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 A SUMPTUOUS CATALOGUE. 
 
 Preparatory for the sale of the works of 
 art collected by the late Henry G. Mar- 
 quand which remain a part of his estate 
 and w'ere not presented to the Metropolitan 
 Museum, the firm having charge of the sale 
 has issued a very sumptuous catalogue, 
 limited to 250 copies, which surpasses in 
 beauty and elaborateness anything hereto¬ 
 fore printed for the sales by the American 
 Art Association. 
 
 The sales of Mr. Marquand’s treasures 
 are to open on Jan. 23, which is a Friday, 
 and continue during the afternoon^ of Jan. 
 24, 26, 27, 28, 29,.30, and 31, as well as the 
 evenings of Jan. 28, 29, and 30. The, promi¬ 
 nence of Mr. Marquand as a collector and 
 as President of the Metropolitan Museum 
 would be sufficient in itself to call atten¬ 
 tion to these sales; but the many friends 
 he made during his life and the circum¬ 
 stances which have compelled the disposal 
 of his art treasures add to the interest. All 
 New York will be there. 
 
 The frontispiece of this portly folio in 
 board covers is, naturally enough, a repro¬ 
 duction of Sargent’s admirable portrait of 
 Mr. Marquand, a photogravure on heavy 
 Japanese paper, and worthily does it lead 
 the long line of illustrations. The original 
 is a picture that holds its own for charac¬ 
 terization of the sitter and for brilliancy of 
 technique with the portraits by old masters 
 and the print reproduces the sweep of the 
 brush wherewith Sargent has indicated the 
 structure of a hand and the wrinkled skin 
 of an elderly person, the fall of the trous¬ 
 ers that indicates the shrunken proportions 
 of advanced years, and the eyes, somewhat 
 perplexed, which suggest a person some¬ 
 what hard of hearing who is trying to dis¬ 
 tinguish what is being said to him. The 
 original is the property of the Metropoli¬ 
 tan Museum. 
 
 The catalogue is from the J. J. Little 
 Press, finely printed on heavy, laid paper, 
 and contains over seventy full-page illus¬ 
 trations, like the frontispiece, on heavy 
 Japanese paper. The painters judged wor¬ 
 thy of reproductions in this way are: Con¬ 
 stable—“Dedham Vale”; J. M. W. Turner 
 —Three, views in Germany; Sir Joshua 
 Reynolds—“ Countess of Nottingham” and 
 “The Hon. Mrs. Stanhope”; George Rom¬ 
 ney—" The Shy Child ” and “ Mrs. Wells ”; 
 Theodore Rousseau—A landscape; John 
 Hcppner—“ Lady Almeria Carpenter,” 
 “Young Shelley,” and “Mrs. Gwyn”; Sir 
 Henry Raeburn—” Portrait of Charles 
 Lamb”; John Russell, R. A.—“ Peg Wof¬ 
 fington”; Constant Troyon—“ Landscape 
 With Cattle”; Alma-Tadema—" A Reading 
 from Homer” and “Amo Te, Ama Me!” 
 Lord Leighton—” Mural Paintings Repre¬ 
 senting Music ”; Old Crome—“ The Porling- 
 ton Oak”; Edwin A. Abbey—” Mariana in 
 Measure for Measure,” and George Jri. 
 Boughton— “ Marvell's Last Visit to Mil- 
 ton.” These twenty-three pictures have 
 been selected from ninety-three oils and 
 water colors belonging to the Marquand 
 estate which will come up for sale next 
 month. The photogravures are what are 
 called Elson prints, and are made in Bos¬ 
 ton. , , . , 
 
 Five color plates by the American Litho¬ 
 graphic Company of New York add to the 
 value of this permanent record of a nota¬ 
 ble sale—a Persian carpet of the sixteenth 
 century, about sixteen feet long, charming 
 in design and soft in colors; a Luristdn 
 fifteen feet long, dark-blue centre and red 
 border, with pear-shaped escutcheons, and 
 a splendid Persian of the fifteenth century, 
 about twelve feet long, with a border of 
 red escutcheons containing inscriptions in 
 poetry, a yellow ground, and in the central 
 field fabulous animals on a green ground. 
 The last recalls the frontispieces of Persian 
 books. An old Persian prayer rug very 
 mellow in color and another more brilliant, 
 both of silk, are further embellishments of 
 the book. These color prints are separately 
 printed and tipped in. The letter press ac¬ 
 companying the description contains much 
 information which will be relished by those 
 who admire Oriental rugs. 
 
 Other objects in the collection reproduced 
 by photogravures arc bronzes, ivories, and 
 tapestries, a piano with designs by Alma- 
 Tadema, altar frontals and inlaid cabinets, 
 Moorish placques from Spain, enamels 
 from Limdges, Greek terra cottas and fig¬ 
 urines by the Della Hobbias, mosaics from 
 old Rome, English silver, Greek and Ro¬ 
 man glassware, Chinese porcelains and 
 Japanese lacquers, old Delft and Japanese 
 pottery, and many other articles. Mr. 
 Marquand’s collection of catalogues will In¬ 
 terest librarians; his sketches, etchings, and 
 drawings by famous artists attract the 
 curators of museums. His library of l,20t) 
 volumes will also be dispersed by this sale; 
 it contains an unusual number of works on 
 art. The badge on the cover of the cata¬ 
 logue is a seal with sailing Crusader’s gal¬ 
 ley in the centre, steered by a saint, and 
 around the edge the Latin of his name 
 [“ Marquand ” being translated into “ mer¬ 
 chant ”] runs thus: 
 
 S. HENRICI. G. MERCATORIS. 
 
 i j-uii fj /-i v u » JUMjtjJSt/X lUSS* 
 
 I. The Pictures. 
 
 The art treasures collected by the late 
 Henry G. Marquand are on exhibition at 
 the American Art Galleries, Madison 
 Square. Their disposal commences on Jan. 
 23 with the sale of thoyoy paintings and 
 water colors. , 1 
 
 Amid the variety sumptuousness of 
 this display the pipPJTes do not sound the 
 most prominent n<We, for Mr. Marquand 
 gave his best to the Metropolitan Museum. 
 Yet of those which he reserved for personal 
 companionship a fair number qsjaSof con¬ 
 spicuous interest, the most ij&^rtaht be¬ 
 longing to tire English schools .There is, 
 for example, a “Portrait oiCfth's. Wells” by 
 Romney, very handsome m composition 
 and suave in color, raS^id with an ad¬ 
 mirable mingling of Wl^feth and deliberate 
 precision; while “The Smy Child,” an exam¬ 
 ple of one of bis unfinished canvases, is a 
 rapidly transmitted impression of child¬ 
 hood, the fresh and innocent charm of 
 iwhich no further finishing could increase. 
 
 |The “Portrait of Charles Lamb,” by Rae¬ 
 burn, has an interest apart from its qualities 
 as a painting; but in the latter respect also 
 it is a memorable instance of his straight¬ 
 forward honesty of method and of his 
 sympathetic insight into the psychology 
 of his subject. In an age, prone to affecta¬ 
 tions, these were characteristics which 
 i especially distinguished the Scotch artist, 
 and they appear conspicuously in this pict- 
 iure. Another of twofold interest is Hoj p 
 ner’s “Portrait of Young Shelley.” The 
 poet’s childhood was not a happy one and 
 the traces of it appear in the large-eyed 
 sadness of this young face, already pro¬ 
 jecting its glance far beyond the kin and 
 the conventionalities of his age. The pict¬ 
 ure has, moreover, a gravity of method, 
 very different from the facial gayety or 
 elegant elaboration of Lawrence, who 
 shared with Hoppner the favor of court and 
 public. By Reynolds are portraits of the 
 Countess of Nottingham and of the Hon. 
 Mrs. Stanhope. The latter, very pictorial 
 in composition, is a fine example of the 
 artist’s fondness for mellowness of tone 
 and for transparency of light and shade. 
 It has not the vital qualities of some of his 
 portraits, but represents him, usually keen 
 and certain, in one of his more imaginative 
 moods. 
 
 Of the early English landscapes there are 
 three examples by old Crome. The “Old 
 Mill on the Yare,” exceedingly beautiful in 
 tone and painted with unusual breadth, 
 reveals in its choice of subject and in its 
 treatment the influence of the seventeenth 
 century Dutchmen; while “The Porlington 
 Oak” is fiavkly inspired by the Crome’s 
 own study of nature. Both are rarely fine 
 examples of the Norwich artist, yet one 
 may prefer the “Landscape with Cottage.” 
 The cottage itself, which occupies the fore¬ 
 ground, is delightfully rendered with general 
 truth and infinite truthfulness of detail, 
 but even more conspicuously clever is the 
 way in which its bulk is balanced with the 
 delicate perspective of the distance. Lastly, 
 of the early English period is the celebrated 
 “Dedham Yale, ” by Constable. It is not one 
 of his portrayals of nature in her rigorous 
 mood; and will not compare, for example, 
 with the solidity and amplitude of force of 
 the “Valley Farm” in the National Gallery. 
 Yet it has an ampleness of another kind, a 
 most just and vivid appreciation of the 
 dignity of space and distance; depicted,, not 
 with a broad generalization, but with the 
 feeling for little facts that distinguishes, for 
 example, Rembrandt’s vista of distance in 
 the etching of “The Three Trees.” Mean¬ 
 while the foreground is sufficiently broad 
 and general and as a foretaste to the after- 
 delicacv is a tree upon the left of peculiar 
 sensitiveness. By Turner are three water 
 colors, characteristically exquisite in their 
 skilfulness of technique and full of local 
 feeling. _ . , . , 
 
 Of modern Englishmen Leighton and 
 Alma-Tadema are well represented; the 
 former by a “ Mythological Triptych 
 Illustrating Music.” The three separate 
 panels decorated the ceiling of the music 
 room, but are seen to much better advantage 
 on a wall. The figures and draperies have 
 that peculiar quality of refinement which 
 Leighton imagined for himself out of his 
 study of the antique, ard the fact that the 
 flesh tones, lovely in themselves, are far 
 from those of real life, does not interfere 
 with the beauty of these paintings as dec¬ 
 orations. Both the “Amote, _ Ama me” 
 and “A Reading from Homer” illustrate in 
 a superior manner Alma-Tadema’s power 
 of recreating a classic scene and of making 
 the figures live in it. They are also ex¬ 
 amples of his painter qualities at their 
 t)6St. 
 
 There is a fine “Landscape and Cattle” 
 by Troyon, one small example each of 
 Rousseau and Corot; a pleasant little genre 
 subject by Eduard Frfere, and a large and 
 very handsome landscape by George H. 
 Boughton. He is represented also by a 
 precisely executed figure picture, “Mar¬ 
 vell’s Last Visit to Milton.” 
 
 Among the water colors special mention 
 should be made of “A Spanish Fencer” 
 by Jose Villegas; “Tintern Abbey, ” by Alfred 
 
 TV, „ „ -1 T5 A AhhdiJn “Moniono n 
 
Digitized by the Internet Archive 
 in 2019 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/illustratedcatal00amer_53 
 
THE MARQVAND COLLECTION. 
 
 The exhibition and sale of the paintings and 
 other works of art brought together by the late 
 Henry G. Marquand have excited public inter¬ 
 est to an extent unusual even in these days 
 when events of the sort are appreciated at 
 their full value. For a parallel to the atten¬ 
 tion with which the bidding at the American 
 Art Galleries has been followed one must go 
 back to the sale's in this city of the Stewart 
 and Morgan collections. To seek an explana¬ 
 tion of this general concern with matters often 
 assumed to be exclusively the property of con¬ 
 noisseurs and professional commentators is to 
 develop several points having a direct bearing 
 upon the broad question of taste and education 
 in matters of art. 
 
 This widespread public interest has not, we 
 believe, been a manifestation of curiosity 
 alone. It has testified first and last to an in¬ 
 telligent recognition of the firm basis of Mr. 
 Marquand’s repute as a collector. Before the 
 sale began one frequently heard the surmise 
 that merely because of his name high prices 
 would rule. This was only another way of say¬ 
 ing that every one was aware of the patience, 
 care and judgment with which Mr. Marquand 
 was accustomed to pursue the objects of his 
 desire. The character of his library, empha¬ 
 sized in The Tribune at the time the exhibition 
 opened, must have been widely noticed as an 
 indirect ratification of this point. Weak in fine 
 bindings and in examples of mere rarity, it was 
 strong in the literature from which the connois¬ 
 seur must draw some of his chief weapons in 
 the practical treatises which illuminate the 
 field of art and bring knowledge to the support 
 of taste. This collector loved beauty in all its 
 forms. His researches only made him the more 
 critical, and the treasures with which his house 
 was filled at the time of his death—despite the 
 numerous gifts he had made to the Metropoli¬ 
 tan Museum of Art—constituted, when taken 
 together, a memorable lesson to those whose 
 privilege it is to adorn their dwellings with 
 costly objects, but who too often rest satisfied 
 with costliness alone. Notable evidence of the 
 respect in which Mr. Marquand has been held 
 wherever works of art are bought and sold -was 
 provided at the sale by the presence of more 
 than one dealer from abroad, amply prepared, 
 as the records have shown, to pay large sums 
 for things well known in Europe and eagerly 
 desired there. This is not the first time that 
 foreign competition has been brought heavily 
 to bear in the New-York market. But the range 
 that it covered at the Marquand sale, embrac¬ 
 ing not pictures alone, but practically every 
 department in the collection, indicated that af¬ 
 fairs of the sort here are being watched from 
 the other side more closely than ever before. 
 
 The American and the foreign contingents 
 between them carried many an object in the 
 sale to rather spectacular figures. Excesses of 
 the sort were inevitable. They are bound to 
 occur at every auction of importance, and par- 
 
 4-imilo vlv o + <1 firna wlion +1*o lvniltHn/v /-»c itiotitt 
 
 mansions creates a demand for luxurious deco¬ 
 rations to be obtained with the least possible 
 delay. But close analysis of the catalogue, 
 with the prices affixed, shows that examples 
 of enlightened conservatism were not lacking; 
 and one especially, of very instructive import, is 
 to be derived from the policy practised by the 
 Metropolitan Museum of Art. With the public 
 knowledge of the great increase brought to the 
 museum's resources by the Rogers bequest 
 there lias not unnaturally gone a desire to see 
 it making generous purchases, and, indeed, ex¬ 
 pectation of such purchases has been keen in 
 many quarters. While the museum may have 
 disappointed some, who looked for unyielding 
 resistance to all competitors, it has deeply grati¬ 
 fied its most thoughtful friends. The latter 
 have clearly understood that loyalty to its late 
 president and peculiar knowledge of his au¬ 
 thority as a connoisseur would, as a matter of 
 course, give it a warrant for participation in 
 the auction. But they have also realized the 
 circumstances surrounding the responsibility 
 of the museum as a buyer at this or any other 
 sale. 
 
 Mr. Marquand himself would have been the 
 first to deprecate the sacrifice of judgment to 
 sentiment in the administration of the institu¬ 
 tion upon whose affairs he exerted for so many 
 years an influence essentially conservative. To 
 him and to his colleagues the museum was ever 
 a public trust, and the history of their labors is 
 a record of measures and expenditures con¬ 
 trolled by a due sense of the reasonable and 
 even cautious conduct indispensable in any 
 public enterprise. In the present instance, 
 moreover, there was an imperative reason for 
 restraint. In addition to the fine collection of 
 paintings he gave to the museum, Mr. Mar¬ 
 quand made divers contributions of importance 
 in many other departments, placing them in a 
 position where purchases for them became un¬ 
 necessary. Obviously, nothing should be bought 
 for the museum that is a duplicate of an ob¬ 
 ject it already possesses or no finer in quality. 
 The bids of the museum were therefore deter¬ 
 mined throughout by the general principle we 
 have indicated, a principle of extreme caution, 
 looking to the purchase of new treasures only 
 when they are desirable from every point of 
 view, and then at no more than a sound mar¬ 
 ket price. Thus, in purchasing the small land¬ 
 scape by Rousseau for $3,200 to add to the 
 Wolfe collection, and in securing some of the 
 Tanagra figurines and the medallion by Andrea 
 della Robbia, all at moderate prices, the trus- 
 tees not only acted wisely for the institution 
 under their care, but set a far more useful ex¬ 
 ample than they would if they had sought to 
 better the bid of $22,200 on Hoppner’s “Mrs. 
 Gwyn," or that of $26,000 on the Limosin 
 altar screen. These judicious bids have added 
 substantially to the distinction of the museum, 
 and they give earnest of exactly the policy 
 which it is to be hoped will be maintained in 
 the future. 
 

S ALE AT MENDELSSOHN HALL 
 
 ON THE EVENING OF FRIDAY, JANUARY 23RD, 1903 
 AND CONTINUING 
 
 AT THE AMERICAN ART GALLERIES 
 
 ON THE AFTERNOONS OF JANUARY 24TH, 26th, 27TH, 
 28th, 29TH, 30TH, and 3 ist, AND EVENINGS OF JANUARY 
 28th, 29TH, AND 3OTH. 
 
 THE 
 
 HENRY G. MARQUAND 
 COLLECTION 
 
 ON FIE IF DAT AND EVENING 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH, NEW YORK, FROM WEDNESDAY, 
 JANUARY i 4 th, UNTIL THE DAY OF SALE, INCLUSIVE 
 
Subscriber s Copy number _ 
 
 EDITION LIMITED TO TWO HUNDRED AND FIFTY COPIES 
 

 
 
 
 
 
 
 
 
AW. Elgon & Co, Boston 
 
ILLUSTRATED CATALOGUE 
 
 OF THE 
 
 ART AND LITERARY 
 PROPERTY 
 
 COLLECTED BY THE LATE 
 
 HENRY G. MARQUAND 
 
 EDITED BY THOMAS E. KIRBY 
 
 THE ENTIRE COLLECTION TO BE SOLD 
 AT UNRESTRICTED PUBLIC SALE BEGIN¬ 
 NING JANUARY TWENTY-THIRD, 1903, BY 
 ORDER OF THE EXECUTORS, UNDER 
 THE MANAGEMENT OF 
 
 The American Art Association 
 
Copyright, 1903, by 
 
 THE AMERICAN ART ASSOCIATION 
 New York 
 
 [All rights reserved] 
 
 Photogravures by A. W. Elson & Co., Boston 
 Color-plates by the American Lithographic Co., New York 
 [By courtesy of Charles Scribner's Sons] 
 
INTRODUCTORY 
 
 The Marquand Collection of works of art was beyond measure attractive to the 
 enthusiastic student, because ot its variety, and also because of the certainty one felt that 
 each piece was the finest, or very nearly the finest, piece obtainable. It is the student of 
 art to whom it appealed. An archseologist, a historian, might find his needs better served 
 in one of those private collections where a single aim is followed exclusively; but for him 
 who longed for the European wealth and abundance of sensations, and who hardly ex¬ 
 pected to find them in America, Henry Gurdon Marquand’s house was a comforting 
 place to visit. He bought like an Italian prince of the Renaissance. He collected for 
 his own delight and for the enjoyment and instruction of his many friends. A noble 
 Van Dyck portrait appealed to him, and so did a Persian vase. He was the most eager 
 purchaser of a single newly found gem of antique art; he would chase the elusive thing 
 with more energy than another, and therefore he secured the prize. He felt also the 
 impossibility of understanding a branch of art, or a special manufacture, or mode of 
 design, without having many pieces to represent and to explain it, and so he bought 
 largely along some chosen lines. At one period he found that the ancient enamels of 
 Limoges were growing rare, and he perceived that, rare and costly then, they would 
 soon be unattainable, and he bought much and wisely in that direction. On the other 
 hand, he saw that the Hispano-Moresque dishes, which had never been especially sought 
 for, and which had not reached very high prices twenty years ago, were as important and 
 as suggestive works of industrial art as what was more eagerly pursued and more ex¬ 
 travagant in price, and he brought together a great collection of those platters. 
 
 Still, in the line of princely buying, the adornment of his house was not lost sight 
 of. The pieces brought together were, indeed, not always of that character that they 
 would make a large room more splendid. Many of them were delicate little objects for 
 the cabinet. You cannot adorn a room with Japanese lacquers of price, because they are 
 small; because their forms are simple and square; because their color is never vivid; 
 because, moreover, they must be kept shut up, or their beauty will soon be marred. Per¬ 
 sian glass, too, more fantastic in form and less translucent than even the most decorative 
 glass of Europe, is still matter for the wall-case. But tapestries have for their very object 
 the adornment of high-walled and stately apartments, and the walls of the great hall 
 were hidden by tapestries of choice. Persian and Spanish tiles were especially devised 
 and made to glow upon the wall, and, accordingly, one room of the principal suite was 
 lined with them, making it a quasi-Moorish room; while other such tiles, set in large 
 
frames, adorned the halls and the stairway. Chinese porcelain, and particularly that which 
 is of solid color, in which each beaker, each bottle, each potiche , is a graceful form, wrought, 
 as it appears, in solid blue or in changeable green, is exceptionally decorative, and if used 
 with perfect good taste is, perhaps, more immediately effective in the adornment of a 
 room than are any other work of man. Levantine and Persian rugs are as decorative as 
 European tapestry, and even more splendid in color; and the collection of such rugs 
 deserves, and has received, minute analysis and description in this catalogue. Italian 
 Cassoni are the most ornamental pieces of furniture known, and here were several magnifi¬ 
 cent specimens of the best period. The grave and majestic painting of the seventeenth 
 century, framed in the stately way which the first owners of the pictures knew and loved, 
 is, of course, the most decorative of all decorations; and there were such paintings, and 
 their framing, as well as noble canvases of the eighteenth century. And, finally—because 
 this enumeration cannot be continued forever, or as long as the varieties of this noble col¬ 
 lection hold out—modern painting of decorative significance was used in the furnishings 
 of such stately rooms as the drawing-room, where Sir Alma-Tadema and Lord Leigh¬ 
 ton gave a classical turn to their decorative compositions, to harmonize with the Greek 
 vases and terra-cotta groups, and the Gneco-Roman marbles. 
 
 The consequence is that the separate rooms of the house at Madison Avenue and 
 Sixty-eighth Street were marvels of splendid variety, differing in nothing from the palace 
 interiors which we dream of as existing in the great times of creative art, except in the 
 more moderate size of the apartments, and the resulting effect of brilliant confusion, which 
 the eye could resolve, little by little, into its coherent parts. It was not really confusion; 
 it was profusion. The splendor of one rich work of art need never do harm to the tran¬ 
 quil sweetness of another. He must be a far less sagacious student of art than was the 
 owner of these treasures, if it be ever found in his beloved rooms that there is too much 
 of anything, no matter how much there may be. 
 
 RUSSELL STURGIS. 
 
 The Catalogue has been compiled and the descriptions furnished by the gentlemen 
 whose names are given below: 
 
 Mr. Charles H. Cajfin has catalogued the Paintings and the Tapestries; Mr. 
 Tozo Takayanagi, the Japanese Pottery and Lacquers; Mr. John K. Mumford, the Oriental 
 Rugs; Mr. Roger Riordan, the Limoges Enamels; Greek, Roman, and other Glass ; Greek 
 Ceramics, and Work in Metals; Dr. George N. Olcott, Columbia University, the Intaglios 
 and Gems; Mr. FitzRoy Carrington (Frederick Keppel & Col), the Engravings and Etch¬ 
 ings ; and Mr. J. 0 . Wright, the Books. The translations are by Professor Richard J. H. 
 Gottheil and Professor Abraham Yohannan, of Columbia University. 
 
ORDER OF SALE 
 
 ON FRIDAY EVENING, JANUARY 23D, 1903 
 
 AT MENDELSSOHN HALL, Fortieth Street, East of Broadway, beginning promptly at 8.30 o’clock. 
 THE VALUABLE PAINTINGS AND WATER COLORS. Catalogue Nos. 1 to 93, inclusive. 
 
 SATURDAY AFTERNOON, JANUARY 2 4 th 
 
 AT THE AMERICAN ART GALLERIES, Madison Square South, beginning promptly at 3 o’clock. 
 ANTIQUE CHINESE PORCELAINS. Catalogue Nos. 101 to 255, inclusive. 
 
 MONDAY AFTERNOON, JANUARY 2 6th 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o’clock. ANTIQUE CHINESE 
 PORCELAINS AND JAPANESE LACQUERS. Catalogue Nos. 256 to 416, inclusive. 
 
 TUESDAY AFTERNOON, JANUARY 27™ 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o’clock. TEA JARS AND BOWLS, 
 ANTIQUE JAPANESE AND CHINESE POTTERY AND BRONZES. Catalogue Nos. 417 to 638, inclusive. 
 
 WEDNESDAY AFTERNOON, JANUARY 28 th 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o’clock. CABINET OBJECTS, 
 NETSUKES, EUROPEAN CERAMICS, AND ANTIQUE SILVER. Catalogue Nos. 639 to 816, inclusive. 
 
 WEDNESDAY EVENING, JANUARY 2 8th 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 8 o’clock. RARE MEZZOTINTS 
 AND ETCHINGS. Catalogue Nos. 1407 to 1504, inclusive. 
 
 THURSDAY AFTERNOON, JANUARY 2 9 th 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o’clock. ANTIQUE GREEK, 
 ROMAN, PERSIAN, SPANISH, VENETIAN, FRENCH, AND OTHER GLASS; LA FARGE 
 MOSAIC GLASS PANEL; ANTIQUE GREEK CERAMICS, TERRA-COTTA STATUETTES, 
 AND OTHER ANTIQUITIES; ANTIQUE PERSIAN, DAMASCUS, AND RHODIAN WARES. 
 Catalogue Nos. 817 to 1032, inclusive. 
 
 THURSDAY EVENING, JANUARY 2 9 th 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 8 o’clock. FINE ART AND 
 OTHER BOOKS. Catalogue Nos. 1505 to 1822, inclusive. 
 
 FRIDAY AFTERNOON, JANUARY 3 oth 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 3 o’clock. BRONZES AND OTHER 
 METAL WORK; EXTRAORDINARY LIMOGES AND OTHER ENAMELS; INTAGLIOS AND 
 OTHER GEMS, SNUFF-BOXES, AND WATCHES; RARE AND BEAUTIFUL ANTIQUE TILES; 
 HISPANO-MORESQUE AND OTHER PLAQUES; REMARKABLY FINE DELLA ROBBIA TERRA¬ 
 COTTAS ; ANTIQUE ROMAN MOSAIC, MARBLE STATUARY, AND OTHER OBJECTS. Catalogue 
 Nos. 1033 to 1214, inclusive. 
 
 FRIDAY EVENING, JANUARY 30TH 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 8 o’clock. FINE ART AND OTHER 
 BOOKS. Catalogue Nos. 1823 to 2154, inclusive. 
 
 SATURDAY AFTERNOON, JANUARY 3 ist 
 
 AT THE AMERICAN ART GALLERIES, beginning promptly at 2.30 o’clock, concluding sale. 
 EXTRAORDINARY ANTIQUE ORIENTAL RUGS; GRAND GOBELINS, FLEMISH, RENAIS¬ 
 SANCE, AND PORTUGUESE TAPESTRIES; ANTIQUE EMBROIDERIES AND TEXTILES; THE 
 FAMOUS “ALMA-TADEMA PIANO”; ARTISTIC ANTIQUE AND MODERN FURNITURE, 
 DRAPERIES, AND MISCELLANEOUS OBJECTS. Catalogue Nos. 1225 to 1406, inclusive. 
 
LIST OF ILLUSTRATIONS 
 
 The Late Henry G. Marquand. After a Portrait by John S. Sargent, R.A. {Frontispiece) 
 Peterhof 
 
 Katz Castle with Rhein/els > J. M. W. Turner, R.A. 
 
 From Ehrenbreit stein 
 
 Mariana: Measure for Measure. Edwin A. Abbey, N.A., R.A. 
 
 Peg Woffington. John Russell, R.A. , 
 
 The Shy Child. George Romney 
 Charles Lamb. Sir Henry Raeburn, R.A. 
 
 Young Shelley. John Hoppner, R.A. 
 
 Countess of Nottingham. Sir Joshua Reynolds, P.R.A. 
 
 Lady Almeria Carpenter. John Hoppner, R.A. 
 
 The Hon. Mrs. Stanhope. Sir Joshua Reynolds, P.R.A. 
 
 Old Mill on the Yare. “Old Crome” 
 
 Mrs. Wells. George Romney 
 Dedham Vale. John Constable, R.A. 
 
 Mrs. Gwyn. John Hoppner, R.A. 
 
 The Porlington Oak. “Old Crome” 
 
 Landscape and Cattle. Constant Troyon 
 Landscape. Theodore Rousseau 
 
 u Amo te , Ama me.” Sip. Laurence Alma-Tadema, R.A. 
 
 Marvell's Last Visit to Milton. George H. Boughton, N.A., R.A. 
 
 A Reading from Homer. Sir Laurence Alma-Tadema, R.A. 
 
 Mural Paintings , Illustrating Music. Lord Leighton, P.R.A. 
 
 Antique Chinese Sang-de-boeuf Vases 
 Group of Antique Chinese Turquoise-blue Vases 
 Group of Antique Chinese Flarnb'e Vases 
 Group of Antique Chinese Peach-bloom Specimens 
 Blue and White Hawthorn Mantel Garniture 
 Japanese Gold Lacquers and Daimio Sword 
 Old Japanese Pottery Statuette , Bowls , and Vases 
 Group of Old Japanese Pottery 
 Old Delft Mantel Garniture 
 Queen Anne , Old Dutch , and other Silver 
 Group of Ancient Greek and Roman Glass 
 Antique Persian Glass Lamp and Spanish Glass Vases 
 
Two Antique Illuminated Glass Panels 
 
 Group of Antique Greek Ceramics 
 
 Three Antique Greek Vases 
 
 Group of Ancient Greek Terra-cotta Statuettes 
 
 Ancient Greek Terra-cotta Group and Statuettes 
 
 Ancient Marble Bust of the Antonines Period 
 
 Group of Antique Persian Pottery 
 
 Group of Old Limoges and other Enamels 
 
 Extraordinary Limoges Enamel Retable. By Leonard Limousin 
 
 Antique Golden Lustre Hispano-Moresque Plates 
 
 Two Sixteenth Century Hispano-Moresque Plates 
 
 Madonna and Child. Terra-cotta. By Lucca della Robbia 
 
 Medallion Head. Terra-cotta. By Andrea della Robbia 
 
 Boy and Dolphin. Andrea della Robbia 
 
 Empire Clock and Bronze Group 
 
 Ancient Roman Mosaic IVall Panel 
 
 Venetian Velvet Panel 
 
 Fifteenth Century Jardiniere Velvet Panel 
 
 Louis XVth Altar Frontal 
 
 Italian Renaissance Panel 
 
 Specimen of Italian Ecclesiastical Needlework 
 
 Color Plate of Old Silk Rug of Middle Persia 
 
 Color Plate of Old Persian Silk Rug 
 
 Color Plate of Fifteenth Century Royal Persian Rug 
 
 Color Plate of Old Laristan Rug 
 
 Color Plate of Sixteenth Century Persian Carpet 
 
 One of a Series of Six Renaissance Tapestries 
 
 Rare Spanish , Sixteenth Century Cloth-of-gold Tapestry 
 
 Grand Gobelins Tapestry , “ La Gerusalemme Liberata.” Duke of Hamilton .Collection 
 
 One of a Set of Four Portuguese Tapestries , illustrating the Siege of Troy 
 
 Antique Ivory Cabinet engraved in Niello 
 
 Old Oriental Cabinet inlaid with Mother-of-Pearl 
 
 Group of Old English Carved Chairs 
 
 Famous Piano. Designed by Sir Laurence Alma-Tadema, R.A. 
 
 Piano Frontal , w The Wandering Minstrel.” By Sir Edward J. Poynter, P.R.A. 
 
 Grand Bronze Fender. Designed by Sir Laurence Alma-Tadema, R.A., and modelled by 
 
 Onslow Ford, A.R.A. 
 
 Eight Rare Old Mezzotintos. After Sir Joshua Reynolds, P.R.A. 
 
BIOGRAPHICAL NOTES AND INDEX 
 
 ABBEY (Edwin Austin), n.a., r.a. 
 
 Born in Philadelphia, 1852. After completing the course at the Pennsylvania 
 Academy he accepted an engagement with the publishing house of Harper & Brothers. 
 His drawings in illustration of Herrick's poems and of the old English comedies estab¬ 
 lished at once the charm and originality of his method in black and white, and were 
 followed by a series of Shakespearean drawings. Visiting England in 1883 in search 
 of material for these drawings, he took up his abode there, and has for many years resided 
 at Fairford Hall in Oxfordshire. His skill in water colors is remarkable; and when he 
 turned his attention to oil painting he speedily won recognition in that medium also. 
 His favorite subjects have been drawn from old English and Italian sources, especially 
 from Shakespeare, and he is to-day the foremost painter of historical subjects among 
 English-speaking artists. The Trustees of the Boston Library awarded him a commis¬ 
 sion for the decoration of the Delivery Room, in which he has commemorated scenes 
 from the Legend of the Holy Grail, and, more recently, he received an appointment from 
 the King of England to paint the picture of the Coronation ceremony. 
 
 22 — Mariana: Measure for Measure 
 
 ADAN (Louis Emile) 
 
 Born in Paris, 1839. A pupil of Picot and Cabanel at the Ecole des Beaux Arts. 
 Gold medal at the Exposition Universelle of 1889. 
 
 53 — Out for a Walk 
 
 ALMA-TADEMA (Laura) 
 
 Wife of Sir Laurence Alma-Tadema, nee Miss Laura Epps. 
 
 46 — In Good Hands 
 
ALMA-TADEMA (Sir Laurence), r.a. 
 
 Born at Dronryp, Friesland, 1836. He was educated at the gymnasium of Leeu- 
 warden, where he conceived a passion for Egyptian and Grceco-Roman archeology. 
 Later he entered the Antwerp Academy, and also studied under Baron Leys. He began 
 to exhibit at the Royal Academy in 1865, and five years later married Miss Laura Epps, 
 an English lady, moved to London, and built himself a noble Pompeian house in St. 
 John's Wood. He is an officer of the Legion and a member of the Academies of Am¬ 
 sterdam, Munich, Berlin, Stockholm, Vienna, and Madrid. He was elected a Royal 
 Academician in 1879. No modern painter has a profounder knowledge of the 
 form and fashion of the antique world, or has reproduced it with more charm of veri¬ 
 similitude. 
 
 45 — “ Amo te, ama me” 
 
 88_A Reading from Homer 
 
 BARILLOT (Leon) 
 
 Born at Montigny-les-Metz, Lorraine, France, 1844. A pupil of Bonnot, he 
 won the gold medal at the Exposition Universelle of 1889, the Grand Prix at the Exposi¬ 
 tion Universelle at Lyons in 1895, and is represented in the Luxembourg and many of 
 the museums in France. 
 
 62 — Cows Drinking 
 
 BECKWITH (J. Carroll), n.a. 
 
 Born at Hannibal, Missouri, 1852. A pupil of Carolus Duran and of the Ecole 
 des Beaux Arts, he first made his reputation in this country by a figure subject, “ The 
 Christian Martyr," exhibited in the National Academy in 1881, and has since obtained 
 distinction as a portrait painter. 
 
 77— A Summer Evening 
 
 BENSON (Eugene), a.n.a. 
 
 Born at Hyde Park, New York, 1839. At first a pupil of the National Acad¬ 
 emy, and of J. H. Wright, he later studied in Paris and Venice. He has made long 
 stays in Italy, painting particularly in Florence, Venice, and Rome. 
 
 65 — At Biri Grande 
 
BLASHFXELD (Edwin Howland), n.a. 
 
 Born in New York, 1848. Visiting Europe in 1867, he studied with Bonnat, and 
 remained abroad eleven years, spending a considerable time in Italy. His work has 
 included figure subjects and mural decoration. In the latter metier he executed some 
 panels as jar back as 1884, received a commission at the Chicago World's Fair, and 
 since that date has been steadily employed upon important works in public buildings 
 and private houses. 
 
 82 — The Sculptor’s Model 
 
 BODMER (Karl) 
 
 Born in Zurich, Switzerland, 1805. A pupil of Cornu, he devoted himself to 
 landscapes, and particularly to wooded ones. In company with Prince Von Neuwied 
 he visited America. He was awarded the Ribbon of the Legion in 1876. 
 
 47— A Pool in the Forest 
 
 BOUGHTON (G EORGE H.), N.A., A.R.A. 
 
 Born near Norwich, England, 1834. He was brought, when three years old, to 
 the United States, the family settling at Albany, N. Y. As a boy he taught himself to draw 
 and paint, and in 1853 was able to make a sketching tour through the English Lake 
 country, Scotland, and Ireland. In 1858 he moved from Albany to New York, and two 
 years later went to Paris, where he enjoyed the friendship of Edouard Frere. Since 
 1861 he has made his home in London, where, in the Royal Academy Exhibition of 1863, 
 he made his frst notable success with “ Through the Fields" and “ The Hop-Pickers 
 Returning." He has shown a partiality for subjects derived from the early days of the 
 American colonies, and these have won him an enviable reputation on both sides of 
 the Atlantic. 
 
 68 — Black-eyed Susan 
 
 84—The Cronies 
 
 86 — Marvell’s Last Visit to Milton 
 
 93 — A Golden Afternoon, Luccombe Chine, Isle of Wight 
 
 CAIN (Georges Jules Auguste) 
 
 Born in Paris, 1856. A pupil of Cabanel and Detaille, he gained a bronze medal 
 at the Exposition Universelle of 1889, and has collaborated in all the great illustrated 
 journals of Paris, and has illustrated several books. 
 
 51 — His Eminence 
 
CHURCH (F. S.), n.a. 
 
 Born at Grand Rapids, Michigan, 1842. He first studied at the Chicago School of 
 Art, and later at the School of the National Academy; hut his theory and practice of color, 
 like the fanciful treatment of animals which provided him with subject, are thoroughly 
 original. He is a member of the National Academy, of the American Water-Color 
 Society, and of the New York Etching Club. 
 
 71—The Enchantress 
 
 COLE (Thomas), n.a. 
 
 Born at Bolton-le-Moor, England, 1801. He came with his family to the United 
 States when he was eighteen years old, and settled in Ohio. Here he learned the rudi¬ 
 ments of painting from a portrait painter named Stein, and, after studying nature under 
 great diffculties, made his way to New York in 1825, bringing himself gradually into 
 notice by his pictures of the Hudson. He made several visits to England, France, and 
 Italy, and his pictures were as much appreciated in the first-named country as in that 
 of his adoption. Especially popidar were his two series of allegorical pictures, “ The 
 Course of Empire ” and “ The Voyage of Life." He died near Catskill, New York, 
 in 1848. 
 
 81 — A Roman Aqueduct 
 
 COLEMAN (Charles Caryll), a.n.a. 
 
 Born at Buffalo, New York, 1840. He visited Europe in 1859, and again in 
 1866, since which date he has resided abroad, having a studio in London for some time, 
 and then settling in the Island of Capri. 
 
 74—A Capri Meadow 
 75 — A Scene in Capri 
 
 COLMAN (Samuel), n.a. 
 
 Born in Portland, Maine, 1832. With some assistance from A. B. Durand his 
 early training was self-acquired. In i860, after being elected an Associate of the Na¬ 
 tional Academy, he set out for two years’ study in Paris and Spain. Again, in 1871, 
 he made an extensive tour of study in Europe and North America. In 1866 he was 
 elected first president of the American Water-Color Society, a position which he held 
 for five successive terms. 
 
 18 — Grand Canon of the Colorado. 
 
CONSTABLE (John), r.a. 
 
 Born in 177 6, at East Bergholt, Sussex, fourteen miles from the birthplace of Gains¬ 
 borough. Son of a well-to-do miller, he was destined for the Church, but preferred the 
 occupation of his father, meanwhile receiving instruction in drawing from a certain 
 Dunthorne, who gave his instruction always in the open air. Finally deciding to be a 
 painter, he entered the Academy schools at the age of twenty-four, and exhibited his first 
 picture two years later. He studied the works of Ruysdael in the National Gallery, 
 from which he came to the conclusion that London could help him little in his art, and 
 that it was nature which he must study, and particularly nature along the banks of his 
 native Stour, which in after years he averred had made his desire to be a painter. He 
 set himself right in the midst of green landscape, and was the first to remove every kind 
 of adaptation and arbitrary arrangement in composition, and to paint not only what he 
 saw, but in such a way as to convey the impression of how he saw it. Especially did he 
 advance the study of light and air, and for the first time the atmosphere moves and has its 
 being in painted landscape. He was ahead of his time, anticipating the triumphs of 
 the painters of Barbizon, on whom his influence was undeniable. He was happily 
 married, and a legacy to his wife, sufficient for their modest needs, enabled him to work, 
 as he said, for the future. He was elected to the Royal Academy in 1837. His faith in 
 the judgment of posterity has been abundantly justified, and he is now recognized as 
 the first and one of the foremost masters of the paysage intime. 
 
 35 — Dedham Vale 
 
 COROT (Jean Baptiste Camille) 
 
 Born in Paris, 1796. The son of a court modiste, Corot was destined for trade, but 
 at length was permitted to study art by his father, who allowed him an annuity of twelve 
 hundred f rancs. From the studio of Michallon he passed to that of Bertin, with whom 
 he also made his first visit to Italy. With figure subjects and landscape in the classical 
 manner he made his entrance at the Salon and obtained sundry honors. In 1843, 
 however, after his return from his third visit to Italy, he came under the influence of 
 Rousseau and was led by him to recognize the • beauty of the French landscape. 
 Though nearly fifty, he set to work as a student, and during the next eight years 
 gradually reached that style of delicate truth to nature and of exquisite poetry, in 
 which he is unapproachable. Twenty-five years were still in store for him, and dur¬ 
 ing these he produced his masterpieces. Devoted to music and to his friends, Pere 
 Corot retained his youth to the end, which came peacefully in 1875. 
 
 37 — Classic Landscape 
 COX (Kenyon), n.a. 
 
 Born at Warren, Ohio, 1856. After studying at Cincinnati, he proceeded to the 
 schools of the Pennsylvania Academy, whence he advanced to the studios of Carolus 
 Duran and Gerome. His stay in Europe extended from 1877 to 1882, when he returned 
 to New York, where he has been actively engaged as a teacher and painter and in 
 literary work dealing with artistic subjects. 
 
 79 — On the Edge of the Brook 
 
CROME (J ohn), (“Old Crome”) 
 
 Born at Norwich, 1769. The son of a journeyman weaver, he was in due course 
 apprenticed to a coach painter. His spare time was spent in drawing the scenery 
 around his native city, and after the expiration of his apprenticeship he determined 
 to be a painter. He eked out his scanty resources by giving lessons in drawing and 
 painting. In 1805 he founded the Norwich School of Art, of which Vincent, Stark, 
 and Cotman were the other leading representatives. In later life he visited Paris and 
 studied with eagerness the Dutch landscapes in the Louvre. Hobbema was his idol, 
 and his own work is a direct and exact realism, pictorially arranged in a harmony of 
 brown tones under the influence of the Dutch. He painted with extraordinary skill, 
 and had a special fondness for the oak. He died in the city where he had spent his 
 whole life, in 1821. ' 
 
 27 — Landscape with Cottage 
 
 33—Old Mill on the Yare 
 
 38 — The Porlington Oak 
 
 DECAMPS (Alexandre Gabriel) 
 
 Born in Paris, 1803. At first a pupil of David and Ingres, he freed himself 
 from classic principles of style and from imitation of the antique. As a boy he had 
 spent several years upon a farm, and the love of nature was strong within him. In 
 1827 he accompanied Garner ay, a marine painter, to Constantinople and Asia Minor, 
 and his journey proved a voyage of discovery for French painting. He dared to paint 
 what he saw, and saw everything through the vision of a true painter, fascinated by color 
 and light, and in a spirit of dreamy mystical poetry. His death occurred at Fontaine¬ 
 bleau in i860. 
 
 41 — Landscape 
 
 44—The Beggar 
 
 DESCHAMPS (Louis) 
 
 Born at Montelimar, France, 1846. Pupil of Cabanel at the Ecole des Beaux 
 Arts, he has exhibited at the Salon since 1875. Represented in the Luxembourg. Bronze 
 medal, Exposition Universelle, 1889. 
 
 56—An Appeal 
 
 DESGOFFE (Blaise Alexandre) 
 
 Born in Paris, 1830. Pupil of Flandrin, and a most skilful delineator of objects 
 of still life at near view, his subjects being finished with microscopic exactness. 
 
 48 — Still Life 
 
DUTZSCHHOLD (H ENRl) 
 
 Born in Paris, 1841. Landscape painter, pupil of Gerome and Veron. Medal 
 of the third class, 1882. 
 
 63 — Ruins of a Roman Theatre 
 
 ELEY (May) 
 
 21 — Children and Puppy 
 
 ETTY (William), r.a. 
 
 Born at York in 1787. After serving apprenticeship to a printer in Hull, he 
 visited an uncle in London, through whose generosity he was enabled to enter the 
 Academy schools and to become a pupil of Lawrence. He persevered in the face of 
 great difficulties, and finally, in 1811, had a picture accepted at the Royal Academy 
 Exhibition. In 1822 he visited Italy, and in 1828 was elected a Royal Academician. 
 He died unmarried, in 1849. 
 
 57— The Toilet 
 
 FARNETZ (I.) 
 
 64— A River Scene 
 
 FRANCAIS (F. L.) 
 
 Born at Plombieres (Vosges), 1814. Pupil of Gigoux and Corot. Received a 
 medal of third class, 1841; first class, 1848, 1855, and 1867. Medal of honor, 1878; 
 Legion of Honor, 1853, and was made an officer of the same, 1867. 
 
 60 — Landscape 
 
 FRERE (Edouard) 
 
 Born in Paris, 1819. He was a pupil of Paid Delaroche and of the Ecole des 
 Beaux Arts, but it was in retreat at the little village of Ecouen that he gradually evolved 
 for himself and the many students who sought his advice the style of genre painting that 
 distinguishes him. It was founded upon the Dutch masters and influenced in feeling 
 by Millet—simple scenes of peasant life, studied with affectionate intimacy, and repre¬ 
 sented with delicacy of tone and light; sometimes a little sentimental, but for the most 
 part tenderly poetic. His pictures had a great vogue, and no little influence upon the 
 course of genre painting in Europe. He died in 1886. 
 
 59 — Youthful Curiosity 
 
FROMENT (Eugene) 
 
 Born in Paris, 1820. Pupil of Jollivet, Lecomte, and Amaury-Duval. Legion 
 of Honor, 1863. 
 
 52— A Spray of Loves 
 GAINSBOROUGH (Thomas), r.a. 
 
 Born at Sudbury, in Suffolk, 1727. He attended the local grammar school, 
 but making small progress in learning, was placed with a goldsmith in London, who 
 introduced him to Gravelot, an engraver. The latter instructed him in drawing, 
 and obtained for him admission to the St. Martin's Lane Academy. After study¬ 
 ing for three years he hired rooms in Hatton Gardens, and, while waiting for 
 customers, executed a few small landscapes which he sold to the dealers. Meeting 
 with no success in London, he returned to Sudbury in 1745, and married Mary Burr, 
 who had an annuity of two hundred pounds. After living fifteen years in Ipswich, 
 he moved to Bath, where his success as a portrait painter was pronounced. During 
 the fourteen years of his stay in that city he contributed regularly to the Royal Academy 
 exhibitions, so that when he migrated in 1784 to London and rented part of Schomburg 
 House, Pall Mall, he ivas welcomed as the rival of Reynolds in portraiture and of 
 Wilson in landscape. He was devoted to music and the simple delights of domestic life. 
 In 1788, upon his deathbed, he sent for Sir Joshua. “We are all going to heaven," 
 he whispered, “and Van Dyck is of the party." By his request he was buried in 
 the churchyard at Kew. 
 
 23 — Shepherd Boys 
 
 GIFFORD (R. Swain), n.a. 
 
 Born on the Island of Naushon, Massachusetts, 1840. In 1864 he studied in New 
 Bedford under the marine painter, Albert van Beest, and two years later settled in 
 New York, where he practised as a landscape painter and etcher. He made sketching 
 tours in California and Oregon in 1869, and through Europe and North Africa in 
 1870, and again four years later. He was one of the founders of the American Water- 
 Color Society in 1866, and is also a member of the British Society of Painter-Etchers. 
 
 66—A Newport Landscape 
 69 — Rocky Farm, Newport 
 
 GOB (R.) 
 
 49—The Moon 
 
HOPPNER (John), r.a. 
 
 Born in Whitechapel, London, 1759, of German descent. At first a chorister 
 in the Chapel Royal, he studied art at the Academy schools, became an Associate of the 
 Royal Academy in 1793, and a full member a few years later. Under the patronage 
 of the Prince of Wales he rose rapidly as a fashionable portrait painter, and found 
 a rival only in Lawrence. Basing his style upon that of Sir Joshua Reynolds, he 
 maintained, notwithstanding, an originality of his own, and was particularly happy 
 in his rendering of women and children. In 1803 he published “A Series of Portraits 
 of Ladies of Rank and Fashion, ’ ’ engraved from his own paintings. His death 
 occurred in 1810. 
 
 29 — Portrait of Young Shelley 
 
 31 — Portrait of Lady Almeria Carpenter 
 
 36 — Portrait of Mrs. Gwyn 
 
 JOHNSON (E astman), n.a. 
 
 Born in Lovell, Maine, 1824. While quite young he executed portraits in crayon, 
 and in 1845 was working at Washington, and later at Cambridge and Boston. In 1849 
 he went abroad and studied under Leutze at Diisseldorf, afterwards painting in Italy, 
 Paris, and The Hague. Returning to New York, he was elected an Academician in i860, 
 and established his reputation both in portraiture and genre subjects, representing 
 scenes in American life. 
 
 58—The Dull Scholar 
 
 KEAJDER (A.) 
 
 72 — Flowers 
 
 KENSETT (John Frederick), n.a. 
 
 Born in Cheshire, Connecticut, March 22, 1818 ; died in New York, December 16, 
 1872. Landscape painter. After studying engraving under Daggett, he spent seven years 
 abroad (1840-1847), painting in England, Rome, Naples, Switzerland, on the Rhine, 
 and among the Italian lakes. First exhibited at Royal Academy, London, in 1845. 
 Elected National Academician in New York in 1849. In 1859 he was appointed 
 member of the commission to superintend the decoration of the Capitol at Washington. 
 
 87 — Windsor Castle 
 
LEIGHTON (Sir Frederick, Bart.), p.r.a. 
 
 Born at Scarborough, England, 1830. When eleven years old he learned drawing 
 in Rome under Francesco Meli, and later pursued his studies at the Academies of 
 Berlin and Florence; under E. Steinle, Frankfort; at Brussels, and at the Louvre Life 
 School in Paris. In 1855 he sent to the Royal Academy “ The Procession of Cimabue,” 
 which was purchased by the Queen. After this success he resided for four years in 
 Paris, studying part of the time under Ary Scheffer and sending pictures to the Royal 
 Academy. He was elected an Associate in 1864, and an Academician in 1869; nine 
 years later being knighted upon his election as President. In 1885 he was created a 
 baronet. He travelled extensively, was a fine scidptor and musician, a linguist, and 
 accomplished man of the world, and his studio at Kensington was filled with treasures 
 of art. He died in 1896, and was buried in St. Paul's Cathedral. 
 
 90, 91, 92 — A Mythological Triptych Illustrating Music 
 
 LORING (M v 
 
 13 — Schooner at Low Tide 
 
 MADRAZO (Raimundo de) 
 
 Born in Rome, 1841. First instructed by his father Federico, head of the Spanish 
 Academy in Rome, he afterwards entered the Ecole des Beaux Arts in Paris, and also 
 studied under Leon Cogniet. In 1878 he was awarded a medal of the first class and 
 the Ribbon of the Legion. A brother-in-law of Fortuny, he exhibits much of the latter's 
 skill in scintillating color, and can lavish on his pictures a captivating rococo grace, or 
 introduce with taste and deftness symphonic schemes of color, as in the “ Girl in Red," 
 exhibited at Alunichin 1883, or in the “ Pierrette" of the Exposition Universelle of 
 1889. 
 
 50 — St. Elizabeth of Hungary 
 85 — A Spanish Beauty 
 
 MARTIN (Henri Jean Guillaume) 
 
 Born at Toulouse, he became a pupil of Jean Paul Laurens. He received a medal 
 of the first class, 1883, and a gold medal at the Exposition Universelle of 1889 and of 
 1900, and the Ribbon of the Legion in 1898. 
 
 76 — Sunshine and Shadow 
 
MEMPES (Mortimer L.) 
 
 An English painter of remarkable versatility, who has travelled much and dis¬ 
 tinguished himself as an etcher, as well as in oil and water color. 
 
 1 — Treasure Trove 
 
 3 — Waiting for the Boats 
 
 MERSON (Luc Olivier) 
 
 Born at Paris, 1846. A pupil of Pils at the Ecole des Beaux Arts, he won the 
 Grand Prix de Rome in 1869. He was awarded a gold medal at the Exposition 
 Universelle of 1889, and since 1892 has been a member of the French Academy of the 
 Fine Arts. 
 
 80—Diana 
 
 MILLET (Frank D.), n.a. 
 
 Born at Mattapoisett, Massachusetts, 1846. He studied under Van Lerius and 
 de Keyser at the Antwerp Academy, where he gained medals of honor in 1872 and 
 1873. He travelled and painted in Belgium, Italy, France, and Austria, and at the 
 Expositions of 1878 and 1900 represented America on the Art Jury. He acted as 
 war correspondent for a London daily during the Russo-Turkish War, and more 
 recently filled a similar position for “ Harper's Weekly " at Manila. For many years 
 he has made his home in the little village of Broadway, in Worcestershire, England. 
 
 2 — Roman Maiden 
 
 67 — A Knickerbocker Citizen 
 
 MOROT (Aim£ Nicolas) 
 
 Born at Nancy, 1850. Pupil of Cabanel at the Ecole des Beaux Arts, he won the 
 Grand Prix de Rome in 1875 ; Medal of Honor, 1880 ; Grand Prix at the Exposition 
 Universelle, 1889. 
 
 83 — When the World was Young 
 
 PARSONS (Alfred), a.r.a. 
 
 Born in Somersetshire, England, 1847. An exquisite draughtsman, he was for 
 some time a contributor to “ Harper's Magazine." With the exception of a visit paid 
 to Japan he has painted chiefly in England. 
 
 7 — Eton College 
 
 9 — Tintern Abbey 
 
 20—An English Landscape 
 
PARSONS (C HARLEs), A.N.A. 
 
 Born in England, 1821. He migrated to the United States and became a pupil of 
 the National Academy. For a time he was the art director of the publishing house of 
 Harper & Brothers, and has been a constant exhibitor at the exhibitions of the Academy 
 and the Water-Color Society. 
 
 11 — An English Village 
 
 PETTENKOFEN (August von) 
 
 Born in Vienna in 1821. He was brought up on his father's estate in Galicia and 
 became a cavalry officer. Having served his time, he resolved to study art, and went 
 to Paris, where the work of Alfred Stevens opened his eyes to the truly pictorial treat¬ 
 ment of genre subjects. He returned to Austria, an innovator, and spending his sum¬ 
 mers near the little town of Spolnok on the Theiss, to the east of Budapest, devoted 
 himself to portraying the actual life of the country people, with a special partiality for 
 the soldier as a subject. A quiet realism, expressed in delicate chords of color, distin¬ 
 guishes his work. He became a member of the Vienna Academy and one of its pro¬ 
 fessors, and was knighted in 1876. His death took place in 1889. 
 
 39 — La Charrette des Blesses 
 
 RAEBURN (Sir Henry), r.a. 
 
 Born at Stockbridge, near Edinburgh, 1756. Apprenticed to a goldsmith, he 
 worked also at miniature painting, and later at portraits in oil, copying the works of 
 David Martin. Marrying a lady of means, he was enabled to visit London, and by the 
 advice of Sir Joshua Reynolds studied in Italy. In 1780 he returned to Edinburgh, and 
 soon won high rank as the foremost painter in Scotland. He was elected to the presidency 
 of the Scottish Academy and to full membership in the Royal Academy. On the occa¬ 
 sion of George IV.’s visit to Edinburgh in 1822, he was knighted and appointed his 
 Majesty's Limner for Scotland, dignities that he did not live long to enjoy, for he died 
 the following year. 
 
 28 — Portrait of Charles Lamb 
 
 RENARD (H. Constantin) 
 73 —Still Life 
 
REYNOLDS (Sir Joshua), p.r.a. 
 
 Born at Plympton, in Devonshire, July 16, 1723. At the age of seventeen he was 
 apprenticed to Hudson, the portrait painter, in London. Two years later he set up 
 a studio at Devonport, moving in 1744 to London. In 1749 his friend and patron 
 Commodore (afterwards Admiral) Keppel, took him to Italy in the “ Centurion.” He 
 spent two years in Rome, later visiting Florence, Venice, and other cities. At first 
 unable to appreciate the work of Raphael, he became an ardent admirer of that master 
 and of the great Italian colorists, subsequently basing his own style on the re¬ 
 sult of his studious research. Upon his return to London in 1753, his success was 
 immediate and assured. He founded the famous Chib, whose membership included 
 Johnson, Goldsmith, Fox, Sheridan, Burke, Dr. Burney, Malone, and Steevens. In 
 1768 he became the first President of the Royal Academy, then newly founded, and in 
 the following year was knighted. In 1781, and again in 178 3, he visited the Low 
 Countries, and his criticisms on the Dutch and Flemish masters anticipated in breadth 
 and shrewdness the subsequent work of Fromentin. His “ Discourses” at the annual 
 meetings of the Academy were equally admirable in style and matter. He died on 
 February 23, 1792, and was buried in St. Paul's Cathedral. 
 
 30 — Portrait of the Countess of Nottingham 
 32 — Portrait of the Hon. Mrs. Stanhope 
 
 ROMNEY (G eorge) 
 
 Born December 15, 1734 , near Dalton-le-Furness, Cumberland, England, the son 
 of a cabinet maker. He worked for a short time with a local painter, Steele, then 
 married Alary Abbott, of Kirkland, and settled as a portrait painter at Kendal, in West¬ 
 moreland. Having saved a hundred pounds he set out for London, leaving his wife 
 and two children behind. In the capital his progress was steady until he became a 
 serious rival of the great Reynolds. With the miniature painter Ozias Humphrey 
 he visited Italy in 1773, where he copied the frescoes and cartoons of Michel Angelo 
 and Raphael, and studied the painting of Titian. Upon his return to London he 
 took a large house in Cavendish Square, and for twenty years enjoyed a career of con¬ 
 spicuous success, though the mutual antipathy that he shared with Reynolds kept him 
 from ever exhibiting at the Royal Academy. Attracted by the beauty of a waitress 
 in a coffee house, he induced her to become his model, and later his mistress. He 
 painted his Emma in a vast variety of characters until her fickle affections were 
 won by his patron, Sir William Hamilton, who made her his wife. Subsequently as 
 Lady Hamilton she fascinated the heart of Nelson, at Naples, where her husband was 
 ambassador. The loss of the “divine lady,” as Romney loved to call her, broke the 
 health and spirit of the artist. In a dying state he returned to his wife, whom he had 
 so long forgotten, and she tended him to the end, which came on November 15, 1802. 
 
 26—The Shy Child 
 
 34—Portraits of Mrs. Wells 
 
ROUSSEAU (Theodore) 
 
 Born in Paris, 1812. He had an early taste for mathematics and is said to have 
 intended to become a pupil of the Poly technique, but entered instead the studio of 
 Lethi'ere. Failing to secure the Prix de Rome, he repaired to the Plain of Mont¬ 
 martre, and his first picture, exhibited in 1826, “ The Telegraph Tower," pro¬ 
 claims his nature study. In 1833 he made his first visit to Fontainebleau, and the 
 following year painted his first masterpiece, “ Cotes de Grandville. ” He received a third- 
 class medal at the Salon, but for the following fourteen years was rejected from the exhibi¬ 
 tions. Even after the Revolution of 1848, his green pictures were hailed as “ spinach," 
 and it was not until the Exposition of 1855 that the world acknowledged him as belonging 
 to the class of Ruysdael, Hobbema, and Constable. His last years were darkened 
 by domestic calamity. He had married a young woman of the Forest, and when she was 
 seized with madness, he spent his strength in tending her. When finally the officer ship of 
 the Legion, which was his due for serving as President of the Jury at the Exposition of 
 1867, was denied him, he succumbed to the bitterness of his chagrin. He lies buried 
 near Millet, in the churchyard of Chailly. 
 
 43 — Landscape 
 
 RUSSELL (John), r.a. 
 
 Born at Guildford, Surrey, 1744. He became in time a pupil of Francis Cotes 
 and followed the manner of his master, especially in the use of crayons. In 1776 he 
 published a pamphlet entitled “Elements of Painting with CrayonsHe was 
 elected a Royal Academician in 1803, and died three years later. 
 
 24 — Peg Woffington 
 
 SEWELL (Amanda Brewster) 
 
 Figure and portrait painter; wife of Robert V. V. Sewell. 
 
 78 — A Nymph 
 
 SMITH (F. Hopkinson) 
 
 Born in Baltimore in 1838. He was self-taught, and has mainly confined himself 
 to water colors, in which he displays an extraordinary facility. Moreover, as author, 
 lecturer, and civil engineer, he has proved himself possessed of a genius for versatility. 
 
 10—Bella Mar, Matanzas 
 
SMYTHE (Lionel P.) 
 
 Member of the Royal Scottish Water-Color Society. 
 
 6—The Young Gleaners 
 
 8 — Children and Greyhound 
 
 17 — In the Woods 
 
 TOTTIERE (E.) 
 
 61 — Nymphs Bathing 
 
 TINTORETTO (Real name Jacopo Robusti). 
 
 Born in Venice, September 29, 1518, the son of a silk-dyer, taking the name IV 
 Tintoretto. He was a pupil of Titian, and endeavored to unite in his own work the 
 latter's splendor of color with Michel Angelo’s greatness of composition and line. 
 Ruskin regards him as the superior of Titian, and while other critics disagree on this 
 point, they are in accord in placing him among the greatest masters. Recognizing the 
 unequal character of his work, the Venetians said that there were three Tintorettos — 
 one of bronze, one of silver, and one of gold—while Annibale Carracci affirmed that, 
 if sometimes equal to Titian, he was often inferior to Tintoretto. His life was spent in 
 Venice, where he died May 31, 1594. 
 
 25 — Portrait of Henry of Valois 
 
 TROUILLIBERT (Paul P.) 
 
 Pupil of Vibert and Jalahut. 
 
 54—Landscape 
 
 TROYON (Constant) 
 
 Born at Sevres, 1810. He worked as a boy in the porcelain factory, where Rio- 
 creus the flower painter taught him to draw. Roqueplan, whom he met on one of his 
 sketching tours, gave him advice and encouragement, but it was Rousseau and Dupre 
 who established firmly his own predilection for nature study. He migrated to Fontaine¬ 
 bleau, and from 1836 commenced the series of his masterpieces in landscape. To these 
 he added, after a visit to Holland in 1847, the painting of cattle, in which he stands 
 unapproached. He died in 1865, and a long list of honors was crowned at the Exposi¬ 
 tion of 1878 by the Diploma to the Memory of Deceased Artists. 
 
 40 — Landscape and Cattle 
 
 42 — A Fisher Boy 
 
TRIPP (George) 
 
 19 — A River Scene 
 
 TURNER (Joseph Mallord William), r.a. 
 
 Born in 1775. He very early displayed skill in drawing, and , assisted by Dr. 
 Mnnro, obtained employment in coloring prints and washing in the backgrounds of 
 architectural drawings. At the age of fourteen he became a student at the Royal 
 Academy, and in the following year exhibited his first picture, “ View of the Arch¬ 
 bishop's Palace at Lambeth." He was elected an Associate at twenty-four, the youngest 
 age permitted, but the works which he had already exhibited ranged over twenty-six 
 counties of England and Wales. Three years later, in 1802, he was made a full 
 Academician. Up to this date his powers had been chiefly displayed in water colors, 
 of which the most celebrated is the collection of studies in monochrome, which he styled 
 “ Liber Studiorum,” in imitation of the “ Liber Veritatis ” of Claude. Thenceforth 
 oil painting mainly occupied his brush, and, as he had beaten all rivals in the other 
 medium, so he set himself to rival Claude, whose preeminence in landscape was then 
 admitted. In the “Dido Building Carthage" of 1815 he may be said to have accom¬ 
 plished this, and for the future devoted himself to eclipsing the French artist—to being 
 Turner. Then followed the maturest period of his art, lasting, perhaps, to his third 
 visit to Italy, in 1840. He never married, and, notwithstanding the fortune he had 
 amassed, lived shabbily. In 1851, during one of his absences from home, he died in 
 a garret in Chelsea, leaving the pictures and drawings which he had accumulated to 
 the nation, and his other property for the founding of an institute for decayed artists, 
 with the exception of a thousand pounds, which he apportioned for the erection of a 
 tomb in St. Paul's Cathedral. There he lies buried, near Sir Joshua Reynolds, while 
 his art remains “a phenomenon without forerunners and without descendants." 
 
 14—Katz Castle with Rheinfels 
 
 15 — Peterhof 
 
 16—From Ehrenbreitstein 
 
 VILLEGAS, JOSE 
 
 Born in Seville, 1848. He studied with Mariano Fortuny and followed the latter's 
 brilliant style of genre, coloring it, however, with a force and character entirely his own. 
 By his “Death of the Matador," and by “ The Christening," bought by Mr. William 
 H. Vanderbilt for a hundred and fifty thousand francs, he acquired a European repu¬ 
 tation. He has his studio in Rome. 
 
 5—A Spanish Fencer 
 55 — At the Door of the Harem 
 
 89 — The Page 
 
WILLEMS (Florent) 
 
 Born at Liege, 1823. He was a pupil of the Mechlin Academy, and made a study 
 of Dutch genre pictures, attracting attention to his own work as early as 1840. Four 
 years later he exhibited “ Visit to Young Mother” in Paris, and with such success that 
 he established himself there. His popularity was immense, the public hailing him as 
 a modern Terborg, and his list of honors is a long one. 
 
 70 — The Mother’s Prayer 
 
 WYLLIE (William Lionel), a.r.a. 
 
 Born in London, 1851. He has distinguished himself particularly as a painter 
 of the port of London. 
 
 4—River Stour 
 12 — The Chapman 
 
FIRST EVENING'S SALE 
 
 Friday, January 23d, 1903 
 
 AT MENDELSSOHN HALL 
 
 BEGINNING PROMPTLY AT 8.30 O’CLOCK 
 
 Oil Paintings and Pfdter Colors 
 
 S'A. " 
 
 1 — 
 
 MORTIMER L. MEMPES 
 
 Treasure Trove 
 
 Water Color 
 
 Jg) CL-'i/z^f 
 
 With charming naivete of feeling and purity of color a little fair-haired child is 
 represented standing upon the sands, hugging a black bottle. Her figure, clad only in a 
 chemise, is daintily set in profile against the green sea. 
 
 Signed at the lower right, “ M. L. Mempes.” 
 
 Height, 7 inches; width, 5 inches. 
 
FRANK D. MILLET, N.A. 
 
 a'a. 
 
 
 Roman Maiden 
 
 
 Water Color 
 
 A lady of classic Rome is represented in the act of fastening her sandal. She is 
 seated in profile upon a couch, with her right foot raised, the left resting on a tiger skin. 
 Her robe of creamy gray material blends in a delicate harmony of color with the blue and 
 amber green of the couch. 
 
 Signed at the lower left, “ F. D. Millet.” 
 
 Height, 11 inches ; width, 8 inches. 
 
 MORTIMER L. MEMPES 
 
 IVaiting for the Boats 
 
 Water Color 
 
 A group of Brittany women is gathered by a stone parapet, gazing out to sea. 
 Two boys are seated on the wall. 
 
 Signed at the lower right, “ M. L. Mempes.” 
 
 Height, 414 Inches; length, 7 inches. 
 
WILLIAM LIONEL WYLLIE, A.R.A. 
 
 4 
 
 River Stour 
 
 Water Color 
 
 
 In a channel, winding away from the foreground to white cliffs at the back, the 
 tide is running out, leaving bare the stretches and slopes of sand. The low-water limits 
 are marked at intervals by black posts. Some gulls have settled, others are flying over 
 the water. It is a curiously interesting composition ; very refined in its sober harmony 
 of drab and cream, accented by touches of black, gray, and white. 
 
 Signed at the lower right, “ W. L. Wyllie, River Stour,” 
 
 Height, 7 inches ; length, io inches. 
 
 //a. •• 
 
 5 — 
 
 JOSE VILLEGAS 
 
 A Spanish Fencer 
 
 Water Color 
 
 With his back to a wall, stands a man holding a rapier by the handle and tip. 
 His right shoulder and arm are bare, while a white cloth hangs over his left side. He 
 wears a yellow and purple sash around the top of heavy maroon trunks, and white rags are 
 bound with thongs, upon his feet. 
 
 Signed at the lower right, “Villegas, 1871.” 
 
 Height, 11 inches; width, 7j£ inches. 
 
LIONEL P. SMYTHE 
 
 ^■■ LElSL, 
 
 The Young Gleaners 
 
 Water Color 
 
 A girl in blue, with a white cap, is crossing an avenue of small trees that stretches 
 through a meadow. She carries a rake and a basket, and is accompanied by a child with 
 a sheaf of wheat; a second one, with similar burden, following. At the end of the 
 avenue appears a woman. 
 
 Signed at the lower right, “ Smythe, L. P., 1883.” 
 
 Height, 7 inches ; length, 1 2 inches. 
 
 d i'O. " 
 
 7 — 
 
 ALFRED PARSONS, 
 
 Eton College 
 
 Water Color 
 
 A.R.A. 
 
 £. 
 
 On the far side of a level meadow, bordered by the Thames, stretches a range of 
 red buildings with gabled roofs and corner turrets, pleasantly embowered in foliage. 
 Trees grow in the foreground on the left of the water, and the bank in the middle distance 
 is sprinkled with deer. 
 
 Signed at the lower right, “ Alfred Parsons.” 
 
 Height, 9^4 inches ; length, 13^ inches. 
 
n 
 
 8 - 
 
 LIONEL P. SMYTHE 
 
 • 9 
 
 Children and Greyhound 
 
 Water Color 
 
 In the foreground a little girl lies under a greyhound, with her arm on its back. 
 A boy is approaching through the long grass, and beyond him the road passes a stone 
 cottage in a walled garden, and mounts to the village which straggles along the top of 
 a grassy slope. 
 
 Signed at the lower right, “ Smythe, L. P., 1883.” 
 
 Height, 8 inches; length, 1 2 inches. 
 
 6 " 
 9 — 
 
 ALFRED PARSONS, A.R.A. 
 
 Tintern Abbey 
 
 Water Color 
 
 A reach of the River Wye stretches diagonally across the picture, and then makes 
 a sharp bend to the right under a high wooded bank. On the right margin of the stream 
 white cottages with red roofs appear among the trees, beyond which are the ruins of the 
 Abbey, nestling close under a leafy hill. The beautiful spot is represented with the 
 tender charm of manner so characteristic of this painter’s rural landscapes. 
 
 Signed at the lower left, ** Alfred Parsons, 1886.” 
 
 Height, 10 inches ; length, 16 inches. 
 
F. HOPKINSON SMITH 
 
 - 
 
 10 — 
 
 Bella Mar, Matanzas 
 
 Water Color 
 
 
 In the lower left corner of the picture is a triangle of pink sand, by the edge of 
 which a skiff is moored. The coast is continued in a horizontal line across the top of the 
 composition, giving to the bay a bold sweep of contour. At the apex of the curve of pale 
 greenish water two laden donkeys are approaching the red-roofed gray houses that straggle 
 along the shore beneath hills. The latter descend gradually to the right, with a white wall 
 running beyond the village along the length of their base. It is a spirited picture in pure 
 washes of color, rendering very truthfully the charm of warm and brilliant atmosphere. 
 
 Inscribed at the lower left, “Bella Mar, Matanzas, Feb. 22, ’81, F. Hopkinson Smith.” 
 
 Height, 11 inches ; length, 16 inches. 
 
 27E - 
 
 11 — 
 
 CHARLES PARSONS, A.N.A. 
 
 a T 
 
 An English Village 
 
 
 Water Color 
 
 One looks down a short length of village street, terminated by a mass of elm trees. 
 The houses are red-roofed and, on the right, separated from the road by gardens, inclosed 
 with a low wall. In front of a building on the left stands a post from which swings the 
 sign of “ The Bull Inn.” The scene is charmingly typical of a village in the south of 
 England. 
 
 Signed at the lower right, “ C. Parsons.” 
 
 Height, 834 inches ; length, 15/4 inches. 
 

 WILLIAM LIONEL WYLLIE, A.R.A. 
 
 " * ' 
 
 12— The Chapman 
 
 Water Color 
 
 The conspicuous feature of the picture is a scarlet lighthouse raised on a high 
 framework above the blue water. The latter is streaked on the right of the structure with 
 a sinuous eddy of white shoal water, beyond which numerous fishing boats are dotted 
 about, a steamer showing in the offing. Underneath the davits which hang from the left 
 side of the lighthouse framework lies a rowboat with two figures; one of them 
 presumably “ the chapman,” who has arrived to peddle his wares. 
 
 Signed at the tower left, “The Chapman, W. L. Wyllie.” 
 
 Height, 7 inches ; length, 17 inches. 
 
 S V. 
 
 
 M. LORING 
 
 13— Schooner at Low Tide 
 
 Water Color 
 
 A vessel with greenish and black hull is moored against some piles on the left of 
 the picture. Farther back on the right projects a gray pier with a building upon it 
 reflected in the white water. Two boats appear in the middle distance, and in the offing 
 a sailboat, while upon the horizon lies a gray line of coast. The picture is full of fresh¬ 
 ness, and has the true water-color feeling. 
 
 Signed at the lower left, “ M. Loring.” 
 
 Height, 14 inches ; width, gy 2 inches. 
 
/ <1 £i~ ■' 
 
 14 
 
 J. M. W. TURNER, R.A. 
 
 1775-1851 
 
 Katz Castle with 
 
 Water Color 
 
 
 
 Rheinfels 
 
 On the left of the picture is a pile of gray rocks with trees on their slopes, and a 
 profile of castle walls descending in steps until it stops on the sheer edge of a ravine. 
 Between this and a smaller cliff to the right the river is seen lying far below, and across 
 the water rises a precipitous rock crowned with the ruin of a castle. Beyond it appear 
 line after line of ranged hills, blue in the distance, under a sky filled with rolling masses 
 of gray and white cloud. This example and the two following are of the “ Rhine Series,” 
 of which there were thirty-five views, and were made by Turner during a tour up the 
 Rhine in 1819. 
 
 From the collection of Ayscough Fawkes, Farnley Hall, Otley, Yorkshire, England, whose remarkable 
 collection of works by Turner was sold at Christie’s, June 27, 1890. Mr. Fawkes was one of Turner’s intimate 
 friends, and a generous patron. Exhibited at Burlington House, 1889. 
 
 Height, 7^4 inches ; length, 12 y 2 inches. 
 
 //Vd. •• 
 
 15 
 
 J. M. W. TURNER, R.A. 
 
 1775-1851 
 
 Peterhof 
 
 Water Color 
 
 A rainbow gleams coldly in the lurid sky, spanning the dark, slaty water, on the 
 farther shore of which a town appears at the foot of a sloping hill. Along the flat sand 
 at the left of the picture a man accompanied by a woman in a red petticoat is approach¬ 
 ing, while farther back two figures are walking in the opposite direction, and a group of 
 figures appears in the distance. Off shore lies a fishing-smack, with two boats near it. 
 
 From the collection of Ayscough Fawkes, Farnley Hall, Otley, Yorkshire, England, whose remarkable 
 collection of works by Turner was sold at Christie’s, June 27, 1890. Mr. Fawkes was one of Turner’s intimate 
 friends, and a generous patron. Exhibited at Burlington House, 1889. 
 
 Height, 8 J 4 inches ; length, 12^ inches. 
 

 SAMUEL COLMAN, N.A. 
 
 Cf- 
 
 Grand Canon of the Colorado 
 
 / 
 
 
 Water Color 
 
 The minute precision with which the character of the rock formations has been 
 studied does not detract from the impressive feeling of the scene as a whole. Viewed 
 through the rarified atmosphere, the terraces of rock carve themselves clean against the 
 further range and the pale blue sky. Those on the left, according as they fall in 
 shadow or catch the partial light, vary in tone between slaty blue, reddish slate, and 
 reddish buff, while the bastions that tower on the right are a rosy yellow. The brink 
 of a deep fissure cuts the picture diagonally, and in the foreground, where mist hovers over 
 the depth, two figures are visible; one standing, the other sitting. The color is charm- 
 ingly pure and transparent, and the diffusion of warm light most admirably rendered. 
 
 Signed at the lower right, “ Sami Colman, 1888.” 
 
 Height, 17 inches ; length, 21 inches. 
 
 19 — 
 
 3 c o. ■■ 
 
 GEORGE TRIPP 
 
 A River Scene 
 
 Water Color 
 
 Ducks are swimming in the foreground of water, on the right of which a man is 
 stooping in a punt beneath some willow trees; two cows appearing on a bank beyond. 
 Willows also line the opposite margin, where a church with white tower is visible. Near 
 to it is a lock and the commencement of a wooden bridge, which extends across the 
 narrow valley to the hills on the other side. The scene is such a one as might be found 
 in the valley of the Thames. 
 
 Signed at the lower right, “George Tripp, 1854.*’ 
 
 Height, 12 inches ; length, 25 inches. 
 
t it 
 
 ALFRED PARSONS, A.R.A. 
 
 An English Landscape 
 
 Water Color 
 
 
 From a grassy slope on the left, where cows are feeding, there is a view of a flat 
 valley dotted with trees. Immediately below is a small river, which farther on makes a 
 bend where it is crossed by a railroad bridge. A hay wagon appears in the middle 
 distance. The sky is a pure blue, with patches of white and masses of rolling gray 
 clouds. Juicy and transparent in color, the picture renders with intimate feeling the 
 pleasant simplicity and wholesomeness of the country. 
 
 Signed at the lower right, “ Alfred Parsons, 1889.” 
 
 Height, 17^ inches ; length, 23^4 inches. 
 
 MAY ELEY 
 
 21 — Children and Puppy 
 
 Water Color 
 
 In front of a drab wall a little child in long white dress stands sideways, nursing 
 a bull puppy. She is being watched by another fair-haired child, who sits on the floor, 
 also in profile, clasping her knees with her hands. 
 
 Signed at the left side, “ May Eley.” 
 
 Height, 35 inches; width, 30^4 inches. 
 
EDWIN A. ABBEY, N.A., R.A. 
 
 %0 " fC. 0 cA^z^/ 
 
 22 — Mariana: Measure for Measure 
 
 Water Color 
 
 The “ dejected maid,” victim of Angelo’s inconstancy, is represented sitting on a 
 divan, where she has “ sat all day.” Her right arm lies extended upon the cushions, 
 while the left hand toys listlessly with her neck chain. Her white cap shows against 
 the dark blue of the tapestried wall, and a white veil is wrapped around her neck, the 
 ends hanging down over the shoulders. The slate-blue gown, with white slashed sleeves, 
 and a crimson band across the front of the bodice, is worn over an underskirt of purple, 
 decorated with gold lace. On a table beside her an hour-glass marks the dull routine 
 of time; while at the right of the chamber stands her prie-dieu , covered with a linen 
 cloth, and adorned with two lighted tapers and a crucifix. A picture hangs above it, under 
 a carved canopy, on the corner of which is a lighted lantern. In the corridor, seen 
 beyond some crimson hangings, a boy approaches with a lute. 
 
 “ Take, O, take those lips away, 
 
 That so sweetly were forsworn; 
 
 And those eyes, the break of day, 
 
 Lights that do mislead the morn; 
 
 But my kisses bring again, bring again; 
 
 Seals of love, but seal’d in vain, seal’d in vain.” 
 
 The picture elaborately illustrates the artist’s ability to re-create the feeling and 
 environment of bygone days, and in the richness of its color, tonal quality, and exquisite 
 handling reveals his mastery of the water-color medium. 
 
 Signed at the lower right, “ E. A. Abbey.” 
 
 Height, 18^4 inches ; length, 23^4 inches. 
 
A WElson & Co.Boston 
 

 
 
 
 
THOMAS GAINSBOROUGH, R.A. 
 
 1727-1788 
 
 oZ f 6"7)- " 
 
 23— Shepherd Boys 
 
 The two lads in this little picture are eminently characteristic of Gainsborough. 
 They have an unaffected rusticity, a natural wholesomeness, the freedom of gesture of 
 young untamed creatures, and added thereto a slight gravity of demeanor, a reflex of 
 the painter’s own gentle, dreamy nature. They are seated on a rocky eminence which 
 overlooks a plain, showing blue in the distant atmosphere. Behind them stands an old 
 oak trunk, between the branches of which appears a patch of blue sky. One of the boys 
 leans, nearly facing us, with one hand extended along the rock, the other holding a crook. 
 His companion sits sideways at his feet, with his hands laid upon his knees, and in front of 
 him lies a dog. The glow of the setting sun is concentrated on the back and shoulders 
 of the latter boy, and spreads a pattern of lesser light over the browns and russet tones of 
 the foreground, paling into greenish cream in the distant sky. The mingled breadth and 
 subtlety of the color scheme and chiaroscuro produce a combined impression of genial 
 bonhomie and tender reverie. 
 
 Height, 1 3 inches ; width, 9inches. 
 
JOHN RUSSELL, R.A. 
 
 1744-1806 
 
 24 - 
 
 / 
 
 
 Peg IVoffington 
 
 Pastel 
 
 
 • • 
 
 A pupil of Francis Cotes, Russell practised in oils and crayons, making his mark 
 particularly in the latter medium, and enjoying the appointment of Painter in Crayons to 
 George III. and the Prince of Wales. 
 
 In this bust portrait of Peg Woffington, he has represented the famous actress in 
 a position three quarters to the front, facing right, with the eyes glancing to the left. The 
 brown wavy hair is drawn off the forehead and arranged at the back in curls, threaded 
 with strings of pearls. The features are rendered with the precise finish of a miniature, 
 the flesh tones being clear and white, delicately suffused with pink. A lace fichu borders 
 the neck of the blue silk Watteau robe, which is damasked with pink and white flowers, 
 while the short sleeves are caught up with a brooch of pearls. Worn in the centre of the 
 bodice of pearly satin is a red jewel set with pearls, three of which are pear-shaped; and a 
 pearl also nestles in the ear. 
 
 The vivacious audacity of the actress, whose sayings and doings even outside the 
 theatre were the delight of the town, is here toned down to the demure discreetness of the 
 grande dame of the period; an accomplishment upon which the fair Peg prided herself 
 
 Height, 23 inches; width, 17^ inches. 
 

 
 
 
 
 
 
 
 
 
 
 
TINTORETTO 
 
 Real name Jacopo Robusti) 
 1518-1594 
 
 /V 0 - " 
 / 
 
 25— Portrait of Henry of Patois 
 
 The portrait represents the half-length figure of a man of about thirty-five years, 
 facing three-quarters to the left, resting one hand on the hilt of his sword, and in the right hand 
 holding an inscribed parchment. He has closely cropped black hair; dark, arching eye¬ 
 brows; and a downy moustache. A lace-edged ruff is worn above a black velvet robe, 
 below the cape of which appears a doublet with white satin sleeves barred with gold 
 thread. His sword is enclosed in a black scabbard decorated with gold lace in diag¬ 
 onal bands; and from the wide hilt droops his left hand, which has a small ring on 
 the little finger. A flat broad chain, formed of gold links, hangs from his neck. 
 The Latin inscription on the parchment commences with the words, “Serenissimo et 
 Exmo. Domino, Henrico Vaksio, Andaganiensium Duci, et Dei gra. electo Regi 
 Poloniae.” The subject of the portrait is Henry of Valois, son of Catharine de’ Medici, 
 who was elected King of Poland in 1573, but resigned the position in the following 
 year upon his succession to the throne of France as Henry III. This seems to fix 
 the date of the picture, as it was probably painted during Henry’s progress to France, 
 while he was visiting Venice as the guest of the Doge. 
 
 Height, 40 inches ; width, 30 inches. 
 
/ 
 
 rno- 
 
 26 
 
 GEORGE ROMNEY 
 
 1734-1802 
 
 The Shy Child 
 
 Z 
 
 etui du- 
 
 
 
 Unfinished, like many of Romney’s canvases, this picture has yet been carried far 
 enough to represent with delicious freshness of fancy the simple coyness of a country 
 maiden. Her head inclines to one side, the cheek resting against the back of her right 
 hand, while her left hand is held up to her bosom. The eyes peer up through the transparent 
 shadow that softly veils her forehead; the full cheeks are ripe in color, and the mouth is 
 drawn forward with a demure purse of the lips, above a little pointed chin. The white 
 dress over the bust has been indicated with vivacity and freedom, and left unfinished. 
 
 It is in a bust portrait such as this that Romney often appears most happy; for as 
 a rule he eschewed elaborate compositions, painting under a strong impulse, without the 
 science and deliberation of manner that distinguish Sir Joshua. Yet he was frequently the 
 equal of that master by the very insouciance of his style. An excellent draughtsman, with 
 instinctive aptitude for grace of line, and a charming colorist, he was particularly skilful 
 in giving life to his faces, rendering with an individuality of charm the winsomeness of 
 women and children. 
 
 From the collection of Walter J. Long, Preshaw, Hant’s, England, in whose family the painting had been since 
 it was painted. Sold at Christie’s, London, 1890. 
 
 Height, 23 inches ; width, zi inches. 
 
OLD CROME (JOHN CROME) 
 
 / 
 
 
 C 6 
 
 1769-1821 
 
 
 ^ C ^ c 
 
 -A- - ( 
 
 27— 
 
 Landscape with Cottage 
 
 The right of the composition is filled with the side and gabled end of a cottage, 
 on the left of which are a lean-to shed and a paling, with a pollard willow showing above 
 it. The immediate foreground is of buff and olive tones, with a mass of dark foliage on 
 the right, out of which rises a trunk with bare branches. Beyond the cottage a meadow 
 extends to a pond and to elm trees which stand against a creamy sky, mellow with light. 
 A square chimney surmounts the pitch of the roof, and a dormer window projects from 
 the slope, while the front of the cottage, where brick shows through the broken plaster, is 
 occupied by a door and window. 
 
 Height, 44 inches ; width, 36 inches. 
 
// " 
 
 SIR HENRY RAEBURN, R.A. 
 
 I7S6 - 823 1 ^ 
 
 28 
 
 Portrait of Charles Lamb 
 
 At the age of 30 
 
 This bust portrait has a graciousness of mien and quiet force of character in 
 Raeburn’s happiest vein. The figure appears in profile, facing to the left, against a dark 
 olive background, the corners of which are traversed by curved bands of drab. The 
 double-breasted black coat is buttoned up to the chin, where its small collar falls neatly 
 over a soft white stock. The head, turned three-quarters full, has brown curly hair, falling 
 in waves over the forehead; strong black brows surmount the gray eyes; the nose is 
 straight, and the large lips are slightly parted; the flesh tints being generously suffused 
 with carmine. In its simple directness of expression and honest workmanship this portrait 
 offers a fine example of Lawrence’s chief rival, whose vogue, even in his own day, would 
 have been wider had not the home-loving instinct of the Scot induced him to settle in 
 Edinburgh rather than in London. But with the slow dispersal of his work his reputation 
 is still growing. 
 
 Height, 28 inches ; width, 24 inches. 
 

 
o2 3oO- 
 
 SIR JOSHUA REYNOLDS, P.R.A. 
 
 I 7 2 3~ I 79 2 
 
 ( 7 . 
 
 30 — Portrait of the Countess of Nottingham 
 
 Something of Van Dyck’s influence is, perhaps, recognizable in the suave dignity 
 of this portrait. The figure is shown as far as the waist, seated, facing to the left; one arm 
 resting upon some object in front, with a gesture of superb elegance. The delicately tap¬ 
 ering hand droops beneath a loose cuff, over which are massed the voluminous folds of 
 a claret-colored drapery. The bodice is worn low enough to reveal the cushion of the 
 shoulder, from which the slender neck slopes up with a curve of remarkable grace. In 
 the small upper lip and finely arched brows there is a trace of hauteur , which yields to 
 graciousness in the expression of the eyes and in the ample modelling of the contours. 
 Over the brownish-amber hair, which is massed in braided coils, sets a headdress of gauze, 
 edged and sprigged with gold. It is fastened like a kerchief on the crown, and falls 
 behind in folds. A pearl pendant hangs from the ear. There is a moderation of sumptuous¬ 
 ness in the costume which is alluringly impressive. The gown is of dull blue velvet, with 
 a very full sleeve, and a border of ermine on the edges, which fold over the breast, 
 where a glimpse of the lace chemise appears. The composition has an ampleness of 
 decorative arrangement which charmingly accords with the mingling of high-bred ease and 
 stateliness in the subject. 
 
 Height, 29^ inches; width, 25 inches. 
 
 O-O. O-. AuayZ-w /9 /g JC/3Z 
 
 3 
 
AW Elgon &Co,Boston 
 

 
AW Elaond Co.Boston 
 
* / 
 
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 S’ J2. a <7. 
 
 JOHN HOPPNER, R.A. 
 
 I759~ i 8io 
 
 31 — Portrait of Lady Almeria Carpenter 
 
 Hoppner excelled in his portraits of ladies, and the present subject, a ripe and 
 wholesome type of English beauty, whose natural charms are enhanced by the coy sim¬ 
 plicity ot her costume, affords a very admirable example. His fine sense of tone reveals 
 itself here in a color scheme of grave refinement—soft white and gray against a dark drab 
 background, with a note of piquancy in the fresh tints of the healthy face. The lady’s 
 head is turned a little towards the left, while the bust fronts us, the full bosom being partly 
 visible beneath the crossed draperies of the bodice. Her powdered hair, disposed low 
 down over the forehead, is dressed upon the crown in a loose volume, terminating at the 
 back of the neck in curls, which are entwined with a dainty fall of gray veiling. The 
 eyes are a bluish gray, with full orbs and a tender earnestness of glance ; the nose softly 
 rounded; and the lips gently compressed, with the trace of a smile in their corners. The 
 portrait involves a most agreeable mingling of artifice and artlessness, rendered with frank 
 and easy brushwork. 
 
 Height, 20 inches ; width, 17 inches. 
 
SIR JOSHUA REYNOLDS, P.R.A. 
 
 f# 0 0- " 
 
 32 — Portrait of Hon. Mrs. Stanhope 
 
 Nee Eliza Falconer 
 
 Very characteristic is the quality of mellowness and vaporous atmosphere in the 
 chiaroscuro of this picture. The lady is seated under a tree, which casts a delicate 
 shadow over the skirt of her gown and over the hand that lies upon it; while her face 
 and bosom are warmed by the evening glow, which settles also on a pool in the land¬ 
 scape. The flesh tones are luminous with creamy gold that responds to the rosy cream 
 of the horizon, and to the golden brown flecked with orange in the foliage of the tree. 
 The richness of the landscape setting adds the charm of contrast to the simple grace of 
 the gown, which is of soft creamy material, crossing low upon the bosom. The lady 
 faces the left, her right elbow supported upon her knee, and her hand resting against her 
 cheek. The face is oval, with a sensitively arched nose, delicately pencilled brows, and 
 brown eyes half veiled with drooping lids. Brown also, of a warm tone, is her hair, 
 which is drawn up on the top of her head in rolls, with loops depending behind. The 
 pose of the figure is at once graceful and artless, while the entire composition has a 
 handsomeness of treatment that makes the portrait truly pictorial. 
 
 Mrs. Stanhope, nee Eliza Falconer, one of the beauties of the day, was married to the Honorable Fitzroy 
 Stanhope, younger son of the second Earl of Harrington, who died August 20, 1828. 
 
 Height, 48 inches ; width, 35 inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
A V7.E1bojhS. Co., Boston 
 
OLD CROME (JOHN CROME) 
 
 1769-1821 
 
 rr<r<?- •• 
 
 33 — Old Mill on the Yare 
 
 /%. 
 
 
 
 Crome’s intimate knowledge of nature, and feeling for its large characteristics, and 
 his indebtedness to the art of Holland are well illustrated in this choice example. There 
 is even some aspect of a Dutch scene in the subject, which is apparently a view upon 
 the Yare, seen under the fading light of a rather threatening sky. Starting in a 
 clump of dark trees on the left, a low stretch of land divides the water and sky. The 
 latter overhead is ragged with diagonal shreds of dusky cloud, while the horizon is full 
 of white light, against which are softly silhouetted two dark brown roofs, and, farther to 
 the right, a reddish windmill and a white house. A wooden jetty projects into the water, 
 upon the gray surface of which drowse the reflections of the various objects on the land. 
 The whole scene, frankly realistic, as was Crome’s wont, is toned to a delicate adjustment 
 of dark russet colors and whitish grays, which gives a beautiful pictorial quality, very 
 discreet and refined. Rendered with much tenderness, also, is the feeling of the scene—the 
 gentle rusticity of the spot and the tranquil hush of evening—made even more impressive 
 by the threat of stir in the sky. In the technique there is, more than usual, a breadth of 
 treatment, since the uncertainty of light permits no pettiness of detail, and, therefore, 
 nothing interferes with the largeness of conception. It is a picture that admirably sustains 
 Old Crome’s individual worth and his position in English art. 
 
 From the Dawson Turner Collection, London, 1852. 
 
 Height, 25 inches; length, 29^4 inches. 
 
/^; j-oo- 
 
 0 * 
 
 34 
 
 GEORGE ROMNEY 
 
 1734-1802 £7. 
 
 S d 
 
 Portrait of Mrs. IVells 
 
 » 
 
 A striking handsomeness of composition distinguishes this portrait of the popular 
 actress. Her figure, almost full face, is shown seated under a tree, leaning forward, with 
 the hands in a large muff. The pose is as easy as it is graceful, mingling a suggestion of 
 the woman of the world with a charming intimacy of personal expression; for there is an 
 ampleness in the parts of the composition—the large hat and muff and the widely spread¬ 
 ing mass of silk gown—which gives a stateliness to the picture, while the figure itself 
 preserves a winsome simplicity. The trunk of the tree, mellowed with rich browns and 
 greens, and the pale amber foliage offer a bold foil to the tender coloring of the costume. 
 The gown is of ivory and wine-colored stripes, cut low to a point at the bosom; a tippet 
 of soft creamy material overlaps the neck; the tight sleeves are finished at the elbows 
 with a broad ruche of quilled lawn gathered with a central band of creamy ribbon, and 
 a white muslin apron covers her lap. The muff is of gray-black fur. The blonde hair, 
 daintily powdered, peeps in loose masses from below the flounce of a lace cap that is worn 
 under the hat. The latter, wide-brimmed, and covered with dove-gray silk, is edged with 
 pale blue and white ribbon, and decorated with a pompon of gray bows and a lawn 
 rosette of the same color. There is a suggestion of happy improvisation in the manner 
 of the painting, of facile and spontaneous brushwork, and a more than ordinary charm of 
 perfected effort. 
 
 Deliciously captivating is the expression of the face—a little serious, it has yet a 
 lurking smile that responds to the very personal glance of the blue eyes, while the deli¬ 
 cate play of atmosphere invests the features with a slightly idealized charm; not enough, 
 however, to interfere with the lifelike feeling that animates the whole picture. 
 
 From the collection of Right Hon. E. P. Bouverie, 44 Wilton Crescent, London. 
 
 Height, 50 inches; width, 40 inches. 
 

 
 
 ilson & Co.Boston 
 
JOHN CONSTABLE, R.A. 
 
 i 77 6 " i8 37 
 
 /■*/«-* '• 
 
 V" . 
 
 Dedham Vale 
 
 This celebrated picture, belonging to the period of Constable’s most perfect art, was 
 painted in 1811. The scene is in the neighborhood of East Bergholt, Suffolk, the 
 artist’s birthplace, and in the little town of Dedham, at the head of the vale, he spent some 
 of his school years. Here, too, lived Sir George Beaumont, a patron of the arts, who 
 used to assert that “a good picture should be in the color of a good fiddle, brown,” 
 and unwittingly contributed to the refutation of his theory by encouraging a young man 
 whose art was to restore the greens to nature. 
 
 The church and some houses of Dedham appear nestling beneath the distant hills, 
 from which the vale stretches towards us embroidered with hedgerows, sprinkled with 
 trees, and embossed with farmsteads and clumps of foliage basking in the amber haze of 
 a misty horizon, rosy white beneath a pale blue sky. The foreground consists of two 
 slight eminences that descend towards the centre of the picture, where four cows have 
 just entered the field; a man in a red coat, leading a black horse, being in the act of closing 
 the gate behind them. Crowning the left bank is an ash tree, painted with extraordinary 
 delicacy; a donkey feeds on the slope, and at the foot is a milestone with the inscription 
 “Dedham Vale.” The grassy incline upon the right is bordered with a row of trees that 
 extends to a house at the top, from which a man approaches, while nearer to us a woman, 
 carrying a basket and shawl, is descending the slope. 
 
 Mingled with the perfection of delicacy that distinguishes certain parts of the 
 picture is the largeness of conception which has embraced the whole. It is the product 
 of consummate craftsmanship and of fullest intimacy with nature; with the pastoral 
 phase of it, opulent and ample, sweetly simple. 
 
 Signed at the lower left, “ John Constable, Pinxit, 1811.” Height, 30 inches; length, 49 inches. 
 
 Note.— “ In this year, 1811, he sent to the Academy two pictures, 'Twilight’ and 'Dedham Vale.’ 
 In ‘ Dedham Vale ’ an extensive country is seen through a sunny haze which equalizes the light without injur¬ 
 ing the beauty of the tints. There is a tree of a slight form in the foreground, touched with a taste to which 
 I know of nothing equal in any landscape I ever saw.” Vide " Life of John Constable, R.A.,” by C. R. 
 Leslie, R.A. 
 

 JOHN HOPPNER, R.A. 
 
 i 759- i 8io 
 
 / (yo^r- 
 
 Portrait of Mrs. Gwyn 
 
 Nee Mary Horneck. Born 1754, died 1840 
 
 The beautiful original of this portrait was a lady of the bedchamber to Oueen 
 Charlotte and wife of General Gwyn, an equerry to George III. The charming spontaneity 
 of the pose, as, seated back to us, she turns her shapely head to glance over her left 
 shoulder, is in Hoppner’s happiest manner. So, too, is the rendering of the face, rosy with 
 youthful charm, mingling nobility and sweetness, yet for all its pretty artifice very spirited 
 and lifelike. The corsage, edged with a ruffle, is cut low enough to reveal completely 
 the graceful sweep of the neck, which is encircled with a narrow black ribbon. The 
 gown is of white material, and a black lace scar! surrounds the waist and lies over the 
 arms. The fair hair, powdered a la mode , is surmounted by a mob cap, to the simple folds 
 of which a touch of piquancy is added by a bow of peacock blue. The portrait is a 
 choice example of the artist, representing the facile elegance of his best works, the viva¬ 
 cious tenderness of style, and his skill in imparting a quality of picturesqueness to the canvas. 
 
 Purchased at Christie’s, London, June 29, 1889, where it was sold by order of Miss Gwyn. 
 
 Height, 29J4 inches ; width, 24inches. 
 

 
 
JEAN BAPTISTE CAMILLE COROT 
 
 / * 
 
 no?. 
 
 1796-1875 
 
 Classic Landscape 
 
 The fragment of a temple, seen in profile on the left of the picture, with a statue 
 surmounting a projection of masonry, lends a tone of classic suggestion to a landscape 
 that without it would still be classic in feeling. The temple stands behind a bare willow 
 stump, growing by a dark pool, near which is a spot of crimson. On the right is an 
 eminence of yellow-brown rocks topped with russet undergrowth, out of which rise a few 
 slender stems crowned with pompons of drowsy olive green. Over the gray, dreamy 
 distance spreads a horizon of warm cream, mounting to faint blue, with a hovering of 
 soft, rosy-gray clouds. 
 
 Signed at the lower left, “ Corot.” 
 
 Height, 15J4 inches; width, 14 inches. 
 
3U0- •' 
 
 OLD CROME (JOHN CROME) 
 
 1769-1821 
 
 
 38 
 
 The Porlington Oak 
 
 In this fine example of the Norwich master, a giant oak, the favorite subject of his 
 study, occupies the centre of the composition. At the foot of its huge bole a shepherd 
 boy in red breeches lies beside his dog, and in front is a pool of water with lilies floating 
 on the surface. The spot is enclosed by a thick growth of trees, on the left of which is a 
 grassy bridle path leading down to a bank beside the water upon which three cows are 
 grouped. Overhead is a greeny-blue sky with masses of white, lighted cloud. It is deli¬ 
 cately luminous, while a golden atmosphere envelopes the rich browns and olive-greens of 
 the foliage. A grand feeling of immensity and vast quiet pervades the scene. 
 
 Height, 36 inches ; length, 43 inches. 
 
AWElson& Co.Boston 
 
AUGUST VON PETTENKOFEN 
 
 39 - 
 
 1821-1889 
 
 f r- 
 
 La Charrette des Blesses 
 
 Pettenkofen’s early experience as an officer in the Austrian army, his subsequent 
 fondness for the lonely plains of Pusta and study of the peasants, soldiers, and animals, 
 and the particular view point of his art are all represented in this picture. It is a strain 
 of delicate harmony, a concord of drab, gray, and cream, which, with the realization of 
 atmosphere and movement, has supplied him with motive enough. The subject which 
 serves as fabric is the bringing home of a party of wounded soldiers; the scene being a 
 sandy plain overhung by a dark sky, with a glare on the left of the horizon. A long 
 wagon, in which men are seated or lying propped up, is being drawn by cream-colored 
 oxen, and soldiers are pushing it from behind. Towards the right of the foreground a 
 woman, followed by a tired dog, is walking with heavy steps, carrying a pitcher and 
 water bottle. 
 
 In the sensitive monotony of the color scheme, and in the sobriety of the sustained 
 movement there is a lyrical impulse, tender and contemplative. It is a charming example 
 of the painter, who in his technique was influenced by Alfred Stevens, and in his feeling 
 for nature and life by Troyon and Millet. 
 
 Signed at lower left, “ A. Pettenkofen,” and dated 1853. 
 
 Height, 1 o inches; length, 13 inches. 
 
CONSTANT TROYON 
 
 'JL { d~d- •' 
 
 40 — 
 
 1810-1865 
 
 Landscape and Cattle 
 
 How large a feeling amplifies this picture, lifting to noble poetry the relation 
 between the beasts and nature ! 
 
 The day is one of fresh breeze, in early summer, when the sky clears and thickens 
 by turns, and all the picture betokens the bracing conflict of pleasant sunshine and gath¬ 
 ering cloud. In the middle distance a dun cow and a white one are feeding side by 
 side, and the distant stretch of meadows basks in the clear light of a faint blue sky, which 
 is creamy towards the horizon, and spread above with warm gray buoyant clouds. 
 Farther towards the front, however, on the right, looms up a lowering mass of drabbish 
 hue, restless and threatening, and beneath the shadow of it stands across the foreground 
 a red ox with white upon his head, which is turned towards us. To his left is a little 
 pool bordered with reeds, and behind him moves away a black cow. 
 
 With what grandeur the red and black of these bulky beasts accord with the 
 strong, broad treatment of the foreground and the sternness in the sky, contrasting also so 
 effectively with the growth of tenderness in the receding planes of the picture. 
 
 Height, 23 inches ; length, 33/4 inches. 
 
3<?CrcJ. ' 
 
 41 — 
 
 ALEXANDRE DECAMPS 
 
 1803-1860 
 
 Landscape 
 
 
 The pictorial caprice of which Decamps was so fascinating a master is charmingly 
 illustrated in this little landscape. Near the centre of the foreground is a brook, with a 
 bank on the right of warm yellow and brown rocks, thatched with mossy turf. Seen 
 above a hollow is the figure of a man firing at a duck which is flying over the 
 water. Behind him the ground descends into a little gully lined with bushes, beyond 
 which it undulates to distant hills lying blue beneath a horizon of rosy cream and gray in 
 layers, the sky above being greenish-blue under a canopy of dark gray clouds. The pic¬ 
 ture has a lovely mellowness of color and warmth of atmosphere, and is full of piquant 
 surprises of light. 
 
 Signed at lower left. 
 
 Height, 12^4 inches; length, 17 inches. 
 
 CONSTANT TROYON 
 
 1810-1865 
 
 y-2 6~ " Jf- vtemcs 
 
 42 — A Fisher Boy 
 
 In this unusual example of Troyon’s art a fisher boy is represented approaching 
 over the sand with a basket across his back. His slaty-green trousers are rolled up to 
 the knees, and the red blouse shows the sleeve of a white undershirt. In the middle dis¬ 
 tance, to the left, two figures are busied round a boat on the sand, and still farther back 
 another figure appears, near the water’s edge. The retreating sea, which has left the sand 
 still dripping, lies a sheet of cool blue under a gray sky, stirred with breeze. The picture 
 is delicious in tone and saturated with atmosphere. 
 
 Signed at the lower left, “ C. Troyon.” 
 
 Height, 9 inches ; width, 7 inches. 
 
I 
 
 THEODORE ROUSSEAU 
 
 0 0 - - 
 
 43 — 
 
 1812-1867 
 
 Landscape 
 
 In the foreground of rich olive tones lies a low building with a thatched roof, to 
 the left of which are a high tree and two shorter ones. Behind them appear the white 
 end of a church, pierced with a window, an apsed chancel, and the white gable end of a 
 house, peeping from the foliage. Beyond them a tree-sprinkled hill descends towards the 
 centre, while another hill runs to meet it from the right. These two form a narrow 
 entrance to the plain, which broadens beyond and stretches to a distant horizon. This 
 vista of exquisite gradations is illumined with warm light, beneath a spacious sky, sin¬ 
 gularly beautiful in its delicate creamy atmosphere, across which float lace-like strips of 
 cloud. The tones of the picture progress from opulent depth of hue to the extreme of 
 tender evanescence, embodying a sentiment of absolute tranquillity. 
 
 Signed at the lower left, “ Th. Rousseau.” 
 
 Height, 9 y 2 inches; length, 13^ inches. 
 
S'd <?. •• 
 44 — 
 
 ALEXANDRE DECAMPS 
 
 1803-1860 
 
 The Beggar 
 
 
 No subject came amiss to Decamps, whose eye discerned everywhere the elements 
 ot picturesqueness. Here it is a beggar, with his back to us, holding out his hat and looking 
 up, as if to a window. The freedom of the gesture is charming, and the whole conception 
 eminently a painter’s view. The man wears a jacket of olive-drab huegreenish-blue 
 breeches, leaving the legs bare; and a pouch slung under his right arm. The coloring is 
 mellow and subtle, brushed in with delightful spontaneity. 
 
 Signed at the lower right, “AD.” 
 
 Height, 9^ inches; width, 6 inches. 
 
SIR LAURENCE ALMA-TADEMA, R.A. 
 
 /xt- A" 
 
 45 — “Amo te , 
 
 It has been well said that “ in their still life Alma-Tadema’s pictures are the fruit 
 of enormous archaeological learning which has become intuitive vision, but his figures are 
 the result of a healthy rendering of life.” And in the present one a little episode of the 
 classical period is reinvested with all the charm of naturalness. A young Roman lady is 
 receiving a gift of roses from a youthful lover. They are seated on a marble exedra at 
 the head of a flight of steps flanked by a parapet, and leading down to the sea, which 
 shows in the distance in a strip of sapphire blue, kissed by shell-hued clouds. The lady, 
 swathed to the feet in a drapery of the color of caf£-au-lait , with ribbons of ashes of roses 
 on her shoulders and wrists, reclines with her weight upon her right hand, and holds the 
 pink roses before her. Her companion, whose costume is a woollen cloak of yellowish 
 brown, worn over a short tunic that shows his feet bound round with leather thongs, leans 
 forward on the seat, resting on his arm. The little scene is a veritable fragment from the 
 antique life. 
 
 Signed at the right of centre, “ L. Alma-Tadema, Op. CCXXXIV.” 
 
 Height, 7 inches; length, 15 inches. 
 
MRS. ALMA-TADEMA 
 
 //• 
 
 P P 
 
 46 
 
 In Good Hands 
 
 A little girl, seated in a dark oak high-backed chair, turns from her needlework 
 to look at a sick boy asleep in an antique bed, which has massive pillars of carved wood. 
 A red and blue paper whirligig rests on the sheet, and on the floor a large clasp volume 
 is propped against the bed. The older child wears over her blonde curls a white cap tied 
 under the chin with little tasselled cords, a collar of flounced lace, a pale blue skirt 
 with gray spots, and a white scalloped apron over a brown petticoat. On the buff wall 
 behind her hangs a brass candlestick and, beneath a wooden shelf, the lace front of a 
 peasant’s cap. The tiled wainscot on the left shows a glimmer of blue. 
 
 Height, i 5 inches; width, 11 inches. 
 
 KARL BODMER 
 
 1805-1889 
 
 A Pool in the Forest 
 
 As evening settles over the forest a stag is drinking. The water is bordered by 
 silver birch, beyond which are bushes extending to a slope of grass. 
 
 Signed at the lower left, “ K. Bodmer, ’85.” 
 
 Height, 12 y 2 inches; width, 8*4 inches. 
 
BLAISE DESGOFFE 
 
 Cft!- 4 
 
 Still Life 
 
 Painted with the perfection of microscopic detail that distinguishes Desgoffe’s 
 still life, the subject here is an agate vase mounted on a crimson velvet stand. The long 
 curling lip is covered with enamelled gilt work; the looped handle is of twisted green 
 and gold, and around the base runs a row of knobs, enclosed in a gilt mounting. On 
 the right of the stand lies a bracelet of decorated beads, and, on the left, a ring with an 
 emerald setting. 
 
 Signed at the lower left, “ Blaise DesgofFe, ’85.” 
 
 Height, \2.f inches; width, if, inches. 
 
 R. GOB 
 
 if 
 
 49 
 
 The Moon 
 
 Poised upright amid clouds, the figure of the goddess is nude except for a slight 
 wreath of blue flowers round the waist. She holds a white owl on her right hand, and in 
 her left a long wand, terminating in a calyx from which ascends a thin flame. Her bow 
 is slung upon her arm. 
 
 Signed at the lower right, “ Gob R.” 
 
 Height, 12 y 2 inches; width, if inches. 
 
RAIMUNDO DE MADRAZO 
 
 
 O 0 
 
 After Murillo 
 
 50 — St. Elizabeth of Hungary 
 
 (Copy in reduced size of the original in the Academia San Fernando, at Madrid) 
 
 Painted in 1674, the original was one of eight large pictures executed by Murillo 
 for the Hospital de la Caridad, Seville. Subsequently it was included in the loot carried 
 to Paris by Marshal Soult, who gave it to Louis XVIII. at the Restoration. After rest¬ 
 ing for some time in the Louvre it was returned to Spain in 1815. 
 
 The central figure is that of St. Elizabeth in the garb of a nun, with a crown on 
 her head. She stands in a portico, washing the scald-head of a beggar boy, who leans 
 over a silver basin placed upon a pedestal. To the queen’s right are two young ladies 
 holding, respectively, a ewer and a tray. Behind them stands a duenna. At the foot 
 of the picture, on the left, sits a man removing a bandage from his leg. The group on 
 the right consists of a beggar boy, a cripple, and an old woman seated on the floor, who 
 is gazing up at the queen. In the distance, upon the right, the Saint is again shown 
 with her ladies, serving a meal to poor people at a table arrayed in a loggia. The size 
 of the original is, height, 165 inches; width, 126 inches. 
 
 Height, 10 inches ; width, 8 inches. 
 
GEORGES JULES AUGUSTE CAIN 
 
 51 
 
 His Eminence 
 
 At the bend in a flight of stone stairs a cardinal has halted and is turning round, 
 with his hat lowered in his hand, as if accosting some one. Under his left arm he car¬ 
 ries a black portfolio. The stairs lead to a doorway framed with pilasters, to the left of 
 which is a deeply recessed entrance. 
 
 Signed at the lower right, “ Georges Cain, 1885. Height, 12 inches; width, 8 j 4 inches. 
 
 52 — 
 
 EUGENE FROMENT 
 
 A Spray of Loves 
 
 • / 
 
 A bough shows against the blue sky, and amidst its foliage a swarm of tiny loves 
 hovers in a semicircle. The composition has a charming naivete , the figures being 
 sketched with facile grace. 
 
 Signed at the lower right, “ Eg. Froment.” 
 
 Height, 12^ inches; width, inches. 
 
# * 
 
 3 d ■ 
 
 LOUIS (called LMILE) ADAN 
 Out for a IValk 
 
 At the bottom of a steep path in the pine woods a lady in white costume and 
 straw hat rests her foot upon a stone to arrange her shoe, revealing by the gesture a 
 glimpse of scarlet stockings. She carries an alpenstock. 
 
 Signed at the lower left, “ L. Emile Adan.” 
 
 Height, \2.y 2 inches; width, Sy inches. 
 
 3 *2 3 - " 
 
 54 — 
 
 PAUL P. TROUILLEBERT 
 
 Landscape 
 
 
 
 At the right of the composition birch trees surmount a grassy slope, where a 
 woman in blue and white costume is sitting. The bank descends to a little pool which 
 reflects the whitish gray of the horizon, and beyond its willowy marge a field extends to 
 a gray-roofed church. The sky overhead is filled with rolling clouds. The little sketch 
 is tenderly suggestive, fresh and moist in tone. 
 
 Signed at the lower right, “ Trouillebert.” 
 
 Height, i z inches; width, 8 y inches. 
 
JOSE VILLEGAS 
 
 
 55 — At the Door of the Harem 
 
 Painter of the “ Christening,” and of the “ Death of the Matador,” the most robust 
 of Fortuny’s followers and the most able, Villegas shows to particular advantage in a little 
 picture like the present. In this subject of a stalwart Arab on duty before a closed door 
 every detail counts, without, however, any confusion of effect or weakening of the central 
 motive. In the beautiful elaboration ot the architectural ornament, in the minute decora¬ 
 tion of the flintlock, in the sumptuous embroidery of the robe, there is food for agreeable 
 study, and yet the personality of the man stands out as the main theme. Beneath his lan¬ 
 guorous manner lies a power of energy, just as the southern fire of Villegas himself can be 
 discerned beneath the sensuous splendor of the still-life painting. 
 
 The soldier lolls against the side of a door richly inlaid with a latticed mosaic of 
 cream and brown, and hung with heavy gilded fastenings, the surface of the walls being 
 panelled with shallow arcades of carved niches. Above his bronzed face is a pink and 
 white turban, and hanging from his neck, so as to leave the right arm and shoulder bare, 
 a slaty-blue sash, profusely embroidered; while from his back a mustard-colored robe trails 
 down to a decorated saddle at his feet. He holds a long musket, the stock of which is 
 ivory, the woodwork inlaid, and the barrel wrought with arabesques in gilt. To the right 
 of him lies a large brass bowl. 
 
 The picture presents a series of charming morceaux , while still attaining a breadth 
 of impression. 
 
 Signed at lower left, “ Villegas.” 
 
 Height, 12 inches; width, 8 inches. 
 
* * 
 
 LOUIS DESCHAMPS 
 
 TTO- 
 
 A n Appeal 
 
 Against a golden-brown background a pale-faced girl stands, holding out her hand 
 with a gesture of entreaty. Her lips are parted, and her eyes are fixed with a tearful 
 expression. The dress of brown material is sketchily suggested. 
 
 Signed at the lower right, “ Louis Deschamps.” 
 
 5 Height, 12 inches; width, 8 ^ inches. 
 
 WILLIAM ETTY, R.A. 
 
 1787-1849 
 
 S t t " 
 
 57 — The Toilet 
 
 Such a simple example as this is an agreeable variation from the historical and sym¬ 
 bolical pictures with which Etty was largely identified. A lady is represented at her toilet; 
 her figure inclined to the right, and her head, which fronts us, lowered, as, with one hand 
 poised above her dark hair, and the other held near the back of her neck, she arranges a 
 scarlet ribbon. Her arms and neck are bare; a full chemise showing above the dull red 
 stays, which have a scalloped flounce, falling over the black skirt. An olive-gray drapery, 
 woven with white leaves and red flowers, and a russet brown background complete a 
 color scheme of rich sobriety, with which is pleasantly contrasted the ripe lustre of the flesh 
 tints. 
 
 Height, 10^4 inches; width, 8 inches. 
 

 EASTMAN JOHNSON, N.A. 
 
 &' feu. 
 
 
 58 
 
 The Dull Scholar 
 
 This is a charming example of Eastman Johnson’s domestic genre, natural and full of 
 character; moreover, an artist’s interpretation of the subject, harmonious in tone and excel¬ 
 lent in craftmanship. In the corner of a room with drab-olive walls, a little boy is seated 
 on a high, rush-bottomed stool. He has one hand in the pocket of his greenish suit and 
 another up to his mouth, looking meanwhile out of the edge of his eye, half rebelliously, 
 half shyly. With the naivete of the figure a picturesqueness of composition is united 
 through the accessories introduced. On the wall to the right hang a gray and a blue mili¬ 
 tary cloak and alongside them a brown one; while on the opposite wall is a bunch of 
 accoutrements. An open book lies upon the floor. 
 
 Signed at the lower right, “ E. Johnson, 1861.” 
 
 Height, I I inches ; width, 9 inches. 
 
EDOUARD FRERE 
 
 1819-1886 
 
 59 — Youthful Curiosity 
 
 /? 
 
 In the unaffected sweetness of its sentiment and the subtlety of its scheme of light 
 and shade, this is an admirably characteristic example of the painter of Ecouen. A little 
 girl stands with her back against a high window-sill, reading. The afternoon sun plays 
 upon her brown hair, tips the scarlet of her scarf, and charges the atmosphere of the 
 
 brown interior with dusty gold. In the shadow beneath the window the girl’s blue 
 
 apron forms a cool spot of color, and varieties of cool effect are introduced by a 
 
 Louis XV. chair of drab woodwork upholstered with russet green, and by a basket 
 
 and wicker-covered bottle which lie on the floor. There is a charming mellowness in the 
 imbrowned tones of the picture, and a dainty refinement in the complementary hues, that 
 invest the subject with a pensiveness and delicacy of sentiment. 
 
 Signed at the lower left, “ Ed. FrSre, ’57.” 
 
 Height, 15 inches ; width, 11 V 2 inches. 
 
 /M •• 
 
 60 
 
 G. FRANCAIS 
 
 y 
 
 Landscape 
 
 In the distance is a campagna, yellow in the light, bounded on the left by violet 
 hills and having on the right a slight eminence. A pool of water lies on the right of the 
 foreground, which is overhung by a steep bank, at the top of which a man and a woman 
 stand, leaning upon a fence. A third figure appears to the left and others in the distance 
 along a winding road. 
 
 Signed at the left, “ Francais, 1885.” 
 
 Height, 7 inches; length, 22 inches. 
 

 E. TOTTIERE 
 
 61 — Nymphs Bathing 
 
 In a grassy spot bordered with trees some nymphs are preparing for the bath. On 
 
 the right of the composition a nude girl is seated on a white drapery, looking up at 
 
 another who is balancing herself on one foot as she draws off her slipper. A third, 
 
 with a blue veil streaming from her shoulders, is running toward a pool in the back¬ 
 
 ground, in which some figures are disporting themselves. 
 
 Signed at the lower left. 
 
 Height, 7 inches; length, 2 2 inches. 
 
 LEON BARILLOT 
 
 Cows Drinking 
 
 On the rushy margin of a river are three cows, one of which, a white with patches 
 of red, turns her head toward us. Several others are standing in the water, near the oppo¬ 
 site bank. On the right of the farther pasture is a row of bluish-gray trees. 
 
 Signed at the lower right, “ L. Barillot.” 
 
 Height, 7 inches; length, 22 inches. 
 
/ * 
 
 HENRI DUTZSCHHOLD 
 
 63 
 
 Ruins of a Roman Theatre 
 
 C 
 
 
 The scene recalls the ruins of the Roman theatre at Fiesole. On the left of the 
 composition tiers of seats, confused with fallen masonry, rise in the side of the hill, that 
 slopes up to a wall over the top of which are visible some poplars and the roofs of a mon¬ 
 astery. The ground on the right descends to a plain where water and buildings appear, 
 the distance being bounded by blue mountains. In just such manner spreads the Mug- 
 none Valley to the far barriers of the Apennines. 
 
 Signed at the lower left, “ H. Diitzschhold.” 
 
 Height, 7 inches; length, 22 inches. 
 
 I. FARNETZ 
 
 64 — , A River Scene 
 
 Between banks dotted with pink roofs and white houses nestling amid trees, the 
 vista of river stretches to a distant tower. In the foreground of the picture, on the 
 right side, is a landing stage to which boats are moored. Gay pennons deck the mast¬ 
 heads, an American flag floats from a staff, and the animation of the scene is com¬ 
 pleted by the groups of brightly dressed people who throng the landing. Painted in 
 a broad and vivacious style, the picture is full of life. 
 
 Signed at the lower left, “ I. Farnetz, 1885.” 
 
 Height, 7 inches; length, 22 inches. 
 
1 
 
 65 — 
 
 EUGENE BENSON 
 
 ✓ # 
 
 At Biri Grande 
 
 
 
 The scene represented is a loggia of Titian’s country villa of Biri Grande, over¬ 
 looking the Venetian lagoons. At the head of a long table, spread with plate and viands, 
 the great artist is seated, with a lady on his left, at whose side is Bembo. The centre of 
 the group at the other end of the table is the beautiful musician and poetess, Guspara 
 Stumpa, playing on a mandolin. 
 
 Signed at the lower right, “ EB., ’88, Venetia.” 
 
 Height, 7 inches ; length, 27 inches. 
 
 R. SWAIN GIFFORD, N.A 
 
 <fC. 
 
 A Newport Landscape 
 
 The foreground, covered with grass and brush, is bounded on the right by an 
 abrupt mass of rocks. Farther back, on the left of the picture, are gray cliffs with yellow 
 growth upon their tops, which recede toward the sand dunes in the distant centre. Beyond 
 the latter is visible a strip of grayish-blue sea. 
 
 Signed at the lower right, “ R. Swain Gifford, 1887.” 
 
 Height, 7 inches ; length, 27 inches. 
 
yy 6 $ % 
 
 67 — 
 
 / r 
 
 FRANK D. MILLET, N.A. 
 
 Vyv- f- 
 
 
 A Knickerbocker Citizen 
 
 A prosperous citizen of the Knickerbocker period is represented leaning over the 
 lower half of his front door, smoking a long pipe as he gazes over the river. He wears 
 a wide-brimmed black hat, and over his full white shirt a short cream-colored jacket, 
 with capacious breeches of the same color. On the stone flagging to the right of the door 
 stands a trestle on which is set a gris-de-Flandre jug with pewter lid. The picture is 
 painted with the skilful precision that characterizes this painter’s work. 
 
 Signed at the lower left, “ F. D. Millet.” 
 
 Height, 24 inches ; width, 8 inches. 
 
 GEORGE H. BOUGHTON, N.A., 
 
 /r~<rzr. *' 
 
 68 — Black-Eyed Susan 
 
 R.A. 
 
 C 
 
 
 Holding a nosegay, a young lady is walking beside the sea, which is bounded in 
 the distance by gray cliffs with yellow herbage on their summits. Her costume consists ot 
 a black hat tied under the chin with ribbons, and a short black jacket, worn over a dress 
 of white organdie. 
 
 Signed at the lower left, “ G. H. Boughton.” 
 
 Height, 24 inches ; width, 8 inches. 
 
/ tl'-V •' ‘ 
 
 69 — 
 
 R. SWAIN GIFFORD, N.A. 
 
 Rocky Farm, Newport 
 
 The foreground of brown scrubby grass dips down in the centre, to the left of 
 which gray rocky formations crop out. A sheet of water winds through the middle 
 distance, bounded on the left by a meadow that rises gently to a clump of trees. The 
 land forms a strip across the background, showing golden brown against a blue horizon, 
 over which is a sky piled with clouds that catch the light toward the left. 
 
 Signed at the lower left, “R. Swain Gifford, 1881.” 
 
 Fleight, 16inches; length, 37 inches. 
 
 FLORENT WILLEMS 
 
 Fkzx. 
 
 The Mother's Prayer 
 
 In a room with high wooden panelling and deep blue hangings bordered with 
 embroidery a young mother kneels beside her sleeping baby. Resting her elbows on the 
 end of the cradle, she clasps her hands and gazes upwards. She is dressed in the elegantly 
 simple costume of the seventeenth century—a dress of old-rose satin with full skirt, a tight 
 bodice with-hanging flounce, and white collar and cuffs. The cradle, raised above the 
 rockers on four legs, is of wood, painted blue, with pictures on the panels, one of which 
 represents the Flight into Egypt. It is surmounted by a linen hood under which the head 
 of the sleeping child is visible. 
 
 Signed at the lower left, “ F. Willems.” 
 
 Height, 16 inches; width, inches. 
 
F. S. CHURCH, N.A. 
 
 d ■ " 
 
 71— The Enchantress 
 
 
 A tiger lies sideways, on the left of the picture, with its eyes fixed upon a young 
 girl who sits blowing through a long, thin pipe into a brazier. In the smoke which curls 
 up from the latter, doves are hovering. The girl’s figure is wrapped in a diaphanous white 
 robe, which shows vaguely against the pale green foliage and vapory distance. 
 
 Signed at the lower right, “ F. S. Church, N. Y., ’87.” 
 
 Height, 7 Yi inches; length, 18 inches. 
 
 A. KEAJDER 
 
 Flowers 
 
 -6. S. 
 
 The bouquet consists of a crimson rose set amid white ones and surrounded by a 
 profusion of buds. 
 
 Signed at the lower left, “fa. Keajder. ” 
 
 Height, 7 inches; length, 22 inches. 
 
H. CONSTANTIN RENARD 
 
 Still Life 
 
 Upon a table lie a bunch of asparagus and some large red strawberries, displayed 
 upon a basket lid. Near by is a tumbler half full of water, and over the edge of the table 
 projects a sharp-pointed kitchen knife. 
 
 Signed at the lower left, “ H. Constantin Renard.” 
 
 Height, 7 inches; length, 22 inches. 
 
 * 
 
 CHARLES CARYLL COLEMAN, A.N.A. 
 
 74 — 
 
 
 A Capri Meadow 
 
 Beyond the meadow lies the blue water, with Vesuvius in the distance, and a range 
 of lavender mountains to its right. Near the centre winds a path beside which a girl is 
 seated on a stone wall, talking to another, who stands knitting under a small tree. A little 
 way from them a third is stooping to gather flowers. 
 
 Signed at the lower right, “ DC Capri.” 
 
 Height, 6 inches; length, 24 inches. 
 
CHARLES CARYLL COLEMAN, A.N.A. 
 
 S<?(?. 
 
 75 — A Scene in Capri 
 
 An irregular mass of masonry gleams white against the deep blue of the sky. On 
 some stone steps at the right sits a girl with a green water jar, and on an arch above her 
 are two others, one of whom is dressing her hair, while two more stand at the left, hold¬ 
 ing jars upon their heads. 
 
 Signed at the lower centre, “ X Capri.” 
 
 Height, 5 y 2 inches; length, 24 inches. 
 
 HENRI JEAN GUILLAUME MARTIN 
 
 76 
 
 Sunshine and Shadow 
 
 Within a violet shadow, that spreads in a band across the poppy-sprinkled 
 meadow, a child lies on its back. Upon the edge of the shadow a large beech trunk grows, 
 and a girl in pink dress stands near a flock of geese. Behind them the sunshine forms a 
 streak of yellow, and in the distance are a farm and hills. The picture is an interesting 
 little study by a painter who has won notable distinction in allegorical subjects, treated for 
 the most part in a high key of color. 
 
 Signed at the lower left, “ Henri Martin, ’86.” 
 
 Height, 7 inches; length, 22 inches. 
 
* * 
 
 J. CARROLL BECKWITH, 
 
 N.A 
 
 rt>- 
 
 t 
 
 A Summer Evening 
 
 The composition shows a vista of river in the front of which a lady is seated in a 
 boat, holding the sculls. Her costume is black, and the flash of a scarlet feather in her 
 hat is answered by the awning of a boat moored at some distance back, beneath a summer¬ 
 house on the bank. Among the trees beyond appears also a red building. The sun is 
 sinking into a bed of lavender haze. 
 
 Signed at the lower left, “ Carroll Beckwith.” 
 
 Height, 24 inches ; width, 8 inches. 
 
 c * 
 
 78 — 
 
 AMANDA BREWSTER SEWELL 
 
 A Nymph 
 
 s A 
 
 'Xj? I/LaaSac. 
 
 1 
 
 Clad in a Greek costume of soft creamy material, a girl approaches across the 
 grass, sunshine sprinkled in flakes of light over her figure and upon the apple tree behind 
 her. She walks in a pensive mood, with her left hand to her breast and a scroll held in 
 her right. 
 
 Signed at the lower left, “A. B. Sewell, 1895.” 
 
 Height, 23 inches; width, 8^£ inches. 
 
* t 
 
 KENYON COX, N.A. 
 
 4 
 
 
 79 — On the Edge of the Brook 
 
 
 
 A girl who is seated on a bank is robed in a white drapery that leaves her right 
 arm and side exposed. A dull red drapery, held in her left hand, passes under the figure 
 and reappears on the right side. Through the meadow beyond, a nude is swiftly moving 
 away, with her hands held up to her head. 
 
 Signed at the lower right, “ Kenyon Cox, ’87.” 
 
 Height, 23 inches; width, 8 y 2 inches. 
 
 0 e 
 
 80 
 
 LUC OLIVIER MERSON 
 
 Diana 
 
 
 This painter of historical and allegorical subjects has occasionally executed deco¬ 
 rative subjects, and the present is a miniature example of the latter. The goddess is 
 represented reclining upon creamy clouds, flushed with rose, a black drapery falling over 
 her knees. A cupid, poised above, whispers in her ear, and another floats beneath her. 
 An owl hovers in the air. 
 
 Signed at the upper left, “ Lvc Olivier Merson, MDCCCLXXXV.” 
 
 Height, 24 inches; width, 20 inches. 
 
THOMAS COLE, N.A. 
 
 1801-1848 
 
 A Roman Aqueduct 
 
 One may see in this picture how Poussin and Salvator Rosa affected Cole’s 
 impression of Italy, and trace also something of the spirit which prompted his series of 
 the “ Course of Empire.” The scene is wild and desolate, the wreck of a mighty past. 
 The foreground is a confusion of fallen masonry, coarse grass, and scrub; to the right is a 
 ruin of ponderous vaulted roofs upon giant piers; and diagonally across the middle dis¬ 
 tance the broken line of an aqueduct, beyond which the desolate campagna continues to 
 the foothills of the Alban Mountains. These are seen through clouds which float over 
 the slopes in wreaths, or ascend like smoke to the warm creamy sky, where gray clouds 
 are piled in masses toward the right. The picture is impressive, revealing an almost 
 stern intensity of purpose. 
 
 Signed on the back, “T. Cole, Florence, 1832,” and inscribed, “Presented to W. A. Adams by T. Cole, 
 1834.” 
 
 Height, 14 inches; length, 22 inches. 
 
82 — 
 
 EDWIN H. BLASHFIELD, N.A. 
 
 The Sculptor's Model 
 
 A sculptor sits at a table, fashioning a figure in clay; while his model, a young 
 girl, reclines in a chair, swathed in rose-colored drapery. He himself is nude but for a 
 pale green drapery which hangs from his left shoulder and falls over his lap. The studio 
 is lined with white marble inlaid with dull red panels, and along the wall is a marble 
 lounge with green cushions. 
 
 Signed at the lower right, “ E. H. BlashfieJd.” 
 
 Height, 17^4 inches; length, 18^4 inches. 
 
 AIME NICOLAS MOROT 
 
 83 — When the IVor Id was Young 
 
 The scene of this little idyl is a grassy slope underneath a beech, where a shep¬ 
 herd lad is explaining to a young shepherdess the mysteries of the pan-pipes. She wears 
 a white drapery, fastened below the breasts with a girdle, and a black skin loosely flung 
 around her figure. The boy is nude. The girl’s crook and hat lie beside her on the 
 bank, at the foot of which is a little pool. 
 
 Signed at the lower right, “ Aime Morot, 1886.” 
 
 Height, 24 inches ; width, inches. 
 
 
GEORGE H. 
 
 c t 
 
 84 — 
 
 BOUGHTON, N.A., R.A. 
 
 The Cronies 
 
 /) 
 
 
 Perhaps one may detect in this very good example of George Boughton a certain 
 influence of Edouard Frere, whose friendship and advice he enjoyed during his stay in 
 Paris. Two old peasant women are seated before a large square fireplace ; one with her 
 back to us, extending her hands toward the scanty glow, while her companion turns 
 toward her, leaning forward in her talk. On the high mantel shelf stand bits of china, a 
 little cross, books, and bottles. The white caps of the old women and touches of dull 
 blue and red in their costumes unite with the drab wall to complete an agreeable tone 
 effect, very grave and tender in feeling. 
 
 Signed at the lower left panel, “ G. H. Boughton, 1887.” 
 
 Height, 23 inches; length, 23^ inches. 
 
RAIMUNDO DE MADRAZO 
 
 3 
 
 U /• " 
 
 85 — 
 
 01 - 
 
 A Spanish Beauty 
 
 
 In a familiar vein, though more spontaneous than sometimes, Madrazo has here 
 represented a girl in exquisitely dainty costume, sitting beneath a vine-covered trellis. 
 His fondness for pink is again evident, in the hue of her skirt, delicately suffused with 
 lavender; and, as she crosses one leg over the other, she reveals a silk stocking of shell¬ 
 like pink, and dangles in her right hand a yellow fan with a decoration of purple 
 flowers. Her toes are tipped into embroidered slippers. A flash of accentuation is given 
 to her figure by the black corset, cut square over the bosom, and edged with lace, while 
 with studied negligence a white mantilla drapes her hair, in which there is the gleam of 
 a crimson ribbon. Some red roses lie upon the ground beside her foot. 
 
 The picture admirably represents Madrazo’s pure and delicate coloring and the 
 vivacity of his technique. 
 
 Signed at the lower left, “ R. Madrazo.” 
 
 Height, 38inches; width, inches. 
 
GEORGE H. BOUGHTON, N.A., R.A. 
 
 86 — Marvell's Last Visit to Milton 
 
 The group is gathered in front of a homestead, the lower story of which is built 
 of red brick, with timber and plaster above. Covered with a long gray wrapper, Milton 
 sits in the centre, holding the hand of Andrew Marvell, his friend, who was his assistant 
 when he was Latin Secretary to Cromwell, and who leans over him, with his disengaged 
 hand on the back of the seat. To the right sits one of the daughters, gazing with solici¬ 
 tude into her father’s face, while her hand rests upon a book on the table at her side. The 
 other daughter stands behind the poet’s chair, and a maid, carrying a tray, appears in the 
 doorway. To the left of the main group a violoncello player sits beside a man who 
 holds a book of music. The scene is bounded by a hedge, over the top of which a 
 dovecote and trees are visible. 
 
 The picture offers a good specimen of the old colonial subjects which have 
 made Mr. Boughton popular on both sides of the Atlantic. 
 
 Signed at the lower right, “ G. H. Boughton.” 
 
 Height, 27^ inches; length, 65 inches. 
 

 
C 4<J- " 
 
 JOHN F. KENSETT, N.A. 
 
 IVincisor Castle 
 
 The scene is pictured from a point of view where now the railway bridge spans 
 the river. The water stretches away from the foreground, with juicy green meadows on 
 each side. Willows fringe the left bank, and on the opposite one a gate crosses the 
 towing path, upon which, a little farther back, appears the figure of a man carrying milk 
 pails, his herd of cows being strung out in two lines to the right. In the middle distance 
 floats a barge with one mast, and other shipping is moored in the distance below the 
 town, which nestles in tiers of red roofs beneath the castle rock. The ramparts and 
 bastions rise in terraces to St. George’s Chapel and the central keep, which loom softly 
 gray in the warm haze ot the evening sky, simmering overhead with roseate, creamy 
 atmosphere. With characteristic delicacy of imagination and of treatment, the majestic 
 pile and the simple charm of its rustic setting are rendered with true feeling alike for the 
 grandeur and for the sweetness of the scene. 
 
 Signed at the lower right, “]. F. K., 1867.” 
 
 Height, 29 inches ; length, 44 inches. 
 
SIR LAURENCE ALMA-TADEMA, R.A. 
 
 J? 4 3 <0 /His ■ d^fs^rCRAts^ 
 
 88 — ^ Reading from Homer 
 
 The spirit of the old Greek life, its grace of living, and beautiful environment are 
 revived in this picture with the fulness of learning and reasonableness of suggestion that 
 render the work of Alma-Tadema unique. A poet is declaiming his verse to a small but 
 intently sympathetic audience. They are gathered in a little amphitheatre of marble that 
 stands on an eminence overlooking the blue sea, in front of a temple dedicated, we may 
 believe, to Apollo. For the spot is evidently devoted to poetry, Homer’s name being 
 incised in the marble behind the reader’s seat; and hither he, who has some fine thought, 
 and those who desire to “ hear some new thing,” can resort. 
 
 Holding the roll of manuscript upon his knee and extending its long scroll with 
 his left hand, the poet, crowned with bay, leans forward in his seat, gazing at a young 
 girl in the group before him. Robed in white, with daffodils in her hair, she reclines 
 against the back of the exedra , holding a tambourine, decorated with figures on a red 
 ground. One of her hands lies in the grasp of a young man who sits on the floor beside 
 her with knees drawn up. He is resting his right hand on a lyre, which has graved orna¬ 
 ments and screw pins of brass. In front of him, prone upon the ground, lies a youth 
 swathed in a short bearskin, who supports his chin on his hand as he looks up at the poet. 
 To the left of the group stands a figure in a drab cloak, with a wreath of red and white 
 anemones in his hair. 
 
 Signed at the right, “ Alma-Tadema, op. CCLXVII.’ 
 
 Height, 36 inches; length, 72 inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
# » 
 
 JOSE VILLEGAS 
 
 Fat 
 
 89 - 
 
 The Page 
 
 /■e? 
 
 Manifested in this picture are the feeling for the pomp and pride of life and a 
 skill in the delineation of sumptuous textures that distinguish the followers of Fortuny, as 
 well as a certain robustness of style, characteristic of Villegas himself. Upon a scarlet 
 carpet that forms a strip down the marble pavement, and, like it, is strewn with flowers, a 
 page in elaborate costume of the Cinquecento stands, holding a velvet cushion. It is 
 embroidered with a coat of arms, which reappears on the front of the young man’s plum- 
 colored doublet. The latter is edged with white fur round the neck and armholes, which 
 leave exposed the gold and rose brocade sleeves of the undergarment. He wears a gold 
 chain over his breast, and his legs are clothed in tights, magenta and flesh-colored respect¬ 
 ively, with a magenta band round the calf. Behind the figure rises a step on which 
 stands a pedestal altar of carved marble. A tall wax candle leans against it, and in an arc 
 behind it kneeling pages hold tapers, the lights from which shed smoke and glare into 
 the upper darkness of the background. The color scheme is treated with effective 
 breadth, while the details are delicately elaborated. 
 
 Signed at the lower left, “Villegas, Hispalis, MDCCCLXXXV.” 
 
 Height, 78 inches ; width, 39 inches. 
 
<rv-v. " 
 
 LORD LEIGHTON, P.R.A. 
 
 1830-1896 ( j > irC tt V v r ( v - 
 
 Mural Paintings U 
 
 A MYTHOLOGICAL TRIPTYCH ILLUSTRATING MUSIC 
 
 CENTRAL PANEL 
 
 Against a background of dull gold, Mnemosyne is represented in an attitude of 
 contemplation. She leans forward with one leg crossed over the other; a pose that 
 permits an intricate play of folds to her costume. This consists of an ashy purple robe, 
 worn over a white chemise and wrapped round with dull amber drapery. Above her 
 float two maidens, the upper sides of whose wings are blue, with under feathers of dove 
 gray and white. They hold, respectively, a lyre and a scroll. In front of the Muse 
 stand two tripods, a snake coiling round and rearing above the left one, while a branch 
 of bay leans against the other. 
 
 On the left of the composition is the standing figure of Melpomene, draped from 
 neck to feet in slaty blue, with a grayish-purple veil floating from behind her head. The 
 right hand, clasping a scroll, supports her left elbow, the left hand being against her 
 cheek. The pendant to this figure is Thaleia, whose mantle of reddish plum color is 
 drawn tightly over her head and form, so that only the face, looking upwards with a sad 
 expression, and the right hand, grasping the white undergarment beneath her chin, are 
 visible. 
 
 Height, 85 inches ; length, 130 inches. 
 
91 
 
 RIGHT PANEL 
 
 A maiden, representing, perhaps, Terpsichore, pirouettes upon her toes, with her 
 back toward us and her head looking over her shoulder, as she holds aloft a tambourine. 
 By her side skips a nude boy with head thrown back, blowing into double pipes, one of 
 which he holds in each hand. The maiden wears a robe of tea-leaf brown that leaves 
 her right breast and shoulder bare, and round her floats a creamy drapery with golden 
 shadows in the swirling folds. 
 
 Height, 85 inches ; width, 50 inches. 
 
 LEFT PANEL 
 
 Garbed in a rosy robe which leaves her arms and one leg exposed, a maiden, 
 possibly figuring Erato, stands, poising a garland of roses above her head. At her feet, 
 stooping to tune a lyre, is a winged girl with rich golden-brown feathers on her pinions, 
 changing at the tip to bluish gray. 
 
 Height, 85 inches; width, 50 inches. 
 
 The background throughout the series is of dull gold, enclosed in borders of laurel 
 or wave designs. The figures possess the exquisite grace of line and movement, and the 
 draperies that chaste refinement in the disposure of folds and masses which distinguish 
 Leighton’s Neo-Greek subjects, and show to particular advantage in subjects, such as these, 
 of pure decorations. 
 
GEORGE H. BOUGHTON, N.A., R.A. 
 
 W' " cf- ' 
 
 93— A Golden Afternoon , Luccombe CMneJ 
 
 Isle of PVight 
 
 Down the slope of hills in the foreground, to the left of which is a stile in a stone 
 wall, a shepherd, accompanied by his collie, drives his sheep into a fold of hurdles that 
 occupies the centre of the composition. Beyond this a line of trees is broken by the red 
 roofs of a farmhouse, while a larger one appears farther back, surrounded by wheat ricks. 
 On the right is a distant peep of blue sea, bounded by a range of chalk cliffs. The sky 
 is blue, mottled with gray and dun-colored clouds. 
 
 Signed at lower left, “ G. H. Boughton, 1888.” 
 
 Height, 46 inches; length, 84 inches. 
 
245 217 246 
 
 AW Els on & Co, Boston 
 
 161 
 
 317 
 
 320 
 
 318 
 
 319 
 
FIRST AFTERNOON'S SALE 
 
 Saturday, January 24th, 1903 
 
 BEGINNING PROMPTLY AT 3 O’CLOCK 
 
 Antique Chinese Porcelain 
 
 101 — Miniature Vase. 
 
 Oviform bottle shaped. Mirror-black glaze. 
 
 102 — Miniature Ovoid Vase. 
 
 Rose souffle glaze. Yung-cheng, 1723—1735. 
 
 103 — Miniature Vase. 
 
 Cylindrical. Mustard-yellow crackle glaze. 
 
 104 — Writer’s Water Jar. 
 
 Globular form. Thin white porcelain, coated with an imperial yellow glaze ; phoe¬ 
 nixes and cloud forms incised and enamelled in green and purple. 
 
 105 — Writer's Water Dish. 
 
 Thick porcelain of the Ch’ien-lung period (1736—1795). Incised and carved decora¬ 
 tion beneath a pale celadon glaze. 
 
 106 — Wine Cup. 
 
 Hard paste. Outer surface covered with a minutely crackled apple-green glaze of fine 
 iridescence. K’ang-hsi, 1662—1722. 
 
107 — Miniature Vase. 
 
 Oviform bottle shaped. Minutely crackled mustard-yellow glaze. Teakwood stand. 
 
 108— Writer's Water Jar. 
 
 Globular form on tripod. Coral-red glaze of fine quality. Seal mark underneath. 
 Ch’ien-lung, 1736-1795. 
 
 109 — Miniature Bottle-shaped Vase. 
 
 Mustard-yellow crackle glaze. Teakwood stand. 
 
 110 — Imperial Wine Cup. 
 
 Semi-eggshell porcelain of the Ch’ien-lung period (1736—1795). Miniature figures, 
 garden scenes, and other decoration exquisitely painted in enamels and gold. 
 Seal mark pencilled in coral red. 
 
 Ill — Tripod Perfume Burner. 
 
 Oviform. Covered with a brilliant glaze of cafe-au-lait. Teakwood stand and cover. 
 
 112 — Small Bottle-shaped Vase. 
 
 With bulbous-shaped mouth. 
 
 1 7 2 3 —1 735* 
 
 Invested with a pale green glaze. Yung-cheng, 
 
 Height, 5 inches. 
 
 113 —Quadrilateral Vase. 
 
 Thin porcelain of the Ch’ien-lung period (1736—1795). 
 yellow crackle glaze. Ribbon handles at neck. 
 
 Invested with mustard- 
 Height, 5^ inches. 
 
 114 — Miniature Oviform Vase. 
 
 Covered with camelia-leaf green glaze which is minutely crackled throughout. 
 
 115 — Miniature Bottle-shaped Vase. 
 
 Invested with a fine flambe glaze of red, purple, and black. K’ang-hsi, 1662-1722. 
 
 116 — Miniature Vase. 
 
 Bottle shaped. Covered with gris-pearl glaze which is marked with a pronounced 
 crackle. Seal mark of Ch’ien-lung (1736—1795) pencilled in blue underneath 
 foot. 
 
117 — Miniature Oviform Jar. 
 
 Thick porcelain. Invested with a brilliant glaze of caf'e-au-lait. 
 
 118— Writer's Water Vessel. 
 
 Outer surface covered with a brilliant red glaze of sang-de-bceuf tint. Ch’ien-lung, 
 
 i736-!795. 
 
 119 — Ouadrilaieral Vase. 
 
 /'W' 
 
 Hard paste. Covered with a pale turquoise-blue glaze. The Pa Kua, the eight 
 diagrams or trigrams, carved in the paste in low relief. 
 
 Height, S /4 inches. 
 
 120— Bottle-shaped Vase. 
 
 With bulbous-shaped mouth. Of heavy texture, which is invested with a brilliant 
 mirror-black glaze. 
 
 Height, 5 inches. 
 
 121 — Small Bottle-shaped Vase. 
 
 Mustard-yellow crackle glaze. 
 
 Height, inches. 
 
 122 — Small Pear-shaped Vase. 
 
 Invested with a deep brown and gold-dust souffle glaze. Mark of Ch’eng-hua, 
 1465-1487. 
 
 Height, 5 inches. 
 
 123 — Fire Bowl. 
 
 Semi-globular. Invested with a green glaze containing a delicate and uneven crackle. 
 
 Diameter, 4 inches. 
 
 124 — Cylindrical Vase. 
 
 Thick porcelain. Invested with a mustard-yellow crackle glaze. 
 
 125 — Bottle-shaped Vase. 
 
 Variegated enamel glaze in imitation of agate 
 
 126— Beaker-shaped Vase. 
 
 Covered with a brilliant vio\et-color glaze. 
 
 Height, 6 inches. 
 
 127 — Oviform Vase. 
 
 Hard paste of the K’ang-hsi period (1662-1722). Invested with a mustard-yellow 
 glaze which is minutely crackled throughout. 
 
 Height, 5 inches. 
 
 Height, 6 inches. 
 
 Height, 6 inches. 
 
128 — Globular Jar. 
 
 Outside invested with a brilliant red glaze which is slightly streaked with purple round 
 the shoulder. Inside and underneath, cream-white glaze. 
 
 Diameter, 4^ inches. 
 
 129 — Oviform Vase. 
 
 Thick porcelain. Covered with a pale turquoise-blue glaze over a thin, delicate crackle. 
 
 Height, 6 inches. 
 
 130 — Incense Burner. 
 
 Dense porcelain. Invested with a red glaze typical of “ ox-blood” color. K’ang-hsi, 
 1662-1722. Teakwood cover. 
 
 Depth, s ]4 inches. 
 
 Miniature Vase. 
 
 Bottle shaped. Invested with camelia-leaf green crackle glaze. 
 
 131 
 
 Height, 5 inches. 
 
 132 
 
 Bottle-shaped. Vase. 
 
 Thick porcelain. Invested with a monochrome glaze of deep violet. 
 
 Height, t }4 inches. 
 
 133 — Oviform Vase. 
 
 Of crackle texture, and covered with an apple-green glaze of iridescent quality. 
 
 Height, 5 inches. 
 
 134 — Fire Bowl. 
 
 Semi-globular form. Brown crackle texture, which is invested with a brilliant cafe-au- 
 lait glaze. K’ang-hsi, 1662-1722. 
 
 135 — Small Globular Jar. 
 
 Clear white porcelain of the K’ang-hsi period (1662—1722). Decoration of floral 
 scrolls in peach-bloom tint. Six-character mark pencilled in blue. Silver inlaid 
 teakwood stand. 
 
 Diameter, 4 inches. 
 
 136 — Small Quadrilateral Vase. 
 
 Thick porcelain. Invested with a sang-de-basuf glaze applied over a pale celadon. 
 
 Height, b l /2 inches 
 
 137 — Small Beaker. 
 
 Invested with a monochrome glaze of camelia-leaf green. 
 
 Height, S /4 inches. 
 
 138 — Oviform Vase. 
 
 Invested with a monochrome glaze of deep purple. 
 
 Height, 5 ]/z inches. 
 
139 — Small Pear-shaped Vase. 
 
 Thick porcelain of the K’ang-hsi period (1662-1722). Invested with iron-rust glaze 
 of brilliant quality. 
 
 Height, iy z inches. 
 
 140 — Pottle-shaped Vase. 
 
 Covered with a monochrome glaze of apple green, and minutely crackled throughout. 
 
 Height, Z /4 inches. 
 
 141 — Bottle-shaped Vase. 
 
 Invested with a brilliant mirror-black glaze ; mouth and foot of celadon crackle. In¬ 
 cised mark underneath. 
 
 Height, 6 y z inches. 
 
 142 — Oviform Vase . 
 
 Thick texture. Covered with a fine iron-rust glaze. Teakwood stand. 
 
 Height, 7 y z inches. 
 
 143 —Writer s Water Jar. 
 
 Fashioned after a fabulous beast. Covered with flambe glaze. (Repaired.) Teakwood 
 stand. 
 
 144 —Writers Water Jar. 
 
 Similar to the preceding. (Repaired.) Teakwood stand. 
 
 145 — Melon-shaped Vase. 
 
 Invested with a monochrome glaze of camelia-leaf green over a minute crackle. 
 
 Height, 5 inches. 
 
 146 — Small Bottle-shaped Vase. 
 
 Clear white porcelain of the Ch’ien-lung period (1736—1795). Decoration of dragon, 
 fire emblems, and pearl of omnipotence in peach-bloom tint, and cloud forms 
 and turbulent water in bleu-de-Nankin. Seal mark beneath. 
 
 Height, 5 J 5 ^ inches. 
 
 147 — Miniature Fish Jar. 
 
 Outside covered with a brilliant red glaze, slightly streaked with purple round shoulder. 
 
 Diameter, 4^ inches. 
 
 148 — Porcelain Bowl. » 
 
 Chrysanthemum shape, the stem forming feet. Partially covered with flambe glaze. 
 Teakwood stand. 
 
 Diameter, 4 ^ inches. 
 
149 — Small Globular Vase. 
 
 Covered with a monochrome glaze to imitate iron rust. 
 
 150 — Bottle-shaped Vase. 
 
 In brilliant sang-de-bceuf $2 lzq. Ch’ien-lung, 1736—1795. 
 
 Height, 2 > l A inches. 
 
 151 — Small Oviform Vase. 
 
 With tubes at neck for hanging. Thick texture, which is coated with a cafe-au-lait 
 glaze over a pronounced crackle. K’ang-hsi, 1662—1722. 
 
 152 — Oviform Vase. 
 
 Thick porcelain of the K’ang-hsi period (1662—1722). 
 and gold-dust glaze. 
 
 Invested with a rich brown 
 Height, 5 inches. 
 
 153 — Miniature Fish Jar. 
 
 Clear white texture. The outer surface covered with a fine monochrome glaze of 
 coral red. 
 
 Diameter, ^A inches. 
 
 154 —Small Cylindrical Vase. 
 
 Thick texture, and covered with tea-dust glaze. 
 
 i736-!795- 
 
 155 — Lang-Yao Incense Jar. 
 
 Incised seal mark of Ch’ien-lung, 
 Height, 5 A inches. 
 
 Circular form. Invested with a brilliant red glaze with faint purple shadings. Teak- 
 wood openwork cover. 
 
 Diameter, 5 inches. 
 
 156 — Small Fear-shaped Vase. 
 
 Enamelled with a monochrome glaze of pale turquoise-blue, minutely crackled. 
 
 Height, 6 inches. 
 
 157 — Small Galipot. 
 
 Thick texture, which is coated with a deep red glaze. The rim of neck is defined by 
 a rim of brown crackle. Ch’ien-lung, 1736-1795. 
 
 Height, 6 inches. 
 
 158 — Slender Oviform Vase. 
 
 Thin texture of the K’ang-hsi period (1662-1722). Invested with a monochrome 
 glaze of camelia-leaf green. 
 
 Height, 5 Az inches. 
 
Height, 6 y z inches. 
 
 159 — Small Gourd-shaped Vase. 
 
 Thick texture, and invested with a mottled red glaze. 
 
 160 — Small Galipot. 
 
 Clear white porcelain of the Yung-cheng period (1723-1735). Enamelled with a 
 monochrome glaze of lapis-lazuli tint of soft, even quality. 
 
 Height, 6 inches. 
 
 161 — Galipot. 
 
 Clear white texture. Covered with a monochrome glaze of coral red of fine, even 
 texture. Yung-cheng, 1723-1735. 
 
 Height, 7 inches. 
 
 162 — Miniature Fish Bowl. 
 
 Clear white porcelain of the Yung-cheng period (1723-1735). Covered with a clair- 
 de-lune glaze of fine texture. Seal mark underneath foot, pencilled in blue. 
 Carved teakwood stand. 
 
 Height, inches. 
 
 163 —Oviform Vase. 
 
 Thick texture. Invested with a flambe glaze of red and purple. 
 
 1795- 
 
 Ch’ien-lung, 1736- 
 Height, 7 inches. 
 
 164 — Bottle-shaped Vase. 
 
 Clear white porcelain of the Yung-cheng period (1723—1735). Floral scrolls, sceptre 
 head, and leaf borders delicately engraved in the paste, beneath a turquoise-blue 
 glaze. 
 
 Height, 8 % inches. 
 
 165— Galipot. 
 
 Thick texture. Covered with a mottled red glaze of brilliant quality. Ch’ien-lung, 
 
 I 73 6 — I 795 - 
 
 Height, 7 inches. 
 
 166 — O viform Vase. 
 
 Thin texture. 
 
 cheng, 
 
 Enamelled with a turquoise-blue glaze 
 
 1 7 2 3 —1 735- 
 
 over a minute crackle. Yung- 
 Ileight, b l /z inches. 
 
 167 — Bottle-shaped Vase. 
 
 Globular body with tall, slender neck. Crackled texture, which is covered with a 
 caf'e-au-lait glaze. Lotus flowers, storks, and symbols modelled in low relief, 
 and enamelled in blue and white. K’ang-hsi, 1662-1722. 
 
 Height, 7 inches. 
 
168 — Pear-shaped Vase. 
 
 Thin texture of the Yung-cheng period (1723—1735). 
 glaze, which is minutely crackled. 
 
 Covered with a turquoise-blue 
 Height, 9 inches. 
 
 169 — Ouadrilateral Vase. 
 
 With rudimentary elephant-head handles and peach-shape panels. Heavy crackle 
 texture, which is coated with a mottled red running glaze. Ch’ien-lung, 
 1736-1795. 
 
 Height, 7 l /z inches. 
 
 170 — Pottle-shaped Vase. 
 
 Thin porcelain. Invested with a pale turquoise-blue mottled glaze. Yung-cheng, 
 
 I 7 2 3 _I 735- 
 
 Height, 9 inches. 
 
 171 — Pottle-shaped Vase. 
 
 Clear white porcelain of the Yung-cheng period (1723-1735). Invested with a 
 brilliant brown glaze, which is marked with metallic spots. Teakwood stand. 
 
 Height, 7 l /i inches. 
 
 172 — Oviform. Vase. 
 
 Clear white porcelain. Covered with a starch-blue glaze of fine, even texture, beneath 
 which is pencilled, in a darker shade of blue, chrysanthemum flowers and an 
 elaborate scroll design. Yung-cheng, 1723—1735. 
 
 Height, 7 '/l inches. 
 
 173 — Double Quadrilateral Vase. 
 
 With rudimentary elephant-head handles. Invested with brilliant red glaze. 
 
 Height, 9 inches. 
 
 174 — Galipot. 
 
 Thick porcelain, which is coated with a red and purple flambe 
 1736—1795. Teakwood stand. 
 
 glaze. Ch’ien-lung, 
 Height, inches. 
 
 175 — Pottle-shaped Vase. 
 
 Thin 
 
 texture. Invested with a fine monochrome glaze of camelia-leaf green, and 
 crackled throughout. K’ang-hsi, 1662—1722. 
 
 Height, 9 inches. 
 
 176 — Pottle-shaped Vase. 
 
 With rudimentary handles. Thick porcelain of the Ch’ien-lung period (1736-1795). 
 Covered with red and purple splash glaze. Incised seal mark. 
 
 Height, 9 inches. 
 
177 — Flat Oviform Vase. 
 
 Melon design. Vine and leaf scrolls carved in the paste beneath a rich green glaze. 
 Chi’en-lung, 1736-1795. 
 
 Height, 9 inches. 
 
 178 — Bottle-shaped Vase. 
 
 Thick porcelain, 
 purple. 
 
 Covered with a brilliant red glaze, which is mottled and shaded with 
 
 Height, 10 inches. 
 
 179 — Apple-green Oviform Vase. 
 
 Invested with an iridescent, translucent enamel, which is uniformly crackled with a 
 network in brown lines. K’ang hsi, 1662-1722. 
 
 Height, 5 inches. 
 
 180 — Bottle-shaped Vase. 
 
 Covered with red and purple splash glaze, 
 and neck. 
 
 Dragon modelled in relief at the shoulder 
 
 Height, 8 inches. 
 
 181 — Oviform Vase. 
 
 Thick texture. Invested with tea-dust glaze of soft, even quality. Ch’ien-lung, 
 
 1736— x 795- 
 
 Height, qyi inches. 
 
 182 — Quadrilateral Vase. 
 
 With rudimentary elephant-head handles. Thick crackle texture, which is invested 
 with a flambe glaze of red, purple, and brown enamels; peach-shape ornaments 
 carved in the paste in low relief. Ch’ien-lung, 1736-1795. 
 
 Height, 8 inches. 
 
 183 — Bear-shaped Vase. 
 
 Enamelled with a monochrome glaze of apple-green. Teakwood stand. 
 
 Height, 9 inches. 
 
 184 — Cylindrical Vase. 
 
 Glazed in imitation of agate, 
 stand. 
 
 Various symbols pencilled in pale blue. Teakwood 
 
 Height, 9 inches. 
 
 185 — Bottle-shaped Vase. 
 
 With rudimentary handles. Thick porcelain of the Ch’ien-lung period (1736-1795). 
 
 Invested with a brilliant red and purple splash glaze. Incised seal mark under¬ 
 neath foot. 
 
 Height, 8*4 inches. 
 
186 — Melon-shaped Vase. 
 
 Thin texture. Monochrome glaze of camelia-leaf green, minutely crackled throughout. 
 Melon vine in bearing, and butterflies pencilled in a darker shade of green. 
 Ch’ien-lung, 1736—1795. 
 
 Height, 8}4 inches. 
 
 187 — Small Galipot. 
 
 Coarse texture. Invested with a brilliant red glaze splashed with purple, 
 the mouth is defined by a line of brown crackle. 
 
 The rim of 
 
 Height, 6 inches. 
 
 188 — Powder-blue Club-shaped Vase. 
 
 Of the K’ang-hsi period (1662-1722). 
 the glaze. 
 
 Decoration of flowers and birds in gold over 
 
 Height, 9 y z inches. 
 
 189 — Flambe Vase. 
 
 Bottle shaped, with rudimentary handles at neck. Of thick texture and invested with a 
 red and purple splash glaze. Incised seal mark of the Ch’ien-lung period (1736— 
 1 795 )* (Slight repair.) 
 
 Height, 8*4 inches. 
 
 190 — Triple Gourd Vase. 
 
 Hard paste of the Yung-cheng period (1723-1735). Invested with finely crackled 
 turquoise-blue glaze known as “fish-roe” crackle. (Repaired at neck.) Teak- 
 wood stand. 
 
 Height, 8*4 inches. 
 
 191 — Flambe Vase. 
 
 Ovoid body, with tubular neck spreading at mouth. Clear texture of the Ch’ien-lung 
 period (1736-1795). Invested with a purple and clair-de-lune splash glaze. 
 Incised seal mark. 
 
 Height, 8*4 inches. 
 
 192 — Celadon Vase. 
 
 Bottle shaped, with a bulging body. Ornamented with an elaborate design of scroll 
 clouds etched in the paste, and the whole surface invested with a celadon glaze 
 of typical color. Underneath, double ring mark of the K’ang-hsi period (1662- 
 1722) and a leaf symbol pencilled in blue. 
 
 Height, xo inches. 
 
 193 — Iridescent Iron-rust Vase. 
 
 Galipot shaped. Enamelled with a dark brown monochrome glaze, thickly speckled 
 with minute points of deep metallic lustrous aspect. K’ang-hsi, 1662—1722. 
 
 Height, 9 *4 inches. 
 
194 —Oviform Vase. 
 
 Of the K’ang-hsi period (1662-1722). Covered with a brilliant monochrome glaze of 
 camelia-leaf green minutely crackled throughout. The foot is enamelled under¬ 
 neath with the same glaze, which is also partially spread inside the mouth. 
 Teakwood stand. 
 
 Height, g] 4 . inches. 
 
 195 — Oviform Vase. 
 
 Coarse texture of the Ch’ien-lung period (1736-1795). Invested with a brilliant red 
 glaze with faint splashes of purple. Mounted in gilt brass. 
 
 Height, 10 inches. 
 
 196 — Oviform Vase. 
 
 Companion to the preceding. 
 
 Height, 10 inches. 
 
 197 — Pilgrim-bottle Vase. 
 
 Covered with a finely crackled turquoise-blue glaze, which varies in soft translucent 
 tints, according to its depth. Yung-cheng, 1723-1735. 
 
 Height, inches. 
 
 198 — Bottle-shaped, Vase. 
 
 With rudimentary handles. Thick texture of the Ch’ien-lung period (1736-1795). 
 Invested with flambe glaze of red and purple tints. Incised seal mark. 
 
 Height, 8^ inches. 
 
 199 — Vase. 
 
 Globular body with cylindrical neck. Covered with an iridescent monochrome glaze of 
 camelia-leaf green of uniform tint and fine quality ; minutely crackled. K’ang- 
 hsi, 1662-1722. 
 
 Height, g }4 inches. 
 
 200 — Bottle-shaped Vase. 
 
 Clear white texture. Invested with a pale celadon glaze. A dragon encircles the 
 tubular neck, modelled in relief and glazed in peach-bloom tint, and round the 
 body are cloud forms, dragon, and symbols etched in the paste. K’ang-hsi, 
 1662-1722. 
 
 Height, inches. 
 
 201 — Flambe Globular Jar. 
 
 Dense texture. Invested with a splash glaze of various tints of red, purple, and brown. 
 K’ang-hsi, 1662-1722. Gilt metal collar. 
 
 Height, 6 inches. 
 
 202 — Bowl. 
 
 Of the Yung-cheng period (1723-1735). Outside covered with a deep monochrome 
 glaze of a coral-red tint. Underneath, seal mark and double ring pencilled in 
 blue. 
 
 Diameter, 8 inches. 
 
203 —Circular Dish. 
 
 Thick 
 
 texture. Invested with a deep mazarin-blue glaze, thickening in centre and 
 underneath. Teakwood stand. 
 
 Diameter, 8 inches. 
 
 204 — Ch ’ ien-lung Plate. 
 
 Covered with a monochrome glaze of rose tint. (Repaired.) 
 
 Diameter, 8 inches. 
 
 205 — Ovifonn Vase. 
 
 Thin texture of the Ch’ien-lung period (1736-1795). Invested with a pale pink souffle 
 glaze. Symbolical bat and cloud forms pencilled in a darker shade. 
 
 Height, 8y£ inches. 
 
 200 — Oviform Vase. 
 
 With spreading neck and rudimentary stork-head handles. Invested with finely crackled 
 turquoise-blue glaze, which extends over the rim inside the mouth, and over 
 which are pronounced metallic streaks. Yung-cheng, 1723—1735. 
 
 Height, 11 inches. 
 
 207 — Club-shaped. Vase. 
 
 Of good form and finished technique. Enamelled with the red glaze of the Lang- 
 Yao of the reign of K’ang-hsi (1662—1722). The surface of the glaze 
 exhibits a superficial network of crackle lines and reflects the tints of sang-de- 
 bceuf. 
 
 Height, 9%, inches. 
 
 208 — Melon-shaped Vase. 
 
 Modelled in form of an ordinary melon, with vertical grooves, and coated with a 
 monochrome glaze of emerald green of iridescent texture, and minutely crackled 
 throughout. K’ang-hsi, 1662-1722. 
 
 Height, 9 inches. 
 
 209 — Galipot. 
 
 Coarse texture of the Ch’ien-lung period (1736—1795). 
 glaze of brilliant red. 
 
 Invested with a monochrome 
 Height, 10 inches. 
 
 210 — Flat Oviform Vase. 
 
 With rudimentary elephant-head handles. Dense texture of the K’ang-hsi period 
 (1662—1722). Coated with a thick monochrome glaze of tea-dust color. 
 Incised seal mark. 
 
 Height, 11 inches. 
 
211 — Ouadrilateral Vase. 
 
 With raised rim and corner ornaments. Coated with a deep violet and pale turquoise- 
 blue glaze, which is minutely crackled throughout, and flecked with metallic 
 spots. K’ang-hsi, 1662-1722. 
 
 Height, 10^ inches. 
 
 212 — Beaker Vase. 
 
 Thick texture. Invested with a mustard-yellow glaze, 
 throughout. Teakwood stand. 
 
 which is minutely crackled 
 
 Height, 11% inches. 
 
 213 — Flambe Vase. 
 
 Hexagonal bottle shaped, with tubes at neck for hanging. Dense crackled texture, 
 which is invested with a variegated splash glaze of red, purple, and green tints. 
 Ch’ien-lung, 1736-1795. 
 
 Height, 11% inches. 
 
 214 —Ouadrilateral Vase. 
 
 iV 
 
 Coated with a monochrome glaze of camelia-leaf green of perfect purity, and minutely 
 crackled throughout. K’ang-hsi, 1662—1722. 
 
 Height, 12 inches. 
 
 215 —Oviform Vlamb'e Vase. 
 
 Fashioned after a lily, and with chimera-head and ring handles. Of thick crackled 
 texture, which is invested with red and purple splash glaze. Ch’ien-lung, 
 I 736— 1 795- 
 
 Height, 13 inches. 
 
 216 — Pear-shaped Vase. 
 
 Of the Ch’ien-lung period (1736-1795). Coated with a monochrome glaze of tea 
 color of soft, even quality. 
 
 Height, 11 inches. 
 
 217 — Bottle-shaped Vase. 
 
 Globular body with tall, cylindrical neck. Of thick texture, and enamelled with a 
 brilliant ruby-red glaze. K’ang-hsi, 1662—1722. 
 
 Height, 12 inches. 
 
 218 — Bottle-shaped Vase. 
 
 Thin texture of the Tao-kuang period (1821-1850). Invested with a monochrome 
 glaze of imperial yellow, underneath which are dragons amid cloud forms and 
 fire emblems etched in the paste. 
 
 Height, 12 inches. 
 
 219 — Bottle-shaped Vase. 
 
 Of the Yung-cheng period (1723-1735). Globular body with tall, tubular neck. 
 Enamelled with a rich translucent glaze of turquoise tint, which is minutely 
 crackled throughout with a network of defined lines. Teakwood stand. 
 
 Height, 13 inches. 
 
220 — Quadrilateral Vase. 
 
 With chimera-head handles. Of dense crackled texture, which is coated with a flambe 
 glaze of brilliant red and purple tints. Ch’ien-lung, 1736—1795- Carved 
 teakwood stand. 
 
 Height, 12 inches. 
 
 221 — Pear-shaped Vase. 
 
 Dense texture of the Ch’ien-lung period (1736-1795), and invested with a brilliant red 
 and purple splash glaze. 
 
 Height, 14 inches. 
 
 222 — Oviform Vase. 
 
 Clear white porcelain of the Yung-cheng period (1723—1735). Covered with a bril¬ 
 liant turquoise-blue glaze of fine texture, and minutely crackled throughout. 
 Carved teakwood stand. 
 
 Height, 10 inches. 
 
 223 — Fla??ibe Jar. 
 
 Globular form with wide mouth. Coarse crackled texture of the Ch’ien-lung period 
 (1736-1795), and coated with a dark red and purple splash glaze, which also 
 spreads inside the mouth. Teakwood stand. 
 
 Height, 9 inches. 
 
 224 — Bottle-shaped Vase. 
 
 Of graceful form and fine texture of the Ch’ien-lung period (1736—1795). Invested 
 with a tea-color glaze of perfect purity. Incised seal mark underneath. 
 
 Height, 14 inches. 
 
 225 — Flambe Jar. 
 
 Globular body with spreading neck. Thick texture of the Ch’ien-lung period (1736— 
 1795), and enamelled with a red and purple splash glaze with well defined 
 crackle. Teakwood stand. 
 
 Height, 11 inches. 
 
 226 — Brilliant Turquoise-blue Vase. 
 
 Graceful oviform shape, with cylindrical neck spreading at the mouth. Of thin texture 
 of the Yung-cheng period (1723—1735), which is invested with a finely crackled 
 turquoise-blue glaze, known as “fish-roe” crackle, which extends over the rim, 
 inside the mouth. The foot underneath is unglazed, and shows a buff-colored 
 paste. 
 
 Height, 15 inches. 
 
 227 — Bottle-shaped Vase. 
 
 Dense texture of the Ch’ien-lung period (1736-1795), and enamelled with a dark 
 coffee-colored souffle glaze of fine quality and brilliant iridescence. Inscription 
 in black, and incised seal mark underneath the foot. 
 
 Height, 13 inches. 
 
228 — Flambe Vase. 
 
 Graceful oviform, with cylindrical neck spreading at the mouth. Crackled texture, with 
 decoration of dragons and symbols in bleu-de-Nankin on a white ground, over 
 which is a splash or flambe glaze of dark brown, red, and purple tints. K’ang- 
 hsi, 1662-1722. 
 
 Height, 16 inches. 
 
 229 — Brilliant Flambe Vase. 
 
 Graceful pear shaped. Dense texture of the Ch’ien-lung period (1736-1795), coated 
 with a brilliant red and purple splash glaze. Teakwood stand. 
 
 Height, 13^ inches. 
 
 230 — Oviform Vase. 
 
 With low cylindrical neck spreading at the mouth. Covered with a monochrome glaze 
 of camelia-leaf green of fine quality, and minutely crackled throughout. 
 K’ang-hsi, 1662-1722. 
 
 Height, 14 inches. 
 
 231 — Bottle-shaped Vase. 
 
 Thin texture of the K’ang-hsi period (1662—1722), and invested with a glaze of 
 brownish yellow, mottled with clouds of darker brown and olive green. Teak- 
 wood stand. 
 
 Height, i2'/ 2 inches. 
 
 232 — Graceful Bottle-shaped Vase. 
 
 Thick white porcelain of the Ch’ien-lung period (1736—1795), with rudimentary ele¬ 
 phant-head handles, and a decoration of leaf bands and ornamental borders, 
 worked in slight relief in the paste, under a monochrome glaze of brilliant red; 
 the rim of the lip showing streaks of purple tint. 
 
 Height, 12^ inches. 
 
 233 — Turquoise-blue Jar. 
 
 Thick texture of the Ch’ien-lung period (1736-1795). Decoration of floral scrolls 
 and palm leaf, key pattern and sceptre-head bands and borders, worked in 
 slight relief in the paste, beneath a minutely crackled turquoise-blue glaze, 
 which is mottled with a deep violet. 
 
 Height, 10 inches. 
 
 234 — Bottle-shaped Vase. 
 
 Globular body with slender, tubular neck. Thick porcelain of the Ch’ien-lung period 
 (1736—1795), coated with a flambe glaze of fine texture of red and purple tints. 
 Teakwood stand. 
 
 Height, 13 y 2 inches. 
 
235 — Turquoise-blue Oviform Jar. 
 
 With rudimentary elephant-head handles. Sonorous porcelain of the Yung-cheng period 
 (1723—1735), and invested with a finely crackled glaze of mottled tones of the 
 purest turquoise tint. Teakwood stand. 
 
 Height, 13 inches. 
 
 236 — Iridescent Iron-rust Vase. 
 
 Globular body with tall, tubular neck and sonorous texture. Enamelled with a dark 
 brown monochrome glaze, thickly speckled with minute points of metallic lustrous 
 aspect. K’ang-hsi, 1662—1722. 
 
 Height, 16 inches. 
 
 237 — Flambe Bottle-shaped Vase. 
 
 Thick, crackled texture of the Ch’ien-lung period (1736-1795), and coated with a 
 flambe or splash glaze of brilliant red, purple, and clair-de-lune tints. Incised 
 seal mark underneath the foot, which is invested with a brown mottled glaze. 
 
 Height, 15^ inches. 
 
 238 — O v form Jar. 
 
 Modelled after an ancient bronze. Covered with a monochrome glaze of intense and rich 
 sapphire blue. The decoration, which is boldly worked in the paste, in relief, 
 under the glaze, consists of a five-clawed dragon, phoenix, the pearl of omnipo¬ 
 tence, and numerous cloud forms. Ch’ien-lung, 1736—1795. 
 
 Height, 13 inches. 
 
 239 — Large Galipot. 
 
 Fine texture of the Ch’ien-lung period (1736—1795), which is invested with a mottled 
 and streaked red glaze of brilliant quality, with purple tints at neck. Incised seal 
 mark underneath the foot, which is coated with a mottled brown glaze. 
 
 Height, X4j^ inches. 
 
 240 — Brilliant Flambe Vase. 
 
 Globular body with tall, cylindrical neck. Crackled texture of the Ch’ien-lung period 
 (1736—1795), and enamelled with a red and purple splash glaze. 
 
 Height, 17 inches. 
 
 241 — Bottle-shaped Vase. 
 
 Fine sonorous porcelain of the Ch’ien-lung period (1736—1795), invested with a mono¬ 
 chrome glaze of pale tea-color of perfect purity. Incised seal mark underneath 
 the foot. 
 
 Height, 14 inches. 
 
 242 — Graceful Bottle-shaped Vase. 
 
 Globular body with tall, slender, tubular neck. Invested with a rich translucent glaze 
 of starch blue, which is applied so as to leave a well defined white rim round the 
 mouth, and over a pronounced crackled surface marked by brown lines. K’ang- 
 hsi, 1662-1722. 
 
 Height, 16^4 inches. 
 
243 — Flambe Bottle-shaped Vase. 
 
 Globular body with tall, cylindrical neck. Dense crackled texture of the Ch’ien-lung 
 period (1736-1795), and coated with a red and purple flambe glaze of iridescent 
 quality. 
 
 Height, 14 inches. 
 
 244 — Bottle-shaped Vase. 
 
 Of graceful form. Clear white porcelain, invested with a mottled cobalt glaze of fine 
 texture, known as “powder blue” or “ mazarin blue.” The foot underneath 
 is glazed in white, and a well defined white rim is round the mouth. Yung- 
 cheng, 1723—1735. Teakwood stand. 
 
 Height, 17 inches. 
 
 245-— Sang-de-boeuf Oviform Vase. 
 
 Of the celebrated Lang-Yao of the reign of K’ang-hsi (1662—1722), covered with the 
 characteristic monochrome glaze of sang-de-boeuf. The vase is pale green 
 towards the mouth, where a network of crackle is clearly visible ; red on the 
 body, where the glaze runs down towards the foot in richly mottled streaks ; and 
 of dark sanguineous tint on the shoulder, where the glaze is thickest; at the 
 bottom it has “run ” and congealed. The rim round the mouth is defined by 
 a line of pale brown, and the mouth is covered inside with a pale celadon glaze 
 crackled with brown lines. The base is covered underneath with a brown 
 crackled soft glaze. Teakwood stand. 
 
 Height, 11%, inches. 
 
 24G — Lang- Yao Sang-de-boeuf Vase. 
 
 Bottle shaped. Invested with a glaze which displays all the rich sang-de-bceuf tones. 
 The foot underneath is covered with a gray rice-colored glaze. The neck has 
 been ground down and capped with metal. K’ang-hsi, 1662-1722. Carved 
 teakwood stand. 
 
 Height, 11 inches. 
 
 247 — Oviform Vase. 
 
 With spreading moutli. Thin porcelain of the Yung-cheng period (1723-1735), and 
 enamelled with a translucent glaze of peacock green mottled with sapphire blue, 
 which varies in tone according to the depth, and extends over the rim, inside the 
 mouth. Crackled throughout with a network of well defined lines representing 
 “fish-roe” crackle. Teakwood stand. 
 
 Height, 14 inches. 
 
 248 — Large Pear-shaped Vase. 
 
 Thick porcelain of the Ch’ien-lung period (1736-1795), and enamelled with a brilliant 
 glaze of the characteristic sang-de-boeuf type over a crackled ground. 7 he 
 mouth is covered inside with rice-colored crackled glaze, and the same glaze 
 covers the base underneath. 
 
 Height, 17 inches. 
 
249 — Turquoise-blue Vase. 
 
 Of graceful cylindrical form, and fine texture of the K’ang-hsi period (1662—1722). 
 The surface is covered with etched designs, consisting of a group of lions sporting 
 with brocade balls tied with waving fillets, and invested with a minutely crackled 
 glaze of pure turquoise tint; and numerous cloud forms are in dark blue. Band 
 of sceptre-head design round base. Foot underneath coated with a deep violet 
 glaze. Teakwood stand. 
 
 Height, 19 inches. 
 
 250 — Bottle-shaped Vase. 
 
 Crackle texture of K’ang-hsi (1662—1722). Decorated with a bold dragon in bleu-de- 
 Nank'in , and coated with a flambe glaze of sang-de-boeuf \ olive green, purple, and 
 other tints. 
 
 Height, 17 y z inches. 
 
 251 — Decorated Turquoise-blue Vase. 
 
 Oviform, with tubular neck, which is capped by a scalloped collar worked out in the 
 paste. Covered with a monochrome glaze of brilliant turquoise tint, which is 
 minutely crackled throughout. The decoration, which is etched in the paste, 
 consists of elaborate conventional scrolls of peonies round the body and neck, 
 with a band of gadroons below. The foot is enamelled underneath with the 
 same glaze as the vase. K’ang-hsi, 1662-1722. 
 
 Height, 25 inches. 
 
 252 — Flambe Bottle-shaped Vase. 
 
 Globular body with tall, tubular neck. Crackled texture of the Yung-cheng period 
 (1723-1735), which is enamelled with a “strawberry” splash glaze. Teakwood 
 stand. 
 
 Height, 16 inches. 
 
 253 — Large Vase. 
 
 Globular body with cylindrical neck. Invested with a dark green celadon glaze, applied 
 over a pronounced brown crackled surface. K’ang-hsi, 1662-1722. 
 
 Height, 18 inches. 
 
 254 —Tall Hexagonal Vase. 
 
 Of graceful form and finished technique. Sonorous porcelain of the Ch’ien-lung period 
 (1736-1795). Invested with a monochrome glaze of powdered-tea color of 
 uniform tint and very fine quality. The foot underneath is coated with the 
 same glaze, and has an impressed seal mark. Finely carved teakwood stand. 
 
 Height, 28 inches. 
 
 255 — Large Bottle-shaped Vase. 
 
 Globular body with tall, cylindrical neck. Thick porcelain of the Ch’ien-lung period 
 (1736—1795), and covered with a glaze of pale sea-green tone. The decoration 
 in relief modelling, fashioned after an ancient bronze, consists of bands of archaic 
 design and borders of sceptre heads and gadroons. Underneath foot, seal mark 
 pencilled in blue. Carved teakwood stand. 
 
 Height, 25 inches. 
 

SECOND AFTERNOON'S SALE 
 
 Monday, January 26th, 1903 
 
 BEGINNING PROMPTLY AT 3 O’CLOCK 
 
 25G— Cup and Saucer. 
 
 Lotus design. Old Chinese hard paste. Decoration of miniature figures and floral 
 festoons. 
 
 257 — Covered Pitcher . 
 
 Hard paste of the Ch’ien-lung period (1736—1795). Decoration of foliage and land¬ 
 scape in various enamels. 
 
 258 — Miniature Vase. 
 
 Oviform. Covered with a monochrome glaze of camelia-leaf green, minutely 
 crackled. 
 
 259 — Miniature Bottle-shaped Vase. 
 
 Coated with a thick mottled glaze. 
 
 2G0 —Cup and Saucer. 
 
 Pekin enamel. Decoration of floral scrolls and medallions, on pink ground. 
 
 2G1 — Porcelain Bowl. 
 
 Leaf patterns modelled in low relief in the paste. Brilliant emerald-green glaze. 
 
 2G2 — Bowl. 
 
 Clear white porcelain of the Ch’ien-lung period (1736-1795). Outside covered with 
 robin’s-egg souffle glaze. Seal mark in coral red. 
 
2G3— Incense Bowl. 
 
 Outside covered with orange-yellow glaze. Decoration of dragon chasing the pearl of 
 omnipotence etched in the paste and enamelled in emerald green. Incised four- 
 character mark. Wan-li, 1573—1619. 
 
 Height, 3 inches. 
 
 264— Teapot. 
 
 Hard paste. Decoration illustrating the dragon festival in green, red, and yellow 
 enamels. 
 
 265 —Tea Caddy. 
 
 Old Canton. Decoration of baskets of flowers in arabesques, in coral-red, gold, and 
 other enamels. 
 
 266 —Small Tray. 
 
 Lotus-leaf shaped. Old Chinese porcelain, coated with green glaze. 
 
 267 — Tea Bowl. 
 
 Brown crackle texture. Dragons, fire emblems, and sacred pearls in bleu-de-Nankin. 
 
 268— Two Bowls. 
 
 Leaf design. Coated with a monochrome glaze of brilliant emerald green. 
 
 269 — Teapot. 
 
 Famille rose. Floral medallions and scrolls. 
 
 270 — Lotus-leaf Tray. 
 
 Invested with a monochrome glaze of leaf green. 
 
 271— Covered Bowl. 
 
 Pure white semi-eggshell texture. Decoration of mandarin figures, birds, and flowers, 
 in fine enamels and gold. 
 
 272— Two Tea Bowls. 
 
 Brown crackle texture. Decoration of dragons, fire emblems, and the sacred pearl in 
 
 bleu-de-Nankin. 
 
273— Teapot. 
 
 Old Canton. Decoration of mandarin figures, garden scenes, and medallions in various 
 enamels enriched with gold. 
 
 274 — Small Covered Pitcher. 
 
 Old Canton. To match the preceding. 
 
 275 —Targe Bowl. 
 
 Thick porcelain of the Hsien-feng period (1851-1861). Outside decoration of floral 
 sprays, scrolls, plum blossoms, pine tree, bamboo, and storks on alternate stripes 
 of salmon, yellow, and pale blue. Inside coated with turquoise-blue glaze. 
 
 Diameter, 7 inches. 
 
 276 — Celadon Fire Bowl. 
 
 Globular shape. Thick porcelain of the Ch’ien-lung period (1736—1795). Decoration 
 of floral scrolls and a band of gadroons worked in the paste, in slight relief, 
 beneath a pale green translucent glaze. 
 
 Diameter, 4 inches. 
 
 277 — Miniature Vase. 
 
 Thin porcelain of the Ch’ien-lung period (1736-1795). Covered with a monochrome 
 glaze of orange yellow. 
 
 278 — S?nall Bottle-shaped Vase. 
 
 Crackle texture. Invested with a monochrome glaze of apple green. 
 
 279 — Pih-tong. 
 
 Thick porcelain. The decoration, which is carved in low relief, consists of landscape 
 and water scene, and is coated with an olive-green enamel. Incised four-charac¬ 
 ter mark underneath the foot. 
 
 Height, S] 4 . inches. 
 
 280 — Bottle-shaped Vase. 
 
 Coarse texture of the Ch’ien-lung period (1736-1795). Covered with a brilliant mot¬ 
 tled red glaze, over which is a decoration of floral medallions in enamels and 
 gold. European mountings in gilded brass. 
 
 Height, 10 inches. 
 
 281 — Oviform Vase. 
 
 Clear white porcelain, K’ang-hsi period (1662-1722). Coated with a brilliant powder- 
 blue glaze. Decoration in four panels. 
 
 Height, 9 Yz inches. 
 
282 — Pilgrim-bottle Vase. 
 
 With rudimentary dragon handles. Thick porcelain of the Ch’ien-lung period (1736- 
 1795). Coated with a mottled red glaze, partially covering the outside surface, 
 underneath which is a pale green glaze with a pronounced crackle. 
 
 Height, inches. 
 
 283 — Large Bowl. 
 
 Thin texture of the K’ang-hsi period (1662—1722). Decoration of conventional 
 dragons and floral scrolls in green, yellow, and red enamels. 
 
 Diameter, 8 inches. 
 
 284 — Pair Vases. 
 
 Flat oviform. Thick porcelain of the Ch’ien-lung period (1736—1795). Decoration 
 in black outline, touched with salmon pink, consists of figures of priests and 
 philosophers, and sprays of flowers. Mark underneath foot, symbol of lon¬ 
 gevity. 
 
 Height, 10 inches. 
 
 285 — Plate. 
 
 Semi-eggshell porcelain of the K’ang-hsi period (1662-1722). Decoration of interior 
 view with mandarin figures, garden scene, and medallion borders, in various 
 enamels enriched with gold. 
 
 Diameter, 8 inches. 
 
 286 — Tea Bowl. 
 
 Semi-eggshell porcelain. To match the preceding. 
 
 287 — Cups and Saucers. 
 
 Decoration of mandarin figures and other designs in harmony with the preceding bowl. 
 
 7 pieces. 
 
 288 — Galipot. 
 
 Coarse texture of the Ch’ien-lung period (1736-1795). Invested with a gray crackled 
 glaze which has a slight red and purple mottling. 
 
 Height, 8)4 inches. 
 
 289 — Ouadrilateral Flambe Vase. 
 
 Thick porcelain of the Ch’ien-lung period (1736-1795). Coated with a brilliant red 
 and purple splash glaze, with the corners and rim of mouth uncovered by 
 enamel; uniformly crackled throughout. 
 
 Height, 11 inches. 
 
 290 — Bottle-shaped Vase. 
 
 Globular body with tall, tubular neck. Thin porcelain of the Yung-cheng period 
 (r723—1735). Covered with a monochrome glaze of an intense and rich sap¬ 
 phire blue. 
 
 Height, 12 inches. 
 
291— Pear-shaped. Vase. 
 
 Of graceful form. Dense porcelain of the Ch’ien-lung period (1736-1795), which is 
 coated with a flambe or splash glaze of red and purple tints. 
 
 Height, 13 inches. 
 
 292 — Bottle-shaped Vase. 
 
 Thick texture of the Ch’ien-lung period (1736-1795), and enamelled with a mottled 
 red glaze, with faint purple tints round the mouth. 
 
 Height, 12 inches. 
 
 293 — Pear-shaped Vase. 
 
 Thick porcelain of the Ch’ien-lung period (1736—1795), which is invested with a 
 monochrome glaze of deep red of sang-de-bceuf type. Mounted in gilded 
 brass. (Repaired at lip.) 
 
 Height, ny£ inches. 
 
 294 — Bottle-shaped Vase. 
 
 Thin porcelain of the Ch’ien-lung period (1736-1795). 
 cobalt-blue glaze. 
 
 Covered with monochrome 
 Height, 12 inches. 
 
 295 — Bottle-shaped Vase. 
 
 Of graceful form. Coated with a mottled red and purple splash glaze of brilliant 
 quality. Ch’ien-lung, 1736-1795. 
 
 Height, 16 inches. 
 
 296 — Bottle-snaped Vase. 
 
 Oviform body with tall, tubular neck spreading at mouth. Invested with a turquoise- 
 blue enamel of finely crackled texture and mottled greenish tone, the typical 
 “peacock green” of the Chinese. K’ang-hsi, 1662-1722. Carved teak- 
 wood stand. 
 
 Height, 12 inches. 
 
 297 
 
 Flambe Bottle-shaped Vase. 
 
 With ribbed body and neck. Dense texture of the Ch’ien-lung period (1736-1795), 
 and covered with a mottled red and purple glaze. 
 
 Height, 14 inches. 
 
 298 — Tall Bottle-shaped Vase. 
 
 Ovoid body with slender cylindrical neck. Enamelled with a brilliant flambe glaze of 
 red and purple tone. Incised seal mark of Ch ien-lung period (1 73 6 1 795 ) 
 underneath the foot, which is coated with a mottled brown glaze. 
 
 Height, 19 inches. 
 
299 — Vase. 
 
 Graceful form, with flaring mouth. Thin white texture of the Yung-cheng period 
 (1723—1735). Enamelled with a brilliant turquoise-blue glaze of fine quality, 
 which extends over the rim, inside the mouth, and invests the base of the foot, 
 with the exception of the circular rim, which is partially unglazed and shows the 
 texture of the paste. Carved teakwood stand. 
 
 Height, 9 inches. 
 
 300 — Graceful Bottle-shaped. Vase. 
 
 Tall oviform with slender, tubular neck. Dense texture of the Ch’ien-lung period 
 (1736-1795). Invested with a brilliant splash glaze of mottled red and purple. 
 
 Height, 20 inches. 
 
 301 — Brilliant Flambe Jar. 
 
 Oviform, with rudimentary elephant-head handles. The body is carved in bamboo 
 design, slightly decorated in blue-de-Nankin , and invested with splashes of varied 
 tints, passing from brown and purple to intermediate shades of crimson, where 
 the glaze is thickest. K’ang-hsi, 1662—1722. 
 
 Height, 11 inches. 
 
 302 — Turquoise-blue Bottle-shaped Vase. 
 
 Thin porcelain of the Yung-cheng period (1723—1735). Covered with a rich mono¬ 
 chrome glaze of turquoise of the “peacock-green” tint, which is minutely 
 crackled throughout. 
 
 Height, 15 inches. 
 
 303 — Bottle-shaped Vase. 
 
 Globular body with tubular neck. Crackled texture of the Yung-cheng period (1723- 
 1735). Enamelled with a brilliant flambe glaze of brown, purple, and crimson 
 tints. Carved teakwood stand. 
 
 Height, 16 inches. 
 
 304— Turquoise-blue Bottle-shaped Vase. 
 
 With tall cylindrical neck. The glaze is of pale turquoise-blue tint of rich trans- 
 lucence, minutely crackled, representing “fish-roe” crackle. Ch’ien-lung, 
 1736 - 1795 - 
 
 Height, 16 inches. 
 
 305 — Flambe Bottle-shaped Vase. 
 
 Brown crackled texture of the Yung-cheng period (1723-1735). Enamelled with 
 “strawberry ” splash glaze of crimson, purple, and olive-brown tints. Carved 
 teakwood stand. 
 
 Height, 16 inches. 
 

 305 
 
 180 
 
 301 
 
 AWElson & Co.,Bcston 
 
 163 228 
 

 
306 — Large Plate. 
 
 Sonorous porcelain of the Yung-cheng period (1723-1735). Invested with a fine 
 monochrome glaze of imperial yellow over a decoration of dragons, fire emblems, 
 and the sacred pearl. Border of floral sprays, which is etched in the paste un¬ 
 derneath. Six-character mark, within a double ring, pencilled in blue. Carved 
 teakwood stand. 
 
 Height, 12 inches. 
 
 307 — Large Bowl. 
 
 Thick white texture. Outside enamelled with a brilliant red glaze, which thickens at 
 rim and foot. Inside decorated in bleu-de-Nankin , with bold dragons, amid cloud 
 forms and fire emblems, chasing the pearl of omnipotence. Four-character 
 mark of Cheng-hua (1465-1487). 
 
 Diameter, 16 inches. 
 
 308 — Elambe Bottle-shaped Vase. 
 
 Globular body with flaring base and mouth. Thick porcelain of the Yung-cheng 
 period (1723-1735), and invested with a brilliant flambe glaze of varied tints. 
 Carved teakwood stand. 
 
 Height, 15 inches. 
 
 309 — Graceful Bottle-shaped Vase. 
 
 Sonorous porcelain of the Ch’ien-lung period (1736-1795). Enamelled with a minutely 
 crackled turquoise-blue glaze over an elaborate floral and scroll decoration etched 
 in the paste. 
 
 Height, 18 }4 inches. 
 
 310 —Lacework Bowl. 
 
 Semi-eggshell porcelain, pierced floral design, representing conventional peonies amidst 
 leafy scrolls, which is filled in with glaze so as to form a delicate “rice-grain ” 
 transparency, and giving the effect of lacework. Ch’ien-lung, 1736—1795. 
 Seal mark pencilled in blue. 
 
 Diameter, 5 inches. 
 
 311 — Bose-back Eggshell Plate. 
 
 Enamelled on the back, round the border, with a deep rose ground, and on the front is a 
 decoration in enamels and gilding. The field is filled with a basket of flowers 
 and a dish of fruits, and this is framed by encircling bands and borders of ara¬ 
 besques, diaper and scroll ornaments, all painted in delicate enamels. 
 
 Diameter, b] 4 . inches. 
 
 312 — Decorated Plate. 
 
 Clear white porcelain of the Yung-cheng period (1723-1735). Sprays of peony and 
 branches of prunus blossoms in red, green, yellow, and other enamels. 
 
 Diameter, 8)4 inches. 
 
313 — Bowl. 
 
 Of the early K’ang-hsi period (1662—1722). Invested within and without in a mono¬ 
 chrome glaze of apple green, of uniform tint and iridescent quality. Carved 
 teakwood stand. 
 
 Diameter, 7 inches. 
 
 314 —Rose Souffle Vase. 
 
 Oviform, with slender, tubular neck and flaring base. Clear white porcelain of the 
 Yung-cheng period (1723—1735), which is invested with a rose-colored glaze 
 of even quality and orange-peel surface. 
 
 Height, 11 inches. 
 
 315 — Globular Jar. 
 
 Clear white porcelain of the K’ang-hsi period (1662—1722). Enamelled with a pel¬ 
 lucid monochrome glaze of pale sky-blue tint known as “moonlight white,” or 
 clair-de-lune , glaze. Six-character mark pencilled in under-glaze blue. 
 
 Height, 3 inches. 
 
 316 — Sung Coupe. 
 
 Of soft texture. Invested with a mottled red and purple glaze of finished technique. 
 From “Collection Marquis,” Paris. 
 
 Diameter, 3 inches. 
 
 317 — Writer's Water Jar. 
 
 Invested with a peach-bloom glaze of varied tint and fine quality. Three disks of 
 incised floral motive beautifully drawn in the paste. The mark pencilled un¬ 
 derneath, in under-glaze blue, is K’ang-hsi nien chih. 
 
 Diameter, 5 inches. 
 
 318 — Peach-bloo?n Rouge Box. 
 
 In varied peach tint, flecked with spots of verdigris green. On the foot six-character 
 mark of K’ang-hsi, 1662—1722. Carved teakwood stand. 
 
 319— Writer's Water Dish. 
 
 Of the K’ang-hsi period (1662—1722), enamelled with the peach-bloom glaze of 
 “crushed strawberry’ tint, and mottled with clouds of apple green. Six- 
 character mark written underneath in cobalt blue. 
 
 Diameter, 4inches. 
 
 320 — Beach-bloom Amphora. 
 
 Invested within and without in a glaze to imitate the ripening peach. It is of perfect 
 technique, and the foot, which is enamelled in pure white underneath, is inscribed 
 “Ta Ch’ing K’ang-hsi nien chih (1662-1 722), of the great Ch’ing [Dynasty] .” 
 
 Height, 6 inches. 
 
321 — Oviform Jar. 
 
 Thick porcelain of the early Ming period. Decoration of various disk-shaped panels, 
 diapers, and arabesques in coral red; sceptre-head and scroll borders and bands 
 in green. Seal mark pencilled in cobalt blue. 
 
 Height, 8 inches. 
 
 322 — Hexagonal Bowl. 
 
 Pure white porcelain of the Yung-cheng period (1723-1735). Decoration in rose color 
 of the peach and bat symbols, symbolical of long life and happiness. Seal mark 
 pencilled in cobalt blue. Fine carved teakwood stand. 
 
 Height, 9 inches. 
 
 323 — Imperial Yellow Bottle-shaped. Vase. 
 
 Thin texture of the Ch’ien-lung period (1736-1795). Invested with a monochrome 
 glaze of imperial yellow, and decorated with conventional scrolls of peonies, 
 etched in the paste and enamelled in green, blue, and purple. 
 
 Height, 12 inches. 
 
 324 — Cylindrical Vase. 
 
 White porcelain of the K’ang-hsi period (1662-1722). The decoration is etched in 
 the paste, and is enamelled in under-glaze blue, maroon, and celadon, all colors 
 of the grand feu , and consists of pine tree, figures of pilgrims, rocks, and sym¬ 
 bols. Ring and leaf mark underneath foot. 
 
 Height, 16 inches. 
 
 325 — “ Thousand Flowers” Vase. 
 
 Graceful bottle shaped. Fine texture of the Chia-ch’ing period (1796—1820). Choice 
 example of one of the most interesting and elaborate decorations known in 
 Chinese porcelains. The whole surface is covered with a mass of flowers in the 
 richest transparent and opaque enamels. Seal mark pencilled in coral red. 
 
 Height, 12^ inches. 
 
 326 — Unique Bottle-shaped Vase. 
 
 Thick texture of the Yung-cheng period (1723-1735). Covered with white glaze, and 
 has a decoration of a dragon chasing the pearl of omnipotence, carved in high 
 relief, and enamelled in coral red and gilding. Carved teakwood stand. 
 
 Height, iy/ 2 inches. 
 
 327 — Decorated Orange-yellow Vase. 
 
 Globular bottle form, with tall tubular neck. The decoration, which consists of prunus 
 blossoms, chrysanthemums, and bamboo, is carved in low relief, and enamelled 
 in green, white, purple, and cobalt blue. Invested throughout in a monochrome 
 glaze of orange yellow. Ch’ien-lung period, 1736-1795. Teakwood stand. 
 
 Height, 16 inches. 
 
328 — White Porcelain Vase. 
 
 Club shaped in miniature form. Clear white texture of the K’ang-hsi period (1662- 
 1722). The mark underneath, six characters arranged in three columns, is 
 beautifully written in under-glaze cobalt blue. Teakwood stand. 
 
 Height, 5 ]/ z inches. 
 
 329 — Bottle-shaped Vase. 
 
 Of fine form and ivory-white texture. Ribbed body and neck, and foliated band round 
 foot. Incised seal mark of Ch’ien-lung, 1736-1795. Finely carved teakwood 
 stand. 
 
 Height, inches. 
 
 330 — Fire Bowl. 
 
 Pure white porcelain, 
 stand. 
 
 Conventional lion-head ornaments. Teakwood cover and 
 
 Diameter, 5 inches. 
 
 331 — Globular Jar. 
 
 Semi-eggshell texture of the Fen-Ting “soft paste” type. The decoration consists of 
 imperial dragon, fire emblems, and sacred pearl etched in the paste underneath 
 the glaze of ivory white. Yung-cheng, 1723—1735. Carved teakwood stand. 
 
 Diameter, 4^ inches. 
 
 332 — Bottle-shaped Vase. 
 
 Exquisite form and texture. Fen-Ting “soft paste” type. Band of Grecian pattern 
 etched in the paste, underneath a glaze of ivory white with pronounced crackle. 
 Handles on the neck, of dragon-head and ring design. Rim at foot without 
 glaze, and exhibits softness of texture. Teakwood stand. 
 
 Height, 13 inches. 
 
 333 — Soft Paste Vase. 
 
 Tall cylindrical shape, with dragon-head and ring handles. Etched band of Grecian 
 pattern underneath a glaze of ivory white, which is minutely crackled through¬ 
 out. Teakwood stand. 
 
 Height, 14 inches. 
 
 334 — Bottle-shaped Vase. 
 
 Ovoid body with tall tubular neck and a bulbous lotus-bud mouth. Ivory-white 
 texture. Incised seal mark. 
 
 Height, 13^ inches. 
 
 335 — White Porcelain Vase. 
 
 Ivory-white texture. Neck encircled by a band of Grecian design, etched in the paste 
 underneath the glaze. Ch’ien-lung, 1736-1795. Pine teakwood stand. 
 
 Height, 14 inches. 
 
336 — Large Beaker-shaped, Vase. 
 
 White sonorous porcelain of ivory-white type. The decoration, which is etched in the 
 paste, consists of broad bands of palm leafs and floral sprays invested with a 
 pellucid glaze. Incised seal mark underneath the foot. 
 
 Height, 18 '/ 2 inches. 
 
 337 — Bottle-shaped Vase. 
 
 Of Fen-Ting “soft paste ” type. The body of the vase is covered with a floral design 
 representing conventional peonies in the midst of leafy scrolls, delicately etched 
 in the paste under a pellucid white glaze. Ornamental palmations encircle the 
 neck and the lower border of the body. Yung-cheng, 1723-1735. 
 
 Height, i6y£ inches. 
 
 338 — Two Miniature Covered Jars. 
 
 Hard paste porcelain of the Ch’ien-lung period (1736-1795). Panel decoration of 
 “Long Eliza’s” and flowering plants in under-glaze cobalt blue. 
 
 339 — Small Oviform Vase. 
 
 Pure white hard paste porcelain. Decoration of floral and leaf scrolls delicately pencilled 
 in under-glaze blue of pale tint. Four-character mark of Ch’eng-hua, 1465- 
 1487. 
 
 Height, 5 inches. 
 
 340 — Semi-eggshell Tea Cup. 
 
 Pure white porcelain of the Ch’ien-lung period (1736-1795). Decoration of the 
 flowering lotus and a crane in brilliant under-glaze blue. Seal mark. 
 
 341 — Helmet-shaped Pitcher. 
 
 Old bleu-de-Nankin. Decoration of landscape and water view in brilliant cobalt blue, 
 with ornamental gilding. 
 
 342 — Fire Bowl. 
 
 Hard paste porcelain of the K’ang-hsi period (1662-1722). Decoration of flowering 
 plants, butterflies, and leaf-pattern border in cobalt blue. Teakwood openwork 
 cover. 
 
 Diameter, sVz inches. 
 
 343 — Wine Ewer. 
 
 Persian form. Two-panel decoration in which are figure of fisherman, tv/o deer, 
 rocks, and grasses painted in deep blue. Invested with a brilliant powder-blue 
 glaze. 
 
344 — Covered Cup with Saucer. 
 
 Fine hard paste porcelain of the K’ang-hsi period (1662-1722). Panel decoration of 
 floral sprays in outline on a dark blue ground. Mark underneath foot, leaf 
 symbol within circle. 
 
 345 — Tea Cup. 
 
 Pure white porcelain of semi-eggshell texture. Flowering lotus pencilled in brilliant 
 under-glaze blue. Seal mark of Ch’ien-lung period, 1736—1795. 
 
 34G — Three Blue and White Saucers. 
 
 Pure white hard paste. Decoration of flowering plants in brilliant cobalt blue. Yung- 
 cheng and Ch’ien-lung periods. 
 
 347 — Oviform Jar. 
 
 Pure white hard paste porcelain of the Yung-cheng period (1723-1735). Decoration 
 of plum, pine, and bamboo, delicately pencilled in under-glaze blue. Sceptre- 
 head borders. Teakwood stand. 
 
 Height, 4^ inches. 
 
 348 — Wine Ewer. 
 
 Hard paste porcelain of the K’ang-hsi period (1662—1722). Coated with a mottled 
 glaze of rich mazarin blue of fine quality. Decorated over the glaze with floral 
 sprays painted in gold. 
 
 Height, 8 inches. 
 
 349 — Tea Caddy. 
 
 Dense porcelain. Decoration of sprays of prunus blossoms pencilled in under-glaze 
 blue in two white leaf-shaped panels. Lotus flowers and leaf scrolls outlined on 
 a ground to represent cracking ice. 
 
 Height, 8% inches. 
 
 350 — Soft Baste Galipot . 
 
 Of graceful form and finished technique. Brown crackle texture of Fen-Ting type of 
 light weight; clusters of peach and pomegranate fruit artistically pencilled in 
 fine blue under the glaze. A band of floral scrolls and butterflies is round the 
 shoulder, and a ring of palmations encircles the base. 
 
 Height, 7% inches. 
 
 351 — Oviform Jar. 
 
 White hard paste of the Chia-ch’ing period (1796-1820). Finely decorated, in brilliant 
 opaque blue, with lotus plants, carp, and symbols. Six-character mark, within 
 double circle, pencilled in deep cobalt blue. 
 
 Height, 5 inches. 
 
352 — Blue and White Brocaded Vase. 
 
 Persian form, with bulging body and slender, tapering neck. Decorated in fine cobalt 
 blue of pure tint, with floral ground and foliated panels of floral brocade. The 
 texture is Fen-Ting “soft paste” type of fine quality. The mark inscribed 
 underneath is a leaf, outlined in blue. A common sign of the K’ang-hsi period, 
 1662-1722. Silver cap. 
 
 Height, 7 inches. 
 
 353 — Wine Ewer. 
 
 White hard paste of the early K’ang-hsi period (1662-1722). Panel decoration of 
 foliated outline on a brilliant opaque blue ground, the body covered with a ground 
 to imitate the cracking of ice. 
 
 Height, 7 y z inches. 
 
 354— Ginger Jar with Original Cover. 
 
 Hard paste. Decoration of lotus, prunus blossoms, and peonies pencilled in brilliant 
 under-glaze blue, within circular shaped panels. Clusters of blossoms and fruits 
 round shoulder; and base encircled by a band of corrugated design carved in the 
 paste. Six-character mark, Cheng-hua, 1465-1487. 
 
 Height, 9 inches. 
 
 355 — Ginger Jar with Original Cover. 
 
 Companion to the preceding. 
 
 Height, 9 inches. 
 
 356 — Beaker-shaped Vase. 
 
 Soft paste texture. Hsiian-te period (1426-1435). Landscape, pagodas, river view, 
 and mountain scenery pencilled in deep cobalt blue under an ivory-white glaze. 
 
 Height, inches. 
 
 357 — Hawthorn Ginger Jar with Porcelain Cover. 
 
 Ground of opaque blue, with markings to represent cracking ice; branches of prunus 
 blossoms in white reserve. K’ang-hsi period, 1662—1722. 
 
 Height, inches. 
 
 358 —Hawthorn Ginger Jar. 
 
 Clear white hard paste of the K’ang-hsi period (1662—1722). Branches of prunus 
 blossoms in white reserve, on a ground of fine opaque blue marked to represent 
 cracking ice. Teakwood cover. 
 
 Height, inches. 
 
 359 — Blue and White Vase. 
 
 Globular body, with tall cylindrical neck spreading at mouth. Pure white porcelain of 
 the K’ang-hsi period (1662-1722). Numerous panels of various shapes, which 
 are filled with figures, garden scenes, landscapes, and flowering plants, beauti¬ 
 fully pencilled in brilliant under-glaze blue of pure tint, encircled by bands of 
 floral sprays. The mark underneath is a leaf within a circle pencilled in blue. 
 
 Height, 17 inches. 
 
3GO — Hawthorn Beaker-shaped Vase. 
 
 Clear white hard paste of the K’ang-hsi period (1662—1722). Decoration of branches 
 of prunus blossoms, the floral emblem of the New Year, in reserve upon a 
 mottled background of opaque blue, which is covered with a reticulation of 
 darker blue lines to represent cracking ice, a symbol of the coming spring. 
 Mark underneath, double circle pencilled in cobalt blue. 
 
 Height, 18 inches. 
 
 3G1 — Hawthorn Temple Jar with Original Hat-shaped Cover. 
 
 Decorated with cobalt blue of the K’ang-hsi period (1662—1722), with blossoming 
 branches and twigs of the mei flower, the branches alternately upward and 
 downward, so as to display their white blossoms and buds reserved upon a mot¬ 
 tled background of blue, which is covered with a reticulation of dark blue lines 
 to represent cracking ice. Mark underneath foot, double circle pencilled in blue. 
 
 Height, 18 inches. 
 
 362 — Hawthorn Temple Jar with Original Hat-shaped Cover. 
 
 Companion to the preceding. 
 
 Height, 18 inches. 
 
 363 — Large Pilgrim Bottle . 
 
 Literally, full-moon vase, of graceful form and technique. The body of the vase is 
 covered with a floral design representing conventional peonies in the midst of 
 leafy scrolls, beautifully pencilled in under-glaze blue of pure tint. Ornamental 
 palmation an._ sceptre-head scrolls encircle the neck and lower border of the 
 body. On the neck are two rudimentary dragon handles. Ch’ien-lung period, 
 I 73 ^- I 795 - Teakwood finish. 
 
 Height, 19 inches. 
 
 364 - — Cloisonne Enamel Vase. 
 
 Ovoid bottle shaped, with tall slender neck. Conventionalized flowers, arabesque and 
 palmations in dark tones of blue, red, white, and jade green, on turquoise-blue 
 and yellow ground. Coral incrustation and carved jade stopper. Ch’ien-lung, 
 1736— 1 795. Teakwood stand. 
 
 Height, 9 inches. 
 
 365 — Cloisonne Enamel Plate. 
 
 Old Japanese shippo. Floral and leaf scrolls, and medallion patterns in low tones on 
 dark green ground. 
 
 Diameter, 12 inches. 
 
 366 — Large Cloisonne Cake Box. 
 
 Outside and inside of dark blue and turquoise ground, with birds, cloud forms, crests, 
 and various symbols in brilliant enamels. Ch’ien-lung, 1736-1795. 
 
 Diameter, 12 inches. 
 
 367 — Tea Service with Tray. 
 
 Old Pekin enamel. Fashioned after the Chinese peach. 
 
 6 pieces. 
 
 368 — Ewer and Basin. 
 
 Fine specimens of old Pekin enamel. Decoration of flowers, fruits, and leaf scrolls in 
 delicate colors on a white enamelled ground. 
 
735 
 
yapanese Lacquers 
 
 369 — Sake Cup. 
 
 Cherry blossoms floating on stream, 
 dull powdered-gold ground. 
 
 delicately painted in soft, shaded gold lacquer on a 
 Seventeenth century. 
 
 Diameter, 3^ inches. 
 
 370 —Sake Cup. 
 
 A view of Susaki, bay of Tokio, exquisitely painted in centre, in finely powdered gold 
 and red lacquers. The back is finished in red lacquer. Inscribed “Tokio, 
 Susaki.” Nineteenth century. 
 
 Diameter, 4%. inches. 
 
 371 — Sake Cup. 
 
 Silver lacquer in low-tone finish. Decoration of “ Nara dolls” and cherry blossoms, 
 most delicately and artistically painted in various tones of gold and red lacquer. 
 Eighteenth century. 
 
 Diameter, 3inches. 
 
 372 — Hexagonal Box. 
 
 With small opening on top. Landscape and group of cranes minutely and artistically 
 painted in powdered and polished gold lacquer over a beautiful black lacquer 
 ground; partial embellishment in leaf-gold squares, in mosaic style. Inside fin¬ 
 ished in red-gold nashiji. Seventeenth century. 
 
 Height, 2 y z inches. 
 
 373 — Octagonal Box. 
 
 With lead rim. Gold nashiji lacquer of yellow tone. Cover in design of folded 
 brocade, and decoration of chrysanthemum in raised gold lacquer. Sixteenth 
 century. 
 
 Height, inches. 
 
 374 — Minute Perfume Box. 
 
 Low oblong form. Gold lacquer. Basket with sprays of chrysanthemum and peony 
 exquisitely and delicately painted on top of the cover in low-tone and pow¬ 
 dered goid lacquers. Interior finished in nashiji. Seventeenth century. 
 
 Height, inch. 
 
375 — Round Box. 
 
 Finely powdered gold lacquer. Top of cover is decorated with design of cards, on 
 which are figures and other patterns exquisitely painted in gold and colored 
 lacquers. Interior of yellow nashiji. Seventeenth century. 
 
 Diameter, 3 inches. 
 
 376 — Tea Caddy. 
 
 Powdered gold lacquer. Profusion of kiri flowers decorated over its entire surface in 
 dull gold lacquer and in mother-of-pearl inlay. Seventeenth century. 
 
 Height, 3 inches ; diameter, 3 inches. 
 
 377— Wine Cup. 
 
 Carved bamboo. Sprays of wistaria flowers and feathers painted in raised gold lacquer 
 of various tones. Interior is covered with a beautiful yellow-gold lacquer. 
 Signed on the base, in black, Kichosai. Eighteenth century. 
 
 Height, 2j^ inches. 
 
 378 — Tea Caddy. 
 
 Ivory, with gold lacquer decoration of various shaped fans, and scenes illustrating Japanese 
 industrial and domestic life, and flowers and plants, most minutely drawn in 
 raised gold and colored lacquers. Eighteenth century. 
 
 Height, 2 >% inches ; diameter, 2 y 2 inches. 
 
 379 — Miniature Cabinet. 
 
 Of artistic workmanship. The decoration consists of wave design accurately treated 
 with mother-of-pearl incrustation, and herons, figures, cottages, and chrysan¬ 
 themums in ivory and coral inlays. Panel decoration, symbolical of the four 
 seasons, is artistically treated in mother-of-pearl, ivory, and raised gold lacquers 
 of various tones. The back of the door is embellished with plum tree and 
 bird in mother-of-pearl and coral inlay over a ground of gold mosaic finish, and 
 three drawers are beautifully decorated with wave designs in powdered gold. 
 Handles and mountings of silver, etched and chased. Seventeenth century. 
 
 380 — Inro. 
 
 Height, 2j^ inches. 
 
 Four sections. Black lacquer. Decorations of dog-foo in gold in bold relief on the 
 obverse, and in silver incrustation on the reverse. Interior is of reddish-gold 
 nashiji of fine quality. The gold lacquer decoration is by Kaji-Kawa, and that in 
 silver by Soyo. Signed Yokoya Soyo Saku. The netsuke is in design of a 
 dog-foo and waterfall, carved in bold relief. Slide in shape of a lotus pod 
 with a crab on it. Seventeenth century. 
 
 381 — I tiro. 
 
 Ivory. 
 
 Carved design of tigers and dragon in bamboo grove. Interior of black 
 lacquer. Netsuke of ivory in form of bamboo. Shakudo slide. Seventeenth 
 century. 
 
382 — Inro. 
 
 Four sections. Polished gold laquer. Decoration of three standing cranes and a pair of 
 sacred tortoises in raised gold lacquer, which is partly overlaid with leaf gold. 
 In reserve space are pine, bamboo, and plum branches in profusion, exquisitely 
 treated in polished gold over a brilliant black ground. The interior is of red- 
 gold lacquer of fine quality. Signed Kaji-Kawa. Seventeenth century. Carved 
 ivory netsuke in design of Rakan and an imp. Iron slide with gold, silver, 
 and bronze inlay. 
 
 383 — Inro. 
 
 Cylindrical shape, in five sections. Vermilion-red lacquer. Decoration of dog-foo and 
 dragon in raised gold. Ivory netsuke in shape of leaf, and two slides of carved 
 stone and bronze. Antique brocade bag with a carved wood mask netsuke by 
 Mashiro. Seventeenth century. 
 
 384 — Inro. 
 
 Four sections. Black lacquer. Decoration of sacred elephant and a figure in raised gold 
 lacquer and mother-of-pearl inlay. Carved ivory netsuke, incrusted with three 
 figures made of gold, shibuichi, and shakudo, artistically carved and chased. 
 Signed Kimura Zikkioku. Seventeenth century. 
 
 385 — Inro. 
 
 Five sections. Powdered gold lacquer. Decoration of plants, executed in raised gold 
 lacquer and incrusted with coral and malachite. Interior of red-gold nashiji 
 of high grade. Eighteenth century. 
 
 386— Inro. 
 
 Three sections. Carved ivory. Decoration of armor, musical instruments, dolls, 
 flowers, and tangaku papers, in various shaped panels, in raised and powdered 
 gold lacquers; the reserved space, of carved basket-work pattern. By Kwanyosai. 
 Antique wood netsuke, figure of “no” dancer, by Masakazu. Ivory slide in 
 design of god of the wind. Eighteenth century. 
 
 387 — Inro. 
 
 Two sections. Black lacquer. Decoration of lilies in cinnabar lacquer and mother- 
 of-pearl incrustation. Netsuke of cinnabar, with decoration of heads of an¬ 
 
 cient Chinese dignitaries in lacquei, mother-of-pearl, and ivory incrustation. 
 Cinnabar slide with carved Chinese figures and landscapes. Seventeenth century. 
 
 388— Inro. 
 
 Three sections. Powdered gold lacquer of low tone. Decoration of Chinese sym¬ 
 bol “Ziii” (longevity), painted in vermilion lacquer and outlined with gold, 
 the reserved space, filled with pine, plum and bamboo leaves, partly inlaid with 
 mother-of-pearl and overlaid with leaf-gold. Gold nashiji lacquer finish inside. 
 Seventeenth century. 
 
389— Inro. 
 
 Five sections. Powdered gold lacquer. Decoration of dragon and storm clouds 
 spiritedly drawn in India ink over finely powdered gold lacquer, and interior of 
 gold nashiji. By Tokasai. Netsuke in shape of tea caddy, decorated with chrys¬ 
 anthemums in raised gold. Ivory slide minutely carved with profusion of 
 
 chrysanthemums and peony flower in openwork. Eighteenth century. 
 
 390— Inro. 
 
 Three sections. Green lacquer in imitation of ancient Chinese bronze. Decoration 
 of facsimiles of ancient copper coins of China in raised lacquer. A large 
 ivory netsuke, with medallion in centre, of bronze, on which is carved the head 
 of a woman, and incrusted with bronze and silver. By Nawohiro. Early eigh¬ 
 teenth century. 
 
 391— Inro. 
 
 Three sections. Black lacquer. Decoration of screens with fan designs, storks, 
 pines, and the seven wise men of bamboo grove, painted with precision in 
 various tones of gold lacquer. Gold nashiji lacquer of unusually fine grade 
 covers interior. Seventeenth century. 
 
 392— Inro. 
 
 Five sections. Powdered gold lacquer. Medallions of chrysanthemums painted over 
 entire surface in powdered and raised gold lacquer, and Giobu nashiji of small 
 grains covering interior. By Kaji-Kawa. Gold lacquer netsuke in shape of a 
 flat box in powdered gold lacquer of red, green, and yellow tints by Taishin. 
 Seventeenth century. 
 
 393 — Inro. 
 
 Three sections. Of gold hirame finish, filled in with pieces of cut leaf gold. A 
 pair of peacocks, elaborately executed with artistic skill, in raised and powdered 
 gold lacquer, slightly inlaid with mother-of-pearl; the interior of finely powdered 
 gold lacquer of low tone. By Koma Kiuhaku. Ivory netsuke, carved by Ma- 
 sumoto. Silver slide with flower decoration. Early eighteenth century. 
 
 394 — Inro. 
 
 Five sections. Gold lacquer. Chrysanthemums in various stages painted in powdered 
 gold lacquer on slight nashiji lacquer ground, and interior of gold nashiji, of 
 high grade. Carved ivory netsuke, design of maple leaves. Seventeenth century. 
 
 395 — Inro. 
 
 Ivory. Three sections. Decoration of peaches on both sides, carved in bold relief, the 
 reserved space in wave and dragon design; interior covered with gold lacquer. 
 Carved wood netsuke in design of a coiled dragon, and an ivory slide incrusted 
 with mother-of-pearl. Early eighteenth century. 
 
396 — Inro. 
 
 With a small tray inside. Powdered gold lacquer. Decoration of the seven wise men 
 of bamboo grove in lead, mother-of-pearl, and gold inlay. A fine example 
 by Korin. Seventeenth century. Has silver slide of dragon and cloud design. 
 
 397 — Inro. 
 
 Five sections. Powdered gold lacquer. Interior of Chinese palace, flower garden, and 
 , surrounding views skilfully pencilled in powdered and raised gold; figures of 
 
 Chinese lady and attendant wrought in gold, silver, and shibuichi. By Kaji- 
 Kawa. Metal figures by Toshinaga. Seventeenth century. Gold netsuke with 
 two kiri crests, and a silver slide design of floral medallions. 
 
 398 — Inro. 
 
 Five sections. Gold lacquer. Decoration of bamboo grove and rivulet, in raised gold, 
 and polished. The cloud effect and banks of river are finished in gold mosaic 
 style, being filled in with small squares of cut leaf gold; interior of gold nashiji 
 lacquer of high grade. Cinnabar netsuke, with figures and landscapes delicately 
 carved. Seventeenth century. 
 
 399 — Writing Brush with Cap. 
 
 Chinese cinnabar lacquer. Figures, landscape, and houses skilfully carved. Early 
 seventeenth century. 
 
 400 — Rouge Box. 
 
 Chinese cinnabar lacquer. Interior view of Chinese house and figures, exquisitely carved. 
 The sides are in key pattern. 
 
 Diameter, 2j^ inches. 
 
 401 —Miniature Table. 
 
 With two sets of small boxes, each in three sections. Landscape, houses, waterfall, 
 and rivers skilfully and minutely pencilled in exceedingly fine powdered gold 
 lacquer and highly polished. The mountains, cloud effects, and river banks are 
 filled in with small gold squares; the blossoms and pine-needles are in raised gold 
 lacquer, painted with utmost precision. The two smaller boxes are decorated 
 with diaper patterns over their entire surface, and finished in high polish. 
 Interior of gold nashiji of high grade. Seventeenth century. 
 
 Height, 2^ inches; width, 4^ inches. 
 
 402 — Unique Perfume Box. 
 
 Three smaller boxes inside of upper compartment, and tray in the lower compartment. 
 Decorated on top of the cover with head of dog-foo in a spirited manner, and 
 painted in finely powdered gold lacquer in relief; the eyes and part of teeth 
 incrusted with ivory and mother-of-pearl; on the sides and covers of the three 
 smaller boxes are peony flowers in powdered gold lacquer of various tints. In the 
 centre of small tray are figures of three dog-foos. Gold nashiji lacquer of very 
 high grade covers the interior. Seventeenth century. 
 
 Height, 3 inches ; width, 4 inches. 
 
In two sections and with overlapping cover. Landscape in exquisite gold lacquer 
 painting, and finished in powdered gold. Interior of gold nashiji lacquer of 
 yellow tone. About 1750. 
 
 Height, 2 /i inches; diameter, 4 inches. 
 
 404 — Fan-shaped Box. 
 
 Powdered gold lacquer, 
 nashiji lacquer. 
 
 View of Mount Fuji and a dragon in gold. Interior of gold 
 About 1800. 
 
 Height, 2 inches ; diameter, 5 inches. 
 
 405 — Box. 
 
 With five rounded corners. Powdered gold lacquer. Decoration of peacocks and 
 palm-leaves, skilfully painted. Interior and back finished in clouded gold 
 nashiji lacquer. 
 
 Height, 2% inches; diameter, 4X inches. 
 
 40G — Incense Box. 
 
 With nine smaller boxes inside. Gold and black lacquer. Decoration of crests and 
 conventional diaper designs on top and on sides in gold. Interior of each box 
 finis-hed in muranashiji of high grade. About 1650. 
 
 Height, 1% inches; diameter, 5^ inches. 
 
 407 — Perfume Box and Tray. 
 
 Powdered gold lacquer of unusually fine quality. On the cover and round the box 
 are designs of ancient Japanese illustrated books of poems and fiction, which 
 are most faithfully reproduced in gold lacquer painting in various treatment, 
 such as togidashi (polished), kin-fun (powdered gold lacquer), takamakie (raised 
 gold lacquer), and kiri-kane (cut gold-leaf lacquer). The tray has gold lacquer 
 painting of wild chrysanthemums and a river scene most exquisitely executed in 
 polished and raised gold lacquer, the border in small diaper pattern. The interior 
 and round the inside border are filled in with cut gold-leaf lacquer in mosaic 
 style. The edges are mounted with silver. Early seventeenth century. 
 
 Height, 2^f inches ; diameter, 6 inches. 
 
 408 — Perfume Box. 
 
 In two sections, and with two smaller boxes inside. Gold nashiji lacquer of a red tone 
 and of a high grade. Decorations on top and sides are of plum trees in blossom, 
 pine and bamboo leaves, exquisitely executed in powdered and raised gold lac¬ 
 quer. Back of the cover is similarly decorated with pine and plum blossoms on 
 a nashiji background. Interior of beautiful gold nashiji. Sixteenth century. 
 
 Height, 3 inches ; diameter, 4^ inches. 
 
 409 — Fan-shaped Tray. 
 
 Raised and powdered gold lacquer. Decoration of landscape and garden views, minutely 
 executed in gold. Parts of rocks, mountain tops, river banks, and cloud designs 
 are finished in gold lacquer mosaics. Seventeenth century. 
 
 Diameter, n ^ inches. 
 
410 — Perfume Box. 
 
 With tray and four smaller boxes inside. Powdered gold lacquer outside, and muranashiji 
 or clouded gold nashiji lacquer inside. Decoration on top of box in imitation of 
 checker-board, and on sides diaper pattern in raised gold lacquer. Covers of 
 the four smaller boxes are decorated with medallions of storks, tortoises, pine 
 trees, and bamboos, in powdered and raised gold. The tray has a spray of 
 tsubaki flower beautifully pencilled in gold lacquer. Seventeenth century. 
 
 Height, 3 inches ; diameter, 4^ inches. 
 
 411 — Perfume Box. 
 
 Lozenge shape. In two sections, with tray inside. Landscapes, wild flowers, and 
 waves elaborately executed in powdered and raised gold lacquer over a nashiji 
 ground. Tray, decorated with landscape and houses in powdered and raised 
 gold lacquer, and partially finished in gold lacquer mosaics. Interior of gold 
 nashiji. Seventeenth century. 
 
 Height, 4 inches. 
 
 412 — Box and Tray. 
 
 Powdered gold lacquer. Decoration of fan-shaped medallions and other embellishment, 
 painted in raised and powdered gold lacquers; the edges and corners decorated 
 with Chinese grass pattern in gold. Early eighteenth century. 
 
 Height, 4^ inches ; diameter, 7 y 2 X4^f inches. 
 
 413 — Manuscript Box. 
 
 Gold and black lacquer with slight touches of gold nashiji. Landscape on top 
 and profusion of maple leaves on back of the cover, skilfully painted in 
 gold lacquer, with slight shading; the edges and corners minutely painted with 
 Chinese grass pattern in powdered-gold lacquer. Seventeenth century. 
 
 Height, 5^ inches ; length, 16 inches. 
 
 414 — Writing Case. 
 
 Gold and black lacquer. Decoration of landscape in gold. On the back of cover, 
 beautifully executed in raised gold, is a trunk of a cherry tree and blossoms; a 
 silver moon is appearing behind a cherry branch. The interior is of muranashiji 
 of fine quality. Seventeenth century. 
 
 Length, 9 inches. 
 
 415 — Black Lacquer Box. 
 
 With overlapping cover. Decoration of bamboo leaves and sparrow in lead and 
 mother-of-pearl inlay and lacquered in gold. Early eighteenth century. 
 
 Diameter, 7 inches. 
 
 416 — Round Tray. 
 
 Powdered gold lacquer. Decoration of vase with flowers, a lobster, and a cup in 
 mother-of-pearl, ivory, and jade incrustation; the border ornamented with 
 scrolls, treasure-bag, precious objects, and vines in raised gold lacquer. Signed 
 “ Ko-gioku.” Nineteenth century. 
 
 Diameter, 11 g inches. 
 
615 496 622 484 616 
 
 475 
 
 569 
 
 600 
 
 579 
 
 563 
 
 AW Elson & Co.Boston 
 
 552 
 
THIRD AFTERNOON'S SALE 
 
 Tuesday, January 27th, 1903 
 
 BEGINNING PROMPTLY AT 3 O’CLOCK 
 
 Tea yars and Bowls 
 
 417 — Two Tea Jars. 
 
 One, old Takatori; brown and black over gray glaze; thread mark at the base. 1700. 
 The other, old Seto, in metallic souffle glaze, intermixed with mustard yellow 
 over hard reddish clay; thread mark at the base. About 1650. 
 
 418 —Two Tea Jars. 
 
 One, old Seto, in brown metallic souffle, with drops of tortoise-shell glaze. About 1600. 
 The other, old Takatori, with brilliant black glaze, shading toward clouded 
 brown; thread mark at the base. About 1700. 
 
 419 — Two Tea Jars. 
 
 One, old Seto; brilliant black glaze thickly coated over a reddish hard clay. About 
 1600. The other old Seto, with reddish-brown glaze and slight streak of black. 
 About 1700. 
 
 420 —Two Tea Jars. 
 
 One, old Seto; clouded brown metallic glaze. About 1700. The other, old Higo, 
 covered with yellowish-brown glaze; thread mark at the base. About 1750. 
 
421 — Two Tea Jars. 
 
 One, old Seto; clouded brown glaze, with splashes of pale gray over yellow ground; has 
 thread mark at the base. About 1700. The other, Tokio stoneware, in green¬ 
 ish blue, with drops of gray and brown round the shoulder; impressed mark of 
 Riosai at the base. About 1870. 
 
 422 — Two Tea Jars. 
 
 One, old Takatori; metallic brown glaze, with drops of yellow and black toward neck; 
 thread mark at the base. About 1800. The other, old Satsuma, with brilliant 
 dark brown glaze, slightly mixed with drops of blue round the shoulder and 
 handles; fine thread marks at base. About 1750. 
 
 423 — Two Tea Jars. 
 
 One, old Higo; dark greenish brown, shading into pale gray; thread mark at the base. 
 About 1800. The other, old Tamba, with dark brown glaze, clouded and 
 mixed with drops of yellow glaze. About 1750. 
 
 424 —Two Tea Jars. 
 
 One, old Seto, in rich black, with slight touches of yellow around the shoulder, cover¬ 
 ing gray hard clay; thread mark at the base. About 1750. The other, old 
 Takatori, covered with a rich tortoise-shell glaze, mixed with greenish brown 
 and yellow toward base; thread and scratched marks at the base. About 
 1700. 
 
 425 —Two Tea Jars. 
 
 One, old Seto, with rich brown and yellow, shading into buff-colored glaze, on gray 
 hard clay. About 1650. The other, old Takatori, with small handles on sides; 
 metallic souffle glaze, with drops of rich brown and yellow glaze. About 1830. 
 
 426 — Two Tea Jars. 
 
 One, old Shino, covered with thick white and green glaze, running toward the base. 
 About 1800. The other, old Kishiu, covered with rich purple and green glaze 
 over a decoration of leaves carved and moulded in the clay. About 1800. 
 
 427 — Two Tea Jars. 
 
 One, old Takatori; reddish-brown and yellow glaze with drops of brown, the lower part 
 left unglazed, and showing thread mark. About 1800. The other, old Seto, 
 with brilliant brown glaze on one side, and yellow and brown on the other, thickly 
 coated over a body of fine red clay; thread marks at the base. About 1800. 
 
428 —Two Tea Jars. 
 
 One, old Satsuma, covered with brown and green glaze, with touches of gray round the 
 base. About 1800. The other, old Seto, metallic souffle glaze. About 1650. 
 
 429 — Two Tea Jars. 
 
 One, old Seto, with glaze of tortoise-shell effect running over metallic brown glaze. 
 About 1600. I he other, old Satsuma, covered with tea-leaf glaze of fine texture 
 over body of fine red clay; thread lines at the base. About 1750. 
 
 430 —Two Tea Jars. 
 
 One, old Satsuma, covered with a thick glaze of black, white, and green. About 
 1750. The other, old Seto, in reddish-brown glaze, over reddish-gray hard 
 clay. About 1700. 
 
 Height, 2^ inches. 
 
 431 — Two Tea Jars. 
 
 One, Seto, covered with tortoise-shell glaze, intermixed with metallic black on gray 
 hard clay. About 1820. The other, Seto, covered with iron-rust souffle 
 over body of red clay; thread-line marks at the base. About 1800. 
 
 432 — Two Tea Jars. 
 
 One, old Takatori, with metallic souffle glaze, with drops of brown and yellow. About 
 1800. The other, old Idzumo, covered with a beautiful glaze of yellow, with 
 streaks of red slightly running down on one side and a decoration of small 
 flowers and circles round shoulder; impressed mark of So-zi at base. About 
 1800. 
 
 433 —Two Tea Jars. 
 
 Old Seto, metallic brown, mixed with black and red glaze. About 1800. 
 
 434 —Two Tea Jars. 
 
 One, old Takatori; low shape, covered with a brilliant glaze of black and red; thread¬ 
 line marks at base. About 1700. The other, old Seto, covered with a rich 
 brown and red glaze; thread lines and scratched marks at base. About 1750. 
 
 435— Two Tea Jars. 
 
 One, Satsuma, covered with a metallic glaze of red, mixed with large drops of brown and 
 blue. About 1820. The other, old Seto, with metallic glaze of brown and 
 red, with drops of black; thread-line marks at base. About 1650. 
 
436 — Two Tea Jars. 
 
 One, old Tamba; melon shape, covered with a rich, deep brown glaze. About 1800. 
 The other, old Seto, yellowish brown, covered with irregular drops of thick 
 black glaze. About 1700. 
 
 437 — Two Tea Jars. 
 
 One, old Raku pottery, covered with rich green and red glaze, slightly mottled; mark 
 Raku impressed at base. About 1840. The other, old Seto, covered with a 
 rich brown, red, and tea-leaf green glaze; thread-line marks at base. About 
 1800. 
 
 438 — Two Tea Jars. 
 
 One, old Takatori, covered with fine metallic brown glaze, mixed with drops of yellow 
 and green glaze; fine thread-line marks at base. About 1800. The other, old 
 Ohi, covered with iridescent glaze of brownish yellow; fine red clay. About 
 1800. 
 
 439 — Two Tea Jars. 
 
 One, old Seto, covered with a thick white, brown, and yellow glaze. About 1700. 
 The other, old Takatori, with narrowing base, covered with metallic souffle 
 glaze of brown, yellow, and red shadings; thread-line marks at base. About 
 1750. 
 
 440 — Two Tea Jars. 
 
 One, old Imbe, covered with rich, deep black glaze, running heavily at the lower part, 
 slightly touched with small specks of white glaze; ornamented at side with two 
 circles. About 1750. The other, old Tamba, with brilliant glaze of brown 
 and black; thread-line marks. About 1750. 
 
 441 — Two Tea Jars. 
 
 One, old Idzumo; yellow and brown glaze, with slight mottling; unglazed at the base; 
 has thread-line marks. About 1800. The other, old Kioto, dull yellowish- 
 white glaze with small specks; yellowish-red soft clay. About 1800. 
 
 442 — Two Tea Jars. 
 
 One, old Seto, with beautiful yellow and brown glaze on one side and metallic brown on 
 the other, the lower part left unglazed; thread-line marks at base. About 1650. 
 The other, old Takatori, covered with unusually fine glaze of steel black, with 
 touches of yellow, blue, and brown drops round shoulder; decoration of small 
 line round the centre of body; thread lines at bottom. About 1700. 
 
443 — Two Tea Jars. 
 
 One, old Tamba, with black glaze and streaks of brown thread lines at base. About 
 1750. The other, old Seto, with metallic brown glaze, mixed with drops of 
 rich brownish black; thread-line marks at base. About 1800. 
 
 444 —Two Tea Jars. 
 
 One, old Seto; metallic souffle of chocolate brown; lower part left unglazed. About 
 1700., The other, old Seto, covered with black glaze and slight touches of 
 brown and yellow of unusual brilliancy. About 1650. 
 
 445 — Two Tea Jars. 
 
 One, old Seto, covered with metallic brown glaze, clouded with dark brown streaks, on 
 gray hard clay. About 1700. The other, old Seto, straight form, covered 
 with metallic black glaze intermixed with chocolate brown, the lower end left 
 unglazed. About 1700. 
 
 446 — Two Tea Jars. 
 
 One, old Raku pottery, with brilliant black Raku glaze; mark Raku impressed at 
 base. About 1750. The other, old Shigaraki, covered with rich yellow and 
 brown glaze on one side, and rough, opaque glaze of yellow brown on the 
 other; thread-line marks at base. About 1800. 
 
 447 — Two Tea Jars. 
 
 One, old Satsuma; tall shape, covered with iron-rust souffle glaze of uncommonly fine 
 texture; the lower part carved under glaze; inscription in red lacquer (illegible). 
 About 1700. The other, old Iga, covered with yellow and brown, and deco¬ 
 rated with three medallions in blue and white at shoulder. About 1750. 
 
 448 — Three Tea Jars. 
 
 One, old Satsuma, with metallic souffle glaze, mixed with drops of brown and gray 
 on one side; thread-line marks at base. About 1800. Another, old Seto; three 
 ears round shoulder; covered with metallic chocolate-brown glaze, with drops 
 of yellow and green; marks of thread lines at base; about 1700. The other, 
 old Raku pottery; red and bluish-gray glaze, mottled; mark of Kakihau incised 
 at base. About 1800. 
 
 449— Three Tea Jars. 
 
 One, old Tamba, with brilliant black glaze; marks of thread lines at base. About 1800. 
 Another, old Tamba, covered with greenish black, with white drops on one side. 
 About 1800. The other, old Shigaraki, with depression on four sides; covered 
 with a rich black thick glaze with yellow markings; thread lines at base. About 
 1800. 
 
450 — Three Tea Jars. 
 
 One, old Seto, with metallic red and brown glaze. About 1800. Another, old Banko, 
 with pale blue and white glaze; marks Banko, Fuyeki impressed at base, 
 inside of flower-shaped panel. 1800. The other, old Seto, with thick black 
 glaze, partly mixed with chocolate brown. About 1700. 
 
 451 — Two Tea Jars. 
 
 One, old Karatsu, with pale gray glaze, decorated with pine tree in white enamel under 
 the glaze. About 1800. The other, old Idzumo, with dull yellow clouded 
 glaze. About 1800. 
 
 452 — Two Tea Jars. 
 
 One, old Seto, covered with low-toned, reddish-brown glaze, running in thick layers 
 toward base; marks of thread lines at base. About 1700. The other, old Taka- 
 tori, covered with glaze of tortoise-shell effect; a line decoration round the 
 body; marks of thread lines at base. About 1750. 
 
 453 — Two Tea Jars. 
 
 One, old Kutani porcelain, decorated with landscape and figures in blue, and inscrip¬ 
 tion, “Listening to the sound of spring.” About 1800. The other, old 
 Takatori, covered with fine red iron souffle glaze, partially mixed with rich 
 black and brown glaze round the neck; marks of thread lines at base. About 
 1800. 
 
 454— Two Tea Jars. 
 
 One, old Iga, with yellow and brown glaze over gray sandy clay; marks of thread lines 
 at base. About 1750. The other, old Seto; decorated with two shrimps in 
 relief on side, and covered with pale white glaze. About 1800. 
 
 455 — Two Tea Jars. 
 
 One, old Takatori, covered with brilliant black glaze, with yellow and brown spots; 
 marks of thread lines at base. About 1750. The other, old Seto, decorated 
 with lines, and covered with metallic brown glaze, mixed with drops of yellow 
 and brown; marks of thread lines at base. About 1750. 
 
 456 — Two Tea Jars. 
 
 One, old Mino, covered with metallic black glaze, mixed with drops of brilliant black 
 and bluish white at shoulder; fine red clay; mark Senda impressed. About 
 1800. The other, oid Seto, covered with brilliant metallic black and brown 
 glaze; marks of thread lines at base. About 1750. 
 
457 — Two Tea Jars. 
 
 One, old Awata, with original cover, decorated with maple leaves in blue and brown 
 over finely crackled body; mark Taizan impressed at base. About 1820. The 
 other, old Oribe porcelain, flat shape; greenish-yellow glaze, decorated with 
 leaves in brown. About 1800. 
 
 458— Two Tea Jars. 
 
 One, old Satsuma, covered with a rich green glaze, with brown near the lower part. 
 About 1700. The other, old Seto, covered with rich, deep yellowish-brown 
 glaze on one side, and chocolate brown on the other. About 1700. 
 
 459— Two Tea Jars. 
 
 One, old Tamba, covered with bluish-black glaze; thread lines at base. About 1800. 
 The other, old Seto; gourd shape, covered with metallic chocolate-brown glaze; 
 thread lines at base. About 1800. 
 
 460— Two Tea Jars. 
 
 One, old Yatsushiro, with mishima decoration in white under gray glaze; red hard clay. 
 About 1800. The other, old Karatsu, covered with thick tea-leaf glaze. About 
 1800. 
 
 461 — Tea Bowl. 
 
 Crudely made, with small foot-rim. Brown texture, covered with a black Raku glaze. 
 Mark of Raku impressed. About 1750. 
 
 Diameter, 4 y z inches. 
 
 462 — Tea Bowl. 
 
 Old Takatori. Metal rim. Rich brown glaze, partially covered with drops of bluish- 
 brown and metallic glaze. About 1750. 
 
 Diameter, 5^ inches. 
 
 463 —Tea Bowl. 
 
 Crudely made. Covered with a pale pinkish-red and light gray Raku glaze, and boldly 
 crackled. About 1800. 
 
 Diameter, 4 inches. 
 
 464— Tea Bowl. 
 
 Tall shape. Reddish-brown and black Raku glaze of slight iridescent effect. About 1700. 
 
 Diameter, 3J4 inches. 
 
 465 —Tea Bowl. 
 
 Yellow and gray glaze. Incised decoration of five seated figures of Arhats. Prob¬ 
 ably early Chinese pottery. About 16th century. 
 
 Diameter, 5 inches. 
 
466 — Tea Bowl. 
 
 Old Awata. Covered inside and outside with a black glaze of even surface, leaving 
 the lower part in white glaze. Small foot-rim. About 1800. 
 
 Diameter, 4 inches. 
 
 467 — Tea Bowl. 
 
 Crudely made. Covered with a pale shrimp-red glaze, and has incised bands in criss¬ 
 cross pattern. Mark of Kakihan incised at the base. About 1750. 
 
 Diameter, inches. 
 
 468 — Cup. 
 
 Deep form. Mukojima pottery. Chrysanthemums in colors on a white ground and 
 partially glazed with black enamel. Signed Kenya, written in black in panel 
 at the base. About 1850. 
 
 Diameter, 3 inches. 
 
 469 — Tea Bowl. 
 
 Old Oribe. Bamboo leaves and plants incised, and filled in with white enamel and 
 red and blue-gray glaze. Inside of pronounced crackle. About 1700. 
 
 Diameter, 2% inches. 
 
 470— Tea Bowl. 
 
 Crudely made. Covered with a black Raku glaze and decorated with flaming balls 
 incised under the glaze. Impressed mark of Raku within double circle. About 
 1700. 
 
 Diameter, 4^ inches. 
 
 471 —Tea Bowl. 
 
 Covered inside and outside with a brilliant black Raku glaze of iridescent quality. 
 About 1700. 
 
 Diameter, 4 y 2 inches. 
 
 472 — Tea Bowl. 
 
 Made by Robei, and signed Sei. Grotesque medallions painted in black over a 
 white glaze, which is boldly crackled throughout. About 1800. 
 
 Diameter, 2/4 inches. 
 
 473 — Bowl. 
 
 Old Karatsu pottery. Dull gray and white glaze, which is boldly crackled throughout. 
 About 1700. 
 
 Diameter, 5 inches. 
 
 474 —Tea Bowl. 
 
 Early Seto pottery of hard brown-red texture, covered with a brilliant deep black glaze, 
 thickly coated toward the lower part. About 1700. 
 
 Diameter, 5 inches. 
 
475 —► Tea Bowl. 
 
 Crudely made. Covered with a gray crackled glaze, the outer border in yellow and 
 pink tints, with brush marks under the glaze. Mark of Raku impressed. About 
 1750. 
 
 Diameter, 5^ inches. 
 
 476 — Tea Cup. 
 
 Old Soma pottery. Decoration of horses and crest in bold relief, thinly glazed in 
 brown, and speckled. Mark of Soma impressed at base. About 1800. 
 
 Diameter, 3^ inches. 
 
 477 — Tea Bowl. 
 
 With metal rim. Seto pottery of hard red texture, and covered inside and outside with 
 a blue and gray glaze, partially mottled. About 1820. 
 
 Diameter, 4inches. 
 
 478— Tea Bowl. 
 
 Irregular shape. Takatori pottery, covered with a white and pink glaze, and mottled 
 with brown, yellow, and blue. About 1800. 
 
 Diameter, 5 inches. 
 
 479 — Tea Bowl. 
 
 Thin Takatori pottery. Inside covered with a beautiful black glaze and drops of 
 brown, and the outside coated with a yellow-brown thick glaze. About 1800. 
 
 Diameter, 6 inches. 
 
 480 — Tea Bowl. 
 
 Covered inside and outside with a red Raku glaze, 
 base. About 1710. 
 
 Mark of Raku impressed at the 
 Diameter, 4 inches. 
 
 481 — Tea Bowl. 
 
 Kioto pottery. Decoration of a tiger and grass in brown and green, the reserve parts 
 in white crackled glaze. Impressed mark of Sei. Made by Rokubei. About 
 1840. 
 
 Diameter, 3^ inches. 
 
 482 — Tea Bowl. 
 
 Thin Takatori pottery. Inside covered with a gray and brown glaze, and the outside 
 with a metallic brown glaze, and drops of black, blue, and white. About 1800. 
 
 Diameter, 4 inches. 
 
 483 — Tea Bowl. 
 
 Old Awata pottery, and covered with a beautiful glaze of old ivory-white texture, 
 which is minutely crackled throughout. About 1800. 
 
 Diameter, 4 inches. 
 
484 — Tea Bowl. 
 
 Deep form. Old Chinese stoneware. Covered with a gray glaze, under which are 
 characters in white enamel. About 1700. 
 
 Diameter, 4^ inches. 
 
 485 — Tea Bowl. 
 
 Old Hagi pottery. Decoration of crest of Tokugawa, painted in brown under a blue- 
 white glaze with a pronounced crackle. About 1790. 
 
 Diameter, 4 % inches. 
 
 486 — Tea Bowl. 
 
 Old Akahada pottery. Crudely made. Covered with a metallic brown glaze which 
 thickens toward the base, and has a decoration of Mount Fuji in white relief. 
 Mark Akahadayama, Kishiro, impressed. About 1800. 
 
 Diameter, 4 inches. 
 
 487 — Tea Bowl. 
 
 Kioto pottery. 
 1800. 
 
 488 — Bowl. 
 
 Decoration inside and outside of fret design; brown glaze. About 
 
 Diameter, 5 inches. 
 
 Old Tamba pottery. Covered with a brilliant brown and black glaze of smooth surface 
 and with slight touches of nashiji or “pear-skin” finish. Animal-head orna¬ 
 ments to serve as handles. About 1700. 
 
 Diameter, 5 % inches. 
 
 489 — Tea Bowl. 
 
 Old Seto. Crudely made. Decoration of plants in black under the glaze, which is 
 boldly crackled. About 1800. (Gold lacquer repair.) 
 
 Diameter, 3 % inches. 
 
 490 — Tea Bowl. 
 
 Old Kioto stoneware, with depression on one side. Decoration of leaves and fret 
 pattern on the inside, and drops of brown red on blue and black glaze on the 
 outside. Mark of Ninsei impressed. About 1790. 
 
 Diameter, 4 inches. 
 
 491 — Tea Bowl. 
 
 Old Kioto stoneware, which is covered with a brown and pale gray glaze, and decorated 
 with willow trees in blue and black. About 1800. Has carved teak stand 
 inlaid with silver wire. 
 
 Diameter, 4*4 inches. 
 
 492 — Bowl. 
 
 Kioto stoneware. Made by Shozan. Decoration of pine trees and stork in blue and 
 green outlined with gold. Rough, sandy texture. Signed Kenzan. About 
 1870. 
 
 Diameter, 6 inches. 
 
493 — Bowl. 
 
 Pale pink and gray glaze. Decoration of stork in black, outlined with gold. Fine 
 gray texture. Mark of Ippodo impressed. About 1800. 
 
 Diameter, 4 y z inches. 
 
 494 — Tea Bowl. 
 
 Chinese pottery. Covered with a dull green and yellow crackled glaze. Decoration 
 inside of flowers and trees, etched and filled in with enamel. About 1700. 
 
 Diameter, 4j£ inches. 
 
 495 — Tea Bowl. 
 
 Hard reddish-gray texture. Covered with a pale bluish-white Raku glaze, boldly 
 crackled. Mark in seal character impressed (illegible). 
 
 Diameter, inches. 
 
 496 — Bowl, 
 
 With spreading top and silver rim. Old Seto pottery of hard gray texture, covered 
 inside and outside with a brilliant brown glaze and streaks of blue and white. 
 Mark of Shun-rin impressed at base. About 1700. 
 
 Diameter, 5^ inches. 
 
 497 — Tea Bowl. 
 
 Old Karatsu pottery. Plum trees with blossoms painted in blue under a crackled glaze 
 of white. About 1750. 
 
 Diameter, 6 inches. 
 
 498 — Tea Bowl. 
 
 Soft texture. Covered with a red, brown, and green Raku glaze speckled with red. Im¬ 
 pressed seal mark (illegible). 
 
 Diameter, 4^4 inches. 
 
 499 — Tea Bowl. 
 
 Covered inside and outside with a blue glaze of low tone and thickly coated. Probably 
 made by Riosai, Tokio. Nineteenth century. 
 
 Diameter, 4^ inches. 
 
 500 — Square Bowl. 
 
 Old Seto. Covered with a yellow glaze, slightly mottled and crackled. (Gold lacquer 
 repair.) About 1750. 
 
 Diameter, 3^ inches. 
 
 501 — Tea Bowl. 
 
 Old Raku pottery. Soft gray clay, covered with a salmon-red Raku glaze, 
 seal mark of Jisho. About 1800, 
 
 Impressed 
 
 Diameter, 4^ inches. 
 
502 — Tea Bow/. 
 
 Banko pottery of white texture. Inside and upper part of outside covered with a blue 
 glaze; the lower part of outside glazed with ivory-white enamel. About 1800. 
 
 Diameter, \]/ 2 inches. 
 
 503 — Tea Bowl. 
 
 Old Karatsu pottery. Inside and outside thickly coated with a white crackled glaze. 
 Decoration of chrysanthemum flowers painted in under-glaze blue. About 1700. 
 
 Diameter, 5 inches. 
 
 504 — Tea Bowl. 
 
 Shallow form. Covered with a black Raku glaze of iridescent quality. About 1750. 
 
 Diameter, 5 inches. 
 
 505— Tea Bowl. 
 
 Deep form. Old Satsuma. Decoration outside of floral medallions, figures, flowers, and 
 grasses, in blue, green, and gold, over an ivory-white glaze. Minutely crackled 
 throughout. About 1800. Has gold lacquer stand. 
 
 Diameter, 4 inches. 
 
 50G — Tea Bowl. 
 
 Shallow form. Soft red-brown texture. 
 About 1800. 
 
 Invested throughout with a black Raku glaze 
 
 Diameter, 5 inches. 
 
 507 — Tea Bowl. 
 
 Deep form. Old Soma pottery of hard gray texture. The outside covered with a dull 
 white glaze, to represent birch-bark, and the inside of blue crackled glaze, with 
 decoration of leaves painted in blue. About 1750. 
 
 Diameter, 4^ inches. 
 
 508 — Bowl. 
 
 Kutani porcelain. Decoration of fruits, leaves, and pine needles in blue and purple on 
 the inside, and cloud designs in brown over blue on the outside. Mark of Fuku 
 at base. About 1800. 
 
 Diameter, 6 inches. 
 
 509 — Bowl. 
 
 Shallow form. Old Kioto pottery. Decoration of grasses and bird, painted in blue under 
 the glaze, in centre medallion. The outside covered with blue and yellow-gray 
 glaze, which thickens toward the edge. Spun mark at foot, and impressed 
 mark of Ninsei, in large characters, inside of an oblong panel. About 1650. 
 
 Diameter, 7 inches. 
 
 510— Tea Bowl. 
 
 Old Korean pottery of hard gray texture. Floriated pattern scratched in centre under 
 the glaze, which is crackled throughout. About 1600. 
 
 Diameter, 7 inches. 
 
511 — Tea Bowl 
 
 Old Kiyomidsu pottery. Flowers painted in blue and brown in centre under a crackled 
 white glaze. Impressed mark Asahi tei (name of a tea-house). About 
 
 1820. 
 
 Diameter, 8 inches. 
 
 512 — Octagonal Bowl. 
 
 
 Old Kishiu porcelain. 
 1800. 
 
 Covered with a yellow and purple iridescent glaze. About 
 
 Diameter, 6 inches. 
 
 513 — Bowl. 
 
 
 Old Banko pottery, of a hard gray crackled texture. Decoration of peony flowers in 
 brown and green, in freehand painting. About 1800. 
 
 514 — Bowl. 
 
 Diameter, 6 inches. 
 
 Irregular shape. Old Oribe pottery, coated with splash glaze of rich green, with brown 
 stripes. About 1800. 
 
 Diameter, 5^ inches. 
 
 515 — Bowl. 
 
 Deep form. Old Kioto stoneware, probably by Rokubei. Decoration of crabs and 
 flowers sketched in blue and brown, over a white glaze. Nineteenth century. 
 
 516 — Bowl. 
 
 Diameter, sg inches. 
 
 Old Kutani porcelain. 
 
 Decoration inside, of flowers and leaves, boldly painted in rich 
 
 purple, green, and yellow enamels, and the outside decorated with wave designs 
 in black and blue. Mark of Fuku at base. About 1750. 
 
 517 — Bowl. 
 
 Diameter, 9 inches. 
 
 With small spout. Kioto pottery of fine gray texture, and covered with a brown and 
 yellow glaze. Nineteenth century. 
 
 518 — Bottle. 
 
 Diameter, 3 % inches. 
 
 Kioto stoneware. Decoration of plants under a white, crackled glaze. 
 
 Height, \]/ z inches. 
 
 519 — Covered Jar. 
 
 Kioto pottery, which is coated with a thick blue glaze and has a panel decoration of 
 flowers and fret designs in brown. 
 
 Height, 4 inches. 
 
 520 — Cup with Handles. 
 
 Old Seto. Rich brown, yellow, and green mottled glaze. About 1750. 
 
 Height, 3 inches. 
 
Old Japanese and Chinese 
 
 Pottery 
 
 521 — Bottle-shaped Vase. 
 
 Old Seto pottery. Coated with a splash glaze of white and gray, running over a deep 
 black under-glaze. (Gold lacquer repair.) About 1800. 
 
 Height, 4 yi, inches. 
 
 522 — Bottle-shaped Vase. 
 
 Old Takatori. Hard reddish texture, which is covered with a blue and brown glaze. 
 
 Height, 4]/ 2 inches. 
 
 523 — Hanging Vase . 
 
 Old Iga stoneware. Crudely shaped, and covered with a brown and gray glaze of rough, 
 sandy surface. Scratched mark at base. About 1700. 
 
 Height, 4|^ inches. 
 
 524 —Jar. 
 
 Old Shigaraki pottery, which is coated with a thick, brilliant blue glaze. 
 
 Height, 3 inches. 
 
 525 — Vase. 
 
 Kioto pottery. 
 
 Shozan. 
 
 Sketchy decoration of leaves and flowers in brown. 
 Nineteenth century. 
 
 Made by Okumura 
 Height, 4^ inches. 
 
 526—Vase. 
 
 With rabbit-shaped handles. Old Hagi pottery, 
 glaze blue. About 1800. 
 
 Decoration of waves painted in under- 
 Height, 4 ig inches ; diameter, 4 inches. 
 
 527 — Gourd-shaped Bottle. 
 
 Old Chinese copper souffle, covered with a beautiful metallic glaze of smooth surface. 
 About 1750. 
 
 Height, 5 inches. 
 
528 — Celadon Jar. 
 
 Old Chinese. A soft, low-toned glaze, covering the entire surface. About 1650. 
 
 Height, inches. 
 
 529 — Bottle. 
 
 With twisted neck. Old Shidoro stoneware, covered with a brown and yellow-green 
 mottled glaze. Impressed mark of Shidoro within an oblong panel at base. 
 About 1800. 
 
 Height, £>% inches. 
 
 530 — Vase. 
 
 With wide mouth. Old Idzumo pottery, invested with a rich red-brown and yellow 
 glaze. About 1800. 
 
 Height, 5 inches. 
 
 531 —Jar. 
 
 Shigaraki pottery, covered with a blue 
 white specks. 
 
 crackled glaze, which is marked with small 
 
 Height, 5 inches. 
 
 532 — Jar with Handles. 
 
 Old Seto pottery, crudely shaped, and 
 a yellow-brown crackled glaze. 
 
 with depressed finger marks. 
 About 1750. 
 
 Covered with 
 
 Height, 4 inches. 
 
 533 — Hanging Vase. 
 
 Old Takatori pottery, which is coated with a yellowish-brown glaze. 
 
 Height, 6 inches. 
 
 534 — Wine Bottle. 
 
 Old Kioto pottery. Figures, flowers, and fret pattern, sketched in blue, by Dohachi, 
 Kioto. Signed. 
 
 Height, 7 inches. 
 
 535 — Vase. 
 
 Seto pottery, coated with a grayish-blue and red glaze which is slightly mottled. About 
 1800. 
 
 Height, 9 inches. 
 
 536 — Long-neck Bottle. 
 
 Old Mishima-Karatsu pottery. Mishima decoration in white under a gray-white glaze. 
 About 1700. 
 
 Height, "jg inches. 
 
 537 — Old Tamba Bottle. 
 
 Flask shaped, with handles. Invested with a brilliant black glaze of iridescent quality. 
 About 1700. 
 
 Height, 6 inches. 
 
538 — Bottle. 
 
 With short neck, which is rimmed with silver. Chinese pottery, of fine gray crackled 
 texture. Coated with blue glaze, shading into brown. Probably 1750. 
 
 Height, 5^ inches. 
 
 539 — Vase. 
 
 With slender base. Takatori stoneware, covered with a brown glaze and a dash of 
 black round shoulder. 
 
 Height, 6 inches. 
 
 540 — Wine Holder. 
 
 Old Seto pottery. Decoration of dragon modelled in relief in the paste under a brown 
 glaze, which is splashed with pale blue. About 1750. 
 
 Height, 5 inches. 
 
 541 — Old Tamba Wine Bottle. 
 
 Coated with a beautiful brown-black glaze of smooth surface. 
 Naosaku. About 1700. 
 
 Impressed mark of 
 Height, 7 inches. 
 
 542 — Old Kikko Vase. 
 
 With slender neck and handles, 
 brown, and green. 
 
 Decoration of tree in brown under a glaze of yellow, 
 
 Height, 7 y 2 inches. 
 
 543 — Old Seto Vase. 
 
 With side ornaments in design of animal heads, and covered with a rich dark brown 
 and blue glaze. About 1800. 
 
 Height, 8^ inches. 
 
 544 — Flower Vase. 
 
 Seto pottery, which is covered with a dark brown and yellow mottled glaze. Band of 
 leaves around the shoulder, incised and filled in with gold. Impressed mark 
 ofToyosuke. Nineteenth century. 
 
 Height, 4^ inches. 
 
 545 — Vase with Handles. 
 
 % 
 
 Fashioned to imitate an old iron vase. Old Seto stoneware, which is invested with a 
 rich brown and black glaze with metallic specks. Impressed mark of Shuntai 
 within an oblong panel. About 1800. 
 
 Height, 11 inches. 
 
 546 — Red Raku Vase. 
 
 Coated with white and salmon-red glaze. Mark of Raku impressed at side. About 
 
 1700. 
 
 Height, 7 inches. 
 
547 — Gourd-shaped Bottle. 
 
 Old Tamba pottery, coated with a white glaze which is streaked with brown. Neck 
 rimmed with silver. Impressed mark of Ichisaku at base. About 1750. 
 
 Height, 1 ] 4 , inches. 
 
 548 — Vase. 
 
 Oviform, with short neck. Old Chinese celadon crackled glaze. About 1750. 
 
 Height, 7 inches. 
 
 549 — Oviform Vase. 
 
 Old Seto stoneware of gray texture, and covered with a dull gray mottled glaze. 
 About 1750. 
 
 Height, inches. 
 
 550 — Seto Jar. 
 
 Coated with a creamy white glaze running over a brown under-glaze, which is crackled. 
 Early nineteenth century. 
 
 Height, s'/z inches. 
 
 551 — Sake Bottle. 
 
 Soma pottery. Dull brown glaze, slightly mottled. About 1800. 
 
 Height, 6^ inches. 
 
 552 — Shidoro Vase. 
 
 With slender short neck and supported by four legs, and coated with a bluish-white 
 running glaze over mottled brown. About 1750. 
 
 Height, inches. 
 
 553 — Sake Bottle. 
 
 Old Kiyomidsu pottery, which is covered with a blue-green running glaze, and with 
 decoration of horse in brown. About 1800. 
 
 Height, inches. 
 
 554 _ Vase. 
 
 Old Chinese 
 other. 
 
 pottery. Pale blue glaze on one side, and a dull yellow glaze on the 
 Early sixteenth century. 
 
 Height, inches. 
 
 555 — Cochin-Chinese Jar. 
 
 Invested with a brilliant green glaze, thickening at the base, and crackled throughout. 
 Early nineteenth century. 
 
 Height, 35/ inches. 
 
 556 — Celadon Vase. 
 
 With bird-shaped handles. Decoration of h 5 wo bird carved in low relief under the 
 glaze, which is boldly crackled. Old Chinese. Seventeenth century. 
 
 Height, 8 inches. 
 
557 —Covered Bowl. 
 
 In form of a sacred ball. Raku pottery, coated with a rich green enamel and 
 ornamented with gold lacquer. Early eighteenth century 
 
 558 — Old Kioto Jar. 
 
 Soft texture, covered with a dull white and yellow glaze. About 1800. 
 
 Height, 4 inches. 
 
 559 — Tripod Censer. 
 
 Chinese porcelain. Tea-leaf glaze of a rich brown color. Mark of Ch’ien-lung, 
 
 I 73 6 ” 1 795- 
 
 Height, inches. 
 
 560 — Tripod Censer. 
 
 Old Raku pottery, which is coated with a green Raku glaze. Conventional key pattern 
 incised round the shoulder and partially filled in with gold. About 1800. 
 
 Height, 4 inches. 
 
 561 — Lo?ig-neck Bottle. 
 
 Satsuma pottery. Cream-white crackled texture, and partially covered near the top 
 with a rich brown, green, and yellow glaze. About 1800. 
 
 Height, 9 inches. 
 
 562 — Bottle. 
 
 With long neck and flaring mouth. Old Chinese pottery, invested with a turquoise- 
 blue crackled glaze. Early eighteenth century. 
 
 Height, 9 inches. 
 
 563 __ Vase. 
 
 With flaring mouth. Old Cochin-Chinese pottery. Decoration of flowers in openwork, 
 and enamelled with yellow and green glaze. Early seventeenth century. 
 
 Height, 7 ]/ z inches. 
 
 564— Old Oribe Tray. 
 
 With handle. Coated with green splash glaze and decorated with flowers in brown. 
 About 1800. 
 
 Diameter, 8 inches. 
 
 565 — Old Satsuma Bottle. 
 
 With long neck. Dull ivory-white texture, which is minutely crackled throughout. Has 
 elaborately carved teak stand. About 1750. 
 
 Height, 10 inches. 
 
 566 — Takatori Water Jar. 
 
 Invested with a red-brown thick glaze, over which are drops of yellow. The inner 
 surface is covered with a mustard-yellow and brown mottled glaze. Nineteenth 
 century. With black lacquer cover. 
 
 Height, bg inches. 
 
567 — Old Agano Bottle. 
 
 Coated with a dark brown and blue-black glaze which is partially mottled. Early 
 eighteenth century. 
 
 Height, 7 inches. 
 
 568 — Square-shaped Bottle. 
 
 With slender short neck. Old Kiyomidsu pottery, which is invested with a cream-white 
 glaze, and marked with drops of sea green round the shoulder. Eighteenth century. 
 
 Height, 7 inches. 
 
 569 — Old Satsuma Bottle. 
 
 In form of an egg plant. Brilliant dark purple glaze, with streaks of a paler tint. 
 Eighteenth century. 
 
 Height, inches. 
 
 570 — Statuette of Kwannon. 
 
 Old Chinese pottery, coated with a black glaze. Eighteenth century. 
 
 Height, 7^ inches. 
 
 571 — Vase with Handles. 
 
 Old Chinese pottery, which is covered with a bluish-brown glaze, slightly mottled. 
 About 1650. 
 
 Height, 8 % inches. 
 
 572 — Kiyomidsu Bottle. 
 
 With short neck. Decoration, in a sketchy style, of plum trees and blossoms in white 
 and brown, on a red-gray glaze. About 1800. 
 
 Height, 7’4" inches. 
 
 573 — Jar. 
 
 Takatori stoneware. Decoration of kiri flowers and floral vines painted in blue and 
 gold. About 1800. 
 
 Height, 5^ inches. 
 
 574 — O kimono. 
 
 In form of a snowball, upon which a Chinese boy is standing. Pale white glaze with 
 yellow-brown crackle. About 1820. 
 
 Height, 7^ inches. 
 
 575 — Old Imbe Jar. 
 
 Hard red-brown texture, crudely fashioned, and covered with a red glaze which has 
 thick drops of yellow and brown. Eighteenth century. 
 
 Height, 6 inches. 
 
 576 — Gourd-shaped Bottle. 
 
 Old Banko. Decoration of varied diapered patterns, and figures within panels, incised 
 and glazed. About 1750. 
 
 Height, inches. 
 
577 — Chinese Pottery Vase. 
 
 With handles in design of animal heads, coated with a rich brown glaze. Mark of 
 Chia-ch’ing, 1796-1820. 
 
 Height, 10 inches. 
 
 578— Vase with Handles. 
 
 Probably old Seto. Beautiful blue glaze with splashes of white, and slightly mottled. 
 
 Height, 9 inches. 
 
 579— Unique Bottle. 
 
 Old Takatori pottery with numerous natural shells adhering. Covered with a yellowish- 
 brown crackled glaze. Eighteenth century. 
 
 Height, inches. 
 
 580 — Jar. 
 
 581 
 
 Old Cochin-Chinese pottery. Decoration of medallions in relief under a yellow-brown 
 glaze. Seventeenth century. 
 
 Height, 6^ inches. 
 
 Gourd-shaped Bottle. 
 
 Old Takatori, which is coated with a brilliant black and metallic brown glaze. About 
 1700. 
 
 Height, 9 inches. 
 
 582 — Flower Vase. 
 
 Satsuma stoneware. Iron-rust glaze, with splashes of white and blue covering the upper 
 parts. About 1800. 
 
 Height, 5^ inches. 
 
 583 — Short-neck Bottle. 
 
 Old Seto. Invested with a pale gray glaze, boldly crackled throughout. Decoration 
 round the shoulder of medallions in under-glaze blue. 1650. 
 
 Height, 9 inches. 
 
 584— Old Imbe Jar. 
 
 Invested with a metallic brown glaze, which is speckled with red-brown iridescent 
 spots. About 1750. 
 
 Height, 6 inches. 
 
 585 — Takatori Vase. 
 
 Tall quadrilateral shaped, and covered with a yellow-gray glaze, slightly mottled. About 
 
 1700. 
 
 Height, 8 ^ inches. 
 
 586 — Old Banko Bowl. 
 
 Shell shaped. Inside covered with a rich dull green-blue glaze dotted with brown spots, 
 and crackled throughout. Outside is coated with green-brown and ivory-white 
 crackled glaze. About 1700. 
 
 Diameter, 8 }£ inches. 
 
587 — Water Jar. 
 
 With original cover. Takatori pottery, and covered with splashes of buff, blue, and 
 brown glaze. The cover is invested with a beautiful green glaze. About 1750. 
 
 Height, 7 inches. 
 
 588 — Oviform Bottle. 
 
 With short neck. Chinese pottery, and covered with a blue-white 
 with brown. Eighteenth century. 
 
 glaze slightly touched 
 Height, inches. 
 
 589 — Old Seto Jar. 
 
 Coated with a thick yellow, dark brown, and metallic glaze, 
 century. 
 
 Probably early sixteenth 
 Height, 8 inches. 
 
 590— Old Takatori Jar. 
 
 Decoration of geese in flight, painted 
 About 1750. 
 
 over a pale blue glaze, which is crackled. 
 
 Height, 63^ inches. 
 
 591 — Old Takatori Jar. 
 
 Covered with a subdued yellow-brown glaze, which is slightly mottled. About 1750. 
 
 Height, 7X inches. 
 
 592 — Old Seto Bottle. 
 
 Covered with a golden brown intermixed with a brilliant brown glaze, boldly crackled 
 around the lower part. About 1750. 
 
 Height, 8^ inches. 
 
 593 —Old Karatsu Jar. 
 
 Thick brown texture, covered with a brown and green glaze of rough surface. Marks 
 of thread lines at base. Probably early sixteenth century. 
 
 Height, 6 inches. 
 
 594— Old Idzumo Tripod Censer. 
 
 Invested with a rich dark brown and yellow glaze of iridescent quality, 
 mark ^illegible). About 1750. 
 
 Impressed 
 
 Height, 5 inches. 
 
 595 — Old Kishiu Jar. 
 
 Decoration of flowers and leaves engraved and incised in the paste, and covered with 
 green, yellow, and white glaze on a ground of purple. About 1750. 
 
 Height, 6 inches. 
 
596 — Old Takatori Bottle. 
 
 With short neck. Covered with a rich dark green and brown glaze. About 1700. 
 
 Height, 8 inches. 
 
 597 — Old Seto Jar. 
 
 Covered with a beautiful sea-green glaze of iridescent quality. Mark Yoshihisa 
 incised underneath foot. About 1800. 
 
 Height, 6 % inches. 
 
 598 — Cylindrical Vase. 
 
 Kishiu 
 
 pottery, covered with a rich dark green, brown, and yellow glaze. Impressed 
 mark of Kai-raku-yen. About 1800. 
 
 Height, 7^ inches. 
 
 599 — Old Karatsu Bottle. 
 
 With short neck. Coated with a pale buff and gray crackled glaze. About 1700. 
 
 Height, 7 l X- inches. 
 
 600 — Old Banko Vase. 
 
 Bottle shaped. Raised decoration of flowering vines, and covered with pale brown, blue, 
 and red glaze. Impressed mark Banko at base. About 1800. 
 
 Height, 10 1 /( inches. 
 
 601 — Water Jar. 
 
 Old Takatori, invested with a metallic black and brown glaze under a thick white 
 crackled glaze. Thread lines at base. About 1700. 
 
 Height, 6 inches. 
 
 602 — Bottle. 
 
 In shape of a bamboo root. Decoration of tiger on a rich brown, yellow, and thick 
 white glaze. About 1750. 
 
 Height, 9X inches. 
 
 603 — Jar. 
 
 Early Karatsu stoneware, covered with a pale celadon glaze, which is boldly crackled. 
 About 1750. 
 
 Height, inches. 
 
 604— Old Seto Bottle. 
 
 With bent mouth. Crudely fashioned. Covered with a pale blue glaze over a ground 
 of dark tea-leaf color. About 1700. 
 
 Height, 10 inches. 
 
 605 — Bottle. 
 
 With short neck, which is rimmed with silver. Old Karatsu pottery. Decoration of 
 leaves incised, and filled in with white mishima enamel on a ground of pale 
 gray crackled glaze. About 1750. 
 
 Height, 9 inches. 
 
006— Old Kutani Jar. 
 
 Covered with a dark green glaze, and decorated with storks and cloud forms in a lighter 
 shade of green. About 1800. 
 
 Height, 5 l / 2 inches. 
 
 607 —Jar. 
 
 With four loop-shaped handles at the shoulder, for hanging purposes. Old Imbe stone¬ 
 ware, invested with a red, yellow, and light gray glaze. Seventeenth century. 
 
 Height, 8 j 4 inches. 
 
 608 — Teapot. 
 
 With iron top handle. Chinese pottery, covered with a rich dark brown glaze, and 
 marked round the shoulder with blue splashes. Impressed seal mark (illegible). 
 About 1800. 
 
 Height, "l% inches. 
 
 609 — Flower Vase. 
 
 Idzumo pottery, covered with a yellow and green glaze, and small parallel lines incised 
 underneath the glaze. About 1800. 
 
 Height, 5 ]/ z inches. 
 
 610 — Bottle. 
 
 Globular shape, with a short, flaring neck, which is rimmed with bronze. Old Chinese. 
 Flowering vines incised in relief under a celadon glaze of subdued tone. Seven¬ 
 teenth century. 
 
 Height, inches. 
 
 611 — Vase. 
 
 With 
 
 flaring mouth. Chinese pottery, covered with a rich dark brown glaze. 
 Seventeenth century. 
 
 Height, 12^ inches. 
 
 612— Old Banko Jar. 
 
 Covered with a pale blue glaze, which has pink tints and incised brush marks under the 
 glaze. Early eighteenth century. 
 
 Height, 9 inches. 
 
 613— Cylindrical Vase. 
 
 With wood cover. Seto stoneware, covered with a cream-white crackled glaze, which 
 is marked with drops of yellow, brown, and blue. About 1750. 
 
 Height, io }4 inches. 
 
 614— Brazier. 
 
 Ohi pottery, covered with a yellow glaze. Decoration of howo birds and kiri leaves 
 modelled in high relief inside of a panel. Impressed mark of Ohi. 1800. 
 
 Height, inches. 
 
615 — Oviform Vase. 
 
 Old Chinese pottery, covered with a dull white crackled glaze. Seventeenth century. 
 
 Height, io }4 inches. 
 
 616 — Jar. 
 
 Raku green pottery. Decoration of leaves carved in flat relief, and covered with green 
 enamel. Carved teak cover. Eighteenth century. 
 
 Height, 8 % inches. 
 
 617 — Water Jar. 
 
 With brown lacquer cover. Old Takatori stoneware, invested with a rich dark brown 
 and black glaze. Sixteenth century. 
 
 Height, 6^ inches. 
 
 618— Jar. 
 
 Shigaraki pottery, covered with a pale blue glaze. 
 
 Eighteenth century. 
 
 Height, 8 inches. 
 
 619 — Jar. 
 
 With four small loop-shaped handles at the shoulder, for hanging purposes. Old Iga 
 pottery of hard, brown, sandy texture, and covered with a dark yellow-green mottled 
 glaze. One side of jar depressed. Seventeenth century. 
 
 Height, ioj 4 inches. 
 
 620 — Jar. 
 
 Old Cochin-Chinese pottery. Decoration of flowers, beautifully incised within circular¬ 
 shaped panels, and covered with a brilliant green enamel. Early seventeenth 
 century. 
 
 Height, 8 y z inches. 
 
 621 — Cylindrical Vase. 
 
 With handles. Decoration of kingfisher, reeds, and Japanese poem, painted in a free¬ 
 hand manner, and glazed with gray blue, and brown. Mark of Dohachi incised 
 at base. Eighteenth century. 
 
 Height, io inches. 
 
 622 — Statuette. 
 
 Of a demon at prayer. Old Kishiu pottery, crudely modelled, covered with a beau¬ 
 tiful crackled glaze of purple and green. Early eighteenth century. 
 
 Height, 15 inches. 
 
 623 —Jar. 
 
 With four loop handles at the shoulder, for hanging purposes, covered with drops of 
 brown, green, and gray enamels. Nineteenth century. 
 
 Height, n'/z inches. 
 
624 — Vase. 
 
 With flaring mouth and animal-head handles. Old Talcatori pottery. Decoration of 
 chrysanthemums modelled in relief under a beautiful glaze of brown with yellow 
 tint. Seventeenth century. 
 
 Height, 13 inches. 
 
 625 — Temple Pilaster. 
 
 Slender quadrilateral shaped. Old Chinese pottery, covered with a beautiful glaze of 
 the true peacock-blue type, and minutely crackled throughout. The ends, 
 which are free of glaze, are decorated with figures of animals and leaf patterns 
 carved in relief. Eighteenth century. 
 
 Length, 21 inches ; diameter, \ x / 2 inches. 
 
 626 — Jar. 
 
 With original cover. Satsuma pottery of cream-white crackled texture. Finely painted 
 decoration of peony flowers within panels, pencilled in red, green, and gold 
 enamels; the reserve ground covered with flowering vines painted in red, blue, 
 purple, and gold. Eighteenth century. 
 
 Height, 9 inches. 
 
 627 — hnperial Vase. 
 
 Graceful pear shaped, flaring at mouth. Satsuma pottery of unusually fine texture, 
 covered with a brilliant red glaze, over which is a decoration of Awoye leaf 
 scrolls, painted in blue, gold, and green enamels. Round the neck are the 
 crests of the Prince of Satsuma, and the imperial kiku and kiri floral crests, 
 pencilled in blue and gold, and encircling the base is an embellishment of cherry 
 blossoms pencilled in red, blue, green, and gold. Eighteenth century. Has a 
 gold lacquered stand, which is finely decorated. 
 
 Height, 17inches. 
 
628 — Bowl. 
 
 Old golden bronze. Repousse ornamentation. Eighteenth century. 
 
 Diameter, 5 inches. 
 
 629 — Vase. 
 
 With tall, slender neck. Murashido bronze. Seventeenth century. Carved teak stand. 
 
 Height, 7 inches. 
 
 630 — Bottle-shaped Vase. 
 
 With handles in design of animal heads. Murashido bronze. Decoration round 
 shoulder, modelled in relief. Eighteenth century. Carved teak stand. 
 
 Height, 10 ^ inches. 
 
 631 — Portable Stove. 
 
 Antique Chinese bronze. Arabesque designs in relief casting. Seventeenth century. 
 
 Height, 4y£ inches, 
 
 632 — Bottle. 
 
 With tall, slender neck. Murashido bronze. Red and brown patina. Eighteenth 
 century. 
 
 Height, 10^4 inches. 
 
 633 — Temple Gong. 
 
 Old Japanese bronze. Engraved inscription, 
 rector Bogiu, at Yedo, May, 1825. 
 
 dedicated to the temple Denchinji, the 
 Diameter, 7 inches ; height, 5 inches. 
 
 634— Water Jar. 
 
 With original cover. Old Hiroshima bronze, 
 in repousse. Early eighteenth century. 
 
 Medallions of symbols and leaf scrolls 
 Carved teak stand. 
 
 Height, 10% inches. 
 
 635 — Flower Vase ancl Stand. 
 
 Japanese bronze. Decoration, representing running glaze on pottery and wave designs, 
 carved in relief. The stand is in design of turbulent water. Made by To-un, 
 and signed. Eighteenth century. 
 
 Height, 9 inches. 
 
636 — Hexagonal Hibachi. 
 
 Panel decoration of pine, bamboo, plum trees, and storks, carved in relief. Has small 
 drawer in base. Eighteenth century. 
 
 Height, 7 inches. 
 
 637 — Oblong Jardiniere. 
 
 Chinese cloisonne enamel on gilded bronze. Profusion of peony flowers in various 
 enamels on a turquoise-blue ground. Mark of Tokusei stamped at base. 
 Eighteenth century. 
 
 Height, inches. 
 
 638 — Japanese Bronze Lamp. 
 
 Made of a baluster-shaped vase, the ground of which is covered with incised wave 
 designs. The ornamentation consists of various panels, inside of which are 
 figures of birds in gold inlaying, and an outer framework of bamboo design. A 
 rich brown patina covers the entire surface. Made by Ziomi of Kioto, and 
 signed. Nineteenth century. 
 
 Height, 28 inches. 
 
FOURTH AFTERNOON'S SALE 
 
 Wednesday, January 28th, 1903 
 
 BEGINNING PROMPTLY AT 3 O’CLOCK 
 
 Netsukes, 
 
 and 
 
 Japanese Daggers , 
 Cabinet Objects 
 
 639 — Five Carved Ivory Netsukes. 
 
 Button shaped. “ Palace Cook,” carved by Ipposai; “ Manzai Dancers,” by Rauko; 
 “Making New Year’s Call,” by Kojitsu; “Mask Modeller,” by Kosai; 
 and “Head of Woman,” by Masayuki. All eighteenth century specimens. 
 
 640 — Six Carved Ivory Netsukes. 
 
 Button shaped. “ No Dancer,” by Naosada; “ Boy Beating Drum,” by Koget- 
 susai; “ Child at Play,” by Ipposai; “ Child Carrying Mask,” by Kozii. 
 Eighteenth century. “Child with Fans ” and “ Warrior Writing.” Nine¬ 
 teenth century. 
 
 641 — Three Carved Ivory Netsukes. 
 
 Button shaped. “ Wrestler ” and “ No Dancer. ” Nineteenth century. “Trees and 
 Figures. ” Eighteenth century. 
 
 642 — Ivory Netsuke. 
 
 Carved dragon. Eighteenth century. 
 
643 — Ivory Netsuke. 
 
 Mask of a Japanese woman. Nineteenth century. 
 
 644 — Two Ivory Netsukes. 
 
 “Two Monkeys after Chestnuts,” and “ Dog Playing with a Shell,” by Okatomo. 
 Eighteenth century. 
 
 645 — Ivory Netsuke. 
 
 “ A Toad Carrying a Man.” Nineteenth century. 
 
 646 — Two Ivory Netsukes. 
 
 “Camel.” Eighteenth century. “Fox and a Drum,” by Masatoshi. Eighteenth 
 century. 
 
 647 — Two Netsukes. 
 
 “ Dog” and “ Monkey Carrying Basket.” Eighteenth century. 
 
 648— Two Ivory Netsukes. 
 
 “ Quail and Millet” and “ Conch Shell.” 
 
 649 — Two Ivory Netsukes. 
 
 “A Cat Devouring a Mouse,” by Isshiusai, and “An Imp on Top of Drum.” 
 Eighteenth century. 
 
 650 — Two Ivory Netsukes. 
 
 “ God of Wind,” and “ Deer and Man,” by Masa-mitsu. Eighteenth century. 
 
 651 — Ivory Netsuke. 
 
 Group of shells. Eighteenth century. 
 
 652 — Two kVood Netsukes „ 
 
 Dragons. 
 
 653 — Three JVood Netsukes. 
 
 “ Imp on Leaf,” “Cat and Mouse,” and “Lion Coming Out of a Shell,” carved and 
 lacquered. Eighteenth century. 
 
654 — Two Ivory Netsukes. 
 
 “ Hotei inside of a Bag,” and “ Daruma.” Eighteenth century. 
 
 655 — Two Wood Netsukes. 
 
 “ Falcon and Pine Trees,” and “ Woman and Bell,” by Masakazu. Eighteenth 
 century. 
 
 656 — Two Wood Netsukes. 
 
 “ Catfish,” carved and lacquered, and “ Sleeping Woman,” by Keizan. Eighteenth 
 century. 
 
 657 — Two Gold Lacquer Netsukes. 
 
 “ Manzai Dancers.” Eighteenth century. 
 
 658 — Ivory Netsuke. 
 
 “ Peace Drum and Rooster,” in gold, set in carved ivory. Signed, Mitsu. Eighteenth 
 century. 
 
 659 — Ivory Netsuke. 
 
 “ Quail and Millet,” by Okatomo. Eighteenth century. 
 
 660 — Three Wood Netsukes. 
 
 “ Lion and Cub,” by Minkoku. “ Imp with Lantern on his Head,” by Masanao, 
 and “ Cicada [insect] on Trunk of Tree,” carved by Kuanman, province of 
 Iwami. Eighteenth century. 
 
 661 — Three Wood Netsukes. 
 
 “ Mask of Monkey,” by Hidemasa. Seventeenth century. “ Dragon and Clouds,” 
 carved and lacquered, by Masayoshi. Seventeenth century. “Mask,” by 
 Tadatoshi. Eighteenth century. 
 
 662 —- Three Wood Netsukes. 
 
 “ A Seated Daruma,” by Shiumin. Seventeenth century. “Man Resting on a 
 Tree Trunk,” by Shoraku, and “Horse,” by Hokio Sessai. Eighteenth 
 century. 
 
 663 — Wood Netsuke. 
 
 “ Two Tortoises on an Awabi Shell,” by Tametaka. Seventeenth century. 
 
664 — Two Ivory Netsukes. 
 
 “ Biwa Fruit,’’and “ Mushroom and Monkey.” Eighteenth century. 
 
 665 — Two Wood Netsukes. 
 
 “ Bamboo Shoots,” by Shozan, and “ Mbnkey,” by Toyoharu. Eighteenth century. 
 
 666 — Two Netsukes. 
 
 “ A Boy and Cow,” by Tomotada, and “ Cow,” by Tadakuni. Eighteenth century. 
 
 667 — Wood Netsuke. 
 
 “ Snake Coiling round a Tortoise.” Eighteenth century. 
 
 668 — Ivory Netsuke. 
 
 u Traveller on Horseback,” by Shomin. Eighteenth century. 
 
 669 — Ivory Netsuke. 
 
 “ Mice round Bag,” by Okatomo. Eighteenth century. 
 
 670— Three Netsukes. 
 
 “ Gold Lacquered Lion,” “ Mouse and Vegetable,” by Shibayana Yekishiu, and 
 carving of a “ Daruma. ” Eighteenth century. 
 
 671 —Ivory Netsuke. 
 
 “ Group of Three Jolly Imps,” by Shingioku. Eighteenth century. 
 
 672 — Ivory Netsuke. 
 
 “ Collection of Shells,” by Giokuho, of Hiroshima. 
 
 673 — Ivory Netsuke. 
 
 “Two Lions,” by Anraku. Eighteenth century. 
 
 674 — Ivory Netsuke. 
 
 “ Goose,” in chased gold, set in carved ivory in openwork design of reeds. Eighteenth 
 century. 
 
675 — Wood Netsuke. 
 
 “ Tiger.” Eighteenth century. 
 
 676 —Two Ivory Netsukes. 
 
 “ Old Women.” Eighteenth century. 
 
 677 — Ivory Netsuke. 
 
 “ Lion and Cub,” by Giokuyosai. Eighteenth century. 
 
 678 — Ivory Netsuke. 
 
 “ Young Warrior.” Nineteenth century. 
 
 679— Two Ivory Netsukes. 
 
 “ Swan,” and seated figure of “ Fukusuke.” 
 
 680— Two Netsukes. 
 
 “ Group of Wrestlers,” eighteenth century, and carved walnut shell. 
 
 681 — Ivory Netsuke. 
 
 “ Lion,” by Tomotada. Eighteenth century. 
 
 682 — Ivory Netsuke. 
 
 “ Tortoise,” set in coral. 
 
 683 — Ivory Netsuke. 
 
 “ Peony,” by Shiugetsu. Eighteenth century. 
 
 684 — Ivory Teapot. 
 
 Elaborate decoration of blooming peonies, artistically carved in relief. The cover is 
 ornamented with a figure of a lion and butterflies. Signed Masa-mune. 
 
 Height, inches. 
 
 685 — Round Ivory Box. 
 
 Containing five fan and drum-shaped boxes. The outer box is decorated with butterflies 
 and diaper patterns, delicately pencilled in gold over a red and green lacquer 
 ground. The boxes inside are of gold lacquer, and exquisitely decorated. 
 Eighteenth century. 
 
 Diameter, 3 inches. 
 
686—Jade Perfume Box. 
 
 Flowers and symbolical signs in intricate openwork. Inside lined with silver. Eighteenth 
 century. 
 
 Diameter, 2|^ inches. 
 
 687 — Miniature Vase. 
 
 Shakudo, shibuichi, and red stippled bronze. Birds and stream inlaid in silver and 
 gold. Early nineteenth century. 
 
 Height, 4 inches. 
 
 688—Sword Guard ( Tsuba ). 
 
 Silver. Figure of Kwannon and a boy, in gold and bronze incrustation, and exquisitely 
 carved and chased. Wave design in shakudo inlay; on the reverse, a leaping 
 carp in shakudo. By Mori-toshi. Nineteenth century. 
 
 689 — Set of Sword Mounts (Fuchi and Kashira ). 
 
 Shibuichi. Kwannon seated on a rock, carved and chased. By Nori-chika. Early 
 nineteenth century. 
 
 690 —Three Bronze Masks. 
 
 Japanese specimens. Nineteenth century. 
 
 691 —Miniature Silver Vase „ 
 
 Openwork basket design, carved and chased. Eighteenth century. 
 
 Height, 3 ]/ z inches. 
 
 692 — String of Ifiro and Pouch Slides. 
 
 Consisting of twenty-eight specimens in gold, silver, goldstone, coral, shibuichi, 
 cloisonne enamel, ivory, natural nuts, cinnabar lacquer, kamakura lacquer, and 
 agate. Many of them signed by noted artists. 
 
 693 — Pouch and Pipe Case. 
 
 Pouch made to imitate “ mokugio,” and elaborately carved. Pipe case of carved horn, 
 studded with mother-of-pearl and ivory. 
 
 694 —Pouch, Pipe Case , and Pipe. 
 
 The pouch decorated with gold lacquer. The pipe case of horn and bamboo, with relief 
 carving of figure of Tengue and cobwebs, by Masayuki. Silver-mounted pipe. 
 
 695 — Japanese Portable Ink and Brush Holder. 
 
 Silver. Basket-work design in relief casting. 
 
696 —Japanese Pipe. 
 
 Shakudo and silver, with butterflies incrusted in gold. 
 
 697 — Iron Case for Knife. 
 
 Chinese grass pattern in openwork, skilfully wrought, and slightly overlaid with gold; 
 silver and gold mountings. 
 
 698 — Japanese Portable Ink Well. 
 
 Wicker-work design in silver openwork. 
 
 699 —Japanese Silver Bracelet. 
 
 Made of twenty-three joints, on each of which are various diapered and brocaded 
 patterns in gold, silver, shakudo, and shibuichi damascenes. 
 
 700 — Jewel Case. 
 
 Melon shaped. Peony flowers and vines in openwork, and beautifully chased; the 
 leaves are wrought gold. 
 
 701 — Dagger (Tanto ). 
 
 Length of blade, io l J inches. Signed, Kiyo or Sei. Seventeenth century. Scabbard 
 is of lacquer, with decoration of grass and cloud forms. Solid gold mountings 
 wrought in design of howo birds, kiri flowers, and leaves, exquisitely finished in 
 skilful chasing over a finely stippled background. Signed by Manzu, a noted 
 goldsmith of Yedo (now called Tokio). The handle is of silver, ornamented 
 with a dragon, tortoise, and kirin, which are made of gold. Kodzuka of gold 
 bears signature of Toshi-nori. Kogai, which is also made of gold, bears signa¬ 
 ture of Riuseimin. Bears the family crest of Daimio of Awa. 
 
 702 — Dagger ( Tanto ). 
 
 Length of blade, 8 inches. Signed, Bishiu, Osafune Kiyomitsu. Dated 24th year 
 of period Tembun, 2d month (1556 a.d.). Black lacquer scabbard. Silver 
 kodzuka, silver kogai, and gold and silver menuki. The mountings are orna¬ 
 mented with chrysanthemum, plum, and bamboo in relief chasing, and are signed 
 To-unshi Zukin. The kogai and kodzuka are by Makino Toshi-tsugu. 
 
 703 — Dagger ( Tanto ). 
 
 Length of blade, 8 sJ inches. Signed, Bishiu, Osafune Gorozayemon no Kami Kiyo¬ 
 mitsu Sukesada tsukuru. Dated Tembun period, 1st year, 8th month (1532 
 a.d. ). Black lacquer scabbard, decorated with bamboo, plum, and plants in 
 mother-of-pearl lacquer. The mountings are of gold, silver, and shakudo, by 
 Hankotei. 
 
704— Dagger {Tanto). 
 
 Length of blade, 11 inches. Signed, Shidsu Sabro Kane-uji. Sixteenth century. 
 Black lacquer scabbard, decorated with cloud forms in mother-of-pearl inlay. 
 Gold and silver and shakudo mountings, exquisitely wrought in design of peony 
 flowers. 
 
 705— Japanese Flute. 
 
 With gold lacquer case. Polished black lacquer, with decoration of wild chrysanthe¬ 
 mums pencilled in gold. Silver mounting, and gold ornament of dragon. 
 Early eighteenth century. 
 
 70G — Black Lacquer Cabinet. 
 
 Decoration of cherry blossoms in yellow bronze 
 of-pearl inlay. Has seven small drawers. 
 
 incrustation on a ground of mother- 
 Handles and mountings of silver. 
 
 Height, nyi inches; length, 15 inches. 
 
Miscellaneous Objects 
 
 707 — Small Sung Vase. 
 
 Oviform. Coated with a heavy glaze of clair-de-lune , which has a pronounced crackle. 
 
 708 —Oviform Vase. 
 
 Sung pottery. Covered with a monochrome glaze of bleu-de-ciel. Bat-shaped handles 
 at shoulder. 
 
 Height, 6 inches. 
 
 709 — Sung Bottle-shaped. Vase. 
 
 Dragon modelled in relief and encircling neck, heavily coated with a pale turquoise- 
 blue glaze, which is minutely crackled throughout. 
 
 Height, 7^4 inches. 
 
 710 — Two Tea Caddies. 
 
 Old Chinese porcelain, with a decoration of landscape, peony, and leafy scrolls in 
 under-glaze blue. 
 
 711 —Large Bowl. 
 
 Old Canton sonorous porcelain, 
 glaze blue. 
 
 Medallion and floral decoration in brilliant under- 
 
 Diameter, 13 inches. 
 
 712— Twelve Plates. 
 
 Japanese porcelain of fine texture. Rich cobalt-blue borders; maple leaves and deer 
 pencilled in coral red and gold. 
 
 Diameter, 7 inches. 
 
 713 — Five Cups and Saucers. 
 
 Imari porcelain. Medallion and scroll decoration in under-glaze blue, copper red, 
 and gilding. 
 
 714 — Seven Tea Cups and Saucers and Cream Pitcher. 
 
 Wedgwood. Classical subjects modelled in relief in white on a blue ground. 
 
715 — Bowl and Plate. 
 
 Old crown Derby (1780). Fluted pattern, rich blue bands, with borders in gilding. 
 
 716 — Covered Bowl and Plate. 
 
 Old crown Derby (1780). Fluted pattern, rich blue bands, with borders in gilding. 
 
 717 — Cups and Saucers. 
 
 Old crown Derby (1780). Similar to the preceding. Twenty-four pieces, consisting 
 of eight cups with handles, eight cups without handles, and eight saucers. 
 
 718— Two Cups and Saucers. 
 
 Old crown Derby (1780). Ivory-white texture, with decoration of vine and scroll 
 borders pencilled in gold. 
 
 719— Individual Chocolate Service. 
 
 Capo-di-Monte soft paste. Finely painted decoration of Pompeii views, with borders 
 and ornaments in gilding. Comprises tray, chocolate pot, cream pitcher, sugar 
 bowl, and cup and saucer. 
 
 720— Ten Salad Plates. 
 
 Scalloped edge. Painted and relief decoration of rosebuds, foliage, and butterflies. 
 
 Diameter, 8 inches. 
 
 721 — Twelve Dresden Plates. 
 
 Pure white hard paste. Sprays of tulips painted in green enamel. Openwork borders. 
 
 Diameter, 9 inches. 
 
 722 — Twelve Dresden Plates. 
 
 Pure white hard paste of the Marcolini period (1796). Floral bouquets delicately 
 painted in enamels. Openwork basket pattern borders. 
 
 Diameter, 9 inches. 
 
 c teen Dessert Plates. 
 
 Old crown Derby (1780). Richly decorated flowers in medallions. Blue and gold 
 
 borders. 
 
 Diameter, 8 inches. 
 
 724— Fifteen Dinner Plates. 
 
 Old crown Derby, to match the preceding. 
 
 Diameter, 10 inches. 
 
725 —Covered Saucer, Tureen, and Platter. 
 
 Old crown Derby, made under Director Bloor (1830). Rich plumaged birds finely 
 painted, in medallions. Rich blue borders, and leaf scrolls in gilding. 
 
 726 — Oval Fruit Dish. 
 
 t Old crown Derby, made under Director Bloor (1830). Rich plumaged birds finely 
 
 painted, in medallions. King’s blue borders, with leaf scrolls in gilding. 
 
 727 — Old Dresden Chocolate Pot. 
 
 Pure white texture. Pastoral subjects and floral sprays finely painted in rose-color 
 ' enamel. Incised mark, Augustus Rex, 1709-1726. 
 
 728— Old Dresden Chocolate Cups and Saucers. 
 
 Set of six, to match the preceding. King’s period, 1770. 
 
 729 — Old Dresden Tea Set. 
 
 Consisting of teapot, covered pitcher, sugar bowl, and tea caddy. Pure white texture. 
 Finely painted decoration of pastoral subjects and detached flowers in rose- 
 color enamel. King’s period, 1770. 
 
 730 — Old Dresden Tea Cups and Saucers. 
 
 Eleven pieces, to match the preceding. King’s period, 1770. 
 
 731 — Old Dresden Bowl and Tray. 
 
 King’s period, 1770. Finely painted decoration of pastoral subjects in rose-color 
 enamel. 
 
 732 — Pair Covered Jars. 
 
 Cylindrical shape. Pure white porcelain. Decoration of branches of pomegranate, cherry 
 blossoms, chrysanthemum, and lilies, in brilliant enamels and gilding, in the style 
 of old Imari. Coat of arms in coral red, king’s blue, white, and gilding. 
 
 Height, 5 ]/ z inches. 
 
 733 — Majolica Jar. 
 
 Old Italian. Oviform. Decoration of medallion head and bold leaf scrolls in brilliant 
 blue, green, and orange-yellow enamels. 
 
 Height, 10% inches. 
 
734 — Majolica Water Jar. 
 
 Old Italian. Oviform, with twisted top handle. Cream-white glaze, with decoration 
 of medallion head, cornucopias of fruit, and escutcheon in dark blue, green, and 
 orange yellow enamels. 
 
 Height, ii inches. 
 
 735 — Antique Delft Garniture. 
 
 Consisting of three hexagonal oviform jars with covers, and two beakers. Decoration 
 of pastoral and other subjects in cobalt blue; flowers in red and green; and 
 borders of leaf scrolls worked in relief in the paste, and enamelled in orange 
 yellow and purple. Mark underneath foot, initial K within a C, pencilled in 
 red. 
 
 736 — Antique Delft Garniture. 
 
 Consisting of three hexagonal-form covered jars and two beakers. Decoration of 
 houses, lake, and figures in blue, green, brown, and orange yellow. Mark 
 underneath foot, “ De Drie Klokken,” 1671. 
 
 737 — Large Canton Punch Bowl. 
 
 Sonorous texture. Decoration of Chinese interior and garden scenes in brilliant enamels 
 and gilding. Borders and bands of birds, flowers, and fruits on gold ground. 
 Carved teakwood stand. 
 
 Diameter, 16 inches. 
 
 738 — Thirteen Dresden Plates. 
 
 Pure white hard paste, 
 gilt borders. 
 
 Pastoral subjects, finely painted in centres. Openwork and 
 
 Diameter, 9^ inches. 
 
 739— Thirteen Old Sevres Plates. 
 
 Pate tendre. The decoration of floral medallions, and blue, maroon, and gold borders, 
 are by the following Sevres decorators: Bulidon, Massy, Niquet, Paul Richard, 
 Chavaux, Tandart, Choisy, Buteux, and Vincent. Various marks of the royal 
 factory, dating from 1783 to 1788. 
 
 Diameter, 10 inches. 
 
 740— Three Large Imari Plates. 
 
 Decoration of vase of flowers and leafy scrolls, in brilliant cobalt blue and coral red, 
 enhanced by gilding. Mark underneath foot, two circles and leaf symbol, in 
 blue. 
 
 Diameter, 15 inches. 
 
1375 
 
 1376 
 

Antique Silver 
 
 741 — Five Old Dutch Silver Salt Spoons. 
 
 Figure ornaments on handles. 
 
 742 — Eleven Dutch Silver Teaspoons. 
 
 Apostle handles. 
 
 743 — Six Old Dutch Teaspoons. 
 
 Silver and gilt. Mask head and openwork ornamentation. 
 
 744 — Three Dutch Silver Spoons. 
 
 One pierced pattern. 
 
 745— Two Antique Dutch Silver Spoons. 
 
 One dated 1790. 
 
 746— Two Old Dutch Silver Spoons. 
 
 Figure ornament and twisted handles. 
 
 747 — Two Antique Dutch Silver Table Spoons. 
 
 Apostle figure ornaments. 
 
 748— Three Old Dutch Silver Sauce Ladles. 
 
 Handles surmounted by figures of saints. 
 
 749 — Twelve Old Dutch Silver Spoons. 
 
 Apostle handles. 
 
750 — Antique Dutch Silver Punch Ladle. 
 
 A one-mark coin of 1686 inserted in bowl. 
 
 751 — Antique Dutch Silver Ladle. 
 
 Coin of King Christian IV., date 1647, inserted in centre of bowl. 
 
 752 — Antique Dutch Silver Punch Ladle . 
 
 Repousse bowl. Chased handle. 
 
 753 —■ Antique French Spoon. 
 
 Silver gilt. Repousse ornamentation. 
 
 754— Three Antique Irish Silver Spoons • 
 
 Shell bowls and long pierced handles. Hall mark, Dublin, 179^ 
 
 755 — Twelve Russian Liqueur Cups. 
 
 Silver gilt. Engraved and enamelled ornamentation. 
 
 756 — Old Dutch Silver Box. 
 
 Heart shaped. Engraved ornamentation. Compartment in base. 
 
 757 — Child'’s Old English Silver Cup. 
 
 Engraved initials. Date undecipherable. 
 
 758 — Antique English Silver Milk Jug. 
 
 Design of cow. Hall mark, 1761. 
 
 759 — Antique Irish Silver Box. 
 
 Round shaped, with hinged lid. Repousse cottage and trees. Hall mark, 1796. 
 
 760 — Antique English Silver Beaker. 
 
 George II. Engraved floral and foliated scrolls. Hall mark, 1729. 
 
 761 — Washington Centennial Medal. 
 
 1789 to 1889. Designed by Augustus St. Gaudens. Modelled by Phillip Martiny. 
 
762 — Pair English Silver Tea Caddies. 
 
 Oval shaped. Engraved foliated bands. Hall mark, 1807. 
 
 763 — Old Dutch Silver Tray. 
 
 Leaf shaped. Pastoral subject in repousse , and chased. 
 
 764 — French Silver Sugar Bowl. 
 
 With cover and two handles. Repousse floral festoons. Leaf-shaped feet. 
 
 765 — Old English Silver Beaker. 
 
 Bold repousse ornamentation. Hall mark, London, 1696. 
 
 766 — Two Russian Silver Mugs. 
 
 Palm-leaf and floral ornamentation. Gilt lined. 
 
 767 — Antique English Sugar Basket. 
 
 Openwork floral and vine design. Hall mark, 1769. With crystal glass bowl. 
 
 768 — French Silver Mustard Pot. 
 
 Empire. Openwork and relief ornamentation. Blue glass bowl. 
 
 769 — Antique French Silver Sugar Bowl. 
 
 First Empire. Openwork and engraved ornamentation. Sapphire-blue glass bowl. 
 
 770 —Irish Silver Sugar Basket. 
 
 With swinging handle. Foliated scrolls in openwork. Sapphire-blue glass bowl. 
 
 771 —Antique Dutch Silver Sugar Bowl. 
 
 Oval shaped, with cover and two handles. Openwork and repousse ornamentation, 
 nymph and satyr, floral festoons, and allegorical designs. Blue giass bowl. 
 
 772 — Antique Dutch Silver Sugar Sifter. 
 
 Urn shaped. Engraved and repousse ornamentation. 
 
773 —Old India Silver Dish. 
 
 Round shaped. Bold repousse and chased ornamentation, 
 symbols. 
 
 Buddhistic and other 
 Diameter, 6 inches. 
 
 774 — Antique English Silver Tea Caddy. 
 
 Bold repousse ornamentation of figures, cottage, leaf, and shell patterns. Hall 
 mark, 1765. 
 
 775 — Pair Old English Tea Caddies. 
 
 To match the preceding. Hall mark, 1765. 
 
 776 —Old English Silver Teapot. 
 
 Globular shaped, with wood handle. Floral ornamentation in repousse , chased. Hall 
 mark, 1759. 
 
 777 — Irish Silver Loving Cup. 
 
 With two handles. Repousse floral and fruit festoons, 
 initial of maker. 
 
 Gilt lined. Hall mark and 
 Height, 6 inches. 
 
 778 — Irish Silver Sugar Dish and Cover. 
 
 Engraved and openwork ornamentation. Oval shaped, with two handles. Blue glass 
 bowl. 
 
 779 —Japanese Silver Teapot. 
 
 With top swinging handle. Engraved floral medallions. 
 
 780 — English Silver Bowl. 
 
 Repousse ornamentation of foliated festoons and fluted pattern. Gilt lined. Hall 
 mark, 1853. 
 
 781 — Old Dutch Silver Cream Jug. 
 
 Engraved ornamentation. Figures, foliage, and coat of arms in panels. Grapevine band. 
 
 782 — Antique Irish Silver Sugar Sifter. 
 
 Repousse ornamentation. Hall mark, Dublin, 1727. 
 
783 —Japanese Silver Teapot. 
 
 Fluted pattern. Enamelled lid. 
 
 784 — Antique Irish Silver Large Bowl. 
 
 Round shape, on tripod support of lion’s head and claw. Repousse spiral ornamenta¬ 
 tion. Hall mark, Dublin, 1728. 
 
 t 
 
 785 — English Silver Chocolate Pot. 
 
 With side handle. Repousse and chased ornamentation. 
 
 786 — Seventeenth Century Jewish Lamp. 
 
 Silver. Scandinavian. Repousse ornamentation. 
 
 787 —Queen Anne Silver Loving Cup. 
 
 With two handles. Repousse ornamentation. Dated 1709. 
 
 788 — Old Hutch Silver Bowl. 
 
 Repousse leaf-pattern borders and band. 
 
 789 — Antique English Silver Bowl. 
 
 Round, with raised ornaments. Dated 1768. 
 
 790— Old English Silver Teapot. 
 
 Oval shaped, with wood handles, 
 undecipherable. 
 
 Figure of dog surmounting cover. Hall mark 
 
 791 — Antique Turkish Silver Wine Bottle. 
 
 Elaborate repousse and chased ornamentation of sacred flowers, birds, and animals; 
 openwork band round foot. 
 
 792 — Antique Irish Silver Large Coffee Pot. 
 
 Elaborate repousse ornamentation of pastoral subject, fruits, floral festoons, and leaf 
 scrolls; and engraved coat of arms. 
 
 793 — Pair Antique English Silver Sconces. 
 
 Each for three lights. Bold repousse ornamentation. Dated 1736. 
 
794 — Old English Silver Dish Cross, 
 
 Hall mark, 1754. 
 
 795— Old Dutch Silver Bowl. 
 
 Oval shaped, on foot. Repousse ornamentation of Biblical subjects. Two openwork 
 handles of urn design. Gilt lined. 
 
 796— Old English Silver Tray. 
 
 Round shaped, on three feet. Engraved floral scrolls and crest. Leaf-pattern border. 
 Mark, Queen Victoria head. 
 
 Diameter, 10 inches. 
 
 797 —Antique Irish Silver Fruit Dish. 
 
 Round shaped. Repousse leaf and floral scrolls. Dated 1742. 
 
 798 — Antique Irish Silver Fruit Dish. 
 
 To match the preceding. Dated 1742. 
 
 799 — Old English Silver Tray. 
 
 Round shaped, on three feet. Engraved floral scrolls and crests. Foliated scroll edge. 
 Mark, Queen Victoria head. 
 
 Diameter, 10 inches. 
 
 800 — Antique Dutch Silver Tripod Stand. 
 
 With vase holder in centre. Repousse ornamentation of cupids, mask, and floral and 
 leaf scrolls. 
 
 801 —Antique English Silver Loving Cup. 
 
 Low, round shape, with two handles. Repousse bands of leaf designs. Dated 1765. 
 
 802 —•English Silver Round Tray. 
 
 Repousse and chased centre, and foliated scroll edge. 
 
 Diameter, n inches. 
 
 803 — Antique Irish Silver Rowid Tray. 
 
 On three feet. Chased floral and leaf scrolls, and coat of arms. Scroll edge. 
 
 804 —Pair Antique Irish Silver Tall Candlesticks. 
 
 Repousse leaf and other ornamentation. 
 
805 — Antique Dutch Silver Oval Plaque. 
 
 Bold repousse ornamentation of mythological subject in centre, 
 scrolls, medallions, and other designs. 
 
 and an outer border of 
 Length, 20 inches. 
 
 806 — Pair Old English Silver Candlesticks. 
 
 Tall column designs. Repousse floral ornamentation. Dated 1770. 
 
 807 — Antique Irish Silver Large Bowl. 
 
 Fluted pattern. Gilt lined. Dated 1752. 
 
 808 —English Silver Oval Tray. 
 
 With two handles. Engraved and repousse leaf borders. Beaded edge. 
 
 Length, 19 inches. 
 
 809 — Augsburg Silver Flagon. 
 
 Sixteenth century. Elaborate repousse and chased ornamentation of historical subjects 
 and foliated scrolls. Cover surmounted by figure of a kneeling angel and a 
 helmet. Gilt lined. 
 
 810 — Augsburg Silver Flagon. 
 
 Companion to the preceding. 
 
 811 — Antique Irish Silver Bible Cover. 
 
 Elaborate repousse ornamentation of floral scrolls. 
 
 812 — Elaborate Irish Silver Epergne. 
 
 With four arms and five baskets, the larger one of pierced design. Mark of a crowned 
 harp and Hibernia mask. 1730-1792. 
 
 813 — Dutch Silver Bound Tray. 
 
 On six feet. Pierced gallery border. 
 
 Diameter, 17 inches. 
 
 814 — Hammered Copper Tray. 
 
 Broad outer border of openwork leaf scrolls, oxydized. 
 
 Length, 24 inches. 
 
 815— Twenty-four Dessert Knives and Forks. 
 
 Silver gilt. Blue and white Dresden porcelain handles. With case. 
 
 Diameter, 23 inches. 
 
 816— Twelve Fruit Knives. 
 
 English silver gilt. Dresden porcelain handles. 
 
866 855 852 863 840 
 
 916 
 
 944 
 
 917 
 
 AWElson &. Cc .Boston 
 
FIFTH AFTERNOON'S SALE 
 
 Thursday, January 29th, 1903 
 
 BEGINNING PROMPTLY AT 3 O’CLOCK 
 
 Antique Greek and Roman 
 
 Glass 
 
 The well-known story of the discovery of glass by nitre merchants of Tyre, who accidentally 
 fused some of their merchandise with the sand of the river bank on which they were cooking their 
 dinner, has long since been set aside as itself an ingenious but baseless invention. Glass was pre¬ 
 ceded and led up to by glazed pottery and glazed stone in Egypt, in the neolithic period, and this art 
 of glazing followed upon that of smelting copper, the oldest colors in glazes and in glass being copper 
 blue, and green, with violet from the manganese which is found in the copper one. These glazes pre¬ 
 cede the historic period in Egypt on beads and other small objects. Blown glass vessels (Egyptian) 
 are known from a very early period. We must assign to the fifteenth or sixteenth century b.c. the 
 opaque blue glass, the kyanos of the Homeric poems, which Schliemann found set in alabaster to 
 decorate a frieze in the ruins of the palace at Tiryns. 
 
 Throughout classic antiquity, however, the great manufactory of glass was at Tyre, and it is 
 probably from that neighborhood that most of the specimens in our collections have been derived. 
 But antique glass of the well-known classic forms has been found in all parts of the ancient Roman 
 dominions, from Britain to Syria. The light greenish glass marked by a fine pearly or silvery irides¬ 
 cence, as in the oblong tubular, or candlestick-shaped, unguentaria, is usually found in Greek tombs 
 of the fifth to the third century b.c. Moulded glass, though known to the Greeks, is more com¬ 
 monly Roman. But moulded glass was also common in Byzantium, whence the art passed to the 
 Persians. Not the least of the fascinations of glass collecting is that the history of the art is still, 
 comparatively, a new study, in which every student may hope to make discoveries. 
 
The splendid iridescent colors that add so much beauty to antique glass are a consequence of 
 its flaky or scaly disintegration, resulting from the action of moisture percolating through the soil in 
 which it has lain buried. This iridescence is different from the metallic reflections on modern glass, 
 which have been brought to the highest perfection by an American artist. The varying lustres of 
 Persian and Hispano-Moresque pottery are of still another kind, but a true iridescent disintegration 
 of the glaze is sometimes found on very ancient pottery. 
 
 In the collection presented by Mr. Marquand to the Metropolitan Museum of Art will 
 be found important examples, with inscriptions , of Greek, Roman, and Byzantine glass. 
 
 817 — Three Small Unguentaria, or Perfume Bottles. 
 
 One tubular, with conical bulb and flaring mouth, of greenish glass, slightly iridescent. 
 Another similar, but with flattened rim. Amber glass with brilliant violet, green, 
 and silvery iridescence. The third has an annular body, a swelling neck, and 
 flattened rim, and is of dark blue glass with a silvery iridescence. 
 
 818 — Small Unguentarium. 
 
 Club shaped, with flaring mouth. Amber glass with rose-colored, golden, and green 
 iridescence. 
 
 819 — S?nall Jug [Prochoos) 
 
 Greenish glass, the lower part coated with brownish sediment. It has a flaring mouth, 
 a handle connecting the mouth with the body, a band in relief about the neck, 
 and a flat bottom. 
 
 820 —Small Unguentarium ( Ampulla ). 
 
 Corrugated to represent the appearance of a dried date. Amber glass, deepening to 
 a rich brown, with a silvery and purple iridescence. 
 
 821 — Two Small Unguentaria. 
 
 One of blue glass, baluster shaped, decorated with a spiral white line on the exterior. 
 The other, amphora shaped, with a fluted body. Purple glass with green, blue, 
 and purple iridescence. One handle missing. 
 
 822 —Small Unguentarium. 
 
 With conical body, short neck, and flaring mouth. Very rich iridescence of silvery 
 green, orange, and other colors. 
 
 823 — Small Unguentarium. 
 
 Bulbous shape. Dark blue glass with blue iridescence. 
 
824 — Small Vase and Small Unguentarium. 
 
 The former of turquoise-blue glass with golden iridescence. The latter, with large body 
 and flattened rim. Amber glass with silvery iridescence. 
 
 825 — Unguentarium. 
 
 Club shaped, with flaring mouth. Amber glass with violet and green iridescence. 
 
 Height, 6^ inches. 
 
 826 — Small Prochods. 
 
 With globular body and wide, flat rim. Greenish glass with slight iridescence. 
 
 827 —- Small Amphora. 
 
 Green glass with brilliant green, golden, and violet iridescence. 
 
 828 ■— Ampulla. 
 
 Moulded glass, in the shape of two heads—a beardless male and a female head (Bacchus 
 and Ariadne). Mottled brown and white glass. 
 
 Not many of these interesting little ointment bottles are known. They' are 
 believed to have been made to be given as wedding presents. 
 
 829 — Unguentarium. 
 
 Club shaped, with a swelling at the base of the neck. Rich green iridescent glass. 
 
 Height, 4 inches. 
 
 830 — Small Vase. 
 
 With ribbed handle, and rich golden, silvery, and blue iridescence. 
 
 831 —Sfnall Vase. 
 
 With a conical body and flattened rim; of deep blue glass. Ornamented in the thickness 
 of the glass with irregular vertical streaks of white. It has a green and purple 
 iridescence on the blue, silvery and coppery on the white. 
 
 832 — Small Ewer. 
 
 With spout and handle. Clear glass with pearly iridescence. It is ornamented with 
 three denticulated ribs on the exterior. 
 
 833 — Unguentarium. 
 
 With conical body and broad, flat rim. Greenish glass with pearly iridescence. 
 
834 — Double Unguentarium. 
 
 With handles at sides and top. Greenish glass with a pearly iridescence. 
 
 Height, to the top of the handle, 5^ inches. 
 
 835— Double Unguentarium. 
 
 With a handle at top. Decorated with a spiral filament on the exterior, and with trailed 
 glass connecting the body with the projecting rim. Olive-green glass with a 
 pearly iridescence. 
 
 Height, 6 y£ inches. 
 
 836 — Bowl. 
 
 Bluish glass with a silvery iridescence. 
 
 Height, inches. 
 
 837 — Unguentarium. 
 
 With a globular body, short neck, and flaring mouth. Greenish glass with silvery and 
 blue iridescence. 
 
 838 — Unguentarium. 
 
 With long, swelling neck and flaring mouth, 
 iridescence. 
 
 Greenish glass with violet and silvery 
 
 Height, 7inches. 
 
 839 — Unguentarium. 
 
 Candlestick shaped—that is to say, with flattened (sometimes conical) body—tall neck, 
 and flaring or flattened mouth. Clear glass with pearly iridescence. 
 
 Height, 8 inches. 
 
 840 — Vase. 
 
 With flaring mouth. Greenish glass, decorated with applied twisted filaments of glass 
 trailed to form a pattern of ivy leaves and stems. Some small glass vases in the 
 British Museum, decorated with this pattern, were found at Cologne. 
 
 Height, 5^ inches. 
 
 841 — Unguentarium. 
 
 With conical body, thick neck, and applied rim. Greenish glass with silvery and green 
 iridescence. 
 
 842 — Two Single Unguent aria. 
 
 Candlestick shaped, with pearly iridescence. 
 
 Height, inches. 
 
 843 — Bowl. 
 
 Amber glass with very rich violet, green, and orange iridescence. 
 
 Width, 4 inches. 
 
844— Unguentarium. 
 
 Candlestick shaped, with pearly iridescence. 
 
 Height, ig inches. 
 
 845— Two XJnguentaria. 
 
 Candlestick shaped; one with rich golden, the other with blue and green, iridescence. 
 
 Height, 1% inches and 6^ inches, respectively. 
 
 846 — Unguentarium. 
 
 Candlestick shaped, with rich pearly iridescence. 
 
 Height, 7 inches. 
 
 847 — Phiale. 
 
 
 Shallow cup for libations. Ribbed on the shoulder. 
 
 cence. 
 
 Greenish glass with a slight irides- 
 
 848 — Two Unguent aria. 
 
 Candlestick shaped, with a pearly iridescence. 
 
 Height, 7% inches and 7j^ inches. 
 
 849 — Unguentarium. 
 
 Candlestick shaped, with a pearly iridescence. 
 
 Height, 7 inches. 
 
 850 — Two Unguent aria. 
 
 Candlestick shaped, with a pearly iridescence. 
 
 Height, 7 l /% inches and 6% inches. 
 
 851 — Conical Bowl. 
 
 
 Olive-green glass with rich green iridescence on the outside, violet inside. 
 
 Width, 4^ inches. 
 
 852 — Dish. 
 
 With an umbilicus, or boss, in the centre, and an applied ring round the foot; the rim 
 turned up. Clear glass, speckled all over with a varicolored iridescence. 
 
 
 Width, 8 y z inches. 
 
 853 — Two Candlestick-shaped Unguent aria. 
 
 With pearly iridescence. 
 
 Height, inches. 
 
 854 — Two Candlestick-shaped Unguentaria. 
 
 Similar to the foregoing; with pearly iridescence. 
 
 
 Height, 7 inches. 
 
Width, 4X inches. 
 
 855 — Deep Conical Bowl. 
 
 With thick rim and very rich varicolored iridescence. 
 
 Width, 4X inches. 
 
 856 — Two Candlestick-shaped Unguent aria. 
 
 
 With pearly iridescence. 
 
 Height, 7 inches and inches. 
 
 857 — Phi ale. 
 
 Similar to 847. Ribbed on the shoulder. Rich silvery and violet iridescence. 
 
 
 Width, 4%" inches. 
 
 858 — Deep Bowl. 
 
 With flaring rim. Clear glass with varied iridescence. 
 
 Width, 3 inches. 
 
 859 — Unguentarium. 
 
 Candlestick shaped. Fine pearly iridescence. 
 
 Height, 6^ inches. 
 
 860 — Two Unguent aria. 
 
 
 Similar to the foregoing. One slightly damaged. 
 
 Height, "]% inches and 6 inches. 
 
 861 — Two Bowls. 
 
 
 One of greenish glass, with thin projecting ribs on the shoulder, 
 amber glass with very rich iridescence. Both damaged. 
 
 The other, of thick 
 
 862 — Two Candlestick-shaped Unguentaria. 
 
 With pearly iridescence. 
 
 Height, inches. 
 
 863 — Tall Bowl. 
 
 
 With four deep indentations in the sides, typical of a form which has been transmitted 
 by the Venetians to the present time. Varied iridescence. 
 
 864 — Two Candlestick-shaped Unguentaria. 
 
 With slight iridescence. 
 
 Height, y / 2 inches. 
 
 Height, 676 inches. 
 
 865 — Bottle. 
 
 Thick glass, with a large body and short neck. Very rich pearly and gray iridescence. 
 
 Height, 6^4 inches. 
 
866 — Bottle. 
 
 Similar to the foregoing, but with a long neck and more varied iridescence. 
 
 Height, 9% inches. 
 
 867 — Deep Dish. 
 
 With umbilicus in the centre. Rich purple and green iridescence. The friable, earthy 
 incrustation should not be removed, as it forms a dark background which shows 
 up the colors of the iridescence. 
 
 Width, 7 y z inches. 
 
 868 — Amphora. 
 
 Bluish glass, with a rich frosted golden, coppery, and silvery iridescence. 
 
 Height, inches. 
 
 869 — Bottle. 
 
 Similar to 865 and 866. Thick olive-green glass, with a very rich iridescence in blue, 
 green, and other colors. 
 
Antique Glass 
 
 Persian, Spanish , Venetian , and French 
 
 The golden cup of Chosroes I.,* set with “amethysts, rubies, and emeralds” of moulded 
 glass, now in the Bibliotheque Nationale at Paris, should, perhaps, be regarded as a specimen of By¬ 
 zantine, rather than of Persian, glasswork. But, in any case, it may be referred to as a connecting 
 link between the art in glass of Greece and Rome and that of Mahometan Persia. The latter was at 
 its best from the thirteenth to the seventeenth century. Towards the end of the period Persian and 
 Arabian forms were copied in Venice, whence they were exported to the Orient, and, as a conse¬ 
 quence, the native manufactures languished. It is not difficult, as a rule, to distinguish the older 
 Persian productions from the Venetian imitations, though in collections they are often confounded. 
 The Persian blue, which appears on their faience and porcelain, as well as in their glass, is of a pecu¬ 
 liarly soft and pleasing tone, which even the Chinese have failed to successfully imitate. 
 
 Old Spanish glass was also indirectly affected—through the Moors — by forms of Persian 
 invention. But it is much heavier, and its decoration and proportions are markedly characteristic. 
 It is little known and of great rarity. The British Museum has some examples, and a few will be 
 found in the Moore Collection in the Metropolitan Museum of New York. 
 
 Good examples of French seventeenth century glass are exceedingly rare, the wars of the 
 Fronde having greatly interfered with the development of the art in France. 
 
 A few pieces of peculiar shape and texture are here classed as Rhodian, following the authority 
 of the late Dr. Hall. 
 
 870 — Small Goblet. 
 
 Roughly fluted, with a spiral twist to the flutings. Greenish glass. Probably French. 
 
 Height, 2^ inches. 
 
 871 — Cup. 
 
 With two handles. 
 
 Bluish glass; handles of clear class. Venetian. 
 
 Width, 2 > l A inches. 
 
 * Chosroes the reat, as he is called by the national historians, ruled over Persia from 531 to 579 A.D. 
 
872 — Bird-shaped Vessel. 
 
 With openings at beak and tail. Three feet and corrugated projecting wings. Thick, 
 greenish glass. 
 
 Length, 4 inches. 
 
 The form is known chiefly in Venetian glass of the sixteenth and seventeenth 
 centuries, when, as a French traveller of the period puts it, the Venetians were 
 accustomed to drink “gondolas and ships of wine, ... a bird, a whale, a lion, all 
 sorts of beasts, potable and non-potable.” But the fancy soon spread to other countries. 
 
 873 — Vase. 
 
 With four handles and large, flaring neck. Decorated on neck and body with a spiral 
 filament in relief, and on the lower part of the body with an ornament character¬ 
 istic of this ware, consisting of one or more lines in relief, with festoons below, 
 and reversed festoons above. The handles are denticulated. Spanish. Sixteenth 
 century. 
 
 Height, inches. 
 
 874 — Vase. 
 
 With tall, flaring neck, 
 glass. 
 
 Decorated with a zigzag band in relief. Yellowish clouded 
 
 Height, 6}4 inches. 
 
 875 — Vase. 
 
 Amber glass, with a small handle attached to a ring of darker color about the lower 
 part of the neck, and by a denticulated strip of the same to the body. The spout 
 has winged appendages near the mouth. The glass is rough and of heavy texture, 
 with striae and small bubbles. Persian. 
 
 Height, 6 inches. 
 
 876 — Wine Glass. 
 
 Of elegant shape. Thin, clear glass, with a beaded stem and flat foot, Venetian. 
 
 Height, 5 % inches; diameter, 4 % inches. 
 
 877 — Vase. 
 
 With baluster-shaped body, two handles, and flaring neck, with a spiral filament about 
 the neck; the body decorated with a denticulated band in relief; the base marked 
 with indentations. Spanish. 
 
 Height, 6 inches. 
 
 878 — Ewer. 
 
 With a small handle, and winged appendages to the spout, as in 875, but of deep blue 
 glass bearing traces of a surface decoration in gold. Persian. 
 
 Height, inches. 
 
 879 — Flask. 
 
 Lenticular, with shallow flutings running from the neck part way down into the body, 
 and two small handles terminating in long denticulated strips attached to the 
 narrow sides of the flask. Greenish glass, full of small bubbles, and showing a 
 blue and green iridescence. Spanish. 
 
 Height, 5 y z inches. 
 
880 — Bottle. 
 
 Cylindrical body. Decorated in lozenge pattern in relief, blown in a mould. Clear 
 glass. French. Seventeenth century. 
 
 Height, 6y£ inches. 
 
 881 — Vase. 
 
 With baluster-shaped body and tall, flaring neck. Decorated with a spiral filament in 
 relief and a twisted ring about the lower part of the neck. Blue glass. Persian. 
 
 Height, 6 inches. 
 
 882 — Two-handled Flash, or Bottle. 
 
 The handles prolonged into denticulated strips. 
 Spanish. 
 
 Yellow glass with many bubbles. 
 
 Height, 5^ inches. 
 
 883 — Vase. 
 
 With baluster-shaped body and tall, flaring neck. 
 Smoky olive glass. 
 
 A rough band in relief about the neck. 
 
 Height, inches. 
 
 884 — Ewer. 
 
 With small handle and winged appendages to the spout, similar to 875, but with a cir¬ 
 cular foot added. Blue glass. The handle and the ring about the neck of a darker 
 blue than the body. Persian. 
 
 Height, 6)4 inches. 
 
 These forms are often classed as Venetian, but examples of which the provenance 
 is known are Persian. See the catalogue of the Burlington Fine Arts Club’s Exhibi¬ 
 tion of Persian Art, 1885. 
 
 885 — Vase. 
 
 With baluster-shaped body and tall, flaring neck. Light greenish-yellow glass. Persian. 
 
 Height, 6)4 inches. 
 
 886 — Vase. 
 
 With two handles. 
 
 Baluster-shaped body and large, flaring neck. Greenish glass. 
 
 Height, 6 J 4 inches. 
 
 887 — Vase. 
 
 With baluster-shaped body and tall, flaring neck. Decorated with a spiral filament in 
 relief and a twisted band about the neck. Similar to 881. Persian. 
 
 Height, 6 )4 inches. 
 
 888 — Flower Glass. 
 
 Of elongated bell shape, with a hollow stem and thick foot. Emerald-green glass. 
 Persian. 
 
 Height, byt, inches. 
 
889 — Ewer. 
 
 Of Persian form, without a foot. Greenish-yellow glass with many bubbles. 
 
 Height, inches. 
 
 890 — Vase . 
 
 With baluster-shaped body and tall, flaring neck. Greenish-yellow glass. Persian. 
 
 Height, inches. 
 
 891 — Vase. 
 
 With four handles and large, flaring neck. The handles are ornamented with “ wings,” 
 and denticulated j the body with the characteristic festoon ornament about the 
 shoulder, and two narrow bands in relief passing under the handles; the foot 
 indented spirally. A very interesting example. Spanish. 
 
 Height, inches. 
 
 892 — Ewer. 
 
 With a small handle, the mouthpiece of the spout lacking. Olive-green glass. Persian. 
 
 Height, 8 % inches. 
 
 893 — Jug. 
 
 Of elegant form, with a small spout and ribbed handle; the body decorated with four 
 long vertical strips of denticulated glass, the base surrounded by a ring of the same. 
 Clear glass. Bubbled. 
 
 Height, inches. 
 
 894 — Vase. 
 
 With baluster-shaped body and tall, flaring neck. Two rings in relief on the lower part 
 of the neck. Yellowish-olive glass. Persian. 
 
 Height, 8 inches. 
 
 895 — Ewer. 
 
 With 
 
 flat foot and very short neck, large handle, and long spout. Greenish-yellow 
 glass, iridescent. Persian. 
 
 Height, 1 % inches. 
 
 896 — Ewer. 
 
 With baluster-shaped body and tall, flaring neck. The small handle is attached to a 
 twisted band about the neck, and prolonged into a denticulated strip attached to 
 the body. The spout has the usual winged appendages. Dark blue glass, deco¬ 
 rated on the surface with flowers and leaves in gold. Persian. 
 
 Height, 7^4 inches. 
 
 897 — Bottle. 
 
 For sprinkling rose-water. With a very long, tapering neck and a small orifice. A band 
 in relief about the lower part of the neck, and a flat foot. Clear glass. Persian. 
 
 Height, inches. 
 
 Though intended for sprinkling, these bottles were sometimes used to drink out 
 of, as may be seen in thirteenth century Persian miniatures. So also were the ewers ; 
 but it was etiquette not to touch the lips to the spout. 
 
898 — Tall Conical Bottle. 
 
 Slightly fluted, with an abortive handle pinched in the soft glass, and a large moulding 
 round the short neck. Bluish glass. Rhodian. 
 
 Height, inches. 
 
 899 — Vase. 
 
 With baluster-shaped body, conical foot, and flaring neck ; a twisted band about the 
 lower part of the neck. Greenish glass, with large bubbles, showing decided 
 iridescence. Persian. 
 
 Height, inches. 
 
 900 —Vase. 
 
 With baluster-shaped body, conical foot, and flaring neck, similar to the foregoing, but 
 of amber glass. Persian. 
 
 Height, g]/ 2 inches. 
 
 901 — Bottle. 
 
 With bulbous body, conical foot, and long neck, terminating in a wide mouth. Neck 
 and body have fine, wavy flutings. Slightly greenish glass, with marked irides¬ 
 cence. Persian. 
 
 Height, g]4. inches. 
 
 902 — Vase. 
 
 With baluster-shaped body and tall, flaring neck. Blue glass. Persian. 
 
 Height, gY inches. 
 
 903 — Bottle. 
 
 With bulbous body, conical foot, and long neck terminating in a wide mouth. Neck 
 and body have fine, wavy flutings. Greenish glass, with slight gilding. 
 
 Height, g)/ 2 inches. 
 
 904 — Vase. 
 
 With baluster-shaped body and tall, flaring neck. Ornamented with a spiral filament in 
 relief about the mouth, and a twisted band about the neck. Blue glass, with 
 wavy lines of a darker color. Persian. 
 
 Height, 9 y 2 inches. 
 
 905 — Bottle. 
 
 For sprinkling rose-water. With very long, tapering neck, similar to 897, but of pinkish 
 glass. Persian. 
 
 Height, g]/ 2 inches. 
 
 906 — Tall Bottle. 
 
 With bulbous body, long, twisted neck, and broad, flattened rim. Blue glass with very 
 marked iridescence. Persian. 
 
 Height, Xij4 inches. 
 
907 — Vase. 
 
 With swelling body and flaring neck ; a twisted band about the neck. Yellowish glass. 
 Persian. 
 
 Height, 9 yi. inches. 
 
 908 — Drinking Vessel. 
 
 Shaped like a segment of a horn, with a spiral filament 
 handle and flat foot. Spanish. 
 
 in relief about the top; a thick 
 Height, inches. 
 
 909 — Bottle. 
 
 With bulbous body and long neck, both marked with fine spiral (lutings. Blue glass, 
 with beautiful blue and green iridescence. Persian. 
 
 Height, io^ inches. 
 
 910 — Bottle. 
 
 With bulbous body, conical foot, and long neck, terminating in a flaring mouth. The 
 body was made in two pieces joined by a flange which projects into the interior. 
 Slightly yellowish glass. Persian. 
 
 Height, 12^4 inches. 
 
 911 — Two-handled Drinking Vessel. 
 
 With a bulbous body and large, flaring, five-lobed mouth. Decorated with a fine spiral 
 filament in relief. Greenish glass with minute bubbles. Spanish. (Damaged.) 
 
 Height, 1 % inches. 
 
 912 — Bottle. 
 
 With bulbous body and long, swanlike neck twisted into a fine spiral. Blue glass ; 
 iridescent. Persian. 
 
 Height, 14 inches. 
 
 913 — Vase. 
 
 With baluster-shaped body and tall neck, with trumpet-shaped mouth. A spiral filament 
 in relief surrounds the mouth, and a twisted band the neck. Blue glass. 
 Persian. 
 
 Height, 9^ inches. 
 
 914 — Bottle. 
 
 For sprinkling rose-water. With long, twisted tapering neck. A band in relief about the 
 lower part of the neck, and a flat foot. It is of blue glass with a slight irides¬ 
 cence. In the interior, at the bottom of the bottle, are flowers in relief, in pink, 
 blue, and white glass, a fancy which was later copied by the Venetians. Persian. 
 
 Height, 14 inches. 
 
 915 — Vase. 
 
 With tall, flaring neck, bulbous body, beaded stem, and nearly flat foot. In the interior 
 are flowers in relief, as in the foregoing. Slightly yellowish iridescent glass. 
 Persian. 
 
 Height, 12 inches. 
 
91G — Bottle. 
 
 With long, swanlike neck, similar to 912. Blue glass, slightly iridescent. Persian. 
 
 Height, 14inches. 
 
 917 
 
 Four-handled Drinking V.essel. 
 
 With a nearly spherical body and a large, flaring, four-lobed mouth, 
 fine spiral filament in relief. Spanish. 
 
 Decorated with a 
 Height, gg inches. 
 
 918 — Large Club-shaped Bottle. 
 
 With a knob of glass on the inside, attached to the conical reentrant bottom. Clear 
 glass, slightly iridescent. Persian. 
 
 Height, 16 inches. 
 
 919 — Swan-necked Bottle. 
 
 With vertical mouth. Similar to 916, but of yellowish iridescent glass. Persian. 
 
 Height, 17 inches. 
 
 920 — Fifteen Small Pieces and One Large Fragment of Iridescent Glass. 
 
 Greek, Roman, Byzantine. 
 
 921 — Bracelet. 
 
 Of eight beads of mosaic glass. The patterns, zigzags, flowers, and other ornamentation, 
 are like those on objects from Greek graves in the Fayoum, of the third and fourth 
 century, a.d. 
 
 922 — Small Scent Bottle and Flask. 
 
 Bottle of pressed glass. Ornamented on the one side with a crown and three fleurs-de-lis 
 between crossed branches; and on the other, also between crossed branches, with 
 two flaming hearts, and a third from which grows a lily plant in flower. Deep 
 blue glass, the mouth silver mounted. France. Seventeenth century. Flask, 
 almond shaped. Decorated with two strips of denticulated glass down the 
 sides. A Spanish or French imitation of an antique form. 
 
 A series of five of these pretty little flasks, impressed with various designs, is in 
 the Metropolitan Museum, where they are classed as Venetian. This design is illus¬ 
 trated by Gerspach in “ l’Art de la Verrerie,” where it is given as ascribed to Bernard 
 Perrot, brevetted by Colbert “ Maitre de Verrerie ” at Orleans for his inventions in 
 glass-making. 
 
 923 — Elegant Small Vase. 
 
 With 
 
 “ wing ” handles, and a conical neck tapering gradually to a band from which it 
 opens out into a flaring top. Venetian. 
 
 Height, 5 inches. 
 
924 —Three Small Wine Glasses. 
 
 Blown in a mould. Decorated with lozenge pattern; with a twisted stem and conical 
 foot. Similar glass in the Musee de Cluny is classed as French of the seventeenth 
 century. 
 
 925 — Small Barrel. 
 
 To hold a sauce or condiment. It is decorated in white and red enamel, on greenish glass, 
 with a scale pattern in lengthwise stripes, to imitate the staves and the grain of the 
 wood. The ends are hooped with corrugated glass. It has a biberon and handles 
 in light yellow glass. These enamelled bardlets are usually classed as Venetian 
 of the sixteenth or seventeenth century. 
 
 Length, 3^ inches. 
 
 926 — Drinking Vessel. 
 
 Shaped like a segment of a horn, flattened on the sides, and decorated with a spiral fila¬ 
 ment in relief, and with the double festoon about the base. Bright green 
 glass. Spanish. 
 
 Height, 4 1 / 2 inches. 
 
 927 — Flask. 
 
 Almond shaped, with two handles prolonged in denticulated bands along the narrow sides, 
 also with rings hanging free in projecting loops. There were originally three 
 of these rings on each side, but one on each side is missing. Green glass. 
 Spanish. 
 
 Height, 5^ inches. 
 
 928 — Drinking Vessel. 
 
 Shaped like a segment of a horn, flattened at the sides, and with the double festoon orna¬ 
 ment at the bottom. It has had two handles, which are lacking. Bright green 
 glass. Spanish. 
 
 Height, inches. 
 
 929 — Flask. 
 
 Of almond shape, with “ wing” handles, 
 glass about the shoulder. Spanish. 
 
 Bears an inscription, “Pilante,” in trailed 
 
 Height, 5 ]/ z inches. 
 
 930 — Small Barrel. 
 
 With hoops of corrugated glass. Enamelled on deep blue glass with a scale pattern in 
 red and white, as in 925. The pattern forms a rosette at one end. It has a 
 biberon and handles of blue glass. Venetian. 
 
 Height, 4 Yz inches. 
 
 931 — Fight-sided Bottle. 
 
 With flat bottom and rounded shoulder. Amber glass. Decorated in red and white 
 enamels in a scale design in vertical stripes. Metal mouthpiece. Venetian. 
 
 Height, 6 x / 2 inches. 
 
932 — Deep Cup. 
 
 Very heavy dark blue glass, with a flaring border and a flat foot, marked with spirally 
 arranged indentations. Fourteen small decorative handles connect the projecting 
 rim with the body of the cup, which, near the bottom, is ornamented with the 
 double festoon decoration. Spanish. 
 
 Width, inches. 
 
 933 — Flask. 
 
 Very light amber-colored glass, speckled with minute yellow bubbles. Rhodian. 
 
 Height, 5% inches. 
 
 934 —Tall Conical Bottle. 
 
 With reentrant bottom. Light amber-colored glass. Rhodian. 
 
 Height, 7 ^ inches. 
 
 935 — Ewer. 
 
 With round body, S-shaped spout, and angular handle. Venetian. 
 
 Height, inches. 
 
 936 — Eight-sided Bottle. 
 
 With flat bottom and rounded shoulder. Decorated with a scale pattern in vertical 
 stripes in red and white enamel on deep blue glass, similar to 931. It has a 
 metal mouthpiece with a screw top. Venetian. 
 
 Height, inches. 
 
 937 — Bottle. 
 
 Shaped like a Persian rose-water sprinkler, but with a lipped mouth like an cenochoe, 
 and having the long, tapering neck sharply constricted at its junction with the 
 bulbous body. Opaque red glass in imitation of jasper. Rhodian. 
 
 Height, 7% inches. 
 
 938 — Ewer. 
 
 Club shaped, with S-shaped spout and handle. It is painted in oil colors on the ex¬ 
 terior, with a diaper pattern in gold, the spaces filled in with flowers in red and 
 white on a ground of blue gray. Two medallions reserved for other decoration 
 are filled in with gold paint. The glass is greenish. Turkish or Persian. 
 
 Height, 8g inches. 
 
 939 — Ewer. 
 
 Similar to the foregoing, and similarly decorated, but with the medallions bearing each 
 a crescent and three stars in gold. Turkish, or Persian with Turkish decora¬ 
 tion. 
 
 Height, inches. 
 
940 — Flask. 
 
 Oblong oval shape, with two winged handles prolonged in denticulated strips along 
 the narrow sides, and decorated on the broader sides with radiating strips of 
 trailed glass; probably a rough representation of the palmer’s shell embossed on 
 more ancient leathern pilgrim bottles. Heavy green glass, full of bubbles. 
 Spanish. 
 
 Height, inches. 
 
 941 — Large Drinking Vessel. 
 
 Shaped like a segment of a horn, with a reentrant bottom, and thick handles furnished 
 with thumb-pieces. Decorated with a spiral filament in relief, and the double 
 festoon pattern at the bottom. Greenish glass, bubbled. Spanish. 
 
 Height, inches. 
 
 942 — Large Goblet. 
 
 With a high, conical, reentrant bottom of fine blue glass. Decorated in colored enamels 
 and gold in a broad band occupied by one circular and four oval medallions con¬ 
 taining nude figure subjects derived from classical mythology. In the circular 
 medallion are a female figure in a small gilded cart, and a male figure with 
 a branch. In the ovals there are, in the following order: a female figure with a 
 bow and arrows and a male attendant; a female figure with a bow, and a serpent 
 twined about a column; a male figure with a cornucopia; and a female figure with 
 a leaping dog. Between the medallions the decoration consists of water plants 
 in green, yellow, and red enamel. On each side of the principal decoration are 
 jewelled borders, with, beyond them, at top, one row of pearls in white enamel, 
 and at bottom two rows disposed in triangles. The rim is in white enamel. 
 Venetian. Fifteenth century. 
 
 Height, S'A inches ; width, 4 inches. 
 
 943 — Deep-lobed Dish. 
 
 Clear 
 
 glass on a large foot. Decorated in the glass with spirally disposed white fila¬ 
 ments and, between them, bands of lacelike reticelli work. Venetian. 
 
 Width, inches ; height, 2 l g inches. 
 
 944 — Cylindrical Mosque Lamp. 
 
 Clear glass with a horny texture, strengthened by a heavy rib one-third of the dis¬ 
 tance from the top, on each side of which is a band of decoration in gold and 
 enamels, the gold largely worn away. The decoration consists of Arabic in¬ 
 scriptions and conventional floral forms in blue, red, white, yellow, and green, 
 with outer borders of valence pattern ornamented with flowers and leaves out¬ 
 lined in red, and originally filled in with gold. The inscription reads from right 
 to left: “El Malek, el alim, el alim, el alim,” “The king, the learned, the 
 learned, the learned,” a customary dedication formula. Arabic. Fourteenth 
 or fifteenth century. 
 
 Height, ioj4 inches. 
 
945 — Globular Mosque Ornament for Suspension. 
 
 Clear, slightly greenish glass, with a broad band of enamelled inscription about the 
 middle in gold, outlined in red, interrupted by four circles in gold, barred across 
 with thick, red enamel, leaving lozenge-shaped reserves, with borders of ara¬ 
 besques in gold above and below. The inscription reads: “ One of those made 
 by the great, the exalted El Naki, El Arjawan; the gloiy be to God.” Egyp¬ 
 tian. Thirteenth century. 
 
 Diameter, 7^ inches. 
 
 The lozenge reserved on a horizontal bar is an ancient Cairene heraldic device, like 
 the dagger, the crescent, and the cup. It is found on fragments of pottery from the 
 Fostat mounds (old Cairo), now in the British Museum, and was in use during the 
 thirteenth century a.d. From the character of the decoration, this globe should be 
 assigned to the early part of that period. 
 
 946 — Panel of Painted and Leaded Glass. 
 
 Bearing two armorial shields with elaborate scroll crests, framed in a motive derived 
 from Renaissance architecture, with, above, a forest scene with hunters and 
 deer, a castle in the distance, and below, an inscription in Gothic characters, 
 “ Hannis im Thurun Zu Schaffhusen,” with a monogram and the date, 1570. 
 German. 
 
 Height, 20 inches ; width, i6p£ inches. 
 
 947 — Panel of Painted and Leaded Glass. 
 
 With three shields armorial, surmounted by a crown, and supported by a lion and a 
 lioness, in an elaborate frame of Renaissance architecture. The outer border 
 is composed of small shields with the arms of various German towns or 
 territories. Dated, a.d. 1680. German. 
 
 Height, 20 inches ; width, 16 % inches. 
 
 947 a — Large Panel of Stained Glass. 
 
 By John La Farge. The design is “Peonies Blown in the Wind,” carried out in 
 richly colored and moulded glass, and framed in very elaborate borders of the 
 same. An important early work by the most famous of living artists in stained 
 glass. 
 
 Height, 6 feet 5 inches ; width, 3 feet 8 inches. 
 
 “This, one oi my first windows, was made in 1878-79. Part of the glass is the 
 very first of what is called American glass, made according to my formulas somewhat 
 earlier, and which I was the first to make. Sir Alma-Tadema and Hon. John Hay 
 have similar subjects, with variations, of course.”— John La Farge. 
 
 947 b— Two Antique English Panels. 
 
 Painted and leaded glass, with modern borders. One has in the centre a shield quar¬ 
 tered with the three fleurs-de-lis , which from the end of the twelfth century 
 were the royal arms of France, and a Latin inscription, Orate pro . . . ? 
 
 Each, height, 4 feet g inches ; width, 2 feet 4^ inches. 
 From the Salisbury Cathedral, England. 
 
Greek Ceramics 
 
 Seventh to Third Century b.c . 
 
 A leading date to remember in connection with Greek ceramic art is that of the destruction 
 by the Persians of the old temple of Athene, on the Acropolis of Athens, b.c. 480. Near the founda¬ 
 tions of the temple there have lately been discovered many fragments of both black-figured and red- 
 figured vases, which, with other evidence, proves that the transition from the first, the black-figured 
 style, to the red must have begun a little before that time; that is to say, about tbe end of the sixth 
 and the beginning of the fifth century b.c. To this period must be ascribed most of the black-figured 
 vases in the present collection. An exception is the curious amphora, No. 973, which belongs to a 
 small class of archaistic vases in which the ancient style has been imitated by later artists. Another 
 exception is the magnificent “Corinthian” vase, No. 972, which should be assigned to the seventh 
 century b.c. 
 
 The most interesting of all Greek vase paintings are undoubtedly those of the transition. The 
 revolution in technique, the growth of artistic skill, and the class of subjects treated, all tend to make 
 them so; and they may be said to reflect to some extent the political importance of the period which 
 witnessed the defeat of the Asiatic invaders and the rise of Athenian power and culture. The subjects 
 are largely mythological or legendary, such as, about the same time, furnished themes for tragedy and 
 comedy; assemblies of the gods, battle-scenes from Homer, Bacchic festivities, adventures of Herakles 
 and Theseus—illustrations, one might call them, of all the earlier literature and folk-lore of Greece. 
 During the period the black glaze, at an earlier age used for the design only, as in the “Corinthian ” 
 amphora just cited, was spread more and more over the body of the vase, leaving one or two narrow 
 zones or broader panels reserved in the red clay on which the black figures could be placed. At last, 
 some one ventured to bring the black ground color close up to the outlines of the figures, allowing 
 them to remain in the red. In some cases both styles of work are found upon the same vase. But 
 the innovation grew in favor, and by the end of the fifth century the red-figured style was predomi¬ 
 nant. This was the moment of the highest development of Greek art. Already, in some of the 
 fourth century red-figured vases we find symptoms of the coming decline. In the third century we 
 find vases with moulded reliefs, or painted only with carelessly drawn ornaments in white or red 
 clay slip over the glaze, a return to primitive methods of decoration which had little but their 
 facility and cheapness to recommend them. Nevertheless, some of these late vases are distinguished 
 for beauty of form. 
 
The sombre coloring of most Greek vases has been remarked, but the glaze affords a greater 
 variety and richness of color than is generally supposed. Its composition is not yet understood. 
 It probably differed at different periods. In color it varies, sometimes on the same piece, from a 
 fine, glossy black, through brown and olive, to red and even orange. In addition, the painters had at 
 their command, for over-glaze colors, white, yellow, red, and purple, which could be slightly fired; 
 and, in rare instances, the vase, whitened over most of its surface, was painted with blue, violet, and 
 green, which were not subjected to tile firing process, and which have, therefore, for the most part, 
 disappeared. Two large hydrias, Nos. 977, 978, represent this rare polychrome decoration. 
 
 It is difficult to get rid of a misleading term when it has once become generally accepted. 
 Greek vases are still frequently called “ Etruscan ” because certain early and important discoveries 
 of them were made in Tuscan soil. But they have also been found in Asia Minor, in Syria, 
 Egypt, Southern Italy, as well as at Athens, Corinth, Megara, and other places in Greece proper 
 which it is now certain were the principal centres of the art. The most noted Italian factories 
 were established by Greeks in Greek colonies. Even the very latest products of the Roman kilns in 
 Britain and in Gaul depend for whatever artistic merit they may possess upon the lasting and wide¬ 
 spread influence of Greek taste. On the other hand, we should, perhaps, find a broader term for 
 the vases called “Corinthian.” Though Corinth may have been the chief seat of their manufac¬ 
 ture, it can hardly have been the only one, and there is no likelihood that the style originated there. 
 
 948 — Lekythos. 
 
 With anthemion decoration in black, on a buff ground. 
 
 Height, inches. 
 
 949 — Lekythos. 
 
 Decorated in black, on a pale buff ground. The decoration consists of lozenge and 
 checker patterns and a Greek fret. The word “KAAOS,” “beautiful,” is in¬ 
 cised on the foot. 
 
 Height, S /4 inches. 
 
 950— Two-handled, Vase. 
 
 Red figured, with female heads, scrolls, and anthemions reserved in the ground, other¬ 
 wise covered with a black glaze. There are traces of over-glaze decoration in 
 white. 
 
 Height, 6^ inches. 
 
 951 — Oinochoe. 
 
 With tri-lobed mouth, almost completely covered on the outside with a lustrous brownish- 
 black glaze, over which has been painted in red slip a band of ivy leaves and 
 berries. A band of pendant leaves above this has been reserved in the red 
 ground color of the vase. 
 
 Height, 7% inches. 
 
967 
 
 961 
 
 973 
 
 953 
 
 AW. Els on & Co,Boston. 
 
 968 
 
952 — Prochoos. 
 
 With two-lobed mouth. Decorated with a band of freely executed anthemions in black 
 on a red panel, reserved. The remainder of the piece is covered with a slightly 
 lustrous black glaze, over which is a ring of pearls in white. 
 
 Height, 9 inches. 
 
 953 — Skyphos. 
 
 Black glazed inside and out, and decorated over the black with olive branches in red and, 
 between them, anthemions in white. The decoration much effaced. 
 
 Height, inches. 
 
 954— Kylix. 
 
 Of fine red clay, covered with a lustrous black glaze, excepting, inside, a circular re¬ 
 serve at the bottom of the cup, and, outside, a broad band of red divided by a 
 black line above the insertion of the handles, and a narrow band below. The 
 uppermost red band is decorated in black with two pairs of leopards, animals 
 sacred to Dionysos. From the handles proceed elegant small anthemions, and 
 and on a level with them, twice repeated, is an inscription which, though un¬ 
 grammatical, may be read: “ XAIPE KAI IIIEI TE NAI^i.” “ Hail! and drink 
 well.” A beautiful example of Attic art of the early part of the fifth century, 
 b.c. (One handle is missing; the foot has been repaired.) 
 
 Diameter, inches. 
 
 The restoration and translation of the inscription are by Professor Wright, of 
 Harvard, who has made a special study of these inscriptions. 
 
 955 — Small Red-Jigured Oil Vessel. 
 
 For replenishing lamps. In a form derived from the askos, or wine-skin. It is covered, 
 handle, spout, and body, except the convex top, with a lustrous, brownish-black 
 glaze, and decorated on the reserve with two-winged gryphons in black, with 
 details in lustrous red, due to the glaze unmixed with the black pigment. 
 
 956 —Deep Kylix. 
 
 Black glazed within and without, with vine-leaf decoration on one side in red over 
 the glaze. 
 
 Diameter, 4'g inches. 
 
 957 — Skyphos. 
 
 Red figured, with, under a band of oves, a maiden with basket and branch, and an at¬ 
 tendant winged genius. Necklace and wings are touched with white. Under 
 the handles are anthemion designs. 
 
 Height, 4 % inches ; diameter, 4 l /% inches. 
 
 958 — Kylix. 
 
 Of fine clay and elegant form, covered inside and out with black glaze, except on the 
 exterior, at the bottom of the bowl. The interior has a large rosette, with several 
 borders incised in the clay. 
 
 Diameter, b x /% inches. 
 
959 — Rhyton. 
 
 Red figured, in the shape of a deer’s head. The neck is decorated, between anthemion 
 scrolls, with a winged genius, holding a dish of fruits; above and below this 
 are bands of oves. The details of the wings, collar, and bracelets of the figure 
 and the outlines of the rocks on which he is sitting are white. The horns of 
 the deer have been whitened. The handle has a spray of olive-leaf decoration. 
 From Tarentum. It is of the early fourth century b.c. 
 
 Height, from nose to rim, 8*4 inches. 
 
 This class of vessels, of which the form is derived from the drinking-horn, includes 
 the most successful attempts to combine modelled with painted decoration. 
 
 960 — Rhyton. 
 
 Red figured, in the shape of a bull’s head. The horns have been whitened, and their 
 corrugations are indicated with lines of faint red; the ears, mouth, and nostrils 
 are laid in with purplish slip. On the neck, between anthemions, is a winged 
 Eros in the red color of the clay, with touches of white and yellow. 
 
 Height, from the under part of the head to the rim, 7 inches. 
 
 961 — P roc hods. 
 
 With two-lobed mouth, the body in the form of a negro’s head. Decorated on the neck 
 of the vase, in black on the buff ground, with a broad band of chevrons 
 between narrow bands of wave design above and oves below. From Viterbo. 
 Attic workmanship of the fifth century b.c. 
 
 962 — Oinochoe. 
 
 Black glazed, with tri-lobed mouth and graceful, ribbed handle, terminating on the body 
 of the vessel in a mask, in relief, of an old man. Campanian. Third cen¬ 
 tury B.C. 
 
 Height, to the top of the handle, 10 inches. 
 
 963 — Large Kylix. 
 
 Black figured, covered mostly with a fine, lustrous black glaze, excepting on the out¬ 
 side, at the height of the handles, a band of red, reserved, on which, in black, 
 are deer and leopards or lions confronted. There are patches of lustrous red, 
 the glaze unmixed with the black pigment on the heads and necks of the ani¬ 
 mals. The details are incised. Early fifth century b.c. 
 
 Height, sX inches ; diameter, 8 inches. 
 
 964 —Vase. 
 
 With a handle for suspension. Red figured on black ground. The subjects are a genius 
 with a wreath and mirror, and a figure wrapped in a cloak, separated by anthe¬ 
 mions and flowers. On the neck are two female heads. Details are in white. 
 
 Height, to the top of the handle, 12^ inches. 
 
965 — Lekythos. 
 
 Red figured on black ground. An Eros or genius with two wands, seated on a flower, 
 with very elaborate anthemion and scroll decoration. The details are touched 
 with white. 
 
 Height, io'/£ inches. 
 
 966 — Amphora. 
 
 Black figured, in large panels, reserved in red from the general glaze of lustrous black. 
 The principal subject is the Apotheosis of Herakles. Athene leads on Herakles 
 by the hand; Hermes precedes them in the capacity of herald, and addresses 
 Zeus, who is enthroned at the right. The figures are distinguished by inscrip¬ 
 tions, and Herakles wears his lion’s skin, Hermes his winged boots, and Athene 
 (A 0 ENAIA) her aegis and helmet. The subject is a favorite one with the paint¬ 
 ers of black-figured vases. The other panel, though much effaced, appears to 
 represent one of the labors of Herakles. The vase is of the sixth or early 
 fifth century b.c. There are some easily perceptible restorations of the glaze, 
 not affecting the figures. Found near Cervetri. Attic workmanship, sixth 
 century b.c. 
 
 Height, 10% inches. 
 
 967— Amphora. 
 
 Red figured. Reserved from the general glaze of lustrous black are, on the one side, 
 a figure wrapped in a cloak; on the other, a half nude female figure, seated, 
 holding a basket in the right hand, a dish of fruit in the left. Phiales and a 
 fillet are suspended in the background; between the figures are complicated 
 anthemion scrolls; on the neck is a band of anthemions. 
 
 Height, 14% inches. 
 
 968 — Hydria. 
 
 Of very elegant proportions, of black, moulded ware, with reserves in red. The body 
 of the vase is ribbed; the down-turned lip has a wave design in black on red; 
 there are two rings of red about the foot, and a band of olive branch in red, 
 applied over the glaze, surrounds the neck. 
 
 Height, 12^ inches. 
 
 969 — Amphora. 
 
 Red figured. On the one side are a nude male figure and a female figure with a bowl; 
 on the other are two figures wrapped in cloaks, one with a walking-stick. 
 
 Height, 16^ inches. 
 
 970 — Amphora. 
 
 Red figured. On the one side is a nude male figure holding an ornamental thyrsus and 
 a bunch of grapes, with a Bacchante carrying a basket of grapes and a fillet; 
 on the other, two cloaked figures, one with a walking-stick, as on the foregoing 
 
 vase. 
 
 Height, i6^ inches. 
 
971 — Large Hydria. 
 
 Black figured. Covered with a brilliant black glaze. A large panel on the shoulder, 
 reserved in the lustrous red ground color, is painted with a chariot race in 
 black. The drivers are clad in white chitons and wear crimson wreaths. The 
 harness and the manes and tails of the horses are touched with crimson; a dog, 
 running alongside, has a white collar. These colors are over glaze. Details 
 are incised. The panel is framed in elegant borders. (Repaired.) 
 
 Height, 13 inches. 
 
 972 — Large Amphora. 
 
 Of “Middle Corinthian” or “Asiatic” style. The decoration consists mainly of 
 five parallel zones of animals and fabulous creatures in black on the buff ground. 
 The zones are separated by broad stripes of black, divided by lines of red. The 
 animals figured are leopards (or lions), deer, bulls, swans, goats, and boars, 
 all drawn with much spirit. Harpies, sirens, and sphinxes appear among them. 
 The ground between the figures is filled in with rosettes, and the neck of the 
 vase bears an early form of the double anthemion design, showing its derivation 
 from the Egyptian water lily. 
 
 The effect of the decoration is heightened by the use of two tones of red; 
 the one a purplish slip applied over the glaze, the other a brownish or orange 
 red, obtained by thinning the black color. In part, this last is accidental. The 
 decoration is partly effaced on one side of the vase. 
 
 The style is supposed to be derived from Persian textiles, or, with more 
 likelihood, from the hammered metal work of the time (the seventh and sixth 
 centuries B.c.) when the vase was produced. The shining black figures would 
 represent the metal ornaments cut out a jour , the buff" ground the wood upon 
 which they were applied, as in the celebrated chest of Cypselus. Vases similar 
 to this have been found at Caere in Italy, at Naucratis in Egypt, and in the 
 Troad, as well as at Corinth; and though the period was one of great colonial 
 and commercial expansion, it does not seem likely that all were of Corinthian 
 origin. Found at La Tolfa, near Civita Vecchia. 
 
 Height, 17V inches. 
 
 973 — A mphora. 
 
 Black figured, with cover. The body has been whitened all over, but much of the 
 white coating has worn away. The decoration shows on the one side a lyrist, 
 crowned, playing to two admiring female listeners; on the other is the combat 
 of Herakles and the Cretan bull. An attendant figure holds the hero’s club, and 
 a female, the nymph of the place, looks on ; a quiver full of arrows is hung up 
 in the background. Graceful anthemion and flower scrolls occupy the spaces 
 under the handles. On the neck is a border of double anthemion design of late 
 style, and another elaborate border surrounds the foot. Details are very boldly 
 incised. The flesh parts of the female figures are gray, the original white coat¬ 
 ing having worn off". The vase was probably a prize for a musical or poetical 
 composition, and is a good example of the archaistic tendencies of the fourth 
 century b.c. 
 
 Height, to knob on cover, 18 inches. 
 
974 — Large Hydria. 
 
 Black figured. The vase is covered with a brilliant black glaze, excepting a large panel 
 reserved in lustrous red, and divided into two unequal horizontal compartments. 
 The largest of these shows Athene in a two-horse chariot; Herakles, with his 
 lion’s skin and club, admonishing her; and Hermes holding the horses. The 
 scene occurs on other vases, with alterations, and is supposed by some authorities 
 to have reference to the celebrated ruse of Peisistratus, who, to justify his usur¬ 
 pation of the government, had himself accompanied to Athens by a handsome 
 woman, who personated the goddess. It may simply be a group from a more 
 important composition of the war between the gods and the giants (giganto- 
 machia) such as is depicted on a vase in the British Museum. In any case, the 
 vase painter, in this instance, seems to intimate that the goddess might not be able 
 to manage her steeds without the assistance and counsel of the male divinities. 
 
 The face and arms of Athene are white, the manes and tails of the horses 
 purplish red; details are incised. In the smaller compartment above, Athene, 
 in a four-horse chariot, separates two groups of combatants. Below the main 
 composition is a narrow band with a lion attacking a bull. 
 
 Height, 20 inches. 
 
 975 — Hydria. 
 
 Black figured. The vase is nearly covered with a brilliant black glaze, from which a 
 large panel, bordered with ivy leaves and other designs, is reserved in lustrous red. 
 The main subject is a Dionysian procession. Dionysos mounts his chariot, in 
 which Ariadne is already standing; he bears a spreading branch of the vine, laden 
 with leaves and clusters of grapes. A satyr follows the god closely, playing the 
 double flute; another strikes a lyre; a third, mostly hidden behind the horses, holds 
 their heads. They are of the so-called “ Corinthian ” type, drawn from the actors 
 in the satyric drama. In earlier Ionic paintings they have horses’ legs and hoofs, 
 as well as tails. Two maenads run along at the far side of the horses, one hold¬ 
 ing a bundle of small twigs, perhaps an aspergill; the other sounding the cro- 
 tales. The animated composition is liberally enriched with colors applied over 
 the glaze. The beard and crown of Dionysos are purple; his ample himation 
 and Ariadne’s robes are banded with purple ; the satyrs have purplish beards, 
 crowns, and tails ; the horses have purple tails and manes. Ariadne’s face is 
 gray, the original white coating having been worn oft; but the faces and arms of 
 the maenads are white, and their black dresses are ornamented with purple disks 
 and stars. This striking coloration is not altogether fanciful. Horses’ manes 
 and tails were frequently dyed. The satyric actors stained their bodies with lees 
 of wine. Nor is the picture, as a whole, without relation to actual life—at least 
 that of the theatre and the public festivals. Allowance made for the necessary 
 conventionality of treatment, which is part of the style, it may even be said to 
 image almost realistically the strange and fantastic appearance which must have 
 been presented by a Dionysian procession, at night, against a torch-lit background. 
 
 Below the main picture is a band with boars and lions; above is the combat 
 of Herakles with the Nemean lion, watched by Athene, Hermes, and other 
 divinities. The vase is of the latter part of the sixth century b.c., or the be¬ 
 ginning of the fifth century. (Repaired.) 
 
 Height, 17 inches. 
 
976 — Large Hydria. 
 
 Of buff-colored clay. Decorated with a band of freely executed ivy design on the 
 shoulder, between the handles, and one of olive about the neck. The large 
 handle is twisted. 
 
 Height, 14^ inches. 
 
 977 — Hydria. 
 
 It has been whitened all over, and bears traces of decoration in white, blue, and red, 
 representing a twisted fillet passed through the handles and falling in a festoon 
 against the side of the vessel. 
 
 Height, 15 inches. 
 
 978 — Hydria. 
 
 Coated, like the foregoing, and painted in white, blue, and red (the blue turned green¬ 
 ish), with a fillet depending from the handles. The white coating has scaled off 
 in places, exposing the red clay body of the vase. 
 
 Height, 17% inches. 
 
 979 — Hydria. 
 
 Of reddish-buff clay, painted with a band of freely executed olive branch design on the 
 shoulder, between the handles; a wavy branch of the same surrounds the neck. 
 (Repaired.) 
 
 Height 1 S'A inches. 
 
 Greek and Roman Marble Sculpture 
 
 980 — Fragment of a Marble Votive Relief. 
 
 A woman presenting a child, a small building in the background. Finely wrought in 
 close-grained marble. There are traces of red paint on the child’s dress. 
 Mounted on a block of oak covered with red velvet. 
 
 Length of fragment, 9^ inches. 
 
 From Palembino. The natural supposition, that this represents the institution 
 by Trajan of the Pueri Alimentarii , is excluded by the style, which is earlier. It prob¬ 
 ably represents the presentation of a captured prince or a hostage. 
 
 981 — Head of a Satyr, Crowned with Ivy. 
 
 Very finely wrought, with much undercutting, in fine-grained marble. The back of 
 the head is missing. 
 
 Height, 7 inches. 
 
 982 — Head of Dio/iysos, Crowned with Ivy. 
 
 Finely wrought in marble. The nose has been restored. Mounted on a pedestal. 
 
 Height, 6 inches. 
 
986 
 
 AW £lsor. £ Cc.Boston 
 
983 — Archaic Male Head. 
 
 In fine soft-grained marble. With hair, indicated by wavy lines, bound by a fillet, 
 three rows of small curls over the forehead, high cheek bones, and prominent 
 eyes. The nose is mutilated; no restorations. Greek. Late sixth or early 
 fifth century B.c. From the Villa Borghese sale. 
 
 Height, Syi inches. 
 
 984 — Marble Head of a Triton. 
 
 With curiously twisted, long locks. Pergamese style. 
 
 Height, 2% inches. 
 
 985 — Marble Head of Athene. 
 
 Helmeted. Resembles the Giustiniani Minerva. 
 
 Height, 2 J 4 inches. 
 
 986 — Portrait Head of a Roman. 
 
 Marble. Well executed, with much undercutting in the hair and beard. Mounted on 
 a pedestal of yellowish, veined marble. Period of the Antonines. From the 
 Villa Borghese sale. 
 
 Larger than life size. 
 
 Greek Terra-cottas 
 
 Fourth to Second Century b.c. 
 
 987 — Psyche. 
 
 The lower part of the body is draped ; butterfly wings on shoulders. She stands 
 leaning forward, holding a perfume bottle in one hand, and with the other 
 removing the drapery which covers an urn placed on a tall rustic pedestal. 
 
 Height, ro inches. 
 
 988 — Boy, Crowned. 
 
 Carrying a satchel. 
 
 Height, 4% inches. 
 
 989 — Girl with a Pet Bird on Her Shoulder. 
 
 She is seated on a rock, and is offering a fruit to the bird. The hair is tinted red. 
 
 Height, 7 inches. 
 
 990 — Girl Standing. 
 
 With arms wrapped in her mantle. There are obvious traces of the original coloring— 
 the chiton blue, the peplos pink, reddish hair, vermilion shoes. 
 
 Height, 9 inches. 
 
991 — Girl Seated in a Chair. 
 
 Height, 6 inches. 
 
 992 — Girl Standing. 
 
 Arranging her drapery. The hair is dark red. 
 
 Height, 9 inches. 
 
 993 — Girl Mourner. 
 
 With wreath and amphora. Seated on a stone bench, 
 amphora. The hair is reddish. 
 
 994 — Girl Seated on a Rock. 
 
 There are traces of blue on the 
 Height, inches. 
 
 Leaning sidewise. The upper part of the body undraped, 
 holding an ointment bottle. 
 
 The right hand raised, 
 Height, 6 inches. 
 
 995 — Girl with a Lyre Seated on a Rock. 
 
 The head, gracefully bent, looking down. 
 
 Height, 8^ inches. 
 
 996 — Girl Seated, with a Fan. 
 
 The upper part of the body is nude, the legs crossed under the drapery, the right hand 
 raised as if in surprise. Reddish hair. 
 
 Height, 8 inches. 
 
 997 — Group. 
 
 Of a lady at her toilet, with an attendant. The former, seated, is regarding 
 herself in a mirror, of which the cover, which is supposed to be on a pivot, is 
 pushed back; the latter, seated on the ground, is tying her mistress’s sandal. 
 Both have reddish hair. 
 
 Height, i l /2 inches. 
 
 998 — Group. 
 
 Of Pan and a nymph. Pan, goat-footed, is seated on the ground, and is extracting a 
 thorn from the nymph’s foot. Height, 8 % inches. 
 
 A well-known expert thus writes from Rome, May 3, 1888 : "I have bought for 
 you a most remarkable group found at Kyme (y£olis), representing a nymph, and Pan 
 plucking a thorn from her foot. You will be delighted with it. It is one of the most 
 beautiful objects preserved to us from antiquity. The exquisite beauty of the nymph 
 makes a highly effective contrast to the characteristic ugliness of Pan. The zeal with 
 which the latter applies himself to the task is given with notable humor.” 
 
 999 — Tall, Graceful Fe?nale Figure. 
 
 Wrapped in a mantle, wearing a hat, and carrying a fan. 
 tinged with red. 
 
 The hair is reddish, the lips 
 Height, 11 inches. 
 
 1000 — Head and Shoulders of a Boy (Atysf 
 
 Wearing a pointed cap, the rjo\o<;-, with hair hanging loosely. Coarse terra-cotta, 
 late Greek or Roman. Found at Caysua. 
 
 Height, 14 inches. 
 
I 
 
 99 2 
 
 993 
 
 990 
 
 1 m 
 
Antique Persian and Other 
 Oriental Ceramics 
 
 Old Spanish Azulejos 
 
 Properly speaking, there is no Arabian art. The arts of the mediaeval East, like those of the 
 West, were derived from the common focus, Byzantium; and, in the East, the chief centre of 
 innovation, growth, and diffusion was not Arabia, but Persia. 
 
 Assuming—a large assumption—that the Arabs are to be credited with that taste for geo¬ 
 metrical combinations so marked in all Mahometan ornament, and with the picturesque lettering 
 known by their name, it was Persia that gave a new life and greater elegance and suppleness to the 
 stiff Byzantine forms, and it was from Persia that the new art radiated to Damascus, Broussa, 
 Rhodes, and Keirouan. So close is the relation that, in many cases, it is unwise to affect to dis¬ 
 tinguish the art of these places from the Persian. Even the very characteristic art of Moorish Spain 
 shows unmistakable evidence of Persian derivation. But Persia has always been a centre of absorp¬ 
 tion as well as of diffusion. She went to school in ancient times to Chaldaea, Egypt, Greece. After 
 the Moslem conquest she continued to learn of Constantinople, of Egypt, and of India. The influence 
 of old Egyptian ornament is shown in the beautifully iridescent vase (No. 1016) with an Egyptian 
 lotus decoration in black under the glaze, though the vase itself may be contemporary with Haroun- 
 al-Rashid and the glories of the Arabian Nights. It is matched, as to technique, by pieces recently 
 found in Syria and in the neighborhood of Nineveh. And, turning in the opposite direction, the 
 large turquoise-blue jar (No. 1032) whose reliefs of elephants and horsemen may have been intended to 
 recall the deeds of Mahmoud of Ghazni, the conqueror of India and patron of Firdausi, the national 
 poet of Persia, shows a mingling of Indian and Persian elements in its decoration. 
 
 The earliest dated Persian lustre tiles are of the thirteenth century, according to Mr. Henry 
 Wallis; but the art of lustre was practised in Egypt from the eleventh century, and must have reached 
 Persia not long after its discovery. These very early lustred pieces were golden or nacreous in tone, 
 with occasional flashes of ruby, on a white or pale yellow ground, and were probably intended as sub¬ 
 stitutes for the gilded vessels of Constantinople. Omar Khayyam may have drunk out of one of those 
 primrose-colored cups decorated with golden lustre, like the fragments unearthed, in recent years, 
 near old Cairo. The star-shaped and X-shaped lustred tiles in the present collection are of the 
 
thirteenth century style. They are now so rare in Persian mosques that they are usually found 
 singly, set in the midst of large panels of tiles of later date. The larger mosque tiles, with blue letters 
 in relief, which may be from Anatolia,* are probably a century later. But, was it not a peculiarly 
 Persian fancy to decorate with lustre the monumental tablets in commemoration of the dead (like 
 No. 1158) which, following ancient usage, are in the form of a door to the other world ? The inscrip¬ 
 tions sometimes refer to the slab itself as the gate to the garden of the deceased—his “ paradise.” 
 
 It is strange that the Chinese never attempted decoration in lustre, though they have often 
 accidentally produced it, and though the intercourse between their country and Persia has been long 
 and fruitful. Genghiz Khan is said to have brought Chinese potters to Kashan, and it may be to the 
 descendants of their Persian pupils that we owe the beautiful and exceedingly rare Persian white por¬ 
 celain, of which No. 1004 is an example. The efforts—childish, perhaps, but certainly not slavish— 
 to follow Chinese naturalistic decoration which we find on old Persian blue under-glaze, such as the 
 curious landscapes on Nos. 1019, 1023, 1028, and 1031, are probably contemporary with the 
 Chinese porcelains of the early Ming period; and some of the finer Persian porcelains may belong to 
 the period following the reign of Shah Rokh, when, in China, under Siounte and the later Ming, were 
 produced the best porcelains of the farther East. If the Persians copied the Chinese, the Chinese 
 also copied Persian patterns and glazes, and it is not easy to determine whether the mosque globe 
 (No. 1011), comparable with the finest Chinese blue and white, and the plate (No. 1008), with its 
 outer glaze of “ peach-blow” color, are of Chinese or Persian manufacture. 
 
 Under Shah Abbas (1557—1627) occurred the revival of the Persian art of lustre to which 
 we owe the lapis-lazuli bowls on which, in gardens of cypress, willow, and rose, peacocks strut among 
 irises and tulips, all in sombre black, like a night effect of a European painter, but changing, as if 
 by magic, to sunrise hues of ruby, emerald, and gold. 
 
 Finally, we come to those splendid wall revetments of polychromatic tiles from a mosque 
 in Constantinople, f in which Chinese cloud scrolls mingle with the floral ornamentation of the Per¬ 
 sian, and the shaded enamels recall the practice of ancient Byzantine decorators. Some day it will 
 be possible to bring together in one system the arts of Asia and of the Mediterranean. It will then 
 be seen that the apparently divergent streams of descent have mostly run parallel when they have not 
 intermingled, and that, from the early Middle Ages to the present Persia has been one of the most 
 important centres of transmission and modification. We may then, also, be able to distinguish with 
 certainty between the various national and local schools of the nearer East, and to trace, step by step, 
 the genesis of their ornamentation. But there are still many gaps in our knowledge which must be 
 filled before this can be satisfactorily done. 
 
 Some of the old Spanish wall tiles from the unfinished palace of Charles V., on the Alhambra 
 hill, keep, together with their Moorish name (Azulejos), the Moorish lustre. The Spaniards must 
 have introduced the art into Mexico, for it is practised to this day by Mexican Indian potters. 
 
 * Persian potters were established there in the fourteenth century, 
 f Most likely of Anatolian manufacture. 
 

1001 — Bottle. 
 
 White opaque glaze. Decorated in brownish lustre with metallic reflections, in 
 a pattern of leaves and flowers on the body, and a conventional cypress and 
 arcade pattern about the neck, which terminates roughly to receive a metal 
 mount. Very old Persian, probably of the thirteenth century a.d. 
 
 - Height, 4 inches. 
 
 1002 — Flattened Baluster-shaped Bottle. 
 
 With two small handles for suspension. With decoration of scrolls and foliage in blue 
 and black. The blue has run into the vitreous glaze. 
 
 Height, 6 inches. 
 
 1003 — Puzzle Ewer. 
 
 With crescent-shaped mouth and S-shaped handle. The foot is open to the middle of 
 the vessel, and panels of open reticulated work make it seem impossible that it 
 should hold a liquid. It is decorated with blue and black. The vitreous glaze 
 has formed a drop depending from the spout. 
 
 Height, 7 inches. 
 
 1004 —Short Cylindrical Bottle , or Vase. 
 
 White, translucent porcelain, with decorations incised in the paste. Persian. Prob¬ 
 ably of the fifteenth or early sixteenth century. 
 
 Height, 4% inches. 
 
 1005 — Puzzle Bottle. 
 
 With openwork panels, like No. 1003, with decoration in blue and black. 
 
 1006 — Bowl. 
 
 White inside, blue on the exterior. Decorated within with freely treated conventional 
 flowers and leaves in golden lustre; on the outside with a peacock among trees 
 and flowers, in black lustre, giving green and golden metallic reflections. Per¬ 
 sian. Sixteenth or early seventeenth century. 
 
 Diameter, 7^ inches. 
 
 1007 — Short Cylindrical Bottle. 
 
 Similar to No. 1001, but fitted with a screw top in metal, the cap lacking. The 
 glaze is of a brownish white, and it is boldly decorated in brown lustre with 
 rich metallic reflections. Very old Persian. 
 
 Height, 4% inches. 
 
 1008 — A Deep Plate. 
 
 Of translucent porcelain, the inside covered with a thick white glaze, and decorated 
 with a diaper pattern incised. The outside has a thin fawn-colored glaze of 
 the same composition as the Chinese “peach-blow ” glaze. 
 
 Diameter, inches. 
 
1009 — Deep Bowl. 
 
 Decorated inside and out in blue, outlined with black, in an arcade pattern, and very 
 free floral scrolls. Alternate panels of the arcade are pierced through the paste, 
 the openings filled with the transparent glaze. Persian. 
 
 This ware, known to Horace Walpole as "Gombroon ware,” from the name of 
 the port on the Persian Gulf where was the first depot of the East India Company, 
 bears an obvious resemblance to the Chinese “ grains-of-rice ” ware. It is a 
 question in which country the mode was invented. 
 
 Diameter, 8X inches. 
 
 1010 — Bowl. 
 
 Similar to No. 1006. Enamelled with deep blue on the outside, white within. The 
 outer decoration, of rose bushes, willow trees, etc., is in black lustre with 
 varied jewel-like reflections; the inner, a willow with drooping branches, sur¬ 
 rounded by detached flowers and arabesques, is in brown lustre with similar 
 vivid reflections of ruby, emerald, sapphire, and gold. The greenish vitreous 
 glaze forms a thick ring at the bottom, on the outside. Persian. Sixteenth 
 or seventeenth century. 
 
 From the Bing Collection. 
 
 Height, 3 Y% inches; diameter, 3^ inches. 
 
 1011 —Porcelain Mosque Globe. 
 
 To unite the chains of a hanging lamp. It is ornamented with arabesques and 
 simulated inscriptions reserved in white from a ground of the finest cobalt. 
 Damascan or Chinese (?). 
 
 Diameter, 5^ inches. 
 
 1012 — Small Cup. 
 
 Of porcelain. Covered within with a brilliant white glaze ; on the outside with a fine, 
 deep blue. It is decorated, in copper lustre giving gold and ruby reflections, 
 with the arcade and cypress pattern on the white interior, and on the exterior 
 with vine leaves reserved in the blue. Persian. 
 
 Height, inches. 
 
 1013 — Small Cup . 
 
 Similar to the preceding. 
 
 1014 — Bowl. 
 
 With a thick body and creamy white glaze. Decorated, in copper lustre with rich 
 purple reflections, with a band of arabesque pattern, guilloche border, and free 
 foliage designs. The exterior bears simulated inscriptions. Hispano-Moresque. 
 
 Diameter, 5 y 2 inches. 
 
1015 — Jug. 
 
 Of light body and creamy white glaze. With a design of two birds alighting among 
 flowers, in copper lustre; no changing reflections. Late Italian or Spanish imi¬ 
 tation of Hispano-Moresque ware. 
 
 Height, inches. 
 
 At the beginning of the last century, Baron Charles Davillier found a single 
 furnace at Manises, in Spain, still producing copper lustred ware after the old 
 Moorish designs. It is probable that the art has never entirely died out in Italy, 
 whence come most of the genuine Hispano-Moresque specimens. 
 
 1016 — Vase. 
 
 Baluster formed. Covered with a thick, brilliant, vitreous glaze, about half of which 
 shows a fine pearly iridescence like that on antique Greek glass. Decorated 
 under the glaze with lotus forms, in a scale pattern, in greenish black. A band 
 of chevrons surrounds the neck, which is broken. The design is mediaeval— 
 Egyptian. Similar pieces have been found in Syria and Mesopotamia. Probably 
 of the eighth or ninth century a.d. 
 
 Height, inches. 
 
 1017 — Vase. 
 
 Of amphora form, but with the neck prolonged beyond the handles. It is decorated, 
 in copper lustre without changing reflections, with birds alighting among flow¬ 
 ers, as on No. 1015. Imitation of Hispano-Moresque. 
 
 Height, 11 inches. 
 
 1018 — Bottle, or Sura he. 
 
 The mouth has been left rough, to be finished in metal. The glaze is of a fine deep 
 blue 5 the decoration, in black lustre, giving varied metallic reflections. Persian. 
 
 Height, 9% inches. 
 
 1019 — Sura he. 
 
 Of similar shape to the foregoing, but fitted with a metal screw top. Vitreous glaze. 
 Decoration in grayish blue, in free imitation of a Chinese landscape design, 
 with birds, flowers, and deer; with imitations of Chinese wave and lambre¬ 
 quin borders, and upright panels of floral and geometrical decoration on the 
 neck. It is one of the very few Persian vases that bear a potter’s mark on 
 the bottom. The vase is slightly damaged. Persian. 
 
 Height, 9]/ z inches. 
 
 1020 — Bowl. 
 
 Of “Gombroon” ware. Alternate panels of the arcade decoration are pierced with 
 quatrefoil openings filled with the transparent glaze; the others have rude 
 floral designs in black on a blue ground. In the interior is a floral scroll rising 
 from a rock, showing Chinese influence. Persian. 
 
 Height, 724 " inches. 
 
1021 — Surahe. 
 
 Of lapis-lazuli blue, with floral and other decoration in black lustre with metallic 
 reflections. Persian. 
 
 Height, 12 inches. 
 
 1022 — Ewer. 
 
 With dark blue body. Decorated with exquisite floral designs in white, turquoise, and 
 purplish brown. Mounted in richly chased brass. Persian. 
 
 Height, inches. 
 
 1023 — Surahe. 
 
 Decorated in grayish blue, with wild geese in a landscape, and lambrequin patterns, 
 showing marked Chinese influence. Persian. 
 
 Height, 9 inches. 
 
 1024 — Deep Dish. 
 
 With large rim. The decoration, of birds and flowers within, and of flowers in 
 compartments on the outside, is in dark blue on white. 
 
 Diameter, 8 inches. 
 
 1025 — Dish. 
 
 With umbilicus in centre. On the deep blue ground there are within, radiating, 
 cloud-shaped reserves with Cufic inscriptions in black. On the outside there 
 are very freely treated conventional leaves and plants in blue on white, in the 
 manner frequent on Hispano-Moresque ware. Persian(?). 
 
 Diameter, 8 inches. 
 
 1026 —Large Bowl. 
 
 Of “Gombroon” ware. It is decorated in brown, with figures of the fabulous 
 simourg, or bird of paradise, from whose back rises a quatrefoil panel with 
 cross-shaped openings in the paste, filled with the greenish vitreous glaze. 
 Between these are conventional cypress trees and floral scrolls. The foot has 
 been pierced for suspension. Persian. 
 
 Diameter, 8^ inches. 
 
 1027 — Large Bowl. 
 
 With a charming decoration of carnations and other flowers in white, turquoise, and 
 brownish purple on a blue ground. (Repaired.) Persian or Rhodian. 
 
 Diameter, io^ inches. 
 
 1028 — Surahe. 
 
 With screw top and cap in silver repousse , and chased. The body is divided into 
 upright compartments, with landscapes in grayish blue, in very free imitation of 
 Chinese originals. Persian. 
 
 Height, n inches. 
 
1029 — Porcelain Mosque Globe. 
 
 For a hanging lamp. Decorated in blue, pink, and green, with arabesques in black. 
 Rhodian (?). 
 
 Diameter, inches. 
 
 1030 —Oil Jar. 
 
 With thick glaze, originally greenish white, but now brown from percolation and 
 oxidation of the oil which the vessel once held. The decoration is in blue, in 
 bands of checkers, lozenges, and hatchings, with an inscription in blue round 
 the neck. 
 
 Height, io inches. 
 
 1031 — Large Baluster-shaped Oil Jar. 
 
 With thick vitreous glaze, large crackle, and decoration in faint blue, of figures and 
 animals in a landscape. A free imitation of the Chinese. The lower part is 
 discolored by oil. Persian. 
 
 Height, inches. 
 
 1032 — Large Turquoise-blue Jar. 
 
 Decorated with figures in flat relief. The surface is divided into compartments by 
 lines in relief, and these are filled with reliefs of elephants with palanquins, 
 horsemen with banners, and other figures riding grotesque animals. The glaze 
 is very thick. Old Indian or Persian, probably of the eleventh century. 
 
 Height, 17 % inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SIXTH AFTERNOON'S SALE 
 
 Friday, January 30th, 
 
 r 9°3 
 
 BEGINNING PROMPTLY AT 3 O’CLOCK 
 
 Bronzes and Other Metal PFbrk 
 
 1033 — Old Dutch Oblong Brass Box. 
 
 With rounded corners and hinged lid. It is engraved on 
 humorous designs and inscriptions. 
 
 cover and bottom with 
 Length, 5# inches. 
 
 1034 — Bowl and Plate. 
 
 Of white metal, artificially darkened to display the ornamentation of inlaid silver, 
 chiefly in rich floral patterns, on the inside, in medallions bearing inscrip¬ 
 tions. Persian. 
 
 Width of bowl, 5 inches ; width of plate, 6^ inches. 
 
 1035 — Brass Bowl with Cover. 
 
 Engraved and inlaid with small turquoises and studs of polished copper. The orna¬ 
 mentation is in three bands of arabesques and inscriptions. A few of the 
 turquoise studs are lacking. 
 
 Diameter, 5 y z inches. 
 
 1036 — Five Small Bas-reliefs of Bronze. 
 
 Two of a Bacchanalian procession of cupids with a goat and a basket of grapes; two of 
 a wedding of Cupid and Psyche; and one of cupids and young satyrs with a 
 baby Silenus. They have been soldered together to form a small frieze. 
 
1037 — Small Bronze Lamp. 
 
 Of antique fashion, for two lights; the handle composed of twisted snakes. On a 
 pedestal of yellow Sienna and black marble. 
 
 Height, 7 inches. 
 
 1038 — Ewer. 
 
 Of dark bronze. The lower part of the body is ribbed, the upper part bearing in relief 
 a band of elongated oves. The handle is formed of an athlete of archaic Greek 
 style, holding by the tails two lion cubs. 
 
 Height, 6inches. 
 
 1039 — Two-handled Bronze Vase. 
 
 Decorated in antique fashion with reliefs of Centaur and Centauress with cupids. 
 Mounted on a pedestal of variegated red and black marble. 
 
 Height, io inches. 
 
 1040 — Bowl. 
 
 Engraved medallions, alternately circular and oblong, the latter filled in with inscrip¬ 
 tions. The bottom of the piece is covered with arabesques in compartments, 
 the incisions being filled with a dark color. 
 
 Diameter, 9^ inches. 
 
 1041 — Bowl. 
 
 Decorated with several bands of incised and inlaid ornamentation. The principal band 
 has eight medallions, with figures of horsemen in silver, alternating with inscrip¬ 
 tions and conventional ornaments. A narrow band near the rim has figures of 
 hares and other animals of the chase, and small wheel-shaped ornaments, which 
 last are inlaid in gold. In the interior is a circular band with fishes. Persian. 
 
 Diameter, 10^ inches. 
 
 1042 — Bottle. 
 
 With 
 
 swelling body, and long, slightly flaring neck; of iron, inlaid with silver. Old 
 East Indian. (Damaged at bottom.) 
 
 Height, 12^ inches. 
 
 1043 — A Pair of Firedogs. 
 
 Japanese silver bronze. In the form of Buddhist lions. 
 
 Height, 13 inches. 
 
 1044 —Head of a Young Roman Lady. 
 
 In bronze. Mounted on a mahogany pedestal. 
 
 Height, with pedestal, 21 inches. 
 
Height, 31 inches. 
 
 *1045 — Reproduction in Bronze of a Statue of a Dancing Satyr. 
 
 From Pompeii. 
 
 *1046 — Reproduction in Bronze of an Antique Statuette of Antinous. 
 
 Height, 25 inches. 
 
 *1047 — Reproduction in Bronze of an Antique Statuette of Victory. 
 
 Mounted on a block of variegated marble. 
 
 Height, 27 inches. 
 
 * 1048 —Tall Orna?nental Bronze Tripod. 
 
 Height, 37^ inches. 
 
 *1049 — Large Bronze Tripod. 
 
 Reproduction of an antique original, with a flat top borne by winged sphinxes, and 
 having a detachable ring, decorated with bucranes and rosettes. 
 
 Height, 36 inches ; width, 24 inches. 
 
 * These bronzes are reproductions of famous antiques in the Naples museums, and were procured by 
 the late Mr. Marquand through Sir Frederick Leighton, under whose supervision they were produced. 
 
Limoges and Other Enamels 
 
 The qualities which twice made the enamel’s of Limoges famous, so that the name of the 
 town designated the ware, are not at all those of the painted enamels of the last two centuries. 
 These more recent enamels, charming as they are, are but a variety of miniatures; but in the Middle 
 Ages, and, again, during the Renaissance, Limoges produced work of a boldly decorative character. 
 The means, and the results obtained by them, varied greatly in the two periods mentioned. The 
 champlev'e enamels of the Middle Ages, an important example of which is the lavabo, No. 1057, 
 rely for their effect upon the colored background, for their significance upon the forms engraved in 
 the copper. In the painted enamels of the fifteenth and seventeenth centuries, on the contrary, the 
 metal entirely disappears from view, and the design is completely carried out in enamels. Neverthe¬ 
 less, the enamels of these two periods agree in their decorative intent. The enamellers, or “daure- 
 diers ” of Limoges, notwithstanding the original signification of their title and the fact that they 
 frequently wrought on gold or silver, never took kindly to such work, which was a Parisian specialty. 
 They required a larger scale, an atmospheric setting, the dignity of utility. They were accustomed 
 to produce works of considerable dimensions—tombs, altar screens, reliquaries. When fashion 
 called for precious materials and minute workmanship, the star of Limoges declined, to rise again 
 when a bolder and more artistic spirit was in the ascendant. 
 
 Enamelling in the fashion called cloisonne , still practised in the East and in Greece and 
 Russia, preceded the champlev'e method. It was in use in ancient Gaul. A most interesting example 
 of the style is the Greek Church triptych, No. 1063, in which the accumulation of difficulties, 
 which the Western workers finally swept aside, is evident. The figures in these pieces of ancient 
 style are carved or cast in solid metal, but the cloisons that retain the enamel are of thin strips 
 bent to shape and soldered to the body of the piece. The bending of a metal so little pliable as 
 copper or brass, and the carving or casting of figures in high relief, were early abandoned in the West 
 in favor of the freer and simpler champlev'e manner, in which the figures are merely incised, and the 
 background cut away to receive the enamel. But figures cast in full relief were frequently 
 affixed, as in the cross, No. 1062. Many important works were done in this manner. The tombs 
 of Walter Merton, Bishop of Rochester, and of Aymar de Valence, of Westminster, were covered 
 with enamelled plaques from Limoges; and in France, during the thirteenth and fourteenth centuries, 
 a bishop could hardly be said to have been decently buried if he were not encased in enamel. 
 
 The artistic ideals of the Renaissance brought about another and more revolutionary change. 
 The precious metals came in vogue together with a return to the ancient mode of figures in relief 
 (but now rendered with adequate knowledge), and these were covered with translucent enamels, which 
 
1056 
 
colored but did not conceal them, excepting the flesh parts, which at first were left in the metal. 
 But it was found more pleasing and harmonious to cover these with opaque white enamel, and, little 
 by little, the opaque enamels invaded the other parts, allowing, as they did, of greater freedom in 
 the modelling and greater variety in the color. The results are seen in the precious little pictures 
 of the Seasons, by Jean Penicaud III., and the plaques, by Leonard Limousin, of the magnificent altar 
 screen in this collection. 
 
 But the transformation in technique did not stop here. The habit of working through 
 opaque enamel to a ground of another color, most often black or blue, gave rise to the school of 
 enamel painters in grisaille, which form became the chief means of expression. From 1520 these 
 grisailles are of capital importance. 
 
 Their peculiar beauty depends on the intimate union of two distinct processes—the loading 
 of the lights in opaque white pigment; the scraping down to the black ground, as in sgraffito work, 
 for the outlines and the shadows. The former implies a breadth of touch in the painting; the latter 
 a precision and delicacy in the outline, a vigor in the accents, which are precisely the special quali¬ 
 ties of a fine grisaille of Limoges. Added to these are the grace, the magnificence, the fancy of the 
 early French Renaissance—for the art hardly outlasted the Valois—and all the varied interests of 
 the time reflected in the subjects chosen by the painter, taken now from the Bible, now from 
 the practices of the Church, again from classic mythology, or from the labors of every-day life. 
 There are few relics of the past which present so many claims to the regard of the art lover and 
 the connoisseur. 
 
 All periods except the modern are illustrated in this small but well-chosen collection. The 
 Byzantine triptych may stand for the early cloisonne work. At Limoges, the figures in relief were 
 first cast separately, and affixed to the plaques in enamel which served for backgrounds (or both 
 figures and enamels were applied separately to a ground of copper gilt as in No. 1062 of the collection) ; 
 but in the later Middle Ages they were dispensed with, and their place taken by figures simply en¬ 
 graved in the copper; and of this we have an example in the basin, or rather ewer, already cited. 
 Finally, we have capital examples of the earlier style of painted enamels in the little plaques by Jean 
 Penicaud, and of a later kind in the important works by Leonard Limousin, while the last word 
 of the ancient art of enamel painting is said in the magnificent grisailles by Pierre Reymond and 
 other masters in the collection. 
 
 1050 —Two Salt-cellars. 
 
 Of white enamel. Each mounted on three feet, and decorated on the exterior with lat¬ 
 tice work and flowers in gold. 
 
 1051 — Tazza with Cover. 
 
 Decorated inside and out with mythological figures and ornaments in grisaille and gold 
 on a ground of rich black enamel. 
 
 The dome-shaped cover has a pointed knob and four oval bosses, on 
 which last, within white frames, are two female heads and two male, one of 
 
the latter wearing a sailor’s cap, the other a helmet. The black ground in 
 these medallions is dotted with gold. Between them are four cupids in various 
 attitudes, holding bunches of fruits and leaves, and sustaining on their heads 
 baskets of fruits. The whole is encircled by a wreath of laurel leaves in 
 grisaille, and, on the outer rim, a guilloche pattern in gold. 
 
 On the inside of the cover the concave medallions bear four heads, 
 the beardless male heads wearing, one a helmet, the other a wreath. Between 
 them are arabesques in gold, with, in the centre, a blazing sun. A light wreath 
 and a guilloche pattern in gold complete this part of the decoration. It should 
 be noted that the outside of the cover bears in red a shield with a ship in white 
 and black—the arms of the city of Paris. 
 
 The bowl contains, in the interior, on a black ground finely dotted with 
 gold, a circular composition of Jupiter with Venus and Cupid, and Mercury 
 stepping out of the circle, an adaptation from an engraving by Marc Antonio 
 Raimondi. On a band of gray enamel, encircling the picture, are the figures of 
 the zodiac in grisaille. Outside of this is a rich border of Renaissance scrolls 
 in gold. The rim is white. 
 
 The interior of the hollow foot is dotted with gold stars, and has, at the 
 bottom, a gold rosette. The exterior is divided into four compartments by 
 heavy festoons of leaves tied with ribbons. In the compartments are trophies 
 of musical instruments, drums, bagpipes, flageolets, etc., depending from 
 bunches of leaves. Acanthus leaves of elegant design surround the junction 
 of foot and bowl, and from those on the bowl spring large foliated scrolls in 
 gold which fill in the interstices between the leaves. A wreath of laurel in 
 grisaille forms an outer border. Signed and dated, “ P. R. 1555.” 
 
 Height, to top of cover, 6y£ inches ; diameter of the bowl, 6 inches. 
 
 “This most beautiful and perfect specimen is the work of Pierre Reymond.”— 
 Sir Charles Robinson. 
 
 From the renowned collection of Hollingworth Magniac, Esq. (known as the 
 Colworth Collection), sold at Christie, Manson & Woods, London, 1892, at which 
 sale it was bought for Mr. Marquand by Sir Charles Robinson. 
 
 1052 •— Three Small Enamel Plaques. 
 
 In finely chased brass frames, mounted on a velvet covered panel. The plaques repre¬ 
 sent the Labors of the Seasons. In the central and largest, haymakers are at 
 work; an old man with a feather in his hat is mowing, a younger man is sharp¬ 
 ening his scythe, a woman in the background is raking. In the right-hand 
 plaque a man is ploughing with a team of horses. In the distance another 
 man is sowing. Vine-dressers are shown in the left-hand plaque; a man with a 
 serpe is trimming a vine; an older man, in shirt and boots, is planting a stake; 
 a third is bringing up a bundle of stakes on his back. In the distance is a 
 thatched cottage. In each scene a semicircle of clouds fills the upper por¬ 
 tion of the sky, as in the well-known little woodcuts by Hans Sebald Beham, 
 who may possibly have furnished the designs for these plaques. 
 
 These clouds are light blue, but enclose a space of darker blue than 
 towards the horizon. The other colors used are green, turquoise, purple, 
 
white, flesh color, gray, a rich transparent red in some of the costumes, and 
 gold of several hues in the freshly turned furrows, the vine-stakes, and parts of 
 the costumes. 
 
 All three plaques are from the Fontaine Collection. The ploughing scene 
 and the mowers were previously in the Spitzer Collection, from which they 
 passed to the Fontaine Collection. All are painted in transparent enamels, 
 mainly, over a preparation in brown enamel. 
 
 The dimensions of the largest plaque, are: Height, 2% inches; width, \ 7 / & inches. 
 
 The others are very little smaller. 
 
 Jean Pdnicaud, the third, to whom we are to attribute these precious little works, 
 flourished in the latter half of the sixteenth century, and is reckoned by de Laborde 
 “ le talent superieur et la gloire du Limoges .” 
 
 They bear at the back the stamp of the Pdnicaud atelier. 
 
 1053 — Tazza. 
 
 Decorated inside and out with designs in grisaille and ornaments in gold on a black 
 ground. 
 
 The inside of the bowl is filled with a composition of the “Judgment of 
 Moses” (Exodus xviii.). Moses, bearing a rod, is seated on a throne; the 
 chiefs of the Hebrews are grouped to right and left; two sit on the ground in 
 front, near a boy, who holds an escutcheon with part of the inscription, and 
 points to the continuation, which runs along one of the steps to the throne. 
 The border is of rich sixteenth century arabesques in gold. The rim is white. 
 
 The hollow of the foot is enamelled white, sprinkled with small stars in 
 red. Externally, the bell-shaped foot supports a stem in the shape of an urn. 
 On the foot, enclosed in a double border of guilloche pattern in red on white, 
 and circles in gold on black, is a camp scene, with Aaron approaching the 
 Tabernacle, and other figures conversing in richly decorated tents. On the 
 urn are four oval medallions with alternate male and female heads. The out¬ 
 side of the bowl has a rich composition of masks, baskets of fruit, scrolls, and 
 festoons in grisaille, surrounded by foliated scrolls in gold on black, and bor¬ 
 dered by a strongly designed band of oves in grisaille. The flesh part of the 
 figures is tinted pink. Signed, “ P. R.” and dated 1575. 
 
 Height, inches ; width of bowl, 7 inches. 
 
 Pierre Rexmann (Gallicised Reymond) was probably of German origin, but set¬ 
 tled at Limoges, at least from 1534 to 1578. His works, usually signed, as here, 
 “ P. R.,” but the letters sometimes surmounted by a crown—a punning allusion to 
 the first syllable of his name—are still fairly numerous, the Louvre containing fifty- 
 six. They are mostly in grisaille, and show the influence of Albert Diirer, Virgil 
 Solis, and Ducerceau. 
 
 1054 — Oval Dish. 
 
 The slightly convex bottom is filled with a military subject, the surrender of a fortified 
 city. The king and his ministers appear in the gateway and make obeisance 
 to the conqueror, who, like his soldiers, is costumed in Roman armor. In 
 the background are a wood, the broken arches of an aqueduct, and the city wall, 
 above which appear two obelisks and a pillar monument reared upon a pyramid. 
 This appears to be intended for a representation of the capture of a Jebusite 
 
city by the Hebrews. The border is of grotesque human and animal forms, 
 terminating in foliage. The whole is in grisaille, the flesh parts tinted with 
 red, with details and ornaments in gold on black. On the reverse is a vase in 
 which two cupids are burning their bows and warming their hands in the blaze. 
 (The white outer edge is slightly chipped.) 
 
 Signed and dated “ P. R. [Pierre Reymond], 1534.” 
 
 Length, 12% inches ; width, g% inches. 
 
 A replica of this dish, as to the principal subject, was in the Spitzer Collection, 
 dated 1557. From an inscription in the border of the last piece it appears that the 
 design is intended to represent Abraham refusing the presents of the king of Sodom. 
 
 The reverse of the Spitzer dish bore a design of Hercules leaning on his club. 
 
 1055 — Ewer. 
 
 The ovoid body has a strong band in relief about the shoulder, from which springs a 
 gracefully curved handle, rising above the three-lobed mouth, like that of a classic 
 oenochoe. The foot is short, with a nearly flat base. 
 
 The principal decoration is in two zones or friezes, on either side of the 
 connecting band, which is white, with light floral ornaments in black. The 
 upper frieze has a grotesque procession of sea gods and monsters—winged, 
 finned, horned, and snouted—against a background of grayish waves and 
 clouds. In the lower is a combat of nude horsemen armed with spears and 
 cimetars, and brought out in strong relief against a band of brilliant black 
 enamel. The neck and the foot are decorated with finely designed acanthus 
 foliage, and the latter has, in addition, an ornamentation of masks and inter¬ 
 twined grotesques. The outer surface of the handle is white, with black orna¬ 
 mentation to correspond with the band to which it is attached. The inside of 
 the handle is black, with a seme of gold dots. The flesh parts of the figures 
 and the inside of the lip are tinted pink. The darker shadows are hatched 
 through the white enamel to the black ground. 
 
 Though not signed, this must be considered a masterpiece of the difficult 
 art of painting in enamels. The figures are painted with uncommon freedom 
 and spirit. The graduation of the color effects from brilliant black and white 
 at the bottom to delicate gray and pink at the top is most judicious, and every 
 detail of the ornament enhances by its “tactile values ” the beauty of the gen¬ 
 eral form. It will be difficult to find a more perfect example of the artistic aim 
 of the enameller in grisaille, which was to add to a beautiful shape a decoration 
 which should enrich it without breaking its lines, as a decoration in relief would 
 do, or confusing them, as would a decoration in color. 
 
 It is described by Mr. Claudius Popelin, than whom no greater authority 
 can be cited, as the work of Jean Penicaud, the third, the chief glory of the 
 school of Limoges, and it is worthy of that attribution. 
 
 From the Spitzer Collection, Paris, 1893. 
 
 Height, to top of handle, 11 inches. 
 
 1056 — Low Tazza. 
 
 With shallow bowl and low foot. The inside of the bowl is filled with a large circular 
 composition, a “ Triumph of Amphitrite.” The goddess rides on a pair of 
 dolphins, escorted by sea nymphs and tritons. A cupid flies in front, armed 
 
with bow and arrow. In the distance is a hilly landscape, dotted with trees 
 and buildings, above which is a cloudy sky. The composition is framed with a 
 border of foliated scrolls in gold on a black ground. On the exterior, within 
 a border of oves, is a boldly ornamental composition of masks, architectural 
 scrollwork, fruits, and flowers, with four oblong medallions containing nude 
 figures of river and sea gods. The foot has festoons and bunches of fruits, 
 scrollwork, and cherubim, with a guilloche border in red on white. Under 
 the foot is an open rose in grisaille, and stars and flowers in gold seme on the 
 black ground. 
 
 From the renowned collection of Hollingworth Magniac, Esq. (known as the Colworth 
 Collection). Sold at Christie, Manson, & Woods, London, 1892, at which sale it was bought 
 for Mr. Marquand by Sir Charles Robinson. 
 
 Diameter of bowl, ioj 4 inches ; height, 3inches. 
 
 1057 — Lavabo. 
 
 In champlev'e enamel. The name belongs, properly, at present, to the shallow dish 
 and the ewer with which the priest washes his fingers at the altar. Anciently, 
 it was the custom to have two bowls; one with a spout, as the present example, 
 which served as a ewer from which to pour the water; the other without a 
 spout, into which the water was poured. The secular nature of the decora¬ 
 tion—the coronation of a king, with a curious border of mountebanks and 
 musicians—may be accounted for by the supposition that the bowl was a gift to 
 some church in commemoration of the occasion depicted. 
 
 The bowl is of thick copper, decorated in the interior with engraved 
 figures on a background of blue enamel. In the centre, two figures place the 
 crown upon the head of a youthful king, who holds a sword in his right hand. 
 Of the enamel background only a few rosettes and jewels in turquoise, red, and 
 white remain. The border consists of a series of semicircular arches, within 
 which are dancers with sword and shield, harpists, and women turning somer¬ 
 saults, representing, we may suppose, the popular fete given in honor of the 
 coronation. The ground, in fine blue enamel, most of which still remains, is 
 strewn with flowers in yellow, green, red, white, and turquoise. The flattened 
 rim has a tooth ornament still partly filled with blue enamel, with an outer line of 
 turquoise. A scale pattern is incised on the exterior, with a large Gothic “A” in 
 the centre. A lion’s head in relief forms the spout, and there is a ring for sus¬ 
 pension. Limoges, thirteenth century. 
 
 The border of mountebanks is not very unusual on bowls of the period. 
 The female tumbler appears in an illuminated MS. in the British Museum as 
 Salome dancing before Herod. 
 
 From the Collection of Le Chevalier Raoul Richards. Sold at Rome, 1890. 
 
 Diameter, 9)4 inches. 
 
 1058 — Series of Four Circular Medallions. 
 
 With heads of Roman emperors in grisaille enamel, framed in dark red velvet. The 
 heads are those of Julius Caesar, Augustus, Galba, and Domitian, and have been 
 copied after the antique. They wear laurel wreaths in green enamel outlined in 
 gold, and have gold inscriptions. (Slightly chipped.) 
 
 Diameter of each enamel, 4)^ inches. 
 
1059 —Oval Plaque. 
 
 Portrait of a lady. The background is blue, the flesh tints stippled, the dress bejewelled 
 with transparent enamels over gold. T he lady’s hair is bound up with a parti¬ 
 colored scarf fastened with a jewel from which hangs a jewelled pendant touch¬ 
 ing her forehead. The eyes are blue. The chemisette, forming many small 
 folds, is bordered with turquoise, set with jewels. A raised border, simulating 
 a frame, is of black enamel, with foliated scrolls in gold, spaced with jewels in 
 translucent enamels imitating rubies, emeralds, sapphires, amethysts, aventurine, 
 etc. This has been slightly chipped. The plague is bound in brass, with a 
 ring for suspension, and has been mounted on velvet and framed. 
 
 Signed “ L. L.” [Leonard Limousin.] 
 
 Length of the enamelled plaque, 12 inches ; width, 9 % inches. 
 
 This plaque was obtained in Spain by Mr. Jacques Seligman, Paris, from whom it 
 was bought by Mr. Marquand. It appears to be one of a series of portraits of royal 
 and noble persons, after the best painters of the day, made by Leonard Limousin 
 for Henry II. Three of these are in the Louvre. 
 
 Leonard Limousin was throughout his career a court painter, having been the 
 favorite, in turn, of Francis I., Henry II., Francis II., and Henry III. His works 
 show him to have been influenced at first by Albert Diirer, later by Primaticcio. It 
 has been said of him, that “ of all the enamellers of Limoges, he knew the best how to 
 harmonize and combine all the technical processes known and practised before him.” 
 He painted for the Chateau d’Anet a series of plaques representing the twelve 
 Apostles ; and other important works are a series of eighteen plaques after Diirer’s 
 " Passion,” portraits of Henry III. as Jupiter, and Catharine de’ Medici as Venus, 
 and the plaques of the great retable which forms part of the present collection. His 
 best works were produced between 1532 and 1574. 
 
 10G0 — Large Circular Plaque. 
 
 With head of “ Lucrezia Romana, ” so inscribed in grisaille on a black ground. The 
 borders of the scarf which ties her hair, and the borders of her garments are in 
 brown and gold, and her mantle is fastened with a fibula in gold, in the shape 
 of a rosette set with a triangular jewel in translucent green enamel. The 
 frame is set with four plaques, repeating a design of a siren, with grotesque 
 scrolls in grisaille and gold on a blue ground. 
 
 Diameter of central plaque, 9^ inches ; diameter over all, 18 % inches. 
 
 1061 — Screen or Retable for an Altar. 
 
 Composed of twenty-one enamelled plaques, set in a beautifully wrought architectural 
 frame of brass, in the style of Francis I., and mounted on a brass base. 
 
 The retable is in three stages, the two lower containing each nine plaques, 
 the upper three. The stages are separated by richly chased friezes. Three 
 vertical divisions are formed by pilasters with ornamental capitals, the lower ones 
 decorated with trophies and festoons of fruits in high relief. The two lower 
 divisions have at top an ornamental cresting; the central one terminates in 
 a classic pediment flanked by urns; on the tympanum, in a wreath of enamel, 
 is inscribed the name of the artist, Leonard Limousin, and the date, 1543. 
 Each panel (with one or two exceptions) is signed “ L. L. ” ; those with male 
 
1061 
 

 
 
 
 
 
 
figures, prophets, and Apostles, in gold, on the background; those with female 
 figures, the sibyls, in black, on small white scrolls. 
 
 The figures, one on each plaque, are denoted by attributes, and also by 
 their names inscribed on long white banderoles which contribute a very striking 
 part of the general effect. The Sybilla Delphica, twice repeated, bears in one 
 instance the crown of thorns; in the other a rose. The coloring is very rich; 
 a translucent red, turquoise, and lapis-lazuli blue, violet, gold, and white pre¬ 
 dominating. The backgrounds are black. Two panels, the “ Sancte Paule ” 
 and the “ Prophete Moyses,” appear to be by another hand, probably that of a 
 favorite pupil, but finished by the master. 
 
 Height of the retable, 42^ inches ; width of the retable, 52 inches. 
 
 Height of each plaque, 9 inches; width of each plaque, 4^ inches. 
 
 This retable is figured in Harvard’s great “ Dictionnaire de l’Ameublement et 
 de la Decoration,” vol. ii., Art. “ Email.” It was exhibited in the historical 
 section at the Paris Universal Exposition of 1878, and is from the famous Beurdeley 
 Collection. 
 
 1062 — Copper-gilt Cross. 
 
 With figures in full relief, and enamelled plaques applied. 
 
 In the centre is a figure of Christ crucified; at the top, an angel, lean¬ 
 ing forward from a metal boss; on either hand, at the ends of the horizontal 
 arm, the Virgin and St. John ; at the foot of the cross, a nude figure rising 
 from a tomb in an attitude of supplication. Together, the figures symbolize 
 the scheme of redemption. They are fastened to the cross by copper rivets. 
 
 The face of the cross itself is richly engraved with Gothic foliage and is 
 gilded, and is further adorned with enamelled plaques bearing inscriptions and 
 figures of saints. 
 
 At the back is a larger plaque, with a figure of Christ enthroned, and hold¬ 
 ing the globe. His garments are enamelled red and green, the throne red, the 
 background blue, with white pearls. The cross is engraved and gilt as in front, 
 with the addition of the signs of the Evangelists engraved on the trefoils at the 
 ends of the arms, the lower one of which is partly encased in a copper sheath. 
 Limoges (?). Early thirteenth or late twelfth century. 
 
 Size, 30x15 l / z inches. 
 
 “ I believe the earliest piece known.”— J. Seligman , Paris. 
 
 1063 —Greek Church Triptych. 
 
 Of wrought brass with enamels. On the three leaves are figures of Christ with the 
 Gospels, in high relief, His Mother, and the Baptist. The background is of 
 blue enamel with cloisons in the shape of leaves and flowers, filled with white 
 and yellow enamels, and an ornamental border of white enamel. Abbreviated 
 Greek inscriptions accompany the figures. The triptych is set in an old carved 
 frame, so arranged that it can easily be taken out for inspection. 
 
 Each panel, 7x6^ inches; over all, 25 x 14 inches. 
 
Intaglios and Other Gems 
 
 The following section is in no sense a “collection ” of gems, but represents the wise selec¬ 
 tion of a keen and discriminating judge of the unique and beautiful in ancient and modern art. 
 Though the objects are few in number, each is a masterpiece of its class, and combined they display 
 a rare catholicity of taste. Every period of highest artistic excellence is here represented, from the 
 beautiful Egyptian scarabceus (No. 1064), the earliest of all, to the handsome intaglios and cameos of 
 modern times. Attention is especially called to the marvellous Greek and Etruscan gold jewelry, 
 typical products of this early art, and chosen for their perfection of workmanship and preservation; 
 to the three Greek gold coins (Nos. 1070—1072), as clear and sharp as when they fell from the 
 dies more than 2,200 years ago; to the splendid specimens of ancient glyptic art, in particular the 
 beautiful garnet quadriga , No. 1073; and to the Gothic seal ring, unique as a work of art and of 
 high historic interest. 
 
 1064 — Ancient Egyptian Scarabceus. 
 
 Of hard stone, covered with firm green, brown, and red enamel, remarkably preserved, 
 and beautifully tinted by time. On the flat side are six rows of finely cut 
 hieroglyphics. 
 
 Length, about 2 *4 inches. 
 
 This is one of the finest specimens of its class. A similar specimen is illustrated 
 in John Ward’s " The Sacred Beetle ” (New York, 1902), page 5. 
 
 1065 — Etruscan Scarabceus. 
 
 Of rich, dark carnelian, set in its original ancient gold swivel ring. Intaglio, within 
 a typical Etruscan border, representing Herakles, or one of his suite, with club 
 over his shoulder, filling an amphora at a fountain. Very fine Etruscan 
 workmanship of about 400 b.c., or earlier. 
 
 1066 — Ancient Gold Jewelry. 
 
 In a silk-lined case, (a) A necklace consisting of twenty beads of beaten gold, many 
 ornamented with the finest filigree, alternating with seventeen Egyptian beads 
 of colored glass and enamel, such as the Etruscans loved to import from Egypt 
 in the sixth and fifth centuries b.c. ; and a pendant of amber. ( b ) A plain 
 
gold ring without design. Etruscan, (c) A pair of Etruscan gold filigree 
 earrings in repousse work. ( d ) Four small Etruscan gold earrings, decorated 
 with filigree bulbs and points. ( e ) A Greek gold ring with design, in relief, 
 of Leda and the Swan. 
 
 In this collection of ornaments from Etruscan tombs every specimen is a master¬ 
 piece of its class. 
 
 1067 — Etruscan Jewelry. 
 
 In a silk-lined Tiffany case. (a) A necklace or bracelet of pure gold. Twenty-two 
 ox and rams’ heads, with central pendant of a large bull’s head crowned in the 
 Egyptian style. A unique specimen, showing the highest perfection of ancient 
 goldsmiths’ work (seventh to fifth centuries b.c.). (b ) Pair of small gold filigree 
 earrings, (r) Pair of broad gold filigree earrings. Very fine. 
 
 1068 — Pair of Gold Bosses. 
 
 In finest filigree design, and of great rarity. Etruscan workmanship of the fifth 
 century b.c. 
 
 1069 —Ancient Greek Ring of Pure Gold. 
 
 With design in relief of a comic mask. Finest workmanship of the fifth or fourth 
 century b.c. Perfectly preserved. 
 
 1070 —Greek Gold Coin ( Stater ) of Lysimachus , Successor of Alexander the Great, 
 and King of Thrace [b.c. 32J—281). 
 
 Obverse, head of the deified Alexander as Jupiter Ammon, with the horn of Ammon 
 over his ear. Reverse, “ BA2IAEQ2 AY2IMAXOY.” Pallas Nikephoros seated, 
 holding a small image of Victory. In most perfect preservation. 
 
 1071 — Greek Gold Coin [Stater ) of Philip II. of Macedon [B. c. 359-336), the 
 Father of Alexander the Great. 
 
 Obverse, youthful head of Apollo to right. Reverse, a biga. Under the horses a kan- 
 tharos as symbol. In the exergue, “ OIAIIUIOY.” Perfect preservation. 
 
 1072 — Greek Gold Coin [one-twelfth of Stater ) of Philip II. of Macedon. 
 
 Obverse, as on the stater above. Reverse, a winged thunderbolt and the name 
 “ <t>IAIIIIIOY.” Basket as a symbol. Beautifully preserved. 
 
1073 — Intaglio. 
 
 Dark oval garnet, set in modern gold pendant as watch-charm. The cutting repre¬ 
 sents a goddess (Aurora) urging forward a spirited quadriga. Finest Graeco- 
 Roman work of the best period. A gem of great rarity. Unfortunately 
 broken, but without injury to the design. 
 
 1074— Intaglio. 
 
 Set in a modern ring of massive gold. Draped bust of a bearded Greek philosopher 
 or poet. Graeco-Roman cutting. 
 
 1075 — Intaglio. 
 
 Antique, set in a modern gold ring. Yellow-tinged carnelian. Mars (or perhaps 
 Perseus, as he has the Medusa-head on his shield) contemplating his armor. 
 Fine workmanship. 
 
 1076 — Massive Gold Eighteenth Century Ring. 
 
 Set with three antique Roman gems, (a) Yellow sard. Intaglio of a helmeted 
 Roman soldier represented as Mars, with spear and patera. Third century 
 a.d. (b) Cameo in white onyx. Cupid head. (r) Black agate. An ant 
 as a talisman. Second or third century a.d. 
 
 1077 — Intaglio. 
 
 Carnelian. Jupiter, riding over the clouds in his four-horse chariot ( quadriga ), hurls 
 his thunderbolt. Splendid workmanship. Set in modern brooch. 
 
 1078 — Intaglio. 
 
 Niccolo. A Greek youth engaged in a religious ceremony. Stone set in a modern 
 gold ring. 
 
 1079 — Intaglio. 
 
 Onyx. Dark brown on white. A Roman soldier taking his oath. Clad in military 
 garb, he stands between two fully armed soldiers, and places his hand upon the 
 altar. A seated official presides at the ceremony. Very fine Roman work of 
 the Antonine period (second century a.d.). Heavy modern gold mounting as 
 a ring. 
 
 1080 — Intaglio. 
 
 Onyx. 
 
 Brown upon white. A nude man seated on a rock lets a goat drink from a 
 bowl. The animal rises on his hind legs, with his paws familiarly on the 
 man’s knees. Roman. Set in a modern gold ring. 
 
1081 —Modern Gold Ring. 
 
 Richly decorated, set with two antique intaglios, (a) Green jasper, striped with red. 
 A lion walking. Above, a mystic character. (b) Hard red jasper. Minerva 
 (or Rome so personified) in full panoply, advancing to the right, bearing a 
 trophy of arms. Roman or Syro-Roman work of the second or third century 
 a. d. Interesting. 
 
 1082 — Intaglio. 
 
 Sard. A man milking a goat. Roman work of the third century a.d., in its original 
 silver ring. A rare curiosity. 
 
 1083 — Intaglio. 
 
 Onyx. Draped bust of a Roman emperor in the style of the third century a.d., per¬ 
 haps Postumus, Emperor in Gaul (a.d. 258-267), wearing radiate or spiked 
 crown. Unique and very interesting. Set in a small early modern gold and 
 silver ring. 
 
 1084 — Intaglio. 
 
 . Set in a modern gold ring. Red jasper. A Syrian armed god standing upon a moun¬ 
 tain. Romano-Asiatic symbolic seal of the third or fourth century a.d. 
 
 1085 — Cameo. 
 
 Yellow on brown onyx. Bacchus and his train of fauns and satyrs discovering the 
 sleeping Ariadne as abandoned by Theseus. Very fine cutting, set as a brooch. 
 
 1086 — Intaglio. 
 
 Onyx, set in a gold ring. Psyche seated, holding a butterfly by the wings—symbolic 
 of the human soul. 
 
 1087 — Cameo. 
 
 In two layers of onyx. The portrait, in opaque cream color, marvellously tinted by 
 nature and time, on a transparent brownish-yellow background. Laurel- 
 crowned bust of a Roman of the period B.c. 100 —a.d. 100, with shoulders 
 draped. There is no marked likeness to any of the “Caesars”; perhaps a 
 prince of the Claudian house is intended. If not ancient, the cutting is 
 extremely fine settecento work. 
 
 Length, 2 'g inches. 
 
 1088 — Intaglio. 
 
 Translucent yellow onyx. Filleted bust, draped, of a Greek statesman or sage, 
 splendid portrait, magnificently cut. 
 
 A 
 
 Length, 2 inches. 
 
1089 — Ancient Sassanian Conical Seal. 
 
 Of dark translucent stone. The Zoroastrian god Ahura Mazda (Ormuzd), with bow 
 and outstretched arm. By far one of the finest of these early Persian religious 
 seals. 
 
 1090 — Intaglio. 
 
 Carnelian, set in old ring of beaten gold. Octagonal seal, with long inscription in 
 Turkish characters: “ Ya Rabb darain Khalil mazhar i izza 6 lah; ” i.e., “O 
 Lord, mayest Thou make auspicious the two abodes of Khalil ” (name of the 
 owner of the seal). 
 
 1091 — Intaglio. 
 
 Scaraboid of aquamarine, pierced lengthwise. The scene represents probably the 
 “ Choice of Hercules.” At the left, a tall female figure with a flowered staff, 
 or branch, upright. At right, another draped female figure, with a long wand, 
 placing her hand on the head of a boy, who looks up at the first figure. An 
 eagle flies above the boy’s head. A beautiful stone, and a masterpiece of 
 technique. Probably of the eighteenth century. 
 
 1092 — Intaglio. 
 
 Striped agate, set in a gold ring. Mars, seated, receives a curious object shaped like 
 a boomerang from an old satyr. Modern. 
 
 1093 — A Large Emerald. 
 
 Set in a massive and very richly wrought gold ring of the eighteenth century. 
 
 1094— Cameo. 
 
 Creamy onyx on bluish gray. Full front head of a youth, beardless, with long, wavy 
 hair, and tunic over his shoulders. Early modern work. Cracked and mended. 
 
 Length, 2% inches. 
 
 1095 — Intaglio. 
 
 Carnelian. Eighteenth century bust of a gentleman. Very fine French workmanship. 
 Set as a seal, with the original gold mounting. 
 
 1096 — Intaglio. 
 
 Striped agate. Venus borne over the sea on the back of a dolphin, accompanied by two 
 sea nymphs (Nereids). Little Cupid, flying ahead with a torch, guides the 
 way. Eighteenth century work of an Italian gem-cutter, in old setting, as a 
 brooch. 
 
1097 — Intaglio. 
 
 Carnelian, set in gold ring of recent make. Vulcan forging the armor of Mars. At 
 the left of the toiling god sits Mars upon a pile of armor. Venus is standing 
 beside him, pointing to the hot metal, and Cupid plays at his feet. At the 
 right, in a group, Juno seated, Jupiter, and Mercury. Very fine early modern 
 work. 
 
 1098 — Cameo. 
 
 Onyx, with highly decorated gold mounting, as a breastpin. A Medusa head of 
 masterly workmanship. Early modern cutting. 
 
 1099 — Intaglio. 
 
 Oriental carnelian, set as a brooch. Neptune seated upon the surface of the sea, 
 supported by a dolphin. A kneeling nymph places upon his knees a child. 
 Signed “ IIOAYKAEITOY, ” “of Polykleites. ” 
 
 This and the following gem are from the collection made by the order of Prince 
 Poniatowsky, of Poland, at the end of the eighteenth century. Every stone was chosen 
 for its exquisite beauty and purity, and the classic design was entrusted to the best 
 Italian gem-engravers of the period, who signed with a fictitious Greek name. 
 
 1100 — Intaglio „ 
 
 Oriental carnelian. Signed “ A 2 IIA 2 IOY,” “ of Aspasios.” From the Prince Ponia¬ 
 towsky Collection, as the preceding. An aged Homeric warrior sits mourning 
 on a pile of arms. The spirit (“shade”) of an old man flies toward him, ex¬ 
 tending his hand above his head. Perhaps iEneas and Anchises are intended. 
 
 1101 — Intaglio. 
 
 Yellow sard, set in gold as a watch charm. Winged Psyche confounds her two jealous 
 sisters. Signed Beltrami. The work of a modern Italian gem-engraver, a 
 master of his art. 
 
 1102 — Superb Early Gothic Gold Seal Rmg . 
 
 In a small leather jewel case, with an impression of its seal. The ring is of early 
 French work, as shown by the mark on the inside of the hoop—a slipped fleur- 
 de-lis , surmounted by a crown. The hoop is elegantly engraved with a floral 
 scroll, and the bezel has a half-length figure of an angel holding the ends of a 
 scroll, on which is inscribed, in old French characters, the name of the person 
 for whom the ring was made—M. Lemacon—probably a dignitary of the 
 Church. It was probably made about 1380—certainly not after the first quarter 
 of the fifteenth century—and is one of the finest examples, if not the finest, of 
 Gothic rings in existence; certainly not surpassed by any of those in the British 
 Museum or Bibliotheque Nationale. It was formerly in the collection of the 
 Earl of Londesborough. 
 
Snuff-boxes , Watches, and 
 Other Cabinet Objects 
 
 1103 — Porcelain Box. 
 
 Gold mounted. Decorated inside and out with vignettes a la Watteau. 
 
 1104 — Lady's Small Gold Watch. 
 
 Decorated with transparent green enamel and a design in colors, of Boreas carrying off 
 Orithyia. Eighteenth century. 
 
 1105 — Small Oval Box. 
 
 Of variegated agate, encrusted with gold, wrought a jour , in the style of Jean Berain. 
 
 1106 — Small Oblong Box. 
 
 Of silver. Gilt in the interior, oxidized on the exterior, and chased with a foliated 
 pattern. 
 
 1107 — Finger Ring. 
 
 Chased and enamelled in white and colors, in the style of the sixteenth century. 
 
 1108— Oval Box. 
 
 Gold. Decorated in enamels, with trophies of musical instruments, on a yellow ground, 
 with borders of convolvulus flowers and leaves on a blue ground. Eighteenth 
 century. 
 
 1109 — Oval Box. 
 
 Gold. Decorated in transparent blue enamel, with a chatoyant effect, and bearing 
 a design in miniature of a sacrifice to Eros. 
 
1110 — Circular Gold Box. 
 
 In the style of Louis XV., bearing five beautifully executed miniatures in enamel, of 
 fetes champetres. In a velvet case. 
 
 1111 — Large Oval Box. 
 
 Of variegated agate, the cover of gold, framing a miniature, signed and dated V. Blaren- 
 berghe, 1775, giving a view of a fortified city in the distance, with a battle in 
 progress, and troops on the march, and in the foreground a group of cavalry 
 officers. 
 
 Louis van Blarenberghe was one of the most celebrated miniaturists of the 
 eighteenth century. He was born at Lille in 1719, the son of a Flemish artist. He 
 became noted for his microscopic paintings of military and naval subjects and land¬ 
 scapes, and was sent to Brest in 1773 to paint views of that fortress and port for the 
 Ministry of Marine. His miniatures are highly prized in France, and 25,000 or 
 30,000 francs have frequently been paid for one of them. 
 
 1112— Watch. 
 
 Of the so-called “ onion ” pattern. Made by Leonard Bury, at Basle. In a silver case 
 wrought with foliage and figures. 
 
 1113— Oval Miniature of a Lady. 
 
 Framed in gold. 
 
 1114— Watch. 
 
 By Gregson, of Paris. In a gold case set with pearls and decorated on the back with 
 chatoyant blue enamel. In an outer case of silver, enamelled, and bearing a 
 design of a seaport on the back. 
 
 Gregson was horlogier du roi to Louis XVI. 
 
 1115 —Old Dutch Watch. 
 
 Of “Nuremberg pattern,” the dial painted with a view of a warehouse and ship. In 
 a silver case, with a silver outer case embossed with figures and foliage. 
 
 1116 — Scent Bottle. 
 
 Of porcelain, gold mounted. In the form of a monk carrying a basket and a goose, 
 with a young woman bundled up in a sheaf of wheat on his back. 
 
1117 — Pendant . 
 
 In carved and tinted ivory, representing a nun reading in her cell, with crucifix and 
 skull by her side, framed in an elaborate composition of cherubim and strap 
 work, gilded, and toned with various colors. Italian work of the sixteenth cen¬ 
 tury. In a more recent frame of hard wood, carved with cherubs’ heads in 
 clouds, by Frullini, of Florence. 
 
 1118 —Two Portraits , Man and Woman. 
 
 Carved in hone stone, in high relief. The man wears the collar of the Golden. 
 Fleece, and each portrait bears in relief in the background a shield armorial, 
 with the double-headed eagle and the date 1519. German work. Six¬ 
 teenth century. 
 
 From the renowned collection of Hollingworth Magniac, Esq. (known as the Colworth 
 Collection). Sold at Christie, Manson & Woods, London, 1892, and at which sale was bought 
 for Mr. Marquand by Sir Charles Robinson. 
 
Rare and 
 Persian 
 
 Beautiful 
 and Other 
 
 Antique 
 
 Tiles 
 
 1119 — Fragment of a Tile. 
 
 Of hard paste and silicious glaze. Decorated with a rich diaper pattern in soft, warm 
 green, with arabesque reserves in white, outlined in blue, with a finer outline of 
 black, between large leaf and flower scrolls borrowed from the Chinese peony 
 decoration. Damascan (?). 
 
 Height, II inches; width, 7 l / z inches. 
 
 1120— Tile. 
 
 With a large floral scroll, the flowers in two shades of blue, with turquoise centres, 
 bearing smaller flowers in white, outlined in blue. The blue leaves are similarly 
 decorated with small white flowers and turquoise leaflets. Paste and glaze like 
 the foregoing. 
 
 Height, 10 inches ; width, 10 inches. 
 
 1121 — Large Tile. 
 
 Of hard paste and silicious glaze. Decorated with a rich diaper pattern in soft, warm 
 colors, with reserves in white, outlined in blue, between large leaf and flower 
 scrolls of peony pattern. 
 
 Height, 11 inches; width, 11 inches. 
 
 1122 — Monumental Tile. 
 
 In the form of a doorway, with a central pillar and panelled doors. There is an oblong 
 inscription in relief over the door. The lower part, restored, is covered with 
 a greenish varnish, which covers, also, part of the original turquoise glaze. 
 
 Height, 21 inches ; width, 14 inches. 
 
 1123— Copper Tile. 
 
 From the upper part of the back of a niche, or “ mihrab,” in the form of a triangular¬ 
 headed opening, filled with large arabesques in relief, and bearing an Arabic 
 inscription on the frame of the opening. The paste in this and the foregoing 
 is coarse and hard. The turquoise glaze has chipped away a little in places. 
 
 Height, 17 inches ; width, 18^ inches ; depth, 3 inches. 
 
1124 — Gold-lustre THe. 
 
 Framed. Being half of an eight-pointed star tile. Within an outer border of Arabic 
 inscriptions, the decoration consists of radiating arabesques, reserved from the 
 lustred ground, which shows rich golden reflections, changing to emerald in 
 some lights. Old Persian. Probably of the thirteenth century. 
 
 Height, 5)4 inches; length, II inches. 
 
 1125 — Brown-lustre Tile. 
 
 Being the greater portion of an X-shaped tile. There is, as usual, an outer border, 
 with inscriptions, within which are arabesques reserved in the creamy white 
 glaze from a general ground of lustre, which shows brilliant crimson, blue, 
 green, and golden reflections. Old Persian. 
 
 Height, 7)4 inches ; length, 12 inches. 
 
 112G — Large Star-shaped Tile. 
 
 Framed. Within the usual border of inscriptions are four highly conventional tree 
 forms crossing, reserved in white on the brown lustre, which has mainly golden 
 and coppery reflections, with sparks of green. Old Persian. 
 
 Height, 12 inches ; width, 12 inches. 
 
 1127 — Large Octagonal Framed Panel. 
 
 Composed of four half-star-shaped tiles and one X-shaped tile, to show the manner of 
 their fitting together in wall decoration. The spaces left between the tiles and 
 the frame are filled with plaster, colored turquoise blue, and decorated with fern 
 leaves in gold, to be at once distinguished from the tiles, which are of fine 
 brown or copper lustre, with varied and intense metallic reflections. The 
 patterns are of arabesques in reserve, with borders of inscriptions. One of the 
 half-star tiles shows the effect of the blistering of the glaze in the furnace. 
 Old Persian. 
 
 Height, 12 inches ; width, 12 inches. 
 
 *1128 — Mosque Tile. 
 
 Part of a frieze which included the two following tiles. The inscription, in large 
 letters, in relief, and colored ultramarine blue, is in the style called Nasch, the 
 next in point of antiquity to the Cufic, and the most picturesque of all the 
 Arabic styles of writing. The ground is of brown lustre, with rich crimson 
 and green reflections, filled with foliated scrolls in reserve, and tinted with tur¬ 
 quoise. The upper, projecting border bears lustre inscriptions; from the lower 
 border the lustre has been worn away. Probably old Persian or Anatolian of 
 the fourteenth century. 
 
 Height, 7)4 inches ; length, 15 inches. 
 
 * It is pretended that tiles with raised blue inscriptions on a ground of brown 
 lustre were first made for the tomb raised to Mahomet at Broussa, in the four¬ 
 teenth century. 
 
 The inscription, running across all three tiles, has been translated : “ [In the 
 name of God] the just, the very just; we have believed, therefore forgive us, and for¬ 
 give your prophet, whom you sent.” 
 
* 1129 — Mosque THe. 
 
 Similar to the foregoing; the inscription on the lower border almost effaced. 
 
 Height, 7)4 inches; length, 15 inches. 
 
 * 1130 — Mosque Tile. 
 
 Similar to the foregoing. 
 
 Height, 7% inches ; length, 15 inches. 
 
 1131 — Panel. 
 
 Set with six antique star-shaped tiles decorated in brownish or copper lustre, some with 
 the addition of blue and turquoise. One is ornamented in relief, with a bunch 
 of gracefully drooping flowers. The other designs—rabbits and a tree, a tree 
 with interlacing branches, and various arabesques—are characteristic of the 
 thirteenth and fourteenth centuries. The rich metallic reflections range through 
 every color from blue to crimson. Old Persian. 
 
 1132 — Panel. 
 
 Height, 51 inches ; width, 10 inches. 
 
 Set with six antique star-shaped tiles. One has a design in relief of a kingfisher flying 
 up from among flowering reeds. Among the other subjects are dogs and 
 arabesques, a spray of conventional flowers, with fishes in a pool underneath, 
 and a gracefully branching plant whose branches end in grotesque heads. The 
 colors are brownish lustre, with intense metallic reflections, creamy white, 
 ultramarine blue, and turquoise. They are probably of the thirteenth to the 
 fourteenth century a.d. Old Persian. 
 
 Height, 51 inches ; width, 10 inches. 
 
 1133— Framed. Tile. 
 
 Star shaped, with a very deep, thick, vitreous lapis-lazuli glaze, decorated with fern 
 leaves in gold, outlined with brown over the glaze, and the ground filled 
 with small white dots and scrolls, also fired over the glaze. The gilding is 
 slightly worn. Old Persian. 
 
 Height, 8 inches ; width, 8 inches. 
 
 These lapis-lazuli tiles, with gold decoration over glaze, are of great rarity and 
 are very highly prized. They are referred by Mr. Henry Wallis, probably the best 
 living authority on Persian tiles, to the thirteenth century, but they are much rarer 
 than even the lustred tiles of that period. 
 
 1134 — Framed Tile. 
 
 Star shaped. Similar to the foregoing. 
 
 Height, 8 inches ; width, 8 inches. 
 
 1135 — Hexagonal Tile. 
 
 Framed, with a symmetrical design of floral scrolls in dark blue and turquoise on a 
 ground of brilliant, slightly greenish white. Old Damascan. 
 
 Height, 10 ) 4 . inches ; width, 9^ inches. 
 
 * It is pretended that tiles with raised blue inscriptions on a ground of brown 
 lustre were first made for the tomb raised to Mahomet at Broussa, in the fourteenth 
 century. 
 
 The inscription, running across all three tiles, has been translated: “ [In the 
 name of God] the just, the very just; we have believed, therefore forgive us, and for¬ 
 give your prophet, whom you sent.” 
 
1136 — Star-shaped Ttie. 
 
 Framed. The decoration is of arabesque foliage reserved in white on a ground of 
 brownish lustre, with a broad line of blue separating it from the customary 
 white border, with inscriptions. The play of color with reflected light is 
 exquisite, showing mainly a vivid blue, changing in spots to rose color and 
 gold. (Repaired.) Old Persian. 
 
 Height, 9 inches ; width, 9 inches. 
 
 1137— Star-shaped Tile. 
 
 Framed. It is decorated in brownish lustre, with blue, golden, and red reflections, 
 with arabesques in white, reserved, and has the usual border with inscriptions. 
 (Repaired.) Old Persian. 
 
 Height, 9 inches ; width, 9 inches. 
 
 1138— Tile. 
 
 Part of a continuous wall decoration. It shows one arch of an arcade, with a hanging 
 lamp and inscriptions, surmounted by a frieze which is decorated with flowers. 
 The colors are those that mark very early polychrome tiles—olive green, tur¬ 
 quoise blue, and white. 
 
 Height, 9 inches ; width, 9 inches. 
 
 1139 — Series of Twelve Old Spanish Azulejos , or Wall Tiles. 
 
 From the palace of Charles V., on the Alhambra Hill. The designs are flower pots 
 with flowers, separated by Jieurs-de-lis , cornucopias with scrolls and fleurons, and 
 an arabesque interlacing floral pattern. The decoration is all outlined in relief, 
 in the Moorish manner. The coloring is in blue, green, and yellow, the latter 
 color in some cases giving golden and rose-red metallic reflections. Old Span¬ 
 ish. Sixteenth century. 
 
 Length of panel, tiles only, 60 inches; height, 5 inches. 
 
 1140 —Panel of Twelve Old Spanish Azulejos. 
 
 Similar to the foregoing. 
 
 1141 — Pilaster Panel of Four Azulejos. 
 
 The subjects are a flower vase with Spanish thistle, a crowned head in a wreath, 
 cornucopias, and a vase with flowers. The colors are deep blue, ochreous 
 yellow, and dark red, on a ground of variously toned white. Old Spanish. 
 Sixteenth century. 
 
 Height of panel, tiles only, 28 inches ; width, 5 inches. 
 
 1142 — Pilaster Panel of Four Azulejos. 
 
 Similar to the foregoing. 
 
*1143 —Three Oblong Tiles. 
 
 With arabesques and cloud scrolls 
 Details in iron red. 
 
 *1144 —Three Oblong Tiles. 
 
 Similar to the foregoing. 
 
 *1145 —Three Oblong Tiles. 
 
 Similar to the foregoing. 
 
 *1146 —Three Oblong Tiles. 
 
 Similar to the foregoing. 
 
 reserved in white on a ground of light green. 
 
 Height, io inches ; width, 4^ inches. 
 
 Height, 10 inches ; width, 4 inches. 
 
 Height, 10 inches ; width, 4 inches. 
 
 Height, 10 inches ; width, 4 inches. 
 
 *1147 —Ten Oblong Tiles. 
 
 With conventional flowers and leaves in reserved white, turquoise, and iron red, on a 
 ground of deep blue. 
 
 Height, 10 inches ; width, 6 inches. 
 
 *1148 — Six Tiles. 
 
 On a white ground. Large compartments are traced in a fine iron red laid on so 
 thickly as to form a relief. Within these compartments are bunches of roses 
 and carnations, symmetrically disposed; the roses blue, the carnations red. 
 Between them are other graceful floral sprays. The flowers are mainly blue, 
 the leaves green, which has run a little into the ground. 
 
 Height, q'/2 inches; width, 9^ inches. 
 
 * The beautiful wall decorations described above are from the mosque of Rustem 
 Pacha, in Constantinople, obtained through the courtesy of Mrs. E. C. Hobson. 
 “The history of them is rather interesting,” writes Mrs. Hobson. “A French den¬ 
 tist there got a contract from the Palace to repair a very beautiful little mosque called, 
 I think, the Rustem Pacha mosque, built by a grand vizier of that name in memory 
 of his wife. The dentist abstracted a large quantity of the tiles, and replaced them by 
 imitation ones made in Paris. He died soon after, and I purchased them through 
 the good offices of the English consul-general, Mr. -, a great collector, and con¬ 
 
 sidered one of the best authorities on Eastern art. The entdfes des fenetres are con¬ 
 sidered most rare and beautiful; in fact, I doubt if any like them ever left Constanti¬ 
 nople before. The narrow blue tiles are also very precious and rare, and all are of the 
 best period of Turkish manufacture. . . . Mr. - bought a few for the Man¬ 
 
 chester Museum. . . .” 
 
 It is to be observed that “ Turkish ” does not necessarily mean of Turkey in 
 Europe. Tiles similar to many of these are known to be from Kutahia, in Asia Minor, 
 which has been a centre of the ceramic industry from the fourteenth century, when 
 it was introduced there by Persian potters. 
 
*1149— Six Tiles. 
 
 Similar to the foregoing. 
 
 Height, 9 inches ; width, 9 inches. 
 
 *1150 — Square Panel of Twenty-nine Wall Tiles. 
 
 Framed. The ornamentation is of symmetrically disposed conventional flowers and 
 buds, connected by lighter sprays; the coloring in two shades of blue, green, 
 iron red, and the white of the ground. The border has a running scroll of 
 leaves and flowers on a dark blue ground. 
 
 Height, 38 inches; width, 38 inches. 
 
 *1151 — Square Patiel of Forty Wall Tiles. 
 
 Framed. Rich compartments outlined in red bear bouquets of carnations and other 
 flowers in red, green, and reserved white on a deep blue ground. Between 
 them are sprays of almond blossoms in blue, with red centres, and gracefully 
 drooping carnations, sometimes red and blue, sometimes orange; the buds are 
 red or orange, the leaves green. This exceedingly rich diaper pattern is framed 
 by a strong border of lambrequin design, in which the splendid iron red greatly 
 v predominates, along with dark blue and green. 
 
 Height, 48 inches ; width, 48 inches. 
 
 *1152 — Square Panel of Twenty Wall Tiles. 
 
 Framed. A diaper pattern of crossed leaf and flower sprays in red, blue, and green on 
 a white ground is framed by a rich border of rose and carnation design, the 
 roses mainly in two shades of blue, the carnations in two shades of red, the 
 leaves green, on a white ground. This uncommonly naturalistic border has, 
 yet, a splendid decorative effect. 
 
 Height, 28 inches ; width, 28 inches. 
 
 See note on No. 1160. 
 
 *1153 — Square Panel of Twenty-nine Wall Tiles. 
 
 Framed. A diaper of fusiform medallions, outlined with blue and filled with arabesques 
 in green, blue, and reserved white, on a ground of red, separated by sprays in 
 the same colors; has a border similar to that of No. 1151. 
 
 Height, 40 inches ; width, 40 inches. 
 
 *See foot-note under No. 1148. 
 
Mosque Tiles 
 
 Ancient Persian wall tiles, inscribed with passages from the Koran, from a niche in a mosque, 
 so set as to indicate the direction of the Cubical House, or temple, at Mecca, towards which the 
 Muslim turns in prayer. 
 
 From Persia, at least three hundred years old. Extremely rare and valuable, as it is almost 
 impossible to obtain tiles from Mohammedan mosques, the veneration in which they are held pre¬ 
 cluding their sale, to non-believers especially. 
 
 Translation of the inscriptions is by Mr. Abraham Yohannan, of Columbia University. 
 
 (N. B.—The priest recites the passages of the Koran, while the worshippers pray, facing the 
 
 niche.) 
 
 1154 — Large Mosque Tile. 
 
 With a broad, projecting cornice and narrow base. It bears an Arabic inscription, 
 in raised Nasch letters, in blue, on a ground of brown lustre, with metallic 
 reflections. The cornice has a quincunx of trefoils in relief. The ground is 
 decorated with white reserved scrolls, flowers, and leaves, the larger leaves tinted 
 with turquoise. In a handsome brass frame. Old Persian or Anatolian(?). 
 
 Height, 21^2 inches; width, 19 inches. 
 
 Translation: “In the name of the most merciful God.” 
 
 1155 — Large Mosque Tile. 
 
 Similar to the foregoing. Framed in brass. (Repaired.) 
 
 Height, 21 inches; width, 18 inches. 
 Translation: “ Whatever is in [heaven and earth] praiseth God.” 
 
 [These two slabs contain only the invocation and the first four words, 
 respectively, of Suras Ixii. and lxiv.] 
 
 1156 — Large Mosque Tile. 
 
 Framed in brass. Similar to Nos. 1154 and 1155, except as to the inscription and 
 the background decoration, which is richer. Birds fly among the foliated scrolls 
 that twine about the letters of the inscription, and the cornice bears a design in 
 relief of nightingales and rose bushes. Old Persian or Anatolian(P). 
 
 Height, 17 inches; width, 16 inches. 
 
 Translation: “A fountain [whereof the servants of God] shall drink.” 
 
 [Being the first two words of Sura lxxvi., verse 6.] 
 
1157 — Pilaster. 
 
 From the revetment of a mosque. It is composed of four tiles in semicircular relief, 
 with a vase-shaped capital, and bevelled borders bearing inscriptions. Pilaster 
 and capital are covered with interlaced foliated ornamentation in ultramarine 
 and turquoise, on a ground of brownish lustre, with rich golden, crimson, and 
 blue reflections; the ground strewn with delicate leaf and flower scrolls in 
 white, reserved. It is mounted in a metal frame. Old Persian or Anatolian(?). 
 
 Height, 53 inches. 
 
 (i) “ Which, therefore, of your Lord’s benefits will ye ungratefully deny? We will 
 surely attend to judge you, O men and genii, at the last day. Which, therefore, of 
 your Lord’s benefits will ye ungratefully deny? O ye collective body of genii and 
 men, if ye be able [section missing] deny? (2) This is hell, which the wicked deny 
 as a falsehood; (4) they shall pass to and fro between the same and hot, boiling 
 water. Which, therefore, of your Lord’s benefits will ye ungratefully deny ? But 
 for him who dreadeth the tribunal of his Lord, are prepared two gardens. [Which, 
 therefore, of your Lord’s benefits will ye ungratefully deny?] Planted with shady 
 trees. Which, therefore, of your Lord’s benefits will ye ungratefully deny? In 
 each of them shall be two fountains flowing. (3) Which, therefore, of your Lord’s 
 benefits will ye ungratefully deny? In each of them shall there be of every fruit 
 two kinds. Which, therefore, of your Lord’s benefits will ye ungratefully deny ? 
 They shall repose on couches, the linings whereof shall be of thick silk interwoven 
 with gold; and the fruit of the two gardens shall be near at hand together.” 
 
 [Being from Sura lv., verses 30 to 54 inclusive; but the tile has here 
 been cut into sections for ease in removal or transportation, and verses 33 to 
 43 are wanting, which should come in the break indicated. Also, in piecing 
 together, the third and fourth sections are misplaced, as indicated above. 
 They should be arranged in reverse order.] 
 
 (1) “ In the name of the most merciful God. By the sun, and its rising brightness; 
 by the moon, when she followeth him; (2) by the day, when he showeth his splendor; 
 by the night, when it covereth him with darkness; by the heaven and Him who built 
 it [section missing] by the day, when it shineth forth; by Him who hath created 
 the male and the female; verily your endeavor is different. (4) Now whoso is 
 obedient, and feareth God, and professeth the truth of that faith which is most excel¬ 
 lent; unto him will we facilitate the way to misery; and his riches shall not profit 
 him when he shall fall headlong into hell. Verily unto us appertaineth the direc¬ 
 tion of mankind; (3) and ours is the life to come and the present life. Wherefore I 
 threaten you with fire which burneth fiercely, which none shall enter to be burned, 
 except the most wretched; who shall have disbelieved and turned back. But he who 
 strictly bewareth idolatry and rebellion shall be removed far from the same; who 
 giveth his substance in alms.” 
 
 [Being parts from Sura xci. and xcii. This side corresponds with the 
 other side above, and is cut into similar sections, misplaced. The present 
 order, and the lacuna, are indicated.] 
 
 1158 — Memorial Mosque Tablet. 
 
 In the form of a doorway, in two sections. Above the pointed trefoil arch are two 
 circular openings, reminding one of Venetian Gothic architecture.* The arch 
 springs from rounded pilasters with vase capitals, like No. 1145. It is framed 
 in a wide border, with a large outer moulding. The entire tile is covered with 
 Arabic inscriptions in raised blue letters, excepting on the pilasters, where the 
 
 * The use of the openings is to lighten the masonry above the arch. 
 
letters are reserved in white from the general ground of brown lustre, with 
 rich metallic reflections. Old Persian or Anatolian(?). 
 
 Height, 46 y 2 inches; width, 29 inches. 
 
 Exhibited at the Paris Exposition of 1878, where it obtained first prize in its class. 
 
 “ In the name of the most merciful God. Verily we sent down the Koran in the 
 night of al Kadr. And what shall make thee understand how excellent the night of 
 al Kadr is? The night of al Kadr is better than a thousand months. Therein do 
 the angels descend, and the spirit of Gabriel also, by the permission of their Lord, 
 with his decrees concerning every matter. It is peace until the rising of the morn.” 
 
 [Being the whole of Sura xcvii.] 
 
 “ God hath borne witness that there is no God but him; and the angels and those 
 endowed with wisdom profess the same; who executeth righteousness; there is no 
 God but him; the mighty, the wise. Verily the true religion in the sight of God is 
 Islam; and they who had received the Scriptures dissented not therefrom.” 
 
 [Being the sixteenth and first part of seventeenth Sura iii.] 
 
 “ In the name of the most merciful God. Concerning what do the unbelievers 
 ask questions of one another? Concerning the great news of the resurrection, about 
 which they disagree. Assuredly they shall hereafter know the truth thereof. Again, 
 assuredly they shall hereafter know the truth thereof. Have we not made the earth 
 for a bed, and the mountains for stakes to fix the same? and have we not created 
 you of two sexes; and appointed your sleep for rest; and made the night a garment to 
 cover you; and destined the day to the gaining of your livelihood; and built over 
 you seven solid heavens; and placed therein a burning lamp? And do we not send 
 down from the clouds that press forth rain, water pouring down in abundance, that we 
 may thereby produce corn, and herbs, and gardens planted thick with trees ? Verily 
 the day of separation is a fixed period: the day whereon the trumpet shall sound, 
 and they shall come in troops to judgment; and the heaven shall be opened, and shall 
 be full of gates for the angels to pass through; and the mountains shall pass away, and 
 become as a vapor; verily hell shall be a place of ambush, a receptacle for the trans¬ 
 gressors, who shall remain there for ages; they shall not taste any refreshment 
 therein, or any drink except boiling water, and filthy corruption, a fit recompense for 
 their deeds! For they hoped that they should not be brought to an account, and they 
 disbelieved our signs, accusing them of falsity. But everything have we computed 
 and written down. Taste, therefore: we will not add unto you any other than torment. 
 But for the pious is prepared a place of bliss: gardens planted with trees, and vine¬ 
 yards, and damsels with swelling breasts, of equal age with them; and a full cup. 
 They shall hear no vain discourse there, nor any falsehood. This shall be their rec¬ 
 ompense from the Lord—a gift fully sufficient—from the Lord of heaven and earth, 
 and of whatever is between them; the Merciful. The inhabitants of heaven or of 
 earth shall not dare to demand audience of Him; the day whereon the spirit Gabriel 
 and the other angels shall stand in order, they shall not speak in behalf of themselves 
 or others, except him only to whom the Merciful shall grant permission, and who shall 
 say that which is right.” 
 
 [Being the first thirty-eight verses of the Sura lxxviii.] 
 
 1159 —Ogival Lunette , or Entete de Fenetre , of Sixteen Polychrome Wall Tiles. 
 
 A ribbon-like scroll, of conventional cloud forms in red, forms large compartments, 
 across which wind more regular spiral scrolls, with flowers, mainly blue, varied 
 with red and white; the leaves green, veined with red and flowered white; the 
 whole on creamy white ground. The border is the Persian running scroll of 
 leaves and flowers, in the same colors, on a ground of deep blue. 
 
 Height, 29 inches; length, 56^ inches. 
 
 See note on No. 1160. 
 
1160 —Ogival Lunette , or E?itete de Fenetre. 
 
 Similar to the foregoing. 
 
 Height, 29 inches ; length, 56^ inches. 
 
 The beautiful wall decorations described above are from the mosque of Rustem 
 Pacha, in Constantinople, obtained through the courtesy of Mrs. E. C. Hobson. 
 “The history of them is rather interesting,” writes Mrs. Hobson. “A French den¬ 
 tist there got a contract from the Palace to repair a very beautiful little mosque 
 called, I think, the Rustem Pacha mosque, built by a grand vizier of that name in 
 memory of his wife. The dentist abstracted a large quantity of the tiles, and 
 replaced them by imitation ones made in Paris. He died soon after, and I pur¬ 
 chased them through the good offices of the English consul-general, Mr. -, 
 
 a great collector, and considered one of the best authorities on Eastern art. The 
 entetes des fenetres are considered most rare and beautiful ; in fact, I doubt if any 
 like them ever left Constantinople before. The narrow blue tiles are also very pre¬ 
 cious and rare, and all are of the best period of Turkish manufacture. . . . Mr. 
 
 -bought a few for the Manchester Museum. . . .” 
 
 It is to be observed that “Turkish” does not necessarily mean of Turkey in 
 Europe. Tiles similar to many of these are known to be from Kutahia, in Asia 
 Minor, which has been a centre of the ceramic industry from the fourteenth cen¬ 
 tury, when it was introduced there by Persian potters. 
 
1188 
 
 1190 
 
 AW Elsoni Co.,Boston 
 
Hispano-Moresque and Other 
 
 Plates 
 
 It is not believed that much of this ware has come down to us from the time of the Moorish 
 occupation in Spain; but much of it may have been made between the Spanish conquest and the 
 expulsion of the Moors, and in places the Moorish potters were specially exempted from the decree 
 of banishment. The mingling of Christian and Mahometan emblems, inscriptions, etc., is thus 
 accounted for. 
 
 That the aljofainas , or dishes, were made rather for ornament than for use is shown by the 
 holes for suspension which almost invariably appear in the rim, and which were made by the potter 
 before firing the piece, the glaze frequently running into them. 
 
 One of the technical peculiarities of Hispano-Moresque is the modelling by repoussage , 
 a relief on one side of the piece being accompanied by a depression on the other. The lustre in the 
 more ancient pieces is of a golden-yellow cast, showing the presence of silver along with copper. 
 In the later pieces copper is used alone; but the style of decoration, very broad and bold, appears 
 to have hardly varied from the beginning. Something like it is found on old Egyptian lustred pieces, 
 and on the very oldest Persian. The natural objects depicted are those familiar on Persian pottery 
 —vine leaves, tulips, carnations, the cypress, birds, fishes, etc. But the human figure is unknown, 
 and there is no sign of Chinese influence having spread farther west than Anatolia. 
 
 1161 —Circular Dish. 
 
 Buff glaze, copper lustre, with varied reflections. The design is of birds alighting 
 among sprays of carnations. The reverse is plain, but for a streak which is 
 the potter’s trial of lustre intended for another batch of dishes. 
 
 Diameter, 14^ inches. 
 
 1162 — Circular Dish. 
 
 With sloping rim and umbilicus in the centre. The decoration, in brownish lustre, 
 with golden reflections, shows a curtain with waving vertical stripes, and over 
 it two large flowers. The border is of flowers and scrolls. The reverse has a 
 large spiral. 
 
 Diameter, 15 inches. 
 
1163 — Deep Plate. 
 
 With a bouquet of carnations outlined in brownish black, the leaves blue and green, the 
 flowers blue and liver colored, some in slight relief. The border has Chinese 
 cloud scrolls in greenish black, with touches of green and blue. It has been 
 liberally decorated in gold. The reverse has detached cloud scrolls in blue 
 and green. Early Persian polychromatic ware, sometimes called Rhodian. 
 
 Diameter, inches. 
 
 1164 —Deep Plate. 
 
 Similar to the foregoing, but with the fine green replaced by a yellower green, en¬ 
 livened with turquoise, and the liver color by pink; no gilding; the general 
 effect much inferior. Persian or Rhodian. 
 
 Diameter, 10% inches. 
 
 1165 — Platter. 
 
 With large flat rim, and umbilicus in centre; decorated in brownish lustre, with varied 
 golden, blue, and ruby reflections, with a knob of leaves, and a border of simu¬ 
 lated Gothic inscription; an outer border of spirally arranged compartments in 
 slight relief, with flower scrolls and flat tint alternating. (Slight repair.) 
 
 Diameter, 13^ inches. 
 
 1166 — Platter. 
 
 Similar to the foregoing, with simulated Gothic inscription about a central boss. The 
 border has oblong bosses and tulip plants in relief, with fine linear decoration 
 between, in pale brownish lustre, which shows bright golden, greenish, and 
 crimson reflections. (Slight repair.) 
 
 Diameter, 13 inches. 
 
 1167 — Deep Dish. 
 
 With broad, sloping rim, and umbilicus in centre. On the rim are four large lobed 
 leaves, to which relief has been given by deep incisions in the paste; between 
 them are closed tulips and linear flower scrolls. There is an inner border of 
 trefoils and other plant forms. In the hollow of the umbilicus, on the reverse, 
 is a convolvulus flower, surrounded by spiral lines and free leaf decoration. 
 Blue and silvery reflections. (Repaired.) 
 
 Diameter, iS'A inches. 
 
 1168 — Deep Circular Dish. 
 
 With a decoration of lozenge squares and guilloche pattern, in grayish-blue and brown 
 lustre with green and gold reflections. The reverse is similar to the foregoing. 
 (Repaired.) 
 
 Diameter, is A inches. 
 
1169 — Circular Dish. 
 
 With large curving rim, and umbilicus in centre. The latter bears an open tulip, and 
 is surrounded by a ring of scrolls and dots. The rim has a ten-pointed star, 
 the points terminating in loops, from five of which leaves spread out laterally. 
 The lustre is of a brownish yellow with golden and ruby reflections. The 
 reverse bears a spiral. (Repaired.) 
 
 Diameter, 15J4 inches. 
 
 1170 — Circular Dish. 
 
 Similar to the foregoing, but with a blue disk on the umbilicus, and further decorated 
 with alternate bands of arabesques and guilloche pattern, interrupted by panels 
 of arabesques on blue. (Repaired.) 
 
 Diameter, 1 s l A inches. 
 
 1171 — Very Deep Circular Dish. 
 
 With umbilicus divided by cross lines, in blue and copper lustre, into four compartments, 
 filled in alternately with ornaments in blue and copper and in copper only. 
 Reverse, convolvulus and spiral. Crimson and purple reflections. (Repaired.) 
 
 Diameter, 15^ inches. 
 
 1172 —Very Deep Circular Dish. 
 
 With umbilicus. The rim is divided by four large, lobed leaves, relieved by incisions 
 or depressions in the paste, covered with lustre with purple and gold reflections, 
 and outlined heavily with deep blue, into compartments filled with jonquils and 
 other flowers in lustre on the buff ground. 
 
 Diameter, 15^ inches. 
 
 1173 — Circular Dish. 
 
 With slight umbilicus in the centre, with a twelve-petalled flower, alternately blue 
 and lustred, bordered by spirally arranged, detached, serrate leaves; the rim has 
 eight bunches of leaves in relief, outlined in blue. The lustre is yellowish 
 brown with silvery and blue reflections. (Slight repair.) 
 
 Diameter, 16 inches. 
 
 1174 — Deep Circular Dish. 
 
 With narrow rim, with a regularly balanced design of hyacinths and carnations in blue, 
 pink, olive green, and turquoise, as in Nos. 1163 and 1164. The border, of 
 cloud, leaf, and flower shapes, is in blue and olive. The reverse has detached 
 flowers and groups of flowers. Persian or Rhodian. 
 
 Diameter, 14 inches. 
 
1175 — Deep Circular Dish. 
 
 The rim sloping at nearly the same angle as the bowl, and both divided into sixteen 
 wedge-shaped compartments by ribs in relief, filled with elaborate linear designs 
 and with small bosses in relief. The centre has a shield parted in four and 
 charged with rosettes. The lustre is a yellowish brown with silvery reflec¬ 
 tions. These dishes are usually ascribed to Valencia. 
 
 Diameter, inches. 
 
 Purchased in Spain, in 1885, for Mr. Marquand, by the artist Jose Villegas. 
 
 1176 — Deep Circular Dish. 
 
 With convex rim and umbilicus. The rim has large, toothed leaves in relief, outlined 
 in blue; the leaves, striped blue and lustre, alternating with others in lustre 
 only, and two panels of tulip pattern. The lustre is yellowish brown with 
 blue and violet reflections. (Repaired.) 
 
 Diameter, 16 inches. 
 
 1177 — Circular Dish. 
 
 With umbilicus surrounded by a simulated inscription. The rim bears a six-pointed 
 star with trefoil-shaped loops. The reverse has two streaks of rich green, to 
 test the color for a different batch of vessels. The lustre is yellowish with 
 greenish and purple reflections. 
 
 Diameter, 13^ inches. 
 
 1178 — Circular Dish. 
 
 With conical umbilicus, decorated on the top with a carnation flower reserved in the 
 brown lustre. The border is of spirally disposed panels on the rim, with six 
 large four-lobed leaves in relief, and colored in blue and lustre. Reverse like 
 the foregoing. Golden reflections. 
 
 Diameter, 15^ inches. 
 
 1179 — Circular Plate. 
 
 With slight umbilicus surrounded by simulated inscriptions. The rim has tulip plants 
 and flowers in relief, in blue and yellowish lustre with blue and golden reflec¬ 
 tions. (Repaired.) 
 
 Diameter, 13^ inches. 
 
 1180 — Deep Circular Dish. 
 
 With concave rim and umbilicus. The rim is decorated with toothed leaves outlined 
 with blue; the bowl with arabesques and guilloche in brown lustre with green 
 and golden reflections. (Repaired.) 
 
 Diameter, 15^ inches. 
 
 1181 — Circular Dish. 
 
 With curving rim and umbilicus, decorated with a shield bearing a deer in brown lustre, 
 a simulated Gothic inscription, and a border of spirally arranged panels with 
 scale pattern, floral design, and trefoils in lustre and blue. The lustre has purple 
 and crimson reflections. (Repaired.) 
 
 Diameter, 15^ inches. 
 
1198 
 
 AWElson & Ca,Boston 
 
1182 — Circular Plate. 
 
 With conical umbilicus, spirally indented. The rim has large four-lobed leaves in 
 relief. The lustre is yellowish brown with golden, crimson, and blue reflec¬ 
 tions. (Repaired.) 
 
 Diameter, i2j{ inches. 
 
 1183 — Circular Plate. 
 
 With a slight umbilicus, which bears a shield outlined in blue and charged with a deer, 
 as in No. n8l. The decoration is of spirally disposed panels in relief, 
 flowers, scale pattern, and rosettes in blue and brown lustre with silvery 
 reflections. 
 
 Diameter, 15 inches. 
 
 Purchased in Spain, in 1885, for Mr. Marquand, by the artist Jose Villegas. 
 
 1184 — Circular Dish. 
 
 With umbilicus surrounded by a broad ring of blue. The rim has a fourteen-rayed 
 star, the rays terminating in lenticular bosses. The outer rim is blue. Brown¬ 
 ish lustre with golden iridescence. (Slight repair.) 
 
 Diameter, 16 inches. 
 
 1185 — Deep Circular Dish. 
 
 With a conical umbilicus, the flat top of which has a carnation flower reserved in the 
 brownish lustre. The border is of herbaceous plants, some of the leaves out¬ 
 lined in blue. Golden and crimson reflections. Reverse, convolvulus flower 
 and spiral. (Slight repairs.) 
 
 Diameter, 16 inches. 
 
 1186 — Deep Circular Dish. 
 
 With sloping rim and high umbilicus. The field of the bowl is divided by five broad 
 bands of lustre, the intervening spaces filled with pomegranates in blue and 
 lustre, and leaves in the latter. The rim is similarly divided in four. The 
 lustre is brownish with silvery reflections. 
 
 Diameter, 16 inches. 
 
 1187 —Deep Circular Dish. 
 
 With umbilicus bearing a carnation flower reserved in the orange-brown lustre. The 
 bowl has scrolls and leaves, some outlined in blue; the rims, four-lobed leaves, 
 and feather-like ornaments thrown into relief by indentations in the paste. 
 Blue and crimson reflections. 
 
 Diameter, 16 inches. 
 
 1188 — Circular Dish. 
 
 Similar to No. 1175; but the flat centre has been covered with a floral decoration in 
 lustre, now nearly effaced. The original holes for suspension have been filled 
 in, and there is a very neat ancient repair. Copper lustre with golden and 
 pink reflections. Valencia. 
 
 Diameter, I 7 j£ inches. 
 
 Purchased in Spain, in 1885, for Mr. Marquand, by the artist Jose Villegas. 
 
1189 — Deep Circular Dish. 
 
 With umbilicus bearing a four-petalled flower in reserve. The other decoration con¬ 
 sists of detached leaves and flowers, some in relief. Brown lustre with blue 
 and crimson reflections. 
 
 Diameter, 15^ inches. 
 
 1190 — Circular Dish. 
 
 With conical umbilicus, the flat top bearing a flower reserved; the side spirally 
 indented. The border is of leaves, separated by bands of guilloche pattern; 
 the lustre brown with crimson and blue reflections. On the reverse are the 
 usual convolvulus and spiral. (Repaired.) 
 
 Diameter, 16 inches. 
 
 1190 a — Circular Dish. 
 
 With umbilicus bearing a design of a cypress tree and vine. The rim has a thirteen- 
 pointed star bearing lobes, three of which are painted blue. The remainder 
 of the decoration is in yellowish lustre with golden and pearly iridescence. 
 Reverse, a spiral. Hispano-Moresque. 
 
 Diameter, 16 inches. 
 
 I 190 b — Circular Dish. 
 
 With umbilicus bearing a conventional flower. The rim has spirally arranged lobes in 
 slight relief, alternately charged with rude flower designs or covered with lustre. 
 The lustre is yellowish with golden and pearly iridescence. Hispano-Moresque. 
 (Repaired.) 
 
 Diameter, 16 inches. 
 
 1190 c — Circular Dish. 
 
 Large circular plaque of faience. Painted in blue and yellow with religious subjects; 
 St. Veronica’s towel with the head of Christ in the centre, with a border of 
 angels in an arcade, and smaller borders of oves and wave pattern. Italian. 
 (Repaired.) 
 
 Diameter, 18 inches. 
 
 1191 — Large Plate. 
 
 Antique Persian faience, invested with a soft ivory-white glaze. Decoration of Chinese 
 inspiration. The centre medallion is composed of an interlaced diaper pattern 
 in turquoise and cobalt blue. A wide outer border of clouded blue is orna¬ 
 mented with finely drawn floral and leaf scrolls in turquoise-blue enamel and 
 white reserve. Reverse, a border of tree peonies amid elaborate leaf scrolls, 
 painted in fine under-glaze blue. Sixteenth century. 
 
 Diameter, 15 inches. 
 
 1192 — Plate. 
 
 Old Delft. Pale buff ground, with roses, tulips, and leaf scrolls rudely drawn in 
 cobalt blue. 
 
 Diameter, 13^ inches. 
 
1199 
 
1193 — Plate. 
 
 Old Delft. Decoration of floral and leaf scrolls in cobalt blue on a soft creamy 
 ground. 
 
 Diameter, inches. 
 
 1194 — Plate. 
 
 Old Delft. Rudely drawn decoration of flowers, palm, and other designs, painted in 
 cobalt blue on a white ground. 
 
 Diameter, 13J4 inches. 
 
 1195 — Old Delft Plate. 
 
 Covered with a green glaze. Decoration of flowers, willow tree, and rocks, rudely 
 drawn, and painted in cobalt blue. 
 
 Diameter, 12 inches. 
 
 1196 — Deep Plate. 
 
 Old Chinese pure white hard paste. Decoration of Chinese warriors on horseback, 
 willow tree, and conventional designs in fine under-glaze blue. Reverse, floral 
 sprays and sceptre-head ornaments in mazarin blue. Six-character mark, 
 Ch’eng-hua, 1465-1487. 
 
 Diameter, 15 inches. 
 
 1197 — Large Plate. 
 
 Old Imari. In the centre medallion, blooming peonies and chrysanthemum. Wide 
 outer border, decorated with lotus amid elaborate leafy scrolls. All of the 
 ornamentations in under-glaze blue of dark and light tints. 
 
 Diameter, 22 inches. 
 
Terra-cottas by Della Robbia 
 
 1198 — Madonna and Child. 
 
 In glazed terra-cotta. Three-quarters figure of Madonna holding nude, standing 
 child, whose arms are about her neck. The figures, in high relief, are cov¬ 
 ered with a fine white glaze, and are set in a niche glazed in light blue. Both 
 mother and child have blue eyes. The curved surface of the niche and its 
 outer faces are decorated with a superficial gilding representing vertical panels, 
 floral scrolls, rosettes, and coats of arms. By Luca della Robbia. Fifteenth 
 century. 
 
 Height, i foot 6^ inches ; width, I foot 3inches. 
 
 From the collection of Emile Gavet, Paris. 
 
 The general conception, as well as the pose and modelling, link this with some 
 of the best known Madonnas of Luca della Robbia. It was first published in the 
 “ American Journal of Archaeology,” 1894, p. 14; then by Dr. Bode in the “ Denk- 
 maler Renaissance Sculptur Toscanas,” Taf. 229; in the “Jahrbuch, k. p. Kunst- 
 sammlungen,” 1900, p. 23; in the “ Florentiner Bildhauer der Renaissance,” 1902, 
 p. 170; and by Marcel Reymond in his “Les della Robbia," 1897, p. 204, and 
 “La Sculpture Florentine,” Seconde Moiti6 du XV 6 Si£cle, p. 174. A similar 
 Madonna, with slight variations, is in the collection of Mr. Quincy Adams Shaw, 
 in Boston. 
 
 1199 — Medallion Portrait of a Young Man. 
 
 Glazed terra-cotta. Life-size bust of a young man, with face turned towards his right 
 shoulder. The head is glazed in white, the tunic in colors. The background 
 is a rich blue, and the surrounding frame a polychrome wreath of leaves and 
 fruit. By Andrea della Robbia. Fifteenth century. 
 
 Diameter, 1 foot 10 inches. 
 
 From the collection of Count G. Stroganoff. 
 
 Portrait busts of a similar type are found in the Berlin Museum and the collec¬ 
 tion of Prince Liechtenstein in Vienna. The Berlin bust is attributed by Dr. Bode 
 to Luca della Robbia in the “Jahrbuch k. p. Kunstsammlungen,” 1900, p. 31; 
 “Florentiner Bildhauer der Renaissance,” 1902, p. 187. 
 
 1200 — Boy with a Dolphin. 
 
 Boy, glazed in white, holds a blue dolphin over his shoulder. The palmette below is 
 glazed in green. In the works of the Robbia school, putti of similar type were 
 frequently employed in the decoration of large reliefs, where they were repre¬ 
 sented as bearing garlands. By Andrea della Robbia. Fifteenth century. 
 
 Height, x foot 8 inches. 
 
 From the collection of Count G. Stroganoff. 
 
1200 
 
 AW Els on &CcLBostcvr. 
 
1201 — Life -size Statue. 
 
 In colored faience. A child, seated, playing with a butterfly and a tulip. By 
 Francois Duquesnoy. 
 
 Francois Duquesnoy, an excellent Flemish sculptor, born at Brussels in 1594, 
 was better known by the name of Francois Flamand. About 1619 he went to Rome, 
 where he became an intimate friend of Nicolas Poussin and worked many years. 
 He excelled in the representation of infants, and was considered by some as the best 
 sculptor of his time. Among his masterpieces are statues of Saint Susanna in Rome, 
 and of Saint Andrew in the basilica of Saint Peter’s. He was on his way to Paris, 
 whither he had been invited by Richelieu, when he died at Leghorn in 1646. The 
 Mus6e de Cluny contains several of his works. 
 
 1202 — Oil Pamting on Glass. 
 
 “ The Annunciation.” The Virgin kneels at a prie-dieu at the foot of a bed. The 
 angel enters with lily branch and dove. The Father leans out of a circle of 
 cherubim surrounded by clouds. The painting is on the back of a thick pane 
 of glass cast to shape. French. Sixteenth or early seventeenth century. In 
 a carved frame of the same period. 
 
 Height, 17 y 2 inches; width, i 6}4 inches. 
 
 This manner of painting succeeded the early, slightly fired gilt and painted 
 designs under glass. The process is the reverse of that usual in painting in oils; 
 that is to say, the outlines and accents are first painted, the broad masses next, and 
 the background, frequently gilt, as here, last of all. It allows of no retouching. 
 This is an uncommonly beautiful example of a rare and interesting branch of art. 
 
 1203 — Carved and Gilt Frame. 
 
 Of architectural design, with base, pilasters, frieze, and semicircular pediment all 
 richly decorated; the frieze with children and grotesques, the tympanum with 
 angels, and a rising sun bearing the letters I H S. The ornamentation is 
 carved in the wood, and not, as is frequently the case, in gesso. 
 
 Height, 39 inches ; width, 19^ inches. 
 
 1204 — Byzantine Panel 
 
 The little plaster panel, nearly square, is enclosed within a frame of thin silver ham¬ 
 mered into a design of scroll work, bordered with bands of ornament. The 
 Madonna is represented seated on a circular-backed throne decorated with a 
 diaper of minute pattern. She holds up two fingers of her right hand, and has 
 her left around the body of the infant Saviour, who is seated on her arm, resting 
 his feet on her lap, and holding up a hand in the act of blessing. Behind the 
 throne stand two angels, one holding a sceptre. The whole groundwork is of 
 gold, on which the figures are pencilled in brown, the flesh parts being modelled 
 with exquisite delicacy, and the draperies and accessories glazed with vermilion 
 and overlaid with a minute network of ornamental designs. 
 
1205 —Louis XVI. Clock. 
 
 A globe of blue lustre, with a zone in white enamel for the hours, and ornaments of 
 clouds and foliage in ormolu, is surmounted by a cupid and supported by figures 
 of the three Graces in dark bronze, enlaced with chains of flowers in ormolu; 
 on a triangular base of white marble, richly ornamented with anthemions and 
 floral scrolls in ormolu. 
 
 Height, 28inches. 
 
 Bought for Mr. Marquand by the late Richard M. Hunt. 
 
 1206 — Old Venetian Stamped Leather Wall Hanging. 
 
 Large diaper pattern in silver and blue, with two shields armorial, surmounted by 
 cardinal’s hats. Some small pieces restored. 
 
 1207 — Antique Mosaic Panel. 
 
 Of marble mosaic, showing four antique masks—comic, tragic, satyric, and Dionysiac 
 —under a thyrsus and shepherd’s crook crossed, from which depend a Pan’s 
 pipe and cymbals or tambourine. The design is bordered with a fret pattern, 
 interrupted by scattered branches, with rosettes at the corners. 
 
 Length, 40 inches; width, 29 inches. 
 
 Bought in Rome, 1888. 
 
 1208 — Panoply of Arms. 
 
 Shield, helmet, gauntlets, cuirass, spurs, chain and ball, mace, swords, halberts, of 
 various shapes, the principal pieces engraved with various ornamental designs. 
 
 1209 — Panoply of Arms. 
 
 Helmet, cuirass, and other arms; not decorated. 
 
 1210 —Suit of Plate Armor. 
 
 With shirt of chain mail and long sword. 
 
 1211 — Suit of Plate Armor. 
 
 The cuirass and other parts engraved with armorial bearings and ornamental designs; 
 with a shirt of chain mail and long sword. 
 
 1212 — Large Old Italian Water Jar. 
 
 With a mottled green glaze over a reddish body. It has two ribbed handles, a band of 
 lozenge decoration in relief about the shoulder, and is further decorated with 
 a rosette and an escutcheon bearing the arms of the Medici family. 
 
 Height, 34 inches. 
 
1205 
 
 A.WElson &. Cc.Bostori 
 
1207 
 
1213 —Large Old Italian Water Jar. 
 
 Similar to the preceding. It bears inscribed the name “Gaetan Lottini,” probably that 
 of the maker. 
 
 1214 —Marble Statue U Inspiration. 
 
 A youthful female figure of life size, seated, singing, and playing on a harp of 
 antique shape. The figure is of marble, the harp of silvered bronze; the 
 base is of dark red marble. By Jean Gautherin. Dated 1887. 
 
 Commissioned for Mr. Marquand by the late Richard M. Hunt. Exhibited by 
 the artist at the Salon, Paris, 1887. 
 
 Jean Gautherin, born at Ouroux NiSvre, was a pupil of Gumery, Dumont, and 
 of M. P. Dubois, and the recipient of numerous honors. 
 
1232 
 

SEVENTH AFTERNOON'S SALE 
 
 (i CONCLUDING SESSION) 
 
 Saturday, January 31st, 1903 
 
 BEGINNING PROMPTLY AT 2.30 O’CLOCK 
 
 Embroideries and Textiles 
 
 1225— Japanese Cloth-of-gold “ Kin-KobP 
 
 Scroll and floral designs on an olive-brown ground. 
 
 Length, 40 inches ; width, 20 inches. 
 
 1226 — Italian Medici Panel. 
 
 Bold floral scrolls, in ruby red, on cloth-of-gold ground. 
 
 Length, 29 inches ; width, 24 inches. 
 
 1227 — Japanese Cut Velvet Panel. 
 
 Arabesque and diaper patterns, in green, red, black, and white, on a terra-cotta ground. 
 
 Length, 84 inches ; width, 28 inches. 
 
 1228— Two Lengths of Japanese Silk Crepe. 
 
 Jade-green ground, with peacocks, rabbits, and Grecian key pattern, in dark green and 
 brown. 
 
 1229 — Antique Khiva Silk Velvet Panel. 
 
 Green and salmon-pink stripes, with borders of archaic design. 
 
 Length, 34 inches ; width, 21 inches. 
 
 1230— Unique Specimen of Persian Velvet —Early Fifteenth Century. 
 
 Conventional flowers and birds, in beautiful tones of red, olive, pink, and yellow, on 
 cloth of silver. Framed in mahogany; under glass. 
 
 Length, 21 inches ; width, 13 inches. 
 
1231 — Fragment of Venetian Cut Velvet —Fifteenth Century. 
 
 Floral and scroll medallions, in cloth of gold, on a field of ruby red. Framed in 
 mahogany; under glass. 
 
 Length, 34 inches ; width, 25 inches. 
 
 1232 — Rich Venetian Velvet Panel —Sixteenth Century. 
 
 Star-shaped centre medallions, surrounded by palmettes and conventional designs in green 
 and gold, on a brilliant crimson ground. Framed in mahogany; under glass. 
 
 Length, 48 inches ; width, 27 inches. 
 
 1233— Jardiniere Cut Velvet Panel —Louis XV. 
 
 A medallion, with bunches of grapes and vine leaves, bordered with festoons of flowers 
 and lace designs, dainty sprays and foliage in emerald green, violet, mauve, and 
 white, on cloth of gold. Framed in mahogany; under glass. 
 
 Length, 44 inches ; width, 24 inches. 
 
 1234— Chalice Veil —French, Seventeenth Century. 
 
 The embellishment consists of an elaborate cross in the centre and four corner orna¬ 
 ments, embroidered in silver thread, and the sacred carnation and tulip, exquisitely 
 executed in silk needlework, the whole on a cream-white silk ground. Edged 
 with silver lace. Framed; under glass. 
 
 Length, 28 inches ; width, 22 inches. 
 
 1235 — Italian Renaissance Panel. 
 
 Arras embroidery of bold floral scrolls, coat of arms, cranes, and fruit designs, in various 
 colors of silk, on a gold ground. 
 
 Length, 43 inches ; width, 19 inches. 
 
 1237 — Length of Japanese Silk Brocade. 
 
 Branches of peonies, in gold and green, on a rich brown ground. 
 
 Length, 18 yards ; width, 27 inches. 
 
 1238 —Venetian Dalmatic — Seventeenth Century. 
 
 Rich brocade, with gold, silver, and colored flowers. Silver galloon trimming. 
 
 1239 — Italian Chasuble — Seventeenth Century. 
 
 Elaborate floral and leaf scrolls, embroidered in gold, on cloth of silver. Bears a car¬ 
 dinal’s coat of arms. 
 
 1240 — French Court Dress — Louis Ouinze. 
 
 Rich gold and silver brocade of floral design. Trimmed with gold lace. 
 
 1241 — Italian Panel. 
 
 Elaborate floral scrolls and medallion, embroidered in gold and silver thread and silk, on 
 red velvet. Gallooned and fringed. 
 
 Length, 80 inches ; width, 14 inches. 
 
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1242 —French Table Cover —Louis XV. 
 
 Red damask, ornamented with crests, bold corner ornaments, and other designs, embroid¬ 
 ered in gold thread and silks. Heavily fringed and bordered. 
 
 Length, 63 inches ; width, 38 inches. 
 
 1243 —Japanese Table Cover „ 
 
 Brown satin. Rich embellishment of peacock with spreading tail, embroidered with gold 
 threads; borders and corners ornamented with flowers and birds worked in low 
 tones of silks. Heavy fringe border. 
 
 Length, 69 inches ; width, 69 inches. 
 
 1244 —French Bed Coverlet. 
 
 Cut velvet, with conventional floral and leaf scrolls, in two shades of brown, on tcru 
 ground. 
 
 Length, 7 feet 4 inches ; width, 5 feet 4 inches. 
 
 1245 — Early Renaissance Coverlet. 
 
 Cream-color silk, elaborately embroidered with sacred flowers and foliated scrolls, in 
 gold thread and green, yellow, brown, and blue silks. 
 
 Length, 7 feet 4 inches ; width, 6 feet. 
 
 1246 — Early Renaissance Curtains. 
 
 A set of four, to match the preceding. 
 
 Length, 7 feet 8 inches ; width, 3 feet 8 inches. 
 
 1247 —Early Renaissance Lambrequin and Panel. 
 
 A set of drapery for a bedstead canopy, to match the preceding. 
 
 Lambrequin : Length, 19 feet 6 inches ; width, 11 feet 7 inches. 
 Panel: Height, 6 feet 2 inches ; width, 5 feet 9 inches. 
 
 1248 — Renaissance Genoese Cut Velvet Coverlet. 
 
 Rich Venetian design of vases of flowers, bold foliated scrolls, and rampant lions, 
 symbolical of Beauty, Industry, and Strength, in ruby red, on an old-gold ground. 
 Heavy fringe border. 
 
 Length, 8 feet; width, 7 feet 9 inches. 
 
 1249 — Persian Manilouka, or Portiere — Seventeenth Century. 
 
 Floral scrolls, birds, and conventional designs, embroidered in various colors of silks, on 
 red, blue, and fawn-color cloths. 
 
 Length, 7 feet 4 inches ; width, 4 feet 4 inches. 
 
 1250 —Venetian Coverlet —Seventeenth Century. 
 
 Brocade with large flowers, palmettes, leaf and lace patterns, in gold thread and cream- 
 color silk, on a brilliant green ground. Trimmed with gold galloon. 
 
 Length, 6 feet 6 inches ; width, 6 feet. 
 
1251 — Italian Panel —Seventeenth Century. 
 
 Known as arras embroidery. Bold Florentine scrolls, flowers, and a coat of arms—two 
 cupids holding a shield—worked in colored silks, on gold ground of solid needle¬ 
 work. Fringed border. 
 
 Length, 60 inches ; width, 40 inches. 
 
 1252 — Turkish Shawl. 
 
 Rare specimen of Cashmere weaving. Natural pashmana camel’s-hair cloth, richly 
 embellished with an elaborate floral design, skilfully embroidered in various silks 
 and gold and silver thread. 
 
 Length, go inches ; width, 52 inches. 
 
 1253 — Spanish Bed Coverlet —Seventeenth Century. 
 
 Arabesques, medallions, and geometrical designs, embroidered on rose silk and white 
 satin; border embellished with various lace patterns in silver thread. 
 
 Length, 6 feet 2 inches ; width, 5 feet 3 inches. 
 
 1254 — Renaissance Altar Frontal. 
 
 Medici cut velvet of rich ruby red, profusely ornamented with a cross and conventional 
 floral designs, in intricate silver and gold bullion lacework in high relief. 
 
 Length, 84 inches ; width, 26 inches. 
 
 1255 — Italian Altar Frontal —Sixteenth Century. 
 
 Bold Florentine scrolls, with study of lilies and birds, embroidered in gold thread and 
 fine tones of green, yellow, pink, and blue silks, on a silver ground. In the 
 centre is a medallion illustrating the scene of Christ being seized by Pontius 
 Pilate’s soldiers. An extraordinary specimen of solid needlework. 
 
 Length, 70 inches ; width, 36 inches. 
 
 1256 — Early Italian Renaissance Portiere. 
 
 Embroidered in raised gold on ruby-red velvet. A centre medallion, formed by a cluster 
 of grapes, surrounded by a laurel wreath and floral scrolls; and pendants and 
 corner pieces of floral and conventional design. 
 
 Length, 6 feet 10 inches; width, 5 feet. 
 
 1257 — Portuguese Bed Coverlet —Seventeenth Century. 
 
 Profusely embroidered in beautiful tones of turquoise blue, red, cream, and other colors, 
 on ecru silk. The embellishment consists of scrolls, flowers, and a medallion 
 containing a basket of flowers, two cupid’s heads, and the inscription, “ Post 
 Exactam Hiemem, 1606.” Blue satin and fringe border. 
 
 Length, 8 feet 6 inches ; width, 7 feet 4 inches. 
 
 1258 — Italian Bed Coverlet —Seventeenth Century. 
 
 Bold floral and leaf scrolls, embossed on ruby-red velvet. Fringed border. 
 
 Length, 9 feet 2 inches ; width, 7 feet 8 inches. 
 
A"WElson &. Co,Boston 
 
1259 — Indo-Portuguese Bed Coverlet — Seventeenth Century. 
 
 Semi-oriental, elaborately ornamented with the conventional lotus, shi-shi lions, fleur- 
 de-lis, coronets, and a medallion containing an eagle in flight, supporting a young 
 girl. All embroidered in various silks and gold threads, on crimson satin. 
 
 Length, 9 feet 5 inches ; width, 6 feet 8 inches. 
 
 1260— Elaborate Portuguese Baldachino — Sixteenth Century. 
 
 Hindo-Persian design of embroidery, in various shaded silks of finely blended colors, on 
 ruby-color velvet. The embellishment consists of sacred flowers, leaf scrolls, and 
 conventoinal patterns, surrounded by a wide border of turquoise blue, and a narrow 
 border of sapphire blue. 
 
 Length, 13 feet; width, 5 feet 6 inches. 
 
 1261 — Italian Renaissance Panel. 
 
 Specimen of ecclesiastical needlework. The design is a repetition of medallions with 
 coats of arms on a background representing various sacred flowers and offerings, 
 all embroidered in colored silks and gold and silver threads. Framed in mahog¬ 
 any ; under glass. 
 
 Length, 6 feet 3 inches; width, 5 feet. 
 
 1262 — Pair Empire Tapestry Panels. 
 
 Vase filled with flowers and fruits, on red ground. 
 
 Length, 4 feet; width, 4 feet. 
 
 1263 — Sicilia?! Bed Coverlet — Seventeenth Century. 
 
 Elaborate decoration of lilies, floral scrolls, and paroquets, forming a centre medallion 
 and four corner ornaments, all embroidered in floss silk of brilliant colors, on a 
 canary-yellow moire silk. Black net and embroidered border. 
 
 Length, 8 feet 6 inches ; width, 5 feet 10 inches. 
 
 1264 —Pair Italian Medici Door Curtains . 
 
 Brilliant red cut velvet on cloth of gold. Bold scrolls, conventional lilies, carnations, 
 and cornucopias filled with offerings, forming the design. 
 
 Each strip : Length, 7 feet 8 inches ; width, 3 feet 10 inches. 
 
 1265 — Indo-Portuguese Coverlet — Seventeenth Century. 
 
 Bold floral designs and leaf scrolls, embroidered (chain stitch) in silks of various colors. 
 Framed in a harmonious border, and edged with fringe. 
 
 Length, 9 feet 3 inches ; width, 6 feet. 
 
 1266 — Pair French Brocade Door Curtains —Louis XIV. 
 
 Floral bouquets and silver foliage, on cream ground, bordered with cloth-of-silver brocade. 
 Lined and gallooned. 
 
 Each strip : Length, 7 feet 10 inches; width, 3 feet 10 inches. 
 
 1267 — Large Italian Carpet — Early Sixteenth Century. 
 
 Embroidered (cross stitch) in silk; geometrical and bold floral designs, in blue, yellow, 
 white, and brown, on a ground of shaded green. 
 
 Length, 21 feet; width, n feet. 
 
Rare Oriental Rugs 
 
 In the matter which occupies the ensuing pages effort is made to discuss the rugs of this quite 
 extraordinary collection in their relationship to such others as they are akin to in origin, design, color¬ 
 ing, or epoch; and references, I hope not too frequent, have been made to the several pieces by their 
 catalogue numbers. It seems reasonable to believe that, at least to persons interested in the study of 
 rugs, the comparisons thus instituted will be suggestive, and not devoid of instruction. From the col¬ 
 lector’s standpoint the value of this plan lies in establishing a concrete significance, in making of the 
 collection a unit. Its comprehensiveness is thus emphasized. In the light of this treatment it will be 
 seen that in making his collection the owner undertook to secure representative pieces from all the rug¬ 
 making sections of the East. There are typical rugs of high class from the shores of the Bosphorus 
 and from China, from the Caucasian fastnesses now dominated by Russia and from the Indian looms, 
 from the steppes and from Persia. 
 
 Personally, I am not a little surprised to find here such small representation of the fine Turkoman 
 weavings which are held in high esteem by the modern East, and the best of which, now almost 
 unobtainable, might have been had when this collection was being made. But this lack must be consid¬ 
 ered merely as an expression of individual preference on the part of the owner, and whatever weakness 
 the collection shows in this or any regard is far more than counterbalanced by the presence of so many 
 and so venerable Persian masterpieces of a sort which cannot now be got, even in the remotest East, 
 upon any terms whatsoever. 
 
 Certain of these have been taken as subjects of color-plates for the forthcoming edition of 
 “Oriental Rugs,” and through the courtesy of the publishers of that work, the Messrs. Scribner, the 
 editors of this catalogue are enabled to present, in the folio copies, important illustrations, which, 
 besides serving a high purpose in ornamentation, cannot fail to be of signal value to collectors in the 
 time to come. Thanks are due to Dr. Richard J. H. Gottheil for translation of the inscriptions in Rug 
 No. 1305. 
 
 A word should be said concerning the knots, the number of which to the square inch is indicated 
 in the comments upon each fabric. Where these are omitted, persons familiar with rug construction will 
 recognize that the pieces are not of a piled texture. Such, for example, are the Sehna Khilim (No. 
 1279) and a Soumak rug (No. 1293). The texture in both of these is more nearly akin to the tapestry 
 method used on the French looms. The number of knots to the square inch in the piled rug is ascer¬ 
 tained by counting those on the warp and weft respectively. The result obtained by multiplication of 
 these necessarily gives the total number of knots to the square inch. There are two varieties of knots 
 used in most Asiatic fabrics, though some slightly different methods are affected by India weavers. 
 These two chief methods are known as Turkish and Persian. The difference, as seen in the finished 
 fabric, is that in the Turkish knot two yarn ends of the pile come up between each two threads of the 
 warp; in the Persian, only one. The Persian knot makes a finer fabric, and, when light yarns are used, 
 
1284 
 
allows of a greater number to the inch. With the Turkish method, which, however, is used in many 
 parts of Persia, great solidity is often obtained by doubling the yarn. The Tabriz method, which the 
 Tabrizlis have unquestionably borrowed from the Kurds, involves a peculiar arrangement of the warp, 
 which enables them to secure all the Persian fineness, while the knot is actually of the other sort. 
 
 This combination of the two systems produces fabrics which, while containing sometimes as high 
 as four hundred knots to the square inch, are oftentimes hard and rigid almost beyond belief. 
 
 JOHN KIMBERLY MUMFORD. 
 
 New York, October 20, 1902. 
 
 1268 — Samarkand Mat. 
 
 Length, 3 feet 8 inches; width, 2 feet. 
 
 30 hand-tied knots to the square inch. 
 
 Many of the Samarkand and Kashgar rugs are purely Chinese in design, and the raw Chinese colors are 
 used in them. All the ornamentation of this rug has been washed and faded out, except the 
 one small figure in the centre. Traces of other lines may be discerned, and on the back of the 
 rug some splashes of green and magenta show where the big Mongol patterns have been. As 
 an aesthetic item, this fragment of Middle Asiatic weaving compels admiration. The yellow is 
 superb, and the single relic of the design, standing out so boldly upon it, is a masterpiece of 
 simple effect. 
 
 1269 — Small Rug of Laristan. 
 
 Length, 4 feet 9 inches; width, 3 feet 8 inches. 
 
 180 hand-tied knots (Turkish) to the square inch. 
 
 An exquisite small rug. It is possible that a broad border stripe and an outer narrow stripe, companion 
 to the one which remains, are missing ; but one end of the fabric, the best preserved, seems to 
 indicate that it is not a fragment, but followed the old Persian idea of having one narrow 
 border for small rugs, guarded only by a very fine figured stripe on either side. There is 
 a magnificent deep blue ground, with the repeated pear pattern in the bold, tree-like form 
 common to this section; and, over all, a richness of effect and a refinement which challenge 
 admiration. The narrow lines which enclose the border stripe are figured with a peculiar 
 curved hook, laid slantwise to the axis. The one positive departure from regularity in de¬ 
 sign is the inversion of three of these hooks about midway on one side of the rug. This is 
 prompted by superstition. The retention of a blue tone in the pear patterns, with the addition 
 of a touch of greenish blue, contributes much to the beauty of the whole. To the lover of 
 the spontaneous native fabrics of the East, this piece will seem in some ways one of the most 
 praiseworthy in the collection. 
 
1270 — Old Kuban Mat. 
 
 Length, 3 feet 10 inches; width, 3 feet 3 inches. 
 
 63 hand-tied knots (Turkish) to the square inch. 
 
 A quaint and most attractive bit of Caucasian coloring, although age and hard service have almost 
 ended its period of utility as a floor covering. In shape and design the rug follows the 
 Shirvan variety, and the quality of its warp suggests the same derivation. The cotton selvage 
 at the sides, however, indicates the weaving of Kuba, a district which lies the other side of the 
 mountains, northward from the old Shirvan khanate, and in which the fine Kabestan rugs are 
 made. The shading of some of the colors corroborates this conclusion, since the Kabestan 
 weavers affect this trick of the wool to a greater extent than any others in the Caucasus. 
 
 The feature is the striking contrast afforded by the narrow border stripes and the rest of 
 the rug. These stripes present the characteristic reciprocal trefoil, or, better, “spade ” pattern, 
 common as a border figure in many of the Caucasian and Transcaucasian fabrics, and in some 
 high-class Persian fabrics besides, notably the Sarabands. 
 
 The superstitious nature of the weaver is shown in the substitution of a rich, strong blue in 
 the border at one end of the rug, entirely at variance with the color of the rest of the design. It 
 is believed that such sudden breaks in the color scheme are potent averters of ill fortune. 
 
 1271 — Shirvan Sedjadeh. 
 
 Length, 4 feet 8 inches; width, 3 feet 6 inches. 
 
 63 hand-tied knots (Turkish) to the square inch. 
 
 The Shirvan standard is fairly represented in this small piece, which resembles in many respects the 
 Kuban mat just described. The design throughout is characteristic of the Eastern Caucasus. 
 The three octagons united to form a central medallion are familiar; the border is in a pattern 
 common to Shirvan. For the rest, the conventional figures are found. The color, too, is in 
 accord with the requirements for rugs of this district. 
 
 1272 — Tekke or “Bokhara " Rug. 
 
 Length, 5 feet 4 inches; width, 3 feet 8 inches. 
 
 168 hand-tied knots (Persian) to the square inch. 
 
 An excellent example of the thorough textile work of Turkestan. There is no wool superior to that 
 of the northern plains, where these rugs are woven; no craftsmanship more thorough and hon¬ 
 est than that occasionally found among the hordes who only a comparatively little time ago, 
 under Russian compulsion, ceased from their national diversion, or occupation, of man-stealing. 
 This particular rug has seen some violent usage, though not badly worn down. The cuts, made 
 
possibly in some affray, have not yet been properly repaired ; but the merit of the piece, in spite 
 of these defects, is patent. The rope, made from strands of the foundation yarns, indicates 
 that it was used for a hanging, to divide the kibitka, or tent, into little apartments ; thus its 
 superior quality is in a measure accounted for. 
 
 1273 — Shirvan Sedjadeh. 
 
 Length, 4 feet 10 inches; width, 3 feet 10 inches. 
 
 80 hand-tied knots (Turkish) to the square inch. 
 
 Two features appear in this rug—one in the coloring, the other in the texture—to indicate an influence 
 foreign to the locality where it was woven. In dimension, general design, and material, both of 
 pile and foundations, it is of the Shirvan order. The finishing, particularly of the sides, and 
 the rather extraordinary shading of the colors all through the rug, are wholly suggestive of the 
 Kabestans. It is not the custom in any other part of the Caucasus to take such liberties in the 
 modulation of the colors as has been indulged in so successfully here. It will be noticed that 
 one end of the rug is an entirely different color proposition from the other, a transmutation 
 accomplished by toning down some of the color values and changing others gradually by 
 admixture of converting tingents, until the whole complexion of the fabric is changed. Take 
 first the red, which at one end is of a very positive and substantial cast. It is softened little by 
 little until it becomes a rose pink; the blue of the narrow border stripe, which starts out 
 strongly, becomes lighter and lighter by almost imperceptible degrees, and then by the care¬ 
 fully regulated addition of yellow a green is secured almost precisely complementary to the rose 
 tint. All the actual blue that remains when this has been accomplished is in the small patterns 
 and interlineations. An interesting feature of the design is the use of the serrated diamond 
 shape so much in vogue in the old Circassian and Mingrelian rugs, which, strangely enough, is 
 found in great profusion in the Navajo blankets of our own land. With the exception of the 
 swastika, there is perhaps no perfect decorative device more widely distributed than this. 
 
 1274 — Fine Shirvan Prayer Rug . 
 
 Length, 5 feet 9 inches; width, 3 feet 9 inches. 
 
 130 hand-tied knots (Turkish) to the square inch. 
 
 While not of great age, this small worship carpet is of decidedly antique quality, both in texture and 
 coloration. It is one of the ingenious rugs, most frequent in Kurdistan and the Caucasus, in 
 which a set pattern, many times repeated (in this case it is the tarantula device), is so modified 
 by the arrangement of the colors that it seems at first glance a wholly different thing. In 
 many rugs of Kurdistan, whose weavers are adepts in all the tricks of color, one device will be 
 scattered throughout the entire field of the carpet, but so differing in coloration that no two 
 can be found precisely alike. The Caucasian weaver has not done quite so much in this rug, 
 but the general effect is the same. The small, serrated diamond shape, referred to in remarks 
 on No. 1273 as a Caucasian device, is found here doing duty as a star. In many Tcherkess 
 prayer carpets, and sometimes in those of Kulah, in Western Asia Minor, this figure, in diminu¬ 
 tive form, is strewn throughout all the space above the prayer arch, to represent the spangled 
 heavens. 
 
 Another token of the devotional character of this rug is the small, long-spouted water ewer 
 which every devout Mussulman uses for the washings attendant upon devotions. In four places 
 here the figure of the ewer is found. 
 
— Antique Persian Prayer Rug. 
 
 Length, 5 feet 6 inches; width. 4 feet 3 inches. 
 
 323 hand-tied knots (Persian) to the square inch. 
 
 This is a rug which has seen vastly more hard usage than the flowery Shiraz (No. 1285), but in design it 
 belongs to a somewhat later age and a less luxurious neighborhood. That it came from farther 
 north is not to be doubted ; for the stars which fill the small outer border—symbols of divinity— 
 are chiefly used by Turanian peoples. More of cabalism than of the pure nature worship is indi¬ 
 cated. The repeated horizontal shape, to be sure, is found in the “ water,” or narrowest stripe, 
 of both this and the floral prayer rug; but that is well-nigh their only point of likeness. The 
 Herat border is suggested in broad, striking leaf patterns; but, singularly enough, the leaves are 
 arranged in such manner as to form the Chinese cloud band, itself a symbol of deity. Some of 
 the common flowers are retained, but the vines which accompany them are heavy and rectangu¬ 
 lar. The arch is of a heavier and plainer type, and instead of the earlier tree-of-life shape found 
 in the other places, the sides of the field here contain the straight pillars of a mosque, with care¬ 
 fully drawn but severe hexagonal bases and capitals, and a simple diamond design formed by zigzag 
 lines running up and down the shafts. From the peak of the arch hangs the plainest of temple 
 lamps, suspended by a realistic chain. The strongest Persian feature of the rug is the running 
 vine, with flowers, in the spandrels of the arch. Persians taught the Ghiordes weavers to do the 
 same thing with the space above the arches of their prayer rugs, and the horizontal panel at the 
 top of the field is also found in most Ghiordes pieces. (See No. 1286.) 
 
 The solid centre of rich maroon makes a striking contrast with the cream border and its 
 bold leaf patterns. Old and worn as the rug is, for it has seen much service, it is a splendid bit 
 of color, and of a type so strong that it and others closely resembling it have been chosen for 
 reproduction in the high-class modern silk pieces both of Anatolia and Persia. 
 
 —Fine Sehna Sedjadeh. 
 
 Length, 5 feet 11 inches; width, 4 feet 3 inches. 
 
 484 hand-tied knots to the square inch. 
 
 • 
 
 With the exception of the Sehnas there are no Persian rugs which—save now and then as an oddity— 
 show the Herat pattern on a white or cream-tinted ground. It is impossible for piled rugs in 
 wool to contain much finer texture than that which prevails in Sehna pieces of this character, 
 and even this fineness could hardly be obtained on any save a silk or linen warp. As fabrics they 
 are unsurpassable; the only criticism to which they are ever open is that the dyes used in 
 them are not always of the most enduring. The color effect of the Sehnas of this high class is 
 usually as soft and delicate as the texture is hard and unyielding; but the color softness is 
 secured by distribution of the various hues in minute areas, for which the fine knot is indispen¬ 
 sable. To lend still greater emphasis to this characteristic the pile is trimmed very short. It 
 would be natural to infer from this that they were delicate and could sustain only a limited amount 
 of wear. The multitude of compact knots and the vigorous twisting of the fine wool, which reduces 
 it almost to the hardness of linen, seem to have obviated this, and it is a fact that the antique 
 Sehna shows wear as little as many of the heavy nomad rugs with pile yams several times as long. 
 
 The typical Sehna coloring is preserved in the border of this rug, but the patterns which 
 carry it are not those commonly used. The upright leaves on either side of the rosettes are 
 unusual. The number of stripes is noticeably large. The colored stitching in the web at the 
 ends is the work of Kurdistan, found also in the khilim (No. 1279); and the nomadic separate 
 patterns, strewn through ground and border, are evidence of origin. 
 
1277 — Shirvan Prayer Rug. 
 
 Length, 5 feet 1 inch; width, 4 feet 2 inches. 
 
 132 hand-tied knots (Turkish) to the square inch. 
 
 Another of the clean-cut, bright, and attractive prayer carpets woven in the eastern part of the Caucasus 
 and along the southwestern shore of the Caspian Sea. This lattice formation is quite char¬ 
 acteristic also of the Daghestan province; in fact most of the prayer rugs of the Caucasian dis¬ 
 tricts are in this general fashion, the difference lying mainly in shape, borders, and textile char¬ 
 acteristics. In general this rug closely resembles No. 1274, save that the latter is a trifle longer 
 in proportion to its width, as the Daghestans commonly are, and shows a slightly different texture. 
 
 1278 — Kulah Prayer Rug. 
 
 Length, 5 feet 11 inches; width, 4 feet. 
 
 90 hand-tied knots (Turkish) to the square inch. 
 
 The pure, undisputed Kulah is ordinarily of coarser texture than the Ghiordes, and is usually dis¬ 
 tinguishable by the preponderance of this peculiar shade of yellow. It is not, it will be observed, 
 the golden yellow of Kurdistan, but a more tawny hue, a clear development from the bronze 
 and saffron yellows of Eastern Anatolia and the Mesopotamian country. In these rugs there 
 is seldom any liberal display of red, or green, or pure white. The color almost invariably 
 employed to relieve the yellow is blue, and this is found in two values, light and dark. The 
 latter is in most cases used as a ground color for the centre, but even there it is a different 
 deep blue from that found in the centre of many Ghiordes rugs. A note of Persian realism is 
 found in this rug, in the use of pale green for certain of the flower stems; but the design, from 
 first to last, is in the prescribed Turkish forms. The profile flower is found here and the 
 eight-pointed star. The narrow Kulah stripes are limited in number, the broad stripe being 
 substituted, with a tree element in the peculiarly heavy form common to the primitive decora¬ 
 tion of Turkish peoples, in Turkestan and in other parts of middle Asia. But the “ life ” idea 
 is still prominent. 
 
 1279 — Selina Khilim. 
 
 Length, 6 feet 4 inches; width, 4 feet 6 inches. 
 
 In this piece, nomad Kurd women of Ardelan Province have made strenuous effort to copy the fine- 
 patterned khilims—or two-sided coverings—made by the town weavers of Sehna. The mark 
 of the mountain Kurds is the colored stitching of wool run through the webbing at the end. 
 In design and color the type has been followed with considerable fidelity. The khilim of 
 which this is a copy was without doubt one of high class, even for Sehna, to judge from its 
 complicated design. There is a double medallion, the outer one marked off with serrations, 
 such as are found in the Herez fabrics of Azerbijan as well as some from Shiraz and from 
 parts of the Caucasus. This outer medallion is filled with the small repeated plant design 
 common in so many piled rugs of Northern Kurdistan, so arranged as to form a diagonal lattice- 
 work. The corner spaces and the ground of the inner medallion hold a modified Herat, or 
 “ fish ” pattern, which is one of the most common things in the Sehna khilims, and is ordinarily 
 
used as a diaper design covering the whole body of the fabric. This “ fish ” pattern, and the 
 “pear” or “cone ” figure are about the only forms ordinarily used in the Sehna rugs of recent 
 times. The tree or plant pattern is quite unusual in these fabrics, and constitutes an undeni¬ 
 able proof of authorship. The coloring—the rose color, yellows, and greens—is all very true to 
 type; and the puckered effect of the texture caused by persistent twisting of the yarn is, I 
 think, found in no other fabric besides the Sehnas. In these it marks both the khilims and the 
 backs of the piled or tufted rugs. 
 
 1280 — Kill ah Hearth-piece. 
 
 Length, 6 feet 5 inches; width, 4 feet 5 inches. 
 
 88 hand-tied knots (Turkish) to the square inch. 
 
 Here is the characteristic yellow and blue of Kulah, also the stripe effect. But in the centre 
 heavy figures are used, balanced by the more substantial broad stripes in the borders and the 
 rude Turkish shapes in the end panels of the centre. The idealism which everywhere through¬ 
 out the East finds its most studied expression in the prayer rugs is here abandoned, and, with 
 seeming disregard for the Sunnite prejudice against depiction of the actual, the wide border 
 stripe has been made up of a crude landscape comprising trees and an altar. Even when they 
 are taken singly, some imagination is required to discern the verisimilitude of these groups, and 
 the weaver’s timidity has made it still more difficult. The pattern is repeated, but inverted each 
 time, so that what was originally a picture becomes a running, conventional thing, without par¬ 
 ticular likeness to any recognized element in design. 
 
 Elsewhere, something is said of the custom among Eastern tribes of weaving the self-same 
 designs in their mgs generation after generation. It is well verified and illustrated in this 
 carpet. A small rent or burned place has been patched with a piece of another mg. The 
 pattern corresponds almost perfectly. This may be found far more frequently in the fabrics of 
 the Turkoman and Tartar races than of the Persian, in whom there is more of originality. 
 
 1281 — Fine Antique Rug of IVestern Persia . 
 
 Length, 8 feet 1 inch; width, 6 feet 5 inches. 
 
 168 hand-tied knots (Persian) to the square inch. 
 
 Although genuinely old, and embodying some of the highest features of Persian textile design, this 
 rug will scarcely take rank with some others in the collection. Although old, it is a copy; 
 a copy, moreover, not of one rag, but of two; both of them, however, extremely old. It was 
 made probably not less than two hundred years ago, and was intended for an important fabric. 
 The best carpets obtainable were used as patterns. The field is perfect in arrangement, and 
 the mathematical nicety with which the difficult distribution of the animals is accomplished 
 gives evidence of mastery in design such as was possessed by none save royal weavers. The 
 animals are placed in horizontal groupings, and each of these groupings is repeated in every 
 fourth row. The axis of the rag is indicated by a lotus flower at the bottom of the field and a 
 pair of gazelles at the top. The deep crimson in the field is further proof that the central 
 design was copied in its entirety; but that is as far as the integrity extends. The border, with 
 its green ground, is the sixteenth century Ispahan border, similar to those of Nos. 1310 and 1314 ; 
 but its alternation of big figures is broken, and one of the two main elements appears twice in 
 succession. To avoid the cartouche inscriptions which ordinarily fill the borders of the animal 
 carpets, the weaver adopted the conventional Shah Abbas border, but he copied it from a carpet 
 
larger than that from which the central design has been taken, and neglected to reduce it to 
 the smaller scale. Nothing was left him, when he saw that he was coming out with border 
 goods to spare, but to cut out a section on each side and preserve the corners. This he did. 
 Instead of the vine and flower which find place in such carpets as Nos. 1282, 1284, and 1305, 
 here is the solid ground of coppery yellow always so common in the Kurdish and so-called 
 Mosul rugs, and upon this a simple rectilinear device, remotely resembling a flower, repeated 
 throughout the entire length of the stripes. These borders would be far more at home in a 
 Mosul, Kurdish, or “ Tzitzi ” rug than in a copy of the most ornate fabrics known in centuries. 
 
 1282 — J/ery Fine Old Carpet of Middle Persia. 
 
 Length, 9 feet 9 inches; width, 8 feet 5 inches. 
 
 400 hand-tied knots (Persian) to the square inch. 
 
 It is easy to discern the relationship between this carpet and No. 1284, and equally easy to know which 
 is the parent fabric, even if the softened colors of the larger piece did not answer the question. 
 Contrasted with this older weaving, No. 1284, beautiful as it is, seems hard and meagre. The 
 spontaneity and profusion of the old time are apparent in No. 1282, albeit the design is a set 
 one and repeated in rows, as in No. 1284, and, a century or two later, in No. 1283. 
 
 It is best to go at once to the borders for comparison, and it is seen that the border of 
 No. 1284, with its affectation of the Ispahan green and its mechanically accurate pattern, with 
 the seed-pods of the lotus as chief feature, is a new invention.* The main border of No. 1282, 
 with its dainty vine and recurrent flowers, is reduced in size and made to serve for the narrow 
 guard stripe in No. 1284. 
 
 In the field of No. 1284, as has been said, there is but one pattern, but in the parallel rows 
 these patterns do not fall abreast. Here in No. 1282 the patterns in the alternating rows differ 
 materially. The motive is the same in both; but one is wider in sweep, larger in detail, and 
 more complicated. 
 
 Just here attention must be called also to No. 1285. In floral character it bears a marked 
 likeness to No. 1282 ; but the particular element to be noticed is the solid, curved band of large 
 flowers growing out from the single stem. In No. 1282 it emanates from the curved diamond 
 shape, and may be taken as the measure of comparative size for the major and minor row 
 patterns, since in the first it contains five blossoms and in the second only three. 
 
 In addition to the leaves, laid back to back, as seen in No. 1284, another leaf element ap¬ 
 pears here—four curved leaves radiating from a rosette which is set in the centre of the diamond. 
 The big floral masses of the major row grow out from this centre, being bound at the bottom, 
 as it were, by the heavy flower band mentioned above, which regulates the curve of the stalks 
 and the spread of the flowers, much as it does in the prayer rug, No. 1285. The lily forms have 
 here a more ornate treatment, being adorned with a yellow centre. The henna flower is not a 
 stilted, set pattern as it is in No. 1284, and in all succeeding rugs, down to the modern Feraghan. 
 On the contrary, it has usually only three blossoms to a stalk ; but where five are allowed, a quiet, 
 unobtrusive color is used, plainly in order to keep the device in its proper subordinate relation 
 to the rest of the design. 
 
 It will be seen that the border on one side of the rug has been removed and carefully sewed 
 on again, and examination will reveal that one entire row of the field design has been cut out. 
 It is, of course, useless to speculate on the cause for this ; but the rug without doubt suffered some 
 accident, and the repairer, recognizing the utter impossibility of restoring it, took what seemed 
 to him the next best course and removed the damaged part altogether. The joining is so well 
 done that at first sight it would hardly be noticed. The important point in connection with it is 
 that in its original shape the rug was perhaps broader than it was long. This implies a special 
 use, and it is not at all unlikely that the piece was woven for the covering of a dais or a throne. 
 
1283 — Old Feraghan Rug. 
 
 Length, 6 feet 3 inches; width, 4 feet 3 inches. 
 
 182 hand-tied knots (Persian) to the square inch. 
 
 A most unusual specimen of the Feraghan weaving. The border and general appearance are charac¬ 
 teristic, but the light, bluish-green ground in two shades is a rarity. What especially interests 
 us is that here in rectilinear treatment is the Guli Hinnai figure of flowers on a stalk, referred 
 to in No. 1284, only that here the stalk has seven blooms instead of five, and is in upright 
 arrangement, as it appears in the Guli Hinnai design of to-day. This rug, if studied carefully, 
 will give ample proof of the relation to—or rather descent from—the fine silk piece next follow¬ 
 ing, and also the one which follows that piece. The curving vines, which, in the other, had in 
 a way survived from a more opulent period, are lost here; but, looking carefully along one end 
 of the field, one may find the same lily-shaped, light-colored flowers referred to as terminating 
 each pattern in Nos. 1282 and 1284. The plum-colored flowers are here, too. This color is 
 almost a Feraghan property, so universally does it appear in the old weavings of that district, 
 in some cases as a corner ground color. Practically every feature of No. 1284 can be found 
 here, though in a debased form. The clear definition is lost. The flowers have grotesque con¬ 
 ventional shapes, but vaguely resembling the natural drawing and shading at which the earlier 
 weavers aimed. The vines are no longer gracefully curved, but angular and cumbrous. 
 
 And yet this is a rare good rug when considered from a modern standpoint. It is only 
 when such capital fabrics are placed side by side with those of three hundred years ago that we 
 can read discouragingly clear the decline of the Oriental weaver’s art. 
 
 1284 — Old Rug of Middle Persia. Silk. 
 
 Length, 6 feet 11 inches; width, 4 feet 10 inches. 
 
 780 hand-tied knots (Persian) to the square inch. 
 
 This rug and No. 1282 are unquestionably of the same school, and No. 1282 is the older and more elab¬ 
 orate of the two. This piece (No. 1282) contains the Ispahan combination of green border- 
 ground with wine-red or crimson field, but the design is wholly foreign to Ispahan and to the 
 whole class of rugs which emanated from the capital during the latter part of the sixteenth cen¬ 
 tury. Although the design of No. 1284 grew out of that found in No. 1282, the story of the 
 artistic contraction which, after Shah Abbas, went on with great rapidity, is quite clearly written 
 here. 
 
 Much of the floral richness of No. 1282 is abandoned by this later weaver, apparently for 
 the economy of effort; but the beginning of the row arrangement so prevalent to this day in the 
 carpets of Feraghan and others patterned after them is undoubtedly found in these carpets. 
 The design of No. 1284 shows a large amount of open space. The weaver was not barbarian 
 enough to insert loose patterns to fill up the ground, and having abandoned the perfect coordi¬ 
 nation common to the fifteenth and early sixteenth century carpets, no other recourse was 
 left him but to leave wide areas of the ground color. There are two patterns, rather complex, 
 repeated in alternate rows, and so arranged in the rows that they are never side by side. A 
 little analysis makes it clear that this is the original Herat design, lancet leaves and all. The 
 pattern itself starts in a central point, extends upward and downward by the combination of 
 corresponding floral elements, and terminates in two small white or ivory-tinted lily shapes 
 which meet and are balanced against two similar shapes from the pattern following. Here are 
 the ends and here is the meeting-place of the successive patterns. The middle point of each 
 
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 mmm 
 
 '.r"r-t *j#M$ 
 
 1285 
 
pattern is where the four curved leaves lie back to back, and the trifloriate flower stem, with the 
 middle bud in yellow and the supporting ones in blue, outlined in white and dashed with red, 
 points toward the common centre. Opposite these centres, in the alternating rows, fall the 
 lily shapes before referred to, and on either side of the centres, facing one another and again 
 arranged in fours, are the stalks of the Guli Hinnai (flower of the henna) each bearing 
 five blossoms. 
 
 The flowers in this rug are similar to those found in recognized weavings of Shiraz, but 
 the manner in which they are utilized is of the North. Certain textile indications, such as the 
 many-colored silk warp and the small crimson overcasting at the sides, are characteristic of the 
 finest Sehna rugs of to-day. The shape, also, is that of the Sehnas; but it is quite impossible 
 to make hard and fast classification of a rug woven when Persia was in a state of such continual 
 change, and artisans in large numbers were constantly being transferred from place to place, 
 taking with them their methods and designs. 
 
 The fabric has been exceedingly well kept. Its only blemishes are one small rent in the 
 centre, carefully mended, and the absence of some of the colored warp fringe at one end. 
 This latter defacement is the handmark of the vandal, the silk having been slashed away 
 stealthily while the rug was upon exhibition. 
 
 1285 — Old Persian Prayer Rug. Silk. 
 
 Length, 5 feet 5 inches; width, 3 feet 8 inches. 
 
 468 hand-tied knots (Persian) to the square inch. 
 
 The fact stated elsewhere, that Eastern carpet designs are copied by generation after genera¬ 
 tion, is perfectly illustrated by a coincidence in which this rug figures. The prayer rug 
 used in the earlier editions of “Oriental Rugs” (page 168) to show the character of the an¬ 
 tique Shiraz weavings is almost a replica of this one, though made probably two centuries later. 
 It is probable that several other rugs intervened between them, and that the copy was made 
 from a copy, or a copy of a copy, or even from a rug many times removed from the original. 
 Whether or not this carpet is the parent of them all it is impossible to know ; but that it is ex¬ 
 ceedingly old is beyond doubt. It is hard to determine, too, if this be the actual product of 
 Shiraz, since the finishings, so plainly proving Shiraz origin for the later piece, are missing from 
 this one by very reason of its age. 
 
 The god whom the weaver of this rug worshipped must have been a generous deity, for 
 the fabric in every inch of its design tells a story of plenty and gladness. The idea of actual 
 growth and continued blessing is especially emphasized by the jardiniere, which is the central 
 feature of the design, and from which spring in great prodigality practically all the flowers that 
 Persia knows. There is certainly no floral form to be found in any Iranian carpet design, old 
 or new, that does not smile at us from this rug. 
 
 In this type of prayer rug, a peculiar form of prayer arch, or niche, is developed, the con¬ 
 cave curve of its sides being formed by a primitive form of the tree of life, half of which, in a 
 dull rose color, projects from each side of the field. In the arch itself, overhead, there is the 
 strictly Arabic form which is still to be found on certain old buildings in Teheran and else¬ 
 where—a curve softened by lesser curves, the points between which form a sort of serration. 
 This is doubtless the source of the rectangular serrations in the arch of the Asia Minor prayer rugs. 
 (See Nos. 1286 and 1287.) In this rug (No. 1285) also will be found profile flowers fringing 
 the inside of the arch—the identical flowers which are used for the same purpose in the prayer 
 rugs of Ghiordes, Kulah, Ladik, and Meles, and, in fact, of all Asia Minor. Reference is 
 made to these in the comment upon other rugs. It should now be said, as showing its origin, 
 that m the sixteenth century Sultan Suleiman, gaining substantial victories over the Persians, 
 
took four thousand artisans from Shiraz, Ispahan, Tabriz, and other cities of Persia, to Con¬ 
 stantinople, and set them at work. It is thus that so many features are found in set and conven¬ 
 tional form in the fine old Asia Minor prayer rugs, which appear with the free, artistic Persian 
 treatment in the ancient fabric before us. The heavy, repetitive device seen in the broad 
 border of Asia Minor prayer rugs—a flower stem with three blossoms and one or two leaves 
 filling a square space—was taken from rugs similar to this one. 
 
 In both field and border of No. 1285 appears the henna flower. In the border, where the 
 Herat idea in mild form is followed, the familiar flower stalk serves as support for the main 
 elements. But in this rag, as in No. 1278, care is taken to prevent anyone flower from attaining 
 such size or such strength of color as to make it more conspicuous than the others. To each is 
 given its natural prominence, and no more. That is what imparts to fabrics of this character 
 and of this epoch the appearance of a sward thickly carpeted with flowers. When the Ispahan 
 weavers over-developed the lotus, and those of Feraghan the henna, all other elements were 
 dwarfed to make way for these; and realism, as it appears in Nos. 1282, 1285, and 1305, at 
 last surrendered unconditionally to convention. 
 
 Age has left its mark upon this most admirable and interesting prayer carpet, but its de¬ 
 sign, fortunately, is still intact, and it will endure yet for many lifetimes as an example of one 
 of the most virile, yet most refined, products of Iranian art. 
 
 1286 — Asia Minor Prayer Rug. 
 
 Length, 5 feet 1 o inches; width, 4 feet 5 inches. 
 
 162 hand-tied knots (Turkish) to the square inch. 
 
 The old-time rugs of Western and Southwestern Asia Minor vary materially in details of color and 
 figuration, and yet conform, for the most part, so closely to a general type that it is difficult to 
 assign the exact place of manufacture of many of them. It is quite the fashion to attribute to 
 Ghiordes all which show as fine execution as is here displayed, without particular regard to color 
 or design. The turquoise-blue centre—a desirable thing, and one now become rare—is suffi¬ 
 cient to warrant the attribution of the rug to Ghiordes; but there have been adopted into it 
 features characteristic of other localities not remote. Chief of these is the use of the many 
 narrow, figured stripes in the border, which are everywhere recognized as the mark of the 
 weavings of Kulah. The Ghiordes character is further maintained by the accentuated note 
 of deeper blue at top and bottom of the central field; but, on the other hand, the prevalence 
 of yellow throughout, even to the outermost stripe, is suggestive of Kulah. The abbreviation of 
 the angles at sides and apex of the prayer arch is a Ghiordes indication, but the serration of the 
 sides of the arch belongs to Kulah. The composite quality of the design will be apparent 
 from these data alone, but there is no mistaking the scrupulous Ghiordes workmanship, nor the 
 delicate adjustment of color which is almost a sign manual of the old Ghiordes weavers. The 
 deft manner in which the blue of the centre is carried out through the borders, always held in 
 subjection in order that the centre shall not be overbalanced, is unmistakable. Even the big 
 Turanian elements of design, which are borrowed from the heavier fabrics woven farther to the 
 east in Anatolia—Kir Shehr and Konieh, for example—are converted by means of this soft 
 coloration, and the brightness which is the clfief desideratum in Ghiordes rugs is finally secured 
 by the use of cotton for areas of white. Wool in the same place would have turned yellow 
 with age, and the rug, after one hundred and fifty years, would have been dingy. The only 
 really strong coloration in the carpet is in the narrow stripes, and even these are tempered 
 in tone. The reds which in the Bergamo or Ladik rugs would have been used in their purity, 
 have here a brownish cast, borrowed from rugs of the interior, but evidently seized upon because 
 they contributed to the soft tone which the weaver aimed at. 
 
 The religious symbolism is complete. In the field, both at the base and in the Simula- 
 
crum of the temple lamps above, the eight-pointed star, which has been a divine emblem 
 throughout Asia for thousands of years, and is not merely a part of the cabalism of Islam, is 
 interwrought with the tree forms, recognized in the Mohammedan and many antecedent religions 
 as symbolizing immortality. 
 
 1287 — Asia Minor Prayer Rug. 
 
 Length, 6 feet 8 inches; width, 4 feet 9 inches. 
 
 99 hand-tied knots (Turkish) to the square inch. 
 
 Here again, as in No. 1286, the Ghiordes weaver has made use of many elements in constructing a car¬ 
 pet for worship, but the signs manual are still present in numbers sufficient to establish beyond 
 doubt the place where the rug was woven. Perhaps the most unusual feature of the piece is the 
 white central ground, of wool, which necessitates a higher key and a stronger definition in the 
 other color areas than would otherwise have been required. To this end the narrow border 
 stripes have been used, wider than the ordinary and stronger in color. Unwonted liberality, 
 too, has been displayed in the choice of diverse strong ground-colors for the border stripes and 
 the patterns which they carry—a liberality which, on the whole, is quite suggestive of Persian 
 influences, especially since the floral idea enters so largely into the border design. 
 
 At first glance it is hard to resist the conviction that the rug is the product of Konieh or of 
 the Southern coasts, where Persian notions have always been more or less evident in the decora¬ 
 tion ; but the arch, it will be seen, has the same Kulah serration, and the same Ghiordes trunca¬ 
 tion of its angles that are apparent in No. 1286. These, coupled with the skilful use of cotton for 
 the high lights, particularly in the small border stripes, lead to the conclusion that the rug is 
 of Ghiordes handiwork. 
 
 That much being conceded, however, the manner in which the characteristics of the 
 different districts have been brought together in this fabric, the whole object being to maintain 
 high key and clear definition, is most interesting. It must be borne in mind that this strength 
 of definition was even greater when the rug was new, since the black dye, so much used in the 
 Ghiordes rugs and others woven nearby, has long ago eaten away the wool dyed with it, and 
 left only the white foundation showing. This is especially noticeable in the quadrangular flower 
 devices of which the broad borders are composed. 
 
 There is peculiar aptness in the choice of green for the ground of the outer border, since 
 it is the holy color of the Mohammedans. But a sense more purely artistic—perhaps more 
 Persian—is manifest in the selection of yellow as a ground for the other border; and a kindred 
 inspiration is evident in the use of two shades of red for the flowers that are laid upon the 
 green border ground. There is the cherry crimson of Meles and the carmine of Ladik and 
 Bergamo. The rug is of perfect shape and in splendid preservation. 
 
 1288 — l/ery Old Persian Silk Fragment. 
 
 600 hand-tied knots (Persian) to the square inch. 
 
 An exquisite relic of one of the finest and oldest of Persian textiles. Bits of this sort are now 
 diligently treasured in the Orient itself, and coloring like this is the despair of the latter-day 
 dyer, even in the East. The size and importance of the carpet in the beginning may be inferred 
 from the magnitude of the medallion shape, the repetition of which evidently made an all-over 
 pattern, and to the art lover it is cause for deep regret that only such small parts of so perfect 
 a fabric have been preserved. 
 
 While the texture of the rug is Persian and of the highest order, there is in it little of the 
 recognized design of Western or Southern Persia, at least since the fifteenth century. In the 
 
medallion shape, which served here as a node or point of intersection for the broad ornamental 
 bands of the central design, there is seen at once the origin of the form found enclosing the 
 rosettes in the Herat border. It is impossible to escape the conviction that the carpet was 
 woven to the eastward of the Great Salt Desert, somewhere in Northern Khorassan, or in Herat, 
 when the last of the line of Tamerlane held court there, and all the splendor of the Persian and 
 Turkoman dominions centred around the key of India. 
 
 In the great medallion space there are two fishes, and, alternating with these, two spotted 
 shapes, not too clearly defined, but plainly representing some aquatic creature. All are 
 fairly limned. On the rose-pink ground, at recurrent points in the pattern, a bird, blue of neck 
 and white of body, poises, half concealed by a leaf form. The vines, which are used by way of 
 smaller adornment, are simple, but graceful, with the flowers—seemingly a different type of 
 floration from any other seen in the collection—dependent. On the pink ground these vines 
 are of a pale golden yellow, while on the white bands they appear with outlines of the most 
 delicate green. The only familiar figure here is the flower—yellow, blue, and pink—which later 
 was adopted as a feature of the well-known Mina Khani design. 
 
 An interesting feature of this extraordinary fragment is the strip—itself pieced—which has 
 been attached to serve as border. It is evident that this affords only a hint of the original 
 border, and has been sewn on, in the true spirit of the collector, in order to preserve a record, 
 however imperfect, of the rug’s first splendor. This border strip appears of a pale yellow ; but a 
 patch of the same, in an upper corner, inverted, perhaps accidentally, reveals the olive cast. 
 Silk rugs to-day present a similar change of color when seen from different points, and this 
 fragment displays a much deeper tone throughout when inverted. The figure which appears in 
 the border strip is an unusual one, practically unknown in the carpets of Western Persia—an 
 ivy leaf, beautifully drawn in w'hite, with outline of alternate pink and blue, and with each leaf 
 pointing in an opposite direction from that of its neighbor. 
 
 As was remarked at the beginning, this rug—or these pieces of a rug—are of a wholly 
 different school from anything else here shown and are of sufficient age and rarity to abundantly 
 warrant their being kept, as they were, under glass, and used for a wall ornament. 
 
 1289 —Antique Feraghan Sedjadeh. 
 
 Length, 6 feet 10 inches; width, 3 feet 10 inches. 
 
 132 hand-tied knots (Persian) to the square inch. 
 
 By the conservative Persian, the Feraghan rugs of this class and quality are accounted among 
 the most desirable of carpetings. In quality of material, thoroughness of workmanship, 
 and genuineness of color, it is doubtful if any of the late weavings surpass them. There is no 
 rug woven in the Orient which shows a more marked improvement with age than these. In 
 one respect this piece is quite phenomenal. The prevailing design in the old type of 
 Feraghans is the Herati, or “ fish ” pattern, in close form, much as it appears in the corner 
 spaces and inner medallion of the Sehna khilim, No. 1279. But the weaver here has taken for the 
 central design the regulation Herat border and merely repeated it, row on row, transversely, 
 upon a red ground, making of it an all-over pattern, as effective in its way as the Herat 
 centre itself. In such cases it is customary to select some foreign design for the border, and 
 the result is usually inharmonious; for in all the range of Eastern carpet design there is nothing 
 more complete, more perfectly correlated than the Herat that is thorough in field and border. 
 Rather than fetch in some discordant conceit, the weaver has maintained the Feraghan 
 reputation for consistency by using the pure Herat border device in the border as well as field. 
 Altogether the effect is good. What is lacking is the agreeable note of contrast, of complement, 
 or, better, completeness, in which the combination of Herat field, or “ fish ” pattern, with its 
 customary border, excels almost any recognized design of the East. Some features extraneous to 
 Feraghan—the pear device most used in Sarawan (Saraband) and the small trifoliate reciprocal 
 
device of Hamadan—are introduced in the narrow borders, apparently to break the monotony 
 which might be expected to result from such an exaggerated use of the Herat border sequence. 
 
 An attractive color contrast, with a suggestion of stained glass, is effected by the use of 
 blues and greens in the broad and narrow borders. 
 
 —Lesghian Rug of the Caucasus. 
 
 Length, 7 feet 2 inches; width, 3 feet. 
 
 63 hand-tied knots (Turkish) to the square inch. 
 
 A rug made for hard usage out of doors. The knots to the inch, it will be observed, are few in 
 number; but the yarns, heavy ones, are doubled, and the weft, which runs back and forth 
 between the knot rows to serve as a binder, is unusually stout. The design is, in the main, 
 copied from the Shirvans; but the color, a study in yellow and blue, is almost universal in 
 rugs of this variety. There is much suggestion of the Shirvan khilim in the patterns. The 
 “ wine-glass ” border, so called, is much used throughout the provinces of Erivan and 
 Karabagh in the Transcaucasus, and migration has carried it far beyond the Araxes into 
 Northern Persia, where it is specially to be noticed in the rugs and large native carpets of the 
 Herez district of Azerbijan. 
 
 — Heavy Kashkai Shiraz. 
 
 Length, 6 feet 10 inches; width, 7 feet 8 inches. 
 
 63 hand-tied knots (Turkish) to the square inch. 
 
 A former Shah of Persia, during the centuries when the Persian dominion extended northward well- 
 nigh to the mouth of the Volga, transferred, as was the custom of rulers of his time, an entire 
 tribe, called the Kashkai, from the Daghestan country, north of the Caucasus, to Farsistan, a 
 little west of the old Persian capital, Shiraz. Even in the hundreds of years that have passed, 
 the amalgamation of these people with their Iranian neighbors has been incomplete, and a 
 multitude of rugs still come to market under the title of Shiraz which have little or nothing in 
 common with the Persian product of Farsistan, and preserve almost unaltered the designs, colors, 
 and textile methods of the North. It is to that class that this example belongs. In shape it 
 is nearest akin to the Kazaks and Shirvans of the Caucasian country. In design and color it 
 approaches very nearly to the Tchetchen rugs commonly known as “ Tzitzi,” even to the 
 plentitude of yellow and brown. Certain features of ornamentation—for example, the colored 
 web at the ends—and the fine line patterns often woven or embroidered in it, have become 
 frequent, if not characteristic, in all the rugs of Farsistan, Iranian and Tartar alike. It is quite 
 to be believed, however, that they took their origin from the Far North, and that their proto¬ 
 types are found in the decorative webbing so frequently seen in the Beluchistans, Tekkes, 
 Afghans, and some Caucasian products, such as the Derbends, as well as in the Yuruk rugs of 
 Anatolia, which are woven by kindred tribes. 
 
 In this piece the prevailing feature of the nomad “Tzitzi” rugs—the reckless scattering 
 of wholly disconnected figures—is plain, and practically all of them are Turanian in character. 
 The Caucasian arrangement of three large, connected, rectangular medallions as a main 
 feature of the field is retained, a conceit which has found its way into numberless Shiraz rugs, 
 the decorative character and the weaving of which are thoroughly Persian. In the course of 
 repair the original finishing of the sides of the rug seems to have disappeared. The ends 
 reveal the source of it. The pile has the softness for which the wool of Farsistan is famed, 
 and in the length and “ lie ” of it resembles that of the heavier fabrics of Caucasia. In shape 
 the rug is far more like the old Kazaks than any recognized product of South Persia. 
 
— Rug of Northwestern Persia. 
 
 Length, 8 feet 10 inches; width, 5 feet 2 inches. 
 
 132 hand-tied knots (Turkish) to the square inch. 
 
 This rug has all the clear color, even trimming of pile, and thorough workmanship of the fine 
 Kabestan or old-time Karabagh, but the design shows few Caucasian features. The only prom¬ 
 inent figure that belongs to the ancient Turanian symbolism is the heavy, swastika-like shape 
 repeated in the border—one that is frequent in the fabrics of Middle and Western Anatolia. 
 
 This single border, apparently so inadequate to balance the bold, heavy figures of the 
 field, is not characteristic of the Caucasus, and, as there is small likelihood that the rug ever 
 had any other or heavier border stripes, the only conclusion warranted is that this single 
 border, like some other features of the fabric, was drawn from old Persian sources—witness 
 some of the fine old North Persian pieces—though the figure with which it is filled be in 
 essence Turanian. 
 
 The heavy red outline of huge, elongated leaf forms which dominate the field of the rug is 
 directly traceable to a design, standard in Middle and Northwestern Persia for centuries, known 
 as the Sirdar, after a dignitary whose weavers are supposed to have first produced it. The 
 leaf elements are so involved as to form, down the middle of the field, a succession of medal¬ 
 lions, and these, as well as the spaces set off at the sides by the outreaching of the leaves, are 
 filled with flower, leaf, and other untraceable forms, in the characteristic drawing of Herez, 
 suggestive only in the broadest way of things in nature. The stiffness, the breadth, the strong 
 color contrasts—they may be found to-day in Gorevan, Serapi, and other carpets of the Herez 
 district. The reds and the lighter blues and greens are almost the identical colors found in 
 the fine modern Gorevan; but in the yellows and browns, for some small areas, as well as in 
 the dark blue of the ground, there is strong suggestion of the Caucasus. The minute devices 
 scattered throughout the rug—like the grotesque conversion of the straight, splashy figures in 
 one medallion into a pair of legs and of the other into a face—are of the Karabagh and 
 “ Tzitzi ” order. They indicate the nomad, and the Caucasian nomad ; but the perfect balance 
 before referred to, of one side against the other, bespeaks care and painstaking, and the tex¬ 
 ture tells the skilful weaver. 
 
 — Soumak Rug of the Caucasus. 
 
 Length, 9 feet; width, 5 feet 10 inches. 
 
 The effect of repeated washing and exposure to sun is evident in this so-called Kashmir. That these 
 processes have made the rug pleasant to look at cannot be denied. The blue and yellow are 
 soft, and the other colors toned down to a very gentle harmony. This change of the colors 
 under commonplace treatment and hard wear is interesting, in so far as it shows what in these 
 latter days is done to many new rugs, for trade purposes, by the aid of artificial heat and divers 
 acids. The rug’s value as a color study, however, is only secondary. It is chiefly of interest as a 
 compendium of standard elements of design, and without doubt was selected for that reason. 
 The numberless ethnological currents that have traversed the Caucasian country have left each 
 its record in this sort, and this faded fabric of the old Soumak district seems to embody almost 
 a majority of these. It is every whit as good as a certified genealogy. Even a cursory glance will 
 discover the Tartar latch-hook in profusion; the eight-pointed star, which was the old worship 
 symbol of the Medes, and at the same time is found in the rugs of every Turkish tribe from 
 Samarkand to the Bosphorus; the octagon, so prominent in nearly all the Tekke or Bokhara 
 fabrics and those of Northern Afghanistan; the mysterious swastika, which prevails in the 
 relics of every ancient civilization the world over; the Chinese fret designs, the parti-colored 
 
stripes of the Yomud and Akhal Turkomans; and, by way of final adornment, the small, rude 
 human and animal figures of the upper provinces of Caucasia and the mountain districts of 
 Kurdistan. Here, too, are the sudden changes of color so prevalent among the Kurds and the 
 Kabestan weavers. All this is colored and arranged wholly after the Soumak manner, and, 
 while not of a fine texture, the rug represents in appearance and workmanship the regular 
 output of this one small district in the eastern part of the Caucasus. 
 
 —Karabagh Strip. 
 
 Length, 9 feet; width, 3 feet 10 inches. 
 
 88 hand-tied knots (Turkish) to the square inch. 
 
 So far as its rugs are concerned, the ancient province of Karabagh, dominated now by Georgians, now 
 by Turks, again by Persians, and in the end by Russians, has always been a home of composites 
 and compromises; but has, on the whole, maintained fairly well a treatment of its own. Patent 
 concessions may be found, in many of its rugs, to the Persian tendencies in design, but much 
 has been borrowed from Shirvan, which adjoins Karabagh on the east, while in color, clearness, 
 and general character of work, the weavers have followed the example of those farther north. 
 The rug here shown is sound and durable. The stripe design is probably of Persian or Arabian 
 origin, and is sometimes seen in the old Kabestans, where Persian influence is at times very 
 perceptible. The longitudinal stripes of which the field is made up are of alternating ground 
 colors. Usually the object seems to be to have no two of the same hue. Each stripe, further¬ 
 more, is ornamented with repetition of tree or plant design, somewhat after the Kurdish 
 manner, but preserving still the rectilinear treatment of the Caucasus. A mark almost 
 omnipresent in Karabagh rugs is the narrow stripe made up of “ reciprocals ” ; in this case red 
 and blue in one stripe and black and blue in the other. (See No. 12 70.) In the broad border stripe, 
 on a ground of wool white, is the “wine-glass” pattern, itself most frequently found, as has 
 been said, in the rugs of Transcaucasia and Upper Persia. The narrow, parti-colored stripe of 
 the Tartars also appears. The foundations and finishings of the rug, even to the mixed wool 
 of the warp, are most like those of Shirvan, which would indicate that it came from the eastern 
 part of the Karabagh province. The selvage of the sides, however, would suggest the influence 
 of Daghestan in its color. 
 
 — Perso-Mongol Rug. 
 
 Length, 9 feet 2 inches; width, 5 feet 6 inches. 
 
 154 hand-tied knots (Turkish, Tabriz method) to the square inch. 
 
 Possibly no rug in the entire collection embodies so many contradictory elements, or offers so much 
 material for study and speculation, as does this. The constructive significance of its various 
 features is so plain, however, that it is not difficult to reread here, though perhaps not clearly, 
 the record of one of the greatest race movements Asia has ever known. 
 
 To take the items one at a time : Pictorially, the inspiration of the carpet is Chinese; that 
 is hardly to be disputed. The comparatively small but strong and compact medallion in the 
 centre, and the heavy, conventional plant forms distributed in such open but regular arrange¬ 
 ment throughout the field are strongly suggestive of Samarkand and Kashgar; or, for that 
 matter, of Tien-Tsin. The blue and white wave stripe used as background, likewise, produces 
 all the effect of the interminable fret patterns which prevail in Chinese ware and textiles. But 
 this particular adjustment of stripes, starting in a single rectangular arch projecting from each 
 of the four sides of the medallion, and carried outward, line upon line, in perfect radiation, and 
 
with angular undulations in exact succession, is a recognized Persian element in design, and 
 in Persian rugs, as well as in Indian fabrics copied from them, stands for water. 
 
 The composite character of the rug is thus established, but the task of deciphering it does 
 not cease there. The plant forms are used in the field here precisely as the Chinese use them, 
 but there is no suggestion ot Chinese authorship in the coloring. The Kurds also make a 
 specialty of this plant form, and far more exclusively than the Chinese do. It is found, 
 variously drawn, in thousands of rugs, of Northern Kurdistan particularly, diversified in color 
 about as it is here. 
 
 The centre medallion, which in effect is Chinese, is not drawn in the octagonal or circular 
 form prescribed by the Mongolian tenets, but with the so-called Vandykes that distinguish 
 similar figures in the very old Persian carpets, though here the curves are broken and ungainly. 
 It is edged, too, with a sort of leaf serration, such as has prevailed for centuries in the finest 
 Persian designs. The small corner areas, set apart by jagged lines in much the same treat¬ 
 ment, are such as distinguish a multitude of rugs in Irak Adjemi, the central province of 
 Persia. And attention must be paid to the flower shapes which occupy the central medallion 
 and comers. They are in the profile form, which pertains, as suggested elsewhere, to Western 
 Persia and Anatolia. (See Nos. 1278, 1280, and 1286.) It is very easy to trace this profile 
 form backward along the path it has travelled, from the Dardanelles, through Anatolia and 
 Mesopotamia, over the mountains of Kurdistan, in Persia as far south as Shiraz and Bagdad, 
 and in the Caucasus all the way to Daghestan. 
 
 In color there is little suggestion of Samarkand. The combination of blue centre and 
 wine-red border, now softened to a rose tint, are thorough Persian. The central blue is the 
 blue of Kurdistan and Western Persia, not of Asia Minor. There appears, too, in the cor¬ 
 ners, the plum color of the Feraghans of Central Persia, a color rarely, if ever, used elsewhere. 
 In the narrow border stripe, repeated at regular intervals, is the small, rectilinear, stemless 
 flower pattern characteristic of the rugs of Karabagh, which is just across the Araxus and 
 was formerly part of the Persian dominion. The black delineations are interesting. This 
 is the same black which the Ghiordes weavers used for this purpose, and which eats away 
 the wool as the other colors soften with age. (See Nos. 1286 and 1305.) The main border 
 has significance both in color and design. The lancet leaf is used, combined with what is doubt¬ 
 less a Kurdish tree device, and the pink on red is in imitation of the earlier and more elaborate 
 rugs of Middle and Southern Persia. 
 
 Since this rug was made, the map and population of Persia have changed materially. 
 Cities then important have vanished or become mere huddles of mud dwellings; but when 
 this singular bit of weaving was done, the influence of the Turko-Mongol invasion was still 
 strong in Persia, and Persian captives or their descendants were still weaving on the looms of 
 Samarkand. That the rug is of Mongol inspiration seems plain, but it is so eloquent in color 
 and textile habit, as well as in design, of the Persia of its time, that I am forced to believe 
 that it was woven by one of the numberless artisans whom Mongol invaders took back to 
 Samarkand, or else by some Samarkandi taught by these Persian masters. 
 
 1296 —Heavy Kurdish Kali. 
 
 Length, 11 feet; width, 5 feet. 
 
 48 hand-tied knots (Turkish, double yarns) to the square inch. 
 
 The Herat, or “fish ” design, so generally employed in every part of Persia, is laid upon a ground of 
 deep blue. The yellows and reds are those common to Kurdistan, and the rose-pink shades 
 are particularly good. The pile is worn down in places almost to the foundations, and age 
 has materially softened the colors ; but the gloss, for which Kurdish wool has so good a name, 
 is not lost. The kali, usually in about this proportion as to length and breadth, is the centre 
 piece in the triclinium arrangement. 
 
1297 — Baku Rug. 
 
 Length, n feet 10 inches; width, 5 feet. 
 
 90 hand-tied knots (Turkish) to the square inch. 
 
 This would be held in most respects a good example of the Kabestan weavings, but it happens to 
 have been made farther to the east, in the old province of Baku, which touches the Caspian. 
 The finishings of the rug are the chief points of difference between it and the Kabestan 
 products. In this respect, the customs of Shirvan, which adjoin upon the south, are followed. 
 There is apparent the typical Caucasian color, brightness, and clarity. The cleanly defined 
 medallions are the common framework of the Kabestan and Daghestan designs; the barber-pole 
 stripe of the Turko-Tartar rugs and the conventionalized flower forms which have come from 
 the eastern shore of the Caspian are not lacking; but over the blue ground lying outside the 
 medallion are strewn in bold array the “ pear ” figures telling of the ancient Persian faith, 
 which throve here at the altars of perpetual fire centuries before Mohammed. This “ pear,” 
 “cone,” or “flame” shape, for which so many men have found so many derivations, is, for 
 some reason, drawn in the Kabestans and neighboring rugs very much as it is in the fabrics of 
 Shiraz and Laristan—big, and ornamented with tree characteristics. Can it be that this form 
 of the ancient sign of Persia was also taken to the south by the migratory tribes who had dwelt 
 about the fire altars of the Caucasus ? 
 
 In this rug, which shows so much of composite character, there is good display of the 
 yellows used by the Lesghians a little farther to the west. The shading of the ground colors, 
 particularly the blue in the border and the “pear” figures, is trace of the Kabestan influence, 
 the source and centre of which are so near at hand. 
 
 1298 —Karabagh Strip. 
 
 Length, 12 feet 7 inches; width, 3 feet 2 inches. 
 
 99 hand-tied knots (Turkish) to the square inch. 
 
 There is marked similarity between this and No. 130T. The field here is broken by filling the vacant 
 blue spaces with small diamond-shaped devices. The indented Tcherkess cross, which appears 
 large, projecting into the field of No. 1301, is not found in this strip. Other things are sub¬ 
 stituted. In coloring, also, there are points of divergence, particularly in the “ reciprocal ” 
 stripes. 
 
 1299 — Large Baku Rug. 
 
 Length, 12 feet; width, 5 feet 2 inches. 
 
 80 hand-tied knots (Turkish) to the square inch. 
 
 These rugs, it is remarked in connection with another piece in the collection (No. 1297), are in all 
 points of design identical with many of the Kabestans. It is worth noting, however, that 
 many pieces made years ago in this section are found in which buff or fawn-yellow prevails in 
 one or more values, running sometimes into a deep brown. In most of these, it would seem, 
 the color was in the beginning some shade of red which time and the necessary washings have 
 converted into buff. Often the original red can be found at the bottom of the knots. It is 
 
in this point, almost solely, that these fabrics differ from the genuine Kabestans, whose colors 
 are fast and past criticism. The fading seems, though, to be rather a fulfilment of the weaver’s 
 purpose than a mishap. The blue ground, which is customary, is usually a stable color, and 
 when the yellow has been developed in the other parts of the rug the yellow and blue effect is 
 almost as complete as it is in the rugs of Kulah (see Nos. 1278 and 1280). Whatever the 
 method of obtaining this eccentric coloration, the result, it must be conceded, is most artistic. 
 
 One place is noticeable in the field of the rug, where a bar of this yellowish tinge has been 
 developed in the blue ground of the field. At one end the lighter color appears alone, but in a 
 deeper tone than elsewhere. The profile flowers, recognized as of Asia Minor, are perceptible 
 in the corners and in the central medallion, which is of the regulation Caucasian outline. The 
 pear device, which covers the remaining space in the field, is of the Kabestans. 
 
 —Karabagh or Gandja Strip. 
 
 Length. 13 feet 2 inches; width, 3 feet. 
 
 99 hand-tied knots (Turkish) to the square inch. 
 
 A sterling rug, though showing in some measure the effects of severe use. The golden yellow 
 ground, broken only by bands of lighter color, in deference to the superstitious fear of abso¬ 
 lute regularity, is good. The design is rather unusual, and, considering that without doubt 
 the rug is of nomad manufacture, is wrought with considerable skill. The dominant 
 element in the centre suggests strongly the coordinate design of the Djushaghan (Persian) 
 carpets, but is even more complicated than that, in so much as its resultant is a repeated 
 leaf form, while the Djushaghan pattern, arranged diagonally, produces the simpler sem¬ 
 blance of cross and stars in alternate areas. The ground space thus left is here occupied 
 by conventional Tartar figures, the specific meaning of which is probably lost, but which are 
 undoubtedly drawn from some severe form of insect life. This inference is borne out by 
 the presence of the tarantula figure in the border. All the features of the design, not omit¬ 
 ting the “ barber-pole ” stripe, which appears in its intricate form, seem to have come from 
 the Turko-Tartar territories away beyond the Caspian. 
 
 —Karabagh Strip. 
 
 Length, 13 feet 4 inches; width, 3 feet 4 inches. 
 
 99 hand-tied knots (Turkish) to the square inch. 
 
 The Turkoman idea is strongly followed in the central design; the tree motive, with a narrow 
 “barber-pole” stripe serving as a trunk, is very common in many of the Yomud and 
 Bokhara rugs, where it is used as a border device. The borders here are characteristic of 
 the Karabagh and so-called Gandja products—the “ wine-glass ” pattern in the wider border 
 and the reciprocals in the narrow ones. The colors are big and bold; the blue field of good 
 quality. Strips from this section are by no means so plentiful as they were, for the output 
 of Karabagh, since Russia obtained control of the Caucasus and transportation became 
 easier, has been chiefly in small oblong rugs, and the weaving of runners has been left for 
 the moat part to the Kurds of Western Persia and Mesopotamia. 
 
1305 
 
1302 — Kurdish Strip. 
 
 Length, 20 feet 8 inches ; width, 3 feet 6 inches. 
 
 48 hand-tied knots Turkish (doubled) to the square inch. 
 
 A sterling piece of heavy carpet from Kurdistan, presenting in its field an alternation of the stand¬ 
 ard pear and tree patterns. The pear is drawn in such fashion as to resemble in its orna¬ 
 mentation the tree form of Western Persia. It is a strong pattern, and gains in force from 
 being set upon a wool-white ground. The profile flowers are shown in heavy form consistent 
 with the general character of the fabric, and the vine is correspondingly strong. The rug 
 is worn at the ends, from which an idea may be got, by comparison, of its original thickness; 
 but on the whole, its defects are few. 
 
 1303 —Kurdish Strip. 
 
 Length, 21 feet 11 inches ; width, 3 feet 6 inches. 
 
 48 hand-tied knots (Turkish, doubled) to the square inch. 
 
 A companion piece to No. 1302, and so far as there is a difference this may be considered the better 
 of the two. The great length of the pair is most unusual. It is rarely, save in the very 
 finest of pure Persian fabrics, that the triclinium strips are precisely the same length. 
 There is usually a difference of from an inch to a foot. In width they are apt to correspond 
 much more closely. 
 
 1304 —Kurdish Strip. 
 
 Length, 19 feet 4 inches; width, 4 feet 3 inches. 
 
 80 hand-tied knots (Turkish) to the square inch. 
 
 The “honeycomb” outline employed in this rug and its companion piece, No. 1309, is found most 
 frequently in the Kurd weavings, and further mark of the western mountain people’s handi¬ 
 work is the use of the upright and uniform tree or plant shape. This, following the Kurdish 
 habit, is so variegated in color as to give the effect of diagonal rows, alternating light and 
 dark. The border plan, a broad stripe and two narrow guard stripes, is one that has had 
 vogue in Middle and Western Persia for half a thousand years, and probably more. Simple 
 conventional flowers are used in ornamentation of the borders, and the balance between field 
 and border is well maintained. The only hint at realism is the interpolation, at the bottom 
 of the field, of a row of rather mechanical cocks. Rude figures of this character are not at 
 all uncommon in the rugs made by nomad tribes all through both Kurdistan and the Cau¬ 
 casus. The Kurdistan wool is famous for its natural lustre, which increases with age. 
 
 1305 — Royal Persian Rug of the Fifteenth or Earlier Sixteenth Century. 
 
 Length, 11 feet 10 inches; width, 6 feet lK inches. 
 
 600 hand-tied knots to the square inch. 
 
 This is probably as near perfection as the woollen carpet of the East has come, or will ever come. 
 It was a gift from the Emperor of the Persians, presumably to the Emperor of the Turks, for 
 an authenticated record in the possession of its former owner set forth that the rug was 
 
among the effects of the Sultan Abdul Aziz of Turkey at the time of his death. The only 
 pieces of this extraordinary character which have passed out of possession of the Oriental 
 rulers and satraps who owned them are now locked in the treasure chambers of other 
 princes, or displayed in the public or private galleries of Europe. 
 
 It is necessary in the consideration of this carpet to take as a basis of comparison the 
 rug owned by Prince Alexis Lobanow-Rostowsky, a reproduction of which, in colors, was 
 published as Plate XI. in the Vienna Museum’s work, “ Oriental Carpets.” 
 
 In point of design the two rugs correspond so closely, they are so evidently of the same 
 origin, despite some minor points of difference, that it is almost imperative that one should 
 be measured and interpreted by the other. Most confirmatory of all that the fabrics them¬ 
 selves suggest in this regard is the authenticated fact that the Lobanow-Rostowsky rug passed 
 into the hands of its present owner directly from the seraglio. Having here for examination 
 the color reproduction of No. 1305, the reader will be able, by means of what follows, to 
 form a perfect conception of the companion rug. It should also be borne in mind that there 
 is a chronological and decorative relation between No. 1305 and other rugs in the present 
 collection, as will be observed in the comments upon Nos. 1310 and 1314. 
 
 Beginning with the matter of color, there appears here in the medallions of both centre 
 and border the uncommon shade of wine red which is found in Nos. 1310 and 1314. The 
 green, instead of being used as a ground color for the border, is applied to the production of 
 a higher and infinitely more artistic effect. Upon a black central ground is spread, after the 
 fashion of the Sufi times (see No. 1310), a bewildering but perfectly balanced and coordinate 
 display of moss-green creepers. The parent stems, which are the framework of the vine 
 structure, are in a deep shade of orange, outlined with more pronounced red. Even these 
 are slender and curved in the most graceful manner; but the green branches, leaves, tendrils, 
 and even flower shapes which grow out from them, are of incredible delicacy and profusion. 
 Here and there, at regular intervals, and in corresponding positions on both sides and ends 
 of the field, are tiny natural flowers, in glowing colors, similar to those seen in such plenty 
 in the Ardebil carpet, save that in number and size they are reduced to a minimum in order 
 not to distract attention from the more essential animal figures which inhabit the field. 
 
 In the centre is a medallion, with what for the sake of clearness may be termed “ escal- 
 loped edges,” and depending from this, toward each end of the rug, though with no pretense 
 at actuality, are the temple lamps. Medallion and lamp simulacra are both grounded in 
 what has been called the Ispahan red, and upon this, in pink—a faint, unobtrusive, but 
 withal beautiful contrast—other fragile interwoven vine traceries. 
 
 This serves merely as a composite background for the superb arabesque design worked 
 in silver thread, the pile yarns apparently having been omitted to allow the metal threads 
 to be attached directly to the warp, in what closely resembles the Soumak or tapestry stitch. 
 A very similar device is also found in the centre of the Ardebil carpet. 
 
 In the innermost space of the medallion, symmetrically grouped, are four birds, 
 evidently of the hawk tribe, drawn with much skill and considerable veracity. Outside 
 the medallion, disposed amid the green in the most lifelike attitudes of flight, pursuit, com¬ 
 bat, etc., are the animals which play such prominent parts in the Moslem allegories, and 
 which were, in fact, endowed with such large mythological significance by the peoples of 
 Asia long before the rise of Mohammedanism. The profundity of meaning which attaches 
 to these divers beasts, and even to their sundry attitudes and occupations, is hard to come 
 at; but it is impossible to overlook the difference in posture and relation to one another 
 between the animals in the Lobanow-Rostowsky rug and this. It is quite to be credited, 
 too, that these changed attitudes and relationships, coupled with the wholly dissimilar color 
 scheme, is meant to convey a different meaning, to depict another state of feelings, another 
 stage in the progress of the endless contest between right and wrong that the animal entities 
 are supposed to typify. 
 
 Without endeavoring to expound the beliefs of which the animal kingdom provides 
 visible symbols, it will suffice to repeat that the beasts of prey generally represent light, 
 
victory, glory, right; and such as deer, gazelles, sheep, goats, and the like, the opposite. 
 In the Lobanow-Rostowsky rag the central field is of a lighter color, verging on yellow, and 
 corner spaces are formally set off, occupied by the heron and other birds. Here the corners 
 are abandoned, and the birds included in the centre medallion, the heron, usually an emblem 
 of long life, being omitted. It should be noted that the birds of the hawk tribe have been 
 in all lands and ages suggestive of victory. The coincidences in color and design here are 
 scarcely to be dismissed. They suggest much. The heron is left out; the hawks, which 
 occupy the corner spaces in the other rug, are here transferred to the centre of the carpet. 
 The background is laid in funereal black, but traversed and overspread with the nascent green 
 which is emblematic of renewal, perpetuity, and great spiritual joy. 
 
 Thus, without translating the inscriptions on the rug, which will be referred to later on, 
 there is a suggestion of death, coupled at the same time with repeated symbols of victory, 
 and a suggestion of fierce prosecution of the endless straggle between right and wrong, light 
 and darkness. 
 
 But the contest as figuratively set down in this carpet seems to have progressed to the 
 point of partial conquest, since the panther has captured the fawn and bears it down, whereas 
 in the Lobanow-Rostowsky rag the movements of pursuit and flight among all the animals 
 seem to have just begun. Jackals still follow the track of the deer; the leopard, a bold and 
 fierce figure, crouches in his thicket of green, ready to spring upon the he-goats, warring 
 powers of evil. The huge red lion, Persia’s own symbolical beast, an element not shown in 
 the other rug, roars on the trail of the spotted stag, which turns, terrified. In deep 
 thickets, close to the lairs of lions and leopards, the timid rabbit hides in dread, or else¬ 
 where takes refuge in flight. 
 
 Yellow has in all ages been expressive of joy and victory. It is royally displayed in the 
 broad borders of the rug, overspread with fine vine patterns in a monotone of orange. In 
 the border of the Lobanow-Rostowsky rug there are, all told, six cartouches, grounded in 
 black, of the same shape as those found in the Ardebil carpet, and joined by escalloped 
 medallions in the same manner. But in No. 1305 there are twelve of these cartouches, instead 
 of six, and they have a ground color of the Ispahan red, inlaid with pink vines, similar to 
 the medallion in the centre. Again the idea of immortality is to the fore, as that is the 
 ordinary significance of the cartouche. 
 
 Thus, from first to last, in spite of the black centre, which suggests a mourning carpet, 
 there is the note of triumph, joy, and immortality. In view of the intermittently hostile 
 relations maintained between Persia and Turkey during the era when the rug was unques¬ 
 tionably made, all that is to be read in its design is most vital, and seems expressive of 
 some phase of history, which was then making so vigorously. 
 
 The inscriptions in the Lobanow-Rostowsky rug have been thus translated in the book 
 in which the colored reproduction is published: 
 
 “ Oh Thou, whose abode is the seat of justice, 
 
 To whom throne carpets serve as the covering of thy way, 
 
 “Whose court the zephyr, as chamberlain, 
 
 With the hair of his eyelids sweeps clean. 
 
 “ To whom in the household of enjoyment is full satisfaction, 
 
 The companion ever is success, and whose refuge is God himself. 
 
 “To whom Darius, Alexander, and Feridun 
 Are as the meanest of his army, 
 
 “ Thou possessest magnanimity and charity, 
 
 The inhabitants of both worlds, here and above, pray for thee. 
 
 “ May thy power still everlastingly endure, 
 
 And at thy command the sun and moon circling revolve.” 
 
The tenor of these couplets establishes almost beyond question the truth of the declara¬ 
 tion that the carpet was made as a gift for the Sultan at that time reigning in Turkey. 
 
 Whatever temporal significance the carpet may have borne as a gift from one monarch 
 to another, the general interpretation outlined above is amply sustained by the inscriptions 
 in the border, a most sympathetic translation of which has been made by Dr. Richard J. H. 
 Gottheil, of Columbia University. With his permission it is here given: 
 
 “O Saki, the zephyr of the spring is blowing now; 
 
 The rose has become fresh and luxuriant. 
 
 “ The drops of the dew are like pearls in the cup of the tulip, 
 
 And the tulip unfolds its glorious flag. 
 
 “Narcissus keeps its eye on the stars, 
 
 Like the nightwatch throughout the night. 
 
 “ To sit alone in the desert is not 
 Isolation, with the company of wine. 
 
 “When Saki passes the beautiful cup around. 
 
 The rosy cheeks of the beauties become 
 
 “Violet for the love of the rose, 
 
 And look like the purple robe of a horseman.” 
 
 The lines, though it is difficult to locate them precisely, are, like nearly all the inscrip¬ 
 tions found in Persian fabrics of whatever age, a quotation from one of the poets of that most 
 poetical of all eras, and perfectly illustrative of the high artistic impulse which centuries of 
 war, pillage, gradually waning power, and swiftly increasing poverty and suffering have 
 failed to eliminate from the Persian nature. 
 
 Another important difference between the carpets which have been here “paired” in con¬ 
 sideration is the absence from No. 1305 of the Chinese cloud band, which figures so promi¬ 
 nently in the other piece. The rug No. 1305 is excessively and exclusively Persian, and of 
 the purest type. There is plainly some earlier and more purely Iranian influence at work in 
 it even than that which designed the Ardebil carpet, for in that the cloud band, repeated 
 times without number, completely fills the inner narrow stripe of border, while here it is 
 omitted along with everything else that is not wholly Persian in character. In the medal¬ 
 lions between the inscribed cartouches there will be seen the light blue which afterwards 
 became so common in the Ispahan rugs, and particularly those of the Shah Abbas class (see 
 Nos. 1310 and 1314). 
 
 The lotus flower, so gigantic in the Shah Abbas design, is here in many places, but very 
 modestly drawn, even more so than it is in No. 1310, and in some places merely laid in green 
 as an addition to the dense foliage mass in the centre. 
 
 Something should be said regarding the condition of this most remarkable fabric. Since 
 coming to this country many years ago it has been once exhibited in public, and privately 
 examined by many persons. Some of these have not hesitated to say that the centre of the 
 rug alone was genuinely old, and that the superb yellow border, with its cartouches of 
 Ispahan red, its inscriptions in silver thread, and all the rest, had been added at a later 
 period to replace the original border, which had been worn away. 
 
 These opinions have been founded, I presume, upon the fact that the black ground 
 of the centre is so badly worn that the yellow silk foundations show through in many 
 places. Whether this be the reason or no, the contention is ridiculous. This black dye, 
 decocted with the aid of iron filings, is notorious throughout Asia for its corrosion of the 
 wool, as stated elsewhere in this catalogue, while there is no color less injurious than the 
 yellows, which are made from the Persian yellow berries. It may be true, or it may not, that 
 Eastern weavers use this dye in order that the designs laid upon it in some livelier color may 
 ultimately stand out in actual relief, an effect of which the Oriental is intensely fond. The 
 manner in which the green creepers and leaves are thrown up by the means in this carpet is 
 certainly admirable, whether it was intentional or not. 
 

 1308 
 
It is easy to multiply arguments which must convince any person of the absolute genuine¬ 
 ness and integrity of this carpet. A new border assuredly need not have been woven on for a 
 century, for the commonest of rugs will last that long under Oriental usage without material 
 injury. Where, then, after the middle of the seventeenth century, was the Ispahan red to be 
 found for the border cartouches, to match so precisely the shade of the centre medallion ? But 
 the most conclusive of all arguments is that examination of the back of the rug, long ago cov¬ 
 ered with cloth in order to protect it, shows, with or without the aid of the glass, that the 
 warp is unbroken between the field and border at the ends; that only one quality of material 
 is used; and that the knots, amazingly fine and regular, proceed over the dividing line 
 absolutely without interruption. 
 
 The worn spot in any Eastern carpet that has been long used in an apartment of state 
 is almost always at one end of the field, where the owner or user sits. Servants or guests, 
 or, in this case, subjects, would surely never have ventured to set foot upon the rug. The 
 condition of the fabric bears out this inference as to the cause. One end of the field is very 
 badly worn—so badly that here and there the ground vines have almost entirely disappeared. 
 In such places effort at restoration has been made, threads of black silk, apparently, being 
 used for the purpose. The undertaking was a lamentable failure, and was abandoned, the 
 paint-brush being used instead. Considerable portions of the ground space, it can be plainly 
 seen, have been daubed with some dull black pigment, which at least preserves the color 
 scheme and pictorial integrity of the rug. In two places, one on each side of the field, near 
 the medallion, and adjoining two corresponding flowers which are laid in silver thread, 
 artisans of a later day have tried to weave in small portions of the design, and on one side 
 effort has been made to replace part of the silver flower itself. Nothing, in view of the 
 criticism that has been passed on this rug, could be more fortunate than this. The botch 
 that has been made of these small essays shows beyond possibility of dispute what likelihood 
 there is that any weaver within the last two centuries has ever woven in anew the entire 
 border system. 
 
 1306 — Kashkai Shir a% Kali. 
 
 Length, 14 feet 5 inches; width, 5 feet 8 inches. 
 
 48 hand-tied knots (Turkish, doubled) to the square inch. 
 
 Most of what has been said of No. 1291 is equally applicable to this piece. There is apparent 
 here the same likeness to the Tchechen and other Caucasian fabrics, the same multitude of 
 small separate patterns scattered throughout the field wherever ground space offers. Some¬ 
 what shorter than No. 1291, and a little more compact in pile, considerably older, and 
 bearing witness to the hard wear it has undergone, the rug is still strong in color and 
 fit for many decades of service. 
 
 1307 — Koultuk Runner, or Makatlik. 
 
 Length, 15 feet 10 inches; width, 3 feet 3 inches. 
 
 56 hand-tied knots (Turkish) to the square inch. 
 
 Of the Herat, or “ fish” pattern, which is wrought into the rugs of practically every province of 
 Persia, there are two common forms. One is closely woven, showing but little of the ground 
 
color; the other, on a larger scale, or at least more openly, with less of diaper effect, and 
 depending for effectiveness on the strong relief in which the design stands out upon its field. 
 This strip, woven by the shepherd tribes in Northwestern Persia, is illustrative of the open 
 form. In the broad border it carries, rather largely drawn, the repeated “ S” shape of the 
 Turks, itself a very ancient symbol. The narrow borders show the influence of Southern 
 Kurdistan, in many of whose heavy carpets is found the heavy version of the vine and flower 
 here employed. The variegation in the overcasting is a hint from the rugs of Shiraz; the 
 sudden shifting of colors in several parts of the design is Kurdish, and from Kurdistan 
 also, no doubt, are derived the excellent yellow and blue which predominate in field and 
 border. 
 
 1308 —Laristan Rug. 
 
 Length, 15 feet; width, 5 feet 6 inches. 
 
 63 hand-tied knots (Turkish) to the square inch. 
 
 No doubt an overwhelming majority of the rug-wise would promptly class this rug of Shiraz. It 
 would be inventoried as such in all Western rug markets, inclusive, probably, of Constanti¬ 
 nople itself. For substantial reasons, however, it may be more accurately placed among the 
 products of Laristan, lying south of Farsistan. There is a phenomenal depth and lustre in 
 the blue, which is usually found only in the heavy rugs of the Mina Khani design, chiefly 
 woven a little farther northward, in the mountain country of the Zagros and Bakhtiyari. The 
 Shiraz indication in this piece is the striped webbing at the ends, which is really a Turko¬ 
 man conceit, brought into the south by migratory northern tribes, and not found in the pure 
 old Shiraz products. Shiraz being the metropolis of the southwest, and a collecting point 
 for the rugs of that territory, has, like Bokhara in Turkestan, unquestionably given its name 
 to many rugs made at considerable distance away. This “pear” or “cone” pattern is 
 most prominent in the carpets of Sarawan (Saraband), where it fills up the entire ground, 
 and throughout lower Kurdistan and the provinces lying over against the Persian Gulf. In 
 the Sarabands it is small, but seems to increase in size as it journeys southward, arriving in 
 Laristan and Western Farsistan at a magnitude equalled only in certain Kabestans and Baku 
 fabrics. (See No. 1297.) What makes it more likely that this form of the pattern has been 
 developed in the western ranges is that its decoration, sometimes most complex, gives it the 
 tree form so common among the Kurds who inhabit this mountain district in such great 
 numbers. In the Kurdish districts to the north the striped webbing at the ends of the rug is 
 replaced by a simple parti-colored stitching of wool; but throughout Farsistan and Laristan 
 the so-called Shiraz striping maintains. There is apparent in this splendid blue fabric, how¬ 
 ever, no trace of parti-coloration in the overcasting, which prevails in so many Shiraz rugs, 
 even to the fine old pieces of pure Persian design. 
 
 Dismissing argument as to the locality of its origin, attention should be called to the 
 splendid consistency of the carpet, both in figuration and color. Instead of any complicated 
 border design, the “pear” figure, only a little reduced in size, is used in the border, and 
 the border ground is a deep red, closely approaching the ruby color of the Bergamos. 
 
 In the field there is just sufficient departure from the pear device to satisfy the super¬ 
 stitious notion, common among the mountain people, that a touch of irregularity combats 
 the evil spirits. Once the pear is omitted to make way for a dense array of colored spots 
 representing nothing in particular. Once appears the eight-pointed star of the Medes; twice 
 the octagons, such as are found in the Tekke rugs; and once, where half the pear figure has 
 been purposely omitted, a “ wooden ” animal shape of the sort that figure in the carpets of 
 the Caucasians and Northern Kurds. 
 
From its shape and dimensions there is reason to believe that this rug is only the 
 sarandaz, or short strip, which lies across the end in the triclinium scheme of carpeting, and 
 somewhere in the world are the huge centrepiece and the equally substantial side strips 
 which were woven to accompany it. It is hard to imagine a more splendid covering for the 
 floor of a large apartment than these four sections formed when they were united. The 
 making of the blue, of which such magnificent display is made here, is practically a lost art 
 in Persia since the introduction of the chemical dyes, and in the whole range of Persian 
 fabrics it would probably be impossible to discover a finer example than this of the lumi¬ 
 nosity of wool. 
 
 1309 — Kurdish Strip. (Companion piece to No. 1304.) 
 
 Length, 19 feet 2 inches; width, 3 feet. 
 
 80 hand-tied knots (Turkish) to the square inch. 
 
 The makatlik, or kinan —the Turkish and Persian names, respectively, for these runners—are 
 merely the side strips of the triclinium arrangement, which is the most ancient form of 
 floor covering for large apartments. It follows, then, that in the native manufacture these 
 should be made in pairs, to accompany the centre carpet, or kali. In late years it has not 
 been customary to send these pairs to America or Europe, but to separate them in the 
 Persian trade centres or in Constantinople, and ship them singly to widely remote places. 
 A premium is thus secured upon the pairs which are occasionally sent to the Western markets. 
 
 1310 — Persian Carpet of Middle Sixteenth Century. 
 
 Length, 16 feet 2 inches; width, 7 feet 1 inch. 
 
 195 hand-tied knots (Persian) to the square inch. 
 
 Apart from its extraordinary beauty and deft workmanship, this carpet is of large interest as an 
 historical index. In the sixteenth century Persia was at the zenith in point both of power 
 and artistic development. Events followed each other with extraordinary rapidity. Wealth 
 was fabulously increased by conquest, and was poured out, as it never has been in any suc¬ 
 ceeding epoch, upon the cultivation of the arts and the construction of great public works, 
 both of architecture and engineering. The effect of this renaissance in thought and 
 accomplishment all the subsequent disaster, degeneration, and poverty have not wholly 
 obliterated. 
 
 Throughout the ascendancy of the Sufi dynasty Persia was a land inspired. The reaction 
 from the influence of the Turkoman rulers who followed Tamerlane was mighty and wide¬ 
 spread. During the earlier reigns—that of Ismael Sufi in particular—-aestheticism was the 
 very life and breath of the people. The poets were the teachers, more heroic figures in 
 popular vision even than the warriors. Every workman knew his Hafiz, and couplets of verse 
 were woven into the carpets in designs which are copied into the finer fabrics even to this 
 day. The Ardebil carpet, now famous, which was woven for the tomb of Sheikh Sufi, 
 founder of the line and father of Ismael—is perhaps the most perfect textile exposition of 
 the art of that time, and fixes a standard of comparison that has become indispensable. 
 
 With the advent of Abbas the Great began a period of conquest, a restoration of the 
 boundaries of the empire in all directions, and an establishment of closer relations with the 
 
nations of Europe. A more practical spirit prevailed, and the change is plainly visible in 
 the weavings. 
 
 It is quite the custom to give to all the carpets of this peculiar coloring, and embodying 
 these features of design, the name of “ Shah Abbas,” and to fix the period as the sixteenth 
 century; but it must be observed that the most distinguished of Persian rulers did not mount 
 the throne until 1586, and that for some years thereafter he lay ill, while enemies and rebels 
 devastated his empire. After him, for nearly a hundred years, Persia was stagnant. His 
 immediate successors were debauchees or idlers, through whose neglect achievement in art 
 as well as arms was suffered to decline. 
 
 Considering the internal evidences of this carpet, I incline to the belief that it is not 
 strictly of the Shah Abbas group, although the ground colors of field and border are like, 
 and there are incipient in it the features which afterwards distinguished the undisputed 
 Shah Abbas design. The softness of the color and many things in the figuration claim 
 for it a somewhat earlier place in the century. It marks an intermediate stage in the evolu¬ 
 tion of carpet patterns. 
 
 In order to make clear the ground for this inference, it is necessary to invite comparison 
 of this carpet with several others in the collection. In this order—1282, 1284, 1305, 1310, 
 1314—they seem to tell a chronological story of the trend of artistic accomplishment in 
 Iran, and trace the changing spirit of the people during the sixteenth and earlier part of 
 the seventeenth centuries. 
 
 Reserving for its proper place all comment on the other pieces referred to, it suffices to 
 say regarding No. 1310 that it retains in large measure the fine vine effects which make the 
 field of No. 1305 so indescribably rich and beautiful, and which, with considerable attendant 
 floral display, distinguish the masterpiece of Ardebil. (See “Oriental Rugs,” page 244.) 
 The touch of the finer sentiment is here, a breath of the earlier atmosphere which was per¬ 
 vaded by the poesy of Hafiz and the lofty moralism of Sa’di. The exquisite nature suggestion 
 obtainable only by the use of green for the vines and creepers is the chief charm of the 
 carpet; its shrewd modulation of color—a lighter shade of the Ispahan red being chosen to 
 harmonize with the slender, curving vines and shoots—bespeaks for the weaver a delicate 
 sensibility to atmosphere and precise color value. This combination of wine color for the 
 field and green for the border is peculiarly characteristic of the Persian art of the great cen¬ 
 tury; but in the figuration are the elements which later on, increasing in magnitude as the 
 Persian life became less of a dream and more of a struggle, made up the recognized Shah 
 Abbas design. The lotus forms and the cloud band—the latter introduced into Persian 
 design from the East—are here, and they are in the Ardebil carpet, but not in the Titanic 
 size or bold color which they bore fifty years afterwards, and which they still retain in the 
 big carpets of modern Persia. There is also discernible in minute form in the border the 
 lancet leaf, and, as dominant factors, the bold rosette and palmette, in alternation, all of 
 which were combined to make the regulation Herati design of later times. 
 
 That the weavers of the capital—for it seems past question that the carpets of this class 
 were made upon the palace looms of Ispahan—still worked with a masterly comprehension 
 of ultimate general effect, is further proven by the emphasis in the field of this rug. These 
 are effected in the simplest manner, by projecting a very few of the leaf and flower forms in 
 the centre and at the ends of the field in stronger and darker color. In the centre a perfect 
 medallion effect is thus secured without the use of any cumbrous outline figure, and at the 
 ends, by the aid of the palmette shape and the leaf, the accent is carried into the corners 
 and a clever harmony established between the field and the deep green and more pronounced 
 pattern of the border. 
 
 Special heed should be given to the palmettes and lotus forms in this rug. They are 
 the foundation elements of the recognized Shah Abbas design, which seems to have reached 
 its final stage of evolution during the latter part of the century, and which, subject, of course, 
 to the general decadence of Persian art and craftsmanship, has remained to the present time. 
 The next step in its development may be seen in No. 13x4. 
 
— Very Old Caucasian Fragment. 
 
 Length, 14 feet 6 inches; width, 10 feet 2 inches. 
 
 80 hand-tied knots (Turkish) to the square inch. 
 
 The ruin of a rug which in its lifetime must have been of bold, pleasing design and excellent color. 
 It is probably of the Karabagh or some other Caucasian variety, to judge from what is left 
 of the piled design and the finishings. In the beginning it was considerably larger than it 
 is now. The place where it has been cut in the middle and joined again is clearly visible. 
 The outer narrow border is gone. These narrow stripes, to judge from the inner ones, were 
 grounded in wool white. The main border had probably a pale blue ground, and carried 
 a design remotely derived from the Persian, but treated in the rectilinear manner of the 
 Caucasians. The ground color of the field was a pronounced red, much like that used in 
 parts of the Caucasus and Asia Minor. Upon this are some bold medallions, in various 
 colors, some traces of which, notably the green, remain. One of the most prominent figures 
 is a modified tarantula form, which appears alternately with others in the ground, and in 
 yellow in the large escutcheon of the main border. A considerable amount of excellent 
 yellow was used, particularly to outline the vines, which were big and irregular. The paint¬ 
 brush has been called into service to restore some of the decorative effect of the fabric, but 
 in the painting no effort has been made to counterfeit the design, no deception has been 
 practised. The object seems to have been merely to break the blank expanse of white pre¬ 
 sented by the pileless foundations, which age has left exposed, and as a curio or a wall 
 ornament the rug still possesses most admirable qualities. 
 
 — Chinese Rug. 
 
 Length, 14 feet 2 inches; width, 14 feet 9 inches. 
 
 42 hand-tied knots (Persian) to the square inch. 
 
 It will be hard to find a better illustration than this of the heavy, old Chinese rugs, of which so 
 many inferior and oftentimes worthless copies are seen nowadays. In coloring as well as 
 design it is Mongolian in character, with little if any hint of Persian or other influence. It 
 is worthy of remark, as indicative of the individuality of Chinese design, that while Chinese 
 decorative conceits and textile methods have found their way in plenty into the rugs of 
 almost every part of Asia, there is little or nothing in the native products of China, or even 
 of Chinese Turkestan, to show a yielding to Persian or any other Western influence. In the 
 rugs of Samarkand, many of them woven under Persian instruction, and in some fabrics of 
 Afghanistan, which was formerly part and parcel of the Persian Empire, there are some 
 Persian patterns. As for the texture, it is impossible to say whether the knot here used— 
 generally known as the Sehna, or Persian knot—is really a Persian invention or that of some 
 Mongolian country farther to the east. 
 
 A glowing virtue of the rug, in these days of square rooms, is its shape, a most unusual 
 one. In spite of its size it will be noticed that one dimension exceeds the other by only 
 seven inches, and that this proportion is nearly maintained in the great four-sided squares 
 into which the field is divided. The colors used are few, only four or five altogether, and 
 a singular softness is lent to these by the almost horizontal “ lie ” of the pile, an effect pro¬ 
 duced by a multiplication of the weft yarns. With the side rather than the ends of the yarns 
 exposed, the light has full play upon the colors, which gain or lose in illumination as the 
 
view-point is changed. This is most perceptible in the extraordinary color used for the 
 ground—a color purely Chinese, and for which there is no single descriptive term. Some¬ 
 times it is a pale salmon pink, again a deep tinge of terra-cotta appears, and from yet 
 another angle it is almost yellow. The line with which the great squares are defined upon 
 this is double, of light blue and dark blue. The effect of all this would be hard and 
 unpleasant, were it not that the comers of every square are, after a fashion, truncated, and 
 the four contingent triangles thus cut from four adjoining squares go to form smaller lozenge 
 shapes, which relieve the heavy effect of the larger figures at the point where intersection 
 would be expected. Even there the weaver’s ingenuity is not exhausted. The whole design 
 is further lightened by forming the lozenge shapes, not with severe rectilinear drawing, but 
 by turning the straight lines back in counter-balancing semicircles. Thus, despite the pre¬ 
 ponderance of the rectilinear, every parti-colored straight line ends in a curve. The staring 
 blank space within each big panel is relieved with a realistic figure of some sort. These run 
 in rows. In one row are dragons, in another birds, in yet others a flower or a stem of 
 flowers, as the case may be. These flower stems are the prototypes of those found in the 
 borders of many Ghiordes prayer rugs. 
 
 Nothing about the rug shows the skill of its designers in the production of color effects 
 more clearly than the border. Its ground color, unlike that of nearly all rugs of Western Asia, 
 is the same as that of the field, from which it is set apart by the heavy line of dark blue and 
 light blue, supplemented merely by an equally heavy line of white. The division is com¬ 
 plete, but so easily accomplished that the unity of the whole is not in the smallest degree 
 disturbed. It is still further maintained by laying the border pattern in pale golden yellow 
 upon the reddish-pink ground, a trick of coloring much practised by the earlier Persian 
 weavers. To give a final uplift to the rug’s bright and harmonious coloring, there is woven 
 outside the design a broad band of dingy brown, such as is seen in well-nigh all the weavings 
 of Hamadan and in many from the Kurdish country adjoining. In these fabrics the filament 
 used is camel’s hair in its natural state, but it is plain from both the color and quality of 
 the band in the Chinese rug that it is composed of some other animal filament, which may 
 be, and probably is, the fleece of the yak, or water buffalo, so frequent in Western China and 
 some neighboring countries. The age of the rug and the wonderful fastness of its colors are 
 to be inferred from the worn condition of the outer band. 
 
 1313 — Antique India Rug . 
 
 Length, 20 feet 5 inches; width, 14 feet 8 inches. 
 
 64 hand-tied knots to the square inch. 
 
 Nothing is more rarely encountered in rug collections in this century than are the old-school rugs 
 of India, of which this is an indubitable example. The excellent material, sterling color, and 
 thorough workmanship which prevailed in India up to less than seventy-five years ago gave 
 way before the organization of the prison industry, and the caste weavers were practically 
 driven from the looms through their inability to compete with contract labor in the jails. 
 
 The demand for the old-fashioned carpets of India—Lahore, Cashmere, Warungul, and 
 other weaving centres—has always been great, especially in England. When the products 
 became debauched by the prison system, the old pieces began to command large prices, 
 which increased at a rapid pace. For many years now these fabrics have been utterly unob¬ 
 tainable through the channels of commerce. 
 
 The carpet industry of India, even in the beginning, was a Mohammedan importation, 
 and in the northern provinces patterns as well as textile methods were borrowed from the 
 Persians, so that the old carpets of Lahore and Delhi were almost perfect counterparts of 
 those woven about Ghayn, Burujird, Meshhed, and other parts of the Persian province of 
 
Khorassan. The new and steadily improving industry of carpet making in India follows the 
 same teaching, and while the fabrics are incomparably better than the prison output in 
 quality and color, in fact equal to many grades of Persian carpets, the designs used are 
 chiefly of a Persian character, modified and combined by European and American artists to 
 catch the Western fancy. 
 
 In the central and southern parts of India, however, the Hindu designs were rather 
 persistently adhered to. It is difficult, nay, impossible, to discover in this carpet any stand¬ 
 ard Persian features of design. The rug is floral in character, and in its field the drawing 
 of vines, leaves, and flowers is distinctly realistic; but none of the recognized Persian devices 
 is here. The lattice arrangement, effected by the vines upon the white ground, is much 
 more suggestive of the Turko-Tartar or Moghal influences, though the geometrical treatment 
 apparent in all Turkoman fabrics as far south as Beluchistan is missing. 
 
 This absence of Persian traces would indicate that the rug was woven in some place 
 rather well to the south, in which the Hindu population remained more independent. The 
 southernmost parts of India, however, have always suffered from a scarcity of workable wool, 
 and the native carpets woven there have usually been made of cotton. When, under the 
 Mohammedan sway and afterwards, wool rugs were made in the southern provinces of India, 
 it was necessary to bring wool from the Punjab, or even farther north, and the same thing 
 is done to this day. It is altogether likely that such is the case with this rug. It is quite 
 impossible to fix definitely upon the place where it was woven, or to determine its exact 
 age, though its excellent color—witness the deep red throughout—is proof that it was made 
 long before the deterioration of dyes or patterns set in. The condition of the pile also cor¬ 
 roborates this conclusion. Experts who have been asked to pass judgment upon it hold the 
 opinion that it is one of the older products of Masulipatam, on the eastern coast. 
 
 The borders, not in design, but in number, afford the only hint of Persian influence. 
 This same multiplicity of narrow stripes flanking the broad principal stripe is found even 
 to the present time in the heavy carpets of Khorassan, where their pictorial value is practi¬ 
 cally the same as it is here. The border design is wholly Indian in character. 
 
 One of the most interesting features of the rug is the grayish-brown material used in all 
 parts of it in working out the design. This seems, under the glass, to be a mixture of 
 some animal hair with the remarkable vegetable fibre used so extensively in various parts of 
 India, even now, in textiles. The absence of dye in these ashen-browm spaces has apparently 
 served to prolong the life of the filament, and wherever it is used the pile stands in very 
 palpable relief above the dyed surfaces surrounding it. 
 
 Whatever its actual birthplace, there is such genuineness about the carpet, such uncom¬ 
 monness of design, such solidity of texture, such strength and honesty of color, and such 
 a bright and altogether likable appearance generally, that it would command attention even 
 were it not, as beyond question it is, one of a class now extinct, and which, in all proba¬ 
 bility, will never be revived. 
 
 1314 —Sixteenth Century Ispahan. 
 
 Length, 22 feet 8 inches; width, 9 feet 5 inches. 
 
 156 hand-tied knots to the square inch. 
 
 By contrasting this carpet with No. 1310, it is easy to measure the change which came over the art 
 of Persia in the reign of Abbas. A far more virile impulse is apparent. The intertwined 
 vines and creepers, so studiously spread upon the field to form a balanced design in No. 1310, 
 are virtually abandoned, and the floral devices, the lotus and the palmette shape, as well as 
 the cloud band, are enlarged, not merely in proportion to the greater dimensions of the 
 
carpet, but for the quite evident purpose of filling the field space and replacing the fine 
 complexity of vines. They are no longer flowers in natural connection with the vines, but 
 have been transformed by their very enlargement into set patterns, bald, massive, and in 
 such vigorous coloring as shall emphasize the design at every point. 
 
 This strength, so impressive even after the lapse of three hundred years, was much 
 greater when the carpet was new, for many of the areas were filled in with the dead black to 
 which reference is made elsewhere, which consumes the wool. The disintegration and final 
 disappearance of the pile in such places, leaving only the blank white of the foundations, 
 has naturally brightened the whole carpet. Instead of preserving the all-over vine effect 
 common to the earlier carpets, and establishing the central and corner masses by grouping 
 of the large flower figures, these flowers have been so multiplied, magnified, and distributed 
 as to produce in themselves a colossal diaper design. 
 
 There is in this, too, a certain concession to the northern tendency, for while the central 
 point, so essential in all the high-class weavings of the earlier time, is, in a way, retained, 
 the arrangement of the huge flowers involves something of the perpendicular row effect dis¬ 
 tinctive of the rugs of the middle and northern districts. 
 
 At first glance the unity of the design is not apparent altogether, and the rug does not 
 compare in this regard with No. 1310; much less, of course, with No. 1305, which was woven 
 for a royal gift, and which exemplifies a far higher order of textile work. 
 
 For sheer opulence of color—almost barbaric splendor and vigor—No. 1314 must be 
 accounted a phenomenon; but compared with the rugs which precede it in the Isapahan 
 school, or even with the more delicate creations of Shiraz and of Feraghan, it appears 
 cluttered. 
 
 The border shows far less of change than the field. In width the increase is not pro¬ 
 portionate. In fact, save for intensification of the color and perceptible enlargement of the 
 subordinate flowers which are grouped as supports about the palmettes and rosettes, it is the 
 identical border used in No. 1310. In the matter of texture there is every indication that this 
 rug and No. 1310 came from the same looms, and were, possibly, woven under the self-same 
 supervision. The peculiar quality of the ground color of all these sixteenth century Ispa- 
 hans is found in few other fabrics. 
 
 No. 1314 has suffered rather more in the wear, although not so old a carpet; but it is cause 
 for congratulation that the fabric remains complete, for it is a rare and perfect example of 
 a class of products which at the present day the cultivated Persian counts among the almost 
 priceless possessions. 
 
 1315 —Old Carpet of Khorassan. 
 
 Length, 24 feet 10 inches; width, 21 feet 4 inches. 
 
 80 hand-tied knots (Persian) to the square inch. 
 
 The heaviest, as well as the largest, piece in the collection. It is one of the immensely 
 stout fabrics in imitation of which a multitude of big carpets are made in Northern Khorassan 
 of late years. There is more of the misty sheen to the wool, which marks so many of the 
 older Khorassans, though this effect may have been present when the carpet was less worn. 
 It has undergone more or less injury, but has been assiduously darned, and is so tremen¬ 
 dously strong that its durability seems hardly impaired. Its colors certainly are undimmed, 
 and the design stands out with undiminished clearness. 
 
 Strange as it may seem, Nos. 1282 and 1284 must again be consulted to discover the 
 genesis of this fabric, which is so unlike them in every point of outward appearance. In the 
 field there may be found, in coarsened form, and with coloring more like that of the standard 
 old Feraghan, the same elements that make up the row patterns in the silk pieces referred to. 
 

They retain almost their original shape, the diamond shape, with the four curved leaves 
 protruding from a rosette in its centre holding a prominent place. 
 
 The huge rectangular medallion, with pendants, remotely resembling that in No. 1305, 
 occupies the centre. In the pendants, and along the broad white band defining the medal¬ 
 lion, birds are woven like those of Kirman and Shiraz. The ground inside the medallion is 
 covered with the Herat design, almost in the regulation modern drawing, but, as is the 
 custom in many Khorassans, the space inside the diamond is woven solidly in a russet red. 
 There is just enough multiplication of the small border stripes to give the Khorassan look to 
 the carpet. The broad border is quite convincing on the score of origin. It is filled with 
 pear patterns set transversely, in each of which is a plant form with flowers. In every suc¬ 
 cessive pear the plant undergoes material change in the coloring of its parts, and the effect 
 is, to a nicety, that observed in certain rugs of Samarkand and Herat, especially the mosque 
 prayer strips, which contain many devotional arches, side by side, to accommodate several 
 persons at simultaneous worship. 
 
Grand Tapestries 
 
 1316 — Landscape and Figures — Flemish Tapestry. Seventeenth Century. 
 
 In the foreground of a rural landscape a peasant in a crimson coat is shaking hands with a woman, 
 who is dressed in a rose-colored bodice, and a blue skirt turned up over a crimson petticoat. 
 At the back, between the two figures, stands another, wrapped in a blue mantle. 
 
 Height, 8 feet 5 inches ; width, 5 feet 5 inches. 
 
 1317 — Peasants Crossing a River —Flemish Tapestry. Seventeenth Century. 
 
 On the left of the composition a man wades in the water, bearing on his back a woman, whose 
 costume consists of a yellow skirt and rose-colored bodice. To the right a man stands on 
 the bank, pointing across the stream, and by his side is a woman in white cap, with blue 
 dress looped up over a rose-colored petticoat. 
 
 Height, 8 feet 5 inches ; width, 5 feet 5 inches. 
 
 1318 — Peasants at their Dinner — Flemish Tapestry. Seventeenth Century. 
 
 Under a chestnut tree, which occupies the left of the composition, a party of peasants sit at 
 dinner, around a small table. A man on the right of the group, wearing crimson breeches, 
 turns toward the front, with a glass raised in his hand. A river extends across the middle 
 distance, on the opposite bank of which is a castle, with the view of a small town beyond 
 and of more distant mountains. The costumes involve a combination of rose, blue, amber, 
 and white, while the landscape is rendered in pale green and blue, drab and cream, the dark 
 blue leaves of the chestnut being sprinkled with warm yellow lights. 
 
 Height, 9 feet; width, 7 feet 10 inches. 
 
 1319 — La?idscape and Country Inn — Flemish Tapestry. Seventeenth Century. 
 
 The foreground is sprinkled with flowering plants, and on each side of it rises a large tree with 
 handsome wealth of foliage. Between them winds a brook, crossed by an arched bridge, 
 beyond which some sheep are feeding; while slightly farther back is a wayside inn, where 
 guests, waited upon by a woman, are feasting under a penthouse roof. In the distance, upon 
 the right, a chateau stands among trees. The whole is enclosed in a rich border of fruit and 
 flowers, with amorini in the top corners, and pelicans in those below. The coloring is fresh 
 and spirited, passing from deep shades of blue, through lighter ones and russet tones, to 
 tints of warm cream, forming a notably harmonious combination, with an excellent sugges¬ 
 tion of atmosphere. 
 
 Height, xo feet 5 inches ; length, 12 feet 4 inches. 
 
1320 —Verdure Panel —Flemish Tapestry. Seventeenth Century. 
 
 The landscape slopes up from the front, with an abundance of trees, among which, on the left, is 
 a temple-like pavilion. Farther back, to the right, stands a large mansion, built around 
 a square courtyard, in front of which is an entrance tower, crowned with a dome, and con¬ 
 nected with the wings of the house on each side by a curtain corridor. The color scheme 
 is an effective arrangement, graded from deep indigo in the shaded parts to warm buffs in 
 the sunlight. 
 
 Height, 10 feet 7 inches ; length, 13 feet 5 inches. 
 
 1321 — Hunter Stayed by a Nymph — Flemish Tapestry. Louis XV. Period. 
 
 Large trees rise on each side of the foreground, through the centre of which flows a stony brook. 
 To the right of it a nymph in pale amber and creamy robes stays the advance of a young 
 hunter, whose crimson cloak makes a brilliant contrast to the faint yellow and green of the 
 hilly landscape beyond. She leans forward, with one hand on the youth’s javelin, and the 
 other resting upon the neck of his hound. The distant perspective is cunningly suggested, 
 and the volume of foliage in the foreground is boldly broken up into masses of deep indigo, 
 russet green, and golden yellow. 
 
 Height, 9 feet 2 inches ; length, 10 feet 8 inches. 
 
 1322 — Hunter and Stricken Nymph — Flemish Tapestry. Louis XV. Period. 
 
 Having a large-leafed plant on the right, and framed in by trees with heavy masses of foliage, the 
 landscape undulates in good perspective, a chateau showing among trees in the middle dis¬ 
 tance. On the right of the composition, beside a tree trunk, lies a woman in white robe, 
 whose breast has been pierced with an arrow fired by a hunter. The latter, with a crimson 
 drapery floating from his shoulder, is bending forward, with bow extended, and accompanied 
 by a dog. The landscape is rendered with very pleasing freedom and breadth of effect, the 
 foliage being especially effective in its handsome union of indigo and warm gray, while the 
 ground is treated in tones of cream and pale amber. 
 
 Height, 9 feet 4 inches ; length, 10 feet 10 inches. 
 
 1323 — Ceres — French Tapestry Panel. Louis XV. Period. 
 
 In a beautiful landscape, sloping up toward the left, the harvesters are at work amid the yellow 
 wheat, and in the foreground stands a woman with a sheaf upon her head, while another 
 woman and a man kneel upon the ground. Their eyes and hands are raised in supplication 
 to the goddess, who, in the centre of the composition, is descending through the air, a 
 glistening white robe floating round her form, and a light cloud hovering over her hands, that 
 are held in act of dropping plenty upon the earth. The lovely figure is shown against the 
 dark olive foliage and tree stems of a grove, which surrounds a statue of herself. In the left 
 of the foreground is a golden-brown chariot, on the floor of which a figure in white tunic 
 embroidered with gold, and wrapped about with a scarf, sets one foot. Its back is toward 
 the spectator, and the gesture of the arms invites the goddess to enter the chariot. 
 
 Height, 10 feet; length, n feet 8 inches. 
 
 1324 — Peasants and Hunter — French Tapestry. Louis XV. Period. 
 
 Beside their sheep, on the left of the picture, sit a shepherd in blue costume and a shepherdess 
 in white dress and red bodice. On the right, with his back to them, sits a hunter in scarlet 
 coat, with a gun in his hand and a dog at his feet. Trees with foliage of tender russet tints 
 frame the group, and almost unite over a landscape where a stream winds between irregular 
 banks, on which are ruins. 
 
 Height, 8 feet 3 inches ; width, 5 feet 6 inches. 
 
A Series of Renaissance Tapestries 
 
 Representing Subjects from the Old Testament 
 
 This superb series, designed in the Raphaelesque manner, as it has been conjectured, by Giulio 
 Romano, was formerly in the possession of Prince Piombino, in Rome. 
 
 All the panels are characterized by a fine freedom and boldness of design in the principal figures, 
 and by extreme richness of elaborate detail in the accessory parts of the composition. Throughout, the 
 intricate color scheme is singularly choice and delicate, with a predominance of rose, amber, cream, 
 and pale blue. The borders are noticeably handsome, being composed of passages of Renaissance orna¬ 
 ment of flowers and figures, interspersed with exquisite little landscapes set in scroll frames. In each 
 of the top corners is the figure of a woman extending her right hand, while below is a subject medallion 
 of Susannah and the Elders in a garden laid out in Italian fashion, sometimes with a pergola in the 
 distance. For, while the general character of the borders is maintained throughout the series, interest¬ 
 ing diversities of detail are introduced. The ensemble is full of dignity, and overlaid with a charming 
 bloom of subdued splendor. 
 
 1325 — Visit of the Queen of Sheba to King Solomon. 
 
 The queen kneels in the centre of the garden, with her hands crossed upon her breast, her train being 
 held up by two kneeling waiting-maids, while three others stand behind them, one bearing 
 a present. Solomon bends forward to raise the queen, at the same time offering her his 
 sceptre. On the left and right of the middle distance are two compositions, representing, 
 respectively, Solomon seated upon his throne, receiving his visitor, and the queen in her 
 royal progress, attended by a retinue of courtiers and camels. In the centre of the back¬ 
 ground is an open hall, in which a feast is proceeding, while on each side is a stretch of 
 landscape, with a cavalcade, and group of figures welcoming its arrival. 
 
 Height, 9 feet 2 inches ; length, io feet 6 inches. 
 
 1326 — “ Saul slew his thousands , and David his ten thousands ” 
 
 The subject represents a triumphal procession of mounted warriors and footmen, at the head of 
 which rides Saul, while David walks beside his charger, carrying the giant’s head. In the 
 background appear a hedge of spears and groups of soldiers in the woody landscape. On 
 the right of the foreground, preceding the cavalcade, walks a maiden playing upon a harp. 
 
 Height, 9 feet 2 inches ; length, io feet 4 inches. 
 
 1327 — A Smaller Panel , continuing the subject of the previous composition. 
 
 Two more maidens occupy the foreground, playing upon a viol or violin, while a child dances in 
 front of them, shaking rings that are hung with bells. Behind these figures, on the right, is 
 a serried group of men with lighted tapers, and on the opposite side crowds of horsemen and 
 citizens, standing in welcome before the open gate of the city. 
 
 Height, 9 feet 2 inches; width, 6 feet n inches. 
 
1328 —Old Testament Subject — Narrow Upright Panel. 
 
 Soldiers carrying a relic covered with a napkin. 
 
 Height, 9 feet; width, 3 feet 8 inches. 
 
 1329 — David before Saul. 
 
 The king is seated under a pavilion, on the right of the composition, attended by archers, and 
 before him stands David the shepherd boy, crook in hand, offering his services to slay the 
 giant. In the middle distance, to the left, and across the background, appear troops of foot 
 soldiers and horsemen. The foreground is sprinkled with flowers, and small trees dot the 
 hillocks in the rear. 
 
 Height, 9 feet; width, 8 feet. 
 
 1330 — David Playing before Saul. 
 
 From his throne, raised on a high dais and backed by drapery, Saul is in the act of flinging a spear 
 at David, who stands quietly playing upon his harp. An old man intervenes with upraised 
 hands. A soldier stands beside the youth, and three maidens are grouped in the middle 
 distance. In the background, separated by trees, are two small subject groups representing 
 the prowess of David. He is putting the Philistines to the rout in one, and in the other 
 returning to the king with Goliath’s sword in his hand. 
 
 Height, 9 feet; width, 8 feet 3 inches. 
 
 1331 — Rare Cloth-of-gold Tapestry. Holy Family — French, Sixteenth Century. 
 
 The Virgin is seated on a pavement of many colors, beneath a baldachino that is supported by four 
 graceful columns wreathed with incrusted ornament. Suspended from the top, in front, is 
 a lambrequin, decorated with cornucopias and fruit, while the back of the canopy terminates 
 in an arch, through which appears a sloping hill, dotted with trees and houses. The land¬ 
 scape is rendered in soft tones of blue, gray, and cream, the details being represented with 
 surpassing delicacy. The Virgin is robed in deep blue, with a drapery of crimson falling 
 from her waist. The Infant upon her lap leans forward to squeeze a bunch of grapes into 
 a chalice held by a woman who kneels upon the left. The pendant figure on the right is 
 that of a woman in blue raiment, who is drawing a sword from its scabbard. Behind the 
 group stand five angels in garments of rose and pale plum color, and in the sky appear the 
 figure of the Almighty, and the Third Person of the Trinity in the form of a dove. The 
 panel is enclosed at the sides and base in a narrow bead border. A beautiful feeling of 
 reverential tenderness pervades the skilfully drawn figures, and the color scheme is delicately 
 resplendent. The specimen is unique and of surpassing interest. 
 
 Height, 8 feet 2 inches ; width, 7 feet. 
 
 1332 —Grand Gobelins Tapestry —Louis XV. Period. 
 
 The episode depicted in this grand composition is taken from Tasso’s “ La Gerusalemme Liberata,” 
 canto iii., stanza xxi. The beleaguered city appears in the background. Citizens and 
 soldiers line the roofs and balconies of the houses, and are massed upon the top of a 
 round donjon, while in the open space before the walls, upon the right, is a confused mass of 
 spearmen, archers, and horsemen engaged in fight. In the foreground Clorinda the 
 Amazon leader, accompanied by Argantes, gallops full tilt at Tancredi. She is caparisoned 
 in armor over a blue skirt embellished with gold brocade, and a drapery of delicate rose 
 floats from her shoulders. The fastenings of her helmet have given way, and her golden hair, 
 
streaming in the wind, proclaims her to the astonished gaze of Tancredi a beautiful girl. 
 The knights wear crested helmets of Roman style, and tunics and mantles, the color of the 
 one on the right being blue, while that of his antagonist is red. 
 
 The scene is rendered with magnificent animation, the movement of horses and riders 
 being full of truth and spirit, and the color scheme at once splendid and refined. The com¬ 
 position is enclosed in a border of corresponding grandeur. On each side is a console sup¬ 
 porting the torso, in one case, of a nude man; in the other, of a draped woman; each bearing 
 upon the head a globe surmounted by two crowned eagles. Along the lower edge is a series 
 of cornucopias, separated by shells, in the middle one of which is a human face. The top 
 border consists of festoons of flowers, with a cartouche in the centre, carrying the following 
 inscription: 
 
 “ E le chiome dorate al 
 Vento sparse 
 
 Giovane donna in mezzo di 
 Campo apparse.” 
 
 The panel is a museum piece of extraordinary interest. 
 
 From the Gobelins’ Manufactory, dated 1735, and signed by 
 the Duke of Hamilton. 
 
 Height, 11 
 
 Nouzon. Purchased from the collection of 
 feet 8 inches ; length, 20 feet 6 inches. 
 
 Set of Four Indo-Portuguese Embroidered Tapestries , 
 
 Sixteenth Century 
 
 Illustrating Events Connectea with the Siege of Troy 
 
 1333 — The Sacrifice of Iphigenia. 
 
 On the left of the composition is a large chest, or sarcophagus, before which kneels Iphigenia, while 
 a man bends over her with uplifted sword. Soldiers are massed on the right and left, and 
 in the background appear the Grecian ships, waiting for a breeze. 
 
 Height, 12 feet j length, 16 feet 8 inches. 
 
 1334 — Achilles before the Arms of Patroclus. 
 
 A soldier, in advance of a group of warriors, on the left of the composition, indicates with his hand 
 the heap of armor and trappings which lie in the centre. To the right of it, attended by 
 two followers, stands Achilles, with his hands raised in a gesture of horror. A row of tents 
 stretches across the background. 
 
 Height, 12 feet; length, 16 feet 8 inches. 
 
 1335 —The Carrying off of Helen. 
 
 On the right of the composition a ship filled with warriors has come close up to the shore, where 
 another party surrounds the central figure of Helen. Her gaze and hands are extended 
 toward heaven, as a man with his arm around her waist is lifting her to the boat, directed 
 in his efforts by a man in the foreground. Behind the group rise the houses of the city, from 
 the roofs of which archers are firing. 
 
 Height, 12 feet; length, 16 feet. 
 

 
1336 — A Sacrifice. 
 
 In attitudes of entreaty warriors are kneeling or standing around a circular altar, which occupies 
 the centre of the composition. A ram’s head appears amid the flames, the smoke of which 
 curls up to the sky. Across the back of the scene extends the sea, ships riding at anchor on 
 the right. 
 
 Height, 12 feet; length, 16 feet 8 inches. 
 
 The flesh parts throughout all the series would appear to have been painted by 
 Portuguese artists, while the Oriental character of the weapons, costumes, and deco¬ 
 ration suggests that the embroideries were executed in the East. The color scheme 
 carried through the four panels is singularly choice, involving a groundwork of deep 
 azure blue, with hues of old rose, pale blue, and dull amber predominating in the 
 accessories. The same combination is introduced into the handsome borders, 
 where, enclosed within a series of narrow borders, flows a scroll of acanthus with 
 floral centres, interrupted at intervals by gryphons, or birds of paradise. At each 
 corner is a coat of arms, red and white horizontal bars upon a shield, surmounted by 
 a lion rampant; while in the centre of each side is a medallion containing a human 
 figure with the extremities of a serpent, holding a snake by the neck. 
 
 1337 — Flemish Tapestry. Noonday Meal —Seventeenth Century. 
 
 Subject after Teniers. In the foreground are three peasants costumed in red, blue, brown, and 
 yellow. To the right and left are trees in luxuriant foliage, and in the middle distance is 
 a river, beyond which is a village, and in the background a range of snow-clad mountains. 
 
 Height, 8 feet 9 inches ; width, 8 feet. 
 
 1338 — Flemish Tapestry Verdure Panel —Seventeenth Century. 
 
 A composition of verdure in greens and blue. In the middle foreground is a wolf carrying off 
 a lamb, framed in a border of flowers and fruit, with corner ornaments of cranes, all in 
 harmonious colors. 
 
 Length, 9 feet 4 inches ; width, 4 feet 6 inches. 
 
Antique and Modern Furniture 
 
 The Alma-Tadema Piano, 
 
 Bronzes, Curtains, and Miscellaneous Objects 
 
 1339 — Antique Work-box. 
 
 Adams. Mahogany inlaid with various woods. Painted ornamentation of female in chariot, cupids, 
 and other designs. 
 
 1340 — Antique Chippendale Table. 
 
 Satinwood. Oval shaped, with slender legs, and shelf at base. Inlaid with various woods, and 
 has painted decoration. 
 
 1341 —Antique Oval Table. 
 
 Mahogany. Similar in design to the preceding. 
 
 1342 — Chippendale Escritoire. 
 
 Satinwood. Adams painted decoration of flowers and figurers en camaieux, having an arched 
 recess with mirror, two enclosures, and several small drawers. 
 
 1343 —Chippendale Escritoire. 
 
 Satinwood. To match the preceding. 
 
 1344 —Chippendale Centre Table. 
 
 Mahogany. Round shaped, on slender, fluted legs. Inlaid with various woods, and ornamented 
 with painted ribbon and floral festoons in Adams style. 
 

1345 — Adams Gem Cabinet. 
 
 Satinwood. Painted decoration of flowers. Plush lined. 
 
 1346 —Gueridon and Card Tray. 
 
 Bronze, with Chinese porcelain, a famille-rose basin and baluster-shape vase, and an octagonal 
 bottle of famille verle. 
 
 1347 —Antique Ivory Cabinet. 
 
 Engraved in niello, with figures and grotesques. Decorated within with plaques in silver gilt, with 
 figures in relief of Ceres, Bacchus, and Venus, elaborately framed in carved steel; with 
 modern table in ebony and carved boxwood, in classic style. 
 
 1348— Oriental Taboret. 
 
 Octagonal. Rosewood. Inlaid with mother-of-pearl. 
 
 1349— Oriental Taboret. 
 
 Octagonal. Completely covered with mother-of-pearl. 
 
 1350— Two High-backed Chairs. 
 
 Italian. Inlaid with metal, ivory, and tinted woods. 
 
 1351 —Two Large Antique Armchairs. 
 
 Oak. Elaborately carved. 
 
 1352 — Antique Etagere. 
 
 French. Sixteenth century, 
 with slight gilding. 
 
 Artistically carved relief figures, foliated scrolls, and other designs, 
 
 Height, 8 feet ; width, 4 feet. 
 
 1353 —Old Moorish Cabinet. 
 
 Walnut. Elaborately inlaid with mother-of-pearl and tortoise shell. 
 
 Height, 3 feet; length, 3 feet 6 inches. 
 
 1354 —Old Italian Cassone. 
 
 Carved and gilt wood, in sarcophagus form, with a frieze of cupids with a shield armorial in high 
 relief; winged figures at the corners, and a base of masks and festoons. 
 
 Height, 2 feet 1 inch ; length, 5 feet 8 inches. 
 
1355 —Old Italian Cassone. 
 
 Decorated in gesso and stamped, gilt, and painted leather. Paintings of centaurs, a shield 
 armorial, and the lion of St. Mark’s. 
 
 Height, 3 feet 7 inches ; length, 6 feet 8 inches. 
 
 1356 — Elaborately Painted Old Italian Cassone , or Wedding Chest. 
 
 Carved and gilt wood, with a picture in colors and gilding, of a tournament outside a walled city; 
 a harbor and ships in the distance. 
 
 Height, 3 feet 8 inches ; length, 8 feet. 
 
 1357 — Elaborately Carved Old English Hall Table. 
 
 On a heavy carved base, supporting an arcade with twisted columns, except those at the corners, 
 which are in shape of urns surmounted by masks of giants. The top has a broad border, 
 with carving of fleurons and animals in circles. 
 
 Height, 3 feet 6 inches ; length, 7 feet; width, 3 feet 6 inches. 
 
 1358 — Two Large Old English Hall Armchairs. 
 
 With backs carved in high relief, top ornaments of cherubs and coat of arms, the arms terminating 
 in animal heads. Seats upholstered in velvet and cloth-of-gold brocade. 
 
 1359 — Two Old English High-backed Hall Chairs. 
 
 Elaborately carved. Seats upholstered in velvet and cloth-of-gold brocade. 
 
 1360 — Four Old English High-backed Chairs. 
 
 Carved in high relief. 
 
 1361 — Carved Oak Hall Seat. 
 
 In form of three antique choir stalls, time of Louis XV. 
 
 Height, 4 feet; length, 7 feet 7 inches. 
 
 1362 — Old Venetian Stamped Leather —Fifteenth Century. 
 
 From Pieve di Cadore. The design is floral scrolls in red, silver, and blue on a gold ground. 
 
 1363 —Grand Piano. 
 
 DESIGNED BY SIR ALMA-TADEMA, R.A., WITH PAINTED PANEL BY SIR 
 EDWARD J. POYNTER, P.R.A. 
 
 In many respects this piano presents one of the most extraordinary examples of artistic 
 craftsmanship that have been produced in modern times. It recalls the splendid invention, 
 the graceful, luxurious imaginativeness that distinguished the work of the Graeco-Roman artists 
 who ministered to the fastidious taste of the most cultivated citizens of Pompeii. Sir Alma- 
 Tadema, everywhere acknowledged among moderns as the artist par excellence who can re¬ 
 incarnate the genius as well as the externals of the later classic period, given carle blanche, has 
 accomplished in this object a result that is as remarkable for the exquisite refinement of its 
 ensemble as for the elaborate inventiveness of its detail. 
 

 A WElson 4 Cc,B 
 
The framework of the piano is of ebony, with inlays of red cedar, the latter serving as 
 a field for decoration in ivory, mother-of-pearl, and shells. The cover is embellished with 
 the names of the nine Muses, each enclosed within a wreath, while that of Apollo is given 
 distinction by additional elaboration of the wreath and ribbons. The body of the piano is 
 decorated at the back and at the ends on each side of the keyboard with scrolls. These are 
 a free adaptation of the acanthus motive, executed in boxwood and ivory, in bold relief, and 
 with exquisite variety of raised and channelled surface, terminating in a tendril of ivory. 
 In the centre of each side is a small design of a myrtle wreath, wrought in ivory, with 
 berries of coral and shell, enclosing a tripod altar, above which is a spray of laurel, executed 
 in pieces of semi-precious stones. It is a little gem of craftsmanship in the exquisite art of 
 pietra dura. 
 
 The front legs, viewed in profile, are broad and massive, exhibiting a winged lion beauti¬ 
 fully carved, with bold scrolls of ivory filling in the spaces. The rear support is a pedestal 
 with stylobate and base, and a square die, upon which is an incrusted decoration of a myr¬ 
 tle branch, carved in ivory, with berries of red coral. 
 
 Above the keyboard is a rectangular panel, painted by Sir Edward Poynter, “ The Wan¬ 
 dering Minstrels.” It represents a scene upon the margin of the sea, with a group of six 
 girls dancing in a ring in the centre. To the right and left are vine-covered pergolas, in 
 one of which are three musicians, and in the other a lady and gentleman seated on a bench, 
 with another figure standing behind, resting his head upon his hand. The figures are drawn 
 with the delicacy of feeling and grace of gesture that distinguish the painter’s work, and the 
 coloring is brilliant, and at the same time pure and transparent. In two small panels, one at 
 each end of the lid, is a trophy of musical instruments, executed by the famous artist. 
 
 The case of the piano was made by Johnson Norman, London, the instrument being the 
 work of Steinway & Sons. 
 
 Sir Edward J. Poynter, President of the Royal Academy, in a letter to Mr. Marquand, 
 thus alludes to the instrument: 
 
 “I have no hesitation in saying that it is the most beautiful piece of work, both 
 for the design and the workmanship, that I ever saw. In fact, I do not believe that 
 anything has ever been done equal to it." 
 
 1364 —A Suite of Furniture . 
 
 DESIGNED BY SIR ALMA-TADEMA, R.A. 
 
 This superb suite, designed, in accompaniment with the grand piano, to furnish the music-room, is 
 of the Grseco-Roman style, as manifested in the chasteness of design and luxuriance of deco¬ 
 ration of the best Pompeiian manner. It is one that the artist has made uniquely his own, 
 contriving to recover not only the form, but the spirit, of the antique beauty. In every case 
 the form is of marked simplicity, and of a reasonableness that fits the purpose of the object; 
 and the decoration is distinguished by luxuriance of invention rather than of amount, and by 
 an invention that embraces the most subtle delicacy as well as a virile boldness in the salient 
 parts of the structural design. Thus the main contours are firmly emphasized by broad inlays 
 of ivory, while projecting portions, most liable to injury, are carved from the solid ebony in 
 massive richness. Not less remarkable than the logic and beauty of the design is the skill 
 with which the work has been executed. The artist has been able to infuse the craftsmen 
 with the spirit of his purpose, and the result is that quality, very rare in modem craftsman¬ 
 ship, of vital, personal feeling. It would be hard to praise too highly this consummate union 
 
of handiwork and imagination. The objects are upholstered in silk of an ashen olive hue, 
 embroidered with panels, either of floral scrolls or of the Greek wave design, contained 
 within narrow borders of repeated circles. 
 
 — Two Armchairs. 
 
 Their framework is of ebony, the front legs being carved in a bold design, commencing with the 
 head and neck of a swan, and terminating in lion’s claws. In the place of back legs is a 
 broad support, inlaid with a panel of red cedar, on which is a relief ornament of the honey¬ 
 suckle design. The back is of similar wood, bearing an incrusted decoration of scrollwork, 
 corresponding in character to that of the piano, but exceeding it in the elaboration of the 
 inlays of mother-of-pearl and shells. 
 
 — Two Long Settees. 
 
 They are oblong in plan, with straight backs, the elaborateness of decoration being reserved for the 
 ends. These continue for a short distance the horizontal line of the back, and then descend 
 in a bold curve till they reach the level of the seat, where another horizontal line connects 
 with the massive modelling of the front legs. The profile of the back is vertical, terminating 
 in claw legs. The contour of ebony is accentuated by broad insets of raised ivory, and the 
 panels of cedar are decorated with delicate inlays of Greek fret and other designs. 
 
 — Occasional Chairs. 
 
 The slender legs are constructed, like the frame, of ebony, interrupted at three points by rings of 
 solid ivory, while a thread pattern of the same material is inserted on the small rectangular 
 facings near the top. The backs are of red cedar with rectangular bands of inlay, enclosing 
 an ivory laurel wreath, within which is the monogram, “ H. G. M.” 
 
 — Two Smaller Settees. 
 
 These have curved backs, terminating at the ends in slender columns. Below the latter the design 
 projects in curves to the level of the seat, the ebony frame enclosing a ground of cedar, on 
 which is an incrusted scroll, surmounting a band of fret. The front legs are of ebony, 
 carved with a swan’s head and neck, and terminating in a claw. 
 
 — Two Ottomans. 
 
 These are almost square in plan. Their slender legs of ebony, ringed and fluted with ivory, sup¬ 
 port four oblong panels of cedar, on two of which is an elaborate design of birds and scrolls, 
 executed in ebony, ivory, and chestnut. 
 
 — Two Circular Top Tables. 
 
 The circular top, consisting of a single slab of onyx, rests on a tripod of black ebony, the three 
 legs being united by two series of horizontal ties. The upper ones are narrow, and inlaid 
 with an ivory thread design of repeated arches, while the lower are more substantial, and 
 decorated with an interlace. 
 

 13 53 A-W Elson 4 Ca.Boston 
 

 
 
 
 
 
1365 —Two Piano Stools. 
 
 The cushions, almost square, rest upon a slab of ivory, which, by disks of the same material, is 
 separated at each corner from the wooden frame. The latter is panelled with cedar, deco¬ 
 rated with scrolls of ivory, ebony, and shells, and having on two sides a round ivory handle 
 enclosing a little medallion of carved cedar. The four legs are of baluster form, in ebony, 
 with delicate inlays of mother-of-pearl and ivory, and the latter material, boldly carved, has 
 been used for the feet. 
 
 1366 — Elaborate Music Cabinet. 
 
 Designed to match the Alma-Tadema suite of furniture, 
 lished with embroidered classic designs. 
 
 Has curtains of 
 
 green silk rep, embel- 
 
 Height, 6 feet 6 inches ; 
 
 length, 7 feet g inches. 
 
 1367 — Corner Cabinet. 
 
 Of classic design in ebony and inlaid woods, with ornamentation in carved ivory. To match the 
 Alma-Tadema suite of furniture above described. 
 
 Height, 6 feet io inches ; width, 2 feet 3 inches. 
 
 1368 — Corner Cabinet. 
 
 Of classic design. Similar to the preceding. 
 
 Height, 6 feet 6 inches ; width, 2 feet. 
 
 1369 — Pair Door Curtains. 
 
 Designed by Sir Alma-Tadema, 
 patterns in needlework. 
 
 The material is sage-green silk rep, with embellishment of classic 
 Each strip: Length, 7 feet 7 inches ; width, 3 feet 11 inches. 
 
 1370 — Pair Door Curtains. 
 
 Designed by Sir Alma-Tadema. To match the preceding. 
 
 1371 — Pair Door Curtains. 
 
 Designed by Sir Alma-Tadema. To match the preceding. 
 
 Each strip: Length, 9 feet 6 inches ; width, 3 feet 6 inches. 
 
 1372 — Window Curtains. 
 
 For two windows. Designed by Sir Alma-Tadema, and to match the preceding. 
 
 Each stnp; Length, 9 feet 6 inches ; width, 3 feet 6 inches. 
 
 1373 —Lace Window Curtains. 
 
 For two windows. Designed by Sir Alma-Tadema. Masks and palmettes and other classic patterns 
 in applique and openwork. Eac jj str ; p . Length, 9 feet 5 inches; width, 2 feet 7 inches. 
 
 1374 — Pair Tall Standing Lamps. 
 
 Antique design, in bronze, with opalescent glass shade. Arranged for gas. 
 
 Height, 77 inches. 
 
1375 — Elaborate Ornamental Bronze Fender. 
 
 Especially designed by Sir Alma-Tadema, and modelled by E. Onslow Ford, A.R.A. Masks of 
 Comedy and Tragedy at the corners, supported by genii with lyre and cymbals. Richly 
 foliated scrolls, with flowers and tendrils in wrought metal, terminating behind a large shell 
 in the centre. 
 
 Length, 58 inches. 
 
 1376 — Pair Bronze Andirons. 
 
 By E. Onslow Ford, A.R.A. Terminal figures in archaistic Greek style, reproduced from an¬ 
 tiques in the British Museum, known as the “ Merry and Sad Flutes.” 
 
 Height, 30 inches. 
 
 1377 — African Lion Skin. 
 
 Mounted as a rug. 
 
 Length, 10 feet 4 inches. 
 
 1378 — Royal Bengal Tiger Skin. 
 
 Mounted as a rug. 
 
 Length, n feet 7 inches. 
 
 1379 — Royal Bengal Tiger Skin. 
 
 Mounted as a rug. 
 
 Length, 9 feet 7 inches. 
 
 1380 — Portiere. 
 
 Japanese silk brocade. Brown ground, with geometrical and floral patterns in low tones of gray, 
 old gold, and sage green. Trimmed with fringe and lined with silk. 
 
 Height, 8 feet; width, 3 feet 10 inches. 
 
 1381 — Portiere. 
 
 Japanese silk brocade. Old golden brown, with medallions and crest designs in dark blue and old 
 gold. Trimmed with heavy fringe. 
 
 Height, 8 feet ; width, 3 feet 10 inches. 
 
 1382 —Sofa and Pillows. 
 
 Upholstered in Turkish needlework, with heavy silk fringe. 
 
 1383 — Low Cushioned Chair. 
 
 Upholstered in Turkish needlework. 
 
 1384 —Oblong Satinwood Table. 
 
 Oriental design. Inlaid with brass, mother-of-pearl, and various woods. 
 
1385 — Satinwood Reception Chair. 
 
 Oriental design. To match the preceding. 
 
 1386 — Adams Drop-leaf Table. 
 
 Mahogany. Painted decoration of fruits in large oval panel on the top, with borders of floral and 
 ribbon festoons. 
 
 1387 — Mantle Clock — Louis XVI. 
 
 Gray marble base. Mountings and ornaments in chiselled ormolu. Wreath of oak leaves and 
 mask surround the dial, which is decorated with floral festoons. 
 
 1388 — Boudoir Clock. 
 
 Dresden porcelain case, with group of Arts and Science. Movement by Worms, of Paris. 
 
 1389 — Pair Dresden Candelabra. 
 
 Figure supports and raised flowers. 
 
 1390 — Pair Old Hochst Vases „ 
 
 Cylindrical shaped, with conical base. Decorated with medallion portrait of Louis Philippe and 
 Consort, and festoons modelled in relief. 
 
 1391 — Pair Urn-shaped Andirons . 
 In antique brass. 
 
 1392 — Bronze Fender. 
 
 Figures of two children, wrought in relief. 
 
 1393 — Pair Royal Brass Andirons — Charles I. Period. 
 
 Urn shape, with masks at base and female figures at sides. Wrought in openwork and chiselled. 
 
 Height, 30 inches. 
 
 1394 — Antique Fire Set. 
 
 In wrought brass. 
 
1395 — Pair Fire Dogs. 
 
 In chiselled brass. Said to have belonged to Queen Elizabeth, 
 crown on the base. 
 
 Have the initials “E. R.” and 
 Height, 36 inches. 
 
 1396 —Pair Elaborate Bronze Andirons. 
 
 Representing fawns seated, and bearing on their heads vases with serpent handles, from which arise 
 flames. The elaborately wrought bases are decorated with lions’ heads, scrolls, and foliage. 
 
 Height, inches. 
 
 1397 — Grand Wrought-steel Fire Set. 
 
 Consisting of fire dogs, brazier, cranes, chains, fender, elaborate wood basket, and set of fire tools. 
 
 Length of fender, 59 inches. 
 
 1398— Wrought-steel Fire Set. 
 
 Consisting of fire dogs and fender, ornamented with open spirals, foliage, and rosettes, and set of 
 fire tools. 
 
 Length of fender, 68 inches. 
 
 1399 —Gem Cabinet. 
 
 In carved oak. Plush lined. Open shelf at bottom. 
 
 1400 — Carved Oak Cabinet. 
 
 Low oblong shaped. Glass doors, sides, and top. Lined with plush. 
 
 Height, 3 feet; length, 4 feet; depth, 2 feet. 
 
 1401 — Carved Oak Cabinet. 
 
 To match the preceding. 
 
 1402 — Corner Cabinet. 
 
 Carved oak. With bent glass door. 
 
 1403 — Corner Cabinet. 
 
 To match the preceding. 
 
 Height, 4 feet; width, 2 feet 6 inches. 
 
 1404 — Standing Cabinet for Lacquers. 
 
 Mahogany. Carved in Japanese style. 
 
 Height, 3 feet 6 inches ; length, 4 feet; width, 1 foot 9 inches. 
 
 1405 — Elaborate Standing Screen. 
 
 In carved quartered oak. 
 
Engravings 
 
 In Mezzotinto, Stipple and Line, and Etchings 
 
 NOTE 
 
 In the field of Engraving and Etching Mr. Marquand’s preference—so far as it can be read in 
 the specimens selected by him—was for prints possessing marked pictorial and aesthetic beauty rather 
 than technical excellence only. Naturally the magnificent mezzotints by the great English engravers 
 —Dean, Dickinson, Green, MacArdell, James and Thomas Watson, and others—after paintings 
 by Sir Joshua Reynolds, attracted his attention and, characteristically, the examples he acquired were 
 of great beauty and of unusually fine quality. 
 
 His interest in the movement which, originating with Mason, Walker, and Pinwell, might 
 have been, but for the untimely death of these artists, of hardly less influence on art in England than 
 was the pre-Raphaelite movement of a generation earlier, is sufficiently attested by the inclusion in 
 his collection of several of the masterly etched transcriptions by Macbeth, of important works by 
 Walker and Mason. . . . Nor were the “Old Masters” forgotten; as the etchings after master¬ 
 pieces by Velasquez, Rembrandt, and Van Dyck prove ; while among painter-etchers Rembrandt, 
 Whistler, Tissot, and Zorn were represented by a few fine examples. 
 
LIST OF ENGRAVERS AND ETCHERS 
 
 MEZZOTINTO ENGRAVERS 
 
 
 NUMBER. 
 
 
 NUMBER. 
 
 APPLETON, THOMAS G. 
 
 1407, 1408 
 
 REYNOLDS, SAMUEL WILLIAM 1426 
 
 COUSINS, SAMUEL 
 
 1409, 1410 
 
 SHORT, FRANK 
 
 1427 
 
 DEAN, JOHN 
 
 1411 
 
 SMITH, JOHN RAPHAEL 
 
 1428-1430 
 
 DICKINSON, WILLIAM 
 
 1412-1417 
 
 TURNER, CHARLES 
 
 1431 
 
 DIXON, JOHN 
 
 1418 
 
 WARD, JAMES 
 
 1432 
 
 GREEN, VALENTINE 
 
 1419, 1420 
 
 WATSON, JAMES 
 
 1433-1437 
 
 HODGES, CHARLES HOWARD 1421 
 
 WATSON, THOMAS 
 
 1438 
 
 MacARDELL, JAMES 
 
 1422-1425 
 
 
 
 ENGRAVERS 
 
 IN STIPPLE 
 
 
 BARTOLOZZI, FRANCESCO 
 
 1439, 1440 
 
 TOMKINS, PELTRO WILLIAM 1443 
 
 BURKE, THOMAS 
 
 1442 
 
 WATSON, CAROLINE 
 
 1444 
 
 EARLOM, RICHARD 
 
 1441 
 
 
 
 LINE ENGRAVERS 
 
 
 ANNEDOUCHE, ALFRED 
 
 1445 
 
 FOLO, PIETRO 
 
 1447 
 
 BURGER, JOHANNES 
 
 1446 
 
 LEVY, GUSTAVE 
 
 1448 
 
 
 ETCHERS 
 
 
 ARAUJO, JOAQUIN 
 
 1449 
 
 RAEBURN, H. MACBETH 
 
 1472 
 
 HADEN, SIR F. SEYMOUR 
 
 1450, 1451 
 
 RAJON, PAUL 
 
 1473-1478 
 
 HERKOMER, HUBERT 
 
 1451a 
 
 REMBRANDT VAN RYN 
 
 1479-1489 
 
 HOLE, WILLIAM 
 
 1451b 
 
 ROSENTHAL, ALBERT 
 
 1490, 1491 
 
 JASINSKI, FELIX 
 
 1452-1455 
 
 SHORT, FRANK 
 
 1492 
 
 KRATKE, LOUIS 
 
 1456 
 
 SLOCOMBE, C. P. 
 
 1493, 1493a 
 
 LAGUILLERMIE, FREDERIC- 
 
 
 SMILLIE, JAMES D. 
 
 1494 
 
 AUGUSTE 1457 
 
 TISSOT, JAMES J. 
 
 1495, 1496 
 
 LEFORT, HENRI 
 
 1458, 1459 
 
 WALTNER, CHARLES 
 
 1497-1499 
 
 LHUILLIER, VICTOR-GUSTAVE 1460 
 
 WHISTLER, JAMES A. McN. 
 
 1500, 1501 
 
 MACBETH, ROBERT W. 
 
 1461-1471 
 
 ZORN, ANDERS L. 
 
 1502 
 
1415 1420 
 
 1428 
 

 
 
 
 
 
SECOND EVENING'S SALE 
 Wednesday, January 28th, 1903 
 
 BEGINNING PROMPTLY AT 8 O’CLOCK 
 
 Mezzotinto Engravings 
 
 APPLETON, THOMAS G. 
 
 1407 — Elizabeth, Countess of Mexborough. 
 
 After the painting by John Hoppner. Signed artist’s proof. Gold frame. 
 
 Daughter of John Stephenson, Esq., of East Burnham, Co. Bucks ; married, 
 1782, John, 2nd Earl of Mexborough ; died, June 7, 1821, in Piccadilly, after a few 
 hours’ illness. 
 
 1408 — Countess of Mansfield. 
 
 After the painting by George Romney. Signed artist’s proof. Gold frame. 
 
 COUSINS, SAMUEL 
 
 Born in Exeter in 1801; died in London, May 7, 1887. Pupil of S. W. Reynolds. 
 
 1409 — Penelope Boothby. 
 
 After the painting by Sir Joshua Reynolds. Proof, with the title in scratched letters, 
 on India paper. Scratched on plate in lower right-hand corner, “First 100.” 
 Bird’s-eye maple and gold frame. 
 
 “On the beautiful monument by Banks, in Ashbourne Church, at sight of which 
 Queen Charlotte burst into tears, is inscribed : 
 
 “‘To Penelope, only child of Sir Brooke and Dame Susannah Boothby; born, 
 April 11, 1785 ; died, March 13, 1791. She was in form and intellect most exquisite. 
 The unfortunate parents ventured their all on this frail bark, and the wreck was 
 total .”—Chaloner Smith, page 957. 
 
/ 
 
 1410 — Moretta: A Venetian Girl. 
 
 After the painting by Sir Frederick Leighton, P.R.A. Proof signed by painter and 
 engraver. Black and gold frame. The number of signed artist’s proofs was 
 limited to 375 . 
 
 DEAN, JOHN 
 
 Born about 1750 . Is said to have been a pupil of Valentine Green, and to have died 
 in London in 1798 . 
 
 “The character of his work is delicacy ol execution, carried to such an extent 
 that, to a superficial observer, his prints seem faint. They are, however, most clear 
 and artistic ."—Chaloner Smith, page 159. 
 
 1411 — Mary, Lady Cadogan. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 3 , page 160 . 
 
 Second state , with the inscription. 
 
 Margins are: at top, 1 5 at bottom, 1 ^; at sides, 1 ^ inches. Very fine 
 
 impression, in perfect condition. Gold frame. 
 
 Eldest daughter of Charles Churchill, Esq., by Mary, daughter of Sir Robert 
 Walpole ; married, August 10, 1777, Charles Sloane, 3rd Baron Cadogan, which 
 marriage was dissolved by Act of Parliament, April, 1797. 
 
 DICKINSON, WILLIAM 
 
 Born in London in 1746 . In 1773 he commenced to publish his own works from 
 Litchfield Street, Soho, afterwards 180 Strand, and between 1774 and 1778 
 from Henrietta Street, Covent Garden, many of his productions then being 
 among the most brilliant specimens of the art—powerful, full of color, 
 excellent in drawing, and rendering the touches of the painters, among whom 
 were Reynolds, Romney, and Peters. Died at Paris in the summer of 1823 . 
 
 1412 — Diana, Lady Crosbie. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 14 , page 176 . 
 
 Second state , with the inscription. 
 
 Margins are: at top, bottom, and sides, *4 inch outside plate mark. Good impres¬ 
 sion, in excellent condition. Gold frame. 
 
 Daughter of Lord George Sackville ; born, 1756 ; married, 1777, Viscount 
 Crosbie, who succeeded in 1781 to Earldom of Glandore ; died at Ardfert Abbey, 
 August 29, 1814. Her daughter married Mr. Herbert, of Mucross. 
 
1413—• Emilia, Duchess of Leinster. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 43 , page 186 . 
 
 First state , before the name of the personage and before the lower margin was 
 perfectly cleaned. 
 
 Margins are: at top and sides, 1 ^; at bottom, 4 inches. From the collection of 
 the Duke of Buccleuch. Brilliant impression, in excellent condition. Gold 
 frame. 
 
 Only daughter of Ussher, Lord St. George ; married, 1775, William, 2nd Duke of 
 Leinster; died, June 23, 1798. 
 
 1414 — Li chard. Oliver. 
 
 After the painting by Robert Pine. C. S. No. 55 , page 190 . 
 
 Second, state , with the inscription. 
 
 Margins are: at top, ^ inch; at bottom, i5^ inches; at sides, ^ inch. Good 
 impression, in good condition. Oak frame. 
 
 Elected member of Parliament in 1770. In the following year was for a short 
 time imprisoned in the Tower. In his contest with the Parliament, a transaction 
 which Walpole says “began unadvisedly and ended piteously,” the Court of 
 Exchequer deciding that the imprisonment was not illegal, Mr. Oliver refused to 
 take advantage of some blunders in the returns, and declined to be released, except 
 on general and public grounds. He died on board the Sandwich packet, in his pas¬ 
 sage from Nevis, April 16, 1784. 
 
 1415 — Lady Charles Spencer. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 77 , page 198 . 
 
 Second state , with the inscription. 
 
 Margins are: at top, 1 ; at bottom, 2 ; at sides, 1 inches. Brilliant, rich, and 
 velvety impression, in perfect condition. Gold frame. 
 
 Maria, daughter of Lord Vere, of Hanworth ; born, 1743 ; married, October 
 2, 1762, Lord Charles Spencer, 2nd son of Charles, 2nd Duke of Marlborough ; died, 
 January 13, 1812. 
 
 1416 — Richard, Earl Temple. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 82 , page 199 . 
 
 First state , before the inscription. Names of painter and engraver, and publication 
 line in scratched letters. 
 
 Margins are: at top, bottom, and sides, yi inch. Brilliant impression, in excellent 
 condition. Oak frame. 
 
 Born, 1711 ; succeeded his mother, Countess Temple, 1752 ; K. G., privy coun¬ 
 cillor; died, September n, 1779, and was succeeded by his nephew, whose son was 
 created Duke of Buckingham and Chandos. 
 
 1417 — Richard, Earl Temple. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 82 . 
 
 First state. 
 
 Margins are: at top and sides, ; at bottom, inch. Brilliant impression, in 
 excellent condition. Oak frame. 
 
DIXON, JOHN 
 
 Born in Ireland about 1740 . Removed to London about 1765 , and soon distin¬ 
 guished himself by his Portrait of Garrick, after Dance, and other works. 
 He married a young lady of fortune, and thenceforward followed his profession 
 as an amusement only, residing at Ranelagh, afterwards at Kensington, where 
 he died about 1780 . 
 
 “His works are powerful, well drawn, and rich in tone .”—Chaloner Smith , 
 page 203. 
 
 1418— William , Duke of Leinster. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 22 , page 212 . 
 
 Very early state , undescribed by Chaloner Smith. The name of the engraver is absent. 
 
 The words, “Painted by Sr. Josa Reyn ’’and the publication line 
 alone are visible, and the bottom of the plate is not yet cleaned. 
 
 Margins are: at top, 1 ; at sides, T>f inch; at bottom, 1 inches. From the collec¬ 
 tion of the Duke of Buccleuch. Very brilliant and rich impression, in perfect 
 condition. 
 
 Born, March 13, 1749; succeeded his father as 2nd Duke of Leinster, 1773; 
 married, 1775, Emilia Olivia, daughter of Lord St. George; died at Carton, County 
 Kildare, October 20, 1804. 
 
 GREEN, VALENTINE 
 
 Born near Birmingham in 1739 . Removed to London from Worcester in 1765 . 
 Was a member of the Incorporated Society of Artists in 1767 . Was appointed 
 associate engraver to the Royal Academy and mezzotinto engraver to His Majesty 
 in 1775 , distinctions well merited by his artistic talents and unwearied diligence. 
 In 1789 he obtained from Charles Theodore, Elector of Bavaria (to whom, 
 when Elector Palatine, he had been appointed engraver), the exclusive privilege 
 of engraving the pictures of the Diisseldorf Gallery. On the foundation of the 
 British Institution, in 1805 , he accepted the office of Keeper, and retained it to 
 his death, which took place at St. Alban’s Street, London, June 29 , 1813 . 
 
 His portraits exhibit great mastery of his art, joined to delicate and effective 
 manipulation. They also exhibit the leading characteristic of the painters of his 
 day ; this was to make their portraits pictures, or works of art, apart from the repre¬ 
 sentation of the personage. 
 
 1419 — Louisa, Countess of Aylesford. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 4 , page 534 . 
 
 Second state , with the inscription. 
 
 Margins are: at top, 1 y ; at sides and bottom, 1 y 2 inches. Very fine impression, in 
 perfect condition. Gold frame. 
 
 Born, 1760 ; eldest daughter of Thomas, 3rd Viscount Weymouth, who was 
 created Marquess of Bath in 1789 ; married, November 18, 1781, Heneage, 4th Earl 
 of Aylesford, who died in 1812. She died December 20, 1832. 
 
1420 —Lady Elizabeth Delme and Children. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 35 , page 548 . 
 
 Second state , with the name of V. Green as publisher, and with the date of publica¬ 
 tion, July 1 , 1779 . 
 
 Trimmed to plate mark at top, sides, and bottom. Fine impression, with the scratched 
 letters of the first state plainly visible. Small piece, J46 inch wide and sf inch 
 long, torn from upper right-hand corner; two pieces, measuring about jJ x 
 inch each, from lower corners to right and left ; otherwise in excellent 
 condition. Gold frame. (Blythe sale, 920 guineas.) 
 
 Born, 1747, daughter of Henry, 4th Earl of Carlisle; married, 1st, in 1769, 
 Peter Delmg, Esq. (M.P. for Morpeth, who died August 15, 1789); 2nd, in 1794, Cap¬ 
 tain Charles Gamier, R.N. (who was drowned December 16, 1796). She died in 
 Grosvenor Place, June, 1813. The children are believed to be John Delme, Esq., of 
 Cams Hall, Fareham, Hants, who died June 10, 1809, aged 36; and Miss Delme, 
 who died February 27, 1794. 
 
 HODGES, CHARLES HOWARD 
 
 Born about 1775- About 1794 he left England and went to Holland, where he 
 resided until his death, practising as a portrait painter, but continuing for some 
 years to produce mezzotinto portraits. He died at Amsterdam in 1837 . 
 
 As his earlier prints were published by John Raphael Smith, it may be pre¬ 
 sumed that he was a pupil of that artist; and his fine painter-like style would lead 
 to the same conclusion. 
 
 1421 — Mrs. Williams Hope. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 18 , page 632 . 
 
 Proof before all letters. Earlier than the first state described by Chaloner Smith. 
 
 Margins are: at top and bottom, Sf inch; at sides, 1 inches. From the collection 
 of the Duke of Buccleuch. Magnificent impression, in perfect condition. 
 Gold frame. (Edgcumbe sale, ^ 79 .) 
 
 Eldest daughter of John Goddard, Esq., of Woodford Hall, Essex, and niece of 
 Henry Hope ; married John, son of the Rev. Mr. Williams of Cornwall, who there¬ 
 upon added Hope to his surname, ultimately obtaining the king’s license to use the 
 name “ Hope” only, and who died in Harley Street, February 12, 1813. 
 
 MacARDELL, JAMES 
 
 Born in Cow-lane (afterwards altered to Greek Street), in Dublin, about 172 . 9 . He 
 
 was a pupil of John Brooks, and came with him to London about 1747 . He 
 soon afterwards commenced to practise on his own account, and about 1754 
 established himself at the Golden Head, Covent Garden, where he published 
 most of his prints. He died June 2 , 1765 . 
 
 He may be said to have carried on the art from the point to which it had been 
 brought by Faber, by adopting boldness, decision, and freedom of handling without 
 losing either accuracy or truth. His talents were duly appreciated by the great 
 painters of his time, especially by Reynolds, who considered, as Northcote tells us, 
 that his own fame would be preserved by MacArdell’s engravings, when the pictures 
 had faded away. 
 
1422 — George , Duke of Buckingham, and His Brother Francis. 
 
 After the painting by Van Dyck. C. S. No. 33 , page 847 . 
 
 Third state. 
 
 Margins are: at top, y 2 ; at bottom, y inch; at sides, Ij4 inches. Very fine, rich im¬ 
 pression, in perfect condition. Oak frame. 
 
 Sons of George Villiers, Duke of Buckingham, who was assassinated by Felton 
 in 1628. George fought through the Civil War, married Mary, daughter of Thomas, 
 Lord Fairfax, rose to great favor with Charles II., and after the Restoration became 
 prominent as wit, courtier, statesman, and rake. He died in 1687. Lord Francis 
 Villiers was born after his father’s murder. He was a youth of high promise. Was 
 slain in a skirmish with the Parliamentary Forces in 1648. 
 
 1423 — Robert Monckton, Governor of New York. 
 
 After the painting by Thomas Hudson. C. S. No. 130 , page 882 . 
 
 Second state. 
 
 Margins trimmed to plate mark at top, bottom, and sides. Fine impression, in excel¬ 
 lent condition. Unframed. 
 
 Second son of 1st Viscount Galway, entered the army, and, after having had a 
 considerable amount of service, was appointed Governor of Nova Scotia in 1775, and 
 obtained many successes against the French and their Indian allies; was second in 
 command to Wolfe at Quebec, where he was wounded ; with Rodney took Marti¬ 
 nique ; Governor of New York and Major-General, 1761 ; Governor and M. P. for 
 Portsmouth. He died May 21, 1782. 
 
 1424 — Lady Caroline Russell. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 160 , page 893 . 
 
 First state. Before any inscription, and before margin was thoroughly cleaned. 
 
 Margins are: at top and bottom, 1 ; at sides, j4 inch. Very brilliant impression, in 
 perfect condition. Gold frame. 
 
 Born in 1763 ; married, 1792, Henry Welbore, 2nd Viscount Clifden ; died at 
 Blenheim, November 23, 1813. 
 
 1425 — Maria, Countess Waldegrave. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 184 , page 902 . 
 
 Third state. 
 
 Margins are: at top and at sides, 1 y ; at bottom, 2 y inches. Good impression. Has 
 been folded once, but well flattened. Otherwise excellent condition. Gold 
 frame. 
 
 Daughter of Mr. (afterwards Sir Edward) Walpole and Mrs. Dorothy Paxton. 
 Born, July 3, 1739; married, 1st, in 1759, James, 2nd Earl Waldegrave, who died in 
 1763 ; 2nd, in 1766, William Henry, Duke of Gloucester, brother of George III., who 
 was much displeased, sent them abroad, and the marriage was not published until 
 1772, soon after which the brothers were reconciled. She died at Brompton, August 
 22, 1807, and is buried at Windsor. She is a prominent personage in the Walpole 
 Correspondence. 
 
REYNOLDS, SAMUEL WILLIAM 
 
 Born in London in 1773 . Pupil of Charles Henry Hodges. Died in London in 
 1835 . The distinguished engraver, Samuel Cousins, was one of his pupils. 
 
 1426 — Sir Joshua Reynolds , P.R.A. 
 
 After a painting by himself. 
 
 “Published Jany 1 , 1796 by P. Brown, Crown Street, Soho.” 
 
 Margins are : at top, ^4 5 at bottom, ; at sides, £4 inch. Rich velvety impression, 
 in perfect condition. Gold frame. 
 
 Sir Joshua Reynolds, Knight, President of the Royal Academy, Member of the 
 Imperial Academy at Florence, Doctor of Laws of the Universities of Oxford and 
 Dublin, and Fellow of the Royal Society. 
 
 He was born, July 16, 1723, at Plympton, County Devon; was placed under 
 Hudson, afterwards went to Italy, and on his return became the leading portrait 
 painter of his day; and his works have continually increased in estimation down to 
 the present time. He died at his house in Leicester Fields, February 23, 1792, and 
 was buried in St. Paul’s. He was the intimate friend of Burke, Goldsmith, and John¬ 
 son, and was preeminently distinguished at an epoch of excellence in art and literature. 
 
 SHORT, FRANK 
 
 “No one has done so much as Frank Short for the modern revival of mezzotint. ” 
 —Frederic Wedmore, Etchings in England , page 95 . 
 
 1427 — The Mouth of the Thames. 
 
 After the painting by J. M. W. Turner, in the Duke of Westminster’s Collection. 
 Signed artist’s proof. Special selected proof, signed also by Goulding the printer. 
 There were printed 250 proofs, and the plate was then destroyed. Oak frame. 
 
 SMITH, JOHN RAPHAEL 
 
 Born at Derby in 1752 . About 1767 he came to London, and, it is said, first 
 engaged himself as a shopman, but soon entered on the career of an artist. He 
 practised painting extensively, and drew with great spirit. A very considerable 
 number of his prints are from his own designs and pictures, yet he was most 
 successful in his renderings of the works of Gainsborough, Reynolds, and 
 Romney. He died at Doncaster on March 23 , 1812 . 
 
 "The prints published by him between the years 1775 and 1787 are, nearly with¬ 
 out exception, among the most admirable productions ever executed in mezzotint.”— 
 Chaloner Smith. 
 
1428 — Mrs. Garnac. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 31, page 1254. 
 
 Fourth state , with the name and address of H. Humphrey as publisher. 
 
 Margins are: at top, at sides, 2 inches; at bottom, 1 inch. Fine impression, in 
 
 excellent condition. Gold frame. (Edgcumbe sale, ^1,2x8.) This price is 
 the highest yet recorded for a mezzotint portrait. 
 
 Elizabeth, only daughter of Thomas Rivett, Esq., of Derby, M. P., married John 
 Carnac, Esq., Brigadier-General in the East India Company’s service, and celebrated 
 in the annals of India, who died at Mangalore in November, 1800, leaving his brother- 
 in-law, who also, in 1801, assumed his name, his heir. His son, the nephew of this 
 lady, was created a baronet in 1836. 
 
 1429 — Lady Catherine Pelham Clinton. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 43, page 1259. 
 
 Second state , with the inscription. 
 
 Margins are: at top, bottom, and sides, inch. Very fine impression, in perfect 
 condition. Gold frame. (Blythe sale, 940 guineas.) 
 
 Born, April 6, 1766; only daughter of Henry Pelham Clinton, styled Earl of 
 Lincoln, and granddaughter of Henry, Duke of Newcastle ; married, October 2, 
 1800, William, styled Lord Folkstone, who succeeded his father as 3rd Earl of Rad¬ 
 nor in 1828. She died at Paddington in her confinement of a second daughter. May 
 17, 1804. 
 
 1430— The Honorable Mrs. Stanhope. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 158, page 1304. 
 
 First state , with the inscription in scratched letters. 
 
 Margins are trimmed to plate mark at top and sides ; inch °f lower margin, and 
 with it the publication line has been cut off". Otherwise in perfect condition. 
 A most beautiful impression. Gold frame. 
 
 Eliza Falconer, one of the beauties of the day, married the Hon. Henry Fitzroy 
 Stanhope, younger son of the 2nd Earl of Harrington. 
 
 TURNER, CHARLES 
 
 Born at Woodstock in 1773. Entered the Academy schools in 1795, and at first 
 worked for Boydell in the Bartolozzi style. Later he turned his attention to 
 mezzotinto engraving, and was especially successful as an interpreter of J. M. 
 W. Turner, for whom he engraved twenty-three numbers of the “Liber 
 Studiorum.” In 1828 he was elected an Associate Engraver of the Royal 
 Academy, and died in London, August 1, 1857. 
 
1434 
 
 1431 
 
 A W. El son &. Co, Boston 
 
 1429 
 
 1433 
 
 
 
1431— The Penn Family. 
 
 After the painting by Sir Joshua Reynolds. 
 
 “Published by C. Turner, Dec. 25, 1819.” With the title, engraved in script, 
 below. 
 
 Margins are: at top and sides, 1 inch; at bottom, 13 ^ inches. Magnificent impres¬ 
 sion, in perfect condition. Gold frame. 
 
 The children of Thomas Penn, Esq., of Stoke Park, Bucks, and Lady Juliana 
 Penn, fourth daughter of the 1st Earl of Pomfret, and grandchildren of the famous 
 William Penn. Counting from left to right of the print, the children are : 
 
 Louisa Hannah Penn. Born 1756, died 1766. 
 
 John Penn. Born 1760, died 1834. 
 
 Juliana Penn. Born 1753, married 1771, died 1772. 
 
 Granville Penn. Born 1761, died-? 
 
 WARD, JAMES 
 
 Born in Thames Street, London, October 23, 1769. At an early age became a 
 pupil of his elder brother and of John Raphael Smith, and thus skilled in mez- 
 zotinto engraving. He afterwards chiefly devoted himself to painting, espe¬ 
 cially subjects of animals, and was appointed painter and mezzotinto engraver 
 to the Prince of Wales in 1794, A.R.A. in 1807, and R.A. in 1811. He 
 died November 23, 1859. 
 
 1432 — Mrs. Billington as Saint Cecilia. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 5, page 1441. 
 
 Third state , with the inscription. 
 
 Margins are: at top and bottom, ; at sides, ^ inch. Very fine impression, in 
 excellent condition. Gold frame. 
 
 Daughter of Weichsel, a good musician ; born in London about 1765 ; exhibited 
 her musical talents at an early age ; married, when only sixteen, Mr. John Billing¬ 
 ton ; appeared at Covent Garden in 1786, as “ Rosetta” ; and thenceforward was a 
 leading vocalist both in England and on the continent. After the death of her hus¬ 
 band, married M. de Felissent, in 1797. Died at her estate of Artier, near Venice, 
 August 25, 1818. 
 
 WATSON, JAMES 
 
 Born in Ireland in 1740. Moved to London early in life, and died there, May 20, 
 1790. His style is excellently finished and delicate, and he seems to have 
 been in the habit, when not completely satisfied with a plate, of working an 
 entirely new one, instead of retouching and altering, as would be done by a less 
 scrupulous artist. His daughter was Caroline Watson, the accomplished artist 
 in stipple and mixed engraving. 
 
1433 — Catherine Bunbury. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 18, page 1495. 
 
 First state , before any inscription; before lower margin was perfectly cleaned. 
 
 Margins are: at top, bottom, and sides, inch. From the collection of the Duke of 
 Buccleuch. A superb impression, very rich and velvety, in perfect condition. 
 Gold frame. 
 
 Eldest daughter of Captain Kane Horneck ; immortalized by Goldsmith as "Little 
 Comedy married, 1771, Henry William Bunbury ; died at General Gwyn’s resi¬ 
 dence, Egham Hill, July 8, 1799. 
 
 1434 — Barbara, Countess of Coventry. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 36, page 1502. 
 
 First state ( very early proof ), before inscription ; before margin on which inscription 
 was to have been engraved was cleaned to receive it. 
 
 Margins are: at top, bottom and sides, inch. Magnificent impression in perfect 
 condition. Gold frame. 
 
 Daughter of John, 10th Lord St. John ; married, 1764, George William, 6th Earl 
 of Coventry ; died November 21, 1804. 
 
 1435 — Anne , Duchess of Cumberland. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 37, page 1502. 
 
 Second state , with the date 1773. 
 
 Margins are : at top and sides, y 2 inch; at bottom the publication line has been 
 trimmed off; otherwise in perfect condition. A magnificent and rich impres¬ 
 sion. Gold frame. 
 
 Eldest daughter of Simon Luttrell (who was created Baron Irnham in 1768, and 
 Earl of Carhampton in 1785); married, 1st, Christopher Horton, of Catton, in Derby¬ 
 shire ; 2nd, in 1771, H. R. H. the Duke of Cumberland, younger brother of George III., 
 who was much displeased at the alliance. She died in 1803. 
 
 1436 — Samuel Johnson. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 82, page 1517. 
 
 First state , before name of the personage, and before the publisher’s name and 
 address. 
 
 Margin has been trimmed close to plate mark at top and sides; at bottom y inch has 
 been trimmed off. Slightly foxed. Very good impression. Gold frame. 
 
 Born September 18, 1709, at Lichfield. Died September 13, 1784. He has 
 been termed, not inaptly, the “ Colossus of English literature.” This is a highly 
 characteristic and remarkable portrait. 
 
 1437 —James Paine , Architect , and James Paine, Jr. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. ill, page 1528. 
 
 Second state , with the inscription. 
 
 Margins are: at top, bottom, and sides, y inch. Fine impression, in excellent 
 condition. Oak frame. 
 
 An architect of considerable practice ; published plates of Mansion House at 
 Doncaster, 1751, and other works. Was High Sheriff of Surrey in 1785. Died in 
 France in his 73rd year, in 1789. 
 
WATSON, THOMAS 
 
 Born in London in 1743 > died there in 1781. His earlier prints were published by 
 Sayer and others; about 1771 he appears to have resided at Broad Street, then 
 to have removed to Bond Street, and, on becoming partner with Dickinson, to 
 have taken Shropshire’s place, at No. 158 in that street. 
 
 His style is bold and powerful, resembling that of Dickinson. 
 
 1438 — Maria , Lady Broughton. 
 
 After the painting by Sir Joshua Reynolds. C. S. No. 8, page 1554. 
 
 First state , before any inscription. 
 
 Trimmed to plate mark at top and bottom, ^3-inch margin at sides. A piece about 
 
 inch square has been torn from upper left-hand corner of the print; otherwise 
 in excellent condition. A very fine and rich impression. Gold frame. 
 
 Daughter of John Wicker, Esq., of Horsham, Sussex; married, August 1, 1766, 
 the Rev. Sir Thomas Broughton, Bart.; died June 7, 1785. 
 
 Stipple Engravings 
 
 BARTOLOZZI, FRANCESCO 
 
 Born in Florence, 1727. Pupil of Joseph Wagner at Venice. In 1764 he removed 
 to London, and in 1769, upon the foundation of the Royal Academy, was 
 nominated as one of the original members. He died in Lisbon on March 7, 
 1815. 
 
 1439 — Miss OJfy Gwatkin as “ Simplicity ” 
 
 After the painting by Sir Joshua Reynolds. Open letter proof. Printed in brown. 
 
 Margins are: at top, 2j^; at sides, 2; at bottom, 3 inches. Beautiful impression, 
 in perfect condition. Gold frame. 
 
 Grandniece of Sir Joshua Reynolds. Daughter of Robert Lovell Gwatkin, Esq., 
 of Plymouth, and Theophila Palmer, the favorite niece of Sir Joshua Reynolds. 
 
 This is usually considered to be one of the most charming of Sir Joshua’s pictures of 
 children. 
 
 1440 — Louisa Hatnmond. 
 
 After Angelica Kauffman. Printed in red. 
 
 Margins trimmed to within Jj’ inch of the oval engraved surface. Beautiful impres¬ 
 sion, in excellent condition. Gold frame. 
 
 Louisa Hammond is a character in “Emma Corbett, or the Miseries of Civil War,” 
 by S. J. Pratt. 
 
EARLOM, RICHARD 
 
 Born in 1743. He was at first a pupil of Cipriani, but later devoted himself to mez- 
 zotinto engraving, in which art he is said to have been self-taught. Although 
 he executed few works in stipple, they are of a quality which entitles him to 
 rank as one of the greatest engravers in that manner. He died in Exmouth 
 Street, Clerkenwell, October 9, 1822. 
 
 1441 — George Augustus Eliot, Lord Heathjield. 
 
 After the painting by Sir Joshua Reynolds. Proof with the names of painter and 
 engraver, with the coat of arms and with the publication line, but before all 
 other lettering. 
 
 Margins trimmed to plate mark at top and sides, lower margin very slightly trimmed 
 inside plate mark to the right; otherwise in excellent condition. Fine im¬ 
 pression. Oak frame. 
 
 “THE portrait is, of course, that with the keys, engraved in stipple by Earlom, 
 after Reynolds .”—Chaloner Smith, page 1728. 
 
 Youngest son of Sir Gilbert Eliot; born about 1718 ; entered the engineers at 
 Woolwich ; served at Dettingen and elsewhere ; commander of the forces in Ireland, 
 1774 ; Governor of Gibraltar, 1776-1789 ; and maintained it against the attacks of 
 the French and Spaniards ; created Lord Heathfield, 1787. Died at Aix-la-Chapelle, 
 July 6, 1790. 
 
 Stipple Engravings Printed in Colors 
 
 BURKE, THOMAS 
 
 Born in Dublin in 1749. A pupil of Dixon. Died in London in 1815. In the 
 opinion of some connoisseurs his engravings in stipple are more beautiful and of 
 a greater richness than those executed by the more famous engraver, Bartolozzi. 
 
 1442 —The Duchess of Richmond. 
 
 After the drawing by John Downman. Open letter proof. Has been trimmed to oval, 
 x D/i inches, margin being about inch all round the engraved surface. 
 Fine impression, in excellent condition. In contemporary oval gold frame. 
 Pasted on the back of frame is the original lower margin of the print, with 
 engraved inscription as follows: 
 
 “HER GRACE THE DUTCHESS OF RICHMOND 
 “ Engraved by Mr. Burke, from an original drawing by Mr. Downman, to corre¬ 
 spond with the Portraits from the Richmond House Scenery. 
 
 “London. Printed for M. Lawson. No. 168 Strand, Feby. 14, 1788.” 
 
 This impression was lent by the Honorable F. B. Massey-Mainwaring for exhibition 
 at the Hanover Exhibition, held at the New Gallery, London, 1890—1891. 
 
TOMKINS, PELTRO WILLIAM 
 
 Born in London in 1760. Died there April 22, 1840. A pupil of Bartolozzi, who 
 said of him, “ He is my son in art; he can do all that I can in this way, and 
 I hope will do more.” 
 
 1443 — Mrs. Siddons. 
 
 After the drawing by John Downman. Open letter proof. 
 
 Has been trimmed like “The Duchess of Richmond” (see above). Inscription 
 has been pasted on back of frame. Fine impression, in excellent condition. 
 In contemporary oval gold frame. 
 
 (Fraser sale, 150 guineas). 
 
 This impression likewise was lent by the Honorable F. B. Massey-Mainwaring for 
 exhibition at the Hanover Exhibition. 
 
 Born at Brecknock, July 5, 1755, daughter of Robert Kemble, the manager of a 
 company of strolling players, to one of whom she was married at Coventry, in 1773, 
 in opposition to her father’s wishes. Failed at first in London, but was engaged in 
 the provinces and at Bath ; appeared at Drury Lane, 1782, and was then appre¬ 
 ciated as the great tragic actress. Separated from her husband in 1789. Died 
 June 8, 1831. 
 
 WATSON, CAROLINE 
 
 Born in London about 1760. Daughter and pupil of James Watson, the celebrated 
 mezzotinto engraver. In 1785 she was appointed engraver to Queen Caroline, 
 and died in Pimlico, June 10, 1814. She has been characterized as “a most 
 amiable person, and an accomplished artist in stipple and mixed engraving.” 
 
 1444 — Lady Elizabeth Foster (Duchess of Devonshire '). 
 
 After the drawing by John Downman. Open letter proof. 
 
 * Has been trimmed to match “The Duchess of Richmond” and “Mrs. Siddons” 
 
 (see above). Inscription has been pasted on back of frame. Fine impression, 
 in excellent condition. In contemporary oval gold frame. 
 
 This impression likewise was lent by the Honorable F. B. Massey-Mainwaring for 
 exhibition at the Hanover Exhibition. 
 
/ 
 
 Line Engravings 
 
 ANNEDOUCHE, ALFRED 
 
 Born at Paris in 1833. A pupil of Achille Martinet and of Gleyre. 
 
 1445 — Les Tresors d'une Mere. 
 
 After the painting by A. Jourdan. Beraldi, No. 19. 
 
 Open letter proof on India paper. Gold frame. 
 
 BURGER, JOHANNES 
 
 Born in Burg, Canton Aargan, May 31, 1829. 
 
 1446 — The Vestal. 
 
 After the painting by Angelica Kauffman in the Dresden Gallery. Apell, No. 9. 
 Proof before all letters. Oak frame. 
 
 A pupil of Volpato. 
 
 FOLO, PIETRO 
 
 1447 — The Descent from the Cross. 
 
 After the painting by Daniele da Volterra. Open letter proof. Gold frame. 
 
 The original painting is in S. Trinita de’ Monti, Rome. Poussin declared this to 
 be the third in order of merit of the great pictures of the world, ranking it next after 
 “The Transfiguration,” by Raphael, and “The Communion of Saint Jerome,” by 
 Domenichino. 
 
 LEVY, GUSTAVE 
 
 Born at Toul, January 23, 1819. In 1837 he came to Paris, studied wood engrav¬ 
 ing under Best and Leloir, and, later, line engraving under Geille. His first 
 plate was exhibited in 1844, and from that time onward he executed many 
 admirable plates. He was the vice-president of the Societe des Graveurs au 
 Burin.—Beraldi , vol. ix., pages 172-174. 
 
 1448 — La Belle Jardiniere. 
 
 After the painting by Raphael, in the Louvre. Beraldi, No. 9. 
 
 Proof before letters, on India paper. Gold frame. 
 
 This picture is supposed to be the one ordered by Filippo Segardi, of Siena, left 
 incomplete in Florence by Raphael when summoned to Rome, and finished by 
 Ridolfo Ghirlandajo. Segardi sold it to Francis I., from whose collection it passed to 
 the Louvre. 
 
Etchings 
 
 ARAUJO, JOAQUIN 
 
 1449 — Don Baltasar Cdrlos (Son of Philip IF. of Spain). 
 
 From the painting by Velasquez in the Madrid Gallery. 
 
 Signed artist’s proof on Japan paper. A special selected proof, signed also by Gould- 
 ing, the printer. There were printed of this plate 150 proofs only, and the 
 plate was then destroyed. Oak frame. 
 
 HADEN, SIR FRANCIS SEYMOUR 
 
 Born in London, September 16, 1818. Founder and President of the Royal Society 
 of Painter-Etchers. The greatest etcher of landscape of this (or perhaps 
 any) century. 
 
 “ An artist of rare and consummate skill .”—Philip Gilbert Hamerton. 
 
 1450— The Breaking up of the “ Agamemnon.” 
 
 First state. Drake, No. 128. 
 
 Fine impression on Whatman paper. Unsigned. Gold frame. 
 
 “With such a subject as this for a motive, an etcher will do manly work if the 
 strength to do it is in him. And this is manly work.”— Philip Gilbert Hamerton, 
 Etchings and Etchers, page 310. 
 
 1451 — Calais Pier. 
 
 After the painting by J. M. W. Turner in the National Gallery, London. 
 
 Second state. Drake, No. 140. There were printed 50 proofs only in this state. 
 
 Signed artist’s proof on Whatman paper. 
 
 Full margins. In perfect condition. Oak frame. 
 
 Seymour Haden, writing in 1875 to Philip Gilbert Hamerton, says of this plate: 
 
 “ I have done an etching of Turner’s ‘ Calais Pier,’ 36 inches square, which is by 
 many degrees the finest thing (if I may be permitted so superlative an expression) I 
 have done, or ever shall do. I mean to publish it about the close of the year. I have 
 built a press for printing it, and am having paper made expressly, and real sepia 
 (which is magnificent both in color and price) got from the Adriatic for the work; 
 so great things ought to result.” 
 
 This letter is quoted as above in “ Philip Gilbert Hamerton: Autobiography and 
 Memoir,” page 386, written by his widow. The memoir continues: 
 
 “ And the result was certainly by far the finest of modern etchings, according 
 to Mr. Hamerton’s opinion. In some particulars he preferred the ‘ Agamemnon,’ but 
 the size of the ‘ Calais Pier,’ as an increase of difficulty was to be considered, and if 
 the ‘ Agamemnon ’ was an original conception, it cannot be said that ‘ Calais Pier ’ 
 was a copy—so much being due to interpretation. Later on, when my husband was 
 in possession of this ehef-d’ceuvre, it always occupied the place of honor in the 
 house.” 
 
HERKOMER, HUBERT 
 
 Born at Waal, Bavaria, May 26, 1849. Resident of London. 
 
 “ Herkomer’s theme is generally a dramatic one, and into it he introduces such 
 obvious interest of line and expression as may be found in a man comely and vigor¬ 
 ous, a girl with Anne Page’s ‘eyes of youth.’”— Frederick Wedmore, Etching in 
 England, page 152. 
 
 1451a — Girl with Flowers. 
 
 Original dry-point (“ Op. xiii. 18 y8”). 
 
 Signed artist’s proof. Oak frame. 
 
 HOLE, WILLIAM 
 
 1451b — Mill on the Yare. 
 
 After the painting by John Crome (“ Old Crome ”). Signed artist’s proof on Japan 
 paper. There were printed 100 proofs only, and the plate was then destroyed. 
 Gold frame. 
 
 JASINSKI, FfiLIX 
 
 One of the most skilful of the modern school of translator-etchers. 
 
 1452— The Golden Stairs. 
 
 After the painting by Edward Burne-Jones, in Lord Battersea’s Collection. Signed 
 artist’s proof on vellum. Signed by both painter and etcher. There were 
 printed 350 proofs only, and the plate was then destroyed. Unframed. 
 
 “ In 1880 appeared ‘The Golden Stairs,’ in which a decorative motive was elabo¬ 
 rated into a picture almost as sweet and delicate in its color as a white lily.”— Cosmo 
 Monkhouse, “ Edward Burne-Jones ” ( Scribner’s Magazine, February, 1894). 
 
 1453 — The Birth of Venus. 
 
 After the painting by Botticelli, in the Uffizi Gallery, Florence. Remarque proof 
 on vellum, signed by the etcher. Unframed. 
 
 “This figure has been justly praised as the most beautiful Venus in modern art. 
 . . . The picture speaks to us like a story of the golden age of Saturn.”— Ernst 
 Steinmann, Botticelli, page 85. 
 
 1454 — Madonna and Child , with the Infant Saint John. 
 
 After the painting by Botticelli, in the Louvre. Remarque proof on vellum, signed 
 by the etcher. Unframed. 
 
 1455 — Madonna and Child, with the Infant Saint John. 
 
 After the painting by Botticelli, in the Louvre. Proof on vellum, unsigned. Unframed. 
 
KRATKE, LOUIS 
 
 Born in Paris in 1848. Studied painting under Gerome, and etching under Charles 
 Waltner. His plates are good examples of pure etching, and careful trans¬ 
 lation of the originals from which he works. 
 
 1456 — Salisbury Meadows. 
 
 After the painting by John Constable. Remarque proof on vellum. There were 
 printed 75 proofs only, and the plate was then destroyed. Gold frame. 
 
 LAGUILLERMIE, FREDERIC-AUGUSTE 
 
 Born March 27, 1841. Studied under Bouguereau and Leopold Flameng. In 1863 
 he exhibited at the Salon for the first time, showing the “ Flute Player” and 
 “ The Wife of Diomedes,” both from paintings by Boulanger. In 1866 he 
 was awarded the Prix de Rome. He was placed Hors Concours , awarded a 
 second-class medal, and decorated with the Legion of Honor in 1882. Many of 
 his earlier etchings were done for the “Gazette des Beaux-Arts ” and “ L’lllus- 
 tration,” but his fame rests upon his masterly plates after Van Dyck, Titian, 
 Orchardson, and others.— Beraldi , vol. ix., page 13. 
 
 1457 — Beatrix de Cusance, Duchesse de Lorraine. 
 
 After the painting by Van Dyck, at Windsor Castle. Signed artist’s proof on parch¬ 
 ment. There were printed 125 proofs only, on parchment, and the plate was 
 then destroyed. Oak frame. 
 
 Beatrix de Cusance, Princess de Cantecroy, Duchesse de Lorraine, was the 
 daughter of Claude Francois de Cusance, Baron de Beauvoir, and of Ernestine de 
 Withem de Bergues. 
 
 After the death of her husband, the Prince de Cantecroy, or Cautecroix, she 
 was publicly espoused at Besangon, April 2, 1637, by Charles IV., Duke of Lorraine, 
 although his wife, Nicole de Lorraine, was then alive. His marriage, however, with 
 Nicole, who was his cousin german, he loudly proclaimed to be invalid, and strenu¬ 
 ously urged the authorities at Rome to pronounce that with Beatrix legal. 
 
 In these endeavors he failed; for not only was his first marriage declared valid, 
 but he was also excommunicated by the Pope, from the penalties of which he was 
 only to be relieved by his consenting to separate himself from Beatrix: but the papal 
 thunders fell harmless, and the Duke still continued to live with her. This indeed 
 might, in some degree, be owing to the extreme waywardness of his character, for 
 when his wife Nicole died, in 1657, a short time only after his marriage with her had 
 been declared valid, he refused the importunities of Beatrix to ratify his union with 
 her; and while he thus hesitated, the Court of Rome declared this second marriage 
 illegal. 
 
 This last proceeding determined him; and in 1663, a few hours only before she 
 expired, he married her by procuration. 
 
 Two children were the fruit of this connection, the Prince Henry de Vaudemont 
 and Madame de Lillebonne d’Elveuf, the latter of whom was at one time proposed 
 as a match for James, Duke of York, while he was residing abroad in exile. 
 
LEFORT, HENRI 
 
 Born in Paris, August 31, 1852. Pupil, in painting, of Cabanel; and in etching of 
 Leopold Flameng. For his etching of Washington he was awarded a third- 
 class medal at the Salon of 1881, and in 1890 his large portrait of Leon Gam- 
 betta earned for him the decoration of the Legion of Honor. In 1885 Lefort, 
 Laguillermie, and Courtry founded the Soci'et'e des Aquafortistes Francois. In 
 1888 Lefort was elected president of the Soci'et'e , and has been twice reelected. 
 
 1458 — Benjamin Franklin at the Age of yj. 
 
 From the painting by Joseph S. Duplessis (1725—1802). Remarque proof on Japa¬ 
 nese paper. The “ remarques” are the seal of the Grolier Club, and from a 
 rare terra-cotta medallion modelled from life in 1777 by Jean B. Nini (1717- 
 1786). Gold frame. 
 
 The original painting was presented by Mr. George A. Lucas to the W. H. Hunt¬ 
 ington Collection of Americana at the Metropolitan Museum of Art, New 
 York. 
 
 There were printed 387 proofs on Japanese paper, and four proofs on vellum, for 
 members of the Grolier Club only. 
 
 1459 — Benjamin Franklin. 
 
 From the painting by Duplessis. Remarque proof on Japanese paper. Unframed. 
 
 LHUILLIER, VICTOR-GUSTAVE 
 
 Born at Altkirch. A pupil of Gaucherel 
 
 1460 — “Dry as a Lime Kiln.” 
 
 After the painting by Seymour Lucas. Artist’s proof on Japanese paper; signed by 
 both painter and etcher. There were printed 100 proofs only on Japanese 
 paper. Oak frame. 
 
 MACBETH, ROBERT W. 
 
 Born in Glasgow, September 30, 1848. He studied art at the Royal Scottish 
 Academy schools of Glasgow, receiving a medal while yet a student. He first 
 exhibited his paintings in 1870, and since then he has been a frequent con¬ 
 tributor to the principal English and continental exhibitions. He is an Asso¬ 
 ciate of the Royal Academy, an Honorary Member of the Academy of 
 Munich, and the Royal Academy of San Fernando, of Madrid. Although he 
 had done some etchings of small size in his leisure hours, it was not until after 
 the death of his friends, Frederick Walker, George Pinwell, and George Mason, 
 that he seriously turned his attention to the art. His plates of “ The Harvest 
 Moon,” “ The Plough,” “ The Mushroom Gatherers,” and others, are 
 
remarkable, inasmuch as he has preserved in them not only the spirit and 
 composition of the originals, but has succeeded, to a great extent, in trans¬ 
 lating the effects of color, which were among the chief charms of the paintings 
 themselves. 
 
 His translations, made directly from the originals, of paintings by Titian and Velas¬ 
 quez, in the Gallery at Madrid, and of the “ Bacchus and Ariadne,” from the 
 painting by Titian, in the National Gallery, London, are among the most 
 important plates of the nineteenth century. 
 
 1461 — A Rainy Day at Cookham . 
 
 After the water color by Frederick Walker. Signed artist’s proof on Japanese paper. 
 Gold frame. 
 
 1462 — The Fishmonger s Shop. 
 
 After the water color by Frederick Walker. Signed artist’s proof on Japanese paper. 
 
 There were printed 500 proofs only, and the plate was then destroyed. Gold 
 frame. 
 
 “ In the winter exhibition of the Old Society of 1872-73 appeared ‘ The Fish¬ 
 monger’s Shop,’ which many connoisseurs have held to be our painter’s finest achieve¬ 
 ment in water color. Daring and splendid in the harmony of its tints, so finely bal¬ 
 anced as to produce that unity of tone most difficult to compass with contrasting 
 hues of frank brilliancy . . . the tour de force lies in the happy combination of 
 the bright green woodwork which frames the shop with the blue green and the red 
 of the sparkling fish, with the indigo blue of the jolly salesman’s apron, and the 
 yellow and tawny of the girl’s pretty, old-fashioned costume, relieved by the coral 
 pink ribbon in her hat. This is undoubtedly a brilliant performance.”— Claude 
 Phillips, Frederick Walker and His Works, pages 59-61. 
 
 1463 —The Mushroom Gatherers. 
 
 After the sketch in oils by Frederick Walker. Signed artist’s proof on Japanese paper. 
 There were printed 300 proofs only, and the plate was then destroyed. Gold 
 frame. 
 
 “ ‘ The Mushroom Gatherers,’ in the collection of Mr. Somerset Beaumont, was 
 painted about 1868. The solemn, mournful tonality of the landscape, with its 
 illumination of earliest dawn, but above all the figure of the man stooping, basket 
 in hand, in the foreground, irresistibly reminds the beholder of the noble style, the 
 balance in action, of Jean-Frangois Millet, the solemn poet-painter of rustic life. 
 . . . The picture in its present state is a finished sketch in oils, on paper affixed to 
 
 a panel.”— Claude Phillips, Frederick Walker and His Works, page 40. 
 
 1464 —The Plough. 
 
 After the painting by Frederick Walker. Signed artist’s proof on Japanese paper. 
 There were printed 500 proofs only, and the plate was then destroyed. Gold 
 frame. 
 
 “ At the Royal Academy Exhibition of 1870 appeared * The Plough,’ which is at 
 once Walker’s noblest and most poetic invention. . . . The landscape is pure 
 English, simple and unaspiring in character, and yet the artist has been so possessed 
 with the mysterious, transforming harmonies of sunset that he succeeds in infusing 
 into his scene—without meddling with its structure, as a Turner would without hesi¬ 
 tation have done—something of a portentous, tragic splendor.”— Claude Phillips, 
 Frederick Walker and His Works, pages 5 2_ 54 - 
 
1465 — The Harvest Moon. 
 
 After the painting by George Mason. 
 
 Trial proof before the first published state. It has been extensively drawn upon by the 
 etcher, and besides his signature, bears the words “ yd State,'’ written in 
 pencil, on the lower right-hand corner of the margin. There were printed 
 500 proofs only of this plate. vGold frame. 
 
 “. . . That pure pastoral poem in which George Mason sings to us of love 
 and abundance, and of happy, if fatiguing, toil, his idyll of the ‘ Harvest Moon.’ 
 . . . Very grateful indeed should we all be to Mr. Robert Macbeth, for he has given 
 George Mason’s idyll to the public in one of the noblest translator’s etchings which 
 any Englishman has yet produced.— Walter Shaw-Sparrow, “ The Collection of 
 Mr. Alexander Henderson ” ( Magazine of Arts). 
 
 1466— The Harbour of Refuge. 
 
 After the painting by Frederick Walker. Signed artist’s proof. Gold frame. 
 
 “ To the year 1872 belongs ‘ The Harbour of Refuge,’ which is, perhaps, the most 
 widely appreciated of all Walker’s works. . . . Nothing could well be lovelier 
 than the mise-en-scene he has chosen to enframe his figures, this red brick, purple- 
 toned quadrangle of buildings (studied from the Fishmongers’ Almhouses at Bray), 
 with the finely placed and finely composed.statue on its pedestal in the middle of the 
 greensward made bright with star-like blossoms; with its flowering may-tree, only less 
 beautiful than the one in ‘The First Swallow.’ . . . Nowhere has Walker lavished 
 
 a greater skill on the painting of detail, or given a more jewel-like quality to his 
 work than in certain passages here; and yet there are many signs of a broadening of 
 technique, such as is not to be traced in earlier examples.”— Claude Phillips, 
 Frederick Walker and His Works, pages 57-59. 
 
 1467 — Portrait of Alonso Cano. 
 
 After the painting by Velasquez, in the Madrid Gallery. Signed artist’s proof on 
 vellum. Special selected proof, signed also by Goulding, the printer. There 
 were printed 350 proofs only, and the plate was then destroyed. Oak frame. 
 
 Alonzo Cano, painter, sculptor, and architect, sometimes called “the Spanish 
 Michelangelo,” was born in Granada in 1601, and died there in 1667. He was a fel¬ 
 low-pupil and friend of Velasquez. 
 
 1468— The Surrender of Breda (Las Lanzas ). 
 
 After the painting by Velasquez, in the Madrid Gallery. Signed artist’s proof, printed 
 upon Japanese paper laid into hand-made paper. Special selected proof, signed 
 also by Goulding, the printer. There were printed 500 proofs only, and the 
 plate was then destroyed. Oak frame. 
 
 “ ‘ The Surrender of Breda,’ better known under the name of ‘ Las Lanzas,’ 
 mingles in the most exact proportion realism and grandeur. Truth pushed to the 
 point of portraiture does not diminish in the slightest degree the dignity of the his¬ 
 torical style. 
 
 “ A vast and spacious sky, full of light and vapor, richly laid in with pure ultra- 
 marine, mingles its azure with the blue distances of an immense landscape where 
 sheets of water gleam with silver. Here and there incendiary smoke ascends from 
 
the ground in fantastic wreaths and joins the clouds of the sky. In the foreground 
 on each side a numerous group is massed—here the Flemish troops, there the Spanish 
 troops—leaving for the interview between the vanquished and victorious generals an 
 open space, which Velasquez has made a luminous opening, with a glimpse of the 
 distance, where the glitter of the regiments and standards is indicated by a few mas¬ 
 terly strokes. 
 
 “ The Marquis of Spinola, bare-headed, with hat and staff of command in hand, 
 in his black armor damascened with gold, welcomes with a chivalrous courtesy that 
 is affable and almost affectionate, as is customary between enemies who are generous 
 and worthy of mutual esteem, the Governor of Breda, who is bowing and offering 
 him the keys of the city in an attitude of noble humiliation.”— THEOPHILE Gautier. 
 Guide de VAmateur au Musee du Louvre. 
 
 1469 —The Tapestry Weavers (Las Hilanderas ). 
 
 After the painting by Velasquez, in the Madrid Gallery. Signed artist’s proof, printed 
 upon Japanese paper laid into hand-made paper. Special selected proof, signed 
 also by Goulding, the printer. There were printed 500 proofs only, and the 
 plate was then destroyed. Oak frame. 
 
 The scene is laid in the royal tapestry manufactory of S. Isabel, Madrid. The 
 picture was painted about the year 1656, and was one of the treasures of the palace 
 of Buen Retiro. 
 
 1470 — Saint Margaret. 
 
 After the painting by Titian, in the Madrid Gallery. Signed artist’s proof on vellum. 
 Special selected proof, signed also by Goulding, the printer. There were 
 printed 350 proofs only, and the plate was then destroyed. Oak frame. 
 
 Saint Margaret, the daughter of a priest of Antioch, was converted to Chris¬ 
 tianity when a child, and in spite of terrible torments maintained her faith. Satan 
 attempted to terrify her by appearing in the form of a dragon, and swallowed her; 
 but instantly burst asunder, and Margaret remained unhurt. 
 
 1471 — Bacchus and Ariadne. 
 
 After the painting by Titian, in the National Gallery, London. Signed artist’s proof 
 printed upon Japanese paper laid on Wrigley’s. Special selected proof, marked, 
 “Selected proof, Goulding.” There were printed 500 proofs only, and the 
 plate was then destroyed. Oak frame. 
 
 “ Is there anything in modern art—we will not demand that it should be equal— 
 but in any way analogous to what Titian has effected in that wonderful bringing 
 together of two times in the ‘ Ariadne ’ in the National Gallery ? Precipitous, with 
 his reeling Satyr rout about him, repeopling and reilluming suddenly the waste places, 
 drunk with a new fury beyond the grape, Bacchus, born in fire, fire-like flings himself 
 at the Cretan. This is the time present. . . . But from the depths of the imagina¬ 
 
 tive spirit Titian has recalled past time, and laid it contributory with the present to 
 one simultaneous effect. With the desert all ringing with the mad symbols of his 
 followers, made lucid with the presence and new offers of a god—as if unconscious 
 of Bacchus, or but idly casting her eyes as upon some unconcerning pageant—her 
 soul undistracted from Theseus—Ariadne is still pacing the solitary shore, in as much 
 heart silence, and in almost the same local solitude, with which she awoke at day¬ 
 break to catch the forlorn last glances of the sail that bore away the Athenian.” 
 —Charles Lamb. 
 
RAEBURN, H. MACBETH 
 
 Born in Helensburgh, Dumbartonshire, Scotland, September 24, i860. He studied 
 painting in the Royal Scottish Academy schools, where he received the highest 
 award for any picture exhibited during the period of his scholarship. He 
 afterwards studied painting in Holland, Germany, France, and Spain; but his 
 knowledge of etching is entirely self-acquired, he having had no master in the 
 art. His first exhibited etching was shown at the Royal Academy exhibition 
 of 1887, since which time he has executed a number of important and excel¬ 
 lent plates after paintings by contemporary artists, as well as after the works 
 of the older masters. 
 
 1472 — Portrait of a Gentleman. 
 
 After the painting by Van Dyck, in the Madrid Gallery. Signed artist’s proof on 
 vellum. A special selected proof, signed also by Goulding, the printer. There 
 were printed of this plate 25 proofs only, on vellum, and 75 proofs on Japanese 
 paper, after which the plate was destroyed. Oak frame. 
 
 In the opinion of many connoisseurs this is the finest plate that Raeburn has 
 yet etched. 
 
 RAJON, PAUL 
 
 Born at Dijon in 1844. He studied etching under Gaucherel and Flameng, and at 
 the Salon of 1869 received a medal. In the following year, and again in 
 1873, he received medals for his etchings; and at the Universal Exposition 
 of 1878 he was placed Hors Concours for his masterly portrait of Darwin. 
 In 1888, when his fame was at its height, and when commissions were being 
 showered upon him, he died.— Beraldi , vol. xi., pages 151-167. 
 
 1473— The Reader , Seated, His Head Resting upon His Hand. 
 
 After the painting by Meissonier. Beraldi, No. 8. 
 
 First finished state , before all letters, before the plate was cut, and before the names of 
 painter and engraver were taken out. 
 
 Beautiful impression, from Rajon’s Collection. One of Rajon’s finest plates. 
 Unframed. 
 
 1474— The Flemish Smoker. 
 
 After the painting by Meissonier. Beraldi, No. 12. 
 
 First state. Beautiful impression, on Japanese paper, from Rajon’s Collection, marked 
 by him “ ier Et.” 
 
 This plate is also specially commended by Beraldi. Unframed. 
 
1475— The Poor Student. 
 
 After the painting by Adolphe-Charles Steinheil (Steinheil fils). Beraldi, No. 23. 
 Proof before title , with “ Rajon d’apres Steinheil fils ” scratched in the lower margin. 
 From Rajon’s Collection, and marked by him “ Av. Dernier etat .” One of the most 
 admired of Rajon’s smaller plates. Unframed. 
 
 147 G —The Flower Girl. 
 
 After the painting by Murillo. Beraldi, No. 93. 
 
 Signed artist’s proof on Japanese paper. From Rajon’s Collection. Unframed. 
 
 1477 — Woman Holding a Pitcher. 
 
 After the painting by Goya. Beraldi, No. 117. 
 
 Proof before all letters. Very brilliant impression. From Rajon’s Collection. Un¬ 
 framed. 
 
 1478 — Portrait of Herr Joseph Joachim. 
 
 After the painting by G. F. Watts. Beraldi, No. 159. 
 
 Signed artist’s proof; signed by both painter and etcher. Gold frame. 
 
 “ The greatest of living violin players .”—Herr Paul David. 
 
 REMBRANDT VAN RYN 
 
 Born in Leyden in 1608. Died in Amsterdam in 1669. 
 
 “ The opinion among etchers which enthrones Rembrandt as the king of their 
 craft, is the most recent instance of perfect unanimity among people of all nationalities. 
 As we all say that Phidias was the greatest sculptor, Homer the greatest epic poet, 
 and Shakespeare the greatest dramatist, so are we all agreed upon the world-wide 
 supremacy of Rembrandt. ... In his own lines of work there is no one in all 
 history to be compared with Rembrandt; in artistic influence he has one equal, en¬ 
 tirely unlike himself, and that is Raphael. They are the two most influential graphic 
 artists of all time.”—P. G. Hamerton, The Etchings of Rembrandt, pages 13, 14. 
 
 1479 — Abraham and Isaac. 
 
 Ch. Blanc, No. 5. Claussin, No. 39. Bartsch, No. 34. Wilson, No. 38. 
 
 Only state. Signed, and dated 1645. Fine original impression, in excellent con¬ 
 
 dition. With margins. 
 
 “Very striking is the small plate, etched in 1645, of Abraham and Isaac on the 
 way to the scene of the sacrifice. They have reached the lonely mountain-top sur¬ 
 rounded by clouds. Abraham, who appears in the rich Oriental costume which Rem¬ 
 brandt had invented for his patriarchs, has placed the pail containing fire on the 
 ground and turned round towards his boy; the latter, however, stands in amazement 
 . . . his childish intellect cannot take in what his father says to him.”— Knackfuss, 
 Rembrandt, pages 96, 97. 
 
1480 — Abraham’s Sacrifice. 
 
 Ch. Blanc, No. 6. Claussin, No. 36. Bartsch, No. 35. Wilson, No. 39. 
 
 Only state. Signed, and dated 1655. Fine original impression, in excellent con¬ 
 dition. With margins. 
 
 “ By its grandeur and originality of invention and composition may well take 
 rank as one of Rembrandt’s finest plates.”—P. G. Hamerton, The Etchings of Rem¬ 
 brandt, page 52. 
 
 1481 — The Flight into Egypt. The Holy Family Crossing a Rill. 
 
 Ch. Blanc, No. 28. Claussin, No. 59. Bartsch, No. 55. Wilson, No. 60. 
 
 Only state. Signed, and dated 1654. Fine original impression, in excellent con¬ 
 dition. 
 
 “This is one of Rembrandt’s small sketch plates in which an entire subject is 
 indicated with little labor both in form and light and shade.”—P. G. Hamerton, The 
 Etchings of Rembrandt, page 48. 
 
 1482 —Jesus Christ Preaching. 
 
 Ch. Blanc, No. 39. Claussin, No. 71. Bartsch, No. 67. Wilson, No. 71. 
 
 First state , before the retouch by Pierre Norblin. Very fine original impression, in 
 perfect condition. 
 
 “ No artist has ever been able to give a more sympathetic picture of love for 
 mankind than that of the Saviour standing in a dark space on a brightly lighted 
 eminence, and speaking, with upraised hands, to the people gathered round him. . . 
 
 The whole forms a wonderful painter’s poem on the text: ‘I am the true Light.’” 
 Knackfuss, Rembrandt, pages 122, 123. 
 
 1483 — Clement de Jonghe. 
 
 Ch. Blanc, No. 180. Claussin, No. 269. Bartsch, No. 272. Wilson, No. 274. 
 
 Fifth state (of six). Signed, and dated 1651. Fine original impression, in excellent 
 condition. From the collection of William Sharp. 
 
 “ The admirable portrait of Clemens de Jonghe, who was one of the most famous 
 printsellers and publishers of his day, and who looks at us with so decided and calm 
 an expression in his clever eyes.”— Knackfuss, Rembrandt, page 118. 
 
 “The most subtle portrait of that meditative printseller, Clement de Jonghe. It 
 is treated with singular breadth and luminousness, and of character is a profound 
 revelation.”— Frederick Wedmore, Fine Prints, page 61. 
 
 1484 —Jan Lutma. 
 
 Ch. Blanc, No. 182. Claussin, No. 273. Bartsch, No. 276. Wilson, No. 278. 
 
 Second state. With the names of Lutma, of Rembrandt, and with the date 1656. 
 
 A magnificent impression, in perfect condition. With margin. 
 
 “ Rembrandt produced one of his most masterly portrait-etchings in 1656, the 
 incomparably picturesque and life-like print of the famous goldsmith, Janus Lutma, 
 of Groningen.”— Knackfuss, Rembrandt, page 137. 
 
 “One of his finest portraits, that of ‘Johannes Lutma,’ a most powerful and 
 characteristic study, both of face and figure.” —P. G. Hamerton, The Etchings of 
 Rembrandt, page 55. 
 
1485 — Uytenbogaert. A Dutch Minister. 
 
 Ch. Blanc, No. 190. Claussin, No. 278. Bartsch, No. 279. Wilson, No. 283. 
 Fourth state. The plate made a true octagon. Signed, and dated 1635. P'ine 
 original impression, in perfect condition. With margin. 
 
 “Worthy to rank with this masterpiece of spirit and life is the portrait of ‘Jan 
 Uytenbogaert,’ preacher of the sect of Arminian Remonstrants; a portrait pictur¬ 
 esquely posed, and so carefully carried out that it has all the effect of a picture.” 
 —Knackfuss, Rembrandt, page 54. 
 
 1486 — Rembrandt, with a Scarf around His Neck. 
 
 Ch. Blanc, No. 229. Claussin, No. 17. Bartsch, No. 17. Wilson, No. 17. 
 
 Third state (of four). Signed, and dated 1633. Fine original impression, in excellent 
 condition. 
 
 “ Le visage, quoique tout entier dans l’ombre, s’y modele avec beaucoup de relief, 
 de rondeur et de chaleur.”—C h. Blanc, L’CEuvre Complet de Rembrandt, vol. ii., page 
 172. 
 
 1487 — Old Man with a Large Beard, Lifting His Hand to His Cap. 
 
 Ch. Blanc, No. 268. Claussin, No. 256. Bartsch, No. 259. Wilson, No. 260. 
 
 Second state (before the retouch). Remarkably fine impression, in perfect condition. 
 
 “ Rien du plus saissant que de voir au milieu d’une feuille blanche la tete et la 
 main d’un vieillard qui cherche sa pensee et semble regarder attentivement dans 
 1 ’interieur de son esprit.”— Ch. Blanc, vol. ii., page 239. 
 
 1488 —The Obelisk. 
 
 Ch. Blanc, No. 328. Claussin, No. 224. Bartsch, No. 227. Wilson, No. 224. 
 Second state. With the shading on the cottage roof. Brilliant impression, rich in dry- 
 point work, in perfect condition. 
 
 “Tres joli paysage ” . . . “ bien fini.”— Bartsch, page 149. 
 
 The first state has sold for as high a sum as £185 sterling. 
 
 1489 — Landscape, with a Cow Drinking. 
 
 Ch. Blanc, No. 337. Claussin, No. 234. Bartsch, No. 237. Wilson, No. 234. 
 Second state. Very good impression, in excellent condition. 
 
 “ Paysage grave d’une pointe tres spirituelle.”— Bartsch, page 154 - 
 
 ROSENTHAL, ALBERT 
 
 1490 — Alexander Hamilton. 
 
 After the painting by John Trumbull. Remarque proof, on Japanese paper, signed 
 by the etcher. “Remarques” are portraits of the painter and the etcher. 
 Facsimile signature of the painter is engraved in lower margin. This proof is 
 numbered “No. 99, W. J. C.” (William J. Campbell, the publisher). 
 Unframed. 
 
1491 — Thomas Jefferson. 
 
 After the painting by Gilbert Stuart. Remarque proof, on Japanese paper, signed by 
 the etcher. “ Remarques ” are portraits of painter and etcher. Facsimile 
 signature of the painter is engraved in the lower margin. This proof is num¬ 
 bered “ No. 30, W. J. C.” Oak frame. 
 
 SHORT, FRANK 
 
 “Amongst the original etchers ... I place Frank Short almost at the top of the 
 tree.”— Frederick Wedmore, Etching in England , page 93. 
 
 1492 — Noon on the Zuyder Zee. 
 
 Original etching. Signed artist’s proof. Unframed. 
 
 SLOCOMBE, C. R 
 
 1493 — Portrait of Adtniral Michel Adriaanszoon de Ruyter. 
 
 From the painting by Franz Hals, in Earl Spencer’s Collection. Remarque proof, on 
 Japanese paper, signed by the etcher. Oak frame. 
 
 The number of remarque proofs printed was limited to 25. 
 
 Michel Adriaanszoon de Ruyter was born at Flushing, Netherlands, March 24, 
 1607, and died at Syracuse, Italy, April 29, 1676. He served against the Spaniards 
 in 1641, and against the English, 1652-54. He was made vice-admiral of Holland 
 after the death of Tromp in 1653, and in 1659 commanded the Dutch fleet which sup¬ 
 ported Denmark against Sweden. He was subsequently made Admiral-in-Chief of 
 the Dutch fleet, and commanded against the English in 1665-67, sailing up the Thames 
 and Medway in 1667. He commanded against the combined English and French 
 fleets in 1672-73, and was mortally wounded in a battle against the French off Messina 
 in April, 1676. 
 
 1493 a — Forbes-Rohertson as Cardinal JVolsey. 
 
 After the painting by Samuel Phelps. Remarque proof. Oak frame. 
 
 SMILLIE, JAMES D. 
 
 Born in New York in 1833. Son and pupil of the eminent American engraver, 
 James Smillie. He is a member of the National Academy of Design, of the 
 New York Etching Club, and of the Royal Society of Painter-Etchers, London. 
 
 1494 — A Reading from Homer. 
 
 After the painting by Alma-Tadema. Signed artist’s proof on Japanese paper. 
 This is one of four proofs printed by the etcher himself, who has marked upon 
 it, u No. 4. Reading Homer—after the original painting by Alma-Tadema.” 
 Unframed. 
 
TISSOT, JAMES J. 
 
 Born at Nantes in 1836. Died at his home, near Paris, 1892. His work 
 comprises about eighty plates, many of them ranking among the most impor¬ 
 tant original dry-points produced in the last quarter of the nineteenth century. 
 
 1495 — Histoire Ennuyeuse. 
 
 Original dry-point. Beraldi, No. 25. 
 
 Signed artist’s proof on Japanese paper. Printed by the artist, and bearing his red 
 stamp. Oak frame. 
 
 “ Morceau remarquable et original.”— Beraldi, vol. xii., page 127. 
 
 1496 — October . 
 
 Original dry-point. Beraldi, No. 26. 
 
 Signed artist’s proof on hand-made paper. Printed by the artist, and bearing his red 
 stamp. Oak frame. 
 
 This dry-point is usually considered Tissot’s masterpiece. 
 
 WALTNER, CHARLES 
 
 Born in Paris, March 23, 1847. Studied with Martinet, Henriquel-Dupont, and 
 J. L. GerSme. In 1869, at the age of twenty-two, Waltner received the Prix 
 de Rome , and in the following year a medal of the first class at the Salon, for 
 his plate of a portrait after Rubens. From that time forward his position as 
 one of the greatest translator-etchers has been assured, and to name his finest 
 plates is to name a succession of masterpieces. 
 
 1497 — Mrs. Braddyl. 
 
 After the painting by Sir Joshua Reynolds. 
 
 Signed artist’s proof. There were printed 200 proofs only, and the plate was 
 then destroyed. Gold frame. 
 
 The wife of William Braddyl, Esq., of Conyshead Priory, Lancaster. 
 
 1498 — Lady Camden. 
 
 After the painting by Sir Joshua Reynolds. Beraldi, No. 107. 
 
 Signed artist’s proof on vellum. There were printed 125 proofs only. Gold frame. 
 
 “ Piece capitale.”— Beraldi. 
 
 J499— The Night-Watch [La Ronde de Nutt). 
 
 After the painting by Rembrandt. Beraldi, No. 116. 
 
 Open letter proof on Japanese paper laid into hand-made paper. Proof “ No. 
 64.8.” In this state 400 numbered impressions were printed. Gold frame. 
 
 The sortie of the Banning Cock Company, famous all the world over by the 
 inaccurate title of “The Night Watch,” is the pride and chiefest treasure of the Ryks 
 Museum at Amsterdam. It represents the gathering, in broad daylight, of the Civic 
 Guard of Amsterdam, outside their quarters, from which they are emerging at the 
 sound of a drum. Captain Banning Cock, and his lieutenant, Willem von Ruytenberg, 
 are in the centre. On a shield on the building are the names of sixteen of the principal 
 figures, all portraits. The painting is one of Rembrandt’s most important works, 
 and this etching, in its own way, is hardly less remarkable than the original picture. 
 
WHISTLER, JAMES A. McNEILL 
 
 Born in Baltimore (or St. Petersburg?) in July, 1834. 
 
 “The most skilled wielder of the etching-needle whom the world has seen since 
 Rembrandt.”— Frederick Wedmorc. 
 
 “ All his work is alike perfect. It has only been produced under different cir¬ 
 cumstances, and is an attempt to render different effects or situations. Therefore the 
 methods vary, but the results are always the same—great.”— Joseph Pennell. 
 
 1500— Pierrot, Amsterdam. 
 
 Wedmore, No. 264. 
 
 Brilliant early impression, printed by Mr. Whistler, and signed with his “ butterfly ” 
 signature. Framed in gray and ivory frame, as designed by Mr. Whistler. 
 
 Mr. Whistler likes this the best of his Amsterdam plates. 
 
 1501 — Bridge , Amsterdam. 
 
 Wedmore, No. 267. 
 
 A beautiful, harmonious, and silvery impression, printed by Mr. Whistler, and signed 
 with his “ butterfly ” signature. Framed in gray and ivory frame. 
 
 This is the last print but one described by Mr. Wedmore in his catalogue of Mr. 
 Whistler’s etchings, and is a beautiful example of the Master’s latest manner. 
 
 ZORN, ANDERS L. 
 
 Born at Mora, Sweden, in i860. 
 
 “Near the extreme end of the range of the art ill one direction—at the opposite 
 pole to the subtile delicacies of a Whistler—I should put Mr. Zorn’s bold, spirited, 
 swiftly executed, yet completely satisfying works. . . . Mr. Zorn’s method at¬ 
 
 tracts us in the sense that, while seemingly hasty and almost illogical, it proves itself 
 magnificently adequate, and therefore skilful and artful in the highest sense.”— Mrs. 
 Schuyler van Rensselaer, “A Swedish Etcher” ( Century Magazine, August, 1893). 
 
 1502 — Mile. X. 
 
 Signed artist’s proof. An unusually fine impression. Unframed. 
 
 This is one of the artist’s best and rarest etchings. 
 
 “ Airily treated, but with a quite delicious spirit, grace, and humor."— Mrs. 
 Schuyler van Rensselaer. 
 
Drawings 
 
 RICHARD PARKER BONINGTON 
 
 — Waiting on the Beach. 
 
 Little more than a sketch, this picture represents Bonington’s astonishing dex¬ 
 terity in water colors. Some fisherfolk are grouped around a fire which 
 has been lighted on the beach, apparently at Boulogne. In front of it a boy is 
 on his hands and knees; to his left a woman is sitting, and opposite to her 
 another kneels, with her hands extended towards the flames, while at the back 
 stands a man in a blouse and knitted cap. To the left of the party is a hill, 
 and on the right a cottage. The effects of firelight gleaming on the figures 
 and diffused through the gloom are rendered with delightful verve and subtlety, 
 and yet with every suggestion of an impression rapidly noted. “ Other mod¬ 
 ern artists are perhaps more powerful and more accurate than Bonington,” 
 wrote his friend Delacroix, “ but no one in this modern school, perhaps no 
 earlier artist, possessed the ease of execution which makes his works, in a cer¬ 
 tain sense, diamonds by which the eye is fascinated and pleased, quite inde¬ 
 pendently of the subject and the particular representation of nature.” 
 
 Signed at the lower right, R. P. Bonington. 
 
 Height, 7 inches; width, 5 inches. 
 
 UNKNOWN 
 
 — The Tree of Life. 
 
 At the foot of the allegorical composition the roots of a tree, twining between 
 a distaff and spinning-wheel, afford lodgment for some children, one boy 
 being engaged in watering their growth. Above the roots is poised the tall 
 figure of an angel, scattering flowers, of which he holds a profusion in the 
 folds of his robes. To the right some children are traversing the branches, 
 driving lambs before them with reins, or holding up flowers, or blowing upon 
 long horns, as they advance to meet a husbandman who carries a scythe over 
 his shoulder and clasps a woman by the waist. Beside the latter figures are 
 a mother with her babe, a grandmother, and some children. Among the 
 branches on the left, boys are driving cranes, while one child pelts with flowers, 
 and another pours water upon, the crouching figure of Old Time. Above the 
 angel sport winged cupids, two of whom carry cages full of doves, and upon 
 the highest point is perched a nest, with two doves sitting below it. 
 
 Height, 37 inches; length, 57H inches. 
 
THIRD EVENING'S SALE 
 
 Thursday, January 29th, 
 
 I 9°3 
 
 BEGINNING PROMPTLY AT 8 O’CLOCK 
 
 Fine 
 
 v4rt and Other 
 
 Books 
 
 1505 — Adam y Robert and James. 
 
 Architecture, Decoration, and Furniture of. 26 plates, 
 covers). 
 
 Folio, boards (loose in 
 London, 1880. 
 
 1506 — Agassiz , Alexander. 
 
 Three Cruises of the U. S. Coast and Geodetic Survey Steamer u Blake.” Illus¬ 
 trated. 2 vols., royal 8vo, cloth, gilt top. 
 
 Boston, 1888. 
 
 1507 — Albany. 
 
 Description of the Pastoral Staff given to the Diocese of Albany in 1897. Illus¬ 
 trated. Folio, half brown morocco. 
 
 No. 101 of 150 copies printed. 
 
 Boston, 1900. 
 
 1508 — Alexander , James W. 
 
 Life of Archibald Alexander. Portrait. 1854. Discourses. 1858. 2 vols., 8 vo, cloth. 
 
 New York, 1854-58. 
 
New York, 1843. 
 
 1509 — Alison, Arch. 
 
 History of Europe (1789-1815). 4 vols., 8vo, sheep. 
 
 1510 — Allen, J. R. 
 
 Early Christian Symbolism in Great Britain and Ireland before the Thirteenth Cen¬ 
 tury. Illustrated. 8vo, cloth. 
 
 London, 1887. 
 
 1511 — Allen, IV. 
 
 American Biographical and Historical Dictionary. Royal 8vo, half calf, gilt top. 
 
 Boston, 1832. 
 
 1512 — A lIs ton, Washington. 
 
 Life and Letters of. By J. B. Flagg. Portrait and reproductions from Allston’s 
 pictures. 8vo, cloth, gilt top, uncut. 
 
 New York, 1892. 
 
 1513 — American Art Annual, 18 g 8 . 
 
 Illustrated. 8vo, cloth. 
 
 New York, 1899. 
 
 1514 — Afidrews, William Loring. 
 
 The Bradford Map: the City of New York at the time of the granting of the Mont¬ 
 gomerie Charter: a description thereof to accompany a facsimile. Illustrated. 
 8vo, cloth, uncut. 
 
 New York, 1893. 
 
 Only 142 copies printed. 
 
 1515 — Angling. 
 
 Piscatorial Reminiscences [by Thomas Boosey] and Gleanings. By an old Angler 
 and Bibliopolist. Frontispiece. Foolscap 8vo, cloth, uncut. 
 
 Pickering, London, 1835. 
 
 The Catalogue of Books on Angling, which concludes this volume, is by William 
 Pickering, the publisher. 
 
 1516 — Antiquary, The. 
 
 Vols* XV.-XXII. 8 vols., 4to, half brown morocco. 
 
 London, 1887-90. 
 
1517 — Appleton, Samuel. 
 
 Memorial. Compiled by I. A. Jewett. Illustrated. 8vo, half red levant morocco, 
 gilt edges. 
 
 Boston, 1850. 
 
 1518 — Appleton’s Cyclopaedia of American Biography. 
 
 Edited by J. G. Wilson and J. Fiske. Numerous portraits on steel. 6 vols., royal 
 8vo, half brown morocco. 
 
 New York, 1888-89. 
 
 1519 — Archaeological Institute of America. 
 
 American Series: I.-II., 1881-84; III., Pt. I., 1890; IV., Pt. II., 1892; V., 
 1890. Classical Series: I., 1882; II., 1898 (2 copies); also I. and III., 
 1882 and 1890. American School of Classical Studies at Athens: I.—V., 
 1882-92, with duplicates of II. and IV. First Report of Executive Com¬ 
 mittee, 1880. Annual Reports, 1880-89, 1884-89, 1886-93, 1892-95. 
 Bulletin I., 1883. Index, 1891. Together, 22 vols., 8vo, half calf or 
 morocco, gilt top (1 vol. in boards, uncut). 
 
 Boston and New York, 1880-98. 
 
 1520 — Archceology. 
 
 American Journal of Archaeology and of the History of the Fine Arts. Vols. I.—XI. 
 Second Series, I.—II. Illustrated. Together, 13 vols., royal 8vo, half calf 
 extra, gilt top, uncut. 
 
 Baltimore, Princeton, and Norwood, 1885-98. 
 
 1521 — Architecture. 
 
 Remnants of Old English Architecture, 
 perial 8vo, cloth. 
 
 35 plates by T. L. Worthington. Im- 
 
 London, 1888. 
 
 1522 — Argnani, Federigo. 
 
 Le Ceramiche e Maioliche Faentine dalla loro origine lino al principio del secolo XVI. 
 20 colored (folded) plates. 4to, half calf. 
 
 No. 258 of 285 large paper copies. 
 
 Faenza, 1889. 
 
 1523 — Arnold, T/wnas. 
 
 Life and Correspondence. By Arthur P. Stanley, 
 half calf extra. 
 
 Portrait. 2 vols., crown 8vo, 
 London, 1868. 
 
 1524 — Art. 
 
 L’Art, revue hebdomadaire illustree. Illustrated with a large number of etchings, 
 woodcuts, etc. 35 vols., royal folio, half brown morocco, gilt top, uncut. 
 
 Paris, 1875-83- 
 
 Complete from the commencement, and has extra set of plates. 
 
1525 — Art Handbooks. 
 
 Illustrated Handbooks of Art History: English Painters, by H. J. Wilmot-Buxton, 
 1883. Sculpture, Renaissance and Modern, by Leader Scott, 1886. Paint¬ 
 ing, Spanish and French, by G. W. Smith, 1884. Architecture, Classic and 
 Early Christian, by T. R. Smith, 1886. Art Text Books: Architecture, 
 Gothic and Renaissance, by T. R. Smith, 1884. Classic and Italian Painting, 
 by Poynter and Head, 1885. German, Flemish, and Dutch Painting, by 
 Buxton and Poynter, 1886. 7 vols., crown 8vo, cloth. 
 
 London, 1883-86. 
 
 1526 — Art Review, The. 
 
 Vol. I., Nos. 1-5. 4to, brown levant morocco. 
 
 New York, 1886-87. 
 
 1527 — Art Review, The. 
 
 Numerous illustrations. Vol. I., Nos. 1—6. Vol. II., 
 1 vol. 4to, half green morocco, gilt edges. 
 
 Nos. 1-4. 8 numbers in 
 
 New York, 1886-87. 
 
 1528 — Art Sales ( 1628 - 1887 ). 
 
 By George Redford. Illustrated. 2 vols., royal 4to, cloth, uncut. 
 
 London, 1888. 
 
 1529 — Athceneum, The. 
 
 July, 1888-June 24, 1893. 11 vols*5 4 to i half brown morocco. 
 
 London, 1888-93. 
 
 1530 — Audsley and Bowes. 
 
 Keramic Art of Japan, 
 gilt top, uncut. 
 
 32 plates, some colored. Royal 8vo, ornamental cloth, 
 
 London, 1881. 
 
 1531 — Audsley, George A. 
 
 Ornamental Arts of Japan. Beautifully illustrated with plates in colors. 2 vols. 
 (four parts), folio, brown levant morocco, inside borders, gilt edges. 
 
 New York, 1882-84 
 
 No. 30 of 50 artist’s proof copies. 
 
 1532 — Azpuriia, Ramon. 
 
 Biografias de hombres notables de Hispano-America. Edited by General Francisco 
 L. Alcantara. 4 vols., 8vo, half morocco. 
 
 Caracas, 1877. 
 
1533 — Babe Ion, E. 
 
 Cabinet des Antiques a la Bibliotheque Nationale. 60 plates, some colored, on Japan 
 paper. Folio, brown levant morocco, gilt, gilt top, uncut. 
 
 Paris, 1887. 
 
 1534 
 
 ■ Bacon, Francis (Lord). 
 
 Works, collected and edited by Spedding, Ellis, and Heath. Portrait. 15 vols., 
 i2mo, cloth, uncut. 
 
 Boston, 1861. 
 
 1535 — Baird (Rev.) C. TV. 
 
 History of the Huguenot Emigration to America. Illustrated. 2 vols., 8vo, half 
 calf extra, gilt top, uncut. 
 
 New York, n. d. 
 
 Baird, H. M. 
 
 The Huguenots and Henry of Navarre. Maps. 2 vols., 8vo, cloth, gilt top. 
 
 New York, 1886. 
 
 - Balzac. 
 
 Contes Drolatiques. 425 illustrations by Dore. 8vo, half calf extra, gilt top, uncut. 
 
 Paris, n. d. 
 
 • Bancroft, George. 
 
 History of the United States of America. Portrait. 6 vols., 8vo, half calf, gilt 
 top, uncut. 
 
 Author’s last revision. 
 
 1536 
 
 1537 
 
 1538- 
 
 New York, 1885. 
 
 1539 — Bancroft, Hubert H. 
 
 Native Races of the Pacific States of North America. 
 8vo, cloth. 
 
 Maps and illustrations. 5 vols., 
 New York, 1875. 
 
 1540 — Bandello, Matteo. 
 
 Novels of. Englished by John Payne, 
 edges. 
 
 Printed for the Villon Society. 
 
 6 vols., 4to, vellum, gilt, gilt top, uncut 
 
 London, 1890. 
 
 1541 — Bartlett, J. 
 
 Familiar Quotations. i2mo, cloth, gilt top, uncut. 
 
 Boston, 1864. 
 
 1542 — Bartolozzi, Francesco. 
 
 Works. With a Biographical and Critical Account of his Life and Career, by A. W. 
 Tuer. Numerous illustrations. 2 vols., 4to, parchment boards, gilt top, 
 
 uncut. 
 
 London [1881]. 
 
1543 — Barye , Antoine Louis. 
 
 Life and Works of. By Charles de Kay. 
 
 No. 170 of 525 copies printed. 
 
 86 illustrations. 4to, vellum boards, uncut. 
 
 New York, 1889. 
 
 1544 — Barye , Antoine Louis. 
 
 Catalogue of Bronzes and Paintings of, etc., for the benefit of the Barye Monument 
 Fund. Portrait. 4to, vellum boards, uncut. 
 
 Limited edition. 
 
 New York, 1890. 
 
 1545 — Basilewsky Collection. 
 
 50 plates, some colored. Folio, half red levant morocco, gilt top, uncut, by Ritter. 
 
 Paris, 1874. 
 
 No. 3 of no large paper copies. 
 
 1546 — Beattie, William. 
 
 Castles and Abbeys of England. Illustrated with numerous engravings on steel and 
 wood. 2 vols., royal 8vo, half green levant morocco, gilt top, uncut. 
 
 London, n. d. 
 
 1547 — Beawnarchais, Caron de. 
 
 Barbier de Seville. Marriage de Figaro. Portrait and other etchings by Monzies 
 after S. Arcos. 2 vols., i2mo, half red levant morocco, gilt top, uncut. 
 
 Paris, 1882. 
 
 Holland paper copy. 
 
 1548 — Benson , Eugene. 
 
 From the Asolan Hills. 4to, half vellum, uncut. 
 
 Three hundred copies printed. 
 
 London, 1891. 
 
 1549 — Berghem. 
 
 A volume containing 60 fine copper-plate engravings, from original designs by 
 Berghem, including many brilliant impressions. Imperial folio, half russia. 
 
 1550 — Berlin Gallery. 
 
 Die Gemalde-Galerie der Koniglichen Museen zu Berlin. Text by J. Meyer and 
 W. Bode. With India proof illustrations of the famous plates. Folio, half 
 brown morocco. 
 
 Berlin, n. d. 
 
 1551 — Berlin Gallery. 
 
 68 fine photographs of the most brilliant paintings of this famous gallery. Imperial 
 folio, half morocco. 
 
1552 — Bertrand du Guesclin. 
 
 Life and Times of. A History of the Fourteenth Century. By D. F. Jamison. 
 Portrait. 2 vols., 8vo, cloth, uncut. 
 
 Charleston, S. C., 1864. 
 
 Printed in England, but as most of the copies were captured on a blockade 
 runner, during the Civil War, the book has drifted hither and thither, now common, 
 now rare, until it has taken its place, not as a rare book only, but as literature. 
 
 1553 — Hamdy Bey and Reinach. 
 
 Une Necropole Royale a Sidon. Four parts, imperial folio, of plates in boards, and 
 4to volume of text unbound. 
 
 1554— Bible. 
 
 Paris, 1892. 
 
 [New Testament in Greek.] Engraved title after Mellan. Folio, old calf, back 
 and sides covered with fleurs-de-lis , and the arms of Louis XIII. stamped on 
 the sides, gilt edges (rubbed). 
 
 N. d. 
 
 The Earl of Aylesford’s copy, with his bookplate. 
 
 1555 — Binns, R. JV. 
 
 Century of Potting in the City of Worcester, being the history of the Royal Porcelain 
 Works (1751-1851), etc. Illustrations. 8vo, half green morocco, gilt top, 
 uncut. 
 
 London, 1877. 
 
 1556 — Blackburn , Henry. 
 
 Breton Folk: an artistic tour in Brittany, 
 cloth, gilt edges. 
 
 170 illustrations by R. Caldecott. 4to, 
 
 London, 1880. 
 
 1557 — Boccaccio , G. 
 
 Le Decameron. Illustrations by Jacques Wagrez. Translations and notes by Fran- 
 cisque Reynard. 3 vols., 4to, half red levant morocco, gilt top, uncut edges, 
 by David. 
 
 , Paris, 1890. 
 
 Edition de luxe. 
 
 1558 — Boethius. 
 
 Consolation of Philosophy. Translated by George Colville, 1556. Edited by E. B. 
 Bax. Imperial 8vo, boards, uncut. 
 
 Nutt, London, 1897. 
 
 No. 15 of 30 large paper copies. 
 
 1559 — Bologne , Jean. 
 
 La Vie et l’CEuvre. Par Abel Desjardins. Edited by F. de Vagnonville. 22 plates, 
 besides illustrations in the text. Folio, maroon levant morocco, gilt, gilt 
 edges. 
 
 Paris, 1883. 
 
 No. 49 of 50 copies, with a second set of proofs on Japan paper. 
 
15G0 — Borbonico Museum. 
 
 Real Museo Borbonico. Over 525 plates in outline. 6 vols., 8vo, half red morocco. 
 
 1561 — Bos suet, J. B. 
 
 [N. p., n. d.] 
 
 Oraison Funebre du Grand Conde. Portrait and 3 engravings, 
 morocco extra, gilt top, uncut. 
 
 No. 176 of 300 copies on Holland paper. 
 
 4to, half brown 
 Paris, 1879. 
 
 1562 — Bossuet,J. B. 
 
 Oraisons Funebres et Sermons Choisis. 12 steel engravings, 
 levant morocco, inside borders, gilt edges. 
 
 Royal 8vo, brown 
 Paris, n. d. 
 
 1563 — Boston. 
 
 Sketch Book of the Architectural Association of Boston, 
 cloth wrappers. 
 
 No. 97 of 300 copies printed. 
 
 30 plates loose in folio 
 [Boston], 1883. 
 
 1564— Bouchot, H. 
 
 Cent Modeles inedits de l’Orfevrerie Fran^aise des XVII e et XVIII' siecles, exe¬ 
 cutes par les orfevres—sculpteurs royaux N. de Launay, J. J. Roettiers, T. 
 and F. T. Germains, et reproduits d’apres les dessins originaux de la Biblio- 
 theque Nationale. 60 plates. Folio, half green morocco extra, gilt top, 
 uncut. 
 
 Paris, n. d. 
 
 1565 — Bowes, J. L. 
 
 Japanese Pottery. With notes describing the thoughts and subjects employed in its 
 decoration, and illustrations from examples in the Bowes Collection. Maps 
 and 67 plates (some colored). Royal 8vo, half green levant morocco, gilt 
 top, uncut (cover slightly broken). 
 
 Liverpool, 1890. 
 
 Printed on Japan paper. 
 
 1566 — Bowes, J. L. 
 
 Vindication of the Decorated Pottery of Japan. Plates (some colored). Royal 8vo, 
 boards. 
 
 Privately printed. Presentation copy from the author. 
 
 Liverpool, 1891. 
 
 1567 — Bowes, J. L. 
 
 Notes on Shippo: A Sequel to Japanese Enamels, 
 gilt top, uncut. 
 
 Plates. Royal 8vo, half cloth, 
 
 Presentation copy from the author. 
 
 London, 1895. 
 
1568 — Brantome. 
 
 Les Sept Discours touchant les Dames Galantes. Edited by Henri Bouchot. Portrait 
 and other illustrations after E. de Beaumont. 3 vols., i2mo, half red levant 
 morocco, gilt top, uncut. 
 
 Holland paper copy. 
 
 Paris, 1882. 
 
 1569 — Brassington, JV. Salt. 
 
 Historic Bindings in the Bodleian Library, Oxford, 
 green morocco, gilt top, uncut. 
 
 24 reproductions. 4to, half 
 London, 1891. 
 
 1570 — Breviary. 
 
 Breviarium Romanum cum Psalterio proprio et officiis sanctorum ad usum cleri Basil¬ 
 icas Vaticanas. dementis X. auctoritate editum. Engraved frontispiece. 
 Title (mounted) by J. Nolin, and four plates by Nolin, Spiere, and Roullet. 
 4to, old red morocco, covered with a floral design (rubbed). 
 
 Paris, 1674. 
 
 Pages 347-492 in the first part lacking; pages 636-762 at the end, in facsimile. 
 Inserted engravings. 
 
 1571 — Brimmer a?id Chapman. 
 
 Egypt. Three Essays. Illustrated. 
 
 1572 — British Artists. 
 
 Royal 8vo, green ooze calf, uncut. 
 
 Boston, 1892. 
 
 19 facsimiles in imitation of the original water-color drawings after paintings by 
 Turner, Stanfield, Prout, Collins, Nicholson, etc. 2 vols., folio, boards. 
 
 London, 1828. 
 
 1573 — British Poets. 
 
 Milton, 3 vols.; Spenser, 5 vols.; Young, 2 vols. ; Dryden, 5 vols.; Thomson, 2 
 vols.; Chaucer, 6 vols. ; Burns, 3 vols.; Swift, 3 vols. ; Churchill, 2 vols. ; 
 Prior, 2 vols. ; Butler, 2 vols. ; Cowper, 3 vols. ; Pope, 3 vols. One vol. 
 each of Goldsmith, Akenside, Falconer, Gray, White, Shakespeare, Howard, 
 Parnell, Wyatt, Beattie, and Collins. Portraits. Together, 52 vols., crown 
 8vo, half calf extra. 
 
 London, 18 66. 
 
 No. 16 of 250 copies printed before stereotyping. 
 
 1574 — Brooke (Sir) Arthur De C. 
 
 Sketches in Spain and Morocco. Illustrated. 2 vols., 8vo, half sprinkled calf extra. 
 
 London, 1831. 
 
 1575 — Brown, John ( M.D .). 
 
 Horae Subsecivae, 1864. Locke and Sydenham, 1866. 2 vols., i2mo, half calf 
 
 extra, gilt top, uncut. 
 
 London, 1864-66. 
 
1576 — Brown [Major) R. H. 
 
 The Fayum and Lake Moeris. Notes 
 trations. 4to, cloth, uncut. 
 
 by Colonel Sir Colin Scott-Moncrieff. Illus- 
 
 London, 1892. 
 
 1577 — Brunswick Museum. 
 
 Vorziiglichsten Gemalde des Herzoglichen Museums zu Braunschweig, herausgegeben 
 von Herman Riegel. 100 photogravures. 4to, brown levant morocco, 
 gilt top, uncut. 
 
 Berlin, 1885. 
 
 1578 — Bryant Festival at the “ Century .” 
 
 Illustrated by 20 inserted portraits, etc 
 No. 82 of 150 copies printed. 
 
 4to, half green morocco, gilt top, uncut. 
 
 New York, 1865. 
 
 1579 — Buck,J. H. 
 
 Old Plate, Ecclesiastical, Decorative, and Domestic; its Makers and Marks. 82 
 illustrations. 8vo, cloth, silver top. 
 
 New York, 1888. 
 
 1580 — Bunyan, J. 
 
 Pilgrim’s Progress. Portrait. 40 illustrations by D. Scott. 8vo, maroon morocco, 
 antique, gilt edges. 
 
 Edinburgh, n. d. 
 
 1581 — Bunyan, J. 
 
 Pilgrim’s Progress. 100 illustrations by F. Barnard and others. Engraved by 
 Dalziel Brothers. 4to, half vellum, gilt top, uncut. 
 
 London, 1880. 
 
 Edition de luxe. No. 219 of 500 large paper copies, with proofs on Japan \paper. 
 
 1582 — Burke, Edmund. 
 
 Works. Portrait. 12 vols., i2mo, cloth, uncut. 
 
 Boston, 1865-67. 
 
 1583 — Burlington Fine Arts Club. 
 
 Catalogues for 1868-75, 1876-79, 1880-86, 1887-90. 
 blue morocco, gilt top. 
 
 4 vols., royal 4to, half 
 London, 1868-90. 
 
 1584 — Burlington Fine Arts Club. 
 
 Description of English and Continental Porcelain exhibited June, 1873. 18 photo¬ 
 
 graphs. Royal 4to, half blue calf, gilt edges. 
 
 London, 1873. 
 
1585 — Burlington Fine Arts Club. 
 
 Catalogue of Bronzes and Ivories, 
 morocco. 
 
 1879. Numerous illustrations. 4to, half 
 
 London, 1879. 
 
 1586 — Burlington Fine Arts Club. 
 
 Illustrated Catalogue of Specimens of Persian and Arab Art. 
 Royal 4to, half green morocco. 
 
 1885. 32 illustrations. 
 
 London, 1885. 
 
 1587 — Burlington Fine Arts Club. 
 
 Catalogue of Objects of Greek Ceramic Art. 
 levant morocco, gilt top. 
 
 Numerous plates. 4to, half blue 
 London, 1888. 
 
 1588 — Burlington Fine Arts Club. 
 
 Exhibition of Portrait Miniatures. 36 plates, 
 gilt top. 
 
 Royal 4to, half blue morocco extra, 
 
 London, I889. 
 
 1589 — Burlington Fine Arts Club. 
 
 Exhibition of Book Bindings. 114 plates, mostly colored, 
 morocco, gilt panels and edges, by Zaehnsdorf. 
 
 Royal 4to, green levant 
 London, 1891. 
 
 1590 — Burlington Fine Arts Club. 
 
 Exhibition of Book Bindings. Royal 4to, half red levant morocco, gilt top. 
 
 London, 1891. 
 
 1591 —Burlington Fine Arts Club. 
 
 Exhibition of Pictures by Masters of the Netherlandish and Allied Schools, etc. 29 
 plates. Royal 4to, brown levant morocco, gilt back and sides, gilt top, uncut 
 edges, by Zaehnsdorf. 
 
 London, 1892. 
 
 1592 — Burlington Fine Arts Club. 
 
 Art of Ancient Egypt. 39 plates. Royal 4to, cloth. 
 Privately printed. 
 
 London, 1895. 
 
 1593 — Burlington Fine Arts Club. 
 
 Catalogue of Collection of European Enamels from earliest date to end of seventeenth 
 century. 72 plates, some colored. Royal 4to, cloth, uncut. 
 
 London, 1897. 
 
 Large paper copy. 
 
1594 — Burne-Jones, Edward. 
 
 Record and Review. By Malcolm Bell. Numerous illustrations. Folio, cloth, gilt 
 top, uncut. 
 
 London, 1892. 
 
 1595 — Burnet, John. 
 
 Treatise on Painting. Numerous plates, some colored. 4to, half brown morocco, 
 gilt top, uncut. 
 
 The four parts complete. 
 
 London, 1880. 
 
 1596 — Burty, Philippe. 
 
 Chefs-d’CEuvre des Arts Industries. 200 wood engravings. Royal 8vo, half red 
 morocco, gilt edges. 
 
 Paris, n. d. 
 
 1597 — Butler, IV. A. 
 
 Nothing to Wear: An Episode of City Life. Illustrated by Hoppin. i2mo, cloth. 
 
 New York, 1857. 
 
 First edition. 
 
 1598 — Byron (Lord). 
 
 English Bards and Scotch Reviewers. Square 8vo, green levant morocco, inside bor¬ 
 ders, gilt edges, by Bain. 
 
 London, 1810. 
 
 Unique copy. Text inlaid to square 8vo, and extra illustrated by the insertion 
 of 176 portraits, views, etc., some of which are on India paper, and some colored; 
 the latter including a brilliant portrait of Madame Catalani. 
 
 1599 — Cabrol, Elie. 
 
 Voyage en Grece, 1889: notes et impressions, 
 blue morocco, gilt top. 
 
 500 copies printed. 
 
 21 plates and 5 plans. 4to, half 
 Paris, 1890. 
 
 1600 —Camp ana, Gio. Pietro. 
 
 Antiche Opere in Plastica. 68 plates, 
 sides, gilt top. 
 
 1601 — Cartault, A. 
 
 4to, half brown morocco, gilt back and 
 
 Rome, 1842. 
 
 Terres Cuites Grecques photographiees d’apres les originaux des collections privees de 
 France et des Musees d’Athenes. 29 plates. 4to, half brown levant morocco, 
 gilt top. 
 
 Paris, n. d. 
 
 1602 — Castellani, Alessandro. 
 
 Catalogue des Objets d’Art. Illustrated. 4to, half calf extra, gilt top, uncut. 
 
 Paris, 1884. 
 
Catalogues 
 
 1603 —!• Aspinwall Gallery. New York, 1886. G. F. Watts in New York Royal Academy. 
 
 1888. II. Castellani Collection. New York, 1877. Collection of M. H. 
 Roussel. Paris, 1885. Illustrated. 2 vols., 8vo, half brown morocco, 
 gilt top. 
 
 1604 -Residence a Amsterdam, etc., Galerie de M. P. J. de Naples. 
 
 3 vols. in 1, 4to, half blue morocco extra, gilt top. 
 
 Collection Richards. 
 Rome, 1882-90. 
 
 1605 -Pedestal Fund Art Loan Exhibition. 4to, half brown morocco, gilt top. 
 
 New York, 1883. 
 
 1606 — Collection Photiades Pacha. Paris, 1890. Illustrated. Galerie de M. Toscanelli. 
 
 Florence, 1883. 2 vols. in 1, 4to, half blue morocco extra, gilt top, uncut. 
 
 1607 Fountaine Collection of Majolica. Photographs. 1884. Passalaqua Collection. 1885. 
 
 Royal House of Stuart. N. d. Historical Paintings and Relics. New York, 
 1889. 4 vols., crown 8vo, and 8vo, half brown morocco, gilt top. 
 
 London, etc., 1884-89. 
 
 1608 -Collection Meazza de Milan. 1884. Santo Varni di Genova, 1887. Hamilton 
 
 Collection, London, 1889. Peinture Grecque . . . de Cleopatre. Paris, 
 
 1889. 3 vols. in 1, royal 8vo, half brown morocco extra, gilt top. 
 
 1609 — Grosvenor Gallery. Engravings of Charles Tennant. London, 1884. Royal House 
 of Tudor, 1890. 2 vols., 4to, half brown morocco, gilt top. 
 
 London, 1884-90. 
 
 1610 -Pictures, etc., of C. B. Denison. 
 
 gilt top, uncut. 
 
 Illustrated. 8vo, half blue levant morocco extra, 
 
 [London, 1885.] 
 
 1611 -Library, etc., of H. Cole, etc. Illustrated. 1890. Paint and Clay Club, etc., 
 
 1885. Illustrated. A. L. Barye. Portrait. 3 vols. in 1, 4to, half brown 
 morocco, gilt top, uncut. 
 
 Boston and New York, 1885-90. 
 
 1612 — Collection de Charles Stein. Illustrated. 4to, half brown morocco, gilt top, uncut. 
 
 Paris, 1886. 
 
 1613 -Collection de M. Ch. Stein, 1886. Museum of Fine Arts. Casts from Greek and 
 
 Roman Sculpture, by E. Robinson. Boston, 1887. Collection de M. A. Tollin. 
 1889. 3 vols. in 1, i2mo, half green levant morocco, gilt top. 
 
 Paris and Boston, 1886-89. 
 
1614 — Collection Perkins. Paris, 1890. Collection H. Hoffmann. Paris, 1888. Collection 
 Alberici. Rome, 1886. (All illustrated.) 3 vols. in 1, 4to, half blue morocco, 
 gilt top. 
 
 1015 — Engravings of Duke of Buccleuch, 1887. Exposition Universelle, 1889, etc. 3 vols. 
 in 1, 8vo, half brown morocco, gilt top. 
 
 1616 — Mezzotint Engravings of J. C. Smith. 1887. Engravings, etc., of G. W. Reid. 
 1890. 2 vols. in 1, royal 8vo, half brown morocco, gilt top. 
 
 London, 1887-90. 
 
 1 G 17 — Ancient Marbles at Lansdowne House. Royal 8vo, half brown morocco, gilt top. 
 
 London, 1889. 
 
 101g — Art Collection of E. Joseph. Illustrated. 8vo, half brown levant morocco, gilt top. 
 
 London, 1890. 
 
 1619 -Collection Perkins. Illustrated. 4to, half red levant morocco, gilt top, uncut. 
 
 Paris [1890]. 
 
 1620 — Collection de M. G. Rothan. Illustrated. 4to, half green morocco, gilt top, uncut. 
 
 Paris, 1890. 
 
 1621 -Collection of Prosper Crabbe of Brussels. Illustrated. 
 
 top, uncut. 
 
 4to, half brown morocco, gilt 
 Paris, 1890. 
 
 J 022 — Aquarelles (Jhr. W. C. M. de Jonge van Ellemeet). 
 morocco, gilt top. 
 
 Illustrated. 8vo, half brown 
 
 Amsterdam, 1890. 
 
 1623 — Objets d’Art. Collection de M. L. de M. 
 top, uncut. 
 
 Illustrations. 4to, half levant morocco, gilt 
 
 Paris, 1891. 
 
 1024 — Villa Salviatino, Florence. 1891. Tableaux, etc., de E. van Marcke. Paris, 1891. 
 
 Collection John Saulnier. 1892. All illustrated. 3 vols. in 1, royal 8vo, half 
 brown levant morocco extra, gilt top. 
 
 1025 — Katalog der hoech’schen Sammlung von Gemalden alter Meister. Herausgegeben 
 von J. Th. Schall. 77 illustrations. 4to, half brown levant morocco, gilt 
 top. 
 
 Munich, 1892. 
 
 1020 — Lawrie Collection. Illustrations. 4to, half brown levant morocco, gilt top. 
 
 Paris, 1893. 
 
 1627 — Marbres Antiques, etc.: Musee du Pavilion de L’Horloge a la Villa Borghese. 
 Illustrated. 4to, half brown morocco, gilt top. 
 
 Rome, 1893. 
 
1628 Collection of oil paintings and water-color drawings of X. E. Waggaman. i2mo, half 
 blue morocco, gilt top. 
 
 DeVinne, New York, 1893. 
 
 1629 —— Pictures, Porcelain, etc., of Mrs. Lyne Stephens. Illustrated. Royal 8vo, half calf, 
 gilt top. 
 
 London, 1895. 
 
 1630 — Collection de M. D. de G. 4to, half brown levant morocco, gilt top, uncut edges. 
 
 Paris, 1896. 
 
 1631 -Collection Ploquin. Illustrated. Royal 8vo, paper, uncut. 
 
 Paris, 1896. 
 
 1632 — Collection de M. Emile Gavet. Illustrated. 4to, half brown morocco, gilt top, uncut. 
 
 Paris, 1897. 
 
 1633 — Collection des Goncourt. Illustrated. 4to, half brown levant morocco, gilt top. 
 
 Paris, 1897. 
 
 1634 -Pictures belonging to R. Hall McCormick. 1897. Illustrated. 4to, half brown levant 
 
 morocco, gilt top, uncut. 
 
 No. 95 of 200 copies printed, with plates on Japan paper. 
 
 1635 -Collection du Baron Jerome Pichon. Imperial 8vo, half brown morocco, gilt top, uncut. 
 
 Paris, 1897. 
 
 1636 — Cattermole Gems , The. 
 
 25 plates. Folio, half red levant morocco, gilt top, uncut. 
 
 London, n. d. 
 
 1637 — Cellini , Benvenuto. 
 
 Recherches sur sa vie, sur son oeuvre et sur les pieces qui lui sont attributes, par 
 Eugene Plon. Profusely illustrated. Etchings by Paul Le Rat and others. 
 2 vols., 4to, red levant morocco, gilt back and sides, gilt edges. 
 
 Paris, 1883. 
 
 No. 70 of 100 copies, with plates in three states. 
 
 1638 — Cellini , Benvenuto. 
 
 Life of. By J. A. Symonds. With a portrait and eight etchings by Laguillermie, etc. 
 2 vols., royal 8vo, half brown levant morocco, gilt top, uncut, by Stikeman. 
 
 London, 1888. 
 
 Large paper copy. No. 80 of 100 copies printed with etchings as India proofs. 
 
 1639 — Cesnola Collection of Cypriote Antiquities. 
 
 Sculptures. 150 plates. 1885. Terra-cottas and Pottery. 150 plates. 1894. 4 
 
 vols., 4to, half brown morocco. 
 
 Boston and New York, 1885-94 
 
1640 —Charvet Collection. 
 
 La Verrerie Antique. ParW. Froehner. 34 plates, some beautifully colored. Folio, 
 half brown morocco, gilt top, uncut. 
 
 Le Pecq, 1879. 
 
 1641 — Chateau d'A?iet. 
 
 Histoire et description de: depuis le dixieme siecle jusqu’a nos jours. Contenant 
 une etude sur Diane de Poitiers. 53 plates, some colored. Folio, half blue 
 levant morocco, gilt top, uncut. 
 
 Paris, 1875. 
 
 1642 — Chevigne (Comte') de. 
 
 Contes Remois. Precedee de la Muse Champenoise par Louis Lacour. Etchings by 
 Paul Rajon after J. Worms, nmo, half green levant morocco, gilt top, uncut. 
 
 Paris, ^877. 
 
 1643 — Child , Frank S. 
 
 An Old New England Town [Fairfield, Conn.] : Sketches of Life, Scenery, Char¬ 
 acter. Illustrated. 8vo, half red morocco, gilt top, uncut. 
 
 New York, 1895. 
 
 Edition de luxe. No. 184 of 300 copies, with illustrations on Japan paper. 
 
 1644 — China. 
 
 Punishments of. Illustrated by 22 engravings, with explanations in English and French. 
 Folio, green straight grain morocco, gilt edges. 
 
 London, 1801. 
 
 1645 — Chintreuil , Antoine. 
 
 La Vie et l’CEuvre de. Par A. de la Fizeliere, Champfleury, F. Henriet. 40 
 etchings by Martial, Beauverie, Taiee, Ad. Lalauze, and others. Folio, half 
 red morocco, gilt top, uncut. 
 
 Paris, 1874. 
 
 No. 9 of 50 proof copies printed. 
 
 1646 — Chippendale. 
 
 Ornaments and Interior Decorations in the Old French Style. 5 7 plates engraved by 
 M. Lock. Folio, half morocco. 
 
 London, n. d. 
 
 1647 — Clarky E. L. 
 
 Daleth; or, the Homestead of the Nations. Illustrated. 8vo, cloth, gilt top, uncut. 
 
 Boston, 1864. 
 
 1648 — Cleopatra. 
 
 Antique Painting in Encaustic of Cleopatra. (By John Sartain.) Illustrated. 
 
 Royal 8vo, cloth. 
 
 Presentation copy from the author. 
 
 Philadelphia, 1885. 
 
1649 — Cleuziou, Henri de. 
 
 De la Poterie Gauloise. Etude sur la Collection Charvet. 
 half calf extra, uncut. 
 
 Illustrated. Royal 8vo, 
 Paris, 1880. 
 
 1650 — Collier , J. Payne. 
 
 Bibliographical and Critical Account of the Rarest Books in the English Language. 
 4 vols., i2mo, half blue calf extra, gilt top, uncut. 
 
 New York, 1866. 
 
 1651 — Colonna , Francesco. 
 
 Strife of Love in a Dream. Being the Elizabethan version of the first book of the 
 Hypnerotomachia. Edited by Andrew Lang. Royal 8vo, half blue levant 
 morocco extra, gilt top, uncut. 
 
 Nutt, London, 1890. 
 
 No. 45 of 60 large paper copies. 
 
 1652 — Columbus. 
 
 Letter of Columbus on the Discovery of America, 
 back and sides, gilt top, uncut. 
 
 8vo, blue levant morocco, gilt 
 New York, 1892. 
 
 Presentation copy from the Trustees of Lenox Library. 
 
 1653 — Constable, John. 
 
 Memoirs of the Life of: composed chiefly of his letters. By C. R. Leslie. Fine 
 mezzotint portrait and 22 landscapes. Folio, half brown morocco, uncut. 
 
 London, 1843. 
 
 1654 — Co?istable, John. 
 
 English Landscape Scenery. A series of 40 mezzotint engravings on steel, by D. 
 Lucas, from pictures painted by J. Constable. Folio, half red morocco, uncut. 
 
 London, 1855. 
 
 1655 — Constantinople. 
 
 Alt-Christliche Baudenkmale von Constantinopel, vom V. bis XII. Jahrhundert; von 
 W. Salzenberg. 38 plates. Imperial folio, boards (loose in covers). 
 
 1656 — Conybeare and Howson. 
 
 Life and Epistles of St. Paul. Illustrated, 
 top, uncut. 
 
 Berlin, 1855. 
 
 2 vols., 8vo, half maroon morocco, gilt 
 
 London, 1856. 
 
 1657 — Cooke , George Fred. 
 
 Lix'e. By William Dunlap. Portrait. 2 vols., 8vo, calf extra, gilt edges, by Tout. 
 
 London, 1815. 
 
 Unique copy, extra illustrated by the insertion of 86 plates. 
 
1658 — Cooper, James Fem'more. 
 
 Novels. Illustrated by the designs of Darley, engraved on steel, and printed on India 
 paper. 33 vols., 8vo, cloth, gilt top, uncut. 
 
 New York, n. d. 
 
 The original Townsend edition of Cooper is now so difficult to procure, that this 
 substitute is the next best possible. Whether or no the typography is better, the 
 paper is assuredly an improvement on the glazed and tinted surface of the earlier 
 edition. 
 
 No. 490 of 1,000 copies printed. 
 
 1659 — Copley, J. S. 
 
 Domestic and Artistic Life of. 
 8vo, cloth, uncut. 
 
 By his granddaughter, Martha B. Amory. Portrait. 
 
 Boston, 1882. 
 
 1660 —“ Cornwall , Barry ” [ Proctor, B. W.~\. 
 
 Charles Lamb: A Memoir. Portraits. 8vo, half calf, gilt top, uncut. 
 
 London, 1866. 
 
 1661 — Costumes. 
 
 Costume of the Hereditary States of the House of Austria. 50 colored engravings, 
 with descriptions and introduction by B. de Moleville. Translated by R. C. 
 Dallas, 1804. Costume of China. 60 colored engravings. 1800. Military 
 Costume of Turkey. 30 plates. 1818. 3 vols., folio, green straight grain 
 
 morocco, back and sides gold and blind tooled, gilt edges. 
 
 London, 1800-18. 
 
 1662 — Costumes. 
 
 Modes et Costumes Historiques. Par Pauquet Freres, 
 brown morocco, gilt top, uncut. 
 
 96 colored plates. 4to, half 
 Paris, n. d. 
 
 1663 — Cotman and Turner. 
 
 Architectural Antiquities of Normandy. Numerous plates, 
 levant morocco, gilt top, uncut. 
 
 2 vols., folio, half red 
 London, 1822. 
 
 1664 — Cripps, W.J. 
 
 Old English Plate, Ecclesiastical, Decorative, and Domestic; its Makers and Marks. 
 73 illustrations. 8vo, cloth, uncut. 
 
 London, 1881. 
 
 1665 — Crouch , Mrs. 
 
 Memoirs of. By M. J. Young. Portrait, 
 gilt top, uncut, by Pratt. 
 
 2 vols., post 8vo, sprinkled calf extra, 
 
 London, 1806. 
 
 Unique copy, extra illustrated by the insertion of 100 plates. 
 
1666— Crowe and Cavalcaselle. 
 
 History of Painting in Italy. Numerous illustrations. 3 vols., calf extra, gilt edges, 
 by Bickers. 1864. History of Painting in North Italy. Illustrated. 2 vols., 
 calf extra, gilt edges, by Bickers. 1871. Titian, his Life and Times. Illus¬ 
 trated. 2 vols., half green calf extra, gilt top, uncut. 1877. Together, 
 7 vols., 8vo. (Will be sold separately.) 
 
 London, 1864-77. 
 
 1667 — Cundall, Joseph (editor). 
 
 On Bookbindings Ancient and Modern. 28 plates. 4to, half brown morocco, gilt top. 
 
 London, 1881. 
 
 1668 — Custis, G. W. P. 
 
 Recollections and Private Memoirs of Washington. Memoir of the author by his 
 
 daughter. Notes, etc., by B. J. Lossing. Portraits, etc., including one of 
 
 Washington. 8vo, half calf antique. 
 
 New York, i860. 
 
 1669 — Cyclopedia of Painters and Painting. 
 
 Edited by J. D. Champlin and C. C. Perkins. 
 4to, half red morocco, gilt top, uncut. 
 
 No. 53 of 500 copies. 
 
 Over 2,000 illustrations. 4 vols., 
 
 New York, 1886-87. 
 
 1670 — Cyclopaedia of Works of Architecture in Italy, Greece, and the Levant. 
 
 Edited by W. P. P. Longfellow. Profusely illustrated, 
 top, uncut. 
 
 No. 19 of 500 copies. 
 
 4to, half red morocco, gilt 
 New York, 1895. 
 
 1671 — Daly, Cesar. 
 
 L’Architecture Privee au XIX s Siecle sous Napoleon III. Nouvelles Maisons de 
 Paris et des Environs. Numerous plates. 3 vols., 1864. Motifs Historiques 
 d’Architecture et de Sculpture d’Ornement. Decorations Exterieures em- 
 pruntees a des Monuments Fran^ais du Commencement de la Renaissance a la 
 fin de Louis XVI. Nearly 200 plates. 2 vols. Decorations Interieures. 200 
 plates. 2 vols., 1880. Together, 10 vols., folio, half red morocco, gilt top, 
 uncut. 
 
 Paris, 1864, 1881, 1880. 
 
 1672 — Dante. 
 
 Divine Comedy. Illustrations by G. Flaxman. 
 vellum. 
 
 no plates. Oblong 4to, half 
 Rome, 1802. 
 
 1673 — Daphnis and Chloe. 
 
 Translated from Amyot’s text by Arzel Day. Edited by Jos. Jacobs. Imperial 8vo, 
 half calf extra, gilt top, uncut. 
 
 No. 45 of 60 copies printed. 
 
 London, 1890. 
 
1674 — D’Arbi'ay ( Madame ) Fanny Burney. 
 
 Diary and Letters. Edited by her niece, Charlotte Barrett. Portraits. 4 vols., 
 8vo, half calf extra. 
 
 London, n. d. 
 
 1675 — D'Aunloy (.Mme .). 
 
 Contes des fees ou les fees a la mode. Preface by M. de Lescure. Frontispieces 
 by Lalauze. 2 vols., i2mo, half blue morocco, gilt top, uncut. 
 
 1676— D’ Ave?ines, Prisse. 
 
 Paris, 1881. 
 
 L’Art Arabe d’apres les monuments du Kaire depuis le VII e siecle jusqu’a la fin du 
 XVIII e . 4to, half red morocco, gilt top, uncut, with the magnificent plates, 
 many of them in colors, in an atlas, folio volume (2 vols. in 1), blue morocco 
 extra. Together, 2 vols. 
 
 Paris, 1877. 
 
 1677 — Defoe, Daniel. 
 
 Life and Adventures of Robinson Crusoe. Portrait, etchings, and engravings, after 
 Stothard. 2 vols., 8vo, half morocco, gilt top, uncut. 
 
 Philadelphia, 1891. 
 
 1678 — De labor de, Henri. 
 
 Les Maitres Florentins du quinzieme siecle. 30 designs after the original paintings, 
 etc., in the collection of M. Thiers. Imperial folio, half maroon morocco 
 
 extra> Paris, n. d. 
 
 One of 50 copies, with plates in three states—colored, red, and Japanese proofs. 
 
 1679 — Demoustier, C. A. 
 
 Lettres a Emilee sur la mythologie. Preface by Paul Lacroix. Frontispieces by 
 Lalauze. 3 vols., 12010, half blue morocco, gilt top, uncut (original covers 
 bound in). 
 
 Paris, 1883. 
 
 r 
 
 1680 — Detaille, Edouard. 
 
 Types et Uniformes: l’Armee Fran^aise. Text by Jules Richard. Numerous colored 
 plates, besides text illustrations. 2 vols., folio, morocco extra, gilt top. 
 
 1681 — Devi lie, Achille. 
 
 Paris, 1885-89. 
 
 Histoire de l’Art de la Verrerie dans l’Antiquite. 112 colored plates. 4to, red levant 
 morocco, gilt back and sides, gilt edges. 
 
 Paris, 1871. 
 
 1682 — Dibdin, Thomas F. 
 
 Bibliographical, Antiquarian, and Picturesque Tour in France and Germany. Fine 
 plates. 3 vols., 8vo, half maroon calf extra, gilt top, uncut. 
 
 London, 1829. 
 
1683— Dibdin, Thomas F. 
 
 Reminiscences of a Literary Life. Portrait. 2 vols., 8vo, tree calf extra. 
 
 London, 1836. 
 
 Contains the scarce index. Autograph letter inserted. The Odell copy. 
 
 1684 — Dickens, Charles. 
 
 Works. With all the original illustrations by Cruikshank, Phiz, and others. 30 vols., 
 
 royal 8vo, half brown levant morocco extra, gilt top, uncut. 
 
 , London, 1881-82. 
 
 Edition de luxe, only 1,000 copies printed. 
 
 1685 — Dircks, Henry. 
 
 Life, Times, and Scientific Labours of the Second Marquis of Worcester, etc. Por¬ 
 trait. 8vo, half green morocco, gilt top, uncut. 
 
 London, 1865. 
 
 1686 — Disraeli, Isaac. 
 
 Curiosities of Literature. Life, etc., by his son. Portrait. 4 vols., i2mo, half red 
 calf extra, gilt top, uncut. 
 
 Boston, 1858. 
 
 1687 — Dohson, Austin. 
 
 Horace Walpole: A Memoir. Illustrations by Percy and Leon Moran. Royal 8vo, 
 half brown morocco extra, gilt top, uncut. 
 
 New York, 1890. 
 
 No. 124 of 425 large paper copies on Dickinson paper. 
 
 1688 — Dobson, Austin. 
 
 William Hogarth. Illustrated. 8vo, blue levant morocco, gilt back and sides, 
 gilt top, uncut. 
 
 New York, 1891. 
 
 1689 — Dobson, W. T. 
 
 Classic Poets: their Lives and their Times, with the Epics Epitomised. Crown 
 8vo, cloth, uncut. 
 
 London, 1879. 
 
 1690 —Doolittle Rev.), J. 
 
 Social Life of the Chinese. Over 150 illustrations. 2 vols., i2mo, cloth. 
 
 New York, 1865. 
 
 1691 
 
 j Fore, Gustave. 
 
 Legend of the Wandering Jew. Plates by Dore. Translation by G. W. Thorn- 
 bury. Folio, half morocco (loose in covers). 
 
 London, 1857. 
 
 1692 — Doyle, James E. 
 
 Chronicle of England b.c. 55-A.D. 1485. Colored illustrations. 4to, cloth extra, 
 gilt edges. 
 
 London, 1864. 
 
1693— Draper, J. IV. 
 
 History of the Intellectual Development of Europe. 8vo, calf, gilt. 
 
 1694— Dresser, Christopher. 
 
 Japan: Its Architecture, Art, and Art Manufactures, 
 gilt edges. 
 
 New York, 1863. 
 
 Illustrated. 8vo, tree calf, 
 London, 1882. 
 
 1695 — Duplessis, Georges. 
 
 Histoire de la gravure en Italie, en Espagne, en Allemagne, dans les Pays-Bas, en 
 Angleterre, et en France, etc. 73 reproductions. Royal 8vo, half brown 
 morocco, gilt top, uncut. 
 
 Paris, 1880. 
 
 1696 — Durand, John. 
 
 Life and Times of A. B. Durand. Illustrated. 4to, cloth, gilt top, uncut. 
 
 New York, 1894. 
 
 One of 100 copies on large paper, with portraits on Japan paper. 
 
 1697 — Diirer, Albert, et ses Dessins. 
 
 Par Charles Ephrussi. Numerous plates. 4to, half brown levant morocco, gilt top, 
 uncut. 
 
 Paris, 1882. 
 
 No. 71 of 100 copies on Holland paper, with the more important plates in 
 duplicate. 
 
 1698 — Diirer, Albert. 
 
 La Vie de la Sainte Vierge Marie, decrite en vers Latins par Chelidonius. Intro¬ 
 duction de Ch. Ruelens. 20 wood engravings. 4to, half brown levant 
 morocco, gilt top, uncut. 
 
 Utrecht, n. d. 
 
 1699 — Dutuit, Eugene. 
 
 Manuel de PAmateur d’estampes. Vol. I., Introduction Generale, 1884-88. 2 
 
 vols. Vol. IV., 1881. Vol. V., 1882. Vol. VI., 1885. Portrait. 
 Together 4 vols. in 5, imperial 8vo, boards, uncut. 
 
 Paris, 1881-88. 
 
 With 37 zylographic plates (separate). 
 
 1700 — Dyer, T. H. (editor). 
 
 Pompeii: Its History, Buildings, and Antiquities. Illustrated. 8vo, calf, gilt. 
 
 London, 1871. 
 
 1701 — Eaton, Daniel E. 
 
 Ferns of North America. Numerous colored plates. 2 vols., 4to, half red levant 
 morocco, gilt top, uncut. 
 
 Salem, 1879-80. 
 
1702 — Edersheim, A. 
 
 Life and Times of Jesus the Messiah, 
 top, uncut. 
 
 2 vols., 8vo, half brown levant morocco, gilt 
 
 New York, n. d. 
 
 1703 — Edwards, Rev. B. B. 
 
 Encyclopedia of Religious Knowledge. Illustrated. Royal 8vo, sheep. 
 
 Brattleboro, 1836. 
 
 1704 — Egypt Exploration Fund. 
 
 Naukratis. Parts I. and II., 1884-86, by W. M. F. Petrie, etc. 68 plates. 1886. 
 Tanis. Parts I. and II., 1883-86, by Petrie and Griffith. 28 plates. 
 1889-88. Nebesheh (Am) and Defenneh (Tahpanhes) by Petrie, Murray, 
 etc. 51 plates. 1888. Bubastis (1887-89), by E. Naville. 54 plates. 
 1891. Festival Hall of Osorkon II. in the Great Temple of Bubastis (1887— 
 89), by E. Naville. 40 plates. 1892. Beni Hasan, Part I., by P. Newberry. 
 49 plates. 1893. 8 vols. in 4, 4to, half maroon levant morocco, gilt top, 
 
 uncut. 
 
 London, 1886-93. 
 
 1705 — Egypt Exploration Fund. 
 
 Archaeological Reports, 1892-95. Illustrations and maps. 3 vols., 4to, paper. 
 
 London, 1892-95. 
 
 1706 — Egypt Exploratioti Fund. » 
 
 Beni Hasan, Part I., by P. E. Newberry. 49 plates. Temple of Deir el Bahari, 
 by E. Naville. 14 plates. 2 vols., 4to, boards. 
 
 London, 1893-94. 
 
 1707 — Eliot, George. 
 
 Romola. 2 vols., 12010, vellum gilt, red edges. 
 
 Leipzig, 1863. 
 
 Unique copy, extra illustrated by the insertion of 70 photographs. 
 
 1708 — Eliot, George. 
 
 Romola. Illustrations by Sir F. Leighton, 
 gilt top, uncut. 
 
 2 vols., royal 8vo, half brown morocco, 
 
 London, 1880. 
 
 No. 517 of 1,000 copies printed, with illustrations on India paper. 
 
 1709 — Emerson, Ralph Waldo. 
 
 Complete Works. Portrait, etc., on India paper. 12 vols., 8vo, half calf extra, 
 gilt top, uncut. 
 
 Edition de luxe. Only 500 printed. No. 428. 
 
 Cambridge, 1883-93. 
 
1710 — Emerson, Ralph Waldo. 
 
 Memoir of. By J. E. Cabot. Portrait. 2 
 top, uncut. 
 
 No. 428 of 500 copies on large paper. 
 
 vols., 8vo, half brown morocco, gilt 
 Cambridge, 1887. 
 
 1711 — Encyclopaedia Britannica. 
 
 A Dictionary of Arts, Sciences, and General Literature. Numerous illustrations. 
 22 vols., 4to, half red levant morocco, gilt edges. Includes the index. 
 
 Boston, 1859-60. 
 
 1712 — English Art in the Public Galleries of London. 
 
 Upwards of 100 illustrations. Proofs on India paper. Folio, morocco extra, gilt top. 
 
 London, 1888. 
 
 1713 — Fagan , Louis. 
 
 History of Engraving in England. Illustrated by 100 typical examples, reproduced 
 from rare and unique prints in the British Museum. 3 vols., imperial folio, 
 in cloth cases. 
 
 London, 1893. 
 
 1714 — Fairchild, H. L. 
 
 History of the New York Academy of Sciences. Portraits. 
 No. 227 of 500 copies printed on large paper. 
 
 8vo, boards, uncut. 
 New York, 1886. 
 
 1715 — Fairfax Correspondence. 
 
 Memoirs of the Reign of Charles I. Edited by G. W. Johnson. Portraits. 
 2 vols., 8vo, half calf, gilt top, uncut. [Lettered in error, “ Prescott’s 
 Charles I.”] 
 
 London, 1848. 
 
 1716 — Pales, S. B. 
 
 Art Collections, etc. Illustrated, 
 top, uncut. 
 
 Royal 8vo, half brown levant morocco extra, gilt 
 
 New York, 1881. 
 
 1717 — Family Crests. 
 
 Book of. Comprising nearly every bearing, with its blazonry, 
 gravings of crests. 2 vols., post 8vo, cloth, gilt top. 
 
 Upwards of 400 en- 
 London, 1875. 
 
 1718 — Farrar , F. W. 
 
 Life and Work of St. Paul. Maps. 2 vols., 8vo, cloth. 
 
 New York, n. d. 
 
1719 — Farren, R. 
 
 Cambridge and its Neighborhood. Drawn and etched by R. Farren. 31 plates on 
 India paper. Cathedral Cities: Ely and Norwich. Introduction by E. A. 
 Freeman. 35 plates. Peterborough with the Abbeys of Crowland and 
 Thorney. 22 plates. 3 vols., folio, half brown morocco, gilt top, uncut. 
 
 Cambridge, 1881-88. 
 
 The last two are artist proof copies. 
 
 1720 — Fauriel, C. C. 
 
 History of Provencal Poetry. Translated by G. J. Adler. 8vo, cloth, uncut. 
 
 New York, i860. 
 
 1721 — Felibien des Avaux. 
 
 Plans et descriptions de deux des plus belles maisons de campagne de Pline le Con¬ 
 sul, etc. 5 plates. L’ldee du peintre parfait. 2 vols. in 1, post 8vo, old 
 calf (rubbed). 
 
 London, 1707. 
 
 1722 —Fergussony Alexander. 
 
 Laird of Lag. 8vo, cloth, gilt top, uncut (rubbed). 
 
 Edinburgh, 1886. 
 
 1723 — Fergus son, James. 
 
 History of Architecture in all Countries, from the Earliest Times to the Present Day. 
 Illustrated. 2 vols., 1865-67. History of Indian and Eastern Architecture. 
 Illustrated. 1876. Together, 3 vols., half morocco, gilt top. 
 
 London, 1865-76. 
 
 1724 — Fergus son, James. 
 
 The Parthenon: An Essay on the Mode by which Light was Introduced into Greek 
 and Roman Temples. Illustrated. 4to, ornamental cloth, uncut. 
 
 London, 1883. 
 
 1725 — Ficoroni, Francesco de’. 
 
 Maschere Sceniche e le Figure Comiche D’Antichi Romani, 
 brown morocco. 
 
 85 plates. 4to, half 
 Rome, 1736. 
 
 1726 — Field, Alice D. 
 
 Palermo: A Christmas Story. 5 etchings. 4to, boards, uncut. 
 Large paper. Presentation copy from the author. 
 
 New York, 1885. 
 
 1727 — Fielding, Henry. 
 
 Works. Edited, with biographical essay, by Leslie Stephen. Illustrations on India 
 paper, xo vols., royal 8vo, half green levant morocco extra, gilt top, uncut. 
 
 London, 1882. 
 
 250 copies printed. 
 
1728 — Fielding , Henry. 
 
 Miscellaneous Works. Portrait. 4 vols., i2mo, half blue calf. 
 
 New York, 1861. 
 
 1729— Fischbach, Fr. 
 
 Ornamente der Gewebe. 
 
 160 plates in color. Folio, morocco extra, gilt top. 
 
 1730— Fisher , Payne. 
 
 Angler’s Souvenir. Engravings by Beckwith and Topham. 
 gilt top, uncut. 
 
 Hanau, n. d. 
 
 Crown 8vo, cloth, 
 London, 1835. 
 
 1731 — Fisher ana Nichols. 
 
 Ancient allegorical, historical, and legendary paintings, in fresco, discovered in the 
 summer of 1804, on the walls of the Chapel of the Trinity ... at Stratford- 
 upon-Avon. 24 plates, some in color. Folio, half maroon morocco, uncut. 
 
 London, 1838. 
 
 The Odell copy. 
 
 1732 — Fiske, John. 
 
 The Discovery of America. Portrait. 4 vols., royal 8vo, half blue levant morocco, 
 gilt top, uncut. 
 
 Large paper copy. No. 171 of 250 copies printed. 
 
 Cambridge., 1892. 
 
 1733 — Fleming and Tibbins. 
 
 Royal Dictionary, English and French, etc. 2 vols., 4to, sheep. 
 
 Paris, 1844, 1841. 
 
 1734 — Florence. 
 
 Le tre porte del Battistero di San Giovanni di Firenze, 
 plates. Folio, half red levant morocco, gilt back. 
 
 With all the fine outline 
 Firenze, 1821. 
 
 1735 — Florence Gallery. 
 
 Imperiale e reale Galleria di Firenze. Edited by L. Bartolini, G. Bezzuoli, and 
 S. Jesi. With all the famous illustrations by F. Ranalli. 6 vols. in 5. Folio, 
 half morocco, uncut. 
 
 Firenze, 1841. 
 
 Includes a volume entirely composed of beautiful steel plate portraits of the 
 painters represented. 
 
 173G — Florence. 
 
 Palais de San Donato. Illustrated catalogue. 4to, half red levant morocco extra, 
 gilt top, uncut. 
 
 Paris, 1880. 
 
1737 — Forsyth, Wm. 
 
 Life of Marcus Tullius Cicero. Illustrations. 2 vols., i2mo, half green calf extra, 
 
 gilt top, uncut. 
 
 New York, 1865. 
 
 1738 — Fortnum, C. D. E. 
 
 
 Maiolica. Numerous woodcuts. Crown 8vo, cloth. 
 
 London, n. d. 
 
 1739 — Foster, Birket. 
 
 
 Pictures of English Landscape engraved by Dalziel. Words by Tom Taylor. 4to, 
 
 ornamental cloth, gilt edges. 
 
 
 1740 — Fox, John. 
 
 London, 1863. 
 
 Book of Martyrs. Portraits. 3 vols., royal 8vo, cloth, uncut. 
 
 London, 1844. 
 
 1741 — Franken and van der Kellen. 
 
 
 L’CEuvre de Jan van de Velde. Royal 8vo, half calf extra, uncut. 
 
 1742 — Franklin, Benjamin. 
 
 Paris, 1883. 
 
 Letters to: from his Family and Friends. Portraits. Royal 8vo, half brown 
 morocco. 
 
 
 New York, 1859. 
 
 1743 — Franks, A. W. 
 
 
 Book of Ornamental Glazing Quarries. 112 colored plates, 
 uncut. 
 
 8vo, cloth, gilt top, 
 
 London, 1849. 
 
 1744 — Freeman, E. A. 
 
 
 History of Norman Conquest of England. Maps. 6 vols., 8vo, half maroon calf 
 
 extra. 
 
 Oxford, 1873-79. 
 
 1745 — Froude, J. A. 
 
 
 History of England. 12 vols., i2mo, cloth, uncut. 
 
 New York, 1865. 
 
 1746 — Fuller, George. 
 
 
 Life and Work. 8 illustrations. 4-to, half vellum, uncut. 
 
 Boston, 1886. 
 
 No. 134 of 300 large paper copies, with illustrations on Japan paper. 
 
 1747 — Galton, Douglas. 
 
 Observations on the Construction of Healthy Dwellings, etc. Illustrated. 8vo, 
 cloth, uncut. 
 
 Oxford, 1880. 
 
1748 — Gamier, Edouard. 
 
 La Porcelaine tendre de Sevres. 50 colored plates, 
 top. 
 
 Folio, half brown morocco, gilt 
 Quantin, Paris, n. d. 
 
 1749 — Gautier, The op hile. 
 
 Emaux et Camees. 112 illustrations by Gustave Fraipont. i6mo, blue levant 
 morocco, gilt back and sides, with mosaic of rose, doubled with rose morocco, 
 gilt borders, silk guards, gilt edges, by Marius Michel. Japan paper, half-title 
 colored by hand. 
 
 Paris, 1887. 
 
 Presentation copy from Marius Michel to Ernest Poisson. 
 
 1750— Gay, Victor. 
 
 Glossaire Archeologique du Moyen Age et de la Renaissance, 
 brown levant morocco, gilt top. 
 
 A-G. 4-to, half 
 Paris, 1887. 
 
 1751 — Gelis-Didot and Laffillee. 
 
 La Peinture Decorative en France du XI e au XVI e Siecle. 
 Folio, half brown morocco, gilt top. 
 
 Numerous colored plates. 
 Paris, n. d. 
 
 1752 —Gell and Gandy. 
 
 Pompeiana. Topography, edifices, and ornaments of Pompeii. 77 steel plates, 
 besides maps, plans, etc. Royal 8vo, half morocco, gilt top, uncut. 
 
 London, 1852. 
 
 1753 — Godman Collection Catalogue. 
 
 Thirteenth century lustred vases and wall tiles. By Henry Wallis. Illustrated. 
 2 vols., 4to, half brown levant morocco, gilt top, uncut. 
 
 Nos. 63 and 48 of 200 copies privately printed. 
 
 London, 1891-94. 
 
 1754— Goethe. 
 
 Faust. Translated into English verse by Sir Theodore Martin. 2 vols., i2mo, 
 blue levant morocco, gilt fillets, doubled with satin, satin guards, gilt edges, 
 by Zaehnsdorf. 
 
 London, 1886. 
 
 1755— Gonse, Louis (editor). 
 
 L’Art ancien [et moderne] a PExposition de 1878. Par Mm. Ed. de Beaumont, 
 Th. Biais, and others. Illustrated. 2 vols., folio, half red morocco, gilt top, 
 uncut. 
 
 Paris, 1879. 
 
 1756 — Gonse, Louis. 
 
 L’Art Japonais. Numerous full-page and text illustrations, some in colors. 2 vols., 
 4to, red levant morocco, gilt back and sides, gilt edges. 
 
 Printed on vellum paper. 
 
 Paris, 1883. 
 
1757 — Gonse, Louis. 
 
 Sculpture fran^aise depuis le XIV e siecle. Numerous illustrations. Folio, cloth, 
 gilt top, uncut. 
 
 Paris, 1895. 
 
 1758— Gonse , Louis. 
 
 L’Art Gothique: L’Architecture. La Peinture. La Sculpture. Le Decor. Nu¬ 
 merous illustrations. 4to, ornamental cloth, gilt top, uncut. 
 
 Paris, n. d. 
 
 1759 — Gower, Lord Ronald (editor). 
 
 Historic Galleries of England. 132 photographs. 4 vols., folio, cloth, gilt edges 
 (loose in covers). 
 
 London, 1881-84. 
 
 1760 — Grafton Galleries. 
 
 Fair Women. Reproductions by the collotype process of some of the principal works 
 exhibited at the Grafton Galleries in 1894. Photographs by H. H. H. 
 Cameron. Folio, cloth, gilt top, uncut. 
 
 London, 1894. 
 
 No. 23 of 50 copies printed. 
 
 1761 — Grammont ( Count). 
 
 Memoirs of. By A. Hamilton. Edited, with notes, by Sir Walter Scott. Portrait 
 and 33 etchings by Delort. Proofs on India paper. Royal 8vo, cloth, uncut. 
 
 No. 685 of 780 copies printed. 
 
 London, 1889. 
 
 1762 — Gray , Thomas. 
 
 Works in Prose and Verse. Edited by Edmund Gosse. 
 half calf, gilt top, uncut. 
 
 Portrait. 4 vols., i2mo, 
 New York, 1885. 
 
 1763 — Great Artists. 
 
 Biographies of Rubens, Diirer, Titian, Rembrandt, Holbein, Murillo, Van Dyck, 
 Claude, Lawrence, Turner, Wilkie, etc. Illustrated. Together, 29 vols., 
 i2mo, cloth. 
 
 New York, 1880-87. 
 
 1764 —Great Discourse of Jesus the Christ , the Son of God. 
 
 By a Layman. 4to, half brown morocco, gilt top, uncut. 
 No. 21 of 125 large paper copies. 
 
 New York, n. d. 
 
 1765 — Greau, Julien. 
 
 Collection. Terres Cuites Grecques, etc. Plates, some colored. 4to, red levant 
 morocco, gilt, gilt top, uncut. 
 
 Paris, 1891. 
 
London, 1881. 
 
 1766 — Green, J. R. 
 
 Making of England. Maps. 8vo, cloth, uncut. 
 
 1767 — Griswold, R. W. 
 
 Republican Court, or American Society in the Days of Washington. 21 steel por¬ 
 traits. Royal 8vo, brown morocco extra, gilt edges. 
 
 New York, 1856. 
 
 Grolier Club Publications . 
 
 1768 — A Decree of Star Chamber concerning Printing. 
 
 Made July 11, 1637. Reprinted by the Grolier Club, from the first edi¬ 
 tion, by Robert Barker, 1637. 8vo, brown levant morocco, gilt top, uncut. 
 
 New York, 1884. 
 
 The first book printed by the Grolier Club. No. 73 of 150 copies printed. 
 
 1769 — Transactions of the Grolier Club. 
 
 From January, 1884, to July, 1885. Part I. 8vo, half orange levant mo¬ 
 rocco, gilt top, uncut. 
 
 New York, 1885. 
 
 1770 — De Vinne , Theodore L. 
 
 Historic Printing Types. A lecture read before the Club, January 25, 1885. 
 With additions and new illustrations. 4to, half red levant morocco, gilt top, 
 uncut. 
 
 New York, 1886. 
 
 200 copies printed on Holland paper. 
 
 1771 — Hoe , Robert. 
 
 A Lecture on Bookbinding as a Fine Art, delivered before the Grolier Club, 
 February 26, 1885. With 63 illustrations. 4to, parti-colored levant morocco, 
 gilt top, uncut. 
 
 New York, 1886. 
 
 200 copies printed. 
 
 1772 — Irving , IVashington. 
 
 A History of New York from the Beginning of the World to the End of the 
 Dutch Dynasty, etc. By Diedrich Knickerbocker. With unpublished cor¬ 
 rections of the author, illustrations by G. Boughton, W. H. Drake, and H. 
 Pyle, and etchings by H. C. Eno and F. Raubicheck. 2 vols., 8vo, blue 
 morocco Janseniste, inside borders and satin panels, gilt top, uncut. 
 
 New York, 1886. 
 
 175 copies printed on Holland paper. 
 
 1773 — Reade , Charles. 
 
 Peg Woffington. Headbands, initials, and tail pieces designed by C. M. 
 Jenckes. 2 vols., i6mo, brown levant morocco, gilt top, uncut. 
 
 New York, 1887. 
 
 250 copies printed on Holland paper. 
 
1774 — Constitution , By-laws , Reports , etc. 
 
 1887 and 1889—1892, 1896-1901 inclusive, with a duplicate of 1897. House 
 rules, 1893-95. 15 vols., i6mo, half calf, gilt top, uncut. (3 vols. in 
 
 boards.) 
 
 New York, 1887-1901. 
 
 1775 — De Vinne , Theodore L. 
 
 Christopher Plantin and the Plantin-Moretus Museum at Antwerp. With 
 illustrations by J. Pennell and others. Royal 8vo, olive morocco, Janseniste, 
 gilt top, uncut. 
 
 300 copies printed. 
 
 New York, 1888. 
 
 1776 — Matthews , William. 
 
 Modern Bookbinding Practically Considered, 
 rocco, gilt, gilt top, uncut. 
 
 300 copies printed on Holland paper. 
 
 Plates. 4to, blue levant mo- 
 New York, 1889. 
 
 1777 — Richard De Bury. 
 
 Philobiblon, Ricardi de Bury. Ex Optimis Codicibus Recensuit, Versione 
 Anglica . . . Andreas Fleming West. Frontispieces. 3 vols., 4to, 
 
 brown morocco, gilt top, uncut. 
 
 New York, 1889. 
 
 297 copies printed. 
 
 1778 — Milton , John. 
 
 Areopagitica. A Speech for the Liberty of Unlicensed Printing, to the Parlia¬ 
 ment of England. With an Introduction by James Russell Lowell. Etched 
 portraits. l2mo, blue levant morocco, gilt top, uncut. 
 
 New York, 1890. 
 
 325 copies printed on Holland paper. 
 
 1779 — Curtis , George W. 
 
 Washington Irving: A Sketch. 8vo, original red morocco, gilt top, uncut, 
 by Stikeman. 
 
 New York, 1891. 
 
 344 copies printed. 
 
 1780 — Catalogue of an Exhibition of Engraved Portraits. 
 
 Including the Effigies of the most Famous English Writers, from Chaucer to 
 Johnson. Portraits. 8vo, blue levant morocco, gilt, gilt top, uncut. 
 
 New York, 1891. 
 
 One of 200 large paper copies printed. 
 
 1781 — Exhibitions. 
 
 The Fan in all Ages. 1891. Engraved Portraits: being the Effigies of the 
 most Famous English Writers from Chaucer to Johnson. 1891. Catalogue 
 of Line Engravings. 1892. Catalogue of Portraits Engraved by W. Faithorne. 
 1893. Brief Hand-list of Original and Early Editions (Langland to Wither). 
 1893. Chronological Hand-list of Various Editions of the Complete Angler. 
 1893. 6 vols. in 1, i6mo, half blue levant morocco, gilt top, uncut. 
 
 New York, 1891-93. 
 
1782 — Exhibitions. 
 
 Bookbindings (1860-1890). 1891. Chronological List of Works of 
 
 Tennyson. 1897. Plans and Views of New York City (1651-1860). 
 1897. 3 vols. in 1, i6mo, half calf, gilt top, uncut. 
 
 New York, 1891-1897. 
 
 1783 — Conway, Moncure D. 
 
 Barons of the Potomack and the Rappahannock. Portraits, facsimiles, and illus¬ 
 
 trations. 8vo, blue levant morocco, gilt, gilt top. 
 
 New York, 1892. 
 
 360 copies printed on Italian hand-made paper. 
 
 1784 — Catalogue of Original and Early Editions of some of the Poetical and Prose Works 
 of English Writers, from Langland to Wither. 
 
 With Collations and Notes, and 87 Facsimiles of Title-pages and Frontis¬ 
 pieces: being a contribution to the Bibliography of English Literature. Royal 
 8vo, half blue levant morocco, gilt top, uncut. 
 
 New York, 1893. 
 
 400 copies printed on Holland paper. 
 
 1785 — Exhibitions. 
 
 Catalogue of Books printed by William Bradford, etc., 1893. Commercial 
 Bookbindings. 1894. Classified List of Early American Book-plates, etc., by 
 C. D. Allen. 1894. 3 vols. in 1, i6mo, half blue levant morocco, gilt top, 
 
 uncut. 
 
 New York, 1893-94. 
 
 1786 — Facsimile of the Laws and Acts of the General Assembly for their Majesties Province 
 of New York, at New York, William Bradford, I fogy. 
 
 Edited by R. L. Fowler. Folio, brown levant morocco, gilt, gilt top, uncut. 
 
 New York, 1894. 
 
 312 copies printed. 
 
 1787 — Allen, C. D. 
 
 A Classified List of Early American Book-plates. Illustrations. 8vo, half 
 
 brown morocco, gilt top, uncut (original paper wrappers bound in). 
 
 New York, 1894. 
 
 One of 350 large paper copies printed on Italian hand-made paper. 
 
 1788 — Transactions of the Grolier Club of the City of New York. 
 
 From July, 1885, to February, 1894. Part II. Illustrations. 4to, half 
 
 brown levant morocco, gilt top, uncut. 
 
 New York, 1894. 
 
 750 copies printed. 
 
 1789 —Catalogues of Exhibitions. 
 
 Early Printed Books. Tennyson. Plans and Views of New York City. 
 Titles and Frontispieces. Meryon’s Etchings and Drawings. English Liter¬ 
 ary Portraits. Sketch of Saint-Memin. Early English Bookbindings. 
 Chaucer. Portraits of George Washington. Portraits of Women Writers. 
 Engravings of F. Gaillard (3). Mosaic Bookbindings. 15 vols., i6mo, 
 paper, uncut. 
 
 New York, 1894-1902. 
 
1790 — Description of the Early Printed Books owned by the Grolier Club. 
 
 With a brief account of their printers and the history of typography in the 
 fifteenth century. Illustrations. Folio, brown levant morocco, gilt top, uncut. 
 
 New York, 1895. 
 
 400 copies printed. 
 
 1791 — The Poems of John Donne. 
 
 From the text of the edition of 1633, re vised by James Russell Lowell, with 
 the various readings of the other editions of the seventeenth century, and with 
 a preface, an introduction, and notes by Charles Eliot Norton. Portrait etched 
 by S. J. Ferris. 2 vols., i2mo, brown morocco, gilt top, uncut. 
 
 New York, 1895. 
 
 380 copies printed. 
 
 1792 — Catalogue of Books from the Libraries or Collections of Celebrated Bibliophiles and 
 Illustrious Persons of the Past. 
 
 With arms or devices upon the bindings. Plates. Small 4to, half brown 
 morocco, gilt top, uncut. 
 
 New York, 1895. 
 
 Only 350 copies printed on Holland paper. 
 
 1793 — Catalogue of the Engraved Work of Asher B. Durand. 
 
 Exhibited at the Grolier Club, April, 1895. i6mo, half brown morocco, gilt 
 top uncut (original covers bound in). 
 
 New York, 1895. 
 
 1794 — Another copy. 
 
 On large paper, with portrait. 8vo, half brown morocco, gilt top, uncut 
 (original covers bound in). 
 
 350 copies printed. 
 
 1795 — Exhibitions. 
 
 Catalogue of an Exhibition Illustrative of a Centenary of Artistic Lithography 
 (1796-1896). 1896. Engraved Portraits of French Authors. 1895. En¬ 
 
 graved Portraits of Women Writers from Sappho to George Eliot. 1895. 
 Japanese Prints. 1896. 4 vols. in 1, i6mo, half calf, gilt top, uncut. 
 
 New York, 1895-96. 
 
 1796 — Catalogue of an Exhibition Illustrative of a Centenary of Artistic Lithography, 
 1796-1896. 
 
 With 244 examples by 160 different artists. Illustrated with 20 photo-engrav¬ 
 ings from the originals. 8vo, brown levant morocco, gilt top, uncut (original 
 covers bound in). 
 
 New York, 1896. 
 
 Large paper. Only 400 copies printed. 
 
 1797 — Warren , Arthur. 
 
 The Charles Whittingham s, Printers. Portraits and illustrations. 8vo, brown 
 levant morocco, gilt top, uncut. 
 
 New York, 1896. 
 
 Only 385 copies printed. 
 
1798 — A Chronological Catalogue of the Engravings , Dry-Points , and Etchings of Albert 
 Dilrer , as exhibited at the Grolier Club. 
 
 Compiled by S. R. Koehler. Small folio, cloth, uncut. 
 
 New York, 1897. 
 
 400 copies on Holland paper. 
 
 1799 — Two Note-Books of Thomas Carlyle. 
 
 From 23d March, 1822, to 16th May, 1832. Edited by Charles Eliot 
 Norton. Portrait. Small 8vo, half morocco, gilt top, uncut. 
 
 New York, 1898. 
 
 Only 387 copies printed. 
 
 1800 — Exhibitions. 
 
 Catalogue of Etchings and Drawings by Charles Meryon, 1898. Engraved 
 Titles and Frontispieces Published in England during the Sixteenth and Seven¬ 
 teenth Centuries, 1898. English Literary Portraits, 1898. 3 vols. in 1, 
 
 i6mo, half calf, gilt top, uncut. 
 
 New York, 1898. 
 
 1801 — The Life of Charles Henry , Count Hoym , Eminent French Bibliophile , 1684—IJ36. 
 Written by Baron Jerome Pichon. Translated into English for the Grolier 
 Club, with a Sketch of the Life of the late Baron Pichon. Illustrations. Royal 
 8vo, half morocco, brocaded silk sides, uncut. 
 
 New York, 1899. 
 
 303 copies printed. 
 
 1802 — Transactions of the Grolier Club of the City of New York , from February , l8gp 
 to July , i8g<p. 
 
 Part III. View of the club house, etc. 4to, half maroon levant morocco, 
 gilt top, uncut. 
 
 New York, 1899. 
 
 470 copies printed. 
 
 1803 — Exhibitions. 
 
 Sketch of the Life of Charles Balthazar Julien Ferret de Saint Memin, 1899. 
 Engraved and Other Portraits o^ Lincoln, 1899, Original Editions of the 
 Works of Edmund Spenser, 1899. Decorated Early English Bookbindings, 
 1899 (2 copies). 5 vols. in 1, i6mo, half calf, gilt top, uncut. 
 
 New York, 1899. 
 
 1804 — A Translation of Giovanni Boccaccio’s Life of Dante. 
 
 With an introduction and a note on the portraits of Dante. By G. R. Car¬ 
 penter. Portrait. Small 4to, emblematic board covers, uncut, in slip case. 
 
 New York, 1900. 
 
 Only 300 copies printed on Italian hand-made paper. 
 
 1805 — Catalogue of Etchings and Dry-Points by Rembrandt. 
 
 Selected for exhibition at the Grolier Club of the City of New York, April— 
 May, 1900. Etched portrait. Small 4to, cloth, uncut. 
 
 New York, 1900. 
 
 310 copies printed. 
 
1806 — Catalogue of an Exhibition of First and Other Editions of the Works of John 
 Dryden (1631-1700). 
 
 Together with a few engraved portraits and two oil paintings. Commemora¬ 
 tive of the 200th anniversary of his death. Small 8vo, paper, uncut. 
 
 New York, 1900. 
 
 1807 — Exhibitions. 
 
 Engraved Portraits of Washington, 1900. Original and Other Editions, Por¬ 
 traits and Prints, Commemorative of the 500th Anniversary of the Death of 
 Chaucer, 1900. First and Other Editions of the Works of John Dryden, 
 1900. 3 vols. in 1, i6mo, half calf, gilt top, uncut. 
 
 New York, 1900. 
 
 1808 — De Vinne , Theodore Low. 
 
 Title-pages as Seen by a Printer. With numerous illustrations in facsimile. 
 And some observations on the early and recent printing of books. Svo, half 
 
 morocco, uncut, in slip case. 
 
 ■ New York, 1901. 
 
 325 copies printed on Italian hand-made paper. 
 
 1809 —Catalogue of an Exhibition of Selected Works of the Poets Laureate of England. 
 
 i6mo, paper, uncut. 
 
 New York, 1901. 
 
 1810 —Another copy. 
 
 On large paper, with portrait of Jonson engraved by S. A. Edwards. 8vo, 
 boards, uncut. 
 
 300 copies printed. 
 
 1811 — Gross, S. E. 
 
 Merchant Prince of Cornville. 4to, cloth, gilt top, uncut 
 
 Cambridge, 1896. 
 Privately printed. The source of Rostand’s “ Cyrano de Bergerac ” ! 
 
 1812 — Gruner and Lose. 
 
 Terra-cotta Architecture of North Italy, XII.-XV. centuries. 48 illustrations 
 in colors, woodcut sections, etc. 4to, half morocco, gilt top. 
 
 London, 1867. 
 
 1813 — Guiffrey, Jules. 
 
 Histoire de la Tapisserie depuis le Moyen Age jusqu’a nos jours. Colored frontispiece 
 and numerous other illustrations. Royal 8vo, half red levant morocco extra, 
 gilt top, uncut. 
 
 T oiirc 
 
 J814—“ Hackle , Palmer ” [ R. Blakey\. 
 
 Hints on Angling. (France and Belgium.) 8vo, cloth, uncut. 
 
 London, 1846. 
 
1815 — Hague Museum. 
 
 Das Konigliche Museum im Haag. 134 superb photographs from the original paint- 
 ings. 3 vols., imperial folio, half morocco extra. 
 
 Munchen, n. d. 
 
 1816 — Halevy, Ludovic. 
 
 L’Abbe Constantin. Etchings by Mme. Madeleine Lemaire. 4to, brown levant 
 morocco, back and sides ornamented with interlaced fillets, doubled with black 
 morocco, gold borders after the manner of Gerome, morocco guards, with bor¬ 
 ders, gilt top, uncut edges, by Zaehnsdorf. 
 
 Paris, 1887. 
 
 No. 29 of 50 Japan paper copies, with plates in four states, on satin, in blue, bistre, 
 and the regular series, and an original water color designed (signed) on the false title. 
 
 1817 — Hall, S. C. (editor). 
 
 Baronial Halls (The) and Ancient Picturesque Edifices of England. Colored plates 
 after J. D. Harding, G. Cattermole, S. Prout, W. Muller, J. Holland, etc. 
 2 vols., folio, in half brown morocco wrappers. 
 
 New York, n. d. 
 
 1818— Hals, Frans. 
 
 Eaux-fortes de. ParW. Unger. 20 fine etchings, the best examples of Hals’s works. 
 Study of the master and his works by C. Vosmaer. Folio, red morocco extra. 
 
 Proof copy. 
 
 Leyden, 1873. 
 
 1819 — Ha??ierton, Philip Gilbert. 
 
 Etching and Etchers. Third edition, enlarged and improved. Illustrated with 48 
 full-page etchings after the most famous masters. Folio, half green morocco, 
 gilt top, uncut. 
 
 London, 1880. 
 
 1820— Hatnerton, P. G. 
 
 The Graphic Arts: A Treatise on the Varieties of Drawing, Painting, and Engraving. 
 54 illustrations. 4to, parchment, gilt top, uncut. 
 
 London, 1882. 
 
 1821 — Hamerton, P. G. 
 
 Landscape. Illustrated with original etchings by Parrish, Lalanne, Slocombe, Hardy, 
 Pennell, and others, and line and mezzotint engravings after Turner, Corot, 
 Linnell, Landseer, Cox, Hunt, and others. Folio, vellum, gilt, uncut. 
 
 London, 1885. 
 
 Large paper copy. 
 
 1822 — Hamerton, P. G. 
 
 Man in Art. Illustrated with 46 fine etchings, mezzotints, etc. Folio, cloth, uncut. 
 
 London, 1892. 
 
FOURTH AND LAST EVENING'S SALE 
 
 Friday, January 30th, 1903 
 
 BEGINNING PROMPTLY AT 8 O’CLOCK 
 
 Fine ^4rt and Other Books 
 
 1823 — Hamerton, P. G. 
 
 Present State of the Fine Arts in France. Numerous illustrations, including 7 etch¬ 
 ings by Mile. Poynot, H. Manesse, B. Damman, P. A. Masse, and H. 
 Toussaint. Folio, cloth, gilt edges. 
 
 London, 1892. 
 
 1824 — Hamilton Palace Collection. 
 
 Illustrated and priced Catalogue. 4to, cloth, uncut. 
 
 London, 1882. 
 
 1825 — Harrisse, Henry. 
 
 Discovery of North America. Maps. 4to, half brown morocco, gilt top, uncut. 
 
 London, 1892. 
 
 No. 22 of 40 copies printed on Dutch paper. 
 
 1826 — Havard, Henry. 
 
 La Hollande a vol d’oiseau. Numerous etchings and woodcuts by M. Lalanne. 
 Imperial 8vo, maroon levant morocco, gilt and blue mosaic back and sides, 
 inside borders, gilt edges. 
 
 Paris, 1882. 
 
1827-— Hazard, Henry. 
 
 La Flandre a vol d’oiseau. Numerous etchings after nature by Maxime Lalanne. 
 Imperial 8vo, brown levant morocco, gilt back and sides, inside borders, gilt 
 edges. 
 
 Paris, 1883. 
 
 No. 47 of 100 copies on Holland paper, with a second set of illustrations, proofs 
 on India paper. 
 
 1828 — Havard, Henry. 
 
 L’Art dans la Maison (Grammaire de rAmeublement). 52 full-page plates and many 
 text illustrations. Folio, half brown levant morocco extra, gilt top, uncut. 
 
 Paris, 1884. 
 
 100 copies printed, with an extra set of proofs. 
 
 1829 — Another Copy. 
 
 4to, half maroon levant morocco, gilt top, uncut. 
 
 No. 87 of 100 copies printed on papier verge. 
 
 1830 — Havard and Vachon. 
 
 Les Manufactures Nationales: Les Gobelins, La Savonnerie, Sevres, Beauvais. Pro¬ 
 fusely illustrated. Imperial 8vo, half red morocco, gilt top, uncut. 
 
 Paris, 1889. 
 
 1831 — Havard, H „ 
 
 Dictionnaire de 1 ’Ameublement et de la Decoration depuis le XIII e siecle jusqu’a nos 
 jours. 256 plates, some colored, and over 2,500 engravings in the text. 4 
 vols., folio, half red levant morocco extra, gilt top, uncut. 
 
 Paris, n. d. 
 
 1832 — Hawkins, Rush C. 
 
 Titles of the First Books from the Earliest Presses established in different Cities, 
 Towns, and Monasteries in Europe, before the end of the Fifteenth Century, 
 with Brief Notes upon their Printers. Illustrated with reproductions of early 
 types and first engravings of the printing-press. 4to, cloth, uncut. 
 
 New York, 1884. 
 
 No. 5 of 300 copies. 
 
 1833 — Hawthorne, Julian. 
 
 Nathaniel Hawthorne and His Wife. Illustrated. 2 vols., i2mo, cloth, gilt top. 
 
 Boston, 1885. 
 
 1834 — Hawthorne, Nathaniel. 
 
 Complete Works. Portraits, etc., on India paper. 12 vols., 8vo, half red levant 
 morocco, gilt top, uncut. 
 
 Edition de luxe. No. 76 of 250 copies printed. 
 
 Cambridge, 1883-84. 
 
London, 1863. 
 
 1835 — Haydn, Joseph. 
 
 Dictionary of Dates. 8vo, cloth, uncut. 
 
 1836 — Hay don, Benjamin Robert. 
 
 Correspondence and Table Talk, with a Memoir by his son, F. W. Haydon. Illus¬ 
 trated. 2 vols., 8vo, cloth, uncut. (Vol. I. loose in covers.) 
 
 London, 1876. 
 
 1837 — Hazlitt, JV. C. 
 
 Gleanings in Old Garden Literature, 
 uncut. 
 
 Crown 8vo, half brown morocco, gilt top, 
 
 London, 1887. 
 
 1838 — Hefner-AIteneck, J. H. von. 
 
 Serrurerie ou les ouvrages en fer forge du Moyen Age et de la Renaissance. Translated 
 into French by D. Ramee. 84 plates. 4to, half brown morocco, gilt top, 
 uncut. 
 
 Paris, 1870. 
 
 1839 — Hefner-Alteneck, J. H. von. 
 
 Original-Zeichnungen deutscher Meister des i6ten Jahrhunderts, etc 
 (minus 11). Folio, unbound, inboard wrappers. 
 
 Plates 1-18 
 
 Frankfurt, 1889. 
 
 1840 — Heiss, Aloiss. 
 
 Les Medailleurs de la Renaissance. Venise et les Venitiens du XV e au XVII 6 siecle. 
 1887. Numerous illustrations. Florence et la Toscane sous les Medicis. 
 1892. 2 vols., 4to, half levant morocco (not uniform), gilt top, uncut. 
 
 Paris, 1887-92. 
 
 1841 — Helps, Arthur. 
 
 Friends 
 
 in Council: A Series of Readings, and Discourse Thereon. 2 vols., post 
 8vo, blue straight grain morocco, gilt, gilt edges. 
 
 London, 1854. 
 
 1842 — Helps, Arthur. 
 
 Companions of my Solitude. Post 8vo, calf, gilt. 
 
 London, 1854. 
 
 1843 — Henley, IV. E. (editor). 
 
 Century of Artists: A Memorial of the Glasgow International Exhibition. 1888. 
 Descriptions of pictures by R. Walker. Numerous illustrations. Folio, 
 buckram, gilt top, uncut. 
 
 Glasgow, 1889. 
 
 No. 124 of 215 large paper copies, with proofs on Japan paper. 
 
1844 — Henley, W. E. (editor). 
 
 Lyra Heroica: A Book of Verse for Boys, 
 sides, gilt top, uncut. 
 
 No. 33 of ioo large paper copies. 
 
 8vo, blue levant morocco, gilt back and 
 
 London, 1892. 
 
 1845 — Henry, Patrick. 
 
 Life, Correspondence, and Speeches. By W. W. Henry, 
 cloth, gilt top, uncut. 
 
 Limited edition. 
 
 Portrait. 3 vols., 8vo, 
 New York, 1891. 
 
 1846— Herbert, George. 
 
 Works. Portrait, etc. 2 vols., post 8vo, half blue calf extra, gilt top, uncut. 
 
 Pickering, London, 1848-57. 
 
 1847 — Heuzey, Leon. 
 
 Les figurines antiques de terre cuite du Musee du Louvre, 
 levant morocco extra, gilt top, uncut. 
 
 56 plates. 4to, half red 
 Paris, 1883. 
 
 1848 — Hill, George B. 
 
 Footsteps of Dr. Johnson, 
 gilt top, uncut. 
 
 Portrait and illustrations. 
 
 Large paper copy. 
 
 4to, half brown morocco, 
 London, 1890. 
 
 1849 — Hipkins, A. J. 
 
 Musical Instruments, Historic, Rare, and Unique. 
 Folio, half red levant morocco, gilt edges 
 
 1,040 copies printed. 
 
 50 plates in colors, by W. Gibb. 
 
 Edinburgh, 1888. 
 
 1850 — Hodgkin, J. E. and Edith. 
 
 Examples of Early English Pottery, Named, Dated, and Inscribed, 
 cloth, gilt top. 
 
 No. 259 of 500 copies printed. 
 
 Illustrated. 4to, 
 London, 1881. 
 
 1851 — Hoffmann, E. T. A. 
 
 Contes Fantastiques tires des freres de Serapion et des contes nocturnes. Traduc¬ 
 tion de Loeve-Veimars. Preface by G. Brunet. 11 etchings by Lalauze. 
 2 vols., i2mo, half red levant morocco, gilt top, uncut. 
 
 Paris, 1883. 
 
 Holland paper copy. 
 
1852 — Hoffman, H. 
 
 Collection: Catalogue des antiquites Egyptiennes redige par Georges Legrain. 48 
 plates. 4to, half calf extra, gilt top, uncut. 
 
 Paris, 1894. 
 
 1853 — Hofland, T. C. 
 
 British Anglers’ Manual, 
 uncut. 
 
 Edited by E. Jesse. Engravings. Crown 8vo, cloth, 
 
 London, 1848. 
 
 1854 — Holbein, Hans. 
 
 Portraits of the Court of Henry VIII. With Memoirs by E. Lodge. 83 colored 
 portraits by Bartolozzi. Folio, half red morocco, gilt edges. 
 
 London, 1812. 
 
 1855 — Holbein, Hans (at Windsor ). 
 
 Portraits of Illustrious Personages of the Court of Henry VIII. Historical introduc¬ 
 tion by R. R. Holmes. 54 plates on Japan paper. Folio, half vellum, gilt, 
 gilt top, uncut. 
 
 London, Munich, n. d. 
 
 1856— Holbein, Ha?is. 
 
 Par P. Mantz., Numerous illustrations. Folio, half red levant morocco, gilt top. 
 
 Quantin, Paris, 1879. 
 
 1857 — Holbein, Hans. 
 
 Dessins d’ornaments de. Text by E. His. 
 morocco, gilt top, uncut. 
 
 51 fine plates. 
 
 Holland paper copy. No. 184 of 250 copies. 
 
 Folio, half brown 
 Paris, 1886 
 
 1858 — Holbein. 
 
 Hans Holbein’s des Aelteren Silberstift-Zeichnungen im Koniglichen Museum zu 
 Berlin. Reproductions of 82 works by A. Frisch. Text by Dr. A. Wolt- 
 mann. Folio, half red morocco, gilt and mosaic back, gilt top, uncut. 
 
 Nuremberg, n. d. 
 
 1859 — Homer. 
 
 Iliad. 
 
 Rendered into English blank verse by Edward, Earl of Derby. 2 vols., i2mo, 
 cloth. 
 
 New York, 1865. 
 
 1860 — Hood, Thomas. 
 
 Works. Portraits, etc. 6 vols., i2mo, half calf extra, gilt top, uncut. 
 
 New York, 1861. 
 
1861 — Hood, Thomas. 
 
 Poems. Illustrated by G. Dore. 8 steel engravings. Folio, cloth, gilt edges. 
 
 London, 1870. 
 
 1862 — Hope, Thomas. 
 
 Costume of the Ancients. 200 plates in outline. 
 Original edition. 
 
 8vo, calf extra, gilt edges. 
 
 London, 1809. 
 
 1863 — Huguenot Society of America. 
 
 Proceedings, 1883-87; 1884-88; 1888-96. 3 vols., 8vo, half brown morocco, 
 
 gilt top, uncut. 
 
 1864 — Huguenot Society of America. 
 
 • Collections of. Vol. I. Royal 8vo, half cloth, gilt top. 
 
 1865 
 
 New York, 1884-96. 
 
 New York, 1886. 
 
 Huguenot Society of America. 
 
 Tercentenary Celebration of the Promulgation of the Edict of Nantes. Portraits, etc. 
 8vo, cloth, gilt top, uncut. 
 
 New York, 1900. 
 
 1866 — Huguenot Society of London. 
 
 Publications. Vols. XIII., XIV. 2 vols., 4to, paper, uncut. 
 
 Lymington, 1899-1901. 
 
 No. 392 and 382 of 450 copies printed. 
 
 1867 — Humphreys, A. L. 
 
 The Private Library: what we do know, what we don’t know, what we ought to 
 know about our books. 4to, cloth, gilt top, uncut. 
 
 New York, 1897. 
 
 1868 — International American Conference Reports. 
 
 4 vols., 4to, half brown levant morocco, gilt top. 
 
 English edition. Includes Historical Appendix. 
 
 Washington, 1890. 
 
 1869 — Irving, Washington. 
 
 Works. 10 vols., i2mo, cloth, uncut. 
 
 New York, 1850-51. 
 
 1870 — Irving, Washington. 
 
 Life of George Washington. Numerous steel portraits, etc. 5 vols., 4to, half brown 
 levant morocco, gilt back and top. 
 
 New York, 1855-59. 
 
 First edition, no copies only printed in quarto, with proof impressions of the 
 portraits on India paper. 
 
1871 — Irving, Washington. 
 
 History of New York by Diedrich Knickerbocker. Portrait and 
 brown morocco, gilt back and sides, gilt edges. 
 
 engravings. 8vo. 
 New York, i860. 
 
 1872 — Irving , Washington. 
 
 Life and Letters of. By Pierre M. Irving, 
 antique, not uniform. 
 
 Portrait. 3 vols., i2mo, half calf 
 New York, 1862-63. 
 
 1873 — Irving , Washington. 
 
 Life and Letters. By P. M. Irving. Illustrated with a large number of steel por¬ 
 traits not in the small paper copies. 3 vols., 4to, half green levant morocco 
 extra, gilt top, uncut. 
 
 New York, 1883. 
 
 No. 49 of 300 copies printed. 
 
 1874 — Irving , Washington. 
 
 Sketch Book. Artist’s edition. Portrait. Illustrated with 120 engravings on wood 
 from the designs of Darley, Hart, Hoppin, Huntington, Casilear, McEntee, 
 Kensett, and others. 4to, green levant morocco, gilt, gilt edges. 
 
 New York, 1864. 
 
 1875 — Irving , Washington. 
 
 The Alhambra. Illustrations and colored borders. 2 vols., 8vo, cloth, gilt top, 
 uncut. 
 
 No. 52 of 100 copies, with proofs on Japan paper. 
 
 New York, 1891. 
 
 1876 — Irving , Washington. 
 
 Rip van Winkle. 53 illustrations by G. H. Boughton. 
 back and edges, by Zaehnsdorf. 
 
 Crown 8vo, blue calf, gilt 
 London, 1893. 
 
 1877 — Israels , Jozef, L’Homme et LI Artiste. 
 
 Text by F. Netscher and Ph. Zilcken. Etchings by Wm. 
 on India paper. Imperial folio, half brown morocco. 
 
 Steelink, the large plates 
 Amsterdam, n. d. 
 
 1878 — Ivories. 
 
 Ivoires de la Ville de Volterra. Florence, 1880. Collection de M. Rusca de Flor¬ 
 ence, 1883. Both illustrated. 2 vols. in 1, royal 8vo, half blue morocco 
 extra, gilt top, uncut. 
 
 1879— Jackson , T. G. 
 
 Dalmatia; The Quarnero and Istra. Illustrated. 3 vols., 8vo, brown levant 
 morocco, inside borders, gilt edges, by Zaehnsdorf. 
 
 Oxford, 1887. 
 
1880— Jackson, T. G. 
 
 Dalmatia; The Ouarnero and Istra. 
 
 Illustrated. 3 vols., 8vo, half vellum, uncut. 
 
 1881— Jacquemart, Albert. 
 
 Histoire de la Ceramique. 200 woodcuts, 12 etchings, 1,000 marks and mono¬ 
 grams. Royal 8vo, ornamented vellum, gilt top. 
 
 Paris, 1873. 
 
 1882— Jacquemart, Albert. 
 
 History of the Ceramic Art. Translated by Mrs. Bury Palliser. 
 trations. Royal 8vo, cloth, gilt top, uncut. 
 
 Numerous illus- 
 London, 1877. 
 
 1883— Jacquemart, Albert. 
 
 History of Furniture. Edited by Mrs. Bury Palliser. 
 Royal 8vo, cloth, gilt top, uncut. 
 
 Numerous illustrations. 
 London, 1878. 
 
 1884 '—Jacquemart a?id Le Blant. 
 
 Histoire artistique, industrielle et commerciale de la porcelaine. 
 half green morocco, gilt top, uncut, by Chatelin. 
 
 26 etchings. Folio, 
 Paris, 1862. 
 
 1885— Janin, Balzac, Cormenin, and others. 
 
 Pictures of the French. 230 wood engravings. 
 Portraits on India paper. 
 
 8vo cloth (loose in covers). 
 
 London, 1840. 
 
 1886 — Jay, John. 
 
 Correspondence and Public Papers of (1763-1826). Edited 
 4 vols., 8vo, half brown morocco, gilt top, uncut. 
 
 No. 149 of 750 copies. 
 
 by H. P. Johnston. 
 New York [1890]. 
 
 1887 — Jesse, J. H. 
 
 Memoirs of the Court of England from the Revolution in 1688 to the Death of 
 George the Second. Steel portraits. 3 vols., 8vo, half green calf extra. 
 
 London, 1843. 
 
 1888— Jones, Owen. 
 
 Grammar of Ornament. Over 100 colored plates. Folio, half brown morocco, 
 gilt edges. 
 
 London, n. d. 
 
1889 —Justly Carl. 
 
 Diego Velazquez and His Times. Translated by Prof. A. H. Keane, and revised 
 by the author. Etched portrait, 52 wood engravings, and plan. Royal 8vo, 
 half brown morocco, gilt top, uncut. 
 
 •> London, 1889. 
 
 1890 — Kean , Edmund. 
 
 Life of. By F. W. Hawkins. 2 vols., 8vo, calf extra, gilt edges, by Riviere. 
 
 London, 1869. 
 
 Unique copy, extra illustrated by the insertion of 80 plates. 
 
 1891 —Kelmscott Press. 
 
 The Golden Legend of Master William Caxton done anew. 3 vols., 4to, half red 
 morocco extra, gilt top, uncut. 
 
 Kelmscott Press, 1892. 
 
 Printed in the type known as “ Golden,” with two woodcuts designed by Sir E. 
 Burne-Jones. 
 
 1892 — Kelmscott Press. 
 
 The Recuyell of the Histories of Troye. Translated by William Caxton. 3 vols. 
 in 2, folio, vellum, uncut. 
 
 Kelmscott Press, 1892. 
 
 Printed in red and black (300 copies) and richly ornamented with woodcut orna¬ 
 ments designed by Wm. Morris. The semi-gothic type designed by Morris appears 
 for the first time in this book. 
 
 1893 — Kempis, Thomas a. 
 
 Of the Imitation of Christ. Frontispiece, 
 uncut. 
 
 No. 5 of 6 copies on vellum. 
 
 1894 — Kingsley , Charles. 
 
 Works. xi vols., post 8vo, half russia. 
 
 1895 — Koehler , S. R. 
 
 8vo, brown levant morocco, gilt top, 
 
 London, 1881. 
 
 London, 1881. 
 
 Etching: An Outline of its Technical Processes and its History, with some Remarks 
 on Collecting. 30 plates. Folio, cloth, uncut. 
 
 New York, 1885. 
 
 1896 — Kohlrausch , F. 
 
 History of Germany. Translated by J. D. Haas. 8vo, cloth. 
 
 1897 — Kums, Edouard. 
 
 New York, 1845. 
 
 Antwerp. Illustrated catalogue of his collection of paintings. 4to, half green levant 
 morocco, gilt top, uncut. 
 
 Antwerp, 1898. 
 
1898 — La Fayette ( Madame ) de. 
 
 La Princesse de Cleves. £tude par M. de Lescure. 
 i2mo, half red levant morocco, gilt top, uncut. 
 
 Holland paper copy. 
 
 Frontispiece by Lalauze. 
 Paris, 1881. 
 
 1899 — La Fontaine. 
 
 Psyche. Edited by D. Jouaust. Etchings and wood engravings after Levy and 
 Giacomelli. i2mo, half red levant morocco, gilt top, uncut. 
 
 Paris, 1880. 
 
 Thick paper copy. 
 
 1900 — Lambert [Madame) de. 
 
 CEuvres morales de. Etude by M. de Lescure. Frontispiece by Lalauze. i2mo, 
 half blue morocco, gilt top, uncut. 
 
 Paris, 1883. 
 
 1901 — Lamborn , R. H. 
 
 Mexican Painting and Painters. Illustrated. 4to, cloth, uncut. 
 
 New York, 1891. 
 
 No. 81 of 500 copies printed for the author. Presentation copy. 
 
 1902 — Layardy Austen H. 
 
 Nineveh and its Remains. Illustrated. 2 vols., 8vo, cloth, uncut. 
 
 New York, 1849. 
 
 1903 — Leighton , Sir F. 
 
 Illustrated Chronicle by Ernest Rhys,with Essay by F. G. Stephens, 
 trated. 4to, cloth, gilt top, uncut. 
 
 Profusely illus- 
 London, 1895. 
 
 1904 — Lelandy C. G. 
 
 Etruscan Roman Remains in Popular Tradition, 
 uncut. 
 
 Illustrated. Royal 8vo, cloth, 
 New York, 1892. 
 
 1905 — Lempri'ere, J. 
 
 Bibliotheca Classica. 8vo, half green morocco. 
 
 New York, 1832. 
 
 1906 — Leonardo da Find. 
 
 Literary Works of. By Jean Paul Richter. Portrait and 121 plates. 2 vols., royal 
 8vo, cloth, gilt top. 
 
 English and Italian text. 
 
 London, 1883. 
 
1907 — Le Plongeon, Augustus. 
 
 Sacred Mysteries among the Mayas and the Quiches 11,500 Years Ago, etc. Por¬ 
 trait and other illustrations. 8vo, cloth, uncut. 
 
 New York, 1886. 
 
 1908 — Le Sage , A. R. 
 
 Le Diable Boiteux. Preface by H. Reynald. Portrait and other etchings by Lalauze. 
 2 vols., i2mo, half red levant morocco, gilt top, uncut. 
 
 Holland paper copy. 
 
 Paris, 1880. 
 
 1909 — Library of Old Authors. 
 
 Lucasta, by R. Lovelace. 1864. Whole Works of Roger Ascham, now first col¬ 
 lected. 1865. 3 vols. in 4. Hesperides, by R. Herrick. 1869. 2 vols. 
 
 Complete Works of M. Drayton. 1876. 3 vols. Together, 9 vols. in 10, 
 
 crown 8 vo, half calf, gilt top, uncut. 
 
 London, 1864-76. 
 
 Large paper copies. 
 
 1910 —Liechstentein ( Princess ) Marie. 
 
 Holland House. Numerous steel plates, woodcuts, and photographic illustrations. 
 2 vols., 4to, half blue morocco, gilt, gilt top. 
 
 Large paper copy. 
 
 London, 1874. 
 
 1911 — Linde , Antonius von der. 
 
 Geschichte der Erfindung der Buchdruckkunst. Illustrated, 
 levant morocco, gilt top, uncut. 
 
 3 vols., folio, half red 
 Berlin, 1886. 
 
 1912 — Linton , W. J. 
 
 Masters of Wood-Engraving. Colored frontispiece and numerous other illustrations. 
 Royal 4to, cloth, gilt top, uncut. 
 
 London, 1889. 
 
 No. 19 of 100 large paper copies printed. 
 
 1913 — Little Classics. 
 
 Edited by Rossiter Johnson. 9 vols., i2mo, half calf extra, marbled edges. 
 
 Boston, n. d. 
 
 1914 — Livingstone , D. 
 
 Missionary Travels and Researches in South Africa. Portrait, illustrations, and maps. 
 8vo, cloth. 
 
 
 New York, 1858. 
 
1915 — Longfellow , H. JV. 
 
 Writings of, in Prose and Verse. With Bibliographical and Critical Notes. Numerous 
 
 portraits on India paper, n vols., 8vo, half citron morocco, gilt top, uncut. 
 
 , Cambridge, 1886. 
 
 Edition de luxe. No. 20 of 500 copies printed. 
 
 1916 — Longfellow, H. IV, 
 
 Final Memorials of. Edited by S. Longfellow, 
 morocco, gilt top, uncut. 
 
 No. 97 of 300 large paper copies. 
 
 Portraits. 8vo, half brown 
 Boston, 1887. 
 
 1917 — Longfellow, H. JV. (editor). 
 
 Poets and Poetry of Europe. Portrait. Royal 8vo, half calf, gilt. 
 
 Philadelphia, 1845. 
 
 1918 — Longfellow, H. JV. 
 
 Tales of a Wayside Inn. Frontispiece. i2mo, half calf. 
 First edition. 
 
 Boston, 1863. 
 
 1919 —Louis XVI. 
 
 Architecture, decoration et ameublement, Epoque de. Text by R. Pfnor. 50 plates. 
 Folio, half green levant morocco, gilt top, uncut. 
 
 Paris, 1865. 
 
 1920 — Lowell, James Russell. 
 
 Writings of. Portraits on India paper. 11 vols., 8vo, half red morocco, gilt top, 
 uncut. 
 
 Cambridge, 1890-91. 
 
 Large paper Edition de luxe. Only 300 copies printed. (No. 33.) Ten volumes 
 originally issued. Vol. XI. is “ Latest Literary Essays.” 
 
 1921 — Lowell, J. R. 
 
 Old English Dramatists. Portrait. 
 
 Large paper copy. 
 
 8vo, blue levant morocco, gilt top, uncut. 
 
 Cambridge, 1892. 
 
 1922 — Lubke, JVilhehn. 
 
 Grundriss der Kunstgeschichte. 
 brown morocco. 
 
 Portrait and 355 illustrations. 2 vols., 8vo, half 
 
 Stuttgart, 1879. 
 
 1923 — Lucas van Leyden. 
 
 CEuvre de Lucas de Leyde reproduit et publie. Par Amand-Durand. Text by G. 
 
 Duplessis. 174 reproductions from this famous master. Folio, brown morocco 
 extra. 
 
 Paris, n. d. 
 
1924 — Lundy, John P. 
 
 Monumental Christianity, or the Art and Symbolism of the Primitive Church as Wit¬ 
 nesses and Teachers of one Catholic Faith and Practice. Illustrated. 4to. 
 cloth. 
 
 New York, 1876. 
 
 1925 — Lyon, Irving W. 
 
 Colonial Furniture of New England. Profusely illustrated. 4to, cloth, uncut. 
 
 Boston, 1891. 
 
 1926 — Maberly, J. 
 
 The Print Collector. An Introduction to the Knowledge Necessary for Forming a 
 Collection of Ancient Prints. With Fielding’s Practice of Engraving. Edited, 
 with notes, etc., by Robert Hoe. 4to, half brown levant morocco, gilt top, 
 uncut. 
 
 New York, 1880. 
 
 Large paper copy. No. 17 of 50 so printed on Whatman paper, with 10 plates and 
 printer’s marks. 
 
 1927 — Maclaughlin, Fanny. 
 
 Rome, its Princes, Priests, and People. 3 vols., 8vo, cloth, uncut. 
 
 London, 1885-87. 
 
 1928 — Magnian, Hollingworth. 
 
 Colworth Collection of Works of Art. Illustrated, 
 gilt, gilt top, uncut. 
 
 Royal 8vo, blue levant morocco, 
 London, 1892. 
 
 1929 — Maistre, Xavier de. 
 
 Voyage Autour de maChambre: suivi de l’expedition nocturne. Preface by Jules 
 Claretie. 6 etchings by Hedouin. i2mo, flexible russia, gilt edges. 
 
 Paris, 1877. 
 
 1930 — Margaret of Navarre. 
 
 Les Sept Journees de la Reine de Navarre. Etchings by Flameng. 4 vols., i2mo, 
 green levant morocco, gilt and mosaic back and sides, inside borders, gilt 
 edges, by Chatelin. 
 
 Jouaust, Paris, 1872. 
 
 One of 500 copies on Holland paper. 
 
 1931 — Marry at, Joseph. 
 
 Collections towards a History of Pottery and Porcelain, in the 15th, 16th, 17th, 
 and 18th Centuries. With a description of the manufacture, a glossary, and 
 a list of monograms. Colored plates and woodcuts on India paper. 4to, 
 half red morocco, gilt top, uncut. 
 
 Large paper copy of the original issue. 
 
 London, 1850. 
 
1932 — Martin , Henri. 
 
 History of France, the Age of Louis XIV. and Decline of the Monarchy. Trans¬ 
 lated by Mary L. Booth. Portraits. 4 vols., 8vo, cloth, uncut. 
 
 Boston, 1865-66. 
 
 1933 — Masaccio. 
 
 Le Pitture esistente in Roma nella Basilica di S. Clemente colle teste lucidate dal Sig. 
 Carlo Labruzzi. With a large number of plates in stipple. Atlas folio, half 
 morocco. 
 
 Roma, 1830. 
 
 1934 — Maspero, G. 
 
 Dawn of Civilization: Egypt and Chaldaea. Map and over 470 illustrations and 
 plans. 1894. The Struggle of the Nations: Egypt, Syria, and Assyria. Map, 
 3 colored plates, and over 400 illustrations. 1896. (Both vols. edited by A. 
 H. Sayce and translated by M. L. McClure.) 2 vols., royal 8vo, cloth. 
 
 London, 1894-96. 
 
 1935 — Maupassant , Guy de. 
 
 Pierre et Jean. Illustrated by E. Duez and Albert Lynch. 2 vols., 4to, brown 
 morocco, gilt top, uncut. 
 
 Paris, 1888. 
 
 No. 13 of 50 copies on Japan paper, with plates in three states (in Vol. ii.), one 
 being on satin, and an original water-color design on the false title. 
 
 1936 — Meehan , Thomas. 
 
 Native Flowers and Ferns of the United States, in their Botanical, Horticultural, and 
 Popular Aspects. Illustrated by a large number of chromo lithographs. 4 
 vols., royal 8vo, half morocco antique. 
 
 Boston and Philadelphia, 1878-80. 
 
 Both series. This is perhaps the only book of its nature published in the United 
 States where the colored illustrations actually serve as a positive means of identifica¬ 
 tion. 
 
 1937 — Meissonier. 
 
 His Life and His Art. By Vallery C. O. Greard. With extracts from his note¬ 
 books, and his opinions and impressions on art and artists, collected by his 
 wife. Translated by Lady Mary Loyd and Miss F. Simmons. 34 plates 
 and 236 text illustrations. 4to, cloth, uncut. 
 
 New York [London], 1897. 
 
 1938 — Mexico et ses Environs. 
 
 Collection de vues monumentales, paysages et costumes du pais. 2 maps and 48 
 colored lithographs after C. Castro, Rodriguez, and Campillo. Edited by V. 
 Debray. Folio, cloth. 
 
 Mexico, 1869. 
 
 Text in French and Spanish. 
 
1939 — Michelet, M. 
 
 History of France. Translated by G. H. Smith. 2 vols., 8vo, cloth. 
 
 New York, 1845. 
 
 1940 —Milton, J. 
 
 Poetical and Prose Works. Notes and Life by J. Mitford. 
 morocco extra, gilt top, uncut. 
 
 Large paper copy. 
 
 4 vols., 4to, half brown 
 Philadelphia, 1864. 
 
 1941— Mirandola, Giovanni Pico della. 
 
 Life. By his nephew Giov. Francesco Pico. Also three of his letters; his interpreta¬ 
 tion of Psalm xvi. ; his twelve rules of a Christian life; his twelve points of a 
 perfect lover; and his deprecatory hymn to God. Translated from the Latin 
 by Sir T. More. Edited by J. M. Rigg. Imperial 8vo, half calf extra, gilt 
 top, uncut. 
 
 London, 1890. 
 
 No. 45 of 60 large paper copies. 
 
 1942 — Mollett, J. IV. 
 
 Modern Etchings of Celebrated Paintings, with essay, 
 morocco, gilt top, uncut. 
 
 20 etchings. 4to, half brown 
 London, 1883. 
 
 1943 — Montagu ( Lady ) Wort ley. 
 
 Letters and Works. Edited by Lord Wharncliffe. 
 calf extra, by Riviere. 
 
 Portraits. 3 vols., 8vo, tree 
 London, 1837. 
 
 1944 — Montrosier , Eugene. 
 
 Artistes Modernes. Over 100 photogravures, etc. 
 brown levant morocco extra, gilt top, uncut. 
 
 The photogravures are on India paper. 
 
 3 vols., imperial 8vo, half 
 Paris, 1881-82. 
 
 1945 — Moore , Frank. 
 
 Diary of the American Revolution. Portraits. 2 vols., 8vo, cloth. 
 
 New York, i860. 
 
 1946 — Morgan , Mary Jane. 
 
 Catalogue of the Art Collection of. Profusely illustrated, 
 uncut. 
 
 No. 77 of 500 copies printed. 
 
 4to, calf extra, gilt top, 
 New York, 1886. 
 
 1947 — Morris , Beverley R. 
 
 British Game Birds and Wildfowl. 60 colored plates. 4to, half red morocco, gilt 
 edges. 
 
 London, 1885. 
 
1948 — Morse, Edward S. 
 
 Japanese Homes and their Surroundings. Illustrated. Royal 8vo, cloth, gilt top, uncut. 
 
 Boston, 1886. 
 
 1949 — Moses, H. 
 
 Antique Vases, Altars, Paterae, Tripods, Candelabra, Sarcophagi, etc. With descrip¬ 
 tions by H. H. Baber, and 170 engravings, some in colors. 4to, half calf, 
 uncut. 
 
 London [1814]. 
 
 1950 — Motley, J. L. 
 
 Rise of the Dutch Republic. Portraits. 3 vols., 8vo, half calf antique. 
 
 New York, 1859. 
 
 1951— Muller, Max. 
 
 Chips from a German Workshop. 4 vols., i2mo, cloth. 
 
 New York, 1874-76. 
 
 1952 — Muller. 
 
 Sketches of the Age of Francis I. [No title-page.] 26 superbly colored plates of 
 the interiors and exteriors of famous French Chateaux. Folio, half red morocco 
 extra. 
 
 1953 — Munich Gallery. 
 
 Die K. Bayer. Gemalde-Galerie Pinakothek Miinchen. 
 
 50 India proof plates. Imperial folio, full morocco. 
 
 Text in French and German. 
 
 Text by F. von Reber. 
 Munich, n. d. 
 
 1954 — Muntz, Eugene. 
 
 Histoire de Part pendant la Renaissance. Numerous illustrations, some in color. 
 3 vols., imperial 8vo, brown levant morocco, gilt back and sides, gilt top, 
 uncut. 
 
 Paris, 1889-95. 
 
 1955 — Murray, A. S. 
 
 History of Greek Sculpture. Illustrated. 2 vols., 8vo, uncut. 
 
 London, 1890. 
 
 1956 — Newport. 
 
 Contribution to Bibliography and Literature of. 
 brown morocco, uncut. 
 
 Only 200 copies printed. 
 
 By C. E. Hammett, Jr. 4to, half 
 Newport, 1887. 
 
 1957 — New York. 
 
 Fiftieth Anniversary of the Founding of the Century Club. Illustrated. Royal 8vo, 
 cloth, gilt top, uncut. 
 
 New York, 1897. 
 
1958 — Nodier, Charles. 
 
 The Bibliomaniac. Translated from the French by Mabel Osgood Wright, and illus¬ 
 trated with a portrait as well as the original vignettes by Leloir. 8vo, vellum 
 paper, uncut edges. 
 
 Only 150 copies printed on Japan paper. 
 
 New York, 1894 
 
 1959 — Noritane, Ninagawa. 
 
 
 Notice historique et descriptive sur les Arts Japonais. Art ceramique: poterie (Parts 
 I.—VII.). 124 colored plates. Oblong 4to, paper (in cloth wrappers). 
 
 Text in Japanese. 
 
 T'okio, 1876-80. 
 
 1960 — Nowell, Robert. 
 
 
 Spending of the Money of. Edited by Rev. A. B. Grosart. 
 extra, gilt top, title damaged. 
 
 4to, half red morocco 
 
 Privately printed. 100 copies only. 
 
 Manchester, 1877. 
 
 1961 — O'Keeffe, John. 
 
 
 Recollections of the Life of. Portrait. 2 vols., 8vo, calf extra, gilt edges, by Morrell. 
 
 London, 1826. 
 
 Unique copy, extra illustrated by the insertion of 82 plates. 
 
 1962 — Oliphant (Mrs.) 
 
 The Makers of Venice. Illustrations by R. R. Holmes. 8vo, cloth, gilt top, uncut. 
 
 London, 1887. 
 
 1963 — Painter, Wm. 
 
 Palace of Pleasure. Edited by J. Jacobs. 3 vols., 4to, cloth, uncut. 
 
 No. 3 of 60 large paper copies. 
 
 London, 1890. 
 
 1964 — Palfrey, John G. 
 
 History of New England during the Stuart Dynasty. Maps, 
 red levant morocco, gilt top, uncut. 
 
 3 vols., imperial 8vo, 
 
 Boston, 1865. 
 
 Large paper copy. 
 
 
 1965 — Palissy, the Potter. 
 
 
 A Memoir, etc. By Henry Morley. 2 vols., crown 8vo, half green levant morocco, 
 
 gilt top, uncut, by Tout. 
 
 London, 1852. 
 
 1966 — Palmer, A. H. 
 
 
 Life and Letters of Samuel Palmer, Painter and Etcher. Portrait and plates. 8vo, 
 cloth, uncut. 
 
 London, 1892. 
 
1967 — Pa lustre, Leon. 
 
 La Renaissance en France. Dessins et gravures sous la direction de Eugene Sadoux. 
 3 vols., folio, red levant morocco extra, gilt edges. 
 
 Paris, 1879. 
 
 1968 — Palustre and Montault. 
 
 Tresor de Treves. Illustrated. 4to, half red levant morocco, gilt top, uncut. 
 
 Paris, n. d. 
 
 No. 8 of 50 copies on Japan paper. 
 
 1969 - Another copy. 4to, paper, uncut. 
 
 No. 6 of 50 copies on Japan paper. 
 
 1970 — Paris. 
 
 Histoire archeologique, descriptive et graphique, de la Sainte-Chapelle du palais. Par 
 Decloux et Doury. 25 plates, some colored and heightened with gold. Folio, 
 half maroon morocco, gilt top. 
 
 Paris, 1875. 
 
 1971 — Paris a Travers les Ages. 
 
 Text by A. Bonnardot, J. Cousin, and others. Numerous plates, 
 half red morocco extra, gilt top, uncut. 
 
 2 vols., folio, 
 Paris, 1885. 
 
 1972 — Parker, J. H. 
 
 Concise Glossary of Terms used in Architecture. Illustrated. Post 8vo, cloth. 
 
 Oxford, 1866. 
 
 1973 — Parkman, Francis. 
 
 Works. Maps, etc. 8 vols., i2mo, half calf. 
 
 Boston, 1882. 
 
 1974 — Pellatt, Apsley. 
 
 Curiosities of Glass Making. Illustrated. 4to, cloth, uncut. 
 
 London, 1849. 
 
 1975 — Pepys, Samuel. 
 
 Memoirs of: Comprising his Diary from 1659 to 1669, etc. Edited by Lord Bray- 
 brooke. Fine steel portraits. 5 vols., 8vo, half calf, gilt top, uncut. 
 
 Colburn, London, 1828. 
 
 1976 — Pepys, Samuel. 
 
 Diary and Correspondence of. Life and notes by Lord Braybrooke. Additional notes 
 by Rev. Mynors Bright. 10 vols., i2mo, cloth, uncut. 
 
 New York, 1884. 
 
1977 — Percier and Fontaine. 
 
 Recueil de decorations interieures, comprenant tout ce qui a rapport a rameublement, 
 
 etc. 72 plates in outline. 
 
 Folio, half morocco. 
 
 Paris, 18x2. 
 
 1978 — Perrot and Chipiez. 
 
 
 Histoire de l’Art dans l’Antiquite. I. L’Egypte. II. Chaldee et Assyrie. Pro¬ 
 fusely illustrated. 2 vols., royal 8vo, half red morocco, gilt edges. 
 
 1979 — Perrot and Chipiez. 
 
 Paris, 1882-84. 
 
 History of Art in Ancient Egypt. Translated and edited by W. Armstrong. 14 
 steel and colored plates, 598 engravings in the text. 2 vols., royal 8vo, half 
 red levant morocco, gilt top, uncut. 
 
 London, 1883. 
 
 1980 — Perry , H. Beers. 
 
 Old Burying-ground of Fairfield, Conn. Also an account of the “ Rebuilding of the 
 Tomb,” July 8, 1881. 8vo, cloth. 
 
 1981 — Persia. 
 
 Hartford, 1882. 
 
 Monuments modernes de la Perse, mesures, dessines, et decrits. Par Pascal Coste. 
 71 plates. Folio, half red morocco. 
 
 1982 — Petit and Bisiaux. 
 
 Paris, 1867, 
 
 Motifs de decorations. Extraites de Journal-Manuel de peintures. 100 plates in 
 color. 2 vols., folio, half morocco. 
 
 1983 — Piccolpassi, Cyprian. 
 
 Paris, 1862, 
 
 Les Troys Libvres de l’Art du Potier. Translated into French by C. Popelyn. 37 
 plates. 4to, half brown morocco extra, gilt top, uncut. 
 
 
 Paris, i860. 
 
 1984 — Piot, Eugene. 
 
 
 Catalogue of the Collection of. 
 top, uncut. 
 
 29 plates. 4to, half brown levant morocco, gilt 
 
 Paris, 1890. 
 
 1985 — Plon, Eugene. 
 
 
 Thorvaldsen: His Life and Works. Translated by Mrs. Cashel Hoey. 39 steel and 
 wood engravings. Royal 8vo, cloth. 
 
 London, 1874. 
 
1986 — Poe , Edgar Allan. 
 
 Histoires Extraordinaires traduites par Charles Baudelaire. 13 illustrations. 
 Nouvelles Histoires, etc. 13 etchings. 2 vols., 8vo, half calf, gilt top. 
 
 Paris, 1884. 
 
 1087 — Pollard, A. W. 
 
 Early Illustrated Books: a history of the Decoration and Illustration of Books in the 
 15th and 16th Centuries. Illustrated. Crown 8vo, cloth, uncut. 
 
 London, 1893. 
 
 1988 — Polo , Marco. 
 
 Book Concerning the Kingdoms and Marvels of the East. Translated by Col. H. 
 Yule. Illustrated. 2 vols., 8vo, cloth, uncut. 
 
 London, 1875. 
 
 1989 — Porcelain. 
 
 Interpretation des peintures dessinees sur un service de table travaille d’apres la bosse 
 dans la royale fabrique de porcellaine. Par ordre de Sa Majeste le Roi des 
 Deux Siciles. 179 plates. 4-to, half calf. 
 
 Naples, 1787. 
 
 1990 —Portalis [Baron) Roger. 
 
 Les Dessinateurs d’illustrations au i8ieme siecle. Etched frontispiece, 
 half calf, citron edges. 
 
 No. 396 of 500 copies on Holland paper. 
 
 2 vols., 8VO, 
 Paris, 1877. 
 
 1991 — Portalis and Beraldi. 
 
 Les Graveurs du i8ieme siecle. 3 vols. in 6, 8vo, half calf, citron edges. 
 
 No. 477 of 500 copies on Holland paper. 
 
 Paris, 1880-82. 
 
 1992 — Porter , Noah. 
 
 The Two-hundredth Birthday of Bishop George Berkeley (March 12, 1885). 
 Frontispiece. 8vo, blue levant morocco, gilt back and sides, gilt top, uncut. 
 
 1993 — Pottier and Reinach. 
 
 New York, 1885. 
 
 Ecole Fran^aise d’Athenes. La Necropole de Myrina. 51 plates, 
 half brown levant morocco, gilt top, uncut, by Zaehnsdorf. 
 
 Vol. ii. contains the plates. 
 
 2 vols., 4-to, 
 Paris, 1888. 
 
 1994 —Prescott, TV. H. 
 
 History of the Conquest of Peru. Portraits. 2 vols., 8vo, half red morocco, gilt 
 top, uncut. 
 
 New York, 1848. 
 
1995 — Prescott, W. H. 
 
 History of the Reign of Ferdinand and Isabella. Portraits, etc. 3 vols., 8vo, half 
 brown morocco, gilt top. 
 
 New York, 1848. 
 
 Boston, 1864. 
 
 1996 — Prescott , W. H. 
 
 History of the Reign of Philip Second. Portraits. 3 vols., 8vo, half maroon mo¬ 
 rocco, gilt top, uncut. 
 
 Boston, 1855-58. 
 
 First edition, 
 
 1997 — Prescott , W. H. 
 
 Life of. By George Ticknor. Portrait. 4to, cloth, uncut. 
 
 Large paper copy. 
 
 1998 — Prevost, Abbe. 
 
 Histoire de Manon Lescaut, etc. Essay by Houssaye. 6 etchings by Hedouin. 2 
 vols., i2mo, half red levant morocco, gilt top, uncut. 
 
 Paris, 1874. 
 
 Holland paper copy. 
 
 1999 — Prevost, AbbL 
 
 History of Manon Lescaut, etc. Preface by de Maupassant. Illustrated by M. 
 Leloir (12 full-page illustrations). Royal 8vo, brown levant morocco, mosaic 
 back and sides, with rich gold tooling, inside borders, gilt edges. 
 
 London, 1886. 
 
 2000 — Property J. L. 
 
 History of Miniature Art. With notes on collectors and collections. Numerous 
 plates. 4to, cloth, uncut. 
 
 London, 1887. 
 
 2001 — Protestantism. 
 
 Societe de l’histoire du protestantisme fran^ais. Illustrated. 8vo, half green levant 
 morocco, gilt top, uncut. 
 
 [Paris, 1898.] 
 
 2002 — Pugin, A. Welby. 
 
 Floriated Ornament. A series of 31 designs, colored. 4to, half red morocco, gilt top. 
 
 London, 1875. 
 
 2003 — Quantin Classics. 
 
 Leucippe et Clitophon. Par A. Tatius. Translated by A. Pons. 1880. Dia¬ 
 
 logues des Courtisanes. Translated by Pons. 1881. Poesies de Anacreon 
 et de Sapho. Translated into verse by M. de la Roche-Aymon. 1882. 
 Jason et Medee. Par Apollonius de Rhodes. Translated by Pons. 1882. 
 All illustrated, partly in color. 4 vols., i6mo, brown levant morocco, 
 Janseniste, gilt edges. 
 
 Quantin, Paris, 1880-82. 
 
2004 — Quarles, Francis. 
 
 Emblems, Divine and Moral. With a sketch of the life and times of the author. 
 Illustrated. 4to, red straight grain morocco, gilt edges. 
 
 London, 1859. 
 
 2005 — Rabelais, F. 
 
 CEuvres de. 3 vols., 8vo, calf (Vol. I. loose in covers). 
 
 Includes Contes Drolatiques, with curious illustrations. 
 
 Paris, 1823. 
 
 2006 — Racinet, M. A. 
 
 Costume Historique, avec notices explicatives, introduction, et glossaire. 500 plates 
 (300 in gold, silver, and color, 200 tinted). 6 vols., folio, blue levant morocco, 
 gilt, gilt edges. 
 
 Paris, 1888. 
 
 Large paper copy. 
 
 2007 — Raphael. 
 
 La Fable de Psyche et L’Amour. 32 plates engraved in outline by Marchais. India 
 proofs. Folio, half levant morocco, gilt top. 
 
 Paris, 1868. 
 
 2008 — Reade, Charles. 
 
 Works. Illustrations by J. Gilbert and Charles Keene. 17 vols., crown 8vo, half 
 calf extra. 
 
 London, n. d. 
 
 2009-— Reber, Dr. Franz von. 
 
 History of Mediaeval Art. Translated by J. T. Clarke, 
 sary. 8vo, cloth. 
 
 422 illustrations, and glos- 
 New York, 1887. 
 
 2010 — Reid, S.J. 
 
 Sketch of Life and Times of the Rev. Sydney Smith, 
 cloth. 
 
 Portrait and illustrations. 8vo, 
 New York, 1885. 
 
 2011 — Rein, J. J. 
 
 Industries of Japan, 
 top. 
 
 44 illustrations, some colored, and 3 maps. 8vo, cloth, gilt 
 
 New York, 1889. 
 
 2012 — Reiss and Stiibel. 
 
 Necropolis of Ancon in Peru: contribution to our knowledge of the culture and 
 industries of the Empire of the Incas. Translated by A. H. Keene. 119 
 plates in color. 2 vols., folio, green morocco extra, gilt top, uncut. 
 
 London, 1881. 
 
 With volume of Indexes (in board wrappers). Berlin, 1880-87. 
 
2013 — Rembrandt. 
 
 L’CEuvre de : decrit et commente. Par C. Blanc. 4 vols., folio, half brown 
 levant morocco, gilt top, uncut. Vol. I. contains the plates, Vol. IV. the 
 large plates. 
 
 Paris, 1880. 
 
 2014 — Rembrandt. 
 
 Sa Vie, son CEuvre, et son temps. Par £mile Michel. Portrait and 343 reproduc¬ 
 tions. Imperial 8vo, half brown levant morocco. 
 
 Paris, 1893. 
 
 2015 — Reumont, Alfred von. 
 
 Lorenzo de’ Medici, il Magnifico. Portraits. 2 vols., 8vo, half calf, citron edges. 
 
 Leipzig, 1883. 
 
 Revolution. 
 
 2016 
 
 Year Book of the Society of the Sons of the Revolution. Illustrated. 4to, cloth, 
 uncut. 
 
 New York, 1893. 
 
 2017 — Reynolds, F. 
 
 Life and Times of. Portrait. 2 vols., 8vo, half red levant morocco, gilt top, 
 uncut. 
 
 London, 1826. 
 
 2018 — Reynolds ( a Sir) Joshua. 
 
 Life and Times of. With notices of some of his contemporaries, etc., by C. R. 
 Leslie and Tom Taylor. Illustrated. 2 vols., 8vo, half green morocco extra. 
 
 London, 1865. 
 
 2019 —Rheims Cathedral. 
 
 Tapisseries de la Cathedrale de Reims. 20 plates. Text by Ch. Loriquet. Folio, 
 blue morocco, gilt and mosaic, gilt edges. 
 
 Paris, 1882. 
 
 No. 40 of 50 copies on Holland paper. 
 
 2020 — Ricauti, T. J. 
 
 Rustic Architecture. Picturesque decorations of rural buildings in the use of rough 
 wood, thatch, etc. 42 plates. 4to, half brown morocco. 
 
 London, 1842. 
 
 2021 — Richardson, Charles. 
 
 Dictionary of the English Language. 2 vols., 4to, half red calf extra. 
 
 London, 1863. 
 
 2022 — Richardson, C. J. 
 
 Architectural Remains of the Reigns of Elizabeth and James 1 . Numerous plates, 
 some in color. 2 vols., royal folio, boards. 
 
 London, 1838-40. 
 
2023 — Richardson, Henry Hobson , and his Works. 
 
 By Mrs. Schuyler Van Rensselaer, 
 gilt top, uncut. 
 
 Portrait and other illustrations. 4to, half cloth, 
 
 Boston, 1888. 
 
 2024 — Rijksmuseum. 
 
 Die Meisterwerke des Rijksmuseum zu Amsterdam. Text by A. Bredius. Numer¬ 
 ous full-page and half-page photogravures. Folio, brown morocco, gilt back 
 and sides, gilt top, uncut. 
 
 Munich, n. d. 
 
 2025 — Riley, J. W. 
 
 Old-fashioned Roses. 
 
 Post 8vo, blue morocco extra, gilt top, uncut. 
 
 London, 1891. 
 
 2026 — Riordan , Roger. 
 
 A Score of Etchings. With text. 20 etchings by Hamerton, Haden, Herkomer, 
 Waltner, C. Hunter, etc. Folio, cloth gilt, gilt top, uncut. 
 
 New York, n. d. 
 
 2027 — Roberts , W. 
 
 Printers’ Marks. Illustrated. 8vo, vellum paper, uncut. 
 
 No. 53 of 75 copies printed on Japanese vellum. 
 
 London, 1893. 
 
 2028 — Robertson , Alex. 
 
 Bible of St. Mark. The Altar and Throne of Venice, 
 uncut. 
 
 83 Illustrations. 4to, cloth, 
 New York, 1898. 
 
 2029 — Robertson , Win. 
 
 Works: India. Map. 1804. History of Scotland. Portrait. 1806. 3 vols. His¬ 
 tory of Reign of Charles V. Frontispiece. 1806. 4 vols. History of 
 
 America. Maps. 1808. 4 vols. Together, 12 vols., 8vo, half green 
 
 morocco. 
 
 London, 1804-08. 
 
 2030 — Robida, A. 
 
 La Vieille France. La Touraine. Profusely illustrated, 
 morocco, gilt top, uncut, by Zaehnsdorf. 
 
 4to, half blue levant 
 Paris, n. d. 
 
 2031 — Robinson , Vincent J. 
 
 Eastern Carpets: twelve early examples. Preface by Sir George Birdwood. 24 
 colored illustrations after water-color drawings by E. Julia Robinson. 2 vols., 
 folio, cloth, uncut. 
 
 London, 1882-93. 
 
2032 — Rogers, Wm. B. 
 
 Life and Letters. Edited by his Wife and W. T. Sedgwick. 
 i2mo, cloth, gilt top, uncut. 
 
 Portrait, etc. 2 vols., 
 Boston, 1896. 
 
 2033 — Rome. 
 
 Select Collection of Views and Ruins in Rome and its Vicinity. 
 Folio, half morocco. 
 
 Large paper copy. 
 
 62 colored plates. 
 London, n. d. 
 
 2034— Romney, George 
 
 Life of. By W. Hayley. Numerous fine engravings by Caroline Watson. 4to, 
 green straight grain morocco, back and sides gilt and blind tooled in panels, 
 gilt edges. 
 
 Chichester, 1809. 
 
 2035 — Rose, Henry. 
 
 Three Lectures on Architecture in England, from the Earliest to the Present Time. 
 Illustrated. 8vo, cloth, uncut. 
 
 London, 1843. 
 
 2036— Rousseau, J. J. 
 
 Les Confessions. 13 etchings by Ed. Hedouin. 
 morocco, gilt top, uncut. 
 
 4 vols., i2mo, half maroon levant 
 Paris, 1881. 
 
 2037 — Rowlandson, Thomas, the Caricaturist. 
 
 Selection from his Works, with anecdotal descriptions of his famous caricatures, by 
 Joseph Grego, and nearly 400 facsimile illustrations. 2 vols., imperial 8vo, 
 half red morocco, gilt top. 
 
 London, 1880. 
 
 2038 — Royal Acade?ny of Arts. 
 
 Catalogue of Exhibition, 1886. (118th.) Illustrated. 4to, cloth, gilt edges. 
 
 London [1886]. 
 
 2039 —Rubdyiat of Omar Khayyam. 
 
 Rendered into English verse by E. Fitzgerald. 
 925 copies printed. 
 
 i6mo, vellum paper, uncut. 
 
 Mosher, Portland, 1898. 
 
 2040 — Rubens, P. P. 
 
 L’CEuvre de: histoire et description de ses tableaux et dessins. Par Max Rooses. 
 430 plates. 5 vols., 4to, half olive levant morocco extra, gilt top, uncut. 
 
 Antwerp, 1886-92. 
 
2041 — Ruskin, John. 
 
 Art Works as follows: Seven Lamps of Architecture. 1849. Stones of Venice. 
 3 vols. 1851-67. Modern Painters. 5 vols. 1860-68. 9 vols., royal 
 
 8vo, half calf extra. 
 
 London, 1849-68. 
 
 The above nine volumes are all early editions. The fifth volume of the “ Modern 
 Painters ” is the first edition as well as the “ Seven Lamps.” The famous illustrations 
 are all included. 
 
 2042 — Russell, John, R.A. 
 
 
 By G. C. Williamson. Introduction by Lord Ronald Gower, 
 tions. 4to, cloth, gilt top, uncut. 
 
 Numerous illustra- 
 
 London, 1894. 
 
 2043 — Sabourojf Collection. 
 
 
 Monuments de Part Grec. Publies. Par A. Furtwaengler. 149 plates. 2 vols., 
 folio, red morocco, gilt back and sides, gilt top, uncut. 
 
 
 Berlin, 1883-87. 
 
 2044 — Sajjord, IF. H. 
 
 
 Blennerhassett Papers. Portraits. 8vo, cloth. 
 
 Cincinnati, 1864. 
 
 2045 — Savage, J. 
 
 
 Genealogical Dictionary of the First Settlers of New England. 4 vols., 8vo, cloth, 
 uncut. 
 
 2046 — Scarron, P. 
 
 Boston, i860. 
 
 Roman Comique. Preface by P. Bourget. Portrait and other etchings by Leopold 
 Flameng. 3 vols., 12mo, half red levant morocco, gilt top, uncut. 
 
 Paris, 1880. 
 
 Holland paper copy. 
 
 
 2047 — Schaff and Gilman (editors). 
 
 Library of Religious Poetry. Portrait. Royal 8vo, cloth. 
 
 New York, 1885. 
 
 2048 — Schliernann, H. 
 
 
 Tiryns. 188 woodcuts, 24 plates, map, etc. Royal 8vo, ornamental cloth, gilt 
 top. 
 
 2049 — Schuyler, George. 
 
 New York, 1885. 
 
 Colonial New York: Philip Schuyler and his family. 2 vols., i2mo, cloth, gilt 
 top, uncut. 
 
 New York, 1885. 
 
2050 — Scott (Sir} Walter. 
 
 Waverley Novels. With 120 steel engravings and 2,000 woodcuts. i2vols., royal 
 8vo, calf gilt, gilt edges. 
 
 Edinburgh, 1842. 
 
 In spite of the temporary vogue of other editions, the above, known as the 
 “Abbotsford,” is still the most attractive. The illustrations are by Turner, Wilkie, 
 Stanfield, Martin, Allom, Nasmyth, and other equally famous artists. 
 
 2051 — Scudder , Sam. H. 
 
 Butterflies of Eastern United States and Canada. With special reference to New 
 England. Portraits, maps, and 89 plates, some in colors. 3 vols., royal 8vo, 
 half citron morocco extra, gilt top, uncut. 
 
 Cambridge, 1889. 
 
 2052 — Sedelmeyer Gallery Catalogue. 
 
 Second hundred. Illustrated. Royal 8vo, brown levant morocco gilt, gilt top. 
 
 Paris, 1885. 
 
 2053 — Sedelmeyer Gallery. 
 
 Illustrated. Royal 8vo, half green levant morocco, extra, gilt top. 
 
 Paris, 1898. 
 
 2054 — Selby , Prideaux John. 
 
 History of British Forest Trees. Nearly 200 illustrations. 8vo, cloth, uncut. 
 
 London, 1842. 
 
 2055 — Shakespeare. 
 
 Dramatic Works. Edited, with a glossary and various readings, by Sir Thomas 
 Hanmer. Numerous fine engravings on copper by Gravelot, from Hayman’s 
 designs. 6 vols., 4to, half red morocco, gilt top, uncut. 
 
 Oxford, 1770. 
 
 2056 — Shakespeare and the Rmblem Writers. 
 
 An exposition of similarities of thought and expression. By Henry Green. Numerous 
 illustrations from old engravings. Royal 8vo, green levant morocco, gilt top, 
 uncut. 
 
 London, 1870. 
 
 Large paper copy. 
 
 2057 — Shakespeare Society. 
 
 A complete set of the publications. 47 parts, in 18 vols., 8vo, calf extra, gilt top, 
 uncut, by Riviere. 
 
 London, 1841-53. 
 
 Consists of nearly fifty different works illustrative of Shakespeare: Old Plays, 
 Poems, Curious Tracts, Memoirs, etc. 
 
2058 — Shaw, Henry. 
 
 Dresses and Decorations of the Middle Ages. Numerous colored plates and other 
 illustrations. 2 vols., royal 8vo, red levant morocco, gilt back and sides, gilt 
 edges, by Bain (original covers bound in). 
 
 Pickering, London, 1843. 
 
 An original copy. 
 
 2059 — Shelley, Percy B. 
 
 Works of. Portrait. i6mo, cloth, uncut. 
 
 2060— Simms, W. Gilmore. 
 
 Works. Frontispieces. 10 vols., i2mo, half calf extra. 
 
 London, 1836. 
 
 New York, 1882. 
 
 2061 — Siret, Adolphe. 
 
 Dictionnaire historique et raisonne des peintre de toutes les ecoles. 
 2 vols., royal 8vo, half brown morocco, gilt top, uncut. 
 
 Illustrated. 
 
 London, 1883-84. 
 
 2062 — Smiles, Samuel. 
 
 Lives of the Engineers, including Boulton and Watt, 
 calf extra. 
 
 Illustrated. 4 vols., 8vo, tree 
 London, 1861-65. 
 
 2063 — Smiles, S. 
 
 Huguenots in England and Ireland. Frontispiece. Crown 8vo, cloth, uncut. 
 
 London, 1889. 
 
 2064 — Smith, J. 
 
 Catalogue Raisonne of the Works of the most Eminent Dutch, Flemish, and French 
 Painters. With biographical notices and the prices at which the pictures have 
 been sold, etc. Portraits. 9 vols., royal 8vo, calf. 
 
 London, 1829-42. 
 
 Complete, with the supplement, and now so scarce that copies are almost unpro¬ 
 curable. 
 
 2065 — Smith, John Chaloner. 
 
 British Mezzotint Portraits. Frontispieces. 4 vols., royal 8vo, cloth, uncut. 
 
 London, 1884. 
 
 2066 — Smith, William. 
 
 Dictionary of the Bible. Illustrated. 3 vols., 8vo, cloth. 
 
 Boston, 1863. 
 
 2067 — South, Robert. 
 
 Sermons Preached upon Several Occasions. Vols. I. and II. 2 vols., 8vo, half 
 brown morocco, gilt top, uncut. 
 
 New York, 1866-67. 
 
London, 1833. 
 
 2068 — Southey, R. 
 
 Beauties of Prose Works of. Crown 8vo, calf extra, gilt edges. 
 
 2069 — South Kensington Museum. 
 
 Drawings of Glass Cases, with Suggestions for the Arrangement of Specimens, 
 plates, many colored. Royal 8vo, half green morocco. 
 
 London, 1877. 
 
 55 
 
 2070 — South Kensington Museutn. 
 
 Examples of the works of art in the Museum and of the decorations of the building, 
 with brief descriptions. 80 plates. Folio, cloth, gilt top (loose in covers). 
 
 London, 1882. 
 
 2071 — Spanish Portraits, etc. 
 
 Iconografia Espanola. Coleccion de retratos, estatuas, mausoleos y demas monu- 
 mentos ineditos de reyes, reinas, grandes capitanes, escritores, etc., desde 
 el siglo XI hasta el XVII. Nearly 100 illustrations by V. Carderera y 
 Solano, many in colors. 2 vols., folio, half Spanish morocco extra, gilt top, 
 uncut. 
 
 Madrid, 1855-64. 
 
 • Spanish and French text. 
 
 2072 — Spenser, Edmund. 
 
 Complete Works in Prose and Verse. Edited, with life, glossary, etc., by the Rev. 
 Alex. B. Grosart. 10 vols. [?], 8vo, cloth, uncut. 
 
 Only 100 copies printed. 
 
 London, 1882-84. 
 
 2073 — Spenser, Edmund. 
 
 Epithalamion. Illustrated by G. W. Edwards. 
 
 450 copies printed on Japan paper. 
 
 8vo, vellum, gilt, uncut. 
 
 New York, 1893. 
 
 2074 —Spitzer Collection. 
 
 Illustrated Catalogue. 9 vols., folio, half blue levant morocco, gilt edges. Vol. 
 VII. is an imperial folio (half green levant morocco, gilt top), containing 68 
 plates. 
 
 London, 1890-93. 
 
 No. 158 of 600 copies on vellum paper, with all the superb plates. 
 
 2075 — Sprague and Goodale. 
 
 Wild Flowers of America. 50 colored plates. 4to, half brown levant morocco, gilt 
 edges. 
 
 Boston, 1882. 
 
2076 — Stafford Gallery. 
 
 Catalogue of the Collection of the Marquis of Stafford. By W. Y. Ottley. 4 vols. 
 in 2, folio, half red morocco, gilt top, uncut. 
 
 London, 1818. 
 
 2077 ■ 
 
 Starforth, J. 
 
 Designs for Villa Residences. With descriptions. 40 plates. 4to, cloth. 
 
 Edinburgh, 1866. 
 
 2078 — Stedman, E. C. 
 
 Poets of America. Portrait. 2 vols., 8vo, half citron morocco, gilt top, uncut. 
 
 Cambridge, 1885. 
 
 No. 24 of 150 copies printed on large paper. 
 
 2079 — Stedman, E. C. 
 
 Victorian Poets. 2 vols., 8vo, half brown morocco, gilt top, uncut. 
 No. 24 of 250 large paper copies. 
 
 Cambridge, 1887. 
 
 2080— Stephens, F. G. (editor). 
 
 Artists at Home. Biographical notices and descriptions, 
 olive morocco, gilt top, uncut. 
 
 25 plates. Folio, half 
 London, 1884. 
 
 2081 — Stephens, John L. 
 
 Incidents of Travel in Central America, Chiapas, and Yucatan, 
 tions. 2 vols., 8vo, half brown morocco, gilt top. 
 
 Numerous illustra- 
 New York, 1841. 
 
 2082 — Sterne, Eaure?ice. 
 
 Sentimental Journey through France and Italy. 12 full-page illustrations and numer¬ 
 ous sketches in the text, after Maurice Leloir. 4to, cloth, gilt top, uncut. 
 
 New York, 1884. 
 
 2083 — Stewart, Sir H. 
 
 Planter’s Guide. Portrait. 8vo, cloth, uncut. 
 
 Edinburgh, 1848. 
 
 2084 — Stewart, A. T. 
 
 Catalogue of Paintings, Sculptures, Books, etc. Illustrated. Folio, parchment. 
 
 New York, 1887. 
 
 No. 37 of 100 copies printed, with signed proof impressions of the illustrations. 
 
 2085 — Stirling-Maxwell, Sir Wm. 
 
 Annals of the Artists of Spain. Portrait and 24 plates, 
 levant morocco, gilt top, uncut. 
 
 4 vols., 8vo, half brown 
 
 Large paper copy, with illustrations in two states. 
 
 London, 1891. 
 
2086 — Storrs (R ev .) R. S. 
 
 Early American Spirit and the Genesis of it. The Declaration of Independence and 
 the effects of it. Royal 8vo, half brown morocco, gilt top, uncut. 
 
 No. 116 of 150 large paper copies. 
 
 New York, 1878. 
 
 2087 — Stranahan, C. H. 
 
 History of French Painting. 16 illustrations. 8vo, cloth, gilt top, uncut. 
 
 New York, 1888. 
 
 2088 — Strawberry Hill Catalogue. 
 
 Horace Walpole’s collection of paintings, antiques, etc. Portrait on India paper. 
 4to, half green morocco. 
 
 London, 1842. 
 
 Priced. Unique copy, extra illustrated by the insertion of 74 additional portraits 
 and prints. 
 
 2089 — Street, George E. 
 
 Brick and Marble in the Middle Ages. Notes of a tour in the north of Italy. Pro¬ 
 fusely illustrated. 8vo, cloth, uncut. 
 
 London, 1855. 
 
 2090 — Stuart , R. L. 
 
 Catalogue of the Library of. 440, cloth, uncut. 
 
 Privately printed for presentation only. 
 
 New York, 1884. 
 
 2091 — Another Copy. Similarly bound. 
 
 2092 — Surtees, S. R . 
 
 Hillingdon Hall; or, The Cockney Squire, 
 etc. 8vo, cloth, uncut. 
 
 12 colored plates by Wildrake, Heath, 
 
 London, 1888. 
 
 2093 — Swift, Jonathan. 
 
 Works. Life, etc., by Sir W. Scott. Portrait, 
 uncut. 
 
 No. 524 of 750 copies printed. 
 
 19 vols., 8vo, half calf, gilt top, 
 London, 1883-84. 
 
 2094 — Swift. 
 
 Gulliver’s Travels. With a memoir by Saintsbury. 
 Royal 8vo, cloth, gilt top, uncut. 
 
 240 illustrations, mostly colored. 
 
 London, 1886. 
 
2095 — Sybel, Ludwig von. 
 
 Weltgeschichte der Kunst bis zur Erbauung der Sophienkirche. Colored frontis¬ 
 piece and 380 illustrations. Royal 8vo, half maroon calf, gilt top, uncut. 
 
 Marburg, 1888. 
 
 2096 — Taine, H. A. 
 
 Tour through the Pyrenees. Translated by J. F. Fiske. Illustrated by Dore. 
 4to, cloth, gilt edges. 
 
 New York, 1874. 
 
 2097 — Tasso, T. 
 
 Jerusalem Delivered. Translated by J. H. Wiffen. Portrait. 2 vols., post 8vo, 
 half blue calf extra, gilt top, uncut. 
 
 London, 1830. 
 
 2098 — Taylor, Isaac. 
 
 Etruscan Researches. Illustrated. Crown 8vo, cloth, uncut. 
 
 London, 1874. 
 
 2099 — Taylor, Jere?ny. 
 
 Rule and Exercises of Holy Living and Holy Dying. Portrait. 2 vols., 8vo, brown 
 morocco antique, gauffred gilt edges. 
 
 Pickering, London, 1847. 
 
 2100— Ticknor, George. 
 
 History of Spanish Literature. With criticisms and biographical notices. 3 vols., 
 8vo, half blue calf extra, gilt top, uncut. 
 
 London, 1855. 
 
 2101 — Ticknor, George. 
 
 Life, Letters, and Journals. Portraits. 2 vols., 8vo, cloth. 
 
 2102 — Tis sot, Victor. 
 
 Boston, 1876. 
 
 Unknown Switzerland. Translated by Mrs. Wilson. Numerous photographs. 8vo, 
 cloth, gilt top, uncut. 
 
 New York, n. d. 
 
 2103 — Titian. 
 
 La Vie et l’CEuvre de Titien. Par G. Lafenestre. Portrait and numerous other illus¬ 
 trations. Folio, half brown levant morocco extra, gilt top. 
 
 Quantin, Paris, n. d. 
 
 No. 56 of 800 copies printed. 
 
 2104 —Toscanelli Collection. 
 
 Catalogue, with 52 plates. 4-to, cloth. 
 
 N. p., n. d. 
 
2105 —Tourzel ( Duchess ) de. 
 
 Memoirs of. Published by the Duke des Cars. 2 vols., 8vo, cloth, uncut. 
 
 London, 1886. 
 
 2106— Tuckerman, Bayard. 
 
 William Jay and the Constitutional Movement for the Abolition of Slavery. Preface 
 by John Jay. Portrait. 8vo, cloth, gilt top. 
 
 New York, 1893. 
 
 2107 — Tudor Collection. 
 
 Exhibition of the Royal House of. Illustrated. 4to, cloth. 
 
 London, 1890. 
 
 2108— Tuscany. 
 
 Monumenti Sepolcrali della Toscana. 47 plates after outline designs by V. Gozzini. 
 Folio, half red morocco, uncut. 
 
 Florence, 1819. 
 
 2109— Uhde, Constantin. 
 
 Baudenkmaeler in Grossbritannien. Illustrated, 
 gilt top. 
 
 2 vols., folio, half brown morocco, 
 Berlin, 1894. 
 
 2110 — Unger, W7n. 
 
 Les CEuvres de. 72 fine proof etchings, with notes by C. Vosmaer. 
 red morocco extra, gilt top, uncut. 
 
 Imperial folio, 
 Leyde, 1874. 
 
 2111— Uzanne, Octave. 
 
 La Chronique Scandaleuse. 1879. Anecdotes sur la Comtesse du Barry. 1880. 
 La Gazette de Cythere. 1881. Les Mceurs Secretes du XVIII e Siecle. 
 1883. 4 vols., royal 8vo, half blue calf extra, uncut. 
 
 London, 1879-83. 
 
 Etched frontispieces. 
 
 2112 — Uzanne, Octave. 
 
 L’Eventail. Illustrations by Paul Avril, printed in colors, 
 morocco, gilt top, uncut. 
 
 Royal 8vo, half red 
 Paris, 1882. 
 
 2113— Uzanne, Octave. 
 
 La Franchise du Siecle. Modes, Moeurs, Usages. Water-color drawings by Albert 
 Lynch, etched in colors by E. Gaujean. Royal 8vo, half brown morocco, gilt 
 top, uncut. 
 
 Paris, 1886. 
 
 No. 60 of 100 copies on Japan paper, with illustrations in two states. 
 
2114 —Van Dyck, Antoine. 
 
 Sa Vie et son CEuvre. Par Jules Guiffrey. Numerous illustrations, including full- 
 page etchings, etc. Folio, half red levant morocco, gilt top. 
 
 Paris, 1882. 
 
 2115— Van Dyck. 
 
 A collection of 124 fine engravings by Lombart, Vaillant, Marin, Faber, McArdell, 
 Ogborne, and others, after the masterpieces of Van Dyck. Some proof im¬ 
 pressions. 4to, half morocco. 
 
 2116 —Van Ysendyck, J. J. 
 
 Documents classes de Part dans les Pays-Bas du X' 4 ™' au XVIU i4me siecle. 1880; 
 January to June, 1881 ; 1886-87; 1888-89. Over 500 plates. Together, 
 5 vols., folio, half citron levant morocco extra, gilt top, uncut. 
 
 Antwerp, 1880-89. 
 
 2117 — Vaux, Calvert. 
 
 Villas and Cottages. Illustrated. 8vo, cloth. 
 
 New York, 1857. 
 
 2118 — Velasquez. 
 
 Works of. Being a reproduction of 17 scarce and fine prints in the British Museum, 
 selected and described by G. W. Reid. Folio, half red morocco, gilt top. 
 
 London, 1872. 
 
 2119 — Velazquez and Murillo. 
 
 Descriptive and Historical Catalogue of the Works of. Comprising a classified list 
 of their paintings, with descriptions; their history from the earliest known dates; 
 names of present and former owners, etc., by C. B. Curtis. 4 plates. Folio, 
 morocco extra, gilt edges. 
 
 New York, 1883. 
 
 No. 13 of 100 large paper copies, with plates in three states. 
 
 2120— Venice. 
 
 Basilica di San Marco. Dettagli di Altari, Monumenti, Scultura, etc. 8 vols. and 
 2 atlas folio vols. with brilliant colored plates. II Tesoro. 2 vols. Docu- 
 menti. Mosaici Secondarii. Pavimento. Together, 15 vols., folio, morocco 
 extra. With an extensive series of illustrations, many in colors. 
 
 Venice, 1881-86. 
 
 2121 — Venice. 
 
 The Basilica of S. Mark in Venice. Illustrated from the points of view of art and 
 history, by Venetian writers under the direction of Professor Camillo Boito. 
 Translated by W. Scott. 4to, morocco extra. 
 
 Venice, 1888. 
 
2122— Venice. 
 
 Raccolta delle Vere da Pozzo (Marmi Pluteali) in Venezia, 
 half blue morocco, gilt top, uncut. 
 
 ioo copies printed. 
 
 Illustrated. 2 vols., 4to, 
 Venice, 1889. 
 
 2123— Venice. 
 
 II Gran Teatro di Venezia overo raccolta delle principali vedute e pitture che in 
 essa si contengono. With the extensive series of copper-plate illustrations. 
 2 vols., folio, half brown morocco extra. 
 
 [Venezia, n. d.]. 
 
 2124— Viollet-le-Duc. 
 
 Dictionnaire raisonne de PArchitecture Franchise du XI' au XVI e Siecle. Portrait 
 and other illustrations. 10 vols., 8vo, half red morocco, gilt top. 
 
 Paris, 1858-68. 
 
 2125 — Viollet-le-Duc. 
 
 Dictionnaire raisonne du Mobilier fran^ais de Pepoque Carlovingienne a la Renais¬ 
 sance. Profusely illustrated. 6 vols., royal 8vo, half green levant morocco 
 extra, gilt top, uncut. 
 
 Paris, 1872-75. 
 
 No. 25 of 100 copies printed. 
 
 2126— Virgil. 
 
 Works. Englished by R. Andrews. 8vo, calf, gilt. 
 
 Baskerville, Birmingham, 1766. 
 
 2127 — Vitu, Auguste. 
 
 Paris. 450 dessins inedits. 4to, half calf, gilt top, uncut. 
 
 Quantin, Paris, n. d. 
 
 2128 — Waldstein, C. 
 
 Essays on the Art of Phidias. Illustrated. Royal 8vo, cloth, gilt top, uncut. 
 
 Cambridge (U. S.), 1885. 
 
 2129 — JValshy J. H. ( Stonehenge ). 
 
 The Horse in the Stable and the Field. 170 illustrations. 8vo, cloth, uncut. 
 
 London, 1869. 
 
 2130 — Walton and Cotton. 
 
 Complete Angler. Edited by Dr. Bethune. Portraits, etc. i2mo, cloth, uncut. 
 
 New York, 1847. 
 
 2131 — Walton and Cotton. 
 
 Complete Angler. With notes, a bibliographical preface, a catalogue of books on 
 angling, etc., by the Rev. Geo. W. Bethune. Numerous steel plates and 
 woodcuts. 2 vols., royal 8vo, half brown levant morocco extra, gilt top, 
 uncut. 
 
 New York, 1880. 
 
 Large paper copy. No. 22 of 100 printed. 
 
2132 — Walton, Isaac. 
 
 Lives of Donne, Wotton, Hooker, Herbert, and Sanderson. 
 8vo, green calf, gilt back and top, gilt edges. 
 
 Portraits. Crown 
 London, 1858. 
 
 2133 —Another copy. Brown morocco, blind tooled, gilt edges. 
 
 2134 — Waring, J. B. 
 
 Masterpieces of Industrial Art and Sculpture at the International Exhibition, 1862. 
 Illustrated by a large number of superb plates in gold, silver, and colors. 3 
 vols., folio, richly bound in red morocco extra, gilt edges. 
 
 London, 1863. 
 
 2135 — Washington Family. 
 
 Pedigree and History of. By Albert Welles. Portraits, etc. 8vo, cloth, gilt edges. 
 
 New York, 1879. 
 
 2136 — Washington Arch, History of. 
 
 Illustrated. 4to, vellum, gilt top, uncut 
 Edition de luxe. 
 
 New York, 1896. 
 
 2137 — Watson, P. W. 
 
 Dendrologia Britannica, or Trees and Shrubs that will Live in the Open Air of Britain, 
 etc. 172 colored plates. 2 vols., 8vo, half calf. 
 
 London, 1825. 
 
 2138 — Wedgwood, Josiah. 
 
 Life of. From his correspondence, family papers, and other original sources. With 
 an introduction relative to the art of pottery in England. By Eliza Meteyard. 
 Portrait and numerous other illustrations. 2 vols., 8vo, brown morocco 
 antique, medallions of Wedgwood ware on the sides, gilt edges. 
 
 London, 1865-66. 
 
 2139 — Wheatley, H. B. 
 
 Remarkable Bindings in the British Museum, selected for their beauty or historic 
 interest. 62 plates. 4to, boards, uncut. 
 
 London, 1889. 
 
 41 of 150 large paper copies. 
 
 2140 — White, R. G. 
 
 National Hymns. 
 
 8vo, cloth. 
 
 New York, 1861. 
 
2141 — Wilkie, Sir David. 
 
 Life of. With his Journals, etc. By Allan Cunningham. Portrait. 3 vols, 8vo, 
 calf extra, gilt top, uncut. 
 
 London, 1843. 
 
 Unique copy, extra illustrated by the insertion of 30 plates, some of them India 
 proofs. 
 
 2142 — Wilkinson, Wm. 
 
 English Country Houses. 61 views and plans. 8vo, cloth. 
 
 2143 — Williams, John Lee. 
 
 Territory of Florida. Portrait, 2 views, and map. 8vo, cloth. 
 
 2144— Wilson, J. 
 
 London, 1875. 
 
 New York, 1837. 
 
 Noctes Ambrosianae. Portraits. 4 vols., crown 8vo, half brown morocco, gilt top, 
 uncut. 
 
 Edinburgh, 1864. 
 
 2145 — Winckelmann, John. 
 
 History of Ancient Art. Translated by G. H. Lodge. Numerous plates. 4 vols., 
 4to, brown morocco, gilt back and sides, gilt edges. 
 
 Boston, 1880. 
 
 No. 92 of 100 large paper copies. 
 
 2146 — Another copy. Also on large paper. With Dr. Emil Braun’s “ Introduction to the 
 
 Study of Art Mythology. Translated by John Grant. Gotha, 1856,” 
 containing 100 plates in outline. Together, 5 vols., 4to, half brown levant 
 morocco, gilt top, uncut. 
 
 No. 86 of 100 copies printed. Extra illustrated by the insertion of 163 folio en¬ 
 gravings. 
 
 2147 — Wood, J. G. 
 
 Illustrated Natural History. Reptiles, Fishes, Insects. 1863. Birds. 1862. Many 
 hundred woodcuts. 2 vols., royal 8vo, cloth, uncut, and half calf extra. 
 
 London, 1862-63. 
 
 2148— Worcester, JE. 
 
 Dictionary of the English Language. 4to, half red morocco (loose in covers). 
 
 Boston, ,1860. 
 
 2149— Wordsworth, William. 
 
 Poetical Works. 8 vols. Life of Wordsworth. 3 vols. Edited by William 
 Knight, with portraits and frontispieces. 11 vols., royal 8vo, half brown 
 levant morocco, gilt top. 
 
 No. 69 of 115 copies on large paper. 
 
 Edinburgh, 1882-89. 
 
2150 — Wordsworth , W. 
 
 Poetical Works. 
 
 Portrait. 6 vols., post 8vo, cloth, uncut. 
 
 London, 1864. 
 
 2151 — Wornum, Ralph N. 
 
 Epochs of Painting. Illustrated. 8vo, half brown morocco, gilt top, uncut. 
 
 London, 1864. 
 
 2152 — Wyon , Alfred B. and Allan. 
 
 Great Seals of England. 55 plates. 4to, cloth gilt, gilt edges. 
 No. 130 of 300 copies printed. 
 
 London, 1887. 
 
 2153— Yriarte y Charles. 
 
 Florence: its history, etc. Translated by C. B. Pitman, 
 cloth extra, gilt edges. 
 
 500 illustrations. 4-to, 
 London, 1882. 
 
 2154 — Zanotto , Francesco. 
 
 Le Fabbriche e i Monumenti cospicui di Venezia. Over 200 fine plates. 2 vols., 
 imperial folio, half red levant morocco, gilt top, uncut. 
 
 Venezia, 1858. 
 
 AMERICAN ART ASSOCIATION, 
 Managers. 
 
 THOMAS E. KIRBY, 
 Auctioneer. 
 

 
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