Jar

late 13th-early 14th century

Goryeo period

Stoneware with white and black slips inlaid under celadon glaze; gold lacquer repair

HxWxD: 25.4 x 20.2 x 17.8 cm

Gangjin or Buan kilns

Korea

Gift of Charles Lang Freer

2

179

West

Jar with flattened sides

F1904.330

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1904.330.jpg

Freer purchased this ewer from the collection of Horace Allen, a Presbyterian medical missionary who traveled to Korea in 1884. Allen went on to assemble a remarkable collection of ceramics, many taken from the tombs of Korean nobility. Freer purchased his entire set of eighty pieces when it was offered for sale in 1907. The technique of preparing celadon glazes, which derive their color from traces of iron fired in a high-temperature reducing atmosphere, was first developed by Chinese potters and began to be used in Korea during the 10th century. Especially noteworthy here are the naturalistic sculptural elements, such as the elaborate finial surmounted by a phoenix atop the peony-blossom lid; the vessel and its ornamentation are based on metal prototypes.

Ewer

late 11th-early 12th century

Goryeo period

Stoneware with celadon glaze

HxW: 27.1 x 15.3 cm

Gangjin or Buan kilns

Korea

Gift of Charles Lang Freer

2

178

West

Ewer

F1907.286a-b

Dr. Horace N. Allen

Toledo

OH

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1907.286a-b.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Vase

1662-1722

Qing dynasty

Porcelain with cobalt pigment under clear colorless glaze

HxWxD: 40.5 x 13.0 x 13.0 cm

Jingdezhen

China

Gift of Myron S. Falk, Jr. and his sisters, Mrs. Mildred F. Loew and Mrs. Eleanor F. Lenzner

1

178

West

Baluster vase, from a five-piece garniture (F1980.190-.194)

F1980.191a-c

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1980.191a-c.jpg

Bottle

12th century

Goryeo period

Stoneware with celadon glaze

HxW: 30.0 x 16.2 cm

Gangjin or Buan kilns

Korea

Gift of Charles Lang Freer

2

177

West

Long-necked bottle

F1907.283

Dr. Horace N. Allen

Toledo

OH

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1907.283.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Plate

mid 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 7.3 x 34.3 x 34.3 cm

Jingdezhen

China

Gift of Mr. Pierre Durand

1

176

West

Plate with design of battling warriors, one of a pair with F1992.15.1

F1992.15.2

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1992.15.2.jpg

Tomb jar

early 1st-early 3rd century

Eastern Han dynasty

Earthenware with copper-green lead-silicate glaze

HxW: 38.0 x 26.3 cm

China

Gift of Charles Lang Freer

2

176

West

Tomb jar

F1905.89

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1905.89.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Dish

ca. 1700-1750

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 5.5 x 25.8 x 25.8 cm

Jingdezhen

China

Gift of Harriett C. Mathews in honor of Adriana Johanna Chutter-Kasteleijn

1

175

West

Dish

F1996.30

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1996.30.jpg

Freer acquired this Satsuma ware sake flask in 1905. Its delicate landscape design, attributed to Kano Tangen, a member of the Kano professional school of painters, reminded him of the very first Asian ceramic to enter his collection (F1892.26), and he considered it to be "by the same workman." Although Freer avoided the commercial versions of decorated Satsuma ware, made for sale at international expositions, he probably appreciated the parallels between this jar's refined decoration and the Japanese and American paintings he collected.

Bottle (tokkuri)

Satsuma ware, White Satsuma type

18th century

Edo period

Stoneware with cobalt pigment under clear colorless glaze

HxWxD: 23.2 x 18.7 x 13.5 cm

Hiyamizu kiln

Kagoshima

Japan

Gift of Charles Lang Freer

2

175

West

Decoration attributed to Kano Tangen

Sake bottle with landscape decoration

F1905.41

American Art Association

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1905.41.jpg

Tea ceremony water jar (tomobuta mizusashi)

19th century

Edo period or Meiji era

Stoneware with white slip under lead glaze and natural wood-ash glaze

HxW: 18.0 x 19.4 cm

Japan

Gift of Charles Lang Freer

2

174

West

False signature of Hon'ami Koho (Kuchu)

Tea ceremony water jar with design of pine and plum trees

F1901.3a-b

Kano Oshima

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1901.3a-b.jpg

Tea ceremony water jar (mizusashi)

Takatori ware

1850-1868

Edo period

Stoneware with ash and iron glazes; lacquered wooden lid

HxWxD: 15.8 x 14.8 x 14.8 cm

Higashi Sarayama kiln

Fukuoka

Japan

Gift of Charles Lang Freer

2

173

West

Tea ceremony water jar

F1898.486a-b

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1898.486a-b.jpg

Bottle

late 13th-early 14th century

Goryeo period

Stoneware with black and white inlays under celadon glaze

HxW: 35.6 x 19.8 cm

Buan or Gangjin

Korea

Gift of Charles Lang Freer

2

172

West

Bottle

F1907.76

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1907.76.jpg

Bottle

14th century

Goryeo period

Stoneware with white and black slips inlaid beneath celadon glaze; silver cap.

HxW: 36.2 x 20.8 cm

Gangjin kilns

Korea

Gift of Charles Lang Freer

2

170

West

Bottle

F1897.46a-b

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1897.46a-b.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Dish

mid 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 6.3 x 45.1 x 45.1 cm

Jingdezhen

China

Purchase - Friends of Asian Arts

1

170

West

Dish

F1993.9

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1993.9.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Dish

Zhangzhou ware

late 16th-early 17th century

Ming dynasty

Porcelain with cobalt decoration under clear, colorless glaze

HxWxD: 4.8 x 28.9 x 28.9 cm

Zhangzhou kilns

China

Gift of Joan Lebold and Jerome A. Cohen

1

169

West

Dish with design of phoenix and peony

F1991.47

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1991.47.jpg

Tomb jar

early 1st-early 3rd century

Eastern Han dynasty

Earthenware with copper-green lead-silicate glaze

HxW: 43.2 x 35.0 cm

China

Gift of Charles Lang Freer

2

169

West

Tomb jar

F1900.45

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1900.45.jpg

Freer bought this late Ming or early Qing dynasty jar from the New York branch of Yamanaka and Company, where he was a regular customer. At the time, Freer believed that it was an Edo-period piece of Imari ware from Japan. Describing it in his notes as "extraordinary," he placed it between two Satsuma ware bottles, each decorated with a landscape design in subtle shades of blue. He may have discerned a chromatic relationship between those two vessels and this rough porcelain jar, with its cobalt decoration of floral vine scrolls. The jar's rim formation shows that it was made in imitation of Chinese pewter containers for storing green leaf tea and fitted with a flat inner lid and cylindrical outer lid that would have just covered the unglazed area of the neck. By the time Freer acquired the jar, however, the lost double lid had been replaced with a carved wooden cover of the sort used on Chinese ginger jars displayed in Western parlors and dining rooms at the turn of the century.

Jar

16th-17th century

Ming or Qing dynasty

Porcelain with cobalt decoration under clear glaze

HxW: 15.1 x 15.2 cm

China

Gift of Charles Lang Freer

2

169

West

Jar

F1902.240a-d

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1902.240a-d.jpg

Vase

Agano or Shodai ware

1700-1800

Edo period

Stoneware with rice-straw ash and copper-green glazes

HxW: 23.7 x 8.3 cm

Japan

Gift of Charles Lang Freer

2

168

West

Vase in the form of an archaic Chinese cong

F1897.53

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1897.53.jpg

Vase or tea-ceremony water jar (mizusashi)

Karatsu ware, Chosen Karatsu type

1596-1615

Momoyama period

Stoneware with rice-straw-ash and iron glazes

HxW: 22.1 x 11.9 cm

Imari city

Japan

Gift of Charles Lang Freer

2

167

West

Vase, with lacquer lid for use as tea ceremony water jar

F1905.274a-b

Matsuki Bunkyo

Boston

Massachusetts

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1905.274a-b.jpg

Ewer

first half of 12th century

Goryeo period

Stoneware with celadon glaze

HxW: 27.0 x 16.8 cm

Gangjin or Buan kilns

Korea

Gift of Charles Lang Freer

2

166

West

Ewer

F1907.287

Dr. Horace N. Allen

Toledo

OH

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1907.287.jpg

Freer purchased this ewer from the collection of Horace Allen, a Presbyterian medical missionary who traveled to Korea in 1884. Allen went on to assemble a remarkable collection of ceramics, many taken from the tombs of Korean nobility. Freer purchased his entire set of eighty pieces when it was offered for sale in 1907. This piece is an example of Korean celadon. The technique of preparing celadon glazes, which derive their color from traces of iron fired in a high-temperature reducing atmosphere, was first developed by Chinese potters and began to be used in Korea during the 10th century. This piece, which dates to the high point of Korean celadon production in the 12th century, features a grayish green glaze with areas of brown and a crackled surface. In the Peacock Room it was grouped with a number of other Korean celadons and beneath a row of green, slightly iridescent Chinese funeral jars.

Ewer

late 12th-early 13th century

Goryeo period

Stoneware with celadon glaze

HxW: 21.5 x 16.1 cm

Gangjin or Buan kilns

Korea

Gift of Charles Lang Freer

2

165

West

Ewer

F1907.288a-b

Dr. Horace N. Allen

Toledo

OH

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1907.288a-b.jpg

Tomb jar (hu)

early 1st-early 3rd century

Eastern Han dynasty

Earthenware with copper-green lead-silicate glaze

HxW: 36.4 x 29.2 cm

China

Gift of Charles Lang Freer

2

164

West

Tomb jar

F1905.87

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1905.87.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Dish

early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxW: 4.1 x 26.9 cm

Jingdezhen

China

Gift of Dominic P. Jellinek

1

164

West

Dish

F2004.38

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F2004.38.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Plate

mid 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 7.8 x 34.3 x 34.3 cm

Jingdezhen

China

Gift of Mr. Pierre Durand

1

163

West

Plate with design of battling warriors, one of a pair with F1992.15.2

F1992.15.1

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1992.15.1.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Vase

1662-1722

Qing dynasty

Porcelain with cobalt pigment under clear colorless glaze

HxWxD: 40.2 x 13.0 x 13.0 cm

Jingdezhen

China

Gift of Myron S. Falk, Jr. and his sisters, Mrs. Mildred F. Loew and Mrs. Eleanor F. Lenzner

1

162

West

Baluster vase, from a five-piece garniture (F1980.190--194)

F1980.192a-c

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1980.192a-c.jpg

Tea ceremony water jar (mizusashi)

Mino ware, Ofuke type

first half of 17th century

Edo period

Stoneware with ash and iron glazes

HxWxD: 18.4 x 18.6 x 18.6 cm

Mino kilns

Japan

Gift of Charles Lang Freer

2

162

West

Tea ceremony water jar

F1893.3a-b

Tozo Takayanagi

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1893.3a-b.jpg

Freer, who did not care for porcelain, admired the warmer appearance of white or cream stoneware from the Satsuma kilns in southern Japan. This hexagonal bottle was Freer's first acquisition of an Asian ceramic. The bottle bears scenes of fishermen along a river—a "Whistlerian landscape," as Freer described it in his inventory notes. Although Freer avoided the commercial versions of decorated Satsuma ware, made for sale at international expositions, he probably appreciated the parallels between this jar's refined decoration and the Japanese and American paintings he collected. In 1905, Freer acquired another sake flask of Satsuma ware (F1905.41), which was decorated so similarly to his first Japanese ceramic piece that Freer considered it to be "by the same workman."

Bottle

Satsuma ware, White Satsuma type

18th century

Edo period

Stoneware with cobalt pigment under clear glaze

HxW: 21.8 x 17.8 cm

Hiyamizu kiln

Kagoshima

Japan

Gift of Charles Lang Freer

2

162

West

Decoration attributed to Kano Tangen

Bottle

F1892.26

Tozo Takayanagi

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1892.26.jpg

Vase

Satsuma ware, Ryumonji kilns

18th-19th century

Edo period

Stoneware with iron and rice-straw-ash glazes; red lacquer repairs.

HxW: 24.0 x 10.9 cm

Ryumonji kilns

Kajiki town

Japan

Gift of Charles Lang Freer

2

161

West

Vase

F1901.24

Matsuki Bunkyo

Boston

Massachusetts

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1901.24.jpg

Dish

12th century?

Stone-paste painted underglaze

HxW: 5.1 x 20.2 cm

Iran

Gift of Charles Lang Freer

2

160

West

Dish

F1903.193

Dikran G. Kelekian

Paris

France

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1903.193.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Dish

mid 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 3.5 x 20.5 x 20.5 cm

Jingdezhen

China

Gift of Mr. John Gruber in memory of John Alexander Pope

1

160

West

Dish with dragon design, one of a pair with F1992.5

F1992.6

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1992.6.jpg

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania."

When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

Dish

late 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 4.6 x 20.2 x 20.2 cm

Jingdezhen

China

Gift of the Lydman Collection

1

159

West

Dish, one of a pair with F1992.34.2

F1992.34.1

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1992.34.1.jpg

Vessel

11th-12th century

Stone-paste painted with glaze

HxW: 18.2 x 25.5 cm

Syria

Gift of Charles Lang Freer

2

159

West

Vessel

F1904.149

Dikran G. Kelekian

Paris

France

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1904.149.jpg

Jar

11th-12th century

Stone-paste; painted under glaze

HxW: 28.4 x 20.2 cm

Syria

Gift of Charles Lang Freer

2

158

West

Jar

F1907.184

Dikran G. Kelekian

Paris

France

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1907.184.jpg