The Yamanaka Collection
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AMERICAN ART GALLERIES
MADISON SQUARE SOUTH
NEW YORK
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ON FREE PUBLIC VIEW
AT THE AMERICAN ART GALLERIES
MADISON SQUARE SOUTH, NEW YORK
BEGINNING THURSDAY, FEBRUARY 3rd, 1916
AND CONTINUING UNTIL THE MORNING OF THE DATE OF SALE, INCLUSIVE
tele
YAMANAKA COLLECTION
OF
CHINESE AND JAPANESE TREASURES
OF RARE ARTISTIC DISTINCTION
UNRESTRICTED PUBLIC SALE
AT THE AMERICAN ART GALLERIES
ON MONDAY AND TUESDAY AFTERNOONS
FEBRUARY 7th AND 8th, 1916
BEGINNING EACH AFTERNOON AT 2.30 O’CLOCK
AND
ON TUESDAY EVENING, FEBRUARY 8th
AT 8 O'CLOCK
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PREFATORY NOTE—JAPAN IN A NEW LIGHT
True to their custom, the Messrs. Yamanaka & Company have
brought together this year a carefully selected number of the works of
Chinese artists and craftsmen of past ages, and issue—as has come to
be expected of them during the winter’s art season—their annual invi-
tation to inspect such Oriental works of art and compete for them at
public sale. They have made a departure, however, in assembling at
the same time two distinct collections of works of Japanese art and
craftsmanship, of a nature which can but come largely as a surprise—
I believe a welcome surprise, the welcome none the less assured where by
reason of possible familiarity the element of surprise is lacking.
The Chinese productions include some remarkably fine jade carv-
ings and handsomely arranged miniature gardens of jade and semi-pre-
cious stones, a small number of very large jardiniéres in pottery and
porcelain, and a few more of the palatial Ch’ien-lung birdcages whose
beauty and elaboration of adornment have found high appreciation
here in the last two seasons, since the Yamanakas introduced the
country to them.
An entirely new Chinese offering is made,—new in character,
here,—in a Ch’ien-lung cloisonné enamel cage or house for a pet dog,
and other antique Chinese cages in lacquer carving, equipped with
appointments for similar service.
Akin to the Chinese work in jade, yet of a character distinctly
their own, are a few Thibetan jade carvings; and wholly different from
Chinese art in painting are a number of paintings from Thibet,—
Lamaistic compositions whose peculiar attraction in age-softened
colors is not lessened by their mysticism. ‘There is also an assemblage
of Chinese, Japanese, Corean and Indian Buddhistic carvings.
The distinct novelty of the exhibition is the collection of Japanese
dolls. While toys, they are more than toys. The doll in Japan is an
institution. 'T'wo festivals a year are given to its celebration, one for
boys, one for girls; and great attention is and has been for ages paid
to the elaboration of the doll as an artistic object worthy of notice
and care from palace to hut. Certain dolls were restricted to noble
houses, lesser people not being permitted such display of luxury.
Those who at the announcement of a doll collection bring to their
minds the Japanese dolls of export commerce, sold here today as chil-
dren’s playthings, can but open their eyes to new conceptions on seeing
those of age-long preservation assembled from various parts of Nippon
and in many instances figuring the legend and history of the land and
people. In large part they are for the cabinet rather than for chil-
dren’s play; there are collectors of dolls, in Japan, as of porcelains or
potteries ;—there are one or two collectors of these Oriental dolls in
this country.
Because of the relative unfamiliarity of these productions it has
been ventured to offer short introductory or explanatory notes in con-
nection with the different groups.
Similarly, a brief introduction prefaces the collection of screens,
—which in Nippon are interior decorations highly valued as works of
art, not the masks of a secretive utilitarianism. ‘Those here assem-
bled, in the beauty and range of their conception and the power of their
execution, offer the rich chromatic pictures of a “dream of Old Japan.”
Dana H. Carro.u.
New York, January 25, 1916.
CONDITIONS OF SALE
1, Any bid which is merely a nominal or fractional advance may
be rejected by the auctioneer, if, in his judgment, such bid would be
likely to affect the sale injuriously.
2. The highest bidder shall be the buyer, and if any dispute
arise between two or more bidders, the auctioneer shall either decide
the same or put up for re-sale the lot so in dispute.
3. Payment shall be made of all or such part of the purchase
money as may be required, and the names and addresses of the pur-
chasers shall be given immediately on the sale of every lot, in default
of which the lot so purchased shall be immediately put up again and
re-sold. ,
Payment of that part of the purchase money not made at the
time of sale shall be made within ten days thereafter, in default of
which the undersigned may either continue to hold the lots at the
risk of the purchaser and take such action as may be necessary for
the enforcement of the sale, or may at public or private sale, and
without other than this notice, re-sell the lots for the benefit of such
purchaser, and the deficiency (if any) arising from such re-sale shall
be a charge against such purchaser.
4. Delivery of any purchase will be made only upon payment
of the total amount due for all purchases at the sale.
Deliveries will be made on sales days between the hours of 9
A. M. and 1 P. M., and on other days—except holidays—between the
hours of 9 A. M. and 5 P.M.
Delivery of any purchase will be made only at the American Art
Galleries, or other place of sale, as the case may be, and only on pre-
senting the bill of purchase.
Delivery may be made, at the discretion of the Association, of
any purchase during the session of the sale at which it was sold.
5. Shipping, boxing or wrapping of purchases is a business in
which the Association is in no wise engaged, and will not be performed
by the Association for purchasers. The Association will, however,
afford to purchasers every facility for employing at current and
reasonable rates carriers and packers; doing so, however, without any
assumption of responsibility on its part for the acts and charges of
the parties engaged for such service.
6. Storage of any purchase shall be at the sole risk of the pur-
chaser. Title passes upon the fall of the auctioneer’s hammer, and
thereafter, while the Association will exercise due caution in caring
for and delivering such purchase, it will not hold itself responsible if
such purchase be lost, stolen, damaged or destroyed.
Storage charges will be made upon all purchases not removed
within ten days from the date of the sale thereof. :
7. Guarantee is not made either by the owner or the Association
of the correctness of the description, genuineness or authenticity of
any lot, and no sale will be set aside on account of any incorrectness,
error of cataloguing, or any imperfection not noted. Every lot is
on public exhibition one or more days prior to its sale, after which
it is sold ‘“‘as is” and without recourse.
The Association exercises great care to catalogue every lot cor-
rectly, and will give consideration to the opinion of any trustworthy
expert to the effect that any lot has been incorrectly catalogued, and,
in its judgment, may either sell the lot as catalogued or make mention
of the opinion of such expert, who thereby would become responsible
for such damage as might result were his opinion without proper
foundation.
SPECIAL NOTICE.
Buying or bidding by the Association for responsible parties on
orders transmitted to it by mail, telegraph or telephone, will be faith-
fully attended to without charge or commission. Any purchase so
made will be subject to the above Conditions of Sale, which cannot
in any manner be modified. The Association, however, in the event of
making a purchase of a lot consisting of one or more books for a pur-
chaser who has not, through himself or his agent, been present at
the exhibition or sale, will permit such lot to be returned within ten
days from the date of sale, and the purchase money will be returned, if
the lot in any material manner differs from its catalogue description.
Orders for execution by the Association should be written and
given with such plainness as to leave no room for misunderstanding.
Not only should the lot number be given, but also the title, and bids
should be stated to be so much for the lot, and when the lot consists
of one or more volumes of books or objects of art, the bid per volwme
or piece should also be stated. If the one transmitting the order is
unknown to the Association, a deposit should be sent or reference sub-
mitted. Shipping directions should also be given.
Priced copies of the catalogue of any sale, or any session thereof,
will be furnished by the Association at a reasonable charge.
AMERICAN ART ASSOCIATION,
American Art Galleries,
Madison Square South,
New York City.
THE AMERICAN ART ASSOCIATION
MANAGERS
SALE AT THE AMERICAN ART GALLERIES
THE YAMANAKA COLLECTION
Monday and Tuesday Afternoons, February 7th and 8th,
and Tuesday Evening, February 8th, 1916
To save time and to prevent mistakes each Purchaser
will oblige the Managers by filling in this slip and hand-
ing it to the Record Clerk or Sales Attendant on making
the first purchase.
Purchaser’s Name____ SS
Address in Full_ ASE Se
Amoant of Deposit_________
CATALOGUE
FIRST AFTERNOON’S SALE
MONDAY, FEBRUARY 7, 1916
AT THE AMERICAN ART GALLERIES
BEGINNING AT 2.30 O'CLOCK
1—Crinnasar Lacaver Snurr Borris (Eighteenth Century)
Bulbous inverted-pear shape, somewhat flattened, with embryonic
foot and short expanding neck. Carved in bold relief with scenes
of a garden party among the nobility. Underneath foot a Shou
medallion and about the neck a key-fret border, both incised.
Coral stopper.
2—CoraL SNuFF Botrrue
High-shouldered and full-bodied flattened flask-shape, with low
foot and short wide neck. Mottled pink coral showing delicately
grained structure, with soft, luminous polish. The only decora-
tion two lion-head and ring ornamental handles carved in light
relief. Fei-ts’ui jade stopper.
First Afternoon
No. 3
3—Crnnapar Lacauer Snurr Borris (Kighteenth Century )
Flattened globular form on low foot, with abbreviated neck.
Carved in bold relief with a sage and attendants among pine
trees and rocks, on a ground of incised angular grill. Cinnabar
lacquer stopper carved as a chrysanthemum.
4—_AmMBER SNUFF BOTTLE
Elongated bulbous form with embryonic foot and short wide neck.
Translucent brown amber with mottlngs of rich black. Carved
on all surfaces, in bold relief, with landscape and waterscape, pine
trees, rocks, a summer house and a bridge, and figures, among
them T'ai Kung Pou, the famous fisherman-philosopher who fished
ever without hook, partly to escape an importunate wife, partly
to evade Imperial preferment and have time and opportunity for
his reflections. Stopper of clear golden amber carved in open-
work with birds and blossoms. Height, 4 inches.
5—CorauL SnNuFF BoTrieE
Bulbous form of ovoid contour, with sloping shoulder and minia-
ture foot; amethyst stopper. Carved in low relief, on one face
with a four-clawed dragon in pursuit of the flaming disc, which
appears above a carp leaping from waves, and on the other face
with a monkey swinging from a pine tree and scaring a horse,
which, rolling, seems also to be concerned with some bees that
are buzzing around, their nest being seen in the tree overhead.
First Afternoon
6—Larcr AMBER SNuFF BorTtTLEe
Light brown amber mottled with bright
yellow gold and rich dark brown, with
a soft and bright polish. Ovoidal flask
shape on a miniature foot, with short
cylindrical neck and mound-shaped
cover or stopper-handle. Handsomely
carved in relief on all surfaces. On
one face appear figures on a flat boat,
one propelling it, another holding aloft
two swords, and a third with two
round-headed beating sticks; a_ fish
emerges from the waves below them and
rocks rise on either side, branches of
pine trees projecting from them. On
the opposite face a muscular figure with
two swords raised appears to be wad-
ing in the waves after a fish leaping
from them, while overhead other figures
look down from a rock ledge, among
pine trees and near a building. Stop-
per-head crowned with a pair of birds
on pine branches, carved in relief and
undercut. Green-tinted carved ivory
stand. Height, 37% inches.
Y—Tvurevoisk VAsE witTH CovER
Quadrilateral on a spreading. pedestal foot, with narrow sloping
shoulder and expanding lip, both foot and lip holding to the
oblong shape of the body; low cover carved with a floral spray
in relief. Light blue turquoise with a veining resembling an
eccentric crackle, in faint purplish-brown lines. The vase proper
stands boldly cut out within an arbor of blossoming trees, in
miniature, birds perched among the branches, and at one side a
dog Fu standing on his hind legs on a stump.
Height, 314 inches; width, 3 inches.
8—MatacHitE Coupe
Shallow, in the form of a curled-up leaf of the lotus, its under-
lying stem bound up with a group of stems supporting leaves and
buds and blossoms, carved in relief, undercut and pierced, which
project boldly below the cup, giving it a base and extending be-
yond its boundaries at the circumference, and across its top.
The malachite in characteristic ight green hue, with dark mot-
tlings almost as of a blackish patina, is beautifully marbled and
has a luminous polish. Diameter, 31/, inches.
First Afternoon
9—TuravoisE CouPE
Shallow, in irregularly circular shape, resembling a horizontal
section of a slender tree-trunk, hollowed out, and adorned both
in the interior and exteriorly with branch carvings executed in
the round. These branches, with stems and needles of the con-
ventional pine tree, issue from the outer sides of the trunk and
wander as twigs grow, about the outer side and over the top into
the interior, with birds perched upon them at intervals. The
turquoise is of the bluish-green variety, with a soft polish, and
shows an erratic crackle in chocolate-brown lines.
Diameter, 53g inches.
10—AcaTtE CouPE
Shallow, of ovoidal contour, in ten-lobed melon-form, with flat
bottom, slightly flattened narrow shoulder and wide mouth. Three
boys carved in high relief climbing over the shoulder. Soft
grayish and a warm russet-brown agate, translucent, and bril-
liantly polished.
Height, 214%, inches; diameter, 434 inches.
11—Soapstone STaTvuETTe oF Lonan (Ming)
A Lohan is carved in seated attitude, with right foot crossed
under his slightly raised left knee, on a polyfoliate base, both
figure and base in soapstone. His hair, eyebrows and incipient
beard are lightly etched, in black, and the floral embroidery
of his robes is finely engraved and reveals traces of gilding. ‘The
base is similarly treated in fine line. Relieving the character-
istic grayish-waxen surface are softening tomato reds and yel-
lows, gray-black, and a subdued vermilion. (Slight repair at
hand. )
Height, 514, inches; greater diameter of base, 556 inches.
12—-Soapstone STATUETTE OF LoHan (Ming)
Grayish-yellow soapstone of softly luminous waxen surface,
carved with the figure of a Lohan seated sidewise upon a
rhinoceros, the animal having a spine of protuberant bosses, the
curled and bushy tail of a Fu-lion, and a single horn in the
middle of the forehead; it is lying down with legs folded under
and head turned upward toward the Lohan. The Lohan sits with
left hand back of him resting on the beast’s back, and in his
right hand he holds a scepter. His robes are engraved in pat-
terns of delicate embroidery, and gilded, and the group through-
out shows soft touches of delicate reddish color.
Height, 834 inches; animal length, 7% inches.
First Afternoon
13—SoapsTonE STATUETTE OF SHOU-LAO (Ming)
Standing figure of the god of longevity, in flowing robes, on a
base of rockery, looking downward and toward his left, smiling.
His right arm, hanging at full length at his side, is concealed by
his robes; his left arm is folded across in front of him and sup-
ports a scepter with a peach, his emblem, at its head. The robes
have engraved ornamentation, and the whole shows rich color
mottlings of red, gray and black, with a brownish-yellow.
Height, 121% inches.
14—WuitrEe JapE Bown
Thibetan workmanship. Delicate jade, almost of paper thinness,
through which print, and even penmanship, can be read. Every
particle of the surface, interior and exterior, is carved
as slender, delicate, fluted flower petals, the whole in con-
ventional flower-cup form and all surfaces brilliantly polished.
The bowl is shaped as of flat bottom, really resting on a barely
palpable foot formed of the petal tips of the flower carved under
the bottom, and its deep sides make a quick curve upward and
flare lightly. The petal fluting gives it a finely scalloped rim.
The upper surface of the bottom is independently carved, with
great delicacy, with another flower similar to that underneath.
Height, 2 inches; diameter, 514 inches.
15—Whuirt Jape Dracon Covurr
In form of a bulbous ovoidal jar with broad shoulder and narrow
foot, and small mouth with upright short lip. Gray-white jade
of unctuous surface. Carved in the round on three sides of the
body are three dragons, two opposite each other serving as loop
handles, with their coiling bodies, and opposite the intermediate
dragon is the flaming jewel, resting on the shoulder of the jar.
Two of the monsters are lizard-dragons, the third a scaled three-
clawed dragon with serrate spinal ridge.
Height, 2%, inches; width across handles, 51, inches.
16—Parr Fet-rs’u1 Jape Trea Cups witH Covers
The cup slightly ovoidal with broad flare, on a low foot; the
cover inverted saucer-shape with the short, spreading, saucer foot
as handle. Thin, delicate, transparent jade of musical bell tone
—water-clear, vaporous gray with emerald tinge, and touched
with the vivid kingfisher green. The color striations in one cup
particularly are of a marvelous delicacy under close examina-
tion, inviting caress but challenging description. All pieces are
brilliantly polished on both surfaces.
Height with cover, 34% inches; diameter, 414 inches.
First Afternoon
17—FEI-Ts’uI JADE PENDANT
° In heart shape, without ornamentation;
richly mottled, with patches and veins of
emerald in a soft translucent mass as of
greenish-tinted melting snow; soft, brillant
polish.
18—FEI-Ts’u1 JADE PENDANT
Brilliant emerald-green jade mottled with
white, in flat pendant form, carved in re-
lief in vine-leaf and fruit motive, the leaves
delicately veined by light incision.
19—TovuRMALINE PENDANT
Pink tourmaline, sometimes known as Chi-
nese ruby, in flattened, irregularly heart-
shaped form, or somewhat resembling a
palette, and carved with vine leaves and
fruit, in low relief with lghtly engraved
veining.
No. 18 (Illustrated)
20—FEI-Ts’vu1 JADE PENDANT
Carved in flattened gourd form with leaves and stems, the leaves
lightly veined by incision; on one of the fruits a bat in low relief.
The stone softly mottled and brilliantly polished.
(Illustrated)
21—F1-ts’u1 JADE PENDANT
Oblong, carved and pierced, picturing a bird, a bat and fruits.
(Illustrated)
22—-F I-Ts’ur JADE PENDANT
Carved, pierced and undercut with lotus leaves, cupped and curl-
ing, with coiling stems, a sort of catfish involved with them. Bril-
hant polish.
(Illustrated)
2?3—FEI-ts’u1 JADE PENDANT
Carved in bold relief with double-gourds and leaves and brightly
polished.
(Illustrated)
GG ON
£6 “ON
First Afternoon
24—Fri-ts’u1 JapE Penpant
Carved as two peaches, one above the other and merging, en-
twined by leaves and stems in relief; on one leaf a ladybug.
Cloudy translucent grayish and greenish jade, brightly polished.
25—Rocx Crystatu WatTER-cUP
Compressed-globular form, with flat foot and small circular
mouth. Brillant polish. Carved with an earth dragon in high
relief on one side of the shoulder, partly coiled and watching a
flaming jewel, also in high relief, on the opposite side. Further
carvings of fungus branches in low relief, with stems extending
under the foot.
Diameter, 314, inches.
26—-Wuitt Jape Incense Box
Carved as a plump little bird seat-
ed on the ground, with tail curled
down and head well drawn in,
looking wise, content and undis-
turbed. The feet, down to the
tiny claws, are carved in low re-
hef, the tail is undercut, and the
feathers, carefully carved in tan-
gible relief, are finely etched.
Where the cover lifts off, the out-
line at breast and tail is serrated,
following the lines of the over-
lapping feathers, the cover there-
fore fitting in with firmness. Soft
polish. In the interior, which has a brilliant polish, a long spray
is carved in low relief.
Length, 414, inches.
27—Fer-ts’u1 JADE VasE wiITH CovER
Deep and slender, flattened-cylindrical form, with wide neck and
straight lip, on a low pedestal foot. Carved in the round at
either side is the scrawling body of an earth dragon, its scrolling
tail extending to the base and one claw reaching the lip, the
head turning forward over the shoulder. On the front, carved
in high relief, is a spray of three stems of the polydorus lucidus,
one above the other. The back is left plain. The dome cover is
surmounted by an openwork carving of a small coiled land
dragon. Brilliantly polished translucent jade of rich emerald-
green and soft fog-gray mottling. Carved ivory stand.
Height, 614 inches.
First Afternoon
i
28 Parr WuitE JADE INCENSE BOXEs
Carved in the form of seated swallows, with their long tails ex-
tended straight behind them, forming handles by which the upper
parts of the birds may be lifted off, exposing the hollowed box
interior. Wings, feet and feathers carved in low relief and
etched, with a soft polish, the heads smoothly polished. Over
the head of one, a delicate stem of small blossoms in tangible
relief.
Length, 74%, inches.
29—WhHuiIiTE JADE ORNAMENT
Dense white jade, of soft, lustrous polish, carved in representa-
tion of two storks, on a single base, one standing, the other
squatted at his feet. The standing bird, on one foot, with head
turned over his back, holds in his beak a sprig of the peaches
of longevity, carved in bold relief, and beneath him is a tangled
growth of the sacred fungus, in undercutting and openwork,
on which he poises the foot that is folded under him. On one
side the fungus has a naturalistic brownish tinge, an influence
of ferrous corrosion on the stone in its bed. The feathers of
the birds are engraved.
Height, 6 inches.
First Afternoon
30—EvaporatEe Incense Box 1n Wuitt JADE
Carved as a tall, standing phenix, amid twisted growths of the
sacred fungus so treated as to yield also a rockery effect, in
undercutting and openwork. This treatment is carried up mid-
way of the bird’s deep body, where at breast and drooping tail
stems of the fungus project and curl upward, forming handles
in which are suspended two loose rings. This part of the body
is finished as a vase with rounded shoulder and flange lip, the
interior being the incense receptacle. The upper part of the
bird forms the cover, the wings extending well down over the
sides, giving it stability. With neck erect, the phenix’s head
is turned back over its body, with a large fungus branch held in
its beak, carved in conformity with the openwork below. Pure
translucent white jade with mottlings as of melting snow, with a
brilliant polish.
Height, 74% inches.
First Afternoon
31—FerI-ts’u1 JADE CENSER
In ancient bronze tripod form highly elaborated. The body,
cylindrical and shallow, with flat shoulder and flanged lip, has
just under the base line and slightly retired an apron of pendent
scallops or foliations, of serrate outline, and rests upon three tall
monster-head feet, the toes carved with a figure resembling both
a palmette and an adaptation of the ju-i scepter design. The
traditional handles are grotesque animal or bird heads between
wings that might be bat wings or treatments of the nelumbian
lotus leaf, the heads supporting loops from which depend loose
rings. In addition, midway of each side are two small ornamental
handles—floral loops, each supporting a small loose ring. The
body is carved in low relief with the t’ao-t’ieh ogre lineaments and
details of the thunder scroll. The conical dome cover, with bul-
bous lantern, has a torch, or broad knob finial, carved and pierced
in the form of five dragon-heads facing outward from a pen-
tagonal opening at the top, each supporting a loop with pendent
loose ring. The low relief ornamentation of the dome is con-
gruent with that of the body. The whole in mottled hght emer-
ald-green and grayish jade of delicate translucence, with a
bright polish.
Height, 5°, inches; width across handles, 474 inches.
First Afternoon
32—FrI-ts’ur JADE ORNAMENT
Delicate and brilliant light emerald-
green jade mottled with white and
touched with light yellow, in the
general shape of an enlarged spear-
head in upright position, carved
with the figures of a lady standing,
carrying a flower basket in one hand
and a peony spray in the other,
and a boy seated or kneeling beside
her with a vase from which issues a
scrolling leaf. The two figures are
in an openwork bower, in which ap-
pear peonies, a peach tree in bear-
ing, an ornamental banana tree, the
sacred fungus growing from rock-
ery at the base, and over all a
phoenix swooping toward the lady’s
shoulder, bearing a branch in its
beak. Bright polish.
Height, 7%, inches.
838—Waulte JApE DisH
Shallow ovoidal bowl with delicate
out-turning lip, on a low foot.
Greenish-white jade with soft mot-
tlings, thin and brilliantly polished, transparent to the degree
that fair-sized black type can be read through it. Unadorned,
except that there is a finely incised seal mark underneath.
No. 32
Diameter, 634 inches.
384—WHiITE JADE DisH
Companion to the preceding and of the same dimensions.
35—Rocx Crystaut VASE
Wedge-shape, the broad faces convex and the narrow ones flat,
on a low foot shaped in conformity; abrupt, sloping shoulder,
and wide neck with two animal-head loop and loose ring handles.
Dome cover with oblong knob finial broadly faceted. Decoration,
a single stem of the polyporus lucidus on the obverse of neck and
body, each engraved in line. Brilliant polish.
Height, 5% inches.
First Afternoon
36—FEI-ts’u1 JADE CENSER
Cauldron-shaped but lobed in melon-form, on a low flange foot
of foliate outline in conformity with the lobes; two phcenix-head
loop handles, undercut and pierced, supporting loose rings. In-
setting dome cover, solid, with a broad knob finial carved and
pierced in the form of a coiled dragon in possession of the jewel
of omnipotence. The whole exterior of body and cover carved in
low relief with floral designs and scrolls, of lotus origin, the flower
highly conventionalized. Clouded emerald-green jade of varied
note, with streaks of brown; translucent, and when held to the
light the deeper green cloudings appear as soft as the richest
moss of the woods. Bright polish.
Height, 5 inches; width across handles, 7 inches.
First Afternoon
37—FEI-Ts’uI JADE CENSER
Oblong and deep, on four animal-head retreating feet with in-
verted flutings to the claws. Two monster-head loop and loose
ring handles. Pyramidal cover, truncated, surmounted by a
dragon carved in the round. On the shoulder of the obverse, an
archaic tiger, scrolled, and carved in high relief and undercut.
Both cover and body boldly carved in relief with the archaic
dragon-scroll in its angular form, after the manner of ancient
bronze ornamentation. The jade largely a soft and delicate gray-
white, with mottled areas of brilliant emerald-green. Carved
teakwood stand with silver inlay.
Height, 55% inches; length, 5 inches.
88—Wuitrt JADE PLATE or SHALLOW DisH
Ovoidal with lightly expanding lip, on a low foot. Semi-trans-
parent gray-white jade, thickly flecked with snow-white. Lu-
minous polish of mirror quality.
Diameter, 81, inches.
First Afternoon
39—Rocx CrysraL PircHER-VASE WITH COVER
Flattened form on an oval spreading foot, with narrow shoulder
and abbreviated neck, and mounting spout, with which the
elongated, domed and curving cover is carved in conformity.
Clear rock crystal, brilliantly polished. On the cover is a
sprawling monster, carved in relief and undercut, and on the
front of the pitcher another animal is carved in bold relief. ‘The
handle is in the form of an archaic dragon, carved in the con-
ventional angular dragon-scroll form, the angles pierced, running
vertically nearly the whole length of the pitcher, the monster’s
chin resting on the rim and his muzzle fitting into the rim of
the cover. Under the spout is an animal-head loop with loose
ring. -
Height, 61% inches.
40—Rockx CrystTaL VASE wiTH AGATE COLORINGS
The vase, in clear rock crystal brilliantly polished, is in flask
shape with sloping shoulder and wide neck, and stands upright
within the embrace of flourishing lotus plants carved in heroic
relief and widely undercut. These, presenting curling stems and
spreading leaves, with bud, cupped blossom and seed-pod, are
partly in clear crystal and in parts colored a delicate yellow
and mottled agate-red. In a large open leaf a mandarin duck is
couched and on the other side are birds pecking at branches.
The dome cover is in hair crystal of rich agate-red tinge, and
is surmounted by a sitting bird holding a spray in its beak.
Height, 57% inches.
41—WHuiTE JADE CovERED BowL
Translucent gray-white jade, mottled as with mountain snows,
or with banks and strata of pure white cumulus clouds. The
bowl is ovoidal and of graceful curvature, with lightly expand-
ing lip, and cylindrical foot, and the cover is inverted saucer-
shape, the slightly spreading foot of the saucer supplying the
handle. The inner lip of the bowl is very carefully carved, giving
the in-setting cover a secure fit. Soft, luminous polish on both
surfaces of both pieces.
Height, 454 inches; diameter, 614% inches.
ar
\ LHS UVLIV AdVe IN.SL-lTHA—scPr ON
First Afternoon
42 _Fet-ts’ur JADE ALTAR SET
Three pieces. Shallow ovoidal incense burner on three low stump
feet, with narrow shoulder and flange lip, and broad, projecting,
flat, animal-head handles, from which depend right-angle loops
sustaining loose rings; dome cover with broad knob finial, carved
with a conventionalized petal border overlapping the knob. Both
cover and bowl carved in low relief with conventional ornamenta-
tion after the patterns traditional on the ancient bronze vessels.
The same type of ornament, involving conventionalizations of
animal lineaments, adorns the low dome cover of the semi-globular
box, the bottom of which is left plain, and the body of the wide-
necked ovoidal vase, which has two elephant-head and loose ring
handles and a low flange foot. The vase is further carved with
a border of palmations on the neck and a conventional petal
border at the base, in low relief. In all the pieces the jade is in
broad mottlings of emerald notes, cloud-white and rich black,
with a bright polish.
Height of vase, 47%, inches; diameter of bow, 2% inches; height of incense
burner, 414 inches; width across handles, 634 inches.
(Illustrated)
43—WuitrE JapE ALTAR SET
Three pieces: tripod incense burner with cover, covered box and
slender vase. The tripod is after the type of ancient bronzes,
in cauldron shape compressed laterally to elliptical form, with
two upright, out-curving handles, and resting on short, stocky,
animal-head feet. Decorated about the body with a conventional-
ization of the t’ao-t’ieh ogre motive, carved in pronounced relief.
The dome cover is delicately carved in conventional scroll mo-
tives, and the knob finial in the form of a flower. The vase is
of flattened gourd-shape with bulbous tall neck and straight
lip, on a low pedestal foot, and is carved in low relief with
conventional floral designs. The ovoidal box with dome cover
and low foot is similarly carved with other floral motives.
Height of tripod, 614 inches; of vase, 5 inches.
Length of bow, 24 inches.
44—JapE STATUETTE OF Boy
Dense gray-white jade partly translucent, with fleeting blue-gray
and greenish tinges, carved as a standing Chinese boy in char-
acteristic robes. With feet turned somewhat toward the left
and body to the front, his head is turned toward the right and
he looks downward with a quiet smile. He holds with both hands
a long stem of the lotus, conventionalized, which passes over his
right shoulder and around his back to the opposite shoulder.
Soft, bright polish. (In glass case.) Height, 61/, inches.
First Afternoon
45—PoLycHROME HypranceA BusH IN WHITE JADE Pot
With leaves of mottled, translucent green jade, the veins incised,
the hydrangea bush displays nine flower clusters in translucent
white and opaque green jade, pink tourmaline, carnelian, lapis,
coral, and varicolored quartz, all brightly polished. At its foot
is a fungus growth in rock crystal, a figure m white jade, a
coral chrysanthemum bush with bluish kingfisher feather laid
upon openwork gilt leaves, and small ground flowers in green
jade carved as miniature openwork medallions. The jardiniére
is an ovoidal bowl of gray-white, translucent jade, incised under-
neath the foot with the seal mark of Ch’ien-lung. Carved teak-
wood stand with silver and tinted ivory inlay.
Height of bowl, 214 inches; diameter, 5%, inches; total height, 10 inches.
(Illustrated)
46—MINIATURE GARDEN IN CH’IEN-LUNG CLOISONNE JARDINIERE
A small pomegranate tree in bearing the principal object, with
three of the fruits in turquoise, a fourth in pink tourmaline, and
blossoms in white jade. A peach in clouded pinkish quartz and
a sprig of the Buddha’s-hand citron in greenish water-white
quartz also sprout from the tree, with a flower in coral. Grow-
ing below are a pink rose, plants of the sacred fungus in lapis-
lazuli, berries and various flowers in jade, coral, turquoise and
other materials. The jar is in inverted bell-shape, on three short
bulbous feet, all in Ch’ien-lung cloisonné enamel.
Height of jar, 314 inches; total height, 934 inches.
(Illustrated)
4°7—MInNIATURE GARDEN IN CLOISONNE JARDINIERE
Companion to the foregoing, differing slightly in details.
Height, 1014 inches.
48—JAapDE JARDINIERE OF THE FLORAL GENTLEMEN
White jade vase of large disc form; Ch’ien-lung. Both faces
carved in light relief with conventional scrolls, and inlaid with de-
tached blossoms in malachite, lapis-lazuli, coral and tourmaline.
In the jar a group of sprigs, in jade, tourmaline, and kingfisher’s
feathers laid on gilt leaves, representing the orchid, chrysanthe-
mum, bamboo and plum, called by Chinese “the four gentlemen of
the flowers.”
Height of vase, 654 inches; diameter, 534 inches; total height, 17 inches.
(Illustrated)
No. 45
No. 48
No. 46
- i)
tf
ite
. | First Afternoon
49—WhuiTtTE JADE VAsE wiTH COVER
Thibetan workmanship. Flattened and elongated flask-shape
with tall, incurvate neck, and deep, spreading foot; leaf-scroll
loop handles with loose rings; dome cover with knob finial. Gray
greenish-white jade with bright polish. Carved in relief with a
deep base border of curling leaves of the nelumbian lotus, from
which issue on both faces graceful floral conventionalizations,
and at each side lotus flowers in conventional form in bolder
relief. Both neck and foot carved with a continuance of the
leaf motive, and the cover also.
Height, 934 inches.
First Afternoon
50—Larct OrNAMENTAL AMBER COUPE
Somewhat in the shape of a deep ovoidal bowl with the sides
pinched almost together, giving an oval perimeter, and the foot
elongated laterally by the same compression. ‘The solid body
of the cup proper appears in rich dark brown amber, brightly
polished, within a profusion of openwork carving in light golden
and golden-brown amber, picturing pine trees and palms, and
other trees, rocks and mountain sides, and figures bearing a
bunch of fruit on a pole, a spotted stag and doe and a horse-
man, and branches of the pines cross the top of the cup.
Height, 41, inches; length, 8 inches.
51—WHuitE JADE VASE wiITH COVER
Heavy white jade of delicate greenish translucence, brilliantly
polished. Flattened flask-shape with wide neck and upright lip,
and dome cover with knob finial. Two dragon-head loop handles
with loose rings. Rocks and flowering trees in high relief sur-
round the vase, with birds on the ledges and among the branches,
and on the reverse a tall spray is carved in slight relief. The
cover and its knob finial are surmounted by an openwork carving
presenting a branch of blossoms on which a bird is perched.
Height, 9 inches.
First Afternoon
52—JapE CHRYSANTHEMUM
In a K’ang-hsi vase of cloisonné enamel. Plant leaves in green
jade, the blooms in white jade, coral and lapis-lazuli. The vase
is in quadrangular beaker form; its corners and the middle-sides
have dentated ridges after the manner of the ancient bronzes.
The narrow, projecting mid-band displays eight archaic dragons,
in vermilion on a turquoise ground, and two more of the dragons,
scrolled, appear in the same color and on the same ground just
beneath the lip.
Height of vase, 64% inches; total height, 18 inches.
53—Rocxkx CrystaL Vase: LoHAN AND TIGER
An elongated pear-shaped vase on a retired circular foot sup-
ports on one side a carving almost as large as itself, depicting
a Lohan seated astride a tiger, the rider grasping an outstand-
ing fixed ring in the place of a neck-handle on the vase, and
the tiger’s tail curled around to connect with a fungus branch
on the back, thus forming a loop handle lower down. Dome
cover with a crouching monster in relief with undercutting,
as finial. Brilliant polish.
Height, 71%, inches.
54—MrIntatureE GARDEN IN CHAMPLEVE JARDINIERE
Red coral trees in natural form and leafless, grow among green
and white jade chrysanthemums and other flowers, in a garden
where a small figure strolls, in white jade, and plants of the
sacred fungus come up in water-white quartz and amethyst. A
coral bird is perched on one of the trees. The garden is bedded
in a jar of champlevé enamel, of quatrefoil shape, elongated,
on four scepter-head feet. The enamel decoration is in dark
purple-blue, turquoise-blue, turquoise-green, red-brown, white
and a purple-pink, and in the form of conventional flowers and
floral and angular scrolls.
Height of jar, 3 inches; total height, 101, inches.
55—MInIATURE GARDEN IN CHAMPLEVE JARDINIERE
Companion to the preceding, with one of the trees a light pink
coral and the other a dark red, and with minor differences of
detail. Same dimensions.
First Afternoon
56—Japre Rost Busy ry Crnnapar Lacever Vase
Three roses bloom in clouded pink tourmaline, and one is in
bud in the same material, while another full-blown rose is in
white jade, and the leaves are in green jade, their edges finely
serrated. The vase is octagonal, having four broad and four nar-
row sides, with an ample, box-like body, and underbody slanting
in to a spreading foot; broad, sloping shoulder, with full neck
and flaring lip. From foot to lip each face has seven variously
shaped panels of cinnabar lacquer, carved in cavo-relievo with
varied floral sprays and landscapes with figures and garden
balconies. The gilt foot and lip have incised borders in chevron
pattern.
Height of vase, 8 inches; total height, 181% inches.
57—JapvEe “Lorus Ponp” 1x CH’IEN-LUNG PoRCELAIN JARDINIERE
The lotus in bud and seed-pod and opening flower grows in a
luxuriant clump in a “dry pond,” the buds and flowers executed
in yellow-gray jade, the seed-pods in fei-ts’ué jade, and the curling
leaves in a soft variety of greenish jade, from pale to dark in
color. Small Chinese lilies and other plants appear among the
lotus stalks, in white jade, pink tourmaline, coral and green-
tinted ivory. The jardiniére or pot containing the “pond”—
whose surface has a curiously moist look, as of a marshy place
—is of dense white Ch’ien-lung porcelain, modeled as an enlarged
lotus flower, the petals worked in light relief and appearing pink,
white and yellowish-green, with various notes of pink predominat-
ing, in enamel color.
Height of jardiniére, 814 inches; diameter, 7%, inches; total height, 11%
inches.
58—JapEe “Lotus Ponp” 1x Cu’ren-LuNG PorcELAIN JARDINIERE
Companion to the preceding.
Total height, 12 inches.
First Afternoon
59—WhuitTE JADE CENSER
Rare white jade polished to mirror brilliancy, with snow-like
translucence and a soft, beguiling lustre. Carved after the form
of ancient bronzes, with a cauldron-like body on three squat and
heavy cabriole legs, flat, flanged lip, and two elaborate loop
handles with loose rings. The handles spring as a thick lotus
stem from the sides, the stem enlarging and supporting leaves,
flowers and seed-pod, carved in relief, undercut, pierced and
etched. The dome cover is surmounted by a broad knob finial
carved and pierced in a lotus motive. Silver inlaid teakwood
stand. Height, 7 inches; width across handles, 83g inches.
60—JapE MountTAINn
Greenish-gray-white jade, dense and heavy, with a pale green
translucence, having the shape of a mountainous rocky wall
irregularly arched. The face is carved with trees in relief, and
over the ledges are glimpsed the branching ends of other foliage,
and in a small cavern at the base, crossed by a rock bridge, a
waterfall descends, its stream curling in waves at the bottom.
On the reverse fungus grows on the ledges. On the upper left
of the face four characters or devices are lightly incised.
Height, 9 inches.
First Afternoon
61—WhuitE JApE Mounrain: A RETREAT OF SHOU-LAO
Pure white jade, of greenish translucence against the light, of a
softly lustrous, caressing aspect, carved and pierced as a moun-
tain grotto, rocky, where only the pine tree speaks for vege-
tation. The rocky slopes are felicitously streaked with the
brown of iron-rust percolations. Within the grotto, carved in
high relief, appear the god of longevity, holding his emblem,
the peach of immortality, and the Taoist immortal Lan T’s’ai-
ho carrying his basket of flowers, the two apparently in amicable
conversation, both smiling. Below, a stag looks up with a
branch of the sacred fungus, another emblem of longevity, while
on the back two storks, servitors of the immortals, on ledges
of the rock at different altitudes, look up and down at each
other.
Height, 8 inches.
First Afternoon
62—WuirE JapvE Fruit Disu
Shallow ovoidal form, the rim lightly expanding carved
with the conventional low cylindrical foot, but under this is a
broad and deep convex foot, spreading almost as far outward
as the rim of the dish proper, and carved in openwork. The
dish is unornamented save for a lightly incised border on the inner
side of the rim. The carving of the large foot presents first a
petal border, carved in the solid, followed by a pierced band
representing five flying bats among cloud scrolls, the whole rest-
ing on a beaded base. Gray-white jade with soft polish.
Height, 21 inches; diameter, 914 inches.
68—Beconta IN CHAMPLEVE JARDINIERE
Broad, serrated leaves of brightly polished green wie and blos-
soms of clouded mauve-pink tourmaline. Under the plant a lapis-
lazuli rock. The jardiniére is of polyfoliate outline, with out-
standing flat rim having a raised lip, and deep, spreading foot.
The gilt rim is engraved with a floral scroll border and the lip
is bordered with incised key-fret. The body and foot are orna-
mented in champlevé enamel with small blossoms and scrolls in
turquoise and dark lapis blue, and set into the body are eight
quadrilateral panels of Lang-yao porcelain, each finely incised
with a poem of the Emperor Ch’ien-lung.
Height of jardiniére, 314 inches; diameter, 634 inches; total height,
12 inches. |
64—Brconia IN CHAMPLEVE JARDINIERE
Companion to the preceding; same dimensions.
First Afternoon
65—JapE PEar TREE IN CLOISONNE JARDINIERE
A Chinese pear tree ( pirus spectabilis) in blossom, its leaves green
jade with serrate edges and incised veins, its blossoms white jade
and mottled pink tourmaline, with centers of fet-ts’ui jade, tour-
maline and other stones. In the garden below are flowering
shrubs in green and white jade, carnelian and red quartz, two fig-
ures in white jade, one of them between two swans, and a fungus
in rock crystal and a rock of lapis-lazuli. The jardiniére is of
polyfoliate contour, on four scepter-head feet, the feet and broad
rim in gilt deeply engraved with floral scrolls. The cloisonné
enameling of the body is in royal and turquoise blue, pale green,
deep vermilion, white and pink, worked in floral medallions of
foliate outline and a richly ornamented ground. The enameling
is continued underneath the foot.
Height of jardiniére, 4 inches; greater diameter, 81/, inches; total height, 18 inches.
First Afternoon
66—Larce Fer-ts’u1 Tripop CENSER
Beautifully mottled emerald and vaporous-gray transclucent
jade, brilliantly polished. Large-bodied cauldron shape, on
three cabriole legs. At the shoulder two large ogre-heads,
carved, pierced and engraved, with elephant-trunk loops sup-
porting large loose rings, and at the sides of the body midway
between these handles two smaller handles with loose rings. The
flattened top of the dome supports two Fu-lions in the round,
roaring.
Height, 10 inches; width across handles, 91/, inches.
67—CHLOROMELANITE VASE
In tripartite form, carved as three bamboo trunks, cut off at
different heights from the ground and hollowed, partly enwound
by wandering and gnarled trunks and branches of pine and plum
trees. At one corner a phenix is standing, with a blossom of
the rock peony in its beak. The whole in bold carving, and of
graceful, naturalistic form, in this beautiful variety of jadeite
with its wonderfully rich, deep, mottled green, showing patches
of a fine mirror-black. Carved teakwood stand with elaborate
silver inlay. Height, 6 inches; length, 714 inches.
First Afternoon
68—WuiI1TE JADE Bown
Ovoidal and deep, with flat foot slightly recessed underneath, and
flat, in-turned rim. Gray-white, translucent jade, the exterior
carved in bold relief with three- and four-clawed dragons emerg-
ing from a turbulent sea which beats upon outstanding rocks,
in pursuit of the flaming jewel. Has teakwood stand elaborately
carved in openwork with dragons among waves.
Height, 3 inches; diameters, 8 inches and 6% inches; height on stand,
6 inches.
69—GREEN JADE Hancine VASE
In flattened pear-shape, with spreading foot, and two rectangular
loop handles, or ears, by which the vase swings from a heavy
bail handle, the depth of whose long loop equals the height
of the vase itself—the whole carved of a solid block of jade,
and inseparable; dome cover with a flattened-elongated knob
handle. Dense green jade of rich color quality, with numerous
black fleckings, translucent and brilliantly polished. Carved
in tangible relief with scepter-head forms, lotus petals, S-scrolls,
and a semblance of ancient animal-head features. In elaborate
arched stand, of teakwood, inlaid, carved with lotus and wave
forms, and in npenwork with dragons and fungus scrolls.
Height, with handle, 1014, inches; height of stand, 181, inches.
First Afternoon
Nee
70—WuiItTE JADE Dracon Vase witH CoveR
Pure white translucent jade with unctuous surface and softly
luminous polish. Flattened globular bottle-shaped, on a low
spreading foot, with two elephant-head and loose ring handles.
On obverse and reverse a medallion displaying a dragon and
the elusive jewel, and the eight Buddhistic emblems of happy
augury.
Height, 93% inches.
71—WhuiteE JAvE VASE
Dense jade, of greenish-white tone, with an unctuous surface
and soft polish. Flattened ovoidal form with high shoulder
and wide neck, and dome cover with knob finial. It rests with-
in hollowed rocks, from among which springs a wild plum tree,
the tree and blossoms carved in bold relief and undercut. On
the reverse a branch of the sacred fungus and at one side a bird,
while on the obverse another bird looks up at its mate.
Height, 91% inches.
First Afternoon
72—WHuiTE JADE VASE wiITH CovER AND GREEN JADE STAND
Flattened ovoidal, with spreading foot, two dragon-head loop
and loose ring handles, and dome cover with a fixed rectangular
bail handle on which play two small loose rings; all of pure white
jade brilliantly polished. The cover is carved with a border of
down-pointing fluted petals and incised with a fret border. ‘The
vase is encompassed by two conventional double-petal borders,
at shoulder and base, with broad animal-heads between them on
both obverse and reverse, all in low relief, and on the neck is a
border of palmations in three tiers, carved in low relief and
etched. The stand, of dark green jade, is carved with a petal
border and conventional designs.
Height, 10% inches; with stand, 121, inches.
First Afternoon
73—ProntigEs IN CH’IEN-LUNG GoLD LacauER JARDINIERE
Green jade leaves, and eight large, wide open blossoms in light
grayish-yellow, delicate fei-ts’ui and gray-black jade, malachite,
lapis-lazuli, coral, and clear golden and clouded amber.
Chrysanthemums in carnelian and opalescent agate grow at one
side, near a quartz rock of aquamarine hue, and there is another
plant in green jade and clouded amber and a fungus in rose
quartz. The jardiniére is oblong in form, of foliated contour,
in Ch’ien-lung gold lacquer, ornamented with the rock peony
and wild plum tree in blossom, lilies, morning-glories, the bamboo
and other forms, and with scrolls, all in light relief. Four scepter-
head feet.
Height of jardiniére, 414 inches; length, 124, inches; width, 9% inches ;
total height, 161, inches.
(Illustrated in Color—see Frontispiece)
“4—-Prontzs In Gotp LACQUER JARDINIERE
Companion to the preceding, of the same materials and dimen-
sons.
45—MINIATURE GARDEN wiTH FicuRE, IN Crinnapar LacaueR
J ARDINIERE
A broadly-branching fan-shaped tree of snow-white coral is the
principal ornament of the garden, and on different branches are
perched three birds, two in pink coral and a larger one in smoke-
crystal. Attached to the tree is a lizard-like pink coral dragon
in climbing attitude, and in front is Shou-lao, god of longevity,
also in pink coral, with his emblem the peach of immortality,
and his staff carved with a monkey head, emblematic of the
simian who plucks the peaches for him from their high trees
in the land of the genii. Shou-lao stands between iris and rose
plants in green and white jade and tourmaline. In the rear is
a malachite rock and a chrysanthemum bush with flowers of
lapis-lazuli, carnelian and white jade. Lapis-lazuli ground. The
jardiniére is of elongated quatrefoil form carved with a lotus
scroll, lotus flowers and scrolls, sages and attendants.
Height of jardiniere, 3° inches; diameters, 10% inches and 9 inches; total
height, 16 inches.
First Afternoon
Y6—FEI-Ts’u1 JADE Hanoinc VASE
In flattened pear-shape with slender neck, the body emerging
from the back of a sitting phoenix beneath which are openwork
scrolls. On the neck two loop handles in archaic dragon scroll
swing the vase from a long, deep bail handle whose arched top
is carved and pierced with the forms of two dragon heads, jaws
to jaws, about a pierced disc that may represent the coveted
jewel. From one arm of the bail a chain of double links connects
with the cover of the vase, which is lightly carved with monster-
features and scepter-heads, and the monster-features appear
again in low relief in a band encircling the neck. The phcenix’s
wing feathers are carved in relief, and its tail feathers carved
and pierced, and it holds in its bill a branch, below which a loose
ring hangs from a loop connecting with the bird’s neck. Beauti-
fully mottled fei-ts’wi jade, in emerald notes and soft fog-gray,
brilliantly polished. Hung in an arched ivory stand carved with
dragons and fungus scrolls.
Height, 11 inches; height of stand, 151% inches.
First Afternoon
77—JapE AND Ametuyst Preacun TREE IN CH’1A-CH’ING CLOISONNE
J ARDINIERE
Large and small peaches to the number of nine, carved in bril-
liant amethyst of varying hue, and two peaches of dense green
jade, grow on a tree of translucent green jade leaves. Below are
blossoming shrubs in turquoise, green jade and clouded amber,
and a kneeling figure in agate and a fungus in crystal. The
jardiniére is oval, with flat rim, and stands on four low feet
formed by the lower trunks of peach trees whose extensive
branches course around the jar in bold relief, bearing nine
peaches. The fruits have a lightly stippled surface.
Height of jardiniére, 3%, inches; diameters, 94, and 6% inches; total
height, 1614 inches.
78—Jape anp Ametuyst Peacn TREE IN Cu’1a-Cu’1nc Cloisonne
J ARDINIERE
Companion to the preceding, with the amethyst peaches num-
bering seven in place of nine, and the amber shrub replaced by
a bush of white jade and pink tourmaline blossoms.
Total height, 15 inches.
First Afternoon
“9—ArBor OF FLOWERS AND Fruit In WuitreEe PorcreLaAIn GARDEN
STAND
The arbor is climbed and overhung by a gourd vine in bearing,
and growing within and about it are blossoming shrubs and
bushes with berries. The leaves are of malachite, white jade
and carnelian, the double-gourds of green jade, moss agate,
carnelian and amber, and the berries and blossoms of coral,
carnelian, white jade, seed pearls, and kingfisher feathers. The
stand or jardiniére is quadrilateral, with projecting lip, modeled
as resting within an open-topped bow-legged table, the table legs
on a projecting base which in turn is supported on four low
flat rectangular feet whose inward outline is a quadrant. The
stand is of white porcelain, and bears underneath its recessed
foot the Imperial seal mark of Yung Chéng, incised.
Height of stand, 4 inches; diameter, 614 inches; total height, 14 inches.
80—JapE STATUETTE OF KUAN-YIN
Gray-green jade of unctuous surface and lustrous polish, with
slight translucence, carved as a representation of the goddess
of mercy seated on a lotus throne supported on deeply carved
foliated scrolls. She wears her cowl and headdress, earrings and
necklace, and both hands and feet are crossed and folded under
her robes. At her right is a vase of flowers and at her left a
bundle of books.
Height, 1014 inches.
81—Rocx CrystaL VASE wiTH COVER AND STAND
The vase is in mammoth cup form, deep, on a low pedestal foot,
with narrow flattened shoulder and flanged lip, and wide mouth;
bell-shaped dome cover with hollowed knob finial. The stand is
in squat ovoidal jar form, the top solid, with flanged lip, and
rests on six scepter-head feet. The whole brightly polished, with
brilliant luster. The cover is carved with four bats, its handle
with a lotus-petal border. The petal border appears again on
the shoulder and base of the vase, which has two loop and loose
ring handles, presenting animal features, the scepter-head and
fungus, and scrolls. Each face of the vase is carved in bold re-
lief with the twin figures representing the god of love.
Height complete, 12 inches.
First Afternoon
nnn need EEE
82 Wuirrt Jape Vase with Cover AND GREEN JADE STAND
Flattened ovoidal form with spreading foot, wide neck and ex-
panding lip, and two animal-head loop handles with loose rings;
dome cover surmounted by a Dog Fu carved in the round, as
handle. Pure white jade with a brilliant polish. Carved on both
faces with plum trees in blossom, in bold relief, springing from
among rocks. On foot and lip, and also on rim of cover, incised
fret borders. The stand, in dark, mottled green, is in broadly
elliptical pedestal form, with conventional ornamentation, on
four scepter-head feet.
Height, 1114 inches; with stand, 138 inches.
First Afternoon
83—WHuITE JADE Dracon And PHa@nix VASE WITH COVER
Pure white jade of delicate greenish translucence, the vase proper
brilliantly polished and the accessories showing a softer polish.
The vase is of ovoidal form on a pedestal foot, with wide neck
and expanded, thickened lip, the whole flattened. Its dome-
shaped cover is surmounted by a three-clawed dragon carved
in the round, with spinose back humped and his scales etched,
and there are two dragon-head loop and loose ring handles con-
necting neck and shoulder. The vase rests on and within open-
work rocks, on which at one side a tall feng-huwang carved in the
round is perched, beside a rock peony tree and holding a stem
and blossom of the peony in its bill. At the opposite side a plum
tree is growing among the rocks. On the reverse of the vase is
a contorted flying phcenix carved in bold relief. Has carved
and tinted ivory and teakwood stand.
Height, 91% inches; with stand, 11 inches.
Catalogue No. 86
JADE AND AMBER PEACH TREE
_ IN CLOISONNE JARDINIERE
We et, ea re a OP Ee PL ae ee ee Gk ee OMe gh
if oN sugolstsO ie
Firet Ai ‘ternoon
auasroenetaes
AAACIVICHAL AVM OeIOI9O “1
83--Wurre Jave Deacon axy Pawar. ee w %
Mure white jade of delicate greenish translucence
Sriliantiy polished and the accessories show
The vase is of oveidal form on a pedestal foot.
and © ‘panded, thickened lip, the whole
als a, cover is surmounted by a thre
anatiindd neck pe Fee “ies “he Pes oa | :
work rocks, oo which at ame wie “ vi a
Pred i Beye Rage wedi the ee ae a re
» comforted Oying phoenix carved in bold r
aw? tintea mary and teakwood stand.
First Afternoon
84—Rocx CrystaL Tatu. VASE wItH COVER
Large flask shape with stout body, on a high foot of pedestal
form, with a broad incurvate neck on which are two dragon-head
loop handles supporting heavy loose rings; high dome cover
with knob handle. The body is encircled by two narrow strap-
bands, carved just below the shoulder and above the base. Clear,
brilliant crystal, brilliantly polished.
Height, 131%, inches.
85—Rocx Crystat TALL VASE WITH COVER AND STAND
Magnified flask shape, with high, full shoulder; tapering toward
a retired foot; short wide neck and two loop handles with loose
rings, below the shoulder, the handles surmounted by bats with
spread wings; high dome cover with large knob handle recessed.
Heavy, clear crystal, with perfect and brilliant polish on all
surfaces.
Height, 14 inches.
86—JapvE anp AmBer Preacu TreEE IN CLOISONNE JARDINIERE
Long and slender, delicately curling leaves of brilliant green
jade, the veins engraved, and eleven of the peaches of longevity
in clear brown, light golden and _ clouded ainber. Below
shrubs in white jade, malachite and carnelian, a lapis rock,
and a stag in brilliantly polished white jade, holding a fungus
stem in his mouth, the branch resting on his back. Pink coral
ground. The gilt jardiniére is octagonal in its broad rim—an
oblong with chamfered corners—and the metal surfaces both of
rim and body are ornamented with foliar scrolls in relief, the
rim having an incised fret border on its outer side. The con-
tour of the body is ovoidal, recurving to the expanded rim. On
each of the eight faces is an applied panel of fine cloisonné
enamel, of lapis-blue ground, the ornamentation bats, emblems,
and conventional lotus designs in green, white, yellow, black,
turquoise-blue and dark vermilion. Four scepter-head feet.
Height of jardiniére, 434 inches; length, 934 inches; width, 8% inches;
total height, 18%4 inches.
(Illustrated in Color)
87—JapE aANp Amber Crrron TREE IN CLOISONNE J ARDINIERE
Companion to the preceding, with fruits of the Buddha’s-hand
citron in place of the peaches.
First Afternoon
88—FeE1-Ts’ur JADE TALL VASE wITH COVER
The jade is dense, heavy and translucent, a smoky gray with
tinge of green, and flecks of pronounced emerald-green, and on
one face and shoulder shows a broad area of warm russet. The
briliantly polished surface has an oleaginous luster. Tall dome
cover above which rise two ju-i scepters, each top incised with a
Shou medallion and each stem encompassed by a loose ring.
Around the neck of the vase is a downward-pointing border of
palmations, and on the shoulder of obverse and reverse a bat,
emblem of happiness, is carved in high relief. Below the bats
are baskets of flowers and fruits, carved in relief and etched,
and the sides are ornamented with tall sprays.
Height, 125% inches.
First Afternoon
89-——Patrr JapE Macnouia TREES IN GILT AND LAPIS-LAZULI
J ARDINIERES
The delicate leaves of rich green translucent jade, lightly veined
by incision, the blossoms exquisitely worked in translucent pure
white jade, the graceful petals curling characteristically and
the blooms appearing all the way from buds to the widest opened.
Below each tree is a flowering bush in green jade and white and
red carnelian; on the coral ground beneath one tree is a stag,
standing with head raised looking up at the blossoms, and beneath
the other tree is a horse, seated on his haunches, with fore body
partly raised, also looking upward. Both animals are carved
in pure white jade with brilliant polish. The jardiniéres are
quadrilateral, on elaborated scepter-head feet, the gilt engraved
with floral scrolls and angular lattice on the broad rims, and
ornamented in relief with lotus scrolls on the sides and ends,
surrounding large slabs of rich lapis-lazuli.
Height of jardiniéres, 414 inches; length, 8%% inches; width, 554 inches;
total height, 161, and 17 inches.
First Afternoon
90—AMBER AND JADE Crirron TREE IN CH’IEN-LUNG LACQUER
JARDINIERE INLAID wITH MoOTHER-OF-PEARL
A dwarf tree with delicate leaves of translucent green jade,
bearing fruits of the Buddha’s-hand citron in clouded opaque
yellow amber with russet touches, and clear and brilliant red-
brown and golden translucent amber, together with peaches in
the clear amber. Below is a hydrangea bush with flowers in
opalescent agate, fei-ts’ut jade, coral and carnelian, another
flowering shrub in white jade, and a white jade figure, on a
pink coral ground. The jardiniére, oblong on four low feet,
is of brown and black lacquer, with an intricate mosaic inlay
of dark-toned mother-of-pearl. On each face this inlaid
ground encloses a gold lacquer panel also inlaid with mother-of-
pearl, in landscape motives.
Height of jardiniére, 31% inches; length, 9 inches; width, 6%, inches;
total height, 16 inches.
9I1—AMBER AND JADE CiTROoN TREE IN CH’IEN-LUNG LACQUER
J ARDINIERE
Companion to the preceding. Total height, 17 inches.
First Afternoon
92—-GREEN JADE Tatu VASE
The ground of the jade a dense smoky-gray, with light-gray
cloudings and abundant mottlings of rich forest greens, the
whole brilliantly polished. The vase is broad flask-shape, with
spreading foot, resting on and within openwork rockery from
which issue at opposite sides pine and plum trees, carved in
the round and offering service as handles on the body, while other
pine trunks spring from the neck under the lip and curling down
to the shoulder supply conventional handles there. On one face
a long-tailed bird perches on a branch looking toward some blos-
soms. On the opposite face are two storks carved in high re-
lief, one with a fungus branch in its bill. A goat on all fours
surmounts the cover. Height, 14%, inches.
93—GREEN JADE MounrAIN
Broad, irregularly arched shape, with rounded, bare top. Dense,
heavy, opaque jade of a rich, dark green rarely flecked and
mottled, and brilliantly polished. The ledged and jagged flanks
of the mountain are carved in high relief with pine, willow and
plum trees, pagodas, pavilions and broad stairs. Over the
top are cloud etchings. Near one side are two characters and
a seal, and on the bald top is an inscription of thirty-two char-
acters with seal and signature, all lightly incised.
Height, 1114 inches; length, 1114 inches.
First Afternoon
94—GREEN JADE TALL VASE WITH COVER AND STAND
Dense and heavy opaque jade, a faint translucence detectible
in thinner portions in a strong light, with a ground of confused,
dense smoke-gray, unusually and effectively mottled with a rich,
opulent green of varying quality, and flecked with black. An
ancient bronze shape, with heavy body and wide incurvate neck
with straight thick lip. Two dragon-head loop handles from
neck to shoulder, with large, loose rings. Broad bell-shaped
dome cover, with flattened top on which a Fu-lion rampant is
carved in the round. Obverse and reverse are carved in low
relief with archaic monster lineaments, after the ancient bronze
fashion, and the sides with lotus leaves.
Height complete, 191, inches.
First Afternoon
95—Feri-rs’u1r JApE Pu@nix Vase
Dense, gray-green jade, with light gray cloudings and _ the
bright kingfisher-green notes, somewhat translucent but opaque
in the mass, with a luminous polish. The block is carved as a
large feng-huang, standing, with tail curled down to the ground,
and holding on its back a stout flask-shape vase with dome cover.
The cover is surmounted by a small, contorted pheenix, the carv-
ing pierced and etched.
Height, 1454 inches; length, 10 inches.
First Afternoon
96—A VarRIED GARDEN
With Ming and Ch’ien-lung productions. Its outstanding
feature a tall shaft of rockery in Ming cloisonné enamel, tur-
quoise-blue and deep lapis-lazuli, with the rock strata and fis-
sures indicated by the gilt cloisons. Back of it is a wistaria
bush of pure white coral, its flowers amethyst, tourmaline and
fei-ts’ut jade and its leaves malachite. At one side is a hydran-
gea bush with green jade leaves, and fei-ts’ui jade, carnelian
and opalescent agate blossoms. A most unusual statuette of
Kuan-yin, a Ch’ien-lung work in gilt, stands before the rock.
The goddess has a slender, delicately modeled European figure,
in clinging European garments of very fashionable suggestion
freely revealing the figure lines, and chased and engraved with
foliar scroll ornamentation. The gown is sleeveless and décol-
leté. The garden is set up in an oblong and shallow jardinieére,
a production in Ch’ien-lung enamel, with rich flower and scroll
ornamentation in polychrome, interrupted by panels copied from
European paintings in the Dutch manner.
Height of jardiniére, 21% inches; length, 1454 inches; width, 91% inches;
total height, 15% inches.
First Afternoon
97—Soapstone SratTureTTe or Kuan-yin (Ming)
In soapstone of richly mellowed color and softly polished waxen
surface the Chinese goddess of mercy is figured standing, in a
supreme dignity and graceful attitude, her right arm folded
across the left, holding in the right hand a folded scroll and
in the left a rosary. The goddess stands in a high throne or
grotto of rock and bamboo, adroitly carved in ebony.
Height of statuette, 1814 inches; height with stand, 187% inches.
First Afternoon
98—GarRDEN IN MrniaTURE, IN CH’IEN-LUNG CLOISONNE J ARDINIERE
A large three-trunk tree with numerous ramifying branches, in
white coral, dominates a garden of several varieties of plants,
including peonies, chrysanthemums and a small pine, in green
jade, fei-ts’wi jade, carnelian, tourmaline, coral, and white shell.
In front is a carved wood figure of a woman, painted in poly-
chrome, standing and carrying a scepter.
Height of jardiniére, 41/4 inches; diameters, 12%, inches and 9¥, inches;
total height, 15 inches.
99—GarRDEN IN MrIniaTURE, IN CH’IEN-LUNG CLOISONNE JARDINIERE
Companion to the preceding.
Total height, 20 inches.
100—Soarstone StTatuetTTeE: Kuanc Wu, Gop or War (Ming)
On a broad base of rockery, deeply carved, a powerful figure is
depicted in dignified attitude and of august mien, seated on a
higher rock ledge, with left arm bent and hand resting on his
thigh, and holding in his right hand at elbow height a rolled
up and bound scroll. It is Kuang Wu, otherwise Kuan Ti, the
god of war. He wears an imposing headdress, and long mus-
tachios and chin-beard merging into one, and looks downward
with a haughty and aloof majesty, eyelids drooping.
Height, 1534 inches; breadth of base, 1114 inches.
101—Granpvp Fertr-ts’u1 JADE INcENsE BURNER
Its form suggests a pagoda. In four sections, all of clouded,
translucent fet-ts’wt jade, each with carved ornamentation painted
with gold lacquer and all except the lower section displaying
pierced carvings, these also heightened by gold lacquer. The
lower section is in shallow cylindrical cauldron-shape, on three
massive lion-head feet. This is followed by a deeper cylindrical
section with six pierced panels exhibiting dragons and pheenixes
among flowers, and between the panels are loop handles in a con-
ventionalization of the lotus motive, each with a loose ring. Fol-
lows a short incurvate neck fitting into the molded shoulder. The
top section, with six pierced panels picturing birds and insects
among flowers, has between them six peony-flower loop handles
with loose rings, and is crowned with an openwork broad knob
finial in the form of a dragon carved in the round, his beard
brushing the jewel of omnipotence. Elaborate two-story ebony
stand, carved in openwork.
Height, 151, inches; width across handles, 1314 inches; height with stand,
21 inches.
First Afternoon
102—Smatt Brack Lacever Brirp Cace witH Bracxer (Ch’ten-
lung)
In ovoidal lantern shape, with molded circular base on four
carved and pierced white jade feet. The flattened dome top has a
flat octagonal fet-ts’wi jade finial, etched with an angular border
and pierced with a swastika symbol. The cage is of lacquered
bamboo. Among its ornaments and utilities are fei-ts’ui and
white jade bats and cups, ivory feeding-tongs, and a white jade
vase with tourmaline, fei-ts’wi jade, seed-pearl and kingfisher-
feather flowers. Hanging-chain of amber, coral and turquoise
beads, with rings, and a central ornament of the twin-fish em-
blem carved in cinnabar lacquer. Dragon-head teakwood bracket.
Cage diameter, 914 inches; length of chain, 25 inches.
103—Smarzu Ivory Birp Cace with Bracket (Ch’ten-lung)
Hexagonal, on six short tubular feet, the corner posts topped by
small knobs, the roof flat with ivory upperwork or cupola sur-
mounted by a turquoise ball and that by an ivory lantern;
white-metal hook. Ivory-tipped perches and delicately carved
ivory supports for two white porcelain cups with famille-rose
decoration; one fei-ts’ui jade cup. Feed shaft of carved cinnabar
lacquer and an exterior ornament of blue quartz carved as a bat.
In the hanging-chain are jade rings, carnelian agate and coral
beads, a carved ornament of clouded yellow amber, a remarkable
carved ivory ornament depicting archaic dragons in relief on an
openwork trellis or diaper ground so fine that it is sometimes
called ivory lacework, and a long tassel of imperial yellow silk.
Teakwood bracket. Has night cover of Chinese silk brocade
with scroll ornamentation.
Height of cage with its metal hook, 12% inches; diameter, 834 inches;
length of chain, 20 inches.
104—TorvroisE-sHELL Brrp Cace with Bracxer (Ch’ien-lung)
Dome-shaped, with ivory finial of mellow note, carved in open-
work with a pair of storks and a pair of four-footed animals
under a tree group. The antlers for holding the green vegetable
food for the birds are held in place by a double-gourd shaped
ornament pierced in minute honeycomb pattern, the whole of
ivory; and other ivory ornaments show gourd and melon vines.
Blue and white porcelain cups and fei-ts’wi jade thumb-ring, for
convenience in lifting the cage off its hook. Around the base
a cock and hen among plants, a bird on a bamboo branch and
ornaments from the hundred antiques, in carved tinted ivory,
appliqué. Chain of cloisonné and other beads, cloisonné and
white jade rings, and coral tassel.
Cage diameter, 14 inches; height of standard,
First Afternoon
105—Torrotsr-sHELL Birp Cace (Ch’ien-lung)
Octagonal, on four openwork ivory feet carved in the squirrel
and grapes motive. ‘The squirrels and grapes appear also in
the carved ivory finial and in ornaments about the bars, the
perch-ends are carved in the pine motive, and about the black
lacquer base are applied ivory carvings in the forms of branches
of blossoms and Buddhistic emblems of good augury. ‘Two white
jade cups, and a green jade ornament carved in openwork in the
lotus motive. Hanging-chain of one white and two fei-ts’wi jade
rings, with quartz, glass and coral beads.
The standard, with two brackets, on which this cage is exhibited, does not go
with the cage but will be sold as a separate lot, No. 106.
Height of cage, to top of loop, 19 inches; diameter, We inches; length of
chain, 1514 inches.
(Illustrated)
106—Rep LacauEer Brrp Cace (Ch’ien-lung)
Low dome-shape with indented top, the indention sustaining a
knob finial of ivory carved in relief and openwork with plum blos-
soms; white-metal upperwork with phenix-head loop. Bamboo
coated with vermilion-red lacquer. Fet-ts’ut jade cup and two
porcelain cups in peach-color with pistache interiors. Ivory
worm tongs carved with bats, and other utilities and ornaments
in ivory and other materials. Around the base plants and in-
sects etched and gilded. Two pendent ornaments in openwork
white jade and clouded yellow amber, with tassels. Four carved
ivory feet. Hanging-chain of white, pearl-gray and fei-ts’we
jade (and small beads of fet-ts’wi glass), with pendants of ame-
thyst, tourmaline, coral and lapis-lazuli.
Height of cage to top of loop, 2014 inches; diameter, 131%, inches; length
of chain, 24 inches.
(Illustrated)
107—Carvep Sranp For Two Brirp Caces (Kighteenth Century)
Two circular posts, bent into divergent right-angle brackets at
different heights, set into an elaborated pedestal base, the whole
of carved wood coated with brown and gold lacquer. The posts
and brackets are carved in high relief with winding grapevines
in bearing, and at the angle of the taller post is the traditional
squirrel nosing a bunch of the grapes. The base is carved with
numerous figures and conventional borders, the figures including
Chang Ko-lao, Han Hsiang-tsze, Lan Tsai-ho and Tsao Kuo-
kiu of the eight Taoist Immortals.
Height, 6 feet 7 inches.
(Illustrated)
B
| ithe if
Bint
ntl
No. 107
First Afternoon
108—Ivory Birp Cace wirn Bracxer (Ch’ien-lung)
Cylindrical, rounding in to a flattened top crowned by a globe
finial of sky-blue enamel ornamented with a gilt lotus scroll in
relief. Skeleton-cupola of mellow brown ivory, with a white jade
canopy of inverted-saucer shape, pierced in a foliar scroll design,
surmounted by a lantern or torch of double-gourd form, also in
mellow ivory; phcenix-head loop in white metal. The ribs are
in natural-color teakwood inlaid with ivory strips, and the base
is black lacquer inlaid with geometrical designs in ivory; ivory
feet carved and pierced in floral patterns. The profusion of
accessories includes an ivory food shaft carved and pierced with
a fruit vine in bearing, an ivory center perch formed of a disc
borne on the head of monkey-trainer standing on a stump with
a simian on his shoulder, ivory worm-tongs carved as a bamboo
tree of double trunk, and an ornamental ivory shaft carved as a
gourd-bearing vine and supporting flowers and grasshoppers in
gilt with seed-pearls and kingfisher-feather ornamentation; cups
of fei-ts’ui jade, Ch’ien-lung porcelain with turquoise-blue glaze,
and cloisonné enamel; a fei-ts’ui jade thumb-ring, and carved
ornaments of turquoise and turquoise-matrix. Hanging-chain
of white jade rings and fei-ts’wi jade and amethyst beads. This
cage has also a novel and unfamiliar implement, a combination
sand-sifter and débris scoop of white-metal, in bell form on a long
ivory rod-handle.
Cage diameter, 13 inches; chain length, 28 inches.
109—Buacx Lacever Birp Cacr (Ch’ien-lung)
Dome-shaped, set on a deep base of antique brown lacquer inlaid
with flowering vines in mother-of-pearl. The base rounds in in
a shallow ovoidal curve to a deep and broad cylindrical foot
flaring at the base in bell-form. The cage has a carved ivory
finial in the form of a seated goatherd with three goats about
him, carved ivory worm-tongs and various other ivory carvings,
a feed-shaft of carved bamboo root, cups of white and fet-ts’ut
jade, and lettuce-green porcelain, and an ornamental basket in
gilt and kingfisher’s feathers with a long tassel of coral beads.
Cage diameter, 14 inches; height (with base and metal mountings), 26
inches.
First Afternoon
110—Brackx Lacauer Birp Cacre wirn Sranparp (Chten-lung)
Ivory perch-ends and floral, fruit and figure ornaments; ivory
center post and worm-tongs. Bamboo feed shaft carved in open-
work; fei-ts’ut jade, blue and white porcelain and Ch’ien-lung
cloisonné enamel cups. Mirror with white jade back carved in
relief with peaches of longevity and having as pendent orna-
ments carnelian, coral and fei-ts’ui-glass beads, a chased and
repoussé silver snuff-bottle vase with dragon handles, and a
long double tassel of light green silk. Rich, luxurious hang-
ing-chain of white jade, fet-ts’ui jade and amethyst (with small
beads of fei-ts’ui glass), the larger ornaments being a “sound-
ing stone of musical jade” in carved and pierced white jade,
and a larger panel of fei-ts’wi jade, carved and pierced, with a
scroll and Shou medallion designs. Red lacquer stand copied
after a Ch’ien-lung pattern.
Oage diameter, 141% inches; chain length, 301, inches; height of standard,
8 feet.
111—Burack Lacever Birp Cace with Sranparp (Ch’ten-lung)
Carved ivory openwork finial representing the peony flower,
numerous carved ivory bats about the bars of the cage, and other
ivory carvings in the squirrel-and-grapes motive; central post-
perch of ivory carved with plum blossoms, and ivory worm-
tongs carved with figures among pines and willows. Fet-ts’ue
jade and blue and white porcelain cups. ‘Teakwood standard
with cloisonné top, the base carved in baluster-shaped vase form
with heavy dragon-scroll feet.
Cage diameter, 14 inches; height of standard, 8 feet 41 inches.
112—TorroisE-sHELL Brrp Cace with Stanparp (Ch’en-lung )
Among the various ivory ornaments are pine branches and
pomegranates, a figure of Shou-lao accompanied by the spotted
stag, one of his emblems, a panel representing a domestic scene
with a lady and children, and a panel of warriors approaching a
gate in a walled city. Worm tongs carved with a crab and a
lobster among lotus plants. Attached on the exterior is a mirror,
and around the base are soapstone ornaments, appliqué, show-
ing pomegranates, flowers, birds, rocks and winged insects,
Thumb-ring of fei-ts’ui jade, with pendent tassel of coral beads.
Teakwood standard with cloisonné top, the base carved in vase
form with heavy feet.
Cage diameter, 14 inches; height of standard, 7 feet 91% inches.
First Afternoon
118—Bracx Laceuver Brrp Cace wirn Stranparp (Ch’ien-lung)
Dome-shape, with white-metal upperwork including a flower-
basket form, and phenix-head loop. Knob finial of tinted ivory
carved with blossoms in openwork. Carved ivory center-post
in the form of an immortal carrying on his shoulder his emblem,
a double-gourd, and supporting a plate on his head. Tinted
ivory feed-box carved with figures in relief on an openwork
trellis ground, and various other utilities and ornaments in the
same material, carved with landscapes and pavilions, figures and
flower sprays, the flowers principally plum blossoms; the worm-
tongs are similarly treated. Ebony feed-box with ivory bats
appliqué; two fei-ts’ui jade cups, and a cloisonné enamel cup
adorned with butterflies hovering over blossoming trees, in poly-
chrome on a sky-blue ground. Around the base, citron, pome-
granate, lotus and magnolia, in tinted ivory carvings appliqué.
Worm box of cylindrical form, in Ch’ien-lung porcelain with
bats and conventional lotus sprays and scrolls in polychrome
enamels on a canary-yellow ground; interior and bottom in pis-
tache-green. In the hanging-chain are white jade pierced carv-
ings adorned with the peach, pomegranate and Buddha’s-hand
citron, the dragon, and swallows among blossoms; fet-ts’w jade
rings and amethyst spheres. Gold lacquer standard copied from
a Ch’ien-lung pattern.
Cage diameter, 1414, inches; chain length, 26%, inches; height of standard,
7 feet 11 inches.
(Illustrated)
114
Ivory Birp Cace with Sranparp (Ch’ien-lung)
Dome-shaped, with a carved ivory openwork finial representing
a melon vine in bearing and a winged insect, a motive repeated
in various of the ivory ornaments with which the cage is deco-
rated; ivory feeding tongs carved with plum blossoms. ‘Two
cups of fei-ts’ui jade, one of lapis-lazuli, and one of K’ang-hsi
cloisonné enamel depicting the famous eight horses of the Em-
peror Mu Wang of the Chou dynasty, in yellow, vermilion, white,
black and lapis-blue, with gilt line, in a turquoise-blue ground.
Around the base, which is of black lacquer, are tinted ivory
carvings, appliqué, with flying birds among peonies, pome-
granates, the magnolia and the lotus. In the chain suspending
it from its stand are white jades carved and pierced with scrolls
and a phoenix, and a large fan-shaped yellow-gray jade carved
in relief with bats among the clouds. The standard has a
cloisonné dragon top on an imitation teakwood base.
Cage diameter, 14 inches; height of standard, 8 feet 4 inches.
(Illustrated)
MEET
Samm ~
No. 113
First Afternoon
115—Torvrotse-sHELL Birp Cace wirn Stanparpv (Ch’ien-lung)
Dome-shaped, with ivory finial showing a human figure among
the mountains and a’dog running over rocks. In other carvings
appear trees, pavilions, figures, birds and boats, besides melons
and flower sprays. The feed tube is etched with trees, birds,
and inscriptions, and the tongs are carved with figures among
pines and willows. Two fei-ts’wi jade cups, and a Ch’ien-lung
porcelain cup with peachbloom glaze, the delicate pink flecked
with the admired green spottings; cloisonné enamel cup with
squirrels among the grapes in polychrome on turquoise-blue
ground. Hanging on the outside is an oval mirror, in which the
birds can admire themselves, with a convex back of white jade
carved in relief with a fruit vine in bearing, and ornamented with
an openwork silver pendant. White jade thumb-ring with pen-
dent tassel of coral beads. Teakwood standard with cloisonné
dragon top, the base of the standard carved in vase form, with
heavy feet.
Cage diameter, 141%, inches; height of standard, 8 feet.
(Illustrated)
116—TorvrotsE-sHELL Birp Cace on Stanparp (Ch’ien-lung)
Dome-shaped with flattened top; white-metal upperwork display-
ing among its numerous details Fu dogs, rats and grampuses;
the whole swung from a dragon-head loop. The dome finial is of
carved ivory, of enlarged knob form, representing a group of
figures, encircled below by a deeply carved border of small birds
and blossoms. Aside from numerous ivory ornaments, and acces-
sories for the care and comfort of the bird or birds, there are,
within, blue and white porcelain cups, and on the outer side a
cloisonné water cup with polychrome enamel ornament, to which
the bird has access under a melon arbor. And around the outer
side of the base are carved ivory ornaments appliqué. Pendent
tassel of white and fei-ts’wi jade, amethyst and coral.
The standard is formed of a carved wood Buddhistic figure with
gold leaf overlay, covered with lacquer of a rich amber tone,
posed on a pedestal base and supporting a pheenix-head bracket
from which depends a green, white and fei-ts’ut jade chain hold-
ing the cage. The figure, originally a temple banner-holder,
with its base, is of Ch’ien-lung date or earlier; the post is
modern.
Cage diameter, 1314 inches; height of standard, 7 feet 514 inches.
(Illustrated)
ae i U
EVER a BONS
Ht
ae NY
No. 115 ere ete
First Afternoon
117—Brown Lacaver Birp Cace on Sranparp (Ch’ien-lng)
The cage, of brown-lacquered bamboo, has a post-perch of a
carved ivory figure supporting a disc, cups of blue and white
porcelain with café-au-lait crackle, a cup in fei-ts’ui jade, carved
ivory worm-tongs showing a sage among pine trees, a stick-
bracket for green vegetables, and various other interior and ex-
terior ornaments and utilities; and about the base are ap-
pliqué carvings in varicolored soapstone, representing the lotus
and other flowers, and numerous figures. At one side hangs a
silver filigree perfume bottle, with fet-ts’ui stopper and enameled
lotus ornaments. The cage hangs by a chain of Ming jade
pendants and amethyst globes from a dragon-head standard is-
suing from a quadrilateral base guarded by a Fu, in carved red
lacquer, gilded. The Fu is of Ch’ien-lung workmanship, the
rest of the standard is of modern make.
Diameter of cage, 1414 inches; height of standard, 8 feet 11% inches.
(Illustrated)
118—Brown Laceurer Birp Cace on Stanparp (Chen-lng)
Brown-lacquered bamboo, decorated about the base with vari-
colored soapstone carvings appliqué, including flying birds
headed toward blossoming plum trees, dragon-flies approach-
ing a clump of bamboo with fresh shoots, butterflies fluttering
toward chrysanthemums, and bats hovering near other plants
clustered about rocks. The interior objects for the use and
comfort of the bird pets include a fei-ts’ut jade cup, and two
blue and white Ch’ien-lung porcelain cups, while on the out-
side of the cage among various ornaments of carved ivory,
many of them aged to a warm and mellow color, is a pair of
carved ivory worm-tongs of gourd ornamentation, a most deli-
cately carved basket of flowers, and a hand mirror with
ivory back minutely carved in an open trellis design, the
openwork interrupted by two figures cut out in the solid and
painted in the European manner—a custom of the Ch’ien-lung
era. Beneath is a pendant of white and fet-ts’w jade, coral and
lapis-lazuli, finishing with a tassel of yellow silk.
Tall dragon-head standard, issuing from a quadrilateral base
guarded by a Fu, in carved red lacquer, gilded; similar to that
of the preceding number (117). The Fu, like that of the forego-
ing number, is of Ch’ien-lung workmanship, the rest of the stand-
ard being of modern make.
Diameter of cage, 14144 inches; height of standard, 8 feet 11/4 inches.
(Illustrated)
EL TNS
hil
First Afternoon
119—Larce TorroisE-sHELL Birp Cace (Circa 1800)
In tall, arched, antique carved red lacquer stand. A bird palace,
in tortoise-shell and ivory, jade, amber, coral, and cloisonné
enamel. Cylindrical form, of more than fifty beautifully mottled
tortoise-shell rods or bars, of rich color, rounding in to a flat-
tened top, with boxwood ribs carved in fine spiral flutings; tor-
toise-shell base, and three deep carved ivory feet. Carved and
pierced white jade feed shaft and carved white jade cup, both
Ch’ien-lung productions; three choisonné enamel cups. Mirror
with Ch’ien-lung white jade back carved with a vase of flowers,
and pendants of fei-ts’wi jade, coral and amber, and green silk
tassels. The numerous and elaborately carved relief and open-
work ivory fittings and ornaments about the cage are with few
exceptions representations of incidents in the life of the first Han
emperor, Kao-tsung, in his progress as a conqueror over China.
The feet offer the most elaborate illustrations, including present-
ments of the emperor, his leading general, and the empress, among
his warriors. The smaller carvings exhibit details of the same
illustrations. The obvious exceptions are the panels of fruits
and basket of flowers. The lacquer standard is deeply
carved with pomegranates, leaves and blossoms, and at the base
of the columns are two ancient figures of vigorous execution.
The cage is suspended under the arch by a chain in which appear
two carved white Ming jades, besides fet-ts’ui jades and lapis-
lazuli spheres.
Height of cage (without metal mounting), 281% inches; diameter, 161,
inches; length of chain, 21 inches; height of standard, 6 feet 11 inches.
(Illustrated)
120—Buackx Lacauer Birp Cace with Sranparp (Chien-lung)
The dome is topped by a carved ivory finial representing the
happy god of wealth, Pu Tai, seated smiling among a plentitude
of melons on their vine. Among the various cups for food and
water are two in blue and white porcelain, one of white jade and
one in Ch’ien-lung cloisonné enamel decorated with lotus flowers
in polychrome on a turquoise-blue ground. The worm-tongs, in
carved ivory of mellow tone, present again the melon motive.
Dragon-head standard issuing from a vase on a quadrilateral
base, in brown lacquer with gold ornamentation, reproduced
from a Ch’ien-lung original.
Diameter of cage, 1444 inches; height of standard, 7 feet 114, inches.
Se a Ra a ge?
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First Afternoon
121—Buack Lacauer Birp Cace with Stranparp (Ch’ien-lung)
Deep dome-shape, arching to a composite knob finial of cinnabar
lacquer and an ivory carving of blossoms and pomegranates,
some of the fruits cut open, in high relief and undercutting;
the cinnabar ring is part of a knob ornament in that material
which continues underneath the cage-roof. White-metal cupola-
upperwork with a hexagonal lantern pierced in swastika shape,
surmounted by a double-gourd torch. Cups of blue and white
porcelain and of Ch’ien-lung cloisonné enamel with lotus decora-
tion. Ivory ornaments of melons and pomegranates, a panel with
figures in relief, and a robed figure carved in the round; ivory
center perch with the post carved with melon vines and the disc
with a pheenix; bamboo feed shaft. Tinted ivory appliqué orna-
ments about the base, presenting numerous figures among flowers
and rocks. Suspended at one side an oval mirror with foliated
white jade back carved with landscape and figure in low relief,
having a white jade pendant carved in light relief and openwork,
and a long tassel of small coral beads. The hanging-chain, per-
haps the richest in the entire collection, is almost wholly of
fei-ts’ut jade, in polished spheres, carved and pierced oblong
ornaments, rings of varying size, and pendants carved as double-
gourds and as a bat among clouds (the smaller beads in the
fei-ts’ui hue are of glass); there are in it, besides, coral beads
and a large white jade panel ornament. Gold lacquer dragon-
head standard, reproduced after a Ch’ien-lung original.
Cage diameter, 1414 inches; chain length, 251, inches; height of standard,
9 feet.
122—Ivory Birp CacEe wirH Stanparp (Chien-lung)
Broad dome shape, with an openwork knob finial in carved and
tinted ivory in which several figures appear, among them Shou-
lao with his peach and stag, and the familiar three-legged toad,
while over the top is a bat. The god of longevity and the stag
appear again elsewhere in the delicately carved ornaments freely
distributed about the cage, as to other figures, and blossoms of
the lotus and other flowers. Tinted ivory carvings of the peony,
lotus and magnolia, with a stork and other birds, are applied
around the black lacquer base. Among the jades in the elabo-
rate hanging-chain is a white jade openwork carving of a dragon
and rat, and a large panel of translucent grayish-yellow jade,
carved and pierced, presenting two dragons about a Shou medal-
lion. The standard has a cloisonné dragon top and imitation
teakwood base.
Cage diameter, 14 inches; height of standard, 8 feet 4 inches.
First Afternoon
i
123—Buackx LacauEer TABLE (ChWien-lung )
Oblong, with four cabriole legs, which rest on an oblong plat-
form. The top decorated in red and gold with the pheenix
among peonies and magnolias, and with a border of floral lattice
interrupted by four-clawed dragons and flaming jewels. On the
Gorners, underneath, are Show characters. ‘The apron and
legs are adorned in red and a quiet green with conventional
peony scrolls.
Total height, 3 feet 214 inches; length, 5 feet 4 inches; width, 3 feet 2 inches.
124—AntieuE Rep LacevErR Doc KENNEL
Rectilinear, on four heavy feet, the walls formed of vertical metal
rods; solid floor. The broad doorway is arched, with an animal
mask, winged, looking down over the arch, as do similar ones
from either end of the ridge-pole on top of the flat roof. ‘The
door posts are Fu-lions on their haunches, with forepaws raised
above their heads supporting conventional lotus platforms on
which the corner posts and the arch rest. Around the base are
panels carved in high relief with plum trees, vases of flowers, and
figures. All of the carvings are gilded, as are the cage bars. On
the door posts are large green and white jade rings, to which a
pet dog may be tied. The entire back of the cage is a hinged
door, which makes easier both cleaning and the removal of the
Chinese silk brocade quilted mat which covers the floor. The
kennel is provided with two quadrilateral food and water dishes
of white porcelain, the interior of which is decorated with strap-
work raised and gilded, the compartments so formed being
adorned with flower sprays in famille-rose, and the exterior
painted in coral with an archaic dragon-scroll band and bor-
ders; the under side of the bottoms is glazed in pistache-green,
with the seal of Tao Kuang in coral on white reserve. ‘The
kennel is supplied with a night covering of Chinese silk bro-
cade and silk embroidery.
Height, 3 feet 81 inches; length, 3 feet 7 inches; width, 3 feet 2 inches.
First Afternoon
125—AnTievE Rep Lacever Doc Kenney
Quadrangular, on four deep cross-shaped feet, the upper surface
of each branch, which is cut in waved line from the top-center
to the bottom edge, carved with a peony flower. Solid floor; sides
formed of metal rods, gilded; arched solid roof, in four panels
adorned in gilt and black, centering at a large knob finial carved
in a conventional lotus motive. Four ridge-poles at the junctures
of the panels recurve and terminate at the four corners of the
kennel in projecting gilded phcenix-heads, in the nature of gar-
goyles. ‘These circular poles match others along the eaves and
the four corner-posts, all being deeply carved with peonies, but-
tercups and pomegranates. The entire back of the cage opens
on a hinged door, making for convenience in cleaning and in the
removal of the quilted mat formed of a Chinese rug, whicli
covers the floor of the cage. On all four sides swing night cur-
tains of Chinese silk brocade. The cage has a food or water
dish of Ch’ien-lung porcelain, the interior and the under sur-
face of the bottom glazed in pistache-green, the exterior deco-
rated with bats, lotus flowers and scrolls, and a scepter head
border, in enamel colors on a royal-blue ground.
Height, 3 feet 11 inches; 3 feet 2 inches square.
126—Ctotsonnt Doc Kennet (Ch’ien-lung)
Quadrilateral, rolling on four wheels. The structure is of brass,
the low quadrangular base, resting on the wheel axles, orna-
mented on all sides with cloisonné enamel picturing dragons
among the clouds, in turquoise-blue, white, vermilion and yellow
on a deep lapis-blue ground, a motive that recurs in the corre-
sponding upper part of the frame and in the corner-posts. These
latter have center-panels decorated in the lotus motive in the
same colors, but with the ground turquoise-blue. The open
roof is of gilded rods, arching to a bell-shaped dome in cham-
plevé enamel, with pointed finial in cloisonné. Champlevé en-
amel is used again in parapet ornaments of gilded dragons
in relief amongst enamel clouds, topping the four sides of the
upper frame, and gilded lion-heads in high relief adorn all sides
of both upper and lower frames. Double doors forming a
broad pointed arch, with white jade rings at the centers. The
wheels are ornamented in cloisonné enamel in conformity with
the general decorative scheme. The under side of the dome is
inscribed with the four characters of the reign. Has Ch’ien-
lung water or milk dish with the seal of the reign, and a feed
a
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‘Catalogue No. 126
CLOISONNE DOG KENNEL
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Ogree Vase Ree reg,
they ards engi, . oh Four cheaugt creas ory Ge fowt, the x
cf cach tvanch, whieh & cut = ane dime from the I-CE
to the bottom: edge, ; TENG WT & gene Aeower, Sotid fle ers
formed of metal rocks, gt tied oF . arent soptied rook, in f yun
adorned in gilt and biee®, eomte eng ate taltge knob fix r
in a conventional lotus motive. Four ridigeqeales at he ji
of the panels recurve and terminate at the four eomm
kennel in projecting gilded plwewix-heads, in the nature |
goyles. These circular poles match others a
the four corner-posts, all being deeply carved
tercups and pomegranates. The entire hack
on a hinged door, making for convenience im ¢
removal of the quilted mat formed of a
covers the floor of the cage. On all four si
tains of Chinese silk brocade. The cage
dish of Ch’ien-lung porcelain, the interior anc
face of the bottom glazed in pistache-green,
rated with bats, lotus flowers and scrolls, d
border, in enamel colors on a royal-blue
| Height, 8 feet 11 inches;
126-—Ciowennét Doc Kennen (Ch'ien-lung)
Quadrilateral, rollmg on four wheels. The strur
the low quadrangular base, resting pith
mented on all sides with Peters enigs. namel
roof is of gil lod wake arching to a ‘bells
eommel, wtth pointed finial in
is aed egam in parapet i
m roltef amon 7 oa eared clouds, |
ager Trerme, aed gilded lion-heads in high relic
vf hed mapper aad lower frames. Double doo:
brand pointed arch, with white jade rings at t
red ec ormaccented in cloisonné enamel in’
te general decorafiet scheme, The under be
corer wth the fowr characters of the | :
oan water or milk duh with the eal of the re el
elt
sgn abet in pce ba erento i ai creatine ri ten A rg tn
eNO Rinne aie 3 gn Sa m3
HR ee Mpa oe
= . sears san or oo ng eas sami a sana cSt nmr ptt it ASS ROS Ee A agi i i dS ER Ae Otc STANT OND AMR NIA A NEN,
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First Afternoon
ew
tub of the same period. Ornate night covering of blue silk em-
broidered in gold thread with peonies, pomegranates, peaches,
the Buddha’s-hand citron and the eight Buddhistic emblems of
happy augury.
Height, 3 feet 8% inches; length, 2 feet 914 inches; width, 2 feet 5 inches.
(Illustrated in Color)
127—Larce Pranr Jar (Yung Chéng)
Broad, inverted bell-shape, on a short retired foot, lightly ex-
panding to a rather broad rim with lightly molded lip. Resonant
hard-paste white porcelain, with a luminous white glaze, deco-
rated in overglaze colors of the famille-rose with cocks and hens
and fuzzy chicks, amid blossoming roses and other bushes, grow-
ing near rockery. On the upper surface of the rim a border of
lotus scroll in similar coloring. Has tall stand of black lac-
quer and gold.
Height, 1014 inches; diameter, 18% inches; height, with stand, 47 inches.
128—Cocuin Cuina Fisn Bowr (Ming)
Broad and shallow ovoidal form with slightly in-turning lip.
Resonant porcellanous stoneware, the exterior coated with a
lustrous gray glaze of bluish tinge, slightly suggestive of the
clair-de-lunes. The glaze is minutely crackled in hair lines,
scarcely visible, and in places shows a metallic iridescence. The
lip and shoulder drip with a light splash or soufflé glaze of gray-
white, with a hint of yellow, both this blended white and the
bluish-gray having something of a dove-color suggestion. The
glaze originally covered both the interior and the bottom, but
in long use has disintegrated and largely peeled off from those
surfaces. Has six-legged carved teakwood table-stand.
Height, 141, inches; diameter, 29%, inches; height with stand, 39 inches.
129—Buivue anp Waite Larce Fisn Bown, or JARDINIERE (Kang-
hst)
Stone-weight porcelain in deep ovoid form, decorated in two
shades of brilliant blue. Between large panels are smaller ones
also of foliate outline, each with a Shou character in one of the
many forms in which it may be written, and above and below
these scepter-heads impinge upon the trellised ground. Beneath
the lip is a narrow border of swastika lattice. Has carved five-
legged teakwood stand, of scroll pattern.
Height, 1914 inches; diameter, 22% inches; height with stand, 39 inches.
First Afternoon
130—Larce Burrerrry Fish Bowi (Tao Kuang)
With straight sides broadening very slightly in inverted-cone
form from a broad flat foot. Shallow. Sonorous porcelain of
Tao Kuang, with a white glaze greatly resembling the charac-
teristic white of Yung Chéng, after which the piece is copied,
decorated with numbers of butterflies in famille-rose colors and
gilding.
Height, 1014 inches; diameter, 241 inches; height with stand, 341%, inches.
(Illustrated)
1381—Larce Burrerriy Fish Bowr (Tao Kuang)
Companion to the preceding and of the same dimensions.
132—Buivure anp Waite Larce JArpDINIERE (Ch’ien-lung)
Deep and full-bodied ovoid form, the whole exterior covered
with a luxuriance of ornamentation in brilliant underglaze blue
of sapphire and cobalt quality. Small medallions present
groups of three peaches between bats—emblematic of long life
and happiness. Has light colored natural wood stand carved
after the European manner.
Height, 211% inches; diameter, 2914 inches; height with stand, 441% inches.
No. 130
No. 1383
First Afternoon
183—Granpv Brive ann WHITE JARDINIERE (Chia Ching)
Sonorous porcelain, with broad flat bottom and wide mouth, the
contour very slightly ovoidal—somewhat in Chinese drum shape,
a suggestion further implied by deep borders at base and top, in
segmental pattern with discs indicative of the clamps used for
tightening the integument. Decorated between the borders with
four Fu-lions sporting with the conventional brocaded balls, in
rich, deep, Mussulman blue. Under the lip is a narrow conven-
tional floral scroll border. Just below the upper compart-
mental border is the six-character mark of the reign, penciled
in the same deep underglaze blue of the principal decoration.
(Bottom repaired.) Has carved teakwood stand.
Height, 24 inches; diameter, 2914 inches.
(Illustrated)
1384—Masestic AUBERGINE JARDINIERE (Yuan)
Deep, robust, ovoid form, with flat foot and massive rounded lip.
Traversed near the foot by a succession of concentric lateral
channels, giving the spaces between them the effect of moldings,
and near the lip by two more incised rings. Pottery, of dense,
yellowish-white paste. Exterior coated with a rich aubergine
glaze, finely mottled and graded in color, flowing in myriad waves
of deep purple, and thinning to purplish veils over a grayish-
eggplant ground, and finely crackled throughout. The lip is
glazed in a wonderfully rich, deep green of luscious quality, also
revealing a fine crackle. This glaze extends over the interior, but
here for the most part is hidden under an earthy incrustment, the
deposited silt of ages from the water and soil of its contents.
(Slight cracks appear in the paste near the top, visible mainly
on the inner side, but the piece is not broken.) Has carved teak-
wood table-stand, with gourd-vine decoration in relief.
Height, 251, inches; diameter, 321, inches; height with stand, 46 inches.
First Afternoon
185—Larce Buve Jarpinibre (Harly Ming)
Ovoidal and deep, with flat bottom, and enlarged, rounded lp.
Heavy, dense pottery, of soft white paste, the exterior covered
with a monochrome glaze of rich turquoise blue, deep in tone and
variable, finely crackled. The large round lip has a rich, creamy
café-au-lait glaze with fine crackle, and just under the lip the
lighter glaze mingles all around the jar in a sort of dripping
wash with the blue. The intermingling of the glazes has the effect
of an informal border. (Bottom repaired.) Has six-legged table-
stand of teakwood carved in relief in a gourd-vine motive.
Height, 20 inches; diameter, 3014 inches; height with stand, 41 inches.
(Illustrated)
186—Pair Gicantic Fu-tions, oN PEDESTAL, IN CLOISONNE ENAMEL
(Early Nineteenth Century)
These imposing guardians of the threshold, from a Peking palace
yard, are the largest Fu-lions ever brought to this country. Ma-
jestic in proportions as they are in their present form, with
pedestals standing on the floor, the effect of their size and mien
is amplified and intensified when they are placed, pedestal and all,
as is the custom in China, upon proportionately large and deep
marble bases, raising them considerably higher in the air. The
lions are in traditional attitude, with jaws wide apart, seated
on their haunches, one with right forepaw resting on a filleted
ball, the other with left forepaw on a cub that is lying on its
back playfully biting at its parent’s claws. The lions also wear
their collars, tassels and bells. They are seated upon tables with
deep oblong tops, scrolled skirts and heavy, short lion-head legs,
the feet resting upon an oblong pedestal-base of scalloped out-
line. Over the table-tops are the lions’ blankets. ‘The lions are
in deep azure-blue enamel, worked in spiral cloisons, their mouths
enameled in vermilion and teeth gilded; the cub is purple. The
workmanship is repoussé modeling in brass. The tables and bases,
all also in cloisonné enameling, are decorated with elaborately
wrought lotus flowers, and the bases also with Fus playing with
the brocaded ball, in polychrome in an azure ground.
Height (total), 7 feet 9 inches; length, 5 feet 4 inches; width, 3 feet 6 inches.
A COLLECTION OF JAPANESE DOLLS
The dolls immediately following, all palace dolls (Gosho ningyo,
—a term which includes all palace dolls), are specifically classified
in Japan as hadaka ningyo (“nude dolls’), in contradistinction to
the elaborately costumed dolls, many of which will follow in another
group. The term “nude” is relative, however, all of the hadaka ning-
yo wearing the characteristic single garment of infant boyhood in
Japan,—the munekake, (literally, “chest protector’). These gar-
ments, on the dolls, are all of silk.
The gosho ningyo made their appearance in Japan prior to the
Genroku period (1688), and have held their fashionable sway ever
since, as they do to-day, and have been made continuously through
these centuries. Those in the following group are from one hundred
to two hundred years old. This name, gosho ningyo, they received
in the old capital, Kyoto. In Yeddo (Tokyo) they were and are
called omiyage ningyo, “souvenir dolls,” because in the olden days
the Court nobles, journeying down to Tokyo (Yeddo), customarily
took some of these dolls with them and presented them as souvenirs.
In Osaka they have still another name, being called Idzakura ningyo,
after the doll seller Idzakura, who handled them there.
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SECOND AFTERNOON’S SALE
TUESDAY, FEBRUARY 8, 1916
AT THE AMERICAN ART GALLERIES
BEGINNING AT 2.30 O'CLOCK
151—Pauacte Dou.
Small boy, seated, holding over his shoulder a treasure bag
painted blue.
152—Patracr Doiy
Boy in orange-brown, yellow and green cap, seated with a bro-
caded ball between his knees.
153—Pauace Dou
Seated boy playing with a drum, one hand held over his ear.
154—Patrace Doi
Squatting boy with a hand on each knee, in silk embroidered
cap and munekake.
155—Patace Dou
Boy in silk cap and garment embroidered in black, white, yellow,
green and gold, holding under his arm a puppy gilded and
painted with pink plum blossoms. On silk crépe cushion.
156—Parace Dou
Smiling boy holding in his arms one of the pet pigeons which the
Japanese train in large numbers to become carriers or homing
pigeons. The bird is gilded and painted in red, green, brown and
two shades of blue. On silk crépe cushion.
157—Patace Dou
Boy with long black hair, his dress adorned with painted flower
sprays, holding on his shouler a rice bag gilded and painted
with detached blossoms. On silk crépe cushion.
Second Afternoon
158—Paracre Dour (About 1800)
Standing boy clasping a large carp. This is Kintoki, a famous
boy in Japanese legend, born in the mountains far from settle-
ments and early losing his parents, so that he knew nothing of
civilization. He solved life’s problem for himself, conquering
the beasts of the forest and becoming so strong that when in
his wanderings he came to a deep and precipitous gorge, he
pulled up a tall pine tree and with it bridged the chasm and was
unimpeded in his way. His playmate was a bear. Later, on
coming to a settlement which was terrorized by a neighboring
devil, he went to the fiend’s house and destroyed him, so earning
the gratitude of the people. His emblem is the carp, which, as
the only fish that can mount a waterfall, in Japan, is in Japanese
mythology used as typifying the dauntless spirit that leads a
boy to success. The carp here is painted in black, with gilding,
and touched with red.
159—Parace Doris (About 1780)
Ebisu-Daikoku, god of merchants, of commerce and general
business; two figures, together representing the god of the com-
mercial world. Ebisu, clasping a tai, a valued fish of Japan, its
name translated as “sea bream,” his emblem; and Daikoku, with
a mallet. Ebisu wears a black cap, and both are in red with
gilt ornamentation. On silk crépe cushions.
160—Patrace Dori (About 1750)
Boy seated, with one knee raised, and holding out in front of
him the embroidered ball, a favorite toy of Nippon children,
which they use by patting it to the floor, continuing to do so
on the rebound. His garment is embroidered with gold threads;
the ball is gilded and painted with flower scrolls in color. On
silk crépe cushion.
161—Patacre Dott (About 1800)
Seated boy with a toy cow between his knees, the cow black
and lying on a red oval base. On silk crépe cushion.
162—Parace Dott (About 1800)
Boy seated, with one hand on his knee and the other on a drum.
His silk garment is painted with a green bamboo tree, and the
drum is gilded and painted with designs in color. On silk crépe
cushion.
Second Afternoon
1638—Patace Dott (About 1750)
Seated and smiling boy, with hands on knees, wearing a large
silk cap painted in color in a brocade pattern, silvered, and em-
broidered with gold thread. On silk crépe cushion.
164—Patace Dott (About 1780)
Fat and happy boy, seated, fondling a black and white puppy
which is leashed with a part of the same silken band that holds
his own garment on. On silk crépe cushion.
165—Patace Dott (About 1800)
Boy with large and earnest face, seated, one hand on knee and
holding under the other arm a hobby horse. The horse’s neck
and head are gilded, and it is painted red, black, gray and gray-
blue. On silk crépe cushion.
166—Patace Dour (About 1800)
Boy in a painted and gilded garment, caressing a red, black,
blue and gilded puppy. Silk crépe cushion.
167—Patace Dott (About 1800)
Boy seated in characteristic fashion, with legs folded back under
him, both arms extended in front of him and holding in one hand
a pet rat, which looks up toward his face. It should perhaps be
explained that rats, not the common rodent but white and mot-
tled rats of particular species, are admired in Japan and kept
as caged pets, sometimes in cages with large wheels like those in
which pet squirrels are sometimes imprisoned by Occidentals,
the rats spinning the wheels in as lively fashion as the squir-
rels. This boy’s cap is elaborately embroidered in gold and sil-
ver thread and with silk, and his mwnekake is similarly orna-
mented. On silk crépe cushion.
168—Patace Dotti (About 1750)
Boy with large head, seated, one hand on knee and the other
resting on a book that is gilded and painted in color with
flowers. Silk crépe cushion.
169—Patace Dour (About 1750)
Fat boy seated with knees up and clasping his hips with his
arms. His ornate cap, of silk crépe and brocade, is painted
with garden flowers and a flying howo bird. Silk crépe cushion.
Second Afternoon
170—Patrace Dour (About 1750)
Seated boy with abundant long black hair, holding on one
outstretched hand a belled puppy, and under the other arm a
stork. The pup’s ears are painted yellow, the stork is painted in
black, red and blue and gilded. Silk crépe cushion. ;
171—Patace Dori (About 1750)
Boy in the guise of Daikoku, with an enormous mallet, the
commerce god’s emblem, which he holds by a ribbon against
his knees. The mallet-head is gilded, and painted in several
colors with a woman’s hat of the olden time, a hair overcoat
and a shrine gong; and a pet rat, also painted and gilded, is
perched upon it. The large mallet handle is in red, orna-
mented in gray, and the boy’s garment is painted with flowers.
Silk crépe cushion.
172—Turee Parace Dots (About 1800)
Small boys squatting in different attitudes, two of them hold-
ing the strings which tie on their ebosht (caps of the ancient
form), in both hands, under their chins, the third grasping
the strings of his cap in one hand and resting the other hand on
his knee.
173—Turee Parace Doris (About 1780)
Expressing severally wishes for long life, and emblematic of
immortality. Three boys, one clasping a box decorated with
pine trees, emblems of longevity, one holding under his arm a
stork, messenger of the gods, and one holding in both hands a
tortoise—the recognisant turtle whose perception and grati-
tude were more marvelous than those of the lion of Androcles.
It is the tortoise of Urashima Taro. Long, long ago, some
boys caught the turtle, and were about to kill it, when Taro
purchased it from them and released it in the waters. Years
after, at the shore one day, Taro heard his name, and found
himself addressed by the turtle with thanks and an offer to
take him to the paradise under the waves. He accepted, and
the queen of the submarine elysium entertained him three days,
and gave him a box containing, so long as he left it unopened,
all the treasures of life. Returning home he found himself
among strangers, and opening the box, a column of smoke
arose telling him he had aged three hundred years—a day in
paradise was a century long. And Taro came to his earthly end.
Second Afternoon
174—Two Patace Do.ts
Two boys seated, in silk munekake with painted ornamenta-
tion, one capless, the other wearing a cap decorated with flowers
and holding under his arm a bag painted and gilded.
175—Five Miniature Parace Doris
A boy wearing a lightly gilded eboshi (ancient cap), another
holding a puppy under his arm, a third holding what ap-
pears to be a lotus bud in both arms, a fourth in a silk cap
with both hands on his knees, and a fat-cheeked baby playing
with a fan.
176—Grovr or Five Parace Doris (About 1800)
Goninotoko—the Five Chief Men of the District; a representa-
tion of the ancient custom of selecting five men of a district
or community to look after the common interest, improve the
locality. act for it at public or ceremonial functions, and on
similar occasions and for similar services. The leader is in
black, the others are in brownish-red silk and one of them
wears a large hat decked with flowers and holds a rose in one
hand. As figured here they are in dance costume, the occasion
being the celebration of a festival day.
177—Pauace Dour (About 1780)
Boy holding on a panel the shochikubai, the New Year’s greet-
ing in the form of a miniature garden of the pine, plum and
bamboo, expressing wishes of long life and happiness. This
group of emblems is placed at the entrance of all Japanese homes
at New Year, as a welcome. Silk mat.
Height, 634 inches.
Second Afternoon
178—Parace Doit (About 1720)
Representing Taira No Masakado, an old-time hero of Japan,
who fell from the high: estate which he had conquered for him-
self for want of punctiliousness. He is shown wearing the Tok-
wan, an ancient form of the Chinese emperor’s crown, which
was also in by-gone ages used in Japan, and holding the fan
that ancient generals used as a badge of office. It is interesting
to observe in this doll, and in various others of the collection,
the extremely narrow eyes, a characteristic of the dolls made at
the period at which this one was produced, about two centuries
ago. Masakado was a mighty warrior in the eastern part of
Japan, and rebelled against the government of the Fujiwara
Shogun at Kioto. So mighty was he that legend gave him the
power of surrounding himself with ghostly alter egos, thus pro-
tecting himself by confusing his enemies until his chief enemy
went among the multiplied Masakados when they were asleep,
feeling for a pulse; only the veritable Masakado had a pulse, and
when he was thus located he was forthwith despatched, all his
spirit replicas thereupon instantly vanishing.
History, however, says that Masakado’s end was otherwise,
though hardly less romantic. Tiawara Toda, an able fighting
man from the west of Japan, admired the prowess which had
spread Masakado’s fame, and determined to join his party.
Upon his first call upon or audience with the conquering rebel,
however, Masakado, who had been sleeping, came forth to greet
the visitor in his night attire, which so disgusted Tawara Toda
that he became the great man’s bitter enemy and took service
with the Fujiwara. (One account attributes the disgust to Ma-
sakado’s picking up some rice that had dropped from his bowl
to the floor, giving the visitor an idea that his hero was miserly.)
Masakado knew that Tawara Toda was a great archer, and
fearing his skill and accuracy, caused several of his retainers to
disguise themselves in his own likeness and to imitate his move-
ments on the battlefield. So successful was the ruse for a time that
Tawara Toda killed three of the unlucky wights before coming
upon his real foe. Finding a fourth “Richmond in the field,” he
began abusing him so roundly that Masakado—for it was he at
last—was driven to reply, and his identity thus disclosed, Ta-
wara Toda “had at him” and slew him. This was in the year
935 A. D. Has silk mat.
Height, 7 inches.
Second Afternoon
179—Patace Dott (About 1720)
Boy holding a scroll and the gunpai, the ancient war fan. His
silken mwnekake is adorned with painted butterflies fluttering
over luxuriant flowers embroidered in silk threads and gold.
Silk mat.
Height, 10 inches.
180—Patace Dott (About 1720)
Seated boy playing with a cart on which a hairy tortoise rides
with a treasure box on its back, picturing the story of Urashima
Taro, of which there are various versions as there are many rep-
resentations. Taro was a crab fisher of Tango (province), who
in the fifth century fished up a tortoise and let it go again.
Next day a beautiful woman on a wreck called to him for help,
and made him promise to take her to her home. Paddling as
she directed for two days he came to the palace of the Dragon
King of the Sea, where the beautiful lady, who was the Prin-
cess Otohime, gave him herself as his reward, and he abided
there as her husband for three years, when he became home-
sick. Trying to dissuade him from returning to his former
home, Otohime confessed that she was the sacred tortoise whose
life he had spared, and at last got him to promise he would
come back to her. Then she gave him a box, telling him he
must never open it if he wanted ever to see her again. At his
home all was changed and he asked a very old man seated at
the cemetery gate for his people, and was told that the Urashima
were no more, and that a tomb had been erected to the last of
the line who was supposed to have perished at sea. Taro, baf-
fled, opened his box for an explanation. A wisp of smoke curled
from it, and showed him that he was in the ninth century, a very
old man, and as the smoke vanished his spirit left him, dead upon
his own tomb, which can be shown you near Yokohama—and
elsewhere. (Repair at one hand.)
Height, 634 inches.
181—Patacre Dou (About 1780)
Boy with a mass of long black hair, seated with heels folded
under and knees wide-spread, holding on one outstretched hand
a bird painted in bright colors and in the other hand a denden
taiko, or denden drum, painted with the temoye symbol found
on some daimio crests, denden being an onomatopeeic derivative,
from the sound this peculiar disc drum gives forth. Besides his
munekake embroidered in silver and gold, he wears a jimbe,
or outer coat of silk brocade. Has silk cushion.
Height, 914 inches.
Second Afternoon
182—Parace Dott (About 1780)
Boy seated with feet apart and knees raised, with a falcon or
hunting hawk perched on one hand and a feed-box for the bird
in the other. He wears a broad hunting hat and in addition
to the traditional single garment of boyhood has on a karibaori,
as the outer coat for use in hunting is called. It is of light blue
silk adorned in gold with storks flying among clouds and treas-
ure symbols and bearing in their bills twigs for nest building.
Silk cushion.
Height, 9 inches.
183
Patace Dott (About 1770)
Standing boy, in an attitude full of ready action, with black
hair falling to his shoulders and cut squarely off, drawing a
tat kwrwma, or small cart on which is a large tat fish. The
fish is painted red and gilded and the cart, whose wheels revolve,
is covered with silk and somewhat crudely painted in a wave
motive. The boy’s munekake is elaborately embroidered in
colored silks and gold thread.
Height, 101% inches.
184—Patace Doxtu (About 1720)
Boy seated with arms extended in very graceful attitude and
head poised on one side, playing with a takarafune kuruma, a
treasure ship set upon a four-wheeled cart,—in the manner of
what we would call a float. His face is modeled and painted with a
great deal of expression, and a headdress is delicately painted
above his forehead. His silken garment is ornamented in gold.
The ship is gilded and painted and shown as in the rolling waves.
On its single sail is the character for treasure. Silk cushion.
Height, 934 inches.
185—Patace Dott (About 1760)
A sturdy lad with a heavy shock of black hair is standing, at
a pause in his walk or play, with both hands grasping the silken
cord attached to a tat kurwma, a four-wheeled cart painted
with waves and blossoms and supporting a large and startling
looking tat fish which is painted red. Besides his mwnekake
the boy wears an outer coat of silk brocade adorned with gold
thread.
Height, 1414 inches.
No. 187
Second Afternoon
186—Patace Dou. (About 1740)
A boy seated with feet wide apart is playing with a tat kurwma,
a tat fish cart. He has a pleased expression, and a headdress
above his forehead and the wisps of hair left at either side on
his otherwise shaved head are lightly penciled in red and gray-
black. His single garment is of shude chirvmen, or crépe silk
in the color of the hard Japanese red ink (shude), its hue
softened by time, delicately adorned with cherry blossoms and
pine trees reserved in white, and further ornamented with em-
broideries in silk and gold. The fish is painted red, its natural
color (although in nature the hue is more vivid than this),
with the scales defined in gold, and the cart is painted and
gilded. Has silk quilted cushion.
Height, 1034 inches.
187—Patace Dour (About 1775)
Boy with takewma—the “bamboo horse,” as the Japanese call
the hobby horse, because their boys often use the bamboo stick
to straddle and play horse, as boys do with other sticks the
world over. In the case of the doll a horse’s head, painted and
gilded, is attached to a short make-believe straddle-stick, and
the seated doll boy holds the reins in a perfectly satisfactory
position. He wears the jimbe, or sleeveless coat, in addition to
the munekake, and both are embroidered with peonies in colored
silks and gold. Silk cushion.
Height, 10 inches.
(Illustrated)
188—Patace Dou (About 1800)
Standing boy, with open mouth and merry eyes, twirling a
denden taiko, with two small bells which make the “denden
drum” sound. His outer coat, or jimbe, is embroidered on the
back with a gold stork. (Slight repair at one foot.)
Height, 1334 inches.
Second Afternoon
189—Parace Dori Group (About 1690)
The Precocity of Sze Ma Kwang; an episode in the early
life of the eleventh century Chinese statesman, often used to
inculcate the virtue and value of quick thinking and readiness
in Japanese boys, but extremely rare in such an extensive illus-
tration as this. ‘Those who have studied the imagery of sword
guards and netsukes will recognize the incident of Sze Ma
Kwang and his boy companions around the large garden jar
of gold fish, when one of the eager youngsters fell into the
jar and failed to come to the surface. One boy, looking in
after him, is in despair, and two of the others, fearful for him
and to get aid for the immersed one are running away. Sze
Ma Kwang alone relied upon himself, and hurled a stone at
the jar to break it near the bottom and let the water out,
thus saving his comrade, who emerged with the outrush of the
flood. Sze Ma Kwang is the figure forward on the right.
The five dolls are carved of kirt wood and delicately coated
with gofun, a composition made from burnt and powdered
oyster shells, the application of which was a laborious process.
The method at the time called for a so-called “first coating”
ten times repeated, this treatment being followed by some seven-
teen or eighteen more coats, to get the desired surface. Judges
in Japan have expressed the opinion that these five dolls were
unquestionably made by a famous artist of the period, basing
their judgment on modeling, attitude and expression. The
boys all wear silk munekake elaborately ornamented in silk and
gold embroidery, and wear as well yodarekake, the Chinese and
Japanese bib—which has the form of a broad collar. (Slight
repairs. )
Height of standing dolls, from 1014 inches to 1134 inches.
Second Afternoon
GOSHO NINGYO (PALACE DOLLS) IN COSTUME
190—Patace Dott (About 1750)
Small boy, with movable legs and arms, in clothes he hasn’t yet
grown up to.
191—Patace Dott (About 1750)
A creeping infant in long white silk garments and a red crépe
bib. On silk cushion.
192—Patnace Dott (About 1750)
In purple-violet robe lined with robin’s-egg green, the robe being
of the pattern worn by all Japanese boys up to the age of 19
years. Articulated hip and knee joints.
198—Patace Dorr (About 1750)
Clad in a time-worn yellowish-red over white; has swinging
arms.
194—Parace Dott (About 1750)
In superabundant flowing robes of soft brown and orange-
red; has movable arms.
195—Papace Dour (About 1750)
In the garb of the “chigo,” children of high officials of the
Court, who, though boys, were permitted to dress in the clothes
of older girlhood, the station being indicated by the headdress.
Clad in orange-red dotted with white, and white gauze. Mov-
able arms; in one hand a branch of plum blossoms.
196—Paracre Dott (About 1750)
In the costume of the “chigo,” children of high Court officers
who, though boys, were permitted to dress up in the apparel of
older girlhood; the station indicated by the headdress. Has
swinging arms and in one hand carries a fan. Hip, knee and
ankle joints articulated. Dressed in pink and white, with em-
broidered ornament in other colors.
Height, 18 inches.
197—Patrace Dotit (About 1850)
Baby boy with loose (quilted) arms and legs, and articulated
ankles, wrists and neck, in a modern costume of gay colors—
orange, green, blue, tan-yellow, pink, red and brown.
Height, 21 inches.
Second Afternoon
198—Set or THrEE Patace Douts (About 1720)
Representing the famous sixteenth century conqueror, Hide-
yoshi, the greatest warrior of Japan, widely known as Taiko,
and two No dancers in a classic dance, the tswrukame (stork
and turtle), the dancers appearing before the general with
a stork and turtle on their heads, celebrating his long life
and undying fame. He is garbed in purple, red and gold, and
the dancers in green, red and gold, and they have ne a
while he carries the warrior’s fan.
Height with symbols, 1314 inches to 1634 inches.
199—Patuace Dour (About 1750)
Costumed in light blue silk with floral ornamentation reserved
in white, and in a green silk brocade nakama, or skirt, adorned
in gold and silver, blue and purple, with medallions and various
conventional designs, and wearing a warrior’s helmet gilded.
The doll was probably made for a warrior’s child. Has movable
arms; hip, knee and ankle joints articulated.
Height, 2434 inches; with helmet, 8014 inches.
200—Patrace Dori (About 1750)
Costumed in rich flowing and quilted robes of dark blue, white
and soft red, and representing Shojo, a famous lover of wine,
who imbibed freely, and is here shown seated beside a wine jar
with a cup in one hand and a ladle in the other. Silk cushion.
Height, 161%, inches.
201—Patace Dot (About 1720)
A very large doll, with movable arms and articulated leg
joints, wearing rich robes of black and white silk. It was
probably made at the desire of a daimio, by the imperial doll
maker, for the children of the noble’s family, as the coat bears
in white reserve a daimio crest composed of two crossed feathers
—so cut as to form a quatrefoil—within a circle. The white
part of the coat is painted in blue with storks and waves.
Height, 36 inches.
Second Afternoon
FUZOKU NINGYO: COSTUME DOLLS
The fuzoku ningyo, showing men’s and women’s costumes or fashions of the
various periods, first made their appearance in the Genroku period (1688-1703),
and have been made ever since; they are being made to-day. Those in the fol-
lowing group are of the Genroku period, with three exceptions, a standing figure
of about 1800, an articulated doll of about the same time, and the Forty-seven Ronin
on the Bridge, a production of the Taisho (the present) period. The dates of these
three are indicated in their several places; the repetition of date after the other
dolls of the group is omitted.
202—Costumre Dou.
A sosho (“teacher of the polite accomplishments’’) seated before
his tobacco tray. He is clad in pink and blue, with embroideries
in colored silks and gold, the garments being the traditional
teacher’s apparel (though not in color), which has changed
little in form even down to to-day.
203—Two CostumME Do.utus
Kbisu-Daikoku, the deities who, combined, are the god of
merchants; Daikoku carrying his mallet. Their garments
adorned in gold.
204—-Two CostumE Do.utus
Jo and Uba (sometimes called Jotomba), the Spirits of the Pine
Tree, usually represented as a very aged and wrinkled couple,
Jo with a rake (lost in this instance), and Uba with a broom,
gathering pine needles. Their costumes here are green, pink
and gold. Their story is recited at weddings, and centers on
a patriarchal pine at Takasago, of bifurcate trunk, where dwell
the spirits of the Maiden of Takasago and her spouse the son
of Izanagi, who wedded her at first sight. They hved to a
great age and died at the same hour, and their spirits took
abode in the tree. On moonlight nights they resume bodily
shape and collect the needles of the pine. Kino Tsuraguki saw
them doing this, in the sixteenth century, and on his memor-
able encounter Tomonari of Asonomiya, a priest, arranged a
No dance. They symbolize long life and happiness.
205—Fovur Costume Do.ts
Representing acrobatic performers—called dengaku hoshi—of
the Ashikaga period of the fourteenth century, in Corean cos-
tume. The costumes are in different colored silks and have gold
ornamentation.
Second Afternoon
206—TxHrEE Costume Dotts
In the costume of “Bon odori,” a day (August 13) of Bud-
dhistic ceremonies at the tombs of ancestors, on which day also
there is a festival dance. (It is the day when those in Hades
are free.) The costumes are light blue and cream white.
207—CostumME Do.uu
A child of the Samurai, standing. He is in a brown plaid coat,
with a sword under his left arm.
208—CostumE Dou. (About 1800)
A young woman, walking, wearing over her head the katsugi, a
sort of veil-kimono which from early times was worn by young
girls, their donning of it at the age of five or six years being
made a day of ceremony. In the upper classes the katsugit was
worn until marriage, sometimes afterward, when the young
women went abroad for any reason, to screen beauty from
curious eyes. The rest of the costume is in white silk and red
Silk crépe embroidered with flowers and scrolls in silks and
gold.
Height, 9 inches,
209—CostumE Dott (About 1800)
A workman, with swinging arms, and leg joints articulated,
wearing a brown coat belted in white.
Height, 934 inches.
210—CostumEe Dou
Illustrating the garb of a workman of the era—the Genroku
period—abroad in a very large cap and carrying an umbrella.
Height, 814 inches; (with umbrella, 1014 inches).
211—CostumE Do.
With long red hair, and carrying a fan, in the costume of a
“Shojo” No dancer. The costume is abundantly enriched with
gold.
Height, 12% inches.
212—Two Costume Do.ts
Boys in ceremonial costumes of varicolored brocades, each carry-
ing a sword in his belt and one also holding a fan. Silk
cushions.
Height, 814 inches.
21383—Two Costume Dotts
Chinese boy acrobats performing on the back of an elephant.
Height of the group, 14 inches.
Second Afternoon
214—CostumEe Do.
An actor as the great twelfth century Samurai warrior Asahina
Saburo, of prowess and many feats. He went to Hades and
after “‘browbeating the old hag of the three roads” was enter-
tained by the king, Yemma O. On land and sea he was equally
famous. Cruising in Chinese waters he swam with a shark
under each arm, and at the battle of Hikkane in 1180 he pulled
up a tree to serve as a war club. The costume is rich silk
brocade, largely green and red, and the man carries two long
swords and a lance. In this doll and that of the following num-
ber, (215,) observers of Japanese prints will remark at once the
similarity to the early color prints of actors,—in color, cos-
tume and facial expression.
Height, 111%, inches.
215—Costume Dou
An actor in the harugoma (hobby horse) dance in a New Year
play. The robes are voluminous,—silk crépe of a warm salmon-
pink, almost an orange-red, embroidered with swaying floral
sprays in green, yellow and white silk, and laid on in gold
thread, and brocade with conventional designs in wine-red, green
and silver on a black ground. The actor holds aloft the hobby
horse’s head. As mentioned in connection with the previous
number, the similarity of costume, color and expression to those
reproduced in the early prints of actors will be noted by ad-
mirers of the Japanese prints, in observing both of these dolls.
Height, 12%4 inches.
216—Turee Costume Do.ts
Tayu, kamuro and otokoshi; a blithe young woman who yields
to none a monopoly of her beauty, out for a promenade accom-
panied by a younger attendant and a servant. In front of her
an expressive pet dog scratches his chin. The servant holds
an umbrella over her. Her costume of silk and brocade is
elaborate, and the outer coat, of sage green, 1s embroidered
with the plum blossom, chrysanthemum and peony in brilliant
silks enhanced with gold. The costumes of the others, simpler,
are in silk and velvet.
Height of tallest, 10 inch (to top of umbrella, 131% inches).
Second Afternoon
217—Two CostumEe Do.ts, wiTH SIx-FOoLD SCREEN
Boys enjoying a cock fight, each with his bird in front of him.
Their costumes are rich brocades in varied color, brightened
with gold, and one boy carries a bag made from the same ma-
terial as his costume, to hold the bird that shall be killed. The
other boy carries a fan. The roosters are in bright colors, and
have movable heads. The screen back of the group, by an
artist of the Tosa school (seventeenth century), depicts a cock-
fighting scene of the ancient days, picturing a nobleman’s garden
beside the blue sea, where two birds are busily at it. Numerous
persons look on, from the garden and the open house, and in
the foreground are two men holding the next pair of fighters.
Cherry trees are in blossom and a pine stands near the house.
The costumes of the company are in varied colors, and the
whole is on a gold ground.
Height of dolls, 1514 inches; height of screen, 17 inches; length, 44 inches.
218—CostumE Do.uu
In the very elaborate dress of a classic dance. The apparel is
voluminous and padded, and is throughout of rich stuffs, bro-
cades in lattice pattern with floral medallions, and in various
other patterns and different colors. The dancer wears the
ancient cap (eboshi), gilded.
Height, 171% inches.
219—CostumE Douu
Dressed for the sambaso dance, which is believed to have origi-
nated in a religious performance at Nara in 807 to stop fissures
that suddenly belched fire from the earth. The doll wears the
characteristic cap, which from the front appears conical and
from the side resembles a mitre, carries the swzw (a bell used only
in shrines), and is garbed in gold brocade of various colors.
Height, 1834 “inches.
220—CostumME Douu
Figure of a man dressed and equipped for his presentation of
the shisht (lion) dance, sometimes called the Echigo jishi dance.
It is performed at the New Year season by men who go from
house to house and receive gratuities for their performances.
The man figured in the doll is dressed in brown print cloth and
white and purple striped satin, and wears over his head the
lion mask carved in wood and gilded, and he carries the deep
drum (tswtswmi), which is gilded and painted with lions.
Height, 26 inches.
Second Afternoon
221—Two Costumr Dotts on LAcauEeR STAND
Karako—which is to say, in Japanese, “Chinese boys”—at play.
They are in the old-time Chinese costume, with the curious
Chinese shoes with curling toes, and are playing horse, the older
boy down on all fours giving a very much pleased youngster
a ride. The costumes are of gold brocade in rich colors and of
silks embroidered in gold.
Height of group, 18%4 inches; length, 24 inches (measurements of stand
not included).
222—Company oF Costume Douts: THE Forry-stven Ronin (Taisho
Period)
Representing boys garbed as the famous “wave men” of Nippon,
those picturesque wanderers of the land they had once as
samurai served, on the night of the accomplishment of their
fateful and self-imposed task of chivalrous revenge. They are
shown crossing the Ryogoku bridge, Yeddo (now Tokio). The
dolls were made during the present reign, and there are fifty
of them in all, the forty-seven rovers being confronted at the
bridge by three samurai, the leader mounted on a brown horse.
The ronin are costumed true to type, the uniform of the old-
time firemen, which they had to adopt to enable them to circu-
late freely, and they have whatever weapons they could com-
mand, bows and arrows, halberds, swords; some carry the primi-
tive searchlight,—a bell-shaped cup that they can point outward,
sending forth the light of the candle within. Each is designated
by his particular letter of the Japanese alphabet—which con-
tains just forty-seven letters—beginning with the leader, Oishi
Kuranosuke, who appears at the head of his troop. He and his
three assistant officers are the only ones who have helmets.
The adoption of the alphabetic device was the successful ruse
of the ronin; they did not wear it, however, in the flesh, and
the letters are put here as symbolic. In life a ronin announced
himself by enunciating his letter; unless the response was the
next letter, he knew he was in speech with an enemy. As their
wanderings came to end on the fourteenth day of the twelfth
month (Juntgatsw) of Genroku, otherwise December 14, 1702,
the bridge and a pine tree standing next it are shown covered
with snow.
[The extremely interesting story of the Forty-seven Ronin, one of the
most famous in the annals of Japan, is too well and widely known to
require repetition here. |
Second Afternoon
223—F ive Costume Do.ts
Two of them figures of samurai, seated in Japanese fashion
on their heels and suggesting somewhat a kneeling position, one
a young man, the other an older one, somewhat bent, both
dressed in a dotted cotton material and each with his two swords
under his arm. The other three are guardians of the imperial
palace, the highest in rank being a noble who has the privilege of
looking upon the emperor’s face; he wears an ebosht (cap of
ancient form) with two plumes, carries a sword and is gowned
in brocade. Next in rank is a samurai who attends in the palace
gardens but may not enter the palace or see the emperor’s face;
he is clad in satin, and here has but one sword, but may have
had another, perhaps a short sword in his belt. The third is
a samurai of lower rank, who wears a striped silk coat and
his two swords, and carries a sounding implement used to an-
nounce the coming of processions—a sort of drum major, only
that his baton is not mute; when he drops the butt to the ground —
the rings at the head make a sound.
(Illustrated)
224—Eient Costume Do.utus
An imperial messenger with retinue of servants. At the head
march two in black (all wear silk), carrying imperial banners,
announcing the high import of the mission. After them comes
the actual carrier of the message, clad in a changeable silk, fol-
lowed by two men in garments of different color bearing shaku
(scepters or maces), one for the emperor and one for the head
of the mission—whenever a noble has audience with the emperor,
the emperor holds his scepter before him and the noble holds up
his scepter and looks upon it (not at the emperor’s face). Fol-
lowing comes the kuge (noble of the household), the commis-
sioned messenger, wearing gold brocade and riding an elaborately
caparisoned black horse, and behind him are the bearers of his
shoes and umbrella. (These dolls are classed as of the Genroku
period, but it was found difficult, in Japan, to determine defin-
itely whether they were produced in the latter part of that
period or during the succeeding Kyoho period.)
LAER GE GREY
eres etree
No. 223—FIVE COSTUME DOLLS
Second Afternoon
FOUR DOLL GROUPS IN ORCHESTRAL MUSICIANS’
COSTUMES
~
The first three of these groups are gonin bayashi—orchestras of five members
—representing the orchestras used for the classic No dances before the nobility and
in the temples. The fourth is a hichifukujin—a group of the seven gods of happi-
ness assembled as an orchestra, enjoying themselves as musicians.
225—Gon1n BayasHi, wirH ScrEEN (About 1790)
Costumes of Nile-green brocade, and eboshi (‘‘bird shape” caps),
in the form of the hdw6 bird’s head, painted and gilded. Six-
fold screen of the Kano School, painted in colors on a gold
ground with landscape and sea, storks and smaller birds, flowers,
pines and a blossoming peach tree.
Height of screen, 1034 inches; length, 2534 inches.
/
226—Gonin BayAsHI, WITH SCREEN (About 1750)
In silk brocade costumes of various soft colors, each player on
a separate black lacquer stand. The screen,—properly called
a fusuma, representing the interior doors of a house, instead
of being a typical screen,—is of the Kano School, and pictures a
landscape with waterfall, cherry and plum trees in blossom, and
peacocks among peonies in luxuriant bloom, in delicately toned
colors on a gold ground.
Height of screen, 141% inches; length, 40% inches.
Second Afternoon
227—Gon1n BayasHi, WITH SCREEN (About 1775)
In samurai costumes of dark bluish-green brocade, and peach-
pink, pale apricot and purple-violet silks embroidered with gold.
The screen, strictly speaking, is a fuswma, rather than a screen
—representing the sliding doors in the interior of a house. It
is of the Kano School, and pictures pine and cherry trees and
peonies, two gorgeously colored pheasants, and hills and water,
in delicate hues on a soft golden ground.
Height of screen, 1414 inches; length, 26 inches.
228—HicHiFUKUJIN, WITH ScrEEN (About 1775)
The seven gods of happiness, entertaining themselves with music,
are in joyous attitudes, holding various instruments, and their
apparel is gold brocade of varied ground color, with the excep-
tion of one player who wears blue silk painted with white trefoils.
Six-fold screen of the Kano School, depicting a Chinese Court
scene of the T’ang period, with nobles paying respects to the
emperor and empress surrounded by warrior-guardians and
women of the palace. All told, twenty-four figures are seen,
in buildings and garden, the whole being executed in numerous
colors on a ground of gold.
Height of screen, 1414 inches; length, 8614 inches.
GOGATSU MUSHA NINGYO: WARRIOR DOLLS
These dolls are made especially for the May Doll Festival,—the doll festival
particularly for boys, held annually on the fifth day of May, one of the two great
doll festivals of the year, the other one being for the girls and held in March. The
custom was initiated in the Enki period, at the beginning of the tenth century, hav-
ing its origin, it is said, at the Court, and perhaps growing out of an earlier prac-
tice of sending gifts of helmets and similar objects at that season.
Still earlier, in the shadowed past, the children of knights had used _ their
elders’ arms as playthings, and from this employment or diversion of infantile
energy developed the making of helmets and small arms for the celebration of
children’s birthdays. From these reminders of the military virtues, powers and glo-
ries, with which it was desired to impress the mind of the child, the warrior doll
naturally evolved, and with the Genroku period (1688-1703), and after, prodigality
of living led to the adornment of these dolls with elaborate appointments.
Second Afternoon
229—Warrior Dorit (About 1775)
Representing Kato Kiyomasa, one of the greatest warriors of
the late sixteenth and early seventeenth centuries, who led the
Corean war under Hideyoshi, and was so powerful- afterward
under Ieyasu that the Shogun feared him and is credited with
despatching him (in 1614) by the poison route. The Coreans
called Kiomasa the “‘devil warrior,’ and he is said to have worn
a helmet three feet tall. He is shown in silks and gold brocade,
and sixteenth century gilded armor, with his device of gilded
and green feathers and his long spear—which was three-pointed
until in killing a tiger one of the arms was broken off, after
which the great man’s weapon was always represented as hay-
ing only the two points.
Height, 18%4 inches.
(Illustrated)
f
230—Warrior Dox (About 1775)
Empress Jingu, the fifteenth ruler of Japan and one of the
most famous, who is almost always represented as a warrior
because of her martial spirit and accomplishments. She is in
imperial robes of gold brocade, and carries the general’s fan
and a long sword. This is the famous empress who invaded
Corea. The gods had bidden her husband the Emperor Chiuai
to do so but he was heedless, and when they then inspired her
to prod him he became obdurate, and exclaiming that there was
no land to the West, that such dreams were of lying gods, he
fell dead. Jingu then carried out the deities’ orders and planted
her lance in Shiragi, after which she feasted with one of the
gods. She was the first ruler of Nippon to attempt foreign
conquest.
Height, 15%, inches.
(Illustrated)
231—Warrior Dori (About 1775)
Yoritomo, the famous fighting man who after the battle of
Yashima in 1185 became the greatest power in Japan after
the Emperor Go Toba, who gave him the title of chief admin-
istrator, Sei-I-Tai-Shogun. He is dressed in vermilion and
gold, purple-blue and white, and wears a gilded eboshi.
Height, 21 inches.
(Illustrated)
0&Z “ON I€G “ON 666 “ON
Second Afternoon
SANGATSU HINA NINGYO: MARCH FESTIVAL DOLLS
The dolls in the following nine groups, or lots, were made for the March Doll
Festival, held each year on March 3, the greatest doll festival celebrated in Japan,
of very ancient beginning, and particularly for girls. The first two groups are
known as tachi hina ningyo, “standing dolls” (though they do not stand up); they
are without arms or legs, and are of primitiye design, being of a type originally made
of paper, though these are more elaborate and are made of rich stuffs. The third
lot represents a prince and princess, and the succeding six lots are known as nairi
hina ningyo, each representing an emperor and empress, the name being derived
from the extreme, innermost seclusion in which in ancient days the emperor and
empress kept themselves.
232—Two “Stranpine Douzs” (About 1775)
Representing a young man and woman, clad in dragon brocade
and in silk crépe painted with the horait san design, which compre-
hends the pine, plum and bamboo, the stork and tortoise, and
Jotumba (the long lived couple), all symbols of long life and
happiness. The symbolic design is especially used in connec-
tion with the marriage ceremony.
Heights, 20%4 inches and 11 inches.
238—Two “Stranpine Douts” (About 1775)
Figures of a young man and woman, in costumes of green and
vermilion brocade ornamented with floral medallions in white.
Heights, 16 inches and 138 inches.
234—Two Imvrertat Doris (About 1715)
Standing figures of a prince and princess, he in green silk
brocade with white medallions, and she in a warm peach-pink
brocade with white chrysanthemums, and a white silk skirt.
Heights, 1314 inches and 834 inches.
235—Two ImrveriaL Doris (About 1750)
Representing an emperor and empress seated, he in green
brocade, white and purple, and she in more colorful robes, adding
blue, orange, yellow and brown to those in the apparel of her
spouse.
236—Two Impreri1at Doris (About 1750)
Seated figures of an emperor and empress, the empress in red,
green, blue, pink and white brocades, and the emperor in brown
figured silk and brocades.
Catalogue No. 287
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