THE LESLEY and EMMA SHEAFER COLLECTION a Selective Presentation

THE LESLEY AND EMMA SHEAFER COLLECTION A Selective Presentation

Western European Arts Galleries Main Floor

Brochure Design: Lee Stausland Printed by: Office Service, The Metropolitan Museum of Art

Cover Art No. 28 CREST OF WALL MIRROR 1974.356.224 THE LESLEY AND EMMA SHEAFER COLLECTION A Selective Presentation

Opening July 16,1975 Brochure by Yvonne Hackenbroch and James Parker, Curators, Western European Arts Department The Metropolitan Museum of Art, New York INTRODUCTION ACKNOWLEDGEMENTS Mr. and Mrs. Sheafer began their collecting in the The authors would like to acknowledge the assist late 1920's with the purchase of American contemporary ance they have received from Lucían J. Leone and paintings and drawings. To accompany these paintings Melanie Roher Schwartz in the Museum's Design De they bought pieces of 18th century English and French partment, as well as Clare Le Corbeiller and Jessie furniture which appear in old photographs taken of their McNab Dennis, Associate Curators, and Mrs. Thomas apartment at 45 East 66th Street, New York City. It was A. Cassilly and William H. Straus, volunteers, in the not until after the Second World War, in about 1947, that Western European Arts Department. they turned their attention to the acquisition of French Credit for photography of the Sheafer collection and German furniture and decorative arts. At this time belongs to Mr. Richard A. Taylor of the firm of Taylor & they seem to have patronized several German dealers, Dull, Inc., who took the photographs that form the illus and the resulting purchases largely displaced the earlier trations of this brochure. furnishings of their apartment (a good many of the American paintings and drawings were retained, and a selective showing of them is planned for the 20th Cen tury Art Department's galleries). Mr. and Mrs. Sheafer's small collection of European paintings and drawings, which included examples by Degas, Renoir and Toulouse-Lautrec, as well as a painted architectural fantasy by the 18th century Italian artist, Francesco Guardi, together with drawings by Jean-Michel Moreau Le Jeune and Jean Pillement dated in the 1770's, was also begun at this time. After Mr. Sheafer's death in 1956 Mrs. Sheafer con tinued to buy furniture and porcelain from dealers in Munich and New York City, to such effect that at her death in 1973 she owned not only distinguished pieces of French furniture, dating from the middle years of the eighteenth century, but also the most extraordinary examples of German rococo furniture to be found in any collection, public or private, outside of Germany. An account of Mr. and Mrs. Sheafer's German and French porcelain and faience and their German silver, acquired at the same time that they were buying furni ture, will be found in the appropriate section of this brochure. It has not been possible, in the space available, to show any more than a restricted selection from the bequest of paintings and decorative arts left to the Museum by Mrs. Sheafer. Her bequest comprised over one hundred and fifty pieces of furniture, almost four hundred examples of porcelain and other ceramics, as well as more than one hundred and fifty objects of Ger man silver and bibelots, from which a choice has been made to exhibit a resumé of the collection, a selective presentation.

197774 ^FURNITURE FRENCH FURNITURE Frontis Piece The cabinetmaker who signed this commode is known No. 11 ARMCHAIR 1974.356.192 to have worked for the French dealer (marchand- mercier) Thomas-Joachim Hébert, who commissioned COMMODE. Coromandel lacquer and ebony on oak, Criard to make several pieces of furniture for the French gilt-bronze mounts, with a brèche d'Alep marble top. crown in the 1740's. Signed BVRB (once at each corner, under the top), for "In distinguishing Chinese export lacquers of the Bernard Van Risen Burgh II, active about 1730-1765 eighteenth century from the Japanese it may be noted (see no. 7). French, 1745-1750. Height 34 inches. Width 1 that the Japanese pieces are usually of better quality 33 inches. Depth 25 /4 inches. and have a glossier surface. The design of these Jap Coromandel lacquer derived its name from the Coro anese lacquered panels is carried out in gold usually in mandel coast stretching north and south of Madras, off relief (taka-makiye). The decorative motifs take the form the eastern coastline of India. In the late 17th and 18th of precipitous mountains and rocks, with trees and centuries merchant ships would stop at ports along this water..." (Chinese Export Art in the Eighteenth Cen coast to pick up goods exported from China, such as the tury by Margaret Jourdain and R. Soame Jenyns, incised lacquer screen or cabinet, panels of which were Country Life, 1950). used to make up the surface of this commode. The sub Oriental lacquer of this sort usually arrived in France ject of the front panel, with its scattered groups of made up into a cabinet or screen. It was a delicate task Oriental figures, lacks the element of perspective char to detach the ornamental panels and apply them to acteristically missing from Oriental lacquer designs of another piece of furniture, such as this commode. An the period. The side panels represent fantastic animals, account of this process is given in a contemporary and are, like the front, set within gilt-bronze rococo treatise: l'Art du Menuisier Ebéniste, by M. Roubo, 1774. mounts of exceptional vitality and inventiveness. Accession number 1974.356.159. Accession number 1974.356.189

2. COMMODE. Black and gold Chinese lacquer and japan COMMODE. Red japanning on oak, gilt-bronze mounts, ning on oak, gilt-bronze mounts, with a brèche d'Alep with a Spanish brocatelle marble top. Unsigned. French, marble top. Signed DUBOIS (on the left front corner about 1760. Height 34% inches. Width 38 inches. Depth 1 under the marble top) for Jacques Dubois, active 1742- 18 /2 inches. 1763. The gilt-bronze mounts bearing the mark of the Several slightly wider red japanned commodes painted crowned C (see under no. 6). French, about 1745-1749. 1 with chinoiserie subjects were supplied in the mid- Height 34 inches. Width 41 /4 inches. Depth 22 inches. 1750's by the Paris dealer (marchand-mercier) Lazare The Sheafer collection is particularly rich in small Duvaux for his aristocratic patrons. The Chinese land lacquered and japanned commodes (there are four in scapes on the front of this commode, dotted with build this exhibition). On this example, Chinese lacquer, ings and peopled with Chinese figures, give way on the sometimes described as vernis de la Chine, has been painted sides to flowering shrubs and exotic birds. used for the front panel, while a European imitation, The commode was a type of furniture originating in called japanning, also known as vernis façon de la France in the very early years of the 18th century. Its Chine, serves for the decoration of the sides of the name derived from the greater convenience (com commode. The production of Oriental lacquer, built up modité) it provided for the storing of clothes, etc., as layer upon layer, was an expensive and time-consuming compared with the older chest. Accession number process, whereas japanning, a technique practiced in 1974.356.153 Europe, made use of various colored varnishes, and was a relatively cheap and easy substitute for lacquer. Accession number 1974.356.160 5. COMMODE. Scarlet, gold and black japanning on oak, gilt-bronze mounts, with a Rouge royal marble top. Signed D F (on the under side, and on the top on the left 3. COMMODE. Black and gold Japanese lacquer on oak, side, under the marble) for Jean Desforges (?) active gilt-bronze mounts with a Ranee marble top. Signed M. 1739-. French, about 1760. Height 34 inches. Width 42V2 CRIAERD (on the right front corner under the marble inches. Depth 20% inches. top) for Mathieu Criaerd or Criard, active 1738-1776. 1 French, 1750-1755. Height 32 /2 inches. Width 41 Vz The identification of the cabinetmaker Jean Desforges inches. Depth 20% inches. with the initials D F is not certain. Strongly-moulded No.1 COMMODE 1974.356.189

No. 3 COMMODE 1974.356.159 No. 7 WRITING TABLE 1974.356.186 FRENCH FURNITURE relatively thick gilt-bronze bands, such as those framing used as a ground for the stylized floral marquetry on the front and side panels of this commode, occur on both tables. other pieces of case furniture also bearing the initials D F. The two drawers lack gilt-bronze handles, and The oddly-named Bernard Van Risen Burgh belonged to would have been opened by means of a key (compare a family of cabinetmakers of Dutch extraction. Called by no. 1). Scarlet japanning with chinoiserie motifs picked Sir Francis Watson "... one of the great masters of out in gold was also used on the red "lacquer" (jap the fully developed Louis XV style" (see also the com anned) writing table made for Louis XV's study at Ver mode, no. 1, signed by him), Van Risen Burgh provided sailles in 1759, now in the Wrightsman Rooms at the furniture for Louis XV, for Madame de Pompadour, and Museum. Accession number 1974.356.205 for members of the French court, through the inter mediary of the great Parisian dealers, the marchands- merciers. Because it would have been awkward to stamp 6. COMMODE. Satiné wood on oak, parts of the carcass of a piece of furniture with his full name, he may have pine, the drawer linings of walnut, gilt-bronze mounts, adopted the signature "BVRB" to identify the products with a brèche d'Alep marble top. Signed (on the right of his workshop. Accession number 1974.356.186 rear corner under the marble) with a mark, largely effaced, but probably that of Mathieu Criard (see no. 3), active 1738-1776. The gilt-bronze mounts bearing the SMALL WRITING TABLE. Satiné wood and kingwood mark of the crowned C. French, about 1745-1749. Height on oak, parts of the carcass of pine, the drawer linings 32V2 inches. Width 491/4 inches. Depth 21 % inches. of walnut, gilt-bronze mounts, with a tooled leather top. Signed P. MIGEON (under the kneehole apron on the The veneers on the front of this commode have been front and under front left apron) for Pierre Migeon II cut from the same piece of satiné wood and re (1701-1758). The gilt-bronze mounts bearing the mark assembled to form a lozenge shape in the center of the of the crowned C (see under no. 6). French 1745-1749. undulating front; the bold gilt-bronze cartouche which Height 281/2 inches. Width 431/2 inches. Depth 231/4 also ornaments the front is fitted to a band of veneer inches. which circumscribes the lozenge. The rosettes and caps of all four corner mounts consist of realistic feathers, An exceptionally small example of the type of writing cast and chased in gilt-bronze. table called bureau plat; such tables occasionally ex ceeded six feet in width (compare no. 7). The use of A small punched mark of a crowned C occurs on almost kingwood, an exotic irregularly-striped wood, for the all these gilt-bronze mounts. This mark was impressed veneer on the moulded edge of the top and for the flow on bronze mounts before gilding as evidence of the pay ers in the stylized marquetry, constitutes one of the ment of a tax levied in Paris on all copper-base metals refinements of this table. between the years 1745 and 1749. Although the tax was levied on all such metals, old or new, offered for sale Pierre Migeon acted as both dealer and furniture-maker. during this period, the presence of crowned C marks on In the latter capacity he worked for the French crown gilt-bronze mounts can usually be taken as strong pre beginning in 1740, for the royal family, for Madamede sumption for a dating between 1745 and 1749. Accession Pompadour and other members of the aristocracy. number 1974.356.163 Accession number 1974.356.162

7. WRITING TABLE. Satiné wood, purplewood and king- SMALL TABLE WITH WRITING EQUIPMENT. Tulipwood wood marquetry on oak, the drawer linings of walnut, and purplewood on oak, gilt-bronze mounts, the writing gilt-bronze mounts, with a tooled leather top. Signed slide covered with leather. Signed M. CRIAERD (once BVRB (under the apron of the knee-hole in front) for under left apron of front and once under right apron) for Bernard Van Risen Burgh II (active about 1730-1765). Antoine-Mathieu Criaerd or Criard, active 1747-1787. 1 French, about 1750. Height 293/4 inches. Width 54 /4 French 1760-1765. Height 26% inches. Width 17V4 inches. Depth 28V2 inches. inches. Depth 12% inches. One of the most exquisite pieces of furniture in the A drawer opening on the short end of this table contains Sheafer collection, this desk is a smaller and simpler two brass receptacles for ink and sand. Tulipwood has version of a writing table that Van Risen Burgh provided been used for the ground veneer of the table, while the for the study of the Dauphin at the Château de Versailles outlines of the three cartouches, carried out in purple in 1745. The beautiful lustrous wood called satiné was wood, are slightly different in shape on the top, the writing slide and the lower shelf. The gilt-bronze mounts here. The Savonnerie Manufactory is best known for its on this table resemble those on similar tables bearing output of carpets during the reign of Louis XIV. The the signature of the cabinetmaker Bernard Van Risen Museum owns two of these carpets which are on exhi Burgh (see no. 7). bition in the adjoining Wrightsman Rooms. Accession number 1974.356.191,192 Antoine-Mathieu Criard was the son of Mathieu Criard who signed the lacquer commode no. 6. His signature, 12. SET OF FOUR SIDE CHAIRS. Carved and gilded walnut, very much smaller in size than his father's, makes it covered in modern blue-grey floral damask. Each signed possible to distinguish their works. Accession number I. GOURDIN (within the back seat rail) for Jean-Baptiste 1974.356.203 Gourdin, active 1748-1776. French, about 1770. Height 36V2 inches. Width 22V2 inches. Depth 21 inches. 10. UPRIGHT SECRETARY. Black, gold, and red japanning on oak, the fitted interior behind the fall front of the top The crests of these chairs are carved in the shape section is veneered with tulipwood, purplewood and called in French en anse de panier, literally "like the satiné wood, the inner sides of the lower doors veneered handle of a basket". Accession number 1974.356.218- with satiné; gilt-bronze mounts; the writing surface of 221 the fall front covered with leather; the marble top of brèche d'Alep. Signed MACRET (twice on top of left 13. WALL MIRROR. Carved and gilded oäk. French, about back, once on top of left front corner, under the marble 1725-1730. Height 41 % inches. Width 30 inches. Depth top) for Pierre Macret, active about 1758-1775. French, 21/2 inches. 1765-1770. Height 45% inches. Width 321/ inches. 4 The crest of this exquisitely carved mirror is surmounted Depth 14 inches. by a royal French crown above a winged shield contain For the technique of japanning see no. 2. ing the arms of France and Navarre, from which depend the collars of the orders of Saint-Michel and the Salnt- The term secretary or secrétaire alludes to papers and Esprit. The reserves of the upper corners are carved other confidential documents which could be kept with the cipher of interlaced L's, devices which would secret in the locked compartments of a desk such as seem to refer to the French monarch, Louis XV. The this. The fall front when closed, as it is shown here, was mirror glass, with its flaws and beveled edges, is prob locked vertically in front of the pigeonholes, drawers, ably original. Accession number 1974.356.172 etc., of the interior of the upper part of the piece. The fall front of this desk opens to a horizontal position, held by TWO PAIRS OF THREE-ARM WALL LIGHTS. Gilt- metal struts at the sides, making available a convenient 14. bronze, bearing the mark of the crowned C. French, writing surface. 1 1745-1749. Height 22 /2 inches. Width 16 inches. Depth 1 The two gilt-bronze corner mounts fitted to the front of 7 /2 inches. the desk below the marble top were stock productions For note on the mark of the crowned C, see no. 6. of the bronze-casters' workshop. They occur on a variety The parrots' tails form an integral and satisfying part of of furniture pieces signed by different French cabinet makers, and even on English case furniture of the same the rococo motif composed by these wall lights. period. Accession number 1974.356.202 Gilt-bronze, also called ormolu (from the French expression or moulu meaning "ground gold"), is the term applied to bronze castings that were gilded by 11. PAIR OF ARMCHAIRS. Carved beechwood with Savon firing over a brazier. The products of this technique nerie covers. French, about 1730. Height 43 inches. were much in demand in the 18th century for furniture Width 28 inches. Depth 30% inches. (See frontis piece.) mounts, and for the decorative mounts of porcelain and This pair belongs to a set of ten armchairs thought to other art objects. The gilding technique itself, exacting have been made for the Château de La Roche-Guyon and sometimes unsafe, is best described in Diderot's not far from Normandy. The seats, backs and arm-rests Encyclopédie, Supplément, vol. II, 1776, pp. 737, 738. of this set are covered in a woven wool fabric with a Accession number 1974.356.133-136 knotted and cut pile, the product of the Savonnerie Manufactory, near Paris, which specialized in such 15. PAIR OF TWO-ARM WALL LIGHTS. Gilt-bronze. French, weaving. It is rare to find chairs of this period complete about 1750. Height 21 inches. Width 121/4 inches. Depth with covers specifically made for them as is the case 8 inches. LIEGEOIS AND GERMAN FURMTl'IìK

Serpentine rococo movement characterizes this pair of No. 14 WALL LIGHT 1974.356.135 gilt-bronze wall lights, their arms swirling about each other, as they emerge from the S-scroll of the back plate. A number of closely related models exist. Accession number 1974.356.164,165

16. PAIR OF TWO-ARM WALL LIGHTS. Gilt-bronze. French, about 1750. Height 151/2 inches. Width 12V2 inches. Depth 6 inches. The exceptionally fine chasing and gilding of this pair of wall lights is to be noted. Rose, lilac and anemone sprays decorate the branches, while the central stem consists of a cluster of poppies, a symbol of sleep, indicating that the pair might have been supplied for a bedroom. Accession number 1974.356.214,215 LIEGEOIS FURNITURE 17. DISPLAY CABINET. Carved oak. Liège, 1750-1760. Height 102 inches. Width 74 inches. Depth 231/2 inches. Apart from a few examples in neighboring Germany, it is exceptional to find 18th century furniture made in Liège, part of present day Belgium, outside the country of its origin, just as German rococo furniture, so richly represented in the Sheafer collection, exists in rare examples outside public and private collections in Germany. A local school of cabinet-making largely influenced by French styles and specializing in carved furniture, flourished in the principality of Liège throughout the 18th century. Its products, while surpassing many examples of French provincial furniture in sophistica tion, nevertheless pale beside the output of Parisian workshops. In Paris, such a piece as this display cabinet might have been veneered with costly imported woods and trimmed with gilt-bronze mounts. Accession number 1974.356.100 GERMAN FURNITURE

18. PAIR OF CONSOLE TABLES. Carved and gilded limewood with Sarrancolin marble tops. German (Bamberg), about 1765. Height 32% inches. Width 481/2 inches. Depth 25 inches. This exuberantly-carved pair of console tables was made for Seehof Castle, near Bamberg, the summer residence of Adam Friedrich von Seinsheim, Prince-Bishop of Würzburg and Bamberg from 1754 to 1779. The motifs carved at the top of the legs of the two tables symbolize the Four Seasons: at the left of one table, a boy's head with a fur collar and a tasseled fur hat stands for Winter, (Bamberg), about 1765. Height 321/2 inches. Width 50 on the right a grape vine for Autumn, at the left of the inches. Depth 251/4 inches. other table, a dragon spitting flames for Summer, and on the right, the head of the wind-god Boreas for Spring. The undulating lines of the front and sides of this com The pair of tables is thought to be among the many mode suggest that its creator had seen the swell-fronted commissions carried out for the Prince-Bishop by the japanned commodes made in Venice in the mid-18th century. The imaginative carved motifs on this piece sculptor and woodcarver Ferdinand Tietz or Dietz are thought to have been carried out in the studio of the (1708-1777, see nos. 21,28). sculptor Ferdinand Dietz orTietz (1708-1777, see nos. Seehof Castle still stands about six kilometers to the 18, 28). He is known to have provided large stone figures east of the south central German city of Bamberg. for the gardens of Seehof Castle, near Bamberg (see Accession number 1974.356.127,128 no. 18). The commode also came from this castle, the summer residence of the prince-bishops of Würzburg 19. CONSOLE TABLE. Carved and gilded wood, the legs and Bamberg. Accession number 1974.356.129 and apron of oak, the stretcher of limewood, with a top of mottled reddish-grey brecciated marble. The under 22. PAIR OF CORNER CABINETS. Carved, painted and side of the plain back rail bearing the impressed mark gilded wood, with marbleized wood tops. German BB. German (Bayreuth), about 1755-1760. Height 36 (Bayreuth), about 1755. Height 33 inches. Width 271/4 inches. Width 51 Vz inches. Depth 231/i inches. inches. Depth 20 inches. The impressed BB mark on the back of this table has The fanciful gilded carvings of birds and foliage, each been taken to denote "Brandenburg-Bayreuth" (in the set on a black-enameled panel, open as doors, turning 18th century Bayreuth, a town not far from Bamberg, was exercises in virtuoso decoration into practical pieces ruled by the Margraves of Brandenburg-Bayreuth), and of furniture, corner cabinets which could be used for there is good reason for supposing that the console storage. was designed by the court sculptor Johan Schnegg for the ruling family of Bayreuth. The companion piece was The carving on the doors bears a similarity to reliefs given to the Bayerisches Nationalmuseum in Munich by carved on the paneling of a mid-18th century room in Mr. and Mrs. Sheafer. The strong carving of this pair of the New Castle, Bayreuth. Both commissions can be console tables includes an open-work stretcher element attributed to the Bayreuth-born cabinetmaker Johann set with a magnificent asymmetrical foliate motif, called Friedrich Spindler (active 1726-1799). Accession num in German "Krautkopf," or "head of cabbage." Acces ber 1974.356.194,195 sion number 1974.356.125 23. TEA TABLE. Carved, gilded, silvered and painted wood, the apron and legs of walnut, the top of pine. South 20. CARD TABLE. Carved walnut, the top veneered with German, about 1770. Height 301/4 inches. Width 30 marquetry woods, the playing surface covered with inches. Depth 22 inches. velvet (not original). German (Bamberg), about 1750. Height 291/2 inches. Width 371/2 inches. Depth I8V2 Silver leaf and gold leaf have been applied to the raised inches (unopened) 37V4 inches (open). carvings of this table to produce a silvered and gilded effect on a light-blue painted ground. Silver and blue According to information in the Bamberg city archives, were the colors used for the walls of the circular salon a cabinet-maker named Nicolas Bauer (active 1758- in the beautiful interior of the Amalienburg hunting 1771) made gaming tables for Seehof Castle (see no. pavilion (1734-1739), near Munich. Accession number 18). This example, formerly at Seehof, can be included 1974.356.113 in his output. The folding top exhibits marquetry motifs typical of German workmanship, while carved asym metrical shellwork motifs adorn the table's knees. 24. SET OF FOUR SIDE CHAIRS. Carved, gilded, silvered Candlesticks would have been placed on the four and painted walnut, covered in glazed woodblock- rounded corners of the opened top. Accession number printed cotton (not original). The frames stamped with 1974.356.126 the Roman numerals II, III, IV, and VII. South German, about 1755. Height 41 inches. Width 21% inches. Depth 191/4 inches. 21. COMMODE. Carved, painted and gilded pinewood, gilt-bronze mounts, with a Ranee marble top. German The carved details of these handsome side chairs, south GERMAN FURNITURE No. 21 COMMODE 1974.356.129 German though strongly marked by Italian influence, No. 25 CORNER SETTEE 1974.356.121 are enriched by gilding and silvering, some areas heightened with yellow paint, on a cream-colored ground. The cartouche carved in the center of the front ¡HTlöö~iHfeÄi] seat rail takes a different form on each of the chairs. The frame of one of this set of four is stamped with the Roman numeral VII, indicating that the original set ^m^Sw^ **«§% fU comprised at least seven side chairs. Accession number ¥ 1974.356.92-95 -"-mrryp \ • ^^apN>

25. SET OF TWO CORNER SETTEES, TWO ARMCHAIRS i i ff •/** äT * "i.' î AND FOUR SIDE CHAIRS. Carved, painted and gilded im -'&* xJÈL^if'^'r- ' fi \N Sä pinewood, covered in painted satin made in China for the western market (not original). German (Würzburg), fl 1766. Settees: Height 43 inches. Width 54 V2 inches. Depth 251/4 inches. Armchairs: Height 44 inches. Width 26 inches. Depth 21 inches. Side chairs: Height 391/2 g^^yT^SS^^^^^Câijâj^ ? :> ->• \. ^=^fflMB inches. Width 191/4 inches. Depth 171/2 inches. According to Fiske Kimball, German rococo forms evolved from French prototypes that were further en riched by native baroque traditions. The German appli cation of rococo motifs, he wrote, "... exceeded that in France in fantasy if not in discipline ... the resulting new hybrids are true and living works of art, which we see with ever growing delight." (The Creation of the Rococo, by Fiske Kimball, New York, 1942, p. 228) Fantasy seems to play over this extraordinary set of chairs and settees, supported on frond-like legs, their seat rails carved with pierced floral decoration (to complete the imagery, the outside backs of the side chairs are carved with studded trellis-work filled with foliage). Creating gardens was one of the preoccupations of Adam Friedrich von Seinsheim, Prince-Bishop of Würzburg and Bamberg (see no. 18), and it seems only suitable that this set of seat furniture should have been provided for his summer residence at Seehof Castle from the workshop of the Würzburg sculptor and cabinetmaker, Johann Köhler. Accession number 1974.356.114-121

26. PAIR OF WALL BRACKETS. Carved, painted and gilded pinewood. German (Würzburg), 1766. Height 29 inches. Width 20 inches. Depth 61/t inches. Mrs. Sheafer acquired this pair of wall brackets several years after she bought the set of furniture to which it belongs, the settees, armchairs and side chairs de scribed in the previous entry. GERMAN FURNITURE

The wall brackets take the form of large winged, con No. 29 WALL LIGHT 1974.356.102 voluted questionmarks, each crossed by a horizontal trail of carved, naturalistically-painted flowers. Acces sion number 1974.356.123,124

27. PAIR OF WALL MIRRORS. Carved, painted and gilded wood. German (Ansbach), mid-18th century. Height 51 inches. Width 231/2 inches. Depth 2% inches. Represented on the crests of these two wall mirrors are an African prince and princess, each flanked by diminu tive lions standing at the foot of botanically-incorrect palm trees, a fantasy which betrays the geographical ignorance prevalent at the time. These mirrors, with their relatively flat carved surfaces, are thought to have been made in Ansbach, in southern Germany. Accession number 1974.356.131,132

28. WALL MIRROR. Carved and gilded wood. German ( Bamberg ?), about 1760. Height 57 inches. Width 321/2 inches. Depth 41/2 inches. (See cover.) The crest of this mirror is characteristic of the German rococo; it is less balanced and less "disciplined" (see no. 25), than a corresponding French motif would be. The mirror frame, attributed to Ferdinand Tietz (see nos. 18,21), may also have come from Seehof Castle. Accession number 1974.356.224

29. SET OF SIX THREE-ARM WALL LIGHTS. Carved and painted wood assembled in sections on metal arma tures; gilt-bronze candle sockets and drip pans. German 1 (Munich), about 1760. Height 26 inches. Width 14 /2 inches. Depth IIV2 inches, (average measurements) The arms of this set of wall lights twist with almost the same spiraling motion as those of two French pairs of wall lights made of gilt-bronze (no. 14). The skilled workmen of the time could easily cast this shape in bronze, but a corkscrew woodcarving would have col lapsed without reinforcement, supplied in this case by metal armatures. An X-ray photograph of one of the wall lights has clearly revealed the shape of a twisting metal armature. Sections of wood about four inches long were fitted to this armature, before they were carved in the shape of flower branches and painted with naturalistic colors. This technical analysis should not detract from the effect of rococo verve created by these wood and metal wall lights, probably made in Munich about 1760. Accession number 1974.356,101-106 EUROPEAN PAINTINGS AND DRAWINGS

30. COMEDY. Oil on canvas. By Pierre-Charles Trémolières, This picture is said to date from 1877, about five years French, 1703-1739. Height 18% inches. Width 23Va before Degas began to treat the subject. Degas' At the inches. Milliner's of 1882 from the H. O. Havemeyer Collection, Metropolitan Museum, 29.100.38, is on exhibtion in At the Salon in Paris in 1738, Trémolières exhibited a European Paintings Gallery 22. Accession number larger, signed version of La Comédie, a painting that 1974.356.34 belongs today, together with its pendant, La Tragédie, to the Municipal Museum of Cholet (Maine-et-Loire) in France. 35. GIRL READING. Oil on canvas. Signed Renoir (upper right) for Pierre-Auguste Renoir, French, 1841-1919. Representations of Comedy and Tragedy were relatively Height 141/4 inches. Width 10% inches. new in France at this time; it is even possible that the two pictures in Cholet were the first of them, and The girl who modeled for Renoir in this picture may well Trémolières an innovator. Accession number 1974.356.27 be the same one who sat for A Young Girl with Daisies (Metropolitan Museum, 59.21) at the end of the 1880s. Accession number 1974.356.33 31. ARCHITECTURAL FANTASY. Oil on canvas. By Francesco Guardi, Italian (Venetian), 1712-1793. Height 36. EMILIE. Oil on wood. Signed and inscribed à Emilie / 12% inches. Width 10% inches. T-Lautrec (lower left) for Henri de Toulouse-Lautrec, In the Musée Jacquemart-André in Paris is another 1864-1901. French, about 1898. Height I6V4 inches. version of this imaginary scene, or capriccio, viewed Width 12% inches. through a portico. Accession number 1974.356.28 In his six-volume catalogue of the works of Toulouse- Lautrec, M. G. Dortu dates this painting about 1898. In 32. TWO DANCERS. Half Length. Pastel on paper. Signed this year the artist's health began to deteriorate mar Degas (lower left) for Edgar-Hilaire-Germain Degas, kedly and his greatest decade came to a close. 1834-37. French, about 1897. Height 18% inches. Accession number 1974.356.35 Width 21 s/s inches. In at least four pastels Degas used exactly this grouping 37. EMMA ALEXANDER SHEAFER, 1891 -1973. Pastel on of two dancers adjusting their shoulder straps. To one canvas. Signed and dated: [?] Hoey / 1925 (lower left). of these, in the Pushkin Museum, Moscow, Degas added Height 44% inches. Width 34% inches. Accession two more figures. P. A. Lemoisne, the Degas scholar, number 1974.356.37 did not record the Sheafer collection picture, but he knew of the other three and dated them about 1897, while he placed in 1899 another series of pastels and sketches for which Degas used a close variant of this pair of dancers. Accession number 1974.356.31 DRAWINGS

33. FAMILY WALKING IN THE PARK. Oil on canvas. Signed 38. PAIR OF DESIGNS FOR CHINOISERIE DECORATION. Renoir (lower right) for Pierre-Auguste Renoir, 1841- Black chalk and watercolor on paper. Signed and dated 1919. French, about 1870. Height 15 inches. Width 181/4 Jean Pillement 1771 and J. Pillement 1771 (at lower inches. center) for Jean Pillement, 1728-1808. French, 1771. Height 21 % inches. Width 14% inches. Accession Renoir probably painted this picture about 1870 or number 1974.356.46,47 shortly thereafter. This and the Girl Reading (no. 35, below) were both consigned to the picture dealer, Ambroise Vollard, who was famous for his shrewd sup port of painters too advanced for the taste of their time. Accession number 1974.356.32

34. THE MILLINER. Pastel on paper. Signed Renoir (lower right) for Pierre-Auguste Renoir, 1841-1919. French, 1 1877. Height 21 inches. Width 16 /4 inches. CERAMICS PORCELAIN Frontis Piece tankard of Bayreuth faience, decorated after he had Fig. 9 LUCINDA, from the Italian Comedy. Neudeck- reached that town on a borrowed horse in October 1736. Nymphenburg porcelain. Model by Franz Anton Bustelli, Both vases bear the AR mark in underglaze blue, c. 1758. indicative of Augustus the Strong's ownership. After 1 1725, the Meissen factory mark was generally enforced 1974.356.802 Height 8 /8 in. —the Crossed Swords in underglaze blue, derived from Porcelain, the most perfect ceramic material, was the Saxon arms. ideally suited to express the exuberant spirit of With the activities of J. J. Kaendler, who became XVIIIth century society. The examples assembled in the master modeller in 1733, porcelain was adapted most Lesley and Emma Sheafer Collection show the refine successfully for sculpture, including birds and beasts, ment of taste and the artistic excellence attained during fashionable crinoline figures, and a surprising range of this age of aristocratic patronage. For it was in the Italian Comedy figures of baroque exuberance and service of Augustus the Strong, Elector of Saxony and humor (figs. 3, 4). The keen interest of Augustus the King of Poland, that the alchemist Johann Friedrich Strong (who died in 1733) and that of his successor, Boettger discovered the secret of porcelain in the Augustus III, never lessened. We need only refer to the Western world—a secret jealously guarded by the splendid Hunting Cup modelled by Kaendler and Ehder Chinese throughout the centuries. From this point, the in 1741, another example of which was made for the decisive step forward from the initial hard brown Elector of Cologne, Clemens Augustus. Our cup bears stoneware of 1709 to the pure hard-paste porcelain took the royal arms of Saxony and Poland (fig. 5). only a few years. Already in 1713, white porcelain could Some vases, figures or groups were complemented be offered at the Easter Fair in Leipzig. A brown by Saxon or French ormolu mounts of rocaille design, Boettger-ware figure of Kuan-Yin, cast from a blanc de lifting the porcelain off brackets or stands. An added chine model, illustrates the initial dependence on all attraction are the occasional bocages of ormolu things Chinese, resulting from the traditional association branches with green foliage, studded with porcelain of porcelain with China (fig. 1). But the innate qualities flowers. On the other hand, porcelain has always been and commercial possibilities of European porcelain were equally well liked for small, intimate presentation soon recognized.Therefore, the court silversmith Johann pieces, such as cane handles, scent bottles and snuff Jakob Irminger was employed in 1712to design objects boxes. It may be appropriate to close these remarks for domestic usage. These were not only intended for on Meissen porcelain by drawing attention to a snuff princely houses but also for a well-to-do middle class, box in the shape of a tent, decorated with camping on whose patronage the factory could rely for steady scenes of the Seven-Years-War (1756-1763) (fig. 6). sales. Some of Irminger's designs imitate silver shapes At that time, most artistic enterprises came to a near with applied decoration and, at times, these mediums stand-still as the Prussian troops invaded Saxony and were almost interchangeable. Frederick the Great transferred some of the best In 1720, one year after Boettger's death, the painter modellers and painters to his own porcelain works in Johann Gregor Heroldt arrived from Vienna to take Berlin. Thus the great period of Meissen productions over the Meissen factory. In 1724, he was appointed came to an end, though upholding the traditionally high court painter. His preference was obviously to create standards of workmanship to the very last. plain surfaces as recipients for colorful chinoiserie The secret of porcelain could not be preserved for decorations, frequently of his own invention. Although long. In 1718, Claudius Innocentius du Paquier, assisted signatures were not permitted in the factory, the Sheafer by Christoph Conrad Hunger from Meissen, secured for collection contains a tea bowl with saucer on which a his private enterprise a privilege from the Habsburg cryptic signature of Heroldt's, thinly disguised in Emperor Charles VI. Several examples of Du Paquier Chinese characters, is displayed. Some of the splendid porcelain are included in the collection, some of which colored grounds, the powder-blue and Imperial yellow are decorated with whimsical Chinese figures painted in in particular, were discovered during Heroldt's man pale colors. We draw particular attention to a covered agement. In the collection is a slender powder-blue two-handled Meissen bowl decorated in Vienna by the vase decorated by Johann Ehrenfried Stadler, and a Breslau Hausmaler Ignaz Bottengruber (fig. 7). He bulbous yellow vase with groups of Chinese on a white visited Vienna in 1730, where he was seeking in vain to reserve, painted by Adam Friedrich von Loewenfinck find steady employment as a porcelain painter. We (fig. 2). We know the autograph style and manner of believe that this bowl had been his presentation piece, these factory painters because they occasionally signed for within the cover Bottengruber painted the initials of their work elsewhere, as did Loewenfinck on that rare Charles VI and his Empress, Elisabeth of Braunschweig- PORCELAIN Fig. 1 FIGURE OF KUAN YIN. Brown Boettger ware. Meissen, c. 1713. 1974.356.319 Height 15 in.

MONKEY (Pinselaeffchen). Meissen porcelain. Model by J. J. Kaendler, c. 1732. 1974.356.346 Height 91/2 in. FAIENCE Wolfenbuettel, and flying angels holding crown and acteristic detail epitomized the general atmosphere so scepter. Bottengruber took great pains with the decora perfectly that the term Zopf period has been generally tion, which combines three different sources of design. adopted for the later XVIIIth century in Germany. From Vienna the secret of porcelain reached Venice, The remarkable examples of German faience in where Francesco Vezzi, assisted by the adventurous cluded in the Sheafer Collection show the obvious Hunger who had considerable experience with colors, difference between XVIIIth century porcelain and fa opened a small factory. In the few years of manufacture, ience. Porcelain, at least initially, had been an almost from 1720-1727, Vezzi produced such delightful and entirely aristocratic art form, made particularly for useful objects as the rare cup and saucer with pale heads of state. It was heralded in at Meissen with all the golden floral sprays which recall similar patterns seen excitement of a new invention and followed Chinese and on Venetian brocaded silks (fig. 8). Japanese prototypes. Faience, on the other hand, was a Also associated with Vienna is the foundation in 1737 traditional craft for which local clay could generally be of a factory at Doccia outside of Florence. This event used, provided that its impurities were covered with was due to the single-handed enterprise of the Marchese opaque glazes and colors. Faience was produced by Carlo Ginori, a diplomat who headed the Florentine potters and painters trained in the workshops of their delegation to Vienna during that year. He secured the elders, whose styles displayed local overtones. services of one of Du Paquier's most gifted painters, German Hausmaler-Kruege are jugs decorated in Karl Wendelin Anreiter, whose individual manner we can the independent workshops of painters or Hausmaler. perhaps recognize in the purple monochrome decora These useful wares Include pear-shaped or long-necked tion of a very early Doccia cup. Later productions show jugs with pewter covers and foot-rims, as well as the influence of Meissen "a la Sassonia", and the capacious tankards which must have added consider emergence of a local style with sculptural details and ably to the convivial pleasures of a past society. The colored decoration. tankards' generous surfaces were ideally suited for the Meanwhile, one porcelain factory after another was colorful decoration added by masters like Matthias established in Germany, where ruling princes competed Schmid of Nuremberg, who specialized in hunting to demonstrate their realistic patronage. Their crowned scenes painted in continuous landscapes of warm initials, or the country's arms served as factory marks. shades of green and earthy brown (fig. 11). Restraint, Among the modellers at their disposal, in the generation however, is felt when painters like Bartholomaeus following Kaendler at Meissen, the unchallenged genius Seuter of Augsburg switched from faience to porcelain was Franz Anton Bustelli, who arrived in Munich in 1754 decoration, in response to rising demands of an aristo from his native Tessin. If Kaendler had created charac cratic society with different tastes and larger purses. ters that express baroque humor and vitality, the It must have been exceedingly difficult for these younger Bustelli endowed his lithe figures with a rhyth faience potters and painters to eke out a living. Some mic quality that epitomizes the grace of rococo art. His travelled restlessly to find suitable employment. To comedy figures, which move as if created to the tunes of wards the middle of the century, a few of the best, Mozart's minuets, were first mentioned in the records of including Adam Friedrich von Loewenfinck, his wife Neudeck in 1760—one year before the factory moved to and brother, all accomplished painters, joined the larger premises in the Schlosspark of Nymphenburg. Strasbourg factory owned by the Hannong family. The Bustelli figures in the Sheafer Collection, such as It was during this period of the German-oriented French Donna Martina, Isabella, and Lucinda, are among the factory's flowering that the monumental blackcock most enchanting manifestations of XVIIIth century small tureen was produced—a table decoration that, in quality sculpture (fig. 9). (See frontis piece.) and size, stands far above average (fig. 12). Beside a Some of the figures from provincial centers in variety of other productions, Hannong produced series Germany, like those from Fulda, strike a far less effer of birds, beasts and vegetables, intended as receptacles vescent note. But we must realize that they originated a for related delicacies. The fashion for them spread few years later, about 1770, while the Age of Reason was quickly. Hoechst rivaled Strasbourg with similar table shaking the very foundations of the stage on which wares, and also in creating figures of rustic character, rococo society had performed. This new generation of all of which reached an astonishing degree of perfection soberly dressed and behaved ladies and gentlemen in a popular vein (fig. 13). Subsequently, other German were members of a bourgeoisie with new seriousness of factories, large, small and very small, followed that purpose (fig. 10). The gentlemen's plain wigs terminated whimsical fashion, as the two turtle-shaped boxes from in an uncompromisingly straight tail or Zopf. This char Fulda and Schrezheim—one turtle embellished with PORCELAIN Fig. 4 THE THROWN KISS. Meissen porcelain. Models by J. J. Kaendler. April 1737. 1974.356.353,354 Heights 5% and 5% in.

Fig. 6 BOX IN THE SHAPE OF A TENT, mounted In gold. Meissen porcelain, 1750-60. 1974.356.308 Length 2% in.

Fig. 5 ROYAL HUNTING CUP. Meissen porcelain. Model by J. J. Kaendler and J. G. Ehder, 1741. 1974.356.337a,b Height 13% in. Fig. 7 COVERED CUP. Meissen porcelain, c. 1720. Decorated by Ignaz Bottengruber in Vienna, 1730. 1974.356.489a,b Height 4% in.

Fig. 8 CUP AND SAUCER. Vezzi porcelain, Venice, c. 1725. 1974.356.546,547 Height of cup 3 in. Diam. of saucer 5V4 in. FAIENCE Fig. 12 BLACKCOCK TUREEN. Strasbourg faience, c. 1750. 1974.356.237a,b Height 21 VA in.

Fig. 11 TANKARD with silver-gilt mounts. Nuremberg faience. Decorated and signed by M. Schmid, 1720-25. 1974.356.258 Height 93/4 in.

Fig. 13 ARTICHOKE. Hoechst faience, c. 1750. 1974.356.273a, b Height 4V2 in. two rows of teeth—may demonstrate. The porcelain produced in France during the first half of the XVIIIth century was made of soft-paste. The composition of hard-paste was as yet unknown in France, and undiscovered were the deposits of kaolin near Limoges (kaolin being the principle ingredient employed to fuse and harden ceramic clay). The appealing character of French porcelain is due to the special nature of soft-paste. The outlines tend to be rather less definite and more flowing than in hard-paste; the colors, moreover, have a particular luminosity which results from being absorbed by the glaze that subdues their brilliance. The Sheafer collection contains French silver-mounted boxes, figures of orientals, birds and animals, ranging from the exotic to the domestic. Although we may assume that the modellers of St. Cloud, Chantilly and Mennecy had never seen a Chinese, and therefore endowed these exotic figures with the roman tic fancies of distant lands, they certainly could model birds and beasts from nature. In so doing, they carefully avoided the earthy quality of barnyard varieties and instead selected species that would harmonize with the ambience of marquetry furniture and ormolu. This is the case of a pair of speckled white spaniels holding their heads in supercillious attitudes, modelled at St. Cloud about 1735. In conclusion, we briefly mention a few examples from the Royal factory at Sèvres, where it had been trans ferred from the earlier location at Vincennes. Protected against competition by royal decree, only Sèvres por celain was allowed to be decorated with gold, painted with figurai subjects, and covered with the newly devel oped, splendid ground colors. They formed the pride of the factory. The Sheafer Collection includes two jar dinières with turquoise ground, one having figurai decorations after Boucher, the other after Teniers. In addition, there is a remarkable fan-shaped jardinière with stand, displaying the famous Rose Pompadour ground that was first applied in 1757, the very year indi cated by the date letter underfoot. Once such perfection had been reached, there occurred a slight shift of direc tion at Sèvres with the introduction of hard-paste. SILVER

ec? Frontis Piece competed with those foreign monarchs whom they Fig. 14 SILVER-GILT CANISTER. Maker: Juergen Richels, wished to emulate. The Electors of Saxony and Kings of Hamburg (1664-1711), c. 1670. Poland were amongst the most splendor-loving. They 1974.356.759a,b,c Height 81/4 in. placed their orders with Dresden as well as Augsburg silversmiths, for their needs exceeded the working capacities of either. Some of the magnificence of Augus tus the Strong's dinner table can be recaptured when we look at a silver-gilt cadinette or table-setting, on which his arms, the date 1718 and the sequence number 4 are The German silver in the Sheafer Collection includes engraved (fig. 16). Such cadinettes are exceedingly rare an impressive hexagonal canister (Schraubflasche), and we are aware of only one similar London-made made by Juergen Richels, master in Hamburg between example that bears the arms of William and Mary, of 1664 and 1710 (fig. 14). Spared destruction during the 1689. At royal banquets, it had become customary that Thirty-Years-War, the free Hanse town had maintained members of the ruling family use such cadinettes. The an uninterrupted tradition of artistic excellence and dinner plate was placed on it, the cutlery at each side, productivity during that otherwise barren period in Ger and the napkin folded beneath; the separate compart many. Richels' work had been repeatedly singled out ments served for salt, pepper and toothpicks. to form presentation pieces for diplomatic missions to The dictations of style from France had become in the Tsar of Russia. This explains why most of his work is creasingly more compelling towards the end of the preserved in the Kremlin at Moscow, and why our Regency period (1715-1730). In Germany, the Regency canister had previously been owned by the Counts style was found to be ideally suited for the domestic Jusupoff of St. Petersburg. Like most Hamburg silver scene. Augsburg silversmiths, for the first time, pro smiths of his generation, Richels had looked towards duced entire garnitures for the toilet-, tea-, coffee- or Holland for artistic stimulation. The auricular ornament dinner tables. Sets intended for traveling were fitted on the canister is clearly derived from the engraved into tooled leather cases; other sets were used and designs which the van Vianen family of Utrecht, and displayed at home. Their production had become the Johann Lutma of Amsterdam, had devised. pride and joy of those Augsburg silversmith families who, As soon as the ravages of war had subsided, pro through intermarriage, tried to preserve their individual ductivity returned to the once flourishing centers of ity. Some would specialize in candlesticks, others Germany. Protestant Nuremberg tended to become turned out flatware. All followed the engraved pattern- overshadowed by Catholic Augsburg, which could rely books of France and Germany.This was the period of the on the steady patronage of the Church, the Habsburg, strapwork or Bandelwerk decoration which Jean Bérain and the Wittelsbach. But occasionally the artists of both had promoted. The silversmith would engrave interlac towns combined efforts. They did so in the case of a ing bands upon a tooled ground, repeating the same silver-gilt canister bearing the maker's mark of Isaac decoration on each piece of a service. Among the exam Lotter, master in Augsburg before 1638, until his death in ples of gilt silver by Esaias Busch, a master active in 1652 (fig. 15). This hexagonal vessel incorporates six Augsburg after 1704, the set of chocolate pot and kettle colorful painted enamels on copper, each with sprays of on lampstand, made 1718-20, may illustrate that practice flowers or bunches of fruit, and each harboring an exotic (fig. 18). The curving form of each vessel is organized in parrot. These plaques are typical of the work of Georg panels, each of which is engraved with strapwork and Strauch of Nuremberg, whose signed work, dating from with cartouches enclosing chinoiserie figures. We ad 1633 on, includes a variety of similar plaques mounted mire the restraint of this decoration that complements in the same fashion. We might add that canisters with but never interferes with basic shapes. Of similar refine screw-tops and bail handles, which had originally been ment is the set of silver-gilt candlesticks, snuffer and used in pharmacies, had become curiously popular in snuffer tray, engraved with narrow strapwork borders, XVIIth century Germany. But their vogue was of short made by an Augsburg silversmith with the unidentified duration. As soon as the first tides of French taste from maker's mark WD (fig. 18). the court of Versailles had reached Germany, these With the early 1730's we have reached the period heavy containers with their straight outlines made way when silver and porcelain shapes become interchange to vessels of lighter shapes and curving outlines. able. Both offer plain surfaces to the engraver and The influence of foreign art was most intensely felt painter respectively, when adding the decoration. After at the smaller courts of Germany, where local rulers 1730, Kaendler designed Meissen services in which SILVER Fig. 16 SILVER-GILT CADINETTE, engraved with arms of Augustus the Strong, Elector of Saxony and King of Poland, Dresden, inscribed 1718. 1974.356.775 Length 9% in. m

Fig. 15 SILVER-GILT CANISTER, inset with painted enamels. Maker: Isaac Lotter, Augsburg (1638-1652); enamels painted by Georg Strauch, Nuremberg (1613-1675). 1974.356.763a,b Height 81/2 in.

Fig. 17 SILVER-GILT CHOCOLATE POT AND KETTLE ON LAMPSTAND. Maker: Esajas Busch, Augsburg (1704-1753), Augsburg, 1718-20. 1974.356.699,700,701 a,b Heights8%;11 in. sculptural decoration tended to displace the earlier painted chinoiseries and Fabeltiere of Heroldt and von Loewenfinck. Augsburg silversmiths were equally ready for alternate solutions. The masters Daniel Schaeffler and Gottlieb Mentzel, while retaining the traditional strapwork, applied figurai medallions to it, thereby aim ing at new rhythmic effects of a previously flat decora tion. In the workshops of the Drentwett family, after 1740, shell and foliage formations invade the threaded bor ders of plates and stands; handles and f ¡niais of écuelies adopt the forms of windswept foliage. This flamboyant rococo style culminated between 1750 and 1765 in the workshop of the brothers Johann Martin and Gottlieb Satzger. The many examples of their work, comprising salvers, trays, boxes and other items now in the Sheafer Collection must have formed part of a travelling service, the speciality for which the Satzger brothers are best known. With utmost virtuosity, the silver-gilt surfaces are made to flow as the eye wanders restlessly across chased, raised and embossed floral details confined within undulating rocaille borders. Such profusion shows a certain loss of direction, typical of the low ebb of creative impulse at the end of a great period. This, then, is the last phase of the German rococo. We stand on the threshold to the Zopfstil, which runs concurrently with the style Louis XVI. Never again have German silversmiths performed quite so exuberantly, nor offered such a display of their vitality.

Fig. 18 SILVER-GILT SET OF CANDLESTICKS, SNUFFERS AND SNUFFER TRAY. Maker's mark: WD in oval reserve, Augsburg, 1722-35. 1974.356.750,751,752,753 Height of candlesticks 8% in. Length of tray 6V2 in. Length of snuffers 5V2 in.