SECOND FLOOR
Collection of
Mr. G, Mrs. Samuel M. Nickersorv
Presented to
75he ART INSTITUTE
of Chicago
February, 1900
Rooms 41 and 42
METOALF
BKGBATEHS & PXONTEH8
CHICAGO
ARTISTS REPRESENTED
OILS
Achenbach, Oswald, I.
Beard, William H., 2.
Bierstadt, Albert, 3.
Bonheur, Mile. Rosa, 4.
Bouguereau, Wm. A., 5.
Bradford, Wm., 6.
Bridgman, F. A., 7.
Cabanel, A., 8.
Cazin, J. C., 9.
Ceramano, 10.
Church, F. E., II.
Clays, P. J., 12.
Cole, Thomas, 13.
Colman, Samuel, 14.
Coomans, Joseph, 15.
Corot, J. B. C., 16.
Coture, Thomas, 17.
Daubigny, C. F., 18.
Davis, Chas. IT., 19.
De Haas, M. F. H., 20.
Delacroix, Eugene, 21, 22.
De Neuville, A., 23.
Diaz, N., 24.
Dupre, Jules, 25.
Ernst, R., 26.
Escossura, Leon Y., 27.
Frtre, Th., 28.
Fromentin, E., 29.
Gaisser, Prof. Max, 30.
Cerome, J. L., 31.
Gifford, S. R., 32.
Griitzner, E., 33.
Hart, James M., 34.
Henner, J. J., 35.
Inness, George, 36.
Jacquet, Jean G., 37.
Jettel, Eughne, 38.
Klombeck-Verbeckhoven,
39-
Koek-Koek, B. C., 40.
Lamorinicre, F., 41.
Max, Gabriel, 42.
Merle, Hugues, 43.
Mettling, Louis, 44.
Michel, Georges, 45.
Miicke, Carl, 46.
Pasini, A., 47.
Ribot, A. F., 48.
Richards, Wm. T., 49.
Rico, Martin, 50.
Rousseau, Th., 51.
Schreyer, Ad., 52.
Spring, A., 53.
Tadema, L. Alma, 54'
Van Marcke, E., 55-
Vedder, Elihu, 56.
Verschuur, W., 57'
Veyrasset, Jules J., 58.
Vibert, J. G., 59.
Webb, C. M„ 60.
Weeks, E. L., 61.
Wyant, A. H., 62.
CATALOGUE
OILS
ACHENBACH, Oswald Dusseldorf
Pupil of his brother.
Medals. 1859-61-63.
Legion of Honor. 1863.
"Scene on the Campagna"
2
BEARD, William H., dec'd New York
Elected Member National Academy, 1862.
"Bear's Temperance Question"
3
BIERSTADT, Albert New York
Member National Academy, 1860.
Afterwards Chevalier Legion of Honor.
Sent to Europe on a Government Commission to make studies
for a painting of the Discovery of the North River
by Hendrick Hudson.
"San Rafel, Cal."
4
BONHEUR, Mile. Rosa, dec'd Paris
Pupil of her Father.
Medals, 1845-48-55, E. U. 1867, E. U.
Legion of Honor, 1865.
During the Franco-German War her studio and residence
were respected by special order of the
Crown Prince of Prussia.
"Cow and Dog"
5
5
BOUGUEREAU, Wm. A Pans
Pupil of Picot.
Legion of Honor, 1859.
Officer Legion of Honor, 1876.
Prize of Rome, 1850.
"Girl of Grenada"
6
BRADFORD, Wm., dee d New York
"Arctic Whaler Homeward Bound"
BRIDGMAN, F. A. . . 7 Paris
Pupil of J. L. Gerome.
Legion of Honor, 1878.
Member of National Academy, 1874.
"Awaiting His Master"
8
CABANEL, A., dee'd Paris
Pupil of Picot.
Prize of Rome, 1845.
Born, 1823; died, 1888.
"Ideal Head"
9
CAZIN, J. C Paris
Pupil of Lecoq de Boisbaudran.
Medals, 1876-77-80.
Legion of Honor, 1882.
Ranks among the leading Landscape Painters of France.
"The Isolated Haystack"
ro
CERAMANO Paris
Pupil of Chas. E. Jacque.
Exhibited Paris Salon, 1873.
"Edge of the Woods and Sheep"
6
II
CHURCH, F. E., dec'd New York
Member of the National Academy.
Medals at Paris (E. U.)( 1867.
"Sunset—West Rock, New Haven"
12
CLAYS, P. J., deed Brussels
Medal (E. U.), 1867.
Legion of Honor, 1875.
"River Scheld near Antwerp."
13
COLE, Thomas, dec'd New York
Born, 1801; died, 1848.
"Landscape"
COLMAN, Samuel New York
"Landscape"
15
COOMANS, Joseph, dec'd Paris
Pupil of de Keyser.
Medals at The Hague and Metz.
Born, 1816; died, 1889.
"Pompeiian Lady"
16
COROT, J. B. C., dec'd Paris
Pupil of V. Bertin.
Medals, 1838-48-55-67, E. U.
Legion of Honor, 1846.
Born, 1796; died, 1875.
"The Sentinels"
7
COTURE, Thomas, dec'd Paris
Pupil of Gros.
Medals, 1844-47-55.
Legion of Honor, 1848.
Born, 1815 ; died, 1878.
"A Young Girl"
18
DAUBIGNY, C. F., dec'd Paris
Pupil of P. Delaroche.
Medals, 1848-53-55-57-59-67.
Legion of Honor, 1859.
Born, 1817; died, 1878.
"landscape on the Marne"
19
DAVIS, Chas. H New York
"Twilight"
20
De HAAS, M. F. H New York
Pupil of Louis Meyer of The Hague.
Appointed Artist to the Dutch Navy, 1857.
Member National Academy, 1867.
"Marine and Moonlight"
21
DELACROIX, Eugene, dec'd Paris
Pupil of Guerin.
Medals, 1824-48.
Medal of Honor (E.U.), 1855.
Legion of Honor, 1831.
Born, 1798 : died, 1863.
"Chessplayers of Jerusalem"
22
DELACROIX, Eugene, dec'd Paris
Pupil of Guerin.
Medals, 1824-48.
Medal of Honor (E. U.), 1855.
Legion of Honor, 1831.
Born, 1798 ; died, 1863.
"Cleopatra"
8
23
De NEUVILLE, A., dec'd Paris
Pupil of Picot.
Medals, 1859-61.
Legion of Honor, 1873.
Born, 1836 ; died 1885.
"The Outpost"
24
DIAZ, N., dec'd Paris
Medals, 1844-46-48.
Legion of Honor, 1851.
Born, 1807; died. 1876.
"Maternal Love"
25
DUPRE, Jules, dec'd Paris
Medals, 1833 (E. U.), 1867
Legion of Honor, 1849.
Officer of the Legion of Honor, 1870.
Born, 1812; died, 1889.
"Evening at Isle Adam"
26
ERNST, R Paris
"Interior of Mosque"
27
ESCOSSURA, Leon Y Paris
Pupil of Gerome.
Commander Order Isabella the Catholic.
Chevalier Order Charles III of Spain and the Order of Christ.
"Before the Departure"
28
FRERE, Th., dec'd Paris
Pupil of Cognietand Roqueplan.
Medals, 1848-65.
Born, 1815; died, 1888.
"Sunset on the Nile"
9
29
FROMENTIN, E., deed Pans
Pupil of Cabat.
Medals, 1849-57-59 (E. U.),1867.
Legion of Honor, 1859.
Born, 1820; died, 1876.
"On the Nile near Philea"
30
GAISSER, Prof. Max Munich
Pupil of Loffz and A. Wagner.
"In Doubt"
, ~ 3i
GEROME, J. L Paris
Pupil of Delaroche.
Medals, 1847-48 (E. U.), 1855.
Legion of Honor, 1855.
"Albanian Girl"
32
GIFFORD, S. R., dec'd New York
Member National Academy, 1854.
Born, 1823; died, 1880.
"Sunset on the Lake"
33
GRUTZNER, E Munich
"A Puzzled Priest"
34
HART, James M., dec'd New York
Member National Academy.
"Oaks in Autumn"
35
HENNER, J. J Paris
Pupil of Drolling.
Prize of Rome, 1858.
Medals, 1863-65-66"78, E. U.
Legion of Honor, 1873.
"A Brunette"
10
36
INNESS, George, dec'd . .
New York
Member of the National Academy, 1868.
One of the best Landscape Painters in America.
' 'Landscape — Sunset''
37
JACQUET, Jean G Paris
Pupil of Bouguereau.
Medal, 1868, at age of 20 years.
Legion of Honor, 1879.
"Head"
38
JETTEL, Eugene Paris
Pupil of the Vienna Academy and Th. Rousseau.
Chevalier of the Legion of Honor.
"A Grey Day in Holland"
39
KLOMBECK Amsterdam
Pupil of Koek-Koek.
VERBECKHOVEN, E. J., dec'd . . . Amsterdam
Son and pupil of Sculptor Barthelemi Verbeckhoven.
Born, 1799; died, 1881.
"Landscape and Cattle"
40
KOEK-KOEK, B. C., dec'd Amsterdam
Legion of Honor, 1840.
Gold Medal, Amsterdam, 1840.
Gold Medal, Paris, 1840-43,
Born, 1803; died, 1862.
"Scene on the Rhine"
41
LAMORINIERE, F., dec'd Brussels
"View near Antwerp"
11
42
MAX, Gabriel
Munich
Pupil of Piloty.
Medals, Vienna, 1873.
Medals, Berlin, 1874.
Medals, Munich, 1876.
"Inspiration"
43
MERLE, Hugues, dec'd Paris
Pupil of Cogniet.
Medals, 1861-63.
Legion of Honor, 1866.
Born, 1822; died, 1881.
"Vintage Time"
44
METTLING, Louis Paris
Pupil of Lyons Fine Art School and of Cabanel.
"A Song and a Bottle"
45
MICHEL, Georges, dec'd Paris
Pupil of Leduc.
Born, 1765 ; died, 1843.
"The Old Castle"
46
MUCKE, Carl Dusseldorf
Pupil of Schadow.
"The Betrothal"
47
PASINI, A Paris
Pupil of Ciceri.
Medals. 1859-63-64.
Legion of Honor, 1868.
"The Messenger"
12
48
RIBOT, A. F., dec'd . .
Paris
Pupil of Glaize.
Medals, 1864-65-78.
Legion of Honor, 1878.
"The Music Lesson"
49
RICHARDS, Wm. T Philadelphia
Pupil of Paul Weber.
Member National Academy, 1876.
"The August Moon"
50
RICO, Martin Paris
Medal, 1878.
Legion of Honor, 1878.
"Canal in Venice"
5i
ROUSSEAU, Th., dec'd Paris
Pupil of Lethiere.
Medals, 1834-49-55.
Legion of Honor, 1852.
One of the Eight Grand Medals of Honor (E. U.), 1867.
Born, 1812; died, 1867.
"An Autumn Day"
52
SCHREYER, Ad Paris
Medals. 1864-65 (E. U.), 1867.
Vienna Exposition, 1873.
Medal, Brussels, 1863.
"The Arab Scouts"
53
SPRING, A Munich
"Not Convinced"
13
54
TADEMA, L. Alma . . .
London
Medals, Paris, 1864-67-78.
Legion of Honor, 1873.
Member Royal Academy, London.
"Peek-a-Boo"
55
VAN MARCKE, E., dec'd Paris
Pupi' of Troy on.
Medals, 1867-69-70.
Legion of Honor, 1872.
First-class Medal (E. U.), 1878.
Born, 1827; died, 1891.
"A Golden Autumn Day"
56
VEDDER, Elihu Rome
Pupil of Matteson.
"Storm in Umbria"
57
VERSCHUUR, W., dec'd Amsterdam
Pupil of Van Os and C. Steffelaer.
Born, 1812; died, 1874.
"Normandy Horses Crossing the Meure
at Dinant"
53
VEYRASSET, Jules J Paris
Medals, 1872-78-89.
Legion of Honor, 1878.
"Noonday Rest"
59
VIBERT, J. G Paris
Pupil of Barrias.
Medals, 1864-67-68.
Legion of Honor, 1870.
4'Palm Sunday''
14
60
WEBB, C. M Dusseldorf
"The Poachers"
61
WEEKS, E. L Paris
Medals, 1884-89.
Universal Exposition, 1889.
"Mussulman's Tomb, Ahmedabad"
62
WYANT, A. H., dec'd New York
Pupil of Han Gude.
Elected National Academy, 1869.
Born, 1836.
"Edge of the Woods"
15
ARTISTS REPRESENTED
WATER COLORS
Apol, Louis, I.
Artz, Adolph, 2.
Blommers, B. J., 3.
Fife, E., 4.
Gabriel, P. J. C., 5.
Jacque, Chas. E., 6.
L'Hermitte, L., 7.
Maris, W., 8.
Meulen, Ter., g.
Neuhuys, J., 10.
Persian, 18, 19.
Poggenbeck, G., II.
Rip, W. C., 12.
Roelofs, W., 13.
Simone, S., 14.
Troyon, C., 15.
Vrolyk, Jan., 16.
Weissenbruch, J. H., 17.
17
WATER COLORS
1
APOL, Louis The Hague
"Twilight"
2
ARTZ, Adolph, dec'd The Hague
Pupil of Mollinger and Israels.
Died, 1890.
"Waiting"
3
BLOMMERS, B. J The Hague
"Sewing"—Interior.
4
FLES, E Holland
"Winter Evening, Holland"
5
GABRIEL, P. J. C Scheveningen
"A Holland Wind Mill"
6
JACQUE, Chas. E., dec'd Paris
Spent seven years in the army of France, then worked in
England as an engraver on wood.
Medals, 1061-63-64-67.
Legion of Honor, 1867.
"Shepherdess and Sheep''
19
7
L'HERMITTE, L Paris
"Interior in Normandy"
8
MARIS, W London
"Holland Farm"
9
MEULEN, Ter The Hague
Pupil of Israels and Mauve.
"Sheep"
10
NEUHUYS, J The Hague
"A Holland Landscape with Wind Mills"
XI
POGGENBECK, G Amsterdam
"Cows on the Highway"
12
RIP, W. C Holland
"Ducks and Water"
13
ROELOFS, W The Hague
Pupil of H. Van de Sande-Bakhuysen.
Order of the Oaken Crown, 1860.
"In Pasture"
14
SIMONE, S Rome
"Interior of Mosque"
20
15
TROYON, C., deed Paris
Pupil of Riocreux.
Medals. 1838-40-46-48-55.
Legion of Honor, 1849.
Born, 1810; died, 1865.
"Landscape and Cattle"
16
VROLYK, Jan The Hague
"Landscape near Utrecht"
17
WEISSENBRUCH, J. H The Hague
"At Home"
18
Persian Water Color—Landscape
19
A
Illuminated Picture—The Harem of Imam
Resa of Nashad Khorasan, Persia
21
ARTISTS REPRESENTED
ETCHINGS
Bellows, A. F., I.
Chauvel, U., 2.
Courtry, Ch., 3.
Haig, A. H., 4, 5, 6, 7.
Lander, Benj., 8.
Low, David, 9.
Manfeld, 10.
Millet, J. F., II.
ENGRAVINGS
Bartolozzi, 12, 13, 14, 15.
Desnoyers, Aug., 16.
Gilbert, Achille, 17.
Longhi, G., 18.
Morghen, R., 19.
Miieller, 20.
Nanteuil, 21.
Nattier, I. M., 22, 23.
Stacpole, 24.
Wille, J. G., 25.
23
ETCHINGS AND ENGRAVINGS
1
BELLOWS, A. F.
"The Inlet"
Etching—artist proof.
2
CHAUVEL, U. (After B. W. Leader)
"Evening Shadows"
Etching—artist proof.
3
COURTRY, Ch. (After Troyon)
"Cattle Going Home"
Etching—artist proof.
4
HAIG, A. H.
"Westminster"
Etching—artist proof.
5
"North Porch of Chartres Cathedral"
Etching—artist proof.
6
"Aisles of Chartres Cathedral"
Etching—artist proof.
7
"Street and view of Chartres Cathedral"
Etching—artist proof.
25
8
LANDER, Benj.
"Sabina's Stream"
Etching—artist proof.
9
LOW, David
"Venice by Night"
Etching.
10
MANFELD
"Albertsburg"
Etching—Remarque proof.
11
MILLET, J. F.,dec'd
"Mouthful"
Etching—Remarque proof.
12
BARTOLOZZI
"Queen Elizabeth striking Essex"
Engraving.
13
"Dowager Queen of Edward IV parting
with the little Duke of York, who was con¬
veyed to the Tower by order of his uncle,
Richard III"
Engraving.
14
"Marie Stuart refusing the Crown"
Engraving.
15
"Vortigern and Rowena"
"At a feast given in Kent to Vortigern the Briton, by
Hengist the Saxon, Rowena, the latter's daughter, so fasci¬
nated Vortigern by her grace in presenting a goblet of wine
that he asked her in marriage. Once his wife, her influence
brought great numbers of Saxons to England, their descent
taking place in 440, A. D., and being known as the Saxon
and Danish invasion of England."
Engraving.
DESNOYERS, Aug.
16
"Belisaire"
Engraving.
17
GILBERT, Achille
"The Sheepfold"
Engraving.
LONGHI, G.
18
"Galathea"
Engraving.
(After F. Gerard)
(After Jacque)
MORGHEN, R.
19
MUELLER
"Aurora"
Engraving—original impression.
20
"Sistine Madonna"
Engraving.
(After Raphael)
(After Raphael)
21
NANTEUIL, 1661
"Michael le Masle—Prior de Roches"
Engraving.
27
22
NATTIER, I. M. (After Van Dyck)
"Portrait of Rubens"
Engraving.
23
"Marriage of the Queen" (After Rubens)
Engraving.
"Marriage by proxy of Marie de Medici to Henry IV of
France, the Queen's uncle taking the place of the King."
24
STACPOLE (After B. Civiere)
"Persepolis"
Engraving.
25
WILLE, J. G. (After Battoni)
"Death of Mark Anthony'9
Engraving—before letters.
28
Data and descriptions of Japanese Prints,
/
Kakemonos, etc., furnished by
Professor Cho-yo
30
JAPANESE PRINTS
1
EISHI, (Hosoda)
A poly-chromo-xylograph (Japanese print), picturing a
beauty, Takashima (High Island), looking at herself in two
hand-mirrors. One of the series of Bijin Ka-gan Shu.
Signed. Date, about 1795.
2
EISHI, (Hosoda)
A poly-chromo-xylograph (Japanese print). A view of
pleasure boats on the Smidagawa river with the Mukojima
bank in the background.
Signed. Date, about 1790.
See No. 25.
3
HARUNOBO, (Suzki)
A poly-chromo-xylograph (Japanese print). A Japanese
beauty is represented standing on the edge of an overhang¬
ing cliff and throwing red lacquer wine-cups into the air.
A rare example of the artist's work.
Unsigned. Date, about 1766.
4
HARUNOBO, (Suzki)
A poly-chromo-xylograph (Japanese print). Two Iseya
beauties chatting and watching fire-works sticks on a board
in the water.
Signed. Date, 1765.
31
5
*HIROSHIGE
A poly-chromo-xylograph (Japanese print). One of the
famous Eight Scenes of the suburbs of Yedo (Tokyo) an
autumnal moonlight night on the Tama-gawa, with inscribed
ode.
Signed. Date, 1830.
See Nos. 6, 7 and 8.
6
HIROSHIGE
A poly-chromo-xylograph (Japanese print). A king-fisher
is seen perched on the stump of a tree and looking for fish
in the water. An inscribed ode says '"A King-fisher pluming
himself and looking in a mirror of water."
Signed, with a Ichi-ryu-sai mark. Date, 1825.
See Nos. 5, 7 and 8.
7
HIROSHIGE
A poly-chromo-xylograph (Japanese print). A king-fisher
flying over reeds and water-lilies, with an inscribed ode.
Signed. Date, about 1825.
See Nos. 5, 6 and 8.
8
HIROSHIGE
A chromo-xylograph (Japanese print). One of the
famous Eight Scenes in the Province of Omi—twilight at
Seta, showing the long bridge and many sailing boats.
Signed.
See Nos. 5, 6 and 7.
9
HIROSHIGE
A poly-chromo-xylograph (Japanese print). One of the
100 celebrated scenes of all Provinces—a large, spreading
pine of Naniwaya at Sakai, in the Province of Senshu.
Signed. Date, about 1845.
See Nos. 5 and 1 0.
*Hiroshige—known also as Ichi-ryu-sai (Independent Studio) lived
between 1 797-1 858, and was a pupil of Utagawa Toyohiro. No pic¬
turesque places escaped his brush, and he was unquestionably one
of the greatest and most original of landscape designers.
32
10
HIROSHIGE
A poly-chromo-xylograph (Japanese print). One of the
100 celebrated scenes of all Provinces—the grounds of the
temple Naruta-san in the Province of Shi-mo'osa, showing
the refreshment houses, etc.
Signed. Date, about 1845.
See Nos. 5 and 9.
11
HOKUSAI
A Japanese water color, representing a Literatus reading
a roll. The brush strokes are strongly characteristic of the
artist.
Signed.
See No. 24.
12
*HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print), representing
Touraki, a Japanese ode composer and two attendants
standing on a bridge over rapids.
Signature, approval mark and publisher's stamp.
13
HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print). The Youths'
Excursion—Shonen Ko, two Chinese figures on horse¬
back and one fishing.
Signature, approval mark and publisher's stamp.
14
HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print), representing
Li T'ai Po'k, the great Chinese poet looking at a waterfall.
Signature and publisher's stamp.
*12-19 are Japanese prints by Hokusai, forming a portion of the
series Shika-Shashin-Kagami (representations of Chinese poems
and Japanese odes). Signed Zen (Saki-no), Hokusai I-its (Tamekaz),
hits (brushed by Tamekaz, "The Former Hokusai").
33
15
HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print). Sei Shona-
gon, illustrating a Japanese and Chinese anecdote of an early
morning attack.
Signature and approval mark.
16
HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print). An old man
crossing a bridge on a moon-light night.
Signature, approval mark and publisher's stamp.
17
HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print), representing
Ab£-no-Nakamaro, the Imperial Japanese ambassador to
China and his attendants viewing the landscape.
Signature, approval mark and publisher's stamp.
18
HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print). A winter
scene, with Chinese horseman and attendant,
Signature and publisher's stamp.
19
HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print), representing
Yu Daijin, a high Imperial court official, and attendants
kneeling upon the beach.
Signature, approval mark and publisher's stamp.
20
HOKUSAI
A set of eight poly-chromo-xylographs (Japanese prints).
Landscapes after the old Dutch method of engraving. (1)
Twilight at Seta; (2) Castle at Awaz; (3) Autumn Moon
34
over Ishtyama Mountain; (4) Snow at dusk at Hira; (5)
Wild Geese flying down upon Katata; (6) Rainy Night at
Karasaki; (7) Ringing the Mii (temple) Bell in Evening;
(8) Boats Returning Home at Yabasd.
Unsigned, but with Hokusai Sensei zu (pictured
by Prof. Hokusai), inscribed on the
rare old cover.
21
HOKUSAI, (Tamekaz)
A poly-chromo-xylograph (Japanese print). Pair of
cranes alighting on a partially snow-covered pine-tree trunk.
A very rare, exquisitely treated and wonderfully preserved
print.
Signature, approval mark and publisher's stamp.
22
HOKUSAI, (Gakyo)
A poly-chromo-xylograph (Japanese print), representing
a country scene, with merry-makers, country boys, etc. A
very fine cut, showing wonderful workmanship.
Signed.
23
HOKUSAI, (Sori-ga)
A poly-chromo-xylograph (Japanese print). Two Japanese
beauties stretching and drying a piece of cloth by the water's
edge. Fine composition and a superb specimen.
Signed, Sori-ga.
24
•HOKUI, (Rekisentei)
A Japanese water-color, representing a vendor of tea-
whisks. It displays a softness of drawing and outline, and
yet depicts strongly the movements of the vendor.
Signed. 1851.
See No. 11.
*Hokui was a pupil and close imitator of Hokusai, his works often
being mistaken for those of the master. On a careful examination
however, Hokui's productions may be told by their inferiority in point
of originality and vigor, though this one is unusually interesting and
important on account of the free hand strokes.
35
25
*KIYONAGA, (Torii)
A poly-chromo-xylograph (Japanese print), depicting a
festival scene in a palace, with a group of musicians.
Signed. Date, about 1770.
26
KUNIYOSHI, (Utagawa)
A poly-chromo-xylograph (Japanese print). One of the
series of thirty-six views of Fuji-san from Tokyo. A scene
under the Shin-Ohashi (new long bridge).
Signed. Date, about 1840.
27
SHARAK
A chromo-xylograph (Japanese print). Portrait of an
actor in a wadded coat.
Signed Toshu-sai Sharak. Date, about 1797.
28
SHUNCHO, (Katsukawa)
A poly-chromo-xylograph (Japanese print), representing
cherry-blossom time at Neno Edo (Tokyo). The temple
buildings and forest form the background, with four ladies in
the foreground. A very good specimen.
Signed. Date, about 1782.
See Nos. 25, 29 and 30.
29
SHUNCHO, (Katsukawa)
A poly-chromo-xylograph (Japanese print). One of a
series of The Twelve periods of the Year (Ju-no-Ko). This,
the 6th month (old calendar), is represented by ladies clad
in thin summer gowns and reading by a fire-fly lantern.
Signature and publisher's marks. Date, about 1785.
See Nos. 25, 28 and 30.
*Kiyonaga is to be regarded as among the highest creators of
Oriental prints, having reached the culminating point toward which
all his predecessors were striving, and from which his contemporaries
have retrograded.
36
30
SHUNCHO, (Katsukawa)
A poly-chromo-xylograph (Japanese print). One of a
series of The Twelve periods of the Year. This, the 11th
month (old calendar), is represented by a temple scene with
ladies clad in winter garments.
Signature and publisher's marks. Date, about 1785.
See Nos. 25, 28 and 29
31
SHUMMAN or TOSHIMITSU, (Kubo)
A poly-chromo-xylograph (Japanese print). A temple
scene, with a country landscape as background. A fine
example of the artist's work.
Signature and publisher's mark. Date, about 1787.
32
*TOYOHIRO, (Utagawa)
A poly-chromo-xylograph (Japanese print), consisting of
two leaves and representing seven ladies cleaning a well in the
Shogun's garden on the seventh day of the seventh month.
Signature and publisher's mark in an oval disk. Date, 1795.
33
TOYOKUNI I, (Utagawa)
A poly-chromo-xylograph (Japanese print), triptich—
representing a royal wedding procession (O-hime-sama), the
bride just alighting from her palanquin (Kago).
Signature and publisher's mark. Date, about 1791.
34
TOYOKUNI III, (Utagawa)
A long poly-chromo-xylograph (Japanese print), consist¬
ing of two leaves. A theatrical scene, representing Sakra
Hime (Cherry Princess) decending from the high porch of a
temple and watched by the priest Seigen.
Signed.
See Nos. 35, 36 and 37.
*Toyohiro was the master of Hiroshige and a class-mate of
Toyokuni 1 underthe artist Toyoharu. He died in 1828. Toyokuni 1
(Ichi-yo-sai) was a well known book illustrator and designer of
theatrical prints. He died in 1 828, at the age of fifty-six years.
37
35
TOYOKUNI III, (Utagawa)
A long poly-chromo-xylograph (Japanese print), consisting
of two leaves. A theatrical scene—the actor above repre¬
senting the most celebrated Japanese robber, Ishikawa
Goemon, and the actor below, O-Rits of Gion in pilgrim
garb, who thus addresses the bandit: "Oh! Ishikawa! The
sands along the sea-shore may change their position and
disappear, but never in the world shall a time be reached
when robbers will cease to be born." This interview corre¬
sponds with one between Alexander the Great and a bandit.
Signed on each leaf.
36
TOYOKUNI III, (Kunisada)
A poly-chromo-xylograph (Japanese print). A view of
the bank of the Smida river, with pleasure boats in the
foreground. A splendid example of the work of Toyokuni
III, when he signed himself Kunisada.
Signature, approval stamp and publisher's mark.
37a
TOYOKUNI III, (Kunisada)
A poly-chromo-xylograph (Japanese print). Srimono—
consisting of two leaves. A theatrical scene representing
the cherry-blossoms. A very good example.
Signed Goto-tei Kunisada.
37b
TOYOKUNI III, (Kunisada)
A poly-chromo-xylograph (Japanese print). Srimono—
consisting of two leaves. Two theatrical characters, one
represented as acted by Danjuro Narutaya, with a large
umbrella—Janome (dragon's eye)-no-Karakasa. The other,
Onoe Kikugoro, has a Tenbinto, wooden pole used for carry¬
ing burdens across the shoulders.
Signed, Kocho-ro Kunisada.
38
38a
*KUNIMARU
A poly-chromo-xylograph (Japanese print), representing
a theatrical character, Hayakawa Takakage, as played by
Ichikawa Danjuro.
Signed. Date, 1820,
38b
KUNIMARU
A poly-chromo-xylograph (Japanese print), representing
a theatrical character, Ishigawa Goemon, as played by
Matsumoto Koshiro, stealing an incense-burner in the shape
of a snipe. (Chidori-no-Koro.)
Signed. Date, 1820.
39
UTAMARO, (Kitagawa)
A poly-chromo-xylograph (Japanese print). One of the
series of Azuma Bijin Erami—Selection of Eastern (Edo
now Tokyo) Beauties. A lady holding a beautiful blue and
white cup on a red lacquer saucer.
Signed. Date, about 1795.
40
UTAMARO, (Kitagawa)
A chromo-xylograph (Japanese print). One of the
Eight Sights of Tosei Skimono (the modern liking).
Signed. Date, about 1796.
41
UTAMARO, (Kitagawa)
A poly-chromo-xylograph (Japanese print). The second
scene of Chushingra (Forty-seven loyal Ronins). A good
example of the artist's work.
Signed. Date, about 1795.
•This artist was a pupil of Toyokuni I, and class-mate of Kuniyoshi
(No. 261, and of Toyokuni III (Nos. 35-37).
39
42
UTAMARO, (Kitagawa)
A poly-chromo-xylograph (Japanese print). A book-
illustration representing a garden scene, with ladies matching
shells (Kaiawase). The treatment shows Kiyonaga charac¬
teristics and is a fine and important specimen.
Unsigned.
40
JAPANESE KAKEMONOS
43
CHIKANOBU, (Kano)
A Japanese Kakemono—in monochrome on paper, repre¬
senting the prunus mume Japonica in blossom. The sketch
displays great strength.
Signed, with a square seal. Date, first quarter of 18th
century.
44
ITCHO
A Japanese Kakemono on silk. Bamboo and bird.
Signed, with a circular seal. Date, 18th century.
45
KEIBUN, (Matsu-mura)
A Japanese Kakdmono on silk. Two white doves on a
pine branch; very delicately executed. The artist was famous
for his successful representations of birds, flowers and
animals. Shijo school..
Signed with a square stamp. Date, first quarter 19th
century.
46
NEN-ITS
A Japanese Kakdmono in monochrome on silk—a cawing
crow perched on the branch of a tree.
Signed, also with a seal inscribed Ikkyo-sai. Date,
19th century.
47
SEISEN
A Japanese Kakdmono in monochrome on silk. Land¬
scape.
Signed, Seisen Osanabu hits, with a square seal. Date,
first part of 19th century.
41
48
SOSEN
A Japanese Kakemono in colors on silk, representing a
group of monkeys in a persimmon tree.
Signed, with a seal. Date, 19th century.
49
SOSEN
A Japanese Kakdmono in colors on silk. A tiger and
leopard fighting.
Signed, Reimei Sosen hits, with a double rectangular
seal. Date, first part of 19th century.
50
TANBI, (Kano)
A Japanese Kakdmono in colors on silk. Sparrow on a
bamboo twig.
Signed, with a double stamp. Date, last half of 19th
century.
51
TANGEI-SEI, (Tsuruzawa)
Two Japanese Kakdmonos in colors on silk. One (a)
represents a golden pheasant, pair of small birds, and flower¬
ing plants near water; the other (b) a pair of golden pheasants
on rocks with chrysanthemums and maples.
Both signed, with a Tsuruza seal. Date, first quarter of
18th century.
52
TETSUZAN, (MoriTessan)
A Japanese Kakdmono on silk. Winter scene with a
Japanese bear. Beautifully executed, all the lines being
made by single strokes. The artist, a pupil of the famous
master, 0 Kyo, was noted for his pictures of flowers, birds,
animals, etc.
Signed, with a seal inscribed Shu-shin. Date, early part
of 19th century.
42
53
A Japanese Kakemono in colors on paper. Tea-plants
narcissus, etc., and a small bird are represented in a careful,
realistic manner, and undoubtedly by a skillful artist.
54
A Kakdmono in colors on paper. A representation of
Mandara or Buddhist deities, with Armida (eternal wisdom)
surrounded by different phases of life, and inscriptions in
Chinese. Pure Vermillion, gold and lapis lazuli were
profusely used.
55
A Kakdmono in colors on silk, representing Bishamon-ten,
Buddhist protector of warriors, with two attendants.
56
A Chinese Kakemono in colors on silk. Roses, orchids,
blossoming tree-peony, etc., by rocks; all most exquisitely
and delicately treated. The artist was noted for his flowers,
birds and animals.
Signed Nan-P'ing Ch'an-sien sha, with two seals and a
stamp. Date, 1738.
43
CHINESE WATER COLORS
57
A Chinese water color. The portrait of a Chinese
sovereign on his chair of state. The materials of his
magnificent robe are realistically and skillfully represented
and the work is an important one.
Unsigned. Date, 18th century.
See Nos. 58 and 59, by the same artist.
58
A Chinese water color. A god of thunder, lightning,
and tempests is represented with beak-like lips, red wings
and claws and surrounded by flames. A wonderfully
executed work of art in splendid colors.
Unsigned, Date, 18th century.
See Nos. 57 and 59, by the same artist.
59
A Chinese water color, representing the god of war,
with a sword in one hand and a magic ring in the other,
standing on a fabulous animal. The treatment of details is
noteworthy.
Unsigned. Date, 18th century.
See Nos. 57 and 58, by the same artist.
44
JAPANESE LEATHER
60
OJd Japanese leather, ornamented with designs of various
plants, birds and insects, in different shades of chocolate
brown.
61
Old Japanese leather, ornamented with designs of plants,
insects, tree-frogs, bats, etc., on a gold-finished background.
Fine specimen.
Date, 18th century.
62
Old Japanese leather, ornamented with designs of plants,
insects, tree-frogs, etc,, without colors on a gold-finish
background. Fine specimen.
Date, 18th century.
63
Old Japanese leather, ornamented with designs represent¬
ing Buddha's sixteen disciples (Rahans) and attributes, with a
white elephant and ascending dragon. Colored and partly
finished in gold.
45
CASE I
JADE
"Jade is supposed to have been brought to China,
from the earliest times of which the Celestials have
any record, and by them has been highly prized and
jealously guarded.
Although specimens of carved jade, inlaid with
precious stones, were among the priceless treasures
of the Mogul Emperors, there is no reason to believe
that this mineral has ever been found in the Indian
Empire, and the raw material must have been brought
from the mines situated in the Kuen-lun Mts., on
the sides of the Kara-Kash valley in Turkestan, near
Khotan.
The pure white jade, when found in large pieces
and without a flaw, was reserved for the Chinese
Emperor, who personifies the pure white light of
Heaven. Such blocks were given to an artist worthy
of the great work, and many of the rare specimens
looted from the summer palace, Pekin, in October,
1860, represented twenty or thirty years of ceaseless
toil at the hands of an artistic, patient and diligent
worker.
Jade is found in veins, and in its initial state is
a silicate of calcium and magnesium; jadeite, the
crystaline form, being a silicate of sodium and alumi¬
nium.
47
There is a theory that jade hardens when exposed
to the air. Be that as it may, the lapidary finds the
greatest difficulty in working and polishing this
material. Tube-drills, with diamond dust, were sup¬
posed to be used to honey-comb the pieces, and break
partitions previous to the carving and polishing,
which on fine examples never fail to excite our
admiration and wonder.
The Chinese name for this precious stone is
"Yu." Pieces of the flawless "pork fat" white,
" Imperial Jade," and emerald green varieties are
considered the finest. The latter is called "Fei-
tsui," and when flecks of green are present in the
pure white, it is likened to " moss floating in melted
snow."
J. Chinese white jade Bowl, with iron-rust spots
and ring-handles. Stand.
2. Chinese white jade Cylinder, extremely fine
undercut carving of landscape,warriors, etc. Carved
stand.
3. Green jade Bowl, with handle. Very fine.
East Indian workmanship.
4. Chinese white jade Coupe, iron-rust spots.
Stand.
5. Chinese dark green jade Koro and cover,
representing the lotus and carved with texts, Buddhist
deities, etc. Stand.
6. Chinese white jade Vase, carving of dragons.
Stand.
7. Chinese white jade Vase, tall, with ring handles.
Very fine workmanship.
48
8. Chinese white jade Vase, small and plain.
Stand.
9. Chinese greenish jade Vase, small and carved.
Green jade stand.
10. Chinese white jade Lotus-flower and bulb,
wrought from an unblemished stone. Very fine.
Stand. (From the Brayton Ives collection.)
ft, Chinese white jade Slab, square and beauti¬
fully carved. Stand.
J2. Green jade Loving-cup. East Indian work¬
manship. Stand.
13. Green jade Bowl and cover, very thin and
fine. East Indian workmanship. Stand.
14. Chinese yellowish jade Vase, heavy carving
of lotus-buds in relief.
15. Chinese green and iron-rust jade Snuff-
bottle, representing a Chinaman holding a long bottle.
Amethyst stopper.
16. Chinese white jade Snuff-bottle, ornamented
with iron-rust colored dragon in relief. Pink crystal
netsuke, green stopper.
17. Chinese white jade Lantern and cover, pierced
design.
18. Chinese dark green jade Cylinder, orna¬
mented in relief and with deep undercut carving;
beautifully executed. Stand. (From the Rossetti
collection, London.)
19. Chinese white jade Vase, with ring handles.
Thick and plain. Stand.
20. Green jade Bowl, fluted chrysanthemum
design. East Indian workmanship. Stand.
49
21. Chinese white jade Libation Cup, plain. A
flawless piece. Stand. (From the Brayton Ives
collection.)
22. Chinese white jade Disk. Stand.
23. Two Chinese white jade Cups.
24. Chinese jadeite Wine-cup.
25. Chinese yellow jade SnuS - bottle. Red
stopper.
26. Two Chinese green jade Wine-cups.
27. Jade Box and cover, engraved. East Indian
workmanship.
28. Chinese white jade Dragon-block, elaborately
carved pierced design.
29. Chinese pure color jade Vase, highly
polished, without ornamentation. Stand.
30. Antique Chinese jade Vase, iron-rust spots.
Stand.
3J. Chinese yellow jade Bowl. Stand.
32. Chinese greyish-white jade Vase, hexagonal.
Stand. (From the Brayton Ives collection.)
33. Celadon green jade Buddha's Hand. Stand.
34. Chinese dark green jade Cup. Thin.
35. Chinese gray and white jade Boat. Finely
carved stand.
36. Chinese greenish-white jade Cup, with
dragon handle. Stand.
37. Chinese violet jade Vase, carved dragon.
Unusual specimen. Stand.
38. Chinese yellow jade Vase. Carved stand.
39. Chinese green and gray jade Vase, triangular.
50
Decoration of stork and pine tree. Fine specimen.
40. Chinese white jade Vase and cover, with
jewelled body and carved edge. Stand.
41. Green jade Sword-handle, decorated with
enamel and large jewels. East Indian workmanship.
42. Green jade Sword-handle, in the shape of a
horse's bridle. Jewelled. East Indian workmanship.
43. Chinese jadeite Vase, highly polished. Pine-
tree decoration. Very fine example. Stand.
44. Chinese white jade Vase and cover, carved
in relief with tree, birds and female figure. Very
fine example. Stand. (From the Brayton Ives
collection.)
45. Chinese green jade Koro. Stand.
46. Chinese jadeite double-gourd Vase ; a
delicate, even green. Stand.
47. Chinese corn-color jade Vase and cover;
small. Unusual color.
48. Chinese white jade Bowl, carving of fish
inside. Stand.
49. Chinese Feitsui jade Disk, for official Joi.
Stand.
50. Greenish-white jade Sword-handle, slightly
jewelled with rubies, etc. East Indian workmanship.
51. White jade Cigar-holder, jewelled. East
Indian workmanship.
52. White jade Buckle, carved and jewelled.
East Indian workmanship.
53. Small jade Box and cover, octagonal,
jewelled. East Indian workmanship.
51
54. Green jade Cup and cover, jewelled. East
Indian workmanship. Stand.
55. White jade Cup, jewelled. East Indian
workmanship. Stand.
56. Indian agate Cup, jewelled. Stand.
57. Indian crystal Bottle and stopper, jewelled.
Stand.
58. Greenish jade Cane-handle, jewelled. East
Indian workmanship.
59. Greenish-white jade Sword-handle, jewelled
with rubies, emeralds, coral, etc. East Indian work¬
manship.
60. Chinese green jade Ring.
61. Chinese white jade Ring, flecked with
emerald green.
62. Chinese mottled green jade Cup, with cover
of jade and carved wood. Carved stand.
63. Chinese white jade Snufi-bottle, carved.
Pink stopper.
64. Chinese green jade Vase, in shape of pine-
tree trunks and branches. Stand.
65. Chinese jadeite Cup and Saucer, lotus
blossom and leaf. Stand.
66. Chinese mottled green and yellow jade
Coupe and cover. Stand.
67. Antique jade Libation Cup, fruit shape. East
Indian workmanship. Stand.
68. Chinese jade pilgrim-bottle Vase and cover.
Stand.
69. Chinese green jade Box and cover. Stand.
52
70. Chinese Imperial white jade Cup and cover.
Stand.
71. Chinese jade Box and cover. Stand.
72. Chinese white jade Koro, engraved. Stand.
73. Jade Cup with pierced handles, exquisitely
carved. Chinese or East Indian workmanship.
Stand.
74. Chinese jade Cup with handles, decorated
with small round bosses. Stand.
75. Two small Chinese jade Cups.
76. White jade Snuff-bottle, pink stopper.
77. Chinese white jade Saucer, without blemish.
Mark of Kea-tsing, 1522-1567. (From the Brayton
Ives collection.)
78. Chinese white jade Paper-cutter, in jade case.
79. Chinese Feitsui jadeite Bowl, carving of twin
fish inside. Stand.
80. Chinese buff jade Cup, shape of lotus leaf.
Stand.
81. Green jade Cup, prepared for jewelling.
East Indian workmanship. Stand.
82. Chinese dark green jade Vase, carved to
represent bamboo. Stand.
83. Chinese jade Bowl, carved. Stand.
84. Chinese jade Boat and Man, carved. Highly
polished. Stand.
85. Indian gray jade Bowl. Stand.
86. Chinese Feitsui jadeite Leaf. Fine Stand.
87. Chinese gray jadeite Bowl. Stand.
53
88. Chinese small white jade Dish, with legs.
Stand.
89. Chinese Imperial white jade Libation Cup,
in form of shell. Stand.
90. Chinese white jade Snuff-bottle.
91. Chinese white jade Box, clover-leaf shape;
very fine and highly polished. Stand.
92. Large Chinese greenish-white jade Jar and
cover. Stand.
93. Chinese pure white jade Cup, finely polished.
Stand.
94. Chinese green jade Libation Cup, divided
into two sections by an open-work handle. Stand.
95. Chinese greenish jade Incense-burner, open¬
work silver cover. Stand.
96. Chinese sacred white jade Loving-cup.
Stand.
97. Chinese celadon green jade Cup, shape of
pear; ornamentation of vine and bats. Stand.
98. Chinese dark green jade Cup. Stand.
99. Chinese white jade Coupe, with iron-rust
spots. Stand.
100. Chinese dark apple-green jade Coupe.
Wrought with exquisite artistic skill in the form of
roses and leaves. Stand. (From the Brayton Ives
collection.)
I0t. Chinese green and white jade Cup.
t02. Two Chinese jade Cups.
103. Chinese gray jade Dish, fluted. Eggshell
texture. (May be East Indian workmanship.)
54
104. Chinese jade Plate.
105. Antique Chinese green jade Plate.
106. A pair of Chinese white jade Candlesticks,
finely polished.
107. Two Chinese jade Cups.
108. Long narrow Chinese jade Slab, carved
pierced work.
109. Large Chinese white jade Cover.
HO. Chinese green jade Koro and cover, in¬
cised work. Stand.
in. Chinese green jade official Mace.
112. Chinese white jade Mace or badge of sacred
office.
113. Indian Dagger; jade case and Damascus
blade.
114. Chinese jade Gourd with iron-rust spots.
Stand.
115. Chinese white jade Spoon, long bowl and
carved handle.
116. Three white jade Spoons, of East Indian
workmanship.
117. Seventy - three pieces of Chinese jade;
consisting of buckles and badges.
ss
INDIAN JEWELLERY
JJ8. Earrings, set with diamonds, etc.
\\9. Set of finger and thumb Rings, enameled
and jewelled.
\20. Armlet, enamel and diamonds.
J2J. Gold Nose Ring, pearls.
122. Enameled and jewelled Necklace with
pendant.
J23. Necklace and pendant, one side enameled
and the other jewelled with pearls and turquoises.
J24. Enameled and jewelled Forehead ornament.
56
CASE 2
CRYSTALS AND OTHER HARD STONES
"Crystals and agates were worked both in India
and China, the style of art determining their nativity.
Crystal balls are mostly made in Japan, where the
mineral is found in mines in the vicinity of Mitak,
Ko-shu and Miyanokoshi, and is the chief lapidary
product of the country. Large flawless balls are rare
and much sought after by collectors.
Agates, for the greater part, are of Chinese origin,
although the best are found in India. They include
the sard, sardonyx, murrhine, jasper and mocha or
' moss agate'."
f. Japanese white crystal Ball, perfectly flawless,
5% inches in diameter. An unusual specimen.
Silver stand.
2. Japanese black crystal Ball, inches in
diameter. Metal stand.
3. Four Japanese white crystal Balls. Stands.
4. Two Japanese smoke-crystal Balls. Stands.
5. Chinese carved rock-crystal Vase and cover.
Ming period. Ivory and wood stands.
6. Chinese plain rock-crystal Vase, ring handles.
Stand.
7. Japanese carved rock-crystal Dragon-block.
8. Japanese plain rock-crystal Vase and cover.
57.
9. Chinese carved pink crystal Block, pomegran¬
ates. Carved stand.
JO. Japanese rock-crystal Vase, carved in form of
lilies. Carved green ivory stand.
J J. Japanese rock-crystal Vase, carved in form of
duck. Stand.
J 2. Japanese carved rock-crystal Fish.
J3. Chinese engraved rock-crystal Libation Cup.
Seal mark of Ch'ien-lung, 1723. Elaborately carved
stand. (From the Summer Palace.)
J4. Chinese carved red and white Indian agate
double Vase. Two stands, one of carved ivory
stained green and one of teak-wood.
J5. Chinese carved Indian chalcedony Vase, fruit
and sacred emblems. Fine. Carved teak-wood stand.
16. Chinese carved red and white Indian sard
Vase, stork, rabbit and fruit. Carved stand.
J7. Chinese carved carnelian Box, fruit shape.
J 8. Small Indian murrhine agate Cup.
J 9. Chinese small sard Coupe. Green ivory
stand.
20. Chinese carved Indian agate Coupe. Fine
stand.
21. Indian golden agate Cup.
22. Chinese carved amethyst Coupe. Finely
carved stand.
23. Chinese carved jasper Coupe, fruit shape.
Green ivory stand.
24. Indian murrhine agate Cup, with handles.
25. Indian murrhine agate Libation Cup, ring
handle.
58
26. Pure amber Coupe, with carved handle of
leaves and flowers. Carved green ivory stand.
27. Indian murrhine agate Cup, with handles.
Chinese workmanship.
28. Indian murrhine agate Bowl, carved to
represent bamboo. Chinese workmanship. Carved
stand.
29. Indian murrhine agate Cup and Saucer.
Fine.
30. Indian murrhine agate Cup and Saucer.
Fine. (From Hamilton Palace.)
31. Indian murrhine agate Cup and Saucer.
Very fine. (From Hamilton Palace.)
32. Indian murrhine agate Cup, with handles.
Chinese workmanship.
33. Indian murrhine agate Cup, irregular shape,
with handles. Chinese workmanship.
34. Indian murrhine agate Loving-cup, with
handles, beautifully carved in relief with bamboo
leaves and branches. Chinese workmanship.
35. Indian murrhine agate Bowl, beautifully
marked.
36. Chinese white agate bottle, pyramid shape.
Green jade stopper.
37. Chinese carved Indian sard Vase, two fish.
Carved stand.
38. Chinese carved Indian sard Coupe, with
dragon handle. Fine stand.
39. Brown Indian Agate Vase (lion color), beau¬
tifully carved. Stand.
59
40. Antique red sard Vase, carved vine and
fruit. Stand.
41. Chinese red and white carnelian Vase,
fungus design, with fruit and other ornaments carved
in relief. Carved teak-wood stand. (From the Mary
J. Morgan collection.)
42. Indian agate Cane-handle, with pearl in top.
43. Large jasper Bottle. Fine. Green ivory
stand.
44. Indian agate Cup, mounted on foot of
chased silver. (From Hamilton Palace.)
45. Indian agate Vase, with ears. Stand.
46. Indian jewelled Snuff-bottle.
47. Small gray-crackle Snuff-bottles, made from
a pebble hollowed out. Feitsui jade stopper.
48. Large gold-stone Bowl. Stand.
49. Oriental Jasper Cup and Saucer.
50. Chinese banded agate Incense-burner,
tripod. Stand.
51. Chinese banded agate Vase, lily pattern with
beautifully carved dragon-flies. Stand.
52. White agate Vase. Stand.
53. Chinese banded agate Vase.
54. Large natural amber Snuff-bottle.
55. Pink crystal Vase (modern). Mined in
Wyoming, made in Japan.
56. Chinese Feitsui jade Snuff-bottle and stop¬
per.
57. Long, narrow, dark green jade Snuff-bottle,
engraved on bottom and sides.
60
58. Red and green agate Snuff-bottle, ornamented
on the red side with an animal and on the green with
a rider in deep brown, both in relief. Red stopper.
59. Two Indian agate Dishes (modern).
60. Indian Water-stone, from Northern India.
Rare.
61. Chinese carved Indian agate Block; dragons.
62. Indian Murrhine agate Saucer; eggshell.
63. Chinese carved Indian murrhine agate Coupe.
Stand.
64. Indian murrhine agate Saucer, thin and fine.
65. Indian gray and black agate Dish, from the
Punjab.
66. Piece of Moss Agate from the Narbada River,
Central India.
67. Four Japanese Crystal Blocks.
68. Three amethyst Tubes containing water.
69. Chinese carved pink agate Coupe, cloud
form. Stand.
70. Rare Tazza Bowl, formed from a piece of
arragonite.
71. Lapis-lazuli Leaf.
72. Lapis-lazuli Spoon.
Also one hundred and twenty-four Chinese Snuff-
bottles in onyx, amber-murrhine, mocha-stone, coral
agate, geode agate carved in relief, blood-stone, rock-
crystal, horn-blend (Venus Hair), pearl, turquoise,
amethyst, ivory, antique cameo-glass, cinnabar
lacquer, reticulated porcelain, decorated porcelain,
etc.
61
CASE 3
SHRINE
(JAPANESE LACQUER)
Data and descriptions furnished by Professor Cho-yo.
A Japanese Buddhist Shrine, in black lacquer,
with metal mountings and double doors.
The outer doors are ornamented on the interior
with lotus designs in gold lacquer on a gold finish
background. The inner ones have an openwork
design of cranes and pine-trees in gilded wood
exquisitely and elaborately executed ; they are lined
with white silk, backed with grille-work in gold
lacquer.
The interior of the Shrine is a mass of wonder¬
fully delicate wood carvings, covered with gilt or
gilt lacquer. In front, at the top, are dragons in
clouds, pursuing a sacred ball, while from the roof
hang two brass lanterns. Under a gorgeous canopy,
from which depend four chandeliers, stands the
symbolic image of Amitabha—the Absolute, the
True Wisdom—his right hand raised, denoting
Evolution, and his left hand pointing downward,
Involution. Around his head are metal rays of the
"perfect enlightenment." On each side of this
central figure is a Jizo, the embodiment of com¬
passion and mercy. The platform on which these
images stand is surrounded with a railing of carved
63
peony flowers, and pillars composed of carved
dragons support the canopy.
The lotus, symbol of the Universe, is everywhere
present and everything indicates the Pure Land—
Paradise.
The Shrine contains:
A. Bronze Buddha, on a lotus pedestal. Black
patine.
B. Yellow bronze Daruma, in meditation. Dark
brown patine tinged with copper red.
C. Relic-tower (Shari-do), in silver and bronze,
containing an exquisitely carved figure of the goddess
Kwannon. At the top is a glass receptacle for relics
and the pedestal is in the shape of a lotus, which
design is repeated throughout the ornamentation.
D. Bronze Relic-tower (Shari-do), mounted
with many pieces of gilt metal in lotus flower design.
The glass globe containing relics is surrounded by
aureole fins. Signed, Kazanya Hanshiro.
E. Relic-tower (Shari-do), in solid silver in the
shape of a pagoda. It is mounted on a lotus
pedestal and is ornamented with lotus flowers and
conventional clouds in relief. Careful and exquisite
workmanship.
F. Small Relic-tower (Shari-do).
G. Bronze Buddhist Cudgel, with three prongs at
each end and bands of lotus design in the centre.
H. Silver Lock and Key, in the shape of a cray¬
fish.
64
CASES 4 AND 5
JAPANESE LACQUER
Data and descriptions furnished by Professor Cho-yo.
1. Inro, gold lacquer. The decoration represents
Hi-no-de ni Tsuru Kame (rising sun, cranes and
turtles). Signed, Kaji-kawa. Ivory slide, rabbit.
Ivory netsuke, three seals.
2. Inro, Roiro lacquer, ornamented with a devil
and evil spirts in overlaid lacquers. Signed, Hanzan.
Metal slide (Ojime). Wood netsuke, mask, by Deme
Josei.
3. Inro, gold-flaked Roiro lacquer. Dragon
decoration in gold lacquer applique. The original
design was by Fusa-nobu and executed by Hyokei.
Gold dragon slide by Ryuga. Wood netsuke, repre¬
senting a smoke-dried fish.
4. Inro, Roiro lacquer. Decoration of landscape
in inlaid mother-of-pearl (Aogai). Jade slide.
Round wood netsuke, chrysanthemums in gold
lacquer. Signed, Utayama Chozan.
5. Inro, tortoise-shell, with decoration of grapes
and squirrels in gold lacquer. Metal slide and
netsuke.
6. Inro, Roiro lacquer. The decoration in gold
lacquer and inlaid mother-of-pearl represents Daikok
65
taking his treasurers from a bale. Agate slide. Flat,
round black lacquer netsuke, with mother-of-pearl
decoration representing Daikok scattering beans to
drive away devils.
7. Inro, form of a Mokgyo (conventional fish-
shape temple-bell), in red lacquer. Red lacquer
netsuke decorated with mother-of-pearl and gold
lacquer. Signed, Joka-sai.
8. Inro, of wood, decorated with two dragon-
flies in gold lacquer. Made by Toyo at the age of
sixty-five years, and so signed. Green jade slide,
lacquer decoration. Netsuke of Nara-nuri lacquer.
9. Inro, vermilion lacquer, with decoration of
Hyakkak (one hundred cranes) in gold lacquer.
Signed, Harumasa. Metal slide. Wood - grain
netsuke, with God of Longevity and crane.
JO. Inro, reddish brown lacquer, decorated with
plants and grasshopper in gold lacquer and mother-
of-pearl inlaid. Made by Hakkei-sai. Tortoise-
shell slide. Flat ivory netsuke, court lady and
butterfly, by Koryu-sai.
J J. Inro, ivory. The decoration consists of
conventional water-design in gold lacquer, and fire¬
flies in black lacquer, coral and mother-of-pearl.
Signed, Toyo-sai. Ivory slide. Netsuke of ivory
with a Rahan and dragon in shibuichi and gold.
J2. Inro, Nashiji lacquer, decorated with three
horses in gold, silver and bronze lacquers. Signed,
by Toju-sai, at the age of seventy-six years. Bead
slide, gold brocade design by Eirak. Wood
netsuke.
J 3. Inro, square, covered with cherry bark.
66
Agate slide. Wood netsuke decorated with one of
the Eight Scenes of Omi Province, in gold lacquer.
14. Inro, Giobu-nashiji lacquer. Decoration of
grasses and a new moon in silver. Interior of
Giobu-nashiji lacquer. Agate slide. Ivory netsuke,
with leaves and wild goose in openwork silver.
15. Inro, silver with engraved decoration.
Signed by Someya Chomin. Metal slide, gold
brocade design. Finely polished wood netsuke,
decorated with fish and grasses in gold, by Toyo.
Brocade bag attached.
f6. Inro, Roiro lacquer. Butterfly decoration in
gold lacquer and mother-of-pearl. Made by Joka-
sai. Lacquer slide. Wood netsuke, mask in box by
Shinkei-sai.
17. Inro, black lacquer, with decoration of the
Seven Autumnal Flowers. Signed by Hasegawa.
Metal slide. Beautifully carved ivory netsuke, by
Ren.
J8. Inro, case and five sections. Case of very
fine gold lacquer, and sections with landscape decor¬
ation in togidashi lacquer. Enameled slide and
wood netsuke.
19. Inro, togidashi lacquer. Decoration in
colored lacquers of the Seven Wise Personages in a
bamboo grove. Cloisonne slide and wood netsuke.
20. Inro, gold lacquer, decorated on one side
with a temple gate and fir trees, and with a deer on
the other side, all in mother-of-pearl inlaid. Interior
of hirame-nashiji lacquer. Signed, inside top, Hokkyo
Korin zo. Exquisitely carved cinnabar lacquer slide
67
by Masa-fusa. Netsuke in coral, gold lacquer and
mother-of-pearl, by Koju-sai.
2J. Inro, black persimmon wood (Kogak), with
exquisitely carved decoration. Metal slide. Wood
netsuke, flower-basket, signed by Minsets.
22. Inro, black lacquer. The decoration—in
gold lacquer—consists of a scare-crow and rice fields,
by Joka-sai. Carnelian slide. Rhinosceros-horn
netsuke, a coral fisher.
23. Inro, black lacquer, decorated with four
characters, and the Seiobo peach in gold lacquer and
mother-of-pearl. Signed, Joka-sai. Gold slide.
Wood netsuke decorated with snail in mother-of-
pearl, by Ryuriu-sai.
24. Inro, ivory with beautifully carved landscape
decoration by Fuji Masa-nobu. Ivory slide. Flat
ivory netsuke, boy holding sheet of paper with
inscription, "Kan-nin" (patience). Signed, Its-yu.
25. Inro, black lacquer, decorated with quail and
grasses in togidashi lacquer in relief. Signed, Koma
Kyoryn. Stone slide. Shitan wood netsuke covered
with gold lacquer, made by Zeshin.
26. Inro, Roiro lacquer. Ornamentation of plants
and crabs in red and gold lacquer, mother-of-pearl
and lead. Signed, Korak-sai, at the age of seventy-
three years. Crystal slide. Netsuke by Toyo.
27. Inro case and four sections. The decoration
represents tigers in a bamboo grove, in gold lacquer,
Kirigane gold lacquer and togidashi lacquer superbly
finished. Designed by a famous painter, Okyo, and
executed by Kaji-kawa. Silver slide and ivory net¬
suke.
68
28. Inro, Nashiji lacquer, decorated with olden-
time toys. Signed, Hanzan. Agate slide. Ivory
netsuke, by Shigemasa.
29. Inro, case and three sections. The case, in
metal, represents a hermit, crane and tree by water,
in gold and silver. The sections are in lacquer with
metallic finish. Signed, Yaso-chika. Grampus
tooth slide. Lacquer netsuke, woman carrying a
Seiobo peach.
30. Inro, gold lacquer. Decoration of water
plant, with flower and stem in mother-of-pearl inlaid
and leaves in lead. Gold-stone slides. Netsuke,
carved double peach-pit by Minryo. Brocade bag
attached.
31. Inro, gold lacquer, decorated with five
cranes. Made by Kaji-kawa. Carnelian slide.
Ivory netsuke by Dosho.
32. Inro, lacquer, with silver mountings. Orna¬
mentation of a palace in tortoise-shell and waves in
mother-of-pearl. Coral slide. Ivory netsuke, Juro,
God of Longevity, by Seiho.
33. Inro, gold lacquer, with decoration of
bamboo, flowers and fowls beautifully executed in
mother-of-pearl, gold, silver and shakudo. Ivory
slide and wood netsuke.
34. Inro, pilgrim-bottle shape, lacquer, with
metallic finish, decorated with Tomoe crest and
Mokme-nuri. Slide and netsuke in gold and
shibuichi. Netsuke by Mume-Tada. (From the
Brayton Ives collection.)
35. Inro, gold lacquer. Sacred elephant in gold
lacquer and inlaid mother-of-pearl. Signed, Fusen.
69
Gold lacquered stone slide. Ivory netsuke, the
warrior Benkei, made by Ippo-sai.
36. Inro, lacquer, decorated with tiger and cub
crossing a stream in togidashi and Kirigane (cut
gold) gold lacquer. Designed by Hogan Fusa-
nobu and executed by Joka-sai. Ivory slide and
netsuke.
37. Inro, gold lacquer. Scene of the Kumano
Temple, etc. Signed, Kaji-kawa. Metal slide, a
mokgyo (temple bell). Ivory netsuke, God of
Longevity.
38. Inro, red cinnabar lacquer with carved
decoration of flowers, bird and grasshopper. Metal
slide. Cinnabar lacquer netsuke representing Hotei.
one of the Seven Gods of Fortune. (From the
Samuel Colman collection.)
39. Inro, Roiro lacquer, decorated with maple-
tree in gold lacquer applique and sprinkled gold, and
with a deer in lead and inlaid mother-of-pearl.
Interior has a Tsuruga-nuri finish. Made by Koma
Kansai. Gold lacquer slide and ivory netsuke.
(From the Samuel Colman collection.)
40. Inro, circular, in Roiro lacquer. Decoration
of a lily and a Kirin in pottery. Signed, Hanzan.
Cloisonne slide. Wood netsuke, by Komin. (From
the Samuel Colman collection.)
4J. Inro, case and three sections. Case decora¬
tion represents the Japanese Rip Van Winkle,
Urashima, on a fish and watched by four persons ;
chased, inlaid, etc., in gold, silver, red copper and
shibuichi. Signed, Haruaki. Sections by Uchida
Tsunekichi. Gold and shibuichi slide. Wood and
70
metal netsuke by Kukushi. (From the Samuel
Colman collection).
42. Inro, togidashi lacquer. Decoration of
begonia and grasshoppers, overlaid in gold and gold
lacquer and mother-of-pearl. Signed, Tosui. Ivory
slide with Shippo (seven treasures) design, by
Gyoksho. Ivory netsuke by Shizan.
43. Inro, gold lacquer, decorated with musical
instruments and maple twigs. Crystal slide. Wood
netsuke, lotus-pod with movable seeds and a frog.
Signed, Suke-yuki.
44. Inro, case and five sections in gold lacquer.
Case decorated with landscape and sections with
Shippo design. Metal netsuke.
45. Inro, gold-flaked black lacquer, decorated
with mume flowers in gold lacquer, porcelain and
ivory appliquS. Signed, Ritsuo. Enamel slide.
Netsuke in lacquer and inlaid ivory, a No-dance
performer by Rakmin. (From the Brayton Ives
collection.)
46-S5. Are Inros in different lacquers, carved
wood, ivory, etc., and variously decorated.
86. Picnic Box, consisting of many boxes (four
being octagonal), a tray, and silver sak6-bottle in
the form of bamboo. The decoration is in the bam¬
boo and plum design (Chik-Bai), with Kik-kiri crests
and encircled cranes (Maizuru) all on a magnificent
Giobu-nashiji lacquer background. Signed, Kaji-
kawa saku, with a bronze censer-shaped stamp on
the bottom of the tray. This was officially made for
presentation to a Kuge prince of the highest order
71
by Tokugawa Shogunate (Military Sovereign) on a
grand occasion.
87. Large double Stand, Nashiji lacquer, with
pine and fir-tree decoration in lead and gold
lacquers.
88. Daimio double Stand, in finest gold
aventurine lacquer. Decorated with medallion
designs of chrysanthemums, peony, etc. Silver
mountings and silk tassels. Early part of 17th
century. (From the Austin Robertson collection.)
89. Picnic Box (Sageju), Nashiji lacquer, deco¬
rated with Ho-o bird and tree-peony blossoms in
many colored lacquers. The furnishings consist of
trays, boxes and a sake-bottle, all beautifully deco¬
rated.
90. Box, in fine grained polished Jindaisugi
(very old fir wood, now extinct). The cover is
decorated with a Sacred Elephant, splendidly capar¬
isoned, in pottery, carved gold, silver and cinnabar
lacquers and inlaid mother-of-pearl. On the sides
are musical instruments, fan and banner in gold
lacquer and mother-of-pearl. Interior and bottom of
gold and silver Nashiji lacquer. Made after Haritsu-o
by Hanzan, and signed.
91. Cabinet, gold lacquer, with ornamentation
of young pines and mume-trees. Silver mountings.
92. Cabinet, black lacquer with finely polished
gold lacquer decoration of the famous Eight Scenes
of the Omi Province. A very fine specimen of the
Togidashi-maki-e lacquer (polished out gold lacquer).
93. Portable Writing-case, gold lacquer, with
three drawers, silver hinged door and silver handle.
72
Decorated on top and sides with pine, bamboo and
plum designs (emblems of longevity and good
wishes) in finest gold lacquer on aventurine lacquer.
It bears the Tokugawa crest and was undoubtedly
one of the treasured pieces of that family. Attributed
to the period of Iyemitsu Shogun, 1600-1640. (From
the Austin Robertson collection.)
94. Cabinet with five drawers. The decoration
in togidashi gold and silver lacquers, consists on the
front of mume and birds, on the ends of iris, etc.;
on the back of chrysanthemums and bush-clover, and
on the top, of quails and millet.
95. Stand, diamond-shape; togidashi Hakeme-
nuri lacquer on gold-coated red lacquer background.
96. Box, with tray, shape of musical instrument
(Koto), in black lacquer, decorated in gold and
wood-grain (Mokme) lacquers. Interior, very fine
gold Nashiji lacquer.
97. Long Box, with decoration of trees and
mountains in fine togidashi lacquer.
98. Long Stand, polished Giobu-nashiji lacquer.
Decoration of waterfall, etc., in gold lacquer.
99. Old Box, Nashiji lacquer, with lead edges.
Decoration in gold and silver lacquers.
100. Old Box, black lacquer. Decorated with
finely lined gold lacquer. Interior, fine Nashiji
lacquer.
fOJ. Tray, Nashiji lacquer, decorated with mume-
blossoms, bird (Uguisu) and new moon in inlaid
silver and gold lacquers.
102. Tray, gold and black lacquer, decorated
with Ho-o bird. Fine.
73
J03. Box, form of double shell, in togidashi gold
lacquer with fine landscape decorations.
104. Pair of Shells. One of red lacquer deco¬
rated with gold and black lacquers ; the other of
white lacquer, with red and gold lacquer decoration.
J05. Box, black lacquer with gold lacquer deco¬
rations. Very fine.
106. Round Box, Nashiji lacquer, with Togukawa
crest (Aoi-no-mon) on the cover and arabesque
designs on the side in gold lacquer. Stand.
107. Wine-cup Stand (Sakazuki-dai),red lacquer.
The gold lacquer decoration on the top of moon and
mume-blossoms is after a picture by the famous artist,
Buncho. Gold lacquer circles on the sides.
108. Fruit-shaped Box, Nashiji lacquer tinged
with red and with leaves in gold lacquer. Interior
decorated with peach-blossoms on Nashiji ground.
109. Tablet Stand, Nashiji lacquer, with wave
pattern decoration on top and sides in togidashi.
110. Box, black lacquer, decorated with land¬
scapes in gold. Interior, Nashiji lacquer. Very fine.
111. Miniature Box, gold lacquer decorated with
flowers in gold. Interior, Nashiji lacquer. (From
the Brayton Ives collection.)
112. Flat Box, red and gold lacquer, with crests
in black and gold lacquers. Very fine.
113. Two miniature Boxes, Giobu lacquer, deco¬
rated with landscapes.
114. Miniature Cabinet, black lacquer. Gold
lacquer decoration and silver mountings.
74
115. Round Box, gold Nashiji lacquer. Vine
decoration.
116. Flat Box, Nashiji lacquer, with cord in red
and gold lacquers and raised gold lacquer decoration.
(From the Samuel Colman collection.)
117. Box, fan-shape, gold lacquer.
J18. Round Box, gold lacquer, decorated with
flowers in gold. (From the Brayton Ives collection).
J19. Very old Box, lacquer sprinkled with gold
and with mother-of-pearl incrustations. Interior,
Nashiji lacquer.
120. Old Round Box, shape of lotus flower and
incrusted with mother-of-pearl.
121. Small round Box, lacquer, covered with
mother-of-pearl decoration. (From the Samuel
Colman collection.)
122. Box, gold lacquer. One of the finest
examples of modern work. (From the World's
Columbian Exposition.)
123. Round Box, red lacquer. Decoration of
Ho-o bird.
124. Small round Box, togidashi lacquer. Deco¬
ration, in fine gold lacquer, of a monkey eating a
persimmon.
125. Round Box, wood-grain lacquer.
126. Tea-box, black lacquer. Fire-fly decoration
in black lacquer and mother-of-pearl.
127. Small square Box, black lacquer. The
decoration, in gold lacquer, represents a classical
dance, " Genrok Odori," which prevailed in the
Genrok period.
75
J 23. Small Tray, black lacquer with lead rim.
The decoration represents a famous Chinese musician,
Shing Sai, breaking a Koto, after his words, "I amuse
myself with music and why should I be a court
musician," when he was asked to enter the service
of the palace.
129. Square Box, decorated with leaves in
togidashi lacquer.
130. Box, gold lacquer, decorated with bird in
black lacquer.
J3J. Shallow wooden Bowl, decorated with chrys¬
anthemum and Kiri flower in gold, silver and zinc
lacquers. Signed, Shozan.
t32. Sak6-bottle, form of woman, in gold lacquer.
Stand.
133. Wood Hibachi, inlaid with mother-of-pearl.
Silver cover. Made by Korin.
134. Vase, made from branch of a tree. Decora¬
tion of squirrels, etc., in various lacquers and
mother-of-pearl.
J35. Daimio Saddle and stirrups, decorated gold
lacquer.
136. A complete Japanese Lady's 'Toilet Set
(Kesho-dogu), consisting of a mirror and stand with
two drawers, containing eleven boxes for powder,
rouge, etc., and thirteen small articles, paint brushes,
powder brush, dipper, etc., in Roiro lacquer with
silver mountings and decoration in gold and gold
lacquer of arabesque scrolls, Katabami and Mume-
bachi crests and pine trees. The mirror has two
twigs of nandia Japonica and the crests in relief on
the back. Signed, Tan6-sada.
76
137. Old Cabinet, black lacquer, inlaid with
emblems of hunting in gold, silver and colored
lacquers.
138. Japanese Bow and Arrows.
J39. Old Japanese Flute, black lacquer. Strongly
decorated with dragon in gold.
HO. Old Japanese Musical Pipes, wood and
black lacquer.
HI. Old Japanese Drum, black lacquer. Deco¬
rated with gold lacquer and inlaid mother-of-pearl.
142. War-fan (Gunbai-Uchiwa), decorated with
dragons in gold lacquer, Fudo (fire-god), and
Bishamon in different lacquers, and with inscriptions
for the securing of good luck.
143. Old Writing Case (Suzuri-bako), gold
lacquer. The decoration on the outside of the
cover is a group of horses under a pine-tree; and on
the inside is represented an imperial vehicle and
court officals.
144. Writing-case, gold lacquer, decorated with
palms. Inside the cover is a view of Noji-no-Tama-
gawaonKin-Nashiji lacquer ground.
H5. Writing-case, Roiro lacquer. The decora¬
tion, by Mitsu-naga, represents Hotei, God of
Fortune, in high relief. Inside the cover are inscrip¬
tions in gold lacquer, by Kotak.
146. Writing-case, gold lacquer, decorated
both outside and in with cherry-blossom scenery at
Yoshino (Yoshino-no-Sakra). The blossoms are in
silver lacquer.
147. Writing-case, black lacquer sprinkled with
77
gold flakes. Decoration of an inscription and a
noted poet drinking sak6.
14-8. Box, of very fine unpolished Nashiji lacquer,
decorated with an old pine-tree and rock in gold
lacquer.
J49. Cabinet with drawers, black lacquer. Deco¬
ration of bamboo branches in gold lacquer and bits
of mother-of-pearl.
150. Old Wooden Stand, with beautifully carved
decoration of Ho-o bird, etc., in gold lacquer.
151. Armrest, gold aventurine lacquer. Deco¬
rated with tree and vine in gold, silver and black
lacquers. Very fine specimen.
152. Wine-cup (Sakazuki), of red lacquer. The
decoration represents a farm scene, with farmer
plowing and a boy carrying lunch. Signed, Ippo-sai.
J53. Wine-cup, red lacquer. Ebis, one of the
Seven Gods of Fortune, is depicted in gold and lead
lacquers. Signed, Nagatsugu. Stand of Roiro
lacquer carved in plum-blossom design.
154. Five Wine-cups, vermilion lacquer. Decora¬
tions in gold lacquer, Daikok, one of the Seven Gods
of Fortune; the Yoro waterfall; "Chrysanthemum
Youth"; Bush-clover by the Tamagawariver; Ahorse
race between court nobles.
155. Wine-cup, fine vermilion lacquer. Rising-
sun and crane (Hi-no-do-ni Tsuru) decoration in
fine gold lacquer. Fine gold lacquer stand, pine-tree
decoration.
156. Wine-cup, vermilion lacquer, decorated
with pine-trees in gold lacquer. Unusual specimen.
78
157. Fine old Wine-cup, red lacquer. The
decoration in gold represents priests transporting
sacred pine-tree. Stand of vermilion lacquer orna¬
mented with cherry and mume-blossoms.
158. Small Stand, black lacquer. Decorated
with Tokugawa crests, etc., in gold.
159. Dispatch Box, Nashiji lacquer, decorated
with cranes and reeds in gold and gold lacquer.
Interior, fine Nashiji lacquer.
J 60. Dispatch Box, gold lacquer with arabesque
decoration in silver. Interior, very fine gold Nashiji
lacquer.
161. Dispatch Box, gold lacquer, decorated with
chrysanthemums and Shippo-tsunagi design. Interior,
Nashiji lacquer.
162. Box, with tray, of gold-flaked Roiro lacquer.
Decoration of wild grape vines with fruit in coral.
Interior, very fine Nashiji lacquer.
163. Small Box, gold Nashiji lacquer, decorated
with bamboos and pines in gold lacquer. Interior,
Nashiji lacquer.
164. Incense-box in three sections, gold lacquer
decorated with a check design and the Seven Treas¬
ures (Shippo). Interior, fine gold Nashiji lacquer.
165. Censer, shape of Kuam (a headgear), in fine
gold Giobu-nashiji lacquer and sprinkled gold.
Interior, silver. Signed, Hoits-zo.
166. Pear-shaped Box, fine gold and tin lacquers.
167. Incense-box, Nashiji lacquer. Silver cover.
168. Old Box, double-diamond shape, gold
lacquer, decorated in gold and silver lacquers.
79
169. Perfume Box, containing tray and seven
small boxes, all in gold aventurine lacquer, richly
decorated with chrysanthemums. The inside of the
cover is decorated with a stork forming a crest.
17th century.
170. Box, hoof-shape, gold lacquer, with deco¬
ration of chrysanthemums in relief in gold and silver.
(From the Samuel Colman collection.)
171. Incense Set, consisting of tray and two
incense holders in togidashi lacquer finely decorated
with landscapes and pine-trees. Silver incense-
burner, with pine-tree decoration and net-work
cover, and a silver holder containing all the imple¬
ments necessary for the ceremony of incense
burning.
172. Tea-box, black and gold lacquer, inlaid
with mother-of-pearl and black lacquer.
173. Old Tea-box, gold lacquer, with wave
design in black.
174. Old Box, shape of two tied bags. Deco¬
rated with pine-trees, etc., in gold lacquer.
175. Wooden Mace, with applied decoration
carved from the skin of a gourd. Green cord and
tassel. (From the Chinese Minister.)
176. Inro Case, old Japanese basketwork.
177. Large Box, Nashiji lacquer, decorated with
the Shippo-tsunagi design in gold lacquer. Interior,
Nashiji lacquer.
178. Sake-bottle, red lacquer, decorated with
fans in silver and gold lacquers.
179. Picnic Box (Sageju), black lacquer, con-
so
taining trays, boxes and sake-bottle, all decorated
with various kinds of flowers in togidashi gold and
silver lacquers.
130. Two Boxes, gold lacquer. Ornamented
with floral scrolls and the Mori crest.
181. Sake-bottle, black lacquer, with decoration
in togidashi, representing the poet, Li Tai P'ok, look¬
ing at a waterfall. Signed by Zuiho, an artist.
J82. Incense - holder, form of shell, in black
lacquer with decoration illustrating a noted anecdote,
Asazuma-bune (lady in a boat).
183. Large round Box, three sections, in many
colored lacquers. Interior in black lacquer, deco¬
rated with autumn leaves, acorns, etc., in red and
gold lacquers.
184. Box, gourd shape. Togidashi lacquer deco¬
ration of vine and leaves. Black stand. (From the
Samuel Colman collection.)
81
CINNABAR LACQUER
185. Japanese cinnabar lacquer Rouge Box,
beautifully carved floral design. Interior, black
lacquer. 18th century. (From the Brayton Ives
collection.)
186. Chinese cinnabar lacquer Jar, with land¬
scape and figures carved in relief. Interior, black
lacquer.
187. Set of Chinese cinnabar lacquer, writing-
case, paper-box, paper-weight and writing-brush.
The writing-case and paper-box are decorated with
pagoda and lake scenes and floral designs, carved in
relief.
188. Chinese cinnabar lacquer Cup-stand, beau¬
tifully carved with dragons, etc., in high relief.
Green ivory and wood stand.
82
CASE 6
CHINESE PORCELAINS
Data and descriptions furnished by Professor Cho-yo.
1. Very large bottle-shaped Vase, of hard paste
porcelain. The interior glaze is dark yellow crackled;
that on the bottom being white, with a shagreened
surface. Around the neck are floral designs and the
body is divided into eight panels, on which land¬
scapes and plants alternate, all the decoration being
in rich, pure enamels over the glaze. Ch'ien-lung,
1736-1795.
2. Very large globular bottle-shaped Vase, of
hard paste porcelain. The decoration consists of a
Wan-nien (mushroom) border at the top and a lotus-
petal band at the base, with Yun-kwak (clouds and
cranes) and bats over the body, all in high relief on
a background of deep lapis-lazuli blue under the
glaze. The cranes are waxy white with feathers and
outlines in underglaze blue and the other subjects
are in peach-blow, also under the glaze. A wonder¬
ful production.
3. Very large gourd-shaped Vase, of hard paste
porcelain. The glaze is bright and full of minute
glistening granules and pittings. The vase is entirely
covered with a gourd-bearing vine about which bats
are flying, all in peach-blow and blue under the
glaze.
83
4. Very large Vase, of enameled hard paste por¬
celain. The interior glaze is white, lustrous and
irridescent, with a shagreened surface; the outside
glaze being a rich lustrous black. The decoration
consists of two stocks of the Moi tree (prunus
orientalis) in almost full blossom, with small song¬
birds perched upon the branches. The petals are
ivory white, speckled and lined with pale purple, and
the birds, etc., are in colored enamels. At the top,
inside, are three pine twigs upon a ground of black,
and on the bottom are the potter's wheel mark and
spatula traces reversed. It has a perfect foot of
three ridges.
This is a representative specimen of the so-called
Black Hawthorn of American and European col¬
lectors.
5. Large cylindrical Vase, of blue and white hard
paste porcelain. Glaze lustrous, with a shagreened
surface. Decoration of a landscape—Shapekee—on
a moonlight night, skillfully executed in various
shades of underglaze blue. It has a perfect foot
with the mark of a half leaf in a double circle under
the glaze on the bottom. K'ang-hsi, 1661-1722.
6. Large ovoid Vase, of blue and white hard
paste porcelain, with an elaborate decoration depict¬
ing an august ceremonial function. A veritable
treasure and one of the very best of its kind. (From
the Chas. A. Dana collection.)
7. Large beaker-shaped Vase, of blue and white
hard paste porcelain. Decoration of landscapes and
floral designs skillfully executed in various shades of
beautiful underglaze blue. K'ang-hsi, 1661-1722.
84
8. Large cylinder Vase, of blue and white hard
paste porcelain, with a shagreened surface. Land¬
scape decoration in deep rich blues under the glaze.
Ch'ien-lung, 1736-1795.
9. Large pilgrim-bottle Vase with handles, of
blue and white hard paste porcelain and lustrous
glaze. The decoration consists of arabesque Tiger-
lily scrolls, etc., in underglaze blue. On the bottom,
in blue, under the glaze, is the period mark in six
Chinese seal characters, Ta-tsing Ch'ien-lung nien-
chi, 1736-1795.
10. Large beaker-shaped Vase, of blue and white
hard paste porcelain, with lustrous glaze. Tiger-lily
pattern, with arabesque flowers and bold foliated
scrolls, in three shades of underglaze blue. K'ang-
hsi, 1661-1722.
11. Large beaker-shaped Vase, of blue and white
hard paste porcelain and bright, lustrous glaze.
Arabesque Tiger-lily pattern in blue under the glaze.
On the bottom, in deep underglaze blue, is the period
mark in six Chinese characters, Ta-Ming Cheng-hwa
nien-chi, 1465-1488.
12. Large Vase, of blue and white hard paste
porcelain. The body and neck are grooved in the
outlines of twisted flower-petals, bounded by double
lines in blue and containing arabesque floral designs.
On the bottom, within a double circle, under the
glaze is a leaf mark. An important specimen.
13. Large powder-blue Vase, decorated with
medallions reserved in white and containing land¬
scapes, etc. K'ang-hsi, 1661-1722.
85
14. Large Jar, of blue and white hard paste por¬
celain, with decorations of fan-shaped medallions in
underglaze blue and of arabesque Tiger-lily scrolls in
white, reserved in deep blue. On the bottom is a
double circle. (From the King of Holland's col¬
lection. )
15. Large Jar and cover, of blue and white hard
paste porcelain with a shagreened surface. Decora¬
tion of diamond-shaped medallions and floral designs.
On the bottom is the Kwei mark under the glaze.
K'ang-hsi, 1661-1722.
16. Large Jar and cover, of blue and white hard
paste porcelain. The decoration consists of three
medallions containing symbolic articles, in beautiful
lapis-lazuli blue under the glaze, reserved in Haw¬
thorn pattern on a "cracked ice" background, in
different shades of soft, clear blue. A very good
example. K'ang-hsi, 1661-1722.
17. Jar, of blue and white hard paste porcelain,
having a slightly crackled glaze with shagreened sur¬
face. Decoration of flowers and insects in a deep,
strong blue. K'ang-hsi, 1661-1722. Wood cover.
18. Cylindrical Jar, of blue and white semi-hard
paste porcelain; lustrous glaze, covered with a bold,
irregular crackle. Fruit decoration in three shades
of underglaze blue.
19. Jar and cover, of blue and white hard paste
porcelain, decorated with garden scene (so-called
"Long Elizas"). Period mark, Ta-Ming Cheng-hwa
nien-chi, 1465-1-488.
20. Bowl, of blue and white hard paste porcelain,
with lustrous glaze. Decoration of Phong-wong
86
(mythical birds) and arabesque scrolls, reserved white
on a blue ground under the glaze. On the bottom,
within a double circle, is the mark of the six double
petals and stamens, in underglaze blue. K'ang-hsi,
1661-1722.
21. Bowl, of hard paste porcelain, ornamented
with various utensils drawn in peach-blow, interspersed
with Shou and Foo characters and subtended by the
Mystic Trigrams. Yung-cheng, 1722-1735. (From
the Charles A. Dana collection.)
22. Large Persian Plaque, blue and white por¬
celain.
23. Large Plaque, blue and white porcelain,
Tiger-lily decoration. K'ang-hsi, 1661-1722.
24. Large Plaque, blue and white porcelain.
Decoration of medallions and floral designs.
25. Two Plates, of enameled hard paste por¬
celain. Decoration of five-clawed dragons and sacred
ball in gTeen enamel over the glaze on a background
of deep underglaze blue. On the bottom of one, in
blue under the glaze, is the period mark of Ch'ien-
lung, 1736-1795; and on the other, that of Chia-
ching, 1796-1821.
26. Bowl, of blue and white hard paste porcelain
with lustrous crackled glaze. At the centre is a vase
containing pine, bamboo and hawthorn twigs, in two
shades of underglaze blue. On the bottom, within
a double circle, is the period mark in underglaze
blue, Ta-Ming Cheng-hwa nien-chi, 1465-1488.
27. Two plates, of blue and white hard paste
porcelain, lustrous glaze; with Hawthorn decoration
87
on a "cracked ice" background. On the bottom is
the Kwei mark within a double circle.
28. Bottle-shaped Vase, of blue and white hard
paste porcelain, with lustrous glaze. The body is
divided into four decorated panels. K'ang-hsi, 1661-
1722.
29. Vase, of blue and white semi-hard paste
porcelain with lustrous glaze. The decoration, in
underglaze blue, consists of six medallions containing
landscapes. K'ang-hsi, 1661-1722.
30. Vase, of blue and white hard paste porcelain,
decorated with floral arabesques, etc., in blue.
31. Cabinet Vase, of blue and white soft paste
porcelain, in the shape of a seed capsule. The glaze
passes from a dark cafe au lait to a light gray and is
covered with brown crackles. The decoration con¬
sists of eight ornamented medallions in soft under¬
glaze blue, and of borders, etc. A rare and valuable
example of the soft paste productions of the Ming
period. Date (probably), Chia-ching. 1522-1567.
32. Cabinet Vase, of hard paste porcelain; lus¬
trous glaze covered with microscopic granules. The
body is decorated with arabesque designs and three
medallions containing garden scenes in colored
enamels; while, around the neck is the vertical palm-
leaf pattern. Period mark in underglaze blue on the
bottom, Ta-tsing Ch'ien-lung nien-chi, 1736-1795.
33. Cabinet Vase, bottle-shape, of blue and white
hard paste porcelain decorated with conventional
chrysanthemums and tree-peony flowers.
34. Powder-blue cabinet Vase, bottle-shape, very
88
deep color and even mottling. K'ang-hsi, 1661-
1722. (From the Brayton Ives collection.)
35. Pair of small Beakers, blue and white por¬
celain. Leaf mark on bottom.
36. Tea-pot, decorated with rich arabesque
design upon a coral red ground and a reserved
medallion containing verses. Cover to match. Chia-
ching, 1796-1821. (From the Austin Robertson
collection.)
37. Tea-pot, of blue and white hard paste por¬
celain, with lustrous glaze and decoration of twelve
bands.
38. Small Bowl, of blue and white hard paste
porcelain, with lustrous glaze. The ornamentation,
in underglaze blue, consists of cloud-pattern borders
and chrysanthemum designs in "rice-grains;" while
at the centre, inside, is the character, Shou, sur¬
rounded by five bats within a double circle. On the
bottom, in underglaze blue, is the period mark, Ta-
tsing Ch'ien-lung nien-chi, 1736-1795.
39. Rouge-box, of blue and white semi-hard
paste porcelain. Decoration, on the body, in under¬
glaze blue, of the wave-and-spray pattern, and on
the cover, of four-clawed dragon in flames and clouds.
40. Brush-washer, of blue and white hard paste
porcelain. The decoration in underglaze blue repre¬
sents the characters in a famous Chinese poem by
Li-tai-pe, also extracts from the poem. In under¬
glaze blue, on the bottom, is the period mark, Ta-Ming
Cheng-hwa nien-chi, 1465-1488.
41. Tall Cup, of blue and white soft paste por¬
celain, with lustrous crackled glaze. Garden scene
89
and poetical inscription in underglaze blue. Very
good specimen.
42. Small Bowl, of blue and white hard paste
porcelain, decorated with butterflies and blooming
tree-peony in two shades of blue. Period mark, in
blue, within double circles, on the bottom, Ta-Ming
Cheng-hwa nien-chi, 1465-1488.
43. Cabinet Bottle, of blue and white soft paste
porcelain (Fun-ting Waitzu). Dragon decoration in
cobalt blue. On the foot is the seal mark of Yung-
cheng, 1723-1735. (From the Brayton Ives
collection.)
44-. Writer's Water-vase, of blue and white semi-
eggshell porcelain, with decoration representing the
entertainment of a traveler. Ch'ien-lung, 1736-1795.
(From the Brayton Ives collection.)
45. Small blue and white Cup; a bijou specimen.
46. Box and cover, of hard paste porcelain with
lustrous glaze; that inside and on the bottom being
sea-green. Decoration of five border designs in blue.
In a square reserved on the bottom, is the period
mark in underglaze blue, Ta-tsing Ch'ien-lung
nien-chi, 1736-1795.
47. Box and cover, of blue and white hard paste
porcelain, decorated with a classical pattern in under¬
glaze blue. K'ang-hsi, 1661-1722.
48. Japanese Censer and cover, of hard paste
porcelain, with lustrous glaze covered with micro¬
scopic granules. The body represents a thick
bamboo grove with leaves at the top in two shades of
pale underglaze blue. Border and cover in da.rk
coral red and gilt. An important specimen. Made
90
of Iraari clay, at Kutani, in the province of Kaga,
about 1700.
49. Large ovoid Bottle Vase, with rams' head
handles, covered with turquoise blue glaze. Raised
ornaments divide the vase into four panels decorated
with archaic floral designs, etc., incised and carved
in low relief. (From the collection of the Comte de
Semalle, member of the French legation at Pekin,
1873-1885.)
50. Large ovoid Vase, of hard paste porcelain,
coated with a brilliant monochrome glaze of glossy
"mirror black," covered with microscopic pittings.
The interior and bottom are covered with white glaze.
A fine, important example. K'ang-hsi, 1661-1722.
51. Large cylindrical Vase, of hard paste porcel¬
ain with dazzling white glaze. The neck is decorated
with palm-leaf and cloud bands; the shoulder, with
conventional cloud belts; and the body is covered
with beautiful arabesque scrolls, all being in mid-
relief. An almost perfect piece. On the bottom,
within a circle, in underglaze blue, is the period mark,
Ta-Ming Cheng-hwa nien-chi, 1465-1488.
52. Large Vase, with flaring neck, of hard paste
porcelain, covered with monochrome Lang-yao (Sang-
de-boeuf) glaze, crackled throughout. On the
bottom and at the top, the glaze is clair-de-lune.
The vase is remarkable for its evenness of glaze, luster
and smooth surface. K'ang-hsi, 1661-1722.
53. Large Vase, with dragon handles, covered
with a celadon monochrome glaze of a bluish tint,
boldly crackled in black and brown. Decoration,
dragon in relief. Ch'ien-lung, 1736-1795.
91
54. Vase, balustre shape, with elephant tusk
handles. Brilliant garnet and purple flambe and
cream colored edges. Ch'ien-lung, 1736-1795.
(From the Austin Robertson collection.)
55. Large Mandarin Vase, of semi-eggshell por¬
celain. Gold diaper groundwork, decorated with
floral designs in high relief and two reserved vignettes
containing elaborate designs in delicate enamels.
18th century. (From the Charles A. Dana collection.)
56. Large pear-shaped Vase, with decoration of
dragon in clouds in blue and peach-blow. Date,
about 1735.
57. Tall cylindrical Vase, of enameled hard
paste porcelain, decorated with six medallions con¬
taining various designs, reserved on a background of
gilt scrolls on dull red. Around the neck are twenty-
four different compositions of the character, "Shou."
Yung-cheng, 1723-1735.
58. Large beaker-shaped Vase, of enameled hard
paste porcelain, with shagreened surface. Decoration
of land and water plants, birds and butterflies in gold
and colored enamels. Very fine example. K'ang-
hsi, 1661-1722.
59. Trumpet-shaped Vase, with four long cylinder
handles, of hard paste porcelain. Decoration of
magnolia flowers and leaves in enamels on brilliant
"mirror black" background. Interior glaze is white.
On the bottom, in underglaze blue, is inscribed "Shi
Shan Suey Pieng" (a precious thing of valuable stone
mountains ).
60. Pair of modern Japanese Vases, of soft
faience with craquele glaze. On the neck, the
92
decoration consists of conventional pheonixes in
colored enamels over the glaze, while on the body is
portrayed an autumnal country scene, with flowering
plants in gold and enamels and flocks of flying wild
geese. Signed, Shin-mura.
61. Tall cylindrical Vase, of enameled semi-hard
paste craquele porcelain—Famille Verte. The deco¬
rations represent a classical landscape and an imperial
court scene, in gold and colored enamels. An im¬
portant example. Date, between the last period of
Ming and first of Tsing dynasty, 1630-1700.
62. Wine-kettle of enameled hard paste porcelain,
decorated with butterflies, floral designs, cloud
scrolls and diaper patterns in colored enamels, the
last named two being on a speckled green background.
A production of the latter part of the Ming period,
1573-1644, commonly known as Wanli porcelain.
63. Jar, of enameled hard paste porcelain.
Around the shoulder is a border of medallions and
interlaced squares, while the body is decorated with
eight cranes in the form of medallions and
with flowers, butterflies, etc., on a speckled green
background. K'ang-hsi, 1661-1722. Teakwood
cover.
64. Gourd-shaped Vase, with lion head and ring
handles, covered with tea-color glaze of a light shade.
Seal mark, Yung-cheng, 1723-1735. (From the
Mary J. Morgan collection.)
65. Cylindrical Bottle Vase, apple-green glaze
with bold crackle beneath. Yung-cheng, 1723-1735.
(From the Mary J. Morgan collection.)
66. Gourd-shaped Vase, covered with sea-green
93
glaze and decorated with floral designs, inscriptions,
etc., in gold and colored enamels. (From the
collection of Count Kleczkowski, France.)
67. Bottle-shaped Vase, covered with yellow glaze
and decorated with dragon in black enamel. A rare
and flawless example. Ch'ien-lung, 1736-1795. (From
the Brayton Ives collection.)
68. Bottle shaped Vase, powder blue glaze.
Decoration of five-claw dragon modelled in low relief.
(From the Chas. A. Dana collection.)
69. Pear-shaped Vase, with decoration of dragon,
etc., in peach blow. On the bottom, within a double
circle, is the period mark in six script characters.
Ch'ien-lung, 1736-1795. (From the Chas. A. Dana
collection.)
70. Bottle-shaped Vase, turquoise-blue craquele
glaze, with floral decoration in black. (From the
Chas. A. Dana collection.)
71. Gourd-shaped Vase, of hard paste porcelain,
coated with celadon monochrome glaze of a bluish
tint. Lotus petal, cloud, and Key designs are
engraved under the glaze, Tao-Kouang, 1821-1850.
(From Blenheim Castle.)
72. Long-necked Vase, of soft paste (Kai-pien)
white porcelain, decorated with bands of banana
leaves and cloud designs.
73. Small Vase, of soft paste (Kai-pien) porcelain
with lustrous white glaze, minutely crackled through¬
out. The body is decorated with an incised design,
and on the bottom is incised the period mark in
beautiful seal characters, Ta-tsing Ch'ien-lung nien-
chi, 1736-1795.
94
74. Small Vase, quatre-foil lobes, of soft paste
(Kai-pien) white porcelain. The decoration consists
of grapevines and squirrels in relief. A very good
example. 16th century.
75. Low bottle-shaped Vase, of hard past porcel¬
ain, covered with a monochrome clair-de-lune glaze,
uniformly crackled. On the bottom in underglaze
lavender blue, is the period mark in six Chinese
characters. Ta-tsing Ch'ien-lungnien-chi 1736-1795.
76. Bottle-shaped Vase, of enameled hard paste
porcelain, with sea-green glaze inside and on the
bottom, and gold covered rims. Decoration of
arabesque flowers in colored enamels on a background
of impressed floral scrolls in dark pink. On the
bottom, in underglaze blue, is the period mark. Ta-
tsing Ch'ien-lung nien-chi, 1736-1795.
77. Pilgrim Bottle Vase, with scroll handles.
Decoration of flowers and vines in blue beneath the
glaze and in colored enamels applied over the glaze.
A beautiful example. Seal mark, Ch'ien-lung, 1736-
1795. (From the Mary J. Morgan collection.)
78. Bottle-shaped Vase, of hard paste porcelain,
covered with a lustrous monochrome glaze of lavender
blue.
79. Small bottle-shaped Vase, of hard paste por¬
celain, covered with a monochrome crackled glaze of
"King-fisher" blue.
80. Small bottle-shaped Vase, of hard paste Tie-
sin-hwa (iron-rust) porcelain. The lustrous glaze
is a dark brown speckled with dots like iron filings.
A good example. K'ang-hsi, 1661-1722.
95
81. Small bottle-shaped Vase, of hard paste
porcelain. The body is covered with arabesque
floral designs in green reserved in mirror-black
enamel. On the bottom, in black enamel, over the
glaze is the period mark, Ta-tsing Ch'ien-lung nien-
chi, 1736-1795.
82. Small bottle-shaped Vase, canary yellow,
covered with minute crackles.
83. Globular bottle shaped Vase, of hard paste
porcelain. Decoration of vertical palm leaf and
cloud borders and arabesque floral scrolls in blue
under the light yellow glaze.
84. Small globular bottle-shaped Vase of enameled
hard paste porcelain. The decoration consists of a
poetic inscription and pomegranate flowers in colored
enamels over the glaze. Period mark on the bottom
in underglaze blue, Ta-tsing Ch'ien-lung nien-chi,
1736-1795.
85. Bottle-shaped Vase, mottled crushed straw¬
berry and liver color. Perfect proportions and
flawless glaze. Yung-cheng, 1723-1735. (From
the Bray ton Ives collection.)
86. Low bottle-shaped Vase, peach-blow. Yung-
cheng, 1723-1735. (From the Samuel Colman
collection.)
87. Paint-brush Washer, of hard paste porcelain,
covered with a monochrome glaze in various shades
of peach-blow. On the body, under the glaze, are
incised three circular arabesque scrolls. Period mark
on the bottom in underglaze blue, Ta-tsing K'ang-
hsi nien-chi, 1661-1722. (From the Austin Robert¬
son collection.)
96
88. Japanese Omiki-dokkuri (sacrificial sake
bottle), of decorated hard paste porcelain. At the
neck are floral scrolls in gilt on coral red, after the
manner of Kinrandi (gold brocade) and on the
shoulder, three kinds of brocade are represented as
curtains before a shrine. On the body are two
badges, Mune-bachi, in gilt on red ground. In red
over the glaze, on the bottom, is the factory mark,
Kutani Shoundo sei. This is sometimes known as
Kaga ware, being made at Kutani, province of Kago.
End of 19th century.
89. Set of three Figures, of hard paste polychro¬
matic porcelain. The largest figure wears a state
robe, upon which are reserved seven medallions
decorated with five-claw dragons chasing a sacred
ball. The expressions of the three faces are wonder¬
ful. Ch'ien-lung, 1736-1795.
90. Dog Foo and stand, of hard paste polychro¬
matic porcelain. Brilliant glaze, with colorings of
apple-green, brownish-purple, bluish-green and
creamy-white. On the back of the figure is a con¬
ventional lotus flower bud and leaf, intended for
incense, and by its side is a young Dog Foo. A good
example of the Kochi work.
91. Bowl, of enameled hard paste porcelain,
with green glaze. Decoration of arabesque roses in
pure enamels. K'ang-hsi, 1661-1722.
92. Plate, of enameled hard paste porcelain,
decorated with border of medallions and floral designs
and with a flower-basket containing roses, etc., in
pure enamels. K'ang-hsi, 1661-1722.
93. Plate, of enameled hard paste porcelain.
97
The decoration represents a Tavistic figure, Shan-te,
with a bundle of scrolls by his side, and attended by
a page and deer, all in pure, irridescent enamels.
Border of bats in vermilion, flying wing to wing. On
the back, is inscribed within double circles in under-
glaze blue, the period mark, Ta-tsing K'ang-hsi
nien-chi, 1661-1722. A beautiful example.
94. Cup and saucer, of hard paste eggshell por¬
celain. Famille Rose. Decoration of interior,
garden scene and Buddha fingers.
95. Three Cups and Saucers, of enameled hard
paste porcelain. Famille Rose type. Decoration of
flower baskets and floral designs.
96. Bowl and cover. Same decoration as No. 95.
97. Small Cup, of enameled hard paste porcelain,
decorated with flower designs in panels. Famille
Verte. (From the Samuel Colman collection.)
98. Small Bowl, of white eggshell (To-tai-ki)
porcelain. On the bottom, inside, is incised the
period mark in four seal characters, Yung-lo nien-
chi, 1413-1425.
99. Small Cup and Saucer, of enameled hard
paste porcelain, "Rose-back." The glaze on the
outside is rose-red, lustrous and with a shagreened
surface. Rose decoration inside of cup. Yung-
cheng, 1723-1735.
100. Jar and cover, of enameled hard paste por¬
celain, decorated with medallions, floral designs, etp.
(Famille Verte.)
98
NABESHIMA PORCELAIN
J OX. Japanese Plate, of blue and white hard paste
porcelain, decorated with a raft, cherry-blossoms,
and three Tomoi in underglaze blue. Three floral
scrolls on the under side and on the foot the Kushi-
gata (comb) design. Made at Okawachi, province
of Hizen, about 1780.
102. Japanese Plate, of blue and white hard paste
porcelain, with an orange-skin surface. The deco¬
ration represents a net, the meshes formed by foaming
swells of water in place of threads. Made at Oka¬
wachi, province of Hizen, about 1820.
103. Japanese Bowl, of blue and white hard paste
porcelain. The decoration, in underglaze blue, con¬
sists of six stems of blossoming Hagi (bush clover).
On the under side are three floral designs and the
Kushigata (comb) design around the foot. Made
at Okawachi, province of Hizen, about 1790.
104. Japanese Plate, of blue and white hard paste
porcelain, decorated with floral designs in two shades
of blue.
105. Japanese Plate, of enameled hard paste
porcelain, with decoration of cherry blossoms in
enamels and rafts on running water in two shades of
underglaze blue. On the under side are three floral
designs and around the foot the Kushigata (comb)
design in blue. Made at Okawachi, province of
Hizen, about 1780.
106. Japanese Plate, of enameled hard paste
porcelain. Same decoration as No. 105.
99
107. Japanese Bowl, of blue and white hard paste
porcelain. The decoration, in underglaze blue, is a
landscape after the famous painter, Sesshu. On the
under side are Shippo-tsunagi (treasures linked to¬
gether) designs and the Kushigata (comb) design
in clear, underglaze blue. Made at Okawachi,
province of Hizen, about 1750.
108. Japanese Bowl, of enameled hard paste por¬
celain, glaze covered with microscopic granules.
The decoration, in two shades of soft underglaze
blue and pure enamels, represents climbing ivy
clinging to a leafless tree. Shippo-tsunagi and Kushi¬
gata (comb) designs in underglaze blue, on the under
side. Made at Okawachi, province of Hizen, about
1790.
109. Japanese Plate, octagonal, of enameled hard
paste porcelain, decorated with Shippo (seven treas¬
ures) design in blue and enamels around the character,
Shu (longevity). On the under side are floral and
Kushigata (comb) designs. Made at Okawachi,
province of Hizen, about 1760.
110. Japanese Plate, of blue and white hard paste
porcelain, decorated with seven border patterns in
two shades of blue. Kushigata (comb) design in
blue, around the foot.
100
JAPANESE POTTERY
111. A "Roso-Suikin" Jar and cover of Yenshu
Takatori pottery. Made at Sobara-mura in the
province of Chikuzen, about 1650. (From the
collection of Yensin, the Duke of Totomi, Japan.)
112. Bowl of Jakatsu (Dakatsu) Satsuma pottery.
Made in the province of Osumi, about 1630.
113. Bowl of Chosen Satsuma pottery. Made
near Chosa, province of Osumi, about 1690.
114. Small Tea-pot (Kinsu) of soft paste pottery.
The irridescent amber-colored glaze is mottled with
tortoise-shell and covered with crackles. A very
good specimen of the Chosa-yaki pottery. Made at
Chosa, province of Osumi, about 1750.
115. Bottle-shaped Vase, pottery with metallic
reflections. Made at Seto, province of Owari. 17th
century.
116. Jar of hard paste pottery. The glaze is in
two coats, one of thin tessha (iron-ochre) brown,
partially covered by the second of black, shading
into brown, which runs down over the body, with
many ends in pale blue flambe. Made at Seto,
province of Owari, about 1660. A good example of
that ware.
117. Tea-bowl (Cha-no-yu jawan), with flaring
rim, of hard paste pottery. The rich, lustrous glaze,
crackled throughout, is flecked and marbled with
minute flamb6 and displays a beautiful irridescence.
On the body is a horizontal ridge, over which the
glaze runs down and ends abruptly, while the upper
101
rim is of silver and is known as Fukurin. Made in the
province of Owari, about 1500. A rare and important
specimen.
118. Cup (Yunomi jawan), of hard paste Soma
pottery, with the Soma badge. The outside glaze is
brownish gray, covered with spots of metal rust, while
the interior and Soma badge are in celadon covered
with bold crackle. On the bottom, at the base, is
impressed in an oval, the mark Soma. Date, about
1820.
119. Cup (Yunomi jawan), of hard paste Soma
pottery. The glaze of pale tea-powder brown is
covered with bold crackles, and streaked and mottled
with gray, cream, blue and pale clair-de-lune. Made
about 1820. A very good example of the ware.
120. Tea-bowl (Cha-nomi jawan), of hard paste
Takatori pottery. Three glazes; one of brilliant
blackish brown, shading into yellowish brown, is
covered by the other two of grayish yellow and pale
gray, the last being crackled. The outline of the
upper rim is called Korin mume. The potter's wheel
marks are visible. Made at Sobara-mura, province
of Chikuzen, about 1670.
121. Low bottle-shaped Vase, of semi-soft paste
Takatori pottery. The glazes are three; dark brown,
pale white and pale green; the last two being crackled.
A very good example of the ware. Made in Sobara,
province of Chikuzen, about 1780.
122. Large bottle-shaped Vase, of hard paste
pottery. The glaze is a glossy, brilliant, beautiful,
purplish black, approaching "mirror black," partially
102
splashed with gray and clair-de-lune. A rare
specimen.
123. Slender bottle-shaped Vase, of hard paste
Imbe pottery. Chocolate color glaze, mottled with
chestnut and dark drab and with an iron lustre. On
the bottom is impressed a diamond shaped mark.
Made in the province of Bizen, about 1720.
124. Tea-bowl (Cha-no-yu jawan), of hard paste
indented Ishiiri pottery. Glaze of pale brownish
black, mottled with brown and pale tea-powder color.
The body contains three equidistant groups of three
stones each. On the bottom rim is impressed the
stamps of Kiku-gata, and the potter's wheel mark
reversed. Made at Karatsu, about 1600.
125. Low Tea-bowl (Cha-no-yu jawan), of soft
paste Kenzan pottery. Two glazes, one a glossy
black, and one a pale creamy white, covered with
minute pittings. The body is decorated with a badge
of two intersecting circles and with a fan bearing the
same badge. On the bottom is signed the maker's
name, Kenzan, in underglaze white. Made about
1730. A fine specimen.
126. Chinese Censer, with handles, of hard paste
pottery. Rich, beautiful, clair-de-lune glaze, shading
into purplish hawthorn tint where it is thin, and
crackled throughout. At the base, the glaze is a
dead-leaf brown. A fine specimen of the beautiful
Ming reproductions of the Yuan-tsu pottery. Chia-
ching, 1522-1566.
127. Chinese Wine-cup, of hard paste pottery.
The glaze is a rich clair-de-lune, flecked and clouded
with purplish hawthorn tint, and a dead-leaf brown at
103
the base. A fine example of Yuan-tsu pottery, 1279-
1367.
J28. Ninsei pottery Tea-bowl, decorated with
medallions in color. Date, about 1700.
129. Bowl, of stone-paste craque!6 enameled
Satsuma pottery. The body is divided by vertical
ridges, into four sections, decorated with flag patterns
in gold, oxidized silver and enamels, all over the
glaze. On the bottom is the potter's wheel mark
reversed. Date, about 1790.
130. Sak6 Cup, of soft paste enameled Satsuma
pottery, with a creamy white craque!6 glaze. The
decoration consists of a landscape and a figure
holding a cup, beautifully executed in pure enamels
over the glaze. On the body is written in gold, over
the glaze, with a seal mark in red enamel, the name
of the maker and "made in Satsuma," "Satsuma-sei
Sayu-sai."
131. Incense-burner (Koro), of hard paste decor¬
ated pottery. Pale gray glaze, uniformly crackled.
Decoration of Ogi-nagashi (fans floating on water)
in gold, oxidized silver and enamels. On the bottom
is stamped the mark, Kiyo, Made at Kiyomizu,
about 1860. Silver cover, pierced fan design.
132. Bottle-shaped Vase, of soft paste enameled
pottery, orange-skin surface covered with beautiful
uniform crackles in brown. The decoration consists
of a spear-head band and arabesque Kiri flowers in
enamel and gilt over the glaze. On the bottom is
stamped the maker's name, Ujisuke. Made at
Awata, about 1750.
133. Tea-jar, of semi-hard paste pottery, with
104
glaze passing in color from very dark to golden brown.
On the bottom are the Itogukuri lines. Made at
Zeze, province of Omi, about 1750. Ivory lid.
134. Old Tea-jar, with loop handles, horizontal
groove and ivory lid. The glaze is of brilliant dark
browns, changing into shades of chocolate brown.
This has been named Myojo (Morning or Evening
Star.) Made at Seto, about 1240, and attributed to
Kato Shiroemon.
135. Old Tea-jar, with low body, large mouth
and ivory lid, and known as Omi (a large ocean).
The glaze is like that of No. 133, with iron red
shading. Made at Seto, about 1310.
136. Old Tea-jar, ovoid form, horizontal groove
and. ivory lid. Blackish-brown glaze running into
hazel color. It has the Itoguiri mark on the bottom.
Made at Seto, about 1360.
137. Old Tea-jar, tall, with handles at shoulder,
and ivory lid. Glaze of dark brown shading down
to chocolate. Made at Seta, about 1650.
138. Old Tea-jar, with ivory lid. Glaze of soft
brown with water-drop mark in lighter shades.
Takatori ware. Made about 1690.
139. Old Tea-jar, with ivory lid. The clay is of
dark grayish-brown, thinly covered with a pale gray
glaze and with cross-lines and flowers filled in with
white. Yatsushiro ware, with the Itoguiri mark on
the bottom. Made at Shimo Toyoharu, Higo, about
1630.
105
CASE 7
CLOISONNE
J. Chinese cloisonne enamel Koro. Mark of
Ch'ien-lung period, 1736-1795.
2. Pair of old Chinese red cloisonne enamel
Vases.
3. Mammoth Chinese cloisonne enamel Vase,
with lobes.
4. Large Chinese cloisonn6 enamel Vase, globular,
with dragon design.
5. Large Chinese cloisonn6 enamel Vase. Ming
period.
6. Large Chinese cloisonne enamel Temple Vase
and cover, with head and ring handles in gilt bronze.
Archaic designs in dark enamels cover the body, the
shoulder being decorated with a band in green on a
turquoise background. Very fine. (From the Austin
Robertson collection.)
7. Old Chinese cloisonne enamel Plaque, deco¬
rated with dragon, Ho-o bird, etc. Fine.
8. Chinese cloisonne enamel pilgrim Bottle.
(From the Addington and Geza de Krazy collec¬
tions.)
9. A pair of Japanese Shippo enamel Vases.
JO. Fine Chinese cloisonne enamel Vase. Taken
from the Summer Palace, Pekin, 1860. (From
Colonel Guthrie's collection.)
107
11. A pair of Chinese cloisonne enamel Beakers.
12. Tall Chinese cloisonne enamel Vase, white
ground. A fine and unusual specimen.
13. Chinese cloisonne enamel Vase, with trans¬
lucent colors. Very fine.
14. Antique Chinese cloisonnd enamel flower
Vase.
15. Chinese cloisonnd enamel Stand.
16. Chinese cloisonnd enamel Vase, beaker shape.
17. Antique Chinese cloisonn6 enamel Column.
18. Small Chinese cloisonne enamel Bottle-vase.
Pavilion mark. Fine.
19. Chinese cloisonnd enamel Vase. Yung-cheng
period, 1723-1735. Wood stand, inlaid with silver.
20. Chinese cloisonne enamel pilgrim-bottle Vase;
white ground. Unusual specimen,
21. Chinese cloisonne enamel Vase, flat, diamond
shape. Yung-cheng period, 1723-1735. Fine.
22. Old Chinese cloisonne enamel Vase, support¬
ing five smaller ones. Signed. Fine and unusual.
23. Chinese cloisonn6 enamel Vase and cover.
Brass handles.
24. Chinese cloisonne enamel flower Vase, with
three feet. Seal of Ching-tih period, 1520.
25. Small Chinese cloisonne enamel Vase, white
ground.
26. Small Chinese cloisonn6 enamel Bottle-vase.
Fine and very rare shape. Yung-cheng period,
1723-1735.
108
27. Small Chinese cloisonne enamel Vase. Yung-
cheng period, 1723-1735.
28. Japanese cloisonne enamel Set, two vases
and incense burner.
29. Chinese cloisonnd enamel Incense Burner,
tripod. Arabesque design with circular show mark,
fungi form borders, etc., on a turquoise ground.
Head and ring handles in gilt bronze and a perforated
repoussd cover with enamel decoration. Ch'ien-
lung period, 1736-1795. (From the Austin Robert¬
son collection.)
30. Chinese cloisonn6 enamel Incense Burner,
tripod. Bronze legs and handles, inlaid with Greek
key pattern in dark blue. Openwork cover.
31. Chinese cloisonn6 enamel Incense Burner,
with cover of openwork black enamel.
32. Chinese cloisonne enamel Incense Burner,
with lattice-work silver cover.
33. Chinese cloisonne enamel Incense Burner
and silver cover.
34. Miniature Chinese cloisonn6 enamel Tripod.
Fine.
35. Old Chinese cloisonne enamel Tray.
36. Chinese cloisonne enamel Saucer, with coral
top.
37. Chinese cloisonne enamel Saucer, with jade
handle. Summer Palace mark.
38. Small Chinese cloisonn6 enamel Saucer.
39. Old Japanese cloisonne enamel Plate, with
decoration of Ho-o bird and lotus flower.
40. Chinese cloisonne enamel Bowl. Fine. 1725.
109
41. Old Chinese cloisonne enamel Dagger-
sheath, with dagger. Fine.
42. Old Chinese cloisonne enamel Dagger, brass
mountings. (From the Samuel Colman collection.)
43. Chinese cloisonne enamel Scepter, with
carved jade medallions. Very fine.
44. Old Chinese cloisonn6 enamel Duck, stand¬
ing on a turtle.
45. Altar set of incrusted Chinese cloisonne
enamel. (Champlevee.) Five pieces.
1 10
BRONZES
Data and descriptions furnished by Professor Cho-yo.
46. Large Japanese iron Censer, with elaborate
gilt ornamentation. The cover is decorated with a
dragon and is surmounted by an imp on a globe sup¬
ported by a devil. Shoki, a devil-driver, is represented
on the globe. Signed, inside the cover, in nine seal
characters, Dai Nihon Tokyo Tekko-do sei. Modern.
47. Pair of Japanese bronze Vases, decorated
with flower and key-pattern borders and Ho-o birds
(phoenix). Dark hazel patine. Modern, last quarter
of 19th century. (Made at Tokyo Government
Works.)
48. Old Chinese bronze Vase, beaker shape.
Patine of Nashiji (pear-skin) ground, sprinkled with
flakes of gold. The handles, bands, feet, etc., are
in the shape of bamboo roots and ■ on the shoulder
are three Dog Foo heads in relief. On the bottom,
in high relief, is the period mark in six square
Chinese characters, Ta-Ming Seuen-ti nien-chi,
1426-1436. An important specimen.
49. Old Chinese bronze Vase, beaker shape, with
gilded handles. Variegated red patine. The orna¬
mentation consists of raised borders and lines in
archaic designs. In relief, on the bottom, is the
period mark in six square Chinese characters, Ta-
Ming Seuen-ti nien-chi, 1426-1436. (From the
Austin Robertson collection.)
111
50. Old Chinese sahari bronze Vase, beaker
shape, with plain handles. Patine of dark brownish
yellow.
51. Old Chinese bronze Vase, with four equi¬
distant rows of fins extending from top to bottom.
Natural patine of brownish black. Decoration of
Dog Foo head and dragons on key-pattern ground.
An important example of the beaker shape Vases
employed in Chinese temples.
52. Old Chinese yellow bronze Vase, square,
with ears reaching to the shoulder. Yellowish brown
patine. Decorated with a dragon in flames, chased
in high relief, and inscriptions in Chinese characters,
one giving the period and year, Ming dynasty, 1435.
An important specimen.
53. Old Chinese bronze Vase, form of flower
basket, with movable handle. Dark brown patine.
The body is decorated with conventional scroll out¬
lines of Dog Foo heads, gracefully executed in high
relief. An interesting specimen.
54. Old Chinese bronze Censer, three sections
and cover. Beautiful gold-touched hazel patine.
The cover and two sections are decorated with a
graceful perforated dragon design.
55. Old Chinese bronze Censer, tripod, with loop
handles. Patine of beautiful vermilion red covered
with clouds of chocolate color. On the bottom is
the period mark in six Chinese seal characters, Ta-
Ming Seuen-ti nien-chi, 1426-1436. A very import¬
ant specimen.
56. Old Chinese yellow bronze Censer, with cover
and handles. Dark yellowish brown patine. The
112
body is decorated with conventional dragon outlines
in high relief and with six Shou (longevity) characters.
Perforated cover, surmounted by Dog Foo. In high
relief, on the bottom, is the period mark in six square
Chinese characters, Ta-MingSeuen-tinien-chi, (1426-
1436). A good specimen.
57. Old Chinese bronze Censer, with griffin-head
handles and cover of red sandalwood, surmounted by
a perforated jade top. Pale grayish-blue patine.
Borders of archaic dragon designs on key-pattern
ground decorate the body.
58. Old Chinese yellow bronze Censer, with cover
and handles. Pale yellow patine. The body is
decorated with figures, floral borders, etc. In high
relief, on the bottom, is the period mark in six Chi¬
nese characters, Ta-Ming Seuen-ti nien-chi, 1426-
1436.
59. Old Chinese bronze Censer, with dragon
handles and cover. Patine of dull brown. Decoration
of dragons in high relief. On the bottom, in high
relief, is the period mark in four Chinese characters,
Seuen-ti nien-chi, 1426-1436.
60. Old Chinese bronze Censer. Patine of dif¬
ferent shades of brown and copper-red, underlaid
with gold flakes. On the bottom, within a double
circle, are engraved eight Chinese characters, "Ts'i-
ts'i song-song pauyantsi" (children! grand-children!
for a long time use this as a treasure). An important
specimen. Cloisonne enamel cover, chrysanthemum
design.
61. Old Chinese bronze Censer, lobed, with
handles. Beautiful hazel patine, covered with large
113
flakes of gold. On the bottom, in relief, is the period
mark in six square Chinese characters, Ta-Ming
Seuen-ti nien-chi, 1426-1436. Silver cover with
perforated chrysanthemum design.
62. Chinese bronze Censer, with handles and
jade-tipped red sandalwood cover. Patine of gold
Nashiji (pear-skin) ground covered with clouds of
gold. On the bottom, in high relief, is the period
mark in four Chinese seal characters, Seuen-ti nien-
chi, 1426-1436.
63. Old Chinese yellow bronze Censer, square,
with cover. Patine of yellow Nashiji (pear-skin)
ground. The decoration on the body and cover
consists of dragons, carp, etc., in high relief. In
relief, on the bottom, is the period mark, Kang-hsi
nien-chi, 1661-1722. A good specimen. (From
the Austin Robertson collection.)
64. Old Chinese yellow bronze Censer, with
handles. Patine of hazel brown covered with gold
flakes. On the bottom is the period mark in two
Chinese seal characters, Seuen-ti, 1426-1436. Jade
cover with silver rim and bronze stand.
65. Old Chinese yellow bronze Censer, with
phoenix handles. Patine of dark yellow Nashiji
(pear-skin) ground covered with gold flakes. In
relief, on the bottom, is the period mark in six
Chinese square characters, Ta-Ming Seuen-ti nien-
chi, 1426-1436. Red sandalwood cover. Bronze
and red sandalwood stands.
66. Old Chinese yellow bronze Censer, fluted
in chrysanthemum pattern, with griffin-head ears.
114
Patine of dark yellowish brown, covered with large
flakes of gold. On the bottom is an incised period
mark, Seuen-ti nien-chi, 1426-1436. Red sandal¬
wood cover.
67. Chinese bronze Censer, tripod, finished in
bronze patine, with archaic gilded key and scroll
patterns. Cover and stand of finely polished red
sandalwood, the former with a symbol of longevity,
"Ta-Keih."
68. Old Chinese bronze Censer, in the form of
an archaic sacrificial cup, "Shak," on three slender
feet. Fret border and dragon-head handle. Dark
brown patine. (From the Austin Robertson collec¬
tion. )
69. Old Chinese bronze Vase, with elephant-head
handles, connected by wave-pattern border. Patine
of beautiful shades of brown, yellow and purplish red.
70. Old Chinese yellow bronze Vase, with lion-
head and ring handles, resting on a tripod of elephant
heads. Patine of hazel brown.
71. Old Chinese bronze Vase, square, with Dog
Foo and ring handles. Covered with fine old patine
and inlaid with gold and silver in archaic design.
(From the Austin Robertson collection.)
72. Old Chinese yellow bronze Vase, with two
detachable phoenix handles. Patine of dark grayish
yellow, covered with minute specks of gold.
73. Old Chinese bronze Tablet, on four feet.
Patine of mixed dull black and purplish red. On the
top, in high relief, are sixty square Chinese characters,
the last line of which says, "Keep this for eternity."
1 15
The line before indicates that a famous maker, Hung-
Hwang, produced the piece in the mid-summer of
1505. A very important specimen.
74. Small old bronze Vase, bottle-shape. Patine
of dark brown with clouds of copper red.
75. Small Chinese yellow bronze double Vase,
decorated with gilt dragons in high relief, and
wrought into elaborate archaic designs. A good
specimen. Ch'ien-lung, 1736-1795.
76. Small Japanese bronze Vase, square, with
scroll handles in shakudo and silver. Reddish brown
patine. Decorated with gold borders and crests in
gold and silver.
77. Old Japanese bronze Vase, square, with head
and ring handles. Patine of different shades of
black, brown and dark purple. Near the bottom, on
one side, is an oval stamp, "Gyokusei-do," a studio
name. A good specimen.
78. Japanese iron Censer, tripod, with handles,
and decorated with tiger, dragon, etc., in gold, silver
and bronzes. The cover has a perforated network
of bamboo stems and leaves, surmounted by a red
bronze sparrow. Signed, on the bottom, Yamauchi
Gyokuyu. Last quarter of 19th century. A good
specimen.
79. Japanese sahari bronze hanging Censer. Pale
yellow patine. Decoration of dragon bands, invert¬
ed lotus-petals and key-pattern borders. On the
bottom is the maker's studio name in two Chinese
seal characters, Tosai.
116
80. Japanese bronze Censer, on three balls.
Lustrous dark brown patine. On the body are three
disks containing bats, deer and peach-twig, all in
high relief, on nunome-zogan (woven fabric) ground.
On the botton is inscribed in relief, "Cast by Seimen
in the period Bunsei," 1816-1829.
8J. Japanese bronze Censer, rabbit-shape. Light
chocolate patine. The body is decorated with Kiri
badges and tree-peony in enamel, the work being
splendidly executed. Signed, Hirata, in a gourd
outline of shakudo. A very good specimen.
82. Japanese bronze Box and cover, resting on
three lion-heads. Patine of dark brown touched with
gold. The body is decorated with three Awoi crests
and borders of arabesque lotus scrolls in relief on
nanako background. Red sandalwood cover.
83. Japanese bronze Jardiniere, resting on a
tripod of conventional elephant-heads. Burnt copper
color patine and decoration of key-pattern bands.
84. Pair of Japanese bronze Candlesticks. Yellow¬
ish brown patine and decoration of elaborate perforated
arabesque scrolls. Made by Harusaka, of the
province of Settsu, and signed in relief.
85. Japanese bronze Vase, long neck and low
body, with Dog Foo head ears.
86. Japanese bronze Vase, narrow beaker-shape,
with two long tube-like ears. Patine of dark grayish
hazel.
87. Japanese bronze Vase, globular body, long
neck, with dragon-head and ring handles, connected
by a turtle-shell pattern band. Patine of dark hazel.
117
88. Antique Japanese bronze Koro, with lily
handles and Dog Foo cover.
89. Japanese yellow bronze Holder, representing
a devil carrying a huge kettle, with a heavy wooden
cover.
90. Japanese bronze ladle, decorated with gold.
118
CASE 8
JAPANESE SWORDS
Data and descriptions furnished by Professor Cho-yo
U Long Sword (Katana), beaten by Rai-Taro-
Kuniyuki. The maker was actually the second, but
artistically the first and most renowned in the Rai
family, having been one of the few great and famous
sword-producers. He was born in 1218 and died in
1297. The blade is rather thin, slender and light,
as typical ones should be; it is hard and tenacious
and its tint is superbly fine. Examined, identified
and certified by Honnami Chikayoshi, tenth genera¬
tion in the direct line of Yotoku-sai Koetsu, in May,
1896, and so inscribed on the plain magnolia wood
scabbard.
2. Large short Sword (O-Wakizashi), in a scab¬
bard of red lacquer and iron, decorated with the
Kiri badge in gold and arabesque floral designs in
relief. The mountings in iron in relief represent the
three and five flower Kiri badge. The two knife-
handles are in the form of dragons and on the blade
a dragon is outlined.
The work is strongly conceived and executed,
being in accordance with the spirit of Japan. Signed
on the sword, " Sagamino-Kuni-ju-nin Sadamune."
(Sadamune, a resident of the Province of Sagami.)
Date, 1299-1349.
3. Long Sword, in a plain wood scabbard. It
belongs to the best old group of Japanese swords.
Signed, Munechika. Date, 133S.
1 19
4. Long Sword, with mountings in Tachizukuri,
or State style. The decoration consists of chrysan¬
themums in relief on the hilt and in gold lacquer on
the scabbard.
One side of the hilt is inscribed, " Eisei Roknen
Hachigatsu Hi," while on the other is the maker's
name and place of residence, Tadamitsu of Osafune,
in the Province of Bizen. Date, 1509.
5. Long Sword, in a plain wood scabbard. This
belongs to the best old group of Japanese swords.
Signed on the hilt, Norishige (1300-1325).
6. Long Sword, in a plain wood scabbard, which
is inscribed, "So-shu Kamakura-no-ju Sadamune."
(Sadamune, a resident of Kamakura, Province of
So.) The blade should be noticed and the sword
belongs to the best old group of Japanese swords.
Signed, Sadamune. Date, 1299-1349.
7. Short Sword (Wakizashi), in a black lacquer
scabbard decorated with dragon-flies and with mount¬
ings of dragon-flies in gold and other metals. Signed,
Jochiku.
8. Short Sword (Wakizashi), in a black lacquer
scabbard decorated with maple leaves and small
pieces of gold foil. The mountings are in tree-
peony and Dog Foo designs and the blade is orna¬
mented with a perforated design of a dragon coiling
upon a long double-bladed sword. The knife-handle
is signed Mitsuyoshi and the sword belongs to the
new group of Japanese swords. Date, 1750.
9. Long Sword, in a black lacquer scabbard,
decorated with chrysanthemum leaves and small
pieces of gold foil, and with mountings in the chrys-
120
anthemum design. The guard is decorated with
maple leaves and cherry blossoms in relief and is
signed Akitoshi. The sword is signed Kanemori.
Date, 1660.
10. Short Sword (Tanto) in a plain wood scab¬
bard. A dragon ascending a double-bladed sword is
carved in relief on the blade. The hilt is engraved,
" Yasutsugu made this in the Province of Echizen,"
with an Awoi badge. It belongs to the new group
of Japanese swords. Date, 1770.
11. Long Sword, in a black lacquer scabbard,
with mountings in Tachizukuri or State style. The
sword is not signed, but belongs to the old group of
Japanese swords. Date, about 1550.
12. Long Sword in a black lacquer scabbard,
decorated with a vine, bearing autumnal flowers,
which are also represented by the mountings in
shakudo, gold and red copper. The menukis (the
piece on each side of the hilt) are a pair of cranes.
Signed, Nagayoshi. Date, about 1362-1390.
13. Long Sword, in a black lacquer scabbard,
with carefully executed mountings. The hilt is of
shibuichi, with bamboo twigs in enamel and the guard
of fine shakudo is signed, Ikken-Ken Yasutsugu.
The sword is not signed, but belongs to the new
group of Japanese swords. Date, 1650.
(From the Samuel Colman collection.)
14. Short Sword (Tanto) with teak-wood hilt and
scabbard, carved in arabesque designs in relief and
inlaid with ivory, jade, amber, etc. Not signed.
(From the Samuel Colman collection).
15. Short Sword (Tanto) with scabbard, hilt,
121
guard, and all the mountings in shibuichi, decorated
with floral designs and birds. The guard is signed
Gansuiken Takefusa, and the knife, Yukitsugu.
The work is skillfully and beautifully executed and
the sword belongs to the best old group, being a
good example of the skill of the Japanese in temper¬
ing swords. On the hilt is an inscription, Osafune
Kiyomitsu, a resident of the province of Bizen, etc.
Date, 1551-1573. (From the Samuel Colman
collection).
J 6. Short Sword (Wakizashi) in a lacquer scab¬
bard, imitating the bark of a pine tree. The mount¬
ings and knife-handle represent various kinds of
insects, beautifully executed, and signed Jochu and
Toshimitsu, both being names of Jochiku, a famous
metal worker. The knife is signed by Ujishige of
Harima, who belonged to the best new group of
sword producers (1710-1735).
The sword is a rare piece, belonging to the best
new group of the kind and is signed Mumetada Shi-
geyoshi. (1625.)
J7. Short Sword (Tanto) in a scabbard of deli¬
cately fluted lacquer (Fuenwi), decorated with cherry-
blossoms in gold lacquer. The mountings are of
silver in cherry-blossom design and signed by Toka-
sai Nagahide. The sword is a good example of the
old group. Inscribed with maker's name and date,
"Osafune Kiyomitsu, a resident of the province of
Bizen, 1551."
18. Short Sword (Tanto) in a Kiri wood scab¬
bard, decorated with flies, a long brush in ivory and
silver lacquer, etc. On one side of the hilt is a lotus
122
bud, symbol of the Universe, and on the other side
is Kannon, God of Mercy, in a cave. It belongs to
the old group and is signed Kanemaki Jusuke, 1550.
19. Short Sword (Wakizashi) in a black scabbard
with mountings in dragon and water designs, inlaid
and overlaid in iron and shibuichi. The knife-
handle is signed Noriyoshi, and the knife is signed
Raijo (1660), with the chrysanthemum mark.
The sword is signed Fuyuhiro and belongs to the
old group. Date, 1500.
20. Short Sword in a red lacquer scabbard. The
menukis (piece on each side the hilt) consist of a
beauty and Darma, while on the scabbard is a beauty
looking towards a skull; the general meaning being
that all is vanity save happiness of mind. On the
knife-handle is the simple outline of a brush (Hossu)
used by Buddhist priests to drive away devils and
instruct the dead. It is signed Ryusai Tamikuni.
The sword hilt is inscribed " Nihon Kaji Sosho" and
signed, Raijo Iganokami Fujiwa Kanemichi. Date,
1660.
21. Short Sword in a black lacquer scabbard,with
mountings of tigers in bamboo grass or water,
exquisitely executed. The guard is signed Kiyotsugu;
the knife-handle, Noritsugu, at the age ,of seventy,
and the knife has the signature of Fujita Omi-no-
Kami Tsuguhira (1770).
22. Short Sword (Tanto) with hilt and scabbard
of Binroji-wood, ivory mountings and decorations of
cherry-blossoms inlaid in ivory. The knife is signed,
Kanetatsu (1600).
23. Short Sword (Kaiken) in a dark brown lacquer
123
scabbard, decorated with dragon-flies. The mount¬
ings are in silver covered with dragon-flies in low
relief. The sword-hilt is inscribed, " Kanemoto
(TashiroGen-ichi), a resident of Seki." This belongs
to the middle class of the new group, 1700-1745.
24. Short Sword (Wakizashi) in a black wood
scabbard with decoration of long-armed monkey and
persimmons. Signed, Tanba-no-Kami Yoshimichi,
1700.
25. Doctor's Sword or Stick, of polished black
persimmon (krogaki) wood, carved with a crane,
turtle, and the signs of the Zodiac, in relief. Signed,
Minkak.
26. Modern State Sword, with hilt and scabbard
of cloisonne enamel.
Sword made by Shigeharu and the enamel work
executed by Namikawa of Kioto, 1845.
27-39. Japanese Swords and Doctor's Sticks.
SWORD GUARDS (TSUBA)
40. Sword Guard, in iron and solid silver, with a
design representing a famous incident in ancient
Chinese history. The metals employed are gold,
silver, shakudo and different alloys of gold and silver.
The work is exquisitely executed and is one of the
best specimens by the artist. Made and signed by
Nobuyoshi, a pupil, first of Shinzui and then of
Masayoshi. First quarter of 19th century. (From
the Brayton Ives collection.)
124
41. Sword Guard, in iron. Design of Shanghai
roosters, in shakudo and solid gold. The work is
very realistic and shows delicacy of execution. Made
and signed by Iwamoto Konkan. Date, 1742-1801.
(From the Brayton Ives collection.)
42. Sword Guard in iron with a silver rim. The
design consists of six fans on which are pictured
views of the famous Mutamagawa (Six Jade Rivers)
scenery, made popular by artists and poets.
43. Sword Guard in iron. A heron is represented
looking for fish in a stream bordered with reeds. The
metals employed are gold, silver, shibuichi and hazel
bronze in relief. A very good and important speci¬
men.
44. Sword Guard in iron, with decoration in gold,
shakudo and copper. Signed, Kosen.
45. Sword Guard in iron, with a serpent in bronze.
The appearance of weather-worn wood imparted to
the iron and the minutely chased scales of the snake
cannot be surpassed. Made and signed by Tsu Junpo.
Date, 1706-1748.
46. Sword Guard in iron, chased to represent the
scales of a lizard and having a silky appearance.
Design of a vine (Tessen), with flowers in gold
artistically executed in relief. A very fine specimen.
47. Sword Guard in iron, with an open work
design of a circular group of cranes, after " Senba-
zuru" (group of one thousand cranes). Made and
signed by Yukimori of Heian (Kyoto) in Seppu
(Osaka). Date, 1796.
48. Sword Guard in iron, with a design repre¬
senting a miraculous incident connected with the
125
filial piety manifested by one of the greatest Chinese
historical personages. When a boy, he was ordered
by his father, a stubborn fool, to plow a piece
of land much too large for him to manage. While
he was making a vain attempt, elephants and birds
came to his aid, and soon the field was ready for
sowing. When grown a man, he was chosen to fill a
high position, and is known as one of " the twenty-
four sons of unselfish filial piety."
49. Sword Guard in iron. The design represents
a monkey sitting on the branch of a pine tree and
tormented by a hornet. The expression of the
monkey's face is very realistic. Made by and signed,
Shumei. Date, 1785.
50. Sword Guard in iron. The design shows a
pine tree and a boy leading a cow. The whole is
artistically conceived, the metals employed being
gold, shakudo and shibuichi in relief.
51. Sword Guard in iron. The design represents
the " Fuji-no-makigari" (hunting near mount Fuji)
an historical demonstration led by Yoritomo, the first
Shogunate. Very elaborate workmanship. Made
and signed by Kiyotaka of Choshu.
52. Sword Guard in iron, with a curved rim and
hammered finish. The design is very simple, on one
side a few leaves, and on the other, three flying birds
and the bow of a small boat tied to an upright oar.
A very important specimen, full of life and feeling.
53. Sword Guard in iron. Design of three dragons
in gold, exquisitely executed in relief, emerging from
conventional clouds. A very important specimen
and one of the best of its type. Made by Akimune
126
and signed, Ho-kan-zen, with a fine seal mark.
54. Sword Guard in iron, with decoration of two
swallows and cherry-blossoms floating on running
water. Skillfully executed. Made and signed by
Masatoshi, a pupil of Shozui. Date, 1767.
55. Sword Guard in iron. The design represents
a winter night, with conventional snow, the moon,
flowers, monkey, etc., in various metals. The work
is very artistically and gracefully executed and is an
interesting specimen.
56. Sword Guard in solid silver, inlaid with gold.
The design represents the tree-peony and is very
artistically executed. Made by Noritsugu. Date,
1800. (From the Brayton Ives collection.)
57. Sword Guard in solid silver and iron. The
design illustrates scenes from the story of the
Japanese Rip Van Winkle (Urashima). Made and
signed by Ichijoshi. Date, 1865. (From the Austin
Robertson collection.)
58. Sword Guard in solid silver. On one side is
shown the Princess of the Dragon Palace and her
attendants and on the other, two persons looking at
a picture of the God of War. Made by Tsuchiya
Masachika and signed. Date, second quarter of 19th
century.
59. Sword Guard in solid silver and sahari bronze.
The design on one side represents an Arat and
dragon and on the other, a waterfall in silver. The
metals employed are gold, silver, shakudo, shibuichi
and fine hazel bronze, the work being beautifully
executed. Signed, Sei-oyo-ken Katsukira (Shohei).
Date, 1860.
127
60. Sword Guard in solid silver, with a design o!
two finely chased carp. Signed, Toriyama Yoshikado,
a resident of Roka (Osaka).
61. Sword Guard in silver, with an open-work
dragon design. Made by and signed, Hitotsuyanagi
Tomoyoshi, a resident of Mito.
62. Sword Guard in hazel bronze, with a lotus
pond design. Made by and signed, Kihosai Shozui.
Date, 18th century. (From the Austin Robertson
collection.)
63. Sword Guard in copper, with a design of
lilies and leaves in solid gold and shakudo in high
relief. Signed, Jukaku-sai Ishiguro Masayoshi.
Date, 1840.
64. Sword Guard in copper, beautifully incrusted.
On one side is a boat with a New Year's decoration
in relief, in shakudo and on the other side, a range of
mountains. It is artistically conceived and executed.
Signed, Shunmei Hogen. Date, 1789.
65. Sword Guard in copper, with a design of carp,
waterfall, etc., in six different colored enamels.
66. Sword Guard in hazel bronze. Bird and
flower design in cloisonne enamel, with lines in
gold.
67. Sword Guard in greenish yellow bronze, with
a rim of fine shibuichi. The design is copied from
the work of the great artist Mitsushige, and is beauti¬
fully executed. Signed, Sekienshi Tsuchiya
Masachika, " near the river Sumida." Date, second
quarter of 19th century. (From the Austin
Robertson collection.)
68. Sword Guard in sahari bronze. The design,
128
chased in high relief, represents the Wind God and
a thunder animal. A very fine specimen. Made and
signed by Toshiyoshi of the Nara school.
69. Sword Guard in yellow bronze, beautifully
incrusted with a fish-griffin in gold and hazel bronze
in relief. This is one of the best of the kind, the
work being skillfully and artistically executed. Made
and signed by Masayoshi, " at the age of sixty-nine
years." 1822.
70. Sword Guard in fine sahari bronze. The
design represents a rain-storm, with an eagle in silver
in relief, in pursuit of a fox. Skillfully executed by
the artist, at the age of seventy-two years. Signed,
Katzuryushi Masayoshi. Date, 182S.
71. Sword Guard in sahari bronze, with a silky
appearance. An eagle is shown pouncing upon a
screaming monkey. Made and signed by Sadataka.
72. Sword Guard in shakudo, with a solid gold
border, most skillfully hammered. On one side is
represented the mume plum, in relief, and the moon
behind clouds; while on the other side is an early
spring scene, with the new moon amid clouds and
narcissus flowers just breaking through the snow.
A very fine specimen. Made by Toju, with signature
and seal.
73. Sword Guard in fine shakudo. The design
represents Kojima Takanori, a famous warrior of the
Nancho dynasty, writing on a cherry-tree. The tree
is beautifully chased and the warrior is in shakudo
and other metals. Made and signed by Nobuyoshi.
Date, 1840. (From the Brayton Ives collection.)
129
74. Sword Guard in shakudo of elaborate and
exquisite workmanship. The design represents a
farm scene, with fowls beautifully executed. One
of the best guards made by Iwamoto Konkan.
Signed. Date, 1780. (From the Brayton Ives col¬
lection. )
75. Sword Guard in shakudo with rim of solid
gold. The design represents a man reading by
moonlight. Made by Shozui (Masatsugu) and
signed, Rei-fu-do Kankei Shozui. Date, 18th cen¬
tury. (From the Austin Robertson collection.)
76. Sword Guard in shakudo with a leather-like
finish. Design of begonia and a grasshopper beauti¬
fully executed in difierent metals in relief. Made
by Ichiyo-do Kanzui, a pupil of Shozui, and signed.
Date, beginning of 18th century. (From the Austin
Robertson collection.)
77. Sword Guard in shakudo. The design pic¬
tures the famous Eight Scenes of Omi, beautifully
chased and incrusted in gold. Made by Furyu-Ken
Takase Eiju, of the Mito School, and signed with a seal
mark in gold. Date, last part of 18th century.
(From the Austin Robertson collection.)
78. Sword Guard in shibuichi. The design is
beautifully executed and represents a Buddhist God
of Treasures or War, known in Japan as Bishamon-
ten, in gold, shakudo and bronze, in relief. This
belongs to the Mito School. Date, 1800. (From
the Brayton Ives collection.)
79. Sword Guard in shibuichi and shakudo. The
design represents a Yoshitsune and his followers
passing through a castle gate, supposed to be the
130
Adaka (Seki) gate. The work is delicately executed
and the artist is the greatest of his name. Made by
Iwamoto Konkan and signed with a Studio name,
Konkan Shuncho-do. Date, 1742-1801. (From the
Brayton Ives collection.)
80. Sword Guard in shibuichi, cast in the form
of a falcon that has just swooped down upon some
sparrows. Made by Moritoshi and signed. Date,
1850. (From the Brayton Ives collection.)
81. Sword Guard in shibuichi and shakudo. The
design represents a night scene, with a tree and
cuckoo on one side and a boat among reeds on the
other. A good specimen. Made by Morichika and
signed.
82. Sword Guard in shibuichi. A fishing scene;
on one side is seen the net full of fish and on the
other are the men hauling in. The whole is exquisitely
executed. Made and signed by Ishiguro Masatsune.
Date, 1758-1827. (From the Brayton Ives collec¬
tion.)
83. Sword Guard in shibuichi and iron. The
design represents a Japanese fairy-tale. The metals
employed are shakudo, bronzes, and gold. Made and
signed by Masayoshi (Shoro) Katsuryuken, "at the
age of sixty-nine years." Date, 1822.
84. Sword Guard in shibuichi and shakudo.
Design of Rakugen, flying wild geese, artistically
and realistically executed. Chiseled by Ishiguro
Masayoshi and signed. Date, 1840.
85. Sword Guard in ivory, with a design of
plover and waves.
86-105. Sword Guards in iron and other metals,
with decorations in gold, etc.
131
KNIFE-HANDLES (KOZUKA)
106. Knife-handle in shakudo. The decoration
consists of a culster of conventional wisteria flowers
in silver and gold on a nanako background.
J 07. Knife-handle in red bronze with gold back.
The God of Protection is represented in shakudo, in
relief, on a nanako background. The treatment is
exquisite. Made and signed by Sei Shun Kan.
(From the Louis Gonse collection.)
108. Knife-handle in copper bronze, with the
back two-thirds shakudo. The design represents a
rain-storm, through which is seen a scare-crow in a
grain field. A bird, having discovered the fraud, has
perched upon the bamboo hat. Signed, Osaki Yashi-
chika.
109. Knife-handle in yellowish-brown bronze,
with fine shibuichi back. The design represents
Daikoku, God of Plenty (one of the seven Gods of
fortune), in gold, shakudo, shibuichi and hazel bronze
in high relief. He stands on three bales of rice and
carries the bag of treasure, which is decorated with
" Shippo-tsunagi," (chains of seven treasures). A
beautiful, elaborate and important specimen. Signed,
Masatoshi. Date, first part of 19th century.
(10. Knife-handle in shakudo, with back of
shibuichi. Decoration of lotus flower and tree-toad.
An important specimen. Made by Shummei; seal
mark, Sanso. (From the Louis Gonse collection.)
III. Knife-handle in iron; decorated with along,
sword-shaped bean-pod and leaves (Natamame) in
1 32
gold, shakudo, hazel bronze and iron; all in relief.
A fine, artistic and important piece. (From the Louis
Gonse collection.)
it 2. Knife-handle in yellow and copper bronze.
The design represents Ima, a Buddhist sage. Signed,
Toryusai Seiju (Kiyonaga).
tt3. Knife-handle in yellow bronze. Design of
the Seven Treasures; rain-coat, fortune-hammer,
treasure-bag, hat, clove, shippo and precious ball,
all in colored enamels.
114. Knife-handles in shibuichi, with shakudo
back. Designs of morning-glories in enamel and
gold.
115. Knife-handle in copper overlaid with lacquer.
An evening scene, with full moon, tree-top and flying
cuckoo. Designed by Ko-Su-koku, a painter;
lacquered by Koami Nagataka and signed with both
names.
116. Knife-handle in shakudo and shibuichi,
Snow-capped Fuji-san, soaring above the clouds
beyond Tokyo, as seen from the bridge Nishon-bashi,
of which a partly snow-covered rail-post, is shown.
Signed, Toshinobu.
117. Knife-handle in yellow bronze, in the form
of a bridge rail-post, through the decayed parts of
which a centipede is visible. This refers to an anec¬
dote, relating how the centipede, because of its
dangerous character, was confined in a post by the
famous archer, Tawara Toda Hidesato. It is realis¬
tically executed and is an important specimen.
Signed, Shozui, 1760.
JI8. Knife-handle in yellow bronze. The design
133
represents a crane, in relief, perched on the trunk
of a pine-tree, which is engraved. An artistic and
important specimen. Signed, Yasuchika. Date,
1667-1742.
119. Knife-handle in yellow bronze. Shoki, a
devil driver, is represented in many metals. Beauti¬
fully executed and one of the best and most im¬
portant specimens.
120. Knife-handle in yellow bronze. The design
represents Hotei, God of Children and one of the
seven Gods of fortune hiding in his bag. A fine piece
of work. Signed, Hamano Kuso, with a seal mark,
" Masakata."
Date, early part of 19th century.
121. Knife-handle in shakudo and gold, with
decoration of a cricket on a nanako background of
delicately tinted copper. Made by Shinjo. Certified
and signed by Koko, a son of the maker. Date,
1800.
122. Knife-handle in red bronze and shibuichi.
Decoration of a fly with bronze head and shibuichi
wings. The insect appears to be alive and the piece
is an important one. The artist lived from 1763-
1837. Signed, Masayoshi, at the age of sixty years.
Date, 1823.
123. Knife-handle in shibuichi. The design
represents two fish swimming through waves. The
fish are in gold and shakudo and the waves are tipped
with silver. The work is exquisite and the artist was
famous for such designs. Signed, Omori Fusahide.
Date, 1729-1798.
124. Knife-handle in shakudo. Decoration of a
134
carp, a favorite fish in Japan and the symbol of for¬
titude and fortune for boys. It is carefully executed
in relief on a nanako background.
125. Knife-handle in shibuichi. A crab in gold,
and lobster in bronze, are represented in the midst of
waves, all in high relief. Made and signed by Omori
Fusahide. Date, 1729-1798.
126. Knife-handle in iron, with shakudo edges
and shibuichi back. On one side is a bat represented
as flying in the dusk and on the other, is engraved a
water scene. The whole treatment is very artistic.
Signed, Shinoyama Atsuoki.
127. Knife-handle in yellow bronze. The design
represents a dragon in the midst of clouds and rain;
all being chased in relief on one side and engraved
on the other. Very skillful work.
128. Knife-handle in shakudo, Decoration, a
tiger with eyes and teeth of gold. The artist was
a pupil of the famous metal-worker, Sho-zui. Signed,
Kuzui, at the age of seventy years. Date, latter part
of 18th century.
129. Knife-handle in shibuichi and shakudo. A
rice-field on a rainy day with a heron perched on a
post. Very skillfully executed.
130. Knife-handle in fine shibuichi. The design
represents New Year's wishes and decorations. The
rising sun and God of Longevity are shown and a post
of a bridge-rail, hung with a cord of new rice-straws,
some ferns and evergreen leaves. On the other
side is an ode to the bridge, Nishon-bashi. This is
one of the best specimens of the artist's work, being
135
carefully and skillfully executed. Signed by Shun-
mei Hogen. Date, 1855.
131. Knife-handle in shakudo. Decoration, a
peacock in relief in two kinds of shakudo with
feet in gold. An important specimen. The artist
lived between 1790 and 1860. He was first a pupil
of Chokshun and then established his own style.
Signed, Shunmei Hogen.
132. Knife-handle in hazel bronze. A moon¬
light scene with flying wild goose. The bird is in
dark brown bronze, incrusted with gold, as is also
the moon. Signed, Shunmei. Date, 1790-1860.
133. Knife-handle in shibuichi. The design
represents a night scene with the moon in its second
quarter and a wild goose fluttering over lonely rice
fields. Artistically executed.
134. Knife-handle in shibuichi. The design
represents a fish hanging from the branch of a plum-
tree; a festival greeting in honor of the blooming of
this favorite tree. The branch and twigs are very
skillfully engraved and chased, with the blossoms
and fish in relief. Made and signed by Ippyo-sai
Motonari. Date, 1835.
135. Knife-handle in shibuichi, illustrating
a scene from a Japanese fairy-tale " Jijii-wa Yama-
ni Shibakari-ni," (Old man gone to gather shrubs).
It is very artistically executed. Made and signed by
Enju-sai Kanji, a pupil of Yasuchika III. Date,
17th century.
136. Knife-handle in shibuichi, with a design
representing three different plants. One of the best
specimens of the kind; the engraved lines resembling
136
free-hand work on paper or canvas. "Made by
Hazunori, at the request of the teacher Hara," so
engraved and signed.
137. Knife-handle in shibuichi. Design of three
maple leaves floating upon water, inlaid in various
metals and engraved. One of the best examples of
the kind, there being a marked contrast between the
careful work on the leaves and the freedom of the
water outlines. Made and signed by Isobe Isshu
Nobuyoshi.
J 38. Knife-handle in shibuichi. On one side is
a bird-catcher (an official attending a feudal noble)
in shakudo in relief, holding a bamboo pole and on
the other side is a pigeon perched on the branch of
a tree. Made and signed by Otsuki Korin.
139. Knife-handle in shibuichi. The figure rep¬
resents the famous Chinese warrior, Kanwu. Signed,
Omori Choichi.
140. Knife-handle in fine shakudo. Five half-
walnuts are represented in high relief in gold and
shakudo on a nanako background. A very fine
specimen. Made by Sokujo, 1635-1667. Certified
and signed by Mitsutaka, 1719-1783.
I4J. Knife-handle in fine shakudo. The design
represents a long-armed monkey, Enko, and a
weeping-willow, in shibuichi, gold and red bronze in
relief. A fine specimen of artistic and skillful treat¬
ment. Made by Goto Ichijo. Date, last part of
18th century.
J 4-2. Knife-handle in shibuichi. The design
represents part of a temple-gate, an overhanging pine
branch and a man writing on a post; all engraved.
137
It was copied from the work of the famous painter,
Itcho, whose strokes have been faithfully reproduced.
Signed, Somin, of the Soyo line. Date, 1667-1732.
143. Knife-handle. The design represents Juro,
God of Longevity (one of the seven Gods of fortune),
with a deer by his side. He is looking up at a crane,
emblem of long life. It is strongly engraved and the
piece is a fine one. The maker learned the Soyo
style from his father. Date, 1750.
144. Knife-handle in yellow bronze. A devil is
represented as running away from a dried sardine's
head and twig of holly, which are hung in the eaves
of a straw-thatched house. Skillfully and realistically
executed.
145. Knife-handle in shibuichi. The design
represents Daruma, the twenty-eighth patriarch of
Buddhism, going to China on a reed. A fine
specimen of the artist's work. Signed, Shinzui.
Date, early part of the 19th century.
146-169. Knife-handles in iron and different
bronzes, with decorations in gold, silver, etc.
SWORD ORNAMENTS
170. A collection of 80 Sword Ornaments (Fuchi
and Kashira) in iron and bronzes, with decorations
in gold, silver, etc.
138
JAPANESE PIPES
J. Pipe, of iron, decorated in high relief with
cherry branch and blossoms in gold and silver.
Mouthpiece and bowl of silver. (From the Austin
Robertson collection.)
2. Pipe, of iron, decorated with stork and cherry
blossoms in silver and gold. Mouthpiece and bowl
of silver. Signed, Tomoyoshi.
3. Pipe, silver boat with sliding panels, duck,
etc., in various metals. (From the Samuel Colman
collection.)
4. Pipe, bamboo tube, with deeply wrought metal
ends. (From the Samuel Colman collection.)
5. Daimio Pipe, iron body, with gold bowl and
mouthpiece. Elaborate and artistic designs of
monkeys, blossoms, etc., in shibuichi, bronze and
gold, in relief and inlaid. Signed, Kazunaga. (From
the Brayton Ives collection.)
6. Pipe, of shibuichi, with incrusted design of
the Japanese Rip Van Winkle. Signed, Niasamitsu.
7. Pipe, of silver, decorated with bamboo stalks
and leaves in black and gold.
8. Pipe, of bronze, decorated. Signed.
9. Pipe, of silver and shakudo, inlaid with vari¬
ous flower designs.
10. Pipe, of bamboo, with mouthpiece and bowl
of chased silver.
tl. Pipe, of bamboo, with raised designs of
butterflies, etc., in various metals. Gold bowl and
mouthpiece. Signed, Masamitsu.
12. Silver Inkstand, very elaborate designs of
fruit and gourds in high relief. (From the Brayton
Ives collection.)
139
JAPANESE POUCHES
13. Carved wood Pouch, with storks in pearl.
14. Carved wood Pouch, decorated with dragon-
flies. Netsuke of red agate.
15. Carved wood Pouch, figure of Contemplation.
16. Bronze Pouch, agate slide and bronze turtle
netsuke.
17. Old leather Pouch and silver Pipe.
18. Old leather Pouch with cloisonne chains.
19. Stamped leather Pouch, and carved ivory
Pipe-case. Slide and clasp of gold. (From the
Samuel Colman collection).
20. Antique Daimio Pouch of illuminated leather,
with ivory mountings. Leather pipe-case attached.
(From the Brayton Ives collection.)
21. Brown russet leather Pouch and Pipe-case,
with bronze and gold clasp. Ivory netsuke.
22. Ivory Pouch and brass Pipe. Signed.
23. Carved wood Pouch, inlaid with pearl and
gold lacquer, by Korin. (From the Samuel Colman
collection.)
24. Silver Pouch, with silver basket-work Pipe-
case.
25. Yellow metal Ink-bottle and Brush-case,
repoussd.
26. Bronze Box, silver lined and decorated with
many figures. Signed.
27. Japanese Tinder-box.
140
JAPANESE CARVINGS (OKIMONOS)
AND NETSUKES
28. Ivory Carving, Chinese warrior. Signed,
Gako. Date, 19th century.
29. Ivory and wood Carving. An artist pointing
to a dragon depicted on a Kakemono. Signed,
Hoyu-sai. Date, 19th century.
30. Ivory Carving. Maker of straw sandals
(Waraji). Signed, Kozan. Date, 19th century.
31. Ivory Carving. Man on a log watching for
a monkey to appear. Signed, Meirak. Date, 19th
century.
32. Ivory Carving. A rat, just escaped from a
trap, has taken refuge on a man's shoulder. Signed,
Mune-fasa. Date, 19th century.
33. Ivory Carving. Wandering showman train¬
ing monkeys. Signed, Mune-hiro. Date, 19th
century.
34. Ivory Carving. Two fishermen. Signed,
Mune-shige. Date, 19th century.
35. Ivory Carving. Street singer. Signed, O-sai.
Date, 19th century.
36. Ivory Carving. Ushiwaka-maru and his her¬
mit teacher, Teng. Signed, Toshi-tsug. Date, 19th
century.
37. Ivory Carving. Japanese historical subject.
Signed, Toryu-sai Yoshi-sada. Date, 19th century.
(From the Mary J. Morgan collection.)
141
33. Ivory Carving. Tokiwa-gozen and her three
children, showing style of hair-dressing about four
hundred years ago. (From the Austin Robertson
collection.)
39. Ivory Carving. Six children, some masked,
playing on musical instruments and dancing.
40. Ivory Carving. The slaughter of the Nuye.
"Minamoto no Yorimasa was a renowned archer,
horseman and poet, whose chief exploit was the
slaughter of the Nuye. The legend tells that in the
year 1153, the Mikado became afflicted with an ill¬
ness, and at the same time a strange "bird" was
nightly heard to sing upon the roof of the Imperial
palace. Prayers were offered to the great God,
Hachimau, and Yorimasa then brought forth his bow
and shot an arrow into the cloud from which the
sound issued, and where shone two fiery orbs. Im¬
mediately there crashed upon the ground a creature
with the head of an ape, the back of a badger, the
legs and claws of a tiger and the tail of a venomous
serpent. The monster was called Nuye, from its cry
resembling that of a bird of this name. The illness
of the Mikado vanished and Yorimasa was rewarded
with the hand of his love."
41. Ivory carving. Two figures, one a priest,
terrified at the sound of the shell blown by a warrior,
who has assumed priestly garb. Signed, Mune-nori.
Date, 19th century.
42. Ivory Carving, representing a scene which
occurs in the performance of the No-dance. "A
sword-maker being anxious to produce an unusually
fine blade, prayed to the Gods for aid, and in answer
142
to his prayer appeared Inari, the Fox-god." Date,
19th century.
43. Wood Carving. Rats on a bag. Signed,
Den-its-min. Date, 19th century.
44. Ivory Pipe-case.
45. Ivory Box. On the body is a representation
of the "Seven Wise Personages" in a bamboo grove,
while the cover has persimmon decoration. Signed,
Jinrak. Date, 19th century. (From the Brayton Ives
collection.)
46. Ivory Box, decorated with birds and flowers
in gold lacquer and mother-of-pearl inlaid. From the
Brayton Ives collection.)
47. Chinese carved Rhinosceros-horn Libation
Cup.
48. Two wood Netsukes. No-dance masks. Fine.
Signed, Tenkaichi Deme-uma.
49. Wood Netsuke. No-dance mask. Signed,
Gyokzan.
50. Wood Netsuke. No-dance mask, devil.
Partially lacquered. Signed, Houn.
51. Wood Netsuke. No-dance mask. Signed,
Sho-ko.
52. Wood Netsuke. No-dance mask. Signed,
Yoshi-nobu.
53. Wood Netsuke. No-dance mask. Signed.
54. Metal Netsuke. No-dance mask, devil.
Signed, Toshi-naga.
55. Wood Netsukes. Two clusters of masks.
One cluster signed, Masa-Kaz.
143
56. Four wood Netsukes. Masks. 18th century.
57. Netsuke. Mask carved from rhinosceros
horn.
58. Metal Netsuke. Mask.
59. Ivory Netsuke. Mask. Signed, Hokyo.
Date, 19th century.
60. Ivory Netsuke. Mask, devil.
61. Four wood Masks. Signed, Ryukei.
62. Wood Netsuke. Two sacred turtles (Mino-
game).
63. Wood Netsuke. Turtles, finely carved.
Signed, Yasu-tada.
64. Ivory Netsuke. Nine turtles. Fine speci¬
men.
65. Wood Netsuke. Monkey. Signed, Bunpo.
Date, 18th century.
66. Wood Netsuke. Monkey with a wasp on his
back. Signed, Tomo-Kaz.
67. Wood Netsuke. Monkey eating a persim¬
mon. (From the Brayton Ives collection.)
68. Wood Netsuke. Three monkeys and fruit.
Skillfully carved.
69. Ivory Netsuke. Monkey. Signed, Kaigyok-
sai. Date, 19th century.
70. Ivory Netsuke. Monkey. Signed, Nawo-
mits.
71. Ivory Netsuke. Monkey with peaches.
Signed, Oka-tomo.
72. Ivory Netsuke. Monkey. Signed, Ran-its.
(From the Austin Robertson collection.)
144
73. Ivory Netsuke. Two monkeys. Signed,
Ran-tei.
74. Ivory Netsuke. Monkey eating peach.
Signed, Ren. Date, 18th century.
75. Three ivory Netsukes. Monkeys.
76. Wood Netsuke. Rat eating a rice-cake
(mochi). Signed, Masa-Kats.
77. Ivory Netsuke. Rat eating a sweet potato.
Signed, Mits-hiro. (From the Austin Robertson
collection.)
78. Ivory Netsuke. Rat eating a bean. Signed,
Ran-its. (From the Austin Robertson collection.)
79. Wood Netsuke. Ebis and Daikok (Gods of
Fortune) making rice-cakes. Signed, Furan, at the
age of sixty-seven years.
80. Wood Netsuke. Mask-maker and three
masks, one in drawer. Signed, Jugyok.
81. Wood Netsuke. A mask-maker. Very
important specimen. Signed, Miwa.
82. Wood Netsuke. Priest mending his clog.
Signed, Masa-Yoshi.
83. Wood Netsuke. Devil stealing Bishamon's
tower. Signed, Shin-shin.
84. Wood Netsuke. A Lion-dancer with mask.
Signed, Shugets.
85. Wood Netsuke. An imp mounted on a
basket, under which is a devil driver. Signed, Tomo-
Kaz.
86. Wood Netsuke. Hermit sitting on a carp.
Date, 17th century. (From the Austin Robertson
collection.)
145
87. Wood Netsuke. Hotei, God of Children,
and a child playing a game inside of Hotei's bag.
88. Ivory Netsuke. Hotei carrying a child in
his bag. Signed, Hide-masa. Date, 18th century.
89. Three wood Netsukes. Signed, Seichok.
90. Wood Netsuke. Mushrooms. Signed, Tada-
kuni.
91. Ivory Netsuke. A Japanese beauty. Signed,
Aurak. Date, 18th century.
92. Ivory Netsuke. Benkei (a famous warrior)
reading. Signed, Dorak. Date, 19th century.
(From the Austin Robertson collection.)
93. Ivory Netsuke. Okame throwing beans to
drive devils from a house. Signed, Hide-masa. Date,
19th century.
94. Ivory Netsuke. Two boys playing a game.
Signed, Nori-shige.
95. Ivory Netsuke. God of Thunder and his
drum. Signed, Oka-ju.
96. Ivory Netsuke. God of Thunder grinding a
mill in the clouds. Skillfully carved. Signed,
Rogyok. Date, 18th century.
97. Ivory Netsuke. Attendant mending a blind
man's shoe. Signed, Ryu-ei. Date, 18th century.
98. Ivory Netsuke. Shojos in a boat. Signed,
Tomo-chika. Date, 18th century.
99. Ivory Netsuke. Three blind men fighting.
A fine specimen. (From the Austin Robertson col¬
lection.)
100. Ivory Netsuke. Hanshan Shumtok reading
146
and laughing. Skillfully carved. Signed, Yoshi-tomo.
Date, 18th century.
101. Ivory Netsuke. Old man drinking sake.
Signed, Ikko-sai.
102. Wood and ivory Netsuke, inlaid with mother-
of-pearl. A No-dance performer, Teng. Signed,
Hojits Kokei-sai.
103. Ivory Netsuke. Tiger and bamboo stumps.
Signed, Hakryu. Date, 18th century.
104. Ivory Netsuke. Two puppies on a sandal.
Skillfully carved. Signed, Ikko-sai. Date, 18th
century.
105. Ivory Netsuke. Wild boar asleep in his
lair.
106. Ivory Netsuke. String of seven "cash"
(Chinese money). Very fine. Signed, Mits-hiro.
107. Netsuke, carved from a wild boar's tusk,
on which is a beetle (Tamamushi). Signed, Seiyo-do.
Date, 18th century.
108. Bone Netsuke. Frog and morning-glory.
Very fine specimen. Signed, Ren. Date, 18th
century.
109. Two deer-horn Netsukes. Fine. Signed,
Masa-yuki. Date, 18th century.
Twenty-five Carvings and Netsukes.
147