on A ( p "Sa , Naty eanaan DD Ps CATALOGUB OF THE WELL-KNOWN COLLECTION OF WORKS OF ART OF THE Crassic, MEDIZ.VAL AND RENAISSANCE TIMES, FORMED BY SIR THOMAS GIBSON CARMICHAEL, BART. Of Castle Craig, N.B. COMPRISING EARLY IVORIES, BRONZES, ENAMELS, ECCLESIASTICAL AND OTHER SILVER WORK, TERRA-COTTA; ALSO FINE OLD CHINESE PORCELAIN AND FRENCH DECORATIVE FURNITURE OF THE EIGHTEENTH CENTURY; And a few Fine Old Italian Pictures: WHICH Will be Sold by Bluction by Messrs. CHRISTIE, MANSON & WOODS, AT THEIR GREAT ROOMS, 8 KING STREET, ST. JAMES’S SQUARE, On MONDAY, MAY 12, 1902, AND FOLLOWING DAY, AT ONE O'CLOCK PRECISELY. Qo May be viewed Friday and Saturday preceding, and Catalogues had, at Messrs. CHRISTIE, MANSON and Woops’ Offices, 8 King Street, St. James's Square, S.W. ILLUSTRATED CATALOGUES, PRICE ONE GUINEA. CONDITIONS OF SALE. o-——— I. THE highest Bidder to be the Buyer; and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. II, No person to advance less than ls.; above Five Pounds, 5s.; and so on in proportion. : III. In the case of Lots upon which there is a reserve, the Auctioneer shall have the right to bid on behalf of the Seller. IV. The Purchasers to give in their: Names and Places of. Abode, and to pay down 5s. in the Pound, or more, in part of payment, or the whole of the Purchase-Money, if required ; in default of which, the Lot or Lots so purchased-to be immediately put up again and re-sold. VY. The Lots to be taken away and paid for, whether genuine and authentic or not, with all faults and errors of description, at the Buyer’s expense and risk, within Two Days from the Sale; Messrs. CHRISTIE, MANson and Woops not being responsible for the correct description, genuineness, or authenticity of, or any fault or defect in, any Lot; and making no warranty whatever. VI. To prevent inuccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can on any account be removed during the time of Sule; and the remainder of the Purchase-Money must absolutely be paid on the delivery. VI. Upon failure of complying with the above Conditions, the Money deposited in part of payment shall be forfeited; all Lots un- cleared within the time aforesaid shali be re-sold by public or private Sale, and the deficiency (if any) attending such re-sale shall be made good by the Defaulter at this Sale. Messrs. OHRISTIE, MANSON & WOODS, in the pre- paration of this Sale Catalogue, have been largely assisted by the Catalogue of the Victoria and Albert Museum, and by those of the various Exhibitions at the Burlington Fine Arts Club. CATALOGUE. First Day’s Sale. On MONDAY, MAY 12, 1902, AT ONE 0 CLOCK PRECISELY. CARVINGS IN IVORY, HONE-STONE AND BOX-WOOD. q G y A Smatt Box-Woop Grovp, of an Infant Triton sitting upon a ‘ae - dolphin—on stand of lapis-lazuli—13 in. high 2 An Upricut Puaaos, carved in low relief with two subjects chosen arches—33 in. by 2 in.—in case—French work, second half of | from the Life of Virgil: beneath a canopy of Gothic crocketed 4 aos p ) the 14th Century From the Propert Collection 3 A Smaty Statvuztre, of a beggar, holding a bucket and staff— 34 in. high—17th Century B 2 bo 1135. A 4 A Reoumsent Fevatz Ficurs, partly draped, resting her head upon her right arm, her hair falling in ringlets about her shoulders—11 in. long—French (?), late 14th Century From the Roussel Collection 44 A Ruoumpent Fievre, of a lion—7} in. long—on ebony stand— Flemish, 17th Century 5 An Osione Puague, slightly convex, carved in low relief with a. frieze representing the Rape of Helen—81 in. by 14 in.— Italian, middle-of the 16th Century | From a contemporary drawing of Barthel Behan 6 A Kyirz, witH an Ivory Grip, of flattened rectangular section, widening towards the top, where it finishes ina winged monster —the blade 63 in. long, the hilt 43 in. long—Sicilian work, of the end of the 14th Century See Illustration 7 Taz One Har or a Mirror-Case—3% in. across—probably English work, of the first half of the 14th Century It is circular, with leaf ornaments carved without the circle; within the circle is a quatrefoil-shaped panel, carved in low relief with a lady and gentleman in the gardens of a palace; buildings and trees in the distance; their costume is of the first. quarter of the 14th Century The other half of this mirror-case is in the Maskell Collection of ivories at the British Museum See Illustration 8 A Comp, carved on each side with three subjects, illustrating the Life of Christ, under trefoil arches, bordered by a narrow frame of zigzag ornaments, the corners carved on each side with a double-pointed arch —4} in. by 53 in.—French, 15th Century From the Magniac Collection ~ See Illustration ROE ie Mw a » ~ S KK ) = oe on fe a pus es Loo , 100. a 5 9 A Casket, of wood covered with ivory, painted and gilt, in the form of a square edifice standing on a gadrooned base—7$ in. high, 5 in. square—Italian (Venetian), early part of the 16th Century Each side shows an entablature, supported by columns at the angles and a pediment in the middle rising from two half-columns; the centre openings are filled with scenes from the story of Paris, and the side niches are occupied by Goddesses; the rest of the casket is covered with arabesques; the top of the roof conceals a small receptacle Exhibited at the Victoria and Albert Museum See Illustration 10 A Casxet or Woon, overlaid with ivory plaques—10 in. long, 7h in. wide, 7 in. high—Siculo-Arab, of late 18th or early 14th Century workmanship It is of rectangular oblong form, with a roof-shaped cover, with elaborate corner-mounts, hinges and lock-escutcheons of copper-gilt; around the sides are painted Saints with nimbi holding pastoral staves and books, also small formal animals and sprays of leafwork; upon the cover are circular medallions of vine arabesques, and in one the seated figure of an Oriental playing a zither; across the front of the cover runs an inscription in Kufic (?) From a church at Bari See I mation 11 A circular plaque, carved with the Deposition from the Cross; it is enclosed in a tortoiseshell case—3% in. diam.— Flemish, 15th Century Exhibited at the Victoria and Albert Manan 6 four scenes from the Life of our Lord. Above the subjects are ranges of canopies) with angels playing upon musical instruments and holding scrolls—each plaque 5} in. by 43 in. —French, 14th Century The scenes come in§the following order. On the first. plaque— 7 (1) Christ and the Tribute-money (2) The Washing of the Disciples’ Feet (3) The Flight into Egypt (4) The Presentation in the Temple 12 A SET OF {FOUR PLAQUES, each carved in openwork with 4 | Lbo. On the second plaque— (1) The Agony in the Garden (2) The Betrayal (3) Our Lord and the Doctors (4) The Baptism in Jordan -On the third plaque— (1) Christ appearing to Simon Peter; the Supper at Emmaus ) (2) The doubting Thomas (3) The Nailing to the Cross (4) The Crucifixion On the fourth plaque— (1) The Ascension (2) The Descent of the Holy Spirit (3) The Deposition from the Cross (4) The Burial From the Debruge Dumenil Collection From the George Field Collection Exhibited at the Victoria and Albert Museum, where the re- mainder of this series now exist Exhibited at the Special Loan Eahibition at South Kensington in 1862 See Illustration go RN OD ae ae 7 ; at Pr = = Bis. + - 4 CN ; { ie Cy 542 NAL fn CCP sO f es VRS NV VN 9 WMS ASEAN No AUTOTYPE, 7 18 A Prague, carved with Christ and the Evangelists—3} in. by 3 in. —COarolingian work of the 9th Century From the Spitzer Collection From the Stein Collection 14 A Puaqus, from the lid of a casket, carved with a tournament. scene; a king and queen appear among the spectators in @ lattice-work gallery—4 in. by 62 in.—French, 14th Century Exhibited at the Victoria and Albert Museum See Illustration 15 Aw Ivory Mrrror-Casz, of flattened rectangular form, with @ small circular receptacle for the mirror in the interior—2 in. by 24 in.—French work, early 14th Century On one face, carved in low relief and framed in a hexafoil border, are two knights tilting, caparisoned in armour fashioned to the period of the early part of the 14th Century, heralds and spectators in the back- ground; on the reverse side is a party of ladies and gentlemen hawking; the rendering of the circular panels to a rectangular form accomplished by the four crouching figures of monsters on the rim From the Collection of Sir Henry Edwards, Bart. See Illustration 16 A Casxert, of ebony, banded with polished bone—16 in. wide— Italian work of the end of the 17th Century It is of architectural form, with a falling front enclosing eight drawers; to the casket have been added polished bone plaques finely carved with figure subjects, many in the costume of the middle of the 14th Century; these plaques must have at one time formed part of a tine marriage casket of the 14th Century ! 1400. 520 8 17-A TRIPTYCH—7} in. high, 9 in. wide (with the open volutes)— Byzantine, 10th Century In the centre beneath a dome, composed of openwork foliage supported by two spirally twisted columns, is the figure of the Virgin, with ample drapery, her head veiled and surrounded by a nimbus, resting upon a form of plinth; in her left arm she holds the Infant . Jesus, His head encircled with a crossed halo, habited in Roman costume ; each volute decorated with three circular medallions of Saints and Angels in dentated borders with groups of acanthus leafwork between, carved in very low relief; on the exterior is an arcade and a votive crown From the Soltykoff Collection, No. 232 From the Seilliére Collection From the Spitzer Collection From the Hartmann Oollection : Lilustrated in Spitzer's ‘ Catalogue Raisonné, vol. t. p. 34 Illustrated in Labarte’s ‘ Histoire des Arts Industriels,’ 1st edit. Album, t. t. pl. wi.; 2nd edit. t. 4. p. 53, pl. wi. Described in Molinier’s ‘ Histoire des Arts Appliqués & U’ Industrie, vol. 7. pp. 99, 102, 110 | Described by Schlumberger in ‘Un Empereur Byzantin au X®* Siecle, p. 105 See Illustration 181A TRIPTYCH, with silver hinges, carved with scenes from the Passion of Christ. The subjects proceed from the left-hand bottom corner in the following order: Judas receiving the thirty pieces of silver; the Betrayal; the suicide of Judas; the Flagellation ; Christ carrying the Cross; the Crucifixion ; _ the Deposition from the Cross; the Entombment—5Z in. by 9 in. (with the open volutes)—French, early 14th Century From the Stein Collection Exhibited at the Victoria and Albert Museum See Illustration ic? | hae <= < n we ’ * * ~ ‘ ¢ ‘ " c : ‘ a —— se a as _ oy a eee Le ent eee 7 ee ee eae ee a ee eee ee ee ee ,- = ee wilt a HON ali: sna MC ag 20 ~~ : - ¢ o , / - , - ca 1N\ 5 ¥* : » { - ’ rant . ‘ = | ¢ . 3 c a - a ; - —-- j ad ; ; v ~ 2 goon - ¥ 3 4 or = . - \ * rm ‘ * i > . , - of 2 * uy / ‘ 20 ep aP wy Pay ed Re je ei ane ry stint J bls os ———- _ ee ee a Bees pee oe aka on sare ch ean ell aval <4 a x peat RE A anton lyriles . v ern \ eee Britt way ay say end viele Vly Pes pee ‘ aat EN 3 wate pss: Ste tas Ae tose ties oe r Spa ih a 9 19 VENUS, carved in low relief upon an upright plaque of hone- bop stone, by ALBERT Durer, signed with a monogram and dated 1509—6 in. by 25 in. . The goddess is represented with her back turned to the spectator, resting her right elbow on a pedestal, upon the upper part of which is the artist’s signature and date, in low relief; her head is bent slightly forward and inclined to the right, the hair braided with four plaits and coiled round tlhe head—a coiffure characteristic of the epoch; her left hand is drawn slightly backwards holding a narrow drapery scarf that falls to the ground; the weight of the body is centred on the left leg, the right leg idly crossing it, the foot of which is concealed in the folds of the scarf From the Stein Collection Described by M. Emile Molinier in‘ Les Meubles du Moyen Age et de la Renaissance,’ vol. ii. p. 208 See Illustration 90 A SHRINE, OF IVORY, known as the “ VirrcE DE Bouson.” 3800. A triptych of the 13th Century —17 in. high, 102 in. wide with the open volutes It is shaped as the figure of the Virgin, enthroned, holding in her two hands a quatrefoil-shaped panel on which is carved in almost full relief the seated figure of the Saviour, His left hand resting upon the Imperial orb, His right hand raised in benediction; the pedestal on which rests the Virgin is formed of a tripartite Roman arch, incised to represent masonry; in the niche is carved in high relief a recumbent figure of the Virgin. The whole figure opens down the centre and is hinged at the side; the interior in the centre presents the Crucifixion, the Entombment, and above, in a quatrefoil-shaped panel supported by Angels, the Lamb of St. John; on one volute the Judgment of Pilate, the Flagellation, and Christ bearing the Cross; on the other volute, the Resurrection, the Women at the Sepulchre, and Christ appearing to Mary Magdalene The Monastery of Boubon, situated in the Canton Oradour sur Vayres (Haute-Vienne), was founded in 1106 by Robert d Arbeissel See ‘ Bulletin de la Société Archéologique et Historique du Limousin’ See Illustrations 2 10 ECCLESIASTICAL AND OTHER METAL-WORK, OF EARLY DATE. 91 A Rexraquary, shaped as an arm—18 in. high—late 14th Century work It is of wood, the sleeve covering entirely overlaid with copper-gilt,. with a band round the wrist and base, set with coloured stones and quatrefoil-shaped appliqués; the case for the relic is in the centre of the arm, init are inlaid three quatrefoil-shaped panels of glass; the hand is of wood, painted, and represented in the act of blessing; upon the lower part of the sleeve is an inscribed scroll See Illustration 22 Two CrircuLar Pxaquss, of silver, bearing portraits of Dante and Beatrice in niello; they are enclused in borders of gilt. bronze, chiselled with masks and foliage, and are placed in an ebony frame gilt with floral ornament—Ltalian From the Venetian family of Count Rizzo Patarol Described by Cicognara in‘ Memorie spettanti alla Storia: della Calcografia, Prato, 1831, p. 225 23 A Crroutar Rexiquary, silver-gilt—1} in. high, 34 in. diam.— German, 16th Century In the centre of the cover isa bas-relief of the Entombment carved in pearl ; around this is a pierced border of scrolls, with thistle leaves, and paste gems laid over a curved rising background; the receptacle is shallow and moulded, with cabled edges; beneath is an engraving of the Annunciation Exhibited at the Burlington Fine Arts Club, 1901 See Illustration % « 2 \A % ¥ %! VJ © m ¢ ‘“% . 5 ¥ r A - Cee EY el Lhd EERE Ld ee aS os ~ as OP ITIIIILILILIL LILIA LILLIA A Ld Se eS Oe ss Sat i 3 o : » ~ © ; . ‘ ; . ~ > ° c 2 A ~— Pras if * ‘ a > " . ~ ~ 4 11 24 A Crnquepza, the grip and pommel of wood, covered with copper and overlaid with silver— Venetian, late 15th Century The pommel is spade-shaped, on one side decorated with niello,. representing the bust of a Roman Emperor enclosed in circles, around which are children’s heads and arabesques, a label beneath lettered “ AD.IN.PE.,” apparently intended for Hadrianus Imperator; on the- reverse the copper and the silver have been removed, perhaps to conceal. the owner’s arms. A mounting of gilt metal, with trophies of musical instruments in relief, passes around the upper part of the pommel; the grip is formed of a double cone, flattened, with eight facets; on those of the front and back, which are broader than the rest, are musical. instruments and other small ornaments in silver on niello; on the lesser facets are arabesques of niello on silver; the quillons droop and are- decorated with gilded arabesques of foliage interspersed with shields, in relief on a dark ground; the blade is 20} in. long, and is etched and. gilt Exhibited at the Burlington Fine Arts Club, 1901 25 A Mate Srartverrz, silver-gilt—mark “ K” ina rectangle—T7} in.. G5. high—Flemish or German, 15th Century Standing figare bearing the palm of martyrdom and an open book, clothed in the alb and tunicle of a deacon, with a fanon over the left arm; the head, slightly bent, is tonsured, the hair in curling locks ; the- face, hands and alb are left in silver, the rest gilt; the pedestal is moulded and octagonal, parcel gilt; a small receptacle for a relic is- fixed to the front From the Stein Collection Exhibited at the Burlington Fine Arte Club 26 A Pax, of architectual form, silver-gilt—+4 in. long, 74 in. high— Ey Flemish, early 16th Century Under an enriched canopy with spire and flanked with buttresses and pinnacles, is a Pieta, the Virgin in hood and wimple, the body of our Lord nude; at the back is a frame of quadrangular construction, with flamboyant tracery above the canopy ; the background behind the figure is diapered; the whole stands on a small base containing in niello the inscription “Pax Domrsi sir semPeR (sic) voriscum,” and two shields; the back has highly enriched scrolled handle of acanthus work ending in birds’ beaks; on each side are elongated panels of Renaissance ornament in relief, with an engraved pattern of Gothic tracery above Exhibited at the Burlington Fine Arts Club, 1901 See Illustration ‘12 ‘47 A Sitver-Gitr Sratverrz Retiquary—8 in. high—French, late 14th Century IO) 0 : The figure of an Angel with only the attachment of the wings left, holding in both hands a small cylindrical reliquary in Gothic frame; a sapphire remaining at one end; the hair is wavy and curled, bound by a plain fillet; the figure is clothed in a long robe and mantle gathered in a fold over each arm; the feet are bare; the base is hexagonal, moulded with pierced quatrefoil panels; the contents of the reliquary remain, and are inscribed Dr Sancro Perro & Pavuto & JAcoBo From the Desmottes Collection Exhibited at the Burlington Fine Arts Club, 1901 ‘28 A Lapy’s Burr, formed of a number of pierced silver-gilt discs /9 0 showing coloured enamel beneath, mounted on a narrow band ; of crimson velvet and gold thread, with chased and engraved clasps, one set with a coloured enamel finial—65 in. long— French, late 14th Century From the Collection of M. Ernest Odiot From the Collection of Martin Hecchscher 29 A Pax, of bronze gilt—43 in, by 3 in.—French work, early 14th Century / It is entirely of copper-gilt, of rectangular architectural form, with : buttress at the side, finishing above in pinnacles and castellation; in the centre beneath a semicircular arch is applied a figure of Christ Crucified, with the Virgin and Saint John on either side; the back- ground is occupied with fleur-de-lys reserved in the metal upon a blue champlevé enamel ground See Illustration 30 A Crozirr, of copper-gilt—French work of the end of the 18th Century : 4 5 The volute finishing in a spiral curl, roughly fashioned as the head and body of a monster, in the centre of which is a group of Saint Michael and the Dragon; the knob is flattened, and moulded with interlaced monsters; the haft socket cylindrical, with three applied figures of dragons; the surface is variously engraved and set with coloured cabochon stones From the Londesborough Collection Illustrated in Skelton’s * Miscellanea Graphica,’ p. 17 See Illustration Sr Pre PERSO REFS SUES TS SES oe ES RIE TET LT EE ? ee ee ee AUTOTY PE 4 MO. 13 31 CIBORIUM, of architectural design, on stem, silver parcel-gilt: —17 in. high—Ttalian, late 14th Century The receptacle is hexagonal with a pointed roof, crocketed at the: angles, scored to represent masonry, and surmounted by a knop, which. serves as the base of a crucifix; the sides represent traceried windows. of Tuscan-Gothic design, crocketed and with flame-shaped finials; the moulded and traceried work is gilt, the rest oxidised silver; the: receptacle opens horizontally across the arches and is hinged; the stem is high and hexagonal, plain, except the knop, of architectural form, with buttresses and windows, and the similar small hexagonal base ;: the foot is flattened with six slightly curved sides, the whole gilt except the undecorated stem; on the foot are six triangulated plaques, chased in low relief, with traces of red enamel in the corners: one with the- Crucifix and two Adoring Angels; one of Saint Peter; three with female figures, perhaps representing the theological Virtues, and having by their sides shields charged with a plant, the broom (?); and Christ. bearing the banner of the Resurrection; the vertical sides of the foot: bordered with pellets. A stamp in the foot with “BEav:”. Exhibited at the Burlington Fine Arts Club, 1901 See Illustration 32 A RELIQUARY, altar shape, of wood, covered with repoussé- Dd. silver plates—64 in. high, 34 in. wide—French (?), early 12th Century The pyramidal cover, surmounted by a crystal ball, is of bronze; the sides are embossed with a Romanesque design of vine, in a pattern derived from the Greek honeysuckle; the upper part overhangs and is. broadly chamfered below; the vertical part has a running scroll- pattern of more delicate design, and the sloping surface has an early trefoil pattern, from which the Gothic trefoil was developed; these are counter-changed on the alternate faces; the chamfer repeats the- running scroll on a smaller scale, the vertical repeating the trefoil; the: base resembles the top; the chamfers are gilt From the Stein Collection Exhibited at the Burlington Fine Arts Club, 1901 See Illustration 14 . 33 A Boat-snapep Incense VeEssEL, on “Naverrs,” in gilt copper [ —10 in. long, extreme height 44 in.—North Italian work, circa 460. ep | The cover is in two divisions, one of which opens as a lid, and both are engraved with floral ornament surrounding a quatrefoil containing, in the one case, a figure of St. Catherine of Alexandria, and in the other, that of a sainted bishop. This last was formerly concealed by a copper plate, engraved with a similar figure (probably of a successor), attached by solder; this has been removed, and is now fixed on the under side of the lid; the body of the navette is fluted longitudinally, and stands on a lobed foot; a winged dragon forms a handle at each end, The use of this vessel was to contain the incense burnt during the service of the altar; the ancient spoon with which the incense was put into the thurible is preserved with the present specimen From the Magniac Collection From the James Gurney Collection | Exhibited at the Victoria and Albert Museum | | See Illustration p 34 A CHALICE, of silver-gilt, decorated with applied plaques Y () enamelled with heraldic shields and other ornament—12 in. high— Spanish, dated 1620—(40 oz. 8 dit.) é Round the foot runs the inscription: +- Es DE LA CAPILLA DE LAS ANIMAS DE PVRGATORIO Q[VE] FVNDO LA BVENA MEMORIA DEL CAPITAN GARCILASO INCA DE LA BEGA EN LA S[ANTI]s[IMA] IGLESIA DE CORDOVA SIENDO ADMINISTRADOR EL s[ENOR] D[ON] ALBARO PICANO DE PALACIOS, 1620, recording that the chalice belonged to the Chapel of the Souls in Purgatory endowed by Captain Garcilaso Inca de la Vega in the Cathedral of Cordova . Garcilaso (or Garcilasso) de la Vega was born at Cuzco, Peru, in the year 1540. His father, of the same name as himself, was of the family of the Dukes of Feria, and, attaching himself to Pizarro in the conquest of Peru, eventually married a princess of the Incas, the ancient royal house of that country. Garcilaso the younger was thus of mixed blood ; he acknowledged his maternal descent, of which, Prescott says, he was “not a little proud,” by subscribing himself “Garcilasso Inca de la Vega.” After serving under Don John of Austria against the Moriscos of Granada, he finally devoted himself to literature, producing in 1590 the ‘ Dialogue on Love’ (a translation of a work by Abarbanel, a Jow, 15 \ expelled from Spain), and in 1605 a ‘ History of Florida’; but his great achievement, and that on which his lasting fame is based, is the ‘Com- mentaries on Peru,’ of which the first part, devoted to the history of the country under the Incas, was published in 1609, and the second, em- bracing the story of the conquest, in 1617, after its author’s death. Garcilaso died in 1616, and was buried in the “ Capilla de las Animas,” which he had endowed. See Ticknor, G., ‘History of Spanish Literature,’ 8vo, London, 1863, vol. iii. pp. 188-190. See Prescott, W. H., ‘ History of the Conquest of Peru,’ 8vo, London, 1862 (new ed.), vol. i. pp. 278-284. See Parcerisa, F. T., ‘ Recuerdos y Bellezas de Espaiia,’ 4to, Madrid, 1855, vol. Cordoba, pp. 326-331. The heraldry appears to include the arms of Cordova, Counts of Feria, and of Garcilaso dela Vega. (See Rietstap, J. B., ‘ Armorial Général; and Imhof, J. W., ‘ Recherches Historiques et Généalo- giques des Grands d’Espagne.’) Exhibited at the Burlington Fine Arts Club, 1901 See Illustration 36 THE COVER OF A TESTAMENT—7} in. by 74 in.— f Spanish work of the 11th Century ee It is of wood with a sunk upright rectangular panel in the centre, / /0 O : the whole overlaid with plates of silver-gilt; in the centre is repre- sented the Crucifixion, the figures of Christ, the Virgin and St. John being carved of ivory; beneath this is embossed the inscription FELtcta REGINA; the framing of the centre composition much resembles that of No. 36, but in addition to the cabochons of various stones, minute panels of cloisonné enamel have been used. M. Emile Molinier gives the following interesting description of Queen Ferticia: “ Félicie, fille du Comte Hildhuin, et d’Adéle de Chatillon mourut en 1085. Femme de Sanche Ramirez, Ve du nom comme roi de Navarre et ler comme roi d’Aragon ” From the Stein Collection See Illustration / y 1h 0. 3) 0- 86 THE COVER OF A TESTAMENT—10} in. by 84 in— 387 A PORTABLE ALTAR—143 in. by 104 in.—Ihenish work, late a 16 Spanish work of the 11th Century In the centre is a plaque of ivory, 5% in. by 33 in., carved in relief with the Crucifixion with the Virgin and Saint John on either side, An-els above; the nimbus and details of the cross show remains of gilding; around the ivory plaque is a deep frame of silver-gilt, upon which is applied a scrollwork design in filigree; the border is further enriched with cabochon, crystal and coloured pastes; the whole is mounted on a strong foundation of walnut-wood From the Stein Collection See Illustration 12th Century It is composed of a plaque of lumachelli marble, inlaid in a panel of wood, which is enclosed in a metal-gilt case; the centre of the ease has. been cut away in a rectangular shape, leaving the uncovered marble, upon which rested the chalice during the celebration of mass; there isalsoan opening in the metal casing above and below the centre stone, into: which are inlaid, fixed to the woud, two bas-reliefs of ivory, the one above representing the Crucifixion, with the Virgin and Saint John, the one below the Madonna and infant Christ, attended by two Saints ; there are also two other openings on the right and left of the stone panel; these enclose panels of rock-crystal, beliind which are miniature paint-- ings of Saints upon a gold ground; no doubt these miniatures, which are of late 13th Century date, replace the relics that must have formerly been behind the crystal faces; the flat framework is engraved with. medallions enclosing symbols of the evangelists Saint Peter and Saint Lawrence, &c., and the inscription THIDERICUS* ABBAS‘ IIIS DEDIT, “‘given by the Abbot Thidericus, third of his name”: the back of the tablet. bears the following inscription: JOANNIS BAPTISTE*PAULI APOSTOLI* JACOBI APOSTOLI*MATHEI APOSTOLI kT EVANGELISTE* JOHANNIS EVANGEL- ISTE * STEPHANI PROTOMARTIRIS ‘ LAURENTII * VITI * CORNELII ‘ CIPRIANI * FABIANI SEBASTIANI‘ BONIFACII EPISCOPI*BLASH EPISCOPI*FELICIS CRISTO- PHORI* COSME, * DAMIANI* PANCRATII‘ THEODORI’ DIONISH EPISCOPI * MARCEL- LINI* PETRI * CIPRIANI‘ IPOLITI* VITALIS FELICISSIMI * MAURICII ‘ IACINCTI TOTINATI * FELICIS NAEORIS *MARTIRUM ET CONFESSORUM ‘ GODEHARDI EPISCOPI* NICOLAI* SERVACII* MARTINI * BENEDIOTI * ABBATIS * EGIDII ‘ MARIE MAGDALENE* AGATHE MARTIRIS*THIDERICUS ABBAS TERTIUS DEDIT. From the Collection of M. Renesse-Breidbach, in the Cata- logue of whose Collection it states that this altar came from the ancient abbey of Sayna, near Coblentz; but, however, from. researches made more recently, it was probably a gift made in. the middle of the 13th Century to the abbey Scheida From the Debruge Dumenil Collection See Illustration vl ti ie ie Ad =: a: hy va ad :* ie ’ ° i-« 7 é * hoy? . ° 7 17 BRONZES OF THE FOURTEENTH, FIFTEENTH, SIXTEENTH AND SEVENTEENTH CENTURIES. y 41, 38 Tar Ficvne oF 4 Lronzss—44 in. high—Ltalian, late Lbth Contury : 39 A Parr or Leoparns, of gilt bronze, lying down and each holding 4 r) a hare in its forepaws, probably an ornament for a piece of furniture—5 in. long, 3 in. high—Italian, 17th Century Exhibited at the Victoria and Albert Museum ) 40 A Lamp, formed on classic lines, cast with various mouldings y) ly and a support, with basket patterns, shells, &c.—lItalian, first half of the 16th Century Al A Pepzsrat, moulded with dancing Fauns and Bacchanals in low relief, by Andria Briosco; above has been added the small ai O05 figure of a boy, after Donatello—7 in. high—Italian, early 16th Century The Briosco pedestal is represented by a specimen in the Victoria and Albert Museum, and by one in the Burgello, Florence, where is also to be seen a figure of the boy after Donatello p 42 A Vass, formed as a small mortar, moulded with Satyrs’ masks, 60 eagles, &e.—8} in. high—Ttalian, School of Riccio, early 16th Century 43 A Bet, cast in relief with leaf mouldings above and below; ; round the centre is a frieze, with classic profile busts, f 0 alternating with formal arrangements of flowers; between these are festooned laurels, enclosing heads of Cherubims— 41 in. high—Italian, School of Riccio (Paduan), first half of the 16th Century See Illustration 18 44 Meroury: a nude seated figure, with winged sandals, after the antique discovered in the early part of the 17th Century— 6 in. by 23 in.—Italian, 17th Century—on plinth of mA porphyry See Illustration 45 A Srarunrrs, of a nude youth seated on a rock and drawing a thorn from his foot: an adaptation from an antique statue, the Spinario, in the Palazzo dei Conservatori, Rome—8 in. high—Italian, early 16th Century Hxhibited at the Victoria and Albert Museum See Illustration 46 A T'wo-Hanptep Morrar witn Spout, decorated with a frieze. of heads in high relief, acanthus leaves below ; around the lip- is the inscription and date, OPUS SULIANI MARIOOITI FLORENTINE mooccoxy -—44 in. high—Italian, 16th Century See Illustration 47 A SrarvuTrz or tHE Mapowna, with the Infant Saviour, of gilt. bronze, by Jacopo della Quercia, on oblong plinth with claw feet and acanthus scrolls—93 in. high—Siennese, 15th Century 48 A Hanpuz, formed as a winged grotesque monster: a gilt bronze,. attributed to Lorenzo Guiserti1—Jtalian, 16th Century 49 An OBtona Bronze Casket ; on the lid in the centre is a cockle-- shell in a laurel wreath, with Amorini on either side in honeysuckle border ; on the two sides are also cockle-shells in medallions, framed by cornucopie and. supported by Centaurs, shells at the ends In design it is a slight variation of the celebrated Ambrosio Caradosso casket, the cockle-shells replacing the Medusa and female masks on the original From the Collection of Count Caylus From the Strawberry Hill Collection (17th day’s sale, No.. 74) From the Charles Kean Collection g F 4 3 r — we a, a CO ee, ae ee _ Fe A ee ee Ere eee ee ee Ee ie tae Si Ls ' Su, idthyidibb este vi ee RSS erent Nay ; Maes Soy 19 50 A Mortar, cast with an inscription frieze round the lip and base, an arcade of arches around the centre with spirally twisted column supports; between these are shields-of-arms, and 0, branches of formal flowers. The inscription reads as follows: hid I0°DE*PANCIONIBVS' L* OAR‘ DE‘ VRSINIS* AGRI‘ PICENI* LEGATI * PHISIOVS * MCCOOLXV° hi IN‘ FABRIANO* DIE* XVI* MENSIS° AVGVSTI ‘IVXIT* FIERI—4 in. by 54 in. In the Victoria and Albert Museum there is a fine mortar evidently by the same hand, but rather later in date. The bottom inscription gives the name of the artist, GENDREINO FRANOESCI IN F'ABRIANO See Illustration 51 Tue Ficurr or a Basy Cum, seated, the head inclined slightly forward, on plinth of Egyptian porphyry—9 in. high—Italian, 00 Jirst half of the 16th Century From the Collection of Madame d@’ Yvon See Illustration 52 A STATUETTE, a nude male figure holding up his left hand— 9 in. high—Ttalian, first half of the 16th Century 44 Haxlhibited at the Victoria and Albert Museum See Illustration 53 AN INKSTAND, of bronze, silvered and partly gilt, adorned with four plaques by Giovanni delle Corniole (circa 1470- 1516) representing in relief scenes from the story of Corio- lanus: (1) Coriolanus condemned to exile (?) ; (2) Coriolanus quitting Rome to take refuge among the Volsci(?); (3) The : Romans defeated by Coriolanus ; (4) The meeting of Corio- y 0 lanus with his mother, his wife and children, and the Roman matrons. Round the base runs a silver band with the in- scription in niello: O*MARTII‘ CORIOLANI* PIETAS ‘IN*MATREM* S*P'Q’B* ‘OBSESSVM * *AB* HOSTIBUS* LIBERAVIT ; the lid is want- ing—B5 in. wide, 8 in. deep, 23 in. high—Italian, about 1500 Exhibited atthe Victoria and Albert Museum See Illustration rate 4 500 54 A BELL, cast in relief with floral bands, heraldic ornament and 20 devices,and with three cartouches containing figures of Victory, Fame and Plenty; one of the shields bears the arms of the della Rovere family, Dukes of Urbino, and between two of the - : cartouches appear three metae or antique goal-pillars, the device of Duke Guidobaldo II. (b. 1514, d. 1574); the edge of the bell is bordered with oak branches bearing acorns, the : della Rovere cognisance; the handle is in the form of a half- — draped female figure with a child. The upper portion of the — figure is a restoration by Mr. Pomzroy—7 in. high—LTtalian, 16th Century Exhibited at the Victoria and Albert Museum See Illustration 555A STATUETTE, Chastity subduing Vice: a nude female figure _ standing with her right foot on a dragon, the right hand raised; _ it has a round base; a similar figure, attributed to Benvenuto Cellini, surmounts an inkstand formerly in the Borghese Collection ; the base is a restoration by Mr. Pomzroy—9 in. high —Italian, early 16th Century Exhibited at the Victoria and Albert Museum See Illustration 56 MERCURY, the details of Caduceus, &c. gilt, by Jzan Francois Rustror—24 in. high See Illustration 57 A CANDLESTICK, of gilt bronze, with circular base and stem of baluster form; the base is cast in relief with cartouches, Fauns, foliage and masks ; the stem is ornamented with masks and grotesque Sphinxes—53 in. high, 5? in. diam.—Italian, early — 16th Century Evhibited at the Victoria and Albert Museum See Illustration c > is or sii Blade Pe ee Te Se —s ee a Ge a %. -* PPh eyo f as 7 i, etal a oe Bs 2 re an hy fi ah : es - - - , a x . / - © = a q * ; ‘ 4 ° : 3 ~v * ‘ ~ - : . - - . . mv 28 LPR GUY TN EE IS EOL RR IY EEE RE IE Auroryre * wr ys Ary Sea! h M ni 21 58 An Aqua Manits, or ewer, of brass, in the form of a bridled horse; a tap, surmounted by a dog, protrudes from its chest, LO. and a monster on the back forms a handle—114 in. high— Flemish (Dinant), 13th or 14th Century From the Spitzer Collection Eahibited at the Victoria and Albert Museum See Illustration 59 An Agua Manis, or ewer, of brass, in the form of a lion with a spout protruding from its chest ; a monster on the back forms a handle—114 in. high—Flemish (Dinant), 13th or 14th Century Py, From the Spitzer Collection Exhibited at the Victoria and Albert Museum See Illustration EARLY ITALIAN, RHENISH, AND FRENCH ENAMELS. 60 A Crroviar Bronze-Gitt Puaguz, probably from a casket: in the centre is a triangular shield with fleur-de-lys reserved in | the gilt metal upon an opaque blue ground in champlevé enamel; 1), the border is pierced, slightly embossed and engraved with prutes—4} in. diam.—Limoges work of the early part of the 14th Century See Illustration 61 A Fuar Casxer-sHarep Retiquary, of metal-gilt and champlevé p enamel—2 in. high, 4 in. wide, 7 in. long—probably German, i 13th Century j 4 4 0) ? The flat cover is decorated with eight figures of Saints under semi- circular arches, matted borders of gilt metal; around the sides are the twelve Apostles, seated on arch-shaped thrones on an alternate green and blue ground From the Heckscher Collection See Illustration 4 22 62 A RELIQUARY, OR Chana of engraved and gilt copper, with pyra- a FA /00 midal cover—T} in, long, 8 in. high—Italian, dated 1446 The body is surrounded with a colonnade, the interspaces being filled by round-headed niches supported on twisted columns; on the — front and back the centre niche has an opening for viewing the relic; the other niches contain, on the back, Saint John and Saint James the Less, and, in front, two Saints in pilgrim’s attire, one with a wallet and the other with a staff. The following inscriptions appear on the ends: HOO. OP** FECIT’FIERI°DNA*MATEA*VSOR‘RENTII and PRO* ANIMA’ SVA*ET*SVORVM'M°ccoO°xL°v1®, The cover is engraved with foliage, and was formerly set with four medallions of champlevé enamel, of which only two remain, representing a Saint and a Bishop; the object stands on four ball feet Exhibited at the Victoria and Albert Museum See Illustration 63 An Upricut Priaqusz, or Limogzs CoampLevi EnaMEL— 93 in, by f (, i 4+ in.—last quarter of the 18th Century : gN : In the centre is represented Christ crucified, with the Virgin Mary and Saint John on either side, and Angels above; the figures are reserved in the bronze, engraved and gilt, their heads modelled in relief, the !groundwork of opaque ultramarine blue, semé with rosettes in various colours; the cross in opaque green; the Mount of Calvary con- ventionally treated with a form of scale-ornament; at the head of the cross is the lettering I.H.S..... X.P.S. This interesting plaque was dug up in Yorkshire See Illustration silver; the mounting is enriched with shields-of-arms and compartments containing dogs and dragons, in translucent enamel—14 in. long—Ttalian, 15th Century Z é 64 A Knire, with broad steel blade, and ivory handle mounted in Exhibited at the Victoria and Albert Museum See Illustration a) fi ay j x i t a RR SP NOES AMIN AOR REO TY ate war ow TS rage et rn stele Nl ae Pak yon AUTOTY AE $9 FEES ELLIE DIESEL LIE SE NL TE I TIO OT LN TE TN IE ETN AE OE! MEUM NRT RTE Tg ECR # INR a eg . S c ee Pat aa 7 oe T Sor < Po Sa ‘ tot ‘ = ae ae) = } DE . M i i 00. 65 A 23 Cruorrix: the figure of Christ in bronze-gilt—Limoge work, of the latter part of the 13th Century The cross, the limbs of which end in trefoils, is in Limoges champ- levé enamel, with formal leafwork reserved and gilt upon an opaque green ground; the nimbus, forming a Maltese cross, in red, grey and white ; the sacred initials above in coral-red From the Spitzer Collection Hahibited at the Burlington Fine Arts Club, 1897 See Illustration 66 A CrostEr, in Limoges champlevé enamel—12} in. high, by 53 in. across—French, the end of the 13th Century The entire portion of the exposed metal-work is gilt, and set with turquoise, the haft socket having formal trefoil leaf ornaments on a blue ground; the volute, finishing in a spiral curl, is formed as a snake or monster, enamelled with scales, also in blue; in the curl is a group, of Saint Michael and the Dragon; the knob is of depressed form, pierced and embossed with intertwined monsters. The use of the crosier or pastoral staff is simply as an emblem of authority ; its signification in fact is analogous to that of the sceptre of the king or the mace of the municipal ruler. Its origin has been fancifully supposed to have been derived from the litnus of the ancient augurs—a short curved wand or crook held in the hand during the ceremonies of sacrifice and divination. The most ancient monuments in which the pastoral staff occurs, represent it indifferently of three different models; first, that of a crutch or tau; secondly, that cf a long wand surmounted by a ball anda small cross; and thirdly, in the usual voluted form. The crosiers of the first and last of these models, in the earliest periods, were frequently not longer than ordinary walking staves, and were evidently held in a similar manner, i.e. by the crutch- shaped cross-piece, or the crook or volute, The resemblance of the voluted staff to the shepherd’s crook probably at last fixed the orthodox conventional shape, and it thus occurs on various ancient monuments at least as early as the ninth century. In the ages of symbolism, indeed, the striking and pertinent analogy of the episcopal office to that of the ‘pastor, consecrated moreover by our Saviour’s parable of the good shep- herd, could scarcely fail to cause the final adoption of this form in preference to that of the common walking staff, whilst the long ferule surmounted by a ball or small Maltese-shaped cross, seems to have become (in actual use) especially, if not exclusively, assigned to the Pope, who never uses the crosier, and in plastic represeutations to have tbecome the attribute of archangels and heavenly powers. It is evident t 360 fy 10 L450 24 in short, that the fixing of the crosier in its present shape was the result of a gradual concretion of various natural and mystical ideas, and that no precise dates can be assigned to any of the various changes. and modifications of its form which have taken place. From the Collection of M. Herrman Sax, of Vienna See Illustration 67 A PROCESSIONAL CROSS—12 im by 84 in.—Perugia enamel work, of the end of the 14th Century At the ends of the arms and centre of the cross are inlaid miniatures. apparently cut from a missal, which although of somewhat earlier date have been added to the cross more recently; these are framed by small lunette panels of translucent enamel, whilst the arms have duplicated trefoil medallions of formal birds in opaque turquoise and brick-red ; the. groundwork is of a dark blue translucent colour; all the exposed metal portions of the cross are gilt See Illustration 68 A CROSS—11} in. by 74 in.—Rhenish champlevé enamel, of the jirst half of the 13th Century In the centre of the cross is represented the Crucifixion upon a blue field, semé with small quatrefoils in white, yellow and red; the figure: of the Saviour is reserved in the metal-gilt, the details worked en plein on dark brown ; the cross is in opaque green enamel; at the end of the arms are figures of Angels inscribed spEs, INOCENTIA, FIDES, OBEDIENTIA ;. at the base there is pierced a Maltese cross; the extreme edge is beaded. From the Stein Collection See Illustration 69 A CIBORIUM, SILVER-GILT AND ENAMELLED — height to the apex of finial 18 inches, diameter of base 103, inches The receptacle is hexagonal, laterally compressed, being 6 in. long and 22 in. wide; the roof is sloping, slightly curved, hinged, with a cresting of cast trefoils at the base, and scrolled crockets up the ridges, each rolled up and applied separately ; the crocketed finial probably replaces a group of the Crucifixion ; the six triangular spaces are filled. by six enamelled plaques with half-length figures of Saint Peter, Saint Paul and the Four Evangelists; these, like the rest of the enamels, are basse-taille with translucent blue backgrounds, some of the robes in. translucent lilacs and greens, the faces and hands in silver and niello;- the backgrounds of all the enamels, where possible, are powdered with a small composite flower, possibly the dandelion; the body of the : 4 * 2 ¢ i - > —s a o< c eo Ee 69 25 receptacle is panelled, the panels, divided'\by|low-pointed arches with: crockets and separated by pinnacled buttresses; behind the arches are enamelled plaques, the spandrils filled with foliage, and the main panels containing a representation of the Nativity, flanked by the Flagellation and the Crucifixion; on the other side the Adoration of the Magi, flanked by the Annunciation and the Betrayal; in the Adoration of the Magi the Kings have forked beards, crowns, short tunics and tight hose and swords, which agree with the costume of our Henry IV.; the upper part of the receptacle corresponds with the cover,: but has no enamels; the stem is hexagonal and plain; the knop is large and compressed, with six lozenge-shaped studs enamelled with a dandelion on blue ground; the facets above and below have engraved tracery gilt on a hatched silver background; on two sides immediately above the knop rise ogee-shaped arms or branches bordered above and below with crockets like those of the receptacle ; the two extremities are- expanded to form bases supporting figures of Angels turned towards. the front, in sleeved tunics reaching to the feet and girt at the waist; the hair is full and flowing, some of the locks gathered over the forehead: and tied there by a fillet in the manner of the classic krobulos; these. hold candlesticks, and have long pointed erect wings; the base of the- stem is surrounded by six Gothic canopies containing basse-taille enamels with busts of Saints; the foot is very large, slightly elliptical, splayed, and of six lobes, two of which are smaller than the rest, with two points divided by acute salient angles; on the surface are three- panels of basse-taille enamel with figures of Angels, two of them by a different and superior hand to the rest of the enamels, bearing shields. with arms, one checky argent and sable, the second of two pales gules, impaling the first coat, the third of a chief gules impaling the second: coat; in one the shield is borue by two Angels in long robes of purple and brown with tight sleeves, bare feet, long curling hair and green wings; the plant at their feet bears the dandelion with which the backgrounds of the receptacle are powdered; the Angels on either side in the second panel are similar, except for the colour of the robes, to- the first; a third Angel, in three-quarter length, supports the shield from above under a cloud ornament, constantly found in German fifteenth century work; the third panel, considerably smaller, resembles. the last, but is by the same hand as the enamels of the receptacle; the three alternate panels not enamelled are engraved with trees of foliage: in a spirited manner, two containing apes, birds, etc. among the foliage ; the backgrounds are slightly sunk and finely cross-hatched ; the vertical base is pierced with a lozenge design filled with quatrefoils, and rests. upon six seated lions on plain bases; inside the receptacle is engraved. a Gothic A | From the Stein Collection Exhibited at the Burlington Fine Arts Club, 1901 See Illustration Ee Se: | . 26 LIMOGES ENAMELS OF THE SIXTEENTH CENTURY. 70 A Parr or Smart Upriaut Praguss, painted in colours and pale flesh tints: on one is the Entombment of Christ, and on the b / 0 other Christ Mocked in the Temple—the artist is NNEPOWiE= 32 in. by 24 in.—middle of the 16th Century See Illustration 71 A Pax, of ivory, with dome-shaped top, carved with slender columns at the sides, and scrolls above supporting an oval medallion with a profile male head ; inlaid in the centre is a if 5 plaque of Limoges enamel painted in flesh tints and translucent colours with the Virgin seated upon a throne, holding in her arms the Infant Saviour, Angels in wonderment at the sides— 44 in. high—French, middle of the 16th Century | | See Illustration 72 A Crrovntar Mepa.iion-tike Hinerp Box, of gilt-metal—4t in. diam.—French, first half of the 16th Century. : @ 0 | On the cover is a circular plaque, of painted Limoges enamel— : 2 in. diam.—representing the Scourging of Christ, in opaque colours; on the reverse, a similar plaque of Saint Peter reading and holding a key, in front of a niche; a ribbon border set with pearls within rosettes of — blue enamel, and other stones with green enamel setting From the Spitzer Collection Exhibited at the Victoria and Albert Museum Exhibited at the Burlington Fine Arts Club, 1897 See Illustration ld Ws v4 SEE SEER we # oie re te Patnag! tre en 27 73 An Ovirorm Ewer, enamel of Limoges in colours—12 in. high to top of handle, 43 in. diam.—second half of the 16th Century / 40 0. Round the body of the vase is an elaborate composition emblematic of the Triumph of Chastity: Diana in a car drawn by four stags, and accompanied by her Nymphs; behind her Venus and Cupid bound as prisoners to the car, with a band of winged genii, whilst on the shoulder is an elaborate Bacchanalian frieze or procession of children. It is signed with the initials of Jean Courtois From the Magniae Collection Exhibited at the Special Loan Exhibition at South Kensington, 1862 Exhibited at the Victoria and Albert Museum Hzhibited at the Burlington Fine Arts Club, 1897 See Illustration 74 AN OBLONG CASKET, with arched top painted in colours with foil and pale flesh tints; most of the plates have the initials of the artist P.C. and on the cover the fuller signature 5 0 P. Courrzys—7} in. long, 53 in. high, 44 in. diam. On the front is painted Belshazzar’s Feast,” Daniel‘v; at the back, Moses Striking the Rock, Exodue xvii; at one end, Joseph and Potiphar’s wife, Genese xxxix; in the lunette above this, Jacob’s Dream; at the other end, the Sacrifice of Isaac, and in the lunette above, Elijah fed by Ravens, Het; the arched cover is in one piece, and has’ two} subjects, Melchizedek meeting Abram after the victory over Chedorlaomer; MrLcHIzEDEK; ABRAHAM; and Gideon, GEDEON From the Didier-Petit Collection From the George Field Collection PM MeAbited ai the .Gpectal ~Loan Hehibition at> South Kensington in 1862 Eahibited at the South Kensington Musewm in 1874 See Illustration 28 76 A CASKET, of wood, covered with plaques of Limoges enamel’ : and mounted in gilt bronze, ornamented with foliage and Cherubs’ heads; the top plate is engraved with grotesque ¥00 designs with the motto pEvm Timm under the handle. The plaques at the ends of the lid show a child leaning on a skull with the motto MEMENTO MoRI DIcO; the other plaques bear heads of Roman Emperors within laurel wreaths supported by Amorini—5+ in. high, 64 in. long—French, second half of the 16th Century The enamels are painted in the manner of the Penicauds From the Spitzer Collection | Exhibited at the Victoria and Albert Museum - See Illustration GLASS. 76 A Dracoy, with body of Venetian glass; the legs, tail, wings and ZO | head are of gilt bronze—9 in. high—Italian, 17th Century Exhibited at the Victoria and Albert Museum 77 A Cast Grass Panex, with a gilt intaglio portrait bust of the 6 c 2 Doge Andrea Gritti, with the initials A. G. on either side— 54 in. square | 78 A Ser or Four Opraquz Ware Guass Sraturrrss, of the / 0 Seasons, modelled in the Fontainebleau School—65 in. high— probably French, middle of the 16th Century 79 A Parr or Crvuets, for ecclesiastical use, of blue glass, with gilt. mounts consisting of neck, handle and foot united by openwork bands with Cherubs’ heads. On the front is the shield-of-arms, y/ 0 ensigned with a cardinal’s hat, of Scipione Cobellutio, Cardinal of St. Susanna and Librarian of the Holy Roman Church (created cardinal 1616, died 1626). The one marked A (aqua); the other marked V (vinum)—5} in. high—Ltalian (Venetian), about 1620 Exhibited at the Victoria and Albert Museum 29 80 An Upricut Verre-Ectomist Pane, with arched top ; in the centre of which is the figure of the Virgin enthroned, holding f the Infant Saviour on her left knee, attendant Saints and b 5 Angels in adoration ; below, in two small panels, are figures chosen from the Immaculate Conception—the whole work is executed in gold, green, red and mauve—size of plaque 10 in, high by 44 in. wide : In carved painted and gilt wood frame, with figures of Angels, the Virgin, and Christ in Benediction above—TItalian (Florentine), first half of the 15th Century CARVINGS IN ROCK-CRYSTAL, Ere. 81 A Cup, composed of a bowl of garnet-schist, mounted on a gilt iY - Iv] bronze openwork stem and foot—5% in. high, 84 in. diam— the bowl antique Roman, the mounting modern German Exhibited at the Victoria and Albert Museum 82 A Tazza, with oval body, the handie formed as the head and neck of a monster, oviform stem and oval base, the whole surface 3 b 0 engraved with an arrangment of floral scrolls, birds and insects —the mounts of gold, in places enamelled with sprays of flowers—7 in. wide, 74 in. high— German work, late 16th Century See Illustration | 83 A T'azza, with shallow body shaped as a shell, carved with a combat of Tritons and sea-monsters, short stem and oval foot, / 4 oe: similarly decorated, with mounts of silver-gilt, stamped with an egg-and-tongue moulding—7% in. wide, 3 in. high—German, early 17th Century See Illustration 30 84 A Jua, of rock-crystal, the upper part cut with fluting and faceted bands, the lower part engraved with vine-stems 440. bearing fruit and leaves; the handle has silver-gilt attach- ments, and is set with four emeralds—6 in. high—Italian, 16th Century Exhibited at the Victoria and Albert Musewm See Illustration 85 A Ruexiqvary, of rock-crystal, of cylindrical form, carved with a Kufic inscription and mounted in silver-gilt; the stem is 30 0. formed of three figures supporting on their heads a basket of fruit, and standing on a circular base ornamented with trees and shields-of-arms; the cover is surmounted by a figure of the Infant Saviour upholding a cross (the top want- ing); on the band is the inscription IN HOO sIGNo VINOES —T in. high—the cylinder Saracenic, 12th Century (?); the mounting German, early 16th Century Exhibited at the Victoria and Albert Museum See Illustration 86 A Rexiquary, in rock-crystal, mounted in metal-gilt—6} tv. high, 34 in. long—Flemish or French (?), 15th Century - / 4 0 A quaint and original example, on a small scale, of a favourite type of reliquary, viz. that of a cylindrical tube or barrel of rock-crystal placed horizontally, each end encased in metal shrine and pinnacle work, and supported on four legs, which in this example are elegantly curved and gathered together by a knop so as to form a central pillar or stalk, separated again below the knop and forming the stand From the Magniac Collection See Illustration ' Som a 7 825Ng Sg gt Se as A ei og geLONR TSAR thy. SALT MFA GEE LENT, PEED POM INN TIE = eg ROR gee ORE REI ne PO OAR Pea pe Nara $0 ol 87 A CyuinprioaL Roox-Crystat Bearer, mounted in silver-gilt— 84 in. high by 33 in. diam.—and cover—German work, 14th Century The crystal goblet is polygonal, i.e. cut into twelve vertical facets, and near the top is a projecting torus, or bead moulding, cut from the mass of the crystal; the silver-mounting of the base, margin of the beaker, and the cover, all follow the shape of the crystal; and’ the hinged cover forms an ogee-shaped dome, the point surmounted by a ball; the vase is supported on three slender animal’s legs or paws, and three narrow vertical straps in silver connect the mountings. of the base with those of the upper part and cover; around the base is a band or fascia enriched with champlevé translucent enamels, green and blue in the alternate facets, forming the background of an inscrip- tion in bold Gothic characters and in an old German dialect, which is continued all round and reads as follows :—* WHR’ HIER’ US’ DRINCGET’ WIN * DER * MUEZZE‘IEMER‘SELIG'SIN,” which, translated as a similar . distich, may be ‘‘ WHOSO DRINKS WINE IN ME, SHALL EVER HAPPY BE”; in the inside of the cover at the top, is a hook, evidently fixed there in order to suspend some object within the crystal cylinder. It is difficult to determine the use of this cup; it is ill adapted for a drinking vessel, whilst the mundane character of the distich, and the absence of devotional insignia, seem to preclude the idea that it was intended as a reliquary, for which its general shape and design would otherwise seem. to have adapted it From the Magniac Collection Exhibited at the Burlington Fine Arts Club, 1901 See Illustration 88 A ROCK-CRYSTAL CROSS, in metal socket, on stand, to hold a spine from the crown of thorns—1l0J in. high—Florentine,. late 15th Century The socket is rectangular, with small but brilliant basse-taille- enamelled Angels, in green drapery and wings tipped with amber, on the back and front above the knop; on this knop are two small fleurs- de-lys on blue ground and two rosettes on red Formerly in the Borghese Collection Hahibited at the Burlington Fine Arts Club, 1897 See Illustration a2 89 AN ELLIPTICAL OUP, with foot, of rock-crystal mounted in enamelled gold; the cup is engraved with the shield-of-arms of the Ursini family impaled with another, amid trees, birds, serpents and insects; the stem and foot are decorated with imbrications and floral patterns—65 in. high, 6 in. wide—Italian or German, 16th Century Exhibited at the Victoria and Albert Museum See Illustration 90 AN OVIFORM TWO-HANDLED VASE, of rock-crystal, with double scroll handles, slightly fluted foot and neck, the body engraved with festoons of fruit and flowers, mounted with silver-gilt and precious stones, the cover of silver-gilt, formed as two palm-leaves supporting a crown, with band of scroll ornament in black enamel—123 in. high—Italian, 16th Century See Illustration LEATHER-WORK. ‘91 A BasKeT-sHAPED Case AND Cover, of cuir-bouilli, tooled and partly gilt with shaped panels of flowers, &c. in the early rococo taste —10 in. high—Neapolitan work, early 18th Century 92 A Frarrenep Osione Casket, of wood, covered with cuir-bouilli ; in the centre of the cover is an impressed composition of figures dancing, friezes of Amorini, dolphins, &c.—17 in. wide— ltalian, late 16th Century 98 A Casn, containing three trays, into which are fitted a miniature of King Charles I. and Queen Henrietta Maria (?); also thirteen oval tale plaques, each painted with a costume that can be placed over the portrait of the King and Queen; the whole apparently of almost contemporary workmanship—l1} 1, across HSALOLNY ee i, ——. / do p 94 A Cuanouttor Drspatou-Box, of wood, fastened by four locks, , 8 95 A the sides hinged at the bottom, the cover hinged to one end ; it is entirely overlaid with leather finely tooled and gilt with the arms of France, of N avarre, the collar of St. Michael, the collar of St. Esprit, the royal cipher L (Louis XIII.) and crown ; the whole of the groundwork sewé-de-lys; the orna- mentation recalls the bookbinding of the brothers Eve— 134 in. by 53 in. by 5 in. See Illustration Fuarrenep Reoraneutar Case, of cuir-bouilli, dyed red, tooled on one side with a quatrefoil-shaped panel, with a shield-of-arms in proper colours of Bosso, Duke of Mantua, with the lettering B.D.M.; the whole of the ground work occupied with formal foliage upon a matted field —73 in. by 7% n.—Italian, late 15th Century See Illustration CARVINGS IN WOOD, AND STATUETTES IN x TERRA-COTTA, OF EARLY DATE. 96 A Smatt Opione Casxer, of wood, gilt, and enriched by applied portrait busts, cornucopia, scroll foliage, &. in gesso-duro.— 74 in, wide—Italian, late 15th Century 97 A CasKer, of carved, painted, and partly gilt wood ; around the sides are applied small-male and female statuettes, in the costume of the early part of the 15th Century ; above each is a crocketed Gothic arch; the mouldings are carved with a twisted thistle foliage—83 in. by 7 in.—12 in. wide— Flemish, 15th Century 98 A Ser or Four Upriant Praguns, of alabaster, and two canopies 6. & jour—English (Nottingham) work, late 14th Century—each plaque is chiselled in high relief with scenes from the Life of Christ, partly coloured and gilt D 34 99 Saint SEBASTIAN: & coloured terra-cotta statuette—19 in. high— Hs / / ) [, Italian, first half of the 16th Century busts in almost full relief—in a frame of formal laurel foliage 100 A Pare or Crrounar Trrra-Corra Mepauuions, with portrait vs Sorbie —Ttalian, late 16th Century 101 Saint Jerome: a group in coloured terra-cotta—18} in. high— > y, a / a @: l Italian, early 16th Century The Saint is represented kneeling by a rocky cavern, in a cavity of which is seen the seated figure of the attendant lion 102 A Terra-Corra Sraturrts, of Saint Nicholas, patron saint of Bari, holding a book under his left arm, his right raised in 4 of ie ib benediction; the plinth inscribed §*NIOOLAE'O'P*N—39F in. high—Italian, 16th Century carving in wood, painted in colours—83 in. high { 103 Tue Ficure or A Monk 1n Prayer, by Alonzo Cano: & /90 104 Curist Bounp To THE COLUMN: & carved, painted and partly gilt statuette, in the manner of Vittorio Ghiberti; around the pedestal runs the inscription OVIVS LIVORE SANATI SVMVS—— 143 in. high—Italian, early 16th Century See Illustration 105 SAINT MICHAEL: a terra-cotta statuette, partly coloured, in the manner of PornarvoLo—254 in. high—Itahan, late 15th Century The Saint is represented as a youth in classic armour, his head _ inclined slightly forward and to the left, his left foot drawn up and resting on the prostrate figure of Satan; in his right hand he holds a spear, and in the left the Imperial orb See Illustration a er SD Date Ra sale abet nd 5a RU LAS i | i . ' “ : ‘ t 5 35 STEELWORK OF THE SIXTEENTH AND SEVENTEENTH CENTURIES. 106 A Swurr-Box, circular, chased all over with acanthus scrolls and i l flowers intertwining in high relief; on the lid a royal helmet and mantling over a blank shield: the piercings are over a gold ground—4 in. diam. —Italian (Brescian), 17th or 18th Century 10¢ A Kzy, the bow formed of two chimeras addorsed, under an 108 A Italian coronet ; between them being a minute nude athletic figure, attached only by one hand and one foot—8 in. long —HTtalian, 16th Century The neck is a fluted boss with mouldings; the stem is a hollow cylinder; the bit asymmetrical with rectangular wards; the key is carved from the solid in the French manner, the minute figure in the centre re-appearing in several of Androuet du Cerceaw’s designs Cust Look, rectangular; the centre compartment, hinged to form the hasp, bears a low canopy, surmounted by a fleur-de- lys, and supported by two Corinthian columns—94 in, high, 43 in. wide—French, dated 1589 Beneath the canopy is a figure of the Virgin, in high relief, and below this, on the falling flap which covers the key-hole, is a small helmeted figure in low relief, enclosed in an elaborate framework; this terminates in a pine cone, which is movable and releases the catch that fastens the plate concealing the key-hole; the centre has, on three sides, a narrow border of tracery, beyond which are panels of flamboyant design, pierced in three thicknesses of plate on a gilt ground; above on either side, are small equestrian bas-reliefs on gilt grounds ; the capitals and bases of the columns and panels behind the Virgin are also gilt HORSE’S BIT, of steel, chiselled from the solid with masks, Serpents, acanthus leaves—executed wnder influence of the Brescian School, Italian, late 16th Century Py y’ 110 A Mownrsturo Ovirorm Vase, enamelled with two ostriches on 111 A Fannza Cyuinpricat Paarmacy Jar, painted with a profile 112 A FAENZA TWO-HANDLED VASE, of wlindeal one OF THE FIFTEENTH AND SIXTEENTH NT ae 113 A Castner, of architectural design, gilt and partly covered with — 114 A Watnut-Woop Ssow-Casinet, with small panels of a. : 115 A Waunut-Woop Prpment, of architectural design, divided 36 FAIENCE. groundwork of ferns in blue and mauve—74 i. high—second half of the 15th Century See Illustration portrait bust of a man in late 15th Century costume, the 4 entire groundwork occupied with a diaper design in blue, amber and dark mauve—10} in. high—late 15th Century See Illustration with chamfered neck and base, and twisted cabled-pattern handles ; on either side is an upright rectangular panel painted — with sprays of formal flowers, zigzags on the neck and base —121 in. high—late 15th Century See Illustration FURNITURE AND TAPESTRY velvet, fitted with glass panels forming a aa nae 17th Century Louis XIII. woodwork carved with Amorini peporan es ee: around the base—29 in. wide ° into three compartments, the centre carved in alto-rilievo, with Apollo attended by the Muses, the compartments divide by fluted’composite columns—7# in. wide— French work, of th first quarter of the 17th Century Te | BETS te i s ' ESOT E PST hg i Q x K Ss iN x ix a “. Md “| sh 37 116 A Watnut-Woop Frag, carved with grotesque figures of griffins, shields-of-arms and classic mouldings, the details of the ornamentation gilt—the size of the opening 83 in. by 7} in. —TItalian (Milanese), late 16th Century 117 A Watnur-Woop Arm-Cuatr, the arms carved with rams’ heads, the rectangular panel inlaid with a delicate arabesque design in pale marqueterie—Italian, early 17th Century 118 A Watnut-Woop Arm-Cuatr, with a drawer beneath the seat, where there is a small panel of marqueterie; the arms finish in rams’ heads—velvet-covered seat and back—early 17th Century 119 An Arm-Cuair, of walnut-wood, known as “Caquetoire”; the arms are supported by turned pilasters, the top of the back finishing in an open design, with a cartouche in the ceutre, carved with a mask—JF'rench work, of the period of Ienri LI. 120 An Ostone Watnut-Woop 'T'aBix, on seven baluster legs and double cross-shaped stretcher simply carved with groups of leafwork—60 in. wide —Italian, late 16th Century 121 A Waunut-Woop Crepence—S4 in. wide by 64 in. high—French work, of the end of the 16th Century The upper portion is divided into three cupboards with three drawers beneath; this is supported on four fluted columns with Corinthian capitals; a sheaf with moulded border beneath; the whole is carved with a characteristic late Renaissance ornamentation derived from the school of Jean Goujon 122 A CANDELABRUM, OF WROUGHT IRON, painted and gilt, with hexagonal base, stem and pan; the whole of the ornamentation consists of Flamboyant Gothic a-jour tracery with applied rosettes and other characteristic ornaments ; in the centre of the pan is the receptacle for the large ilaster service candle—57 in. high—Spanish work, of the end of the 15th Century From the Stein Collection 38 123 An Uprieut Pangt or TAprstry—8 ft. by 7 ft.—Burgundian, last quarter of the 15th Century In the centre is the figure of a woman riding astride an elephant, robed in an ample dark rose mantle with full sleeves, girt at the waist with a scarf and jewel; her skirt is inscribed Cuanrrre; this virtue subdues Envy, represented by a knight riding a hound, who lies stricken on the ground at her left; the whole field is decorated with wild flowers ; across the top of the panel is a dark rose scroll with an inscription in old French PERSIAN CARPETS. 124 A Persian carpet, the centre entirely covered with a design of leaves and rosettes in colours upon a buff ground, dark blue borders, edged with a narrower band of red—27 ft. 5 in. by 9 ft. 4 in. : 125 A Persian Rue, with a quatrefoil-shaped panel in the extreme centre, with formal flowers in polychrome on a black field, which in turn has an arch-shaped border ornament; exterior border of five narrow bands of flowers, arabesques, &c.— 6 ft. 8 in. by 4 ft. 2 in—1Tth Century 126 A small oblong rug, with a diaper design in the centre of yellow, red and black, blue and yellow borders—4 ft. by 3 ft. 6 in.— 18th Century 127 A Laret Persian Rue, with alternate dark blue, light blue and white quatrefoil-shaped panels in the centre, in seven narrow borders of conventional flowers and scrollwork in polychrome—13 ft. by 9 ft.—18th Century End of First Day’s Sale. Fat hos lees | Second Day’s Sale. ———— On TUESDAY, MAY 13, 1902, AT ONE OOLOGK PREOISELY. CARVINGS IN IVORY, HONE-STONE AND BOX-WOOD. 134 A Curssman, “the King,” seated on a throne, in long garments, his feet resting upon a lion, with sceptre, orb and crown— ; 24 in. high—late 14th Century ,. 135 A Draveursmay, of bone, circular, and carved in low relief with / 5 : / of a griffin standing over the prostrate figure of a nude man— é 21 in. diam.—Byzantine work, of the 10th Century From the Piot Collection 136 A Stren Knire anp Two-Proncep Fork, the grips of ivory, carved with caryatid male and female figures, finishing in of acanthus leaves—Flemish work, of the 17th Century J 137 A Smatt Oax Srarvetrs, of a king, at whose feet sits the “ | figure of an ox ; the king is caparisoned in armour of the latter yy part of the idth Century—4# in. high ! 100 b 40 CO J8 [440 40 138 A Orrovunar Mrrror-Casez, in two parts, carved in low relief with the story of Valentine and Orson; on the one side Valentine, armed and mounted in the fashion of about 1300-30, is seen fighting his brother, who is naked and has but bludgeon and shield; on the other half, Valentine leads Orson back captive to the castle—33 i. across— probably English work, of the first half of the 14th Century See Illustration 139 A Coms, with two sets of teeth, separated by an openwork frieze, formed as terminal figures holding a shield inscribed Semper; medallion portraits at the side—5} in. long— English work under Italian influence, of the second half of the 16th Century From the Hailstone Collection 140 Aw Urrient Prague, in which are sunk seven circular panels, each carved in low relief with a Scriptural subject; the groundwork has also Scriptural figures and formal leafwork dividing the panels—43 in. by 34 in.—probably English work, of the middle of the 14th Century } 141 A Powpur-F ask, of circular flat form, with a pierced centre, composed of ebony, profusely inlaid with scrollwork, caryatid figures, festoons of drapery, birds, hares and hounds, in engraved and polished mother-o’-pearl, ivory, &c., portions of the ivory inlay stained green, mounted with a nozzle and spring of steel, etched with scrollwork and gilt—two rings for suspension—Léalian, early 17th Century From the Collection of Sir Henry Hope Edwardes, Bart. 142 A Portion or an lvory Tusx, carved with a group of youthful Bacchanalian figures, and mounted in or-molu—school of Frangois Duqursnoy, called In Fiammineco—93 in. high, 54 in. diam.—Flemtsh, 17th Century ; the mounts 18th Century From the Seilliére Collection en eh ee Ope i pore preter . jek athe Win a NN A Bai Sn wets - ee ee eT ee ee ee ere eg Bo ai ee ee ty eee Re cn We Pa oa + 4 a vA ‘é a a *, 4 o? aa . > » Het FP) a = Se 6 u #4 ; A “p= a ex tie 5 v mt i a « ‘ . « 4% y, iat iy ‘ » € ; , Y * +“ 4 d ry * RY f r ‘ \ 1 . * : . on : 4 ‘ a 7 ; F + ‘ f ,F . r i ~! ; : r ” ? i - : * . - 7 ’ * i oe ee | et 7 ae [30 o x, Ta Pf : oy Pe Bice ve oae A] 148 A Group, of the Virgin and Child with Saint Catherine of Alexandria and Saint Dorothy; behind the Virgin, and supported on a structure of columns, are figures of Angels playing on musical instruments—73 in. high—Spanish, 15th Century From the Spitzer Collection Exhibited at the Victoria and Albert Museum 144 A Grovp, of the Virgin, standing, with the Infant Saviour in her arms—3 in. high—-French, 15th Century Hahibited at the Victoria and Albert Museum 145 A Puagoz, carved in openwork with the subject of the Meeting of Our Lord and Mary Magdalene in the Garden—17 in. by 14 n.—French, 14th Century From the Londesborough Collection : Hahibited at the Victoria and Albert Museum 146 A Manuscripr, on vellum: a book of devotions, including the penitential psalms, a litany, prayers, and the Te Deum. The ivory covers appear to have belonged to an earlier book, and are carved with the subjects of the Crucifixion and Christ appearing to Mary Magdalene in the Garden, surmounted by canopy-work —3{ in. by 1? in.—the manuscript Italian, about 1470 ; the covers French, 14th Century Hahibited at the Victoria and Albert Museum 147 A Puagun, carved in openwork, with figures of a lady and gentleman seated beneath a Gothic canopy—2k in. by 2 in.— French, 14th Century Exhibited at the Victoria and Albert Museum 148 A Group, a crowned figure of the Virgin, seated, with the Infant Saviour in her arms—on a copper-gilt base—61 in. high— French, 14th Century (the crown is modern) From the Spitzer Collection Exhibited at the Victoria and Albert Museum | ine 300 Linc 42 149 A Trireryon; the centre is carved with the Deposition from the Cross, surmounted by a pointed canopy flanked by towers ; the wings are carved with three ranges of figures, a man and a women at the top, Saint Mary Magdalene and Saint Catherine of Alexandria in the middle, and two crowned figures below—54 in. by 3 in.—North Italian, 14th Century Exhibited at the Victoria and Albert Museum 150 Two Uericut Pxaguss, of hone-stone, forming a diptych—7? in. by 114 in.—Carlovingian work, of the 10th Century In the centre of each plaque is an arched canopy ; in one the figure of Christ, and in the other the Virgin ‘and Child; around either of the centre figures are ten rectangular panels, with scenes illustrating the Life of Christ; above and below are narrow bands that have been decorated in gesso-duro 151 A Pasroran Starr, in carved bone—entire length of staff, 6 ft. 9 in.; 92 in. wide across the volute—Italian work, 14th Century The head of this crosier is composed as follows:—The knop is a large rhomboidal mass formed from a square block by cutting off the angles, so as to leave four lozenge-shaped spaces at the sides ; these are filled in with emblems of the Evangelists carved in low relief. The shaft of the volute rises above this in the shape of a dragon’s head and neck, with gaping mouth, from which grows the volute, enriched on the outer margin with ten boldly projecting leaf-shaped crockets rudely carved; the volute encloses a lamb with the stem of a cross or banner (the upper part of which is broken away) and also in the upper part a dove. The extremity of the volute forms another dragon’s head with gaping mouth, thiekly set with teeth, and apparently menacing the lamb; the head and shaft of the crosier are diapered over with floral ornaments, rosettes, grotesque dragons, and other animals, rather coarsely executed in surface gilding, outlined with red and black. Other crosiers of this identical type, most likely produced in the game district and at the same period, are still preserved; they are apparently of North Italian origin. It is difficult to determine their approximate date with any certainty - it is probably, however, later than might be at first supposed. The quasi-Byzantine style, especially marked in the diapered ornaments painted on them, would apparently indicate the 18th or earlier part of the 14th Century; but, judging from other details of a more modern aspect, it seems more likely that these seemingly very ancient motives were only traditionally or pre- scriptively retained in some remote districts Crosiers enclosing a lamb, with a cross in the volute, menaced by ie PT a erga te pe Ses ae Ty Pe a te ez A3 a dragon, were a favourite type, particularly in the 12th, 13th and 14th Centuries. As a mystical emblem of the contest of Our Saviour with the Evil One, this design is too obvious to require further ‘ elucidation From the Magniac Collection See Illustration 152 AN UPRIGHT PLAQUE—383 in. by 23 in.—French work, of p the middle of the 14th Century | In the centre, carved almost in full relief, is the figure of Saint j wy, 0 Catherine, seated on a flamboyant Gothic throne chair; her body is inclined to the right; she is crowned, behind the crown is seen the nimbus: in her right hand she holds the wheel, and in the left the palm of martyrdom; on her right-hand side stands Saint Peter, and on her left Saint Paul; above the heads of the little group is a most ornate canopy of characteristic French tracery with crocketed arches, pinnacles and buttresses From the Stein Collection See Illustration ANTIQUE GLASS. 153 An Auazasrron, of dark blue paste, with wavy bands of white 4 Bi Ale and yellow, the entire surface brilliantly iridescent—51 in. high 1 154 A Sma Hyprra, of dark blue paste, the body decorated with 1, chevrons and bands of white and yellow—a scarce type— F 22 in. high ; 1 ; 155 An Ampnora, of brilliant blue paste, decorated with chevrons ] / rf and bands of turquoise blue and yellow—a very fine specimen . —21 in. high 1 156 An Ampuora, with pointed base, decorated in‘a similar manner Js 10}: to the above—3 in. high 1 57 A Smaut Borris, of compressed form, of blue transparent paste ) / —2 in. high 1 113 in. high From Eretria 159 A Fiore or a Woman, standing, looking to rigl under-garment which leaves portion of neck 2 nd covered by an ample drapery, which envelo in left hand she carries a fan of aehibies | From rinse See Illustration 160 A Mae ee in running a donne fos a80 in. high From Myrina 161 A Smanui Srarverts, or A GIRL, of graceft —Ti in. high Pasa ve From Hretria oe aes curious form of oad alt the oe arm is a siceaaed a oe probably held a mirror; the left arm ent 1 in. high Vo her aia we) ¥ © From the Collection of the late Count Tyskiowies ‘ ne W a: x i hs » < rr) ae 45 163 A Very Gracerut Sratrurrre, or a Youna GiRL, wearing wreath and under-garment confined at waist, leaving breast 6 , and arms bare; around the lower portion of the body is a drapery, which is twice wrapt round the left arm and depends from the top of acolumn upon which the arm rests ; she holds in right hand an cenochoé, and in the left band a patera—113 in. high From Tanagra 164 A Semi-Nupr Fievre or a Giri, wearing wreath of leaves and é fruit, standing looking to right; the right hand resting on a column of rectangular form ; the left arm reposes upon the hip, and supports a drapery covering the lower limbs— 104 in. high | From Eretria See Illustration 165 AN IMPORTANT STATUE, OF APOLLO PYTHIOS, of ; 5 large size; the deity is nude, and wears a wreath around head ; the right hand half raised, and the left arm extended at full length—193 in. high From Aitica Tt has been suggested that itis a copy of a celebrated artist's work of the 5th Century B.0.: possibly the earliest found model for the Apollo Belvedere: ii may have been intended for a statue in bronze. It resembles, both im ihe style of modelling and in colour and teature of the terra-cotta, some fragments found on the site of the Mausoleum at Halicarnassus ; these fragments are in the British Museum See Illustration 166 AN IMPORTANT STATUBTTE, OF PALLAS ATHENE, of archaic work; the goddess is represented walking, wearing bo ) a diadem, circular earrings and bracelets of serpent form ; the hair arranged in formal curls; she wears the gis ; facie drapery arranged in formal folds; holding an owl in her right hand, which is raised and semi-extended, and raising with left hand portion of her drapery—10 in. high From Eretria See Illustration D0 A6 167 AN IMPORTANT STATUETTE, OF THE HERMES 168 A Matz Winerp Ficurs, wearing wreath (mperfect)—91 in, OF TANAGRA, of archaic work ; the deity is represented nude, standing facing; the hair arranged in formal curls and confined by plain diadem; over his shoulders he supports the figure of a ram, grasping with either hand the legs of the animal—123 in. high From Eretria From the Spitzer Collection See Illustration high | From Capua 169 A Smatt Group, representing a youth clad in tunic and short 170 A cloak, seated to left upon a rock; the right arm resting upon knee, the left arm placed upon the shoulder of a young girl in semi-recumbent position by his side, and who holds with left hand an amphora—s in. high, 54 in. wide From Thebes (Baotia) Said to have been discovered after the earthquake Very GraceruL Starurtts, of a young girl, semi-nude, seated upon a rockwork base; the right arm raised, the left placed upon the rock ; the lower limbs enveloped in carefully modelled drapery—63 in. high From Tanagra 171 A Szatep Femate Fiaure, upon a square cippus or base; the hair in saccos, a portion of breast and arms bare, whilst around legs, which are crossed, is an ample drapery ; the right hand rests upon a base, while the left arm is placed upon an amphora by her side—94 in. high, 64 in. wide at base From Tanagra (?) See Illustration 4 | ; 4 /00 y by 7 hLO. AT 172 AN IMPORTANT GROUP, OF THE “KNUCKLE-BONE PLAYERS”: two draped female figures kneeling vis-d-vis, each holding astragali; at their feet a small dog anda bird perched upon a melon—upon a deep rectangular base— 81 in. high, 85 in. wide at base From Capua From the Hoffmann Collection, No. 128, Pl. 10 See Illustration 173 A Smaut Grove, representing two winged Erotes struggling for a bird; marked traces of colouring, and of graceful execution —4 in. high, 34 in. wide at base—from Tanagra; and a frag- ment of a kneeling figure, of Psyche—3? in. high—from Myrina 174 An Asxos, of Tarentine fabric; the handle terminating in a winged siren ; the body decorated with appliqué figures in relief—12 in. high From Tarentum 175 A STATUETTE, in wood, of a man supporting a figure of Osiris —ancient Egyptian, XVIII Dynasty (1587-1328 3.0.) — 223 in. high His hair is formally arranged, around which is a diadem set with cabochon emerald and other stones; the eyes were formerly encrusted with stones; the drapery conventional, forming the shenti, and in front hanging in a stiff triangular fold From the Hoffmann Collection See Illustration 176 Tue Trerminat Fieure or a Basy Faun, with outstretched arms, enveloped round the centre in folded acanthus leaves— Greco-Roman work—2} in. high The pedestal overlaid with plaques of lapis-lazuli, mounted with silver-gilt See Illustration hd 0 48 177 A Pare or Srups, of gold, decorated with bands of granulated ornament—from the neighbourhood of Copenhagen—width of each 2 in. From the Forman Collection Hizhibited at the Victoria and Albert Museum 178 A Rive, of gold, with plain hoop and long oval bezel, upon which are represented two winged monsters face to face—Htruscan —1} in. by 14 in. 179 A Neoxunt, of gold, composed of beads, alternately plain and granulated, separated by discs with spiral rims ; it is further ornamented with eight pendent bulle with palmette orna- ments in relief—Htruscan—185 in. long Exhibited at the Victoria and Albert Museum 180 A Wreatn, or Gorn; the band is articulated and ornamented with olive-leaves and berries; the ends are decorated with long leaves, and terminate in loops—anctent Greek—about 6 in. diam. From the Forman Collection Exhibited at the Victoria and Albert Museum See Illustration 181 An Opstona Pxaqus, from a casket carved with the story of Kuropa—Loman, 5th Century ---2 in. by 5 in. The well-known Veroli Casket in the Victoria and Albert Musewm shows narrow panels of exactly similar workmanship From the Spitzer Collection Exhibited at the Victoria and Albert Museum See Illusiration 182 AN ARMLET, consisting of a twisted band ending in two loops— ancient British—4} in. diam. From the Forman Collection | Exhibited at the Victoria and Albert Museum y A9 183 A Braornet, of gold wire, with nail-headed terminations— ancient Irish—2.,3+ in. diam. From the Forman Collection Echibited at the Victoria and Albert Musewm 184 A Neoxier, composed of gold cowrie shells strung between small seed-like gold beads, enriched by the introduction of amethysts and with a brilliant blue glass scarabeus and small pendant onyx beast 185 A Crrovnar Brooon, of silver-gilt, with-a coloured paste in the centre, bordered by ten hemispherical ornaments, minute applied rope-pattern border— Teutonic-—14 in. diam. Found an the Rhine 186 A Pare or Harrinas, of gold; each consists of a plaque of . crescent form, enriched with scrolls of beaded wire, hung with pear-shaped amethysts and green pastes in gold settings —-Byzantine, 6th Century—3} in. long From the Forman Collection Exhibited at the Victoria and Albert Museum 187 A Orrovtar Brooos, of gold, decorated with cloisons; in the centre is a quatrefoil space, now empty, surrounded by two concentric circles filled with garnets—Merovingian—1 ,°, in. diam. Exhibited at the Victoria and Albert Museum See Illustration 188 A Fisuna, of bronze, of quatrefoil shape; the top is overlaid with gold foil, decorated with a pattern made of wire and strips of the same metal ; the fibula is set with mother-o’-pearl and pieces of glass—Lombardic—2} in. wide Exhibited at the Victoria and Albert Musewm See Illustration ic 50) 189 A CrrovuLar Brooou, of gold, enriched with cloisons filled with oh E coloured glass; the design consists of a rosette surrounded by three concentric circular bands (the outermost of which has lost its filling-in) ; the brooch has a cable edging, and the pin-guard is decorated with tiny rings of twisted wire— 2 in. diam.—Merovingian Exhibited at the Victoria and Albert Museum See Illustration 190 A Frsuta, of bronze, with seven projections round the semicir- | cular head; the upper surface is decorated with gold cloisons Y 45 forming the pattern; the head is ornamented with two lozenges with fylfot designs, and the bow with scale pattern ; the stem is divided into three compartments, each with a lozenge, the outer ones containing fylfots, and the centre one a cross; the eloisons are filled in with coloured and foiled glass—3}8 in. long—Merovingian | Exhibited at the Victoria and Albert Museum See Illustration GOLDSMITH’S AND OTHER WORK OF THE FIFTEENTH, SIXTEENTH, SEVENTEENTH AND KIGHTEENTH CENTURIES. 191 A Pair or Spoons, formed of the root of the maple, with short of- stems and balloon-shaped bowls, finishing at the ends in silver shield-shaped caps, engraved with trefoils and enamelled with monsters in blue—German, middle 16th Century From the Collection of Sir Hugh Hume. Campbell 192 A Prenvanr Orper(?), of gold filigree, formed as the double - headed eagle, set with pearls, emeralds and rubies, the collar bp 0 composed of six rows of sced pearls, divided by large cylin- drical beads of silver-gilt, with cloisons of various coloured opaque enamels—Hispano-Moorish work of the first half of the 17th Century SBE OO SES a i i ¥ : rt » ‘ 9 ? t D1 195 Aw Ovat Sinver Warton, the movement inscribed T. Ripart 4 Pants; the dial gilt and elaborately engraved with figures, masks, &c., a small sun-dial and compass in the cover; around the edge of the case is a pierced frieze of birds, acanthus scrolls, &c.—2} in. wide—French, middle of the 17th Century 194 A Spoon, of box-wood, with highly decorated handle chased with masks and scrolls; the top is formed of a Saint, with nimbus, bearing a chalice—German, end of the 16th Century Exhibited at Burlington Fine Arts Club, 1901 195 A Sinver Disu, with cabled-pattern border, into which are inlaid many coins, chiefly Scotch and English, dating from the time of Elizabeth downward—181 in. diam. (weight, 68 oz.) 196 A Wager Cop, formed as the figure of a lady with belled skirt, holding upraised above her head a hinged cup, the details of the costume engraved and slightly repoussé—10 in, high— German or Dutch, early 18th Century (?) (weight, 14 oz. 8 dwt.) 197 A Mazzr-Bowt, of maple-wood mounted in silver-gilt; the rim bears the inscription BENEDIOTA ‘SIT * SANTA‘ TRINITAS * IOHN Noso and the boss the sacred monogram I.H.S.—6 in. diam. —English, early 16th Century 198 Aw Hae, painted in red with divinities, mounted on a brass stand (23 in. high—Italian, 16th Century Hixhibited at the Victoria and Albert Museum 199 A Tankarp, octagonal, silver-gilt—mark, two “G’s” above a gateway ; the style is characteristic of work made at Sieben- biirgen—11 in. high—Hungarian, 17th Century (84 oz. 15 dwt.) The cover and drum are decorated with a cast design of raised fleur- de-lis; the knob is faceted and spiral, surmounted by a crescent and star, perhaps recently added. The eight sides are divided by a simple moulding, and round the middle of the tankard runs a plain welt; the thumb-piece is formed of a female torso between two lyre-shaped wings ; the handle is composed of a female torso with a Satyr’s mask at its extremity Exhibited at the Burlington Fine Arts Club, 1901 See Illustration BY 52 p : t 200 A Our anp Cover, gilt, formed as an ox rampant—marks, A! I$ 0 “ Trineburg ”—9 in. high—German, 17th Century (138 oz. 14 dwt.) The ox is finely modelled, the head, removable, forming the cover. It is believed to have belonged to the Guild of the Butchers of Bale. Several others exist Exhibited at the Burlington Fine Arts Club, 1901 in a circle on the base, and elsewhere A and RK in rectangles— 53 in. high—German, late 16th Century (12 oz. 1 dwt.) The cover, a flat dome of two stages, with arabesqued edged borders, surmounted by a Cupid; the handle is also etched with an arabesque ; the thumb-piece is a Cherub within acanthus leaves; the drum is divided horizontally in the centre by a band of two mouldings, faintly etched with a guilloche between; round the base and top are etched vandyked arabesques, covering about half thedrum; the base is moulded, and has a narrow border of lozenges and bars Exhibited at the Burlington Fine Aris Club, 1901 See Illustration is 201 A Tanxarp AND Cover, parcel-gilt—marks, Augsburg and F 105 202 A Travetiinc Case, with table requisites, silver-gilt—marks Augsburg and 1.1.8.—G@erman, early 18th Century The fittings consist of a plate, a covered dish, knife, fork and spoon, drinking glass, a salt, and stand for spice; these are shaped and moulded, engraved with arabesqued and vandyked designs on matted ground Exhibited at the Burlington Fine Aris Club, 1901 903 A Tankarp anv Cover, silver-gilt — marks C.F., W., U4, / 0 EM., and others wndecipherable—63 in. high—German, 16th / Century (15 oz. 1 dwt.) The cover is flatly domed, engraved with an arabesqued vandyke, surmounted by a statuette of St. Christopher; the thumb-piece is a mermaid with forked tail, and the handle bears a female terminal figure ; the drum is finely engraved at the top with a vandyked arabesque, comprising masks and drapery, and at the bottom with vandyked arabesques with fruit; round the centre is an applied band with Cupids, strapwork, scrolls and fruit in relief; at the base is a border of lozenges between mouldings Exhibited at the Burlington Fine Arts Olub, 1901 See Illustration J eB yj GO LL D3 204 A Pam or Trianeunar Sars, silver-gilt—11 in. high by 4 in. diam.—German, 16th Century (4 02. 12 dwt.) There are engraved masks and grotesques round the receptacle, and an embossed vertical border below, of Cupids, fruit and strapwork ; standing upon three scrolled Cupid terms From the Rev. Montague Taylor’s Collection Exhibited at the Burlington Fine Arts Club 205 A Smatt Casket, oblong, of silver, pierced and engraved on a 206 A gold ground—marks, N. (Nuremberg) and TS. linked, un- identified —3 in. long, 1% in. high, 2 in. wide—German, late 1Vih Century The cover is domed, and flat at the top, bearing a circle with the hours, a watch being concealed in the cover, signed “Seb. Schwarz, Nurnberg”; on either side of the dial is a male and female winged Satyr, amidst pierced scrollwork; the dome bears nude reclining female figures on the back and front, supported by kneeling youths; the short sides have Cherubs; on the front are two shields-of-arms and helmets, with large German mantlings ; on the ends are winged terminal figures and birds, and on the back an interlaced monogram under a ducal crown; the whole of the background is filled with minute scrolled foliage : Hahibited at the Burlington Fine Arts Club, 1901 Trianevtar Sart, with three receptacles, silver-gilt—marks Augsburg—381 in. high, 4? in. diam.—German, 16th Century (4 oz. 1 dwt.) | It is surmounted by a figure in Roman costume, supporting a shield and holding a spear; the upper face is engraved with scrolls and flowers on lined ground ; the sides bear a vertical ovolo border over an inverted trefoil fret; the feet are small standing lions supporting shields From the Loudesborough Collection From the James Gurney Collection Hahibited at the Burlington Fine Arts Club, 1901 207 A Sitver-Gitr Saur-Cenzar, of hexafoil-shape, resting on three feet formed as female terminals; round the sides are em- hossed and chased groups of fruit and strapwork upon a matted ground—Augsburg hall-mark and a maker’s mark M.B. linked—34 in. diam.—early 17th Century 209 A o4 | 208 A Vase anp Cover, of greenish porphyritic material, with gilt bf mounts—12 in. high—mark 8.1. in monogram on shield — probably Italian, 17th Century Inside the vase is a plain stone cup with gilt silver lining, sur- mounted by a band engraved with a semi-oriental design; this fits into a gilt lining to the vase; the cover is depressed conical, cut into numerous facets, to which are affixed eight Cherubs’ heads on open- work rosettes, and sixteen similar rosettes without the heads; the cover is finished by a-band engraved with a similar semi-oriental design ; the neck of the vase is encircled by a band of openwork scrolls, bearing Cherubs in relief; the vase is gourd-shaped, on a circular stem and foot, cut like the cover into numerous facets, to which are fixed male and female heads and Cherubs on openwork scroll ornaments; the lower part of the stem has a series of scrolled designs with heads; and a row of winged heads, both male and female, beneath; the base of the foot is encircled by a band of scrollwork in relief, with heads at intervals, and terminates in a band of quasi-oriental engraving STANDING CUP AND COVER, of amber, mounted with silver-gilt—18 in. high—probably German work, of the end of the 16th or commencement of the L7th Century The base is circular, the stem vase-shaped, the bowl of inverted bell form; it is carved with various ornaments in low relief in clouded amber, and further enriched with small panels and cartouches of trans- parent amber, painted on the under side; the cover surmounted by a female figure emblematical of Fame—in tooled leather case See Illustration OLD CHINESE PORCELAIN. with numerous figures on horseback and on foot, on peau- d’orange ground—93 in. high / 210 A pair of egg-shell vases, enamelled with a rocky river scene ely: 211 Another pair, with panels of figures and buildings in colours on blue and white ground, and small medallions of landscapes and birds—10 in. high = ree ba. 4}3) f 212 A Ser or Trem Orn Imart Vases avyp Covers, AND A Pair : y a or BraxeErs, deeorated with buildings, hawthorn trees and : flowering plants in colours and gold, exotic birds and insects in compartments on the shoulder—the vases 30 in. high; the beakers 21 in. high / p 4k 213 An Oup Nawxin Vase anp Cover, anD Parr or Braxers, spirally fluted and painted with conventional floral ornament and birds—21 in. high y : y - 214 A Smatn Saattow OoraconaL Bowt, with green lizard handle ; in the centre a stand supporting a cage and loose ball— Ming dynasty 215 A Parr or Hanae J ARDINIERES, enamelled with flowers and foliage in colours on black ground—6 in. wide—Kang-He dynasty a. Peary SDS ys coloured ground, with old English silver-gilt mount—4b in, 7 216 A small jar and cover, with dragons and clouds in green on buff- 1 ; / I high— early Kang-He dynasty 217 An Hexagonau Vase anv Cover, with H6-Hé birds, hawthorn 3 ‘of. : and other branches, rocks, &c. in colours and white on cy yellow ground—114 in. high From the Stuart Collection 218 A Faminur-Verte Saantow Bow., enamelled with Hé-H6 birds / en and peonies and medallions of fish on the border —mounted with silver rim—11 in. diam. From the Collection of Sir Henry Edwards, Bart. 219 An Ova Fuorep Bown, enamelled with fish, crabs, lobsters, At, &c., famille-verte border, with flowers in colours—17 in. long From the Collection of Sir Henry Edwards, Bart. 5 h 420 A Faminir-Verte Cyninprica JARDINIERE, enamelled with a H6-H6 and other birds, rocks and peonies—11 in. high | 221 A Faminiz-Verte Vasz, with small neck, finely enamelled with a party of ladies seated at a table, and ladies upon a terrace, [20 rocks, fir-trees and clouds, and with butterflies and flowering plants on the neck—184 in. high 56 999 A SquarE-sHAPED Vase, the panels enamelled with three ‘subjects of birds and trees, and one of a garden scene, with plants and birds—19 in. high 923 An Otp Nanxin SQuaRe-sHaPepD VASE, with aquatic birds and plants in blue and fleur-de-péche—19$ in. high 994 A Suarep Fiaure, of a priest, in powdered-blue, the robe pencilled with gold, the seat enamelled with figures of dragons—8} in. high 9925 A Pam or Fieurss, of a man and a woman, in richly decorated costumes, standing upon pedestals formed as waves—9 tn. high 3 996 A Suatsp Fravrs, of Kwannon, with child in her lap in relief, in richly decorated famille-verté costume—Ming dynasty— 91 in. high , 927 A PAIR OF FIGURES OF LADIES, in costumes brilliantly enamelled in green, red and other colours, vases of flowers at their feet, standing upon square famille-verte pedestals, the panels enamelled with flowers— Ming dynasty—18% in. high 998 A Parr or Cenapon Jars AnD Covers, with four lizard handles and leaf decoration in low relief—6} in. high OLD SEVRES, DRESDEN AND OTHER CONTINENTAL PORCELAIN. 929 A Tua-Cup anp Savorr, lavender and white ground, painted with vases in grisaille and sprays of flowers in medallions and richly gilt—by Norn 930 Anoruer, with dark blue and gold borders, painted with wreaths — of flowers on white ground semé with gold—by Mionaup 231 A Tomnrrs-Por anp Cover, white ground with vertical dark blue bands, with foliage and leaf decoration in pink and green in the divisions | 13. A, D7 A Cup anp Cover, painted with a child in a landscape in pink, in a feuille-de-choux pattern border, and sprays of flowers in colours on white ground 233 A Cyzinprican Tra-Por anp Cover, anv A Munx-Juc, pale green, white and blue ceil-de-perdrix ground, and rose-Du- Barri borders, richly gilt, painted with groups of fruit in two medallions, by Pisrre Jun. and Vinognr 234 A Vimnna Cazaret, decorated with arabesques in grisaille, each piece inlaid with blue and white biscuit plaques, with classi- cal figures in relief, consisting of oval tray, sucrier on stand, . two ewers, and two cups and saucers 235 An Oup Dresven Trs-Por, formed as a seated figure of a cock, painted in natural colours 236 A Parr or Onp Drespen Breakers AND Covers, the upper part of each painted with an extensive river scene, with shipping and figures, the lower part fluted and painted with river scenes in divisions alternately in pink and lake—7 in. high 237 A Two-Hanpiep Eovrtne ann Cover, painted with Chinese figures in compartments in red and gold trellis borders— 41 in. high OLD ENGLISH PORCELAIN. A Crown-Derpy T'na-Cur anp Saucer, with dark blue spiral fluting, painted with wreaths of flowers and festoons of foliage | , A Ser or Turez Campana-sHapep Vasus, of the same, dark blue, white and gold, each painted with a landscape in a 239 medallion—the centre vase 8 in. high, the pair 63 in. high An Otp Woxcestur Juve, dark blue scale-pattern ground, painted with exotic birds and flowers in shaped panels, and with a mask under the spout—7+ in. high 05 58 241 A Ser or THrez Ovirorm Vases, of Palmer ware, mottled grey ground decorated with ram’s-head handles, festoons of foliage and circular bosses in relief, in white, slightly gilt— the centre vase 15 in. high, the pair 134 in. high 242 A Lowxstorr Two-Hanptep Bown, Cover anp Stanp, painted with bouquets of flowers, and with branches of foliage in low relief, slightly gilt—6 in. high 243 A Parr or Barrersea Enamen CanDiEstioks, white ground, painted with landscapes and figures in numerous compart- ments—94 in. high 244 Anotuer, painted with sprays of flowers ; and a taller candlestick with birds in colours and gilt foliage OLD FRENCH FURNITURE AND DECORATIVE OBJECTS. 245 A Braoxet or Or-mox0, of the period of Louis XV., with open- work supports chased with various forms of scrollwork in the style of Caffieri From the Magniac Collection 246 A Parr or Smatt TaBuE-C AaNDLESTICKS, OF On-MOLU, of the period of Louis XV., chased with scrollwork and with recumbent figures of boys in full relief—33 in. high From the Seilliére Collection 247 A PastitiEe-Burner, formed as a small oviform vase and cover, of Chinese celadon porcelain, with foot, rim and cover mounts in chased or-molu of the Louis XVI. period—6 in. high 248 A Lovis XVI. Ostona Janpiniéru, with panels of verde antique marble, mounted with double claw feet, festoons of vine foliage, group of various trophies and me in chased or-molu—12 in. wide 59 f 249 A Parr or Conumns, of verde antique marble, of the late Roman j_ 400 5 : of 952 A Cha see 00 254 A times, mounted with Corinthian capitals and bases of or-molu work of the period of Louis XVI. 250 A Fouving Tasiz Suprontina a Casket, of the Régence period, in tulip and king-wood—-with open-work scroll- pattern mounts of or-molu—386 in. wide 251 An Opstona Waitine-Tasue, of the period of Louis XV., enclosing three drawers, cabriole legs, veneered parqueterie- wise with tulip-wood, the top covered with leather, and with corner mounts, lock escutcheons, &c. of chased or-molu— 36 in. wide | Smart Marquerurm Wrrrtna-Tasie, of the period of Louis XV., with fall-down front enclosing two drawers, and drawer beneath, the legs are slender and cabriole, the panels and top finely inlaid with vases of flowers and birds upon a tulip-wood ground—18 in. wide SmALL Bonueur-pvu-Jour Marguerertr Writine-T ase, of the period of Louis XV.—24 in. wide The front is moulded, as is also the shelf at the back, which on either side is enclosed by sliding tabourets, each resembling a succession of small volumes; in the centre the cupboard door is inlaid with or- molu trelliswork; in the front there is a drawer with a rising glass, and partitions for toilet-vases, &c.; the legs are slender and cabriole ; the various panels of marqueterie are inlaid upon an amboyna-wood ground ; the corners, mounts and lock-escutcheons in chased or-melu SMALL OBLONG PARQUETERIE TABLE, of early Louis XVI. period—223 in, wide In the body, enclosed by a sliding tabouret front, are three drawers: a drawer above, fitted with a writing-slab and three ink-vases; the top slides away from the drawer opening, inlaid with leather; the legs slightly cabriole; the whole mounted with or-molu chased with scroll shellwork and foliage § yO loo 950 h 10 60 2955 A MARQUETERIE COMMODE, of the early period of Louis XVI.—surmounted by a Breccian marble slab—48 in. wide The front is bombé and encloses two drawers; the marqueterie worked to a design of a suspended trophy of musical instruments in the centre, bordered by a form of key pattern and with bunches of various flowers, tied by ribands at the sides; the or-molu corner mounts, &c. finely chiselled with acanthus leaves, scrollwork, &e. JOSEPH CHARLES MARIN. 256 Tur Bust or a Youne Girt, in terra-cotta, her hair falling in ringlets upon her shoulders; over her hair is thrown a light scarf; it is bound with a chaplet of roses—signed at the - back—on marbled wood plinth—17 in. high See Illustration CLODION (Micux. Cuaupe). 257 THE STATUSTTE OF A LITTLE GIRL, in terra-cotta, holding in the skirt of her dress, which has slipped from her shoulder, a large bunch of fruit and flowers—signed by the artist at base—on chased or-molu plinth, with an applied honeysuckle frieze—14 in. high See Illustration 258 AN OVAL JARDINIERE, of terra-cotta—on dove-grey marble plinth, with spherical or-molu feet—16% in. by 104 an. by 7 in—French work, of the period of Louis XVI. In the centre of either side is a sunk oblong octagonal panel, modelled in relief with a classic subject; this is flanked on either side by figures of Amorini, who hold the drapery that falls in folds from the bucrania above; the upper moulding, which is formed as a heavy egg- and-tongue ornament, is supported at intervals on the head of male and female caryatids; at either end are suspended trophies See Illustration 4 . « rs Sib MA es Mal sale 2 at a Tht RS in, ABI Rel SoS Aah BANGS SS MRT ARN tah Male sah cal ia erase it +, ice * . (as = ’ 5 > ‘ ‘ f 7 6 7 + * = % ' v - “ 4 ‘ « y - , ri 5 i “ M é 7 ? ” ry ‘ . ‘ “ tu ai TTT AN vo 8 fh : AUTOTYPE, Bi VN oF ie > x “4 : ae 2 SS eee | he Re we = Pie: Wes SP BSR a iS | 4 es 4 | ! sae WERT Kea a iS, ens ‘ ia ; Ss G4 cane , % : x pis: ‘ Seca a LS Ge aan . a ae oe, aay 61 DRAWINGS. ‘ A. MANTEGNA. Mr, Pvt. Cran //0.. 5, /. 259 Tax a OF A Mane—biacl chalk 10 in. by 64 in. CORREGGIO. } 260 A Reoumpent Matz Fiaure—in black and red chalk IN Ynwnd 13. A: 11 in. by 164 in. | FILIPPO LIPPI. 9604 A Bretroat SupsEot—pen and ink if ~ Bf: 43 in.—circle PICTURES. EARLY FLORENTINE SCHOOL. | 261 Tua Pmrd, The Virgin and Saint John, standing on either side Z a : 4 . of the tomb, lift the dead body of Christ by each hand—on gold ground No NANT nt £ ‘ Nf ye S| iv ¥\ i a d ; 74 in. by 19 tn. FILIPPO LIPPI. 262 THe Maponna anv Caitp Enraronep. The Virgin, in crimson yd i‘ of dress almost enveloped in a pale blue cloak, supports the 4 Infant Saviour, who leans His head on her left shoulder and holds a pomegranate in His hands; the Virgin is seated on a gilt throne of classic design with an inscription at the base—dome top Dohd hf $2 10/. On panel—30 in. by 18 in. JACOPO DA SALLAIO. 263 Tae Prieta. The three Marys standing and raising the dead [ , ( body of Christ from the tomb which stands in front—unframed On panel—14% in. by 12 sn. ; ) ( } 62 SCHOOL OF BOTTICELLI. -964 Tue Maponna anp Curpv. The Madonna, seated near a { 4s 3 L window with a distant view of buildings, is dressed in red, aI which is almost completely concealed by a dark green cloak wv t3 embroidered with gold stars; she is suckling the Infant BS nia Christ, whom she partly envelopes in the folds of her tee! ° ° ‘a, - " On panel—244 in. by 17h in. Iota, ods a3, }. H. MEMLING. 265 Tur Saturation. On a woody hillside, with a castle in the background, stands the Virgin enveloped in the ample folds if of a dark green robe, conversing with Saint Elizabeth, who J lane ue / is in the act of embracing her ; Saint Elizabeth is attired in Met fe U a rich brown dress trimmed with fur, and large white coif; a ‘das nee wy brilliant crimson cloak is falling i the ground from off her Cl) ( ) AK 2) bu ‘— shoulders Mf 120. U >) - | } On panel—T3 in. by 53 tn. ¢ F. FRANCIA. RH | Renee Sele a 266 THE MADONNA AND CHILD WITH ae FRANCIS. f The Virgin facing the spectator, attired in crimson robe and J 0 5 0 ab draped with a dark green mantle, supports on her knees the % as Infant Christ, who holds cherries in His right hand; He is (ia , iV turning towards Saint Francis of Assisi, who is on the left; a ’ hilly landscape with distant spire of a church forms the background #108 ackgroun J laso Cupnerr On panel—25 in. by 193 in. From the Facchinetti, at Lucca | L. CRANACH. Y 267 Venus anp Cuprp. Venus, by the edge of a forest, stands facing : the right, holding in either hand a thin scarf, listening to sy / sf Cupid, who is before her offering a honeycomb; the head of a stag on the left; and in the bags corner a panel containing a Latin inscription cS ‘Se Signed with the artist’s cypher, and ‘date 154 On panel— 20 in. by 144 in. AUTaTY PE tary Sse >; — > a ae ina eS Net - pi a ral i) wy ia. Mey A) ee ee Se a et | sed rll 63 a”) j ; om ak,” ; \ ‘ i Jv ‘ , » ae ‘\ F EARLY FLORENTINE SCHOOL. 268 THE JUDGMENT OF PARIS. The three goddesses stand 4 | in a woody grove to left, Venus receiving the proffered apple ~ A / 0 from Paris, who sits on a group of rocks on the a distant ¥ -_-view of rocks and barren landscape #20. CQamssu On panel—15} in. by 19 in. From the Bonaffé Oollection See Illustration Tuy. BEAL Worbvinm Gh, P. PERUGINO. tA Ww Wi 269 A Composrrion, of four nude male figures; background of woody iy Yj 4 ; hills; a marble pilaster on the left—in original frame painted with arabesques on white ground rite a PP AAAS = 23 in. by 21 in, w pe Ger ve wee tIprr * di aad DOMENICO GHIRLANDAIO. a Rul Wen aA (6 sat Grom dan 270 A PROFILE PORTRAIT BUST, of an old man in blak dress _ site a, ee f 3 j [ and cap; mauve background (336 APekae , get 9 Bh. Rey Painted on a tile—20 in. by 14 in, ~ a + Gm. : See Illustration Leir wm U'Goimtorpe cote / ae De Garces . Purwle W Det InoNhuk ots gal, &4 be the Tornteys’ bal PIETRO DI LORENZO DA PRATO. an 271 THE MADONNA AND CHILD ALUA Lr | The Virgin is dressed in a rose mantle, girt with narrow bey ee ae ; blue band; a cloak of blue material, bordered with pearls | i rm Ge N20 and jewels and lined with green, is draped about her, pao see pel | partially covering her head, secured in front by a jewelled re ele morse; her head is bent forward, gazing at the Infant bode C. Christ, who sits upon her knee, facing to the left, and hold- ing in His right hand a goldfinch. In the background are ruined walls and a distant view of a town by a river—in original painted and gilt Mogg frame | “eo snap rae On panel—193 in. by 18 in. cf See Illustration 64 FF) \Oa Semem cal Wa aa SANDRO BOTTICELLI. 272 THE MADONNA AND CHILD ; The Virgin is dressed in brilliant crimson robe, over ; | which a cloak of dark green material is thrown; her hair / i i 0 falls loosely about her neck, and is partly covered by a scarf, which is draped round her shoulders; she holds the Infant Saviour with both hands, who stands upon her knee and raises His left hand in benediction ; a marble canopy of classic design ae the esis / l 80 Curia On panel—32 in. by 20 in. ~ From the Panciaticchi Collection “b@4 gue therel = See Illustration ( Moth TINTS dol tae tu9aya. One. London: Printed by Wi1i1am CLOWES AND Sons, Limited, Great Windmill Street, W., and Duke Street, Stamford Street, S.E. rane mae tee Eger eS ee Se oe eee Se Le ade eg mpg a Oe LALA DS Aye al2 we, ae ‘ “4 ae , —s i * r Re DD yee mS + Ss s Paris.” 154in- by 19in.. 200 guineas; a black ‘THE GIBSON-CARMICHAEL ae SALE: 2" Nearly £50,000 Realised. (rROM OTR OWN CORRESPONDENT. ). London, Tuesday Night. | No gentlemen in levee dress Jooked in at | Christie’s this afternoon, as was the case yos- | terday, to witness the dispersal of the colfectiont of works of art brought torether by Sir Thomas Gibson-Carmichzel. On the other hand. there} was 2 rumonr to the effect that Mr Fifzhenry, a buyer of many of the lots, was acting on be- half of a Royal personage... Tho highest price to-day was paid for a Madonna and child on panel, 32m. by 20in., ‘attributed ‘to Francesco Francia or Raibolni. the artist born at Bologna in.1450. . This was one of several old Itahan pictures acquired by Sir Thomas, it. 1s said. for a small amount; but for the Francia it 13 ruproured that. he refused an offer of £5C00. The opening bid was one of 1000 guineas, and Messrs Agnew wero the purchaserg at 1600 guineas. A Madonna and child. with S. Francis. 25in,. by 19hin., ascribed to Giovanni Bellini. made 1000 guineas; 2 composition of four nude male figures against a background of woody}. hills; in original frome, painted with arabesques. 23in. by 2lm., 790 eumeas: 2 Madonna and child. 194mm. by l3in.. from the Panciaticehi col- Iection, given to RBotticelli..400 guineas; Do- ménico Jhirlandaio’s profile. bust..of a man. “painted on a-tile,- 20'n. by. 14in., 320 guineas:-| ' “The Salutation.’ Thin. by 54in., catalogued as by: Memling. for which Sir Thomas is said to have given 150 cuineas, 210. cuineas: and an early. Florentine picture, ‘The Judgment of chalk drawing of a head of a man. 10in. by 6hn., probably by Montagena,, and not Mantegna. becun at 1 guinea. made 105 cuireas; the bust of a young girl. 17in. hitch, bv Josenh Charles Marin. brought £790; a sintnette of a little girl. V4in. high by Cledion. £589. Both thess were in terracotta. Of the carvings. mention mav he made of two upright nlaanes of hone-stene, 73in. by 4in., tenth century Carlovinman work, boveht by Messrs Durlecher. for FRerlin. at £200: a nastoral ctaff in bone. A A CO LA CCC 6ft 9m. long, Itslian, 14th conturv. £120: an : upright plaque, 3fin. by 23in., middle 14th cen- tury French work. with the figure of S. Catherine |: in almost full relief. £620; a portion of an ivory }: tusk. Flemish 17th century. showing a group of; Boechanalian ficures. crmolu mounts. £220: and | 217th century Ttelien powder flask, £33. which | goes into an Edinbureh ‘collection. A group; from Cupua of the knuckle-bone players. Stin. | hich, somewhat similar to one in the British | Mirseum, brought £100: the terminal ficure of ' 2 baby fawn, 24in. high, Greco-Roman work. the | pedestal’ overlaid with vlaques of lapis-lamaili. mounted with silver-gilt, £420; an oblong plaque, Roman 5th century, from a casket ce ryed with the story of Enropa, 2in. by 5Sin., £220. boucht by the well-known collector Mr. George Salting; a wreath of gold about in. diameter. Solent Cink, £125, as against £200 at the For- man sale; a maztr bow! of maplewood, mounted in silver-gilt; with inscription on rim. 6in. dis- meter.’ English early. 16th century, £170: an nal silver-gilt tankard, 2lin. high, Hun- garian 17th century, £240; a German 17th cen- tury cup and cover, gilt, formed as an ox ram- pant, 9in.. high, £380; an amber standing cup |]- and cover, silver-gilt mounts, 183in.’ high, pro- bably German late 16th century, £660; a pair]. of. Chinese porcelain figures of ladies, Ming dynasty. 18kin. high, 650 guineas, against a cost to Sir Thomas of, it is said, 200 guineas; a small oblong parqueterie table, 22in. wide, early Louis Seize period, £840; a marqueterie commode. the same period, with Brescian marble slab, 48in. ide, 860 guineas, against £120 when previously sold; and an oval jardiniere of terra- cotta l6tin. by 10sin. by Tin:, with ormolu feet, £410. The collection as a whole— the sum realised to-day being £17,864—yields the enormous total: of £49,273 0s 6d, or an average of about £181 3s for each of the 272 lots. The 287 iets of the: Dunn-Gardner silver brought £39,020 a fortnight ago, and, to sive. another example, the’ 324 lots of the great: Heckscher collection of } uff-boxes, &c., dispersed in 1898, yielded an “jpstance,.in the. case“of the Limoges - ewer bought by Sir, Thomas: for £800,:-which giade, £1700-—the surplus: of. profit is eae a ee ee ee | San imgpres ey I learn that for the most |_ tually changed hands is uncertain. In a total the highest priees:—By Durer, a design for a Ariec Sc ee ‘In. an. adjoining room the dispersal was con- tinued of an assemblage of drawings by old masters ‘‘formed by a well-known collector.” whom it is not difficult to identify as Sir J. Charles Robinson, Queen Victoria’s surveyor of pictures for many years. It is understood that he disposed of .the collection en bloc, and that it is now Offered at auction by the buyers, pro- bably after retaining such samples as they spe- cially wished to acquire. Whether or not the lots marked as bought by Mr ‘‘ Johnson” ac- of }£7232 for 303 lots the following are among painted decoration for the facadd@ of a house in Brussels, reference to the execution of which is to be found in the artist’s diary, £920; the coat- of-arms,’ with the skull, a pen drawing on velium, signed and dated 1503, £720; a processional de- sign for a part of one of the triumphs of Maxi- milian, in pen, dated 1517, £460; and a portrait of:a young man in black chalk, bought in 1884 at £50; £300. A sepia study of a gondolier for one of the Venice pictures by Carpaccio, £300; 2 pieta in black chalk by Michael Angelo, similar in design to the picture.at Panshanger, £560: anda design for a painted glass panel in pen and Indian ink wash, by Holbein, £160. Lord Henry Bentinck was among the buyers to-day. SR er nena a SECS * si in ie oe we Winpratt To Elontty.—Ib was intimated by the clerk at a meeting of the Town Council of Huntly, Aberdeenshire. on Monday evening, that he had been making inquiry about a legaey left to the poor of Huntly and for school bursaries by the late Dr Andrew, and that the amount of m ney that would be available would be between £10,000 and £11,000. ; . WisHAW.—PROPERTY SALE.—Yesterday, in the Crown. Hotel, Wishaw, the leasehold subjects which belonged to the late Robert Fleming, por- tioner, Waterloo, Wishaw, with the houses built | thereon, were exposed for sale at the upset price of £900. After spirited bidding, the propert was purchased by Mr Andrew Gibson, head- master, Morningside, ‘for £1000. Mr W. B. Thomson, solicitor, was the agent in the sale, and Mr James Meyshall the auctioneer. IDNESDAY, MAY 14, 1902. of] THE CARMIOHABRL ART COLLECTION. Mmi- Pi YESTERDAY Messrs Christie, Manson, & Woods en.| concluded at their rooms in London the sale of the remarkable collection of works of art of the Classic, Medizval, and Renaissance times, founded by Sir Thomas Gibson Carmichael, Bart. of Castle Craig. There was again a large attendance, and high prices prevailed, the most striking being 1600 gs. paid by Messrs Agnew for a Madonna and Child by Sandro Botticelli on panel, and 1000'gs. for the Madonna and Child with St Francis by F, Francia. Mr Asher Wertheimer secured a small oblong parqucterie table of the Early Louis Sixteenth period, mounted with chased ormolu, for £840, and 8 usterie commode of the same _ period for £800. This, the second day’s sale, including a dozen pictures by old masters, realised £17,864, 10s., making the full result for the collection £49,272, 8s. ‘he other important items were as follows :— Carvings—Upright ivory plaque, 3$ inches by 23, carved almost in full relief with the figure of St Catharine seated on a flamboyant Gothic throne chair, and St Peter and St Paul on either sido. Above the group is a most ornate canopy of charac- teristic French tracery, middle of the fourteenth century, from the Stein collec- tion, £620. Two upright plaques of honestone forming a drptych, Carlovingian work of the tenth century, £500; portion of an ivory tusk, carved with Saad Bacchanalian figure, mounted in ormolu, m the Seilhere collection, £220; group of tho Virgm and Child, with Saint Catherine of Alex- andria and St Dorothy, £130; crowned figure of the Virgin, seated with Infant Saviour in her arms, 64 inches high, fourteenth century, £130; Pastoral staff in carved bone, Italian work, fourteenth cem errnonite i axt of a young girl, 17 inches high, by Joseph Charles Marin, £700; statuette of a little girl, 14 inches high, by Clodion, £580; oval jar- diniene, modelled in relief, with a classic subject, French work of the Louis XVI. period, £410; group of the Knuckle Bone Players,” two draped female | fr figures kneeling vis-a-vis, from Capelan, £100. Objects of art.—Figure of a baby faum, the pedas-| st tal overlaid with plaques of lapis—lazuli, mounted with silver gilt, £420; oblong plaque from a casket, | hi carved with the Story of Europa, Roman, 5th cen| e& tury, £220; wreath of gold, the bdan articulated and ornamented with olive leaves and berries, ancient Greek, from the Forman collection, £125; a fibula of bronze, with gold cloisons, filled in with coloured glass, £95; statuette in wood, a man supporting a| t figure of Osiris, ancient Egyptian, £86. Goldsmiths’ work.—Standing cup snd cover of amber, mounted with silver gilt, 184 inches high, 16th or 17th century, £660; gilt cup and cover, formed as an Ox rampant, 17th century, said to have be longed to the Guild of the Butchers of Bale, £380; | octagonal silver gilt tankard, Hungarian, 17th cen-| ¥ tury, £240; a mazer bowl of maplewood, and|t mounted in silver gilt, English, early 16th century, i £170; pair of triangular salts, silver gilt, 14 inch high, by 4 inches diameter, 16th century, £100. : _ Uld Chinese porcelain.—Pair cf figures of ladies| ! m brilbantly enamelled costumes, Ming gear ‘ 1 1 £682, 103.; seated figure of Kwannon with child in her lap in relief, Ming dynasty, £162, 15s.; famille verte vase, finely enamelled, with ladies seated. on| ' a terrace, £120. j Old French furmiturea—Smail Louis XV. Bonheur] ‘ du Jour macqueterie writi ng-table, mounted with| ’ chased ormolu, £300; folding table, supporting a]. caskeb im tulip and kingwood of the, Regence period, £205; pair of vorde antique marble of late Roman times, mounted with Louis XV. Ormelu and Corinthian capitals, £200. Oblong Louis XV. writing table veneering parqueteriewise, with tulip wood and mounted with ormolu, £157, 10s. |. Old Masters.—Composition of four nude malel- figures, wooded hilly background, by Perugino, in original frame, with arabesques on white, 700 gs. The Madonna and Child, background of ruined walls and distant view of a town by a river, by Piotro di Lorenzo du Prato, in original painted and gilt wood frame, 400 pe Profile portrait bust of an old man} in a black dress and cap, painted on a tile 20 inches by 14 inches, by, Domenico Ghirlandaio, 320 The ‘Sahutation, on 2 woody hillside, with castle in back- ‘ground, on a panel 74 inches by 54 inches, +| Memling, 210 gs. sate e oy Nee t ee ee | THE GLBSON-OARMIOHARL, COLLECTION. pa aed | On Monday and Tuesday there will be soldat Christio’¢ a collection of objects even rarer and more important than those in the recent Dann-Gardner sale, and chosen with a tasto no Jess sure. Those who have visited tha exhibitions at the Burlington Fine Arts Club of late years, or who lingered in the Ioan section at Glasgow last santmer, must havenoticed that many of the fines! and choicest objects wero lent by Sir Thomas Gibson Carmichael, of Castlo Craig. For some years he has been known as one of tho most judicions of modem collectors, buying not many things, but a certain number of the highest possible quality, chiefly of the period from the 12th to tho 15th century, though now and then he permitted himself to acquire a few Tanagra figures, ora dainty object of French art ofj the 18th century | These are now to be sold, much as we may regret tha breaking up of a collection which is, take it altogether, | one of the most faultless that Christie’s has ever con- . tained. The catalogue (of which a well-illustrated edition is published) contains only 272 numbers, and all its. contents go easily into the West Room in King~ street ; but they are of such exquisite quality, and of a ° kind that is becoming so rare, that the sale will certainly be reckoned as one of the most memorablo of recent years. Perhaps the most remarkable part of the collection consists of the ivories, many of which have bsen described by Labarte, Molinier, and other authorities,| 'and have been seen at the South Kensington Museum | and elsewhere. The finest of all does not appear to have been known till the last Paris Exhibition, when it was shown in the Petit Palais, there to be acquired by a new eeeee It is the ‘* Viergo de Boubon ” (20), a most | curious piece, which, when closed, represents a figure of the Virgin, aud when opened becomes a triptych’ with) ' the Crucifixion and other scenes of the Passion. ‘This is’ of the 13th century and is wonderfully preserved. ‘Three centuries earlier is a colebrated little triptych, of | Byzantine work (17); of tho 14th century are the set of four plaques, carved in scenes representing the life of | our Lord (12)—from the Debruge and Field collections ; i while two centuries later still we come to the signed | relief by Albert Diirer, a Venus, to be compared with the ' master’s rare carvings in stone or boxwood. The , Limoges enamels are not many in number, but they. are i very choice of their kind. Among the pieces of metat: ‘ work and church plate, the most important is the well- i known Gothic ciborium, silver-gilt, and cnamelled (69),, | which brought 60,000f. at the Stein sale ; while a still rarer object is the broad dagger, or. cingucdea, of Venetian work with engravings in niclle; only one other of this character is known, and that is in the , Armoury at Turin. There are a few charming bronzes of , the 15th century ; the three French terracottas of the time of Clodion are charming of their kind, and the. _furniture is good. Among the few pictures the most | important hayo recently found their way from Italy— | they include ono of the two Botticellis from.:the | Panciatichi collection, Florence, 8 Madonna by Francia, and a curious composition attributed to Perngino. ; At the samo time there will be sold the large and ' comprehensive collection of drawings by old masters, —** formed during the last 40 years by a well-known amateur.’’ Who the amateur is, is an open secret, since many of the drawings have been at various times ex- hibited with his name. Some are of much importance, especially two portraits and a decorative design, genuine. works of Durer, and two which are admitted to be by: tichael Angelo. Rata ae mtg o>. © . ’ : ; ; ; h ~ | ¢ « 7 ; 4 be ? ¥ . ab oh et be ; baat; > ‘os A ee ihe fay 3 : 4 * ae he r any 4 , . poe a ; , A PS) ‘ . ‘ we : ft L ¥ - . ° ; ‘ RG: 1 ‘i 4 ‘ w « ‘ cae : a ae e , rs : P ‘ . ¥ J | nae a se ty ea ® | sie C d Pe elck - " j waik o re Be 4 ‘ 4 i 4 war : t ae +, # ¥ rE Ke wi “ i % aa : 5 + ee ee | ahs 7 i 3 * : : . j y. | / i = és 7 : ae : y Le aya eas ; ' a - or ” * 4 " Ping hy s "> a ; a Cua # a wes V i. =e ea Ae te ri mK 4 : : - wae i ? cA ' a See : . ; ‘. a : ie a ima Sa . ». 2 et ragpey SD OY SEN a: , {ipsa deed tanrtam 24 ' war Be dae. “Sbedyat qa ‘i «wool mii thas Pape es 6 aA Sa DHN Reeth aman te 5 ae. eee rety ge ies | Pee ek e } 2. waietelite ait oer. © oi nak Fine 4s kes Selly Syed oak Meecha i Wii xy ae Lae : my 1 hae ear | 5 ate alma THE GIBSON-CARMICHARL | OBJETS DART oe ~ First Day’s Sale. (FROM OUR OWN CORRESPONDENT.) London, Monday Night. ~ it is hardly too much to say that nine out of | n every ten of the connoisseurs now in London had | a examined in advance the magnificent assemblage | P of works of art belonging to Sir Thomas Gibson-| ¢ Carmicheel of Castle Craig, the first 127 lots of | it which came under Messrs Christie’s hammer to- a day. Sir Thomas himself is, I beHeve, in Scot- rE land, and in nearly every case collectors had en- | +! trusted dealers with their commissions. As was! s! anticipated, the clou this afternoon was the! # fascinating ivory shrine known as the Vierge de| 2 Boubon. It came into prominence at the last | *« Paris Exhibition, when it was seen at tho Petit | 1 Palais, whence Sir Thomas acquired it. This | te thirteenth century triptych, 17in. high, 108in. | té wide, is shaped as the figure of the Virgin en- throned, holding in her two hands a panel on which is carved, in almost full relief, the scated figure of the Saviour. The figure opens down the centre to reveal an interior where are carved geveral scenes from the life of Christ. | % The opening bid was one of £600.]h: then came £1000, and within a few d minutes £3800 was reached, Messrs Hardy | 1 being the purchasers, Messrs Durlacher the] * underbdidders. Another celebrated ivory | ¥ brought the second-highest price—a triptych of | s] tenth century Byzantine workmanship, Tdin. |. high, 9in. wide, beneath whose central dome £ is a figure of the Virgin. Bidding started at = £200, and Messrs Brauner, Munich, were the te buyers at £1900. Other ivories, &c.. include e set of four fourteenth century French plaques, each 5hin. by 53in., carved in open werk with | ° scenes from the life of Our Lerd, £1940: a}? mirror case, 2sin. by Min., of the same date| “ and country, £360 (at the Hope Edwardes sale | © it made £410); a Venus, 6in. by 28in., beauti- |: fully carved in low-relicf by Albert Durer, | 1 £600; and a triptych. French, early fourteenth C century, carved with scenes from the Passion |: of Christ, £320. 2 I believe that the collector was especially into- | 2 rested in two objects which ho had expressed | ° a wish not to have “sacrificed.” As a fact, | ° there was little risk of anything of tho] sort this afternoon. The first of these | * was a portable altar, 143in. by 10din., in ty Rhenish Pore acl the late: ‘“twoalhth | @ century, composed of a plaque cf Lumachellj| * marble inlaid in a panol of wood, with minia-|* tures of the late 13th century, replacing the fy relics that must formerly have been behind the | { erystal faces. Recent research shows that the s nltar was probably a gift to the Abbey Scheida pBbout the middle of the 13th century. With | * an opening bid of £120, Messrs Durlacher wero |? the buyers at £550. The second object was a|?) little Italian bronze, Yin. high, dating from the|” first half of the 16th century, and said to have| 7 come from the Yvon collection at £40. Tt is | ef a child, the head inclined shghtly for. ward on plinth of Egyptian porphyry. fessrs| Durlacher’s final bid of £1600 was éicht times | P as much as the opening one. One of the prin- | ¥ cipal works in silver gilt and enamel—the angel. | guarded ciborium, exhibited last year at the|D Burlington Fine Art Club—shows & slight de. | te crease in value since the disp-rsal of the Stein | n collection, when it brought 60.000 francs. Th] w was put in to-day at £500, and Mesers Sehiag-|h mand, Paris, were the buyers at £1750. On| h the other hand, a far more than Tecompensing | v rise is probably shown in the cviform ewer of |¢ Limoges enamel, second half of 16th century, | t! 12in. high, 4jin. diameter, signed with the | tc initials of Jean Countoi. It comes from the | d: Magniac collection, 1892, and may possibly be | p: om S t] that which made £55. This was started a¢ as little as £70, but Messrs Durlacher did noi sue- reed in acquiring it until £1700 was reached. +} Of the same kind was an oblong basket, most | 1: nf the plgtes initialled P.C., and the cover bear-| v: ~« OO CC ta ee wo cro ory 3 Oe SAD mS ee ee Be ae ” ed ease ee ey ng the fuller signature P, Courteys. Biblical cenes are painted on the front, back, &c. ‘ior’, Goorge were the purchasers at £1450 YX at least one case Messrs Duriecher acted é or behalf of the Glascow Museum. This was |! w hen there came up for sale a rectangular chest |” lock of steel, 94in. hich, 43in. wide. of French |* workmanship, dated 1599. heneath whose canopy |i 3 a figure of the Virgin in hith relief, £70 was the price paid. Immediately thereafter & decorative object in the same medium—a horse’ s hit chisetled from the solid with masks aay acanthys leaves, &c., by a late 1605 century Italian craftsman working under tha Diners of the Brescian school—brought £500. Otte: prominent objects include a bronze cuiemnd silvered and partly gilt, with four plaques by Giovanni delle Corniole, 1470-1516, £470 the buyer being a relative of Sir Donald Carri al a bronze bell, 7in. hich, Ttalian sixteanth ne i tury, and a statuette 9in. hich of Chastity aa is cduing Vico, £500 and £710, both havine been : restored in places by Mr Pomerov: 2 wood casket covered with plaques of Limoges enamel and mounted in enamelled gold, Sin high {talan or German sixteenth century, £700- and an upright panel of fifteenth century Burenn- dian tapestry, 8{t. by 7ft.. £460. The 127 lots vield a total of £31,407 11s. Mr Whitworth Wallace, of the Birmingham Art Gallery was among the buyers. ay 3 10 nearer re te ep a bel ey ey Co Ay } i 4 A Fare. C54 ‘ha A Oe eae Ped de Si hati ~ibicoians awn artves wae tment ts oo. “+ Ra , Mai acer nae eee Cie weir ‘tei ‘teed. : Prey bh ph ee WH ity ARS gia ie aah , wilt X . 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