i@hames “Wien fr a f ry EFOR: oa formal opening of the BD "ew wing of the Anderson Gal- __ leries, which takes place to-day, iy - See fo ie ; bike _ I was extended the courtesy of a pri- | Nate view of the handsome suite of! ‘y rooms. They oceupy the full of the top or twelfth floor, so, lighting is of the best. The nt of exhibits was still in rogress, but already one could gain _ @& Impression of the brilliance and _ beauty which the opening exhibition, pt the Chapman sale will present. The late Colonel Henry Thomas an, civil war veteran, banker | TY, Was also well known as a eur of art. His pictures, por- bronzes and other art objects, of which have been exhibited in the Brooklyn Museum for fifteen Years, . Bre to be sold at auction. They are) _ mow on view in the Anderson Galleries Weta the sale, which begins on : Ee see Beet January 27. The pictures show a catholicity of | taste, which includes old as well as dern art, ee does not overlook mples of American painters. ing principle of selection. have been a preference for and tone, in which respect Col- : Chapman could link up his love _ ‘of pictures with _ porcelains. Landscape Is Admired, Cece tne the Americans t noted a { ochre that of bronzes and/| b ti Scene has béen profoundly felt and rendered grandly. I should like to see this picture hanging beside Homer Martin’s “Westchester Hills.” I be- lieve they would find each other quite companionable. From a oup of subjects by Arthur B. Davies I will single out two. “The Place of the Mothers” involves a charm- ingly decorative composition of hogs and a sow with her litter, seen in rosy light and transfigured into beauty by the artist’s vision. Again, his imagi- | nation, playing this time upon fancy? 48 well as light, is shown in the oat dren of Yesteryear,” a.lyric of deep- toned sentiment, athrob with the Sprightly tenderness of flowers and child-life. _ Colonel Chapman was one of the earliest Americans to admire the grave art of Georges Michel; and among sev- eral examples in this collection, the one numbered 630 is superiatively dig- nified. Another superb piece is “The Giant Willows,” by Corot; a shadowed fore- ground of sonorous color, seen against a trembling twilight sky: an orches- tration of violins with ‘cellos and basses, Rare Paintings Shown. Decamps somewhat rarely figures in American collections. There are six of his pictures here, one of which, “The Good Samaritan,” is an excep-~ tionally handsome example of this fine imaginative colorist, Still more of a rarity is “The Siesta,” by Honore Daumier; since he painted but few oil pictures, and they are eagerly sought after, For Daumier to-day is reearded ee nee Bs Ai ges significant. French | 6 nineteenth century, who oth Br hie Werk.and sto induemte ga. others has done so much to liberate modern art from the wrappages of convention. | Another artist to whom some modern |connoisseurs are giving an enhanced jreputation is the seventeenth century |Hollander, Jan’ Van Goyen. They place ‘him above Hobbema, and even Ruis- ‘daeél, recognizing the verified quality | lof his spiritualized imagination and his |jpower’ of expressing both the bigness jand the subtlety of what he felt by means as abstract as possible. In “Harvest Time” this collection contains, a very important example of the ar-' itist’s second period, when the shrill: notes of blue and red, which he in-' herited from his master, Hsaias van de | ‘Velde, ‘had been subdued, his skies! lerew ,to be more luminous and the! brown tonality became tempered with | | gray. “Cupid” a Happier Example. By Reynolds is “The Nymph.andPip- ‘ing Boy,” one of several pictures of the isame subject which he painted, It icontains passages of charm, for ex- lample, in the face and bosom of the! (girl, but her right leg lacks construc-’ 'tion, and cleaning appéars to have re- jmoved the fiesh tones, leaving the ishadow obtrusive and grimy, For- tunately there is an altogether happier example in the “Cupid,” with its elfin lcharm of expression and authoritative brush work. | I shall conclude this discursive, pre- liminary review of the Chapman col- lection. with a reférence to “Madonna and Child,” by Sebastiano del Plombo, It is recorded of this artist that when he visited Rome, Michael Angelo fre- quently collaborated in his pictures, supplying at least suggestions for the jcomposition. In the design of this one, organized with such apparent ease and simplicity and vet with a decorative | mple and subtly felt" The piature | oschrome, yet of tone is full of feeling at once a it is possible to recognize the Mich- | aeslangelegque influence, is executed almost in mon \in itz gradations | ? aise suSwestion, pman . ~ eihomas Chal vy ection + Colle — v Col. Henry CUPID 0. 396. N ynolds 7 Sir Joshua Re By oe PAP ecllection of the late With a few pieces of | Marble Sculpture and Vernis MM artin OG ed by the Executors, Mr. Heat E. Chapman * : as Mr. ‘Frederick A. Chapman, and To be sold on the Bemecons i Evenings of Monday, Tuesday, pend) Wednesday, January gap ed, and* 29; 1913 On Public Exhibition from January 18th, at The Anderson Galleries METROPOLITAN ART ASSOCIATION Madison Avenue at Fortieth Street, New York CONDITIONS OF SALE 1. All bids to be PER LoT as numbered in the Catalogue. 2. The highest bidder to be the buyer; in all cases of disputed bids the lot shall be resold, but the Auctioneer will use his judgment as to the good faith of all claims and his decision shall be final. He also reserves the right to reject any fractional or nominal bid which, in his judgment, may delay or injuriously — affect the sale. 3. Buyers to give their names and addresses and to make such cash pay- ments on account as may be required, in default of which, the lots purchased to be immediately resold. ; 4. The lots to be taken away at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be absolutely paid on or before delivery, in default of which, the Metropolitan Art Association will not be responsible if the lot or lots be lost, stolen, damaged or destroyed, but they will be left at the sole risk of the purchaser, and subject to storage charges. 5. To prevent inaccuracy in delivery and inconvenience in the settlement of purchases, no lot will be delivered during the sale. 6. All lots will be exposed for public exhibition in The Anderson Galleries before the date of sale, for examination by intending purchasers, and the Metro- politan Art Association will not be responsible for the correctness of the descrip- tion, authenticity, genuineness, or for any defect or fault in or concerning any lot, and makes no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. But upon receiving before the date of sale, expert opinion in writing that any lot is not as represented, the Metropolitan Art Association will use every effort to furnish proof to the contrary, and in default of such proof the lot will be sold subject to the declaration of the aforesaid expert, he being liable to the owner or owners thereof, for damage or injury occasioned by such declaration. 7. Terms CasH. Upon failure to comply with the above conditions any sum deposited as part payment shall be forfeited, and all such lots as remain uncleared after twenty-four hours from the conclusion of the sale, will be resold by either private or public sale at such time as the Metropolitan Art Association shall determine, without further notice, and if any deficiency arises from such resale, it shall be made good by the defaulter at this sale together with all the expenses incurred thereby. This condition shall be without prejudice to the right of the Metropolitan Art Association to enforce the contract with the buyer, without such resale. The Metropolitan Art Association will afford every facility for the employ- ment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. Priced Copy of this Catalogue, $3.00. THE ANDERSON GALLERIES Metropolitan Art Association MADIsoN AVENUE AT FoRTIETH STREET, NEw YORK TELEPHONE 7990 BRYANT ORDER OF SALES The Sessions begin at 2:30 and 8:15 o'clock First Session, Monday Afternoon, January 27th . Lots 1-117 Antique Glass, Chelsea, Dresden and Crown Derby Figures; Delft, Majolica and Hispano-Mauresque Vases; Sévres Garniture and Gobelin Tapestry; Modern Bronzes and Drawings. Second Session, Monday Evening, January 27th . Lots 118-194 Paintings by European and American Painters. Third Session, Tuesday Afternoon, January 28th . Lots 195-336 Ivory Miniatures, Oriental Pottery and Porcelain, Crystal Balls, Chinese Bronzes, Vernis Martin Furniture, and Marble Sculpture. Fourth Session, Tuesday Evening, January 28th . Lots 337-415 Paintings by European and American Painters. Fifth Session, Wednesday Afternoon, January 29th. Lots 416-562 Oriental Pottery and Porcelain. Sixth Session, Wednesday Evening, January 29th . Lots 563-638 Paintings by European and American Painters. ARTISTS REPRESENTED Albani (Francesco)........... 188 Apol (Louis F. H.).........-. 123 Babcock (H.°S.)c stew ease 174 Backhuysen (Ludolf)......... 569 Barker (Thomas)...........- 571 Barye (Louis) 5.20 -0ee eee 81 Baudry (Paul Jacques)....... 157 Berchem (Nicholaas).......-. 609 Berckheyde (Gerrit).......... 143 Blakelock (Ralph Albert) 173, 368 Boilly cae Leopold)... ..95, 573 Bonheur’ (l,) esas eas 59 Boucher (Francois)........... 593 Boulard.(A,) 23 scum eee ee 121 Bull (Pauwell):.. ¢.c0eaeay 570 Brouwer (Adriaen)........... 132 Pas any The Y ounger Goce eee 168 Bice: (Jan) [Called Velvet Brueghell ions oo os ores 568 Cariani (Giovanni Busi)...... 194 Carner(A:); 20: ste 90 Chaplin (Charles J.).......... 108 Clodionat ene ee 76, 77, 78 Copley one Singleton)...... "181 Corot]. B.C) ae 114, 175, 179, 370, 627 Courbet (Gustave)...... 176. 597 Courtois (Jacques)...... 161, 574 Couture (Thomas) sree oe 379 Crayer (Gaspar de).......... 414 Creifelds (Richard)........... 98 Crome (John) [Called Old Crome] =r Ga eee 1, 393 Crome gate Bernay)........ 167 Cuyp (Acthert)....csics ee one 355 Cuyp (Jacob Gerritsz)........ 634 Daubigny( Charles Fran- COIS) Seated seer 109, 152, 596 Daumier (Honore)........... 605 Davies (Arthur B.). 130, 150, 154, 160, 363, 367, 391, 612, 618 Davis (Richard Barrett)...... 567 Decamps (Alexandre Ga- briel) 4st ee 2 bas ise Delacroix (Eugene)..104, 147, 588 Delaroche (Paul)........ 129, 140 Diaz (NiV.)sene eee 139, ees 584, 592, 603 Doornik (F. V.)......... 357, 358 Doughty (Thomas)........... 119 Dreux (Alfred): ..... 05h eee 378 Dughet (Gaspard)........... 636 Dupré (Jules).......... 138, 149, 372, 381, 586, 1503 Eaton (Wyatt)si-. eee 186 Erdtelt: (Alois) eee eee 192 Etty (William)..... 137, 390, 595 Fortuny (Mariano)...........101 Francken (Ambrosius)........ 399 Francken (Sebastian)......... 575 Fratin (J.). .42, 46, 56, 57, 61, 71 Frost (George). ..c..06:+s00e8 158 Gainsborough (Thomas)...... 136 Gamba ‘(V.) 33. ee 118 Gardet (G.);. 3 2 eee 70, : Gelée (Claude).............. 616 Gericault (Jean Leon Andre) 135; 373, we Gessi (Francesco)............ Giordano (Luca)........ 164, 360 Glover (John)........... ee LS Gouyn (Adelé)., 3 eee 120 Guardi (Francesco)...... 170, 382 Harper (J)... ee 565 Haydon (Benjamin Robert)... .637 Hicks €Thomas).:. cssaseenwien 128 Hogarth (William)...... 359, 582 Houdon. (J--A)i2.e.. see 51, 72 Huet (Jean Baptiste).....106, 110 Huysmans (Cornelis)..... 606, 620 Inman (Henry)... ..124,° 365, 614 Isabey (Eugene)....105, 383, 590 Israels (Josef) 20a 111 Jacquet (J. |.) 2.2 86 Jefferson (Joseph)............ 193 Jongkind (Johan Barthold)...374 . na seit Kauffman (Angelica) [Attrib- ethan) fee sake us 408 Kierings (J a CRP Ries 563 _ King (Charles B.)............ 159 Kneller (Sir Godfrey)......... 394 Lambinet (Emile)............ 384 Lambrechts (Jan Baptist). .... 361 Lawrence (Sir Thomas). 405, 632 L’Hermitte (Leon)... 107, 112, 116 Linton (William)............. 189 Luciani (Sebastiano)......... 626 Manzoni (Pi)0is 52 <5 65 ces 53550 Marilhat (Prosper)........... ae Mauve (Anton): 72.0... =. Mené (J. P.). .48, 50, 58, 63, 65, "4 - Michel (Georges) are 178, aes. 395, 587, 630 Michetti (Francesco Paolo). 134 Millet (Jean ee) 155, 163, 2 385, 602 Monticelli (Adolphe). . Te 585 Morel (Jan Evert)........... 127 Morland (George)... .94, 99, 102, 177, 183, 345, 351, 600, 621, 633 Morland (Henry Robert)..... 340 Moyen (Francois Le) [Attrib- RICE ee rae Be oe vk Ladce 8 615 Neuville (Alphonse de).......100 Nicol (Erskine).............. 375 Pannini (Giovanni Paolo) 185, 406, 410 LACOSTE @ (oe Si ae 92 Piglheim (Elimar Ulrich pe ae ra ctor ies) Sie esse ce ee 67 Prud’hon (Pierre P.)......... 113 de: ESS ere 165,1 2 347, 352, 415, G7 Raeburn (Sir Henry)......... 354 Relief Picture on Leather..... 343 Rembrandt (Attributed)..... 623 Reynolds ae Joshua)... 396, 628 Ribot (Theodule)....... 126, 578 OPS a ge Pee er 579 Romney (George)............ 622 Roqueplan (Camille)......... 131 Rosa (Salvator)..... 398, 411, 638 Rousseau (Theodore)... 146, 180, 386, 594 Roybet (Ferdinand).......... 387 Rumpf (Philipp)............. 342 Ryckaert (David)............ 580 Shayer (William)............. 184 Sheahan (D, B.). 00.0.2 os 89 Stevens (Alfred)............ 96 mtorck (Abraham)... 0.5.00 ..; 581 Stralser VAs). eye eS 84 Stuart (Gilbert).......6. 00.00 -. 610 Tischbein (Johann H.)........401 ito (panti Ory ee ee: 187 Troost (Cornelis)............. 388 Troyon (Constant)..133, 145, 151, 156, 366, 376, 400, 583, 589, 604 Turner (J. M. W.) Be ea ae 629 Unknown Painters.. .97, 144, 162, 344, 348, 364, 397, 591, 607, 608 Van Bloeman (Jan Frans) [Called Orizonti]........... 61 Van Bloeman (Pieter)........ 349 Van Dyck (Sir Anthony)..... 598 Van Goyen (Jan)....... 142, 403 Van Mascheren (Philip). 125, 356, 572 Van Mieris (Franz).......... 172 Wan- Ney den inz St ie eee 45 Van Ravesteyn (Jan)......... 377 Van Zyl (Geraerd Pietersz). . . .402 Vernet (Claude Joseph).. 191, 341, 625 Vernet (Horace)........ 103, 166 Veronese (Bonifazio) [The Plea, | at Ce nesue ier 392 Veronese (Paolo): o....0. 0.45 624 Vivians (Qttavio), 055 0.8. 412 Voet (Karel Borchaert).. 190, 404 Mopler (Paul)tc.s O455 0 se 339 Vollon (Antoine)........ 380, 564 Py ACES) a eater aie ca Sai doves 409 Wiggins (Carleton). .122, 337, 631 Wilkie (Sir David)........... 346 Wilson (Richard)o50..4.... 566 Zuccarelli (Francesco)....... 407 Zugel (Heinrich)............ 338 Zurbaran (Francisco de) tAttnbuted].) 002. e.a2 652. 613 Zwengauer (Anton).......... 413 4 a ae ef E = = a = LIST OF ILLUSTRATIONS Paintings Corot (J. B. C.). The Giant Willows... 3.2... 2.13: ae Corot (J..B. C.). The Roadside Cottage... 2. +1220 > senna Daumier (Honore). The Siesta. :...0% 000 6s 000 sccge «eerie See Diaz (N. V.). Landscape in the Forest of Fontainebleau............... Hogarth (William). Peg Woflington..< «05 c0e. 5 eas sie ee ne Inman (Henry). Fanny Kemble Butler................ ws ci 9 RCE Nee Isabey (Eugene). Street Scene... .... 4000 0s asi ss 2 sie enna Lawrence (Sir Thomas). Lady Henrietta Cavendish................... Mauve (Anton). Ploughing.........9.5...2neee: ainsi Michel (Georges). Landscape....... 2... i. nou snes seein Millet. Lovers in the Harvest Field=..- 3. .0 Soap ee Morland (George). The Rest at the Roadside.......................-- Quidor (John). Peter Stuyvesant Watching Festivities on the Battery... Reynolds (Sir Joshua). Cupid........ 2). soe ee Reynolds (Sir Joshua). The Nymph and Piping Boy................... Rosa (Salvator). A Classical Landscape. .2.< 3) 3.2- eee Rosa (Salvator). The Storm on the Coast... . 2.5 acy is ee Rousseau (Theodore). Sunset...... 205.020 ¢ 1 eal ane eine Sebastiano del Piombo. Madonna and Child.....................-00-- Troost (Cornelis). The Courtship... ..0..'.... fi) see Van Dyck. Marguerite, Duchess of Cleveland................ 23 Nee Van Goyen (Jan). Harvest Time..;...: 5:2. oc. ge sie Van Zyl. Orpheus... 00... viene we c's wre ole bo nts naiegne nee Veronese (Paul). Count Bevilaqua.... 0. . sss). circ ee Miscellaneous Art Objects Group of Decorated Chinese Porcelain Vases................++-----++s Black Hawthorn Chinese Porcelain Vase of the Kang-Si Period.......... Chinese Porcelain Peach Blow Vase. .....<.:. 5s eae tee teen een San Tsai Chinese Porcelain Vase of the Kang-Si Period...............\. Group of Fine Chinese Porcelains of Single Color.....................4: Original Hispano-Mauresque Vases.......... se: 0s semen Antique Japanese Bronze Temple Vases...............2esstees+scecees Antique Chinese Bronze Vases... ..4...: 1... Ponte ac) oe te French Bronze Fire Dogs of the XVIIIth Century.............. cee Group of Bronzes ‘by Clodion:...........+0ns oes eae ee 76, 77, 78 Louis XVth Secretary in Vernis Martin; ..2 .......-2- eee Pompadour Table in. Vernis Martin.;.-.......2¥...o2 and massive donjon above the long low roof of the Sa . \v 4 ‘vy castle on the river bank; at the right a second smaller \ a? y) at tower is seen with some boats in the foreground. ? yw Panel. Signed in monogram and dated 1632. . Ve oe ~ Height, 12 inches; width, 9% inches. Examined by Dr. Hofstede de Groot and certified as a genuine work of Jan Van Goyen. Photograph and certificate accompanies the picture. 40 1811-1889 5 138 MARINE STUDY. ‘ a Panel. Signed. Height, 10 inches; width, 934 inches. ¢ N. V. DIAZ , 1808-1876 GERRIT BERCKHEYDE 1638-1698 : ey Canvas. Height, 17 inches; is 21% inches. From the collection of Edward Leavitt, 1884. Certified by Dr. Hofstede de Groot; certificate accompanies ‘the painting. : UNKNOWN PAINTER = ag Italian School, XVth Century 144 MADONNA AND CHILD. . ie Panel. | Height, 20¥2 inches; width, 1444 inches. CONSTANT TROYON ont J 1810-1865 145 LANDSCAPE. Panel. Stamped “Vente Troyon.” Height, 15 inches; width, 22 inches. THEODORE ROUSSEAU 1812-1867 146 A RETREAT IN THE FOREST OF FONTAINE- BLEAU. Ina quiet nook of the forest among the rocks some deer and goats are resting; above and beyond stretches the woodland with patches of blue sky. Canvas. Signed. Height, 14 inches; width, 17 inches. a EUGENE DELACROIX 1799-1863 147 A LION AND SERPENT. Canvas. Signed. Height, 16 inches; width, 21 inches. “Among the examples of Delacroix is a superb lion, toying with a serpent, a small canvas, big with vitality and power of spirit and of color. Of this type of pictures by Delacroix there is none finer.” —“The Collector,” September 1, 1895. 41 ee Sta Meer }\o- 148 149 150 151 152 153 154 ALEXANDRE GABRIEL DECAMPS 1803-1860 THE VILLAGE PRIEST. Panel. Signed with initials. 3 Height, 13 inches; width, 9% inches. JULES DUPRE 1812-1889 SOUS BOIS, A WOODLAND STUDY. | Canvas. Signed. Height, 12 inches; width, 16 inches. Bought at the sale of Dupré’s effects in Paris after his death, January 30, 1890. * ARTHUR B. DAVIES Contemporary American Painter MAKING HER TOILET. Canvas. Signed. Height, 16 inches; width, 11 inches. Bought from the Artist. CONSTANT TROYON 1810-1865. IN THE GARDEN. Panel. Height, 17% inches; width, 15 inches. CHARLES FRANCOIS DAUBIGNY 1817-1878 LANDSCAPE, LATE AFTERNOON. Canvas. Signed. Height, 10% inches; width, 18 inches. ADOLPHE MONTICELLI 1824-1886 IN THE PARK. Panel. Signed. Height, 18 inches; width, 15% inches. ARTHUR B. DAVIES Contemporary American Painter GIRL WITH A THORN IN HER FOOT. Canvas. Signed. Height, 16 inches; width, 11 inches. Purchased from the Artist. 42 JEAN FRANCOIS MILLET : 1814-1875 155 A CARPENTER GOING TO WORK. - Panel. Signed with initials. Height, 14 inches; width, 8% inches. Purchased in Paris in 1879. CONSTANT TROYON 1810-1865 156 LANDSCAPE AND SHEEP. This picture by one of the greatest of modern French _ painters shows a flock of sheep grazing on an upland jes pasture at sunset; some lie at rest, others wait patiently for the shepherd to bring them home for the night. Panel. Stamped “Vent Troyon.” : Height, 11 inches; width, 16 a inches. From the sale of the Artist’s effects. PAUL JACQUES BAUDRY 1828-1886 157 LEDA AND THE SWAN. Panel. Signed. Height, 15 inches; width, 9 inches. GEORGE FROST 1744-1821 = 158. “WOODS IN SURREY. Frost was an amateur painter who was brought up in the trade of his father who was a builder; but having gained a competence he devoted himself to painting. He was an ardent admirer and follower of Gainsborough in his landscape work and a friend of Constable, whose association was a great aid to him. Canvas. Height, 24 inches; width, 31 inches. 43 Zo- Vd ¢ SWS EE Ree ea OL ae Se ea ‘ eo : oa Ws Sree ee ee ee CHARLES B. KING American Painter 159 PORTRAIT OF SARAH JANE LIPPINCOTT (GRACE GREENWOOD). This portrait presents the popular American writer of the last generation in half-length with the face seen in three-quarters view. She wears a low-cut dress with a blue bow of ribbon at her corsage, and her hair falls in curls about her neck. An inscription on the back of the canvas informs us that the subject was painted in Washington in 1853. Canvas. Signed. Height, 25 inches; width, 20 inches. ARTHUR B. DAVIES Contemporary American Painter 160 THE GODDESS. A nude female figure is seen from the back, seated on the ground; her head, crowned with a mass of red hair, is bent forward over her knees and an in- distinct leafy background is seen beyond. Canvas. Signed. A. B. D. Height, 34 inches; width, 27 inches. Purchased from the Artist. JACQUES COURTOIS (Called IL BORGONONE) 1621-1676 . 161 A BATTLE SCENE. Canvas, relined. Height, 29 inches; width, 38 inches. UNKNOWN PAINTER Early Flemish School, XVth Century 162 MADONNA AND CHILD. The Mother holding the Infant Christ in her lap is seen seated; a Flemish landscape fills the background. ‘ Painted with great care, the picture is marked by naive simplicity and deep sincerity. Panel. Height, 14 inches; width, 10% inches. 44 7 r Kevin « ¥ JEAN FRANCOIS MILLET 1814-1875 163 LES FALAISES DU BOULOGNE A CINQ HEUR * —DU SOIR. Canvas. Signed ‘Souvenir d’ Amitie a Chigot, Jj. F. Millet.” Height, 914 inches; width, 14 inches. Purchased for Mr. Chapman in 1887 from M. Chigot by Mr. P. E, Rudell, the artist. “LUCA GIORDANO 1632-1705 ‘lét SLEEPING CUPID. _ The young god lies at full length, nude and asleep, his left hand holding his bow, with a lamp burning above his feet. A Latin inscription runs across the foreground: “HECCE UT COSUM PIVR IGNI” (Zeus Behold and Consume Him by Fire.) Canvas. Height, 21 inches; width, 35 inches. JOHN QUIDOR 1800-1881 165 THE VIGILANT STUYVESANT’S WALL STREET GATE. “The next care of the vigilant Stuyvesant was to strengthen and fortify New Amsterdam. For that purpose he caused to be built a strong picket fence that reached across the island from river to river, being intended to protect the city, not merely from the sudden invasion of foreign enemies, but likewise from the invasion of neighboring savages.”—Irving’s Knickerbocker’s History. Canvas. Height, 27 inches; width, 34 inches. From the Carroll Collection, 1895. 45 SEER OR Se Se CARAT Maree ee ae? eater ns wins IRR a SaaS RPT ae cars MA dT ba Tk gag for Ie- 166 167 168 169 170 HORACE VERNET 1789-1863 ADMIRAL VILLIERS JOYEUSE. The subject is seen at half length wearing his uniform richly trimmed with gold lace, and a white wig. Canvas, oval. Height, 32 inches; width, 26 inches. JOHN BERNAY CROME 1793-1842 ON THE BURE, YARMOUTH. . Canvas. Height, 23 inches; width, 29 inches. JAN BRUEGHEL, THE YOUNGER 1601-1677 PEASANTS RETURNING FROM THE VINEYARDS. Panel. Height, 10% inches; width, 14% inches. ALEXANDRE GABRIEL DECAMPS 1803-1860 A WOODLAND POND WITH DUCKS. Canvas. Signed. Height, 23 inches; width, 29 inches. FRANCESCO GUARDI 1712-1793 VIEW IN VENICE. This picture shows the monastery and church of San Giorgio with its tall campanile, seen across the basin of the Dogana. It was in this place that Lord Byron took up his residence with the monks when he came to Italy in 1816. Canvas, relined. Height, 1334 inches; width, 22 inches. a Purchased from the Leavitt Collection, 1884. 46 JOHN CROME (Called OLD CROME) 1786-1821 171 THE RIVERSIDE. Panel. Height, 12 inches; width, 16 inches. _ Presented to Mr. Chapman by the late Joseph C. Hoagland. FRANZ VAN MIERIS = 1635-1681 172. THE DUET. In an attractive interior, a woman is seen playing a lute accompanied by a man playing the harp. The picture is painted with the greatest attention to detail, and shows the artist’s gifts at rendering silks and satins, in which he was unrivaled. Van Mieris was the friend of Jan Steen and a pupil of Gerard Dow, who termed him the prince of all his scholars. Panel. Height, 10% inches; width, 8% inches. RALPH ALBERT BLAKELOCK 1848- 3 : 173 FARM HOUSE OF T.B.GUEST, CORNER OF FIFTY- Ge: THIRD STREET AND SEVENTH AVENUE. — Canvas. Signed. Height, 16 inches; width, 24 inches. t Ry So > oe Purchased from Sypher & Co., 1884. H. S. BABCOCK 174 THE OPEN BOOK. A very pleasing example of this little known but ga talented American painter, who was a pupil of Millet Eg and lived at Barbizon. Panel. Signed and dated ‘61. = )d- Height, 9 inches; width, 12 inches. 2 47 J. B..C..COROT 1796-1875 175 ROAD THROUGH A VILLAGE. From the foreground a road runs away passing be- tween some red roofed houses: Down the toad” a aoe 5 aN rh ESET" TROD BT errata eens GUSTAVE COURBET 1819-1877 176 A WATERSPOUT. Canvas. Signed. Height, 25 inches; width, 3176 Fiche. “The Courbet, a bold and original picture of | = The canvas seems water soaked.” James G. es ker i in the N.Y? | “Sun” = GEORGE MORLAND ~ 1763-1804 ie 177 THE REST AT THE ROADSIDE. In the deep shade of a great tree which fills ee nee part of the picture, a man, seated by the roadside, detains a yourig girl who is passing with a donkey loaded with market baskets. In the background seated at the base of the tree are seen two boys and a woman. Canvas. Signed. Dated 1796. Height, 30 inches; width, 25 Sichiey. 3 fo— Purchased from J. Ichenhauser, 1894. “A Morland, of a donkey girl on a forest road, deserves attention for the charm of its invention and the deliciousness of its touch.” Mr. F. J. Mather in the “Evening Post,” Jan. 24, 1 (See Illustration) 48 No. 177. THE REST AT THE ROADSIDE By George Morland VY 7 LAuO7 Lat GEORGES MICHEL 1763-1843 178 MOONLIGHT ON THE RIVER. On the right stands a windmill at the water’s edge, above which rises the steep bank crowned with a clump of trees; across the river a church with a tall spire is seen and in the foreground some boatmen are nearing shore where a group of cattle is standing. Canvas. - Height, 27 inches; width, 38 inches. J. B. C. COROT 1796-1875 179 AN ITALIAN GIRL. Wearing a red dress with white apron and kerchief, and the white peasant head-dress of the country, the young girl stands holding a water vessel in her left hand. Panel. Stamped ‘‘Vente Corot,” with seal of the sale on the back. Height, 12% inches; width, 9 inches. THEODORE ROUSSEAU 2 1812-1867 180 SUNSET. Against a crimson sky a mass of trees spread their branches, broken here and there by spots of light; the ruddy light touches the clouds above and deepens into fire along the horizon, against which the tree trunks are drawn in soldierly array. Canvas, relined. Signed. Height, 14 inches; width, 19 inches. Exhibited at the Lewis and Clark Exposition, 1905. Exhibited at the Worcester Museum, 1909. Exhibited at the Alaska Exposition, 1909. “This Rousseau, with its combination of breadth and detail and its singular vitality of color, reveals the Fontainebleau painter in one of his happiest moods.”— Mr. Samuel Swift in the “Mail and Express.” (See Illustration) 50 nvassnoy s1opoay | Ag LAHSNOS “O8T °N et Ve yr qe L4+6 G— JOHN SINGLETON COPLEY 1737-1815 181 PORTRAIT OF A MAN. Wearing a court dress and white wig, the sitter is seen in three-quarters view, bust length. Oval, canvas. Height, 19 inches; width, 16 inches. JOHN QUIDOR 1800-1881 182 PETER STUYVESANT’S JOURNEY UP THE HUD- SON. Canvas. Height, 27 inches; width, 34 inches. From the Carroll Collection, 1895. GEORGE MORLAND 1763-1804 183. PIGS. Above a rude barrier at the left, a small boy with — golden hair and chubby face leans, looking at a group of pigs; one is munching a cabbage leaf, others lie quietly at the back. Canvas. Signed. Dated 1797. Height, 16 inches; width, 20% inches. Purchased in 1885 from an English gentleman who inherited it from his father. WILLIAM SHAYER 1788-1879 184 MUSSEL GATHERERS ON THE COAST OF ENG LAND. Canvas. Signed. Height, 26 inches; width, 36 inches. GIOVANNI PAOLO PANNINI 1695-1764 185 LANDSCAPE SEEN THROUGH A RUINED ARCH- WAY. Canvas. Height, 31 inches; width, 26 inches. 52 WYATT EATON 1849-1896 186 LANDSCAPE. A broad green landscape, its surface broken with trees, barns, cattle and long lines of fences, stretches away toward a distant ridge of hills that looms dark against the horizon. Two oxen graze in the fore- iz ground and the expanse of green is streaked by the ie Q )0- light and shade of the clouds above. Throughout | runs a deep sensuousness of color that lifts it to a i high place among American artistic productions. ie. Canvas. Signed and dated 1887. iz - ; Height, 28 inches; width, 36 inches. Purchased from the Artist. ~ SANTI DI TITO es | ‘ 1536-1603 y 187 PORTRAIT OF COUNT GIORGIO UGOLINI. Wearing the robe of a senator the nobleman seen at three-quarters length, stands with his left hand rest- ing on a table. His hair is grey as is his pointed beard and mustache, and he holds in his right hand a letter inscribed ‘Al Clar’mo Sig. Giorgio Ugolini.” 4 G O- The artist was a Florentine painter and pupil of Bron- zino. Canvas. Height, 52 inches; width, 38 inches. From the Collection of Henry Doetsch, Esq., sold at Christie’s, 1895; the Catalogue of this Collection was compiled by Dr. J. P. Richter. FRANCESCO ALBANI 1578-1660 188 VENUS AND ADONIS. Venus nude reclines attended by amorini, while Adonis in Roman dress leans on his staff as he looks down toward her. Canvas. Height, 28 inches; width, 35 inches. : ys ee From the W. J. Shaw Collection. “A full example of how these Bolognese painters could make the flesh live is seen in a ‘Venus and Adonis’ of Albani.”—New York “Evening Post.” 53 WILLIAM LINTON 1791-1876 189 VIEW IN THE ENGLISH LAKES. c Linton was a popular English landscape painter who took up the tradition of the classic school following | aXe 7 in the footsteps of Claude, Poussin and Wilson. Canvas. Signed. Height, 26 inches; width, 36 inches. — KAREL BORCHAERT VOET 1670-1745 190 WILD FOWL. This still life painter, though of Dutch origin and training, when a youth entered the service of the Earl of Portland and accompanied him to England, where he spent considerable time, being also employed there by King William III. His work was much = influenced by the popular French court painter of | YS ~ Louis XIVth. Desportes who also spent some time in — England where his game pictures commanded high prices. Canvas, relined. : Height, 42 inches; width, 39 inches. CLAUDE JOSEPH VERNET . 1712-1789 191) THE WRECK: In a small inlet hemmed in by great cliffs, a vessel has been driven on the rocks; some men are trying to save part of the cargo. On the right a cliff arched by the buffeting of the sea, extends out from the } ea des shore, and a black sky filled with storm clouds — stretches above. Canvas, relined. Height, 36 inches; width, 54 inches. 54° ALOIS ERDTELT _ Contemporary German Painter 192 AN OLD WOMAN AND CHILD. An old woman wearing a cap holds on her lap a semi-nude child who struggles to escape being kissed by her. Canvas. Signed and dated ’84. Height, 30 inches; width, 25 inches. JOSEPH JEFFERSON — 1829-1905 75193 THE. OLD MILL IN THE FOREST. = Beside a singing brook that makes its way through Syed _ the deep wood, stands a deserted mill. Tall trees is rise on either hand while moss-grown rocks in the foreground add to the romantic scene. This painting was a gift from the distinguished actor, and is inscribed in the lower corner “To Henry T. Chapman from his friend J. Jefferson.” Canvas. , Height, 45 inches; width, 36 inches. GIOVANNI BUSI CARIANI 1480-1541 194 ST. THERESA, PATRON SAINT OF WRITERS. A refined woman in the white dress and black cloak of a nun is seated at a table on which are writing materials. The sombre background shows the corridor of a convent. Canvas. Height, 89 inches; width, 42 inches. 55 SAE I oars Ie pence nt aa a es Res shinies he CP ee ee tira Ree pete a pee lire 3: = { THIRD SESSION Ivory Miniatures, Oriental Pottery and Porcelain, 195 198 199 Crystal Balls, Chinese Bronzes, Vernis Martin Furniture, and Marble Sculpture The Pottery and Porcelains in this session, numbered from 217 to 242, inclusive, are from the Brooklyn Insti- tute and were expertized and described by the late Chester Holcombe. (See note beginning Fifth Session.) The few remaining pieces, acquired subsequently to the examination of Mr. Holcombe, were removed from the Clinton Avenue residence of Mr. Chapman. IVORY MINIATURE. Portrait of a gentleman. In wood frame. Height, 3 inches; width, 2 inches. MINIATURE PORTRAITS OF TWO SISTERS. (Slightly damaged.) Diameter, 234 inches. MINIATURE PORTRAIT OF NAPOLEON. Enamel painting on copper in monochrome. Diameter, 17% inches. MINIATURE PORTRAIT OF AN UNKNOWN MAN. Height, 24% inches; width, 2 inches. MINIATURE PORTRAIT OF A YOUTH. Mounted as a pendant. Height, 114 inches; width, 1¥%4 inches. “De 56 200 IVORY MINIATURE. Mrs. Siddons, after Gainsborough. Height, 3 inches; width, 2% inches. 201 IVORY MINIATURE. Portrait of a man unknown. Height, 2 inches; width, 15% inches. 202 MINIATURE PORTRAIT OF A WOMAN IN WHITE. Circular mount. Diameter, 2% inches. 203 MINIATURE PORTRAIT OF A WOMAN IN BLACK. Circular mount. : Diameter, 2% inches. Peat Ne pees Laie ; ey Pk Re oe Shee Tree any Sich Oe ae 204 MINIATURE PORTRAIT OF A WOMAN WEARING A JEWELED BANDEAU. Oval gold-plated mounting. Height, 23% inches; width, 158 inches. Pz: es = \ 205 MINIATURE PORTRAIT OF LAFAYETTE, AFTER ARY SCHEFFER. Enamel painting on copper by W. Birch, made from the full-length portrait presented by Lafayette to G- the Congress of the United States. An inscription on the back runs as follows: “General Lafayette as at ga the anniversary of the battle of York Town, Oct. 19th 1824, by W. Birch, from A. Scheffer.” © (Corner cracked.) Height, 2 inches; width, 134 inches. i ns 206 MINIATURE PORTRAIT OF AN UNKNOWN MAN. (Cracked.) Height, 2% inches; width, 2 inches. 207 MINIATURE JAR. Of deep red color and brilliant glaze. Height, 2% inches. 57 fo- 209 210 211 Zig 213 214 245 216 SMALL BOTTLE-SHAPED VASE. Of coral red; very even color and brilliant glaze. Height, 6% inches. SMALL POTTERY JAR OF TURQUOISE BLUE GLAZE. The shoulder decorated with groups of raised paste beads. Height, 4% inches. TWO JAPANESE POTTERY TEA BOWLS. (Cover of one missing.) Height, 33% inches. SMALL VASE OF MILK-WHITE GLAZE. Decorated with oleander flowers and birds. Height, 7 inches. PAIR OF CHINESE POTTERY VASES. Decorated with applied figures on a crackle ground. Height, 10% inches. VASE. With decoration of flowers, phoenix and dragon in © sepia on a milk-white ground. Height, 8 inches. JAPANESE POTTERY TEA BOWL. With deep black glaze. (Cracked.) Diameter, 44% inche 2 MINIATURE CHINESE VASE. With milk-white glaze. Height, 234 inches. CHINESE SQUARE DISH. Decorated with a flower pattern in white on a deep red ground. Width, 7% inches. 58 An early attempt of Japanese decorative art. Speci- _ men shows the marks of extreme antiquity. + Diameter, 44% inches. er ¥ es 18 PIGMY JAR. Pottery covered by brilliant glaze in varying shades > of blue. — Height, 3 inches. JAR. e. Brilliant brown glaze interspersed with splashes of __ black upon a coarse pottery glaze. Height, 3 inches. 220 BOWL. Of coarse brown pottery covered by a thick and oily black glaze. Height, 2% inches; diameter, 434 inches. fae -221— JAR; pea Of coarse porcelain, with fluted sides covered by thin and exceptionally brilliant green glaze. Height, 4 inches. . 222. VASE. An interesting early attempt at decoration (probably Corean). Height, 4% inches. 223 JAR. An interesting specimen of Japanese freehand work. Upon a body of pottery the lower half of the jar is covered with a brilliant Celadon glaze over imitated crackle. The upper half of the body is covered with narrow bands of irregular lines incised in the pottery, and upon this are drawn irregular lines of a thick dark brown brilliant glaze which covers the entire neck. Height, 5% inches. 59 Ss ' ' ; f . ; ae ty 224 225 226 Dyas 228 eS) BOWL. = Of pottery, covered by a thick, smooth and extremely brilliant glaze of brown. Height, 2% inches; diameter, 5 inches. PIGMY JAR. An extremely interesting specimen of Japanese glaze upon pottery. Height, 2 inches. JAR. Originally of a pale olive green glaze over pottery, and gracefully ornamented in relief by branches from body to lip. This specimen has manifestly been exposed to fire, with some curious results. Notice the transformation effected by heat, in the bottom. Height, 3 inches. WINE BOTTLE. An ancient “Saki” bottle. Fine quality of pottery with dogs’ heads bosses on the shoulder and incised ornamentation and re-entrant bands about the body. An undecipherable hall-mark may be seen upon one of these bands. Height, 834 inches. JAR. a One of the earliest specimens of Japanese pottery. The glaze shows only in spots, and quartz is a large ingredient in the paste. A crude specimen of early efforts. Height, 2% inches. VASE. An interesting specimen of Japanese Flambé glaze on pottery, the glaze being thick and intensely ~% brilliant, the general color being blue. Height, 6% inches. 60 | 4 © # i ae , a ‘mo: aE rae i 4 2 230 a 231 233 234 235 JAR. An interesting antique specimen of early Japanese ceramic art. The pottery foundation is so coarse as to remind one of brick, partially covered with a brilliant glaze of dark grey, shading into green. Height, 34 inches. BOWL. Pottery covered by thick brown glaze varying in color according to the thickness of the glaze. = Height, 314 inches. JAR. : : _ Exceedingly coarse pottery covered with thick and brilliant glaze, shading into black at the base where it has run down and thickened. Height, 4 inches. CUP. Tea cup of pottery, a portion of the exterior and the entire interior being covered by a thin, moderately brilliant glaze. Height, 214 inches. JAR. Pottery ribbed about the lower half with a beautiful design of branches of the Cryptomeria, incised and filled in with gold leaf about the base. Brilliant black glaze; has the hall-mark of the maker in the circle at the bottom. Height, 5% inches. BLALUETTE. Pottery, covered by white color and transparent glaze. Represents a Samurai, partly dressed in the armor of olden times and bearing the crest of his Daimio, or feudal prince, upon his breast. An antique specimen. Height, 8 inches. 61 ae pias it aia ate Pi ge ; Le, Tere ; 236 237 238 239 240 JAR. An interesting example of ancient Japanese ware. On a base of rather coarse pottery has been super- imposed a pale grey crackle in porcelain. The shape represents two joints of the trunk of a bamboo, upon which, in low relief and under the crackle, are smaller twigs and leaves of the same. Period uncer- tain, but the specimen is unquestionably antique. Height, 9 inches. SAKI BOTTLE. Pottery gracefully moulded into the form of a bag, which is gathered into folds at the top. Upon a light brown base are seen irregular splashes of black. The piece retains the silken cord and tassel by which it was carried. Height, 6 inches. JAR. Pottery with a thin soft glaze of an even grey color, decorated in lines and circles in white, touched up with black. Height, 4 inches. BOWL. Pottery mainly covered by a dark brown glaze, the rim outlined with a line of white glaze irregularly laid on. Height, 2% inches. JAR. An early example, or rather an early attempt, at decoration in color. The base is pottery, the main glaze intended for white, upon which are three medallions intended to represent flowers in green. Valuable because of its manifest antiquity. Height, 3 inches. 62 243 244 245 246 247 AL i 242 MEDICINE CUP. Agate of dull white in which the cup is shaped to represent a section of a peach, while a handle is formed by a tiny branch of the same tree carved in bold open work. Modern. Height, 34 inch. PAR S. Modern Japanese glazed pottery, intended to be used _ by smokers. It usually contains a live coal in a bed of ashes from which the tiny pipe is lighted. Speci- men is covered with varying shades of intensely _ brilliant glaze, deep, rich yellow being the pre- dominant color. Ornamented upon either side with conventional heads of sleeve dogs. Height, 2% inches. DEEP CUP OF DARK COPPER GLAZE. Diameter, 6 inches. Period, XIXth Century. SMALL JAPANESE JAR. With panels of diaper decoration studded with raised paste points. Height, 3% inches. SMALL INCENSE JAR OF MILK-WHITE GLAZE. _ With pierced brass cover. Height, 344 inches. JAPANESE FISH BOWL. Both inside and outside surfaces decorated with fish on a milk-white ground. Diameter, 7¥% inches. PERSIAN BOWL. The outside decorated with panels of birds and foliage in blue on a white ground; the inside with a foliated band about the edge and a rosette in the bottom. (Chipped.) Diameter, 84% tnches. 63 } bu - aed 248 249 250 251 252 253 PERSIAN VASE OF GREEN POTTERY. Hexagonal in form with two handles springing from grotesque heads; bands of incised decoration on body, neck and base. Height, 1034 inches. PERSIAN SAUCER. With copper luster decoration on deep blue ground. (Repaired.) Diameter, 6% inches. PERSIAN BOTTLE-SHAPED VASE. With silver rim; decorated with a floral pattern in deep blue on a blue ground. Carved teakwood stand. Height, 6% inches. SMALL VASE OF PERSIAN POTTERY. Decorated with a conventional floral pattern in green and white glaze. Neck gone and bound with a metal rim. (Glaze chipped.) Height, 8 inches. PERSIAN BOWL. The outside decorated with a conventional pattern in two shades of blue, the inside with a leaf and flower pattern in brown. Diameter, 8% inches. OLD TERRA COTTA GROUP: THE GRIEF OF THE VIRGIN MARY. The central figure, grief stricken, is being supported by one at each side and a third at the back, while two others bend over in sympathetic attention. The group is painted in colors but is greatly darkened by time. The figures and drapery are well modeled and highly expressive of the emotion they feel. Height, 914 inches; width, 10 inches. 64 & . atts 254 SHALLOW BOWL ON A STANDARD. With deep red glaze. Diameter, 8% inches; - height, 34% inches. Period of Chien-Lung. 255 GOURD-SHAPED BOTTLE VASE. With deep red glaze. Height, 5% inches. ; ae Period, Chien-Lung, A. D. 1736. 256 LARGE CELADON JAR. With animal head handles. Height, 11 inches. Si} ee Period of Chien-Lung, A. D. 1736. 257 THREE CHINESE GLASS SNUFF BOTTLES. — With tops and spoons. 258 BOTTLE-SHAPED VASE. With deep red glaze, the top having been cut down and rimmed with silver. Height, 9% inches. Period of Chien-Lung, A. D. 1736. 259 SMALL VASE. With decorations of leaves and flowers in natural colors on a nasturtium ground. Inside of lip glazed with robin’s egg blue. Height, 634 inches. Period of Chien-Lung, A. D. 1736. -260 SMALL RECTANGULAR VASE WITH HANDLES. Blue and white decoration. Height, 5 inches. Period of Chien-Lung, A. D. 1736. 261 SMALL BOTTLE-SHAPED VASE. With deep red glaze. Height, 5 inches. Period of Chien-Lung, A. D. 1736. 65 262 263 264 265 266 267 268 269 BOTTLE-SHAPED VASE. : . With deep red glaze. (Repaired.) Height, 1134 inches. Period of Chien-Lung, A. D. 1736. CELADON BARREL-SHAPED FLOWER HOLDER. Encircled with two rows of white bosses and having two animal-head handles. Height, 6% inches. Period of Yung-Chéng, A. D. 1723. BOTTLE-SHAPED VASE. With soft milk-white ground having decorations of flowers and butterflies. Height, 7 inches. Period of Chien-Lung, A. D. 1736. VASE. Decorated with figures in clouds of white on a black ground, with a green and yellow border about the lip. Height, 9% inches. Period of Chien-Lung, A. D. 1736. SLENDER BOTTLE-SHAPED VASE. With deep red glaze. Height, 111% inches. Period of Yung-Chéng, A. D. 1723. OVOID VASE WITH DEEP RIM BASE. Invested with dark chicken’s blood glaze. Height, 1134 inches. LARGE BOTTLE-SHAPED FLAMBE VASE. The neck and bowl are encircled with rings, the glaze showing a mingling of deep red and green. Height, 1534 inches. Period of Tao-Quang, 1821. CRYSTAL BALL. On a wood stand. Diameter, 234 inches. 66 Ve CRYSTAL BALL. On teakwood stand. (With a small nick.) CRYSTAL BALL. CRYSTAL BALL. Improvised stand. (With small chip.) Diameter, 2% inches. 273 CRYSTAL BALL. (With small chip.) Diameter, 2 inches. 274 BRONZE GROUP OF THREE CHINESE CHILDREN. With hands joined ina ring. Stand for the preceding. Height, 134 inches. Antique Chinese and Japanese Bronzes “The old Japanese and Chinese bronzes form a distinct collec- tion, recording the movement of this great art from before the Christian era. One of the most important is a ‘God of the Storm,’ many characteristics of which indicate its age to be above 2,000 years, There are vases of great age, showing the remarkable skill of that nation 600 or 800 years ago, and notably a large pair of vases, forty-three inches high and twenty-one inches in diameter at top and bottom, the intermediate columns, or barrels, of which, from their great age, have obtained a color which is perfectly fascinating. The less conspicuous pieces are quite too numerous for recapitulation except in a detailed and descriptive catalogue.” —The Collector, Sept. 1, 1895. 277 THREE SWORD GUARDS. Iron inlaid with gold in ornamental patterns. 278 BRONZE FIGURE OF AN EGYPTIAN RUNNER. Height, 6 inches. 67 Diameter, 234 inches. With inverted teakwood stand. (With small chip.) Diameter, 234 inches. 279 280 281 282 283 284 285 286 287 288 Sea wah, thet oot Naat CS. Ry eee SPST) en ne aaNee ST Ate Ben hr oa Sy Se ea Ps VE Ep EON eee een or ae ae CHINESE BRONZE FIGURE: A MAN SEATED | YAWNING, WITH HANDS ABOVE HIS HEAD. | Height, 234 inches. CHINESE BRONZE FIGURE: A WISE MAN SEATED. Height, 244 inches. SMALL JAPANESE BRONZE FIGURE OF DAIKOKU — SITTING ON A RICE BAG WITH BELL. Height, 134 inches. SMALL JAPANESE BRONZE DOG FOO. | Height, 134 inches. ANTIQUE CHINESE BRONZE CUP. With flaring lip and two square handles. Height, 334 inches. SMALL JAPANESE BRONZE GROTESQUE MASK OF OFUKU. Length, 3 inches. CHINESE BRONZE TEAPOT. Shaped as a melon with leaf feet, leaf and vine relief decoration, and handle of cover shaped as a cricket. Height, 5% inches. JAPANESE BRONZE GROUP: DAIKOKU AND JIORIJIN AT PLAY. Length, 5 inches. CHINESE BRONZE PAPER WEIGHT: A COILED SERPENT. Height, 2 inches; width, 6 inches. JAPANESE BRONZE ORNAMENT: TWO OWLS RESTING ON A BRANCH. Height, 3 inches; length, 534 inches. 68 ; 3a Aig nels MS oo ~~: pe Souk eS 5 tae TE 5 sof it Ae . aH, a s e - ry 7 -. got, SORE Rb te ean way babes oy “fasta e a. ae 290 291 292 293 294 295 296 297 298 ANTIQUE BRONZE FIGURE OF A CHINESE ACTOR. Carved teakwood stand. Height, 10 inches. OLD SAKI POT. On four feet, with handle, hinged cover, and spout shaped as a dragon. Height, 3% inches. DAIKOKU SEATED ON A SILVER BRONZE BASE SHAPED AS A BAG OF GRAIN. Height, 214 inches. ANTIQUE JAPANESE BRONZE ORNAMENT: A DEITY PRAYING FOR RAIN. = Height, 15 inches. A CIRCULAR JAPANESE BRONZE FLOWER VASE. The vase rests on a base representing rocks and wave forms, with shells, crabs and other marine growths. Used for floral arrangement. Height, 8% inches; diameter, 94% inches. ANTIQUE CHINESE BUDDHA, SEATED. Height, 8% inches. CHINESE BRONZE KORO FORMED AS A CHINESE JUNK. Height, 10 inches. ANTIQUE CHINESE BRONZE FIGURE: A SAGE HOLDING A SHOE. On a carved teakwood stand. Height, 12% inches. CHINESE SILVER BRONZE FIGURE OF A DARUMA AT PRAYER. Height, 7 inches. GROTESQUE CHINESE FIGURE: AN ACTOR. (Repaired.) Height, 10 inches. Carved teakwood stand. 69 Le x ier 299 300 301 302 303 304 305 306 i: Reed Pa ae ee Te ee Pas fms: PAIR OF ANTIQUE JAPANESE VASES. Decorated in relief with figures and dragons sporting in the clouds. XVIIIth Century. Height, 9% inches. A CHINESE PILGRIM WITH A BRANCH OF FRUIT ON HIS BACK. With teakwood stand. Height, 18 inches. ANTIQUE CHINESE BRONZE INCENSE BURNER. Resting on three curled feet and having one grotesque head handle. Height, 5¥% inches. CHINESE BRONZE FIGURE: A FORTUNE TEL- LER. On hemispherical base. With teakwood stand. Height, 10% inches. ANTIQUE CHINESE BRONZE FIGURE: ACTOR WITH SWORD DANCING. On a carved teakwood stand. Height, 10% inches. - ANTIQUE CHINESE BRONZE BOWL. Height, 4 inches; diameter, 8 inches. PAIR OF ANTIQUE CHINESE BRONZE VASES. Ornamented in high relief with dragons sporting in the waves. Extraordinary examples of Oriental Art _ of an early period. Height, 9 inches. (See Illustration) ANTIQUE CHINESE BRONZE KORO. With bulbous body resting on curled feet, two loop handles; the cover pierced and surmounted by a representation of the Dog Foo. Height, 8% inches. 70 ER Re tee « ANTIQUE CHINESE BRONZE VASES 307 CHINESE BRONZE VASE. Ss With bands of relief decoration and five ring handled ‘ ca ete ( mat (One handle broken.) Height, 1234 inches. ‘ he 308 BRONZE VASE. ap cae With square base and square lip and two hanes | : the body ornamented with dragons and wave forms in relief. _ Height, 6 inches. 309 LARGE ANTIQUE JAPANESE: BRONZE KORO IN TWO PARTS. y ic 4 The spherical bowl, ornamented in relief with dragons sporting in the waves, rests on a circular base, the pedestal of which is encircled by a dragon. Height, 23 inches; diameter, 11 inches. 310 JAPANESE BRONZE URN. fr With relief ornamentation and two handles shaped as dragons. Signed. Height, 9% inches. 311 LONG-NECKED BOTTLE-SHAPED JAPANESE BRONZE VASE. jin With Murashide pati ght, 1134 i urashide patina. Height, 114% inches. 312 ANTIQUE CHINESE BRONZE FIGURE: A WOMAN BEGGAR. . Holding a cup in her hands the woman sits on a ys es mound covered with foliage which forms the base. Height, 173% inches. (3 pieces.) 72 a ne ae s i ee : i - 5 ANTIQUE BRONZE INCENSE BURNER IN THE FORM OF A FLYING DRAGON FISH. With finely wrought relief ornament. Height, 18% inches. ANTIQUE JAPANESE FIGURE OF A MUSICIAN: MAN PLAYING A FLUTE. Height, 9% inches. PAIR OF ANTIQUE JAPANESE BRONZE VASES. Bottle shape with body ornamented with dragons and cloud forms in relief; two handles. (Handles loose.) Height, 15 inches. CHINESE BRONZE KORO IN THE FORM OF A PEACH. _ The cover surmounted by a peach with leaves. ; Height, 6% inches. ANTIQUE JAPANESE BRONZE KORO. The base in the form of a tree, among the branches of which birds are resting, supports a revolving cir- cular drum, ornamented with leaves and flowers; — on top of the drum is an eagle perched on a coiled serpent. (Repaired in one of the branches.) Height, 24 inches. . CHINESE BRONZE VASE WITH FLAT ROUND 2 TOP. 4 Fi % s- ~The pedestal decorated with grotesque heads, bats ; . and dragons in relief. a Height, 10 inches; diameter of top, 934 inches. a 319 ANTIQUE CHINESE BRONZE FIGURE. * A wise man standing on a hemispherical base, hold- c- ing a scroll. Square teakwood stand. ; Height, 12 inches. =: 73 320 ANTIQUE JAPANESE BRONZE KORO. The circular bowl, resting on four feet, is ornamented in high relief with dragons sporting in the waves; — Pet ee ae es ee / an the cover surmounted by a dragon rising from the waves. Height, 944 inches; diameter, 9 inches. ce TS = XY ats PES EEE ea eae a 4 a t ‘ae . “ae Bee ie oe x : oe 4 321 ANTIQUE JAPANESE BRONZE FIGURE: GOD f- OF THE STORM. He stands on a rocky eminence with dragons sporting in the waves below. Height, 16 inches. 322 CHINESE BRONZE TEMPLE KORO. Resting on three grotesque legs with paw feet; the ) E sides ornamented with bands and panels; two side handles; used in the temple. Height, 24% inches; width, 21 inches. 323 PAIR OF ANTIQUE JAPANESE BRONZE TEMPLE VASES OR PEDESTALS. Urn-shaped base with tall cylindrical neck; orna- mented with dragons, cloud and wave forms in relief. Circular covers with incised decoration fill ae the tops making them serviceable as pedestals. Extraordinary pieces. ; Height, 41 inches; diameter of top, 21 inches. (See Illustration) 324. TWO TEAKWOOD STANDS. Finely carved with claw and ball feet and marble tops. bo 2 74 eryny EN No. 323. ANTIQUE JAPANESE BRONZE TEMPLE VASES 325 LADY’S WORK TABLE DECORATED IN VERNI MARTIN. . Having taper legs with bronze feet, kettle sides with _ two drawers, hinged top with bronze scroll rim and _ a 3 corner ornamental bronze mounts; top and sides — S= painted with wood nymphs and amorini. | | Top, 11% inches square. 326 SMALL POMPADOUR TABLE IN VERNIS MAR- TIN. Curved taper legs supporting a ies, sctallshapel bed with three drawers; scroll-edged top with pie bronze rail, the whole painted with mythological / vd subjects, garlands of flowers and scrolls in Vernis Martin. Chiseled bronze mounts. Length, 28 inches; width, 16 inches. Bought of H. O. Watson thirty years ago. (See Illustration) 327 FRENCH CABINET SECRETARY, LOUIS XVth STYLE. The slender upright body, having a concave cornice and Italian marble top, rests on four tapering curved legs; the hinged drop front is exquisitely painted with a Watteau Féte Gallante in Vernis Martin, above three smaller panels in the same manner on } V7 the bed; the sides show painted figures and trophies, and the inside is lined with satinwood with walnut inlays and fitted with two shelves and four drawers; — there are also two secret drawers below. The elabo- rate mountings of bronze are in leaf, scroll and shell pattern. Height, 54 inches; width, 33 inches; depth, 16 inches. Bought of H. O. Watson, thirty years ago. a i 2 BS } i. ee a ; at ; / ‘oe it ‘ A (See Illustration) 76 Ga * * % = ght Rae 4 2 POMPADOUR TABLE IN VERNIS MARTIN 2 O20. No hi Vv /o- w* a 328 329 330 331 332 NAPOLEON MAHOGANY ARM CHAIR. With carved legs and paw feet, the arms ending in massive lion’s heads supported by carved scrolls, the heavy back curved, the seat covered with dark green leather. The chair came from the Palace of Malmaison, the home of Empress Josephine, when the contents were sold at the Hotel Drouot, Paris, 1886, in settlement of the estate of Hennessy, the Brandy manufacturer, who had acquired the palace and contents sometime before. At the sale it was purchased by Mr. Graham who brought it to New York and from him it came to the home of its late owner. A metal plate on the bottom sets forth its history. MARBLE FIGURE ENTITLED “ SORPRESA,” BY C. LAPINI. Signed. Revolving pedestal of green marble. Height, 2 feet, 4 inches. MARBLE FIGURE, “THE FLIGHT FROM POM- PEI,” BY GUARDONI. . A young girl with an expression of terror on her face, draws her garments about her form as she flees from _ the impending destruction. Architectural ebonized wood pedestal with revolving top. Height of statue, 3 feet, 11 inches; pedestal, 3 feet, 2 inches. Purchased from Theodore B. Starr. MARBLE BUST, THE “MATER DOLOROSO.” The head and bust of a woman, her head covered with a veil held in place on her bosom by a star. PEDESTAL OF SIENNA MARBLE. With base and revolving top of brocatelle marble. 73 S MARTIN ERs VirCES NI VER OF THR N E I ITUR SECRETARY N th , \ mooi LOUIS Xx 35. CROWN DERBY GAR No No. fQ- 333 334 335 336 MARBLE BUST OF MEG MERRILLIES, BY — THAXTER. From Charlotte Cushman’s noted presenereaa of the weird gipsy character in the dramatization of — Scott’s novel “Guy Mannering.” With revolving — marble pedestal. Signed. — Height, 22 inches. Bought of Tiffany & Co. . MARBLE BUST OF WASHINGTON, BY HIRAM — POWERS. | es Of heroic size. Height, 2 feet, 9 inches. = REVOLVING PEDESTAL OF SIENNA MARBLE. ANCIENT GRAECO-EGYPTIAN BUST OF JUPITER AMMON AND JUNO. ; This bi-frontal bust is of pure Graeco-Egyptian style and belongs to the period of 100 B. C. It was found — in the Island of Wakos in the Grecian Archipelago, and was originally placed on a square pedestal at the entrance of a grotto. Though fractured at the base, the parts, fitting exactly, have been restored; there are calcareous spots on the surface, indicating that the piece for hundreds of years was subject to the action of the surrounding earth or decomposing limestone. _The ram was an animal sacred to he Egyptian god Ammon at Thebes, and when the worship of this god was amalgamated with that of Jupiter by the Greek conquerors in Egypt, the flowing beard, the ram’s ears and ram’s horns were added; they are_ all depicted on the busts of this deity as well as on the Greek coins of the time. Heroic size. Height, 25 inches. _ From the Collection of Mr. P. E. Lockwood, who spent 16 years in Greece and Italy in the study of antiquities. Came into the present owner’s possession in 1892. (See Illustration) 80 R AMMON AND JUNO . 4 a No. 336. ANCIENT GRAECO-EGYPTIAN BUST OF JUPITE we Jrar ae eae dun 337 338 330 ‘ 340 FOURTH SESSION = Paintings by European and American Artists .. CARLETON WIGGINS Contemporary American Painter PLOWING IN FRANCE. Canvas. Signed. HEINRICH ZUGEL SHEEP AND CATTLE IN A STABLE. Panel. Signed and dated Munich, 1878. Height, 9¥4 inches; width, 13¥4 inches. PAUL VOGLER Contemporary German Painter PLACE DE LA BOURSE, PARIS. Panel. Signed. Height, 12\%4 inches; width, 16 inches. HENRY ROBERT MORLAND 1730-1797 PORTRAIT OF SPRANGER BARRY. Only the head of this celebrated Irish actor, the rival of Garrick, is shown. Canvas. Purchased in 1895. Height, 10 inches; width, 7¥4 inches. : Purchased from the Artist. 1850- Height, 17 inches; width, 13 inches. 82 CLAUDE JOSEPH VERNET 1712-1789 341 MOONLIGHT. The most renowned marine painter of his time, Vernet was commissioned to paint all the seaports | of France and many of his canvases may be seen in ye the Louvre and at Versailles. This small work shows the distinguished artist in a quiet, reflective mood. Panel. Signed and dated 1771. Height, 7 inches; width, 934 inches. -PHILIPP RUMPF 1831- 342 MOTHER AND CHILD. WwW Canvas. Signed. Height, 20 inches; width, 16 inches. RELIEF PICTURE ON LEATHER XVIIIth Century 343 THE THREE WOMEN AT THE FOOT OF THE CROSS. Mounted on a panel. Height, 16% inches; width, 12% inches. ! } An inscription on the back runs: “Presented to James Murphy of oe by John McCloskey, Archbishop of New York, in UNKNOWN PAINTER French School, XIXth Century 344 HEAD OF A WILD BOAR. . : Panel. Height, 15 inches; width, 22 inches. de ° Purchased at the “Vente Troyon.” GEORGE MORLAND 1763-1894 345 A BOY RESTING BY THE ROADSIDE. Canvas. Height, 18 inches; width, 24 inches. 83 dy ae- nS be ti Ses en a aetna a ek a Late gee 8 ae ME ee =i a aK, a OSES CMOS ED One es ae ee f : 1 , i - . ie ta ? Aas ik eh cia Os uel seh SIR DAVID WILKIE 1785-1841 346 SLIGHTLY OVERCOME. This picture shows a man overcome by drink being helped home by two of his companions. It reveals . the influence of the Dutch masters which marked Lpa- sities nea: the art of this eminent Scotch painter in his best period. Panel. Height, 1034 inches; width, 9% inches. JOHN QUIDOR 1800-1881 347, THE VOYAGE TO HELL GATE FROM COMMUNI- PAW. “The good Oloffe bestowed his forces in a squadron of three canoes and hoisted his flag on board a little a round Dutch boat shaped not unlike a tub, which had Ss formerly been the jolly boat of the ‘Goede Vrouw’!”’ The artist portrays the attempted landing at Cor- lear’s Hook; the encounter with savages and the “signal victory” gained by the valliant Hendrick | Kip. Canvas. Height, 27 inches; width, 34 inches. From the Carroll Collection, 1895. UNKNOWN PAINTER OF THE FRENCH SCHOOL 348 PORTRAIT OF LOUIS PHILIPPE. In a heavily braided court costume with red sash, and wearing several orders on his breast, the French king is seen at bust length and life size; a high black 3 AE stock supports his chin, his face is smooth and dimpled and his brown eyes look directly at the spectator; above his forehead curls a mass of dark hair. Canvas, relined. Height, 29 inches; width, 23 inches. PIETER VAN BLOEMEN 1657-1719 349 THE DESCENT FROM THE CROSS. Panel. Height, 20 inches; width, 16 inches. 84 ATS P. MANZONI 350 THE FARM HOUSE IN THE WOOD. Canvas. Signed. Height, 20 inches; width, 16 inches. GEORGE MORLAND 1763-1804 351 PORTRAIT OF HIMSELF. Wearing a brown coat and buff waistcoat open at the neck to show a white stock and a flowing white tie, the young artist, seemingly at about 30 years of age, is seen front view at bust length. His blonde hair falls over his forehead and covers his ears, and his small eyes gaze intently forward. Canvas. Height, 15 inches; width, 11 inches. JOHN QUIDOR 1800-1881 American Painter, Pupil of J. W. Jarvis 352 ICHABOD CRANE PURSUED BY THE HEADLESS HORSEMAN. - Canvas. Height, 22 inches; width, 30 inches. ‘a { Purchased from a relative of the Artist. JOHN GLOVER 1767-1849 353 VIEW OF WARWICK CASTLE. This popular English artist was better known as a water color painter, in which medium he chiefly worked. After a successful career in England he went to Australia where the last eighteen years of a ¢ - his life were spent. Canvas. Signed. Height, 24 inches; width, 36 inches. 85 Fo- EN 1§- dia- PA es 354 PORTRAIT OF HUGH WILLIAM WILLIAMS. SIR HENRY RAEBURN 1756-1823 The English water color artist is seen at half length in blue coat with brass buttons, and buff waistcoat — whose lapels fall away from the neck to show a ruffled shirt front. His right hand holds the roll of : his coat. His blue eyes look directly at the spectator and his thin white hair curls over his ears. In the ; background is an easel on which rests a canvas. Canvas, relined. Height, 30 inches; width, 25 inches. From Thomas MacLean & Co., London. “AELBERT CUYP 1620-1691 355 SHEEP AND GOATS. Canvas. Height, 28 inches; width, 35 inches. From the Collection of Edward Leavitt, 1884. PHILIP VAN MASCHEREN a ve Dutch, 1632-1699 356 NAVAL BATTLE: ENGAGEMENT TAKING PLACE IN A HARBOR. Canvas. Height, 14 inches; width, 38 inches. F. V. DOORNIK 357 PORTRAIT OF ISAAC DE PEYSTER. This member of the early New York family i is seen at half length wearing a long white wig and holding — “h 1 his cloak about him. Painted in 1731. Canvas, relined. Oval. Height, 29 inches; width, 23 inches. 4 & Bt F. V. DOORNIK 358 PORTRAIT OF ANN DE PEYSTER. Companion to the foregoing. Signed and dated, 1731. Height, 29 inches; width, 23 inches. > \ 86 a, WILLIAM HOGARTH 1697-1764 359 THE MUSIC MASTER. Canvas. Height, 9 inches; width, 7 inches. LUCA GIORDANO 1632-1705 360 THE INFANT HERCULES. An inscription on lower right corner runs “ Promone ae! vn belmal. Sereno il reff ... . (illegible’’). ep j ee Canvas. — Height, 21 inches; width, 35 inches. _JAN BAPTIST LAMBRECHTS eaten 8 Flemish, 1680-1731 Ee 361 A SUPPER PARTY IN A GARDEN. 2 q A group of men and women in Eighteenth Century 4 dress, are gathered about a small round table under the trees on which a supper is spread. Canvas. Height, 22 inches; width, 18 inches. GEORGES MICHEL tia 1763-1843 i 362 LANDSCAPE. Along a roadway which curves across a gloomy moorland, a man walks leading a horse; the sky is filled with low hanging black clouds. Canvas. ; } A ie) Height, 12 inches; width, 18 inches. ARTHUR B. DAVIES Contemporary American Painter 363 THE CHILDREN ON HAMPSTEAD HEATH. Canvas. Signed. Height, 7% inches; width, 12% inches. /tir- Bought from the Artist. 87 ase LON Fo/ Ib - Jos- UNKNOWN PAINTER Spanish School, XVIth Century ae 364 MADONNA AND CHILD ENTHRONED. See Sa Canvas. In an antique carved wood frame. — ; sZ Height, 25 inches; width, 19 inches. HENRY INMAN 1801-1846 365 PORTRAIT OF FANNY KEMBLE BUTLER. — The popular actress, who played tragedy and comedy with eminent success, is shown dressed in white seated in a red arm chair, her right hand resting on the arm of the chair. Across the white dress is a blue sash and her brown hair is arranged in many puffs. A brown curtain which forms the background is lifted at the right revealing a landscape. Canvas. Height, 34 inches; width, 27 inches. (See Illustration) a i ae it R ay © a acta at Bal a ‘ ae Spat 2 ~ 7 : Enon pel, are : - ca CS atte Sze te inhes - ” gir 6 os ; 5 fale ia” eh oe F _ a D » Sy poe ate: Abt No Say EB are ep ahs ie eye yt AB aes 2 : CONSTANT TROYON 1810-1865 366 LANDSCAPE (A STUDY). Canvas, relined. Signed with initials. Height, 8% inches; width, 13% inches. ARTHUR B. DAVIES Contemporary American Painter 367 DEIRDRE. Canvas, relined. Signed. Height, 6 inches; width, 15 inches. Purchased from the Artist. RALPH ALBERT BLAKELOCK 1848- 368 A SYLVAN STREAM. Panel. Signed both front and back. Height, 8 inches; width, 12 inches. 88 ee eee ee FANNY KEMBLE BUTLER Vay 6 [oa No. By Henry Inman ALEXANDRE GABRIEL DECAMPS 1803-1860 369 SCHOOL TIME IN THE ORIENT. Canvas. Signed. Height, 8 inches; width, 12% iches a Fiat ; “One of the most delightful cabinet pictures in existence by ly 4 <8 this unexcelled Orientalist.”—William Howe Downes in the — Boston Transcript. tear e J. B. C. COROT 1796-1875 | 370 THE ROADSIDE COTTAGE. On the left stands a modest cottage bela which two figures are seen, with a third advancing from the roadway which curves through the foreground; trees in summer foliage bend over the roof, and a pool of water bordered with sedgy grass lies at the right. Ris Above, a blue sky is filled with rolling clouds. Canvas. } Tt Signed. Height, 15 inches; width, 18 inches. Reproduced in “Renaissance and Modern Art,” by Wm. H. Goodyear, M.A., in 1894, Exhibited at the Montreal Art Association, 1905. Exhibited at the Alaska-Yukon Exposition, 1909. (See Illustration) N. V. DIAZ 1808- 1876 371 THE LITTLE FLOWER GIRL. A blonde barefoot child comes down a eadoy ey holding up her dress which she has filled with flowers. Painted in oil colors on paper and mounted on card- ye board. Inscribed on the back “A ma petite ami N Victorine. N. Diaz.” ‘ Height, 10 inches; width, 6 % inches JULES DUPRE 1811-1889 372 _MARINE STUDY. Panel. Signed. Height, 414 inches; width, 7% inches. J te- “a 3010) ‘Dd “f 4g AOVLLOO ACGISGVOU AHL OLE ON JEAN LEON ANDRE GERICAULT 1791-1824 373 A STUDY OF TWO HORSES. - Canvas. Height, 11 inches; width, 8 inches. ee ff Bought of T. J. Blakeslee, 1891. J OHAN BARTHOLD JONGKIND 1819-1891 374. MOONLIGHT ON THE RIVER AT AMSTERDAM. Panel. Height, 12 inches; width, 16 inches. /Sd ; ERSKINE NICOL 1825- 375 THE DAY AFTER THE FAIR. On Academy board. Signed. Height, 13 inches; width, 9% inches. Fa- CONSTANT TROYON 1810-1865 376 LANDSCAPE (A STUDY). Panel. Signed with initials. Height, 10 inches; width, 13% inches. Joo0- JAN VAN RAVESTEYN , 1572-1655 377, PORTRAIT OF A DUTCH LADY. Canvas, relined. Height, 23 inches; width, 20 inches. “A fine example of the art of that masterly portrait painter, whose Corporation groups in the Municipal Museum at the Hague are among the finest works of their kind in the world.”— William Howe Downes in the Boston Transcript. “Another portrait of much power is also of a woman. This is -_ by Jan van Ravesteyn. It is the head of an old woman of the q ps burgher class, with strongly-marked features and a resolute expres- sion. She wears a peculiarly-shaped cap of black lace, cut in points, and a lawn collar edged with lace, with a necklace of uncut jewels. The picture is painted with the greatest solidity and firmness of touch, and is as strong in color as a Rembrandt.”—The Collector, Sept. 1, 1895. 92 ALFRED DE DREUX 1812-1860 378 OUT FOR A MORNING RIDE. ; This French painter became widely known from his i pictures of horses and hunting scenes. He also 3 ih painted a number of prominent Frenchmen on horse- ; back, including Napoleon III. Canvas. Signed. Height, 13 inches; width, 18 inches. - THOMAS COUTURE ~ 1815-1879 379 ALLEGORICAL SUBJECT. Dressed in white, a woman extends her arm about a | ae blonde haired boy who stands before her, leaning 7 aaa against a stone parapet. From her shoulder falls a long scarf and in her left arm rests a tall staff. Canvas. Height, 16 inches; width, 12% inches. ANTOINE VOLLON 1833-1900 380 STILL LIFE. The great painter of still life has here chosen the usual simple objects for his theme, some kitchen a utensils, a string of onions and a green jar, but from IW these he has produced a picture worthy of his art. Canvas. Signed. Height, 12% inches; width, 9% inches. JULES DUPRE 1812-1889 381 LANDSCAPE STUDY. It shows a sketch of a field with distant trees in the fading light of sunset. Canvas. Signed. , Height, 11 inches; width, 18 inches. VE Bought at the Dupré Sale in Paris for Mr. Chapman, January 30, 1890. 93 FRANCESCO GUARDI 1712-1793 382 VIEW IN VENICE. moving procession of figures in the ae ee the collonaded palace beyond; across these ees be § Qe Elo a § gel sea | Ss San ea Loe) | re) | Zz with simple pathos and understanding. Canvas. ; ae Signed. Height, 22 inches; width, 18 inches. Purchased in Havre in 1881 from a family who obtained ‘it from the Artist. eke “Here is a Millet, a peasant girl chewing an apple. Iti is a Millet entirely distinct from ‘The Angelus,’ and the rest of what are recognized as the painter’s masterworks. But it is a picture of record, a bit of nature, and of character, of action and expression — grasped, analyzed and fixed upon the canvas by a brain and hand, of power.”—The Collector, Sept. 1, 1895. THEODORE ROUSSEAU 1812-1867 386 THE FARM. In a rock-strewn foreground lies a small pond, on the edge of which a peasant woman is seen; beyond rise ye two tall thin trees with other trees at the left. On RO PA\ the horizon at the right, farm buildings are seen with smoke rising from a chimney. The rolling clouds above break away here and there to anew the blue sky beyond. Panel. Signed. Height, 11 inches; width, 7 ¥ kes FERDINAND ROYBET 1840- 387 READY FOR THE MORNING RIDE. At the door of a chateau a horse impatiently paws the ground while the mistress stands in conversation with aman. A dwarf in red dress sits in the saddle, a groom holds the bridle and a man with two dogs )o < stands by. Canvas. Signed. Height, 10 inches; width, 14 inches. CORNELIS TROOST 1697-1750 388 THE COURTSHIP. Panel. Certified by Dr. Hofstede de Groot. Certi- ficate accompanies this picture. Height, 18 inches; width, 14 inches. Lf L on a (See Illustration) 96 No. 388. THE COURTSHIP By Cornelis Troost PROSPER MARILHAT _ 2 1811-1847 : 389 ON THE EDGE OF THE DESERT. ee Canvas. Signed. Height, 21 inches; width, 25 inch WILLIAM ETTY 1787-1849 390 THE MORNING GLORY. Academy board. Height, 26 inches; width, 20 inches. 5 Purchased from the late Robert Hoe, in 1891, who bought it in } G4 ~ London. Sold at Christie’s in 1858. ARTHUR B. DAVIES | Contemporary American Painter 391 AUTUMN LANDSCAPE. ; Stretching away to a ridge of hills, the landscape is bathed in golden light. An oak tree rises in the fore- ground and some pigs wander at will, one with a litter of young. Canvas. Signed. ga’ Height, 18 inches; width, 30 inches. Purchased from the Artist. Loud BONIFAZIO VERONESE, THE ELDER 1490-1540 392 THE VIRGIN AND CHILD WITH ST. JOSEPH AND ST. JOHN. Against a brocaded scarf which hangs through the center of the picture the Virgin is seated holding the nude Child on her lap, who reaches out his hand to touch the white beard of St. Joseph, standing at the left. At the right stands St. John the Baptist holding his cross of reeds. A Tuscan landscape fills the fae- background. Panel. Height, 2234 inches; width, 2834 inches. From the Collection of the Earl of Chichester, whence it passed to the Collection of Henry Doetsch, Esq., sold at Christie’s, . 1895; the Catalogue of this Collection was compiled by Dr. J. P. Richter. 98 JOHN CROME (CALLED OLD CROME) 1786-1821 393 AN OLD BRIDGE NEAR NORWICH. From an elevation, shaded by a noble old oak, we see a wide stretching landscape through which a silvery river winds, hemmed by far-away blue hills. In the foreground a horseman is seen crossing a ia bridge which spans the stream. The sky above is “66 filled with dark clouds which clear away toward the | horizon revealing a primrose sky. Crome formed his style by studying the Dutch masters in land- scape. He was fond of the lanes and river banks of rural England under moonlight or at sunset, which Pues he rendered with richness of tone and truth of draw- ie ing. Canvas. Signed. Height, 42 inches; width, 33 inches. From the Collection of General Mackinnon, sold at Fisher & Robinson’s, London. Purchased through J. Ichenhauser. Beenie at the Lewis and Clark Exposition, Portland, Ore. S SIR GODFREY KNELLER 1646-1723 394 PORTRAIT OF WILLIAM LORD RUSSELL. The eminent English patriot, who was beheaded as when forty-four years of age, is seen at bust length and life size, looking directly at the spectator. He wears a brown wig which falls about his shoulders and a white kerchief is tied at his throat. Canvas. Height, 22 inches; width, 19 inches. From the Collection of the Hon. Lewis Wingfield, London. GEORGES MICHEL 1763-1843 395 LANDSCAPE. Canvas. Height, 25 inches; width, 32 inches. é Kee Purchased in Paris in 1879. 99 Wie ns E 4 ee a wee 5 < SIR JOSHUA REYNOLDS 1723-1792 396 CUPID. Seen at three-quarter length, the young god stands in shadow watching his prey, his quiver is suspended at his side by a blue ribbon which hangs from his shoulder. A wooded landscape forms the background. Canvas. Height, 30 inches; width, 25 inches. Recorded in Graves and Cronin’s, “Sir Joshua Reynolds, id Vol. III. Recorded in Sir Walter Armstrong’s, “Sir Joshua Reynolds.” } Aq) 6- Exhibited at the British Institution, 1832. Loaned by George Vivian, Esq. Exhibited at the Grosvenor Gallery i in 1884. Loaned by Col. Vivian. Purchased from Col. Vivian’s estate, by Gooden & Fox, © London. Purchased from Gooden & Fox, by Julius Oehme, who is given in both works named above, as owner. Purchased from Mr. Oehme by Mr. J. J. Emery, from whom it passed to the present owner in 1903. “There is shown a ‘Cupid’ by Sir Joshua, handsomely brushed and delightful in the cool flesh tones.’—Mr. F. J. Mather in the Evening Post, Jan. 24, 1906. (See Frontispiece) > UNKNOWN PAINTER Modern French School 397 WOODLAND LANDSCAPE. In a secluded place some nymphs are seen bathing p in a woodland pool; dense shadows of the forest Wo foreground are strongly contrasted against the prim- rose light that fills the afternoon sky beyond. Canvas. Height, 45 inches; width, 33 inches. SALVATOR ROSA 1615-1673 398 A ROMAN SOLDIER. Canvas. Height, 23 inches; width, 19% ne Fu From the Perigrini Collection, 1884. 100 — No. 402. ORPHEUS By Geraerd Pietersz Van Zyl Yo- Jae fu AMBROSIUS FRANCKEN 1544-1618 399 THE LAST SUPPER. Christ seated at a table, surrounded by the twelve disciples, holds a chalice in his hand. In the back- ground of the lofty interior rises an altar at the left with open book and a lighted candle. On the back of the picture is stamped the monogram of the artist and the arms of St. Luke’s Guild at Antwerp. Panel. Height, 24 inches; width, 18 inches. CONSTANT TROYON 1810-1865 400 LANDSCAPE WITH GOATS. This great landscape and animal painter had a special liking for goats, which appear in many of his pictures. Born in Sévres, he began his career in the porcelain factory of his native town, where he was taught to draw flowers; later he took up his residence at Barbizon, where, under the inspiration of Rousseau and Dupré he began to produce the long line of master- works in landscape which remain to his credit. Can- vas, relined. Signed. Height, 25% inches; width, 21 inches. JOHANN HEINRICH TISCHBEIN 1722-1789 ULYSSES AND NAUSICA. Nausica, the king’s daughter of the famous epic, stands in the center of a shaded plateau with her female attendants about her, while Ulysses, the resourceful hero of the Trojan war, is seen through the trees looking on with admiration. A wide-reach- ing landscape fills the background. The picture is in line with the mythological subjects which the 102 Acetate German artist loved to paint, and is more in the French manner of the Eighteenth Century than the German, due to Tischbein having spent five years at Paris in the studio of Charles Van Loo. Canvas. Signed. Height, 33 inches; width, 26 inches. GERAERD PIETERSZ VAN ZYL (CALLED GERARDS VAN LEYDEN) 1606-1667 402 ORPHEUS. Seen at half length, a nude youth with curling hair, holding a violin beneath his arm, bends his head attentively over a sheet of music held in his hand. An intimate friend of Van Dyck, Zyl worked as his assistant in London and became a successful imitator of his style. In Holland he was called ‘‘The Little Van Dyck.” Panel. Signed with initials. Height, 25% inches; width, 21% inches. Purchased from T. J. Blakeslee, 1891. (See Illustration) JAN VAN GOYEN 1596-1656 403 HARVEST TIME. Leading from the foreground, a roadway crosses a wide plain, along which passes a man driving a cart horse attended by a dog; a group of peasants . ee rests at the roadside while over all stretches a charac- . teristic Van Goyen sky, filled with masses of rolling clouds. Canvas, relined. Signed and dated 1634. Height, 35 inches; width, 50 inches. This painting has been certified as a genuine work by Dr. Hofstede de Groot, and his certificate accompanies the picture “Among other old Dutch pictures is a large and notably fine landscape by Van Goyen, by whom there are also smaller works of character.”—The Collector, Sept. 1, 1895. (See Illustration) 103 Lege- a KAREL BORCHAERT VOET 1670-1745 404 DOMESTIC FOWL. Canvas, relined. Height, 42 inches; width, 39 inches. SIR THOMAS LAWRENCE 1769-1830 405 LADY HENRIETTA CAVENDISH. Wearing a low-cut, red velvet gown, the subject is seen seated, resting her left arm on the arm of her chair; her dark hair is puffed above her ears and a long jeweled chain falls across her shoulders down to her waist; on her left wrist is a bracelet containing the miniature portrait of a man, and her right hand rests in her lap. Canvas. Height, 40 inches; width, 33 inches. From the Collection of S. Moreau-Chaslon and previously in the celebrated Collection of his father, a well-known French connoisseur. Purchased in 1888. (See Illustration) GIOVANNI PAOLO PANNINI 1695-1764 406 RUINED TEMPLE WITH FIGURES IN THE FORE- GROUND. Canvas. Height, 38 inches; width, 29 inches. FRANCESCO ZUCCARELLI 1702-1788 THE SUMMER STORM. The lightning striking a tree has created terror among the peasants and caused a team of horses to bolt; overhead the trees are tossing their branches in the gale. 104 HARVEST TIME No. 403. By Jan Van Goyen In his day the reputation of Zuccarelli extended throughout Europe and his pictures are to be found in all European galleries; he was induced to visit London where he spent five years painting decorations for the English Opera House. Later he again went to England, when he was largely patronized by the Royal Family and by the aristocracy in whose collec- tions many of his pictures are to be found. Canvas, Height, 39 inches; width, 36 inches. ANGELICA KAUFFMAN (ATTRIBUTED) 408 THE THREE GRACES. Three female figures are seen standing nude against a green curtain, with a crimson mantle falling from their shoulders; their hair is dressed with flowers and A! _ laurel and flowers strew the ground. Canvas, relined. Height, 36 inches; width, 27% inches. F. WATTS English Painter 409 VIEW IN SURREY. The green of rural England with its red-roofed cot- tages embowered in trees, and men plowing in the fields, its sluggish streams with boats slowly crawl- ing through the locks and its blue sky filled with / wa- snowy clouds is our painter's theme—a theme long ago made familiar to the art world by Constable, but one of never-ending interest. Canvas. Height, 34 inches; width, 48 inches. Bought of T. J. Blakeslee, 1888. GIOVANNI PAOLO PANNINI 1695-1764 410 ROMAN RUINS WITH FIGURES IN THE FORE- GROUND. 3 ge Canvas. Height, 31 inches; width, 40 inches. 106 No. 405. LADY HENRIETTA CAVENDISH By Sir Thomas Lawrence Loo /§d- Ww iy a mane Z oh SALVATOR ROSA 1615-1673 411 THE STORM ON THE COAST. Famous as a painter, a musician and a satirical poet, Rosa, though born at Naples, spent most of his career in Rome where he gained much success by his land- scape and marine views, although he was ambitious to be regarded as an historical painter. He is at his best in such canvases as these, in which he portrays the rocky glens, tumbling cascades, gloomy pools and huge rocks of a mountainous country. In his marines he loves the storm-tossed waves and skies filled with moving clouds. Canvas. Height, 37 inches; width, 46 inches. From the Leavitt Collection, 1884. (See Illustration) OTTAVIO VIVIANI Italian School, XVIIth Century 412 ENTRANCE PORCH OF A ROMAN PALACE. Canvas, relined. Height, 37 inches; width, 48 inches. ANTON ZWENGAUER 1810-1884 THE DECLINING DAY. This popular Munich landscape painter drew ‘his subjects from the Bavarian Highlands, giving special attention to evening and sunset effects. For the last fifteen years of his life he held an official position in the Munich Gallery. Canvas, relined. Signed. Height, 26 inches; width, 44 inches. Purchased from Mr. Charles Haseltine, 1875. 108 eSOy 1OILALS Ag LSVOO HHL NO WHOLS AHL “TIF “ON GASPAR DE CRAYER 1582-1669 414 THE FLIGHT INTO EGYPT. Born in Antwerp, De Crayer won such popularity as a portrait painter that he went to Ghent, to gain freedom from the demands on his time, in order to give himself up to the religious subjects in which he won great renown. ! Aq a Following the fashion of his time, he has placed the } Vv figures of Joseph, Mary and the Child in a classic landscape with broken pillars, arches and architec- tural ruins shaded by great trees under a splendidly luminous sky. Canvas. Height, 53 inches; width, 66 BG =.4 ee JOHN QUIDOR American Painter, 1800-1881 415 PETER STUYVESANT WATCHING F pares ON THE BATTERY. This composition shows the Dutch Governor of New Amsterdam seated on the right watching the dancing. of the young people in the early evening; tall trees arch their branches overhead and cast deep shadows, ake while beyond is seen the waters of the bay. Although ‘ys he made other studies of the colonial life of New York” under the Dutch dominion, this large canvas was the crowning work of this early American painter’s career. Canvas. Height, 80 inches; width, 126 inches. Purchased from a relative of the Artist. (See Illustration) 110 1OpIn¢) uyo[ Ag AUALLVG AHL NO SHILIAILSHH ONIHOLVM LNVSHAANLS YHLadd ‘SIP ON ae FIFTH SESSION Chinese Porcelains a Catalogued by Hon Chester Holcombe . } t These Chinese Porcelains, which were for many years on exhi- bition in the Brooklyn Institute of Arts and Sciences, were bought en bloc in 1888 from Mr. W. P. Moore, who acquired them from his father, Mr. E. C. Moore, a well-known Collector, who as a member a # of the firm of Tiffany & Company, had unusual opportunities “wi N for securing fine pieces. They were expertized and described by the late Hon. Chester Holcombe, for many years Secretary of Legation and acting United States Minister at Peking, China. In the special field of Oriental Art, Mr. Holcombe was recognized as the Dean of Connoisseurs, both in this country and in China. “His infallible instinct for what is rare, fine and impressive in art has made him a Collector of old Chinese porcelains and Japanese , bronzes. The former, for instance, make a ravishing collection of aa 200 pieces, strongest in solid colors, like the mirror blacks, ashes of roses (one unique vase of this rare color), apple-green crackle, sang de boeuf and the like. Here is a large mustard-yellow crackle vase, the finest I have ever seen; a wonderful tea-green vase, with the dragon; a large and noble famille vert vase, with the record of a family history; a coral vase of rare beauty, and a wealth of the various shades of the green family, so seductive to the connoisseur.”—The Collector, Sept. 1, 1895. 417 WINE CUP. Foundation of pottery, is covered with grey glaze A = upon which are gracefully wrought three storks flying over the waves. Height, 2% inches. 418 JAR. Ge Pottery mainly covered with a thick mirror black glaze, with a splash of “‘Flambé” here and there. Height, 4% inches. 419 CUP. The body, with a narrow rim, is pottery and is cov- 7 — ered without and within with extremely brilliant 2 dark brown glaze. Height, 2 inches. 112 “ os ra ahs i ee nad > a. ie . 420 VASE. se A fine specimen of a Japanese attempt to produce the Chinese “‘Flambé” vases. Height, 5% inches. 1 LONG NECK BOTTLE. & Identical with the last. Height, 6 inches. 422 ‘JAR. Of pottery ean by brilliant transparent glaze over a green color which is finely decorated without eee rsin in white. Has Chinese characters upon Seis _ the base, which translated means “‘ Precious product.” s ‘ ie = < ' Height, 134 inches. ~~ 23 JAR. : Of pottery base, covered by a brilliant glaze of vary- - ing shades of roe fancifully arranged. Height, 2 inches. 424 BOWL. A peculiar specimen of commercial porcelain cov- ered by a light brown dull glaze upon the exterior and a much thicker and finer quality of glaze of dark blue upon the interior. Bears a fictitious hall- mark in blue characters within blue rings upon the bottom. Probably about fifty years old. Height, 2 inches. ~ 425 CUP. Of extremely coarse pottery covered by heavy black glaze, diversified on one side of the cup by splashes of vari-colored glaze fancifully shaped. The entire i "iad specimen bears the marks of moulding by the fingers “ia . while the paste was still soft. Has the hall-mark of the maker, ina circleon the base. Height, 24 inches. 113 hi = 426 427 428 429 430 HIGH SHOULDERED VASE. Of brilliant brown glaze in various shades upon a body of coarse pottery. Of a comparatively modern period, but the exact date cannot be determined. This specimen repre- sents the twin fishes which have an important place in Buddhist mythology, carefully wrought and cov- ered with a copper glaze. Height, 8 inches. Of coarse pottery covered with very thin yellow glaze. Has the Chinese character for “Meditation” painted in white upon each side. Height, 3% inches. Moulded in pottery to represent a fungus, and cov- ered with a thick and brilliant glaze of yellowish — Height, 5% inches. MEDICINE CUP. An agate cup, from which, according to Chinese theories, medicines should be taken in order to pro- duce the best results for the patient. The body of the specimen is of white agate, upon which is carved, in bold relief, a peach tree and blossoms, leaves and fruit with translucent reddish color. one solid piece, shaped and carved according to the various colors found in it. Height, 4 inches. Period of Tao-Kuang, A. D. 1821. Height, 6 inches. i > 431 432 433 434 435 436 BOWL. Grotesque in form, the lower half of the body is of light grey color with lines and figures drawn in brown. The upper portion is coated with a trans- parent glaze of pale green. Height, 34% inches. STANDARD. A rectangular standard or cap which has formed a part of a framework of some sort in porcelain, covered with a brilliant green glaze. Height, 7 inches. Period of Tao-Kuang, A. D. 1821. BOWL. Of brilliant pea-green glaze over pottery and crackle, it has nondescript ornamentation in white under the glaze. Upon one side of the vase, incised under the glaze, are the Chinese characters which mean “ Per- petual Joy.” Height, 234 inches. JAR. With fine smooth finish, and brilliant glaze of coppery red color. Height, 534 inches. Period of Tao-Kuang, A. D. 1821. BOTTLE. A good specimen of comparatively modern com- mercial porcelain. Covered by a rich deep blue glaze. Height, 6% inches. Period of Hsien-Feng, A. D. 1851. WATER CUP. A piece from the outfit of a writer. Height, 2 inches. Period of Chia-Ching, A. D. 1796. 115 ea le a See, y~ Pe ies art ts ais a iS . See wees Ve [4 Wy lo /y- 437 GOURD SHAPED BOTTLE. , The body is of pottery, finely crackled, covered with a pale green glaze, thickly flecked with copper. A very unusual and interesting specimen. Height, 7% inches. Period of Tao-Kuang, A. D. 1821. 438 SAUCER. Of Corean origin and the result of an offort to pro- duce Chinese crackle under red glaze. Crudely decorated upon the interior in blue. Antique, but — exact period uncertain. Diameter, 5% inches. 439 AGATE MEDICINE CUP. A lizard carved in bold relief is made to serve the purpose of a handle. Height, 1\% inches. , Period of Chien-Lung, A. D. 1736. 440 VASE. a | A rectangular vase of fine peacock blue crackle. The glaze is transparent in a high degree and produces — the appearance of varying depths of color. Taken altogether the piece isan unusually good specimen of the later antique specimens of peacock blue. Height, 6% inches. Period of Tao-Kuang, A. D. 1821. 441 JAR. This specimen is coarsely decorated under the soze in a leaf design. The glaze is thin and brilliant. It has a forged and incorrectly drawn Chinese seal mark upon the bottom. Corean porcelain of a com- paratively early period, but the exact year is uncer- tain. Height, 41% inches. 116 SASVA NIVTHAOUOd ASANIHO GALVUOOUA AO dNOAO en ieee) r Aon eg pew as SI - ke 442 443 445 446 447 SAUCER. The decoration represents an old man, commonly called “Shou,” or Longevity, holding in his hands a bat, the emblem of good fortune. Diameter, 6 inches. Period of Tao-Kuang, A. D. 1821. VASE. Of dark green jade with a broad band of conventional decorative forms carved in low relief about the body, while conventional forms of the head of the Dog Foo with rings, adorn the neck. Height, 5% inches. Period of Kang-Si, A. D. 1661. WINE CUP. Moulded in yellow “Liao” without decoration of any sort. Height, 134 inches. Period of Chien-Lung, A. D. 1736. PIGMY JAR. The body is pottery decorated with conventional _ lions’ heads and rings under the glaze for handles, _ and covered with a thick brilliant glaze of greenish brown. Height, 53% inches. Period of Tao-Kuang, A. D. 1821. BOTTLE. A masterly specimen of dragon’s blood glaze upon the crackle. Though not “Lang Yao,” it belongs to the period when the finest specimens of this dragon’s blood glaze were produced. Height, 13 inches. Period of Cheng-Hua, A. D. 1465. CIRCULAR DISH OF DEEP RED GLAZE. Of even color and brilliant glaze. (Repaired.) Diameter, 73% inches. Period of Yung-Chéng, A. D. 1723. 118 4 = ar ig - er Ls s ee cha: a ty Aa hs ra . . aa a, | a -. s ( : 9 i wen a . a eG - te Re 3 mee a => ; | an Pia- po 449 450 451 452 453 454 BOTTLE. Pigmy bottle covered with a thick glaze of red, so dark as to closely approach a copper brown, in which are specks of iron rust. Good specimen of its class. Height, 5 inches. Period of Tao-Kuang, A. D. 1821. BOTTLE: This specimen, of uncertain antiquity, has been seri- ously damaged by fire. Coarsely decorated with figures and a band of flowers in a deep shade of blue. Height, 11% inches. Period uncertain. BOTTLE. Mottled turquoise of a comparatively modern period. Height, 5% inches. Period of Hsien-Feng, A. D. 1851. PORCELAIN BOX. Pale olive green glaze with flower decoration incised under the glaze and on the cover. Height, 3 inches. Period of Tao-Kuang, A. D. 1821. VASE. A good specimen of powdered black glaze. Height, 5% inches. Period of Yung-Chéng, A. D. 1723. FISH JAR. Peacock green glaze covering fine crackle. Good specimen of its class. Height, 54% inches. Period of Tao-Kuang, A. D. 1821. BOTTLE. The body of this specimen is of pottery, which is covered with a thin metallic glaze of varying brilliancy. Height, 9 inches. Period of Chia-Ching, A. D. 1796. 119 } 107 a 455 PIGMY VASE. Pink crackle under a brilliant glaze. This untcnets color in the crackle was produced by powdering the paste before the glaze was applied, with a fine powder of that color, which serves to outline the crackle in the process of firing. Very unusual specimen. Height, 44% inches. Period of Chien-Lung, A. D. 1736. 456 CUP. This cup is a companion piece to the last and the same description applies accurately to it. Height, 2 inches. Period of Chien-Lung, A. D. 1736. * 457 EGG-SHAPED JAR. This specimen is of pottery covered with a thick, brilliant and oily glaze, French grey in color. Height, 5¥% inches. Period of Tao-Kuang, A. D. 1821. | i 458 BOWL. A coarsely-made specimen covered without and within by pale olive glaze. The attractive feature of this specimen consists in the decoration within, composed of figures with names attached, of five patrons of ancient Chinese literature, incised under the glaze, somewhat crudely. The Chinese char- acters composing the names are in part defective and in consequence, some of them are undecipherable. The specimen, though not of high quality, is quite rare. Diameter, 7 inches. Period of Chia-Ching, A. D. 1796. 120 -——-, 459 JAR. A thoroughly unique and to a large extent nonde- script jar and cover. The material is wood or vege- table of some sort, possibly a fungus, and has a five- clawed dragon encircling the base, with head rising to the shoulder of the jar, and is most gracefully and artistically wrought. The cover, of the same material, is surmounted by a begging Buddhist priest in a sitting position, holding up his alms’ cup, which is partially supported upon a mass of tangled tree roots. Upon one side of the body of the vase, the name of the artist is cut in the surface, with a state- ment that the specimen was made by the maiden Hsiang-Lien. A most remarkable specimen. Height, 91% inches. Period of Chien-Lung, A. D. 1736. 460 VASE. A good specimen of turquoise blue glaze. Height, 5% inches. Period of Tao-Kuang, A. D. 1821. 461 BOWL. Has broadly flaring sides made of Chinese “Liao,” which closely resembles glass and bears in touch much the same relation to the latter that amber bears to agate. The manufacture originated in Persia, was carried thence to China, but the art has long been lost in both countries. This specimen is a monochrome of the color of wine, and is decorated within with ornamental forms of the Chinese char- acter for happiness, etched upon the bowl. Has the four character mark of the Emperor Chien-Lung, cut in low relief upon the bottom. A specimen of this ancient art of this size and quality is very rare. Height, 8 inches. Period of Chien-Lung, A. D. 1736. 121 462 VASE. A rectangular ovoid vase of lapis lazuli. Very rarely — found in Chinese art objects. Carved in low relief / St on base and neck with leaves conventionally arranged, and upon either face of the body with an archaic form of the Chinese character “Shou,” which means . Longevity. Height, 8% inches. Period of Chia-Ching, A. D. 1796. 463 JAR. A marvelous specimen of brilliant apple green glaze over white crackle. For perfection of finish and brilliancy of glaze, the piece is without a superior. “4a 0— Height, 6 inches. Period of Chéng-Hua, A. D. 1465. 464 VASE. A superb specimen of ashes of roses in color, with a soft yet brilliant glaze. Height, 7% inches. — i nes Period of Kang-Si, A. D. 1661. 465 WATER JAR. This piece represents a water bottle carried by the soldier of the period, and hence is provided with three porcelain rings by which it may be suspended Me over the shoulder. This specimen is covered with a N a glaze of slate color upon a pottery foundation, upon which has been laid a thin glaze of red with the curious effect as seen. ‘This specimen does not belong to the ‘‘Flambé” class, but the mottled design ending in greyish green about the vase was intended. Height, 6 inches. Period of Chien-Lung, A. D. 1736. 122 i * 2 eeeer GROUP OF CHINESE PORCELAINS OF SINGLE COLOR hy - fia la- Ges 466 467 468 469 470 BOTTLE. — SSaoe A fair specimen of chicken’s blood glaze. Paste is # of a high quality, but the glaze is too thin to give _ richness of color. Height, 9 inches. — Period of Yung-Chéng, A. D. 1723. = JAR. Ruby glaze upon fine crackle, the glaze being more than ordinarily translucent. The effect of such a glaze on such a surface is to produce a mottled appearance. A fine specimen of its class. Height, 5 inches. Period of Chia-Ching, A. D. 1796. BOWL. A good specimen of dark red glaze without and within. Bears the hall-mark in six characters of Chia-Ching of the Ming Dynasty (A. D. 1522), but in fact belongs to his later namesake Chia-Ching (A. D. 1796). Height, 31% inches. Period of Chia-Ching, A: D. 1796. VASE. Of dragon’s blood glaze, though not ‘‘Lang-Yao.” Period unquestionable. Specimen perfect. Has six character mark of the Emperor Kang-Si on the bottom. Height, 434 inches. Period of Kang-Si, A. D. 1661. JAR. A thick, hard and extremely brilliant ruby glaze with slightly clouded effect upon a hard paste. A fine and extremely showy specimen. Height, 6% inches. Later Ming Period (16th Century). 124 =P 8 ee ee ee ee — gS “1. A oa 4 . 2 t 7 a 471 BOTTLE. = Chicken’s blood glaze over coarse crackle, in varying thickness upon a thick, hard paste. A good specimen of that glaze of the Chien-Lung period, which was less distinguished in productions of this class than in other branches of the Ceramic Art. Height, 5% inches. Period of Chien-Lung, A. D. 1736. : 7 472 VASE. An excellent specimen of what is known as chicken’s blood glaze. Has a fine but heavy paste and a brilliant glaze of the true shade of color and is with- out defect or flaw of any kind. _ Height, 9 inches. . Period of Yung-Chéng, A. D. 1723. 473 PIGMY JAR. An exquisite specimen of orange yellow tile glaze decorated in color under the glaze in brilliant green. Finely incised with Grecian pattern in diaper work and in other designs upon the body of the paste under the glaze. The piece is one of a set and bears finely incised, under the glaze of the bottom, the name of one of the halls in the Imperial Palace of that period, which indicates where it was intended to be used. Height, 4% inches. Period of Chien-Lung, A. D. 1736. 474 BEAKER-SHAPED VASE. A brilliant specimen of dragon’s blood glaze over medium crackle. This piece is exquisitely smooth to the touch, the glaze is true in tone and of great brilliancy and the specimen, as a whole, belongs to the highest grade of its class. Height, 614 inches. Period of Kang-S1, A. D. 1661. 125 475 JAR. A fine specimen of old Ming crackle. The body of — the jar is white, browned by age. Decorated with the Phoenix, the crest of the Empress of China, so arranged as to form a circle. Around the base and top is a further decoration in old blue of conventional — 4“ design. The cover has upon its cap an archaic form of the Chinese character which means happiness. The specimen is in a complete state of preservation and bears on the bottom the four character hall- mark of the Emperor during whose reign it was produced. When its age is considered, the specimen — is rare. Height, 6 inches. Period of Chéng-Hua, A. D. 1465. 476 FLOWER BOTTLE. This specimen, decorated in conventionalized flowers of the deeper blue and white, is composed of five small flower jars moulded together, having a slender neck as a common center, the purpose being to use hice the six compartments into which it is thus divided as | a common holder for cut flowers. Colors. are good and the glaze brilliant. Height, 11 inches. Chia-Ching Period, A. D. 1796. 477 VASE. A good specimen of coarse white crackle under glaze, decorated with bands of dark brown of Grecian pattern, also with waves of the sea, flowers, and leaves, and with conventional forms of the head of the Dog Foo in bosses for handles. Has the four ys S 4 character mark of the Emperor Chéng-Hua of the Ming Dynasty, etched in dark brown upon the base. Specimen, however, is of the later period named. Height, 8% inches. Period of Chia-Ching, A. D. 1796. 126 478 BOWL. The exterior decoration consists of dragons sporting in the waves of the sea, in varying shades of blue. P- The interior rim has a broad band of blue arranged E in scrolls, and the hawthorn flower in white. In the = } “a bottom of the interior of the bowl is represented a mythological story of a fish which sprang from the water and spouted from its mouth a demon which bore the shape of a Cicada. The dragons bear the four claws which represent the crest of the Ming oF Dynasty. Diameter, 8 inches. x : Period of Chien-Lung, A. D. 1736. 479 VASE. This specimen is commercial porcelain of the period named. Decorated in varying shades: of blue with flowers arranged in panels, separated by smaller id panels of diaper work in a paler blue and small medallions, each containing a single flower, encircling the neck, which is further decorated with a band of flowers and bands of lines. The base is similarly treated. Height, 8% inches. Period of Kang-Si, A. D. 1661. 480 BOX. A good example of the deeper blue of the period named, shown in the decoration which consists of ai flowers, fruits and conventional leaves. Height, 3% inches. Period of Yung-Chéng, A. D. 1723. 481 VASE. Originally a vase having a long slender neck; the upper portion has been broken off and what remained was ground to its present shape. Entirely covered with flower decoration arranged in circular medal- - lions. The glaze is fine and brilliant and all the different shades of what is known as old blue may be seen upon the surface. Height, 3% inches. Period of Chia-Ching, A. D. 1796. 127 fa- I36- 482 483 484 JAR. A beautiful specimen of decoration in color and gold _ leaf upon a brilliant mirror black glaze. The speci- men is exceedingly unusual in this—the color decora- tion is applied directly upon the paste while the decoration in gold used with the color decoration is applied upon the glaze. A unique specimen of the Ceramic Art. The decoration is peculiar in another respect since it consists of fruits, flowers and vegetables. Height, 15 inches. Period of Yung-Chéng, A. D. 1723. BOTTLE. A very graceful specimen with long slender neck. Rich powdered blue glaze, elaborately decorated in gold leaf. The decoration is peculiar, indicating that the specimen was specially designed for the domestic apartments of the Emperor and Empress of China. Thus it bears upon the body, the Dragon which is the crest of His Imperial Majesty, and the Phoenix, which is the crest of the Empress, these —— . figures never being seen in decoration of any sort excepting when intended to be used in apartments which they share together. Height, 173% inches. Period of Kang-Si, A. D. 1661. PITCHER. The form of this specimen is graceful and the paste of fine quality, semi-eggshell, with a thin metallic but brilliant glaze. The lustre seen upon the surface is the result of excessive heat in the kiln, and the — piece furnishes an interesting illustration of the unexpected result which not unfrequently happens in the process of manufacture of fine porcelain. Height, 5 inches. Chien-Lung Period, A. D. 1736. 128 485 BOTTLE. A fine specimen of powdered blue glaze, decorated upon the glaze in gold leaf with conventional chrysan- themums and the wheel of the law, one of the eight precious symbols of Buddhism. One form of it is seen upon the lower part of the body of the vase, while another form can be seen faintly decorating the upper part of the neck. The powdered blue glaze of this specimen is particularly fine, both in depth of color and evenness of distribution. The base is finished with a peculiar rim found upon pieces of the Kang-Si period. Height, 10 inches. Period of Kang-Si, A. D. 1661. 486 BOTTLE. Rich sapphire blue glaze, decorated with conven- r tional flowers and leaves arranged in circles and bands. A very fine specimen of this style of decora- tion in the Chien-Lung period. Height, 18 inches. ‘ez Period of Chien-Lung, A. D. 1736. 487 POTTERY VASE. This specimen represents a conventionalized form of the lotus bud, the outer leaves of which are outlined in low relief on the body, while the flaring lip is marked with the immature seeds as they appear [sev in the actual cup which forms the center of the flower as they first make their appearance, when forcing their way above the surface. Good specimen, with a fine mottling of color. Height, 6% inches. Period of Yung-Chéng, A. D. 1723. 129 488 VASE. Gourd shaped, fine mirror black glaze, decorated with gold leaf upon the surface. The main feature of the decoration consists of three landscapes, in one of which two fishermen are seen on the edge of a stream under an oak tree. In the second is seen the roof of e. a pavilion in the midst of trees and flowers; in the ~ >: third, a stream with trees and reeds upon its banks, and deer in the water. Other decorations in bands complete the piece. The bottom rim is finished in that peculiar manner characteristic of the finer specimens of the porcelain of the Kang-Si reign. Height, 8 inches. Period of Kang-Si, A. D. 1661. 489 JAR. A good specimen of the more modern Flambé. The glaze is thinner than that used in the earlier periods of the production of this decorative style and, for | that reason probably, the result is less striking. Height, 8 inches. Period of Chia-Ching, A. D. 1796. 490 VASE. This specimen is exquisite in shape, of especially good quality of paste, with a smooth and brilliant glaze. While the piece belongs to the Flambé class, its peculiarity of decoration is the result of no accident, but of a high degree of skill and what is almost more than a scientific knowledge of methods of prepara- tion of the glaze for the application of heat in the kiln, which produced the marked and striking com- binations of colors found in this specimen. Height, 7 inches. Period of Yung-Chéng, A. D. 1723. 130 eo 492 BOTTLE. ba- 491 SNUFF BOTTLE. A unique and valuable specimen of the tiny porcelain jars largely used among Chinese gentlemen as snuff bottles. The entire surface of the specimen is carved in the paste in bold relief with sea waves in dark green upon which floats a fairy boat, in colors, while various Chinese genii are represented sailing on clouds or standing upon rocks in the midst of the sea. The whole is intended to represent a well- known Chinese fairy tale. Written upon the glaze on the bottom of the bottle are the two Chinese characters ‘‘Yuan Yu,” which translated means “‘A perfect gem.” Height, 234 inches. Period of Kang-S1, A. D. 1661. Brilliant mirror black glaze decorated in gold leaf upon the glaze with a tree, flowers, birds, and butter- flies. Decoration graceful and artistic. Fine quality of paste, glaze soft and yet brilliant. This piece is a fine specimen of Ceramic Art of the period of the Emperor whose seal mark in six characters is found upon the bottom. Height, 15 inches. Period of Yung-Chéng, A. D. 1723. 493 JAR. Lf- A deep rich glaze on pottery vase. An exceptionally brilliant and fine specimen of what is known as Flambé. What was intended to be shown in this specimen cannot be known, but the result of the firing in the kiln is exceedingly effective. Height, 11 inches. Period of Kang-Si, A. D. 1661. 494 VASE. /h- Rectangular in shape with undeveloped handles. A good quality of paste covered by a rich brown glaze intentionally thinning to a lighter shade at the joining points of the different sides. Height, 7 inches. Period of Chien-Lung, A. D. 1736. 131 /o- St au 495 CUP. 496 BOTTLE. 497 VASE. 498 VASE. - Art. No finer specimen of sapphire blue, it is safe ™ ) ¥ th th This specimen is a drinking cup, having pure white — glaze within, finished with a brilliant mirror black glaze without, upon which may be seen remains of decoration in gold leaf, a bird resting upon a limb being the only part which remains decipherable. ~~ gl Height, 44% inches. Period of Kang-Si, A. D. 1661. A massive porcelain base covered with a thick glaze of pale grey and splashes of deep rich blue. Glaze even, smooth, and above the average in quality. Height, 5¥2 inches. Later Ming Period (16th Century). The paste has been moulded into gourd shape which — is covered by coral glaze, clouded and shaded down in tone until, at certain points of the surface, the specimen is almost pure white. This style of deco- _ “4 ration renders the piece essentially unique in char- Ww acter and adds greatly to its beauty. It has a smooth, even paste of high quality and a perfect glaze. Height, 7 inches. — Period of Yung-Chéng, A. D. 1723. A matchless specimen of a deep sapphire blue glaze INS for which the reign of the Emperor named was remarkable, and this specimen may be taken as an example of the highest type of perfection in color reached at the Imperial Porcelain Factory during the reign of that distinguished patron of the Ceramic to say, can be found. Height, 10% inches. © Yung-Chéng Period, A. D. 1723. 132 499 500 Le 501 503 JAR. Octagonal in shape, decorated in various designs, finely incised under the glaze, which is of thin but extremely brilliant peacock green. The specimen is peculiar in this respect. It is commercial porcelain and bears upon the unglazed bottom, cut in the paste, the name of the private factory where it was manufactured. The Commercial Porcelain Works of Tsao Ran were widely known for the excellence of their products at the time when this specimen was manufactured. Height, 414 inches. j Period of Chien-Lung, A. D. 1736. BOTTLE. Turquoise blue glaze. Height, 5% inches. Period of Chia-Ching, A. D. 1796. VASE. Cylindrical vase with broad flaring lip, covered with powdered blue glaze. Similar to the last piece, though of slightly inferior quality. Height, 9% inches. Period of Kang-Si, A. D. 1661. JAR. Another fine specimen of the mirror black produced during the reign of this monarch. For smoothness to the touch and intense brilliancy of color, this specimen has few superiors. Height, 4 inches. Period of Yung-Chéng, A. D. 1723. VASE. This specimen is high shouldered, has a slender neck with flaring mouth and is covered with a powdered blue glaze. This peculiar effect is produced by blowing through a slender bamboo tube, across the end of which is fastened a fine silk gauze, powder 133 /3- VA 504 JAR 505 VAS 506 JAR 507 VAS of the color named, while the paste is still wet; the whole is then covered with transparent glaze. The — specimen bears all the earmarks of the Imperial Factory during the reign of the Emperor Kang-Si, though it fails to bear the hall-mark of that period. Height, 10% inches. Period of Kang-Si, A. D. 1661. - This specimen resembles, and yet is not to be included in, the so-called Flambé specimens of glaze, and is peculiar in the fact that while the entire body of the specimen is covered with a dark greenish brown ~ glaze inclining to black, the bottom is covered with lavender glaze. Height, 6% inches. Period of Chia-Ching, A. D. 1796. E. A marvellously fine specimen of the most brilliant peacock green glaze. The piece is without other decoration than its own soft and yet brilliant color. Height, 6 inches. Period of Chien-Lung, A. D. 1736. a brilliant pale green glaze. The only ornamentation is seen on one side and consists in a Chinese sleeve dog which has scrambled up the side of the jar in an effort to discover what is within. Height, 4 inches. Period of Chia-Ching, A. D. 1796. E. Has a long slender neck with rings about the body, the neck, and the lip under the glaze. The latter is applied with apparent carelessness upon the paste in order to secure shades of color upon the specimen varying from intense mirror black to several shades of brown. Height, 7% inches. Period of Yung-Chéng, A. D. 1723. 134 A low jar covered with fine crackle in the paste and 508 509 ? Ie- a 510 19S - 511 | a | 512 Ca- BOTTLE. A specimen of fine crackle covered by a brilliant apple green glaze. An excellent specimen of that species of glaze. Height, 6 inches. Period of Kang-Si, A. D. 1661. VASE. Decorated about the neck by various lines and scol- lops, and having elephant head handle. A brilliant mirror black glaze is so laid on as to fade into shades of brown about the neck and the flaring lip. This method of application of the glaze was intentional and adds greatly to the beauty of the specimen. Height, 15% inches. Period of Chien-Lung, A. D. 1736. BOTTLE. A specimen of apple-green glaze over fine crackle. Height, 151% inches. Period of Kang-Si, A. D. 1661. VASE. A most perfect and splendid specimen of the famous mirror black glaze of the Ming Dynasty, free from flaw or defect. Height, 12% inches. Period of Chia-Ching, A. D. 1522. (Ming.) BOTILE: Fine even paste covered by an oily glaze almost devoid of brilliancy, of apple-green color. The fine quality of the porcelain may be seen in the lightness of weight in the specimen. Height, 9 inches. Period of Yung-Chéng, A. D. 1723. VASE. High shouldered vase of black oily glaze, less brilliant than the one last described, but a good specimen of the softer glaze of the Kang-Si period, free from blemish. Height, 18 inches. Period of Kang-Si, A. D. 1661. 135 Bt EON TS ea eet Lies pe ee ae ire he Xe Jo- Ba CaNyg eek ee a Pla Nee ‘ 514 515 516 517 518 INCENSE BURNER. Of pottery covered with light brown glaze. Was ae made and has been used, not fora Buddhist Temple, =» — but before the Shrine of Buddha in some Chinese family. Height, 3 inches. Period of Chia-Ching, A. D. : 796. VASE. ae A specimen of commercial porcelain of the period named. The body is covered with a rough decoration incised under the glaze, which is of a transparent olive green. Height, 7 inches. Period of Yung-Chéng, A. D. 1723. JAR. A remarkably fine specimen of brilliant copper glaze, without flaw or defect. Height, 7% inches. Kang-Si Period, A. D. 1661. VASE. Of hexagonal shape, having coarse crackle in the ~ vase, covered with pale green glaze, purposely lacking at the angles which mark the various panels of the piece. Height, 9 inches. Period of Chia-Ching, A. D. 1796. FLOWER JAR. An ancient specimen of pearl grey glaze, the brilliancy of which has not deteriorated from old age. While it is impossible to determine exactly the date of this _ specimen, it probably belongs to the reign of Wan-Li, who ruled from A. D. 1573 to A. D. 1629. Few specimens of the Ceramic Art were produced during the closing and stormy years of the Ming Dynasty. Height, 6% inches. Later Ming Period (16th Century). 136 SAN TSAI CHINESE PORCELAIN VASE OF THE a2. oO N KANG-SI PERIOD re Yw- J) Ls0- 521 JAR. 519 CYLINDRICAL VASE. A brilliant olive-green glaze on a pottery body, having __ a coarse crackle. As is not unusual in pieces of such antiquity, spots are left where the glaze failed to cover the entire body of the paste. When its great antiquity is borne in mind, this specimen is unusually perfect. Height, 84% inches. Period of Wan-Li, A. D. 1573. 520 BOTTLE-SHAPED VASE. A choice specimen of ground tea glaze. Has a slightly flaring mouth and a lizard in exceedingly high relief resting upon the shoulder of the bottle and stretching to the neck. The specimen is true to type in every respect and lacks nothing which might detract from its high value as an example of this class of antique Chinese porcelain. Height, 11 inches. Period of Kang-Si, A. D. 1661. An unusually fine specimen of French grey. This jar bears a leaf ornamentation in low relief under the glaze at the base, a perfectly wrought band in Grecian pattern in low relief about the neck and has also dogs’ heads and rings upon the neck. Perfect specimen in every detail. Height, 12¥% inches. Period of Chien-Lung, A. D. 1736. 522 VASE. This mammoth vase belongs to the class known as the “San Tsai” or three-color specimens of Chinese porcelain. While there are apparently more than three colors used in the decoration, under the Chinese 138 system of color arrangement, they are all reducible to three primary colors—hence this characterization. The colors are of those peculiar shades and that vividness in tone which mark all porcelain decoration of this sort in the Kang-Si period, and set them apart in a class by themselves. The decoration in this specimen treats of an ancient period in Chinese history and of events which then took place, though they are largely traditional. The most peculiar bit of decoration upon the specimen consists of a four- clawed dragon having a substantially human face painted upon the neck of the vase, while one of the ancient worthies of China is portrayed as riding upon his back. The red sun is portrayed rising among mountain peaks and clouds, upon the flaring lip above. The famous mythical Dog Foo is seen near the base, mounted by another worthy. Near him is a tiger ridden by a semi-nude member of a barbarian tribe having a collar of peculiar design in green, showing the dependency of his nation upon China. This personage is intended to signify India. The elephant and the unicorn, each ridden by a member of a race differing from the Chinese, follow in the train. Near the base of the piece is a youth, unmistakably not a Chinese, who has gone to sea in a bowl, and near him stands still another foreigner who made a similar venture upon the lotus leaf. He has lost one of his shoes overboard, and is endeavoring to fish it out of the water with a shepherd’s crook. The entire decoration is quite unusual in vases of this class and extremely interesting. The specimen is flawless and without defect, which is rare indeed when one con- siders its age, size and the extreme difficulty found in retaining such a specimen for so long a_ period of time unbroken. Height, 40 inches. Period of Kang-Si, A. D. 1661. (See Illustration) 139 Sasi Lo 523 STATUETTE. — When the Catholic missionaries first entered China and succeeded in securing converts to their faith in considerable numbers, the alarmed Buddhists thought it advisable to add certain features to their religion. They, therefore, provided a Hell, hitherto unknown in Buddhism, and as a rival to the Virgin Mary, added to the list of Buddhist worthies, a Goddess of Mercy. This specimen represents that female divinity. She has risen from an expanded blossom of the lotus; a gourd developed from an opening lotus bud rises by her side, and a dove resting upon a lotus leaf is on the other side. The gourd represents fecundity and the dove, peace. In one hand is seen a pomegranate, which represents abundance, while the other hand is raised in the attitude of blessing. The hood of maternity is drawn over her head. Close inspection will show a Chinese character in the antique form, meaning “‘happiness,” upon the border of this hood. Height, 534 inches. Period of Tao-Kuang, A. D. 1821. 524. MEDICINE CUP. The Chinese have long maintained the superstition that purity of material and certain peculiarities of form of the cup from which medicine was taken would add greatly to the efficacy of the dose. This specimen is of very thin paste and has a heavy glaze possessing a high degree of purity. The oval-fluted form is one much used in cups intended for this pur- pose. It is entirely devoid of ornament, excepting a sentiment etched upon one side and quoted from — an ancient Chinese writer. Translated into English, the sentiment runs, ‘‘Purity of mind and body is productive of long life.” Height, 2 inches. Period of Kang-S1, A. D. 1661. 140 No. 526. EXQUISITE CHINESE PORCELAIN PEACH BLOW VASE WITH GREEN DRAGON ON THE NECK. YUNG-CHENG PERIOD 525 VASE. (ui- Of square body with a cylindrical flaring neck and lip. This specimen is without decoration, of thick solid paste and a brilliant glaze of mustard yellow crackle—a faultless example of a lost art. A com- panion to this piece will be found only with great difficulty. Height, 1934 inches. Period of Chien-Lung, A. D. 1736. 526° VASE. Jsvo- An exquisite and unique specimen of the famous peach-blow porcelain. This shade of color can no — longer be produced, the art being lost. It is now only known that in ancient times the principal ingre- dient in its production was gold. The specimen is of the finest and most exquisite shade of the color named and is unique, in that it bears twining about the neck of the vase and resting upon the shoulder, moulded in bold relief, a dragon of a peculiar shade — of green which also was produced from the same ingredients under slightly different conditions. This rare specimen bears upon the bottom the six character hall-mark of the Emperor during whose reign it was produced such as is. invariably found upon all genuine specimens of its class. With gold lip band. Height, 914 inches. Period of Yung-Chéng, A. D. 1723. (See Illustration) 527 WINE CUP. Jo- The paste of this specimen is semi-eggshell and so pure as to be almost transparent. While the specimen bears the six character mark of Tsung-Kwang of the Ming Dynasty, A. D. 1644, it in fact belongs to the period given below. As has been already noted, it was quite the custom of the earlier periods of this. © = - Dynasty, even at the Imperial Pottery Works, to 142 528 529 5_ 530 /§- 531 /ao- mark pieces then produced with the title of those Emperors of the Ming Dynasty, whose reigns were characterized by the production of the finer speci- mens of the Ceramic Art. Diameter, 2% inches. Period of Yung-Chéng, A. D. 1723. BOTTLE-SHAPED VASE. An excellent specimen of what is known as the ground tea glaze, which is smooth and oily, but possesses very little lustre or brilliancy. The specimen bears the six character seal mark of Chéng-Hua of the Ming Dynasty, A. D. 1465, but in fact belongs to the period noted below. The characters forming the seal mark are noticeable as being even more archaic than those usually drawn. Height, 16 inches. Period of Kang-Si, A. D. 1661. CUP. Square in form, with corners reéntrant. A very fine specimen of a pure white porcelain without decoration, of the period named, which was especially strong in specimens of this class. Height, 234 inches. Period of Yung-Chéng, A. D. 1723. VASE. Rectangular vase, of fine mustard yellow crackle, with heavy dogs’ heads. Crackle is unusually fine and even. Height, 9 inches. Period of Chien-Lung, A. D. 1736. This is a specimen of the famous and now extremely rare larger jars of blue and white hawthorn, with original cover complete. These jars were most large- ly made during the reign of the Emperor Kang-Si in the Imperial factories located near the center of 143 Js the Empire, at Ching Te Chen, where they still ot " When completed, these were sent to the southern __ portions of the Empire, notably to Canton, where they were filled with various delicacies and then sent to Peking, their contents being intended to tickle the palate and please the taste of the members of the Imperial family. The smaller specimens, comprising what are known as ginger jars, were used for the same purpose; the finer specimens of either these larger or the smaller jars were made during the reign of chee? Emperor Kang-Si. This piece lacks nothing to make it an excellent specimen of this class of porcelain, and it is rare indeed to find a specimen so completely without crack, or other defect. Height, 17 inches. Period of Kang-Si, A. D. 1661. 532 JAR. Of brilliant lemon glaze free from all decoration and — bearing upon the bottom a finely incised six character seal mark of the Emperor during whose reign it was manufactured. Without flaw or defect, save a slight scratch in the glaze. Height, 94% inches. Period of Yung-Chéng, A. D. 1723. _ a oy 533, WATER CUP. This water cup is one of a set of four or five pieces which constitute the outfit of a Chinese scholar, and has evidently been in active service. It is of semi- eggshell porcelain covered with mustard yellow glaze of exceedingly good quality. The piece will bear close inspection and evidently belongs to the period of the distinguished monarch to whom it is attributed, ~~ during whose reign the finest known specimens “of this peculiar glaze were produced. Diameter, 3\%4 inches. Period of Kang-Si, A. D. 1661. 144 Fal ty a hie sie iy) = Tap hart te aise 0h pees eh Ga ea a: yi = wid n or £3 eo 25 ye - J nue in bo oe leary ee ee) a Foe A ae 9 2 ate . a a5 ae: Oe 534 W- 535 536 VASE. This is a specimen of pottery rather than porcelain, and evidently belongs to the very earliest known period in the use of Celadon glaze, which in turn is the earliest style in color of glaze known to have been used in China. The piece is unique in every characteristic, the glaze being thick and heavy and failing to cover the paste at all points. The design is peculiar, the swelling of the lower portion of the body being fluted. That is followed by a broad band of a conventionalized floral pattern in low relief, while the upper half of the specimen is octagonal in shape and divided into two sections. The whole is finished with conventionalized fish handles and a narrow band around the mouth in Grecian pattern. The glaze is brilliant and still appears fresh though of extreme age. The specimen probably belongs to either the Yuan Mongol Dynasty, A. D. 1279-1398, or to a period even earlier than that, the Southern Sung Dynasty, A. D. 1127-1279. Height, 8% inches. Peculiarly brilliant lemon yellow glaze. Fine paste, closely resembling the egg shell variety. Has no decoration. Height, 7 inches. Period of Yung-Chéng, A. D. 1723. RECTANGULAR VASE. Though bearing the six character seal mark of Chia- Ching, painted in coral upon the glaze at the base of the vase, it unquestionably belongs to the period of the son of Chia-Ching, who succeeded him upon the throne. The specimen bears two bands of Greek fret in low relief under the glaze, one about the narrowest part of the neck, and the other just above the standard which forms the base. It is further 145 / 6o~ b L decorated by the figures of Chinese boys in full relief, engaged in the performance of gymnastic feats, upon the corners of the specimen. Three of these youngsters have climbed half way to the top of the vase, where one has seated himself, and his face indicates a feeling of great satisfaction at his bravery. Another has started to continue his journey to the top, while a third has been dashed headlong and broken to pieces. Another youth has seated himself at the base of the ring of the specimen, where his shoulders form a stepping-stone for a fellow who is making use of his shoulders, and perhaps intending to follow that, by placing his foot upon the youth’s head in his efforts to climb to the ledge which en- circles the specimen half way from the base to the top of the ring. Unfortunately, this lad’s ambition has cost him his head. Height, 9 inches. Period of Tao-Kuang, A. D. 1821. 537; VASE. 538 VASE. A fine specimen in cylindrical form, with flaring lip, of the blue and white of the later Ming Dynasty. The decoration is composed of flowers arranged in panels and narrow bands, also of flowers. The glaze is brilliant and the colors good. This specimen is not from the Imperial Potteries, but was manufac- tured at a private pottery of great reputation in the period named, which adopted a leaf as a hall-mark. Specimens from this pottery were, and are, hardly less in demand than those which came from the Imperial kilns. Height, 23 inches. Later Ming Period (16th Century). Ornamented with leaf band about the base, the neck terminating in a bulb, having incised lines which . terminate in another incised line about the neck. A beautiful and perfect specimen of lavender glaze. Height, 644 inches. Period of Yung-Chéng, A. D. 1723. 146 Lssd < 541 VASE. 539 VASE. The piece is gourd shaped, of pale yellow glaze, decorated in blue. The decorations consist of a conventional dragon, and five of the eight precious symbols of Buddhism. This specimen has the leaf mark upon the bottom as already described. Height, 84% inches. Later Ming Period (16th Century). 540 BOTTLE. A large bottle of dragon’s blood glaze belonging to the Chéng-Hua period of the Ming Dynasty, a period when the production of monochrome specimens of a single color reached its highest perfection in China. Upon the whole, the sacrificial red vases produced during the reign of Chéng-Hua may be ranked as the best. The factory for the manufacture of porcelains with dragon’s blood glaze (produced by grinding garnets and rubies into powder) first established under Imperial patronage in the reign of Hsiian-Té at Chin Te Chen by two brothers named “Lang” (of which the English equivalent is Wolf), was con- tinued by their descendants through the reigns of Cheng-Té, Chéng-Hua, Chia-Ching, Lung-Ching, and Wan-Li of the Ming Dynasty and during the first few years of the reign of Kang-Si, when the family became extinct, and with them died the secret of the glaze. Height, 15 inches. Period of Chéng-Hua, A. D. 1465. An extremely fine specimen of dragon’s blood glaze from the factory of the Lang Brothers during the reign of Chéng-Hua. One of the finest specimens of their marvelous ruby glaze. Height, 17 inches. Period of Chéng-Hua, A. D. 1465. 147 ee, ty tee, SE STN Fete an cee 542 BOTTLE. ae Another specimen of dragon’s blood glaze from the __ “Lang Yao,” which, if possible, in brilliancy of color, surpasses either of the two specimens immediately preceding it. Height, 15 inches. Period of Chéng-Hua, A. D. 1465. 543 PENCIL STAND. Cylindrical in form, intended to represent a section _ of bamboo, covered with brilliant clouded yellow — glaze. Carefully wrought under the glaze is the figure of a wise man of old, accompanied by a servant. The servant is represented as carrying an incense burner and following in the footsteps of his master, who bears in one hand a scepter, while with the other he points upward to the sun, which appears, — also in low relief, above and beyond him. The speci- men forms one piece of a set such as is used by scholars, and the decoration just described is intended | to suggest the importance of, and benefits derived from, the cultivation of literature. Height, 434 inches. Period of Chien-Lung, A. D. 1723. afisk fs ier el ae we, ’ -_ sibs 2 i Ae sas ee ey 8 Die SA I eee aero ee . pi os Pot ¥/, f ars ra y Peres o, tg * oe ; , Rr ee S she aS Shey peretrrs .- eee 544 JAR. Upon a body of pottery it has representations of the head of the Dog Foo as bosses rather than handles, and is covered with a thick and exceedingly brilliant glaze. The predominant colors consist of varying shades of brown with masses of mingled blue and white apparently laid upon the ground color, though in fact, this is an effect produced by the heat while the piece was in the kiln. Height, 6% inches. Later Ming Period (16th Century). 148 THE KANG-SI PERIOD BLACK HAWTHORN CHINESE PORCELAIN VASE OF 546 No. 545 JAR. <7 Has conventional representations of the Dog Foo for — ag ears or handles. Covered by a smooth yet brilliant — glaze of exceptional» purity from which the kiln developed a brilliant and rich red, overflowed by SV ak streams of blue in varying shades. A _ striking specimen. Height, 9 inches. Period of Kang-Si, A. D. 1661. — 546 BLACK HAWTHORN VASE. A “San Tsai Te” or three-color porcelain of the famous Black Hawthorn variety covered by an oily black glaze, though in some parts the glaze is brilliant rather than oily; decorated upon the glaze with haw- thorn trees and blossoms, extending from base to $a <6 lip, to which is added, about the base, rocks and bamboo trees in green. This class of antique Chinese porcelain is so renowned that no detailed description is needed. In gracefulness of design and decoration — and distinctness of color, this specimen is easily = among the best of its class. (The lip has been _ repaired.) Height, 28 inches; diameter, 10 inches. — Kang-Si Period, A. D. 1661. (See Illustration) 547 VASE. Has long slender neck and is covered with a brilliant lavender glaze. Two lizards in high relief decorate ye #3 the neck. These figures are carefully wrought. Height, 9M inches. Period of Yung-Chéng, A. D. 1723. 548 JAR. A rectangular jar covered with a fine and brilliant glaze of what is known as iron rust and ornamented : with heads of the Dog Foo in medium relief as. ~ / S hbal handles. An unusually good specimen of this rare : type of glaze. Height, 9 inches. Period of Chien-Lung, A. D. 1736. 150 549 JAR. A massive specimen of pottery, covered by heavy glaze, having the general color effect of the bronzes of the Yuan Dynasty, 1127-1279, mingled with flakes of blue. The combination has produced a rare color effect. Height, 8% inches. Period of Chéng-Hua, A. D. 1465. 550 BOTTLE-SHAPED VASE. This specimen is decorated with a row of leaves around the base, is of the so-called French grey color with an even and brilliant glaze, and free from defect or flaw of any kind. Height, 11% inches. ae Period of Kang-Si, A. D. 1661. 551 BOWL. fae A fine specimen of the early crackle of the Ming Dynasty. The glaze is upon pottery rather than porcelain and the extreme fineness of the crackle is rare for specimens of that early period. When pro- duced at all, the crackle is found to be much more coarse and less abundant; the brownish color is one of the indications found on this specimen of extreme old age. Extremely rare and correspondingly valuable. Diameter, 434 inches. Early Ming Period (15th Century). poe. VASE. Jp 9- This specimen is ornamented with the conventional Chinese scepter, used as handles and with various short ribs which serve to divide the neck, base and body. ‘This is a faultless specimen of pearl grey of the Chien-Lung period, whose six character seal mark may be found upon the bottom. The glaze upon the piece is unusually smooth and brilliant. Height, 13 inches. Period of Chien-Lung, A. D. 1736. 151 553 BOTTLE. This specimen is gourd shaped with floral decoration incised under the glaze, surrounding the lower part of what may be termed the body of the gourd. While this specimen bears no hall-mark and it is difficult, if not impossible, to determine the reign of | tYo- the Emperor to which it belongs, it is undoubtedly of the earlier Ming period. It probably belongs to — the reign of Yung-Lo, A. D. 1403, or Hsiian-Té, A. D. 1426. Height, 6 inches. Early Ming Period. 554 SLENDER NECK BOTTLE. In this specimen the neck is undecorated except by two lines in low relief which encircle it, while the entire body is decorated with a conventionalized lotus design and about the base is a small representation of the waves of the sea. The glaze is heavy and brilliant and has that rimmed base so peculiar to specimens made during the reign of Kang-Si. Height, 10 inches. Period of Kang-Si, A. D. 1661. [yo- 555 BEAKER-SHAPED VASE. Flower decoration covering almost:the entire exterior of the specimen in low relief under the glaze. As is not unusual even in specimens of Imperial porcelain, this piece, while bearing the six character mark of pie Chia-Ching—the Ming Dynasty, A. D. 1522, in reality was made by the Imperial Porcelain Works during the reign of the Emperor to which it is assigned. Height, 8% inches. Period of Yung-Chéng, A. D. 1723. 152 556 JAR. This specimen has a fine brilliant glaze of that peculiar ie transparency which is said among Chinese collectors | of porcelain to represent the water of the ocean. : The paste is of fine quality and the body of the vase is decorated under the glaze with masses of peaches combined with branches and leaves of the tree, also & with a neck band of Grecian pattern and leaves. Le The decoration of this specimen is artistic in the highest degree. As many specimens of Imperial porcelain and pottery during the earlier periods of the Ching Dynasty fail to bear the distinguishing mark of the Dynasty and Emperor, so this piece lacks them, but there can be no question of the age or the genuine character of this specimen. Height, 15 inches. Period of Kang-Si, A. D. 1661. 557 BOTTLE. The body of the bottle is square in form with a cir- cular neck, having six small tubes forming a sort of collar or decoration. The Celadon glaze upon the surface has a distinctively yellow cast which is only / £- found in pieces of great antiquity, which is due, not to any change in shade or color after the firing of the piece, but to the fact that the ingredients used in producing the color in the earlier periods of the arts were different from those in later use. Height, 9 inches. Ming Dynasty. Period of Cheng-Té, A. D. 1506. 558 This jar is elaborately decorated with conventionalized floral designs in low relief and with bands under the glaze. The heavy glaze is of the exact Celadon shade a of color. It has the six character seal mark of the ‘ s"- Emperor Chien-Lung upon the base in dark blue under the glaze. Height, 15 inches. Period of Chien-Lung, A. D. 1736. 153 559 JAR. Jar ornamented with two pairs of double lines, each ee in low relief and with conventionalized deer head handles. It is of fine quality paste with thick, bir characterizes the period to which the jar belongs. The fine quality of the paste may be seen by examina- tion of the unglazed base and bottom of the specimen. Height, 13% inches. Period of Kang-Si, A. D. 1661. 560 VASE. Oval-shaped bottle having slender handles, with decoration of petals of flowers in very low relief upon . the shoulder of the bottle under the glaze. The Loo “ shade of color, while genuinely Celadon, closely approaches a pale blue. The softness and smoothness to the touch indicate a fine quality of paste. Critical examination also shows an exceptionally fine quality of glaze. Height, 6 inches. Period of Chien-Lung, A. D. 1736. 561 VASE. Slender long-necked vase closely decorated with a floral pattern in low relief under the glaze, the main motive of the decoration being the stems, leaves, and buds of the Lotus, the true, sacred flower of the Chinese. The details are carefully wrought out and the flower drawn in all its native grace. The speci- oh - men belongs to one of the earlier periods of Celadon, | and by the style and quality of decoration, the soft- ness of the glaze and the thickness and weight of the paste can readily be recognized as belonging to the period and even to the reign of the Emperor whose name is found in dark blue characters under the glaze upon the bottom. Height, 9 inches. Period of Chéng-Hua. Ming Dynasty, A. D. 1465. 154 heavy glaze of uniform dark shade of Celadon which a: ea we i f >. =! 7% i? it Ve 562 me BOTTLE. Gourd-shaped bottle of fine smooth paste with exceptionally brilliant yellow glaze. The bottle is divided into panels marked by depressions in the surface, but is without other form of decoration. The glaze is of unusual brilliancy and a paste of exceptional quality characterizes this bottle. Height, 9 inches. Period of Kang-Si, A. D. 1661. Sb — egal - 4-u-— AS are SIXTH SESSION Paintings by European and American Artists JACOB KIERINGS 1590-1640 563 VIEW IN SCOTLAND: WOODLAND LANDSCAPE WITH FIGURES. Canvas. Height, 1114 inches; width, 16 inches. ANTOINE VOLLON 1833-1900 564 COAST SCENE WITH FISHING BOATS. Panel. Signed. Height, 934 inches; width, 16 inches. — J. HARPER 565 LANDSCAPE WITH A CASTLE IN THE DISTANCE. Canvas. Signed and dated 1797. Height, 27 inches; width, 38 inches. RICHARD WILSON 1713-1782 566 LANDSCAPE. Although starting his career as an English portrait painter, Wilson’s landscape art was developed by a residence of some years in Italy. He received no recognition for it, however, during his life time, and died in poverty; only in modern times has he been regarded as one of England’s greatest landscape painters. Canvas. Height, 74% inches; width, 11 inches. 156 tun gee sf RICHARD BARRETT DAVIS 1782-1854 567 A THUNDER STORM. A flash of lightning strikes terror to a group of horses that huddle together at the base of a hill; great trees sway in the wind at the right and a castle is seen in the distance. This artist won the favor of King William IV and was appointed animal painter to the court and commissioned to paint the cavalcade of the coronation procession. Canvas. Height, 25 inches; width, 30 inches. JAN BRUEGHEL (CALLED VELVET BRUEGHEL) 1568-1625 568 LANDSCAPE WITH FIGURES. Panel. Signed. Height, 14 inches; width, 22% inches. LUDOLF BACKHUYSEN 1631-1708 569 A STORM AT SEA. This example of the celebrated Dutch painter of storms and sea pieces shows a frigate in a storm, with wild waters, and storm-torn sails, just the kind of subject in which he was at his best. Canvas, relined. /3o- Sauces ato TE Height, 24 inches; width, 36 inches. PAUWEL BRILL 1554-1626 570 MOUNTAIN LANDSCAPE WITH FIGURES. Panel. Signed and dated 1616. Height, 21 inches; width, 31 inches. ye 157 THOMAS BARKER (CALLED BARKER OF BATH) 1769-1847 571 THE WATERING PLACE. In a shallow stream a white horse and a cow are seen drinking while the herdsman looks on near by. Trees rise at the right arching the stream, and a fallen ‘tree } WU- lies in the foreground. Canvas. See Height, 41 inches; width, 30 i 1 PHILIP VAN MASCHEREN ie Dutch, 1632-1699 ve 572, NAVAL SCENE: SHIPS FIRING A SALUTE. Canvas. Height, 14 inches; width, 38 pe M07: LOUIS LEOPOLD BOILLY 1761-1845 573 THE STREET BARRICADE, A crowd of men and women are engaged in aos a barricade in a Paris street during the French Revo- lution, scenes from which this artist loved to paint. At the left a leader standing on a barrel harangues Sd - the crowd and on the top of a diligence which ob- structs the way, two men are waving a flag. Canvas. Height, 30 inches; width, 42 inches. JACQUES COURTOIS (CALLED IL BORGOGNONE) 1621-1676 574 A BATTLE SCENE. Canvas, relined. Height, 29 inches; width, 38 inches. fI- 158 No. 582. PEG WOFFINGTON By William Hogarth UI — Jo- 3o- fo- ‘SEBASTIAN FRANCKEN 1573-1647 575 A GARDEN FETE. In a formal garden of an old chateau a multitude of well-grouped figures, after the fashion of this Flemish master, are gathered for pleasure; buildings of medi- aeval design rise at the right and left. Panel. BS, Height, 12 inches; width, 18 inches. = A FRANCESCO GESSI Italian, 1588-1649 576 CUPIDS IN COMBAT. ; Three children, nude, are struggling with three cupids, whose bows and quivers lie strewn about _ on the ground. An inscription on the back afore us that it was — purchased from an old chateau in France in 1896. _ cho Metal panel. Height, 21 inches; width, 28 inches. are JOHN QUIDOR 1800-1881 577 RIP VAN WINKLE REACHES THE GNOMES. Canvas. Height, 26 inches; width, 34 inches. From the Carroll Collection, 1895. THEODULE RIBOT iS ae 1823-1891 578 SAINT SEBASTIAN. At the right is seen the figure of the saint bound to a tree and pierced with arrows. In the distance two women approach. Panel. Signed. Height, 10 inches; wadth, 7% inches. 160 $O% SB - Lide- P. P. A. ROBERT 1686-1733 THE CAVERN. In a cavern through which curves a roadway, two women mounted on horses are seen advancing toward a lake that lies in sunlight beyond. From the other side a shepherd comes with a flock of sheep; an old beggar sits with hat in hand and at the right some figures are gathered about a fire. Canvas. Signed. Height, 20 inches; width, 17 inches. DAVID RYCKAERT 1612-1661 A ROADSIDE TAVERN. This Flemish genre painter was a follower of Brouwer and Teniers and found his subjects in the interiors, fairs and merrymakings where peasants came together; with other painters of his time he left a record of the types and domestic scenes of his country. Panel. Height, 19 inches; width, 25 inches. ABRAHAM STORCK 1650-1710 ENTRANCE TO THE PORT OF ANTWERP. Canvas, relined. Height, 20 inches; width, 26 inches. WILLIAM HOGARTH 1697-1764 PORTRAIT OF PEG WOFFINGTON. Canvas. Height, 24 inches; width, 19 inches. Purchased from Mr. J. Ichenhauser, 1894. (See Illustration) 161 oN Ee S/o - ee CONSTANT TROYON 1810-1865 583 LANDSCAPE AND CATTLE. Canvas, relined. Signed. Height, 11 inches; width, 18% ‘inches. N. V. DIAZ 1808-1876 584 THE POOL IN THE FOREST. | : Panel. Signed. Height, 642 inches; width, 10 inches. ADOLPHE MONTICELLI _ ie vl 1824-1886 585 FIGURES IN A WOOD. = This work of the eccentric and fantastic French painter shows the usual richly colored costumed — figures that move mysteriously 1 in the deep shadows of a forest. There is the riotous phantasy of color that ever characterizes the work of this friend of Diaz. Canvas. Signed. Height, 13 inches; width, 16 inches. JULES DUPRE 1812-1889 586 OLD FARMHOUSE AT BARBIZON. : Seen from the garden the house lifts its steep roof against an evening sky; trees rise at the right. Canvas. Signed. Height, 1914 inches; width, 24 inches. GEORGES MICHEL 1763-1843 587 LANDSCAPE. Paper mounted on panel. Height, 14 inches; width, 19 inches. 162 rage “En he iets LANDSCAPE IN THE FOREST OF FONTAINEBLEAU No. 592. 1aZ By N. V. D EUGENE DELACROIX 1799-1863 588 A STUDY FOR THE ENTOMBMENT OF CHRIST. In 1848 Delacroix painted his great picture oft “The Entombment,” following it with a number of -varia- one tions; but for every work he made numerous st 1 and prodigious preparations in order to satisfy him- self. This subject was one which haunted his brain and to which he returned again and again with 1 new / Ca: _ inspiration; now he presented the scene in a rocky cavern with only the fitful light of torches touching the tragic figures, again the action is taking place under an imposing portico, or with a landscape background. Always the story is told with dramatic force and intensity. Canvas. Height, 24 inches; wide ‘d c inches. CONSTANT TROYON 1810-1865 vi aie Fi 589 STUDY OF AN OLD TREE. a A study in the Forest of Fontainebleau. From the sale of the artist’s effects. Canvas. Stamped “Vente / eg = Troyon.” Height, 18 inches; width, 10 inches. = EUGENE ISABEY 1804-1886 590 EFFECT OF AN EARTHQUAKE. An old church, solidly built as if to endure for ages, has been wrenched asunder by the power of an earth- quake and stands in ruin; its walls are out of plumb, its roof sunken. Canvas. Height, 17 inches; width, 25 inches. Bought at the sale of Isabey’s atelier, March 30, 1887. 164 Ve mou, a No. 598. MARGUERITE, DUCHESS OF CLEVELAND By Sir Antony Van Dyck > J el a a ee <= UNKNOWN PAINTER French School, XIXth Century 591 A TRAVELING CIRCUS IN THE FOREST ay ST. GERMAIN. © Panel. Signed, but illegible. > ( \¢ ve Height, 18 inches; width, 22 inches. Bears the seal of the Society des Beaux Arts of Rheims, France. N. V. DIAZ 1808-1876 592 LANDSCAPE IN THE FOREST OF FONTAINE- | BLEAU. Gathered about a ee pool in the foreground are some cattle, watched over by a peasant woman, who sits on the right at the foot of a tree, attended by a dog. The great trees of the forest rise on either hand, arching above, with the blue sky with rolling white G107- clouds between. Panel. Signed. Height, 7% inches; width, 10% inches. Reproduced in “Renaissance and Modern Art,” by Wm. H. Goodyear, M. A. Published in 1894. (See Illustration) FRANCOIS BOUCHER 1703-1770 593 NYMPHS BATHING. Three semi-nude women recline on their blue and crimson draperies under the low-hanging branches of a tree which bends over the water. On the farther shore of the pool rise a group of poplars and a mass / G 6<- of foliage against the blue sky, forming altogether a decorative composition of much charm. Canvas, oval. Height, 19 inches; width, 23 inches. Purchased in 1891. 166 LL Ms aAneyT uoquy Ag ONIHONO Td ‘109 ON THEODORE ROUSSEAU 1812-1867 594 COTTAGE AT BARBIZON. A path in the foreground leas across a scrub pasture to a cottage shaded by noble oaks, where a peasant woman is seen; the blue sky flecked with clouds i is touched with sunset light. The forest of ‘Fontaine- bleau, where Rousseau spent many years of his’ 4 §V- supplied him with endless subjects, and it is s difficult to realize now that the work of this great “master was excluded from the Salon for thirteen years be- cause of his naturalism. Panel. Signed. Height, 8% inches; width, 1 094 in inches. WILLIAM ETTY 1787-1849 595 A NUDE FEMALE FIGURE. * Seen from the back against a red curtain, a woman stands on one leg, the other bent, her knee rests on a chest; the left arm is raised above her head. f" a oe Canvas, relined. Height, 24 inches; width, 19 inches. CHARLES FRANCOIS DAUBIGNY 1817-1878 596 LANDSCAPE. ; Panel. Signed. Height, 10 inches; width, 16 inches, “7p Oe— GUSTAVE COURBET 1819-1878 597 LA GEANT DES MONTAGNES DU DOUBS. In the foreground cattle graze watched over by a herdsman and his dog, seen at the side engaged in conversation with a woman. At the back rises a row of buildings embowered in trees. Canvas. Signed. Height, 26 inches; width, 35 inches. L3 es “A notable Courbet”—James G. Huneker in the N. Y. Sun. 168 No. 602. LOVERS IN THE HARVEST FIELD By Jean Francois Millet UL ce I 4 ! SIR ANTONY VAN DYCK 1599-1641 598 MARGUERITE, DUCHESS OF CLEVELAND. The young woman is seen at bust length, her body in profile, her head turned toward the spectator; her hair falls in curls about her shoulders and she + ‘wears a single strand of large pearls about her. neck, v with double pendants in her ears. Her silk gown falls low ‘ on her neck and is ornamented with a jeweled chain 3 eas which is held at the shoulder by a cluster cross. The lady was a favorite of the Court of Charles II. . The carved wood frame shows floral Marguerites i in the four corners. Panel. Height, 15 inches; width, 12 inches. From the Collection of S. Moreau-Chaslon, and previously in ae celebrated Collection of his father, a well: knoe Collector of rance. Fd Purchased in 1888. (See Illustration) JULES DUPRE ; : 1811-1889 599 LANDSCAPE. Panel. Signed. Height, 10% inches; width, 13% inches. Yu 6 GEORGE MORLAND 1763-1804 600 THE COTTAGE DOOR. Canvas. Signed and dated 1780. Height, 14 inches; width, 18 inches. Engraved and engraving shown herewith. ‘ Z ar) Be Purchased from Mr. J. Ichenhauser in 1894. 170 No. 605. THE SIESTA Honoré Daumier Anon MAUVE 1838-1888 601 PLOUGHING. ; Canvas, mounted on panel. ec ‘Atelier Mauve.” Height, 15 inches; width, 24 inches. Purchased from Thomas Richardson & Co. after exhibition st57 5 Nae : 1791-1824 617 PORTRAIT OF THE ARTIST’S MOTHER. , Canvas, relined. Height, 23 inches; width, 19 inches. ARTHUR B. DAVIES eae Contemporary American Painter ay 618 THE CHILDREN OF YESTERYEAR. Down a flowery valley passes a long procession of children toward the river that flows past the high cliff beyond; at the right sits a mother with an infant in her lap while the little god of love stands at her side. A flowery bank rises at her back, and away at / O¢0- the left some houses are seen on the uplands. Canvas. Signed. Height, 25 inches; width, 20 inches. Purchased from the Artist. ALEXANDRE GABRIEL DECAMPS 1803-1860 619 THE GOOD SAMARITAN. m In a rocky cove near the sea some horsemen have ~ stopped to aid a wayside sufferer. Two horses stand at the right waiting for their riders who bend over 176 Lt - No. 624. COUNT BEVILACQUA By Paolo Veronese Joo Lyoa- the victim at a short distance. In the distance a stretches a lurid sunset sky. Canvas, relined. Signed with initials. Height, 18 inches; width, 25 inches. Sold in the Beriah Wall Collection, 1886. Sold in the Elmer Capen Collection, 1889, when it was acquired a by Mr. Chapman. “Decamps’ ‘The Good Samaritan,’ will convey a new idea of — this singularly lovable painter. The composition is powerful and — organic, the sweeping brush work is ‘like a gale of wind’ (as a critic once remarked of the Rubens room at the Louvre) and the color fairly sings. It is a sumptuous work.”—S. Swift in the Evening — Mail, March 27, 1906. “Of similar interest is the impressive landscape in which De- camps sets ‘The Good Samaritan’ and ‘The Levite.’ The forms of the cliffs are rendered with brusque realism and the heated sands are shadowed by an ominous light—in all a high effort of the imarinadion it J. Mather, Jr., in the Evening Post, Jan. 24, 1906. “An out-of-the-way Decamps, golden in tone, fascinating in construction with figures representing ‘The Good Samaritan’ and his charge, is a treasure trove.”—James Huneker, in the New York Sun. CORNELIS HUYSMANS 1648-1727 620 LANDSCAPE. Canvas. Hetght, 24 inches; width, 29 inches. GEORGE MORLAND 1763-1804 621 A GIPSEY ENCAMPMENT. Morland often made repetitions of his subjects with slight variations; a repetition of this picture is, or was until recently, in the Collection of Sir Walter Gilbey. Canvas. Signed with initials. Height, 24 inches; width, 29 inches. 178 castle is seen perched on the rocks and above GEORGE ROMNEY 1734-1802 622 PORTRAIT OF A LADY. F a Canvas. Height, 30 inches; width, 25 inches. REMBRANDT VAN RYN (ATTRIBUTED) 1607-1669 623 THE ADORATION OF THE MAGI. Gorgeously arrayed, the bearded Wise Men of the East with their attendants are seen descending 4 ‘several steps to the enclosure where the young lL g0- Mother, clad in blue sits holding the Holy Child, haloed in light. St. Joseph in a red robe bows low in receiving them, while through the arches of the -architectural structure rising overhead, other figures are seen against the deep blue background of the night. Canvas. Dated 1664. Height, 24% inches; width, 19 inches. This picture was bought in an old castle near Brunswick, Ger- many, which formerly belonged to the Guelphs, the present Royal family of England. Mr. Chapman purchased it in 1895 from the gentleman who brought it from Germany. “Much the most marvellous of the Chapman old masters, is an ‘Adoration of the Magi,’ by Rembrandt. It appears to have been a study for a large picture, probably an altar piece for a chapel, but it is a finished work in itself. The size is about 12 x 18 inches— I am inclined to think it is somewhat larger. The composition is of commanding largeness and simple strength, and the execution is of the Artist’s later period, when he had full command of his technique and the consequent freedom and boldness of touch. In color it is like a huge casket of gems, glowing, scintillant, breaking into flashes of flaming brilliancy, and smouldering, under all, with the splendor of imprisoned fire. It should be in some museum.”— The Collector, Sept. 1, 1895. PAOLO VERONESE 1528-1588 624 PORTRAIT OF COUNT BONIFAZIO BEVILACQUA. | In a suit of armor elaborately trimmed with gold / 6 0- the young Italian nobleman stands leaning against 179 a table on which rests his plumed helmet. He is seen at half length and looks directly at the spectator. He fought against the Turks in the service of the King of Hungary and also in the service of the Vene- tian Republic in the battle of Lepanto in 1571. _ Canvas. Height, 46 inches; width, 35 inches. From the Collection of Henry Doetsch, Esq., sold at Christie’s in 1895; the catalogue of this Collection was compiled a Dr. J. P. Richter. (See Illustration) CLAUDE JOSEPH VERNET 1712-1789 625 A STORM ON THE COAST. In a bay, walled in by towering rocks, some men are seen drawing a boat up on the shore, while beyond, another boat, caught by the gale, is in peril of the rocks; on the right in the distance rises a lighthouse perched on a cliff. Going to Rome as a youth of / 6o7 twenty, Vernet remained there for a score of years, and although he was a pupil of Panini, he did not follow his master’s architectural style but became the first marine painter of Europe. Canvas. Height, 38 inches; width, 56 inches. SEBASTIANO LUCIANI (CALLED SEBASTIANO DEL PIOMBO) 1485-1547 626 MADONNA AND CHILD. Holding the nude Child in her lap, the Mother with an expression of tenderness bends her head forward as she nourishes Him at her breast; a scarf falls G a - from the back of her head encircling her neck. The 180 No. 626. MADONNA AND CHILD By Sebastiano del Piombo nes : : ans es i entire picture is in a scheme of brown monotone and — is marked by a strong plastic treatment. Canvas, relined. Height, 31 inches; width, 24 as Bakene eS - Formerly in the Joseph Bonaparte Collection. Purchased by the late owner about thirty years : ee it to be the work of Sebastiano del Pio hte mt ay feos With kind remembrances, I remain, Very truly yours, St: : Bernhard Berenson. 4x ene = ay PD eee Pd nde “ Almost monochromatic, but revealing a a gamut of subtle tonalities ranging from grayish brown to a dark pérplish tinge, is aa a ‘Madonna and Child’ by Sebastiano del Piombo. In its quiet ~ power, its Leonardo-like’ mystery and strength, there is the true essence of genius. Here is a veritable Old Master, before whose shrine the art lover of today may well offer i incense.” —Samuel Swift in the Evening Mail and Express. soe “A genuine Sebastiano del Piombo, a ‘Mother and Child’ of extraordinary power and majesty. The picture was at one time in the possession of the Bordentown branch of the Bonaparte family.”—Roger Riordan in the Lotos. “We miss the genuine portrait in the Metropolitan Museum and also a ‘Madonna and Child’ in possession of Mr. Chapman in this city, a painting recalling our artist’s latest manner and attributed _ to him by critics of repute.”—Mr. Frank J. Mather in a review of a book on Sebastiano del Piombo by Pietro d’Archiardi in the Evening Post. (See Illustration) 182 31010) ‘Dd “f Ad SMOTIIM LINVIS FHL C9 ON 1460- Frys 627 J. B. C. COROT 1796-1875 THE GIANT WILLOWS. A mass of great willows, rising at the right, spread their branches shading a small pool at whose brink two women pause; from the farther shore rises a slight hill tufted with scrub trees and in the distance a village is seen; there is a clump of feathery trees -at the left and beyond stretches the blue sky with low-rolling white clouds, which become a primrose yellow at the horizon where seen between - tree trunks. Canvas, relined. Signed. Height, 35 inches; width, 58 inehes Exhibited at the Democratic Club in 1903. Exhibited at the Lewis and Clark Exposition, 1905. Exhibited at the Alaska-Yukon Exposition in 1909. “An important landscape by Corot, ‘The Giant Willows,’ in breadth and beauty of conception and tenderness of feeling is of the first rank. It shows a sky full of pulsating, vibrant light, with a clump of trees as principal theme of the foreground and a vista of the kind Corot loved to paint.”—Samuel Swift in the Mail and Express. “There is a large Corot painted in what is commonly called the middle period of his career, when his greens were fresher than they afterwards became. A ‘Giant Willow’ decoratively filling a generous portion of the canvas, is thrown into relief by a delicate light sky, while the foreground is relieved by a gleaming pool and » shadowy figures.”’—Ben Foster in the Evening Post. “Corot’s familiar art is represented by a number of fine examples, notably his beautiful ‘ Just Before Sunrise.’ His grave and impres- sive ‘Giant Willows,’ in a more sombre and dramatic note, is also here.”—E. C. Peixotto in Scribner’s Magazine, Sept., 1909 (See Illustration) SIR JOSHUA REYNOLDS 1723-1793 628 THE NYMPH AND PIPING BOY. A young woman nude, her head wreathed with roses, is seen reclining in sweet indolence, charmed by the Arcadian music from the pipe which a young boy fingers, held to his lips. The boy, seated against a tree, is clothed in a crimson jacket, while the crimson 184 No. 628. THE NYMPH AND PIPING BOY By Sir Joshua Reynolds /y0- fo a- ee . J. M. W. TURNER drapery festooned above them reveals an idylic landscape reaching away to the horizon. Canvas. — Height, 51 inches; width, 41 inches. i Purchased 5) Mr. T J. Blakeslee in 1897. This painting is the same subject as one sold in the Sir Chie Quilter Collection in London in 1908. A letter dated 1898, from Sir Cuthbert, which is published 1 in Graves and Cronin’s “History ofr the Works of Reynolds,” says: “There are several picture 16 same subject.” ees : (See Illustration) 1775-1851 629 QUEEN MAB’S GROTTO. In a fantastic bay of rocks arching the sea ae crowned with diminutive temples built of moonbeams, — sport numerous water nymphs, under a golden sky. : This fantastic grotto, where dwells Queen Mab. the fairies’ midwife, is only a colorful dream of | and fancy not to be measured by the cold light of © reason. Turner was fond of these “children of an_ ; idle brain, begot of nothing but vain fantasy,” which include some of his greatest pictures. ~ Canvas, relined. Height, 29 inches; width, 38 inches. From the Collection of Mr. Wallace, sold at Christie’s, 1898, and purchased for the present owner at that sale by Mr. J. Ichenhauser. GEORGES MICHEL aes : 1763-1843 Shay 630 LANDSCAPE. Mise ts This important example of the Father of modern French landscape art, shows a wide stretch of country seen from an eminence, with a silvery stream winding through the plain. At the left rises a mass of trees and above, the sky is filled with rolling clouds. Can- vas. Height, 34 inches; width, 42 inches. (See Illustration) 186 PYPI Sed1oex) Ag AdVOSANVT ‘0f9 ‘ON fou- IW ek tae Co- CARLETON WIGGINS Contemporary American Painter 631 IN THE GLOAMING. << ae Canvas. Signed. Height, 36 ge one 50 inches Purchased from the Artist. e 2g Res SIR THOMAS LAWRENCE 1769- 1830 632 PORTRAIT OF GEORGE III. ees Canvas. Height, 30 inches; width, 25 Pier From the Collection of S. Moreau-Chaslon, and. previously in the celebrated Collection of his father, a well-known ‘Connoisseur of France. ey rie - Purchased in 1888. oe Ne GEORGE MORLAND 1763-1804 633 THE LIGHTHOUSE. tee At the right with a view of the sea, stands a pablic house or waterside tavern, whose sign above the door carries the name of the keeper, a man by the name of Light; for him the picture was painted and he is seen standing in the doorway. The son of this first “owner brought the picture to this country in 1820; in 1840 it was inherited by a grandson and in 1870 it passed into the possession of Mr. Cleaver, keeper of Cleaver Chop House, Brooklyn, upon whose death it was acquired by the late owner. Mr. Chapman first became acquainted with 1 iti in 1365. Canvas, relined. Signed. Height, 30 inches; width, 37 Paes: ~ Par > Saray JACOB GERRITSZ CUYP 1594-1651 634 PORTRAITS OF TWO CHILDREN. Two Dutch children are seen wearing caps and lace- trimmed collars over their quaint dresses; about 188 A CLASSICAL LANDSCAPE No. 638. By Salvator Rosa Jot yur- rn beads, hang medallions with inscriptions showing them to be the children of a prince. A landscape - forms the background. Panel. : Height, 29 inches; width, 34 inches. ELIMAR ULRICH BRUNO PIGLHEIM 1848-1898 635 MADONNA AND CHILD. The Mother, seated, holds the nude Child on ee knee, His head resting against her shoulder; her head, bound in a white scarf, is haloed round with gold and the entire figure is seen against a mysterious background that suggests the night. Beginning his career as a sculptor, Piglheim only took up painting after a visit to Italy, but he achieved such success — in the new field that he is only known now as a painter. Canvas. Signed at Munich. Height, 42 inches; width, 32 oe Purchased from Knoedler & Co., 1890. GASPARD DUGHET (CALLED GASPARD POUSSIN) 1613-1675 636 LANDSCAPE WITH FIGURES. In a landscape, bounded by blue hills, rises a rocky mass crowned by a castle, with a cascade falling beneath; at the left stands a great urn shaded by great trees, with half nude figures in wind-blown draperies. The artist was a brother-in-law of Nicholas Poussin whose name he adopted, and renowned as a very rapid worker, often producing a large picture in a day. Canvas. Height, 39 inches; width, 53 inches. From the Collection of Edward Leavitt, 1884. 190 ae. BENJAMIN ROBERT HAYDON 1786-1846 637 THE TRIUMPH OF URIEL OVER SATAN. Uriel, one of the seven archangels, and spoken of as the good angel in sacred writings, is shown as a winged figure with flowing hair, crowned with the cross, who tramples under foot the writhing Satan; in the D- right hand is a flaming sword and in the left a shield. In Milton’s “Paradise Lost” Uriel is represented as the angel of light whose station is in the sun. Canvas. Height, 50 inches; width, 30 inches. SALVATOR ROSA 1615-1673 638 A CLASSICAL LANDSCAPE. Through huge rocks a cascade comes tumbling down to the foreground, where some peasants are resting at the base of a ruined column; giant trees lift their branches high above, shading the rocks and pool; beyond stretches a mountainous country; on the top of one of the cliffs a shepherd and some goats Vis- are seen enjoying the prospect. In his youth Rosa made a sketching tour through the Abruzzi, long the wild resort of banditti, and from this experience gained knowledge of the scenes and people which he later employed in many of his pictures. Canvas. Height, 64 inches; width, 46 inches. From the Richardson Collection, 1890. (See Illustration) American Bank Note Co., N. Y. Died A pp eg rd tp rg barn Sor att we Sue ‘3 a Reaaty