me * rd gs eat ie Lad dasa & © 4: Widen yf xg lw & Pe i fore ag he i st 4 o” s 1a 4 | 0 dl ol a iy be tee hel » 74 ta PLES OES he ee ee eee aa 4 dey 18 : ee et wae oe Ce og oe wa 4-3 4 oF wry 4 Re ° 4 ? he a 4 8 ei x : 4 & f f ; wae \ a ane EY Ae eae eee a : hee Mh Si A fe a ahaa ian as at 1A Cbg ia ia ater cA Th a Fo} pis vee ae yt y Oa) 4 hele! i Gosh ik A ih oy letog trated ~ Bw ho ee a eras eg pigs AN sy et ee we PAINS A eR HOH OAM N RN Arai Od, 4 ef ( ae ry, er RM em TAN ABM Me SR WC a arte i ne ar) ae he ae uate , Tidak bic Sy fF he Ms aa eae va : wh BO Ry ok AT he % : Ks MH weg te une bane eu itice AS ae i a Ae. a rey ° 2 F eae We ha dO MME al oie Meh ings ae F : Pate ' wy ty uw 4 be is 0 os Bes ee ee Ne aoe me Up ee ae ee 1 ree Tg a hog TU ee ae) isa i 2 a ‘ bh ih roe be a 4 ? ee Mea teary tae * ‘ ga 1 1a of Pt n : i “# + ) ‘ ' . , ‘ 24 * A ; ’ 4 60 sage ys CHa CA Home: => 0% ‘ ” st " 1, ee * a gee A oe het 8 APE 5 oul tgs a Nk a bet i i hy Fae Ie Me MB Re Ue : * ieee bs Q ad a Yb aa ‘s eRe INGE Hh was ft A 8 Ha CAO la OUT eo eg Pele eee : 79. ey # At Aan es Aas ake he Sih rl Ay hap A ; y ; ° , i ’ i He Re 0 ee ks Mee FE a YS he 9 RR, he AE hE at a; i ted ¥ ig ; F ye ‘ : 1 ihe u a4 AU yeas Fe ay na a ee 4 te ea etic j Rent Ante? th eg MB Pe ee whe eur ie aa e (hee GK ea ee oes ‘ ed , ; ; Cae ‘ ALS Fr ear eh S08 END Se iy: PT ae er ee ont it renee A Spi ac hae gr aah “7 ‘ a. SW ‘ * (may “ re ye * Bly Sill, ing te Me her det hae : a4 Ne AU Ae aN Pe Z Pi , WPCA tO te aha aut 4 a eh BE By ah be ae? Mai Cae yi . A Vee 4 eG } He eae bad ; % Cay ea i erate oe na 1 4 ie , ae eines ; M4 . : CE pe LA eA a eR : dtl ou) +e ; ie Caan ey 5 ; J av yon ae + phere hare, pause Ch a MR nye : Ry kk ay ey a Tg ‘ oe tA ae: : Ae NEY ie eed Cea ee omctge THE J. PAUL GETTY MUSEUM LIBRARY pe ae oo ane oe © oe oop ok a es 7 * a * . = -y =F ‘ > . ate = ~ <. a > o . _ é 7 Sal Sing, < a - © = : t o> : se _.. q ~ bet ok: ees. ~ - ¢ oh a >» + . . « . > . ON FREE PUBLIC VIEW 9 A.M. UNTIL 6 P.M. AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM FRIDAY, JANUARY 18th, 1918 UNTIL THE DATE OF SALE, INCLUSIVE EXCEEDINGLY VALUABLE ART PROPERTY BELONGING TO THE ESTATE OF THE LATE ISAAC D. FLETCHER AND TO THE ESTATE OF THE LATE CHARLES FRANCIS WILLIAMSON TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON FRIDAY AND SATURDAY AFTERNOONS JANUARY 25th AND 26th, 1918 AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH BEGINNING AT 2.30 O’CLOCK oe ILLUSTRATED CATALOGUE OF EXCEEDINGLY VALUABLE ART PROPERTY TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF AUSTIN B. FLETCHER, EDWARD TOWNSEND, WILLIAM H. CHILDS AND EVERSLEY CHILDS, EXECUTORS UNDER THE WILL OF THE LATE | ISAAC D. FLETCHER CONNOISSEUR AND BENEFACTOR AND BY ORDER OF THE ANCILLARY ADMINISTRATRIX OF THE LATE CHARLES FRANCIS WILLIAMSON CONNOISSEUR, OF PARIS WHO LOST HIS LIFE BY THE SINKING OF THE “LUSITANIA” ON THE AFTERNOONS HEREIN STATED AT THE AMERICAN ART GALLERIES 1 ql 2 \ LOM to - 7 CATALOGUE BY MR. MAURICE W. BROCKWELL AND MR. JOHN GETZ ds THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANT, MR. OTTO BERNET, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1918 THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY THE J. PAUL GETTY MUSEUM LIBRARY s 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 de- cide 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 pur- chase money as may be required, and the names and addresses of the purchasers 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 de- fault 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) aris- ing from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon pay- ment 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 presenting 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 purchaser. 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 either by the owner or the Asso- ciation of the correctness of the description, genuineness or au- thenticity of any lot, and no sale will be set aside on account of any incorrectness, error of catologuing, 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 correctly, and will give consideration to the opinion of any trust- worthy expert to the effect that any lot has been incorrectly cata- logued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, CATALOGUE & Ss ® e s t ® J ® td ® ® ® ® ® td e ® 8 ® s . . . td e s ® s ® ® ® s ® 8 8 s s 2D ® s e . . 2 2 8 s e J ® THE AMERICAN ART ASSOCIATION MANAGERS SALE AT THE AMERICAN ART GALLERIES FLETCHER AND WILLIAMSON COLLECTIONS Friday and Saturday, January 25 and 26, 1918 To save time and to prevent mistakes each Purchaser will oblige the Managers by filling in this slip and hand- ing it to the Record Clerk or Sales Attendant on making the first purchase. Purchaser’s Name Address in Full Amount of Deposit Aly, orn FIRST AFTERNOON’S SALE FRIDAY, JANUARY 25, 1918 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O°; CLOCK Catalogue Nos. 1 to 149, inclusive MISCELLANEOUS OBJECTS No. 1 AMERICAN POTTERY BOTTLE Metallic copper-toned glass with clouding. (Experimental speci- men. ) Height, 5%, inches No. 2 TERRA-COTTA FIGURE A kneeling nude female peeping through the tresses held up by her hand. Height, 9 inches No. 3 TERRA-COTTA FIGURE Female figure with drapery; modeled after the Greek. Height, 13 inches Inscribed to Madame Fletcher by the sculptor, P. Puech, 1902. i ( Jy a ¢ ec, i First Afternoon No. 4 PAIR OF CHINESE LOWESTOFT PORCELAIN VASES Flattened forms with ribbing; the painted on-glaze details in- ’ cluding a pink scale ground with white panel reserves, variously + decorated with landscape flowers, and art objects. Have gilt stands. Height, 111% inches. No. 5 DOULTON WARE FAIENCE VASE WITH COVER Slender urn-shaped. Handles composed with dolphin figures. Showing a Bacchanal subject with landscape and group of three [KN fh females representing Music. Painted by J. Eyre, made at Doul- tons in Lambeth, England. Height, 32 inches. ANTIQUE PERSIAN FAIENCE (Purchased from Dikran G. Kelékian) No. 6 OLD PERSIAN OIL JAR Koubatcha ware, with deep tortoise-shell tone; vaguely showing L/h blue decoration under the brown stained glaze. Height, 91 inches. No. 7 ANTIQUE PERSIAN OIL JAR i Koubatcha ware; ovoidal form, with blue and brown decoration; bb Ul the glaze showing a dark café-au-lait clouding. Height, 10 inches. First Afternoon No. 8 ANTIQUE PERSIAN JAR Koubatcha ware, with underglaze blue decoration in conventional form. Height, 10 inches. No. 9 ANTIQUE PERSIAN OIL JAR Similar to the preceding; dominated by cobalt-blue decoration under the glaze. With brownish clouding on one side. Height, 1014 inches. No. 10 ANTIQUE RAKKA POTTERY JAR Low bulbous shape, presenting a turquoise-blue glazing with black decoration, covered by rich gold-hued iridescence. Height, 5 inches; diameter, 7 inches. No. 11 ANTIQUE PERSIAN OIL JAR Koubatcha (Caucasus) ; ovoid form, with old ivory-toned glazing, showing light cobalt-blue floral designs. Height, 12 inches. No. 12 ANTIQUE PERSIAN OIL JAR Koubatcha (Caucasus); the dark mottled brown glaze with crackle showing a greenish border decoration. Has teakwood stand. Height, 9 inches. First Afternoon ANTIQUE CHINESE PORCELAINS No. 13 CHINESE PORCELAIN BOTTLE With monochrome lavender glaze showing delicately incised lotus flowers and leafy scrolls. Bears six-character Ming mark (apoc- ryphal) ; probably late K’ang-hsi (1662-1722). Height, 9 inches. No. 14 DECORATED CHINESE PORCELAIN VASE Chia Ch’ing Gourd shape; light turquoise-blue enameled ground with super- posed lotus flower and arabesque scrolls rendered in varied colors, together with bats, that support golden swastika emblem. Bears seal mark of its period. Height, 11 inches. NoialS PAIR OF CHINESE PORCELAIN BEAKERS Chia Ching Flaring trumpet-shaped neck with light turquoise body, glazing including superimposed arabesque scrolls with lotus flowers and “Shou” characters, executed in various colors together with bats _ and fruit. The shoulder and neck finished with varied borders; interior glazed in light turquoise. Bears seal mark. Height, 114 inches. No. 16 CHINESE COPPER SOUFFLE PORCELAIN VASE Quadrangular shape, with handles. The metallic brownish glaze showing soufflé flecking. Lightly mounted, with removable gilt bronze foliage. Height, 12 inches. First Afternoon nnn ne EEE EEE No. 17 RARE MING POTTERY JAR Chinese Outer shell with raised rockeries including the eight Pa hsien fig- | ures, paying homage at two ancestral shrines, with inscriptions. Beside these appears a banner and coiling snake. The pierced shoulder is encircled by the spearhead pattern glazed in green alternating with yellow rosettes, while body 1s glazed in light malachite green sur biscuit. The cover 1s molded and glazed in form of a lotus leaf. Early Ming. Height, 16 inches (with cover) ; diameter, 11 inches. Purchased from the Art House of Thomas B. Clarke. First Afternoon No. 18 RARE MING POTTERY JAR WITH COVER AND STAND The outer shell in form of open rockeries, displaying figures and horses, glazed sur biscuit in aubergine, amber-yellow and ivory white tones on a ground of brilliant emerald-green. The shoul- der is ornamented with openwork scrolls in green glazing. The cover in form of lotus leaf is surmounted by a frog. Early Ming. Height, 15 inches; diameter, 91/, inches. Purchased from the Art House of Thomas B. Clarke. First Afternoon No. 19 LARGE DECORATED VASE Chien-lung With light turquoise ground. Oviform shape; with grotesque red and gold bird handles; the body with light turquoise-blue enamel glazing presenting a multi-colored floral design composed with lotus blossoms, tiger lilies and leafy arabesque scrolls. Bordered with fanciful ascending palmation at the base, together with a pink border showing arabesque details. The neck is bordered by pink spearheads with blue outlining. Interior glazed in turquoise- blue. Foot underneath bears red Ch’ien-lung seal mark (1786- On): Height, 22 inches. Purchased from the Art House of Thomas B. Clarke. First Afternoon No. 20 PAIR OF CHINESE FAMILLE ROSE TEMPLE JARS Chia Ch’ing With gilt wood covers surmounted by white jade. Oviform body, with pink graviata ground enamel sustaining an overglaze decora- tion with pheenix birds and magnolia trees in blossom. Foot un- derneath glazed in green. Chia Ch’ing period (1796-1820). Height, 171%, inches (with cover). Purchased from the Art House of Thomas B. Clarke. Nope2d LARGE BLUE AND RED DRAGON BOTTLE Ch’ien-lung Bulbous body and tubular neck; details of decoration presenting three peachbloom colored dragons in quest of the flaming orb, posed against a deep brilliant cobalt-blue clouding on white ground. Bears mark of its period: Ch’ien-lung (1786-95). Height, 23 inches; diameter, 14 inches. Purchased from the Art House of Thomas B. Clarke. No. 22 TALL BLACK HAWTHORN VASE Kang-hsi High-shouldered beaker shape with flaring neck, presenting a soft black enamel ground with a knurled old plum tree, whose spread- ing branches and twigs bear small mei hua blossoms, called “haw-- thorn” in Western collections. (Repaired at the neck.) Has white glazed foot; without mark. Ascribable to the K’ang-hsi period (1662-1722). Height, 271/, inches. First Afternoon No. 23 TALL BLACK HYDRANGEA VASE High-shouldered beaker shape, with black ground sustaining au- bergine-colored trees with branching stems that reach into the neck, bearing white hydrangea blossoms with green leafage; birds appear amid the flowering branches and near its green rocky base. Foot underneath showing black enamel without mark. (Repaired at the neck.) Period of K’ang-hsi (1662-1722). Height, 28%4 inches. RUSSIAN ENAMEL AND OBJECTS IN SILVER No. 24 RUSSIAN CHAMPLEVE TEA CADDY Nuneteenth century Square shape, with silver-gilt body. Height (with cover), 6 inches. No. 25 SILVER-GILT AND ENAMELED RUSSIAN CUP Raised filigree arabesque designs with long stem handle, picked out in varied brilliant enamels and studded with varied semi-— precious stones, en cabochon. Height, 5% inches; length, 12 inches. No. 26 RUSSIAN CUP Similar to the preceding. With ribbed sides, including rich fili- gree details and enameling, together with semi-precious-stone set- ting. Height, 5° inches; length, 11°4 inches. & @) First Afternoon No. 27 RUSSIAN ENAMELED CUP AND SAUCER DISH Silver-gilt body with filigree ornament and varied colored enamels including miniature borders. Height, 7% inches. No. 28 RUSSIAN ENAMELED SILVER-GILT CUP Repoussé work with ornate floral and scroll design, including enameling in varied translucent colors. Bears Russian stamp. Height, 9 inches at handle; width, 11 inches. No. 29 RUSSIAN ENAMELED SILVER TEA SET The filigree design showing enamels in varied colors imitating the color of semi-precious stones, such as lapis, turquoise and ruby. Bears mark, “Made in St. Petersburg, for Tiffany & Co.,” with the Russian Hall stamp. Consisting of tray, ewer, sugar bowl and sugar tongs. No. 29a EIGHTEEN RUSSIAN TEASPOONS Matching the preceding set. With silver-gilt bowls and filigree enameled ornamentation. Made for Tiffany & Co. First Afternoon No. 30 SET OF EIGHTEEN RUSSIAN ENAMEL Be SILVER-GILT FRAPPE BOWLS On high stem. Of graceful shape, each showing finely executed enamel work in varied colors in imitation of semi-precious stones. Bears the Russian Hall mark. With spoons to match. No. 81 SILVER-GILT BOWL East Indian design, with engraved panels in low repoussé, show- ing four great Mogul portraits. Made by Tiffany; stamped sterling silver. Height, 5 inches; diameter, 8% inches. First Afternoon No. 32 RUSSIAN SILVER-GILT JEWEL CASKET WITH PAINTED ENAMEL PANEL With silver-gilt interior. The rounded sides showing delicate fili- gree scrollwork, filled with colored enameling. The cover with like filigree border, enclosing a painted enamel figure subject. The elaborate composition shows a group of Cossack warriors, seated about a table after their meal, as an officer dictates a letter to a scribe in answer to a letter from the Turkish Sultan. This moment, during the composition of a characteristic letter, to which all the Cossacks contributed in making an insulting and cutting reply to the Turkish ruler, is taken by the artist E. E. Reiper from his famous painting, “The Japarojtsie.” This event took place in 1673 at the village of Tehertom- litzkie (now Kapoulouke). The figures are life portraits: “That of the Captain (Ataman) is of General Dragomiroff, the scribe is Professor Evan- itsky; to the left of the writer appears the well-known collector of Cossack folklore, Martinovitzh. Next to him is Tarnouskie, the collector of Cossack antiquities. Then the celebrated painter Kouznetsoff; and sitting at the end of the table, a historical type (a young Cossack), with gun athwart his back, is grandson of the composer, Glinka. All the others were painted from sub- jects living near the Rapids of the Dnieper. “Japarojtsie” means ‘from beyond the Rapids,’ referring to the Rapids near the mouth of the Dnieper. All are clothed in Cossack uniforms.”—Translated from the Moscow “Russkie Slove.” Height, 5 inches; length, 10 by 7 inches. No. 38 EAST INDIAN SILVER TRAY Oval shape, with two handles; repoussé design figure panel and borders including animals and birds. Size, 20 by 15 inches. No. 34 EAST INDIAN SILVER BOWL Globular shape; bold repoussé design, showing numerous figures and a curious bird with elephant head. Bears repoussé peacock with spreading tail, on the panel underneath. Height, 534 inches; diameter, 81, inches. No. 35 SILVER-GILT TANKARD East Indian design with repoussé border, modeled after the two above described pieces, by Tiffany & Co.; stamped sterling silver. Height, 12 inches. First Afternoon No. 36 LARGE REPOUSSE SILVER LOVING CUP Tall oviform shape, with three handles and floral repoussé and rocaille scrolls, including the engraved monograms. Made by Tiffany & Co.; stamped sterling silver. Weight about 183 oz. Height, 14°, inches; diameter, 12 inches. No. 87 STERLING REPOUSSE SILVER EWER Renaissance design; has curved handle surmounted by reclining cupid with grapes. The repoussé embellishment on the body pre- senting a procession of cupids among grape vines. Has a fanci- ful spiral grooved neck and base; octagonal plinth with floral details. Engraved cartouche, with the monogram M.E.F.; stamped sterling silver. Made by Tiffany & Co. Height, 211%, inches. No. 388 TALL REPOUSSE SILVER EWER Slender baluster form, with rocaille scroll handle; body presenting cupid subjects in hold repoussé relief work. Bearing monogram M.E.F.; stamped sterling silver. Made by Tiffany & Co. Height, 231%, inches. MISCELLANEOUS OBJECTS OF ART No. 39 FRENCH GILT BRONZE TABLE CLOCK (Dendulette) Louis Seize style; the gilt bronze design including floral bouquet, mask and fan, with enameled dial and oval mahogany base. Height, 5 inches; width, 6 inches First Afternoon No. 40 FRENCH ORMOLU INKSTAND Louis Quinze design; the finely chased and gilt bronze rocaille scrolls and laurel leaves including pair of cupids beside a tipped water vessel. Made by Linke, of Paris. Width, 14 inches; height, 9 inches. No. 41 FRENCH GILT BRONZE JEWEL CASKET Octagonal shape, with two handles and claw feet; the front with cartouche and cupid supporters, including floral basket orna- ments. ‘The cover with trophies including a repoussé pastoral scene with figures. Height, 9 inches; length, 16 by 9 inches. No. 42 ENAMELED GILT BRONZE JEWEL CASKET Oblong shape, with free column at the four corners and supported on four round feet. The lid and four sides have inserted oval plaquettes with green enameled grounds sustaining cupid and gardener’s trophies, painted in colors. Height, 11 inches; width, 141, by 10% inches. No. 438 EMPIRE ORMOLU CLOCK Oblong marble base, supporting circular white enameled dial and seated figure of an angel; flanked by small vase and wreathed staff. Mercury gilding of the period. Height, 20 inches; width, 151% inches. First Afternoon No. 44 SOUVENIRS OF SIR JOSHUA REYNOLDS _ (a) Oval Miniature of William Johnson: Painted on ivory, by Sir Joshua Reynolds (?); the subject with gray hair and smooth face wearing maroon velvet coat and white cravat. Unsigned and in gold locket frame. Back panel with crystal empty. The por- trait represents Mr. Wm. Johnson, the nephew of Sir Joshua Reynolds (a son of Mr. Reynolds’s daughter). (3) White Agate Chain Fob with Seal: With Greek intaglio fig- ure, set in oval-shaped gold mounting. (c) Chain Fob of Carnelian Agate: With intaglio bust of Mi- chael Angelo. (») Watch with Green Enameled Outer Case: Worn by Sir Joshua Reynolds. Shagreened outer case resembling leather with gold studding. White open-face dial. Inner case of plain gold. Movement by Thomas Mudge, London. The four pieces are con- tained in a morocco étui with moiré silk lining. The miniature, fobs and watch of Sir Joshua Reynolds are accompanied by an extract from the painter’s will, copied from the registry of the Probate and Admiralty Division of the High Court of Justice, England. No. 45 STAINED-GLASS PANEL Sixteenth century German-Swiss. A panel showing two warriors facing imwards. The one on the left holds in his left hand a fleur-de-lis ; that on the sinister side a six-pointed star. In the left foreground is a shield charged with a golden fleur-de-lis on a blue ground; in the right foreground the shield has a six-pointed star on a red ground. In the background is a shooting scene; a man with a musket, and with a servant loading for him, aims at a target on the right, be- hind which is a man who marks the score. In the center foreground is the inscription, with the date 1561:—‘“Hauptman Jacob von Heim und Hauptman Ulrich Schyn bed von Apenzell Anno Domini 1561.” | Height, 161, inches; width, 1214 inches. Purchased from Messrs. J. & S. Goldschmidt, New York. “See First Afternoon No. 46 PAIR OF WHITE MARBLE AND ORMOLU VASES Urn shape; have four cornucopia branches that may be used for candles; modeled with youthful dolphin figures and damasks; the four claw feet resting upon a square marble and ormolu plinth, enclosing laurel and ribbon panels. Cover with floral finial. Height, 20 inches (with cover). First Afternoon No. 47 LAPIS-LAZULI AND ENAMELED row DOUBLE-HEADED BIRD With two griffin heads supporting a coronet; the lapis-lazuli in- laying on body forming feathers, while the silver-gilt wings and necks are enameled in feather design. The heads showing ruby- red, emerald-green and light blue enameling; these colors are re- peated in jewel effect on the crown. The square base, of lapis- lazuli inlaying and silver-gilt mounting, rests on four enameled turtles. Accessories, including a lizard and snake, at talons of the bird. Has dragon-mounted cover, with enameled necklace and grotesque mask pendant. Has silver-gilt interior. Height, 271, inches; width between spreading wings, 101/, inches. First Afternoon ee ee ee No. 48 PAIR OF LAPIS-LAZULI VASES WITH COVERS Seventeenth century, modeled in Renaissance design; urn shape ; reproductions of the lapis-lazuli vases shown in the Greenvault Museum at Dresden. Presenting enameled figure medallions and pilaster ornaments with wreath. With silver-gilt and enamel em- bellishment, showing ruby, malachite and sapphire-blue gemlike colors. Raised on four feet. The separate covers showing Minerva and bust of Liberty. Have silver-gilt interiors. Height, 20 inches. First Afternoon No. 49 RARE RED PORPHYRY URN Flattened ovoidal shape, with torso female figures serving as side handles. The upper section with garlands and grape finial, sup- ported on low ormolu base. Height, 18 inches; width, 22 inches. First Afternoon nnn EEE EEEEEEnEEEEESSEEEESEEEEEESEEEE No. 50 DARK MARBLE AND ORMOLU URN The marble shows blue and black mottling; has two snake handles _-\ and masks, with grapevines at the sides. Rim bordered by the -/ “egg-and-dart” pattern. The plinth of marble matching urn. Height, 161/, inches; width (between handles), 21 inches. Purchased from Messrs. Duveen Brothers. First Afternoon No. 51 FIRST EMPIRE RUSSIAN MALACHITE FOUNT Large tazza form; raised on a square plinth of like malachite. Note: A similar malachite fount is in the Trianon Palace at Fontainebleau, France. Height, 23 inches; diameter, 30 inches. Purchased from Messrs. Seligmann, Paris. First Afternoon No. 52 FRENCH GILT BRONZE GROUP: ROMAN CHARIOT WITH TWO HORSES Forcefully representing a Roman chariot race, with minute de- tails. Signed: V. Chech. Has gray and russet marble base. Height, 1914, inches; length, 25 by 10 inches. ORIENTAL AND EUROPEAN BRONZES No. 53 JAPANESE BRONZE FIGURE OF FUKU-ROKU-JIU A tall headed sage called “god of longevity.” Height, 41% inches. No. 54 JAPANESE BRONZE FIGURE A water carrier. Brown patine. Height, 61 inches. IN Opeoo BRONZE WALKING LION In green patine. Copy after A. Barye. Height, 614, inches; length, 9 inches. No. 56 JAPANESE BRONZE WATER JAR WITH SWINGING COVER Melon shape, with inscription; the obverse side showing figure ) of a man who is cleaning the surface. Brown patine. - Height, 8 inches; width, 10 inches. First Afternoon No. 57 FRENCH BRONZE TRAY Raised on three pheenix figure feet. Interior with trophy and gar- . fy) land design; centered by bust of a queen. | heed Diameter, 13 inches. No. 58 PAIR OF JAPANESE BRONZE VASES Quadrilateral shape, with mythological figures in relief on back- _ \ground of scaled diapering. Bearing incised seal mark of Ta ~4,/ Nippon (Great Japan, etc.). Height, 15 inches. No. 59 GILT BRONZE JARDINIERE Low form, with stem handles, and foliage in relief. Has gilt . interior dish; cast by Susse Fréres; signed by F. Debon, the ~ ) \? sculptor. ; Height, 5 inches; width, 15 by 12 inches. No. 60 FRENCH GILT BRONZE EWER _s Bulbous shape, with rustic handles and nude female figure, seated _ . |. upon shoulder of vessel and holding fishing net. Signed by the 4" seulptor, C. Bibert. i Height, 161, inches. No. 61 GREEK BRONZE FIGURE . Representing an amazon standing upon column with cap of bronze. 4 . ° ° . ° 0 Covered with an antique verdigris green patine. (The arms are , f\ 0 : ; )¥ off.) Has a socle of dark red griotte marble. G ~~ if, e b ey) Catal Height, 171%, inches; base, 4 inches square. First Afternoon No. 62 FRENCH BRONZE FIGURE Representing a seated Roman youth enveloped in a toga; his hands are folded across the knees, holding a scroll. Mounted on a red griotte marble base. Height, 181/, inches; width of base, 23 inches. No. 63 OVIFORM BRONZE VASE French, with mercury. gilding. Wide central border, showing fisherman bearing trophies of the sea; the lower section with crabs and lobsters on seaweed. Made by F. Barbédienne. Height of vase, 24 inches. No. 64 ANTIQUE BRONZE FIGURE OF PERSEUS Louis XIV period. Representing Perseus standing upon body of a shark, with upraised hand and with winged helmet. (Sword missing.) A shield with Medusa head is suspended from the rocks near his side. Light brown patine. Height, 24 inches. From The Jacques Doucet Collection, Paris. Purchased from Messrs. J. & S. Goldschmidt, New York, 1918. No. 65 FRENCH BRONZE STATUE OF A DANCING GIRL With tambourine and long drapery, on round base. Modern; un- signed. Height, 28 inches. First Afternoon No. 66 BRONZE BUST OF A MOOR With mailed helmet; pistol and sword through his belt. Raised on dark-figured marble base. Signed by Emle. Guillemin. Height, 35 inches. No. 67 FRENCH BRONZE VASE STAND Modern. Greek design, with four legs, mask and ring ornament; circular top. Height, 354% inches; diameter of top, 12 inches. No. 68 FRENCH BRONZE FIGURE OF VICTORY Showing youth with bow, holding aloft a wreath of laurel, with his quiver on the ground. Clad in furs. Signed by the sculptor, E. Marioten. Height, 36 inches. No. 69 FRENCH GILT-BRONZE BACCHANALIAN STATUE Representing a nude nymph with staff and playful infant. Signed, J. L. Gérome, and cast by Siot-Decauville. Height, 36 inches. No. 70 PAIR TWO LIGHT BRONZE TABLE LAMPS With tripod base and claw feet; repoussé work details, with two branches holding electric bulbs; including red silk shades. Height, 28 inches. First Afternoon No. 71 TALL FRENCH BRONZE VASE BY BARBEDIENNE Urn shape, with handles at both the sides and neck. Greek details in low relief, showing human figures, including a hunter with hare, vegetable cart and a maid. In light brown patine. Height, 3 feet 9 inches. No. 72 GREEN VELVET-COVERED PEDESTAL For the preceding vase, No. 71 Height, 26 inches. No. 73 LARGE BRONZE TABLE LAMP Gothic style; with hand-wrought foliation and scrolls. Present- ing three lions rampant with shields that support a crown. Has hexagonal base with piercing. The bronze framework of shade is supported by three branches in hand-wrought Gothic foliage and fleur-de-lis. The details show opalescent glass inserts and red silk fringe finishes the shade. The whole resting upon a hexagonal base of oak. : Total height (with shade), 52 inches; diameter of bronze and glass shade, 28 inches. No. 74 TALL ITALIAN BRONZE TORCHERE Renaissance design, with tripod formed base, cartouche motifs, coronets, acanthus-leaf ends and claw feet, including three rams’ heads. Pilasters with acanthus leaves and cupids bearing gro- tesque Pan masks complete the elaborate detail, while a fine light brown patine finishes the surface. The candelabra end supports eight branches with electric candles, including a ninth central lamp. Has a dark oak finished pedestal. Height, 87 inches. (Illustrated) No. 74—TALL ITALIAN BRONZE TORCHERE First Afternoon NogiD TALL FRENCH BRONZE STANDARD-LIKE TORCHERE Renaissance style; slender pedestal form with tripod base; pre- senting figure casting in bold relief; two rams’ heads appearing near the top. Light brown patine. Cast by Barbédienne, of Paris. Height, 60 inches. No. 76 PAIR OF ORMOLU ANDIRONS Louis Quatorze design, with brown patine Bacchanalian figures representing Music. Each andiron stands on claw feet; the de- tails including elaborate rocaille scrolls and shell motif. Each: Height, 27 inches. No. 77 PAIR OF TALL BRONZE ANDIRONS The Renaissance details showing female torso figures with scrolls that support the top urns with dolphins; below appear clusters of pine cones to match finials. Finely cast and finished in dark patine after the antique. From the Barghello model. Each: Height, 38 inches. (Illustrated) No. 78 PAIR OF TALL BRONZE ANDIRONS Openwork casting, including dolphin feet, cupid mask with ring and fleur-de-lis finials. Each: Height, 40 inches. SNOUWUIGNV AZNOUd TIVE AO YlVd—LL ON First Afternoon No. 79 PAIR OF TALL BRONZE ANDIRONS Louis XIII style, with fine openwork and chiseled casting, in- cluding cupids and tripods. Free standing cupids modeled in the round serving as finials. Dark brown patine. Each: Height, 42 inches, First Afternoon ANTIQUE AND MODERN SCULPTURES:IN STONE AND MARBLE (Mostly obtained from Dikran G. Kelekian) No. 80 ANTIQUE STONE STATUETTE: ST. CATHARINE No. 80 French. Fifteenth century. Full- length figure in a blue tunic, and a red mantle edged with gold. A crown on her wavy hair, which falls on to her shoulders. In her right hand she holds her sword (the hilt of it is broken). Her emblematic wheel is held lightly in her left hand. Under the right foot she crushes the head of the Emperor Maximin. Height, 251, inches; width, 91, inches. No. 81 ANTIQUE STONE STATUETTE (POLYCHROMED) OF ST. JOHN THE EVANGELIST Full-length figure, with long curly hair, deep in thought and looking out toward the left. His red tunic is cut low and round at the neck, and his body is enveloped in a blue mantle. In his left hand he holds the volume of his gospel, which he also grasps lightly with his right hand. The feet are bare. The dove, perched on his left shoulder, inclines its beak towards his cheek. Height, 36 inches; width of base, 10% inches. No. 82 ANTIQUE GRECO-ROMAN STATUETTE: CERES Small full-length figure, swathed in tight-fitting mantle, with curly hair, and a vase on her head. In her left hand, which falls by her side, she holds ears of corn. (The right arm is missing.) Height, 32 inches. First Afternoon No. 83 ANTIQUE ROMAN MARBLE GROUP OF DIONYSUS Standing, full length. As the god of luxuriant fertility, he wears a fillet, together with a chaplet of vine leaves and grapes, round his brows. The robe, which swathes his nether limbs, is girt up behind his back to fall on to his left shoulder. Clambering vines and a bunch of grapes decorate the support on which he rests his left arm, and against which he supports the weight of his body. A lion cub, one of the animals sacred to him, is sitting on its haunches by his right side. Height, 321% inches; width of the base, 17 inches. (Illustrated) No. 84 ANTIQUE STONE STATUETTE OF ST. JOHN In a red tunic, which envelops his form, and a blue mantle, edged with gold, which frames in the head and falls loosely over his left forearm. In the left hand he holds a book that is fastened with a clasp. The head is bowed in contemplation, and the chin rests upon his upraised right hand. Height, 33 inches; width of base, 1114 inches. (Illustrated) No. 85 GOTHIC STONE STATUETTE OF A SAINT French. Sixteenth century. Full-length, bearded figure in red- lined cloak open and thrown back on to his shoulders. A rosary hangs from his girdle. He inclines his eyes toward the open book held in the left hand. His curved and high-crowned hat is decorated with the pilgrim’s shell and key. His staff is loosely held in his right hand. Against his left foot rests the tablet which is inscribed with a pair of scales. Height, 331, inches; width, 9 inches. (Illustrated) a? First Afternoon No. 86 ANTIQUE STONE STATUETTE: ST. JAMES THE GREATER French. Sixteenth century. Full-length, bearded figure in red- lined cloak open and thrown back on to his shoulders. A rosary hangs from his girdle, and his wallet is slung from a strap and hangs by his right side. He inclines his eyes toward the open book held in the left hand. His curved and high-crowned hat is deco- rated with the pilgrim’s shell and a key. His staff is loosely held in his right hand. Against his left foot rests the tablet which is inscribed with a pair of scales. Height, 351/, inches; width, 11 inches. First Afternoon No. 88 ANTIQUE MARBLE STATUETTE (POLYCHROMED) OF AN EVANGELIST Bearded, full-length figure, in a red tunic, which falls to the ground, and a blue mantle girt about him with part of it resting on the palm of his hand. In his hand he holds a book which has metal clasps and ties. The head is inclined, with pensive gaze. The long hair falls on to the shoulders, and down the back. Height, 3914, inches; width, 11 inches. No. 89 ANTIQUE ROMAN BAS-RELIEF: VICTORY: The goddess of Victory stands in her chariot, in the back of which is a cornucopia. With her right hand she urges for- ward the impulsive steeds whose reins she lightly grasps. Her breast is bare, and her left arm is partly covered by a drapery. Plain background. Height, 28 inches; length, 30 inches. No. 90 CARRARA MARBLE BUST OF YOUNG GIRL: “PRINTEMPS” Representing Spring; signed by the sculptor, D. Puech, dated Paris, 1907, surmounted on green velvet base. Height over all, 23 inches. First Afternoon No. 91 ANTIQUE MARBLE BUST: YOUNG HERCULES Greco-Roman The neck is bare, and the shoulders roughly covered with the skin of a goat which is knotted over the breast and leaves the lower part bare. Massive brow, strong nose, and fine features, leaves in the hair. Height, 82 inches; width, 26 inches. First Afternoon No. 92 MARBLE GROUP OF “DIANA AND AN EAGLE” By Georges Bareau. Small figure of the goddess with the crescent on her brow. She sits, with her left leg advanced, on the back of the eagle, her right leg leaning on its right wing and extended. Her right hand has just let loose the arrow from the bow still held in her left hand, as she with fixed gaze regards the mark and con- templates the accuracy of her aim. The eagle has alighted on a rocky eminence, with its body supporting the weight of Diana’s form; its claws clutch the ground for a surer grip, and it raises its beak upward toward the right. Signed in front: “Georges Bareau.” Height, 32 inches; width, 21 inches. Purchased from Barbédienne, Paris. First Afternoon No. 98 GILT BRONZE PEDESTAL Tripod form with cloven feet. Openwork, centered by a slender column including garlands and rams’-head motifs. Top of red griotte marble. Made by Barbédienne for the preceding marble of Diana. Height, 50 inches; diameter, 11 inches. No. 94 GRECO-ROMAN SARCOPHAGUS OF THE FIRST CENTURY A pair of amorini, flying inwards in the center foreground, hold between them an inscribed roundel the weight of which is in part borne by the kneeling figure of a child. The inscription on the roundel reads :—“D. M. C. Jul. Justi Eqr. Scribae Decur Aedilic Mai Defuncti Improv. Britannia Jul. Calpurnia Justa Patri Dulciss.” Beneath, on the left, reclines a bearded male form, with a child near, and who is approached by a dragon. On the right is a female with a child, and an ox is lying on the ground. At either end of the decoration is an embracing pair of putti. At end of the sarcophagus is a mythical winged animal. Under the sarcophagus is a pair of inverted capitals decorated with leaf forms and swags of foliage. Height, 1 foot 10 inches; width, 6 feet 4 inches; depth, 1 foot 9 inches. Obtained in Rome by Messrs. William Baumgarten § Co., for the late owner. (Illustrated) No. 94-GRECO-ROMAN SARCOPHAGUS OF THE FIRST CENTURY ty First Afternoon aT NN TT No. 95 IMPORTANT ANTIQUE MARBLE VASE Carved in relief with birds and amorini sporting amid vines and bunches of grapes. The upper band decorated with ivy leaves, surmounted by classical patterns. The shaft is fluted, and carved with egg and tongue pattern. : Height, 32 inches. (Illustrated) No. 954 ANTIQUE MARBLE PEDESTAL Carved in three successive bands of sea horses, mermaids grasping tridents amid shell decoration, and grotesque forms having the fore-parts of women and the hind-quarters of animals. With base and plinth. Height, 5114 inches. (Illustrated) No. 96 PAIR OF RARE GREEN MARBLE PEDESTALS Finely polished; with ormolu bronze mounting, showing floral garlands and ribbons around the body; finished with laurel wreath at its base, while the top is surrounded by string of gilt bronze beads. Height, 4 feet; diameter of top, 1114 inches. Nos. 95 and 95s—IMPORTANT ANTIQUE MARBLE VASE AND PEDESTAL First Afternoon No. 97 IMPORTANT MARBLE HALL TABLE Formed by a massive slab of Cipollini marble and supported by two Italian Renaissance marble capitals. The lower of the two capitals is Corinthian in style, and is decorated with acanthus leaves, with volutes and with egg and tongue pattern. The upper capital is Ionic in style, and decorated with plant forms and smaller volutes. The slab of marble is beautifully vemed and has a finely polished surface. Total height, 42 inches. Marble top, 6 feet long; 2 feet 11 inches wide; 3% inches thick. Obtained in Rome by Messrs. William Baumgarten § Co. for the owner. (Illustrated) ANTIQUE TEXTILES AND EMBROIDERIES No. 98 GREEN VELVET SOFA CUSHION Appliqué with embroidery coat-of-arms and crest, executed in varied colors. The sides bordered with antique gold embroid- ery edged with antique gold lace. Has rounded lower corners. Back of green silk. No. 99 ANTIQUE RED VELVET AND GOLD-EMROIDERED CUSHION Square shape, with elaborate gold and silver thread embroidery ), An Renaissance design, including green silk details. Edged with “Yantique gold lace. Back of red silk. Size, 22 by 22 inches. WIdVL VIVH WICdUVW UNVIYOdWI—L6 ON First Afternoon No. 100 ANTIQUE VELVET AND EMBROIDERED \: SOFA CUSHION \hU | Matching the preceding, but smaller. Size, 19 by 19 inches. No. 101 EMBROIDERED OLD GREEN VELVET SOFA CUSHION ! Rich appliqué with raised gold embroidery; centered by car- /\ \)Y touche with rose emblems. aly) Size, 17 by 21 inches. No. 102 EMBROIDERED OLD GREEN VELVET SOFA CUSHION Similar to the preceding. No. 103 ANTIQUE RUBY VELVET SOFA CUSHION r . With Renaissance gold-embroidered border and wide central _ SU — strip, showing flower and scroll details. Back of plain crimson velvet. Size, 19 inches square. No. 104 SQUARE OLD GREEN VELVET FOOT PILLOW \ With gold appliqué embroidery presenting Renaissance cartouche )~ motif framed by leafy scrolls; trimmed with gold bullion passe- menterie and large French tassels that finish the corners. Size, 22 by 18 inches. First Afternoon No. 105 ANTIQUE RUBY RED VELVET FOOT PILLOW \ 1} )“Low oblong shape, with passementerie borders and four large \ )~ 9 corner tassels; finished in ruby-colored silk with cords. AYA \ ADV . \Y Size, 23 by 20 inches. en - * \ \ 3 No. 106 \ OBLONG FOOT PILLOW a \, \Antique ruby red velvet with passementerie borders and four rt YA}- A : é { '. \©rich corner tassels, in ruby silk with cords. \ Size, 23 by 20 inches. No. 107 EARLY EMBROIDERED SILK CHALICE MAT | Byzantine, showing ancient appliqué embroidery; centered by a \ ~wreathed medallion enclosing figure of a disciple. The four | » corners hold small medallions with fleur-de-lis details executed in solid gold embroidery. Lined with crimson silk. Thirteenth or fourteenth century. Length, 211%, inches; width, 18 inches. No. 108 TWO RARE BYZANTINE EMBROIDERIES ©) Ecclesiastical mats; one showing the resurrection of Christ, in AN \ solid silk embroidery, ornamented with gold and pearls, including nV? a rich gold border in raised scroll design. The second presenting '\. Christ with the twelve apostles, solidly embroidered with gold yr threads in raised design, including an elaborate border in raised i gold. Fourteenth century. Size, 11 inches square. Purchased from Dikran G. Wélékian. First Afternoon No. 109 FRAMED OLD NEEDLEWORK PANEL Depicting the holy family. The young Christ is represented read- ing a scroll with the Virgin; Joseph appears in the background. The face and hands are appliqué and painted on silk. The ac- cessories include rose bushes and a column with drapery. In gilt frame. | Panel, 1114 by 8 inches. No. 110 TWO RUBY RED SATIN PANELS With Renaissance appliqué embroidery on gold cloth, including center medallion with figure of an apostle. Lined with antique red silk. Size, 2114 by 16 inches. No. 111 ANTIQUE TURKISH PURPLE SATIN PANEL With raised gold embroidery, presenting an appliqué and solidly embroidered medallion with an angel executed in gold, silver and silk threads. Size, 21 by 21 inches square. No. 112 ANTIQUE SILK BROCHE COVER French; silver-white ground with floral garlands and medallion; woven in gold and colored silks. Lined with green silk. Length, 34 inches; width, 23 inches. First Afternoon No. 1138 RUBY VELVET TABLE COVER The elaborate needlework and silk application with cord outlining ; showing a Renaissance border design executed in varied colors. Has plain ruby velvet center; lined with crimson silk. Length, 5 feet 10 inches; width, 3 feet. No. 114 RUBY SILK VELVET EMBROIDERED TABLE COVER Narrow shape, the center with crimson silk embroidered band sus- taining an elaborate appliqué embroidery with four cartouche medallions executed in high silver and gold relief, surrounded by gold tinsel braid; the two ends finished with long gold fringe, to match. Length, 6 feet 7 inches; width, 2 feet. No. 115 ANTIQUE GREEN VELVET TABLE COVER With elaborate Renaissance needlework in colored silk appliqué outlined with gold thread. The design including passion flowers and leafy scrolls. The multicolored silk used is dominated by sapphire-blue, pink and light emerald-green. Lined with pea- green silk. Length, 651; inches; width, 321/, inches. No. 116 ANTIQUE RUBY VELVET TABLE COVER ‘Bordered with gold needlework in Renaissance scroll design and centered by an elaborate gold- -embroidered (orphrey) stripe, relieved by colored silk variations; transferred from an antique chasuble. Length, 6 feet 8 inches; width, 2 feet 11 inches. First Afternoon Norby ITALIAN EMBROIDERED ALTAR FRONTAL Seventeenth century, with solid silver-embroidered ground with raised work presenting an elaborate design, executed in varied colored silks, corded with silver-gilt outlining. Center present- ing a fruit subject. The ends with solidly embroidered scrolls including mask. Trimmed with long bullion fringe and lined with crimson silk. | Length, 8 feet 6 inches; width, 2 feet 11 inches. No. 118 FRAMED ORIENTAL WOVEN SILK PANEL (Form of a prayer rug.) The prayer niche or mihrab with floral scrolls and vase, including suspended mosque lantern and two slender column forms that support the arched spandril. Chiefly woven in gold, together with green and pink colored silks. The varied border with green and gold ground, including sacred lotus and passion flowers amid arabesque details. Crossed at the top and bottom by horizontal bands. Length, 6 feet; width, 3 feet 8 inches. COSTLY ANTIQUE AND MODERN PORTIERES AND WINDOW CURTAINS No. 119 PAIR ANTIQUE ITALIAN EMBROIDERED PORTIERES Cream-silk ground, sustaining an elaborate embroidery with floral scrolls and varied blossoms in “all over” design executed in col- ored silks and gold tinsel. The centers showing an armorial shield with coronet. Edged with a gilt tinsel and thread gal- loon, including long bullion fringe at the bottom. Lined with crimson silk. 3 Length, 8 feet 11 inches; width of each panel, 58 inches. \ TWO PAIR LONG WINDOW CURTAINS First Afternoon No. 120 THREE PAIR LONG WINDOW CURTAINS ; OF BROCHE SILK The pale rose-colored ground sustaining small flower baskets and sprays amid leafy curving stripes. Louis Quatorze style. Trimmed with elaborate French passementerie edging with gal- loons. Cord loops with heavy tassels. The upper draperies in- ») » cluding passementerie cord and tassels. Height, 12 feet; made for windows 5 feet in width. No. 121 OF BROCHE SILK Matching the preceding in every detail. Height, 12 feet; window width, 5 feet. No. 122 THREE PAIR OF LONG WINDOW CURTAINS ~\ Made of antique ruby-colored velvet and: richly embellished with appliqué and raised gold embroidery down the front, executed in form of floral borderings, together with gold passementerie braid “edging. Lined with écru silk and finished above by escalloped valances of like old ruby velvet with gold appliqué embroidery and gold fringe. : Height, 10 feet 4 inches. No. 1238 THREE PAIR OF LONG WINDOW CURTAINS Matching the preceding. Of antique ruby silk velours, with elaborate gold-embroidered appliqué down the front showing floral and foliage bordering executed in gold, together with passementerie braid edging. With écru silk lining. The tops are finished with narrow escalloped valances of like old ruby velours, with gold appliqué embroidery, and trimmed with long old-gold fringe. Height, 10 feet 4 inches. First Afternoon No. 124 PAIR OF WIDE WINDOW CURTAINS WITH VALANCE DRAPERY Emerald-green silk velours trimmed with green silk passemen- terie edging and fringe. Lined with écru silk; including green silk cord loops and tassels. Height, 12 feet 3 inches. No. 125 TWO PAIR OF GREEN SILK VELOURS PORTIERES Trimmed with silk passementerie galloons and edged with fringe. French heading and green silk lining. Height, 7 feet 10 inches; width, 48 inches (each curtain). No. 126 SINGLE GREEN SILK VELOURS PORTIERE Matching the preceding. Height, 7 feet 10 inches; width, 48 inches. No. 127 PAIR OF CANARY YELLOW VELVET PORTIERES With lace Arabe application and bordering. Lined with yellow silk; has French heading. Length, 8 feet. No. 128 PAIR OF CANARY YELLOW VELVET PORTIERES Matching the above, with lace application. Length, 8 feet. First Afternoon No. 129 PAIR OF CANARY YELLOW VELVET PORTIERES With Arabe lace applications, including vertical bordering at the front, with narrow lace edging. Lined with golden yellow silk. Length, 8 feet. No. 130 PAIR OF LONG SILK RED JASPE VELVET WINDOW CURTAINS Trimmed with red silk edging fringe to match; lined with écru silk. Height, 12 feet 4 inches; width, 50 inches. RARE ANTIQUE RUGS (Mostly purchased from Dikran G. Kelekian) No. 181 SMALL PERSIAN SILK RUG Fine Kashan weave; the field with old-rose ground showing small medallions and corner motifs filled in with varied light-colored arabesque details; framed by a triple bordering. The lower corner bears weaver’s mark. | 3 Length, 4 feet 8 inches; width, 2 feet 6 inches. No. 182 SMALL ANTIQUE ASIA MINOR RUG Seventeenth century The light emerald-green ground sustaining a central medallion with four pendants and corner motifs that uniformly display a black ground filled with floriations; dominated by soft pink and rose tones. The framing borders in triple form, showing dark rose and black grounds with delicate floral tracing. Length, 4 feet 10 inches; width, 3 feet 7 inches. First Afternoon No. 138 ANTIQUE KOULA PRAYER RUG Seventeenth century The prayer niche or “mihrab” with ruby red ground showing two column forms, and floral emblems, while the spandril arch with sapphire-blue ground sustains conventional flowering and is fol- lowed by a narrow horizontal panel with formal details. Framed by seven borders of varying widths, the central with blue ground showing recurrent cartouche and floral scrolls. Length, 5 feet 1 inch; width, 3 feet 9 inches. No. 184 PERSIAN SILK PRAYER RUG Seventeenth century Sustains a réséda green prayer niche with slender columns and floral pendants, woven in contrasting ruby red, blue and green. The spandril arch, with pinkish ground, showing delicately out- lined floriations, followed above by the usual horizontal panel with red, green and blue details on light gray ground. The main border showing an ashen-gray ground, with recurrent floral car- touche motifs woven in varied colors amid golden yellow scrolls. Triple flanking guard stripes, showing varied floriation with pink grounds. Lined with green cotton. Length, 5 feet 4 inches; width, 3 feet 8 inches. No. 185 SMALL ANTIQUE PERSIAN RUG Seventeenth century The field with ruby red ground presenting an “all over” pattern interrupted by three horizontal stripes; framed by an inner bor- der in reciprocal red and yellow lancet forms, while the outer band, with black ground, is relieved by geometrical details. Fin- ished by an outer band with small light-colored floriations. Length, 5 feet 4 inches; width, 2 feet 10 inches. | U Sh } \ PERSIAN SILK PRAYER RUG Seventeenth century First Afternoon No. 136 q The prayer niche with light green ground, including column forms and a suspended emblem woven in light red, blue and white. The red spandril arch is filled with conventional small leafy forms, while the narrow green lower and upper oblong panels are filled with small floriations. Framed by three light blue borders, showing recurrent flower and anguilliform designs woven in con- trasting colors, with flanking guard stripes, uniformly woven with white ground and delicate small red details. Lined with green cotton. Length, 5 feet 6 inches; width, 3 feet 11 inches. No. 137 ANTIQUE PERSIAN RUG Sixteenth century Rare Ispahan weave, with deep rose ground, the field sustaining a dark green medallion and corner motifs; amid these appear two rose-colored panels and flower vases, together with palm- leaf details, woven in harmony with the center and corner de- vices. Has triple borders, the central with bluish-black ground sustaining a recurrent arabesque and foliage design, woven in colors to harmonize with the center. Length, 5 feet 7 inches; width, 4 feet. No. 138 ANTIQUE ASIA MINOR PRAYER RUG Seventeenth century Ladik weave; the red prayer niche sustaining a blue branching tree of life design, while the arched mihrab spandril is woven with a sapphire-blue ground relieved by herati leaves and a small emblem. Above the arch appears a square red panel with five conventional Ladik or “Rhodian lily” stems. The framing bor- ders including a wide center band with light ground, and geo- metrical angular formations, woven in varied colors, together with flanking guard stripes. Length, 5 feet 10 inches; width, 3 feet 6 inches. gt h fi ‘aie * First Afternoon No. 139 ANTIQUE ASIA MINOR PRAYER RUG Sixteenth century Koula weave, with red mihrab (niche) and blue spandril arch ex-_ tending down in column form at the sides; carrying a floral pendant, together with small red, yellow and white blossoms. The mihrab is headed by a horizontal panel with yellow ground, show- ing ruby red and amber S-scrolls. Framed by a series of narrow borders, including a wide border with sapphire-blue ground, in- terwoven with small amber yellow, pink and white floral devices. Length, 6 feet 4 inches; width, 4 feet 6 inches. No. 140 ANTIQUE PERSIAN RUG Sixteenth century The field, with an Ispahan ruby red ground and thin weave, sus- taining a small “all over” pattern, consisting of lotus and other flowers posed amid slender leafy stems. The main border pre- senting a scrolling pattern in reciprocal ruby red and yellow, filled with lotus flowers and arabesque details, correlated to the field, and including flanking narrow guard stripes with small stellated forms. Length, 6 feet 5 inches; width, 4 feet 3 inches. No. 141 ANTIQUE PERSIAN RUG Early eighteenth century Kerman weave. The field, with old-rose ground sustaining a large dark blue foliated medallion, filled with arabesque and flowering palmette motifs woven in light colors, together with four corner devices. Framed by four borders; the central with dark blue ground in harmony with the corners, showing conventional lotus flowers that connect with henna leaves. The flanking band show- ing salmon-red ground with small floriations. Outer border with white ground and small floral buds. Length, 6 feet 7 inches; width, 4 feet 2 inches. a7 0 yo" // Ll 2a No. 143 / First Afternoon No. 142 0% ANTIQUE ISPAHAN RUG Early sixteenth century The field, with old-rose ground, presenting interesting light-col- ored lotus palmettes amid scrolling foliage and cloud bands or licht details; woven in pale sapphire and deep lapis-blue, amber- yellow, emerald-green and coral-red tones of the Abbasside periods. A characteristic triple bordering frames the panel; the wide central band, with dark blue ground, presenting a recurrent palmette and floral form, woven in colors to harmonize with the field. The guard stripes showing contrasting light-green body colors, including small floriation. Lined with green cotton. Length, Gxftee== inches; width, 4 feet 5 inches. 107 ROYAL POLONAISE RUG Sixteenth century With sumptuous silver thread ground, the field is symmetrically covered by Saracenic arabesque scrolls, centered by a medallion motif with golden ground and low-toned floriation, woven in soft- colored silks. The four flanking half-medallions at the sides display mottled jade-green ground with studiously consistent soft tints in distinctive details: Framed by a reciprocal border in lanceolated design, showing pale rose and silver thread weave. A narrow outer border with small floriation finishes the Polish- Persian weave. Length, 6 feet 7 inches; width, 4 feet 6 inches. No. 144 ANTIQUE POLONAISE RUG Sixteenth century With free Saracenic design, woven in soft light silk; the field presenting a subdued “all over” motif composed with arabesque scrolls and lotus flowered palmettes, symmetrically punctuated by serpentine cloud bands or licht devices peculiar to early Persian weaves. The framing border displays an ornate lanceola- tion woven in reciprocal tones of aquamarine green and pale pink coral. Lined with green satin. Length, 6 feet 8 inches; width, 4 feet 6 inches. Nv First Afternoon ih ni \ ov No. 145 NTIQ UE ISPAHAN RUG Siateenth century 4 4 The field, with a soft-lustred pinkish magenta red ground pe- culiar to its period, showing a typical and well-balanced “all over” pattern. The characteristic details include lotus palmette, with arabesque forms and lichi or “cloud band” devices, woven in clearly defined sapphire and lapis-blue, amber and topaz yel- low, coral-red and pink tones. Framed by a dark bluish-green border with recurrent palmette design woven in kindred colors of the field. Length, 6 feet 9 inches; width, 4 feet 2 inches. No. 146 “ANTIQUE ISPAHAN RUG Early sixteenth century The field, with typical old-rose ground, presenting light-colored palmettes amid scrolling foliage and stellated blossom, punctu- ated by ivory-white licht or “cloud band” devices. The well-bal- anced details are ‘carefully woven in soft tones of sapphire and lapis-blue amid amber-yellow, emerald-green and coral-red tints, of the Shah Abbas period. Framed by a triple border; the wide central band, with dark lapis-blue ground, sustaining recurrent lotus palmette and other floral forms in colors to harmonize with the field. ‘The guard stripes, with contrasting light-green body colors, include small floriations and traceries. Lined with green cotton. Length, 6 feet 10 inches; width, 4 feet 6 inches No. 147 ANTIQUE ISPAHAN RUG Early sixteenth century The field, with typical old-rose-toned ground, presents a char- acteristic Iran design, distinguished by well-balanced lotus pal- mettes, leafy sprays and the serpent-like lichi or “cloud band” devices; the details are woven in colors of semi-precious stones, like the topaz, emerald, sapphire and jade. The wide border, showing mottled greenish blue ground, involving recurrent pal- mette cartouche with formal floriations, together with flanking guard stripes. The inner showing a pale blue ground relieved by small tracery pattern and the outer with a rose ground. Length, 6 feet Feinches; width, 4 feet 8 inches. First Afternoon No. 148 ANTIQUE ISPAHAN RUG Sixteenth century The field, with typical old-rose ground, sustaining well-defined and large Iran leaf motifs together with two small pale green medal- lions and corner devices. The scrolling arabesques, flowering palmettes and leaf patterns in the field, displaying varied tur- quoise, sapphire and lapis-lazuli blue tones in combination with soft jade-green, amber-yellow, coral-pink and ivory-white details. The main border shows recurrent floral and palmette forms woven in kindred tints with a dark mottled blue ground color, together with flanking guard stripes, including an inner band with white ground and an outer old-rose-toned bordering. J pw AY ae No. 149 ANTIQUE ISPAHAN RUG Sixteenth century Length, 11 feet 4 inches; width, 5 feet 3 inches. ' The field, with ruby-red foundation, displaying a well-balanced and typical “all over” pattern with large foliations, white lichi or “cloud bands” appear, disposed amid palmette and lotus flow- ers, woven in light colors (not unsimilar to the preceding rug in its color scheme of semi-precious stones.) A series of three borders frame the panel; the widest shows dark blue ground, with recurrent conventional lotus flowers amid foliations and. smaller floral details. The two flanking borders uniformly sus- taining deep golden yellow grounds with delicate traceries of vines. Length, 13 feet 9 inches; width, 5 ee ee es SECOND AND LAST AFTERNOON’S SALE SATURDAY, JANUARY 26, 1918 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK Catalogue Nos. 154 to 248, inclusive COSTLY MODERN AND ANTIQUE FURNITURE (With few exceptions either imported for the late Mr. Isaac D. Fletcher or made to his order by Messrs. William Baumgarten & Co.) No. 154 CARVED AND GILT WOOD PEDESTAL Chinese design, for vase. Height, 30 inches; diameter of top, 12 inches. No. 155 CHINESE CARVED TEAKWOOD PEDESTAL The four legs and floral carving supporting circular top. Height, 58 inches; top diameter, 131% inches. No. 156 FRENCH GILT SIDE CHAIR Louis Quinze design, carved with cane shield back and cane seat. Second and Last Afternoon No. 157 FRENCH GILT SIDE CHAIR Louis Quinze design; with gilt cane seat and back. No. 158 FRENCH INLAID PALISSANDRE TABLE Regence style; with four curving legs and inlaid circular top. Ormolu mounting in delicate design, including a rim bordering. Diameter, 26 inches. No. 159 CARVED AND GILT WOOD WALL CABINET Louis Quatorze design, with plate-glass doors and mirror-back, including two plate glass shelves. Fashioned to represent a deep frame with corner cartouches and scrolls. , Height, 37 by 30 inches. No. 160 TWO ITALIAN CARVED AND GILT SEATS Eighteenth century. The elaborate rocaille carving including amorini heads at the front, with ornate stretchers; centered by a mask in solid old gilding; the seats are covered in antique silk ruby-colored velours, enriched with silver-gilt tinsel braidwork, including floral and scroll designs; the two seats slightly varied in detail of the braid application. Height, 22 inches; extreme width, 25 inches. Second and Last Afternoon No. 161 ITALIAN CARVED AND GILT OTTOMAN SEAT X-shape (style a ciseawx). Has four projecting arms, finished with female heads, while the front and back medallions are carved with amorini. The seat is covered with early seventeenth century ruby-colored velours, including loose cushion of figured Genoese velvet showing red flower and scroll patterns, on old-gold ground. Total height, 31 inches; width, 32 inches. No. 162 CARVED AND GILT PEDESTAL Louis Quatorze style, with triangular base and claw feet; the details include masks that hold garlands; the circular upper sec- tion is finished with flutings and laurel border. Height, 29 inches; diameter, 16 inches. No. 163 FRENCH MAHOGANY PEDESTAL WITH ORMOLU MOUNTING Fluted column form, with revolving top; showing carved pilasters and spreading base; has laurel wreath mounting in gilt bronze. Height, 36 inches; diameter, 17 inches. No. 164 FRENCH PALISSANDRE AND ORMOLU TABLE The finely chased ormolu mounting including stretcher with urn. The round top is finished with a gilt bronze molding, while center presents fine tesselated bois-de-rose inlaying. By Linke, Paris. Height, 30 inches; diameter, 21 inches. Second and Last Afternoon No. 165 FRENCH INLAID PALISSANDRE AND ORMOLU PEDESTAL (Gaine) Louis Quinze design, with light violet wood inlaying in panels. Including elaborately chased ormolu bronze mounting. Has colored marble top and four bombé panel sides. | Height, 4 feet; width, 15 inches (square). No. 166 FRENCH MARQUETRY TABLE Louis Seize style in acajou mahogany, with elaborate ormolu mounting, including four slender caryatid legs. The scrolled stretcher is surmounted by a low round basket form. Has ma- hogany drawer, with ormolu scrollwork and cupid medallion. Top, with rounded corners, 30 by 20 inches. No. 167 fh , FRENCH VITRINE TOP TABLE Of mahogany, with ormolu mounting, including four torso-fig- ured legs in mercury gilt bronze. The top for miniatures has glass lid. Lined with ruby velours and a loose white silk mat with gold lace braid. Top, 31 by 21 inches. Second and Last Afternoon y yl , No. 168 v “ TWO CARVED AND GILT ITALIAN STOOL-SEATS Eighteenth century. The elaborate rocaille and gilt carving including amorini heads at the front, while the ornate stretcher is centered by a mask. The seats are covered uniformly in an- tique ruby silk velours enriched with raised gold appliqué em- broidery done in floral and scroll designs. Extreme widths, 2 feet 1 inch. lS — - AVA No. 169 VV Y) TWO CARVED AND GILT ITALIAN STOOL-SEATS Matching the preceding pieces. Second and Last Afternoon No. 170 WIDE-SEATED BERGERE ARMCHAIR LA _’~ Louis Quinze design, with triple back and cane seat. No. 171 , FRENCH GILT ARMCHAIR ‘ag id Bb) ir Louis Quinze design, carved with rocaille scrolls and shell-form ; sides, with cane seat and high arms. INO e182 FRENCH CONSOLE TABLE aie RN as Louis Quinze design, carved and solidly gilt with two scrolling legs and open rocaille scrollwork. Has pink marble top. Width, 28 inches; depth, 18 inches. No; 173 CARVED AND GILT SEAT wer 4 wv Youis Quatorze design; six legs, with scroll and openwork | ] () 74 stretcher. The two high sides with elaborate carving, including | "cornucopia shell and plumed finials. Outer side pieces showing carved and gilt paneling, with quiver trophies and dove. Up- holstered in antique red broché silk. Seat and sides alike. Length, 4 feet 2 inches; width, 21 inches. i yo # A L Second and Last Afternoon No. 174 A \ Jf Sheer fy Be CARVED AND GILT ARMCHAIR With twisted legs and stretcher, including carved scrolling gilt. arms. The seat and high-arched back are covered in sixteenth century ruby-colored velours, bordered with old-gold passemen- terie braid in narrow and broad design. Outside back is cov- ered in like old ruby velvet. : [~ No. 175 a CARVED AND GILT ARMCHAIR Matching preceding; the seat and tall arched back covered in sixteenth century ruby-colored velours with raised gold passe- menterie braid on the seat and back. The outside back is covered in old ruby silk velvet. Second and Last Afternoon /~ No. 176 GILT BERGERE ARMCHAIR Frame with high back and elaborate carving, showing masks at the arms, and claw feet; the top is carved with an armorial shield and crest, supported by griffins. Upholstered in red figured vel- ours, with loose cushions. The outside back is covered with crimson silk damask. No. 177 _ GILT BERGERE ARMCHAIR “Matching the preceding, and with similar covering. No. 178 FRENCH GILT WINDOW SEAT Louis Quinze design, carved with rocaille scroll and shell formed sides, including gilt canework. Length, 3 feet 6 inches. No. 179 LOUIS SEIZE ORMOLU TABLE, WITH INLAID MARBLE TOP The four legs presenting finely chiseled female torsos with floral garlands, terminating in twisted legs that connect below with ‘the stretcher, centered by a rosette. The frieze with delicate openwork scroll and flower details, including a laurel molding. The marble inlaid top shows a small acanthus-leaf framing of ormolu for the cubes of varied agates and marbles. Has velvet base. Probably early nineteenth century. Height, 32 inches; top, 33 by 21 inches. Purchased from Messrs. Seligmann, Paris. i, Second and Last Afternoon No. 180 INLAID PALISSANDRE AND ORMOLU PEDESTAL Louis Quinze style; with elaborate ormolu mounting. The finely chiseled ormolu details including rocaille scrolls with lon heads and pelts, together with lion claw feet. The four sides are pan- eled with inlaid palissandre wood and_ bois-de-violette. Has light agate figured marble top. Height, 4 feet 2 inches; top, 17 inches square. Second and Last Afternoon No. 181 FRENCH TABLE DESK, WITH CLASSEUR Inlaid acajou mahogany with ormolu mountings. The top,, with rounded corners, is inlaid in geometrical design with ebony and palissandre woods. Has portable filing case (en suite) with rolling front of acajou mahogany, the interior of which is arranged with drawers and mahogany shelves for stationery. Surmounted by cupid with arrow. Length of top, 4 feet 1 inch; width, 2 feet 2 inches. Portable classeur: Height, 15 by 17 inches. No. 182 FRENCH GILT CENTER TABLE Louis Quatorze design; carved square pilaster-formed legs, with open shell motif and elaborate carved crossed stretcher; the apron with openwork scrolls, including cartouche with mask. In- serted top of pale green onyx. Length, 4 feet 9 inches; width, 2 feet 7 inches. No. 183 CARVED AND GILT BANQUETTE Louis Quinze design; carved and gilt wood with rocaille scrolls. The seat is covered in fine Flemish tapestry showing an escutcheon form, with swags of fruit on light ground. Width, 22 inches. No. 184 t %, “THREE AUBUSSON TAPESTRY ARM AND SIDE CHAIRS Regence style; carved and gilt frames. Seats with La Fontaine _ subjects, woven within light cartouches, together with Pavot flowering and saimon-red border filling. The tapestry on backs showing similar floral cartouches, with cupids that separately represent a harpist, a drummer and a singer. (Illustrated) SUIVHO ACIS GNV WUV AULSHdVL NOSSAGNV AHUHL—PPT ON Second and Last Afternoon No. 185 FOUR GILT ARMCHAIRS Louis Quatorze design; arms with griffin heads and pilasters with torso figures. Upper ornament with mask and scrolls, in- cluding low finial. Seats and backs are covered in fine old Brussels tapestry. Seats showing light ground with floral basket motifs, supported by cupids and flanked by the figures of slender females. The backs showing varied female figures with flower baskets and caryatids, together with leafage on light ground; amorini and birds appear near the base. Second and Last Afternoon No. 186 EIGHT GILT SIDE CHAIRS To match the preceding armchairs. Carved frames in Louis Quatorze design; with fine old tapestry seats and backs. Second and Last Afternoon of No. 187 ITALIAN CARVED AND GILT ARMCHAIR With high back. Fanciful carved scrolls forming legs and stretcher; the front showing heads of youths. The arms, with extending scrolls, are carved and gilt in like manner, while the top, with finials, is centered by a radial stellation. Both seat and high back are covered in antique red silk velvet enriched with raised gold needlework, in bold Renaissance scroll and flower details. The outside back is covered in crimson silk damask. From the Colonna family. Second and Last Afternoon a No. 188 /\) LARGE ITALIAN WALNUT ARMCHAIR © Renaissance style, with straight high back supporting carved and gilt scrolled finials and arms; turned front legs with lion claw feet, with turned stretcher. The seat and back are covered in early seventeenth century ruby-red velours, enriched with gold passementerie braid applications. Second and Last Afternoon No. 189 LARGE ARMCHAIR Companion to No. 188. Renaissance style, with high back and carved finials; arms and scrolled claw front feet with gilding. Seal and back covered in early seventeenth century ruby-red vel- ours, with gold passementerie appliqué braid-work, showing straight bands and ornate scrolled details. No. 190 LARGE ITALIAN CARVED ARMCHAIR The elaborate carving and gilding including floral scrolls, to- gether with twisted columns in red and gold, which treatment is followed on the four legs with stretcher. The seat and back in ruby-red velours covering is edged with gold passementerie braids applied in wide and narrow forms. Height, 6 feet 6 inches. From the Colonna family. No. 191 FRENCH MARQUETRY MUSIC CABINET Louis Seize. With ormolu mounts. Light bois-de-rose panel door, with tesselated inlaying of palissandre and bois-de-violette woods surmounted by garlands and wreaths in ormolu. The lower sec- tion has two shelves, round fluted legs and panel back. Top finished with openwork gilt bronze railing. Height, 56 inches; width, 25 inches. Second and Last Afternoon LARGE GILT BERGERE ARMCHAIR Louis Quinze style; elaborate carving and pierced rocaille scroll- work, including cupid at the top holding a lion skin and club, simulating Hercules; seat and back covered with colored silk and gold thread needlework, executed in antique style on cloth of gold. The seat has loose cushion showing floral details; with peacocks. Sides are covered with similar appliqué embroidery and back with white moiré silk. Second and Last Afternoon No. 193 GV / 0) ist 28 to) TWO CARVED AND GILT ARMCHAIRS OF STATE ~/ § Louis Quatorze style; elaborately carved frames, with open scroll / details and fanciful stretcher. High back, showing cartouche with fleur-de-lis flanked by leafy scrolls and shell cresting. The seats and backs are covered with jardinieére velvet. Second and Last Afternoon ae, No. 194 CARVED AND GILT THRONE CHAIR Borghese design; crossed arms supported below by cupids. Front with Renaissance scroll details centered by a blindfolded mask, while the carved column sides, with fluting and cupid finials, hold shields. Seat upholstered in antique red velvet, while the red velvet panel back is supported by silken cords. Showing a raised gold embroidery appliqué, including passementerie bor- dering, with a central cartouche pendant and old bullion fringe. AKY Second and Last Afternoon No. 195 FRENCH MAHOGANY AND ORMOLU VITRINE Regence style, in two sections. With glass door and four sides; free standing, supported by the low section in table form. The bottom with mirror, including one heavy plate-glass shelf. Has plate-glass top. Height, 5 feet 1 inch; width, 32 by 20 inches. No. 196 ITALIAN CARVED AND GILT BANQUETTE Louis Quatorze style; openwork apron front, with six carved legs, floral swags and acanthus leaves. Double stretchers, with carved scroll centers. The seat is covered with antique red velours, en- riched with raised gold embroidery; showing laurel bordering with central flowering cartouche. Length, 5 feet 9 inches; width, 23 inches. No. 197 LARGE FRENCH INLAID PALISSANDRE WOOD TABLE Regence design, with ormolu mounting. The four curving legs, culminating in claw feet, support female figures. The front has three drawers, with chased gilt bronze handles and elaborate escutcheons. The two ends of table show masks with crowning of grapevine. The top is covered in brown leather, with tooled gold bordering, including fluted ormolu edge with shell corners. Length, 5 feet 8 inches; width, 35 inches. (Illustrated) WIdVL GOOM ANAGNVSSITVd GIVINI HONHYA AOUVTI—LET “ON | RED Ef] Second and Last Afternoon No. 198 RENAISSANCE WALNUT TABLE WITH DRAW TOP Carved sides, with bold scrollwork and fluted pilasters, resting on curved feet. The broad stretcher presenting oe fluted column supports, with side pilasters. Length, 5 feet 6 inches; width, 35 inches. (Illustrated) No. 199 TALL RENAISSANCE CHAIR OF STATE French walnut; with high-back carved panels and pilasters; pre- senting flowered scrolls with masks and carved arms. Finished with elaborate finials. Has raised semicircular foot-rest, while the seat includes a plain red silk velours cushion. Height, 80 inches; width, 35 inches. No. 200 LARGE FRENCH PALISSANDRE VITRINE With elaborate ormolu mounting. Louis Seize design; two doors and sides have bent crystal plate glass. The bronze work beau- tifully chiseled and mercury gilt. A fanciful floral group, with rocaille scrolls, ornaments the top. Interior with mirror back, including five thick plate-glass shelves. By Linke, of Paris. Height, 7 feet 2 inches; width, 3 feet 6 inches. dOL MVUG HLIM WIAVL LANIVM BONVSSIVNYU—86T ON Second and Last Afternoon No. 201 FRENCH INLAID BOIS-DE-ROSE AND ORMOLU CABINET Regence design; with elaborately chased ormolu mounting, in- cluding free relief figures of cupids (allegorically symbolizing arts and crafts). The bombé door, with inlaying, presenting a rich framework of ormolu; centered by a mask of Neptune and shell, together with flanking amorini amid cloud scrolls. The legs terminating in claw feet. Has African marble top. Height, 4 feet 4 inches; width, 5 feet. Note the fineness of the ormolu chasing or ciselé work, made by Linke, of Paris. (Illustrated) No. 202 LARGE CARVED AND GILT CENTER TABLE Late Louis Quatorze design, with elaborate carving, including pierced work; the four legs showing shell and scroll details con- necting with the ornate stretcher. The carving on frieze includ- ing crested cartouches with fleur-de-lis emblems. Flanked by floral scrolls. ‘Top, of fine black and yellow figured marble. Height, 35 inches; length, 6 feet 6 inches; width, 3 feet 3 inches. No. 2038 GILT CONSOLE TABLE Louis Quinze design, with figures, including rocaille scrolls; shell and cupids on stretcher. Has light-colored marble top. Height, 32 inches; width, 78 inches. No. 20I—FRENCH INLAID BOIS-DE-ROSE AND ORMOLU CABINET (By Linke, of Paris) Second and Last Afternoon No. 204 7 SIXTEENTH CENTURY UMBRIAN CASSONE In the center an armorial device with the coat-of-arms of the Masimo family, placed beneath a female head, is borne by two female forms as supporters. On the left a centaur carries off a woman, while in the presence of another man an amorino sounds the bugle. On the right are two centaurs and a woman. In their midst another amorino blows a trumpet. The upper edge is ornamented with a classical design of acanthus leaves and floral patterns. At either corner is a mythical female form, and at either end is a grotesque winged lion. The cover is carved with floral designs, and egg and tongue pattern. Height, 2 feet 4 inches; length, 5 feet 8 inches; width, 1 foot 101, inches. Purchased abroad for the late owner by Messrs. William Baumgarten & Co. (Illustrated) MANOSSVO NVIUANWA AYOLNAO HLNAALXIS—#06 ON Second and Last Afternoon xs OE: No. 205 ITALIAN RENAISSANCE WALNUT CABINET In three parts; the lower console section with female figures and boldly carved claw feet, including a shallow curved drawer and grotesque mask on apron. Carved central section with three cupboards, showing elaborate figure work in bold relief; center panel represents a “Rape of the Sabines” subject, while the narrow panels show figures in niches; the middle section including turned and carved columns that support the frieze. The elabo- rately carved upper section presenting central panel, with gro- tesque Pan mask, flanked by slender double columns and amorini seated upon horns-of-plenty; carved finials finish the top. Height, 8 feet 6 inches; width, 4 feet 2 inches. Purchased abroad for the late owner by Messrs. William Bawmgarten & Co. (Illustrated) No. 205—ITALIAN RENAISSANCE WALNUT CABINET Second and Last Afternoon No. 206 TALL CARVED FRENCH WALNUT CABINET Renaissance style; in three sections; the middle section with two carved panels and supported by griffins. The upper section, with panel, including cartouche forms and Bacchanalian carya- tids carved in bold relief. Copied from a famous cabinet in the celebrated Spitzer Collection, Paris. Height, 100 inches; width, 56 inches. (Illustrated) No. 207 LARGE GILT MAHOGANY EXTENSION TABLE Square top, showing the polished solid mahogany with rounded corners, bordered with egg and dart carving with gilding. Mas- sive carved legs with garlands, and large lion claw feet connecting with broad stretcher and center leg. Accompanied by mahogany box with six extra leaves. Top, 6 feet square. No. 208 LOUIS QUINZE CARVED AND GILT SOFA With high back. Arms in cornucopia form. Finished in elabo- rate rocaille scrolled details, the back is centered by a cupid with trident. Upholstered in antique silk broché, showing striped floral pattern including a loose cushion on seat, en suite. The back is covered in plain pink silk. Height of back, 62°inches; width, 6 feet. No. 206—TALL CARVED FRENCH WALNUT CABINET (Reproduction, of the famous Spitzer Cabinet) Second and Last Afternoon No. 209 GILT LONG SEAT, OR CHAISE LONGUE Louis Quinze style, elaborately carved frame, with soft old-toned gilding. The carving in bold relief, including rocaille shell orna- ments and floral sprays. The long seat is covered in antique ruby velvet, worn from age, with gold embroidery showing massive re- lief-work scrolls with floral and leaf details. ‘The end panels are covered in like antique ruby velvet with raised gold embroidery. Two round bolster-shaped pillows are included, covered with an- tique ruby velvet, enriched with solid gold embroidery executed in silver-gilt thread and matching seat. Length, 7 feet; width, 33 inches. fee DY (Illustrated) No. 210 FRENCH MAHOGANY CHEVAL GLASS, WITH THREE BEVELED MIRRORS Triple form; Louis Quinze design, with ormolu mounting. ‘The top fitted with cupid- holding two electric lights. The reverse sides are paneled in mahogany. Height, 6 feet 7 inches. No. 211 CARVED OAK JACOBEAN SOFA With high back, showing openwork carving, with scrolls and caryatid heads. Apron front, with scroll carving centered by shell. Seat covered with gros-point needlework on black ground. Length, 47 inches. HNONOT ASIVHO UO SLVAS ONOT LIL9—60z ‘ON Second and Last Afternoon Nor 212 ITALIAN CARVED AND GILT SOFA Elaborate frame, with scrolled openwork legs and_ stretcher. Acanthus-leaf arms and openwork scroll back, centered by a cupid figure that is flanked by leaf scrolls in bold relief. The sides including cupid heads, all done in low-toned gold-leaf gilding. The seat and back being uniformly covered in old emerald-green velvet, enriched with gold and silk embroidered appliqué panels, their details in Renaissance design including floral scrolls. Length, 4 feet 8 inches. Second and Last Afternoon No. 213 GILT RENAISSANCE THREEFOLD SCREEN With antique red velours and raised gold appliqué embroidery. The carved wood and gilt frame with elaborate openwork, includ- ing grotesque dragon-head and scroll motifs on the finial orna- ments. Sixteenth century ruby-red velours uniformly covers the three panels; enriched with gilt silver thread needlework in floral and scroll designs; edged with heavy silver-gilt galloons. ‘The central panel including an armorial cartouche; flanked by floral ornament, appliqué directly on the old ruby velvet. The reverse sides of panels have red silk damask. Height, 6 feet 11 inches; width of each fold, 30 inches. Second and Last Afternoon No. 214 BV) U “TALL THREEFOLD FLEMISH TAPESTRY SCREEN Louis XIII design, with carved and gilt frame. The upper scroll ornaments with carved openwork centered by scrolls and mask, including cupids. Renaissance tapestry with figure and fruit subjects, each panel with varied designs. Height, 7 feet; width, 24 inches, each panel. (Illustrated) No. 215 | © TWO CARVED JACOBEAN CHAIRS Dark finished oak; with high backs and openwork carving. The seats are uniformly covered in colored gros-point needlework on black ground. No. 216 CARVED OAK SOFA Jacobean style; with high openwork back carving, centered by a large cartouche-formed detail with shell top. Seat covered with gros-poit (similar to the preceding) ; centered by a vase with plumes. Length, 4 feet 2 inches. NO Zhi sy ( VU “ PAIR OF LARGE SEMICIRCULAR SIDE TABLES Dark finished oak, with three carved legs in recurved scroll form with claw feet. A carved bead bordering finishes rim at top. Width, 75 inches; depth, 37 inches. No. 214—TALL THREEFOLD TAPESTRY SCREEN Second and Last Afternoon No. 218 )) FRENCH INLAID BOIS-DE-ROSE CLOCK Louis Quinze design, with ormolu mounting; the finely chiseled mercury gilt bronze including an archangel with the scythe, emblem of Time, that surmounts the top; with ornate spreading base, designed to stand in corner; white enameled dial. Height, 7 feet 10 inches; width, 20 inches through body. (Illustrated) No. 218—FRENCH INLAID BOIS-DE-ROSE CLOCK Second and Last Afternoon No. 219 ORMOLU AND INLAID PALISSANDRE COMMODE Louis Quatorze style; bombé front, with two deep drawers and elaborate ormolu mounting after Oeben. The wreathed central medallion with grapevine cartouche and pendant serving as a key plate, while the laurel swags, with ribbons, form the handles. Ends with lion head and skin terminating in scrolled feet. The flower inlaying on the front includes palissandre, bois-de-rose and bois-de-violette. Has light figured marble top. A fine repro- duction of a commode at Chantilly. Height, 35 inches; width, 5 feet 6 inches. (Illustrated) HGOWWOO AUGNVSSITVd AIVINI GNV N'IOWYO—6IG ON Second and Last Afternoon No. 220 LARGE FRENCH MARQUETRY COMMODE, WITH ORMOLU MOUNTING Light bots-de-rose inlay, showing an urn and gardener’s trophies ; the richly chiseled ormolu mounting including a central sunburst with fleur-de-lis devices on globe. Pilasters finish the sides, to- gether with full-length Hercules and Roman warrior figures; caryatids are also introduced on the rear sides. Fruit garland trophies finish the two cupboard ends, beside two drawers with garland handles. Has a light figured marble top. Length, 6 feet 9 inches; depth, 83 inches. (Illustrated) ONILNOOW AIONYO HLIM “ACOWWOO AULHNOUVW HONAUA AOUV'I—O0ZZ ON Second and Last Afternoon No, 22) STATELY MAHOGANY SOFA WITH ELABORATE ORMOLU MOUNTING Louis Quinze design; the arms showing mercury gilt-bronze cupids, while the apron front shows a nude sleeping boy. Ro- caille scrolled legs finishing with claw feet. The high double towering back of mahogany is mounted with female torso figures in flowing drapery, these figures supporting laurel garlands that connect with a central lion head, all done in ormolu bronze. The finials are formed by gilt-bronze helmets with laurel wreath. Seat is upholstered in striped réséda silk. The figures on arms represent war and peace. Made and signed by F. Linke, of Paris. Especially designed for the late Mrs. Isaac Fletcher, the maker agreeing that the piece should not be duplicated. Length, 5 feet; height of back, 5 feet 8 inches. (Illustrated) No. 221—STATELY MAHOGANY SOFA WITH ELABORATE ORMOLU MOUNTING (By Linke, of Paris) Second and Last Afternoon Now22Z - DECORATED MAHOGANY STEINWAY GRAND PIANO Specially designed case, Style A; made in rich polished mahogany, with elaborate decorations in color and gilding. Has square front legs and carved lyre. The front panel bears a painted ribbon scroll with the quotation, “As may the strains through my ear dissolve me into eecstacies.”” The painting including trophy and floral panels, with scrollwork, signed by Arthur E. Blackmore and dated 1898. Made by Steinway & Sons. (Illustrated) No. 222—DECORATED MAHOGANY STEINWAY GRAND PIANO Second and Last Afternoon No. 225 FRENCH MAHOGANY BEDROOM SUITE, COMPLETE Louis Quinze design, with ormolu mounting, consisting of: (a) Large Double Bedstead (with hair and spring mattresses). (sp) Mahogany Canopy with Ormolu Mounting (en suite). Back and valance draperies of réséda-green ground with green and pink flowering. ‘Trimmed with passementerie edging and fringe. Including heavy double corded loops and tassels. The valance, of flowered green silk, is enriched by lace Arabe applica- tion, together with lace bordering. The curtains are lined with light réséda silk, with Swiss embroidered lace flouncing. (c) Point Arabe Lace Bedspread (with green silk backing). (p) Lace Arabe Large Day Pillow (matching bedspread, lined with green silk). 34 inches square. (£) Bureau with Swinging Beveled Mirror and Marble Top (including two wide and two narrow drawers). (Fr) Dressing Table with Swinging Beveled Mirror. (Gc) Bedroom Table. Size, 35 by 24 inches. (x) Night Stand with Marble Top. (1) Night Stand with Marble Top (enclosing a safe). 3 (5) Two Side Chairs. Second and Last Afternoon IMPORTANT BRONZES AND MARBLE STATUARY \ ee No. 226 LARGE BRONZE AMPHORA By Barbédienne. A procession of eleven nude male and partially draped female figures, passing in stately movement towards the left. Volutes form the handles. Egg and tongue pattern round the mouth. The stem of acanthus leaves and classical designs. Height, 38 inches; diameter of the body, 21 inches. Purchased direct from Barbédienne, Paris. Second and Last Afternoon No. 227 MAJESTIC BRONZE GROUP: A LION AND A SNAKE A winged lion, with right paw raised and mouth wide open, is in full front and sitting on his haunches. The noble beast, with fine mane, has his tail curled upwards. With his left paw he presses heavily on the body of a snake which writhes in agony in the foreground. Artistically modeled, and possessing a green patina of ex- ceedingly fine quality. Height, 4 feet 8 inches; length, 4 feet 2 inches. Purchased from Messrs. Boussod Valadon & Co., Paris, 1900. | (Illustrated) No. 227M AJESTIC BRONZE GROUP: A LION AND A SNAKE Second and Last Afternoon No. 228 LARGE BRONZE GROUP OF THESEUS SLAYING THE CENTAUR BIANOR By Barye. Theseus is well astride the figure of the Centaur, and. grips its body firmly with his knees as he wields his club in his uplifted right hand. With his left hand Theseus clasps the Centaur by the throat in the grim and mortal struggle. Theseus is seated on a large drapery which falls from the back of Bianor, the weight of whose body is mostly carried on his right foreleg. Signed on the base, on the right side: “Baryr.” Height, 4 feet 1 inch; length, 3 feet 10 inches. Charles de Kay: “Barye,” 1889, pp. 17-79 (plate 60). | Purchased direct from Barbédienne, Paris. (Illustrated) “MA: No. 228—LARGE BRONZE GROUP OF THESEUS CENTAUR BIANOR SLAYING THE t a~V Second and Last Afternoon No. 229 HEROIC BRONZE GROUP BY JACQUES HOUZEAU (FRENCH SCHOOL 1624-1691): THE BOAR HUNT Companion to No. 280 The tusked and powerful boar, standing amid broken branches of trees, has its mouth wide open.