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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 FINE ARTS LIBRARY 
 
&ai«i»i«i>i»»J9s»«»^ 
 
 I 
 
 The MEMORIAL 
 ART GALLERY 
 
 ROCHESTER, NEWYORK 
 
 CATALOGUE OF AN 
 
 EXHIBITION OF TAPESTRIES 
 
 PERIOD FURNITURE 
 
 AND A LOAN EXHIBITION 
 
 OF POTTERY 
 
THE MEMORIAL ART OALLBRy IS 
 OPEN EVERY DAY FROM 10:00 A. M. 
 TO 5:00 P. M., EXCEPTING ON SUNDAYS 
 AND MONDAYS. WHEN IT IS OPEN 
 PROM 1:S0 TO 5:00 P. M. 
 
 rREE DAYS: WEDNESDAYS, SATUR- 
 DAYS, AND SUNDAYS. OTHER DAYS 
 ADMISSION IS TWENTY-FIVE CENTS. 
 
 MANY OF THESE PAINTINGS ARE FOR 
 SALE: FOR PRICES APPLY AT THE 
 DESK OR AT THE OFFICE OF THE 
 GALLERY. 
 
CORNELL UNfVERSITY LIBRARY 
 
 3 1924 100 356 389 
 
 THE MEMORIAL 
 ART GALLERY 
 
 DATE DUE 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 QAYLORD 
 
 
 
 PRINTED IN aSA 
 
Hi"- 
 
 FOREWORD 
 
 IT is the practice of the Memorial Art Gallery from time to 
 time, to deviate from its policy of displaying in its special 
 exhibitions, examples of graphic art only, and to introduce 
 other forms of artistic expression. The remarkably successful 
 exhibition of antique rugs held here a few years ago, and the 
 comprehensive exhibition of Persian textile and fictile arts, will 
 readily be recalled. 
 
 In offering the present exhibition, the Directors of the Gallery 
 are confident of meeting the awakened interest in tapestries on 
 the part of the public. 
 
 .In order that the fullest possible benefit, both artistically and 
 educationally, may be derived from this exhibition, the Directors 
 have enlisted Mrs. Helen Churchill Candee of New York City, 
 to give two Gallery Talks on the display of tapestries, and to 
 offer in a course of five class lectures, an opportunity to Chose 
 who may wish to follow the subject further, of learning to identif)' 
 tapestries for art appreciation or their special uses in home 
 decorations. 
 
 As a supplement to the tapestries, a collection of period furniture, 
 lent by the Hayden Company of this city, and, as a note of color 
 contrast, some ancient Chinese pottery and bronzes have been 
 installed. 
 
 The President and Directors of the Memorial Art Gallery 
 wish to acknowledge their indebtedness to the following institu- 
 tions and persons who have generously contributed to the present 
 exhibition : 
 
 P. W. French and Company, New York City. 
 
 The Arden Gallery, New York City. 
 
 The Hayden Company, Rochester, New York. 
 
 Mrs. Helen Churchill Candee, New York City. 
 
 Mr. and Mrs. Joseph T. Ailing, Rochester, New York. 
 
 Mrs. William R. Taylor, Rochester, New York, 
 
TAPESTRIES FROM THE COLLECTION OF P. W. FRENCH 6c COMPANY, 
 NEW YORK. ARRANGED BY MRS. HELEN CHURCHILL CANDEE. 
 
 GOTHIC ROOM 
 
 ^ 1. "The Triumph of Virtue Over Vice": 
 
 - This tapestry illustrates the popularity of "morality" subjects 
 
 ^" ' in the Fifteenth Century, and depicts vice as a su'perb chimera. 
 
 At Ham-pton Court in England can be found a tapestry whicli 
 approaches this in kind. It was woven in Flanders in the 
 second half of the Fifteenth Century. 
 
 2%o 
 
 2. "The Lion Hunt": 
 
 Early Gothic Tapestry showing with characteristic naivete the 
 f%0 « idea of a lion hunt drawn in Flanders by one who had never 
 
 •^ seen Africa. The border is especially noteworthy as varying 
 
 essentially from the usual one of its time. 
 
 y 3. "Court Scene": 
 
 From the superb collection of Pierpont Morgan, woven in 
 Flanders about 1500. The Queen of Love reigns in the 
 center, and in various scenes skilfully disposed, is conducted 
 the light play of those who deal in tender missives and tender 
 words. The weave is full of quality, the coloring warm, and 
 the border characteristic of its time and place. 
 
 4. "The Triumph of Prudence": 
 
 - A fine han^ng made especially interesting because it belongs 
 
 ^ ■* to the transition period between Gothic and Renaissance. Both 
 
 schools are abservable in the details, and the mixture gives 
 
 an irresistible charm. 
 
 So 
 
 5. "Gothic Verdure": 
 
 ^. 
 
 Of the tyipe known as "fetlilles de choux," combined with 
 jTi'OOi birds. This is of French weave, and replaced the "mille 
 
 O * fleurs" Gothic verdure. 
 
 ^. 6. "Crucifixion Scenes": 
 
 
 Flemish Gothic, of admirable texture, and essentially of 
 interest to the connoisseur. One depicts the Crucifixion with 
 all the intensity of feeling of the Fifteenth Century; the 
 other, the Descent from the Cross. 
 
 7. "Camel Procession": 
 
 This remarkable hanging was woven in France in the middle 
 of the Fifteenth Century, when affairs of the East were 
 exciting Europe. With naive seriousness, the artist has 
 
 0[) • depicted a scene foreign to his experience, and has introduced 
 
 some of his own "paysage" into the background. The texture 
 is admirable and the colors soft, while the carton is of 
 poignant interest. 
 
RENAISSANCE ROOM 
 
 / 
 
 8. "Moses Receiving the Tablets": 
 
 This fine Renaissance tapestry depicts MosCiS kneeling, an 
 
 imposing figure, with Jehovah in the clouds delivering the 
 
 *• Tablets of Stone. Into the background are ingeniously 
 
 fm *^' woven other scenes in the life of Moses and the Israelites: 
 
 ' for example, the Golden Calf worshipers, and the hastening 
 
 of Moses with the Commandments to his peo-ple. The border 
 
 shows the fertility of invention of the early designcirs and 
 
 weavers. 
 
 9. "The Sacking of Carthage": 
 
 This large piece is from a su<perb set which depicts incidents 
 of the Carthaginian Wars. The conquering Greeks are burn- 
 0*^' ing and robbing the city and taking the heirless into captivity, 
 
 O all making a scene of great animation and interest. Silk is 
 
 very largely used in this piece, which gives richness to the 
 texture, and the weave is of the finest. Such a border as 
 this is a joy to the lover of beauty and repays long study. 
 Only the best of the Sixteenth Century Flemish weavers 
 could have executed it. 
 
 /So 
 
 10. "America' 
 
 7 
 
 }' 
 
 This is one of a series of four Brussels tapestries depicting 
 more or less aUegorically, Europe, Asia, Africa, and America. 
 ,^gf0t They are beautiful in composition and note the growth of 
 f^ ^ design in the period immediately succeeding the Renaissance. 
 
 The marks of Brussels and the weaver, "P. Van der 
 Beurcht," are seen on the border. 
 
 11. "Tournament Scene": 
 
 This large Renaissance tapestry was made in Brussels in 
 the first half of the Sixteenth Century, and is a rarely 
 ^, beautiful example. The scene is of the conflict of royal 
 
 princes, and the accessories are aill of great elegance, bilk 
 
 plays a large part in the weaving. The border is rich in 
 variety, and contains characteristic Renaissance designs in 
 all their early purity. 
 
 EIGHTEENTH CENTURY ROOM 
 
 ,. 12. "Beauvais Tapestry": 
 
 The cartoon is by Berain, one of the most able of the 
 
 decorative artists of France in the Eighteenth Century. This 
 
 belongs to the class known as "Indian Hangings," which 
 
 _^/ were inspired by trade with the East, flooding France with 
 
 ^ ^ ^ exotic designs. Berain's other source of inspiration is found 
 
 [ V in the classic grotesques. Of these two he has created a 
 
 marvelously beautiful cartoon. The color indicates by its 
 
 purity and strength, the first half of the Eighteenth Century. 
 

 13. "The Recruiting Officer"— Gobelins Tapestry: 
 
 This tapestry ably illustrates the perfection of weaving in this 
 most celebrated royal factory. The fabric could not be ex- 
 celled for beauty of weave, and for blending of color. It 
 was woven at the beginning of the century when deep colors 
 prevailed and when the work was of the best, under Louis 
 XIV. The artist was Etienne Jouraet, and the piece comes 
 from the Ffoulke collection. It was woven under Audran. 
 
 '14. Aubusson Panel: 
 
 The artist of these tapestries is Huet, and they illustrate the 
 charmingly light touch of the time of Louis XV. Pastoral 
 scenes smacking of the court were the order of the day. 
 
 15. "Lunch and Vintage" — Gobelins Tapestry: 
 
 l(> 
 
 _ Lunch and Vintage" is the name of this tapestry, although 
 Its better title is '^October." Its cartoon is taken from the 
 <»• world-renowned "Months" of Lucas von Leyden, which were 
 
 • drawn in the Siitteenth Century. The set was so popular 
 
 that it was repeated at the Gobelins factory under Louis 
 XIV, this being one of the series. The border shows the 
 .period of the reproduction, while the tableaux shows the 
 style of the Sixteenth Century, an interesting combination 
 full of meaning. 
 
 A COLLECTION OF PERIOD FURNITURE, ANTIQUES AND 
 
 REPRODUCTIONS, LENT BY THE HAYDEN 
 
 COMPANY, ROCHESTER, NEW YORK 
 
 16. Long Oak Table, carved legs, Reproduction, Jacobean, circa 
 1620. 
 
 17. Oak Buffet, panelled drawers, Reproduction, Jacobean, circa 
 1625. 
 
 18. Oak Cupboard, bone and mother pearl inlay, Reproduction, 
 Charles II, showing Spanish influence, circa 1660. 
 
 19. Oak Chest, Richly carved, Reproduction, Jacobean, circa 1625. 
 
 20. Oak Cupboard, Carved Panels, Reproduction, Jacobean circa 
 1665. 
 
 21. Oak Cupboard, Carved doors and panels, Reproduction Eng- 
 lish Gothic, circa 1500. 
 
 22. Walnut Chairs, Cane seat and back, Reproduction, Charles I, 
 circa 1625. 
 
 23. Walnut Chair, Richly carved, Reproduction, Late Charles II, 
 circa 1680. 
 
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 24. Walnut Chairs, Carved and Caned backs, Reproductions, Wil- 
 liam and Mary, circa 1690. 
 
 25. Walnut Chair, Carved back. Reproduction, William and Mary, 
 circa 1685. 
 
 26. Oak Chest, Linen fold panels, Reproduction, Elizabethan, 
 circa 1550. 
 
 27. Old Oak panel back chair. Lozenge pattern. Genuine Antique, 
 Early Jacobean, circa 1600. 
 
 28. Old Oak panel back chair, Inlaid panel. Genuine Antique, 
 Early Jacobean, circa 1600. 
 
 29. Walnut Torcheres, Inlaid with various colored woods, Repro- 
 duction, William and Mary, circa 1695. 
 
 30. Oak Cupboard, Carved panel doors and turnings. Reproduction, 
 Jacobean, circa 1620. 
 
 31. Oak Cupboard, Turned posts, carved panels. Reproduction, 
 Jacobean, circa 1610. 
 
 CATALOGUE OF A LOAN EXHIBITION OF CHINESE POTTERY FROM 
 THE COLLECTION OF MR. AND MRS. JOSEPH T. ALUNG 
 
 Turquoise Bottle— Flambe, Chia Ching Period, 1796-1820. 
 
 Melon-shaped Turquoise Bottle, Yung Cheng Period, 1723- 
 1735. Fine crackled glaze. 
 
 Turquoise Gallipot, Yung Cheng Period, 1723-1735. 
 
 Celadon Green Bottle, Very early Ming Period, 1368-1644. 
 
 Celadon Green Slender Vase, Ming, 1368-1644. 
 
 Celadon Green Moulded Bowl, Probably Sung Period, 960- 
 1280. 
 
 Celadon Green Gallipot, Ming Period, 1368-1644. 
 
 Deep Celadon Green Vase, Ming Period, 1368-1644. 
 
 Celadon Green Large Incense Burner, Early Ming Period, 
 1368-1644. 
 
 Celadon Green Large Temple Fruit Plate, Ming Period, 1368- 
 1644. 
 
 Celadon Green Moulded Jar, Ming Period, 1368-1644. Carved 
 Jade Top. 
 
 Cream White Bobbin-Shaped Jar, Yuan Period, 1280-1368. 
 
 Tall Vase, Cream White Crackle, Yuan Period, 1280^1368. 
 
 Cream White Vase, Masque Handles, Yuan Period, 1280-1368. 
 
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 Ballister-shaped Vase, Deep Cream White, Early Ming Period, 
 1368-1644. 
 
 Cream White Cylinder-shaped Vase, Ming Period, 1368-1644. 
 
 Deep Cream White Bottle, Late Ming Period, 1368-1644. 
 
 Camelia Green Ovoid Vase, Yung Cheng Period, 1723-1735. 
 
 Camelia Green Ovoid Vase, Kang Hsi Period, 1662-1722. 
 
 Camelia Green Hexagonal Vase, Chien Lung Period, 1736-1795. 
 Crackled Glaze. 
 
 Carved Jade Temple Gong, Kang Hsi Period, 1662-1722. 
 
 Brilliant Powder Blue Bottle-shaped Vase, Kang Hsi Period, 
 1662-1722. 
 
 Brilliant Powder Blue Small Bottle-shaped Vase, Kang Hsi 
 Period, 1662-1722. 
 
 55. Deep Mazarin Blue Bottle-shaped Vase, Chien Lung Period, 
 1736-1795. 
 
 56. Powder Blue Temple Jar, Kang Hsi Period, 1662-1722. 
 
 57. Large Blue and White Jar, Ming Period, 1368-1644. 
 
 58. Deep Red Flambe Bottle-shaped Vase, Yung Chen Period, 
 1723-1735. 
 
 59. Deep Cherry Red Bottle-shaped Vase, Yung Chen Period, 
 1723-1735. 
 
 LENT BY MRS. WILUAM R. TAYLOR 
 
 Celadon Flower Bowl, Ming Period, 1368-1644. Aqua Marine 
 Quartz Finial. 
 
 Celadon Porcelain Beaker Vase, Ming Period, 1368-1644. 
 
 Celadon Vase, Ming Period, 1368-1644. Soapstone Finial. 
 
 Chinese Porcelain Jar, Celadon, Ming Period, 1368-1644. 
 
 Chinese White-glazed Porcelain female deity and Turquoise 
 
 Blue glazed pottery table, Kang Hsi Period, 1368-1644. 
 
 Chinese Beaker Vase, Kang Hsi Period, 1368-1644. 
 
 Chinese Beaker Vase, Kang Hsi Period, 1368-1644. 
 
 Blue and White Marriage Bowls, Chien-Lung Period, 1736- 
 1795. 
 
 Chinese Bowl, Chien-Lung Period, 1736-1695. 
 
 Celadon Vase, Ming Period, 1368-1644. 
 
CATALOGUE OF AN EXHIBITION OF DURANT POTTERY 
 
 
 To anyone interested in the development of the Fictile Arts in America, 
 this assembling of the product of the Durant Kilns affords exceptional 
 opportunity for study and collecting. 
 
 Exemplifying as it does the result of long years oif artistic experiment 
 under ideal conditions by Jeanne Durant Rice and Leon Volkmar, it 
 represents the successful outcome of their conijbined and untiring effort 
 and devotion to high ideals unrestricted by commercial considerations, which 
 usually hamper undertakings of a similar nature. 
 
 In the opinion of a distinguished European authority, "Some of 
 this pottery is undoubtedly the best work done in any country. The Peiisian 
 Blue is a triumph; the French have for years been endeavoring to obtain it." 
 
 Nothing like this Persian Blue has been produced since the Fifteenth 
 Century, while the other glazes are almost equally notable. 
 
 Very fortunately for lovers of beautiful form and color, the Durant 
 Kilns are not to be regarded as producing museum pieces exclusively, but 
 include a number of ext^uisite examples for daily use. The Art value 
 of this pottery to the public is therefore a living and lasting one. 
 
 The Memorial Art Gallery is indebted to the Arden Gallery of New 
 York City for the privilege of bringing' this collection to the attention of 
 its patrons. 
 
 Small Persian Blue Vase. 
 
 Persian Blue Melon Jars. 
 
 Turquoise Bowl. 
 
 Large Royal Blue Jar. 
 
 Royal Blue Vase. v -^ „ 
 
 Aubergine Lotus Vase. ^' 
 
 Aubergine Lotus Vase. ^*j< 
 
 Aubergine Jar. (TJ J 
 
 Aubergine Lotus Bowl. ~:ia««. 
 
 Aubergine Bowl. 
 
 Aubergine Bowl. 
 
 Yellow Lotus Set — Compotes. 
 
 Yellow Lotus Set — Compotes. 
 
 Yellow Lotus Set — Centre Dish. 
 
 Yellow Duck. 
 
 Small Lotus Yellow Bowl. 
 
 Dolphin Centre Bowl. 
 
 Candle-sticks. 
 
 Compotes. 
 
 Bouillon cup and saucer. 
 
 Lunch plates. 
 
 Green Bowl. 
 
 Green Lotus Bowl. 
 
 
 
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GENERAL ANNOUNCEMENTS 
 
 THE object of the Memorial Art Gallery is to further the 
 interests of fine art in the city of Rochester by maintaining 
 exhibitions of pictures and statuary, an art library, and a 
 collection of photographs and prints, which shall be a means both 
 of pleasure and of education for all the citizens of Rochester. 
 
 In order that a large number of lovers of art may share in 
 making the Gallery useful and enjoyable for all the citizens, 
 provision has been made in the By-Laws for membership in vari- 
 ous classbs. 
 
 CLASSES OF MEMBERSHIP 
 
 1. Supporters. Persons who shall contribute two hundred and 
 fifty dollars a year toward the maintenance of the Art Gallery. 
 
 2. Sustaining Members. Persons who shall contribute one 
 hundred dollars a year, or more, but less than two hundred and 
 fifty dollars. 
 
 3. Contributing Members, i Persons who shall Contribute 
 twenty-five dollars a year, or more, but less than one hundred 
 dollars. 
 
 4. Annual Members. Persons who shall contribute ten dol- 
 lars a year, or more, but less than twenty-five dollars. 
 
 5. Associate Members. Any artist, school teacher, or art 
 craftsman actively practicing his profession, may become an As- 
 sociate Member of the Art Gallery upon payment of five dollars 
 a year. , 
 
 PRIVILEGES OF MEMBERS 
 
 All members are entitled to free admission to the Gallery at 
 all times 'that it is open to the public, and to all lectures, recep- 
 tions and private views that may be conducted by the Directors. 
 They are entitled also to the privilege of drawing books from 
 the library of the Art Gallery. 
 
 Supporters and Sustaining Members have the privilege of free 
 admission for members of their families and for visiting friends. 
 " Each Contributing Member shall have the privilege of free 
 admissions for himself and one other member of his family. 
 
 CLUBS AND SOCIETIES 
 
 Societies, study clubs, and similar organizations are cordially 
 invited to make full use of the Gallery at all times. No charge 
 will be made for admission to organizations visiting the Gallery 
 in a body. Appointments for such visits should be made in 
 advance.