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“AA : 
 LIBRARY | 
 
 o. M. Knoedler & Co. 
 349 | 14 East 57th St. | 
 
 New York 
 
 ACC. 
 QU y 
 
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 4 
 
 Baa 
 
 Bat ae eye Settee 
 
 a 
 
 ‘ 
 
 ro¥ 
 
 rie 
 
 sng 
 
 BRILLIANT CLOSE OF 8 
 GREAT PICTURE SALE 
 
 x 
 
 “Seventy-five Works Fetch the Big 
 
 Sam of $206,540, Which Makes 
 for the 156 a Grand Total 
 
 UF 
 
 $77,000 FOR THE GREAT TROYON. 
 
 “4¢ Passage du Bac,” Bought for Mr. C.2P. 
 
 . Huntington, and Delacroix’s “Lion Hunt” 
 
 at $18,000, by Mr. Potter Palmer, of 
 __ Thieago, for Whom. Millet’s 
 “Paysage d’Auvergne” Was 
 i Bought, at $12,000. 
 
 At **-*aring Hall last evening, with the sale of 
 
 ‘Yao second Ralf) tha suction of the -petatin~- 
 
 / and drawings owned by the American Art Associa | 
 | tion came to a Drillisnt close, the total for, 
 
 - bought himself, at $6,350, Delacroix’s “Arab Cavae | 
 ‘lier Attacked by a Lion; this brought at the De | 
 
 ‘gsyenty-five works reaching the large sum of | 
 $206,540, which makes the grand total of the sale | 
 ot that part of the collections for 156 works $270,540, | 
 
 The bidding was remarkably spirited and the | 
 
 prices im many cases were rather higher than had 
 
 been expected. 
 
 ‘That master work of Troyon, ‘Le Passage du | 
 Bas,” brought the highest figure, $27,000. It | 
 _ was bought by J. B. Randolph, for Mr, Collis P, } 
  Frantington with Uttle doubt, Mr. Potter Palmor 
 
 paid $13,000, the next highest figure for the 
 great Delacroix, “The Lion Hunt,” and Mr, 
 Roland Knoedler bought for him st $12,000 
 the large snd superb landscape and figures 
 ‘hy Millet, “Paysage d'Auvergne  Chev- 
 yitre,” which reached $10,000, $11,000 
 and its sale figure to applause, Mr, Palmer also 
 
 Tretaigne sale in 1872, in Paris, $3,400. For him 
 
 Mr; Knoedler also secured, at $4,000, Van Maroke’s | 
 “The brown Cow,” and at $2,800, Jacque’s ‘‘Poul- } 
 
 try.” 
 DIAZ’S “LE PARC AUX BEUFS.” 
 
 _ Diaz's. ‘Le Paro au Bouts” was bought 
 ‘by J. 3B, Randolph, presumably for Mr. 
 Huntington, at $12,500, Rembrandt's “Man oat 
 Arws,”’ starting at $5,000, was sold in a few 
 
 San Donato sale in 1880 it brought $20,400, and at 
 the Bécretin sale in 1880, coming immedi- 
 ately. after the excitement “over the pur- 
 
 chase of the great Peter de Hough for Mr, | 
 
 HL O. Havemeyer, it sold curiously for but $4,600, 
 For the huge a asaead: “Forestin Winter—Sunset, ¥ 
 . the last work sold, Mr. P, A. B. Widener, of Phila: 
 delphia, gave $9,000. ee ee ey, 
 Housaeau's eeporaet of Compeigne, whioh 
 prought at the Probasco sale in 1887 $7,400, when it 
 was called “Forest of Fontainebleau,’’ was sold to 
 Mr. Henry Graves for $7,700, Mr. J. Foxcroft Cole 
 bought for Mrs, 8. D. Warren, of Boston, Rous- 
 seau’s “A Plain in Berri—Sunset” at $7,400 and 
 _ Corot’s “Paris Seen From St, Cloud” at $4,700 
 
 i 
 ‘bids to Mr, Richard Mortimer for $9,000. At the | 
 
 fF 
 
 Mr. 8. N, Nickerson, of Chicago, Meissonie +, 
 
 to Mr. Huntington and was Jknocked down tc. 
 
 » Randolph at $6,000, as had® been on the night 
 fore at $4,100, then the artist’s highest auction 
 ure, his ‘‘The Home of thie Artist.” : 
 
 To Mr. Graves went st $4,700 Dupré’s ‘Eve 
 Twilight!’ and his “Hsrly Morning’ at $4,600, 
 Widener paid $4,600 ote Dupré's ‘Tha Onan 
 _ [and Mr."U. “ambert $4, s00-¢er De Neuvil 
 ‘ prised at the Bridge.” ~ * 
 Corot’s “A Village in Normandy, 
 brought $4,100 grom Knoedler & Oo., is 
 turn to Paris. Schaus & Co. paid 
 for. Van Marcke’s “Landscape and 
 Mr.. L, M. Palmer $3,100 tor Dupré’s ‘* 
 tumn” and $2,300 for Diaz's “‘A Sunlit La 
 
 _ and Mr. E, J. Berwind $2,800 for Jacque’ 
 
 try” and $2,200 for Daubigny’s ‘Village of Ai 
 
 » PICTURES, PRICES AND PURCHASERS, 
 _.. The following is the list of paintings so 
 “Bight, with the prices they brought and the; 
 of the buyers :— 
 
 Aes e ee beseeevccoes 
 
 acomin, “The Woodcutter’s Cabin;” J. B. 
 90—Meissonier, “Sketeh;" H. O'Neill... 1.0, 
 equet, ‘Petite Soubrette;” W. R. Martin... 
 r, “Evening;” T. B. Clarke............6. \ 
 ni, “The Return to the Harem;” H. RB, 
 
 Children at a Fountain;” 
 
 = [erm 
 
 NW LA BM OF Gand oe ced Seaton cee hee naa Weee eee 
 . 100—Damoye, “Pond in Sologne;” 8. H. Paine.,.. 
 iOi—Mentlesi, “The Promenade;” L. Wert 
 
 103-Charo, “A Sunny Morning, “Shinnecock 
 104—Inness, “Corner of an Orchard; Samuel T. 
 Stee eset neers a srsseeeerrsteresbesscons 
 “A Strootin Algiers ...0.000001 
 eton, “The Orange Grove;” A. J. 
 
 - 
 
 _ — £ete 
 105—Bridgman 
 .106—Demont-b 
 
 An 
 
 Aa 
 
 4 . 
 eee e renee saree sestores ewsee 
 ic Heads,” T. Bs, Clarke. 
 
 se) 
 le 
 
 Fete eeeeeesaersee 
 
 ‘oaltty; kJ. B eet 
 115— »Inundation;” Knoedlor & Co.,..  & 
 116—Van “Landscape and Cattle:” a. 
 
 j _Sehaus.... Aeneas se eeseesesnnans baltig seers 
 } Sa et “In the Park; L. Wertheimer... 
 < li ‘we Dupré, “Karly | orning;! Henry Graves:.2. 
 By 1)9—Claude, “Morning in the Kennel;” i, Bonner 
 : 320-—Jobuson, “Churning;” Elkan Naumberg... 0. 
 12le=Dupre, ernie eRe i” Honry Graves... 
 122—Chase, “Castle Point, Hoboken; Schaus & 
 
 eae sea meee 
 
 Pere re rere re 
 lie; W. Ss. 
 
 | 
 | 
 
 Imer 23,000 
 | + 2,800 
 
 aeenee Panera meee eeeeaeenaeneeee 
 
 Homme do 
 
 BH. Widener. 
 
 Oe Ata e anes asewesenesy 
 
. 
 € 
 
, a 
 
 0 ap 
 rN 
 IG 2 
 
“NOAOYL LNVLSNOD—OVE Nad 39VSSVd 371 
 
 Ry. 
 
 IT ee 
 
 re 
 
 “ISI ‘ON 
 
PART FIRST 
 CATALOGUE 
 
 OF 
 
 THE COLLECTIONS 
 
 OF THE 
 
 AMERICAN ART ASSOCIATION 
 
 TO BE ABSOLUTELY SOLD BY AUCTION TO SETTLE 
 THE ESTATE OF THE LATE 
 
 R. AUSTIN ROBERTSON 
 ON THURSDAY AND FRIDAY EVENINGS, APRIL 7TH AND 8TH 
 
 AT CHICKERING HALL 
 AND 
 CONTINUING Monpay, APRIL 11TH 
 AND FOLLOWING Days 
 AT THE AMERICAN ART GALLERIES 
 
 6 EAST 23D STREET, MADISON SQUARE 
 
 WHERE THE COLLECTIONS ARE NOW ON EXHIBITION 
 
 SALE UNDER THE MANAGEMENT OF JAMES F, SUTTON AND 
 THOMAS E. KirBY, THE LATTER OFFICIATING 
 AS AUCTIONEER 
 
 NEW YORK * 
 1892 
 - 
 
~ 
 
 Press of J. J. Little & Co. 
 Astor Place, New York 
 
 “rs 
 r 
 . + 
 : t 
 . ate - 
 y ys 
 } 
 } 
 
NOTE 
 
 The death of Mr. R. Austin Robertson, our late associate, has 
 made necessary such an adjustment of our affairs as can only 
 be effected through the process of a sale at public auction. For 
 this reason we shall offer upon the days and upon the conditions 
 elsewhere set forth, the various objects of art which we have 
 accumulated during the past ten years or more. Of the pur- 
 chases made in China and Japan by Mr. Robertson, who for some 
 years represented us in those countries, by far the greater part 
 has never been shown in New York. Indeed, it is only in pre- 
 paring for the present exhibition that we have ourselves had the 
 opportunity to examine a majority of the Japanese works of art 
 that he collected, all of which have, since their arrival, remained 
 in storage in their original packages. 
 
 We have never, until the present occasion, had an adequate 
 opportunity to display our various collections, the Barye bronzes 
 alone excepted. Our establishment has been given over to great 
 publie sales and exhibitions which, one after another, have 
 absorbed the seasons appropriate to such a purpose. It is only, 
 therefore, the present obligation to determine. our relative 
 interests which makes this complete exhibition practicable. 
 
 It is probably the most comprehensive display in oriental art 
 of the higher grades that has ever been made in New York or 
 anywhere else, and, in other particulars, it will probably be con- 
 ceded that we have been able to make an exhibition of unusual 
 interest and importance. We have been at some pains to bring 
 these objects of art to the public attention in such a manner that 
 even a detailed and close study of them should prove neither 
 tedious nor unremunerative, venturing, as we do, to believe 
 that no previous exhibition here has been of equal instructive 
 value. 
 
Our catalogue is as complete and as comprehensive as cir- 
 cumstances permitted. We take pleasure in calling particular 
 attention to the part devoted to the Japanese objects. It has been 
 prepared by Mr. Louis Wertheimber and Mr. T. Takayanagi, 
 the latter a most cultivated and accomplished scholar, who has 
 devoted many years to the study of the ancient and modern art 
 of Japan, and the former one of the first of connoisseurs and 
 experts. The collection of Chinese porcelains has been cata- 
 logued by Mr. John Getz, whose extended experience and long 
 familiarity with the subject have exceptionally qualified him to 
 deal with it. It will be found concise, accurate and instructive. 
 
 THE AMERICAN ART ASSOCIATION. 
 
 JAMES F. SuTToON. 
 THOMAS KE. KIRBY, 
 
ORDER OF SALE 
 
 THURSDAY EVENING, APRIL ith, at 8 o’clock, at CHICKERING 
 HALL, corner of Fifth Avenue and Highteenth Street, 
 MODERN PAINTINGS AND WATER-COLORS. Catalogue Nos. 
 1 to $1, inclusive. 
 
 FRIDAY EVENING, APRIL 8th, at 8 o’clock at CHICKERING HALL, 
 PAINTINGS. Catalogue Nos. 82 to 155 inclusive. 
 
 MONDAY AFTERNOON, APRIL 11th, beginning at 2.30 o’clock, 
 at THE AMERICAN ART GALLERIES, BARYE BRONZES, AN- 
 TIQUE CHINESE AND JAPANESE BRONZES AND ENAMELS. 
 Catalogue Nos. 153 to 307 inclusive. 
 
 TUESDAY AFTERNOON, APRIL 12th, at 2.30 o’clock, at the above 
 galleries, CHINESE PORCELAINS, ‘‘ BLUE AND WHITE” 
 CABINET OBJECTS AND BOwLs. Catalogue Nos. 311 to 462 
 inclusive. 
 
 WEDNESDAY AFTERNOON, APRIL 13th, at 2.30 o’clock, CHINESE 
 PORCELAINS, BOWwLs, ‘‘EGG-SHELL,” ‘‘ CELADON” AND 
 ORIENTAL JADES. Catalogue Nos. 463 to 617 inclusive. 
 
 THURSDAY AFTERNOON, APRIL 14th, at 2.30 o’clock, CHINESE 
 PORCELAIN, CABINET OBJECTS AND FLAMBE AND SOUFFLE 
 SPECIMENS. Catalogue Nos. 621 to 784 inclusive. 
 
 FRIDAY AFTERNOON, APRIL 15th, at 2.30 o’clock, CHINESE POR- 
 CELAIN DECORATED IN COLORS. Catalogue Nos. 785 to 944 
 inclusive. 
 
 SATURDAY AFTERNOON, APRIL 16th, at 2.30 o’clock, CHINESE 
 PORCELAINS IN SINGLE Coors. Catalogue Nos. 945 to 
 1091 inclusive. 
 
 MONDAY AFTERNOON, APRIL 18th, at 2.80 o’clock, SATSUMA, 
 CARVED PEKIN (CINNABAR) LACQUERS, JAPANESE POR- 
 CELAINS AND MISCELLANEOUS. Catalogue Nos. 1092 to 
 1253 inclusive. 
 
 TuESDAY AFTERNOON, APRIL 19th, at 2.30 o’clock, JAPANESE 
 Sworps AND DAGGERS. Catalogue Nos. 1255 to 1408 
 inclusive. 
 
 WEDNESDAY AFTERNOON, APRIL 20th, at 2.30 o’clock, SwORD 
 GUARDS (TSUBA). Catalogue Nos. 1411 to 1653 inclusive. 
 
viii ORDER OF SALE 
 
 THURSDAY AFTERNOON, APRIN 21st, at 2.30 o’clock, JAPANESE 
 MeraLt-WorKS, KNIFE-HANDLES (KODZUKA), SWORD 
 ORNAMENTS (FUCHI-KASHIRA) AND OTHER JAPANESE 
 OBJECTS IN GOLD AND SILVER. Catalogue Nos, 1655 to 
 1826 inclusive. 
 
 FRIDAY AFTERNOON, APRIL 22d, at 2.30 o’clock, DAIMIO POU- 
 CHES, GOLD AND SILVER PIPES AND IVORY PIPE-CASES. 
 Catalogue Nos. 1827 to 2017 inclusive. 
 
 SATURDAY AFTERNOON, APRIL 23d, at 2.30 o’clock, IVORY 
 CARVINGS AND NETSUKES. Catalogue Nos. 2019 to 2212 
 inclusive. 
 
 MonDAY AFTERNOON, APRIL 25th, at 2.30 o’clock, INROS AND 
 JAPANESE LACQUERS. Catalogue Nos. 2213 to 2405 inclusive. 
 
 TUESDAY AFTERNOON, APRIL 26th, at 2.80 o’clock, JAPANESE 
 LACQUERS. Catalogue Nos. 2406 to 2599 inclusive. 
 
 WEDNESDAY AFTERNOON, APRIL 27th, at 2.30 o’clock, EUROPEAN 
 OBJECTS, OLD WATCHES, SNUFF BOXES, PORCELAINS, 
 ANTIQUE EASTERN RuGs, ITALIAN CARVED AND CHIP- 
 PENDALE FURNITURE, JAPANESE TAPESTRIES, ETC. 
 Catalogue Nos. 2601 to 2736 inclusive. 
 
 SPECIAL NOTICE 
 
 Admission to this Sale will be by Card only. (No Reserved Seats.) 
 These cards will be ready for distribution Monday, April 4th. 
 Application for them, by mail or otherwise, should be made to 
 the managers, 6 East 23d Street, (Madison Square, South). 
 
 At the supplementary sale will be sold the balance of the Art 
 and other property belonging to The American Art Association 
 not described on this catalogue. The property remaining to be sold 
 comprises American and Foreign Paintings, Chinese and Japanese 
 Embroideries and Tapestries. <A large collection of Kakemonos, 
 Miscellaneous Objects, Furniture, etc., ete. 
 
 For particulars, see Catalogue, part second. 
 
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 immediately put up again and re-sold. 
 
 2. 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. 
 
 3. The Lots to be taken away at the Buyers’ Expense and 
 Risk upon the conclusion of the 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 re- 
 sponsible if the Lots be lost, stolen, damaged or destroyed, but 
 they will be left at the sole risk of the Purchaser. 
 
 4, The sale of any Article is not to be set aside on account of 
 any error in the description, or imperfection. All articles are 
 exposed for Public Exhibition one or more days, and are sold just 
 as they are without recourse. 
 
 5. To prevent inaccuracy in delivery and inconvenience in 
 the settlement of the Purchases, no Lot can, on any account, 
 
 be removed during the Sale. 
 
 6. Upon failure to comply with the above conditions, the 
 money deposited in part payment shall be forfeited; all Lots 
 uncleared within three days from conclusion of Sale shall be 
 re-sold by public and 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. 
 THOS. E. KIRBY, AUCTIONEER. 
 
INDEX TO ARTISTS REPRESENTED 
 
 TOGETHER 
 
 WITH BIOGRAPHICAL NOTES, LISTS OF HONORS, 
 AND OTHER INFORMATION 
 
 BARYE (Anrorne-Lovts). Born at Paris, 1796. Learned 
 the trade of his father, who was a jeweller. Then studied 
 drawing, engraving and painting. Adopted sculpture, 
 and created a new school of sculpture in France. Won 
 fame largely by his works in bronze. Also executed etch- 
 ings, lithographs and works in water-color and oil, all 
 highly esteemed since his death. Died in Paris, 1875. His 
 influence on modern sculpture has been akin to that of 
 Millet and his confreres on painting. As in the case of 
 Millet and others of his illustrious contemporaries, Barye 
 received his first substantial encouragement from Ameri- 
 can collectors. At a time when his works found but 
 negative attention at home, they enjoyed high esteem in 
 the United States. The keynote of his fame in this 
 country was struck when Mr. William T. Walters presen- 
 ted to the city of Baltimore the noble bronzes which are 
 erected in Mount Vernon Square in that city, and when, 
 in 1889, the great Barye Memorial Exhibition was held at 
 the American Art Galleries in this city. The extraordinary 
 variety of the works shown in this display, their diversity 
 of subject, and original power of execution, aroused the 
 admiration of the public as well as the enthusiasm of the 
 amateurs. It was a collection of masterpieces, whose 
 majestic merit admitted of no question, and which fully 
 justified the dictum of M. Léon Bonnat, the distinguished 
 painter, in the Gazette des Beaux Arts: *‘ Barye is one of 
 the greatest artists of the age—I may even say of all ages.” 
 His genius is unique and without a peer, and his art has 
 left an ineffaceable stamp upon the world. 
 
 45 — Bear and Bull. 
 46 — Leopard Walking. 
 
Ps INDEX TO ARTISTS REPRESENTED 
 
 47 — Leopard and Serpent. 
 48 — Tiger in Retreat. 
 
 49 — Tiger in its Lair. 
 
 50 — Stag at Gaze. 
 
 54 — Leopard in the Desert. 
 52 — Lion in Repose. 
 
 53 — Tiger Hunt with Elephant. 
 54 — Lion and Wild Boar. 
 55 — Panther Aroused. 
 
 56 — Stag Walking. 
 
 57 — Deer Running. 
 
 BASTERT (N.). Born at the Hague. Has made aspecialty 
 of Dutch landscape, drawing hissubjects from the familiar 
 scenes around his place of birth and residence. His work 
 in water-colors ranks him with the foremost artists of the 
 current school in Holland. He has his studio at The 
 Hague. 
 
 58 — A Country Road. 
 
 BILLET (PIERRE). Born at Cantin, France. Became 
 pupil of Jules Breton. First exhibited at Salon of 1867; 
 third-class medal, 1875; second-class, 1874. Distinguished 
 as an etcher. Studio in Paris. His position is in the first 
 rank of the younger artists of the contemporaneous 
 French school. 
 
 7— The Goat-Giri. 
 144 — Gathering Faggots. 
 
 BOLDINI (GUISEPPE). Born at Ferrara, Italy. Painted 
 under the influence of Fortuny. Settled in Paris, where 
 his studio now is. Without being a slavish follower of his 
 friend Fortuny, he has grafted some of the Spanish spirit 
 of the school, at whose head that artist stood, upon his 
 native Italian sympathies, and so made for himself an 
 individual and delightful style which has won extensive 
 recognition. 
 
 41— After the Bath. 
 97— A New Air. 
 
INDEX TO ARTISTS REPRESENTED 3 
 
 BRIDGMAN (FREDERICK <A.). Born at Tuskegee, Ala- 
 bama, 1847. Boyhood spent in Brooklyn, N. Y. Appren- 
 ticed to American Bank “Note Co. Studied drawing at 
 night at Brooklyn Art Association. Went to Paris, 1866, 
 and studied under J. L. Gérédme. First painted French 
 rural subjects, then traveled in Egypt and North Africa 
 and devoted himself to Oriental motives. Elected to 
 National Academy of Design, 1874. Original Member 
 Society of American Artists. Legion of Honor, 1878. 
 Studio in Paris. His pictures, based upon subjects found 
 in Algiers and Egypt, have given him a distinctive position 
 among the Orientalists in art, whose number includes 
 some of the foremost painters in Europe. 
 
 6 — Awaiting his Master. 
 15 — A Café in Cairo. 
 105 — A Street in Algiers. 
 150 — The Neighbors. 
 
 CAZIN (JEAN CHARLES). BornatSamer, France. Pupil of 
 Lecog de Boisbaudran. Medals at the Salon, 1876, 1877, 1880. 
 Legion of Honor, 1882. He ranks as the leader among the 
 landscape painters of the advanced school in France, and 
 exercises a significant influence over the younger painters 
 of the day. He has his studio in Paris. 
 
 69 — The Home of the Artist. 
 
 74 — Moonlight. 
 4146 — Halt de Voyageurs avant la Nuit. 
 148 — An Autumn Storm. 
 
 CHAPLIN (cuHarues Josuuva). Born at Les Audelys, 
 France, 1825. Pupil of the Ecole des Beaux Arts, and 
 largely employed in decorating public buildings of Paris, 
 as well as portrait and figure painter. Medals, 1851, 1852, 
 1865. Legion of Honor, 1865; Officer, 1877. Died in 
 Paris, 1891. 
 
 84— Girl Reading. 
 
 CHASE (WILLIAM MERRITT). Born at Franklin, Indiana, 
 1849. Pupil of B. F. Hayes, in Indianapolis, and at the 
 National Academy of Design, New York, under J. O. 
 Eaton. Began as a painter of portraits and still life in 
 
4 INDEX TO ARTISTS REPRESENTED 
 
 the West. In 1872 settled in Munich as a student at the 
 Academy, and under Professors Wagner and Piloty. He 
 has also traveled and studied among the great European 
 collections. Since his return to America he has become 
 prominent also as an instructor in art. He is a member 
 of the National Academy of Design, and of the American 
 Water Color Society, and is President of the Society of 
 American Artists. He has his studio in New York, and 
 ranks among the most progessive and original of American 
 painters. 
 
 403 — A Sunny Morning, Shinnecock Hilis. 
 122 — Castle Point, Hoboken. 
 
 CLAUDE (Jean Maxime). Born in Paris, 1824. Pupil of 
 Galliard. Studied figure painting, finally became painter 
 of landscapes, sporting and hunting scenes. Medals, 1866, 
 1869, 1872. Has painted many English hunting pictures. 
 
 119 — Morning in the Kennel. 
 
 COROT (JEAN BAPTISTE CAMILLE). Born in Paris, 1796. 
 The son of a prosperous tradesman. Pupil of Michallon 
 and Victor Bertin, and traveled in Italy in 1826. Traveled 
 much in France, painting from nature and creating a style 
 out of his experiments. Although at first neglected by 
 the public, his patrimonial fortune enabled him to live 
 comfortably, and paint to suit himself. He received 
 medals, 1833, 1848, 1855, 1867, was given the Legion of Honor 
 in 1846, and became an Officer in 1867. He died in Paris in 
 1875. The influence of Corot on the art of our time cannot 
 be over-estimated. He lifted landscape painting into the 
 realm of idyllic poetry, just as Rousseau gave it a tragic, 
 and Diaz a romantic significance. Each man painted 
 according to his feelings. The spirit of the south which 
 burned in Diaz, the melancholy of an unhappy life which 
 darkened Rousseau, was replaced in Corot by a genial 
 gayety of temperament which reflects itself in his works, 
 He was one of the earliest of the men of 1880 to receive 
 public recognition, and when success did come to him it 
 atoned for the neglect of the past. His income from his 
 brush alone was at one time some $50,000 a year, 
 
 125 — A Village in Normandy. 
 133 — Paris seen from St. Cloud, 
 
INDEX TO ARTISTS REPRESENTED 5 
 
 COURBET (GUSTAVE). Born at Ornaus, in the Jura, 1819. 
 Studied law in Paris. Pupil of David d’Angers and 
 others. Regarded as founder of realistic school. First 
 exhibited at Salon, 1844. Medals in 1849, 1857, 1861. Par- 
 ticipated in the Paris Commune, and by his official act 
 destroyed the Column Vendome. Compelled to pay for 
 its restoration, and died poor and in exile in Switzerland, 
 1878. Courbet, a man of an egotistical temperament, 
 but of powerful artistic gifts, may be accepted as the 
 originator of the modern realistic school, disdaining mere 
 subject on the ground that it made no difference what 
 an artist painted, if he but chose to paint it. In figure, 
 landscape, marine, animal and still life, his brush exhi- 
 bited equal readiness and strength ; and while his politi- 
 eal acts injured his artistic estimation during his lifetime, 
 his works, since his death, have steadily advanced to- 
 wards the high consideration which is justly due them. 
 
 8 — Landscape. 
 149 — The Foresters. 
 
 DAMOYE (Pierre EmManvet). Born in Paris. Pupil of 
 Corot, Daubigny and Léon Bonnat. Medals, 1879, 1844. 
 First exhibited in Salon, 1875. Had a picture received 
 
 _ into the Luxembourg Collection, 1879. He is a landscape 
 painter of sympathetic spirit, eminently successful in the 
 simpler and more peaceful scenes of nature. He has his 
 studio in Paris, 
 
 5 — Sunset. 
 100 — Pond in Sologne. 
 
 DAUBIGNY (CHARLES FRANGoIS.) Born in Paris, 1817. 
 Pupil of Edmé Frangois. Also studied under Delaroche 
 and in Italy. Exhibited at Salon, 18388. Medals, 1848, 
 1853, 1855, 1857, 1859, 1869. Legion of Honor, 1859; Officer, 
 1874. Distinguished also as an etecher. Died in Paris, 1878. 
 In the group of 1830, to which he belongs, he occupied a 
 position which can never be disputed. He created not 
 only a distinct style of treatment, but a distinct style of 
 subject, and revealed to the world the artistic possibilities 
 of the very simplest phases of nature, when translated 
 with a sympathetic appreciation of their modest beauties 
 and the subtle poetry which invested them. 
 
 108 — Village of Auvers. 
 442 — Shore at Villeville. 
 
6 INDEX TO ARTISTS REPRESENTED 
 
 DECAMPS (ALEXANDRE GABRIEL). Born in Paris, 1803. 
 Pupil of Abel de Pujol, David and Ingres. Traveled in 
 Greece, Turkey and Asia Minor, 1827. Distinguished, also, 
 as lithographer and political caricaturist. Killed while 
 hunting in the forest of Fontainebleau, 1860. Decamps 
 may be considered to have discovered the orient as a field 
 for artistic cultivation, and while he painted history, game, 
 scenes of the chase, character studies and landscapes with 
 equal readiness, it is upon his oriental subjects that his 
 widest fame rests. 
 
 107 — Albanais en reposant sur des Ruines. 
 
 DELACROIX (Ferprnanp Victor EuGENner). Born near 
 Paris, 1799. Pupil of Guerin. Exhibited in Salon, 1822. 
 Traveled in Spain and North Africa, 1831. Legion of 
 Honor, 1831; Officer, 1846; Commander, 1855. Member 
 of Institute, 1857. Died in Paris, 1863. Inspired by the 
 romantic realism of Gericault, Delacroix took up the work 
 where the former left it incomplete at his death, and 
 completed the elevation of romantic art to its present 
 lofty pedestal. Some of his large decorative compositions 
 for public edifices in France rival those of the old Italian 
 masters in grandeur of conception, splendor of color, and 
 power of execution. His easel pictures betray the same 
 qualities refined and condensed into even greater bril- 
 liancy. His pictures of savage animal life, for the study 
 of which he had a peculiar predilection, are among his 
 most characteristic and powerful productions. 
 
 44 — Combat of Lion and Tiger. 
 
 71— Lion Devouring a Goat. 
 {27 — Arab Cavalier Attacked by a Lion. 
 147 — The Lion Hunt. 
 
 DELPHY (camitie HIPPOLYTE). Born at Joigny, France. 
 Pupil of Corot and Daubigny. Took his first Salon medal, 
 1884. He has adopted, to a great extent, the same choice 
 of subjects as his last-named master, but paints them with 
 an individual freedom of touch, Studio in Paris. 
 
 3 — Sunset. 
 95 — Twilight. 
 
INDEX TO ARTISTS REPKESENTED 7 
 
 DEMONT-BRETON (vrrerntre Bropre). Born at Cour- 
 riéres, a daughter of Jules Breton, and pupil of her father. 
 Married Adrien Louis Demont, a fellow pupil, and now a 
 well-known painter. First medal at the Salon, 1881. 
 Picture purchased for the Luxembourg Collection, 1883. 
 Is one of the ablest and most original women-painters of 
 modern times. 
 
 106 — The Orange Grove. 
 
 DETAILLE (Jean Barrisre fpovarn.) Born at Paris, 
 1848. Favored pupil of Meissonier. First exhibited at 
 Salon, 1868. Medals, 1869, 1870, 1872. Legion of Honor, 1873; 
 officer of Legion, 1881. Grand Medal of Honor, 1891. Studio 
 in Paris. Detaille, at his present early age, already leads 
 the military painters of France, and has received the 
 highest honors for his patriotism-inspiring productions. 
 
 65 — The Trumpeter. 
 
 DIAZ (Narcisse VIRGILE). Full name N. V. D. de la Pefia. 
 . Born of Spanish parentage, at Bordeaux, 1808, Lost a leg 
 by accident in his boyhood. Began as a porcelain painter. 
 Settled in Paris as painter of landscapes and figures. Salon 
 medals, 1844, 1846, 1848. Legion of Honor, 1851. Died at 
 Mentone, 1876. Diaz was the most energetic and indomit- 
 able fighter of the men of 1830, and pushed himself reso- 
 lutely before the public, advocating their theories and 
 commanding respect for them in a voice which brooked 
 no denial. His influence, like that of his illustrious assgo- 
 ciates, is indicated by the many pupils and imitators of 
 ability who have followed his style, without rivaling him. 
 
 13 — The Dead Oak. 
 
 68 — After the Rain. 
 410 — A Sunlit Landscape. 
 139 — The Faggot Gatherer. 
 153 — Le Pare au Beufs. 
 
 ed 
 DUPRE (JULES). Born at Nantes, 1812. Learned to paint 
 on porcelain. Studied from nature and the old masters 
 in the Louvre. Exhibited in Salon, 1821, and won favor of 
 the Duke of Orleans. First Salon medal, 1833. Legion of 
 
8 INDEX TO ARTISTS REPRESENTED 
 
 honor, 1849; Officer of Legion, 1870. Died near Paris, 1889. 
 Dupré aided largely, with Corot, Rousseau, etc., in ad- 
 vancing the revolutionary movement in French art which 
 began in 1830. 
 12 — Hvening Landscape. 
 72 — The Road to the Village. 
 10 —A Ray of Sunshine. 
 441 — Landscape and Cattle. 
 418 — Early Morning. 
 421 — Hvening Twilight. 
 430 — The Farm by the River. 
 4136 — The Open Sea. 
 440 — Autumn. 
 443 — Early Autumn. 
 
 FULLER (Gzorae). Born at Deerfield, Massachusetts, 1822. 
 Studied in Boston, New York, London and Continental 
 Europe. Became first known as a_ portrait-painter. 
 Elected Associate of the National Academy of Design, 
 1857. Original Member Society of American A/ftists. 
 Died in Boston, 1884. Since his death the exhibition of his 
 later works has placed him in the front rank of American 
 colorists and painters of original inspiration. 
 
 109 — Cherubice Heads. 
 
 GABRIEL (Paut Josreru CONSTANTIN). Born in Brussels. 
 Pupil of Brussels Academy. Medals at Philadelphia, 1876, 
 Exposition Universelle, 1889. Studio in Brussels. 
 
 31 — After-Glow. 
 
 GIFFORD (sayrorp R.). Born at Greenfield, N. Y., 1828. 
 Graduate of Brown University, 1842. Pupil of J. R. Smith 
 and the National Academy of Design, New York. Elected 
 National Academician, 1854. Studied in Paris and Rome, 
 1855 to 1857. Traveled also in Italy, Greece, Syria, Egypt 
 and the Rocky Mountains. Died in New York, 1880. He 
 was one of the first American painters to depart from the 
 conventions of the old school and create a broader and 
 higher style. . 
 
 4 — Sunset on the Lake. 
 
INDEX TO ARTISTS REPRESENTED 9 
 
 HENNER (JEAN JACQUES). Born in Bernuwiller, Alsace, 
 1829. Pupil of DrGdlling and Picot. Won the grand prize 
 of Rome, 1858. Medais, 1863, 1865, 1866, 1878. Legion of 
 Honor, 1873; Officer of Legion, 1878. Studio in Paris. 
 His powerful rendition of the color and quality of flesh 
 has ranked him among his contemporaries as a modern 
 successor to Correg gio. 
 
 14— Female Head. 
 129 — Female Head. 
 
 HENRY (EDwARD L.). Born in Charleston, 8S. C., 1841. 
 Pupil of Pennsylvania Academy of Fine Arts, and of 
 Gleyre in Paris. Lived in Paris, Rome, and Florence, 1860 
 to 1863. Sketched and studied with the armies in Virginia 
 during the Civil War. Elected National Academician, 
 1869. Studio in New York. His special gift lies in the 
 line of American genre, and he paints scenes from real 
 life with a keen eye for character and much quiet humor. 
 
 102 — The Old Westover House. 
 
 INNESS (Gzorax). Born at Newburgh, N. Y., 1825. Took 
 a few lessons from Regis Gignoux, but is largely self- 
 taught. Apprenticed to steel engraver, but voluntarily 
 adopted painting. He visited and studied in Europe 
 several times. Elected a National Academician, 1868. Heis 
 conceded, at home and abroad, to stand at the head of 
 the landscape school of America, Studio in New York 
 and at Montclair, N. J. 
 
 76 — Summer Landscape. 
 104 — Corner of an Orchard. 
 134 — Short Cut.— Watchung Station. 
 
 JACOMIN (MARIE FERDINAND). Born at Paris. Pupil of 
 the Ecole des Beaux Arts. Received his first Salon medal, 
 1883. Studio in Paris. 
 
 89 — The Wood-cutter’s Cabin. 
 
 J ACQU E (CHARLES EMILE). Born in Paris, 1813. Was a 
 soldier in early life. Became map engraver, engraver on 
 wood, draughtsman and etcher. Then adopted painting. 
 Medals, 1851, 1861, 1863, 1864. Legion of Honor, 1867. Studio 
 in Paris. Jacque is the last survivor of the group of strong 
 
10 
 
 INDEX TO ARTISTS REPRESENTED 
 
 men who, in 1830, began the independent movement which 
 resulted in the transformation of French art. Being 
 an enthusiast in the cultivation of fowl, his first success- 
 ful subjects, as a painter, were obtained in his own poultry 
 yard. Asa painter of fowl, pigs and sheep, he stands un- 
 rivaled. Throughout his life this field has been conceded 
 to him, and even at his present advanced age he continues 
 to labor in it still. 
 
 19 — The Poultry Yard. 
 114 — Poultry. 
 128 — The Sheep-fold. 
 
 JACQUET (Jean Gustave). Born in Paris, 1846. Pupil of 
 
 Bouguereau. Exhibited at the Salon at the age of twenty. 
 Medal, 1868, Legion of Honor, 1879. His studio in the Pare 
 Monceau is one of the most sumptuous in Paris, and after 
 commencing as a historical painter, he has become the 
 recognized master in the delineation of piquant feminine 
 beauty in France. 
 
 91 — Petite Soubrette. 
 
 JOHNSON (Hasrman). Born at Lovell, Me., 1824. Studied 
 
 at Dusseldorf, 1849-51. Later, studied and painted in Italy, 
 Paris and Holland. Elected National Academician, 1860. 
 Studio in New York. Distinguished as a painter of 
 American genre, and during late years largely devoted to 
 portraiture. 
 
 120 — Churning. 
 
 LEYDEN (LUCAS VAN). Real name Lucas Jacobaz. Born 
 
 in Leyden in 1494. Pupil of his father, Huig Jacobaz, and 
 of Cornelis Engelbrechtszen. Historicaland genre painter, 
 and one of the great masters of the Dutch school. Friend 
 of Albert Diirer, who mentions him in his diary. Patron- 
 ized by Charles V., and by the Archbishop Margaret. Had 
 a vessel splendidly fitted up, in which he sailed about the 
 Dutch coasts and rivers, making studies and painting 
 portraits. Master of Antwerp Guild in 1522. His pictures 
 are rare, but his admirable engravings are numerous and 
 highly valued. Works characterized by realistic treat- 
 ment of sacred subjects, and thoroughly original as to 
 invention and execution. He never idealized, even in his 
 altar-pieces; the heads are portraits of living persons. 
 Died at Leyden in 1533. 
 
 66 — The Adoration of the Magi. 
 
INDEX TO ARTISTS REPRESENTED 11 
 
 LVHERMITTE (ton Aveusrixy). Born at Mont St. 
 Pere, France, in 1863. Pupil of the Ecole des Beaux Art, 
 and of Lecoq de Boisbaudran. Widely knownas designer 
 and draughtsman, before he became a painter. Also ex- 
 cels in etching and pastel. Studio in Paris. The foremost 
 critics have expressed the view that L’Hermitte is, with 
 a brighter spirit, the legitimate successor to Millet, as a 
 painter of rural scenes and the life of the peasantry, 
 
 33 — Shepherd and his Flock. 
 36 — Noonday Rest. 
 99 — The Communion. 
 
 126 — The Mowers. 
 
 LOWITH (WILLIAM). Born at Vienna, 1867. Student at 
 the Vienna Academy. Then settled in Munich as pupil of 
 the Academy and of Profesor Lindenschmidt. From the 
 minuteness and delicacy of his art he is called the 
 Meissonier of Germany. Has his studio in Munich. 
 
 4 — Birthday Congratulations. 
 86 — Important Nevs. 
 
 MADRAZO (RAIMUNDO DE). Born in Rome, 1841. Son and 
 pupil of Federico Madrazo, and student of Paris Ecole des 
 Beaux Arts, and of Cogniet. Medal and Legion of Honor, 
 Paris, 1878. Studio in Paris. He stands among the fore- 
 most of the modern Spanish school, which was given stable 
 existence by the commanding genius of Fortuny. 
 
 18 — Unmasked. 
 
 MARCHETTI (V.). Born in Italy. A leader in the modern 
 school of Italian picturesque realism. Medals in all 
 European exhibitions. Chevalier of the Crown of Italy. 
 Studio in Paris. 
 
 98 — Comrades. 
 
 MAUVE (ANTON). Born at Zaandam, Holland. Pupil of 
 P. F. Van Os, but largely self-taught. Remarkable for 
 fine feeling for atmospheric effects, and as a painter of 
 equal skill of the figure, landscape or cattle. Medals from 
 
12 INDEX TO ARTISTS REPRESENTED 
 
 all European exhibitions, for works in oil and water-colors. 
 It is truly said that his death, in 1889, was regarded by 
 Holland as a national loss. 
 
 29 — The Herdsman. 
 30 — Wet Weather. 
 132 — The Sheep-fold. 
 
 MEISSONIER (JEAN Louts Ernest). Born at Lyons, 
 France, 1815. Pupil of Léon Cogniet in Paris. Earned his 
 living, while studying painting, by designing illustrations 
 for the publishers. Devoted himself largely to study of 
 the Dutch old masters in the Louvre. Began by painting 
 figure pictures on an extremely small scale. First exhibited 
 at the Salon, 1834. Medals, 1840, 1841, 1843, 1848. Grand Medals 
 of Honor, 1855, 1867, 1878. Legion of Honor, 1846; Officer, 
 1856; Commander, 1867; Grand Officer, 1878. Member of 
 Institute, 1861. Member of Munich Academy, 1867. 
 Honorary Member of Royal Academy, London, and of 
 most Continental Academies. He is justly considered the 
 reviver of the highest Dutch School of genre painting. 
 Meissonier, although he painted by preference on a small 
 scale, was not enfeebled in his technique by the minuteness 
 of hislabors. He remained until the end one of the greatest 
 masters of anatomy and form in Europe. The test of 
 enlargement which has been applied to some of his smallest 
 works shows that they have the same breadth and strength 
 as pictures of the largest dimensions. He died in Paris in 
 1891, and was buried with the greatest public honors ever 
 shown to a French artist. 
 
 62 — Portrait of a Man. 
 83 — Sketch. 
 90 — Sketch. 
 
 141— The Guitar Player. 
 
 7 
 
 MELIN (JOSEPH). Born at Paris, 1814. Painter of Animals, 
 Pupil of Paul Delaroche and David d’Angers. Medals. 
 1843, 1855 and 1858. Died 1886. 
 
 81— In Full Cry. 
 
INDEX TO ARTISTS REPRESENTED 18 
 
 MEULEN (F. PETER TER). A native of The Hague, 
 Holland, where he has his studio. Studied under the 
 influence of Israels and Mauve. He is one of theleaders of 
 the modern Dutch school of Aquarelle. 
 
 32 — Milking-Time. 
 
 MICHEL (Grorcxs). Born in Paris, 1763. Studied the 
 Dutch master Van Goyen, and built his style up upon this 
 study. Lived all his life in Paris and formed most of his 
 subjects in the vicinity, especially around Montmartre. 
 Was neglected during his life, but is now acknowledged to 
 be the real predecessor of the great landscape masters of 
 the French school of 1880, Died in Paris, 1843. 
 
 88 — The Windmills. 
 
 MICHETTI (FRANCESCO PAOLO). Born at Chieti, near 
 Naples, 1852. Studied in Naples under Dalbono ; later in 
 Paris. Medals at Rome, Turin, Florence, and Parma. 
 Studio in Naples. 
 
 82 — Through the Fields. 
 94 — Italian Children at a Fountain. 
 
 MILLET (JEAN FRANQGOIS). Born at Greville, France, 
 1814. Son of a peasant farmer, and pupil of Mouchel and 
 Langlois at Cherbourg, and of Delaroche in Paris. After 
 early vicissitudes settled in Paris. first exhibited in the 
 Salon, 1849. Later settled in the village of Barbizon, which 
 his genius hasimmortalized. Won recognition after many 
 trials, and is now conceded to be the greatest painter of 
 peasant life who ever lived. Medals, 1853, 1854, 1867. Legion 
 of Honor, 1868. His later years were comfortable but 
 troubled by the strain of his past labors. His famous 
 masterpiece, ‘““The Angelus,’”’ purchased by the American 
 Art Association at the Secretan sale in Paris, in 1889, and 
 since sold to M. Chanchard of Paris, has commanded the 
 highest price ever paid for a work by a modern artist. He 
 died in Paris in 1875, and since that time the appreciation in 
 value of hisworks has been uninterrupted. Millet’s produc- 
 tions in pastel are as characteristic as those of his brush. 
 They are broadly and strongly drawn, replete with 
 
14 INDEX TO ARTISTS REPRESENTED 
 
 character, and simple but complete in execution. The 
 work which he produced as an etcher is also now held 
 precious by collectors for its rarity and by artists for its 
 intrinsic powers and merit of suggestiveness. 
 
 35 — Gardeuse de Chevres en Auvergne. 
 
 37 — Le Troupeau de Moutons. 
 
 38 — The Little Shepherdess. 
 
 39 — Milking. 
 
 40 — Allegorical Panel. 
 
 44 — Killing the Hog. 
 
 42 — Meridian. 
 
 64— Woman’s Head. 
 
 {45 — Paysage @ Auvergne, Chevriere. 
 
 MILLET (14s). 
 43 — The Home of Millet, Barbizon. 
 
 MINOR (Ropert C.). Born in New York, 1840. Pupil of 
 Diaz, Paris, Van Luppen and Boulanger in Antwerp. 
 Studied and painted later in Germany and Italy. Associate 
 National Academy of Design. One of the founders of the 
 Society of American Artists. Studio in New York. Ranks 
 among the foremost painters of America as a colorist and 
 artist of poetic conceptions. 
 
 92 — Hvening. 
 
 MONET (cuaupe). Born in Paris. Student of the Ecole 
 des Beaux Arts, but adopted landscape painting by 
 preference to figure. Heis the present head of impres- 
 sionist school, and has exercised a powerful) influence on 
 the younger artists of Europe and America. Studio in 
 Paris. 
 
 21— Argenteuil ; Boats on the Seine. 
 113 — Gladioli and Daisies. 
 124 — An Island. 
 
 MONTICELLI (ADOLPHE). Bornat Marseilles, 1824. Edu- 
 cated as a musician, and practiced painting as an amateur. 
 Then studied in the art schools of the provinces and in 
 Paris, and painted for a time under the influence of Diaz 
 
INDEX TO ARTISTS REPRESENTED 15 
 
 and of Ziem. From various experiments he developed 
 his idea of color as the prime factor in art, sacrificing 
 detail to masses and relying on the strong key-notes and 
 well-balanced harmonies of his chromatic scale for his 
 method of expression. Monticelli fell into evil ways 
 towards the end of his career, and died at Marseilles in 
 1886 as the result of his reckless dissipations. 
 
 15 iis The Cavalier. 
 101 — The Promenade. 
 117— In the Park. 
 
 McCORD (Guorce H.). Born in New York, 1848. Pupil of 
 Professor Moses Morse, in 1866. First exhibited, National 
 Academy of Design, 1868. Elected an Associate of the Na- 
 tional Academy, 1880. Silver Medal, World’s Fair, New 
 Orleans, 1884. Member of American Water-color Society, 
 and Salmagundi Club. Visited Europe in 1890, and painted 
 many English scenes with marked success. 
 
 Gee The Market-place, Montreal, 
 
 NEUHUYS (Axserr). Born at Utrecht, 1844. Pupil of 
 G. Craeyvanger and of the Antwerp Academy. Adopted 
 genre painting of subjects of humble life and achieved 
 unique distinction both in water-color and in oil. Has 
 his studio in Amsterdam, Holland. The reputation of 
 Neuhuys, steadily advancing, renders him the certain 
 successor to Josef Israels in his national art. 
 
 23 — On the Marne. 
 24 — The Sewing Lesson. 
 
 NEUVILLE (ALPHONSE MARIE DE). Born at St. Omer, 
 Pas-de-Calais, 1836. Originaliy a law student in Paris, but 
 later adopted art. Pupil of Picot and Pils. Made a 
 specialty of military subjects. Medals, 1859 and 1861. 
 Legion of Honor, 1873. Officer of Legion, 1881. Died in 
 Paris, 1885. De Neuville was the founder of the powerful 
 and modern school of military art which has succeeded 
 that of his master Pils, and Horace Vernet. 
 
 63 — En Vedette. 
 147 — Surprised at the Bridge. 
 
16 
 
 INDEX TO ARTISTS REPRESENTED 
 
 NITTIS (GUISEPPE DE). Born at Barletta, Italy, 1846. 
 
 Pupil of Naples Academy and at Paris under Brandon, 
 Géréme and Meissonier. Traveled and painted exten- 
 sively on the Continent and in England. Medals, 1876, 
 1878. Legion of Honor, 1878. Died in Paris, 1884. He was 
 distinguished as a painter of scenes of actual every-day 
 life and character, of vital spirit and accuracy of 
 observation. 
 
 112 — Spanish Landscape. 
 
 PARTON (ARTHUR). Born at Hudson, N. Y., 1842. Pupil 
 
 of William T. Richards. Studied in Paris, London, and 
 the North of England, 1870-1871. Elected a National 
 Academician, 1884. Has his studio in New York. Heisa 
 painter of American landscape of eminent sincerity and 
 truth of observation. 
 
 79 — Winter on the Hudson. 
 
 PASINI (ALBERTO). Born at Busseto, near Parma, Italy. 
 
 Pupil of Eugenio Ciceri, Eugéne Isabey, and Théodore 
 Rousseau. Spent several years in search of subjects in 
 Turkey, Arabia and Persia. Honorary Professor at the 
 Parma and Turin Academies. Medals at Salon, 1859, 1863, 
 1864. Legion of Honor, 1868; Officer of Legion, 1878. Has 
 his studio in Paris. He is one of the most brilliant color- 
 ists and technicians of modern art. 
 
 93 — The Return to the Harem. 
 
 POITTEVIN (fuctnr Mopeste Epmonp Lr). Born in 
 
 Paris, 1806. Pupil of the Beole des Beaux Arts and of 
 Louis Hersent. Studied and painted also during extensive 
 journeys over the continent of Europe. First exhibited 
 at the Salon, 1826, where his picture was bought by the 
 Duchesse de Berri, who rapidly advanced his popularity. 
 Medals, 1881, 1836, 1848, 1855. Legion of Honor, 18438. 
 Member of Antwerp and Berlin Academies. He died in 
 Paris, in 1870. 
 
 2 — The Sea-side. 
 
INDEX TO ARTISTS REPRESENTED 17 
 
 POKITANOW (IVAN). Born at Odessa, Russia. Learned 
 drawing by copying old prints. Then studied drawing 
 from nature. Adopted a minute and careful style of 
 painting in consequence, from which he is called the 
 Meissonier of Russian landscape. Has won all Russian art 
 honors, and medals in Germany and France. Has his 
 studio in Paris, but seeks his subjects every summer in his 
 native land. 
 
 9 — Woman and Horse, in Field. 
 87 — Boar Hunt in Winter. 
 
 RAFFAELLI (Jean FRANCOIS). Born in Paris. Became 
 first distinguished as etcher and illustrator, and also as a 
 lithographer of his original designs; then adopted pastel 
 and oil, and took a prominent part in the so-called 
 ‘“Independent’’ Movement in Art. Studio in Paris. His 
 
 | spirited and characteristic studies of familiar types and 
 phases of Parisian life have won him high estimation. 
 
 117 — Going Home. 
 
 RAELOFS (WILLEM). Born in Amsterdam, 1822. Pupil at 
 Utrecht of A. H. Winter and of H. Van de Sande-Bakhuy- 
 sen at The Hague. Settled in Brussels, where his studio 
 now is, in 1848. Orders of Leopold and of Francis Joseph, 
 1858. Officer of the Order of the Aaken Crown, 1860. He ~ 
 ranks with the most popular landscape and cattle painters 
 of Belgium. 
 
 28 — Landscape and Cattle. 
 
 REHN (f. K. M.). Born in Philadelphia, 1848. Pupil of 
 Pennsylvania Academy of Fine Arts. First exhibited at 
 National Academy of Design, 1879. Awarded prize at 
 Water-color Exhibition of American Art Association, 
 New York, 1885. Gold Medal at Second Prize Fund 
 Exhibition, American Art Galleries, New York, 1886. 
 Studio in New York. 
 
 96 — Surf at Quogue. 
 
 RICARD (Gusrave). Born at Marseilles, 1823. Pupil of 
 Léon Cogniet in Paris, and studied the Italian masters. 
 Heachieved distinction as a portrait and character painter. 
 Medals 1851 and 1852. Died in Paris, 1872. In his portraits 
 of women, especially, Ricard’s art showed itself of the 
 utmost refinement and delicacy of sentiment, 
 
 123 — Innocence. 
 
18 INDEX TO ARTISTS REPRESENTED 
 
 ‘ 
 
 RICHARDS (wirx1aM Trost). Born in Philadelphia, Pa., 
 1833. Pupil of Paul Weber. Visited Italy in 1855 and 
 afterwards traveled much in France, Germany and Eng- 
 land. Exhibited at Royal Academy, London, 1869 and 
 later, and at Paris Salon, 1873. Has been made an Honor- 
 ary Member of the National Academy of Design, and re- 
 ceived medals at the Centennial, Philadelphia, 1876, and the 
 Temple Medal, Philadelphia, 1885. Studio in Philadelphia 
 and at Newport. 
 
 25 — The Wreck. 
 26 — Outside Ochre Point. 
 
 ROOSEBAUM (MARGARETHA). Born at The Hague. Has 
 made a specialty of flower and fruit painting, in which 
 former walk of art she excels. She has her studio at The 
 Hague. 
 
 60 — Camellias. 
 61 — Tea-Roses. 
 
 ROUSSEAU (PIERRE HrIENNE THEODORE). Born in Paris, 
 1812. Theson of a tailor. First exhibited in Salon, 1826. 
 Originally studied figure painting, but turned for the sub- 
 jects of his choice to nature. His youth was one of study 
 and care, and his maturity one of trouble through the men- 
 tal affliction of his wife, whose insanity eventually infected 
 his own brain. For the purpose of secluding his wife in 
 her periods of aberration, he sought a retreat sufficiently 
 near Paris, and yet far enough away to remove her from 
 its turmoil. So he became the actual founder of the im- 
 mortal artistic colony at and around Barbizon, on the out- 
 skirts of the forest of Fontainebleau. Here he and 
 Millet were companions, and here he found the inspira- 
 tion for his grandest productions. He was medalled at the 
 Salon of 1834, 1849, 1855, was made a member of Legion of 
 Honor in 1852, and died in a mental apathy just as he had 
 received his Grand Medal of Honor in 1867. Some of his 
 finest works were preserved by him throughout his life, 
 and only became public upon the sale of his effects after 
 his decease. 
 
 73 — Evening. 
 135 — Forest of Compiégne. 
 138 —A Plain in Berri.—Sunset. 
 155 — Forest in Winter.—Sunset. 
 
INDEX TO ARTISTS REPRESENTED 19 
 
 RYN (REMBRANDT VAN). Born at Leyden, 1607. The son 
 of a miller. Studied under obscure Dutch Masters. 
 Created for himself an immortal place in the history of 
 art. Spent most of his life in Holland, although he made 
 brief visits to Italy and Flanders. The story of his life 
 and death have furnished material for whole libraries of 
 publications. As etcher and painter, he holds a unique 
 place in history. After a life of many vicissitudes and 
 triumphs, he died in Amsterdam in 1669. His works 
 constitute the chief treasures of the Dutch museums and 
 collections, and he is represented in all the notable 
 galleries of Europe as the head and type of the great art 
 of his country at-its ripest period. 
 
 154 — Homme @’ Armes. 
 
 SCHREYER (ADOLPH). Born at Frankfort-on-Main, 1828. 
 } Studied art in his native city. Traveled muchas the com- 
 [ panion of his friend, Prince Taxis. Resided and worked 
 for many years in Paris, and now preserves a studio there, 
 although he lives most of the time upon his great estate 
 in Germany. Member of the Academies of Antwerp and 
 Rotterdam. Cavalier of the Order of Leopold, and court 
 painter to the Duke of Mecklenburg since 1862. In com- 
 position, color, spirit and freedom of execution, his works 
 
 have won for him a unique artistic prominence. 
 
 80 —A Wallachian Posting-House. 
 
 SISLEY (). Bornin Paris. Built himself up in art by the 
 study of the masters in the National Coliection and by 
 experiment in painting from nature. Upon this basis he 
 created a strong individual style, which speedily attracted 
 attention. With Claude Monet he ranks as chief leader of 
 the Independent School in French art, and like Monet he 
 paints in an entirely original view of thought and manner 
 of expression. He has his studio at Moret. 
 
 22 — Marshes of the Seine. 
 415 — The Inundation. 
 
 THOLEN (wictem Bastien). Born at Kampen, Holland. 
 Studied under the influence of the old Dutch masters, and 
 now holds a foremost place among the Netherlandish 
 painters in oil and water-color, who find their highest 
 ‘nspiration from nature, and their sentiment from 
 sympathy with the simple life of their surroundings. 
 
 59 — Recess Time. 
 
20 INDEX TO ARTISTS REPRESENTED 
 
 TROYON (CONSTANT). Born at Sévres, France, 1810. 
 Learned the trade of a porcelain painter, was taught draw- 
 ing by the flower painter Riocreux, and had some instruc- 
 tions from Roqueplan. Began in artas a landscape painter. 
 First exhibited in Salon, 1833. After a journey to Holland 
 in 1847, he began to paint cattle with immediate success. 
 Medals, 1888, 1840, 1846, 1848, 1855. Legion of Honor, 1849. 
 Troyon was the perfector of the modern school of cattle 
 painting in France, of which Bracassat laid the foundation. 
 His early successes as a painter of landscape enabled him 
 to unite his studies of animals with their natural surround- 
 ingsina perfect harmony of spirit. It has been said of 
 him that his groups of cattle area part of the landscape, 
 instead of the landscape being a background against which 
 to display them, and it was by this triumph over the 
 artificiality of the earlier animal painters that he com- 
 manded an attention from the public which he continued 
 to enjoy until his death. 
 
 34 — Landscape and Cattle. 
 67 — Study of a Landscape. 
 151— Le Passage du Bac. 
 
 VAN MARCKE (Emre). Born at Sévres, 1827. Employed 
 as decorator in the porcelain factories. Encouraged by 
 Troyon, whose pupil he became and who induced him to 
 set up a studio in Paris. First exhibited at the Salon, 1857. 
 Medals, 1867, 1869, 1870, 1878. Legion of Honor, 1872. He 
 died in 1891. Van Marcke came, after Troyon, first among 
 the cattle painters of France. In his early works the resem- 
 blance to his master in style is marked, butthe productions 
 of his prime are thoroughly individual and in every 
 way superior. He possessed the double gift of observation 
 and composition, and his pictures, while always true to 
 nature, display an agreeable arrangement and adaptation 
 of the material as well. The sale of his studio effects, 
 after his death, was one of the greatest successes ever 
 recorded for such an event. 
 
 77 — Cows at the Pool. 
 116 — Landscape and Cattle. 
 137 — The Brown Cow, 
 
INDEX TO ARTISTS REPRESENTED oT 
 
 a 
 
 VERNIER (@mirx Louts). Born at Lons-le-Saulnier, in 
 the Jura mountains. Beganasa lithographer, and taught 
 himself painting from a study of the works of Corot. 
 Medals at the Salon, 1869, 1870 and later. Has also painted 
 with success in London. 
 
 16 — Scene near Paris.—Old Miil. 
 
 VOLLON (ANTOINE). Born at Lyons, 1833. Pupil of Théo- 
 dule Ribot, but largely self-instructed. First medal at 
 the Salon, 1865. Medals, 1868, 1869, 1878. Legion of Honor, 
 1870; Officer, 1878. Studio in Paris. He is a painter of 
 landscapes, marines, flowers and genre subjects, but 
 excels in still-life, for which he has a natural predilection, 
 and which he paints with a force and feeling that elevates 
 his subjects to the level of high art. 
 
 85 — A Corner of the Kitchen. 
 
 1 
 
 WEISSENBURGH (JOHANN JAN). Born at The Hague 
 Holland, 1822. Pupilof Verveer. Member of the Academy 
 of Amsterdam, and one of the most eminent of the 
 modern Dutch school of painters. Studio at The Hague. 
 
 27 — Dutch Landscape. 
 
 ZIEM (FELIX). Born at Beaune, France. Studied at the 
 Dijon Art Academy. Traveled and painted pictures in 
 the South of France and Holland. Then visited Venice 
 and Constantinople, and began the series of subjects by 
 which his reputation was established. Received his first 
 Salon medal, 1851. Legion of Honor, 1857; Officer, 1878. . 
 Ziem’s pictures of Venice and of Constantinople were the 
 first to do justice, in modern times, to the picturesque 
 possibilities of their subjects. While preserving the ma- 
 terial characteristics of his scenes, he invests them with a 
 splendor of color in keeping with their historical associa- 
 tious and the spirit of the gorgeous past of whicb they are 
 magnificent, if decaying, monuments, 
 
 10 — Constantinople. 
 718 — The Grand Canal, Venice. 
 131 — After Sunset, Venice. 
 
+. 
 
- 
 
 -AINTINGS 
 
 See wATHR-COLORS 
 = é hae ae : 
 PASTELS 
 
CATALOGUE 
 PIRST NIGHT’S SALE 
 THURSDAY, APRIL 7TH, BEGINNING AT 8 0’CLOCK 
 
 | AT CHICKERING HALL 
 
 OIL PAINTINGS 
 
 W. LOWITH. 
 
 1 
 BIRTHDAY 
 CONGRATULATIONS. 
 
 An aged beau, of the last century, 
 is seen in the drawing-room of a 
 rococo palace, bowing, as he leans 
 upon his cane, to the fair lady of 
 the house to whom he brings his 
 congratulations upon her birthday 
 celebration. Although the recipi- 
 ent of his congratulations is unseen 
 by the spectator, her presence is 
 clearly suggested by the expression 
 of his jovial and self-satisfied coun- 
 tenance. 
 
 Signed at the left, 1887. Panel. 
 Height, 534 inches; width, 314 inches. 
 
 From the artist’s studio. 
 
26 OIL PAINTINGS 
 
 E. LE POITTEVIN. 
 2 THE SEA-SIDE. 
 
 A scene at an old- 
 fashioned French sea- 
 bathing resort. In the 
 centre an old fishing 
 boat, hauled up on 
 the strand and roofed 
 over, has been con- 
 verted into a dress- 
 ing cabin for bathers. 
 Attendants, bathers 
 and loungers along 
 the shore lend life to 
 the scene, and in the 
 background are rows 
 of bathing houses. 
 
 Signed at the right 
 in monogram. Panel. Height, 10 inches; length, 13 inches. 
 
 e 
 sy 
 
 C. H. DELPHY. 
 
 3S SUNSET. 
 
 Under a bank with trees at the left, two fishermen are em- 
 ployed in cleaning up their boat for the night. Upon the river in 
 the centre a tow-boat and barges are seen, and in the distance, on 
 the farther shore, are the houses of a little town. 
 
 Signed at the right. Panel. Height, 13 inches; length, 24 
 inches. 
 
 S. R. CIFFORD. 
 4 SUNSET ON THE LAKE. 
 
 A golden sunset invests the broad expanse of the lake, and 
 the surrounding hills and shores, in a tender haze. Perfect 
 calm reigns in water and sky. From the shore at the left, 
 some figures are seen putting off in a boat, and in the middle 
 ground a loaded hay-wagon is returning from the fields. 
 
 Signed at the left, 1859. Canvas. Height, 12 inches; length, 
 20 inches. 
 
OIL PAINTINGS o7 
 
 P. E. DAMOYE. 
 5 SUNSET. 
 
 _ The sun is sinking to rest over a wide expanse of marsh- 
 lands, which is bounded by a horizon, broken by scattered 
 growths of trees. A pool in the foreground takes a faint re- 
 flection of the flush of the sky, in which the sun shows red- 
 dened like a disk of copper through the humid atmosphere. 
 
 Signed at the right, 1887. Panel. Height, 13 inches; length, 
 24 inches. 
 
 F. A. BRIDGMAN. - 
 6 AWAITING HIS MASTER. 
 
 Seated at the gate leading into the courtyard of an Algerine 
 house, a Nubian slave, holding his master’s horse and his own, 
 awaits the return of the master from a conference within. 
 The street makes a perspective, arched over in the middle 
 ground, and presenting a contrast of evening sunlight ‘and of 
 shade. 
 
 Signed at the left, 1881. Canvas. Height, 164% inches; width, 
 11 inches. 
 
 P. BILLET. 
 7 THE GOAT-GIRL. 
 
 A little sun-brown- 
 ed peasant girl, in a 
 single tattered gar- 
 ment, is grazing two 
 kids upon a hilly com- 
 mon. The animals are 
 confined by cords, 
 which she holds in 
 her hand. Farther up 
 the hillside another 
 girl is seated watch- 
 ing a goat which 
 crops the turf. The 
 time is sunset. 
 
 Signed at the left, 
 1888. Canvas. Height, 
 13% inches; length, 18 inches. 
 
28 OIL PAINTINGS 
 
 GUSTAVE COURBET. 
 8 LANDSCAPE. 
 
 A river, flowing between rocky banks, makes a deep and 
 gloomy pool at the left. At the right the bank rises in a stony 
 wall, which is crowned with trees whose foliage shows the 
 colors of autumn. The farther bank terminates in a craggy 
 height against the sky. The scene is from the artist’s favorite 
 sketching ground in the vicinity of his native place at Ornans, 
 in the Jura. 
 
 Signed at the right. Canvas. Height, 2644 inches; length, 
 3146 inches. 
 
 0 
 l. POKITANOW. 
 9 WOMAN AND HORSH, IN FIELD, 
 
 A peasant woman is turning into a pasture-field a horse 
 which has been employed in field labor all the day. The ani- 
 mal has been brought into a grass-field, which is enclosed by a 
 fence. Outside the fence, the cart, which it has been hauling, 
 is seen. The sky darkens asif towards evening. The landscape 
 is green with summer. 
 
 Signed at the right. Panel. Height, 744 inches; length, 10% 
 inches. 
 
 From the artist’s studio. 
 
[ 
 
 . OIL PAINTINGS _ 29 
 
 F. ZIEM. 
 10 CONSTANTINOPLE. 
 
 The Bosphorus, alive with a variety of craft, occupies the 
 foreground. In the middle distance, at the right, the great 
 dome of the Mosque of St. Sophia, and the many minarets of 
 the city, rise against the rich blue sky of the Orient. In the 
 distance the shores of Asia Minor are revealed. 
 
 Signed at the right. Panel. Height, 17 inches; length, 23 
 inches. 
 
 Collection of M. Antony Roux, Marseilles. 
 
 Cc. BOLDINI. 
 
 11° AFTER THE BATH. 
 
 In the centre, the favorite of the harem enjoys her siesta after 
 her bath, stretched luxuriously on her rugs and cushions. At 
 the right a nude Ethiopian slave gathers together the linen. 
 On the left a macaw pecks at some fruit on the floor. <A pas- 
 sageway at the left gives a view of a tropical garden. 
 
 Signed at the left, Boldini. Panel. Height, 10 inches; 
 length, 134 inches. 
 
 Collections of M. Fawre, Paris, and George 1, Seney, Esq., 
 New York. 
 
30 OIL PAINTINGS 
 
 JULES DUPRE. 
 
 (bP 
 EVENING 
 LANDSCAPE. 
 
 A rising bank at 
 the right, shadowed 
 by trees and thick- 
 ets, borders a little 
 stream, while on the 
 other hand, a farm 
 is seen upon the 
 
 bank. A fisherman 
 is in his boat upon 
 the water. 
 
 Signed at the left. Panel. Height, 1044 inches; length, 14 
 
 inches. 
 
 Collection of M. Ferdinand Herz, Paris, 1886. 
 
 N. V. DIAZ. 
 13 THE DEAD OAK. 
 
 From the foreground, which is in the shade of trees whose 
 branches interlace overhead, a view is obtained of an opening 
 in the forest, into which the sun shines. Some rays of sunlight 
 glint upon the trunks of the nearer trees, and in the centre 
 they show a dead oak-tree in light. A pool in the foreground 
 reflects the sky, which is lightly overcast with clouds. 
 
 Signed in full at the left. Panel. Height, 944 inches: length, 
 124% inches. 
 
 Collection of M. Berthelier, a celebrated French comedian and 
 a friend of the artist. 
 
 J. J. HENNER. 
 14 FEMALE HEAD. 
 
 A head of the Italian type, crowned with smooth, dark hair, 
 which falls in undulating locks upon the shoulders. The bust 
 is covered by a red dress, trimmed with a narrow band of black 
 velvet, which sets off the firm and brilliant purity of the flesh. 
 
 Signed on top at the right. Canvas. Height, 18 inches; 
 width, 12% inches. 
 
OIL PAINTINGS 31 
 
 A. MONTICELLI. ny, 
 15 THE CAVALIER. 
 
 A party of ladies, promenading in a park, are encountered bt p, f 
 by a cavalier, who extends them his salutations. Two hounds fe 
 complete the group. 
 
 Signed at the right. Panel. Height, 1344 inches; length, 154% 
 inches. 
 
 E. L. VERNIER. / 
 16 SCENE NEAR PARIS.—OLD MILL. 
 
 The mill is seen at the left with the mill-stream discharging 
 
 its waters through the arches, which form the foundation of /- % f “ 
 
 the building. At the right is a willow bank with a figure. é 
 Signed at the right. Canvas. Height, 154 inches; length, 22 
 inches. 
 
 J. F. RAFFAELLI. 
 17 GOING HOME. 
 
 An elderly Parisian, of the bourgeois type, is traveling 
 homeward with his wife from some visit or merrymaking. She 
 holds his arm and hastens her steps to keep pace with his. 
 The family dog marches ahead, evidently in gay anticipation 
 
 anim 
 
BY) OIL PAINTINGS 
 
 of the evening meal, The background shows the front of dwel- 
 ling houses, common in the middle-class quarters of Paris. 
 Signed at the left. Panel. Height, 21 ins.; length, 2714 ins. 
 
 R. DE MADRAZO. 
 18 UNMASKED. 
 
 Seated on the arm of an easy-chair, in the gay attire of a 
 fancy ball, a fair coquette has removed her mask, which she 
 holds in her left hand and glances, with a roguish expression, 
 towards the admirer, unseen by the spectator, whom she has 
 been mystifying. The figure is the portrait of the artist’s 
 favorite model. 
 
 Signed at the right on top. Panel. Height, 29 inches; width, 
 16% inches. 
 
OIL PAINTINGS 33 
 
 CHARLES E. JACQUE. 
 19 THE POULTRY YARD. 
 
 A flock of chickens are foraging among the hay in a poul- 
 try yard, under a stable wall, in which there is a large window, 
 defended by bars. <A stable lantern hangs on the wall near an 
 opening for conveying water to a trough. 
 
 Signed at the right. Panel. Height, 1734 inches; width, 1344 
 inches. 
 
 From the artist’s studio. 
 
 Cc. H. MCCORD. 
 20 THE MARKET-PLACE, MONTREAL. 
 
 The old Bon Secours Market, seen from the St. Lawrence 
 River on a winter night. Skaters are on the frozen river in 
 the foreground. The market booths and buildings on the shore 
 are lighted up. The spire of the Bon Secours church shows at the 
 right, under a moonlit sky. The greater part of the scene here 
 depicted, has been destroyed by fire since the artist painted it. 
 
 Signed at the right. Canvas. Height, 26 inches; length, 36 
 inches. 
 
 CLAUDE MONET. 
 21 ARGENTEUIL: BOATS ON THE SEINE. 
 
 Ascene at the famous headquarters of the yachting fraternity 
 of Paris. At the left, upon the river bank, are several of the 
 hostelries at which the river-men find entertainment. The river 
 itself is full of craft in the bright light of a mid-summer day. 
 
 Signed at the left, 1875. Canvas. Height, 21 inches; length, 
 22 inches. 
 
 M. SISLEY. 
 22 MARSHES OF THE SEINE. 
 
 At the right is the shore of the Seine, thickly grown with 
 water-reeds, forming the foreground. On the opposite shore, in 
 the middle ground, are seen the buildings of a town behind a 
 grove of trees. Broad and vigorous handling and fine atmos- 
 pheric effect give vivid reality to the scene. 
 
 Signed at the left. Canvas. Height, 2144 inches; length, 29 
 inches. 
 
7) 
 
 84 WATER-COLORS, PASTELS AND DRAWINGS 
 
 WATER-COLORS 
 PASTELS AND DRAWINGS 
 
 ALBERT NEUHUYS. 
 23 ON THE MARNE. 
 
 At the right is the low bank of the river, with some boats 
 moored to it. In the distance, on the shore, are windmills and 
 a church-tower. On the broad river at the left, fishing-boats 
 under sail drive before a brisk breeze. 
 
 Signed at the right. Water-color. Height, 11 inches; length, 
 17 inches. 
 
 ALBERT NEUHUYS. 
 24 THE SEWING LESSON. 
 
 At the window of a farmhouse kitchen, a Dutch peasant 
 woman is seated sewing. In a chair beside her, her little child 
 plays with her scissors, while on another chair the family cat is 
 curled up asleep. The light proceeding from a window at the 
 left makes a strong and effective contrast of light and shade. 
 
 Signed at the right. Water-color. Height, 24 inches; width, 
 17% inches. 
 
 W. T. RICHARDS. 
 25 THE WRECK. 
 
 A furious sea is raging against a rocky shore, whose sum- 
 mit forms the foreground. Upon a ledge of rocks, in the middle 
 distance, is a wrecked vessel. <A life-boat struggles with the 
 waves between the wreck and the shore. Figures watch it from 
 the cliff, and gulls hover wildly in the tempestuous air. 
 
 Signed at the right. Water-color. Height, 9 inches; length, 
 13 inches. 
 
 Collection of George Whitney, New York, 1885, 
 
WATER-COLORS, PASTELS AND DRAWINGS 85 
 
 W. T. RICHARDS. 
 26 OUTSIDE OCHRE POINT. 
 
 Surf is breaking on a jutting point of rocks at the right. 
 The sea is gray under a sky banked with clouds, and vessels 
 are visible on the horizon. 
 
 Signed at the right. Water-color. Height, 9 inches; length, 
 134 inches. 
 
 Collection of George Whitney, New York, 1885. 
 
 J. J. WEISSENBURCH. 
 27 DUTCH LANDSCAPE. 
 
 Two Dutch peasant boys, armed with rod and line, are 
 plodding along a meadow road at the right, on their way toa 
 favorite angling ground. A broad pond, the overflow of some 
 canal, bounds the road at the left. Beyond it is a windmill, 
 and on the level meadows, which extend to the horizon under 
 a gray and breezy sky, cattle are grazing. 
 
 Signed.at the right. Water-color. Height, 19 inches; length, 
 29 inches. 
 
 W. RAELOFS. 
 28 LANDSCAPE AND CATTLE, 
 
 In the foreground of an extensive meadowland, a herd of 
 cows are resting. The boundary of their pasturage is marked 
 by a wooden fence. Windmills diversify the distance, and the 
 color shows the bright green of spring vegetation, on a clear 
 and sunny day. 
 
 Signed at the right. Water-color. Height, 20 inches; length, 
 28 inches. 
 
 A. MAUVE. 
 29 THE HERDSMAN. 
 
 At the decline of a rainy day, a herdsman is leading two 
 cows across a meadow drenched with moisture. 
 
 Signed at the right. Water-color, Height, 13 inches; length, 
 19 inches, 
 
36 WATER-COLORS, PASTELS AND DRAWINGS 
 
 A. MAUVE. 
 3O WET WEATHER. 
 
 A mounted peasant is conducting some horses along a moor- 
 land road, upon a rainy winter day. The gray sky is still re- 
 plete with showers, and a winter chill rests upon all the land- 
 scape. 
 
 Signed at the right. Water-color. Height, 14 inches; length, 
 20 inches. 
 
 P. J. C. GABRIEL. 
 31 AFTER-GLOW. 
 
 A farm in the Netherlands. The house is in the centre, 
 with some trees. At the foreground is a pond of water. Near 
 the farm, linen, which is hung upon lines to dry, blows in the 
 brisk breeze. 
 
 Signed at the right. Water-color. Height, 644 inches; length, 
 12 inches. 
 
 L 
 
 F. P. TER MEULIN. 
 32 MILKING-TIME. 
 
 A Dutch peasant woman is milking a cow in the paddock 
 of a farmhouse. Other cows await their turn. The paddock is 
 surrounded by small trees, which exhibit the delicate vegeta- 
 tion of spring. 
 
 Signed at the left. Water-color. Height, 19 inches; length, 
 26 inches. 
 
 L. A. L;HERMITTE. 
 33 SHEPHERD AND HIS FLOCK. 
 
 At early morning the shepherd is leading his flock out from 
 the fold to their pasture. He marshalls the sheep along a path, 
 which shows at the left of the picture a line of willow trees, 
 while in the background are a number of haycocks. The morn- 
 ing sun brightens the sky, but leaves the shepherd and his flock 
 in shade. 
 
 Signed at the left. Pastel. Height, 20 inches; length, 22% 
 inches. 
 
 From the artist’s studio. 
 
WATER-COLORS, PASTELS AND DRAWINGS 37 
 
 CONSTANT TROYON. 
 34 LANDSCAPE AND CATTLE. 
 
 A herd of cows are being driven along a road, which crosses 
 the foreground. Tall trees in full foliage rise to right and left. 
 At the right is a pool of water. In the background distant 
 fields show, and a bright summer sky. 
 
 Signed at the left. Pastel. Height, 32 inches; length, 26 
 inches. 
 
 Collection of M. Gavet, Paris. 
 
 J. F. MILLET. 
 35 GARDEUSE DE CHEVRES EN AUVERGNE. 
 y 
 
 Standing upright, while her goats pasture around her, the 
 shepherdess, with her distaff under her left arm and her spindle 
 in her right hand, twists flax into thread. She wears her dress 
 turned up at the waist, over a skirt of heavy gray wool, and 
 her head is protected by a straw bonnet. She has a blue shawl 
 twisted over her shoulders, and brought into a belt around her 
 
88 WATER-COLORS, PASTELS AND DRAWINGS 
 
 waist, and her feet are encased in sabots. She presents a fine 
 type of laborious rustic womanhood, against a background of 
 broken crags and sky. 
 Signed at the right. Pastel. Height, 23 ins.; width, 1844 ins. 
 Collection of Marmontel, Paris. 
 
 L. A. L’;HERMITTE. 
 36 NOONDAY REST. 
 
 A peasant girl, who has been reaping in the wheat-field, sits 
 on a sheaf of wheat with her sickle in her hand, resting from 
 the labors of the morning. The sun of mid-day blazes upon the 
 field behind her, but a friendly stack of wheat-sheaves gives 
 her refreshing shade. 
 
 Signed at the left. Pastel. Height, 22 inches ; width, 18 inches. 
 
 From the artist’s studio. 
 
 J. F. MILLET. 
 37 LE TROUPEAU DE MOUTONS. 
 
 A flock of sheep are grazing upon a river bank, which 
 crosses the foreground. The river winds away through a fertile 
 country diversified by clumps of trees. On the farther shore 
 reapers are busy in a field. ; 
 
 Signed at the right. Water-color. Height, 10144 inches; 
 length, 14 inches. 
 
 Barye Memorial Exhibition, New York, 1889. 
 
 J. F. MILLET. 
 38 THE LITTLE SHEPHERDESS. 
 
 She is seated on the ground at the right, knitting, wearing 
 a blue gown and a cloak, the hood of which is turned up over 
 her head, for it is evidently a chilly morning. Her flock 
 huddles in a group behind her, each sheep helping to keep the 
 others warm, while a poor old donkey approaches the fleecy 
 herd as closely as he can, evidently in the hope that he may 
 acquire some comfort from contact with them. <A long hedge 
 makes a perspective from the right, and in the middle distance, 
 at the left, are a fence and some trees. 
 
 Signed at the right. Pastel. Height, 11 ins; length, 16 ins. 
 
 Collection of M. Faure, Paris, 1886. Barye Memorial Exhibi- 
 tion, New York, 1889. 
 
 Engraved in Sensier’s Life and Works of J. F. Millet. 
 
WATER-COLORS, PASTELS AND DRAWINGS 39 
 
 J. F. MILLET. 
 39 MILKING. 
 
 Upon a hill-top overlooking the sea, a woman is seated 
 milking a cow. At the right, three other cows graze upon the 
 hillside. In the distance, at the left, two boats are drawn up 
 on the shore. 
 
 Signed at the right. Pastel. Height, 714 ins; length, 12 ins, 
 
 Collection of M. Faure, Paris, 1886. 
 
 J. F. MILLET. 
 40 ALLEGORICAL PANEL. 
 
 A subject suggested by one of the odes of Anacreon. Pleas- 
 ure, as incarnated by a jovial old man, whose brow is wreathed 
 with vine leaves, and a buxom maiden, welcome Cupid to shelter 
 from the inclemency of a snowy winter day. 
 
 Signed at the left. Pastel. Height, 18 ins.; width, 10 ins. 
 
 Collection of M. Gavet, Paris, 1886. 
 
 | 
 
 J. F. MILLET. 
 41 KILLING THE HOG. 
 
 A peasant shoves the doomed porker out of the stall at the 
 left, while at the right two other stalwart rustics drag their 
 victim by a rope twisted round its snout. The pig resists with 
 all its force, and even disdains the temptation of a bucket of its 
 favorite food which a woman holds before it. In the background 
 two children look on, and the family cat surveys the exciting 
 scene from the wall of the court-yard, over which the roofs of 
 the farm buildings are visible. 
 
 Signed at the right, J. F. M. Pastel. Height, 27 inches ; 
 Jength, 344% inches. 
 
 Collection of M. Gavet, Paris, 1886. Barye Exhibition, 1889. 
 
 J. F. MILLET. 
 42 MERIDIAN. 
 
 A male and female peasant are enjoying a nconday nap in the 
 harvest field after the labors of the morning. The man lies on his 
 back, with his body foreshortened towards the spectator, while 
 the woman rests behind him with her head upon her arm. 
 
 Signed at the right. Pastel. Height, 28 ins.; length. 37 ins. 
 
 Collection of M. Gavet, Paris, 1886. Barye Memorial Exhibi- 
 tion, New York, 1889. 
 
40 WATER-COLORS, PASTELS AND DRAWINGS 
 
 MILLET, FILS. 
 43 THE HOME OF MILLET, BARBIZON. 
 
 The cottage in which the artist resided for years and executed 
 his most important and famous works, is shown from the little 
 garden, at an early period of the year, before the trees are in 
 leaf. This picture is the work of Millet’s eldest son. 
 
 Signed at the right, F. Millet, fils. Pastel. Height, 144inches; 
 length, 17% inches. 
 
 EUGENE DELACROIX. 
 44 COMBAT OF LION AND TIGER. 
 
 Two rival monarchs of the wilderness have encountered in 
 
 the desert, and inaugurated a ferocious contest for the undi- 
 
 vided sovereignty of their dreary realm. The lion grapples its 
 antagonist, and, as the tiger rises on its haunches, endeavors to 
 throw it on its back. The tiger sinks its fangs into one of the 
 lion’s paws, while the lion sets its jaws in the tiger’s shoulder. 
 The contending brutes are nearly erect and beat the ground with 
 their tails as their massive muscles swell and twist in the death 
 grapple. The arena of this colossal combat is a solitude as savage 
 as the fearful episode of which it is the scene. 
 
 Signed in full at the right. Water-color. Height, 10 inches; 
 length, 84% inches. ; 
 
 Collection of M. Christophe, Paris. Described in Robaut’s 
 Complete Works of Eugéne Delacroix. 
 
 A. L. BARYE. 
 
 A black bear, 
 which has pulled 
 down a wild bull, 
 helds it to the 
 earth by its head 
 and leg,and gnaws 
 at its throat. The 
 background is a 
 desolate wilder- 
 ness, shadowed by 
 a gloomy sunset 
 sky. 
 
 Signed at right 
 on the top. Water-color. Height, 9 inches; length, 14% inches. 
 
 Collection of M. Charles Binder, Paris, a friend of M. Barye. 
 
 eer aarpecte yt 
 
 45 BEAR AND BULL. 
 2 a 
 
WATER-COLORS, PASTELS AND DRAWINGS 41 
 
 A. L. BARYE. 
 46 LEOPARD WALKING. 
 
 A leopard, 
 walking along 
 the summit of 
 a ridge, is out- 
 lined in profile 
 against the 
 sky. 
 
 Signed at the 
 right. Water- 
 color. Height, 
 4% inches; 
 length, 9 ins. 
 
 From the sale of the artist’s studio. 
 
 (A. L. BARYE. 
 47 LEOPARD AND SERPENT. 
 
 A leopard, seated upon its haunches in the center, watches 
 with intense and suspicious curiosity the approach of a serpent 
 which writhes forward towards it from the right. 
 
 Signed at the right. Water-color. Height, 7 inches; length, 
 10 inches. 
 
 Collection of M. Christophe, Paris. 
 
 A. L. BARYE. 
 48 TIGER IN RETREAT. 
 
 A Bengal tiger reposes secure in its lair. A wall of. rock 
 rises behind it, and at the left is a chasm. 
 
 Signed at the right. Water-color. Height, 10 inches; length, 
 13 inches. 
 
 From the sale of the artist’s studio. 
 
 A. L. BARYE. 
 49 TIGER IN ITS LAIR. 
 
 Seated in its lair, among savage crags, an old tiger looks 
 watehfully forward. A sunset sky shows above the rocky wall. 
 
 Signed at the right. Water-color. Height, 10 inches; length, 
 13 inches. 
 
 From the sale of the artist’s studio. 
 
42 WATER-COLORS, PASTELS AND DRAWINGS 
 
 A. L. BARYE. 
 50 STAG AT GAZE. 
 
 A majestic stag is seen in profile, standing at gaze, with its 
 head erect and its eyes fixed upon an approaching enemy, whom 
 it appears about to challenge. 
 
 Signed at the left. Water-color. Height, 5% inches; length, 
 64% inches. 
 
 From the sale of the artist’s studio. 
 
 A. L. BARYE. 
 51 LEOPARD IN THE DESERT. 
 
 A leopard, standing, facing towards the right, is on the 
 watch, in an expectant pose, as if ready for a spring. A gleam of 
 light from the wild sky surrounds the animal’s figure. 
 
 Signed at the right. Water-color. Height, 9% inches; length, 
 13 inches. 
 
 From the sale of the artist’s studio. 
 
 A. L. BARYE. 
 52 LION IN REPOSE. 
 
 A lion is stretched in repose, in a desert, with its head 
 uplifted, as if aroused by a sudden sound. 
 
 Signed at the right. Water-color. Height, 5 inches; length, 
 9 inches. 
 
 Collection of M. Charles Binder, Paris, a friend of the artist. 
 
 A. L. BARYE. 
 53 TIGER HUNT, WITH ELEPHANT. 
 
 A party of hunters, mounted on an elephant, are attacked by 
 a tiger, which has seized one of the elephant’s hinder legs. The 
 elephant trumpets with rage and pain, and the hunters essay to 
 reach the tiger and dispatch it, 
 
 Sketch in black chalk for the bronze of the same subject. 
 Height, 1744 inches; length, 21 inches. 
 
 Barye Memorial Exhibition, Paris, 1889. 
 
WATER-COLORS, PASTELS AND DRAWINGS 43 
 
 A. L. BARYE. 
 54 LION AND WILD BOAR. 
 
 A lion, which has struck down a wild boar, holds it prone 
 while it crushes its spine and hind-quarters between its jaws. 
 The sky is reddened by a gloomy sunset. 
 
 Sketch in oil. Signed at the right. Canvas. Height, 7% 
 inches; length, 914 inches. 
 
 From sale of the artist’s studio. 
 
 A. L. BARYE. = d / 
 55 PANTHER AROUSED. ; ” 
 
 A panther, arous- 
 ed from repose in 
 a barren wilderness, 
 stands, looking for- 
 ward, with a suspi- 
 cious and watchful 
 expression. 
 
 Signed at the 
 right. Water-color. 
 Height, 10 inches ; 
 length, 13 inches. 
 
 Collection of M. 
 Chas. Binder, Paris. 
 
 A. L. BARYE. 
 56 STAG WALKING.. 
 
 A stag is seen at full profile, walking across a gray landscape, 
 against a clouded sky. 
 Signed at the right. Water-color. Height, 9 inches; length, 
 
 11% inches. 
 From the sale of the artist’s studio. 
 
 A. L. BARYE. 
 57 DEER RUNNING. 
 
 Across a somber defile in a rocky forest, a stag flies at full 
 speed, followed by its doe. 
 
 Signed at the right. Water-color. Height, 8% inches; length, 
 11% inches. 
 
 From the sale of the artist’s studio. 
 
44 WATER-COLORS, PASTELS AND DRAWINGS 
 
 N. BASTERT. 
 58 A COUNTRY ROAD. 
 
 Upon a sandy road, bordered with bushes and leading into a 
 village of scattered houses, a peasant drives a cart. 
 
 Signed at the right, 1889. Water-color. Height, 18 inches; 
 length, 29 inches. 
 
 W. B. THOLEN. 
 59 RECESS TIME. 
 
 On a snowy hillside, in front of a rambling little Dutch 
 school-house, the volatile young seminarists are recreating 
 themselves during their recess with a retaliatory bombardment 
 of snowballs. 
 
 Signed at the left. Water-color. Height, 17 inches; length, 
 20 inches. 
 
 M. ROOSEBAUM. 
 60 CAMELLIAS. 
 
 Signed at theright. Water-color. Height, 2844 inches; width, 
 1814 inches. 
 
 M. ROOSEBAUM. 
 61 TEA-ROSES. 
 
 Signed at the right. Water-color. Height, 2914 inches; width, 
 181% inches. 
 
 J. L. E. MEISSONIER. 
 62 PORTRAIT OF A MAN. 
 
 He is standing, his bare head slightly turned to the left. His 
 hair, of a medium length, falls over his right temple and is 
 brushed away from his left one. He is painted with full front. 
 In his right hand he holds some papers. Over his right arm 
 passes a long drapery, which covers him entirely from _ his 
 shoulders downwards, as in a dressing gown. The light, coming 
 from the left, illuminates him and throws his shadow on the 
 ground. 
 
 There is a seal of red wax on the top of the painting to the 
 left. Drawing in blue-black, Height, 1014 inches; width, 734 inches. 
 
 Collection of M. Secretan, Paris, 1889. 
 
WATER-COLORS, PASTELS AND DRAWINGS 45 soy me ye 
 
 A. M. DE NEUVILLE. 
 63 EN VEDETTE. 
 
 A Prussian Uhlan, at the advance post of the beleaguering ay Ais 
 army, surveys Paris from one of the surrounding hills. The / f\~ 
 young soldier sits his saddle like a veteran, with his lance with 
 its black and white pennon slung from his shoulder and resting 
 in its socket on his stirrup, and a ready bridle hand. 
 
 Signed at the right, 1888. Drawn with pen, ink and wash, on 
 buff paper, relieved with white chalk. Height, 2514 inches ; width, 
 19 inches. 
 
 J. F. MILLET. 
 64 WOMAN’S HEAD. 4} 
 
 A study of a peasant woman’s head, drawn on red paper, with NACA * 
 black chalk, relieved with white. 
 Signed at the right. 
 
 at 
 har 
 
46 WATER-COLORS, PASTELS AND DRAWINGS 
 
 J. B. E. DETAILLE. 
 
 65 THE TRUMPETER. 
 
 The figure of a trumpeter of a foot regiment, awaiting the 
 command to soundacall. Behind him are soldiers and officers. 
 
 Signed at the right, 1883. Drawing in black and tinted chalks, 
 over a foundation of wash. One of the series of designs for the 
 artist’s great work on the French army. Height, 1334 inches; 
 length, 19 inches. 
 
 LUCAS VAN LEYDEN. 
 66 THE ADORATION OF THE MAGI. 
 
 At the left, in the foreground, the Virgin is seated with the 
 Christ-child in her lap. From the right approach the Magi, 
 bearing tribute. In the background, the roofs of buildings are 
 seen, as if from the battlements of a castle. This remarkable 
 work is executed in distemper on silk, the colors being relieved 
 by touches of gold. The silk has been mounted on cardboard, in 
 order to obviate the decay of the fabric natural to the progress 
 of time. The colors preserve their freshness in a wonderful 
 degree, and the picture is completely characteristic of the artist 
 
OIL PAINTINGS 4% 
 
 both in composition and in execution. It is especially note- 
 worthy, as his pictures in distemper which have come down to 
 us are very rare. Height, 1814 inches; width, 14 inches. 
 
 This composition has been etched by the artist himself and 
 has also been made the subject of a plate, with some variations, 
 by Hendrick Goltzius. 
 
 CONSTANT TROYON. 
 67 STUDY OF A LANDSCAPE. 
 
 In the foreground, a woman is about to cross by a foot- 
 bridge a ditch which intersects a patch of meadowland. Tall, 
 slender trees cross the middle ground. 
 
 Signed at the left. Drawn on gray paper with black chalk, 
 relieved with white. Height, 24 inches; width, 1844 inches. 
 
 Collection of M. Gavet, Paris. 
 
 OIL PAINTINGS 
 
 N. V. DIAZ. 
 68 AFTER THE RAIN. 
 
 An extensive open plain, with rich turf diversified by out- 
 croppings of rock, lies in the shadow of a dispersing storm. The 
 horizon line, varied by trees, shows against a sky in which the 
 clouds break away around a pale and watery sunset. In the 
 ‘foreground, to the left, near a pool, is a seated female figure. 
 
 Signed at the left. Panel. Height, 9 inches; length, 10% 
 inches. 
 
 Collection of M. Faure, Paris, 1886. 
 
 J. C. CAZIN. 
 69 THE HOME OF THE ARTIST. 
 
 Across a picturesque and neglected garden, the homestead of 
 the artist is seen overlooking the sea. Summer flowers variegate 
 the verdure of the landscape. Coming from the house, at the 
 left, is a peasant woman, who, on a yoke upon her shoulders, 
 carries two water-pails. ; 
 
 Signed at the right. Canvas. Height, 33 inches; length, 40 
 inches. 
 
 From the artist’s studio. 
 
48 OIL PAINTINGS 
 
 JULES DUPRE. 
 
 70 A RAY OF SUNSHINE. 
 
 A road leads out of the foreground, past a humble farm 
 at the right. An oak tree grows in the centre, and an 
 extended plain reaches to the horizon. The sky is overcast, but a 
 gleam of sunlight 
 illumines the 
 farmhouse and its 
 approaches, and 
 reveals a female 
 figure advancing 
 towards the door. 
 
 Signed at the 
 left. Panel. 
 
 Height, 10% inch- 
 es; length, 14 
 inches. 
 
 Collection of M. 
 Ferdinand Herz, 
 Paris, 1886. 
 
 EUCENE DELACROIX. 
 
 71 LION DEVOURING A GOAT. 
 
 In a gloomy glade of a tropical forest a lion is devouring a 
 wild goat, which it has captured. It presses its victim to the 
 earth with the entire weight of its ponderous body, and restrains 
 its death struggles, while it savagely rends its still palpitating 
 flesh. The ferocious enjoyment of the lion, as it revels com- 
 placently in its feast, gains in intensity by contrast with the 
 anguished movements of its helpless prey, while the rich, but 
 somber background, splendid in its suggestion of absolute soli- 
 tude, provides an appropriate setting for the incident. 
 
 Signed in full at the left. Canvas. Height, 1044 inches; 
 length, 14 inches. 
 
 Salon, Paris, 1848. 
 
 Engraved same year for Le Magasin Pittoresque; described 
 in “ The Works of Delacroix,” by Robaut, and in ** Delacroix and 
 his Works,” by Ad. Moreau. From the Arosa Collection. 
 
OIL PAINTINGS 49 
 
 JULES DUPRE. 
 72 THE ROAD TO THE VILLAGE. 
 
 Over a level 
 country the road 
 passes to a village, 
 which is seen in 
 the distance. At 
 the right is an oak 
 tree, and at the 
 left some willows. 
 A golden sunset 
 fades in the sky. 
 
 Signed at the 
 right. Canvas. 
 Height, 15 inches; 
 length, 18 inches. 
 
 Collection of M. Ferdinand Herz, Paris, 1886. 
 
 THEODORE ROUSSEAU. 
 73 EVENING. 
 
 Through the close-set stems of a wood, the warm color of 
 a sunset sky is seen. The shades of evening already darken in 
 the wood itself. At the right a little brook threads the forest, 
 and catches a gleam of light upon its waters. The left fore- 
 ground is a grassy rising ground, across which a figure passes, 
 as if to enter the wood. 
 
 Signed in full at the left. Canvas, Height, 1834 inches; 
 width, 8% inches. 
 
 Collection of M. Lowis Mante, Marseilles, 
 
50 OIL PAINTINGS. 
 
 J. C. CAZIN. 
 
 74 MOONLIGHT. 
 
 A full moon is rising in a slightly misty sky. On the slope of 
 a hillside, which descends in the foreground, from left to right, is 
 a humble farmhouse. Dimly seen in a yalley in the distance are 
 hay-ricks, and a line of low hills makes a shadowy barrier against 
 the sky. 
 
 Signed at the left. Canvas. Height, 2444 inches; width, 18 
 inches. ; 
 Collection of M. Charles Hayem, Paris. 
 
 F. A. BRIDGMAN. 
 75 <A CAFE IN CAIRO. 
 
 The interior of a native coffeehouse in Egypt. In the center 
 aman and woman, who have been engaged in a game of cards, 
 are interrupted by a shiek, who converses with them as he pre- 
 pares his pipe for smoking. The light coming from an opening in 
 
O1L PAINTINGS Hy 
 
 the roof relieves this central group against the murky back- 
 ground, in which appear the red glow of a fire, and the gleams 
 of copper utensils of cookery. At the left an open doorway 
 affords a view of the sunlit street, and the apartment is en- 
 livened by the presence of other figures and groups. 
 
 Signed at the right, 1884. Canvas. Height, 2814 inches ; length, 
 4346 inches. 
 
 From the artist’s studio. 
 
 GEORCE INNESS. 
 
 76 SUMMER LANDSCAPE. 
 
 A herd of cows is being driven into a shady grove in the 
 direction of a fenced orchard which is seen in the middleground 
 at the left. Majestic elm-trees shade the pasturage, and the 
 whole landscape is gay with the ripe and voluptuous brightness 
 of midsummer. At the right, the massive trunk of a tree lends 
 dignity to the foreground. The landscape seen in the distance is 
 resplendent in the glow of the summer sun. 
 
 Signed at the right, 1876, Canvas. Height, 30 inches; length, 
 46 inches. 
 
52 OIL PAINTINGS 
 
 E. VAN MARCKE. 
 
 77 COWS AT THE POOL. 
 
 In the foreground, at the center, a red-and-white cow stands 
 in the pool which serves the herd for a watering place. Behind 
 it at the left is an animal with a darker coat, and at the right 
 another which lows at some companion in the distant pasture, 
 The edge of a grove of trees shows in the middleground at the 
 left, and cattle graze along the meadows. The sky is bright, with 
 rolling clouds. 
 
 Signed at the left. Canvas. Height, 22144 inches; width, 16% 
 inches. 
 
 Collection of M. Van der Donckt, Brussels. 
 
OIL PAINTINGS 53 
 
 F. ZIEM. 
 
 78 THE GRAND CANAL, VENICE. 
 
 Across the middle ground stretches the splendid fagade which 
 includes the Doge’s Palace, the Plaza of St. Mare, and the 
 graceful spire of the Campanile. At the left a number of the 
 picturesque craft of the lagoons are at anchor. At the right a 
 full-rigged ship is making sail to depart on a voyage. Gondolas 
 and boats in motion lend additional animation to the scene. 
 
 Signed at the left. Panel. Height, 17 inches; length, 29 
 inches. 
 
 From the artist’s studio, 
 
54. OIL PAINTINGS 
 
 ARTHUR PARTON. 
 
 79 WINTER ON THE HUDSON. 
 
 A view of the Hudson River, above New York City, in mid-~ 
 winter. The broad stream is choked with ice, which is piled in 
 broken masses in the immediate foreground. On a farther 
 shore the stony battlements of the Palisades make a massive wall 
 against the sky, and a railroad train rushes along the narrow 
 ledge at their base. 
 
 Signed at the right, Canvas. Height, 42 inches; length, 60 
 inches. 
 
 Awarded a Gold Medal at Third Prize Fund Exhibition, 
 American Art Galleries, New York, 1888, and the Temple Silver 
 Medal at the Pennsylwania Academy of Fine Arts, 1889. Exhibited 
 at the Exposition Universelle, Paris, 1889. 
 
OIL PAINTINGS 55 
 
 ADOLF SCHREYER. 
 
 80 A WALLACHIAN POSTING-HOUSE. 
 
 A post-sledge, drawn by three horses, has halted in the 
 shelter of the shed of a wretched tavern in a Wallachian forest. 
 A saddle-horse, tethered to the posting shed, denotes the previous 
 arrival of another traveler. The sledge driver is entering the 
 cabin, followed by a dog. The snow blows through the forest 
 in bitter drifts, and the ground is hardened by a black frost 
 and glazed with sleet. 
 
 Signed in full at the right, Paris, 1867. Canvas, Height, 
 3844 inches; length, 63 inches. 
 
56 OIL PAINTINGS 
 JOSEPH MELIN. 
 81 IN FULL CRY. 
 
 A pack of six hounds are seen in full cry, pursuing their 
 quarry across an open country dotted with thickets. The land- 
 scape is shown in the clear light of an early autumn day. The 
 hounds are painted very vigorously and broadly in the dimen- 
 sions of life. 
 
 Signed at the left, 1861. Canvas. Height, 5234 inches; length, 
 8234 inches. 
 
 Collection of Durand-Ruel, Paris, 1886. 
 
 END OF FIRST NIGHT’S SALE 
 
OIL PAINTINGS 57 
 
 eeCcOND-NIGHT’S SALE 
 
 FRIDAY, APRIL 8TH, BEGINNING AT 8 O'CLOCK 
 
 AT CHICKERING HALL 
 
 CONCLUDING SALE OF PAINTINGS. 
 
 F. P. MICHETTI. 
 82 THROUGH THE FIELDS. 
 
 A little Italian girl, wearing a red head-dress and a white 
 jacket over a blue dress, is passing through a grove, bearing 
 upon her arm a basket of field salad which she has been gathering. 
 
 Signed at theright. Panel. Height, 18 inches; width, 64 
 inches. 
 
 J. L. E. MEISSONIER. 
 83 SKETCH. 
 
 A sketch in oil of a model in a buff coat, with russet boots to 
 the thigh and a cavalier’s hat, his right hand on his hip and his left 
 resting upon the hilt of hissword. This was the first sketch for 
 the picture, painted in water-colors, in the Stebbin’s collection, 
 of a guardsman of the period of Louis XIII. In the completed 
 work the artist substituted for the clean-shaven face of the model 
 his own head, with a curling moustache and long imperial. 
 
 Painted ona panel. Height, 544 inches; width, 414 inches, 
 
 Obtained from the artist by the late R. Austin Robertson. 
 
58 OIL PAINTINGS 
 
 C. J. CHAPLIN. 
 84 GIRL READING. 
 
 A young girl, seated at a spinning-wheel, has suspended her 
 work and taken up her favorite book, in whose contents she is 
 immersed. 
 
 Signed at the right, 1886. Canvas. Height, 944 inches; width, 
 74% inches. 
 
 A. VOLLON. 
 85 A CORNER OF THE KITCHEN. 
 
 A study of still-life in a kitchen. A wine-cask, culinary 
 utensils, vegetables, etc., are shown in apparently accidental 
 picturesqueness of arrangement, with rich and varied color, solid 
 painting, and an effective play of light and shade. 
 
 Signed at the right. Canvas. Height, 16 inches; width, 12% 
 inches. 
 
 Collection of M. Breysse, Paris. 
 
 W. LOWITH. 
 86 IMPORTANT NEWS. 
 
 Three gentlemen of the 
 period of the French Revolu- 
 tion are grouped in a corner of 
 a reception- room discussing 
 the news of the day, which one 
 of the group has conveyed to 
 them from a dispatch which 
 he holds in his hand. 
 
 Signed at the left, 1886. 
 Panel. Height, 6 ins; width, 
 444 inches. 
 
 From the artist’s studio. 
 
s OIL PAINTINGS 59 
 
 I. POKITANOW. 
 87 
 BOAR HUNT IN 
 WINTER. 
 
 A forest interior, deep 
 with midwinter snow. In 
 a clearing, a herd of wild 
 boars are being hunted by 
 sportsmen, from the shel- 
 ter of the tree-trunks. This miniature work is painted with 
 great delicacy of touch and precision of detail. 
 
 Signed at the right, 1886. Panel. Height, 4inches; length, 6 
 inches. 
 
 From the artist’s studio. 
 
 Cc. MICHEL. 
 88 THE WINDMILLS. ep ee Fae 
 
 In a road, which crosses the foreground, a man mounted on 
 a horse is inquiring his way of a figure on foot. On a rising 
 ground behind them, windmills are silhouetted against a sky, over 
 which dark banks of storm-cloud are blown by a high wind. 
 
 Painted ona panel. Height, 9 inches; length, 13 inches. 
 
 M. F. JACOMIN. 
 89 THE WOOD-CUTTER’S CABIN. : 
 
 Ina clearing in a forest is seen the cabin of a wood-cutter, 
 a rude structure constructed of logs and clay. The denizen of 
 the cabin crosses the little clearing in the foreground, bearing 
 upon his shoulders a supply of firewood to replenish his hearth. 
 
 Signed at the right. Panel. Height, 944 inches; width, 7% 
 inches. : 
 
 J. L. E. MEISSONIER. 
 90 SKETCH. 
 
 A sketch in oil of a troop of hussars making a charge. 
 Painted on paper. Unfinished. 
 Obtained from the artist by the late R. Austin Robertson. 
 
60 OIL PAINTINGS 
 
 J. G. JACQUET. 
 91 PETITE SOUBRETTE. 
 
 She turns her face to the left, the head thrown slightly back 
 and her expression animated, as if to deliver a repartee to some 
 observation which has just caught her ear. The fresh and lively 
 color of youth flushes her cheek and adds to the vivacity of her 
 pose and expression. Under a flowered bodice a chemise of 
 white lawn shows, tied at the throat with a pink ribbon. 
 
 Signed at the right. Panel. Height, 14 ins.; width, 10% ins. 
 
 Collection of M. Lemarchand, Paris. 
 
 R. C. MINOR. 
 92 EVENING. 
 
 The decline of sunset in a rich pastoral landscape. In the 
 foreground, at the right, is a tree behind which a farm-house is 
 seen in the gloaming. At the left is the denser foliage of a grove. 
 
 Signed at the right. Canvas. Height, 12 ins.; length, 16 ins. 
 
 From the artist’s studio. 
 
OIL PAINTINGS 61 
 
 { ] ?) 
 A. PASINI. ISO 
 
 93 THE RETURN TO THE HAREM. 
 
 The mysterious beauties of an oriental harem have returned 
 froma drive. With veiled faces and muffled figures they have 
 descended from their carriage in the courtyard of the palace 
 which is their splendid prison. Armed guards and the armed 
 escort of the carriage defend the approaches to the palace. Over 
 a wall at the left, the foliage of a garden and the distant build- 
 ings of a city are seenin full sunlight, while the shadow of the 
 palace darkens the foreground. 
 
 Signed at the right, 1869. Panel. Height, 914 inches; length, 
 1534 inches. 
 
 F. P. MICHETTI. 
 94 ITALIAN CHILDREN AT A FOUNTAIN. 
 
 Children are drawing water at a crumbling well-side, in the 
 neglected garden of an ancient palazzo. The stone wall of the 
 garden and the ground are dappled by the sunshine with flecks 
 of gold. 
 
 Signed at the right, 1871. Canvas. Height, 8 inches; width, 
 416 inches. 
 
 Collection of James H. Stebbins, Esq., New York. 
 
62 OIL PAINTINGS 
 
 Cc. H. DELPHY. 
 95 TWILIGHT. 
 
 Twilight is descending on a placid stream, upon whose waters 
 a flock of wild ducks swim to a safe retreat. At the right and 
 left, the river banks are crowned with trees, and the pale crescent 
 moon rides in the darkening sky. 
 
 Signed at the left. Panel. Height, 18 inches; length, 26 
 inches. 
 
 F. K. M. REHN. 
 96 SURF AT QUOGUE. 
 
 A bright summer day, on the south coast of Long Island. A 
 light surf is beating on the shore, gulls hover over the waves, 
 and along the horizon a passing vessel or two is seen. 
 
 Signed at the left. Canvas. Height, 16 inches; length, 28 
 inches. 
 
 From the artist’s studio. 
 
 Cc. BOLDINI. 
 97 A NEW AIR. 
 
 A lady is trying 
 a new piece of mu- 
 sie at a pianoforte, 
 in the center of a 
 salon, decorated in 
 the Pompeiian- 
 Italianesque _ style. 
 A gentleman leans 
 upon his elbow on 
 the instrument, lis- 
 tening, while she 
 picks the notes out 
 from the page of 
 the score and trans- 
 fers them to the 
 keys. 
 
 Signed at the 
 right, 1876. Canvas. 
 
 Height, 1414 ins.; 
 width, 114% inches. 
 
 Collection of M. 
 Faure, Paris, 1886. 
 
OIL PAINTINGS 63 
 
 V.MARCHETTI. 
 
 98 
 COMRADES. 
 
 In a court-yard of 
 a tavern a cavalier 
 who is seated, wine- 
 glass in hand, fills 
 from his wine-jug 
 the glass of a com- 
 rade who stands be- 
 fore him. His dog 
 lies at rest behind 
 his chair. The cos- 
 tumes are of the 
 middle of the 17th 
 century. 
 
 Signed at the left, 
 Rome, 1875. Panel. 
 Height, 1034 inches; 
 width, 8% inches. 
 
 L. A. L’;HERMITTE. 
 99 THE COMMUNION. 
 
 At the altar of a French village church, a group of little girls, 
 clad in white, kneel to receive their first communion. The 
 venerable priest bestows his benediction on the young communi- 
 ecants, while the congregation look on with devout interest. 
 
 Signed at the right. Pastel. Height, 334% inches; width, 25% 
 inches. 
 
 From the artist’s studio, 
 
 P. E. DAMOYE. 
 100 POND IN SOLOGNE. 
 
 A marshy shore is seen beyond a little river which occupies 
 the foreground. Some small trees grow upon the river bank, 
 and the distance reaches away to a low horizon under an early 
 spring sky. 
 
 Signed at the right, 1887. Panel. Height, 13 inches; length, 
 24 inches. 
 
 eS | 
 
64 OIL PAINTINGS 
 
 A. MONTICELLI. 
 101 THE PROMENADE. 
 
 Three ladies are promenading in a park, accompanied by a 
 large dog. 
 
 Signed at the right. Panel. Height, 17% inches; width, 144% 
 inches. 
 
 E. L. HENRY. 
 102 THE OLD WESTOVER HOUSE. 
 
 A view of this historic Virginia mansion, while it was occupied 
 as a military headquarters by a portion of the Union army, 
 during the Civil War. On the lawn, in front of the house, tents 
 are pitched and soldiers lounge about. Mounted men come and 
 go, and all is the bustle and movement of a camp in time of 
 battles. Upon the roof of the mansion itself, a platform has been 
 built and is being used as a signal station. The careful repre- 
 sentation of the house and its surroundings adds to the interest 
 of the picture the value of a historical work. 
 
 Signed at the right, 1869. Canvas. Height, 11 inches; length, 
 14 inches. 
 
 Collection of George Whitney, New York, 1885. 
 
 W. M. CHASE. 
 103 A SUNNY MORNING, SHINNECOCK HILLS. 
 
 A sandy road winds up a wind-blown hillside, on the south 
 shore of Long Island. Over the ridge, which forms the horizon, 
 is seen the roof of asummer cottage. The figures of two children 
 appear in the road at the left. 
 
 Signed at the left. Panel. Height, 15 inches; length, 17 
 inches. 
 
 From the artist’s studio. 
 
 CGEORCE INNESS. 
 104 CORNER OF AN ORCHARD. 
 
 The interior of a woodland, in the full foliage of sammer. In 
 the center, the massive trunk of a large beech tree catches the 
 sunlight, which penetrates the wood from the right. In the 
 middleground is a fence witha gate. The figure of aman is seen 
 at the left. 
 
 Signed at the right, 1888. Canvas. 
 
 From the artist’s studio. 
 
OTL PAINTINGS 65 
 
 F. A. BRIDGMAN. 
 105 A STREET IN ALGIERS. 
 oe 
 
 A Nubian slave woman, bearing a burden on her head, passes 
 down one of the narrow arcaded streets of an Algerian town. 
 At the left, a native girl clad in white garments is seated at the 
 open front of a tradesman’s booth. Behind the stalwart Nubian, 
 a little girl, who has vegetables to sell, watches her passage with 
 curiosity and admiration. The light, finding its way with diffi- 
 culty down the narrow space between the tall houses, makes 
 brilliant touches here and there upon the principal details of the 
 scene. 
 
 Signed at the left 1887. Canyas. Height, 21 inches; length, 24 
 inches. 
 
 From the artist’s studio. 
 
 V. E. DEMONT-BRETON. 
 106 THE ORANGE GROVE. 
 
 In an orchard of orange trees, a little child is seated in a 
 basket intended tu receive the fruit when it is harvested, while 
 an elder sister kneels beside the baby and peels an orange. The 
 rich vegetation of the orchard is brightened by sunlight, and the 
 trees are heavy with their golden fruitage. 
 
 Signed at the left. Canvas. Height, 25 inches; width, 22 
 inches. 
 
66 OIL PAINTINGS 
 
 A. G. DECAMPS. 
 107 ALBANAIS EN REPOSANT SUR DES RUINES. 
 
 Seated among the ruins of one of those splendid edifices, which 
 preserve for us in this later day the wonders of Grecian civiliza- 
 tion in the past, a jovial Albanian sings to the accompaniment 
 of his mandolin, while his comrade puffs his pipe and revels in 
 the melody which solaces their solitude. The sun sinks to rest 
 beyond the ruins, which these two figures alone animate. The 
 Greece that was and the Greece that is to-day could find no 
 stronger or more significant contrast. Height, 934 inches; width, 
 12 inches. 
 
 Salon, 1851. Collections of M. Collot and Baroness Nathaniel de 
 Rothschild. 
 
 Cc. F. DAUBICNY. 
 108 VILLAGE OF AUVERS. 
 
 Upon the sandy shore of the banks of the Seine, in the 
 foreground at the right, two women stop to gossip, while the 
 cows they have been driving enter the water. The tide is low 
 and a sand-bank shows in the middle of the stream. The farther 
 shore at the left is shaded by trees. In the distance is the village 
 of Auvers under a hill. The sky indicates a cloudy autumn 
 afternoon. 
 
 Signed at the right, 1874. Panel. Height, 14ins.; length, 25 ins, 
 
 Collection of M. Paris, Paris. ’ 
 
OIL PAINTINGS 67 
 
 GEORGE FULLER. Lit 
 109 CHERUBIC HEADS. 
 
 A group of three heads, intoning a psalm of praise, with the 
 vague and dreamy tone and color of a completely imaginative 
 conception. 
 
 Painted on canvas. Height, 20 inches; width, 16 inches. 
 
 From the sale of the artist’s studio after his death, 1884. 
 
 N. V. DIAZ. 
 110 A SUNLIT LANDSCAPE. 
 
 An old road, abandoned and grass-grown, traverses the forest. 
 The foreground is enriched by the shade of over-arching trees, 
 through the vista formed by which the middleground is seen in 
 sunlight. In the center a pool of water, which has collected in a 
 depression of the road, catches a reflection of the brightness of 
 the sky, and beside the pool is the figure of a female gathering 
 broken branches for firewood. 
 
 Signed in full atthe left. Panel. Height, 9 ins.; length, 13 ins. 
 
 Collection of M. Faure, Paris, 1886. 
 
 JULES DUPRE. 
 111 LANDSCAPE AND CATTLE. or 
 
 On the banks of a willow-shaded stream, cattle are grazing. 
 The gray sky and the haze of early autumn lend a quiet harmony 
 to the scene. a 
 
 Signed at the left. Canvas. Height, 1044 ins.; length, 14 ins, 
 
 Collection of M. Ferdinand Herz, Paris, 1886, 
 
68 OIL PAINTINGS 
 
 Cc. DE NITTIS. 
 
 112 SPANISH LANDSCAPE. 
 
 Te A scene in the suburbs 
 : of Seville. In the distance 
 the white walls of the city 
 are seen under a burning 
 blue sky. Along a prome- 
 nade, in the foreground, on 
 the right, male and female 
 figures are promenading on 
 a grassy causeway. The 
 monotony of the level land- 
 scape is relieved bya group 
 of white-trunked trees. 
 
 Signed at the left, 1870. 
 Panel. Height, 19 inches; 
 width, 13 inches. 
 
 From the Goyena collec- 
 tion, Seville, Spain. 
 
 CLAUDE MONET. 
 
 113 GLADIOLI AND DAISIES. 
 
 A study of freshly cut flowers, in a Japanese jar; painted with 
 great breadth, freedom and force of color. 
 
 Signed at the left, 1878. Canvas. Height, 32 inches; width, 
 2416 inches. 
 
 CHARLES E. JACQUE. 
 
 114 POULTRY. 
 
 A lordly cock | 
 presides over his 
 hens, who arefeed- 
 ing among the de- , 
 bris of a poultry | 
 yard, under a sta- 
 ble wall. 
 
 Signed at the 
 left. Canvas. 
 Height, 19 inches; 
 length, 26 inches. 
 
 Collection of M. 
 Faure, Paris, 
 
OIL PAINTINGS 69 
 
 M. SISLEY. 
 115 THE INUNDATION. 
 
 In the middleground, a stone-arched bridge crosses the river. 
 At the right are the houses of a mediwyal town, with an old 
 feudal castle and the towers of a church, all of stone, mellowed 
 by age. The scene has the brightness of a sunny summer day. 
 
 Signed at the right, 1888. Canvas. Height, 26 inches; length, 
 36 inches. . 
 
 E. VAN MARCKE. 
 116 LANDSCAPE AND CATTLE. 
 
 seaeuanlesrinr Smeets — 
 
 In the watering-place of an extensive coast pasturage are two 
 cows and a little calf. At the left, in the middleground, the 
 meadow shows other cattle and some trees. At the right is the 
 white escarpment of a cliff and a stretch of sea. 
 
 Signed at the left. Canvas. Height, 2014 ins. ; length, 2514 ins. 
 
 Collection of M. Van der Donckt, Brussels. 
 
 A. MONTICELLI. 
 117 IN THE PARK. 
 A group of three ladies in a park. Behind them is an urn 
 
 upon a high pedestal, upon which some white doves are perched. 
 Signed at the right, Panel, Height, 18 ins.; width, 13! ins, 
 
v0) OIL PAINTINGS 
 
 JULES DUPRE. 
 
 118 EARLY MORNING. 
 
 Upon the bank of a little stream, at the left, are the white- 
 walled buildings of an old farm. The bank in the foreground is 
 shaded by an oak tree, which towers over some small-growing 
 willows. 
 
 Signed at the right. Canvas. Height, 22 inches; length, 
 26 inches. 
 
 Collection of M. Ferdinand Herz, Paris, 1886. 
 
 J. M. CLAUDE. 
 119 MORNING IN THE KENNEL. 
 
 It is the early dawn of a hunting morning. The huntsman, 
 yawning and stretching himseif, has just entered the kennel 
 where the hounds are yet asleep, in the most perfect attitudes of 
 canine repose. 
 
 Signed at the right. Canvas. Height, 214 inches; width 
 16% inches. 
 
 Collection of Henry Probasco, Esq., Cincinnati, Ohio, 
 
OIL, PAINTINGS 71 
 
 EASTMAN JOHNSON. 
 
 120 CHURNING. 
 
 A young New-England girl is pounding and pushing at the 
 shaft of an old-fashioned churn, making butter, and casting 
 longing looks towards the window which admits the sunbeams 
 which light her figure and the wall behind her. 
 
 Signed at the left, 1868, Panel. Height, 21 inches; width, 
 16 inches. 
 
 —, .- 
 
“I 
 
 2 OIL PAINTINGS 
 
 JULES DUPRE. 
 
 5 ] 121 EVENING TWILIGHT. 
 
 Beh Sree 
 
 A pale-golden sunset is dying in the sky. The landscape is 
 already invested with shadows. On the bank of a little river, at 
 the right, is a clump of trees in full foliage, and in the center a 
 boat is seen upon the water. 
 
 Signed at the left. Panel. Height, 18 inches; length, 25 inches. 
 
 Collection of M. Ferdinand Herz, Paris, 1886, 
 
 W. M. CHASE. 
 
 122 CASTLE POINT, HOBOKEN. 
 
 The conservatory and a portion of the park of the great 
 manor of the Stevens family at Hoboken, N. J., opposite New 
 York City. Part of the greenhouses are seen in the center, and 
 from them a magnificent flowerbed extends into the foreground. 
 A brilliant summer sky illumines the scene. 
 
 Signed at the left. Canyas. Height, 16 ins.; length, 24 ins. 
 
 From the artist’s studio, 
 
OIL PAINTINGS he 
 
 GUSTAVE RICARD. 
 123 INNOCENCE. 
 
 She is seen at full front, with neck and breast bare, except 
 for a slight drapery looped over one shoulder. The head is 
 crowned with brown hair, and the eyes look forward out of a 
 face to which they lend an expression of intense and inquiring 
 interest. Canvas. Height, 17 inches; width, 14 inches. 
 
 From private collection of M. Francis Petit, Paris. 
 
 CLAUDE MONET. 
 124 AN ISLAND. 
 
 It is towards the end of an early autumn day upon the bank 
 of one of the provincial rivers of France. A pale sunset com- 
 mences to reveal itself in the sky. In the middleground a river 
 makes its course. The foreground is a bank, thickly overgrown 
 with goldenrod and daisies. A strong and simple study of atmo- 
 spheric effect and color. 
 
 Signed atthe right. Canvas. Height, 29 ins.; length, 39 ins. 
 
 Collection of M. Fawre, Paris. 
 
"4 CIL PAINTINGS 
 
 J. B. C. COROT. 
 
 125 A VILLAGE IN NORMANDY. 
 
 The foreground is terminated by a row of trees, which grow 
 on the brink of a hill, overlooking the sea. At the left, a woman 
 drives two cows, which meet a third coming from the right. In 
 the middleground, at the right, is a village overlooking the 
 shore, and the horizon is formed by the sea, which is seen 
 between the trunks of the trees in a far-reaching perspective. 
 The atmosphere is that of a breezy summer day, the foliage is full, 
 and the grass upon which the cows pasture rich and abundant. 
 
 Signed at the left. Canvas. Height, 2144 inches; length, 
 25% inches. 
 
 Collection of M. Damoye, intimate friend of the artist. 
 
OIL PAINTINGS 45 
 
 L. A. L’HERMITTE. 
 
 {26 THE MOWERS. 
 
 At the left, in the foreground, two mowers are at work ina 
 grass-field which is bespangled with wild flowers. One shaves 
 the greensward with long sweeps of his scythe, while the other 
 pauses to hone the edge of his implement. The field rises ina 
 sloping hillside towards the right, and the foreground rests under 
 the light shadow of a cloud. The sunlight of a radiant summer 
 day illumines the middle distance. 
 
 Signed at the right, 1892. Pastel. Height, 28 inches ; length, 
 3514 inches. 
 
 From the artist’s studio, 
 
6 OIL PAINTINGS 
 
 EUGENE DELACROIX. 
 127 ARAB CAVALIER ATTACKED BY A LION. 
 
 An Arab cavalier, mounted on a white horse, while descending 
 a defile in the mountains has been assailed by an enormous lion. 
 The lion has grasped his horse’s foreleg with one paw and buries 
 its teeth in the animal’s shoulder, while with the other paw it 
 strikes at the rider. In its agony the horse rears on its haunches, 
 and the lion rises on its hinder legs also, without releasing its 
 hold upon its victim. The rider has shaken his left foot free 
 from the stirrup, and leans over to stab the lion with his sword 
 and at the same time slip out of the saddle, before his horse falls 
 on him. The scene is rendered with extraordinary animation - 
 and power. The wild and despairing anguish of the doomed 
 horse; the ferocious strength of the destroying brute which 
 holds it fast and grinds bone and muscle between its merciless 
 jaws; and the swift and resolute action of the rider, his eyes 
 blazing, and his red mantle flying as he essays to drive his steel 
 into his assailant’s heart, give vivid life to the struggling group, 
 for which the savage and gloomy mountain pass provides a fitting 
 background. 
 
 Signed at the right infull. Canvas. Height, 18¥ inches; .width, 
 151% inches. 
 
 Collections of Baron Michel de Tretaigne, M. Febvre and M. 
 Boucheron, Paris. 
 
 CHAS. E. JACQUE. 
 
 128 
 THE SHEEP-FOLD. 
 
 The interior of a sheep 
 stable at feeding time. 
 A peasant girl, at the 
 right, shakes down hay 
 into a rack. The flock, 
 sheep and lambs, crowd 
 forward to the feast, 
 while some chickens peck 
 amid the hay which is 
 strewn on the ground. 
 
 Signed at the right. 
 Panel. Height, 20 ins. ; 
 width, 1534 inches. 
 
 Painted in 1878 for M. 
 Van der Donckt, Brussels. 
 
J. J. HENNER. 
 
 The head of a young girl, of* 
 an ivory clearness of complex- 
 ion, framed ina mass of fluffy 
 hair of a rich bronze color. 
 A black robe is draped over 
 the shoulders, affording strong 
 relief to the luminous color and 
 solid modeling of the figure. 
 
 Signed on top at the right. 
 Canvas. Height, 18 inches; 
 
 width, 1214 inches. 
 
 From the artist’s studio. 
 
 JULES DUPRE. 
 
 OIL PAINTINGS 
 
 {29 FEMALE HBAD. 
 
 77 
 
 Htreye, 
 
 {30 THE FARM BY THE RIVER. 
 
 A farm-house, 
 with white walls 
 and thatched roof, 
 stands upon the 
 bank of a little 
 river at the left, 
 over-shadowed by 
 tall trees. A pas- 
 toral country ex- 
 tends to the hori- 
 zon at the right, 
 under the gray 
 sky of early au- 
 tumn. 
 
 Signed at the left. Canvas. Height, 29 inches; width, 24 
 
 inches. 
 
 Collection of M. Ferdinand Herz, Paris, 1886. 
 
78 OIL PAINTINGS. 
 
 F. ZIEM. 
 131 AFTER SUNSET, VENICE. 
 
 The sun has descended below the horizon, but the lightly 
 clouded sky is still tinted by its afterglow. The entire front of 
 the Ducal palace and the buildings on either hand are veiled in 
 shade, which also gathers upon the canal in the foreground. At 
 the right, a two-masted trading boat is drifting in with the tide, 
 no breath of wind swelling her painted sails. In the center a 
 large black gondola swiftly crosses. Through the half-drawn 
 curtains of the pavilion gleams of light suggest the presence of 
 a party of pleasure on this somber craft. 
 
 Signed at the left. Panel. Height, 27 inches; length, 42 
 inches. 
 
 From the artist’s studio. 
 
 A. MAUVE. 
 
 132 THE SHEEP-FOLD. 
 
 At the left the wall of a sheepfold is seen in perspective. The 
 shepherd opens the door and his flock crowds forward, marshalled 
 by his dog, towards the welcome shelter. In the middleground, 
 at the right, a couple of saplings shiver in the chill air. The 
 background shows a winter evening coming on. 
 
 Signed in full at the right. Canvas. Height, 22 inches; 
 length, 32 inches. 
 
O1L PAINTINGS 79 
 
 J. B. C. COROT. 
 {33 PARIS SEEN FROM ST. CLOUD. 
 
 From the elevated foreground a distant view of Paris is 
 obtained, the city making a long line across the horizon. At the 
 right some slender trees raise gracefully against the sky. In the 
 immediate foreground women gather mushrooms in an open 
 field, while at the left, in a cultivated plantation, inclosed by a 
 fence, is a country house. 
 
 Signedattheright. Canvas. Height, 18 ins.; length, 30 ins. 
 
 Collection of M. Dekeus, Brussels. 
 
 CEORCE INNESS. 
 {34 SHORT CUT.—WATCHUNG STATION. 
 
 Beyond a broad meadow, intersected by a ditch, which occu- 
 pies the foreground, a railroad train is seen whirling across the 
 picture. The landscape basks in the genial glow of early Indian 
 summer. The vegetation is yet rich and full. The ditch in the 
 foreground is traversed by a wooden foot-bridge which a man is 
 crossing. The picture shows solid execution and great force of 
 color. It was painted in 1883 and exhibited with marked success 
 in the collection of Mr. Inness’ works shown at the American 
 Art Galleries in 1884. Awarded medal at the Haposition Univer- 
 selle, Paris, 1890. 
 
 Signed at the right, 18838. Canvas. Height, 38ins.; width, 30 ins. 
 
80 OIL PAINTINGS 
 
 THEODORE ROUSSEAU. 
 {35 FOREST OF COMPIEGNE. 
 
 The foreground is occupied by a cultivated field which is 
 traversed by a path, upon which a female figure is seen. At the 
 left, in the immediate foreground, some field laborers are enjoy- 
 ing their noontide rest and gossiping with the garde-champétre. 
 Beyond the field, among trees, are the houses of the little village 
 of Pierrefonds, behind which rises a hill, which is crowned by a 
 wood on whose outskirts the wood-cutters have been at work. 
 At the right the hill slopes away into a vast distance covered with 
 forest. This is the royal domain known as the Forest of Com- 
 piégne. The scene is presented under the limpid, clear sky of 
 early autumn, and rendered with brilliant touches upon powerful 
 harmonies of russet and green. Thisisa picture with a remark- 
 able history. It was begun in 1832 and finished in 1833, and sent 
 to the Salon of that year, where it was known as, “ Lisiére 
 @un Bois Coupé, Forét de Compiégne.” It there attracted 
 the attention of the Duke of Orleans, the greatest connoisseur 
 of the day, and the patron who first took up and made the 
 fortune of Jules Dupré. The Duke purchased the picture 
 immediately, and in his collection it was known by the prefix 
 to its first title of one of his own invention, ‘‘La Vue du 
 Village de Pierrefonds.’? Under one or the other, and sometimes 
 both of these names, it became known and admired. The Duke, 
 who was the eldest son of King Louis Philippe, was killed by a 
 
OIL PAINTINGS 81 
 
 runaway accident in 1842. The wanderings of his pictures after 
 that could never be accurately traced, but many passed into the 
 hands of dealers in time and so reached outside collectors. 
 
 Signed at the left in full, 1833. Panel. Height, 20 inches; 
 length, 29 inches. 
 
 JULES DUPRE. 
 
 136 THE OPEN SEA. 
 
 A squall is sweeping across the sky and darkening the 
 horizon. In the distance, two fishing boats are seen struggling 
 _with the sea and the gale. The surges swell into the foreground 
 in three long lines of breakers, and the water boils furiously 
 upon the shallows, which in the immediate foreground suggest 
 the unseen shore. The motion of the sky and that of the sea 
 combine in carrying out the idea of a rythmic harmony of action 
 in the elements. 
 
 Signed in full at the right. Canvas. Height, 32 inches; 
 length, 40 inches. 
 
 Collection of M. Fawier, Paris. At one time owner of the 
 famous paintings, Delacroix’ ‘* Christ on the Cross * and Decamp’s 
 “ Bull Dog and Scotch Terrier,” Secretan Collection. 
 
82 OIL PAINTINGS 
 
 E. VAN MARCKE. 
 137 THE BROWN Cow. 
 
 Against a background, splendid with the velvety verdure of 
 midsummer, stands a grand brown cow. The powerful frame 
 and perfect proportions of the animal denote it to be a model of 
 itsrace. It was the artist’s practice each summer, when he went 
 into the country to renew his studies, to purchase the finest cattle 
 which he could obtain, and this is said to have been one of his 
 favorite models. 
 
 Signed at the right. Canvas. Height, 23 inches; length, 33 
 inches. 
 
 From the sale of the artist’s studio. 
 
 THEODORE ROUSSEAU. 
 138 A PLAIN IN BERRI.—SUNSET. 
 
 Along the horizon of a vast plain, a sullen and sinister retlec- 
 tion of the sunset dies under sombre cloud-banks heavy with 
 storm. The whole plain is already enveloped in the obscurity of 
 falling night and darkening weather. In the foreground, at the 
 left, two figures are dimly seen in the gloom. 
 
 Signed in full at the left. Panel. Height, 1614 inches; length, 
 25 inches. 
 
 Collection of M. Ehrler, who bought it in 1872 for M. Francis 
 Petit, the well-known Paris expert, 
 
OIL PAINTINGS 83 
 
 N. V. DIAZ. 
 
 139 THE FAGGOT GATHERER. 
 
 A grassy plain is illuminated by sunlight in the middleground, 
 in which are a clump of small trees at the right, and single trees 
 at the left. A low range of hills forms the horizon, and the sky 
 is humid with an impending shower. The shadow of a cloud 
 rests on the foreground, in the center of which is a pool of water. 
 A woman ina red dress, with a white shawl, carrying a bundle of 
 faggots, passes across the plain near the pool. 
 
 Signed in full at the left. Panel. Height, 9 inches; length, 
 13 inches. 
 
 Collection of M. Faure, Paris, 1886. 
 
 JULES DUPRE. 
 
 f 140 AUTUMN. 
 
 At the right, upon a rising bank, a peasant woman watches 
 three cows which descend into the water to drink. At the left 
 of the little river isa farm. Evidences of autumn reveal them- 
 selves in the color of the foliage. 
 
 Painted ona panel. Height, 1044 inches; length, 13% inches. 
 
 Collection of M. Ferdinand Herz, Paris, 1886, 
 
84 OIL FAINTINGS 
 
 J. L. E. MEISSONIER. 
 141 THE GUITAR PLAYER. 
 
 Seated in a sumptuously furnished apartment, a cavalier, in a 
 costume of the fifteenth century, rehearses to the accompaniment 
 of his guitar a song which is to serve him as a serenade to the lady 
 of hislove. The singer reclines at his ease in a luxurious arm- 
 chair, his head thrown back, revelling in the complete surrender 
 of himself to the ecstasy of the song and the anticipation of its 
 performance to an appreciative ear. This picture, one of the 
 last works completed by the artist, exhibits in a significant de- 
 gree the sustainment of the master’s powers until the very end 
 of his busy life. The drawing is as strong, the execution as 
 complete, yet broad and vigorous as ever, and the figure as 
 vividly lifelike in character, movement and expression. The 
 color is of a brilliant power, the rendition of the rugs, tape- 
 stries and other objects being on a par with that of the figure 
 itself. The picture is framed after a design by the artist. 
 
 Signed at the right. Painted on a panel. Height, 12 inches; 
 width, 9 inches. 
 
 Painted for the American Art Association and one of the last 
 pictures finished by the artist. 
 
OLL PAINTINGS 85 
 
 C. F. DAUBICNY. 
 : 442 SHORE AT VILLEVILLE. 
 
 The spacious beach, seen at low tide, constitutes the fore- 
 ground. In the middle distance, at the right, the village shows 
 on a hillside sloping to the shore. 
 
 Signed at the left, 1886. Panel. Height, 10 inches; length, 
 16 inches. 
 
 JULES DUPRE. 
 143 EARLY AUTUMN. 
 
 At the left an old oak-tree shadows the grassy bank of a little 
 creek. Beyond the creek, at the right, is a meadow in which 
 cattle graze, and the buildings of a farm. The russet tints of 
 early autumn vary the rich color of the summer verdure. 
 
 Signed at the right. Canvas. Height, 214% inches; length, 
 26 inches. 
 
 Collection of M. Ferdinand Herz, Paris, 1886, 
 
 P. BILLET. 
 144 GATHERING FAGGOTS. 
 
 Three peasant girls are gleaning the dead branches which 
 have fallen from the trees of a winter forest, for firewood. Two 
 have already made up their bundles and bear them away, while 
 the third, kneeling on the ground, is engaged in fastening her 
 burden together. The ground is covered with snow. 
 
 Signed at the left, 1887, Canvas, Height, 37% inches; length, 
 49 inches, 
 
86 OIL PAINTINGS 
 
 J. F. MILLET. 
 
 145 PAYSAGE D’AUVERGNE, CHEVRIERE. 
 
 A rounding hillside, highest at the center, makes a verdant 
 battlement against a clear blue sky, across which detached 
 clouds are blowing like isolated puffs of steam. A clump of trees 
 shows over the crown of the hill, some sheep graze along the top, 
 and at the left a donkey lifts its head and brays. A shepherdess, 
 who wears a red shawl over her humble dress, and a straw hat, 
 stands on the slope of the hill at the left, with distaff and spindle 
 in hand, The slope of the hill into the foreground is covered 
 with that short grass which grows on stony ground, varied by 
 clumps of heather and thistle-bushes. In the sky flutter some 
 crows. 
 
 Signed in full at the right. Canvas. Height, 3244 inches, 
 length, 3914 inches. 
 
 Collection of M. Dekeus, Brussels. Hngraved by Brunet De- 
 baines for the work. Durand-Ruel Gallery, plate LXXVI. Barye 
 Memorial Exhibition, New York, 1890. 
 
OIL PAINTINGS 87 
 
 di Cc. CAZIN. 
 146 HALT DE VOYAGEURS AVANT LA NUIT. 
 
 ““CAZIN’S ANGELUS.”’ 
 
 At the approach of even-tide, a wayfaring man and his wife 
 have halted in a field, bowing their heads and muttering a prayer 
 in answer to the call of the distant village church-bell which 
 sounds the hour of the Angelus. The husband carries their little 
 babe tenderly in his arms ayd bends his face upon it, as if to invoke 
 for it a blessing in response to his evening prayer. A tender 
 twilight creeps across the scene, while in the sky a clump of 
 cloud retains a reflection of the sunset, under the pale shimmer 
 of a rising moon. 
 
 This picture, one of the special efforts of the artist’s life, was 
 treasured by him with especial regard. He seemed to agree with 
 his critics in considering it the most elevated and poetical of his 
 works. In conception, color, sentiment and execution, it exhibits 
 him at his best and well merits the title given by the artist’s 
 friends and admirers in Paris, **‘ Cazin’s Angelus.” 
 
 Signed at the right, 1883. Painted on canvas, Height, 48 
 inches; width, 41 inches, 
 
88 OIL PAINTINGS 
 
 EUGENE DELACROIX. 
 147 THE LION HUNT. 
 
 A party consisting of two mounted cavaliers and their hunts- 
 men on foot have run down, in their stronghold in a stony desert, 
 a huge lion and its mate. The huntsmen have attacked the lion, 
 which has already killed one of their number, and now holds 
 another prostrate while it essays to defend itself against the 
 attempts of his comrades to rescue him. Advancing upon the 
 tawny monster, the expression of whose fury is diabolical in its 
 ferociousness and dreadful in its tremendous strength, comes 
 one huntsman with a sword; another stabs at it with a hunting 
 spear, while a third, crawling on the ground behind it, awaits an 
 opportunity, when its attention is diverted, to hamstring it, and 
 so cripple its powers of resistance. Meanwhile the lioness, infur- 
 iated by the attack on its mate, has pulled down the horse of one 
 of the cavaliers. The rider has rolled out of his saddle, and a 
 huntsman is about to spear the lioness as it rends the steed it has 
 overthrown. These two episodes, one that of desperate resistance 
 under attack, and the other that of attack in the blind fury of 
 devotion between mate and mate, occupy the right and left of 
 the canvas respectively, and are, in a manner, linked together by 
 the second cavalier, who, calmly seated on his horse, watches, with 
 the eye of a practiced sportsman, for the proper opportunity to 
 
OIL PAINTINGS 89 
 
 exercise his own powers to the best advantage. The background 
 is one of those inhospitable wastes of sterile and rocky ground 
 common in the arid regions of the north of Africa, among whose 
 chasms and peaks the hoarse roars of the monsters brought to 
 bay echo and re-echo, like peals of thunder. The wild movement 
 of the actors in the scene is supplemented by the wild movement 
 of the sky, over which is blowing a scud of a sinister, tawny hue, 
 the certain precursor of the simoon, which will add new desola- 
 tion to the already desolate face of exhausted nature, and perhaps 
 engulf men and beasts in a common grave. 
 
 Signed in full at the left, 1861. Canvas. Height, 30 inches; 
 length, 39 inches. 
 
 Collections of Comte d’ Aquila, 1868, and M. Faure, Paris, 1886. 
 
 J. C. CAZIN. 
 { 148 AN AUTUMN STORM. 
 
 The haystacks are piled high at the right and thatched over 
 to protect the straw from storms. One of the sulphurous squalls 
 of early autumn is sweeping across the sky. A hot, warm atmos- 
 phere, predicts an electrical tempest. 
 
 Signed at the left. Canvas. Height, 29144 inches; length, 
 37 inches. 
 
 Painted by the artist for his friend, M. Coquelin, the celebrated 
 French actor. 
 
90 OIL PAINTINGS 
 
 GUSTAVE COURBET. 
 149 THE FORESTERS. 
 
 In the depths of the forest, the chief forester and his assistant 
 have captured a badger, whose depredations have been devastat- 
 ing the game preserves. Having secured the plucky and voracious 
 little brute, they are securing it by tying up its mouth in order to 
 preserve it alive for further sport. One forester holds the badger 
 down with his knee, while the other, with a strong cord, binds 
 tight its savage jaws. 
 
 Signed at the left. Canvas. Height, 46 inches; width, 
 30 inches. 
 
 F. A. BRIDGMAN. 
 150 THE NEIGHBORS. 
 
 Two Oriental women are gossiping across the dividing roof- 
 walls of their adjoining houses, in the city of Algiers. One, who 
 has been hanging out the family wash, has intermitted her labors 
 for the pleasure of the privileged relaxation of her sex. Some 
 growing flowers make a tiny roof garden under the shelter of the 
 roof wall in the foreground. 
 
 Signed at the right, 1887. Painted on canvas. Height, 35 
 inches ; width, 26 inches. 
 
 From the artist’s studio. 
 
 CONSTANT TROYON. 
 151 LE PASSAGE DU BAC. 
 
 One of Troyon’s golden pictures. The noble composition of 
 the sky radiates a golden-yellow light throughout the whole 
 canvas. The trees, the distant landscape, the stream, the cattle 
 landing from the ferry, all are suffused with a golden radiance. 
 This is Troyon in his best mood, when tone, composition and 
 breadth of treatment moved him more than mere animal por- 
 traiture. It disclosed him in the zenith of his power, andin the 
 very finest expression of his genius. This canvas should be 
 familiar to many Americans who have visited the house of the 
 celebrated French banker Dreyfuss, who acquired it in 1872, at 
 the sale of the famous Belgian collection of Baron Michel de 
 Tretaigne. 
 
 Signed at the left. Canvas. Height, 48144 inches; length 57% 
 inches. 
 
OIL PAINTINGS 91 
 
 A. M. DE NEUVILLE. 
 152 SURPRISED AT THE BRIDGE. 
 
 A party of Prussian hussars, in the foreground, have been sur- 
 prised at a bridge crossing a rivulet, by a company of French 
 infantry who have been ambushed at the right, in a grove upon 
 a hillside which commands the road. Under the withering fire 
 of the French, the Prussians have fallen in confusion. A few re- 
 turn the attack with discharges of their carbines. Others fly 
 panic-stricken. The wounded and the dead roll upon the ground. 
 It is midwinter, and in the frosty air the smoke of the skirmish 
 hangs in gray wreaths, while the blood of the fallen soldiers 
 makes crimson stains upon the snowy ground. 
 
 Signed at the left, 1883, Canvas. Height, 47 ins.; width, 35 ins. 
 
 Collection of M. Fob Smith, Rotterdam. Engraved for En 
 Campagne. Tllustrated by de Newville. 
 
92 OIL PAINTINGS 
 
 N. V. DIAZ. 
 
 153 LE PARC AU BQUEFS 
 
 A scene in the forest of Fontainebleau, near Barbizon. Atthe 
 right, in the foreground, is a group of young oak trees, At the 
 left, somewhat more remote, is a smaller tree of the same species. 
 Across the middleground, the line of the forest makes a barrier 
 against the sky, whose summer azure is relieved with light clouds. 
 A fence, with a gate and a post supporting a signboard, divides 
 the foreground portion of the picture from the background. 
 The foreground of rich turf, varied with patches of young under- 
 growth, shows, in a cup-like hollow, a pool of water which reflects 
 thesky. This picture appears to have been almost entirely painted 
 from nature on the spot. Diaz was spending the summer at 
 Barbizon at the time, and coming upon this spot by accident, its 
 modest beauty so fascinated him, that he commenced to make a 
 study of it and ended by achieving a masterpiece. The picture 
 passed into the hands of Baron de Haupf, from whom, in 1879, it 
 was acquired by M. Boucheron. It was the chief Diaz at the 
 exhibition of the Hundred Masterpieces in Paris in 1883, and in 
 1889 the owner loaned it to the Universal Exposition. In 1891 it 
 was acquired by purchase from M. Boucheron by the present 
 owners. Excepting while in the possession of M. Boucheron, it 
 has not been publicly exhibited untii now. 
 
 Signed in full at the left, 1869. Canvas. Height, 33 inches; 
 length, 444% inches. 
 
 Collection of Baron de Haupf and M. Boucheron, Paris. 
 
OIL PAINTINGS. 93 
 
 REMBRANDT VAN RYN. 
 
 154 HOMME D’ARMES. 
 MAN BUCKLING ON HIS ARMOR. 
 
 The figure is seen at half length, tightening a leather belt 
 around the waist. Ona table, at the left, are a sword and helmet, 
 and on the wall, at the right, is posted an order, such as communi- 
 eates commands on the walls of military barracks. The type is 
 that of a powerful and comely youth, of a good-natured but 
 resolute expression, and with long hair falling on his shoulders. 
 Of this picture Smith remarks, in his Catalogue Raisonné: that 
 “it is painted in the artist’s broad and vigorous manner ;” 
 and in the Robit Catalogue, it receives equally high praise. 
 An etching of this picture, by Ferdinand Leenhoff, has been 
 published in L’ Art, and a reproduction of the etching in the life 
 of Rembrandt by Emile Michel. 
 
 Painted on canvas. Height, 41 inches; width, 3314 inches. 
 
 From the De Gueffier, Robit, Georges Hibbert and Blake Col- 
 lections, and from the Collection of Prince Demidoff, at San 
 Donato, 1880. 
 
94. OIL PAINTINGS 
 
 THEODORE ROUSSEAU. 
 155 FOREST IN WINTER.—SUNSET. 
 
 The desolation of a winter night is closing in upon a scene of 
 vast and dreary solitude. Among the bare stems of the trees 
 which environ a natural opening in the forest, the light of sunset 
 gleams dully, like an expiring fire. The clouds are already 
 darkening in the zenith, and a flock of ravens are flying towards 
 their retreat in the fastnesses of the woods. Within the forest, all 
 is the lifeless loneliness of nature abandoned to decay. The giant 
 trees, divested of their verdure, reach forth their branches as if 
 twisting and writhing in agony under the blasts that whistle 
 through their tangled network. The ground, hardened by frest» 
 exhibits a dry and lifeless remnant of the rich turf with which 
 the summer clothed it. From the broken and rugged soil and 
 among the thickets, boulders of rock crop forth, lending to the 
 abandonment of the scene an additional suggestion of primeval 
 wildness. In the foreground, at the right, the half-congealed 
 waters of a pool offer a sullen reflection of the sullen sky. 
 Looking upon this scene, with the shadows creeping in, there 
 comes to one out of its bitter yet magnificent cheerlessness an 
 involuntary thought that such a place, at such a time, must be, of 
 all places in the world, the one to witness some dreadful deed of 
 violence and crime. In such a spot a Eugéne Aram might strike 
 his victim down, and in such a pool might strive to sink the 
 evidence of his guilt. This magnificent canvas was begun by 
 Rousseau at L’Isle Adam, in 1846. It wasa souvenir of Bas-Bréau, 
 whence he had brought many sketches and studies from nature, 
 and he threw himself into the work upon it heart and soul. His 
 enthusiasm made it the most important of his productions, and 
 his affection for it so increased with the time which he spent 
 upon it that he could not be induced to part with it, even for the 
 purpose of an exhibition. At his death it was found in his studio 
 among the other accumulations of his industrious life, and at the 
 sale of his effects afterwards, this sublime page from the great 
 book of Nature for the first time left the hands of its creator. 
 
 Signed at the left. Canvas. Height, 64 inches; length, 102 
 inches. 
 
 Collection of M, Durand-Ruel, Paris, 1882. Purchased by him. 
 at the sale of the artist’s studio. 
 
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SALE, MonpAy AFTERNOON, APRIL 11TH 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’CLOCK 
 
 ANTIQUE CHINESE BRONZES 
 
 153 Figure of Hindoo Divinity. 
 Seated on a lotus-flower base. 
 Chased gilt bronze, studded with 
 jewels of ruby tint. Height, with 
 stand of teakwood, 74 inches; 
 diameter, 3 inches. 
 
 154 Small Censer. Form of lotus- 
 flower with straight stem and 
 foot. Carefully chased and fin- 
 ished in dark patine. Leif-shape 
 cover. Height,3% inches; length, 
 with stem, 12 inches. 
 
 155 Temple Censer. Formed by 
 elephant with a vase on his back, for joss sticks or 
 incense. The vase is ornamented with borders. The 
 elephant is richly decorated with trappings, etc. Height, 
 744 inches. With teak-stand, 
 
 156 Small Censer. Form of an archaic sacrificial cup; 
 brown patine finish. Has a ring-handle 
 with head of dragon, and fret border. 
 It is raised on three slender feet. 
 Height, 544 inches; diameter, 5 inches. 
 
 KX eae 
 
 157 Cemser. Yellow bronze with Nashiji 
 patine. The panels are ornamented 
 with animals and birds on waved 
 ground. Height, 644 inches; diameter, 
 534 inches. Incised mark Khang-he, 
 1661-1722. 156 
 
98 ANTIQUE CHINESE BRONZES 
 
 158 Temple Censer. Low ovoid shape, with perforated top 
 and griffin handles. Green patine. Archaic design in 
 slight relief with the circular mark “show.” En- 
 graved mark Seuen-te 1426-1436. With bronze stand to 
 match. Complete height, 1234 inches; diameter, 1 inch. 
 
 159 Vase, cabinet size. Square form with 
 
 | small handles. Elaborately inlaid with silver 
 
 w\ = in archaic design, and covered with a fine 
 
 of ce > old _patine. Height, 8 inches; diameter, 
 416 inches. 
 
 vill: 
 
 160 Large Tripod Censer. Ornamented with 
 archaic patterns, and fret borders in low 
 relief, and finished in brown patine. The 
 raised feet are decorated with circular 
 
 ; character emblematical of longevity. The 
 
 159 cover has animals in raised and perforated 
 
 design, topped by a winged dragon. Height, 124% inches; 
 diameter, 8 inches. 
 
 161 Large Jar. Ovoid shape with small grotesque handles. 
 Ornamented with raised borders in severe archaic design, 
 studded with bead-knobs in relief, and in variegated 
 and verdigris patine. Height, with carved stand, 12 
 inches; diameter, 114% inches. Early Ming. Fourteenth 
 century. 
 
 162 Large Vase. Beaker form, with wide flaring neck, and 
 handles. Variegated red patine. Ornamented with raised 
 borders, and lines in archaic design, gilt handles. Mark of 
 Seuen-te, 1426-1436. Height, 19 inches; diameter, 834 
 inches. 
 
 163 Large Tripod Censer. Ornamented 
 with archaic patterns and fret borders 
 in low relief, and finished in brown 
 patine with gilding. The raised feet 
 are ornamented with the circular char- 
 acters emblematic of longevity. The 
 cover has perforations in animal de- 
 sign, and is topped by a bronze dragon. 
 Height, with cover, 1244 inches; dia- 
 meter, 8 inches. 
 
 163 
 
 164 Large Vase. Oviform, with narrow 
 neck and handles; with chased ver- 
 miculated diaper ground, broken by small plain parallei 
 
ANTIQUE CHINESE BRONZES 99 
 
 bands. Dark-brown patine surface. Height, 18 inches; 
 diameter, 13 inches. 
 
 165 Large Temple Vase. Oval and balustra form, with 
 spreading neck, and griffin-shaped handles. The orna- 
 mentation is wrought in bold relief 
 and is inlaid with silver and touches 
 of gold, in archaic character, repre- 
 senting grotesque heads, and curyed 
 and waved lines. The surface is heavily 
 covered with a patine of a variegated 
 nature. Height, 2014 inches; diameter, 
 13 inches. 
 
 166 Ancient Patera. With archaic 
 border, and handles with grotesque 
 heads. The patine is in variegated 
 tones and of rare quality. The in- 
 terior bears an old inscription, testi- 
 fying that it was highly prized and 
 valued as an ancient treasure by some remote posses- 
 sor. The break at one of the handles showsslight traces of 
 gold. Height, without stand, 5 inches; diameter, 75% 
 inches. The engraving on the stand is a passage of a 
 well-known essay on the art of poetical composition. 
 Following is a translation in English : 
 
 “Upon reading it the thought must suggest itself 
 or flash on one’s mind—whether it be that of 
 white clouds at their first breaking up, or of birds 
 chasing one another in the dusk, or of a man 
 resting under the green shade with a lute beside 
 him and a water-fall rushing down from sabove, 
 or of the unheralded fall of a blossom, or of such 
 freedom from human care as is shown by the 
 chrysanthemum.” 
 
 167 Ancient Temple Wessel. Egg-shape, and raised on 
 three feet. The side handles and those of the cover 
 are the same shape as the feet, but in reverse form. 
 The design of the decoration is in the Chinese ancient 
 or classic order, consisting of inlaid malachite in 
 triangular designs, with incrusted silver in archaic 
 triangles, completing dovetailed band. The other 
 borders are in archaic design in Niello. Both ends 
 have a circular design inlaid with malachite, and 
 
100 
 
 BARYE BRONZES 
 
 with arabesque in Niello finish. The handles are 
 incrusted with powdered malachite, and enamel 
 arabesques. 
 
 Nore.—Such vessels-as the above were used in very 
 ancient times, on occasions of great national rejoicing, 
 for fragrant wines; also vessels with three feet have an 
 allusion, it is said, to the three Kung or three stars which 
 are supposed to preside over the Prince, ministers and 
 people. 
 
 From the Comte de Semalle collection, and stated to 
 have been among the objects looted from the great Sum- 
 mer Palace in 1860. Height, 9144 inches; diameter, 74 
 inches. Carved teakwood stand. 
 
 168 Two Large Jardinéres. Form of antique Roman 
 
 vases, bronze, executed in China from European designs. 
 Mounted on three feet, with ornamental chased castings, 
 including three rams’ heads and floral festoons in free 
 relief. Height, 26 inches; diameter, 25 inches. From the 
 Comte de Sematle collection. 1884, 
 
 BARYE BRONZES 
 
 169 Roger and Angelica. Mounted on Hippogriff (1846), 
 
 Height, 20 inches; length, 27 inches, 
 
BARYE BRONZES 101 
 
 170 Candelabra (pair). Nine lights. Ornamented with 4 
 figures, mascarons and chimeras. (1846). Height, 37 inches. 
 The originals of the above two numbers were made for 
 
 the Duc de Montpensier. 
 
 171 Tiger Surprising an Antelope. Model. Height, 1344 
 inches; length, 24 inches. 
 
 172 Deer Attacked by two Scotch Hounds. (1833). 
 Height, 1314 inches; length, 20 inches, 
 
 170 173 
 
 173 Theseus and Minotaur. (1851). Height, 18 inches; 
 length, 10 inches. 
 
 174 Horse Surpriscd by a Lion. (1834). Height, 1544 
 inches; length, 15 inches. 
 
 175 Lapith and Centaur. (1846). Height, 1314 inches; 
 length, 1444 inches. 
 
 176 Two Arabian Horsemen Killing a Lion. Height 
 15 inches; length, 14 inches, 
 
102 BARYE BRONZES 
 
 177 General Bonaparte. Model. Height, 17 inches; length, 
 17% inches. 
 
 178 Charles VII. the Victorious. (1839). Height, 114% 
 inches ; length, 10 inches. 
 
 17 
 179 Lion Seated (No.3), Height, 7 inches; length, 6 inches. 
 180 Lion and Serpent (No. 2). Height, 634 inches; length, 
 
 8 inches. 
 179 
 181 The Walking Lion. (1836). Height, 9 inches; length, 
 6 inches. 
 
 182 The Walking Tiger, (1836). Height, 844 inches; length, 
 1614 inches. 
 
BARYE BRONZES 108 
 
 183 Ocelot Carrying a Heron. Height, 614 inches; length, 
 11% inches. 
 
 184 An Elephant Crushing a Tiger. (1837). Height, 8% 
 inches; length, 12 inches. 
 
 185 Lioness Standing. Height, 714 inches; length, 9 inches. 
 
 186 The Bullin Defence. (1841.) Height, 7 inches; length, 
 1134 inches. 
 
 187 The Eearing Bull. (1841). Height, 84 inches; length, 
 11 inches. 
 
 188 Horse, Turkish, Right Foot Raised. (No. 2). 
 Height, 114% inches; length, 12 inches. 
 
 189 Horse, Turkish, Left Foot Raised (No. 3). Height, 
 74% inches; length, 714 inches. 
 
 190 Horse, Half Blood, Head Lowered. Reduction. 
 Height, 434 inches; length, 7 inches. 
 
104 BARYE BRONZES 
 
 191 Dromedary, Egyptian, Harnessed. Height, 10 
 inches; length, 91% inches. 
 
 192 Dromedary, Algerian. Height, 744 inches; length, 9 
 inches. 
 
 193 Dromedary, Algerian. Reduction. Height, 544 inches; 
 length, 634 inches. 
 
 194 Greyhound and Hare. Model. Height, 8 inches; 
 length, 13 inches. 
 
 195 Beagle Dog, Standing. Height, 644 inches; length, 
 12 inches. 
 
 196 Spanieland Duck. Height, 5% inches; length, 8 inches. 
 
 197 Spaniel and Rabbit. Height, 5 inches; length 84 
 inches. 
 
 198 Spaniel. Height, 34% inches; length, 6 inches. 
 
 199 Two Young Bears Fighting. (1833). Height, 8% 
 inches; length 6 inches. 
 
 200 Stag Sharpening his Antlers. Height, 54 inches; 
 length, 9 inches. 
 
 201 Hawk Killing a Heron. Height, 1i inches; length, 
 916 inches. 
 
 202 
 
 202 Pheasant. Numbered 5. Height, 5 inches; length, 8% 
 inches. 
 
 203 Panther of Tunis. (1840). Reduction. Height, 334 
 inches; length, 74 inches. 
 
 204 Minerva. Height, 12 inches. 
 
 205 Juno. Height, 12 inches. 
 
 206 Elephant of Cochin China. Modern. Height, 6 
 inches; length, 10 inches. 
 
 206% Tartar Warrior Checking his Horse. Height, 
 134% inches; length, 13% inches. 
 
 207 Lion Seated (No.1). (1836). Height, 1444 inches; length, 
 12 inches. 
 
 208 Lion and Serpent (No.1). (1882). Height, 10 inches; 
 length, 12 inches, 
 
BARYE BRONZES 105 
 
 209 Lion and Serpent (No.3). Sketch. Height, 5% inches; 
 length, 744 inches. 
 
 210 The Walking Lion. (1836). Height, 9 inches; length, 
 16 inches. 
 
 211 Elephant Crushing a Tiger, (1837). Height, 9 inches; 
 length, 14 inches. 
 
 212 Tartar Warrior Checking his Horse. With bronze 
 stand. Height, 20 inches; length, 16 inches. 
 
 213 African Badger Robbing Nest. Height, 4 inches; 
 length, 9 inches. 
 
 214 Arab Horseman Killing Boar. Height, 10 inches; 
 length, 12 inches. 
 
 215 Ape Riding a Gnu, (1842). Height, 9 inches; length, 
 10 inches. 
 
 216 The Walking Tiger. Height, $4 inches; length, 16% 
 inches. 
 
 217 Bull Rearing, Attacked by a Tiger. (1837). Height, 
 9 inches; length, 11 inches. 
 
106 BARYE BRONZES 
 
 217 
 218 Panther Seizing a Stag, Height, 15 inches; length, 
 10 inches. With ebonized high pedestal. 
 
 218 
 
 219 The Walking Tiger. (1836). Height, 814 inches; length, 
 1644 inches. 
 
OLD JAPANESE BRONZES 107 
 
 OLD JAPANESE BRONZES 
 
 220 Imcense Burner. Form of aball. Japanese bronze, in 
 perforated floral design, with gold lotus flowers. The 
 interior contains a bronze vessel, or hibachi, on a circu- 
 lar axis. Diameter, 514 inches. Eighteenth century. 
 
 221 Two Incense Boxes. Connected and formed by the 
 circular Buddhist symbol ‘t Tae-keih.”” Yellow and red 
 Gorosa patine. Height, 3 inches; diameter, 2% inches. 
 
 222 Jardiniére. Square, with flaring top. It isornamented 
 with various dragons in relief, on a chased diaper ground, 
 finished in brown patine. Height, 7 inches; diameter, 
 7 inches. Signed, Toun, maker. 
 
 223 Jardiniére. Curved outlines, with handles, and raised 
 feet. Dark brown patine. Ornamented with dragons, 
 kylins, ete., in relief, on chased diaper pattern ground. 
 The feet are finished with heads in grotesque design. 
 Height, 84% inches ; diameter, 10 inches. Signed, Toun, 
 maker. 
 
 224 Jardiniere. Curved with handles, and raised on high 
 feet, with dragon corners. Transparent patine finish. 
 Ornamented with a flying dragon and the sacred Ho-o 
 bird, in high relief on a clouded field, with chased diaper 
 background. Height, 6 inches; diameter, 634 inches. 
 Signed, Siemin, maker. 
 
 225 Koro. Oblong shape. Ornamented with branches of a 
 tree wrought in high relief, the stems of which form the 
 handles, and the base resting upon a rocky formation with 
 an interior cave filled with monkeys. The cover repre- 
 sents a mountain peak, upon which is perched an eagle 
 with outspreading wings, the feathers of which are 
 chased and executed in careful detail. Height, 11 inches; 
 length, 9144 inches; width, 744 inches. Signed, Hiakuse, 
 Shige-mura. 
 
108 OLD JAPANESE BRONZES 
 
 226 Jardiniére. Low oblong shape on raised fungi-form 
 
 feet. Ornamented with a border in relief, designs of deer 
 and flying bats, also in relief. 
 Height, 4 inches by 6 inches by 
 444inches. Signed, Toun, maker. 
 
 227 Jardiniére. Has wide flaring 
 and curved rim. Brown patine. 
 It bears the imperial crests in 
 slight relief, and is raised on a 
 perforated stand. Height, 414 
 
 ” 
 
 inches; diameter, 7 inches. 
 Signed, Toun, maker. 
 
 228 Jardiniére. Square, with handles and raised feet: 
 Dark gold patine. The panels have dragons in high 
 relief upon a chased ground, and a fret border at the 
 base and rim. Height, 734 inches; diameter, 844 inches. 
 Signed, Dai Nippon, Tokio ; Somin, maker. 
 
 229 Jardiniére. Has wide flaring rim. Dark brown patine 
 finish. A dragon showing partly in relief, through a cloudy 
 surface, ornaments the projecting centre band. Has a 
 stand in open design representing water spray. Height, 
 5% inches; diameter, 744 inches. Signed, Toun, maker. 
 
 230 Bronze Basket. Cast to imitate woven wicker work, 
 with bamboo sprig handles, brown patine finish. Height, 
 6 inches; diameter, 9 inches. Signed, To-rin Sai. 
 
 231 HManging Vase, Form of a boat, with chains for sus- 
 pension. It is ornamented at the sides to represent water- 
 lines and waves, and is finished in dark brown patine. 
 Height, at the bow, 5 inches; iength, 16 inches; width, 
 5inches. Signed, Somin Hoshiyama. 
 
 232 Pair of Vases. Tall cylindrical shape, with handles, 
 ornamentation consisting of panels in high relief. In one 
 of the principal panels is the figure of Episu, one of 
 the seven gods of good fortune, riding upon a carp (Koi). 
 The reverse panel contains two small figures of boys; one 
 holds a fan and the other carries a fish dipper. Pine- 
 cone relief ground. The companion vase is ornamented 
 with the figure of Beuten, the goddess of beauty and art, 
 holding a musical instrument and followed by a dragon. 
 The reverse panel has pheasants in relief; the background 
 is composed of trees in foliage, and mountain stream. 
 
OLD JAPANESE BRONZES 109 
 
 Around the neck is a diaper design band, chrysanthemum 
 blossoms, ete. Signed, Hiakuse, Shige-mura. Height, 
 163 inches ; diameter, 8 inches. 
 
 233 Jardiniére, Lowcircular form, on raised stand, with pine 
 cones forming tke feet. Brown patine surface. Height, 
 4inches ; diameter, 634 inches. Signed, Toun, maker. 
 
 234 Jardiniére. Has wide flaring rim and raised stand ; 
 Brown patine finish. Height, 434 inches; diameter, 1014 
 inches. Signed, Sei-Min-iru. 
 
 235 Jardiniére. Has flaring rim and raised stand, formed by 
 elephant tusks. Brown patine finish. Height, 4 inches; 
 diameter, 10144 inches diameter. Signed, Siemin, maker. 
 
 < 2X . . . . 
 236 Jardiniere. Low form, with flaring rim, raised arabesque 
 borders and ornamented feet. Brown patine. Height, 
 2¥ inches; diameter, 844 inches. Signed, Toun, maker. 
 
 237 Jardiniére, Hexagonal shape. Has raised feet, formed 
 by dragons in relief. Transparent patine finish. It is 
 ornamented with conventionalized dragons, arranged in a 
 erest-like form in relief, upon a diaper pattern ground. 
 Height, 5 inches; diameter, 7 inches. Toun, maker. 
 
 | 
 
 238 Group of Turtles. Skill- 
 fully wrought and finished 
 in a naturalistic manner, 
 symbol of long life and hap- 
 piness. Height, 234 inches 
 by 6inches. Made by Seimin. 
 
 239 Jardiniere. Hexagonal 
 shape, with flaring top, orna- 
 mented in relief upon a 
 waved diaper ground with 
 various animals emblematic 
 of longevity, is finished in brown patine. Signed, Seimin, 
 maker; era, Bun-Sei, 1818. Height, 734 inches; diameter, 
 1034 inches, 
 
 240 Jardiniére. Cylindrical shape, with square rim, body 
 studded with projecting spike-like points, finished in 
 transparent patine. Height, 334 inches; diameter, 64% 
 inches. Signed, Hoshiyama So-min, maker. 
 
 241 Jardiniére, Square shape, with feet formed by lily 
 sprigs. It is ornamented by a fret border, and finished in 
 olive brown patine. Height, 244 inches; diameter, 7 inches. 
 Signed, Hoshiyama So-min, maker. 
 
110 OLD JAPANESE BRONZES 
 
 242 Ancient Bell. With coiled dragon stand. The bell isin 
 
 archaic character, with the holder formed by two dragons’ 
 heads. The dragon, forming 
 stand, holds a small crystal 
 ball in one of his claws. 
 Height, complete, 10 inches 
 by 8 inches by 5% inches. 
 Dragon is signed, Soko, 
 maker. 
 
 243 Large Plaque. Iron, elab- 
 orately inlaid and incrusted 
 with gold. The centre panel 
 has two figures wrought in 
 relief, and showing a warrior 
 sounding the alarm drum 
 and a servant looking on 
 with frightened expression. 
 
 The inner border surrounding this panel contains a field of 
 
 chrysanthemums and butterflies; the outer border is in 
 
 various diaper patterns and crests, ete., and the rim border 
 has grapevine leaves overlaid in gold. Signature on the 
 back, Komai-kioto. Diameter, 17 inches. 
 
 244 Large Plaque. Jron. Elaborately inlaid with gold and 
 silver. The centre panel represents figure of a man with 
 beard. The face is wrought in iron with silver eyes and 
 teeth. The robe is elaborately incrusted and inlaid with 
 gold in fret design, and gold crests of the Daimio Simosa 
 in gold. The background is also elaborately inlaid 
 and incrusted with gold. This panel is surrounded by 
 small gold inlaid fret border, and also with a lily-petaled 
 flower, outlined in silver in fretted and floral inlaid 
 designs. The outer field is in overlapping scallops, and 
 is outlined in silver, with diaper designs in various details 
 and crests in gold and silver incrustation. The rim 
 border, or edge, has a grapevine with gold foliage. 
 Signed, Komai. Diameter. 2144 inches. 
 
 245 Two Large Plaques, \ron. Elaborately ornamented 
 and incrusted in gold. The centre panel is decorated in 
 bold relief with bust of a warrior. The face and hands are 
 in shibuichi and the hair is in shakudo. The garment, in 
 iron, is inlaid with gold in arabesque and bird design. 
 The background has a triangular fret pattern. The outer 
 border is decorated with arabesques, chrysanthemum 
 erest, Guikmon, the flower Kirimon and the Minamoto 
 
OLD JAPANESE BRONZES 111 
 
 crests in gold. The rim border is in conventional fungi 
 form design, incrusted with gold. Diameter, 19 inches. 
 The reverse side bears gold incrusted seal of Hokio (a title 
 conferred upon artists). Have carved teakwood stands 
 in open lozenge design. 
 
 246 Large Cireular Plaque. MTIron. Ornamented with 
 three monkeys in shibuichi with red bronze faces. The 
 smaller is clothed with a gold decorated jacket. The other 
 two are holding and examining a Kakemono showing a 
 demon and an imp with banner in red bronze, the mount- 
 ing of which is in olive bronze inlaid with gold chrysan- 
 themums and arabesques. The upper part of Kakemono 
 is in shakudo, with olive inlaid ribbons. The under part 
 is in silver, and the roll has an ivory tip. The monkeys 
 are in high relief, in characteristic attitudes. One of 
 them is looking through a pair of crystal eye-glasses. 
 Signed, Tomo-nage, in gold relief, with seal, framed in 
 teak-wood. 
 
112 OLD JAPANESE BRONZES 
 
 247 Large Plaque. Iron. Ornamented, in relief, with a 
 Kakemono, in red bronze, on which is carved the 
 figure of Shoki. Before this Kakemono stands a vase 
 of flowers in bold relief wrought in bronze, silver and 
 gold. Inthe foreground are two demons (Nio and Oni); 
 one is in red and the other in green bronze, with gold and 
 silver inlaying and mounting. The portrait of Shoki 
 appears life-like and realistic, and the demons show 
 expressions of alarm. Artist’s seal, Icshiyosai, inlaid on 
 the face with another signature on the back. Diameter, 
 24144 inches. 
 
 247 
 
 248 Samurai Helmet. Made in the form of a trumpet shell. 
 Hammered iron. Orbamented and incrusted with silver 
 and gold, bearing the crest of a Prince or Daimio in arab- 
 esque, with small objects and butterflies dispersed. 
 Height, 14 inches; diameter, 13inches, Fifteenth century. 
 
 249 Samurai Helmet. Conical shape and ribbed. Wrought 
 iron, ornamented with a band of small gourds and feather 
 scaled crown. Height, 13% inches; diameter, 1244 inches. 
 Fifteenth century. 
 
JAPANESE MODERN BRONZES 1138 
 
 JAPANESE MODERN BRONZES. 
 
 250 Ornamental Piece. <A cow, in brown patine finish. 
 Height, 4 inches ; length, 8 inches. 
 
 251 Vase. Low oviform with small neck. Yellow bronze with 
 Nashiji patine. Ornamented with crest-like design in 
 relief and foliage gold inlaid. The base contains feathered 
 border with gold relief ornamentation, and the shoulder 
 represents a cloth with pendants in arabesque and floral 
 design, in shakudo and gold relief. A minute fret border 
 surrounds the rim. Height, 734 inches; diameter, 644 
 inches. 
 
 252 Cabinet Vase. Ovoid shape. Japanese bronze, with 
 orange colored patine, an engraved band of silver 
 with bird design encircles the vase, a branch of 
 cherry blossoms is in free design, and naturalistic colored 
 foliage is wrought in shibuichi and silver. 
 Height, 75g inches; diameter, 4 inches. 
 
 253 Vase. Tall, ovoid shape, and handles with 
 grotesque heads. Yellow Japanese bronze, 
 with elaborate ornamentation in gold, 
 silver, shibuichi, and shakudo. The designs 
 are wrought in relief. In the principal 
 panel is a figure of Le Tee-Kwae (one of 
 the Taoist disciples), who is shown in the 
 form of a beggar with a staff and his 
 emblem, the pilgrim’s gourd. His garment 
 is entirely made of shakudo and gold. 
 The small figure is his departing spirit 
 and is also in shakudo. The sky is specked and clouded in 
 gold. The panel is framed with narrow, ornamented lines 
 in silver. On the reverse panel is a flying duck in 
 silver, with bamboo reeds in gold, The remaining surface 
 is inlaid with shibuichi in arabesque designs, and an inlaid 
 copper bronze border surrounds the pointed panel at each 
 arm. The base and neck are finished with various orna- 
 mental borders, with silver and various bronze inlays, in 
 archaic and fretted design and with gold relief work. 
 Height, 1644 inches; diameter, 714 inches. 
 
 254 Flower Vase. Globular body, with cylindric neck and 
 wide rim and butterfly handles. Yellow bronze of fine 
 quality. An arabesque inlaid band surrounds the rim, 
 with raised stand which is engraved and gilt ornamented. 
 Height, 9 inches; diameter, 94g inches. Signed Gorosa, 
 
114 JAPANESE MODERN BRONZES 
 
 255 Vase. Oviform. Griffin handles. Yellow bronze, inlaid 
 with silver, shakudo, and copper bronze, in archaic and 
 fretted design; on the center band is a circular crestlike 
 incrustation of gold on a black Niello ground; a bronze 
 stand attached. Height, 13844 inches; diameter, 614 inches. 
 
 256 Large Vase. Ovoid shape, with receding shoulder, low 
 neck and flaring top. Yellow bronze, ornamented with a 
 single large baboon, who, with a most intent expression, 
 is engaged in removing a splinter. The ornamentation is 
 wrought and chased in relief and is of superb workman- 
 ship. On the reverse is a branch of peach-tree, with 
 foliage, in sunken relief chasing. The shoulder of the 
 vase has an inlaid geometrical ribbon border, of fret 
 design, in shakudo, shibuichi, and gold. The neck has a 
 fret pattern band in damascened gold. The vase has an 
 attached stand, formed by three grotesque heads with 
 gold-plated eyes and silver ornament. Signed, Made by 
 Yokoyama, Sakashige, of Eshu. Height, 15 inches; 
 diameter, 10 inches. 
 
 257 Vase. Ovoid shape, with small neck, ornamented with 
 spiral radiating panels in various colored Gorosa alloys, 
 which are covered with arabesque borders in silver and 
 gold relief and work is divided in the centre by an archaic 
 band in same metals. <A fret band finishes the top. 
 Signed, Zomi. Height, 15144 inches; diameter, 8 inches. 
 
 258 Large Jar. Oviform,and narrowing atthebase. Shibui- 
 chi bronze with gold, silver and various alloys of colored 
 metals wrought into an exceedingly artistic design. The 
 ornamentation is in bold relief, and represents the lotus- 
 plant in bloom. The flowers are in gold and silver, and 
 some of the leaves have autumnal hues wrought in red- 
 alloyed bronze; others have green and yellow tints, besides 
 being incrusted with gold. The neck is finished with an 
 archaic and pointed border in relief. Height, 14 inches; 
 diameter, 13 inches. Signed and made by ‘ Kiriu Kosho 
 Kusisha.” 
 
 259 Bronze Vase. Ovoid form, of Gorosa bronze. The orna- 
 mentation, in low relief, is in different alloys, including 
 gold, silver, shakudo, and shibuichi. The decoration is a 
 floral design and birds bearing sprigs of leaves on a brown 
 patine ground. The centre has raised band and the foot is 
 of vert antique. Signed Zomi. Stand of bronze, bamboo 
 style, and made to match the vase in colorand finish. Nine- 
 teenth century. Height, 17 inches; diameter, 64 inches, 
 
JAPANESE MODERN BRONZES 115 
 
 60 Vase. Tall, ovoid form, with wide neck and griffin head 
 
 handles. Shakudo bronze, inlaid with gold, silver and shi- 
 buichi blossom, are irregularly dis- 
 persed over a ground covered with 
 angular and diametrical lines, pro- 
 ducing crackled effect. A border in 
 relief encircling the center is orna- 
 mented with leaves in red bronze,and 
 has symbolical lotus-flowers in sha- 
 kudo, gold, andshibuichi. This bor- 
 der is finished with a lozenge diaper 
 band inlaid with gold on each side. 
 The upper rim is finished with a nar- 
 row band containing grotesque ani- 
 mals in shibuichiand gold. The base is of yellow bronze 
 inlaid with shakudo and shibuichi, in arabesque and 
 crackled design. Height, 185g inches; diameter, 8 inches, 
 
 LY ISINY SS 
 
 LOANS = 
 (ens 
 
 261 Mammoth Tortoise. Massive Japanese bronze, cast 
 
 | and finished in the most careful and life-like manner; 
 
 brown patine. Height, 7 inches; length, 24 inches ; width, 
 19inches. Signed. Made by Zioun. 
 
 262 Tortoise. Cast in massive bronze in life-like manner. 
 Olive patine. Height, 4 inches; length, 114g inches; 
 width, 8inches. Eighteenth century. 
 
 263 Tortoise. Height, 444 inches; length, 14 inches; width, 
 914 inches. ; 
 
 264 Large Casket. Iron; oblong shape with curved sides. 
 Elaborately ornamented in relief, with chasing and 
 damascened gold in various tones. The design of one 
 side consists of different species of chrysanthemums 
 clustered closely together, with a center panel of curved 
 and indented form, in which are three figures with 
 musical instruments, and richly incrusted damascened 
 robes. The faces and hands are in shakudo, and the drum, 
 cymbalsand flute are inlaid in shibuichiand gold. They are 
 represented upon a veranda. On the reverse panel of shi- 
 buichi, there are fish and water, and some floating 
 foliage. The fish are in bold relief, and are wrought in 
 graceful curves. One is in shibuichiand the other is in 
 shakudo. The two end panels have gold damascened 
 dragons with an arabesque field in low relief, and all the 
 panels have a running border of archaic design with sym- 
 bolical ornaments in gold. The feet are formed of gro- 
 tesque heads and archaic open-work, The cover is orna- 
 
116 JAPANESE BRONZE GONGS 
 
 mented with a dragon, only partly shown through jagged 
 and irregular openings of the fret and diaper patterns. 
 The top is surmounted by Nio, the demon, holding aloft 
 a globular incense jar, on which is the warrior Shoki, 
 whose face and beard are in shibuichi, showing through 
 a panel-formed aperture. The reverse panel has a fleeing 
 demon in red bronze, and the remaining surface is 
 covered in diapered inlaying. The cover is in like design, 
 and is surmounted by a small bronze demon, seated and 
 watching the proceedings below. The interior of the 
 large cover shows an inlaid inscription. Height, 2314 
 inches; width, 238x124 inches. 
 
 265 Tron Vase. Persian form, with pointed sides and spread- 
 ing neck. Elaborate ornamentation in relief is composed of 
 various diapered patterns, with dispersed chrysanthe- 
 mum and floral crests. In a fungi-form panel, the three 
 philosophers of Bamboo Grove are in high relief. Their 
 gowns are richly inlaid with gold; the surrounding bam- 
 boo trees with foliage are also in gold. The reverse panel 
 has for decoration a bird in silver bronze with foliage, 
 and an insect in gold and silver. Eighteenth century. 
 Height, 1134x916x5 inches. 
 
 JAPANESE BRONZE GONGS 
 
 266 Japanese Temple Gong. Wrought bronze; prolonged 
 tone and mellow sound. With inscription: ‘Donated to 
 Yakuoji (Buddhist Temple) of Yeda (now Tokio) for the 
 deceased family of Yamadaya Tomohachi, in the 4th year 
 Ansei (1857).”” Height, 104% inches; diameter, 1414 inches. 
 
 267 Temple Gong. Wrought bronze; prolonged tone and 
 mellow sound. Height, 10 inches; diameter, 12144 inches. 
 Kighteenth century. 
 
 268 Temple Gong. Wrought bronze. Height, 114% inches; 
 diameter, 1444 inches. Highteenth century. 
 
 269 Temple Gong. Wrought bronze. Height, 10 inches; 
 diameter, 13 inches. Highteenth century. 
 
 270 Temple Gong. Wrought bronze. Height, 11% inches; 
 diameter, 14144 inches. Highteenth century. 
 
 271 Temple Gong. Wrought bronze. Height, 12 inches; 
 diameter, 1444 inches. Eighteenth century. 
 
 272 Prayer Gong. Wrought bronze, with silk cord. Dia- 
 meter, 17 inches. Highteenth century. 
 
 273 Prayer Gong. Wrought bronze, with silk cord. Dia- 
 meter, 194% inches. Eighteenth century. 
 
ANTIQUE CHINESE ENAMELS 117 
 
 ANTIQUE CHINESE ENAMELS 
 
 274 Slender Vase. Beaker shape, with 
 flaring top, and archaic palm-leaf designs 
 at neck, interspersed with arabesques in 
 various colors on light-blue ground. 
 Kien-long, 1736-96. Height, 1244 inches; 
 diameter, 634 inches. Carved stand. 
 
 275 Cemser. Tripod form, with cover and 
 upturned arms. Arabesque design in 
 various colors on turquoise ground; 
 cover is bronze, with perforations and 
 enameling, engraved key borders; the 
 feet are heads in gilt bronze with enam- 
 eling. Kien-long, 1736-96. Height, 1244 
 inches; width, 1044 inches. 
 
 276 Censer. Tripod form, with cover and : 
 handles. The body is gilt bronze; has ond 
 wide archaic borders in blue, red, green 
 and turquoise enamelling; elephant’s 
 trunk feet; cover has arabesque enameled 
 rim, gilt bronze perforations, and coiled 
 dragon ontop. Height, 12 inches; diameter, 
 inches. Kien-long, 1736-96. Carved stand. 
 
 277 Two Tripod Temple Censers. Floral 
 design on lapis and turquoise blue ground. 
 Body raised on elephant’s - tusk feet, 
 wrought in massive gold bronze. At- 
 tached stand in form of lotus- plant. 
 Cloisonné enameled seal-mark at the base. 
 Height, 13 inches; diameter, 8 inches. From 
 276 the Comte de Sematltle collection. 7 
 
 278 Tripod Incense-Burner. Arabesque design, with the 
 circular show-mark, and fungiform borders, ete., in 
 yarious enamels on turquoise ground. Perforated re- 
 poussé cover, with enamel decoration, head and ring- 
 handles in gilt bronze. Height, with carved teak stand, 
 11 inches; diameter, 6 inches. Kien-long, 1736-96. 
 
118 ANTIQUE CHINESE ENAMELS 
 
 279 Two Temple Candlesticks. Gilt bronze. Arabesque 
 lotus-flower design, with various enamels on turquoise 
 ground. Height, with teakwood stand, 15 inches; dia- 
 meter, 514 inches. 
 
 280 Tall Beaker. Slender form, with trumpet top. Arab- 
 esque and lotus-flower design, with various enamels on 
 dark turquoise ground. Height, 17 inches; diameter, 944 
 inches. 
 
 281 Bowl. Exterior is of cloisonné enamel, with conventional 
 lotus-flower design in various enamels on turquoise 
 ground ; the interior is of Japanese gold lacquer, with 
 an elephant in rich trappings. Height, 244 inches; dia- 
 meter, 534 inches. 
 
 282 Large Temple Vase. Pear-shaped, with heads and rings 
 for handles in gilt bronze. An archaic border in various 
 dark enamels surrounds the body from base to neck; the 
 shoulder has a wide band with vertically arranged small 
 fungi-form leaves in green on turquoise ground. Height, 
 2044 inches, including the cover; diameter, 14 inches. 
 Carved stand. 
 
 283 Temple Vase. Square shape, with flaring top and 
 base, with gilt-bronze ornaments of archaic design. The 
 enameling is in various colors, blue predominat- 
 ing. Interior is of cloisonné enamel, with arabesques 
 and the sacred lily in various colors on dark-blue 
 ground. Height, 23 inches; diameter, 1844 inches. Carved 
 stand. 
 
 284 Large Temple Vase. Square shape, with small body 
 and flaring base and neck. Cloisonné enamel, with 
 gilt bronze edges. The ground of the vase is in the 
 classical Chinese archaic character, with deep and 
 rich enamels, the interior of the neck is also in cloisonne, 
 with the conventional arabesque and _ lotus-flower 
 motif. Height, 2314 inches; diameter, 15 inches. Carved 
 stand. 
 
 285 Large Vase. Oviform, with ring handles. Conventional 
 arabesque and lotus-flower design in various deep 
 tones, upon a brilliant old turquoise ground. Height, 
 14 inches; diameter, 10 inches. Carved stand. 
 
ANTIQUE CHINESE ENAMELS 119 
 
 286 Large Temple Piece. Form of 
 two cylindric-hexagonal vases. 
 Geometrical designs in various 
 colors upon turquoise ground. 
 The vases are held together by a 
 grotesquely-wrought phoenix of gilt 
 bronze supported by the legendary 
 dog Foo; the reverse has a dragon 
 in place of the bird. Height, 25 
 inches; width, 27 inches. Carved 
 stand. 
 
 287 Large Bottle. Ovoid body. Floral 
 designs and clouding in lapis-lazuli 
 blue, white, yellow, red, green, etc., 
 on turquoise ground; archaic bor- 
 der around the shoulder and neck. 
 Height, 19 inches; diameter, 12 
 inches. Carved stand. 
 
 288 Large Censer. Tripod. Archaic design, gilt-chased but- 
 
 tons in relief, with palm-leaf and lattice pattern ground in 
 blue and turquoise. Cover in black 
 enamel, with gilt-bronze cloisons of 
 archaic design, and coiled dragon and 
 elouds in relief, forming a _ rosette. 
 Height, 13% inches; diameter, 844 inches. 
 Carved stand. 
 
 289 Large Wase. Broad balustré shape. 
 Arabesque design, in terra-cotta red, 
 white and green, and floral ornament on 
 turquoise ground. 
 Height, 17% 
 inches; diam- 
 eter, 13 inches. 
 Carved teak 
 stand. 
 
 290 Grand Temple Wase. Beaker 
 shape. Conventional lotus-flower 
 design, with arabesque-like stems, 
 on turquoise ground; four orna- 
 ments in gilt bronze, running from 
 base to neck. Height, 2514 inches ; 
 diameter, 14144 inches. 
 
120 ANTIQUE CHINESE ENAMELS 
 
 291 Temple Censer. Tripod, with upturned handles and 
 
 three feet formed by grotesque heads. The body has 
 
 -arabesque borders of gilt bronze. 
 
 Perforated and chased cover, with 
 
 ak elephant bearing a small ornamentai 
 
 Bt vase. Height, 1714x18 inches. Carved 
 stand. 
 
 Suez 292 Grand Jardiniére. Chaidron shape, 
 TEAR AY supported by three small figures in 
 lod bronze; dragon designs in green, 
 yellow and white enamel, with con- 
 ventional clouds, etc., on dark blue 
 
 291 ground. The rim border is in arab- 
 esques on a light-blue ground, and 
 
 the base is in waves of black and green. The bottom 
 is entirely covered with cloisonné. Two gilt bronze 
 emblematical bats are in relief near 
 the rim or upper border. Height, 
 14 inches ; diameter, 24 inches. Carved 
 
 stand. 
 
 GR 
 
 293 Imperial Vase. Ovoid body, with 
 graceful receding neck. Dull gold 
 gilt bronze, with champ-levé enamel 
 in arabesque design, studded with 
 precious stones, including jade, mala- 
 chite, Japis-lazuli, oriental turquoise, 
 agate, carnelian, and aventurine or 
 gold stone, representing the various 
 precious stones known and found in 
 China during the eighteenth century; 
 the colors employed in the enamelling 
 are identical with those of the min- 
 erals. The body of the vase has eight 
 enameled panels; four of these show 
 respectively, lotus, chrysanthemum, 
 epidendrum, and prune blossoms, and 
 each of the alternating four has a 
 poem upon its accompanying flower, 
 two of them composed by the Emperor Kien-long. In 
 the following pages we give translation of these poems. 
 The base bears the full seal-mark, in champ-levé, of the 
 Kien-long period, 1736-96. Height, 32 inches; diameter, 
 15 inches, 
 
ANTIQUE CHINESE ENAMELS 121 
 
 TRANSLATION OF VERSES ON PANELS OF ABOVE VASE 
 
 Translated by Lew Yuk Lin, Vice-Consul, 
 His Imperial Chinese Majesty’s Consulate, New York. 
 
 THE CHRYSANTHEMUMS. 
 
 The roots of last autumn’s Chrysanthemums I[ dug up, 
 
 And planted by the door-steps below. 
 
 Through the verdant spring I cherished them ; 
 
 Through the heat of the summer I watered them. 
 
 The labor of three seasons, thus accumulated, 
 
 Has brought forth flowers for the enjoyment of my leisure. 
 How the slender stems glisten with the dew; 
 
 How the green buds swell in the cold night ! 
 
 To thee, O Flora, I fill this cup, and libation pour : 
 
 And thy gracious aid I implore! 
 
 May the delicate petals unfold themselves in glorious succession ; 
 May thou protect them from Boreas’ blast ! 
 
 Ye 
 
 RQ 
 
 KIEN 
 LONG, 
 
 CAAA ANOAH 
 
 RRs. 
 ZOOOWWOWonn 
 
 % 
 
 The Imperial production and pen of Kien-Long. 
 SES 
 CHUNG 
 HON. 
 
 RLOWWWoony 
 ADWWWNY 
 
 DXA 
 
 THE PRUNUS. 
 
 What is this frosty sweetness that seems to have been infused 
 into the morning dew ? 
 
 What is this rich hue that brightens the spring evening ? 
 
 As soon as I roll up the curtain and hang it upon the coral hooks, 
 
 A mist of fragrance, escaping as it were from a confined space, 
 floats in and fills the room. 
 
 It is the colorless petals that hold the essence of sweetness. 
 
 How tranquil the blossoms appear in the moonlight night! 
 
122 ANTIQUE CHINESE ENAMELS 
 
 When other flowers come out later in the spring, 
 
 The Prunus is ready to sprinkle one’s coat with white flakes. 
 Every bud seems to hold a scarlet seed of the lichee-nut inside, 
 But the expanded petals vie with the snow in whiteness. 
 
 In the quietness of the spring evening, 
 
 The beautiful sight impels a poet to lofty strains. 
 
 SOMKMKMNNAS 
 j Z 
 Z WAI Z 
 Z Z 
 Z Z 
 Z CHING. Z The words of the seals mean ‘“‘ to purify ” and 
 Z Z “to pacify ” and have reference to the ideal gov- 
 QOS AAA x 
 _ ernment of the Empire. These words can be 
 SYOCLHKMHMWWWMMOAWN . 4 Fy 
 Z z used only by the Sovereign himself or by heirs to 
 Z WAI Z the throne. 
 Zz Zz 
 Z YA a7 
 Z Z 
 
 SSS 
 
 cA 
 K 
 
 THE LOTUS. 
 
 The Lotus water is as smooth as glass. 
 
 The Lotus is like a maiden dressed up in pink and green; 
 
 It does not compete for honor in the garden, 
 
 It dances in the sunshine and the ripples. 
 
 Its blossom reminds one of the head-tire of Lock Pon; 
 
 And its waving to and fro vies with the movement of Su Sheong 
 in grace. 
 
 Surely, the Loo-Sees [birds] knew what the pleasures of men 
 were, 
 
 When, after their evening repast, 
 
 They sought its fragrance. 
 
 > AAAS 
 
 Z KIEN Z 
 Z Z 
 Z LONG, 3 
 4 Z 
 Z Z 
 RA 
 The Imperial production and pen of Kien-long, 
 SS 
 y 4 
 Z y 
 ZCHUNG { 
 Z Z 
 Z HAN. 
 4 Z 
 QAI 
 
ANTIQUE CHINESE ENAMELS 123 
 
 THE EPIDENDRUM. 
 
 How proudly the Epidendrum floats in the breeze, 
 
 With its long, dark-green leaves, like tresses waving to and fro! 
 I have a mind to pick the fower,—but to whom shall I give it? 
 Back and forth I pace the hall, without coming to a decision. 
 The stem is bedewed with many colored beads; 
 
 The petals resemble the golden reflections of the setting sun. 
 Fortunately neither the bee nor the butterfly knows how to pick it, 
 As it quietly lies, a bright object in the shade. 
 
 I take out a pair of golden scissors with one hand, 
 
 While holding a green bamboo basket with the other. 
 
 Not for a personal ornament I cut it, 
 
 But merely for the love of its imperial fragrance. 
 
 4) 
 
 SS 
 
 “, 
 
 CHOA 
 | DUK. 
 QArEEAMMM00s 
 
 The name of a court official at the time of Kien-long. 
 SSAA, 
 
 CQO AY 
 MAXON 
 
 N 
 ~ 
 
 CHU 
 Veta 
 
 SAA AAA 
 
 MMMMMOMMny, 
 ADNAN 
 
 4 
 
 294 Shrine Garniture. Consisting of five pieces. Gilt 
 bronze with rich champ-levé enameling in finely combined 
 colors, and studded with semi-precious stones on a tur- 
 quoise enamel ground. 
 
 A Cemnser. Melon-shaped tripod with gilt bronze and enam- 
 eled feet, upturned arms, perforated cover with key 
 borders, and coiled dragon surmounting. Height, 1544 
 inches; width, 1344 inches. Carved stand. 
 
 B Pair of Vases to match. Foliated and beaker shape. 
 Height, 1014 inches; diameter, 54 inches. Carved stands. 
 
 C Pair of Candlesticks to match, Height, 13 inches; 
 diameter, 544 inches. Carved stands. 
 
 295 Jardiniére. Gilt bronze with champ-levé enamel 
 borders, lapis-lazuli and turquoise ground. Upper 
 border is in fretted design. Teakwood stand, inlaid 
 with pearl. Complete height, 644 inches; length, 9 
 inches; width, 634 inches. 
 
124 ANTIQUE CHINESE ENAMELS 
 
 296 Wase. Gourd shape. Gilt bronze repoussé, and chased 
 work, richly studded with real stones, including lapis- 
 lazuli, turquoise, malachite, jade, carnelian, amber, coral 
 and oriental garnets. The design represents the gourd 
 plant and foliage, and medallions with the character 
 show on each side. Height, 104g inches by 9 inches by 334 
 inches. Stand with green ivory insertions. 
 
 297 Jardiniére, Foilated form. Flaring top and feet of gilt 
 bronze, with champ-levé enamel. Ornamented with rea) 
 stones, consisting of turquoise, carnelian, agate, etc., in 
 archaic design, with the outline representing the head of 
 ananimal. Height, without stand, 5144 inches; diameter, 
 934 inches. Carved stand. 
 
 298 Cemser. Tripod. Gilt bronze, elaborately chased and 
 studded with jewels, including a fret border in sapphires 
 and other borders with garnets, rubies, emeralds and 
 rhinestones. Height, without stand, 844 inches; diameter, 
 5 inches by 4% inches. Carved stand. 
 
 299 Pair of Elephants. Gilt bronze; champ-levé enamel, 
 studded with precious stones, including lapis-lazuli, tur- 
 quoise, white jade, rubies, and beads of coral and pearl. 
 Jade tusks. frappings curiously inlaid with fine peacock 
 feathers. Vase, with emblems and naturalistic flowers 
 wrought in jade, silk, ivory, ete. Height, over all, 20 
 inches; width, 9 inches by 5 inches. 
 
 300 Hanging Wall Wase. Flat, with ring handles. 
 Repoussé and chased gilt bronze, studded with jewelled 
 glass in red and various greens. Height, 8 inches; diame- 
 ter, 414 inches. 
 
 301 Large Plaque. Copper covered with enamel and deco- 
 rated at Pekin. Has a panel representing a landscape with 
 water and fishermen in boats, besides other figures. This 
 panel is surrounded by various borders; the first one is in 
 a honeycomb fret design in rose tint interrupted by blue 
 vignettes ; another one is in a floral design with medallion 
 panel containing fruit and flowers in natural colors; and 
 the outside one is in green with blossoms and crackled 
 design. Diameter, 16 inches. 
 
JAPANESE MODERN ENAMELS 125 
 
 JAPANESE MODERN ENAMELS 
 
 302 Vase. Ovoid shape, with curved neck. Decoration repre- 
 sents mandarin ducks, birds and flowers, with prunus 
 blossoms on mazarin-blue ground; finished with arabesque 
 border at base and neck in various colors. Height, 124 
 inches ; diameter, 64% inches. 
 
 303 Two Vases. Oval shape, with spreading neck. The 
 background is covered with irregularly dispersed crests, 
 foliage and birds, etc., in various colors; in blue panels 
 are flying storks in white, the reverse panels show quails 
 and foliage; at the neck is a blue vignette with insects. 
 Height, 1244 inches; diameter, 8 inches by 434 inches. 
 
 304 Oviform Wase. Turquoise-blue panels, with birds and 
 flowers in autumn coloring, and the reverse panel has 
 white storks flying and in the water; the remaining 
 surface is decorated with dragons and clouds in various 
 colors on a slate-colored ground. Height, 134 inches; 
 diameter, 8 inches, 
 
 | 
 
 305 Large Vase. Oviform, with flaring neck. The ornamen- 
 tation consists of various chrysanthemums in natural 
 colors, with foliage and butterflies on mazarin-blue 
 ground. A fretted border in red, with blue vignettes 
 containing birds and dragons surrounded by arabesque 
 and medallion decoration, finishes the shoulder and neck. 
 The interior of neck and the foot are finished in cloisonné 
 enamel. Height, 2344 inches; diameter, 12 inches. 
 
 306 Two Large Vases. Cylindrical, with curved neck. The 
 decoration consists of chrysanthemums in various colors, 
 and foliage, with butterflies on turquoise-enameiled 
 ground; dragons in various colors on a black decorated 
 ground encircle the neck; on the base are fish and sea 
 plants in various colors. Height, 1744 inches; diameter, 
 934 inches. 
 
 307 Panel. Enamelled on a bronze, a white and gray crane 
 on turquoise-blue ground. A superb specimen of modern 
 enamel. Signed by the maker, Namikawa_ Sosuke. 
 Height, 2544 inches; width, 17344 inches. Teakwood 
 frame. 
 
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ANTIQUE 
 
 PORCELAINS 
 
SALE, TUESDAY AFTERNOON, APRIL 12TH 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’CLOCK 
 
 CHINESE PORCELAINS 
 
 CABINET OBJECTS 
 
 311 Small Coupe. Chinese porcelain. Covered with mustard- 
 yellow crackled glaze. Green glazed interior. Height, 
 1% inches; diameter, 214 inches. 
 
 312 Snuff Bottle. Ovoid flat shape. Covered with green 
 crackled glaze. Rose crystal stopper. Height, 34 inches ; 
 diameter, 134 inches. Case. 
 
 313 Snuff Bottle. Ovoid shape. Covered with mustard- 
 yellow crackle. Red glass stopper. Height, 314x134 
 inches. 
 
 314 Snuff Bottle. Ovoid and flat shape. Covered with car- 
 nelian-red glaze. Height, 2 inches; diameter, 2 inches. 
 
 315 Snuff Bottle. Ovoid and flat shape. Decorated with an 
 elephant; the reverse with flower-pot, stand, ete. Pink 
 glass stopper. Height, 3 inches; diameter, 2 inches. 
 Kien-long;, 1736-1796. 
 
 316 Snuff Bottle. Ovoid and flat. Floral decoration and 
 cat watching birds. Glass stopper. Height, 244 inches; 
 diameter, 2 inches. Kien-long, 1736-1796. 
 
 317 > at Bottle. Oviform. Mustard-yellow crackled glaze. 
 eight, 24% inches; diameter, 184 inches. Khang-he, 1661- 
 1722. Carved stand. 
 
 318 Snuff Bottle. Oviform. Mustard-yellow crackle in dull 
 glaze. Height, 2144 inches; diameter, 134 inches. Carved 
 stand. 
 
 319 Snuff Bottle. Ruby-colored glass. Height, 244x134 
 inches. Kien-long, 1736-1796, 
 
130 CHINESE PORCELAINS 
 
 320 Snuff Bottle. Ovoidshape. Covered with mustard-yellow 
 crackled glaze. Height, 244 inches; diameter, 114 inches. 
 Yung-cheng, 1723-1786. Carved stand. 
 
 321 Cup. Decoration consists of a branch of the prunus tree 
 with blossoms, on white crackled ground. Khang-he, 
 1661-1722. Height, 234 inches; diameter, 3 inches. 
 
 From the Comte de Semaile collection. 
 
 322 Perfume Coupe. Arabesque painting on fine diapered 
 red ground. An exceedingly choice bit of decoration and 
 detail. Kien-long, 1736-1796. Height, 144 inches; diameter, 
 234 inches. Carved stand. 
 
 From the Comte de Sematlle collection. 
 
 323 Snuff Bottle. Form of two fishes. Taou-kwang, 1822- 
 1851. Height, 234 inches; diameter, 114 inches. Carved 
 stand. 
 
 $24 Snuff Bottle. Apple-green glaze, with minute crackle. 
 Khang-he, 1661-1722. Height, 3 inches; diameter, 2 inches. 
 Carved stand. 
 
 $325 Miniature Vase. Bright ruby glaze, with pale céladon 
 neck. Taou-kwang, 1822-1851. Height, 3 inches; diam- 
 eter, 144 inches. Stand. 
 
 326 Vase. Biberon shape. Flambé, shading from light céladon 
 to magenta and red. Kea-king, 1796-1821. Height, 714 
 inches; diameter, 444 inches. With stand. 
 
 327 Small Oviform Bottle. Deep ruby and flambé. Khang- 
 he, 1661-1722. Height, 34% inches: diameter, 214 inches. 
 With stand. 
 
 328 Small Cup. Porcelain. The outer surface, of dull black 
 glaze, is decorated with dragons in gold. Bears the mark 
 of Yung-cheng, 1723-17386. Height, 344 inches; diameter, 
 234 inches. Carved stand. 
 
 From the Comte de Semalle collection. 
 
 329 Vase. Carved at base and neck. Decorated figures, in- 
 cluding Hotei, the god of contentment and good-fortune. 
 Mark, Yung-cheng, 1723-1736. Height, 3144 inches; diam- 
 eter, 134 inches. 
 
 330 Miniature Vase. Decorated with figure subject under 
 the glaze. Khang-he, 1661-1722. Height, 314 inches; diam- 
 eter, 2 inches. 
 
 From the Comte de Sematle collection, 
 
CHINESE PORCELAINS 131 
 
 331 Perfume Holder. Form of a lotus-blossom, with three 
 petals forming the feet. Covered with dull rose soufflé. 
 One foot is mended. Teak cover with white jade top. 
 Height, 5% inches; diameter, 4144 inches. Carved stand. 
 
 332 Incense Burner. Elephant’s-tusk feet, with handles of 
 grotesque design. Apple-green crackle in dull glaze. 
 Perforated cover, with dog Foo surmounting. Height, 6144 
 inches; diameter, 5 inches. Kien-long, 1736-1796. Carved 
 stand. 
 
 333 Vase. Ovoid form, with broad neck. Flambé, with 
 ribbed and crackled surface and purple lines. Height, 814 
 inches; diameter, 444 inches. Kea-king, 1796-1821. 
 
 334 Cabinet Vase. Square and balustre shape. Marbleized 
 *claze. Height, 8144 inches; diameter, 4 inches. Carved 
 stand. 
 
 335 Small Perfume Jar. Oblong shape. Gilt in imitation 
 of a bronze, with panels beaded and covered with verdigris. 
 Cover with figure of dog Foo in relief. Height, 444x3x2 
 inches. Kien-long, 1736-1796. Carved stand. 
 From the Comte de Semalle collection. 
 
 336 Imeense Burner. Oval shape. Porcelain in imitation 
 of an ancient bronze. Cover surmounted by dog Foo. 
 Height, 6 inches; diameter, 644x5 inches. Carved stand. 
 
 337 Small Vase. Biberon shape. Red flambé. Height, 6 
 inches; diameter, 244 inches. Carved stand. 
 
 338 Small Vase. Ovoid shape, with flaring neck. Red flambé. 
 Marked Khang-he, 1661-1722. Height, 344 inches; diameter, 
 24% inches. With stand. 
 
 339 Sacrificial Cup. Large size, with broad spout. Covered 
 with chocolate glaze, and gold decoration consisting of 
 borders and rosettes. Feet and handles in pale-blue and 
 decorated. Interior of turquoise. Height, 3144x714 x44 
 inches. Taou-kwang, 1821-1851. 
 
 340 Small Vase. Biberon shape. Copper-red flambé, shad- 
 ing to purple at the base. Taou-kwang, 1821-1851. Height, 
 6 inches; diameter, 3144 inches. Carved stand. 
 
 341 Small Vase. Brilliant ruby glaze. Height, 444 inches; 
 diameter, 3 inches. Carved stand, 
 
182 CHINESE PORCELALINS 
 
 342 Box, or Bonbonniére. Square shape. 
 Raised gold design in archaic character 
 on blue enameled ground, with plain 
 rose-colored knob or mandarin button 
 on cover. The interior is glazed ina 
 most delicate blue. Height, 344 inches; 
 diameter, 444 inches. Engraved seal- 
 mark, Kien-long, 1736-1796. Carved 
 teak stand. 
 
 342 
 343 Miniature Jar. With cover. Beautifully painted deco- 
 ration of symbolical devices and other designs, in various 
 colors, on a white ground. Seal-mark, Kien-long, 1736- 
 1796. Height, 334 inches; diameter, 234 inches. Carved 
 stand. 
 
 344 Small Cabinet Vase. Imperial porcelain. Red, marble- 
 ized, square panels and raised borders in gold, upon 
 vitreous blue and green glazed ground. Kien-long, with 
 seal-mark, 1736-1796. Height, 544 inches by 242 inches by 
 134 inches. 
 
 345 Cabinet Vase. Ovoid body, with flaring neck. Covered 
 with aheavy glaze, shading from a walnut brown and red 
 into a céladon and showing slightly crackled surface. 
 Height, 64 inches; diameter, 344 inches. Khang-he, 
 1661-1722. Carved stand. 
 
 346 Cup. Egeg-shell. Decorated on yellow ground, with small 
 blossoms, in pink, and flying black-birds. Yung-cheng, 
 1723-1786. 
 
 347 Two Wine Cups. Figure decoration in various enamels 
 over glaze, and inscriptions in black. Height, 144 inches; 
 diameter, 3 inches. Yung-cheng, 1723-1736. 
 
 348 Sacrificial Cup. Peach form, with stem and foliage in 
 relief, forming foot and handles. Rainbow soufflé; the 
 leaves in green and the stem in brown; all in imita- 
 tion of the natural fruit. The interior is glazed in pale 
 turquoise. Height, 2 inches; diameter, 4 inches. Yung- 
 cheng, 1723-1736. Cloth stand. 
 
 349 Square Box. Decorated with archaic designs, geometri- 
 cally arranged, engraved and slightly raised; pearl white 
 glaze. The cover is ornamented with the mystic Yang- 
 Yin. Height, 334 inches by 334 inches. Kien-long, 1736- 
 1796. Carved stand. 
 
CHINESE PORCELAINS 133 
 
 350 Flat Coupe. Outer edge is of floral design in relief. 
 The outer surface is covered with a pale céladon, and 
 the inner surface has raised transverse bars. Height, 1 
 inch by 34 inches. Kien-long, 1736-1796. Carved stand. 
 
 351 Censer. Cylindrical form, with floral design modeled in 
 low relief and covered with céladon; perforated silver 
 cover of chrysanthemum design. Height, 5 inches; diam- 
 eter, 54 inches. Taou-kwang, 1821-1851. 
 
 352 Shallow Coupe. Broad, cylindrical form, raised on 
 three feet. The outer surface ornamented in slight relief: 
 with symbolical designs. Interior is in white. Yung- 
 cheng, 1723-1736. Height, 2144 inches; diameter, 634 inches. 
 Carved teakwood stand. 
 
 353 Cup. Square shape. Heavy olive glaze and deeply incised 
 fret borders on verdigris ground, with gilt pointings in 
 imitation of a bronze. Kien-long, 1736-1796. Height, 3 
 inches; diameter, 3144 inches. Carved teak stand. 
 
 354 Small Vase. Biberon shape. Dark-green glaze, with 
 minute crackles; small gilt rim at top. Height, 5 inches; 
 diameter, 244 inches. 
 
 355 Small Vase. Square shape. Covered with fine mustard- 
 yellow crackle glaze, with interior of neck in green. 
 Height, 5 inches; diameter, 2 inches. Kea-king, 1796-1821. 
 Carved stand. 
 
 356 Small Vase. Gourd shape. Covered with fine mustard- 
 yellow crackle glaze. Height, 5 inches; diameter, 2% 
 inches. Kea-king, 1796-1821. Carved stand. 
 
 357 Small Jardiniére. Jar shaped. Marked Ching-hwa, 
 1465-1488. (Apocryphal.) Height, 3144 inches; diameter, 334 
 inches. Stand. 
 
 358 Wine Cup. Coral-red, with floral decoration in various 
 enamels. Interior shows peaches and foliage. Height, 244 
 inches; diameter, 244 inches. Kien-long, 1736-1796. 
 
 359 Small Vase. Squareshape. Has raised crest on each side, 
 with the Pat-kwa or eight trigrams on the corners in gilt. 
 Light pea-green arabesque ground. Height, 41% inches; 
 diameter, 134 inches. Engraved seal, Kien-long, 1736-1796. 
 Carved stand. 
 
134 CHINESE PORCELAINS 
 
 360 Bottle. Cabinet specimen of robin’s-egg marbleized glaze. 
 Height, 6 inches; diameter, 5% inches. Seal-mark, Yung- 
 cheng, 1723-1786. Carved stand. 
 
 361 Small Incense Jar. Cylindrical shape, on three feet. 
 Made in imitation of a gold bronze. Gilt seal-mark, Kien- 
 long, 1736-1796. Height, 5 inches; diameter, 4inches. Has 
 finely carved stand of teak, and a platform with glass 
 case. 
 
 BLUE AND WHITE. 
 
 362 Imecense Jar. Blueand white dec- 
 oration in floral design, with grif- 
 fin-headed handles, and dog Foo on 
 the cover. Height, 74 inches; 
 diameter, 6 inches. Carved stand. 
 
 363 Small Vase. Figure and flower 
 decoration in blue and white. Sil- 
 ver-mounted in the form of ewer. 
 Height, 644 inches; diameter, 214 
 inches. Khang-he, 1661-1722. 
 
 362 
 
 364 Four Small Cups. Shallow shape; egg-shell texture; 
 blue medallions, dragons, etc. Diameter, 234 inches. 
 Khang-he, 1661-1722. 
 
 365 Two Wine Cups. Egg-shell porcelain; decorated at the 
 rim with narrow blue borders. Marked, Ching-hwa, 1465- 
 1488. (Apocryphal.) Height, 144 inches ; diameter, 2 inches. 
 
 366 Wine Cup. Soft paste, with figure decoration under 
 glaze, in two shades of blue. Marked, Seuen-te, 1426-1436. 
 (Apocryphal). Height, 144 inches ; diameter, 134 inches. 
 
 367 Small Dish. Soft paste. Egg-shell; engraved dragon 
 and fret border. (Apocryphal.) Diameter, 3 inches. 
 Seuen-te, 1426-1436. 
 
 368 Tea-pot and Cover. ‘The entire surface is covered 
 with arabesques and bats under glaze; a reserve on one 
 side shows an interior with figures, and another is filled 
 with a poem. Seal-mark, Kien-long, 1736-1796, Height, 5 
 inches by 64% inches. 
 
 369 Tea-pot and Cover. Companion to the above. 
 
CHINESE PORCELAINS 135 
 
 370 Small Vase. Biberon shape. Soft white glaze; decorated 
 in blue, with landscape, trees and rocks, moon, a bat and 
 the dog Foo. Height, 7 inches; diameter, 314 inches. 
 Carved stand. 
 
 371 Small Wase. Ovoid shape. Decoration a 
 pine-tree with the dog Foo. Kea-tsing, 1522- 
 1567. Height, 644 inches; diameter, 3 inches. 
 Carved stand. 
 
 372 Four Small Cups. Egg-shell. Decorated 
 in blue, with dragons in medallions, etc. 
 Height, 1 inch; diameter, 234 inches. Khang- 
 he, 1661-1722. 
 
 373 Large Hawthorn Jar, with Cover. 
 Decorated with branches of prune blossoms, ail 
 in white reserve, on a deep-blue ground. The rim of 
 the cover is mended with gold lacquer. Khang-he, 1661- 
 1722. Height, 1634 inches; diameter, 10 inches. Carved 
 stand. 
 
 374 Hawthorn Ginger Jar. Decorated with branches of 
 prune blossoms, in white reserve, on a brilliant blue 
 clouded ground. The cover is of solid silver, oxydized, 
 and carved with chrysanthemums and water lines in 
 relief. Khang-he, 1661-1722. Height, 10 inches; diameter, 
 814 inches. Carved stand. 
 
 375 Vase. Balustreshape,with handles. Decorated in brilliant 
 deep blue around the neck and base, with four medallions, 
 representing the Pa-kwa, and in the centre the mystic de- 
 vice of the Yang-Yin. Khang-he, 1661-1722. Height, 1544 
 inches; diameter, 714 inches. Carved teak stand. 
 
 376 Vase. Beaker shape. White paste. Modeled with floral and 
 arabesque design in low relief, supporting eight circular 
 medallions decorated with blue dragons. Khang-he, 1661- 
 1722. Height, 17 inches; diameter, 844 inches. Carved 
 teakwood stand. 
 
 377 Large Wase. Cylindrical, with narrowneck. White, 
 with orange-peel surface ; on one side three goats in blue 
 of brilliant quality. Height, 15 inches; diameter, 7144 
 inches. Kien-long, 1736-1796. Carved stand. 
 
 378 Hawthorn Ginger Jar. Decorated with leaf-shaped 
 medallions in white reserve with symbolical emblems and 
 objects. The field is decoratedwith prune blossoms in white 
 reserve, on a brilliant blue clouded ground. Height, with 
 cover, 9 inches; diameter, 8 inches. Khang-he, 1661-1722, 
 
136 CHINESE PORCELAINS 
 
 379 Large Vase. Ovoid body, with slender, flaring neck, and 
 handles. Decorated with arabesque scroll design and 
 floral rosettes. The base has scalloped borders in relief, 
 and is decorated. The shoulder border consists of an 
 archaic band in relief, besides a convex border in lattice 
 design. The neck has palm-leaf band and hanging orna- 
 mentation edged with key borders at the rim. Kien- 
 long, 1736-1796. Height, 1914 inches; diameter, 13 inches. 
 Carved stand. 
 
 380 Vase. Balustre shape, with elephant’s-head handles, with 
 beautiful decoration in deep blue. Height, 9 inches; 
 diameter, 5inches. Khang-he, 1661-1722. Carved stand. 
 
 381 Coupe, Ovoid shape. With a border design in blue, under 
 the glaze. Height, 3 inches; diameter, 334 inches. Kien- 
 long, 1736-1796. Carved stand. 
 
 382 Vase. Bottle shape. Arabesque and floral decoration in 
 deep blue under the glaze. Height, 84% inches; diameter, 
 444 inches. Khang-he, 1661-1722. Carved stand. 
 
 383 Hawthorn Jar,with Cover. Blossoms conventionally 
 dispersed over a pale-blue and clouded ground. Khang- 
 he, 1661-1722. Height, 13144 inches; diameter, 8 inches. 
 Carved teak stand. 
 
 384 Plate. Deep. Soft paste. On center panel is a garden 
 corner with peonies, daisies, etc., surrounded by six 
 detached sprigs of flowers, and two narrow fret borders 
 in pale blue, all painted under the glaze. Reverse border, 
 decoration of three ornamental sprigs in a deeper shade 
 of blue. Diameter, 7% inches. 
 
 385 Small Dish. Design is a vase on stand, with growing 
 plants, decorated in two shades of blue under the glaze; 
 broad inner border in fret design; narrow rim border in 
 honey-comb pattern. Diameter, 6 inches. 
 
 386 Pair of Bottles. Small; squareshape. Each of the four 
 panels shows four children at play. Yung-cheng, 1723- 
 1736. Height, 5 inches; diameter, 24% inches. Stands are 
 carved, 
 
 387 Small Vase. Oviform. Semi-eggshell. Delicately en- 
 graved dragon in blue on white ground. Height, 614 
 inches; diameter, 34 inches. Kien-long, 1736-1796. 
 Carved stand. 
 
CHINESE PORCELAINS 137 
 
 388 Small Hawthorn Jar. The blossoms dispersed over 
 the surface; clouded blue ground. Fine quality. Khang- 
 he, 1661-1722. Height, 544 inches; diameter, 4 inches. 
 Carved teakwood cover and stand. 
 
 389 Large Jar. Hawthorn pattern, with blossoms in white 
 reserve on transparent and clouded blue ground. Khang- 
 he, 1661-1722. Height, with cover, 1644 inches; diameter, 
 10% inches. Cover is mended. 
 
 390 Ginger Jar. Hawthorn pattern, with prune blossoms clus- 
 tered in white reserve ona clouded blue ground in crackled 
 design. Perforated teakwood cover and stand. Height, 
 814 inches; diameter, 8144 inches. Khang-he, 1661-1722. 
 
 391 Two Vases. Diamond-shaped body, with spreading foot, 
 cylindrical neck, and handles. Arabesque floral design, 
 representing the convolyulus, in blue under glaze. Seal- 
 mark, Yung-cheng, 1723-1736. Height, 984 inches; diame- 
 ter, 5inches. Carved stands. 
 
 392 Hawthorn Ginger Jar. Blue 
 and white. Decoration in the form 
 of branches with the prune blos- 
 soms in white reserve upon a deep [> 
 and brilliant blue clouded ground. 
 Of supreme quality. Period of 
 Khang-he, 1661-1722. Height, 10 
 inches; diameter, 84% inches. The 
 silver cover was made in Japan, 
 and has the prune blossom in 
 relief. Carved teakwood stand. 
 
 393 Hawthorn Ginger Jar. Blue 392 
 and white. Decoration in form of 
 branches with the blossoms in white 
 reserve on a brilliant blue ground. 
 Period of Khang-he, 1661-1722. The 
 silver cover was made in Japan. 
 Has gold birds forming a crest. 
 Height, 9146 inches; diameter, 84 
 inches. Carved stand. 
 
 394 Tall Hawthorn Jar with 
 Cover. Decoration of branches 
 with the blossoms in white reserve 
 on a deep blue ground. Khang-he, 
 1661-1722. Height, with cover, 17144 
 inches; diameter, 1014 inches. Cover 
 
 ANIA slightly mended with gold lacquer. 
 
 394 From the Comte de Sematle collection. 
 
1388 CHINESE PORCELAINS 
 
 395 Vall Hawthorn Jar. Similar to 394. 
 
 396 Vase. Square, with cylindrical neck and foot. Landscape 
 design in blues of fine quality under the glaze. Kien-long, 
 1736-1796. Height, 834 inches; diameter, 3% inches. 
 Square carved stand. 
 
 397 Beaker. Decorated with horses in blue outline and 
 dappled with russet and blue; pine-trees and rocks, ete. 
 Khang-he, 1661-1722. Height, 1744 inches; diameter, 8 
 inches. Stand. 
 
 398 Large Hawthorn Beaker. Decorated with branches 
 of the prune blossom in white reserve on deep blue 
 ground. Khang-he, 1661-1722. Height, 18 inches; diameter, 
 7% inches. Mended in the center. Stand. 
 
 399 Bottle. Engraved dragons in blue outlines on soft white 
 ground. Khang-he, 1661-1722. Height, 174 inches; diam- 
 eter, 8 inches. Stand.. 
 
 400 Beaker. Decorated with groupings of figures surrounded 
 by tall screens, trees and flowers. Height, 1844 inches; 
 diameter, 844 inches. Stand. 
 
 401 Vase. Pear shape. Blue decoration with parallel borders 
 in arabesque design, including palm-leaf border at the 
 ‘neck and conventional waves and spray borders at the 
 base and rim. Seal-mark, Kien-long, 1736-1796. Height, 
 10 inches; diameter, 6144 inches. Stand. 
 
 402 Large Hawthorn Jar, with Cover. Decorated with 
 branches of prune blossoms in white reserve on clouded 
 blue ground. The cover is mended with gold lacquer. 
 Khang-he, 1661-1722. Height, 1634 inches; diameter, 10 
 inches. Stand. 
 
 403 Hawthorn Wase. Beaker shape. Decorated with 
 branches of prune blossoms in white reserve on a clouded 
 blue ground. Khang-he, 1661-1722. Height, 16 inches; 
 diameter, 8% inches. 
 
 404 Large Hawthorn Jar, with Cover. Decorated with 
 white blossoms. The cover is mended with gold lacquer. 
 Khang-he, 1661-1722. Height, with cover, 17 inches; 
 diameter, 10144 inches. 
 
 405 Large Hawthorn Jar, with Cover. Decorated with 
 the white prune blossom in reserve, arranged in vertical 
 and horizontal order on a dark-blue ground in crackled 
 design. Rim of cover is mended with gold lacquer. 
 Height, with cover, 1914 inches; diameter, 10 inches. 
 Khang-he, 1661-1722. Stand. 
 
406 
 
 407 
 
 408 
 
 409 
 
 411 
 
 412 
 
 413 
 
 414 
 
 415 
 
 CHINESE PORCELAINS 139 
 
 Hawthorn Ginger Jar with Cover. The blossoms 
 are evenly dispersed over the surface in white reserve, 
 ona clouded blue ground. Khang-he, 1661-1722. Height, 
 934 inches; diameter, 844 inches. Carved teak stand. 
 
 Hawthorn Ginger Jar. Blossoms regularly dispersed 
 over the surface in white reserve, with blue clouded 
 ground. Khang-he, 1661-1722. Height, 94% inches ; diameter, 
 814 inches. Carved teakwood stand and cover. 
 
 Large Pilgrim Bottle. Blue and white porcelain, 
 with a handsome design, bearing Buddhistic symbols. 
 Seal-mark, Kien-long, 1733-1796. Height, 19 inches; diam- 
 eter, 14 inches. Carved stand. 
 
 Large Pilgrim Bottle. Handles in the form of fish and 
 fungus plant. Decorated in blue under the glaze. The 
 centre medallions with landscape contain agricultural 
 scene, man plowing, ete. Height, 2344 inches; diameter, 
 19 inches. Design partly copied from European original. 
 Seal-mark, Kien-long, 1733-1796. Carved stand. 
 
 BOWLS AND CUPS 
 
 Bowl. Deep shape. Cream-colored engraved ~ glaze. 
 Conventional waved, diaper design. Painted with five- 
 clawed dragons and clouds, ete., in coral-red on white re- 
 serve ground. Seal-mark, Kien-long, 17386-1796. Height, 
 2144 inches; diameter, 43¢ inches. 
 
 Two Bowls. Coral-red glaze, with bamboo sprigs and 
 leaves in white reserve. Height, 244 inches; diameter, 
 
 - 45g inches. Cloth stand. 
 
 Two Bowls. Richly decorated with devices and em- 
 blems, and figures in various colors on white ground. 
 Interior has rose-colored rosette with gilt center. 
 Height, 2 inches; diameter, 4% inches. Yung-cheng, 
 1723-1736. 
 
 Cup and Saucer. Decorated in arabesque design in 
 various enamels with gold outlines on turquoise ground, 
 representing symbolical objects and the conventional 
 lotus flower. The cup has two handles. Yung-cheng, 
 1723-1736. Height, 134 inches; diameter, 234 inches; diameter 
 of saucer, 4 inches. 
 
 Two Bowls. Egg-shell. Coral-red glaze. Bamboo leaves 
 and sprigs on white reserve. Seal-mark, Kien-long, 1736- 
 1796. Height, 344 inches; diameter, 444 inches. 
 
140 
 
 416 
 
 417 
 
 418 
 
 419 
 
 420 
 
 421 
 
 422 
 
 423 
 
 424 
 425 
 
 426 
 427 
 
 428 
 
 CHINESE PORCELAINS 
 
 Tea Cup. Escaloped edge. Egg-shell. Decorated with 
 foliage and lilies, with conventional waves at the base in 
 various enamels, and two red bats. Kien-long, 1736-1796. 
 Height, 13g inches; diameter, 244 inches. 
 
 From the Comte de Sematlle collection. 
 
 Four Small Cups. Egg-shell. Each cup is decorated 
 witha different blossom design in various colors. Height, 
 2 inches; diameter, 24% inches. Six marks. Yung-cheng, 
 1723-1736. 
 
 Five Wine Cups. Egg-shell. Blue and white decora- 
 tions in arabesque. Mark, Khang-he, 1661-1722, on the 
 inside. Height, 144 inches; diameter, 214 inches. 
 
 Two Cups. With gilt covers. Richly decorated with 
 symbolical devices, figures, ete. The interior has a con- 
 ventional rose-petaled flower, with gilt center. Height, 
 with cover, 334 inches; diameter, 34% inches. Yung- 
 cheng, 1723-1736. 
 
 Four Wine Cups. Egg-shell. Narrow arabesque bor- 
 der in blue at the base. Height, 2 inches; diameter, 244 
 inches. Khang-he, 1661-1722. 
 
 Two Miniature Cups. Semi egg-shell, with floral 
 ornamentation in slight relief. White glaze. Height, 14 
 inches ; diameter, 15g inches. Yung-cheng, 1723-1736. 
 
 Small Bowl. Clair de lune glaze on inner and outer 
 surface, slightly crackled. Height, 244 inches; diam- 
 eter, 444 inches. Kea-tsing, 1522-1567. 
 
 Two Cups. Semi egg-shell. Decorated with emblemati- 
 cal devices, consisting of different objects, fruit and the 
 bat. Kien-long, 1736-1796. Height, 14% inches; diameter, 
 256 inches. 
 
 Cup. Similar. 
 
 Two Cups. Deep shape. Egg-shell. Floral decoration 
 in various colors and with a verse in blue under glaze. 
 Khang-he, 1661-1722. Height, 2 inches; diameter, 24 inches. 
 
 Two Cups. Similar. 
 
 Five Cups (Set of). Egg-shell. With floral decoration 
 in blue under glaze of very delicate quality. Height, 114 
 inches; diameter, 234 inches. Khang-he, 1661-1722. 
 
 Cup. Decorated in blue and white floral design with diaper 
 perforations. Height, 2 inches; diameter, 334 inches. 
 Khang-he, 1661-1722. 
 
CHINESE PORCELAINS 141 
 
 429 Two Cups. Rice-grain perforation in white glaze. 
 Exterior decorated with blue borders, and interior with 
 two fishes. Height, 134 inches; diameter, 344 inches. 
 Kien-long, 1736-1796. 
 
 430 Small Bowl. Egg-shell. Mark, Ching-hwa, 1465-1488. 
 (Apocryphal.) Height, 2 inches; diameter, 4144 inches. 
 Mended. 
 
 431 Bowl. Decorated with eight symbolical devices in various 
 enamels on white ground. Height, 244 inches; diameter, 
 544 inches. Taou-kwang, 1821-1851. 
 
 432 Bowl. Blossom decoration on white ground. Mended. 
 Height, 2 inches; diameter, 44 inches. Taou-kwang, 
 1821-1891. 
 
 433 Two Bowls. Yellow floral medallion on coral-red 
 ground, with arabesque Cecorations in various enamels. 
 Height, 23g inches ; diameter, 43g inches. Kwang-seu, 1875. 
 
 434 Bowl. Lavender glaze. Height, 244 inches; diameter, 4144 
 inches. Yung-cheng, 1723-1736. “ 
 
 435 Bowl. Decorated floral medallions on yellow enameled 
 ground, with plants in various colors. The interior is 
 decorated in blue floral design. Height, 244 inches; diam- 
 eter, 534 inches. Taou-kwang, 1821-1851. 
 
 436 Four Wine Cups.  Egg-shell, with coral-red exterior. 
 Height, 14% inches; diameter, 244 inches. Khang-he, 
 1661-1722. 
 
 437 Bowl. Decorated with white medallions in which are 
 ornaments and flowers, etc., on engraved rose enameled 
 ground. Height, 244 inches; diameter, 534 inches. Taou- 
 kwang, 1821-1851. 
 
 438 Two Bowls. Yellow enameled ground with blossom 
 decoration in pink tones, and birds in black irregularly 
 dispersed over the field. Height, 24g inches; diameter, 
 414 inches. Taou-kwang, 1821-1851. 
 
 439 Rice-grain Bowl. Egg-shell, perforated in arabesques, 
 and glazed over in white. Height 2 inches; diameter, 
 514 inches. Kien-long, 1736-1796. Cloth stand. 
 
 440 Two Covered Bowls. Raised blue enamel decoration, 
 and bats in red; on the base and top of cover con- 
 ventional waves in green glaze, with white cappings, etc. 
 Interior decorated with emblems of longevity. Height, 
 314 inches ; diameter, 444 inches. Kien-long, 1736-1796. 
 
142 
 
 441 
 
 442 
 
 443 
 
 444 
 
 447 
 
 448 
 
 449 
 
 450 
 
 453 
 
 CHINESE PORCELAINS 
 
 Large Bowl]. Covered with violet glaze; engraved with 
 a five-clawed dragon and the sacred bird of Paradise, with 
 clouds, ete. Height, 3 inches; diameter, 614 inches. Yung- 
 cheng, 1723-1736. 
 
 Two Bowls. Coral-red ground, with yellow medallions 
 and fioral arabesques in various colors. Height, 214 inches; 
 diameter, 444 inches. Seal-mark, Taou-kwang, 1821-1851. 
 
 Bowl. Decorated with bats in rose color, with gilt out- 
 lines, on yellow enameled ground. Height, 24 inches; 
 diameter, 434 inches. Taou-kwang, 1821-1851. 
 
 Two Bowls. Yellow enameled ground. Decorated with 
 butterflies in various colors. Height, 244 inches; diameter, 
 434 inches. Kien-long, 1736-1796. 
 
 Four Wine Cups. Deepshape. Egg-shell; exterior in 
 coral-red glaze. Height, 2 inches; diameter, 2 inches. 
 
 Wine Cup. Exteriorin red glaze. Height, 1% inches; 
 diameter, 2 inches. Yung-cheng, 1723-1736. 
 
 Cup. Exterior in red glaze. Kien-long, 1736-1796. Height, 
 2inches; diameter, 33¢ inches. 
 
 Bowl. Coral-red ground, with yellow medallions and 
 floral arabesque decoration in various colors. Seal-mark, 
 Taou-kwang, 1821-1851. Height, 244 inches; diameter, 
 414 inches. 
 
 Two Bowls. Yellow enameled ground, with butterflies 
 in various colors. Height, 244 inches; diameter, 434 inches. 
 Kien-long, 1736-1796. 
 
 Two Bowls. Decorated with bats in rose color, with 
 gilt outlines, on yellow enameled ground, with metallic 
 surface. Height, 2144 inches; diameter, 434 inches. Taou- 
 kwang, 1821-1851. 
 
 Two Small Bowls. Yellow glazed ground. Height, 
 2144 inches; diameter, 4 inches. Taou-kwang, 1821-1851. 
 
 Cup. Deep shape. Egg-shell; decorated with figures, a 
 temple and a white stork in enamel, on engraved waved 
 diaper ground. Taou-kwang, 1821-1851. Height, 234 
 inches ; diameter, 3 inches. 
 
 Bowl. Deep shape. Arabesque decoration in various 
 colors on pea-green ground. Seal-mark, Kien-long, 1736- 
 1796. Height, 49g inches; diameter, 6% inches. Carved 
 stand. 
 
CHINESE PORCELAINS 143 
 
 454 Wmperial Bowl. Symbolical devices incorporated in 
 borders and at the base and rim. Yung-cheng, 1723-1736. 
 Height, 314 inches; diameter, 9 inches. Handsome carved 
 stand. 
 
 455 Bowl. Companion to the above. 
 
 456 Small Covered Bowl. With symbolical devices in- 
 corporated in borders at the base and rim. Yung-cheng, 
 1723-1736. Height, 2 inches; diameter, 334 inches. 
 
 457 Small Bowl]. Companion to the above. 
 
 458 Wine Cup. Interior shows two red dragons; exterior 
 is in pale-green glaze. Height, 144 inches; diameter, 344 
 inches. 
 
 459 Set of Four Cups. Blue and white porcelain, egg-shell. 
 Height, 2 inches; diameter, 3144 inches. Cloth stands. 
 
 460 Two Bowls. Yellow enameled ground, with symbolic 
 decoration. Taou-kwang, 1821-1851. Height, 244 inches; 
 diameter, 434 inches. 
 
 461 Bowl. Decorated with bats, in rose color with gilt out- 
 lines, on yellow enameled ground with metallic surface. 
 Height, 244 inches; diameter, 434 inches. Taou-kwang, 
 1821-1851. 
 
 462 Large Bowl. Egeg-shell of fine quality. Red-rose glaze. 
 Height, 34% inches; diameter, 844 inches. Cloth stand. 
 
SALE, WEDNESDAY AFTERNOON, APRIL 13TH 
 
 463 
 
 464 
 
 465 
 
 466 
 
 467 
 
 468 
 
 469 
 
 470 
 
 471 
 
 472 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O°CLOCK 
 
 CUPS AND BOWLS 
 
 Three Wine Cups. Semi egg-shell. Yung-cheng, 1723- 
 1736. Height, 144 inches; diameter, 244 inches. 
 
 Four Wine Cups. Egg-shell. Height, 144 inches; diam- 
 eter, 23g inches. Khang-he, 1661-1722. 
 
 Two Cups. With flaring and indented rims. Plain 
 ~ céladon. Height, 2 inches; diameter, 3144 inches. Kien- 
 long, 1736-1796. 
 
 Two Saucers. White, with citron-yellow interior glaze. 
 Diameter, 44% inches. Seal-mark, Kien-long, 1736-1796. 
 
 Two Dishes. Escaloped edge, with floral medallion, 
 containing a peony and a rose in various enamels over the 
 glaze. Yung-cheng, 1723-1736. Diameter, 644 inches. 
 
 Three Wine Cups. Egeg-shell. Floral decoration, with 
 borders in blue under glaze. Height, 13g inches; diameter, 
 254 inches. Khang-he, 1661-1722. 
 
 Two Cups. Floral decoration and verses in blue under 
 glaze. Khang-he, 1661-1722. ‘Height, 2 inches; diameter, 
 26 inches. 
 
 Three Cups. Egeg-shell. Floral decoration in various 
 colors, and a verse in blue under glaze. Height, 2 inches; 
 diameter, 244 inches. Khang-he, 1661-1722. 
 
 Sacrificial Cup. Covered with transparent white glaze. 
 Height, 2 inches; length, 344 inches; width, 2 inches. Yung- 
 cheng, 1723-1736. 
 
 Four Cups. Egg-shell. Fine white glaze. Height, 
 14% inches; diameter, 244 inches. Khang-he, 1661-1722. 
 
CUPS AND BOWLS 145 
 
 473 Four Cups. Egg-shell. Floral design and verses in 
 blue under glaze. Height, 2 inches; diameter, 24% inches. 
 Khang-he, 1661-1722. 
 
 474 Two Cups. Egg-shell porcelain. Decorated with florai 
 medallions and arabesques in various enamels on white 
 ground. Yung-cheng, 1723-17386. Height, 15g inches; 
 diameter, 234 inches. 
 
 475 Two Small Bowls. Yellow glazed ground. Height, 
 244 inches; diameter, 4inches. Taou-kwang, 1821-1851. 
 
 476 Bowl. Similar. 
 
 477 Two Bowls. Height, 244 inches; diameter, 4% inches. 
 Signed, six marks, Yung-cheng, 1723-1736. 
 
 478 Bowl. Yellow enameled ground. Taou-kwang, 1821-1851. 
 Height, 244 inches; diameter, 434 inches. 
 
 479 Cup. Semi egg-shell. Rose decoration in floral design. 
 Yung-cheng, 1723-1736. Height, 144 inches; diameter, 
 234 inches. 
 
 480 Rice-grain Bowl. Egg-shell. Perforated inarabesques. 
 Height, 214 inches; diameter, 444 inches. Kien-long, 1736- 
 1796. Cloth stand. 
 
 481 Two Bowls. Semiegg-shell. Yellow enameled ground, 
 with butterflies, in various colors, interspersed with show- 
 marks in gold. Height, 244 inches; diameter, 4 inches. 
 Kien-long, 1736-1796. 
 
 482 Three Bowls. Semiegg-shell. Yellow enameled ground, 
 with butterflies, in various colors, interspersed with show- 
 marks in gold. Height, 24 inches; diameter, 4 inches. 
 Kien-long, 1736-1796. 
 
 483 WineCup. Citron-yellow glaze. Egg-shell. Yung-cheng, 
 1723-1736. Height, 144 inches; diameter, 24% inches. 
 
 484 Cup. Floral decoration. Yung-cheng, 1723-1736. Slightly 
 mended. Height, 144 inches; diameter, 234 inches. 
 
 485 Six Cups. Egg-shell. Coral-red ground, with white en- 
 graved dragons and flowers. Khang-he, 1661-1722. 
 
 486 Two Small Bowls. Yellow-glazed ground. Height, 
 214 inches; diameter, 4 inches. Taou-kwang, 1821- 
 1851. 
 
 487 Two Bowls. Height, 24 inches; diameter, 4% inches. 
 Yung-cheng, 1723-1736, 
 
146 
 
 488 
 
 489 
 
 490 
 491 
 
 492 
 493 
 494 
 
 496 
 
 497 
 
 498 
 
 499 
 
 CUPS AND BOWLS 
 
 Bowl. Yellow glaze, with blossom decoration, in pink 
 tones, and with birds in black irregularly dispersed over 
 the surface. Height, 2144 inches; diameter, 434 inches. 
 
 Saucer. To match above. Diameter, 54% inches. 
 Dish. To match above. Diameter, 85 inches. 
 
 Bowl. Yellow glaze. Decorated with symbols in gold 
 and various enamels, including show-marks in circular 
 medallions. Height, 23g inches; diameter, 434 inches. 
 Taou-kwang, 1821-1851. 
 
 Dish. To match above. Diameter, 64% inches. 
 Plate. To match above. Diameter, 834 inches. 
 
 Bowl. With indented sides. Exterior is decorated in red 
 and green floral design, upon a transparent céladon 
 erackle ground, with dashes of ruby red. The interior 
 shows the céladon transfused with a rich sang de boeuf ; 
 the rim is decorated with purple chrysanthemums on sea- 
 green glaze. Height, 3inches; diameter, 6 inches. This 
 piece has a richly-carved stand. 
 
 Two Cups. Egg-shell. Decorated with figure subject 
 in yarious colors, and with verses. Height, 144 inches; 
 diameter, 3 inches. 
 
 Covered Bowl. Ege-shell. Exterior hasrichly enameled 
 floral medallions, with mandarin ducks in black and 
 gold. The interior double borders are in pink and 
 green, with small medallions. Height, 4 inches; diameter, 
 5% inches. 
 
 Bowl. Rose glaze. Height, 234 inches; diameter, 6 inches. 
 Kea-king, 1796-1821. Carved stand. 
 
 Large Bowl. Coral-red glaze. Blue seal-mark with 
 chrysanthemums. Height, 344 inches; diameter, 7 inches. 
 Kien-long, 1736-1796. 
 
 Bowl. Yellow ground, with arabesque decoration in vari- 
 ous colors and white floral medallions. Height, 214 inches; 
 diameter, 51g inches. 
 
 Bowl. Dark-rose exterior. Height, 234 inches; diameter, 
 534 inches. Kea-king, 1796-1821. 
 
 Bowl. Clair-de-lune with lavender-colored interior, 
 Height, 25g inches; diameter, 44 inches, 
 
502 
 
 503 
 
 504 
 
 505 
 
 506 
 
 507 
 
 508 
 
 CUPS AND BOWLS 147 
 * 
 
 Two Bowls. Rose enamel and engraved ground, with 
 floral arabesque decoration and white medallions con- 
 taining ornaments and flowers in various glazes. The in- 
 terior is decorated in blue. Height, 244 inches; diameter, 
 534 inches. Taou-kwang, 1821-1851. 
 
 Bowl. Semi egg-shell. Decorated in medallion design 
 with blossoms, and arabesque borders. Height, 24 inches: 
 diameter, 544 inches. Yung-cheng, 1723-1736. 
 
 Six Cups. Egg-shell. White glaze of fine quality. 
 Height, 24% inches; diameter, 2% inches. Khang-he, 1661- 
 1722. 
 
 Large Bowl. Flaring shape, with indented edge. Ege- 
 shell, with transparent dragons, ornaments, clouds, etc., 
 under the white glaze. The interior bears an inscription 
 signifying happiness. Height, 234 inches; diameter, 7% 
 inches. Khang-he, 1661-1722. 
 
 Bowl. White enameled and engraved ground in waved 
 
 diaper design. One of the immortals, Te-He-Kwae, with 
 his staff and gourd, seated on a grotesque animal. 
 Two white storks and a pagoda, surrounded by clouds, 
 finish the decoration. Taou-kwang, 1821-1851. Height, 
 3 inches; diameter, 644 inches. 
 
 Wine Cup. Egg-shell. Yellow glaze, with metallic 
 cloudings. Height, 144 inches; diameter, 244 inches. 
 Yung-cheng, 1723-1736. 
 
 Two Wine Cups. Egg-shell. Canary-colored glaze. 
 Height, 13g inches; diameter. 2 inches. Yung-cheng, 1723- 
 1736. 
 
 Cup. Egeg-shell. Interior decorated in floral design in 
 delicate colors. Height, 14% inches; diameter, 3 inches. 
 Kea-king, 1796-1821. 
 
 510 Two Bowls. Yellow floral medallions on coral-red 
 
 511 
 
 512 
 
 ground, with arabesque decoration in various enamelings. 
 Height, 23g inches; diameter, 444 inches. Seal-mark, 
 Kien-long, 1736-1796. 
 
 Bowl. Semi egg-shell. Yellow enamel and engraved 
 ground with white floral medallions decorated in various 
 eolors and gilding. Blue decorated interior. Height, 
 24% inches; diameter, 534 inches. Taou-kwang, 1821-1851. 
 
 Two Bowls. Yellow ground. Arabesque decoration in 
 various colors, and white medallions, containing flowers 
 in which rose color predominates. Decorated interior. 
 Kea-king, 1796-1821. Height, 3 inches; diameter, 634 inches, 
 
148 
 513 
 
 514 
 
 515 
 
 516 
 
 517 
 
 518 
 
 520 
 
 521 
 
 522 
 
 523 
 
 CUPS AND BOWLS 
 
 Cup. Red brown, with archaic border ornamentation in 
 relief on a bronze-like surface. 
 
 Large Bowl. Semi egg-shell. Decorated with four 
 floral medallions in various colors, surrounded by 
 arabesque ornamentation on white ground. The interior 
 hasa single medallion with butterflies and blue lines. 
 Yung-cheng, 1723-1736. Diameter, 834 inches. Stand. 
 
 Large Bowl. Egeg-shell. Flaring shape. Decorated with 
 imperial coral-red dragons on white ground. Khang-he, 
 1661-1722. Height, 2144 inches; diameter, 7144 inches. Carved 
 stand. 
 
 Two Bowls. Semiegg-shell. Floral arabesque decora- 
 tion in white reserve on coral-red ground. Blue seal- 
 mark. Kien-long, 1736-1796. Height, 2144 inches; diameter, 
 5 inches. 
 
 Bowl. Raised base. Clouded peach, with various shadings. 
 Seal-mark, Kien-long, 1736-1796. Height, 48g inches; 
 diameter, 7% inches. 
 
 Two Cups. Egeg-shell porcelain. Floral decoration, with 
 blueinsecriptions. Khang-he, 1661-1722. Height, 2 inches; 
 diameter, 244 inches. 
 
 Two Cups. Deep shape. Decorated in various glazes, 
 upon white engraved ground in waved diaper design ; each 
 cup contains one of the eight immortals (or Pa-Sien), upon 
 an animal’s back, with a flying stork and a pagoda sur- 
 rounded by clouds. Seal-mark, Taou-Kwang, 1821-1851. 
 Height, 234 inches; diameter, 3 inches. 
 
 Sacrificial Cup. Has two lizards in green, yellow and 
 lavender glaze, holding the handles. Height, 134 inches; 
 length, 334 inches ; width, 244 inches. 
 
 Sacrificial Cup. Has griffins supporting the handles 
 and at the rim. Decorated with blossoms and butterflies 
 in red on green stippled ground, in iridescent glaze. 
 Height, 1% inches; length, 444 inches; width, 244 inches. 
 
 Two Bowls. Yellow enamel ground, with decoration of 
 flowers and ornaments. In three white medallions are 
 landscapes, goats, etc. Seal-mark, Kien-long, 1736-1796. 
 Height, 2% inches ; diameter, 6 inches. 
 
 Bowl. Coral-red ground, with yellow medallions and 
 floral arabesque decoration in various enamels. Taou- 
 kwang, 1821-1851. Height, 2144 inches; diameter, 444 inches. 
 
CUPS AND BOWLS -149 
 
 524 Bowl. Yellow ground, with symbolical devices in blue 
 and gold. The base is decorated in various enamel color- 
 ings to represent water. Height, 244 inches; diameter, 
 434 inches. Kien-long, 1736-1796. Cracked. 
 
 525 Small Bowl. Yellow enameled ground, with butterflies 
 in various colors, interspersed with show-marks in gold. 
 Height, 2 inches; diameter, 4 inches. Kien-long, 1736- 
 1796. 
 
 526 Two Cups. Egg-shell. Decoration consists of various 
 objects in transparent enamel on white ground. Height, 
 2inches; diameter, 3144 inches. Khanghe, 1661-1722. 
 
 527 Bowl. Elaborate floral decoration in various enamels, on 
 a citron-yellow ground. Interior shows bats. Seal-mark, 
 Taou-kwang, 1821-1851. Height, 244 inches; diameter, 534 
 inches. 
 
 528 Large Bowl. Similar decoration and interior. Height, 
 314 inches; diameter, 7144 inches. Taou-kwang, 1821-1851. 
 
 529 Large Bowl. Semi egg-shell. Decorated with four 
 floral medallions in various colors, surrounded by 
 arabesque ornamentation on white ground, The interior 
 contains a single medallion with butterflies and blue lines. 
 Yung-cheng, 1723-17386. Diameter, 834 inches. Stand. 
 
 530 Large Bowl], with Cover. Semi egg-shell. Floral 
 branches in various enamels with birds. Yung-cheng, 
 1723-1736. Height, with cover, 54 inches; diameter, 
 8 inches. 
 
 531 Bowl. Yellow engraved ground, with fruit and symboli- 
 cal decoration in various colors, and four floral medallions 
 on a white ground. Theinterior has floral and symbolical 
 decoration in blue. Seal-mark, Kea-king, 1796-1821. Height, 
 216 inches; diameter, 534 inches. 
 
 532 Bowl. Rose-colored enamel. Engraved ground, with 
 floral arabesque decoration and four medallions in white, 
 with branches of fruit and flowers. Interior has blue 
 decoration. Seal-mark, Taou-kwang, 1821-1851. Height, 
 216 inches ; diameter, 534 inches. 
 
 533 Bowl, with Cover. Semi egg-shell. Decorated with 
 red dragons, clouds, etc., on white ground, engraved in 
 wayed diaper design. Taou-kwang, 1821-1851. Height, 
 344 inches; diameter, 4 inches, 
 
150 WHITE PORCELAIN 
 
 WHITE PORCELAIN 
 
 534 Figure of Kwan-Yin. With small scroll. 
 The paste is of a fine ivory white. The 
 modeling of the figure and the folds of the 
 drapery are graceful. Height, 934 inches ; 
 diameter, 5 inches. Khang-he, 1661-1722. 
 Teak-wood stand carved in lotus-flower 
 design. 
 
 From the Comte de Sematlle collection. 
 
 535 Two Small Cups. Rice-grain. Pierced 
 design; covered with white glaze; blue 
 border decoration. Kien-long, 1736-1796. 
 
 534 Height, 134 inches; diameter, 244 inches. 
 
 536 Incense Burner. Oblongshape. Archaic design, in low 
 relief. Shakudo bronze cover in repoussé design to match, 
 surmounted by dog Foo. Height, with cover, 10 inches, 
 by 10 inches, by 8 inches. Incised mark, Kien-long, 
 1736-1796. 
 
 537 Miniature Saucer. Soft paste. Cream-colored glaze. 
 Diameter, 134 inches. 
 
 538 Dish. Floral and indented form, with engraved petals in 
 white glaze. Khang-he, 1661-1722. Diameter, 6 inches. 
 
 539 Dish. Fluted and with escaloped edge. White glaze. 
 Yung-cheng, 1723-1736. Diameter, 7 inches. 
 
 540 Vase. Oviform, with handles. White glaze. Arabesque 
 border in relief, at the base; six small crests at the 
 shoulder. Height, 8144 inches; diameter, 54% inches. Seal- 
 mark, Kien-long, 1736-1796. 
 
 541 Vase. Ovoid top, with handles. White glaze, of fine 
 quality. Seal-mark, Kien-long, 1736-1796. Height, 914 
 inches; diameter, 7 inches. Carved stand. 
 
 542 Vase. Bottle form. Floral arabesque designs carved in 
 low relief. Covered with a soft white glaze. Silver 
 mounting, with chased design around the top. Height, 
 12144 inches; diameter, 8 inches. Carved teakwood stand. 
 
 543 Square Color-Box. Fine white paste. Cover bears dog 
 Foo, in slight relief ; edged borders in cream-white glaze 
 crackled. Height, 214 inches; diameter, 334 inches. Carved 
 teakwood stand. 
 
 544 Coupe. Ovoid shape. Egg-shell. Engraved borders. 
 Height, 14% inches; diameter, 344 inches. Carved teak 
 stand, 
 
WHITE PORCELAIN 151 
 
 545 Small Vase. Hexagonal shape. Vines and leaves carved 
 in strong relief, hanging over the shoulder. Height, 
 5 inches; diameter, 2 inches. Carved stand. 
 
 546 Coupe. Soft paste; semi egg-shell. Engraved borders, 
 and cream-white crackled glaze. Height, 1 inch; 
 diameter, 214 inches. Carved stand. 
 
 547 Small Beaker. Trumpettop. Engraved palm-leaf and © 
 fret border at foot and neck; archaic center-band. 
 Engraved seal-mark, Yung-cheng, 1723-1736. Height, 
 9 inches; diameter at top, 7 inches. Carved stand. 
 
 548 Coupe. Soft paste; egg-shell. Engraved rim and base 
 borders; cream-colored glaze. Height, 254 inches; diam- 
 eter, 314 inches. Carved stand. 
 
 549 Small Wase. Cylindrical shape. Height, 64 inches; 
 diameter, 244 inches. Carved stand. 
 
 550 Vase. Ovoid body; broad, flaring neck, with grotesque 
 heads. Archaic and engraved border design, in low relief. 
 Covered with pure white glaze. Engraved mark, Kien- 
 long, 1736-1796. Height, 1214 inches; diameter, 844 inches. 
 Carved stand. 
 
 551 Pair of Small Animals. The dog Foo in grotesque 
 design, seated on his haunches and resting one of his 
 fore-feet on a ball. Quadrangular base. Ivory-white 
 porcelain. Height, 34% inches. 
 
 552 Cabinet Vase. White porcelain, egg-shell. Engraved 
 floral designs and borders. Height, 64 inches; diameter, 
 34 inches. Kien-long, 1736-1796. 
 
 553 Coupe. Soft paste; egg-shell. Height, 1144 inches; diam- 
 eter, 544 inches. Kien-long, 1736-1796. 
 
 554 Vase. Melon-shaped, with a flaring and 
 scalloped neck. Arabesque ornamenta- 
 tion delicately modeled in relief under 
 the white glaze. Finished at the foot « 
 with ornamental border and at the rim 
 with small conventional bats. Kea- 
 king, 1796-1821. Height, 944 inches; 
 diameter, 6 inches. 
 
 554% Small Vase. Ovoid shape; narrow 
 
 - neck and broad top. Engraved dragon 
 in pale blue, and white glazed ground. 
 Height, 8 inches; diameter, 4 inches. 
 Carved stand, 554 
 
152 WHITE PORCELAIN 
 
 555 Cabinet Vase. Oviform, with small neck. Engraved 
 chrysanthemum design; covered with white glaze. 
 Height, 9 inches; diameter, 5 inches. Kien-long, 1736- 
 1796. Carved stand. 
 
 556 Wide Coupe. Shallow form. Engraved dragon and 
 clouds; covered with white glaze. Height, 244 inches; 
 diameter, 9 inches. Yung-cheng, 1723-1736. With high 
 carved stand. 
 
 557 Vase. Bottle shape. Lotus petals and leaves in relief, and 
 encircling the body. Engraved seal-mark, Kien-long, 
 1736-1796. Height, 10144 inches; diameter, 644 inches. 
 Carved stand. 
 
 558 Small Vase. Bottle shape; cylindrical neck, with two 
 hollow cones for handles. Plain white-glazed porcelain. 
 Height, 7 inches; diameter, 34 inches. Kien-long, 1736- 
 1796. Carved stand. 
 
 559 Cup. Shallowform. Egg-shell. Transparent arabesque 
 and symbolical objects under white glaze. Yung-cheng, 
 1723-1736. Height, 1144 inches; diameter, 34% inches. 
 
 560 Large Vase. Ovoid shape, with low neck, and two 
 heads with fixed ring-handles. Semi egg-shell. The 
 centre border is in raised archaic design; at base and 
 neck are palm-leaf borders, and engraved around the 
 shoulder is a key-pattern band. Height, 184% inches; 
 diameter, 7 inches. Carved stand. 
 
 561 Figure of Kwan-Yin, White porcelain, decorated in 
 blue. She is represented sitting on a base formed of 
 lotus flowers. Height, 9144 inches; diameter, 534 inches. 
 Veakwood stand. 
 
 562 Figure of Kwan-Yin. Seated, and with two small 
 figures at her feet. Crackle texture, gray stone color 
 glaze. Height, 84% inches; diameter, 4 inches. 
 
 From the Comte de Sematle collection. 
 
 563 Vase. Biberon shape, with wide neck. White glaze. 
 Engraved floral arabesque design covers the entire sur- 
 face, and is finished with borders at the base and neck. 
 Has on shoulder two raised butterflies in black, with 
 enamel decoration. Height, 10 inches; diameter, 7 inches. 
 Stand, 
 
WHITE PORCELAIN 153 
 
 564 Small Figure. Height, 534 inches; diameter, 134 inches. 
 Carved stand. 
 
 565 Wine Bowl. Narrow base, flaring rim. Egg-shell. 
 The interior is slightly engraved in floral design. Height, 
 234 inches; diameter, 734 inches. Slight crack. Has 
 stand. 
 
 566 Two Cups. Flaring shape. White egg-shell porcelain. 
 Height, 1% inches; diameter, 4 inches. Khang-he, 1661- 
 1722. 
 
 567 Incense Burner. Ontripod. Impressed fret border, be- 
 neath white glaze. Height, 434 inches; diameter, 3 inches. 
 Kien-long, 1736-1796. Carved stand. 
 
 568 Vase. Cylindrical shape. White glaze; gilt dragon in 
 relief. Height, 534 inches; diameter, 14 inches. Kien- 
 long, 1736-1796. Stand. 
 
 569 Vase. Oviform. Engraved fret border. Height, 5 
 inches; diameter, 234 inches. Khang-he, 1661-1722. 
 Stand. 
 
 570 Vase. Cylindricalshape. White glaze. Perforated foliage 
 and floraldesign. Height, 514 inches; diameter, 34 inches. 
 Kien-long, 1736-1796. Stand. 
 
 571 Wase. Ovoid body, with broad flaring 
 neck. Floral and arabesque ornamentation 
 modeled in low relief under the white glaze, 
 with palm-leaf border at the neck. Kien- 
 lone, 1736-1796. Height, 11 inches; diameter, 
 8144 inches. 
 
 571% Bowl. Archaic border in slight relief. 
 Covered with white glaze. Seal-mark, Kien- 
 long, 1736-1796. Height, 3 inches ; diameter, 
 7 inches. 
 
 572 Incense Burner. Cylindricalform. Landscape and fig- 
 ures in strong relief. Silver cover, with geometrical 
 perforations in latticed pattern. Height, 5 inches; diam- 
 eter, 4inches. Khang-he, 1661-1722. 
 
 573 Vase. Balustre shape, with broad flaring neck. Delicately 
 engraved dragon, beneath the glaze. Height, $8 inches ; 
 diameter, 444 inches. Stand. 
 
154 
 
 574 
 
 575 
 
 576 
 
 577 
 
 578 
 
 579 
 
 580 
 
 581 
 
 582 
 
 583 
 
 584 
 
 585 
 
 WHITE PORCELAIN 
 
 Jardiniere. Globular shape. White glaze, with rose- 
 colored dragons, in bold relief, as handles. Height, 5144 
 inches; diameter, 944 inches by 74% inches. Yung-cheng, 
 1723-1736. Height, with stand, 9 inches. 
 
 Vase. Engraved dragon and palm-leaf border. White 
 glaze. Height, 314 inches; diameter, 344 inches. Khang- 
 he, 1661-1722. Stand. 
 
 Small Beaker. Flaring top. Engraved palm-leaf bor- 
 der; white glaze; Height, 434 inches; diameter, 334 inches. 
 Kien-long, 1736-1796. Stand. 
 
 Perfume Censer. Octagonal shape; on eight high feet. 
 White glaze; ornamental borders in relief. Cover is of a 
 floral design, and is perforated. Height, 344 inches; diam- 
 eter, 5inches. Kien-long, 1736-1796. Carved stand. 
 
 Vase. Ovoid shape. Egeg-shell, with white glaze. En- 
 graved ornamentation of dragon and the sacred bird. 
 Height, 75g inches; diameter, 5144 inches. Khang-he, 
 1661-1722. 
 
 Bottle. Ovoid body, with cylindrical neck. Semi egg- 
 shell, white glaze. Palm-leaf border, with a key-band 
 around the neck and base. Height, 1314 inches; diameter, 
 7144 inches. Kien-long, 1736-1796. Carved stand. 
 
 Seated Figure of Hotei. Height, 54 inches by 6 inches. 
 Stand. 
 
 Figure of Kwan-Yin. Height, 1244 inches; width, 6 
 inches. 
 
 Sacrificial Cup, Archaic form, with raised ornamenta- 
 tion and handles. Whitetransparent paste. Height, 244 
 inches; diameter, 344 inches. Kien-long, 1736-1796. 
 
 Two Cups. Flaring shape. Egg-shell porcelain, with 
 transparent engraving under the white glaze, and 
 indented edge. Height, 13g inches; diameter, 344 inches. 
 Kien-long, 1736-1796. 
 
 Tall Vase. Bottle-shaped, with raised dragon around the 
 neck. Covered with pearl-white glaze. Height, 19 inches; 
 diameter, 844 inches. Yung-cheng, 1723-1736. Carved 
 stand. 
 
 Vase. Bottle shape. Archaic design, showing clouds in 
 low relief on fret engraved ground. Height, 914 inches; 
 diameter, 5 inches. 
 
CELADON 155 
 
 586 Large Vase. Bottle shape. Ornamentation modeled in 
 relief. Sacred lily and arabesque foliage. Fluted band 
 and palm-leaf border at the neck. Bordersat the base and 
 rim are engraved. Height, 12 inches; diameter, 9 inches. 
 Kien-long, 1736-1796. 
 
 587 Large Figure of Kwan-Yin. 
 White porcelain. The graceful 
 folds of her robe are ornament- 
 ed with garlands of beads and 
 pearls modeled in full relief; her 
 countenance bears an aspect of 
 serenity and tranquillity. Height, 
 27 inches; width, 13 inches. 
 
 From the Comte de Sematle col- 
 lection. 
 
 588 Vase. Bottle shape; with small flat 
 griffin handles. Finely modeled 
 arabesques, in low relief. Covered 
 with white glaze. Engraved seal- 
 mark, Kien-long, 1736-1796. Height, 
 13 inches; diameter, 744 inches. 
 Stand, 
 
 CELADON. 
 
 591 Small Jar, with Cover. Archaic design, in low 
 relief. Height, 7 inches; diameter, 4% 
 inches. Mended at neck. Carved stand. 
 
 592 Large Vase. Pear-shaped, with flaring 
 neck, scalloped rim, and open ornamental 
 handles. Light céladon glaze over surface 
 modeled in low relief. Height, 1134 inches ; 
 diameter, 9 inches. ‘ 
 
 593 Coupe. Octagonal shape, with handles. 
 Pale céladon glaze. Kien-long, 1736-1796. 
 Height, 2 inches; diameter, 444 inches. 
 Carved stand. 
 
 591 
 
 594 Wase. Ovoid shape, with small neck. Ornamented in relief 
 with arabesques and lotus-flower. Céladon. Has silver- 
 mounted top, in chased arabesque inlaid design. Height, 
 11 inches; diameter, 7 inches. Carved stand. 
 
156 CELADON 
 
 595 Perfume Jar. Square shape, with small neck. Floral 
 design, modeled in low relief, and covered with light 
 transparent céladon. Height, 5 inches; diameter, 34 
 inches. Kien-long, 1736-1796. 
 
 From the Comte de Semalle collection. 
 
 596 Vase, Globular body, with broad flaring neck. Arabesque 
 design, with a lotus-flower modeled in low relief. En- 
 graved, and covered with pale pearl céladon. Height, 
 5 inches; diameter, 5 inches. Seal-mark, Kien-long, 1736- 
 1796. Carved stand. 
 
 597 Bottle. Cylindrical form, with bird’s-neck handles. 
 Covered with plain pale céladon of even quality. Height, 
 12 inches; diameter, 5 inches. Kea-king, 1795-1821. 
 
 598 Vase. Cylindrical, bottle-shape, with handles and broad 
 rim. Covered with pale céladon. Height, 8% inches: 
 diameter, 4inches. Kea-king, 1796-1821. 
 
 599 Tall Vase. Engraved lotus design; covered with deep 
 céladon. Height, 1544 inches; diameter, 9inches. Prob- 
 ably early Ming. 
 
 600 Large Vase. Engraved ascending dragons on each side, 
 with cloudings and symbolical emblems. Covered with 
 light céladon, of even quality. Kien-long, 1736-1796. 
 Height, 1714 inches; diameter, 74% inches. Carved stand. 
 
 600% Jardinieére, Shape of lotus-leat, with budsin reliet form- 
 ing handles. Covered with céladon glaze. The modeled 
 flowers are in purple-peach color. Height, 714 inches; 
 diameter, 9 inches. Has riveted crack on one side. Stand. 
 
 601 Bottle. Flattened body, and long cylindrical neck, with 
 dragon in relief. Gray céladon. Height, 12 inches; 
 diameter, 914 inches. Seal-mark in blue, under glaze, 
 Kien-long, 1736-1796. 
 
 602 Vase. Ovoid, with dog-handles. Arabesque design, witb 
 conventional lotus-flower; covered with light céladon. 
 Height, 9 inches; diameter, 6 inches. Carved stand. 
 
 603 Vase. Archaic design, modeled in low relief. Pale 
 céladon. Seal-mark, Kien-long, 17386-1796. Height, 
 814 inches; diameter, 644 inches. Richly carved teak 
 stand, with red ivory mounting. 
 
 604 Large Vase. Ovoid body, with receding neck. Raised 
 borders in archaic design. Light céladon, of fine quality. 
 Blue seal-mark, under glaze. Kien-long, 1736 - 1796, 
 Height, 15144 inches; diameter, 13 inches. Carved stand. 
 
CELADON 157 
 
 605 Large Vase. Broad, ovoid body, with receding neck and 
 tube-form handles. Has raised borders, in arabesque 
 design, and is covered with pale céladon. Height, 2014 
 inches; diameter, 1644 inches. Seal-mark, under glaze, 
 Kien-long, 1736-1796. With stand. 
 
 606 Vase. Tall, six-sided, with tube handles at neck. 
 Light sea-green céladon, with ornamentation of archaic 
 designs carved in low relief. Seal-mark, Kien-long, 1736- 
 1796. Height, 18 inches; diameter, 12 inches. Carved 
 stand. 
 
 607 Large Jar. Ovoid shape. Céladon crackle. An 
 arabesque design in low relief covers the surface except 
 at top, which is surrounded by a long, 
 slender dragon. Inner surface is pearl- 
 gray. Base unglazed. Height, 164% 
 inches; diameter, 16 inches. 
 
 608 Square Box. Archaic geometrical 
 design engraved and modeled in low 
 relief. Covered with a delicate 
 céladon. The cover bears the mystic 
 Yang-Yin. Height, 334 inches by 334 
 inches. Kien-long, 1736-1796. Carved 
 stand. 
 
 609 Vase. Ovoid, with dog’s-head rudimentary handles. Ara- 
 besque decoration, with conventional lotus-flower; cov- 
 ered with light céladon. Height, 9 inches; diameter, 
 6 inches. (Apocryphal.) Signed, Ching-hwa, 1465-1488. 
 Carved stand. 
 
 G10 Shallow Coupe. Broad and cylindrical form, raised 
 on three feet. The outer surface is in slight relief, 
 with Buddhistic symbols, and is covered with crackled 
 céladon. Interior is in white. Signed in blue under 
 the glaze, Yung-cheng, 1723-1736. Height, 244 inches by 634 
 inches. Carved teakwood stand. 
 
 611 Large Plaque. Scallop edge. Heavy céladon or Mar- 
 tobani, with fruit design engraved in low relief. The 
 outer border is divided into oblong medallions, with 
 fruit design in low relief. The reverse has similar borders. 
 Diameter, 2214 inches. Probably very early Ming. 
 
158 CELADON 
 
 612 Large Jar. Fine white paste; modeled throughout, in 
 low relief, with symbolical objects interspersed with 
 arabesques, clouds, etc. The whole is covered with a 
 pale céladon glaze of beautiful quality. Impressed 
 seal-mark, Kien-long, 1736-1796. Height, 14144 inches; 
 diameter, 15 inches. Teakwood stand carved to match. 
 
 61214 Large Plaque. Pale céladon. Centre medallion 
 contains dragon and clouds in slight relief. The reverse 
 side is bordered with lily petals in relief. Center bears, in 
 blue under glaze, the seal-mark, Yung-cheng, 1723-1736. 
 Diameter, 184% inches. Carved teakwood stand. 
 
 613 Large Vase. Ovoid, with flaring neck. Arabesque 
 design, modeled in low relief. Covered with light, 
 transparent céladon. Khang-he, 1661-1722. Height, 2144 
 inches; diameter, 15 inches. 
 
 614 Large Pilgrim Bottle. Covered with light céladon 
 over an engraved surface, with lotus-flowers and ara- 
 besque borders. Height, 20 inches; diameter, 15 inches. 
 Seal-mark, Yung-cheng, 1723-1736. Carved stand. 
 
 615 Tall Vase. Bottle-shaped, with perforated flat handles. 
 Under the glaze is a decoration in low relief, consisting of 
 the dog Foo, the sacred pearl, etc ,and borders. Theneck 
 shows a bat holding a Buddhistic emblem. Height, 1434 
 inches; diameter, 10 inches. Kien-long, 1736-1796. Carved 
 stand. 
 
 615% Tall Vase. Balustreform, with broad neck. Arabesque 
 design with dragons and clouds in low relief; covered 
 with light céladon, of delicate and even quality. Height, 
 
 1334 inches; diameter, 8 inches. Seal- 
 
 mark, Kien-long, 1736-1796. Carved stand. 
 
 616 Jar. Ovoid shape, with short neck. Sur- 
 face is entirely covered with an arabesque 
 design in low relief. Transparent céla- 
 don of uniform quality. Seal-mark in 
 blue, Yung-cheng, 1723-1736. Height, 18 
 inches ; diameter, 9 inches. Stand. 
 
 617 Large Bottle. Large dragons mod- 
 eled in bold relief encircle the surface, 
 and conventional clouds, sea - waves, 
 etc., are depicted. Céladon. A _ fine 
 
 specimen of its class. Yung-cheng, 1723-1736. Height, 
 
 21 inches; diameter, 14144 inches. Carved stand. 
 
SALE, THURSDAY AFTERNOON, APRIL 14TH 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.380 O’CLOCK 
 
 CABINET OBJECTS 
 
 CHINESE PORCELAINS 
 
 621 Miniature Vase. Oviform, withslender neck. Delicate 
 transparent céladon ; decorated with gold blossoms, irreg- 
 ularly dispersed over the surface, and finished 
 with narrow fret and palm-leaf borders. 
 Engraved seal-mark, Kien-long, 1736-1796. 
 Height, 444 inches ; diameter, 1% inches. Red- 
 stained ivory stand. 
 
 622 Snuff Bottle. Ovoid, with small neck. Rose 
 souffle glaze. Height, 244 inches; diameter, 2 
 inches. Carved stand. 
 
 623 Miniature Vase. Lozenge shape, with raised 
 archaic corners. Robin’s-eggs soufflé glaze. 621 
 Height, 24 inches; diameter, 144 inches by 144 inches. 
 Carved teakwood stand. 
 
 624 Small Koro, Elaborately carved of rhinoceros horn,with 
 perforated and archaic bands. Has four feet, and a 
 cover of carved teakwood. Height, 6 inches; diameter, 
 544 inches. Kien-long, 1736-1796. Carved stand. 
 
 625 Bottle. Cabinet size. Variegated or rainbow glaze of 
 remarkable quality. The upper glaze is céladon ; around 
 the neck the color is a russet, while the body is graded 
 from blue to pearl-gray. Height, 9 inches; diameter, 
 5 inches. 
 
 626 Bottle. Narrow, cylindrical neck; tube-form handles 
 attached. Clair-de-lune glaze, crackled surface. Height, 
 8 inches; diameter, 444 inches. Carved stand. 
 
160 CHINESE PORCELAINS 
 
 627 Small Vase. Bibercnform. Copper-red, with metallic 
 soufié glaze of even texture. Height, 5 inches; diam- 
 eter, 3inches. Kien-long, 1736-1796. Carved stand. 
 
 628 Small Cabinet Vase. Bottleshape. Copper-red me- 
 tallic soufié surface, of fine quality. Kien-long, 1736- 
 1796. Height, 544 inches; diameter, 3 inches. Carved 
 stand. 
 
 629 Small Vase. Beaker shape. Has engraved fret and 
 diaper designs imitating cinnabar lacquer. Interior is in 
 robin’s-egg glaze. Height, 6inches ; diameter, 244 inches. 
 Kien-long, 1736-1796. Stand. 
 
 630 Small Incense Burner. Square shape. Ornamented 
 and gilded to imitate bronze. Cylindrical feet. Cover 
 with dog Foo. Height, 4inches; width, 3inches. Kien- 
 long, 1736-1796. Cloth stand. 
 
 631 Small Vase. Ovoid shape. Soft white paste, with floral 
 design in relief. Height, 5 inches; diameter, 24% inches. 
 Slight crack. 
 
 632 Saucer. Semi egg-shell. Decorated with flowers, in 
 various enamels. The reverse is glazed in light-yellow 
 soufié. Yung-cheng, 1723-1736. Diameter, 4 inches. 
 
 633 Small Vase. Square. Decorated in imitation of cut 
 stone; red and gray glaze. The innersurface is turquoise. 
 Height, 3 inches; diameter, 2 inches. Seal-mark, Kien- 
 long, 1736-1796. 
 
 634 Small Saucer. Yellow glaze, with engraved dragon, 
 and the mark “‘ show.” Exterior has waved lines repre- 
 senting water, and foursymbols. Diameter, 414 inches. 
 
 635 Small Vase. Cylindrical. Leopard-skin decoration. 
 Height, 344 inches; diameter, 244 inches. 
 
 636 Small Bottle. Clair-de-lune crackled glaze, 
 with a dash of purple. The rim and base are 
 repaired with gold lacquer. Height, 4% 
 inches; diameter, 2 inches. Dynasty of the 
 Soungs (eleventh century). Carved stand. 
 
 637 Cabinet Vase. Graceful ovoid shape, with 
 slender neck. Lavender color of fine quality, 
 with dragons in darker blue pencilling under 
 the glaze. Height, 75g inches; diameter, 3 
 inches. Carved stand. 
 
638 
 
 639 
 
 640 
 
 641 
 
 642 
 
 643 
 
 644 
 
 645 
 
 646 
 
 647 
 
 CABINET OBJECTS 161 
 
 Bowl. Heavy dark Chinese ware. Covered with a 
 thick, lustrous glaze, graded from deep black to brown, 
 and in marking resembling the coat of the hare. Such 
 examples are much esteemed in Japan, where, as in 
 China, a great antiquity is ascribed to them. The rim 
 is mounted with a band of black silver, and the color 
 of the base resembles that ofiron. Height, 234 inches; 
 diameter, 43g inches. 
 
 Bottle. Cabinetsize. Straight neck and square shoulder. 
 Cream glaze, with fine long crackJe; palm-leaf border 
 at the base. Height,714 inches; diameter, 4inches. En- 
 graved seal-mark, Kien-long, 1736-1796. Carved stand. 
 
 Small Vase. Balustre shape. Fine white porcelain; 
 decorated with dragons and flames, in peach under the 
 glaze. Mark apocryphal, period of Kien-long, 1736-1796. 
 Height, 4 inches ; diameter, 2inches. Carved stand. 
 
 Coupe. Ovoidshape. Crysanthemum design, under the 
 glaze; has a pointed border at the base. Height, 3 
 inches; diameter, 4inches. Teak stand. 
 
 Coupe. Ovoid shape, with small lizard, in relief, at 
 the rim. Grayish green crackle glaze. Exceptional 
 quality. Yung-cheng, 1722-1736. Height, 3 inches; diam- 
 eter, 2inches. Teakwood stand. 
 
 Miniature Vase. Fluted lozenge shape. Lavender 
 glaze, with yellow markings. Height, 3 inches; diam- 
 eter, 2 inches. 
 
 Coupe. Has three tapering feet. Rich flambé, with 
 white crackle interior. Height, 244 inches; diameter, 
 4 inches. Stand. 
 
 Cabinet Vase. Balustre shape. Semi egg-shell porce- 
 lain. Engraved with palm-leaf borders, and decorated 
 in gold. Height, 6144 inches; diameter, 444 inches. Carved 
 stand. 
 
 Small Vase. Ovoid body. Bright red glaze. Kang-he. 
 Height, 44% inches; diameter, 244inches. Stand. 
 
 Small Vase. Hexagonal shape. Ruby glaze, with white 
 edges. Height, 4144 inches; diameter, 144 inches. Stand. 
 
162 CHINESE PORCELAINS 
 
 648 Miniature Bottle. Red glaze. Height, 344 inches; 
 diameter, 154inches. Stand. 
 
 648% Saucer. Interior isin white glaze. Exterior coral-red, 
 of choice quality. Yung-cheng, 1723-1736. Diameter, 514 
 inches. 
 
 649 Two Cups. Shallow shape. Semi egg-shell texture. 
 Pale céladon glaze, with engraved bats. Diameter, 414 
 inches. Kien-long, 1736-1796. Carved stand. 
 
 650 Coupe. Cylindrical, on three feet. Porcelain, glazed 
 and decorated in imitation of bronze. Incised seal-mark, 
 Kien-long, 1736-1796. Height, 2 inches; diameter, 3 inches. 
 Carved stand. 
 
 651 Square Vase, Panels decorated with dragons and clouds 
 in blue, under glaze; the outer bands contain four small 
 red bats, painted over the glaze. Seal-mark, Kien-long, 
 1736-1796. Height, 434 inches; diameter, 3 inches. Carved 
 stand. 
 
 652 Small Black Hawthorn Vase. Ovoid, with narrow 
 
 neck. The prune blossoms are in white reserve, with 
 green stems and a purple branch ; the body is 
 in jet-black enamel glaze. Leaf-mark in blue. 
 Khang-he, 1661-1722. Height, 744 inches; 
 diameter, 344 inches. Mended at the neck. 
 Carved stand. 
 
 653 Small Vase. Oviftorm, with narrow neck. 
 White body, with dragon in peach-blow tint 
 under the glaze. Height, 534 inches; diam- 
 eter, 24inches. Stand. 
 
 654 Cabinet Vase. Square, with cylindrical 
 
 neck and foot. Richly decorated with ara- 
 besques in opaque enamels, forming a ground on which 
 are the eight trigrams, a combination of broken and 
 unbroken lines, slightly raised in gold, and decorated 
 with the mystical Yang-Yin (male and female elements 
 in nature). Seal-mark of Kien-long, 1736-1796. Height, 
 8 inches; diameter, 334 inches. Carved teak stand. 
 
 655 Miniature Jar. Ovoidshape. Decorated ina brilliant 
 blue under the glaze, with red, yellow and blue flowers 
 enameled over the glaze. Height, 2% inches; diameter, 2 
 inches. Carved stand. 
 
 From the Comte de Sematlle collection. 
 
CABINET OBJECTS 163 
 
 656 Octagonal Vase and Cup; Set. White Chinese glass. 
 The panels of the vase are painted in imitation of a 
 Dresden original, very handsomely and carefully ex- 
 ecuted ; the edge has an olive and gold border, with small 
 rose arabesque panels. Mark of Kien-long, 1736-1796. 
 The cup, of less opaque glass, has a dragon and bird de. 
 sign,and bears an enamel seal of Kien-long. Richly 
 carved platform stand for both pieces. 
 
 657 Small Vase. Ovoid shape; elephant’s-tusk handles. 
 Rose and white souf—flé glaze. Yung-cheng, 1723-1736. 
 Height, 4 inches ; diameter, 244 inches. Carved stand. 
 From the Comte de Sematle collection. 
 
 658 Small Cabinet Vase. Square balustre form. Dec- 
 orated with green floral design on a deep black ground. 
 Khang-he, 1661-1722. Height, 334 inches; diameter, 1144 
 inches. 
 
 659 Small Vase. Ovoid shape, with handles. Decorated in 
 landscape design over the glaze on light céladon ground. 
 Height, 54% inches; diameter, 4 inches. Carved stand. 
 From the Comte de Sematle collection. 
 
 660 Bowl. Heavy dark Chinese ware. Covered with a 
 thick, lustrous glaze, graded from deep black to brown. 
 and in marking resembling the coat of the hare. Such 
 examplesare much esteemed in Japan, where, as in China, 
 a great antiquity is ascribed tothem. Therim is mounted 
 with a band of black silver, and the color of the base re- 
 sembles that of iron. Height, 234 inches; diameter, 43g 
 inches. 
 
 661 Coupe. Ovoid shape. Semi egg-shell. Conventional 
 design and borders, painted with rose glaze on white 
 ground. Height, 134 inches; diameter, 5 inches. Yung- 
 cheng, 1723-1736. Carved teak stand. 
 
 662 Small Vase. Biberon shape, with square shoulder and 
 small neck. Peacock-blue glaze, with small crackle. 
 Height, 44% inches; diameter, 234 inches. Carved stand. 
 
 663 Small Bottle. Long,slenderneck. Powder-blue glaze 
 of even quality. Khang-he, 1661-1722. Height, 73 
 inches ; diameter, 354 inches. Carved stand. 
 
 664 Small Beaker. Olive-brown glaze of brilliant quality, 
 Kien-long, 1736-1796. Height, 10 inches: diameter, 614 
 inches. 
 
164 
 
 665 
 
 666 
 
 667 
 
 668 
 
 669 
 
 670 
 
 671 
 
 672 
 
 673 
 
 674 
 
 675 
 
 CHINESE PORCELAINS 
 
 Vase. Oviform, with small neck. Iron-rust or metallic 
 souffié. Height, 8 inches; diameter, 4 inches. Carved 
 stand. 
 
 Vase. Oviform, with cylindrical neck, and small handles. 
 Iron-rust metallic souffiié. Height, 1034 inches; diameter, 
 434 inches. Kien-long, 1736-1796. Carved stand. 
 
 Small Vase. Ovoid shape. Red flambé. Height, 6 inches; 
 diameter, 3 inches. 
 
 Miniature Wase. Pear shape. Clair-de-lune glaze. 
 Height, 3 inches; diameter, 2144 inches. Carved stand. 
 
 Miniature Vase. Pear shape. Copper-red glaze, with 
 metallic souffle surface. Height, 4 inches; diameter, 
 2inches. Carved stand. 
 
 From the Comte de Sematle collection. 
 
 Small Vase. Elephant’s-tusk handles. Covered with 
 pink and white soufflé. Height, 5144 inches; diameter, 
 8inches. Yung-cheng, 1723-1736. Carved stand. 
 
 From the Comte de Sematle collection. 
 
 Coupe. With handles. Red earthenware; covered with 
 a glaze imitating bronze. Height, 24 inches; diam- 
 eter, 344 inches. Carved stand. 
 
 Vase. Cabinet size. Oviform, with wide flaring neck. 
 Metallic soufflé. Height, 834 inches; diameter, 4 inches. 
 Carved stand. 
 
 Small Coupe. Pomegranate-shaped, with a cover which 
 is made to resemble the stem. Peach-blow glaze. Height, 
 13g inches by 234 inches. Khang-he, 1661-1722. Carved 
 stand. 
 
 Cabinet Vase. Biberon shape, with small flaring neck. 
 Red earthenware. Thick glaze in lilac tone, turning 
 purple at the base, and crackled; brown fire-spot. In- 
 terior of neck has splashes of turquoise. The foot has 
 a vitrified surface. Height, 544 inches; diameter, 244 
 inches. Carved stand. 
 
 Teapot. Rose glaze. The cover has slight gilt decora- 
 tion. Height, 44% inches. Seal-mark, Kien-long, 1736-1796. 
 The spout is mended. Carved teak stand, 
 
EGG-SHELL PORCELAIN 165 
 
 676 Cup. Rose glaze, of delicate texture and quality of paste. 
 Interior has a single flower, painted in pale green. 
 Height, 2 inches; diameter, 334 inches. Stand inlaid 
 with ivory. 
 
 677 Small Coupe. Peach form. Chinese porcelain. The 
 stem and foliage form the handle and feet. Peach- 
 blow and rose souf—lé glaze. Interior is in turquoise. 
 Height, 134 inches; diameter, 244 inches. Kien-long, 
 1736-1796. 
 
 678 Coupe. Peonyform. Foliage and stem form the foot, 
 and are in natural colors. Interior isin turquoise glaze. 
 Height, 134 inches ; diameter, 3 inches. Kien-long, 1736- 
 1796. 
 
 679 Small Pilgrim Bottle. Octagonal 
 shape, with square base and round 
 neck. The centre hasaraised circular 
 medallion in rose glaze, with the show- 
 mark in gold; the rest of the surface 
 is divided into eight panels, each of 
 which contains a floral design and 
 symbol paintedin various bright colors 
 over a yellow glaze. Kien-long, 1736- 
 1796. Height, 644 inches; diameter, 
 416 inches. 
 
 EGG-SHELL PORCELAIN 
 ROSE-BACK PLATES AND OTHER OBJECTS 
 
 680 Rice-grain Vase. Oviform, with flaring 
 neck. Rice-grain arabesques pierced 
 through the paste and filled in with white 
 transparent glaze. Kien-long, 1736-1796. 
 Height, 914 inches. Diameter, 4% inches. 
 Slightly chipped at the rim. 
 
 681 Plate. Transparent dragon and clouds. in 
 the glaze. Khang-he, 1661-1722. Diameter, 
 844 inches. 
 
166 EGG-SHELL. PORCELAIN 
 
 682 Cabinet Vase. Beautiful oviform, with small neck; 
 relief heads and ring handles attached. White glaze 
 of exquisite quality and evenness. Arabesque engraved 
 design over the entire surface. Khang-he, 1661-1722. 
 Height, 814 inches ; diameter, 4144 inches. Carved stand. 
 
 683 Cabinet Vase. Ovoid shape. Of exceedingly fine 
 quality. Decorated with a branch of prune-tree in full 
 bloom, over the glaze. Height, 6 inches; diameter, 31g 
 inches. Khang-he, 1661-1722. Has a crack. Stand of 
 carved teakwood and silk. 
 
 684 Cup and Cover. Decorated with chrysanthemums and 
 a grasshopper in various enamels. Seal-mark, Taou- 
 kwang, 1821-1851. 
 
 685 Plate. The centre is decorated with three quails, a 
 butterfly, and a flowering chrysanthemum. Three bor- 
 ders. Diameter, 8inches. Slight crack. 
 
 686 Plate. Egg-shell porcelain. Decorated with five borders 
 in delicate enamels and gilding, enclosing a fine white 
 paste medallion with four figures, two ladies in rich attire 
 and two children. The accessories are various, including 
 a table with a vase of peonies and books, two rabbits at 
 play and a large jar with the fruit ‘‘hand of Buddha.” 
 The borders are elaborate and beautifully executed with 
 delicate enamels of various colors. The back is rose 
 enamel. Yung-cheng, 1722-1736. Diameter, 834 inches. 
 
 687 Rose-back Plate. The face of this plate is in white, 
 with flowers carefully painted from nature. Yung-cheng, 
 1723-1736. Diameter, 834 inches. 
 
 G88 Ege-shell Plate. Of the finest and most delicate 
 porcelain, bearing a decoration of figures in light trans- 
 parent enamels. When examined in the sunlight, the 
 body of the plate will be found to contain dragons and 
 Buddhistic emblems exquisitely modeled in the paste and 
 visible by their translucency only. There is reason to 
 believe that such plates, originally intended to remain 
 undecorated, are survivals of the Ming dynasty, and 
 probably of the reign of Wan-li, 1573-1620. The decora- 
 tion is undoubtedly more modern and might be ascribed 
 to Yung-cheng, 1723-1736. Diameter, 754 inches. 
 
 689 Egg-shell Plate. Similar to the above, 
 
EGG-SHELL PORCELAIN 167 
 
 690 Lantern. Egg-shell porcelain of 
 the finest quality, with hexagonal 
 and ovoid body and flaring recti- 
 linear perforated design at the 
 neck. The panels are decorated 
 in transparent enamels of great 
 beauty, and in the drawing of the 
 various figures and the accessories 
 of landscape or interior illustrate 
 the highest stage of this branch of 
 Chinese art. Khang-he, 1661-1722. 
 Height, 114 inches; diameter, 7 
 inches. Carved giltstand. From 
 the Bing collection, Paris, 1884, 
 and the M. J. Morgan collection, 
 New York, 1886. 
 
 691 Lantern. Companion. 
 
 692 Lantern. Globular shape. Very delicate porcelain. 
 The entire surface is covered with a fine, transparent 
 green glaze, over a ground of dispersed flower-olossoms 
 and insects on a dotted field. Yung-cheng, 1722-1736 
 Height, 714 inches; diameter, 714 inches. 
 
 693 Lantern. Companion. 
 
 694 Lantern. Egg-shell. Melon shape. 
 The six panels bear a_ beautifully- 
 drawn decoration in transparent en- 
 amels. Khang-he, 1661-1722. Height, 
 9 inches; diameter, 614 inches. Slightly 
 mended at upper band. 
 
 695 Lantern. Companion to the above. 
 
 696 Lantern. Egg-shell. With a beautiful 
 decoration in transparent enamels. 
 694 The paste is of the utmost fineness 
 and the drawing of great delicacy and 
 refinement. Yung-cheng, 1723-1736. Height, 934 inches; 
 diameter, 7inches. Slight gold lacquer mending on rim. 
 697 Rose-back Plate. The centre is a group of children 
 and a lady seated, between a tall stand, bearing artistic 
 ornamentsand other objects, and a large jar in green and 
 blue. Three borders: the main one rose, in fretted 
 design, with white medallions and flowers; the inmost 
 harrow one in pale yellow; and the rim in pale tur- 
 quoise, of lattice pattern. Yung-cheng, 1723-1736. Diam- 
 
 eter, 814 inches. 
 
 a) 
 
 { 
 
168 EGG-SHELL PORCELAIN 
 
 698 Piate. Egg-shell. The decoration consists of six borders 
 in delicate enamels and gold, enclosing a reserve in fine 
 white paste upon which is depicted a garden scene, with 
 four figures, two ladiesin elegant attire and two children. 
 The accessories are various and consist of porcelain- 
 garden seats, a vase of peonies, a book, a cat astride a 
 great peach, a porcelain tray filied with the fruit known 
 as the “hand of Buddha,” peaches, etc. The borders are 
 of the most elaborate and delicate workmanship, and the 
 enamels of the greatest beauty and purity of color. The 
 back is in rose enamel. Yung-cheng, 1723-1736. Diam- 
 eter, 83g inches. Has been repaired. 
 
 699 Plate. Semiegg-shell. Exquisitely drawn decoration of 
 a pagoda, with groups of legendary figures floating upon 
 waves. The reverse shows waves, red bats and clouds, 
 blue rocks and pale-blue sky, Yung-cheng, 1723-1736. 
 Diameter, 814 inches. 
 
 700 Lantern. Cylindrical form, with receding base and top. 
 Egg-shell. Decorated with various representations of 
 the dog Foo in beautiful transparent enamels. The 
 upper and lower bands have broad borders with designs 
 in medallions. Yung-cheng, 1723-1736, Height, 9% 
 inches ; diameter, 6144 inches. 
 
 701 Lantern. Ovoid in form, with cylindrical base. Egg- 
 shell, with decoration of landscape and figures in trans- 
 parent enamels. Khang-he, 1661-1722. Height, 734 
 inches ; diameter, 7 inches. 
 
 702 Lantern. Companion. 
 
 703 Lantern. Ovoid. Fine egg-shell, 
 soft paste porcelain; figure and gar- 
 den subjects beautifully drawn 
 in light transparent enamels on a 
 white ground of exceeding fine- 
 ness. Khang-he, 1661-1722. Height, 
 9144 inches; diameter, 644 inches. 
 Slight crack on side. 
 
 704 Lantern. Ovoid and hexagonal in 
 shape, with reticulated panels, each 
 containing a beautifully - painted 
 medallion and enclosed by a superb 
 floral border. Yung-cheng, 1723- 
 1786. Height, 1034 inches; diameter, 
 8 inches. 
 
JADE 169 
 
 705 Two Dishes. White glass, with transparent engraving. 
 Diameter, 714 inches. 
 
 706 Egeg-shell Vase. Ovoid, with small neck, and silver 
 rim. Decoration in fine red penciling and gold; interior 
 of neck and base is green glaze. Height, 2 inches; diam- 
 eter, 334 inches. Kien-long, 1736-1796. Carved teak 
 stand. 
 
 JADE 
 
 707 Incense Coupe. Greenish-white 
 jade. Carved in the form of a 
 pomegranate, with stemsand leaves 
 cut in free open-work. Height, 
 3 inches; diameter, 414 inches. 
 Carved ivory stand, stained green. 
 
 7O8 Bowl, with Cover. Gray-white jade. Elaborate 
 pierced work and cutting in floral design ; four chrysan- 
 themums, cut in bold relief, form handles. Height, 414 
 inches; diameter, 434 inches. Carved teak stand. 
 
 709 Bowl. Companion. Double platform stand of jade. 
 
 710 Incense Burner. Dark-green 
 jade, with carved open-work —> 
 cover composed of LEE 
 flowers and ara- aie 29 
 besques. Griffin-head 
 handles. The body 
 
 has a relief-carved 
 border in archaic de- G 
 
 . 
 > Z 
 A eee 
 
 ~S aac 
 easvlisn a, 
 
 sign. Height, 5 inches; 
 diameter, 844 inches. 
 Carved teak stand. 
 
 710 
 
 711 Large Vase, and Cover. Square 
 and flat shape, with ring handles. Dark- 
 green jade. The body is carved in low 
 relief with archaic borders. Height, 
 with cover, 124 inches; width, 6 inches; 
 depth, 3 inches. 
 
170 JADE 
 
 712 Large Bowl. Dark-green jade, with ring handles, each 
 held by a large butterfly cut from the solid mass. The 
 outer border is composed of lotus flowers and leaves 
 carved in low relief. Height, 34 inches; diameter, 1234 
 inches. Carved stand. 
 
 713 Bowl, with Cover. Greenish-white 
 jade. Handsomely carved in open and 
 pierced design, with fret borders and 
 the show symbols interspersed with other 
 
 forms. Mounted in 
 
 silver gilt, Height, 
 
 4 inches ; diameter, 
 
 4 inches. Carved 
 
 stand. 
 
 714 Bowl, with Cover. Companion. 
 
 715 Vase. Square with indented corners. 
 Dark-green jade. Carved in deep 
 undercutting, representing land- 
 scape with temples and figures, etc. 
 Height, 7 inches; diameter, 5% 
 inches. With engraved and per- 
 forated bronze stand and carved 
 teakwood base enclosed in glass 
 case with bronze mounting and 
 platform. Height, 1644 inches; 
 diameter, 12 inches. 
 
 716 Three-piece Garniture. Made of dark green jade. 
 This consists of : 
 
 (a) Large Incense Burner. Has projecting handles in 
 the form of phoenixes. A coiled dragon crowns the 
 cover; the rest of the carving is in low relief with 
 archaic borders. Shows an imperfection. Height, 61 
 inches, or 9% inches to tip of handles. Carved light 
 wood stand. 
 
 (b) Vase. Flat, with ring handles. Archaic design in 
 relief to match that of preceding piece. Height, 5% 
 inches ; diameter, 24 inches. Carved stand. 
 
 (c) Perfume Box. This piece is beautifully cut and carved 
 with a floral medallion on cover and an archaic border on 
 the body ; the base has a deeply cut four-petaled flower. 
 Height, 2 inches; diameter, 3144 inches. Carved stand. 
 
 There is a special stand for the garniture. 
 
CHINESE PORCELAINS 171 
 
 717 Wase. Form of flat pilgrim bottle. 
 Dark-green jade. On either side 
 is a circular medallion showing a 
 coiled dragon in relief surrounded 
 with flying bats and conventional 
 clouds. Height, 814 inches; diam- 
 eter, 74 inches. 
 
 918 Pair of Large Bowls and 
 Covers. Crystal quartz, rose 
 colored and of brilliant quality. 
 Mounted on inlaid and carved 
 tenkwood stands in the form of "W7 
 the lotus-flower, and resting upon 
 separate stands with green-stained ivory ornaments. 
 Large platform to match. Height of each bowl, 25% 
 inches; diameter, 514 inches. 
 
 719 Crystal Ball. Pure color. Diameter, 2} inches. 
 
 720 Ornament or Stand for Crystal Ball. Carved from 
 a solid tusk of ivory, in open-work consisting of pine- 
 trees, branches and birds, the interior showing a turtle 
 under a cluster of bushes. Height, 514 inches ; diameter, 
 414 inches. 
 
 CHINESE PORCELAINS 
 
 FLAMBE AND SOUFFLE SPECIMENS 
 
 722 Cabinet Wase. Pear-shaped, with small flaring neck. 
 Stoneware. Covered with clair-de-lune glaze, with pur- 
 ple markings. Height, 63g inches ; diameter, 3% inches. 
 Carved stand. 
 
 7283 Large Wase. Pear-shaped. Covered with carnelian-red 
 flambé, with purple cloudings ; brilliant quality. Height, 
 1014 inches ; diameter, 7 inches. Seal-mark incised. Yung 
 cheng, 1723-1736. Carved stand. 
 
172 FLAMBE 
 
 724 Vase. High, slender handles, with heads fastened at the 
 rim. Covered with transparent violet glaze crackled ; 
 and ruby markings at the base and neck. Height, 
 1124 inches; diameter, 54% inches. Stand. 
 
 725 Small Vase. Gourd shape. Covered with purplish 
 flambé, pearl-gray at neck, shading to dark purple at 
 base. Fine quality. Height,5 inches ; diameter, 3 inches. 
 Stand. 
 
 726 Vase. Oviform, with elephant’s-head handles. Flambé, 
 with pearl-gray crackle overrunning garnet ground. 
 Height, 1244 inches ; diameter, 8inches. Carved stand. 
 
 727 Plaque. Rich flambé, with strawberry-like markings 
 on olive and céladon ground, and regularly formed 
 ruby splashes at the side. Base has crackled surface. 
 Diameter, 1044 inches. Stand. 
 
 728 Vase. Balustre shape. Flambée, bright red with greenish 
 gray and purple lines, and iridescent surface. Interior 
 is of clair-de-lune glaze, finishing at the rim in olive. 
 Height, 1044 inches; diameter, %44 inches. Carved 
 stand. 
 
 729 Large Bottle. Flambé, deep crimson and purplish 
 markings. Height, 1544 inches; diameter, 8 inches. 
 Carved stand. 
 
 730 Vase. Form of tree-trunk. Covered with transparent 
 flambé, with ashes-of-roses and strawberry shading. 
 Height, 4inches; diameter, 34% inches. Carved stand. 
 
 2731 Cabinet Vase. Square shape, with narrow neck. 
 Céladon Flambé. At each corner, raised trigram 
 lines with a scalloped line encircling them. Unique 
 quality. Height, 11 inches; diameter, 4 inches. Carved 
 stand. 
 
 732 Cabinet Vase. Pear-shaped. Flambé of iridescent 
 surface, shading from brilliant red to pearl-gray and 
 purple. Interior in clair-de-lune glaze. Seal-mark, 
 Kien-long, 1736-1796. Height, 9 inches; diameter, 514 
 inches. Carved stand. 
 
 733 Vase. Square balustre shape, with small handles in the 
 form of butterflies. Covered with a brilliant red flambé, 
 The edges and corners show the pale clay beneath 
 the glaze. Height, 844 inches; diameter, 4 inches. 
 
734 
 
 735 
 
 736 
 
 37 
 
 738 
 
 739 
 
 740 
 
 741 
 
 742 
 
 CHINESE PORCELAINS. 173 
 
 Vase. Melon shape, with flaring neck. Covered with a 
 heavy red flambé showing blue-shaded lines between 
 the ribs. The inner surface of neck is in clair-de-lune 
 glaze. Engraved seal at foot. Height, 714 inches; 
 diameter, 534 inches. Taou-kwang, 1821-1851. Carved 
 stand. 
 
 Coupe. Globular shape. Covered with a heavy dark 
 flambé, with purplish markings. Height, 234 inches; 
 diameter, 6 inches. Carved stand, with ivory panels. 
 
 Bottle. Cabinet size. A dragon in relief coiled around 
 the neck. Covered with a deep red glaze, the paste left 
 partly uncovered, and partly in purple souffié. Height, 
 9 inches; diameter, 534 inches. Carved stand. 
 
 Small Vase. Ovoid, with neck receding from the 
 shoulder, and with small handles. Red agate. Flambé, 
 with purple and gray cloudings. Height, 8% inches; 
 diameter, 4144 inches. Carved stand. 
 
 Small Vase. Tree-trunk in shape. Flambé; olive, céla- 
 don and purple markings. Height, 4 inches; diameter, 
 314 inches. 
 
 Bottle. Purple and gray glaze upon dense body. Period 
 of the Mings. Height, 7 inches; diameter, 3 inches. 
 Carved stand. 
 
 Square Vase. Balustre shape, with elephant’s-tusk 
 handles. Brilliant garnet and purple flambé, except the 
 edges, which are cream. Height, 11 inches; diameter. 
 644 inches. Kien-long, 1736-1796. Carved stand. 
 
 Tall Bottle. Flambé; purple and gray markings. Top 
 rim shows the paste with small crackled surface in 
 céladon. Height, 1534 inches ; diameter, 814 inches. Kea- 
 king, 1796-1821. Carved stand. 
 
 Tall Vase. Ovoid, with flaring neck. Red flambé, with 
 purple shading. Height, 1614 inches; diameter, 8 inches, 
 Kea-king, 1796-1821. Carved stand. 
 
 Vase. Cabinet size. Bottle shape, with globular neck, 
 and elementary handles of modeled heads and rings. 
 Flambé, shading from clair-de-lunc to purple and garnet; 
 heads and rim, brown and gray glaze. Engraved seal 
 mark, Yung-cheng, 1723-1786. Height, 834 inches; diam- 
 eter, 64 inches. Carved stand. 
 
174 FLAMBE. 
 
 744 Vase. Ovoid, with low, cylindrical neck. Covered in 
 light purplish red and gray flambé. Interior of neck 
 Clair-de-lune, and rim in céladon. Engraved seal-mark, 
 Yung-cheng, 1723-1736. Height, 10 inches; diameter, 634 
 inches. Carved stand. 
 
 745 Vase. Lozenge shape. Covered with iridescent marble- 
 ized glaze, with crackled surface, bearing the Pat-kwa tri- 
 grams in relief. Height,9 inches by 5 inches. Yung- 
 cheng, 1723-1736. Carved stand. 
 
 746 Bottle. Covered with flambé, shading from clair-de-lune 
 to sapphire and garnet. Mounted with arabesque silver 
 top. Height, 15 inches; diameter, 10 inches. Engraved 
 seal-mark, Kien-long, 1736-1796. Stand. 
 
 747 Bottle-shaped Vase. Four cylindrical projections atthe 
 neck. Flambé. Height, 13 inches; diameter,9 inches. Stand. 
 
 748 Vase. Brilliant flambé, red with purple and gray splashes; 
 the interior of neck and the handles of clair-de-lune. 
 Height, 834 inches; diameter, 5inches. Seal-mark, Kien- 
 long, 1736-1796. Carved stand. 
 
 749 Vase. Balustre shape, with broad neck. Raised heads 
 with rings. Heavy flambé, running from a bright red to 
 green marked with gray ; interior, pearl-gray. Engraved 
 seal-mark, Yung-cheng, 1723-1736. Height, 104% inches; 
 diameter, 7 inches. Stand. 
 
 750 Hanging Vase. Ovoid, with three eyes or holders. 
 Heavy russet mottled glaze, with lavender shading and 
 clair-de-lune rim. Engraved seal, Yung-cheng, 1723-1736. 
 Height, 54% inches; diameter, 7 inches. Carved stand. 
 
 751 Large Bottle. Brilliant flambé, with shades of ruby, 
 olive and céladon, over an originally blue and white piece 
 of porcelain. Height, 1444 inches; diameter, 8 inches. 
 Kien-long, 1736-1796. Carved stand. 
 
 752 Large Wase. Lozenge shape. Flambé, in imitation of 
 variegated marble. The Pat-kwa (set of eight trigrams) 
 and the Yang-Yin circle are set in panels in slight relief. 
 Height, 1234 inches by 8 inches by 534 inches. Kien-long, 
 1736-1796. Carved stand. 
 
 753 Vase. Balustre shape, with handles. Flambé, with red 
 carnelian, pearl-gray and purple markings. Height, 
 834 inches; diameter, 434 inches. 
 
CHINESE PORCELAINS 175 
 
 754 Ewer. Brilliant flambé. Scalloped border, and fluted 
 lines around the body. Engraved seal-mark, Yung- 
 cheng, 1728-1786. Height, 13 inches ; diameter, 73¢ inches. 
 Carved teak stand. 
 
 755 Wase. Biberon shape. Heavy paste. Covered with lus- 
 trous carnelian-red with purplish cloudings. Height, 8 
 inches; diameter, 444 inches. Yung-cheng, 1723-1736. 
 Carved stand. 
 
 756 Double Wase. Dragon’s-blood flambé of brilliant qual- 
 ity. Height, 9 inches ; width,5¥ inches. Carved stand. 
 
 757 Vase. Ovoid and melon form, with broad neck and escal- 
 oped rim. Covered with a vitreous crackled glaze, with 
 large dashes of translucent dragon’s-blood and slight 
 purplish markings. The foot is covered with blue, and is 
 erackled. Height, 114 inches; diameter, 844 inches. 
 Richly-carved stand. 
 
 758 Pilgrim Bottle. Red flambé of lustrous quality; 
 handles at neck, in blue and gray glaze. Height, 12 
 inches; diameter, 84% inches. Carved stand. 
 
 759 Vase. Flambé, garnet red, with purplish cloudings. 
 Height, 84% inches; diameter, 334 inches. Stand. 
 
 760 Bottle. Crackled flambé, with light céladon ground 
 showing: through. Height, 1344 inches; diameter, 8% 
 inches. Carved stand. 
 
 761 Vase. Cabinet size. Biberon shape. Covered with garnet 
 and purplish flambé, of brilliant texture. Height, 7 
 inches; diameter, 44 inches. Kien-long, 1736-1796. 
 
 From the Comte de Semalle collection. 
 
 762 Vase. Ovoid, with curved neck and handles. Covered 
 with carnelian-red flambé, with pearl-blue cloudings; 
 clair-de-lune interior. Brilliant quality. Yung-cheng, 
 1723-1736. Height, 9144 inches; diameter, 9inches. Carved 
 stand, inlaid with green ivory. 
 
 763 Vase. Cabinet size. Quadrilateral, with handles. Rich 
 flambé, with céladon and peach mottlings. Height, 9% 
 inches ; diameter, 444 inches. Carved stand. 
 
 764 Vase. Ovoid and melon form, with broad neck and 
 scalloped rim. Covered with a vitreous crackled céladon, 
 having large dashes of translucent dragon’s-blood and 
 slight purplish markings. Height, 114% inches; diameter, 
 84 inches. 
 
176 
 
 765 
 
 766 
 
 767 
 
 768 
 
 769 
 
 770 
 
 771 
 
 772 
 
 V7A4 
 
 V75 
 
 FLAMBE 
 
 Vase, Melon shape, with scalloped and straight rim. 
 Covered with a deep and brilliant red flambé, with clair- 
 de-lune at neck and base. Height, 10 inches ; diameter, 
 44% inches. Kien-long, 1786-1796. Stand. 
 
 Large Vase, Oviform, with flaring neck. Covered with 
 ‘red flambé. Height, 16% inches; diameter, 12 inches. 
 Seal mark, Kien-long, 1736-1796. Carved stand. 
 
 Large Bottle. Covered witha heavy and deep dragon’s- 
 blood flambé. Height, 14 inches; diameter, 9 inches. 
 Carved stand. 
 
 Large Jar. Of unusual form, with spout, Covered 
 with a heavy pearl-gray glaze. Incised mark, Yung- 
 cheng, 1723-1736. Height, 1044 inches; diameter, 10 inches. 
 Carved stand. 
 
 Tall Vase. Pear shape, with tubular hangers. Covered 
 with a lustrous red. The interior is pearl-gray. Height, 
 134 inches ; diameter, 8inches. Seal, Yung-cheng, 1725- 
 1736. Carved stand. 
 
 Tall Bottle. Covered with garnet flambé, having pur. 
 plish cloudings; brilliant quality. Height, 1334 inches; 
 diameter, 844 inches. Carved stand. 
 
 Tall Vase. Biberon form, with slender and flaring neck. 
 Covered with deep red flambé, having dark mottling 
 and purplish cloudings. Interior of neck has clair-de- 
 lune surface. Height, 1914 inches; diameter, 9 inches. 
 Carved stand. 
 
 Large Bottle. Covered with a heavy and deep dragon’s- 
 blood flambé. Height, 14 inches; diameter, 9 inches. 
 Carved stand. 
 
 Large Jar. Globular form with spout. Covered witha 
 heavy pearl-gray glaze. Incised mark of Yung-cheng, 
 1723-1736. Height, 1044 inches; diameter, 10 inches. 
 Carved stand. 
 
 Vase, Biberonshape. Garnet splashed glaze, with streaks 
 in purple and pearl colors running down the neck. 
 Brown crackled foot. Height, 16 inches; diameter, 914 
 inches. Stand. 
 
 Large Vase. Bottle shape. Clair-de-lune flambé. 
 Height, 20 inches; diameter, 15 inches. 
 
CHINESE PORCELAINS 177 
 
 776 Vase. Bottleshape. Rich flambé, with garnet and céla- 
 don splashes on transparent crackle ground. Sterling 
 silver rim and base. Height, 1244 inches; diameter, 64% 
 inches. Stand. 
 
 7763, Small Beaker. Red flambé, with pearl-colored verti- 
 cal markings; clair-de-lune interior. Seal-mark, Kien- 
 long, 1736-1796. Height, 1044 inches; diameter, 8 inches 
 by 834 inches. Stand. 
 
 777 Large Coupe. Brilliant flambé, with garnet and carne- 
 lian shadings. Interior is in gray crackle. Diameter, 
 914 inches. Carved stand. 
 
 778 Bottle. Has tall neck and flattened body. Flambé, shad- 
 ing from clair-de-lune to sapphire and garnet. Mounted 
 with arabesque silver top. Height, 15 inches; diameter, 
 10 inches. Engraved seal-mark, Kien-long, 1736-1796. 
 Stand. 
 
 SOUFFLE 
 
 779 Bottle. Metallic soufflé on copper-glazed ground, resem- 
 bling iron-rust. Kien-long, 1736-1796. Height, 834 inches; 
 diameter, 434 inches. Stand. 
 
 780 Cabinet Vase. Biberon shape. TIron-rust souffié on 
 brown olive ground. Height, 7 inches; diameter, 314 
 inches. Kien-long, 1736-1796. 
 
 781 Large Vase. Balustre shape, with small handles. Iron- 
 rust souflé. Height, 15 inches; diameter, 9 inches. Kien- 
 long, 1786-1796. Carved stand. 
 
 ¥82 Bottle. Biberonshape. Blue speckled robin’s-egg glaze, 
 of uniform quality. Yung-cheng, 1723-1736. Height, 6 
 inches; diameter, 334 inches. Carved stand. 
 
 783 Beaker. Trumpet-shaped top. Covered with copper- 
 colored metallic souffié. Height, 1334 inches; diameter, 
 9 inches. 
 
 784 Large Jar, with Cover. Inform and glaze an imita- 
 tion of an ancient bronze. The cover has a handle con- 
 sisting of a large piece of carved rose-colored crystal. 
 The interior and base are covered with a heavy brown 
 glaze. Height, 1614 inches; diameter, 14 inches, Stand, 
 Kien-long, 1736-1796, 
 
SALE, FRIDAY AFTERNOON, APRIL 15TH 
 
 ‘ AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’CLOCK 
 
 CHINESE PORCELAINS 
 DECORATED IN COLORS 
 
 785 Piteher. With silver mounting. 
 Floral design in various enamels 
 upon a white ground. Height, 834 
 inches to top of mounting. 
 
 786 Set of Confection Dishes. Va- 
 rious shapes. Hawthorn blossoms in 
 white, and dragon upon transparent 
 green ground, 
 
 787 Two Dishes. Semi egg-shell. White 
 glaze interior; coral-red back. 
 Yung-cheng, 1723-1736. Diameter, 
 514 inches. 
 
 785 
 
 788 Plaque. Floral centre upon white ground. Irregular 
 border, with peonies, blossoms and foliage in various 
 enamels. Diameter, 144% inches. Yung-cheng, 1723-1736. 
 
 789 Platter. White interior. Exterior represents waves, in 
 relief, in green glaze on a canary-yellow ground. Yung- 
 cheng, 1723-1736. Diameter, 14 inches. Teakwood stand. 
 
 790 Vase. Tall ovoid, with small neck. Decorated with a 
 large five-clawed dragon surrounded by clouds, all in 
 peach color under the glaze, which is a delicate céladon 
 on a fine white body. Height, 13144 inches; diameter, 
 7inches. Stand. 
 
 791 Incense Burner. Cylindrical shape. Fret design en- 
 graved in relief in the paste; circular medallions in 
 reserve, which are decorated in blue with figures and 
 landscapes. Height, 334 inches; diameter, 6 inches. Per- 
 forated silver cover. 
 
DECORATED 179 
 
 792 Jar. Ovoid shape. Dragon and carp on transparent yel- 
 
 793 
 794 
 795 
 
 796 
 
 797 
 
 798 
 
 799 
 
 800 
 
 801 
 
 low ground. Silver cover, engraved and inlaid with gold 
 in floral design, and surmounted by dog Foo. Height, 
 834 inches; diameter, 744 inches. 
 
 Miniature Tripod. Gilt porcelain, in imitation of a 
 bronze. Perforated cover, with coral-colored top. Height, 
 23g inches; diameter, 244 inches. Kien-long, 1736-1796. 
 Carved stand. 
 
 Vase. Marbleized giaze, with reticulated and sunken 
 panels unglazed, and in relief. Partly in green and blue 
 glaze. Height, 444 inches by 7 by 2% inches. Carved 
 stand. 
 
 Vase. Cylindrical. Represents a bundle of bamboo tied 
 with yellow cord. Iridescent brown glaze. Height, 444 
 inches by 24 inches. Pear-wood stand, carved to imitate 
 bamboo. 
 
 Bardiniére. Square shape, with flaring top. Medallions 
 | with landscape decorations. Height, with stand, 8 inches ; 
 diameter, 744 inches. 
 
 Temple Koro. Ancient shape. Olive glaze with gold 
 soufflé, imitating bronze. The interior of vessel bears 
 engraved mark of Kien-long, 1736-1796. Height,with cover, 
 11% inches; diameter, 8144 inches. Carved stand. 
 
 From the Comte de Semalle collection. 
 
 Small Perfume Burner. Tripod, with handles. Me- 
 tallic and gilt porcelain, decorated to imitate a bronze. 
 Seal-mark, Kien-long, 1736-1796. Cover is of teakwood, 
 and is mounted with small jade figure. Height, with 
 cover, 444 inches; diameter, 344 inches. Carved stand. 
 From the Comte de Semattle collection. 
 
 Miniature Perfume Burner. Tripod, with handles. 
 Gilt metallic glaze, with archaic border in verdigris green 
 and blue enamels. Top is perforated, and surmounted by 
 the dog Foo. Height, 344 inches; diameter, 24% inches. 
 Kien-long, 1736-1796. Carved stand. 
 
 Porcelain Panel. Pear-shaped; decorated with figure 
 subject and an interior, and framed in teak-wood. 
 Height, 914 inches by 9 inches. 
 
 Vase. Square. Wnite,sunken panels, with bird and flower 
 decoration, edged with a yellow arabesque border. Seal- 
 mark, Kien-long, 1736-1796. Height, 34% inches. Diam- 
 eter, 244 inches, Carved stand, 
 
180 CHINESE PORCELAINS 
 
 802 Wase. Decorated with blue and white archaic borders. 
 With eight sunken panels, each containing symbolical ob- 
 jects in red, with floral arabesques in various colors upon 
 a white ground. Seal-mark, Kien-long, 1736-1796. Height, 
 914 inches; diameter, 6 inches by 4 inches. Carved stand. 
 
 803 Vase. Tall ovoid shape. Gold arabesque and archaic medal- 
 lion design in low relief. Seal-mark, Kien-long, 1736-1796. 
 Height, 1034 inches; diameter, 5 inches. Carved stand. 
 
 804 Large Jar. Oviform. Decoration shows ascending 
 dragons in dark-green and yellow glaze, outlined with blue, 
 on white ground, and dispersed clouds in red and green. 
 Height, without cover, 18 inches; diameter, 11 inches. 
 
 805 Large Jar, with Cover. Decoration, on white ground, 
 represents an interior of a pavilion, with family seated at 
 table, watching children in boats gathering water-lilies. 
 Height, 1714 inches with cover; diameter, 11 inches. 
 
 806 Vase. Pure white porcelain, with 
 rose-colored lizard in bold relief. 
 Seal-mark, Yung-cheng, 1723-1736. 
 Height, 634 inches; diameter, 5% 
 inches. 
 
 807 Covered Box. Round shape. In 
 white reserve on coral-red ground 
 are geometrical designs, butterflies 
 and conventional flowers. Yung- 
 cheng, 1723-1736. Height, 3 inches; 
 diameter, 6 inches. Carved stand. 
 
 808 Wase, A tall, graceful biberon, with 
 small neck. Has a bold design in 
 crushed strawberry tint upon a pale céladon ground. 
 Height, 1544 inches; diameter, 8 inches. Khang-he, 1661- 
 1722. 
 
 809 Covered Jar. Ovoid. Elaborate and beautifully drawn 
 decoration, representing a garden scene and a view of 
 the interior of a house, showing children at play and 
 watched by ladies and attendants. Height, 10 inches; 
 diameter, 8 inches. Raised stand. 
 
 810 Black Hawthorn Vase. Tall, square, with turned 
 shoulders and narrow neck. Decorated upon a black 
 enameled ground, with a lotus in full bloom, prune blos- 
 soms, peonies, and chrysanthemums, in various trans- 
 parent glazes. Height, 20 inches; diameter, 6 inches, 
 Slightly mended at the lip. Carved stand, 
 
DECORATED 181 
 
 811 Jar, with Cover. Large. Decoration represents an 
 interior with figures in various transparent enamels. 
 Height, 174% inches; diameter, with the cover, 11 inches. 
 
 812 Large Plaque. Decoration represents a veranda with 
 figures, in various transparent enamels on a white 
 ground, with cloudings and the sacred bird Ho-o in red. 
 Diameter, 1544 inches. Khang-he, 1661-1722. 
 
 813 Dish. Interior is decorated with peonies, in rose glaze, 
 yellow centre and green leaves. Diameter, 634 inches. 
 Kien-long, 1786-1796. Mended. 
 
 814 Dish. Ornamented beneath with a border formed by 
 show-marks and butterflies in relief, gilded in several 
 tones. Bears an inscription signifying many good wishes. 
 Diameter, 534 inches. Kien-long, 1736-1796. 
 
 815 Figure. Stone ware. An old man with long’ beard; 
 brilliant blue and red flambé. Height, 14 inches; diam- 
 eter, ll inches. Carved stand. 
 
 816 Two Round Sectional Boxes. In four compart- 
 ments; decorated in ‘enamel to imitate cloisonné. Show 
 mark on the cover, surrounded by bats in red and yellow 
 glaze with gilt outline. Height, 6144 inches ; diameter, 414 
 inches. 
 
 817 Plaque. Represents a lotus-leaf, decorated in various 
 green enamels. Diameter, 11 inches. 
 
 818 Plaque. Similar. 
 
 819 Vase. Balustre shape, with ribbed body, and handles. 
 Covered with yellow glaze. Has an engraved border 
 surrounding shoulder, in green, blue, and white. White 
 elephant’s-head handles. Height, 1314 inches; diameter, 
 74% inches. Carved stand. 
 
 820 Jardiniére. Elaborate decoration in arabesque design. 
 Mounted on low feet. Height, without stand, 4 inches; 
 diameter, 10 by 914 inches. 
 
 821 Jardiniére. Globular shape. Gourd-vine decoration in 
 white, upon pale-blue ground. Height, without stand, 
 416 inches; diameter, 84% inches. High stand. 
 
 822 Low Vase. With narrow flaring neck. Covered with 
 garnet flambé, and decorated with a dragon in green, 
 yellow, and blue enamel over the glaze. Height, 614 
 inches; diameter, 54% inches. Carved stand. 
 
824 
 
 825 
 
 826 
 
 827 
 
 828 
 
 829 
 
 830 
 
 831 
 
 832 
 
 833 
 
 CHINESE PORCELAINS 
 
 Figure. Represented in court costume, and richly decor- 
 ated. Height, 7 inches; width, 6 inches. Kien-long, 1736- 
 1796. Teakwood stand. 
 
 From the Comte de Sematle collection. 
 
 Figure of a Warrior. Represented in rich court cos- 
 tume; decorated in various colors and gold. Height, 73¢ 
 inches; width, 544 inches. Kien-long, 1736-1796. 
 
 From the Comte de Sematle collection. 
 
 Two Wine Cups. Raised and emblematical crests in 
 blue, on gold ground. Seal-mark, Taou-kwang, 1821-1851. 
 Height, 15g inches ; diameter, 244 inches. 
 
 Plate, Egg-shell. Floral decoration in rose color. Has 
 rose back. Diameter, 8 inches. Mended. 
 
 Two Plates. Decorated with floral designs, border, and 
 medallions in various colors, upon a white engraved 
 ground. The rim borders are also engraved, and contain 
 four floral medallions. Diameter, 844 inches. 
 
 Hanging Wall-Vase. Coral-red, decorated with gold 
 arabesque designs. Kien-long, 1736-1796. Height, 10% 
 incbes; diameter, 6 inches. 
 
 Teapot. Globular form. Red decoration, consisting of 
 five-clawed dragon and the sacred bird of Paradise. 
 Taou-kwang, 1822-1851. Height, with cover, 5 inches; 
 diameter, 4 inches, 
 
 Two Beakers. Decoration of blossoms interspersed 
 with bamboo and fir-trees in natural colors on white 
 ground. Seal-mark, Kien-long, 1736-1796. Height, 8% 
 inches; diameter, 644 inches by 5 inches. Carved stand. 
 
 Vase. Tall ovoid shape, with small neck. Decorated with 
 a large five-clawed dragon, and clouded field in peach 
 color under glaze. Height, 1344 inches; diameter, 7 inches. 
 Stand. 
 
 Cabinet Vase. Gourd shape. The two sides are decora- 
 ted with dragons in different colors, surrounding the 
 circular mark show which is in carnelian-red. Height, 
 634 inches; diameter, 434 inches. Kien-long, 1736-1796. 
 Carved stand. 
 
 Teapot. Decorated with floral and fruit design in various 
 
 enamels. Height, 6 inches; diameter, 4144 inches, Yung- 
 cheng, 1723-1736, 
 
DECORATED 183 
 
 834 Beaker. Hawthorn decoration in yellow on an impertect 
 dark ground. Height, 138 inches; diameter, 754 inches 
 Stand. 
 
 835 Covered Jar. Ovoid shape. Decoration represents a 
 garden scene with house and an interior, children in 
 various pastimes, also ladies and attendants. Painted in 
 transparent colors. Height, 10 inches; diameter, 8 inches. 
 High stand. 
 
 836 Low Jardinieére. Covered with glaze, with arabesque 
 decoration in relief. Height, 2% inches; diameter, 8x64 
 inches. Kea-king, 1796-1821. 
 
 837 Cabinet Bottle. Gourd shape. Coral-red glaze, with 
 leaf-shaped vignettes in reserve, in which are landscapes 
 in black. Height, 7 inches; diameter, 334 inches. Khang- 
 he, 1661-1722. Carved stand. 
 
 838 Hanging Wall-Vase. Globular, with flaring neck. 
 Arabesque decoration in red, with gold outlines, on a white 
 ‘ground. The base is in imitation of a wooden stand. 
 Height, 75g inches; diameter, 7 inches. Kien-long, 1736- 
 1796. : 
 
 839 Two Plates. Open-work borders. Decorated with flow- 
 ers, etc., on buff enameled surface. Diameter, 10 inches. 
 Kien-long, 1736-1796. 
 
 840 Large Vase. Heavy, sonorous porcelain. Made in imitation 
 of the form, texture and color of asacred piece of bronze. 
 Vases of this character were made 
 in large numbers during the reign of 
 Kien-long, by that emperor’s orders, 
 and were accumulated in his pal- 
 aces. They were used as presents to 
 distinguished personages, and they 
 were esteemed in the degree in which 
 
 they resembled the ancient bronzes, enete yah 
 of which they were copies. The first (ena ey 
 
 examples of this kind bear the date 
 of Yung-cheng, and it is possible 
 that some were made in the preced- 
 ing reign. The manufacture has 840 
 
 been continued in China until recent times. This is a spe- 
 cimen of unusual size and importance, and is of the best 
 period of Kien-long, 1736-1796. Height, 204 inches; diam- 
 eter, 16 inches. 
 
184 
 
 841 
 
 842 
 
 843 
 
 844 
 
 845 
 
 846 
 
 847 
 
 848 
 
 CHINESE PORCELAINS 
 
 Vase. Decorated with two shades of gold in arabesques, 
 including various devices, on a lapis-lazuli blue ground. 
 Height, 11 inches; diameter, 6144 inches. Seal-mark, Kea- 
 king, 1796-1821. Carved stand. 
 
 Large Plaque. Decoration representing ladies on a ve- 
 randa, and an interior view showing a lady playing on 
 a musical instrument. Border of symbolical devices. 
 Diameter, 14 inches. 
 
 Dish. Semi egg-shell. Reverse shows floral design on a 
 black ground, with arabesque scrolls in green under glaze. 
 Diameter, 534 inches. 
 
 Two Piates. Engraved dragon design, and centre medal- 
 lion with inscription. The rim has a narrow red border of 
 bats. Diameter, 75g inches. 
 
 Saucer. Yellow glaze, with engraved five-clawed dragon, 
 and decorated floral border. Seal-mark, Kien-long, 1736- 
 1796. Diameter, 414 inches. 
 
 Plaque. Thecentre decoration consists of sprigs of chrys- 
 anthemums and peonies, with butterflies, on white ground, 
 surrounded by a floral border witb vignettes. Diameter, 
 1054 inches. 
 
 Bottle. Iridescent coral glaze of even quality, with white 
 leaf-shaped reserve containing finely penciled black 
 landscape. Kien-long, 1736-1796. Height, 8 inches; diam- 
 eter, 44% inches. Carved stand. 
 
 Dish. Deep. Medallion containing ladies embroidering. 
 a. Wide border with enameled arabesques, 
 () on engraved green ground. Kien-long, 
 yi Ya An S Sees 
 
 ain 1736-1796. Diameter, 6% inches. 
 
 849 Plate. Yellow enameled ground, with 
 cherry-blossom and bird decoration. 
 The reverse has conventional floral 
 design. Diameter, 84% inches. 
 
 850 Two Dishes. Yellow ground, with 
 symbolical devices, gilt medallions and 
 show mark. On the reverse conven- 
 tional floral design. Yung-cheng, 1723- 
 1736. Diameter, 64% inches. 
 
 851 Temple Jar. Archaic shape. Ground 
 tea-leaf glaze, of even quality. Animals 
 in relief form handles. The cover issur- 
 
 851 mounted byahawk. Height, 1834 inches; 
 
 diameter, 94 by 7i4ins. Kien-long, 1736-1796. Carvedstand. 
 
DECORATED 185 
 
 852 Large Vase. Bottle form. Chinese white porcelain. 
 Covered with black lacquer, elaborately inlaid with 
 mother-of-pearl representing a moonlight landscape, 
 figures, water, ships, etc. Seal-mark of inlaid pearl. 
 Ching-hwa, 1465-1488. Height, 2044 inches; diameter, 10 
 inches. Carved stand. A Ming piece, and probably of 
 the reign indicated. 
 
 From the Comte de Sematlle collection. 
 
 853 Large Vase. Similar to the above. Height, 21 inches; 
 diameter, 10144 inches. 
 
 854 Large Jardiniére. Square. Carved teakwood, with 
 four porcelain panels, decorated with flowers and birds. 
 Height, 1244 inches, by 12 inches square. 
 
 855 Tall Vase. Oviform, with narrow cylindrical neck and 
 rim. Covered with powder-blue glaze. Gilt decoration, 
 landscape medallions on floral ground, with arabesque 
 design around the neck. Height, 18 inches; diameter, 714 
 
 | inches. Khang-he, 1661-1722. Carved stand. 
 
 856 Imperial Censer. Octagonal shape. 
 Porcelain, made in imitation of an 
 ancient bronze. The ornamentation 
 is in gold in low relief upon a 
 ground which simulates bronze 
 eaten by verdigris and age. The 
 principal panels have eight symbol- 
 ical characters with arabesque orna- 
 ments and borders. The upper edge 
 has an ornamented border and 
 bears, on one side, the engraved 
 mark Kien-long, 1736-1799. The 
 cover of carved teakwood has a 
 finely carved large white jade top of 
 superior workmanship. Height, in- 
 cluding stand and cover, 15 inches ; 
 diameter, 7 inches. 
 
 857 Large Jar. Ovoid. Has a reticulated outer wall com- 
 posed of various designs, including the Pa-Sien, or eight 
 Chinese immortals, modeled in relief upon the clay. A 
 border surrounds the top, with peonies and leaves in 
 pierced and open design. The enamels are mainly of 
 turquoise and lapis-lazuli blue, with parts showing the 
 biscuit, which is not wholly kaolinic in its nature. 
 
 These vases are the product of an industry of undoubt- 
 edly great antiquity. No one has yet indicated with any 
 
186 CHINESE PORCELAINS 
 
 certainty their actual origin, but the best authorities have 
 been content to ascribe them to some southern province 
 of China, in which the manufacture has long since become 
 obsolete. None of them is more modern than the dynasty 
 of the Mings, and there seems to be good reason for at- 
 tributing many of them to a much more remote period. 
 
 858 Black WMawthorn Wase. Tall, square, with turned 
 shoulder and narrow neck. Decorated with prune blos- 
 soms, chrysanthemums and peonies, in white, purple, 
 yellow and green enamels on a heavy black ground. 
 Decorated around the neck in the same manner, and 
 finished with finely wrought silver, gold and enameled 
 top. Period of the Mings. Height, 1614 inches; diameter, 
 6inches. Carved stand. 
 
 859 Double Vase. Oviform, with cover. The surface is 
 entirely covered with glaze in the manner of enameling 
 on copper. Has a floral and arabesque design in various 
 colors upon a yellow ground; rose border, neck and base; 
 interior turquoise. A beautiful and choice example. 
 Slight mend at upper rim. Kien-long, 1736-1796. Height, 
 84 inches; diameter, 514 inches by 34 inches. Carved stand. 
 
 860 Vase. Balustre shape, with long neck. Coral-red, with 
 gold arabesque design and borders over the glaze; tur- 
 quoise interior and base. Kien-long, 1736-1796. Height, 
 1134 inches; diameter, 444 inches. Carved stand. 
 
 861 Large Vase. Intricate and boldly-drawn decoration 
 with transparent green enamels predominating, repre- 
 senting gardens, a palatial interior, with ceremonial, etc. 
 Height, 274% ins.; diameter, 12 ins. Khang-he, 1661-1722. 
 
 862 Vase. Imitation in color, form and texture, of an ancient 
 bronze. Height, 13 inches; diameter, 
 6144 inches. Kien-long, 1736-1796. Stand, 
 
 863 Large Imperial Jar. With cover. 
 Porcelain, with olive souffié or bronze- 
 colored glaze, and a series of parallel 
 engraved borders in vitreous enamels. 
 The cover has, as a handle, a large 
 piece of rose rock-cerystal. Height, 1644 
 inches; diameter, 14 inches. Stand. 
 
 864 Figure. Represented in court dress 
 and richly decorated. Height, 7% 
 inches; width, 444 inches. Teakwood 
 stand. Kien-long, 1736-1796. 
 
 863 From the Comte de Sematle collection. 
 
DECORATED 187 
 
 865 Figure. Represented in court dress. Finely decorated. 
 Height, 744 inches; width, 444 inches. Teakwood stand. 
 Kien-long, 1736-1796. 
 
 From the Comte de Sematlle collection. 
 
 866 Figure. Represented in court dress. Finely decorated. 
 Height, 7 inches; width, 6 inches. Kien-long, 1736-1796. 
 Teakwood stand. 
 
 From the Comte de Semalle collection. 
 
 867 Large Plaque. Decoration represents warriors and 
 horsemen, with a woman kneeling before them, and two 
 children. The border consists of blossoms on a stippled 
 ground, interrupted by vignettes containing fish, lobsters 
 and crabs. Diameter, 1514 inches. 
 
 868 Large Pilgrim Bottle. Circular form, with square 
 base, narrow neck and small handles. The body of this 
 piece represents a blossom, with each petal slightly raised, 
 and contains a carefully-drawn floral design in various 
 enamels, outlined with blue, over the white glaze. Height, 
 13 inches; diameter, 944 inches. Yung-cheng, 1722-1736. 
 Stand. 
 
 869 Jar. Robin’s-egg glaze. Decorated with floral ornaments 
 and butterflies in gold. A red and gold-leaf border in 
 relief encircles the base. Height, with cover, 11 inches; 
 
 diameter, 7 inches. Seal-mark, Kien-long, 1736-1796. 
 Carved stand. 
 
 870 Teapot. Globular form. Medallion decoration, contain- 
 ing verses. The remaining surface is covered with rich 
 arabesque design upon a coral-red ground. Cover to 
 match. Height, 6 inches. Kea-king, 1796-1821. 
 
 871 Two Deep Plates. Symbolical decoration. Five me- 
 dallions, containing a symbol in gold upon clouded 
 yellow ground. The reverse side has a floral arabesque 
 decoration. Diameter, 834 inches. Yung-cheng, 1723-1736. 
 
 872 Six Saucers. Fan-shaped. Floral decoration in various 
 enamels on engraved grounds. Kea-king, 1796-1821. 
 
 873 Small Jar. Oviform. Decorated with dragons in 
 yellow on a carnelian-red ground. Height, 54 inches; 
 diameter, 514 inches. 
 
 874 Two Saucers. Deep shape. Butterfly decoration in 
 various enamels on clouded yellow ground, with dis- 
 persed show-marks in gold. Diameter, 4 inches. Yung- 
 cheng, 1723-1736. 
 
188 CHINESE PORCELAINS 
 
 875 Large Plaque. Semi egg-shell porcelain. Decorated 
 with an interior and figure subject, in various transpar- 
 ent glazes, green predominating. Diameter, 141 inches. 
 Khang-he, 1661-1722. 
 
 876 Large Jar. Ovoid. Has decoration in medallions, formed 
 by the curved wings of a bat, and containing figure 
 subjects. The two smaller medallions have the outline of 
 a peach with foliage, and contain floral designs. The 
 ground is in red diaper, and the base has arabesques 
 in various colors on a white surface. The neck is finished 
 by a fret border with small medallion interruptions in 
 floral form. Height, 1744 inches; diameter, 15 inches. 
 This jar is cracked. 
 
 877 Large Jar, with Cover. Decoration, an interior with 
 grouping of various figures. Khang-he, 1661-1722. 
 Height, with cover, 1% inches; diameter, 104 inches. 
 Carved stand. 
 
 878 Large Jar. Oviform. The decoration, modeled in slight 
 relief in the paste, represents waves and clouds, with 
 the eight legendary immortals in yellow, lilac, and tur- 
 quoise, upon a deep and brilliant lapis-lazuli ground. 
 The shoulder is encircled by an indented border with 
 seven points, each containing a Buddhistic symbol. The 
 interior is in green glaze. Height, 1244 inches ; diameter, 
 13% inches. Carved cover and stand. See note to No. 857. 
 
 879 Figure of Kwan-Yin. With a childon herarm holding 
 asceptre. The lower drapery is richly decorated in rose- 
 colored arabesque lines, with conventional lotus-flower 
 ona pale-green and dotted ground ; the upper robe is in 
 cream-colored enamel, with engraving in arabesque design, 
 and bordered with olive gilt tracery showing green lining ; 
 the headdress is in red, with gilding and yellow lining ; 
 necklace with beads and coral pendants. Height, with 
 cloth stand, 21 inches; width, 8 inches. 
 
 880 Vase. Cylindrical, with spreading base. Height, 8 inches; 
 diameter, 54 inches. Carved stand. 
 
 881 Two Plates. Semi egg-shell porcelain. Decoration over 
 white ground. Lady, with attendant and fawn. Border 
 has butterflies and flowers irregularly interspersed. 
 Diameter, 634 inches. 
 
 882 Two Plates. Similar. 
 
DECORATED 189 
 
 883 Large Pilgrim Bottle. Decoration of dragons, bats, 
 fire emblems, etc., in the finest transparent enamels on the 
 finest white paste ; conventional clouds in blue, yellow, 
 and lilac glaze, with smaller dragon and flying bats in red. 
 Yung-cheng, 1723-1736. Height, 19 inches ; diameter, 141% 
 inches. Carved stand. 
 
 884 Bottle. Squared gourd-shape. Made toimitate a piece of 
 bronze. The surface is in dull gold, with arabesques and 
 rose-colored bats. Seal-mark, Kien-long, 1736-1796. Height, 
 8¥4 inches; diameter, 434 inches. Carved stand. 
 
 885 Large Beaker. A deep black enamel 
 ground, having a profuse and intricate 
 decoration of flowers, birds and plants, in 
 which brilliant greens predominate. A 
 superb specimen of its class. Bears a 
 Ming date, but is of the period of Khang- 
 ) he, 1661-1722. Height, 2714 inches. Two 
 
 | slight cracks. Carved teak stand. 
 
 886 Large Imperial Incense-Burner. 
 Made to imitate gold-enameled bronze. 
 The arabesque design is paintedin various 
 colors, and embraces several symbolical 
 ornaments. The blue enamel border 
 on the rim includes the mark Kea-king, 
 1796-1821 ; the same border is also on the 
 handles. This piece has an elabcrately- 
 earved cover, with red-stained ivory 
 blossoms and a jade button. Open-work 
 stand to match. Height, 10 inches ; 
 diameter, 934 inches. 
 
 887 Plaque. Semi egg-shell. Decorated in red with eight 
 symbolical devices and show-marks interwoven with ara- 
 besque ornaments in circular form, on white ground. The 
 reverse has a similar treatment, also in red and gold 
 and on white ground. Diameter, 114% inches. 
 
 888 Plaque. Semi egg-shell. As above. Diameter, 11% 
 inches. 
 
 889 Wase. Cabinet s:ze. Covered with ground tea-leaf glaze, 
 of even and beautiful green color. Height, 75g inches; 
 diameter, 44 inches. Seal-mark, Kien-long, 1736-1796. 
 Carved stand. 
 
190 CHINESE PORCELAINS 
 
 890 Vase. Tall cylindrical form, with curved shoulders and 
 small flaring neck. The ground is black enamel; deco- 
 rated with branches of magnolia, hydrangea and peony 
 blossoms in white and yellow. Khang-he, 1661-1722. 
 Height, 2144 inches; diameter, 844 inches. Mended at the 
 base. 
 
 891 Large Vase. A massive piece of the style of decora- 
 tion known as ‘“‘the thousand flowers.” 
 The entire ground of this superb 
 piece is covered with a profusion of 
 flowers, a green leaf here and there 
 only breaking the surface to afford 
 relief and variety. The drawing is of 
 the utmost refinement and technical 
 accuracy, the observation of form is 
 most minute and rigorously correct, 
 and the color of such purity and 
 beauty as only such a subject can 
 itself afford. It is the most beau- 
 tiful of its class known to exist, a 
 class of such rarity that the known 
 pieces here or in Europe could be 
 numbered upon one’s fingers. Kien- 
 long, 1736-1796. Height, 22 inches; 
 diameter, 15 inches. Repoussé and 
 chased gilt bronze stand. 
 
 892 Plate. Medallion, with garden scene, children and birds, 
 surrounded by a painted and engraved border of floral 
 arabesques in various enamels. Kien-long, 1736-1796. 
 Diameter, 634 inches. Carved stand. 
 
 893 Large Vase. Ovoid, with broad flaring neck. Decoration 
 of four ladies in rich attire, two of whom bear fruit in ves- 
 sels, a third a fan, while the fourth holds a sceptre. Kien- 
 long, 1736-1796. Height, 274 inches; diameter, 18 inches. 
 Carved stand. 
 
 894 Large Hexagonal Jardiniére. Elegant decoration 
 in transparent enamels on light céladon glaze. Silver lin- 
 ing. Height, 834 inches; height, with stand, 141% inches; 
 length, 21 inches. Khang-he, 1661-1722. 
 
 From the Comte de Sematlle collection. 
 
 895 Jardiniére, Companion. 
 
DECORATED 191 
 
 896 Large Jar. Oviform, with aquatic plants, etc., in low 
 relief; turquoise on a lapis-lazuli ground, and finished with 
 a beaded ornament festooned about the 
 shoulder. The interior is covered with 
 green glaze. Height, 114% inches; diam- 
 eter, 11 inches. Carved teak cover and 
 stand. 
 
 897 Vase. Cylindrical. Form of a rolled 
 Japanese book. Transparent white 
 glaze. Landscape with figures and 
 pagoda; the reverse has an inscrip- 
 tion. Height, 11 inches; diameter, 434 
 inches. 
 
 898 Large Vase. Balustre shape. Deco- 
 rated with dragons in various green, 
 yellow and purple glazes, on a dull-black 
 surface. Height, 1744 inches; diameter, 
 816 inches. 
 
 899 Incense Burner. A close imitation, in form, color and 
 texture, of an ancient bronze. The cover is surmounted 
 with the dog Foo. Kien-long, 1736-1796. Height, 814 ins.; 
 diameter, 8 inches. Richly carved stand, open-work 
 lotus-flower design. 
 
 900 Imcense Burner. Globular form. The cover is per- 
 forated and surrounded by the ling-tchy, or sacred mush- 
 room. Imperial Chinese porcelain, in imitation of an 
 ancient gold bronze, with archaic borders in low relief. 
 The interior is covered with a brown and bronze-colored, 
 glaze, and contains the circular mark show. Kien-long 
 1736-1796. Height, with cover, 1244 inches ; diameter, 714 
 inches. Carved stand. 
 
 901 Flat Hanging Vase. In imitation of green bronze ; 
 decoration is in gold and silver to represent inlaying, 
 and contains medallion in white reserve, in which are 
 three figures of children in European costume. Kien- 
 long, 1736-1796. Height, 6 inches ; diameter, 5 inches. 
 From the Comte de Semalle collection. 
 
 902 Large Hexagonal Vase. Covered with ground tea- 
 leaf glaze, of fine, even texture. Affixed cylindrical 
 handles. Height, 18 inches; diameter, 1042 inches by 
 8 inches. Seal-mark, Kien-long, 1786-1796. Carved 
 stand. 
 
192 CHINESE PORCELAINS 
 
 903 Large Vase. Black Hawthorn. The 
 ground color of this vase is a deep-black 
 enamel with white reserves conforming 
 to the design, which is of superb drawing 
 and arrangement. Khang-he, 1661-1722. 
 Height, 28 inches; diameter, 11 inches. 
 Slight gold mending in the upper rim. 
 Has carved teakwood stand. 
 
 904 Vase. Cylindrical, with narrow neck. 
 Coral-red decorated ground, with medal- 
 lions of flowers, butterflies, birds, ete. 
 Khang-he, 1661-1722. Height, 174% inches; 
 diameter, 7144 inches. Mended. 
 
 905 Jar. Oviform. Powdered blue. Ara- 
 besque design in gold over the glaze, 
 including circular dragon, the Ho-o and 
 
 TSS chrysanthemums. Khang-he, 1661-1722. 
 
 Height, with teak cover, 17 inches; 
 903 diameter, 10 inches. Carved teakwood 
 stand. 
 
 906 Vase. Oviform, with small red handles. Decorated in 
 arabesque design, with various colors on pale turquoise 
 ground, and gilt outlines imitating cloisonné. Gilt seal- 
 mark, Taou-kwang, 1821-1851. Height, 12 inches; diameter, 
 6 inches. Carved stand. 
 
 907 Hanging Vase. Flat shape. Archaic design in low re- 
 lief, imitating bronze. White enameled medallion with 
 Chinese verse. Height, 8 inches; diameter, 44% inches. 
 Kien-long, 1736-1796. 
 
 From the Comte de Semalle collection. 
 
 908 Cabinet Vase. Oviform, with handles. The body is 
 covered with a translucent yellow glaze, and is engrayed 
 with dragons, clouds, ete. The neck and base are decora- 
 ted in blue and white, with the conventional palm-leaf 
 borders, and the handles haye curiously drawn eyes. A 
 faultless example of the Kien-long period, 1736-1796. Seal- 
 mark. Height, 8 inches; diameter,5 inches. Carved teak 
 stand. 
 
 909 Tall Vase. Ovoid shape, with flaring neck. Powder- 
 blue glaze. Gilt decoration in medallion design, including 
 chrysanthemums and the dog Foo, ete., with the circular 
 mark show around the neck. Height, 17 inches; diam- 
 eter, 8inches. Khang-he, 1661-1722. Carved stand. 
 
DECORATED 1938 
 
 910 Large Wase. Pilgrim bottle. Robin’s-egg flambe. 
 Height, 19 inches; diameter, 1444 inches. Seal-mark, 
 Yung-cheng, 1723-17386. Carved stand. 
 
 911 Large Plaque. Domestic interior, showing woman at 
 work spooling silk, and another woman looking on from a 
 window ; also, exterior scene of women and child. Diam- 
 eter, 15 inches. 
 
 912 Large Bowl. Crackled ware. Decoration consists of 
 vases, flowers and other objects, on white ground with 
 fine brown crackled lines. The interior contains six dis- 
 persed blossoms with green centres. Height, 234 inches ; 
 diameter, 6% inches. Carved teak stand. 
 
 913 Bottle. Biberon shape, with small neck. Decorated in 
 black over a finely crackled turquoise ground. Two 
 figures are represented in medallions, with borders at base 
 andshoulder. Said by the Chinese to have been made in 
 Anam, in the 16th century. Height, 10 inches; diameter, 
 5% inches. Carved stand. 
 
 From the Comte de Sematle collection. 
 
 914 Vase. Bottle-shape, with raised and modeled 
 dragon in blue souffié enamel on white orange- 
 peel ground. Yung-cheng, 1723-1736. Height, 
 1134 inches; diameter, 7 inches. Stand. 
 
 915 Vase. Broad, flattened, and supported on three 
 feet. Is an imitation of an antique bronze 
 incense-burner. Height, 44 inches; diameter, 
 744 inches. Kien-long, 1756-1796. Carved plat- 
 form stand. u 
 
 916 Wase. Biberon shape; reticulated. Two figures 914 
 and landscape, with floral borders and emblems, are 
 modeled in the paste, and covered with turquoise and 
 light violet glazes. Height, 1814 inches; diameter, 7144 
 inches. Carved stand. 
 
 917 Small Jar, with Cover. Porcelain, in imitation of 
 gilt bronze. Seal-mark, Kien-long, 1736-1796. Height, 434 
 inches; diameter, 3 inches. Beautiful red ivory stand, 
 with cloth base. 
 
 918 Vase. Ovoid shape, with wide neck. Fine, dense, white 
 paste, with orange-peel surface; figure decoration in 
 transparent enamels. Yung-cheng, 1723-1736. Height, . 
 without stand, 15 inches. 
 
 919 Vase. Companion. Figure subject, with flying bat in rose 
 color, Slight crack at base, Same mark and height. 
 
194 CHINESE PORCELAINS 
 
 920 Vase. Cylindrical, with narrow neck. Decoration of fig- 
 ures in enamels: of the period of Kien-long, 1736-1796. 
 Height, 17 ins.; diameter, 7 ins. <A slight chip at the rim. 
 
 921 Bottle. Dragon painted in various light opaque enamels 
 over a dull-red glazed ground, interspersed with blue and 
 green clouds, etc. Height, 1314 inches; diameter, 714 inches. 
 Carved teak stand. 
 
 922 Vase. Cabinet size. Bottle form. Ground tea-leaf glaze, 
 of even quality. Height, 75g inches; diameter, 44% inches. 
 Seal-mark, Kien-long, 1736-1796. Carved stand. 
 
 923 Incense Burner. Square body, on four legs. Chinese 
 porcelain, made to imitate a very ancient bronze. The 
 panels are in archaic and arabesque ornamentation, with 
 embossed ground. Dark-olive glaze with gold points. 
 Height, with carved teakwood cover, 18 inches; diameter, 
 11% inches by 84 inches. Seal-mark, Kien-long, 1736-1796. 
 Carved stand. 
 
 924 Large Vase. Covered by white and 
 green floral diapered ground and va- 
 riously shaped panels bearing designs 
 representing fishermen at work. Height, 
 2816 inches; diameter, 11144 inches. 
 
 925 Temple Vase. Hexagonal shape. 
 Ground tea-leaf glaze of exceedingly 
 
 by Vflls ow fine quality. Height, 18 inches; diam- 
 é ere SH eter, 10144 inches by 8 inches. Kien-long, 
 SER Re 1736-1796. Carved stand. 
 
 ‘a AL 926 Tall Vase. 
 
 Balustre shape. 
 
 Céladon, with 
 
 dragon design 
 
 in peach-blow 
 under the glaze. 
 
 Height, 1634 ins., 
 
 without stand ; 
 
 924 diameter,84 ins. 
 
 927 Tall Vase. Companion. 
 
 928 Large Vase. Oviform, with ring 
 handles; an imitationin form and 
 color of an ancient bronze. An in- 
 cised and arabesque border in blue 
 enamel and gold encircles the 
 shoulder, connecting with the 
 heads and the lower part. Incised seal-mark, Kien-long, 
 1736-1796. Height, 13 ins.; diameter, 10 ins. Caryedstand, 
 
DECORATED 195 
 
 929 Vall Pilgrim Bottle. Decorated with imperial 
 dragons in peach-blow on pistache ground. Deep-blue 
 cloudings and waves at the base. Seal-mark, Kien- 
 long, 1736-1796. Height, 1544 inches; diameter, 1234 inches. 
 Stand. 
 
 930 Vase. Biberon shape. Imperial yellow glaze of lustrous 
 quality. Ornamentation incised, and glazed in bright 
 green, deep blue and copper red. Subject of decoration, 
 two dragons. Height, 174% inches; diameter, 10 inches. 
 Carved stand. 
 
 931 Large Wase. Ovoid shape, with perforated body in 
 arabesque and dragon design and fluted neck. Within is 
 a cylindrical vase, decorated with 
 the god of longevity, with a white 
 stork and figures bearing offer- 
 ings. The base of the vase has a 
 small fret border and a rose paneled 
 
 _ band, over which is another border 
 in relief with yellow glazed ground. 
 A border with raised and conven- 
 tional ornament in red and gold, on 
 a yellow ground, encircles the 
 shoulder, and above it is another 
 border of scalloped shape and 
 containing the Chinese character 
 *“ show’ in blue on a_ lavender 
 ground; the remainder of neck to 
 rim is ribbed and decorated in gold 
 over a coral ground. The interior 
 of the neck is in robin’s-egg glaze, 
 with a red and gold band at the 
 
 edge. Height, 18 inches; diameter, 931 
 9 ins. Kien-long, 1736-1769. Carved 
 stand. 
 
 932 Tall Vase. Beaker shape. Ground tea-leaf color. Fine 
 relief ornamentation. Height, 2214 inches; diameter, 17 
 inches. Mended. 
 
 933 Wase. Octagonal shape. Imitation of an old bronze. 
 Height, 1414 inches; diameter, 74% inches. 
 
 934 Figure of Kwan-Yin. Has floral basket on right arm. 
 Céladon and blue. Height, 8 inches, 
 
196 CHINESE PORCELAINS 
 
 935 Imperial Vase. Imitationinform 
 and color of an antique bronze. 
 Horizontal and archaic borders in 
 relief and lotus-petal points sur- 
 rounding base and neck. Seal- 
 mark engraved, and covered with 
 verdigris glaze. Kien-long, 1736- 
 1796. Height, 19 inches; diameter, 
 15 inches. Carved stand. 
 
 936 Vase. Biberon shape, with small 
 neck. Decoration consists of vari- 
 ous branches and sprigs bearing 
 peaches, pomegranates and the 
 fruit called “‘ hand of Buddha,” in 
 crushed strawberry tint upon a 
 white ground; palm-leaf border, 
 
 with blue lines. Height, 1544 inches; diameter, 8 inches. 
 
 937 Large Vase. Of very graceful shape and distinguished 
 decoration. The glaze is a pale-tea, and the design is 
 accented in gold. Probably a close imitation of a fine 
 ancient bronze. Seal-mark of Kien-long, 1736-1796. Height, 
 33 inches; diameter, 15 inches. Carved stand. 
 
 938 Pilgrim Bottle. Cabinet size, with slen- 
 der handles. Decoration is a circular 
 medallion geometrically divided, with ara- 
 besque borders in peach-blow color on a d<eS= 
 white ground. Height, 7 inches; diameter, EG 
 516 inches. Seal-mark, Kien-long, 1736-1796. ¢¢ 
 
 Roa 
 
 Carved stand. 3 
 
 939 Large Vase. Bottle shape. Covered with Keres 
 ground tea-leaf glaze, imitating the patine 
 of an old bronze. Height, 18 inches; diam- 938 
 eter, 10 inches. Impressed seal-mark, Kien- 
 long, 1736-1796. 
 
 940 Large Vase. In imitation of an old bronze. Oviform, 
 with flaring neck. Has raised horizontal ribs, and head 
 and rings. Impressed seal-mark, Kien-long, 1736-1796. 
 Height, 21 inches; diameter, 15144 inches, Carved stand. 
 
DECORATED 197 
 
 941 Large Wase. Bottle shape, with 
 wide neck. Intricate and elaborate 
 decoration, representing dragons 
 and bats in peach-blow tint, with 
 blue diapered borders above and 
 below. This piece bears the marks 
 of Kea-tsing, 1522-1567, but is of the 
 period of Yung-cheng, 1723-17386. 
 Height, 23 inches; diameter, 15 
 inches. Carved stand. 
 
 942 Tall Vase. Hexagonaland balustre 
 form. Exceedingly fine quality of 
 ground tea-leaf glaze, resembling the 
 patine on an old bronze. Height 
 27 inches; diameter, 1544 inches. 
 Engraved seal-mark, Kien-long, 
 1736-1796. Teakwood stand. 
 
 943 Large Bowl. _ Coral-red ground, with elaborate decora- 
 ‘tion in gilt arabesques. The interior covered with a light 
 turquoise glaze. Kien-long, 1736-1796. Height, without 
 stand, 18 inches, with stand 38 inches ; diameter, 28 inches. 
 
 Has carved stand. 
 
 944 Large Bowl. Companion to the above. 
 
SALE, SATURDAY AFTERNOON, APRIL 16TH 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’CLOCK 
 
 CHINESE PORCELAINS IN SINGLE COLORS 
 
 945 Small Vase. Bottle shape. Red glaze, of fine quality. 
 Height, 8 inches; diameter, 434 inches. Kien-long seal 
 under glaze, 1736-1796. Stand. 
 
 946 Bottle. Cabinet size. Red glaze; clouded surface. 
 Height, 844 inches; diameter, 44 inches. Seal-mark 
 Kien-long, 1736-1796. Carved stand. 
 
 947 Bottle. Red glaze, of even quality; slightly crackled 
 surface. Height, 9 inches; diameter, 5 inches. Carved 
 teak stand, with green ivory panel insertion. 
 
 948 Vase. Pear-shaped, with flaring top. Deep-red glaze. 
 Height, 1134 inches; diameter, 74% inches. Seal-mark, 
 Kien-long, 1736-1796. Carved stand. 
 
 949 Small Bottle. Lizard in blue on metallic soufflé ground. 
 Height, 444 inches; diameter, 3 inches. Stand. 
 
 950 Vase. Bottle shape, with flaring neck. Red glaze of fine 
 quality. Height, 844 inches; diameter, 44% inches. Carved 
 stand. 
 
 951 Bottle. Redglaze. Light, delicate tone, with soufflé sur- 
 face. Height, 95g inches; diameter, 5 inches. Carved 
 stand, with small green ivory panels inserted. 
 
 952 Tall Vase. Oviform, with curved neck. Coral-red of 
 even color. Has a silver rim at neck. Height, 144% 
 inches; diameter, 644 inches. Carved stand. 
 
 953 Vase. Pear-shaped, with a flaring neck. Fine red glaze 
 of even quality. Seal-mark, Kien-long, 1736-1796. Height, 
 914 inches; diameter, 534 inches. Carved stand. 
 
 954 Wase. Stippled olive glaze. Height, 444 inches; diameter, 
 7% inches, Carved platform stand, 
 
SINGLE COLORS 199 
 
 955 Vase. Bottleshape. Red glaze, of even quality. Height, 
 11 inches; diameter, 6 inches. Seal-mark, Kien-long, 
 1736-1796. Stand. 
 
 956 Vase. Pear shape. Height, 1144 inches; diameter, 6 
 inches. Six marks, Yung-cheng, 1723-1736. Stand. 
 
 957 Vase. Bottle shape. Red glaze of brilliant quality. 
 Height, 12 inches ; diameter, 7 inches. 
 
 958 Vase. With flaring top. Carnelian-red glaze, of brilliant 
 and even quality. Height, 10 inches; diameter, 6 inches. 
 Carved stand. 
 
 959 Vase. Bottle shape, with broad neck and square shoulder. ~ 
 Transparent turquoise glaze, with minute crackle. Height, 
 7% inches; diameter, 444 inches. Stand. 
 
 960 Bottle. Short neck. A bright-red souffié. Kien-long, 
 1736-1796. Height, 11 inches; diameter, 644 inches. Carved 
 stand. 
 
 961 Vase. Bottleshape. Red glaze, of even quality. Height, 
 ‘1134 inches; diameter, 614 inches. Yung-cheng, 1723-1736. 
 ‘Carved teak stand. 
 
 962 Vase. Bottle shape. Coral-red glaze. Two 
 lizards in turquoise in high relief. Height, 
 114% inches; diameter, 6 inches. Carved 
 stand. 
 
 963 Bottle. Slender neck Fine red glaze 
 slightly crackled, and showing transpa- 
 rent quality around the neck. Height, 
 13144 inches; diameter, 6144 inches. Carved 
 stand. 
 
 964 Vase. With flaring neck. Fine red glaze, 
 of smooth and lustrous quality. Yung- 
 cheng, 1723-1736. Height, 1134 inches; 
 diameter, 744 inches. Stand. 
 
 965 Bottle. Slender neck. Covered with a brilliant red 
 soufflé. Kien-long, 1736-1796. Height, 1134 inches; diam- 
 eter, 6inches. Carved stand. 
 
 966 Vase. With flaring top. Fine red glaze. Height, 12 
 inches; diameter, 7 inches. Seal-mark, Kien-long, 1736- 
 1796. Carved stand. 
 
 967 Vase. Double lozenge shape, with handles. Turquoise 
 glaze, with fine crackled surface. Height, 13 inches; 
 diameter, 8inches by 444 inches. Stand. 
 
200 CHINESE PORCELAINS 
 
 968 Vase. Square shape. The eight trigrams in relief across 
 the corners, and the mystic circle Yang-Yin. Ccvered 
 with brilliant sea-green crackle, of liquid quality. Height, 
 14144 inches ; diameter, 634 inches. 
 
 969 Vase. Bottleshape, with long, cylindrical neck. Chocolate- 
 red glaze. Height, 1244 inches; diameter, 5 inches, 
 Carved stand. 
 
 970 Vase. Bottle shape. Red soufflé, of brilliant quality. 
 Seal-mark in blue at the foot. Kien-long, 1736-1796. 
 Height, 734 inches ; diameter, 45g inches. Carved stand. 
 
 971 Vase. Beaker shape. With handles and raised head 
 ornaments. Transparent amethystine glaze. Height, 
 11% inches ; diameter, 544 inches. Carved stand. 
 
 972 Incense Burner. With handles. Fine apple-green 
 glaze, minutely crackled. Height, 744 inches ; diameter, 
 54% inches. Carved teak cover and stand. 
 
 973 Large Jardiniére. Ovoid shape, with gilt dragons in 
 relief and projecting heads. Covered with coral-red. 
 Height, 9 inches ; diameter, 15 inches. Has raised stand. 
 
 974 Jardiniére. Coral-red glaze ; white chain-band in relief. 
 Height, 5 inches ; diameter, 10% inches. Stand. 
 
 975 Bottle. Cabinet size. Red soufflé. Height, 12 inches; 
 diameter, 64 inches. Carved stand. 
 
 976 Vase. Pear-shaped, with curved neck. Red flambé. 
 Height, 1244 inches ; diameter, 8 inches. Carved stand. 
 
 977 Vase. Ovoid body, with tall, wide neck ; an almost unique 
 form. A rich mottled red glaze; starts from the rim 
 with sang de boeuf, and melts into the various shades 
 of that color. The base and interior of neck disclose the 
 texture and quality which distinguish only the finest 
 pieces of this rare and beautiful production. These pieces 
 are ascribed by Chinese authorities to the reign of Wan-li, 
 1533-1620, and are said by them to have been made by a 
 celebrated family of potters who conducted the Lang 
 furnaces at King-te-chin. Height, 154% inches ; diameter, 
 8inches, Stand. 
 
 978 Tall Vase. Oviform. Sang de boeuf, or dragon’s-blood 
 glaze of the most brilliant quality, starting at the 
 neck in light and transparent effects, and shading to 
 dark crimsons. The interior of the neck and the base show 
 a fine, ivory-white paste. Height, 1644 inches; diameter, 
 74% inches. 
 
SINGLE COLORS 201 
 
 979 Large Bottle. With engraved arabesque and floral 
 design, and conventional palm-leaf border. Covered with 
 a finely-crackled turquoise glaze. The neck is richly 
 mounted in silver, with gold and enameled floral design. 
 Height, 14 inches ; diameter, 8144 inches. Carved stand. 
 
 980 Bottle. Redglaze. Height, 13inches; diameter,’ inches. 
 Seal-mark, Kien-long, 1736-1796. Carved stand. 
 
 981 Bottle. Red glaze. Height, 1134 inches; diameter, 7 
 inches. Silver inlaid stand. 
 
 982 Cabinet Vase, Bottle form, with flaring neck. Red 
 glaze. Height, 12 inches; diameter, 7 inches. Kien-long, 
 1736-1796. Stand. 
 
 983 Cabinet Bottle. Fine red souffié. Height, 1244 inches ; 
 diameter, 644 inches. Kien-long, 1736-1796. Stand. 
 
 984 Flower Vase. Broad balustre form, with elephant’s- 
 
 head handles. Turquoise glaze; engraved archaic borders 
 ,in relief. Height, 10% inches; diameter, 8!4 inches. 
 | Carved teak stand. 
 
 985 Vase. Withlong neck. Sang de boeuf, of deep and bvil- 
 liant quality. Height, 14 inches: diameter, 634 inches. 
 Stand. 
 
 986 Bottle. Brilliantred glaze. Height, 12 inches; diameter, 7 
 inches. Carved stand. 
 
 987 Vase. Bottle shape. Covered with a deep-red glaze. 
 Height, 105g inches ; diameter, 6 inches. Kien-long, 1736- 
 1796. Stand. . 
 
 988 Vase. Bottle shape. Deep-red glaze. Height, 14 inches ; 
 diameter, 614% inches. Seal-mark, Kien-long, 1736-1796. 
 Stand. 
 
 989 Vase. Bottle shape, with wide base. Lapis-lazuli blue, 
 of even quality, on fine paste. Seal-mark, Kien-long, 
 1736-1796. Height, 734 inches ; diameter, 5inches. Carved 
 stand. 
 
 990 Vase. Bottle shape. Cabinet size. Dark red. Height, 
 934 inches; diameter, 434 inches. Kien-long, 1736-1796. 
 Stand. 
 
 991 Bottle. Red glaze. Height, 1144 inches; diameter, 614 
 inches. Stand. 
 
 992 Vase. Pear-shaped, with flaring neck; graceful form. 
 Light sang de boeuf of transparent quality. Height, 844 
 inches; diameter, 434 inches. Carved stand. 
 
 From the Comte de Sematle collection. 
 
202 CHINESE PORCELAINS 
 
 993 Large Bottle. Deep turquoise, with crackled surface. 
 Height, 1614 inches; diameter, 9 inches. Stand. 
 
 994 Vase. Biberon shape, with small neck. Fretted borders, 
 and palm-leaf band in slight relief in the paste, and 
 covered with blue glaze. Kien-long, 1736-1796. Height, 
 17 inches ; diameter, 11 inches. Stand. 
 
 995 Large Vase. Octagonal shape, with narrowing neck and 
 contracted base. Pearl crackled glaze of even texture. 
 Seal-mark, Kea-king, 1796-1821. Height, 13 inches ; diam- 
 eter, 634 inches, 
 
 996 Vase. Melon-shaped, with scalloped and flat indented rim. 
 Covered with a deep and brilliant red flambé, shading to 
 clair de lune at the neck and base. Fine quality. Height, 
 10 inches; diameter, 7144 inches. Kien-long, 1736-1796. 
 Stand. 
 
 997 Bottle. Globular body and long, straight neck. Covered 
 with a rich red souffié, of dark shade. Height, 1134 
 inches; diameter, 7 inches. Silver inlaid stand. 
 
 998 Vase. Bottle shape. A beautiful red glaze of flawless 
 quality. Height, 11 inches; diameter, 6 inches. Seal- 
 mark, Kien-long, 1736-1796. Stand. 
 
 999 Vase. Tall neck, sustained and surmounted by handles. 
 Shows influence of European models. Heavy paste, 
 with transparent violet glaze crackled, and ruby markings 
 at the base and neck. Fine quality. Height, 1114 inches; 
 diameter, 5% inches. Stand. 
 
 1000 Vase. Bottle shape, with spreading neck. Fine even 
 red souffié of delicate quality. Seal-mark, Kien-long, 
 1736-1796. Height, 1114 inches; diameter, 7 inches. Carved 
 stand. 
 
 1001 Bottle. Globular body. Height, 914 inches; diameter, 
 544 inches. Carved stand. 
 
 1002 Vase. Pear-shaped, with flaring neck. Covered with a 
 brilliant soufflé. Kien-long, 1736-1796. Height, 10% 
 inches ; diameter, 7 inches. Carved stand. 
 
 1003 Bottle. Robin’s-egg glaze, with fine souffié of even 
 quality. Kien-long, 1736-1796. Height, 14 inches; diam- 
 eter, 714 inches. 
 
 1004 Vase. Ovoid, with spreading neck and base. Red 
 glaze, with various shadings. The interior and the base 
 have pale céladon on a white ground. Height, 1114 inches; 
 diameter, 634 inches. Stand. 
 
1005 
 
 1006 
 
 1007 
 
 1008 
 
 1011 
 
 1012 
 
 1013 
 
 1014 
 
 1015 
 
 1016 
 
 SINGLE COLORS 203 
 
 Large Dish. Formed by the lotus-flower, with over- 
 lapping petals and indented edge. Covered with citron- 
 yellow glaze of even quality. Diameter, 1114 inches. 
 Carved stand. 
 
 Large Plaque. Covered with amber-colored glaze of 
 brilliant quality. Diameter, 1544 inches. Carved stand. 
 
 Tall Vase. Sang de bceeuf, of excellent quality and 
 great brillianecy. The interior of the neck is of ivory crack- 
 led paste; the foot is unusual, being decorated with a 
 five-clawed dragon, in green and purple enamel, over the 
 ivory crackled paste. Height, 1544 inches; diameter, 7144 
 inches. Cut atthe top. Teak stand. 
 
 Bottle. Globular, with wide, cylindrical neck. Covered 
 with a fine red soufflé. Kien-long, 1736-1796. Height, 1234 
 inches ; diameter, 8 inches. Carved stand. 
 
 Bottle. Slender neck. Covered with a mottled soufflé 
 peach glaze. Marked, Khang-he, 1661-1722. Height, 1334 
 inches; diameter, 634 inches. Carved stand. 
 
 Bottle, Slender neck. Covered with red soufflé. Kien- 
 long, 1736-1796. Height, 1284 inches; diameter, 6 inches. 
 Carved stand. 
 
 Vase. Pear-shaped, with flaring neck and broad base. 
 Covered with a deep-red glaze. Height, 12 inches; diam- 
 eter, 74% inches. Carved stand. 
 
 Vase. Melon-shaped body, with flaring neck. Height, 8 
 inches; diameter, 5 inches. 
 
 Large Vase. Bottle shape; in heavy glaze of mottled 
 grays. Kien-long, 1736-1796. Height, 20 inches; diameter, 
 15 inches. 
 
 Large Vase. Broad ovoid shape, with receding neck 
 and cylindrical handles. Covered with pearl-gray glaze of 
 even quality. Seal-mark under glaze. Kien-long, 1736- 
 1796. Height, 1934 inches; diameter, 16 inches. Stand. 
 
 Vase. Ovoid body, with curved neck and elephant’s- 
 tusk handles. Mottled rose soufflé, with light and dark 
 cloudings. Interior of the neck is in green glaze. Yung- 
 cheng, 1723-1736. Height, 1244 inches; diameter, 714 inches. 
 Stand. : 
 
 Vase. Pear-shaped. Carnelian-red glaze, of brilliant 
 quality. Kien-long, 1736-1796. Height, 9 inches; diam- 
 eter, 544 inches. Carved stand. 
 
204 
 1017 
 
 1018 
 
 1019 
 
 CHINESE PORCELAINS 
 
 Vase. Cabinet size. Oviform, with long neck. Red 
 glaze, of even quality. Height, 1044 inches; diameter, 
 4inches. Carved teakwood stand. 
 
 Cabinet Vase. Red glaze, of very fine quality. 
 Height, 1234 inches; diameter,7 inches. Kien-long, 1736- 
 1796. Carved stand. 
 
 Large Wase. Ovoid, with flaring neck. Semi-egg- 
 shell. Turquoise, with fine network of crackle. Height, 
 1314 inches; diameter, 634 inches. Carved stand. 
 
 1020 Vase. Tall, pear-shaped, with short neck. Covered with 
 
 a deep sang de boeuf. Mended with goldlacquer. Height, 
 16% inches ; diameter, 934 inches. 
 
 1021 Cabinet Vase. Balustre shape. Deep turquoise, with 
 
 1022 
 
 fine network of crackle. Height, 84% inches; diameter. 
 44ginches. Stand. 
 
 Tall Vase. Sang de boeuf, with bronze mounting at 
 the foot, and céladon base and interior. Height, 1714 
 inches; diameter, 644 inches. Mended at neck. 
 
 1023 Vase. Bottle shape, with flaring neck. Turquoise, with 
 
 1024 
 
 1025 
 
 1026 
 
 1027 
 
 1028 
 
 1029 
 
 fine crackled surface. Height, 1344 inches; diameter, 844 
 inches. 
 
 Vase. Globular form. Sang de boeuf glaze, with gray 
 shadings. The neck is richly mounted in silver by a 
 Japanese artist. Height, 9144 inches; diameter, 7144 inches. 
 Carved stand. 
 
 Vase. Oviform, with spreading neck. Covered with a 
 heavy red crackled glaze. Height, 11 inches; diameter, 
 7 inches. Carved stand. 
 
 Vase. Oviform, with broad neck. Covered with pale- 
 red glaze of even quality. Height, 104 inches; diameter, 
 74% inches. Carved stand. 
 
 Large Vase, Turquoise glaze, with finely crackled sur- 
 face. Height, 1234 inches; diameter, 8 inches. Mended at 
 rim. Has stand. 
 
 Large Bottle. Dragon’s-blood, or sang de boeuf glaze. 
 This example is one of the best of the red varieties. A flaw- 
 less piece. Height, 18 inches; diameter, 9 inches. Carved 
 stand. 
 
 Vase. Tall, semi-cylindrical. In transparent red glaze, 
 with various delicately shaded tones of that color, and 
 slightly crackled surface. Has a foot of great perfection. 
 Khang-he, 1661-1722. Height, 16 inches; diameter, 7 inches. 
 Stand. 
 
1030 
 
 1031 
 
 1032 
 
 1033 
 
 1034 
 
 1035 
 
 1036 
 
 1037 
 
 1038 
 
 1039 
 
 1040 
 
 1041 
 
 1042 
 
 SINGLE COLORS 205 
 
 Vase. Deep turquoise, with arabesque relief ornamen- 
 tation and palm-leaf borders at the neck and base. 
 Crackled transparent surface. Height, 12144 inches; diame- 
 ter, 734 inches. Richly carved stand. 
 
 Pilgrim Bottle. Height, 64 inches; diameter, 4% 
 inches. Kien-long, 1736-1796. Carved stand. 
 
 Vase. Shape of pilgrim bottle, with curious lizards 
 forming handles. Covered with citron-yellow crackled 
 glaze. The foot is green and has three incised marks. 
 Carved stand. 
 
 Small Vase. Ovoid form, with flaring neck. Fine 
 crackled mustard-yellow glaze. Height, 4 inches; diame- 
 ter, 2inches. Carved stand. 
 
 Teapot. Covered with dull gilding, to imitate old gilt 
 bronze. Height, 5144 inches; diameter, 414 inches. 
 
 Vase. Bottle shape, with wide base. Lapis-lazuli blue 
 glaze of uniform quality. Seal, Kien-long, 1736-1796. 
 Height, 1044 inches; diameter, 7 inches. Stand. 
 
 Large Jar. Ovoid shape, with small neck. Dark purple 
 glaze. Interior of neck is in céladon. Engraved mark, 
 Yuneg-cheng, 1723-1786. Height, 13 inches; diameter, 9 
 inches. Stand, with small green ivory insertions. 
 
 Small Vase. Bottle shape, with flaring neck. Covered 
 with finely crackled apple-green glaze, of even quality. 
 Height, 314 inches; diameter, 14 inches. 
 
 Small Incense Burner. Deep turquoise glaze, with 
 erackled surface. Perforated cover, with dog Foo. 
 Height, 644 inches; diameter, 344 inches. Stand. 
 
 Vase. Balustre form. Covered with a brilliant sang de 
 boeuf, with crackled surface. Height, 1334 inches; diam- 
 eter, 18144 inches. Stand. 
 
 Vase. Double lozenge shape, with elephant’s-tusk 
 handles. Transparent turquoise, with network of fine 
 erackle. Height, 13 inches; diameter, 544 inches by 4 
 inches. Stand. 
 
 Small Cabinet Vase. Balustre shape. Has sunken 
 medallions in archaic design on dotted ground. Covered 
 with heavy green transparent glaze. Small bracket 
 handles. Height, 544 inches; diameter, 2 inches. 
 
 Wase. Cabinet size. Bibcron shape. Red flambé of fine 
 quality. Height, 7 inches; diameter, 444 inches. Stand. 
 
206 
 
 1043 
 
 1044 
 
 1045 
 
 1046 
 
 1047 
 
 1048 
 
 1049 
 
 1050 
 
 1051 
 
 CHINESE PORCELAINS 
 
 Vase. Cabinet size. Oviform, with wide flaring neck. 
 Covered with copper-colored glaze; metallic souffié sur- 
 face. Height, 834 inches; diameter, 4 inches. Carved 
 stand. 
 
 Small Vase. Square shape. Covered with fine crackled 
 mustard-yellow glaze; green interior. Height, 5 inches; 
 diameter, 2 inches. Stand. 
 
 Vase. Cabinet size. Bottle shape. Covered with a 
 heavy red mottled glaze, with dashes of green and olive. 
 Height, 844 inches; diameter, 514 inches. Carved stand. 
 
 Vase. Turquoise glaze, with fine crackled surface. 
 Height, 10 inches; diameter, 64% inches. Carved stand. 
 
 Vase. Ovoid body and gently flaring long neck. Sang 
 de boeuf glaze, of brilliant quality. Height, 14 inches; 
 diameter, 634 inches. Khang-he, 1661-1722. Stand. 
 
 Vase. Tall, square shape. Covered with turquoise glaze, 
 of even quality. Height, 12 inches; diameter, 444 inches. 
 Stand. 
 
 Two Jardiniéres. Clouded turquoise glaze. Height, 
 534 inches ; diameter, 9 inches. 
 
 Large Vase. Tall, ovoid body, with spreading neck. 
 The body is deep sang de boeuf, with dark dragon’s-blood 
 streaks. The neck shows light céladon, with brilliant ruby, 
 and the base is in pale céladon, with crackle. Height, 2034 
 inches; diameter, 9 inches. Carved stand. 
 
 Tall Bottle. Long neck. Engraved dragon in the 
 paste ; covered with a dark turquoise crackle of uniform 
 quality. Height, 1644 inches; diameter, 8 inches. Carved 
 stand. 
 
 1052 Small Vase, Gourd shape. Covered with fine crackled 
 
 mustard-yellow glaze. Height, 5 inches; diameter, 25 
 inches. Stand. 
 
 Vase. Bottle shape. Red glaze. Height, 12 inches; 
 diameter, 644 inches. Carved stand. 
 
 Bottle. Rose glaze, of even quality. Height, 944 inches; 
 diameter, 54 inches. Carved stand. 
 
 Vase. Pear-shaped, with flaring neck. Covered with 
 brilliant red glaze. Height, 10% inches; diameter, 7 
 inches. Carved stand. 
 
SINGLE COLORS 207 
 
 1056 Vase. Bottle form. Red glaze. Height, 1044 inches; 
 diameter, 54% inches. Stand. 
 
 1057 Bottle. Red glaze; even quality. Height, 10 inches; 
 diameter, 6 inches. Stand. 
 
 105%7% Vase. Bottle shape, with spreading neck. Red glaze. 
 Seal-mark, Kien-long, 1736-1796. Height, 114 inches; 
 diameter, 7 inches. Carved stand. 
 
 1058 Vase. Flambé, with purplish gray markings. Silver rim 
 at top. Height, 12 inches; diameter, 8 inches. Carved 
 stand. 
 
 1059 Large Jar. Ovoid shape. Covered with pearl glaze, 
 of even quality. Seal-mark, Kien-long, 1736-1796. Height, 
 1234 inches; diameter, 10inches. Carved stand. 
 
 1060 Tall Vase. Oviform, with small flaring neck. Covered 
 with green glaze, stippled with black. Palm-leaf border 
 at neck. Height, 1834 inches; diameter, 8 inches. Carved 
 stand. 
 
 1061 Vase. Tall, cylindrical shape. Turquoise glaze in mot- 
 tled and crackled effects, with imperial dragon modeled 
 in low relief, clouds and fret-borders. Height, 1434 ins.; 
 diameter, 64% inches. Stand. 
 
 1062 Vase. Deep turquoise glaze, with a fine network of 
 crackle. Bears an apocryphal mark in four characters 
 at the neck—Ching-hwa, 1465-1488. Height, 13 inches; 
 diameter, 8 inches. Carved stand. 
 
 1063 Vase. Pear-shaped, with small, flaring neck. Covered 
 with carnelian-red glaze, of fine quality. Yung-cheng, 
 1723-1736. Height, 914 inches; diameter, 6 inches. Carved 
 stand. 
 
 1064 Bottle. Cabinet size. Red glaze, of even quality: 
 Yung-cheng, 1723-1736. Height, 8144 inches; diameter, 44% 
 inches. Carved stand. 
 
 1065 Wase. With flaring neck and elephant’s-head handles. 
 Deep turquoise glaze, with network of crackle. 1661-1722. 
 Height, 13834 inches; diameter, 74% inches, Carved stand. 
 
 1066 Small Incense Burner, Turquoise glaze, with fine 
 crackle. Cover perforated, and surmounted by dog Foo. 
 Height, 644 inches; diameter, 4 inches. 
 
208 
 
 1067 
 
 1068 
 
 1069 
 
 1070 
 
 CHINESE PORCELAINS 
 
 Vase. Bottle form. Carnelian-red glaze. Seal-mark, 
 Kien-long, 1736-1796. Height, 11 inches; diameter, 6 inches. 
 Carved stand. 
 
 Vase. Bottle form. Covered with red glaze of fine 
 quality. Height, 1114 inches; diameter, 6144inches. Carved 
 stand, 
 
 Vase. Carnelian-red glaze of brilliant quality. Yung- 
 cheng, 1723-1736. Height, 9 inches; diameter, 544 inches. 
 Carved stand. 
 
 Bottle. Broad, flattened form. Covered with heavy tur- 
 quoise glaze, with crackled surface. Kien-long, 1736-1796. 
 Height, 10 inches; diameter, 834 inches. Stand. 
 
 1071 Stand. Porcelain. Turquoise glaze, with crackle. Height, 
 
 1072 
 
 1073 
 
 1074 
 
 1075 
 
 1076 
 
 1077 
 
 5 inches; diameter, 7 inches. 
 
 Imcense Vase. Sang de boeuf, shading into various 
 lighter tones. Interior of céladon crackled glaze. Rim 
 and foot silver mounted. Perforated silyer cover, with 
 dragon and cloudsin repoussé and chased design. Height, 
 8 inches; diameter, 944 inches. Stand. 
 
 Vase. Square, with cylindrical neck and base. Tur- 
 quoise glaze, with fine crackle. Ornamented corners, 
 with raised lines forming broken squares. Height, 11 
 inches; diameter, 414 inches. 
 
 Large Vase. Oviform, with broad neck. Elephant’s- 
 tusk handles. Covered in lavender-blue glaze, with ara- 
 besques in low relief around the body. An example of 
 superior excellence. Kien-long, 1736-1796. Height, 201 
 inches; diameter, 15% inches. 
 
 Large Vase. Oviform, with wide flaring neck, and 
 bamboo handles. Covered in deep-blue glaze of even 
 quality. Height, 23 inches; diameter, 16 inches. 
 
 Large Vase. Ovoid, with handles. Covered with a 
 pearl-gray glaze of even quality. Height, 134 inches; 
 diameter, 10 inches. Seal-mark, Yung-cheng, 1723-1736. 
 Carved stand. 
 
 Large Bottle. Globular body, with cylindrical neck. 
 Lapis-lazuli glaze of even quality. The base has white 
 glaze and orange-peel surface, with Kien-long seal-mark 
 in blue, 1736-1796. Height, 2134 inches; diameter,17 inches. 
 
MISCELLANEOUS OBJECTS. 209 
 
 A COLLECTION OF SNUFF-BOTTLES 
 
 The series of stone snuff-bottles in this collection are of 
 especial interest, as they embrace, for their number, a 
 large series of different mineral specimens. Among these 
 may be mentioned feit-sui, jadeite, or imperial jade, lapis 
 lazuli, rock crystal, green turquoise, smoky quartz, blood- 
 stone, sardonyx, jaspery agate, mocha stone, malachite, 
 onyx, fossil marble, and pink oriental alabaster. Many of 
 these, more especially the rock crystal and smoky quartz, 
 are interesting for their intricate aud delicate hollowing 
 out, also for the manner in which the mottlings of the 
 various colored agates have been utilized in the carving 
 to represent apes, birds, flowers, and other forms. 
 
 GEORGE FREDERICK KUNZ. 
 
 1078 Oriental Snuff-Bottles. 221 specimens in carved jade, 
 
 1079 
 
 1080 
 
 agate, rock-crystal, lapis-lazuli, Pekin lacquer, cloisonné 
 
 ‘enamel, carved Chinese glazes, porcelains, and metal 
 
 work, etc. Contained in two handsome rosewood cabi- 
 
 ‘nets, the doors of which have panels of Santo Domingo 
 
 mahogany carved in floral design, besides other natural 
 woods, and are inlaid with pearl, lapis-lazuli and malachite. 
 Made to order, from special designs, by Messrs. Herter 
 Bros. for Mrs. M. J. Morgan. 
 
 Nore.—This collection includes the snuff-bottles former- 
 ly the property of Comte de Semalle, a member of the 
 French Legation at Pekin, 1873-1885, with additions made 
 by Mrs. Morgan. Connoisseurs acknowledge it to be one 
 of the most complete and remarkable in the country. 
 
 MISCELLANEOUS OBJECTS 
 
 Carved Cylinder. White marble. A masterly piece of 
 Chinese workmanship ; representing a series of five-clawed 
 dragons and waves or clouds in relief work and under- 
 cutting. Height, 6 inches; diameter, 444 inches. Carved 
 stand. 
 
 From the Comte de Semalle collection. 
 
 Figure of a Boy. Carved in Chinese soap-stone, and 
 colored. Represented in a rich costume, holding a basket 
 of flowers in the left hand, and standing on a base per- 
 forated to represent rocks. Height, 13144 inches; diameter, 
 6 inches, Red lacquer platform. 
 
210 
 1081 
 
 1082 
 
 1083 
 
 1084 
 
 1085 
 
 1086 
 
 1087 
 
 1088 
 
 1089 
 
 1090 
 
 1091 
 
 MISCELLANEOUS OBJECTS 
 
 Large Wase. Balustre shape. Chinese wood, carved 
 to represent a fountain of water, a dragon in relief 
 encircling the neck. Height, 2144 inches; diameter, 1014 
 inches. Carved stand. 
 
 Large Bottle. Long, cylindrical neck. Ancient brown 
 pottery. Has in relief a conventional dragon in arabesque 
 lines of primitive design. Height, 12144 inches; diameter, 
 8 inches. 
 
 Vase. Cabinet size, with lizard handles. Height, 9 inches; 
 diameter, 6 inches. Carved stand. 
 
 Vase. Cabinet size. Oviform, with small neck. Covered 
 with a heavy turquoise and brown flambé with slightly 
 crackled surface. Height, 844 inches; diameter, 41% inches. 
 Carved stand. 
 
 Tall Vase. Ovoid shape, with flaring neck. Covered 
 with a heavy, variegated glaze. Height, 19144 inches; 
 diameter, 9 inches. Teakwood stand. 
 
 Vase. Cabinet size. Oviform, with small neck. Covered 
 with a heavy turquoise, brown and green flambé. Height, 
 95g inches; diameter, 5144 inches. Engraved seal-mark, 
 Kien-long, 1736-1796. Carved stand. 
 
 Small Cabinet. Teakwood, containing porcelain 
 panels finely decorated with figure and floral subjects. 
 Height, 133g inches; width, 15 inches; depth, 74% inches. 
 
 Thirteen Porcelain Panels. Decorated on both 
 sides with figures, flowers and ornaments in various 
 transparent glazes on white ground. Height, 914 inches ; 
 length, 104 inches. 
 
 Vase. Lozenge shape. Covered with an iridescent mar- 
 bleized glaze, with crackled surface. Has the Pat-kwa 
 trigrams in relief. Height, 9 inches by 5inches. Carved 
 stand. 
 
 Large Lantern. With pedestal of Hirado porcelain. 
 Decorated in blue with arabesque medallions, panels, etc. 
 The column is encircled by a white dragon modeled in 
 high relief upon a blue decorated ground representing 
 waves and spray. Height, 46 inches; diameter at base, 
 12 inches; diameter at top, 1744 inches. 
 
 Massive Bronze Bell. Utilized asa flower vase; has 
 relief ornaments and dragon handle. <A fine specimen 
 of Japanese workmanship, with elaborate teak stand, 
 
SALE, MonpAy AFTERNOON, APRIL 18TH 
 
 1092 
 
 1093 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 0’CLOCK 
 
 SATSUMA 
 
 Cabinet Vase. Cylindrical, with narrow neck. 
 The decoration consists of red palm-leaf borders 
 and raised gilding, and broad band in tesse- 
 lated design, with green and blue diamond- 
 shaped vignettes on gold ground. Height, 5144 
 inches; diameter, 244 inches. 
 
 Bowl. Shallow shape. Medallion decoration 
 containing figures, etc., surrounded with bro- 
 caded design in raised gilding, and with enam- 
 eled borders. Height, 244 inches; diameter, 
 714 inches. 
 
 1094 Tray. Oblong shape, with flat handles. Decorated with 
 
 1095 
 
 1096 
 
 1097 
 
 diaper border, chrysanthemum medallions in enameled 
 painting and raised gilding. Height, 2 inches; length, 734 
 inches; width, 3% inches. 
 
 Small Tray. Oblong fluted shape. Has a delicate 
 floral decoration in colors with gold tracery, and two 
 crests in red and blue. Height, 134 inches; length, 7 inches; 
 width, 51 inches. 
 
 Large Vase. Globular base, with ovoid neck and dol- 
 phin handles. Decorated with peony and butterfly in 
 medallions, which are surrounded by floral border on a 
 blue ground; around the neck is a border and chrysan- 
 themums in blue enamel. Height, 12 inches; diameter, 8 
 inches. 
 
 Small Vase. Bottle-shaped. Peony and butterfly dec- 
 oration in red and green enamel, gilt tracery and cloud- 
 ings. Buff texture, with crackled glaze surface, Height, 
 8 inches; diameter, 234 inches, 
 
212 
 1098 
 
 1099 
 
 1100 
 
 1101 
 
 1103 
 
 1104 
 
 1105 
 
 1106 
 
 1107 
 
 SATSUMA 
 
 Vase. Balustre shape. Vignettes containing conven- 
 tional floral decoration in red and green enamels with 
 gilt outlines. Height, 8 inches; diameter, 444 inches. 
 
 Two Vases. Ovoid, with square shoulder and flaring 
 neck. Decorated with groups of children at play, various 
 enamels on a buff crackled ground. Height, 814 inches; 
 diameter, 334 inches. 
 
 Large Bowl. Old satsuma. Exquisitely decorated 
 
 with chrysanthemums and arabesques in red, blue, green 
 
 and gold; finely crackled surface. Height, 334 inches: 
 diameter, 734 inches. Silk bag. 
 
 Teapot. Red blossoms outlined with gold, connected 
 with blue stems; finely crackled. 
 Height, 434 inches. 
 
 1102 Koro. Hexagonal. Arabesque bor- 
 ders in gold, panels containing a 
 series of gold-outlined representa- 
 tions of the dog Foo and a red ribbon. 
 Top is perforated with chrysanthe- 
 mum pattern. Oxydized silver cover, 
 inlaid with gold. Buff crackled text- 
 
 1101 ure. Height, 4ins.; diameter, 514 ins. 
 
 Small Incense Burner. Oblong shape, with cover. 
 Arabesque and lotus medallions and borders in red and 
 green enamel, with gilt outlines. Height, 4 inches; length, 
 4inches ; width, 234 inches. 
 
 Incense Burner. Decorated with butterfly and chrys- 
 anthemum borders encircling the neck and shoulders, in 
 heavy blue, green, and red enamels, with gilt lines. Has 
 oxydized silver cover, of open-work design with shakudo 
 and gold inlaid ornamentation. Height, 84% inches; diam- 
 eter, 7 inches. 
 
 Large Vase. Oviform, with small handles. Decorated 
 with chrysanthemum flowers and other designs in red, 
 green and gold; light cream-color. Height, 14% inches; 
 diameter, 7 inches. Stand, 
 
 Large Vase. Ovoid body, with wide flaring neck. 
 Decorated with clusters of chrysanthemums and other 
 designs in various shades of red and green, with gold 
 tracery, on pale cream-color. Height, 1534 inches; diam- 
 eter, 9 inches. 
 
 Large Vase. Similar to the foregoing. Height, 15% 
 inches; diameter, 9 inches, 
 
1108 
 
 1109 
 
 1110 
 
 1111 
 
 1112 
 
 1113 
 
 1114 
 
 1115 
 
 1116 
 
 SATSUMA %13 
 Large Wase. Globular base, with ovoid neck, with 
 dolphin in relief. Medallions decorated with peonies 
 and butterflies in blue and gold; red and gold border of 
 fret design. The neck is ornamented with chrysanthe- 
 mum crests and arabesques. Height, 1214 inches; diam- 
 eter, 744 inches. 
 
 Tripod Koro. Old Chinese form, raised feet with up- 
 turned handles. Pale yellow, with crackled glaze. 
 Medallion decoration of children at play; floral and dia- 
 per borders in various colors and gilding, The cover is 
 perforated and surmounted with the dog Foo. Height, 
 1044 inches; diameter, 644 inches. 
 
 Wase. Barrel shape. Satsuma; of light-cream paste. 
 Decoration consists of dispersed symbols and ornaments. 
 Height, 844 inches; diameter, 6 inches. 
 
 Cabinet Vase, Satsuma. Low, spreading base, with 
 three small conical feet, and square, curved neck, slightly 
 decorated with borders and leaf-shape pendants. Height, 
 744 inches; diameter, 414 inches. 
 
 Veapot,. Flattened shape, with long spout. Raised 
 ornamentation of grotesque dragons. Has impressed 
 mark of the maker. Height,4 inches; diameter, 6 inches. 
 Small Perfume 
 Box. Fan shape. 
 Chrysanthemum deco- 
 ration, with gilding. 
 Dimensions, 34% inches 
 by 3 inches. 
 
 Vase. Tall ovoid 
 shape. Fine buft 
 erackle ; decorated with 
 clusters of chrysanthemums and butterflies, ete., in 
 various colors and gold. Height, 17144 inches; diameter, 
 10 inches. 
 
 Large Jar, with Cover. Decorated with clusters of 
 chrysanthemums in various colors on a pale buff crackled 
 ground. The cover is decorated and surmounted by a 
 large and asmall dog Foo. Height, 2914 inches ; diameter, 
 1314 inches. 
 
 Two Bottles. Gourd shape, with handles formed by 
 twisted stems with leaf fastenings. Richly decorated with 
 figures of daimios and samurai retainers in fine costumes. 
 The enameling and gilding are slightly raised. Height, § 
 inches; diameter, 5 inches. 
 
214 
 
 1117 
 
 1118 
 
 1119 
 
 1120 
 
 1124 
 
 1125 
 
 SATSUMA 
 
 Large Plaque. Rich brocaded decoration. The cen- 
 tral panel represents a Japanese historical marine scene, 
 and shows warriors on vessels in combat. The borders 
 are in solid and raised gilt arabesque design ; one in imi- 
 tation of jewels inlaid in gold. Modern. Diameter, 1134 
 inches. 
 
 Teapot. Cylindric shape. Decorated with peacocks and 
 flowers on a buff crackled ground. Height, 8% inches; 
 diameter, 414 inches. 
 
 Small Koro. Cylindrical. Decorated with floral sprigs 
 in dark-blue enamel on buff crackled ground. Height, 
 214 inches; diameter, 234 inches. 
 
 Small Tripod Koro. Decorated with fioral designs 
 in natural colors and gilding. Cover is of gilt bronze, 
 with circular diaper perforation. Height, 5 inches; diam- 
 eter, 5 inches. 
 
 1121 Small Vase. Pear shape, with handles. 
 Decorated with disconnected fragments of 
 geometrical diaper and blossom design in 
 red, green and blue enamel, with gilding in 
 relief. Height, 7 inches; diameter, 314 
 inches. 
 
 1122 Small Vase. Bottle shape. Decorated 
 with various designs in finely combined 
 colors and gold. Height, 614 by 34 inches. 
 
 1123 Large Jar, with Cover, Ovoid shape. 
 Fine ivory surface. Decorated with medal- 
 lions in blue and gold, in which are two 
 
 baskets filled with peonies and blossoms painted in 
 various tones of red and green with gold tracery. On 
 shoulder are a series of floral and arabesque medallions, 
 over which hangs a red cord, looped and tied, with long 
 tassels. Height, 1744 inches; diameter, 10% inches. 
 
 Tripod Koro, or Incense Burner. Red arabesque 
 panels, and floral designs in various glazes and gilding. 
 Perforated cover with border decoration, surmounted by 
 adragon, Height, 7144 inches ; diameter, 6 inches. 
 
 Hibachi. Globular shape. Floral and blossom decora- 
 tion in various enamels and gilding, on dark-buff crackled 
 ground. Height, 8% inches ; diameter, 7 inches, 
 
1126 
 
 1127 
 
 SATSUMA 215 
 
 Hibachi. Globular shape. Small crackle on buff 
 ground. Decorated with fans in various colors and 
 gilding, irregularly dispersed. Perforated border, in 
 broken arabesque design, surrounding the shoulder. 
 Height, 9 inches ; diameter, 7 inches. 
 
 Large Jar. Ovoid shape. Ivory tinted and finely 
 crackled surface decorated with two large circular medal- 
 lions, the sacred bird of Paradise, flowers and other 
 designs. Brocaded cloth cover. Height, 14 inches ; diam- 
 
 eter, 1044 inches. 
 
 1128 
 
 1129 
 
 1130 
 
 Two Vases. Melon-shaped body, with square flaring 
 neck. The flat encircled panels hanging from the shoulder 
 are in feathered diaper design of various colors; red 
 arabesque ornamentation, relieved by gold. Height, 1134 
 inches ; diameter, 714 inches. 
 
 Hibachi. Globular, with three mask-shaped feet and 
 small handles. Decorated with fan-shaped vignettes in 
 diaper and floral design. The shoulder has oblong per- 
 forations. Height, 914 inches ; diameter, 714 inches. 
 
 Two Vases. Pear shape. Medallions in various forms 
 with landscape, floral, and bird decoration, carefully exe- 
 cuted; gilt arabesque ground, with red chrysanthemums, 
 Height, 734 inches ; diameter, 4% inches. 
 
 1131 Cup. Floral decoration in natural colors and gilding. 
 
 1132 
 
 1133 
 
 1134 
 
 1135 
 
 1136 
 
 Height, 244 inches ; diameter, 344 inches. 
 
 Small Teapot. Gourd shape. Decoration is a peony 
 flower medallion, with red and gold circular outlines. 
 Height, 444 inches by 4 inches. Silver stopper. 
 
 Teapot. Egg form. Decorated with red chrysanthe- 
 mums, old foliage and tracery. Height, 444 inches ; diam- 
 eter, 344 inches. 
 
 Small Bottle. Cylindrical, with small neck. Floral 
 medallions with chrysanthemums and peonies connected 
 by rich floral band in various enamels and gilding. 
 Height, 5144 inches ; diameter, 2 inches. 
 
 Large Vea Bowl. Medallion design containing the 
 dog Foo; green butterfly ornaments, on ground of jet 
 black enamel. Impressed potter’s mark. Height, 354 
 inches ; diameter, 454 inches. Silk bag. 
 
 Small Tray. Oval shape. Decoration of floral sprigs 
 in various colors and gilding. The rim is composed of 
 overlapping leaves, Height, 134x714 inches, 
 
216 
 
 1137 
 
 1139 
 
 1140 
 
 1141 
 
 1142 
 
 1143 
 
 1144 
 
 1145 
 
 SATSUMA 
 
 Small Koro. Globular shape. Decorated with chrys- 
 anthemums in various colors 
 with gilt tracery. Has perfora- 
 ted cover, in gilt diaper design. 
 Height, 44% inches; diameter, 5 
 inches. 
 
 1138 Tea Bowl. Deep shape. Dec- 
 orated with peony plants, and 
 the dog Foo playing with cord 
 and gilt ball, in various enamels 
 
 1137 and gilding. Paste of fine qual- 
 ity; bears the potter’s impressed scroll-mark. Height, 
 
 334 inches; diameter, 434 inches. 
 
 Shallow Bowl. Exterior is decorated with landscape, 
 
 flora, fowl, etc., in natural colors and gold. Interior has 
 
 fretted border at the rim, and an old character mark in 
 green and gold at the bottom. Foot bears the circular 
 potter’s mark. Height, 244 inches; diameter, 54% inches. 
 
 Small Vase. Ovoidshape. Dark-buff paste. The dec- 
 oration consists of bouquets in Japanese holders, with a 
 narrow border and four crests of the Prince of Satsuma 
 at the neck. Height, 644 inches; diameter, 344 inches. 
 Vase. Imitation of a brocaded cloth, tied in the centre 
 and forming a bag. Rich decoration, including floral 
 medallions, dragon and Ho-o bird, blossoms, etc., on gold 
 diaper ground. The foot bears the impressed mark of the 
 maker. Height, 114% inches; diameter, 744 inches. 
 Cabinet Vase. Pear shape, with handles. Decorated 
 with various diaper designs in raised enamels and gilding. 
 Medallions represent an open picture-book, and show 
 miniature figures and birds carefully executed. Height, 
 7 inches; diameter, 344 inches. Modern. Signed by the 
 artist. Stand. 
 
 Small Dish. Decorated with blossoms in various colored 
 enamels, with gilt tracery. Diameter, 5 inches. 
 
 Perfume Box. Gray paste with small crackle, decora- 
 ted with fret-borders in pale blue and gilding. Modern. 
 Height, 2 inches; length, 5 inches; width, 314 inches. 
 
 Tea Bowl. Exterior is covered with jet black enamel, 
 with lotus-leaves in reserve, and decorated in diaper 
 designs with various enamels and gilt tracery. Has a 
 silver rim. Height, 3 inches; diameter, 44% inches. Silk 
 bag. 
 
SATSUMA 217 
 
 1146 Ornamental! Stand, with Small Figure of Boy. 
 
 Fine crackle. The boy is represented in a tastefully deco- 
 rated costume, and holds a fan in one hand. The stand is 
 decorated with a basket-pattern border in blue and 
 green, with delicate gilt lines, and has corner pieces. 
 Height, 10144 inches ; width, 6 inches. 
 
 1147 Bottle. Pear shape, with stopper. Decorated with mag- 
 
 1148 Large Square Wase. Satsuma. Heavy 
 
 nolia, peony, etc., in various colors and gold. 
 Height, 9 inches; diameter, 344 inches. 
 
 eream-colored glaze, with fine crackle. The 
 decoration is dispersed over the surface, and 
 consists of medallions in diaper and floral 
 designs, and conventionalized fernsin various 
 colors and raised gilt outlines. Specimen of 
 supreme quality. Height, 1034 inches; diam- 
 eter, 614 inches. 
 
 1149 Shallow Dish, Shape of a Greek cross. 1147 
 
 1150 
 
 1151 
 
 1153 
 
 Decorated with crest in blue and gold, and pear-shaped 
 symbol in red with gold outline. Height, 144 inches; 
 diameter, 53g inches. 
 
 Tea Bowl, Entirely covered with black glaze. Has 
 masses of diaper medallions in floral form irregularly 
 grouped and in reserve, and is decorated in brocaded style 
 with various enamels with raised gilt lines. Potter’s seroll- 
 mark at the foot. Height, 2% inches; diameter, 434 
 inches. Stand. 
 
 Flower Vase. Pailshape. Decorated with masses. of 
 chrysanthemums in red and blue enamel with gilding, on 
 an irregular watered ground. Height, 134 inches; diam- 
 eter, 714 inches. 
 
 Jar, with Cover. Ovoidform. Red chrysanthemums 
 and peony decoration; grasses and ferns in green enamel 
 and gold tracery, with arabesque and scallop borders, 
 around the neck and shoulder. The cover has black and 
 gold vignette, with red chrysanthemum decoration. 
 Height, 914 inches; diameter, 6 inches. 
 
 Tea Bowl. Satsuma. Exterior and interior are partly 
 covered with black glaze in moon-like outline; decorated 
 with flowers in various glazes and gilt outline. Height, 
 2% inches; diameter, 43g inches. Silk bag. 
 
218 SATSUMA 
 
 1154 Tea Bowl. Decoration representing various mytholo- 
 gical deities ; one accompanied by a tiger. Silvered metal 
 rim. Height, 2% inches; diameter, 44 inches. 
 
 1155 Small Incense Burner. Vignette dec- 
 oration, peonies, and border in red and 
 green, with raised gilt lines. Has perfo- 
 rated silver cover. Height, 3 inches; diam- 
 eter, 2 inches. 
 
 1156 Small Bottle. Pear-shaped, with long 
 neck. Gray crackle, brilliant glaze, floral 
 decoration. Height, 544 inches; diameter, 
 1% inches. Stand. 
 
 1157 Tall Vase. Oviform. Decoration consists of fans, gold 
 and enameled chrysanthemums and other blossoms, and 
 the Kirimon crest of the Mikado. Floral medallion bor- 
 der at the neck. Height, 1344 inches} diameter, 614 
 inches. 
 
 1158 Large Vase. Ovoid shape, with low, cylindrical neck. 
 Decorated with large clusters of chrysanthemums in 
 various colors and outlined with gilt tracery ; star-pointed 
 scallop border in blue and gold encircling the neck. 
 Height, 19144 inches; diameter, 11 inches. 
 
 1159 Large Vase. Ovoid shape, with flaring 
 neck. Very fine glaze. Decoration of 
 arabesque in blue, symbols in red and green, 
 with raised gilt tracery and borders at foot 
 and neck. Height, 1244 inches; diameter, 6 
 inches. 
 
 1160 Incense Burner. Old Chinese shape. Bor- 
 der decoration in various glazes and gilding. 
 Has perforated cover, surmounted by dog 
 Foo. Height, 1034 inches; diameter, 714 
 inches. 
 
 1161 Koro. Medallions decorated with dragons, birds and 
 other designs in red and gold. The cover is topped with 
 fruit, modeled in relief. Height, 10 inches by 814 by 4 
 inches. 
 
 1162 Perfume Koro. Circular shape, with floral decoration 
 in raised enameling on a dull gold ground. The cover 
 has perforations in foliage design, with the flowers in low 
 relief and glazed in colors. The dog Foo surmounts the 
 top. The rim of Koro and cover are of silver. Height, 6 
 inches; diameter, 714 inches, 
 
CARVED PEKIN CINNABAR LACQUERS 219 
 
 1163 Large Temple Koro, 
 Ovoid shape. Decorated with 
 dragon in Chinese character, 
 and the dog Foo in raised 
 gold. The surface is divided 
 by an endless scroll or waved 
 line in gold; encircling the rim 
 is an arabesque and fret bor- 
 der in gold andred. Has a per- 
 forated silver cover, withdrag- 
 on in repoussé chased. Height, 
 10 inches; diameter, 12 inches. 
 
 1163 
 
 1164 Tall Vase. Pear shape, with flaring neck. Bamboo 
 design, decorated with various groups of children at play 
 in a garden, with palm-trees, bamboo and other foliage. 
 Arabesque border at the base. Height, 3244 inches; 
 diameter, 14 inches. 
 
 1165 ‘Wall Vase. Companion. 
 
 1166) Large Wase. Basket design. Raised medallions in 
 irregular form, in which are flowers, birds, and animals, 
 etc., painted in natural colors relieved by gold. Height, 
 135 inches ; diameter, 9 inches. 
 
 CARVED PEKIN CINNABAR LACQUERS 
 
 1167 Teapot. Earthen 
 ware. Exterior entire- 
 ly covered with cinna- 
 bar lacquer of Pekin; 
 arabesque design finely 
 carved in relief. 
 Height, 45g inches; 
 diameter, 4 inches. 
 Seal-mark, Kien-long, 
 1736-1796. Cloth stand. 
 
 1168 Small Perfume 
 Box. Deeply carved 
 prune blossoms on 
 wave pattern ground. 
 
 Black lacquer interior. Height, 144 inches; diameter, 3 
 
 inches. 
 
1170 
 
 1171 
 
 1172 
 
 CARVED PEKIN CINNABAR LACQUERS 
 
 Pair of Candlesticks, Tall, square and cylindrical 
 form. Caived in bold relief, with mountain scenery and 
 the Pa-Sien, or eight immortals. Lower surface finely 
 fretted. Height, 17144 inches ; diameter, 3 inches. Stands 
 and top pieces. ; 
 
 Two Vases. Cylindrical form. One has landscapes and 
 figures carved in bold relief, showing the eight immortals 
 examining a scroll; on the other are landscape and figures 
 of ladies with flowers and fruit, etc. Height, without 
 stand, 5 inches; diameter, 544 inches. Carved teakwood 
 stands with .platform. 
 
 Large Sectional Box. Doubie lozenge shape. 
 Carved medallions and floral borders. Landscape scene 
 on the cover; deeply carved. Height, 914 inches; length, 
 124% inches. 
 
 Jardiniére. Arabesques, landscape and figure vi- 
 gnettes carved in various layers. Height, 444 inches; 
 length, 124% inckes. Raised carved teakwood stand. 
 
 117214 Jardiniére. Companion. Height, with stand, 634 
 
 1173 
 
 1174 
 
 1175 
 1176 
 
 1177 
 
 inches. 
 
 Vase. Metal, entirely covered with the lacquer. Finely 
 carved medallions, storks and deer; the neck has palm- 
 leaf border on lattice pattern ground, Height, 534 inches ; 
 diameter, 534 inches. Carved stand. 
 
 Large Circular Box. The cover isornamented with 
 a carved landscape and figures in procession carrying 
 emblems and floral offerings. The border is in rich 
 arabesque carving, with symbolical designs in various 
 depressions. Height, 644 inches; diameter, 14 inches. 
 Cloth stand. 
 
 Large Box. Companion to the above. 
 
 Large Sectional Box, Double lozenge shape. Carved 
 medallion and floral borders. Landscape scene on the 
 cover, carved in bold relief. Height, 914 inches; length, 
 1244 inches. 
 
 Sectional Vase. Square, with ovoid body. Archaic 
 borders deeply carved on small geometrical ground ; edges 
 and rims have key-border. Stand to match. Height, with 
 stand, 13 inches; diameter, 7 inches. 
 
JAPANESE PORCELAINS AND FAtENCE 994 
 
 1178 Vase. Ovoid shape, with 
 handles. Arabesques.__ finely 
 carved in high relief on honey- 
 comb ground. Height, 114% 
 inches; diameter, 7 inches. Com- 
 panion to the Mrs. M. J. Morgan 
 vase. 
 
 1179 Cabinet. Elaborately carved 
 with arabesques and symbolical 
 designs. Archaic and _ fret 
 borders. The carving is in high 
 relief upon atan-colored ground, 
 with a second layer of a darker 
 shade. The interior has a series 5 
 of drawers, and the top contains 1178 
 a loose tray with open-work edge. The hinges and 
 handles are of ornamented bronze. Height, 184% inches; 
 width, 16 inches ; depth, 1344 inches. 
 
 1180 Tall Stand. Leaf shape; raised on three high feet. 
 /Boldly carved arabesques, landscape and water views 
 with figures, etc. The base is of chrysanthemum design, 
 carved in high relief upon a diaper ground. Height, 21 
 inches; diameter, 1414 inches. 
 
 « 
 We? 
 
 SF 
 
 ie SA 
 LEP mmmRIee 
 
 1181 Large Wase. Broad amphora. Elaborately carved 
 in archaic designs. The carving is in high relief, 
 with a second layer of black lacquer on a tan-colored 
 ground. Height, 28 inches; diameter, 18 inches Carved 
 stand. 
 
 1182 Large Vase. Similar. 
 
 1183 Large Vase. Flat and ovoid, with narrow base and 
 neck; deer’s-head handles. Archaic borders and panels 
 deeply carved. Height, 29 inches; diameter, 16 inches by 
 ll inches. Carved stand. 
 
 JAPANESE PORCELAINS AND FAIENCE 
 
 1184 Perfume Jar. Square shape, with small neck. Hirado 
 porcelain. Beautiful floral design exquisitely modeled in 
 low relief and covered with light transparent céladon, 
 Height, 5 inches; diameter, 34% inches. 
 
222 
 
 1185 
 
 1186 
 
 1187 
 
 1188 
 
 1189 
 
 1190 
 
 1191 
 
 1192 
 
 1193 
 
 1194 
 
 1195 
 
 1196 
 
 JAPANESE PORCELAINS AND FALTENCE 
 
 Water Vase. Persian form. Kaga porcelain. Covered 
 with coral-red, with arabesque gilt design, in Persian 
 character, bearing seal-mark of maker. Height, with 
 stopper, 1134 inches; diameter, 6 inches. 
 
 Covered Bowl. Ovoid shape. Imari porcelain. Dec- 
 orated with wisteria design in red, blue and green enamels 
 and gold. Height, 534 inches; diameter, 434 inches. 
 
 Bottle. Square shape. Decorated in red and gold with 
 medallions in figure and diaper design. Height, 644 inches; 
 diameter, 214 inches. 
 
 Flower Holder. Globular form, with open sides. 
 Hirado porcelain. White glaze, with finely modeled water- 
 spray and birds in delicate relief. Height, 634 inches; 
 diameter, 7 inches. 
 
 Figure of a Hawk. Shown perched on a rock. White 
 hirado porcelain. Height, 544 inches; diameter, 4 inches. 
 
 Koro. Céladon, with arabesque foliage in low relief. 
 Has three feet. Perforated silver cover in similar design. 
 Height, 43g inches; diameter, 5 inches. 
 
 Large Plaque. Kaga porcelain. Decorated in gilt 
 arabesque design, with eight medallions containing deities 
 on black ground, and has gold chrysanthemums dispersed 
 over the surface; designs suggested by an inlaid metal 
 plaque. Diameter, 1514 inches. 
 
 Vase. Diamond shape. Mino porcelain. Decorated in 
 blue and white with chrysanthemum and arabesque de- 
 sign. Height, 844 inches; diameter, 3 inches. 
 
 Small Wase. Globular base, with cylindrical neck and 
 handles. Decorated in blue and white in fretted design, 
 with vertical panels inscribed with Japanese characters 
 indicative of good wishes, longevity, ete. Height, 74% 
 inches; diameter, 334 inches. 
 
 Statuette of Boy with Drum. Arita ware. White 
 glaze. Height, 2 inches. 
 
 Large Plaque. Imari porcelain. Floral medallion 
 with butterfly and blue arabesque border, interrupted by 
 floraland dragon vignettes in red, green, and gold, on 
 white ground. Diameter, 1714 inches. 
 
 Bowl. Square shape, with indented corners. Imari 
 porcelain. Medallion decoration in arabesque and floral 
 design. Height, 244 inches; diameter, 544 inches. 
 
1197 
 
 1198 
 
 1199 
 
 1200 
 
 1201 
 
 1202 
 
 1203 
 
 1204 
 
 JAPANESE PORCELAINS AND FALENCE 993 
 
 Sake Cup. Pearl glaze, with birds and arabesques 
 Impressed mark, Yeiraku. Height, 144 inches; diam- 
 eter, 234 inches. 
 
 Teapot. Hexagonal shape. Kutani porcelain. Dec- 
 orated in arabesque and fret design with plain red medal 
 lions and green borders. Height, with cover, 734 inches; 
 diameter, 4 inches. 
 
 Incense Burner. Form and glaze in imitation of egg- 
 plant. Japanese porcelain. Bronze cover. Length, 11 
 inches ; diameter, 4 inches. 
 
 Bowl. Japanese faience. Covered with black glaze 
 and gilt cloudings, showing the peak of Fuzi-yama in low 
 relief in the paste. Signed Ninsei. Height, 344 inches; 
 diameter, 434 inches. 
 
 Large Jar. With cover. Octagonal shape. Céladon, 
 ornamented with a series of sunken panels modeled in 
 low relief. One set contains the eight Chinese immortals, 
 
 ‘mounted on various animals. These are in the yellow 
 
 tone of the clay and unglazed. The lower panels are in 
 
 ‘floral design and glazed in céladon like the upper panels 
 
 which contain Chinese characters appertaining to happi- 
 ness, wealth and felicity. The cover contains a set of 
 Budahistic emblems and devices, also unglazed, and is 
 surmounted by dog Foo. Height, 1644 inches; diameter, 
 12 inches. 
 
 Large Plaque. Old Imari porcelain. Decorated in 
 Chinese style with a centre medallion which shows the 
 god of wisdom and a lady with children, borders of figure 
 vignettes, flowers, birds, etc., on red and blue ground. 
 The reverse side has similar decoration, and bears the in- 
 seription Kuki-choshun (fortune and longevity). Diam- 
 eter, 1244 inches. 
 
 Ten Plates. Old Hizen porcelain. Decorated in Chinese 
 style, with deep blue centre medallion showing vases 
 with green foliage and lilies in red and gold upon white 
 ground. The outer or rim border consists of green 
 arabesque ornamentation with red enameled and gilt 
 lilies; under side is decorated in blue with red flames. 
 Diameter, 844 inches. 
 
 Large Jar. Imari porcelain. Figure and landscape in 
 deep blue, red, yellow, green and pale blue; neck has 
 floral border. (Slightly mended at neck with gold lacquer.) 
 Height with cover, 16 inches; diameter, 104 inches. 
 
224 
 
 4205 
 
 1206 
 
 1207 
 
 1208 
 
 1209 
 
 JAPANESE PORCELAINS AND FAIENCE 
 
 Small Koro. Oviform, with perforated cover. Imari 
 porcelain. Decorated with arabesques and chrysanthe- 
 mums in green and gold on red ground. Height, 614 
 inches; diameter, 51% inches. 
 
 Censer. Cylindrical form. Floral design modeled in low 
 relief, and covered with céladon. Perforated silver cover, 
 with chrysanthemums, etc. Height, 5 inches; diameter, 
 54% inches. 
 
 Large Plaque. Kaga porcelain. Has medallion con- 
 taining the dog Foo, surrounded by three petal-pointed 
 medallions with figure decoration, on gold triangular fret- 
 ted ground. The remaining field is in minute red diaper 
 design, surrounded by a blue arabesque border, and the 
 rim has a similar border. The reverse contains circular 
 medallions with figures on a red decorated ground. Mark 
 signifying happiness. Diameter, 144 inches. 
 
 Large Plaque. Imari porcelain. Decoration consists 
 of centre medallion in red, containing two white animals 
 and gold foliage, surrounded by blue and white borders 
 with gilt decoration. The outer border is an elaborate 
 design, showing the dog Foo, pomegranate, fruit, chrysan- 
 themum blossoms, and birds, on red and gold ground. 
 The rim border is in blue decorated with gold. The re- 
 verse border is decorated in blue arabesque design. 
 Signed by the artist. Diameter, 1844 inches. 
 
 Large Jar. Ovoid, with cover. Owari porcelain. The 
 decoration consists of large and irregularly dispersed 
 chrysanthemums in various colors. The base and rim 
 borders consist of blue arabesque design with gilt foliage. 
 Height, with cover, 11 inches; diameter, 10 inches. 
 
 1210 Small Perfume Burner, Hizen porcelain. Ovoid 
 
 shape, with elephant’s-tusk handles. Blue floral medallion 
 on a cream glazed ground; remainder of surface is covered 
 with gilt fern-leaves uponared ground. Perforated silver 
 cover, engraved and surmounted by dog Foo. Height, 5 
 inches ; diameter, 444 inches. 
 
 1211 Imcense Burner. Square shape. Imari porcelain. Gilt 
 
 arabesque vignettes on red ground, surrounded by blue 
 bands and floral decoration, in green and red glaze and 
 gold. Perforated bronze cover. Height, 7144 inches by 414 
 inches. 
 
JAPANESE PORCELAINS AND FATENCE 995 
 
 1212 Wase. Pearshape. Kaga porcelain. Has dragons in me- 
 dallion, gold and red ground, surrounded by arabesque 
 ornaments. Height, 1144 inches ; diameter, 5 inches. 
 
 1213 Twelve Plates. Octagonal shape. Hizen porcelain (old 
 Japan); decorated in blue, red and gold. Signed, Fuki 
 Choshun (Fortune and Longevity). Diameter, 914 inches. 
 
 1214 Three Fruit Dishes. Arita porcelain. Have oblique 
 panels containing various diaper and floral designs; the 
 reverses are decorated with blue arabesques. Diameter, 8 
 inches. 
 
 1215 Incense Burner. Hirado. Bell-shaped, on three 
 ornamented legs; raised fret band and engraved border ; 
 silver cover. Height, 9 inches ; diameter, 514 inches. 
 
 1216 Large Vase. Tall cylindrical shape. Imari porcelain, 
 richly decorated with Chinese designs. Height, 2534 
 inches ; diameter, 104% inches. 
 
 1217 Large Jar. Ovoid shape, with cover. Owari porcelain. 
 
 | Decoration consists of irregularly dispersed large chrys- 
 anthemums in various colors and of diapers. The base and 
 rim borders consist of blue arabesque design with gilt foli- 
 age. Height, with cover, 11 inches; diameter, 10 inches. 
 
 1218 Vase, Hirado porcelain. Small globular body, with broad 
 trumpet-shaped neck; handles formed by insects. Floral 
 decoration in pale blue under glaze, consisting of lilies, rose- 
 buds, dragon-fly and spider’s web with spider; engraved 
 fret band at the rim. Height, 104% inches by 8 inches. 
 
 1219 Vase. Pear-shaped body, with broad flaring top and swan- 
 shaped handles. In plain white. Hirado porcelain. Height, 
 7% inches ; diameter, 8% inches. 
 
 1220 Vase. Globular body, with narrow neck, grotesque 
 elephant’s-head handles and raised band at the shoulder 
 and neck. Hirado porcelain. Height, 914 inches; diameter, 
 914 inches. 
 
 1221 Small Teapot, Hirado porcelain. Egg shape. The spout 
 is formed by the head of a dragon and the handle by his 
 body, giving the effect of his having passed through the 
 pot. Semi egg-shell, white texture. Height, 5 inches; 
 diameter, 3% inches. 
 
 1222 Pair of Vases. Tall ovoid shape, with flaring neck. 
 Kaga porcelain. Elaborately decorated with symbols, mu- 
 sical instruments, vases containing flowers, birds and 
 turtles in various colors; gilt arabesques on cream-white 
 ground, Height, 14144 inches ; diameter, 74 inches. 
 
226 TEA JARS (TISHA-IRE) 
 
 1223 Large Jar. Old Imari. Ovoid; ribbed body. Decorated 
 with peonies and chrysanthemums, in blue, red and 
 gold on white ground. The shoulder is encircled by an 
 escaloped border in floral and fret design. Height, 201% 
 inches; diameter, 1544 inches. 
 
 TEA JARS (TISHA-IRE) 
 
 A notable fact is that the great development of the 
 ceramic art in Japan coincided exactly with the introduction of 
 tea, The necessity of having proper jars for preserving the tea 
 excited the potters to repeated experiments. These tea jars are 
 called in Japan tisha-iré. They have been made in various 
 earthenwares, with beautiful glazing, in warm and harmonious 
 tones, and they generally have ivory stoppers. The Japanese 
 amateur preserves them in little bags of silk, not uncommonly 
 made of pieces of ancient and historical fabrics and embroideries. 
 
 1224 2 Vea Jars. Large. Onein light crackled glaze; the 
 other buff glaze and blue souffié. 
 
 1225 3 Tea Jars. Large, with various brilliant glazes. 
 1226 3 Tea Jars. Large, with various brilliant glazes. 
 1227 3 Tea Jars, Large, with various brilliant glazes. 
 1228 5 Tea Jars. Large, with various brilliant glazes. 
 1229 5 Tea Jars. Large, of odd form and brown glaze. 
 
 1230 25 Vea Jars. Including various shades of white, 
 green, yellow and blue in monochrome glazes. 
 
 1231 35 Tea Jars. A choice selection of rare glazes. 
 1232 15 Vea Jars. A choice selection of rare glazes. 
 1233 18 Vea Jars. A choice selection of rare glazes. 
 1234 35 Tea Jars. A choice selection of rare glazes. 
 1235 35 Vea Jars. With various brilliant glazes. 
 1236 35 Tea Jars. With various brilliant glazes. 
 1237 3 Vea Jars. Flambé in various shadings. 
 1238 3 Vea Jars. Buff glaze. 
 
 1239 3 Tea Jars. Gray glaze, with decoration. 
 1240 35 Tea Jars. With various lustrous glazes. 
 1241 35 Tea Jars. With various lustrous glazes. 
 1242 18 Tea Jars. Of various tints and decoration, 
 
TEA JARS (TISHA-IRE) 227 
 
 9 Tea Jars. Various tints, with decoration. 
 
 2 Tea Jars. Porcelain, decorated. 
 
 39 Tea Jars. Porcelain, of different forms with blue 
 and white decoration. 
 
 40 Tea Jars. Porcelain, of different forms, with blue 
 and white decoration. 
 
 38 Tea Jars. Porcelain, in various shapes and mono- 
 chrome glazes. 
 
 40 Tea Jars. Porcelain, in various shapes and mono- 
 
 chrome glazes. 
 
 48 Tea Jars. Porcelain, céladon. A selection of various 
 forms and tints, including plain, modeled and crackled 
 examples. 
 
 26 Tea Jars. Satsuma, of various forms and dezora- 
 tions. 
 
 36 Tea Jars. Examples from Satsuma and Kioto, of 
 _ various forms and decorations. 
 
 50 Small Tea Jars. Of various glazes and shapes. 
 
 13 Tea Jars. Porcelain, including various decorated 
 examples. 
 
fe. 
 
 NESE SWORDS 
 
SALE, TUESDAY AFTERNOON, APRIL 19TH 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’CLOCK 
 
 “THE SWORD IS THE SOUL OF THE SAMURAI” 
 
 No crusader of old, battling with the Crescent for the 
 Redeemer’s grave; no shaven monk flagellating himself 
 on the altar steps to purify his body and render himself 
 more worthy of the Saviour’s grace, ever felt deeper 
 veneration for the Cross than did the Japanese soldier for 
 the sword. He was impelled thereto by religion, patriot- 
 ism, feudal loyalty, love of ancestry and the traditions of 
 thousands of years, and to these must be added the baser, 
 but too often not less powerful motives of ambition, ven- 
 detta, and innate love of fighting. The sword was, more- 
 over, the one great distinguishing badge of the ‘‘ Samurai,”’ 
 or men of gentle blood, into whose ranks no physical 
 or intellectual superiority, no millions realized in com- 
 merce nor achievement of any kind gained admit- 
 tance for the commoner. There was only one way 
 to bridge the chasm of caste prejudice. The smith 
 who forged a blade of surpassing merit, welded into it, 
 so to say, his patent of nobility, and became a peer of 
 those who otherwise would look upon him only as dirt beneath 
 their feet. The history of the sword seems to be coeval with 
 the history of the Japanese. It has entered and pervaded their 
 mythology and is the chief of the three great objects symbolical 
 of their religion, their country and their history. It created 
 feudalism, and shaped the history of Japan into its bright setting 
 of bravery and chivalry. 
 
 There was no royal road for the swordmaker; no patent fur- 
 naces and no Bessemer steel foundries to prepare the way; no 
 division of labor to ease his task. As the ore came out of the 
 ground he received it, and by tedious, laborious processes, handed 
 down in secret from father to son, he turned it in the course of 
 years into the thing of joyand beauty and power which his country- 
 men prized above everything else. Dressing himself in his best 
 garments, the smith took the blade as soon as completed and 
 
939 JAPANESE SWORDS AND DAGGERS 
 tested, and reverentially kneeling down before his household 
 shrine offered thanks to his god for having enabled him to make 
 it. He might well return thanks and be proud of it, if it wasa 
 superior weapon, and so might the man who wore it. 
 
 There was only one way to fame: by the sword. Only one 
 honorable way out of the world for Samurai man or woman 
 who did not die a natural death: by the sword. Superstition 
 stepped in and endowed the blade with life and power until the 
 sentiment crystallized into the household words: ‘t‘ The sword is 
 the soul of the Samurai.” 
 
 Fabulous sums, considering the comparative wealth, or rather 
 poverty, of the country, were paid for the best blades, and a prince 
 of royal blood would consider himself lucky, if a year’s income 
 would purchase one of the products of the best swordsmiths. 
 
 Metal ornamentation, and probably many sister arts, doubt- 
 less originated in Japan, in the desire to give a fitting set- 
 ting to weapons. At first the ornamentation was all in iron; 
 gradually the precious metals, gold and silver, crept in. Not 
 content with these, the Japanese smith invented combinations, 
 which, for artistic purposes, he esteemed even more highly; and 
 this opinion was fully shared by his fellow craftsmen in the West- 
 ern world, when these products became known there. Innumer- 
 able as they are, they may be classed under two great heads, 
 Shakudo and Shibuichi. Shakudo may be called a gold bronze 
 The proportion of gold is often as high as 15 to 20 per cent. 
 of the whole mass. In color it varies from a bright blue, slightly 
 darker but almost as clear and limpid as the cerulean sky of 
 Japan, to a dark shining black, fully equal in brilliancy and 
 depth, and similar to the famous mirror-black of the Chinese 
 potters. Shibuichi means literally four parts—one, 7%. e., one- 
 fourth, being silver, and the rest other metal. This was probably 
 the original composition, which gave it its name, but later, in 
 fine shibuichi, the proportion of pure silver often reached %5 to 
 80 per cent. of the whole. Many other substances were used 
 to give these compositions their magnificent deep rich color, 
 among which may be mentioned gunpowder, borax, vinegar, 
 sulphate of copper, salt, verdigris, alum, white metal, Indian 
 ink, seaweed, lye, ete. The process of making them is very slow 
 and tedious, taking months and months to complete. 
 
 It would be useless to dilate upon the matchless workmanship 
 shown in the engraving, inlaying and other ornamentation of the 
 articles herewith presented. They speak for themselves, and 
 appeal to every artistic eye. A strong glass is often necessary to 
 bring out the full beauty. They were made in old Japan, when 
 the artistic workman, free alike from sordid ambition, from cares 
 for the day or the morrow and from limit as to time, worked at 
 
JAPANESE SWORDS AND DAGGERS 233 
 
 art purely for art’s sake. Simple as Japanese 
 methods appear, it will surprise many, and 
 probably most, of those who have entered 
 a Japanese artisan’s house and seen forge, 
 workshop, and all the living rooms of a family 
 
 of five or six persons and a couple of ap- 
 prentices comprised in a space of twenty 
 by forty feet, to learn that the kit 
 of a first-class carver comprises among 
 other tools 149 different kinds of chisels. 
 To such a degree of accuracy does he 
 earry his work! 
 
 As it would be difficult to give English 
 equivalents for the native names of the 
 settings and ornaments on Japanese 
 
 swords, these have in most instances been re- 
 tained in the following deseriptions. Referring 
 
 to the cut, we find: 
 KASHIRA—At the head of the hilt. 
 
 »eKASHIRA 
 
 FUCHI...... 
 TSUBA 
 SEPPA,+ +++ _ HABAKI 
 KopzuKA.. .. |r , “i 
 {| . KOGAI 
 OBI-TORI,... 
 
 MENUKI—The ornaments on both sides of 
 the hilt. 
 
 Fucui—The band around the base of the hilt 
 and the band on the top of the scabbard. 
 
 TsuBA—The guard. 
 
 SeppA—The ring of the hilt below the guard. 
 
 ‘HABAKI—The setting for the base of the 
 blade. 
 
 KdpzuKA—The handle of the small knife 
 inserted in one side of the scabbard. 
 
 K6GAI—The dagger or other ornament on 
 the opposite side of the scabbard. 
 
 Kougrtri—the tip of the scabbard. 
 
 The Seppa and Habaki in fine swords 
 
 like those in this collection are always 
 made of precious metals, and it has been 
 thought useless to dilate upon them in 
 the descriptions. The small knife 
 
 KOJIRI 
 
 1404 
 
 “Kogatana”’ in the Kodzuka was used sometimes in close war- 
 fare, half in play, haif in earnest, to throw at each other before 
 
 upon it, inserted 
 
 beginning hostilities. The principal use 
 was, however, in case of vendetta, when it 
 was left, with the owner’s crest engraved 
 in the corpse of the 
 enemy as a challenge to his relations, re- 
 tainers and friends to continue the feud. 
 Louis WERTHEIMBER. 
 
234 JAPANESE SWORDS AND DAGGERS 
 
 JAPANESE SWORDS AND DAGGERS 
 
 (IN JAPAN, ALL SWORDS, ETC., ARE MEASURED FROM HILT TO 
 POINT) 
 
 1255 Short Sword. Length of blade, 111% inches. 
 Made by Kanefusa; date, 1560-1569. Hilt and scab- 
 bard of silver Ajiro net-work. Solid gold Fuchi, 
 Kashira and Kojiri; made by Kohara-Hisanori, a 
 celebrated metal worker, and represent chrysan- 
 themums. The Menuki, also of gold, represents 
 chrysanthemums in full bloom. The workman- 
 ship is of extreme fineness and delicacy as well as 
 chaste and simple. 
 
 1256 Short Sword. Blade, 9144 inches long ; 18th 
 century. Black lacquer scabbard, carved in imita- 
 tion of waves; ornamented in bronze. 
 
 1257 Short Sword. Blade, 1214 inches long. Made by 
 Sukehiro; date, 1860-1365. Very fine blade, beauti- 
 fully damascened. The hilt is wound with silk; 
 it has on one side a death’s-head carved in wood 
 in perfect imitation of iron; on the other side 
 cherry-flowers in silver on a golden stem. The 
 
 scabbard is also of wood, made to look old by very 
 difficult manipulation, being immersed in water for 
 some time, rubbed with straw repeatedly, and then lac- 
 quered ; the Kojiri is also carved out of wood to represent 
 old-gold bronze. 
 
 1258 Dagger. Length of blade, 1034 inches. Made by Kanesada; 
 date, 1520. The hilt is made of fine sharkskin, with two 
 gold ornaments on the side in the shape of coiled dragons; 
 the scabbard is made of black lacquer with gold flakes. 
 The decoration, in bronze and other metals, shows gold 
 dragons gliding in silver waves. 
 
 1259 Dagger. Blade, 8% inches long. Made by Mune-Tada; 
 date, 1066. The blade has engraved on one side the dragon 
 of war and on the other a branch of a plum-tree in blos- 
 som, The top of the hilt has a tortoise in bronze, beauti- 
 fully carved ; equally well done are two cranes in bronze 
 on the side. The scabbard is of the very finest togi- 
 dashi lacquer, showing birds and flowers in mat gold; 
 the Kodzuka is of silver. The other ornamentation in 
 bronze and silver shows the same decoration. 
 
 1260 Dagger. Companion to above. 
 
JAPANESE SWORDS AND DAGGERS 935 
 
 1261 Dagger. Blade, 7% inches long. No signature; probably 
 18th century. The blade has engraved on one side a 
 dragon, and on the other a plum-tree branch. The scab- 
 bard and hilt are made of black wood to imitate teak- 
 wood, decorated and inlaid with monkeys in ivory and 
 bronze splendidly carved. The Kojiri, in silver, represents 
 a mythical long-armed monkey; and another one in gold 
 is inlaid on the silver Kodzuka. The two ornaments on the 
 hilt, which are of fine gold and bronze, also represent 
 monkeys; the Fuchi, of silver, is also decorated with 
 them. 
 
 1262 Short Sword. Blade, 11% inches long. No signature; 
 probably 17th century. Hilt and scabbard made of fine 
 black lacquered wood; metal decoration throughout of 
 fine shibuichi, showing various insects inlaid in the wood. 
 
 1263 Short Sword. Length of blade, 1134 inches. Made by 
 Kane-Kiyo. On one side of the blade is engraved Fudo, the 
 god of fire, with an aureole of flames; onthe other sidea 
 Sanscrit character. The hilt is of fine sharkskin covered 
 with whalebone, and the metal decoration is of solid gold 
 throughout. The two ornaments on the side of the hilt 
 represent the Ho-o, the fabulous bird of Japan. The 
 Kashira and Fuchi of heavy gold show a lotus flower and 
 leaf ; the Kojiri represents a lotus-leaf turned over, show- 
 ing the veins of the leaf. On the side of the scabbard isa 
 lotus seed-pod with a bird perching on it, also in solid 
 gold. 
 
 1264 Dagger. Lengthof blade, 8inches. Made by Yasu-Akira; 
 date,1299. Hilt of whalebone covered with silk. Ornaments 
 on the side are of gold and silver, showing tiger-lily and 
 insect feeding on it. The scabbard is of fine Tsugaru 
 lacquer of very translucent quality, looking as if it were 
 laid over a choice piece of birch bark; the Kodzuka of 
 fine silver, showing conventional decoration of flowers 
 and waves. The rest of the metal ornamentation, also of 
 silver and fine shibuichi, is of similar design. 
 
 1265 Short Sword. Length of blade, 944 inches. Made by 
 Giokuyei; date, 15th century. The scabbard is of very 
 fine togidashi lacquer, with butterflies in mat gold; the 
 metal ornamentation throughout of solid silver, inlaid 
 with gold, showing the Kiri crest, slightly altered from 
 the imperial one; underneath the crest the silver is 
 carved in waves. 
 
936 JAPANESE SWORDS AND DAGGERS 
 
 1266 Dagger. Length of blade, 84% inches. Made by Mune- 
 Chika; date, 986. A very fine blade. The Ken, or holy 
 sword, is engraved on it. The scabbard is of fine gold 
 togidashi lacquer, the gold being more heavily laid 
 on than is usually the case, though in rather subdued 
 tones. The decoration throughout is of silver, except- 
 ing one of the ornaments, which is made of gold, repre- 
 senting a basket filed with Biwa fruit. The other orna- 
 ment represents an old legend of a bamboo gatherer. 
 The metal decoration throughout is elaborately carved 
 into chrysanthemum flowers and leaves. 
 
 1267 Lady’s Small Sword. Natural wood hilt and scab- 
 bard, with shibuichi mountings. Has a very fine blade. 
 
 1268 Dagger. Made froma spear. Silk-bound hilt, with orna- 
 ments and Kashira in shu lacquer (Imperial Chinese 
 lacquer). The scabbard carved to represent net-work. 
 
 1269 Sword. Length of blade, 94 inches; cut down from a 
 much larger blade. Ornamentation in iron inlaid with 
 zogan; one of the best specimens of this art, which 
 presents an apparently light, very pleasing and effective 
 decoration. To correspond with this apparently light 
 decoration, the iron ground itself is carved so as to make 
 it look like folded cloth or paper. 
 
 1270 Short Sword. Length of blade, 104 inches. This is a 
 very fine old blade which was originally much longer, 
 and has been cut down by successive generations. The 
 hilt is well bound with whalebone over fine sharkskin. 
 The scabbard is of fine mirror-black roiro lacquer, re- 
 lieved by specks of gold. The metal decoration is of 
 silver, with dragons and names carved in relief. 
 
 1271 Short Sword. Length of blade, 9 inches. Made by 
 Yoshi-Fusa ; date, 1480-1490. Hilt bound in silk over a 
 very fine sharkskin, which was -very highly prized in 
 Japan. Scabbard of wood finely lacquered to imitate 
 teakwood. On one side of the blade, which is extremely 
 fine, is engraved the holy temple sword, and on the other 
 the characters ‘‘ Yawata Dai Bo Sato,” the name of a 
 saint and semi-divinity to whom the blade is dedicated. 
 The ornamentation, which is of solid gold, represents 
 chrysanthemums in various degrees of blooming. The 
 Menuki, also of solid gold, represents on one side a court 
 attendant, and on-the other a long-handled umbrella, 
 such as these men usually carried. The Kodzuka (knife- 
 
JAPANESE SWORDS AND DAGGERS 937 
 
 handle), also of gold, bears the inscription of Higashi 
 Yama Motonolu, the artist who made it. The small knife 
 shows the crest of the Shogoons (Tycoons), in whose 
 possession it must have been. 
 
 1272 Short Sword. Length of blade, 7144 inches. Made by 
 Kane Nari, in the 17th century. On the side is 
 engraved the dragon of the sword with the Ken or 
 holy sword. The hilt is of fine whalebone wound over 
 sharkskin; the scabbard of black lacquer dotted with 
 gold. The Fuchiand Kashira are made half of silver and 
 half of gold, the two metals being joined together. The 
 Kodzuka and Tsuba (guard) are of solid gold. The 
 decorations are flowers in very fine relief, with medal- 
 lions representing the Ho-o, a fabulous bird, the Phoenix 
 of Japan. 
 
 1273 Short Sword. Length of blade, 114% inches. Made by 
 Naganori; date, 1300-1310. Has two grooves, chi-nagashi, 
 for the blood to run down. The hilt is of very fine, 
 highly polished sharkskin. The scabbard is of the best 
 nashiji lacquer, very finely and delicately decorated 
 with grasses and flowers in gold lacquer. The metal 
 ornamentation, in solid gold throughout, is made by 
 Naga-Yoshi, the gold being decorated in relief, showing 
 grasses and flowers bending to the wind. The grasses 
 and flowers are made of shakudo. It is a peculiarly 
 Japanese scheme of decoration to have a ground of gold, 
 with designs in comparatively inferior metals. 
 
 1274 Small Sword. Length of blade, 11 inches. Made by 
 Kane Fusa; date, 1560-1569. The scabbard is in black 
 lacquer, with chrysanthemums in raised designs in the 
 same lacquer. The hilt is wound with fine silk. The dec- 
 oration throughout is of solid silver, very finely carved 
 and chased, representing the Saru, or monkey, and 
 chrysanthemums. The whole decoration is in the best 
 style of Japanese art, an immense amount of highly 
 artistic work being expended to produce a result which is 
 so harmonious and apparently simple as not to show it 
 unless upon very close examination. 
 
 1275 Long Sword. Length of blade, 1934 inches. Made 
 by Fuyu Hiro; date, 1460-1468. The Tsuba is of fine gold 
 bronze, decorated with flowers in gold and shakudo. 
 The Kodzuka, Fuchi, Kashira, also of shakudo, are decora- 
 ted with warriors and pieces of armor in various metals. 
 The Kojiri, of shibuichi, decorated with flowers and bam- 
 boo in relief. 
 
238 JAPANESE SWORDS AND DAGGERS 
 
 1276 Short Sword. Length of blade, 9144 inches. Made by 
 Kunimilsu; date, 1330-1360. Hilt of fine sharkskin, highly 
 polished, with two gold wasps as ornament. The Kash- 
 ira, also of gold, represents a wasp’s nest. The scabbard 
 of natural wood is prepared in a way which Japanese 
 prize very highly—by being steeped in water for a long 
 time and then rubbed with straw; it is inlaid with 
 butterflies in caryed shell and wasps in metal. The 
 mounting throughout is of gold, made by To Jiohu Sai. 
 The decoration is wasps and butterflies finely wrought. 
 The Kojiri of gold is wrought in the form of a dragon- 
 fly. The Kodzuka, also of gold, is inlaid with a mytho- 
 logical rabbit and grasses in silver. 
 
 1277 Dagger. Length of blade, 8 inches. A very old blade 
 cut down; probably 15th century. Hilt wound in silk 
 over carved silver frame. Scabbard of wood covered 
 with fine lacquer in wavy lines. Kodzuka, fine shakudo 
 on the back and silver on the front, carefully welded 
 together. Guard, Fuchi, Kashira and Kojiri of silver, 
 beautifully carved with chrysanthemums in relief. The 
 whole very finely and delicately wrought. 
 
 1278 Short Sword. Length of blade, 11 inches. Made by 
 Masa-Mune; date 1287. Masa-Mune was the greatest of 
 Japanese sword-makers. This is a very fine old blade, 
 formerly much longer but cut down. Sanscrit characters 
 are engraved on it. The metal decoration throughout, 
 which is of solid gold, is carved by Mune-Y oshi, to repre- 
 sent chrysanthemums. The scabbard, of green lacquer, 
 is ornamented with a sixteen-petal chrysanthemum, the 
 Imperial Crest, showing that it had been in possession of 
 a member of the imperial family. Surrounding the crest, 
 the scabbard is heavily ornamented in relief, produced 
 by many successive coats of gold. The carving of the 
 gold is exquisitely done, hiding its wealth of work 
 rather than displaying it. The Kodzuka, also of solid gold, 
 is decorated in keeping with the other ornamentation. 
 
 1279 Short Sword. Length of blade, 114% inches. Very fine 
 blade; probably 16th century. Hilt and scabbard of mul- 
 berry wood, finely polished. The decoration is in silver, 
 the different parts, such as Kojiri, Kashira and the 
 ornaments, being carved of silver in the shape of ani- 
 mals; there are twelve altogether, being the signs of 
 the Zodiac. An exquisite piece of work, in keeping 
 throughout, showing a high style of Japanese art. 
 
JAPANESE SWORDS AND DAGGERS 939 
 
 1280 Dagger. Length of blade, 944 inches. Made by Mune- 
 Tsugu; date 1259. Hilt of sharkskin, wound with whale- 
 bone. Metal ornamentation throughout of solid silver, 
 carved and chased into the leaves and flowers of chrys- 
 anthemums, the rims being of bamboo. On the scabbard, 
 in gold lacquer, are also chrysanthemums, and streaks of 
 gold in wavy lines running through them; a thoroughly 
 consistent, painstaking and highly artistic piece of work. 
 
 1281 Short Sword. Length of blade,11 inches. Made by 
 Sada-Kazu; date 1864. Hilt and scabbard made of wood, 
 lacquered with shu, the Chinese imperial lacquer, a 
 very difficult one to produce. Ornamentation is in solid 
 silver. On the side of the scabbard and on the hilt the 
 crest of the owner is produced in a fanciful, heraldic way, 
 
 1282 Dagger. Made from a spear. Length of blade, 7 
 inches. Hilt of fine whalebone; scabbard of black 
 lacquer, carved to correspond with hilt. Ornamentation 
 is in fine shibuichi, probably over two-thirds silver, 
 which is prized by Japanese more than pure silver ; two 
 chidori birds in gold form the ornaments on the hilt. 
 
 1283 Short Sword. Length of blade, 11 inches. Made by 
 Yoshi-Naga ; date 15th century. On one side of the blade 
 is engraved the god of fire, on the other Sanscrit sym- 
 bols. The hilt is of sharkskin, covered with whalebone, 
 ornamented on one side with a koi fish, carved in 
 shibuichi, and a tiger and dragon in the same metal on 
 the other. The sword guard of shakudo has the same 
 ornamentation of tiger and dragon; the rest of the metal 
 ornamentation of shibuichi carries out the same design. 
 
 1284 Lady’s Small Dagger. Hiltof metal to imitate shark- 
 skin, with two gold ornaments in the form of crests on 
 the side. Scabbard in black lacquer, sprinkled with gold 
 flakes. The rest of the metai decoration in silver, finely 
 decorated with birds and flowers in gold. 
 
 1285 Short Sword. Length of blade, 10% inches. Made by 
 Yoshi-Mitsu. The hilt is of sharkskin, covered with fine 
 whalebone; the ornamentation throughout is of solid 
 gold. The Kashira is a grape-vine, bearing fruit, beau- 
 tifully rendered, with insects pecking at the grapes; on 
 one side of the hilt, also in gold, is a strawberry plant, 
 on the other a melon, with insects settling on it. To relieve 
 the uniformity of the color of gold, the Fuchi is deco- 
 rated with gourds and vines and various insects. The 
 
240 
 
 JAPANESE SWORDS AND DAGGERS 
 
 Kodzuka is made in the shape of a long gourd, with 
 vines and stems trailing on it, and a large dragon-fly to 
 relieve the coloring. The Kojiri represents the Japanese 
 nija-uri or bitter melon, the leaves and fruit being ren- 
 dered with the most perfect truthfulness to nature; and 
 the scabbard is a bean-vine, with bean-pod, in variegated 
 leaves. 
 
 1286 Short Sword. Length of blade, 114% inches. Has two 
 
 gold ornaments on the side of the hilt, representing wild 
 boars. On the Kodzuka is the seed of awa,a sort of 
 millet, inlaid in gold and bronze. 
 
 1287 Dagger. Length of blade, 9 inches. Made by Kujo- 
 
 Mitsu; date, 14th century. Hilt and scabbard of 
 black lacquer to correspond. Mounted in solid silver 
 representing Fukura-Suzume, a sort of imaginary 
 sparrow with large wings and owl-like eyes, which 
 Japanese artists are fond of depicting, because with 
 comparatively few lines they manage to give it a great 
 deal of expression. 
 
 1288 Short Sword, Length of blade, 104 inches. Made 
 
 by Hiro-Mitsu; date, 13th century. One of the finest 
 specimens in the collection. Sanscrit characters on 
 both sides of the blade. Ornaments of solid gold. Two 
 gold pheasants form the ornament of the hilt; a very fine 
 shakudo band forms the Fuchi; a dragon head in gold 
 copper coming out of the hilt comes down on both sides, 
 embracing the blade, so to say, and consecrating it. The 
 Fuchi, Kodzuka, Kogai and Kojiri, all in solid gold, 
 are decorated with chrysanthemum leaves and flowers. 
 The scabbard is of mulberry wood, prepared with great 
 trouble, simple as it looks, by being steeped in water for 
 along time and rubbed with straw wisps. 
 
 1289 Dagger. Made fromaspear. Length of blade, 11 inches, 
 
 being cut down. Not signed. The hilt, wound with fine 
 whalebone, is covered with a broad band of silver, decora- 
 ted with lion and peony (a favorite Japanese combination) 
 in gold, splendidly carved; on the other side also, a lion 
 and peony in old Chinese style of ornamentation, in 
 shakudo,. The rest of the ornamentation in shibuichi and 
 silver is also carved peonies and lions, the latter being in 
 various positions, some being almost thoroughly true to 
 nature, others being distorted almost into representa- 
 tions of the Chinese dog Foo. 
 
JAPANESE SWORDS AND DAGGERS 241 
 
 1290 Short Sword. Length of blade, 12 inches. Made by 
 Mei-ju; date, fourteenth century. The blade and the 
 whole decoration were made by the same man, accord- 
 ing to the inscription on the former. On one side of the 
 blade is engraved a tiger, on the other a bamboo branch; a 
 favorite Japanese combination. Flies in goldand mother- 
 of-pearl form the ornaments on the hilt. The Kashira is 
 decorated with peony and a large fly, splendidly done in 
 gold and bronze; the Fuchi, Kodzuka, Kogai and Kojiri, 
 all of solid gold, are similarly treated and decorated with 
 insects, flies, lady-bugs, etc., all thoroughly true to 
 nature; two bronze plates, which extend lengthwise on 
 both sides of the scabbard, are incrusted and inlaid with 
 flowers and branches in gold. 
 
 1291 Short Sword. Fancy sword. A unique piece, probably 
 made for presentation. The blade is intended to show 
 fine metal-work. It is finely carved and damascened, 
 representing on one side a dragon within gold-tinted 
 clouds; on the other side, the waves rising, with a Bud- 
 dhist crest in Sansecrit characters in gold. The hilt is 
 covered with fine silk, lacquered to imitate leather, with 
 two gold ornaments representing Ringu, a fairy goddess 
 (the Japanese Undine). The scabbard is of wood with 
 fine Tonshei lacquer, carved in Wavy lines. The Kodzuka 
 and Kogai are of gold and represent the Ken, the holy 
 sword. The rest of the metal decoration is in silver and 
 also shows Ringu and the dragon of the sea. The decora- 
 tion, being in keeping throughout, is characteristically 
 Japanese. 
 
 1292 Short Sword. Length of blade, 1034 inches. Very fine 
 blade cut down, but probably made in the sixteenth 
 century; enough is left of the inscription on the hilt to . 
 show it was made in Echizen. The hilt, of whalebone over 
 fine sharkskin, has two gold lions as ornaments. A tiger 
 head, in very bold relief, carved in silver, forms the 
 Kashira; the Fuchi, also of silver, is decorated with 
 bamboo and leaves in gold and shakudo; the scabbard, 
 which is finely lacquered in gold, is ornamented with 
 silver, showing what is called in Japanese, Yuki-Ori-Sasa, 
 “Bamboo bending under the weight of snow.” The 
 Kojiri, of silver, shows one of the best styles of Japanese 
 art; it represents an old piece of bamboo, broken off, with 
 the leaves adhering to it here and there, 
 
949 JAPANESE SWORDS AND DAGGERS 
 
 1293 Short Sword. Length of blade, 9inches. Made by Hisa- 
 Yoshi; date, 13th century. Has the godof fire on one side, 
 and Buddhist characters on the other. Hilt, of fine whale- 
 bone, has two gold eaglesas ornaments. The ornamenta- 
 tion throughout is of solid gold, finished in fine mat 
 coloring, and is finely grained and frosted, in what the 
 Japanese call ‘‘Ishime’’ style, giving the metal a very 
 soft,delicate color. The decoration, throughout, is asters, 
 chrysanthemums and other flowers in high relief. 
 
 1294 Short Sword. Length of blade, 9 inches. Made by Osa- 
 Fune; date, 15th century. Onthe blade is engraved Dai- 
 koku, the god of wealth, standing on his two bags of rice, 
 which denote wealth. The hilt, well bound with whale- 
 bone, has on one side the Kirin, the fabulous animal of 
 Japan, finely done in gold and silver; on the other a couple 
 of chickens, splendidly carved in silver. The Kashira is 
 finely carved in relief with heads of birds; the Kojiri is 
 carved in high relief to correspond. The Fuchi and Kogai 
 are decorated with leaves in high relief. The ornamenta- 
 tion is of silver throughout, and isa very fine specimen 
 of Japanese art. 
 
 1295 Short Sword. Length of blade, 11 inches. Made by Yoshi- 
 Nao; date, 15th century. The hilt is wound with silk over 
 sharkskin; scabbard is of fine brown lacquer. The Kashira 
 in shibuichi, has figure in relief of Chinese emperor; and 
 the Kojiri, also of shibuichi, has in relief figure of Chinese 
 sage riding on a swan. The Fuchi and Kodzuka, also of 
 shibuichi, are decorated with flowers. 
 
 1296 Short Sword. Length of blade, 9144 inches. Made by 
 Tama-Shige; date, 16th century. A beautifuiand delicate 
 piece of work. The hilt of carved wood to represent 
 whalebone, with two fine gold dragons as ornaments. The 
 metal ornamentation of fine silver is what is called Hori- 
 Kudzushi, meaning that every part of the metal is carved. 
 Gold dragons are seen gliding through silver waves. 
 The purpose of this carving is to produce an effect of ex- 
 treme lightness and delicacy. An immense amount of 
 work is expended on a piece like this. 
 
 1297 Short Sword. Length of blade, 1534 inches. Nosigna- 
 ture. Black lacquer scabbard. Hilt wound with silk, 
 over sharkskin. Ornamentation in shakudo, decorated 
 with figures of Manzai, ‘*‘ professional merry-makers,” 
 who go around mask-dancing at New Year’s. 
 
JAPANESE SWORDS AND DAGGERS 243 
 
 1298 Short Sword. Length of blade, 11 inches. Hilt covered 
 with fine silver wire. Scabbard of mulberry-wood finely 
 treated. Ornamentation throughout of solid gold, carved 
 with birds, flowers, insects, etc, a wealth of carving 
 covering every part of the metal. A grasshopper in 
 solid gold, holding a fly, forms the decoration on the 
 scabbard ; two large gold buttons, in accordance with the 
 other, decoration, form the ornaments on the hilt. 
 
 1299 Short Sword. Blade, 13 inches long. Sharkskin hilt 
 wound with silk-twist. Wood scabbard mounted in 
 shibuichi, ornamented in relief with fan and flowers in 
 various metals. A beetle in copper bronze and a fly in 
 shakudo form the ornaments on the hilt. The Kojiri, in 
 form of a snail, is in shibuichi. 
 
 1300 Long Sword. Length of blade, 21 inches. Hilt in 
 sharkskin, having for ornaments on one side a spear, 
 and on the other the head of a wizard in shibuichi. 
 The Kashira is decorated with figure of an old Japanese 
 general on horseback *“‘ swimming the river;”’ the guard, 
 also of shibuichi, is decorated with figures of Chohi, Kan-U 
 ‘and Gentoku in copper bronze, silver and shibuichi. The 
 scabbard, of wood, is lacquered to show waves, and wheels 
 of chariot crossing them, from a well-known picture of 
 the crossing of the Yedo River. 
 
 1301 Short Sword. Companion piece to the above. Length 
 of blade, 1334 inches. Decorated like the foregoing. 
 Ornaments on hilt are on one side, an Onior imp, chased 
 by a warrior on the other. The guard represents an old 
 Chinese fable of a celebrated Chinese sage who, as a 
 penance and self-abasement, went among the lowest class 
 of people and literally allowed them to walk all over 
 him. The Kashira shows decoration of figure of an old 
 student falling asleep over his books. 
 
 1302 Short Sword. Length of blade, 114% inches. Made by 
 Kane-Tsuna; date 1560. Hilt and scabbard of wood, 
 covered with black lacquer; ornamented throughout with 
 silver, beaten and repoussé into short round waves, pro- 
 ducing a very artistic effect, an adaptation of a Chinese 
 design. On the hilt, under and partly covered by the 
 silver work, are two solid gold ornaments. 
 
 1303 Short Sword. Length of blade, 16 inches. Buddhist 
 signs and symbols engraved on the blade. The hilt is of 
 sharkskin, covered with fine whalebone ; two peonies in 
 solid silver form the ornament on it. The Kashira, of 
 
244 
 
 JAPANESE SWORDS AND DAGGERS 
 
 solid silver, is ornamented with plum blossoms and 
 branches in high relief; the guard, of shakudo, with a 
 rim of silver, is decorated with trunk and blossoms of 
 cherry-tree, in that beautiful way which only Japanese 
 know how to follow, and will bear the closest inspection; 
 the Kojiri, of shibuichi, is ornamented with grasses, 
 beetles, etc., in gold and in high relief, and the Kodzuka, 
 of very fine shibuichi, is decorated in a similar manner. 
 
 1304 State Sword **Tachi.®» Formerly owned by Wakasa- 
 
 No-Kosui; date, 14th century. Length of blade, 22 inches. 
 The scabbard is of fine nashiji lacquer, with the Prince’s 
 crest alternately in gold and in mother-of-pearl. The 
 ornamentation throughout is of solid silver; two loops 
 of silver, finely chased in relief, hold the bands by which 
 it is carried. The guard, of solid silver, is chased and 
 incised with floral design; the hilt, also of silver, similarly 
 decorated, has the Prince’s crest in gold on each side. 
 
 1305 Short Sword. Length of blade, 8 inches. On both 
 
 sides are carved channels, called chi-nagashi, to let the 
 blood run off. The hilt is covered with fine whalebone, 
 has on one side a prong in gold shakudo and gold bronze, 
 and on the other side in gold a small bird as if about to 
 alight on a flower; the Kashira, of gold, is decorated 
 in high relief, with plum-tree and nightingales, in fine 
 shakudo, gold, silver and copper bronze; the Fuchi and 
 Kodzuka, also of solid gold, are similarly decorated. The 
 Kojiri, a grand piece of work, is decorated with a 
 cherry-tree in fine shakudo, cherry-blossoms in silver, 
 and birds in gold, all splendidly executed, in high relief. 
 The scabbard of wood, and ribbed to represent a reed- 
 mat. 
 
 1306 Short Sword. Length of blade, 15% inches. Black 
 
 lacquer hilt, ribbed. On the hilt. and made of iron and 
 bronze, are two representations of Gama-Sennin or 
 wizards who perform their incantations with a toad; the 
 Kashira, of iron, is decorated with prong in gold and 
 silver; the guard is similarly decorated. The Fuchi and 
 Kodzuka, unimportant as they look, show two fine exam- 
 ples of Japanese art. They are made of iron, decorated 
 with a lion couchant, carved out of the solid iron and 
 finely modeled. They will repay close inspection. Eyen 
 the fine color of such iron carving is hitherto an undis- 
 covered secret in Western lands, 
 
JAPANESE SWORDS AND DAGGERS 945 
 
 1307 Dagger. Length of blade, 74 inches. Made by Yasu- 
 tsugu; date, 15th century. Hilt and scabbard of black 
 lacquer, decorated with gold and inlaid with mother-of- 
 pearl. Ornamentation of silver throughout. Decorated 
 with birds and flowers in gold and shakudo. 
 
 1308 Short Sword. Length of blade, 17 inches. Scabbard 
 of fine wood, ribbed, with lacquered ornamentation 
 throughout of shibuichi, illustrating an old badger ghost 
 story; the Kodzuka is decorated with a ghost having 
 badger’s head. Badgersin fanciful shapes are on the hilt. 
 The guard is similarly decorated, and a badger, using its 
 body as a drum, is on the scabbard. <A badger-headed 
 dwarf forms the decoration on the Kashira. The decora- 
 tion of this sword is a very good example of Japanese 
 grotesque, exceeding caricature. 
 
 1309 Short Sword. Length of blade, 19 inches. Made by 
 Aki-Mune; date, 1500. The hilt is sharkskin, covered with 
 silk. Black lacquered scabbard. The Kashira, of shakudo, 
 is decorated with the head of Toshitoku in gold and 
 bronze. Toshitoku is the god of good-nature and of 
 longevity, which Japanese say attends upon good-nature. 
 The guard, of iron, has on one side, splendidly done in 
 gold, shakudo and silver, a figure of Bishamon, holding 
 the sacred spear in one hand and the sacred jewel in the 
 other. By his side isa lioniniron, On the other side of 
 the guard is the figure of a sennin (saint or demi-angel), 
 and engraving of a pine-tree. On the metal piece that 
 holds the cord is the figure of Hotei, one of the gods of 
 wealth. Onthe Kodzuka, of fine shakudo, is the figure of 
 Ebisu, the god of fishermen, carved in gold and bronze. 
 Two other figures of gods of wealth form the ornaments 
 on the side of the hilt. 
 
 1310 Dagger. Length of blade, 914 inches. Made by Kane 
 Uji; date 1300-1310. Hilt of wood, imitating leather. Two 
 horses rampant, of gold, form the ornaments on the hilt. 
 The Kashira, of shibuichi, is decorated with a lobster 
 finely carved in solid gold. The Fuchi is carved to show a 
 rice-straw rope, with streamers, such as is used for deco- 
 rationat New Year’s. The guard is rimmed with a shrimp, 
 finely carved in copper bronze. The Kodzuka has similar 
 decorations. The scabbard is of wood, lacquered to 
 imitate leather, 
 
246 JAPANESE SWORDS AND DAGGERS 
 
 1311 Short Sword. Length of blade, 11 ches. Hilt of 
 sharkskin, covered with fine whalebone. Black lacquer 
 scabbard, ornamented with solid silver. Decorated with 
 bamboo, plum, and other flowers in high relief. The 
 two ornaments on the hilt area flying stork in silver, and 
 a stem of plum-blossoms in gold and silver. 
 
 1312 Dagger. Length of blade, 9144 inches. Hilt and scabbard 
 in wood, finely carved to represent leather. Ornamenta- 
 tion is of solid silver, carved into waves, flying birds, 
 dragon, etc. 
 
 1313 Long Sword. Length of blade, 22 inches. Made by 
 Kumi-Mune; date, 1355-1360. Hilt of sharkskin, wound 
 with silk. Scabbard of black lacquer. Ornamentation of 
 shakudo; decorated in gold and silver, with bows, arrows 
 and all the other instruments of archery. 
 
 1314 Short Sword. Length of blade, 124% inches. Made by 
 Kuni-Mitsu; date, 1330. Hilt of wood to imitate lacquer. 
 Scabbard of wood, covered with sharkskin and lacquered 
 —a very difficult thing to prepare, and highly prized in 
 Japan. Ornamentation of solid silver throughout, 
 carved and decorated with waves and crest for orna- 
 ments. The guard is of fine shakudo inlaid with gold. 
 
 1315 Short Sword. Length of blade, 11% inches. Made by 
 Yoshi-Suke ; date, 1491. Hilt of sharkskin covered with 
 silk. Lacquer scabbard ornamented with shibuichi, carved 
 into figures of saints, angels, doves, etc., the whole prob- 
 ably illustrating a Hindu legend, ina style of engraving 
 rarely seen in Japan. Two ornaments on the hilt are in 
 gold, and represent bags and sacks filled with valuables. 
 
 1316 Short Sword. Length of blade, 10% inches. Hilt of 
 carved wood, with two gold monkeys as ornaments. 
 Scabbard of wood, finely carved with hundreds of 
 monkeys in various positions. The Kojiri, also of wood, 
 carved to look as if it were old and worm-eaten, with 
 ants in gold, silver and copper finely carved, creeping in 
 and out of the worm-eaten holes. The Kodzuka, of 
 shibuichi, decorated with boy and monkey, illustrating an 
 old legend. 
 
 1317 Short Sword. Length of blade, 12144 inches. Made by 
 Yoshi-Hisa; date, 18738. Hilt covered witb shakudo. Scab- 
 bard of black lacquer. Ornamented with silver through- 
 out, carved with designs in waves and birds; two cranes 
 in gold and shakudo form the ornaments on the hilt, 
 
JAPANESE SWORDS AND DAGGERS 947 
 
 1318 Long Sword. Length of blade, 21 inches. Made by 
 Tada-Kuni; date, 14th century. Lions engraved on 
 blade. Hilt of sharkskin, covered with leather; 
 figure of saint on one side and of tiger-cat on the 
 other form the ornaments on it. Scabbard of wood, 
 carved to imitate bamboo; Kojiri of fine shibuichi, with 
 panels showing landscape. The Kodzuka, of shibuichi, 
 decorated with hobby-horse and box of toys. Guard of 
 very fine shibuichi, decorated with bird, crab and flowers, 
 in gold and silver. 
 
 1319 Short Sword. Length of blade, 11% inches. Hilt of 
 sharkskin, wound with fine whalebone. Black lacquer 
 scabbard, with butterfly medallions in fine togidashi 
 lacquer. Ornamentation throughout in silver repoussé. 
 The Kashira shows a rooster in repoussé, very finely done. 
 The Fuchi is amonkey, frightened at seeing a wizard’s 
 gourd emitting a vapor, which forms into a horse. The 
 wizard himself is shown on the two ornaments on the 
 sides of the hilt. The Kojiri is of fine silver, showing a 
 dragon, which is well done in repoussé. 
 
 1320 Short Sword. Length of blade, 1644 inches. Wooden 
 hilt, patine finish. Musical instruments, in gold and 
 shakudo, are inlaid in the sides of the hilt. The Kashira 
 shows a scene from a Chinese war legend. The guard of 
 bronze with gold rim, shows houses, cherry blossoms and 
 a road winding among mountains, in gold and silver. 
 The scabbard shows a half-dozen different styles of fine 
 lacquering. The nearest to the hilt is a style called zonsei, 
 the next is wakasa; the third ro-iro, or mirror-black; the 
 fourth, with a chrysanthemum crest of the imperial fam- 
 ily and the seal of the owner; the next is gold lacquer, and 
 the end one is mother-of-pearl lacquer. 
 
 1321 Short Sword. Length of blade, 13 inches. Signed by 
 Kane-Moto; date, 1373. The hilt is wound with leather. 
 Two leopards in bronze, inlaid with gold, grotesquely 
 done, form the ornaments on the hilt. The scabbard is 
 finely lacquered and ribbed. Ornamentation throughout 
 is of solid silver, engraved with waves. The Kojiri, also of 
 silver, shows a favorite shape of a helmet. The silver 
 work and engraving were done by Nobu-Masa, a famous 
 artist in this line. 
 
 1322 Short Sword. Length of blade, 9 inches. Made by 
 Yoshi-Fusa; date, 1239. The hilt is finely wound with 
 whalebone, A fagot of cherry-branches and flowers in 
 
948 JAPANESE SWORDS AND DAGGERS 
 
 bloom, anda gourd finely donein shibuichi,form the orna- 
 ments on the hilt. The Fuchi is daintily and beautifully 
 decorated with gold cherry-blossoms scattered here and 
 there. The Kodzuka is another very dainty piece of 
 work, gold one side, shibuichi on the other, inlaid in an 
 irregular but extremely pretty way, in gold, with cherry 
 blossoms, etc. The Kojiriis similarly decorated. A highly 
 finished work of art throughout. 
 
 1323 Short Sword. Length of blade, 9 inches. Hilt of 
 sharkskin, wound with silk. Two gold snails, coiled, form 
 the ornaments on the hilt. The scabbard is of black lac- 
 quer, with chrysanthemum crest in various colors in 
 togidashi. The ornamentation, throughout in solid silver, 
 is chased and inlaid with flowers in gold. 
 
 1324 Short Sword. Length of blade, 12 inches. Made by 
 Amo-Kuni; date, 700. Hilt of wood, carved and lac- 
 quered to make it look like an old, ant-eaten, decayed 
 piece of wood. A toad forms the Kashira, to help carry 
 out the idea; and two other toads in different metals, form 
 the ornaments on the hilt. The scabbard is also treated 
 in imitation of a certain Chinese wood, old and full of 
 holes, through which a snake, carved in shibuichi, winds 
 its way. 
 
 1325 Short Sword. Length of blade, 10 inches. Hilt is 
 made of sharkskin. The ornaments on it are cherry- 
 blossoms, growing out of a decayed tree-stump, done 
 in gold and silver. Scabbard is in black lacquer and 
 decorated with gold leaves. Ornamentation throughout 
 of solid silver, finely carved in relief with leaves, foliage 
 and flowers. 
 
 1326 Short Sword. Length of blade, 1134 inches. Made by 
 Kane-Yoshi; date, 1450-1460. Hilt and scabbard of fine 
 earnelian lacquer. On the hilt, of gold and shakudo, is 
 the crest of Prince Arima. Ornamentation of heavy 
 silver carved and chased in representation of waves. 
 
 1327 Short Sword. Length of blade, 1244 inches. Made by 
 Kane-Kage; date, 1344. Hilt of sharkskin, with two 
 gold eagles finely carved as ornaments. The Kashira 
 shows a boar coming out of a wood, carved in gold and 
 silver. The Kodzuka and Kogai are of solid gold, with 
 shakudo front, on which are gold eagles flying. The 
 Kojiri, also of solid gold, is carved to show clouds. 
 The rest of the ornamentation is of shibuichi and shakudo 
 heavily overlaid in gold. 
 
JAPANESE SWORDS AND DAGGERS 349 
 
 1328 Long Sword. Length of blade,15 inches. Ornamenta- 
 tion of shakudo, tastefully decorated. On the Kodzuka, 
 inlaid in gold, silver, and very good shakudo, is a figure 
 of a female executing the imperial N6d dance. On the 
 Kogai, equally fine, done in gold, silver, and shakudo, 
 
 _isa figure of a Shojo, a Japanese legendary figure some- 
 thing halfway between a Satyr and a Ganymede. The 
 Kashira is a figure of a witch, carved to correspond. 
 The guard is ornamented with fans, jewel-box, etc. 
 
 1329 State Sword. Length of blade, 25 inches. Hiit of 
 sharkskin wound with silk. Scabbard, from the guard 
 down to where it is held by the silver piece by which 
 
 it is carried, is a fine transparent red lacquer ; below that 
 
 : it is a fine nashiji, ornamented in mat gold with the crests 
 
 of Prince Yamashiro. The rest of the ornamentation 
 
 is in gold, shakudo, and silver, carved into waves. 
 
 Sane-Shige. Double edge, made to cut and thrust, with 
 deep channels to let the blood run off. Scabbard of fine 
 black lacquer, sprinkled with gold dust; cloudings with 
 fine gold lines representing water in which water-lilies 
 grow. Ornamentation throughout of solid silver, with 
 flowers, butterflies, etc., carved in relief in gold and 
 silver. 
 
 1331 Short Sword. Length of blade, 19 inches. Made by 
 Kiyo Mitzu; date, 1550. Scabbard of wood thoroughly 
 imitating sharkskin. The guard is a fine piece of metal 
 work, half iron and half shibuichi welded together (a 
 work in which the Japanese are experts), and dec- 
 orated in gold, shibuichi and shakudo. The Kodzuka of 
 gold with shakudo front, has on it, finely carved, a war 
 standard. A Kogai, also of gold, with shakudo front, has, 
 tastefully carved, part of the curtain covering a gen- 
 eralissimo’s tent. 
 
 : 
 : 1330 Long Sword. Length of blade, 2644 inches. Made by 
 
 1332 Dagger. Lengthof blade,10 inches. Made by Sakurano- 
 Aso Maugu; date, 1025. Blade engraved with spear and 
 lance. Hilt of sharkskin wound with whalebone, 
 having two gold birds on the sides as ornaments. Ex- 
 tremely heavy solid silver mounting, carved into very 
 fine figures of dragon gliding through waves, and of 
 Kirin, the famous fabulous dragon-horse with a lion’s 
 tail. Interspersed in the carving, which is very profuse, 
 are various heads of the Chinese lion or dog, Foo. 
 
250 JAPANESE SWORDS AND DAGGERS 
 
 1333 Short Sword, Length of blade, 1044 inches. Made by 
 Nari-Mitsu ; date, 1877. Has figure of one of the gods of 
 fire carved on the blade. Hilt covered with whalebone. 
 The scabbard of fine togidashi lacquer, almost heavy 
 enough to be called plating. Ornaments on the hilt show- 
 ing badger and cluster of flowers, carved in silver; the 
 other ornamentation is in heavy solid silver finely carved 
 and chiseled into various chrysanthemums. 
 
 1334 Short Sword. Length of blade, 114% inches. Made by 
 Tsura-Hiro ; date, 1829. Hilt of sharkskin, covered with 
 fine whalebone; two peonies in gold form the orna- 
 ments on the hilt. The ornamentation is of solid gold 
 throughout. The Kashira has peonies in high relief, the 
 Fuchi has chrysanthemums also in high relief, and the 
 Kojiri has butterflies and poppy flowers; three beetles in 
 gold form the ornament on the scabbard. 
 
 1335 Long Sword. Length of blade, 204% inches. Made by 
 Narro-Sane; date, 1830. The blade has a dragon finely 
 carved on one side, and a Buddhist character on the other. 
 Hilt of sharkskin covered with fine whalebone. The orna- 
 mentation is solid silver throughout. It looks as if it had 
 been made during the time when Christianity was per- 
 mitted in Japan. The carving is entirely different from 
 the usual Japanese style, and reminds one of medizeval 
 work; the symbols and the dresses seem to be taken 
 from Europe. We find here a child which seems to be a 
 copy of the infant Saviour, taken from some foreign 
 painting; the figures were probably copies of angels, 
 Altogether it isa very interesting piece of work. 
 
 1336 Short Sword. Length of blade, 19% inches. Hilt of 
 silver with two long shakudo panels, decorated with two 
 carved Koi, in gold and silver. The Koi is a favorite sub- 
 ject of representation in Japan, where it is displayed on 
 the first of May from every house in which a first-born 
 son appeared within the year. The Koi swims up stream 
 like a salmon, and it is hoped on the birth of a first-born 
 that he may battle against life’s waves as easily asa Koi 
 does against the stream. The Kodzuka, of silver, also 
 has a fine Koi engraved in high relief, swimming against 
 the stream. The scabbard, of mother-of-pearl lacquer, 
 is inlaid heavily with silver representing wisteria leaves. 
 The Tsuba, of shakudo, has gold dragons asa rim; the rest 
 of the ornamentation is in silver grained. 
 
; 
 
 JAPANESE SWORDS AND DAGGERS 251 
 
 1337 Long Sword. Length of blade, 26 inches. Made by 
 
 Chiku-Gono-Kani-Kuni-Fusa; date, 1870. This is a com- 
 panion to foregoing. The hilt is of silver, with two long 
 shakudo panels, and two ornaments in gold and silver, 
 finely carved, representing Koi. The Tsuba, of shakudo, 
 has a rim of fine gold, representing a dragon. The scab- 
 bard is mother-of-pearl lacquer, inlaid on both sides of 
 its entire length with wisteria leaves in silver. The rest 
 of the ornamentation is in finely grained silver. 
 
 1338 Long Sword. Lengthof blade, 20inches. Hilt of shark- 
 
 skin covered with silver, with two gold ornaments in shape 
 of dragons. The Kashira is of gold carved into dragons, 
 flowers, etc. ; the Fuchiis also of gold carved with dragon 
 design; the Tsuba, of shakudo, is carved with gold dragons 
 gliding through waves; the Kodzuka, of gold with shakudo 
 front, is decorated witha carved golddragon; the scabbard 
 is of sharkskin finely lacquered and polished. The rest of 
 the ornamentation is in shakudo, finely ornamented and 
 carved with gold dragons, waves, etc. Hasextrascabbard 
 
 ‘in black lacquer, with gold and shakudo ornaments. 
 1339 Short Sword. Length of blade, 1linches. Hilt of wood 
 
 finely prepared, with fish carved in ivory, and as orna- 
 ments a few sea-shells are scattered about. The Tsuba and 
 Kodzuka, also of ivory, are similarly decorated with shells. 
 Thescabbard is covered with rare old stained leather. The 
 rest of the ornamentation is of silver carved into waves. 
 
 1340 Dagger. Length of blade, 9 inches. Made by Suka-Sada; 
 
 date, 1784. The hilt is decorated with sparrows in silver 
 and bronze. The scabbard has a fine ground of black 
 lacquer, well and profusely decorated with bamboo de- 
 sign in gold togidashi lacquer, and it is decorated besides 
 with what appears like bamboo stalks carelessly broken 
 off and finely carved in silver with gold leaves. The 
 Kashira, Fuchi, and Kodzuka, of fine silver, are similarly 
 decorated. 
 
 1341 Short Sword. Length of blade,10 inches. Hilt made 
 
 of sharkskin covered with whalebone; decorated with two 
 lions of grotesque design, but beautifully carved. The 
 scabbard is a splendid piece of lacquer, showing dragons 
 and clouds, with an inscription in gold, Seimo-Kio-Yutsu 
 (Let the sacred animals lend you their strength). The 
 silver plaque, artistically put on, has a carving of a 
 mythical elephant, and the words Yume Dreanu. The 
 Kojiri, of silver, shows a tigerin arain-storm. The Fuchi 
 has a beautiful carving of a Kirin, the sacred animal; the 
 
252 
 
 JAPANESE SWORDS AND DAGGERS 
 
 Kodzuka, also of silver, has a Ho-o carved on it, and 
 the Kashira a dragon. This is an extremely high-class 
 specimen of Japanese art, a real gem, inviting the closest 
 examination with a magnifying glass. 
 
 1342 Dagger. Length of blade, 84% inches. Hilt of shark- 
 
 skin, covered with silk; decorated with silver leaves, on 
 which beetles, in shakudo, are feeding. Scabbard of 
 black lacquer, inlaid with leaves insilver. Ornamentation 
 in silver, finely stippled. 
 
 1343 Dagger. Length of blade,7inches. Made by Sada-Teru ; 
 
 date, 1834. Hilt of wood, ornamented with two groups 
 of monkeys, in gold, shakudo, copper and bronze. Scab- 
 bard of wood, carved with numberless monkeys; the 
 Kojiri, also of wood, carved to look decayed, with ants 
 in various metals creeping in and out. The Fuchi, 
 similarly treated, is decorated with a boar and a monkey, 
 carved in gold. The ornament that holds the cord repre- 
 sents monkeys and is of iron, finely carved. The whole 
 shows a wealth of carving. 
 
 1344 Dagger. Lengthof blade, 94 inches. Hiltis covered with 
 
 fine whalebone, and ornamented with two long Japanese 
 buckets, filled with various flowers, carved in gold and 
 silver. The Kodzuka, of fine silver, also carved to look 
 like a bucket, is similarly decorated, with flowers in gold. 
 The rest of the ornamentation is of silver, highly polished. 
 
 1345 Short Sword. Length of blade, 944 inches. Made by 
 
 Yoshi-Kuni; date, 1248. The blade has a plum-tree en- 
 graved on it, and has fine engraving of cherry-blossoms 
 and leaves in gold and silver beneath the Fuchi. The hilt 
 is of wood, well lacquered over sharkskin, with two 
 insects in red bronze inlaid; the Fuchi, of fine shibuichi, 
 is ornamented with various insects, carved in gold, silver 
 and bronze. The scabbard, of best lacquer, is decorated 
 with bamboo and leaves in very fine colored lacquers 
 that are rarely seen; the Kojiri is of metal in the shape 
 of grasses. 
 
 1346 Hunting Knife. Length of blade, 104% inches. Made 
 
 by Masa-Hide; date, 1590. Hilt of wood, ribbed and finely 
 polished. Scabbard of red mottled lacquer. Ornamenta- 
 tion of solid silver throughout, carved, engraved and 
 inlaid with various Chinese characters signifying good 
 luck. The Kodzuka, of silver, and the Kogai, also of 
 silver, have verses of similar import engrayed upon 
 them. A butterfly, in silver, which also implies good luck, 
 is let into the scabbard. 
 
JAPANESE SWORDS AND DAGGERS 953 
 
 1347 Dagger. Length of blade, 74% inches. Made by Hisa- 
 Kuni; date, 1212. Hilt made of sharkskin, covered with 
 fine whalebone, with two chrysanthemums in gold as 
 ornaments; the Kashira is of gold and shakudo, finely 
 engraved and decorated with Ran leaves The scab- 
 bard is of best black lacquer, with crest; the Kodzuka 
 shows the same crest; the Fuchi and Kojiri are of fine 
 gold and shakudo, and decorated with chrysanthemum 
 flowers and Ran leaves in gold and silver. 
 
 1348 Short Sword. Length of blade, 12 inches. Made by 
 Kujo-Mitsu; date, 1595. Has spear engraved on the 
 blade. Hilt and scabbard of wood. Ornamentation of 
 solid silver, splendidly carved, chased and engraved, with 
 chrysanthemums in various degrees of bloom. Every 
 flower by itself is a study in carving, and there are hun- 
 dreds engraved in various parts of the sword. Two gold 
 silk-worms in the chrysalis stage. 
 
 141349 Short Sword. Length of blade, 10% inches. Made by 
 Masa-Hiro; date, 1873. Hilt of sharkskin, wound with 
 silk, with chrysanthemums carved in gold as ornaments. 
 Ornamentation throughout of solid silver, showing hun- 
 
 dreds of chrysanthemums carved in various degrees of 
 
 | bloom—eyery one perfectly true to nature. 
 
 1350 Hunting Knife. Length of blade, 10% inches. Made 
 by Gen-Sa; date, 15th century. Has a deep groove to let 
 
 . the blood run off. On one side of the blade is an octo- 
 
 | pus; on the other side a fairy castle evolved out of a 
 
 shell, supposed, according to the legend, to be at the 
 
 t bottom of the lake. The Kashira represents the end of 
 
 a boat. The Fuchi is carved into waves, and shows a 
 rope tied between two rocks, with long streamers and 
 banners to celebrate the rising of the sun. The scabbard 
 shows various sea-shells in gold lacquer on black ground, 
 and is ornamented. with a double anchor and a crab in 
 silver. Flying sea-gulls, carved in silver, are seen farther 
 down on the scabbard, and the Kojiri is finely carved 
 into waves. The whole ornamentation is of solid silver. 
 This sword shows how the Japanese artists, starting with 
 one idea, will generally carry out the same scheme of 
 decoration. 
 
 1351 Short Sword. Length of blade, 12 inches. Made by 
 Niji-Fusa; date, 1569. Hilt of sharkskin, covered with 
 fine whalebone; ornamented with two chickens finely 
 earvedin gold, Ornamentation throughout of solid silver, 
 
954 JAPANESE SWORDS AND DAGGERS 
 
 and consists of birds, bamboo, flowers and Ran grasses. 
 The Tsuba has finely-carved rim, to imitate bamboo. The 
 scabbard is of best black lacquer, with birds in relief. 
 
 1352 Short Sword. Length of blade, 13% inches. Carved 
 dragon on the steel of the blade. Hilt of finely-polished 
 sharkskin, with flies and peonies carved in solid gold as 
 ornaments. Scabbard of ribbed wood, and finished in 
 black lacquer. Ornamentation throughout of solid gold, 
 witha slight inlaying of bronze and copper here and there 
 to relieve the color, carved into chrysanthemums, ete., 
 in various degrees of bloom. 
 
 1353 Dagger. Length of biade, 94 inches. Made by Naga- 
 Michi; date, 14th century. Hilt made of sharkskin 
 covered with fine whalebone; has two peonies carved 
 in solid gold, as ornaments. Kashira, of solid gold, shows 
 cherry-tree carved in shakudo, covered with a wealth of 
 blossoms in silver. The Fuchi, of solid gold, shows similar 
 decoration. The Kojiri, also of gold, shows a pine-tree 
 carved in shibuichi; it is evidently a valued tree, being 
 inclosed witha fence, while a chapel, to which it probably 
 belongs, is seen in the distance. The Kogai, also of gold, 
 shows a pine-tree and a conventional landscape. 
 
 1354 Short Sword. Length of blade, 114% inches. Made by 
 Kane-Tomo ; date, 1330. Hilt made of sharkskin finely 
 polished; covered with gold bands, having wasp’s nest 
 carved in solid gold on one side and wasp in gold and 
 bronze on the other, besides snail and spider also carved 
 in gold. The ornamentation throughout is of solid gold, 
 The Kashira has bugs, flowers and millet in high relief, 
 The Fuchi shows chrysanthemum in silver, wasps, grass, 
 poppies and various flowers in high relief. The Kodzuka, 
 of solid gold, is similarly ornamented, and the name of 
 the artist, Kijo-Tsuza, is engraved on it. The Kojiri is 
 also similarly decorated. 
 
 1355 Short Sword. Length of blade, 10 inches. Made by 
 Masa-Kigo; date, 1512. A very fine blade. Engraved on 
 one side are numerous symbols signifying success; on 
 the other side is engraved a well-known Buddhist prayer, 
 similar in character to the Lord’s Prayer. Hilt of fine 
 sharkskin covered with whalebone; two gold ornaments, 
 one representing a maple by the side of a stream, and the 
 other a cherry-tree in blossom, similarly situated, form 
 the ornaments on the hilt. The decoration throughout is 
 
JAPANESE SWORDS AND DAGGERS 955 
 
 solid gold, showing cherry-trees and flowers in various 
 degrees of bloom, The Kodzuka, of solid gold, is similarly 
 decorated, and bears on the reverse the name of the 
 earver, Nori-Moto, a famous artist. 
 
 1356 Short Sword. Length of blade, 914 inches. Made by 
 Masa-Yoshi; date, 1860. Hilt and scabbard of wood, lac- 
 quered and treated ina characteristic style. Ornamenta- 
 tion throughout of ivory, representing grasshoppers, in- 
 sects, beetles, snails, etc., laid in and carved in relief; 
 centipedes, flies, ants and frogs, etc., in bronze, are laid 
 in here and there as help to complete the artist’s idea. 
 
 1357 Short Sword. Length of blade, 114 inches. Made by 
 Yoshi-Suke ; date, 1491. Hilt made of very fine sharkskin 
 covered with whalebone; two ornaments, chickens in 
 golden bronze, are on it. Thescabbard is lacquered with 
 maple leaves in autumn colors on black ground. Orna- 
 mentation throughout of solid silver, inlaid with butter- 
 flies, chrysanthemums and various other flowers, in gold, 
 silver, shakudo and other metals. 
 
 1358 Dagger. Length of blade, 844 inches. Made by Masa- 
 Hiro, province of Hizen; date, 15th century. Hilt 
 wound with silk. Scabbard lacquered to imitate the bark 
 of a cherry-tree, and covered with a transparent varnish. 
 Ornamentation throughout of solid silver, with large 
 silver hook near the Fuchi to fasten into the girdle, a 
 thing that is rarely seen in a Japanese sword. 
 
 1359 Short Sword. Length of blade, 124% inches. Made by 
 Ken-Sha; date, 1491. Hilt of sharkskin covered with 
 silk; two birds in copper bronze form the ornaments on 
 it. Scabbard of fine black ribbed lacquer. The Kodzuka 
 is of shibuichi, decorated with figure of a Buddhist disci- 
 ple in gold and shakudo; ornamentation in shibuichi 
 and bronze, of hornet’s nests, hornets, etc. 
 
 1360 Dagger. Length of blade, 814% inches. Made by Naga- 
 Yoshi; date, 14th century. Hilt of wood, carved to imi- 
 tate whalebone. Two gold peonies in full bloom form 
 the ornaments on the side. The Kodzuka of solid gold, is 
 carved with a dragon design. The small knife shows 
 figure of ahigh Buddhist priest with a posthumous name 
 given to it, engraved in silver on the blade. On the top 
 is a fine carving of a ‘“‘Kanko,”’ in gold with birds; the 
 balance of the ornamentation, also in solid gold, is carved 
 with designs of angels, Buddhistic ornaments, etc. 
 
256 JAPANESE SWORDS AND DAGGERS 
 
 1361 Short Sword. Length of blade, 10 inches. Made by 
 Hiro-Mitsu; date, 1333. Hilt of sharkskin, covered with 
 whalebone; ornaments are bees on one side and a butterfly 
 on the other, finely carved in silver and gold. Thescab- 
 bard is decorated with chrysanthemums in fine togidashi 
 lacquer on black ground. The Tsuba is of silver, and is 
 earved to imitate bamboo, with bamboo leaves in gold, 
 The other ornamentation is all in solid silver, with 
 numerous chrysanthemums, in various degrees of bloom, 
 beautifully carved. 
 
 1362 Hunting Knife. Madeby Masa-Tsune; date, 16th cen- 
 tury. Hilt of sharkskin, covered with whalebone; the 
 ornaments, of carved gold, represent ducks swimming in 
 water. The ornamentation is of solid gold throughout, 
 and is decorated and carved in high relief with bamboo, 
 flowers, blossoms, birds, trees and waves; by Nage-Kaga. 
 
 1363 Short Sword. Length of blade, 814 inches. Made by 
 Sada-Kozu; date, 1867. Hilt of sharkskin, covered with 
 leather. Fine plum twigs and flowers carved in gold 
 form the ornaments on hilt. Scabbard of black lacquer is 
 decorated with butterfly in gold lacquer. Ornamentation 
 throughout of burnished silver, decorated in relief with 
 peonies, cherry and plum blossoms, morning glories, etc., 
 splendidly carved in gold and silver. 
 
 1364 Dagger. Lengthof blade, 8% inches. It is finely carved 
 with dragon, plum-tree and bamboo. Hilt and scabbard 
 of finely ribbed wood. Ornamentation is of solid gold, 
 carved by the best artist of modern times, Matsuo, a man 
 celebrated for the delicacy and simplicity of his work. 
 A peony carved in gold and two butterflies in gold and 
 shakudo form the ornaments on the hilt. On the Kashira 
 is a peony engraved and a butterfly hovering over it. 
 The Fuchi, also of gold, is inlaid with a bird on the wing, 
 carved in shakudo, and is also engraved with branches of 
 flowers. The Kojiri is engraved with bamboo branches, 
 leaves and chrysanthemum flowers, in slight relief. The 
 Kodzuka is also engraved with chrysanthemum and 
 peony, and inlaid with a butterfly on the wing. 
 
 1365 Short Sword. Length of blade, 9% inches. Made by 
 Nao-Katsu ; date, 14th century. Hilt of sharkskin, wound 
 with whalebone, under which are two fine silver orna- 
 ments, inlaid with chrysanthemums in gold, silver and 
 bronze. The scabbard shows beautiful specimens of 
 
JAPANESE SWORDS AND DAGGERS 957 
 
 flowers in various colors, lacquered on black ground. 
 Ornamentation throughout is of solid silver, inlaid with 
 butterflies, bamboo, insects and various flowers, carved 
 and incised. 
 
 1366 Short Sword. Length of blade, 91% inches. Made by 
 Osa-Fune; date, 1559. Hilt of wood, carved to imitate 
 whalebone. Scabbard of wood, beautifully and delicately 
 lacquered with clouds on black ground. The Kashira is 
 formed of a dragon, coiled, and, notwithstanding its dimi- 
 nutive size, strongly expressive of power and strength ; 
 every scale perfectly and clearly cut. Around the 
 hilt is a silver band with open-work carving, to represent 
 waves, with gold dragons on both sides. The Fuchi, 
 well carved into waves, represents the sea-shore; shows 
 on a spur of land the figures of two tigers, finely carved, 
 
 : full of expression and power. The ornament on the 
 
 lower part of the scabbard shows a dragon and tiger 
 
 about to meet in fight; and the Kojiri is formed into 
 another dragon, coiled, a beautiful specimen displaying 
 skillful workmanship. 
 
 1367 Dagger. Length of blade, 8% inches. Made by Yoshi- 
 Mitsu; date, 1389. Hilt of sharkskin, wound with silk. 
 Scabbard of gold kin-ire lacquer, gold flakes, etc., 
 being inlaid in the lacquer. Ornamentation through- 
 
 out is of solid gold. The Kashiri is inlaid with bird in 
 
 : silver and a cherry-tree in shakudo. Flowers and birds 
 
 are also carved in relief. Two baskets with flowers, 
 
 earved in gold, form the ornaments on the hilt. The 
 
 Fuchi and Kojiri are also decorated with birds carved in 
 
 very high relief. Cherry-trees, flowers, etc., carved and 
 
 incised, complete the design of decoration. 
 
 1368 Short Sword. Length of blade, 9 inches. Made by 
 Masa-Akira; date, 1832. Buddhist characters are en- 
 graved on the blade. Hiltand scabbard, of black lacquer. 
 Fuchi, Kodzuka and Kogai are of fine silver, decorated 
 with grasses, cherries and chrysanthemums, carved in 
 gold in high relief; the Kashira, hilt and Kojiri of fine 
 shibuichi, inlaid and carved with flowers and blossoms, 
 in gold and silver. 
 
 1369 Short Sword, Length of blade, 10 inches. Made by 
 Hei-Chin-Ho; date, 16th century. Hilt of wood, having 
 as ornaments two turtles, finely carved in silver. A 
 tiger, carved in bold relief, formsthe Kashira. Grotesque 
 as it is, the artist has treated it with great power. The 
 
208 
 
 JAPANESE SWORDS AND DAGGERS 
 
 Fuchi, of shibuichi, is carved with waves and a gold 
 dragon gliding through. Another dragon’s head, differ- 
 ently treated, is carved on the Kodzuka, and the Kojiri 
 is formed by a carving of a Ho-o, the Japanese Phoenix. 
 
 1370 Short Sword. Length of blade, 10 inches. Hilt of 
 
 sharkskin, wound with whalebone; shows groups of 
 monkeys and eagles, carved in shibuichi. The Kashira 
 is formed by another monkey, carved in metal, and as 
 life-like as art can make it. The Fuchiis decorated with 
 the figure of a monkey reaching for a persimmon, and 
 on the Kodzuka is another monkey, pulling an immense 
 persimmon with a gold line, illustrating an old Japanese 
 fairy tale. One of the long-armed members of the 
 monkey tribe forms the ornament on the end of the 
 scabbard. 
 
 1371 Short Sword. Length of blade, 12 inches. 
 A very fine and powerful blade, engraved with 
 Buddhist characters, wishing success in using 
 it; it has a deep and wide channel for the 
 blood to run off. Hilt of sharkskin, wound 
 with whalebone; two cranes, carved in silver 
 and shakudo, as ornaments. The ornamenta- 
 tion throughout is of solid silver. The Kashira 
 represents the sun rising above the waters. 
 The Kodzuka, in silver, has a turtle carved in 
 high relief. The turtles and the cranes are 
 emblematic of long life—something which 
 wearers of swords might well wish for. The 
 Fuchi is ornamented with pine and plum-trees, 
 bamboo and waves, carved in silver incrusted 
 with gold. Scabbard of black lacquer, with 
 gold flakes and plum-tree, carved in silver, on 
 the side. The Kojiri also represents a plum- 
 tree in bloom, reaching the length of the 
 scabbard. 
 
 1372 Short Sword. Length of blade, 10 inches. Hilt of 
 
 sharkskin, wound with silk. Has two ornaments in gold, 
 representing awa (millet). The Kashira has a fine carving 
 of Toshi-Toku, the god of longevity. The Kodzuka and 
 Kogai of very fine shakudo, are also decorated with awa, 
 carved in gold. The Tsuba, of silver, has a gold rim in 
 the shape of a bundle of paper, such as is attached to 
 New Year’s presents. The handle that holds the cord 
 is formed of two acorns, finely carved in silver; and 
 a splendidly carved silver lobster forms the Kojiri., 
 
JAPANESE SWORDS AND DAGGERS 259 
 
 1373 Short Sword. Length of blade, 124 inches. Made by 
 Shige-Yoshi; date, 14th century. The blade hasa dragon 
 and sacred jewel engraved on one side, and a plum-tree 
 on the other. Hilt and scabbard of wood, carved to 
 imitate bamboo. Two finely carved snails, in silver, form 
 the ornaments on the hilt. Ornamentation, throughout 
 of solid silver, is engraved with irregular designs; and 
 in relief, beautifully carved, are bamboo stems and 
 leaves. 
 
 1374 Short Sword. Length of blade, 9 inches. Made by 
 Kuni-Take; date, 13th century. Hilt and scabbard of 
 solid silver, carved wave designs, with flying cranes, also 
 of silver, in relief. The Kashira, Fuchi, Kogai, Kodzuka 
 
 | and Kojiri are of fine shakudo, similarly decorated, and 
 
 earved in gold and silver. Cranes and waves, in gold and 
 silver, also form the ornaments on hilt and scabbard. 
 
 1375 Short Sword. Length of blade, 10% inches. 
 , Hilt of sharkskin, wound with gold. Scab- 
 bard of black lacquer, flaked with gold. Two 
 monkeys of gold, finely carved, form the 
 Kashira ; others form the ornaments on the 
 : hilt. The Fuchi, also of gold, is ornamented 
 with monkey and persimmon-tree, illustrating 
 an old fable. The Kodzuka, of gold, shows 
 : monkey playing with grasshopper. Orna- 
 : ment on the hilt and Kojiri shows similar deco- 
 ration. The carving was done by Nobu-Masa, 
 a famous carver of monkeys; date, 1843. 
 
 1376 Short Sword. Length of blade, 10 inches. 
 Has a spear engraved on the blade. Hilt of 
 sharkskin, wound with whalebone. Scabbard 
 lacquered with morning-glories on black 
 ground. Ornamentation throughout of solid 
 silver, carved by Kirijo Naga. The ornaments 
 on the hilt are two grasshoppers. The Fuchi is carved 
 with uri, Japanese melons, with their fruit, leaves and 
 flowers. A bunch of morning-glories, in silver, forms the 
 ornaments on the scabbard. The Kojiri is ornamented 
 with carved butterflies, snails, etc. 
 
 1377 Short Sword. Length of blade, 111% inches. Hilt of a 
 splendid piece of sharkskin, wound with silk. Scabbard 
 of carved wood. Ornamentation throughout is of solid 
 gold, and carved by a celebrated artist, Ishi-Guro-Masa- 
 Tsune. His seal is found under the Kodzuka. Pheasants 
 
 1375 
 
260 
 
 JAPANESE SWORDS AND DAGGERS 
 
 and a cherry-tree in bloom,in shakudo and silver, form 
 decoration, which is done in the highest style of art. 
 Every bird and every leaf, although of diminutive size, 
 are thoroughly true to nature, and so finely done that 
 they ought to be examined with a glass. Two peonies, 
 carved in solid gold, form the ornaments on the hilt. 
 
 1378 Short Sword. Length of blade, 11 inches. Made by 
 
 Masa-Hiro, of Shoshiu; date, 1878. Blade is engraved 
 with an image of Shaka, or Buddha, and Sanscrit char- 
 acters, also a posthumous name of Hachi-Man, the god 
 of war. The hilt is of sharkskin wound with whalebone, 
 Scabbard is lacquered in design of clouds on black 
 ground. Two splendidly carved coiled dragons, in gold, 
 form the ornaments on the hilt. The other decoration 
 throughout is of solid silver, carved into waves, with 
 heavy gold dragons gliding in and out in different posi- 
 tions and expressions, executed by Kat-Su, a famous 
 carver of dragons. This sword is a very finely finished 
 piece of work throughout. 
 
 1379 Short Sword. Length of blade, 10 inches. Made by 
 
 Nobu-Kuni; date, 1459. Hilt of sharkskin wound with 
 whalebone, with two silver cranes under it. Ornamenta- 
 tion throughout of silver, carved with cranes and pine- 
 tree in gold, silver, and shakudo. All executed by Sei- 
 Min. 
 
 1380 Short Sword. Length of blade, 1044 inches. Made by 
 
 Osa-Fune, of Bizen; date, 1560. Hilt of wood lacquered. 
 Black lacquered scabbard. Two gold dragons, coiled 
 into circles, form the ornaments on the hilt. The rest 
 of the ornamentation is of solid silver carved into waves, 
 with gold dragons, in various positions, gliding in and 
 out. The Kojiri, of silver, is in shape of a double-bodied 
 dragon, which coils itself entirely around the scabbard 
 and ends in two bushy tails. Carved by Yoshi-Akira. 
 
 1381 Short Sword. Length of blade, 11 inches. Made by 
 
 Katsu-Mitsu ; date, 1120. Hilt of sharkskin wound with 
 whalebone. Two cranes, on the wing, in gold and 
 shakudo, form the ornament on the hilt; ornamentation 
 throughout of finely polished silver repoussé, carved and 
 inlaid with cherry-trees and blossoms, birds, ete., in 
 gold, shakudo and other metals. Carved by Ishi-Guro- 
 Masa-T'sune. 
 
JAPANESE SWORDS AND DAGGERS 261 
 
 1382 Short Sword. Length of blade, 11 inches. Hilt of 
 sharkskin wound with whalebone; cranes in shakudo 
 form the hilt ornameuts. The Kashira and Kojiri, of 
 solid silver inlaid with gold, represent Ho-o, the fabulous 
 bird. The Kodzuka and Fuchi, also of solid silver, are 
 decorated with a tsuta-tree in foliage. 
 
 1383 Short Sword. Length of blade, 1044 inches. Made by 
 Yoshi-Suke; date, 1491. A dragon winding around spear 
 and Sanscrit characters are engraved on the blade. Hilt 
 is of sharkskin wound with silk; and two insects carved 
 in gold, form the ornaments. The Kashira is of fine 
 shakudo rimmed with gold and carved with plum 
 blossom. The Fuchi and Tsuba, also of shakudo, are 
 rimmed heavily with gold,and ornamented with lilies 
 and Ran leaves, finely carved in gold and silver. The 
 Kodzuka and Kogai are of solid silver, ornamented with 
 insects in goldand shakudo. The Kojiri, of fine shakudo, 
 is ornamented with plum-tree and flowers and Ran 
 leaves in gold and silver. On the scabbard, which is of 
 fine lacquer, flaked with gold, is a gold butterfly. 
 Mountings made by Goto-Ichijo, a very famous carver. 
 
 1384 Short Sword. Length of blade, 10% inches. Made by 
 Kane-Michi; date, 1570. Hilt is of sharkskin wound with 
 silk, and has bunches of lilies and chrysanthemums 
 earved on itas ornaments. Ornamentation throughout 
 is solid silver, carved with chrysanthemums, plum-trees 
 
 and blossoms, Ran grasses, etc., in gold, silver, and 
 
 | shakudo. The Kodzuka and Kogai are of solid silver, 
 carved with plum-blossoms growing along the water’s 
 edge. Scabbard is covered with granite-like lacquer. 
 
 1385 Short Sword. Lengthof blade, 1144inches. Hilt wound 
 with whalebone; has heavy bands of silver, showing two 
 tigers carved in goldin two inlaid panels. The Kashira of 
 silver, shows tiger carved in bold relief. The Fuchi, of 
 silver also, has tiger finely repoussé and inlaid with gold; 
 and a similar tiger decorates the Kodzuka. The Kojiri, of 
 silver burnished, is carved with tiger partly in low and 
 partly in high relief. The artist’s name is Yosei-Masa. 
 The scabbard is of wood carved to imitate bamboo, 
 
 1386 Dagger. Length of blade, 9144 1nches. Made by Zuin-Ju, 
 of Masashi; date, 16th century. Blade daintily carved 
 with plum and pine-trees. Hilt of sharkskin wound with 
 whalebone. Scabbard of very fine gold lacquer on black 
 
262 
 
 JAPANESE SWORDS AND DAGGERS 
 
 ground. Ornamentation is of solid silver, decorated and 
 carved with faces and masks used in the N6 dance. The 
 Kashira shows two children’s heads, with the faces usually 
 depicted in paintings called Kara-Ko. On one side of 
 the hilt isa mask carved in brass, representing an imp, 
 and on the other, in silver, Otafuku, a contented old 
 woman. Two other masks from the N6 dance are carved 
 on Fuchi and Kodzuka, and on the Kojiri is finely carved 
 from the same dance another mask frequently seen—the 
 Hanniya, or head of a witch. 
 
 1387 Short Sword. Length of blade, 134 inches. Made by 
 
 Masanaga, of Hizen; date, 15th century. Has figure of 
 spear and Buddhist characters engraved on the blade. 
 Hilt of sharkskin wound with whalebone, with two gold 
 Ho-o as ornaments. Kashira is of finely carved and re- 
 poussé silver, decorated with gold, showing Ho-o with 
 its head very well carved forming the point, and stand- 
 ing out in bold relief from the rest of the ornamenta- 
 tion. The Fuchi, Kodzuka and Kojiri are of solid silver, 
 decorated to correspond with the Kashira. The artist’s 
 name was Ima-Moto, Kuman-Sai. 
 
 1388 Short Sword. Length of blade, 104% inches. Made by 
 
 Mori-Hiro; date, 13th century. Hilt of sharkskin, wound 
 with silk. The Kashira, an old iron piece, carved and in- 
 laid in shibuichi, is a figure of a Buddhist priest. On the 
 side of the hilt are two ornaments, one in shibuichi, of 
 carved plum-blossoms, the other in copper bronze, show- 
 ing Ni6, one of the guardians of Buddha. The Tsuba of 
 old iron is inlaid with temple ornaments, and the Kodzuka, 
 which is bronze, is carved with a figure of Daruma. The 
 scabbard, in part, is lacquered to imitate sharkskin ; the 
 other part is powdered with silver. 
 
 1389 Short Sword. Length of blade, 161% inches. This blade 
 
 was probably used in hunting; is finely engraved with 
 spear, sacred jewels, and Sanscrit characters. Hilt and 
 scabbard are of fine nashiji lacquer, heavily ornamented 
 with solid silver throughout. Two solid gold coiled 
 dragons, resting on silver bands, carved into waves, form 
 the ornaments on the hilt. The Kashira is finely carved 
 into waves with gold dragon gliding through them. The 
 Kodzuka, of solid silver with gold rim, has a gold dragon 
 on its face. The Fuchi, of silver also, has a gold dragon 
 gliding through silver waves; and the Kojiri has the 
 same decoration. The ornamentation throughout is of 
 very heavy silver, and was wrought by Nobu-Kiyo. 
 
JAPANESE SWORDS AND DAGGERS 2963 
 
 1390 Short Sword. Length of blade, 10 inches. Made by 
 Oga-Fune, of Bizen; date, 1530. Hiltof sharkskin, wound 
 with whalebone. Scabbard is of exquisite gold lacquer, 
 such as is rarely seen on a sword, showing designs of 
 cherry-blossoms. The Kashira, of silver, is ornamented 
 with bird and peony in gold and shakudo. Two cherry 
 branches in full bloom, carved in shakudo and silver, form 
 
 | the ornaments on the hilt. The Fuchi is ornamented like 
 
 the Kashira, with bird and peony in gold andsilver. The 
 
 Kodzuka, in silver, is ornamented with quail and flowers. 
 
 The band around the hilt is of silver, and ornamented 
 
 with pheasants in gold and shakudo, and cherry-flowers 
 
 | in silver. The Kojiri of silver, paneled, is ornamented 
 with a hawk and a crane, carved in high relief, and with 
 leaves of bamboo in gold. 
 
 1391 Short Sword. Length of blade, 138% inches. The blade 
 is not signed. It is carved with figure of the god of fire, 
 and has a heavy channel to let the blood run out on the 
 side. Hilt of sharkskin, wound with leather, has two 
 gold ornaments: carved birds and cherry blossoms. 
 Scabbard is carved and ribbed, and lacquered to imitate 
 malachite. Ornamentation throughout of fine shakudo, 
 decorated in relief with carvings of frogs and insects, in 
 gold, silver and shakudo, 
 
 1392 Short Sword, Length of blade, 1144 inches. Made by 
 Sada-Kazu; date, 1860. Blade finely carved with figure 
 : of dragon, casting forth from his mouth the Ken, or 
 holy sword. Hilt and scabbard of wood, with orna- 
 mentation throughout of solid gold, delicately carved. A 
 flight of birds forms the ornament on one side of the hiit; 
 ; and on the other, silver waves beating against a bamboo 
 basket, used as breakwater, are carved in gold. Pine- 
 trees carved in gold on shibuichi ground, with a sail inthe 
 distance, form the ornament on the scabbard. The Kod- 
 zuka, of solid gold, is also ornamented with bamboo 
 breakwater baskets and a flight of birds. The Kojiri 
 and Tsuba are similarly ornamented. The name of the 
 artist is Katsu-Mori. 
 
 1393 Short Sword. Length of blade, 9 inches. Made by 
 
 Nao-Haru; date, 16th century. Hilt of sharkskin, wound 
 with silk. Scabbard of lacquer, imitating tortoise-shell. 
 Ornamentation throughout of solid silver,showing dragon 
 gliding through waves, in repoussé and carved, 
 
264 JAPANESE SWORDS AND DAGGERS 
 
 1394 Short Sword. Length of blade, 9 inches. Made by 
 Nobu-Kuni; date, 1373. On blade are finely carved 
 dragon and Buddhist verses. Hilt and scabbard of fine, 
 deep rich emerald lacquer. Ornamentation throughout 
 of solid silver, carved with waves and two fine flying 
 storks. This sword must have come from the princely 
 family of Yama-Shiro, whose crest, carved in gold, forms 
 the ornament on the hilt. The same crest in gold is in- 
 laid on the Kodzuka and Kogai. 
 
 1395 Short Sword. Length of blade, 154 ches. Made by 
 Ko-Tetsu; date, 14th century. Hilt of sharkskin, wound 
 with silk. Two shakudo and silver dragon-flies form the 
 ornaments on it. Scabbard of lacquer, imitating birch 
 bark, is decorated with gold lacquer and wrought metal 
 dragon-flies. Tsuba of shakudo, decorated with locust in 
 gold and skakudo, and spider in bronze. Other parts of 
 the metal ornaments are decorated with dragon-flies and 
 flowers. 
 
 1396 Short Sword. Length of blade, 9 inches. Hilt in wood, 
 with two antique, carved ivory netsukes as ornaments, 
 The Fuchi is also made of ivory, carved with trees, birds 
 and ducks in water. The scabbard is of net-work in 
 silver, with ornament of crane carved in ivory. 
 
 1397 Short Sword. Length of blade, 94% inches. Made by 
 Mune-Chika, of Kioto ; date, 986. Finely-carved Japanese 
 inscription on blade. Badger head, finely carved in silver, 
 forms the Kashira. Two masks from the Nd dance, carved 
 in shakudo and copper bronze, form the ornaments on 
 hilt, which is of well-carved wood. The Kodzuka, of 
 silver, is ornamented with finely-carved sword in gold 
 and shakudo. Two wrestlers, carved in silver, form the 
 ornaments on scabbard, which is of fine black lacquer; 
 and another badger’s head, carved in silver, forms the 
 Kojiri. The Fuchi, of chased silver in form of a drum, 
 has the crest of the artist who executed the mountings: 
 Masa-Yoshi; date, 1835. 
 
 1398 Long Sword, Length of blade, 26 inches. Made by 
 Tada-Yoshi, of Hizen; date, 1525. Hilt of sharkskin, 
 wound with leather, witb two peonies carved in gold as 
 ornaments. Scabbard of black togidashi lacquer, flecked 
 with gold, and decorated in fine gold lacquer, with chrys- 
 
JAPANESE SWORDS AND DAGGERS 265 
 
 anthemum, plum blossom, peonies, etc. Ornamentation 
 throughout of fine shibuichi, decorated with butterflies, 
 grasses, birds and flowers in various metals in high relief. 
 This sword has another scabbard for alternate use, 
 lacquered to imitate dark leather, with red maple-leaves 
 showing under the lacquer ; the Kojiri of shakudo is 
 ornamented with chrysanthemum in high relief. 
 
 1399 Short Sword. Length of blade, 8 inches. Made by 
 
 Nishi-Nobu; date, 1863. Hilt wound with leather. Scab- 
 
 bard of black lacquer, decorated with gold leaves. Two 
 
 birds, carved in gold, form the ornaments on the hilt. 
 
 The Kogai is formed of two chop-sticks joined together, 
 
 carved in silver, representing bamboo; each stick forms 
 
 a hollow tube, one containing a steel graver and the 
 
 ; other an artist’s brush. Ornamentation throughout of 
 
 solid silver, decorated and inlaid with leaves and grasses 
 in gold. 
 
 1400 Long Sword. Length of blade, 28144 inches. Made by 
 Tado-Hiro, of Hizen. Has two blood-channels carved 
 entire length. Hilt of sharkskin, wound with silk, under- 
 neath which are two long dragons carved in silver. 
 Scabbard of leather, with coiled dragons in gold lacquer 
 in form of crests. Another dragon, carved in silver, 
 ornaments the scabbard; and the Tsuba, of silver, is 
 carved with waves and dragons in very bold and high 
 relief. The rest of the ornaments, also of silver, are 
 similarly treated. 
 
 1401 Long Sword. Length of blade, 304% inches. Made by 
 Tada-Yoshi, of Hizen; date, 1525. The blade is carved 
 with dragon and sword on one side, and has a blood 
 channel carved on the other. The hilt of sharkskin, 
 wound with whalebone, is ornamented with katsu-o 
 fish, carved in silver, with half-open shell clinging to it. 
 The Kashira, of silver, is ornamented with a lobster in 
 fine copper bronze, and a fugu, a poisonous fish, carved 
 in silver. The Fuchi,-in silver, is ornamented with an 
 octopus, in copper bronze. The Tsuba, of silver, is 
 formed by acoiled carp. Tke band around the scabbard 
 is of silver, and is ornamented with a koi fish, finely 
 carved ; and the Kojiri is formed of a cray-fish, boldly 
 and effectively carved. 
 
266 
 
 JAPANESE SWORDS AND DAGGERS 
 
 1402 Long Sword ** Katana.’ Length of blade, 26 inches. 
 
 Made by Kuni-Yasu, of Bizen. Hilt of wood, wound with 
 leather. Upper part of scabbard is carved to imitate iron ; 
 lower part, to imitate leather. The Kashira shows a bold 
 and grotesque carving of Oni orimp. Ornaments on 
 the hilt are of shakudo, gold and copper bronze, and are 
 carved in form of children’s toys. Tsuba, of iron, inlaid 
 with shibuichi, is carved with figures, masks, begging 
 priests, and legendary characters. The Kojiri, of iron, 
 shows a Shogoon crest, surrounded by waves; it looks 
 asif it had fallen into the water. Hooked to it is an anchor, 
 attached to a cord, extending to hilt of scabbard and held 
 by Oni, who is evidently fishing for it. 
 
 1403 Long State Sword ** Tachi.®? Length of blade, 23% 
 
 inches. Made by Kane-Sada; date, 1520. Has two blood- 
 channels, running the entire length of blade. Hilt of 
 sharkskin, wound with silk; and two cranes, carved in 
 gold and silver, form the ornaments. The Kashira, of 
 silver, is decorated with maple-leaves and plum blossoms 
 in high relief. The Tsuba, of silver, and the Kojiri are 
 similarly decorated. All the other ornamentation is also 
 of silver. The upper part of the svabbard is of wood, lac- 
 quered in imitation of leather, and profusely decorated 
 with flying cranesin heavy gold lacquer. The lower part 
 is in fine togidashi lacquer, sprinkled with gold flakes to 
 produce cloud effects, and has swallows in gold lacquer. 
 
 1404 Long Sword. Length of blade, 27 inches. Hilt of 
 
 sharkskin, wound with silk, with two finely carved gold 
 eranes beneath it. The Kashira, Fuchi, Kogai, Kojiri and 
 Obi-Tori (which holds the cord) are of solid gold, highly 
 burnished, with panels in low relief, and cherry blossoms 
 and hawthorn blossoms in high relief. The gold decora- 
 tion and carving were done by Koga-Aki-Shirin. The 
 Tsuba is a strong and effective piece of silver-work, 
 earved to represent an elephant, with tusks in gold. On 
 top of the Tsuba is a figure of a youthful rider, a child 
 in fact, carved in silver, inlaid with gold. The blade has 
 the long blood-channels. The scabbard is of black lac- 
 quer, with flakes of gold,and with cherry, maple and 
 other leaves in mat gold. (Illustrated on p. 403.) 
 
 1405 Long Sword. Length of blade, 27144 inches. Made by 
 
 Yoshi-Tsugu ; Oyei period, 13873-1390. The blade has an 
 inscription, which might be translated in English, ‘* Con- 
 
JAPANESE SWORDS AND DAGGERS 267 
 
 fession is good for the soul.’”” In Japan a naked sword 
 was always considered a good argument to hasten con- 
 fession. The Fuchi is of silver, representing a lotus-leaf. 
 The scabbard and hilt, of red shu lacquer, are decorated 
 heavily with gold lacquer, showing lotus-plant. The 
 Kojiri, of silver, is in the form of a lotus-leaf. 
 
 1406 Long Sword. Length of blade, 2544 inches. Made by 
 Tye-Tsuda; date, 1895. Hilt of sharkskin, covered with 
 silk. Two dragons coiled around the sword, and carved 
 in bold relief. The Kashira, of gold, has a carved coiled 
 drugon around the edge, and a panel, having various 
 earvyed flowers, in relief. The other ornamentation is in 
 fine shakudo, carved into waves, with a gold dragon glid- 
 ing through them, and points of gold here and there, 
 
 . showing through the waves. The scabbard is of shark- 
 
 skin, highly finished and polished. 
 
 blood-channels, the entire length of blade. Hilt of shark- 
 skin, wound with leather, and two dragons in shakudo 
 beneath. Ornamentation throughout of shibuichi, carved 
 
 ; 
 
 : 1407 Long Sword. Length of blade, 28 inches. Has two 
 : 
 
 into waves, with gold dragons gliding through them. 
 
 1408 Short Sword. Length of blade, 10% inches. Hilt of 
 sharkskin, wound with silk. Ornamentation of silver 
 and fine shibuichi. The Kashira and Fuchi, of shibuichi, 
 are carved with dragon. Two dragon-flies, finely carved 
 in silver, form the ornaments on the hilt. Scabbard of 
 red lacquer, unevenly applied to imitate the bark of a 
 tree. A dragon, in shibuichi, elaborately carved, forms 
 the Kojiri, and winds in large heavy folds around the 
 scabbard, reaching nearly to the hilt. Dragon-flies, 
 carved in silver, are applied here and there on the scab- 
 bard. A strong and powerful piece of skilled workman- 
 ship. 
 
Vy 
 
PREFATORY NOTE 
 
 BY T. TAKAYANAGI 
 
 Lack of time and limited space in writing these prefatory 
 notes, prevent me from giving a full description of art his- 
 tories of different subjects included in this marvellous collection 
 of Japanese art objects,which was made by the late Mr. R. Austin 
 Robertson, who lived in Japan from 1881 to 1886, with the espe- 
 cial object in view to obtain all good specimens regardless of 
 cost. This collection includes large numbers of objects in each 
 class, giving not only examples, but in some cases almost the 
 history also of the particular art itself; among them are nota 
 few of the very best and finest specimens known to exist. The 
 difficulty experienced in preparing these notes was to know 
 how little to say; that little also to be as useful as might be 
 upon a dozen different subjects. Already there have been 
 much written in books and serial publications, but as they are 
 not readily to be referred to when examining such a varied 
 and extensive collection as the present, the present short notes, 
 I hope, will meet the difficulty. 
 
 Sword Guards and other Metal-works. The art of 
 sword mounts, like all other arts, owes its origin to religion, and 
 the earliest example of the guard, known as Yamagata, is to be 
 found in the temple of Todaiji at Nara. 
 
 This guard is said to be the earliest work of a metal-artist 
 ealled Karuta-no-muraji, of the province of Omi; the Japanese 
 history tells us that the Empress Gemmei (708-714 A.D.) gave 
 orders to the court of arms to bring to Nara the above-named 
 artist. The artists of this period (8th century) did not make 
 sword mounts their specialty, but made accessories for Yoroi 
 (armour) Menuki (sword-handle appliqués) and ornaments for the 
 temples and palaces. The great perfection of this art in the 9th 
 century is to be found on the mounting of the guard for 
 sacrificial purposes by the celebrated Buddhist priest Kobo- 
 Daishi, which is described as being a veritable jewel of art. 
 From the 10th to the 12th century, art showed a great decadence. 
 
272 PREFATORY NOTE 
 
 The mounting of swords occupied the first rank in Japanese art, 
 and its art slowly revived toward the 13th century. 
 
 In the 15th century, Shogun Ashikaga encouraged a higher 
 degree of luxury in the artistic ornamentation of the sword; and 
 of this family, Higashiyama-Yoshimasa was the most ardent pro- 
 moter of the arts. Among the most celebrated chasers of this 
 period was Goto Yujo, whose work has never been surpassed. 
 The house of Goto maintained its authority during the succeed- 
 ing centuries in the chasing of sword mounts, the whole skill 
 being lavished on the Menuki (appliqué), the Kodsuka (small 
 knife), and the Kogai (hair-pin, sometime chop-sticks); these 
 three pieces are called Midokoro-mono (an object for three 
 places). Guards in shakudo and shibuichi or in bronze did not 
 become common until the long wars of the 16th century were 
 ended, when the government was removed to Yedo. ‘During the 
 time of continued peace, the sword became an object of display. 
 Consequently the most exquisitely chased and richly ornamented 
 mounts are to be found among the productions of from the 17th 
 to the end of the 18th century, when luxury and fancy pre- 
 vailed among the nobles as well as the commoners. 
 
 Under the Fifth Shogun Joken-in, who reigned 1681 to 1708, 
 Yokoya Somin and Toshinaga, Yasuchika and Joi of Nara fam- 
 ily, were distinguished above their fellow artists, and produced 
 the most remarkable works. 
 
 There are in this collection numbers of superb examples 
 of guards, knife-handles, Menukis and other small metal-works 
 by many celebrated artists, including Goto, Nara, Jwama, 
 Hamano, Ishiguro, Iwamoto, Kinai, Soten, Somin, Umetada, 
 Yasuchika, Tomoyoshi, Toshinaga, Naomitsu, Motoatsu, Masatsune, 
 Konkuan and Mitsuteru. Above-all things, a collection of sword- 
 mounts is one of the most artistic and the most interesting 
 which can be made. 'The subjects, the method of making, all 
 speak of old Japan, its history, its art, its civilization, its religion 
 and its domestic life, forin the subjects selected by the artists 
 nothing was neglected. Their favorite subjects, such as flowers, 
 legends, emblems of festivals, the heroes of fights, all these are 
 represented in delicate chasings, incrustations and piercings in 
 metal of minute perfection. 
 
 Lacquers. According to our time-honored history, the art 
 of lacquer is traced back to the 4th century before the Christian 
 era. We find in our books mentioned the name of Nuwribe-no- 
 Muraji, under the Emperor Ko-an (891 B.C.), the name signifying 
 ‘director of the administration of lacquers.” The earliest 
 examples of this fascinating art still preserved, of which the 
 
PREFATORY NOTE 73 
 
 date can be ascertained, belong to the period of dynasty of the 
 Emperor Shomu (724-748 A.D.). The history of lacquer may 
 be divided into periods as follows :— 
 
 d) Shomu-Jidai, or Jodai; lacs from the reign of Emperor 
 Shomu (724-748 A.D.) to the end of the 8th century. 
 
 (2) Kamakura-Jidai; lac of the period of the 12th century, 
 when the first Shogun-Yoritomo was installed at _Kama- 
 kura. 
 
 (3) Yoshimasa-Jidai: period of the Shogun Yoritomo, 15th cen- 
 tury. 
 
 (4) Hideyoshi-Jidai: the period of Taiko, end of 16th century. 
 
 (5) Tokugawa-Jidai; period of the dynasty of the Tokugawa- 
 shogun (1603-1867). 
 In the 8th century the art of lac assumed a very complete 
 development, and in the 10th century it attained high perfection. 
 The fashion of mounting the borders of lac-worksin silver 
 : and pewter became general, and designs of great beauty were 
 | produced during the 10th century. 
 The objects of the succeeding centuries may be classified as 
 follows: 
 | (1). Makireo, or inlaying of articles with gold, that is, the suc- 
 cessive layers were carefully polished, so that the design 
 appears in the substance of the lac, which presents a per- 
 fectly smooth surface. 
 
 (2) Heijin, or flat powder. This variety belongs to the kind of 
 lac known as Nashiji, or skin of pear. 
 
 (8) Hiomon, or flat decoration. 
 
 (4) Raden, or flat incrustation of mother-of-pearl on powdered 
 gold background. 
 
 (5) Makiye, or gold powdering. 
 
 (6) Kamakura-bori, or incising and gilding wood, and lacquered 
 in black or red. 
 
 (7) dkkakeji, or lac thickly powdered with gold, with incrusta- 
 tion of mother-of-pearl or of plaque of gold. Higashiyama- 
 Yoshimasa having been himself an artist and a great pro- 
 moter of Japanese art, caused various pictorial subjects to 
 be applied to the lacs, and under his auspices new 
 designs were invented. Like other art works, the best 
 specimens were produced during the 17th century, 
 when luxury and artistic refinement prevailed throughout 
 Japan, and when the great masters were welcomed as 
 friends of the shoguns and princes, Among this choicest 
 
274 PREFATORY NOTE 
 
 collection of old lacquers I find many specimens from the 
 studios of Shunsho, Koma, Kajikawa and Yoyusai, besides 
 numerous pieces of best avanturine gold lacs produced 
 during the period of Higashiyama-Jidai. 
 
 Carvings and Pouches. The earliest form of artistic 
 sculpture in Japan, apart from temple and palace carvings, 
 was hieratic: the carving of the Buddhist images, of which the 
 first specimens are attributed to a Corean who came to Japan 
 in 577 A.D. The best specimens of carvings, both inivory and 
 wood, are to be found among the objects known as netsuke, 
 which were used as buttons for attaching to the sash, or girdle; 
 the medicine chest (Inro); tobacco pouches ( tabako-ire); Kin- 
 chaku, or money pouch; Yatate, or portable ink-wells; and Ton- 
 kotsu (pouch made of natural wood, generally with most unique 
 and artistic incrustations of ivory, lead and mother-of-pearl 
 appliqués). 
 
 The earliest known examples are said to date not further 
 back than the 16th century. 
 
 According to the ‘‘Soken-kisho’’? (Japanese hand-book on 
 sword mounts, artists, and sculptors of woodand ivory, published 
 in 1780),the most celebrated sculptor was Yoshimura-Shuzan, who 
 lived in the early part of the 18th century and was the inventor 
 of many new designs, which are repeated in close imitation even 
 in the present period. Among Japanese collectors at home, the 
 carvings on wood are more esteemed and admired than ivory, 
 especially wood masks of both large and miniature carvings. 
 The names of a few of many talented sculptors are Deme- 
 uman, of Yedo, Unjudo Shumemaru, of Osaka, Miwa, of Yedo, 
 Minko, of Ise, and Tomotada, of Kioto, etc. 
 
 A collection of old netsuke and other carvings, with their 
 stories told, is a history in ivory of the daily life, the historic 
 incidents and legendary beliefs of Japan. There are many 
 interesting and rare specimens to be found among this collection. 
 
 The mountings of the tobacco pouchesand the rare specimens 
 of the leathers used in making the pouches require to be closely 
 examined, as many of them have most marvellously chased and 
 carved gold ornamentation, and are made of leathers of great 
 rarity. 
 
 New York, March 23d, 1892. T. TAKAYANAGI, 
 
SALE, WEDNESDAY AFTERNOON, APRIL 20TH 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’CLOCK. 
 
 SWORD GUARDS 
 
 (TSUBA) 
 
 1411 Sword Guard (Tsuba). Copper 
 bronze. Hotei and children flying 
 paper kite. Artist, Kaba Yeizin ; 
 date, 1710. 
 
 1412 Sword Guard (Tsuba), Fig- 
 ure of crane, carved on iron in 
 high relief, sitting on gold perch, 
 looking at the rising moon. The 
 bird is finely carved and foreshort- 
 ened, Attention is called to the 
 quality of the iron of this and 
 many of the other guards. The 
 Japanese know how to give it a certain mellowness of 
 color, which no other nation can equal or even approach. 
 
 1413 Sword Guard (Tsuba). Iron. With heavy rim of 
 silver and shakudo carved in relief with landscape, etc., 
 inlaid with gold. 
 
 1414 Sword Guard (Tsuba). Iron Sukashi-Bori, or open- 
 work carving representing monkeys in various positions. 
 
 1415 Sword Guard (Tsuba), Iron. The centre is carved 
 in high relief to represent a crane, the edges being set off 
 with silver; black-birds on branch and stem, all in high 
 relief, are carved on the reverse. 
 
 1416 Sword Guard (Tsuba). Iron. Very old piece. Fish- 
 erman in boat looking at temple and shrine as he passes 
 along theriver. Large pine-tree on the reverse side, carved 
 in high relief, 
 
276 SWORD GUARDS 
 
 1417 Sword Guard (Tsuba). Iron. This guard is carved 
 or rather consists of a coiled dragon, with merely a centre- 
 piece to hold the sword. The dragon is finely and boldly 
 carved. 
 
 1418 Sword Guard (Tsuba). Iron. Raised carved silver 
 rim; the guard inlaid with lion and bamboo and leaves, 
 finely carved in shakudo. 
 
 1419 Sword Guard (Tsuba). Shakudo. With heavy gold 
 rim of dragons finely carved ; the body of the guard finely 
 grained. 
 
 1420 Sword Guard (Tsuba). Red bronze. The masks of 
 Okina and Haunya beautifully 
 chased in high relief, and full 
 of expression. By Yanagawa. 
 Naoharu; 18th century. <A 
 very choice specimen of his 
 work. 
 
 1421 Sword Guard (Tsuba). 
 Copper bronze; the decoration, 
 representing a Japanese woman 
 carrying wood on her head, is 
 finished in shakudo and gold. 
 A fine specimen. Signed by 
 
 1420 Hosai. 
 
 =~ 
 (May 
 
 1422 Sword Guard (Tsuba). Copper bronze. Decoration 
 representing the Japanese favorite fish called ‘‘ koi” 
 rising out of the water; on reverse side, are lobsters 
 finished in gold and shibuichi. One of the best examples 
 of Irramoto-konkwan, a famous metal-chaser of the 18th 
 century. 
 
 1423 Sword Guard (Tsuba). Decoration of flower called 
 Kwaido, finished in solid gold and silver. Example of the 
 celebrated Kwan-Sai. 
 
 1424 Sword Guard (Tsuba), Decorated with vine, flowers 
 and butterflies. Signed, Ishiguro-kore-yoshi. 
 
 1425 Sword Guard (Tsuba). Bronze; decorated with 
 lobster and stream in solid gold and silver. By Natsuo, 
 the greatest living artist in metal-work. 
 
 1426 Sword Guard (Tsuba). Bronze. Water-lilies in solid 
 gold and silver, 
 
 1427 Sword Guard (Tsuba), Iron. A dragon incrusted in 
 heavy gold on hammered iron, full of movement. Not 
 signed, but an old piece. 
 
1428 
 
 1429 
 
 1430 
 
 1431 
 
 1432 
 
 1433 
 
 1434 
 
 1435 
 
 1436 
 
 1437 
 
 1438 
 
 SWORD GUARDS Ov'7 
 
 Sword Guard (Tsuba). Iron. Stars and wild boar in 
 raised metals, incrusted on iron. Very old piece. 
 
 Sword Guard (Tsuba). Shakudo. Butterflies and 
 flowers inlaid and incrusted in solid gold and other metals 
 on a background finished in the style called nunome 
 zogan—a very fine example. By Iwamoto-konkuan, 
 Made in the 7th year of Kuan-sei (1795), 
 
 Sword Guard (Tsuba), Iron. Dragon and stormy 
 waves in chased and incrusted gold—a fine specimen. By 
 Shiba Ho-gau Take-chika. 
 
 Sword Guard (fsuba). Shakudo. With butterflies 
 and flowers inlaid and incrusted in gold and various 
 other metals. Made by Iwamoto-konkuan; date, 1795. 
 
 Sword Guard (Tsuba). Silver. Chrysanthemum 
 branch incrusted in shakudo and solid gold. Signed, Ogura- 
 toki-teru. 
 
 Sword Guard (Tsuba), Shibuichi. Benkei, the Japan- 
 ese Samson, fighting with Ushiwaka on the bridge in 
 Kioto; in gold and silver relief-work. Signed Ichi-yu-sai 
 Motonori, of [baraki prefecture. 
 
 Sword Guard (Tsuba). Shakudo. Celebrated scen- 
 ery—eight views of Lake Biwa, in Province of Omi— 
 chased and incrusted in solid gold and silver in relief, 
 Signed, Takase Yei-ju. 
 
 Sword Guard (Tsuba). Iron. Cherry blossom in 
 raised gold and the Teumaku (Royal tent) in heavy 
 silver incrustation. By Yanagawa-chokuren. 
 
 Sword Guard (Tsuba). Shibuichi metal. Japanese 
 Kiri-tree in shakudo; on reverse, peacock and storm-cloud 
 inerusted in red bronze with silver and gold inlaying. 
 Signed, Sano-michiyoshi. 
 
 Sword Guard (Tsuba). Shibuichi. A wild horse, 
 chased and incrusted in shakudo, on obverse; on the re- 
 verse, a mountain with running stream below. Signed, 
 Hide-kuni. 
 
 Sword Guard (Tsuba). Copper bronze. A descend- 
 ing eagle and a rock in high relief, inlaid with gold and 
 silver, and a bear watching the eagle from under a pine 
 root. Excellent workmanship. By Shi-ge-nobu, 
 
1439 
 
 1442 
 
 1443 
 
 1444 
 
 1445 
 
 1446 
 
 1447 
 
 1448 
 
 1449 
 
 SWORD GUARDS 
 
 Sword Guard (Tsuba). Iron Masks and Hat. In high 
 incrustation of shakudo and red 
 bronze on iron; 18th century. 
 
 1440 Sword Guard (Tsuba), Iron. 
 Pierced and chased decoration of fans 
 inlaid in solid gold. Signed, Hagiya- 
 katsuhei. 
 
 1441 Sword Guard (Tsuba). Shibui- 
 chi. A Chinese philosopher and his 
 pupil, chased in high relief, and inlaid 
 with gold and silver. Signed, Ham- 
 
 1439 ano Naoyuki. 
 
 Sword Guard (Tsuba), Shibuichi. Carved and inlaid 
 work of peony flower, and moon appearing from cloud, in 
 silver. Signed, Haru-akira; date, 1800-1825. 
 
 Sword Guard (Tsuba). Shibuichi. Ornamentation 
 representing the first Sho-gun Yoritomo on horseback, 
 near cherry-tree, incrusted in gold and shakudo and finely 
 chased. Exquisitely finished in details. Signed, To-sen- 
 sai Mune-teru; date, 1750-1800. 
 
 Sword Guard (Tsuba). Iron. Pierced work of spider 
 and cobweb, inlaying of gold. Signed, Fajiwara-masa- 
 katsu of Shimosa; date, 1700-1740. 
 
 Sword Guard (Tsuba). Shibuichi. Bamboo-tree and 
 ieaves inlaid in high relief in shakudo, silver and gold. 
 Signed, Sho-ami-shigeyuki; date, 1817. A very artistic 
 specimen. 
 
 Sword Guard (Tsuba). Iron. A sacred elephant in 
 solid gold and silver, inlaid work in high relief, with Chinese 
 dedicating verse on the reverse. Signed, Yasu-chika; 
 date, 1800. 
 
 Sword Guard (Tsuba). Iron. Pierced work of Kiri 
 and Ho-o (bird of omen). By Sugawa-Masa-tsugu; date, 
 about 1740. 
 
 Sword Guard (Tsuba). Copper bronze. Fish, octopus 
 and lobster, incrusted in silver and gold. By Jo-chiku ; 
 date, 1800. 
 
 Sword Guard (Tsuba). Copper bronze. Daikoku 
 (god of rice) and Shime-nawa (new-year festival) or 
 emblem of good luck and happiness ; and on reverse side 
 daikon and nezumi (a radish and a mouse), in raised gold 
 and silver finish ; date, about 1800, 
 
SWORD GUARDS 279 
 
 1450 Iron Sword Guard (Tsuba). Incrusted ornamenta- 
 
 1451 
 
 1452 
 
 1453 
 
 1454 
 
 tion, a dragon in gold and storm waves in silver. Signed, 
 Ohmori-teruhide ; date, 1800. 
 
 Iron Sword Guard (Tsuba). Pierced design of fold- 
 ing screens, with gold zogan work. By To-rin-ken Kiyo- 
 tada ; date, 1820. 
 
 iron Sword Guard (Tsuba). Square shape. A 
 leaping carp in raised iron and incrustation. Signed, 
 Iwamoto-konkuan, a celebrated chaser in metal; date, 
 1742-1801. 
 
 Iron Sword Guard (Tsuba), The shape represents 
 atreasure-bag with enamel decoration of Takara-dsukushi 
 (collection of precious articles). By Haruta Kuan-wo ; 
 date, about 1760. 
 
 Sword Guard (Tsuba), Iron. Shows bamboo and 
 tiger. Designed by Kano-tanyu who died in 1674, and ex- 
 ecuted by Shekizoken-motouki ; date, 11th year of Kuansej 
 period (1799), A noble piece of work. 
 
 1455 Sword Guard (Tsuba), Shibuichi. Two Nio pine-tree, 
 
 1456 
 
 1457 
 
 1458 
 
 1460 
 
 Artist, Kaba-yeizin ; date, 3d year of Shotoku period 
 (1713). 
 
 Sword Guard (Tsuba). Shakudo. Peasants and peony 
 in high relief in gold and silver. Signed, Hagiya-katsuhei; 
 date, 2d year of Kei-o period (1866). Characteristic of 
 his work. 
 
 Sword Guard (Tsuba), Silver, on obverse, and cop- 
 per bronze on reverse. A rakau with his miraculous 
 incense bowl, exquisitely chased and incrusted in gold, 
 shakudo and silver. By Katsuhei; date, 1860. Very fine 
 piece. 
 
 Sword Guard (Tsuba), Iron 
 and shibuichi. Kawa-ni-Koi, or carp 
 and stream, chased in iron. By 
 Natsuo ; date, 1853. 
 
 Sword Guard (Tsuba). Iron 
 chrysanthemum in pierced work. By 
 Tsunenaga, of Hagi, province of Na- 
 gato ; date, 1790. 
 
 Sword Guard (Tsuba), Copper 
 bronze. A court-noble with his 
 drawn sword, after an imp. By 
 Hirayama-yoshinaga ; date, 1750-1800, 
 
280 
 
 1461 
 
 1462 
 1463 
 
 1464 
 1465 
 
 1466 
 1467 
 1468 
 1469 
 
 1470 
 
 1471 
 1472 
 
 1474 
 
 1475 
 
 1476 
 
 SWORD GUARDS 
 
 Sword Guard (Tsuba). Roosters near plum-trees, 
 chased in high relief. Seal-mark incised ; date, about 1800. 
 
 Sword Guard (Tsuba). [ron, pierced, representing a 
 historical Japanese battle. Remarkable specimen. By 
 Soheishi-Soten, of Hikone, province of Omi; date, 1700. 
 
 Sword Guard (Tsuba). Solid silver cherry-tree and 
 pheasant, chased and inlaid in raised gold and silver. 
 Signed, Haru-aki ; date, 1800-1825. 
 
 Sword Guard (Tsuba). Ironarmor ornaments, gilded 
 and pierced in iron. By Sugawa-masayoshi ; date, 1725. 
 
 Sword Guard (Tsuba). Silver landscape chased in 
 high relief. Not signed ; 18th century. 
 
 Sword Guard (Tsuba), Silver. Monkeys climbing the 
 rocks, in hammered and chased work. Not signed ; 18th 
 century. 
 
 Sword Guard (Tsuba). Silver. Ama-rio or rain drag- 
 on, pierced silver work; the edges finished with finely 
 chased wave decoration. Fine piece. 
 
 Sword Guard (Tsuba). Silver. Birds, flowers and 
 figure in separate panels, beautifully chased. Not signed ; 
 end of 18th century. 
 
 Sword Guard (Tsuba). Shakudo. Two lobsters form- 
 ing the guard, deeply chased and inlaid with gold. 
 
 Sword Guard (Tsuba). Shakudo. A finely chased 
 gold diaper of flowers and grass ornamenting all around 
 the edge, the ground having a finish called nunome. Not 
 signed, but is fine work. 
 
 Sword Guard (Tsuba). Shakudo. Dragons in high 
 relief, in shakudo, on each side. Not signed. 
 
 Sword Guard (Tsuba). Shakudo. Tile and vine in 
 high relief, in shakudo and gold, beautifully executed. 
 
 Sword Guard (Tsuba). Iron. Buddhistic subject. A 
 man trying to save a drowning priest, deeply engraved 
 and chased in gold and iron ; 17th century. 
 
 Sword Guard (Tsuba). Iron. Mythical animals 
 pierced in iron ; 16th century. 
 
 Sword Guard (Tsuba). Iron. Shishi-ni-botan, or 
 lion and peony, pierced in iron. 
 
SWORD GUARDS 281 
 
 1477 Sword Guard (Tsuba). Iron. 
 Take-ni-tora, or bamboo and tiger, 
 in high relief, in iron and gold ; 17th 
 century. 
 
 1478 Sword Guard (Tsuba). Iron 
 and copper. Fish and sea-shells, in 
 shakudo and silver incrustation. 
 Very good specimen of combined 
 metal-work. 
 
 1479 Sword Guard (Tsuba). Iron. 
 Rooster and chickens. Skilfully treated in gold and sha- 
 kudo chasing on iron ground ; the edge has a gold band 
 all around ; 18th century. 
 
 1480 Sword Guard (Tsuba), Iron. Moon and duck, in 
 silver and bronze treatment. Very artistic finish ; 18th 
 century. 
 
 1481 Sword Guard (Tsuba). Iron. A warrior holding a 
 baby in hisarms. Deeply engraved on iron, and chased 
 and/inlaid with gold; 18th century. 
 
 1482 Sword Guard (Tsuba). Iron. Booksin pierced work, 
 inlaid with gold and covered with shakudo oniron. A 
 unique piece ; 18th century. 
 
 1483 Sword Guard (Tsuba). Iron. Two mice, forming 
 the guard, skilfully pierced ; 17th century. 
 
 1484 Sword Guard (Tsuba). Iron. A warrior driving a 
 demon. Deeply carved in iron and inlaid with gold. 
 Vigorous chasing ; 18th century. 
 
 1485 Sword Guard (Tsuba). Iron. Six figures of famous 
 poets and a pine-tree ; deeply engraved in iron, and inlaid 
 with gold and silver. The whole treatment is quite 
 artistic ; 18th century. 
 
 1486 Sword Guard (Tsuba). Shakudo. Yoritomo-shogun 
 
 hunting on Mount Fuji; deeply 
 
 ) carved, and inlaid in gold and sil- 
 ae ver. The work of the celebrated 
 chaser, Sohesi-soten, of Hikone, 
 a(&S province of Omi; date, 17th cen- 
 a| \* : tury. 
 MA ; 
 : } 1487 Sword Guard (Tsuba). Yel- 
 LJ 
 4 
 
 low bronze. Two Nios; deeply 
 carved. An exquisite piece, de- 
 signed by a great artist, Yokoya- 
 somui, and executed by Nobu- 
 1487 yoshi, a pupil of Hamano. 
 
 —_— 
 
282 
 
 SWORD GUARDS 
 
 1488 Sword Guard (Tsuba). Shakudo. Illustrates an early 
 
 1489 
 
 1490 
 
 1491 
 
 1492 
 
 1493 
 
 1494 
 
 1495 
 
 1496 
 
 battle-scene in Japan ; exquisitely executed in deep cary- 
 ing and gold inlaying, by Soten, of Hikone; date, 1700. 
 
 Sword Guard (Tsuba). Shakudo. Ama-Rio, or 
 rain dragon; deeply carved and pierced. Signed Soheisi- 
 nindo-soten, of Hikone, province of Omi; date, 1700. 
 
 Sword Guard (Tsuba). Shakudo. A butterfly ; beau- 
 tifully executed in damascened and inlaid work, in gold 
 and silver. An exquisite specimen, by Ishiguro-masat- 
 sune, of Yedo; date, Keio period (1864). The ground 
 finish, called nanako, is by Nara-terumasa. 
 
 Sword Guard (Tsuba), Shakudo. Pheasants and 
 peony on the obverse, and a plum-tree and sparrows on 
 reverse, in relief ; incrusted and chased with gold, shakudo 
 and other metals. The whole treatment is beautiful. By 
 Ishiguro-masa-aki, a pupil of Masatsune ; date, 1830. 
 
 Sword Guard (Tsuba). Silver on one side, and shi- 
 buichi on the other. Quails and grass in relief; in- 
 crusted and chased with silver, gold and shakudo. Signed, 
 Ishiguro-masa-yoshi; date, 1834-1844. 
 
 Sword Guard (Tsuba). Shakudo. A peony anda 
 pheasant in relief, and on reverse quails and grass; 
 beautifully executed in go’d and shakudo inerustation. 
 Signed, Ishiguro Koreyoshi, eldest son of Masayoshi; 
 date, 1840-1860. 
 
 Sword Guard (Tsuba). Shakudo. Grasses, flowers 
 and butterfly tastefully executed in shakudo and gold 
 chasing ; the ground is finished in nanako style. It is the 
 work of Ishiguro Koreyoshi, eldest son of Masayoshi; 
 date, 1840-1860. 
 
 Sword Guard (Tsuba). Red-copper bronze. A falcon 
 and Mount Fuji on one side, and birds and reeds on the 
 other. The whole execution is very artistic. By Ishiguro 
 Masatsune; born, 1760; died, 1828. He wrought principally 
 in shakudo, and with as great ability as is seen in the 
 works of the Gotos. His work on red bronze is quite rare. 
 
 Sword Guard (Tsuba). Copper bronze. A court-lady 
 ina boat and a weeping willow-tree. Chased, inlaid and 
 carved, in gold and shibuichi, in a highly artistic manner. 
 The reverse side has Japanese poems carved most per- 
 fectly. The design is after Hanabusa Itcho. The chasing 
 is by the great artist Somin, whose family is Yokoya; 
 born, 1670; died, 17338. He was a pupil of Soyo. 
 
1497 
 
 1498 
 
 1499 
 
 1500 
 
 1501 
 
 1502 
 
 1503 
 
 SWORD GUARDS 283 
 
 Sword Guard (Tsuba), Square 
 shape. Copper bronze. Matsa-ni- 
 Saru, or pine and monkey, by the 
 celebrated chaser, Natsuo; date, 1850- 
 1870. Very admirable piece. 
 
 Sword Guard (Tsuba). Shakudo, 
 Encampment of nobles, chased and 
 carved most perfectly in gold and 
 silver. By Sessai Nagamasa; date, 
 Kayei period (1850). 1497 
 
 Sword Guard (Tsuba). Square shape. Copper bronze. 
 Nio in the temple gate, deeply chased with great skill. 
 The beauty of the metal and the perfection of the chasing 
 are striking. By Kiyonaga; date, 3d year of Kayei 
 period (1850). 
 
 Swerd Guard (Tsuba). Square shape. Copper 
 bronze. A Chinese noble offering a shoe to a deified per- 
 sonage, chased in gold and silver. By Hanai Toshime ; 
 date, 3d year of Tempo period (1832). 
 
 Sword Guard (Tsuba). Iron. Locusts and grass- 
 hoppers, in high relief. Signed, Umetada Masahide. The 
 design is by Mune-yoshi, after Nobuiye; date, about 
 lith century. 
 
 Sword Guard (Tsuba). Iron. A landscape, very 
 finely cut and chased. Signed, Matsuoka Mototsugu;3 
 date, about 17th century. 
 
 Sword Guard (Tsuba), Iron. A standing Sennin; 
 chased and carved in iron by Tomonobu, of Choshu; 
 date, 18th century. 
 
 1504 Sword Guard (Tsuba). Iron. A sea-shore; executed 
 
 1505 
 
 in pierced work, inlaid with gold. By Zino; date, 18th 
 century. 
 
 Sword Guard (Tsuba), Iron. Kitsuneno Yome-iri, 
 or foxes’ wedding, skilfully carved and chased. Executed 
 to order by Katsumi for an amateur; date, about 18th 
 century. 
 
 Sword Guard (Tsuba), Iron. Fish, deeply carved. 
 By Kiyohide; date, early part of 18th century. 
 
 Sword Guard (Tsuba). lron. A pine and a tiger. 
 Carved with great artistic taste ; tiger is full of expression. 
 By Yoshitaka. 
 
284. SWORD GUARDS 
 
 1508 Sword Guard (Tsuba), Iron. Toshitoku and his 
 favorite deer rising out of a cloud. A very refined piece. 
 Signed, Nagayoshi; date, about 18th century. 
 
 1509 Sword Guard (Tsuba). Iron. 
 Benzaiten on a rock and a boy carry- 
 ing a basket of fish. By Nagayoshi; 
 date, about 18th century. 
 
 1510 Sword Guard (Tsuba). Red 
 bronze. Arakau among rocks. Skill- 
 fully executed in deep chasing. By 
 Masayoshi, a chaser of Iwama school; 
 
 - date, end of 18th century. The design 
 
 1509 is after Hamano Shozui. 
 
 1511 Sword Guard (Tsuba). Silver. A country house; in 
 raised chasing in silver. Signed, Toshinaga, a great mas- 
 ter in metal and of the school of Nara. He was born at 
 Yedo, 1667, and died in 1736. 
 
 1512 Sword Guard (Tsuba). Yellow bronze. An armor- 
 clad warrior standing near a castle. Executed in open- 
 work and fine chasing. By Toshinaga; date, 1667-1736. 
 
 1513 Sword Guard (Tsuba). Bronze. Bunch of wheat, 
 formed in shape of the guard. By Masayoshi, of Musa- 
 shi; date, 18th century. 
 
 1514 Sword Guard (Tsuba). Iron. Kiku flowers in a 
 basket, formed in shape of the guard. By Masakatsu; 
 early part of 18th century. 
 
 1515 Sword Guard (Tsuba). Shakudo. Dragon- flies; 
 chased and incrusted in raised gold and shakudo. A 
 noble work. Signed, Masanori; 18th century. 
 
 1516 Sword Guard (Tsuba). Shakudo. Bamboo trees; 
 most artistically carved and chased. Signed, Mitsuaki ; 
 18th century. A very fine specimen. 
 
 1517 Sword Guard (Tsuba). Shakudo. Kikudsukusi, or 
 collection of chrysanthemum blossoms; in open-work 
 finish. By Goto Shunjo, a pupil of the great artist Goto; 
 date, about 18th century. 
 
 1518 Sword Guard (Tsuba). Shibuichi. Amario, or rain 
 
 dragon ; delicately carved all around the edge. By Hirata 
 Harutsuka; date, about 18th century. 
 
 1519 Sword Guard (Tsuba), Silver. Ran and Kiku, in 
 gold, silver and shakudo; beautifully chased. By Haru- 
 nori; date, 18th century. 
 
SWORD GUARDS 985 
 
 1520 Sword Guard (Tsuba). Copper bronze. A mythical 
 personage riding on an elephant. Vigorously carved and 
 chased in copper bronze. By Yoshitsugu; end of 18th 
 century. 
 
 1521 Sword Guard (Tsuba). Yellow bronze; square shape. 
 A fox anda moon; artistically executed in gold and silver. 
 Signed, Tsuchiya Teruchika; 18th century. 
 
 1522 Sword Guard (Tsuba). Yellow bronze; square 
 shape. Birds and a toriyoke (the small piece of board 
 and a few pieces of bamboo attached used to scare 
 birds from scratching up rice or corn). Beautifully exe- 
 cuted in various metals in relief. By Tsuchiya Teru- 
 chika; 18th century. 
 
 1523 Sword Guard (Tsuba). Bronze 
 . and iron. Fudo and rooster on 
 the obverse, and a bow and arrow 
 and an incense-burner on the re- 
 verse. All exquisitely carved and 
 chased. By Yeishiu; date, 1800- 
 
 1830. 
 
 : 1524 Sword Guard (Tsuba). Copper 
 bronze. A dozing Hotei and his 
 treasure-bag. The stick to carry the 
 bag, is skillfully cut or pierced 
 through the guard. By Masanaga, of Musashi, who died 
 in 1781. 
 
 1525 Sword Guard (Tsuba). Bronze and iron; square 
 shape. A barking dog is on one side, and a moon and a 
 cloud on the other. Executed very tastefully. By Kat- 
 samori; 18th century. 
 
 1523 
 
 1526 Sword Guard (Tsuba), Iron. A bat andariver; artist- 
 ically carved. By Yoshichika, at the age of seventy- 
 two years; 18th century. 
 
 1527 Sword Guard (Tsuba). Shibuichi. The three sages 
 of China sitting near a cascade; delicately carved and 
 inlaid with goid and silver. 'This guard is the work of the 
 great artist Hamano Kuzui, who died in 1787. He was a 
 pupil of Shozui, and was the founder of the Hamano 
 school. 
 
 1528 Sword Guard (Tsuba). Silver. A pine-tree and two 
 Sennin; finished with artistic skill. By Hamano Kuzui; 
 18th century. 
 
286 
 
 1529 
 
 1531 
 
 1532 
 
 1533 
 
 1534 
 
 1535 
 
 1538 
 
 SWORD GUARDS 
 
 Sword Guard (Tsuba). Shakudo. Represents an early 
 battle scene in China. The details are most carefully 
 executed in raised shakudo and gold. This is one of the 
 best productions of Teruhide, the leading artist of the 
 schools of Nara and Yokoya. It bears the signature, 
 Omori-teruhide, and was executed in the year Meiwa 
 (1763). 
 
 Sword Guard (Tsuba), Shakudo. Peonies; richly 
 chased and carved in gold and silver. Signed, Omori- 
 teruhide; date, 18th century. 
 
 Sword Guard (Tsuba). Bronze. Lion and peony. 
 Vigorously executed piece. Signed, Omori-terutomo; 
 date, 18th century. 
 
 Sword Guard (Tsuba), Shakudo. Represents a man 
 reading by moonlight. The whole treatment is highly 
 artistic. Signed, Kan-kei Shozui; 18th century. 
 
 Sword Guard (Tsuba), Shakudo, Grasshopper beau- 
 tifully executed. Signed, Kwanzui, a pupil of Iwama- 
 masayoshi. 
 
 Sword Guard (Tsuba). Iron. Sagi-ni-hasu, or 
 heron and lotus, in gold and silver. By Masayuki; date, 
 second year of Kei-o period (1866). 
 
 Sword Guard (Tsuba). Shakudo. Sokwa, or diaper 
 of flowers, in gold, silver and shakudo bronze, profusely 
 inlaid, chased and incrusted in high relief on ground finish 
 called nanako. By Imai-nagatake; date, Kayei period 
 (1847). 
 
 1536 Sword Guard (Tsuba), Square 
 form. Copper bronze. Matsu-ni- 
 saru, or pine and monkey, most 
 artistically chased in high relief. By 
 Natsuo, the greatest living metal- 
 chaser of Japan; date, Ansei period 
 (1853). Very spirited piece. 
 
 1537 Sword Guard (Tsuba). Oblong 
 
 form. Copper bronze. Kaza-ore- 
 
 1536 botan, or blown peony. Executed 
 
 in a highly artistic spirit by Natsuo; date, 1853. One of 
 the best works of this talented artist. 
 
 Sword Guard (Tsuba). Shibuichi. Chinese sages. 
 Very refined specimen. Signed, Tozui, a pupil of Nara- 
 chokuzni; 18th century. 
 
1539 
 
 1540 
 
 1541 
 
 1542 
 
 1543 
 
 1544 
 
 1545 
 
 1546 
 
 1547 
 
 1548 
 
 1549 
 
 1550 
 
 1551 
 
 SWORD GUARDS 287 
 
 Sword Guard (Tsuba). Bronze. Octagonal shape. 
 Fish and cuttlefish in raised chasing and incrustation, in 
 silver and shakudo. By Genzui; 18th century. 
 
 Sword Guard (Tsuba). Silver. Amario design, 
 forming the shape of the guard. A beautifully pierced 
 specimen. By Yoshitsugu; 18th century. 
 
 Sword Guard (Tsuba). Ivory. Yebisuand tai fish, skil- 
 fully carved. Signed Ko-osai; about end of 18th century. 
 
 Sword Guard (Tsuba), Shibuichi. A lionanda peony. 
 The chasing is profuse and vigorous; the lion’s face 
 is full of expression. Signed, Shekigawa-tomomichi ; 
 18th century. 
 
 Sword Guard (Tsuba). Iron. Shakuyaku flowers, 
 carved in iron with great freedom; the whole treatment 
 is full of grace. Signed, Toshi-taka, of Hagi, province of 
 Nagato; date, 17th century. 
 
 Sword Guard (Tsuba). Shakudo. Decorated with 
 flowery vineinraised gold on nanako ground. A fine piece. 
 
 Sword Guard (Tsuba). Shibuichi. Three warriors, 
 deeply carved, inside a giant tree, and chased with gold 
 and other metals. A fine specimen. 
 
 Sword Guard (Tsuba). Iron. Miraculous person- 
 ages in various positions, carved in iron and incrusted 
 with shakudo and other metals. Very old specimen. 
 Sword Guard (Tsuba), Shakudo. Storks and plum- 
 trees on nanako ground, beautifully executed in gold, 
 shakudo and silver. 
 
 Sword Guard (Tsuba). Shibuichi. Daikoku, Yebisu 
 and Kadomatsu dancing (New Year’s decoration), all 
 finely executed in raised work of gold, shakudo and silver. 
 A piece of perfect workmanship. 
 Sword Guard (fsuba), Shak- 
 udo. Pierced design of fretwork, 
 neatly executed. 
 
 Sword Guard (Tsuba). Shak- 
 udo. Made in imitation of the guri- 
 bori, or carved work in lacquer. 
 Very rare and highly esteemed in 
 Japan; date, 1800. 
 
 Sword Guard (Tsuba), Iron. 
 Deeply carved decoration of dragon 
 and waves. By Yukinaga; date, 1780. 
 
2988 SWORD GUARDS 
 
 1552 Sword Guard (Tsuba). Iron. Carved and pierced 
 design of country-house and pine-tree. By Masa-toyo ; 
 eud of 17th century. 
 
 1553 Sword Guard (Tsuba). fron. Sacred rocks, with 
 shimenawa, or sacred straw decoration. By Umetada- 
 shigenari; date, 1750-1800. 
 
 1554 Sword Guard (Tsuba). I[ron. Heron standing on a 
 willow-tree. Very artistic piece. Signed, Ringi; date, 
 1800. 
 
 1555 Sword Guard (Tsuba), Shibuichi. Two wild dogs, 
 beautifully chased. Signed, Shozui; dated, Manyen period 
 (1859). 
 
 1556 Sword Guard (Tsuba). Iron. A rakau in medita- 
 tion, beautifully chased in gold and carved in iron. 
 Signed, Katsumi; date, 1800. 
 
 1557 Sword Guard (Tsuba). Iron. Herons and water- 
 cresses, finely executed. Signed with seal-mark, Teijo ; 
 18th century. 
 
 1558 Sword Guard (Tsuba). Iron. A pigeon resting on 
 a tree, artistically treated. By Chikakata; date, 1800. 
 
 1559 Sword Guard (Tsuba), Shakudo. The seven 
 worthies of bamboo groves, executed with skill in gold, 
 silver and other metals. Signed, Tomoyoshi; date, com- 
 mencement of 19th century. He was in the service of the 
 Prince of Mito. 
 
 1560 Sword Guard (Tsuba). Bronze. 
 Pierced design of an eagle trying to 
 catch sparrows, artistically carved. 
 
 1561 Sword Guard (Tsuba), Silver. An 
 interior scene, with ancient nobles; ex- 
 ecuted to perfection. It is the work of 
 the celebrated chaser Iwamoto-kon- 
 kuan, whose signature is engraved on 
 the guard. He was noted for high skill 
 and peculiar imaginative power. Born in 1748, and died 
 in 1800. 
 
 1562 Sword Guard (Tsuba). Shakudo. Peony and animal, 
 inlaid in high relief. By Nagatsune, a chaser of Kioto 
 who died in 1786. 
 
 1563 Sword Guard (Tsuba). Red bronze. Decoration is 
 Kauzan and Zittoku, most skilfully chased and inlaid with 
 gold. The guard is by a great master in metal-work who 
 was of the school of Nara. Signed, Joi. He died in 1761. 
 
SWORD GUARDS 289 
 
 1564 Sword Guard (Tsuba), Shakudo. Flowering grass 
 and butterfly; beautifully inlaid in raised gold on shakudo 
 ground. Signed, Chikuzan-ken-motoshige, a younger 
 brother of Moto-sada ; date, 1780. 
 
 1565 Sword Guard (Tsuba). Iron. Square form. Pierced 
 design on all four corners, with bats and Chinese inscrip- 
 tion of poems, finely carved on iron. Signed, Chikuzan- 
 ken-moto-sada, an elder brother of above artist; date, 
 1780. 
 
 1566 Sword Guard (Tsuba). Shakudo. Decorated with a 
 procession of Chinese nobility, exquisitely chased and 
 inlaid. Signed, Chikuzan-ken-motoshige; date, 1780. 
 
 1567 Sword Guard (Tsuba). Shibuichi. Roosters; most 
 minutely chased and carved in gold, silver and shakudo. 
 Signed, Nobu-yoshi; date, 1780. 
 
 1568 Sword Guard (Tsuba). Shakudo. Bamboo and rock; 
 boldly chased and inlaid with gold and other metals, and 
 finished with much nobility of style. Signed, Ishiguro- 
 masa-yoshi; 18th century. 
 
 1569 Sword Guard (Tsuba). Shibuichi. Decorated with 
 the three wine-tasters; deeply carved and chased. Signed 
 with seal-mark ; date, 18th century. 
 
 1570 Sword Guard (Tsuba). Iron. A demon escaping 
 from a storm; artistically chased and inlaid. By Shozui; 
 18th century. 
 
 1571 Sword Guard (Tsuba). Solid 
 gold. The design is of Empress 
 Jingo, the great conqueror of 
 Corea in second century, and her 
 son Ojin or Ojin-tenno in the arms 
 of his father Chuai-tenno. The 
 whole is very beautifully executed 
 on nanako background. 
 
 1572 Sword Guard (Tsuba). Silver, 
 Chased design of cherry-tree and 
 pheasant. By Harushima-nobu- 
 masa; early 19th century. 
 
 1573 Sword Guard (Tsuba). Shibuichi. Raised and 
 chased decoration of eagle and pine-tree. By Zuho- 
 
 7 yoshi-shige ; 18th century. 
 
 1574 Sword Guard (Tsuba). Shakudo. The three gods of 
 good luck, in various attitudes ; fine chasing. By Kokka; 
 beginning of 19th century, 
 
290 SWORD GUARDS 
 
 1575 Sword Guard (Tsuba). Shibuichi. Chinese warriors 
 on horseback. By Ito-yoshikuni, a descendant of Ki- 
 kosuke of Kioto; date, 17th century. 
 
 1576 Sword Guard (Tsuba). Red 
 bronze. Snake coiling on both 
 sides. By Massaharu; 18th cen- 
 tury. 
 
 1577 Sword Guard (Tsuba). Iron. 
 Pierced design of coiling dragon. 
 By Okamoto-naoshige; date, 18th 
 century. 
 
 1578 Sword Guard (Tsuba). Sha- 
 kudo. Chased design of Sennin 
 viewing a water-fall. By Hiro- 
 chika; 18th century. 
 
 1579 Sword Guard (fsuba), Shibuichi. A Japanese 
 noble and his mysterious animal visitor; exquisitely 
 chased and carved in high relief. By Kiyonaga, a noted 
 chaser of historical personages ; 18th century. 
 
 1580 Sword Guard (Tsuba). Sha- 
 kudo, with nanako ground finish. 
 Chased and inlaid decoration of 
 gold dragon coiling round the 
 edge. By Tayzan Motoakira, a 
 cousin of the great metal artist 
 Motoatsu, of Yedo; date, 18th 
 century. 
 
 1581 Sword Guard (Tsuba). Shi- 
 buichi. Chased design of an old 
 man fishing. By Tokosai Shet- 1580 
 suga; end of 18th century. 
 
 1582 Sword Guard (Tsuba). Iron. A boat and reeds; 
 17th century. 
 
 1583 Sword Guard (Tsuba). Iron. Design is called a 
 thousand monkeys; 17th century. 
 
 1584 Sword Guard (Tsuba). Shibuichi. Botan (peony 
 flowers), incrusted with gold and shakudo in high relief. 
 Signed, So-un-sai Takatsune. 
 
 1585 Sword Guard (Tsuba). Iron. Shows butter and a 
 plum-tree; 18th century. Refined piece. 
 
 1586 Sword Guard (Tsuba). Iron. Pierced dragon design, 
 By Kinai, of Chikuzen ; 17th century. 
 
SWORD GUARDS 291 
 
 1587 Sword Guard (Tsuba). Iron. Three storks, chased 
 and carved. By Kinai; 17th century. 
 
 1588 Sword Guard (Tsuba). Iron. Pierced designs of 
 grasshoppers and plants. By Kinai; 17th century. 
 
 1589 Sword Guard (Tsuba). Iron. Masks, deeply chased. 
 By Kinai; 17th century. <A very strong example. 
 
 1590 Sword Guard (Tsuba). Iron. A monkey chasing the 
 moon; 17th century. An artistic piece. 
 
 1591 Sword Guard (Tsuba). Iron. Represents Kiri and 
 Ho-o; 17th century. 
 
 1592 Sword Guard (Tsuba). Bronze. 
 A carp swimming in a rapid stream, 
 artistically carved and incrusted in 
 raised shakudo. 
 
 1593 Sword Guard (Tsuba). [ron. 
 Storks and reeds, beautifully exe- 
 cuted. A fine piece. 
 
 1594 Sword Guard (Tsuba). Silver. 
 Pierced design of a pine-tree and a 
 youth, 
 
 1595 Sword Guard (Tsuba), Shakudo. Pierced design 
 of Benkei fighting with Ushiwakamaru on the Gojo 
 bridge, in Kioto. The edge is bound with gold. A fine 
 piece. 
 
 1596 Sword Guard (Tsuba), 
 
 1597 Sword Guard (Tsuba). Silver. Seven monkeys; 
 18th century. A finely chased piece. 
 
 1598 Sword Guard (Tsuba). Silver. Chrysanthemums in 
 various stages of growth. Fine chasing. 
 
 1599 Sword Guard (Tsuba). Silver, gold andiron. Grass- 
 hoppers, in high relief. 
 
 1600 Sword Guard (Tsuba), Iron. A snake hunting a 
 frog. By Masaharu; 18th century. 
 
 1601 Sword Guard (Tsuba), Iron. Anoctopusand Mount 
 Fuji. By Masaharu; 18th century. 
 
 1602 Sword Guard (Tsuba), Shakudo, Peony in gold; 
 18th century. 
 
9292 SWORD GUARDS 
 
 1603 Sword Guard (Tsuba). Yellow 
 bronze. Yebi-ni-namadsu, or a lob- 
 ster and a cat-fish; executed in a 
 most skillful manner. By Moto-tada; 
 about end of 18th century. 
 
 1604 Sword Guard (Tsuba). Iron. 
 Pierced work, showing grasshop- 
 persand chrysanthemum, By Kinai, 
 of Yechizen; date, 17th century. 
 
 1605 Sword Guard (Tsuba), Iron. 
 
 Fluted edge. Twelve signs of the 
 Zodiac and emblems of the twelve months of the year. 
 Design is after Shiomi Masazane, a celebrated lacquer 
 artist of the end of 17th century. The execution is by 
 Hosono-Sozayemon; early 19th century. A very rare 
 and valuable specimen. 
 
 1606 Sword Guard (Tsuba). Iron. Dragon and tiger in 
 gold incrustation in high relief. Very good workman. 
 ship ; 17th century. 
 
 1607 Sword Guard (Tsuba), Shibuichi and bronze. A 
 snake hunting a sparrow; executed with highly artistic 
 freedom. Signed, Iwamoto-konkuan, a noted artist of 
 Yedo ; date, 1743-1800. 
 
 1608 Sword Guard (Tsuba). Red bronze. A sage tasting 
 a leaf; most artistically chased. By Joi, a great master of 
 metal-work, of the school of Nara. He died in 1761. A 
 very refined specimen. 
 
 1609 Sword Guard (Tsuba). Tron. 
 Toshitoku and crane; in raised iron 
 chasing. By Masa-haru ; date, 
 18th century. 
 
 1610 Sword Guard (Tsuba), Silver 
 and yellow bronze. Buddha and 
 Nio, in raised gold and red bronze; 
 chased and carved with great skill. 
 By Masa-haru ; 18th century. A 
 very powerful, and yet delicately 
 executed specimen. 
 
 1611 Sword Guard (Tsuba). Shakudo. Open fans, inlaid 
 with gold, on a background of nanako finish. By Sano 
 Naoteru ; about 18th century. 
 
 1612 Sword Guard (Tsuba), Shakudo. A rich treatment 
 of chrysanthemums, in gold ; 18th century. 
 
SWORD GUARDS 293 
 
 1613 Sword Guard (Tsuba). Silver and iron. Urashima on 
 tortoise back, returning from the sea palace. By Ichizio; 
 date, 1867. 
 
 1614 Sword Guard (Tsuba). Silver and iron. A court- 
 lady, exquisitely chased in gold on iron background. 
 By Haruaki; date, 1830. 
 
 1615 Sword Guard (Tsuba). Shibuichi. A temple-keeper 
 ona stormy night; finely chased in gold and other metals. 
 By Tayzan Motoatsu, of Yedo ; 18th century. 
 
 1616 Sword Guard (Tsuba). Shakudo. The seven sages 
 of bamboo groves, or Chikurin-no-sichiken. It is 
 executed with remarkable talent. By Ichiriu Tomoyoshi, 
 artist in metals to the Lord of Mito ; date, 18th century. 
 
 1617 Sword Guard (Tsuba). Copper 
 bronze. A fantastic procession of a 
 youth and his monkey followers. It 
 is most admirably executed in chasing 
 and carving. This piece is also one 
 of Tomoyoshi’s master-works; date, 
 18th century. 
 
 1618 Sword Guard (Tsuba). Shakudo. 
 Kiri-ni-Ho-o, or bird of omen, and 
 the Paulownia Imperialis ; beautifully 
 chased in gold and shakudo. By 
 Ichiriu-tomonaga, a son of Tomo- 
 yoshi; 19th century. 
 
 1619 Sword Guard (Tsuba). Shibuichi. A Chinese mysti- 
 cal personage walking on waves. By Tokuoki; end of 
 18th century. 
 
 1620 Sword Guard (Tsuba), Shibuichi. Water plants and 
 a frog. By Mitsu-oki; 18th century. 
 
 1621 Sword Guard (Tsuba), Ivory. A rakau with his 
 miraculous vase, finely carved; the reverse side is carved 
 with a Chinese landscape ; 18th century. 
 
 1622 Sword Guard (Tsuba). [ron. A sleeping cat. Signa- 
 ture not clear—probably Jochiku ; 18th century. 
 
 1623 Sword Guard (Tsuba). Bronze, iron and silver. A 
 lady seeks refuge in a cottage from a rain storm. Taste- 
 fully executed by Natsuo, an artist of great talent, still 
 living. 
 
 1624 Sword Guard (Tsuba). Shakudo. Open fans; in 
 goldin high relief. By Sano Naoteru; end of 18th century. 
 
294 SWORD GUARDS 
 
 1625 Sword Guard (Tsuba), Shakudo. Peonies, in gold in 
 high relief. By Tadanaka; end of 18th century. 
 
 1626 Sword Guard (Tsuba). Iron. 
 Pierced work showing twvu cranes; 
 skillfully chased and carved. By 
 Kinai, of Yechizen; date, 17th cen- 
 tury. 
 
 LZ GF 1627 Sword Guard (Tsuba). Shakudo. 
 
 <p An elephant and a boy. By Chiku- 
 zauken Teikeu; dated, Kayei period 
 
 (1847). 
 
 1628 Sword Guard (Tsuba). Bronze. Square form. Em- 
 ma at his desk, on one side; and a mirror reflecting 
 a beauty from a religious subject on the other. 
 Marvelous chasing and carving. By the great artist Joi ; 
 date, 1760. 
 
 1629 Sword Guard (Tsuba), Silver. Evening scene ; beau- 
 tifully executed ; 19th century. 
 
 1630 Sword Guard (Tsuba). Iron. A tiger and a pine. 
 The design is after the celebrated artist Shozni. The 
 guard is by Masamitsu, of Mito; 18th century. A vigorous 
 specimen and full of movement. 
 
 1631 Sword Guard (Tsuba). Beau- 
 tiful light-gray shibuichi bronze. 
 Two figures, dressed in early Japan- 
 ese costume, a veranda and a pine- 
 tree. It is very tastefully chased 
 and inlaid with gold and silver. By 
 Giokuriu-ken Nobu-katsu; dated, 
 third year of Kayoi period (1850). 
 
 1632 Sword Guard (Tsuba), Iron. 
 Pierced fans in various positions. 
 By Hagiya Katsuhei, of Mito ; 18th century. 
 
 1633 Sword Guard (Tsuba), Iron. Dragon deeply carved 
 by Tomoyoshi ; 18th century. ‘ 
 
 1634 Sword Guard (Tsuba). Iron. Lotus-leaves, chased 
 and pierced. Made in Nagato ; 18th century. 
 
 1635 Sword Guard (Tsuba), Shakudo. Fishing - nets, 
 raised on poles to dry ; inlaid with gold. 19th century. 
 
 1636 Sword Guard (Tsuba). Iron. Folding screens, cut 
 and inlaid with gold. By Kiyokage ; 18th century. 
 
1637 
 
 1638 
 
 1639 
 
 1640 
 
 1641 
 
 1642 
 
 1643 
 
 1644 
 
 1645 
 
 SWORD GUARDS \ 295 
 
 Sword Guard (Tsuba). Red bronze. A moving Nio 
 and a frightened traveler. By Motohira; 18th century. 
 The design is after the celebrated painter, Hanabusa 
 Itcho. The chasing is full of movement. 
 
 Sword Guard (Tsuba). Iron. Uri, or melons, most 
 artistically carved and pierced, and executed with much 
 freedom. <A very fine specimen; end of 17th century. 
 
 Sword Guard (Tsuba), Shaku- 
 do. Peacock feathers, exquisitely 
 executed in gold and enameling. 
 Both design and execution are by a 
 celebrated artist in metals named 
 Someya-Tomonobu, whose work ig 
 very delicate ; early 19th century. 
 
 Sword Guard (Tsuba). Shaku- 
 do. Peacock and a peony. <A very 
 fine piece of vigorous workmanship, 
 By Yanagawa Naomitsu ; born 1733, 
 died 1808. 
 
 Sword Guard (Tsuba). Iron. A carp, in high relief, 
 carved and chased. By Masayoshi; latter part of the 
 18th century. 
 
 Sword Guard (Tsuba). Bronze. An aburabozu 
 anointing priest) with his oil kettle ; vigorously chased 
 and carved. By Hamano Chokuzui. The treatment is 
 full of expression ; beginning of 18th century. 
 
 Sword Guard (Tsuba). Tronand shibuichi. Scene near 
 Yoshiwara ; guests enjoying themselves in a restaurant. 
 A part of the room has two sliding doors, and there is 
 shown a chased figure of a man dancing inside, the shadow 
 of which can be seen from the outside. On the reverse 
 is a night scene, representing persons walking and 
 earrying lighted lanterns, or chochin, most artistically 
 executed. The whole treatment of the subject is in the 
 finest taste and highest finish. By Nobuyoshi; 18th 
 century. 
 
 Sword Guard (Fsuba). Iron. Bronze chrysanthe- 
 mum bouquet in iron vase, decorated in relief. By 
 Keusei ; dated Kayei period (1847). 
 
 Sword Guard (Tsuba). Bronze. Two lions and a 
 peony, vigorously carved and freely chased. By Tomo- 
 michi ; 19th century. 
 
296 SWORD GUARDS 
 
 1646 Sword Guard (Tsuba). Iron. Moudsukushi, or 
 collection of crests, executed in gold and enamels. By 
 Nao-mitsu; date, 1733-1808. A very rare specimen. 
 
 1647 Sword Guard (Tsuba). Yellow bronze. Fish and — 
 lobster, in high relief. By Morichik, a metal-chaser of 
 the school of Yasuchika ; end of 18th century. 
 
 1648 Sword Guard (Tsuba). Shi- 
 buichi. Lobster and fish. A very 
 delicately finished and artistic 
 specimen. By Midsuno Nobumasa; 
 date, 18th century. 
 
 1649 Sword Guard (Tsuba). Iron. 
 Reeds and crabs in high relief and 
 inlaid with gold; and rising sun 
 and waves also inlaid with gold; 
 17th century. 
 
 1650 Sword Guard (Tsuba). Iron. Battle scene near 
 Kioto. Deeply carved and inlaid work of gold and iron; 
 17th century. 
 
 1651 Sword Guard (Tsuba). Iron. 
 Snake, bat and dragon-fly, incrusted 
 in high relief on iron ground, in 
 imitation of wicker-work ; the edge | 
 is inlaid with gold and silver. Fine § 
 piece. Not signed. ‘ 
 
 1652 Sword Guard (Tsuba), Iron. 
 Pierced work of chrysanthemum, 
 covered with gold; early 17th cen- 
 tury. 1651 
 
 1653 Sword Guard (Tsuba). Iron. Twocarps. By Oka- 
 moto Naoshige ; 18th century. 
 
Bsc _JAPANE: SE 
 
 | MIRE HANDLES 
 . _ (KODZUKA) 
 
 2 ORNAMENTS 
 
SALE, THURSDAY AFTERNOON, APRIL 21ST 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’CLOCK 
 
 KNIFE-HANDLES 
 
 (KODZUKA) 
 
 1655 Knife-Handle (Kodzuka). Solid gold. Figure of 
 Fudo and goddess Kuanon carved in high relief. By 
 Toshi-tsugu. 
 
 1656 Knife-Handle(Kodzuka). Shakudo. Decorated with 
 a celebrated view of Lake Biwa of Omi. By Soheishi 
 Soten ; date, 1700. 
 
 1657 Knife-Handle (Kodzuka),. Shibuichi. Floral designs 
 in panel. By Sho-ko-tei Shisho ; date, about 1790. 
 
 1658 Knife-Handle (Kodzuka), Shibuichi. Takeni Suz- 
 ume design (bamboo with sparrow). 
 
 1659 A Cabinet Collection of Knife-Handles 
 (Kodzuka) 
 
 FIFTEEN SPECIMENS 
 
 i ipl Palace interior. Signed, 9. Shakudo. Weeping cherry. 
 
 2 She, Stork. ree a thestin. Signed, Motoshiges ~ 
 1S ees one. upline wiles.” Signet 
 5. Shakudo. ane’ Signet Ola. 207 Soa eeorees wes 
 6. Shakudo, Beetles. Signed, Shu. > Grakudo, Signs of the Zodiac. 
 7. Shalmdo, Heron, Signed, Mori. 14. Ghakudg: Dame of plums and 
 
 8. Shibuichi. Millet. Signed, Ik- 15. Shakudo. Dragon in gold. 
 kin, Signed, Terutsugu. 
 
300 KNIFE-HANDLES 
 
 1660 A Cabinet Collection of Knife-Handles 
 (Kodzuka) 
 
 FIFTEEN SPECIMENS 
 
 1. Silver. Moon and duck. 10. Shibuichi. Falcon and pine. 
 2. Silver. Dried fish. By Shozui. Signed, Masaaki. 
 
 8. Shibuichi. An anointing priest. 11. Shakudo, Cherry and birds of 
 4. Shibuichi. Mask, drum, sticks Hasina Signed, Goto Mitsu- 
 
 anda flute. Signed, Kumin. a. i 
 ere 5 12, Shakudo. A daimio’s war junk. 
 5. Shibuichi. Fukube and vine. $j fant 
 Signed, Kuansal. Signed, Goto Jinujo. 
 
 6. Shakudo. Vine flowers. Signed, 18. Shibuichi. Mount Fuji. Signed, 
 
 . f Hokio Ichijo. 
 Mitsuyoshi. ES; 
 7, Shakudo. Snow-covered boat. A. Shibatchl A bouquet of peo- 
 8. Shibuichi. Ziurojin and cow. 15. Shibuichi. Dogs at play. Signed, 
 9, Shakudo. Rising sun. Tomoyoshi. 
 
 1661 A Cabinet Collection of Knife-Handles 
 (Kodzuka) 
 
 TEN SPECIMENS 
 
 1, Shibuichi. Pine-tree and locust. 6. Shibuichi. Demonand wind-bag. 
 
 Signed, Masayoshi. Signed, Masanaga. 
 2. Iron on gold back. Fudo, or god 7. Silver. Crab and reeds. Signed, 
 of fire. Signed, Teiken. Michiyoshi. 
 5. Shakudo. Doves resting on a 8. Iron. Sea-shells and fish. By 
 maple-branch. Signed, Goto Ichizio. 
 Mitsuteru. . 9. Shakudo. A set of bow and 
 4, Shibuichi. Plum-branch. foes Signed, Goto Mitsu- 
 5. Shakudo. Roosters and temple 10. Red bronze. Rice measure and 
 offerings. mouse. Signed, Toshiyoshi. 
 
 1662 A Cabinet Collection of Knife-Handles 
 (Kodzuka) 
 
 FOURTEEN SPECIMENS 
 
 1, Shibuichi. A female figure. By 8. Shakudo, Bouquet of peonies. 
 
 Shumin. . 
 2. Red bronze. Mount Fuji, in 9. Iron. Travelers ina rain-storm. 
 
 shakudo, By Tomonaga. 10. Shibuichi. Octopus and fish. 
 3. Bho acan eee in By Hirosada. 
 
 BOAT ADEE LN EE sa pce 11. Silver. Turkey in chased gold 
 4. Shakudo. Tai fish strung on By Zinki, ib e 
 
 bamboo-branch. 
 12. Shibuichi. Children on the 
 5 Cae: nee of the Zodiac. beach. By Kosetsu. 
 
 - 6. Bronze, Chinese nuobephess at 18. Shibuichi. Plum-tree and 
 reception. By Mitsnoki. nightingale. 
 
 7. Iron. Lotus and butterfly. 14. Red bronze. Quails and moon. 
 
KNIFE- HANDLES 301 
 
 1663 A Cabinet Collection of Knife-Handles 
 
 (Kodzuka) 
 
 FOURTEEN SPECIMENS 
 
 1, Shakudo. Fish. Signed, Yoshi- 
 oka-Mabanosuke. 
 
 2. Shakudo. Fish. Signed, Moto- 
 chika. 
 
 3. Iron. Fretwork decoration, in- 
 laid with gold. 
 
 4, Shakudo. |Okame, with bunches 
 of flowers. Signed, Haruaki- 
 Hogan. 
 
 . Shakudo and gold. 
 daikon. 
 
 6. Shakudo. Sixteen famous poets. 
 
 7. Shibuichi. Mount Fugi. By 
 
 Yeguchi Itcho. 
 
 14. Shibuichi. 
 loom, 
 
 Fish and 
 
 or 
 
 8. Iron. Tokko and sacred tsurn-gi, 
 or blade (Buddhist emblems). 
 Signed, Minamota Yoichi. 
 
 9, Shakudo, in panel of red bronze. 
 Raiden, or god of thunder. 
 
 10. Shakudo, in gold panel. Lob- 
 ster in gold. By Nakamma 
 Masatsugu. 
 
 11. Shibuichi, on gold back. The 
 moon and diving ducks; on back, 
 a Japanese poem carved in gold. 
 Signed, Mitsuteru (Goto). 
 
 12. Red bronze. A priest pulling 
 
 a skull, 
 13. Shibuichi. Heron on top of 
 tree. By Masataka. 
 
 An old-fashioned 
 
 1664 A Cabinet Collection of Knife-Handles 
 
 (Kodzuka) 
 
 | FOURTEEN SPECIMENS 
 
 1. Shakudo, in gold panel. Despatch 
 box and fan. By Goto Yekijo. 
 
 9. Shakudo. Fighting personages. 
 
 38. Shakudo. Monkey carrying go- 
 hei, or holy paper. 
 
 4, Shibuichi. Vines. By Nobu- 
 yoshi. 
 5. Iron. Dragon. 
 
 6. Silver. Hotei and his treasure- 
 bag. Signed, Hosendo, 
 
 7. Red bronze. Moon and crow. 
 By Haruaki Hogan. 
 
 8, Shakudo. A branch of a tree. 
 Signed, Goto Taijo. 
 
 1665 A Cabinet Collection 
 
 9. Shibuichi. Roosters. By Yasu- 
 chika. 
 
 10. Silver. Dogs at play. By 
 Mizuno Nobumasa. 
 
 11, Shakudo. 
 Kiyo. 
 
 12, Shibuichi. A boy with flower 
 basket. By oshiyoshi. 
 
 Insects. By Naga 
 
 13. Shibuichi. Zinrojin anda turtle. 
 By Hironao. 
 
 14. Shakudo, in panel. Bunches of 
 flowers. Signed, Goto Mitzu- 
 naga. 
 
 of Knife-Handles 
 
 (Kodzuka) 
 
 SIXTY SPECIMENS 
 
 1. Yellow bronze. Monkey hunt- 
 ing the moon. By Shuraku. 
 
 2. Shibuichi Bunches of peonies, 
 
 8. Silver. Hotei leaning on bag. 
 By Kuzui. 
 
 4, Shakudo. Peonies. By Atsu- 
 taka, 
 
 5. Gold. Moon and bats. 
 
 6. Shakudo. Vegetable leaves. By 
 
 Morishige. 
 
 7. Red bronze. Farmers praying 
 
 for rain. Signed, Nobuyoshi. 
 
 8. Shakudo. Mount Fuji and a 
 dragon, 
 
 9, Bronze. Aneel. By Iwamoto 
 Kuanri. 
 
 10, Shibuichi. Japanese warvior on 
 horseback. 
 
 11, Shakudo, Falcon and pine-tree, 
 Signed, Ishiguro Masayoshi. 
 
802 KNIFE-HANDLES 
 
 No. 1665. Continued | ; ee 
 
 36. Silver. Bamboo, with snail. 
 
 12. Red bronze. A fishing man. 
 
 Signed, Auzui. 
 
 Shakudo. Guards decoration. 
 By Teijo. 
 
 Silver. Pine and ducks. By 
 Moto-naga. 
 
 Shibuichi. A philosopher and 
 stars. By Haruchika. 
 Shibuichi. Women bleaching 
 cloth. By Tomonao, 
 
 Tron. Quails in raised iron. 
 
 . Iron. Cat and peony. Signed, 
 Nara Tashimitsu. 
 
 Shakudo. God of longevity and 
 the rising sun. 
 
 Shakudo. Mount Fuji. Signed, 
 Minamoto Nagakage. 
 
 Iron. Daikoku on rice barrel. 
 Shibuichi. Tai fish. Signed, 
 Katsutomo, 
 
 Red bronze. Symbols of precious 
 things. By Haruaki. 
 
 Shakudo. Beansand nuts. By 
 Yoshioka Inabanosuke. 
 
 Shibuichi. A fisher boy. By 
 Nobukatsu, 
 
 Silver. Whale and waves. By 
 Naganobu. 
 
 Shibuichi. Bird and flowers. 
 By Yegawa Toshimasa, 
 
 Shakudo. Storks. By Sada- 
 naka, 
 
 29. Red bronze. Radish. By 
 
 Tsunechika, 
 
 . Iron, Bird and grass in raised 
 iron. 
 
 . Shibuichi. Bamboo shade 
 maker at work. By Haruchika,. 
 
 Shakudo. Yebisu and fish. 
 Signed, Tobari Yoshihisa, 
 
 . Shibuichi. Morning-glory. By 
 Kiyotsugu. 
 
 Shakudo and silver. Nasuno- 
 Yoichi shooting an arrow at the 
 target-fan. 
 
 Shakudo. Shimenawa—an 
 eae: for New Year’s decora- 
 ion. 
 
 By Tamagawa-Yoshikiyo. 
 Shakudo. A lot of fish. 
 Silver. Fish and rat. 
 
 Shakudo. Tiger and bamboo. 
 By Omori Terumitsu. 
 
 . Shibuichi. Mount Fuji. By 
 
 Goto Ichjo, and signed. 
 Shibuichi. Stork. By Goto 
 Ichjo. 
 
 Gold. Cherry blossom and 
 temple gate. 
 
 . Shakudo and gold. Monkey, 
 
 boar, and rooster. By Hamano 
 Chokuzui. 7 
 
 44, Shibuichi. Hina or dolls. By 
 
 Mototsugu. 
 
 45. Iron. Precious things or symbols 
 
 of treasures. 
 
 Shakudo. Zinrojin. Signed, 
 Motosada. 
 
 Shakudo. Fish and pole. 
 
 . Red bronze and gold. Shoki, 
 
 By Joi. 
 Shakudo. A boy and tortoise. 
 By Tozin. 
 
 50. Yellow bronze. A Chinese 
 
 mystical personage. Signed 
 Kato Kagemasu. ; 
 
 51, Shibuichi and gold. Sun god- 
 
 dess on dragon. By Shetsuga. 
 
 Shibuichi und_ gold. Monkey 
 and vine. By Nobuyashi. 
 
 58, Shibuichi and gold. Saruma- 
 
 washi or monkey piayer. By 
 Nagaysohi. 
 
 Shakudo. Ceremonial hats. By 
 Goto Mitsuteru. 
 
 Shakudo. Shells. 
 Shakudo. Fish. 
 
 Shibuichi and gold. A warrior 
 on horseback, Signed, To-un. 
 
 Red bronze. Shishi or lion. 
 
 59. Yellow bronze. A traveler in 
 
 kago or cedan chair. The 
 ett on back is near Asakoso, 
 edo. 
 
 Shibuichi. Kuanwa or famous 
 Chinese warrior. 
 
SWORD ORNAMENTS 803 
 
 SWORD ORNAMENTS 
 
 1666 Sword Ornaments. (Fuchi and Kashira.) In shakudo. 
 A procession of *“* Kuge” (court nobles) in the streets of 
 Kioto. Groups of numerous personages exquisitely exe- 
 cuted in details. By Kato Yoshi-naga, of Kioto; date, 
 1750-1800. 
 
 1667 Sword Ornaments. (Fuchi and Kashira.) In iron. 
 Matsu and Tora (pine-tree and tiger in high relief). Made 
 by Torin-ken Masa-yoshi at the age of seventy-three 
 years ; date, 1800. 
 
 1668 Sword Ornaments, (Fuchi and Kashira.) Shakudo. 
 Sparrows and wheat plants. By Ka-ju-kuan; date, 
 about 1800. 
 
 1669 Sword Ornaments. (Fuchi and Kashira.) Shakudo. 
 Gold-incrusted work of dragon. By Omori Yeishin; date, 
 1790. 
 
 1670 Sword Ornaments. (Fuchi and Kashira.) Shakudo. 
 A boy with branch of chrysanthemum flowers. Not 
 signed ; date, about 1820. 
 
 1671 Sword Ornaments. (Fuchiand Kashira.) In shibuichi 
 and shakudo. A boatman on a raft. Kashira has a 
 Chinese philosopher standing near rocks. By Yeizui; 
 date, 1800-1850. 
 
 1672 Cabinet Collection of Sword Ornaments. 
 Guards (Tsuba). Three Fuchis and Kashiras; two 
 Menugis and one knife-handle (kodzuka). By Yoshida 
 Nobukatsu. The date is sixth year of Kayei period 
 (1853). The subject of decoration is the sixteen rakau, or 
 holy men of Buddha. All are exquisitely chased and 
 carved on shibuichi background, in gold, silver and 
 shakudo. 
 
 1673 Collection of Sword Ornaments. Consisting of 
 Sword guard (Tsuba), by Nobuyoshi, 18th century. 
 Pair of Menugi, by Nobuyoshi, 18th century. 
 Knife-handle (Kodzuka), by Nobukatsu, 1850. 
 Fuchi, by Biboku Masayoshi, 18th century. 
 Hashira, by Biboku Masayoshi, 18th century. 
 
 The subject of decoration is Buddha’s sixteen disciples 
 
 orrakau. Every piece is exquisitely chased and carved 
 in shibuichi, 
 
3804 SWORD ORNAMENTS 
 
 1674 Cabinet Collection of Ornaments for State 
 Sword. Consisting of eleven pieces in all. Signed, 
 Chinrinshi Masabumi; date, 18th century. The decora- 
 tion is of various flowers and landscape, profusely chased 
 on shakudo in gold and silver. 
 
 1675 Cabinet Collection of Sword Ornaments. Con- 
 sisting of : 
 1. Guard. Solid gold ; chrysanthe- 8. Fuchi, or rin; Chased with 
 
 dragon in ealidieola 
 
 4, Kashira; or cap. Solid gold, 
 Kirin, or dog Foo, in solid gold. chased with Ho-o, or Phoenix, 
 
 5. Koziri, or end cap. Solid gold, 
 chased with tiger and a pine-tree. - 
 
 These are by Yoshiaki, and are signed, Shisoido Yoshiaki; 
 dated, second year of Meiji period (1869), 
 
 mum flower. 
 2. Menugi(2). Chased design of 
 
 1676 Kogai. Kodzuka,in shakudo on gold. Koi, or carps. 
 By Iwamoto Konkuan ; date, 1743-1800. 
 
 1677 Kogai. Kodzuka and pair of Menugi, in gold onshakudo 
 background. The decorations are symbols used on New 
 Year’s and on Tanabata, or 7th of July festival. All are 
 exquisitely carried out. Signed, Mitsuteru; 17th cen- 
 tury. ae 
 
 1678 Kogai. Kodzuka, by Goto Kenjo; date, 16th century. 
 The design is warriors on horseback fighting at sea; 
 beautifully executed in shakudo and gold. 
 
 1679 Kogai. Kodzuka and pair of Menugi. Not signed; 
 probably made by one of Goto’s pupils. The deer and 
 grass-plants are finely chased and carved in shakudo and 
 gold. 
 
 1680 Cabinet Collection of Six Kogais, One Pair of 
 Menugi and One Kodzuka, 
 
 1. Kogai. Shakudo. Decorated 5. Kogai. Shakudo. Bamboo de- 
 with midsuhiki, or cords used sign. By Omori Mitsutatsu; 
 in putting up gifts. Made by 18th century. 
 
 Goto Renjo; 17th century. 6. Kogai. Red bronze. Toshitoku, 
 
 2. Kogai. Shakudo. Decoration is or god of longevity; 18th cen- 
 a lily. By Goto Renjo; 17th tury. 
 
 GENO ac 7. Pair of Menugi. Gold, shakudo 
 
 8. Kogai. Shakudo, Two worthies and shibuichi. | Representing 
 of bamboo groves. By Kikuchi midsuhiki, or cords for tinge 
 Joji; 18th century, gifts. By Goto Renjo; ith 
 
 4. Kogai. Shakudo and gold. A century. 
 
 falcon and a pine-tree. By Ishi- 
 guro Masayoshi; 18th century. 
 
 8. Handle, Kodzuka. Same design. 
 By Goto Renjo; 17th century, 
 
SWORD ORNAMENTS 805 
 
 1681 A Collection of Fuchi-Kashira, (The Cap 
 Ornament and Lower Band of Sword Hilts) 
 
 TWELVE SPECIMENS 
 
 1.Shakudo. Sarumawashi, or 7. Shakudo. Ducks and reeds. 
 monkey-tamer. Signed, Chora- 
 kudo. 8. Iron. Bats in gold and shibuichi. 
 2. Shibuichi. Squirrel and grapes. 9. Shibuichi. 
 
 , i Shakujo, or priest’s 
 Signed, Yasuchika. official hair-duster. By Iwa- 
 8. Shakudo. Fish and _ grasses. moto Soyei. 
 
 Signed, Konkuan. 
 ee ee 10. Shibuichi. Blossoms. By 
 4, Shibuichi. Doran, or gunpowder . H 
 bag. By N omura Masayoshi. Ziakurinken. 
 5, Bronze (yellow). Children at 11. Shakudo. Pine-trees and cows. 
 play. ot signed. By Ishiguro Masayohi. 
 
 6. Bronze. Kakemoro, or scroll eae 
 design ; inlaid work. 12. Shibuichi. 
 
 Beetles and reeds. 
 
 1682 A Collection of Fuchi-Kashira (Hilt 
 Mountings) 
 
 TWELVE SPECIMENS | 
 
 1, Shibuichi. Zinrojin and deer. 8. Shakudo. Wheat-plant. By 
 Signed, Shoznui. Yuzui. 
 2. Shibuichi. Ducks. By Tomo- 9. Bronze. Takasago couple and 
 mor monkey. By Motohiro 
 8. Shibuichi, Lotus. ; : 
 4. Iron. Pine and chesnuts. 10. acco: Masks. By Omori- 
 ochi, 
 
 5, Shakudo. ;Peony. By Otsutaka. 
 6. Shakudo. Kuge and his ser- 11. Bronze. Bamboos. By Masa- 
 
 vants. By Nobuyoshi. yoshi. 
 7. Silver. Kuannon and landscape. 12, Shibuichi. Moon and rabbits. 
 By Nagayoshi, By Harnaki Hogan. 
 
 1683 A Collection of Fuchi-Kashira (Hilt 
 Mountings) 
 
 TWELVE SPECIMENS 
 
 1, Shakudo. A warrior and Bud- mos ; 
 dhist priests, By Motosada. 7. Shakudo. Fudo on boar’s back. 
 
 2. Shibuichi, Mount Fuji. By  -8- Shibuichi. A tiger and a sage. 
 
 Harnaki Hogan. ; By Shoi. 
 
 8. Shakudo. Lion and peony. By 9. Shibuichi. A dragon anda Chi- 
 Teruhide. nese professor. By Yeishin. 
 
 4, Bronze(red). Daruma or Japanese Shibuichi 
 St, Nicholas. By Nara Masa- me trea he aed auihstorks. By 
 naga, 
 
 5. Shibuichi. Fish. By Mitsu- 11. Shakudo. Monkeys. 
 hiro. 
 
 12. Shakudo. Lion and peony. By 
 
 6. Bronze (red.) Dragon in high wWeruhide, 
 
 relief, 
 
306 GOLD ORNAMENTS 
 
 1684 A Collection ot Fuchi-Kashira (Hilt 
 Mountings) 
 
 TWELVE SPECIMENS 
 1. Shibuichi. Birds and rocks. By 7. Iron. Three wine-tasters; design 
 
 Nobuyoshi. after Tanyu. 
 2. Shakudo. Peony. By Iwamoto 8. Shibuichi. Bat and fungus. By 
 f eae i . Hogan Miurin. es 
 b-£ Lele fel rego, and -a\CRI- 9. Shibuichi, Fish and waves. By 
 
 4, Shibuichi. Passengers in a boat, ES EAE 
 and two Chinese warriors. By 10. Shakudo. Pine-tree and Benten. 
 Nobuyoshi. By Iwamoto Kuanii. 
 5. Shibuichi, A court lady and 41. Shibuichi 
 ; . Shibuichi. A war-drum, a 
 HODGE aE ta cote cea rooster and a plum-ree. By 
 
 wasa 
 ® Yoshi-masa. 
 6. Shibuichi. A warrior and spear. pce x 
 By Hironaga. 12. Shakudo. A sage writing. 
 
 1685 A Collection of Fuchi-Kashira (Hilt 
 
 Mountings) 
 TWELVE SPECIMENS 
 1. Shakudo, Book-cover decora- 7. Shibuichi. Mythological person- 
 tion. ages and atiger. By Chokuzui. 
 2. Shakudo. Owlsona tree. 8. Shibuichi. Daikoku and rice 
 . barrels. By Hamano Haru- 
 8. Shibuichi. Frog from which a chika. 
 
 human being is forming. By 9, Shibuichi. A wild dog and the 
 oma moon. By Nobuyoshi. 
 4, Shibuichi. Country scenery. By 410. Iron. A Jot of crabs. 
 
 Iwamoto Konzu. 
 . Shibuichi. Se in Kioto. 
 5. Shakudo. Chrysanthemum . Pe iehirers Mean 
 
 RGerOaE pee uit sez cere 12. Shibuichi, Lantern; form and 
 6. Iron. Pine andeagle. By Katzu- decoration of Japanese um- 
 yasu. brella. 
 
 GOLD ORNAMENTS 
 
 1687 Gold Button. Boating scene, carved in relief by 
 Shau-raku. 
 
 1688 Gold Pouch Ornament, Sitting figure, with chrysan- 
 themum flower. Made to order by Masayasu, and aclasp 
 ornament representing pomegranate and birds. Two 
 pieces. 
 
 1689 Three Gold Ornaments. Birds and floral designs. 
 
 1690 Pair of Gold Figures. Kuan-wo and Cho-hi, cele- 
 brated Chinese warriors ; after designs by Kano-isnnan- 
 obn; Japan’s greatest artist of the 16th century. Signed 
 by artist, Chitsuka Hisanori. Made at the request of 
 Takeda, esq., of Mito, province of Hitachi, 
 
GOLD ORNAMENTS 307 
 
 1691 Pair of Gold Ornaments. By Iwamoto Koukuan, of 
 Yedo, 1743-1800. Representing Fudo, god of fire. 
 
 1692 Three Gold Ornaments. Representing incense 
 burner, as hung in Buddhistic temples. 
 
 1693 Tio Gold Ornaments. God of wisdom and fruit 
 design. 
 
 1694 Elaborate Gold Pouch Ornament. The seven 
 household gods. Signed Ritsmin. 
 
 1695 Gold Slide, for Pouch, Carved and relief ornamenta- 
 tion. God of wisdom and his deer. Seal-mark of artist, 
 Katsu-nori. 
 
 1696 Three Gold Ornaments. Two representing Fudo, 
 god of fire, and the other Hotei. Signed, Ishiguro 
 Mori-naga ; date, 18th century. 
 
 1697 Pair of Gold Ornaments. Cray-fish. 
 
 1698 Two Gold Ornaments. Representing rabbits in 
 grass, etc. 
 
 1699 Two Gold Ornaments. One a group of figures 
 representing a Japanese legend, three gods of good-luck 
 offering jewels to Rius, dragon-king ; and the other in 
 design of Temple Incense bell. 
 
 1700 Two Gold Buttons. The larger one carved in relief 
 with an ancient procession, a group of figures in gro- 
 tesque masques and costumes ; smaller one ornamented 
 with figure of Kusakari (grass gatherer). 
 
 1701 Three Gold Ornaments. Two by Kuroba Katsubumi 
 illustrate an old Chinese legend; the other represents 
 figure of deity on sacred elephant, and is signed Masa. 
 
 1702 Four Gold Ornaments. Representing millet. Signed, 
 Tomei and Tomei Issai. 
 
 1703 Two Gold Figures. Buddhistic, representing 
 Rakau. 
 
 1704 Pair oft Gold Figures. Fudo in standing position, 
 holding bow and arrow. 
 
 1705 Two Gold Ornaments. One represents a group of 
 three famous Japanese poets, and the othera floral 
 design. 
 
308 JAPANESE METAL WORKS 
 
 1706 Pair of Gold Ornaments. Representing Fudo, god 
 of fire, and Tensho, goddess of sun. 
 
 1707 Gold Figure. Representing god of war. Made at 
 Shinobuga-oka, Shitaya Yedo. 
 
 1708 Cabinet of Ornaments. Comprising twenty-seven 
 fine specimens in solid gold, and seventeen specimens in 
 silver, shakudo and other metals. Sold, with ebony 
 cabinet, as forty-four pieces. 
 
 JAPANESE METAL WORKS 
 
 OBJECTS IN GOLD, SILVER, SHIBUICHI AND OTHER 
 METALS 
 
 1709 Silver Tea Jar. Ovoid shape. Finely 
 carved with karakusa or vine pat- 
 tern. Cover finely engraved and enam- 
 eled ; 18th century. Height, 744inches; 
 diameter, 4144 inches. 
 
 1710 Shibuichi Box. Gold lined; on top 
 has panel of shakudo with decoration 
 of peony, daisies and butterflies in high 
 relief in gold and silver. 
 
 1711 Perfume Box. Of shibuichi, lined 
 
 1709 with gold. The sides are engraved 
 with designs of karakusa. The top of the cover is carved 
 and inlaid with gold and shakudo in high relief, showing 
 pine, bamboo and plum blossoms, emblems of peace, 
 happiness and prosperity. Issigned by artist, Nao-sada 
 of Kishu. 
 
 1712 Ink Holder (Yatate). Plum branch, with bowl ex- 
 quisitely carved with plum blossoms, gold inlaid. Signed 
 by artist, Kiyotsuga. 
 
 1713 Silver Koro. Melon (Moko) shape, engraved with 
 diaper arabesques and geometrical designs; open-work 
 cover. By Homin, 1855. Height, 5 inches; diameter, 5 
 inches. 
 
JAPANESE METAL WORKS 309 
 
 1714 Silwer Incense Burner. (Tsurikowro). Globular 
 shape, with beautifully carved and chased open-work 
 design of crests and vines. Diameter, 6 inches. 
 
 1715 Silver Incense Burner. Sitting figure of dog Foo, 
 repoussé and chased ornamentation. Height, 4% 
 inches ; diameter, 514 inches. 
 
 1716 Silver Incense Burner. Similar to the above. 
 
 1717 Silver Incense Burner. Globular shape, on tripod. 
 Has tall Grecian handles. Fine repoussé and engraved 
 ornamentation of signs of the Zodiac; open-work 
 cover, with figure of tiger surmounting. Height, 
 744 inches; diameter, 5 inches. 
 
 1718 Silver Teapot. Bamboo design, with relief orna- 
 ments. 
 
 1719 Silver Sake Kettle. Fine repoussé and chased floral, 
 designs and Tokugawa crests. 
 
 1720 Silver Match Safe. Made of Kashira-fuchi, finely 
 carved in relief with figure of demon and grotesque 
 masks. By Shozni. 
 
 1721 Silver Pocket Shrine. Repoussé and chased, with 
 imperial crest and a coiled dragon in relief in gold. Fig- 
 ure onivory throne, Omi-kami, the god of the sun. 
 
 1722 Pocket Shrine. Mulberry- wood. With finely 
 wrought gold figure of Fudo, and his two retainers in 
 shakudo and copper bronze. 
 
 1723 Silver Miniature Figure. Dog Foo, inlaid with gold 
 and shakudo. 
 
 1724 Solid Silver Clasp. Finely wrought and carved, 
 dragon holding sacred sword in bold relief. Has secret 
 compartment or amulet holder. 
 
 1725 Silwer Koro. Handsomely en- 
 graved with vine and floral designs 
 and Tycoon’s crests in gold; dog 
 Foo heads in relief for handles; 
 open-work border and lid. Height, 
 8 inches; diameter, 844 inches. 
 
 1726 Silwer Censer. Jar shape, on 
 three low feet. Repoussé chased 
 with Greek patterns Inazuma- 
 cover of open-work design in imi- 1725. 
 tation of wicker-work, surmounted by a robin with plum 
 branch. Height, 7 inches; diameter, 3/4 inches. 
 
310 JAPANESE METAL WORKS 
 
 1727 Silwer Teapot. Hammered surface with engraved 
 dragons and clouds. 
 
 1728 Silver Box. Octagonal shape. Shakudo panel in lid 
 ornamented in relief with flowers and butterfly in gold 
 and silver. Gold lined. 
 
 1729 Perfume Box. Shibuichi. | Finely engraved ornamen- 
 tation of pine, cherry and bamboo branches in gold and 
 shakudo. Gold borders and interior. Signed by the 
 artist. 
 
 1730 Ornamental Piece. Symbolical of prosperity. 
 Shibuichi. Represents a sheaf of rice straw, on which 
 are perched a chicken, cock and hen, exquisitely 
 wrought in solid gold. Signed by Tow-yekijio. 
 
 1731 Silver Incense Burner. (Tsuri-koro). Globular 
 shape, and openwork peony design ; 18th century. 
 
 1732 Netsuke, for Inro. In silver. Shape of Bewa, a 
 Japanese musical instrument; contains medicine knife 
 with gold handle. Old specimen. 
 
 1733 Silver Perfume Box. Carved chrysanthemum de- 
 sign, with enamel leaves. Fine old specimen. 
 
 1734 Silver Perfume Box. Shape of sacred wine vessel 
 used in Buddhist temples. Repoussé engraved, and en- 
 amel decoration. 
 
 1735 Silver Incense Box. Chrysanthemum design ; carved 
 and engraved ornamentation. 
 
 1736 Incense Box. Moko shape. Finely carved with peony 
 flowers and other designs in relief. Old specimen. 
 
 1737 Silver Paper Weight. Fan shape. Hasin reliefa 
 turtle, symbol of long life. 
 
 1738 Small Vase, Silver. Hexagonal shape ; with fine open- 
 work panels, in various designs; chased and engraved 
 base and top. Height, 344inches. Old specimen. 
 
 1739 Antique Small Vase. Silver. Cylindrical shape; fine 
 open-work design of plum blossoms, with chased and 
 enamel decorations at the base andtop. Height, 3inches. 
 
 1740 Small Vase. Silver. Moko shape; open-work panels, 
 design of plum blossoms, bamboo and pine branches, 
 symbolical of peace. Height, 3 inches. Old specimen. 
 
 1741 Small Wase. Silver. Open-work panels of peony 
 design; chased decoration. Height 3 inches. Old 
 specimen. 
 
JAPANESE METAL WORKS 311 
 
 1742 Small Vase. Silver. Cylindrical shape. Finely carved 
 ornamentation of plum blossoms and pine-tree branches 
 in low relief. Height, 4 inches; 18th century. 
 
 1743 Tea Scoop. Solid silver. Finely carved with Chinese 
 landscape scene, by Kand-natsud, professor of carving 
 in the college of fine arts, Tokio. 
 
 1744 Paper Weight. In shakudo. Fan design, with orna- 
 ments in gold and silver. 
 
 1745 Silver Tray. Bamboo design, with decoration of 
 snails in shibuichi, silver and copper bronze. Length, 
 1044 inches; width, 5 inches. 
 
 1746 Silver Perfume Box. Double fan design, finely 
 carved. Top of cover in shakudo and heiro finish, with 
 Tokugawa’s crests and Ho-o and inscription carved and 
 inlaid with gold. A presentation box, symbolical of 
 prosperity, peace and happiness. Height, 4% inch; 
 length, 4 inches. 
 
 1747 Silver Wine Pot. Tall form; fine old specimen. 
 
 1748 Incense Jar. Shibuichi. Finely carved and inlaid, with 
 Ho-o bird, flowers and vines. On two silver panels, 
 in carved and inlaid work, are figure of Daruma, crow 
 on oak branch and full moonin gold, silver, shibuichi 
 and shakudo. Gold seal of maker inlaid, Masa-yoshio. 
 Height, 5 inches; diameter, 314 inches. 
 
 1749 Silver Tea Jar. Antique design, carved in relief 
 with archaic patterns ; figure of deer, in copper bronze 
 and gold, surmounting cover. Height, 544 inches; 
 diameter, 4 inches. Old specimen. 
 
 1750 Silver Wine Pot. Tall form; fine specimen; 18th 
 century. 
 
 1751 Solid Silver Vase. Double-cylinder shape. Grecian 
 design of ornamentation, which is inlaid and in relief, in 
 gold, silver, shakudo, copper bronze and enamels- 
 Height, 6 inches ; width, 4 inches. 
 
 1752 Shibuichi Box. Lined with silver. Ornamentation 
 of box in bold relief and inlaid, is composed of gold, 
 silver, shakudo and copper bronze. Onthelid is a figure 
 in rich attire performing the N6 dance, and around the 
 sides are masks, musical instruments, symbols and 
 foliage. The borders show intricate gold inlaying. This 
 box is an unusually fine specimen of artistic metal- 
 work of the 19th century. Seal of the artist inlaid, Sho- 
 min. Height, 3 inches; length, 5 inches. 
 
312 JAPANESE METAL WORKS 
 
 1753 Silver and Gold Box. Design of koban, a gold coin 
 formerly used in Japan, on the lid. Skillfully wrought in 
 high relief is a life-like stork in flight. An excellent — 
 specimen of modern workmanship. Seal of maker 
 inlaid, Hira-yama. Height, 14% inches; length, 6 inches; 
 width, 4 inches. 
 
 1754 Censer. Shibuichi. Ornamented in relief and inlaid, 
 with mask, show, flute, crests, maple-leaves and other 
 designs in gold, silver, shakudo and copper bronze. 
 Signed by the artist, Kats-shisa. Height, 6 inches; 
 diameter, 614 inches. 
 
 1755 Silwer Perfume Box. Double fan-shape. Carved 
 wave designs; top of lid in shakudo and copper bronze 
 finish, and inlaid with dragons, Ho-o and vines, in gold 
 and silver. Height, 144 inches; length, 314 inches. 
 
 1756 Gold Sectional Box. Oblong shape, with two com- 
 partments. Very finely carved ornamentation of Gre- 
 cian, geometrical and other designs. Top of cover is 
 engraved with plum blossom, bamboo and _ pine 
 branches, symbolical of peace, prosperity and happi- 
 ness. Height, 244 inches ; length, 34% inches. 
 
 1757 Perfume Box. Shibuichi. Design of sword guard. 
 Relief figures of cows and willow-tree in shakudo, silver 
 and gold. The lid is a copper bronze sword guard, with 
 a silver panel inlaid, on whichisan engraved view of 
 Mount Fuji. 
 
 1758 Silver Incense Burner. Repoussé and carved orna- 
 mentation; shakudo panels with inlaid ornamentation 
 in silver and gold. Height, 6 inches; diameter, 34 
 inches. 
 
 1759 Silver Incense Burner. Similar to the above. 
 
 1760 Silver Perfume Burner. Design of plum blossom, 
 finely wrought. 
 
 1761 Silver Box. Representing a bouquet of chrysanthemum 
 flowers in repoussé and chased, some of them finished in 
 gold and shakudo. Height, 2 inches; length, 7 inches. 
 
 1762 Gold Teapot. Hammered and repoussé ornamenta- 
 tion ; old Chinese design. Excellent workmanship and 
 unique. 
 
JAPANESE METAL WORKS 813 
 
 1763 Silver Jar. Basket design. 
 Engraved and ornamented 
 in relief, with butterflies and 
 dragon-fly in enamels. The 
 cover of chrysanthemum de- 
 sign with leaves in enamel. 
 Gold seal of maker inlaid, 
 Ishinsai. Height, 9 inches; 
 diameter, 944 inches. 
 
 1764 Silver Perfume Burner, 
 
 | Design of Hatisa flower. 
 
 ! Height, 244 inches; length, 
 
 414 inches. 
 
 1765 Perfume Burner. Similar to the above. 
 
 1766 Large Silver Vase. Globular body, with hexagonal 
 flaring neck. The body is covered with chrysanthemum 
 flowers and vines, carved in high relief. A number of 
 the flowers are finished in shakudo, and a few of them 
 in gold. The handles in relief at neck are of chrysanthe- 
 mum design. The neck is highly polished and without 
 : ornamentation; around its lower partis a band carved to 
 represent waves. This vase, although not signed, is the 
 work of a master. It shows refinement in design and 
 perfection in workmanship. Height, 11 inches ; diam- 
 eter, 744 inches. 
 
 1767 Perfume Box. Iron. Gold lined, and inlaid with gold 
 and silver. Panel of lid is ornamented with figures of 
 hermits carved in relief in gold, shakudo, shibuichi and 
 copper bronze. Seal of maker inlaid, Yoshi-buni. 
 Height, 14% inches; length, 344 inches. 
 
 1768 Silver Incense Burner. Hexagon shape, on tripod, 
 with Grecian handles. The side border panels are of 
 shibuichi, and are skillfully ornamented with figures of 
 Kanwon and legendary subjects, symbols, etc., in gold, 
 silver, shakudo and copper bronze. <A coiled dragon in 
 bold relief surmounts the cover. A masterwork by 
 Toshi-Yoshi. Height, 11 inches; diameter, 8 inches. 
 Carved stand. 
 
 1769 Silver Incense Burner. Design of lily. Very fine 
 ornamentation of flying storks and clouds carved in low 
 relief. Coverof open-work design surmounted by stork. 
 Height, 714 inches; diameter, 64 inches. Gold seal of 
 maker inlaid, Haru-aki. 
 
314 JAPANESE METAL WORKS 
 
 1770 Large Silver Koro. Design of Hotei’s treasure 
 bag. Bold repoussé and inlaid ornamentation of em- 
 pblematical floral and other designs. Feet and handles 
 are formed of symbols. Surmounting cover, in bold re- 
 lief is figure of Dai-koku, seated and holding treasure 
 in his right hand. Various portions of the ornamenta- 
 tion are finished in shakudo and inlaid with gold. 
 Height, 11 inches ; diameter, 9 inches. 
 
 1771 Silver Incense Burner. Antique design. Very fine 
 engraved ornamentation of peony flowers, vines and 
 arabesque in relief ; incised ring handles ; 18th century. 
 Height, 10 inches; diameter, 10 inches. 
 
 1772 Wsuri Koro. Insilver. Globular shape. Fine open- 
 work design of vine and chrysanthemum flowers. 
 Carved band. Height, 944 inches; diameter, 84 inches. 
 
 1773 Box. Helmet design. Silver, with gold and shakudo 
 ornamentation. 
 
 1774 Perfume Box. Design of clover leaf, ornamented in 
 relief ; emblems in gold and silver. 
 
 1775 Scent Box. Lozenge shape, intricate open-work de- 
 sign; three compartments, middle one of solid gold 
 beautifully carved. 
 
 1777 Daimio Box. Solid silver. Elepbant design; figure 
 of Japanese boy holding branch of flowers in relief, in 
 gold, silver and shakudo. Excellent workmanship. 
 Height, 144 inch; length, 4 inches. 
 
 1778 Kobako. (Incense Box.) Shakudo finish on silver 
 ground; decorated with kujaku or peacock, with out- 
 spread tail, delicately outlined with gold; refined finish. 
 Signed by artist, Masa-Nobu, with his seal-mark inlaid 
 
 with gold. Height, l inch; length, 314 inches. 
 
 1779 Tebako. (Jewelry Box.) Shakudo silver, with decora- 
 tion of figures at festival dance, finished with gold, sil- 
 ver, and shakudo in high relief; engraved on side with 
 diaper pattern in minute finish. Signed on cover by 
 artist, Higasi-Yama, with his seal-mark incised and in- 
 laid. Height, 344 inches ; length, 5% inches ; width, 214 
 inches. 
 
 1780 Koai. (Incense Box.) Silver, shakudo and gold ; deco- 
 rated (rain dragon) in medallion, the shape representing a 
 Japanese flute. The ground work of shakudo and silver 
 has the finish called is-ime, or frosted. Length, 7% 
 inches. 
 
JAPANESE METAL WORKS 315 
 
 1781 Kin-Gin-Bako. (Jewelry Box.) Gold, silver, and 
 shakudo, with shibuichi combination, the shape repre- 
 senting a kabuto, or helmet; decorated with crests, 
 birds, and India grass, heavily inlaid on copper; side 
 has decoration of butterflies and peony in various col- 
 ored metals. This style of workmanship is called zo- 
 gan. Signed by artist, Masa-Akira, with his seal-mark, 
 Height, 2 inches ; length, 64% inches ; width, 4 inches. 
 
 1782 Silver Box. The outside represents one of the old 
 legends, an acolyte meeting an imp of fire. The in- 
 terior of the cover represents one of the Day-Hanni-Ya, 
 the sacred Buddhist book, the Sibylline books of Japan, 
 being a part of the principal Buddhist prayer. The out- 
 side of the box is beautifully enameled and engraved, 
 showing nearly all of the various styles exquisitely done, 
 
 and is also inlaid with various metals, in which art 
 
 the Japanese are unequalled by any other nation. 
 
 : Despite the extent and variety of the decorations, the 
 
 whole looks simple and thoroughly harmonious, as all 
 
 Japanese works of art do. 4 inches square. 
 
 1783 Gold Box. The top is made in imitation of three 
 old kobangs, formerly the gold currency of Japan. «On 
 it reclines Daikoku, one of the Schifukujin, the 
 seven gods of wealth, with his Fukurd. He has an air 
 of ease and comfort, such ashe usually has, the face 
 showing the good humor popularly attributed to him. 
 This figure isin very finest shakudo or gold bronze, of 
 a beautiful lustrous color, which is obtained only by 
 a very large proportion of gold being used. For highly 
 artistic work the Japanese believe shakudo to be equal 
 to gold. The inside of the box isalso finished in the 
 same fine shakudo, inlaid with what are either real 
 small old kobangss or perfect imitations of them. 
 
 1784 Daikoku Shrine. Made of five old iron sword-guards 
 and ornamented with numerous sword furnishings, 
 which are wrought in gold, silver, shakudo and copper 
 bronze. In the doors in high relief are two figures, rep- 
 resenting Nid, the guardian of the shrine or temple 
 gates, and on the inside of doors an inscription shows 
 that the shrine has been dedicated to the Buddhistic 
 gods. The gold figure of Diakoku standing on tawara 
 or rice bales, which are of silver, was made by Yoshi- 
 aki, a celebrated artist of the 18th century. Height, 
 64% inches ; diameter, 34 inches. 
 
816 JAPANESE METAL WORKS 
 
 1785 Silver Incense Burner. Globu- 
 lar shape. Centre band and feet 
 carved in relief, with flying storks, 
 turtles and other designs; cover 
 of open-work design to represent 
 clouds, bold figure of dog Foo sur- 
 mounting. Height, 8 inches ; diam- 
 eter, 5% inches. 
 
 1786 Silver Koro. Shape of Hotei’s 
 treasure bag. Ornamented in relief 
 with symbolical designs in gold, 
 silver, shakudo and copper bronze ; 
 handles formed of treasure-keys; 
 cover surmounted by figure of 
 
 Daikoku. Height, 9144 inches; diameter, 61 inches. 
 
 1787 Perfume Burner. Bamboo design, engraved and 
 ' carved in relief; branch of plum blossoms on lid. Height, 
 8 inches; diameter, 3 inches. 
 
 1788 Silwer Wime Cup. Tall shape;on low foot. Crests 
 inlaid in gold and in relief; top border finely inlaid 
 with translucent enamel, gold lined. 
 
 1789 Silver Cup Stand. (Chadai) engraved with vine, 
 Karakusa designs and bears crest of Nytd. 
 
 1790 Silver Incense Burner. Gourd shape, with ring 
 handles. Engraved with karakusa and peonies. The 
 kama or spice-boiler illustrates the story of the fab- 
 ulous badger. Height, 544 inches; diameter, 5 inches. 
 
 1791 Vea Jar. Hammered silver, with fine repoussé orna- 
 mentation. Bamboo feet, and bird surmounting cover. 
 Height, 5% inches; diameter, 5 inches. 
 
 1792 Silver Tea Jar. Ovoidshape. Repoussé, chased orna- 
 mentation ; lotus flower designs. Cover formed of 
 lotus-leaf with kingfisher in relief, with wrought bronze 
 holder, basket design. 
 
 1793 Silver Incense Burner. (Chorji-furo). Gobular shape. 
 Fine repoussé carved and open-work designs in panels. 
 Surrounding lower part are chrysanthemum, cherry 
 blossoms, pine-tree, plum blossoms, peonies and lilies. 
 Handles and ornament on cover are chrysanthemum 
 flowers and branches in enamels, coral and malachite. 
 Height, 8 inches ; diameter, 6144 inches. 
 
JAPANESE METAL WORKS 317 
 
 1794 Silver Incense Burner. Low circular shape. Artisti- 
 cally carved with flying storks, and clouds effect, turtles 
 and water. Mikado’s crest inlaid in gold. Height, 
 6 inches; diameter, 7 inches. 
 
 1795 Silver Incense Burner. Tsuri-kowro. Globular 
 shape, with open-work design of peonies, vines and 
 Mikado’s crest; has cords and tassels for hanging, and 
 teakwood stand. Diameter, 544 inches. 
 
 1796 Silver Stand. For crystal ball. 
 Is raised on elephant’s trunks. Has 
 a relief floral ornamentation in gold 
 and shakudo. The underside has a 
 seal-mark in shakudo and a gold 
 inscription. Height, 734 inches; 
 diameter, 6 inches. 
 
 1797 Bronze Incense Burner. Hex- 
 agon shape, on low feet. Open-work 
 design of clouds and flying storks. 
 Attributed to 17th century. Height, 
 446 inches; diameter, 444 inches. 
 
 1798 Perfume Box. Gold and silver, exquisitely wrought 
 relief and damascened ornamentation of daimio car- 
 riage and floral designs. 2 inches by 1 inch. 
 
 1799 Box. Silver, in shape of a helmet. The upper part 
 is made of fine shakudo carved in relief, incised and 
 inlaid, with gold leaves and peony flower, surmounting 
 the top is a carved figure of dog Foo, grotesquely 
 done in copper bronze inlaid with gold. The lower part 
 represents a corselet, whichis generally in leather and 
 inlaid with metal; here it is altogether of metal in gold, 
 silver, shakudo, shibuichi, etc., a splendid imitation of 
 the real thing, and a fine piece of art in itself. In the 
 front there is another grotesque figure of the dog 
 Foo, and a gundan or war-fan, such as was used in 
 battle ; this is of fine polished iron, inlaid with various 
 jewels. The interior or box part is of silver. The 
 whole is profusely decorated with gold, and is asplendid 
 specimen of metal work, showing very nearly every 
 metal used by Japanese artisans. 
 
318 JAPANESE PIPES 
 
 1800 Solid Silver Stand. For a large crystal ball. Is in 
 form of a coiled dragon and is furnished with gold- 
 plated claws, teeth and eyes. All is exquisitely wrought. 
 Made by Hosuzan-Somin, a great modern master, and 
 bears his seal. , 
 
 JAPANESE PIPES. 
 
 1801 Pipe (Kiseru). Silver, with bamboo centre-piece ;_ 
 carved and chased ornamentation, and inlaid with gold 
 and shakudo design of figures of priest and daimios. 
 
 1802. Pipe (Kiseru). Silver, with bamboo centre-piece; 
 artistic ornamentation carved in relief ; various fishes 
 in life-like attitudes. 
 
 1803. Pipe (Kiseru). Silver and shibuichi, with inlaying 
 of gold; boldly carved design of eagle, monkeys, ete.; 
 bamboo centre-piece. 
 
 1804 Pipe (Kiseru). Silver; relief and engraved ornamenta- 
 tion inlaid with gold and shakudo; daimio figure and 
 marine view ; bamboo centre-piece. 
 
 1805 Pipe (Kiseru). Silver ;bold design of dog Foo, rocks, 
 etc., carved in relief and inJaid with gold. 
 
 1806 Pipe (Kiseru). Silver, of artistic workmanship; drag- 
 on, tiger, and water design carved in bold relief; gold 
 inlaid ; bamboo centre-piece. 
 
 1807 Pipe (Kiseru), Silver, elaborate design; ornamenta- 
 tion carved in bold relief and inlaid with gold. 
 
 1808 Pipe (Kiseru). Silver and bamboo; ornamentation 
 earved in relief and inlaid with gold; daimio figures, 
 pine-tree, etc. 
 
JAPANESE PIPES 319 
 
 1809 Pipe (Kiseru). Shibuichi and silver, with bamboo 
 center-piece; simple ornamentation of branch of plum 
 blossoms in relief in silver and gold. 
 
 1810 Pipe (Kiseru). Silver presentation pipe. Carved em- 
 blems of good wishes for long life, much happiness, ete. ; 
 inlaying of blue enamel; bamboo centre-piece. 
 
 1811 Pipe (Kiseru). Shibuichiand silver. Artistic ornamen- 
 tation inlaid and in relief ; cherry-tree in bloom, in gold 
 and shakudo ; bamboo centre-piece. 
 
 1812 Pipe (Kiseru). Silver. In each of twoshakudo panels 
 on sides are the holy temple sword in bold relief, finely 
 wrought in gold. 
 
 1813 Pipe (Kiseru). Shibuichi and silver; ornamentation 
 carved in relief; inlaid with gold, silver, shakudo and 
 copper. Gold seal of artist, inlaid. 
 
 1814 Pipe (Kiseru). Silver. Elaborate design, carved and 
 inlaid with gold chrysanthemum flowers and buds. 
 
 1815 Pipe (Kiseru). Silver, shibuichi and shakudo, en- 
 graved and inlaid with gold; lilies, blossoms, and 
 grasses, in relief. 
 
 1816 Pipe (Kiseru). Silver. Very elaborate design, carved 
 water scene, with dog Foo and rocks, in gold and 
 shakudo in bold relief. 
 
 1817 Pipe (Kiseru). Silver. Carved and inlaid ornamen- 
 tation, water scene, rising sun, and flying birds, in 
 shibuichi, gold and shakudo. 
 
 1818 Pipe (Kiseru). Silver, with bamboo centre-piece; 
 boldly carved ornamentation. 
 
 1819 Pipe (Kiseru). Silver. Chrysanthemum flowers, en- 
 graved and carved in relief ; bamboo centre. 
 
 1820 Pipe (Kiseru). Silver. Finely carved with geometri- 
 cal designs. 
 
 1821 Pipe (Kiseru). Silver, with gold mouth-piece, drag- 
 ons and clouds carved and chased; exceedingly fine 
 workmanship. 
 
 1822 Pipe (Kiseru). Silver. Crest and rabbits inlaid in 
 gold and shakudo. 
 
320 JAPANESE PIPES 
 
 1823 Pipe (Kiseru). Silver, with bamboo centre-piece; 
 engraved and inlaid ornamentation of cray-fish in 
 shakudo. 
 
 1824 Pipe (Kiseru). Silver. Boldly carved design of water 
 and dragons ; bamboo centre-piece. _ 
 
 1825 Pipe (Kiseru). Silver. Carved and inlaid with shakudo 
 and coral, representing a coral diver. 
 
 1826 Pipe (Kiseru). Silver, with bamboo centre-piece; a 
 boldly carved floral design, 
 
\IMIO POUCHES 
 
 1 et 
 
 D AND SILVER PIPES 
 
SALE, Fr1IpAY AFTERNOON, APRIL 22D 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’CLOCK 
 
 POUCHES, Etc. 
 
 1827 Pouch and Pipe-case. Made of the skin called 
 : kinkarakawa, of high quality and of great antiquity. 
 : The gold clasp attached 
 to the pouch has two 
 
 personages from Chinese Atha Pye Ly OL eeeeencie . NETSUKE 
 | history, a philosopher Pe cipeconer 
 | showing scrolls of liter- VIO 
 ature to an esteemed 4 
 ays )elalersiielalatelereea inte. © OJIME 
 
 sage. The gold back- 
 plate has the design of a 
 sacred dragon offering 
 the lost shoe, a subject 
 taken from old Chinese 1827 
 
 mythological devices. 
 
 By Yoshimori, and signed; date, 1800-1860. The gold and 
 ivory button, or netsuke, hasa coiling snake, marvelously 
 chased in gold and mounted on ivory skillfully carved 
 with lotus-leaves ; 18th century. The ojime, or slide, which 
 iscarved on coral, has a dragon design. All the chasing 
 in gold ought to be examined closely. 
 
 1828 Pouch. Made of bamboo, and has a carving of wild- 
 cat and deer. The pipe-case has a Chinese general and his 
 lieutenant, carved on bamboo stem. 
 
 1829 Pouch. Made of kinkawa skin, with carved ivory cow 
 as netsuke, and metal string with ornamentation rep- 
 resenting the Zodiae signs, chased and inlaid in gold and 
 silver. The netsuke is by Tomo-tada, and the metal- 
 work is by Shu-min, 
 
324 POUCHES 
 
 1830 Pouch. Made of karakusa (India grass) stamped skin. 
 The metal ornaments are made of silver; carved and 
 open-work of dragon. The netsuke is of carved ivory, 
 with inlaid and chased figure representing a Buddhist 
 disciple, or rakau, holding an incense-burner, from the 
 
 - smoke of which there is being created a dragon in open- 
 work ivory, skillfully inlaid with gold and silver. 
 
 1831 Pouch. Made of in-deu leather. Hasametalornament . 
 represeiting a warrior seizing a tiger. The netsuke is 
 made of carved ivory, with a pheasant chased in gold, 
 shakudo and shibuichi. The ojime is of gold and sha- 
 kudo. By Shu-raku, a noted metal-chaser. 
 
 1832 Pouch. Is of kinkara skin, and has an ornament repre- 
 senting a summer insect, called shemi, on the kiri-leaf, 
 which isa perfect piece of workmanship by Shu-raku. The 
 pipe-case is of whalebone wicker-work. The netsuke repre- 
 sents Mokugio in gold,and other Buddhistic prayer-bells in 
 ivory. The ojime is of gold, and is chased withHo-o bird. 
 
 1833 Pouch. Made of in-deu leather, and ornamented with a 
 Buddhistic water-bolder in gold, and waves in silver. 
 The netsuke is in carved ivory, and represents the col- 
 lection of symbols called Takara-dsukushi. 
 
 ? 
 
 1834 Pouch. Is of in-deu leather, and the ornaments are 
 carved ivory figures and house, by Ikko,a carver of 
 talent. The pipe-case is made of teakwood, and is in- 
 laid with an ivory decoration of Chinese seal characters. 
 
 1835 Pouch. Made of kinkara leather. Ornament is a pea- 
 cock in gold and shakudo. The pipe-case is made of 
 antique cotton fabric. The netsuke is in gold and 
 lacquer, and the ojime is in gold and silver. 
 
 1836 Pouch. Made of leather. Its ornament is in gold, and 
 represents a wild boar running. The ojime is made of 
 a green stone. 
 
 1837 Pouch. Is made of in-deu skin. On the sides it has 
 carved ivory panels, representing a favorite Japanese 
 design, sho-chiku-bai (pine, bamboo and plum-trees, 
 emblem of good-luck and longevity), storks and 
 tortoise. Its metal ornament is a relief chasing of lilies 
 and bees, in gold, shakudo and red bronze. The netsuke 
 isanivory carving, representing a pair of quail and millet, 
 executed by Oka-tomo and signed. The ojime (slide) is 
 made of ivory, with mother-of-pearl inlaid design called 
 hana-guruma (flower cart). 
 
POUCHES 825 
 
 18388 Pouch. Made of best quality of in-deu leather. The 
 ornament is in gold open-work, and represents quails 
 and various flowers and grasses, exquisitely finished. 
 The netsuke is of gold and bone called sui-giu, 
 chased and carved in relief, showing grasshopper and 
 morning glories. The ojime is by Ma-hiko. The pipe- 
 case is made of antique gold brocade. 
 
 1839 Pouch. Made ot kankara skin. Its ornament is in 
 gold and coral, and represents a dragon holding the 
 sacred jewel called hoshino-tama. The netsuke is 
 made of coral, carved with pigeon and peony, and has 
 an ivory back. The ojime, or slide, is made of gold 
 inlaid with shippo (cloisonné enamel), and it is the work 
 of Hirata, the founder of cloisonné art in Japan; date, 
 1750. Signed. 
 
 1840 Pouch. Made of in-deu leather. Its ornament is in 
 gold, and represents a Chinese professor and his young 
 student sitting near Toshi-toku (the god of good- 
 nature and longevity), an unusually fine chasing, ex- 
 ecuted by Mori-naga and signed. The netsuke, or 
 button, is in gold encased in shakudo, and represents 
 Hotei and his treasure-bag ; on the back it has takara- 
 dsukushi (symbols of treasures), and inlaying of gold and 
 other precious metals. The ojime, or slide, is of open- 
 work gold, and is a design of Zodiac symbols, finely 
 chased and carved. The whole workmanship bears close 
 examination. 
 
 1841 Pouch. Made of kinkara skin. Has silver pipe at- 
 tached. The whole mounting is made of ivory, and it 
 includes an exquisite carving of Buddha’s disciples, 
 ealled rakau, in various attitudes offering prayers, and a 
 pouch-clasp decoration representing the seven gods of 
 good-luck, called shichi-fuku-zin. The netsuke has a 
 decoration of a coiled dragon and cloud, which is full of 
 movement. All the carving will bear close inspection. 
 
 1842 Fuchi-Kashira (Sword Ornament). Tortoise. 
 Coiled snake in gold and silver. 
 
 1843 Ojime (Slide). A Chinese professor with a one-string 
 musical instrument called ichigenkin, carved in relief 
 on silver. By Shu-min. 
 
 1844 Ojime (Slide). Chrysanthemum flowers exquisitely 
 chased on silver, 
 
326 POUCHES 
 
 1845 Ojime (Slide). Iron, with gold and silver chasing, 
 legendary figure ornamentation. 
 
 1846 Ojime (Slide). Tron, with silver work representing a 
 dragon coming out of acloud. By Hide-kuni. 
 
 1847 Pouch. Made of leather called kinkawa, lined with an- 
 tique brocade silk. The mountings, netsuke and slide, are 
 made of solid gold. Pouch ornament represents a dragon 
 holding the sacred ball or jewel called Hoshi-no-tama ; 
 the slide has a decoration of a sea-king riding on a fish, 
 and the netsuke a carved and chased design of pheasants 
 and chrysanthemum flowers. Made by the metal-chaser 
 Tomo-yoshi; date, about 18th century. Is encased in a 
 carved ivory button of open-work floral design. 
 
 1848 Pouch. In kinkawa leather. Has front clasp made of 
 solid gold, representing a nobleman taking hold of a 
 Buddhist priest called Abura-bozu; by Shu-raku, and 
 signed. Has coral and ivory netsuke and gold slide; the 
 netsuke by Kahu-yu-sai, and signed. 
 
 1849 Pouch. Made of natural wood, incrusted with mother- 
 of-pearl and ivory, representing shells and a boat pulled 
 by an old man. Very grotesque piece. 
 
 1850 Pouch. Made of famous leather called in-deu, having 
 the pipe-case to match, with netsuke and ojime (slide) 
 made of solid gold. The clasp ornament of pouch, also 
 of solid gold, represents two warriors killing the animal 
 called rai-jiu (thunder animal); the back-plate made of 
 gold is ornamented with garden scenery and shows a. 
 cherry-tree struck by lightning. Is signed by Mori-naga. 
 The netsuke, which likewise is solid gold, has the design 
 of Ebisu (god of good luck) holding his favorite fish 
 taino-woowo0, and is mounted in carved ivory. The 
 ojime, also made of solid gold, represents a man holding 
 a hiotan (bottle gourd). A very choice specimen. 
 
 1851 Pouch. Made of leather called in-deu, with gold 
 mountings. The clasp of the pouch represents a deity 
 seated on an elephant; the netsuke or button, repre- 
 senting a stork before the sun is mounted in carved 
 ivory in design of tortoise, the ojime (slide) showing a 
 figure holding up a scroll of writing. These three gold 
 ornaments made and signed by Teru-hide, a talented 
 chaser of metals of Yedo (now called Tokio); much ad- 
 mired as the leading artist of the house Omori, which 
 sprang from the schools of Nara and Yokoya; date, 1750- 
 1798. An excellent specimen of his skill, 
 
POUCHES 327 
 
 1852 Pouch, Made of leather called sho-bu-kawa. The com- 
 plete ornamentations, front clasp, netsuke and ojime, all 
 made of solid gold with silver and shakudo colorings. 
 The clasp represents a sleeping fox and a female figure ; 
 the netsuke is decorated with figure of Shoki with his 
 sceptre, and the sun and moon, and is mounted in copper 
 red bronze in design of the devil’s face; the ojime shows 
 a figure making faces with his fingers. Netsuke and slide 
 made by Mori-naga, and signed. The front clasp orna- 
 ment was made by Kiyo-naga, and signed. The back- 
 plate or ornament is of solid gold, ornamented with a 
 devil (oni) carrying a bell, cherry-tree, etc. ; remarkable 
 specimen of chased workmanship. 
 
 1853 Pouch. Made of leather called shibo-san-to-me. The 
 clasp of the pouch represents two armor-clad warriors on 
 horseback, Kato-kiyomasa and his aid-de-camp, and is by 
 Sho-min. The netsuke showing a Chinese lady with her 
 court fan, standing near the Basho-tree, was made by 
 Mori-chitka, and the ojime is by Ichi-jo. 
 
 1854 Pouch. Made of kinkarakawa leather, with complete 
 ornamentations of gold, ivory and corals. The netsuke, 
 made by Jin-gioku, is a carved ivory dragon covering a 
 fine coral ball. 
 
 1855 Pouch. Made of leather called yo-do-nui; the pouch 
 clasp shows octopus holding coral-tree. The netsuke 
 represents the kokutau wood and coral-tree, and the 
 ojime is made of Hirame gold and lacquered. All made 
 by Kiku-gawa. 
 
 1856 Pouch. Made of in-deu leather and antique embroid- 
 ery ; the pouch-clasp represents Rai-fu-zin (god of wind), 
 chased and inJaid on iron with gold. The pipe-case is 
 made of leather and snakeskin with iron cap. By Mori- 
 chika and signed. 
 
 1857 Pouch, Made of komon-kawa leather, the pouch-clasp 
 made of gold representing pheasant and chrysanthemum. 
 The ojime is in form of pomegranate with crab; netsuke 
 made of gold and ivory, and representing a falcon after 
 sparrows. Made by Hide-kuni. 
 
 1858 Pouch. Made of kinkarakawa skin. The pouch-clasp 
 in gold and red bronze represents oni (devil) riding on 
 dragon-fish. By Teru-tsugu and signed, 
 
328 “POUCHES 
 
 1859 Pouch. Made of leather, with ivory pipe-case, carved 
 ornamentation of crabs, by Ko-min. 
 
 1860 Pouch. Made of leather, with ivory pipe-case, carved 
 ornamentation of monkey-tamer (saru-tsukai). 
 
 1861 Pouch. Carved wood. Decoration, a country fishing- 
 hut and a running stag in raised metal-work with gold 
 enamel, and on reverse side a pine-tree in high relief, . 
 carved on wood background; the cover has shippo 
 (cloisonné) floral ornamentation inlaid in high relief. 
 The pipe-holder carved with a demon pulling helmet off 
 the head of a warrior. Very vigorous carving. Signature 
 illegible. 
 
 1862 Pouch. The pouch inlaid with mother-of-pearl, a locust 
 in iron anda frog and morning-glory in raised lacquers. 
 Unique piece. Signed Shiki-hide. 
 
 1863 Pouch and Pipe-case. Made of the leather called in- 
 deu. The kanamono, or metal ornamentation, made of 
 solid gold, shakudo and red, or hi-iro, bronze. The design 
 of ornament is the favorite Japanese flowers called sha- 
 kuyaku and asagao, chased and carved in high relief. 
 A pair of roosters are executed in most skillful manner, 
 and bear a very close inspection. The slide, or ojime, 
 of gold, has kiku flowers carved, chased and pierced. 
 The button, or netsuke, decorated with birds and flowers 
 profusely chased and engraved. Made by Ichi-raku, a 
 celebrated chaser and sculptor of Sakai, province of 
 Izumi. Lived about 1870. , 
 
 1864 Pouch. Made of kinkara skin. The metal ornamenta- 
 tion is in design of an eagle fighting with phoenix among 
 peony and kiku flowers, and is chased and carved in high 
 relief. The ojime, or slide, made by Ma-hiko, is decorated 
 with various plants and beetles. The button, or netsuke, 
 has the design of saru-giku, or monkey chrysanthemum, 
 chased in gold. 
 
 1865 Pouch and Pipe-case, Made of in-deu leather. The 
 ornamentation of the pouch is of chrysanthemums, ex- 
 quisitely chased and carved in gold and shakudo. By 
 Nago-mune. The netsuke made of coral, with silver 
 octopus covering. 
 
POUCHES 329 
 
 1866 Pouch. Made of in-deu leather. Has gold ornameuta- 
 tion of dragon holding the sacred jewel, which is of coral. 
 The gold slide, made by Reuter, has as decoration a 
 dancing figure called Manzai, in raised gold and shakudo. 
 The netsuke is of rock coral, set in carved ivory, with 
 figures of coral divers carved in relief. 
 
 1867 Pouch. Made of leather imitating snake skin. The 
 gold ornamentation on front represents Toshi-toku, one 
 of the seven gods of good luck, and his favorite crane, 
 standing near a palm-tree (emblems of good luck), finely 
 carved and chased in high relief on gold nanako-finished 
 background, by Mori-chika. The slide, made of gold, 
 has enamel designs of kiku flowers. The ivory netsuke 
 is an elephant, carved by Koseki-sai. 
 
 1868 Pouch and Pipe-case. Made of the leather called 
 in-deu, of high quality. The solid gold ornamentation 
 on front represents one of the thirty-six geniuses of 
 Japanese poetry, sitting at his desk, composing ; the back- 
 plate has carved, in raised gold, characters taken from 
 old poems of China. The slide, made of gold, represents 
 the shishi (lion), and the netsuke is mounted with an 
 American gold coin. 
 
 1869 Pouch and Pipe-case, Made of the leather called 
 shibo-santome. The gold ornamentation of the pouch, 
 by a celebrated metal-chaser called Masa-hide, is butter- 
 fly, beetles, crabs and dragon-flies, exquisitely chased in 
 high relief. The slide, or ojime, is also made by the 
 same artist. The netsuke is of coral-colored stone, in- 
 crusted with various species of sea-shells and crabs made 
 in gold and silver. 
 
 1870 Pouch and Pipe-case. Made of kangaroo skin. The 
 gold ornament showing a mask collection, is made by the 
 celebrated artist Tenmin, and the carved ivory mask slide 
 is by Kikugawa. The button, or netsuke, is of solid gold, 
 with masks chased and incrusted in high relief, in gold, 
 red and shibuichi bronze. Made by Katsu-nori, 1800-1860. 
 
 1871 Pouch and Pipe-case. Made of shibo-gawa skin. 
 7 Pipe-case of teakwood has solid gold figures of court 
 noble and his body-servant gazing up at flying storks, 
 which are also of gold, and the back has carved ivory 
 bird-cage inlaid. The pouch has solid gold ornament 
 representing a Shinto priest offering prayer before two 
 visitors. Made by a talented chaser named Ritsu-min, 
 
 The ojime is of coral carved with pine-tree. 
 
330 POUCHES 
 
 1872 Pouch. Made of in-deu leather; has gold and shakudo 
 ornamentation of kara shishi or Chinese lion and botan 
 or peony, vigorously executed in high relief. Made by 
 Komin. The netsuke of ivory has a solid gold panel on 
 which are figures of the ancient Japanese loyalist, 
 Kusuno-ki, Masa-shige, and his aid-de-camp, finely chased 
 and carved in shakudo, shibuichiand gold. By the famous 
 chaser Hirochika. The slide has a design of shishi-ni- 
 botan to match ornament of the pouch, and was made 
 by Komin. 
 
 1873 Pouch. Made of antique silk brocade. The pouch 
 ornamental piece is of gold and silver with shakudo 
 combination, representing Japanese warrior directing his 
 lieutenant to write public notices. The netsuke is made 
 of coral, and the slide of open-work gold with enamel 
 finish. 
 
 1874 Pouch. Made of omon-indeu leather, haying solid 
 gold ornament illustrating Yontomo, Japan’s greatest 
 shogun, directing his generals to have public notices 
 written on playing cards. Made by Teumin at the age 
 of 78 years. The netsuke has kiku and suzame designs, 
 finely chased on solid gold background, and mounted in 
 ivory, carved with pierced work of chrysanthemum 
 flowers. The hanging cord is made of metal with hinges, 
 and is decorated with figures in various combinations of 
 silver, gold and other metals. Made by the noted artist, 
 Shuraku. 
 
 18 he Pouch. Made of black in-deu skin; the metal ornament 
 made of shakudo and gold, representing a boy playing 
 by the side of a sake jar. The ivory netsuke is finely 
 earved with figures of a Japanese Go player and his 
 attendant boy, Mori-nasa. 
 
 1876 Pouch or Doran. Made of in-den leather of high 
 quality. Has a solid gold ornamentation of a famous 
 design called kan-ko-dori or rooster resting on top of the 
 temple-drum (emblem of reign of great peace) chased 
 and carved with highest possible skill. The netsuke has 
 tiger design in raised gold on a solid gold background, 
 and is executed with great artistic spirit by Isshi. The 
 slide is a carved ivory lion holding sacred ball which is 
 made of coral. 
 
POUCHES 331 
 
 1877 Pouch. Made of kinkara-kawa. The pouch has a solid 
 
 gold ornament of a group of three mythical figures; the 
 centre figure is a demon exhibiting his strength. Ex- 
 quisitely chased and carved in raised gold, by a noted 
 artist, Ritsu-min. The silver back-plate, made by Teumin, 
 at the age of 73 years, shows the temple and pagoda of 
 Asakusa, Yedo. The button, made of gold with ivory 
 mounting, represents the scenery of Asakusa temple, 
 with Fuji mountain, part of Sumida bridge, and a few 
 river-boats in the distance ; the whole subject carved in 
 most artistic taste, by Shu-raku. The slide is of gold 
 with pierced design of kiku flowers. 
 
 1878 Pouch, Made of antique kinkara leather with teak- 
 
 wood pipe-case, which is incrusted with gold ornamenta- 
 tion of various daimio crests. The pouch has a solid gold 
 ornament representing a Japanese general listening to 
 his petitioner. Exquisitely chased by Ritsumin. 
 
 1879 Pouch. Made of finest antique kinkara leather. Has 
 
 solid gold front ornament. A group of old sages, with a 
 box of important documents, stand before their master, 
 and an old woman is telling her lord the contents of the 
 box. Chased by Morinaga. The netsuke, made of gold 
 with ivory mounting, is decorated with figure of Japan- 
 ese court noble playing a fuye or flute, and one of a 
 soldier. Exquisitely chased by Ritsu-min. The slide has 
 as ornament a Buddhist saint holding his miraculous 
 incense bowl from which a dragon is being created. 
 Wrought by Katsu-nori. 
 
 1880 Poueh. Made of fine quality antique kinkara leather. 
 
 The pouch has # solid gold ornament of a Chinese philos- 
 opher writing his text and holding up the sacred incense 
 burner with his left hand. Two young students are at 
 his side, one of them holding the ink-stone. The whole 
 subject is the work of Japan’s greatest metal artist 
 Hamano-shozui, the founder of Hamano school, who 
 was born 1697, and died 1769. The netsuke has a sacred 
 elephant in raised gold, finely carved and chased on 
 solid gold background by Mitsuo, and is mounted in a 
 silver ring finished in style called nunome, with minutely 
 chased work of Ho-o or bird of omen and kiri-trees 
 and leaves. The slide is gold with open-work of 
 chrysanthemums, 
 
8382 POUCHES 
 
 1881 Pouch. Madeof kinkara leather. The gold ornament 
 of pouch has the design of a procession of kuge, or 
 court noble, on horseback, accompanied by his numerous 
 servants. Is exquisitely chased by Morinago. The 
 netsuke has three gold figures. of court servants, 
 incrusted in carved ivory, and the ojime, or slide, is of 
 gold with ran flower design. 
 
 1882 Pouch. Made of antique kinkara leather. The metal 
 ornament represents a demon exhibiting his strength 
 before two spectators. Very skillfully chased by Nobu- 
 yoshi, a pupil of the great artist Hamano-masayoshi ; 18th 
 century. The gold netsuke mounted on ivory ring has a 
 Buddhistie figure, *‘sun goddess,’ and disciple, chased 
 in gold with great skill. The shibuichi slide has Ho-o and 
 peony design. 
 
 1883 Pouch. Made of antique kinkara leather. The metal 
 ornamentation, in shape of clam-shells, has a decora- 
 tion illustrating a Japanesefairy tale, called Urashina- 
 Taro, riding on his trusted tortoise, and returning from 
 his sojourn at Rin-gu or Sea-God Palace. This legend 
 is one of the oldest in the Japanese language, dating 
 back to 760. The gold and silver slide has the design of 
 Rin-gu or Sea-God Palace and various shells. The whole 
 ornamentation is the work of Ippo-sai Minkoku ; date, 
 18th century. The netsuke, made of gold and silver, 
 has as ornamentation a lobster and octopus, and is the 
 work of the same artist. 
 
 1884 Pouch. Made of antique leather, ornamented with 
 dark-colored leather on front. The gold and shakudo 
 ornamentation represents an ancient dance, called Gen- 
 roku Odori, name of Japanese period 1678,.showing 
 the style of costumes, etc., of that period, and is by 
 Tenmin. The gold netsuke, mounted on carved ivory, 
 has for subject one much admired by Japanese artists, 
 called Tsukiyoni-karasu, or moonlight night and crow, 
 executed in great taste by Mitsuo. The slide is in gold 
 and was made by Matsu-moto Ichiraku. It shows Kiri- 
 ni-Hawo, or bird of omen, and Kiri-leayes. All the metal 
 ornaments of this pouch are chased in the most artistic 
 style. 
 
 1885 Pouch. Made of the leather called Mou-atsukigawa, 
 which is quite rare in Japan. The ornament is of gold 
 and represents the celebrated Buddha statuette Daibutsu 
 
POUCHES 833 
 
 at Kamakura, and the back metal plate shows the 
 scenery of Kamakura. It is the masterpiece of the 
 great artist Yokya-soyo, who died in 1690. The netsuke 
 is of gold, decorated with a carving of Buddhist priests 
 at their prayers, on solid gold back. Itis by Gio-kuyoken. 
 The ivory attached to the netsuke was executed by Ichi- 
 yusai; date, 1800. 
 
 1886 Pouch. Made of kinkara leather. The ornament is of 
 gold, and is decorated with a collection of masks, 
 exquisitely chased in high relief. The netsuke is of gold 
 and is mounted on ivory. It represents a warrior arguing 
 with an antagonist. Not signed. 
 
 1887 Pouch. Made of in-deu leather. The ornament is 
 | gold and shows the procession of Shichi-Fuku-jin, or 
 seven gods of good luck, both on front metal and on 
 | back plate. Made by Zinracku. The ojime is of gold, 
 ' decorated with various fish, incrusted and chased in 
 high relief on gold back. By Naga-kazu. The netsuke 
 . is of coral-stone with gold shell ornamentation, mounted 
 ' on ivory, and is the work of Gen-rio-say; date, 18th 
 century. 
 
 1888 Pouch. Made of mon and in-deu leather. The front 
 gold ornament represents a scene from Japanese history: 
 a court noble playing the fuye (flute), while an old 
 warrior attempts to attack him from behind. Executed 
 by a talented metal-chaser, Teikau. Theojime, or slide, 
 hasa gold figure of a nobleman holding an official docu- 
 ment, and is by Sho-min. The pipe-case is made of 
 earved teakwood, inlaid with gold ornamentation of a 
 Buddhist saint holding a sacred incense burner. All the 
 metal chasing is finely executed, and will bear very close 
 inspection ; date, about 18th century. 
 
 1889 Pouch and Pipe-case., The metal pieces of the pouch 
 show monkey designs. The pipe-case is of ivory, carved 
 to represent a monkey and a persimmon-tree. 
 
 1890 Pouch and Pipe-case, Made of bamboo and natural 
 wood, with inlaid ornamentation of peony and geese, 
 and moon inlaid with mother-of-pearl. The pipe-case is 
 artistically inlaid with ivory, teakwood and mother-of- 
 pearl, and is by Giokumin. 
 
334 POUCHES 
 
 1891 Pouch and Pipe-holder. Made of wood carved in 
 shape of lotus-pod, and inlaid with mother-of-pearl. 
 The pipe-holder bears a figure of Toshitoku, the god of 
 longevity. 
 
 1892 Pouch, Madeof wood, with carved decoration of a frog. 
 A specimen of artistic work. : 
 
 1893 Pouch. Made of high-class in-deu leather. The front 
 ornament is of gold, and represents an elephant with 
 children at play. It is the work of a renowned chaser, 
 Moriyoshi. The slide is of gold and shakudo, and was 
 made by Hamano-shozui, the founder of Hamano school; 
 date, 1697-1769. The netsuke is of gold, chased with peony 
 and peacock, and is mounted on a carved ivory button. 
 The whole is a highly artistic specimen of chasing and 
 carving. i 
 
 1894 Pouch. Made of shibo leather. The ornament is of 
 gold, chased with a mythical personage riding on a 
 carp. The netsuke has a figure of Daikoku and rats in 
 chased gold, by Yoshi-teru. The ojime represents the 
 same subject. 
 
 1895 Pouch and Pipe-holder. Made of kinkara leather. 
 The metal-work shows a gold dragon holding a sacred 
 jewel made of coral,and is by Nao-fusa. The pipe-holder 
 is of black teakwood, is inlaid with gold most artistically 
 by Ritsumin, and has figures of three celebrated Chinese 
 warriors carved by Kiomin. 
 
 1896 Pouch. Made of natural wood. Very artistically carved 
 and inerusted by a highly esteemed sculptor, Miuko ; 
 the subject representing a monkey stealing a tobacco- 
 pouch from an old man. The netsuke is made of wood 
 carved with figure of Daruma by a tasteful artist, 
 Shumin; date, 18th century. 
 
 1897 Pouch. Made of mou, or stamped leather. All the 
 ornamental parts are of carved ivory, and they consist 
 of a collection of masks, on the pouch, netsuke and slide. 
 Not signed, but is a fine specimen of artistic carving. 
 
 1898 Pouch and Pipe-case. Has red bronze ornament of 
 Yagoro (Buddhistie figure generally found at one of the 
 outer gates of churches in Japan), with bow and arrow, on 
 a boar’s back. The ojime is of gold, and is decorated 
 with rau flowers. The pipe-case is of carved bamboo, 
 
POUCHES 335 
 
 1899 Pouch and Pipe-case. Made of kinkara leather. 
 The pipe-case is of bamboo; it is incrusted with ivory 
 and mother-of-pearl, and is carved in high relief with 
 peony and dragon-fly by Ikko. 
 
 1900 Pouch. Made of wood. Has a lacquered and incrusted 
 decoration showing tayfish and bamboo. The netsuke 
 is of ivory, carved to represent a quail, and it has a mask 
 slide attached. 
 
 1801 Pouch. Made of natural wood, incrusted with mother- 
 of-pearl and gold lacquer in a design of fir-tree and 
 chrysanthemum. The netsuke is of coral stone, and it 
 has an ivory slide attached. 
 
 1902 Pouch. Made of carved and lacquered wood. The 
 netsuke is of carved bamboo, and the ojime is of ivory. 
 
 1993 Pouch. Made of natural wood. Has an incrusted 
 design showing masks, dancing figures, helmet, cranes, 
 ete., in gold, silver and iron. The netsuke is of carved 
 wood, and represents a locust; the slide is of ivory. 
 
 1904 Pouch. Made of black hardwood called kokutan. Has 
 a carved design of ancient chateau and river scenery by 
 Mitsu-nobu. Carved figure netsuke is attached. 
 
 1905 Pouch. Made of wood in monkey and peach design, 
 well carved by Shu-o-sai. Carved wood netsuke, imitat- 
 ing old Bizen stoneware bottle. 
 
 1906 Pouch. Made of the famous kiri-wood, incrusted with 
 kiri-ni-ho-o design in ivory, mother-of-pearl and coral- 
 stones. Has carved ivory netsuke attached. This piece 
 was made by the skillful artist, Ziakuosai, at the age of 
 62 years. 
 
 1907 Pouch. Made of kiri-wood, incrusted with two old 
 men at fireside, looking at a fox running through a 
 big kettle, all finished in ivory and wood in high relief, 
 by Ziaku-osai. The netsuke is a carved lion. 
 
 1908 Pouch and Pipe-casce. Made of woodcarved with 
 sleeping flgures and a tiger, and incrusted with ivory 
 and woods by Ziaku-o at the age of 62 years. 
 
336 POUCHES 
 
 1909 Pouch and Pipe-case. Made of kiri-wood, with 
 design of Daikoku and his treasures inlaid and incrusted 
 in ivory, wood and corals. Pipe-case of carved bamboo 
 and slide of ivory are attached. Executed by Ziaku-o 
 at the age of 61 years. 
 
 1910 Pouch and Pipe-holder. Made of bamboo, carved 
 with dragon and waves, by Gioksai. 
 
 1911 Pouch and Pipe-holder. Made of lacquered wood, 
 with design of deer and maples after the style of Korin, 
 by Bunsai. 
 
 1912 Pouch and Pipe-case, Made of antique embroidered 
 silks and caryed wood, with grasshopper ornament in 
 metal. Has an iron slide attached. The metal-work is 
 by Sho-gioku. i 
 
 1913 Pouch. Made of stamped antique leather, with gold 
 button mounted on carved ivory, by Ritsamin. The gold 
 front ornamentation on the pouch has a beautifully 
 chased design of two monkeys playing near cascade. 
 The design on gold netsuke has finely chased Buddhist 
 saint and sacred dragon. 
 
 1914 Pouch and Pipe-case. Made of in-deu leather, with 
 carved black-wood figure netsuke and carved coral 
 slide attached, by Giokkci. 
 
 1915 Pouch. Made of in-deu leather. The netsuke is lac- 
 quered, and is in design of two Sho-joes standing by 
 sake jar, and drinking sake. The gold ornament and 
 the slide are by Kiku-gawa. 
 
 1916 Pouch and Pipe-case. Made of leather and carved 
 ; wood, with metal-incrusted decoration of vines and 
 frogs. 
 
 1917 Pouch and Pipe-case. Made of leather and wood. 
 The pouch has a carved stone ornament; and a cat’s-eye 
 and a bluestone incrustation of grapes decorate the 
 pipe-case. 
 
 1918 Pouch and Pipe-holder. Made of leather, with 
 earved ivory ornamentation representing a masked 
 dance. The netsuke and slide are also carved ivory, 
 design being Urashima-taro riding on a tortoise. All 
 the carvings are by Kogiokusai. 
 
POUCHES 337 
 
 1919 Pouch and Pipe-holder. Made of leather and 
 imitation bamboo lacquer, with gold ornament show- 
 ing Daikoku peeping out from the treasure-bag. 
 
 1920 Pouch and Pipe-holder. Made of antique leather. 
 The pouch ornament is of gold, chased in a design of 
 Kiri-ni-Ho-o. The netsuke is of silver and coral, in form 
 of sun and moon with flying crow. The slide is of 
 
 » shakudo and silver, in a tortoise design. Executed by 
 Kioytsugu. 
 
 1921 Pouch and Pipe-holder. Made cf leather, with 
 gold dragon and coral front ornamentation on the pouch. 
 The netsuke is made of carved blackwood, showing a 
 figure holding a coral-tree. The gold work is by Kiku- 
 gawa. 
 
 1922 Pouch, Has silverand gold repoussé work representing 
 turtle and waves. Carved ivory netsuke and stone 
 slide. 
 
 1923 Pouch and Pipe=-case. Made of leather, with re- 
 poussé work representing an enraged priest trying to 
 tear his robe, in gold, silver and shakudo. The netsuke 
 represents.a dragon, and is of pierced iron-work inlaid 
 with gold; it has metal chains attached. 
 
 1924 Pouch and Pipe-case. Made of leather, with gold 
 and silver repoussé work representing a state horse with 
 his official driver. Red-stone netsuke and gold figure 
 slide. 
 
 1925 Pouch and Pipe-case. Made of leather, with orna- 
 mentation of Shichi-fukujin, or seven gods of good- 
 luck, in gold and silver. Ivory netsuke, showing myth- 
 ical personage and a dragon finely carved. By Morinaga. 
 
 1926 Pouch and Pipe-case. Made of leather, with gold 
 ornament of dragon drawing a carriage and a sage fish- 
 ing near the bank. By Shu-raku. 
 
 1927 Pouch and Pipe-case, Made of leather, with metal 
 ornament of an armorer fixing his helmet, by Katsunori. 
 Chased metal netsuke, by Tenmin. 
 
 1928 Pouch and Pipe-case. Made of leather, with carved 
 ivory ornament, netsuke and chain cords. All are dec- 
 orated with landscupe, except the netsuke, which has a 
 parrot resting on a frame inlaid with mother-of-pearl 
 Executed by Ikko, 
 
338 POUCHES 
 
 1929 Pouch and Pipe-case. Made of leather, with gold 
 open-work front ornament representing an eagle and 
 flowers. The netsuke is a chased gold figure of a 
 Buddhist disciple offering prayers, and the slide is of 
 gold. All were made by the celebrated artist, Ichi-raku ; 
 18th century. 
 
 1930 Pouch. Made of leather, with a finely executed front 
 ornament in gold repoussé work representing birds, 
 flowers and insects. Netsuke and slide were made by 
 Ma-hiko. : 
 
 1931 Pouch. Made of leather, with a metal ornament repre- 
 senting two heroes in combat, executed by Yoshi-aki. 
 A netsuke of gold and ivory in a lion and peony design is 
 attached. 
 
 1932 Pouchand Pipe-case. The pouch is of leather, with 
 earved ivory ornament, and the pipe-case is of carved 
 bamboo. Executed by Ikko. 
 
 1933 Pouch and Pipe-case. The pouch is made of carved 
 black-wood; the pipe-case is of bamboo and is carved 
 with long-legged figure. 
 
 1934 Pouch. Has gold front ornament by Naga-mune, and 
 gold slide by Kauju. The netsuke has carp and boy in 
 gold finely chased and carved. 
 
 1935 Pouch and Pipe-case. Made of leather, with richly 
 chased and carved work representing peacock and peony, 
 by Schi-raku, who also made the gold slide. The netsuke 
 has chased gold peacock and peony mounted on carved 
 ivory. ? 
 
 1936 Pouch and Pipe-case. Made of leather, with exqui- 
 sitely chased and carved gold ornament, showing a demon 
 exhibiting his strength before his two visitors; executed 
 by Ritsamin. The carved wood and red stone netsuke 
 is by Miwa, a talented sculptor of the 18th century. 
 
 1937 Pouch and Pipe-case, Made of leather, with chased 
 and repoussé gold work representing a dragon holding a 
 sacred jewel, by Iwamo Konkuan, and a gold slide by 
 Ma-hiko. The gold netsuke shows a design of Jingo- 
 Kogu and Ogin-tenno, who once conquered Corea. 
 
 1938 Pouch and Pipe-case. Made of leather, with re- 
 poussé metal-work representing a dragon and a sea 
 queen, and also a back-plate. Executed by Cho-min at the 
 age of 65 years. The netsuke is made of coral and ivory, 
 and has an ivory slide attached, 
 
POUCHES 339 
 
 1939 Pouch and Pipe-case. Made of leather. The pouch 
 ornament is gold and represents pheasants and a peony 
 in high relief. The netsuke is of ivory, and is carved 
 with a figure holding a sake cup and a pine-tree finished 
 artistically. 
 
 1940 Pouch and Pipe-case. Madeof leather. The pouch 
 ornament is a solid gold group of ‘*‘ three wine-tasters, or 
 three great philosophers of China,” by Ritsumin. The 
 gold slide is by Shomin. The netsuke is of coral-stone on 
 silver mounting. 
 
 1941 Pouch and Pipe-case. Madeof leather. The pouch 
 ornament is of gold and its design is from Chinese his- 
 tory : Kaushin and the impudent peasant. Kaushin was 
 one of the three heroes of the Hau dynasty. When he 
 was young he was very poor but ambitious. Rather 
 than engage in a dispute with a bully in the market-place 
 and thus sully his sword, he consented to crawl between 
 the fellow’s legs. He was afterward created a prince. 
 The gold slide is by Ritsumin, and the netsuke is by 
 Mitsutoshi. 
 
 1942 Pouch and Pipe-case. Made of leather called in-deu. 
 The pouch:ornament is of gold; its design represents a 
 flute used in court dance ‘*‘ No,’ also masks and drums, 
 and is finely executed. The slide likewise is of gold. 
 Both of them are by Minkoku. The highly chased and 
 earved gold netsuke has for decoration a temple-drum, 
 and is by Ipposai Minkoku. 
 
 1943 Pouch and Pipe-case. The former is of leather, and 
 the latter is of carved ivory. The front ornament on 
 pouch represents Nio, or two mythical kings who are 
 worshiped as evil-defying gods. Not signed, but the 
 chasing is finely executed. 
 
 1944 Pouch and Pipe-case. The front ornament repre- 
 sents Benten and fisherman, and it is in gold exquisitely 
 carved and chased by Minkoku. The hinged metal cord 
 is by Shu-raku. The netsuke has Sage of Tatasago, or 
 long-lived couple, in gold finely carved. 
 
 1945 Pouch and Pipe-case. The gold ornament was made 
 by Ritsumin, and it represents a court noble dancing and 
 two sitting figures. The gold netsuke has the mask 
 Okina, by Katsu-nori. The slide is by Shu-raku. Close 
 inspection requested, 
 
840 POUCHES 
 
 1946 Pouch and Pipe-case. Made of leather. The gold 
 ornament on the pouch represents a Chinese subject 
 ealled chikurin-no-shichiken, or seven sages of bamboo 
 groves; the front-piece is by Tomo-naga, and the back 
 plate is by Shuraku. The gold slide is by Nobuhide. 
 The netsuke, which is of solid gold, is by the famous 
 chaser Hamano Shozui. The execution of all the metal- 
 work will bear critical examination. ip 
 
 1947 Pouch and Pipe-case. The pouch ornament and 
 slide are by Chokutei; the former represents a tiger and 
 his rider, skilfully chased in gold and shakudo. The net- 
 suke shows a dragon holding a sacred ball, carved in 
 ivory by Minkoku. 
 
 1948 Pouch and Pipe-case, The pouch ornament is of 
 metal, and represents Benkei trying to lifta large temple- 
 bell; it was executed by Ritsumin. The slide is by 
 Kuzui,a pupil of Shozui; 18th century. The gold net- 
 suke is by Zinraku, and has a design of shinto, a priests’ 
 dance. 
 
 1949 Pouch and Pipe-case. The pouch is of leather, and 
 its front ornament has gold figures, representing a court 
 noble arresting a Buddhist priest, executed by Tomo- 
 naga; 18th century. The pipe-case is of teakwood, and 
 it is carved and incrusted with a decoration showing a 
 meeting of three great Chinese sages, the chasing of 
 which is by Ritsumin and the carving by Yoshi-nobu. 
 The slide is of gold, and is carved with Kirini-Ho-o 
 design. 
 
 1950 Pouch and Pipe-case. Madeof leather. The pouch 
 ornament is of gold, and represents a priest asleep at 
 desk. Chased by Teikan ; 19th century. Close inspection 
 of this is invited. The netsuke has a gold ornament, 
 representing a sleeping youth, mounted on an exquisitely 
 carved ivory ring. The ojime, or slide, shows the moon 
 rising at sea, and is of gold and coral. 
 
 1951 Pouch and Pipe-case, Made of dark-green leather. 
 The pouch ornament is of solid gold, and represents 
 Jimmu Tenno, or the Emperor Jimmu, who was the first 
 humane sovereign of Japan. His accession to the throne 
 was on February 11th, 660 B.C. The chasing was done 
 by Toma-naga. The netsuke is of gold, and was made by 
 Mori-naga; 18th century. The slide, also, is of gold, 
 
POUCHES 841 
 
 1952 Pouch and Pipe-case. Made of antique kinkara 
 leather. The gold ornament of the pouch illustrates a 
 Buddhistic subject: two holy men, one of whom reads a 
 prayer, and the other holds an incense burner, from 
 which water is being created. The chasing is by Kei- 
 min, a talented artist of the 18th century. The gold net- 
 suke has for decoration a tortoise and Toshitoku most 
 delicately executed. By Minkoku; 18thcentury. Critical 
 inspection of the chasing upon this article is requested. 
 
 1953 Pouch and Pipe-case. Made of high-class in-deu 
 leather. The pouch ornament is of solid gold, and its 
 decoration illustrates a subject from early Chinese his- 
 tory: a divine personage taking a lost needle from the 
 mouth of a sacred dragon. It was executed by Mitsuo. 
 The netsuke is of gold,and illustrates a Buddhistic sub- 
 ject: two holy men offering prayers. It is most delicately 
 
 chased in high relief and mounted on carved ivory button. 
 By Haku-jitsu. The ojime, or slide, is of coral and gold, 
 and has for decoration an exquisitely chased gold Ho-o, 
 or bird of omen. 
 
 1954 Pouch and Pipe-case. Made of high quality kinkara 
 leather. This’ set has throughout most wonderfully 
 carved ivory ornamentations, of whicha close examina- 
 tion is requested. The front piece has for design the 
 seven gods of good-luck; the netsuke has the twelve 
 zodiaeal signs; the chain shows rakaus in their various 
 attifudes, and the design on pipe represents saints offer- 
 ing prayers. The carvings are by Reusho, and the metal- 
 work is by Mitsumori; 18th century. 
 
 1955 Pouch and Pipe-case. Made of valuable leather 
 called shobugawa. <A design illustrating a uwo-ni- 
 kaidsushi, or collection of fish and sea-shells, is most 
 skillfully carved upon the netsuke and the pouch orna- 
 ment. Bears close inspection. 
 
 1956 Pouch and Pipe-case. Made of high-grade leather 
 called kinkarakawa. The pouch ornament is of carved 
 ivory, and illustrates various early Chinese historic sub- 
 jects. The netsuke is decorated with carved ivory ele- 
 phant and visitors, executed by Nobu-yoshi; 18th cen- 
 tury. This set is one of the finest specimens of carved 
 ivory work, 
 
342 POUCHES 
 
 1957 Pouch and Pipe-case, Made of the skin called shibo- 
 inden. The gold clasp attached to the pouch has a design 
 of the well-known subject called ‘‘The Three Wine- 
 
 Tasters around the Sake Jar,” repre- 
 senting Buddha, Laotze and Confucius, 
 typifying the three creeds, Buddhism, 
 Taouism and Confucianism; the idea 
 being that although these creeds differ, 
 they are the result of a common inspira- 
 } tion. The back plate in gold hasa land- 
 scape design exquisitely engraved in 
 flat finish. These clasps are signed with 
 seal-mark, and probably are the work 
 of the middle of 18th century. The 
 netsuke has an incrustation of a dragon 
 carved in mother-of-pearl on coral. The 
 ojime, or slide, has a design of a carved 
 dragon on a coral-ball. The metal-work ought to be 
 closely inspected. 
 
 1957 
 
 1958 Pouch and Pipe-case. Made of an antique and valu- 
 able skin, called yodoyakawa. The name yodoya origin- 
 ated from an amateur collector, Yodoya Koan, who lived 
 in Yedo and used to make special collections of skins 
 as precious treasures. This 
 sort is said to be quite rare 
 and valuable. The gold clasp 
 attached to the pouch repre- 
 sents the famous Buddhist 
 subject called Ziu-roku- 
 rakau, or sixteen disciples, 
 mostly very thin and scan- 
 tily clad, in various attitudes. 
 
 ES ie Ip =] 
 The gold and silver back- AbD) AG FO) 
 Crop LIeros OTA S5 
 
 plate has their names en- [>>—=aAaAGS 
 graved with great perfec- TIMUR, 
 tion. By Teiko-kei-min, and 1958 
 signed; 18th century. The 
 
 gold button, or netsuke, is mounted on an ivory ring of 
 dragon form, which ring is profusely carved, and has the 
 image of Shakamuni or Buddha, the founder of Buddhism, 
 chased and carved with marvelous skill. This netsuke is 
 by Issho-sai; 18th century. The slide, or ojime, is of gold 
 in a pierced design of dragon. The covering coral-ball is 
 also an exquisite specimen of metal chasing. All the metal 
 work ought to be examined with a magnifying glass. 
 
1959 
 
 1960 
 
 1961 
 
 1962 
 
 1963 
 
 1964 
 
 1965 
 
 1966 
 
 1967 
 
 1968 
 1969 
 
 1970 
 
 1971 
 
 1972 
 
 1973 
 
 1974 
 
 1975 
 
 JAPANESE PIPES 843 
 
 JAPANESE PIPES 
 
 Pipe (Kiseru). Silver. Has chrysanthemum flower 
 designs, engraved or carved in relief. 
 
 Pipe (Kiseru). Silver. Dragons and clouds carved in 
 bold relief. 
 
 Pipe (Kiseru). Silver. Carved and inlaid design of 
 tigers, rocks and grasses, inlaid with gold and shakudo. 
 
 Pipe (Kiseru). Silver, with bamboo center. Relief 
 ornamentation, finely executed, of flying stork and 
 turtles. 
 
 Pipe (Kiseru). Silver. Carved with bold designs of 
 tiger, monkey, etc. ; bamboo center-piece. 
 
 Pipe (Kiseru). Silver. Finely carved archaic designs; 
 bamboo center-piece. 
 
 Pipe (Kiseru). Silver. Chrysanthemum flowers and 
 fan, engraved and carved in relief. Bears the Tycoon’s 
 crest. ; 
 
 Pipe (Kiseru). Silver. Engraved dragon design, and 
 inlaid with shakudo. 
 
 Pipe (Kiseru). Shibuichi, with gold mouth-piece and 
 bowl, and ivory center ; neat ornamentation of floral 
 design. 
 
 Pipe (Kiseruw). Silver. With floral crests in gold. 
 
 Pipe (Kiseru). Solid gold. Exquisitely carved orna- 
 mentation, birds, animals and flowers; bamboo center- 
 piece. 
 
 Pipe (Kiseru), Silver and shakudo. Engraved and 
 inlaid floral and crest designs, in gold, silver and copper. 
 
 Pipe (Kiseru). Solid gold. Exquisite ornamentation 
 of quail, grasses and flowers ; bamboo center-piece. 
 
 Pipe (Kiseru). Silver. Elaborate design of monkeys, 
 foliage, blossoms, wasp’s nest, etc., carved in bold relief; 
 inlaying of gold, shakudo and copper. 
 
 Pipe (Kiseru). Silver. Boldly wrought design of drag- 
 ons and water. 
 
 Pipe (Kiseru). Shibuichi and silver. Engraved chrys- 
 anthemum flower and garden birds; finely wrought in 
 relief, in gold, silver and shakudo. 
 
 Pipe (Kiseru). Solid gold. Artistically wrought; 
 flowers and grasses beautifully carved in relief, 
 
344 JAPANESE PIPES 
 
 1976 Pipe (Kiseru), Silver. Carved in high relief with dog 
 Foo, peonies, and other designs; gold inlaid. Signed, 
 Masa-fusa. 
 
 1977 Pipe (Kiseru). Silver. Inlaid in gold, shibuichi and 
 enamel ; morning-glory, grasses and butterflies. 
 
 1978 Pipe (Kiseru). Nomikuchi (mouth-piece), and gankubi 
 (tobacco bowl), made of gold, with flower and butterfly 
 chased in high relief, in silver, shakudo and copper 
 bronze. By Jitokusai, and signed. 
 
 1979 Pipe (Kiseru). Silver mounting. Bird and flower 
 chased in high relief on silver. By Masa-hiro, and signed. 
 
 1980 Pipe (Kiseru). Silver. Has chased design repre- 
 senting Japanese fairy-tales called Urashima (the Rip 
 Van Winkle of Japan) riding on the tortoise and rowing 
 to the Ringu (dragon) palace. By Masa-mitsu, and 
 signed. 
 
 1981 Pipe (Kiseru). Silver mounting. Plum-tree with 
 rising moon, snow-ball and lap-dogs in gold and silver; 
 chased in high relief. By Mitsu-haro, and signed. 
 
 1982 Pipe (Kiseru), Silver. A Chinese sage holding a 
 cup of sake under a pine-tree, a water-fall, and a boy 
 earrying hiotau (gourd holding sake) ; chased in gold and 
 silver. By Yasu-hiro, and signed. 
 
 1983 Pipe (Kiseru). Silver mounting. Dragon-fly and but- 
 terfly, with lotus flowers chased in gold, silver and sha- 
 kudo, in low relief. By Masantera, and signed. 
 
 1984 Pipe (Kiseru). Silver mounting. A kongara-doshi, 
 with mask and bell, saying prayers, and Beukei (Yoshi- 
 tsune’s famous henchman) holding up heavy bell, chased 
 in gold. iron and silver, in high relief. Joint work by 
 To-bu and Tsu-ten-Yeizui, and signed. 
 
 1985 Pipe (Kiseru). Silver. Chasing in low relief, of mai- 
 dsuru (flying storks). By Masi-nori, and signed. 
 
 1986 Pipe (Kiseru). Shibuichi and silver. Chased and in- 
 crusted in gold, silver and copper bronze; the design 
 represents the seven wise men, called shichi-kenjin. 
 Not signed. ; 
 
 1987 Pipe (Kiseru), Silver and bronze. With inlaid work 
 of various mask designs in gold, silver and shakudo. By 
 To-un-sai masi-haru, and signed. 
 
 1988 Pipe (Kiseru). Shibuichi. A Chinese sage and a tiger, 
 chased in high relief. By Yoshi-naga, and signed. 
 
JAPANESE PIPES 345 
 
 1989 Pipe (Kiseru). Silver and shibuichi. Two figures, 
 representing a monkey and a dog traveling through a 
 mountain pathway; chased work of gold, silver and 
 shakudo. By Ikkin, and signed. 
 
 1990 Pipe (Kiseru). Silver and shibuichi. Incrusted dec- 
 oration of masks, in gold, silver and shakudo. By 
 Ichajo, and signed. 
 
 1991 Pipe (Kiseru). Gold. Chased and inlaid design of 
 storks and flowers in shakudo and silver on gold ground. 
 By Ishiguro Masa-tsune, and signed. 
 
 1992 Pipe (Kiseru). Gold. Daikoku and Tositoku (two of 
 the seven gods of good luck), inlaid in high relief on 
 gold ground. Signed by Hide- aki. 
 
 1993 Pipe (Kiseru). Silver mounting. Nami-ni-koi (carp 
 and waves) decoration. By Tsuchiya Masa-haru. 
 
 1994 Pipe (Kiseru). Gold mounting. Kiku and cho-kho 
 (chrysanthemum and butterfly) design, inlaid and in- 
 erusted in gold and shakudo, in high relief. By Haru- 
 aki, and signed. 
 
 1995 Pipe (Kiseru). Silver and shibuichi. Chinese sages 
 and a cow, chased and inlaid in gold and silver. By 
 Hide-kuni, and signed. 
 
 1996 Pipe (Kiseru). Gold mounting. Quails and grass, in 
 high relief, in gold and shibuichi. By Haru-skira. 
 
 1997 Pipe (Kiseru). Gold mounting. Quails and grass, in 
 chased and inlaid finish of gold and shakudo. By Ishi- 
 guro Masa-huro, and signed. 
 
 1998 Pipe (Kiseru). Gold mounting. Quails and flowers 
 inerusted with gold and shakudo, in high relief. By 
 Ishiguro Masa-tsune. 
 
 1999 Pipe (Kiseru). Silverand shakudo. Ho-wo (birds of 
 omen) and grass and flower decoration in chased and 
 inlaid work of gold and silver, in high relief. By Masa- 
 haru. 
 
 2000 Pipe (Kiseru). Gold. An exquisite design of a Taka- 
 sago couple, with tortoise and stork. This illustrates 
 the ‘‘ Ballad of the Spirit of the Pine-tree of Takasago,” 
 which symbolizes the perfect happiness in married life. 
 A very choice piece. By Mitsu-taka. 
 
 2001 Pipe (Kiseru). Gold mounting. With butterflies 
 dragon-flies and bees; chased and inlaid with gold and 
 shakudo, in high relief. By Masa-—mitsu. 
 
846 PIPE CASES 
 
 2002 Pipe (Kiseru). Goldmounting. Chrysanthemum and 
 butterfly in shakudo and silver on gold ground; heavily 
 inlaid. By Kuni-chiki. 
 
 2003 Pipe (Kiseru). Gold. An elaborate design of cherry- 
 tree and flying birds, in gold and silver inlaid and 
 chased workmanship. A very fine specimen. By Haru- 
 akira. 
 
 2003% Pipe (Kiseru). Gold. Pheasant resting on rock, 
 flying sparrow and plum-tree, in high relief; gold and 
 shakudo. <A very fine example. By Kuni-chika. 
 
 PIPE CASES 
 
 2004 Pipe-case. Ebony, with figures of a priest and a 
 dragon in gold and silver, in relief. 
 
 2005 Pipe-case. Ivory; bird of Paradise and cherry blos- 
 som, carved in relief. 
 
 2006 Pipe-case. Bamboo; ornamented in relief with met- 
 als, stones, and enamels. 
 
 2007 Pipe-case. Bamboo; carved and inlaid work, in 
 mother-of-pearl, coral, ivory, and Japanese stones; the 
 design represents takeni-tora (association of the bamboo 
 with tiger, signifying safety). By Ikko. 
 
 2008 Pipe-case. Black-wood (kokutan); carved decoration 
 of sh6-chiku-bai (pine, bamboo and plum-trees) emble- 
 matical of longevity, rectitude and sweetness, the plum- 
 tree executed with great skill. By Yoshi-tsugu (the 
 bronze artist), and Sai-kau-sanjo (the sculptor). 
 
 2009 Pipe-case. Ivory; carved decoration of congregation 
 of rakau (Buddha’s disciples) in their various attitudes. 
 Specimen of fine carving. Not signed. 
 
 2010 Pipe-case. Ivory; the design represents the descent 
 of a Buddhist saint, and a woman holding a hishaku 
 (water-ladle), standing on a rock in the river. Signed 
 Fuji-jioso. 
 
 2011 Pipe-case. Ivory; carved design of shichi-fukujin 
 (seven gods of good luck), namely Bentei, Bishamon, 
 Daikoku, Ebisu, Fakurokujin, and Hotei. Signed 
 Torinsai Taka-yasu. 
 
PIPE CASES 347 
 
 2012 Pipe-case. Ivory; represents a rakau (Buddhist dis- 
 ciple) holding aloft an incense burner, from the smoke 
 of which a dragon is being created, in gold, chased in 
 high relief, and inlaid in ivory. A very fine piece. 
 Signed by Masa-yoshi (the metal-chaser). The ivory 
 case is by Kane-toshi, and is signed. 
 
 2013 Pipe-case. Ivory; a meeting of Chinese sennin (sages) 
 around a jur, in gold, chased in high relief, standing 
 under a pine-tree carved in ivory background. The 
 gold figures aré by Ritsu-min, and the ivory by So-ju. 
 Signed. A very fine piece. 
 
 2014 Pipe-case. Carved wood, with Chinese verses in- 
 erusted with silver inside the panels on both sides. Old 
 piece. Not signed. 
 
 2015 Pipe-case. Natural bamboo; roosters and chickens, 
 with flowers in ivory, jades and other stones, inlaid, 
 carved and incrusted on bamboo background. Full of 
 movement. By Ikko, and signed. 
 
 2016 Pipe-case. Natural bamboo. Represents a Chinese 
 design known as Boto-ni-kara-shishi, illustrating the 
 theory of the survival of the fittest. It means that 
 of the cubs which fall to the ground amongst the peony 
 plants, only the strongest succeed in rejoining their 
 mother by climbing the rocks, and thus attain maturity. 
 Carved and incrusted with gold, ivory, and corals, in 
 high relief. A remarkable carving, and full of spirit. 
 By Ikko, and signed. 
 
 2017 Pipe-case. Wood; decoration is a Japanese emperor, 
 Ojin-tenno, receiving sacred balls or jewels from the 
 dragon-king (Rinwo), carved and inlaid with corals, in 
 high relief. A very fine specimen, and full of expres- 
 sion. By Masa-nawo, and signed. 
 
+. 
 Aus 
 ’ 
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 1 
 lin 
 
 ayvu ; 
 
 RY CARVINGS 
 
SALE, SATURDAY AFTERNOON, APRIL 23D 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 O’cLocKk 
 
 JAPANESE IVORY CARVINGS. 
 
 2019 Pair of Tusks,. Carved in bold relief 
 to represent figure and landscape. A monkey 
 is being carried away by a hawk, which at- 
 tracts a huntsman ; there are people in a 
 field, aboy with fly-net, and a boating party. 
 Signed by the artist. Baseis of teak-wood 
 with gold lacquer ornamentation. Height, 
 123 inches ; diameter, 53 inches. 
 
 2020 Ivory Tusk. Floral design in gold 
 lacquer, and flowers, birds, and butterflies 
 inlaid with amber, pearl, etc. Black lacquer 
 base and stand. Height, complete, 14 
 inches ; diameter, 73 inches, 
 
 2021 Ivory Figures. Buddhist priest tries 
 to drink water, while another attempts to 
 prevent him. Signed Sheizan, End of 18th 
 century. 
 
 2022 Ivory Group. Three Chinese heroes. 
 By Toyu. 18th century. 
 
852 JAPANESE IVORY CARVINGS 
 
 2023 Ivory Group. Kuge on horseback, accompanied by three 
 retainers. By Chounsai. 18th century. A fine carving. 
 
 2024 Ivory Group. Chinese personages. Chorio offering shoe. 
 By Ikkogai. 18th century. 
 
 2025 Ivory Carving. Street beggars playing shishimai. By Zio- 
 rin. 18th century. 
 
 2026 Ivory Carving. Kanshin crawling between the legs of a 
 bully in the market-place, so as to avoid arow. A fine piece. 
 
 2027 TIvory Carving. A court noble trying to kill the-mysterious 
 female monster. By Tounsai. Beginning of 19th century. 
 
 2028 Ivory Figure. A masked dancer. By Giokkosai, 18th 
 century. 
 
 2029 Ivory Carving. A sparrow and an old woman. By Toshit- 
 sugu. 19th century. : 
 
 2030 Ivory Carving. Zinrojin and a young companion. By 
 Naomitsu. 18th century. 
 
 2031 Ivory Group. Three demons hiding under a hat from a 
 shower of rice. By Hikaku. 18th century. 
 
 2032 Ivory Carving. A young kusakari and a cow. By Masa- 
 tsugu. 18th century. 
 
 2033 Ivory Group. Animals, etc., illustrating the twelve signs of 
 the Zodiac. 18th century. 
 
 2034 Ivory Group. Demonsat play. 18th century. 
 
 20341 Iwory Carving. Chorio offering the sacred shoe to his 
 master. By Tomochika, an eminent netsuke carver of the 18th 
 century. 
 
 2035 Ivory Group. Three persons drinking sake. By Totosai. 
 18th century. 
 
 2036 Ivory Group. Beggars performing a kakubeizishi, or 
 masked dance. By Ikkosai. 18th century. ; 
 
 2037 Ivory Carving. Kuanwu and Chohi, or two Chinese war- 
 riors. By Tomochika, an eminent carver of the 18th century. 
 
 2038 Ivory Shrine. Fudo, the god of fire, exquisitely chased 
 in solid gold, stands on ivory base inside of the shrine. The 
 carving on the shrine represents Ama-rio, or rain dragons, and is 
 executed with great freedom ; the back of the shrine exhibits a 
 design of lotus leaves, flowers, and pods, artistically carved. 
 Height, 44 inches. Signed Joshosai. End of 18th century. 
 
 2039 Ivory Shrine. Design is of dragons and Buddhistic emblems, 
 
 very skillfully carved in high relief. Height, 5inches. Signed, 
 Hakujitsu. End of 18th century. 
 
2040 
 
 2041 
 
 2042 
 
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 2044 
 
 2045 
 
 2046 
 
 2047 
 
 2048 
 
 2049 
 
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 2035 
 
 JAPANESE IVORY CARVINGS 353 
 
 Ivory Figure. Ho-seen-koo,a daughter of Ho-Tai ; she car- 
 ries in her hand lotus flowers, which form her emblem. Height, 
 4 inches. 
 
 Ivory Figure. A humorous man carries a lantern, and a 
 frog is seen beneath one of his feet. An exqui- 
 site carving by Kazumichi. End of 18th century. 
 Height, 3 inches. 
 
 Ivory Carving. Fisherman and his Boy. 
 Unusually good specimen. 
 
 Ivory Group. Mountaineers, carrying bundle 
 of wood and ‘fruits, etc. By Nori-yuki. Date, 
 1800-1850. 
 
 Ivory Carving. A rakan seated on rock, hold- 
 ing incense burner on his left hand, from the smoke 
 of which a dragon is being created. Signed Masa- 
 nobu. 18th century. 
 
 Ivory Carving. Hotei and his two young companions beat- 
 ing drum and playing with fans. Artist, Ko-rin-sai, Date, about 
 1850. 
 
 Ivory Carving. Fisherman standing, with his oar and bas- 
 ket. Signed Gioka-Ju. 
 
 Ivory Group. Young girls and boy playing with fish called 
 Tako. Signed Masa-tsugu, 1800-1860. 
 
 Ivory Carving. Hotei, or god of wealth, carrying two little 
 boys. Not signed. 
 
 Ivory Group. Three figures: Shoki, skeleton boy, and 
 monkey. Not signed. 
 
 Ivory Carving. Chinese warrior and two boys, carved in 
 an artistic spirit. Full of movement. Signed, Shokiusai. Date, 
 1800-1860. 
 
 Ivory Carving. Chinese philosopher with his stag, sitting 
 on arock. Signed Takazane. Date, 1800-1840. 
 
 Ivory Carving. Group of goheikatsugi, or temple attend- 
 ants to the Shinto priest, dressed in their sacred costumes. 
 Signed, Toshi-tsugu. Date, 1800-1860. 
 
 Ivory Carving. Group of Chinese professors reading a 
 
 book to their young pupil. Not signed. 
 
 Ivory Carving. Japanese warrior taking leave of his son. 
 Signed, Masa-nitshi. 
 
 Ivory Carving. Group of Chinese philosophers enjoying a 
 cup of sake. Signed, Ono Minraku. Date, 1800-1860. 
 
354 JAPANESE IVORY CARVINGS 
 
 2056 Ivory Okimono. Representing Musashibo Benkei and 
 Ushiwaka-maru. The fight between these two celebrated per- 
 sonages is a favorite subject with the artists of Japan. Signed, 
 Masa-michi. Date, about 1810-1860. 
 
 2057 Ivory Carving. An elephant and little children playing 
 around with flutes, drums, and bells. Signed, Masa-tashi. Date 
 1840-1870. 
 
 2058 Ivory Carving. Japanese Buddhist saint Kobd-Daishi 
 offering prayers at Cape Muroto, and a dragon appearing to dis- 
 turb him. Not signed. Old specimen of carving. 
 
 2059 Ivory Carving. Group of three figures ; a mother and two 
 children. Not signed. 
 
 2060 Ivory Carving. Group of three figures, repre- 
 senting two Tengu (or mythical creatures, sup- 
 posed to inhabit lonely mountains and forests) 
 and a Japanese warrior fighting. Not signed, but 
 fine old carving. 
 
 2061 Ivory Carving. Standing figure of woman 
 dressed in Buddhist costume, carrying a basket 
 with fish. Very graceful example of ivory carving. 
 Signed, Tokusai. Date, about 1800. 
 
 2062 Ivory Carving. A group of figures, represent_ 
 ing the three wine-tasters, Buddha, Laotze, and 
 Confucius, typify three beliefs—Buddhism, Tao- 
 ism, and Confucianism. The idea is that, although 
 
 their beliefs differ in form, they are the result of a common in- 
 
 spiration. Signed Carved by To-un-he. Date attributed, 1800- 
 
 1860. 
 
 2063 Ivory Carving. A wood-chopper and his boy with their 
 
 hatchets or axes, basket, and lunch-box. Carved in most skill- 
 fulmanner. Signed, Ipposai. : 
 
 2061 
 
 2064 Ivory Carving. Group of figures representing a Chinese 
 lady with her young attendant and a Japanese nobleman play- 
 ing on a biwa (musical instrument). Not signed. 
 
 2065 Ivory Carving. Group of two soldiers, with their ancient 
 armors and with drawn swords. 
 
 2066 Ivory Carving. A court noble and Buddhist priest. Not 
 signed. 
 
 2067 Ivory Carving. Buddhist priest and a kuge (court noble). 
 
 Remarkably executed piece of carving. Signed, Shiwamura 
 Toshi-tsugu. Date, 1810-1860. 
 
2068 
 
 2069 
 
 2070 
 
 2071 
 
 JAPANESE IVORY CARVINGS 855 
 
 Ivory Group. Set of 5 carvings, namely, 8 figures, 1 
 table, and 1 chair. The subject is taken from Chinese history : 
 the emperor Sho-retsu proposing a secret alliance with the cele- 
 brated warriors Kuanwoo and Chohi, at the Garden of Peaches, 
 To-yen. Sho-retsu reigned a.p. 875. Signed, Chikuyosai Tomo- 
 chika. Date attributed, 1800-1860. 
 
 Ivory Carving. Representing ancient Chinese warrior rid- 
 ing on a kara-shishi (Chinese lion), Good carving, full of spirit. 
 Not signed. 
 
 Ivory Carving. Jurojin, or god of longevity, and tortoise. 
 Bears seal stamp of Gioku-minsai. 
 
 Ivory Carvimg. Ascending carp and children at play 
 Signed, ‘‘ Carved by To-unhé.”’ 
 
 2072 Evory Carving. Ivory carving, of legendary subject : a war- 
 g J 
 
 2073 
 
 2074 
 
 2075 
 
 2076 
 2077 
 
 2078 
 
 2079 
 
 rior with his drawn sword trying to kill a dragon. 
 
 Ivory Carving. Empress Jinko-Kogu on horseback and a 
 warrior. The chief legend connected with this famous empress 
 is that of her conquest of Korea. She ruled over Japan, a.p. 
 201-269. The piece has the seal mark of Shin-yo-sai. Date, 19th 
 century. 
 
 Ivory Carving. Giant elephant and group of persons at 
 a musical play, on and around the big animal. An exquisite 
 specimen of solid carving. Signed, Toyosai Mitsu-chika. Date, 
 1800-1860. 
 
 Ivory Carving. Representing two rival lovers meeting on 
 a rock, a subject taken from Japanese historic romance. The 
 seal-mark bears the Japanese character, Nakao. Carved by Koyo- 
 sai Nobu-chika. Date, 18th century. 
 
 Ivory Carving. Kongara-doshi (Japanese Buddhistic saint), 
 standing on a rock. Not signed, but it is an old specimen of 
 skillful carving, probably work of 17th century. 
 Ivory Carving. A warrior, trampled by a powerful antago- 
 nist, trying to throw the goban (checker-board) at him. The 
 carving is full of expression. Signed, Hoyusai. 
 
 Ivory Carving. Representing the Yama-bushi (a sect of 
 religionists or of Shingon, who practice divination and fortune- 
 telling) combating with powerful soldiers. The piece is not 
 signed, but is one of the best carvings in the collection, full of 
 vigorous expression. 
 
 Evory Group. Set of 4 figures, representing a royal prom- 
 enade of a Chinese court lady, accompanied by two bearers of 
 long-handled royal fans and one boy carrying a basketful of 
 fruits. Signed, Shc-kin-sai. Date, 1800-1860. 
 
356 
 
 2080 
 
 2081 
 
 2082 
 
 2083 
 
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 2085 
 
 2086 
 2087 
 
 2088 
 
 2089 
 
 2090 
 
 2091 
 
 2092 
 
 2093 
 2094 
 
 2095 
 
 2096 
 
 NETSUKES 
 
 Ivory Carving (Okimono), The subject illustrates a 
 Japanese historical incident : under Uji bridge, the famous war- 
 rior Gen-sammi Yorimasa and his followers, while passing, meet 
 enemy, who attempts to make an attack on the party, and fail- 
 ing in his plan receives an arrow wound from one of the war- 
 rior’s followers. The event occurred a.p. 1180. The _ piece 
 bears the signature of sculptor, Shin-kei. Date, 1800-1860. 
 
 NETSUKES. 
 
 Ivory Netsuke. God of longevity, or Toshitoku holding 
 sacred jewel. 
 
 Ivory Netsuke. An old man being shampooed. Signed, 
 Tomo-chika,. Date, about 1800. 
 
 Ivory Netsuke. A man sharpening a kama, a knife used 
 in cutting grass or rice plants. Signed, Rio-ichi. Date, about 
 1860. 
 
 Ivory Netsuke. Anangry wild boar. 
 
 Ivory Netsuke, Group of dancing children with their masks 
 on. By Ono-Rioraku. Date, 1860. 
 
 Ivory Netsuke. A man attacking a tiger. 
 
 Ivory Netsuke. Group of blind men quarreling, and a 
 woman with her child. By Ono Masa-tami. Date, about 1850. 
 
 Ivory Netsuke. Emma-O (Buddhist disciple) seizing a 
 demon. Wood-carving. 
 
 Ivory Netsuke. A doctor and his wife in ancient costumes. 
 Carved. By Cho-kei-sai. Date, 1800. 
 
 Ivory Netsuke. A Chinese boy playing with tortoise. 
 Carved. By Minkoku. Date, 1800. 
 
 Ivory Netsuke. A cow lying down. Excellent piece. By 
 the great sculptor, Tomo-tada. Date, about 1800. 
 
 Ivory Netsuke. A cow nursing a young one. Very fine and 
 characteristic piece of carving. By Tomo-tada. Date, 1800. 
 Ivory Netsuke. A cat playing with a ball. 
 
 Ivory Netsuke, Two Chinese figures. By Masatoshi. 
 Date, 1800. 
 
 Ivory Netsuke. A tiger with young one. By Tomo-tada. 
 Date, 1800. 
 
 Ivory Netsuke, A Chinese warrior. By Hongo. Date, 1800- 
 1850. 
 
NETSUKES BiWe 
 
 2097 Ivory Netsuke. A kuge (court noble) and old man. By 
 Shugiokusai. Date, 1800-1820. 
 
 2098 Ivory Netsuke, A man with dagger and acow. By Anraku. 
 Date, 1800. 
 
 2099 Ivory Netsuke. A Buddhist priest fighting with two war- 
 riors. By Ho-unsai. Date, 1800-1850. 
 
 2100 Ivory Netsuke. Benteu, holding sacred jewel and fan. 
 
 2101 Iwory Netsuke. Toshitoku and his favorite stork. 
 
 2102 Ivory Netsuke. A Chinese family in their ancient costumes. 
 By Riomin, a skillful sculptor of this century. 
 
 2103 Ivory Netsuke. A tiger resting. 
 
 2104 Ivory Netsuke. A Chinese warrior on horseback. By 
 Nagamitsu. Date, about 1800. 
 
 2105 Ivory Netsuke. A Japanese poet, one of the bards of the 
 Hyaku-nin Is-shu, or ‘‘ Century of Poets.” 
 
 2106 Ivory Netsuke. A cow, carved in wood. By Yasa-masa. 
 Date, 1810. 
 
 2107 Two Netsukes. A sandal repairer, by Shunko; and boy 
 seated on a rock, by Nobuyoshi. 18th eentury. 
 
 2108 Netsuke. Pair of roosters and a dust-pan. By Tomochita. 
 18th century. 
 
 2109 Two Netsukes. Monkey pulling an old man’s ear, by 
 Minko ; and a collection of fish, by Masahiro. 18th century. 
 
 2110 Two Netsukes, Boy witha mask, by Horin; and man mak- 
 ing a rice dumpling, by Ikkosai. 19th century. 
 
 2111 Two Netsukes. Lion and a peony, by Kagetoshi; and a 
 poetess and a screen, by Korinsai. 19th century. 
 
 2112 Two Netsukes, Two boys around a basin, by Nagazane ; 
 and a celebrated general, Kato Kiyomasa, attacking a wild tiger, 
 by Kogioksai. End of 18th century. 
 
 2113 Two Netsukes. A clam shell, inside of which is a Chinese 
 palace with numerous figures minutely carved ; and Shojo and 
 his sake jar. By Dosho. 18th century. 
 
 2114 Two Netsukes. A rakan holding his sacred incense-bow], 
 and a dragon, by Ikkosai ; and a badger at his meal, by Ikko. 
 18th century. 
 
 2115 Two Netsukes. A country family at work, by Toun; and 
 Kaushin crawling between a bully’s legs for sake of peace, by 
 Nori-shige. 18th century. 
 
358 NETSUKES 
 
 2116 Two Netsukes. A man at play, by Shigemasa; and court 
 lady and attendants, by Minkoku. 18th century. 
 
 2117 Two Netsukes, Blind man lifting heavy weight, by Tomo- 
 chika ; and a demon on a drum, by Kikuchika. 18th century. 
 
 2118 Two Netsukes, Yebisu and tai fish, by Ikko ; and group of 
 actors in a ferry-boat. 18th century. 
 
 2119 Two Netsukes. A group of travelers in a ferry-boat. A 
 noble and his wife. By To-unsai. 19th century. 
 
 2120 Two Netsukes. Group of animals, representing the signs 
 of the Zodiac, by Kinriosai ; and Chinese warriors in combat, 
 carved around the ivory slide, by Hatchiku. 18th century. 
 
 2121 Iwory Netsuke. Emma putting his saber through a hat, 
 under which a demon hides. By Hidemasa. 18th century. 
 
 2122 Ivory Netsuke, Two mythical personages wrestling. By 
 Jiukei. 18th century. 
 
 2123 Ivory Netsuke. Group of three Chinese personages. By 
 Giokuhosai. 18th century. 
 
 2124 Two Netsukes,. Two boys after fruit ; and collection of sea 
 shells. By Giokuhosai. 18th century. 
 
 2125 Two Netsukes, Two wild boars, by Raumin; and an 
 eagle holding a fox, by Tomochika.. 18th century. 
 
 2126 Two Netsukes,. Group of animals, showing the signs of the 
 Zodiac, by Giokuhosai; and collection of Buddhistic treasures. 
 18th century. 
 
 2127 Two Netsukes, A monkey riding on a gourd, by Masahiro ; 
 and a rooster and millet. 18th century. 
 
 2128 Netsuke. A demon surprised. By Issai. 18th century. 
 
 2129 Netsuke. Hotei and children at play. 19th century. 
 
 2130 Netsuke, Takasago couple. By Ikkosai. 18th century. 
 
 2131 Two Netsukes. Two rabbits, and group of a lion and two 
 bears. By Tomochika. 18th century, 
 
 2132 Two Netsukes. A dog at play, by Shunkosia; and a wolf 
 andamonkey. 18th century. 
 
 2133 Two Netsukes. Group of two monkeys, by Togioku ; and a 
 dog, by Waraku. 18th century. 
 
 2134 Two Netsukes. A monkey hunting a flea, by Ranichi ; and 
 a priest and Mokugio. 18th century. 
 
NETSUKES 359 
 
 2135 Two Netsukes. Mother and children, by Minkoku; and a 
 boy on a cow’s back, and a driver. 18th century. 
 
 2136 Two Netsukes,. Group of three figures on horseback, and 
 two soldiers killing a deer. 18th century. 
 
 2137 Two Netsukes,. An old man and a goat, and a couple of 
 ancient Chinese nobles. 18th century. 
 
 2138 Two Netsukes. Country mansion by ariver, by Kagetoshi; 
 and group of three figures on a boat. 18th century. 
 
 2139 Two Netsukes,. Lion anda boy, and aman at table. 18th 
 century. 
 
 2140 Two Netsukes. A Nioandhis straw sandal, 
 GS and Daruma and two boys. 
 iS 
 vey <—, 2141 Two Netsukes. Two demons after fish, and 
 “2 an angel and a drum. By Genriosai. 18th cen- 
 
 FS) tury. 
 
 ) Wy 2142 Three Netsukes. A Shinto priest and his 
 son, a wood-chopper and his wife, by Jorin; and 
 
 2142 Sarumawashi and his monkey, by Kozan. 18th 
 century. 
 
 2143 Two Netsukes, Boys ata water jar, and monkey on astag’s 
 back. 
 
 2144 Two Netsukes. Students at play, and demons and a chal- 
 dron. 
 
 2145 Two Netsukes. A No dancer, by Genriosai; 18th century ; 
 and arakan, or holy man. 
 
 2146 Two Netsukes, A tiger, by Hakurin ; 
 18th century ; and a man with spectacles. 
 
 2147 Two Netsukes, The roaring tiger, by 
 Otomitsu ; 18th century; and a man on 
 deer. 
 
 2148 Two Netsukes. UCoiling dragons, by 
 Tomochika; 18th century. 
 
 2149 Two Netsukes. Two deer, and a traveling beggar. 
 
 2150 Three Netsukes. Mask of Okame, by Rinmin ; mask of 
 Okame, by Kosai, 19th century ; and mask of Okina. 
 
 2151 Two Netsukes. Collection of eight masks, and collection of 
 six masks. 
 
 2152 Two Netsukes. Collection of seven masks, and collection 
 of twelve masks. By Haku-unsai. 19th century. 
 
360 NETSUKES 
 
 2153 Two Netsukes,. Collection of five masks, and collection of 
 six masks. By Haku-unsai. 19th century. 
 
 2154 Two Netsukes. Collection of seven masks. By Kikugawa. 
 18th century. Collection of two masks, and toys. By Haku- 
 unsai. 19th century. . 
 
 2155 Netsuke. A father and his son playing Go. Signed Norishige. 
 18th century. 
 
 2156 Two Netsukes, A boy, and a treasure bag incrusted with 
 mother-of-pearl and metals; and a blind man lifting heavy 
 weight. By Tomochika. 18th century. 
 
 2157 Two Netsukes. A demon carrying a bag, inside of which a 
 small house is carved ; anda boy carrying a basket. By Minkoku. 
 18th century. 
 
 2158 Two Netsukes,. Anoldman carrying a bundle, and amonkey 
 on a pine-tree. 
 
 2159 Two Netsukes. A tiger. 18thcentury. Collection of fish. 
 
 2160 Two Netsukes. A monkey on a pine-tree, and a cook pre- 
 paring kamaboko. By Takamasa. 18th century. 
 
 2161 Wwo Netsukes. Emma and demons, anda Chinese professor 
 and his student. By Minkoku. 18th century. 
 
 2162 Two Netsukes. A monkey with his 
 fore hands at his ears, and two dogs. 
 
 2163 Two Netsukes. A rooster, by Knaigio- 
 kusai; and two dogs at play, by Morinaga. 
 19th century. 
 
 2164 Netsuke. A collection of fish and sea- 
 shells. By Seichoku. 
 
 2165 Two Netsukes. Rooster on drum, from which two chickens 
 are coming forth, by Shuraku ; and one in form of dispatch box, 
 inlaid with mother-of-pearl, by Hozintsu. 19th century. 
 
 2166 Two Netsukes, A frog ona lotus-leaf. Round form, carved 
 with Zurojin on stork’s back. 
 
 2167 Two Netsukes, ‘Travelers in ferry-boat, chased in gold 
 and inlaid in ivory ; and arakan, chased in bronze and mounted 
 in ivory button. 
 
 2168 Two Netsukes, Grass and grasshopper ; chased in gold and 
 mounted in carved ivory button. Dragon and waves ; carved and 
 pierced in ivory button. By Kogiokusai. 19th century. 
 
 2169 Two Netsukes. Group of costumed rabbits at prayers; 
 chased on bronze, in gold and silver, and mounted on ivory cary- 
 ing. A woman driving away a demon by throwing beans at 
 him ; carved in gold. By Giokurin. 
 
 2163 
 
MINIATURE MASKS 361 
 
 2170 Netsuke. A mythical personage with sacred fire-ball; carved 
 in ivory, mounted on iron, and incased in blue-stone. 
 
 2171 Netsake. Kirin; carved and chased in gold; incased in black 
 carved wood. 
 
 2172 Netsuke. Collection of precious objects ; carved in ivory and 
 incrusted with coral. 
 
 2173 Netsuke. Carved figure, in black and coral stone. 
 
 2174 Netsuke, Lacquered figures on coral stone. 
 
 NETSUKES (CARVED WOOD). 
 
 2175 Two Netsukes (Carved Wood). A demon and his hat, 
 18th century ; and a bee-hive. 
 
 2176 Two Netsukes (Carved Wood). A sennin anda cow; 
 and cat and octopus at war. 17th century. 
 
 2177 Netsuke (Wood), Coiling snake. 17th century. 
 
 2178 Two Netsukes. Rooster on drum; by Tomokazu ; 18th 
 century ; ararespecimen. A gourd, carved with lion and peony. 
 
 2179 Netsuke. Shape of a bottle. Carved with Tokugawa’s crest 
 and a dragon, and has ivory stopper attached. Executed by 
 Kozan at the age of sixty-five years. 18th century. 
 
 2180 Hotei. Carved and lacquered in tsuishu or cinnabar style. 
 Rare and fine piece. 18th century. 
 
 2181 Group of five Monkeys. Carved in wood. By Shuo. 
 19th ceutury. 
 
 MINIATURE MASKS. 
 
 2182 Two Miniature 
 Masks. One by 
 Deme-Uman, a cele- 
 brated master of the 
 17th century, and the 
 other by Hidemasa, 18th 
 century. Very rare. 
 
 2183 Two Miniature Masks. Oneof Okame by Shukoko, and 
 the other by Shumin. 18th century. 
 
 2184 Miniature Mask. (Hannia.) 17th century. 
 2185 Group of nine Masks. 18th century. 
 2186 Group of eight Masks. 18th century. 
 
362 IVORY PIPE-CASES 
 
 2187 Group of nine Masks, Beginning of 19th century. 
 
 2188 Two Miniature Masks. 17th century. 
 
 2189 Two Miniature Masks, 19th century. ; 
 
 2190 Group of five Turtles. 18th century. A very rare spec- 
 imen. . 
 
 2191 Wood Carving. A mask carver at work. By Miwa, a cele- 
 brated sculptor of the 18th century. 
 
 2192 Wood Carving, An elephant and boys. By Minkoku. 18th 
 century. : 
 
 2193 Wood Carving. A female wood-carrier and a cow. By 
 Teigetsu. 18thcentury. Rare specimen. 
 
 2194 Wood Carving. Gama sennin anda toad. By Tadanabu. 
 18th century. ; 
 
 IVORY PIPE-CASES. 
 
 2195 Ivory Pipe-Case. Carved ornamentation, a fishmonger 
 resting. By Omin. Date, 19th century. 
 
 2196 Ivory Pipe-Case. A hunter and his hound. Carved by 
 Yashu. Date, 19th century. 
 
 2197 Ivory Pipe-Case. Carved ornamentation, a messenger in 
 ancient costume. 
 
 2198 Ivory Pipe-Case. Carved ornamentation representing a 
 carpenter sawing the nose of Tenguno-men. Signed, Kawamoto. 
 
 2199 Ivory Pipe-Case. Carved design representing Buddhist 
 rakan (disciple) and his demon servant. Not signed. A fine 
 specimen, 
 
 2200 Ivory Pipe-Case, Carved ornamentation representing 
 Daikoku playing with mice. By Konan. Date, about 1840. 
 
 2201 Ivory Pipe-Case, Carved with scene representing two 
 Japanese warriors fighting with spear and bow and arrows. Full 
 of movement. By Ogioku. Date, about 1840. 
 
 2202 Carved Ivory Pipe-Case. Kato Kiyomasa, the famous 
 Japanese invader of Corea, in the 16th century, slaying a tiger, 
 after the beast had bitten his hand. Signed, Kikugawa Masa- 
 mitsu. A fine carving. Date, 1800—1850. 
 
 2203 Carved Ivory Pipe-Case. A yamabushi or Shingon 
 sect priest, reading a dispatch, while his enemy listens. Signed, 
 Seisai. Dated, 1800-1840. ; 
 
 2204 Carved Ivory Pipe-Case. A gathering of Chinese phi- 
 losophers and artists, and Chinese verses. By Sen-rei. 19th 
 century. 
 
MISCELLANEOUS 363 
 
 MISCELLANEOUS. 
 
 2205 Ivory Case for Tea Jar. Finely colored and polished. 
 18th century (beginning). 
 
 2206 Ivory Natsume, or Tea Jar. Beautiful patina. Lacquered 
 crest of Kiri, in gold. 18th century. 
 
 2207 Gold Shrine. Nashiji lacquered. Has three carved images 
 (Fudo and his worshipers). The inside of the shrine is exqui- 
 sitely lacquered with Buddhist emblems, lotus flowers, etc. 17th 
 century. 
 
 2208 Gold Shrine, Smaller. Has solid gold chased image of eight- 
 handed Kuannon seated on lotus flowers. 17th century. 
 
 2209 Bronze Back. Representing monkey 
 stretching up his hands and sitting on a leaf. 
 
 2210 Imecense Box, Carved in wood; represent- 
 ing Hotei appearing from his bag. Artistic- 
 ally executed and full of expression. Signed, 
 Itsumin. 18th century (end). 
 
 2211 Perfume Box. Made of bronze called 
 sahari, which is highly esteemed among the 
 tea-club (Chanoyu) members in Japan on ac- 
 count of rarity and beauty of its patina. Height, 
 1} inches, including cover; diameter, 2} inches. Date,16th century. 
 
 2212 Gong (Dora). Made of antique bronze. Generally used in 
 Buddhist churches both in Japan and China: it has a soft, long, 
 lasting sound, being made of bronze of high grade. Diameter, 
 8tinches. Date, 15-16th century. 
 
 2210 
 
SALE, Monpay AFTERNOON, APRIL 25TH 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 0’CLOOK 
 
 INROS, OR MEDICINE BOXES 
 
 2213 Inro. Ivory, ornamented with carving of pine grove, mountain 
 scenery, etc. Carved wood mask for netsuke, silver slide. 
 
 2214 Enro. Silver, with outer case of iron; open-work design 
 ? 9 p 5 
 (amariu) and damascened ornamentation. 
 
 2215 Imro. Carved wood, with designs of various seal characters 
 carved on jades and Kakutan wood ; it has a pattern of wicker- 
 work finely carved, bearing the signature of the artist, Do-Raku- 
 sai Nobu-uji. The netsuke is of carved ivory, and represents a 
 group of claws. Date, 18th century. 
 
 2216 Inmro. Gold lacquer, with cherry-tree and blossoms in relief. 
 Date, early part of 18th century. 
 
 2217 Inmro. Black lacquer, design of locks and keys on both sides in 
 mother-of-pearl, skilfully inlaid, and with heavy gold ornamenta- 
 tion, bearing the signature cf Kaji Kawa, the founder of his 
 school, 17th century (latter part). Coral netsuke, turquoise slide. 
 
 2218 Inro. Black lacquer, design represents a dam in mother-of- 
 pearl and lead skillfully inlaid, made after the style of Korin. 
 The netsuke is a carved ivory cuttle-fish on lotus-leaf. 
 
 2219 Imro. Carved wood, inlaid with shibayama work ; on one side 
 the symbol Jin (long life) inlaid, and on other side butterflies. 
 Netsuke designed by Hana-busa Itcho, and carved by Kozan. 
 
 2220 Emro. Natural wood ; on one side, inlead, a deer ; and on the 
 other, in pottery, a Chinese professor ; both inlaid in a most 
 artistic manner. Netsuke in same work as the inro, after the 
 style of the great artist Ritsuo ; metal slide, incrusted with jewels. 
 Date, 17th century. 
 
 2221 Imro. Gold lacquer ; in miniature ; turtle design, with coral 
 inlaying. 
 
368 INROS, OR MEDICINE BOXES 
 
 2222 Imro. Gold lacquer; peacock and peahen decoration, and 
 cherry trees inlaid with mother-of-pearl. Netsuke of ivory, carved 
 head of shishi (lion’s head); agate ojime, with signature 
 “ Jo-Ka.” 
 
 2223 Imro. Red lacquer; crow and magnolia decoration, with gold 
 and pearl inlaying, finished in artistic style. 
 
 2224 Inro. Shippo (cloisonné enamel) work on black lacquer, with 
 lilies in panel very minutely inlaid with fine wirework. Old iron 
 helmet netsuke ; ivory slide. Date, end of 18th century. 
 
 2225 Imro,. Gold nasiji, with chrysanthemum flowers on both sides. 
 Gold lacquer netsuke decorated with horses and cherry tree. By 
 the artist Kwan sho-sai. Solid gold ojime (slide), with howo bird 
 carving. Date, 18th century. 
 
 2226 Imro. Gold lacquer; decoration is of plum blossom and tree 
 on both sides. Carved wood netsuke in shape of clam, show- 
 ing a house finely carved inside the shell. Date, end of 17th 
 century. 
 
 2227 Inro. Black lacquer, with decoration of umiya (arrows), ka- 
 buts (helmets), and umi (bow), in red lacquer and heavy gold, 
 highly finished. The netsuke is of zokoku carving, in shape of a 
 lion. Date, 18th century. 
 
 2228 Imro. Gold lacquer; carved wood netsuke (tiger), and enamel 
 ojime (slide), bearing the signature of Ho-Kio Korin. 
 
 2229 Imro. Black lacquer, decorated with old temple building in 
 gold and red lacquer on both sides. The netsuke is of carved 
 wood in shape of onigawara (ornamental tile), having signature 
 Ran-ko engraved ; metal slide. 
 
 2230 Imro. Steel-colored lacquer, decorated with various crests ; 
 bears the signature Mioe-kwaisha Kwansai ; hasinsidecase. The 
 netsuke is a lacquered and carved piece in frog design; carved ~ 
 slide ; Bun-sei period, 1818-1833. 
 
 2231 Imro. Bronze, with inside case in four sections ; design of 
 Toshitoku (god of longevity) on one side, and Japanese character 
 “¢ Jin’ (long life) on the other, in open work ; has the seal mark 
 Yasuchika. Date, 18th century. The netsukeis a carved ivory 
 monkey ; slide is of amber. 
 
 2232 Imro,. Black lacquer; decorated with a Japanese sheep’s-head 
 fish and shells, inlaid with pearls and porcelain. Lacquered net- 
 suke; stone slide. 
 
 2233 Imro. Iron, decorated with botan flowers (peony) and butter- 
 
 flies in heavy gold, shakudo, and silver. Lacquered netsuke 
 bearing the signatures of Sho-zan and Shibayama ; stone slide. 
 
2234 
 
 2235 
 
 2236 
 
 2237 
 
 2238 
 
 2239 
 
 2240 
 
 2241 
 
 2242 
 
 2243 
 
 Z244 
 
 2249 
 
 INROS, OR MEDICINE BOXES 369 
 
 Inro. Lacquered ; hasa carved figure of a Chinese professor. 
 Carved wood figure netsuke, with coral attached ; slide of gold 
 stone. Date, 18th century. 
 
 Inmro. Lacquered; inlaid decoration of saru-kiku (chrysanthe- 
 mums) in finely carved pearls on one side, and rooster on the other; 
 the inside rims have engraved designs, and the bottom bears the 
 signature Kio-hei. The netsuke is of gold lacquer, with fine 
 decoration of pines and storks ; the slide is of gold. Date, 18th 
 century. 
 
 Inro. Gold hirame nasiji lacquer ; decorated with quails and 
 chrysanthemums, and bears the signature of Kaji-kawa. Ivory 
 and coral netsuke ; metal slide. Date, 18th century (early part). 
 
 Imro,. Gold lacquer, made after the style of Korin. Porcelain 
 netsuke showing pine cone with trees; gold slide. Date, 18th 
 century. 
 
 Imro. Red lacquer; decorated with bears and pines in gold on 
 red lacquer. Ivory netsuke, showing a group of two figures and 
 lion. Date, 18th century. 
 
 Imro. Gold lacquer; decorated with monkey on one tree and 
 birds on another. Ivory netsuke ; cloisonné slide. 
 
 Imro. Tsuishu (carved red lacquer) ; design, a landscape mi- 
 nutely carved by Kurokawa Masahide of Kiyo (Nagasaki). The 
 netsuke is an ivory carving of figures passing over a bridge, by 
 Kwaigioku-sai and Masa-tsugu. Both the inro and the netsuke 
 are excellent works of these famous artists. 
 
 Imro. Black lacquer, with fan design in gold; inside finish 
 is of fine gold lacquer called Fundame, a very high quality. 
 Netsuke of carved ivory, by Sho-unsai. 
 
 Imro. Gold lacquer on black and brown ground, with decora- 
 tion of waves and rocks below the overhanging cloud, finely ex- 
 ecuted in flat gold leaves. The inside case has five sections deco- 
 rated with weeping willow trees. The netsuke is of carved wood; 
 slide of agate. 
 
 Inmro. Carved wood, decorated with birds resting on trees, 
 and inlaid with pearls and jades. Ivory netsuke and slide. 
 
 Imro. Black lacquer, decorated with fish on both sides, and in- 
 laid with mother-of-pearl in sea-weed design. Tsuishu lacquered 
 netsuke ; carved ivory slide. 
 
 Inro. Wood, having five small chests of drawers inside, and 
 inlaid metal ornamentation of masks. Carved wood mask net- 
 suke ; bronze slide. 
 
370 INROS, OR MEDICINE BOXES 
 
 2246 Imro. Brown lacquer, in single section, representing a box 
 with hinges and lock. Carved ivory netsuke, by Jingioku ; ex- 
 cellent carving of figure ; cloisonné enamel slide. 
 
 2247 Imro. Gold lacquer, decorated with storks and eagle. Carved 
 wood netsuke, figure holding a piece of coral ; metal ojime (slide). 
 
 2248 Imro. Black lacquer, decorated with wild boar and pine trees 
 in gold and silver. Carved wood netsuke ; ivory slide, represent- 
 ing lotus with moving seeds. : 
 
 2249 Imro. Black lacquer, decorated with a number of monkeys in 
 different attitudes. Carved wood netsuke ; ivory slide (rabbit). 
 
 2250 Imro. Black lacquer, decorated with howo birds resting on 
 tree, finished in heavy gold. Carved ivory netsuke of storks and 
 pine-trees design, and bearing the signature, Gioku Sinsai ; ivory 
 slide. ; 
 
 2251 Imro. Black lacquer, decorated with temple drum and rooster, 
 inlaid with mother-of-pearl and gold ornamentation, bearing in 
 gold letters the signature of Hayashi To-ho at the age of eighty 
 years. Ivory netsuke ; red stone slide. 
 
 2252 Imro. Gold lacquer; the decoration is an elephant in exqui- 
 sitely carved mother-of-pearl, with red lacquer ornamented saddle 
 and small stooping figure on the back ; inro bears the signature 
 of Riu-hei, in gold letters. Ivory netsuke with figure and fish ; 
 has the signature Ho-Gioku on the bottom. Slide of carved and 
 inlaid ivory. 
 
 2253 Imro. Gold lacquer in one section; decoration of Cha-no-yu 
 dogu (tea ceremonial utensils), painted very skilfully. Tsuishu 
 carved netsuke, showing fox resting on round stand ; gold stone 
 slide. Date, 18th century. ! 
 
 2254 Imro. Black lacquer, decorated with pine-tree and shemi 
 (summer-worm) in inlaid work, and made by Tsuchida Soyetsu 
 at the age of seventy-eight years. Carved nut netsuke ; ivory 
 slide. Date, 17th century. 
 
 2255 Box, inlaid with various stones, jewels, and shells, and executed 
 with great care on peculiar wood. <A rare specimen of this kind. 
 
 2256 Imro, or medicine box, in natural wood, inlaid with ivory and 
 mother-of-pearl ; lacquered netsuke and ivory slide. Inro by 
 Ho-Rin. 
 
 2257 EImro. Innashiji Jacquer; fans in gold and shu (imperial red) 
 lacquer, decorated on both sides, the subject signifying emblem 
 of happiness and long life. By Jo-ka-sai. 17th century. - 
 
 2258 Imro. In gold lacquer, decorated with kaya grass and mika- 
 tsuki, or half moon, in silver, the inside finished in the style 
 called heijim (flat gold grains) lacquer. Netsuke made of tuishu 
 lacquer, has coral ojime. Early 18th century. 
 
2259 
 
 2260 
 
 2261 
 
 2262 
 
 2263 
 
 2264 
 
 2265 
 
 2266 
 
 2267 
 
 2268 
 
 2269 
 
 INROS, OR MEDICINE BOXES 871 
 
 Inro. In gold lacquer, decorated with dragon rising from 
 cloud, in metal inlaid work ; the netsuke carved with dragon 
 and cloud, and the ojime made of open-work gold. Inro by 
 Jo-sen-sai, and metal work by Mitsu-toshi. 
 
 Imro. In gold lacquer, decorated with dragon in silver and 
 black lacquer. Netsuke, a group of masks, and the ojime a horse 
 in iron and gold, and is the work of Tomo-nobu. 
 
 Inmro,. In black lacquer, decorated with a country house in- 
 crusted in mother-of-pearl and raised powdered gold lacquer. 
 Work of Tsu-chida Soyetsu, an artist in lacquer of the first rank, 
 pupil of Koyetsu. Date, 17th century. Has bronze netsuke and 
 slide attached. 
 
 Inro. In lacquer incrusted with mother-of-pearl, finished in 
 the style called raden lacquer, or incrustation of mother-of- 
 pearl, which is inlaid smoothly and level with the surface of the 
 lacquer. The interior decorated with Tanzaku and Shikishi 
 (special papers used for writing verses). Rare specimen. Signed 
 by Kin-koku, with seal mark. The netsuke, which is carved 
 with asa-gawo (morning glory), with silver butterfly inlaid, made 
 by Giokuho-sai. 
 
 Inro. Decorated with carved figure of Buddhist disciple and 
 tiger, in carved and lacquered wood. Ivory netsuke. 
 
 Inmro. Im gold lacquer, decorated with peacocks and peony in 
 raised gold and mother-of-pearl. Signed Jo-ka, with seal mark. 
 Netsuke and ojime attached. 
 
 Imro. In black lacquer, decorated with peony and dog Foo 
 in raised gold and mother-of-pearl. With netsuke and slide. 
 Imro. In black lacquer ; decoration, dragon-flies and butterflies 
 in raised gold and red lacquer. The netsuke made of cinnabar 
 lacquer. 
 
 Inro. Ingold lacquer; decoration, landscape with maple and 
 pine trees in raised gold, with fine nashiji lacquer inside.. The 
 netsuke made of ivory carved with squirrel and grapes. Not 
 signed, but fine piece. 
 
 Inro. In black lacquer, with carved wood netsuke and metal 
 slide. The decoration of inro is landscape and moon, of very 
 refined execution; fine nashiji interior. By Koma-Korin of 
 school of Koma, 17th century. 
 
 Inro. In gold lacquer. The decoration, Mount Fuji and 
 rising dragon in gold powdered lacquer, and silver grains covering 
 top of Fuji. A fine piece of the work by Koma-Kwansai, a 
 lacquer artist of talent. End of 18th century, Has metal work 
 netsuke and slide, 
 
372 
 2270 
 
 2271 
 
 VT 
 Z273 
 2274 
 2275 
 2276 
 
 R277 
 
 2278 
 
 2279 
 
 2280 
 
 INROS, OR MEDICINE BOXES 
 
 EImro. In goldlacquer. The decoration, astudio, screen, flower 
 
 stand, writing brush and ink-stone in raised gold lacquer and 
 tsuishu finish, on powdered gold lacquer ground. Signed by 
 Yasu-nari. Netsuke and slide attached. 
 
 Inro, In Makiye gold lacquer. The decoration, storks in various 
 
 flying attitudes, lacquered in black and silver powdered lacquers 
 on delicately traced grounds of pine trees. One of the authentic 
 works of the great artist in lacquer, Koma-Kinhaku, the founder 
 of Koma school. Date, early 17th century. With netsuke 
 carved with monkey and mushroom in wood and stone, slide 
 attached. 
 
 Inro. Smallsize. The decoration is chrysanthemums in gold 
 and mother-of-pearl on fine powdered gold lacquer. Signed 
 Kakosai. Has ivory carved netsuke and stone slide. 
 
 Inro, With carved wood netsuke and metal slide. The inro 
 has the outer case decorated with flat incrustations of mother-of- 
 pearl and chrysanthemums in finely traced gold. 
 
 Inro. In gold lacquer, with ivory netsuke and slide. Inro dec- 
 orated with cherry flowers in raised gold lacquer and silver. 
 Signed Kaji-kawa. Netsuke by Masa-tomo. 
 
 Inro, In Tsuikoku lacquer on Tsuishu background, with 
 carved and lacquered wood netsuke and yeiraku porcelain slide. 
 Inro decorated with landscape. Signed Cho-kwan. 
 
 Inro. Inroin Tsuishu lacquer, with Tsuishu netsuke and lacquer 
 
 slide. The inrois decorated with chrysanthemums in various 
 stages of bloom. An exquisite specimen of cinnabar lacquer. 
 Netsuke by Yo-sei. 
 
 Inro. In bronze, decorated with birds and dragon-fly. Signed 
 Masa-mitsu. Bronze netsuke. 
 
 Inro. Ingold lacquer, with ivory netsuke and slide. Decora- 
 tion of inro, Shoki, or the guardian of temple, seizing Oni 
 (demon), incrusted in shakudo with gold, silver and red bronze 
 finishing, on raised gold lacquer ground. Signed Bai-riu. Net- 
 suke by Yei-ko. ; 
 
 Inro, In gold lacquer, with wood netsuke incrusted with Kiri 
 crest in gold and coral slide. The inro decorated with landscape 
 and with waterfall scenery, delicately executed in fine raised 
 gold lacquer. Signed Kaji-Kawa. 
 
 Imro. In bronze and shibuichi, in double case, with metal net- 
 suke and slide. The inro inlaid with Toshitoku (god of longey- 
 ity) riding on his favorite bird Tsuru, in shakudo and gold. 
 
2281 
 
 22S? 
 
 2283 
 
 2284 
 
 2285 
 
 2286 
 
 2287 
 
 2288 
 
 INROS, OR MEDICINE BOXES 373 
 
 Inro. In Nashiji gold lacquer, with lacquer and carved wood, 
 netsuke and cinnabarslide. Inro decorated with storks in silver 
 and black lacquer on Nashiji background. An old and fine 
 piece. Signed Koma Kinhaku. 
 
 Inro. In ivory, with pipe case and carved wood slide. Inro 
 decorated with carved dragons among cloud and waves. 
 
 EImro. In Nashiji lacquer, with ivory netsuke and stone slide ; 
 inro decorated with peacock exquisitely finished in raised gold 
 lacquer and inlaid with fine pieces of mother-of-pearl on Nashiji 
 lacquer background. The design of peacock is from the work 
 of celebrated artist Ho-gau Yeisen and signed. Inro by Kan-sho- 
 sai. 
 
 Inro. In black and gold lacquer, with outer case of cinnabar 
 lacquer, netsuke and jewel inlaid gold slide. Inro is decorated 
 with roosters and chickens, delicately lacquered on black pol- 
 ished lacquer, the outer case decorated with maple leaves 
 (Momiji) in flat and raised gold incrustation on gold lacquer 
 background. 
 
 Imro. In gold Makiye lacquer, with ivory Shibayama inlaid 
 netsuke. Inro decorated profusely with chrysanthemum flowers 
 in various stages ; the insideis finished with flat gold grains called 
 Giobu-Nasahiji. Signed Kaji-kawa. 
 
 Imro. In powdered gold lacquer, with carved wood netsuke 
 and ivory slide. Inro decorated with Kusakari (a young grass 
 gatherer) on cow’s back, finished in black lacquer with gold 
 tracing on powdered gold background, and on reversed side 
 weeping willow near running stream, with half moon appearing 
 above. Not signed, but fine specimen. 
 
 Inro. In powdered gold lacquer, with gold lacquer netsuke and 
 metal slide. Inro with incrusted design of a Chinese artist paint- 
 ing cloud, from the ink of which a dragon is being created ; the 
 figure and dragon are in raised gold and incrusted in gold and 
 bronze metals on powdered gold ground. The metal work by 
 Kuzui, a great artist in metal-work of the 18th century and a 
 pupil of Hamano Shozui. The lacquer by Hasegawa and signed. 
 The inside of inro is finished in costly lacquering called Giobu- 
 Nashiji. Very valuable specimen. 
 
 Inmro, In gold lacquer, with ivory carved turtle netsuke, and 
 metal openwork slide. Inro decorated with landscape and sail- 
 ing junks seen in far distance ; the whole scenery is finished in 
 the highest perfection in raised gold lacquer on flat gold incrusta- 
 tion and fine powdered gold jacquer background. Signed, 
 Kuan-ko Kajikawa Bun-rin-sai (made by Imperial Court artist 
 Kajikawa Bun-rin-sai), Date, middle of the 18th century. 
 
374 INROS, OR MEDICINE BOXES 
 
 2289 Imro. In gold powdered lacquer, with long netsuke and cloi- 
 sonne enamel slide. The inro decorated with quails and pine- 
 trees in raised and incrusted gold grain lacquer, finished in a skil- 
 ful manner. Signed, Joka-sai, a lacquerer of talent. Date, end 
 of the 17th century. The netsuke by Kuan-sai is full of expres- 
 sion. 
 
 2290 Imro. In gold and red lacquer with cinnabar netsuke and stone 
 slide. The inro decorated with tiger, bamboo, and dragon on 
 fine powdered gold lacquer with outer case of red lacquer. 
 
 2291 Imro. In lacquer, with bronze basket-work netsuke and carved 
 slide. Inro decorated with chrysanthemum bouquet arranged in 
 flower-pot resting on lacquer stand, in raised gold and inlaid 
 mother-of-pearl, on flat incrusted gold background, Signed 
 Koma-Yasutaka. 
 
 2292 Imro. In ivory, with crackled faience netsuke. Inro carved 
 with the design of rising moon and sun and waves. Simple and 
 artistic piece. 
 
 2293 Imro. In black lacquer, with ivory netsuke and slide. Inro 
 decorated with chrysanthemum and butterfly in raised gold and 
 incrustation of mother-of-pearl. Pearl work by Kin-chiku. 
 
 2294 Imro. In black lacquer, with ivory netsuke and stone slide. 
 Inro decorated with floral design in raised gold lacqner and 
 mother-of-pearl, bearing the signature of Kajikawa. 
 
 2295 Imro. In black lacquer, with cinnabar netsuke and gold slide. 
 Inro inlaid with fish in mother-of-pearl, and in raised gold lac- 
 quer. Signed To-gi. 
 
 2296 Imro. In gold lacquer, with ivory netsuke and metal slide. 
 Inro decorated with scenery of Kioto and its environ in raised 
 gold and flat incrusted gold lacquer. Signed Shun-ko-sai. 
 
 2297 Imro. Incinnabar lacquer, with bronze drum-shaped netsuke 
 and cinnabar slide. Inro boldly carved with dragon and clouds. 
 A very powerful specimen of carving. 
 
 2298 Emro. Gold lacquer, decorated with peacock and pine-tree in 
 high relief and inlaid with mother-of-pearl. Lacquer netsuke, 
 openwork metal slide. 
 
 2299 EImro. Gold lacquer, decorated with landscape in fine gold, and 
 inside finished with nasiji gold lacquer. Carved wood netsuke, 
 having the signature of Komin, a sculptor of 18th century. Ivory 
 slide. 
 
 2300 Inro. Gold lacquer, decorated with house and figures raised in 
 
 -gold, and inside in nasiji finish. Carved ivory netsuke and slide. 
 
INROS, OR MEDICINE BOXES BYé) 
 
 2301 Enro. Black lacquer, decorated with dancing figure and shaku 
 yaku fiower in cinnabar lacquer, gold, and mother-of-pearl, ex- 
 quisitely inlaid. Signed by Kwan-sho-sai, with his seal-mark in- 
 gold. The netsuke is made of carved wood, in shape of a bag, 
 decorated with coral, gold, and malachite ; carved slide. 
 
 2302 Imro. Black lacquer ; decorated with chrysanthemums and fan 
 in fine gold, and bearing signature of Kaji Kawa, with his seal- 
 mark. Has netsuke of carved and lacquered work called tsuiko- 
 ku (black lacquer carving), and lacquered slide. Date, 18th cen- 
 tury. 
 
 2303 Inro. Gold lacquer, with landscape design, the trees and rocks 
 finished in high relief and delicately inlaid ; has fine nasiji lac- 
 quer inside. The netsuke is of carved ivory in shape of half of a 
 peach on the stem, having spider inside ; metal slide. Date, 18th 
 century. 
 
 2304 Imro. Black lacquer ; design of lotus and aquatic plant in high 
 
 relief and artistically executed ; has nasiji finish inside. Lacquer 
 
 : netsuke, with gold ornamentation of dog Foo playing ; ivory 
 slide of two children under cover. 
 
 2305 Inro. Cinnabar lacquer, with carved decoration illustrating a 
 
 man dreaming of demons. Netsuke, a carved and lacquered 
 
 wood figure in court dress ; has seal-pouch of antique brocade ; 
 two metal slides. 
 
 2306 Imro. Gold lacquer ; landscape and waterfall, in high quality of 
 gold ; has seyen compartments ; fine inside finish of nasiji lac- 
 quer. A very rare specimen. 
 
 2307 Imro. Gold lacquer, landscape with temple buildings finished 
 minutely and in high relief; inside finished with giobu-nasiji. 
 Has signature of Kaji Kawa. Lacquer netsuke in shape of 
 Japanese junk, and metal slide, made by the famous artist Ten- 
 min, and bearing his seal- mark. 
 
 2308 Enro. Goldlacquer. Represents waterfall, pine-tree, nobleman, 
 his body-guard holding his sword, and a woodman resting, in 
 inlaid metals. Signed by artist, Kaji Kawa. Has a very fine 
 carved turtle. Netsuke of tortoise shell, and an iron slide with 
 zogan finish, 
 
 2309 Inro. Gold; very finely finished. Design of court carriage, deli- 
 cately decorated with gold lacquers of various shades, and inlaid 
 with flying storks in mother-of-pearl and steel-colored lacquer. 
 Signed by Kaji Kawa, Has wooden netsuke inlaid with iron 
 ornament of Shoki (dispeller of evil spirits), 
 
376 
 2310 
 
 INROS, OR MEDICINE BOXES 
 
 Inro. Gold lacquer; elaborate decoration of elephant in carved 
 ivory, inlaid with pearls of various colors, by Shibayama ; 
 and children at play, signed by Sho-mo-sai. Carved ivory 
 netsuke of elephant. Signed by Shibayama; slide of lacquer, 
 inlaid with ivory, coral, and mother-of-pearl. 
 
 2311 Imro. Carved ivory; elaborately inlaid with mother-of-pearl in 
 
 2312 
 
 2313 
 
 2314 
 
 2315 
 
 2316 
 
 2317 
 
 2318 
 
 design of group of dog Foo, and flowers ; rock and waterfall of 
 tortoise shell, exquisitely finished. Netsuke of gold lacquer, 
 inlaid with ivory medallion with decoration of parrot; metal 
 slide of dancing figure. 
 
 Imro. Carved ivory; zodiac design, representing the twelve 
 months, carved in high relief, exquisitely executed. Carved 
 ivory netsuke, bearing incised signature of the artist, Tomochika. 
 Coral slide. A very fine example. 
 
 Inro. Silver, withbronze case. The case is decorated with a 
 lobster in gold and fishes inshakudo and silver. The inro has an 
 engraved decoration of a waterfall and a carp ascending the fall, 
 symbol of great ambition. Bears Nomura-Masa-Hide’s seal- 
 mark. Has carved peach-nut netsuke, illustrating zodiac ; design 
 by Toriusai-Kozan ; silver open-work slide. 
 
 Inro. Bronze,in jar shape; design of shojo drinking sake, 
 executed in various metals, by artist Gioku-rinken-Hamano, 
 Nobuyosi. Has netsuke of carved wood by a noted sculptor, 
 Masa-Kazu, and a slide of shojo in gold and iron. 
 
 Inro. Damascened lacquer, with chrysanthemum flower, and 
 profusely decorated in lacquer of various colors. Bears signature 
 of the noted artist Koma-Korin. Silver netsuke in shape of 
 crest, and fine gold slide with signature of Masa-Kazu. <A very 
 fine specimen. 
 
 Inro,. Metal, birds and floral decoration, inlaid with gold, sil- 
 ver, and shakudo. Signed by Hamano-Nobuchika. Made by 
 that artist at the age of sixty-three. Has netsuke of ivory and 
 metal in design of butterfly, and a stone slide. . 
 
 Imro,. Gold lacquer; decoration of Fujiyama and dragon 
 inlaid with mother-of-pearl and gold. Has gold lacquer netsuke, 
 and malachite slide. 
 
 Inro. Gold lacquer; decoration represents an ancient court- 
 dance, and is finished in fine gold of various shades. Gold lac- 
 quer netsuke and ivory slide. 
 
A COLLECTION OF COMBS 377 
 
 A COLLECTION OF COMBS. 
 
 2319 A Collection of Decorated Combs, in lacquer, ivory, 
 and tortoise-shell, etc. 
 
 1 Comb. Makiye or powdered gold lacquer, with flowers, buds, 
 and leaves incrusted in gold and mother-of-pearl. By Sozinu. 
 18th century. 
 
 2 Comb. Makiye or powdered gold lacquer, with chrysan- 
 themums in raised gold lacquer. The comb is of high-grade 
 tortoise-shell. 18th century. 
 
 3 Comb. Makiye or powdered gold lacquer, with a collection 
 of precious ornaments in raised gold. Date, 18th century. 
 
 4 Comb. Red lacquer or tsuishu, with carved decoration of 
 fans, gourd, and a number of precious ornaments, Date, 
 7th century. 
 
 5 Comb. Black lacquer, with lilies in powdered gold, and flat 
 gold-leaf finish on a finely polished surface. Signed, Kaji- 
 | kawa. Date, 18th century. 
 
 6 Comb. Ivory, with finely powdered gold makiye finish. 
 Nanten tree lacquered in red. Signed, Shinsai. Date, 18th 
 century. 
 
 7% Comb. Makiye or powdered gold lacquer, with incrustation 
 of mother-of-pearl on gold-lacquered chrysanthemum ; deco- 
 rated on gold and over the pearl inlaying. Date, 18th century. 
 Signed, Saito, and has seal-mark. 
 
 8 Comb. Carved wood, with dragon holding the sacred jewel, 
 exquisitely carved ; the face of the dragon is full of expres- 
 sion. Signature, Nomura Motomitsu, is penciled in gold 
 lacquer. Date, 18th century. 
 
 9 Comb. Aventurine lacquer, with embellishment of fern and 
 snail delicately sketched over the nashijilacquer. The back 
 is made to imitate bamboo joints. Signed in gold lacquer, 
 Zitokusai, an artist of the 18th century. 
 
 10 Comb. Gold lacquer, with embellishment of an inro; the 
 netsuke is in form of a rabbit, and the slide is of coral. All 
 is finely lacquered. Signed Kiyusai. Date, 19th century. 
 
 11 Comb. Aventurine gold lacquer, with kira and vine orna- 
 mentation in flat and powdered gold lacquer on nashiji back- 
 ground. Date, 17th century. 
 
378 
 
 A COLLECTION OF SAKE CUPS 
 
 12 Comb. Black lacquer, with an ornamental design of vari- 
 ous ancient tiles, lacquered in gold on finely drawn patterns 
 of waves and fret-work in gold. Date, 17th century. 
 
 13 Comb. Black lacquer, with slight treatment of aventurine 
 gold lacquer; decorated over the nashiji with two crests of 
 Tokugawa and flowery vines. Date, 18th century. 
 
 14 Comb. Green lacquer, with moon in black lacquer ; deco- 
 rated with chrysanthemum and other flowers in finely pow- 
 dered gold over green lacquer background. A specimen of 
 soft andrefined treatment. Date, 18th century. 
 
 15 Comb. Black lacquer, with finely powdered gold, showing 
 a river, in which the reflection of the moon is seen, firebugs 
 flying among the reeds, and a bamboo breakwater. Date, 18th 
 century. : 
 
 16 Comb. Gold lacquer, with embellishment of a pheasant 
 resting on a cherry tree, delicately penciled in finely pow- 
 dered gold. Date, 19th century. 
 
 17 Comb. Gold lacquer ; decorated with a most delicately ex- 
 ecuted scene near Yeddo Bay, sailing junks, and houses on 
 the beach, over which design a part of a large cherry tree and 
 the lcwer part of a paper temple lantern are laid on in gold. 
 Date, 19th century. 
 
 18 Comb. Gold lacquer, with three flying cranes boldly drawn 
 in raised gold lacquer on makiye ground. Date, 19th century. 
 
 19-20 Two Combs, Gold lacquer ; decorated with landscape, 
 panel and medallion designs. 
 
 21-24 Four Combs, Gold lacquer, with decorations of vari- 
 ous seaside views and houses. 
 
 A COLLECTION OF SAKE CUPS. 
 
 2320 Sake or Wine Cup. Red lacquer, with a daimio’s pleas- 
 
 ure junk and ariver bank beautifully painted in gold lacquer. 
 Diameter, 3: inches. Signed Shozan. Date, end of 18th century. 
 
 2321 Sake Cup. Red lacquer, with a seaside temple, and also sail_ 
 
 ing junks seen in the distance, painted in gold. Diameter, 4 
 inches. Signed Giokumin. Date, 18th century. 
 
 2322 Sake Cup. Red lacquer, with embellishment of a takaradsku- 
 
 shi, or collection of precious articles, profusely painted in gold 
 both on inside and on outside, Diameter, 5inches. Date, 18th 
 century. 
 
JAPANESE LACQUERS 379 
 
 2323 Sake Cup. Powdered gold lacquer on inside, and aventurine 
 
 2324 
 
 lacquer on outside. The decoration inside is of Mount Fuji and 
 pine-trees in finely powdered gold lacquer, with small flakes of 
 gold. On the outside a pine-tree in raised gold, Diameter, 4 
 inches. Date, 17th century. 
 
 Sake Cup. Powdered gold lacquer inside, and aventurine 
 lacquer outside. Mount Fuji and a pine-tree are painted on in- 
 side, anda bamboo on outside. Diameter, 4, inches. Date, 17th 
 century. 
 
 JAPANESE LACQUERS. 
 
 2325 Perfume Box (Kogo). The shape represents Japanese 
 
 books. Black lacquer on top, and powdered gold ina dull tone 
 on sides. The decoration on the top is a sea-shore scenery with 
 houses and sailing junks beautifully penciled. The inside finish 
 isin aventurine lacquer. Height, 1} inches ; length, 4% inches ; 
 width, 32 inches. 19th century. 
 
 2326 Perfume Box (Kogo). Round form. Gold lacquer, deco- 
 
 ' rated with fans in various forms ; the inside is finished in nashiji 
 
 lacquer. Height, 2 inches ; diameter, 3}inches. 19th century. 
 
 2327 Perfume Box (Kogo). Double-square shape. One of the 
 
 two parts is decorated with landscapes on top and sides, in vari- 
 ous gradations of powdered gold lacquer ; and the other part with 
 acollection of crests in gold on black lacquer ground on top and 
 side. The back of the cover has a rural scene beautifully exe- 
 cuted in various gold lacquers, and the interior of the box is 
 decorated with large flakes of leaf-gold on nashiji lacquer. 
 Height, 13 inches ; length, 4 inches; width, 31 inches, 19th cen- 
 tury. 
 
 2328 Perfume Box (Kogo),. Round form; lacquered to imitate 
 
 wood. The edge around the cover is decorated with flakes of 
 leaf-gold ; the back of the cover hasa design of water-lily and 
 wooden bridge delicately inlaid with mother-of-pearl, and lac- 
 quered with gold on background of hirame nashiji. Height, 1} 
 inches; diameter, 3$inches. 18th century (end), 
 
 2329 Perfume Box (Kogo). Round form. Has small tray. 
 
 The decoration of chrysanthemum on top of the cover is deli- 
 cately executed on nashiji ground. The tray shows seaside 
 houses beautifully painted in gold lacquer, after the old school 
 of Chinese landscape painting. Height, 2} inches ; diameter, 3} 
 inches. 17th century. 
 
380 
 
 JAPANESE LACQUERS 
 
 2330 Perfume Box (Kogo). Square form. Black lacquer. — 
 
 Decorated with a design called namini-chidori or waves, and 
 chidori birds finished in polished lacquer, the birds being in low 
 relief of gold. Height, 14 inches; length, 4 inches ; width, 3} 
 inches. Executed by Nagahide, at the age of 63 years, and 
 signed by him. 18th century. 
 
 2331 Perfume Box (Kogo). Four-cornered shape. Black lac 
 
 quer, called roiro-urushi; painted on top and sides with pink 
 Japanese flowers, most delicately treated in high-grade powdered 
 gold. It has silver rims, and its interior is finished with gold 
 grains sprinkled on red-tinted lacquer, with translucent effect like 
 tortoise-shell. Height, 2} inches ; length, 44 inches; width, 4 
 inches. 18th century. 
 
 2332 Perfume Box (Kogo). Shapeisof a musical instrument 
 
 called koto. Both the inside and the outside are finished with 
 high-grade aventurine or nashiji gold lacquer. The lines on top 
 of the cover, representing strings, are drawn with great perfec- 
 tion, and the sides are decorated with cushions or niakura in 
 various positions. Rare specimen. Height, 1 inch; length, 44 
 inches ; width, 1}inches. 16th century. 
 
 2333 Perfume Box (Kogo). Niakiye or powdered gold lacquer, 
 
 imitating wood, painted with various layers of gold. Both ends 
 of the cover are in green and black, with ornamentation of gold 
 lacquer. The interior of the box is lacquered with aventurine. 
 Height, 1 inch ; length, 6 inches ; width, 14 inches. 18th century, 
 
 2334 Perfume Box (Kogo). Shapeisof a musical instrument 
 
 called koto, Black lacquer, painted to imitate wood. The 
 strings and end-ornamentation are delicately drawn with fine - 
 gold tracing. Height, } inch; length, 44 inches; width, 14 
 inches 18th century. 
 
 2335 Perfume Box (Kogo). Thisisa miniature of a goban or 
 
 checker-board, and it rests on four legs. The squares on the 
 cover are drawn with perfection, and are executed in low relief 
 on gold ground of subdued tone. One end of each side is penciled 
 with pine-trees, appearing from passing clouds, and the other 
 one is in imitation of wood. All are finished perfectly. The 
 interior is lacquered with aventurine. Height, 2} inches ; length, 
 4} inches ; width, 3} inches. Early 18th century. 
 
 2336 Perfume Box (Kogo). Small size; flat, oblong shape. 
 
 Powdered gold lacquer, penciled with pine-trees and storks 
 (emblems of good will and long life) ; the whole is executed in 
 very minute drawing and tracing of gold lacquer. The interior 
 
 _ is finished with small flakes of high-grade gold. Height, } inch ; 
 
 length, 2} inches ; width, 14 inches. 17th century (end). 
 
JAPANESE LACQUERS 881 
 
 2337 Perfume Box (Kogo), Formis of atriplefan. The top 
 and sides are finished in the style called fundame lacquer; and 
 they are penciled with landscape and ferns on top, and plum- 
 flowers and ferns on sides, in low relief. Height, 2 inches ; 
 length, 44 inches ; width, 3inches. 18th century (end). 
 
 2338 Perfume Box (Kogo). Made in form of a court lady read- 
 inga book. The hair and the lower part of her costume are 
 of black lacquer, and both the sleeve draperies are of karakusa 
 or Indian grass pattern of extreme delicacy, in successive layers 
 of colored lacquer. The lower partsof the dress are traced with 
 exceedingly small lines of gold over the red-tinted lacquer. The 
 interior has the grass decoration. A piece of the highest technical 
 and artistic merit. Height, #inch; length, 4} inches ; width, 2} 
 inches. 17th century (end). 
 
 2339 Perfume Box (Kogo). Oblong shape. Powdered gold 
 lacquer. On the cover isa highly decorated chrysanthemum ; 
 and the sides are finished to resemble draperies covering the box, 
 /which are most delicately inlaid and drawn in successive layers 
 
 ‘of gold and gold grain. The interior and the bottom are lac- 
 quered with giobu-nashiji of highest grade; the rims are covered 
 with silver bands. A piece of high decorative perfection. 
 Height, 1 inch ; length, 2} inches; width, 2} inches, 18th cen- 
 tury (early). 
 
 2340 Perfume Box (Kogo). Squareshape. Painted with red, 
 green, and yellowish lacquer, after the style of Wakasa-nuri. The 
 top and sides of the cover have a dragon and sacred jewels 
 laid on and incised in square panels, and are finished with 
 slightly powdered gold dust. The whole treatment is of ex- 
 treme delicacy. Height, 14 inches; diameter, 3}inches. 18th 
 century (early). 
 
 2341 Perfume Box (Kogo). Doubleinterlaced. Gold Jacquer. 
 The design shows the vestibuled veranda of a palace, facing a 
 garden with pine-trees and birds, painted with remarkable pre- 
 cision in gold lacquer. The outer part of the cover is painted 
 wlth flat yellow gold, and is decorated over that with ferns in 
 powdered gold. The four sides are painted with ducks, storks, 
 pheasants, and oshidori, and they are finished to perfection. The 
 small tray inside has a floral decoration in relief on refined and 
 subdued powdered gold. The interior and bottom of the box 
 are finished in the highest grade of gold nashiji lacquer. A spec- 
 imen of rarest quality. Height, 14 inches ; diameter, 31 inches. 
 17th century (early). 
 
382 JAPANESE LACQUERS 
 
 2342 Perfume Box (Kogo). Square form. The top 1s painted 
 to imitate a goban or checker-board, with a bouquet of flowers 
 or awoye and fuji, arranged in a flower-pot in the center. The 
 whole is most artistically drawn in low-toned gold powder- 
 Two parts of the sides are penciled with wisteria vines on dull 
 gold lacquer, and the other two parts are incised with small lines 
 of black lacquer on dull ground to imitate wood. The interior is 
 decorated with h6-o birds, plum-branches and wisteria on a dark 
 ground sprinkled with gold. Very rare and valuable piece. 
 Height, 12 inches; length, 3} inches; width, 3 inches. 16th 
 century (end). 
 
 2343 Perfume Box (Kogo),. Red lacquer or tsuishu. One side 
 is carved with a group of Chinese on pleasure-boats under willow- 
 trees ; and the other side has a deeply carved surface. Height, 
 1 inch ; diameter, 2 inches. 17th century. 
 
 2344 Perfume Box (Kogo). Circular form. Tsuishu lacquer. 
 The top is deeply carved with a pomegranate, and all round the 
 sides the character zu in fanciful form is carved. Height, 14 
 inches ; diameter, 4inches. 18th century (end). 
 
 2345 Perfume Box (Kogo). Oblong shape. Black lacquer 
 called tsuikoku. Carved with birds of paradise and peony. 
 Height, 2 inches; length, 4} inches; width, 3} inches. 17th 
 century. 
 
 2346 Perfume Box (Kogo). Form is of a double fan. Dec- 
 orated with weeping willow, swallows and dragons in red and 
 yellow gold lacquer, on black lacquer. The tray has melon and 
 vine ornamentation painted in gold ona low-toned gold ground. 
 Height, 1 inch; length, 4 inches ; width, 3}inches. 18th century, 
 
 2347 Perfume Box (Kogo). Natural shell. Storks in flight 
 and rocks are beautifully lacquered in raised gold ; the interior is 
 lacquered with low-toned powdered gold. Height, 1 inch ; diam- 
 eter, 4} inches. 18th century. 
 
 2348 Perfume Box (Kogo). Painted with crabs on top; in- 
 terior is slightly decorated on clouded aventurine lacquer. 
 Height, 1} inches ; diameter, 4} inches. 18th century. 
 
 2349 Perfume Box (Kogo), The interior is decorated with two 
 sacred rocks, a seabeach, and flying birds in raised gold on black 
 lacquer. Height, 1} inches ; diameter, 44 inches. 18th century. 
 
 2350 Perfume Box (Kogo). Form is a miniature helmet, em- 
 bellished with gold and silver on top and front. The back is 
 penciled with various tones of gold over powdered lacquer. The 
 interior and bottom are lacquered throughout with high-grade 
 nashiji. Height, 1¢ inches ; length, 4 inches ; width, 3} inches. 
 18th century (early). 
 
JAPANESE LACQUERS 383 
 
 2351 Perfume Box (Kogo). Round form. Highly polished 
 low-toned gold lacquer, penciled in various shades of the same, 
 mixed with red lacquer, showing single and double crests of 
 Kiku. The interior is finished with gold aventurine lacquer. 
 Height, 2} inches ; diameter, 3inches. 18th century. 
 
 2352 Perfume Box (Kogo). Tsuishu lacquer, carved with a 
 peony. High quality. Height, 14 inches ; diameter, 2% inches: 
 17th century. 
 
 2353 Perfume Box (Kogo). Quadrilobed shaped. Gold aven- 
 turine cr nashiji lacquer of high grade, inside and outside ; over 
 that a nanten tree and flying birds are drawn in red lacquer and 
 powdered gold. Height, 2 inches ; diameter, 3} inches, 17th cen- 
 tury (early). 
 
 2354 Perfume Box (Kogo). The form is of two chrysanthe- 
 mum flowers. Decorated with similar flowers in raised gold lac- 
 quer on top of the cover, and the sides are carefully painted with 
 ferns in delicate tracings. The interior is of good aventurine 
 jacquer. Height, 2 inches; length, 3} inches ; width, 3 inches, 
 /17th century. 
 
 2355 Stand (Chadai). Gold avyenturine lacquer; decorated with 
 the crests of the Tokugawa family. Very high quality. Height. 
 2% inches ; outside diameter, 6}inches. 17th century (end). 
 
 2356 Stand (Chadai), Dark-brown lacquer, called guri-bori, carved 
 deeply all around. Height, 3 inches ; outside diameter, 6} inches. 
 
 2357 Perfume Box (Kogo). Has two compartments, finished 
 in the style called Chinkin-bori. Very finely carved chrysanthe- 
 mums as decoration. Height, 2} inches ; diameter, 2} inches. 
 
 2358 Tea Jar (Cha-ire), Is in formof an egg-plant or nasubi ; 
 decorated with grasshopper and leaf in gold over brown lacquer. 
 Height, 3} inches ; diameter, 2} inches. 
 
 2359 Perfume Box (Kogo), Fanshape. Gold aventurine lac- 
 quer, both on the outside and on the inside ; decorated with leaves 
 called awoye in relief over nashiji background. Height, 14 
 inches ; length, 3 inches; width, 2} inches. 17th century (end). 
 
 2360 Perfume Box (Kogo). In shape of an itomaki or spool ; 
 has two compartments, carefully lacquered in graded powdered 
 gold, to imitate a spool with thread ; the bottom of the box and 
 the interior of both compartments are finished with exceedingly 
 fine gold aventurine lacquer; very choice piece, Height, 2} 
 inches ; diameter, 3} inches. 17th century. 
 
384 
 
 2361 Cabinet (Tansu). Black lacquer, with tsuishu or red carved 
 
 JAPANESE LACQUERS 
 
 lacquer ornamentation to each drawer; the top and sides are 
 decorated with botan or peony flowers in polished gold lacquer 
 on black ground. It has twelve drawers, a paneled door at front 
 and another at back ; all with knobs of carved ivory. The door 
 at back is penciled with peony and other flowers in heavy pow- 
 dered gold with mother-of-pearl inlaid on some of the flowers. 
 
 The whole embellishment is of high quality. Height, 164 inches; 
 
 length, 20 inches ; width, 11} inches. 19th century. — 
 
 2362 Tall Cylindrical Box (Tsutsu-oke). Black lacquer, 
 
 with slight aventurine treatment. The top of the cover is deco- 
 
 rated with circular dragon in powdered and leaf gold, and the 
 sides are painted with oimatsu (old pine-trees) and waves in 
 threaded gold. The whole embellishment is executed with great 
 talent. The box has three silver rings for silk cords, and the 
 four feet have chased silver mountings. Height, 16} inches ; 
 diameter, 12inches. 17th century (early). 
 
 2363 Sweetmeat Box. Hexagonal shape. Has two compart- 
 
 ments. Black lacquer, decorated with chrysanthemum flowers 
 in red lacquer, powdered and leaf gold, and silver lacquer. The | 
 interior is finished in shu or vermilion red lacquer. Rare and 
 striking piece. Height, 12} inches; diameter, 12 inches. 18th 
 century (early). 
 
 2364 Tall Cylindrical Box (Tsutsu-oke). Black lacquer, 
 
 with fans and arunning stream, profusely executed in red, gold, 
 and silver lacquer all around. Has three silver rings. Height, 
 15} inches ; diameter, 12inches. 18th century. 
 
— 
 
 NESE LACQUERS 
 
SALE TuESDAY AFTERNOON, APRIL 26TH 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2:30 0’CLOCK 
 
 JAPANESE LACQUERS. 
 
 2406 Buddha, This statue represents the god, or idol, seated on 
 a lotus flower placed upon a very elaborate 
 gold lacquer stand. His face is strong, dig- 
 nified, and reposeful, in accordance with the 
 original Hindu conception of Shaka. Both it 
 and the exposed (right) side of the body arein 
 fine mat gold. The scarf over the left shoul- 
 der and the drapery upon the lower part of 
 the body are exquisitely carved in wood, and 
 are covered with the very finest gold lacquer 
 imaginable. The diadem shows insignia en- 
 closed in aureoles and incrusted with jewels. 
 The halo is of fine gold bronze, and has the 
 usual flame-like top; it is elaborately and 
 beautifully carved, and is finely colored so as 
 to be in conformity with the statue. To give 
 the mass that color, undoubtedly a very large 
 proportion of gold was mixedintoit. Around 
 the neck of the god are the usual decorations 
 of rosary of pearls,etc. The lotus flower is 
 also an exquisite bit of harmonious carving. 
 According to the Japanese mythology, a 
 lotus flower came out of the sea, and the place whence it emerged 
 became Japan ; and therefore Buddha is most frequently repre- 
 sented as resting on a lotus leaf. In the base the lotus has also 
 been embodied to a great extent, varied with Buddhistic insignia, 
 temple pillars, and clouds, while here and there the sacred jewel 
 of Japan, carved in pure crystal, is incrusted. The whole piece, 
 despite its most wonderful carving and resplendent ornamenta- 
 tion, presents an extremely simple and homogeneous design. 
 
388 
 
 JAPANESE LACQUERS - 
 
 All the details of the work on it have evidently been carefully 
 planned to be subordinate to the general effect. It is one of the 
 finest pieces known to the Japanese. It stood formerly in the 
 sacred temple of Nari, whence in the confusion following the 
 civil war in Japan it was taken. Height, 32 inches ; diameter, 14 
 inches. 
 
 2407 Perfume Box (Kogo). Helmet form. Exterior is in 
 
 aventurine lacquer of various colors; interior is of clouded 
 nashiji. Rare and old, small specimen. Height, 2} inches; 
 length, 3 inches; width, 2} inches. 17th century. 
 
 2408 Writing Table (Bundai). Gold aventurine lacquer, of 
 
 high quality, decorated profusely with chrysanthemum flowers, 
 finished in powdered and flat gold of yellow, and low-toned col- 
 ors in relief, with threaded gold tracings ; the drawing of the 
 waves is executed with great freedom and yet most perfectly. 
 The corners and the edges are mounted with delicately chased 
 and carved silver ornamentations, which display the crests of the 
 Tokugawa family or show India grass or Karakusa patterns. 
 Height, 44 inches ; length, 2? inches; width, 13} inches. 'Toku- 
 gawa-Jidai or period of Tokugawa dynasty, 1603-1867. 
 
 2409 Manuscript Box (Rioshibaka). Rich gold ayenturine 
 
 lacquer throughout. Decorated with fans in various positions, 
 presenting designs of pine-trees, maple-trees, cherry-trees, bam- 
 boo, and waves in powdered gold and lacquers of various shades, 
 all beautifully executed on nashiji background. (See the back 
 of ge cover.) Height, 5} inches ; length, 16 inches ; width, 12 
 inches. 17th century (early). 
 
 2410 Writing Box (Suzuribako), Gold aventurine lacquer 
 
 2411 
 
 throughout. Decorated on top with mountains, houses, and 
 water-falls, in successive layers of gold lacquers, the rock part 
 being filled with small square flakes of leaf-gold. The sides have 
 pine-trees, and also trees with autumnal foliage, in raised gold. 
 The interior is decorated with trees in autumnal foliage, and with 
 mountains richly penciled over the aventurine lacquer. A very 
 refined and valuable specimen. Height, 24 inches; length, 104 
 inches ; width, 91 inches. 17 century (early). 
 
 Deep Oblong Tray (Widarebako). Powdered gold © 
 lacquer of high grade on top, and aventurine lacquer on the 
 back ; decorated with cherry-trees and rapids, with mountains 
 seen in the distance. The four sides are decorated similarly in 
 
 powdered gold, with gold scale filiings on rocks and mounds. 
 
 Height, 2} inches; depth, 161 inches ; width, 111 inches. 17th 
 century (early). 
 
JAPANESE LACQUERS 389 
 
 2412 Long Box (Suzuribako), Aventurine lacquer through- 
 out; decorated with wakamatsu (young pine) and bamboo, and 
 the arms of Tokugawa family, in powdered and flat gold lacquer. 
 It has two rings for silk cords. Height, 4inches; length, 174 
 inches ; width, 4inches, Early 17th century. 
 
 2413 Perfume Box (Kogo). Low, round shape. Gold aven- 
 turine lacquer; decorated with pine, stork and daimio crest. 
 Good small specimens. Height, 1 inch ; diameter, 21 inches. 
 17th century. 
 
 2414 Perfume Box (Kogo). Low, squareshape. The inscrip- 
 tions inlaid with mother-of-pearl on the cover are from the writ- 
 ings of Hanayama, who was the 65th emperor and reigned in the 
 year 985; and the bamboo design and inscription on back of 
 cover are by the celebrated painter, Tosa Mitsuyoshi. who died 
 in 1772. This is an extremely rare piece, and very valuable for its 
 historical associations. Height, 1 inch ; length, 33 inches ; width, 
 3h inches. 18th century. 
 
 2415 Perfume Box (Kogo),. Low, oval shape. Black polished 
 
 lacquer, penciled with bundle of wood and fir-trees in polished gold 
 
 : lacquer; the interior is sprinkled with fine grains of gold on 
 
 black lacquer ; the rims are mounted in pewter. Very rare and 
 
 highly valnable specimen of early decorated lacquer, possibly 
 
 from the studio of Shunsho the Ist. 7th century (middle). 
 Height, 1 inch ; length, 3 inches ; width, 2 inches, 
 
 2416 Tall Cylindrical Box (Tsutsuoke). Gold aventurine 
 lacquer of high grade. Decorated with grapevines in powdered 
 gold over a diamond-shaped fence design called hishikaki. Jt has 
 three silver rings for holding silk cords. The four low legs have 
 chased silver mountings. Rare and old specimen. Height, 16 
 inches ; diameter, 12inches. 17th century. 
 
 2417 Sword Rack (Katanakake). Gold aventurine lacquer 
 
 of high quality. Decorated with peonies in powdered and leaf 
 
 gold, together with leaf-silver flowers here and there. It is made 
 
 | to hold four swords, and its ends are mounted with chased silver. 
 | Height, 164 inches ; width, 27 inches. 17th century. 
 
 2418 Sword Rack (Katanakake). Gold aventurine lacquer 
 of exceedingly high grade. Decorated with the crests of Toku- 
 gawa in powdered gold in relief, and with threaded gold on 
 nashiji background. It is made to hold three swords, and has 
 silver mounting. Height, 12 inches ; width, 23 inches, 17th 
 century. 
 
390 
 
 JAPANESE LACQUERS 
 
 2419 Vase. Pilgrim bottle shape. Lacquered to imitate red teak-wood ; 
 
 has a central gold medallion, containing a Buddhist disciple 
 riding on a mythical animal, done in powdered goldin relief. On 
 the back are a quail and grass painted in gold on black Jacquer, 
 ina medallion. Height, 15 inches ; width, 10 inches. 
 
 2420 Cabinet (Tamsu), Has seven drawers, one of which is fitted 
 
 with lock and key. Decorated with ho-o and grassy vines in red, 
 yellow and green lacquer, mounted with metal on corners of both 
 the top and the bottom. Height, 9 inches ; length, 14} inches ; 
 width, 7 inches. 
 
 2421 Pienic Box (Sageju). Design represents peony flowers. 
 
 Decorated with similar flowers and with leaves in successive layers 
 of vermilion red and various shades of high-grade gold powdered 
 lacquer. It has five compartments, most profusely decorated in 
 rich gold lacquer of various shades. The furnishings consist of a 
 solid silver sake bottle in peony design, a solid silver tray in tre- 
 foil design, and six lacquered trays in shape of peony flowers, 
 with decoration of similar flower in rich gold lacquer, and backs 
 in gold aventurine. The top is decorated with two large peony 
 flowers, executed most luxuriously and artistically ; and the 
 handle is of silver, chased, and carved with lions, Height, 14 
 inches ; width, 16 inches. 
 
 2422 Stand. Guri-bori Jacquer, deeply carved in dark brown lacquer. 
 
 Rests on four legs, with cross-frame attached. Height, 94 inches ; 
 length, 15 inches ; width, 9} inches. 18th century. 
 
 2423 Pair of Stands, Carved lacquer, decorated with cherry 
 
 blossoms profusely carved in black and brown lacquer. Height, 
 3 inches ; diameter, 3} inches. 
 
 2424 Pair of Stands. Carved in similar style, and decorated with 
 
 chrysanthemum flowers. Each ison fourlegs. Height, 4} inches. 
 diameter, 3} inches. 
 
 2425 Picnic Box. This consists of an inner box in four compart- 
 
 ments, one square tray, one deep tray containing four small ob- 
 long trays, one silver sake bottle, and one sake cup. All are 
 decorated with sea-shells and sea-grass, in finely powdered gold, 
 lacquer and leaf gold, excepting one square and four oblong trays; — 
 which are penciled with pine-trees, and other ornamenta) designs 
 in rich gold on polished black lacquer. The inner box has for or- 
 namentation a grass design in threaded gold, dotted with silver 
 pin-heads of various sizes ; its interior is finished in vermilion 
 red lacquer. A very fine specimen. Height, 13} inches ; length, 
 14} inches ; width, 8inches. 17th century. 
 
JAPANESE LACQUERS 391 
 
 2426 Tray. Oblongshape. Natural wood in center, and the rest is 
 lacquered with pine-trees in powdered and leaf gold; the back is 
 finished in nashiji lacquer. Length, 14 inches ; width, 10 inches. 
 
 2427 Wray. Black Jacquer. Carved in the center with a dragon in 
 circular form, filled with gold in fine tracing. This kind of 
 carving is called chinkinbori, and is highly esteemed by Japanese 
 connoisseurs. Length, 12 inches ; width, 8 inches. 18th century. 
 
 2428 Tray. Squareshape. Gold aventurine lacquer ; decorated with 
 pine-tree and storks, and has the crests of the Tokugawa family 
 both on the top and on the bottom, in powdered and leaf gold, in 
 relief on a nashiji ground. Length, 9 inches ; width, 8} inches. 
 17th century. 
 
 2429 Tray. Small size. Gold lacquer, with pine-tree and bamboo 
 fences decorated in powdered gold. Length, 6} inches ; width, 
 44 inches. 
 
 2430 Wray. Small size. Powdered gold lacquer; decorated with 
 landscape on front and on back. Length, 4 inches ; width, 31 
 inches. 
 
 2431 Tray. Oblong form. Gold aventurine lacquer of high grade ; 
 ‘decorated in the center with designs called shikishi and tanzaku 
 (certain kinds of papers used in writing poems) ; and the margin 
 is finished in dull-toned powdered gold lacquer, withferns painted 
 over it. The back is finished with aventurine lacquer. Length, 
 
 174 inches ; width, 11 inches. 17th century (end). 
 
 2432 Large Tray. In Japan the chief use of this style of tray is to 
 hold dresses. Black lacquer; decorated with a bunch of peacock’s 
 feathers, inlaid with mother-of-pearl, wrapped in paper and tied 
 with silk cords. All is beautifully executed. Length, 24 inches ; 
 width, 16} inches ; depth, 34 inches. 
 
 2433 Tall Box. Fan-shaped ; has open-work covers on sides, and 
 rich red silk cords for tying. The decoration on the top is of 
 mountain and seashore scenery, in raised gold lacquer on low- 
 toned powderea gold background. The three open-work designs 
 represent family crests, and are most delicately executed. The 
 interior and bottom are finished in gold aventurine lacquer of 
 high quality. Rareand valuable piece. Height, 8} inches; length, 
 14 inches ; width, 8inches. 17th century. 
 
 2434 Perfume Box. Made of natural shell. Decorated on top 
 with a pair of storks in raised gold lacquer ; the interior is fin- 
 ished in plain gold. Height, 2 inches ; diameter 5 inches, 
 
392 
 
 2435 
 
 2436 
 
 JAPANESE LACQUERS 
 
 Oblong Tray. Aventurine lacquer ; decorated with yama- 
 buki trees in powdered and cut leaf-gold in low relief, and with 
 a cloud filled with square grains of yellow gold on low-toned 
 powdered lacquer. The back is finished in aventurine of fine 
 quality. Length, 10} inches ; width, 7 inches. 17th century: 
 
 Oblong Tray. Aventurine lacquer; decorated with plum 
 and pines in raised gold lacquer. Length, 9 inches ; width, 6} 
 inches. 17th century. ; 
 
 2437 Tray. Diamond shape. Decorated with landscape, after the 
 
 2439 
 
 2440 
 
 Chinese school. Very old specimen, and in perfect preservation. 
 Length, 14inches; width, 10 inches. 16th century (early). ; 
 
 Cake Box. Octagonal shape. In three sections ; black lac- 
 quer ; decorated with children in procession, in gold and colored 
 lacquers, and has on top a cobweb and a running horse in | 
 threaded gold lacquer. Height, 6 inches ; diameter, 6 inches. 
 
 Writing Case. Black lacquer; decorated with chrysan- 
 themums and crescent moon ; on back, in powdered gold, is the 
 yama-uba holding a kiku branch. Length, 9 inches; width, 8} 
 inches ; height, 1} inches. 
 
 2441 Writing Case. Black lacquer; decorated with wisteria, 
 
 inlaid with mother-of-pearl ; the flowers have gold tracing, and 
 the leaves are in low-toned gold powders. The interior is of 
 aventurine lacquer, decorated with maple-trees and with waves. 
 Length, 9} inches ; width, 8% inches; height, 14 inches. 18th 
 century. 
 
 2442 Writing Case. Black lacquer; decorated with pine-tree in 
 
 fogidashi style. The back has a mythical personage watching a 
 dragon ; decorated in gold and black lacqner on silver lacquer. 
 Drawn by Tatsuki Takanori. The inside is of aventurine lac- 
 quer. Height, 2 inches ; length, 9} inches; width, 9inches. 19th 
 century. 
 
 2443 Writing Case. Black lacquer; decorated on top with pine- 
 
 2444 
 
 trees and chidori (small sea-birds) in fine powdered gold, and on 
 back with autumnal plants on aventurine lacquer. The inside is 
 of aventurine with a few decorations in gold lacquer. Fine piece, 
 and of good quality. Height, 1}inches; length, 9}inches; width, 
 8hinches. 17th century. 
 
 Writing Case. Black lacquer; decorated on top with tsubaki 
 (camellia) and pine leaves, incrusted with lead, and lacquered in 
 raised gold, after the school of Korin. Height, 21 inches; length, 
 91 inches; width, 8f inches. 17th century. 
 
2445 
 
 2446 
 
 2447 
 
 2448 
 
 2449 
 
 2450 
 
 2451 
 
 2452 
 
 2453 
 
 JAPANESE LACQUERS 3938 
 
 Writing Case. Cabinet form. Dull black lacquer; decorated 
 on top and sides with maple leaves and a rivulet in various gold 
 lacquers. The interiors of the box and drawers are covered en- 
 tirely with heavy gold designs of maple and cherry trees, moun- 
 tains, and a stream. Rare and fine old piece. Height, 4} inches; 
 length, 11 inches; width, 71 inches. 17th century. 
 
 Sweetmeat Box. Square form. Is in two sections; deco- 
 rated on top and sides with fans in gold on black lacquer ground. 
 The interiors are of vermilion red. Height, 5} inches; length, 94 
 inches; width, 9 inches. 
 
 Sweetmeat Box. Companion to the above. Height, 7 
 inches; length, 9} inches; width, 9 inches. 
 
 Tall Square Box. Made to open in halves, and has five 
 irregular shelves. Has bronze handles on top; red and black 
 caryed lacquer borders, with panels of red polished Jacquer deco- 
 rated with peonies and pomegranates. Height, 141 inches; diam- 
 eter, 84 inches. 
 
 Small Manuscript Box. Lacquered to imitate the natural 
 wood. Its top and sides are decorated with crests in powdered 
 gold, and the back of the cover has a Jandscape and a rising moon 
 incrusted with silver. Has tray decorated with seaside views, and 
 with descending storks and pine-tree in raised gold. Height, 3 
 inches; length, 9 inches; width, 7} inches. Early 17th century. 
 
 Cake Box. Octagonal shape. Finished in flat incrustation of 
 mother-of-pearl, with floral designs on top and sides. Interior is 
 of vermilion red lacquer. Height, 214 inches; diameter, 54 
 inches. 17th century (early). 
 
 Cake Box. Roundform. Finished on top and sides with flat 
 inlaying of mother-of-pearl, and decorated with house and Chinese 
 boys at play ; the back of the cover has a fan design on vermilion 
 red lacquer. Old specimen of Chinese work. Height, 234 inches ; 
 diameter, 61g inches. 16th century. 
 
 Perfume Box. Octagonal shape. Gold lacquer; decorated 
 on top with fan and chrysanthemums in raised gold. Has a tray 
 showing bamboo and sparrows in powdered gold. A work of the 
 Kamakura period. Height, 2 inches ; diameter, 4 inches. 15th 
 century. 
 
 Box. Gold lacquer; decorated on all sides with figures ; deer 
 and maple-trees in panels of powdered gold. Height, 4 inches ; 
 length, 61g inches ; width, 43g inches. 17th century. 
 
394 
 
 JAPANESE LACQUERS 
 
 2454 Manuscript Box. Black lacquer; decorated on top with 
 
 the royal hand-cart, incrusted with rich pieces of mother-of-pearl 
 and lacquered with finely powdered gold. The inside is decorated — 
 with leaves of the awoye in polished, flat, and powdered gold lac- 
 quer on black lacquer ground ; the borders are mounted with 
 pewter. A very striking piece. Height, 534 inches ; length, 164 
 inches ; width, 13 inches. 16th century. 
 
 2455 Perfume Box. The form is of five squares, made in two over- 
 
 lapping compartments. Gold lacquer ; decorated on top and sides, 
 and also on back of cover, with landscape and floral designs in 
 beautiful gold in various layers. The interior is of aventurine 
 gold lacquer. A very rich piece. Height, 3 inches; length, 5 
 inches; width, 4inches. 18th century. 
 
 2456 Large Box. The form is of a heart-shaped fan, made in two 
 
 compartments. Gold lacquer ; decorated with book designs, and 
 profusely ornamented on top and sides in many varieties and 
 shades of gold powdering. The interior is covered with fine gold 
 aventurine lacquer. An exquisite piece of the 17th century. 
 Height, 6% inches ; length, 1014 inches ; width, 734 inches. 
 
 2457 Box. Diamond shape. Gold lacquer ; finished in togidashi to 
 
 imitate wood. Decorated on top and sides with flying ducks, 
 some of them inlaid with mother-of-pearl. Has atray, which is 
 decorated similarly. A very refined piece. Height, 6 inches ; 
 length, 121 inches ; width, 9inches, 19th century (early). 
 
 2458 Portable Writing Case (Kakesuzuri). Contains 
 
 three drawers, and has a door with silver hinges and also lock and 
 key. Decorated on top and sides with sho-chiku-bai or pine, 
 bamboo, and plum designs (emblems of longevity and good 
 wishes), in highest grade of gold lacquer on ayenturine lacquer. 
 Has the crests of the Tokugawa family, and was undoubtedly one 
 of their treasured pieces. It is attributed to the period of Iyemi- 
 tsu Shogun, 1600-1640. (See the quality of aventurine lacquer 
 inside.) 
 
 2459 Tall Square Box (Inko). Aventurine lacquer both inside 
 
 and outside. Decorated on top and sides with pine-trees and 
 peony flowers in finest gold powderings ; the tree trunks and the 
 rocks are filled in with square-cut gold leaves. Has a tray, with 
 similar ground and decoration. This piece is attributed to the 
 period of Higashiyawa Yohimasa, when the most artistic and 
 elegant works were produced, and it is one of the gems of the 
 collection, Height, 64inches ; length, 93 inches ; width, 74 inches. 
 Early 16th century. 
 
 * 
 
JAPANESE LACQUERS 895 
 
 2460 Perfume Box. Flower shape. It is decorated on top and 
 sides with autumnal trees and grass, most profusely executed in 
 finest gold lacquer. It contains three smaller boxes ; two of these 
 are butterfly shape, and the third diamond shape, and all are set 
 on a stand, which has four antique legs. The tops of the butter- 
 fly boxes are decorated to imitate butterflies, in finest gold ; and 
 the diamond-shaped one has a peony design most minutely exe- 
 cuted in powdered gold. The interiors of all the boxes are of fine 
 aventurine lacquer. Height, 3} inches ; length, 5% inches ; width, 
 5inches. 17th century (end). 
 
 2461 Sweetmeat Box. Black polished lacquer, decorated on 
 top with descending ducks ; on back with a crescent moon in- 
 laid with silver ; and on sides with water-plants in gold lacquer, 
 inlaid with mother-of-pearl. The inside is finished in silver 
 lacquer with fish and plant most delicately executed. A very 
 refined specimen. Height, 4 inches ; diameter, 7} inches, 18th 
 century. 
 
 | 2462 Teacup Stand. Black lacquer, with medallion decoration on 
 | the edge. Height, 24 inches ; inside diameter, 3 inches. 
 
 2463 Perfume Box. The form is of three fan-shaped boxes 
 ' overlapped. Decorated on top with incrusted figure, birds, 
 and flowers in gold, shakudo, and tortoise-shell, and sprinkled 
 with gold powderings. The sides are partly decorated with a 
 collection of precious objects in gold on black lacquer, and 
 partly finished in zogan style. Height, 12 inches; length, 7% 
 
 inches ; width, 44inches. 18th century (end). 
 
 2464 Perfume Box. Has two compartments and a small tray, 
 also acover. All the exteriorsare in gold lacquer, decorated on 
 top and sides with autumnal grasses in leaf and powdered gold. 
 The interiors are of the best aventurine lacquer. A specimen of 
 finest quality in every respect. Height, 3} inches; length, 6 
 inches ; width, 51 inches. 18th century (early). 
 
 2465 Dispatch Box. Black lacquer, skillfully decorated with 
 chessmen in irregular positions, in yellow and low-toned gold 
 and in silver. The interior is of fine aventurine lacquer, Height, 
 12 inches; diameter, 9} inches. 18th century (early). 
 
 2466 War Fan (Gunbai). Black lacquer, mounted with chased 
 silver ornamentation, and furnished with red silk tassels. On 
 one side it is decorated with the crest of the owner in silvery 
 gold lacquer; and on the other it is inscribed with twelve Japan- 
 ese divinatory verses, one foreach month of the year. A very 
 rare piece. Length, including handle, 22 inches; width, 94 
 inches. 18th century. 
 
396 
 
 JAPANESE LACQUERS | 
 
 2467 Flat Box. This consists of two round boxes, overlapping. 
 
 One of them is covered with small square flakes of gold, and is 
 incrusted with a cat watching a flying butterfly ; the other has 
 gold flakes in black lacquer, and is decorated with plants in pow- 
 dered gold lacquer. Furnished with an inner tray, decorated 
 with mouse and radish in relief on mirror-black lacquer. Height, 
 22 inches ; length, 8inches ; width, 6inches. 19th century. 
 
 2468 Perfume Box (Kogo). Contains six small boxes fitted 
 
 inside the tray. Black lacquer; decorated with pine-trees and 
 crests in gold lacquer. Has two metal rings for silk cords. 
 Height, 4% inches; length, 5} inches; width, 4% inches. 18th 
 century. 
 
 2469 Perfume Box (Kogo). Circular form. Contains five small 
 
 boxes. Decorated with Mount Fuji and storks, both on top of 
 the coyer and over the small boxes, in flat and raised gold lacquer 
 on black lacquer background. Height, 2} inches; diameter, 6 
 inches. 
 
 2470 Dispatch Box (Fubako). Gold lacquer. Decorated with 
 
 stork, bamboo, and tortoise, in heart-shaped panels ; has conyen- 
 tional crest designs on top and sides. The interior has a decora- 
 tion of fans in various forms. Furnished with two red silk cords. 
 Height, 2 inches ; length, 83 inches ; width, 3inches. 18th cent- 
 ury. 
 
 2471 Dispatch Box (Fubako). Flat form. Black lacquer. 
 
 Decorated with mountains and houses in gold, and with lead 
 incrustation. Has two silk cords, to tie over the cover. . Height, 
 1} inches ; length, 101 inches ; width, 7} inches. 18th century. 
 
 2472 Dispatch Box (Fubako). Aventurine Jacquer of high 
 
 grade throughout. Decorated with pine-trees, cherry blossoms, 
 and mountains with cataracts, in raised gold, with silver and yel- 
 low leaf gold profusely laid on. It has two silver rings for 
 cords. Height, 2 inches; length, 101 inches; width, 4 inches. 
 17th century. : 
 
 2473 Dispatch Box (Fubako). Form is of a koto (musical 
 
 instrument). Gold lacquer in imitation of natural wood. The 
 strings on the top are drawn with great perfection, and the orna- 
 mentation on both ends is finished exquisitely ; the interior is of 
 aventurine lacquer. It has two rings for silk cords. Height, 2} 
 inches ; length, 10} inches. 17th century. 
 
 2474 Dispatch Box (Fubako). Black lacquer. Decorated on 
 
 top with a branch of chrysanthemum in flat powdered gold on 
 highly polished background. Interior is in avyenturine lacquer 
 of high quality. It has two rings for silk tassels. A very refined 
 specimen, Length, 9 inches; height, 1} inches. 17th century 
 (early). 
 
JAPANESE LACQUERS 397 
 
 2475 Oblong Box. Exceedingly fine gold aventurine lacquer 
 
 throughout. Decorated with bamboo and sparrows, in various 
 layers of powdered gold on yellow nashiji background. Has 
 metal mountings on all the bottom corners. A splendid work of 
 the 17th century. Height, 4 inches; length, 9 inches ; width, 73 
 inches. 
 
 2476 Writimg Case. Gold lacquer. Decorated with houses and 
 
 mountains in raised gold lacquer ; the sides are ornamented with 
 conventional designs of crests; the back of the cover has part of 
 the trunk of a willow-tree boldly drawn in raised powdered gold 
 on a background, partly of aventurine, and finished artistically. 
 Height, 2 inches; length, 10! inches; width, 7 inches. 18th cent- 
 ury (early). 
 
 2477 Portable Cabimet. Gold lacquer. Contains two small 
 
 chests of drawers, and has lock and key. Decorated on the sides 
 with chrysanthemums; and on top with the same and also witha 
 moon inlaid with lead, and fences embellished with fine inlaying 
 of mother-of-pearl. The door mountings and drawer knobs are 
 of chased silver, and the top handle is also made of silver. 
 | The interiors of the drawers are of aventurine lacquer, and their 
 fronts bear the crests of the Tokugawa family in gold lac- 
 quer. Thisis one of the earliest specimens of Tokugawa-jidai. 
 Height, 41 inches; length, 8t inches ; width, 53 inches, Early 
 17th century. 
 
 2478 Writing Case. Black lacquer. Decorated with numerous 
 
 storks in raised gold ; the back of the cover has a plum branch in 
 polished gold lacquer. Height, 2} inches; length, 91 inches ; 
 width, 8} inches. 
 
 2479 Perfume Box. Black lacquer. Decorated very artistically on 
 
 top and sides with a series of musical instruments, in exceed- 
 ingly fine powdered gold. The interior is of high-grade gold 
 aventurine lacquer; has a small tray decorated with costumes 
 used for ‘‘ No”’ dancing, drawn most accurately in all details. 
 Height, 4 inches; length, 7} inches; width, 44 inches. 17th 
 century. 
 
 2480 Oblong Box. Gold lacquer. Decorated on top with Benkei, 
 
 the Japanese Samson, lifting the giant bell of Miidera (one of the 
 largest in Japan), in various layers of gold in relief, and finished 
 with extreme precision. The sides are decorated with a collec- 
 tion of musical instruments on powdered gold background. The 
 interior is of aventurine gold lacquer; has a tray decorated with 
 a house and mountain scenery, beautifully drawn on black 
 lacquer ground. Height, 3 inches; length, 8 inches; width, 6 
 inches, 18th century (end). 
 
398 JAPANESE LACQUERS 
 
 2481 Tray. Gold lacquer. Decorated with chrysanthemum and other 
 flowers, and incrusted with butterfly, dragonfly, und lightning- 
 bug in mother-of-pearl. The backis of aventurine. Length, 91 
 inches ; width, 6} inches. 
 
 2482 Wray. Black lacquer. Decorated in the center with cherry- 
 trees. Length, 6 inches ; width, 4} inches. 
 
 2483 Tray. Ovalshape. Decorated with shikishi and tanzaku papers 
 in red, green, and brown lacquer ; chrysanthemums, plum-trees, 
 and pink flowers. Length, 9! inches ; width, 7} inches. 
 
 2484 Writing Case. Black lacquer. Decorated with pine-trees 
 and daimio crests, on top and sides, and with scroll designs, in 
 powdered and aventurine lacquers. The decorations on the back 
 of the corner and on the inside of the box show plum-trees and 
 bamboo fence beautifully executed in leaf and powdered gold. 
 Height, 2 inches; length, 9} inches; width, 8} inches, 17th cent- 
 ury (end). 
 
 2485 Oblong Box. Gold lacquer, in imitation of the grain of wood. 
 Decorated with chrysanthemums on top and sides. Has a tray. 
 Height, 32 inches; length, 9} inches; width, 74 inches, 18th 
 century. : 
 
 2486 Writing Case (Suzuribako). Highly polished black lac- 
 quer. Decorated with a hanging vase full of various plants, and 
 with grasshoppers, exquisitely drawn in fine low-toned powdered 
 gold, and incrusted with lacquer and mother-of-pearl. The edge 
 of the cover has gold grains filled in on the black lacquer. The 
 interior is finished in gold aventurine, and has a decoration of 
 chrysanthemum branches and the symbol zin (meaning longey- 
 ity), in yellow leaf-gold. A very choice and refined specimen. 
 Height, 14 inches; length, 9% inches; width, 8 inches. 17th 
 century. ; 
 
 2487 Writing Case (Suzuribako). Black lacquer. Decorated 
 with chrysanthemum flowers in polished gold lacquer ; the back 
 of the cover and the interior of the box are decorated with grass 
 in autumnal colors, and have a flat incrustation of gold grains. 
 Rare and old piece. Height, 2 inches ; length, 10} inches ; width, 
 9¢inches. 17th century. 
 
 2488 Ostrich Egg. Lacquered in tea-green. A fine specimen. 
 Length, 5 inches ; diameter, 3} inches. 
 
 2489 Teacup Stand, Carved to imitate alotus flower, and finished 
 in the style of lacquering called guri. A very rare specimen. 
 Height, 4 inches ; inside diameter, 3} inches. 17th century. 
 
 " 
 
JAPANESE LACQUERS 399 
 
 2490 Portable Cabinet (Tansu). Gold lacquer, finished to 
 imitate leather. Decorated most skillfully on top and sides with 
 masks, temple drum, and other musical instruments, in exceed- 
 ingly fine gold lacquers in relief and in various layers of colored 
 lacquers. It has four chests of drawers, and its door is fitted 
 with lock and key. Very rare specimen. Height, 6 inches; 
 length, 9 inches ; width, 63 inches. 18th century (end). 
 
 2491 Oblong Tray. Black lacquer ; the edge is of natural wood. 
 
 Decorated on center with maples, plum branches and chrys- 
 | anthemums, each in fan shape, in finely powdered gold with red- 
 : tinted lacquer in relief. Signed Yoyusai, a celebrated lacquer 
 Bi artist, and bears his seal-mark on back. Latter part of 18th cent- 
 ury. Length, 12? inches ; width, 8} inches. 
 
 2492 Square Tray. Black lacquer. Decorated with swimming 
 carps in highly polished gold lacquer, with soft red lacquer treat- 
 ment, on finest background. This kind of decoration is the most 
 difficult in lacquer work, and is called togidashi makige. The 
 
 _ design is from Okio, the founder of the Shijo school (1731-1794), 
 
 "and the execution is by Toyo, a talented lacquerer of the end of 
 
 18th century. Signed Kuanshosai Toyo Saku, in gold letters. 
 
 249216 Stand. Gold aventurinelacquer. Decorated on sides with 
 crests of Kiri in powdered and flat gold lacquer, the back being 
 finished with nashiji lacquer of fine quality ; mounted with finely 
 chased silver border. Height, 8 inches ; inside measurement, 74 
 inches ; outside measurement, 12inches. Date, 17th century. 
 
 2493 Stand. Black lacquer, with slight nashiji treatment ; decorated 
 on sides with designs of crests in gold, the borders being mounted 
 with chased silver. Height, 8 inches ; inside measurement, 7} 
 inches ; outside measurement, 11 inches. 
 
 2494 Stand for Teacup. Has cover decorated with floral me- 
 dallions in lacquers of various colors on polished black lacquer. 
 This style of stand was used solely by the daimios or other 
 nobles. 
 
 2495 Cabinet (Shodana), Has upper compartment with four 
 sliding doors ; the top of the compartment is decorated with a view 
 of the seashore, pine-trees, and cherry blossoms, with mountains 
 and clouds in the distance, all in various tones of heavy gold 
 lacquer, and gold mosaics on black polished lacquer. The doors, 
 sides, back, and base of cabinet are similarly decorated ; the 
 sliding door has silver hawthorn blossoms for knobs ; and the 
 mountings are also of silver, engraved with designs of karakusa 
 (Indian grass). Arare and fine specimen. Height, 22 inches ; 
 length, 33 inches ; depth, 17} inches. Early part 18th century. 
 
400 JAPANESE LACQUERS 
 
 2496 Daimio Double Stand. In finest gold aventurine lacquer 
 throughout. Both shelves decorated with medallions in designs 
 of hawthorn, chrysanthemum, peony, wistaria, camellia, and 
 other flowers in various tones of gold. The support and sides are 
 decorated in karakusa (Indian grass) pattern, also in various tones 
 of gold on aventurine background. The upper shelf is supported | 
 ‘by open-work panels. The mountings are of silver, with silk 
 tassels for ornaments. This stand was made solely for the use of 
 daimios or court nobles. (Notice the quality of aventurine and 
 other gold lacquer.) Height, 17 inches; length, 241 inches; 
 depth, 144 inches, Early part 17th century. 
 
 2497 Kendai (Book Best). Black polished lacquer. The top 
 is decorated with landscape, representing waterfalls between two 
 gigantic rocks, and pine-trees, with tortoises on a mound ; all exe- 
 cuted in a most exquisite manner in powdered gold of various 
 layers, the greater part of the rocks filled in with gold mosaics. 
 The decoration on the stand is similarly treated in gold lacquer on 
 beautifully polished black lacquer background. <A drawer in the © 
 case is also decorated like the stand, and its interior is covered 
 with clonded aventurine gold lacquer of high quality. The back 
 of book rest is decorated with Indian grass pattern in gold, on 
 aventurine background. The support is mounted with chased 
 silver work. End of 17th century. Height, 22 inches ; length, 
 173 inches. 
 
 2498 Cabinet (Tansu), Containing six drawers and one compart- 
 ment. Highly polished black lacquer; the top, sides, and back 
 decorated with various landscape views representing temple 
 buildings and garden, richly drawn with fine gold lacquer in vari- 
 ous layers. The decoration on the front, representing a rivulet 
 with mountains in the distance, is exquisitely penciled in rich gold 
 lacquer, the greater part of the mountains finished with gold 
 mosaic. The door of the compartment has decoration of maple- 
 trees, and imperial hand-cart, most exquisitely drawn in rich gold; 
 the leaves arein natural colors. The drawers and compartinent are 
 finished throughout in aventurine lacquer; the mountings are 
 silver. Height, 212 inches ; length, 24 inches ; depth, 13} inches. 
 
 2499 Screen (Tsukitate), In red lacquer. Decorated on one side 
 with Chinese landscape, and bird and flowers on the other, in 
 gold and other lacquers in relief. The frames decorated with 
 carved and lacquered designs of peonies and fret patterns. On the 
 lower panel of one side are Chinese characters, ‘‘ Fukurokujin,” 
 or good luck, wealth, and longevity, drawn in black lacquer on 
 red lacquer background, and on the other side symbols of early 
 art objects of China. Rare and old specimen. Height, 33 inches ; 
 width, 314 inches; depth, 15} inches. Date, 17th century. 
 
JAPANESE LACQUERS 401 
 
 2500 Large Sake Cup. Red lacquer. Decorated on the center 
 : of the inside with flat design of hd-o, surrounded by India grass 
 pattern, and near the edge with three medallion-like ornaments. 
 The back is decorated with plum-tree. A cup treated on the 
 center in this style is quite rare, and is much esteemed in Japan. 
 Height, 24 inches ; diameter, 6% inches. 18th century. 
 
 2501 Perfume Box. Quadrilobed shape. Gold lacquer. Deco- 
 rated with autumnal grasses, and profusely penciled with differ- 
 ent layers of gold ona togidashi background ; the borders are 
 covered with silver bands. The interior of both cover and box 
 are finished in giobu or hirame nashiji lacquer. Height, 2 inches; 
 diameter, 4 inches. 18th century. 
 
 2502 Writing Case. Aventurine lacquer. Decorated on the 
 cover with the couple of Takasago sages (the faces being solid 
 gold, chased with great taste) and pine-trees in beautiful gold 
 lacquer on muranashiji background. The back is decorated with 
 grasses. Height, 14 inches ; length, 9} inches ; width, 8} inches. 
 
 _ -1%th century. 
 
 2503 Suzuribako (Writing Case), Oblong shape. Black 
 polished lacquer; decorated on the cover with three butterflies in 
 polished gold, and on the interior with butterflies and akikusa, or 
 autumnal grasses, in polished gold lacquer of varied tints. A 
 specimen of surprising beauty and finish. Executed by Shunsho 
 I. End of the 17th century. This box, were it now in Japan, 
 would be secured by Japanese connoisseurs at almost any price. 
 Height, 2? inches ; length, 134 inches ; width, 6 inches. 
 
 2504 Fubako (Dispatch Box). Black lacquer; decorated on the 
 coyer and sides with gourds, vines, and leaves in powdered gold 
 lacquer of various tones, the Japanese character tsuki (moon) 
 in silver incrustation being upon the leaves. On the interior of 
 lid and on the bottom of box is a silver mosaic incrustation. Has 
 silver bordering, and two silver rings for Japanese silk tassels. 
 This is a highly artistic piece. Notice the letter in characteris- 
 tically large style. Height, 2 inches ; length, 9} inches; width, 
 2hinches. 18th century. 
 
 2505 Suzuribako (Writing Case), Gold lacquer, finished in 
 the method known as raden; that is, a flat incrustation of mother- 
 of-pearl on powdered gold background. Decorations on the top 
 and sides are floral medallions. All the interior is decorated with 
 leaves of the kuri-tree in flat incrustation and powdered gold on 
 a background of conventional wave designs. A specimen of the 
 very highest technical and artistic merit, and from the school of 
 Korin. Height, 2} inches ; length, 9 inches: width, 9 inches. 
 17th century (end), 
 
402 JAPANESE LACQUERS 
 
 2506 Perfume Box. Aventurine lacquer. Decorated both exter- 
 nally and internally with streamlet and rafts beautifully drawn 
 on clouded aventurine lacquer. Hasa tray. Height, 4$ inches ; 
 length, 7 inches ; width, 4} inches. 17th century. 
 
 2507 Daimio Manuscript Box (Onrioshibako), Mura- 
 nashiji or clouded aventurine of yellow gold, both externally and 
 internally. The decorations on cover and sides are of books pre- 
 senting various designs of early Japanese court scenery and a ES 
 profusion of floral patterns, admirably drawn in polished, pow- 1 Ags 
 dered, and flat gold lacquer. On the back of the cover are seen } 
 bamboos and chrysanthemum flowers executed in various gold 
 lacquers, with gold mosaic mounds stretching to a streamlet 
 which is finished in threaded gold with the greatest skill. This 
 kind of box was made for the use of only the daimios or court 
 nobles. The lacquer belongs to the end of the 17th century. 
 This specimen is one of the most refined, elegant, and luxuriously 
 decorated art objects of Japan. Height, 6 inches; length, 16% 
 inches ; width, 13 inches. 
 
 2508 Daimio Writing Case (Suzuribako), Aventurine 
 gold Jacquer or mura-nashiji (clouded gold). Decorated on the 
 cover with book designs, presenting various views of early court 
 life, and floral patterns in powdered and polished gold lacquer. 
 The decoration on the back is of pine-tree and chrysanthemums, 
 in various layers of gold lacquer. This is a companion to pre- 
 ceding. Height, 2inches ; length, 9} inches ; width, 9 inches. 
 
 2509 Daimio Manuscript Box (Rioshibako), Aventu- 
 rine lacquer. Decorated on the cover and the sides with views of 
 a palace and a garden, with streamlet, pine, and chrysanthemums 
 iu raised gold lacquers of various shadings. The back of cover 
 shows a part of the palace garden, a pair of oshidori (favorite 
 garden birds), and artificial fences, all finished in heavy layers of 
 gold and silver lacquers ; and a full moon, which is incrusted 
 with silver, is seen rising. A box of this kind was made solely 
 for the use of the daimios and other nobles of Japan. Notice the 
 perfection of drawing and absolute sharpness of all the lines and 
 minute details of it. 17th century. Height, 64 inches ; length, 
 164 inches ; width, 13 inches. 
 
 2510 Daimio Writing Case (Suzuribako). Aventurine 
 lacquer, both externally and internally. Decorated on the top 
 and the sides with views of palace, garden with pines, and flying 
 storks, in raised gold lacquer, the rocks partly finished in gold 
 mosaic lacquer. All the interior is decorated with a rising moon, 
 which has a yellow leaf-gold incrustation, and with pine and 
 
2511 
 
 2512 
 
 2513 
 
 2514 
 
 JAPANESE LACQUERS 403 
 
 maple-trees treated as on the exterior. This case is a companion 
 to preceding. Height, 2 inches ; length, 9} inches ; width, 8+ 
 inches. 17th century. 
 
 Kobako (Perfume Box). Gold lacquer. Decorated on 
 the top and the sides with diaper pattern, executed in the style 
 known as zogan-nuri, which is the most difficult and costly of art 
 lacquering. The inscriptions on the covers signify good luck and 
 long life (fuku and zu in Japanese). Height, 54 inches ; length, 
 81 inches ; width, 5: inches. 18th century. 
 
 Writing Case. Polished blacklacquer. Decorated with two 
 sacred rocks, between which is suspended a rope, from which 
 hang straw cords with gohei, or shinto sacred paper offerings, and 
 also with waves artistically drawn. The back is decorated witha 
 pine-tree in raised and flat polished gold lacquer, executed with 
 muchrefinement. The ink-stone has the Japanese character tsuki, 
 or moon, carved and lacquered with gold. A fine specimen from 
 the studio of Shunsho. 18thcentury. Height, 14 inches ; length, 
 101 inches ; width, 7% inches. 
 
 Small Cabimet, Aventurine lacquer. Decorated with water- 
 wheels and crests in raised and powdered gold lacquer. Has two 
 drawers with silver rings, and mountings on the corners. Fine 
 old specimen. Height, 52 inches; length, 82 inches; width, 5} 
 inches. 
 
 Writing Case. Polished black lacquer. Decorated on top 
 with a waterfall scene behind a cherry-tree, and a cloud; all 
 drawn in a most artistic and elaborate manner, in gold of various 
 tones. The interior is finished in aventurine lacquer, with pine- 
 trees and mound in gold mosaic work. This is one of the finest 
 and most artistically executed specimens. Notice the aventurine 
 lacquer inside. Height, 2 inches; length, 93 inches; width, 9 
 inches. End of 17th century. 
 
 2515 Writing Case. Black lacquer. Decorated on the cover with 
 
 2516 
 
 a waterfall between two gigantic rocks, boldly drawn. Notice 
 the gold mosaic work on the rocks. The interior is decorated 
 with cherry-blossoms and mountains, in gold, on beautiful aven- 
 turine lacquer, and it has descending storks incrusted in silver, 
 shakudo, and gold. The water-holder made of silver, in the shape 
 of acrescent moon, is set in the case. Rich and refined piece. 
 Height, 2 inches; length, 9} inches; width, 9 inches. 18th 
 century (early). 
 
 Writing Case. Black lacquer. Decorated on top with storks 
 and wakamatsu, or young pine-trees, in powdered gold lacquer. 
 The interior has adesign of the noble poet Narihira on horse- 
 back, exquisitely drawn on aventurine lacquer background. 
 Height, 1 inches; diameter, 9} inches, 18th century. 
 
404 JAPANESE LACQUERS — 
 
 2517 Writing Case. Black lacquer. Decorated with pine-tree and 
 cherry-blossoms in raised gold. The back is decorated with a 
 sea-beach on ayenturine ground. Height, 2 inches; length, 10 
 inches ; width, 9inches. 18th century, 
 
 2518 Writing Case. Black lacquer. Decorated with yamabuki 
 flowers in gold lacquer. The interior is finished in aventurine 
 lacquer, having fans beautifully drawn in powdered gold, and 
 showing pines and storks. The borders are covered with asilver 
 band. The water-holder, or midsu-ire, is made of gold, in the 
 shape of pine-branches interlaced. It has ink-handle, knife, 
 piercer, and writing-brush, all lacquered with aventurine, and 
 mounted with chased silver-work. Height, 2 inches ; length, 10 
 inches ; width, 9inches. 17th century (end). 
 
 2519 Writing Case, Gold lacquer. Decorated with pines and 
 cherry-blossoms in various gold lacquers ; the interior is similarly 
 decorated in yellow, green, and powdered gold lacquers on beau- 
 tiful gold aventurine. It has a silver water-holder in form of 
 plum-flowers. Height, 2 inches ; length, 10 inches; width, 9} 
 inches. 17th century. 
 
 2520 Writing Case. Aventurine lacquer. Decorated with a col- 
 lection of books, each presenting various designs of early Japa- 
 nese poetical works, in polished gold lacquer. It is a beautiful 
 specimen of the highest work of the sort. The interior is 
 decorated with mume and wakamatsu, or plum and pine, in pow- 
 dered gold on aventurine background. The borders are mounted 
 with silver rims. This box is one of the most delicate and brill- 
 jant works of Koami, the founder of the school called by his 
 name, and it bears in gold the words, ‘‘ Koami Inaba tsukuru”’ 
 (made by Koami Inaba). Rare and valuable specimen. Height, 
 2 inches ; length, 9 inches ; width, 8}inches. 17th centary. 
 
 2521 Writing Case. Black lacquer. The cover is decorated with 
 two standing storks, drawn with admirable talent ; on one corner 
 it has Naniwa (another name for Osaka) written in gold lacquer, 
 and on the other corner tsuki, or moon, in raised lacquer. ‘The 
 interior is decorated with summer grass and grasshoppers, which 
 are inlaid with mother-of-pearl. Height, 1 inches; length, 9 
 inches ; width, 8} inches. 17th century. 
 
 2522 Writing Case. Black lacquer. Decorated with landscape in 
 panel and with checkers in gold; the interior shows a river 
 scene in powdered gold lacquer. Height, 1} inches ; length, 8} ‘ 
 inches ; width, 8inches. 16th century. 
 
 2523 Writing Case. Aventurine Jacquer. Decorated on inside 
 and outside with a collection of fans, presenting designs of 
 
JAPANESE LACQUERS 405 
 
 plum, bamboo, and pine trees. Rich and valuable specimen. 
 Height, 2 inches ; length, 10 inches ; width, 9 inches. 17th cen- 
 tury. 
 
 2524 Writing Case. Finest aventurine lacquer throughout. Dec- 
 
 2525 
 
 2526 
 
 RAW 
 
 Z52S 
 
 2530 
 
 orated with house, mountains, and river in rich gold lacquer in 
 varied effect. The back is decorated with plum and pine trees. 
 Richest specimen of aventurine lacquer. Height, 2 inches ; 
 length, 10 inches ; width, 9inches. 17th century (end). 
 
 Writing Case. Black lacquer outside, and aventurine lac- 
 quer of highest quality inside. Decorated on top with houses ; 
 and on back with maple-tree in gold, and setting sun in deep 
 red lacquer, It has a gold water-holder. Very rich and refined 
 piece. Height, 1% inches ; length, 9 inches; width, 8} inches. 
 17th century. 
 
 Writing Case. Fine ayenturine lacquer. The top is deco- 
 rated with autumnal’ flowers and setting sun, and the back with 
 chrysanthemum. ‘the interior is in powdered and polished gold. 
 A rare specimen of rich and artistic work. Notice the wonderful 
 effect of the moon seen behind the autumnal grass. Height, 2 
 inches ; length, 9} inches; width, 9inches. 17th century. 
 Small Tablet. Aventurine lacquer. Decorated with pine, 
 bamboo, and storks (emblems of good wishes), in powdered and 
 mosaic gold lacquer in various layers. This is drawn with great 
 skill and is a’specimen of the highest gold-lacquer work. Itis 
 by Sotetsu of Kioto, a pupil of Yoyetsu ; date, 17th century. 
 Notice the crest of Tokugawa, in black lacquer penciled on a 
 highly polished black ground in one corner. Length, 7 inches ; 
 width, 5 inches. 
 
 Perfume Box. Spool-shaped, Powdered gold lacquer. 
 Decorated with tanzaku (papers for writing poems) and leaves 
 (emblems of festival in July), in red, green, and brown lacquers, 
 each tanzaku having minute drawings of flowers, etc. The body 
 design represents the thread, and is drawn with great accuracy in 
 powdered gold. Exquisite specimen. Height, 4 inches ; diam- 
 eter, 3: inches. 18th century. 
 
 Perfume Box. Hastwo compartments. Lacquered in the 
 style known as kinhirame. Decorated with plum-flower branches 
 in profusion, both on top and sides ; the interior is finished in 
 muranashiji, or clouded aventurine of fine grade. Height, 2 
 inches}; length, 5 inches; width, 3} inches. 18th century (early). 
 Perfume Box. Squareform. Flat incrustation of mother- 
 of-pearl in gold powdering. Decorated with kiri crests. This 
 kind of lacquer is called kamakura. Reproduced by the artist 
 Komin. 18th century. ‘The borders are mounted with lead. 
 Height, 2inches ; diameter, 2 inches, 
 
406 
 
 JAPANESE LACQUERS 
 
 2531 Perfume Box. Square shape. Decorated with kiri flowers, 
 
 in flat incrustation of mother-of-pearl in powdered gold; the 
 borders are mounted with lead. The piece is called kamakura 
 masako tibako, and is a reproduction by the artist Komin. 
 18th century. It is certified by the celebrated pene Kohitsu 
 Rioban. Height, 2 inches; diameter, 2 inches. 
 
 2532 Perfume Box. Thisis for solid perfumes. It contains four 
 
 smaller boxes, each representing an early Japanese book of 
 poems, viz.: Kokinshu, Manyoshu, Yamato-monogatari, and 
 Isemonogatari, all in highly polished gold lacquer. The outside 
 is decorated with cards for the game of perfume. This kind of 
 box is called ko-fuda-bako. Height, 14 inches ; length, 32 inches ; 
 width, 3inches. 18th century. 
 
 2533 Perfume Box. Round shape. Decorated with leaves used 
 
 in New Year’s festivities as emblems of good wishes and happi- 
 ness, in powdered gold of various shades. The interior is in 
 aventurine of high quality. Rare piece. Height, 3 inches; 
 diameter, 8}inches. 18th century. 
 
 2534 Perfume Box. Quadrilobed shape. Decorated on top with 
 
 2535 
 
 kiku and kiri in gold on black polished lacquer. This is called 
 kamakura. The borders are covered with lead bands. Height, 
 21 inches ; diameter, 8:inches. 16th century. 
 
 Perfume Box. Shape is called fundo (a weight for scales). 
 Decorated with bamboo and sparrows, and upon the sides it has 
 crests on green lacquer. Height, 14 inches ; length, 3} inches ; 
 width, 2} inches. 18th century. 
 
 2536 Perfume Box. Square shape. Decorated outside with lily 
 
 253°'7 
 
 2538 
 
 bouquets on powdered gold ; design of conventional waves. On 
 the inside is seen a design of plum-blossoms most beautifully 
 decorated in vermilion red lacquer, with polished gold tracing. 
 Notice the design produced in highly polished flat Jacquering on 
 beautiful black ground. The borders are mounted with silver. 
 A very rare little gem, Height, 1 inch ; diameter, 3inches, 17th 
 century. 
 
 Perfume Box. Fan shape. The top is decorated with 
 flowers and bird-cage on finely polished gold lacquer, the flowers 
 being produced by successive layers of fine gold in varied tones. 
 The sides are of black polished lacquer. Height, 14 inches ; 
 length, 44 inches ; width, 3inches. 19th century (early). 
 
 ‘Perfume Box. Shape of two oblongs overlapping. Deco- 
 
 rated with beautifully drawn peacock’s feathers and flowers in 
 medallion, in mother-of-pearl and gold lacquer, on polished black 
 lacquer. Height, 1} inches ; length, 3} inches ; width, 3; inches, 
 18th century. 
 
 » 
 
2539 
 
 2540 
 
 2541 
 
 2542 
 
 2543 
 
 JAPANESE LACQUERS 407 
 
 Perfume Box. Fancy shape. Rests on three legs. Deco- 
 rated with mountains and leaves ; on top it has the paper noshi 
 and a maple branch beautifully drawn in powdered lacquer. The 
 interior is finished in yellow aventurine, called muranashiji, of 
 high grade. Height, 3} inches; length, 8} inches; width, 2} 
 inches, 17th century. 
 
 Stand. Rests on four legs. Polished black lacquer. Deco- 
 rated on top with a most delicately drawn landscape in gold. A 
 beautiful little specimen. Height, 1% inches ; length, 64 inches ; 
 width, 1} inches. 18th century. 
 
 Perfume Box. Hexagonal shape. The top is decorated 
 with a dragon in highly polished brilliant gold lacquer, in relief. 
 The sides are finished in zogan-nuri, which is the most difficult 
 and costly work in lacquering, with various conventional designs. 
 Notice the workmauship of this zogan-nuri; it is remarkably 
 well executed. On the back is a beautiful powdered gold deco- 
 ration of mask, box, and fan,all used for No dancing. Has a 
 tray, showing chrysanthemum flowers in various stages of growth, 
 most exquisitely decorated in varied effect by successive layers 
 
 | of gold lacquer. Height, 2 inches; diameter, 4} inches. 18th 
 
 century (end), 
 
 Perfume Tray (Kobon),. Square shape. Decorated with 
 landscape beautifully drawn in fine powdered gold lacquer on 
 highly polished black lacquer ground. The borders are deco- 
 rated with kiri crests. Diameter, 7 inches. 18th century. 
 
 Perfume Box. Shape of hagoita (battledoor). On top it is 
 decorated with a view of New Year’s reception of court nobles, 
 most delicately treated in low-toned gold and black lacquers ; on 
 the sides are seen the emblems used in ceremonious decorations 
 at New Year’s ; and the interior is finished in aventurine lacquer. 
 Rare and fine piece. Height, 1} inches ; length, 7 inches ; width, 
 2tinches. 17th century. 
 
 2544 Perfume Box. Oval shape, with outer cover and a tray. 
 
 Decorated on top with a most accurately drawn scroll of drapery 
 in gold lacquers of varied tints; and on sides, with a view of 
 Yoshino river and falling maple-leavyes—a Yamato scene, which is 
 celebrated for its association with poets in the early history of 
 Japan. The tray has a bouquet of cherry flowers, and a streamlet, 
 beautifully drawn in gold on polished black lacquer. The interior 
 is of clouded ayenturine. Height, 21 inches; length, 4} inches ; 
 width, 3tinches. 17th century, Rare specimen, 
 
408 
 
 JAPANESE LACQUERS 
 
 2545 Perfume Box. Gold lacquer. Decorated on top with a — 
 
 heron standing on a plum-bough, most delicately and artistically 
 drawn on polished black lacquer background. Notice the artistic 
 refinement of thisdesign. The interior is finished in gold mosai¢s 
 on polished black lacquer. Made by Shomosai, and signed. Date, 
 1800. Height, 11 inches ; length, 6} inches ; width, 61 inches, 
 
 2546 Perfume Box. Contains one tray and seven small boxes. 
 
 All are in rich gold aventurine lacquers, and decorated with chrys- 
 anthemums in profusion. The back of the cover is decorated 
 with a stork, forming a crest. Richest and finest specimen of 
 decorated aventurine. Notice the details of execution and 
 quality of the lacquer. Height, 21 inches ; diameter, 4} inches. 
 17th century. 
 
 2547 Miniature Cabinet. Made in skeleton frame, with three 
 
 drawers. Decorated with yamabuki flowers and bamboo fences, 
 in powdered gold on greenish-tinted gold background. All the 
 interiors are finished in rich aventurine lacquer. The top drawer 
 has a tray, similarly decorated on polished and powdered gold 
 lacquer. The pieceisa perfect gem. Height, 6 inches ; length, 
 6} inches ; width, 3} inches. 18th century (early). 
 
 2548 Incense Burner, Pagoda or castle shape. Decorated with 
 
 pine, bamboo and plum trees. It has three drawers well fitted 
 and beautifully decorated. The side of top part is mounted with 
 openwork silver. All the interiors are in gold aventurine. 
 Height, 6} inches; length, 6} inches; width, 3} inches. 18th 
 century (early). 
 
 2549 Incense Box. Fan shape; intwocompartments. Contains 
 
 a tray and a complete set of utensils numbering eight pieces. 
 Decorated on top with a basket of flowers, in varied gold lac- 
 quers ; and on sides, with a conventional wave design in gold on 
 black lacquer. The interior is finished in aventurine lacquer. 
 Notice the quality of the gold lacquers used in all the parts. 
 Height, 6 inches; length, 12} inches; width, 71 inches. 18th 
 century (end). 
 
 2550 Sweetmeat Box. Is in two compartments. Decorated on 
 
 top with chrysanthemums, in medallion; and on sides with 
 cherry, maple, and plum trees, and autumnal flowers, each in a 
 medalion on black lacquer ground, and surrounded by powdered 
 gold lacquer. The inside is finished in ayenturine lacquer. No- 
 lice the variously tinted lacquers used on this box. Height, C+ 
 inches ; length, 8 inches ; width, 7inches. 18th century. 
 
 2551 Wanuscript Box. Black lacquer. Decorated on top with 
 
 fan and plum-trees in gold. Height, 2{ inches; length, 15} 
 inches ; width, 12} inches, 
 
JAPANESE LACQUERS 409 
 
 2552 Writing Case. Black lacquer. Decorated on top with plum 
 blossoms in gold and crimson lacquer, and with royal hand-cart 
 for flowers, exquisitely drawn in gold. On the interior is seen 
 a folding screen, showing ducks and mountains, drawn in Indian- 
 ink lacquer, and a bouquet of chrysanthemums set in a bamboo 
 vase, skillfully painted in gold. A specimen of high quality. 
 Height, 2 inches ; length, 9} inches ; width, 8: inches. 17th cent- 
 ury (end). 
 
 2553 Writing Case. Gold lacquer. Decorated on top with two 
 storks in relief, and on the back with houses by ariver. Exe- 
 cuted with great ability. Notice the justness of lines and vigor 
 of drawing. The borders are all mounted with lead. This piece 
 is attributed to the period of Kamakura-Jidai (14th century). 
 Height, 2 inches ; length, 9} inches ; width, 8} inches. 
 
 2554 Writing Case. Decorated on top with a collection of most 
 accurately drawn sword-hilts, in lacquers of various colors ; and 
 inside with pine-tree and maples and a straw-thatched bamboo 
 
 gate. All exquisitely done in gold and mother-of-pearl. It has 
 | a bronze water-holder in shape of sword hilt. Height, 2 inches; 
 length, 10 inches ; width, 9inches. 17th century. 
 
 2555 Writing Case. Decorated on top with imperial hand-cart 
 inlaid with mother-of-pearl in high relief and penciled with pow- 
 dered gold lacquer on finely polished black lacquer background. 
 The inside is decorated with leaves of awoye, in various gold 
 lacquers on black ground. Height, 1% inches ; length, 10 inches; 
 width, 9! inches. 17th century. 
 
 2556 Writing Case. Decorated on top with a Chinese inscription 
 signifying rau (name of a plant) and kiku (chrysanthemum), 
 which are illustrated on the back of the cover. Executed by 
 Gizan, and signed with his seal-marks in red lacquer. <A very 
 distinctive specimen. Height, 13 inches; length, 9 inches; 
 width, 8iinches. 18th century. 
 
 2557 Writing Case, Aventurine lacquer. Decorated on top with 
 maple-trees in gold; and on back with a heavily chased silver 
 incrustation of a box usually carried on the back by yamabushi 
 (Shinto priests). The borders are mounted with a silver band. It 
 has a yellow metal water-holder in junk shape, and an ink-holder, 
 two writing brushes, one knife, and one gimlet, allin gold lac- 
 quer. Height, 1} inches; length, 7? inches; width, 7 inches, 
 17th century. 
 
 2558S Sweetmeat Box. Has outer cover. Decorated all over with 
 peony and chrysanthemums in red and green lacquers on red lac- 
 quer background. This style of work is called jogahana, and is 
 quite rare. Height, 6inches ; diameter, 7 inches. 17th century. 
 
410 
 
 JAPANESE LACQUERS 
 
 rs 
 2559 Perfume Box. Decorated with maple trees and with temple 
 
 drum and curtains (emblems of Shinto decoration in Yamato), in 
 a peculiar style of gold lacquer. The borders are mounted with 
 lead. A specimen of great age and rarity. Height, 5 inches ; 
 length, 6} inches; width, 5; inches. 18th century. 
 
 2560 Shrine with Image of Buddha. Most perfectly carved 
 
 in wood. Aventurine lacquer ; interior of inner shrine is in pow- 
 dered gold lacquer. It has an outer case in black lacquer, with 
 gilded lacquer on the back. Mounted with silver ornamen- 
 tation. Rare specimen of old carving. Height, including outer 
 case, 11 inches ; length, 5} inches ; width, 5 inches, Date, about 
 12th century. 
 
 2561 Jar. Made to represent a silk covering tied at top with tassels. 
 
 Decorated with a dragon in raised gold lacquer of fine powder- 
 ings. Notice the expression of dragon’s face and the beautiful 
 execution of the tassels. Height, 44 inches ; diameter, 31 inches, 
 19th century. 
 
 2562 Perfume Box. Shape of a basket of flowers. Gold lacquer. 
 
 Decorated on top with peony and wistaria in fine powdered gold 
 lacquer ; and on the sides with yamabuki, ran, and leaves of 
 awoye on greenish-tinted powdered gold background. The inte- 
 rior is finished in aventurine lacquer. Height, 14 inches ; length, 
 3% inches ; width, 3} inches. 17th century (end). 
 
 2563 Perfume Box. Shape is of two oblong boxes overlapped. 
 
 Gold lacquer. Decorated with wakamatsu (young pine-trees) and 
 bamboo in gold; the interior is in gold aventurine. Height, 14 
 inches ; length, 3$ inches ; width, 3}inches. 18th century. 
 
 2564 Perfume Box. Pail shape, with handle. Decorated with 
 
 fans and pine-trees in gold and mother-of-pearl on aventurine 
 ground. A specimen of old and rare lacquer. Height, 3} inches ; 
 diameter, 8} inches. 13th century. 
 
 2565 Miniature Picnic Set. Has two compartments. Dec- 
 
 orated on top with inlaid design of two Chinese figures and pine- 
 tree. The sides are finished in inlaid work of mother-of-pearl in 
 ornamental crest design, with panels in wicker-work. The inte- 
 rior is in black lacquer. It has an outer stand with handle. Old 
 and rare specimen of this kind. Height, 3} inches ; diameter, 3} 
 inches. 13th century. 
 
 2566 Perfume Box. Red lacquer. Decorated with autumnal 
 
 grassesin gold. On the interior are seen grasshoppers and toad 
 in gold on black lacquer background; beautifully drawn. Height, 
 2+ inches ; diameter, 8: inches. 18th century. 
 
JAPANESE LACQUERS 411 
 
 2567 Perfume Box. Tsuishu lacquer. Decorated on top ina 
 carved design of travelers and pine-tree, and on sides with 
 wicker-work deeply carved and lacquered in a brown shade on 
 red background. The interior is finished in black lacquer. 
 Height, 2} inches ; diameter, 2! inches. 18th century. 
 
 2568 Box. Houseshape. Gold lacquer; decorated to imitate the 
 thatched roof of a house, in gold and ivory. Height, 4 inches ; 
 length, 4 inches ; width, 3} inches. 
 
 2569 Perfume Box. Made of a natural egg. Decorated with two 
 roosters fighting ; exquisitely drawn in various gold lacquers. 
 The interior is finished in powdered gold of fine grade. Height, 
 3 inches ; length, 43 inches ; width, 3 inches. 
 
 2570 Perfume Box. Madeof a naturalegg. Decorated on top 
 with an eagle resting on a plum-bough in gold. The interior is 
 finished in powdered gold lacquer, Height, 2% inches ; length, 41 
 inches ; width, 3 inches. 
 
 2571 Stand, Restsonfourlegs. Lacquered to imitate teak-wood, 
 ' and decorated in gold on sides. Height, 3 inches; length, 6% 
 Inches ; width, 53 inches. 
 
 2572 Wea Jar. Made of ivory; decorated in lacquers, with plum- 
 flowers in red lacquer. A beautiful specimen of old ivory, show- 
 ing lovely effect of patina. Height, 2} inches ; diameter, 24 inches. 
 
 2573 Flower Stand. Made of shell, resting on bronze stand. 
 A fine specimen of shell. The stand is by Tounsai. 19th cen- 
 tury (early). 
 
 2574 Ornament. Made of a palm-nut. Decorated with an incrusta- 
 tion of various sea-shells and coral. 
 
 2575 Two Hair-pins. Made of silver; represent chrysanthe- 
 mum, butterflies, and vine-flower. Specimens of hair-pins used 
 by Japanese noble families in early times. 
 
 2576 Transparent Hanging, or Kakemono,  Tortoise- 
 shell and gold lacquer. The center panel is formed by two coiled 
 dragons beside an incense koro in rich gold lacquer, and between 
 clouds. The outer field is composed of tortoise-shell strips, held 
 together by silk cords, and framed with flat silver bands, made in 
 links, and engraved with dragons and conventional clouds, etc. 
 Length, 48 inches ; width, 223 inches. 
 
 2577 Glass Case for above. Mounted in dull-polished brass. 
 
SALE, WEDNESDAY AFTERNOON, APRIL 27TH 
 
 2601 
 
 2602 
 
 2603 
 
 2604 
 
 2605 
 
 2606 
 
 2607 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2.30 0’CcLOCK 
 
 WATCHES 
 
 Lady’s Watch. Gold and blue enamel; lyre shape ; music 
 score on face; with pearls, brilliants, red 
 enamel, and mosaics on back, French. 18th 
 century. 
 
 Lady’s Watch. Gold, open face, fine 
 enamel back. Maker, Leroy, Paris. 18th cent- 
 ury. French. 
 
 Locket or Chatelaine Watch. Scal- 
 lop-shell shape, gold with colored enamels. 
 Ruby jewel. Maker, Coyppel, Paris. 18th cent- 
 ury. 
 
 2601 
 
 Lyre-shaped Watch. Gold and enamel. Maker, Clary of 
 Paris. Double case. Crystal in back, showing 
 movements. 
 
 Gold Watch. Jeweled, double case, brilliant 
 setting front and back; hand studded with brill- 
 iants ; miniature head in enamel on back. Maker, 
 Delisle, Paris, 18th century. 
 
 Heart-shaped Locket or Chatelaine 
 Watch. Gold and enamel, set with seed pearls. 
 French. 18th century. In original case. 2604 
 
 Locket or Chatelaine Watch. Profile shape of lamb, 
 with lamb in enamel on gold case, richly set with pearls. 18th 
 century. French. In original case. 
 
416 WATCHES 
 
 2608 Gold and Enamel Chatelaine Watch, With gold 
 chain and ring. French. 17th century. In orig- 
 inal case. 
 
 2609 Gold Watch. Assyrian harp shape, enameled. 
 The watch set in base of harp. Cupids in enamel 
 on base. French. 18th century. In original sha- 
 green case. 
 
 2610 Wateh,. Gold and enamel, richly set with 
 pearls. Garlands of flowers on front and back. 
 In original case. 
 
 2611 Wateh. Gold and enamel, richly set with 
 pearls. Cord and pearl border. Maker, Berthand, 
 Paris. 18th century. 
 
 2612 Wateh,. Gold and enamel, mandolin shape. 
 Double case. Maker, Romille, Paris. 18th cent- 
 ury. 
 
 2613 Wateh. Gold andenamel. Griggson of Paris, 
 maker. Fine miniature in enamel on back, rep- 
 resenting Acis and Galatea. In original morocco 
 case. 
 
 2614 Gold Watch. Set with pearls; open front, 
 enamel back. Maker, Griggson, Paris. 18th 
 century. In Russia leather case. 
 
 2615 Chatelaine Wateh. Urn shape, in gold 
 and rich enamel. Maker, Lepine, Paris. 18th 
 century. In original case. 
 
 2616 Chatelaine Watch. Ball shape, in gold 
 and enamel. Richly engraved. Paris. 18th 
 century. 
 
 2617 Watch. Gold and enamel, set with brilliants” 
 Miniature in enamel on back. French. 18th 
 century. In original case. ; 
 
 2618 Wateh, Triple-faced chatelaine; heart shaped; 
 gold, finely engraved. Hour and minute and 
 second dial, and exposed works under crystal. 
 In original morocco case. 
 
 2619 Wateh. Gold and enamel, mandolin shape. 
 Watteau group on front. Double case. Makers, 
 Melby Bros., Paris. 18th century. 
 
 2620 Chatelaine Wateh. Gold and enamel, 
 elaborately set with pearls and brilliants. Maker, 
 Le Roy, Paris. Suspended to gold and enamel 
 
SNUFF BOXES 417 
 
 chatelaine with cut-steel chains and numerous charms. In 
 morocco and gilt case. 
 
 2621 Chatelaine Watch. Gold and enamel 
 with rich jewel and pearl setting. Suspended 
 from a quadruple gold chain with enamel 
 mounts. Antique morocco case. 
 
 2622 Scent Box. Acorn shape, very fine blood- 
 stone mounted in open-work gold, with 
 enamel inscription on band. Diamond head 
 to spring. Old morocco case. 
 
 2623 Scent Box. Oblong shape, in gold with 
 rich enamels; miniature 
 clock with double dials 
 set in base. French. 18th 
 century. 
 
 SNUFF BOXES 
 
 2624 Gold Snuff Box. 
 Long oval form, elabo- 
 rately chased. French. 
 18th century. In shagreen 
 case. 
 
 2625 Gold Snuff Box. Richly enameled, oval 
 shape ; roses on top, on blue ground ; inclosed 
 by green and gold border. French. 16th 
 century. 
 
 2626 Snuff Box. Gold and enameled ; panels of 
 Cupid and Venus on top and bottom. Oblong. 
 
 2627 Gold Snuff Box. Highly chased. Gift 
 of the Queen of England to Count Schlick,who 
 was decorated on his 75th birthday by the King 
 of Prussia, the Emperor of Russia, the Dukes 
 and Princes of Saxony, Hanover and Bavaria, 
 the Queen of England, the King of France, ap- 
 pointed officer of the Legion of Honor, and of 
 the King of Naples, of Victor Emmanuel of 
 Italy, etc., etc. 
 
 2628 Gold Snuff Box. Set with fine engraved 
 mother-of-pearl, floral inlaying in gold. 
 
 2629 Crystal Snuff Box. Set in gold elabo- 
 rately chiseled. French. Early 18th century, 
 In original case, 
 
418 MISCELLANEOUS 
 
 2630 Snuff Box. Gold,.green enamel panels and bottom, with 
 enamel relief of composition of Cupids at Play in red enamel on 
 top. In original case. 
 
 2631 Snuff Box. Gold engraved and with fine enamels. Circular 
 miniature in enamel on top, of cavalier and lady. In original 
 case. ; 
 
 2632 Circular Patch Box. Gold, blue enamel set with diamonds 
 and pearls; directory period. In shagreen case. 
 
 2633 Gold Snu ~ Box. Elaborate chasing with moss agate panels. 
 18th century. French. 
 
 2634 Bonbon Box. Alabaster, with mother-of-pearl and gold 
 mosaic inlays ; gold mounted. French. Directory period. 
 
 2635 Snuff Box. Carnelian, set with gold, elaborately enameled 
 and chased. Same period as above described. 
 
 2636 Flat Snuff Box. Mother-of-pearl back, silver face, with 
 figures. 18th century. French. 
 
 2637 Snuff Box. Finely marked blood-stone set in gold; brilliant 
 studding on the hinge. 
 
 2638 Snuff Box. Old Sévres porcelain set in silver, with scenes 
 and groups. Last century. French. 
 
 2639 Snuff Box. Fine agate body, with top panel in gold and 
 enamel. 
 
 ‘ 
 
 2640 Another. Similar, smaller. 
 
 2641 Snuff Box. Gold, incised, with exquisite enamel panels in 
 colors. 18th century. 
 
 2642 Gold Snuff Box. Set with enamels. Miniature in enamel 
 on lid, showing cavalier and lady with sheep and lamb. 
 
 2643 Gold Snuff Box. Blue enamel setting, with fine miniature on 
 lid. French. Period of Louis XV. 
 
 MISCELLANEOUS 
 
 2644 Iyory Patch Box. Lined with tortoise-shell, gold mounted. 
 Miniature painting on lid. 
 
 2645 Patch Box. Ivory, mounted in gold, with fine miniature por- 
 traiton top. Period Louis XV. Shagreen case. 
 
 2646 Bonbon Box. Agate, inlaid with jasper, set with gold, 
 Morocco case. 18th century. French. 
 
MISCELLANEOUS 419 
 
 2647 Bonbon Box. Mottled jasper, with view of interior of St. 
 Peter’s, Rome, in enamel, set in gold. Antique morocco case. 
 
 2648 Large Comb Head. Elaborately carved in shell cameo, 
 white on brown-gray ground ; subject, the Triumph of Bacchus. 
 Unusually delicate and rare example. In case. 
 
 2649 Miniature Portrait of a Lady. By John Hoppner. 
 Mounted in gold. English. Last century. Fine and perfect 
 example. 
 
 2650 Miniature Landscape, with figures fishing. Painted in 
 monochrome on porcelain and mounted in gold. English. Last 
 century. 
 
 2651 Miniature. French. Period Louis XV. Rich gold mounting 
 with easel support. 
 
 2652 Mimiature. French. Period of Louis XV. Rich gold mount- 
 ing, with easel support. 
 
 2653 Miniature. By Larrieu, 1831. Portrait of a young man. 
 ' Framed in gold, mounted on plush stand. 
 
 2654 Bracelet. Gold, with many-colored enamels set with precious 
 stones. Antique morocco case. This piece is exceptionally fine 
 as an example of a class of work made for the sultanas. 
 
 2655 Smelling=-salt Box. Onyx with gold setting, antique case. 
 17th century. French. 
 
 2656 Smelling-salt Box. In gold and enamel. French. 18th 
 century. 
 
 2657 Smelling Bottle. Elaborate gold open-work on fine blood- 
 stone. French. 18th century. 
 
 2658 Medallion Pendant for Necklace. Fe- 
 male classical head, finely engraved in crystal with 
 gold mounting. Exquisite execution and rare in 
 size. 
 
 2659 Perfume Bottle. Dresden china mounted in 
 gold, decorated with war picture, from period of 
 Frederick the Great. 
 
 2660 Winiature Guitar. Tortoise-shell, mother-of- 
 pearl inlays on sandalwood. 
 
 2661 Pendant, Necklace, and Ear-rings. Rose diamonds 
 and other stones. Set in silver of beautiful design and fine 
 workmanship ; made for a wedding gift to a royal personage. 
 French, 18th century, 
 
420 MISCELLANEOUS 
 
 2662 Necklace. In very fine pattern of floral lace and blossoms ; 
 fe with triple pendant, suspended by ribbon bow in 
 center. Rose diamonds in gilt setting. Period 
 Louis XY. French. In antique morocco case 
 for toilet table. . ; 
 
 2663 Small Vase. Sévres porcelain, with flower 
 panels on green body; gold finish, mounted in 
 gilt repoussé,and chiseled. French. 18th cent- 
 ury. ; 
 
 2664 Jeweled Jade Pipe Piece. The 
 mouthpiece of an Oriental pipe, in carved jade, 
 richly inlaid. A very fine and unusnal example. 
 
 2665 Set Cruet Stand, Salt Cellars and 
 Mustard Pot. Open-chiseled silver, with 
 blue engraved crystal glass bottles and bowls. 
 French, 18th century. 
 
 2667 Small Wase. Pitcher shape, fine old enamel mounted in 
 ormolu. 
 
 2668 Small Vase. Broad amphora shape, on 
 raised feet. Dresden porcelain. Rococo design, 
 with rose and pale-green outlining, and decorated 
 with various cut flowers painted in natural colors ; 
 gilt and oblique perforations at theneck. Height, 
 9 inches; diameter, 41 inches. 18th century. 
 
 2669 Jardiniere. Has handles andcover. Dres- 
 den porcelain, decorated in Oriental style, with 
 floral design, including chrysanthemums, etc., 
 and with gilding. Marked with two crossed 
 swords. 18th century. Height, with cover, 9 
 
 2667 inches ; diameter, 6% inches. 
 
 2670 Pair of Vases. Urn shape. Agate, with rich ormolu mount- 
 
 ing. Garland, with ribbons. Handles with finely 
 
 modeled and finished female heads. Masterly 
 chasing and finish in Louis XVI. style. 18th 
 century. Height, 9 inches ; diameter, 4} inches. 
 
 26971 Pair of Candlesticks. Agate, with ormolu 
 mountings. Louis XVI. design, exquisitely 
 chased and finished, with vase-like top showing 
 a frieze of figures in strong relief carefully 
 modeled. 18th century. Height, 7} inches. 
 
 2672 Pair of Candlesticks. Ormolu bronze 
 mounting, upon white Carrara marble. Three 
 caryatides. Style of First Empire. Height, 8+ 
 inches, 
 
ITALIAN AND CHIPPENDALE FURNITURE 421 
 
 2673 Venetian Rose Point Lace Dress Front. 16th 
 century. 35 inches long, 22 inches wide at the bottom, tapering to 
 9 inches at the top. ; 
 
 2674 India Chintz Hanging. Palm leaf design with borders, 
 etc., and lined in black. Length, 5 feet 7 inches ; width, 3 feet 8 
 inches. 
 
 2675 Priest’s Chasuble. Genoese. 16th century. Rich silver 
 and silver gilt tissue with silk broché. Lined with silk and 
 trimmed with silver passementerie. 
 
 2676 Priest’s Chasuble. Italian. 16th century. Rich silk 
 broché, with silver and gilt tissue, lined and trimmed with sil- 
 ver passementerie. 
 
 2676}; Priest’s Dalmatic. Italian. 16th century. Rich silk 
 broché, with silver and gilt tissue, lined with silk and trimmed 
 with silver passementerie. 
 
 2677 Hand Bellows. Carved pear wood, an example of the most 
 delicate and artistic treatment, by Miano, sculptor, Vicenza, 
 ‘Italy. From the Italian Art Exposition, Turin, 1884. Length, 
 
 253 inches x 8} inches. 
 
 2678 Large Vase. Sévres porcelain, amphora shape, painted with 
 ’. allegorical figure subjects on white ground. Signed F. de Courcy, 
 1881. With chased ormolu handles and plain base. Height, 
 
 353 inches ; diameter, 17 inches. 
 
 ITALIAN AND CHIPPENDALE FURNITURE. 
 
 2679 Cabinet. Italian renaissance, 16th century, elaborately carved 
 with figure subjects, etc. Height, 84 inches; width, 40 inches. 
 From the Leclanches Collection, Paris. 
 
 2680 Cabinet. Italian renaissance, formed by an elaborately carved 
 treasure chest of the 16th century, with a carved top and shelf 
 supported by two carved sphinxes. Width, 5 feet 9 inches; 
 height, with top pieces, 5 feet 1inch. Fyrom the Leclanches Col- 
 lection, Paris. 
 
 2681 Chippendale Sideboard. Mahogany, with inlaid panels, 
 two cupboards and one center drawer, raised on slender legs. 
 Height, 3 feet ; width, 5 feet; height, with brass bars, 4 feet 8 
 inches. 
 
 2682 Chippendale Bureau. Satin wood, inlaid with rosewood, 
 mahogany and pear wood. Width, 4 feet 6 inches ; height, 2 feet 
 10 inches, 
 
422 
 
 JAPANESE TAPESTRIES 
 
 2683 Chippendale Sideboard. Mahogany, with inlaid panels, 
 
 three cupboards and three drawers, raised on slender legs. 
 Width, 5 feet 1} inches ; height, 3 feet 4 inches. 
 
 2684 Sideboard. Colonial, mahogany. The center part has wide 
 
 2685 Library Table. Carved oak, antique finish, with a series of 
 
 drawer, and is supported by two large cylindrical cupboards 
 
 with fluted sides. The upper shelf is held by carved brackets 
 
 and kas a mirror panel, Length, 8 feet 5 inches ; width, 4 feet 
 10 inches. 
 
 drawers at the ends to hold engravings and photos, and two 
 center drawers, with fine chased brass handles. Made by Messrs. 
 Herter Bros. Length, 6 feet 6 inches ; width, 4 feet, Jfs. M. J. 
 Morgan Collection. 
 
 CHINESE IMPERIAL SCREEN. 
 
 2686 Ten Large Panels, each handsomely carved in teak-wood 
 
 framing. The upper part is composed of carved open-work 
 lacquer in green, red, and gold, surrounding a panel with emblem- 
 atical design woven in silk (similar to the fine ‘‘point” of 
 Gobelins). The second panel of silk has an embroidered fret 
 design with sixty ancient Chinese symbolical characters. The 
 other panels are in lacquer ornamented with gold, and fine bam- 
 boo work arranged in fretted design. The lower panel is in 
 black lacquer decorated in gold, with dragons in circular medal- 
 lion, 
 
 The reverse side of each panel is composed principally of 
 lacquer with rich gold ornamentation on a black ground, and 
 framing a painted or silk panel. Height, 11 feet 3 inches; 
 width, 2feet. 17th century. : 
 
 From the Summer Palace of the Emperor of China, Yuen- 
 mingyuen, Looted and burned in October, 1860. 
 
 JAPANESE TAPESTRIES. 
 
 A series of hangings embroidered in Japan under the late Mr. 
 Robertson’s personal supervision, and intended for wall hangings 
 and portiéres. The designs are similar and the workmanship the 
 same as those used in the residence of H. G. Marquand, Esq., 
 New York, are all in silk, and faithfully rendered in appliqué 
 and solid needlework, comprising many different stitches, and 
 raised in various degrees, in order to give character to the sub- 
 jects depicted. ! 
 
2687 
 
 2688 
 
 2689 
 
 2690 
 
 2691 
 
 2692 
 
 2693 
 
 2694 
 
 2695 
 2696 
 
 2698 
 
 2699 
 
 2700 
 
 2701 
 
 JAPANESE TAPESTRIES 4938 
 
 Large Panel. Representing a Japanese daimio carriage, with 
 every detail rendered in faithful accuracy, standing under a 
 cherry-tree in full blossom. Height, 8 feet 6 inches; width, 5 
 feet 2 inches. 
 
 Large Panel. Representing rich silk robes hanging on a 
 stand, with a N6 dancer’s mask close by, also a hanging ball of 
 flowers with streamer strings. Height, 7 feet 8 inches ; width, 
 5 feet 3 inches. 
 
 Large Panel. Representing a warrior’s helmet and clothing 
 on a stand, under a looped drapery. Height, 7 feet 8 inches ; 
 width, 5 feet 2 inches. 
 
 Large Panel. Representing a screen, fan, and a hanging 
 basket filled with flowers. Height, 7 feet 6 inches ; width, 5 feet 
 3 inches. 
 
 Large Panel, Representing a rich robe, and a box, orna- 
 mented with chrysanthemums. Height, 7 feet 6 inches ; wiath, 
 5 feet 3 inches. 
 
 Large Panel. Representing a large captive falcon perched 
 on screen, and a lantern. Height, 7 feet 10 inches; width, 5 
 feet 3 inches. 
 
 Large Panel. Representing a large vase on stand, with a 
 sprig of foliage, and surrounded by butterflies. Height, 7 feet 
 6 inches ; width, 5 feet 3 inches. j 
 
 Small Square Panel. Richly embroidered and represent- 
 ing a basket with flowers in natural tints, and a fan with cord 
 and tassels. Height, 2 feet 2 inches ; width, 2 feet 4 inches. 
 
 Small Square Panel. Representing peacock feathers and 
 ornaments. Height, 2 feet 1 inch ; width, 2 feet 4 inches. 
 
 Oblong Panel. Representing various ornamental boxes, 
 with cloths and a bird. Length, 4 feet 4 inches ; height, 2 feet. 
 Large Panel, Representing divers objects, including a large 
 screen, jar, fan, and a hanging basket with chrysanthemums. 
 Height, 8 feet 6 inches ; width, 5 feet 3 inches. 
 
 Large Panel, Representing divers objects, including a 
 screen, stands, and vases with plants, etc. Height, 8 feet 6 
 inches ; width, 5 feet 3 inches. 
 
 Large Panel. Representing a large alarm drum, partly hid- 
 den by a hanging; also atree in autumn foliage. Height, 8 feet 
 6 inches ; width, 5 feet 3 inches. 
 
 Large Panel. Representing various musical instruments, 
 scroll hanging, and a white parrot in swing. Height, 8 feet 9 
 inches ; width, 5 feet 3 inches. 
 
494 SERIES OF CAMEL’S HAIR RUGS 
 
 2702 Large Panel. Representing an embroidered drapery, and a 
 large bronze square jar supported by demons, with elephant in 
 relief on center panel, dog Foo on the top of cover. Height, 
 % feet 5 inches ; width, 5 feet 3 inches. 
 
 2703 Oblong Panel. Representing circular boxes in black silk, 
 with gold color imperial crests, etc. Length, 3 feet ; height, 2 
 feet. 
 
 2704 Oblong Panel. Representing a vase, stand, and bowl, and 
 blossoms, etc. Length, 3 feet 7 inches ; height, 2 feet 2 inches. 
 
 2705 Oblong Panel, Embroidered to represent a garden seat, and 
 tripod with blossoms, etc. Width, 4 feet 5 inches ; height, 2 feet. 
 
 2706 Oblong Panel, Embroidered to represent various objects. 
 Width, 3 feet ; height, 1 foot 5 inches. 
 
 2707 Oblong Panel, Embroidered to represent a vase with flow- 
 ers, etc. Width, 3 feet ; height, 2 feet 2 inches. 
 
 A SERIES OF ANTIQUE SILK RUGS, CHINESE 
 DESIGN 
 
 2708 Large Rug. The center is covered with geometrical patterns 
 in light colors, with red predominating, and finished with a rich 
 border. Length, 10 feet 4 inches ; width, 6 feet 6 inches. 
 
 2709 Large Rug. Yellow center in triangular fret patterns, with 
 five circular floral medallions; outer border in various rich colors. 
 Length, 10 feet ; width, 6 feet. 
 
 2710 Large Rug. Steel blue center, with a symbolical medallion 
 
 in red and yellow, with symmetrical and fret borders and corners . 
 in rich tones of red, yellow, light green, etc. 
 
 SERIES OF CAMEL’S HAIR RUGS 
 
 2711 Rug. Three diamond-shaped medallions in center, and diaper 
 pattern border. Brown and gray tones prevailing. Length, 12 
 feet 7 inches ; width, 5 feet. 
 
 2712 Bug. Small pattern, with borders in tan and light colors. 
 Length, 10 feet ; width, 4 feet 4 inches. 
 
 2713 Rug. Light center, with medallion and Sanskrit characters. 
 Border with red ground. Length, 8 feet ; width, 4 feet 2 inches. 
 
 2713a Large Rug. Red center in geometrical design, with medal- 
 lion and border. Length, 10 feet 10 inches ; width, 5 feet 8 inches. 
 
COLLECTION OF MODERN AND ANTIQUE EASTERN RUGS 495 
 
 2714 Rug. Buff center, with tan-colored design and dark medallion, 
 with border. Length, 7 feet 3 inches ; width, 3 feet 8 inches. 
 
 2715 Two Rugs. Center with buff-colored, lozenge-shaped medal- 
 lions, and with small black diapered ground and _ borders. 
 Length, 8 feet 6 inches ; width, 2 feet 9 inches. 
 
 2716 Long Rug. Tan-colored ground, with geometrical design in 
 various colors. Length, 15 feet ; width, 3 feet 3 inches. 
 
 2716a Long Rug. Dark center, with border in various colors, and 
 arranged in small patterns. Length, 16 feet 10 inches ; width, 3 
 feet 7 inches. 
 
 COLLECTION OF MODERN AND ANTIQUE 
 EASTERN RUGS 
 
 FoRMERLY IN USE THROUGHOUT THE ART RooMS AND GALLERIES 
 
 2717 Rug. Design in various shades of red and blue. Length, 6 
 feet ; width, 4 feet 6 inches. 
 
 2718 Rug. Red predominating, with geometrical design. Length, 9 
 feet ; width, 6 feet 9 inches. 
 
 2719 Hearth Rug. Red predominating ; design in blue and buff. 
 Length, 4 feet 8 inches ; width, 3 feet 9 inches. 
 
 2720 Saddle Rug. Black ground, with mosque and towers, etc., 
 surrounded by small palm-leaves, with a crest and star in each 
 corner. Length, 3 feet; width, 3 feet. 
 
 2721 Hearth Rug. Maroon ground, with geometrical design in 
 dark blue and white. Length, 6 feet ; width, 3 feet 2 inches. 
 
 2722 Rug. Palm-leaf design, on light ground with borders. Length, 
 6 feet 10 inches ; width, 4 feet 11 inches. 
 
 2723 Rue. Dark blue ground, with small design and borders in light 
 colors. Length, 6 feet ; width, 4 feet 5 inches. 
 
 2724 Wueg. Dark blue, with medallions and corner pieces. Length, 
 7 feet 3 inches ; width, 4 feet 9 inches. 
 
 2725 Large Rug. Blue ground, with center medallion, floral design, 
 with red predominating. Length, 15 feet ; width, 6 feet 4 inches. 
 
 2726 Large Rug. Rich red ground, with palm-leaves in various 
 colors, and border to match, and silken sheen. Length, 13 feet 9 
 inches ; width, 7 feet. 
 
 2727 Rug. Red center, with black diamond-shape medallion and 
 various borders. Length, 4 feet ; width, 3 feet 2 inches. 
 
426 COLLECTION OF MODERN AND ANTIQUE EASTERN RUGS 
 
 2728 Hug. Crimson center panel, with silver and gold thread design 
 and borders. Length, 5 feet 6 inches ; width, 4 fect. 
 
 2729 Kug. Similar, Length, 5 feet 3 inches ; width, 4 feet 4 inches. 
 
 2730 Rug. Panel with palm-leaves and borders in rich old yellow 
 tones. Length, 5 feet ; width, 4 feet 1 inch. 
 
 2731 Hug. Red center with rich borders, etc, Length, 5 feet 8 
 inches ; width, 4 feet 4 inches. 
 
 2732 Rug. Of velour strips on linen ground. Length, 5 feet ; width, 
 3 feet. 
 
 2733 Rug. Centre has small buff parallel ornamented lines with 
 
 palm-leaf border on blue-black ground. Length, 7 feet 6 inches ; 
 width, 3 feet 11 inches. 
 
 2734 Saddle Rug. Blue-black center, with a rich border and cor- 
 ners on yellow gronnd. Length, 3 feet 4 inches ; width, 3 feet. 
 
 2735 Rug. Blue center with yellow borders. Length, 6 feet 4 
 inches ; width, 4 feet 2 inches. 
 
 2736 Rug. With long nap, in various shades of yellow, light red, and 
 
 blue in archaic design, with border to match. Length, 8 feet ; 
 width 5 feet 11 inches. 
 
 For particulars of Supplementary Sale see Cata= 
 logue, Part Second. : 
 
 JAMES F. SUTTON, | Wanasers 
 
 THOMAS E. KIRBY, ! oe 
 
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