 1636—INCENSE BURNER (2345) Design of rooster. Kaga r pécorstion | in Bee blue, green, ie glaze. Made at Kutani, | rovince SEVENTH AFTERNOON'S SALE WEDNESDAY, FEBRUARY Isr, 1905 AT THE AMERICAN ART GALLERIES \ en? BEGINNING PROMPTLY AT 2.30 o’cLOCK ANTIQUE JAPANESE POTTERY PROVINCE OF KII The pottery of this province is widely known abroad through the clear light blue and other colored glazes, notably the yellow, green and purple, with which the western market has been flooded, Pottery similar to this, though of poorer quality, has been made elsewhere in J apan, but the stuff originated in Wakayama. The early work had considerable merit. ; KAIRAKUYEN.—At Nishihama, a little west from Wakayama, was the villa of a former Daimyo of the province. The garden of this place was known _ as Kairkuyen, and here, in the beginning of the century, an oven was built, and pottery was made for the tea service. Precisely what kinds were made before the advent of Zengoro Hdézen, in 1828, I have not learned. With the advent _ of Hozen (the eleventh Yeiraku) it is said an improvement took place in the character of the pottery; at all events the Daimyo of Kii, in acknowledgment of the new glazes introduced by Hdzen, presented this celebrated potter with two seals, a silver and a gold one, on which were the characters Kahin Shiriu _and Yeiraku respectively. Whether these were impressed on pottery made in _Kairakuyen, or were used after he returned to Kyété, I have never clearly _ ascertained. Specimens thus signed are placed with the family’s work under _-- Kyété. Authorities say that on the death of the Daimyé, in 1844, the oven was Fan Lee closed. I learned, however, at the place that the work continued until 1868. The pottery is also known as Oniwa (Honorable Garden), but the name Kairakuyen feats retained, as all the pieces are thus signed. 1637—INCENSE BOX 3 ies _ @349) Lion in repose. Kishiii porcelain. Turquoise glaze. Made age Otokoyama, province of Kii. Mark, Nanki Otokoyama, in blue. Size, 2 x 3% inches. ae ee Pv ea eC i ie eee ae 1638—CAKE DISH (2348) Turtle of longevity. Kishiu porcelain, white glaze and decorated in cobalt blue. “Made a province of Kii. Mark, Nanki Otokoyama. 1850. ANCES 1639—OKIMONO i) Stat ~ Pate (2347) Genius with a rat. Kishiti porcelain. me le Made at Otokoyama, province of Kii. Mark, Nanki painted, and Semba, impressed. 1850. | 1640 -WATER( TAR. ViKi SEPA ee (1736) ~~ Gourd-shaped. Kanone faience of ered with a turquoise blue and mottled brown designs. Made: at capri brad “ et F pets et ‘vee “ 1641—TEA JAR (1729) Kairakuyen faience of gray tex t running glaze of blue and ial an over dade province of Ki. — (1830. My: 1642-TEA BOWL (1737) Kairakuyen faience of fine glaze of green, purple, Pe and : province of Kui. 1830. ae 16483—CYLINDRICAL JAR (1738) Kairakuyen poredlain.: oe: yellow glazes, with flowe ie ie Kairakuyen, Prog of 16j4-SAKE BOTTLE (1730) Globular-shaped. Kairakuyen faience of pale yellow tex- ture. Covered with a turquoise-blue glaze, which is minutely crackled; splashes of purple round neck and at shoulder. Made at Kairakuyen, province of Kii. 1830. Height, 5 inches. 1645-SAKE BOTTLE (1728) Gourd-shaped. Kairakuyen porcelain of thin white tex- ture. Covered with an opaque yellow glaze; vine modelled in relief and glazed in pale green. Made at Kairakuyen, province of Kii. Kairakuyen Sei, impressed. 1830. Height, 7 inches. 1646—OVIFORM VASE 731) Kairakuyen porcelain. Fine purple and turquoise-blue running glaze, mouth rimmed with silver. Made at Kairakuyen, province of Kii. 1830. rane Height, 91% inches. OTOKOYAMA.—The oven was opened in the early part of the last cen- tury. A variety of pottery was made, including blue and white porcelain. ‘The work ceased in 1830. In 1850 an attempt was made to produce typical Kaira- kuyen signed with the mark Nanki Otokoyama. This work shortly after stopped. In 1870 a new company was formed, and Tanzen, of Kydtd, was placed in charge of the work. After a year’s trial, and failure, the oven was closed again. After this the old potters of Otokoyama began again, only to close _ shortly after loss. The sequence of the work is as follows: Blue and white, beginning of the century: Kairakuyen style, 1850; Awata-like bowls, under Tanzen, 1870. 1647—-SMALLI BOTTLE-SHAPED VASE ~ (1734) Otokoyama porcelain. Leafy scrolls in blue enamel over a metallic brown glaze. Made at Otokoyama, province of Kii. Nanki Otokoyama in blue. 1850. Height, 444 inches. 1648S—BOTTLE-SHAPED VASE (1735) With tubular handles for hanging. Otokoyama_porce- ~ lain. Brocade and other designs in blue under the glaze. Made at Otokoyama, province of Kii. Mark, Nanki Otokoyama, in blue. 1850. - Height, 6 inches. 1649—OVIFORM VASE (1733) QOtokoyama porcelain of thin texture. Symbols, floral scrolls and various borders engraved in low relief in the paste and covered with turquoise-blue glaze on an orange yellow ground. Made at Otokoyama, province of Kii. Mark, Nanki Otokoyama, in blue. 1850. Height, 9% inches. PROVINCE OF MUSASHI The potteries of this province are mostly within or near the city of Tokyo. In glancing at the case containing the pottery of Musashi one fails to see any characteristic feature or cachet, so to speak. The Musashi pottery in this respect stands in marked contrast to the pottery of other provinces. One has only to recall the pottery of Iwaki, Iga, Harima, Bizen, Higo and certain other provinces to note their pronounced individuality. ‘The absence of this indi- viduality in Musashi is easily understood. With the enforced presence in Yedo in past times of the Daimyds of every province, with the retainers, potters, metal workers and other artificers forming part of the retinue, the diversity is readily accounted for. In many instances ovens were erected in the Yashiki, and potters of skill were brought from various provinces, each continuing, with slight changes, his own peculiar methods. Thus potters from Yamashiro, Owari, Omi, Kii and other provinces introduced their own provincial styles. Toky®, also, being a great commercial centre, naturally attracted potters from various parts of the empire. As a result of these circumstances a great diversity is seen in the character of the pottery. It is recorded that the first oven in Tokyo was built at Akasaka in 1630, by order of the third Shogun, Iyemitsu, potters from Osaka being ordered to make pottery after the style of their Osaka work. Pre- vious to the above date, however, roofing tiles had been made in the last years of the sixteenth century. After the Osaka potters, came respectively the potters of Imado, notably Hanshichi; the Ise potter at Kommemura, and the Kyoto potter, Kenzan, at Iriya. The work of the Tokyo potters was altogether too recent, and perhaps too poor, to gain recognition from the lovers of the tea- cult; consequently the labor of ascertaining the history of the early Tokyo pot- teries has been difficult and uncertain. SUMIDAGAWA.—In the beginning of the century a potter known as Kikkutei established an oven in Sumidagawa, Yedo, and made a soft Raku pottery. The work of the first generation was quaint and interesting. In 1875 the third generation was at work, and the pottery shows the usual deterioration. 1650—TEA BOWL (1756) Sumidagawa faience of soft reddish texture. Salmon color glaze, with cherry blossoms outlined in white. Made at Sumi- dagawa, Tokio, province of Musashi. Mark, obscure. 1850. Diameter, 4% inches. ee ae o> 1651—TLA BOWL ic (1754) Sumidagawa faience of soft, reddish texture. Red Raku glaze. Made at Sumidagawa, Tokio, province of Musashi. Mark, Rekujuichi Tsukuru (made at 61st year), incised, and a seal im- pressed, obscure. 1850. Diameter, 5% inches; height, 24% inches. 1652—BOW L (1742) Sumidagawa faience. A mass of cherry blossoms deli- cately painted i in eclors on a creamy white crackled glaze. Made at Sumidagawa, Tokio, province of Musashi. 1860. Diameter, 5% inches. KENZAN.—From a late manuscript of Ninagawa the following informa- tion is derived: Kenzan (Ogata Shinsh6) came from Kyoté and built an oven in Iriya, Tokyo. Here he made a kind of soft pottery in the form of square trays, rarely bowls. These were decorated with flowers, etc., in dark brown or black, poems were also inscribed upon them, and the signature of the potter was written on the bottom in the bold characters in black. In one case, at least, his brother, the famous artist Koérin, decorated a piece, signing his name as painter (see Catalogue No. 4035). Kenzan died in 1743, at the age of eighty- one. A pupil of Kenzan inherited his name, and continued making the same kind of pottery, signing with the name of Kenzan. In 1767 he gave the name of Kenzan to his pupil Miyasaka, who continued the work in precisely the same spirit, signing his pieces Kenzan. He finally transferred this family name and oven to his wife in 1810, 1653—NAPKIN VASE (745) Cylindrical-shaped. Iriya faience. | Chrysanthemum flowers in cclurs over a creamy-white glaze. Made by Kenzan in Iriya, Tokio, province of Musashi. Kenzan, in brown. 1730. Height, 2% inches. — 1654-SQUARE CAKE TRAY eae ye Iriya faience of soft yellow texture. Winter landscape in low tones in a pale gray glaze. Poem in brown on reverse. ~ a Made by Kenzan at Iriya, in Tokio, Musashi. Mark, Kenzan _ Shokosai sei Shosu, in brown. 1730. Je "he Diameter, 64% inches, 1655—CAKE DISH (1743) Lozenge-shaped. Iriya faience of soft white texture. Narcissus and a verse in Chinese characters painted in brown on a yellow-white glaze. Made by Kenzan at Iriya, in Tokio, prov- ince of Musashi. Kenzan sei, painted. 1730. Diameter, 6% x 5 inches. KIKKO.—Kikké of Osaka came to Yedo in 1855 and built an oven at Mukojima, using Kikké and Jiisan Ken as signatures. He died in 1861. His adopted son, Ichiro, with the pseudonym of Shogetsu, continued the work, using the incised mark Bokusui-hen sei, and sometimes Ichiro. He died in 1864, aged forty-four. His widow continued the work until 1868. Since then inferior pottery has been made bearing the mark Kikkd. As to the generations of this family, it is difficult to state. The best work was done by the original Kikko in Settsu, Sud and Shinano. 1656—OKIMONO (2371) Turtle. Kikko faience. Soft yellowish clay, covered with yellow glaze. Made by Kikké at Osaka, province of Settsu. Mark, Kikké, impressed. 1850. Height, 2% inches; length, 6% inches. 1657—TEA BOWL (1749) Kikkd faience. Two crests incised and filled with gold leaf, on a thick black Raku glaze. Made by Kikko in Tokio, province of Musashi. Kikk6, impressed. 1850. Height, 214 inches; length, 6% inches. 1658—CAKE DISH (1748) Leaf-shape. Kikké faience of soft reddish texture. Coy- ered with an apple-green opaque glaze over a pronounced crackle. Made by Kikké in Tokio, province of Musashi. Mark, Kikk6, im- pressed. 1860. Diameter, 634 inches. 1659—LARGE PLATE (1759) Chrysanthemum-shaped. Kikk6 faience of soft reddish texture. Covered with a thick salmon color raku glaze. Leaf in rich dark green and seed pod in golden yellow. Made by Kikko at Sumidagawa, Tokio, province of Musashi. Mark, Kikko, im- pressed, and “ Boko-no hotori-ni oité Korewo Seisu,” incised. 1860. Diameter, 131% inches. RAKURAKUYEN.—In the Yashiki of the Daimyé of Owari was a garden known as Rakurakuyen. An oven was built in this garden by direction of the old prince of Owari in 1804, and potters from Seto, Owari, were called to take charge of it. The essays were mostly in true Seto style of that date, with some departures near the end of the work. The signature was Rakurakuyen, im- pressed. Masaki of Nagoya was in charge for a while, and pottery made by him bore the additional mark Masaki. The clay was at one time brought from a quarry near Seto, and pieces made from this clay have the mark Sobokai accompanying that of Rakurakuyen, The pottery was vigorous, tasteful and in rigid adherence to the tea-cult. The work ceased in 1830. a 1660-—OKIMONO (2351) Sacred lion with ball. Rakurakuyen stoneware. Hard - gray clay covered with a yellowish-brown glaze. Made at Rakura- kuyen in Tokio, province of Musashi. Mark, Rakurakuyen Sci, impressed. 1830. | Height, 3 inches. 1661—TEA BOWL (1753) Rakurakuyen stoneware. Covered with a pale green crackle glaze. Young pines in white under the glaze. Made by Masaki at Rakurakuyen, Tokio, province of Musashi, with clay from Sobokai, Owari. Sobokai, stamped, and Masa incised. 1830. Diameter, 31% inches. 1662—CYLINDRICAL WATER JAR _ (752) Rakurakuyen stoneware. Dark blue glaze, with splashes of white. Lacquer lid. Made at Rakurakuyen, province of Musashi. Rakurakuyen sei, impressed. 1820. Height, 6 inches; diameter, 5% inches. ¥ | (2352) Group of eight turtles on rock. Rakurakuyen stoneware e abt of gray texture. Covered with a mottled brown glaze. Made by Masaki at Rakurakuyen Tokio, province of Musashi. 1520. | pind re A ioe el . Height, 6 inches; dic otar: 11 inches. 1664—CYLINDRICAL WATER JAR (1751) Rakurakuyen stoneware of hard gray texture, of dull gray crackle glaze; lacquer lid. Made at Rakurakuyen, Tokio, province of Musashi. Marks, Rakurakuyen and Matsu kaze no sato, impressed. 1820. Height, 6%4 inches; diameter, 5% inches. 1665—CAKE DISH, POMEGRANATE DESIGN (1750) Rakurakuyen stoneware. White hard paste. Decorated in blue under the glaze. Made at Rakurakuyen, Tokio, province of Musashi. Rakurakuyen sei, impressed, 1820. Diameter, 61% inches. KENYA—Miura Kenya, a potter of Toky6, began his work in Asakusa in 1830. Kenya was a great admirer of Haritsu and of the early Kenzan. He followed these artists as guides. His pottery signed Kenya shows the Kenzan spirit. If the records regarding the Kenzan generations are reliable, then many of the pieces made within forty years signed Kenzan may be the work of Miura Kenya. 1666—TEA BOWL (1747) Kenya stoneware of hard reddish texture. Invested with a mottled tea color and gray glaze. Made by Kenya at Asakusa, Tokio, province of Musashi. Kenya, impressed. 1850. Diameter, 4% inches; height, 2% inches. 1667—FIRE BOWL (1757) Kanya faience of soft texture. Pale yellow-green and dense brown glaze over a crackle surface, and plum blossoms, painted in black, brown, and blue. Made by Kenya at Asakusa, Tokio, province of Musashi. Mark, Kenya, in purple. 1850. Diameter, 4 inches. 1668—HEXAGONAL FIRE JAR (1761A) With open-work metal cover. Kenya faience of hard gray texture. Finely crackled gray glaze and decoration of coast scene, rocks, large spreading pine and pheasants in lapis blue over the glaze. Made at Asakusa, Tokio, province of Musashi. Mark, Kenya, in large circle, incised. 1830. Teakwood stand. Height, 7 inches; width, 6% inches. _---« IMADO.—Under this general name must be included the productions of a number of potters who have, so far as I can ascertain, entitled their individual work Imado. The pieces are rarely signed. Some of the pottery is in the _ form of fire-vessels, soft, unglazed, with polished black surface; other forms have a beautiful mottled glaze with hard ringing clay. A number of red Raku pieces: occur unsigned. (2350) Group of seven gods of happiness. Modelled in Imado -faience of soft yellowish texture and invested with lacquer in imi- tation of bronze; varnished with lacquer. Made by Benshi at ae Imado, in Tokio, province of Musashi. Mark, Benshi, impressed. —hoaitea in ll Height, 34% inches. Jor0—-OKIMONO, FIGURE OF AN ARHAT ~ (2354) Imado faience, decorated in green and red enamels of low tone. Fine gray clay. Made by Karaku at Tokio, province of Musashi Mark, Karaku Kojitsukuru, incised. 1850. Height, 6 inches. _ 671-INCENSE BURNER, ON TRIPOD (1758) Lotus-shaped. Imado faience of yellow texture. Opaque - green glaze over a raku red glaze. Made by Shirai Hanshichi at -_[Imado, Tokio, province of Musashi. Shirai Hanshichi, panna mei L780. Diameter, 6 inches. oo (2355) Form of elephant. Imado faience. Soft yellowish-white clay, decorated in dull white, red, and green. Made by Ritsuo, at i ae province of Musashi. Mark, Kwan (imp.). 1700. BD: _Imado faience of soft red sae incised under surface. ‘Made at Imado, province of Musashi. 1800. ioe ‘ er Diameter, 7% inches. PROVINCE OF NAGATO With the exception of the province of Bizen there is no province in Japan where there is such uniformity in the general appearance of its pottery as in that of Nagato. A hundred—a thousand—specimens brought together only make more striking the slight variation between them. The Japanese experts seem readily to separate the pottery of Nagato under the names of Hagi, Mat- sumoto and Fukagawa, yet these distinctions become confusing when a large number of objects is brought together. The distinctions that they make between Matsumoto and Hagi are frivolous. Fukagawa certainly has a softer clay. An authority of 1700 mentions Hagi only. Ninagawa says Hagi is the general name for Matsumoto and Fukagawa; and yet Fukagawa is a separate town from Matsumoto. To make the discriminations more difficult, Nagato pottery is rarely signed; furnace-marks even are not seen; and so in many cases dis- tinctions are impossible. HAGI.—Japanese antiquarians make a distinction between Hagi and Ko Hagi, and though the distinction amounts to nothing save as a matter of age, there is yet a marked difference in the appearance of the older forms. Tdkikd says that Ko Hagi is often mistaken for early Ozumo, and this is doubtless due to Korean influence in both instances. According to Ninagawa and other au- thorities, the first potter of Hagi was a Korean named Rikei, afterwards called Sake Koraizsyemon. The descendants of Rikei attained the rank of Samurai. 1674—TEA CUP (1764) Hagi stoneware of coarse sandy red texture. Pinkish- white glaze, applied in a manner to imitate shark’s skin. Made at Matsumoto, province of Nagato. 1830. Height, 2% inches; diameter, 2% inches. 1675—TEA BOWL (1770) Hagi stoneware of hard sandy texture. Inside glazed with mottled black and white enamels which partially runs over on the outside. Made at Matsumoto, province of Nagato. 1800. Diameter, 3% inches. 1676—TEA BOWL (1775) Hagi stoneware. Streaks of white and brown glazes in- terwoven. Made at Matsumoto, province of Nagato. 1800. Diameter, 4 inches, 1677—-SHALLOW BOWL (1772) Hagi stoneware of hard reddish texture. Thick, white, running glaze. Made at Matsumoto, province of Nagato. 1800. Diameter, 41% inches. 1678—TEA BOWL | (1776) agi faience of light gray texture. Bluish-white soufflé glaze. Made at Matsumoto, province of Nagato. 1700. Diameter, 434 inches. 1679—-TEA BOWL (1774) Hagi stoneware of pale brown texture. Opaque; light brown glaze, with purple shading. Made at Matsumoto, province of Nagato. 1750. Diameter, 5 inches. 1680—CAKE DISH (1767) Shape of rice bag. Hagi stoneware of fine gray texture. Dull white crackled glaze, with incised patterns. Made at Matsu- moto, province of Nagato. 1800. Diameter, 7 inches. 1681—CYLINDRICAL VASE (1765) agi stoneware of dense texture. Covered with a thick bluish gray crackle glaze. Made at Matsumoto, province of Nagato. 1750. Height, 5% inches. 1682—TEA BOWL . (1771) Hagi stoneware of coarse gray texture. Salmon pink crackle glaze. Made at Matsumoto, province of Nagato. 1750. Diameter, 5% inches; height, 34% inches. — 1683—SAKE BOTTLE aoe? Gourd-shaped. Hagi stoneware of fine gray texture, with - fluted body. Covered with blue- white crackled glaze. Made at Matsumoto, province of Nagato. 1750. ees Height, 6 inches. ail BOWL (773) Hagi stoneware of soft brown texture. “Covered with a gray crackled glaze. Made at Matsumoto, province of Nagato. : 1750. Diameter, 7 inches, 1685—LARGE HANGING JAR (1769) Globular-shaped. Hagi stoneware of dense texture. Fine creamy-white crackled glaze. Made at Matsumoto, province of Nagato. 1800. Height, 14% inches; diameter, 13% inches. PROVINCE OF OMI The merit of Omi pottery, like that of many other provinces in Japan, is that it has been true to its traditions. The large tea jars with typical Shigaraki clay have been the dominant form of its pottery for five hundred years. The luminous glazed tea jars and the delicate glazes seen in others are all good. With the invasions of Kydtd potters at Beppo and Hikone, and a consequent introduction of Ky6t6 styles, there has, nevertheless, been no sign of Omi potters degrading their art by appealing to the extraordinary tastes of foreigners. The typical pottery, Shigaraki, and probably the oldest pottery in the province (save that mentioned under early historic pottery), was made nearly a thou- sand years ago. With the exception of slightly different forms and the grime of age, this varies but little in general appearance from that made to-day. SHIGARAKI—In the village of Shigaraki are the ruins of one of the oldest ovens in Japan. Ninagawa figures a little plate made of typical Shiga- raki clay, dug up on the site of this oven, which he believes to be nearly nine hundred years old. He also figures a rough jar, to which is accorded an age of five hundred years; and in the collection there are specimens of Shigaraki showing successive periods up to the present day. They are all strikingly alike in clay and rough way of potting. In the latter part of the sixteenth century large jars for holding tea-leaves became very popular, as it was believed that the tea preserved better in pottery of this kind. Typical Shigaraki is unmis- takable; the rough slightly reddish tinge to the clay, the coarse granules of silica partially fused, and, in recent specimens, the thin, transparent glistening glaze, with sometimes a thicker running over-glaze, render the pottery very distinctive. There are many forms of Shigaraki. In some the clay is finely sifted, and green, brown or glistening black glazes are used. These are rarely decorated. The tea-jars are either typical Shigaraki, or glazed after Seto style. 1686—TEA JAR (1778) Gourd-shaped. Shigaraki stoneware of red sandy texture. Mottled brown glaze. Made at Shigaraki, province of Omi. Mark, thread lines. 1800. Height, 2 inches. 1687—TEA JAR (1777) Shigaraki stoneware of hard gray sandy texture. Light green thick glaze. Made at Shigaraki, province of Omi. Mark, thread lines. 1800. Height, 214 inches. - 1688—THA JAR (1792) Shigaraki faience. Gray and buff crackled glaze, on a _ reddish gray clay. Made at Yuko, at Shigaraki, province of Omi. _ Yuko, impressed. 1800. | * ; Height, 3%4 inches. 1689—TEA JAR = (1779) Gourd-shaped. Shigaraki stoneware of red, sandy tex- ture. Brilliant brown glaze. Made at Shigaraki, province of Omi. Mark, thread lines. 1750. aoe = Height, 3 inches. 1690—TEA JAR ot (1780) Shigaraki stoneware. Mottled brown and black glaze, ____with white crackle round shoulder. Made at Shigaraki, province of Omi. Mark, thread lines. 1800. es Height, 3% inches. : Ls we a= ‘ , aes aia Shigaraki faience of red brown texture. Dark brown metallic glaze, with streaks of mustard-yellow. Made at Shiga- _ raki, province of Omi. 1750. 7 ioe Height, 4 inches. 1692—TEA JAR (776) Pear-shaped. Shigaraki stoneware of gray sandy texture. Brilliant metallic brown glaze. Made at Shigaraki, province of — Omi. 1800. ss Ar. > Height, 4 inches. —OVIFORM JAR | _ (1795) Shigaraki stoneware of hard gray sandy texture. Covered - with a green crackle glaze, with copper-red metallic mottling. Made at Shigaraki, province of Omi. 1850. Teakwood stand. SON $0 i355 Height, 7 inches. - Shigaraki faience. Rich salmon red raku glaze boldly ed. The inner surface has been gilded and is partially worn Made at Shigaraki, province of Omi. Yuko (imp.). 1800. Diameter, 74% inches. 1695—WATER JAR (1783) Cylindrical. Shigaraki stoneware of ¢ tially covered with an olive green running glaze; decoration; lacquer cover. Made at Shigaraki, p: 1600. Height, 8 inches; dic 1696—SAKE BOTTLE (1781) Globuluxeshineds with tall anaee ware of gray, sandy texture. Covered with a ) glaze. Made at Shigaraki, province of Omi. 1697—LARGE JAR Omi. 1850. 1698—LARGE SAKE BOTTLE (1698) With indented sides, bulbcehapen of hard gray sandy texture. The glaze over an incised basket pattern. with a gray crackle glaze. Made at 1800. ae ZEZE.—The term Zeze, with the loyal « range of ovens and potters. The name is here 1 and other forms which, while resembling Takatori, 5 1699—TEA JAR ae (1787) Zeze stoneware of hard gray textu ning glaze. Made at Zeze, } 1750. RG! tiie 1700—TEA JAR (1793) Zeze stoneware. Partially covered with brown metallic glaze. Made at Zeze, province of Omi. Mark, thread lines. 1700. Height, 3% inches. 1701—LARGE BOWL (1788) Zeze faience of sonorous texture. Covered with a light chocolate color glaze. Made at Zeze, province of Omi. 1650. Diameter, 111% inches; height, 5 inches. KOTO.—Pottery known as Koté was made at Sawayama, east of Hikone castle, by order of the Hikone family. The oven was started in 1818, and a potter from Kydét6 was placed in charge of it. No special merit was shown in the work until within recent years, when a number of potters from Kyoto and Seto were engaged. This accession resulted in a new departure, and pot- tery after Seto and Kydtd models, with porcelain and celadon as well, and suggestions of green and red Kutani were among the essays. The work was of short duration, for, on the assassination, by Mito Ronins, of the head of the Hikone family, the oven was abandoned. 1702—CYLINDRICAL VASE ; _ (1784) Koté porcelain. Clear white hard paste. A gathering of Chinese poets and sages, landscape and mountain scenery, painted in red and gold over the glaze. Made at Hikone, province of Omi. 1850. Height, 954 inches. 1703—COVERED WATER JAR (1786) Koté porcelain. Bamboo, plum, and pine, with figures in medallion and symbols of wealth, longevity, and happiness in medallions in blue under the glaze. Made at Hikone, province of Omi. Koto, painted. 1820. 170f4-TEA BOWL (1794) Koté porcelain of fine gray texture. Soft white glaze, three treasure balls in blue. Made at Hikone, province of Omi. Koto, stamped. 1850. Diameter, 5% inches. + aay, | Tete > aa, * t ee oe oi oy, oe eee r ‘ ~~ 4 - : a PROVINCE OF OWARI The potters of Kyoto and A ee ae in Japan. Owari stands next in the number of its p yet wi to gather information regarding the potters of e respective difference is very great; for, while the history of nearly every is known, but little information of Owari of a reliable nature is at | side the potters whose names are classical. The reason probably i being the art capital of the empire, the former residence of the court nobles, with all the elegance and luxury accompanying their the potters possessed an. added: dignity shyrietog within sia as OFUKE.—A pottery marked by rich running glazes of br sometimes blue on a dark Seto-brown glaze, is accredited to within the castle grounds of Nagoya. Other pieces, varying are also recognized as Ofuke. These were made in 1830-40 by bear the marks Fuke, Fuke yaki, Fuke sei and Hachi. — fexte 1705—CYLINDRICAL WATER JAR 7 (1839) Ofuke stoneware. Amber-brown and Made at Ofuke, province of Owari. Mark, 1706—LARGE BOWL (1840) Ofuke stoneware. Crudely formed, in a fir Blue, green and white running glaze over a : 1707—CAKE DISH (1881) With top handle. Ofuke stoneware of coar Brown crackle glaze, over which is a flambé glaze « purple. Made at Ofuke, province of Owari. 1800 “arg ae ca ee Fe 1708—OVIFORM VASE (1887B) Ofuke stoneware of dense texture. mottled green glaze. Made within the ele o province of Owari. 1650. | a 1709-SAKE BOTTLE (1830) Oviform. Ofuke stoneware. Blue soufflé running glaze. Made at Ofuke, province of Owari. 1650. F Height, 10% inches. _ 1710—OKIMONO (2362) Rabbit on stump. Ofuke faience. Hard yellowish-gray _ clay, covered with a brown and yellow crackled glaze. Made at Nagoya, province of Owari. 1800. aka . Height, 14 inches. SHINO.—Pottery commonly known as Shino is a rough, hard pottery with coarse, white crackled glaze, and, if decorated, showing hasty brush-marks in black. The work is usually seen in the shape of bowls, plates and incense boxes, rarely water-jars, tea-jars or bottles. The earliest forms look archaic, and some of them are attractive from their quaint and distinctive qualities. Records state that the earliest pieces recognized under the name of Shino date back to 1700 or before, and are due to Shino Saburo or Shino Oribe (pseudonym Shino So-on), a tea-lover who made them by order of his prince. The type of pottery must have been made long before this date, as the gray, white-inlaid Shino is accorded an age of three hundred and fifty years. The older pieces are very thick and heavy. 1711—TEA BOWL (1850) Shino stoneware. Finely crackled gray glaze, with ver- tical lines of orange and brown. Made at Seto, province of Owari. 1800. Diameter, 5% inches. “1712—-LARGE TERA BOWL _ (1849) With spout. Shino stoneware. Thick white opaque glaze over a pink giant crackle. Made at Seto, province of Owari. Diameter, 5% inches. 7 “csis) Shino stoneware. Light pink crackled glaze of thick texture. Decoration outlined in brown. Made at Seto, province of Owari. 1700. i iakads as ‘’ Diameter, 5% inches. 1714-SQUARE CAKE DISH (1851) Shino stoneware of reddish texture. Blue glaze, incised design of grasses and birds inlaid with Made at Seto, province of Owari. 1850. : 1715—CYLINDRICAL BRAZIER ; (1885) With metal rim. Shino stoneware of de ning glaze of red, blue and white over a light brown at Seto, province of Owari. 1800. Teakwood : 1 cover. ay ee 6 inches; I heigi 17146—INK STAND she (2356) Shape of Koto. Shino pLOER ESS ; province of Owned 1650. 1717—TEA CUP | Age (1901) Shino Oribe stoneware. Cream white opalescent overglaze and decoration of grass at Seto, province of Owari. 1750. 1718S—LARGE TEA JAR crackle, lakes in no “Maule s 1750. 1719—BOWL Bi dees (1893) Qribe stoneware. Thick bluish plied over the soft white glaze. Made at 1750. ; Diameter, 6 in 1720—WATER JAR (1852) Cynic eee Oribe Seto, province of Geant | Ape thre | Height, 6% ine (172I—QUADRILATERAL WATER JAR (1903) Oribe stoneware. Cream white glaze, with decoration in brown, brilliant green running glaze at corners; black lacquer cover. Made at Seto, province of Owari. 1800. Height, 615 inches; diameter, 5% inches. + 1722—WATER KETTLE _ (1892) Oribe stoneware of dense texture. Dull gray glaze, with splashes of olive green, decorated with archaic designs in brown. Made at Seto, province of Owari. 1850. Height, with handle, 1014 inches. 1723—TALL VASE (1864) Cylindrical shape. Oribe stoneware of hard gray texture. Neck and shoulder covered with a thick running glaze. Made at Seto, province of Owari. 1750. , : Height, 11% inches. _-1724-LARGE WATER JAR (1859) QOviform. Oribe stoneware of thick texture. Covered with a pink crackled soft glaze over which is a large splash of opaque green glaze, decorated with crude designs in white and brown. Made at Seto, province of Owari. 1700. Carved teakwood stand. Height, 24 inches. _ SETO.—The village of Seto, a few miles from the castle of Karatsu, formerly possessed four ovens. These have been for many years extinct. The _ pottery was known as Seto, or Seto Karatsu. _ 1793—MINIATURE TEA JAR - (1816) Seto stoneware of thin texture. Chocolate-brown mottled nee as glaze and bluish-gray clay. Made at Seto, province of Owari. 1650. ae Height, 1% inches. - 17%0-SMALL TEA JAR (1815) Globular shape. Seto stoneware, thin texture. Brilliant ___ brown glaze with purple flambé. Made at Seto, province of Owari. 1600. : Pe ete Height, 2 inches, 1727—TEA JAR shoe Saal (1806) Geto Faience, Chocolate, brown alas with « darker shade. Made at Fon) Sod ag of hal =a 1728—TEA JAR a (1802) Seto stoneware of hard red texture. Thick k glaze. Made at Seto, province of Owari. M 1650. ea 4 | 1729—TEA JAR 1730—SEMI-GLOBULAR TEA JAR a (1800) Seto faience. Chocolate-brown glaze, golden-brown. Made at Seto, province of 1731—GLOBULAR TEA JAR (1808) Seto stoneware of gray texture. ( splashes of brown and pio Made at Seto, 1800. at ee s-v¥ = Toi -. SPR etre 1732—TWO OKIMONOS eee (2358) Models of Japanese houses. § we and glaze, with blue, green, and brown v province of Owari. 1850. — ce oe \ ea a 1733—GLOBULAR TEA JAR Oe OG ¥ 4 (1836) Seto stoneware of thin texture. 1 with dark brown splashes. Made ; of the Tobi Shunkei glazes. 1650. Height, 2% inches. eto porcelain of pure white texture. Mazarine the glaze, rious ornaments in white outline. Made by Hansuke at eto, province of Owari. 1815. 5 Se Diameter, 2% inches; height, 1 inch. ¢ eto stoneware of dark gray texture. Covered with a n glaze. Made at Seto, province of Owari. Mark, Attributed to the first Toshiro (1225) by Ninagawa. =e Height, 2% inches. stoneware of coarse texture. Mottled brown and Made at Seto, province of Owari. 1400. : Height, 2% inches. | Seto stoneware. Mottled brown metallic glaze. Made at | yrovince of Owari. 1700. | ia : Height, 2%4 inches. Mottled brown metallic glaze. Made 1600. Height, 2% inches. 1741—TEA JAR (1833) Seto stoneware of hard gray texture. Mottled brow ning glaze. Made at Seto, province of Owari. ' 1700. me: Height, 2% 1742—TEA JAR (1835) Seto stoneware of dense texture. Mottled br glaze. Made at Seto, province of Owari. Mark, | 1550. “og Sa 1743—-TEA JAR (1801) Seto stoneware. Hard red texture. glaze splashed with dark brown. Made at Seto, 1700. ; 44S 1744-—-TEA JAR (1803) Seto stoneware of thin gray texture. brown glaze. Made at Seto, province of Ow lines. 1700. . " 17j5—TEA JAR 7 (1804) Seto faience. Dense gray texture. ning glaze. Made at Seto, province of | lines. 1500. me 1746—TEA JAR a (1817) Seto stoneware of buff texture. Mottle glaze, with splashes of yellow. Made at Seto, 1600. 1I747—TEA JAR (1826) Seto stoneware of dense texture. glaze. Made at Seto, province: of | Owar 1400. ) (1831) Seto stoneware. A thick brown glaze, with running splash of a darker brown. Made at Seto, province of Owari. Mark, thread lines. 1600. ry . Height, 3 inches. ass), Seto stoneware of coarse reddish texture. A dark mot- ~ tled-brown. glaze, with splash of red. Made at Seto, province of A “rr wari. Mark, thread lines. 1450. ee Height, 3 inches. a a. "Seto stoneware of dense texture. MO: brown crackle Made at Seto, province of Owari. Mark, thread lines. Height, 3 inches. SEAL, SURMOUNTED BY A FABULOUS ANIMAL (2357) Seto porcelain. Made by Sosendo at Seto, province of Owari, +1820. Height, 3% inches. “Seto stoneware of reddish texture. Brown metallic glaze. a a at Seto, province of Owari. 1700. te ey | Height, 314 inches. 1R TEA JAR aye Seto stoneware of hard red texture. Tea-color and mot- glaze _ Made at Seto, province of Owari. 1650. . Height, 3% inches. to stoneware of thin gray texture. Dull dark brown [ade at Seto, province of Owari. 1650. mig ; Height, 31% inches. 1765—TEA BOWL (1904) Seto stoneware of gray texture. Dark glaze, decoration of pine, bamboo, and plum t Seto, province of Owari, Shuntai (imp.). % 1800. 1756—TEA JAR (1824) Seto stoneware of gray texture and c lic glaze, with irregular dark brown pt province of Owari. 1750. 1757—TEA JAR (1838) Seto stoneware. Chocolat TO" glaze over a crackled silos Made « a 1750. 1758—TABLE SCREEN As (2359) Seto porcelain. Covered with = with peony flowers on obverse, and storks reverse, carved in relief and glazed in white. ; at Seto, province of Owari. 1820. 1759—TEA JAR (1805) Seto faience. Mottled Faye at Seto, province of Owari. 1550. 1760—TEA JAR (1809 ) Seto faience of red texture 1761—TEA JAR ; (1825) Seto stoneware. Chocolate brown ; splashes. Made at Seto, P ro lines. 1600. oa ae _ 1762—FIRE BOWL FOR SMOKER Se (1856) Seto porcelain. Inner and outer surface covered with a fine metallic brown glaze, floral sprays and butterflies, painted in various enamel colors over the glaze. Made by Sosendo at Seto, province of Owari. Yakinushi Sosendo (baked by Sosendo). 1820. Diameter, 4 inches. 1870) Seto stoneware of coarse gray texture. Covered with a black Raku glaze, incised Chinese characters in circle, “ Man-zai- raku ” (the joy for ten thousand years). Seto, Owari. 1800. Diameter, 4 inches. _ 116j—-TRA BOWL (1871) Seto stoneware. Coated with a thick tea-color glaze. Made at Seto, province of Owari. 1700. Diameter, 4 inches. - 1%65—FIRE BOWL _ (1880) Seto stoneware. Gray sandy texture. Soft gray crackled glaze, openwork copper cover. Made at Seto, province of Owari. ~ Mark, Shunzan (imp.), 1800. oF ' Height, 4 inches. — 1%66—GLOBULAR BOWL . (1897) Seto stoneware of coarse sandy texture. Thick, bluish- _ white Ofuké glaze, with incised floral medallion. Made at Seto, province of Owari. Mark, circle (imp.). 1800. =. ae. Height, 4 inches; diameter, 5% x 6 inches. " 1767—GLOBULAR JAR (1844) Seto stoneware. Coarse texture. Mottled brown glaze, ’ with splashes of a darker brown, and incised band round shoulder and metal color. Made at Seto, province of Owari. 1350. a Height, 4 inches. ww 1768—TEA BOWL (1846) Seto stoneware of fine gray texture. Black Raku glaze, with white panel and decorated in Oribe style. Made at Seto, province of Owari. 1750. Diameter, 444 inches. 1769—TEA BOWL (1900) Seto stoneware of thin gray texture. Gray crackled glaze, with splashes of reddish-brown. Made at Seto, province of Owari. Diameter, 4% inches. 1770—PORTABLE STOVE (1899) Seto stoneware of hard brown texture. Thick splashes of blue, red, and soft white crackled glazes over a gray surface. Made at Seto, province of Owari. 1800. Fine carved teakwood cover. Height, 4% inches. IV71I—TEA BOWL (1821) Seto stoneware of hard reddish texture. Mottled and streaked yellow and brown glaze. Made at Seto, province of Owari. 1500. Diameter, 5% inches; height, 2% inches. 1772—TEA BOWL (1822) Seto stoneware. Light olive-green glaze, incised leaf pat- terns. Made at Seto, province of Owari. 1800. Diameter, 5 inches; height, 2% inches. 1773—QUADRILATERAL BOWL, ON BASE (1823) Seto stoneware of dense texture. Lustrous glaze, with brown splashes over a pronounced crackle. Made at Seto, province of Owari. 1800. Diameter, 5 inches; height, 4% inches. 1774—TALL TEA BOWL (1869) Seto stoneware of red texture. Coated with a thick tea- color glaze. Made at Seto, province of Owari. 1800. Height, 5 inches diameter, 4% inches. SAKE BOTTLE (1876) Globular shaped. Seto porcelain of thin texture. Opaque gray crackled glaze, with splashes of green and blue. Made at Seto, province of Owari. 1850. ae Height, 5 inches. -HANGING VASE, DESIGN OF BAMBOO ROOT (878) Seto aaewiec of dense texture. Coated with a mottled ae a Made at Seto, province of Owari. 1650. ae Height, 5 inches. | WATER J JAR (1883) Seto stoneware of dense texture. Covered with a thick bluish-white glaze. By Kuro at Nagoya, province of Owari. Height, 5 inches. A BOWL ‘3 (1886) Seto stoneware. Yellow and blue running glaze over a pro- i nounced erackle. Made at Seto, province of Owari. 1600.. Diameter, 5 inches. ae ie stoneware of hard red texture. Brown metallic glaze, th splash 0 of clair de lune. Made at Seto, province of Owari. Height, 5% inches. . Mottled brown glaze, lic souffié. Made at Seto, province of Owari. 1750. a Height, 6 inches. -* stoneware. Brown metallic and black running glaze. Seto, alo of Owari. 1800. Diameter, 6 inches. 1782—GLOBULAR SAKE BOTTLE (1905) Seto stoneware. Deep brown opaque glaze, with green and blue splashes at neck and:shoulder. Made at Seto, province of Owari. Seventeenth century. Height, 64% inches; diameter, 5 inches. 17883—TABLE SCREEN (2360) Moon shaped. Seto porcelain. Fine white texture, plum tree in blossom in high relief and decorated in blue. Made by So- sendo at Seto, province of Owari. 1820. Height, 6% inches. 1784—BOW L (1896) Seto faience. Red Raku crackled glaze, dragon painted in black and white under the glaze. Made at Sasashima, near Nagoya, province of Owari. Mark, Sasashima (imp.). 1800. Diameter, 6% inches. 1785—FIRE BOWL (1890) Globular shaped. Seto stoneware of dense texture. Opaque yellow glaze over a pronounced yellow crackle, relief deco- ration of Chinese figures, houses and rocks. Made at Seto, proy- ince of Owari. 1800. Diameter, 10 inches; height, 6% inches. 1786-—SAKE BOTTLE (1863) Quadrilateral. Seto stoneware of thin texture. Dark gray crackled glaze, over which is a pale blue running glaze pat- tern round the neck and shoulders. Decoration of “ wood-grains ” painted in brown under the glaze, fan and symbols carved in relief in the paste. Made at Seto, province of Owari. 1800. Height, 10 inches. 1787—CYLINDRICAL VASE (1819) With archaic handles. Seto stoneware. Covered with a greenish-gray crackled glaze and incised band. Made at Seto, province of Owari. 1800. Height, 10 inches. (1874) Gourd-shaped. Seto stoneware of gray texture. Light brown crackle glaze, with splash of olive brown. Made at Seto, province of Owari. 1700. A? Height, 10% inches. 1739-SAKE BOTTLE _ 873) Gourd-shaped. Seto stoneware of gray texture. Light ___ brown crackle glaze with splash of olive brown. Made at Seto, province of Owari. 1800. ; Height, 6Y inches. 2) am, 90-VASE _ (1820) Gourd-shaped. Seto faience of thin gray texture. Cov- ered with a thick black glaze, chrysanthemum crests outlined in brown on a white crackled surface. Made at Seto, province of Owari. 1850. oii AD ep Height, 6% inches. ae ta ye 791—BRAZIER aa (2361) Form of cow. Seto porcelain. Rich dark brown glaze, ~ mottled with white, Made at Seto, province of Owari. Mark, _- Shun-u (imp.). 1800. Carved teakwood cover and stand. ngs mi: Height, 7 inches. . 1843) | Bucket-shaped. Seto stoneware. Blue and light brown splash glaze. Made by Shunitsu at Seto, province of Owari. : _ Mark, Shunitsu, impressed. 1850. 2 ae Height, 7 inches. r¢ with a soft white crackle glaze. Made at Seto, province ase 8 inches square, 1794—-TEA JAR (1879) QOviform. Seto stoneware of dark gray texture. Coated with a thick brown glaze. Made at Seto, province of Owari. ** So-bo-kwai,”’ incised. Other marks, obscure. 1650. Height, 8 inches. 1795—CYLINDRICAL WATER JAR (1799) Seto stoneware of dense texture. Invested with a mottled brown and yellow thick glaze. Made at Seto, province of Owari. 1600. Height, 8 inches; diameter, 64% inches. 1796-—BEAKER-SHAPED VASE (1841) Quadrilateral. Seto stoneware of dense texture. Gray crackled glaze, with blue and brown running glaze at mouth. By Shunzan. Made at Seto, province of Owari. Shunzan, impressed. 1850. Height, 8% inches. L1797—OVIFORM JAR (1868) With handles for hanging. Seto stoneware of fine hard texture. Brown metallic, with dark splashes. Made at Seto, province of Owari. 1750. Height, 8% inches. 1798—OVIFORM VASE (1891) Seto stoneware of thick texture. Partially glazed with yellow and green running glaze. Made at Seto, province of Owari. 1750. Height, 8% inches. 1799—-SAKE BOTTLE (1888) QOviform. Seto stoneware. Mottled dark purple glaze, with splashes of soft white. Made at Seto, province of Owari Kei-ho (imp.). 1700. Height, 8% inches. 1800—OVIFORM SAKE BOTTLE (1875) Seto stoneware of thin texture. Blue and green running glaze at shoulder and neck, and Oribe design in brown. Made by Shuntai, at Seto, province of Owari. 1800. Height, 8% inches. 1801—CYLINDRICAL VASE oo) Seto stoneware of dense texture. In imitation of a section of a pine tree, dark brown thick glaze. Made at Seto, province of Owari. 1650. Height, 9% inches. Sa - 1802—SAKE BOTTLE (1842) QOviform. Seto stoneware. Coarse red texture. Mottled brown glaze. Made by Shuntai at Seto, province of Owari. _ Shuntai impressed. 1800. ‘ Height, 9% inches. 1803—SAKE BOTTLE _ (1828) Oviform. Seto stoneware. Brown crackle glaze, covered with greenish-blue running glaze, silver rim. Made at Seto, provy- ince of Owari. 1750. : Height, 9°4 inches. 180f-SAKE BOTTLE (1829) Oviform, with tall, slender neck. Seto stoneware. Cov- ered with a thick black glaze of iridescent lustre and brown metallic splashes. Made at Seto, province of Owari. 1750. Height, 12 inches. (1805—TALL QUADRILATERAL VASE (1877) With handles for hanging. Seto stoneware. Covered with a pink crackled glaze, with a blue running glaze and gold lacquer _ at mouth. Incised curved lines. Made at Seto, province of Owari. _ Shuntei, stamped. 1800. Height, 13 inches. - 1806—LARGE SAKE BOTTLE ae (1812) QOviform. Seto stoneware of hard reddish texture. Choc- 3 __ olate-brown glaze, splashed with dark brown. Made at Seto, province of Owari. 1800. Height, 13% inches. 1807—LARGE SAKE BOTTLE (811) Oviform, with tall slender neck. Seto stoneware of gray texture. Brilliant brown mottled glaze, with purple iridescence. _ Made at Seto, province of Owari. 1750. ; : * Height, 13% inches, 1808—VERY LARGE TEA JAR (1865) QOviform. Seto stoneware of dense texture. Covered with a metallic brown glaze, over which are splashes of dark brown run- ning glaze. Made at Seto, province of Owari. 1800. Height, 17 inches. 1809—TALL VASE (1860) 'Trumpet-shaped. Seto porcelain of thick texture. Cor- rugated and floral patterns carved in low relief in the paste, the whole covered with a monochrome glaze of pellucid green. Made by Sosendo at Seto, province of Owari. 1820. Carved teakwood stand. Height, 22% inches. PROVINCE OF OSUMI Certain specimens of finely crackled white Satsuma, in some cases almost crystalline in appearance, bearing evidences of considerable age, are referred to Chdsa, Osumi, by Japanese experts. It is recorded that at this place the Korean potters who settled in Satsuma first discovered the white clay, and made the white crackled faience. This was the origin of the famous white Satsuma. It is said that the making of this pottery continued as late as 1789. 1810—TEA BOWL (1909) Chosa stoneware. Hard reddish texture, with snake-skin glaze. Made at Chosa, province of Osumi. Diameter, 5 inches. 1811—TEA BOWL (1907) Chosa faience of gray texture. Tiger-skin glaze “ Tor- gray g gs afu” rim. Made with silver at Chosa, province of Osumi. 1600. Diameter, 5 inches; height, 3 inches. 1812—TEA BOWL (1908) Chosa stoneware. Snake-skin glaze “‘ Ziakatsu,” the in- side with a greenish-gray glaze. Made at Chosa, province of Osumi. 1600. Diameter, 5 inches; height, 334 inches. 1818—MINIATURE SAKE CUP (1926) Satsuma faience. Miniature yellow, purple, and green glaze, known as “ Bekkode.” Made at Tateno, province of Sat- suma. 1775. Has teakwood stand. Diameter, 1% inches; height, 1%4 inches. 1814—SQUARE INCENSE BURNER (1925) Satsuma faience. Fincly crackled glaze, with splashes of yellow, brown and green. Made at Tateno, province of Satsuma. 1800. Height, 2 inches; diameter, 2 inches. NAYESHIWOGAWA.—Under this name may be included the pottery bearing the mark Naye, which is said to have been a common signature for the potters of Nayeshiwogawa one hundred and fifty years ago. The mark is extremely rare. | —-« 1815—OK IMONO _ (2368) Camellia bud and leaves. Modelled in Satsuma faience of _ gray texture, minutely crackled under a pale green glaze. Made _at Nayeshirogawa, province of Satsuma. 1800. om Height, 2 inches; length, 61% inches. _ 1816—WRITER’S WATER POT ; (1929) Satsuma stoneware. Metallic brown glaze, splashed with -bluish-black. Made at Kagoshima, province of Satsuma. 1775. : Height, 2 inches. _ 1817—GLOBULAR TEA JAR (1913) Satsuma faience. Dark gray glaze. Mishima design, in- laid in white under the glaze. Made at Nayeshirogawa, province _ of Satsuma. 1750. = ae se Height, 2% inches; diameter, 3 inches. 1818—SAKE CUP (1924) Satsuma faience of soft ivory white glaze. A bird and plum tree in blue under the glaze. Made at Nayeshirogawa, _ province of Satsuma. Mark, Senma Sei (made by Senma), im- + pressed. 1870. Diameter, 2% inches; height, 1% inches. 1819—TEA BOWL (1967) Satsuma faience of cream-white texture. Centre surface E covered with an opaque blue glaze. Made at Nayeshirogawa, prov- , ince of Satsuma. 1750. fee z Height, 2% inches; diameter, 4% inches. 2 " co 2 —_* a (e4 Se 1820—SAKE CUP | a: Cee (1914) Satsuma faience of soft ‘thin texture. crackled glaze, leafy scroll painted in blue ii at Nayeshito gare. province of Satsuma. 1850. . ; Diameter, 2% inches; met: 1821—TEA JAR eas (1944) Satsuma stoneware. Metallie ak g opaque brown and blue glaze. Made at K Satsuma. 1800. 1822—TELA JAR ; ¢ (1858) Satsuma faience. Floral Aas blue. Made by Tamikichi at Seto, province of 1823—TEA JAR wes, (1932) Satsuma stoneware. Covered with dark tea-brown color. Made at Nay a suma. 1700 1824—TEA JAR (1933) Satsuma faience. Bluish-gray — ? Mishima design in brown under the glaze. province of Satsuma, 1800. — ae 1825—INCENSE BURNER (1938) Satsuma faience of coarse red t te Made at Nayeshirogawa, ae of wood stand. 1826—PERFUME BOTTLE ; Oe Satna faience us pe oxture enamels. Niel A Nisei awa provi | be \ ar Ai. fis Satsuma stoneware of hard red texture. Coated with a brown metallic glaze, with splashes of a darker brown. Made at _ Kagoshima, province of Satsuma. Mark, Yoshimitsu (imp. ). 1880. Height, 3 inches. ¥ 1828—TE A BOWL (1964) Satsuma stoneware of hard texture. Coated with soft al white glaze and chrysanthemum petals, carved in relief, painted : in blue, green and gold, seal and butterflies on the inside. Made Pas at a ayeshirogawa, province of Satsuma. 1800. Height, 3% inches; diameter, 5 inches. (1695) With open-work bronze cover. Satsuma faience. Incised : _ panels ornamented with bas-relief figures and brown glaze. Made a eon EWayehirogawe, province of Satsuma. 1700. Height, 3% inches; diameter, 3 inches. ; (1948) Satsuma faience of fine gray texture. Coated with a soft _ ivory-white and a brown running glaze. Made at Nayeshirogawa, province of Satsuma. 1700. es . apie Height, 3% inches. 949) ee faience of gray texture. Invested with a pale rown pet glaze, with an over- ai of rich brown. Made at Height, 3% inches. _ Satsuma faience. Coated with an amber-color glaze. In- crests and scrolls. Made at Nayeshirogawa, province of ma. 1800. Diameter, 34% inches; height, 214 inches, rt The Corcora” Gallery of Art, Washington, D.C. 1838-—TEA JAR (1950) Satsuma stoneware of hard reddish texture. Brown and yellow Seto glaze. Made at Kagoshima, province of Satsuma. 1800. Height, 4 inches. 18384—TEA JAR (1936) Satsuma faience. 'Tea-brown Seto glaze. Made at Naye- shirogawa, province of Satsuma. Mark, thread lines. 1800. Height, 4 inches. 1835—TEA BOWL (1966) Satsuma faience of fine pale-yellow texture. Creamy- white glaze, with rich brown running glaze, thickly applied. Made at Nayeshirogawa, province of Satsuma. 1830. Diameter, 4 inches; height, 3 inches. 1836—TEA JAR (1934) Satsuma faience of red texture. Seto Kusuri glaze. Made at Nayeshirogawa, province of Satsuma. Mark, thread lines. 1700. Height, 434 inches. 1837—TEA JAR (1935) Satsuma faience. Thick, tea-brown Seto glaze. Made at Nayeshirogawa, province of Satsuma. Mark, thread lines. 1650. Height, 414 inches. 1838—TEHA BOWL (1946) Satsuma faience of fine pale-yellow texture. Ivory-white crackled glaze. Willow tree, river view and mountains, painted in black under the glaze. Made at Nayeshirogawa, province of Sat- suma. 1850. Diameter, 4% inches. 1839—OVIFORM TEA JAR (1969) Satsuma stoneware of hard reddish texture. Covered with a fine iron-rust glaze. Made at Kagoshima, province of Satsuma. Mark, thread lines. 1800. Height, 414 inches; diameter, 4% inches. (1927) Satsuma faience of soft gray texture. Covered with a soft creamy glaze, with a minute crackle. Made at Nayeshir- ogawa, province of Satsuma. 1780. Diameter, 434 inches. (1916) Satsuma faience of soft gray texture. Red, yellow, blue, and green stripes in sections, in the style of Cochin Chinese, has silver rim. Made at Nayeshirogawa, province of Satsuma. 1750. Diameter, 4°54 inches. 4 ~ 1842—CYLINDRICAL VASE _ (1960) Satsuma stoneware of reddish texture. Seto-kusuri glaze, with splashes of rich brown running glaze. Made at Kagoshima, _ province of Satsuma. 1700. Re Height, 5 inches. 1843—TEA POT _ (1952) Satsuma faience of hard gray texture. Coated with a minutely crackled pale-brown glaze. Made at Nayeshirogawa, province of Satsuma. 1750. Height, 5 inches. 1844—TEA BOWL _ (1947) — Satsuma faience of gray texture. Coated with a pale- _ brown soft glaze. Made at Nayeshirogawa, province of Satsuma. - 1700. Diameter, 5 inches. - 18j5—LEAF-SHAPED SAUCER na (1953) Satsuma faience. Invested with a soft ivory-white glaze, minutely crackled. Made at Nayeshirogawa, province of Sat- suma. 1750. Diameter, 5 x 6% inches. (1931) Satsuma stoneware of hard reddish texture. Gray glaze, in imitation of shark-skin glaze. Made at Tsuboya, province of say Satsuma. 1850. =a a Height, 5% inches. 1847—TEA BOWL (1912) Satsuma faience of gray texture. Lotus design, and coated with a minutely crackled glaze and the Buddhistic invoca- tion “ Namu Amida Butsu” (Hail Omnipotent Buddha), pen- cilled in gold. Made at Nayeshirogawa, province of Satsuma. 1800. Diameter, 5% inches; height, 2% inches. 1848—V ASE (1954) Bottle-shaped. Satsuma faience of fine texture. Covered with a soft creamy-white glaze. Made at Nayeshirogawa, province of Satsuma. 1750. Height, 6 inches. 1849—W RITING-TABLE SCREEN (1920) Satsuma faience of dense texture. Cream-color glaze. ‘Boy at study on obverse and a man writing on reverse, and various borders and crests, all painted in gold, red and green enamels. Made at Nayeshirogawa, province of Satsuma. 1800. Teak- wood stand. Height, 6 inches. 1850—OBLONG TRAY (1919) Satsuma faience of fine texture. Covered with a soft ivory-white crackled glaze, and decorated with floral scrolls and peony spray in gold, red, blue and green enamels. Made at Nayeshirogawa, province of Satsuma. 1850. Length, 6 inches; width, 4 inches. 1851—LOW GLOBULAR BOTTLE (1937) Satsuma faience of reddish texture. Covered with a tea- brown Seto glaze. Made at Kagoshima, Satsuma. 1700. Height, 6% inches. 1852—OVIFORM TEA JAR (1928) Satsuma stoneware of hard reddish texture. Metallic brown glaze. Made at Kagoshima, province of Satsuma. Mark, Hoko, impressed. 1775. Height, 6% inches. be i at ” id (197) Satsuma faience of fine gray texture. Soft, ivory-white glaze minutely crackled, gray clay. Made at Nayeshirogawa, province of Satsuma. 1800. Carved teakwood stand. ITeight, 6% inches. (1951) Satsuma stoneware of hard reddish texture. Metallic brown Seto glaze. Made at Kagoshima, province of Satsuma. oan. nor Height, 7 inches. 1855—INCENSE BURNER - _ (1941) Globular, on tripod. Satsuma faience of fine texture. Coated with an ivory white soft crackle. Made at Nayeshirogawa, - ‘province of Satsuma. 1750. Carved teakwood stand. Height, 7 inches; diameter, 81% inches. 56—QUADRILATERAL SAKE BOTTLE _ (1921) Satsuma faience of fine texture. Coated with a fine white ivory erackle glaze. Landscape, river view and mountain scen- __ ery painted in blue, red and green enamel and enhanced with gold. _ Round the shoulder are conventionalized crest designs in dark blue, red and gold. Made at Nayeshirogawa, province of Satsuma. 1800. c Height, ™% inches, -o- e - (asi8) Bs faience of fine texture. Coated with a creamy white erackled glaze. Made at Nayeshirogawa, province of Sat- _suma. 1850. . Diameter, 7% inches. ee white Biles glue over which is a decoration of floral oe in ues aenlk. Seas Height, 714 inches. ny - an, 4 1859—OVIFORM JAR eye ey (1930) Satsuma stoneware. Covered with a metalli gray glaze panel surrounded by leafy scroll, carve Made at Kagoshima, province of Satsuma. 17 7 5. 1860—SAKE BOTTLE | (2370) Egg plant design. Satsuma faience of ora) covered with white glaze. Made at Nayeshirogawa, Satsuma. 1800. Doe 1861—OKIMONO (2366) Three monkeys on rock. Saieunnue ture; the monkeys covered with crackled cr rock with a mottled black enamel. Made at Na ince of Satsuma. 1750. se 1862—OVIFORM JAR (1939) Satsuma faience. Mottled brown designs in cream crackled glaze. Made at Na ince of Satsuma. 1790. 1863—SAKE BOTTLE ; (1956) QOctagonal-shaped. Satsuma fi aler texture Covered with a soft creamy gl purple and yellow. Made at Kagoshima, pi 1780. 2 \ 186j—OKIMONO | ae aay page _Kwan-on. Satsuma Seep Soke Made at Nayeshirogawa, province i ~ SAKER-SHAPED VASE C ae}. With bold flaring mouth. Satsuma faience of hard bluish texture. Coated with a dark brown running glaze. Made at Ta- no, province of Satsuma. 1650. ; ' | Height, 9 inches. (1922) fform. Satsuma faience of fine texture. Invested oe an al white glaze with a pronounced crackle. Dragon ‘ ‘i epi band round shoulder. Made at Nayeshirogawa, ince of Satsuma. 1800. oi. ha Height, 9 inches. ORM VASE : | Satsuma stoneware of dense texture. Invested with a bril- rk brown glaze. Storks and cloud forms modelled in high elief. Made at Kagoshima, province of Satsuma. 1700. 55) Flat oviform. Satsuma faience of fine texture. Covered fine ivory-white crackled glaze, and landscape painted in blue ‘under the glaze. Made at Nayeshirogawa, province of Satsuma. 0. _ Teakwood stand. ; Height, 9% inches. j— AKE ‘BOTTLE : 2 =f Quadrilateral. Satsuma faience of fine yellow texture. d with a pale brown soft glaze minutely crackled; leaf black round the shoulder. Made at Nayeshirogawa. weet Saicumn, 1690. | in relief. Made at Kioto, province of Yamashiro. 1750. ay a me 5 Height, 14% inches. URE BOTTLE : (2078) Gourd-shaped. Kioto faience of dark gray texture and aed Made at Kiyomidsu, Kioto, province of Yamashiro. 1850. Height, 1% inches. L SAUCER 0") Kioto faience. Dark gray glaze, chrysanthemum flower of leaf i in blue and brown under the glaze. Made by Dohachi at iyomidsu, Kioto, province of Yamashiro. Mark, Omuroyama achi, impressed. 1830. Kioto faience. wee Inside glazed with dull gray Made at Kioto, province of Yamashiro. Toseizan, im- 1952—-SMALL OKIMONO (2411) The three Nikko monkeys. “See no evil, hear no evil, speak no evil.” Modelled in Kioto faience in coarse gray texture and covered with red raku glaze, mixed with white. Made at Kioto, province of Yamashiro. 1800. Height, 1% inches. 19583—NAPKIN VASE (2106) Kioto faience. Gray glaze, with plum blossoms in brown and white. Made by Kenzan at Narutaki, Kioto, province of Yamashiro. Mark, Kenzan, painted. 1700. Height, 2 inches. 195,-INCENSE BOX (2076) Chrysanthemum-shaped. Kioto faience of soft yellow texture. Dark gray glaze. Made by Woho at Kioto, province of Yamashiro. Mark, Woho, impressed. 1850. Diameter, 2 inches. 1955—_INCENSE BOX (2391) Form of duck. Kioto faience. Gray clay, covered with dull gray glaze, and enamelled. Made at Awata, Kioto, province of Yamashiro. Mark, Ninsei, impressed. 1800. Height, 2 inches. ROKUBEI.—Rokubei is the name of a family of famous Kiyomizu pot- ters whose founder was a pupil of Yeisen. The first Rokubei began in 1737, The fourth generation of this family is now at work, and like the second and third generations has adhered to the typical Kiyomizu style established by the | founder of the family. 1956—BIRD-SHAPED INCENSE BOX (2075) Kioto faience of dense gray texture. Dark brown glaze. Made by First Rokubei at Kiyomidsu, Kioto, province of Yama- shiro. Sei, impressed. 1790. 1957—SMALL SAKE CUP (2073) Soft white glaze, floral scrolls in dark blue, under the glaze. Made by Yozo at Kioto, province of Yamashiro. Yozo, painted in blue. 1850. Diameter, 2 inches. _ (2182) Kioto faience. Dark brown glaze, relief ornaments. Made ot Kioto, province of Yamashiro. Mark, Kaku-chiu, incised. Diameter, 2 inches. Kioto faience. Bluish-gray crackled glaze, with pine ‘a raread painted in brown under the glaze. Made at Awata, Kioto, : pxpanee of eect rt LORE Height, 2% inches. - MoKUBEI —In 1807 the famous potter Mokubei visited Kaga, and re- mained in that province three years. It is not impossible that some of the Kaga porcelain. of that period may have been made by him. A tea-pot in the col- lection is characteristic of Mokubei’s work. The clay is identical with Kaga, a cand. the has A ga mark Kinju is said to be a mark used by Mokubei at that G12) Kioto faience. Grayish-white glaze, with dragons and are diaper patterns carved in low relief. Made by Mokubei at Kioto, ___ province of Yamashiro. Mokubei, impressed. 1800. a ene . Diameter, 2% inches. Kioto faience. Covered with mottled brown: ‘glaze. Made © e Sohaku at Kioto, province of Yamashiro. 1550. — Height, 2% inches. er eas hich was modelled by hand. It dates from 1830-1860. The in the form of bowls, tea-pots and wine bottles. On the sides of are incised lines of poetry. She died in 1860 at the age of seventy- ler successor is in feeble health, and makes but little pottery. Lotus design. Kioto faience. Unglazed. Incised Jap- ese ve se. Made by Rengetsu, the famous female potter, at rovince of Yamashiro. Rengetsu, incised. 1850. ve Height, 2% inches, 1963—SUZURI | 3 (2407) Form of chess-man. Kioto faience. Gray clay, bluish glaze. Greek fret borders and waves in relief u glaze. Made at Kioto, province of Yamashiro. ee. i 1964—SAKE CUP (2077) Kioto faience of red texture. Gray glaze, waite blossoms painted i in enamel colors. Made by Yozo es Kioto, province of Yamashiro. Yozo, impressed. 1 Diameter, : 1965—INCENSE BURNER ae (2099) Kioto faience of white texture. Opaque over a bold crackle, and an imperial crest in gold. midsu, Kioto, province of Yamashiro. chee a . pressed. 1850. . 1966—INCENSE BURNER (eR Hioto ees of fine > Bray texture. pais: liar 1967—SMALL SAKE CUP ty ee (2071) Kioto faience. Gray glaze, with grass Made by Kitei at Kiyomi Kioto, prove of 7 impressed. 1850. 1968—MINIATURE VASE | iy (2085) — Bottle-shaped. Kioto fata! Amber hard red clay. Made at Kioto, PTs of Y 1969—INCENSE BOX, IN FORM OF DUCK a Ss Kioto faience of gray ig: aageriees Kioto faience of coarse red texture. Partially covered with a brown aac Made by Sohaku at Kioto, province of Yama- : Height, 234 inches. ri (2201) Kioto faience of reddish gray texture. Wave design 7 around the rim in blue and conventional fret pattern in white over the, drab-gray glaze round the foot. Made at Kioto, province of mashiro. Mark, Taizan (imp.). 1800. ora Height, 2%4 inches. Kioto faience of thin texture. Coated with a pink-purple ind panels in fine openwork design. Made at Kioto, prov- Yamashiro. Mark, Raku (imp.). 1810. fied : Diameter, 234 inches. oH Stork-shaped. Kioto faience. Rich salmon-red_ glaze, ith specks of brown and white. Made at Kioto, province of Zamashiro. Mark, Raku (imp.). 1800. “es i Diameter, 3 inches. weer sleien of a chrysanthemum. Kioto, faience of soft tex- s Pi ornce of Yamashiro. Mark, Yeiraku (imp. * 1830. Diameter, 3 inches. Height, 3 inches, 1976—TEA JAR (2117) Kioto faience. Soft white crackled glazc, flowering plants in blue under the glaze. Made at Kioto, province of Yamashiro. 1850. Height, 3 inches. 1977—INCENSE BURNER (2115) Kioto faience. Soft white glaze. Fish jumping from stream and other designs, minutely painted in blue in the style of old delft. Has openwork silver cover. Made at Kioto, province of Yamashiro. 1800. Height, 3 inches. 1978—TEA JAR (7090) Kioto faience of fine gray texture. Metallic brown glaze. Made by Rokubei at Kiyomidsu, Kioto, province of Yamashiro. Mark, Sei. 1800. Height, 3 inches. L1979—TEHA JAR (2089) Kioto faience. Finely crackled gray glaze, with an over- glaze of black. Made by Ninsei at Kioto, province of Yamashiro. Mark, Ninsei, impressed. 1670. Height, 3 inches. 1980—GLOBULAR SAKE BOTTLE (2074) Kioto faience. Crackled creamy-white glaze, with land- scape in cobalt blue. Made by Giozan at Kioto, province of Yama- shiro. Giozan, impressed. 1850. Height, 3 inches. 1981—INCENSE BURNER (2044) Kioto faience. Crackled creamy-white glaze. Brocade de- signs painted in red and green enamels and silver and gold. Has openwork metal cover. Made at Seikanji, Kioto, province of Yamashiro. Seikanji, impressed. 1750. Height, 3 inches. “ry Kioto faience of pale yellow texture. Greenish-white pattaica glaze, with bamboo painted in brown. Made by Keinin, at Kioto, province of Yamashiro. 1850. Diameter, 3% inches. - 1983-SMALL SAUCER (2069) Kioto faience. Dull gray glaze, with cherry blossoms in relief under the glaze and enamelled. Made by First Rokubei at Kiyomidsu, Kioto, province of Yamashiro. Rokubei, incised. 1790 Diameter, 3% inches. -1984-TEA BOWL (128) Kioto faience of fine gray texture. Soft white glaze, with landscape painted in dark blue and black under the glaze. Made ate Mokubei at Kioto, province of Yamashiro. Mark, Sehei. 1800. Diameter, 3% inches. 1985—TWO TALL CUPS (2201) Kioto faience of pale gray texture. Light gray glaze, with willow trees in brown. Made at Kioto, province of Yama- shiro. Marks, Kenzan (written). Awata (imp.). 1750. Height, 3% inches. wie 1986—TEA JAR (2087) Kioto faience of coarse gray texture. Thick, amber- brown Raku glaze. Made by Shoi at Kioto, province of Yama- shiro. 1550. Height, 3% inches. _ NINSEI.—Nonomura Seibei, son of Seiyemon, of Ninwaji village, stands foremost in the ranks of Japanese potters. His pseudonym was compounded from the first character of his birthplace, Ninwaji (some authorities state that he was born in Tamba), and the first character of his name, Seibei. Artists in Hizen claim the distinction of first decorating in vitrifiable ename!s in 1650. The secrets of their methods, though well guarded, came into the possession of Tatlahatal and through him to the knowledge of contemporary and subsequent pot- ters who studied under him. Ninsei’s influence so elevated the art in Ky6té that it became at that time, and has since remained, the keramic art centre of Japan, Early records vary as to whether Ninsei learned the rudiments of the art from Shdhaku, of Tosa, or imparted his knowledge to Shohaku. ‘The fact that Ninsei was active in 1680 is attested by evidences from other sources. Ninsei was a skilful painter as well, and in Japanese works is recorded as an artist with date of activity. 1987—TEA BOWL (2081) Kioto faience of fine gray texture. Crackled creamy glaze, with pine trees painted in enamels and gold. Made at Kioto, prov- ince of Yamashiro. Ninsei, impressed. (A copy.) 1800. Diameter, 3% inches. 1988S—TRIPOD INCENSE BURNER (2114) Kioto faience. Creamy-white crackled glaze, with land- scape painted in blue. Made by Kinkozan at Awata, Kioto, prov- ince of Yamashiro. Mark, Kinkozan, painted. 1800. Height, 3% inches. 1989—TEA JAR (2151) Kioto faience. Black and gray glaze. Made at Kioto, province of Yamashiro. Ninsei, impressed. 1670. Height, 3% inches. 1990—TEA BOWL (2183) Kioto faience of soft buff texture. Coated with a salmon- pink Raku glaze, with two Chinese characters in white enamels. Made at Kioto, province of Yamashiro. Inscriptions: Bunsei nen sei, written in black. 1827. Diameter, 314 inches. 1991—-TEA JAR (2088) Kioto faience of gray texture. Chocolate-brown glaze, with black streaks. Made at Kioto, province of Yamashiro. 1700. Height, 3% inches. 1992—TEA POT (2130) Kioto faience of thin texture. Gray glaze, Mishima de- sign incised. Made by Mokubei at Kioto, province of Yamashiro. Mokubei, impressed. 1800. Height, 354 inches. a a es ae eS ae oe _— = _ (7196) Kioto faience of gray texture. Pine trees in brown, and blue under a gray crackled glaze. Made at Kioto, province of ion Beet cahin, 1800. . Diameter, 334 inches. ae ae ist) Kioto faience of thin texture. Coated with a yellow glaze, see and carp and wave designs carved in low relief in the paste. Made ‘be Mokubei at Kioto, province of Yamashiro. Mokubei, im- Height, 334 inches. ) Kioto faience. Cream-colored crackled glaze. On cover : view surrounded by a border of sceptre head etched in the * paste and filled in with brown enamel. Made at Narukati, Kioto, province of Yamashiro. 1700. Mark (painted), Kenzan, from Diameter, 334 inches. 2180) Kioto faience of coarse yellow texture. Black Raku glaze, with stork and turtle in brown and white. Province of Yamashiro. achi (imp.). 1800. a Diameter, 334 inches. Diameter, 3% inches. | BURNER Hotei with boy and sack. Kioto faience. Gray clay, with gray glaze, and black, brown, and blue decoration. Made ta, in Kioto, province of Yamashiro, 1800. Height, 4 inches, 2000—F IRE. BOWL FOR SMOKER (2203) Kioto faience of reddish-gray texture. Flowers in white, blue, and yellow enamels, thickly applied. Made at Kioto, prov- ince of Yamashiro. Mark, Rakutozan (imp.). 1800. Diameter, 4 inches. 2001—TEA BOWL (2119) Kioto faience of hard red texture. Thin green glaze, an imperial Kiri Mon incised, and characters painted in brown. Made by Seizan at Kioto, province of Yamashiro. Seizan, impressed. 1850. Diameter, 4 inches. 2002—TEA BOWL (2218) Kioto faience of gray texture. Covered with a drab glaze. Made at Kioto, province of Yamashiro. Mark, Asahi (imp.). 1750. Diameter, 4 inches. 2008—TEA BOWL (2208) Kioto faience of hard gray texture. Deep green and dull white glaze strongly crackled, with decoration of sacred balls in brown under glaze. Made at Kioto, province of Yamashiro. Mark, Roku-ichi (imp.). 1870. Diameter, 4 inches. 2004—-TEA BOWL (2176) Kioto faience of hard gray texture. Black Raku glaze, with circles in yellow and white. Made at Kioto, province of Yam- ashiro. 1750. Height, 4 inches. 20085—TEA BOWL (2173) Kioto faience of soft texture. Red and dull green Raku glaze. Made by Shinraku at Kioto, province of Yamashiro. Shinraku, stamped. 1850. Diameter, 4 inches. a Snel ‘ - (e163) Kioto faience of reddish texture. Mottled brown and red Raku glaze. Made by Ichiniu at Kioto, province of Yamashiro. Raku, stamped. 1670. Diameter, 4 inches. (2108 Kioto faience of fine gray texture. Soft creamy-white aa ae Be glaze, scrolls and diapers in black. Made at Narutaki, Kioto, ‘7 pe tear Epowiice of Yamashiro. Mark, Kenzan, painted. 1700. Diameter, 4 inches. : e = e008 —INCRNSE BOX ial Kioto faience of thin gray texture. Crackled gray glaze, ere needles painted in brown. Made at Kiyomidsu, Kioto, prov- _ ince of Yamashiro. Kiyomidsu, impressed. 1700. On é : Diameter, 4 inches. a em) Kioto faience. Reddish texture. Pink ‘age with deco- Height, 4 inches. va eee?) Cucumber shape. Kioto faience. Pale pink glaze, leaves ae and vine outlined in brown. Made by Rokubei at Kiyomidsu, Kioto, province of Yamashiro. Mark, Sci, impressed. 1820. Length, 4 inches. A BOWL 9) Kioto faience of soft texture. Black glaze, with pine tree verse in white. Made by Kenzan at Kioto, province of Yama- o, and signed Kenzan. 1700. Diameter, 4% inches. KOYETSU.—tThis potter was an amateur of the seventeenth century. His name is famous in the annals of Japanese potters. He made red Raku bowis and other objects used in the tea-ceremony, employing in some of these Shigaraki clay. His work is of extreme rarity. 2012—TEA BOWL (2162) Kioto faience of reddish texture. Coated with a salmon- pink Raku glaze. School of Koyetsu, at Kioto, province of Yama- shiro. 1650. Diameter, 4% inches. ICHINIU.—This potter was the son of Ddniu, and was commonly called Sahei, and also Kichizayemon. His bowls have lustrous black glaze with red- dish spots. This potter went to Ise, and under the name of Sahei made pot- tery tor a time. Ichiniu used two different forms of Raku for his mark. He died in 1647. 20183—TEA BOWL (2174B) Kioto faience of soft texture. Mottled red and black Raku glaze. Made by Ichiniu at Kioto, province of Yamashiro. 1670. Diameter, 41% inches. TOKUNIU. (Eighth generation).—Tokuniu, representing the eighth gen- eration, died young in 1774; for this reason the work of this potter is very rare. One mark is recorded, and this shows the impression of a seal coarsely drawn and cut. 201,—TEA BOWL (2177A) Kioto faience of reddish texture. Coated with deep mir- ror-black glaze, and sacred mountain in salmon-pink. Raku (im- pressed). Seal of Tokuniu, Kioto, province of Yamashiro. 1770. Diameter, 4% inches. 2015—CYLINDRICAL INCENSE BURNER (2179) On tripod, with repoussé silver cover. Kioto faience of fine yellow texture. Coated with a bright green glaze. Branches of fruit and fret border incised and filled in with gold. Made at Kioto, province of Yamashiro. Mark, Yeiraku (imp). 1830. Height, 4% inches. 2016—TEA BOWL . (2209) Kioto faience of fine yellow texture. New Year decoration and sacred balls in green, red, and blue glazes, and touched with gold. Made at Kioto, province of Yamashiro. Mark, Hozan (imp.)) 1800. Diameter, 4% inches. | e017 —-TRA BOWL | ioe! Kioto Potovice of ycllowish-white texture. Ivory-white _ glaze, with minute crackle, tsubaki flowers and inscriptions of - “Sho-nen korewo utsusu,” painted in black and white. Made by _ _Hozan at Kioto, province of Yamashiro. Mark, Hozan, the other marks obscure. Modern. Diameter, 444 inches. opiates BOWL — | (2127) © Kioto faience of gray texture. Gray crackled glaze, with a floral scrolls in green and red enamels applied over the glaze, | _ rimmed with silver. Made by Mokubei at Kioto, province of "Sveauashive. Mark, Robei tsukuru, painted. 1800. Diameter, 444 inches. _ @2) Kioto faience of gray texture. Coated with a brilliant mottled brown glaze, rimmed with silver. Made at Kioto, prov- ince of Yamashiro. 1800. = Diameter, 414 inches. is THA BOWL | (8015) | Kioto faience. Fine idiacerae texture, soft yellow Raku pia crackled with smooth surface. Made at Kioto, proy- ince of Yamashiro. 1800. Diameter, 4% inches. 7) Kioto faience. Gray glaze, with flowers in brown and Made by Kenzan at Narutaki, Kioto, LAS of Yama- Diameter, 44% inches. 2022—INCE NSE BURNER (2387) Helmet-shaped. Kieto faience. Gray ces a erected creamy glaze, and decorated with ave 223—INCENSE BURNER : (2380) Sacred lion with ball. Kioto faience. crackled ae sae gee ie in bind. 1700. 202,-TEA BOWL ; (2142) Kioto faience. ens texture, minutely white glaze, with floral sprays painted in colo glaze. Made at Kioto, PES of. Ya pressed. 1750. | } jis aa . ah 2025—SAKE BOTTLE ; (7149) Kioto faience of gray texture. F glaze, with splashes of dark amey Mee Yamashiro. 1750.00. — iy 2026—TE A BOWL es ee (2170) Kioto faxends of soft gray texture, black Raku glaze. Bird on branch in reli by Ichiniu at Kioto, province of Yamas 2027—-TEA BOWL ‘3 Ll ae (2189) Kioto faience of dense texture, a light brown and green Raku glaze. Yamashiro. Mark, Raku (imp.).— ~~ INCENSE BURNER we (2222) Kioto faience. Soft yellowish texture. Inciscd band of ~ archaic characters, “ ten thousand.” Openwork cover in design of aes "chrysanthemum crest. Made by Yeiraku, at Kioto, province of Yamashiro. Mark, Yeiraku (imp.). 1830. be Height, 4% inches. _ Kioto faience of hard gray texture. Covered with a brown e eae over a minute crackle. Made at Kioto, province of Yama- _ shiro. Mark, Mokubei (imp.) 1825. eS eye Diameter, 4% inches. : - Kioto. faience of fine thin texture. Coated with a dense sine glaze. Brocade design in gold, silver, and white enamel. Py. surface of creamy glaze minutely crackled. Made by Mok- ubei after Ninsei’s work, at Kioto, province of Yamashiro. Mark, ate painted. 1800. Diameter, 4% inches. va Bown 2080) Kioto faicnce of ae gray texture. Crackled gray glaze, = flying birds and moon painted in brown under the glaze. Made at appear izce of Yamashiro. Mark, Ninsei, impressed. 1650. Diameter, 41% inches. 268) _ Kioto faience of soft texture. Coated with | an opaque uat ibe: province of yamaha. 1750. Diameter, 424 inches. oto faience of soft gray texture. Coated with a mot- crackled glaze, with pink and white tints. Made at province of Yamashiro. 1700. Reyes, Diameter, 434 inches. 2084—TEA BOWL hit (2217) Kioto faience of hard eddi Made at Kioto, province of Y. mi 1800. 20385—TEA BOWL (2111) Kioto faience of soft texture. Bri the inside a band of wave designs ‘in divers Kenzan, in square reserve on the outsi Kioto, Yamashiro. 1700. “ 2036—BOWL (2057) With top handle. Kioto fai and pink crackle Wee lass ue 7" ! Yamashiro. 2037—TEA BOWL “a (2067) Kioto faience of gray crackle glaze, 1 red and gold enamels. Band of diaper ] pati edge. Made at Kiyomidsu, Kioto, province ( Kiyomidsu, impressed. ei i: C Ninagawa’s Spares History. 2038—TE A BOWL (2184) Kioto faience of soft ees tex tled gray and brown Raku g : green. Made by Rioniu, at K K : Rioniu (imp.). 179029 0 4) > See 2039—TEA BOWL ‘ (2178) Kioto faience of fine gray crackle glaze. Rising sun and white, gold, and silver. Made at. Mark, Kahin shirin (imp.). 1830. : | 20s0-TEA BOWL 171) Kioto faience of soft gray texture. Brown Raku glaze, stork, tortoise, pine tree, and Chinese characters, “ Fukuju,”’ in- cised under the glaze. Made by Rioniu at Kioto, province of Yamashiro. 1750. Diameter, 5 inches. a] ~ ia i — 041—-TEA BOWL _ ———s«@166)_ Kioto faience of reddish texture. Coated with a pink be ~ Raku glaze and a thick running glaze. Oribe design in black. Made by Rioniu at Kioto, province of Yamashiro. 1750. Diameter, 5 inches. -2042—-TEA BOWL ie (2145) Kioto faience. Soft gray texture, black Raku glaze, with | red splashes. Made at Kioto, province of Yamashiro. Dohachi, incised. 1800. x Diameter, 5 inches. 20483—-TEA BOWL (2144) Kioto faience. Fine gray texture, bluish-gray crackled glaze, hares painted in brown under the glaze. Made at Kioto, province of Yamashiro. Ninami, stamped. 1830. Diameter, 5 inches. 2044—-THA BOWL 2113) Kioto faience of coarse gray texture. Coated with a : ao at greenish-gray glaze, with brown splashes. Made at Omuro, Kioto, ‘Yamashiro. Omuro, impressed. 1850. ae Diameter, 51% inches. 0j5—TEA BOWL _ @141) Kioto faience. Soft gray texture, covered with black Raku _ glaze, circle and characters in greenish-white. Made at Kioto, _ province of Yamashiro. Kenzan Sei, in white. 1700. eeekieas -2! b b. Diameter, 51% inches. 7 2046—OKIMONO (2392) Pilgrim with gourd. Kioto faience. Hard reddish clay, covered with greenish-gray-glaze. Made by Mokubei at Kioto, province of Yamashiro. Mark, Mokubei, incised. 1810. Height, 5% inches. 2047-—-INCENSE BURNER (2379) Design of sacred lion. Kioto faience. Hard gray clay, covered with a dull gray glaze, and touched with brown. Made at Kiyomidsu, in Kioto, province of Yamashiro. 1700. ‘Teakwood stand. Height, 5% inches. 2048—-TEA BOWL (2143) Kioto faience of fine gray texture. Covered with a thick black glaze. River scene in gold, silver, and enamel colors over the glaze. Made at Kioto, province of Yamashiro. Sei, impressed. 1750. Diameter, 5% inches. 2049—BOWL (2205) Kioto faience of soft yellow texture. Mottled red and drab glazes over a rough surface Incised decoration of sacred balls. Made at Kioto, province of Yamashiro. Marks, icised, obscure. 1750. Diameter, 5% inches. 2050—TEA BOWL (2164) Kioto faience of red texture. Coated with a salmon-pink Raku glaze boldly crackled. Made by Soniu at Kioto, province of Yamashiro. 1700. Diameter, 54% inches. 2051—TEA BOWL (2062) Kioto faience of coarse gray sandy texture. Dull gray glaze, with moon, cherry blossoms, and snow in white and blue enamels, and with a dissertation on the tea ceremony in blue enamel written by Koho Fuhaku in the early summer day of the eighth year of Meiwa (1771). Made at Kiyomidsu, Kioto, Yama- shir. gra Diameter, 5% inches. “ee a ) o. 4 nak MAA ae Te 2052-SAKE BOTTLE | _ 2085) Cylindrical shape. Kioto faience. Finely crackled _ creamy-white glaze, chrysanthemums painted in enamelled colors and gold. Made at Awata, province | of oe Yamashiro. a egg impressed. 1700. Height, 5% inches. - 20583—SMALL SAKE BOTTLE (2052) Kioto faience. Soft creamy-white glaze, with dark tea- Fe 90 Vick: brown 1 running glaze at neck and shoulder. Made by Kosai, Koto, Aas" ‘province of Yamashiro. Kosai, impressed. 1850. Height, 6 inches. (2390) Seated figure of Hotei. Kioto faience of hard gray clay. abe! ‘Partially glazed, with a creamy crackled glaze, and decorated in _ blue and brown. Made at Kioto, province of Yamashiro. Mark obscure. 1800. ae Height, 6 inches. - 2055—SHALLOW BOWL ‘ (2063) Kioto faience of reddish texture. Covered with gray glaze, landscape painted in blue. Made at Kioto, province of Yama- shiro. 1850. io See ' Diameter, 6 inches. ee ae - 2056—GOURD-SHAPED BOTTLE _ (2213) Kioto faience of yellow texture. Brown crackled glaze and Japanese inscription, “ Kasumi,” meaning mist, in black. ‘gal nat at Kioto, province of Yamashiro. 1860. Bie eGiat=s * Height, 6 inches. (2408) Figure of Hotei. Kioto faience. Soft reddish clay. Head, body, hands and feet unglazed. Robes covered with black ku glaze. Made at ERO; Heat eae of Yamashiro. 1800. | ealavoal stand. . Ber ka re Height, 6 inches. 2058S—OKIMONO (2412) A eat on book. Kioto faience. Covered with a dull white glaze and decorated with brown. Made at Kioto, province of Yamashiro. Mark, Seizan (incised). 1825. Height, 6 inches. 2059—SAKE BOTTLE (2148) Pear-shaped. Kioto faience of fine gray texture. Light brown soft glaze, minutely crackled, with bold floral design in dark brown under the glaze. Made at Kioto, province of Yamashiro, Iwakurazen, impressed. 1800. Height, 6 inches. 2060—SAKE BOTTLE (2146) Kioto faience of thin gray texture. Finely crackled light brown glaze, Kiri scrolls in gold, blue and green enamels. Made .at Kioto, province of Yamashiro. Mark, Gobosatsu-ike, im- pressed. 1700. Height, 6 inches. 2061—POTTERY GROUP (3013) Kioto faience. Soft red texture. Dogs playing on a straw mat. Beautifully modelled by hand. Made by Ko-Ren, province of Kioto. Mark made by “ Ko-Ren ” seal. Length, 6 inches. 2062—LARGE BOWL (2126) Kioto faience of gray texture. Coated with a soft white. glaze, figure subjects and boating scene, painted in blue and brown. Made by Mokubei at Kioto, province of Yamashiro. Mark, Robei tsukuru, painted. 1800. Diameter, 6 inches. 2063—-CAKE STAND ON TRIPOD (2056) Kioto faience of hard reddish texture. Dull gray glaze, with Mishima design inlaid with white. Made by Dohachi at Kioto, province of Yamashiro. Dohachi, impressed. 1820. Diameter, 6 inches. Bay Y —-&664—-TEA POT (2058) Square-shaped. Kioto faience of fine texture. Conven- tional cloud forms and wave designs in blue, green, and white enamels, thickly applied over an unglazed surface. Made by Tai- a zan at Awata, Kioto, province of Yamashiro. Taizan, impressed. ee Jak S00, Height, 6% inches. 065—WATER JAR — __-@174) Kioto faience of dense texture. Black Raku glaze, with 4 a mixed glaze of pale green and dark red on a reserved space. Made at Kioto, province of Yamashiro. 1700. Fe : Height, 6% inches. - 2066—SQUARE HIBACHI (2175) Kioto faience of reddish texture. Yellow Raku glaze, ; crackled, chrysanthemum flowers painted in free hand in blue, green, yellow, and purple enamels. Made at Kioto, province of Yamashiro. 1750. Height, 6% inches. Re sai. i 2067—CYLINDRICAL WATER JAR _ (2191) Kioto faience of soft texture. Coated with a gray and _ white crackled glaze, with splash of bright green and red lacquered __ lid. Made at Kioto, province of Yamashiro. Mark, Raku (imp.). 1850. Bye = Height, 614 inches. 5 (2220) On tall foot. Kioto faience of pale yellow texture. Outer surface of bowl invested with an imperial yellow glaze, and deco- - rated with pine trees and rock incised and carved in relief and se glazed with green, brown and blue enamel. The foot covered with a deep, purple glaze and the inner surface gilded. Made at Kioto, province of Yamashiro. Mark, Yeiraku (imp.). 1830. eee ss i... Diameter, 7 inches; height, 6% inches. 2069—-GLOBULAR SAKE BOTTLE A (2036) Kioto faience. Partially covered with creamy, crackled glaze, and the shoulder and neck decorated with floral scroll in yellow, white, and blue enamels. Made at Kioto, province of Yamashiro. Ninsei, impressed. 1800. Height, 6% inches. 2070—-W ATER JAR (7109) Kioto faience of dense texture. Gray crackled glaze, chrysanthemum painted in blue and brown. School of Kenzan at Narutaki, Kioto, province of Yamashiro. Kenzan, painted. 1700. Height, 6% inches. 2071—-W ATER JAR (2188) Kioto faience. Covered with a gray and pink glaze. Made by Ninsei at Kioto, province of Yamashiro. Ninsei, stamped. 1650. Height, 64% inches. 2072—GOURD-SHAPED WATER JAR (2215) Kioto faience of gray texture. Glazed with splashes of white, green, brown, and blue. Made by Ninsei at Kioto, proy- ince of Yamashiro. Mark, Ninsei, impressed. 1660. Diameter, 614% inches. 2073—BOW L (2068) Kioto faience of gray texture. Dark gray glaze, flowers painted in colors. Made by Yozo at Kiyomidsu, Kioto, province of Yamashiro. Yozo, impressed. 1850. Diameter, 6% inches. 2074—LARGE BOWL, WITH LIP (2198) Kioto faience. Fine yellow texture, opaque gray glaze, crackled, poetical inscription pencilled in brown. Made by Do- hachi at Kioto, province of Yamashiro. Mark, Do (imp.). 1800. Diameter, 6% inches. , r 2075—CYLINDRICAL WATER JAR (2199) Kioto faience of soft gray texture. Invested with a rich © _ green glaze, with splashes of dark brown and red. Made at Kioto, province of Yamashiro. Marks (imp.) obscure. 1750. Height, 634 inches. —-20%6—-SAKE JUG (2010) Shape of fox. Kioto faience. Fine engraved clay. Cov- ered with ivory-white and brown crackled glaze. Made at Kioto, province of Yamashiro. 1750. st Height, 6%4 inches. ee, ae 2077-SAKE BOTTLE _ 2064) Oviform. Kioto faience. Finely crackled light brown _ glaze, landscape and bridge painted in blue under the glaze. Made by Taizan at Awata, Kioto, province of Yamashiro. Taizan, im- pressed. 1750. *. Height, 7 inches. 2078—WATER JAR (7161) Kioto faience of soft sandy texture. Rough surface cov- ered with a red and yellow Raku glaze. Made at Tagagamine, _ Kioto, province of Yamashiro. Hassendo, incised. Made by Kou- eh, 1700." Height, 7 inches. =“ 2079 —OYLINDRICAL WATER JAR (2204) Kioto faience of pale yellow texture. Covered with a light brown crackled glaze, chrysanthemum flowers in brown, blue and white under the glaze. Lacquer cover, with carved ivory orna- ment. Made at Kioto, province of Yamashiro. 1800. ya Height, 7 inches. 216) Kioto faience of gray texture. Covered with a gray and ha Ri ptowsi crackled glaze, and Kiri crest in green and blue enamels over the glaze. Carved teakwood stand. Made at Kioto, province of Yamashiro. 1800. Height, 7 inches. 2081—-GLOBULAR SAKE BOTTLE (2136) Kioto faience of fine gray texture. Finely crackled creamy-white glaze, with brilliant green running glaze round neck and shoulder. Made at Kioto, province of Yamashiro. Rakutozan, impressed. 1700. Height, 7% inches. 2082—OKIMONO, A MONKEY WITH PEACH (2413) Kioto faience. Hard, reddish-brown clay. Covered with metallic-brown glaze. Made by Mokubei at Kioto, province of Yamashiro. Mark, Mokube (imp.). 1800. Height, 7% inches. 2088—SAKE PITCHER (2137) Kioto faience of fine texture. Minutely crackled creamy- white glaze. Made at Kioto, province of Yamashiro. Taizan, im- pressed. 1800. Height, 74% inches. 2084-GLOBULAR JAR (2177) Kioto faience of gray texture. Covered with a soft white glaze, How6 bird, cloud forms and symbols painted in brown. Made at Kioto, province of Yamashiro. Mark, Iwakurayama (imp.). 1820. Height, 74% inches. 2085—OKIMONO (2381) Figure of Hotei. Kioto faience. Gray clay, partly cov- ered with crackled creamy-white glaze. Decoration in colored enamels. Made at Awata, in Kioto, province of Yamashiro, 1850. Height, 74% inches. 2086—W ATER JAR (2187) Kioto faience of soft yellow texture. Rich salmon-red under-glaze, dark brown and white over-glaze. Made at Kioto, province of Yamashiro. Mark, Shinraku (imp.). 1860. Height, 8 inches, 2087—OKIMONO, FIGURE OF A MAN GRINDING TEA (2393) Kioto faience. Hard gray clay, pale, covered with a ~ celadon and Shinsha glaze. Made at Kiyomidsu, in Kioto, province of Yamashiro. 1850. Height, 8 inches. 2088S—OKIMONO, OTAFUKU (2394) Kioto faience. Yellowish clay, partly glazed, decorated _ with leaf patterns in colored enamels. Made at Kioto, province of Yamashiro. Mark, Kenzan, painted. 1750. Height, 8 inches. 2089—CYLINDRICAL WATER JAR (7167) Kioto faience of soft texture. Invested with a pink Raku _ glaze over a pronounced crackle. Made by Nonko or Doniu at Kioto, province of Yamashiro. Raku, stamped. 1650. Height, 8 inches. 2090—SAKE BOTTLE (2134) Gourd-shaped. Kioto faience of fine reddish texture. Crackled creamy glaze, bamboo, and plum painted in blue and green enamels over the glaze. Made at Kioto, province of Yama- shiro. 1750. . Height, 8 inches. 2091—OVIFORM VASE (2123) Kioto faience. Soft gray crackled glaze, with splashes of red. Made at Kioto, province of Yamashiro. 1850. Height, 8 inches. 292—OBLONG DISH : (2095) Kioto faience of soft gray texture. Soft white glaze, _ with scrolls and medallions painted in blue and red under the glaze. - Made at Kioto, province of Yamashiro. Mark, a Heron, in blue. (Made after the Delft ware.) 1775. . age Length, 8% inches. 20983—QUADRILATERAL SAKE BOTTLE (2065) Kioto faience of fine gray texture. Landscape and moun- tain scenery painted in blue under the glaze. Made at Kiyomidsu, Kioto, province of Yamashiro. 1750. Height, 844 inches. 2094 -QUADRILATERAL SAKE BOTTLE (2135) Kioto faience of fine gray texture. Soft creamy-white crackle glaze, with landscape and mountain scenery painted in blue. Made at Kiyomidsu, in Kioto, province of Yamashiro. 1750. Height, 8% inches. 2095—INCENSE, BURNER (2404) QOkamé. Kioto faience. Soft gray clay, face unglazed, hair in black, and dress in white, green, and red Raku glaze, partly gilded. Made by Rokubei at Kioto, province of Yamashiro. Mark, Sei, impressed. 1850. Height, 8% inches. 2096—OKIMONO (2405) Seated figure of Hotei. Kioto faience. Soft gray clay. The head, body and hands unglazed, the robe covered with a soft creamy-white crackle glaze. Made at Kioto, province of Yama- shiro. 1750. Height, 84 inches. 2097—QUADRILATERAL VASE (2034) With handles. Kioto faience. Finely crackled creamy- white texture, pierced designs of intersecting circles in various col- ored enamels. Made at Awata, Kioto, province of Yamashiro. Ninsei, impressed. 1750. Height, 8% inches. 2098S—HANGING VASE (2169) Kioto faience of hard texture. Coated with a brown mot- tled Raku glaze under an incised surface. Made by Rioniu at Kioto, province of Yamashiro. Mark, Raku, stamped. 1750. Height, 84% inches. Reddish texture, deco- Made at Kioto, province of mashio. 1800. Height, 9 inches. VAMENTAL FIREPLACE COVER ) Kioto faience. Japanese dog finely modelled in coarse Ly and covered with yellow glaze. Made by Dohachi at province of Yamashiro. Mark, Hokio, Niami Tsukuru, in- nd seal mark, Niami, impressed. 1830. ie Diameter, 9 inches. Height, 9 inches. »to Tee, Crudely patterns! and eae with a red , with mottlings in various tones. Made at Kioto, prov- ‘Yamashiro. 1750. Height, 9 inches. er to faience. Coarse sandy texture. Centre surface, Height, 9% inches. 2105—LARGE HIBACHI (2190) Gourd-shaped. Kioto faience of soft texture. Rich salmon-red Raku glaze, streaked with green. Made at Kioto, proy- ince of Yamashiro. 1800. 5; 2106—CAKE TRAY (2132) Boat-shaped. Kioto faience of coarse reddish texture. Pale blue. glaze, archaic design in brown under the glaze. Made by Rokubei at Kioto, province of Yamashiro. Sei, impressed. 1810. 2107—TALL QUADRILATERAL VASE (2160) Kioto faience of fine gray texture. Covered with a finely crackled creamy-white glaze and decorated with floral and wave de- signs, in red, green and gold enamels. Japanese Calendar incised and filled in in black enamel. Made at Kioto, province of Yama- shiro, by Ninsei. 1705. 2108—OKIMONO (2389) Tiger on stump. Kioto faience. Fine gray clay, the tiger covered with white glaze. Decorated in brown, yellow and red, the rock unglazed and varnished. Made at Awata, Kioto, province of Yamashiro. 1750. Height, 10 inches. 2109—PAIR OF FIGURES (2377) Sogano Goro and Asaina Saburo. Kioto faience. Gray clay, covered with crackled creamy-white glaze, decorated in blue, green, and red enamel colors and gilding applied over the glaze. Made at Awata, Kioto, province of Yamashiro. 1750. Height, 10 and 15 inches respectively. 2110—VASE, CYLINDRICAL (2181) Kioto faience. Brown glaze, covered with greenish-brown, soft brownish-gray clay. Made at Kioto, province of Yamashiro. 1820. Height, 10% inches. @111—TALL VASE, WITH BIRD HEAD HANDLES (2168) Kioto faience of soft texture. Covered with a pale green Raku glaze, boldly crackled. Made by Choniu, Kioto, province of Yamashiro. Raku, stamped. 1750. Height, 10% inches. 24112—TALL QUADRILATERAL VASE (2158) Kioto faience of dense gray texture. Coated with a soft white crackled glaze, landscape and borders in cobalt blue. Made at Kioto, province of Yamashiro, by Mokubei. 1800. Height, 11 inches. ~ 2118—LARGE GLOBULAR HIBACHI (7188) Kioto faience of soft texture. Salmon-red Raku glaze. Made at Kioto, province of Yamashiro. 1700. Has wood stand. Diameter, 15 inches; height, 1144 inches. 211,—-LARGE OKIMONO (2403) Daruma. Kioto faience. Coarse gray clay, the face and chest unglazed, the rest covered with red and white Raku glaze. Made at Kioto, province of Yamashiro. Mark, Dohachi, painted in black. 1830. : Height, 16 inches. 2115—BOTTLE-SHAPED VASE 3 (7211) Oviform body, with tall, slender neck. Kioto faience of pale yellow texture. The entire surface covered with a Japanese legendary subjcct, butterflies, basket design, diaper and other pat- _ terns finely carved in the paste and covered with an ivory-white paste. Made by Taizan, Kioto, province of Yamashiro. 1860. Carved teakwood stand. : . Height, 18 inches; diameter, 9 inches. . SEIFU.—Seifa Yohei, whose pseudonym was Baihin, came to Kydté from Kanazawa, Kaga, in 1844, and established an oven in Gdjobashi, Kyéto. He first made Okimono and other forms after native and Chinese models. Later he made only blue, and brocade decorated tea and wine utensils. He worked for a time in co-operation with Nukina Kaioku and Oda Kaisei. The second _ Seifu, whose pseudonym was Gohei, made only porcelain. The third Seifi, with the pseudonym of Baikai, has established a place in the foremost rank of world-famed potters, introducing new methods of glazing and technique, and with Makudzu has received the highest honors from native and foreign national expositions. 2116—SAKE CUP (2101) Kioto porcelain. Crackled white glaze, decorated with a verse in blue under the glaze. Made by Seifu at Kiyomidsu, Kioto, province of Yamashiro. Seifu, painted. 1870. Diameler, 2% inches. 2117—-SMALL OVIFORM VASE (2102) Kioto porcelain of white hard paste. Landscape in blue under the glaze. Made by Sahei at Kioto, province of Yamashiro. Sahei tsukuru, painted. 1850. Height, 2% inches. 2118—HEXAGONAL TEA JAR . (2103) Kioto porcelain of white hard paste. Landscape and dia- pers in cobalt blue under the glaze. Made by Torasuke, Kioto, province of Yamashiro. Torasuke Kore wo tsukuru, painted. 1850. Height, 334 inches. 2119-TEA BOWL (2156) Kioto porcelain of white hard paste. Japanese boys at play, painted in cobalt blue under the glaze. Made at Kioto, province of Yamashiro. Kaitei, impressed. 1850. Diameter, 4 inches. 2120—SAKE BOTTLE (2221) Kioto porcelain of white texture. Incised ribbed circular lines covered with a red and green enamel applied alternately and over splashes of gold. Made at Kioto, province of Yamashiro. Mark, Yeiraku (imp.). 1830. Height, 44% inches. 2121—_THA POT (2105) Kioto porcelain of thin white hard paste. White glaze, figure subject painted in bright enamel colors, enhanced by gild- ing. Made by Shuhei at Kiyomidsu, Kioto, province of Yamashiro. 1830. Height, 44% inches. _—««8@2—-TEA BOWL aa 2157) Kioto porcelain of thin white hard texture. Leafy scrolls - _ in silver, applied over an opaque red glaze. Made at Kioto, prov- ince of Yamashiro. Mark, Seifugama Yohei tsukuru. 1850. Diameter, 5% inches. 2123—LARGE BOWL (2219) Kioto porcelain of white hard paste. Invested with a _ brilliant glaze, phoenix and cloud forms and symbols outlined in ~ low relief in the paste, and filled in with yellow, blue, and purple enamels. Made at Kioto, province of Yamashiro. Mark, Yeiraku »(imp.). 1830. Diameter, 634 inches. - 2124-OKIMONO (2396) Pagoda-shaped. Kioto porcelain. White hard paste, cov- ered in white and brown glaze. Made at Kiyomidsu, Kioto, prov- ince of Yamashiro. Mark, Kahei, incised. 1850. ee Height, 11 inches. _ 2125—GLOBULAR HIBACHI (2193) With openwork bronze cover and kiri wood stand. Kioto porcelain of hard white texture. Covered with a bright yellow glaze, incised band of leafy scrolls filled in with green enamel. _ Made by Hozen at Kioto, province of Yamashiro. Mark, Yeiraku (imp.). 1880. Height, 11% inches; diameter, 11 inches. (2124) Bottle-shaped. Kioto porcelain of hard paste. Flying storks in blue, green and purple enamels upon a ground of conven- _ tionalized waves design in dark red. Various symbols and numerous oi borders in brilliant enamel colors. Made by Mokubei at Kioto, . ‘province of Yamashiro. Mark, Kokikwan Mokubei_ tsukuru, si peared 1800. Height, 15 -inches. 2127—TEA BOWL (2206) Kioto stoneware of brown gray texture. Opaque green glaze, with a thick over-glaze in white crackle. Made at Kicto, province of Yamashiro. Mark, Yoso (imp.). 1810. Diameter, 3% inches. 2128S—INCENSE BURNER (2140) Quadrilateral, with openwork silver cover. Kioto stone- ware of hard reddish texture. Gray crackle glaze, decorated with- out with irises painted in blue, brown, green and gold enamels. Made at Narutaki, province of Yamashiro. Kenzan, in black under the glaze. 1700. Height, 3% inches. 2129—TEA BOWL (2202) Kioto stoneware of hard reddish texture. Bluish-white glaze. Made at Kioto, province of Yamashiro. Mark, Rozan (imp.). 1850. Diameter, 4% inches. 2130—HEXAGONAL WATER JAR (2150) Kioto stoneware of dense texture. Coated with a pale celadon glaze, boldly crackled. Landscape and bamboo in black and green. Made by Yeisen, Kioto, province of Yamashiro. 1750. Height, 6 inches. 2131I—H ANGING VASE (2147) Kioto stoneware of coarse texture. Dark brown glaze, with streaks of blue running glaze. Made at Kioto, province of Yamashiro. Kinkozan, impressed. 1700. Height, 7% inches. 21382—TALL VASE (2159) Kioto stoneware. Design of bamboo shoot, partially cov- ered with a thick running glaze in various tints. Made at Kioto, province of Yamashiro. Ninsei, stamped. 1800. Height, 1243 inches. PROVINCE OF SETTSU The province of Settsu has attained but little celebrity for its keramic products. In early years the delicate and refined essays of the Naniwa oven, and before these even, the Takahara pottery, following Korean models, were justly appreciated. In later years the Sanda celadon has given some fame to the province; the other potteries have established a local reputation only. Indeed, nearly all of these were brought into note by the efforts of Kyotd potters. | KOSOBE.—This pottery is said to have been first made in the latter half of the last century by Shirobei Shimbei. Kyoto models were followed in the _ work. The second generation, Shinzd Shimbei, used glaze similar to Tamba and Karatsu, and also made imitations of Korean work. The third genera- tion, Shingoro Shimbei, imitated the work of Rokubei of Kydt6d. The fourth _ generation, Yosojiro, was at work in 1878. Some of his large cups and bowls were decorated by Komatsuya Tasuke, an artist and writer of Osaka. He signed with the pseudonym Tainen. 2183—SAKE CUP | (1987) _Kosobe faience. Cream-white crackled glaze, lotus-leaf _ painted in brown. Made at Kosobe, province of Settsu. Kosobe, impressed. 1870. Diameter, 2% inches. -213/—FIRE BOWL FOR SMOKER ; (1986) Kosobe faience. Gray glaze, minutely crackled. Crests and_ borders incised, and inlaid with white enamel. Made at __ Kosobe, province of Settsu. Mark, Kosobe, impressed. 1870. ope ' Height, 4% inches; diameter, 444 inches. | 2185—BOWL (1996) Kosobe faience. Soft creamy-white glaze. Made at Ko- ty -sobe, province of Settsu. Kosobe, impressed. ‘The other marks in square seals, obscure. 1850. Diameter, 5 inches; height, 2 inches. —TEA BOWL ) Kosobe faience. Light pink glaze, crabs and grasses ees inted in black. Made at Kosobe, province of Settsu. Kosobe, impressed. 1850. Diameter, 534 inches. 2137,—-H ANGING WATER JAR (1985) With handle. Kosobe faience. Dark brown glaze, splashed with grayish white. Made at Kosobe, province of Settsu. Mark, Kosobe, impressed. 1850. Height, 8% inches; diameter, 7 inches. 2138--INCENSE BOX (2406) Miniature figure of Okamé. Kiyomidsu porcelain of fine white texture. Decorated in colored enamels and gold. Made at Kiyomidsu, Kioto, province of Yamashiro. 1850. Height, 2% inches. 2139--COVERED BOWL (2049) Kiyomidsu faience. Soft white glaze, vertical lines in orange and black. Made at Kiyomidsu, Kioto, province of Yama- shiro, 1850. Diameter, 44% inches. 2140—QUADRILATERAL SAKE BOTTLE (2066) Kiyomidsu faience. Finely crackled creamy-white glaze, with green running glaze round neck and shoulder. Made at Kiyomidsu, Kioto, province of Yamashiro. 1800. Height, 7 inches. 2141—OVIFORM SAKE BOTTLE (2048) Kiyomidsu faience. Fine green glaze, maple leaves painted in red and blue, touched with gold. Made at Kiyomidsu, Kioto, province of Yamashiro. Mark obscure. 1800. Height, 8 inches. 2142—TALL PORTABLE STOVE (2047) Cylindrical-shaped. Kiyomidsu faience of coarse red tex- ture. Dull bluish-gray glaze, Mishima design, incised and filled in with white enamel. Made by Yozo at Kiyomidsu, Kioto, prov- ince of Yamashiro. Yozo, impressed. 1850. Height, 8% inches. - 2143—OKIMONO (2875) Oni carrying off the Temple lantern. Kiyomidsu stone- ware. Hard gray clay unglazed. Made at Kiyomidsu, Kioto, province of Yamashiro. 1850. Height, 11 inches. - 2144—OKIMONO (2376) Figure of Otafuku. Kiyomidsu stoneware. Hard gray clay, covered with a dull, thick, gray glaze over a dark brown crackle. Made at Kiyomidsu, Kioto, province of Yamashiro. 1800. \ Height, 12% inches. PROVINCE OF HIZEN The keramic products of Hizen are known the world over through its famous porcelain, After China, its “blue and white,” and “polychrome” stand préeminent. During the early days of the Dutch commerce with Japan, the porcelain ovens near Nagasaki turned out large numbers of huge vases and plaques made expressly for the Dutch trade. The famous collection at Dresden is made up almost exclusively of these big vases in polychrome. When one considers the beautiful work, made in accordance with the refined taste _ of the Japanese, which the Dutch merchants might have obtained, the con- templation of the Dresden collection is simply disheartening. DOHACHI.—The name of Déhachi is justly celebrated in the annals of Kiyomizu potters. The founder of the family was one of a group of famous _ potters who studied under Yeisen. | 25 -SMALL INCENSE BOX (2104) Dohachi porcelain. Egg-plants painted in blue. Made ~ by Dohachi at Arita, province of Hizen, during his visit. Mark, Hizen Kanyo Dohachi Sei, painted. 1870. > a Height, 2 inches. a + Ta thing d (2054) Dohachi stoneware of hard sandy texture. Pale green giaze. Made by Dohachi of Kioto at Arita, province of Hizen, or pening his visit. Mark, Hizen, Kanyo, and Dohachi, impressed. ‘ eh: roe yee ; Height, 34% inches. = 2147—INCENSE BOX (2092) Dohachi faience of pink texture. Red Raku glaze, gilded cover in design of chrysanthemum. Made by Dohachi at Fushimi, province of Yamashiro. 1850. Diameter, 4 inches. 2148—TEA BOWL (2083) Dohachi faience of reddish texture. Opaque glaze, two Kiri crest incised under the glaze. Made by second Dohachi at Momoyama, Fushimi, province of Yamashiro. Momoyama, im- pressed. 1850. Diameter, 5 inches. ASAHI.—Accounts vary greatly as to the origin of the pottery bearing the impressed mark Asahi. Records state that it was first made at Uji in 1624- 1644. Absolute plainness of form and glaze characterize the earlier work. Matsubayashi Chébei, claiming to be the fifteenth generation, revived the work in 1852. The present generation, Matsubayashi Matsunosuke, is the grandson of Chdbei. Miserable imitations with counterfeit mark made by Zoroku were common in the bric-a-brac shops of Japan in 1882-1883. 2149—TEA BOWL (2153) Asahi stoneware of coarse sandy texture. Partially coy- ered with bluish-gray glaze. Made at Uji, province of Yamashiro. Asahi, impressed. 1650. Diameter, 334 inches. 2150—TEA BOWL (2097) Asahi faience of fine gray texture. Thin pink glaze. Made at Uji, province of Yamashiro. Mark, Asahi, impressed. 1870. Diameter, 4% inches. 2151—TEA BOWL (2155) Asahi faience of gray clay, finely crackled pinkish-gray glaze. Made at Uji, province of Yamashiro. 1750. Diameter, 414 inches. 2152—-TEA BOWL (2152) Asahi stoneware of hard gray texture. Bluish-white glaze. Made at Uji, province of Yamashiro. Asahi, impressed. 1700. Diameter, 5 inches. (2153—TEA BOWL (2197) Asahi faience of yellow texture. Coated with a pink glaze - mottled with gray. Made at Kioto, province of Yamashiro. 1800. ro Diameter, 514 inches. _ 2154—SHELL-SHAPED TEA BOWL | (2154) Asahi stoneware of gray texture. Finely crackled pale gray glaze. Made at Uji, province of Yamashiro. 1750. Diameter, 54 inches. aun ea _ FUSHIML —An unglazed bowl of light clay with red wash of glaze about ye an, was made in Fushimi in 1780. Nothing is known about the potter. 5B UCKE T-SHAPED TEA JAR | (2098) -Fushimi porcelain of fine texture. Celadon glaze. Made Sas. Giozan at Fushimi, province of Yamashiro. Fukakusa Giozan, impressed. 1800. ae PRS Height, 3% inches. 2 (2308) _A nobleman’s page. Fushimi faience. Soft yellowish clay, . decorated in lacquer. Made at Fushimi, province of Yamashiro. Mark, Bunroku San Kogo Nigatsu Koyemon (made by Koyemon . in soy of the third year of Bunroku, 1594). 1800. Height, 7% inches. = “(2100) “‘Fushimi faience. Soft gray clay, enamelled in colors. a Made at Boshin, province of Yamashiro. 1750. were. Height, 9% inches. A a oo ware. Brilliant green glaze, with incised en “Made at Kioto, province of Yamashiro. Raku, im- Height, 2% inches. DONIU (Third generation)'—Déniu is said to have been a younger brother of Joki. Déniu was commonly called Kichibei, and afterwards received the name of Kichizayemon. He died in 1657, Ninagawa believed that Doniu was the brother Somi. He used the character Raku reversed. 2159—TEA JAR (2122) Kioto Raku ware of coarse reddish texture. Coated with a soft creamy-white glaze, boldly crackled. Made by Doniu at Kioto, province of Yamashiro. Raku, impressed. 1650. Height, 3% inches. 2160—TEA BOWL ON HIGH FOOT (2121) Kioto Raku ware of coarse gray texture. Black Rake glaze, Chinese characters in reserve. Made at Kioto, province of Yamashiro. Raku, impressed. 1700. Diameter, 4 inches. 2161—W ATER JAR (21744) With cover. Raku faience. Covered with a salmon-pink glaze with white splashes over a pronounced crackle. Made at Kioto, province of Yamashiro. Seal of Chonin. 1750. Raku, impressed. Height, 9% inches. PROVINCE OF YAMATO This province has within its limits the time-honored town of Nara, famous from having been the ancient capital of Japan and the residence of a long line of emperors. With the exception of Nara there are but few towns of any size or importance in the province, and the sparsely settled country has not favored the growth of the pottery industry. AKAHADA.—According to authorities, pottery was made in Akahada as early as 1624, though the site of the oven is not known. (This does not include the earlier historic pottery already catalogued.) In 1781 an oven was started by potters from Kyoto, and in the early part of the present century the mark Akahada was first used. In Tdkikd, however, it is stated that the ovens of Akahada were reopened in 1789, and the old marks were used in signing the pieces. The earlier marks were incised, and the first pottery made might easily be mistaken for Bizen. The first impressed mark was in the form of a sym- metrical double gourd; later a symmetrical double gourd formed the out- line. Successive marks of the same form, but varying in outline and size, were used. From the great variety in the form of these marks, it would seem that each individual potter had his own mark. Other signatures occur, but there are no records at hand in regard to their significance, 2162—INCENSE BOX _ @45) Otafuku. Akahada porcelain. White glaze, decorated in colored enamels over the glaze. Made at Akahada, province of “Yamato. Mark, Akahadayama Mokuhaku, incised. 1840. . Height, 2 inches. 2168—INCENSE BOX (2229) Gourd-shaped. Akahada faience. Crackled gray glaze, i, oom . Shippo design painted in blue. Made at Akahada, province of ~ Yamato. 1800. “ ‘ Height, 2% inches. a oe 2164—OKIMONO (2161) Shape of mallet. Akahada porcelain. Hard white clay, unglazed, decoration of pine trees in green and gold, after Ninsel. Made at Akahada, province of Yamato. 1800. mit 5 Height, 234 inches. 2105—TEA JAR ee (33) Akahada faience. Namako glaze. Made by Kochiuten, an amateur potter, at Akahada, province of Yamato. Kochiuten, impressed. 1800. Height, 31% inches. 2166—TRA BOWL (2235) Akahada stoneware of coarse reddish texture. Coated with a thick iron-rust glaze. Made at Akahada, province of Ya- mato. Akahada, stamped. 1700. Diameter, 4 inches. 2167—TEA BOWL (2234) Akahada faience of pale yellow texture. Coated with a finely crackled creamy glaze, pine, bamboo, and plum in enamel . colors and gold over the glaze. Made by Mokuhaku, Akahada, a province of Yamato. Akahadayama Mokuhaku, impressed. + 15390... Diameter, 4 inches, 2168—TEA BOWL ; ; ee ee - ie ee (2230) Akahada Foie of reddish texture. §. storks and cloud forms incised and filled in in - glaze. ee at pe Mombasa of ‘Yamato. 2169—TEA BOWL We tue Vga To Se Eee (2227) Akahada faience of sandy texture. Covere gray glaze, Mishima design incised under the g with white enamel clay. Made at Akahada, “provi Akahada, impressed. 1840. : 2170—TEA BOWL | a (2231) Akahada faience of pale yellow texture pale yellow glaze, cray fishes painted in blacl Made by Mokuhaku at Akahada, sdnee Akahada Yama, Mokuhaku. Pay ei neey ae 2171—TEA BOWL : (2236) Akahada faience of Helos texture. ] with sacred balls incised under the glaze. province of Yamato. 1750. ; 217@~PEACH-SHAPED BOWL == = (7226) Akahada faience of coarse sande text and light gray glaze. Made at Atle Ss Akahada, impressed. 1850. 2173—TEA JAR hy ERs Sore oat, DS: (2228) Akahada faience of fine bie ternate splashes of brown, _Akahada, province of Yamato. 2174—BOAT-SHAPED BOWL (2241) Akahada faience of coarse gray texture. Coated with a _ pink and gray crackled glaze. Made at Akahada, province of Yamato. Mark, Akahada (imp.). 1800. Diameter, 5% inches. 217%5—WATER JAR (2223) Beaker-shaped. Akahada faience of pale yellow texture. _ Minutely crackled creamy-white glaze, with reserved medallions and _ diapers in enamel colors over the glaze. Made at Akahada, prov- ince of Yamato. Akahada Yama Mokuhaku, impressed. 1840. | ae Height, 6 inches. -219%6—LARGE BOWL 224) Akahada faience of cream-white texture. Soft creamy- white crackle glaze, Howo bird, fire emblems, cloud forms and sacred pearl in red, green, and blue enamels. Made by Mokuhaku at Akahada, province of Yamato. Akahada Yama Mokuhaku, ra impressed. 1820. vr fae Diameter, 6% inches. 2177—GLOBULAR BOWL . (2225) Akahada faience of gray texture. Covered with a mottled brown glaze. Made at Akahada, province of Yamato. Akahada, impressed. 1820. Diameter, 5% inches. _ (2282) Akahada faience of dense texture. Coated with a brilliant _ black glaze, vines painted in enamel colors and gold over the glaze. Made at Akahada, province of Yamato. Akahada, impressed. 1800. 3 | Height, 8% inches. _ 2179—CYLINDRICAL VASE | (2248) Akahada faience of fine reddish texture. Coated with a brown glaze, minutely crackled. House, tree and rocks in yellow, green and white enamels, thickly applied over the glaze. Made at Akahada, province of Yamato. 1800. = fs Height, 11 inches. 2180—OVIFORM VASE (2242) With flaring mouth and indented surface. Akahada faience of pale yellow texture. Partially covered with a green, brown, and white running glaze and gold lacquer spots. Made at Akahada, province of Yamato. 1800. Height, 11 inches. 2181—INCENSE BURNER (2239) ‘With openwork cover. Shonsui porcelain of white hard paste. White, band of conventionalized sceptre heads and fret border, painted in cobalt blue under the glaze. Made at Kioto, after Shonsui’s work, province of Yamashiro. 1800. Height, 2% inches. 2182—-SMALL GLOBULAR INCENSE BURNER (2240) Shonsui porcelain. Arabesque and basket pattern in blue under the glaze. Made at Kioto, after Shonsui, province of Yama- shiro. 1800. Height, 35% inches. 2183—-UNIQUE TEA BOWL (2237) Shonsui porcelain of white hard paste. Indented surface, decoration of Chinese boys amid peony scrolls, painted in mazarine blue in the glaze. Said to be the only genuine example in this country. Made by Shonsui, the first porcelain maker at Kasezan, in Nara, province of Yamato. Mark, Sho, painted. 1520. Diameter, 4 inches. 218,—V ASE (2238) Graceful bottle-shaped. Shonsui porcelain of fine white texture. Bands of landscape views, brocade pattern and floral scrolls, painted in fine under-glaze blue. Teakwood stand. Made, perhaps, at Kameyama in Nagasaki, province of Hizen. 1850. A copy of Shonsui’s work. Height, 9 inches. SETOSUKE.—Ninagawa learned that a descendant of the Echizen Seto- suke (see Echizen) came to Ky6to, and either followed the potter’s craft or kept pottery for sale. It is said that he ordered pottery to be made for him by Takahara, of Yokka-ichi, Ise, and caused the work to be signed Setosuke. This was sold by him in Toky6. The pottery was also known as Takahara. It had nothing to commend it. . : 21865—TEA BOWL ) 0: 4 he ah ae (2318) Chrysanthemum andes Nabeshima po white clay, white alan Made at Okawachi, 1800. 2190—OKIMONO y hoes ra (2313) Shape of lion. White Nabeshima pore cela Okawachi, province of Hizen. 1800. ‘ 2191—WINE OUP (i214) "Bare winte Nabestimnes porcelain of “thin painted in red over and in blue under the wachi, province of Hizen. 1800. _ ee 2192—WINE CUP (1515) Fine white Nabeshima porcelain, s« Flowers, painted in coral-red over and in c glaze. Made at Okawachi, province of Hizen. 2193—-SAKE SAUCER (1516) (Clear white Nabeshima porcelain, thin ers, peinteds in ete ond, red aii. a 219j—-SAKE CUP ith (1530) Clear white Nabeshima porcelain of s Made at Okawachi, province of Hizen. 1800. 2195—NABESHIMA BOWL nics anita hate (1522) Pure white, thin texture. Wistariay of cobalt blue under the glaze. — Made at ( 4 Hizen. 1800, (1623) Fine white Nabeshima porcdlain, thin texture. Floral scroll, in blue under the glaze. Made at Okawachi, province of Hizen. 1800. Height, 3 inches. (1524) Fine white Nabeshima porcelain. Semi-eggshell texture. Fe! night scene, ducks flying in the moonlight over a field painted in blue. Made at Okawachi, province of Hizen. 1850. 2a 3 Diameter, 3 inches. 2198—ASH-JAR FOR SMOKER (1838) Nabeshima porcelain. Corrugated surface, alternate stripes of white and celadon glaze. Made at Okawachi, province of Hizen. 1750. ae Height, 31% inches. 2199—-TWO TEA BOWLS _ (1531) Pure white Nabeshima porcelain of thin texture. Sprays of cherry blossoms, painted in cobalt blue under the glaze. Made at Okawachi, province of Hizen. 1750. eb hy ee : 2200-—DOME-SHLAPED INCENSE BURNER ers (1510) Fine white Nabeshima porcelain. Cover and sides pierced -__- with Genji design, and exquisitely painted decoration of floral de- signs in fine enamel colors, touched with gold. Made at Okawachi, province of Hizen, 1820. Teakwood stand. Diameter, 314 inches. | Height, 4 inches. | 2201—CYLINDRICAL JAR, WITH COVER ; Sea (511) Pure white Nabeshima porcelain. Delicately painted land- __ seape in fine mazarine blue under the glaze. Made at Okawachi, province of Hizen. 1750. ; : Diameter, 434 inches. a - 2202--SAUCER 518) Fine white Nabeshima porcelain. Conventional waves, painted in blue, two fan-shaped panels, within which are floral de- . signs painted in blew de nankin and coral-red. Made at Okawachi, province of Hizen. 1830. >. atlas ‘ Height, 4 inches. 2208—TEA BOWL (1532) Nabeshima porcelain. Landscape, painted in blue under the grayish-white crackled glaze. Made at Okawachi, province of Hizen. 1800. Diameter, 434 inches. 2204—W RITING-TABLE SCREEN (1527) Pure white Nabeshima porcelain. Landscape and moun- tain scenery, painted in blue under the glaze. Made at Okawachi, province of Hizen. 1750. Diameter, 434 inches. 2205—RICE BOWL (1509) Nabeshima porcelain of hard white clay. The outer sur- face covered with brown glaze and the inner surface of a crackled gray glaze, imperial crests and flowers, painted in blue. Made at Okawathi, province of Hizen. 1750 Diameter, 5 inches, 2206—INCE NSE BURNER (1546) On tripod, with metal cover of openwork palm design. Fine white Nabeshima porcelain. Covered with a celadon glaze. Made at Okawachi, province of Hizen. 1800. Height, 5% inches. 2207—-TOURISTS’ CUPS (NEST OF SEVEN) (1525) Thin white Nabeshima porcelain. Pine, plum, and bamboo, in blue under the glaze. Made at Okawachi, province of Hizen. 1800. 2208—INCENSE BURNER, SACRED LION (2314) Nabeshima porcelain. Fine white clay glaze. Made at Okawachi, province of Hizen. 1800. Height, 6 inches. 2209—SMALLI PLATE (1543) Fine white Nabeshima porcelain. Decoration of “ Kiri” flowers in fine blue under the glaze. Made at Okawachi, province of Hizen. Comb mark. 1800. Diameter, 6 inches. = — ia oo Pe 4% ae yee: 5 w 7. “ade . SMALL PLATE _ (1535) Fine white Nabeshima porcelain. Cherry blossoms and wheels of fortune pencilled in blue under and in red, yellow and green enamels applied over the glaze. Made at Okawachi, prov- ince of Hizen. Comb mark. 1800. Diameter, 6 inches. —SMALL PLATE _ (1834) Fine white Nabeshima porcelain. Birds, flowers and leaves, ainted in enamel colors and blew de nankin, on a ground of wave pattern, symbols in cobalt blue on outer border. Made at Oka- _wachi, province of Hizen. Comb mark. 1750. Diameter, 6 inches. “Fine white Nabeshima porcelain. Baskets and cherry ( ssoms, painted in red over and in blue under the glaze. Made at ee province of Hizen. Comb mark. 1800. Diameter, 6 inches. RITING-TABLE SCREEN 1528) - Nabeshima porcelain. Dense texture. Landscape, in blue under the glaze, with deep cobalt blue border, with shadings of i ae Made at Okawachi, province of Hizen. 1750. : Pa" 7 Height, 7 inches. —CAKE DISH we 1542) — Fine white Nabeshima porcelain. Invested with a fine __ eeladon glaze, edge of cobalt blue enamel. Made at Okawachi, oe REIN, of Hizen. 1800. Diameter, § inches. ) Fine white Nabeshima porcelain. Chrysanthemums, in under and in red, yellow and green enamels applied over the - Made at Okawachi, province of Hizen. Comb mark. Diameter, 8 inches. 2216—-CAKESTAND, ON TRIPOD (1533) Fine white Nabeshima porcelain. Young pines and ferns, painted in blue under a pale blue glaze. Made at Okawachi, prov- ince of Hizen. 1750. Diameter, 8 inches. 2217—PLATH, CAKE DISH (1544) Pure white Nabeshima porcelain. Decoration of three gourds and wave designs in blue, red, green and yellow. Made at Okawachi, province of Hizen. Comb mark. 1800. Diameter, 84% inches. 218—DEEP PLATE (1519) Nabeshima porcelain of exceeding purity. Decoration of Narcissus, painted in fine mazarine blue under the glaze, and floral and leaf scrolls on outer border. Made at Okawachi, province of Hizen. Comb mark. 1850. Diameter, 814 inches. 2219--SAKEH BOTTLE (1537) With indented sides. Fine Nabeshima porcelain. Cela- don crackled glaze, landscapes painted in blew de nankin in two white panels. Made at Okawachi, province of Hizen. 1750. Teakwood stand. Height, 9 inches. 2220—-TRUMPET-SHAPED VASE (15389) Fine Nabeshima porcelain of dense texture. Covered with a fine opaque celadon glaze. Made at Okawachi, province of Hizen. 1750. Height, 9% inches. 2221—OKIMONO (2326) Seated figure of Hitomaro, the ancient sage poet of Japan. Finely modelled in Nabeshima porcelain. Head and hands un- glazed, the cap in black, and the body covered in a translucent celadon glaze. Made at Okawachi, province of Hizen. 1800. Height, 10 inches. < 222—LARGE OKIMONO (315) Sacred lion. Nabeshima porcelain. Finely modelled in _ white clay and covered with a translucent celadon glaze. Made at _ Okawachi, province of Hizen. 1750. Height, 10% inches; length, 11 inches. (st) Ge tripod. Fine sonorous Nabeshima porcelain. Leafy | branch in red over a translucent glaze of celadon, under which is a _ border of archaic design carved in low relief in the paste. Made re at rect province of Hizen. 1800. Diameter, 11% inches. LL CYLINDRICAL VASE (1540) Nabeshima porcelain of dense texture. Covered with a fine opaque celadon glaze. Made at Okawachi, province of Hizen. i a Height, 12 inches. LARGE PLATE _ (1545) Fine white Nabeshima porcelain of sonorous texture. Dec- oration of three jars with plum, pine, and bamboo in blue under and. red, yellow, and celadon enamels over the glaze. Bold peony . . scrolls i in deep cobalt blue on the outer surface. Made at Okawachi, a province” of Hizen. Shippo mark. 1750. Teakwood stand. > Diameter, 12% inches. ( Shiraishi porcelain of gray texture. Invested all over ¥ ae a crackled gray glaze of pinkish tint. Landscape, painted in blue. Made at Shiraishi, province of Hizen. 1700. Sa? oe Diameter, 5 inches. Diameter, 7 inches. 228—WATER JAR (1519) Square form. Shiraishi porcelain of dense texture. Horses and Chinese characters, painted in blue under the glaze. Made at Shiraishi by Soha, province of Hizen. 1850. Height, 8 inches. 2229—MINIATURE PERFUME BOX (1566) Jmari porcelain. Covered with a coral-red glaze, floral crest in green and red enamel and leafy scrolls pencilled in gold. Made at Arita, province of Hizen. 1750. Height, 1% inches. 2230—PAPER WEIGHT (316) Sacred lion on oblong stand. Imari porcelain. Fine white clay, covered with white glaze, and decorated in two shades of cobalt blue. Made by Kingaku at Arita, province of Hizen. Mark, Hizen Kanyo Kingaku, painted. 1870. Height, 1% inches. 2231—PAPER WEIGHT (2317) Coiled dragon. Imari porcelain. White hard paste, with blue decoration round base. Made by Kingaku at Arita, province of Hizen. Mark, Hizen Kanyo Kingaku, painted. 1870. Height, 1% inches. 22382—INCHNSE BOX (1559) Gourd-shaped. Imari porcelain, with diaper patterns and medallions, painted in blue, made after the famous Shonsui incense box called “‘ the Torisashi.”” Made at Arita, province of Hizen. 1650. Height, 2 inches. 2233—TEA JAR (1593) [mari porcelain of coarse texture. Conventionalized floral designs in under-glaze blue. Made at Arita, province of Hizen. 1600. Said to be a specimen by Goroshichi. Height, 2% inches, TEA CUP a eee: (1577) Imari porcelain of crackled texture. Peony flowers, in ~ ____ gold, red, and green enamels within heart-shaped panels, Made at Arita, province of Hizen. 1750. : Height, 2% inches 35—-INCENSE BOX ; eS _ Mallet-shaped. Imari porcelain of thin texture. Sym- __ hols, painted in fine cobalt blue. Made at Arita, province of Hizen. 1800. Diameter, 2% inches. €836—SAKE TEA CUP a, aw a 7 _ = x _ (1888) Imari porcelain of fine texture. Invested with a dark-blue _ glaze on the outside and a pale celadon glaze on the inside. Made me at Arita, province of Hizen. 1800. Diameter, 2% inches. oe ee 2237—INCENSE BURNER + wee (1602) Imari porcelain of fine white texture. Landscape and ___ river view in fine under-glaze blue. Made at Arita, province of _ _Hizen. Mark, in blue. “Tsuji Hitachi Yoshitsuné Seisu.” Height, 2% inches, 238—WRITER’S WATER JAR . (4886) Imari porcelain. Ornamentation of conventional design pencilled in blue under the glaze. Made at Arita, province of ee Hizen. 1800. E: ato a Diameter, 3 inches. 3 — e. ote INCENSE BURNER 5 a With openwork silver top. Imari porcelain. Floral rolls, in red and green panels and blue borders, with floral scrolls nceilled in gold. Made at Arita, province of Hizen. 1700. ae Height, 3 inches. 2240—INCENSE BOX (1584) Crest-shaped. Imari porcelain of fine texture. Decora- tion of birds and diaper patterns in blew de nankin. Made at Arita, province of Hizen. 1800. Diameter, 3% inches. 2241—OKIMONO (2319) Priest seated. Imari porcelain. Unglazed white biscuit, the face, head, shoulders and hand covered with brown lacquer and gilt. Made at Arita, province of Hizen. 1800. Height, 3% inches. 2242—SQUARE INCENSE BURNER (1565) Tmari porcelain. Brocade patterns, painted in green and red enamels, enhanced by gilding. Made at Arita, province of Hizen. 1750. Height, 3% inches. 2243—WINE CUP (1572) Imari porcelain of clear white texture. Conventional de- sign of rabbits in the moon, painted in gold, red, and dull green enamels on the outside, and surrounded by clouded blue glaze. Made at Arita, province of Hizen. Tai Min Nen Sei. 1750. Diameter, 3% inches. 2244—EGG-SHELL BOWL (1599) Imari porcelain. Floral sprays in eight panels, finely pencilled in two shades of under-glaze blue. Made at Arita, proy- ince of Hizen. Zoshuntei Sampo Tsukuru (made by Sampo at Zoshuntei), painted in blue. 1840. Diameter, 34% inches. 2245—RICE BOWL, WITH COVER (1603) Imari porcelain of semi-eggshell texture. Storks and young pine trees, painted in blue under the glaze. Made at Arita, province of Hizen. Mark, in blue, “‘ Tsuji Hitachi-no-Daijo Minamotono-Ason Yoshitsuné Seisu.” 1800. Diameter, 4 inches, (1561) Imari porcelain. Rectangular form, with handles and per- forated top, decoration of chrysanthemum and butterflies in blue, red, and gold. Made at Arita, province of Hizen. 1750. Height, 4 inches. «88k? BOWL aan (1556) Square-shaped. Imari porcelain of fine white texture. _ Floral designs, painted in various enamel colors over the glaze, +e m : " chocolate enamel edge. Made by Kakiyemon, Nangawara, prov- _ ince of Hizen. Character, “ Fuku” (happiness), painted in red _ over the glaze. 1700. Teakwood cover. ee _ ; Diameter, 414 inches. 2248—RICE BOWL : pe (1568) Imari porcelain of thin texture. Cherry blossoms and eit vines, pencilled in gold. Made at Arita, province of Hizen. 1750. a Diameter, 44, inches. - 2249—RICE BOWL, WITH COVER ; 7 (1582) mari porcelain of clear white texture. Emblems of the uf : New Year, pencilled in black, pink, red and gold. Made at Arita, a a province of Hizen. 1750. Diameter, 41% inches. 2250-SAKE BOTTLE | _ (1875) Imari porcelam of clear white texture. Boys playing games, and flower carriage, painted in red, green, yellow and black enamels over the glaze. Made at Arita, province of Hizen. 1750. Height, 454 inches. « Dyke Te = eee sO . a NINTH AFTERNOON'S SALE FRIDAY, FEBRUARY 3p, 1905 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 2.30 o’cLOcK ma - (562) ae Dareelain of fine white hard paste. Perforated sides i and top, lozenge-shaped panels. Decoration in green, red and - brown: enamels, enhanced by gilding. Made at Arita, province of _ Hizen. 1750. ac Tah iets : Height, 4% inches. Pa | se Se _ 1604) Imari porcelain. Fine white thin texture. Dragon, Kylin _ Howé bird and tortoise painted in blue within medallions, and leafy scrolls in gold over a green glaze. Decoration inside of red panels, : _ festoons and inscriptions, rimmed with silver. Made at Arita, a - province of Hizen. Mark, in blue, “ Rei-Ken-Chin-gwan.” 1750. Diameter, 5 inches. 1G@-SHELL SAUCER | ge) Imari porcelain. Decoration of birds and iris, finely painted i in mazarine blue under the glaze. Made by Sampo, at ; Arita, Brovace of Hizen. 1840. nae - fea Diameter, 5 inches. | BOWL, WITH COVER Imari porcelain of clear white texture. Chinese garden ene and figure, pencilled in gold and enamel colors. Made at ta, province of Hizen. Mark, “ Man reki nen sei,” in blue. 0. Carved teakwood stand. » Diameter, 5 inches. 2255—RICE BOWL (1564) Imari porcelain of sonorous texture. Pine, Pp. bamboo in cobalt blue on a coral-red. Made at Arita, ] Hizen. Fuki, Chomei (wealth, rane and long | under the glaze. 1700. 2256-—EGQG-SHELL SAUCER (1601) Imari porcelain. Birds and— under-glaze blue. Made at Arita, province of E Sampo Tsukuru (made by Sampo at a 2257—INCENSE BURNER ned Te agate (2312) Design of sacred lion. Imari - porce and glaze, decoration of peonies, colored e glaze. Made at Arita, province of Hizen. 2258—BOWL pay pinks a mr over the: aye Show Made at Arita, province of Hizen. bho: nal) 2259—BOWL (1608) Imari pottery of coarse texture. tled glaze, flowers and leafy scrolls ae glaze. Made at Arita, province of Hizen. — -16¢ 0. Diameter, 6 Kes 2260~BOWL ae (1578) mari porcelain of thick sonorous tree peonies, finely painted in red, pies | Made at Arita, promis of Hizen. (1750. 2261—BOWL — (1605) With scalloped edge. Imari porcelain of thin texture. Covered with white glaze and decorated with conventional floral festoons worked in the paste under the glaze. Made at Nanga- wara, province of Hizen. 1800. Diameter, 614 inches. 2262—SAUCER, TRAY (1595) Imari porcelain of sonorous texture. Cobalt blue glaze, with storks, lotus and characters in white reserve. Made at Nan g- -awara, province of Hizen. 1700. Diameter, 614 inches. -€863-CAKE DISH, ON TRIPOD =. + = 4) 2°). Imari porcelain of thick texture. Panel decoration of symbols on coral-red ground, floral scroll on a green ground, and wave designs in red on a white ground. Made at Arita, province of Hizen. 1750. Diameter, 634 inches. £26/—CYLINDRICAL WATER JAR ; _ 1576) Imari porcelain of thick texture. Decoration of numerous storks among reeds, finely painted in various enamel colors and gold. ‘The inside lacquered. Made at Arita, province of Hizen. 1750. Teakwood cover with ivory ornament and teakwood stand. Diameter, 7 inches. - 2265—IMARI PLATE (1558) Fine brown crackle texture, decoration of deer and maple leaves in blue. Made at Kakiyemon, Nangawara, province of _ Hizen. 1700. oo ee Diameter, 7 inches. oe ie hh a 66-—LARGE BOWL oH (1587) Imari porcelain of clear white texture. Bold floral scrolls - and symbols, painted in brilliant mazarine blue. Made at Arita, _ province of Hizen. Tai Min Sei-Kwa Nen Sei. 1800. abe re . p So = Diameter, 734 inches. 226, —HEXAGONAL PLATE (1596) Imari porcelain. Coated with green celadon glaze. A horseman crossing a river, painted in blue. Made at Nangawara, province of Hizen. 1800. Diameter, 8 inches. 2268—SHALLOW BOWL (1570) Ymari porcelain. Inner surface decorated with landscape, figures, and diaper patterns, in various enamel colors, and the outer surface, bird of immortality and dragon pursuing the pearl of omnipotence, painted in yellow and red on an opaque green ground. Made at Arita, province of Hizen. Tai Min Man reki Nen sel. 1750. Diameter, 8% inches. 2269—IMARI PLATE (1552) Fine white hard paste. Net design, in blue under the glaze, chocolate-color edge. Made by Kakiyemon, Nangawara, province of Hizen. 1650. Diameter, 81% inches. @ 2270—LARGE BOWL (1555) #Fine white Imari porcelain of thin sonorous texture. Deco- ration inside of dragon crests and sprays of flowers and pome- granates, painted in gold, red, green and blue enamels; on outer surface bamboo, plum blossoms and birds, similarly treated. Made by Kakiyemon at Nangawara, province of Hizen. 1700. Diameter, 8% inches. 22%1—MELON-SHAPED WATER JAR (1592) mari porcelain of gray crackle texture. Decoration of floral scrolls, painted in fine blue under the glaze. Shippo cover. Made at Arita, province of Hizen. 1650. Height, 81% inches. 2279 IMARI PLATE (1553) Porcelain. Pure white hard paste. Floral scrolls, vari- ous ornaments and symbols in white reserve on a cobalt blue ground. Four Chinese characters in the centre. Made by Kaki- yemon at Nangawara, province of Hizen. Mark, the character Kai, painted in blue. 1650. Diameter, 81% inches. >, (560) [mari porcelain of fine white texture. Birds of paradise _and sacred dogs in central panels, which are sunken in conventional diamond shape panels, chrysanthemum and peony flowers painted : 2 & in blue under the glaze, and in red and gold over the glaze. Made at Arita, province of Hizen. 1750. Pe & Height, 81% inches. - 227/-OCTAGONAL TRAY ____ (1897) Imari porcelain of crackled texture. Floral scroll and fret border, delicately pencilled in blue under the glaze. Made at Ku- __- romuta, province of Hizen. 1750. —-s-« 2275—-SAKE EWER a (1594) Diameter, 9 inches. Imari porcelain. Known as Sei san bin, and made by Tsuji family for the Imperial Court. Of graceful form and fin-_ ished technique. Decorated with birds of paradise and various borders in fine under-glazed blue. Made at Arita, province of _ Hizen. 1800. A specimen of Gokushin-Yaki. bavi] ste Height, 9 inches. (1606) Imari porcelain of clear white texture. Conventional de- pe signs and waves, Chinese symbols, “Long Life” and “ Happi- _niess,” painted in blue under the glaze. Made at Nangawara, _—-province of Hizen. 1800. ; Cade es { Diameter, 9 inches. s. (1591) Imari porcelain of crackle texture. Iridescent glaze, over a decoration of conventional designs, painted in under-glaze blue. a le at Arita, province of Hizen. 1600. er Height, 91% inches. NCENSE BURNER (2310) Hare standing on globular bell. Imari porcelain. The re covered with white glaze and marked with black and slightly gilt. The bell invested with a celadon glaze, and the rock-shaped base with a brown glaze. Made at Nangawara, Arita, province of Hizen. 1700. 2 pee th. Height, 91% inches. 2279—-SAKE BOTTLE (1554) JTmari porcelain of brown crackle texture. Peony flowers and rocks painted in red, blue, green, and yellow enamels over the glaze; has silver rim around the mouth Made at Kakiyemon at Nangawara, province of Hizen. 1650. Height, 94% inches. 280—OVIFORM SAKE BOTTLE (1563) With tall, slender neck. Imari porcelain of thin texture. Coated with a brown crackled glaze, chrysanthemum flowers and butterflies, painted in blue, red, gold, yellow and green enamels over the glaze. Made at Arita, province of Hizen. 1700. Teakwood stand. Height, 9%4 inches. 2281—GRACEFUL BOTTLE-SHAPED VASE (1607) mari porcelain of hard texture. Covered with ivory- white glaze, waves, grasses, and leaf band, painted in fine cobalt blue. Made at Arita, province of Hizen. 1650. Height, 10 inches; diameter, 5 inches. (1598) Imari porcelain of coarse texture. Covered with a pale celadon with brown crackle. Diaper patterns round the inner bor- der, and a dog foo in the centre of crude design, painted in blue under the glaze. Made at Arita, province of Hizen. 1600. Height, 10 inches. 2283—LARGE SHALLOW BOWL (1571) Jmari porcelain of sonorous texture. Decoration of floral designs, in three white panels, leafy scrolls pencilled in gold on a red ground; on the outer surface floral and leafy scrolls in various enamel colors. Made at Arita, province of Hizen. Fuku (happi- ness) in blue. 1700. Diameter, 11 inches. —-828f-LARGE SAKE BOTTLE 4 _ (883) Oviform. Imari porcelain of clear white texture. In two bell-shaped panels are dragons amid cloud f orms, plum and bamboo carved in low relief and richly decorated; in two smaller panels are landscape and mountain scenery, various borders and symbols in red, green and gold. Made at Arita, province of Hizen. 1750. Height, 12 inches. : — 2285—OVIFORM VASE (1590) Imari porcelain of dense texture. Pine, plum, and bamboo within three panels, painted in blue under a gray crackle glaze, _ rimmed with metal. Made at Arita, province of Hizen. 1600. Height, 12% inches. 2286--LARGE PLATE (1557) Imari porcelain of fine white hard paste. Decoration of figures and garden scene in the centre, surrounded by eight fan- - shaped panels in which are figures and flowers in five enamel colors applied over the glaze. Carved teakwood stand. Made by Kakiye- mon at Nangawara, province of Hizen. 1700. Diameter, 12% inches. 2287—-LARGE PLATE (1573) Imari porcelain of sonorous texture. Tree peonies and rocks painted in cobalt blue, red, green and purple, enriched by gilding. Made at Arita, province of Hizen. 1700.. Diameter, 121% inches. — 2888—FISH BOWL _ (1579) Imari porcelain of dense sonorous texture. Rich decora- tion of hawk on perch, brocade and floral designs in finely combined enamel colors enhanced by gilding. Made at Arita, province of gebtizen... 1750, : Height, 13% inches. ? 2289—LARGE VASE _ (589) Bottle-shaped. Imari porcelain of thick texture. Elab- oat orate floral scrolls in underglaze blue, boldly crackled throughout. Made at Arita, province of Hizen. 1650. Wey? Height, 1434 inches, 2490—TALL VASE (1580) Breaker-shaped. Imari porcelain of fine white texture. Bold floral designs, painted in cobalt blue and bright enamel colors. Elaborated openwork, silver collar and rim. Made at Arita, proy- ince of Hizen. 1650. Height, 23 inches. MINATO.—The founder of Minato pottery is said to have been Doraku, known as Kichibei, a brother of the third Raku. He came to Sakai in 1655. Having no son to succeed him, he adopted a Kyoto potter named Yahei, who is recognized as the second generation. The third generation, known as Kichi- yemon, died in 1750, the fourth in 1787, the fifth in 1831, the sixth in 1849, the seventh in 1852. All these were known as Kichiyemon. The eighth generation assumed the name of Kichibei, and died in 1861-1864. The present generation resumed the family name of Kichiyemon. For these statements I am indebted to Mr. Yamanaka. Ninagawa says that in the latter half of the eighteenth century the yellow glazes were introduced, and the mark Minato was first used. Still later, the mark Minato Yaki was impressed upon the pieces. I have not been able to separate the work of the various generations and have classified them simply by their appearance of age. The pottery was after the nature of Raku, being soft and light, and usually having a transparent underglaze and a dull dark yellowish overglaze. In some cases a bright green glaze occurs, and in the smaller pieces white, yellow, and green glazes are seen together. The rarest are the early gray and the purple and blue glazes. Unglazed specimens are also known. 2291—INCENSE BOX (1618) Minato faience of soft yellow texture. Partially covered with red and brown mottled glaze. Made at Sakai, province of Idsumi. Kitani (imp.). 1750. Height, 2 inches; diameter, 3 inches. 2292—INCENSE BOX (1611) Turnip-shaped. Minato faience. Covered with a white crackled glaze, touched with gold lacquer. Leaf-shaped stem in green. Made at Sakai, province of Idsumi. Minato, impressed. 1750. : ITength, 3 inches; width, 1 inch. 2293—TEA POT : (1615) Minato faience of fine, soft yellow texture. Covered with camellia-leaf green over a fine crackle. Made at Sakai, province of Idsumi. Mark, “ Sen-shu Sakai Hon-minto-yaki Kichibyoye.” 1750. Height, 3%4 inches. i “(asi Minato faience of fine, soft yellow texture, bluish-brown glaze. Made at Sakai, Idsumi. 1800. Diameter, 434 inches. 5 (1612) Minato faience of fine, soft yellow texture. Covered with | a dark gray opaque glaze. Made at Sakai, province of Idsumi. ~ Minato, impressed. 1750. Diameter, 5 inches. aatmato faience of fine, soft yellow texture. Covered with ae n black aes Made at Sakai, pees of Idsumi. Mark, ve “he at a. province of Idsumi. Mark, Senshiu ee itu Yaki Kichiyemon, impressed (the original Minato ware wi Height, 6% inches. — PAR | Minato faience of thin yellow texture. Covered with a ee Be ae and malachite green. Made at Sakai, i 00. Height, 11% inches. at ae province of Idsumi. ks ee eee Ra oe Ce bes ae : oy 15. #2. = 4 2300—OKIMONO (2333) Seated figure of Gama, with his favorite f der. Minato faience. Hard reddish clay invested green-gray glaze. Made at Minato, province of Ic 2301—-TEA JAR (1622) Cant ees Idsumo faience of soft ince of Idsumo. Thread oe 1800. 2302—TEA JAR (1624) Tdsumo faience. Covered with a ye glaze. Made at Fujina, eauhinok of r Tdsumo. S 1750. | ay 2308—TEA JAR pers (1626) Tdsumo faience of. fine, soft cream | a running glaze of orange yellow. — Made a Idsumo. Thread lines. 1850. vl eae ree 2304—-TEA JAR (1623) Tdsumo faience of gray texture. and pale buff glaze. Made at Matsuye, Mark, thread lines. 1800. 2305—TEA JAR COAG). et rae (16314) Tdsumo faience of ae a splashes of aventurine on sides. Made | at Idsumo. 1800. ay. 2306—TEA BOWL a a) gas Re (1619) Tdsumo farsa of fine aes so a brilliant yellow crackled glaze. Made Idsumo. 1870. a 2307—-TEA BOWL (1620) _—Idsumo faience. Gray glaze, decorated with flowers in _ colors over the glaze. Made at Matsuye, province of Idsumo. 1800. Diameter, 4 inches. —-2308—TALL CYLINDRICAL TEA JAR (1625) Idsumo faience of yellow texture. Covered with a rich opaque reddish brown glaze. Made at F ujina, province of Idsumo. _ Mark, thread lines. 1850. a ‘ Height, 4% inches. 2309—SAUCER (1621) _Idsumo stoneware. Covered with a gray glaze and deco- _ rated with a crude design of a bridge and flying birds. Borders in dark blue. Made at Fujina, province of Idsumo. 1850. Diameter, 514 inches. ie (1629) Bamboo design. Idsumo faience. Covered with a golden - brown running glaze with metallic soufflé glaze. Black lacquer lid. Made at Fujina, province of Idsumo. 1850. Seer Height, 6% inches. caf iow ax ‘ a : 2311—OVIFORM JAR % ais (1631) _Idsumo faience. The upper and lower part in brown lac- quer in imitation of fabric, a central band with incised cherry blossoms and inscription “ Kumo.” Made at Matsuye, province Height, 7 inches. HANGING FLOWER VASE (1628) Bamboo design. Idsumo faience. Fine yellow texture. Covered with an opaque yellow glaze. Made at Fujina, province Idsumo. “ Unyei,” stamped. 1800. ; oe Height, & inches. 23183—TALL CYLINDRICAL VASE : (1627) With twisted handles. Idsumo faience of coarse brown texture. Invested with a rich brown running glaze over cream white. Made at Giozan, province of Idsumo. .1750. Height, 9% inches. 2314—OVIFORM TEA JAR (1630) Tdsumo faience of yellow texture. Covered with a running glaze to represent tortoise shell. Made at Giozan, province of Idsumo. 1700. Height, 11 inches. PROVINCE OF IGA The pottery of Iga is very characteristic. It is extremely plain, usually undecorated, and often rough and primitive in appearance. The close resem- blance between the pottery of Iga and Omi arises from the similarity of the clay used in the work. The clay of Iga pottery is not so reddish as that of Omi, and in some cases the material is almost a clayey-white. In the village of Makiyama a serviceable unglazed pottery, in the form of kitchen utensils, braziers, and the like, has been made within twenty years. Examples of this work are placed in that portion of the collection pica different objects made in pottery. 2315—TEA JAR (1632) Tea stoneware of hard sandy texture. Covered with a bril- liant yellowish brown glaze. Made at Marubashira, province of Iga. Mark, thread lines. 1650. Height, 3 inches. 2316—TEA JAR (1633) Iga stoneware of sandy buff texture. Pale, blue-gray glaze. Made at Marubashira, province of Iga. 1850. Height, 3% inches. 2317—TEA BOWL (1634) Toa stoneware of coarse sandy texture. Clair de lune run- ning glaze over gray. Made at Marubashira, province of Iga. Kio, impressed. 1700. Diameter, 4 inches. 2318—WATER JAR (1635) Iga stoneware of coarse sandy texture. Covered with a dull white glaze, and Japanese poems written in brown glaze. Made at Marubashira, province of Iga. Four impressed marks, obscure. 1750. PROVINCE OF ISE The modern pottery of Ise is known throughout the world under the com- mon name of Banko, and the objects are almost invariably signed with the impressed mark of Banko. The product is usually in the form of tea-pots, little flower-vases, and the like, either modelled by hand or moulded; the walls delicate, with twigs modelled in relief, or flowers in a few vitrifiable enamels on an unglazed surface, or the body may be made of different colored clays. The foreign taste has been captivated by the novelty of this pottery and its cheapness. Ninagawa says this modern work for export was not made until after 1868. By the material thrown on the market to-day no one can have the least idea of the remarkable pottery made in this province in past times, There is hardly any method or style that the Ise potters could not successfully imitate; and if the pottery of this province alone survived, a fair idea of the pottery of Japan would be given. BANKO.—Great diversity of opinion is found in the various records pub- lished, and in manuscripts in regard to the origin and the history of the pot- tery bearing the mark of Banko. A general agreement seems to give the credit of the first making of Banko to N umanami, surnamed Gozayemon, who was a man of wealth, lived in Kuwana, studied flower arrangement, and finally began to experiment with the making of pottery. He is said to have served an apprenticeship with Kenzan, in Kydto, and if this is a fact we get a clue to the date of Numanami’s work, as Kenzan died in 1743. His skill soon attracted notice, and the attention of the Shogun being called to him, he was invited to Yedo, where he erected a furnace in Kommemura. His first work was made with clay and glazing materials imported from China. He died in the latter years of the last century. One of his sons worked with him for a while, but a servant continued the pottery for some time after the master’s death. Three specimens figured by Ninagawa are supposed to have been the work of Numanami in Yedo, and hence called Yedo Banko. As there is no absolute evidence of the origin of the specimens they are here classified with other objects bearing the mark of Banko. The round stamp has also been considered as indicating Yedo Banko, but that mark, varying in character, has been used within recent years. It would seem that many potters in Kuwana, Yokka-ichi, and other places used the common mark Banko, and the relative age of this work can only be judged in the usual way. Of these marks there is a great variety in form, size, and style of writing the characters. With the exception of Fueki and Nihon Yiusetsu it is not usual to see other names associated with this mark. In 1878 there were twenty-one different potters of Ise represented in the Paris Exposition. There is no mark under which a greater variety of pottery is found than that of Banko. This statement does not refer to the variety of reckon. of Patina, toh oie eg a | the pottery shows that the oldest forms bear the ur Banko, then, not only runs over a period of perhaps a In but must have been made by many potters in many places. no way of tracing the origin of the various pieces, and so th included under one name. 2319-TEA JAR (1655) Banko faience. Rie brown: more : Kuwana, province of Ise. 1800. | 2320—NETSUKE, OX i Sem Ae 5 (2337) Banko stoneware. Hard = Kuwana, province of Ise. Mark, E Be 2321—INCENSE BOX _ (2335) Reclining ox. Banko faience. Gr and brilliant green glaze and slight gilding province of Ise. Mark, — are ae 2522—INCENSE BOX aes = (2336) Reclining ox. Banko eit , camellia-leaf green glaze. Made, at Ku Ise. 1770. 2323-TEA JAR i ~ | aee Made at oF ee a sas ae 2324—-SMALL WINE CUP Tae (1641) Red Banko faience. Floral : side covered with a creamy-white glaze. ince of Ise. Banko, impressed. 1850. 2325—TEHA BOWL (1649) Banko faience of pale yellow texture. Outer surface cov- ered with a gray crackled glaze, and decorated with a spiral design in red; inside covered with an apple green glaze. Made at Ku- wana, province of Ise. Banko, impressed. 1800. Diameter, 334 inches. 2326—TEA BOWL (1639) Banko faience. Covered with a pink crackled glaze and — decorated with birds and flowers crudely painted in red and green. _ Made at Kuwana, province of Ise. Banko, impressed. 1750. Diameter, 334 inches. 2327—Q UADRILATERAL VASE _ (647) Banko faience of dark gray texture. Crackled gray glaze, with splashes of light brown. Made at Isawa, province of Ise. Anto, impressed. 1870. E Height, 4 inches. 2328—LOW GLOBULAR BOWL (1687) Banko faience. Rich dark brown running glaze, flying storks, in black, red, and white enamels over the glaze. Made at Kuwana, province of Ise. Nippon Yusetsu, impressed. 1850. Diameter, 5 inches. a 2329—GLOBULAR INCENSE BURNER WS ; F . ie (1651) Banko stoneware. Covered with a thick, pale green glaze. Incised ornamenation. Made at Kuwana, province of Ise. 1800. Height, 5 inches. -9830—-TEA BOWL (1643) Banko faience of gray texture. Covered with a thick tea color glaze. Inner surface partially gilded. Metal rim. Made at Kuwana, province of Ise. Banko, impressed. 1750. Diameter, 5% inches, a ke Hi 2331—INCENSE BURNER (2338) Fukurokuju, Banko faience. Soft gray clay, partly covered with red and green Raku glaze and gilt. Made by Yusetsu at Kuwn, Ise. Mark, Yusetsu, stamped. 1840. Height, 6 inches. 23382—-CAKE TRAY (1646) Banko faience of deep cream texture. Rich green glaze, with chrysanthemum crest, in purple enamel. Made at Isawa, province of Ise. Anto, impressed. 1830. Diameter, 6 inches. 23353—W ATER POT (1648) Banko faience. Pinkish-gray glaze, finely crackled. Decorated with autumn flowers and grasses; finely combined enamel colors and silver applied over the glaze. Made at Kuwana, proy- ince of Ise. Banko, impressed. 1850. Height, 6 inches. 2334—-SAKEH BOTTLE (1654) Banko faience. Covered with a brilliant green glaze of orange peel surface. Made at Kuwana, province of Ise. 1750. Height, 6 inches. 2235—SAKE BOTTLE (1652) Gourd-shaped. Banko stoneware. Landscapes and bro- cade designs in red, green, and purple enamels over a gray crackled glaze. Made at Kuwana, province of Ise. 1800. Height, 6 inches. 2356--SAKEH BOTTLE (1645) Oviform. Banko faience of buff texture. Covered with a fine apple green glaze, over a pronounced crackle. Wave designs and fret band in red around the neck on a deep cream crackle ground. Made at Isawa, province of Ise. Anto, impressed. 1830. Height, 64% inches. vie . 23387-SAKE BOTTLE (1638) With handles for hanging. Banko faience of dark brown texture. Dark brown glaze over a decoration of flying storks and floral medallions, which are carved in relief in the paste. Made at Kuwana, province of Ise. Banko, impressed. 1850. Height, 7 inches. 2388—SAKE BOTTLE (1642) Banko faience of brown texture; unglazed gourd and vine in white and green enamels and detached cherry blossoms in white, red and yellow. Made at Kuwana, province of Ise. Yusetsu, im- pressed. 1850. Height, 834 inches. 23389 -SAKE BOTTLE (1636) With indented sides. Banko faience of reddish brown texture. Covered with a brilliant green glaze, with splashes of purple and white. Incised decoration of the sacred ball and flow- ers. Made at Kuwana, province of Ise. Banko, impressed. 1750. Height, 834 inches. 2240—SAKE BOTTLE (1650) Quadrilateral. Banko stoneware of hard gray texture. Covered with thick white crackled glaze; floral scrolls carved in the paste. Made at Isawa, province of Ise. Isawa, stamped. 1830. Height, 9 inches. 2£341—SAKE BOTTLE (1640) Gourd-shaped. Banko faience. Covered with alternate bands of tea color and buff glaze. Decoration of flowers in green, white, and yellow enamels over the glaze, with red bands above and below. Made at Kuwana, province of Ise. Banko, impressed. 1750. Height, 9 inches. PROVINCE OF IWAKI The pottery of this province is widely known through the rough lathe- turned and subsequently finger-modelled bowls recognized as Soma. The bowls usually bear as a decoration a tethered horse as well as the crest of the house of Soma. The pieces are commonly signed with the impressed marks of Soma, _ or Kaneshige, though many other marks occur on Soma bowls. The founder of Séma pottery was Tashiro Goyemon. In 1624 the lord of Sdma accompanied the Shogun (third Tokugawa, Iyemitsu) in his annual visit to the emperor at Kyoto. In his suite was Tashiro Goyemon, who, if not ‘a potter, was probably an artist, for his master being greatly impressed with the remarkable character of Ninsei’s work selected Tashiro as the proper one to become an apprentice of this famous potter. SOMA.—The first Sdma with horse decoration was made by the second generation of Seijiyemon in 1650. The bowl figured by Ninagawa was prob- ably made by the third generation of this family, as a typical Soma in the collection, with drawing of horse, seems much nearer in clay and age to the work of Seijiyemon above described. True Soma was made in Nakamura by successive generations of the founder. Within recent years the name Tashiro has been impressed on Sdma pottery, and pieces bearing this mark will be considered under that name. True Séma, with the exception of the recent Tashiro’s work, and one piece in which the mark is incised, bears no signature. The early pieces show more vigorous drawing and are characterized by a certain refinement of form and style. The old name for Soma pottery was Otomi, meaning “ honorable monopoly.” NAKAMURA.—Under this name may properly be included a number of forms which are referred to the village of Nakamura, and doubtless made by Soma potters. They differ from true Soma in form and decoration, and are rarely signed. In a few cases a resemblance is seen to Maiko pottery. 2342—SMALL GOURD-SHAPED BOTTLE (1659) Soma stoneware. Dark brown glaze known as “ rain- drop.” Made at Nakamura, province of Iwaki. 1800. Height, 3%4 inches. 2343—TEA BOWL (1665) Soma stoneware of hard gray texture, indented surface. Covered with a celadon and splash glazes. Made at Nakamura, province of Iwaki. Kaneshige, stamped. 1800. Diameter, 334 inches. 2344-TEA BOWL, WITH INDENTED SIDES (1657) Soma stoneware. Covered with a mottled gray and brown glaze, with a running glaze round the rim. Relief decoration on the outside, of a tethered horse, and on the inside a galloping horse. Made at Nakamura, province of Iwaki. Soma, impressed. 1850. Diameter, 4 inches; height, 3% inches. 2345—TEA BOWL (1670) Soma stoneware. Dense gray texture, indented surface. Covered with a gray crackled glaze over which are splashes of red over blue. Made at Nakamura, province of Iwaki. 1800. Diameter, 4% inches. 2346—TEA BOWL (1656) Soma stoneware of sandy gray texture. The outside coy- ered with a dull gray glaze, and decorated with a galloping horse, outlined in brown, the inside covered with a celadon crackled glaze. _Made at Nakamura, province of Iwaki. 1800. Diameter, 4% inches; height, 3 inches. 2347—SAKE CUP (2340) Shape of a mask of Tengu. Soma faience. Coarse, sandy gray clay, decoration in brown under a pale green. Made at Nakamura, province of Iwaki. Mark, two galloping horses. 1850. - Height, 434 inches. 2348—TEA BOWL (1667) Soma stoneware. Pale pinkish crackled glaze. Decora- tion of horses outlined in brown. Made at N akamura, province of Iwaki. Inscriptions, “ Oshii Soma.” Mark, Tashiro (imp. ). 1850. : Diameter, 5 inches; height, 3 inches. , 2349—TEA BOWL (1664) Soma stoneware of gray texture and indented surface. Celadon, white, and purple glazes, and running horse in relief. _ Made at Nakamura, province of Iwaki. Soma, stamped. 1800. Diameter, 5 inches. 2350—TEA BOWL (1669) Soma stoneware. Hard gray texture. Covered with a . ‘cream: thick color glaze, which is crackled, and horses outlined in blue. Made at Nakamura, province of Iwaki. 1800. Diameter, 6 inches; height, 2% inches. 2351—WATER JAR (1671) Soma stoneware of dense texture. Pale gray ‘aaa decoration of horses outlined in black under glaze. Mad al mura, province of Iwaki. Inscriptions, Bario_ Soke. Seiji, incised. 1700. Height, Tineke diameter, 2352—BOTTLE-SHAPED VASE . : (1668) Soma stoneware. Pale brown crackled g galloping horse outlined in white and blue under t at Nakamura, province of Iwaki. 1800, 2353-—-OVIFORM VASE . 4 ae (1663) With handles. Soma stoneware. Hard 1 Covered with a thick mottled green ae province of Iwaki. 1850. 2354-SAKE BOTTLE (1658) Gourd-shaped. Soma stoneware at : and indented surface. Gray glaze over a pron galloping horses outlined in sche Made at ince of Iwaki. 1800. cs hae 2355—CYLINDRICAL VASE tanks (1660) Soma stoneware of Hite gray texture. gray, white and flambé glaze, relief ornaments covered with red glaze. Made at ‘Nakai p 1850. oe 2356—CYLINDRICAL VASE (1661) Soma stoneware of red texture. glaze, speckled with black. Made at Nk ) 1800. - ~ 2357—TALL CYLINDRICAL VASE (1666) Soma stoneware of coarse texture and indented surface. Covered with a running glaze of mottled green streaks with red. Made at Nakamura, province of Iwaki. Marks (amp.) obscure. ASK Height, 12% inches; diameter, 634 inches. 2358—TALL CYLINDRICAL VASE _ (1662) Soma stoneware of hard sandy red clay. Covered with a thick flambé glaze. Made at Nakamura, province of Iwaki. 1850. — Height, 12% inches. MATSUYAMA. —In 1790 the governor of Iyo invited a potter from Kiyo- ee aoe mizu, Kyoto. The oven was erected in a garden east of the castle of Mat- ; saya, and the work following Ky6t6 models continued for a short time. The ie asia bear the impressed mark Yoshi Matsuyama, and are of extreme rarity. : bets) Peach-shaped. Matsuyama stoneware of gray sandy tex- _ ture. Green, brown and white glazes thickly applied. Made at Matsuyama, province of Iyo. Mark, Suyehiroyama. 1890. Diameter, 5 inches; 2% inches. 2 (1675) Peach-shaped. Matsuyama stoneware. Partially covered ‘ with cream-white, green and brown glaze, crudely painted decora- tion. Made at Matsuyama, province of Iyo. Mark, Suyehiro- _yama, stamped. 1800. | ee a Diameter, 5 inches; 244 inches. a Matsuyama stoneware of gray sandy texture. Green, brown 2 and cream-white glazes. Made at Matsuyama, province of . Suychiroyama, stamped. 1800. Diameter, 734 inches. pies PROVINCE OF KAGA : "The name of this province, like that of Satsuma, has become widely known oe abroad through its faience and porcelain. The output of the Kaga ovens in furr shing pottery for the world’s demand is very great. Yet he in propor- TE ce eee ee ek tion to the effort to fill this demand is seen a corresponding deterioration in the work. One had only to compare the exhibit of Kaga potters at Chicago in 1893 with a similar exhibit in Philadelphia in 1876 to realize this deteriora- tion. There is little variation to be seen in the pottery. One piece of the bright red and gold decorated faience of Kaga will stand as a type for the thousands of pieces exported. The difference between this modern stuff and the original red is very striking. OHI.—Pottery known as Ohi is made in a village by that name in the eastern part of Kanazawa, which is thirty miles from Yamashiro village. It is said that the first Ohi pottery was made by Chozayemon, a brother of Ichiyu, one of the Raku family. This was in 1683. The earliest pieces had the im- pressed mark Raku. Early bowls of this potter have a close spiral line cut on the outside of the vessel. The only ones I have seen of this character appear to be imitations. In 1780 the mark Ohi was first used. There is a variety of these marks continuing from that time to the present day. There is one form of the mark Ohi always associated with the earliest and best examples of the work. Ohi pottery is a characteristic soft Raku, usually having a deep rich reddish-yellow, or “honey glaze,” as it is called by the Japanese. The pottery which nearest resembles it is a form made at Shizuhata, Suruga, and so closely does this resemble Ohi that in the classical collection brought together by Japanese experts for the Philadelphia F-xposition, which formed the material for the famous catalogue of the South Kensington Collection by Dr. Franks, is included a specimen of Suruga, under Ohi, the mark having been interpreted Senki, the Sinico-Japanese way of pronouncing the characters, which should be read Shizuhata. 2362—SQUARE TEA JAR (1682) Qhi faience of dense texture. Coated with a black glaze, with a deep, violet iridescence. Made at Ohi, province of Kaga. 1750. Height, 3%4 inches. 23638--PLATH (1680) Tyeaf-shaped. Ohi faience of reddish texture. Salmon- pink glaze, with dashes of brown. Made at Ohi, province of Kaga. Ohi, stamped. 1800. 4 x 8 inches. 364—-TEA BOWL (1677) Qhi faience of reddish brown texture. Covered with a red- brown glaze and inside incised spiral mark. Made by Chozayemon, Ohi, province of Kaga. 1700. Diameter, 4% inches; height, 3% inches. #363—W ATER POT (1685) Ohi faience of thin reddish texture. Reddish-brown glaze, with depressed finger marks. Made at Ohi, province of Kaga. 1800. Height, 4% inches; diameter, 6 inches. -8366-THA BOWL | (1681) Ohi faience of soft reddish texture. Coated with a salmon- pink glaze, slightly marked with green. Made at Ohi, province of Kaga. Ohi, stamped. 1800. Diameter, 434 inches. 2367—FIRE BOWL (1679) Ohi faience of soft texture. Mottled brown glaze, with. _ rich purple iridescence. Made at Ohi, province of Kaga. 1800. Diameter, 5 inches; height, 3 inches. - 2368—TEA BOWL (1678) Ohi faience of soft reddish texture. Mottled brown, white, and green, running glaze, thickly applied. Made at Ohi, province of Kaga. 1750. Diameter, 5% inches; height, 3% inches. Sa - 2369—CYLINDRICAL VASE : _ (683) Ohi faience of soft dense texture. Crudely fashioned, and covered with a brown glaze. Ohi, province of Kaga. Ohi, stamped. 1750. . Height, 91% inches. —-2870-LARGE GLOBULAR FIRE BRAZIER e, (1684) Ohi faience of dense soft texture. Coated with a brown- _ red glaze, elaborate ornamentation of chrysanthemum flowers and ____ leaves carved in relief, and enamelled green, yellow, and white. ori Made at Ohi, province of Kaga. Ohi, stamped. 1800. z Bae 5 Height, 10 inches. 2871-FIRE BOX : (3000) Ohi faience. Barrel-shaped, with cylindrical cup extend- ing half-way down the inside, God of Longevity with his stag and wave designs carved in the paste. Covered with a deep brown iri- descent glaze. Made at Ohi, province of Kaga. eee Height, 1034 inches. 2372—INCENSE BOX (2342) Fox dressed in a priest’s robe. Aidsu stoneware. Gray clay, unglazed. Made at Aidsu, province of Iwashiro. Mark, Meiji Jushi Shinki nen Moshun Kain Kozan tsukuru. Made by Kozan the last month of spring in the fourteenth year of Meiji at Hongo, Aidsu. 1881. Height, 2% inches. BAIRIN.—in the beginning of the century an oven was built in the ham- let of Beppo, at the southern limit of the old castle-town of Zentokor. A Kyotd potter was employed; and while the essays were after Kyoto models, they were original in design and treatment. The objects were usually glazed in two colors, either green and yellow, green and purple, or claret and yellow blending at the point of juncture. The Japanese have only recorded the mark of Bairin, which means plum blossom. The mark Okei also occurs on this pottery. This is another poetical name, meaning nightingale. The plum blos- som and nightingale are often associated in pictures. Specimens are exceed- ingly rare. 23"3—DISH, WITH HANDLE AND SPOUT (1789) Bairin faience. Glazed, with splashes of yellow, green, white, and purple. Made at Bairin, province of Omi. Bairin, im- pressed. 1800. Diameter, 64% inches, FUKAGAWA.—The pottery attributed to the village of Fukagawa (pro- nounced, in the province, Fukawa) has a finer and smoother glaze than Hagi; its color is warmer, and often pinkish in hue, this being particularly so with recent work. It is difficult to make distinctions in the older work. The pottery of Fukagawa originated from Hagi, and doubtless the same clay and glaze, or similar materials, were used. Certainly the methods were the same. 2374-TEA CUP (1763) Fukagawa stoneware of gray texture. The outside coy- ered with dark brown and gray glazes interwoven, the inside with grayish-blue glaze. Made at Fukagawa, province of Nagato. ~ 1864. Diameter, 2%4 inches; height, 2% inches. PROVINCE OF NAGATO With the exception of the province of Bizen there is no other province in Japan where there is such uniformity in the general appearance of its pottery as in that of Nagato. A hundred—a thousand—specimens brought together only make more striking the slight variation between them. The Japanese experts seem readily to separate the pottery of Nagato under the names of Hagi, Mat- sumoto, and Fukagawa, yet these distinctions become confusing when a large number of objects is brought together. The distinctions that they make between Matsumoto and Hagi are frivolous. Fukagawa certainly has a softer clay. An authority of 1700 mentions Hagi only. Ninagawa says Hagi is the general name for Matsumoto and Fukagawa; and yet Fukagawa is a separate town from Matsumoto. To make the discriminations more difficult, Nagato pottery is rarely signed; furnace-marks even are not seen; and so in many cases dis- tinctions are impossible. FUKAKUSA.—The general name Kukakusa is applied to pieces of pottery unglazed or lacquered bearing various marks. Whether these marks indicate separate potters, or whether they belong to the Matsumoto family, is not known. For the present they will be grouped under the general name Fukakusa. 2375—OKIMONO, DARUMA (2397) Fukakusa faience. Yellowish clay, unglazed and lacquered. Made at Fushimi, province of Yamashiro. Mark, Hokikudo. Shujin Kinsha (copied by the owner of Hokikudo). 1850. Height, 6 inches. _ 2876—INCENSE BURNER (2399) Pheasant on rock. Fukakusa faience of gray texture. Enamelled in various colors, dark green predominating. Made at Fushimi, province of Yamashiro. 1800. Belt Height, 9 inches. 2377—INCENSE BURNER, HAWK ON ROCK ie (2400) Fukakusa stoneware. Finely modelled in hard gray tex- | ture. Covered with a dull white glaze and touched with black. Made at Fukakusa, in Fushimi, Yamashiro. 1850. es Height, 13% inches. 2378—COVERED BOWL a (1861) Horaku faience. The outside covered with Nashiji lacquer, and decorated with chrysanthemums in gold, the inside covered with a gray crackled glaze. Made by Toyosuke at Na- - goya, Owari. 1820. ead : Diameter, 334 inches; height, 4% inches. 23°9—-BOTTLE-SHAPED VASE (1862) With lion’s-head handles. Horaku faience. Covered with a brilliant, thin green glaze, with amber-brown splash round the neck. Made by Toyohachi at Nagoya, province of Owari. 1830. Height, 6 inches. 2380—-OKIMONO (2331) Miniature carp. Finely modelled in Higo porcelain and covered with bluish-white glaze. Made at Tsunadayama, province of Higo. Mark, Higo Udo-no-Kori Tsunadayama Sei, in blue. 1800. Height, 1% inches; length, 3 inches. 2381—INCENSE BOX (2332) Figure of Daruma. Higo porcelain. Covered with a bluish-white glaze. Made at Tsunadayama, province of Higo. Mark, Tohi, in blue. 1800. Height, 1% inches. HIRA.—Pottery bearing the mark of Hira was made in the village of that name on the eastern side of Lake Biwa. The pieces are small, delicately made, and slightly decorated. The clay is yellowish or reddish; glaze thin and dull. Decoration, when present, in iron-rust color. It is said that a pupil of Ninsei first started the work. 2382—TEA CUP (1791) Hira faience of red texture. Ferns painted in black, and covered with thin opaque glaze. Made at Hira, province of Omi. Hira, impressed. 1850. Diameter, 3 inches; height, 2%4 inches. 2383—TEA BOWL (1887) Hagiyama faience of soft gray texture. Salmon-red crackled glaze, with Tokugawa’s crest in white and brown. Mark, Hagiyama yaki, stamped. Made at Nagoya, province of Owari. 1835. Diameter, 4% inches. 238j-TEA BOWL (1889) Hagiyama faience of soft gray texture. Covered with a soft yellow glaze. Made at Nagoya, province of Owari. Marks, Hagiyama-yaki (imp.). 1830. Diameter, 5 inches. TOZAN.—A pottery was established in the town of Himiji in 1826, by order of the governor. Dédhachi was invited to take charge of it. The work is not without merit, though the best feature is the vigorous decoration in blue seen on some of the bowls. The name, Tozan, is derived from a mountain of that name from whence the clay was obtained. Specimens are rare. 2385—K ORO (1420) Himeji porcelain. White hard paste. Landscape, figures and inscription finely painted in cobalt blue under the glaze. Made at ‘Tozan, province of Harima. Tozan, painted. 1831. Height, 7 inches. 2386—SAKE BOTTLE (1854) Gourd-shaped. Inuyama stoneware. Brown crackled glaze, with maple and plum trees painted in red, green and brown enamels. Made at Inuyama, province of Owari. Mark, TInuyama, painted. 1840. | Height, 8% inches. _ 288—OKIMONO | (7341) Image of Tekkai. Iwami faience. Yellowish clay, cov- ered with a yellow-brown Amé glaze, resembling tortoise-shell. Made by Nagami Gan at Sankaizan, province of Iwami. Mark, Gan, impressed. 1820. Height, 12% inches. 2388—SAKE BOTTLE | (1609) Kasama stoneware of dark reddish texture. Covered with _a dark brown glaze and a bluish-gray running glaze round the neck. Made at Kasama, province of Hitachi. 1800. Height, 8% inches. _ 2389—TEA JAR (1992) Kiuzan faience of red texture. Metallic brown glaze. Made by Kiuzan of Osaka, Settsu. Kiuzan, impressed. 1850. Height, 3 inches. 2390—TALL CYLINDRICAL VASE (1991) Kiuzan faience of soft gray texture. Covered with a mottled and gray glaze, which is flecked with metallic spots. Made ie by Kiuzan of Osaka, province of Settsu. Kiuzan Sei, impressed. | 1850. rhs Height, 101% inches. 2391—-GLOBULAR TEA JAR (1741) Korakuyen faience. Covered with a black Raku glaze. Koishikawa, Tokio, province of Musashi. Koraku, impressed. 1840. Diameter, 3% inches; height, 2 inches. 2392—OKIMONO, SACRED LION (2353) Korakuyen faience. Reddish texture. Covered with a green glaze. Made at Korakuyen, Koishikawa, Tokio, Musashi. Mark, Korakuyen Sei, stamped. 1840. Height, 6 inches; diameter, 8 inches. 2393—-HEXAGONAL TEA-KETTLE COVER REST (1746) Kaseizan stoneware, with perforated panels. Covered with green glaze. Made at Kaseizan, Tokio, province of Musashi. 1800. Height, 2% inches. 2394—OKIMONO, SHOTOKU TAISHI (2321) Kakiyemon porcelain. Fine white clay, celadon glaze. Made at Nangawara, in Arita, Hizen. Mark, Meireki Gan nen Sakaida Kakiyemon korewo tsukuru. Made by Kakiyemon in January of the first year of Heireki, 1655. Height, 9 inches. 2395—TEA BOWL (2330A) Minami stoneware. Curved sides deeply indented by hand, with lateral ridges. Thick pasty glaze of sage green, havy- ing foamy folds of over-glaze round the rim. Shofu, impressed. Made at Minami, Higo. 1830. Height, 3% inches; width, 3% inches. 2396—INCENSE BOX, WITH COVER (2046) Mizoro faience. Crackled brown glaze, openwork design of chrysanthemum crest. Made at Mizoro, Kioto, Yamashiro. Gobosatsu, impressed. 1750. Diameter, 3 inches. MISCELLANEOUS 2397—HEXAGONAL INCENSE BOX (1732) Meppo-Dani porcelain. The decoration representing the sun rising from the sea, wave designs and various borders painted in low tones of green, brown and blue. Made by Zuishi at Meppo- Dani, province of Kii. Zuishi, incised. 1800. Diameter, 4 inches; height, 2% inches. 2398S AUCER (1739) Maruyama faience of soft white texture. Covered with a creamy-white crackled glaze, flying sparrow and cloud forms in- cised and carved in relief. Made by Seishi at Maruyama, Shiba, Tokio, province of Musashi. Seishi, impressed. 1870. Diameter, 534 inches. 2399—BOWL, WITH SPOUT (1761) Mikawa faience of fine gray texture. Mottled brown run- ning glaze, over a pronounced crackle. Made at Kusumura, prov- ice of Mikawa. Marks, Okunisan, Kakitsubata (ampressed ). 1840. Diameter, 6% inches; height, 3 inches. 2400—INCENSE BURNER (2339) Design of fabulous animal. Maiko stoneware. Hard reddish-gray clay. Covered with a yellow-brown glaze. Made at Maiko, province of Harima. Marks, Toto-keu (amp.). 1840. Height, 6% inches. 24/0I-SAKE BOTTLE (1980) Oviform. Masuko stoneware. The body covered with a rich brown glaze, and the neck with a mottled green glaze, incised basket design. Made at Masuko, province of Shimotsuke. 1850. Height, 9 inches. 2402—PLATE (1548) Matsugatani porcelain of thin texture. Herons standing in water by reeds, painted in blue under the glaze. Matsugatani kiln of Ogi, province of Hizen. 1720. Diameter, 7%, inches. 2403—CAKE BOWL (1994) Mikage stoneware. Fine thin texture. Soft white glaze, phenix and other designs incised under the glaze. Made at Mikage, province of Settsu. Mark, Mikage and Shokin to, in- cised. 1850. Diameter, 7 inches. 2404-LARGE WATER JAR (1762) Lozenge-shaped. Nagato stoneware of fine gray texture. Covered with a soft white crackled glaze. Made at Matsumoto, province of Nagato. 1800. Height, 7 inches. 2405—TEHA JAR (18874) Nagoya stoneware. Unglazed; bluish-gray glaze in- side. Shunkozan, impressed on side. Made at Nagoya, province of Owari. 1750. Height, 4 inches. 2406—CYLINDRICAL WATER JAR (1872) Nagoya faience of fine soft gray texture; unglazed; de- tached blossoms in white and incised fret band round shoulder. ‘The inner surface gilt. Made by Toyosuke at Nagoya, province of Owari. 'Toyosuke, stamped. 1830. Height, 7 inches. 2407—-LARGE BOWL (1672) Nakoso stoneware of hard sandy texture. Coated with a thick brown “ water drop” glaze. Made at Nakoso, province of Iwaki. Nakoso, stamped. 1800. Diameter, 81%4 inches. | ae 2408—OKIMONO, SACRED LION (2414) Nara earthenware. Soft yellowish clay, unglazed. Made at Nara, province of Yamato. 1750. Height, 5 inches. 2409—INCENSE BOX £ (2372) Form of mandarin duck. Nochazan faience. Of gray . texture, and covered with finely crackled creamy glaze. Made at ce Nochazan, province of Tosa. Mark, Nochazan, incised. 1750. Height, 2 inches. ci e 2410—TEA JAR = (1906) Raku faience of pale yellow texture. Glaze of verdigris green, running into an amber brown. Made at Ohi, province of ; Kaga. 1750. + Height, 2 inches; diameter, 314 inches. 2 2411—CYLINDRICAL INCENSE BURNER ' (1755) With openwork silver cover. Ritsuo faience. Plum blos- soms and peony flowers carved in low relief and painted in enamel colors. Greek fret borders. Made by Haritsu in Tokio, province of Musashi. Kan, impressed. 1700. Height, 4 inches; diameter, 2% inches. 2412—TEA BOWL (1971) Sado stoneware. Thin chocolate glaze, over which is a black glaze. Made by Kintaro, province of Sado. Mark, Sashiu Kintarotsukuru (made by Kintaro in Sado). 1850. Diameter, 4% inches; height, 2% inches. 2418—TALL OVIFORM VASE (1995) Sakurai-no-Sato stoneware, coarse sandy texture. Cov- ered with a thick white drop glaze. Made at Sakurai-no-sato, province of Settsu. ‘ Sakurai-no-sato,” stamped. 1850. Height, 13% inches. 2414—-INCENSE BURNER (1990) With openwork silver cover. Sanda porcelain. Floral scrolls carved in low relief in the paste, under a translucent celadon glaze. Made at Sanda, province of Settsu. 1850. Height, 4% inches. 2415—V ASE (1989) Beaker-shaped. Sanda porcelain. Fine white hard paste. Covered with a rich translucent celadon glaze. Made at Sanda, province of Setsu. 1830. Height, 8% inches. 2416—DEEP PLATE (1740) With scalloped edge. Sanrakuyen porcelain. Impressed decoration of Chinese sage sitting at his desk in the centre, sur- rounded by floral scrolls and crests. ‘The whole covered in a pale opaque blue glaze. Made at Haramachi, in Tokio, province of Musashi. Sanrakuyen-sei, impressed. 1860. Diameter, 8% inches. 2417—INCENSE BOX (2365) Figure of sacred lion. Sanuki faience. Covered with a deep yellowish-brown glaze. Made at Shido, province of Sanuki. Mark, Min (imp.). 1800. Height, 2%4 inches; diameter, 34% inches. 2418—HANGING VASE (2364) Mask-shaped. Sanuki faience. Soft, reddish-gray clay, covered with a yellow-red and white glaze. Made at Yashima, province of Sanuki. Marks, To sau to-hiu gu (written). Dated Kei o ni nen (1866). Height, 9% inches; diameter, 54% inches. 2419-SAKE OUP (1790) Seta faience. Chocolate-brown glaze. Made by Mokubei at Seta, province of Omi. Seta and Mokubei, impressed. 1810. Diameter, 234 inches. 2420—-SMALL BOWL (1983) Shidsuhata faience. Soft gray texture; yellow glaze, with irregular streaks of terra-cotta red. Made at Shidsuoka, province of Suruga. Shidsu, impressed. 1880. Height, 1% inches; diameter, 3% inches. - 2421—-INCENSE BOX (1984) Hat-shaped. Shidsuhata faience. Dark brown glaze. Made at oo province of Suruga. 1850. Oa 7 Height, 2% inches; diameter, 11% inches. 2942—TEA BOWL (2031) Shiga stoneware of thin gray texture. Covered with a __ white glaze, with pine trees and lions painted in blue. Made at Shiga, island of Tsushima. Shiga, incised. 1810. Diameter, 31% inches. “ _ (433) Shédai stoneware of coarse reddish clay. Covered with a dark brown and yellow mottled glaze. Province of Higo. “ Shé- ” stamped. 1750. dai,’ Diameter, 4 inches, _ 242)-COVERED BOWL : (1982) Suwo faience of soft texture. Pinkish-gray glaze, crests _ painted in brown and white. Made by Kikko at Iwakuni, province ’ of Suwo. Kikko, impressed. 1832. E Height, 2 inches; diameter, 2% inches. 2. . oy SS Sere — i aeey Suwo faience, soft gray texture. Reddish-yellow and dark Por ae k gray glaze. Made by Kikko at Iwakuni, province of Suwo. Kik- _ko, impressed. 1832. Pye eras Height, 2% inches; diameter, 3% inches. 2486—TEA BOWL Be: (1993) Takahara faience of soft reddish texture. Salmon-red f ae Raku crackle glaze, incised storks filled in with black and white \ east ‘enamel. Made at Osaka, province of Settsu. Mark, Taka, stamped. 1700. _ ea Diameter, 4% inches. 2427—SQUARE TRAY (1847) Toyosuke faience of soft yellow crackled glaze. Brilliant green glaze running over one corner with chrysanthemum crest in relief. Made at Nagoya, province of Owari. “ Kakureno-Sato Toyosuke Tsukuru,” incised. 1820. Diameter, 8% x 8% inches. 2428—CYLINDRICAL VA SEH (1785) Ubagamochi faience of fine, soft reddish texture, covered with a green and yellow Raku glaze. Made at Kusatsu, province of Omi. 1700. Height, 8 inches. 2429—RICE BOWL, WITH COVER (1434) Udo porcelain. Decoration of storks and cloud forms in blue under the glaze. Made at Tsunada Yama, district of Udo, Higo. Higo Udo gori Tsunada Yama Sei. 1800. Height, 3 inches; diameter, 4% inches. 2430—OVIFORM SAKE BOTTLE (3012) Yamashiro pottery. Coated with a gray crackled glaze, and decorated grasses in green, and flowers, and a wicker cage in gold. Mark, Fuji impressed. Height, 5 inches. 2431—TEA BOWL (1373A) Yamashiro. Brownish clay of rough surface, reddish, with a thick over-glaze, and brown crackle glaze on the inside; drab crackle. Width, 4 inches. 24382—INCENSE BOX (2363) Shape of crab. Yashima faience. Soft reddish clay cov- cred with a dark brown glaze. Made at Yashima, in the province of Sanuki. Mark, Yashima, incised. 1850. 4x 2% inches. 2433—SAKE CUP (2100) Yeiraku porcelain of white hard paste. Medallions painted in blue under the glaze, and the rest of the surface with birds and - scrolls in red and gold. Made by Yeiraku Wazen at Kioto, prov- ince of Yamashiro. Mark, Dai Nippon Yeiraku tsukuru, painted. — 1860. Height, 1% inches. 243;-SEATED FIGURE OF KWAN-ON (3002) Finely modelled in pottery of soft texture, partially glazed _ and tinted with green and red enamel colors. Made by a Chinese priest and presented to a Japanese temple in the sixteenth century. Mark, Suizan Toziten, incised. Height, 13 inches. PIECES UNIDENTIFIED - 2435—INCENSE BOX _ (2260) Dense white clay. Coated with a soft, ivory white glaze. Ox carved in low relief on cover. Diameter, 2% inches. 2436—OLD SETO TEA JAR (2254) Fine, hard reddish clay, covered with brown Seto glaze. Height, 2% inches. 2487—TEA JAR (2259) Gray texture. Coated with brown running glaze. Height, 3 inches. - 2438—TEA BOWL | (3004) A fter Neiusei; black glaze with medallions in white, green and red. Decorated with Chinese characters in medallions. Diameter, 4 inches. 24389—FINE BOWL (3008) Fashioned in shape of Daruma. Steel-black glaze irides- ~eent; whitish splash on top. Seal, Koto (imp.). Yosobei (in- _cised), 1830. Province of Omi. Loe k Diameter, 4% inches. 24j0-TEA BOWL (2258) Gray clay, covered with a thick, mottled gray glaze which is crackled. Diameter, 4% inches. 2441—TEA BOWL (1436A) Fine light buff clay and thin glaze. On side a group of storks standing in water, executed in delicate relief of white slip, and pine branches backed with clouds in gold. Height, 3 inches; diameter, 454 inches. 2442—TEA BOWL (2251) Soft reddish-gray clay, with brilliant red Raku glaze. Diameter, 5 inches. 24483—TEA BOWL (2255) Soft yellow clay. Covered with a cream color glaze with splashes of green and brown glaze. Mark, Seigiokudo, impressed. Diameter, 4% inches. 2444-TEA BOWL (2250) Soft gray clay; red Raku glaze, with pronounced crackle. Mark, Aki, stamped. Diameter, 41% inches. 24485—-TEA JAR (2253) Hard gray clay, unglazed, dragon in clouds carved in high relief. Mark, Raku-seizan, impressed. Height, 4Y% inches. 24j6—OVIFORM TEA JAR (2252) Fine gray clay, covered with green, pink, and gray Raku glaze. Mark, Hojun, impressed. Height, 4% inches. 2447—SAKE PITCHER — (3005) Old Japanese pottery, covered with a Raku glaze. Height, 5 inches. 2448—TEA BOWL — 257) Of coarse brown clay. Covered with a thick, mottled gray glaze. Diametcr, 5% inches. | 24f)—ODD-SILAPED TEA BOWL (2249) Fine reddish clay texture, covered with a silicious dark green glaze. Tsuna, stamped. i Diameter, 6 inches. _—-2450-SQUARE-SHAPED BOWL ON ROUND FOOT 3 — (3016) Rendaiji pottery of soft texture and cream color glaze. : a Decorated with Chinese design in colors of the famille verte style, ‘most delicately pencilled. On the outer surface a text describing a well-known summer house at Kioto. Tokio, 1806. Diameter, 6 inches. _ 2451—OKIMONO, HERON AND ROCK , : - (2248) Finely modelled in gray stoneware. Covered with an ae ; apeqse green glaze; silver bill. Banseido, stamped. Height, 64 inches. i Ba. Red pottery of fine soft texture. Covered with a thin, transparent glaze. Cherry blossoms and a fret border carved in Diameter, 7 inches. . 4 - 3 Peach stone design. Inner surface covered with green Diameter, 10 inches. : _" - we: ; a Pee 5 ae ek ’ ae -. | pee Bee a ee > OR re ke a af . ve r ae ¢ sae f ae ari ae 8 : x id a e . x z <= ama —< Pt a ‘ae re Sa ’ i ete, oe et nae ‘ a Ly tt - ue be « / ke 2454—FIGURE OF COW IN REPOSE — (3011) Finely modelled in thick, soft rte early part of eighteenth century. It is ¢ 1 green and a brown ‘pole Dias over-g pressed. Sx. a a 2455—FI RE. BRAZIER ie (3018) Shape of a wood a om oe red clay, made by Yeiraku after Ninsei’s Be O province of Yamashiro. Mark, Omuro an Date, 1850. TRF a Len, ‘hike ft: » ‘ a > ~~ +. a tu bee Ase a | » ‘ ix ~ ri =a ~*~ t 4 é iy UE ae i: ee ay ot the tee 4 f } 7 , * ¥ Pa 7 t —. i Bs , fat Rare oh Shows well Utamaro’s oe pels ah its color. Date about 1805. 18—PRINT a ee (118) A strong early impression of a late 19—PRINT i and of a beautiful, ee soft rele tone Let 20—PRINT (115) Girl with pipe, another of ee same oe 1796. 21—PRINT (116) Girls in kitchen, blowing fire “ stove. of Utamaro’s unique genre design, and 3 yellow ground. About 1798. . 22—PRINT (117), Pupil of Utamaro. ten ae 23-—PRINT 7 Meas (118) Kakemono-ye, girl in zukin. greatest pupil. About 1790. 24—PRINT UTAMARO, Nineteenth Century (119) One of the same set, in triptych, as No. 18. Exceptionally strong impression. About 1804. 25—PRINT UTAMARO, Eighteenth Century (120) Man and two girls in holiday dress, faded yellows, against a gray silver ground. Fine impression. 1796. 26—PRINT UTAMARO, Nineteenth Century (121) Very late style, about 1806. 27—PRINT SHUNSHO, Eighteenth Century (122) Actor print, showing a young man and woman under an umbrella. By this date, 1779, the prints of theatrical scenes had passed out of the hands of the Torii, and been assumed by the Katsukawa academy, of which Shunsho was founder and head. Their color design was an extension of the method started by Harunobu. Some of the most beautiful prints to be found in Japanese art occur in this series. This is one of the finest speci- mens of the school, being a splendid early impression, with clear values and beautiful color. 28—P RINT SHUNKO, Eighteenth Century (123) Actor print of the Katsukawa type by the greatest of Shunsho’s pupils. Good example. 1778. 29—PRINT SHUNYEI, Eighteenth Century (124) Kakemono-ye, of two fine figures in grays and purples set against a ground of architecture and landscape. Shunyei is one of the leading pupils of Shunsho, and this piece shows that the school did not confine itself to designs of actors. About 1782. 30—P RINT SHUNCHO, Eighteenth Century (125) Kakemono-ye. Kitchen scene with two women. Style of Kiyonaga. Good impression, quiet color. About 1790. 81—PRINT SHUNTEI, Nineteenth Century (126) Actor. Shuntei was probably a pupil of Shunko, and shared in the great degeneration of the early nineteenth century. About 1815. 82—PRINT SHUNCHO, Eighteenth Century (127) Set of two prints, mounted. Fine soft colors. About 1778. 388—PRINT SHUNCHO, Eighteenth Century (128) Large portrait heads of actors. A rare and late subject for this artist. Fine Utamaroish color, in gray and orange pink. About 1794. 34—PRINT TOYONOBU, Eighteenth Century (129) This fine two-color print goes back to the days of Kiyohiro and Kiyomitsu. It is a rarely clear impression, and an unusually close composition with its crossing of hands. 'Toyonobu was one of the greatest leaders of the middle of the century, and the mas- ter of the early Utagawas. A noble example. Date 1752. 35—PRINT HARUNOBU, Eighteenth Century (130) Three figures. Harunobu was the man who invented the many color block process. He introduced backgrounds, atmos- phere, and soft intermediate tones. This is a good example, with strange coloring in greens and olives. About 1770. 36—PRINT KORIUSAI, Eighteenth Century (181) Boys playing at archery. Fine early impression, in beau- tiful colors. Koriusai was the chief pupil of Harunobu. About 1769. 37—PRINT KORIUSAI, Eighteenth Century (182) Group of small square sheet. Color faded. About 1778. 388—PRINT YEIZAN, Nineteenth Century (183) Group of two girls. About 1816. libs - 2 89—P RINT YEIZAN, Nineteenth Century (184) Hair arranging. Good action. About 1820. 40—PRIN T YEIZAN, Nineteenth Century (135) Ordinary example. 1820. 41—PRINT YEIZAN, Nineteenth Century (186) -Yeizan was unfortunate to fall into the most degenerate period, when ugly types and careless dressing were fashionable. ‘His color, as here, sometimes redeems him. 5 pp RINT YEISHO, Eighteenth Century _ (87) Belle with two attendants. A very fine example of a rare man, who is always interesting. He was a pupil of Yeishi, but Fe aed original. This is a magnificent print, of clear impression, oy 8 and brilliant effect of rose against black. About 1799. ‘43—PRINT +, YEIRI, Eighteenth Century (138) Kakemono-ye. Two girls walking, fine long lines. Yeiri, pal also a pupil of Yeishi, is as original as Yeisho. His work is in- ese ‘fluenced by Hokusai. The color here is faded, but fine in effect. _ An unusual print. About 1797. ' a : 44—-PRIN T . YEICHO, Eighteenth Century (189) -Yeicho is the third of Yeishi’s famous pupils. This large head is even more striking than Utamaro’s, on which it is based. co Good i impression. About 1798. 5—-PRINT YEISHI, Eighteenth Century 40) Girl writing on fan. Color good, on pale yellow ground. tri Veishi first followed Kiyonaga, then branched out as a rival to as Utamaro. About 1798. ? aie Oree “.... - Tesh Pa wah tat oe 5 Sd ay mre = j - eh A hie ~ 46—P RINT YEISHI, Eighteenth Century (141) Girl leaning back with pipe in hand. Another of the same set, even finer. he lines are fine and dark, set against a lovely scheme of peachy colors. About 1798. 47—PRINT HOKUSAT, Nineteenth Century (142) Landscape; one of his Fuji series. Color blue and orange. 48—P RINT HOKUSAI, Nineteenth Century (143) Landscape; high bridge. Bluish. 49—P RINT HIROSHIGE, Nineteenth Century (144) Fishes swimming. About 1845. 50—PRINT YEISEN, Nineteenth Century (145) Figures. Yeisen was pupil of Yeizan. About 1820. 51—PRINT SHIGEMASA, Eighteenth Century (146) Boy playing on a drum. Shigemasa was one of the great- est masters of Ukiyo-ye, contemporary with Harunobu and Shun- sho. His drawing, as here, is second only to Kiyonaga’s. 'This is a remarkable impression, and altogether a most splendid print. 1778. 52—PRINT SHUNMAN, Eighteenth Century (147) Women beating cloth, in white and gray. Shunman, orig- inally pupil of Shigemasa, fell, as here, under the influence of Kiyonaga. This design is good in line. About 1786. 53I—PRINT KUNINOBU, Eighteenth Century (148) Kakemono-ye. Boy and girl walking with lantern. Pupil of Harunobu. About 1770. es 54—PRINT SHUNSEN, Nineteenth Century (149) Genuine, but ordinary. About 1810. ; oi _ 58—PRINT TOYOKUNI, Nineteenth Century 4 (150) Large actor print. From about 1790 the delineation of theatrical subjects passed from the hand of Shunsho to that of _ Toyokuni. ‘The olive tone of this is good. About 1800. 5¢—PRINT | HARUNOBU, Eighteenth Century pare (51) Small square; greens and purples. Late work. Color a x ae 2 ‘little cold and faded. 1772. =e. 57—PRINT | SHIGEMASA, Eighteenth Century _ (52) Children playing with dolls. A most beautiful specimen of -Shigemasa, in the clear green Harunobu coloring. A very early ae rare impression. About 1771. 58—PRINT SHIGEMASA, Eighteenth Century | (183) Children rolling a snowball. One of same series, and sim- ’ 4 s ec ‘ilar Eamebties. About 1771. Bi 9—PR NT | TOYOKUN I, Nineteenth Century (154) ‘The first Toyokuni lived till quite a late date, contemporary with Yeizan. About 1812. : TOYOKUNI, Eighteenth Century (155) This is one of Toyokuni’s earlier works, in which he is he more dignified, still under the influence of Kiyonaga. The pat- 7 f me erns. on the court dress are specially fine. About 1796. ‘a ’ : RINT YEISHO, Eighteenth Century 56) Kakemono-ye. About 1797. 62—PRINT SHUNCHO, Eighteenth Century (157) Kakemono-ye. Typical. Lines of motion good. About 1792. 63—PRINT SHUNCHO, Eighteenth Century (158) Kakemono-ye. Time of Kiyonaga. Good purples and grays. About 1788. 64—PRINT KORIUSAI, Eighteenth Century (159) Group in small square sheet. In spite of being somewhat rubbed, the color is specially fine. About 1774. 65—PRINT SHUNCHO, Eighteenth Century (160) Kakemono-ye. ‘Though the color be rubbed, the line is specially good. About 1790. 66-—PRINT KORIUSAI, Eighteenth Century (161) Kakemono-ye. In this style of narrow composition Koriu- sai is the greatest master of Ukiyo-ye. It specially suited his genius, and this is the high-water mark of his work in it. The two tall figures are most dignified in line, and the warm rosy tones, unusually fresh, exhibit the master’s powers as one of the great- est colorists. And this is the moment of his greatest power, the year 1778. 67—PRINT KUNIYOSHI, Nineteenth Century (162) After Yeizan, Kuniyoshi, pupil of Toyokuni, is one of the leaders of the revival. 68—ALBUM OF PRINTS HOKUSAI, Nineteenth Century (163) A set of five sheets representing ghosts. This late work, in rich colors, shows well the master’s power of imagination. The set forms one of his rarest works, but well known to connoisseurs, forming a group that is now very seldom found unbroken. It is in perfect condition. 69—ALBUM OF PRINTS Nineteenth Century Artists (164) An album of actor prints, falling between 1810 and 1830. 70—ALBUM HARUNOBU, Eighteenth Century (165) This album collection forms a portion of the illustrations in color to a well-known book of Harunobu’s of about 1768. 71I—K AKEMONOS SOTATSU, Seventeenth Century _ (66) A set of three kakemone paintings of flowers. These are rough specimens, dark and somewhat coarse, but rich in tone. 72—KAKEMONO ; HOITSU, Eighteenth Century (167) Painting on kakemono of a blossoming plum-tree. 73—K AKEMONOS UNKNOWN JAPANESE, Fifteenth Century _ (68) ‘Two kakemono of figures. Probably by some pupil of the _ school of Cho Densu. - 7s Y4—-PANEL KANO TANYU, Eighteenth Century re ©.4 a (169) Rough painting on panel of a dove with bamboo. An ordi- nary specimen of the Tanyu school. _ _ * %-PANEL SCHOOL OF SOTATSU, Eighteenth Century & %6—PAIR PANELS KANO TANYU, Seventeenth Century oe hie am) Two painted landscapes mounted on panels. These are in of the great Tanyu at its best for vividness and beauty. They are in rarely fine paintings of the Kano school, and are to be ascribed to -. Tanyu’s strong middle age, about 1645. os Wide -(Nore.—The above will be sold separately, one with the privilege of the hie, ae pair. One represents Fuji, the other a mountain landscape in snow. ) 27—PRINTS > : | HIKOSHIGE, N (172) A set of eight prints, shoving views of 1 set is shir found intact. 78—PRINT | , _ KIYONAGA, Ki; (78) Print showing the interior of a shop. About 1’ 79—PRINT SHUNZAN, Eighteen (174) Print, small square. Rates asa «designer lowed Kiyonaga. About 1795. epee 80—PRINT < Theatres of old Japan. 244—PRINT - 5 245—PRINT o 3 Group of actors in various réles. ita. 246—PRINTS oe (Three in set.) Fireworks on the Riogok 247—PRINT Street scenes in the old city of Osaka. 248—PRINTS . Rex. fe es in set.) re eruption of the Bandaizan | > aie S a. 248\—THR KOKKA (ILLUSTRATED ART “MAGAZ VE Hand-colored wood-cuts and engravin os No. 1 to No. 18. 18 vols. is _— aB—rime ‘HOKUSAI MANGWA . a vols. Vols. 1, 2, 4, 6, 9, 14, 15. &48C—BIZITSU-SEKAI - _ Illustrated book on Japanese art. 6 vols. Vols. 1, 2, 3, 4, 5, 6. ies ie Oni maru tachi no dsu,” or descriptive notes on some of the most famous blades extant in Japan. Original drawing in colors. KWANKO DSUSETSU Jistory of Japanese keramics, fully illustrated in color, with Jap- -anese text. By Ninagawa Nori tane. 7 vols. Pip ti =) bp ie? | 248L—LARGH ALBUM Containing ten paintings of Chinese emperors and court atten- dants minutely executed in colors, with Chinese texts on opposite pages. 248SM—JAPANESE ART FOLIO Containing wood-cut, reproductions of celebrated paintings of old masters. Edited by Hermich Shugio. Published by K. Ogawa. 1 vol. ETCHINGS APPIAN, ADOLPHE “ My admiration for Appian’s work as an etcher (he is a charming painter also) was already great several years ago, but the more I see how rare his qualities are in contemporary art, or in any art, the more I feel disposed to value them.” —P. G. Hamerton, “ Etchings and Etchers,” p. 202. 249—THE BRIDGE Proof before all letters on Japanese paper; also THE FARM BY THE RIVER After the painting of Théodore Rousseau. Proof before all let- ters, on Holland paper. Two pieces, one lot. BEAUVERIE, C. 250-—LES CHEVRIERS After the painting by Corot. Signed artist’s proof, on vellum. BRACQUEMOND, FELIX All the medals, including the Grand Medal of Honor, have’ been awarded him for his etchings. In 1882 he was made Chevalier of the Legion of Honor, an Officer of the same order in 1889; and was also appointed a member of the Jury on Etching at the Universal Exposition in that year. 25I—THE KNITTING LESSON After the painting by J. F. Millet. Signed. Remarque proof, on Japanese paper. In the autograph of the etcher & mon ami Hédouin, Bracquemond. 252—LANDSCAPE WITH A HORS EMAN After the painting by Corot. Proof on Holland paper. In the handwriting of Bracquemond. P. Hédouin in lower right corner. CASANOVA, A. A contemporary painter and etcher. 2583—_THE COQUETTE Original etching. Proof before all letters, on Japanese paper. CHAUVEL, THEOPHILE “Chauvel est le véritable graveur de paysage; et il a élevé la graveur de paysage a la hauteur de cetté chose spéciale qu’on appelle une estampe.”—Henri Beraldi. 254—LE BATELIER After the painting by Corot. Delteil, No. 93. Signed artist’s proof, on vellum. Very fine impression. 255—LPORAGE After the painting by Diaz. Delteil, No. 70. Signed artist’s proof, on Japanese paper. A magnificent etching of a noble pic- ture. 256—LE NID DE L’AIGLE—FORET DE FONTAINEBLEAU After the painting by Théodore Rousseau. Delteil, No. 92. Signed artist’s proof, on vellum. One of Chauvel’s masterpieces. COURTRY, CHARLES JEAN LOUIS Pupil of Gaucherel and Flameng. A Chevalier of the Legion of Honor. One of the most distinguished reproductive etchers. 257—LES AMATEURS DE GRAVURE After the painting by Meissonier. Signed remarque proof, on vellum ; also UNE LECTURE CHEZ DIDEROT Etched by Augustin Mongin, after the painting by Meissonier. Trial proof, on Holland paper. Two pieces, one lot. GAUTIER, LUCIEN 258—THE SAND CART After the painting by Corot. Signed remarque proof, on Jap- anese paper. GREUX, GUSTAVE Pupil of Gleyre. He has been a contributor of etchings to the Salon since 1868. 259—LE LAC After the painting by Corot. Signed remarque proof, on vellum. HADEN, SIR FRANCIS SEYMOUR “ By general consent Seymour Haden ranks as the greatest of modern landscape etchers.”—‘“ The Modern Disciples of Rembrandt.” 260—FIRS—A STUDY Drake, No. 113. First state. Signed artist’s proof, on Whatman paper. Very fine impression. 261—THE TEST AT LONGPARISH Harrington, No. 219. First state. Signed artist’s proof, on old paper. Very fine impression. HEINS, A. VILLE D’AVRAY Signed artist’s proof, on Holland paper. 262- THE WHITE HORSE | Signed artist’s proof, on Holland paper. Two pieces, one lot. JACQUE, CHARLES “Ce que le distingue c’est la poésie pénétrante de ses paysages, c’est le charme intime de ses fermes, de ses cabarets, de ses paysanneries.”—Ch. Blanc, “Ga- zette des Beaux Arts,” 15 février, 1861. 268—L’ORAGE Guiffrey, No. 212 bis. Fourth state, with the remarque—Janvier 1866—hbefore the indications of white clouds in the sky were effaced by new work. Signed artist’s proof, on India paper. In the au- tograph of the artist, 4¢ état, la seule épreuve de remarque qui reste. Very fine impression. 264—TROUPEAU A LA LISIERE D’UN BOIS Guiffrey (continued), No. 238. Signed artist’s proof, on Hol- land paper. Fine and early impression. 265—CLAIR DE LUNE Guiffrey (continued), No. 243. Only state. Signed artist’s proof on toned, charcoal paper. Fine and harmonious impression. The tint of the paper adds greatly to the effect of moonlight. 266—LISIERE DE FORET—EFFET DE SOIR Guiffrey (continued), No. 245. First state (of 5). The pure etching. Signed artist’s proof, on Holland paper; marked by the artist. No. 1 premier état (probably the first impression from the plate). Very rare, and of great beauty. 267—LA BERGERIE BEARNAISE (INTERIEUR DE BERGERIE) Guiffrey (continued), No. 246. First finished state. Beautiful impression, on Japanese paper. This famous etching won for M. Jacque the Medal of Honor at the Paris Exposition of 1889. One hundred impressions only were printed, and the plate was then de- stroyed. “ Superbe piéce.”—Henri Beraldi. p I 268—LE BERGER ; Signed artist’s proof, on Japanese paper. In the autograph of the artist, 4¢ état, trés belle épreuve de ma collect” en noir. Ch. Jacque. A magnificent impresion. 269—L-ABREUVOIR AUX MOUTONS Guiffrey (dry-point supplement), No. 59. Signed artist’s proof, on parchment. In the autograph of the artist, la seule sur parche- min, je crois. Fine and early impression. 270—VACHES A L’ABREUVOIR Guiffrey (dry-point supplement), No. 61. Signed artist’s proof, on Holland paper. Fine and early impression. 23 271—TROUPEAU DE VACHES A L’ABREUVOIR Guiffrey (dry-point supplement), No. 62. Signed artist’s proof, on parchment. In the autograph of the artist: La seule éprewve sur parchemm. Brilliant impression. KOEPPING, CHARLES A pupil of Waltner. “TI fait honneur au maitre, dont il s’est promptement assimilé les procedes, au point d’étre aujourd’hui un de ceux qui en usent le plus brillamment.”—Henri Beraldi. 272-LES RODEURS DE NUIT After the painting of Munkacsy. Beraldi, No. 18. Remarque proof, on Japanese paper. KOSTER, A. L. Member of the Etching Club of Holland. i “erianves IN THE PYRENEES ae oe ee _ Original ae pigned artist’s proof, on Japanese paper. Sian AND MOONLIGHT _ Original etchings. Signed artist’s proofs, on Japanese paper. ie Two ae one lot. } KRATKE, LOUIS Papo of Géréme and Waltner. apie ts ie pes cal A abandonné dpa 1883 la peinture pour leauforte, mais est resté p eintre en gravant: on ne peut mieux faire l’éloge de son talent. ”_ Henri THE CHURNER FS ; > Jay apanese ee Beraldi, No. 26. Signed “After the painting by J. F. Millet. Signed remarque proof, on LE RAT, PAUL Pupil of Gaucherel. “Graveur 4 leau-forte trés habile: exécute spécialement l’estampe de petit for- mat et la vignette, qu'il grave d’une pointe fine et ‘serrée.”—Henri Beraldi. 278—VHOMME A LA FENETRE t After the painting of Meissonier. Beraldi, No. 14. Remarque proof, on vellum. Signed by Meissonier and by Le Rat. Beraldi considers this one of the etcher’s finest plates. LOPISGICH, GEORGES ANTOINE Born at Vichy. A pupil of Bonnat and Le Roux. 279-THE WATER GATE After the painting by Corot. Signed remarque proof, on vellum. There were printed 125 proofs only, and the plate destroyed. LOWENSTAM, LEOPOLD He has been especially successful in translating the paintings of Alma Tadema, and is ranked as the ablest interpreter of that painter’s works. 280—‘ HE COMETH NOT,’ SHE SAID After the painting by Alma Tadema. Remarque proof, on Jap- anese paper. Signed by both painter and etcher. — MILLET, JEAN FRANCOIS “Other modern etchings have more charm than his—none have quite so much feeling. Others show more grace and delicacy of touch—none show more force or certainty, and none a more artistic economy of means.”—Mrs. Schuyler Van Rensselaer, ‘‘ Millet as an Etcher.” : 281—A WOMAN CHURNING Lebrun, No. 11. Second state, with the address of Delatre. Fine impression, on India paper. Lebrun, No. 19. ae state. Good impression, on ribbed paper. “This beautiful plate was intended for publication by the Société des Aqua- fortistes (Cadart), but the publisher having asked Millet to withdraw the plate, kd the artist ceased to be a member of the Society (1862).”—Alfred Lebrun, “ The - Etchings of Jean stash Millet.” eS HOUTEN, MISS BARBARA Ba Original brain set artist’s proof, on Japanese paper. PPE: att Nee pls WEELE, H. J. i “After the painting by Anton MG Remarque proof, on vellum. WALTNER, CHARLES THE HARVESTERS | i fter the painting by Jules Breton, in the Luxembourg. Signed ye prove, on vellum. Signed by both painter and etcher. A to the true collectors. They lie already in the portfolios by the side of ; andt’s and Méryon’s.”—Frederick Wedmore, “ Whistler’s Etchings.” BS DOORWAY eee edmore, N No. 154. Proof before additional dr y-point shading in dipping into the water. Printed by Whistler, and signed with his butterfly signature. One of the “ Venice ” set. “Much richer in effect, and with more elaboration of detail than is usual in this series, is “ The Doorway,” a beautiful view of what has once been a palace. The fine architecture of the exterior, with the rich tracery of the win- dows is very beautifully indicated, and the water in the foreground is wonder- fully transparent.”—T, R. Way, “ The Art of J. McNeill Whistler,” pp. 73, 74. WITSEN, WILLEM One of the most individual of modern Dutch painters and etchers. “He obtains powerful effects, never abandoning a plate before having com- pletely expressed in it the effect, the color and the harmonious tone he seeks. For him every one of his plates must be a work of art.”—Philip Zilcken. ( THE DIGGERS Signed artist’s proof, on Holland paper. Marked éprewve d’artiste in the etcher’s writing. 287 | also SHEPHERD DOGS WATCHING THEIR FLOCK After the painting by Charles Herman-Léon. ‘Trial proof, on | Holland paper. Unsigned. Two pieces, one lot. ZILCKEN, PHILIP “Another notable Dutch etcher is Philip Zilcken, of The Hague. Being a young man, he is as yet comparatively unknown to fame, but some judges > who know whereof they speak (and among them Félix Buhot) have predicted for him a brilliant future.”—‘ The Modern Disciples of Rembrandt.” 288—THE BRIDGE After the painting by Jacob Maris. Proof on Japanese paper. Signed by painter and etcher. One of Zilcken’s boldest plates. 289—THE WINDMILL After the painting by Jacob Maris. Signed artist’s proof, on Jap- anese paper. ‘After the ais by J acob Maris. Signed artist’s proof, on Jap- Fisk anese paper. . After the painting by Jacob Maris. Signed artist’s proof, on Jap- ; -— anese ia Signed artist’s proof, on Jap- o , * ter the painting by J. prs Maris Signed artist’s proof, on Jap- + ae s DE ZWART, W. oy artist’s ‘proof, on Holland paper. Marked by the artist. iets ie on Holland paper. a al ae edition of 250 sets, on Japanese paper. This set is 200. All impressions are signed artists’ proofs. Complete set, in portfolio, with accompanying text by S. R. Koehler. One lot. The etchers represented are: Samuel Coleman, C. A. Platt, J. G. Brown, Peter Moran, Thomas Moran, Mrs. M. Nimmo Moran, Peter Moran, Léon Moran, Henry Farrar, C. A. Vanderhoof, E. F. Miller, T. W. Wood, Miss Edith Loring Pierce, I. M. Gaugen- gigl, J. C. Nicoll, F. J. Church, Kruseman Van Elten, 5. J. Guy, Stephen Parrish and Joseph Pennell. FINE ART AND BOOKS OF REFERENCE 298—MR. VANDERBILT’S HOUSE AND COLLECTION Described by Edward Strahan. Holland edition. Boston, New York, Philadelphia. Published by George Barrie. 4 vols. 299— HUV RES COMPLETES DE E. MEISSONIER Paris: E. Lecadre & Cie., Editeurs, 56, Rue de la Rochefoucauld, 56. 1884. 2 portfolios containing 104 photogravures. Copy No. 14 of the American Edition, which is limited to 100 copies. 300—THE MASTERPIECES OF EUROPEAN ART By P. T. Sandhurst and James Stothert. Illustrated with numer- ous engravings on wood, and 101 engravings on steel from the original paintings and sculptures. Philadelphia: George Barrie, publisher. Octavo. Full morocco, gilt. 301—THE ART TREASURES OF ENGLAND The masterpieces of the best English, Irish, and Scottish painters and sculptors, represented by over 100 fine steel engravings, with biographical and descriptive text. Edited by J. Vernon Whitaker. Philadelphia: George Barrie, publisher. Octavo. Morocco, gilt. 302—TYPES ET UNIFORMES L’Armée Frangaise, par Edouard Detaille. Texte par Jules Richard. Paris: Boussod, Valadon et Cie., Editeurs. 1885. Complete in two large folios. med ART TREASURES OF AMERICA 7 | “With a Facet historical ciate of the associated arts, ind some re- oe, marks upon the pictorial art of the Chinese and Koreans. By osites m wen Anderson, F.R.C.S., late Medical Officer of His Majesty’s Waites rents B. ‘Huish, LL.B., editor of the Art Journal. London: aa! ae 0 e Fine Art Society, 1889. 12mo, cloth. onl ain yi ee 7 ve” Sie TUDIES OF THE GREAT ARMY EY Iwin - Forbes. Forty plates of events in the War of the Re- ellion. Folio. Half morocco. bine ee y FRENCH ART ae Strahan. Hlustrated with 15 steel engravings and ew v York. Octavo. Cloth, gilt. lustrated journal of arts and industries. Compiled by sei: : aris. 6 volumes, folio. re Ashdown Audsley, Fellow of the Royal Institute of B: Architects. Profusely illustrated with black and white ea nd | colored ann 2 vols., octavo. New York: Charles Scrib- aa ms, Tndia eas in ten folios. Subscription Copy 228. Philadelphia: 310—THE WHITE HOUSE GALLERY OF OFFICIAL PORTRAITS of Presidents, with appreciations and historical reviews of the life and administration of each President, prepared by a leading states- man. The first proof edition limited to 1,000 copies, of which this is No. 810. Folio, Morocco, gilt. 3811—ALBUM OF FOREIGN ART AND INDUSTRY At the Boston Exhibition, 1883. Edited by C. B. Norton. Con- taining 100 plates, with descriptive letter-press. Boston: James R. Osgood & Company, 1885. 2 vols., to be sold as 1 vol. $812—TWENTY ORIGINAL AMERICAN ETCHINGS Published under the auspices of the New York Etching Club by Cassell & Company, Limited, New York, London, Paris and Mel- bourne. Examples by Samuel Coleman, Charles A. Platt, Henry Farrer, Thomas Moran, J. G. Brown, and others. 38183—ETCHED EXAMPLES OF PAINTINGS OLD AND NEW With Notes. By John W. Mollett, B.A., Officier de l’Instruction Publique, France; author of lives of Rembrandt, Wilkie, Watteau, and Meissonier. ‘Twenty etchings by Rajon, Flameng, Jacque- mart, and others. London, 1885. Octavo. Cloth, gilt. 314-THE LEDGER OF DOCTOR BENJAMIN FRANKLIN Postmaster-General, 1776. A facsimile of the original manuscripts now on file on the records of the Post Office Department of the United States. Prefaced by a concise and very interesting manu- script sketch of the early history of postal affairs in this country under the colonies, the confederacy and the Federal Government, covering the period 1753 to 1805. 315—LIBER SCRIPTORUM The first book of the Authors’ Club. The only edition, 251 copies, of which this is No. 166. New York, 1863. Full morocco, gilt. 3816—LES LETTRES ET LES ARTS Revue Illustrée, Paris and New York. Profusely illustrated with colored and uncolored plates. 12 vols. Octavo. Half morocco. Be vo cant 317—POTTERY AND PORCELAIN OF ALL TIMES AND NATIONS ___--~*With tables of factory and artists’ marks for the use of collectors. By William C. Prime, LL.D. Harper Bros., New York, 1879. 8vo. Cloth, gilt. ae < 8148S APANESE POTTERY : Me Catalogues of the Morse Collection of Japanese pottery, published --——srby Museum of Fine Art, Boston, with 68 photogravure plates, of __which 40 are accompanied by guide plates drawn by the author, i and 1545 potters’ marks in text. Large paper edition, limited to _ fifty numbered copies, of which this is No. 2. 2 vols. Octavo. Cloth. pie. = \) _VEDUTE DI ROMA Pes Thirty-eight folio plates of views in Rome. > AMERICAN ART ASSOCIATION, MANAGERS. AUCTIONEER. s ' * OP Ae, . pag Be yal ; ong ie . = Ate er a ' a ay i . eee * Ps 7 A as * Pas a J <¢ } a > poe eres let s collected i LU | ey / 5 7 Eat he eclnd PEs OF IEW Oa, % fe : rere ‘ 196; SW oH ' na site tye AWW wanesnue Sh Riek Wm AY ALLO Me Img tH EM 0 oe OLMIS we *, PC meer hr