catalogue of the art collections loaned by james w. ellsworth

r

THE ART INSTITUTE OF CHICAGO.

Catalogue of Collections

I. OANED BY

JAMES W . ELLSWORTH .

OCTOBER, r8go.


CATALOGUE OF THE

ART COLLECTIONS I,OANED BY

JAMES W. ELLSWORTH.

ROOMS XIV AND XV.

REMBRANDT'S PORTRAIT OF A MAN,

PICTURES BY AMERICAN ARTISTS,

GREEK TERRA COTTA GROUPS AND VASES,

ANCIENT CHINESE PORCELAINS,

' ORIENTAL CURIOS IN STONE, IVORY, BONE,

BRONZE, IRON AND WOOD,

SPECIMENS OF BARYE BRONZES.

OCTOBER, r89o.

Contemplating the erection of a. new home in Chicago and

expecting to be absent a portion of the time meanwhile, I have

determined to accept the offer of the Trustees of the Art Institute

to exhibit and protect my Art collections during the interval.

I have had pleasure in selecting my American pictures, and in

gathering the Greek, Oriental and European Art Objects that are'

herein catalogued. I have lived with these things and shall be

unhappy in being temporarily separated from them, but hope that

those who may view the collection will enjoy it as I have; I could

not wish them greater comfort.

}AMES W. ELLSWORTH.

Chicago, May 5, I89o.


The Art Institute maintains a permanent exhibition open every

week day frqm 9 to 5 o'clock. It is free to members and their

families at all times, and free to all upon Saturdays and Sundays.

All friends of the Art Institute are invited to become members.

Annual Members pay a fee of ten dollars for the year. Govern-

ing Members pay ten dollars a year and an initiation fee of one

hundred dollars. All members are entitled, with their families

and visiting friends, to admission to all exhibitions, receptions,

public lectures and entertainments of the Institute.

CATALOGUE OF OIL PAINTINGS.

I.

PORTRAIT OF: A MAN, (r632.)

BY REMBRANDT.

BORN, 16o7. DIED, 1669.

COLLECTION OF M. TOLOZAN, 1801.

COLLECTION OF M. MONTELEAU, 18oz.

COLLECTION OF M. COLLOT, 1855.

COLLECTION OF BARON SEILLIERE, 1861.

COLLECTION O:F PRINCESS DE SAGAN, 1872.

While in the possession of M. Collot the title of the ·

picture was changed to "Dr. Tulp," and it has been known by , this title for more than thirty years. The present owner restores the original title " Portrait of a

Man " as given in the authorities of Rembrandt's works.

WORKS PAINTED EXCLUSIVELY BY AMERICAN

ARTISTS.

ARTIST. TITLE.

2. BAKER, W. BLISS (deceased), Solitude.

3· BAKER, W. BLISS (deceased), Edge of the Woods, (Ballston,

N.Y.)

4· BAKER, W. Buss (deceased), Wood Interior.

5· BAKER, GEORGE A. (deceased), Resignation.

6. BECKWITH, J. CARROLL, The Unfinisiled Chapter.

7· BIRNEY, W. V., Mending Carelessness.

8. BLAKELOCK, RALPH ALBERT, A California Wood Interior.

9· BLAKELOCK, RALPH ALBERT, The Dawn of Day.

10. BLUM, ROBERT H .. (Pastel), Eyes.

II. BRISTOL, J. B., North West Bay,(Lab: George).

12. BROWN, J. APPLETON, June.

8

James W Ellsworth Collection. 9

13. CALIGA, I. H.,

14. CHASE, WILLIAM M.,

15. CHURCH, F. E.,

16. COFFIN, W. A.,

'7· CRANE, R. BRUCE,

!8. CREIFELDS, RICHARD,

'9· CURRAN, CHARLES C.,

20. CURRAN, CHARLES C.,

21. DAVIS, CHARLES H.,



24. DECKER, jOSEPH,

25. DIELMAN, FREDERICK,

26. DURAND, E. L.,

A Philosopher.

A Brooklyn Cottage.

Twilight in the Woods.

Morning Sunshine.

An Autumn Afternoon.

In teres ted.

An Alcove in the Art Students' League, N. Y.

Afternoon in the Cluny Gar-dens, Paris.

Nightfall.

Fading Light.

Moonrise.

Grapes.

Girl of the 18th Century.

Old Museum at Antwerp. 27. DEWEY, CHARLES MELVILLE,

November.

to The Art Institute of Chicago.

28. EATON, CHARLES HARRY, Late October.

29. EATON, WYATT, The Favorite Grandchild.

30. FOWLER, FRANK, In Blossom Time.

31. FULLER, GEORGE (deceased),

32. GAY, EDWARD,

33· GIFFORD, R. SWAIN,

34· HABERLE, ].,

35· HASBROUCK, DUBOIS F ,,

An Ideal Head.

Early Spring.

New England Coast Scenery.

Realistic.

A Winter Morning in the Cat-skills.

36. HUNT, WILLIAM M. (deceased),

37· HUNTINGTON, DANIEL,

38. INNESS, GEORGE,

39· INNESS, GEORGE,

40. INNESS, GEORGE,

41. INNESS, GEORGE,

4:Z. INNESS, GEORGE,

A Child's Head.

Meditation.

A Valley View in Autumn.

Saco Valley, New Hampshire.

Summer Landscape, Leeds, Green Co., N.Y.

Landscape.

June.

12 The Art Institute of Chicago.

59· MAGRATH, WILLIAM, The Proposal.

6o. MCCORD, GEORGE HERBERT, On the Maine Coast.

61. McENTEE, JERvrs, Plains of the Humboldt.

62. MARTIN, HOMER D., Coast of Normandy.

6J. MAYNARD, GEORGE W., A Dutch Court Yard.

64. MILLER, CHARLES H., A Gray Day.

65 . MILLER, FRANCIS, The Potter.

66. MILLET, F. D., A Patrician Maiden.

67. MINOR, ROBERT c., Golden Sunset in the North

Woods, N.Y. 68. MINOR, ROBERT C.,

A Misty Day.

6<). MOELLER, LOUIS, Another Investment.

70. MOELLER, LOUIS, Appraisement.

7I. MORAN, LEON, A Cavalier.

72. , MORAN, PERCY, The New Song.

7J. MURPHY, J. FRANCIS, Twilight. ··

74· MURPHY, J. FRANCIS, An Autumn Sunset.

James W. Ellsworth Collection. I3

75· MURPHY, J. FRANCIS, An Autumn Storm.

76. NICHOLS, BURR H., A Bit of Venice.

77· PALMER, WALTER L., November Snow.

78. PARTON, ARTHUR, Silver Birches.

79· PAULI, RICHARD, Sundown.

So. PICKNELL, WILLIAM L., Early Morning.

8!. PLATT, CHARLES A. , Marine.

82. POORE, H. R., Fox Hou~ds.

8J. REHN, F. K. M., Sun Shower, Atlantic Coast.

84. RYDER, ALBERT P., The Spirit of Spring.

85. SARTAIN, WILLIAM, Landscape near Nonquitt, Mass.

86. SHAW, ANNIE C., (deceased) , Autumn.

87. SHIRLA w, WALTER, A Flore ntine Laundry.

88. SMITH, H. P., Old Oaks.

89. TYRON, D. W., Moonrise.

90· TYRON, D. W., Winter Twilight.

14 The Art Institute o.f Chicaf{O.

91. TWACHTMAN, J. H.,

92. WALKER, HORATIO,

93· WATROUS, H. W.,

94· WEIR, J. ALDEN,

95· WIGGINS, CARLETON,

()6 . . WYANT, A . H.,

A Dismal Day.

A Pastoral.

Memories.

Roses.

Landscape and Cattle; Sand · Plains, N.Y.

Twilight in the North Woods.

WATER COLORS.

ARTIST. TITLE,

97· BELLOWS, A. F. (deceased), Scene at Hot Springs, Arkansas.

98. CHAMPNEY, J. WELLS, On the Heights (Hudson River).

99· CHURCH, F. S., A Chilly Day.

100. COLMAN, SAMUEL, Festival day in. Venice.

101. COZZENS, F. M., A Narrow Margin.

102. EDWARDS, GEORGE WHARTON, The Fishermen. ·

!OJ. HOMER, WINSLOW, Surf at Scarborough, Maine.

104. HOMER, WINSLOW, Natives' Hut at Nassau.

ws. HOMER, WINSLOW, Street Scene, Santiago, Cuba.

106. HOMER, WINSLOW, Mussel Gatherers.

107. MCCORD, GEORGE HERBERT, On the Harlem River.

108. McDouGALL, JOHN A., "Ever Thine, Celia."

109. MUHRMAN, H., Milking Time.

15


110. MURPHY, J. FRANCIS, Early Snow.

III. PLUMB, H. G., " Comin' Thro' the Rye."

II2. WILES, IRVING R., In the Park.

PEN AND INK DRAWINGS.

ARTIST.

IIJ. ABBEY, E. A.,

114. ABBEY, E. A.,

liS. ABBEY, E. A.,

II6. ABBEY, E. A.,

TITLE.

" Kitty of Coleraine."

" Kitty of Coleraine."

"My Master, he takes me to Church."

Harmless Play.

GREEK DEPARTMENT.

TERRA COTTA GROUPS AND STATUETTES.

Under this heading five objects are shown which have been recently found in tombs in Greece and Asia .Minor. The difficulty of getting rare antiquities from Greece and Turkey to-day makes it impossible to indicate with absolute accuracy the location of the "finds." In Asia Minor the Turkish law forbids research and the exportation of antiquities. The doubts raised about the integrity of the Asia Minor and Greek groups had almost entirely ceased. Recently, howe~er, the fight has been re-opened, -but promises to be of short duration. The learned writer who assails the objects fails to name the forger, and constantly changes his place of operating. An expert in defending the little monu-

-ments, says: " Leaving · aside all questi<m of Art or Archreology in relation to the authenticity of those groups, and by using only human common sense, one will easily be convinced how impossi-ble it is for any one to fabricate that relatively immense variety 'shown in these little statuettes. To manufacture these fine groups one must have, first , the whole establishment of a first-class pot-ter; he must be an excllent archreologist in order to produce cor-rect objects and not impossible amalgamations; he must have all the varieties of clay to make the groups according to the mode used by the ancients, which differ according to the localities where they were produced; he has to possess a perfect knowledge of all the varieties of the ancient modes of fabrication; he must be the owner of an extremely valuable collection of real antiques as models for his numerous and varied imita tions, and last but not least, as these groups come out of the mould in the most imperfect and roughest state, and have to be entirely reworked by hand (that is the reason that not two of them are alike), then the forger must

17

The Art Institute of Chicago.

be supplemented by being an artist of the highest merit, one who is so master of his art that he can, with the easiest grace, identify himself with the qualities, peculiarities, fancies, etc., of men who lived thousands of years before his birth, and were as different in their style of work as they were remote from the other, living in different countries and at different periods."

; .

Some of these little monuments are realistic, some mythological. A.

THE YOUTH OF BACCHUS. Asia Minor. IV Century B. C. The infant Bacchus riding on a she-goat is preceded by a Bac·

chante and followed by Silenus. The r-emarkable feature of this group is the life and movement of the figures.

B. THE VICTOR CARRIED BY THE · VANQUISHED. Greece proper.

IV Century B. C. ~

A group of two young girls, one of whom having lost the game is carrying the other who has won it on her sl1oulders. Note the majestic stride of the walking figure.

c. THE BIRTH OF VENUS. Insular origin. III Century 13. C.

The figure emerging from the shell is rarely seen draped as this one is. The object was doubtless found on one of the Sea Islands near Greece.

D. A LADY OF T ANAGRA. IV Century B. C.

This beautiful figure was found in Bceotia and it is nearly as perfect as when it left the artist's hands more than two thousand years ago.

E . CYMON RELATING HIS ADVENTURES. Greece proper. IV Cen-

tury B. C. Group of seven figures, notable for the simplicity of the drapery

and the variety of express~on of the features.

GREEK VASES.

The most illustrious Greek potters lived in Ceramicus, a quarter of Athens. The artists who produced vases were of an humble order, but in a community the most artistic that ever existed the humblest works recall the traditions .of the grand style. The workman's knowledge of form ·and sense of design was wonderful and no work has come to us which has not its artistic aspect.

It is not only the arch::eological student to-day who is inter-ested in these painted vases, for the recent development in art taste has led to gathering of beautiful antiquities for household embellishment by many amateurs throughout this country. An-cient Greek vases of noble form and handsome decoration possess attractions because of their beauty of outline, and for the reason that they invite investigation of the great art epochs they repre-sent.

The perfect condition of some of the objects in this collec-tion will be commented upon. Some of the vases were taken from the tombs just as they now appear. Others were wholly or partly covered with incrustation. When such deposit has ob~

scured the painting it has been removed.

I.

AMPHORA. On one side maidens and a winged figure offering wreaths and other gifts to warriors on foot and horseback; on the other, three figures representing perhaps honors to a victor in the games. Figures red on a black ground, other deco-ration black on red ground. 400 B. C.

19


II.

OXYBAPHON. Three figures representing a funeral ceremony on front. Three Ephebes on back. Red decoration on black ground. 350 B. C.

III. OXYBAPHON. Two Centaurs and female figure on front. Three

Ephebes on back. Red decoration on black. 400 B. C.

IV.

AMPHORA. Asiatic style. Warriors, Centaurs, Bacchantes and palmetto decoration. Black figures with purple ·and yellow pigments on reddish ground. 6oo B. C.

v. HvDRIA. Black Vase . with decoration on rim. Incised repre-

sentation of string of jewels at neck. 300 B. C.

VI.

HYDRIA. Decoration of two horsemen each carrying two lances, like some of the Tarentine Cavalry. 300 B. C.

VII.

PELICE. Red figur~s on black ground and yellow pigment. Subject, funeral rites. Period of the decline. Probably 200 B. C.

VIII.

CRATER. Fluted pattern. A wine vessel. head treated in yellow and white. antedates Christian Era.

IX.

Decoration, a female Late style. Probably

PROCHOOS. Medallions on handles. Form perfect, but design repainted. 200 B. C.

yames W. Ellsworth Collection. 21

X. CRATER. Fine form but. restored. Vignette on one side.

Period of decline.

XI.

CYATHUS. Female equestrian and male figure. 300 B. C. XII.

CENOCHOE. Archaic style. 500 B. C.

XIII. AMPHORA. Decoration black on red. 6oo B. C. Vase re-

touched. XIV.

CARCHESION. Form perfect. Painting restored in part. Swan and fowl decoration.

XV.

AMPHORA. Black Vase, early Etruscan. Estimated 700 H. C.

XVI.

OLPE. Black Vase from Nola. 200 B. C.

XVII. . CENOCHOE. Black Vase from Nola. 200 B. C.

XVIII. SKYPHOS. Perfect condition. Grreco-Roman period.

XIX. ARYBALLOS. Samian ware. Top restored.

XX. EPICHYSIS. Vessel for holding oil. 200 B. C.

XXI. LECYTHUS. Vase of conventional design. Late period.

The Art .lnstt'tute of Ciu'cago:

XXII.

ARYBALLOS. Rhodian design. 700 B. C.

XXIII.

ARYBALLOS. Vessel for holding !Jerfume.

XXIV.

FLUTED ETRUSCAN VASE. Campanian class. Made between 300 and 400 B. C.

XXV.

GREEK VASE. Known as the fluted pattern. Found near Cyprus, 300 B. C. Necklace decoration.

XXVI.

PERFECT VASE. Female figures and funerary offerings. Gr:eco-Roman period.

XXVII.

KYLIX. Decoration of male and female figures. 4th Century B. C.

XXVIII. KALPIS. Miniature size. Handles made close to shouldl!r of vase.

Neck ornamented with white vine. Grreco-Roman period.

XXIX. KALPIS. Decorations of running female figure, red !Jn black

ground. Late IV Century B. C.

XXX. SCYPHOS. Small vessel of graceful form ; decorations in red, yel-

low and white. Grreco-Roman period.

XXXI. OXYBAPHON. Red vignettes on black ground. Roman, XI

Century A. D.

James W. Ellsworth Collection.

XXXII.

EPICHYSIS. White vine encircling body. - Neck decorated in red representing a female offering a wreath. Grreco-Roman period.

XXXIII.

CUP, with cover: Geometrical decorations in white and yellow Italo-Greek, XI Century B. C.

XXXIV.

CuP, with cover restored. Handles of unusual form. This vessel was used for toilet purposes. Roman, I Century A. D.

XXXV.

DIOTA. Miniature vase with fluted body. Vine embellishments at neck.· Grreco-Roman period.

XXXVI.

VASE, with knotted handles and fluted body; fine specimen of Grreco-Roman period.

xxxvn. CENOCHOE. A fluted pitcher with medallion at top of handle.

Late Roman, II Century A. D.

XXXVIII.

CENOCHOE. A fluted vessel with curious decoration at neck of ivy leaves and a male head. La te Roman, II Century A. D.

XXXIX.

AMPHORA, with knotted handles and fluted body; decoration of female head, vines and rosettes. II" Century B. C.

XL.

KANTHAROS. A cup with beautiful handles and vignette of female faces in red. I I Century A. D.

The Art Institute of Ch£ctzg-<J.

XLI.

PROCHOos. Male and female , figures bearing presents .. for the dead. I Century B. C.

XLII.

AMPHORA. Early Greek. A soldier with shield and lances. A female figure faces him. It representsa Bacchic. scene. V Century B. C.

XLIII.

GLOBE VASE with winged figures bearing funerary offerings. This vase has ·been mended, but the size and form are rare. Xl Century B. C.

THE vases XXVIII to XLIII, excepting XXXIV, XLI and -XLII, were excavated in 1S65 in a graveyard near the city of Gnatia in Apulia.

ANCIENT COINS.

A case of ancient Greek and Roman gold and silver coins chosen with a special regard for their beauty and rarity.

I. FROM THURIUM, (Sibari) in Lucania, South of Italy.

TETRADRACHM-. Head of Pallas, wearing crested Athenian helmet.

Reverse. Bull butting. THOURION, in Greek characters. "A magnificent example of engraver's art. The bull on the

coins of this city may be derived from that of the ancient Sybaris."-Head's" Coins of the Ancients," p. 49· Date-Period 400-336 B. C.

2. FROM SYRACUSE, Sicily. DECADRACHM. Head of Persephone surrounded by dolphin~

wearing a wreath of corn leaves. SURAKOSION, in Greek characters.

Reverse. Quadriga or Chariot-Race, with Victory flying above: below a set of armor, the prize of the race.

See Head's" Coins of the Ancients," p. 51, and Head's" His-toria N ilmmorum."

Date: Period 4oo-336 B. C. This coin is the largest Greek coin belonging to the best period

of art.

J. FROM SYRACUSE, Sicily. Gold. Head of Arethusa; behind KI and barley corn (only faint trace of KI.) SURAKOSION,

in Greek characters. 25

z6 The Art Instt'tute of Chicago.

Reverse. Hercules and Lion, SYRA, in Greek characters. "This coin is by Cimon, probably a pupil and rival of Eudene·

tus. The value of this coin in silver money was exactly that of two medallions."-Head's" Coins of the Ancients," p. 51.

Date-Period 4oo-336 B. C.

4· · FROM CALYMNA. (Kalimno, an island on the coast ofCaria.) Head of warrior with helmet.

Reverse. Lyre. CALUMNION, in Greek characters. Date-Period 4oo-336 B. C."

S· FROM CORINTHUS. (Corinth.) Achaia, Greece.

DIDRACHM. Head of Pallas to left. Reverse. Pegasus to left. Mint mark for Corinth. Date-Period 4oo-336 B. C.

6. COIN OF PHILLIPUS II. King of Macedonia. GOLD "STATER. Laureated head of Apollo to right. Reverse. Victory in Chariot Race. PHILIPPOU (of Philip),

in Greek characters . . Date-359-336 B. C. See Head's " Coins of the Ancients," p. 43·

7· COIN OF ALEXANDER III., the great king of Macedonia, and of the whole East.

GOLD STATER. Helmeted head of Pallas, to right.

Reverse. Victory holding a wreath and trophy. ALEXAN· DROU (of Alexander) in Greek characters.

See Head's" Coins of the .Ancients," p. 56. Date-336-327 B. C.

:Tames W Ellsworth Collection.

8. COINS OF LYSIMACHUS, King of Thracia.

TETRADRACHM. Head of Alexander the Great, deified as son of Jupiter Ammon. ·

Reverse. Pallas seated to left holding Victory and shield. BASILEOUS LYSIMACHOU (of the king Lysimaehus) in Greek characters.

Date-324-282 B. C. The Pallas represented on this coin is a copy of the famous

statue of this deity made at Athens by Phidias.

9· FROM TARENTUM, Calabria. DIDRACHM. Warrior on horseback, with shield and spears.

Reverse. Tarus, the hero founder of the city, riqing on a dol-phin, TARAS in Greek characters, holding club and grapes.

Date-Period 28o-190 B. C.

10 . FROM VELlA, Lucania. (Castel-a-Mare della Brucca, Italy.) DIDRACHM. Head of Pallas, to right.

Reverse. Lion to right, above star. VELETON (of the Velians) in Greek characters.

Date-Period 28o-190 B. C.

11. FROM TYR.US (Tyre), Phcenicia, Syrian coast of Asia Minor.

TETRADRACHM. Head oJ Hercules with laurel wreath.

Reverse. Eagle standing on a rudder with palm-leaf to right. In field club of Hercules and L K.

The coins struck by the city of Tyrus are dated from B. C. 125, when it becomes independent from the kings of Syria.

z8 The Art Institute of Chicago.

12. COIN OF PHILIPPUS, King of Syria. TETRADRACHM. Head of the king to the right. Reverse. Jupiter holding Victory seated to the left. BASI·

LEOS PHILIPPOU EPIPHAN)':S PHILADELPHOU (of the king ·· Philip Epiphane Philadelphi) in Greek characters.

Date, 95 B. C. The Jupiter of the reverse is a representation of the famous

statue of Phidias.

ORIENTAL DEPARTMENT.

In this branch of Art the objects have been classified and are catalogued in the following order: First, Antique Chinese Porcelains, represented by single color examples. Second, Dec-orated and Variegated Color Vases. Third, soft and hard paste blue and white porcelain~ Fourth, Carved Jade, Jadeite, Crys-tal, Agate and other stones, with specimens of old . bronze and a variety of curios in ivory, lacquer, iron, bone and wood.

There are two kinds of porcelain. The hard paste is made from one clay only, mixed with one kind of stone. The Chinese call the clay kaolin; the stone is feldspar. Soft paste porce-lain is made from paste variously prepared, producing a trans-lucent substance resembling the hard paste variety, but easily cut and preferred by the artist because it takes the colors in a more satisfactory way. The Chinese date the invention of porcelain during a period corresponding with us to B. C. 185 -A. D. 87. From Chinese authorities, translated by eminent scholars, we learn that one of the principal territories of the potters for many centuries was King-te-chin, where in 1712 more than three thousand furnaces were burning. The finest porcelains ever produced were made in the Ming dynasty (A. D. IJ68-1649). The art declined at the end of the Ming period. High class objects were again produced under Kang-he, 1662 to 1736, and later still beautiful color pieces were made under Yung-ching, 1722-1756, and Kien-lung, 1736 to 1795·

Commencing with the single color pieces in this collection, 29

30 The Art Institute of Clzicago.

specimens made during the Yung-lo period, I403-I423, under the Ming dynasty are · shown with products of late potters down to the reign of Tao-kouang, I~2L

The single color pieces are deemed the most original, be~utiful and decorative things produced in porcelain, which modern potters throughout,. the world are yet unable to dupli-cate. Almost every kno~n color is represented in the present collection and .~he :P,i§ces. have been arranged in classes for the convenience of the.r student. Viewing the decorated Chinese porcelain an almost unlimited field is offered to the collector and amateur. A French missionary wrote from China in r812 as follows: " They say a porcelain object when finished has passed through the hands of seventy workmen." Large objects are made in two pieces, joined with the same paste moistened and the joint polished inside and out with a knife. Flowers

·and ornaments not in relief, but which appear to be engraved, are generally made with stamps and moulds. · The porcelain painters, as a rule, are not above the commo·n workmen. The work of painting is divided in the laboratory between ·a large number of workmen. One has the duty of making the first circl~ in colors near the edge of ·the. piece; another traces the flowers, another paints them ; a fourth designs mountains and water; a fifth birds and other animals. Their work will not permit us to sneer at their execution.

Touching the "Nankin" porcelain; as the blue and white class is commonly called, we reach a branch of Oriental art that is held in the highest esteem by connoisseurs all over the world. Dutch, English and French collectors have shown a decided preference for blue and white porcelain, and the Mu-seums of Europe hold a vast quantity of this branch of art, particularly in the hard paste varieties produced in the Six-teenth, Seventeenth and Eighteenth Centuries.

James W. Ellswortlz Collection. JI

In this country the lovers of porcelain have shown a pref-erence ·for soft paste or W a itzu porcelain, and the most notable pieces that have left China are known to be in this country in private hands. The present collection is very rich ir. im-portant pieces of this much prized porcelain. The following periods are represented in .the three departments just described: Yung-lo, I403-I423; Seun-tih, I426-I436; Ching-hwa, I465-I4SS; Kia-tsing, I 522-I 567 ; Wan-leih, I 577-1620; Kang-he, I66I-I721 ; Yung-ching, 1723-1736; Kien-lung, I736-1795; Kea-king, 1796-1820; Tao-kouang, 1821.

In the interesting gathering of carved stones, specimen pieces of not large size are shown. It is possible th4t there is less accurate knowledge of jade than of any of the other Qrna-mental stones. Jade is a silicate of lime and magnesia; while jadeite is a silicate of alumina and soda. These stones are remarkable for their toughness. On this account the difficulty of working them is excessive. Neither steel nor fire produces any impression upon them. Drills protected by the dust of the diamond, or of jade, are used to honey-comb the pieces to be worked and the partitions are then broken down. The crystals

· and agate carvings are worth study, and specimens of lapis-lazuli and other stones may be viewed.

In the department of metal work the large and small bronze incense burners, and the gold spatter vases are notable things, but the sword guards are most artistic. These small flat pieces of iron are circular or irregular in shape pierced in the centre by a narrow lanceiform aperture. Artistically viewed, it is tht chief part of the sword, for its decoration forms the leading motive of all other ornamentation on the weapon.

Ivory, bone and wood carvings, principally ·netsukes, are dis-played also. None of these curios are earlier than the Eighteenth century, and many are productions of artists of the present

32 Tlze Art Institute of Chicago.

time. Nearly every natural object in Japan is accurately ren· dered by artists in ivory. It is difficult to give expression in words to the quaint humor and intense power that these little carvings suggest. The articulated crayfish and crab are of most elaborate workmanship and accomplished by living artists. Some Hirato porcelain animals are worth examination and attention is invited to the curious pipes made for opium and tobacco smoking.

ANCIENT CHINESE PORCELAINS.

SINGLE COLOR SPECIMENS.

COLLECTION OF VARIOUS REDS.

r. Tall Vase of Sang de bceuf color. Made under the Ming Dynasty, Kang-he, r66r-q2r. This is a genuine Lang Yao specimen, made by the Lang family for the Imperial palace by order of the reigning Emperor.

z. Bottle-shaped Vase, period of Kang-he, r66r-172r. Neck ground down.

3· Bottle-shaped Vase, period of Kang-he, r66r-r 72 r. 4; Bowl, color intended to represent clotted blood.

Kang-he, r66r-172I. 5· Bowl, lighter shade, repaired. 6. Bottle-shaped Vase, graduated color. Kang-he, r66r-

r 7 2 r.

1· Writer's Water Vase, peachblow family. Kang-he, r661-1722. Lip ground down.

8. Writer's Water Vase, ashes of roses shade, Kang-he period, r66r-1722.

9· Writer's Water Vase, peachblow with verdigris. Kang-he period, r66r-1722.

ro. Writer's Water Vase, peachblow mottled specimen. Kang-he period, r66r-1722.

33


I I. Gourd-shaped Vase, peach blow variety. Kang-he period, r66I-I722.

12. Cylinder-shaped Snuff Bottle, peachblow family. Kang-he period, I661-1722.

I3. Crackle ,Bowl, crushed strawberry color, Kang~he

period, 1661-1722. 14. Gallipot of crackle, liver color, Kang-he period,

1S61-I722. IS. Small Jar of rose-red color, Yung-ching period, 1723-

I736. I6. Tall, bottle-shaped, pale liver color crackle, Yung-

ching period, I 7 23-17 36. 17· Bottle-shaped Vase, carved, liver color, Yung-ching

period, 1723-1736. 18. Bottle-shaped Vase of dark liver color. Kien-lung,

I736-I795 · 19. Bottle with trumpet top. Cherry-red color. Kien-

lung, 1736-1795. 20. Small Galli pot of cherry-red color. Kien-lung, 1736-

1795· 21. Miniature globe-shaped Vase of dark red. Kien-

lung, 1736-1795.

22. Ruby-red globe-shaped Vase. Kien-lung, 1736-1795·

23. Rose tint porcelain Bottle. Kien-lung, 1736-1795·

24. Rouge box, Peachblow, with verdigris. Kang-he period, 1661 to 1722;

.James W. Ellsworth Collection. 35

COLLECTION OF WHITE PORCELAIN.

40. Ivory white soft paste crackle Jar with butterfly ornamentations in relief. It bears the mark of · Ching-Hwa, 1465-1488.

41. Ivory white Bottle of soft paste, egg-shell. Ming family.

42. Ivory white beaker shape, crackled. Ming family.

43· Ivory white Bottle of soft paste, crackled. Ming family.

44· Ivory white egg-shell Coup. Ming family.

45· Pure white egg-shell Bowl with cover, lace pattern. Kang-he, 166x-J722.

46: Pure white Bottle, hard paste. Kang-he period.

47. Pure white cabinet Bottle with engraved dragon. Kang-he, I66x-q22 .

48. Pure white cabinet Bottle, dragon under the glaze. Yung-ching, I 723-17 36.

49· Pure white cabinet Bottle with dragon under glaze. Yung-ching period, 1723-I736.

so. Pure white Gallipot, floral ornamentations in relief. Kien-lung, I 7 36-1796.

51. White trumpet top Vase, chrysanthemums encised under glaze. Kien-lung period, I 7 36-1796.

52. Tall Bottle, semi-egg shell. Kien-lung period.

The Art Institute of Chicago.

COLLECTION OF GREEN PORCELAINS.

6o. Small, trumpet-shaped Bottle. Crackle green. Kang-he, I66I-I722.

61. Small, flaring neck Bottle. Crackle green. Kang-he, I66I-IJ22.

62. Bottle. Dark-green crackle. Kang-he, I66I-I722.

63. Bottle-shaped Vase of dark-green crackle. Kien-lung, I736-I795·

64. Snuff Bottle, dark-green crackle. Kien-lung, I736-I795 ·

65. Bottle of pale pistache color. Toau-kwang, r8zr-I85 I.

66. Quadrangular Vase. Pale pistache color. Kien-lung, period, I 7 36-I 795.

67. Gallipot. Apple-green crackle. Ming period.

68. Egg-shaped apple-green crackle. Ming period.

69. Egg-shaped celadon green crackle. K-ien-lung period, I 7 36-1795.

70. Melon-shaped, pea-green color. Yung-ching, I723-I736.

71. Small fiat Coup. Dark-green crackle. Kang-he, r66r-r722.

72. Globular-shaped miniature Vase, sea-green. Kien-lung, I7 36-I 795·

73· Globular-shaped miniature Vase, mottled green. Lip ground. Ming period.

James W. Ellsworth Collection. 37

BLACK PORCELAINS.

So. Tall club-shaped Vase, mirror black. Kang-he, r661-1722.

Sr. Amphora-shaped VasP., mirror black, gold tracing. Kien-lung, 1736.

Sz. Flaring neck Cabinet Bottle, mirror black. Kea-king, 1796.

S3. Slender neck Bottle, mirror black. Yung-ching, 1723-1736.

S4. Tall bottle-shaped Vase, mirror black. Kien-lung, 17J6-1795·

Ss. Trumpet-top Vase, mirror black. Taou-kwang, 1821.

CORAL COLOR PORCELAINS.

90. Tall Vase of pale coral shade. Kang-he, 1661-1722.

91. Gourd-shape; rich coral color. Kang-he, 1661-1722.

92. Oviform Jar, dark coral. Kien-lung, 1736-1795·

93· Trumpet-top Bottle of dull coraL Kien-Iung, 1736-1795·

94· Coup of pale coral. Kea-king, 1796.

The Art Instz'tute of Chicago.

-METALLI C, BROWN AND TEA COLOR

PORCELAINS.

roo. Slender neck Vase, snuff~brown. Yung-ching, 1723-1736.

IOI. Egg-shape Vase, tea-leaf color. Kien-lung, r7J6-I795·

ro2 . Pear-shaped Bottle, cafe au lait. Kien-lung, r7J6-I795·

103. Crackle Vase of cafe au lait. Kien-lung, 1736-!795·

104. Tall Jar of pale brown crackled. Taou-kwang, r82r.

ro5. Bottle of brown metallic lustre. Kien-lung, !736-1795·

ro6. Brown and black mottled Vase. Kien-lung, r7J6-r 795·

ro7. Light brown lustrous Bottle. Yung-ching, r723-I736.

ro8, Bottle of splashed green and brown. Kien-lung, I7J6-I795 ·

Io9. Globe-shape Vase, iron dust. Kien-lung, I736-r795 ·

IIo. Snuff Bottle of deep brown. Kien-lung, I736-I795·

I I I. Snuff Bottle of light brown. Kien-lung, q 36-1795·

112. Snuff Bottle, metallic surface. Kien-lung, r7J6-I795·

I IJ. Ancient blue-black Bowl. Pottery of the Tang period.

II4. Bowl of lustrous black. Pottery of the Tang period.


VARIOUS BLUE PORCELAINS.

r2o. Tall, slender neck Vase of deep turquoise, with shad-roe crackles. Kang-he, r66r to 1722.

r2r. Thick neck turquoise Bottle. Kien-lung, 1736-1795·

122. Thick neck Bottle of pale turquoise. Kien-lung, 17 36-r 795·

123- Quadrangular Vase, turquoise. Kien-lung, I736-I795·

124. Cabinet Bottle of pale turquoise. Kien-lung, 1736-, I795·

125. Solid glaze Bottle, turquoise color. Kien-lung, 1736-1795·

126. Egg-shape Snuff Bottle, dark turquoise. Kien-Iung, 1736-1795·

127. Crackle Jar of pale turquoise. Kien-lung, I736-1795·

r28. Mazarin blue Jar, orange peel surface. Yung-ching, r 7 23-17 36.

129. Ring neck Bottle, _ deep blce tone. Yung-ching, J723-I736.

130. Slender neck Bottle, lapis-lazuli shade. Kien-lung, I736-I795·

IJI. Gallipot, dark blue. Yung-ching, J723-I736.

132. Dark blue glazed Bottle. Kien-lung, 1736-1795·

133. Slender neck Bottle of powder blue. Kang-he, r66r-r 722.


134. Club-shape Vase of powder blue. Kang-he, 1661-1722

135. Cabinet Vase, with original color. Kang-he, 1661-1722 .

. 136. Amphora form, powder blue. Kien-lung, 1736-1795·

r 37. Thick neck Bottle of deep violet color. Kea-king, J796.

138. Quadrangular Vase, violet shade. Kien-lung, 1736-1795·

139, Cabinet Vase, dark violet. Kien-lung, 1736-1795·

140. Bottle-shape Vase of violet color. Taou-kwang, 1821.

141. Gallipot of dark violet color. Taou-kwang, 1821.

142. Turquoise ·crackle Vase. Yung-ching, 1723-1736.

YELLOW PORCELAIN.

150. Imperial yellow Bottle. Kien-lung, 1736-1795·

151. Egg-shape Jar, canary yellow. Yung-ching, 1723-1736.

152. Snuff Bottle, old mustard yellow crackle. Kang-he, I66I-J722.

153. Quadrangular Vase, old mustard yellow crackle. Kang-he, 1661-1722.

154. Jar of fine crackle, pale mustard yellow. Kien-lung, 1736-1795·

James T¥. Ells7e'orth Collection.

CELADON, STONE, LA VENDER, PEARL AND

OTHER . COLORS.

160. Celadon Bottle, scroll tracing. Kang-he, 1661-1722.

161. Stone-color Bottle, crackle. Ming Family.

162. Stone-color Bottle, crackle. Seal of Yung-ching, 1723..:.1736.

163. Gourd-shape Bottle, elephant hide color, silver rim. Ming.

164. Celadon Vase with incised fish under glaze. Yung-ching, 1723-1736.

165. Large celadon Vase, vine and leaf ornamentation. Kien-lung, 1726-1795·

166. Stone-color Coup, brilliant surface. Ming family.

167. Gray Bottle with giant crackle. Kang-he, 1661-1722.

168. Miniature Vase of pearl crackle. Yung-ching, 1723-1736.

169. Egg-shape Vase ofcream crackle. Kien-lung, 1736-1795.

170. Cream-color crackle Vase. Kang-he, r661-1722.

171. Lavender color Bottle. Yung-ching, 1723-1736.

172. Lavender color Bottle with ribbed surface. Kien-lung, 1736-1795.

173- Miniature Vase of pale lavender. Kien-lung, 1736-1795·

The Art Institute of Chz'cago.

174. Dark lavender Bottle. Kea-king, 1796.

r 7 5· Rouge Box, geometrical patterns under glaze. Kang-he, r66r-1722.

176. Flat Coup of fine crackle lavender glaze. Kang-he, r661-1722 .

177. Dark lavender Writer's Vase with . large crackle. Kang-he, 1661-1722.

J78. Bottle of ashes of roses color. Kea-king, 1796.

r 79· Snuff Bottle, stone and purple splash. Ming family.

r8o. Cup of pale violet. Yung-ching, 1723-1736.

181. Quadrangular Vase, salmon pink souffle~ with mel· low inside glaze. Kieq.-lung, 1736-1795.

r82. Rose-pink souffl~e, green inside glaze. Kea-king, 1796.

183. Miniature Bottle of pink soufflee. Kien-lung, I736-I795·

r84. Bottle of mottled red and pink. Kea-king, 1796.

r85. Globula r-shape Vase. Kien-lung, 1736-1795.

James T¥ Ellsworth Collection. 43

VARIEGATED . COLORS.

VASES WITH DECORATIONS.

200. Large Vase ornamented with butterflies and flowers. Kien-lung, 1736-1795·

201. Tall Beaker, coral ground, with de(::orations of mountain and river scenery in blue and white. Kang-he, r66r-qzz.

202 . Tall Beaker of powder blue with chrysanthemum and other floral embellishment. Kien ·lung, 1736.

203. Bottle-shape Vase, celadon ground with peach color vine decoration and blue and white figure medal-lions. Kang-he, r66r-qzz.

204. Bottle Vase with vine and chrysanthemum decora-tions. Meda1lions of Chinese characters and coral-colored bats encircle the neck. Kien-lung, 1736-1795·

205 . Gallipot with flying dragon and cloud ornamentation. Kien-lung, 1736-1795·

zo6. White Bottle with compressed body embellished with peach and blue colors. Kien-lung, 1736-1795·

zo7. Tall Vase imitation of leopard skin, with butterfly decoration and panels of landscapes. Kien-lung, 173'5-1795·

zo8. Egg-shell Lantern, ornamentation in black, violet, coral and green colors. The designs all indicate that the object was made for a princely gift. Kien-lung period, 17 36-1795.

zog. Another equally fine.


210. Tall Beaker, chocolate ground with raised white dragon and vine decoration. (Repaired.) Kang-he, I661-1 722.

211. Blue and black Water Vase. Kang-he, I661-1722.

2 I 2. Cabinet Vase, beautifully decorated with landscape and bearing an oriental motto. (Repaired.) Kien-lung, 17 36-1795.

213. Miriiature Vase with black line ornamentation. Kien-lung, 1736-1795.

2 q. Black Galli pot with tiger, dragon, and cloud decora-tion in white. Kang-he, 166I-I722.

2r5. Small Water Vase. Note chop at neck indicating Wan-leih, 1573.

216. White Bowl with butterfly decoration. Kien-lung, 1736-1795·

217. Flat Coup, leopard skin imitation. Kien-lung, •7J6-I795·

218. Lotus-leaf Cup, decorated. Kien-lung, 1736-1795·

219. White Bottle with f.ruit decoration in peach and blue. Yung-ching mark, 1723-1736.

220. Marbleized Bottle, pink, blue and white combination. Yung-ching, 1723-1736.

221. Marbleized Bottle, green, red and white decoration. Yung-ching, J723-1736.

222. Pale green Bottle, veined with black. Yung-ching, I72J-I7J6.

223. Egg -shell Lantern. Made for princely gift. Kien-lung period, I7 36-1795.

.fames W. Ellsworth Collection.

ANCIENT BLUE AND WHITE CHINESE

PORCELAINS.

WAITZU OR SrlFT PASTE.

45

230. Tall soft paste Jar with decoration of lions and trees. Kang-he, r66r-r722.

231. Soft paste crackle Jar, drawing representing a del-uge. Metal mount. .Kang-he, r66r-r722. _

232. Tall Vase of heavy waitzu, decoration of old trees and rlying bats. Silver rimmed. Kang-he, r66r-I]22.

233- Quadrangular Vase, soft paste. crackle with chrysan-themum decorati6n. Kang-he, r66r-r722.

234. Quadrangular Vase of pale blue, floral design on cream-white ground. Porcelain called heavy waitzu. Kang-he, r66r-r72i.

235. Oviform Jar, semi-egg-shell waitzu, blue decoration of landscape and ploughman. Kang-he, r66r-qzz.

236. Soft paste low Jar with deep blue decoration of landscape. Kang-he, r66r-1722.

237. Crackle Ginger Jar with deer and landscape orna-mentation in pale blue. Wooden cover. Kang-he, r66r-r722.


238. Cylinder-shaped Jar, semi-egg-shell, decoration of fruit. Kien-lung, I7 36-1795.

239. Cylinder-shaped Jar, crackled surface, embellishment of fruit and flowers. Kien-lung, r 7 36-1795.

240. Low Jar of heavy waitzu crackle, decoration of fruit. Kang-he, r66r-q22.

241. Ginger Jar of semi-egg-shell, fruit decorationin deep blue. Wooden cover. Kien-lung, 1736-1795·

242. Soft paste crackle Ginger Jar with original por~elain cover, decoration of lion and bats. Kang-he, r66r-1722.

243. Small Cylinder with decoration of figures and land· scape. Kien-lung, I7 36-r 795.

244. Miniature Ginger Jar with bronze pattern decora-tion. Wood cover. Kien-lung, 1736-1795·

245. Gallipot of soft paste egg-shell ; drawing of man on horseback and landscape, Kang-he, r66r-I722.

246. Snuff Bo.ttle, soft paste crackle, floral decoration. Kang-he, r66r-r722.

247. Quadrangular Vase, decoration of figures and flow· ers. Kang-he, r66r-q22.

248. Snuff Bottle, semi-egg-shell, fruit and bird decora-tion. Kien-lung, 1736-1795·

249. Gallipot of soft paste egg-shell, decoration of fleeing horsemen. Lip repaired. Kang-he, r66r-q22.

James TV. Ellsworth Collection. · 4 7

z5o. Miniature Ginger Jar, soft paste, chrysanthemum decoration. Wood cover. Kien-Iung, 1]36-1795·

251. Soft paste Vase with dragon decoration in pale blue. Lip ground. Ching-hwa, 1465-1488.

zsz. Small Vase with ch ina cover, decoration of figures and flowers. Kang-he, I66J-1722.

253. Soft paste crackle Cup, landscape and figure. Ming family.

254. Small soft paste Jar with cover, decoration of fig-ures and flowers. Kang-he, J66I-qzz.

255. Slender neck soft paste Bottle, landscape and figure decoration. Kien-lung, 1736- 1 795·

zs6. Miniature Jar, soft paste, semi-egg-shell decoration of landscape and figure. Kien-lung, I7J6-I795 ·

257. Soft paste crackle Cup, landscape and figure decora-tion. Ming family.

zs8. Vase of soft paste crackle, decorated with emblems of presentation in pale blue. Kang-he, J66I-qzz.

259. Bowl of heavy waitzu crackle, and ornamented with bronze patterns. Kien-lung, I 7 36-1 795·

z6o. Cup of semi-egg-shell crackle, flower decoration. Kien- lung, I 7 36-1795· ·

z61. Large, brown, heavy waitzu crackle, decorated inside and out with Chinese character marks and bronze designs. Kien-lung, I]J6- I795·

z6z. Cup of egg-shell, brown crackle. Kien-lung, I7J6-I795·


263. Basi:n of heavy waitzu, bronze pattern decoratioo. Kien-lung, 1736-1795·

264. Small soft paste crackle cup, egg-shell, for holding bird seed. ·Kang-he, r661-1722.

265. Soft paste crackle cup, egg-shell, for holding bird seed. Kang-he, r661-1722,

BLUE AND WHITE PORCELAIN.

HARD PASTE VARIETY.

300. Hawthorn Vase, of the ginger-jar shape. Ground is of deep blue, and is decorated with branches and blossoms of the plum tree. The vase has its original cover; the latter has been mended. Wan-leih, 1573-162o.

301. Large Vase, legend of the deer and lion, wooden cover. Kang-he, r66r-1722.

302. Large Vase, drawing of schoolboys in the enjoyment of various games. Kang-he, r66r-1722.

303. Colossal Biberon, with four-clawed dragon decora-tion in deep blue. Kien-lung, 1736-1795·

304. Large club-shape Vase, pale blue decoration of land-scape and figures. Kang-he, r66r-1722.

305. Large club-shape Vase, decoration of birds and flow-ers in deep blue. Kang-he, r66r-1722.

James W . Ellsworth Collection. 49

306. Ginger Jar wJth original cover, pale blue decorations, called lace pattern; panels are embellished with gift emblems. Kang-he, 1661-J722.

307 . Tall Vase, with deep blue decoration of lions, wooden cover. Kang-he, 1661-J722.

308. Tall Vase, with painting of eight boys playing games, wooden cover. Kang-he, 166r-qzz.

309. Deep blue Hawthorn Jar, from Blenheim Palace sale. Kang-he, r66I-J722.

310. Jar of pale hawthorn blossoms, wooden cover. Kang-he, !661-1722.

311. · Jar of dark hawthorn blossoms, wooden cover. Kang-he, 1661-qzz.

312. Tall, thick-neck Bottle, decoration of full moon fes-tivities; repaired. Kang-he, 1661-1722.

313. Hawthorn Jar, light blue ground, carved cover. Kang-he, 1661-1722.

314. Hawthorn Jar, with original porcelain cover, sky-bl~e shade. Kang-he, i661-1722.

315 . Tall, bottle-shaped Vase, with five-clawed imperial dragon. Kien-lung, 1736_:_1795·

316. Ginger Jar, lapis blue ground, panels of flowers and landscapes, carved wooden cover. Kang-he, 1661-1722 .

. 317· Ginger Jar, mazarine blue, presentation emblems, carved wooden cover. Kang-he, 166I-J722.

318. Large Jar, with chrysanthemum floral decoration, carved wooden cover. Kang-he, r661-J722.

so The Art .Institute of Chicago.

319. Bottle with pale blue cloud and dragon decoration. Kien-lung, I7 36-1 795·

320. Thick-neck Bottle, large fruit painting. Kien-lung, I 7 36-1 795 ·

321. Medium-size Hawthorn Jar, with unusual cluster of white blossoms, wooden cover. Kang-he, 166I-1722.

322. Medium-size Hawthorn, lapis blue ground, with white branches and blossoms ; wooden cover. Kang-be, 1661-1722.

323. Jar, with decoration, priests and mandarins; wooden cover. Kang-he, I661-1722.

324. Ginger Jar, decoration of out-of-door games; wooden cover. Kang-he, 166I-1722.

325. Ginger Jar, chrysanthemum decoration; wooden cover. Kien-lung, 1736-1795·

326. Ginger Jar, boy riding a lion; carved wooden cover. kang-he, I661-1722.

327. Ginger Jar, mosaic design, pale blue tints; wooden cover. Kang-he, 166r-1722.

328. Ginger Jar, lace pattern, porcelain cover,· floral dec-oration. Kang-he, 166r-1722.

329. Cabinet specimen. Bottle with geometrical designs in dark blue. Kang-he, I661-1722.

330. Cabinet specimen. Bottle with fern and flower deco-ration. Kien-lung, I 7 36-1795.

331. Rouge Box. followers.

Deep blue decoration ; mandarin and Kien-lung, 17 36-1 795·

James liV. Ellsworth Collection.

332. Water Vase. Flaring top, female figures on vase, vine decoration at top. Kang-he, I66I-1722.

333· Rouge Box. Floral decoration. Kien-lung, I 7 36-1795·

334· Bottle, with chrysanth'!mum and vine decoration. Kien-lung, 17 36-I 795·

335· Bottle, with decoration of bats in pale blue. Kang-he,' I66I-I722.

336: Bottle, with drawing of flowers. Kien-lung, I736-I795·

337· Small Jar, with original porcelain cover, pale blue dec-oration, consisting of medallions representing chrysanthemums, and on top a butterfly fills the circle. Yung-ching, 1733·

338. Gallipot, with porcelain cover ; vase divided into panels, and decorated with leaves and branches. Kang-he, I66I-1722.

339· Melon-shape Jar, with divisions decorated with vines and fruit. Yung-ching, 1723-I736.

340. Bottle, with chrysanthemum decoration ; repaired. Kien-lung, I 7 36-1795.

341. Tall, slender panel Vase; decoration of male and female figures ; shows fire-cracks about neck. Kang-he, I66I-I7ZZ.

342. Small Vase, with decoration showing that the speci-I!len was made for presentation. Kien-lung, 1736-I795·

343· · Pilgrim Bottle, with chrysanthemum ornamentation. Kien-lung, 17 36-I 795·


344· Tall Bottle, bearing forged mark of Kia-tsing. Made in Kien-lung, 1736-1795·

345· Low Vase, flaring neck, conventional designs. Kien-lung, 1735-1795.

346. Bottle, with decoration in midnight-blue. Kang-he, 1661-1722.

347· Powder-blue Bottle, with cover; panel of gift. em-blems. Kang-he, 1661-1722.

348. Powder-blue Bottle, with white shield panels; undec-orated. Kang-he, 1661-1722.

349· Blue Cup, with presentation emblems. Kang-he, 1661-1722.

350. Snuff Bottle, with floral decorations. Kien-lung, 1736-1795·

351. Tall Cup, hawthorn blossoms on deep blue ground. Kang-he, 1661-1722 . .

35 z. Snuff Bottle, gallipot-shape, conventional designs. Kien-lung, 1736-1795· .

353· Miniature beaker-shape Vase, deep blue. Kang-he, 1661-1722.

354· Miniature Gallipot, grotesque bird decoration. Kien-lung, 1736-1795.

355· Bowl made for the imperial family. Decorations inside and out Wan-leih; 1573-I6zo.

356. Snuff Bottle. Fable of the Broken Vase. Kien-lung, 1736-1795·

357· Snuff Bottle. Figures and landscape in pale blue. Kien-lung, 1736-1795·

James TV Ellsworth Collection. 53

358. Small Vase of gift emblems. Kang-he, r66r-1722.

359· Miniature Beaker, conventional design. Kien-lung, 1736-1795·

360. Snuff Bottle, flower decoration. Kien-lung.

36r. Cup of powder-blue, with decorated panel of flowers . • Kang-he, r66r-1722.

362. Bottle, with lace pattern in sky-blue. Kang-he.

363. Small Vase, with male figure decoration. Kien-lung.

364. Reticulated Bowl, with floral embellishment on its inner surface. Kang-he, r66r-r722.

365. Snuff Bottle, decoration of imperial dragon. Kien-lung, 1736-1795·

366. Globular-shape Vase, male figures and geese decora-tion. Kien-lung, 1736-1795·

367. Slender-neck Bottle, lace pattern decoration; mended. Kang-he, r66r-r722.

368. Snuff Bottle, mountain and lake scenery. Kien-lt:ing, 1736-1795·

369. Octangular Jar, divisions decorated with vines. Yung-ching, 1723-1736.

370. Miniature Hawthorn Jar of deep blue ; wooden cover. Kang-he, 166r-r722.

371. Galli pot, with decorations of fruit. Kien-lung.

372. Small Vase, with porcelain cover, "Long Eliza" dec-oration in pale blue. Kang-he, r66r-1722.


ORIENTAL CARVED STONES AND CURIOS.

400. Jade Bottle, 8 inches high. Figure and landscape carved in relief. 18th century.

4or. Sea-green jade Mace. Show mark aud sacred em-blems engraved thereon. Kien-lung period.

402. Dark-green Snuff Bottle with jade top.

403. White jade Snuff Bottle with handles.

404. Agate Snuff Bottle.

405 . Jadeite Cup and cover. Feitsui splashes. 406. White jade medallion Screen on teakwood mount.

407. Crystal Ball curio encased in silver.

408. Crystal Turtle.

409. Crystal Rabbit. 410. Lapis-lazuli Screen, landscape decoration, mounted

on cinnibar stand.

41 r. Ancient seal stone. 412. Glass Snuff Bottle with Feitsui stopper.

413. Temple Incense Burner, tripod form, ornamentation engraved. Jade mounted cover, teakwood base, all supported bJ: a pedestal inlaid with mother-of-pearl. Kien-lung period.

414. Small Tripod of gold spatter bronze, jade orna-ment on cover and bearing the mark of Seuen-tih, 1426-1436.

415. Pilgrim Bottle of gold spatter bronze made in a later period of the Ming dynasty.


416. Gilt mounted Incense Burner with wooden cover and carved stand.

417. Gold bronze Vase, following a Grecian pattern. 17th century.

418. Miniature bronze Basket, coral tipped cover. Ming period.

419. Miniature bronze Turtle. Ming family.

420. Turtle with young on its back, carved in wood. Work of the present century.

421. Japanese bronze fi·gure carrying fish. 18th century.

422. Incense Jar, three boys playing. 18th century.

423. Iron Sword Guard in form of a coiled snake.

424. Iron Sword Guard, decoration of skull and bones.

425. Iron Sword Guard, representing imp and wolf.

426. Iron Sword Guard representing devil and mason.

427. Iron Sword Guard representing monster spider.

428. Gold copper bronze Sword Guard, monkey and scroll.

429. Crayfish, life size, bronze work of the present century.

430. Bronze Fish of recent manufacture.

431. Gold and black lacquer Vase. 18th century.

432. Inro of gold lacquer with decoration of rats, silver slide, and wooden netsuke. I 7th century.

433· Inro of lacquer, butterfly and flo~er decoration, wooden mask slide, and ivory netsuke.

434· Ancient lacquer Box in form of sheaves of wheat.

The Art Institute o.f Chica.f{o

435· Japanese porcelain Incense Burner, Hirato ware, represents a sitting dove.

436. Japanese Hirato ware, showing a pair of ducks.

437· Japanese porcelain curio, two rats. 438. Porcelain Lotus Flower for incense, with elaborate

carved stand. Kien-lung period, 1736-1795· ·

439· Chinese porcelain Opium Pipe, colored enamels. Kien-lung, 1736-1795·

440. Japanese silver and gold Pipe.-441. Porcelain Snuff Bottle, reticulated dragon design, .

red. i8th century.

442. Another similar, in blue.

443· Sacred Necklace, crystal and agate beads. 444· Short Sword with shark-skin hilt. Silver ornament

in relief, and black lacquer scabbard.

445· Drinking Cup carved in leaf and vine form, made of rhinoceros horn.

446. Yellow wood carving of Lee Sing Ying. Kien-lung period.

447· Seated figure laughing.

448. Sleeping Rat.

449· Lion and Ball.

450. Beetle.

451. A coiled Snake after having swallowed its prey.

452. Skull and Snake.

453· Snake ready for attack.

James T¥; Ellsworth. Collectt"on. 57

454· Seated Rat.

455 · Group of Rats.

456. Rabbits. 457· .. Monkey and its young.

458. Snails.

459· Drum fish .

460. Mushroom.

46I. Pair of Masks.

462. Lotus Flower. 463. Long-armed Men. 464. Wooden Box with ivory mounts, and silk tassel, made

for athletic trophy.

465. Carved Pipe Case. 466. Monkeyatid offspring. 467. An Artist showing his picture.

468. Basket of Mushrooms

469. Chinese Dog. 470. Dog and young. 47 r. Boy stopping a dog fight. 472. Eagle and its prey.

473· A Chestnut 474· Snail and Chestnut.

475· Cow sitting . . 476. Fruit carving.

477. The Athlete.

s8 The Art Institute o.f Chicago.

478. Cow and Calf.

479· Puppies.

' 480. Hen and Rooster.

481. Clam with Crab and Turtle.

482. Gourd and Horse.

48J. An Acrobat.

484. Beating the Drum.

485 . Pomegranates.

486. Candle and Rat.

487. An Articulated Crab. Modern manufacture.

488. A Horse rolling.

489. A Dove.

490. Collection of Masks.

491. The sleeping Boar.

.492. Fruit carving .

493· Fish with Man on its back.

494· A Sitting Hen.

495· Monkey watching.

496. Rats feeding.

497· Man and Cow.

498. Rat and Meal Bag.

499· Monkeys and Fruits.

500. Collection of Shells.

50 I. Quail and Wheat.


502. Man and Boar.

503. Dog and Ball.

504. Long-armed Man.

505. · Group of Three Quails.

506. Devilfish coiled about a coral branch.

507. Articulated Crayfish. Modern.

BARYE BRONZES, WORKS BY

ANTON LOUIS BARYE.

FRENCH. BORN, 17¢; DIED, 1875·

520. Lion Walking (1836); height 9 in., le:~gth 16 in. 521. Tiger Walking (1836); height 8;i in., length x6Yz in.

522. Elephant Walking; height 97i in., length 16 in.

These three examples were distinguished features of the exhibition held by the Barye Monument Association in New York, November, x88g.

catalogue of the art collections loaned by james w. ellsworth

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