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AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK BEGINNING SATURDAY, APRIL 17th, 1920 AND CONTINUING UNTIL THE DAY OF THE SALE THE RARE ARTISTIC PROPERTIES COLLECTED BY THE CONNOISSEUR SIGNOR RAOUL TOLENTINO TO BE SOLD AT UNRESTRICTED PUBLIC SALE LS hers AT THE AMERICAN ART GALLERIES 6D Tet. ON THE AFTERNOONS OF APRIL 2l1st, 22nd, 23rd, 24th, 26th AND 27th AT 2.30 O’?CLOCK AND IN THE GRAND BALLROOM OF THE HOTEL PLAZA FIFTH AVENUE, 58th TO 59th STREET ON MONDAY EVENING, APRIL 26th, 1920 BEGINNING PROMPTLY AT 8.30 O’°CLOCK \ \wo' No. 584—CARVED WALNUT AND OAK PANEL A ATEAU DE ROSNY YRY IV DINING-ROOM IN THE CH 7 aa FROM THE HE DE LUXE CATALOGUE OF THE RARE ARTISTIC PROPERTIES COLLECTED BY THE CONNOISSEUR SIGNOR RAOUL TOLENTINO WITH AN INTRODUCTION BY THE EMINENT AUTHOR, EDITOR AND EXPERT eee PG oes: Ae paseo TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE AFTERNOONS AND EVENING HEREIN STATED CATALOGUE WRITTEN BY MR. HORACE TOWNSEND THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANT, MR. OTTO BERNET, OF THE AMERICAN ART ASSOCIATION, MANAGERS MADISON SQUARE SOUTH, NEW YORK 1920 THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DII ALL DETAILS OF ILLUSTRATION _ Mr. Seymour de Ricci, who has written the fol- lowing foreword for the Descriptive Illustrated Catalogue of the Tolentino Collection, is well known to the American public as the former editor of Art in Europe and the author of numerous cata- logues of public and private collections. Mr. de Ricci lectured here last year in uniform as a mem- ber of the French High Commission, and again this winter was called to lecture in this country on early art by the French Institute in the United States. Among his works are: “Catalogue of Italian Pic- tures in the Louvre”: “Catalogue of the Barthé- lemy Rey Collection”; “Objets d’Art du Moyen Age et de la Renaissance”; “Louis Seize Furni- ture’; “The Book Collector’s Guide”; “French II- lustrated Books of the Eighteenth Century.” FOREWORD For the American art lover, there is no event more genuinely mier- esting than the sale m New York of a great European colleciion. Nothing possibly makes a stronger appeal to an amateur’s curiosity than the appearance on the American market of a considerable num- ber of works of art hitherto unknown or unseen, buried im casiles and churches and unearthed for his benefit by an eminent connoisseur. Italy. for centuries, has been the artistic storehouse of the world: it is from Italy that we naturally expect art treasures and up to now we have been seldom disappomted. The intense curiosity awakened in this country by the Davanzati Palace sale and by the recent dis- persal of the Bardmi Collection shows how keenly Italian art is appre- ciated m America. For several years, Signor Raoul Tolentimo has been ransacking Italy from the Alps to Oiranto. He has brought io- gether a large collection of works of art of every description which. through the American Art Association, he will submit to the American pubhe. Visitors to the American Art Galleries will have ample oppor- tunity to appreciate his energy as 2 collector, his success as a pur- chaser. his discrimination and his taste. and finally his knowledge as an expert im Italian and French art. Personally, Signor Tolentino needs no miroduchon: a Roman by birth, he has traveled extensively and has a perfect experience of the art trade and its conditions m Europe. He is well known as a careful and judicious buyer. with a keen eye for quality and an almost un- canny sharpness in detecting a fake. American museums and private collections owe many a satisfactory purchase to his expert assistance. I have had much pleasure, as a student of Italian art, m mspecting the numerous “objets dart” Signor Tolentino has brought here this spring. Knowing by my personal experience how scarce good works —J may say even indifferent works—are growing m Italy, my first impression was surprise at Signor Tolentino’s good fortune m having brought together such an extensive and comprehensive collection. My second movement. after having studied his treasures, was to congratu- Italian furniture of the fifteenth and sixteenth centumes 1s for Americans a comparatively recent discovery. It has been a most wel- come addition to their artistic stores. The days of gilded halls and gaudy mansions are past. The modern apartment, with plam white- washed walls or monochrome paper, is far closer to the Italian palazzo -'This celebrated foundling-hospital on the Piazza del Duomo has long been known to art lovers as the resting-place of valuable works of art, such as a fresco by Giottino, painted in 1342, another fresco by Niccold di Pietro Gerini and an important Ghirlandaio. As ascer- tained by the Italian authorities, this triptych, as late as the eighteenth century, still adorned a room of the hospital, from which it was doubt- less removed in some day of political disturbance. The ascription to Ambrogio Lorenzetti is to my mind open to question. A careful study of the panel shows very close analogies to the work of Bernardo Daddi, one of Giotto’s most gifted followers and an artist who in the last ten years has attained considerable fame. ‘Tis small altarpieces,” says Dr. Sirén, “so suitable for private col- lections, have been brought to light one after another, and it has been discovered that the artist is one of the most attractive and appealing of the earlier Florentine Trecento painters. He is the more interesting because he inaugurated an essentially new movement in this epoch of Florentine art.” The “Virgin Worshipping the Child” is a characteristic example of a Florentine Quattrocento Madonna, in the old frame and in beautiful condition, with the arms of the first owners in the lower corner. Pic- tures of this type were formerly ascribed to Grafione and to Alessio Baldovinetti. Mr. B. Berenson has nowadays successfuliy established their author to be Pierfrancesco Fiorentino and has listed the examples from his brush in various museums and collections. Few have this quality, hardly any show a landscape background (here we doubtless have the walls of San Miniato) and none are in more perfect state of preservation. The most inspiring manifestation of early Italian art are beyond doubt the wonderful sculptures of Donatello and his followers. Thanks to the untiring labors of Dr. Bode, we are now in most cases able to establish on scientific grounds the ascription of most pieces to their true author. Thus, every bust and every relief takes its place in the history of art and forms as it were a link of a great chain. To obtain original marbles by the greatest Italian artists is now a hopeless dream. Practically all the available pieces are locked up in public museums, and Mr. Widener’s achievement in purchasing his great Donatello statue is a solitary exception to a hard and fast rule. Are, then, the American museums and collectors doomed to do with- out genuine Donatellos/ The case is not quite so bad and I may be excused for explaining why, as the facts are not generally known to the public. Of most early Italian marbles there exist contemporary stucco or terra-cotta repetitions, doubtless executed in the artists’ studios and sometimes of considerable merit. ‘Twenty or thirty years ago, these replicas were not unobtainable in Italy, and Signor Bar- dini, the great connoisseur who, in Schubring’s words, has done more than any man, except Bode and Muntz, towards the resurrection of Medieval Florence, made a small collection of four reliefs by Dona- tello, which Signor Tolentino has been fortunate enough to secure and bring to America. These four reliefs exist in the Berlin Museum in similar examples, which are fully illustrated in the latest catalogue of that unrivaled collection. They should appeal to American collectors as exceptional and unexpected opportunities to obtain specimens of Italy’s most famous master. Not less fascinating is the polychrome stucco figure of the Virgin by Francesco di Simone Ferrucci. It is the exact model of the Madonna crowning the tomb of the lawyer Alessandro Tartagni in the Church of San Domenico at Bologna and is thus authentified as a most inter- esting document for the museum director and art historian. Likewise the Madonna by Benedetto da Maiano, of which another example exists in the Berlin Museum, is closely connected with the fine marble relief in the Duke of Montpensier’s Collection, and the Ma- donna with the Candlesticks is an excellent example of a composition ascribed by most authorities to Rossellino, but believed by others to be the masterpiece of an anonymous sculptor known as the “Master of the Marble Madonnas.” To these should be added a beautiful example of the art of the Abruzzi, a marble Madonna and Child, which experts believe to be from the hand of the celebrated Silvestro del” Aquila and which shows close analogies to his extant works. Last, but not least, our readers will find here reproduced a remark- able bust of the Saviour by Giovanni Della Robbia, much in the style of Verrocchio, and which has a most interesting provenance. It comes from the collection of Marquis Viviani Della Robbia, the last surviv- ing member of the Della Robbia family, and it was the only work of art by his illustrious ancestors which he still had in his possession. Both as a sculpture and as a historical relic this bust should appeal to all art historians, and we can understand that the late Marcel Rey- mond should have mentioned it in his books. Foremost among the stately array of bronzes comes the series of busts of the Cesars, formerly in Prince Barberini’s Collection and doubtless the work of Pietro Tacca, who is known to have been con- tinually employed by members of that noble family. No collector is entirely indifferent to the ceramic art. Not to men- tion the earlier majolica, which speaks for itself, especially the Deruta and Faenza pieces, I will draw attention to the remarkable series of Castelli and Savona faience, many examples being from the celebrated Marcuard Collection, others bearing signatures of members of the Delle Grue family. American collectors would do well to devote at- tention to these late Italian wares, which have many delightful qual- ities and will in a few years be as scarce and as coveted as some of the great early pieces. If more space were available I would dwell on the textiles and embroideries, on the charming set of three “Vieux Paris” tapestries, richly woven with gold thread, with biblical subjects, “Rachel and Eliezer,” the “Sacrifice of Abraham” and the return of the “Prodigal Son.” As shown by the coat-of-arms in the upper portion, they were doubtless made for the ancient family of Foisseret in Franche-Comté, who bore “‘d’azur au cerf passant d’argent, la téte sommée d'une étoile du meme.” Finally, I must at least draw attention to historical relies like the furniture from King Louis Philippe formerly at the Chateau d’Eu, and the two pieces from the French Garde Meuble, which are among the few items sold after 1870 when France made a desperate effort to clear off the financial obligations incurred during the war against the Prussians. Such are a few of the works of art contained in the Tolentino Collec- tion. They have been brought together with infinite pains and with the most earnest endeavor to select only such pieces as are a worthy object of the student’s and collector’s attention. Many of these examples, all, I believe, in time, will find their way into public museums and permanent galleries. May I express the hope that their origin should not be forgotten and that they should carry down to future generations the name of the eminent connoisseur who has so successfully brought them together. eymaur do. faces New York Ciry, 1920. CONDITIONS OF SALE 1. Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the pur- chasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale shall be a charge against such purchaser. 4, Delivery of any purchase will be-made only upon payment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on pre- senting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the pur- chaser. ‘Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 7. Guarantee is not made cither by the owner or the Association of the correctness of the description, genuineness or authenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold “as is” and without recourse. The Association exercises great care to catalogue every lot cor- rectly, and will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby wouid become responsible for such damage as might result were his opinion without proper foundation. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. i f . t P ; e - Oa , = ‘ ; . ‘. é ' ‘: ‘ 7 - ' 5 ' — ~~ ¢ ‘ 3 ‘ ¥ ’ , a \ d Y FE f - y * F a —— ‘Wy > } ~F - 4 * Ts oe of y ‘ = 4 ad | i yg : f i ‘ Signor Raoul Tolentino, in pre-- senting to the American public the | artistic properties described in the catalogue here following, makes grateful acknowledgment to his first teacher, his uncle, Signor — Arnoldo Terracina of Rome, to — whom, above all others, he owes his © training and sais as” an a antiquarian. f FIRST AFTERNOON’S SALE WEDNESDAY, APRIL 21, 1920 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK MISCELLANEOUS ART OBJECTS OF THE FOURTEENTH TO THE NINETEENTH CENTURY 1—Frencu Cut-ciass Cur anp Saucer or THE Earty NINETEENTH CENTURY ‘Cup with looped handles of gilt bronze with acanthus scroll terminating in rooster’s head and gilt bronze rim. Saucer with gilt bronze rim. Cut with bands and roundels of a checkered pattern. * 2—FLorENTINE Ivory InLtatp Watnutr Ser or Hour-crasses (CiEpsy- DRA) OF THE Earzty SIxTEENTH CENTURY Rectangular shape, with set of four hour-glasses in case of walnut with molded cornice supported by turned spindles and molded base. Inlaid with ivory knobs. Height, 3, inches; length, 64% inches. 38—SrENESE WoopEN CorFFER OF THE FIFTEENTH CENTURY Rectangular shape, with hinged lid. Sides and top of lid carved, in low relief, with panels of floral sprays with diapered background; ends carved with birds, brass angle strips and hinged looped handle. Height, 4 inches; length, 91% inches; width, 7 inches. 4—Frencu Marsie Tray oF THE Earty NINETEENTH CENTURY Oval shape. Black and white marble, with pierced gallery of silver and molded base and paw feet of gilt bronze. Length, 101%, inches; width, 7%, inches. 5—VENETIAN AppLiguks Guass Vases AND CovEeRS OF THE EIGHTEENTH CENTURY Pear-shaped bodies, with removable domed covers. Decorated with Chinoiseries of Chinese ladies, branches of roses, detached floral sprays, in cut-out colored paper attached to inner surface of glass and finished with background of white. Height, 15 inches. 6—Pair or Novi Porcruain VAsEs OF THE ANTONIBON PERIOD OF THE Later EIGHTEENTH CENTURY Urn-shaped. Of white biscuit ware, decorated in blue, black and gold with figures adapted from Etruscan vases. Gilt spreading rims, looped handles and circular feet. On rectangular glazed black bases. Height, 10 inches. 7—Pair oF EncuisH Encravines PrintTEp 1n Coors oF THE EIGHTEENTH CENTURY Rectangular shape. ‘Innocent Mischief” and “Innocent Revenge.” One showing a group of children chasing a butterfly, the other two girls tickling the face of a boy. Engraved by Bonnefoy after R. Westall and dated 1799. Height, 15 inches; width, 12 inches. s 8—EncuisH StTirpPpLE ENGRAVING OF THE EIGHTEENTH CENTURY Oval shape. Printed in brown. ‘The Pet Bird,” showing two maidens and an undraped child playing with a pet bird in front of its cage. En- graved by P. W. Tomkins after Bartolozzi. Height, 10 inches; width, 124, inches. 9—VeENETIAN ParinTING on GLASS OF THE EIGHTEENTH CENTURY Rectangular shape. Painted with figure of a young woman seated under a tree, to whom a youth offers a basket of fruit. On the ground is seated an infant. Landscape background. Height, 15 inches; width, 13814, inches. 10—Parir or VENETIAN Guass PaIntTINGs OF THE EIGHTEENTH CENTURY Rectangular shape, painted, on glass, with scenes of Dutch interiors and figures in the style of Teniers. In old molded gilt frame. Height, 1314 inches; width, 1314, inches. 11—VeEneETIAN Ivory anp Exsony IntAtpn Watnut CHESSBOARD OF THE SIXTEENTH CENTURY Rectangular shape. Exterior inlaid with squares of ivory alternating with squares of ebony inlaid, with ivory, in a design of acanthus-leaf quatrefoils surrounded by a border of ebony panels inlaid with pointed- leaf scrollings. Interior inlaid in the center with a rectangular panel of ebony occupied by an oval medallion surrounded by scrolled acanthus leaves, and with a backgammon board inlaid with ivory and rays alter- nately plain and stained green. The raised edge is inlaid with detached panels of ebony inlaid, with ivory, in a pattern of scrolled acanthus leaves. Height, 201% inches; width (open), 2534 inches. 12—Roman LeatTHER Booxsindine OF THE SEVENTEENTH CENTURY Rectangular shape. Brown calf, tooled in gold, with panels surrounded by scrolled borders semés with stars and divided by bands of smaller panels of alternate hatched and horizontal lines. Height, 14 inches; width, 10 inches. 183—Roman LeatuHerR PortTrouio OF THE SIXTEENTH CENTURY Rectangular shape. Red morocco leather, tooled in gold, with two panels having scrolled borders and occupied by scrolled escutcheons charged with the arms of the Barberini family and the order of Saint Francis. One surmounted with a Papal Tiara and crossed Keys and one with a Bishop’s Hat. Fastened with gold-tooled strap. Height, 6 inches; width, 14 inches. 4 ‘ ' ' t ’ ‘ ~---% ' ‘ ‘ ‘ ’ ‘ 4 t3¢t : “+ > J secuncee +<¢ ’ Jucwsccese ‘ 2334 ¢ t ee ee ee ‘ 24343 ' >< 9 aha 4 >< pe Sigs cos ete ote Seoee 14—VeneTiaAn Intatp Watnut CHEsspoard OF THE SIXTEENTH CENTURY Rectangular shape, hinged in two portions. One half of the exterior in- laid in ivory and light-colored wood with the squares of a chessboard, the other half with square panels. Interior inlaid with ivory and light- colored woods as a backgammon board with center panels of intarsia- work. Length, when open, 29 inches; width, when open, 18 inches. From.the old Simonetti Collection, Rome. 15—FLoreNTINE MANDOLIN OF THE SEVENTEENTH CENTURY Pear-shaped body, formed of longitudinal bands of ivory and ebony. Pearwood sounding board, pierced and carved with circular medallion and with scrolled bridge. Straight carved stem and carved head with horizontal projecting carved arm. Original support of woven silk braid finished with silk tassels. ; Length, 31 inches; width, 11 inches. From the old Simonetti Collection, Rome. 16—Vexeran Breviary or tHe Ercureenrn Century Breviary printed in black and red at Venice in the year 1744 and pub- lished by the Balleoniana Press. Bound in red velvet embroidered in colored silks and gold thread with scrolled escutcheon, with the coats- of-arms of the owner and the order of St. Clare. Title page illuminated with the name of the owner, a Sister of the order of “Poor Claires.” Brass clasps. 17—VewnetTiaAn Gitr Woop anv Wire Musicat Birpcacre or THE Ercur- EENTH CENTURY Of gilt wire. Circular-shaped body, with domed cover and brass swing- ing ring fimal. Incurved circular base of gilt wood, incised with floral meander, on ball feet. Interior fitted with artificial birds of bright- colored plumage, perched on branches of a tree and arranged to whistle tune. ' Height, 25 inches; diameter, 10 inches. 18—VENETIAN Wire Birpcace oF THE EIGHTEENTH CENTURY Rectangular shape with chamfered angles, domed top with spirally twisted ring handle and wooden pendants and rectangular wooden base. Formed of scrolled and spirally twisted wires, with projecting seed and water receptacles at sides. Painted green and yellow. Height, 2714 inches; length, 1814 inches; width, 15 inches. 19—Frencnw Enecravine 1n Corors or tHE EigHTeENTH CENTURY Cry of London: ‘Knives, scissors and razors to grind.” An old man with a grindstone and two girls in white dresses. (Rare.) Height, 1384 inches; width, 11 inches. 20—BurcunpDIAN GoLp EARRING OF THE FouRTEENTH CENTURY Circular cabochon-cut garnet, known as a carbuncle. In gold setting formed of volutes of gold wire with loop and hook of gold. 21—Frencu Wrovent-iron Bac FRAME OF THE FIFTEENTH CENTURY Oval-shaped ring dragons, with voluted tails and roundels. Straight loop, with rectangular wings pierced and wrought with a star and fleurs-de-lis. Length, 81% inches. 22—FrencuH Sitver Musrarp-pot oF THE EIGHTEENTH CENTURY Cylindrical shape. Open sides, divided by three plain flat tapering pilas- ters with spoon feet; horizontal bands above and below, pierced with quatrefoils, and engraved, molded rim; hinged domed lid with pineapple finial and flat looped handle. Blue glass liner. Paris touch of the eight- eenth century. Height, 434 inches. 23-—Dutrcu Sitver CorreE-pot oF THE Empire PERIOD Vase-shaped body, with hinged domed lid, acorn fimial, curved horse- headed spout, looped handle and band of engraved palmettes. On three curved tapering legs with female masks and paw feet. Height, 9 inches. 24—Sinver Bown, Cover anpD STAND OF THE EIGHTEENTH CENTURY 2 Coupe-shaped bowl, with looped handles terminating in dogs’ heads. Domed cover, with finial shaped as laurel wreath; circular foot and saucer-shaped stand; rim of cover, foot of bowl and rim of stand deco- rated with bands of lotus leaves. Turin hall-mark of the eighteenth century and maker’s mark “G.F.” Height, 51%, inches; diameter, 8 inches. Frencu Parcet Grrr anp ENAMELED SILVER EWER oF THE FIFTEENTH CENTURY Pear-shaped body, incurved neck, cylindrical stem, molded circular foot, domed and hinged lid, acanthus-leaf thumbpiece, acorn-shaped acanthus- leaf finial and flat looped handle. Body, neck, foot and back of handle decorated with bands of appliqué gilt ornament fashioned in _ high- relief as acanthus-leaf scrolls. Those around neck and _ body interrupted by circular medallions occupied by heraldic shields charged with coats-of-arms and quatrefoils in colored champlevé enamels on green grounds. Around the body are bands of incised trefoil ornamentation. Two Maltese Cross marks. Height, 17 inches. (Illustrated) 26—Frencu Sitver Trea-set And TRAY OF THE EIGHTEENTH CENTURY Hexagonal pear-shaped bodies, with curved spouts, square looped handles and hinged domed covers with pear and leaf finials. Flat-chased, with panels of fruit, pendants hanging from looped ribbons and groups of fruits on dotted grounds. Interiors of ewer and sucrier gilt. Oval tray with gallery pierced in a design of oval medallions. Set consists of teapot. coffee-pot, cream-ewer, sucrier and tray. Paris touch for 1786. (Illustrated) 27—Frencu Crock oF THE Empire PrErtop Lyre-shaped case of copper finish and gilt bronze, with cresting formed as scrolled escutcheon and basket of flowers. On circular molded foot and square base. Enameled dial, inscribed, “Chapon et Liquier.” Height, 12 inches. 28—Frencu Girt Bronze Chock or THE Empire PeRiop Circular clock dial, surmounted by a trophy of a Roman standard, a can- non and a fold of drapery, and flanked, on one side, by the standing figure of a grenadier in bearskin hat with three piled flintlock rifles, and on the other by a helmet and cannon ball. Rectangular base, with wreath and eagle, helmets and breastplates at angles and festoons of flowers and leaves. Base of gilt bronze scrolls and volutes. Height, 271, inches, ta. sstiiikedinn ia ated a, ae err’ A NAAA/ \ AY yO? 29—FLorENTINE Sitver axp Rock Crysrat Paper Kyire or THE Srx- TEENTH CENTURY Straight handle with chamfered angles and voluted pommel of rock erystal and with molded and chased silver gilt mounts. Spreading ineurved blade of steel damascened in gold with scrolled leaves. Length, 11% inches. 30—Frexcu Bronze anv Livoces Examert Cross oF THE FourRTEENTH CENTURY Cross with figure of crowned Christ hanging on cross with “IN RI” label, on larger cross decorated with bronze bosses and Limoges champlevé colored enamels in a pattern of roundels. Surrounded by cruciform background of wood. Height, 7% inches. 31—FrencH Bronze axnpn Enament Limocres Dish oF THE Earty Fovur- TEENTH CENTURY Circulars shape, with flat rim. Repoussé, chased and decorated with Limoges champlevé enamels, as to the center with a circular medallion occupied by a half-figure of Christ, crowned, with a cruciform nimbus and His hand raised in the act of benediction, surrounded by a border of scrolled Gothic leaves, and as to the rim with six circular medallions occu- pied by trefoil of vine leaves. Diameter, 114% inches. 32—Frencu Gitt Bronze anv Horn GoBLET OF THE FouRTEENTH CENTURY Coupe-shaped bowl of polished horn, with molded rim of gilt copper and enclosed in hinged straps decorated with grounds of incised zigzags and trefoiled borders. Hexagonal molded stem with knop formed of two tiers of incised trefoiled arches with Gothic pinnacles at the angles. Hexagonal spreading base decorated with chased acanthus leaves on a granulated ground and circular foot. Stem and base of gilt copper. Height, 9 inches. 39, —Frencu Girt Bronze Carre, Crock or THE EIGHTEENTH CENTURY Circular dial, with glazed pendulum case. Scrolled case of gilt bronze, with pointed-leaf pendants, vase-shaped finial and leaf and berry apron. Works signed by Deniére, of Paris. Height, 14 inches. 33—Frencu Goruic anp ENaMEeLep CaNpDLESTICK OF THE FovURTEENTH CENTURY Columnar stem, formed of five clustered pillars bound by molded bands entwined with wreaths of wrought leaves. Circular spreading foot with raised heraldic shield charged with a coat-of-arms in blue champlevé enamel. Traces of original gilding. Height, 15 inches. (Illustrated) 34—VeENeETIAN Ivory AND Bronze CaBineT OF THE SIXTEENTH CENTURY Rectangular shape. Hinged domed cover, with couchant lion in gilt bronze as finial lid forming a box. Body with dentelled cornice and two hinged doors with paneled front decorated with scrolled and pierced quatrefoils of bronze, with centers of old Roman cameo bust portraits of Roman Emperors in lava and stone. Plinth fitted with drawer with scrolled bronze keyhole escutcheon, shaped apron and bracket feet. Height, 16 inches; length, 13Y, inches. From the Marcuard Collection, Florence. (Illustrated) 35—VENETIAN Inuaip Torrotsr-sHELL TABLE SCREEN OF THE EIGHTEENTH CENTURY . Octagonal screen, with shaped tortoise-shell frame inlaid with engraved brass in a pattern of acanthus-leaf scrolls and birds and in colored enamels with a shield charged with a coat-of-arms. Inner frame of C-scroll pattern, cresting and side brackets of oval medallions, shell and C-scrolls of gilt bronze. On octagonal baluster-shaped stem and tripod base of three voluted and scrolled legs decorated in relief with rosettes and acanthus leaves of gilt bronze. Screen encloses panel of silk brocade. Height, 22 inches; width, 16 inches. 34 36—VeENETIAN Carved anv Girt Woop Ciusn NAME-BOARD OF THE ErcHT- EENTH CENTURY Rectangular-shaped tablet, with four vertical divisions, having horizontal channels for the reception of name cards. In the center is a vertical band carved with a rosetted guilloche pattern, above a tablet painted with an inscription, flanked by dies with gutte and lions’ masks, sur- mounted by a carved wreath of leaves and flanked by festoons of leaves and flowers. At the sides are carved floral pendants and below a shaped apron with demi-rosette and pear-shaped acanthus-leaf pendants. En- tirely gilt. Height, 6614, inches; width, 31 inches. 37—Nortu Irauian Carvep Ox Yoxkr oF THE SIXTEENTH CENTURY Double curved shape, carved in low relief on one side with panels occu- pied by the interior of a kitchen with a woman baking bread and a Madia, and by groups of a plough, a cart and agricultural implements. Carved on the other side with a cow and horse. Length, 41 inches. 38—VeENETIAN Wax ARCHIEPISCOPAL CROZIER OF THE SIXTEENTH CENTURY Head formed as voluted crook, of scrolled acanthus leaves supporting seated figure of Lamb, with two couchant lions at base. Square base with round arched niches, one occupied by figure of a saint and cylindri- cal staff modeled as a reed and entwined at foot with serpent. Length, 80 inches. From the old Simonetti Collection, Rome. 39—VeENETIAN CarveD anv Gitt Woop ProcrEsstonaL STANDARD OF THE SEVENTEENTH CENTURY Wooden standard, carved and pierced with two Putti, voluted scrolls. Cherub and descending Spiritus Sanctus Dove. On cylindrical staff covered with spirally twisted silk ribbon and brocade and finished with silk tassels. Length, 80 inches. From the old Simonetti Collection, Rome. MAJOLICA OF THE SIXTEENTH AND SEVENTEENTH CENTURIES 40—Farnza Masoutica Druc VASE OF THE SIXTEENTH CENTURY Pear-shaped body, with incurved neck and circular foot. Invested with a white glaze, and decorated, in blue, green and yellow with a medallion occupied by a couchant heraldic lion and surrounded by a wreath of pointed leaves and fruits and by zigzag scrolls of dark blue. A label inscribed with the name of the drug in Roman letters below. (Chipped.) Height, 7 inches. 41—CaraccioLto Masorica PHarMacy ALBARELLO OF THE SIXTEENTH CENTURY Cylindrical shape. Decorated, in blue, green and yellow, on a white ground, with a portrait of a youth, label with name of drug, and panels of leaves, zigzags and scrollings. Height, 71/4, inches. 42—Lop1 Masozuica INKWELL or THE SEVENTEENTH CENTURY Formed as a vase-shaped inkwell supported by three heraldic convention- alized lions resting their paws on scrolled eseutcheons and decorated in relief with three grotesque masks on circular base with two coupe- shaped and one cylindrical receptacle for sand and pouncet. Invested with a dark brown glaze simulating bronze. Height, 7, inches. 43—Patr oF CaLtracrRoNE Magouica PIrcHERS OF THE SIXTEENTH CENTURY Pear-shaped bodies, with, straight spouts and flat looped handles. In- vested with a white glaze and decorated, in dark blue, green and yellow, with circular medallions occupied by the heads of an old man and young woman, and with rosettes and scrolled leaves. (One spout restored.) Height, 81%, inches. 44—Derrvuta Lustrep Masouica Dish oF THE SIXTEENTH CENTURY Circular shape, with spreading sides. Invested with a white glaze and decorated, in blue and yellow lustre, with the portrait of a youth in sixteenth century costume and with a border of pointed panels enclosing voluted leaves. Diameter, 7%, inches. 45—Farnza Magsouica Druc PircHEeR oF THE SIXTEENTH CENTURY Pear-shaped body with straight spout, entwined by a modeled cord and with a mask at its base, incurved neck, molded circular foot and double looped handle. Invested with a white glaze and decorated, in blue, green, orange and yellow, with fruits, masks and dancing. An Amorino above, a label inscribed with the name of the drug in the center, and below an oval medallion occupied with initials and supported by Amorini with scrolled terminations. Height, 9 inches. 46—CaraccioLo MasoricA PHarmMacy VAsE OF THE FIFTEENTH CENTURY Pear-shaped body, cylindrical neck, straight spout and looped handle. Decorated, on a white ground, in colors, with scrolls and a label with the name of the drug. Height, 8, inches, 47—CasteL Durante Magouica Prine-conr VasE OF THE SIXTEENTH CEenTURY Vase in form of a pine-cone with circular molded foot decorated with light blue and brown glazes, and with bands of blue and orange. Height, 94% inches. 48—Farnza Masouica Pinge-cong VASE OF THE SIXTEENTH CENTURY Vase in form of a pine-cone with circular molded foot. Invested with vertical quarterings of dark blue and yellow glaze. (Foot repaired.) ' Height, 10 inches. 49—CaraceioLo Masoxuica BorrLe oF THE SIXTEENTH CENTURY Semi-globular shape, modeled as a human head, with straight spout and double looped handle. Decorated, on a white ground, in colors, with butterflies and a Latin inscription. Dated 1599. Height, 84, inches. 50—Pair oF Castet DurantE Masouica Druc VASES OF THE SIXTEENTH CENTURY Pear-shaped bodies, with incurved rims and circular feet. Invested with a white glaze and decorated, in blue, green and yellow, with circular medallions, one occupied by the Franciscan emblem, and one with an Amorino, and surrounded by wreaths of pointed leaves and fruits and looped ribbons. Labels inscribed with the names of drugs below. Height, 61 inches. 51—Earty Caraccioto Masorica PHarMacy VasE oF THE FIFTEENTH CENTURY Pear-shaped body, incurved neck, straight spout and looped handle. Decorated, on a white ground, in colors, with scrolls, leaves, fruits and a label. Height, 10 inches. Note: From the Von Beckerat Collection and illustrated in his book on “Italian Majolica.” 52—Perrsian (KasHan) Porrery ALBARELLO OF THE SIXTEENTH CENTURY Cylindrical shape, with incurved sides, cylindrical neck and incurved foot. Invested with a dark blue glaze stopping short of the foot. Height, 12 inches. Persian (KasHan) Porrery ALBARELLI OF THE SIXTEENTH CENTURY Cylindrical shape, with incurved sides, sloping shoulders and cylindrical necks and feet. Invested with a light blue glaze stopping short of the feet. Height, 12 inches. 54—Perrstan (Kasuan) Potrery ALBARELLO OF THE SEVENTEENTH CENTURY Cylindrical shape, with incurved sides, sloping shoulders and spreading neck. Invested with a dark blue glaze stopping short of the foot. Height, 12 inches. 55—Pair or Faenza MasoxuicA ALBARELLI OF THE SIXTEENTH CENTURY Cylindrical shape, with incurved sides. Invested with a white glaze and decorated with horizontal bands of green and orange and with a broad band of blue decorated with scrollings in white reserve. Height, 9, inches. 56—Masouica Two-HanpLep PuarmMacy Vase oF THE SIXTEENTH CENTURY Pear-shaped body, with looped handles. Decorated, in blue, green and yellow, on a white ground, with portrait of a young woman, name of the drug and scrolling. ( Repaired.) Height, 8 inches. (Illustrated) 57—Ureino Masoutca Puare oF THE SIXTEENTH CENTURY Circular shape. Painted, on a blue ground, in colors, with portrait of a woman, inscribed, “w. rpotr TA.” In case. Diameter, TY, inches. (Illustrated) 58—Ruopian WarE PLATE OF THE SIXTEENTH CENTURY Circular shape, decorated, on a bluish-white ground, in colored enam- els, with a Rhodian Knight. Diameter, 101%, inches. 59—Pair or Farnza Masorica PHARMACY ALBARELLI OF THE SIXTEENTH CENTURY Cylindrical shape, with sloping shoulders modeled in relief and molded feet. Invested with a white glaze and decorated, in blue, yellow and green, with acanthus-leaf scrolls, bands of acanthus leaves and the names of the drugs in Gothic letters. Height, 10 inches. 60—CastEet. Duranre Farnza PrrcHer with HaNpDLE OF THE SIXTEENTH CENTURY Pear-shaped body, with incurved neck, circular foot, straight spout encircled by a modeled cord and flat looped handle. Invested with a white glaze and decorated, in blue, orange and yellow, with a diapered pattern of floral rosettes. Height, 10 inches, 61—Pair or Savona Magsonica PircHers oF THE SIXTEENTH CENTURY Pear-shaped bodies, with straight spouts, looped handles and incurved necks. Invested with a blue glaze and decorated, in black, with scrolled acanthus leaves. Height, 1014 inches. 62—Pair or Savona Masonica Vases OF THE SEVENTEENTH CENTURY Pear-shaped bodies, cylindrical rims, circular feet and upright leopard’s head handles. Decorated, on a white ground, in blue, with landscapes and figures in seventeenth century costumes. Height, 81% inches. From the Marcuard Collection, Florence. 63—Lop1 Masorica PHarmMacy VASE OF THE SEVENTEENTH CENTURY Cylindrical bulbous shape, with straight side, incurved rim and foot and handles modeled as winged Grecian sphinxes with serpentine terminations. Decorated, on a white ground, with scrollings and with the name of the drug on a label. Height, 13% inches. From the Marcuard Collection, Florence. 64—CaraccioLto Lustrep Masouica DisH or THE SIXTEENTH CENTURY Circular shape, with flat rim, gauffered edge and fluted center. Invested with white glaze and decorated in lustred brown and blue with radiating panels occupied by shuttle-shaped figures and with a flower and leaf border. Mark P and Monogram. Diameter, 914 inches. Note: This is an exceptionally interesting piece. Though it bears the mark of the Cafaggiolo potter, Pietro Di Pilipo, the lustre is that associated with Gubbio Ware. 65—Savoxna Masourica VAsE oF THE SEVENTEENTH CENTURY Bulbous pear-shaped body, with spreading neck, pierced and molded rim, molded circular foot and two looped handles with scrolled termina- tions. Decorated, on a white ground, in blue, with Putto astride a gro- tesque horse, trefoils, arms of France and Austria, voluted scrolls and flowers in relief. Diameter, 10, inches. From the Marcuard Collection, Florence. 66—Lopi Masouica PHarMaAcy VAsE OF THE LATE SIXTEENTH CENTURY ‘Bulbous cylindrical body, incurved neck, molded circular foot and looped handles modeled as winged Grecian sphinxes. Decorated, on a white ground, in colors, with scrolls, flowers, leaves, fruit, figures of deer and with the name of the drug. Height, 12 inches. From the Marcuard Collection, Florence. 67—Farnza Magsouica VASE- OF THE SIXTEENTH CENTURY Pear-shaped body, with annular rim. Invested with a white glaze and decorated with a ground of light blue, panels of scrolled leaves and floral sprays in dark blue and with a band of scrolled ornamentation in white reserve. Height, 11 inches. 68—CastreL Durante Masouica Druc VAsE witH HANDLES OF THE SIX- TEENTH CENTURY Pear-shaped body, with incurved rim, circular foot and flat looped handles. Invested with a white glaze and decorated, in blue, orange and yellow, with diapered pattern of floral rosettes and a scrolled label, in- scribed with the name of the drug in Roman letters. Height, 11 inches. 69—Damascvs Porrery Bow. or THE SIXTEENTH CENTURY Coupe-shaped, with curved sides. Invested with a white glaze and decorated, in blue and green, as to the center, with an octagonal medal- lion with incurved sides occupied with diagonally crossed lines and scrollings, and as to the sides, with spade-shaped panels enclosing two shuttle-shaped dolled ornaments surrounded by scrollings. Height, 4 inches; diameter, 12 inches. 70—Damascus Potrrrery Bown oF THE SIXTEENTH CENTURY Coupe-shaped, with curved sides and flat rim. Inyested with a white glaze and decorated, in blue, green and yellow, as to the center, with a hexagonal pointed leaf rosette, and as to the sides, with spade-shaped panels alternately outlined in green and yellow, and occupied by hatched diapers in blue. The rim decorated with a border of a line and pear- shaped splashes in blue. Height, 44%, inches; diameter, 14 inches. 71—CaraccioLo MagsoricA PHARMAcyY ALBARELLO OF THE SIXTEENTH CENTURY Cylindrical shape, decorated in blues and yellow, on a white ground, with a portrait of a turbaned Turk, a label with name of drug and scrolled acanthus leaves. Height, 124% inches. (Illustrated) 72—Parr or Savona Masorica “RocaiLLte” Piatres oF THE EIGHTEENTH CENTURY Circular shape, with scroll and shell rims, and scalloped edges. Deco- rated, on a white ground, in blue, with landscapes, trees, buildings and figures. Diameter, 16 inches. From the Marcuard Collection, Florence. (Illustrated) ~s i3—Parr or Savona Masonica “Rocaitte” PLAtTes oF THE EIGHTEENTH CENTURY Circular shape, with scroll and shell rims and scalloped edges. Deco- rated, on a white ground, in blue, with landscapes, trees, buildings and figures. Diameter, 16 inches. From the Marcuard Collection, Florence. 72 74—Savona Masouica DisH oF THE SEVENTEENTH CENTURY Circular shape, with curved rim and scalloped edge. Decorated, on a white ground, in blue, with a landscape, trees and figures of lovers. Diameter, 15%4, inches. From the Marcuard Collection, Florence. (Illustrated ) 75—Savona Masouica PuaTe oF THE SEVENTEENTH CENTURY Circular shape, with curved rim. Decorated, on a white ground, in blue, with a landscape and building and a figure subject of a reclining Venus surrounded by Amorini. Diameter, 1314, inches, From the Marcuard Collection, Florence. (Illustrated ) 76—Savona Masouica “RocatLLte” PLATE OF THE SEVENTEENTH CENTURY Circular shape; curved rim and scalloped edge. Decorated, on a white - ground, in blue, with a central medallion of a woman seated in a land- scape surrounded by scrolls and leaves. Diameter, 171/, inches. From the Marcuard Collection, Florence. (Illustrated ) 77—Savona Magsouica “RocatLLE” PLATE OF THE SEVENTEENTH CENTURY Circular shape; curved rim and scalloped edge. Decorated, on a white ground, in blue, with a central medallion of three seated female figures surrounded by Amorini, landscapes and buildings. Diameter, 17 inches. From the Marcuard Collection, Florence. (Illustrated) 78—Savona Magsouica “RocatLtue” PLATE OF THE SEVENTEENTH CENTURY Circular shape, with scalloped edge. Decorated, on a white ground, in blue, with a central medallion of warriors and horses. Diameter, 151/, inches. From the Marcuard Collection, Florence. (Illustrated) 74 78 79—Pesaro MagouicA PLATE OF THE SIXTEENTH CENTURY Circular shape. Painted, in colors, the center, on a blue ground, with head of Roman Emperor and Latin inscription, the rim on a white ground, with scrolled leaves and flowers. In case. Diameter, 1534 inches. S80—VENETIAN MasozicA Ewer oF THE SIXTEENTH CENTURY Pear-shaped body, incurved neck, pointed spout, looped handle with mask termination in relief and circular molded foot. Invested with a white glaze and decorated, in yellow, brown and blue, with a scrolled escutcheon charged with the arms of the Pisani family and supported by two figures of Victory. Height, 13% inches. 81—Dervuta Lustrep Mayvonrica PLATE OF THE SIXTEENTH CENTURY Circular shape. Decorated, on a white ground, in golden lustre and blue, with a crowned “N,” the initial of the family for whom the plate was made, and with scrolled leaves. 82—Prsaro Magsouica PLATE OF THE SIXTEENTH CENTURY Circular shape. Painted, in colors, the center, on a blue ground, with the portrait of a woman with uncovered breast, the rim on a white ground with panels of imbrications and scrolls. Diameter, 151% inches. 83—Pair oF Savona Masouica “RocaiLte” PLares OF THE EIGHTEENTH CENTURY Circular shape, with scroll and shell rims and scalloped edges. Deco- rated, in blue on white, with landscapes, trees, buildings and figures. Diameter, 16 inches. From the Marcuard Collection, Florence. 84—Par or Savona Magsouica “RocaitLte” PLATES OF THE EIGHTEENTH CENTURY Circular shape, with scroll and shell rims and scalloped edges. Deco- rated, on white, in blue, with landscapes, trees, buildings and figures. Diameter, 16 inches. From the Marcuard Collection, Florence. 844—Dervuta Lustrep Masorica PLate or THE FIFTEENTH Cen: Circular shape. Decorated, on a white ground, in golden lustr blue, the center with an heraldic statant lion, the 1 rim with a ] imbrications. | Baie Eon Se (Illustrated) _ z Se Date ne Lust Masouica ha OF THE Frereestat ieee Fibs oT * t a) ‘ wus 85—Hisrano-Moreseve Fairnce Dish or THE FirrEENTH CENTURY Circular shape. Decorated, in copper lustre on a white ground, the central raised boss with an eagle and bands of scrolls, diapering and rosettes, the interior side with an inscription in Gothic letters and the rim with trefoils in relief and scrolled leaves and flowers. Diameter, 1534 inches. (Illustrated ) 86—Pair or Casteiui (Aprvzz1) MasoricA ALBARELLI OF THE EIGHTEENTH CENTURY Cylindrical shape, with incurved sides, rims and feet. Decorated, on a white ground, in colors, with figure subjects of Noah on the summit of Mount Ararat and the Vision of Elijah in the Desert. By Carlo An- tonio Grue. Height, 15 inches. (Illustrated ) 87—Farenza Masoxrica VAsE AND Cover OF THE SIXTEENTH CENTURY Pear-shaped body and removable cover modeled in the form of an owl with wings, the head forming cover. Decorated, on a white ground and in color, with feathers in relief and painted naturalistically. Height, 1634 inches. 88—CaraccioLto Masonica Drrr DisH oF THE SIXTEENTH CENTURY Circular shape, with flat rim. Invested with a white glaze, and decorated, as to the center, with the figures of two soldiers in sixteenth century cos- tumes of yellow, orange, black, white and green. One holds a halberd, the other is girt with a sword. Blue background, flanked by convention- alized branches of flowers. Rim decorated in similar colors with alter- nate panels occupied by acanthus-leaf scrollings and imbrications. Diameter, 17% inches. S89—Asrta Minor Potrery PLATE oF THE SIXTEENTH CENTURY Circular shape, with curved rim. Invested with a white glaze and deco- rated, in blue and green, as to the center, with a cinquefoil medallion of white reserve occupied by a floral rosette and surrounded by five floral medallions separated by pear-shaped leaves in dark blue; as to the rim, with four medallions of white reserve, occupied by floral rosettes in blue on grounds of green hatchings separated by diapered panels of blue and brown hatchings. Diameter, 21 inches. 86 90—Savona MasouicaA PLATE OF THE SEVENTEENTH CENTURY Circular shape, with flat rim. Decorated, on a white ground, in blue, with a landscape, trees and grotesque figures accompanied by a cow and a dog. Diameter, 1814, inches. From the Marcuard Collection, Florence. (Illustrated ) 91—Prsaro Masorica Dish oF THE SIXTEENTH CENTURY Circular shape, with flat rim. Decorated, on a white ground, in colors, as to the center with two standing figures of soldiers in striped jerkins, and as to the rim with alternate bands of diapered imbrications, and voluted scrolls. Diameter, 17 inches. (Illustrated ) 92—-Prersian Porrery TasLte Tor oF THE SEVENTEENTH CENTURY Circular shape. Formed of sixteen radiating sections. Decorated, on a white ground, in colors, with radiating arabesques of scrolled pointed leaves and volutes of serrated leaves, all in the Saracenic manner, with bands of interlacements and with a central starred medallion. From the Dal Zotto Collection, Venice. (Illustrated) 93—Savona Magoxrica VASE OF THE SEVENTEENTH CENTURY Pear-shaped body, incurved neck, spreading circular foot, scalloped rim and looped handles with mask terminations. Decorated, on a white ground, in colors, with Putti and Amorini. From the Marcuard Collection, Florence. 934—Lopt Masouica VASE AND CovVER OF THE EIGHTEENTH CENTURY Pear-shaped body, with domed cover and ball finial; scrolled escutcheon- shaped handles with leaf terminations. Cylindrical stem and molded circular foot. Invested with a white glaze and decorated with floral festoons in relief, depending from scrolled mask medallions, and with marbling in blue and yellow. Height, 22 inches. 90 91 Incurved cylindrical bodies, naar circular ie a ae Decorated, on a white ground, in colors, with figure subjects, landscapes with deer. Rese shape Ie finials. B Antonio Grue. ate : ao ip a bseeeea 2 » Standing figure of the Virgin, glazed in yellow robe, with chief and blue mantle and hood stained ae ae > ¥ Prom nes rae Henry Collection, Lone e Be (Illustrated Ve: tile a ¢ SS; i * i, Soke. MANNE 96—Casretir (Apruzz1) Masorica PuarmMacy Vase oF THE EiGHTEENTH CENTURY Pear-shaped body, incurved neck and flat looped handles. Decorated, on a white ground, in colors, with a subject of warrior on horseback threatening a cripple with his drawn sword, with scrolls and the name of the drug in a panel. Height, 194%, inches. (Illustrated ) 97—Karuy Frorentinet Masonica Orcio or Orn Jar, SixrEENTH CENTURY Pear-shaped body, with horizontal ribbings, incurved neck and two flat looped handles. Decorated, on a white ground, in colors, with scrolled leaves and flowers and medallions and with an egg-shaped escutcheon charged with the Medici coat-of-arms. With cylindrical and rectangular molded pedestal. Height, 24 inches. From the Marcuard Collection, Florence. (Illustrated ) 98—Tuscan Magouica Orcio or Orr Jar oF THE SixTEENTH CENTURY Pear-shaped body, with horizontal ribbing, incurved neck, two projecting spouts and two flat looped handles. Mottled green-glazed body, deco- rated with a scrolled egg-shaped escutcheon charged with the coat-of- arms of a patrician family. Height, 35 inches. From the Marcuard Collection, Florence. (Illustrated ) 99—Earty Caraccioto Masouica Tite or THE FIFTEENTH CENTURY Rectangular shape. Decorated, with a portion of “The Flight of Darius,” in colors, on a white ground, and lined so as to simulate mosaic. This tile shows a portion of a horse’s trappings consisting of a deer’s head from which issues a beaded pendant, while from its horns, fastened by scrolled ribbons, depends a conventionalized festoon of flying birds. Height, 15 inches; width, 15 inches. Note: This and the following came from the celebrated collection of Senator Monteverde of Rome, the eminent sculptor, who died about four years ago. (Illustrated ) 100—FEartiy CaraccioLto Masouica Tine oF THE FirreenrH Cenrury Rectangular shape. Decorated, on a white ground, in colors, and lined so as to simulate mosaic, with portion of “The Flight of Darius,” show- ing a horse’s head and two heads of turbaned warriors, one representing Darius with an expression of horror. Height, 15 inches; width, 15 inches. (Illustrated) 101—Greco-Roman Guass UNGUENTARIUM OF THE FirrH CENTURY B.C. Opaque white glass. Columnar shape, with looped handles. Decorated, in brown, with horizontal lines and zigzags. - Length, 45, inches. 102—Greco-Roman Grass UNGUENTARIUM OF THE FirrH Crenrury B.C. Opaque white glass. Columnar shape, with looped handles. Decorated, in brown, with horizontal lines and zigzags. Length, 4 inches. 103—Greek Gitt Terra-corra Bas-RELIEF Head of Pallas, formerly termination of term. Face gilt, hair painted. Height, 6 inches. 104—Two Greek Grrr Terra-corra Bas-RELIEFS OF THE SECOND CENTURY BC Heads of Venus, with flowing locks and chiton over left shoulder. Ar- ranging her hair with left hand. Traces of gilding. Height, 6, inches. cP S watt poor Gore Eres ee Soe my xy) gy 2S Ck Meee yy cn ¢ gautwss ay tee Fa cee 2 ae % PCT, 7 ue Pim mares 100 105—Farnza Trrra-cotta Bust oF THE SIXTEENTH CENTURY Portrait of a youth with classic robe, knotted at the left shoulder. Glazed in the Della Robbia manner in dark brown. j Height, 9 inches. 106—Tanacra Terra-cotra Figurine. Firru Century B.C. Full-length figure of a Woman Dancer. A young woman in a flowing diaphanous robe, which covers the lower part of the face in the manner of a yashmak or Oriental veil, stands erect in an attitude of dancing with one arm akimbo and the other across her breast. On rectangular molded pedestal. Height, 101/, inches. (Illustrated) 107—Graco-Roman Terra-corta VAseE oF THE THmrp Century B.C. Pear-shaped body, with cylindrical neck and bulbous rim, surmounted by a figure leaning on a pedestal. At the sides, supported on modeled figures of rearing horses, are figures of winged Victories. Body deco- rated with Medusa’s head. Excavated at Canossa (Magna Grecia). Height, 30 inches. (Illustrated) 108—Greco-Roman Terra-corra VAseE oF THE THrrpd Century B.C. Globular body, with three rectangular vertical projections, surmounted by figures with upraised hands. Body decorated with mask and festoon. Excavated at Canossa (Magna Grecia). Height, 32 inches, (Illustrated ) 109—P air or Graeco-Roman Terra-cotrra VAsEs OF THE THIRD Century B.C. Pear-shaped bodies, cylindrical necks, spreading rims, flat looped handles and circular feet. Bodies decorated with modeled figures of Nereids and others. Excavated at Canossa (Magna Grecia). Height, 35 inches. ~ 110—Pair or Greek Terra-corra Borr_es oF THE SEconD Century B.C. Modeled as the figures of goats wearing cleft curved and pointed hats, with flat looped handles on back and cylindrical nozzle at breasts. On four rudimentary feet. Bodies incised with dashes. Excavated at Melos. Height, 6 inches; length, 7 inches. (Illustrated) 111—Errvscan Trerra-corra Crarer Vase oF THE Second Century B.C. Pear-shaped body, incurved neck, domed circular foot and straight looped handles terminating in leaves. Decorated, on a black ground, in red and white, with a band of meander pattern with heart-shaped leaves and a figure subject of a knight on foot holding a spear and leading his horse, and standing in front of a seated woman. Height, 204%, inches, (Illustrated ) 112—Errvuscan Terra-corra Crater Vase OF THE SEcoND Crentury B.C. Pear-shaped body, incurved neck, spreading circular foot and straight looped handles terminating in leaves. Decorated, on a black ground, in red and white, with a band of meander pattern with heart-shaped leaves and a figure subject of a Bacchanal dance with male and female Bacchantes and a Satyr. Height, 191% inches. (Illustrated) 1138—Iraniax STONEWARE EWER OF THE SIXTEENTH CENTURY Pear-shaped body, with horizontal bulbous spout and twisted looped handle. Glazed in brown and decorated, in relief, with medallions and floral sprays and painted with floral scrollings. Height, 151% inches. 114—Iranan Stoneware Ewer oF THE SIXTEENTH CENTURY Pear-shaped body, with horizontal bulbous spout and looped handle. Glazed in green and decorated, in relief, with medallions and floral sprays and painted with scrolled leaves and flowers. Height, 151% inches. Tit raat WROUGHT IRON OF THE FIFTEENTH, SIXTEENTH AND SEVENTEENTH CENTURIES 115—VenetTIan WrovucGut-irRon Patntep AND GitT LANTERN OF THE LATE SIXTEENTH CENTURY Pear-shaped. Five glazed sides, with cresting and apron of painted and gilt wrought-iron leaves. Height, 14 inches. 116—Parr or VENETIAN WrovuGHT-IRON WALL-BRACKETS OF THE SEVEN- TEENTH CENTURY Curved arms, formed of iron bars decorated with voluted scrolls of strap iron, voluted tendrils and wrought-iron oak leaves and supporting circular cages surrounded by curved oak leaves. Hooks for adjustment. Length, 13 inches. 117—FLorRENTINE WrovuGHT-IroN WALL-BRACKET OF THE SIXTEENTH CENTURY Straight arm of strap iron terminating in wrought-iron trefoil and hay- ing above and below curved branches with pointed leaves and blossoms. Length, 15 inches. 118—Parr or FLorentine WrovucuHt-rron Wari Licnts oF THE SIXTEENTH CENTURY Curved projecting arms of spirally twisted iron rods, with rectangular scrolled iron wall plates and pointed-leaf bases. Terminating in circular bobéches and sockets of clustered pointed leaves. ; Length, 1714, inches. 119—Parir or FLorenNTINE ParinrED WRovUGHT-IRON CANDLE-BRACKETS OF THE SIXTEENTH CENTURY Brackets of scrolled and voluted strap iron, with flowers. Candle-sockets of wrought-iron leaves with pointed prickets. Height, 1 foot 4 inches. 120—VENETIAN WrovuGHT-IRON CANDLE-BRACKETS OF THE SEVENTEENTH CENTURY Scrolled leaves and flowers of wrought iron, with circular bobéches and prickets. Gilded. Height, 21 inches. 121—Parr or VeneTIAN Gitt WrouGHT-1IROoN CANDLE-BRACKETS OF THE SIx- TEENTH CENTURY Curved arms, with flowers and leaves in wrought iron and pear-shaped candle-sockets with leaf rims. Quatrefoil wall plates. Completely gilt. Height, 12 inches. 122—FLorentTInt Goruoic WrovucuHtT-Iron CANDLE-STAND OF THE EaArty Firreentu CENTURY Cylindrical standard, terminating in pointed pricket and supporting two scalloped flat rings on curved and shaped iron rod brackets and circular stand with gauffered edge. Height, 22 inches. 123——FLoRENTINE WrovuGHT-IRON PrickET CANDLESTICK OF THE FIFTEENTH CENTURY Triple columnar shaft with molded knop, on tripod stand with lions’ - heads and paw feet. Circular bobéche, with trefoil pendants and pointed pricket. Height, 171, inches. 124—Pair or VENETIAN GILT WrovUGHT-IRON CANDLE-BRACKETS OF THE SIX- TEENTH CENTURY Curved arms, with wrought-iron pointed and acanthus leaves; pear- shaped candle-sockets with leaf rims. Completely gilt. 4 Height, 16 inches. 125—-FLorentixne Wrovent-iron Wart Licghr oF THE SIXTEENTH CENTURY Rectangular wall-plate, overlaid with wrought-iron acanthus leaves and with hook for adjustment. Double curved arm formed of a square iron bar decorated with voluted scrolls and spiral tendrils terminating in a volute and supporting a tapering square socket overlaid with wrought- iron oak leaves and having in front two curved arms with pulley wheel and a hook. Painted green. Length, 23 inches. 126—FLorentine Gotruic WrovuGHt-1roN CANDLE-sSTAND OF THE EARLY Firreentu CrenturRY Cylindrical standard, terminating in pointed pricket and supporting two rings with vertical castellated sides on spirally twisted straight bar brackets. Circular dish-shaped stand. Height, 24 inches. 127—FLorENTINE WrovGHT-IRON BRACKET OF THE SEVENTEENTH CENTURY Curved arm formed of a round bar iron ending in volutes and decorated with wrought-iron pointed acanthus leaves and floral rosettes. Leaves and rosettes gilded. Bracket painted black. Height, 25 inches. 128—FLorentrine Wrovucutr-iron Watt CANDLE-BRACKET OF THE SIXTEENTH CENTURY Bracket of carved outline formed of scrolled and voluted strap iron with pointed terminations supporting straight horizontal arm ending in a circular bobéche and pointed pricket. Hooks for adjustment. Height, 27 inches; width, 171, inches. 129—VeEneETIAN WrovucnHr-tron WALL-BRACKET OF THE SEVENTEENTH CENTURY Pear-shaped bracket of interlaced and voluted scrolls of bar iron decorated with repoussé acanthus leaves of wrought iron, and with vertical wall plate of strap iron terminating in curved pointed leaves. Height, 26 inches; width, 26 inches. 130—Ser or Turee Venetian Wrovuent-tron Watt Licnut Brackets or THE SixTeEENTH CENTURY Horizontal iron bars with curved ends and spirally twisted brackets shaped and terminating in fleur-de-lis finials. The horizontal bars terminate in rectangular cages of strap iron with pointed-leaf bases, while from the angles depend adjustable iron rods with hooks. Length, 29 inches. 131—Ser or TuHree Venetian Wrovcut-iron Wari Licur Brackets oF THE SIXTEENTH CENTURY Horizontal iron bars with curved ends and spirally twisted brackets shaped and terminating in fleur-de-lis finials. The horizontal bars terminate in rectangular cages of strap iren with pointed-leaf bases, while from the angles depend adjustable iron rods with hooks. Length, 29 inches. 1382—VenetTIAN Wrovcur-iron Bracker oF THE SIXTEENTH CENTURY Curved and voluted arm of strap iron decorated with wrought-iron oak leaves and pointed serrated leaves and terminating in a pear-shaped head formed of clustered pointed leaves and cinquefoil blossoms with pointed finial. Length, 31 inches. 1383—VeneTiAN Wrovcut-1ron Wai Licht Bracket oF THE SIXTEENTH CENTURY Escutcheon-shaped bracket, formed of interlaced scrolls of strap iron terminating in fleurs-de-lis and decorated with applied roses of wrought iron. The bracket supports a carved iron bar and tapering cylindrical cage with open side of rosetted strap iron terminating in fleurs-de-lis. Hooks for adjustment. Height, 25 inches; length, 32 inches. 134—Wrovenut-iroxn Wart Ligur Bracker or THe Firrerenru Century Arm formed of a tapering square iron bar with voluted scrollings of strap iron and pointed leaves. Cylindrical basket, having open sides of strap iron with pointed-leaf terminations, pointed-leaf pear-shaped pendant and pointed pricket. With hook for adjustment. Length, 25 inches. 135—VeENETIAN WrovucHt-troN Hanoing LANTERN OF THE SEVENTEENTH CENTURY ‘Tapering hexagonal shape with domed top and pear-shaped base. Sides glazed with roundels of colored glass. Of voluted wrought-iron straps. Height, 35 inches, 136—Pair or SIENESE GotTHic WrovuGHT-IRON Watt LAmMpPs oF THE EARLY FIFTEENTH CENTURY Triangular brackets, formed of twisted iron bars with braces formed of twisted rods terminating in serpents’ heads. Cylindrical baskets formed of eight voluted iron straps with horizontal twisted iron bars and straps. In the centers are twisted iron prickets and below are curved hooks of iron bars. Length, 26 inches. From a Palace in Siena. 137—Pair or SIENESE WrovuntT-1ron Hitcuine BRACKETS OF THE FIFTEENTH CENTURY Brackets with straight and curved arms. Fitted with sliding bars ending in quatrefoils and with rings for hitching horses. Length, 2 feet 8 inches. 1388—Venetian Girt Wrovent-rron Bracket LANTERN OF THE SEVEN- TEENTH CENTURY Triangular bracket of two branches of acanthus leaves, supporting an octagonal glazed lantern, with molded vertical ribs terminating in acanthus leaves, domed foot of scrolled acanthus leaves, and ogee- shaped top of scrolled acanthus leaves, flowers and pointed leaves. Fitted for electric light. Height, 50 inches. From the Marcuard Collection, Florence. 139—Pair or Srenesr Wrovcut-iron Hircuinc Brackets or THE Fir- TEENTH CENTURY Brackets with straight and curved arms ending in stags’ heads with antlers. Fitted with sliding bars with rings for hitching horses outside the Palace. Length, 2 feet 8 inches. 140—Venetian Wrovcut-ron Bracket oF THE SIXTEENTH CENTURY Curved and voluted arm of strap iron decorated with wrought-iron oak leaves and pointed serrated leaves and terminating in a pear-shaped head formed of clustered pointed leaves and cinquefoil blossoms with pointed finial. Length, 31 inches. 140s—Patir oF VENETIAN Gitt WrovcutT-tron Watt Brackets OF THE SIX- TEENTH CENTURY Curved arms, with wrought-iron acanthus leaves and flowers. Leaf- encircled hooks. Length, 35 inches, 1408—FLoRENTINE WRrROUGHT-IRON AND Guass LANTERN OF THE SIXTEENTH CENTURY Cylindrical shape, with conical top and glazed sides. Formed of straps of wrought iron with hinged door. 141—VewnetTiAn Parnrep Wrovcut-rron “Goop-Luck” SHop SIGN OF THE SEVENTEENTH CENTURY Oval shape of two cornucopie of flowers, enclosing two hunchbacks danc- ing and clasping hands and invoking “good luck” on all. Painted naturalistically. With three tassels. Fitted for electric light. Height, 3 feet 1 inch; width, 3 feet 6 inches. 142—Parr or FLoreENTINE Brass anv Bronze ANDIRONS OF THE SIXTEENTH CENTURY Ball-shaped brass standards on cylindrical stems and bronze supports cast with female masks and scrolled dolphin feet. Height, 9 inches. 143—Patrr oF FLorENTINE WRrRoOUGHT-IRON AND Brass ANDIRONS OF THE SIX- TEENTH CENTURY Octagonal standards with brass ball finials, hooks with brass finials and voluted iron side scrolls. On voluted legs of strap iron. Height, 1 foot 10 inches. 144—Parr oF VENETIAN WROUGHT-IRON FIRE-TONGS OF THE SIXTEENTH CENTURY Of strap iron, hinged in center with fall-down spikes. Frilled decoration. Length, 35 inches. 144,—Parm or VENETIAN Bronze ANDIRONS OF THE SIXTEENTH CENTURY Pear-shaped standards, modeled with flutings, masks, and the arms of Pope Urban VIII (Prince Barberini), supporting balls modeled as bodies and pointed flame finials. On triangular pedestals modeled with masks and sphinxes’ heads. Scrolled and voluted feet of strap iron, Height, 2 feet 514 inches. Note: In a very remarkable state of preservation, with a fine patina. 145—Pair oF FLORENTINE WrROUGHT-IRON WALL-BRACKETS OF THE LATE Srix- TEENTH CENTURY Volutes of strap iron, with wrought-iron flowers, leaves and candle- sockets. Gilded. Height, 2 feet 5 inches. 146—Umeprianx Gitr Wrovent-trox Bracket oF THE SIXTEENTH CENTURY Bracket of scrolled and voluted bar iron with gilt pointed and acanthus leaves and circular candle holder supported by gilt leaves. Finial with heraldic gryphon holding a key. Height, 50 inches. (Illustrated) 147—Pairr or Tuscan WrovenHt-trox axp Bronze ANDIRONS OF THE FirTeentH CENTURY Incised cylindrical and twisted knopped standards, with spirally incised hooks. Elaborately wrought-iron floral finials. Incised arched strap- iron bases filled with strap-iron trefoils and straight iron bars. Height, 291% inches. (Illustrated ) 148—Parr or FLorentixne Wrovent-irox ANDIRONS OF THE FIFTEENTH CENTURY Square and cylindrical standards, with molded knops and scrolled and voluted strap-iron brackets. Coupe-shaped baskets of twisted iron bars, voluted strap-iron bases and arched feet of strap iron. Height, 34 inches. (Ulustrated) 149—FLoreNTINE Gotruic WrovcHt-1ron Pricket TorcHERE OF THE Early FIFTEENTH CENTURY Cylindrical knopped stem, basket with straight sides and spreading rim supported by shaped flat iron brackets with strap-iron ring, pointed pricket and tripod stand of three curved iron rod legs. Height, 54 inches. (Illustrated) 146 148 149 148 147 150—Pair or Tuscan Wrovent-tron anv Bronze ANpIRoNS . : ; Firreentu aha bronze ball finials. Arched strap-iron bases filled with quat) strap iron and straight iron bars. (Illustrated) 151—Parr or Fiorentine Wrovent-iron anp Brass Axoinoxs, i Seventreentax CENTURY Double pear-shaped standards of brass with turned Dell's foils. Wrought-iron bars. 152—Pair or Frorentixne Wroverttrox ANDIRONS OF THE, Octagonal standards, with baskets of twisted iron bars; bands. Below are swinging rings of twisted iron and five hooks. Curved feet, with scrolls of strap iron and wrot (Illustrated) 153—Pam oF FiorENtTinE WrovGHtT-1RoN AnD Brass . Sixteentse Century ae -Tapering spirally twisted standards, with areal pointed D round arched supports of strap iron and ee hooks. iron bars. | 150 154—Parr or Frorentine WrovucnHt-iroN ANDIRONS OF THE SIXTEENTH CENTURY Tapering octagonal standards, with ball finial and arched supports of bar iron with spreading feet. In front, four hooks on strap-iron supports. Wrought-iron bars. Height, 29 inches. Par or FLorENTINE WrovGHtT-IRoN ANDIRONS OF THE SIXTEENTH CENTURY 155 Flat leaf-shaped and tapering square standards, terminating in circular baskets with sides of curved and spirally twisted iron bars. On scrolled and voluted supports of strap iron with spreading feet. Two leaf- shaped hooks. Wrought-iron bars. Height, 31 inches. 156—Pam or Tuscan WrovGHtT-IRON AND Bronze ANDIRONS OF THE FIFTEENTH CENTURY Incised square, octagonal, cylindrical and twisted knopped standards, with rectangular abaci and with octagonal and twisted hooks and bronze ball finials. Arched strap-iron bases, filled with incised trefoils of strap iron and straight iron bars. Height, 331% inches. 157—FLorENTINE WROUGHT-IRON CANDLESTICK OF THE SIXTEENTH CENTURY Tripod form, with three straight legs of spirally twisted iron and three rising stretchers to match, terminating in a circular shelf having, as finial, a wrought-iron flower with pointed leaves and twisted wire stamens. The tripod supports a tapering pierced iron candle-socket with a base of wrought-iron leaves. Height, 48 inches. 158—Pair oF FLorentine WrovGHT-1RON CANDLESTICKS OF THE FIFTEENTH CENTURY Square spirally twisted supports, with circular saucer-shaped bobéches and cylindrical candle-sockets with voluted strap-iron sides. Tripod bases of three curved bar-iron legs with flat spreading feet. Height, 53 inches. 159—FLorENTINE WrovcnHt-iroN TorcHERE OF THE SIXTEENTH CENTURY Octagonal standard of bar iron, with scrolled trefoil-shaped knops of strap iron, circular flat bobéche supported by scrolled trefoil-shaped brackets, iron pricket and base of four scrolled and voluted strap-iron legs. Height, 58 inches. 160—FLorENTINE WRrROUGHT-IRON FIRE-SCREEN OF THE SIXTEENTH CENTURY Straight square bar-iron standards, with baskets of twisted iron bars and swinging rings of twisted iron. Stems decorated with voluted leaves and straps and with twisted iron hooks. Horizontal square upper bar, with voluted scrolls and wrought-iron flower and leaves as finial, flat voluted lower bar and trefoil curved feet of strap iron. Height, 361%, inches; width, 49 inches. 161—Patrr or FLorRENTINE WRrOUGHT-IRON WaALL-BRACKETS OF THE LATE SIXTEENTH CENTURY Volutes of strap iron, with wrought-iron flowers and leaves. Gilded. Height, 4 feet 2 inches. 162—Parr or FLoRENTINE WROUGHT-IRON WALL-BRACKETS OF THE LATE SIXTEENTH CENTURY Volutes of strap iron, with wrought-iron flowers and leaves. Height, 4 feet 2 inches. 163—Parr or FLorENTINE WRroOUGHT-IRON WALL-BRACKETS OF THE LATE SIXTEENTH CENTURY Volutes of strap iron, with wrought-iron flowers and leaves. Gilded. Height, 4 feet 3 inches. 164—FLorentixe Gornic Wrovucur-1ron ToRCHERE OF THE | FirreEentH CENTURY Straight square standard, with rectangular molded knop cz of four flat iron straps encircled by horizontal bands, and t : of three curved iron legs with flat spoon feet. From the old Simonetti Collection, Rome. (Illustrated) 165—FLoreENTINE GotrHic WrovucHtT-rron TorcHERE OF FirtreentH CENTURY Cylindrical molded standard with eight ball knops. iron straps encircled by horizontal bands and ines straight strap-iron legs with pointed feet. CENTURY Standard of twisted iron rod with ball knop, basket top, ; From the old Simonetti Collection, Rome. (Illustrated) 166 165 167—Pamr or Fiorentine Gotruic WrovucHtT-1tron CANDLESTICKS OF THE Earzty FirrEENtH CENTURY Formed of two flat iron rings supported by brackets of three twisted iron rods, pointed prickets and tripod stands with triangular plates of curved strap-iron feet. Height, 24 inches. (Illustrated ) 168—F LorentInE Goruic WrovucutT-iron TorcHire oF THE Earty Fir- TEENTH CENTURY Cylindrical knopped standard, with circular bowl supported by brackets with knopped and curved projections, brass bowl, two-tiered candle- socket of strap iron and tripod stand of three spreading straight iron- bar legs with flat pointed feet. Height, 59 inches, (Illustrated) 169—Pair or Gotruic Wrovent-1ron PricketT TorcHERES OF THE Earty FirreentH CENTURY Cylindrical knopped standards, circular bobéches, pointed prickets and tripod stand formed of three curved and voluted legs of strap iron. Height, 45 inches. (Illustrated ) 170—Pair or FiorentTINE GoTHic WrovUGHT-IRON 'TORCHERES OF THE Kary FIrTEENTH CENTURY Cylindrical knopped standards, conical baskets formed of looped iron rods with horizontal rings of strap iron. Candle-sockets of voluted strap iron and tripod stand of three straight legs with spoon feet. Height, 64 inches. From the Marcuard Collection, Florence. * (Illustrated ) 171—FLorENTINE WrovcGuHT-1IRoN PrickeT TORCHERE OF THE FIFTEENTH CENTURY Cylindrical knopped standard, conical basket formed of straight iron rods with knobbed and curved projections, flat iron ring, pointed pricket and tripod stand of three straight iron bars with flat feet. From the Marquis Peruzzi-De Medici Collection, Florence. (Illustrated) 172—FLoRENTINE WrovucGuHutT-1ron ToRCHERE OF THE FouRTEENTH CENTURY Octagonal standard, with two knops of outcurved pointed leaves, square collar, pointed pricket and tripod base of three curved legs of bar iron with notched spreading feet. Height, 68 inches. 173—Patir oF FLORENTINE WROUGHT-IRON WALL-BRACKETS OF THE LATE SIx- TEENTH CENTURY Volutes of strap iron, with wrought-iron flowers and leaves. Gilded. Height, 5 feet 2 inches. 174—Tuscax Wrovent-1r0nxn Haneine Lanrern oF THE Fivreentu Century Hexagonal shape. Body with glazed round-arched hinged door and sides and detached columns of twisted iron at the angles with leops and swinging rings. Cresting wrought with volutes and leaves, pinnacle top repoussé with bosses, and twisted cylindrical iron finial with three wrought-iren Florentine fleurs-de-lis, Apron of volutes and leaves and pendant of flowers and leaves. Height, 30 inches, 175—VENETIAN WrovUGHT-IRON CHANDELIER OF THE FIFTEENTH CENTURY Vase-shaped, with square iron-bar stem with pointed-leaf finial and horizontal arms of scrolled and voluted strap iron supported by a wrought-iron chain with lower arms of scrolled and voluted iron bars decorated with voluted scrolls, fleurs-de-lis and blossoms of strap and wrought iron. Hung with large contemporary silk and gold-thread tassels and suspended by a silk and gold-thread rope. Height, 25 inches. a ——_+ = 176—FLoRENTINE WrovuGHT-IRON CHANDELIER OF THE FIFTEENTH CENTURY Circular shape. Sides with scrolled leaves and cross. Four candle- sockets, separated by four pointed prickets. Iron chains for suspension. (Rare. ) Diameter, 22 inches. 177—FLorENTINE WrovuGHT-IRON CHANDELIER OF THE FIFTEENTH CENTURY Circular shape. Sides with scrolled leaves and cross. Four candle- sockets, separated by four pointed prickets. Iron chains for suspension. (Rare. ) Diameter, 22 inches. 178—F LorENTINE WrovucuHT-iRoN CHANDELIER OF THE FirrEENTH CENTURY Circular shape. Sides with scrolled leaves and stalks. Seven candle- sockets, separated by seven pointed prickets. Wrought-iron chains for suspension. (Rare.) Diameter, 34 inches. 179—VeneTian Cut-ciass and Gitt Bronze CHANDELIER OF THE SEVEN- TEENTH CENTURY Gilt metal ring hung with cut-glass drops and with eight curved branches for lights, hung with drops. Domed top of cut-glass medallions sup- ported by five cut-glass fluted columns and surmounted by eight feathers of glass. Wired for electric light. Height, 3 feet 4 inches. 180—FLorentTINE Copper anp WrovucutT-tron WasHSTAND OF THE SIx- TEENTH CENTURY Circular cage, with round iron-bar rim and curved strap-iron sides on tripod stand of three curved and shaped round bar-iron legs with flattened feet. Circular copper wash basin with curved gadrooned rim and hanging water receptacle of copper with pear-shaped fluted body, cylindrical rim repoussé with acanthus-leaf scrolls, semicircular ears repoussé with masks and iron bail handle. Height, 39 inches. From the Marquis Peruzzi-De M edici Collection, Florence. 181— VENETIAN WroUGHT-IRON WALL JARDINIERE OF THE SIXTEENTH CENTURY _ Bracket with two hooks for adjustment. Cornucopia-shaped body of strap iron with voluted ends, scrolled bracket of strap iron and annular rim. This encloses a vessel of metal painted, in colors, with a pattern, on a white ground, of a trellis entwined with flowers and leaves. In front hangs an iron grapple having three curved arms with heart-shaped ter- minations. Height, 3717, inches. 182—Tuscan WrovucHtT-tron AND Copper WaAsHsTAND OF THE FIFTEENTH CENTURY Rectangular standard, with molded knop, and projecting shell-shaped soap dish, scrolled and voluted arms and circular contemporary copper basin with domed cover having two swinging looped handles. Tripod base, formed of three curved and voluted legs of strap iron. Height, 37 inches. (Illustrated ) 183—FLoRENTINE WROUGHT-IRON AND Copper WaASHSTAND OF THE SIX- TEENTH CENTURY Standard formed of three curved iron bars decorated with volutes of strap iron, with four voluted arms from one of which springs a straight twisted iron arm with flat iron bracket, on a tripod stand of three straight iron bars with voluted feet. Arms support a copper basin with gadrooned body and swinging ring and from bracket above hangs a pear-shaped gadrooned fountain, with bail handle and brass tap. Height, 68, inches. From the Marcuard Collection, Florence. (Illustrated) 182 183 184—FLorentTInE Wrovent-iron Fovur-post Brp oF THE SIXTEENTH CENTURY Open head of knopped baluster-shaped columns, with triangular cresting of scrolls, volutes and flowers, hexagonal knopped posts with floral finials inspired by the Florentine fleur-de-lis, straight sides and arched feet. Original sixteenth century hangings, made expressly for this bed, of white linen embroidered in red silk, with bands of ornament. Height, 9 feet 5 inches. Note: So far as known, the only other example resembling this is in the Cleveland Museum and came from the celebrated Marquis Peruzzi-De Medici Collection. (Illustrated) 1844a—Parr oF FLorRENTINE PatntTED Wrovcut-Iron Winpow SCREENS OF THE SIXTEENTH CENTURY Heart-shaped screens of scrolled and voluted wrought-iron straps painted green, decorated with spiral tendrils and applied gilt serrated edged leaves of wrought iron, enclosing oval medallions occupied with Maltese crosses painted red and white, surrounded by wrought-iron wreaths of laurel leaves and berries and surmounted by gilt crowns. Height, 24°, inches; width, 38 inches. 185—Parmr or FLorRENTINE WrovucnHutT-1ron Window ScREENS OF THE SIx- TEENTH CENTURY Rectangular shape. Filled with diamond-shaped. trellis-work of iron straps with wrought-iron quatrefoils at the intersections. Top of flat arched form filled with volutes of strap iron. Height, 46 inches; width, 80 inches. 186—Parr or FLorentinr Wrovucut-tron CHANCEL GATES OF THE SIx- TEENTH CENTURY Rectangular shape with scrolled crestings. Gates formed of panels of wrought-iron bars occupied by quatrefoils of voluted scrollings, hex- agonal figures, volutes and spirally twisted tendrils of strap iron. Cresting of voluted scrollings enclosing the initials “S.D.” in strap iron, meeting bar with vase-shaped finial and two Maltese crosses of wrought iron. Painted green. Height, 34 inches; width, when closed, 34 inches. 187—SeET or SEVEN WrovucutT-1ron Convent Window JALousIES. FIFTEENTH CENTURY Rectangular shape, with voluted lower portions. Strap-iron frames and bodies, diapered with thin iron rods secured with molded collars and appliqués with pointed-leaf quatrefoils of iron. Heights, 61 and 331/, inches; widths, 62 inches. Srmerereunett a ea ee Aptian OR oe KES GE SS 4 eI Hl RE ER Ne a Ria nae mem S eauanicere te No. 1883—FLORENTINE WROUGHT-IRON FOUR-POST BED OF THE SIXTEENTH CENTURY SECOND AFTERNOON’S SALE THURSDAY, APRIL 22, 1920 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK ARMS AND ARMOR 188—FLorENTINE ToRTOISE-SHELL PowpER “HorN OF THE SIXTEENTH CENTURY Conical shape, with fluted sides and brass sprung powder charger. Height, 9 inches. From the old Simonetti Collection, Rome. 189—Par or Iranian Furtiock Pisrots or THE Earty SEVENTEENTH CENTURY Walnut stocks, with silver butts and inlaid in a pattern of scrolls and dots. Steel barrel, damascened with gold and incised flintlock. Length, 17 inches, 190—FLorENTINE STEEL HELMET oF THE SIXTEENTH CENTURY Pointed bowl-shaped headpiece with adjustable nose guard, pointed ear flaps and articulated neck apron. Riveted with round-headed rivets. From the old Simonetti Collection, Rome. 191—Irantian Furntitock BLUNDERBUSS OF THE SEVENTEENTH CENTURY Walnut stock, carved with rosettes, scrolls and diapers, barrel dama- scened with engraved silver with spreading end and chased flintlock. Signed with maker’s name below trigger. Length, 24 inches. 192—Irauran Fuintiock Pistou or THE Karty SEVENTEENTH CENTURY Plain walnut stock octagonal and cylindrical barrel and flintlock. Length, 15 inches. 193—FLorRENTINE STEEL Morion oF THE LATE SIXTEENTH CENTURY Bowl-shaped headpiece of steel with pointed “fore-and-aft” turned-up brim and comb. Sides repoussés with the Florentine “fleur-de-lis.” From the old Simonetti Collection, Rome. 194—FLoRENTINE Street Morion or THE LATE SEVENTEENTH CENTURY Pointed head-piece and spreading brim. From the old Simonetti Collection, Rome. 195—Iravian STEEL Sworpd OF THE SixTEENTH CENTURY Octagonal iron handle, turned pommel, curved iron rod guard, straight quillons, basket chased with a winged dragon and scrolls, and hexagonal blade. Length, 49 inches, From the old Simonetti Collection, Rome. (Illustrated) 196—Irawian STEEL Sworp OF THE SIXTEENTH CENTURY Leaf-molded iron wire encircled handle, ball-shaped chased pommel, spirally twisted guard, and straight quillons, basket chased with voluted scrolls and blade with series of chamfers. Length, 47 inches, From the old Simonetti Collection, Rome. (Illustrated) 197—Irauian Street Sword OF THE SIXTEENTH CENTURY Cylindrical iron wire encircled handle, turned pommel, curved guard, straight quillons, plain basket and hexagonal blade. Length, 48 inches. From the old Simonetti Collection, Rome. (Illustrated) 197 195 198—IrauiaAn STEEL Sworpd oF THE FIFTEENTH CENTURY Tapering iron wire encircled handle, rectangular pommel, pierced, wrought and chased with oval medallion of a combat, scrolled wrought and chased flat quillons. Flat blade. Length, 40 inches, From the old Simonetti Collection, Rome. (Illustrated) 199—Iravian STEEL SworpD OF THE SIXTEENTH CENTURY Spirally twisted iron wire encircled handle, inverted pear-shaped pommel, curved quillons, basket of a coiled iron rod and grooved blade. Length, 46 inches. From the old Simonetti Collection, Rome. (Illustrated) 200—Iranian STEEL SworD OF THE SIXTEENTH CENTURY Spirally twisted iron handle, octagonal pear-shaped pommel, scrolled quillons and basket of iron rods and chamfered blade. Length, 42 inches. From the old Simonetti Collection, Rome. (Illustrated) 201—I ratiaAN STEEL SworD OF THE SIXTEENTH CENTURY Cylindrical iron wire encircled handle, pierced and wrought ball-shaped pommel, and curved guard, arched quillons, chased small basket and chamfered blade. Length, 41 inches. From the old Simonetti Collection, Rome. (Illustrated) 202—-FLoRENTINE PRoceEssionaL PartTizAN OF THE SIXTEENTH CENTURY Steel blade, pointed, shaped and stamped “rrpEerTas,” and octagonal socket. Octagonal haft, partly covered with amber-colored velvet, secured with brass-headed nails, and finished with silk tassels. Length, 111 inches. From the old Simonetti Collection, Rome. (Illustrated) 199 pene FTN ee po : eg LIBENTAS 200 203—ITraLIAN STEEL BREASTPLATE OF THE FIFTEENTH CENTURY Shaped and chased with vertical band of arabesque ornament and with shoulder borders of scrollings. Movable hip-piece, chased with band of scrollings. Height, 17 inches. 204—ITraLIAN STEEL BREASTPLATE OF THE FIFTEENTH CENTURY Shaped and chased with three oval medallions of busts of knights in armor, with military trophy and scrolled acanthus leaves. Height, 16 inches. 205—FLorRENTINE Iron BuckuerR oF THE SIXTEENTH CENTURY Circular shape, with rosetted spike in center. Decorated with cruci- form figure and border of rosetted brass studs. Diameter, 21 inches. From the old Simonetti Collection, Rome. (Illustrated) 206—VENETIAN ProcEssioNAL HALBERD OF THE SIXTEENTH CENTURY Cast-iron head, with pointed fleur-de-lis decorated spike, pierced crescent-shaped blade, straight fleur-de-lis decorated beak, both engraved with incised lines, and cylindrical socket. Octagonal haft, covered with green velvet secured with brass-headed nails and finished with two gold-thread tassels. Length, 77 inches. From the old Simonetti Collection, Rome. (Illustrated) 207—VENETIAN ProceEssioNAL HALBERD OF THE SIXTEENTH CENTURY Steel head, with flat pierced and pointed spike, pierced crescent-shaped blade, curved pointed beak, both engraved with incised lines and rosetted hook-shaped socket. Octagonal haft, studded with brass-headed nails and finished with velvet and gold-thread and silk tassels. Length, 94 inches. From the old Simonetti Collection, Rome. (Illustrated) 208—FLorentTine PAarapE PARrvTIZAN OF THE SIXTEENTH CENTURY Tapering chamfered central spike, with two shaped flat blades. Silk tassel and octagonal staff, studded with brass-headed nails. Length, 6 feet 5 inches. From the old Simonetti Collection, Rome. (Illustrated) 209—FLoRENTINE Compatr PARrTiIzZAN OF THE SIXTEENTH CENTURY Flat, tapering spike, crescent-shaped blades, silk tassel and octagonal wooden staff. Length, 7 feet, 10 inches. From the old Simonetti Collection, Rome. (Illustrated) 210—Venerian ParadrE PIKE OF THE SEVENTEENTH CENTURY Flat, pierced pear-shaped blade with pierced scrolled leaf knop and curved blade with wrought-iron flowers, silk tassel, tapering iron hood, and cylindrical wooden staff. Length, 7 feet 9 inches, From the old Simonetti Collection, Rome. (Illustrated) 211—F LorentiIne ParavE HALBERD OF THE SEVENTEENTH CENTURY Tapering pierced central blade, with leaf knop, pierced crescent-shaped blade wrought with Putto’s head, and pierced curved point, silk tassel and octagonal wooden shaft. Length, 6 feet 8 inches. From the old Simonetti Collection, Rome. (Illustrated) 212—FLorentinE Compat HaBerp OF THE SEVENTEENTH CENTURY Tapering chamfered central blade, semicircular scalloped blade and trident-shaped point, silk tassel and wooden shaft, studded with bands of brass-headed nails. Length, 6 feet 3 inches, From the old Simonetti Collection, Rome. (Illustrated) 211 213—FLoreENTINE Barrie Pike oF THE SIXTEENTH CENTURY Pointed ribbed blade, with scalloped base, turned-up points and cylin- driéal staff. Length, 8 feet 6 inches. From the old Simonetti Collection, Rome. (Illustrated ) 214—VenetTian Barrie HaLserpd oF THE SEVENTEENTH CENTURY Tapering point, with pierced crescent-shaped blade, pierced spike, silken tassel and velvet-covered staff studded with brass-headed nails. — Length, 5 feet 6 inches. From the old Simonetti Collection, Rome. (Illustrated) 215—VeNeETIAN ParavE Pike oF THE SIXTEENTH CENTURY Flat, pierced pear-shaped blade, with pierced wrought-iron rosette at base and two curved floral arms, looped knop below, silken tassel and octagonal wooden shaft. Length, 7 feet 7 inches. From the old Simonetti Collection, Rome. (Illustrated) 216—FLorentiIneE Barrie ParrizaAN OF THE SEVENTEENTH CENTURY Molded cylindrical central spike, with two curved rectangular pointed arms, silken tassel and octagonal wooden shaft. Length, 7 feet 8 inches. From the old Simonetti Collection, Rome. (Illustrated) 217—FLorentine Barrte HaLserp oF THE SEVENTEENTH CENTURY Long, tapering rectangular central spike, with two curved rectangular pointed arms, silken tassel and octagonal wooden shaft. Length, 8 feet 1 inch, From the old Simonetti Collection, Rome. (Illustrated) 218—Venetian Processionan HALBERD OF THE SIXTEENTH CENTURY Steel head with long, tapering spike, crescent-shaped blade and curved beak both decorated with incised scrollings, square socket and molded square wood haft finished with silk tassels. Length, 71 inches. From the old Simonetti Collection, Rome. 219—FLoRENTINE PrROcEsSIONAL RANSEUR OF THE SIXTEENTH CENTURY Steel head, with straight pointed blade and side blades, and octagonal socket. Octagonal wooden haft finished with red silk tassel. Length, 91 inches. From the old Simonetti Collection, Rome. 217 ye 214 215 220—Sieneset Srreer BANNER OF THE SIXTEENTH CENTURY Rectangular shape. Of brown and yellow silk sewn in a design of diagonally disposed rays with shields in opposite corners, one painted with a rampant hon, the other with a rose spray and caterpillar. Cylindrical staff, spirally wound with blue and yellow silk secured with brass-headed nails. On walnut base carved as a couchant heraldic lion. Height, 64 inches; width, 67 inches. From the old Simonetti Collection, Rome. 221—SIENESE STREET BANNER ON SILK OF THE SIXTEENTH CENTURY Rectangular shape, of black and white silk fields, bordered by orange silk of a checkered pattern and of stripes, with stars and bordered on two sides with a band of counter-change trefoil pattern. In the center is a painted shield charged with the coat-of-arms of the City of Siena (Romulus and Remus with Wolf), similar to that of Rome, of which Siena was a colony. Cylindrical staff, spirally wound with black and white ribbons secured with brass-headed nails. On walnut base carved as a couchant heraldic lion. Length, 67 inches; width, 66 inches. From the old Simonetti Collection, Rome. 222—SIENESE STREET BANNER ON SILK OF THE SIXTEENTH CENTURY Rectangular shape, of black and white silk sewn in diagonally divided fields bordered by a band of barber’s pole pattern, edged with orange- colored silk. In the center is a shield bordered by red and white crosses on alternate white and red fields, painted with the arms of the City of Siena (Romulus and Remus with the Wolf). Cylindrical staff, spirally wound with black and white ribbons secured with brass-headed nails. On walnut base carved as a couchant heraldic lion. Length, 64 inches; width, 64 inches. From the old Simonetti Collection, Rome. 223-——Parr or Tuscan Gitr anp Patnrep Iron Banner HoLpEers OF THE FirreentH CENTURY Formed as conventionalized lions holding rings in their forepaws and supported by scrolled brackets, on molded wooden rectangular pedestals. Gilt and painted. Height, 251, inches. (Illustrated) 224—Two SrenNESE STONE AND WROUGHT-IRON STANDARD-HOLDERS OF THE Earzty FirrerentrH CEentTury Rectangular-shaped bases, carved with Gothic leaves. Wrought strap- iron holders for flags. Height, 17 inches; width, 13 inches, From the old Simonetti Collection, Rome. (Illustrated) 224 225—SIENESE WROUGHT-IRON STANDARD-HOLDER OF THE FIFTEENTH CENTURY Double curved stem of a spirally twisted iron rod, with cylindrical sockets incised with a diamond diaper. Height, 1 foot & inches. ne a3 “ , & : ' i. 226—FrencH Gornic Wroveut-iron Lock PLaTE or THE Earty Four- TEENTH CENTURY Rectangular shape with molded frame, Elaborately wrought on either side with figures of saints in niches under niches of Gothic arches with three square buttresses and crocketed finials. Center with hinged plate, in two panels, the upper one wrought with late Gothic arch filled with pointed arch tracery and with molded finial, the lower wrought with a heraldic shield surmounted by a crown and charged with the arms of the Orleans family (three fleurs-de-lis). Key with cylindrical barrel and. circular handle pierced and wrought with rose-shaped Gothic tracery. Height, 5 inches; width, 4 inches. = “Te = Ye RE: Fh eeu we y L tL = bros aan ER RENEE NEES RE 227—FrReENcH GortrHic WrovucGutT-1ron Lock PLATE oF THE Earty Fovur- TEENTH CENTURY Rectangular shape, with molded frame. Divided into three vertical panels on either side, the outer ones and band at foot filled with Gothic tracery, the inner ones with figures of saints standing on wrought brackets under Gothic canopies, and with Gothic tracery below. The hinged center wrought with a figure of the Virgin holding the Child Christ under an elaborate pinnacled canopy flanked by Gothic buttresses with crocketed finials and with a panel below of an heraldic shield surmounted by a crown and charged with the coat-of-arms of the Orleans family (three fleurs-de-lis). Key with cylindrical barrel and circular handle pierced with Gothic rose tracery. Height, 91, inches; width, 71%, inches BRONZES OF THE FIFTEENTH AND SIXTEENTH CENTURIES 228—Tuscan Bronze BeLt oF THE SIXTEENTH CENTURY Incurved cylindrical body, with molded foot and handle formed of three scrolled acanthus leaves. Body decorated, in relief, with playing Amo- rini; vases with eagle and wolf and diapery festoons. Height, 4 inches. 229—Tuscan Bronze BELL OF THE SIXTEENTH CENTURY Incurved cylindrical body, with molded foot and handle formed as three standing Putti. Body decorated with winged gryphons, scrolled escutch- eons charged with coat-of-arms and bands of honeysuckle and acanthus- leaf ornamentation. Height, 5 inches. 230—Tuscan Bronze BELL OF THE SIXTEENTH CENTURY Incurved cylindrical body, with molded foot and flat pierced handle. Body decorated, in relief, with medallions of figures and acanthus-leaf rinceaux. Height, 5 inches. 231—Tuscan Bronze INKWELL OF THE SEVENTEENTH CENTURY Crater-shaped body, with gadrooned rim, decorated with band of gadrooning and supported on three lions’ paw feet. Height, 34, inches; diameter, 33, inches. 232—VENETIAN Bronze INKWELL OF THE SIXTEENTH CENTURY ad Circular shape, with molded rim and base. Sides decorated, in relief, with lions’ masks decorated: with scrolled acanthus leaves. Height, 2%, inches; diameter, 41/, inches. 233—VENETIAN Bronze INKWELL OF THE SIXTEENTH CENTURY Circular shape, with cylindrical rim and molded base. Sides decorated, in relief, with human masks and scrolled acanthus leaves. Height, 3 inches; diameter, 4 inches. =| r 234—VENETIAN STEEL Book Correr oF THE FIFTEENTH CENTURY Rectangular shape, with removable lid. Damascened, in gold, with quatrefoil medallions and scrolled leaves. Swinging ring handles and lions’ heads. Height, 6 inches; width, 414 inches; depth, 41, inches. 235—Papuan Bronze Inxxsranp oF THE Firreenro CENrury By ANDREA Briosco (cattep Riccto) (1470-1522) Standing figure of a satyr holding in both hands a bowl decorated with masks in relief. At his side is a cylindrical pedestal modeled in relief with caryatid figures, with voluted tapering terminations, supporting festoons of diapery. This pedestal forms a pen-holder. Height, 7%, inches. 236—Papuan Bronze Inxsranp aNv Cover oF THE SIxrEENTH CENTURY Coupe-shaped body, supported by three wingea cherubim terminating in paw feet and decorated with drapery festoons.. Domed removable cover, decorated with masks and drapery festoons, and finial formed as a standing eagle with outstretched wings. Height, 7 inches. 237—FLorENTINE Bronze Door KNocKER OF THE SIXTEENTH CENTURY Lyre-shaped. Formed of two dragons with lions’ heads and bodies en- twined with their tails and enclosing a Satyr’s mask surmounted by the figure of a seated Putto. Height, 9 inches. 238—VENETIAN BronzE Ewer or THE Eartuy SIXTEENTH CENTURY Pear-shaped body, with incurved neck on cylindrical stem, molded cir- cular foot and spout modeled as a standing bird holding a tube in its mouth with pierced bracket. Decorated with engraved bands of Kufic characters. (Handle missing.) Height, 81% inches. Note: This ewer was made in Venice by a Syrian or Mamluk craftsman, a con- temporary of the famous Mahmud El-Kurdy, and a precursor of the Italian Azimmani, or metal workers in the Oriental style. 239—FLorENTINE Bronze Morrar OF THE SIXTEENTH CENTURY Incurved cylindrical shape, with molded rim and foot, and two handles. Body decorated with vertical half ne in mele eae 240—FLORENTINE Bronze Morrar oF THE SIXTEENTH CENTU} : Spreading cylindrical shape, with spreading rim. Body four shaped ribbings and lions’ masks in relief; rim relief. ni Height, 3 inches; (Illustrated) 241—FLorentixe Bronze Morrar or THE SixTEENTH Spreading cylindrical shape, with molded rim and be with four projecting shaped ribbings and inscription ir Height, 8% telah (Illustrated) Spreading cylindrical shape, with molded rim and f 0 with four shaped ribbings and female masks. aes (Illustrated) an 243—Twuscan Bronze Bown or THE FIrrEENTH Crenru Pear-shaped body with molded rim. Body decora winged ribbings. | Height, 31 inches m (Illustrated) 244—Tuscan Bronze Bown or tux SixreenrH CEeNnTUR Pear-shaped body with enor rim. Body dec winged ribbings. (Illustrated) 243 244 245—FLorentine Bronze Morrar oF THE SIXTEENTH CENTURY Tapering cylindrical shape, with incurved sides and projecting tapering and scrolled bracket handles modeled on top with couchant heraldic lions, Sides decorated, in relief, with scrolled escutcheons, charged with the arms of the Medici family quartered with another, and supported by flying Amorini. Height, 4 inches; diameter, 5 inches. 246—FLorENTINE BronzE Mortar OF THE SIXTEENTH CENTURY Spreading cylindrical shape, with molded rim and foot. Body decorated with four vertical shaped ribbings and lions’ masks in relief. Height, 3°, inches; diameter, 6 inches. 2464—FLorENTINE Bronze Morrar OF THE SIXTEENTH CENTURY Incurved sides, with loped handle. Decorated, in relief, with escutcheon and two stags and with panels of vases and flowers. Height, 384 inches; diameter, 41/, inches. g ‘4 2 247—FLoRENTINE BronzE Mortar OF THE SIXTEENTH CENTURY Incurved cylindrical shape, with molded rim and foot and two projecting handles formed as heads of Putti. Body decorated with galloping horses in relief. Height, 41/4, inches; diameter, 51% inches. 24S—FLoRENTINE Bronze Morrar OF THE SIXTEENTH CENTURY Spreading cylindrical shape, with spreading rim and one looped handle. Body decorated with vertical ribbings and shield-shaped escutcheon charged with the initials “S.I.” Height, 4% inches; diameter, 6 inches. 249—FLorENTINE Bronze Mortar oF THE SIXTEENTH CENTURY Incurved sides, molded rim, gadrooned under portion, molded foot and looped scrolled and voluted handles with Satyrs’ heads. Body decorated, in relief, with scrolled escutcheon charged with a coat-of-arms and sur- mounted by a helmet and with a band of acanthus leaves. Height, 51, inches. 250—FLorRENTINE Bronze Mortar oF THE SIXTEENTH CENTURY Spreading cylindrical shape, with molded rim and foot. Body decorated with four female caryatid figures separating groups of three scrolled Putti masks. Height, 3% inches; diameter, 5 inches. 251-—FLoRENTINE BronzE Morrar AND PESTLE OF THE SIXTEENTH CENTURY Mortar with straight sides, decorated, in relief, with vertical ribbings and oval and rectangular medallions of figures. Rim with detached leaves. Cylindrical double-ended pestle. Height, 41% inches; diameter, 6 inches. 252—-FLORENTINE Bronze Morrar oF THE SIXTEENTH CENTURY Incurved cylindrical shape, with molded rim and foot and looped dolphin handle. Body decorated with oval medallion enclosing monastery sigillum and inscription in relief. Height, 4 inches; diameter, 51 inches. 253—Goruic FLORENTINE BronzE Mortar oF THE FIFTEENTH CENTURY Straight sides, with ring handles. Decorated, in relief, with incised medallion of Virgin and Child, crucifix and inscription in Gothic char- acters. Height, 51/4, inches; diameter, 714 inches. 254—FLorentiIne Bronze Morrar or THE SIXTEENTH CENTURY Incurved sides. Decorated, in relief, with vases of flowers: and | cl : _ Spreading sides, Wiel rim, Nae molded fos Peer with ring. Sides decorated with heraldic shield charged | _ lion surrounded by molded roundels, on a ground ote 2 and leaves in relief. epore Height, 6Y, inchen diameter (I a ) AUDLINAO HINGE ATUVA AHL dO UVLYHON AZNOU OIHLOD NVOSI).L—$ss “ON LIMOGES ENAMELS, SILVER AND SILVER GILT Of the Fourteenth, Fifteenth and Sixteenth Centuries 256—Frencu Limoces ENAMELED AND Gitr Bronze PrickET CANDLESTICK oF THE FourTEENTH CENTURY Painted pricket on hexagonal foot, with incurved sides, decorated with radiating panels with trefoil-arched tops of red, blue and white champ- levé Limoges enamel in designs of saints, the faces in engraved gilt bronze. Pointed pricket of gilt bronze. Height, 7, inches. (Illustrated) 257-—F LorENTINE SILVER STATUETTE OF THE LaTE SIXTEENTH CENTURY Full-length standing figure of a female saint with long curling hair, dressed in a robe chased with a brocaded pattern open at the knee so as to show the lower part of the leg and with her hands folded in front of her. On rectangular base with molded cornice and base, scrolled angles and scrolled escutcheon with the coat-of-arms of the Strozzi fam- ily, noted in Florence, and a Latin inscription. Height, 15 inches. (Illustrated) 258—VENETIAN SitvER Lamp or THE E1GHTEENTH CENTURY Standard modeled as the figure of a dancing Psyche with both arms raised above her head and wearing a flowing robe. With one hand she supports a vase-shaped oil receptacle, with three cylindrical wick nozzles, sup- ported by scrolled leaves, with domed molded cover with bands of leaves in relief, finial formed as a goat, and Amorini and chains supporting wick pickers. Shade shaped as a moth supported by arch of silver wire. On cylindrical molded pedestal decorated with floral festoons in relief. Height, 1714 inches. (Illustrated) 259—VENETIAN Byzantine Sitver ParrrarcHuant Cross or THE Karty Four- TEENTH CENTURY ben Four-armed cross repoussé with central figure of Christ holding an in- scribed label. Trefoiled arms repoussé with figures of saints, an angel and the lion of St. Mark, while above is repoussé a figure of Christ emerg- ing from the tomb. Beaded border. Height, 131%, inches. 260—FrencuH Sinver Gitr CENTERPIECE oF THE LaTE SIXTEENTH CENTURY Tripod form, with cylindrical stem, terminating in fluted pear-shaped vase of fruits with a center of a gadrooned vase, and base of female masks. This stem is supported by curved arms modeled as female Grecian winged sphinxes holding shell-shaped bowls and terminating in bearded masks and horses’ hind legs with hoof feet. Base of shell-shaped bowls and scrolled and voluted mask feet. Height, 9%, inches. Note: This was fashioned by a French craftsman, working under the influence of Benvenuto Cellini after the latter’s residence in France, 261—Frencu Sitver anv Rock Crysrat Rerieuary. Earzy FirreenrH CENTURY Rectangular shape. Formed as a Gothic building with pent roof of rock crystal carved with imbrications, pierced and modeled cresting. with a shield-shaped and trefoil opening, crocketed gables with pointed arch openings, central poppy-head finial, floriated side finials, and frieze pierced with trefoil openings. Octagonal columns at angles, with molded bases. Molded plinth, the upper member hatched and with inscription in Gothic characters, four projecting cylindrical turrets with conical roofs at the angles and feet modeled as heraldic lions. French “poingon” or touch of the fourteenth century. Height, 8, inches; length, 984 inches; width, 5, inches. (Illustrated ) 262—Frencu Gitr Bronze anv Stitver ReELiquary OF THE FouRTEENTH CENTURY Repoussé in the form of the bust of a saint with clean-shaven face and bushy curled hair. He wears a close-fitting cap with turned-up rim, a priest’s robe with wide stole and a circular medallion on his breast with glazed front and edged with a band of leaves wrought in relief. The base is molded. The stole is flat-chased in a design of scrolled acanthus leaves and the medallion forms a reliquary. The face is of silver, the robe and cap of copper, gilt. Height, 8 inches. / (Illustrated) 263—Frencu Bronze Mountep Osrrich Ecc Box Reriauary or THE Fir- TEENTH CENTURY Body of an ostrich egg strapped and with hinged lid, spreading stem and circular molded foot. Vertical straps and horizontal bands of diamond patterned tracery endorsing quatrefoils; top of lid modeled with Gothic tracery, poppy headed trefoil finial and molded hinged hasp. Height, 10 inches. (Illustrated ) 264—Ser or Six Venetian Parnrep anp Gitr Metat Pricker Canpiesticks OF THE SEVENTEENTH CENTURY Vase and baluster-shaped stems repoussés with acanthus scrolls, saucer- shaped bobéches repoussés with acanthus leaves and iron prickets. On triangular pedestals formed of voluted scrolls enclosing scrolled and shell-decorated escutcheons with crowned letter “M” on voluted feet. Painted brown with ornaments heightened by gilding. Height, 26 inches. . | : = 265—FLoRENTINE SILVER Bas-RELIEY OF THE: SEVENTEENTH * Rectangular shape. Central panel repoussé with a — Holy Family, the Virgin holding the undraped Child Joseph seated. Below, an infant St. John the Baptist, « angel, and above, two angels supporting a crown. In - cherubim. Surrounded by a border repoussé with | fruit and figures. Below, two reclining Putti, Me Height, 15 ine (Illustrated) No. 265—FLORENTINE SILVER BAS-RELIEF OF THE SEVENTEENTH CENTURY BRONZES OF THE FOURTEENTH TO THE EIGHTEENTH CENTURY 266—Pair or FLorENTINE Bronze CANDLESTICKS OF THE FIFTEENTH CENTURY Hexagonal shafts, pierced with Gothic trefoiled arches and panels of tracery. Circular molded, saucer-shaped base. Height, 8% inches. From the celebrated Fitz Henry Collection, London. (Illustrated ) 267—Pair or Tuscan Bronze CANpDLEsSTICKS OF THE Late FirreeNntTH CENTURY Pear-shaped stems, fluted and gadrooned ; vase-shaped fluted and ga- drooned candle-sockets, with circular bobéches. Scalloped circular feet. Plated with silver. Height, 9 inches. From the Marcuard Collection, Florence. (Illustrated ) 268—Papuan Bronze Inkstanp oF THE FirreeNTH CENTURY Coupe-shaped, on tripod stand of three winged female caryatids with double fishtail terminations. Domed cover, with finial modeled as the standing figure of a female saint bearing a cross and chalice. Dark patina. Height, 5 inches. 269—Frencn Gotruic Wrovucut-1ron CuurcH Door Knocker or THE Fir- TEENTH CENTURY Modeled as the full-length figure of a Martyr Saint in flowing robe, hold- ing in one hand a palm branch and in the other a book. Rectangular base, wrought with Gothic leaves in relief and with hexagonal boss for knocker. Height, 13 inches. (Illustrated) 270—VENETIAN Bronze Door KNockEerR OF THE SIXTEENTH CENTURY BY GrovaAnNt Anronio Taverno (circa 1575) Hinged knocker, formed as the figure of two lions enclosing the figure of an Amorino holding a cushion, and supported on a voluted pedestal deco- rated with cherub and with shell below. Above is a voluted and scrolled plate enclosing an oval medallion decorated, in relief, with a cherub. Height, 10 inches; width,-8 inches. Note: The mate of this knocker is said to be in the J. P. Morgan Collection. 271—Roman Bronze Ewer or THE SEconp Century B.C. Pear-shaped body, with looped handle pierced and modeled as a figure of Apollo with his Lyre. Standing on a winged gryphon. Exhumed. Green patina. Height, 9, inches. 272—Frencn Gornic Bronze Bas-revier Memoria Bust or tHe Earty FourtTeentH CENTURY Repoussé portrait taken from the death mask of an Abbess. She wears the hood, head-dress and veil of her order. 273—Papuan Bronze Inxkwett anp Pouncer Box oF THE SIXTEENTH CENTURY Drum-shaped inkwell with molded rim and base, feet modeled as sphinxes and the body decorated with a band, in low relief, of acanthus-leaf scrollings interrupted by three lions’ masks. ‘Top with center hole for inkwell and three smaller holes for pens. Cover of well drum-shaped. Pouncet box with pierced top, castellated and molded rim, molded ball finial and body decorated with a band, in low relief, of half-human fig- ures holding festoons of drapery. Height, 5%, inches. PO ai a ot AEE ARLE ge ef : fs ‘ 2 . =» \ a . g ogre wd \ _—* 274—VENETIAN Bronze Inxsranp sy Virroria. SixTEENTH CENTURY Rectangular inkwell, with sides modeled, in relief, with horizontal bands of acanthus leaves and female masks with curling hair on a dotted back- ground. At the angles are standing figures of nude Putti holding carved branches of leaves which form handles. Removable pinnacle lid, modeled with female masks and with a finial modeled as a seated nude Putto holding a twisted cornucopia. Rectangular base, with scrolled and voluted feet modeled with Putti’s heads. Made by Alessandro Vittoria (1525-1613). Height, 10 inches. 275—Papvuan Bronze Inkwett sy Riccio (ANpREA Briosco oF Papva), FIFTEENTH CENTURY Kneeling figure of a Satyr supporting on his shoulders an infant Bacchus and with his left hand resting on a shell which forms inkwell. Height, 7 inches. 276—NEAPOLITAN SILVER CHURCH BraziER OF THE EIGHTEENTH CENTURY Quatrefoil shape, with molded rim and foot and hinged pierced lid. Sides decorated with panels repouss¢és with scrolled interlacements and husk festoons and with scrolled masks supporting swinging scrolled bail handle with turned wooden grip. Lid pierced and repoussé with four panels of scrolled interlacements and with oval gadrooned medallion. Neapolitan Hall Mark of 1710. Height, 41% inches; length, 10 inches. 277—F LoreENtINE Bronze STarverrE oF THE SixrEENTH CentTuRY. ScHOOL or Gran Botoena (1530-1608) Figure of “Venus Emerging from her Bath.” Shown as the standing figure of a nude woman stooping forward with one leg raised and one arm outstretched. On rectangular base of giallo-antico marble. Height of bronze, 5% inches. 278—FLorENTINE Bronze STATUETTE OF THE SIXTEENTH CENTURY Standing figure of Flora, shown as a young woman dressed in flowing robes which leave her bosom bare. In her hands she holds flowers. On circular base, showing traces of original gilding. On molded cylindrical pedestal of giallo-antico marble. Height, 5%, inches. 279—ArcuHaic Greek Bronze STATUETTE Figure of Paris, shown as an undraped youth standing erect, with one hand outstretched, and holding an apple, grasping in the other a fold of his scarf. On rectangular base of bronze with acanthus-leaf feet of later date but from the same excavation. Height of figure, 11 inches. (Illustrated ) 280—VENETIAN Bronze STATUETTE OF THE SIXTEENTH CENTURY Standing figure of Ceres. Shown as a woman in classic robe, standing erect and holding a fold of her draperies with the right hand, the left hand being raised upright. Rectangular wooden pedestal. Height of bronze, 13 inches. (Illustrated) 281—F LorENTINE Bronze STATUETTE OF THE FirrEENTH CENTURY Standing figure of Juno in loose robe, resting her hand on head of pea- cock at her side. Turned wooden pedestal. Height of bronze, 13 inches. (Illustrated) 282—Papvan Bronze Inxstanp FRoM THE Borreca oF ANDREA Briosco (1470-1522), kNown as Riccio. Earty SixTrrentH CENTURY Standing figure of a bearded Satyr holding, in both hands, and in front of him, a curved tige terminating in a vase-shaped candle-socket deco- rated, in low relief, with acanthus leaves. The figure stands at the apex of a triangular base, the sides decorated in low relief with panels of scrollings, and with mask feet. In front are two vase-shaped inkwells having sides decorated, in low relief, with acanthus leaves, domed and hinged lids decorated with acanthus leaves, and finials formed as female heads. Height, 1134 inches; width, 6% inches. 283—F LorENTINE BronzE STATUETTE OF THE FIFTEENTH CENTURY BY BEr- THOLDO DI GIOVANNI (14(?)-1491) arreR THE ANTIQUE Seated figure of Jupiter, shown as an undraped bearded man holding in his outstretched right hand a thunderbolt and in his left the draped figure of a woman. On his head is the nude figure of a Venus raising her right hand. On stepped rectangular pedestal of brown marble. Height of bronze, 8 inches. . ’ _ einen Bronze SrarcerrE OF ru Secon Cexreny Be tresses of ae hair. Bing: green patina. On reetang pedestal. : Tapes pasa +a - t i. I llustrated) No. 284A—ROMAN BRONZE STATUETTE OF THE SECOND CENTURY B.C. 285—Papuan Bronze Srarverre bhi acon ks. EREE ee tre on its meats and Reid one atic foot eae ee a grou head is turned. (Antler Brokat J Modeled, by Pesellino. Height (Illustrated) ( fhaspeoeee Bi: 287—FLorENTINE Bronze STATUETTE OF THE FirrEENTH CENTURY BY Berrotpo oF Papua (?) Figure of Marcus Aurelius with bearded face, in a Roman tunic, seated on horseback, the horse in the attitude of walking with right foot raised. Rectangular wooden pedestal. Height of bronze, 6%, inches. 288—FLorRENTINE Bronze STATUETTE OF THE SIXTEENTH CENTURY By GiAN Botoena (1530-1608) Figure of a galloping horse shown with fore feet raised and tail stream- ing in the wind. Signed on one back hoof “co. Bo.” On rectangular ebonized wood pedestal. Height of bronze, 8 inches. 289—Nortu Travian Bronze STaruerre oF THE FirreENTH CEentTURY Full-length figure of Hercules with head and shoulders draped witl lion skin, holding the pommel of a sword in his right hand and re: the left on the head of a kneeling figure ils pea rdes face. On recta * t rT a Pa > 290——Parr or FirorentTine Bronze Eauestrrian STATUETTES OF THE TEENTH CENTURY BY Prep Beas ey The king wears a suit of iy armor and extends his. re heads are movable. On original octagonal pedestals of | ca with molded cornices and bases and molded panels of g marble. Small models ee ail equestrian statue. — Height of bronzes, 14%) | From the collection of Count Ppa ae hace of Spaki (1684-1640). In this statue he rises 3 a ser ital ee n tioned immediately after Donatello and Verrocchio. Tacca leaves far Jean de Bologne, ete. ete.” (Illustrated) 5 (ie as om (OS9I-LLGT) VOOVL OULHId AM AUYOINYO HINGLINTAUS ALL LO SHLLUALVIS NVIULSANOA AZNOUM ANILNAUO TA AO ULVd—066 ON 291—Pair oF FLorENTINE BRonzE STATUETTES OF THE SIXTEENTH CENTURY By Jacopo Tarti, DETTO IL Sansovino (1477-1569) Standing figures symbolic of “Peace” and “War.” “Peace” is shown as a young woman in a flowing robe holding in one hand a cornucopia, and in the other the downturned flaming torch emblematic of Peace, and resting one foot upon a helmet. “War” is shown as a young woman wearing a helmet, a flowing robe, a close-fitting tunic of goat-skin and, on one arm, an oval buckler. At her feet crouches a human-headed gryphon wearing a helmet and supporting a scrolled escutcheon. On triangular molded bases of walnut with mncurved sides. Heights, 21 and 22%, inches. 292— FLoRENTINE Bronze STATUETTE OF THE SIXTEENTH CENTURY BY JACOPO Tarr, perro 11 Sansovino (1477-1569) Figure symbolic of “Dancing.” Shown as a young woman in flowing robes and with curling hair standing in an attitude of dancing with out- stretched arms. On rectangular molded pedestal of green marble. Height of bronze, 35 inches: of pedestal, 8% inches. Note: From the collection of Jacques Seligman, Paris. 293—CninEsE Bronze Figure OF THE CH'IEN-LUNG PERIOD Standing figure of Buddha with his right hand raised. In flowing robes with close head-dress and standing upon a lotus blossom and leaves. Octagonal base, with sunken panels occupied by scrolled ornaments. Height, 26 inches. 294—FLoRENTINE Marp_E AND Bronze STATUETTE OF THE FouRTEENTH CENTURY Figure of Diana of Ephesus after the antique. Shown as the figure of a woman, standing with upraised hands. She has many breasts, and from the waist to the feet the figure resembles a downward tapering pillar. Molded, in low relief, at the sides with medallions of conventionalized roses and bees, and in front with rows of projecting birds and animals. She wears a castellated head-dress, with side flaps modeled with project- ing animals, and holds in either hand a miniature castle, while on her arms are statant lions. She also wears a floral garland. Head, hands and feet are of bronze, the body of Parian marble. On circular base and rectangular wooden pedestal. Height of figure, 231%, inches. Note: The original antique is in the Naples Museum. sy Pierro Tacca (1577- 1650) Bust portraits of Roman Emperors on molded incurved pedestals with a reddish gold patina. On cylindrical pedestals, with molded feet and © square bases, of red porphyry. The set consists of busts of: (a) Julius Caesar, flourished 48 B.C. (ps) Cesar Augustus “ 30 B.C. (c) Tiberius Augustus “ 14 A.D. (p) Claudius Augustus “ 41 A.D. (x) Nero Augustus#= ~~ >< S47 ACD (F) Titus Augustus ie ALD ; (c) Domitian Augustus “ Si ‘A:D. (1) Nerva Augustus “ 96 A.D. (1) Hadrian Augustus “ = 117 A.D. (s) Antonius Pius ES 138 A.D. (x) Marcus Aurelius Pree dO LACES: (1) Caracalla % 211 A.D. Height of busts, 11 inches. Note: These busts came from the collection of Prince Barberini of busts were added to this collection by Maffeo Barberini, who as Pope (1623-1644) strengthened the fortifications of Castle St. Angelo, removing make cannon, the massive bronze tubular girders from ta ics of the | fecerunt Barberini.” : (Illustrated) 295—SET OF TWELVE ROMAN BRONZE BUSTS OF THE SEVENTEENTH CENTURY BY PIETRO TACCA (1577-1650) 296—Tuscan Bronze Brazier OF THE SEVENTEENTH CENTURY Coupe-shaped body, with looped dolphin handles swinging from gro- tesque masks, on three lions’ feet. Domed, pierced removable cover with acorn finial. Body repoussé with acanthus-leaf scrollings, lions’ masks and circular medallions charged with the arms of the Borghese family and a portrait of Pope Paul V respectively. Cover pierced and repoussé with acanthus-leaf scrolls, masks and circular medallions occupied by gry- phons. Finial repoussé with voluted scrolls and lions’ masks. Height, 39 inches; diameter, 24 inches. Note: Camillo Borghese, Pope Paul V (1605-1621), to whom this brazier belonged, ranks among the Popes who have contributed most to the embellishment of Rome. 297—Pair oF FiorentineE Bronze CANDLEsSTICKS OF THE LATE SIXTEENTH CENTURY Turned vase and baluster-shaped stems with pierced and scalloped saucer- shaped bobéches. Supported on triangular pedestals formed of voluted scrolls with three voluted bracket feet. Height, 201%, inches. (Illustrated ) 298—Parr oF FLORENTINE Bronze Pricker CANDLESTICKS OF THE SEVEN- TEENTH CENTURY Hexagonal vase and baluster-shaped stems with scalloped saucer-shaped bobéches and brass prickets. On triangular pedestals formed of voluted scrolls with three paw feet. Height, 22%, inches. 299—FLoRENTINE Copper DisH oF THE FIFTEENTH CENTURY Circular shape. Center repoussé with subject of Joshua’s spies bearing a bunch of grapes between them, surrounded by a band of inscription in Lombardic characters and a leaf border. The rim incised with a band of pointed-arch loops with trefoil pendants. Diameter, 15 inches. From the collection of the Marquis of Montagliari of Florence. (Illustrated) 297 300—FLorENTINE Covper DisH oF THE FirTrEENTH CENTURY Circular shape. Center repoussé with four gadrooned vases separated by acanthus-leaf volutes, and surrounded by a band of inscription in Lombardic characters and a band of chased scrollings, the rim incised with a band of leaves and a border of pointed-arch loopings with tre- foil pendants. Diameter, 1714 inches. From the Marcuard Collection, Florence. 301—FLorENTINE Brass PLATE OF THE SIXTEENTH CENTURY Circular shape. Repoussé, as to the center, with figures of Adam and Eve on either side of the Tree with Serpent, surrounded by two bands of inscriptions in Lombardic characters. Rim incised with bands of leaves and trefoils. Diameter, 16 inches. 302—FLoRENTINE Copper DisH oF THE FIFTEENTH CENTURY 303 Circular shape. Center repoussé with a-circular medallion containing the figure of a running stag, surrounded by.a star-shaped figure with pointed arms separated by scrolled branches of flowers and running deer. Rim incised with band of pointed-arch loopings with floral pendants. Diameter, 20 inches. VENETIAN Brass CANDLESTICK OF THE EIGHTEENTH CENTURY Square iron standard with pineapple finial of brass and adjustable brass arm of three vase-shaped candle-sockets with beaded bobéche on curved arms. Beaded and molded saucer-shaped foot of brass. Height, 181/, inches. THIRD AFTERNOON’S SALE FRIDAY, APRII. 23, 1920 ~AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O CLOCK 304—Pair or CHINESE TEAKwoop Sroots oF THE CH’IEN-LUNG PERIOD Octafoil tops with molded edges, friezes pierced and carved with panels of scrolling, shaped aprons, cabriole legs carved at the knees, paw feet and incurved molded rails. Tops inset with slabs of veined red marble. Height, 1914 inches; diameter, 18 inches. 305 Frencu Carvep anp Gitt Woop CANDELABRUM OF THE EIGHTEENTH CENTURY Square tapering fluted stem, with two curved arms terminating in rec- tangular volutes. Stems and branches*support gadrooned vase-shaped candle-sockets with saucer-shaped bobéches carved with egg-and-dart ornament. Rectangular molded base carved with band of pointed leaves. Height, 16 inches. 306—Pair oF FrencH ManocGany GuERIDONS OF THE EIGHTEENTH CENTURY Circular tops of black and white marble slabs on molded aprons, trian- gular stems carved with sphinx heads and inlaid with raised flutings and molded edges of ebony. Incurved triangular bases, and turned acorn feet. Height, 45%, inches; diameter, 14 inches. 307—VENETIAN CarvED AND Gitt Woop Mirror or THE Earty E1gHTEENTH CENTURY Rectangular mirror, with rounded top, inner molded frame and outer frame pierced and carved with scrolls, volutes, flowers and leaves and five cherubim. Base with semicircular molded shelf supported by three cherubim. Height, 33 inches; width, 27 inches. From the Dal Zotto Collection, Venice. 30S8S—VENETIAN CARVED AND Gitt Woop FRAME oF THE EIGHTEENTH CENTURY Rectangular shape, with oval opening. Molded and carved frame, with cresting pierced and carved with cherubim, scrolled acanthus leaves, rosettes and angular volutes. Side brackets carved with scrolled acan- thus leaves, birds and floral pendants. Spandrels carved in low relief with acanthus-leaf scrolls. Height, 39 inches; width, 34 inches. 309—VENETIAN CarveD Watnutr Mrrror oF THE EIGHTEENTH CENTURY Oval shape. Frame carved with voluted scrolls and flowers and with Amorini having acanthus-leaf terminations and pendants of fruits and flowers and, in the center, a mask surrounded by scrollings. Finial carved as a figure of Venus draped and resting her hands on the shoulder of a Cupid who presses an arrow to his lips. Apron carved as a kneeling woman holding tresses of her hair in either hand and flanked by acanthus- leaf scrolls and Amorini. Shaped base, carved in the center with a female mask, on either side of which are floral festoons flanked by Putti seated on scrolled and voluted bases. Louis XV period. Height, 39 inches; width, 18 inches. 310—Frencn Manocany FiIrE-scREEN OF THE EIGHTEENTH CENTURY Rectangular shape. Reeded frame, with reeded cylindrical top and reeded legs on tapering square curved and rosetted cross feet. Screen paneled with plaited green silk. Height, 34 inches; width, 29 inches. 311—VeENETIAN CaRvED AND Gitt Woop CHANDELIER OF THE EIGHTEENTH CENTURY Turned baluster-shaped stem, carved with lotus and acanthus leaves. Circular saucer-shaped body, decorated with carved acanthus leaves and having three chains formed of turned wooden spindles. The body sup- ports eight curved branches with carved acanthus leaves at the junctions, saucer-shaped bobéches and cylindrical candle-sockets. Entirely gilt. Diameter, 32 inches. 312—Eneutsh Manocany Wrirrxe Desk oF THE EIGHTEENTH CENTURY Shaped top with plain edge, the center portion hinged so as to form adjustable lid; plain apron, the center with hinged fall-down front form- ing writing slab and interior fitted with four drawers. Cabriole legs, carved at the knees and feet. Height, 2 feet 8 inches; length, 3 feet 41% inches; width, 1 foot 8 inches. 313—NortH Iratian Waxtnut Writine TasLe oF THE EIGHTEENTH CENTURY Circular top, with plain edge. Apron fitted with four drawers pivoted to swing open and with wooden knobs. Square tapering legs with sunken paneled shafts, decorated with raised flutings and square rails. Height, 29 inches; diameter, 2614, inches. 314—VenetTian Intarp Watnut Taste oF THE EIGHTEENTH CENTURY Kidney-shaped top, inlaid with band of kingwood and lines of satinwood, shaped apron fitted with drawer and inlaid with vertical bands of mahog- any, satinwood and green stained wood. Straight molded supports and carved cross bases carved with acanthus leaves. Height, 29 inches; length, 39 inches; width, 17 inches. 315—EncuisH Satinwoop Desk or THE KicHrEENTH CENTURY Rectangular shape, in two portions. Upper portion with shelf having curved back, pull-out slab fitted with six drawers and three pigeon- holes. Lower portion formed as a writing table with hinged top lined with stamped velvet and drawer with two brass swinging ring handles. Square tapering legs. Satinwood inlaid with lines and bands of boxwood and rosewood. Height, 45 inches; width, 26 inches; depth, 1714 inches. 316—VENETIAN Carvep anv Git Woop Manret Mirror or tHE EiGHTeEENTH CENTURY Rectangular mirror with trefoil top, molded and scrolled inner frame, outer frame pierced and carved in a Louis XV design of a broken voluted pediment with open C-scroll finial, pierced and carved scroll and leaf wings with lower part carved with C-scrolls and acanthus leaves. Carved scrolled apron and open scrolled and voluted feet. Height, 48 inches; width, 28 inches From the Dal Zotto Collection, Venice. 317—-SeEtT oF Six Encuish Watnutr HiecuH-packep Cuairs oF THE EIGHTEENTH CENTURY Straight high backs, with arched frames carved with acanthus leaves and with pierced and carved crestings of escutcheons charged with coat- of-arms, surmounted by coronets and supported by rampant heraldic hons. Straight molded seat fronts, shaped flat legs carved with acanthus leaves and conventional lions’ heads, shaped front rails pierced and carved with acanthus-leaf scrolls and shells and turned side rails and stretch- ers. Seats and backs paneled with woven cane-work. 318—-VENETIAN PainrepD CuHair oF THE EIGHTEENTH CENTURY Open back, with shaped and scrolled horizontal splat, shaped head rail, straight seat front, turned tapering legs and turned front, side and back rails. Seat of interlaced cords. MIRRORS, FRAMES AND LANTERN OF THE SIXTEENTH AND SEVENTEENTH CENTURIES 319—Venetian Erony, Sinver anp Marsrie Invar Mrrror oF THE SEVEN- TEENTH CENTURY Rectangular shape, with broken pediment, with silver finials pierced in a trefoil design, paneled central tablet and molded broken cornice. Tab- let-shaped frame with broken angles, scrolled and voluted side-brackets and molded broken base and scrolled and voluted apron with central paneled tablet. Frame of ebony inlaid with lines of silver. Frame bor- dered with panels of malachite, onyx and colored marbles divided by bands of ebony inlaid with lines of silver. Height, 16 inches; width, 101, inches. af { 4 « aft fo i? *% \ 320—FLoRENTINE CarRvED AND GitTtT Woop Mirror oF THE SIXTEENTH CENTURY Rectangular shaped mirror. Frame carved with broken voluted pedi- ment, voluted side brackets and scrolled and voluted apron. Carving heightened with gilding. Height, 1714 inches; width, 14 inches. 321—FLoRENTINE PatntTED AND Gittr Woop FRAME OF THE SIXTEENTH CENTURY Molded and dentelled cornice, plain frieze and plinth and _ pilasters with paneled shafts. Height, 2 feet 6 inches; width, 1 foot 111%, inches. 322—FLorENTINE CarRveD AND Gi_tT Mirror oF THE SIXTEENTH CENTURY Rectangular shape. Carved sides, cresting and apron. Gilt. Original mirror. Remarkable patina and state of preservation. Height, 30 inches; width, 171%, inches. 323—FLorENTINE Watnut FRAME OF THE SIXTEENTH CENTURY Broken pointed molded pediment, with voluted finial, molded cornice, frieze carved with rosettes, fluted pilasters, plain plinth and molded base. Height, 60 inches; width, 461/, inches. 324— VENETIAN CarveD aNpD Girt Woop Mirror or THE SixtEENTH CENTURY Rectangular-shaped mirror. Frame carved, the top with cherub flanked by voluted scrolls, the sides with fruit and pointed-leaf pendant and voluted scrolls, and the apron with a central rosette flanked by voluted scrolls. Carving heightened with gilding. Height, 201% inches; width, 17 inches. 325—VENETIAN CarvED, PaInrED AND Gitt Mirror oF THE SEVENTEENTH CENTURY Quatrefoil mirror, with molded and egg-and-dart carved frame sur- mounted by broken-arched pediment with two Amorini and laurel-leaf festoons and pendants. Supported by a draped female figure on a scrolled and voluted base carved with a cherub. Painted and gilt. Height, 33 inches; width, 16 inches. 326—FLoRENTINE Watnut TaBerRNACOLO FRAME OF THE Earty SIXTEENTH CENTURY Rectangular shape. Molded and carved cornice and frieze carved with acanthus-leaf rinceaux supported by fluted detached columnar pilasters of the composite order on molded bases and rectangular pedestals carved with scrolled escutcheons, plain base and round-arched inner frame. Height, 35 inches; width, 251% inches. 327—VeENETIAN Carvep anp Gitr Woop Mirror Frame oF THE SIXTEENTH CENTURY ~ Rectangular shape, with openings for three pictures surrounded by frames carved with voluted scrolls, festoons of fruits, and Amorini. Carving heightened with gilding. Height, 391, inches; width, 26 inches. 328—Twuscan Parstep Woop Mirror OF THE SIXTEENTH CENTURY Tabernacolo form, with broken pediment and molded and dentelled cor- nice supported by fluted and astragalled Doric pilasters. Painted and gilt. Height, 391, inches; width, 244%, inches. 329—VENETIAN Carvep ano Gitr Woop FRAME OF THE SIXTEENTH CEN- TuRY. ATTRIBUTED To Jacopo Sansovino (1477-1569) Rectangular shape. Carved with broken voluted pediment and floral fes- toons supported by female caryatid figures having scrolled and voluted terminations hung with floral festoons and supported on molded and fluted and carved brackets. Lower portion carved with scrolls, floral festoons and acanthus-leaf scrolls. Carving heightened with gilding. Height, 44% inches; width, 38%, inches. 330—VeENETIAN CaRvED AND Gitt Woop Mirror oF THE SEVENTEENTH CENTURY Original rectangular shaped mirror, in three portions. Frame carved with voluted scrolls and triglyphs, the upper portion having in the cen- ter a winged cherub, and the sides female masks, volutes, fruit and leaf festoons and lions’ paws, the lower portion voluted scrolls and an oval escutcheon. Carving heightened with gilding. Height, 32%, inches; width, 321, inches. 331—VENETIAN Carvep, PaIxtED aND GittT Woop LANTERN OF THE Srx- TEENTH CENTURY Rectangular shape with domed top, formed as a cupola with ribs and circular windows. Body with four round-arched glazed openings, flanked by detached Doric columnar pilasters with molded bases and plain plinths. Molded base and turned pear-shaped feet. Bronze ring for suspension. Painted dark green and gilded. Height, 31 inches; width, 1414, inches. 332—FrorENTINE GittT TABERNACOLO SHRINE OF THE SIXTEENTH CENTURY Rectangular shape, with molded pointed pediment, the tympanum and plain frieze painted with light-colored scrollings on a blue ground, sup- ported by two detached fluted Ionic columns. On platform with steps, plinths painted with scrollings and molded base. Interior with molded round-arched opening occupied by round-arched niche surmounted by a scrolled acanthus-leaf carved in relief and by a circular painted medal- lion. Below is a plinth painted in gold on a blue ground with scrolls. Painted and gilt. Height, 34 inches; width, 19 inches. 333—Tuscan Paintep SHRINE OF THE SIXTEENTH CENTURY Molded pediment and fluted Corinthian pilasters. Painted inside with cross and the Virgin and St. John. Hinged doors, with insides painted with saints. Height, 2 feet 9 inches; width, 1 foot 8 inches. 334—FLorENTINE Carved, Paixtrep ann Gttt Woop TABERNACLE OF THE SIXTEENTH CENTURY Rectangular shape. Molded cornice, paneled pilasters, molded and gadrooned apron. Frieze and side panels painted with floral scrolls. Height, 2 feet 31, inches; width, 1 foot 8 inches. 335—Two SIENEsE CarvED AND PainteED Woop BrackeETs OF THE FIFTEENTH CENTURY Console brackets, with backs and shelves having molded edges, the latter supported by molded consoles, the fronts as shields. Painted, in various colors, with a coat-of-arms in monogram, and diamond diapers. Height, 141%, inches; width, 9 inches. 336—Tuscan Watnut TABERNACLE OR SHRINE OF THE SIXTEENTH CENTURY Round-arched top, with molded and voluted scrolls; shaped pilasters with voluted feet. Rectangular molded pedestal. Height, 3 feet 2 inches; width, 2 feet 1 inch. 337—FLoRENTINE PatInTED AND Gitt Woop CRADLE OF THE SIXTEENTH CENTURY Rectangular shape, with shaped and voluted head and foot, and shaped and voluted rockers. Gilded, and with frieze of gold scrolls on a blue ground. Cushion in red silk finished with silver laces. Height, 1 foot 5, inches; length, 2 feet 2, inches; width, 1 foot 31/, inches. From the Marcuard Collection, Florence. 338—Parr oF FLoRENTINE Watnut PEDESTALS OF THE SIXTEENTH CENTURY Rectangular shape. Fronts carved with scrolls, in relief, and pierced with oval handle-holes. Shaped apron. Height, 1 foot 234 inches; length, 1 foot 614 inches; depth, 1 foot 9 inches. 339—Tuscan Carvep, Painrep anp GinpED Woop Pepestat or THE EarLy SIXTEENTH CENTURY Semicircular shape. Lower portion arranged as a cupboard with hinged door, carved with figures of angels below and cherubim above, and flanked by Amorini. Detached carved pilasters at angles. Above is a pedestal with incurved carved sides, with carved and fluted pilasters at the angles. Height, 3 feet 61, inches; width, 2 feet 8 inches; depth, 1 foot 41%, inches. 340— VENETIAN PatnTED anp Gitt Pricker Woop CANDLESTICK OF THE SIXx- TEENTH CENTURY Turned vase and baluster-shaped standard, with vase-shaped bobéche and circular molded foot. Painted white, and decorated with floral sprays and lines in black and with gilt bands. Height, 63 inches. 3841—Tuscan Watnut Correr OF THE SIXTEENTH CENTURY Rectangular hinged lid, with molded and fluted edge, with end braces. Plain front, with female caryatids at the angles, molded base and lions’ head feet. Height, 914 inches; length, 22%, inches; width, 111% inches, 342—Tuscan Watutnut SToou oF THE SIXTEENTH CENTURY Rectangular shape with carved bulbous baluster-shaped legs and curved side rails and longitudinal stretcher. Upholstered top finished with silk ball fringe. 343—VENETIAN Watnut Miniature Desk oF THE SIXTEENTH CENTURY Rectangular top with molded edge, sloping hinged front, the interior fited as a desk with drawers and pigeon-hole, body with four drawers. Painted, and with gilt mounts. Height, 18 inches; width, 20 inches; depth, 10 inches. From the Dal Zotto Collection, Venice. 344—Forentine Watnur CuHarr oF THE SIXTEENTH CENTURY Sgabello type. Shaped back, wooden seat, rectangular pedestal and shaped front and back supports. 345—FLoreENTINE Watnut Cuan oF THE SIXTEENTH CENTURY Sgabello type. Shaped back, semi-octagonal wooden seat, rectangular pedestal and shaped front and back supports. 346—FLoORENTINE WALNUT CHAIR OF THE SIXTEENTH CENTURY Sgabello type, with back carved and pierced with heart-shaped scrolls and medallion. Wooden seat front support, carved with voluted scrolls and acanthus leaves and shaped back support. 347—Mantuan Watutnut “Amatoria” CHarr oF THE Earty SIXTEENTH CENTURY Sgabello type. Shaped back, carved with portrait medallion of Knight of Malta. Wooden seat, carved with coat-of-arms of crowned eagle, initials “G. P.,” date 1516” and Maltese crosses. 848—Mantuvan Waunout “Amatoria” Cuan OF THE Earty SIXTEENTH CENTURY Sgabello type. Shaped back, carved with figure of saint holding model of cathedral, and coats-of-arms of Visconti and Gonzaga, Dukes of Milan and Mantua. Wooden seat, carved with portraits of bride and groom. Spreading legs. Note: This, and the following, which match the “Amatorio” Cabinet, were made in Mantua, but under Tyrolean influence. 349—FLorentine Watnur Cuair oF THE SEVENTEENTH CENTURY Sgabello type. Triangular open back, carved with female caryatids and acanthus-leaf scrolls, shaped head rail carved with voluted scrolls and overlapping patera, octagonal wooden seat with fluted edge. Front sup- port, pierced and carved with voluted scrolls, mask and acanthus leaves, on paw feet. Shaped back support. 350-—FLORENTINE WALNUT CHAIR OF THE SIXTEENTH CENTURY Sgabello type. Shaped back, wooden seat, rectangular pedestal and shaped front and back supports. 351—FLorENTINE WaAuNuT CHAIm OF THE SIXTEENTH CENTURY Sgabello type. Shaped back, semi-octagonal wooden seat, rectangular pedestal and shaped front and back supports. 352—FLoORENTINE WALNUT CHAIR OF THE SIXTEENTH CENTURY Sgabello type, with shaped back, wooden seat, rectangular pedestal and shaped front and back supports. 353—Pair or Tuscan Watnut Cuarrs oF THE SIXTEENTH CENTURY Straight open backs, with acanthus-leaf finials and carved horizontal splats, wooden seats with carved aprons, carved deep front rails, square legs and side rails. 354—Pair oF FLoRENTINE WaLNuT CHairs OF THE SEVENTEENTH CENTURY Sgabello type. Lyre-shaped backs, pierced and carved with scrolled escutcheons and imbricated volutes and surmounted by crestings pierced and carved with voluted scrolls, shaped and medallioned wooden seats, front supports, pierced and carved with imbricated voluted scrolls and acanthus leaves, on claw and ball feet. Shaped back supports. 355—Two Tuscan Intai Watnot “Fratixna” CuHarrs oF THE FIFTEENTH CENTURY Spade-shaped open backs, with deep splats, inlaid bands of ‘“Fratina” work. Spade-shaped wooden seats, the aprons inlaid with ‘“Fratina” work, square legs and rail. Note: Fratina work was so called from the Italian name of the monks (Frate) who originally practised the art in the same manner as the “Certosini” made the inlay known as “Certosina.” 356—Ser or Four FLORENTINE InNLAID Watnout “FRatTiIna”’ CHairs OF THE FIFTEENTH CENTURY Spade-shaped backs, with deep splats inlaid with panel-shaped bands of “Fratina” work. Spade-shaped wooden seats with aprons, inlaid with “Fratina” work, square legs and rails. B57 357—Ser or Four FLorentine WatNnur CHairs OF THE SIXTEENTH CENTURY Straight square back, with acanthus-leaf finials, horizontal splats and deep front rail pierced and carved with Florentine fleurs-de-lis. Wooden seat with carved apron and square legs. 358—Tuscan Watnut ARMCHAIR OF THE SIXTEENTH CENTURY Straight open back. Acanthus-leaf finials and carved horizontal splats. Straight carved arms on square columnar supports. Wooden seat, with carved apron, carved deep front rail; square legs and stretcher shelf with carved apron. 359 : 360 359—Pair or Tuscan Watnur CuHairs oF THE SIXTEENTH CENTURY Straight backs, with acanthus-leaf finials, carved side supports and head piece and horizontal splats, shaped and carved with scrolls and shells. Wooden seats, square legs with apron and deep front rail carved to correspond with head-rail. 360—Pair oF ‘Tuscan WatNnut Cuarrs OF THE KaARLY SIXTEENTH CENTURY Straight square backs, with acanthus-leaf finials, straight square legs, shaped front rails and ball feet. Seats and back in leather secured with brass-headed nails, the backs embossed with masks and paneled borders with figures and conventional floral sprays. 361—Tuscan Watnut ARMCHAIR OF THE SIXTEENTH CENTURY Rectangular open back, with carved and voluted head rail and vertical central splat, voluted arms on carved supports, wooden seat with straight front and carved apron, turned legs and molded rails. 362—Pair oF FLORENTINE Watnut Monastery CHaiRS OF THE SIXTEENTH CENTURY Formed of five square standards pivoted so as to fold, with shaped head rail. 363—Turee FLORENTINE Watnut AnD BrEcHWoop CHaiRS OF THE LATE FirrEENtH CENTURY Open spindled, shaped and carved backs. Rush-bottomed seats. 364—Frencn Oak “CaQuETEUSE” ARMCHAIR OF THE Earty SIXTEENTH CENTURY Straight open back, with fluted side supports and head rail, carved with scrolls and a shield charged with a coat-of-arms, incurved arms, on turned supports, wooden spade-shaped seat, turned legs and molded rails. Note: This is a very unusual example. 365—Pair oF FLoRENTINE WauNutT CHAIRS OF THE SIXTEENTH CENTURY Straight open backs, with acanthus-leaf finials and horizontal carved splats. Straight arms on square baluster supports. Wooden seats, square legs and shaped rails. 366—FLoRENTINE Wautnut CHAIR OF THE SIXTEENTH CENTURY Shaped back with turned rosettes. Shaped wooden seat, spreading bal- uster-shaped legs and square rails. 367—-FLORENTINE WALNUT ARMCHAIR-OF THE SIXTEENTH CENTURY Straight square back with acanthus-leaf finials, straight arms on balus- ter supports, square legs and pierced and carved deep front rail. Seat and back in old leather secured with ornamental brass-headed nails. 368—Tuscan Watunvut CHAIR OF THE SIXTEENTH CENTURY Square open back. Spindled horizontal splat, head rail carved with scrolled escutcheon flanked by volutes and acanthus leaves, fluted voluted finials, straight seat front, square legs, front, back and side rails. Seat upholstered in orange velvet. Finished with silk fringe. | 3869—FLoRENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY Straight square back, curved, molded and voluted arms carved with acan- thus leaves on turned and fluted supports, straight seat front, turned and fluted legs, block feet carved with acanthus leaves, shaped deep front rail carved with acanthus-leaf scrolls and turned side rails and stretcher. 370—FLoRENTINE WALNUT ARMCHAIR OF THE SIXTEENTH CENTURY Straight square back, with acanthus-leaf finials, straight arms on balus- ter supports, square legs and pierced and carved deep front rail. Seat and back in old leather secured with ornamental brass-headed nails. 371—FLorENTINE Watnut CuHair oF THE FourTEENTH CENTURY Rounded back, with head rail supported by square spindle, and spread- ing turned legs. 372—Two Friorentine WautNut ArRMCHAIRS OF THE SixTEENTH CeEewnrurRy Straight backs, carved arms on turned supports, turned legs, rails and stretchers. Seat and backs in “punto floscio” silk embroidery of scrolled leaves and flowers, in colors on white grounds. Finished with silk fringe. 373—Tuscan Watnut ARMCHAIR OF THE Earty SIXTEENTH CENTURY Straight open back, with acanthus-leaf finials, carved voluted arms on baluster supports, square legs and deep pierced front rail. Seat and back upholstered in leather secured with brass-headed nails and finished with silk fringe. Back embossed with oval escutcheon and scrolls. 374—Tuscan Watnut ARMCHAIR OF THE SIXTEENTH CENTURY Shaped back, with rosetted head rail and splat, carved with a shield- shaped escutcheon, mantled with a scrolled label and charged with the coat-of-arms (a scorpion) of the Sienese family for whom the chair was made. From the Wilkins Collection, Florence. 375—Umeprian Waxtnut ARMCHAIR OF THE SIXTEENTH CENTURY Straight square paneled back, carved with an oval cartouche surmounted by opposed birds and with shaped cresting, molded side supports and carved voluted finials. Flat voluted arms on molded square supports, wooden seat, straight square legs, shaped front rail and square side rails. 376—FLoRENTINE WALNUT SETTEE OF THE SIXTEENTH CENTURY Shaped back, curved arms on turned supports, with turned legs, rails and stretcher. Seat and back in “punto floscio” silk embroidery of scrolled leaves and flowers in colors on a white ground. Finished with silk fringe. Length, 3 feet 7 inches. 377—FLoRENTINE WALNUT TABLE OF THE SIXTEENTH CENTURY Rectangular top with molded edge. Turned spreading legs and rails. Height, 2 feet 9 inches; length, 2 feet 81/, inches; width, 1 foot 314 inches. 378—FLORENTINE WALNuT TABLE OF THE SIXTEENTH CENTURY Rectangular top, with plain edge. ‘Turned spreading legs and square rails. Height, 2 feet 9 inches; length, 2 feet 8 inches; width, 1 foot 414 inches. 379—FLoRENTINE Certosino Intaip Watnut Miniature Tasle oF THE SIXTEENTH CENTURY Rectangular top on crossed legs with square longitudinal stretcher. Inlaid, with ivory and colored woods, in geometrical patterning. Height, 1 foot 4 inches; length, 1 foot 7 inches; width, 1 foot 1 inch. 380—Tvuscan WatnutT TasLE OF THE SIXTEENTH CENTURY Rectangular top.. Shaped apron, fitted with drawer. Double shaped and scrolled side supports. Height, 2 feet 11% inches; length, 1 foot 101% inches; width, 1 foot 3 inches. 381—Ser or Turee Iranian WaLNuT ARMCHAIRS AND SETTEE OF THE SEVEN- TEENTH CENTURY Upholstered backs with scrolled and voluted head rails, incurved wings and arms, cabriole legs and turned rails. Seats, backs, wings and arms upholstered in red silk damask finished with yellow galloon. Length of settee, 5 feet 10 inches, From the collection of Prince Doria-Pamphili, of Rome. (Illustrated ) 882—Tvuscan Watnct Prit-Diev oF THE SIXTEENTH CENTURY Rectangular top, with molded edge, plain apron flanked by carved masks, body arranged as a cupboard with hinged door flanked by voluted carya- tids. Plinth arranged as a box with hinged lid, carved base and paw feet. Height, 2 feet 10 inches; width, 2 feet 1 inch; depth, 1 foot 9 inches. 383—Pair or Tuscan Watnutr TapLes oF THE SIXTEENTH CENTURY Semicircular tops with plain edges, supported on cross braces with flat shaped and scrolled legs and back rails. Form circular table when united. Height, 291%, inches; length, 461% inches; width, 21% inches. 384—Tvuscan Wauner TasLeE OF THE SIXTEENTH CENTURY Rectangular shape. ‘Top with plain edge. Apron fitted with two draw- ers having paneled fronts and wooden knobs. On two flat shaped and scrolled supports with longitudinal arched stretcher formed of wrought- iron rods. Height, 30 inches; length, 44 inches; width, 25 inches. 385—Tuscan Watnur CarninEY OF THE SIXTEENTH CENTURY Rectangular top, with molded, dentelled edge. Apron with drawer with wooden knob, flanked by carved modillion brackets. Arranged as a cup- board, with hinged door having wooden knob flanked by fluted pilasters. Molded base and feet. Height, 3 feet 814 inches; width, 3 feet 1% inch; depth, 1 foot 11 inches. 72 AND SETTEE No. 381—SET OF FOUR ITALIAN WALNUT ARMCHAIRS OF THE SEVENTEENTH CENTURY 386—Tuscan (Arezzo) Watnut TasLe or THE Earty FirreeNntH CENTURY Circular top with plain edge.and hinged wings, supported by shaped brackets. Plain apron, fitted with paneled front drawers and wooden knob, shaped end supports and shaped, tenoned and keyed horizontal stretcher. Height, 2 feet 6% inches; diameter, 4 feet 5%, inches. 387—FLoRENTINE Watnut TasLe oF THE SIXTEENTH CENTURY Rectangular top with molded and fluted edge. Frieze carved, in low relief, with oval acanthus-leaf medallions, and fitted with drawer with fluted wooden knob, turned baluster-shaped legs, fluted, astragalled and carved with acanthus leaves; square foot rails. Height, 8114, inches; length, 48 inches; width, 32 inches. 3888—Tuscan Watunut “Asso pi Corer” TABLE OF THE FIFTEENTH CENTURY Rectangular top, with molded fluted edge. Plain apron, fitted with drawer with wooden knob. Lyre-shaped end supports on shaped cross bases, with molded feet and tenoned and keyed shaped longitudinal stretcher. Height, 1 foot 10 inches; length, 2 feet 6 inches; width 1 foot 41%, inches. 889—Tuscan Waunvut TaslLrE oF THE LATE SIXTEENTH CENTURY Rectangular top, with molded carved edge. Open lyre-shaped end sup- ports, with voluted feet and curved braces of knobbed wrought-iron rods. Carving heightened with gilding. Height, 2 feet 91%, inches; length, 5 feet; width, 2 feet 4 inches. FIrTEENTH CENTURY Tripod pedestal of three legs shaped as eagles’ legs with rounded ends and claw feet. Height, 2 feet 7 inches; diameter, 3 feet. 390—FLoRENTINE Wautnut TaBLe. Octagonal top with plain edge. Note: This interesting example of Florentine art came from the collection of the great soldier-poet and Commander-in-chief of “Fiume d'Italia,’ Gabriele d’Annun- zio. It was purchased at the Capponcina Sale. 391—F LoRENTINE Wautnutr Tape oF THE LATE FIFTEENTH CENTURY Octagonal top with plain edge, on tripod standard formed of three seated lions, their tails forming oval panels, carved with escutcheons charged with the crest of the della Rovere family. Incurved base with straight sides. Height, 2 feet 9 inches; diameter, 2 feet 11 inches. Note: The maker of this table was inspired by a Roman marble table. From the old Simonetti Collection, Rome. 392—Tuscan Watnut CaBINET OF THE SIXTEENTH CENTURY Rectangular shape. Top with molded edge. Frieze, fitted with drawer and divided by modillions. Body arranged as cupboard with two hinged doors having molded paneled fronts and turned wooden knobs, flanked by tapering pilasters carved, in low relief, with oval escutcheons, drapery festoons and guilloche patternings. At the angles are Doric columns. Molded base and paw feet. Height, 331% inches; width, 3714, inches; depth, 19 inches. 393—Tuscan Wautnur CaBINET OF THE SIXTEENTH CENTURY Rectangular shape. Molded cornice, carved with egg-and-dart orna- ment and frieze fitted with two drawers, having paneled fronts and wooden knobs, divided and flanked by voluted medallions, supported on three fluted and astragalled Ionic pilasters. Body arranged as cup- board with two hinged doors having molded paneled fronts and wooden knobs. Molded base, plain plinth and shaped bracket feet. Height, 451%, inches; width, 621, inches; depth, 20% inches. 394—FLoRENTINE WatNvut Priz-Diev oF THE SIXTEENTH CENTURY Rectangular shape. Broken top with molded edge. Frieze, fitted with drawer with broken raised and molded. paneled front, flanked by dies carved with cherubim. Body arranged as a cupboard with hinged door, having paneled front enclosing raised inner panel carved with cherub and flanked by female caryatids with tapering, voluted cherubim and tassel carved terminations, molded base, molded and gadrooned sub- base and molded and voluted feet. Height, 30 inches; width, 31 inches; depth, 23 inches. 395—Pair or Tuscan CaBINETS OF THE SIXTEENTH CENTURY Rectangular shape. Semi-octagonal tops, with molded edges. Plain friezes, the centers fitted as drawers having swinging brass ring handles and the sides forming upper parts of hinged doors divided by raised molded panels and having fronts with broken, raised and molded panels. Chamfered angles with molded panels, sides with raised molded panels, plain plinths, molded bases and bracket feet. Height, 391, inches; width, 59%, inches; depth, 15 inches. 396—Parr or Tuscan eee Warwer Swe TEENTH CENTURY is Semi-octagonal shaped tops, with molded dadgett open supports, square shaped cross braces longitudinal stretchers and shaped feet. Height, 321% inches; length, 52 (I Uustrated) IdVL ACIS LANIVM (vOONI) NVOSOL AO ULVd—968 “ON AUNLNAO HLINAALXIS ULV! AH HO Su 397—Tuscan Watnut GaTE-LEGGED TABLE OF THE SIXTEENTH CENTURY Circular hinged top, turned columnar legs, with columnar gate, molded rails and ball feet. Height, 2814 inches; diameter, 29 inches. (Illustrated) 398—NortH Iratian WatNut CaBINET OF THE FIFTEENTH CENTURY Rectangular shape. Top with molded edge. Body arranged as cup- board with two hinged doors having raised paneled fronts enclosing raised and molded octagonal panels and wooden knobs and flanked by octagonal panels. Sides with raised panels enclosing scalloped medal- lions. Supported on shaped and incurved side brackets with molded cross bases. Height, 31 inches; width, 26% inches; depth, 16 inches, 399—Tvscan Watnvutr CaBINET OF THE SIXTEENTH CENTURY Rectangular shape. Top with molded and fluted edge. Frieze, fitted with two drawers having paneled fronts and bronze knobs, flanked and separated by modillions. Body arranged as a cupboard with two hinged doors having paneled fronts and bronze knobs, flanked by tapering pilasters carved, in low relief, with scrolled escutcheon capitals and guilloche patterned shafts. Bowed carved plinth, molded base with band of bead-and-reel ornament and shaped bracket feet. Height, 37 inches; width, 36 inches; depth, 16 inches. 400—Frencu Goruic PEpEsTAL CuPBOARD OF THE FIFTEENTH CENTURY Semi-hexagonal shape. Molded cornice front and sides paneled with Gothic tracery, angles with Gothic columns, with the lower parts of their hexagonal shafts carved with imbrications, molded bases and pin- nacle tops. Fitted as a cupboard with shelf and hinged door pierced with round-arched openings filled with Gothic tracery. Front, fitted with wrought-iron lock and bolt, painted with the head of Christ on a St, Veronica napkin and with inscriptions in Gothic characters, the sides with female Saints, one holding a Cross, the other the Pillar of Flagella- tion. Molded base. Tracery gilt. Height, 4014, inches; width, 19 inches; depth, 11 inches. (Illustrated) 400 397 > 401—Tuscan Centra [Iranian Watnut TABLE OF THE SIXTEENTH CENTURY Octagonal top, with molded edge, with plain molded apron with cham- fered angles on four baluster-shaped turned legs with rectangular molded feet and square cross stretcher with rosette at intersection. Height, 2 feet 71% inches; diameter, 4 feet 21% inches. 402—Tuscan Watutnut TABLE OF THE SIXTEENTH CENTURY Rectangular top with molded and carved edge, fluted frieze, baluster- shaped legs and square carved rails. 403—Tvuscan Watnut CABINET OF THE SIXTEENTH CENTURY Rectangular shape. Rising back, arranged with two compartments with sliding fronts. Body as a cupboard, with two drawers above and hinged door, all with carved fronts. Molded base and paw feet. Height, 3 feet 5Y, inches; width, 3 feet 6 inches; depth, 1 foot 5 inches. 404—Tuscan WrovucutT-iron AND Granite TaBLE oF THE SIXTEENTH CENTURY Circular top, with plain edge of Oriental granite, from a Roman exca- vation. Wrought-iron cylindrical standard on tripod stand of three curved knobbed legs of wrought-iron base. Height, 3 feet 11% inches; diameter, 3 feet 10 inches. From the old Simonetti Collection, Rome. 405—Tuscan Watutnut CABINET OF THE SIXTEENTH CENTURY Rectangular shape. Top with molded and dentelled edge, frieze fitted with drawer flanked by modillions. Body arranged as a cupboard with two hinged doors having raised and molded paneled fronts flanked by Ionic fluted pilasters. Plain plinth, molded base and shaped bracket feet. Height, 34 inches; width, 31%, inches; depth, 13 inches. 406—FiorentiIneE Watnur Werittxc Desk or THE Earty SixTEENTH CENTURY Rectangular shape. The back, with scrolled side brackets fitted with four drawers with bronze knobs and central arched compartment. Writ- ing slab with molded edge and rounded angles; below is a drawer with bronze knobs and shaped apron. Spreading square legs, longitudinal stretcher and braces. Height, 2 feet 11 inches; width, 3 feet 5 inches; depth, 1 foot 11 inches. 407—Tuscan Watnut TasLeE oF THE Earzty SIXTEENTH CENTURY Rectangular shape. Top with plain edge, on two flat urn-shaped sup- ports with chamfered cross bases and square longitudinal tenoned and keyed stretcher. Height, 31 inches; length, 61 inches; width, 251, inches. 408—Tuscan Watnut CABINET OF THE SIXTEENTH CENTURY Rectangular shape. Molded cornice and plain frieze. Body arranged as a cupboard with two hinged doors having molded paneled fronts and wooden knobs, flanked by vertical molded panels. Plinth fitted with drawer with molded paneled front and wooden knobs and molded base. Height, 474 inches; width, 62 inches; depth, 24 inches. 409—Tvuscan Wainer Writine Center Desk or THE Late SrixTeenrH CENTURY Rectangular top with molded edge, sloping hinged fall-front apron fitted with two drawers with wooden knobs, turned baluster legs, square rails and rectangular feet. 410—FLorENTINE Watnut TaBLe or THE SIXTEENTH CENTURY Rectangular shape. Top with molded edge carved with acanthus leaves, inlaid with slab of dark wood. End supports of lyre-shaped outline carved with winged lions, voluted scrolls and paw feet on molded and incised cross bases. Square longitudinal stretcher carved, in low relief, with panels of twisted strap design. Height, 29 inches; length, 59 inches; width, 391/, inches. 411—Tvuscan Wautnut TABLE OF THE EAarRLy SIXTEENTH CENTURY Octagonal top, with molded edge, rectangular pedestal with incurved neck, spreading body and molded foot. Rectangular molded base. 412—-FLorENTINE Watnut TasLE oF THE Earty SIXTEENTH CENTURY Octagonal top, with plain edge. Tripod pedestal of three legs carved with volutes and acanthus leaves and with paw feet. The pendant at the intersection is carved with the Florentine fleur-de-lis. Height, 2 feet 10 inches. Note: This exceedingly rare example was evidently made for a ruler of Florence as the arms (the Fleur-de-lis of Florence) testify. 413—FLorENTINE Watnvut TasLE OF THE SIXTEENTH CENTURY Hexagonal top, with molded and fluted edge on tripod support formed of three voluted and scrolled wings with female head terminations and paw feet. Height, 30 inches; diameter, 39 inches. 414—Tuscan Watnvut TasLe of THE SIXTEENTH CENTURY Rectangular-shaped top, with molded edge, paneled apron, and pierced flat scrolled and voluted side supports with flat shaped arched braces. Height, 2 feet 5 inches; length, 2 feet 3 inches; width, 1 foot 7 inches. 415—VENETIAN CarvepD AND Gitt Woop anp Marsie Taste or THE Six- TEENTH CENTURY - Rectangular top, inlaid with slab of Rosso antico marble and with carved edge. Apron carved with leaf meander. Rectangular pedestal, carved with acanthus-leaf pendants and with octagonal incurved foot carved with voluted scrolls and banded acanthus leaves. Rectangular base, carved with leaf meander and scrolled acanthus-leaf feet. Carving gilt on red ground. Height, 2 feet 11 inches; length, 3 feet 7 inches; width, 3 feet 7 inches. 416—Umnprian Watneut CapiNer oF THE SIXTEENTH Cenruny Rectangular top, with molded edge, apron fitted with two dra rated by fluted brackets, body arranged as a cupboard with t doors with diamond medallion carved fronts separated by | brackets, molded and carved base and paw feet, Light 4 unusual state of preservation. i (Illustrated) ye’ 417—Parr or Firorentixe Watnvur Canixets oF THE SIXTEE? Rectangular tops, with chamfered angles and molded | fitted with drawers in center, bodies with two hinged Ac aie panels, molded bases and flat feet. riper ihe | (Illustrated) oF ae Tad oe a 416 418—FLoRENTINE Watnut Prit-Dievu or THE SIXTEENTH CENTURY Rectangular-shaped top, with molded fluted edge, apron fitted with drawer and bronze handle flanked by carved masks, body with hinged door flanked by caryatid pilasters, plain plinth fitted with drawer and gadrooned base. Height, 2 feet 91, inches; width, 2 feet 21%, inches; depth, 2 feet Y% inch. From the Wilkins Collection, Florence. 419—FLorENTINE Watnut Capinet TABLE oF THE Earty SIXTEENTH CENTURY Octagonal top, with molded fluted edge supported on voluted brackets. Rectangular pedestal, formed as a cupboard with hinged door having a bronze looped handle and paneled front carved with guilloche border, flanked by pilasters carved with half caryatids and acanthus leaves. Carved gadrooned base and paw feet. Height, 2 feet 10 inches; diameter, 4 feet 5 inches. Note: A cabinet table of this description, in its original condition, is very unusual. 420—FLorENTINE CARVED AND | Grr Wooo Tumevor Screen OF SEVENTEENTH Cexreny : : om three panels at fendi floscio” i silk Hee che: of seroled Tea flowers in colors on a white ground. ~ oe Height, 6 feet 7 inches: width 6 hae 10: 2 ch floral festoons. © Round-arched ee frame, spandrels. Marbled and gilt. a 421—Tuscan (Lucca) Crcutarn Watyur Taste or THE Aa with two dirawers having oni ‘ashe On ene and center supports, and molded cross bases. § longitudinal stretchers. ‘tg ee eae Height, 281, ies tite _(Ultustrated WIdVL LANIVM UVTI (yooonl) NVOSOL—Ié? ON AMOLNHO HLINAALXIS WLVT AML HO Rosen atie top, with rahe aa dentelled aie rosettes and fitted with a drawer and with oe a AUNINAD HINGALXIS AHL AO WIAVE LAN TVA NVOS/N.L—22P “ON 423—Tuscan Watnut Tae OF THE SIXTEENTH Century Rectangular top, with molded carved eee aes ate fon civadine tenoned ae kegel ee alee ae Height, 2 feet 514 incheas length, 5 feet 81% ioe : (Illustrated) ore ‘“ 425—Frorentine Carvep Watnut Tasie or THE | Rectangular top, with molded edge, ‘ee end feet on rectangular flat base rails ar shaped base. Height, 2 feet 7 ine length 7 feet 15 = oH Z (1 llustrated) ereucnemcnaerenraneanseaetnanisss tennessee 426—T scan Watxur Tasie or THe SIXTEENTH CENTURY Rectangular top with molded and fluted edge. Turned « with square end rails and longitudinal stretcher. Height, 2 feet 8 inches; length, 5 feet 2 inches; width, a (Illustrated) Height, 2 feet 8 nclleds oor 14 fai ae (Illustrated) — Rectangular top. Fitted with two 5 deen ad ae re hinged doors carved with leaf diationis and leaf-carved D1 Wooden knobs. . Height, 3 feet %, ice length, . fash 5 inch ‘ Be 430—Tuscan Waunvutr TaspLe OF THE SevenTEENTH ¢ Rectangular top, with ee elves End Rs. elle caryatid half figures, festoons of fruit, oval medallions and voluted acanthus leaves. Shaped cross bases carved with y ole and leaves. Molded longitudinal stretcher with arcade ot pee columns carved with poeta leaves. Yo ioe the collection of the Marquis tapes au : “(Illustrated Rectangular top, with plain edge. End supports ° with cylindrical feet on square cross bases cus neg stretcher. ef AUNINGAD HLNAALXIS HHL AO ATAVL LANTVM ANILLNAUYOTA—62P “ON t ? 431—Tuscan Watnur Taste or THE Late SIXTEENTH Century et Rectangular top, with plain edge, shaped and scrolled open and square shaped cross braces with voluted feet. Serolled 1 longitudinal stretcher. — “Heign, 34 ae length; 70 “inches a . iar “s ee heh St C Ulustrated ise Rectangular top, with inolded edge, fluted and ast columnar legs, square foot rails and ball feet. Height, 361, inches; length, 91 mn bases. Longitudinal tenoned and ue : shaped ends. L—I8¥ ON AUNLNAO HINAWLXIS ALVWT HHL dO WIAVL LAN TVA Nvosf markable for its epee light pute aa its ex presen oeus as well as its unusual size. Height, 2 feet 7, inches; length, 13 feet 7 inches; w (Illustrated) 435—Parr or Firorentine Rerecrory TABLES OF THE Six Rectangular tops, with plain edges. Double co supports, with voluted feet on rectangular mo. Height, 2 feet 6 inches; length, 7 feet 4 inches (Illustrated) 7 r “ oe a a, SN Pa Rapa Ne Seley ie Rape PS a alae NS Te 436—Lyonnats Oak Taste or tHE Henry IV Periop ae om with molded ee end ee sh pe Turned side . sapports she arms. ayennen head Seat and back in tapestry of the period. asp? This screen corresponds to the armichalzs herein with similar enbrota 4 3 Ket as and (i AO WIAVL AVO SIVNNOAT—9EP ‘ON aoluadd AI AUNHH AHL frieze, divided by serbia ae carved meet bi peal ve with dolphins, having voluted tails, and with acanthus block feet. Longitudinal stretcher, carved with dolp leaves. Probably one of the finest tables in existence example of this period of ‘the ‘Italian Seep te From the old Simonetti Collection, Rome. (dilustrated) a = vi : yh ae eta VOSN.L—88P ON AMNEINHO HLNADLXIS AHL AO HWIAVL LANIVM N 440 441— EnewisH GreEN Lacquerep Escriroire Bookcase oF THE EIGHTEENTH CENTURY In two portions. Upper portion with curved broken pediment and three gilt vase-shaped finials arranged as cupboard with two hinged glazed doors with trefoil arched tops. Lower portion arranged as desk with fall front, the interior fitted with pigeonholes and drawers. Drawer below and kneehole front with three drawers on either side and central arched recess. Molded base and bracket feet. Finished with raised lacquered Chinoiseries in gold and colors on a green ground. Height, 7 feet 8 inches; width, 3 feet 4 inches; depth, 1 foot 11 inches, (Illustrated) ‘FLORENTINE WaLNuT CABINET OF THE SIXTEENTH CENTURY Rectangular shape, in two portions. Upper portion as cupboard with two hinged doors, paneled and carved with nude figures in arched niches surmounted by eagles. Flanked by fluted and carved columnar pilasters and with pierced cresting carved with central figure of a warrior flanked by seated figures of Putti, one holding a cornucopia, the other a sheaf of wheat. Lower portion with drawer carved with masks and festoons; below, two hinged doors carved with masks and scrolls. Three caryatid pilasters, carved with acanthus leaves. Molded base. Height, 7 feet 11 inches; width, 4 feet 3 inches; depth, 2 feet 1 inch. i eee i desde No. 440—ENGLISH GREEN LACQUERED ESCRITOIRE BOOKCASE OF THE EIGHTEENTH CENTURY 442—Umnprian Watnut CaBINET AND STanp OF THE Earty SIXTEENTH CENTURY Rectangular shape. Cabinet with molded cornice, frieze decorated with nine carved projecting bearded heads and fitted with two drawers, of which the knobs are formed by two heads; on either side are female caryatids terminating in drapery festoons and pointed-leaf pendants. Fall front with keyhole escutcheon carved as a mask. Interior fitted with fourteen drawers with molded paneled fronts, one drawer with front carved with mask and voluted scrolls, two compartments with hinged doors and one central compartment, the front carved with caryatid figure and fitted with four secret drawers. Stand with molded top, frieze deco- rated with carved projecting heads. Body arranged as cupboard with two hinged molded paneled doors flanked by tapering Ionic pilasters, the fronts carved with drapery festoons and pendants. Molded base and carved paw feet. Height, 661, inches; width, 41 inches; depth, 1914 inches. (Illustrated) 443—Parr or Tuscan Watnur CHorr Straus oF THE SIXTEENTH CENTURY Rectangular paneled backs, one with hinged door, flanked by paneled pilasters with arched tops having molded cornices and plain friezes, curved, molded and acanthus-leaf carved arms on carved molded sup- ports with molded bases, wooden seats with molded edges on carved molded bracket supports, paneled backs and molded bases. Height, 63 inches; width, 36 inches. 444—Tuscan Watnut Cuor Statu or THE FirreenrH Century Rectangular paneled back and frieze, with molded cornice, flat shaped arms, on curved, carved and paneled supports, hinged seat on shaped brackets and shaped molded base. Height of stall, 4 feet 11/, inches; width, 8 feet % inch; depth, 1 foot 114%, inches. No. 442—UMBRIAN WALNUT CABINET AND STAND OF THE EARLY SIXTEENTH CENTURY ~ 445—Lyonnats Wauwur ‘Caver OF THE Sismpenri | Centu er vedimnanted ae ey feces: fe turne fitted with two ee Coors with Pee carved brackets and bined doped rib ‘patiels < ¢ ie agit molded base and ball feet. Jean eae ho ire No. 445—LYONNAIS WALNUT CABINET OF THE SIXTEENTH CENTURY ae eed <2 aes ole 446—VeENETIAN Carved, Painted anp Girt Woop Doorway or THE LATE SIXTEENTH CENTURY Molded and dentelled broken cornice, frieze painted on a mosaic ground in colors and gilt with scrolls, the center with a carved scrolled oval escutcheon. Pilasters with composite capitals, supported by carved and painted figures of nude Putti with drapery pendants. Inner frame of carved and painted leaves. Height, 11 feet 4 inches; width, 7 feet 7 inches. From the Dal Zotto Collection, Venice. FOURTH AFTERNOON’S SALE SATURDAY APRIL 24, 1920 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK 447—VENETIAN Carved and Gitt Watnur LecTERN oF THE SEVENTEENTH CENTURY | Rectangular shape, with hinged book support with spindled adjustable bracket, pierced, carved and gilt in a pattern of an oval rosetted medal- lion surrounded by scrolled acanthus leaves and bead-and-reel and leaf borders. On voluted scrolled base with acanthus leaves at angles and turned ball feet. Height, 12 inches; width, 1414 inches. 448—Patr or FLORENTINE WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with fluted and beaded finials. Straight flat arms on square supports, straight square legs, deep front rail pierced in a strapwork pattern, square cross bases with fluted ends and square back rails. Seats and backs upholstered in purple velvet. Finished with silk galloon and fringe secured with brass-headed nails. 449—Pair or FLrorentine WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY Sloping square backs, with gilded acanthus-leaf carved finials. Straight flat molded arms on turned baluster-shaped supports, straight square legs and square cross bases having carved terminations. Seats and backs upholstered in crimson velvet. Finished with fringed braid and knotted fringe secured with brass-headed nails. Ly ~ : ion P se rs 4 So AAT Kaan am“ ss - “ 2* i 2a TR. on | aa Ul 450—Patr or FLrorentTINE Watnutr ARMCHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with gilded acanthus-leaf carved finials. Straight flat molded arms on turned baluster-shaped supports, straight square legs, cross bases with carved terminations and square back rails. Seats and back upholstered in orange-colored velvet. Finished with silk fringed braid and knotted fringe secured by brass-headed nails. 451—Pair or FiorENTINE Watnut CHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with acanthus-leaf-carved finial. Straight seat fronts, baluster turned and square legs, deep front rail carved with cir- cular rosette and voluted scrolls and square side rails. Seats and backs upholstered in old velvet. Finished with silk galloon and fringe and secured with brass-headed nails. 452—FLorENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY Straight square back, with acanthus-leaf carved and voluted finials. Straight flat molded arms on acanthus-leaf carved supports, straight seat front. square legs and turned back rail. Seat and back upholstered in old blue velvet. Finished with silk braid, embroidered in gold thread and silks with a floral meander. 453 Ser oF Six FiorenrineE Waunur ArMCHAIRS OF THE SIXTEENTH CENTURY Sloping square backs with gilded acanthus-leaf carved finials. Straight flat molded arms on turned baluster-shaped supports, turned legs with square cross bases having carved terminations and square back rails. Seats and backs upholstered in crimson velvet. Finished with cut velvet galloon and silk fringe. ee OR Re OE ae ete le pp 454—Parr or FLorRENTINE WautNut ARMCHAIRS OF THE SEVENTEENTH CENTURY Straight square backs. Straight turned arms with turned supports, straight seat fronts, turned legs, front and side rails and stretchers. Seats and backs upholstered in red velvet. Finished with velvet galloon and silk fringe secured with brass-headed nails. 455—Pair oF FiroreNTINE WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with acanthus-leaf finials, straight arms on bal- uster-shaped supports, square legs and base rails with paw ends. Seats and backs upholstered in old velvet finished with galloon and fringe. 456—FLoRENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY Straight square back with finials carved as heads, straight turned arms with lions’ head terminations, spirally turned supports, legs and rails. Seat and back upholstered in sixteenth century Scutari velvet cut in a design of a circular medallion of interlacements with floral sprigs in the angles. 457—Pair oF FLORENTINE WALNUT CHAIRS OF THE SIXTEENTH CENTURY _ Straight square backs, straight seat fronts, turned legs, side and front rails and stretchers. Backs and seats upholstered in extremely unusual silk material woven in Italy, in blue, red and white and in a repeat pat- tern of warriors on horseback holding drawn swords, pavilions, Gothic pinnacles and foliage meanders. 458—Srr or Fovr Fiorentine Watnor ARMCHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with acanthus-leaf finials, curved voluted arms on baluster supports, square legs and rails and pierced deep front rail ‘arved with rosettes. Seats and backs in old purple velvet, finished with gold galloon and green silk fringe. 459—Pair or Florentine Watnur ARMCHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with acanthus-leaf finials, curved arms on baluster supports, square legs and pierced deep front rails carved with rosettes. Seats and backs upholstered in old Italian purple velvet, finished with silk galloon and netted fringe. 460—Ser or Five Firorentine Warner CuHairs.or THE SIXTEENTH CENTURY Straight square backs with gilded acanthus-leaf carved finials. Straight seat fronts, straight square legs and shaped side rails. Seats and backs upholstered in purple velvet. Fimished with silk fringed braid and knotted fringe secured by brass-headed nails. 461—Pair or FLrorentINE WatNutT ARMCHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with acanthus-leaf finials, straight voluted arms on baluster supports, square and turned legs, and deep front rail carved with a rosette and scrolls. Seats and backs in sky-blue velvet finished with gold galloon and blue silk fringe. QR GEG 462—Ser or Six FrorentinE Watnutr ArRMcHAIRS OF THE SEVENTEENTH CENTURY Sloping square backs, with curved, molded and voluted arms on spirally turned supports, spirally turned legs, front and side rails and stretchers. Seat and backs upholstered in orange-colored velvet. Finished with silk ball fringe. 463—Setr or Four FLorRENTINE WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with acanthus-leaf finials, straight arms on bal- uster supports, square and turned legs and carved deep front rails; seats and backs upholstered in old Italian vine velvet finished with silk galloon and netted fringe. m y OEE LEE AL LIC TIS IE OE CS 464—FLorRENTINE WatnNut ARMCHAIR OF THE SIXTEENTH CENTURY Straight square back, with finials carved with a coat-of-arms, flat curved voluted arms on square supports, straight square legs, deep front rail carved with voluted scrolls, pointed leaves and a coat-of-arms. Seat and back upholstered in sixteenth century tapestry, the back woven in a pattern of a female seated in a pavilion, the seat with vases of flowers, leaves and fruits. Finished with silk fringe. 465—Pair or FLORENTINE WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY Straight square backs, with acanthus-leaf carved finials. Straight seat fronts, straight square legs, deep front rail carved with circular rosette and voluted scrolls and square side rails. Seats and backs upholstered in purple velvet. Finished with silk galloon and fringe secured by brass- headed nails. 466—Frencn Watnut ArmcHarr IN PEtTIT-POINT OF THE SIXTEENTH CENTURY Square upholstered back, curved, voluted and carved arms on carved supports, square and curved legs. Carved deep front rail, shaped side rails and stretcher and voluted feet. Back and seat upholstered in point needlework embroidered, on a light ground and in colors with scrolled serrated leaves and flowers, secured with brass-headed nails. 467—Frencu Watnut ARMCHAIR IN PETIT-POINT OF THE SIXTEENTH CENTURY Square upholstered back, curved, voluted and carved arms on turned supports, turned legs, front and side rails and stretcher. Seat and back in gros and petit-point needlework embroidered on a ight ground and in colors with scrolled pointed leaves and flowers, secured with brass-headed nails. 468—Frencu Watnut Wine BErcereE IN PETIT-POINT OF THE EARLY SEVEN- TEENTH CENTURY Straight square back, with straight wings and arms. Square and turned legs, turned front and side rails and stretcher. Seat back, wings and arms in gros and petit-point needlework embroidered, on a dark ground and in color, with figures, a fountain and scrolled leaves and flowers, secured with brass-headed nails. 469—Frencu Watnut Wine BEerceére IN PETIT-POINT OF THE EarRLy SEVEN- TEENTH CENTURY Back with serpentine top, curved wings, straight arms, square and turned legs, turned front and side rails and stretcher. Seat, back, wings and arms in gros and petit-point needlework and embroidered, on a dark ground and in colors, with figures, festoons and scrolled leaves and flow- ers, secured with brass-headed nails. Loose seat cushion. 470—FLorENTINE WatNnur ARMCHAIR OF THE SIXTEENTH CENTURY Straight square back, with acanthus finials, carved arms on square sup- ports, carved deep front rail and square legs. Seat and back in fine sixteenth century Brussels tapestry finished with silk fringe. 471—Tvuscan Watnur ARMCHAIR OF THE SixrEENTH CENTURY Straight square back, with acanthus-leaf carved and voluted finials. Straight flat molded arms on turned baluster-shaped supports, straight seat front and square legs, rails and cross bases. Seat and back uphol- stered in sixteenth century tapestry, woven in a design of a basket of fruits, a mask, fruits and scrolls in yellows on a blue ground and secured with brass-headed nails. 472—-Ser or Four Fresno Wee Anwerams, IN ‘Purr -POINT. Late SEVENTEENTH CENTURY | Z Shield-shaped backs, with carved frames a crestings. Curve with carved supports. Serpentine fronts with carved shell apron carved cabriole legs. Backs, seats and arms upholstered in petit needlework embroidered with scrolled panels and an oval -medallio figures on a ground of varicolored scrollings. a (Illustrated ) fronts and carved cabriole legs. Seats, acl a arms in ‘pe needlework, embroidered, in colors, with figures and an anit copie and scrolled flowers and leaves on blak rounds ie ele AYUNLINAO HLINADLNAAAS ALVT AHL AO LNIOd-LILAd NI SHUIVHOWUV LOANIVA HONDA unod AO LAaS—eLy ‘ON 474—Set oF THREE FreENcH Watnvut Cuairs IN PETIT-POINT OF THE SEVEN- TEENTH CENTURY High upholstered backs, straight seat fronts and curved legs, side rails and stretcher. Seats and backs in gros and petit-point needlework embroidered, on dark grounds and in colors, with scrolls, birds, vases of flowers and leaves. Finished with silk gimp. (Illustrated) 475—-Frencw La Satie Sirk Brocapep Fire-scREEN OF THE EIGHTEENTH CENTURY Rectangular shape. Wooden frame, carved with bead-and-reel ornament and acanthus leaves, pointed acanthus-leaf finials, voluted acanthus-leaf cresting, rosetted, paneled and bead-and-reel carved cross bases and square tapering fluted feet. Panel woven in red, blue, green, yellow, cream-colored and brown silks in a pattern of Chinoiseries; on one side a man in Chinese costume and a woman holding an umbrella in a boat before a pavilion in which sits a woman, on the other side a man in Chinese costume dancing before a woman who sits under a trellised arbor. In front is a plant with leaves. Carving gilded. Height, 38 inches; width, 25 inches. AUNOLNAO HINADLNAADS AA HO INIOd-LILLAd NI SUIVHO LON TVA HONDA ACU AO LHS—PLP “ON 476—Ser or Toree Frorentine Gitr WatNut anp NEEDLEPOINT CHAIRS OF THE SEVENTEENTH CENTURY Straight backs, molded carved legs, cross stretchers with shell at inter- section. In needlepoint embroidered, in silks of many colors, on a light ground, with scrolls, birds, grapes and flowers. From the Marcuard Collection, Florence. 477—Set oF Four Frencu Warner Cuairs iy PEtIT-POINT oF THE SEVEN- TEENTH CENTURY Straight backs with shaped tops, turned legs, front and side rails and stretchers. Seats and backs upholstered in petit-point needlework and embroidered in a pattern of large flowers and scrolls, secured with brass- headed nails. 478—Frencu Watnutr Wine ARMCHAIR OF THE SEVENTEENTH CENTURY Square upholstered back, curved wings, straight arms on baluster-shaped supports, turned legs, front and side rails and stretcher and ball feet. Seat, back, wings and arms in gros and petit-point needlework embroid- ered, on a dark ground and in colors, with figures, birds, scrolled leaves and flowers, secured with brass-headed nails. Loose seat cushion. 479—Frencuh Watnut Wine ARMCHAIR OF THE SEVENTEENTH CENTURY Sloping square, upholstered back, curved wings, straight arms; with pull-out bars of brass, on square supports, turned legs, front and side rails and brass casters. Back, seat, wings and arms in gros and petit- point needlework embroidered, on a dark ground and in colors, with figures, pointed pendants, scrolled leaves and flowers, secured with brass- headed nails. Loose seat cushion. Sloping square backs, with gilded acanthus-leaf carved fini flat molded arms on turned baluster-shaped supports, stray and turned legs on square cross bases carved with paw terminatic square back rails. Seats and backs upholstered in sia tapestry, the backs woven in a design of a scrolled and gadroc ‘Finished with enclosing Putti’s heads and fruit festoons. secured by brass-headed nails. ity U Uustrated ) Ge Rectangular molded frame, with arched con pa reed scroll and leaf cresting: molded and voluted cross bases. ] Flemish sixteenth century tapestry woven, in colors with a pillared pane? in a wood with: 2 ieee oe ne Vv ress 3 i Agi Fe at . ¥ , ai rae Et 4-91; uy * 4 * : ee | wi i j + ae 's v ake a | 4 st ory ai : * ‘ oe s ra) be * i ' , e tay ‘ ‘ et ‘ my ‘ y P As * ’ n 6 Fs « ~_. ’ eA ; sa- 4 = P. Pp ae pities _ bape . , La , Ao 4 2 : i Oma of ay x a] Straight coholstheeee Vek Cie arms” on rte a legs, pies deep front rail and Ane: base 1 whist hele in a design of scrolled leaves, flowers and Vids silk fringe. Cs < Ae ag" + ay < a < ~ ve ay q * » ? wy * i a . a ‘ a aa fs, iy AUNDOENHO HL Hel» S 3 | Hab ld \ LL GSP O N H ui . i ‘eute eee eee ee ee, es & se Ss ek ee 483—FrencH Wa.nutT BanaQuerre an Pevir-pornr or THE Lat? TEENTH CENTURY - See Rectangular shape with farmed legs, square melee end rail \ tudinal stretcher. Top asian in pete nee 484—Frencn WaALnutr CHAISE-LONGUE IN Penr-rorsr Oo! CENrUES point needlework pubes ina pattern of scrolled Loose seat cushions. 5 (Mustrated) | TSF i ta Sg Lea 485—VENETIAN Cie AND Gur Woop Screen Sch “THE CENTURY 1s Rectangular shape, with molded cornice fee | by al ment with rectangular central tablet from which han ! and pointed leaves, and supported by car folded hands and acanthus-leaf terminat pedestals with bead pendants. Scrolled and cherub, guilloche carved stem and voluted and s cushion feet carved with egg-and-dart ornan ent occupied with panel of petit-point needlew in a design of shepherdess, with sheep, seated | flowers, leaves, fruits and a long-tailed bird. Be flowers and leaves aS birds. All ona black grow ( | Height, = (Illustrated) No. 485—VENETIAN CARVED AND GILT WOOD SCREEN OF THE ENTEENTH CENTURY SEV 486—Srr or THREE Freer Pause Crates oF ‘THE Lave | Cena tes | : Pia eee Heated hea yeh crested with a crown, ae “end tara one carved with fleurs-de-lis, and turned fleurs-de-lis, pear-shaped feet and square and backs upholstered in green ee Note: These chairs, made. for Roy ; inventory of the Chateau d’Eu. The Chateau @ @Eu Orleans. These chairs were sold, in 1870, by, the: ¢ furniture to aid in raising the war indemnity to Ger (Ilustrated) 98P “ON AUNINGAO HLINADLHDIT ALVT AHL dO SUIVH) GULNIVd HON WauHL AO Las 487—FLoRENTINE WALNUT SAVONAROLA CHAIR OF THE FIFTEENTH CENTURY | Formed of six square double curved standards pivoted so as to fold, shaped hinged back carved with a scrolled escutcheon, curved rosetted arms and straight square base rails with paw ends. 488—FLoORENTINE SAVONAROLA WALNUT CHAIR OF THE FIFTEENTH CENTURY Curule chair shape, formed of seven double curved square standards crossing and pivoted so as to close. Square curved voluted arms, shaped hinged back carved with a circular medallion enclosing a scrolled escutch- eon on a ground stamped with a diaper of floral rosettes. Front stand- ards stamped to correspond. Molded cross bases and carved feet. 489—FLoRENTINE WALNUT SAVONAROLA CHarrR OF THE FIFTEENTH CENTURY Formed of eight square double curved standards pivoted so as to fold, shaped hinged back, incised with diapers of groovings and carved with medallion enclosing a bishop’s mitre, straight square arms ending in balls. Fronts incised with lines and groovings. Square base rails with fluted ends. 490—-FLORENTINE SAVONAROLA WALNUT CHarR OF THE FIFTEENTH CENTURY Curule chair shape, formed of seven double curved square standards crossing and pivoted so as to close. Straight square arms, with ball terminations, and shaped hinged back carved with dolphins and incised escutcheon and stamped with a diaper of floral rosettes. Square cross bases. 491—FLorENTINE WALNUT SavonaroLa Cairn OF THE FirreeEntH CENTURY Double curved arms and legs formed of six square standards with flat seat hinged so as to fold. Shaped hinged back carved with a scrolled escutcheon charged with a coat-of-arms. 492—F LorentTiIneE Watnet Savonarota CHair OF THE FirrEENTH CENTURY Curule chair shape, formed of seven curved square standards, pivoted at intersection so as to close. Shaped adjustable back, straight voluted arms and shaped seat front, incised with bands of rosettes. Straight base rails. 493—FLorENTINE Watnur Danresca ARMCHAIR OF THE FirreENTH CENTURY Curule chair shape, with incurved arms ending in lions’ heads, turned rosette at intersection and shaped base rails. Leather seat, with loose velvet cushion, with back upholstered in red velvet finished with silk ball fringe. From the Dal Zotto Collection, Venice. . 494—FLoRENTINE Waxtnut Dantesca CHair oF THE FIFTEENTH CENTURY Curule chair shape, formed of four double curved legs and arms pivoted at the intersection so as to fold. Curved, voluted square arms and shaped base rails carved with paw feet. Back and seat of velvet. 495—FLoRENTINE WALNUT Danvresca CHairn OF THE SEVENTEENTH CENTURY Curule-shaped, with curved voluted arms, carved rosette at intersection and straight shaped base rails. Front inlaid with quatrefoils of lghter- colored wood in “intarsia” fashion. Velvet back and leather seat finished with silk fringe. From the W. Wilkins Collection, Florence. (Illustrated) 495a—FLorENTINE WALNUT SAVONAROLA CHAIR OF THE SIXTEENTH CENTURY Curule chair shape, formed of seven curved square standards pivoted at the intersection so as to close. Shaped adjustable back incised with circular medallion and bands of rosettes. Straight voluted arms and shaped seat front, incised with bands of rosettes. Straight base rails. 496—VENETIAN WALNUT SETTEE OF THE SIXTEENTH CENTURY Open: back, with head rail pierced and carved with scrolls and an escutch- eon charged with the coat-of-arms of Pope Chigi, carved voluted arms on spirally twisted turned supports, deep front rail carved with scrolls and an escutcheon, and carved legs with voluted feet. Seat upholstered ‘in velvet secured with brass-headed nails. From the Dal Zotto Collection, Venice. (Illustrated) 495 496 497—Pair or Frencn Watnvtr SErrEEs OF THE E1GHTEENTH CEN Straight upholstered backs, with curved molded arms on turned columnar supports, bowed seat fronts flanked by rosetted turned, tapering, fluted legs. Backs, seats, sides and arms moiré silk as described in a letter from the Ministére du France. Loose seat cushions. ates Cae ex Note: These settees were in the Palais au Lee pith an in ferred to in a letter from the Ministére du Mobilier de France, 1870 by the Commune to aid in raising the war pees to Ger (Illustrated) 498—FLorENTINE Tapl_e oF THE LaTE SIXTEEN’ H Rectangular top, with molded edge, carved a turned baluster-shaped legs, square molded r Height, 2 feet 8 factor: length, 3 feet : a (Mlustrated) Wi Rai Neath FER IEW 72% ST li ci & { 497 A 499—Tuscan Watnutr Hicu-packep Box Cua or THE Firreenru Century High straight back, with molded and modillioned cornice and plain frieze. Carved voluted and scrolled side brackets and molded and carved paneled back. Straight molded arms, with voluted and imbricated tops on voluted supports. Wooden seat hinged to form lid of box. Shaped front, molded base and sur-base with molded edge. Height, 67%, inches. ‘ 500—FLorenTINE Waunut CaBINnet OF THE SIXTEENTH CENTURY Rectangular shape. Top with molded edge, frieze fitted with drawer having swinging looped handle of bronze and flanked by voluted modil- lions. Hinged fall-down front paneled and carved with circular medal- lion enclosing a bust of the Virgin holding the Child Christ, surrounded by a band of guilloche patterning and flanked by shaped pilasters with fronts molded and carved with guilloche patterning. Interior fitted as a cabinet with eight drawers and compartment with hinged fall-down front, having paneled fronts and swinging looped handles of bronze. Molded base and paw feet. Height, 27 inches; width, 27 inches; depth, 13 inches. 501—Lyonnats Goruic Oak “CHARERE” oR CATHEDRA OF THE FirreEeNTH CENTURY Rectangular shape, with carved cornice and high back carved with pan- els of Renaissance arabesques of baskets of fruits, birds and festoons, flanked by pilasters with carved shafts. Straight arms with console brackets at sides and linen fold panel at back of seat which is hinged to form lid of box. Front carved with three panels of Gothic tracery and vases, sides in the linen fold panels enriched by carving. Height, 6 feet 3 inches. 502—Tuscan Carved anp Gitr WatNnutr PEDESTALS OF THE SIXTEENTH CENTURY Sgabello-shaped, with incurved tops carved with masks, shaped fronts carved with volutes, acanthus leaves, husk pendants and masks with paw feet. Completely gilt. Height, 4 feet. 503—Pam or VENETIAN Painrep PepestaLs OF THE SEVENTEENTH CENTURY Square tapering shape with molded cornices and bases. Painted, on three sides, in colors on cream-colored grounds with arabesques of masks, dogs, birds, quatrefoils, piping fauns, scrolled branches of leaves and circular medallions enclosing classic symbolic figures. Height, 57%, inches; width, 15 inches. From the old Simonetti Collection, Rome. 5 .. Peeaevaaeevaeseanae erareoias ‘3 a? La £ Ls y % ‘ 5 * | ' t ee! Ne » Eo RSS, - ‘AS : | 61 AAG oe SONA Aa: reemeeel F Vee vy YY aA f 504—Tuscan (AREzz0) WaLnut CABINET OF THE SIXTEENTH CENTURY Rectangular shaped top, with molded dentelled edge. Apron fitted with two drawers with carved fronts and wooden knobs divided by acan- thus-leaf carved brackets. Body with two hinged doors carved with lions’ masks separated by carved panel and flanked by caryatids with Putti’s heads. Molded carved base and paw feet. Height, 4 feet 1 inch; width, 5 feet %4 inch. 505—EncuisH Manocany CapineET OF THE CHIPPENDALE PERIOD Rectangular shape in two portions. Upper portion with molded broken pediment flanked by two figures of white glaze porcelain, arranged as cupboard with hinged glazed door. Lower portion as desk arranged with compartments and with sliding tambour front and pull-out writing slab. Below are a drawer with brass knob and a cupboard with sliding tambour front. On square tapering legs. Height, 67 inches; width, 17 inches; depth, 11 inches. 506—Frencu Inxxaip Bots-pe-rosr Desk or tHE Louis XVI PeErtop Rectangular shape. Upper portion, with sliding front, fitted as desk with pull-out writing slab and steel safe with hinged door. Body with bowed front fitted with two drawers, shaped apron and square cabriole legs. Panels of bois-de-rose enclosed by inlaid lines of satinwood and colored woods and borders of rosewood. Height, 45 inches; width, 39Y, inches; depth, 20%, inches. 507—Frencu Ixnuamw Kixewoop ann TuLtipwoop CoMMODE OF THE EIGHT- EENTH CENTURY Rectangular shape. Serpentine bomb-shaped front with white-veined red marble top having a molded edge. The body is fitted with two long and three short drawers having fronts inlaid with shaped panels sur- rounded by lines of satinwood on shaped bracket feet. Mounts, of gilt bronze, consist of scrolled looped handles with rococo scrolled plates and scrolled keyhole escutcheons, and pierced scrolled acanthus-leaf feet. Signed by the cabinet-maker, below marble top, “monpon. M. E. (Maitre Ebénsite).” Height, 341%, inches; width, 21 inches; depth, 26 inches. 508—Ser or Six VENETIAN CARVED, ParnreD anp Girt Woop CHairs OF THE EIGHTEENTH CENTURY High backs, with shaped side supports, gilt scrolled and acanthus-leaf carved crestings and vase-shaped splats painted with figures in the Wat- teau style. Straight shaped seat fronts, carved and gilt cabriole legs and spoon feet with turned side rails and stretchers. Seats upholstered and backs paneled with silk brocade in stripes of blue and rose-color. Frames painted on light green grounds with acanthus-leaf scrolls and panels of foliage pendants in gold. 509—VeEneEtTIAN Carvep, Parntep AND Gitt Lit-pvu-sour oF THE EIGHTEENTH CENTURY Rectangular shape. Curved headboard, carved with Greek wave border and fluted pilaster side supports. Sides and foot molded, beaded and carved with wave ornamentation and broken at the ends with panels carved with laurel-leaf sprays. Angle supports ending in bronze finials of scrolled vase form with flame terminations. Turned tapering and fluted legs. Painted in green and gilt. Upholstered in red silk damask. Height, 351, inches; width, 3534 inches; length, 72% inches. 510-—Frencu Paraverry Writixc Taste or THE EIGHTEENTH CENTURY Rectangular shape with serpentine front. Top, inlaid with blind-tooled dark green leather, shaped apron fitted with drawer and square cabriole legs having, at the knees and feet, pierced and scrolled gilt bronze mounts. Rising back, arranged with central open compartment having a drawer beneath and clock with Roman numerals above. On either side are cup- boards with drawers beneath and hinged doors having fronts formed of false book-backs of tooled leather. op of rising back and drawer front of light and dark wood parquetry inlaid in an imbricated patterning. Drawer knobs and keyhole escutcheons of gilt bronze. Height, 4314, inches; length, 39 inches; width, 21 inches. 511—Venetian Painreo Taste or THE EicHrrentH CENTURY Rectangular shape. Top with molded gadrooned edge. Paneled apron, square tapering columnar legs with acanthus-leaf capitals, scrolled feet and curved molded cross stretchers with rectangular meeting block carved with acanthus-leaf, and with acanthus finial. Top painted with two seated female figures holding mirrors and oval escutcheons charged with coats-of-arms quartered with Austrian eagles and English lions and surmounted by royal crowns. Above are jeweled canopies and floral festoons. The figures are placed under round-arched pavilions supported by female caryatids having tapering terminations and with peacocks between, supported on scrolled and voluted bases. Gold background. Legs, aprons and stretchers painted and gilded. Height, 28 inches; length, 421, inches; width, 26 inches. Note: This table was made and painted in Venice, in the eighteenth century, to the order of a noble English family. (Illustrated ) No. 51I—VENETIAN PAINTED TABLE OF THE EIGHTEENTH CENTURY LX TEE OO RIS ORL ESSER ER ERE LES RS 99 512—Frencu Manocany anp Bronze “Boxueur-pu-sour” Desk oF THE EIGHTEENTH CENTURY Rectangular shape, with rising back having a pierced bronze rail and fitted as cupboard with two hinged glazed doors and two drawers inlaid with bronze. Hinged writing flap with plain edge apron fitted with two drawers, the fronts inlaid with bronze on turned tapering legs. Height, 3 feet 6 inches; width, 2 feet 9 inches; depth, 1 foot 6 inches, 518—Tvscan (Lucca) Watnur TasLe oF THE SEVENTEENTH CENTURY Shaped top, with plain edge. Pedestal of four flat voluted and scrolled brackets with turned finials, meeting on octagonal center with turned finial and pendant. On cruciform base with turned finial and shaped and molded feet. Height, 821, inches; length, 36% inches; width, 201/, inches. 14—FLoreNTINE Watnur Harrack OF THE SEVENTEENTH CENTURY Cr Rectangular shape, with molded, dentelled and egg-and-dart carved cor- nice. Frieze with four turned pegs separated by sunken patterns and voluted and scrolled apron. Voluted and scrolled side brackets. Height, 13 inches; length, 331/, inches. ? - 4 : ; 515—Venetian Parsrep Bertha i AND Woon sae c EENTH CENTURY . . urge ae Oval basket of bese | with | tumed-over rim, the SS gilding. Square onetbuael tees wale th a flo: Height, 26 inches; length, 4 inche. . oon the old Simonetti Collection, Rome. Bie - (Illustrated) . Rectangular Shonen ee ieciths molded anh, egg-ane bordered with band of eles 2 carved in Ke , secured by knotted chia Frieze aoc re leaves and shells and fitted with drawer, gear a of laurel and leaves, turned baluster-shaped legs, 1 reel carved rails and turned pear-shaped feet. Height, 31%, inches; length, 35 7 AYUNLINGAOD HLINAWLHDOIA AHL AO AIGVUO GOOM AGNV AHOVW-UAIdVd GALNIVd NVILHUNUA—SIS ON 517—F.orENTINE Inwaip Cousea Capiner (OF THE rae Six CENTURY Rectangular shape, inlaid with ie of ivory, ‘the top and form of panels, the front in an interlaced strapwork design. fall front. Interior fitted as a cabinet with fifteen drawers | compartment of small drawers with hinged door. 1 ebony, with broken molded panels and silver swinging le pierced, masked and scrolled plates, two having brackets and cherubim. Door front, flanked by Cor inlaid shafts, having a round-arched niche occupied by a. of Justice. Exterior mounted with gilt bronze keyh strap latches modeled with ae wae and scrolls. carrying Leda Height, 16% iacha? width, BBY, Note: This coffer cabinet was in the Dilecvion of Cardinal 1 Ries metal work was attributed to Benvenuto Cellini. (Mlustrated) ge ete , tf AUMOINGHO HINAULXIS QLVI AHL AO LHNIGVO UAAAOO GIWINI UNILNAYOTA—LIG “ON 518—MantTuan WaALnvut cpa oivan CALLED “Amarone,” (SIXTEENTH Soe ; } rosettes. Body pet ee as a cence with yen with trefoiled arches and enclosing figure of a yo at] Italian costume. Angles carved with rosettes Visconti of Milan and Gonzaga of Nee bracket feet. | ne ee Note: This excessively rare éabinet, of which ‘there Museum of Mantua, was known as an “Amatorio” in 1 _by the bridegroom to his bride as a nuptial gift. on the doors of this piece. This was made under Tyrol close to the Tyrol. The remarkable patina is ey of Height, 3 toes ie ith, 5 cs lustrated) AUNINAO HINAUDLXIS ATHVA HHL dO « 4 ~ < & 521—-Frency Oak Capinet oF THE Lyonnais SCHOOL OF THE SIXTEENTH CENTURY Rectangular top, with broken angles and molded edge. Body arranged as cupboard with three caryatid capitals and two hinged doors carved with terminal figures and scrolls, molded base and square pear-shaped feet. Height, 2 feet 101%, inches; width, 3 feet 2% inches; depth, 1 foot 8% inches. 522_Tuscaxn Waunut CApiner AND STAND OF THE SIXTEENTH CENTURY Rectangular shape. Cabinet with molded cornice and hinged fall-down front with raised molded panel front, and fitted with two locks. The interior arranged with open compartments and two drawers with paneled fronts and wooden knobs. The stand with molded cornice, frieze paneled with false drawer fronts with wooden knobs and shaped apron. On turned tapering legs. The center section pulls out to form supports to fall front. Height, 521, inches; width, 51 inches; depth, 19% inches. 523 TP aw eS oe ia Titan Be FS ¥-F3= Brescran Watnur CasineT OF THE SIXTEENTH CENTURY Rectangular shaped top, with molded fluted edge. Frieze fitted with drawer with bust-carved handles. Body with hinged door with flat carved front and flanked by two flat carved panels. Sides and drawer front carved in a plaited strapwork design. Molded carved base and rectangular cushion feet. Height, 3 feet 114%, inches; width, 3 feet 8, inches; depth, 1 foot 10 inches. 524—FLoRENTINE WALNUT AND Iron TABLE OF THE SIXTEENTH CENTURY Circular shape. Top of walnut with molded edge. Tripod stand formed of three curved iron bars with strap-iron voluted stretchers meet- ing in the center. Height, 2 feet 5 inches; length, 6 feet 5 inches; width, 3 feet 4 inches. 525—Tuscan Watnutr OcraconaL TABLE OF THE SIXTEENTH CENTURY Octagonal top, with molded and dentelled edge on spirally turned stem, triangular molded base and carved paw feet. Height, 271, inches; diameter, 181/, inches. 526—Tuscan Watnxet Cuor STaLyt oF THE SIXTEENTH CENTURY Rectangular shape. Shaped and carved head rail with carved and pan- eled back, voluted bracketed arms, dentelled seat front paneled be- low with shaped side brackets. At the sides, above, are carved panels and consoles, and below, pedestals with paneled and carved fronts. Broken molded base. Height, 3 feet 8% inches; width, 3 feet 8% inches; depth, 2 feet 9 inches. 527—FLorENTINE Waunvr Prie-Diev Cua OF THE FIFTEENTH CENTURY Round-arched back, with leather-cornered head rail, curved molded arms, sides of crossed molded standards pivoted so as to fold, bracketed seat and rectangular kneeling rail. Seat and back in old leather. From the Dal Zotto Collection, Venice. 528—VeENETIAN Watnut Lecrern oF THE SIXTEENTH CENTURY Sloping book rest with scrolled and voluted cresting, carved with inter- laced band forming three circular medallions. Cylindrical standard carved with flutings, astragals, gadroons and acanthus leaves. Incurved triangular molded pedestal and ball feet. Height, 5 feet 11% inches. 529—Nortu Irauan Goruic Watnut LeEcTrerN oF THE FouRTEENTH CENTURY Sloping desk with center pierced and carved with a circular medallion of Gothic tracery and shield-shaped escutcheon flanked by linen-fold pan- els. Columnar standard, with octagonal shaft carved with spiral flut- ings and hexagonal base formed of six arched molded legs carved with scrolls and leaves and pointed feet. Height, 67 inches. Note: This is an unusual example of North Italian Gothic workmanship. The carving is exceptional and the whole object is distinguished by its delightful patina. 580—FLorENTINE TurNED Watnvut Coar Sranp or tHE Late SixTEENTH CENTURY Turned baluster-shaped and cylindrical molded standard with turned vase-shaped finial and reeded circular base. At top four turned C-shaped projecting arms. Height, 93 inches. Note: So far as known, this is ¢he only example of a standing hatrack made during the second half of the sixteenth century. 531—Norrtu Irariran WaLnut CANDLESTICK OF THE SIXTEENTH CENTURY Baluster and vase-shaped standard, carved with flutings, gadroonings, guilloches and acanthus leaves and with three scrolled, voluted and acanthus-leaf carved brackets. Cylindrical candle-socket and tripod stand of three curved legs carved with eagles’ heads, legs and claw feet. Height, 661, inches. 532—Tuscan CircuLar Danresca Vance. 0 OF re 7 Circular top, with two Bee se and eda re bases carved with paw terminations. Ps Sher H Note: This Dantesea table is so aicakt in form belief that it is the only one in existences-© 5 A (Illust rated) ¢) AUNLNAD HLINAA LATA AHL AO WIAVL VOSHINVO UVINOUID NvOSh.— ‘ON Y ge Lz ” z: Me Fes 5383—UnmpBrian Watneutr Capiner oF THE SIxTeEENTH CENTURY Rectangular top with molded edge, apron fitted with three drawers with carved fronts and wooden knobs. Body with two hinged doors with paneled fronts carved with voluted scrolls and rosettes and flanked by caryatids and carved pilasters. Sides carved with voluted scrolls and rosettes. Molded base and shaped bracket feet. Remarkably fine patina. Height, 3 feet 101, inches; width, 5 feet; depth, 1 foot 8 inches. 534—Tuscan Watnetr Taste or THE SixteEENtH CENTURY Octagonal top, with plain edge. Square tapering pedestal with incurved capital and sides broken with tapering fluted pilasters. Molded base and square molded feet. Height, 31 inches; diameter, 461, inches. 535—Umeprian Watnut Cuorr STALLS OF THE Earty FirreENtH CENTURY Rectangular shape, with bracketed arms and legs carved with volutes and acanthus leaves, paneled backs, molded shaped head-rails, hinged seats and rectangular molded sub-base. Height, 3 feet 7%, inches; width, 4 feet 4‘, inches, 536—Tvscan Watnut Foipinc Bep or THE SIXTEENTH CENTURY Rectangular-shaped top with molded edge, plain apron and hinged fall- down front forming bed. Molded plain plinth. Height, 3 feet 3 inches; width, 3 feet 10 inches; depth, 2 feet 2 inches. Note: This bed was used by the captain of the military guard of a great Palace. 537—Brescian Watnur Capiner or THE SIXTEENTH CENTURY Rectangular top, with molded and fluted edge. Apron fitted with five drawers with carved, scrolled and voluted fronts, wooden knobs and six carved brackets. Body arranged as a cupboard with three vertical panels carved with voluted scrollings and two hinged doors with wooden knobs. Molded and carved base and voluted bracket feet. Height, 3 feet 7 inches; width, 5 feet 3 inches. 5388—FLorENTINE PaintED CABINET OF THE SIXTEENTH CENTURY Top with bowed front, incurved sides and molded edge. Body arranged as cupboard with two hinged doors, molded base and pear-shaped feet. Entirely painted, in colors on a light ground, with grotesqueries having as centers paneled niches with classic figures supported by masks and surrounded by birds, scrolls and half figures. Above, on apron, are egg-shaped escutcheons charged with coats-of-arms of the Medici family and of the City of Florence. The whole decorated under a Raphaelesque influence and suggested by the “Loggie” of the Vatican. Height, 2 feet 9 inches; width, 3 feet 4 inches. wy — » al My WA Us Ara RAC RN 539—FLorENTINE Waunut CaBINET OF THE SIXTEENTH CENTURY Rectangular-shaped top with molded edge, apron with drawer with carved front and knob, and body with hinged door carved with rosettes and flanked by caryatid pilasters. Sides carved with rosettes, gadrooned base and paw feet. Bronze-like patina. Height, 3 feet 6 inches; width, 2 feet 11 inches; depth, 1 foot 10 inches. 540—Frencu Gornic Oax Cuorr Status oF THE FouRTEENTH CENTURY Rectangular shape, molded and shaped head rail, with ends and central division curved, molded and carved with grotesque animals. Two hinged seats, with brackets beneath carved, one with a Flagellation, one with an Entombment. Above are panels carved with Gothic pointed arches and tracery, and below are linen-fold panels, the centers enriched, molded base and ball feet. Height, 3 feet 9 inches; width, 4 feet 9 inches. 541-Vanuriy Powe Clsieen Pawrnocwe Bassaxo (aac Late SixrEENTH CENTURY Ebony cabinet with domed ie with hinged lid, Paint 1 Battle sae aoe and a Asbtsceee A man on horseback u Interior fitted with nine drawers and central co door flanked by columnar pilasters. ‘Drawers embroidered on silk with colored silks in designs of and a tree. Stand of. vy date with fuga ta cross stretchers. te (Illustrated ) wigiiauicmancumeuanl h if ¥ No. 541—VENETIAN EBONY CABINET PAINTED BY BASSANO (JACOPO DA PONTE). LATE SIXTEENTH CENTURY by carved, voluted ae Bae ae: and carved pilasters. Arranged as a cupb each with two beaded and carved pees feet. ples Height 4 feet 5 inches: widtl Note: This beautifully proportioned salt came from the Marquis Montagliari’s Cole af I Hustrated) en ae PSTIELL TV EL Pe rer reeves er ese sss ac) Le Oe Oe i i wii witwi4 ail bs a pa) nm | ah | |) a) | | ee | 1 wis) ie Ne NIE H at TE VIE NE TICE Ge ee Vie YI ever gre fates BaSSSSS SITIOS Live eo ay 17 STR aT A AP & fhe FG he £6 kG GS SS bw dS LBL Iw AB RA RARARLD Be VB - ? eR. eke e cakes de be Me the de IE jas) Se ke. SE ER foe tole LTS ecto " RS . : —_ Socks heb ee hrakeee sees © ho-a a) ae] aie al aT al alla al] PATIO RS | RNTURY TEENTH C HE SIX CABINET OF T LA hl U = 542—FLORENTINE WAL) No. 543—Durcn Wainvr Caninet oF THE Lae Brean In two portions. Upper portion with molded gadroon head brackets and imbricated frieze arranged as a caryatid pilasters resting on goats’ head bracke’ doors with cruciform paneled fronts. Lower portion, carved with rosettes, voluted strapwork and flutin applied spindles, arranged as a cupboard w double cruciform paneled APOME SS Carved plin ] RS ad “Height, 6 feat 8 inches; f fie See (Mlustented) * oa bs ) : . a j : ’ a) +, 4 ns . S43 . = 'd geal oF * x : % ¥ ¢ af eee Des ieee Me 4h 4 a = ‘2 - a ee i ‘ f “ ’ j ‘ ‘ . kt , + ae, ' 4 a ai oe Y hd. f i i £ | ‘ GS. TE A OF THE L TCH WALNUT CABINET 548—DU No. NTURY ENTH CE SIXTE “4 EENTH Corns Se interior fitted 2 as en nee feats apelin wit h pe nee plinth and pear-shaped feet. * Ya 4 inches: Se ae 2 jets 8 ine ‘ ona i ¥y woes This desk is signed twice ae the ‘marble stamped with its number | “F. 2640,” in the Chateau sold in 1870, ag the Commune, to belp actrar Le a “Height, 4 a ” i * © 4 NCH “ACAJOU” WOOD AND BRASS FALL-FRONT DESI 544—FRE No. OF THE EIGHTEENTH CENTURY a 4 ’ “ ! < o a ‘ » ; D oot ‘_ et y * | te =¢ oo . ; Raed ¥ ah { + & §45—Tuscan pees Canmver OF Apron feed with two saat dee a hinged doors having wooucs knobs. Gui - : 7 %, . ‘ : nt Die ; * s a i é ooh Te tl 2 - at : es ?. : he ~ 19 ; ; F : : - ‘ x" : ; d low * ‘> =u + | é 3 . all 9 Fg THE » SINTEENT iG PE PSS FER Oe oS Pha er aS 15% DIN DIN DIAN IIS DIN® DINE DIA IANS TAS INN Da Gg Oe te 8 HE eee oy as Ly ST cea se Wer uve : 2 derail eae Poe Pf Wis DEE IATA PP aay Pai Pak, wee nee VR SU A Oe baa Le YYIb IE NLE IE IEDTOS. Oy earns OR DEE DAE AEN St te al x OVW ed E aii. fo a eae . rere ee el, aed ee p7F ve yeyer YYAVe De yp Lage kas Rae eememaetees No. 5445—TUSCAN WALNUT CABINET OF THE SIXTEENTH CENTURY In two portions. Uippek SoA mith: ae are tise as a Baie i sey two pices paar: a baer ern ih back nacre with two. and four fluted pilasters. Fluted DU cary feet. Poa gh ed Beer: 4 feet 9 inches; width, 8 feet 5 faeokane (Tustvateay i ee ae th th i bili! 18 "aaa 1” No. 546-—LYONNAIS WALNUT CABINET OF THE SIXTEENTH CENTURY ws E * r A of. ‘ . \ 4 . ‘ft t t * + . * ati | ‘ és? ‘ “ae a) op aa i % 4 Ae 5 ne ¢ am 7) 7 , , a ‘ . , ft ; p 1 ad ” L ¥ = ms i i = I iL ioe ' i ag a a e. ‘ z % o B: ‘ . > Ay ‘ ‘ A < rs \ \ ‘ . A A pad: iy ‘ o. thy 1 a a j , ‘ oj eee 547—Tscan Watt UT Wreee eee OF THE p Sixmmentie Ces Rectangular cabinet with molded | cornice, pla ters and two hinged doors. Stand with two tier and two below, supported by scrolled ois scrolled and voluted legs, with eure rods. No. 547—TUSCAN WALNUT WRITING DESK OF THE SIXTEENTH CENTURY * BAS@ sae Exsony Roark Booxcase OF THE eee XIV Deu Rectangular-shaped top, with molded gilt bronze edge. Body as a cupboard with hinged door paneled with open honeycomb dis gilt bronze and surrounded by scrolled Boule-work borders inlai on ebony, sides with panels of arabesques i m Boule-work, and bracket feet inlaid in bree Marigny, of Paris, by M. Merlin, “formerly with ‘Monsieur? the ” ae (ilasteateny 0 ™ ie oes THE KCASE OF 548—FRENCH EBONY BOULE BOO LOUIS O. N PERIOD IV x en nn — er a ae kL AA gre sp atuccrtse nh: ayaa ee yiervyrweer vyere Ere On ch he dt hh elle wre : sneer tc etree 549—Tuscan Invaip Watnur CapineT OF THE SIXTEENTH CENTURY Rectangular-shaped top, with chamfered angles and molded dentelled edge. Apron fitted with four drawers with wooden knobs separated by die inlaid with a diamond with checkered border in light-colored and black woods. Body arranged as a cupboard with two hinged doors, the fronts inlaid with diamonds with barbers’ pole patterned borders and flanked by vertical panels carved with twisted ribbons surmounted by inlaid diamonds. Angles paneled. Molded base. Height, 4 feet 9 inches; length, 5 feet 7 inches; width, 1 foot 11 inches. 550—Tvuscan Waunut SipEBOARD OF THE SIXTEENTH CENTURY Rectangular shaped top with molded edge surmounted by rectangular plate rest with molded base and paw feet. Body with hinged paneled doors flanked by vertical panels. Carved, above, with Putti’s heads and stars. Molded base. Height, 3 feet 10 inches; width, 6 feet; depth, 2 feet 8 inches, \ = 551—Tuscan Watnur Canine oF THE ‘Sees Cexruny — Rectangular-shaped top with molded and fluted edge, four drawers with bronze ane cet ee ae 7 piece of furniture in ‘existence iieh eae the arms of Evidently it was made for one of his descendants, — re . (Tsstrated) AUNLNYO HINAALXIS DHL dO LANIGVO LON IVM NVOSILI—TS9 ON 552—-V ENETIAN CARVED AND_ Grows Watyoer Cassone or CenrurY BY JAcoro, Sansovino, qe eat: mirrors. These panels are pees i by and are flanked hy carved eace Hs (69GI-LLFI) ONIAOSNVS OdOOVE AM AUODLNAO HINWALXIS AHL TO ANOSSVO LANIVM GHATIO GNV GHAUVO NVILANHA—2g¢ ‘ON Pear ie Rectangular hinged lid with chamfered edge and braces. C and cross braces, with ends carved as lions. Painted in colc octagonal medallions of figure subjects and with circular with shields charged with coat-of-arms of the Sienese family y fe whose members the cassone was made, and studded with bron From the Dal Zotto Collection, Venice. (Illustrated) Hectausularuiapel heel lid with ake edge, ¢ bracket feet and Prue a popes carrying hanes panels of eseutcheons ehureee with cbalusa teaver si Putti. Height, 2 feet ly, eee length, 4 feet 7 inches ; From the Dal Zotto Collection, Venice. (Illustrated) Pgg the halbed head of a Saint. i eat base and renee f From the Dal Zotto Collection, Venice. ; 398 to BhGe Sree PaIntTED eee UT Cassone OF THE Barn ’ ee pointed eae lid, molded base fea! ing with ease swords, and on ie “Toft. the f with another bending over Imei od pane of Height, 2 feet 1% inches; Pane + feet 7 inche | (Illustrated) AYNALINAD HUINAA LAT : MIVVA AHL AO ANOSSVO LON IVM GUALNIVd ASHANAIS—9ESS “ON 557—FLORENTINE CAssONE OF THE SIXTEENTH CENTURY Rectangular shape. Domed molded and scroll-carved hinged lid, with edge carved with imbrications. Front divided into three panels sur- rounded by raised and carved moldings, the center one occupied by carving of oval scrolled escutcheon supported by Putti and flanked by festoons of fruit and leaves, masks and scrolled ribbons, the side ones by female sphinx heads with voluted and scrolled terminations. At either side are caryatid pilasters with satyrs’ heads, square tapering shafts with fruit festoons and acanthus-leaf carved feet. Ends with molded panels enclosing oval scrolled medallions. Gadrooned base and acanthus-leaf carved paw feet. Height, 35% inches; length, 6214, inches; width, 22 inches. 558—FLoreEnTINE Watnut Cassone DestcNep spy Micuet ANGELO. Srx- TEENTH CENTURY Rectangular domed and molded hinged lid with edge carved with leaves, frieze carved with diapery festoons, rosettes and masks. Carved body with female caryatids, female torsi at the front angles, scrolled acanthus leaves at the rear angles and the front divided into three panels by fe- male caryatids corresponding to those at the angles. In the center panel is carved a scrolled oval escutcheon surmounted by an angel; in the left-hand panel is the figure of a youth attacking a winged gryphon with bow and arrow; in that on the right a bearded man reclining with standing figures around him. Scrolled and voluted apron and paw feet. Height, 3 feet 10% inches; length, 5 feet 1 inch; width, 1 foot 11% inches. Note: This cassone is confidently said to have been designed after the cartoons of Michelangelo Buonarrotti. (Illustrated) AYUNINGHO HINAWLXIS OTHONV THHOIN AM GANDISHG ANOSSVO LOANIVM ANLLNAUOTA—8S9 ON 559—FLoRENTINE Ivory anp Exsonizep Castnet or THE Late SIXTEENTH CENTURY Rectangular shape, in two portions. Upper portion divided vertically into three sections. The center has a round arch with molded cornice, frieze paneled with ivory, carved and pierced in a design of scrollings, and a cresting of ivory carved as a scrolled escutcheon charged with a coat-of-arms and supported by dragons. It is arranged as a cupboard with six drawers having paneled fronts and ivory knobs. Hinged door with round top and raised molded panel enclosing the figure of a nymph under a canopy with eagle finial and festoons of drapery and musical trophies. On either side are cupboards with hinged doors having octag- onal sunken molded panels enclosing carved ivory figures of flying Amo- rini bearing flowers. These doors are surrounded by panels of ivory pierced and carved with arabesques of scrolls, tablets and figures. Above are escutcheons supported by sphinxes and circular portrait medallions and below are three drawers, with fronts paneled with pierced and carved ivory. Lower portion, with apron fitted with a drawer with paneled front, having in the center animals with scrolled terminations, and, at the sides, heads with voluted scrolls and festooned masks, arranged as a cupboard with two hinged doors having broken paneled fronts and cir- cular medallions enclosing groups of youthful Bacchantes. At the sides are panels of ivory, pierced and carved in arabesque patterns. Molded base and block feet. Height, 83 inches; width, 46 inches; depth, 191% inches. (Illustrated) No. 559—FLORENTINE IVORY AND EBONIZED CABINET OF THE LATE SIXTEENTH CENTURY : 560—Licurtan Watnut Goren oF hee SixreentH Tas Tn two portions. Urge paaney with meet broken ¢ i ae *. relief, ith verolle ane oval medallions and hl : lower E Perea is Liens to oS ue E SIXTEENTH CENTURY ET OF TH WALNUT CABIN No. 560—LIGURIAN + ry * , * jo* F i “ . Oe hak + E . ’ 5 } ® se + na +e 4 4 ‘Ss A ee * t = : BC Red Gh ten se high ed F ‘ na a be =) inet 5G1-—- Fence | Wanker Caner BY eee Govson. In two portions. Upper portion with pierced ¢ c pediment niche nee a faa i ULE i $3 iAN GOUJO! J DT IBY URY NE CABI No. 561—FRENCH WALNUT NOT SIXTEENTH CE Rec eee top, with ee ode BAS ‘ into two uP erriee each with two. stated soon ‘ primitive school OF the fifteenth ue che fold panels: Wrought-iron bolts. — Square legs. Height, 5 feet 91% inches; width, 8 feet By nch ; Note: A example came from a demolished ehureh iat (1. Be Laie i ET OF THE EARLY UKM K CABIN HIC OA N GOT F No. 562—AVIGNO “fig hy 1 TH CE Ty N IFTEER Ps ¢ 3 . ) ’ ‘ ’ ; f t » he oa Se - Height, 5 feet 91%, tocliey, width, 3 Diet (Mustrated) No. 563—LIGURIAN WALNUT CABINET OF THE SIXTEENTH CENTURY 564—Tvuscan Watnut CurpBoaRD OF THE SIXTEENTH CENTURY Rectangular shape. Molded and dentelled cornice, carved with egg-and- dart and acanthus-leaf ornamentations, bowed frieze carved with masks and floral meander. Body arranged as a cupboard with two shelves and two hinged doors, the fronts having double panels surrounded by bead- and-reel and leaf-carved moldings, the angles carved with voluted acan- thus leaves, flanked by Ionic pilasters with carved and molded paneled shafts and molded bases. Plinth fitted with three drawers, with carved and molded paneled fronts, separated by voluted brackets. Carved and molded base and carved paw feet. Height, 6 feet 2 inches; width, 4 feet 6 inches; depth, 1 foot 10 inches. (Illustrated) 565—Tuscan Wautnut CaBINET OF THE SIXTEENTH CENTURY Rectangular shape, in two portions. Upper portion with cresting carved and pierced in a design of a knight on horseback surrounded by voluted acanthus-leaf scrolls, molded cornice, and plain frieze, arranged as a cabinet with fifteen drawers, having paneled fronts and a central com- partment: with hinged door. This cupboard is enclosed by two hinged doors having fronts with double panels surrounded by raised moldings and enclosing broken angled inner panels, and with sides carved with standing Putti on molded brackets with festooned drapery and fruit terminations. Lower portion arranged as cupboard with two hinged doors having paneled fronts matching those above and sides carved with acanthus-leaf quatrefoils, drapery, festoons and fruits. Height, 95 inches; width, 50 inches; depth, 20 inches. ~ : ( ME Ry Aa feds Diao aE de oy, ea yee ? AAA RTCA ETCH PO TOR Renin Boron Greene Cranenere crimes Mirai etn Miners Rane ne nine Beatin, We wane: “n = “ . * . . . © ome wa eee ae Rm cy Bench Crime Sates oo ey tem a > Ki \Zhap Sint aan Ss | Gee Sa “si ", ws = eYss te fete : bere RENE, BEPC CELT Lat 2 | RY y L CENT THE SIXTEENTH F No. 564—TUSCAN WALNUT CUPBOARD O Carving heightened by gilding. Interior silk BEE pra os ; eae ~ Note: This extremely 1 rare and unusual eee ca! lection, Rome. eA EP et ie (Iustrated) Bs . 34 4 ae ae Va as 611 614—Frencn Cour “Frisi” Vetver Taste Cover or THE Pompapour PrEriop Rectangular shape. Light rose-colored velvet, cut in a pattern of mean- der stripes and floral sprays piqués with white silk. Finished with silver lace. Height, 1 foot 6 inches; width, 1 foot 8 inches. 615—GENOESE CuT-VELVET TABLE Cover OF THE Earty SIXTEENTH CENTURY Rectangular shape. Purple velvet, cut in a pattern of a diamond leaf diaper and bordered with silver galloon. Height, 16 inches; width, 21 inches. 616—GeENorsE Empromerep Vetiver Smati Tarte Cover or THE LaTE ; SEVENTEENTH CENTURY Rectangular shape. Dark blue velvet, embroidered in silver with a cen- tral wreath enclosing a star and a scrolled pomegranate border. Height, 1 foot 10 inches; width, 1 foot 10 inches, 617—Iranian Cut-veLtvet Taste Cover or THE SIXTEENTH CENTURY Rectangular shape. Center with green velvet panel cut in a diaper of cruciform and octagonal figures bordered by panels of rose-colored velvet and finished with green silk fringe. Height, 18 inches; width, 22 inches. 618—Pair or GENOESE JARDINIERE VELVET CusHion Covers or THE LATE SEVENTEENTH CENTURY Similar to No. 613. Height, 221%, inches; width, 251% inches. 619—Pair oF GENOESE JARDINIERE VELVET CusHion Covers or THE LATE SEVENTEENTH CENTURY Similar to No. 613. Height, 221%, inches; width, 251, inches. 620—GeEnorsE VeLveT SMALL Taste Cover or THE SIXTEENTH CENTURY Rectangular shape. Gold-colored velvet center and salmon-colored vel- vet border, finished with silver braid and gold lace. Height, 1 foot 11 inches; width, 2 feet. 621—GENoESE CuT-vELVET Smauti Taste Cover or tHE Larr FirrreNntTH CENTURY Rectangular shape, with rounded corners. Olive-green velvet, cut in a pomegranate diaper design. Height, 21 inches; width, 19 inches. 622—Itrauian Cut-veLvet Taste Cover oF THE SIXTEENTH CENTURY Rectangular shape. Centers with brown velvet panel cut in a diaper of cruciform and octagonal figures bordered by panels of red velvet and finished with red silk fringe. Height, 20 inches; width, 22 inches. 623—Frencu Cut-vELvET Taste Cover oF THE PomMpapour PrERIoD Rectangular shape. Sapphire-blue velvet cut, on a rose-colored ground, with scrolled leaves and flowers and diapers. Finished with silver braid. Height, 1 foot 10 inches; width, 2 feet. 624—ITatian Huncary-potnt TasLE Cover OF THE SEVENTEENTH CENTURY Rectangular shape. Embroidered, in colors, on brown and green grounds with scrolls of volutes, acanthus leaves and fruits, enclosing medallions of acanthus-leaf wreaths and sprays of roses and lilies. Finished with silk braid and silk and gold thread fringe. Height, 22 inches; width, 23 inches, 625—GeENogEsE Cut-vetvet TasLe Cover OF THE SIXTEENTH CENTURY Rectangular shape. Green velvet, cut in a pattern of double voluted floral scrolls on a gold ground. Finished with gold thread fringe. Height, 13 inches; width, 32 inches. 626—Irauian Cut-vELveET Taste Cover oF THE SIXTEENTH CENTURY Rectangular shape. Covered with blue velvet, cut in a diaper of voluted triangular scrolls. Finished with silk galloon. Height, 20 inches; width, 30 inches. 627—GeEnorEsE CuT-vELVET TasLE CovEeR OF THE SIXTEENTH CENTURY Rectangular shape. Ruby velvet, cut in a pattern of diamond medallions formed by bands of rosettes enclosing floral sprays. Finished with silk fringe. Height, 22 inches; width, 321, inches. 628—Irauian Cor-vetvet TasBLe Cover OF THE SIXTEENTH CENTURY Rectangular shape. Blue velvet, cut on a cream-colored ground, with a diaper of zigzags and diamonds. 629—Irauian Empromwerep Vetvet Taste Cover oF THE SEVENTEENTH CENTURY Rectangular shape. Appliqué-embroidered, in silk and gold bullion thread, on a velvet ground with C-scrolls, rococo scrollings and inter- lacements. Finished with silk fringe. 630—IrauiaAN Cut-veLveEtT Taspite Cover oF THE SIXTEENTH CENTURY Rectangular shape. Lilac-colored velvet, cut, on a cream-colored ground, with a diaper of floral sprays and rectangular medallions. Height, 3 feet 3 inches; width, 1 foot 8 inches. 631—Irauian Vetver Taste Cover or THE SIXTEENTH CENTURY Rectangular shape. Dark green velvet, paneled and bordered with silver lace braid and galloon. Height, 281, inches; width, 39 inches. 632—Ser or Irauian Vetvet Horst Trappincs oF THE SEVENTEENTH CENTURY Set consists of three pieces, a shaped saddle-cloth and two pistol holsters of dark rose-colored velvet embroidered with silver thread in a raised pattern of leaves, scrolls and flowers. 633 Irauian Cut-vetvert Taste Cover or THE SIxTEENTH CENTURY Rectangular shape. Green velvet, cut, on a yellow ground, with a diaper of scrolls, flowers, and rectangles. Height, 3 feet 10 inches; width, 3 feet 6 inches. 634—Irauian Cur-veEtveT TasLe Cover oF THE SIXTEENTH CENTURY Rectangular shape. Blue velvet, cut on cloth-of-gold ground. Woven with palmettes, with a diamond diaper of leaves and scrolls. Length, 3 feet 2 inches; width, 3 feet 11 inches. 635—GENOoESE CuT-vELVET CovER oF THE SEVENTEENTH CENTURY Rectangular shape. Crimson velvet, cut, on a cloth-of-silver ground, in a pattern of pomegranates in diamond medallions formed by scrollings. Height, 80 inches; width, 44 inches. 636—GenorsE Cur-vELVET Strip oF THE SEVENTEENTH CENTURY Similar to the preceding. Height, 106 inches; width, 22 inches. 637—Ivrauian Cut-veLvet Srrip oF THE SixTEENTH CENTURY Rectangular shape. Blue velvet. Cut, on a light ground, with a diaper of scrolled leaves, flowers and fleurs-de-lis. . D) “ a a rl y of 638—Pair or FrorentvINE EmproipereD VELVET PANELS OF THE FIFTEENTH CENTURY Rectangular shape. Apple-green velvet, appliqué-embroidered in cloth- of gold and colored silks with oval medallions of coats-of-arms sur- mounted by ducal coronets and supported by statant lions and scrolls. Height, 1 foot 3 inches; length, 4 feet 1 inch, 3¢ r > | = “ oes & vs T. a | 639—Two Srrivs VENETIAN APPLIQUE-EMBROIDERED VELVET OF THE SIX- TEENTH CENTURY Rectangular shape. Dark blue velvet, appliqué-embroidered in yellow and white silk edged with gold and crimson silk cord in a pattern of voluted and scrolled acanthus leaves, vases of fruits and leaves. Lengths, 47 and 36 inches; width, 9 inches. 640—GENOESE Cut-vELvET Tasie Cover oF THE SIXTEENTH CENTURY Rectangular shape. Old-gold velvet, cut in a pattern of a floral diaper. Finished with gold and silk fringe. Height, 1 foot 5 inches; width, 4 feet 4 inches. 641—FLorRENTINE CutT-vELVET TABLE CovER OF THE SIXTEENTH CENTURY Rectangular shape. Blue velvet, cut in a pattern of a floral and scroll diaper interspersed with Florentine floral fleurs-de-lis. Finished with silver braid. Height, 4 feet 2 inches; width, 1 foot 5 inches. 642—GernorsE Vetvet Taste Cover or THE SIXTEENTH CENTURY Rectangular shape. Of sky-blue velvet, with border of silver lace. Height, 3 feet 6 inches; width, 3 feet 9 inches. From the Wilkins Collection, Florence. 643—Irauian Sivk Damask Taste Cover OF THE SEVENTEENTH CENTURY Rectangular shape. Rose-colored damask, woven in a pattern of scrolled leaves and flowers. Finished with gold and silk ball fringe. Height, 3 feet 2 inches; width, 3 feet 11 inches. 644—FLorENTINE EMBROIDERED Sirk TasLeE CovER OF THE SEVENTEENTH CENTURY Circular shape, with lambrequined border. White silk, embroidered with gold bullion thread in a design of Florentine lilies, diapers and scrolled flowers and leaves. Diameter, 3 feet 5 inches. 645—GeENoESE VELVET PANEL OF THE SIXTEENTH CENTURY Rectangular shape. Dark blue velvet, divided into two panels and bor- ders with gold galloon. Silk and gold tassels at the corners. Height, 1 foot 9 inches; width, 6 feet 6 inches. 646—Irauian EmBroweErep VELVET PANEL OF THE SIXTEENTH CENTURY Rectangular shape. Dark crimson velvet appliqué-embroidered in cloth of gold, gold bullion thread and purple velvet with a floral wreath enclos- ing an escutcheon charged with a coat-of-arms and a scrolled border. Finished with gold lace. Height, 3 feet; width, 5 feet 8 inches, 647—VENETIAN Cut-vELVET TasLe Cover oF THE SIXTEENTH CENTURY Rectangular shape. Dark green velvet, cut in a pattern of narrow stripes, alternating with gold strips on a light ground. Finished with brocaded silk braid, a band of green velvet and tasseled silk fringe. Height, 89 inches; width, 47 inches. 648—Gernorse Cur-vetver Taste Cover or THE SIXTEENTH CENTURY Rectangular shape. Crushed strawberry-colored silk velvet, cut in a pattern of conventional floral sprays and scrolled leaves. Finished with a green velvet border and silk fringe. Height, 331%, inches; width, 57 inches. 649—Irauian Cut-vetvet TaspLe Cover or THE SIXTEENTH CENTURY Rectangular shape. Greenish blue velvet cut, on a ground of cloth of gold, in a diaper of squares and stars. (ae ys Height, 4 feet 4 inches; width, 3 feet 4 inches. 650—Irauian Sirk Damask Taste Cover or THE SIXTEENTH CENTURY Rectangular shape. Crimson damask, woven in a pattern of a floral diaper. 651—Irauian Cur-vetver Taste Cover or THE Sixreenru Century Rectangular shape. Two strips of red velvet, cut, on a ground of cloth of gold, with a diaper of diamond-shaped scrolled figures and quatre- foils. Finished with gold and silk fringe. Height, 3 feet 5 inches; width, 5 feet 5 inches. 652—Pam or Travian Emproiperep VetvetT Panets oF THE SIXTEENTH CENTURY Rectangular shape. Appliqué-embroidered in colored silks and silver thread with arabesques of scrolled leaves and flowers. Height, 4 feet 81%, inches; width, 10 inches. 653—GeENoEsE CuT-veLvVeT oF THE SEVENTEENTH CENTURY Rectangular shape, with rounded corners. Crimson velvet, cut in a pattern of a double quatrefoil diaper on a white ground. Length, 5 feet 4 inches; width, 3 feet 10 inches. 654—F Lorentine Emproierep Vetiver Panen or THE SixreENTH CENTURY Rectangular shape. Embroidered on sapphire-blue velvet in raised gold bullion thread with a central shield-shaped medallion and scrolled leaves and flowers. Height, 1 foot 8 inches; width, 6 feet 10 inches, 655—VENETIAN Emprorerep Vetiver Panen or THE SEVENTEENTH CENTURY Rectangular shape. Dark blue velvet, embroidered with gold and silver bullion thread with an oval medallion enclosing a monogram and scrolled leaves and flowers. Height, 1 foot 9 inches; width, 6 feet 8 inches. 656—Irarian Cur-vetver Taste Cover or tHe SixteentH Century Rectangular shape. Green velvet cut, on a dark yellow ground, with a diaper of scrolled leaves and flowers. Finished with silk braid. Length, 5 feet 9 inches; width, 3 feet 4 inches. 657—Irauian Cut-vetvet Taste Cover or THE SIxTEENTH CENTURY Rectangular shape. Two strips of red velvet cut, on a yellow ground, in a diaper of scrolls and serrated leaves.and with borders of scrolled interlacements. Finished with silk fringe. Length, 5 feet 83 inches; width, 3 feet 8 inches. 658—-FLorENTINE Cut-vELVET CAPE oF THE SIXTEENTH CENTURY Semicircular shape. Green velvet, cut in a pattern of a leaf diaper, tufted by hand with silk, on a cream-colored ground. Above is a band of silk brocatelle woven in green on a yellow ground in a pattern of scrolled floral medallions separated by scrolled leaves and flowers. Above and below are borders of silk woven in a pattern of green and white hexafoils and edged by narrow stripes woven in red and white. Finished with a green silk fringe. Height, 4 feet 6 inches; width, 5 feet 7 inches. 659—Frencuw Cutr-vetvet Taste Cover or tHE Louis XV Perriop Rectangular shape. Light rose-colored velvet, cut in a pattern of stripes and floral sprays. Finished with gold bullion lace. Height, 5 feet; width, 5 feet 4 inches. 660—Vexetian Sizx Brocape Watt Hancine oF THE SIXTEENTH CENTURY Rectangular shape, with shaped ends. Two bars of wood with ends turned, carved and gilt. These support a breadth of silk brocade woven in a pattern of scrolled roses and other flowers, with colored silks and silver thread on a white silk ground. Finished with silver lace braid and silk tasseled fringe. Height, 77 inches; width, 22 inches. 661—Two Srrivs GENoESE CUT-VELVET OF THE SEVENTEENTH CENTURY Salmon-colored silk, cut in a diaper of floral sprays on a cloth-of-silver ground. Widths, 24 inches; lengths, 65 and 46 inches. 662—Irauian Cur-veLvet TanLe Cover OF THE SIXTEENTH CENTURY Rectangular shape. Green velvet cut, on a ground of cloth of gold, with a diaper of hexagons enclosing scrolled flowers and leaves. Finished with silk braid. Length, 6 feet 2 inches; width, 3 feet 4 inches. 663—Frexcu “Frist? Vetiver Taste Cover or THE LATE SEVENTEENTH CENTURY Rectangular shape. Green “frisé” velvet, in a diaper of scrolls, rosettes and fleurettes. Height, 6 feet 3 inches; width, 3 feet 7 inches. 664—Irauian Cur-vetvet Taste Cover oF THE SIXTEENTH CENTURY Rectangular shape. Four strips of green velvet cut, on a cream-colored ground, in a diaper of leaves and hook scrolls. Height, 6 feet 8 inches; width, 3 feet 4 inches. 665—Genorse VELVET Cover OF THE SIXTEENTH CENTURY Rectangular shape. Plain taupe-colored velvet. Height, 6 feet 10 inches; width, 4 feet 6 inches. 66G—T wo Covertets or Iranian Crimson Sirk Damask OF THE SIXTEENTH CENTURY Rectangular shape. Woven in a pattern of pomegranate-shaped flowers enclosed in diamond-shaped medallions formed of scrolled leaves. Height, 2 yards 6 inches; width, 2 yards. 667—Genorse CuT-vELVET CoveR OF THE SIXTEENTH CENTURY Rectangular shape. Center of crimson velvet cut, on a white ground, with a diaper of floral sprays and stars. Border of dark olive green velvet cut, on a white ground, with a diamond diaper. Height, 47 inches; width, 63 inches. 668—VeENETIAN Cutr-veLver Taste Cover or tHE Lare SixreEENTH CENTURY Rectangular shape, with rounded corners. Crimson velvet, cut In a pattern of quatrefoil pancls formed by acanthus-leaf scrolls enclosing medallions of flowers and floral sprays. Finished with silk tasseled fringe. Height, 64 inches; width, 46 inches. Note: From the collection of M. Joseph Spiridon, of Paris, 669-—Genorse Cur-vELvVET Taste Cover OF THE SIXTEENTH CENTURY Rectangular shape. Genoese velvet of red and cream-color, cut in a pattern of longitudinal stripes enclosing bands of checkered patternings. Finished with a border of green velvet and with silk ball fringe. Height, 66 inches; width, 65 inches, 670—GeEnorsr VELVET TasLe Cover OF THE SIXTEENTH CENTURY Rectangular shape. Plain green velvet, finished with inner band of gold and silver lace braid and broad border of appliqué-embroidery of silver braid in a scrolled pattern. Finished with silk and gold thread fringe. Height, 431, inches; width, 10% inches. G71—Frencu Cur “Frist”? Verver Taste Cover or THE PoMpapour PERIOD Rectangular shape. Light rose-colored velvet, cut in a pattern of mean- der stripes and floral sprays piqués with white silk. Finished with gold lace. Height, 6 feet 6 inches; width, 5 feet. 672—FLorENTINE EmproiwErED VELVET PANEL OF THE SIXTEENTH CENTURY Rectangular shape. Salmon-colored velvet, embroidered with gold bul- lion thread with a scrolled escutcheon charged with the coat-of-arms of the Torrigiano family of Florence and decorated with two panels of brocade woven in gold bullion thread on a rose-colored ground. Fin- ished with gold galloon. Height, 7 feet 5 inches; width, 1 foot 10 inches. 673—FLorENTINE EmBroipERED Sitk PANEL OF THE SIXTEENTH CENTURY Rectangular shape. Appliqué-embroidered on a crimson silk ground in colored silks, velvet and gold bullion thread with voluted floral scrolls and a border of geometric design. Finished with gold braid. Height, 1 foot 8 inches; width, 7 feet. 674—Genorse Cur Vetyer Hanerne or THE SixTEENTH CENTURY Rectangular shape. Purple velvet, cut in a diaper of stars and voluted scrolls with bands of plain purple velvet. Height, 4 feet 3 inches; width, 7 feet 2 inches. 675 676 678 680-— 681— Guenouse Vetver Strap or tne Sixreenra Cenrury Rectangular shape. Sky-blue velvet, Krom the Wilkins Collection, Florence. GuNnorse Cur-venver Cover or tue Larne Sixteentra Century Rectangular shape. Red velvet, cut in a design including an escutcheon charged with the coat-of-arms of the family of the Pope Braschi of Rome, Iranian Vexver Cover or tas Lare Sixreentu CENTURY Rectangular shape. Sky-blue velvet, finished with a fringe of gold bullion thread, Krom the Wilkins Collection, Florence. a ¥ 4 Genoese Vetver Taunus Cover or tae Sixreenrn Crenrury Rectangular shape. Plain crimson velvet, bordered with gold galloon, ITevght, 88 inches; width, 76 inches, Krencu Kmpromwerep Sink Tanne Cover or rue Louis XVI Prop Rectangular shape. Double surfaced, embroidered on both sides, in col- ored silks, on satin grounds of green and crimson, with floral meanders and stripes tied with knotted ribbons and with floral sprays, Height, 58 inches; length, 82 inches, Pam ov Frencn Emnroierey Sink Tante Covers or tHe Loui XVI Pisniop Similar to the preceding, Height, 27 inches; width, 4% inches. Lor or Genorse Veuver or vig Sixreenrn Crenrury Several lengths of red rosée velvet, Length, about 81 wards; width, about 22 inches. Six Srrivs or Genouse Vetver or vase Karny SIXTEENTH Cenrvury Plain crimson velvet. Widths, 20 inches; about VY yards, 683—Fourreen Srruvs or Genorse Vetver or tHe Karny Sixresnri Century Plain crimson velvet. Widths, 21, 19 and 18 inches; about 4% yards, 684——Lor or GENorsE VELVET OF THE SIXTEENTH CENTURY Several lengths of rose-colored velvet. Length, about 417%, yards; width, about 22 inches. 685—Lor or GrNnorsE VELVET OF THE SIXTEENTH CENTURY Several lengths of crimson velvet. Length, about 141% yards; width, 22 inches. 686—VENETIAN Vetvetr Coat oF THE SIXTEENTH CENTURY Shaped as a long loose coat with wide sleeves. Striped purple velvet. Length, 8 feet 11 inches. 687—Venetian Vetver Rope or THE SIXTEENTH CENTURY Shaped as a long loose robe with wide sleeves. Dark crimson-colored velvet. Length, 5 feet 8 inches. 688 Venetian EmprowrEred Vetiver CHasuBLe OF THE SIXTEENTH CENTURY Double spade-shape with opening for neck, Crimson velvet sides and central vertical band of crimson velvet appliqué-embroidered, in colored silks and gold thread, with an arabesque patterning of vases, voluted scrolls and leaves, having, in front, a circular medallion embroidered with a figure of the Virgin and Child on a gold background, Finished with gold galloon. Height, 90 inches; width, 291, inches. 689—Corric Emprowwrerred Linen Datmaric or THE THIRTEENTH CENTURY Robe-shaped, with short sleeves and open neck. Linen cloth, with vertical bands in front and back, embroidered in red, green, white and black with heart-shaped floral medallions and bordered on either side by bands embroidered, in blue, on a white ground, with a meander pattern. Around the neck is a band of yellow semé with heart-shaped leaves embroidered in blue. 690—F Lorentine Cur-vetver Smaus Avrar Fronrau or THE SIXTEENTH CENTURY Rectangular shape. Crimson velvet, cut in a repeat pattern of oval panels formed by scrolled stems of foliage and enclosing medallions of pomegranates and leaves. Paneled with vertical bands embroidered in colored silks and gold thread in a pattern of scrolls and trefoils. Fin- ished with gold netted fringe. Height, 23 inches; width, GO inches. 691—Forentine Vevver Avrar Fronran ov THE Sixreenta CEenTurRY Rectangular shape. Bordered on three sides with wide bands of blue velvet, the upper one edged with knotted silver and silk fringe. Height, 3 feet 2 inches; length, 5 feet 5 inches. 692—Porrion oF A FLorENTINE EmBroivErED VELVET ALTAR FRONTAL OF THE SIXTEENTH CENTURY Rectangular shape. Crimson velvet, embroidered with colored silks in a design of an arcade of four round arches supported on baluster-shaped columns with circular medallions enclosing quatrefoils im the spandrels. These arched niches are occupied by appliqué-embroidered figures of the Virgin, standing upon a crescent embroidered in gold thread and holding the Child Christ, St. Bartholomew, with his symbolic knife, a Virgin Martyr and a Bishop. These figures have halos embroidered in gold thread. Above are trees embroidered in colored silks and below are tesselated pavements outlined in gold cord. Lower border of a leaf meander and quatrefoils embroidered in colored silks. Height, 1 foot 7 inches; length, 4 feet 8 inches. 698—VeNneTIAN Emprotperep Vetver AuLTar FrRonTAL oF THE FirreENTH CENTURY Rectangular shape. Purple and red velvet, embroidered with vertical bands occupied alternately with shaped medallions of pineapples and with the panels in each occupied by figures of saints under scrolled Renaissance canopies. Above is a horizontal band. embroidered with pineapple medallions. Finished with gold galloon, (Illustrated) 694—VeENETIAN EmproiperED VELVET ALTAR FRONTAL OF THE SIXTEENTH CENTURY Rectangular shape. Vertical bands of purple velvet, embroidered in gold thread with trefoil-shaped medallions enclosing pomegranates and leaves and separated by panels. embroidered in colored silks and gold thread with twelve figures. of saints under canopies of scrolls, vases and cherubim supported by candelabra-shaped columns. At the top is a vertical band of purple velvet, embroidered in gold threads with trefoil- shaped medallions enclosing pomegranates and leaves. Finished with gold galloon and vertical bands of green silk. Height, 34 inches; width, 90 inches. 695—Irauian VELVET anpd Brocapre AuLrar Fronrat or THE Earty Srx- TEENTH CENTURY Rectangular shape. Red velvet, with four vertical bands and horizontal strip of yellow and gold brocade woven in a pattern, as to the vertical band, of the Assumption of the Virgin, and as to the horizontal bands, of rayed medallions enclosing the Sacred Monogram. In the center is a medallion with the Virgin in a Vesica Piscis surrounded pee Angels. Fin- ished with silk fringe. Height, 3 feet 5 inches; width, 7 feet. From the Marcuard Collection, Florence. (Illustrated) 693 SLM RE CR OE AEE mo poe MTN: Lane e 695 696—Iratian EmproiwERED VELVET PorTIERE OF THE SEVENTEENTH CENTURY Rectangular shape. Blue velvet, embroidered in golden yellow silk with a diaper of scrolls, flowers and leaves surrounded by a floral meander border. Height, 9 feet 5 inches; width, 6 feet 6 inches. (Illustrated) 697—Ser or Irautaxn Empromerep VELVET EccLestAsTICAL VESTMENTS OF THE Late SIXTEENTH CENTURY Set consists of a chasuble, two maniples, chalice cover and chalice veil. Salmon-colored velvet, embroidered in silver bullion and in relief, in a pattern of scrolled leaves and flowers, the chalice veil with a circular medallion enclosing the Sacred Monogram. Set consists of five pieces. 698—GeENoEsSE VELVET CoPE oF THE LATE FIFTEENTH CENTURY Semicircular shape. Dark rose-colored velvet. Height, 3 feet 10 inches; width, 9 feet 2 inches. 699—Sovutn Irauian Emprormerep Sitk Corre oF THE SIXTEENTH CENTURY Semicircular shape, with spade-shaped hood. Cream-colored silk, em- broidered in colored silks and gold thread with an all-over pattern of scrolled acanthus leaves and flowers, the hood with a figure of St. Peter bearing the keys, surrounded by scrolled floral sprays and finished with galloon and silk fringe. Height, 4 feet 9 inches; width, 9 feet 10 inches. 700—GeENoEsSE VELVET CoPE oF THE SIXTEENTH CENTURY Semicircular shape. Dark rose-colored velvet, untrimmed. Height, 41 inches; length, 112 inches. 701—FLorRENTINE VELVET CoPeE OF THE SIXTEENTH CENTURY Semicircular shape. Crimson velvet, untrimmed. Height, 44 inches; width, 113 inches. 702—FLoRENTINE EmprormpERED VELVET Cope oF THE SIXTEENTH CENTURY Semicircular shape. Dark crimson velvet, with broad band above ap- pliqué-embroidered on a crimson silk ground with scrolled medallions of cherubim, interlacements and floral scrolls. Height, 53 inches; width, 116 inches. AYOING HINGHLINGAYS AHL JO AUaILYOd LHATHA GHUYHCIOUANA NVIIVLI—969 ON pe 703—Vexetian Vetver Taste Cover or tae Sixreentu Century . Rectangular shape. Unusual shade of blue velvet, finished with a silver — lace braid. 3 an Height, 45 nets a ir 2: 704— Venetian Crt-vetver Taste Cover or THE Lae Dictate Cexseee Rectangular shape. Ruby velvet, cut in a diaper of oval pas As d by voluted scrolls and enclosing scrolled acanthus leaves. — gold thread braid. fay Height, 96 inches; width, 8 ‘ote: From the collection of Mr. Joseph Spiridon, of Paris. 705—GEN OESE Cut-vELVET Taste Cover or tHe Sixteentu Cen’ Rectangular shape. Crimson-colored velvet, cut in a dae granate-shaped floral medallions in satin panels formed b CrextTury | Rectangular shape. Woven on a green pee 6 a pat called “Diavolo in bosco,” consisting of detached trees, uins, and dancers in colored silks and with scrolled leaves in lver Height, 7 feet 2 inches; a 707—Irauian Cet-verver Cover.ter or THe Sixteentu Ce Rectangular shape. Red velvet, cut in a pattern of medallions in horizontal lines on a cloth-of-silver ee gold-thread network and silk fringe. — 4 Height, 78 inches; 708—Tnexe Srnits or Fiowennee Coe Vexver ov tHe Eaniy Century Green velvet, cut, on a cream-colored ground, i in a} heart-shaped scrolled escutcheons enclosing the initial 5 O Without background. Modeled with @ falc of the mantle and hood, supporting with her left hand and _ right the hands of the Child Christ | OAS a tunic. ~ 4 charged with a ‘coat-of-arms. “Modeled by Store eset a (1425-1500). i Height, 20% ‘ine 4 +3 me T Mustrated ) st? = No. 775—STUCCO BAS-RELIEF BY SPERANDIO DA MANTOVA sel 776—FLoRENTINE Stucco Ficure oF THE FirrrenrH CENTURY By JACOPO ne + ~ DELLA QUERCIA Bust of the Virgin, in red robe, blue mantle and hood, with head inclined to the right. She clasps with both hands the Child Christ in a brown tunic, who nestles close to His Mother, turning His full face to the spectator. On rectangular carved, painted and gilt pedestal, the front and sides carved with voluted strapwork and fan-shaped center. Ground painted cream-color with carving gilt. Modeled by Jacopo della Quer- cla (1374-1438). Height, 30 inches; width, 22°, inches. EMP EY RIE ryt cect 57 5 777—F LoRENTINE TERRA-coTTA Bas-RELIEF OF THE FIrrEENTH CENTURY BY ANTONIO RossELLINO Half-length figure of the Virgin, seated in a voluted and rosetted chair. She wears a robe and mantle, and holds on her left knee, with her right hand clasping His legs and her left around His shoulder, the Child Christ in a linen tunic. On octagonal molded, painted and gilt base with paw feet. Modeled by Antonio Gambarelli, called Rossellino (1427-1490). Height of terra-cotta, 25 inches. 345 778—F LorENTINE CoLorED Trerra-corra Bas-revier BY ‘THE serves as background. ‘Terra- cotta tabernacle frame \ pane Meri Firreenti Century Child Christ. Shee an angel holds in bothe ate Re - arch, trefoil pointed upper arch, with cherubim. thy De ble E pilasters, with Sans fluted oe malted base é ae ul i ORES Lt a og No. 778—TERRA-COTTA BAS-RELIEF BY THE “MAESTRO DELLA CAPPELLA PELLEGRINI” O50 779—FLoRENTINE ‘TeRRA-coTTA BAs-RELIEF OF THE FirrEENtTH CENTURY py AnpreA Verroccuio (1432-1488) Rectangular shape. Modeled, in low relief, with the three-quarter- length standing figure of the Virgin, in robe, mantle and hood, sup- porting with both hands the standing figure of the Child Christ dressed in a linen tunic. The halos of Christ and the Virgin and the border of the latter’s robe are gilded. In old carved, painted and gilt taber- nacolo frame, with broken pediment, molded cornice, and frieze painted with floral scrolls and birds, supported by caryatid figures of angels on voluted, drapery-festooned brackets. Plinth painted with floral scrolls and birds. Inner frame carved with egg-and-dart ornaments. Height, 23 inches ; width, 17 inches. Note: Verrocchio attained fame not only by reason of his own artistic power, but as the master of the three great artists, Lorenzo da Credi, Pietro Perugino and Leonardo da Vinci. This example was in the celebrated Ferroni Collection, Rome. et> 780—FLorENTINE Wax Bas-RELIEF OF THE FirreeNrH Century By MICHEL- 0zz0 Micueiozz (1396-1476) Rectangular tablet modeled, in low relief, with a three-quarter-length standing figure of the Virgin in a robe, a mantle secured with a strap and a hood, supporting, with both hands, the undraped standing Child Christ. In molded and gilt wooden frame. Height, 27 inches; width, 19%, inches. Note: It is questionable whether another wax model of the finest period of the Italian Renaissance, and of this size, has descended to our own day in such admirable condition. It was probably made as the original from which a silver or bronze was to be cast by the “cire perdu” process. ASO Fuerrentn Century Rectangular shape. Modeled with the half-figure of the : in a blue mantle and white neckerchief. She presses both hands gee ppiete J undraped Child Sere ho ha Note: Frei the collection of Gabriele @’Annun zio ic : mander-in-chief of Fiume d'Italia, and purchased | at ‘the: Ca eros from whose collection it howler | This: stuceo, n in Paris. An exactly similar es of this bas vellc’s of its coloring, is in the Berlin Museum. In the cata direction, by Frida Schottmuller and igs in ie T as No. 130. (Illustrated) : Me ae ee, elation A — + OE Ed eee: = = No. 781—STUCCO BAS-RELIEF BY DESIDERIO DA SETTIGNANO Tbe, 789 FLORENTINE CoLoRED Stucco Bas-reier By RossELLINO. FirreEENTH CENTURY Rectangular shape. Molded with the standing three-quarter-length figure of the Virgin in red robe, blue mantle and white hood, supporting with her left hand the Child Christ, undraped save for a white drapery, who stands bending forward with His arm across His Mother’s breast. In a contemporary carved, painted and gilded tabernacle frame with straight molded cornices, painted frieze, pilasters with fluted shafts and leaf capitals, plain plinth and molded apron. Modeled by Antonio Rossellino (1427-1490). Height, 22 inches; width, 14%, inches. Note: An exactly similar example to this bas-relief, differing only in the details of its coloring, is to be found in the Berlin Museum. In the catalogue prepared, under Dr. Bode’s direction, by Frida Schottmuller and published in Berlin in 19138, it is there illustrated as No. 154. (Illustrated ) si atten NOB 5 SBN Yom . iy ei Gt ea No. 782—STUCCO BAS-RELIEF BY ROSSELLINO clam, OMS 783— FLORENTINE Paprer-MAcHis Bas-netier BY Mixo p DA Frrsorn, CenrTuRY . uae ae ee Rectangular shape. Modeletierats the eas half-fgare of | in loose blue ee seated in a haa with Boye ss arms and § su with molded cornice, sere pie frien and carved baluster-shaped pilasters, sides decorated - arabesques and dies of plinth painted with escutcheor remarkable for its bronze like barnes Modeled by (1431-1484). rs A ea ee ec ; Height, 420 ‘ine “a lustrated) . MINO DA FIESOLE MACHE BAS-RELIEF BY 7883—PA PIER No. HO? 784—FLorENTINE CoLoRED Stucco BAs-RELIEF BY Donaterio. x: CENTURY Rectangular shape, with enncerenes top. Piicselet a : an “Adoration.” The Virgin, in red robe and hood, stand ie hands before the manger in which lies at full length the a banded tunic, At the Virgin’s right side kneel St. Josep left are seen the heads of a cow and a donkey. Modeled Niccold di Betto Bardi, known as Dene gee: 3 of its SAE is to be found in the Berlin Mace ae under Dr. Bode’s direction, by Frida Schottmuller and p 1913, it is there illustrated as No. Hh Ene ee No. 784A—STUCCO BAS-RELIEF BY DONATELLO goer * CENTURY Rectangular shape, with younduaxthed on Modeled 4 bending over the draped Child Christ, hon she s hand, while with her right she clasps His wrists. Mn wood frame, with “spirally fluted pilasters and arch a Bardi, called Donatello (1383-1466). ee Height 30 inc its oilers is to be found in the Berlin Mancase In tha’ Dr. Bode’s direction, if Frida Schottmuller and published in there illustrated as No. 44. No. 785—COLORED STUCCO BAS-RELIEF BY DONATELLO ‘ 786—FLorENTINE gees ts teen ad BY Doxarexto. se CENTURY a4 Od Rectangular shape. Modeled with the figure ‘of. ne he: ce robe holding, with both hands, the draped Child. C Ee and over him, her head seen in profile. In tabernacle fi wood with pointed pediment, fluted and astragalled : and molded base. Modeled by Donato di Nicos ~ Donatello Wace gy a 3 ago. NATELLO RELIEF BY DO No, 786—TERRA-COTTA BAS- g200 787—FLoRENTINE CoLorep PAprer-MACHE BaAs-RELIEF BY DONATELLO. Fir- TEENTH CENTURY Rectangular shape. Modeled with the famous “Casa de’ Pazzi” Madonna, a half-length figure of the Virgin standing, in a blue mantle with white hood, her face seen in profile bending over and pressing her face close to that of the Child Christ, whom she tenderly holds with both hands. In an old tabernacle frame of carved, painted and gilt wood, with molded and carved pointed pediment, pilasters with arabesque carved shafts and apron flanked by the carved consoles. Modeled by Donato di Niccold di Betto Bardi, called Donatello (1383-1466). Height, 48 inches; width, 331, inches. From the old Stefano Bardini Collection, sold, in Florence, many years ago. Note: Illustrated in “Florentine Sculptors of the Renaissance” by Wilhelm Bode, London, 1908, in which Bode says: “The earliest authenticated Madonna by Donatello I take to be the marble relief in the Berlin Museum—the Pazzi Madonna. The broadly conceived modeling of the figure in the Pazzi relief, the strong, simple fold of the heavy mantle, as also certain faults of foreshortening in the left hand, lead one to place the production of this manifestly authentic masterpiece in the early twenties.” In the catalogue prepared, under Dr. Bode’s direction, by Frida Schottmuller and published in Berlin in 1913, it is there illustrated as No. 30. No. 787—THE CASA DE’ PAZZI MADONNA COLORED PAPIER-MACHE BAS-RELIEF BY DONATELLO $00 Satie Pope ye TA aie? LT aS SE ET a OE Sen x Se a ae ana rn natirmeseeeet ~~ sabbiarntitn Lames 1. ae sdesinillicamreh aint sacealienae an easateiee GO $ — = yo arts eee. i bes Pee as scl ee ee ray ee: : Pw F 4 ie haat ° jf 788—WoopEN FLORENTINE OFFERTORY-SHRINE WITH Srucco BAs-RELIEF OF vue Firereentn Century py Donate.io (1383-1466) Rectangular shrine with molded cornice, and plain frieze supported by Doric pilasters having above scrolled escutcheons charged with the arms of the Medici family in relief, round-arched opening with two hinged doors with inner faces semés with gold stars and molded base. Below is a slot for the insertion of offerings and a removable drawer. Tablet modeled, in low relief, with the half-length figure of the Virgin in red robe and white hood. With raised folded hands she adores the Child Christ, in swaddling clothes, who reclines in front of her. Height, 27, inches; width, 23 inches. Note: This little bas-relief by Donato de’ Bardi, better known as Donatello, bears a striking resemblance to the well-known group by him which forms one of the chief treasures of the Victoria and Albert Museum, London. It may be noted that the arms of the Medici family, here appearing, are those of the elder Cosimo and belong to a date prior to the assumption by the Medici of the title of Grand Dukes of Florence. 789—FLorRENTINE CoLorEeD Stucco Bas-RELIEF. By BENEDETTO DA MAarANo. FirTrEENTH CENTURY Rectangular shape. In two portions, the upper modeled with a stand- ing half-length figure of the Virgin in a red robe and blue mantle, exhib- iting the undraped Child Christ, who lies in her arms, to a child St. John the Baptist, who stands looking upward. In the angles are cheru- bim. In painted and gilt tabernacle frame, with molded cornice, frieze, plinth and pilasters enriched with arabesques in gilt pastiglia on a blue ground. Modeled by Benedetto da Maiano. | Height, 43 inches; width, 30 inches. From the Stefano Bardini Collection, sold, in Florence, many years ago. Note: This stucco closely resembles da Maiano’s marble bas-relief in the collec- tion of the Duc de Montpensier. An exactly similar example to this bas-relief, differing only in the details of its coloring, is to be found in the Berlin Museum. In the catalogue prepared, under Dr. Bode’s direction, by Frida Schottmuller and published in Berlin in 1918, it is there illustrated as No. 208. 790—FLoRENTINE Guazep Trerra-coTtra ALTO-RELIEF OF THE SIXTEENTH Century By GIOVANNI DELLA Rossa (1469—1527(?)) Half-length figure of Moses, with curling brown beard and hair and green mantle, holding the Tablet of the Law. Glazed and colored naturalistically. « Height, 254, inches; width, 17 inches. 00 791—F LorENTINE Paprer-MAcHE Bust anp Woopen REwiQquary OF THE SIx- 4} TEENTH CENTURY Bust portrait of St. Antonino, Archbishop of Florence, shown in his Dominican robe of black, with a white border decorated with crosses. On an octagonal, molded and painted wooden pedestal, arranged as a reliquary with glazed panels for the reception of relics in front and sides. Height, 20 inches; width, 21 inches. \ KnhyVU 792—Pair or FLORENTINE GLAZED Terra-corraA Portrratr MEDALLIONS OF THE SIXTEENTH CENTURY BY GIOVANNI DELLA Rospaia (1469-1527(?)) Circular shape. Concave medallions painted, in white reserve and out- lined with sepia, on a blue background, with the heads of Roman war- riors wearing helmets. ‘The frames are of glazed terra-cotta modeled with fruits, flowers, leaves and pine-cones and glazed in naturalistic colors. Diameter, 29 inches. Note: From the collection of Raoul Heilbronner, of Paris. (Illustrated) 793—FLorRENTINE CoLorED Stucco Bas-rewer Tonpo By BENEDETTO DA Marano. FirreentruH Crenrury Circular shape. Modeled with a seated half-figure of the Virgin in blue mantle and white hood, with her left hand resting on the wrists of the undraped Child Christ, who sits in her lap and is supported with her right hand. Surrounded by a frame modeled with a banded wreath of fruits and leaves. Modeled by Benedetto da Maiano. . Diameter, 2714, inches. Note: An exactly similar example to this bas-relief, differing only in the details of its coloring, is to be found in the Berlin Museum, In the catalogue prepared, under Dr. Bode’s direction, by Frida Schottmuller and published in Berlin in 1918, it is there illustrated as No. 207. (Illustrated ) 792 794—FLORENTINE GLAZED TerrA-cottA Bust ny GIOVANNI DELLA Roppsia (1469-1527(?)) Bust of our Saviour, with head in unglazed terra-cotta and body with robe glazed in colors. The head, with curling forked beard and mustache and long curling hair, is inclined forward and downward, and the robe has an open neck with a band of linen embroidery. Over the left shoulder is thrown a mantle. Modeled by Giovanni della Robbia (six- teenth century). Height. 22 tach eight, 22 inches. Note: This bust, known to students as the “Marquis Viviani della Robbia,” has been often illustrated, twice by the late Marcel Reymond in his books, “Florentine Sculpture” and “The Della Robbias.” It is the last work of the family that remained in the possession of their descendants, from the present owner. This important example is evidence that Giovanni della Robbia, during his lifetime, modeled his style on pictures or sculptures by the great masters of the immediate past, such as Botticelli, Ghirlandaio, Pinturicchio, Luca della Robbia, Verrocchio and Rossellino. In the present instance his work shows the impression made on him by the paintings and sculptures of Verrocchio. Professor Allan Marquand of Princeton, leading authority on Della Robbias, says that the bust of Christ from the Viviani della Robbia Collection appears to him correctly attributed to Giovanni della Robbia, who was undoubtedly influenced by Verrocchio. It is, he thinks, to be assigned to the early years of the sixteenth century, perhaps as late as Giovanni della Robbia’s statue of St. John the Baptist at Galatrona (1518) and earlier than the bust of Christ at the Certosa (1522). No, 794—GLAZED TERRA-COTTA BUST BY GIOVANNI DELLA ROBBIA Or —FLorENTINE GuLAzeD TerrA-corraA MApONNA AND CHILD OF THE Fir- TEENTH CrnTURY By ANDREA DELLA Rossa (1437-1528) Round-arched tablet enclosed in a frame of egg-and-dart pattern and with an ogee-shaped apron outlined by acanthus-leaf rinceaux which enclose four-winged cherubim. The tablet shows the figure of the Virgin modeled in high relief and kneeling, with her head inclined forward, in front of the Child Christ with an expression of ineffable adoration upon her face. Her Son reclines at full length upon a bed of foliage in the left-hand corner. Above is seen the Holy Father among clouds and surrounded by Cherubim. Glazed in white, heightened with gilding and with a blue background. The bed of foliage on which the Child Christ reclines is glazed in green. Height, 89 inches; width, 21 inches. Note: Professor Allan Marquand of Princeton, the acknowledged authority on the ~ works of the della Robbias, concerning which he has written important volumes, says this bas-relief is a variant of Andrea della Robbia’s famous altar-piece at La Verna and came from Andrea himself. ~ s Ae. LOMOOrOrOrOTO TOO ie) ve ~ No, 795—GLAZED TERRA-COTTA MADONNA AND CHILD BY ANDREA DELLA ROBBIA 796—FLOoRENTINE CoLoRED Stucco BaAs-RELWIEF BY RossELLINO. FIFTEENTH CENTURY Rectangular shape. Modeled with the three-quarter-length figure of the Virgin seated, in a red robe with a white hood, holding on her lap and supporting with her left hand the Child Christ, dressed in a tunie and holding a bird in His hands. In the background, in low relief, are two vase-shaped candlesticks supporting a festoon of leaves. In old carved, painted and gilt wood tabernacle frame, with pointed, molded pediment, pilasters with fluted and carved shafts, paneled plinth and molded base. Modeled by Antonio Rossellino (1427-1490). Height, 50 inches; width, 35 inches. From the old Stefano Bardini Collection, sold, in Florence, many years ago. Note: Though once attributed to Rossellino, this bas-relief, “The Madonna with the Candlesticks,” is believed by leading experts to be the masterpiece of the anony- mous “Master of the Marble Madonnas,” An exactly similar example to this bas- relief, differing only in the details of its coloring, is to be found in the Berlin Museum. In the catalogue prepared, under Dr. Bode’s direction, by Frida Schottmuller and published in Berlin in 1913, it is there illustrated as No. 156. No, 796—COLORED STUCCO BAS-RELIEF BY ROSSELLINO 797— FLORENTINE Co1orep Srucco Bi eet BY Sa Carrenta Prniicrint.” Firreen ti Cent J Modeled with the seated full-length figure of the robe and blue mantle, holding on op rig seated Child Christ. Both figures have g frame with pointed crocketed Gothic arch, pilasters, a lint and molded bas No. 797—COLORED STUCCO BAS-RELIEF BY THE “MAESTRO DELLA CAPPELLA PELLIGRINI” Ds RE a a 798—Apruzzt Mareie Bas-RELIEF By SILVESTRO DALL’ AquiLaA. FIrTEENTH CENTURY Rectangular shape, of yellow Istrian marble. Modeled with the standing figure of the Virgin, in a loose robe, supporting with her right hand the standing figure of the undraped Child Christ, who raises his right hand in the act of benediction. In old painted and gilded wood tabernacle frame, with molded, dentelled cornice, marbled frieze and plinth and columnar pilasters with fluted and astragalled shafts and Corinthian capitals. Modeled by Silvestro dall’ Aquila (15th century). Height, 4 feet % inch; width, 3 feet 5 inches. “he os Me ed \y00 799—F Lorentine Cotorep Terra-corra Bas-reLier py FRaNcESco DI SIMONE Ferruccio. Lare Frereenru Crenrury Irregular shape. Modeled with the three-quarter-length figure of the Virgin, seated and wearing a red robe. On her lap reclines the undraped Child Christ, whom she supports with her right hand. In old rectangular painted wood tabernacle with bracketed canopy, carved and modillioned cornice, painted background and shelf beneath. Modeled by Francesco di Simone Ferruccio (circa 1480). Height, about 28 inches. Note: This is an exact model of the marble, by the same artist, crowning the tomb of the lawyer Alessandro Tartagni in the Church of San Domenico at Bologna. \g0° CENTURY a Rectangular shape. Modeled with a sabigd af a Pi! length figure of the dead Christ with stigmata on two youthful angels in sarcophagus carved with f frame flanked by fluted pilasters. Modeled by” (1430-1492). ; Note: Bellano of Padua (a Florentine born) was a ea collaborator with Donatello, many of the works formerly a recently been recognized as being by Bellano, It is difficult works of the two masters. The angels, for instance, in the the work of Donatello himself. Signor Tolentino’s attribution is confirmed by the opinion of directors of Italian mu Professor Perkins, the great critie and collector now resident. nF P. Toesca, the author of an authoritative work on ents Giacomo de Nicola of the National Museum of Florence. “The ty their views in writing. at VAOdVd VO ONVTIAD AD AAITHU-SVd AIAUVW—008 “ON PAINTINGS OF THE FIFTEENTH, SIXTEENTH, SEVENTEENTH AND EIGHTEENTH CENTURIES 801—FIFTEENTH CENTURY CHINESE PAINTING Porrrarr of a lady in flowered robes standing on a tiled baleony and holding in both hands a vessel covered with a knotted eloth. In melded wooden frame. 625 MARCO DA FORLI OR PALMEZZANO (1456-1537) 802—A PIETA (Panel ) Height (of picture), 9% inches; width, 71, inches Unprarvep half-figure of Christ, with wounds in side and hands, standing erect in a stone sarcophagus and holding up His hands. Behind Him stand the Virgin, in a red robe and blue mantle, her mouth open as though making lamentation, and an angel, in yellow tunic and red skirt, holding a crown of thorns above the Christ’s head. Landscape background with a hill and three crosses. Blue sky. In original tabernacolo frame with flat arch having the spandrels carved with leaves, supported on detached fluted Doric columns standing on acanthus-leaf brackets. Plinth decorated with quatrefoil panels. Painted and gilt. From the collection of Mr. Boismen, of Nantes. FLEMISH SCHOOL OF THE FIFTEENTH CENTURY 803—PORTABLE TRIPTYCH (Panel) Height, 5% inches; width, 8 inches Center panel with round-arched top, painted with an “Adoration.” In the center the Virgin, in a blue robe, and St. Joseph, in a red tunic, are kneeling in front of the undraped Child Christ, who reclines at full length on the ground in front of them. Behind is a shepherd bearing a lamb on his shoulders ; to the left is another shepherd with a staff. Architectural and rocky back- ground and landscape in the distance. The hinged wings on either side are inscribed, in gold, on brown backgrounds, with quotations in Latin from the Vulgate version of the 2nd Chapter of St. Luke. MAZZOLINO DA FERRARA (1481-15380) 804—THE ANNUNCIATION (Panel) Height, 15 inches; width, 11 inches Tur interior of a room with an arched ceiling. The Virgin, in a red bodice and blue skirt, is standing on the left near a carved wood prie-Dieu on which is placed a book. At the right the Angel Gabriel with purple wings, in a purple garment with green scarf, extends his left hand toward her. At the back is a four-post bed with turned wooden posts, green curtains and tester, while above is a Spiritus Sanctus dove with outstretched wings surrounded by rays of gold. In old tabernacolo frame with molded cornice, frieze and plinth, decorated, in relief, with panels of masks and scrolls, turned and carved baluster-shaped pilasters with vase-shaped bases carved with acanthus leaves on modillion-shaped brackets. Molded base. Painted and gilt. Note: Mazzolino da Ferrara was a pupil of Lorenzo Costa. (Illustrated ) li Scouerenepar _ FRANCESCUCCIO. GHISI FourtTEENTH Cexreny Bonocxxse So 805—VIRGIN AND CHILD en frame. aes z Setting aN» ERS RE SLE ef MEO DA SIENA (1435-1495) FIFTEENTH CEentTuRY Tuscan ScHoou 806—TRIPTYCH (Panel) Height, 21% inches; width, 161% inches CENTER wing with pointed, crocketed arch top painted with a Virgin, in blue robe and hood, seated, with the draped Child Christ seated and encircled by her left arm. He holds in one hand an inscribed label. Above is God the Father. with the right hand raised in the act of benediction. All figures have inscribed halos. Side wings painted with the figures of two saints, one with staff and bell, the other with a book, while above are half-figures of female saints, all with halos. Gold-dotted backgrounds. i apa eng hoe - Pe Ee aes 6 : ss = a * Sate omer ee v0 chick hawt SIENESE SCHOOL =<) je FirreentH Century — tts 807—VIRGIN, CHILD AND. SAINTS | (Panel) Height, 27 inches ‘width, ig Ix the center the Virgin, in red pe and dark ieee, porte, the standing Child Christ i in.a white robe, and Cherub. Gold hackieennts tes pated and « } Re wo re a arch, having acanthus-leaf OS spirally” twisted - plinth. z SPINELLO ARETINO (1332-1410) FourtTeEENTH CEentTURY FLORENTINE ScHOOL 808—THE CRUCIFIXION Height, 26 inches; width, 16 inches In the center is the figure of Christ on the Cross, with six flying angels, of whom three receive, in cups, the blood from the wounds in His hands and side. Embracing the foot of the cross is St. John, while on his left the Virgin swoons in an attitude of grief, supported by one of the Holy Women. On the other side stands a Roman soldier, lifting a sponge of hyssop on a reed, and a Jewish high-priest with a sword. In the background, on the left, are Roman cen- turions with an “S. P. Q. R.” banner, and on the left a group of Jews with spears. Gold background. In fifteenth century carved and gilt wood taber- nacle frame, with carved and dentelled cornice, carved frieze and pilasters and inner round arch with carved pilasters and leaves in the spandrels. Plinth carved with honeysuckles, masks and shield-shaped escutcheons. Note: Spinello Aretino, or Luca Spinelli, was perhaps the greatest pupil of Ambrogio Lorenzetti. Among his other works are the frescoes on the walls of the Campo Santo, Pisa. Practically all of these are his work, with the exception of “The Assumption” by Lippo Memmi. — ee” x5 Ft 4 . | 4,00 MICHELE GIAMBONO (MICHELE GIOVANNI BONI) (Harty FirreenrH Century) 809—MADONNA AND CHILD (Panel) Height, 22 inches; width, 131% inches RecrancuLar shape, with round-arched top. In the center sits the Virgin, in a richly embroidered blue mantle, holding on her lap the partially draped Child Christ and supporting with one hand His head. He looks upward to His mother and grasps with His left hand the border of her mantle. Above, two angels hold a crown over the Virgin’s head, and below kneel two other angels with folded hands. Incised gold background. In carved and gilt wood tabernacle frame of the period. From the Wilkins, of Florence, and the Gabriele @ Annunzio Collections. Note: This picture was formerly in the Capponcina Villa of the great soldier-poet Gabriele d’Annunzio, Commander-in-chief of the volunteers in “Fiume d’Italia.’” He mentions it in his books, for it hung in his bedroom and he cherished a strong predilection for it. On the back is an old printed label stating that under Ferdinand II, King of the Two Sicilies, it was catalogued as by Andrea Verrocchio. }350 $10—-MADONNA AND CHILD, WITH per | (Panel) eee Reerancunar shape, painted with a full-length robe and blue mantle and Dente sme on a while telor Rene saints, one with a aes brimmed hat. Gold background, incised around and halo. In old carved and gilt wood taber eted-arch pediment, the tympanum painted with a Father. Crocketed pilasters with Gothic paneled and pediment carved with Gothic tracery. Frame with a date. F 2Ac ene —GLACOMO-RATBOEINT (1484-1557) 811—VIRGIN, CHILD AND ST. JOHN THE BAPTIST Height, 24 inches; width, 191% inches SeAvTED figure of the Virgin, looking downward. She wears a red robe with pearl and jewel studded neckband, a blue mantle forming a hood, and a pearl fillet. On her left knee is seated the undraped Child Christ, turning His face upward toward His Mother. On the left stands a youthful St. John the Baptist, in a robe knotted on the right shoulder and holding a staff terminating in a cross and bearing a label inscribed: “ecce AcNus DEL.” In the background is a rocky landscape with a river, and in the distance are the towers and spires of a town. Note: Giacomo Raibolini was the elder son of Francesco Raibolini, known as Francia. He studied under his father, upon whose works his style is based. 84> ( Lune " Rent) < . MELANZIO IL VECCHIO «| (Lare Firreenru Century) ys ya 812—-A DEPOSITION ( Panel Pccbiige ls to relents a? 21 Hite oii 16 inches bodice and red skirt. i front of the aay bears one of t green and red, and on the other side another in a green rol Behind stand two bearded noblemen, one in a red robe, Bese holding the nails 1 in one hand, the other i ina ar robes old anided gilt wood frame. From the Delaroff Collection, of ae Note: Berenson says of this picture that it was painted by a Gozzoli, probably Melanzio il Vecchio. eile A gi, Mar Hv? JACOPO SELLATO ce Cesroms) a 813—VIRGIN IN ADORATION. AND SAINTS (Panel) de eight, 27 inches; eiaitea we inches S saints including St. Peter ae Mary May laler landscape with buildings and figures. In carved, nacolo frame with molded and dentelled cornice, frieze and honeysuckles supported on two fluted and astragalle Molded base and plinth ineorDes “AVE MARIS STELLA oe mee -” ~ i aT Ie TR as, ety att Mes Gm ee: oy OG Ey GO at Mt Ri, Fo i ae SP , Eg EE pe 5 Gee ary LE OE IO ay CEI pee BD Se iy AE «a yp att, a ae Sapte sgetn: atininnnslcaneetin see » i F f ny URE n%0 VENETO-BYZANTINE SCHOOL THIRTEENTH CENTURY 814—MADONNA AND CHILD Height, 36 inches; width, 23% inches. Recrancutar shape with central panel, showing a half-length figure of the Virgin with gash in her cheek, supporting the seated, draped figure of the Child Christ holding an open book in His left hand. Both figures have gilt halos, in the angles being Greek initials and below three panels of inscription in Greek characters. This central panel is surrounded on three sides by eleven rectangular panels showing scenes in the life of St. Mark, with buildings which represent the architecture of the period. Below is a long panel showing St. Mark in the harbor of Corfu blessing the Venetian fleet, which is engaged in a naval battle with the Turkish fleet. PIER FRANCESCO FIORENTINO (Late 15rH Century) 815—MADONNA AND CHILD Height, 25 inches; width, 14 inches SeaTeD figure of the Virgin, in a red robe and blue mantle, forming a hood and closed at the neck with a pearl medallion. Her head is inclined to the left and she gazes downward at the Child Christ, who, clothed in a tunic and with fair hair, rests on her lap. In His right hand He holds a bird. Both figures have gilt halos, that of the Virgin being incised with radiating lines and dotted borders, that of the Christ being painted with a Maltese cross in red, and bordered with raised beads. The background, probably repainted at a later date, is green. In old tabernacolo frame, with a round arch and carved at the apex and sides with shells and volutes, molded apron and plinth inscribed “MARIA GRATIA PLENA D.” painted red and gilt. From the Charles Butler Collection, London. MO ag Moy lau > Note: According to the celebrated American writer on art, Berenson, Pier Francesco Fiorentino is known to have been active during the last three decades of the fifteenth century. He was a pupil of Fra Angelico or Benozzo Gozzoli, and was influenced by Neri di Bicci. His pictures resemble those of Fra Filippo and Pesellino, 300 BERNARDINO FUNGAL (1460-1516) 816—VIRGIN IN ADORATION AND ST. JOHN THE BAPTIST (Panel ) Height, 37 inches; width, 20 inches FuLt-LENGTH figure of the Virgin in red robe, blue mantle and cambric hood, in an interior, kneeling with folded hands in adoration of the Child Christ, who lies undraped in front of her, His head supported on a bolster. Leaning over Him, also in an attitude of adoration, is the infant St. John the Baptist, with his camel’s skin robe and a staff with cross and label inscribed ‘“‘eccE acnus.” In the background is an open window through which is seen a landscape with a lake and trees. In round-arched tabernacolo frame of carved, painted and gilt wood, with fan-shaped cresting and side brackets and gilded with a pattern of honeysuckle scrolls. Molded base and plinth inscribed “ave GRATIA PLENA.” NORTH ITALIAN SCHOOL OF THE SIXTEENTH CENTURY 817—AN ADORATION (Panel) Height (of picture), 25 inches; width, 21 inches In the center the Virgin, in a red robe with a dark mantle, kneels in adoration of the Child Christ, who reclines, undraped, on a pillow covered by a fold of His Mother’s mantle. On the left St. Joseph, shown as a bearded man of middle age, leans out of a window with hands crossed. On the right, under a pent roof, two cows are feeding out of a manger filled with hay, and three youthful angels are singing out of an open book held by two of them. In the background two Shepherds, one with bag-pipes, the other with a staff, are watching over a flock of sheep. In the distance is a hill crowned with a castle and on the right a hill with trees. Above is an angel in a red robe holding a label inscribed “‘“aNNUNCIO VOBIS CUM DIVIA NaTIvA.” Greenish blue sky. In old tabernacolo frame with molded cornice, plain frieze, paneled pilasters, and plinth painted with scrolled leaves and three circular medallions of angels. Molded base. VENETO-BYZANTINE SCHOOL FourtrEENTH CEnTURY 818—MADONNA AND CHILD (Panel) Height, 33% inches; width, 27 inches. Recrancuxar shape. Painted with a three-quarter-length figure of the Virgin in red robe semé with stars, blue mantle and fringed hood, supporting with her left hand the draped Child Christ, who raises His right hand in the act of benediction and holds a scroll in His left. Both figures have incised scrolled halos while above are circular medallions with Greek initials. Gold back- ground. BELLINI SCHOOL OF THE FIFTEENTH CENTURY 819—-MADONNA AND CHILD (Tondo: Panel) Diameter, 3514 inches Circunar shape. Half-figure of the Virgin in a red robe embroidered with a gold band at the neck and a blue mantle, forming a hood, over a white cambric head-dress. She holds in her right hand a coral necklace which she shows to the undraped Christ Child, who is supported on her left arm. He sits with upturned face. On either side are two cherubim and clouds. Blue background. In circular molded frame painted, with a band of pointed-leaf scrolls, in gold on a dark ground. PIETRO CAVALLINI (1l4ru Crenrury, prep circa 1384) FLorentINE SCHOOL oF THE FouRTEENTH CENTURY 820—A DEPOSITION In the center is the dead body of Christ, shown at full length and supported and surrounded by a group of Disciples, Joseph of Arimathea and Holy Women. Landscape background and on the left an open sarcophagus. In molded wooden frame with stepped top. (Illustrated ) PAOLO UCCELLO (1807-1475) FLORENTINE ScHOOL 821—FRONT OF A SMALL CASSONE Height, 16 inches; width, 271% inches. In the center are the figures of an old man and a youth, both in full suits of golden armor, with clasped hands, on which rest the hands of a young woman dressed in black embroidered with gold and surrounded by her maidens in various costumes. On the left a youth, in red tunic and gold mantle, sits on horseback. On the right a companion of the youth, in gold armor, stands behind him; an old man, in red tunic and dark blue jerkin and _ tights, holds a white horse, while a Knight, in gold armor with a red cape, sits astride a brown horse. Behind him a crowd of soldiers in gold armor are holding lances, and behind them rise the turrets of a castle. Background of rocks, trees and a river and a foreground of a meadow dotted with flowers. In molded gilt wood frame. From the Bois de Versailles and Roybet Collections, Paris. (Illustrated ) 168 “MASTER OF THE BATTLE OF ANGHIARI” (Circa 1440) Earzuy Frereentu Century FiorentinE SCHOOL 822—CASSONE PAINTING: “A TRIUMPH OF A ‘CASA DE? PAZZI KNIGHT” Height, 1814 inches; width, 51% inches Entrance into Florence of a Knight of the “Casa de’ Pazzi,” a leading Floren- tine family, who for generations opposed the Medici family. In advance are attendants on horseback, blowing long trumpets, followed by a herald in full armor, with the arms of the Casa de’ Pazzi family on his tabard. Behind him are two youthful knights on horseback, one of them holding an umbrella-like canopy; behind these again rides, on a triumphal car drawn by white horses, the Knight seated, wearing armor and a peaked cap, and holding a commander’s baton. At the rear are soldiers with lances, one on a horse with a panoply embroidered with Florentine lilies. Behind are attendants holding aloft ewers and dishes as gifts to the city of Florence. On the right are the machicolated turrets of Florence, on the left a gabled building and, in the distance, a mountainous landscape. From the Marcuard Collection, Florence. Note: With this picture is sold a Florentine gilt and painted wood cassone, of later date, the front being paneled with this picture. Molded hinged lid, scrolled pilastered angles. Molded gadrooned base and paw feet. Decorated with leaf medallions on a quatrefoil diapered ground, with border of geometrical design, ‘The sides are paneled with painted portraits. Height, 3 feet, 8 inches; length, 7 feet; width, 2 feet 614, inches. (Illustrated ) FRANCESCO PESELLINO (1422-1457) Tuscan ScHoou or THE Earzty FirrerentH CENTURY 823—CASSONE PICTURE Height, 161% inches; width, 53 inches. In the center, under a canopy, is seated a figure clothed in a dark robe with a hawk perched on one hand. In front of him stands a maiden with two attend- ants. On either side is a rocky landscape, with figures hunting and gathered round an open sarcophagus. Above and below are gilt bands of Florentine fleurs-de-lis and heraldic lions in pastiglia. From the Marcuard Collection, Florence. Note: Francesco Pesellino was a pupil of his grandfather Giuliano Pesello, and a fol- lower of Fra Angelico and Masaccio, but chiefly of Fra Lippo Lippi. With the picture is sold a Florentine gilt and painted wood cassone of later date, the front being paneled with Pesellino’s picture, the sides with two portraits painted on panels. Height, 3 feet 8 inches; length, 7 feet; width, 2 feet 41, inches. (Illustrated) . ne Si x ? 4 Sy + g Ast a av a baie “BOTTICINI (15rn deans MAM coat oe Cextery Frorentine Senoos ; ue mt ‘ Tae, + RecrancuLar ate with fetot ded’ oe oA i robe and blue mantle with gold-embroidered | bo r ler on a carved stone bench. She supports on her lap Christ, who poids one of as Mother’ s pea Bg ce EARLY FIFTEENTH CENTURY FLORENTINE SCHOOL 825—MADONNA AND CHILD (Panel) Height, 39 inches; width, 20 inches Recrancuxar panel with pointed-arch top. Painted with a central figure of the Virgin in red robe and blue mantle, seated, and encircling with her left arm the standing draped figure of the Child Christ. In front kneel two saints, one with long gray beard and staff, the other in monk’s robe holding a floriated cross. Behind are two standing saints, one holding a book, the other a drawn sword. All with halos. Gilt background. In tabernacle frame with pointed crocketed-arch top, spirally twisted columnar pilasters and “ave MARIA” inscribed plinth. MANNER OF LIPPO LIPPI (1457-1508) FourtTEENtTH Century FLORENTINE ScHOOL 827—“HOLY FAMILY” Diameter, 46 inches Crrcunar shape. Tondo, painted with a Holy Family. In the center is seated the Virgin with an expression of divine melancholy, dressed in a red robe and blue mantle. She holds with both hands, as though to prevent Him from fall- ing, the Child Christ, undraped save for a swaddling band. He leans forward to play with the cross held by the infant St. John the Baptist, who in a single camel’s hair garment stands below. At the back St. Joseph is seated reading, and at the left side two angels with folded hands are kneeling. All the figures have halos, that of the Christ being cruciform. Background, a mountainous landscape with buildings. In unusual gilt wood frame of the period, carved with fruits and flowers. PIER FRANCESCO FIORENTINO (151rH Century) 828—VIRGIN AND CHILD (Panel) Height, 511% inches; width, 361% inches THREE-QUARTER-LENGTH figure of the Virgin with folded hands, adoring the undraped Child Christ, who reclines in front of her. The Virgin wears a red robe brocaded with gold, with tight-fitting sleeves, a blue mantle embroidered on the left shoulder with a gold star, a cambric head-covering and gold neck- lace with a quatrefoiled pearl and ruby pendant. She has a gilded halo and rays. The Child Christ is supported on a fringed linen napkin by two youthful angels in white robes, one with a halo, the other with peacock feather wings. Behind the figures are on one side palm trees, on the other cypresses, while in the background are seen in a wooded landscape the towers of San Miniato. In carved, painted and gilt tabernacolo frame with molded cornice and frieze painted with scrolls supported by fluted Corinthian capitals. Molded base and apron and plinth painted with two escutcheons charged with coats-of-arms and inscribed “ave MARIA GRATIA.” : Note: Concerning Pier Francesco Fiorentino, see the note to No. 815 in this catalogue, This picture, undoubtedly a work of the master, differs greatly from many other pictures attributed to him. The influence, for instance, of Benozzo-Gozzoli is shown very clearly in its landscape background, while the general design and technique are in the manner of the earlier painters, itt Ga a ray ( a \N nando AMBROGIO L INZETTI (1300(?)— circa 1348) FourtTEENTH CENTURY FLORENTINE SCHOOL 829—TRIPTYCH (Panel) Height, 79 inches; width, 67 inches Center and wings with pointed Gothic arches and columnar pilasters with twisted shafts, plinths carved with Gothic tracery and shaped tops enclosing sunken trefoil medallions and surmounted by quatrefoil medallions, Center painted with a full-length figure of the Virgin, in red robe and blue mantle, seated on a marble throne and supporting the partially draped Child Christ, who sits on her left knee and reaches His right upward toward His Mother’s face. Wings painted with standing figures of saints, on the right St. John the Baptist, and on the left a local saint with the dagger of his martyrdom, All figures have halos. Gold background. Above the center in the trefoil medal- lion is a shield charged with the coat-of-arms of the Bigallo (a rooster, or “gallo”), on either side are scrolls, and in the medallions above, God the Father in the center, the angel Gabriel on the left side and the Madonna receiving the Annunciation on the right side. In original carved wood frame, regilt at later date, Note: This picture has a remarkable history. Painted by Lorenzetti for the Bigallo, the Foundling Hospital on the Piazza Duomo. When it came before the Government Board that its exportation might be justified, the direction of the Bargello recognized it at once as a picture stolen over one hundred years ago from the Bigallo, ‘This dictum was confirmed, but as the theft was outlawed by time its exportation was allowed and hence, from a private collection in Florence, it came into the hands of its present owner. ‘Though most experts are agreed it was painted by Lorenzetti, Professor Perkins attributes it to Mariotto da Nardo of Florence, and Seymour de Ricci to Daddi. The Bigallo, one of the oldest of Florentine institutions, was founded to care for abandoned orphans. Its collection of pictures is unrivaled, for nearly every great master, from Giotto onward, painted a votive offering for it. Lorenzetti appeared in Florence in 1822, where he practised medicine for some years. He was, says Vasari, “matricolate nell’ arte de’ medici e degli speziali.” (He was an adept in the art of medicine and its various branches.) His first picture was painted under the influence of Simone Martini, In 1835 he went to Siena to decorate the walls of the Della Scala Hospital. It may be noticed that this triptych closely resembles Lorenzetti’s Altar- piece now in the Siena Gallery, Venturi points out that Ambrogio was strongly influenced by his elder brother Pietro, and was even tinged with his faults, especially with his rendering of hands outstretched and with a disproportionate space between the fingers. Lorenzetti died in 1348, probably from the plague. OY VENETIAN SCHOOL Fourrerntu Century 8380—PAIR OF PANELS (Panel) Height, 50 inches; width, 2914, inches Joep together and painted on both sides. One side ae the ures of St. John the Baptist in a camel’s hair garment, scroll, and of St. Jerome in ecclesiastical robes, holding incised gilt halos. The other side, with a subject of an. in one panel the figure of the Virgin in a blue mantle with | the other the er Gabriel besa ¢ ee ides under the influence of the Silene eae in mosaic. Dey 5 mosaics of San Marco, Venice, and of Ravenna. amide WSF kei! ne ead ANDREA DI CIONE, cattep ORCAGNA (1808-1369) FourteEENtH CentuRY FLORENTINE SCHOOL 831—PAIR OF PAINTINGS OF GROUPS OF SAINTS (Panel) Height, 56 inches; width, 32 inches. Recrancuiar shape, with rounded upper corners. One has for central figure St. Ambrose, with long beard and loose robe, holding in his left hand an open book with inscription in Lombardic characters. Behind him and at one side stand three other saints, one at the side, St. Stephen, in Deacon’s robes, holding a book in one hand, a palm branch in the other; one, St. Sebastian, holding the arrows of his martyrdom; and one, St. Bernard, in his white monk’s robe, holding a palm branch. All four have gilt halos. One shows in front the full-length figures of St. Peter, holding a book and a key, and of St. John the Baptist with an inscribed scroll and a cross. Behind are two minor saints, one with a tonsure, the other with long hair. All four have gilt halos. Back- grounds gilded and showing a Gothic pendentive and the start of two arches. One panel has an inscription across the bottom in Lombardic characters giving the artist’s name. In carved and gilt frames of late date. Note: Andrea di Cione was a sculptor and architect as well as a painter. Between 1350 and 1357, in conjunction with his elder brother “Nardi,” he painted the frescoes in the Strozzi Chapel of the Church of Santa Maria Novella, Florence. A famous altarpiece by him is in the same chapel. J. F. SAYRE (1748-1823) Kigutrentu Century Eneuisn ScHoon 832—“FEEDING CHICKENS” (Canvas) Height, 1914 inches; width, 15% imches Pair. In one a woman, in English peasant costume, scatters grain to chickens from a dish in her hand, while a child stands by. On the left a man leans from an open doorway. In the background is a garden and a stone obelisk and, in the foreground, a well with a bucket and a rooster. In the other, a man with apron holds with both hands a basket of food, at his back in an open doorway stands a woman, while an old man with peaked nightcap looks out of a window. On the right is a child seated and holding a puppy, on the left are peacocks, and in the foreground a hen. Signed in lower right hand corner. Note: From the manner of its technique this picture was evidently painted by an engraver, Sayre was a noted artist in mezzotint. (Illustrated) EIGHTEENTH CENTURY VENETIAN SCHOOL 8383—THE SWEETHEARTS (Pastel) Height, 40\, inches; width, 81 inches Porrrair of a young man in a blue coat, striped vest and knee-breeches and cambric neckerchief, who has his 4rm around the waist of a young woman in a white dress with red and white plumes in her hair. Their faces are reflected in a mirror which the youth holds in his hand, and the maiden fondles a spaniel which rests its head on her knee. Landscape background, with a fountain and ruins, and blue sea with boats in distance. From the Zoubaloff Sale in Florence and old Simonetti Collection, Rome. \o0 pie. seen a Roman Pagan building with hee arch in the Bre while behind rise the towers of a Gothic Cathedral. one is seen a group of Christian Gothic Baildates wie a Pagan Temple i in the ae Both have ne m) of the seventeenth ae EL His works are noted for ‘their resembles that of the modern school. Fs tr JEAN FRANCOIS DE TROY (1679-1752) FreNcH ScuHoon oF THE EIGHTEENTH CENTURY 8385—--PORTRAIT OF A LADY (Canvas) Height, 40 inches; width, 29% inches SEATED figure of a lady in rose-colored bodice and skirt trimmed at opening of bodice and sleeves with lace. She wears pearl drop ear-rings, a flat straw hat trimmed with flowers and holds in her left hand a basket of flowers and in her right, her elbow resting on a stone pedestal, a black velvet mask. Tree with foliage on the left and blue background. In carved and gilt wood frame. FRENCH SCHOOL EIGHTEENTH CENTURY 8386—PORTRAIT OF AN ADMIRAL (Canvas) inh eight, 35 inches; width, 251% inches STANDING figure, with long curling hair, in black coat, tight trousers, and white neckerchief. Standing regarding the spectator, with folded arms and holding a wide-brimmed black hat. In the distance are a harbor and the fortresses of a French seaport. 837—“HOMAGE TO MOTHER” ~— (Canvas) Height, 76 inches; ete bhi hair and a red foe poniehed Pa os ce boy in a full-skirted coat of blue brocaded with tights, long boots and a medallion on a black | a group of flowers. In the foreground | is a ee I white Dark background. . From the old Simonetti Collection, Rome. A SIXTH AND LAST AFTERNOON’S SALE TUESDAY, APRIL 27, 1920 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.380 O'CLOCK CARVED WOOD OF THE FOURTEENTH, FIFTEENTH AND SIXTEENTH CENTURIES 838—VENETIAN Carvepd, PaInrED anp Giitr Woop STaTvuETTE OF THE SIXTEENTH CENTURY Kneeling figure of the Virgin in red robe and dark green mantle, both diapered in gold, and gold hood. Her hands are clasped as though in the act of prayer. On semi-octagonal base. Painted and gilt. Height, 91%, inches. 839—Tuscan Carvep, PaintEp anp Gitt Woop StTaTuErTTE OF THE FiIr- TEENTH CENTURY Half-length figure of the Virgin, in green robe with blue mantle and hood, having at her side the standing Child Christ, in red robe and blue mantle, His arm around His Mother’s neck. Painted and gilt. Height, 10 inches. 840—Parm or Iranian Carvep, Gir anp Patnrep CANDLE-HOLDERS OF THE Kivereentu Crenrury Kigures of kneeling angels with loose robes and upstretched wings, holding with both hands baluster-shaped standards with molded bases ending in iron candle prickets. On octagonal molded bases. Painted in colors and gilt, From the Wilkins Collection, Ilorence. (Illustrated) 841—Onp Keyrrian Carvep and Parntrrep Woop Priestess Figure of a mummified princess with feather head-dress, close-fitting cap and wig. Body painted with vertical panel of hieroglyphs. On ree- tangular pedestal, the sides painted with key pattern, ITeight, 25 inches, 842—Onp Eeyprian Carvep ann Parnren Woop Figure Figure of a mummified king with beard, close-fitting cap, wig and feather head-dress. Body painted with reticulations and a vertical panel of hieroglyphs. On rectangular pedestal with rectangular depression, Height, 83 inches, 843—Tuscan Carven Watnut Lectrern OF THE SIXTEENTH CENTURY Rectangular book-rest with pierced and carved scrolled cresting, molded cornice, voluted console brackets at side and shaped molded shelf, the center carved with a circular rayed medallion containing the Sacred Monogram (Crest of the Jesuits). Below is a carved and _ pierced scrolled bracket, a baluster-shaped stem carved with scrolls and rosettes and a rectangular molded pedestal. Height, 21 inches. (Illustrated) 843 840 844—Pair or Frorentine Carvep, Painrep anp Grrr WoopEN ANGELS OF THE FirrEENTH CENTURY Figures of kneeling angels with loose robes and upstretched wings hold- ing baluster-shaped candlesticks. On octagonal molded pedestals. Height, 231/, inches. From the Wilkins Collection, Florence. (Illustrated) 845—Fremish Carvep anv Pawwrep Woop Ficure or THE Firrernra CENTURY Full-length standing figure of St. Florian shown as knight in a suit of plate armor with gorget of chain mail, lapelled cap, red cloak and curling bushy hair. In one hand he holds the pail from which water issues in token of his miraculous extinguishment of a conflagration, while at his feet is the model of a building with a square campanile. On shaped base. Painted. Height, 27 inches, From the Galliegos Collection, Rome. (Illustrated) 846—Pair or FLorENTINE Carved, PAINTED AND Gitt Woop ANGELS OF THE FirreentH CENTURY Figures of kneeling angels, with loose robes and outstretched wings, holding with both hands carved columnar candlesticks with iron prickets. On octagonal molded pedestals. Height, 12 inches. Note: These are exactly similar to those sold in the Bardini Sale of 1918, No. 249. (Illustrated ) 847—Venetian Carvep, Painrep anp Git Woop StTaTuETTE or THE SIx- TEENTH CENTURY Standing figure of the Virgin, in red robe and blue mantle, patterned with scrollings in gold, holding on her left arm the undraped Child Christ, who holds in one hand an orb. On semi-octagonal molded base. Painted and gilt. Height, 144% inches. 8$48—Vewrrian Carveo anv Girt Waunur Brackrer By JACOpoO SANSOVINO. SEVENTEENTH CENTURY Shaped molded top, supported at the sides by two caryatid figures of women, one holding a sheaf of flowers. In the center is the figure of a bearded man with one arm akimbo. Base and pendant carved with scrolled acanthus leaves. Carving heightened with gilding. Modeled by Jacopo Sansovino. Height, 19 inches; width, 17 inches. (Illustrated) 849—Frencn Gornic Carveo Oax Buckrer or THE FourTEENTH CENTURY Rectangular shape. Carved, in high relief, with the seated figure of a chimera with human figure, claw feet, and grotesque head with open mouth. Height, 3 feet, 4 inches. 848 850—Pair or Fiemisn Carvep Oak Sratrvres oF THE SIXTEENTH CENTURY Standing figures of saints. One (St. Mary Magdalene) in loose robe holding a vase and cover, one a bearded man in tunic and cloak holding a drawn sword and a bag. Height, 36 inches. From the Wilkins Collection, Florence. 851—Pair or Fiemisu Carvep Oax Srarvures oF THE SIXTEENTH CENTURY Figures of saints. One crowned and holding a sword and open book with a prostrate figure of a king at her feet, one with drawn sword and open book. Height, 36 inches. From the Wilkins Collection, Florence. "rare fe 852-—Pair or Tuscan Carvep, PaInrep anp GILT Woon C or tHe Earty Firreenru Century ae heer Figures of kneeling angels with loose robes and cur with both hands, baluster-shaped acanthus-leaf carve From the Wilkins Collection, Florence. | (Illustrated) 853—Norru Tranian Carvepn Boxwoopv B CENTURY Rectangular shape, carved with a subj round-arched opening kneel the Virgin and by the hand the undraped Child Christ folded hands. On either side are angels, The voussoirs of the arch are carved wil landscape with a river, a bridge, a castle ground of flowers and leaves. Some of ae bronze. Note: This important bas-relief was ie by a ‘North influence of Luca della Robbia. (Illustrated) tf 68 854—Carvep, Paintep AnD Gitt Woop Bas-REeLier or THE | Century sy Guino Mazroni Full-length figure of the Virgin, with loose red oie and hood heightened with gilding. She is ee 2 of the Cross, with folded hands. From the old Simonetti Collection, Rome. (Illustrated) 855—Parr or Tuscan Carved AND Gat Woon Tore oe SIXTEENTH CenTURY at leaves and floral fotoone cheaan ee ite terminations, triangular leaf-carved bases with paw feet. (Illustrated) ggs PSs ggs FIT TIA Be 856—VENETIAN Carvep, Patnrep anp Gint Woop Bas-RELIEF OF THE LATE FirteentH CENTURY Figure of the Virgin in gold robes kneeling in adoration with the un- draped Child Christ lying below her at full length. Gilt background incised with a circular medallion diaper, and inner round arch supported by carved pilasters. In original tabernacle frame with arched pediment supported by fluted Corinthian columns, painted and gilt. Height, 2 feet 9, inches; width, 1 foot 9 inches, 857—VENETIAN Carveb, Girt AND Paintep Woop CANDLE-HOLDERS OF THE SIXTEENTH CENTURY Full-length figures of standing Angels in loose robes, with outstretched wings and outstretched arms, holding fluted cornucopie which terminate in candle-sockets. On octagonal molded base. Painted in natural colors and gilt. Height, 3 feet 134 inches. (Illustrated) 858—FLorEnTINE Painted AND GittT Woop StatTvuE oF THE FouRTEENTH CENTURY Votive-portrait of an owner of a castle as the Archangel Michael in a full suit of armor painted and gilt. His wings are outstretched and in his left hand he holds the painted model of the Castle with a Chapel within the walls, for which this figure was carved. Height, 534, inches. (Illustrated) 898 859-——Pisan Carvep AND Paryntep Woop Status or THE Earty FourtTEENTH CENTURY Full-length figure of the Virgin, crowned and in a red robe and blue mantle, seated with the Child Christ. His lower limbs wrapped in a fold of her mantle, seated on her right knee. In her left hand she holds the lower stem of a palm branch. Painted in distemper. Height, 41 inches. Note: This interesting example of the earliest school of Italian sculpture shows very plainly the Byzantine influence which was then dominant. ee Oy en ee 860—Norru Iranian Carvep, Painrep ann Giur Woop Stature or THE SIXTEENTH CENTURY Standing figure of Saint Catherine, with long flowing hair. She wears a red robe diapered with scrollings in gold, white sleeves patterned with medallions and scrolled in red and gold, red mantle patterned with scroll- ings in gold lined with green and edged with a beaded border in red and green, a necklace of gold links with circular pendants and a crown. She holds in her left hand the handle of a sword and extends her right in front of her. At her feet crouches a bearded figure representing the Emperor Maximin. On circular molded base. Height, 441, inches. Standing full-length portrait of a Foren ae oa ong with flowing veil. She is dressed in a blue robe. brocaded leaves and scrolls in gold with a dotted pattern an the waist with a shaped and tasseled girdle and around the neck, white gathered as sleeves pat red-tasseled mantle brocaded with medallions of fic gold. With her left hand she holds a fold of her m open right hand in front of her. On rectangular na and gilt. (Illustrated ) a ~ ae No. 861—FLORENTINE CARVED, PAINTED AND GILT WOOD STATUE OF THE SIXTEENTH CENTURY BY GAGGINI 862—F emis Waunvr Bas-revier or THE Firreenru Cex , ce % ‘ Rectangular shape, carved with a subject of center is the undraped figure of the dead Ch of Arimathea. In front are the Virgin kneelin hands, and St. John standing, while at the back star From the Galliegos Collection, Rome. Note: Seftor Galliegos was a Spanish painter whose \ country. 5 ens : oe a a Raat} Illustrated) a ne cf AYUVOINGO HINGALAA FHL JO AdVIAU-SVa LONIVM HSINWTA—Z98 ‘ON 863 Fiemisn Carvep ANp Painrep Oak Bas-RELIEF AND FRAME OF THE SIXTEENTH CENTURY Rectangular shape, carved with a subject of a “Deposition.” In the center is the prostrate body of the dead Christ supported by kneeling Holy Women with the Virgin in the center with clasped hands flanked by two standing figures. Background painted with scrolls and label. In tabernacle frame with molded broken cornice, frieze carved with cheru- bim and pilasters carved with arabesques. Molded broken base. Height, 42 inches; width, 39%, inches. From the Wilkins Collection, Florence. STUCCO, TERRA-COTTA, PAPIER-MACHE, OF THE FIFTEENTH AND SIXTEENTH CENTURIES 864—Tuscan PatntED aNd Gitt Srucco Bas-RELIEF OF THE FIFTEENTH CENTURY Rectangular-shaped tablet modeled with three-quarter-length standing figure of the Virgin, in red robe and dark green mantle and hood. She supports with both arms the standing undraped figure of the Child Christ, while two winged angels place a crown upon her head. In wooden tabernacolo frame with triangular pediment above, occupied by modeled figure of Christ rising from the Tomb. Height, 20 inches; width, 10% inches. 865—Umerian Stucco Bas-reuer or tHE Firreenrn Century Modeled with the figure of the Virgin in red robe and blue mantle, standing and supporting the undraped Child Christ, who leans against His Mother. Two Angels above are crowning the Virgin. In original tabernacle frame with pointed pediment, the tympanum modeled with a Pieta of Christ rising from the tomb. Height, 1 foot 81%, inches; width 11%, inches 866—VeENETIAN PapieR-MACHE AND Woop Bas-RELIEF OF THE FIFTEENTH CENTURY Round-arched papier-maché tablet modeled with kneeling figure of the Virgin, in robe and mantle, and with clasped hands adoring the Child Christ, who lies at full length on the fold of a mantle in front of her, with background of gold, lined and dotted in a diaper of circular rosetted medallions and enclosed in a molded, beaded and leaf-ornamented round- arched niche flanked by pilasters with shafts pierced and molded in a design of vases of flowers and leaves. T'abernacolo frame of wood, with molded and dentelled arched pediment, scrolled plinth and molded and carved cornice supported by fluted and astragalled composite pilasters on painted plinth, with remains of applied gilt carving on leaf-orna- mented base. Height, 33 inches; width, 21 inches. arm. In tabarmavolseee gee cat pai voluted and fan-shaped cresting and side scribed “AVE MARIA GRATIA P.” From the Ferroni Collection. tf No. 867—TUSCAN PAINTED PAPIER-MACHE BAS-RELIEF OF THE FIFTEENTH CENTURY a pip . ~~ — a =e “er . ee — 868—FLorRENTINE Stucco Bas-RELIEF OF THE SIXTEENTH CENTURY Rectangular tablet, modeled with the three-quarter-length seated figure of the Virgin, with red robe having light gathered sleeves and flowing ~ blue mantle and hood. She supports with both hands, on her left knee, # ee the undraped Child Christ and shelters Him with a fold of her mantle. ' In the upper left and right hand corners are winged cherubim in relief. In wooden frame. eT, Height, 221/, inches; width, 16 inches. oe . 869—FLorENTINE Guazep TerraA-coTta Bas-RELIEF FROM THE Dexia Rorsta Borrreea. SIXTEENTH CENTURY Without background. Modeled with the half-figure of the Virgin, in buttoned robe and hood, standing and holding with both hands the un- draped standing figure of the Child Christ, who raises His head to press His cheek against that of His Mother. In old molded wood tabernacle frame with molded cornice, paneled pilasters and plain plinth. Faces and body in unglazed terra-cotta, with hair and dresses glazed in colors. Height, 191/, inches; width, 1314, inches. From the Wilkins Collection, Florence. 870—VeneETIAN Coxnorep Paprer-MacHie Porrralr OF THE SIXTEENTH CENTURY Full-length figure of a Venetian patrician young woman seated upon a stone bench, with her head inclined to one side, reading. She wears a richly brocaded silk robe with a jeweled girdle and flowing sleeves, a close-fitting embroidered cap over her long hair. In one hand she holds an open book, while the other rests in her lap. 871—FLorENTINE PaprerR-MACHE STATUETTE OF THE FIFTEENTH CENTURY Seated figure of the Virgin in red robe diapered in gold, and blue mantle and hood. She holds on her left knee the undraped figure of the Child Christ with upraised hands. On molded, octagonal base, painted and inscribed in gold “eccr aANcILLA Domint.” Painted and gilt. Height, 19%, inches. 872—FLorenTINE Terra-cotta Bas-revier or THE Frrreenrn Century BY Lorenzo Guimerti (1381-1455) Half-length figure of the Virgin, with robe, mantle and hood, and head inclined to the left side, supporting with her right hand the Child Christ with curling hair, undraped save for a loose robe. Height of terra-cotta, 25 inches. Note: Ghiberti, who molded the famous panels for the door of the Baptistery of San Giovanni in Florence, has left so few undoubted productions that a piece such as this is of the utmost importance. S73—FLoRENTINE CoLoRED Wax Bas-RELIEF OF THE SIXTEENTH CENTURY Rectangular shape. Reproduction in colored wax of the picture by Raffaelli di Santo of the Sposalizio, or Marriage of the Virgin. In an elaborate frame modeled in wax with a border of twisted garlands on a black ground forming shuttle-shaped panels, occupied by portrait heads, in relief, of Italian painters of the fifteenth and sixteenth centuries. Height, 21 inches; width, 15 inches. Note: The Sposalizio was painted in 1504 for the Franciscans of the Citta del Castello and is now in the Brera Gallery of Milan. 874—FLoreNnTINE CoLorepD Stucco Bas-RELIEF BY NEROocCcIO D1 BARTOLOMEO Lanpi. FirreentH CENTURY Rectangular shape. Modeled with the three-quarter-length figure of the Virgin, seated, in a red robe, blue mantle and hood, supporting with both hands the undraped Child Christ, who bends forward clasping His hands. In old carved and gilt wood tabernacle frame, with molded dentelled cornice, plain frieze, two columnar pilasters with shafts en- twined with leaves and carved capitals, plain plinth and molded base. Modeled by Neroccio di Bartolomeo Landi (1427—1500). Height, 30 inches; width, 27 inches. (Illustrated) 875—Two SrexesE Terra-coTta Ficures oF THE FIFTEENTH CENTURY Standing figures of angels with loose robes, upturned faces and arms crossed over their breasts. Partly gilt. No. 874—STUCCO BY NEROCCIO DI BARTOLOMEO LANDI 876—FLORENTINE TERRA-coTTtA ALTO-RELIEF OF THE FIFTEENTH CENTURY By ONE oF THE Dexia Ropsra Famity Circular shape. Modeled with the kneeling figure of the Virgin with folded hands, long flowing hair, robe, mantle and hood, adoring the un- draped Child Christ, who reclines in front of her with hands and feet upraised, supported by a kneeling angel. Beaded border. Diameter, 22 inches. T7—FLORENTINE CoLoRED Stucco BAs-RELIEF OF THE SIXTEENTH CENTURY Rectangular shape. Modeled with the standing figure of the Virgin in a red robe and blue mantle supporting the Child Christ, who stretches His right arm across His Mother’s breast. Above are three cherubim. In old molded and gilt wood frame. Height, 47 inches; width, 17%, inches. (Illustrated) 878—-FLORENTINE Stucco BAs-REWIEF OF THE FirrEENtTH CENTURY BY Antonio Rossetiino (1427-1490) Rectangular tablet modeled, in low relief, with the three-quarter-length figure of the Virgin, in loose robe and hood, supporting with both hands the undraped standing Child Christ. He holds in his right hand a bird and raises His left in the act of benediction. Both Virgin and Child have halos. Background modeled with cloud forms with a four-winged cherub in the upper left-hand corner. Height, 42 inches; width, 25 inches. — 1% : ? tess 2 CONG gate = tei, age eS RNR tt no Naess Sa = ed ae TEENTH CENTURY x F THE SI EF O CO BAS-RELI 1 No. 877—STUC 879—Parr or VENETIAN Canven anv Parep Woop Does or TH CENTURY We 5 Seated figure of dogs with collars studded en bosses and as though baying, Painted. ss From the Dal Zotto Collection, Venice, Note: Professor Dal Zotto was an eminent Ey ened sculptor noted throughout Italy, Dr, Bode often refers to this co Italian art. These dogs, which are very amieaa, were used as (Hllustrated) 880—VENETIAN CARVED AND (Paryrep Woon 1 N CENTURY : Dae Ae Seated figure of an heraldic lion with cing Painted. From the Dal Zotto Collection, Venice. a 2: See Note: ‘This lion was used as a door en ‘ (Illustrated) PAINTINGS OF THE FOURTEENTH TO THE EIGHTEENTH CENTURY EARLY FIFTEENTH CENTURY VENETO-BYZANTINE SCHOOL 881— SAINT GEORGE ( Panel) Height, 14 inches; width, 11144 mches Sunsect of St. George of Cappadocia, in gold armor on a white horse, trans- fixing the dragon, who lies prostrate, with his spear. Landscape background and in the distance a castle. FIFTEENTH CENTURY NEAPOLITAN SCHOOL 882—-CHRIST AND THE APOSTLES (Panel) Height, 784 inches; width, 67 inches In the center is a half-length figure of Our Saviour, with red mantle, with right hand raised in benediction and sphere in left hand. On either side are half-length figures of the Twelve Apostles, with Saints Peter and Paul on either side of the central figure. Painted in colors and gold on gold background. SIENESE SCHOOL FourtrENtH CEenrury 883—VIRGIN ENTHRONED WITH SAINTS (Panel) Height, 171% inches; width, 814 inches In the center, the Virgin in red robe and green mantle and hood is seated on a throne supporting on her left knee the Child Christ in a red robe. On either side is the standing figure of a saint. All four figures have gold halos. Gold background. Molded, pointed arch with molded base and inscribed plinth. FLORENTINE SCHOOL FirrEENTH CENTURY 884—VIRGIN IN ADORATION (Panel) Height, 201% inches; width, 16 inches Tue Virgin, in red robe and dark mantle, with gold halo, kneels in adoration of the Child Christ, who reclines undraped in front of her. On the left is St. Joseph with a halo, and in the background a pent-roofed shed with two shep- herds, a manger, a cow and a donkey. Blue sky and foreground of grass and flowers. In molded wooden frame. (Illustrated) FLORENTINE SCHOOL SIXTEENTH CENTURY 885—HOLY FAMILY ( Panel) Height, 27 inches; width, 21 inches Har-Lencru figure of the Virgin seated, in red over robe, blue skirt, cambric hood and neckerchief, holding in her right hand a book and with the left sup- porting the standing undraped figure of the Child Christ, who raises His right hand in the act of benediction. Behind is St. Joseph, shown as a bearded man of middle age. Drapery background, with glimpse of a landscape seen on the right. UMBRIAN SCHOOL PeRIoD OF PINTURICCHIO 886—CRUCIFLXION ( Panel) Height, 29 inches; width, 20 inches In the center is the Cross, with the figure of Christ with purple loin cloth, crown of thorns, and blood flowing from His wounds. On either side the Virgin, in red robe and purple mantle, and St. John, in red mantle. At the foot kneels Mary Magdalene in red. Landscape background with sun and moon, shown with human faces in the angles. ic NI TNR OM LE 4 ro A “ oy ‘4 7 - FIFTEENTH CENTURY VENETIAN SCHOOL 887—MADONNA AND CHILD ( Panel) Height, 341% inches; width, 171% inches SEATED figure of the Virgin, in red robe and blue gold-bordered mantle, hold- ing on her lap the draped Child Christ, who rests one hand on His Mother’s breast as he suckles. Gold background, incised with a pointed rosetted arch with trefoil pendants. FIFTEENTH CENTURY SCHOOL 888—MADONNA AND SAINTS (Panel) Height, 311% inches; width, 22 inches StanpinG figure of the Virgin, in red robe and blue mantle lined with white, holding the standing figure of the Child Christ dressed in a red tunic. On the left is St. Peter in a yellow robe, holding the key of his office, and on the right St. Mark in a red robe with pen in one hand and book in the other. All the fig- ures have incised gilt halos. Gold background. In painted and gilt, pointed- arch frame, the arch molded and carved with scrolled leaf and voluted crockets, pilasters with paneled shafts and molded base. SCHOOL OF SIENA: FOURTEENTH CENTURY 889—-MADONNA AND CHILD, WITH ANGELS (Panel) Height, 45 inches; width, 191% inches Fur1-Lencrnu seated figure of the Virgin with fair hair, in red robe, and blue mantle semé with gold stars, holding on her right knee with both hands the Child Christ, in a reddish-colored tunic. Dado of a curtain diapered with a diamond-shaped pattern of birds with outstretched wings. Above, a back- ground of gold diapered with dotted scrolls and with two angels in blue robes holding a festoon of flowers above the head of the Virgin. In molded wood frame, with trefoil-arched top carved with Gothic tracery. PIETER NEEFS (1577-1661) FLEMISH SCHOOL OF THE SEVENTEENTH CENTURY 890—INTERIOR OF AN ANTWERP CHURCH (Copper) Height, 6 inches; width, 9 inches View of the center and side aisles of a church with vaulted roof and pointed- arched windows filled with plain glass. At intervals are altars and pulpits, while figures of saints are hung at the springings of the arches. The pavement is tessellated in black and white and there are numerous figures in seventeenth century costume. Signed, to the lower left, on the base of a column “P. Neefs.” In old pierced, carved and gilt wood frame. Note: Neefs was the pupil of Hendrik Van Steenwyck. ‘The figures in his pictures were painted by F. Francken, Teniers and Velvet Brueghel. EARLY SIXTEENTH CENTURY FRENCH SCHOOL 891— PORTRAIT OF A MAN (Panel) Height, 5 inches; width, 3°4 inches THREE-QUARTER-LENGTH portrait of a bearded middle-aged man. In a black robe with lace collar and cuffs. His hands are crossed in front of him, one turned upward and the other grasping a leather roll. In old molded and gilt wood frame. FLEMISH SCHOOL SEVENTEENTH CENTURY 892—STILL LIFE (Canvas) Height, 24 inches; width, 31 inches Brive and white Delft platter standing on a table and heaped with opened hard-boiled eggs and chestnuts. At the sides are artichokes and peaches, in front a flower and two dead birds and behind a basket of fruits and flowers, a glass vase of flowers and a glass decanter of wine. Dark background. SCHOOL OF CAVALIERE GIANPAOLO PANINI (1695—1764) Rome: EigHTEENTH CENTURY 893—PAIR OF VIEWS OF CLASSIC RUINS (Canvas) Height, 30 inches; width, 24% wmches One, a view of a ruined portico with fluted Ionic columns and fallen portion of a cornice and two seated figures in the foreground. In the middle distance is a group of figures. In the distance a rocky landscape with an arm of the sea, trees on the right. The other, a view of a ruined portico with Doric col- umns and a marble tablet in the center showing its brick core. In the fore- ground are three figures, one seated and, in the middle distance, a group of other figures. Landscape background with trees, a stream of water and buildings. In old carved, painted and gilt wood frames. FRANCIS WHEATLEY (1747—1801) ENGLISH SCHOOL OF THE EIGHTEENTH CENTURY 894—_LANDSCAPE WITH FIGURES (Canvas) Height, 29\% inches; width, 38°4 inches On the right a flight of stone steps leading into a wood, having at the foot a young man and woman, the former in a blue coat, red knee-breeches, white stockings and white steeple-crowned hat; the latter, with her hand on the youth’s arm, in a white dress and carrying a long walking stick in her right hand. On the left are a waterfall and a rocky landscape. From the old Simonetti Collection, Rome. (Illustrated) ot AT DPI eae Los Eli PES tas ou WOU se i 6 4 SPastacss Ci. Malt i dali bth ll birba add sahil? ARMIES sid) ah ad PhAT SD enh he a5 ecsaminonendnrenseiniiousendiie ; Aone CGD Pet: aot ‘ Aho ahi Fis ait all LOD leaned dt Ah, She AA fi Marie Wee Umi i a Eni m ie Pot ned tate sia SCHOOL OF GIAMPOLO PANINI (1695-1764) Rome: EicHTEENTtTH CENTURY 895—PAIR OF VIEWS OF CLASSIC RUINS (Canvas) Height, 30°4 imches; width, 251% inches One a view of a ruined portico with Doric columns and tablet in center showing brick core. In the foreground are three figures, one seated, and in the middle distance, a group of other figures. Landscape background with trees, a stream of water and buildings. The other, a view of a bay in a classic building with Doric columns, a round arch, two barred windows, and couchant animals on pedestals. In the foreground are two figures, in the middle distance others, Landscape background with stream of water, buildings and trees. EIGHTEENTH CENTURY FRENCH SCHOOL 896—MAKING LOVE (Canvas) Pair. Rectangular shape. In one a soldier in dragoon’s uniform, with white wig and tricorne hat, walks through a wheat-field twirling his mustache and looking down at a young woman with bouffant skirts who walks at his side hanging on his arm. In one the same soldier turns disdainfully away from the same young woman, who loops her arms around his neck and looks up imploringly. In eighteenth century Venetian glass frames with beveled sides decorated, in gold, with voluted acanthus leaves at the angles and scrolled figures with egg-shaped medallions at the side. (Illustrated) +} A ba Ke Ae ms ee Syke Bly Oe BIL Sas Et oem SR a) AE 2 Dee ee he a FRENCH SCHOOL OF THE SIXTEENTH CENTURY 897—-PORTRAIT OF M. GODRAN, PRESIDENT OF THE SOCIETY OF JESUS (Panel) _ Height, 45 inches; width, 20 inches THREE-QUARTER-LENGTH portrait of a young man with fair mustache and thin beard, wearing a flat velvet cap, a cambric ruff, white fur collar and red velvet coat lined with black. Over one shoulder is thrown a white fur mantle. He stands, resting his left hand on a circular table on which is a jewel casket mounted, in gold, with fleurs-de-lis, and a circular leather seal box. In his right hand he holds a folded paper. Above, in the upper right-hand corner, is a shield charged with a coat-of-arms supported by two roosters, surmounted by a helmet with a crest of a bird’s head and mantled with ermine. Below this is the inscription in Latin characters: “M. GODRAN, PRESIDENT FONDATEUR DES JESUITES EN 1581.” Gray background. In a contemporary carved, molded, painted and gilt wood frame with molded cornice supported by cylindrical detached pilasters with fluted and acanthus-leaf carved capitals and acanthus- leaf carved bases. (Illustrated) ENGLISH SCHOOL SEVENTEENTH CENTURY 898—PORTRAIT OF A MOTHER AND SON (Canvas) Height, 40% inches; width, 30 inches THREE-QUARTER-LENGTH Standing figure of a lady, in blue silk dress of the sev- enteenth century with silk ruffles at the neck and wrists and a band of brocaded silk ribbon. She wears a heart-shaped locket on a gold chain and a wide- brimmed Leghorn straw hat trimmed with feathers, plumes and flowers, while her right arm is around the body of a child seated on her right, dressed in a skeleton suit of white, holding aloft in one hand a rose and with the other extending a cluster of cherries to his mother who receives them in her left hand. Brownish yellow background. From the old Simonetti Collection, Rome. (Illustrated) FRANZ SANDERS (Otup Copy or) FLEMIsH SCHOOL OF THE SEVENTEENTH CENTURY 899—-THE BEAR HUNT Height, 35 inches; width, 52% inches Two bears, one standing erect, the other on all fours, are being attacked by a group of savage hounds. In the center a dog is lying in agony upon his back with his legs in the air. On the right, the bear on all fours is savagely biting at his assailants, while on the left the other bear stands, grasping one of the dogs in his front paws. Rocky landscape with trees and a cloudy sky. Note: Very fine copy, made in early eighteenth century. ARCHAIC GREEK, ROMAN, EGYPTIAN, ITALIAN AND OTHER MARBLES 900—ArcHaic GreEK Marsie Heap or THe Firtnx Cenrury B.C. Head of a warrior with beard. He wears a close-fitting helmet with nose-piece and ear protectors. On rectangular wooden pedestal. Height of marble, 11 inches. (Illustrated) 901—GreeEk Limestone Heap or THE FourtH CrEntTury B.C. An Athlete. Head of a clean-shaven youth with closely curling hair, wearing a wreath of laurel leaves, On rectangular wooden pedestal. Height of marble, 11 inches. Note: This head, which is characteristic of the best period of Greek sculpture, was dug up on the Island of Melos. (Illustrated) 902—Roman Stone Heap or Warrior oF THE THrrp Century B.C. Head of clean-shaven youthful warrior with long hair and wearing a Minerva helmet crested with figure of winged Greek sphinx. Excavated in Greek island. Height, 15 inches. (Illustrated) 903—Roman Marsrie Heap Portrait of the Emperor Hadrian. From a colossal Pentelic marble statue. Height, 1314, inches. 902 901 900 904—Grerek Arcuaic Marsie Heap or tHe Fourtu Century B.C. Pentelic marble double heads of bearded men with wavy hair. Symbolic of the two Rivers Xephissos and Ilissos. Height, 15 inches. 905—Roman Marsie Heap oF THE First Century B.C. Head of a bearded man, with curling hair. Probably a portrait of a Philosopher. Height, 18 inches. 906—Grerek Arcuatc Stone Heap or tHe Firru Cenrury B.C. Head of a monarch with conventionally curled beard and hair and drooping mustache. His head is crowned with a laurel wreath. Height, 15%, inches. 907—Eeyrrian Granite Heap Head of a colossal statue of a king in rose-colored granite. Clean-shaven face with close-fitting banded cap. Height, 13 inches, (Illustrated ) 908-—Fiorentine Limestone Murat TasLeT oF THE SIXTEENTH CENTURY Rectangular shape, with pointed molded pediment supported by pilasters carved with acanthus scrolls. The body of the tablet is occupied by an escutcheon carved in relief, charged with the coat-of-arms of a belled feather surmounted by a helmet and crest of a rearing dragon and mantled with scrolled acanthus leaves. The tympanum of the pediment is occupied by a subject carved in low relief of the Virgin kneeling in adoration of the Child Christ, who reclines at full length before her. Above Him are two cherubim. At the side of the Virgin are St. Joseph and angels. Plain plinth flanked by two dies. Height, 25 inches; width, 12 inches. (Illustrated ) 909—FLorENTINE Limestone Murat Taster or THE FourreentH CenTury Rectangular shape. Carved in the form of an heraldic escutcheon charged with the coat-of-arms, consisting of an eagle’s claw and wing carved in relief, of Dante Alighieri (1265—1821). Height, 1814, inches; width, 13 inches. Note: This piece is of peculiar interest. The only other known stone coat-of-arms of Dante is now in the Dante House in Florence. This particular piece came from Ravenna, where Dante died. (Illustrated) 908 909 907 910—Pisan Gornic Limestone CapiraL oF THE FouRTEENTH Cex Octagonal shape, carved with the standing figures of saints unde pies of Gothic quatrefoil tracery. Molded abacus and necking. — Height, 15 inches; diameter . (Illustrated ) rere.) 911—FLorentine “Prerra SerENA” (Grey SEONE) Taster | TEENTH CENTURY ; wae Rectangular shape. Carved in sunken relief ae cin occupied by Agnus Dei and surrounded by four circular » emblems of the four evangelists. Below is a circular figure of a soul shown as a young child, rising out of a be Note: This central medallion contained the arms of the . workers’ Guild, of Florence, in whose honor the ee fas in place. y 912—Greco-Roman MarsLe STATUETTE OF tury A.D. V enus. Shown as the seni figure of a 913—Frencu Gornic ILE pE FrANcE P rHe FirvrEENTH Venter an open book, while m right cas | with traces of color. (Ittustrated) ae oy > Taeeties 4 Rectangular shaped Eeiletse modeled with the Sees One a “Youthful St. John the Baptist,” with cross can label. He has long hair and wears a camel’s hair tunic Mary Magdalene,” shown as a beautiful young woman \ of curling hair. At her side is the jar of ointment. gilded frames carved with shells and husk festoons. — From the Wilkins Collection, Florence. — (Illustrated) eer e er, - $ M ‘ arg Njoani as : SAG FS g JS: a ett! Sw eee el a a . Dee ee Oe 2 ee oe ee ee ee ee ae oe oe ee ee oe Mi 4 ; ) é oes a ae, ———S wo ee ? ea = / leenad ead ‘ Ps i’ No, 914—PAIR OF FLORENTINE FIESOLE STONE BAS-RELIEFS OF THE SIXTEENTH CENTURY 915—Par or VENETIAN GorHic STONE Lions | or THE CENTURY Seated figures of grotesque lions with een “mouths: tongues. Rectangular’ bases. From the Dal Zotto Collection, Venice. ae (Illustrated) 916—Roman Marsie Tasie or THE SEconp Gade Circular top of black and red porphyry. — Stem head, leg and paw. On a rectangular moles lps | (Illustrated) S16 S16 eenaghine fies From the old Simonetti Collect ee 918—Pair oF Roman Porruyry Cope EA : Cylindrical columns with marked entasis 8 and | : excavation of a Roman monument. — roe x ae 918 suey 918 919—Roman Marsie CANDLESTICK OF THE SEcoND CENTURY B.C. Tapering cylindrical shaft of Pentelic marble spirally fluted and with acanthus leaves, fluted coupe-shaped bowl and bulbous ac leaf carved base. Triangular base with incurved sides carved relief with scrolls and flowers. Excavated at Rome. From the old Simonetti Collection, Rome. 920—Umearian Goruic Marsite Hoty Water Bow. or tHE Earty Fir- TEENTH CENTURY Baluster-shaped and square standard carved with scrolled leaves, a mask and a Putto. Molded circular basin, carved with cherubim at the rim, and quatrefoil base carved with lions’ heads and paws. Height, 4 feet 21% inches. 921—VENETIAN Gotuic “FLOREALE” STONE AND WrovuGHT-IRON WELL-HEAD OF THE FIFTEENTH CENTURY Capital-shaped head of white marble, hollowed and with rectangular abacus, molded and carved with ribboned band of laurel leaves. Voluted, scrolled acanthus leaves at angles, with scrolled leaves below resembling those in the Cathedral of San Marco. Low-relief carvings between of fluted vases of flowers with dolphin handles; on one side these are replaced by a youthful angel holding a wreath of banded laurel leaves enclosing a shield charged with the arms of the family of the Duke of Soranzo of Venice. Below is an octagonal base carved with circular depressions, and above the original arch of a wrought-iron bar, with leaves and a scrolled and voluted finial supporting, by a chain passing over an iron pulley, the original iron bucket. Height, 3 feet 5 inches; diameter of base, 5 feet 8Y% inches. From the Dal Zotto Collection, Venice. Note: This exceedingly beautiful example, which has often been illustrated, is interesting. Early in the fifteenth century the Council of Ten of Venice passed an ordinance providing that all wells should have cuplike depressions hollowed out in their bases and kept filled with water, so that the birds, and in especial the pigeons, should be able to drink at all times. The Duke of Soranzo was the head of a great Venetian family like that of the Mocenigo. (Illustrated) No. 9221—VENETIAN GOTHIC “FLOREALE” STONE AND WROUGHT-IRON WELL-HEAD OF THE FIFTEENTH CENTURY TEENTH CENTURY Molded cornice carved with bead-and-reel, egg-and- -dart and beaded orna-_ ments, frieze carved with banded acanthus leaves, molded architrave carved with two flying Amorini holding an escutcheon charged with: a coat-of-arms. From the celebrated Ferroni Collection, Rome. Note: The cornice and frieze of this doorway are evidently of old Roman work- manship from an excavation of Renaissance times and were so much admired by a Florentine artist that he added the architrave. SRT ROR RRL TS LOTT ee RPE OREO PPFEPIFIF VIVO SD Pieeiiine 923—FiesoLe Stone CHIMNEYPIECE OF THE FirrEENTH CENTURY BY BENE- pETTO DA Marano . Rectangular shape, with molded cornice dentelled and carved with beads and egg-and-dart ornament. Frieze carved in the center with a panel of two flying Amorini holding a wreath occupied by an escutcheon charged with a coat-of-arms, flanked by flaming vases. Below is a band of shells, radiating leaves and scrolls. Side supports, with console-shaped egg- and-dart carved brackets and pilasters with shafts carved with clustered pine-cones and fruits, springing from classic vases. Height, 4 feet 10%, inches; length, 8 feet 1014, inches. From the Prof. L. Grassi Collection, Florence. 924—Venerian Isrrtan Stone CHIMNEYPIECE OF THE SIXTEENTH CENTURY Molded and carved cornice, with frieze carved in the center with an ovolo-shaped escutcheon charged with a patrician coat-of-arms flanked by panels carved with cornucopia, dolphins and figures divided by florally carved panels. Supported by fluted curved brackets with paw feet. Side with carved panels. Height, 6 feet 7 inches; width, 8 feet. 925—Iraniaxn “Porta SANTA” STONE CHIMNEYPIECE OF THE LATE SIXTEENTH CENTURY Rectangular molded frame. Remarkable for its architectural simplicity and distinction. Width, 8 feet 2 inches. ~ n 926—Venetian Isrrian Srone CuimMNeypiece oF THE Earty SIXTEENTH CENTURY Molded cornice, with frieze carved with fluted and voluted modillion- shaped brackets having in the center a scrolled oval escutcheon charged with a coat-of-arms flanked by panels of trophies, supported by female faun caryatids resting on bearded masks and rectangular pedestals. Height, 9 feet 2 inches; width, 8 feet 9 inches. 927—Venetian Gornic Trerra-corra Cotumns or THE Karty FirrrentH CENTURY Terra-cotta side supports of a wooden chimneypiece. Columns of banded leaves and fruits with a Latin inscription on spiral bands. Gothic leaf capitals. Height, 4 feet 1% inches. AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEER. INTELLIGENT APPRAISALS FOR UNITED STATES AND STATE TAX INSURANCE AND OTHER PURPOSES THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH APPRAISEMENTS AND INVENTORIES OF ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS AND PERSONAL EFFECTS OF EVERY DESCRIPTION AT CHARGES COMMENSURATE WITH THE DUTIES INVOLVED THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY At SA EELIRE: COMPOSITION, PRESSWORK AND BINDING BY \ \ AV see eVesuvun Naw waee Ja ewe See aittus ~: with painted doors from Chambery. Tabk and chairs are here in great number, som iof the former of unusual size“and™beaut. ‘such as a ‘noble Priory table of wunusu: proportions, and one. elaborately carve with Dolphins. Of the chairs, there every desirable size and character, includin almost unattainable Dantesca and Savoi arola as well as Florentine arm chairs, co ered with Petit Point and embroider. 1 SIGNOR RAOUL TOLENTINO The present art season, which has been! one of varying fortunes; will draw towards its close next "week, somewhat -spectacu-, larly, with a sale of Italian works of art, and furniture, by all odds the most import- ant offering that has been made this year at the. American Art Galleries, where it will be dispersed by Mr. Thomas E. Kirby on the afternoons of April 21-24 inclusive, and those of April 26-27, with an evening session, for the pictures, in the Plaza Ball- room, April 23. reasons. In the first. place, Signor Raoul Tolentino, whose collection-is -to. be~- dis- persed, is a dealer well known to the com- munity, due to his many years of residence. here, during which he succeeded in placing himself in an enviable position, while in the, second place the collection is the outcome; of much patient effort and of a vast amount. of knowledge on the part of the collector. Apart from all this, the increasing interest in Italian furniture, pictures, bas-reliefs and’ works of Renaissance Art in general, will Choir stalls,~desks and Lecterns are alg to be founds ~ =". * 0353 _ The wrought iron .is of especial intere. in these days, when it is so difficult to fir fine examples of undoubted authenticit There are many Torcheres, a set of bea; tiful Convent jalousies, wash basins, ar a marvelous wrought iron bed, with on one similar, as far as is known, in th country. Among the stones and marbl: are several mantelpieces. by well-knov sculptors, an Architrave or doorway, a1 one of the noblest Well heads that has bec imported. It comes from Venice, has i original ~wrought iron superstructure, a1 the depréssions inthe base. ordered ‘by ti Council of the Ten, for the benefit of t birds and pigeons which, even in the 15 century, were a feature of Venetian life. Some Notable Pictures The pictures are of extraordinary impo: ance. Here, for instance, may be found : exceptionally fine example of Pier Fra cesco Fiorentini; a Madonna with the tow of San Mininto in the background, a sign Margharitone d‘Arezzo, the famous Biga’ . Triptych ‘by Ambrogio Lorenzetti, a M donna by Gianbono, that formerly hung the room of the Poet-Soldier d’Annunz and a multitude of primitives with gc | backgrounds. : The sale will be a notable one for many: The stucco bas-reliefs have, among the five examples of Donatello, four of whi come from the old Bardini collection, well as works by Ferrucci, da Maiano a Rossellino, while the glazed’ terra cott modeled by members of the Della Rob! family, are of prime import. Here is lovely tablet by Andre della Robbia, a a bust of the Saviour by Giovanni, in 1 manner of Verrocehio, acquired from 1 Marquis Viviani, the last surviving mem] of the Della Robbia family. The Bron; are excellent, among them at least t materially help to make the sale one of the' pieces by Riccio and a fine series of bu season’s leading events. Two things are especially-to be noted concerning: the collection, first that the genuineness of the articles, offered for sale, is beyond any cavil or question, as most of them are absolutely in their original con- dition, and seggnd, that the selection has been so wisely ‘made that no particular class of objects is- favored at the expense of others. Thus, those who find an interest in furniture will be equally attracted, with those whose acquisitive desires lead them to the consideration of. pictures, stuccos, wrought iron or textiles. ; Thus those whose inclination leads them to furniture will find distinguished Cassone, one with its front painted by Pesellino, and one in carved walnut designed by Michael Angelo. There are cabinets Tuscan and T.igurian, one with the arms of the Aligheri family, of which Dante was a member, one cf the Amatorio type, and several, including i by Tosca. e T ‘in themselves, with such tapestries as 1 | exquisite set of three panels from the f. The Textiles form an exhibiti tory known as the “Vieux Paris,” 15th c tury Flemish weaves, many yards of velv and brocatelles, and a number of cut velv and embroidered covers, while especiz noteworthy. are the majolicas, which inch examples from the kilns of Semta, Cap. x Ole, Faenza and Castelli. Doubtless many the gem of the entire collection 1 -be the Henri IV Dining Room, with carved chimney pieces, and Bahut, and Knights in armor, removed en bloc fr the historic Chateau de Rosny, near Pa as also the 16th century Library, also tal in its entirety from the Medicean Palace Marradi, near Florence. Finally it may be said that this extrao1 nary collection has been cataloged by ° Horace Townsend and has foreword hy Seymour de Ricci. 7) oe ae Ts oe a a ee TOLENTINO ART SALE The first session of the Tolentino sale of early Italian and other art objects at the American Art Galleries, Apr. 21 last, as recorded in last week’s ‘Art News brought a total of $35,467. The second session Apr. 22 aft. had a total of $25,066. The top price at this session, or $1,440, was paid by Cal- darazzo and Co. for 12, 11 in. high bronze busts of Roman .Emperors from Julius Caesar to Caracalla inclusive, by Pietro Tacca from the Prince Barberini’s collec-' tion. To the same buyers went No. -223, a pair of Tuscan gilt and painted iron ban- ner holders XV, C, for $440. No, 279, an archaic Greek bronze statuette, the figure of “Paris,” went to Caldarazzo & Co. for $625, and No. 290, a pair of Florentine ronze XVI, C, equestrian statuettes of King Philip IV, of Spain on rearing horses, to the same buyers for $1.050. A pair of Florentine bronze statuettes, “Peace” and “War,” by Jacopo Tatti, No. 291, went to G. Bestionsl for $1,200, and to the_same buyer No. 292, another bronze statuette by the same seulptor, “Dancing,” the figure of a young woman, for $1. 25, George Grey Barnard was again a pure chaser, paying $525 for No. 262, a French gilt and bronze reliquary (XIV, ¢); ia. 224, a pair of Sienese stone and wrought iron standard bearers early XV, c., went to W. R. Hearst for $500;" No. 227, a French Gothic wrought iron lock plate (early XIV, C.to Otto Bernet, agent, for $850; a Paduan — bronze inkstand by Andrea Briosco (called for No. 235, went to E. Peffercorn , for $: 60, and to ‘the same aha No, 275, knepling figure ‘of a Satyr. In the French fee es enamels a gilt bronze pricket Be (XIV c) No. 256 went to Mme, Keller for $440; a French , silver and rock crystal reliquary of XV, Cc, No. 261, to F. Baumeister for $525; a pair of Tuscan bronze candlesticks, late XV. ¢., No, 267, to Seaman agent, for $550, and T. Brummer paid $500. for No. 269, a French Gothic wrought iron church’ knocker, (XV. c.). ' 4 The feature of the session of April 24 was the sale of a Henri Quatre ac | room from the Chateau de Rosny which fetched $25,000, and the total for the four sessions was thus raised to $246,629. It is interesting | ® to recall that this famous chateau, hen ron screen, etc. Other at prices were: Yo, 460—Five 16C. Florentine Miaka hereaday SCQMAn) GEby cuccecesrgaveersgennes No. 461—Two 16C, Florentine GRRE DUVE gos cues caves c cen enses So. — 17C. Florentine sees H. VP Dawes ope cccccccsvscaseesanivs So. 468—A 17C, French Bergere done in petit point, 1,950 and No, 469, a similar chair, both lots, Otto Bernet, agt.. ‘o. 583—Corner of the Medici library, 16C. Keller & Co, so, 561—Cabinet by Jean Goujon, berger galleries fo, 570 and 570a—Two sets of early 15C. Tuscan Gothic choir chairs, E, Peffer- corn $1,800 $1,500 $1,320 $2,500 "$4,250 "$2,000 $3,600 The sales of Apr. 26 aft. and eve. sessions, rought $101,891 and $89,635, swinging the otal to that date to $438,161. The top rice of the aft. session was $18,500 paid by caman, agt., for a set of three “vieux ’aris” silk and gold mole tapestries. The apestries cataloged as No. 752 were ‘“Re- ecca at the well,” “Return of the Prodigal” nd the “Vision of Zacharias” and these stched respectively $6,500, $7,000 and $5,000, nother high figure was brought by an En- hien verdure tapestry, early 16C., which ent to W. H. Harding for $5,000. Three rts of Genoese velvet, over 200 yds., fell » F. W. French & Co. for $9,562.49, An Evening Session The evening session in the Plaza Ball- som, Monday, Apr. 26 was fairly well at- nded, The Textiles, art objects and pic- ires sold with artists, titles, buyers and tices follow: 6—della Quercia, J., Carved painted wood statue, XV C., height 20 in, W. R. FCarSt we cwscccccsccccccreacevessecs 7—della Quercia, J., Tuscan carved painted ' wood statue, XV C., 40 in., Leon Ricci. 8—della Quercia, be Sienese carved Painted wood ‘statue, Early XV C., 41 in, W. Rep RIB AUEE Ma dele isis e veto's vv cre cisies ti shia vee 9—della Robbia, G., Pair Florentine glazed terra cotta bas-reliefs, 33x16, Seaman.. 0—da Maiano, B., Venetian painted and gilt alto-relief, XV C., 25x18, i—Rossellino, Florentine stucco statuette, XV C., height 27%, W. R. Hearst..... 2—Rossellino, Florentine colored terra cotta statuette, XV C., length 21 in., RCIERUBET wins wiaiveie leiniw 0 vivisie.s uns tinule ma 3—Sansovino, J., Venetian colored stucco group, C., height 19 in., Ruth SROEGRICT | occu bieleicsd.o.e coe isitislsivbey aaa y j—della Robbia, G., Florentine glazed terra cotta group, C., height 33 in, SERMART n eis ieinieg yesh cna s Aw DES pe RS j—Mantova, S. , Colored stucco bas- relief, XV C.. 201%4x13, Seaman j—della Ouercia, ye , emaghrl stucco figure, XV C., 30x22%, S Soman fan utasselare wad A., Florentine terra cotta bas- XV C., height 25 in, W. R. Flor- i Baseline, ree rst AOE pevias della Cappella Pellegrini, entine colored terra cotta bas-relief, AV C,, 34x29, BE. Fletcher wewcsecscees 375 779—Verrocchio, A., Florentine terra cotta bas-reliet, XV C., 23x17, W. R. Hearst.*» 950 780—Michelozzi, M., Florentine wax bas-relief, XV C., 277x193, E, Fletcher 22 sc.cs.es 775 781—Settignano, D, da, Florentine colored stucco bas-relief, XV C., 31x19, Seaman 950 782—Rossellino,’ Florentine colored stucco bas- relief, XV C., 22x14%, Seaman........ 425 783—Fiesole, M. da, Blossifina papier-mache bas-relief, XY C., 42x36, P. W. French Be Cay carver vies ve0 Codes pecdonsseguesas 700 784—Donatello, Florentine colored . stucco bas- relief, XV C., 32x32, P, W. French & Co. 4,900 785—Donatello Florentine colored stucco bas- relief, xv C., 30x22, Leon Ricci....... 2,300 786—Donatello Florentine terra cotta bas-re- lief, 4734x28, XV C., Leon Ricci....,.. ,700 787—Donatello Florentine colored papler- mache, bas- relief, XV C., 48x33%, G, or DUPRERE. Vg sag Seeaw nikiebiia eet oes meee 290 788—Donatello, Wooden Florentine Offertory- mee with stucco bas-relief, XV C., 27 4x93. Leon, Riggl ...ccsceccrsceecs 800 789—Maianc, B, da Florentine golored stucco ‘ bas-relief, XV C, 43x39, P. W, French & Co; s.s6.; 6 Gucvegeeuesesesectees }, 900 790—della Rebbia; G Florentine cies terra’? '4 ety yt Saeed ‘® we » Apri? Sea- 4,500 791—della PR otia i renti e er: eed Har and woode! ‘ie “Rlgtss ine’ Ril % RE