LIBRARY rar WN a | Ww — 4 + ®. » \ SALE NUMBER 2128 PUBLIC EXHIBITION FROM SUNDAY, JANUARY SIXTEENTH PAINTINGS & SCULPTURE FROM THE COLLECTIONS OF feed. ARCHDUKE Pee Ou SALVATOR THE MARQUESS OF READING z SOLD BY THEIR. BRDER , rem ALE LORD GRIMTHORPE | WOODLEA, VIRGINIA WATER SURREY, ENGLAND SOLD BY ORDER OF PHILIP SAMUEL, ESQ. NICE, FRANCE MR. XAVIER HAAS 14 RUE CASSINI, PARIS, FRANCE MR. LOUIS COSTA TORRO CHATEAU DES IRIS, LORMONT, GIRONDE, FRANCE SOLD BY THEIR ORDER TO BE SOLD BY AUCTION THURSDAY & FRIDAY EVENINGS JANUARY TWENTIETH, TWENTY-FIRST AT. EIGHT-FIFTEEN THE ANDERSON GALLERIES {MITCHELL KENNERLEY, Present] 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 1927 CONDITIONS OF SALE ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. The highest bidder to be the buyer. In all cases of disputed bids the decision of the Auctioneer shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased shall be resold immediately. Purchases to be removed at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the lot or lots will be left at the sole risk of the purchaser, and subject to storage charges. All lots will be placed on public exhibition before the date of sale, for examination by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuineness, or for any defect or fault in or concerning any lot, and makes no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the con- clusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum deposited as part payment shall be forfeited, and The Anderson Galleries, Incorporated, reserves the right to resell the lot or lots by either private or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter, together with all expenses incurred. This condition shall be without prejudice to the right of this Company to enforce the sale contract and collect the amount due without such resale, at its own option. The Anderson Galleries, Incorporated, will afford every facility for the employment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. The Anderson Galleries makes no charge for executing orders for its customers and uses all bids competitively, buying at the lowest price permitted by other bids. A Priced Copy of this Catalogue may be obtained for One Dollar for each Session of the Sale THE ANDERSON GALLERIES, INC. 489 Park AvENUE AT Firry-NINTH STREET, New York TELEPHONE REGENT 0250 CATALOGUES ON REQUEST SALES CONDUCTED BY MR, F, A, CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON “~— - SALE THURSDAY EVENING, JANUARY TWENTIETH, AT EIGHT-FIFTEEN FIRST SESSION NUMBERS 1-84 GOTHIC AND RENAISSANCE WOOD CARVINGS NUMBERS 1-24 TWO RARE EARLY WALNUT CARVINGS (a) RENAISSANCE SEAL FLORENTINE, 16TH CENTURY Figurine in a jacket composed of masks and ending in points. On turned pedestal. An exquisite small object. Height, 414, inches (b) AMORINO HOLDING LANTERN FLORENTINE, 16TH CENTURY With hair, wings and lantern gilded. (H. 1. H. Archduke Leopold Salvator) Height, 6 inches LOWER AUSTRIA, 15TH CENTURY TWO CARVED OAK STATUETTES OF SAINTS ST. JOHN, THE EVANGELIST Youthful figure with long curling hair and in monastic robes, hold- ing a chalice in his left hand. Right hand missing. ST. STEPHEN A bearded figure holding an open book in his right hand and a staff in his left. (H. J. H. Archduke Leopold Salvator) Height, 20 inches STYRIAN, EARLY 16TH CENTURY GLAZED STONEWARE BAS RELIEF OF THE PIETA The robes and cloak of the Holy Virgin show traces of blue and crimson enamel while the flesh tints are unglazed. (H. J. H. Arch- duke Leopold Salvator) Height, 614 inches SOUTH TYROLEAN, 15TH CENTURY ALTO RELIEVO CARVING Statuette of a saint with long curling hair, holding calendar in the form of a fringed cloth. Traces of original gilding and polychromy. (H. I. H. Archduke Leopold Salvator) Height, 24 inches; width, 5 inches [5] SOUTH TYROLEAN, 15TH CENTURY 5 CARVED WOOD, POLYCHROMED AND GILDED ALTO RELIEVO OF ST. MARTIN> Dressed in Gothic royal armor over which are thrown the ample folds of a cloak of gold. His noble bearded countenance is framed by long curling brown hair. Right hand damaged. (H. JI. H. Arch- duke Leopold Salvator) , Height, 35 inches [SEE ILLUSTRATION | 2 fo - [7] [6] [7] SALZBURG, 17TH CENTURY CARVED POLYCHROMED SCROLLED CONSOLE WITH BUST OF A MISSIONARY BISHOP Interesting architectural document composed of an acanthus leaf from which emerges the figure of a bishop with mitre and crozier, and holding the symbol of the fish (symbol of heathen conversion). He is dressed in blue robes with agrafhto enrichment of gold. The leaf is gilded. (H.J. H. Archduke Leopold Salvator) Height, 21 inches; width, 20 inches [SEE ILLUSTRATION ] SPANISH, EARLY 17TH CENTURY TWO CARVED AND GILDED STATUETTES ST. IGNATIUS AND ST. ALPHONSO They are represented in embroidered voluminous cloaks of gold, their faces of life-like portraiture are natualistically painted. Both statues slightly imperfect. (H. I. H. Archduke Leopold Salvator) (2) Height, 39 inches [SEE ILLUSTRATION ] 3 10 NURNBERG, 15TH CENTURY CARVED WOOD AND GILDED ALTO RELIEVO PANEL THE HOLY VIRGIN AND TWO SAINTS The Holy Virgin is robed in an embroidered garment of gold with a gold cloak thrown over her shoulders and head. The embroidery of the garments simulated by sgraffito carving. Rich old patina and original gilding. (H.I. H. Archduke Leopold Salvator) Height, 30 inches; width, 22 inches BASLE, LATE 15TH CENTURY COLUMNAR STILE WITH STATUETTE OF ST. PETER Architectural detail of considerable interest. St. Peter in volumin- ous robes holding the key, supporting an Ionic capital. Eighteenth century redecoration. (H. JI. H. Archduke Leopold Salvator) Height, 12 inches [SEE ILLUSTRATION ] VENETIAN, 15TH CENTURY CARVED WALNUT STATUETTE OF THE MADONNA AND CHILD The Virgin in flowing robes with carved border simulating embroid- ery, 1s holding the Infant Christ tightly clutched. Excellent work- manship, light brown patina. Arm missing. (H. J. H. Archduke Leopold Salvator) Height, 934, inches [SEE ILLUSTRATION] 4 [12] [9] [10] [11] TYROLEAN, 15TH CENTURY PAINTED TERRA COTTA STATUETTE OF ST. FLORIAN The saint in mediaeval robes with the emblem of the cock; at his knees a winged seraph. (H. J. H. Archduke Leopold Salvator) Height, 10 inches [SEE ILLUSTRATION] SPANISH, 16TH CENTURY IVORY STATUETTE OF THE MADONNA ON CRESCENT The Holy Virgin in draped cloth with gilded and polychromed and finely engraved border simulating gold embroidery. Her hair and the hair of the Christ Child are gilded. The globular plinth with three winged amorini heads and banderole. Traces of polychromy. (H. 1. H. Archduke Leopold Salvator) Height, 8 inches [SEE ILLUSTRATION | 5 13 14 [14] [13] [14] SALZBURG OR BAVARIAN, 14TH CENTURY CARVED WOOD AND POLYCHROMED STATUETTE OF AN ABBESS She is robed in a cloak of parallel flutes held by an agrafe. She wears a mitre with ribbons. Flesh tints with 16th or 17th century repainting. One hand missing. (H. I. H. Archduke Leopold Salva- tor) Height, 3314 inches BASLE, CIRCA 1460-1470 PAIR OF GOTHIC CARVINGS OF BISHOP SAINTS ST. MARTIN In the robes of a cardinal, wearing the bishop’s mitre and carrying a shepherd’s staff; he is dropping a coin to a kneeling beggar beneath. ST. LUKE With fleur-de-lisé triple Byzantine crown and in mediaeval robes with emblem of the ox at his right. Traces of the original poly- chromy and gilding are more and more appearing through the more recent decorations. (H.J/. H. Archduke Leopold Salvator) Height, 281% inches | | | | | | 15 $0- 16 [15] [16] Paninke VIENNESE, 15TH CENTURY > CARVED WOOD POLYCHROMED STATUETTE OF SAINT A slim figure in a short leather jacket, his limbs uncovered and his feet in leather shoes. Finely modelled figure of great charm. Hands missing. (H. J. H. Archduke Leopold Salvator) Height, 37 inches NURNBERG, 16TH CENTURY CARVED OAK GROUP OF THE CIRCUMCISION The Holy Virgin in long flowing robes, her head covered with a tur- ban; to the right the high priest in voluminous mantle with cape. The Christ Child is placed on a table on curiously turned supports covered by a cloth. (H. JI. H. Archduke Leopold Salvator) Height, 20 inches; width,,16 inches VENETIAN, 16TH CENTURY CARVED AND GILDED STATUE OF SAN BERNARDO DI CHIARAVALLE Robed in a shining cloak of gold and holding a book in his right hand. His plastic features painted naturalistically. One hand miss- ing. (H. I. H. Archduke Leopold Salvator) Height, 36 inches 7 18 C181 SCHOOL OF THE PISANI CARVED WOOD STATUETTE OF THE MADONNA ON A DAIS The Virgin with long gilded curls wears a cloth on her head. She is draped in voluminous robes and is seated on a throne chair of elaborate design, the arms with amorini head crestings and leaf carved wings, on claw feet supports. The Infant Christ is holding a bird in His right hand. Under the more recent decoration can be found traces of the original gilding and polychromy. Sculpture of uncommon importance. . The Pisani School continued the Greek and Roman tradition in their treatment of form and architecture. One hand of the Madonna missing. (H.I. H. Archduke Leopold Salvator) i Height, 45 inches [SEE ILLUSTRATION ] 8 [19] [20] [21] BY AN UNKNOWN MASTER GLAZED TERRA COTTA STATUETTE OF THE MADONNA The glazing possibly by Luca della Robbia. The entire group is of unglazed terra cotta but for the cloak and head cloth of the Virgin (H. 1. H. Archduke Leopold Salvator) Height, 24 inches BOHEMIAN, 17TH CENTURY CARVED WOOD, GILDED, SILVERED AND POLYCHROMED STATUE OF ST. ANNA HOLDING THE VIRGIN In richly gilded cloak, head and body in silver with crimson stripes. The Holy Virgin seated on St. Anna’s lap with crown and pome- eranate. (H.I. H. Archduke Leopold Salvator) Height, 16 inches SALZBURG, 15TH CENTURY CARVED, POLYCHROMED STATUETTE OF A SAINT BISHOP A remarkable image of the great prelate of the Seraphic Order enveloped with cloak of gold, an open book in his left hand and cerozier in his right. (H. J. H. Archduke Leopold Salvator) Height, 26 inches Formerly in the ancient Benedictine Convent of Nonnberg. Illus- trated and described in Osterreichische Kunsttographie, Vol. VII, pages 135 (Fig. 185) and 136. 9 nm [22] STONE HIGH RELIEF 22 PRISONER’S HEAD In a block of soft stone is cut the resemblance of a window with engaged arch, carried by two small columns. The window is grilled by two vertical bars. Behind the bars appears the head of a woman her face with a melancholy expression. It is impossible to say if this object comes from a worldly or a religious decoration, though it has been popularly known as Joan of Arc. Distinct traces of polychromy. Slight restoration. In the style of the Palais Jacques Coeur at Bourges, and also like the Certosa of Pavia. From the Collection of Comte de Sagonne, Inspector des Beaux Arts, Moulin de l’Abbaye, Gif, Seine et Oise. Height, 2834, inches; width, 21 inches; depth, 10 inches 10 BY A SALZBURG MASTER 28 BOXWOOD STATUE OF ST. GEORGE A remarkable sculpture, for beauty of composition, for its armorial interest and for its amazingly fine state of preservation. The youth- ful knight is dressed in Gothic armor rendered with careful attention to the minutest detail. The forceful countenance, doubtlessly a por- trait, is framed by a wealth of curling hair. In his left gauntlet he holds a shield while in his right a short sword. He stands upright on the coiled body of a dragon. (H. J. H. Archduke Leopold Salva- tor) Height, 41 inches 11 [24] 24 BURMESE BRONZE HEAD OF BUDDHA CONTEMPORARY WITH YUAN, 1279-1368 The heroic head of a giant statue. The lips painted crimson, the ears and cresting of high head dress gilded. Dark brown patina. In fine state of preservation. (H.I. H. Archduke Leopold Salvator) Height, 18 inches [SEE ILLUSTRATION | 12 25 26 PAINTINGS AND MINIATURES NUMBERS 25-84 JOHANN VON AACHEN THE ADORATION OF THE MAGI - The centre with the magnificently attired kings with their horses and camels arriving before the Holy. Family who occupy the right foreground. Background with Romanic churches and Roman ruins. On a copper plaque. In modern gesso frame. © Size, 214 feet x 1 foot, 7 inches Johann Von Aachen was born at Cologne in 1552: (HH. T. H. Arch- duke Leopold Salvator) [26] ADRIATIC SCHOOL (DALMATIAN ) 16TH CENTURY ST. PETER AND ST. PAUL Represented holding a church building; their robes are of silver leaf. On a soft blue-green ground. (H.J. H. Archduke Leopold Salvator) On panel. Size, 1114 x 814, inches GIVEN TO MARCO BASAITI VENETIAN 1460-1525 27 SAN NICOLA DA TOLENTINO, AGUSTINIAN MONK Full length figure of a monk holding in his right hand a crucifix and a spray of white flowers and in his left a prayer book with brilliant _-searlet binding. His black habit bears on the front a plaque of the / CO “moon. Interesting background of hilly landscape and castles, a deep . 2 blue river, islands and grazing animals, and a winding road with way- farers. Related in its delicacy of drawing to contemporary Flemish masters. Old gilded and moulded frame with arched spandrels.. On panel. (H.1.H. Archduke Leopold Salvator). Size, 34 x 23 inches [SEE ILLUSTRATION ] LADY DIANA BEAUCLERK 1734-1808 The activities of Lady Diana Beauclerk, the well known amateur and friend of Walpole are most interesting. Her paintings were much engraved by Bartolozzi. 28 SELF-PORTRAIT Three-quarter length, facing front. The artist is seated, holding her palette in her left hand and her upraised brush in the right. Gouache.and pastel on paper. Size, 23 x 16% inches. Xavier Haas Collection. Catalogued by R. R. M. See. ERIK GUSTAV BERON 1748-1780 Swedish miniaturist and pastellist who went to Paris in 1775, where he executed some lovely miniatures and a few rare pastels. 1748-1780 29 PORTRAIT OF A YOUNG NOBLEMAN Pastel on paper. Size, 2034, x 1714, inches. Signed and dated lower left: “‘peint 4 paris six mars 1776 par Beron.” Louis Costa Torro Collection. Catalogued by R. R. M. See. 14 : [27] [30] HENRI MET DE BLES FLEMISH, 1480-1550 Hendrik Bles commonly called Henri Met de Bles (with the forelock) was a disciple of Patenier. His pictures have great and unusual charm and are much esteemed. 30 MADONNA AND CHILD The Holy Virgin enveloped by a long flowing crimson cloak, holding the Christ Child. She is seated on a stone balustrade and screened by a clump of trees. To the left St. Joseph guarding the ox, and in the right and left background a romantic landscape filled with round towered castles. In a painted Renaissance frame enlarged with broad moulding cov- ered with rose colored velvet. Panel. (H. J. H. Archduke Leopold Salvator) Size, 17 x 1414 mches 16 —— = Sse Uh 31 BOLOGNESE SCHOOL CIRCA 1450 THE SAINTS, LUIGI DA TOLOSA AND BONAVENTURA Half length representation of the youthful Saints and martyrs, their halos screened by the mitre of Saint Luigi and the cardinal’s hat of Saint Bonaventura. They are robed in white habits. Saint Bona- ventura wears a crimson cloak bordered with gold and holds a richly tooled volume in his gloved hand. Saint Luigi in a brown fleur-de- lisé cloak, his arm embracing a crozier, his hands lifted up in prayer. Fresco transferred on canvas. In sixteenth century moulded black frame with gilded and leaf carved inner moulding. (H. /. H. Arch- duke Leopold Salvator) Size, 3 feet 4 inches x 2 feet 7 inches [SEE ILLUSTRATION ] a nk ee a © “> M : ound \ Nn ~ o Be 2 eS Cte Rar UU don - 23/2 o2 RICHARD PARKES BONINGTON 1801-1828 VIEW ON THE RIVER AT MANTES A view across the river, with an islet in the foreground, a male oure leaning over a fallen tree and a peasant girl seated near him; on the right two cows are standing in shallow water and on the sandy bank two other cows and a figure; to left a clump of trees, and birds on the wing, and in the background are seen trees which are dominated by the tower of the cathedral. (Lord Grimthorpe Collection) Painted about 1826. | . Canvas 141% inches by 20 inches. Purchased privately (with other pictures) from the ‘Marcus of Lansdowne’s collection at Bowood, by Messrs. Agnew, and sold by them in 1883 to the famous collector, Christopher Beckett-Denison, M.P. (who died in 1884). From the collection of C. Beckett-Denison’s nephew, Ernest William Beckett, who succeeded as second Baron Grimthorpe, in 1905. Note :—Bonington painted this same view at least three times, one a larger scale than the two others and each with minor differences. (1) The Earl of Normanton’s, 2114 inches by 33 inches, which passed into the collection of the late Mr. H. Darell Brown, of Sloane Square, London, and brought 2200¢s (£2310) at Christie’s in May, 1924. (2) The Morris K. Jesup version, 15 inches by 2034, inches, (which is the version in the Nieuwenluys sale of 1883, when it fetched 80 gs). bequeathed to the Metropolitan Museum, New York in 1915. Both these versions are illustrated in Debuisson’s Monograph on “Richard Parkes Bonington”, 1924, facing page 204, and (3) the present very fine version from the Bowood collection—the then Lord Lansdowne— who was one of the largest purchasers of drawings and pictures at the sale of Bonington’s remaining works at Sotheby’s in June 1829. Catalogued by W. Roberts. [SEE ILLUSTRATION ] 18 | [32] HIERONYMUS BOSCH (VAN AEKEN) 1460-1516 Hieronymus van Aeken, commonly known as Jerome Bosch, was born be- tween the years 1460 ard 1464. He was one of the most imaginative Netherland painters. He was much admired by Philippe II of Spain, who had an altar piece by him perpetually in his oratory. He is well repre- sented in Madrid, Berlin and Antwerp. 33. ADORATION OF THE INFANT LORD The Virgin in blue-green voluminous robes is seated on a dais of Gothic design covered with embroidered robes of gold. Her sil- houette is outlined against gilded drapery. Long golden hair falling straight over her shoulders frames her wistful countenance. On her lap covered with a silk cloth she holds the Infant Lord, who is being adored by King Balthazar in royal robes of crimson and gold trimmed with a fur collar. To the left Gaspar, the Moorish king in magnificent needle painted crimson colored robes studded with jewels, carrying a gold plaque of the Crucifixion, and a jewelled and gilded ciborium. Behind King Balthazar appears Melchior carrying a gold mounted crystal cup, dressed in olive-green cloak lined with crimson and gold and wearing a turbaned crown. In the background through an opening can be seen the figure of St. Joseph in purple robes and through a window in a stone wall the heads of the ox and the ass. On the gabled pinnacle are perched three onlookers with spears and soldiers helmets, and to the right a magnificent portico of a Gothic palace with an arch on red marble columns and with enrich- ment of sculpture in white, and through which can be seen pouring the brilliantly cloaked crowd of the kings’ attendants. To the left a brick wall with leaded windows. On arched panel, in moulded gilded frame of later date. (H. I. H. Archduke Leopold Salvator) Height, 4214 inches; width, 30 inches Exhibited at loan exposition in the National Museum, Budapest. [SEE ILLUSTRATION ] 20 BRUGES SCHOOL FLEMISH, CIRCA 1480 334 TWO WINGS OF A TRIPTYCH OF THE ADORATION With semi-arched panels, the left with the half-length figure of the Moorish king, Gaspar, in crimson gold-embroidered royal cloak over a tunic of brown and gold, holding a cup of gold; background of a * blue-green mountains and bosquets in fields. The right wing with x figure of St. Joseph in rose colored cloak holding a shepherd’s staff in his left hand; against a background of ruined arches through which can be seen a distant landscape. Panel. (H. I. H. Archduke Leopold Salvator) Size per panel, 35 x 914, inches This picture has been attributed to Jan Verhanneman, who for some time was active in Memling’s workshop. | |? WILLIAM BRADLEY 1801-1857 William Bradley was born at Manchester. Left an orphan, he began life as an errand boy, but at sixteen he began practice as an artist. He had a few lessons from Mather Brown, then in high repute at Manchester; and at the age of twenty-one went to London, where Sir Thomas Lawrence gave him encouragement. He was not second to any man of the day in producing a striking and intellectual likeness. 34 PORTRAIT OF MISS MARY BIGMORE Bust, half to the left. Dark red low-necked dress with short sleeves. Young smiling face, with dark blue eyes. Light brown curly hair. Oils on canvas. Size, 2314, x 1914, inches. Carr-Gomm Collection. Louis Costa Torro Collection. Catalogued by R. R. M. See. AUGUSTUS WALL CALCOTT ENGLISH, 1779-1844 Sir Augustus Wall Calcott was an exhibitor at the Royal Academy. His work is well represented in the National Gallery and South Kensington. 35 MOTHER AND CHILD Seated figure of a young matron in the attire of the Regency, with her right arm embracing a child, with scarlet and white feathered hat on blonde curling hair. Background of a Gothic cathedral. Colored chalk drawing on paper. (H. I. H. Archduke Leopold Salvator) Size, 321% x 21 inches 22 oe \\o \ a ANTONIO CANAL, ORCANALE > COMMONLY CALLED CANALETTO 1697-1768 Born at Venice in 1697. He was the pupil of his father, Bernardo Canal, who was a decorator and scene painter. The principal public and private galleries of Europe and America possess examples by this master. 36 VIEW OF THE PIAZZA SAN MARCO, VENICE | The famous square is shown at the most animated hour. In the fore-- _/ ground and on the right are the stalls of the cloth merchants. a) Friends meet, and go about their business, beggars demand alms, porters carry loads, noblemen take the air—nothing lacks to make an 4 i¢ 07 exact and veritable picture of the Square as it was in 1730 or there- / abouts. Oils on the original unlined canvas. Sight size, 2514, x 40 inches. Martin H. Colnaghi Collection. Costa Torro Sr. Collection. Louis Costa Torro Collection. NO Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 23 7 ~ - ~ \ — ee ‘fe Ge — C al OU ae 37 38 CANALETTO AND HIS SCHOOL | VENICE WITH SAN GIOVANNI E PAOLO The Canal is shown covered with gondolas in motley array; on the — bank opposite the church of San Giovanni e Paolo a row of palaces. Oils on the original unlined canvas. Sight size, 2434, x 3234, inches. “Fine carved frame.” “This picture has always been attributed to Antonio Canale, in the Hamilton Palace Collection. However, it is now common knowledge that this great artist was assisted by a pleiad of painters, among whom some of the better known were Tiepolo, Francesco, Giacomo and Jacopo Guardi, Longhi, Balestra, Crispi. So we must see in this picture not only the brush of the master, but also those of Giacomo Guardi and of Old Balestra.” | Hamilton Palace Collection. Martin H. Colnaghi Collection. Louis Costa Torro Collection. Catalogued by R. R. M. See. CANALETTO AND HIS SCHOOL REGATTA AT THE FEAST OF THE BUCENTAURE—THE WEDDING OF VENICE WITH THE ADRIATIC The Grand Canal covered with gondolas carrying guests to the Feast. On the right, the Campanile. On the left in the distance, Santa Maria della Salute. Oils on the original unlined canvas. Sight size, 29 x 50 inches. Here we are in the presence of a more pretentious type of Venetian views, with the aid of the brush work and the wonderful airiness of Bernardo Belloto, the nephew of Antonio Canale. The innumerable figures are certainly the work of Jacopo Guardi. It is to be noticed -that some of these have been finished by Longhi the Younger. Whilst Bernardo Belloto has looked after the buildings and the water, Antonio Canale has directed the whole scheme and supervised the work of his phalanx of young masters. Lord Ellesmere Collection. Martin H. Colnaghi Collection. Louis Costa Torro Collection. ‘““A very fine work. May be used as a companion to the following picture.” Catalogued by R. R. M. See. 24 CANALETTO AND HIS SCHOOL THE DOGE GOING TO DIVINE SERVICE AT SANTA MARIA DELLA SALUTE In the centre the Grand Canal and the gilded gondola of the Doge, surrounded by small boats. On the right Santa Maria della Salute. The Doge surrounded by his retinue mounts the steps. On the left the Campanile and the Dogana. Oils on canvas. Sight size, 291% x 50 inches. Lord Ellesmere Collection. Martin H. Colnaghi Collection. Louis Costa Torro Collection. “A very fine work. May be used as a companion to the preceding picture.” Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 25 [40] JAN VAN DE CAPELLE 1624-5-1679 40 A RIVER SCENE An extensive view at the entrance of a river, three large ships with figures on decks and sails more or less unfurled, two with the Dutch flag flying are disposed across the forepart of the picture, a rowing- boat with five men is apparently putting off from one of the ships to the other which seems outward bound; other ships and boats are seen, and on the left banks a range of trees, a windmill and church steeple; the river is calm but the cloudy sky portends a breeze. This well-painted and genuine picture came from the famous Shandon Collection of Robert Napier of Glasgow, and was offered at Christie’s April-June 1877, but it cannot be identified in the sale cata- logue. It was at one time in the possession of Messrs. Colnaghi & Co., the well-known picture dealers of London, and passed through a miscellaneous auction sale in London in December 1911. (328) (Lord Grimthorpe Collection) Canvas. 15 inches by 211/, inches. Catalogued by W. Roberts. [SEE ILLUSTRATION ] 26 [42] MARGARET CARPENTER FORMERLY MARGARET GEDDES 1793-1872 | Followed the Lawrence manner in her portraits, and managed very often to approach his perfections. A very representative collection of her work is in the British Museum. or 41 PORTRAIT OF RICHARD PARKES BONINGTON, THE ARTIST Head and shoulders, three-quarters to the right. Black coat, light waistcoat, white collar and black stock. Head facing front. Hand- some young face, clean shaven; large grey-green eyes; fair curly hair. : 7 Pastel on paper, stretched on canvas. Size, 2134, x 174% wehes. Sir Guy Laking Collection. “A wonderful quality drawing, sustaining easily comparison with other portraits at the National Portrait Gallery.” “A most interesting picture, firstly as a very clever drawing, sec- ondly on account of the personality of the sitter.” Xavier Haas Collection. Catalogued by R. R. M. See. ANNIBALE CARRACCI ITALIAN, 1560-1609 Annibale Carracci, the decorator of the Zampieri and Farnese Palaces was the pupil of Correggio and Parmigiano. His painting of the Crucifixion now at Castle Howard brought 4000 guineas at the Orleans sale. 42 TWOSTUDIES FOR THE FARNESE PALACE (a) PHOEBUS AND PUTTI The nude winged figure of Phoebus with wreaths on his upraised left hand and in his hair, surrounded by amorini in clouds. (6) URANIA WITH HER EMBLEMS In rich gold brocades with blue cloak, holding a statue and leaning her right hand on a celestial globe. (Lord Grimthorpe Collection) (2) Size, 12 x 914 inches Formerly in the Lubomirski Collection. [SEE ILLUSTRATIONS ] 28 [42] Nt i, GEORGE CHINNERY ! 1774-1852 George Chinnery began to exhibit at the Royal Academy in 1791; practised in Dublin from 1797 to 1802 (married in 1799) ; and proceeded to Madras in 1802. Leaving Madras in 1807 he went to Calcutta, where he remained until 1825, when he sailed for China. Chinnery’s genius met with early recognition, and he could have made a large fortune if he had not been possessed of the eccentricity of genius and of so restless a character. In China he entered into a society which was not artistic, and his life was a constant financial struggle, yet on the whole a happy one. | Dr. Mendes in a recent letter to the writer says: “Une remarque tres interessante; la tradition de George Chinnery, a Canton, est encore bien vive. Il y est trés connu parmi les peintres a Vhuile. Dans un grand magasin de photographie ou je suis entré pour voir une peinture de Chinnery, on na remarqué quelle n’était pas la pour étre vendue, mais pour étre étudiée par les peintres, c’est de ““Chinnalee” (c’ était un portrait de femme anglaise ou américaine.)”’ 43 PORTRAIT OF THE HONOURABLE MISS BARING Bust three-quarters to the left. White dress with square neck, short sleeves, high waist. Red sash. Head full front. Large dark limpid eyes. Fair hair cut in square fringe on forehead. Red hat with large brim, trimmed with red ribbon, tied under chin in bow. Irish period. Gouache on paper. Oval. Size, 241% x 20 inches. Signed at lower right, “G. Chinnery”. | Exhibited at “Les Enfants Anglais”, Paris, 1922. No. 11. Emile Gross Collection. Purchased in Ireland from Sir Hugh Lane, who had acquired it from the Ashburton Collection. Lord Ashburton had most of the members of his family painted by Chinnery. The peer’s own portrait was exhibited—No. 508, “The Late Lord Ashburton”—at the Royal Academy Exhibition of 1795. Xavier Haas Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION] 30 [43] 44 45 46 GEORGE CHINNERY 1774-1852 PORTRAIT OF A YOUNG LADY IN WHITE Bust, facing front. White dress, opened at neck in V. A beautiful face with large dark eyes—the artist’s bold brush work disguises the careful preliminary sketch. Gouache on paper. Size, 14% x 11 inches. Exhibited at “Les Jolies Anglaises du XVIII¢ Siécle”’, Paris, 1914. No. 6; “Les Enfants Anglais”, Paris, 1922. No. 11. Xavier Haas Collection. “A very charming and representative example of the master.” Catalogued by R. R. M. See. : GEORGE CHINNERY 1774-1852 PORTRAIT OF A LADY Bust three-quarters to the left. A young lady wearing a green bodice, décolleté, V-shaped, with a white fichu. Gouache on canvas. Size, 2214 x 1814, inches. Signed on right over sitter’s shoulder, ‘““G Chinnery”. O’Neill Collection. Xavier Haas Collection. Catalogued by R. R. M. See. GEORGE CHINNERY 1774-1852 PORTRAIT OF A CHINESE GIRL Bust, facing front. This very beautiful young Chinese girl wears a red kimono embroidered with blue and white chrysanthemums, with a blue and white border, over a white garment, of which the edge shows at the neck. The face is of a pure Chinese type—oval, with high cheek bones, small red mouth, and long almond eyes with dark pupils. Gouache on parchment made from ass’s skin. Size, 24 x 19 inches. Chinese frame of black wood with gold lacquer. Exhibited at ““Les Maitres Anglais’, Paris, 1919. No. 19. Mentioned in the article on Chinnery in ‘La Revue de l’Art ancien et moderne’. XXX. 1911. Reproduced on page 257 under the title, “Femme au Kimono”’. Mentioned in the article on Chinnery in “The Studio”. LXxXX. No. 331 (October, 1920). Thomas Colledge Collection. Xavier Haas Collection. Catalogued by R. R. M. See. | 32 [46] “ Nes Al AS GEORGE CHINNERY i 1774-1852 | PORTRAIT OF A LADY . Bust, facing front. White dress, with pink Sneiie The face is young and pretty, with red lips, violet-blue eyes and a pink complexion. The fair powdered hair is bound with a wide red ribbon. Dark back- eround. | Gouache on paper-backed canvas. Size, 18%, x 14%% inches. Exhibited at “Les Jolies Anglaises du XVIII Siécle”, Paris, 1914. No. 4. . Emile Gross Collection. Xavier Haas Collection. Catalogued by R. R. M. See. GEORGE CHINNERY 1774-1852 PORTRAIT OF A GIRL Half length, facing front. High-waisted dress with square décolleté, sleeves to the elbow, red sash. Her face is softly rounded; on her lips lurks the shadow of a mischievous smile. Her eyes, wide open, innocent, and violet-blue. Her soft golden hair is parted in the middle. Gouache on paper, mounted. Size, 2034, x 1514 inches. Exhibited at “Les Enfants Anglais’, Paris, 1922. No. 9. Sir Tollemache Sinclair Collection. Emile Gross Collection. Xavier Haas Collection. “A very important and typical work of the master, comparable to any fine Goya.” Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 34 [48] GECRGE CHINNERY 1774-1852 49 PORTRAIT OF A LADY Bust, three-quarters to the left. Broad white fichu, V-décolleté. Young smiling face, blue eyes, hair powdered and curled, and dressed with wide white ribbon. Shaded background. Gouache on paper. Size, 1914 x 1514, inches. ““A very fine typical work by the Master.” Louis Costa Torro Collection. Catalogued by R. R. M. See. 36 [50] GEORGE COLE 1810-1883 George Cole was entirely self taught and began life at Portsmouth as a painter of portraits and of animals. However, he finally devoted himself to landscape painting and settled in London. He first exhibited in 1840 and was a contributor to the British Institution and to the Suffolk Street exhibitions. 1810-1883 50 SULTRY WEATHER A typical English meadow-scene in summer-time, at once suggesting T. Sidney Cooper and one of his transcripts of Canterbury. A scat- tered group of five cows have found their way to the banks of a shal- low pool or stream of water, the time being the late afternoon of a sultry day. To the left is a picturesque range of trees, and in the distance several cottages are seen. The artist was entirely self- taught, and from 1849 to 1882 was a constant exhibitor at the Royal Academy and elsewhere of pictures of out-door life, usually with cows or sheep on the banks of rivers, such as this example of his work. He figures in the history of British art as the father of the better-known painter George Vicat Cole, R.A. (1833-1893 (Lord Grimthorpe Collection) 14 inches by 21 inches. Catalogued by W. Roberts. JOHN SINGLETON COPLEY 3 1737-1815 Copley was born at Boston of Irish parents; he probably learned the first principles of his art from his stepfather, Peter Pelham. He painted por- traits of many distinguished people of Boston. From 1768 to 1812 he exhibited at the Royal Academy, the British Institution and the Society of Artists, and became a member of the first-named society in 1779. 51 PORTRAIT OF A GENTLEMAN Bust, facing three-quarters to the right. Long dark coat with collar and lapels, and numerous cloth-covered buttons, open over long straight waistcoat of the same material, with similar buttons. White stock, tied in bow. The face shows a very serious young man, clean shaven, with grey-green eyes, and a curiously high domed head with straight dark hair. Grey-green background. Pastel on paper. Oval, framed in rectangle. Size, 13834, x 1134 inches. Signed on right, “J S Copley”’. Braithwaite Wilson Collection. Lord Amherst of Hackney Collection. Emile Gross Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 38 [51] JOHN SINGLETON COPLEY _ 1737-1815 | 52 PORTRAIT OF MAJOR GENERAL DIGBY HAMILTON On the back of the frame is pasted this notice: “Major Genl. Digby Hamilton Served 50 years in the service. Adjutant 19th Light Dragoons. Halispayel (oa erer Ul bare Scots | Greys 1785. August 1799 appointed Lit: Col Commandant in H Royal Waggon Train. Died at his house in Cleveland Place St. Jame’s March 22nd 1820.” : The General wears a red regimental tunic, with gilt shoulder straps and epaulettes, gilded brandenbourgs and buttons, and a straight dark blue collar—open over a white waistcoat with gilt buttons, a white collar with a high black stock, and a white frilled ruffle. He is shown in bust, facing three- quarters to the right: Pastel on paper. Size, 1134, x 9 inches. Exhibited at ‘Les HET ace Paris, 1919. No. 46; ‘Zurich. No. 19. | Braithwaite Wilson Gollectons Lord Amherst of Hackney Collection. Charles Sedelmeyer Collection. Emile Gross Collection. Xavier Haas Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION] 40 FRANCIS COTES, R.A. 1725-1770 Francis Cotes was one of the important painters of the eighteenth century _ England. He was one of the foundation members of the Royal Academy. 53 MISS ELIZABETH RYVES Portrait of a lady, half length to the waist, in a dress of buff-coloured silk, with lilac scarf, embroidered in gold. A beautifully worked lace collar leaves the neck bare in a square décolleté. She is nearly full face. The right arm is bare to the elbow, showing the muslin of the under-dress; the arm rests on a pink velvet cushion of a deli- cate hue. She wears magnificent pearls, both on her hair, and round the décol- leté of the dress. She is dressed in the fashion of the middle of the eighteenth century. Her curls are falling elegantly on her beauti- fully shaped neck. The face is painted in most delicate crayons. She has a milky-rose complexion, dreamy blue eyes, a finely shaped nose and a lovely mouth. The background, as is usual in Cotes’ best achievements, is steel-blue, with a browny-blue sky, giving depth and relief to the picture. Pastel on paper, stretched on canvas. Size, 24 x 1734, inches. Carved frame of the period. ; Inscribed and dated on the top, left hand corner: ‘Miss Eliz. Ryves. F. Cotes p.x.1750.” Jules Porges Collection. Emile Gross Collection. Xavier Haas Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 42 [53] SAMUEL COTES 1734-1818 Samuel Cotes, brother and disciple of the Hee oes, mentioned irtiee WAS a member of the Incorporated Society of Artists. EHa«hibited miniatures at the second ozo Academy in 1769. 54 PORTRAIT OF BARBARA GUNNING—AFTERWARDS THE COUNTESS OF COVENTRY Bust of a young lady in white silk bodice, with buff sleeves on n which are bands of lilac. She has blue drapery on her right shoulder. The face, three-quarters to the left, is that of a young country girl of good family. The ornaments on the dress and in the curly brown hair are testimonials to her wealth. Pastel on paper. Size, 1614 x 1714 inches. Sir Tollemache Sinclair Collection. Martin Colnaghi Collection. Ernest Renton Collection. Xavier Haas Collection. Catalogued by R. R. M. See. JOHN CROME (“OLD CROME”) 1769-1821 Crome was born at Norwich, England, the son of a weaver. In 1808 he founded the “Norwich Soctety”’, of which he was elected President in 18085 this was the beginning of the famous “Norwich School” of landscape paint- ers. He has been called the grandest of English landscape painters. 55 COTTAGE AND FIGURES A summer scene with a picturesque view of an old thatched cottage surrounded by loosely growing shrubs, a blacksmith’s shed with a man shoeing a horse on the right; leaning against the wooden fence of the cottage a peasant woman is feeding chickens, and through the open gateway a man on a grey horse is passing, and to the left a tall branching oak tree with shrubby undergrowth. From the Collection of the Hon. C. Hanbury. (Lord Grimthorpe Collection) Canvas. 3014 inches by 42 inches. [SEE ILLUSTRATION ] 44 [56] ALBERT CUYP (ATTRIBUTED TO) PROBABLY BY JAKOB VAN STRIJ 1756-1815 Jakob van Strij was born at Dordrecht, 1756. He studied at home, under his father, and at Antwerp, under Andrew Lens, and also at the Antwerp Academy. Four of his landscapes are in the Royal Museum at Amsterdam. 56 THE COWHERD A young bull with a collar and a chain. Lying behind it, a young boy on his stomach resting on his folded arms, with a stick under his hand. On left, a dog walking away. Right background, a herd of cattle. Meadow landscape, with a church on horizon. Oils on panel, which has been carefully cradled. Size, 21 x 2414 inches. Louis Costa Torro Collection. | “This important picture was sold as the work of Albert Cuyp at Christie’s in 1919.” Catalogued by R. R. M. See. 46 JACQUES LOUIS DAVID FRENCH, 1748-1825 57 PORTRAIT OF AN IMPERIAL PRINCESS OF RUSSIA Full length portrait of a young girl of about sixteen, dressed in a gold brocaded cream colored robe and a cloak with sleeves of plum colored velvet trimmed and lined with ermine and with soldiers epaulettes. In contemporary Empire gesso frame. Canvas. Size, 4 feet, 2 inches x 3 feet, 2 inches. (H.1I. H. Archduke Leopold Salvator) [SEE ILLUSTRATION |] A7 [58] WILLIAM DOBSON ENGLISH, 1610-1646. Wiliam Dobson was a favorite pupil of Van Dyck after whose death he was appointed serjeant painter to Charles the First. 58 PORTRAIT OF PRINCESS MARY OF ENGLAND AS DIANA The youthful princess aged about fourteen in resplendant scarlet robes. Oil on Panel. Size, 4614 inches x 814% imches. (H.1I. H. Archduke Leopold Salvator) 48 ~ SCHOOL OF GERARD DOU DUTCH, 17TH CENTURY 59 YOUNG GIRL WITH FLOWER _ . Bust portrait of a girl of about fifteen, in black velvets with lace i< Of - collar and corded bonnet, holding a carnation. She is seen through -anopen window. (H.J/.H. Archduke Leopold Salvator) Canvas. Size, 844x714 inches. Gesso frame of later date. SAMUEL DRUMMOND 1763-1844 Samuel Drummond, portrait and. historical painter, became an Associate of the Royal Academy in 1808, and afterwards Curator of the Painting School. Another portrait of Mrs. Fry is in the National Portrait Gallery. 60 PORTRAIT OF MRS. FRY Bust, three-quarters to the right. Green dress with low square neck, Do- | high waist, and short sleeves. Another painting by the master—of a young girl’s head—is to be seen on the back of the canvas. Oils on canvas, original unlined. Size, 24 x 18 inches. Sir Cuthbert Quilter Collection. Louis Costa Torro Collection. Catalogued by R. R. M. See. GAINSBOROUGH DUPONT 1767-1797 Painted portraits and landscapes in the style of his uncle, Thomas Gains- borough, R.A., and also landscapes with architectural ruins. 61 PORTRAIT OF GEORGE III Head and shoulders, half to the left. His Majesty wears a dark blue coat with gilt buttons and braid, and scarlet lapels. Oils on canvas. Oval. Size, 2314 x 1934, inches. Louis Costa Torro Collection. “This picture was purchased in Brighton by Lord Wallscourt. It was attributed to Thomas Gainsborough and many experts still hold to this attribution.” Catalogued by R. R. M. See. 49 62 SIR ANTHONY VAN DYCK 1599-1641 DESCENT FROM THE CROSS: CHRIST BORNE TO THE TOMB CIRCA 1627-1632 The body of Christ is supported by St. John, who wears a red mantle. On the right are the three Marys. The mother of Jesus seems to be pointing to her Son’s body. She wears an orange gown, while Mary Magdalene is drapped in a blue cloak with the hood over her head. In the lower left corner are two weeping cherubs with emblems of the Crucifixion. Oils on canvas. Size, 2714 x 241% inches. Exhibited at Antwerp Van Dyck Exhibition, 1899. No. 24. Exhibited at the Brussels Museum, Brussels International Exhibi- tion, 1910, as one of the most representative works of the master. No. 167. | Reproduced by MM. Braun et Cie, in their collection of representa tive Van Dycks. De Moerlooze Collection. 1899 (Exhibitor at the Antwerp Exhibition). Accompanied by a letter in Dutch from the organizors of the Van Dyck exhibition, dated Antwerp, 18 May 1900, and signed by Max Rooses, then Director of the Musée Plaintin, thanking the owner for allowing this picture to be exhibited. Rothschild Collection. 1910 (Exhibitor at the Brussels Exhibition) . Leopold Hirsch Collection. 1911. Costa Torro Collection. 1912. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 50 et nee ee re ee ee tnt ete ee ce ¢ St. George of Cappadocia in Gothic armor on a dark brown charger } with feather crestings on his head has pinned the dragon to the earth with his lance. To the right Cleodolinda in royal robes, prepared for the sacrifice of her life, wringing her hands in anguish. Background of a monastery on a river front. Painted in distempers on panel, cradled. Contemporary polychromed and gilded frame. (H. J. H. Archduke Leopold Salvator) Size, 21 x 17% inches. oo oS SIR JOHN WATSON GORDON, R.S.A._ 1790-1864 Sir John Watson Gordon, eldest son of Captain James Watson, R.N., WAS - born at Edinburgh. On the death of Raeburn, in 1823, he became the chief portrait painter in Scotland, when he assumed the name of Gordon. 67 PORTRAIT OF MRS. McCORQUODALE Three-quarter length, seated, her hands clasped in her lap, holding a yellow wrap of which one end hangs over the arm of the red velvet arm chair. White satin dress. Oils on canvas. Size, 281% x 24 inches. Lord Ellesmere Collection. | Martin H. Colnaghi Collection. Louis Costa Torro Collection. Catalogued by R. R. M. See. CARL GRUBER AUSTRIAN, EARLY 19TH CENTURY 68 FLOWERS : Composition of naturalistically painted garden flowers in an urn shaped vessel. To the left a butterfly. | Canvas. Size, 2114 x 1714 inches. Signed and dated 1830. (H. I. H. Archduke Leopold Salvator) GEORGE HENRY HARLOW 1787-1819 69 PORTRAIT OF MISS F. M. RICHARDSON CURRER The famous book collector, and the owner of a fine collection of prints. Oils on canvas. Size, 29 x 24 inches. Dibdin Collection. Baroness Burdett-Coutts Collection. Martin H. Colnaghi Collection. Baron Costa da Torro Collection. Louis Costa Torro Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION | 56 [69] GEORGE HENRY HARLOW 1787-1819 70 PORTRAIT OF MRS. TROWBRIDGE | Bust to the waist, in a landscape. White silk dress, V-shaped décolleté, and blue silk scarf, thrown loosely over her shoulder and left arm. The face is slightly turned to the left, looking front. Bluish-grey eyes, curly brown hair, and very decided features and mouth. Pastel on paper, stretched on canvas. Size, 241% x 151% inches. Exhibited at ‘‘Les Maitres Anglais’, Paris, 1919. No. 116. Sidney Cooper Collection. Emile Gross Collection. Xavier Haas Collection. Catalogued by R. R. M. See. THOMAS HEAPHY, THE ELDER 1775-1835 In 1808 Heaphy was made a member of the Old Water Colour Society and executed a miniature of the Princess of Wales and many other distin- guished personages. He assisted in founding the Society of British Artists and also a few years later the New Water Colour Society. 71 PORTRAIT OF A LADY Full length, sitting on a garden-seat, under a canopy. Long, white dress; her left arm is bare, and resting on her knee; her right arm is gloved with a yellow glove. She is looking in a pensive mood, three- quarters to the left. Black hair, with a few curls. Brown eyes. Water colour drawing, very delicately executed in the flesh parts. The background is broadly executed, also the trees, which are height- ened by a few strokes of wash. Sight—size, 1414, x 105% inches. Signed and dated on the left hand bottom corner, “T. Heaphy (1801) ”. On paper stretched on canvas. Both on the canvas and on the back stretcher are seen in the handwriting of the artist, “T. Heaphy Dit. 1801 137 Longacre, London.” Monroe Collection. Emile Gross Collection. Xavier Haas Collection. “A very important drawing by the Irish artist.” Catalogued by R. R. M. See. 58 f [72] MARTEN VAN HEEMSKERK DUTCH, 1498-1574 Van Heemskerk was a pupil of Michaelangelo. Many of his great pictures can be studied at Haarlem. 72 THETIS WITH SHIELD OF ACHILLES IN VLUCAN’S FORGE After Homer. ‘Thetis in translucent blue and rose flowing robes. Behind her two nymphs ready to take the other pieces of armor, oan - while a Cyclops stops from his labor to look at the divine visitors. Vulean nude, wearing a loin cloth, presents the shield of Achilles. One of three wing's of a triptych of which the two other wing's are in the Museums of Vienna and Prague. Painted 1540. Froehlich Collection, 1910. Described, page 78, “Martin van Heems- kerk’’ by Leon Preibsz, 1911. Canvas. Size, 3 feet 3 inches x 3 feet 6 inches. (H.I. H. Archduke Leopold Salvator) 59 JOSEPH HIGHMORE 1692-1761 Joseph Highmore, an eminent Georgian painter, succeeded nearly atways in giving charm to the primness of his sitters. | ; 13 74, PORTRAIT OF A LADY Bust of a lady in white silk dress, trimmed with fur. A rose is fastened in the front of her square décolleté dress. Her hair 1s black, with blue ribbon and pearl ornament. | : eS Pastel, mounted on canvas and sirelonene the Burdetts, the Langhams, the Erskines, etc. 90 PORTRAIT OF HELEN MARIA WILLIAMS (THE POETESS). 1820 Nearly in profile, looking to right. A lady of mature age; red dress, white fichu. Dark background. Oils on canvas. Sight size, 2814 x 23 inches. This finished sketch was executed while he was in France. - From the Rev. Athanase Coquerel it passed to Marie Coquerel, his daugh- ter. It was bought from Charles Athanase Faucillon, descendant of Marie Coquerel and her husband, Jean Faucillon, by Baron Costa da Torro. Thence to the Louis Costa Torro Collection. “This most powerful portrait is in our opinion the strongest picture in oil ever executed by the master. It is here that he attains the greatest of the broad, dashing, pastels of his first period. This por- trait can be compared in quality and strength to any Hogarth, Rae- burn, or Chardin. It has character and subtlety. It is alive—and spontaneous. It could hold up its head proudly in any picture gal- lery between a Franz Hals and a Rembrandt.” Note.—Two slips of canvas have been added on the sides in the plain parts of the background when the picture was relined. The main body of the portrait is marvellously clear and pure, the face is in an untouched state. “The only man that could have imitated such spontaneous technique was the Irish Franz Hals, George Chinnery.”’ Illustrated Plate L; in “Masquerier & His Circle’ by R. R. M. See. Listed Page 240 of the same work. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 76 [90] MINIATURES OF EIGHTEENTH AND EARLY NE Ey es CENTURIES . Cris 91-98 ie MARIE GABRIELLE CAPET FRENCH, 1761-1818 cone SRP reintirty Mlle. Capet was an able miniaturist whose work has often been ascribed to Mme. Vigée Hall. | 91 “DEDICASSE” | a ! 7 Miniature portrait on ivory of a young woman in Directoire,costume =— and long flowing hair, tied with ribbon of white tulle and GOSe gar- land. She is depicted writing on a marble plaque under the image of a heart “Il est a toi pour la vie” In Ormolu baguette. Size, 214 x 21), inches. (Lord Grimthorpe Collection) [SEE ILLUSTRATION ] HENRY EDRIDGE ENGLISH, 1769-1821 Henry Edridge was advised by Reynolds to specialize in miniature. 92 PAIR OF PORTRAITS ON IVORY OF A LADY AND GENTLEMAN In the costumes of the Restoration period and painted in a free and vigorous manner background. (2) Signed. In oval gilded baguettes. Size, 3 x 21% inches. (Lord Grimthorpe Collection) [SEE ILLUSTRATION ] 78 [92] [93] [92] JEAN GUERIN FRENCH, 1760-1836 De Mauri in his “Miniature su Avorio” (page 253) states that Guerin’s miniatures are exceedingly rare, and that his portraits of women are rarer than those of men. Examples of his work in the Wallace Collection and Strasbourg and Colmar Museums. 93 PORTRAIT OF MLLE. DE MONTBRIZON Circular miniature on ivory of a young girl, painted three-quarter length, her long curling brown hair tied with a blue ribbon. She wears a blue girdle and holds a letter in her right hand. Signed Guerin in lower right hand corner. In a chased ormolu baguette of the period. Diameter, 334, inches. (Lord Grimthorpe Collection) [SEE ILLUSTRATION ] 79 PETER ADOLPHE HALL SWEDISH, 1739-1793 Peter Adolphe Hall displayed a wonderful delicacy of outline, and great taste in coloring, so much so that he has been called the Van Dyck of min- iature painters. He exhibited many of his works at the Salon from 1769 to 1789. 94 PORTRAIT OF ADELAIDE BOBIN | Miniature portrait on ivory. Circular medallion, bust portrait of a distinguished lady with powdered hair and ney fitting blue bodice. Gilded baguette. | F tia Diameter, 2 inches. (Lord Grimthorpe Collection) [SEE ILLUSTRATION ] GABRIEL-JEAN-JOSEPH-HUBERT LE MONNIER FRENCH, 1761-1800, 95 MINIATURE PORTRAIT ON IVORY OF LADY IN GRAY-BLUE Oval medallion portrait of a young matron with long powdered hair: She is dressed in a tight fitting blue bodice with scarves of muslin; gray background. In chased gold baguette. Size, 2x 4134 -inches: (Lord Grimthorpe Collection) [SEE ILLUSTRATION | M. ROUVIER FRENCH, 1750-1815? Rouvier was one of the most talented miniature painters of the latter part of the 18th century. He exhibited in 1779 at the Salon de la Correspond- ance de la Blancherie. 96 MINIATURE ON IVORY On an enamelled tortoise-shell bonbonniere with finely chased gold mounts. The portrait represents a matron in Louis XVI costume of crimson with fur trimmings and jewelled diadem in her powdered hair. Diameter, 21% inches. Signed and dated 1774. (Lord Grimthorpe Collection) [SEE ILLUSTRATION | 80 [91] - [97] [95] [94] SAM SHELLEY ENGLISH, 1750-1808 Sam Shelley was one of the foundation members of the Water Color Society. He acquired his excellent style from Sir Joshua Reynolds. Examples of his miniatures are in the South Kensington Museum. 97 MINIATURE PORTRAIT ON IVORY OF MISS LINWOOD Bust portrait of a young woman in powdered hair turning her head j- to the onlooker. Ivory plaque signed on back in Shelley’s own hand- writing “Sam Shelley, Henrietta Street, Covent Garden”. In oval eold frame with Georgian hallmarks. (Lord Grimthorpe Collection) Size, 24% x 2 inches. 81 [93] ANTOINE VESTIER FRENCH, 1740-1824 Vestier, though much better known as a painter in oils, was a skillful min- iaturist, who exhibited at the Salon de la Correspondance de la Blancherie. 98 MINIATURE PORTRAIT ON IVORY OF COMTESSE DE LOISNE On an ivory tortoise-shell-lined box with gold baguette. Portrait of a young woman nearly facing the onlooker. She is dressed in a jacket of blue over a plated silk gown of cream, one shoulder exposed through the sleeve. Her auburn hair trimmed with a green band holding bouquets of flowers. (Lord Grimthorpe Collection) Diameter, 31/4, inches. [SEE ILLUSTRATION ] 82 [99] GASPAR NETSCHER DUTCH, 1639-1684 99 PORTRAIT OF WILLIAM OF ORANGE Three-quarter length figure, in full blue armor. With lace jabot, long curling hair, and holding a martial staff in his right hand, while his left rests on the royal crown. The background of a wooded hill with a castle. In carved and gilded frame of later addition. (Marquess of Reading) Canvas. Size, 30 x 2514 inches. [SEE ILLUSTRATION ] 83 OAS AUGUST NICODEMO pe ITALIAN SCHOOL, 1760-1796? ‘ Nicodemo was court painter to the King and Queen of Naples. 100 101 102 SIESTA A young maiden reclining, the palin flesh tones of her nude upper body contrasting with the wealth of white coverlets; her roguish face crowned by a white chiffon bonnet with pink trimming. Back- ground of olive-green draperies. (H. JI. H. Archduke Leopold Salva- tor) 4 Canvas. Size, 12 x 10 inches. Handsome contemporary gesso frame. NORWICH SCHOOL | EARLY 18TH CENTURY LANDSCAPE WITH THATCHED FARMHOUSE With wayfarers, horse and dog and a gabled Tudor house behind huge straw piles. Though labelled “Brand 1791” it is doubtlessly of much earlier date and by a master preceding and possibly inspiring “Old” Crome. ne Original Georgian gesso frame elaborately carved. With a collector” S seal and the monogram ‘‘PS”’. Oils on mahogany panel. Size, 2014 x 2214 inches. (Marquess of Reading) JOHN OPIE 1761-1807 PORTRAIT OF A LADY WITH A RUBY BROOCH Bust, facing front. Dark dress, square décolleté, frilled white muslin; white muslin frilled collar tied with green ribbon, Large ruby brooch. Small necklace round red stones. Single stone earrings. Dark curly hair; white lace mob cap tied with pale green ribbon. Dark background. Oils on canvas. Size, 23 x 1714, inches. Xavier Haas Collection. A genuine example by the master. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 84 [102] WILLIAM OWEN — 1769-1825 William Owen, an eminent painter of portraits and fancy subjects, Was born at Ludlow. In 1804 he became an Associate and in 1806 a full mem-— ber of the Royal Academy. In 1810 he was appointed portrait painter to the Prince of Wales. 103 SUBJECT PICTURE: “HOMELESS” | Seated in front of a large boundary stone, is a young woman suckling a small baby. She has a yellow dress and a red cloak. Standing on right, his right arm resting on top of stone, a young boy looking down sorrowfully at the group. On left, seated on the ground, asleep and resting on her mother’s lap, a small girl. Her straw hat, blue lined, red strings, lies in foreground. Landscape, autumn foliage. Oils on canvas. Size, 3014 x 2314 inches. | “This picture has been engraved in a more finished version. ‘This is the original and broadly executed version of the Subject.” Lord Tweedmouth Collection. S. T. Smith Collection. Emile Gross Collection. Xavier Haas Collection. . Catalogued by R. R. M. See. - | | | [SEE ILLUSTRATION | 86 [103] ~ % Cc CHRISTOPHER PACK “ 1750-1814 o Born of an old Norwich family and intended to follow his father in trade. He occupied his spare time with painting, but business losses decided him to take it up seriously. He came to London, and studied under Reynolds. About 1796 he returned once more to London, and exhibited at the Academy. 104. PORTRAIT OF MASTER CHARLES POTHELWAITE Full-length figure of a boy, resting at the edge of a forest on a bank. He wears knee breeches, a greyish coat, a lace shirt and collar, grey stockings, and patent leather shoes. He is a most refined- looking boy with blue eyes, a fresh complexion, cherry-like lips, and blonde hair. Highly finished background in the manner of Russell: a leafy tree on the right, and on the top of the picture; an open landscape with a lake and a view of a park, on the left. Above this is a ely sky background. Pastel is on paper, stretched on canvas. Size, 40 x 8014 TONES Signed in red chalk, just above the shoe on the left hand, side ce Pack Ft.” Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 145. Sir Tollemache Sinclair Collection. Martin H. Colnaghi Collection. Emile Gross Collection. Xavier Haas Collection. Catalogued by R. R. M. See [SEE ILLUSTRATION ] 88 [104] GIOVANNI PAOLO PANINNI 1691-2-1764 Cavaliére Giovanni Paolo Pannini (or Panini) was born at Piacenza in 1691 or 1695. He went early to Rome, where he became a scholar of Andrea Locatelli and Benedetto Luti. He also partly adopted the style of Salvator Rosa. He applied himself to designing the remaining monuments of ancient architecture in the Roman vicinity. His merit, however, is not confined to architecture; he decorated his pictures with figures, gracefully designed, and grouped with taste. Works of Pannini are to be found in most large collections in England and America and several decorate the palaces of Rome. Panini died in 1764. He was a member of the Academies of San Luca, at Rome, and of Paris. Many of his pictures have been en- graved by well known engravers. | FOUR OVERMANTEL PANELS. CLASSIC RUINS 105 Ruins, with a four columned porticon on right. Right foreground, a group of eight persons. Six others are walking among the ruins. © 106 Ruins. On right, large building with numerous pillars in good state of preservation. Winding road in centre on which a man on a white horse is talking to two pedestrians. Nine other persons in four groups. [SEE ILLUSTRATION | 107 Ruins. Large ruin on right with thirteen pillars still standing. Small domed building on left. Seven people in three groups and a horseman galloping across the grass. 108 Ruins. On right in front of a small domed building, a ruin with numerous pillars, on the architrave of which are bas-reliefs showing a man and a horse. One of these bas-reliefs lies on the ground on extreme right. On left, ruin—two pillars and architrave. Nine per- sons are dispersed among the ruins. Oils on canvas. Sizes, 19 x 4914 inches. Louis Costa Torro Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION | 90 : ea > a. AS MARAIS ER EP PORES SD xs > : * ke on uy pe p ; ; 2 ME Echo ie Sts ee: Sa, Bete tee Tek eS > . s2¢ 4 : - . oS, ne Sih dic ~~ REET ER ETRE ELE AERTS SREY + che Regen tan ac aa, pace ? Jat ; $day [108] [109] GIOVANNI PAOLO PANNINI 1691-2-1764 © 109 ARCHITECTURAL RUINS A typical example of this artist’s pictures of the architectural neglect ' of ancient buildings in Rome. He depicted on canvas, what Gibbon has told us in immortal prose, the story of the decline and fall of Ancient Rome. The massive medieval buildings are here seen with trees and shrubs growing out of every place where a little soil could deposit itself and in which roots could obtain a slight hold. Through a high double archway to the right is seen a portion of a rotunda or forum. To give a little life to this scene of decayed greatness, the artist has introduced many figures all more or less idly employed in exploring the ruins or in resting among the huge slabs of stone; a further human touch is given to the scene by a man and woman conversing in the portico on the left, across which the shadow from the sun is thrown. (Lord Grimthorpe Collection) Canvas. 271% inches by 35 inches. Catalogued by W. Roberts. MATTHEW WILLIAM PETERS 1742-1814 The most French of the British artists of the seventeenth century, with a tt predilection for lovely women and large hats. He took orders, and became hh Prebendary of Lincoln Cathedral and Chaplain to the Prince Regent. 110 PORTRAIT OF MRS. GRANT _ Bust, three-quarters to the left. Evening dress lightly indicated, with * __ blue sash, low neck. Aristocratic face with well shaped mouth and 4 £0 4 straight nose. Dark eyes. Fair hair fluffed round head and hanging in long ringlet on left shoulder. Pastel on paper. - Size, 1014 x 81% inches. Exhibited at “Les Maitres on nea Paris, 1919. No. 154; Zurich, 1920. No. 70. Xavier Haas Collection. “A very important and charming work.” Catalogued by R. R. M. See. Wy mien ROBERT EDGE PINE 1742-1790 This artist went to America in the ’eighties and died in Philadelphia in 1790, after having painted the portraits of George Washington and many of his generals. He executed pastels in his early period, being much in- fluenced by Hoare of Bath. 111 PORTRAIT OF MR. TYSSEN Bust of a young gentleman, three-quarters to the left. He wears a blue velvet coat, with gold-brocaded waistcoat and buttons, white lace collar, and unpowdered wig of brown curls. Brown eyes, dark eye- Uo - brows. He is looking full face, with a noble and quiet expression. This is one of the early works of Robert Pine, and is a charming example of the early eighteenth century art of the pastellists. It comes from the Collection of Lord Amherst of Hackney at Didlington Hall, Norfolk, and represents a member of the Amherst family—one of the brothers of Samuel Thyssen. It is signed on the left hand side, in the clear handwriting of the period, “R. Pine March 1761/2”. Until this signature was discovered, the picture had been attributed, both by Lord Amherst of Hackney and Mr. Emile Gross, to Hoare of Bath. Xavier Haas Collection. Companion picture to the following. Catalogued by R. R. M. See. é 93 112 113 ROBERT EDGE PINE 1742-1790 PORTRAIT OF SAMUEL THYSSEN, F.A.S., OF NARBOROUGH HALL, NORFOLK Bust portrait of the celebrated numismatist, in brow velvet coat, yellowish waistcoat, lace collar and tie. Signed on the left, in the clear handwriting of the period, “R. Pine— Fecit, March 1761/2”. Until the discovery of this signature, the picture had been attributed both by Lord Amherst of Hackney and Mr. Emile Gross to Hoare of Bath. Lord Amherst of Hackney Collection. Xavier Haas Collection. Companion picture to the preceding. Catalogued by R. R. M. See. BY A FOLLOWER OF ALEXANDER ROSLIN SWEDISH, 1718-1793 PORTRAIT OF THE QUEEN OF NAPLES, SISTER OF MARIE ANTOINETTE Seated in an oval-back chair, in voluminous blue robes, lace collar and lace ruffs. High feathered and flowered head-dress of lace in her _ fluffy powdered hair. Her right is placed on a crimson cushion near the royal crown. Beneath the cushion a cover of ermine. Back- ground of a crimson drapery. In gilded gesso frame of later date. Canvas. (H. I. H. Archduke Leopold Salvator) Size, 3 feet 5 inches x 2 feet 6 inches. CATHERINE READ (?)-1778 Catherine Read practised in oil and pastel in London at the beginning of the reign of George III and Valentine Green engraved some of her works. 114 LADY ANN DE CRESPIGNY Pastel portrait on paper, stretched on canvas. Size, 2334, x 17 inches. Lord Crespigny Collection. Xavier Haas Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 94 [114] [115] CATHERINE READ (?)-1778 115 PORTRAIT OF A LADY Pastel on paper. Sight size, 2314, x 1714, inches. The picture is in its original carved Chippendale frame. This important pastel in perfect condition was originally the prop- erty of Mr. H. F. Webb, the great-grandson of John Russell. Mr. Emile Gross obtained it from Mr. Webb in 1912. Xavier Haas Collection. Catalogued by R. R. M. See. 96 116 apt 117 ‘SIR JOSHUA REYNOLDS 1723-1792 PORTRAIT SKETCH OF MISS THEOPHILA (‘OFFY’) PALMER, THE ARTIST’S FAVORITE NIECE Head and shoulders facing front. The young girl wears a pale yellow mantle with a narrow gold embroidered hem, crossed in front. Slight V-décolleté. Head facing front. Small red mouth, large blue eyes looking front. Reddish brown curly hair with a dark red rib- bon. Dark background with blue sky over left shoulder. Oil on original unlined canvas. Size, 21 inches x 171% inches. The Countess of Inchiquin Collection. Lord Ellesmere Collection. Xavier Haas Collection. “A typical work of the great President of the Royal Academy. All the more interesting, as it is certainly a sketch from life, which he used afterwards for many of his composition pictures, such as Robinetta, ete.” Catalogued by R. R. M. See. SIR JOSHUA REYNOLDS PORTRAIT OF GEORGINA, COUNTESS SPENCER Bust facing front. Dark dress, white lace trimmed décolleté, red sash tied in bow in front—wide dark blue velvet band round throat. Head one-half right looking right. Cluster pearl earrings. Soft brown hair dressed in heavy chignon at back, with jewelled hair ornaments. Oils on canvas. Size, 29 x 24 inches. Wm. Locke Collection. Lord Wallscourt Collection. Ch. Wertheimer Esq. Collection. Martin H. Colnaghi Collection. Louis Costa Torro Collection. A picture in a wonderful state of preservation on its original unlined canvas. Catalogued by R. R. M. See. 97 SIR JOSHUA REYNOLDS 118 SKETCH FOR THE FULL LENGTH PORTRAIT OF LADY q ( . BAMPFYLDE Full length, standing facing front. Long greenish white dress with long full sleeves, V décolleté high waist. Long green scarf. Left arm resting on top of a chest. Head three-quarters left looking left. Hair powdered and dressed high. Landscape meee Oils on canvas. Size, 29 x 24 inches. Lady Inchiquin Collection. FitzHenry Collection. Baron Costa da Torro Collection. Louis Costa Torro Collection. “This most interesting sketch of the famous icine of Lord Alfred de Rothschild’s collection is a typical example of the studio first ‘rough outline’ for one of the President’s full length portraits. These portraits, as everyone now knows, were executed by the numerous pupils whom Reynolds guided, just as did Rubens in the XVII century. The Master executed his sketch, to explain the general scheme—and finished the face, touching those points he thought necessary, when the large picture had been finished under his direc- tions. Consequently such a sketch is lightly rendered but masterly in execution—and gives us the first inspiration of the artist. Catalogued by R. R. M. See. [SEE ILLUSTRATION | 98 [118] if SIR JOSHUA REYNOLDS 119 PORTRAIT OF COUNT DE SCHAUMBURG LIPPE circa, 1770 4 , A slip on back of frame says: (in the handwriting of C. N. Robin- son) ‘A portrait of John 5th Duke of Argyll by Sir J.R. painted in 1770—was No. 145 of the R.A. Winter Exhibition 1910. In dress and hair dressing as well as in style of painting it agrees with this picture.’ Bust facing front. Scarlet coat with gilt buttons. White collar, black stock and lace jabot. Head three-quarters left looking left. Clean shaven humorous face. White powdered wig. Oils on canvas. Size, 25 x 21 inches. Exhibited “Exposition de peintures et miniatures anglaises du XVIII siecle.” No. 217. 1912. : Collection of Sir Ch. Robinson, Keeper of the Queen’s Ue otiaes and Director of South Kensington Museum. | Was sold by his son, Charles Newton: Robinson, and came into the possession of Louis Costa Torro. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 100 [119] GEORGE ROMNEY — 1734-1802 120 THE BROKEN REVERIE cay, 7 A A study of Lady Hamilton. | The beautiful sitter is represented three-quarter length to the knee, sitting in a landscape, with body in profile to the left. She is dressed in a pink robe, with a cerulean-blue sash. To describe the features of Lady Hamilton would be a needless task. Over her curly hair, there is a white turban, delicately executed, the curls falling on her shoulder. The background is sketched in—brownish on the right, suggesting the depth of a forest, while it graduates towards blue as it comes down towards the left. Pure pastel, stretched on canvas which has been restretched on can- vas. Size, 2714 x 201% inches. | Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 185. This is the picture left to Miss Romney, by the Rev. Mr. Romney. Martin H. Colnaghi Collection. Jules Porges Collection. Emile Gross Collection. Xavier Haas Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 102 [120] [121] GEORGE ROMNEY 1734-1802 121 HEAD OF LADY HAMILTON A very attractive head and shoulders of the artist’s favourite sitter, set in a reddish background, a rapidly-executed finished sketch. It belongs to the Bacchante type of the Lady Hamilton portraits by Romney, described in the present writer’s “Catalogue Raisonne’’, pp. 180-1, and is in some respects very similar to the beautiful sketch which sold for 2030 guineas in the famous James Price Collection in 1895. (Lord Grimthorpe Collection) Canvas on panel. 15 inches by 12 inches. From the Collection of R. Burn, March 29, 1890. Catalogued by W. Roberts. 104 PETER ROMNEY 1743-1777 Peter Romney was a brother of George Romney. It is only in recent years that the talent of the man who died in his youth, has been recognized. 122 PORTRAIT OF A LADY Pastel and water colour on paper. Size, 1034, x 934, inches. Jha 7 Miss Romney’s Sale. Martin H. Colnaghi Collection. Xavier Haas Collection. Catalogued by R. R. M. See. 105 NICCOLO RONDINELLI ITALIAN (RAVENNA), LATE 15TH CENTURY Rondinelli was a pupil of Giovanni Bellini and produced pictures which are often thought to be Bellini’s own works. Many of the churches in Ravenna contain paintings by Rondinelli. 123 MADONNA AND THE CHRIST CHILD The Virgin in crimson, gold-embroidered robe with a green mantle, and on her head a white cloth is draped which falls over her shoulder. With her right she holds the Infant Lord who points with his finger up to heaven while with her left she touches her prayer book. To the left of the crimson drapery can be seen a landscape with blue hills. In modern black and gold frame. On a walnut panel. (H. I. H. Archduke Leopold Salvator) Size, 1 foot 7 inches x 1 foot 1 inch. ANNE RUSSELL ~ 1781-1857 The youngest and most talented of the daughters of John Russell. Certain of her pictures are worthy of ranking with Rosalba’s. She did more original work than her sisters, and sent seven pictures to the Royal Academy, 1805-1813. ; / 124 PORTRAIT OF A LADY IN ERMINE Bust, three-quarters to the left. Very elaborate dress—scarlet bodice edged in blue and gold, low in neck; jacket of blue silk, bordered with ermine, with sleeves encircled with yellow bands and embroidery. Young round face, with small mouth and large eyes; pearl drop earrings. Light brown hair dressed smoothly, and held with string of precious stones, black and white ostrich plumes, and a small gauze veil. Pastel on paper, stretched on canvas. Size, 2314 x 1714, inches. Purchased direct from H. F. Webb, Esq., great-grandson of John Russell. Emile Gross Collection. Xavier Haas Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION | 106 [124] JOHN RUSSELL 1745-1806 John Russell was born at Guildford, his father being a bookseller mn that _ town. At the age of 14 he gained a Society of Arts prize, and later studied under Cotes and at the Academy in St. Martin’s Lane. He was at first inspired by Cotes’ methods, but he very soon did original work, and quickly rose to the highest position. Although he painted water- colours, and a good number of portraits in oil, it is the pastels which made his reputation. He excelled in this art and invested a method for the prepa- ration of pastels, which he explains in his “Elements of Pastel-painting,” published in 1776. | He was elected Associate of the Royal Academy in 1772 and Academician in 1778, and held the appointment of portrait painter in crayons to George III and to the Prince of Wales. He employed coloured crayons with the greatest variety in his subjects. 125 PORTRAIT OF MRS. THOMAS GILLOW Née Mary Garnett, daughter of John Garnett II and Sarah Ann Stewart of Jamaica. Married Thomas Gillow of Foxcote, Worcester- shire. 7 Bust to the waist, seated in a landscape, one-half right. White muslin dress with blue sash. Slight V-décolleté. Slender neck. Face three- quarters right looking front. Young face, regular features, blue eyes, an expression less commanding than that of her mother. Auburn hair, curls on forehead. Very fine landscape, showing Fox- cote Park, Worcestershire. | Pastel on paper. Size, 24 x 1714 inches. Signed and dated top left corner J Rufsel R.A. 1799. John Gillow Collection. Charles Wertheimer Collection. Martin H. Colnaghi Collection. Baron Costa del Torro Collection. Louis Costa Torro Collection. (Catalogue Raisonné of the Works of John Russell, R.A.) Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 108 ERROR ns Ee tin A IT aka, AA ls a RT OR Bey 8 MTs FLAC = Sp dam [125] JOHN RUSSELL 126 PORTRAIT OF MRS. GARNETT Née Sarah Ann Stewart, daughter of James Site: of Soane WAG ley, Kingston, J amaica. Mother of Mary Garnett afterwants Mrs. T. | Gillow of Foxcote, Co. Worcester. Bust to the waist, one-half left. White muslin dress trig with pale blue ribbon. Face nearly facing front, looking front. A very 2 | qi beautiful but authorative face. Delicate complexion, blue eyes,curled a powdered hair with blue ribbon. : Pastel on paper. Size, 231% x 1714, inches. Oval. Signed lower left J Russell R.A. pinxt 1789. Mrs. Gillow Collection. | John Gillow Collection. Charles Wertheimer Collection. Martin H. Colnaghi, Esq., Collection. Mr. Costa Torro, Sr. Collection. Louis Costa Torro Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 110 5b. Oa ant naa eC abil MEL EBOGOOUYDULU MMH UY UUDUUU VEU seg se ee sl ati ies Piet. AN RP. Sl, fF se 3 ‘ ’ Oe ee Oe ie eee a ee ee SAR eee anes [126] SOE GEG ny yd po _ JOHN RUSSELL 127 PORTRAIT OF MARY GARNETT Afterwards Mrs. Thomas Gillow of Foxcote, Worcestershire. Daugh- a a ter of John Garnett II and Sarah Ann Stewart of Jamaica. A child of seven, three-quarter length, one-half right, holding a red and a white rose in her right hand. White muslin dress, short sleeves, low square frilled neck, broad blue sash tied in large bow at back. Head three-quarter right looking front and up. Large grey ~ a: : blue eyes—brown hair cut in fringe on forehead. White muslin frilled mob cap with blue ribbon tied under chin in bow. : Sky background. : Pastel on paper. Size, 2414 x 1914 inches. Signed and dated lower left J Rufsell R.A. pinxt 1789. Mrs. Gillow Collection. John Gillow Collection. Charles Wertheimer Collection. Martin H. Colnaghi Collection. Mr. Costa Torro, Sr. Collection. Louis Costa Torro Collection. “One of the fine examples of his best period.” A companion picture to Ann Garnett. See “Catalogue Raisonné of the Works of John Russell, R.A.” Catalogued by R. R. M. See. [SEE ILLUSTRATION ] Le 7] [1 JOHN RUSSELL 128 PORTRAIT OF ANN CARNETT Daughter of John Garnett II of Liverpool and Sarah Ann Stewart of Jamaica. Died 24th March, 1803. A child about ten years old. One-half length ane front. a white muslin dress over a pink slip, frilled, short sleeved, low necked, with broad pink sash tied in large bow at back. Ann Garnett holds a small yellow wicker basket in her right hand. Head three-quarter — 4 left, looking front. Grey blue eyes. Brown hair cut in fringe on forehead, and falling in waves to shoulders. Sky background. Pastel on paper. Size, 24 x 191% inches. : i Signed and dated 1790. -Foxcote Collection—Mrs. Gillow, sister of Ann Garnett. Thomas Gillow Collection. John Gillow Collection. Charles Wertheimer Collection. Martin H. Colnaghi Collection. Costa del Torro Collection. Louis Costa Torro Collection. “A fine example of the master’s best period.” Companion picture to Mary Garnett. See “Catalogue Raisonné of the Works of John Russell, R. A.” Catalogued by R. R. M. See. [SEE ILLUSTRATION] 114 a “ An exquisite pastel portrait. The distinguished subject eee in profile, bust length, with black coat and waistcoat, white stock and frill and powdered wig. (Marquess of Reading Collection) Pastel on gray paper. Height, 914 inehes; width, 7% inches. In execution and charming result this portrait is probably the finest example of the work of Sharples that has come to our notice. It hardly seems necessary to call attention to the pertinent features of its physical aspect which serve to identify it. For instance the thick gray paper, the uniformity in size with the Hamilton portrait at the New York Historical Society. On taking this picture out of the frame we found a four-page sheet of old writing paper with the water-mark of a dove, exactly similar to that used by Thomas Jefferson in his correspondence. (See letter to General Armstrong, March 20, 18, in the Tristram Coffin Collection now on exhibition at the Anderson Galleries). [SEE ILLUSTRATION | 118 ECO EN I [131] Ss A RM NM mC EA EEE EERO, NOE RTOS NL IT AN (eT AFTER A SIENNESE MASTER 15TH CENTURY 1382 TRIPTYCH IN FORM OF TABERNACLE The centre wing with the Virgin in a blue robe seme with gold stars over a scarlet robe. She supports the Infant Lord standing on her knee and is seated on an elaborate marbled dais. Above grouped in sunburst form are six seraph heads painted in blue-green mono- chrome. The right and left wings with youthful saints in rich mediaeval costumes, and in gables a saint bishop and two holy women in attitude of prayer. Gold sgraffito ground. (AH. I. H. Archduke Leopold Salvator) [SEE ILLUSTRATION | 120 133 HENRY SINGLETON 1766-1839 Henry Singleton was brought up by his two uncles William and Joseph Singleton, both miniature painters. At the age of ten he is recorded as a genius at the Exhibition at Spring Gardens by the showing of his drawing in pen and ink of a “Soldier returning to his family’. This success gained him a een at the Royal Academy. OIL PAINTING: CUPID “niree-quarter length. Cupid is in fhe act of loosing an arrow from his bow. On his left hip is slung a quiver with an arrow, held by a broad blue ribbon over his right shoulder. Sprouting from his shoul- der blade, a large pointed wing. An elfish face with pointed chin, smiling mouth and large dark blue eyes. Light curly brown hair _ with tendrils on forehead. Oil on canvas. Size, 29 x 24 inches. Exhibited at “Les Enfants Anglais”, Paris, 1922. No. 69; Singleton Exhibition, 1920. No. 1. “Singleton belonged to the Reynolds school, and this picture because of both the treatment and the subject, has often been attributed to Sir Joshua Reynolds. We believe it to be the work of Singleton, but a masterpiece worthy to rank with any of Reynolds’ pictures.” Martin H. Colnaghi Collection. Xavier Haas Collection. Catalogued by R. R. M. See. HENRY SINGLETON 1766-1839 SCENE FROM LONDON LIFE: THE YOUNG GENTLEWOMAN VISITING THE POOR A group of figures. In the centre stands a young girl, holding a basket of fruit in her right hand and the sleeve of a link-boy in her left. Long white décolleté dress with red bodice, long sleeves. Head nearly profile, looking up into face of gentleman on the left. Yellow straw poke bonnet with green ribbons. On left, a man stands, feet apart, with his left hand on her right wrist, in black cloak and black cocked hat with plumes. Three other picturesque figures. Oils on canvas. Size, 135%x 111% inches. Exhibited at the Singleton Exhibition, 1920. No. 3. Sidney Cooper, R. A. Collection. Xavier Haas Collection. Catalogued by R. R. M. See. 121 GIOVANNI DOMENICO TIEPOLO ITALIAN, 1727-1804 Giovanni Domenico Tiepolo accompanied and assisted his father Giovanni — Battista in most of his important decorative works. But few separate paintings by him are known. : 135 PORTRAIT OF POPE CLEMENT XIV Three-quarter length portrait of the Pope wearing a jewelled cross over his pontificial robes. He is holding in his right hand a parch- ment inscribed “Breve Alexander VII’. To his left on a marble balustrade, the tiara and jewelled and gold crozier and to his right the Ganganelli arms with inscription and date 1778 (should be 1774 or 1775—an error due to subsequent restoration.) Canvas. Size, 3 feet 9 inches x 3 feet. (H. I. H. Archduke Leopold Salvator) LUCAS VAN VALCKENBORCH FLEMISH, 1530-1622? Lucas Van Valckenborch was registered in the Guild of St. Luke in 1560. He is believed to have studied under Peter Brueghel whose influence can | be seen in this picture. In 1570 he obtained the patronage of Archduke Matthias, whom he accompanied to Linz, lower Austria where he stayed until 1594. This picture was apparently painted at Linz. His work is well represented in the Vienna Kunsthistorishes Museum. : 136 PASTORAL PLEASURES The centre foreground occupied by a pond with six ladies, bathing. To the right, a palace to which stairs are leading, and on a platform, two royal personages obviously enjoying the spectacle of bathing. On a step behind the rose bower in the centre foreground jesters, and promenading couples of nobles in Renaissance costumes, and to the left ‘““Brueghel” rustics carousing. In the near background in the columnar portico of the palace a table set for a feast, and above a minstrel gallery with playing musicians. From two highly arched windows can be seen other spectators. The background with games of racing and a quaint joust of peasants in baskets, and beyond, inns and a castle on the hill. Personages portrayed in this canvas are countless and there is an infinite amount of imaginative detail. Elab- orate gilded and lacquered frame of 19th century addition. Oils on canvas. Signed and dated 1590. (H. JI. H. Archduke Leopold Sal- vator) Size, 42 x 59 inches. [SEE ILLUSTRATION | 122 _ VENETIAN SCHOOL. ee 16TH CENTURY ae roe 137 THE LORD MEETS Si MARY MAGDALENE : Christ in draped robes of blue-gray and scarlet, surrounded by his att apostles of which six can be seen in the picture; before him kneels ah, % st. Mary Magdalene as a shepherdess, in mediaeval robes of rich jo purple-rose with embroidered cloak of gold, her flying lace veil touch- | ing her auburn hair. Background of houses of Alpine architecture, ws and hills beyond crested with turretted castles. : In a gilded Empire frame. (H. I. H. Archduke Leopold Salvator) On panel. Size, 2914 x 42 inches. VENETIAN SCHOOL 16TH CENTURY 1388 (a) THE RIALTO (b) VENETIAN CARNIVAL (c) EASTER ON THE PIAZZA SAN MARCO Gouached miniatures on paper. An unusual series drawn with a multitude of figures in the picturesque costumes of the time. In gilded frames. (H. I. H. Archduke Leopold sh ai (3) Size, 6144 x 81% inches. [SEE ILLUSTRATION ] 124 i Spe at OPE » [138] [139] PAOLO VERONESE (CALIARI) ITALIAN, 1528-1588 139 THE SYMBOLS OF THE FOUR EVANGELISTS “An imaginative arrangement. We see the angel in cool crimson garment with warm brown wings between the yellow lion and the black grey eagle and the reddish-brown bull. The original position of this picture either on a ceiling or in the frieze of a church or sacresty is not known.” Translated from authentication by Professor William Suida in “Qs- terr Kunstschatze”’, volume three. Illustrated in the same volume, plate number 78. (H.I. H. Archduke Leopold Salvator) Canvas. Size, 2 feet, 8 inches x 5 feet, 6 inches. Originally in the possession of Prince Liechtenstein, Castle Seeben- stein, Lower Austria. [SEE ILLUSTRATION ] 126 140 Jn r0- [140] GEORGE VINCENT 1796 ?-1832 George Vincent, an English landscape and marine painter, was born at Norwich. He learned the principles of art from “Old” Crome and at the age of seventeen began to exhibit with the Norwich Society. THE MILL AT NORWICH An irregular group of old houses and cottages on and near the banks of a river. The mill is seen on the left partly hidden by tall golden- tinted trees; two men in shirt-sleeves are seen pushing off in their boats from the bank of the river, approaching which is a peasant woman with a basket on her arm apparently with the object of join- ing one of the boatmen. (Lord Grimthorpe Collection) Signed with initials G. V. in the form of a monogram, and dated 1823. Canvas. 3014 x 381% inches. From the Collection of Mr. Noel Fenwick of Hunstanton Lodge, King’s Lynn, Norfolk, and probably the “Heigham on the Wensum” in his sale of July 18, 1892. Lot 70; at one time in the possession of Messrs. T. Agnew & Sons. An extremely fine example of this distinguished member of the Nor- wich School of Painting. Catalogued by W. Roberts. 127 141 [141] GEORGE VINCENT 1796- ?-1832 WINDMILL AND POOL A very charming East Anglican view of rural scenery. An ancient and battered windmill is seen on the left on the edge of a dam over which the water from a pool or small lake is flowing. To the right amid picturesque groups of autumnal tinted trees and shrubs are seen glimpses of a rustic and outhouse, with a roughly made wooden bridge, a peasant boy and a little girl are passing, and near them, in the shallow water is a group of three cows and a fourth on the edge of the stream; cattle and buildings are seen in the distance beyond the windmill. (Lord Grimthorpe Collection) Panel. 181% inches by 25 inches. Catalogued by W. Roberts. [SEE ILLUSTRATION ] 128 JAMES WARD, R.A. ENGLISH, 1769-1859 James Ward was a disciple of John Raphael Smith and his elder brother William. In 1794 he was appointed painter and mezzotint engraver to the Prince of Wales. He was a frequent contributor to the Royal Academy. He was elected an A. R. A. in 1807 and a full Academician in 1811. 142 ITALIAN LANDSCAPE WITH FIGURES Canvas painted under the influence of Pannini. The right foreground and background occupied by ruins of a temple with Corinthian columns, and an obelisk with urn. To the left two youthful shepherds with their goats and beyond farm buildings and towering hills. Signed on an architectural fragment in the right hand corner. In old Empire gwesso frame. (H.1. H. Archduke Leopold Salvator) Canvas. Size, 16 inches x 21 inches. [SEE ILLUSTRATION ] 129 [143] GEORGE WATSON 1767-1837 George Watson was born at Overmains, Berwick. His first instruction was due to Alexander Nasmyth, but he worked for two years with Sir Joshua Reynolds. 143. PORTRAIT OF THE YOUNG MASTER EVAN MURRAY MACGREGOR Oils on the original canvas. Sight size, 29 inches x 2414 inches. The portrait of the son of Sir Evan Murray MacGregor, Bt., chief of the MacGregors whose portrait was exhibited in the Royal Academy under No. 345 at the 1823 exhibition. Louis Costa Torro Collection. Catalogued by R. R. M. See. 130 ae [144] W. H. WHEELWRIGHT ENGLISH, 19TH CENTURY 144 COACHING, HURDLING, HORSES AND THE MALL 290- Framed in pitch-pine and forming a three-fold screen. Painted in a monochrome sepia key with heightenings of color. Series of six panels said to have been painted for King Edward VII, then Prince of Wales. Oils on milboard. The panels are signed and dated 1883 and 1889. (H. 1. H. Archduke Leopold Salvator) (38 Height, 4234, inches; width, middle panel, 22 inches; two side panels, 16 inches [SEE ILLUSTRATION | 131 [145] THOMAS WILLEBORTS (CALLED BOSSCHAERT) DUTCH, 1613-? Thomas Willeborts was a disciple of Gerard Zegher. He was much em- ‘ployed by Prince Frederick Henry and Prince William of Orange. 145 THE YOUNG MINSTREL A handsome youth with long brown curling hair, playing the lute. He is dressed in black velvet over his soft white shirt, and a crimson cloak is thrown over his shoulders. (H. I. H. Archduke Leopold Salvator) In oils on canvas. In contemporary carved and gilded frame. Size, 3 feet 8 inches x 2 feet 9 inches. 182 [146] JOHN WOOTTON ENGLISH—TO 1765 John Wootton, an eminent English animal painter, was much employed at Newmarket in painting portraits of racers. His pictures were engraved by Canot. 146 AN IMPORTANT EQUESTRIAN PORTRAIT OF CHARLES, DUKE a OF CUMBERLAND, WITH HOUNDS . The youthful duke in blue embroidered velvets on a fawn colored | = ae horse with white mane, fluffy white tail and saddle cloth of leopard skin. In contemporary carved and gilded frame. Oils on canvas. Size, 78 inches x 62 inches. ; (H. I. H. Archduke Leopold Salvator) 9o oo oneal WRIGHT OF DERBY Joseph Wright was born at Derby in 1734. He came in 1751 to London, where he became a scholar first of Thomas Hudson, and afterwards of — Mortimer. On leaving the latter he returned to Derby, where he estab- lished himself as a portrait painter. In 1773 he visited Rome and other parts of Italy, and returned to England in 1775. He then first settled at Bath, but returned to Derby mn 1777. Elected A. R. A. in 1781, he was chosen an Academician in 1784 but did not accept Ene honour. He died at Derby in 1797. 147 PORTRAIT OF ANN HATFIELD (Married in 1787 to William Gossip.) Three-quarter length, standing, facing front. White dress, low neck with yellow embroidered edge, short full sleeves, blue sash unknotted and draped. Large reddish stone and band of black silk on right wrist. Face front, brown eyes, fair hair brushed up high with ring- let on neck, small lace cap. The right elbow rests on a table on which is a drawing stump and a sheet of paper. A spray of white arum lilies on left. Landscape background. Oils on original canvas—unlined stretcher and frame of the PT ie Size, 8614 inches x 3014 inches. Reproduced full page in colour as representative work of “Wright of Derby” in The Connoisseur, Vol. LVIII, No. 229, for Sept. 1920. ‘““A pure and perfect picture of its type.” Louis Costa Torro Collection. Catalogued by R. R. M. See. [SEE ILLUSTRATION ] 134 innate ni se eas aa i NN TLE LL ELLE LL LOLA NLL LLIN DLE, I a eas yncit reer [147] a WOOD & STONE CARVINGS, BRONZE & MARBLE SCULPTURE NUMBERS 148-168 | | SOUTH TYROLEAN, 15TH CENTURY 148 CARVED WOOD, POLYCHROMED AND GILDED mea STATUETTE OF ST. MARTIN E Group of singular importance. St. Martin dressed as a tioht ina ~ om fy gold embroidered crimson jacket with his round velvet hat crested | ne hee by a chamois brush fastened by rosette. His handsome young face is framed by long brown curls. He is about to cut his crimson cloak in two, of which half will be the beggar’s. The white horse he is riding is caparisoned with trappings of gold and stands on a rusticated ground. Original state. (H. I. H. Archduke Leopold Salvator) Height, 5 feet; width, 34 inches. [SEE ILLUSTRATION | RHENISH, 15TH CENTURY 149 CARVED, GILDED AND POLYCHROMED WOOD STATUE ST. ANN WITH THE HOLY VIRGIN AND CHILD A beautiful group. St. Ann in robes of crimson with a white head cloth of the patrician covering her head and falling over her shoulders. On her lap, on a green cloth in folds, is placed the statu- ette of the youthful Virgin Mary with long curling hair; she is hold- ing the Infant Christ who stretches His hand towards a cluster of grapes offered by St. Ann. (H.J. H. Archduke Leopold Salvator) Height, 20 inches. 136 i e+ i Oi hie gis) [148] [152] [150] [151] TYROLEAN, 15TH CENTURY 150 POLYCHROMED ALTO RELIEVO CARVING A gripping composition. The Holy Virgin is kneeling before the mounted body of the Lord. To her left a young saint with long curl- ing hair and to the right the mourning figures of the Holy Women. Above, behind a low hedge of clipped bushes, a walled castle flanked by square towers and with gabled pinnacles flanking a Romanic church; and to the right under a cove the Lord’s sarcophagus with the figure of a bearded priest in attendance. (H. I. H. Archduke Leopold Salvator) Height, 1414, inches; width, 14 inches. [SEE ILLUSTRATION ] 138 a ae oF bigs) TYROLEAN, 15TH CENTURY 151 CARVED, PAINTED AND GILDED WOOD STATUETTE OF . ST. MICHAEL The figure of a youthful saint in fluted Gothic armor standing with | / 7 i one foot on a monster, his head covered with a casque of leather; he holds a spear in his right hand. Original polychromy of brown and crimson and gold. (H.J1. H. Archduke Leopold Salvator) Height, 31 inches. [SEE ILLUSTRATION ] AVE yy FS Ta (Oe re w be ] TYROLEAN, 15TH CENTURY 152 CARVED WOOD AND GILDED STATUETTE OF ST. FLORIAN Vi ie Dressed in Gothic boucle armor. He has thick straight hair carefully shaped over his forehead. In his right hand he holds a tilting bucket. Original color and gilding. A typical and spirited Gothic sculpture. (H. I. H. Archduke Leopold Salvator) J Height, 29 inches. ; [SEE ILLUSTRATION ] SPANISH, LATE 16TH CENTURY 153 CARVED WOOD AND POLYCHROMED STATUE OF ST. THERESA Half length magnificently modelled representation, the face naturalis- jo? 2 tically painted. The saint is dressed as a noble woman in tight fitting embroidered robes of gold and brown, with a gold and crimson mantle and a blue and gold robesillo thrown over her head. The gold orna- mentation is composed of acanthus arabesques and Byzantine crosses. On an octagonal base with gold arabesque tracery on a Persian blue ground. (H. I. H. Archduke Leopold Salvator) Height, 38 inches. 139 SOUTH GERMAN, 16TH CENTURY 154. GILDED SILVER STATUE OF MADONNA AND CHILD The Holy Virgin in flowing robes with fringed border, depicted as a young maiden holding the stem of Jesse in her left hand, and in her ,. “ Yight the Christ Child enveloped in the folds of her cloak tenders the ~ pomegranate, emblem of hope. (Lord Grimthorpe Collection) Height, 20 inches. [SEE ILLUSTRATION | FLEMISH, 15TH CENTURY 155 CARVED STATUETTE OF MADONNA AND CHILD Of oak. The Holy Virgin in flowing robes, a chaplet of oak leaves on her long curling hair. The Infant Lord in her arms with his arms raised in a vivacious pose, feeding an eagle. (Lord Grimthorpe Collection) Height, 231% inches. [SEE ILLUSTRATION] 140 plate ote te Miia —. [154] [155] ee 156 STONE SCULPTURE TOURAINE, END OF THE 15TH CENTURY A KING’S HEAD = This head does not come from a statue, but fron an abel teeter decoration, probably secular. It appeared on the monument from which it came with its head in right profile, and it is affected with a certain symmetry due to the natural taste for perspective among the Gothic sculptors. The head begins at the centre of the neck (the be- ginning of the shoulders is visible behind the head). It is painted with a crown of gold; the face naturalistically; the hair in parallel curls, falls vertically to the shoulders which are covered with a gilded cloak, disclosing a fragment of the bright red robe. Under the vest- ments around the neck, appears some pleated and goffered linen. Al- though the ornaments of the crown are broken in the upper part, it is certain that the crown was fleur de lisé. Half life size. ae From the Collection of Comte de Sagonne, Inspecteur des Beaux ee Moulin de l’ Abbaye, Gif, Seine et Oise. [SEE ILLUSTRATION ] 142 eee OO EE E—e—e_k FREON RR et a a 0 - 1156] Se ro en a ee iene ee [157] GIVEN TO GIOVANNI DA NOLA ITALIAN, 16TH CENTURY 157 CARVED ALABASTER ALTO RELIEVO PLAQUE THE NATIVITY Against a magnificent background of Renaissance architecture is placed the group of the Holy Family with shepherds; in the fore- ground the Christ Child on a platform being adored by a winged seraph. The background represents an arched Renaissance palace with protruding wing held by a Corinthian column. Arched plaque in moulded ebonized black frame of later addition. (H. I. H. Archduke Leopold Salvator) Height, 25 inches; width, 1614 inches. 2 144 3, ee eee eee pa wrorye Po ae, Ts 1h he +r eaihah ioe goa kre - GIVEN TO BENEDETTO DA MAJANO FLORENTINE, 15TH CENTURY 158 POLYCHROME TERRA COTTA BUST Believed to be Savonarola. His ascetic features naturalistically col- ored, impressively silhouetted against the high capouche of his habit. On contemporary moulded wood plinth. (H.I/. H. Archduke Leopold Salvator) Height without plinth, 12 inches. [SEE ILLUSTRATION | 145 ANTONIO FILARETE FLORENTINE, CIRCA 1450 159 BRONZE STATUETTE OF A HORSE Stallion in spirited posture, its right leg lifted forward, its forelock tied in the form of an oblique feather cresting; its neck furnished with a collar. Superbly modelled. Green patina. On a modern Cipolin marble slab. (Lord Grimthorpe Collection) Height, 19 inches; length, 20 inches. This statue bears a close resemblance to a horse in the Museo Estense at Modena derived from a study by Leonardi da Vinci, according to Dr. Bode, in “Italian Bronze Statuettes of the Renaissance”, Vol. 2, Plate 132. [SEE ILLUSTRATION | 146 [160] ANTOINE COYSEVOX FRENCH, 1640-1720 160 PAIR OF BRONZE GROUPS, 1700-1702 Contemporary reductions by the master of the heroic marble statues 4 at the entrance of the Tuileries Gardens. (a) LA RENOMEE (FAME) On a winged horse unhampered by harness attempting to clear a trunk with trophies of arms and weapons richly chased, “La Re- nomée” is seated, her left hand on the mount, her right holding a trumpet to her mouth. Height, 24 inches; width, 22 inches. (b) MERCURE (MERCURY) Seated sideways on a winged horse above a plinth with trophies of war and symbols of commerce. (H. J. H. Archduke Leopold Salvator) Height, 28 inches; width, 22 inches. Antoine Coysevox was born in Lyons, but of Spanish descent. He was the outstanding figure in the plastic arts under the Grand Monarque. [SEE ILLUSTRATION ] 147 161 162 163 164 ASCRIBED TO FRANCOIS GIRARDON FRENCH, 1630-1715 FOUR WHITE MARBLE STATUES OF CAESARS AFTER THE — ANTIQUE Busts of the emperors Galba, Otho, Vitelius and Vespasianus. On lacquered socles of later date. (H.I. H. Archduke Leopold Salvator) Height, 12 and 121% inches. JAMES PRADIER FRENCH, 1792-1852 BRONZE STATUETTE OF NAPOLEON IN ROBES OF THE “SACRE” Cire perdue of high and vigorous quality. (Lord Grimthorpe Col- lection) Height, 221% inches. ATTRIBUTED TO ANTONIO CANOVA ITALIAN, 1757-1822 CARVED CARRARA MARBLE BUST OF A ROMAN EMPEROR An heroic sculpture, shoulders and breast in chain armor partly covered by the folds of a toga. On contemporary columnar Siena marble pedestal of yellow, black and white mottling and veins. (Lord Grimthorpe Collection) Total height, 6 feet 1 inch. FRENCH SCHOOL, CIRCA 1805 WHITE MARBLE STATUE OF EMPRESS JOSEPHINE An interesting contemporary bust of great realism. The Empress is draped in classical robes enriched with fleuretted volutes, her hair is dressed in the Roman fashion and held by a diadem carved with the Imperial bee, stars and Greek Antefix. On a handsome tapering pedestal of later creation, furnished in panels with bronze appliques of the Imperial crown above letter ‘‘N”’ and the Imperial bee. Plinth of statue slightly chipped. (Lord Grimthorpe Collection) Total height, 5 feet 111% inches. 148 it me ‘ila aba i. = hae . 167 D. P. BOUCHER CONTEMPORARY FRENCH BACCHANTE Bronze statuette of a maiden, her nude body partly covered with a loin cloth, holding a cluster of grapes in her hands. Her right foot, turned backwards, rests on an Etruscan urn. Rich dark brown patina. (Lord Grimthorpe Collection) Height, 15 inches. CIRE PERDUE BRONZE STATUETTE BY E. 0. ROSALES, 1911 THE DANCER. Statuette of a young maiden in Terpsichorean at- titude. Fine brown patina. Signed, dated and marked Number six. On a plinth of Mexican onyx. (Lord Grimthorpe Collection) Height, 1614 inches. ANTIQUE BRONZE THERME OF A BACCHIC HERMAPHRODITE IMPERIAL ROMAN Smiling countenances of two youths with draped upper bodies; long curling hair, the maiden’s tied with a floral wreath, the male head with boldly upturned curls. Original green patina. Fine state of preservation. On a red Italian marble pedestal of modern addition. (Lord Grimthorpe Collection) Height, 14 inches. BURMESE BRONZE HEAD OF BUDDHA CONTEMPORARY WITH MING, 1368-1644 The heroic head of a giant statue; golden-brown patina. (H. I. H. Archduke Leopold Salvator) Height, 14 inches. 149 he yf > i : home S40 This catalogue designed by The Anderson Galleries } a" | Photographs by Peter A. 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