~ - A = Sef é S MTR 5 = fy ea ge f Seale Re a eo Re ME SL eH RE ER RT EC IE MMR... |p nee iter on a ae, as re . ¥ 2 ks . F aa itt WAcinhicere nar a, . Ve Se = = ee = ; - Se fee > gee Ear (ene oh na te = = as eae Epes nie oa : « ca THE RD COLONNA COLLECTION He PART II AMERICAN ART GALLERIES LIBRARY -|M. KNOEDLER & CO. 556-8 FIFTH AVE. NEW YORK te ON FREE VIEW FROM THURSDAY, MARCH FIFTH UNTIL DATE OF SALE, INCLUSIVE FROM 9.00 A.M. TO 6.00 P.M. VALUABLE ART OBJECTS COLLECTED BY MR. EDWARD COLONNA UNRESTRICTED PUBLIC SALE On THE AFTERNOONS OF MARCH OTH Pere tl TH, 12TH AND 13TH BEGINNING PROMPTLY AT 2.30 O’CLOCK AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK — af ° «a * CATALOGUE OF JAPANESE PAINTINGS Pottery, Bronzes, Lacquers, Combs Sword Guards & Ornaments EUROPEAN FURNITURE, CERAMICS, METAL WORK OIL PAINTINGS, ENGRAVINGS, BOOKS, OLD MAPS, ORIENTAL ARMS, EMBROIDERIES RUGS, DRAPERIES, JEWELS, ETC. COLLECTED BY MR. EDWARD COLONNA TO BE SOLD AT UNRESTRICTED PUBLIC SALE Peete VIERICAN’ ART GALLERIES ON THE DATES HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK : 1908 ee Sea + CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be im- mediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Benen and Risk within twenty-four hours from the conclusion of the Sale, unless otherwise specified by the Auctioneer or Managers previous to or at the time of Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves responsible if the lots be lost, stolen, damaged, or arosed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authen- ticity of, or any fault or defect in, any Lot, and make no War- ranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; fail- ing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being . liable to the Owner or Owners thereof, for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be re- moved during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for em- ploying careful carriers and packers, they will not hold then- selves responsible for the acts and charges of the parties engaged for such services. Tue AMERICAN ART ASSOCIATION, Manacers. THOMAS E. KIRBY, Avctionerr. bs sia ; | Le) pelts “ae ear’ tie 6 Vee beeOs eis ime ea ey ae 3 Fi ‘ é wed Yate 2 ree ‘ 7 i i cS) it * , + " ihe ey & . raat ‘ 8 ts ‘ ’ " f b * PREFATORY NOTE The Colonna Collection is of particular interest to collectors and art lovers in general because of its excellence in quality and wide variety. Mr. Colonna, an artist of consummate taste and skill as a designer, is an Ameri- can, and the man who in 1889, while in Paris, created many works of applied art of individual character, not embodying any of the styles of past periods, nor using in furniture, for instance, any of the time-honored details which even the best of our designers seem to be compelled to repeat. These works, mostly executed by the late Mr. Bing—used as furniture, metal work, jewelry, silverware, porcelains, etc.—were sold as productions of modern French art to the museums of Paris, South Kensington, Hamburg, Darmstadt, Cre- feld, Buda-Pesth and Tokio. That Mr. Colonna has himself produced objects of art and ornaments that have been thought worthy of representing the best of a country of the artistic importance of France, in the various museums of the world, gives a unique interest to this collection he has formed, which is not only characteristic of the artists and periods to which each object belongs, but of a superior quality both as regards beauty of line, color, and supetior merit of design. Among the Japanese prints are an unusual number by Harunobu, whose work is getting so rare, Shigemasa, Kiyonaga, Utamaro, Yeishi, Toyokuni, Hokusai, well rep- resented by early impressions, the fine state of the prints throughout being especially remarkable. Japanese paintings, kakemonos, at best most perishable when rolled and unrolled, have been most tastefully framed in their original old brocades, and are thus protected from dust, etc. Among; the antiques is a remarkable specimen of Roman cameo glass, repre- senting a young Roman and Bacchante walking in a triumphal procession. Only three complete objects and about a dozen fragments of this glass are known to exist. This present example is part of a plate, the only one known to have a green ground, transparent, suggesting foliage when pierced by the sun’s rays. There is a Greek silver amphora, chased and engraved with nymphs bringing the armor of Achilles, Ca. 400 B.C. The Collection as a whole is an extensive one, embracing old Chinese and Japa- nese bronzes, porcelains, potteries, Japanese sword-guards, and ornaments by the great metal workers, lacquers, etc. A Persian dagger, with its incomparably curved Damascus blade, is of unusual beauty. There are a few interesting early studies by Delacroix, Daubigny, Rousseau, Decamps, a portrait of Rosa Bonheur by A. Vollon, old italian furniture and brass: work, and many interesting cabinet pieces too numerous to mention, all selected by this connoisseur and lover of the beautiful among the arts of all the world, who has himself created many things of intrinsic worth and beauty. CHARLOTTE EATON. February the fourth. a Ad dba oo P is “RE hier Ls A Aaots Rian es af tse Start SS Oe aE P Mag : a 2 ‘ig ee oe See > salle Es Gee p aad ty aes } Pat Sapa, dl ¥ RAP ity ee oe CER . fae i i ‘ wes ; : *2 f +s F . a : ; : ; ; \ , Ee 4—-Grass Be oni B: pind ‘Venetian, with handle. a ae : 5—SMALL Gass. With etched border. 6—SMALL GLASs. Venetian. - 7 Grass Urn. ee With cover; Murano. - Ss ' 8—V ASE. Beaker shaped, decorated in colors, with a bust of young girl framed by foliage. Italian. Q—J ARDINIERE. Decorated in colors with coat-of-arms and conven- tional flowers. Italian. 10o—Two OLp PLATES. Polychromatic delft. II—THREE OLp PLATES. * Italian and Chinese; blue and white. 12—Two O.up PLATES. One with head of Cupid and one with floral orna- ments in yellow on a green ground. Fayenza. 13—Two Op PLatEs. Green, blue and yellow scroll on white ground. Italian. | 14—EWER. Old, undecorated porcelain. Italian. 15—PorcEeLAIn Muce. Decorated in gold and colors with landscape and figures. Chinese. 16—Two VASES. Decorated in colors with coat-of-arms and inscrip- tion. Italian. 17—T wo VASES. Small beaker shapes, with coat-of-arms and inscrip- tion. Italian. -18—Two VasEs. Beaker shaped, with Saint and coat-of-arms in col- ors. Italian. I19—OLD JuG. Landscape in blue on white. Italian. 20—PAIR OF JARS. Blue on blue, with spouts and handles. Decorated with inscription and foliage. Italian. 21—URBINO JAR. Oviform, decorated in colors, with medallion con- taining Saint and scroll ornaments. 22—OLp Jue. Oviform, with spout and handle. Decorated in blue on blue with foliage, scroll, inscription and shield. Fayenza. 23—OLp BEAKER. Similar decoration as preceding number. 24—OLD JuG. Oviform, with spout and handle. Decorated in colors with wreath, shield and inscription. Caffa- giolo. Dated, 1571. 25—Pair OF JARDINIERES. Decorated in colors with a panel containmg a land- scape and figure. Dated, 1741. 26—MANDOLIN. An Italian instrument of the seventeenth century. ch Ap or CANDLESTICKS. . Brass. Renaissance design. Old Italian, " Tae 28—CANDLESTICK. ed Similar to preceding number. 29—Pair OF CANDLESTICKS. Old Italian shapes, for small candles. SOP MR OF GLASS CARAFES. 31—GLAss CARAFE. Bohemian work, with two etched and sae 1 medallions, set in the sides. Rare Bey. eS of the seventeenth century. wie vn 32—SetT oF Two Bottles AND Four GLASSES. == | With coat-of-arms of Cardinal Panciatichi. From a a the Panciatichi sale. . | oO 33—PorCELAIN FIGURE. Venus seated on a dolphin, Nymipbeabeee porce-_ Si) lain of the eighteenth centunyy Decorated in gold — ot, and colors. am “ae 34—CLOocK. Old brass movement with sitveead face. Strikes the quarter hours. ewe 35—CLOCK. Similar to preceding one. Smaller. 36—Brass CLock. Enclosed in an engraved case. The earliest applica- tion of the alarm. Eighteenth century. TS a oe 37—SNUFFERS. Wrought iron. Sixteenth century work. Rare specimen. 38—SNUFFERS. Solid silver; graceful shape. 39—PEWTER Mue. — With name and date. 40—OLpD. JuG. Flemish stone ware, with yellow glaze relieved with blue enamel. Three raised medallions on body. Dated, 1613. 4I—OLpD JuG. Rhenish stone ware, the body covered with relief ornamentation of heraldic rose and double eagle. Seventeenth century. " 42—Op Jue. Nurnberg glazed brown pottery, with pewter cover. Dated. 43—OLD JuG. Nurnberg blue and white pottery, with pewter cover, called “ Meigelein.” Seventeenth century. 44—JAR. | Rhenish stone ware in blue and gray. With in- scription. | 45—URN. Sheffield silver plate. Graceful shape. 46—ITALIAN LAMP. Brass, with sliding oil well, for four wicks. 47—ITALIAN Lamp. Similar to preceding number. 48—ITALIAN Lamp. Similar to preceding number. 49—ITaALIAN Lamp. Similar to preceding number. Smaller. 50—ITALIAN LAMP. Similar to last number. 51—ITALIAN LAmp. Similar to last number. 52—ITALIAN Lamp. Similar to last number. 53—ITALIAN Lamp. Similar to last number. 54—ITALIAN LAmp. Similar to last number. 55—ITALIAN LAMP. Similar to last number. 56—ItTaLian Lamp. Very small size, of the same type as the preceding numbers. 57—WrovucutT [Ron BRACKET. Gilded scroll work. 58—Two Brass Lamps. Hanging from chains, with original glass oil wells. 59—Hancine Lamp. Brass. Its component parts are cast, moulded and turned. Suspended from four chains. Seventeenth century. Italian. 60—Two JewisH LAmps. Wall lamps of cast and chased bronze, with back plates of allegorical and ornamental design. 61—Two JeEwisH LAmps. Brass wall lamps. One with columned arch and en- graved back plate; the other of a simple Moorish type. | 62—JEwIsH Lamp. Hanging’brass lamp, with nine pointed star-shaped . oil well. 63—Brass BASIN. Venetian workmanship. Quadrilated ornament of heads and scrolls. Seventeenth century. 64—Brass PLAQUE. Made at Dinant in the fifteenth century. With two circular rows of Flemish inscription. Fine pre- servation. 65—Brass PLAQUE. Same workmanship as last number. Centre me- dallion representing Adam and Eve under the tree, surrounded by a Flemish inscription. 66—Brass PLAQue. Same workmanship as last number. Rosette centre surrounded by Flemish inscription. ane 67—GLass TANKARD. Cylindrical, with sHanvetied decoration of coat-of- arms, supporters, inscription and date 1590. Made in Nurnberg. 68—CHOCOLATE Pot. Old Dresden blue and white poeseien with handle and cover-mounts of gilded and chased bronze of the eighteenth century. A rare specimen of mounted porcelain. 69— PLAQUE. Hispano-Mauresque lustre ware, with scrolls and leaves in blue. 70— PLAQUE. Hispano-Mauresque lustre ware, with double Mal- tese Cross outlined in blue. 71—HEXAGON PANEL. With gilded and enamelled mounts from an old Venetian reliquary. 72—CHALICE. Gilded bronze and silver, with engraved bands of early Renaissance ornament. Pierced emerald at top. Sixteenth century. 73—BAS-RELIEF. Mother-of-pearl medallion. Made in China from an European print. a ee ee) eee oe ee ee, ae oS A ee ae =, eT eee a 74—MEDALLION. Carved and enamelled mother-of-pearl, representing the meeting of the two Marys. On panel of tooled leather. Sixteenth century. 75—FRAMED PANEL. Mother-of-pearl, carved with the Annunciation, head of Christ and Saints. In carved walnut frame. From Mount Carmel. Seventeenth century. 76—BAS-RELIEF. Gilded bronze figure of St. John the Apostle, in ivory frame. School of Cellini. 77—SMALL PortTRAIT. Ivory bas-relief of Charles, Feteditaty Prince of the two Sicilies. Small diamond inserted in one of the decorations. Late Eighteenth century. 78—PEWTER PLAQUE. With relief medallions of the seven Electors of the Holy Roman Empire. Dated, 1672. 79—CHAMBERLAIN’S Key. Of the Royal House of Saxony. Probably made in Paris during the First Empire. 80—CHAMBERLAIN’S KEY. Gilded bronze. Of unusual form. The exact du- plicate in the Cluny Museum, Paris. 81—Iron Key. Gothic workmanship of intricate openwork design. Early seventeenth century. avis oan ogee — -. : - ) 3m . = ee a 7 . .) ; =a . 82—THREE -PIEcEs. Silver medal of Cosimo de Medici wit St. John; one of Pope Innocent XIth, and a da silver coin of the Doge Andreas Griti of Venice. Va ae oe _ ae a 83—SILVER COIN. : ee A Strassburg thaler with the lily. Orname the finest coin of its kind. About 1625. — - 84—Two PIECES. gram a motto of Freee Duke, and sat oe : of Spanish workmanship. — ) +SEE oe 85—IvorY-HANDLED KNIFE. is Used to cut quill pens and make erasures on parch ment. Blade etched with figure and animals, show- ing traces of ancient gilding. German workman- : ship. Sixteenth century. S6—EMBROIDERED PURSE. Oriental silver wire embroidery on red velvet and = | leather, divided into five compartments. 2 aay 87—SILVER SPOON. Swedish wedding gift. 88—SILVER RELIQUARY. Bia 3 Used at baptism, hanging from the arm of the god- mother. The ornamentation, in scroll and bead- wire, is extremely delicate, and of great purity and — perfection of line. The small receptacle above the — reliquary was used to hold perfume. Venetian. Seventeenth century. 89Q—SILVER RELIQUARY. Oval, medallion-shaped, containing bones and relics of Saints. Seventeenth century. -QO—BAS-RELIEF. Gesso panel, representing the Virgin and Child. From a church near Pontassieve, Italy. Seven- teenth century. ‘QI—Ivory STATUETTE. Figure of the Child-Christ with uplifted hand. Spanish workmanship of the seventeenth century. In a niche of gilded wood, with repoussé silver nimbus at top. ‘Q2—CHESS Boarp. Inlaid with ‘Arabic ornaments in ivory. Seventeenth century. 93—BACKGAMMON Boarb. A rich, brown wood, inlaid with Byzantine orna- ments in mother-of-pearl, tinted ivory, etc., of wonderful color. On the back a field for the game of Mill. Sicilian. Seventeenth century. A collection illustrating the different styles of ornamenting sheep and pigskin-bound books of the sixteenth and sev- enteenth century, such as hand-tooling, bind-pressing, illu- minating, tooling and etching of the gilt edge of the paper, silk and leather strings and brass clasps for keeping the book closed, etc. Splendid condition. ‘94—LA CIRCE DI GELLI. Printed by Lorenzo Torrentino. Florence, 1550. 94A—MARrsILiis SINGULARIA. Printed by Cominum de Tridino, 155 os -Beroii. Quaestiones Familiares. sate Printed by Juntas, 1551. ae ee ae Has their beautiful typographical — an wi th th the lily. e 948—DOMENICHI. HisToRIA VARIA. _ Printed by De Ferrari. Venice, 1570. ~ ~ ava leenet t Q4C—SCALIGER. ThA Printed by Andreas Wecheln. Frankfurt, 1576. 94D—Fr. HERCULANI. De cautione. Venice, 1580. Q4E—LipsiuUSs, POLIORCETICON. ae Plantin. Antwerp, 1594. Belonged to Philip Lady wig, Count of Hanau and Rheineck, whose coat-of- ee arms is impressed in gold on the covers. ne 94F—Bruni. MEDITATIONES. Birckman. Cologne, 1602. 94G—HuLs1us. = Romanorum Numismatum. Frankfurt, 1605. 94H—Donati. RetpuBLicA VENETORUM. Printed by the Elzeviers. 1631. Q4I—STURM. COLLEGIUM EsPERIMENTALE. Nurnberg. 1701. Belonged to L. Heister, a ite brated scientist of the seventeenth century, whose book-plate is inside the cover. On page 64 is the - first known illustration of an airship, a small boat suspended from four balloons, invented by Fr. Lana. 95—Book. Large parchment bound folio, with views of forty French and Swiss cities, illuminated. Published by J. Jansson. Amsterdam. * About 1635. Q6—ATLAS. Large parchment bound folio, containing 118 maps of Northern Europe and Germany. Illuminated. Published by J. & W. Blau. Amsterdam. 1645. 97—ATEAS. Large parchment bound folio, containing 92 maps of France, Spain, Asia, Africa and America. Illu- minated. Published by J. & W. Blau. Amsterdam. 1645. Q8—ATLAS. Large parchment bound folio, containing 84 maps of Italy, Greece, Russia, Germany and Florida. Illuminated. Published by J. & C. Blau. Amster- dam. 1640. | Q9—ATLAS. Large parchment bound folio, containing 61 maps of England, Scotland and Ireland. Illuminated. Published by J. Blau. Amsterdam. 1646. 100—PHOTOGRAPHS. Large folio, containing 160 photographs of the masterpieces of English architecture. IOI—LEATHER PANEL. Repoussé leather, representing the Virgin and Child. Sgrafitto-gold frame. Seventeenth century. Italian. » 102—-SMALL CARVED GROUP. _ German box - wood carving, representing prisoners. On marble base. Seventeenth centt i rs eS a 102A—l*our Ivory FIGURES. oe Representing Love the beggar; the traitor ; * oo doctor and the captive. By Schwabe. aj 2 103—ALABASTER GROUP. | Representing three of the Hesperides and» small, a Cupid. The hair arrangement of the middle pee suggests a Venetian origin. os 104—-CARVED Bust. Wood carving of the sixteenth century, ponresenen ec” ing St. John in an attitude of devotion. The lateral position of the joined hands is remarkably free from convention, and the expression one of great sorrow without the usual distortion of the features. The original coloring and gilding has mellowed to a rich brown. Bolognese School. Height, 2 feet 1 inch. IO5—SMALL Bust. = Head of Napoleon on base of red porphyry. Gilded bronze; after Canova. ‘106—FRENCH MINIATURE. Portrait of a lady as Diana. First Empire. is silver gilt frame. as 107—BRONZE STATUETTE. Original bronze by Théodore Riviére. Subject: Woman combing her hair. On pedestal of red marble. | I08—SMALL Box. Decorated on all sides with painted panels of con- ventional flowers. Small drawers inside. Venetian. Seventeenth century. 109—CarRVED Box. With inlaid bands and a carved frieze of flutes and rosettes. Sixteenth century. 10 inches by 18 inches by 8 inches. 110—Box. Inlaid in dark and light wood; geometrical border. Seventeenth century. I1I—JEWEL CASE. Inlaid with colored woods, ivory and metals, in geometrical design. Italian. Sixteenth century. 112—Ivory JEWEL CASE. Mey Beaded, perforated and partly decorated with orna- mental bands. Lined with old Venetian silk lampas. Seventeenth century. 113—CarveED Box. The front carved with panel containing conventional animals. Sicilian workmanship. Sixteenth cen- tury. 114—CAarVED Box. Similar to preceding number. Smaller. 115—CarVED Box. Similar to last. Smaller. -116—SMALL StronG Box. = Wrought i iron. Wai painted. figures 0 on ir graved lock plates. Dated, 1621. Made in : berg. a 117—Wroucut Iron TREASURE CHEST. Used for centuries by a small township in Bavat whose arms are painted on the plate covering lock in the inside. Access to the key-hole is ob- tained by pressing a secret spring completely hidden from view. Wrought iron double eagle on front and lid. Sixteenth century. 1I8—LEATHER CASE. Originally used to hold knives and forks. Inside arranged for letter paper. Hand-tooling of Louis XIV. period. ITI9Q—LACQUER Box. | , French workmanship of the eighteenth century. I20—CARVED SHELF. . Small carved cornice, with brackets and shield. I20A— TABOURET. Pentagonal, with geometric inlay of mother-of-— pearl, tortoise-shell, horn, colored woods, ete. I21—OLp ARMCHAIR. Carved wood, with Spanish leather seat. 122—SAVONAROLA CHAIR. Folding. Carved on front, arms and bases; relief medallion on back of a later date. Branded with the seal of a Carmelite monastery. 123—SAVONAROLA CHAIR. Walnut. Folding. Leather seat and back. Heavy brass nails. Carvings on arms and front. 124—SAVONAROLA CHAIR. Similar to last number. 124A—Two ARMCHAIRS. Carved cherry, of unusual design. Covered with old Aubusson tapestry. 125—ITALIAN CHEST. Walnut. Inlaid with borders and crest of colored woods and perforated medallions of.iron over red velvet. Secret lock. Seventeenth century. With stand. Size, 3 feet 8 inches by 1 foot 9 inches by 1 foot Io inches. 126—GOTHIC CHEST. Carved and inlaid walnut, with gilded wrought iron lock plate and handles. On the underside of the cover is a geometric interlaced design, in colored inlay and ivory buttons. Secret lock, with two Gothic keys of interesting design. With oak stand. Italian workmanship of the fifteenth century. — Size, I foot 9 inches by 3 feet 5 inches by 1 foot 10 inches. 127—GoTHIC CHEST. Carved walnut. The front and sides decorated with Gothic tracery in relief. Italian workmanship of the sixteenth century. Size, 1 foot 8 inches by 4 feet 6 inches by 1 foot 6 inches. 128—O_LpD WRriTING TABLE. Inlaid walnut, with the inside arranged as a secre- tary. Has eight secret compartments concealed be- hind the drawers. Double sliding top. 129—CABINET. With small drawers, inlaid with different woods. In the centre a movable compartment, disclosing three secret drawers in the rear. 130—CORNER CABINET. Inlaid mahogany. The upper part with a glass door. English. 13I—MAHOGANY DRESSER. Circular front. With drawers, shelves and two. secret key racks. Old English. 132—MIRRoR. Divided in three. Carved wood painted and gilded. Louis XVI. . 133—TEAKWOOD TABLE. Rectangular, inlaid with mother-of-pearl. 133A—-CHINESE TABOURET. Carved teakwood. Red marble top. Height, 18 inches. 134—FLEMISH SCHOOL. Portrait of Alexander Farnese, Duke of Parma, a Spanish General in the Netherlands. In the back- ground a view of ‘Antwerp with fortifications. End of the sixteenth century. Oval. Frame of the period. Size, 3 feet I inch by 2 feet 7 inches. GERARD DE TAIRG Ss. 135—ABDUCTION OF PROSERPINE. Fine decorative treatment. Size, 3 feet 7 inches by 5 feet 3 inches. *~ J. RUYSDAEL. 1630—1681. 136—ORIGINAL DRAWING. Pen and sepia. The outskirts of Harlem. With inscription and date. JAN VAN GOYEN. 1596—16s6. 137—ORIGINAL DRAWING. | Dutch river scene. Sepia drawing. An important example, masterfully rendered. N. POUSSIN. 1594—1663. 138—OrRIGINAL DRAWING. Pen drawing washed with sepia, representing Paul preaching from the temple steps. Remarkable com- position. TOBIAS STIMMER. 139—ORIGINAL DRAWING. Pen and sepia. Representing a concert by female -musicians. The drawing of the hands is remark- able. ‘oa UNKNOWN. ~140—ORIGINAL DRAWING. Pen drawing washed with several tints. Represent- ing sausage making in a Dutch village. Vigorous execution. HANS BOL. 1534—1593. 14I—OiL PAINTING. Landscape on the Lower Schelde. One of the large-sized paintings by this Flemish miniature painter. Signed in full. Dated, 1578. Size, 2 feet 5 inches by 1 foot 6 inches. II 142—OIL PAINTING. | Landscape on the Rhine. See preceding number. Signed in full. Dated, 1578. ~ 3 Size, 2 feet 414 inches by 1 foot 5% inches. TH. ROUSSEAU. 1812—1867. 143—OI1L PAINTING. Landscape. Storm clouds over a valley in the Jura mountains. Study from nature. Signed Tu. R. Size, 12 inches by 8% inches. 144—OI1L PAINTING. | Study of an oak near a pond. Signed T. R., 53, at ‘the-teft: Size, 1 foot 9 inches by 1 foot 2% inches. C. DAUBIGNY.’ 1817—1878. 145—OI1L PAINTING. Landscape on the Oise. From the collection of Nadar, the French aéronaut. Signed in full, with dedication. | Size, 10% inches by 7 inches. E. DELACROIX. 1798—1863. 146—WATER COLOR AND GOUACHE. ‘An Arab and his horse. From the collection of A. Gillet. Lyons. Catalogue of A. Robaut, No. 1083; catalogue of A. Moreau, p. 290. Signed in — full. Size, 10 inches by 7 inches. A> VOLLON Sa ee 147—O1L PAINTING. _ Portrait of Rosa Bonheur. Belonged to Francois Flameng, and was sold after his death. Signed in full. Size, 17 inches by 21 inches. A. CALAME, 1840. 148—OIL PAINTING. A delicious bit of sunny road and cool shadows. Signed in full. Size, 10 inches by 8% inches. A. G. DECAMPS. 1803—1860. Si ae PAINTING. Replica of the Italian Courtyard sold at the Wil- son sale, 1881. The subject is reversed. This palette-knife sketch was given to Nadar, the cele- brated photographer and aéronaut, by Decamps, and sold at his sale in 1895. Signed D. C. Size, 2 feet 6 inches by 1 foot 8 inches. SIR JOSHUA REYNOLDS. 1723—1702. 150—Or1L PAINTING. Venus and Cupid. Study made in Italy. From _Duchess of Sermoneta sale. Florence. Size, 101% inches by 9 inches. SIR DAVID WILKIE. 1787—1841. 151—OiL PAINTING. Landscape. Small pond and boathouse, surrounded by trees. Size, 7 inches by 434 inches.: UNKNOWN. 152—Oi1L PAINTING. Bust of young girl in a hooded cloak. | Size, 16% inches by 19 inches. ——— Wo El ere “1787—1 840. 153—OIL PAINTING. Leda and the Swan, in carved frame. om Size, 16 inches shyt I Te RICHARDSON. 154—WaATER COLOR. Interior of a chapel. Signed T.M.R. Size, 14/4 inches by 10% inche R. SORBI. The small paintings by this artist have a quality and subtle charm absent in his larger work. They are equal to Wie ; work of Pokitanow with a larger touch. 155—OIL PAINTING. ee Landscape. Farm near Florence. Size, 44% inches by | 24 ene 156—OiL PAINTING. | Landscape. Sunlight. Sal Size, 2% inches by 1% inches. 157—Oit PAINTING. | Landscape. On the Bolognese road. _ Size, 3 inches by 234 inches. 158—OiL PaInTING. ee Landscape. A sunny court at Settignano. 7 Size, 3%4 inches by 3 inches. I59—OIL PAINTING. \ Landscape. A country road near Florence. Size, 434 inches by 134 inches. - 160—OiL PAINTING. oe Leaving the church after the baptism. Size, 334 inches by 3 inches. ~161—Oi1L PAINTING. Dante and Beatrice in the gardens at San Miniato. Size, 2 inches by 2% inches. 162—O1L PAINTING. Landscape. A cloudy day. me Size, 234 inches by 2% inches. 163—PAINTING ON PANEL. Adoration of the Magi. Seventeenth century. Italian. | 164—INDIAN MINIATURE. Representing Shah Jehan holding a Durbar. Mem- bers of his family and tributary Princes are all portrayed with the utmost fidelity; even the small figures at great distances have their peculiar individuality. Note the elephant’s eye in the re- motest distance. In carved frame. 165—INDIAN MINIATURE. _ Representing a state reception by an Indian Prince. Here again all the personages are portraits, includ- ing the musicians in the distance. Carved frame. 166—INDIAN MINIATURE. Portrait of an Indian Prince. In carved frame. 167—ByYZANTINE PAINTING. Representing three standing figures of Patron- Saints. Carved frame. . 168—OvaAL PAINTING. On copper. Representing St. Michel killing the dragon. Sixteenth century. r : > = ini aoaitia = 169——SMALL PAINTING. | : Virgin and Child. School of Cimabue, of the period. Was saved from a burni 170—O1L PAINTING. Battle piece. School of Titian. 17I—ByZANTINE Icon. Madonna and Child. On gold ground, 172—ByzaANTINE Icon. | a Madonna and Child. On gold ground. | specimen. 173—ByZANTINE Icon. Holy Family. On gold ground. 174— BYZANTINE IcON. Madonna and Child. On gold ground. 175—PANEL. The Flagellation. School of Lippi. 176—ILLUMINATED PARCHMENT. A leaf from an Antiphonarium of the sixteenth century. Enriched with the Nativity and other Biblical scenes, covering most of the page. In carved frame. 177— ENGRAVING. he The abduction of Amymone. Original by A. Diirer. With the letter P watermark. Narrow margin. 178—ENGRAVING. Allegorical subject, female figure holding a mirror, and Death with hour-glass. Attributed by Bartsch to Michel-Angelo. . 1790— ENGRAVING. Chiaroscuro woodcut, representing the Nativity. By an unknown German master. Dated 1548. 180—ENGRAVING. Woodcut on parchment, representing Christ on the cross between Mary and John. By an unknown German master. Sixteenth century. 181—ENGRAVING. Famous woodcut. The portrait of Martin Luther. By Lucas Cranach. Dated 1548. 182— ENGRAVING. Chiaroscuro woodcut, representing Circe giving drink to the companions of Ulysses. By Andreas Andreani. 1540—1623. 183— ENGRAVING. Chiaroscuro woodcut, in green and white. Subject, “Narcissus. By A. Andreani. 184— ENGRAVING. Chiaroscuro woodcut, in yellow, brown and white, representing the entombment. By A. Andreani. Dated 1565. 185—ProoF ENGRAVING. Two-color print. The portrait of a gentleman, after Van Dyck. By. Ploos van Amstel. The artist’s autograph, a dedication, is on the back of the print. Translation: “To my friend and fellow-citizen the Hon- orable Jonas Wesle, Burgomaster of the city of Amster- dam, etc., etc., this second proof, printed in two colors. Anthony van Dyk del., Ploos van Amstel F. 1766.” 186— ENGRAVING. Venus between Ceres and Bacchus. By H. Golt- zius. This print belonged to Mariette, a great collector of the seventeenth century. His autograph is on the back. a 187— ENGRAVING. The Standard-bearer. By H. Goltzius. 1585. I88—ENGRAVING. Original two-color print after Boucher, representing Venus disarmed by cupids. Engraved by Demar- teau. 1773. In gold frame. | 189 ENGRAVING. Original two-color print after Boucher, representing a young girl and child by the fireside. By Demar- teau. I90—ENGRAVING. Original three-color print, after J. B. Huet, repre- senting a pastoral scene. By Demarteau. IQI—ENGRAVING. Original two-color print after J. B. Huet. The Shepherd and his Flock. By Demarteau. 192—ENGRAVING. Original two-color print after J. B. Huet. Young peasant girl with chickens and a dog. By Demar- teau. 193— ENGRAVING. Original two-color print after J. B. Huet, repre- _senting a shepherdess teaching her dog. By Demarteau. 194 ENGRAVING. Original two-color print after J. B. Huet. Young shepherd boy and his pet sheep. By Demarteau. I9Q5—ENGRAVING. Original two-color print after J. B. Huet. Young girl with fowls and a dog. By Demarteau. IQ6—ENGRAVING. Portrait of a young painter. By Count August von Seinsheim. 197—PaiR OF PRINTS. Copper plate engravings printed in colors, repre- senting Emperor Francis I. and Maria Theresa. By Goz. Very rare. In cream and gold frames. I98—THREE PIECES. Framed autograph of a German nobleman, with illuminated inscription. and coat-of-arms, dated 1602; and two Italian prints of the sixteenth cen- ‘tury, illuminated, in carved frames. IQQ—ENGRAVING. View of Heidelberg Castle. Hand colored. Dated 1620. By W. Hollar. -200—ENGRAVING. , View of Heidelberg. Hand colored. About 1625. By W. Hollar. arty “i ea ria mapa VSR SECOND AFTERNOON’S SALE TUESDAY, MARCH torn, 1908 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK 20I—ENGRAVING. View of Liége. Hand colored. About 1625. By Hollar. | 202— ENGRAVING. View of Lucerne. Hand colored. About 1625. _By W. Hollar. 203—OLp Map. Europe under the Roman Empire. Illuminated. In carved frame. About 1580. 204—OLtp Map. Holland. Illuminated. In carved frame. 205—OLp Map. Itinerary of St. Paul’s travels. Illuminated. In carved frame. Printed 15709. _ 206—OLp Map. Canaan and Life of Abraham. Illuminated. In carved frame. Printed about 1580. te at ee” Braet | sur os i ude ha) Hoke Coe hee ae a ie: eT ee bapsbgeoade RDS eee ee a fs The suburbs of Frankfurt v/M. Wit nil ni coat-of-arms of its notable families. eau >. om De 208—ENGRAVING. sees View of Coburg. Illuminated, About 162 a 209—OLp Map. i The World. 1587. Illuminated. ? a, | ! ; _ 210—OLp Map. Europe. 1587. Illuminated. 211—OLp Map. : | America. 1587. Illuminated. 212—OLpD Map. Africa. 1570. Illuminated. 213—OLp Map. Asia. 1587. Tikumearenl 214—OLp Map. Pacific Ocean. 15809. Illuminated. 215—OLp Map. North Sea. 1587. Illuminated. d . ‘ 216—OLp Map. : | Iceland. 1585. Illuminated. 217—OLp Map. 3 : France. 1587. Tinea et 218—OLp Map. British Isles. 1587. Illuminated. i” Mar. 4) Ireland. 1572. Illuminated. iets I 587. Illuminated. n 223—Oxp Map. | tH ES 1560. Illuminated. ~ i wi ; 224—Orw Map. ‘Italy. I 582. ‘Mhuminated. be 228—OLD Map. i Germany. 1578. Illuminated. —-226—Orp Map. Brandenburg. 1588. Illuminated. — 227—Oxtp Map. | Prussia. 1584. Illuminated. 228—OLp Map. Austria. 1584. Illuminated. 229—OLp Map. Hungaria. 1572. Illuminated. 230—OLp Map. | Roumania. 1584. Illuminated. amy ol a as fe; Ons Map. — Zeeland. 1 584. Tite eae 232—OLp Map. — 3 Greece. 1582. IIluminated. 233—Ot Map. Cyprus. 1573. Illuminated. .234—O.tp Map. Ottoman Empire. 1584. Iluminated. .235—OLbD Map. Holy Land. 1582. Illuminated. 236—OLpD Map. Abyssinia. 1587. Illuminated. 237—OLp Map. Russia. 1562. Iluminated. -238—OLp Map. Tartary. 1587. Illuminated. _239—OLD Map. Sk. China. 1584. Illuminated. .240—OLD Map. India. 1582. Illuminated. -241—Otp Map. Acores. 1584. Illuminated. _242—OLp Map. Cuba. 1579. Illuminated. 243—OLp Map. Mexico. 1579. Illuminated. 243A—INDIAN MANUSCRIPT. Ten thousand verses of the Mahabharata, the great epic poem of India, written in Pali on palm-leaves about the fifteenth century. Complete. - 243B—SANSCRIT MANUSCRIPT. Written on palm-leaves. Religious subject. Eigh- teenth century. 244—ALBANIAN JACKET. Completely covered with silver embroidery on gray velvet. 245—Two RussiAn HEADDRESSES. Gold embroidered on red velvet; the other flattened out to form small table cover. 246—THREE EMBROIDERED HEADDRESSES. “Worn by Bavarian peasants in the last century. Silver and gold embroidery. 247—THREE EMBROIDERED HEADDRESSES. Similar to preceding number. 248—THREE EMBROIDERED HEADDRESSES Similar to No. 246. 249—THREE EMBROIDERED HEADDRESSES. Similar to No. 246. 250—THREE EMBROIDERED HEADDRESSES. Similar to No. 246. 25 FR tack nore -HEADDRESSES. Similar to No. 246. as 252—Two EMBROIDERED HEADDRESSES. Similar to No. 246. -253—-CUSHION. , . Embroidered neee Renaissance | white ground. 254—CUSHION. Made of embroidered girdles. 255—CusHION. Salmon and blue Scutari silk. 256—Two CusHIONS. Indian embroidery. 257—THREE PIECES. Russian embroideries in gold and silver thread. : 258—SCARF. ‘ ae Bosnian embroidery in old gold silk on linen. hae a 259—TABLE COVER. | Venetian brocade; pink ground. Se RS Size, 3 feet 10 inches by 3 feet 2 inches. — _— 260—TABLE COVER. . | Oriental embroidery in red tones. 261—TABLE COVER. Old Venetian brocade in old gold on green. Size, 3 feet 6 inches by 3 feet 4 inches. 262—T ABLE COVER. 4 Venetian brocade. Silver on pale green. Size, 4 feet 8 inches by 3 feet 2 inches. 263—TABLE COVER. Bosnian embroidery. Sage-green centre. Size, 3 feet 6 inches by 3 feet 6 inches. 264—SMALL TABLE COVER. Oriental embroidery and Venetian lace. 265—SICILIAN EMBROIDERY. With green silk border. 266—E MBROIDERED SCARF, Oriental silk and gold thread embroidery on linen. Size, 5 feet 10 inches by 2 feet 11 inches. 267—TABLE COVER. Flowers and foliage on’ an ivory ground; silk brocade. Louis XV. Size, 5 feet 6 inches by 3 feet 6 inches. 268—OLpD SADDLE-BAG. Red Bokhara, with deep fringe. Size, 3 feet by 1 foot 6 inches. 269—OLD PRAYER Rua. Appliqué embroidery on cloth. Conventional flow- ers on a yellow and olive ground. Size, 4 feet 1 inch by 2 feet 6 inches. 270—SADDLE Rue. Conventional ornaments and animals on a copper- colored ground. Persian. Size, 3 feet 6 inches by 2 feet 10 inches. II orien Rus. With Chinese rosettes on ground of Samarkand. 272—SMALL Rue. With Chinese pattern in several tones of vel Samarkand. ) peo en Size, 4 feet 1 inch by 2 feet : He ea Be Pin xt ae 273—OLD Prayer Rue. Conventional flowers on a blue ground centre. ; Border of geometric ornament. Very close nap. * e With yellow silk fringe. Daghestan. Leo Size, 5 feet 3 inches by 2 feet 9 ‘aero: 274—OLD PRAYER RUG. Centre of small diaper pattern on smalt-blue stoma Wide border of conventional flowers on white ground. Unusual specimen. Yellow silk fringe. oy 275—OLD PRAYER Rue. Geometric ornaments on rose and _ sage-green ground. Daghestan. Rea ET | Size, 4 feet 8 inches by 3 feet. 276—OLD PRAYER Rue. Daghestan. Mellow coloring, with inscription. Size, 4 feet 10 inches by 3 feet 2 inches. 277—RuG. Old Persian palace rug. Dark blue centre, covered closely with small conventional floral pattern. Border has red ground, with eleven colors. Size, 13 feet by 5 feet 9 inches, 278 —Inp1an EMBROIDERY. Conventional flowers on pale amber-colored satin. Blue border. Size, 7 feet 1 inch by 5 feet 5 inches. 279—CHINESE EMBROIDERY. Part of mandarin’s robe. In yellow silk on salmon - ground. 280—TABLE Cover. Old Gothic red silk brocade, with gold thread. Size, 4 feet 8 inches by 3 feet 6 inches. 281—DRAPERY. Persian silk brocade. In blue, silver and colors, with small floral pattern. Size, 4 feet 2 inches by 4 feet 4 inches. 282—DRAPERY. Salmon-colored silk brocade, with small diaper pattern in gold. > Size, 4 feet 8 inches by 6 feet. _ 283—Larce Drapery. Persian silk. Entirely covered with yellow embroid- ered scroll ornament. é Size, 5 feet by 7 feet. 284—T ABLE COVER. Persian silk. Embroidered with floral motives on a red ground. . Size, 2 feet by 3 feet 6 inches. 285—TABLE COVER. Dark écru Louis XVI. silk brocade, with floral bands. Size, 2 feet 4 inches by 3 feet ro inches. bse tinte Cove Green silk lampas, with é écru gallon, 1 -Renai Size, 2 feet 2 inches by 2 fea a ae o8y! Ca acunLy: Old Genoese velvet; red on white, with gol loon. Size, 6 feet 8 inches by 2 feet 288—Two Marts. ty Italian Renaissance. Appliqué cna velvet. 289—Two PIECES. Semicircular, orange silk brocade, wae Astale and ribbon pa in colors. ae 290—LAMBREQUIN. | Old gold appliqué on a red silk damask. Size, 7 feet 3 inches by 1 foot 4 inches. ~ ¢ 29I—T ABLE COVER. a Red silk, embroidered with delicate scroll designs as in silver. Reverse, blue and silver. Spanish, gia) ® Size, 1 foot 6 inches by 2 feet 8 inches, 292—TaBLE Mart. Ivory silk brocade. Louis XVI. — 293—TaBLe Mart. Red satin, embroidered with flowers and wreath. First Empire. 2904—-CUSHION. Genoese velvet. Red on white. —295—TaBLE COovER. Oriental embroidery on linen, blue and gold on old rose. Size, 2 feet by 3 feet 3 inches. 296—TABLE COVER. - Cream-white centre, with border of Chinese em- broidery on blue silk. Size, 2 feet 2 inches by 2 feet 9 inches. 297—TaBLE COVER. 3 Chinese embroidery. Gold on red, with silk fringe. Size, 3 feet 2 inches square. 298—LARGE DRAPERY. Japanese silk brocade. Conventional gold pattern on cream-white ground. Size, 6 feet 3 inches by 7 feet. 299—JAPANESE BROCADE. Shot silk effect, in green.and bronze. Size, 6 feet 9 inches by 4 feet 4 inches. 300—EMBROIDERY. On linen. ‘Albanian. 30I—SILVER MounrTING. For chatelaine bag. Hall marked. Dutch. 302—SILVER BELT-BUCKLE. Set with small turquoise. Russian. With silver braid on leather belt. 303—THREE BELTS. : Two of gilded bronze, with chased and perforated ornaments. Russian. Seventeenth century. One of red velvet, with gilded bronze buckle. Louis XIV. 304—T wo Pieces. eh. Oriental buckle and fibula. Silver. 305—SILVER BELT-BUCKLE. | In two parts. With interlaced repoussé or Sp) aay pede S 306—SILVER BELT-BUCKLE. | In three sections. With raised medallions. 307—LARGE SILVER BUCKLE. ee Worn in European Turkey and Albania. With concentric bands of repoussé ornament. In three sections. : Aa 308—LAaRGE SILVER JEWEL. Worn on the breast. A filigree disk, with star- shaped ornament set with stones. Attached to it by two woven silver chains are two pendants, set with silver knobs and stones. From Morocco. — a7 309—PartT OF BRIDLE. Red silk, with interwoven silver wire. Ends and middle ring of silver gilt. Moroccan. — 310—SILK SworpD BELT. Interwoven pattern of gold thread. Ends, of gilded silver, with enamel. From Morocco. 31I—ALBANIAN KNIFE. Scabbard entirely covered with repoussé silver. Damascened blade. 312—ALBANIAN KNIFE. Scabbard entirely covered with repoussé silver. Slightly curved shape. 313—CuRVED KNIFE. Mounted in brass and silver. The front of scab- bard enriched with a number of chased silver plaques of fine design. Suspended by red silk cord with tassels. 314—Cossack KNIFE. Silver mounts, inlaid with niello. Grooved blade. 315—CossAcK KNIFE. Silver mounts and handle, inlaid with niello. Re- fined style of ornament. Thin blade. 316—Cossack KNIFE. Silver mounts, incised and inlaid with niello. Grooved blade. 317—LarGE Cossack KNIFE. Scabbard almost covered with silver ornament, with very beautiful niello scroll work. Damascus blade, with gold ornament and inscription. 318—Cossack KNIFE. Scabbard entirely covered with silver, deeply en- graved and incrusted with niello of Byzantine design. The blade is engraved and much older than the mounting. | 319—RussiIAn KNIFE. Mounted in silver with niello ornaments, set with turquoise. Scabbard mounted with openwork and chased silver, set with turquoise. 320—SILVER-MOUNTED PISTOL. With niello decoration. Flint lock. 32I—SMALL PIsTOL. Worn at the belt. Finely wrought mountings, with spirited heads and ornaments. Flint lock. German workmanship of the seventeenth century. Splendid preservation. 322—Y ATAGHAN. Mounted in silver, with niello incrustations. Blade damascened, with silver ornaments and inscription. 323—Y ATAGHAN. Silver mounted. Ivory handled. No scabbard. 324—Y ATAGHAN. Ivory handled. Silver mounted Damascus blade, with inscription in gold from the Koran. Coral and turquoise on the hilt. Repoussé silver scabbard. 325—CEREMONIAL KNIFE. Indian workmanship. Carried in the hand at state receptions. Vigorously chased with interlaced orna- ments of interesting design of decided Byzantine feeling. The flexible ribbon chain secures the knife to the wrist. 320—CINGALESE KNIFE. These knives were used by natives of the highest caste and are ornamented with most of the typical motives of the exquisite and little known Cingalese style of decoration. Among the most beautiful forms are those carved from rhinoceros horn at the hilt. 327—-CINGALESE KNIFE. Similar to preceding number. r A ES a ee ee = [os Pe SAL KANDJAR. Ivory handle, Damascened ene repoussé silver scabbard. 329—PERSIAN KANDJAR. Fossil ivory handle, finely modelled Damascus blade. Scabbard covered with old Venetian brocade and mounted in silver repoussé, with grotesque heads and ornament. ~ .330—CAMBODIAN Sworp. Of iron and brass, enriched with silver wire and repoussé ornament, set with large pieces of coral. ‘The blade of welded steel. 33 1—SWworb. A straight, flat blade, in an open scabbard of wood, mounted in silver delicately inlaid with filigree orna- ment of exquisite design, enriched with Persian turquoise. Suspended by a flat woven braid. _332—PERSIAN SCISSORS. Damascened in gold. Gilded bronze handles form- ing inscription. _333—PAIR OF STIRRUPS. Wrought and perforated iron, with medallions con- taining small animals and scroll work. Silver knobs at corners. An unusual type. Portuguese work- manship of the seventeenth century. _334—EcypTi1An FIGuRINE. Mottled green enamel, mounted as a seal on base of gilded silver. 335—EGYPTIAN FIGURINE. Similar to preceding number. 336—EGypPTIAN FIGURINE. Similar to a NG. 334- Smaller. 337—T wo Grass Covers, ipidestenes one ivory sete 338—SMALL GLass ie i Yellow threads on dark blue. The missing top replaced with gold. On oN silver stand. 339—-SMALL GLass BOTTLE. | Amphora shape, with two handles. Has straight and zigzag bands of light blue and yellow inlaid in — red-brown. On gilded silver stand. 340—SMALL Gtass BOTTLE. Amphora shape, two handled, with threads’ of yellow glass on a dark-blue ground, covered with silver iridescence. On gilded silver stand. 341—Bort Le. 3 Flaring at the top, with a favrile barue of purple on a white ground. Repaired with gold. On gilded silver stand. | 342—BOTTLe. Flaring at the top, with a favrile issereeen in white, light blue and yellow, on a dark-blue ground. | On gilded silver stand. | 343—SMALL BOTTLE. Roman, blown glass. Decorated with lions’ heads, rosettes and wreaths in relief. On ivory stand. igh 2 44—FRacment OF Ra GLASS. Part of a moulded frieze of blue glass, with tragic uk tn sag Oe and palmetto. On ivory stand. he 7 x ‘ $ ay 345—Tanacra STATUETTE. i he) surterso.: On ebony stand. | -346—TANacra STATUETTE. ___._ Figure of Hebe holding a bowl. -347-TaNAGRA STATUETTE, Draped female figure. With case. ~ or 348—Tanacra Bust. g Head of Pallas. Mounted on a wood panel, with an ____ inserted pieces of old Indian lacquer work. . 9 Bie seat, } Gold mounted, with Coitatt of the owner on red carnelian. On a thumb ring of heavy gold wire. About 100 B.c. Roman. Fine gold. 350—SEAL RING. Heavy gold setting with red sardonyx intaglio. Subject, head of Gtdipus. About 100 B.c. Roman. Fine gold. 351—RING. Heavy gold setting, with deep-red garnet intaglio, representing a sacred bull. Roman. Fine gold. 352—RING. Heavy ribbon design on body. Set with pale-blue sapphire. Fine gold. Roman. 353—SEAL RING. Heavy gold setting, with red sardonyx intaglio. Subject, abduction of Amymone. 200 B.c. Roman. Fine gold. 354—FRAGMENT OF ROMAN CAMEO-GLASS. Represents the upper half of two enlacing figures of a Roman youth walking with a Bacchante in a triumphal procession. Only three complete pieces of similar workmanship are known to exist, the Portland vase being one of them. Of fragments there are about a dozen; the present one is the only one having a green body under the cream-colored . upper stratum. The plate of which this is a frag- ment measured about Io inches in diameter, and was probably broken before the work was com- pleted. Set in pure gold rim of more recent date. 355—lIwo SILVER COINS. Beotia. 395-387 B.c. Stater, with shield and in-’ fant Hercules. Triobolus, with shield and amphora. 356—SILVER COIN. Tetradrachme of Macedonia. Alexander the Great. 336-323 B.c. Reverse, Jupiter on a throne. Rare mint-mark. 357—SILVER COIN. Tetradrachme. Similar to preceding number, with different mint-mark. 358—SILVER COIN. Tetradrachme of Macedonia. Phillip II. 359-336 B.c. Head of Jupiter. Reverse, youth on horse- back. ee ae a etradrachme of Thessalia. Demetrias. 302-286 a Bc. Reverse, Jupiter on throne. 60—SILvER AMPHORA. — _ Two handled, with flaring top. At the shoulder and _ base repoussé ornament. Around the body a frieze engraved with two groups of nymphs seated, one on a sea-horse, the other on a dolphin, bringing Achilles’ armor. Greek workmanship of about 400 B.c. In excellent preservation, on ivory stand. | 361—Rocca LAMP. Turquoise glaze. Iridescent. 362—Rocca Lamp. Turquoise glaze. Iridescent. | eR beck Bow: Fi ine deep-blue, with ornamentation and jridescence. area BowL. An unusually fine specimen, evenly covered with iridescence. From the private collection of the late Sing: | 365—OLp ARABIC PLAQUE. An exquisite shade of sage green, with floral dec- oration of cream white and gray. ‘THIRD AFTERNOON'S SALE ~~ WEDNESDAY, MARCH 11TH, 1908 14 AT THE AMERICAN ART GALLERIES *) wee es, BEGINNING AT 2.30 0’CLOCK 4 be 366—SMALL VASE. : . Satsuma. Decorated in gold and blue. z= ~ 367—Two Pieces. : Raku box; shape of plum blossom, with cover. ee Rectangular box; with mishima decoration of a horse and small figure. Hayashi collection. — 368—Saxe BortLe. Dark-brown stoneware, with spout and _ handle. Repaired with gold. Karatsu. 369—JAR. Ivory glaze. Rough blistered effect. Old ‘Ageno. 370—Two Trea Bow .s. One, a thick white glaze, decorated with the head and claws of a cat. The other, a greenish white glaze, with design of flowers. 371—Two Tra Bow.s. Dark-brown and gold glaze. Raku. One, yellow, with green spots. y, 372—Two Tea Bowls. Dark-blue glaze, with slender neck. One, dark- green splashes on a brown glaze. Banko. 373—Two BowLs. One, heavy dark-green glaze over a body of light- yellow clay. The other, has a light-greenish glaze over a light-brown. 374—Two Bowls. One has a rich brown glaze over ens fibers clay. Ofuke. The other is spherical in shape, glazed a dark red-brown. 375—TIwo Bow.Ls. One has a thin brown glaze on a grayish clay. By Ninsei. The other is glazed with two shades of brown. Takatori. Hayashi collection. 370—SMALL JAR. ; Decorated with a design in gold, silver, red, blue and black. Satsuma. Signed Ninsei. 377—SMALL JAR. A dragon and waves in gold and silver on a red ground. Kioto. The cover, of black lacquer, deco- rated with crest and bamboo in gold. 378—SMALL JAR. White and gold chrysanthemums on a silver ground. Kioto. 379—OsLonGc DisuH. White glaze, decorated with maple branches in red. Shino. ‘ivory crackle, with circles of blue. Hagi. e Orit, with dark lustrous glaze. Shigaraki. - Sage-green Peau with border of Sei circles. - Korean. ie gt Bow. Ivory crackle, shaded to pink. With gold lacquer ve --Tepair. baal 385—TeEa BowL, _ | Dark ivory crackle. Old Satsuma. 386—TrEA Bow . Yellow, with transparent opalescent. glaze. Fine crackle. Kiseto. —387—Tra Bow . _ Cylindrical shape, with yellow crackle. Kiseto. -388—TeEa Bow . Large yellow bowl, with green and amber spots. Kiseto, i 389-—TrEA Bow L. i Yellow and brown glaze on gray clay. rs II . a sins on ivory oe 391—TEa Bowt. nie Mishima. Cream- white rosettes and lines ot eray. 392—TrEA Bow.. | Camellia and leaves in white, green an gold 0 on ivory clay. Awata. ore 303—TEA BowL. Ivory crackle, with decoration of bamboo, plum blossoms and pine branches in blue, green, red and — gold. ‘oth * oe a Be 394—TeEA Bow. Black glaze, with reserve of plum blossoms on ivory ‘ ae clay. ae 395—Two Bowts. One, salmon-colored glaze, with ivory. spots. Korean. The other is of a graye cae clay, speckled with yellow. 396—TeEa Bow . ; Dark-brown glaze over light-brown clay. 397—TEA Bow. An authentic bowl by Temmoku, with eypiedl are rab- bit’s fur” iridescence. Twelfth century. - 398—Two Tea Bow is. Old Hagi, blue and dark ivory. Old Gohon, oray | glaze 7 celadon. glaze, with mishima crests on a dark- brown clay. Karatsu. The other, a large bowl, ~ decorated with elephants, clouds and conventional ~ peonies on a yellow ground. Chinese. a) : Bei Bow. Pes. {a style. Rich dark tone, with iridescence. “Old wee Fine crackle. San Bowt. , a Old Hagi. Of a dark rich ivory color. Gold lac- quer repair. : | a 4 403—SAKE Bortte. . Gray glaze, with green. ee 4 =§ 404—SMALL VASE. ~ Gourd shaped ; light green-gray ees : ~405—SMALL VASE. . ... Gourd shaped, with dark- olive glaze. Bizen. 400—J ARDINIERE. | Speckled- peray glaze on dark- ‘pier clay. Karatsu. 407—V ASE. Gray crackle, with elven tin. ‘Hagi, E 408—INCENSE BURNER. Black line Bectkabons on a Jight-yellow ae By Kenzan. 409—SMALL JAR. -Grayish-white crackle, with wood cov 410—KOREAN JAR. Wide opening; gray glaze with fine old ath, -Sile ver rim. ae | ei os : or Ted 41I—JAR. | ; ae Old Korean. With wide opening, gray stoneware, with green glaze. Before the twelfth century. | ; 412—SMALL VASE. | | & Shr Ex _ 420—Sarsuma PLATE. i coam ; _ Similar to preceding number. ee SATSUMA TEAPOT. _ Decoration of cherry blossoms and scalloped border in gold and colors. Repaired with gold. 423—SatsuMA Disu. Rectangular, with wild flowers and conventional _ ornament in gold ‘and colors. _ | 424—SMALL Cup. Cream-white paste, ane raised design of howd birds. Gold edge. By Yeraku. 425—-PLATE. Turquoise blue; shape of lotus leaf. Unusual specimen. 426—V ASE. - Flat-shaped, apple-green glaze, decorated with two panels, containing bamboo stalks and pine branches. Chinese. 427—HawTHORN JAR. Blossoms outlined in blue on black ground. Wood | stand and cover. aeliea 7 Gites Jar Decorated with children at play, in red, af and green. Chinese. > “es Wie 429—SMALL MING VASE. 2 ata Graceful shape, fine warm crackle. With stand. 430—VASE. , aa | ba Ets: . Greenish ivory crackled glaze. Oviform, with “ carved stand. Ming. meses etek 431—PuZzzLE Cur. Shape of part of apricot, with the figure of anold, | ‘bearded philosopher in the centre. When morethan three-quarters full, the liquid will run out at the bottom until the cup is quite empty. 7 432—OLD CHINESE JAR. Incised scroll ornament under green glaze. With four small handles. 433—Mine Bort te. Shape of fruit. Crackled glaze clair-de-lune. 434—MIncG VASE. Oviform, with ivory-white glaze. 435—BLUE AND WHITE Jar. With figures of ladies and children. Carved teak- wood cover. K’ang-hsi. en 436—CHINESE INCENSE BURNER. Emerald-green glaze, over openwork white clay. 437—VASE. Cylinder shape; pale gold glaze. iL JAR). . | -olive color; teakwood stand. ep turquoise, with carved stand. —SMALL BowL. | With translucent grain-of-rice pattern, decorated ¢ sh with underglaze blue Chinese character and five _ bats. Turquoise blue glaze covers all the white ground. With stand. Seal mark. ey ___-Sang-de-beeuf color, with carved stand. - -442—Bor rte. Deep yellow, with brown splashes. ii —- 443—VASE. ; a Olive-green color, with teakwood stand. —-444——Borrte. — g : Russet-olive color. 445—Two Saucers. Imperial yellow. 446—Two SAUCERS, Imperial yellow. Smaller than preceding number. 447—SMALL VASE. | Turquoise blue, with carved stand. 448—Two SMALL PLATES. One, cucumber green; the other, peach-blow crackle. 4 : Sunt Dish. Blue celadon crackle on the outsids turquoise: inside, with faint decoration of fan and cloud: the glaze. With carved teakwood stand. 450—SMALL Cup. White porcelain. With outer shell of onda perforated fish and shell decoration. With ivory cover. =o 451—PLATE. Apple-green color. Fine crackle. 452—PLate. ov Two shades of blue. . 453—Two Deep PLates. White porcelain. With openwork bases, decorated. with a band of persimmon and leaves in translucent _ enamel glaze. 454—Two SMALL DIsHEs. Irregular shape. Turquoise-blue color. 455—Bort te. Turquoise, with carved stand. 456—Cup. Sang-de-boeuf, carved stand. 457—Two Smati Cups. Blue and white porcelain, decorated with flowers and fruit. 458—SMALL VASE. Mustard vellow. On teakwood stand. ; _ ; > Pe) TLre aia | 460—Suats VASE. oe er Gold a On teakwood stand. Te ay Pk wee SS ie: , -464—Two SMALL Cups. 463—SMALL Jar. 3 _ Four-sided, white porcelain, with character and - bats in shallow relief. x 462—SMALL VASE. _ Mustard-yellow. On teakwood stand. ij 7 | ] | _ Dark olive. oe, Pure white porcelain; decorated on the inside with thread-like lines representing buds and flowers. 465—SNUFF-BOTTLE. Apple green, with red crystal stopper and silver spoon. 466—SMALL PLATE. Porcelain. Decorated with conventional flowers and foliage, in color on a black ground. 467—SMALL PLATE. Porcelain. Decorated with translucent enamel glazes, in rose, green, blue and white on ew, and > rose ground. Waves. 469—CREAM-WHITE BowL. Lions’ heads at sides. 470—SNUFF-BOTTLE. ae Deep apple green, flat-shape, with jewelled ateae “4 stopper. 47I—SMALL VASE. Coral red. On teakwood stand. 472—SNUFF-BOTTLE. Sang-de-beeuf. 473—PLATE. Sage green. On finely carved stand. 474—SMALL VASE, Robins’-egg blue. Carved stand. 475—Deer Disu. White porcelain. Decorated with four-clawed dragons, in peach-blow color. Bats and waves on the outside. et 476—SNUFF-BOTTLE. Yellow olive. Teakwood stand. 477—Cor. Fawn color, with fine crackle. 47 78—Brusi -STAND. = a" with raised decoration of dragons and Q Dats, celadon, with gradual change of color from green on the inside to a yellow olive on the outside. Incised decoration under the glaze. Korean. -480—Brusu- REST. White porcelain, Sath erated seep of butter- flies and peonies. 4 : ] — 48I—SMALL JARDINIERE. Brown clay. Representing a section of the trunk Ve ea can Tree; ae inscription. eee wo SHALLOW CUPS. | ee of green, and the other of brown celadon. 483—PLaTE. - | | Celadon, with concentric rows of lotus petals. 484—SMALL PLatEe. Thinnest egg-shell porcelain, with decoration of roof tile and fern shoots in enamel color. 485—DIsu. Porcelain celadon. Shape of persimmon. 486—SMALL Box. Leaf-shaped, covered with a deep- green glaze. With carved teakwood stand. ) 487—Two SMALL aye: “oy Hexagonal. Hawthorn blossoms on emerald-green | ground. Chinese. a | 2! AD a 488—CHINESE PAINTING. sity e A thin marble slab, with a family scene oe in a rich harmonious colors. On the back, mountains — in several shades of blue. 489—SMALL GROUP. Pale amber cornelian, carved to represent a Chae sage, with fungus and a monkey. 490—AMETHYST PENDANT. Chinese. Carved cluster of peach, aineean foliage, and bat. With silk cord and embroidered charm. 49I—SMALL Box. Ivory. Decorated with chrysanthemums a pine- needles. Hideyoshi crest in gold on cover. On a tray on the inside are two smaller boxes. 492—RECTANGULAR Box. Ivory. Decorated with chrysanthemums and other flowers in gold and red lacquer. 493—JADE PLAQUE. Carved with plum blossoms and inscription. Set in frame of gilded bronze. The back richly orna- mented. Chinese. 494—SMALL JADE BOTTLE. Sage green, carved with dragon and lions’ heads. 495—Two PIEcEs. Red cornelian lotus leaf and blossom; and smaller, lotus leaf of dark-green jade. es ony STATUETTE. Chinese boy kneeling. Traces of polychromatic decoration. Teakwood stand, inlaid with silver ornament. — 497—AGATE CuP. Oval shape. Of deep-red agate. 498—CaRVED AGATE. Group of fungi. On wood base. -499—SMALL KNIFE. Silver handle. Used for shaving the eyebrows. 500—Kopzuka. Silver and shakudo. Imitating a sword handle. 501—Kopzuka. Shakudo, with gold and silver incrustation. De- sign of water, a woodpecker, etc. 502—KopzuKa. Shakudo, with incrustation of gold and silver. Dewdrops on wild flowers in moonlight. 503—KopzuKa. Silver, with plum blossoms incrusted in gold and shakudo. 504—KopzuKA. Silver. Cock, hen and chick in yellow and green gold. ; 505—KopzuKa. Gilded bronze, with silver cloisonné design of grace- ful ornament. mr Eas eee 506—Kopzuka. Iron. A pruning ea with beatae fa blossoms in enamel on gold ground. By Hi —507—KopzuKa. : : Shakudo, with mcrase Hare of gold san ser, representing Yoshitsune offering his bow to the | genii of the Ocean. By Goto Teiyau. 508—KopzuKA. Shakudo, with pouch and inro in gold, red >ronze, “a coral and malachite. By Yoshiteru. 509—KopzuKa. Gray bronze, incrusted with gold, with names of Gama and frog in low relief. By Jest “ts Ae 5 10—KopzuKa. Iron, with figure of a lady in rich brocades in gold, silver and shakudo. By Nagatsune. 511—KopzuKa. Silver, with two flying cranes ‘in high relief. By Hidekuni. | 512—KopzuKa. On the front a brook running through sand and field flowers. Copper, gold and silver. On back, rice stalks in moonlight. Shakudo and gold. By Fujiwara Masario. 513—Kopzuka. Shibuichi. Inlaid with flowers of chrysanthemums in gold and silver. eee Goto Kobun. . : 514—Kopzuka. | Shakudo, with figure of Senin with broom. In- laid with gold. By Cho-usai Motochika. 515—Kopzuka. . Front of gold, silver and shakudo. Representing the moon, waves and pine tops. By Goto Denjo. 516—KopzuKa. Front, of shibuichi, with figures of two Samurai and a monkey, in gold, silver and shakudo. By Hosono Sozayemon. The back, a narrow bridge near rocky shore. By Masamori. 517—KopzuKaA. Dark-blue shakudo; with Mount t Fujii in silver. By - Kanasugi Tomotsune. 518—KopzukKa. Shakudo, with Buddhistic pearls of colored enamels of wonderful quality. By Hirata Motonari, and a silver fox, by Hirata Harumoto. Back, of silver; rain effect. 519—KopzuKa. Silver, with insects of shakudo and gold. By Ichiosai Yoshiyuki. 520—KopDzUKA. Yellow bronze. Pine tree and needles in winter by moonlight. Incrustations of gold and silver. By Adsizumi. aca, ) is Silver, with es By Kongosai Getsuzan. 522—KopzuKa. : Silver, with gold incrustation of millet-st Itsusai Tome. | 523—THREE SWORD-GUARDS. One of iron, with landscape in low relief ; one formed by two monte and one representing a8 horse. 7: 524—THREE SWORD-GUARDS. } Iron, with gold and silver incrustations of he Hideyoshi crest. One with stalks and flowers of — iris, one of shakudo, encircled by wreath of gold leaves. 525—THREE SWORD-GUARDS. Chased and perforated iron, formed by conven- tionalized foliage and fruit. | 526—THREE SWORD-GUARDS. "s, Wrought and perforated iron. One formed by a large radish and two rats; one having two vases and inscription, and one with conventionalized foliage. 7 527—T wo Sworpb-Guarbs. Iron, with incrustation of yellow binnee represent- ing peonies. The other formed by a leafina circle. Both outlined with brass. Yoshiro incrustation. 528—Two Sworpb-Guarps. Iron. Damascened with gold, representing a héwé bird. The other, conventional chrysanthemums in wrought iron. =e 4 4 ay os ' iow > Fe S : > . ra »' 7 -Two ‘SwoRD-GUARDS. H nas ; ie. oth. of iron, with incrustations of conventional _ ornaments, in gold, silver and yellow bronze. Be tii SworD-GUARDS. Iron. Damascened in gold, silver and red bronze. Openwork design of herd of wild horses. The other, a Namban style guard, with fan- shaped panel and. two Dutch figures. 83 I—Two Sworb-Guarbs. One of iron, damascened in silver and rellow bronze, with a geometric pattern. The other, en- tirely covered with a diaper of small pine branches, in gold damascened on iron. 532—Two Sworb-Guarps. One, of wrought iron, formed by a coiled dragon. The other, of iron damascened in gold, formed by a dragon holding sacred ball. -§33—Two SWORD-GUARDS. “One, of wrought iron, with relief-chasing of dragons, clouds and water. The other, of raised: silver damascening in scroll work, on a body of shakudo. 534—Two Sworb-Guarbs. Iron, incrusted with silver and gold. One, with conventional rendering of clouds and water. The other, with leaves of pawlonia. 535—l wo Sworb-GuArRDs. One, of iron, chased and perforated; dragons and scrolls, Namban style. The other, of iron, chased and perforated; monkeys and their young, forming a pyramid. II sept aaa Sie, Gia chivas ee ees ay hie aa a Iron, chased, damascened. in poldeg Subject, dragons and scroll ornamet style. : 537—Two SWORD-GUARDS. Iron, chased and_ perforated, with “dragons an scroll work. Namban style. | i TES 5 38—SWORD-GUARD. | | ete ~ Shibuichi, with wave-crests and drops BE water i in gold and silver. By Omori Yeisho. 3 fangs 539—SWORD-GUARD. Small size. Iron, with inertia ofa ede anda flowering branch in gold and shakudo. 540—S WORD-GUARD. Shibuichi, with incrustation of a dragon and jewel in gold and silver. - 541 —SWORD-GUARD. Iron, with incrustation of gold, silver and copper, _ representing a stork flying over a small stream. 542—SWORD-GUARD. Iron. Openwork design of iris. 543—SWORD-GUARD. Iron. Perforated and damascened in silver, mie design of a chain formed by round and square links. Sixteenth century. 544—SWORD-GUARD. Four-lobed, of iron, with incrusted medallions of dragons in silver. By Imachika. Ir x persimmon delicately prorated in low i relief, surrounded by a circle. ”: A6— ‘Sworp-cGuaRo. Tron, with pine branch in high relief and rising- moon in silver inlay. a Beers reel -GUARD. _ Tron. Openwork design of pine-cone, acorns and -———s- various leaves.’ Gold damascened. ee “0e 548—SWworRD-GUARD. Be Iron, with yellow bronze dragons encircling the 4 edge. Fuchimi incrustation. 349—Sworp- “GUARD. | Tron, with yellow-bronze ipasoie in high relief. Fushimi incrustation. 5 50—SWORD-GUARD. Tron. Incrusted with a silver dragon-fly. 55I1—SWORD-GUARD. Iron. Damascened with a gold dragon on one side. On the other, religious emblems in gold on a silver ground. 552—SWORD-GUARD. | Iron, with silver and gold incrustation. Decorated with an eagle on pine branch, modelled in high relief. 353—-SWORD-GUARD. Iron, with incrustations of green mother-of-pearl, representing a dragon-fly and two bees. 7 oul = RC Typ AL Pe r , c si i i s m! Fe i x : i . s Dis ee Heavy iron. The edge aiid ait heraldic emblems ee silver. | 555—SWORD-GUARD. Iron, with raised gold inscription. 5 56—S worD- -GUARD. Iron. Damascened in gold, representing Fuji, , clouds and dragon. By Konsai Bikio. Mh or ae —557—SWORD-GUARD. Iron, with tempered inscription. By Kunitama Sadaoki. BRS: as 558—SworbD-GUARD. Iron. Conventional design. By Omi Tashimao. 559—SWORD-GUARD. Iron. Openwork design of ee Hoscoate Gon a damascened. By Tsunemasa. 560—SWworRD-GUARD. Iron. Openwork design, representing two Chinese sages and ox under pine tree. Gold damascened. By Tomogaki. 7 56I—SworbD-GUARD. job) Sentoku. Damascened oiith gold, representing small temple bell. By Yassutaka. - Openwork fee of pine = cones’ and plum ms. Gold damascened. By Masamitsu of —Sworp-c GUARD. Iron. Openwork design of narcissus and plum | blossoms, damascened in gold. By Kawaji. "564—Swonn- GUARD. Iron. Delicately modelled wave-crests, with drops of water in gold and silver. By Masayoshi of pe. me b E 7 " . 2 565—SWORD-GUARD. _ | Iron. Openwork design of flowers and foliage. -s By Masakate of Bushu. 566—Sworp-Guarp. =! Iron. Openwork design of plum blossoms and waves. By Kogetsusai. 567—SworD-GUARD. Iron. Damascened in gold. Kiri plant and scroll. By Kinai of Echisen. 568—S worD-GUARD. Iron. Openwork design of kiri flowers and leaves. By Katsuyoshi Shoami. 569—S WORD-GUARD. Iron. Openwork design of pine needles. Gold damascened. By Katsuyoshi Shoami. % co ie es 7 i 5 la eer od 570—SWoRD-GUARD. eae Se : Tron. Openwork cen OL chrys et ake ae and flowers. By Kinai of Echizen. 571—SWorb- GUARD. Iron. Openwork design of wild orchid of Echizen. 270 eee ee 573—SWORD-GUARD. Iron. Openwork design of Chinese sages. cae boo grove. Damascened in gold. By the Fir t Soden. ae ie ‘THE AMERICAN ART GALLERIES _ a BEGINNING AT 2.30 O'CLOCK : ; eo sane PIECES. a Iron sword-end with silver insect, temple bell with microscopic locust and lion Fo. 575—SWORD-END. _--—_. Relief decoration of flowers, foliage, etc., in silver, hes ‘gold and shakudo on iron ant By oe Mit- sumasa. Be ax Chased silver ceremonial tasecl. 577—Bow-HOLpER. Gilded silver with chased howé birds. 578—CrYsTAL BALL. On chased and gilded bronze stand. 579—TIwo N ETSUKES. Wood carvings. Lion Fo playing with ball, and crouching figure of a Chinese. Saaer car mother-of-pearl and woman washing. 581—NETSUKE. No-mask in ivory. By Ran-sen. 582—NETSUKE. Mask of Hania, in igen gold and dpstadoae Of s extraordinary skill in relief chasing. By Se-zui. Se - Be Re NETCURE Se oe Button shape of perforated and damascened irgn | 4 with ornaments of the style of Namban. 584—NETSUKE. Ivory, damascened and pero iron, represent- ing a temple bell. 585—NETSUKE. Ivory button, with plate of cloisonné enamel, orna- ment on sage-green ground. a 586—NETSUKE. ; Iron button entirely covered by vy dares patterns of inlaid yellow bronze. : 587—NETSUKE, Hartshorn button, with damascened and perforated plaque of dragon on trellis. 588—NETSUKE. Flat ivory button, with damascened head of dragon. 5890—NETSUKE. : Silver button, chased to represent a bird among cherry blossoms. 5900—NETSUKE. Ivory button. Shibuichi plate with gold and silver incrustation of waves, the sun and birds. 591—NETSUKE. Ivory; button-shaped, with perforated carving of six mon on back. Front plate of shakudo and gold with Hideyoshi crest and thunder drums. 592— NETSUKE. | Button shape. Red bronze and shakudo basket work. 593—NETSUKE. Button shape; silver and shakudo basket work. 594—NETSUKE. Ivory button, carved to represent a dragon among clouds. | 505—NETSUKE. Flat button of ‘cloisonné enamel in colors on tur- quoise-blue ground. 596—NETSUKE. Ivory mask and bells. By Haku-unsai. 5907—NETSUKE. Wood. Crouching figure of a monkey eating ber- ries. By Tomo cazu. : 598—NETSUKE. Dark wood, representing a Re ei foliage, opening with hinge disclosing a carved stone of ivory. Subject: a Chinese princess with attendants in a garden. 599 NETSUKE, Dark wood. Actor with No mee hole bowl. By Masayuki. 600—NETSUKE. Mask of Okame by Shu getsu. 60I—NETSUKE. Rich brown wood. The Senin Gama and his frog. Wonderful expression. 602—NETSUKE. Dark wood., Choki, the devil-chaser, sharpening his sword on a stone. By Masa Kazu. 603— NETSUKE. Amber-colored wood. Crouching figure of a gen- tleman telling a funny story. The face, evidently a portrait, is wonderfully life-like, the slightest mo- tion causes the pivoted head to give quick jerks, thereby adding to the illusion. By Masa nao. 604—SWORD-RING AND ENp. Yellow bronze, with raised poppies in gold and shakudo. By Yassutchika. 605—SWORD-RING AND END. Iron. incrusted with gold, silver, shakudo and red bronze. Temple bell, dragon, Daikoku and Oni. By Utsi and Naokuni. 606—SWORD-RING AND END. Shibuichi, silver and shakudo. Carp ascending a stream. By Yeishu. 607—PoucH Crasp. Round. Silver repoussé, subject dragon among clouds. 608—PoucH CLASP. Silver, gold and shakudo, representing a warrior in full armor, attacked by a tiger. 609—PoucH CLasp. Silver, gold and shakudo. Crane and its young in a nest among the pines. Beautiful clean-cut chas- ing in high relief. 610—Poucu, CLASP. Silver and gold: Representing Juro seated on a swimming turtle of longevity. 611—PoucuH CLASP. Silver, gold and red bronze, representing Choki on a lion brandishing a’sword. Wonderful detail. ~ 612—Poucu Case. Silver, gold and shakudo. Yebisu and children. * 613—PoucH ORNAMENT. Silver and shakudo. Powerfully chased in high relief, representing a hero crossing a ford. By Kiku Kawa. . 614—PoucwH -CLasp. Gold and shakudo, representing a Koban of Hide- yoshi. By Yoshiyuki. 615—NETSUKE. | ar ee 2am Ain Secure Ivory button with chased andl perforem top plate of silver and gold, representing peonies and foliage. By Hoghen Min rio. Dark amber-colored hartshorn, with front plate of ot 4 shibuichi. On it a crouching boy with a fan is — incised and inlaid with gold, silver and shakudo. By Ta Kao. 617—-NETSUKE. Ivory button entirely covered with flowers and leaves of the chrysanthemum. On _ the front a repoussé silver mon. By Sho un sai. 618—NETSUKE. A group of three young fruits of the egg-plant, two of which have openings at the side, through the larger one of one and one-quarter inches in . length. The inside of the fruit is carved to repre- sent a landscape on Lake Omi, with Mount Fuji in the distance, sails on the lake, several mountain ranges, forests, small houses, and in ‘the fore- ground a man rowing a boat. Through the other opening of only one-eighth of an inch, a falcon, seated on a frame, may be seen detached from the surrounding matter. The tour de force appears in its full magnitude when it is realized that all of it was carved with curved microscopic tools through the very restricted openings. By Kan sai. 619—NETSUKE. Shibuichi button, front plate finely modelled in iron, silver and gold, representing a dragon’s head and claws. 620—NETSUKE. | Ivory button, with silver plaque. Subject: three crows on a branch, inlaid in shakudo. After Korin. 621— NETSUKE. Ivory button, with shibuichi plate incrusted with gold. Subject: old woman and traveller. 622—NETSUKE. Ivory button, with front plate of shibuichi, inlaid with gold and silver, representing a Sennin with a mouse and small boy. By Hideusi. 623—I nro. Outer case of shibuichi, with incised design after Itcho and So min. Inner case of black lacquer en- riched with a blossom and leaf of volubilis in gold lacquer and green mother-of-pearl. Inscription in solid gold, “one month, a thousand years.” By Suyenaga. Netsuke of wood, inlaid with bird on -. magnolia branch in mother-of-pearl, tortoise-shell, coral and malachite. By Yeizan. 624—-INRO. Gold lacquer. Four compartments; topographical view of Lake Omi with names of localities. With _ netsuke representing a dragon made of part of the ivory-like bill of the Bill-bird. By Koriusai. 625—LacQueER TUBE. Part of a flute. Decorated with a dragon in vari- ous colored gold lacquers. School of Ritsuo. 626—Two PIECEs. Parts of silver netsuke in repoussé silver. Lion Fo and peonies. | a ee ee eS 627—NETSUKE. : Ivory carving. Philosopher and ox. 628—Inro. Rie sl Outer case of gold lacquer bamboo decoration on black ground. On inner case a cock and a hen, gold on powdered black ground. By Furumitsu Tei ge. With gold lacquer netsuke representing a mask. 629—INRo. Gold lacquer. Four compartments. Subject: horses under pine trees. An exquisite piece. By Bunriosai. With ivory netsuke of philosopher and Ox. 630—INRO. Gold lacquer, incrusted with figures of poets in amber, tortoise-shell and ivory. Four compart- ments. A very old piece. With old netsuke repre- senting a mask. 631—LACQUER TRAY. Decorated with pheasants near the water’s edge. Centre of gold lacquer, border of conventional chrysanthemums on black ground. Excellent eigh- teenth-century piece. | 632—LAcQUER TRAY. Narrow rectangular shape, decorated with wild flowers and butterflies in gold on deep gold pow- dered ground. | 633—RECTANGULAR TRAY. Rounded corners; decorated with a brook and wild flowers in several shades of gold on black ground. Fine quality. Eighteenth century. 634—LaAcQuER TRAY. Square, with rounded corners. Decorated in gold lacquer, with a traveller on horseback arriving at a waterfall, watching the flight of geese. 635—SMALL TRaAy. Rectangular etched bronze plate, set in lacquered frame. The bronze is incrusted with various metals, and represents two men, a woman and child cross- ing a stream in a ferry-boat. The coloring in these metals is remarkable. 636—Two PIEcEs. Perforated and richly carved teakwood box and cover, with carved stand. 637—Two Lacquer TRAys. Decorated in gold on black ground. With the owner's crest. 638—DovusLe STAND. Gold and black lacquer, with young plum and pine trees. Fine quality. 639—SMALL WRITING CASE. Black lacquer. On the cover, circular medallion of branch of japonica, with red and silver blossoms. With stone and two water holders. 640—WRITING CASE. On the front, two mandarin ducks near a pond, in gold, silver and red lacquer on a black background. A perfect specimen of eighteenth century work. and leaves in gonhbe -on black. “Silver | and plates. | i 642—Two SMALL RECTANGULAR Tee : Each having two crests on powdered gold groun . 643—SMALL RECTANGULAR TRAY. With two flower medallions, in gold and red lac- quer on dark ground. 644—SQUARE LACQUERED TRAY. y Gold lacquer of the finest quality. Decorated with cherry and willow trees, with part of the blossoms inlaid with small sheets of solid gold. 645—SQUARE LACQUERED TRAY. | Decorated with a group of palms near a projecting rock, in gold on a black surface. The painting is wonderfully delicate and the gold of rich tone. 646—LIBATION Cup. Carved out of palm wood, representing a lion and its young. Lined with silvered metal. On stand, edged with carved green ivory. Chinese. 647—SHRINE. Containing three idols.. The central figure of Sa- kiamuni shows great refinement of line and move- ment. The whole of the interior was originally lacquered with gold, but the fumes of incense have colored it a dark rich brown. 48S Rectangular shape. The doors divided into small panels of floral, conventional and geometric design. All carving treated in color and gold lacquer. The ceiling is decorated with a painting of a dragon on gold ground by Itcho. Seventeenth century. eae? PIECES. Flower holder ; made from a piece of aiet with its natural surface, decorated with a locust and ferns in gold and silver lacquer. A pipe case; carved from a rich dark wood, representing lotus leaves and buds. 650—SMALL LACQUER STAND. Imitation in lacquer of a very dark close-grained wood, with gold ornamentation. 651—Rounpb LacqgueER Box. Two compartments. Decorated in gold lacquer of -. various kinds and colors, representing rice fields irrigated by intersecting canals, on a ground of black. Very rich and refined in character. 652—HEXAGONAL LACQUER Box. Two compartments. Decorated in gold on black, plum trees among young shoots of pine and bamboo. Of the finest quality. 653—Rounp Lacquer PowbDeErR Box. Various leaves in gold and red on a black ground. Inside of gilded metal. 654—-CYLINDRICAL LACQUER Box. Entirely covered with a minute fret pattern, the interstices of which are powdered with small par- ticles of green and pink mother-of-pearl. II . shades of ses ona shes ground. 6 ceeeacae Woop Box. A rare dark colored wood, decorated at sides wit h | a delicate tracery design in gold lacquer. An eet ample of rare perfection. : 4 657—INcCENSE BURNER. a Dark wood, decorated with conventional chrys-_ ae anthemum branches. Openwork silver topo eae 658—SMALL PocKET SHRINE. Red lacquer, with silver mounts and hinges of arose delightful design. All details reduced in scale to fit this dainty receptacle of the daintiest of all idols, seated on crouching Lion Fo. The group is carved out of dark wood, relieved with a few touches of gold and color. 659—LACQUER MEDALLION. Portrait of Philippicus, Patriarch of Constantinople, from an European painting. Latin inscription on back. 660—SAKE Cup. Gold and silver lacquer on red ground, representing the moon behind a plum tree. By Hiragawasai Sadashige. ~~ 661—WrRITING Box. Decorated with a basket containing chrysanthe- mums. Heavy incrustation of carved mother-of- pearl and tinted ivory. * 662—Two PIEcEs. Gold lacquer sake ad and small open box of silver lacquer. 663—Smatt Lacquer Box. Shape of a dog. An interesting specimen. 664—SMALL Rounp Box. Of dark, closely-grained wood. The cover inlaid with flowers of mother-of-pearl, ivory and coral. 665—SMALL LAcguER Box. Silver lined. Decorated with young pine shoots on deep gold ground. 666—SmatL Hexaconat Box. The entire surface is covered with a mosaic of green, blue and red mother-of-pearl of an indes- cribable wealth of color. On the cover a howo bird. The sides have six different patterns of sur- face ornamentation. In perfect state. 667—SMALL LAcQuER Box. Decorated with a deer and foliage, in pale and green gold. 668—SMALL LACQUER Box. On the lid, the apprehension of the oil-thief, in the richest textures of gold lacquer. ‘6690—SMALL Box. - Decorated with mask of Hania, in gold Hea black on a rich gold ground. ‘670—SMALL RECTANGULAR Box. Gold lacquer, representing a piece of brocade, tied with silk cord. gold howo birds on BO, cover. Under decorated with bamboo and paulonia. = 673—SMALL ae With foliated border on ee black Sa In the centre, two children and fowl in bamboo — Bro A very old piece. | ee’ 674—Two Harr Onna ae Ivory, decorated with white carnations and butter- q fly. The other, with emblems of good luck, in gold- tinted ivory, mother-of-pearl, malachite, coral and tortoise shell. In design and execution these ne objects are of the finest quality. 675—Hair ORNAMENT. Ivory, decorated with flowers, petals, leaves, pine- needles and berries of gold lacquer, mother-of- pearl, tortoise-shell and coral. A specimen of we most costly jewellery of the time. 676—-HaIR ORNAMENT. Ivory, decorated with butterflies, in pa accuce mother-of-pearl, etc. 677—Hair ORNAMENT. Tortoise-shell, decorated at one end wih the gate ” of Yoshiwara; at the other, two sparrows in gold lacquer. 7 4 678—Two SmMaLL Hair ORNAMENTS. One of ivory, with crest inlaid with mother-of-pearl. The other, of lacquer, covered with very delicate gold peacock feathers. —679—SMALL Hair ORNAMENT. Gold lacquer of the finest quality, decorated with plum blossoms and a hawk chasing a bird. 680—Two Hair ORNAMENTS. A long and a short one, both decorated in a similar manner, with designs taken from old brocades. Finest quality of gold lacquer. 681—Hair ORNAMENT. Decorated with butterflies and small leaves of green mother-of-pearl and gold lacquer. 682—Harir ORNAMENT. ‘Decorated at each end with fans, flowers and foli- age in green mother-of-pearl and gold lacquer. 683—Two HairPins. One of carved wood, representing a chrysanthe- mum; the other, with two leaves of lotus, in gold lacquer. 684—SMALL BASKET. Very minute weaving of intricate workmanship. A _ fine example of this art. 685—LacguErR Box. With cover. Black lacquer, decorated with blades of grass and dewdrops, in gold and silver. Finest quality. i) Ped oy -686—LAcQUER BowL. crusted green mah ee ee on a sandhill, on ground of natural wood. I cover. On graceful teak stand. | b Koy t 687—SMALL STAND. Rectangular. Of green ivory. Chinese. 688—Tosacco PoucH. | ss Made in Japan from an antique piece of velvet, — embroidered with cord made of silver wire, form- ing a solid surface of beautiful ornamentation. a With silver clasp. i 689—Tosacco PoucH. Decorated with silver leaf pages a marvel of the leather-worker’s skill. With silver clasp, repre- senting a falcon. 6g90—Lapy’s Comp. Gold lacquer. Plum blossoms incrusted in green mother-of-pearl and solid gold. 691—Lapy’s Comp. Ivory, decorated with ferns and fireflies in gold. 692—Lapy’s Comp. Gold lacquer, with raised chtysamih eee 693—Lapy’s Comps. Gold lacquer. Cherry blossoms. 694—Lapy’s Comp. Large size. Gold lacquer. Butterfly and scroll design on a black lacquer ground. — 699—Lapy’s Comps. ae of old. _Lapy's Boars, - Gold lacquer. Plum blossoms in white and tinted i ivory. —Lapy’s Com. Gold lacquer. Various flowers in different shades meted, ; | Ivory. Partly tinted a seh ou with storks flying over waves. t Aaa Comps. Carved and tinted ivory. Subject, héw6 bird among foliage. __ 701—Lapy’s Com. Large size. Gold lacquer. Iris. 702—Laby’s CoMB. Small size. Gold lacquer. Fagots and small birds. 703—Lapy’s Comp. Amber-colored tortoise-shell. Design of various utensils in the open. $ 704—Lapy’s Comps. Green gold lacquer. Design of peonies. -705—Lapy’s CoB. Gold lacquer. flowers. 706—Laby’s Com. | Gold lacquer. Chrysanthemums. 707—Lapy’s COMB. Black buffalo horn. Decorated with chee Bio soms and maple leaves in gold. 708—LapDy’s rare Ivory, partly tinted a fine - ea Subject, badger and rabbit out walking near the shore, te 7og—Lapy’ s Cos. Ivory, tinted a fine red, with pranehee of hydrangea outlined with gold. Biosci ek CoB. Ivory, tinted a fine red, with oval panels containing peonies, birds, etc., outlined with gold. 711—Lapy’s ComB. : irae Large size. Of transparent horn. With openwork design of cherry blossoms. . : LY 712—Lapy’s Com. Gold lacquer, with cherry blossoms in several tones of gold. 4 713—Lapy’s Comps. | Gold lacquer, with two peacocks on plum tree. 714—Lapy’s Comps, Gold lacquer. Cherry trees in bloom. _ 715—Lapy's Coma. Gold lacquer. Waves and mountains, with swarms of sparrows. 716—Lapy’s ComB. Gold lacquer. Bird and plum tree in bloom. 717—LapDy’s COMB. Gold lacquer. Mandarin ducks near the water’s medce, 718—Lapy’s ComB. Gold lacquer. Camellia branches with birds of in- crusted coral. 719—ITwo Lapy’s Comes. One of black, decorated with sparrows and bamboo in gold. The other, of silver lacquer, with pine needles and plum blossoms in gold. 720—Pair oF Lapy’s Comss. Amber-colored horn. Decorated with views of temple grounds in fan-shaped panels. 721—Two Lapy’s Comps. Gold lacquer. One, with bird and plum branches; the other, with bird and flowers. 722—PairR OF Lapy’s ComBs. Gold lacquer. Decorated with birds and small in- crustations of coral. 723—IvoRY CARVING. Part of Cingalese comb. The teeth and left panel are missing. In the centre panel, a Cingalese dancer, with conventional ornament. Mela ge AND LACQUERED Pater With figures of five Rakans, with alegoneat at butes. Enriched with inlaid mother-of-pearl, toise-shell, gold lacquer, etc. By Ritsue, ae 726—STAND. Black lacquered wood, with open sides ead gilded bronze mounts. 727—PANEL. Bronze vase, holding brushes and fungi: and brash® a case, shaped like a musical instrument. In various _ colored lacquers on a black ground. wae ors Zeshin, 728—Ivory Box. Tall cylindrical shape, with Belg lacquer crests of a - : society of Cha-djin. 729—CHINESE STAND. Rectangular. Richly carved. 730—STAND, Carved teakwood. For mandarin’s hat. 731—CARVED FIGURE. 3 One of the companions of Bensaiten, standing on a turtle. Finely carved and delicately ornamented in gold. | i, 732—BELT BUCKLE. | | Gilt bronze. Chased and perforated. Fastened to _ belt of green silk cord. Chinese. 733—CHINESE BELT BUCKLE. Detached dragons among clouds. Gilded bronze. Green silk belt. 734—Two PIECES. Richly chased, and gilded girdle hook and cloisonné enamel belt slide. Heavily gilded Chinese. 735—Tosacco PIPE. Iron damascened, with gold and silver. The bow! and mouthpiece of silver, ornamented with con- ventional flowers and foliage. 730—SMALL Cup. _ Very thin cloisonné; outside covered with tracery design of white, yellow, red and turquoise-blue flowers on a dark green ground. Inside a cloud de- sign on white ground. Transparent wax-like qual- ity. On minutely carved teak stand. Early Ming. 737—THREE STANDS. Used in tea ceremony; gilded bronze. 738—Two STANDS. One of shakudo, gold, silver and enamel. One of silver. 739—THREE PIECES. Chop sticks. Silver, with lacquer handles, enriched with gold and silver cherry blossoms. Soe re ot eee ee ey ae i‘ _ as x g at +. > 7 ee ae oe x ey i eter Hover. Silver and enamel. sunk plate. } 741—WaterR Hotper. Chased silver ; shape of flat round 1 bot sunk plate. = , cee, 742—WaATER HOLDER. Repoussé silver; minutely chased. running boar. 743—PAPER Weicut. Silver fan and bells.. 744—PatIR OF SMALL INCENSE BURNERS. Silver gilt. Two-handled and three-legged with conventional ornament. Chinese. Shae 745—SILVER SNUFF BOTTLE. Screw top; irregular hexagonal shape. 746—Two FINGER PLATES. Se silver representing waves. 747—-PIPE CASE. Silver basket work of remarkable workmanship. 748—SMALL BOTTLE. Heavy silver, with chased flowers and foliage of chrysanthemums floating on water. 7490-—SMALL TRAY. Silver lotus- leaf, with shakudo crab re gold lo- tus-pod. By Katsegassu. tips and fe on the top Yebisu yo ialakd with gold and ee ornament. On cover the Sennin Gama, with his frog worked in high re- lief in various metals. The inside lined with solid silver. By Sura. | 763——SoLip SILVER INCENSE BURNER. Very graceful lines soberly ornamented with a band of conventional chrysanthemums. ———- 754—SOLID SILVER TEAPOT. ees eh i Decorated with relief chasing of boatmen, ducks, ~~ a tori, etc. Graceful shape. By Cho-o-sai. 755—BRONZE BEAKER. ap Shaped like old temple drum. With several bands ae of archaic ornament. Solid silver cover, with repoussé design of top of temple bell. 756—SMALL TEMPLE GONG. On its face a dragon and sphere; hanging from silk cord. Strong green patine. 757—BRONZE TEMPLE BELL. Very ancient form, with inscription and six rows of raised knobs. Suspended from an elaborate chain with three flat ornamental rings and a cross- piece formed by two dragons. Dark green patine. 3 738—-Parn o OF arate TA PS Se Formed by fois long ‘ag k - o> holder: Beautifully modeled Piec Sa eA aes SNES: GANDIGST ENS : proper. 760—FLat Iron DIsH. With concentric circles of damascened sitieh orna- | ment. The one near the edge of undoubted Bac- trian origin, denoting great age. . 761—Iron DISH. Hammered and damascened, with two mon and other circular ornaments; traces of gilding in the | centre. ' 762—BRONZE TRAY. Rectangular, with indented rounding at corners with a beaded and riveted edge. Decorated with a trunk and flowering branch of plum tree and a carp ascending a waterfall. Fifteenth century. 763—OCcTAGONAL BRONZE STAND. With gallery and movable tray. 764—GREEN BRONZE JARDINIERE. Fine seal underneath; simple in outline. 765—BRONZE J ARDINIERE. With fine square seal; has two handles; resting on three feet. ’ 766— BRONZE CANDLESTICK. Yellow bronze openwork scroll ornaieata was yy ae Bey _ Warm gray ees Signed. Wye 1—BRONZE VASE, _Damascened in gold and silver. Design of early Chinese character. ee VESSEL. -A flat-rimmed urn covered with a thick layer of oxide. No decoration except a few horizontal rings near the top. Presumably before the twelfth cen- p2tUry. 773—LArRGE PERSIAN BowL. Heavily coated with sheet silver on copper body. With chased ornamentations and inscriptions. 774—BRONZE BowL. Handles formed by heads of archaic design. Be- fore the Kamakura period. Teak stand. © 775—BRONZE VASE. Dragon in relief, with ring on back for suspension. Fine olive-green patine, with red variegations. Sa Sire asdl ey ree on ‘eer neat ne over waves. “Fine olin | patine. By Sosen Zan Soho, — ae 7 Ter Rave Beowee Disu. ment. A very ain casting edie in chines . a lathe. Fifteenth century. Pa 779—BRONZE DIsH. | Five lobed, with riveted edge. Beaten bronze of — the fifteenth century. With repoussé outlines of dragon and clouds. Resting on three cast feet. _ 780—BRONZE VASE. Of very graceful outline. Ornamental band near the middle. Delicate line design in silver at base and top. ou LAST. AFTERNOON'S is ey we . FRIDAY, MARCH 13TH, 1908 AT THE AMERICAN ART GALLERIES ab Ade hohder, shape of neice foot of Oni, and two ae carries one rectangular, the other hexagonal. iran mount, FE cconed 3 in gold and silver. Gilded bronze paperweight, representing a dragon; a hat- shaped iron netsuke, with gold crest, and a gilded and lacquered bronze bow-holder. _ -783—-BroNZE PAPERWEIGHT. | , Partly gilt. Leaf and pod of lotus. With frog sitting on stem. Chinese. Dated 1808. 784—Two PIECES. ; Bronze and silver pocket writing-case, and small. : bronze netsuke of lotus leaf and cricket. hoe ing a gourd, with leaves a vin bronze and silver. “a i e 786—OVAL ee Gilded bronze, representing a small melon. Lea of shakudo and bronze. . ote , Le ie ”) 787—BELT ORNAMENT. Used in Tibet to carry tobacco-pouch er pipe. Brass, silver and coral. Leh Psa elt Box. Round iron box, dacietene a in cok and silver. ‘ The lid ornamented with a dragon, the letters signi- fying Good Luck underneath. 789—Two PIECES. Chinese ruler of bronze, damascened with silver, and belt-buckle faced with sheet-silver, partly gilt. — 790—SMALL CHINESE Box. Se Red bronze, with silver damascening of figures and inscription. Top, of shakudo and silver. 79I—CLOISONNE Lotus LEAF. The ribs and edges of gold on a dark green ground. 792—PAPERWEIGHT. Gilded bronze lion. os LOISONNE APPLIQUE. ot, Shaped like a shallow bowl. Conventional foliage in richest enamel colors. Heavily gilded. ns 796—Suatt Iron Box. ae _ The top damascened in silver, with three dopant Inside lacquered. Fifteenth century. ae a -797—SMALL RECTANGULAR Box. : Bee Shibuichi, with flying birds in gold, silver and fee.) shakudo: =i 798—S MALL RECTANGULAR Box. Gilded bronze. On the top, chrysanthemum and. other plants. 799—BRONZE ALURTLE, Partly gilded. By Mi-ao. 800—SMALL HINGED Box. Gilded bronze and shakudo, representing a per- simmon. 801—PAPERWEIGHT. — A branch of plum tree of yellow bronze, with open- blossoms and buds of silver, gold and red bronze. er cee re Ic chieth bag of eaves an 803—T wo paecne: . ‘Pocket flintlock and here ornamen by one of the Miochins. 804—SMALL VASE. Yellow bronze. Inlaid with three bands of conven | tional flower ornament in silver. ; 805—Two PIECcEs. Padlock, in form of shrimp of damascened iron, | and bronze seal of the Artist Kasen. : 806—CLOISONNE PAPERWEIGHT. . Conventional scroll ornament in gold and siete on a fine turquoise-blue ground. _ Ming. 807—SMALL Iron Box. Incrustation on lid of silver, gold and shakudo, a 4 representing a heron fishing. By Hidetomo. oe 808—BroNZE TUBE. Used for holding peacock feathers. Traces Of ly ancient gilding. Fine patine. : 4, 809—Iron TEA Jar. The cover of silver and gold, with a button ek iron inlaid with the same metals. A crest inscribed in raised diamond-shaped frame on one side. SIO—SMALL VASE. Two handled. Bronze. Inlaid with silver orna- ment. Wood cover, with green jade top. resting on pees ‘ Api call Pn: Gipep Sratuerre. A female Indian divinity holding a sacred emblem. ie 14—SMALL Bronze VASE. ie : Surrounded by long feathery leaves. ee 81 '5—INKSTAND. £ a +» Dalpeyrat pottery, with damascened iron cover. - 816—Two ig ase SEALS. -.One, of heavy bronze, with inscription; the other, with carved ivory handle. ~817—Pair or Bronze CANDLESTICKS. Openwork design. Dark brown patine. _818—CANDLE-HOLDER. _ Damascened in gold and silver. 819—BRONZE VASE. ‘Bottle shaped, with delicate design of plum branches and conventional ornament in silver inlay. ° 820—BRONZE FLOWER VASE. Graceful outline. Plain surface, with two small lion’s heads. —821—Iron FL flowers. 822—BRONZE Bow.. A very early specimen of archaic at | _ patine. Two small rings are attached to id butterflies. Bing collection. “aa 823—BronzE TEMPLE VASE. Square shape, with panels of sunk ornament on 1 four sides. Flaring top. Fine olive-green patine. __ 824—BroNnZE INCENSE BURNER. ' 4 Representing fishes in a body of water, surmounted Ne by a tori, with inscription, Dark green patine. From the Bing collection. q } -825—BronzeE FLOWER VASE. Gracefully flaring shape, on carved wood stand, 826—BRONZE VASE. | Green patine, inlaid with gold. 827 BRONZE VASE. With two finely modelled bands of ee orna- ment and two loose rings at top. Bing collection. 828—BRONZE VASE. Gold and shakudo at base, with incised border of palmette ornament. The upper part powdered with gold. From the Bing collection. 829—OvaL Bronze Bow t. Upper part of a very ancient sacrificial vessel. -BRONZE JARDINIERE. _ Important work by the celebrated founder To-un, Consisting of a bowl, decorated with a dragon in high relief; cast “en cire perdue,” and a stand . formed by clouds. : 831—BRoNzE Nesters Under surface and sides covered with a raised diaper ornament, with dragon and centre-pieces cast, “en cire perdu.” By To-un. 832—RECTANGULAR Bronze Basin. _ Resting on six small lions, the four sides decorated with a beautiful frieze of archaic ornament. A fine piece of casting of unusual size. 833—SIXFOLD SCREEN. | With twelve scenes of filial piety. 834—-SIXFOLD SCREEN. Decorated with flowers and foliage on gold ground. School of Korin. MING PAINTINGS. 835—FRAMED PAINTING. Striking painting on paper of an elaborate scene in a Chinese garden palace. It was from such work that Kano Yeitoku derived his style in painting ‘Chinese Imperial subjects upon the walls of Hide- yoshi’s palaces. Genuine Ming work of the fif- teenth century. 835A—FRAMED PAINTING. : Very beautiful example of early Chinese painting of the Ming dynasty, probably by Kin Yei. Proceecas of Buddhis animals. 1 836A—FRAMED PAINTING. Similar subject. MITSUNOBU. 837—FRAMED PAINTING. Maple bushes near a mountain stream. SHIBA SCHOOL. Late Fifteenth Century. 838—FRAMED PAINTING. i a Shaka and the Juroku Senjin. Typical altar-piece. Very rich in color. ee TCHO KUAN. Sixteenth Century. 839—KAKEMONO. White eagle on a perch. One of a set of twelve 7 originally painted for two sixfold screens. ‘a NI TCHO KUAN. Sixteenth Century. 840—KAKEMONO, Falcon on his perch. Signed with seal. De Bun. SES SHIU. 1423—1506. 841—FRAMED PAINTING. mr Small rough sketch of the devil-killer in mono- chrome. This is in the latest manner of Ses Shiu. About 1500. ae hae aor Pe... ii Pee Such pictures were put into houses to keep out evil spirits. Strong outlines and fine tones. _ Seshin School. eg SAN SETSU. ‘ 845—FRAMED PAINTING. Dharma. Very strong and striking: About 1650. - SCHOOL OF MATAHEI. en 846-—Pan. Tee a] a Bs lady combing her hair. 847-—FRAMED PAINTING. ding po ccler. Tossa MEI KOSHI. 848—KAKEMONO. Heron. «KANO ~NAONOBU. 1606—1630. Bi cexcono. Duck. Chinese temple Kinzanji 1 near Tan-C Tanyu, court painter of the Tokuge Painted in his sixty-seventh year. Lat : century. 2 85 1—FRAMED PAINTING. The thirty-six poets; painted on gold leaf. color. _ TSUNENOBU. 1635—1713. 852—FRAMED PAINTING. Group of poets. 853—KaKEMONO. Heron. 854—FRAMED PAINTING, Herons near the water’s edge. 855—FRAMED PAINTING. Cock, hen and chick. 856 857 858 859 TEN PAINTINGS. | 860 | Chinese School. [Illustrations of various old 861 { legends. Remarkable in color and execution. Will 862 | be sold separately. 863 864 865 ee LS 7 ee children, “watching ¢ a | puppet : Lad: Hetie. at see tree. Very fine example in _ his freest manner. About 1700. STYLE OF KIYONOBU. CHO SHUN. - 869—FRAMED PAINTING. Charming painting on silk of the tall figure of a ie young man in soft pearly tones. Early work of ae: Por artist. About 1705. " 870—FRAMED PAINTING. Boys parodying the play of the Korean lion. About 1720. | OKUMURA MASANOBU. 871—FRAMED PAINTING. Very beautiful painting on silk of a Yedo belle dressed in rich brocades, seated on an elaborately embroidered rug. She is using a pocket-mirror, giving light finishing touches to her coiffure. Be- side her a writing outfit and paper are ready for use. On the opposite bank of a small stream are white and red chrysanthemums, others, slightly” larger, are painted in the foreground on the gold- powdered margin. About 1730. We fic ie t tim -872—FRAMED PM GiNe aa Very beautiful characteristic | pail Masanobu carried to ete freedom peal the new schemes of coloring of Cho Shun. The treatment of leaf and flower forms in the patterns of the embroidered dress are influenced by. the :, School of Korin and Kenzan, and not inferior them in execution. Paintings by O. Masanobu signed in full are very rare. Date, 1725. SOTATSU. First half of Seventeenth Century. °873—MounTED PAINTING. Flowering plants of early autumn. Very graceful, free and characteristic work by this master. About 1670. KEN-ZAN. 1662—1743. -874—FRAMED PAINTING. Snow on pine tree and camellia bushes. Striking and beautiful example of this style of impression- istic painting which this artist put, on a smaller scale, on his well-known masterpieces of pottery: Early example. ITCHO. 1652—1724. 875—KAKEMONO. Very fine rough sketch in ink of the Buddhist ; sage Dharma crossing the water on a reed. This is a very early work of Itcho in the style of his master, Kano Yasunobu. Date, late seventeenth century. or: a ukuroku Ju, ‘standing on a sheet of paper, a boy Ree low ooking on, astonished. Soft pearly coloring. Sie About| 1710. . OK O. Sida t 795: ae 880 —KaKemono. ‘Flying duck. Resatitully modelled plumage. ‘HOITSU. Prep eieos' At 881A—FRaMED PAINTING. .. Aquatic plants. ee KTITSU. 1795—1858. — - 882 KaAKEMONO. ie Chrysanthemums. * SUKENOBU. 1677—1751. 883—FRAMED PAINTING. Charming painting on silk of a domestic group in the style of the famous books illustrating the occu-_ pations of women by this artist. Date about 1720. MINENOBU. 88s FRAMED PAINTING. Pigeon on cherry branch. 886—KAKEMONO. aye Three sleeping birds on the branch of a tree. UNKNOWN ARTIST. 887—MouNTED PAINTING. The Supreme Buddha, Amida, surrounded by ise mes: attendant angel musicians, descending from heaven. __ 888 KaKemono. Buddha and the Twelve Deva, in gold and colors, — a on silk. An old painting. 889—KAKEMONO ALTAR PIECE. Buddhistic subject in circle on blue ground. 890—K AKEMONO. Japanese Olympus. 891—FRAMED PAINTING. Amida on lotus. 892—Larce FRAMED PAINTING. Quintuple personification of Buddha. SHIGEMASA. —KAKEMONO. i Very beautiful painting of two ladies and a child gathering cherry blossoms in the spring. Signed i Buyosai, but this name has usually been considered ak ‘ in Japan as another title for Shigemasa. About ite. ue 94. "897 —KaKemono. ces oe Very beautiful painting ee FRG ladies in travelling oe 2c “oostume, walking under maple trees in the autumn. Companion piece to the preceding number and fect signed similarly. UNKNOWN ARTIST. 808—FraMED PAINTING. Temple guardians. — 899—KAKEMONO. Important altar piece. Six of the Twelve Deva. Seventeenth century. goo—FRAMED ALTAR PIECE. Triple personification of Buddha and temple ~ guardians, painted in gold, on silk. go2—KAKEMONO. Hen and chick. BUNKIN. Q03—FRAMED PAINTING. Plum tree. ZEISHI. QO4~-FRAMED PAINTING. - . > * Persimmons. . ~OKASHUKI. go5—KAKEMONO. Cafp in a’stream. MOTOAKI. Qo6—K AKEMONO. Chinese with sword. TSUNESUKE 907—KAKEMONO. Young couple playing football. RIN’ SHUN Q08—FRAMED PAINTING. Young lady resting. inl MED PAINTING. | _ Portrait of a Geisha. Rapid sketch on silk. TANSIN. | % g10—KakEMmono. is ie _____ Hagi flowers. Fine autumn scene. TSUNEMASA. a ee aarp PAINTING. ( Very beautiful and elaborate painting on silk of a | group of court ladies looking at an exhibition of chrysanthemums. Tsunemasa was the ablest Ukio- ye painter in the middle of the eighteenth century, and was parallel with the early work of Harunobu, but is exclusively a painter and never designed prints. His technical. qualities are based on the style of Kano Tsunenobu. Date about 1750. YEISHI. End of eighteenth: beginning of nineteenth century. ee ED PAINTING. Beautiful painting on silk of a Yedo belle seated and reading by candle-light. This is the pictorial analogy of those prints in which Yeishi begins to design tall figures and large heads. Date, 1706. Q13—FRAMED PAINTING. Original painting on silk of a Yedo belle in the looser style of Yeishi. The painting of the fish embroidered in gold on the dress is a fine bit of execution. Date about 1810. II SHUNKO. Q14—KAKEMONO. Large painting on paper of a tall girl walking in the snow. A very late work by Shunko in the style of Utamaro. Date about 1807. HOKUSAIL. 1759—1849. QI5—IXAKEMONO. Very beautiful and finished painting on silk of a No-dancer in profile, coming down the bridge reaching from the green room to the stage. The box which he carries contains a mask for the No- dance. The signature, beautifully written, is Hia- kurin Sori, a name which Hokusai frequently used in the last years of the eighteenth century. Date, 1708. g16—FRAMED PAINTING. Charming painting on a fan of a swallow, a spider and a spray of pinks. Characteristic signed work by Hokusai of about 1805. Q17—FRAMED PAINTING. Careful sketch of fowls. HOKUBA. First Half of the Nineteenth Century. g18—FRAMED PAINTING. Fine sketch painted on paper of a Yedo belle. The artist was the best early pupil of Hokusai. Date about 1810. Q19—FRAMED PAINTING. Strong painting on paper of two small girls. ‘About 1812. among trees, leading to a temple. Very in- g treatment of different kinds of foliage. | -KIOSAI. 1831—1889. | + —Two Framep ParntINcs. a Turtles. af YEIKUNI. Z ~ 923—Mountep ParntIN«. poe Landscape, with a long bridge. -; a | 924—F RAMED EMBROIDERY. . Fudo. By Tenkio. SPR ied -925—EMBROIDERED KAKEMONO. i ae Lady seated at a writing table under a plum tree. p 926—CHINEsE | SILK AND BAMBOO SCREEN. Composed of thin sticks of split bamboo wound with silk thread forming an all-over design of scrolls, bat, peonies and shu characters. Several ‘years were probably spent to complete such a work. —? ms 927—Boox: History oF THE ART OF JAPAN. Published under the auspices of the Japanese Govy- ernment by the Imperial Commission of the Paris Exposition, in 1900. Folio, bound in white cloth and parchment. Not in the market. Reree Sar Ninety-six original: draanaee: by var among them Hokusai, Issai, She I eles: wae 930—ALBUM. Contains 64 drawings by Kunisada, and aeane 150 by a metal worker of great ability. eg ae me 93I—ALBUM. . Contains 30 double-page drawings of flowers, bam- et boo, etc. 932—ALBUM. Contains 48 pages of drawings of inlay-work fondo in ancient lacquers. ; ieee Contains 110 microscopic drawings of birds and flowers, by a metal worker. About 1860. 934—ALBUM. Contains 180 drawings, by a metal worker. In spite of their diminutive size, the faces are wonder- ful in expression. About 1830. | 935—ALBUM. Contains about 150 drawings and studies, by an artist of the eighteenth century. 936—ALBUM. Contains about 90 Saginee by a metal worker, on Kodsuka and sword-mounts. ——* Loews Bound i in silk brocade. Containing 346 drawings, x by” a metal worker of unusual merit. They are 4 ‘mostly carefully drawn designs for pouch clasps, ’ sword ornaments, pipe ornamentation, etc. Verit- able miniature masterpieces. - - 940—PENpaNr. Large cabochon-emerald, set in gold. — 941—Penvanrr. Pear-shaped opal on a thin gold chain. - ee 942—RING. Irregular blue pearl. : 943—RING. Large whole pearl. 944—RINc. Large opal. 945—RInNc. Persian turquoise. Setting designed by E. Colonna. 946— PENDANT. Orchid, made with baroque pearls, set in gold. Designed by E. Colonna. 647-— PENDANT ae ee Dea he Orchid. Made with baroque p 26 Designed by E. Colonna. _ 948— PENDANT. Orchid. Made with baroque Re Designed by E. Colonna. 949—PENDANT. Made with baroque pearls, set in, gol by E. Colonna. g50—PaiR OF BUCKLES. Silver gilt, with oval half pearls. The made of a pair in gold. Executed for cess” Tenicheff. Designed by Colonna. A) eee a iced i Sy eae ‘ 951—GoLpD BareETTE. oe fet ‘is _ 7 ap é Solid gold menuki, representing a dragon, moun in gold. Eighteen karat. ns Li ote 952—Broocu. oetae 55 i Solid gold menuki, set in gold. Ayiste ae ee 953—Broocu. ee e . Solid gold menuki, set in gold. _ "i A RS A a 954—RING. Fine gold. Indian setting, with peo cabochon ruby. 955—RING. | oa Fine gold. Indian ring, with cabochon emerald. eres iridescent green pearl, “surrounded by diamonds, set in platinum and gold. Designed by : Colonna. : -—S so—PENDANT. oe half pearl of extra quality, set in platinum and gold, with three brilliants and fifty rose diamonds. With platinum chain., Designed by Colonna. .Y oF Pe Mcroice , ae _ —sCT*hirty-six star sapphires of various colors, set in eae gold; separated by rose diamonds, set in platinum. ; A rare collection of delightful tints. eae te AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEER. t “GETTY RESEARCH instars jnke Lp J TT ria il 1] ial i] | | 3 3125 01662 8683 Pay (> VR no La lent MOA akg a u Bit ¥, es i ie thas A fly hy Nil SHAY Aal, ut Ne f Ne ARR, ay ‘ite ote Bes cad fe hs alia dy mA 4 aie Hi he es \, 1G ‘ brisigl aE be a ae, te i i 3 is bi ie) 4 ah \ hy she | ) afi