AP Saf ees ‘ Tie a 4 by ce ra PEED SC A OME SET GR He al - + ban! >) +7<.% DAYS OF EXHIBITION THURSDAY, FRIDAY AND SATURDAY, JANUARY 12tTn, 13TH anv 14TH FROM 9 O’CLOCK, A. M., UNTIL 5 O'CLOCK, P. M. ADMISSION, EXCLUSIVELY BY CARD, TO BE HAD ON WRITTEN APPLICATION TO THE MANAGERS THE PALATIAL MANSION OF THE LATE JAMES HENRY SMITH AND ITS RARE AND COSTLY CONTENTS Vi GO Se Ts Mla AmS TO BE SOLD AT PUBLIC SALE ON THE PREMISES ON TUESDAY, WEDNESDAY, THURSDAY, FRIDAY AND SATURDAY AFTERNOONS, JANUARY 18r1u, 19TH, 20TH, 21sT AND 22D, AT 2.30 O’CLOCK AT THE AMERICAN ART GALLERIES ON THURSDAY EVENING, JANUARY 20TH, AT 8.30 O'CLOCK AT MENDELSSOHN HALL ON FRIDAY EVENING, JANUARY 21st, AT 8.80 O’CLOCK oa ~ ore a i a ihr. ey Ss P— Somes 2S Seeiioee rowed meres ones Seo Yooweoe rove jecwe es joa Descriptive Catalogue of _ THE PALATIAL MANSION OF THE LATE JAMES HENRY SMITH No. 871 FIFTH AVENUE (NORTHEAST CORNER OF SIXTY-EIGHTH STREET) NEW YORK CITY AND ITS EXCEEDINGLY RARE AND COSTLY ARTISTIC FURNISHINGS AND EMBELLISHMENTS TO BE SOLD AT PUBLIC SALE ON THE DATES HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS . NEW YORK 1910 ng x , a ths, Press of The Lent & Graff Company 137-139 East 25th St., New York * E ~~ ¢ ~~ s es | DESCRIBED BY -. MR. BARR FERREE _ Eprror or AMERICAN Homes AND GARDENS NOTICE THE PALATIAL MANSION x will be offered at public sale on the premises, Tuesday Aftemonn™ January 18th, at 2.80 o’clock, immediately preceding the sale of the rare and costly contents. the premises. At the expiration of this period the dest Ee ae delivered and Bares of the premises given to the ie premises were struck down upon the sale of the same to The and for which they may be purchased on the pon and also for costs and expenses occurring on such re-sale. -~ ‘ cae INTRODUCTORY THIS magnificent mansion, which is one of the most admirably appointed and most superbly decorated houses in New York, was practically entirely rebuilt for Mr. William C. Whitney by the well-known architects, Messrs. McKim, Mead & White. The splendid interior decorative work was carried out by Mr. Stanford White, and the mansion is, in ~ many respects, the finest product of that distinguished artist’s constructive and decorative skill. Situated at the northeast corner of Fifth Avenue and 68th Street, with a frontage of 54 feet, 114 inches on Fifth Avenue and 200 feet on 68th Street, covering an area of 11,000 square feet, it is in the very heart of the choicest residence district in New York. It is a house richly supplied with architectural and other permanent decorations of the most magnificent description. These decorations are structurally an integral part of the “mansion, and give it its most distinguished character. In the forthcoming sale none of these permanent features are to be sold separately, but will remain as they are, and will be included in the sale of the mansion itself. In the following pages the mansion will be described as it will be sold; the furnishings, the objects of art and other movable contents are treated elsewhere ; for the present we are concerned solely with the house as it is, and as it will be offered to the purchaser. Barr FERREE. EXTERIOR Ir is a stately and dignified dwelling, with a soft-colored exterior of quiet brown stone. It occupies the whole of the site, including the magnificent Ball Room at the rear, con- nected with the main building by the Conservatory and Corridor, the whole forming a man- sion of unusual size, perfectly appointed in every detail. It is three stories in height, with a basement, Mansard roof and attic, and hence containing an interior of five stories. The architectural treatment of the exterior is very quiet and restrained, a style admirably suited to the material, and, in its careful modeling and well-studied details, as perfectly adapted to the more ornate splendor of the interior. The entrance is on 68th Street, and has the form of an inclosed portico. Rusticated piers on the corners, and double columns of Levanto marble are inclosed by magnificent wrought-iron grilles, lined within with heavy plate glass. ‘The gates were originally in the Doria Palace at Rome, and are superb and very beautiful examples of wrought-iron work. The vestibule is lined with marble, and immediately in the centre of the inner wall is the main doorway, a magnificent Renaissance frame of Fiesole stone. It is handsomely moulded, and is surmounted with a freize of shields with garlands of fruit and acorns. The gates are of wrought steel lined with glass; each half has a central medallion with an eagle with outspread wings. RECEPTION HALL OnzE enters immediately from the vestibule on to the lower platform of the grand staircase, and the magnificence of the interior is at once apparent. Just below is a short flight of steps to the lower or Reception Hall ; divided at the entrance platform, the steps rise to the right and left to the upper or Main Hall; in front, at the foot of the steps, is the Reception Hall ; behind, and above, is a marble-lined wall with windows of rich stained glass. The staircase, built of Istrian marble, is provided with a magnificent balustrade of the same beautiful stone, elaborately carved and pierced in an interlaced design of lace-like delicacy. Its origin is at the foot of the steps in the Reception Hall, where it is begun with a pair of antique cary- atides of white Pentelican marble, lovely little children of remarkable artistic interest. At the level of the Main Hall the balustrade is continued straight across as a balcony front, with a splendid decorative effect that is the keynote to the whole rich interior. The Reception Hall is a spacious rectangular apartment, completely lined with marble. The floor is of white Pentelican marble, with a toned Siena border separated from the white by narrow bands of Irish green. The walls are faced with gray Siena marble, in panels with narrow Irish green borders. The pilasters are identical in design with the four square piers of cipollino marble that support the ceiling. They have bases and capitals of white marble, and carry beams of Caen stone that inclose vast plaster panels. Directly in the centre of the wall, opposite the entrance, is the fireplace and mantel, a beautiful antique fragment of Pentelican marble. It consists of two upright members supporting a strongly projecting shelf. On each side is a paneled pier, with arabesques in relief, and a bracket supporting the entablature and frieze ; the latter decorated with pairs of dolphins and the anthemian. The lining and back is iron, with a fleur-de-lis pattern. The fireplace has been brought forward into the hall, giving space behind it for marble stairs to the Main Hall. These are secondary to the grand stairway at the entrance, but are actually the first flight of a series that rises to the third story. They begin at the left of the fireplace and are inclosed within a carved balustrade identical in design with that of the grand staircase. Beneath them, on the right, is a large clothes closet, lined with polished white marble. ai In the centre of the right-hand wall is an exquisite antique white marble doorway, con- sisting of an arch supported by two pilasters. ‘The latter have panels with arabesques and delicately carved capitals. The arch has small grotesque heads and foliage, and in the spandrils are two heads of Roman emperors. The frieze shows crosses and palms. It is a beautiful fragment, one of the most charming pieces in the Mansion. A pair of handsome wrought-iron gates fill the archway, and grilles of the same pattern are applied to narrow openings on either side and to a larger window opening further on. These decorative features constitute, in reality, a screen to the elevator inclosure, Aoared and walled like the hall without. The elevator has a luggage carrier below the passenger compartment, and is operated automatically by electricity. All the stories, from the base- ment to the fourth, may be reached by it. RECEPTION ROOM Tuer Reception Room adjoins the Study and is decorated in the Marie Antoinette style. It is a beautiful and exquisite apartment of wonderful charm and attractiveness. It is treated in white and gold and is wainscoted in wood from floor to ceiling. A paneled dado is sur- mounted with a series of wide and narrow panels, the former glazed with mirrors in small squares, while the latter have a diaper pattern picked out in gold. ‘The cornice has deco- rative bunches of flowers and leaves, and the ceiling is ornamented with interlaced garlands and groups of musical instruments. The mantel is antique and is white marble with gold decorations. Above is a built-in mirror, framed in carved wood, and a narrow panel of the wainscoting on either side. The oak floor is laid in square patterns. The two double windows on Fifth Avenue have inner casements opening from the floor. One, lined throughout with white marble, admits to a lava- tory in the basement of the bay window. Two doors, faced with mirrors, open into the Study. In the economy of the Mansion these two rooms were used as cloak-rooms on the occasion of large social gatherings. The Study was used for men and the Reception Room for ladies. Their great size, and convenient location, just off the Reception Hall, made them well suited to this purpose. STUDY OR OFFICE THERE are two spacious rooms on the Fifth Avenue side of the Reception Hall. Of these the one at the corner of 68th Street is known as the Study or Office. It has two windows on the Avenue and a bay window on the side street. The woodwork, including the trim and wainscot, which extends from floor to ceiling, is Cireassian walnut. The ceiling is dull gold, with a small centrepiece and a narrow marginal border of leaves. The floor is oak, laid in herring-bone pattern. The mantel is green Connemara marble and has a fireplace opening and trim of brass; the backing and fender are wrought iron. There is a built-in mirror, with an ornamental frame that is part of the wainscoting. The room is entirely surrounded with bookcases, with plate glass doors, and a lower tier of small cabinets. A document safe is concealed within two of the latter, and between the front windows is a large burglar and fireproof safe, externally treated as the wainscoting, and with beveled plate-glass mirrors on the front. A door in one corner opens on to a lava- tory lined with white marble. MAIN HALL Fine as are the lower rooms, the rich splendors of this magnificent Mansion are only first completely realized in the Main Hall. Its architectural parts are extraordinarily decorative. The grand stairway itself is really a part of the room and the first feature of interest. On the right is the mammoth fireplace ; on the left are the great doors to the Library and Draw- ing Room; above is the wonderful antique ceiling ; behind is the rare old stained glass above the entrance; one’s feet already stand on the magnificent floor; the walls are of Istrian marble, smooth but unpolished, and across the furthest one is the sumptuous balustrade of the stairs to the story above. It is a room of masterly grandeur, spacious in area, lofty in height, and splendidly decorated in every part. The stained-glass windows of the entrance wall overlook the grand saingee but are really an essential part of the decorations of the Main Hall. They are contained within four paneled pilasters of green and white marble, with half pilasters in each corner. The entire space within this structure is filled with beautiful old stained glass. It dates from the seventeenth century or possibly earlier, and was taken from the chateau of the Vicomte Sauze in the south of France. The main panel represents the Fathers of the Church, and illustrates sacred themes. ‘There are a number of Latin inscriptions with dates, giving the history of the donor and other events. The borders and flowers are modern. The colors are very rich and soft, and the glass is one of the most remarkable and valuable of its period in America. The floor is laid in rich marbles of various colors, a mottled red and white predominating. The design is chiefly interlaced circles, with squares and rectangles, the pattern being worked out with the aid of triangular pieces of brass, as many as 10,000 being said to be used in the floor of this one room alone. . The ceiling is a magnificent Renaissance work, formerly in the Bardini collection in Florence. It contains a hundred squares or coffers, ten in each direction, with blue grounds and a central gilt rosette. The separating borders have panels with arabesques; those running north and south have blue grounds; those running east and west have red grounds. The arabesques are chiefly in white, but some have been worked out in gold; large rosettes are inserted at the crossings. The uncolored parts are white, now beautifully toned with age : but the ceiling is in perfect condition, and beautifully fills the place given it. A deco- rated cornice supports it. Below the cornice is a frieze. This also is antique, and dates from the seventeenth cen- tury. It formed part of the original decoration of the chateau of the Vicomte Sauze, and is in relief, with sixteen medallion heads supported by griffons with connecting arabesques. The ground is dark blue, while the design is picked out in gold. Its total length is a hundred and four feet. The fireplace and mantel is one of the most superb and costly structures of its kind in America. It is carved of white stone in the style of Henri I, and was originally in the chateau of the Sieur Franc de Conseil at Aigues-Mortes. It was taken to Paris by M. Worms de Romilly and rebuilt in his house, from which it was brought to America. It is very large, with a vast, cavern-like fireplace in which an entire tree could be consumed in one firing. ; It consists of two parts, the fireplace and mantel and an overmantel. Below are two great scrolls, terminating in human heads. These carry shallow capitals that support the frieze of triglyphs and metopes, the latter decorated with armor trophies; at each corner is a grotesque head. : The overmantel contains three panels, one on the front and one on each end. On the front is an escutcheon, placed diagonally; the crest, consisting of a helmet supporting a ~ lion’s head, is still visible, but the arms are effaced. The panel on the right side shows a church and castle, while that on the left exhibits a medieval walled town. On the front corners are caryatides. The fireplace has iron facing and back, the latter with a design in relief of a crocodile on which stands a palm tree. The extreme height of this structure is: 12 feet, 10 inches, and the width 10 feet, 94 inches. The depth of the fireplace is five feet. The stairway that passes through the Hall to the story above is also an important deco- rative feature of the room. Built of Istrian marble, it is designed with self-supporting con- struction, and rises without visible supports. The stair-well is closed at the third story ceiling with a golden skylight, consisting of a moulded gilt frame supported on a heavily _ gilt cornice, and filled in with stained glass in sixty-five small squares. The upper space is undecorated, but contains electric lights by which the glass may be illuminated from above at night. LIBRARY Tux Library is the corner room and is delightfully lighted by two windows on the Avenue and a bay on 68th Street. The woodwork is old walnut, and is extraordinarily rich and beautiful. The floor is quartered oak. The ceiling is an Italian antique, and comprises’ thirty-five panels, five one way and seven the other, with some additional panels in the ye” The ground of the panels is blue, with a monochrome decoration, although some have a. e % little red ; a gilt rosette fills each centre. The surrounding st have a ground of woc color, with monochrome arabesques. The mantel is Italian white marble, and dates from the early fifteenth century. In gene bw it follows the design of mantels of that period. At the sides are decorated slender half columns with double bases and decorated brackets supporting the entablature. The is very delicately carved, with a central medallion of a girl’s head with beautiful scroll The mantel is applied to a rich backing of old Italian paneled woodwork. There i single panel in a rich frame on either side and a frieze above. ‘The door frames are in design and in origin, being made of fine old Italian walnut, carved in intricate in high relief. DRAWING ROOM Pig Or the two rooms on the Fifth Avenue front, the Drawing Room is the me The walls have a base of white marble fourteen inches high. The floor is que laid in geometrical pattern, with a white marble border twenty inches wide. ‘ 7 dow is completely lined, floor, walls, and trim, with polished white marble. q white Italian marble, and is a copy of an antique. It has two upright panels relief, with carved brackets and a wide frieze, with a shield in a wreath held b completed with eagles and seated figures. eg The door frames are a notable feature of the decorations of the room. Th € of them, all antiques and very ornamental and richly decorative. They consi: standing on pedestals and supporting an entablature with a wide frieze. All th are elaborately decorated with arabesques in gold on a background of very, 1 The ceiling is also antique and was originally in a palace in Rome. It cons see five in one direction and four in tne other. The squares have a a dark besques in monotone on a red ground, with gilt rosettes at the intersections. A rich gilt cornice upholds this beautiful ceiling; it includes a narrow frieze of gilt figures on a red ground. DINING ROOM Tue Dining Room is on the right of the Main Hall and overlooks 68th Street, from which it is lighted by a bay window, with a single window on each side. The three interior walls are entirely covered, from baseboard to ceiling, with old Italian paintings. Toned with age, these paintings constitute a unique decoration for a New York interior, and the room easily ranks among the most notable in this very notable mansion. The paintings are on canvas, applied to the walls, and include innumerable figures wearing the costumes of many nations. The entrance doorway from the Main Hall is provided with a monumental frame, gilded in every part and known as the Golden Doorway. ‘Two Corinthian columns with decorated drums stand on plain square bases. The entablature has a frieze of scrolls and arabesques, and on the summit is the lion of St. Mark. The ceiling was brought from a palace in Genoa. It is of the coffered type, with forty-two panels, seven one way and six the other. The squares have a black ground, with an ara- besque decoration in monochrome and a central rosette. The separating beams have a similar decoration on a blue ground, with gilt rosettes at the crossings. ‘The whole is surrounded with an outer border of arabesques on a blue ground. The oak floor has a border of mottled red marble. | The mantel, in the centre of the north wall, is one of the most interesting in the Mansion. It is a beautiful antique of Fiesole stone. The hollow curve of the facing has a small diaper of fleur-de-lis, and slender columns on decorated bases support consoles that carry the overmantel. The latter is very delicately carved, with small pilasters and panels and a frieze with groups and arabesques. The large central panel above contains a representation of a fight on a bridge and includes a number of figures in high relief. On each side is an arched niche with a single figure in the round. Similar niches on the sides are without figures. Over all is a plain slab applied directly to the wall, on which are three shields. All of this beautiful structure was once picked out with gold, much of which is still visible. ‘The fireback is iron, with a fleur-de-lis diaper, and a central panel showing two cupids upholding a shield. SERIES OF MURAL PAINTINGS THESE are painted in oil on canvas, which is attached to the walls of the Dining Roo he ; They consist of five panels, and are evidently antique, and by a painter of the Itali school. | : 4s A. The panel which fills in the northwest corner of the room shows in the cent black-bearded Oriental monarch, sitting with a sceptre in his hand. Around him are | turbaned men, kneeling or bending forward in various attitudes of obeisance, while an stands on his Aan ate in front of him, with his hands folded in a oe of submiss the right appears a man in a curious blue and pink headgear. Nude to the wai swinging a rope’s end as if to strike a lady who is one of three that appear to be } and lacqueys bearing offerings and trophies. S B. The panel on the opposite side of the fireplace commences with a gr has landed and is being escorted by a gentleman. She is in a white damask dr with gold, while he wears a close-fitting frock coat, with the skirts open over ti tucked into Hessian boots. : . C. This panel in the southwest corner has as a central figure a man in a red a red cloak over his gilded corselet. He points to a large book, with hanging mar by a man who bows low as he presents it. Roe him another man bows a numerous figures, all in attitudes of reverence, except one with a red cap, w white flag. three others appear in the background. The right-hand figure in front is that of a man with long gray hair, a mustache, and imperial, who is dressed in a gold-colored silk coat edged with white fur, blue embroidered vest, with a medal suspended over it, and white knee-breeches and hose. His companion wears a long rose-colored cloak, trimmed with ermine, over a coat of crimson brocade. From the vaulted group above the roof, hangs a flag with the inscription, “ FERRARIE.”’ I. The panel on the south wall, to the east, shows a cardinal in lace cotta and scarlet tippet, whose face somewhat resembles Richelieu’s. At his left stands a gentleman, with long loosely brushed light hair, whose costume is of velvet in two shades of reddish plum, while a*bow of blue ribbons fastens his cloak to his shoulders. A white greyhound is fawning upon him. In the rear appears a figure, holding a manuscript, whose face is some- what like Shakespeare’s, while another head, seen in profile, bears some resemblance to Michelangelo. CONSERVATORY Tue chief structural feature of the Conservatory, which opens out from the Dining Room, is a great semicircular bay window, built with polished steel frame and glazed with plate glass. ‘The dome and skylight of the adjoining passage are roofed with opalescent glass, supported by a richly designed grille beautifully moulded and heavily gilt. They are lighted externally by electricity at night. The floor is cipollino marble, laid in panels, with narrow bands of Siena marble, and the walls are paneled with pavonazzo marble. On the north wall is an old marble arcade consisting of four columns supporting three arches, brought from a garden in Rome. The columns are ornamented with male and female torsos treated as grotesques. A grotesque head is above each capital, and from them spring the arches. ‘The marble cornice that upholds the skylight is supported, in each corner, on the half of an antique capital. A mirrored wall and doors, with gilt bronze trim- mings, open into the Ball Room, which completes this superb suite of state apartments. ~ PANTRY Tue pantry, which is the inevitable accompaniment of the Dining Room, enjoys in this mansion the rare advantage of being completely hidden. It is immediately behind the Con- servatory and is entered from the Dining Room by a door cut in the paintea wall in the furthest corner of the east side. It has a mosaic floor, and walls of white Italian marble, and is lighted by a skylight. It contains a mezzanine balcony suspended on steel rods and floored with glass; all of the upper walls and much of the lower are lined with cabinets, the woodwork throughout being cherry. In the centre of the room is a plate warmer, which may be heated by steam or gas. There is a sink, dressers, cabinets, and refrigerators for temporary use. An electric dumb waiter is used to bring food up from the kitchen below, and another descends to the lower pantry and is used for sending down dishes to be washed. A silver safe, lined with cherry, is also built into the walls. A door in one corner opens on to a winding stair of iron by which access is had to the musicians’ gallery in the Ball Room, the organ loft, and to a Studio above the Ball Room. Another flight of stairs, in a marble-lined inclosure, descends to the basement. GRAND BALL ROOM Tus is a wonderful room, beautifully proportioned and beautifully decorated. Its floor area is 63 feet by 46 feet, 7 inches, and its height is about 45 feet. On the side and at the end are two rectangular projections or bays. On the inner wall, and on each side of the further projection, are small bays, four in all, glazed throughout and separated from the body of the room by casement windows. Heated and electrically lighted at night, they are, in effect, external lanterns, and are intended for statuary or plants. The surpassing beauty of this room is chiefly due to its marvelous wood paneling. It is wonderful old French walnut, decorated and picked out with gold, and originally formed the wainscoting of a salon in the chateau of Phoebus d’Albret, Baron de Foix, a chevalier of the reign of Louis XIV and Field Marshal of France. His monogram may be traced in the lunettes over the doors and windows. The paneling is eminently characteristic of its style and period, and while it includes panels of various shapes and sizes, with marginal and interior decorations, it is extremely harmonious and refined, very delicate in color, and deliciously toned. There are two friezes, one being an integral part of the wainscoting, and the upper a broad cove decorated in harmony with the lower parts. The ceiling is filled with a vast painting in oil, rolled on — es plaster, and depicting various groups and figures floating and disporting themselves in clouds. In the margins and corners are other groups and garlands. The musicians’ gallery is on the entrance wall and is supported by large gilded brackets. The rail is wrought iron and bronze, and was brought from an old Italian town hall. It is known as the “Monkey Gallery’? because decorated with life-size images of monkeys. A grille of identical design occupies the wall space above the large bay on 68th Street. It is a modern reproduction and conceals the pipes of the great organ installed behind it. This powerful instrument is of German origin and has a keyboard on the main floor, with which it is connected by pneumatic tubes. The floor is quartered oak, laid in interlaced design and wonderfully smooth and polished. ‘The Ball Room is separated from the other portions of the Mansion by six steel doors; three to the Conservatory, two to the Corridor, and a blind one between the other series. CORRIDOR Ir is obvious that the Dining Room cannot always serve as a means by which the Ball Room is reached from the Main Hall, and it is, therefore, approached by a Corridor that runs along the innermost wall of the Mansion and behind the Dining Room. It is a truly royal connection between the two great rooms that stand at each end of it. Its walls are lined with a rich old marquetry woodwork eight feet in height. This beautiful work, one of the rarest contents of the Mansion, is to be sold separately, but reference to it is necessary in presenting a complete account of the house as it stands to-day. The floor is Sarancolon and Siena marble, inlaid with brass triangles, and follows the general pattern of the floor of the Main Hall. The ceiling is paneled and gilded, with squares of blue and gold. The frieze is designed in imitation of the antique frieze in the Main Hall. Bracket cornices, shaped like a ram’s head, are placed at the two corners of the doorway leading to the Ball Room. In the outer wall are two small bay windows trimmed with Sarancolon marble. Hidden doors in the paneling on this side give entrance to a toilet room, the servants’ back stairs, and the passenger elevator. SECOND STORY Tuer family bedrooms occupy the whole of the second story. The walls of the hall imitation Caen stone ; its floor of Verona marble mosaic, with solid marble border; an ceiling and cornice are gilded solid. ‘The ee balustrade of the main stairs the elevator entrance. The former has a beautiful grille of wrought iron. | There are six large rooms, one of which is used as a sitting room while the ot! bedrooms. Each is quite distinct in finish and character, yet all have a certain ic treatment. Thus the floors are all quartered oak; the woodwork throughout with white enamel ; and the walls are hung with brocade and silk. Each room h mantel, and each is supplied with ample closet and wardrobe space. Each be has its own bathroom, lined with marble or with tile, and furnished, in every i the best modern fixtures. ae BLUE BEDROOM THE northwest bedroom, at the extreme inner corner overlooking Fifth Ave: times known as the blue room, from its wall hangings of brocade with bl stripes interwoven with gold thread. There is a low baseboard and an on “ cornice. The mantel is applied to a paneled chimneybreast ; it is white marbl trimmings, and has a backing and fire opening of iron. There is a shallo } for the bed head, and a large closet. The bathroom is lined with white | n BOUDOIR THE room immediately adjoining has been fitted up asa boudoir and is lig bey mindoy: It is nara paneee in wood in ue and aug with Oriame with ay delicacy and feeling. apa, SITTING ROOM Tuis is a large and immensely cheerful room, with two windows on the Avenue and a bay on 68th Street. There is a low wood paneled wainscot around the walls save where they are occupied by built-in bookcases of about the same height. The door-frames include an ornamental overpanel, and the ceiling is supported by a richly decorated cove. The mantel is polished white marble with black veinings, and has facing and back of iron. It is surmounted by a built-in mirror in an ornamental carved wood frame. The wall hangings are silk brocade, light brown with red carnations. ‘The passage between this room and the next is lined with closets, LOUIS XVI BEDROOM Desienep in the Louis XVI style, this room is an exquisite and dainty apartment of quite ravishing charm. The walls are paneled from floor to ceiling in oak, painted French gray, with inset plaster medallions of cupids above the four doorways. Two windows overlook 68th Street, and between them is a cheval mirror reaching from floor to ceiling. ‘The mantel is polished white-and-green veined marble, with gilt trimmings and iron facing and back. Above it is a built-in mirror. A low platform has been provided for the bed, the head of which stands under an arched and paneled canopy. The bathroom is the most ornate in the Mansion. It is a square room of generous size, floored with white marble, and wainscoted to the ceiling with mottled and white marble. The ceiling is a groined vault, richly decorated in relief, and with ornamented lunettes. RED BEDROOM A Bay window and a single window admit the exterior light to the next bedroom. The mantel is polished white marble, with bronze trimmings, and has a decorated iron facing and back. A mirror with a handsome carved wood frame is built in above. The walls are ceiling has a richly Porn plaster cornice. This room is entered from the hall through a passage inclosed with an oak frame an d glazed throughout. It forms a connection between the bedroom and the dieses room > and bathroom with which the suite is connected. F Both these rooms are lighted by windows overlooking the Conservatory roof. te ing room is hung with brocaded silk with a stripe of cream moire ribbon. —The m white marble, with decorated iron facing and back, and is below a lofty built-in mirror w moulded wood frame. The bathroom has a white marble floor and a high wair polished white marble, above which it is finished with white tile. 3 In the alcove by the elevator door is a housemaid’s closet, provided with s and cold water. This useful feature is repeated, in a eer) DO UE: age c and fourth stories. THIRD STORY THE ornamental feature of the third story is the mahogany arcade of | is beautifully designed, with a base of solid panels and a long upper row of into the empty space above the Boe skylight of the lower stairs. 'T ae pclae the cornice of the plaster aie BEDROOMS THERE are seven bedrooms on this story, and they are practically identic general treatment with those of the second, save that the walls are paper The northwest bedroom has a wood mantel, with facings of Siena ma brass, and a hearth of the same stone. There is a baseboard roan the walls, ceiling has a moulded cornice. ‘The bathroom has a mosaic and marble fl re marble wainscot finished with white tile. ‘ The adjoining room may be used as a hall bedroom, a boudoir, or a ata Seieae? uA. > next room is the corner apartment immediately above the Sitting Room. It has been used as a Billiard Room. The mantel, which is somewhat larger than the others in this story, is of wood, with facings of yellow marble edged with brass, and a hearth of yellow marble. Unlike the other rooms in this story, it is hung with silk brocade. A closet passage and bathroom come next. ‘The latter has a mosiac floor, and is walled with white enamel tile. ‘The middle bedroom has a wood mantel, with green marble facing and hearth. The prevailing color of the wall paper is pink. Then follow two bedrooms, quite similar in treatment, but with wall papers of different patterns and colors. The man- tels have facings and hearths of yellow marble. Both open on to a small alcove by which access is obtained to the final bathroom. Last of all are two maid’s rooms. FOURTH STORY Tue fourth story is intended for the use of servants, and contains eleven bedrooms, a linen room, and a rug room. It is trimmed throughout with ash. The floors are of yellow pine, and the walls and ceilings are painted. There is one bathroom, wainscoted with tile and having a floor of vitrified tile. The bedrooms are of good size, and most of them are large enough for two single beds. The linen room is intended for the storage and care of the household linen, and is abun- dantly furnished with closets and dressers. The rug room is set apart for the storage of rugs, curtains, draperies, and the like. It contains fixtures on which curtains may be hung, and other storage appliances. In the corridor are two great series of chests and closets, also used for storage. One set is ash and the other cedar; both are part of the permanent fixtures of the Mansion. ATTIC Tue front portion of the attic on F ifth Avenue is utilized for additional servants’ rooms, the men finding accommodation here, while the maids have occupied the rooms on the fourth story. There are six bedrooms, and a large cupboard. The interior space, covering most of the house, is used for storage purposes. SERVICE ROOMS IN THE BASEMENT Tum service rooms occupy an extensive suite of apartments in the basement on the 68th Street front of the house. They have a separate entrance, with a marble-lined vestibule, a wrought-iron grille, and an inner storm door admitting to a corridor which is at right angles to the main corridor that opens into the elevator passage of the Reception Hall. The rooms in this portion of the Mansion are numerous and complete, the larger ones are of great size, and everywhere there is a multitude of devices and conveniences that render them very admirably adapted to their uses. The floors throughout are of terrazzo mosaic. The corridor walls have a high wainscot of polished white marble, finished above with plaster treated as tile: The marble corners everywhere are protected with wooden sheathing. A bare recital of the titles of the rooms will indicate the thorough manner with which this very important portion of the Mansion has been fitted up. On the right or street side is a brushing room for the valets, housekeeper’s room, refrigerator room, kitchen, serv- ants’ dining room, and laundry. On the left or inner side are the servants’ stairs, house ~ watchman’s bedroom, chef’s bedroom, chet’s storeroom, housekeeper’s storeroom, pantry and vault, menservants’ bathroom, and the servants’ pantry. The refrigerator room is lined with white marble, and has a ceiling of white tile. In it are batteries of refrigerators of various sizes for different kinds of foods. The largest refrigerator includes a cabinet of drawers in which small dishes may be stored awaiting use. The fish box is completely isolated. Here also are closets or bins for barrels. The walls and ceiling of the kitchen are completely lined with white tile with a marble base and cornice. The window sills are also of marble, the room being of the most approved sanitary construction. There is a great Duparquet range, containing two fires and three ovens, and surmounted by a giant hood by which the odors are carried far above the root. A doorway connects it with the adjoining refrigerator room, and it may be entered from the corridor through two doors, one of which is reached through the chef's office, a glazed passage, containing the dumb waiter to the pantry above. _ The servants’ dining room is a large, pleasant room, and the laundry beyond it is equipped with a Chicago dryer of twelve drawers, six washtubs, and a Duparquet range for laundry work. Of the rooms on the inner side of the house it is sufficient to state that the storerooms are provided with shelves and cabinets of large variety. The pantry contains a wood-lined sink and a mammoth safe in two parts, each with separate combination locks. The serv- ants’ stairs are fireproof, and are built of iron, with slate steps; they are continued to the top of the house, and give access to each floor. At the end is a rear door that opens into a space beneath a corner of the Ball Room, and which is connected with the 68th Street front by a narrow passage at the rear of the building. SUB-BASEMENT Tue sub-basement contains the mechanical plant, and such other special departments as find proper place in it. The walls and floors are thoroughly waterproof and drained, the whole space being perfectly dry and sound. The floor is granolithic, and the walls of hard-burned brick laid in cement mortar. The engineer’s office and storerooms are at the Fifth Avenue end. It is at this point that water, gas, and electricity are admitted to the Mansion. The water meter is just inside the wall, and in the corridor are four Loomis filters by which all the water used in the interior is filtered. There are two wine cellars, one opening out of the other. Both are equipped with metal and wooden bins, and the outermost is fitted up as a bottling room, with three sinks, each with hot and cold water. There is a gigantic storage vault with a barred door admitting to an exterior passage. The vault is provided with double fire and burglar proof doors, has a marble floor, and is lined on three sides with metal shelves and drawers. An electric light depends from the ceiling. Vast spaces are set aside for the storage of coal and wood, the former being kept in three immense bins, with a total capacity of about three hundred tons. There are two sets of boilers, one for the hot water and one for the heating plant; a small supplementary boiler is used for the hot water service in summer. Steam is obtained from a battery of four Wells & Newton water tube boilers or directly from the mains in the street. At the furthest end is the servants’ laundry, fitted with sinks and tubs and lighted by a skylight below the rear yard. | The Mansion is heated throughout the four lower stories by indirect hot water radiation. The Ball Room is heated and ventilated by a separate system of fans and blowers. The service rooms in the basement are heated by direct radiation. The plumbing is complete in every respect, and is of the most approved sanitary character. Exposed fears nid plated in the bathrooms, are used everywhere, and are of the finest modern type. ane The building is completely wired in conduits for electrical lighting, controlled by. swite in gets room and hall. The paste installation is eh extensive, and in ARO. lation. €¢ GROUND FLOOR PLANS 7 OF MANSION \,\ j at RS yy Wie RECEPTION HALL So'S"xX 81° GS 31-6°xX 22-0’ « ° - s 4 < an 9 s 9 OFFICE z a °o 2 z S ig ub J ul f S1'6') ACG DRAWING ROOM LIBRARY eee oe i ee SA ial i: ele Oe 1 Sas 5 a ES —_—a aaa SERVANTS | | PvTLER's PANTRY ASS KLOro | | &0! G" xX 10-0" SEP eS A re i es (ean KiTcHEN SERVANTS Hann 31+ UX 2oto: = = SEMENT PLAN DBaLr. Room &d2O'K 46:2 T° BvTLeR'S TAN TRY aord> 11+ G° ConsER VATORY CONSTRUCTION Tue structural changes which gave this property its present form amounted to a very complete rebuilding and reconstruction. ‘The interior was shored up and rearranged with new bearing walls, columns, and fireproof floor construction. The vertical supports are everywhere steel columns or heavy brick bearing walls, laid in cement mortar, and the partitions and wall furring are fireproof terra cotta blocks also laid in cement mortar. ‘The floors are constructed of steel beams and girders with terra cotta fireproof arches. ‘The entire interior of the older house was removed up to the level of the first story, as well as a portion of the second story, forming the present staircase well. An entire new Ball Room and Conservatory was erected in the rear and made an integral part of the reconstructed Mansion. The outer walls are faced with brown stone, rubbed finish and well bonded and backed with brick work, all laid in cement mortar. ‘The main cornice is brown stone, and is sur- mounted with a wrought-iron railing forming a balcony around it. The roof is of the Man- sard type, and is constructed of steel beams, covered with corrugated iron and faced with slate. On the top it is finished with Akron glazed tile, laid over waterproofing in cement. The rear walls are of selected face brick, bonded into rectangular brick work, all laid in cement mortar. The interior east wall of the Ball Room is faced with white enamel brick. The exterior is entirely surrounded by an area, paved with flagstone, and supported on the outer margin by a brick wall. The sidewalk is laid with blue stone slabs in single lengths, reaching from area to curb. The central stone on Fifth Avenue is perhaps the largest flag in New York, and is an immense and magnificent piece of stone. A pipe gallery, lined and arched with brick, extends under the sidewalk on both streets, and may be reached from the sub-basement. Access to it from the street is obtained by manholes on 68th Street, where also the ash elevator passes through it. A similar area is on the interior side of the house. The centre of the block is an open grassed place that the abutting property owners have agreed to keep clear and open. | The whole mansion, including the two street fronts and the interior area, is surrounded by a high wrought-iron railing. The lamp standard at the corner of Fifth Avenue and 68th Street belongs to the house, and its light is controlled from within. The basement windows are protected with wrought-iron grilles, and the sash everywhere is glazed with the best plate glass. | It is an interesting and notable fact that when the architects remodeled this building CT | AS5 O° nie tO" Maids Room aston 1086" Main Hare Bovp ior Few we elo 14-2°x 10%0" ———-<« Saas ee HANGING CLOS. SITTING TLoom 327O°R 22.59" +9to°@ 82%0* CHA MBER 2240 °s 1 8O° SECOND FLOOR PLAN CHAM BER 2O°'O*X 15 *6* Dovvior 20¢@"x 10° Bittiarrd? Room ganeyx aaio> = Mop a een 470 * Storcase Gailings Legit” we (T8a*x de bor FOVRTH FLOOR PLAN Poo ety Matps Room BBG 190% 9° ORGAN MACHINERY 16>4'°@ 43%Q° they found the materials and construction of the old structure in the shest possible : and it was not affected in any structural way by the alterations, so far as the old adapted to the new plans and ideas. And what was true then is equally true ‘i entire pulses is, in every part, constructed of the best materials ang with fr at and in decoration. It has been at all times cared for in the most thorough wi in the height of its prime, and awaits only a new owner, that its halls and rc more be vitalized with human occupancy. Pad DESCRIBED BY fj 2. CHARLES H. CAFFIN AND MR. THOMAS E. va . ’ a e ! 4 ¥ ri, i a ee a ron hike a i ae as Sf ere ak | che) 2 Sage et a ty > ev a , iceland ae Za Diente ge Aa ee Waa: ars oe 4 hes, Neca 7 fs a0 re Tio ‘ tra, a cy KIRBY CONDITIONS OF SALE Leen We highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to a the Sale injuriously. . sold. aes. ~ 4. The Lots to be taken away at the Buyer’s Expense and Risk wit remainder of the Purchase-money to be absolutely paid, or otherwise s for to the satisfaction of the Auctioneer, on or before delivery; in defar which the undersigned will not hold themselves responsible if the lots stolen, damaged, or destroyed, but they will be. left at the sole ‘risk ce eb an ‘ or detest in, any Lot, and make no Warranty whatever, they will, upor ceiving previous to date of Sale trustworthy expert opinion in writing E every eee on their part to furnish proof to fhe contrary; failing 3 the pbiect or ee in question will be sold subject to the decla: damage or injury Seeeeeand thereby. : 6. To prevent inaccuracy in delivery, and inconvenience m , the ment of the Purchases, no Lot can, on any account, be removed during 7. Upon failure to comply with the above conditions, the m posited in part payment shall be forfeited; all Lots wncleared within from conclusion of Sale (unless otherwise specified as above) shall b by public or private sale, without further notice, and the deficiency attending such re-sale shall be made good by the defaulter at this Sale, with all charges attending the same. This Condition is without preju the right of the Auctioneer to enforce the contract made at this Sale, % such re-sale, if he thinks fit. ; 8. The Undersigned are in no manner connected with the busine cartage or packing and shipping of Pr CRnSey, and although they wil, engaged for such services. Tue AMERICAN ART ASSOCIATION, ee, THOMAS E. KIRBY, Auctioneer. CATALOGUE SPECIAL NOTICE ~ Each lot will be sold on the day indicated in red on the margin of the Regular Edition of the Catalogue, and in accordance with the ‘‘ Order of Sale’’ published under separate cover, copies of which may be obtained on application to the Managers. THE OIL PAINTINGS, in addition to being exhibited on the premises, will be placed on free public exhibition at The American Art Galleries, Madison Square South, from January 18th until January 21st, inclusive, and sold at Mendelssohn Hall, on the evening of Friday, January 21st, at 8.30 o’clock. Cards of admission to the hall on evening of sale may be had ec free of the Managers. AMERICAN ART ASSOCIATION, MANAGERS. ENTRANCE VESTIBULE |..—ELABORATE ANTIQUE SIx-sIDED LANTERN a Italian Renaissance. Tall upright shape, with suspension chain and ball-shaped terminal. The frame is of repoussé gilt and the ornamentation consists of nude male figures, seated at each corner of the lower bowl, and of the upper ornament. It is fitted with ground glass panels and arranged _ for electric lights. — ANTIQUE Srx-sipeD LanTERN Italian Renaissance. Similar to the preceding, but smaller. Complete with suspension chain and 2 % arranged for electricity. ee. k Le — Pam Vestisute Door Curtatns Point d’Arabe lace, of floral basket, ribbon bows and scroll pattern. Each Panel: Length, 9 feet 10 inches; width, 28 inches. Prospective Buyers WILL PLEASE READ SpecIAL NOTICE HEADING THIS PAGE. ‘TUESDAY JANUARY 18 do. do. do. WEDNESDAY January 19 ‘THURSDAY Janvary 29 LO—AnTiavE OaK ARM-CHAIR do. do. 5—Antieve Greek Marsie VASE Oviform, with two handles. It is beautifully carved in relief with the anthemion, from. rise scrolls and between which is a panel of an elongated Greek cross. RECEPTION HALL 6—Larce Biuez anp Wuite TEemMPLe Jar Oviform, with its original cover. Hard paste of the K’ang-hsi period (1661-17 22) tion, which is executed in white reserve and underglaze blue, consists of bands o scrolls and numerous panels and flowering plants. Has tall carved teak-wood stan Height, 24 inches; y eter, 15 inches. Y—Larce Buur anp Wuitrt TEMPLE JAR With dome-shaped cover. It is of sonorous, clear white hard paste, and bea in brilliant underglaze blue, with an elaborate foliation and numerous ae flowers. lotus. Has tall carved teak-wood stand. me <. 8—Larcr ANTIQUE JAPANESE Bronze VASE Thick-set bottle-shape, with two elephant-head handles on either side of ae two Kiri crests in relief and inlaid with enamel and gold damascene; round broad band of Greek fret, deeply incised. Coated with a rich brown patina, red and malachite-green incrustations. Pee ITALIAN hes tte of floral sprays Petes in silk needlework of low tones Pianists: with . with gold galloon. . he Italian Renaissance. The arms are gracefully curved, and there is a le the back and one on the front of each arm. The feet and braces are deco rate side braces are near the floor, while the front and back ones are near i upholstered in red silk damask and finished with red i eae and ss Bardini Collection, Blorence. 11—AntTievEe Oax ARM-CHAIR Italian Renaissance. Companion to the preceding. — Bardini Collection, Florence. 12—AntTievE Oax ARM-CHAIR Italian Renaissance. To correspond with No. 11. Bardini Collection, Florence. Prospective Buyers wit PLEASE READ Spectan Notice HEADING P. 13—AntTievuE Oak ARM-CHAIR Italian Renaissance. The arms are of plain curved designs and the braces are of simple square pieces. ‘The seats and backs upholstered in red silk damask and finished with red galloon and fringe. Bardini Collection, Florence. 14— Antique Oak ARrM-cHaIR Italian Renaissance. Companion to the preceding. Bardini Collection, Florence. 15—AntTieve Oax ARM-CHAIR Italian Renaissance. With double curved arms. The seat and back upholstered in red silk damask and finished with red galloon and fringe. Bardini Collection, Florence. -16—Anriaue Irauian RENAISSANCE WALNUT THRONE SEAT The central panel of the back is inlaid with an ornamentation of a vase on a pedestal, surmounted by flowers and “‘putti’’; at the sides are fluted pilasters surmounted by carved capitals, and above this is a panel ornamented in high relief with a cupid pouring wine, winged lions and graceful floral scrolls. ‘The arched terminal is also carved in relief with scroll designs and edged with a bold moulding of laurel leaves. Height, 8 feet 6 inches; width, 3 feet 5 inches. ° 17—Larce Oax Srtrex Antique design. The arms and mouldings carved in relief, and the back panels showing the natural grains of the wood. Has cushion of old red Genoese velvet, and is mounted on a platform of wood to match the settee. Length, 8 feet; depth, 25 inches. 5 18—Lancr Oak SETTEE Antique design. Companion to the Reeceain: by 19 ANTIQUE OAK REFECTORY TABLE FROM AN OLD ITALIAN MONASTERY The two end supports are connected by a simple brace. The end pieces are very elaborately carved, and the ornamentation consists of a shield surmounted by a casque; on each side is an attached column surmounted by the upper part of a caryatid, and the edges are large scrolls ending in claw-feet resting on a base running across the entire end. The reverse has a full-length nude figure in the centre; otherwise same arrangement. ‘ _ Purchased from Messrs. Duveen Brothers. Length 13 feet 1 ineh; width, 4 feet 71, inches. Carved and gilt wood. Fitted for electricity and surmounted by a large baccaret bead-glass globe. - Bardini Collection, Florence. Height, 5 feet 11 inches. Prospective BuYERS WILL PLEASE READ SPECIAL NOTICE HEADING Pace 1. ‘TUESDAY January 18 do. do. SaTURDAY JANUARY 22 do. do. do. 21—Patr ANTIQUE ITALIAN Wrovucut Iron ANDIRONS 292Wrovcut Iron FIRE-SET 293 AntTIeuE Wrovucut Iron FENDER 24— WHITE Lente Lone Bexcn 25—Wuitte Marsie Lone Bencu 26—ELABORATE WHITE MARBLE SARCOPHAGUS 27—_ELABORATE WHITE STONE SARCOPHAGUS ~— The brass ball-tops are decorated and are surmounted by a smaller ball, which has four grotesqu heads in bas-relief. Antique design, to match the preceding andirons. Open scroll design, with brass ornamental knobs at the corners. atids ending in claw-feet. At one end the flat side has a shell with two snakes Ge reverse is a basket of fruit. The other end has the shell with a pendant of flowe verse shows the back of the shell with a similar ethene of flowers. me Genoese red velvet. . To correspond with the preceding. The two end supports are antique. — At atids end in claw-feet, while on the flat side there is the back of a shell from w! leaves; at the other end the caryatids become fish-tails, and on the flat side is while the reverse shows an inverted flower bell from which hangs a shell. Has Genoese red velvet. + Length, 7 feet 7 inches; ’ i Italian Renaissance. It rests on four massive claw-feet. The ornamentatic carved in high relief; the central panel shows a group of acanthus-leaves with side, beyond which are graceful arabesques, and at the ends are shields whicl signs. The whole is framed with an ess and dart seater arte ‘The end Pe arabesques. Length, 7 feet 8 inches; height 2 feet EA idler ‘ Italian Renaissance. In the centre of the front panel carved in relief is a masque, a portrait medallion, and on this rests an urn from which a flame rises. On each si ing fruit from a cornucopia, and beyond are arabesques and shields similar to the p rec end panel has an urn and a flame. It rests on four massive claw-feet. pee Length, 6 feet 9 inches; width, 8 feet 11 inches; depth SaTuRDAY JANUARY 22 do. do. do. WEDNESDAY Janvary 19 do. do, 28—MAMMOTH ANTIQUE JAPANESE BRONZE FOUNTAIN The bowl is of lotus-leaf design and where it joins the base there is a band with three long-tailed dragons. ‘The base, which is octagonal, is ornamented with sunken panels of diaper pattern, on which are mythological animals modelled in high relief. Height, 4 feet; diameter, 4 feet 10 inches. 29—Massive Motriep-creen Marsie Base Octagonal shape on a square plinth, made for the above described bronze fountain. Height, 21 inches; diameter, 3 feet 5 inches. 30—MAMMOTH ANTIQUE JAPANESE BRONZE FOUNTAIN Companion to the fountain described under No. 28. Height, 4 feet; diameter, 4 feet 10 inches. 31—Masstve Morrriep-Green MarsieE Bast For the above described fountain. Height, 21 inches; depth, 3 feet 5 inches. 32—AnTiIqvE CHINESE Rue Closely woven thick pile. Golden yellow field, with bold sprays of peonies woven in sapphire- blue, salmon-pink, yellow and white, surrounded by a series of borders of harmonious designs. Length, 7 feet 3 inches; width, 6 feet 214 inches. 33—AnTIia@vE CHINESE IMPERIAL Rue The field of fawn-color, covered with numerous floral medallions, sprays of orchids, plum-blossoms and peonies and the symbolical butterflies, woven in low tones of pink, blue and yellow, and is sur- rounded by a pink border to harmonize, a narrow border of Greek fret and an outer border of sap- phire-blue. Length, 9 feet 414 inches; width, 4 feet 64% inches. 34—AnTiavuE CHINESE Rue Silky pile. Floral medallions, butterflies and sprays of orchids, blossoms, and twigs of fruits woven in two shades of blue, salmon-pink and yellow on a fawn-color ground. Border of dark blue with Greek fret and disks in yellow and white. Length, 13 feet 8 inches; width, 8 feet 1 inch. 35—UNIQUE ANTIQUE IMPERIAL CHINESE RUG Closely woven silkly pile, circular shape. The field is of salmon-pink, covered with a svastika fret in sapphire-blue and embellished with symbols and single peonies woven in low tones. An inner border is of fawn-color, with Buddhistic symbols and cloud-forms woven in blue and pink, and an outer border is of salmon-pink with peonies and butterflies woven in low tones. Diameter, 9 feet. PRrospEcTIVE BUYERS WILL PLEASE READ SpPEcIAL NOTICE HEADING Pace 1. Weoxrspay 86—LarcEe Antique ImpeRiaAL Cutnese Rue shi oa Closely woven silky pile. The field of fawn-color is covered with a design of bie and t e symbolical bat, woven in low tones of sapphire-blue, salmon-pink, brown and white, and is s a rounded by a series of borders of svastika fret and floral scrolls in harmonious coy edged : sapphire-blue. ae do. 37—Pouar Bear-skin Rue Mounted with head and claws. do. 38—OrIENTAL Rue Heavy pile; plain red ground with border of vine design. a Length, 16 feet 6 inches; width, 3 RECEPTION ROOM—GROUND FLOOR — At ? 39—Bronze Bust 1 aie : . : pametk “The Smile,” by Derstraeter. Finished with a rich brown patina. do. 40—BronzeE STATUETTE “Thetis,” by Emile Hebert. do. 41—Buve anp Wuite TEMPLE JAR ee With original dome-shaped cover, which is Aare by a Kylin. Hard hsi period (1661-1722). The decoration, which is finely painted in undergla: passion-flowers amid leafy scrolls, a band of gadroons round the foot and b do. 42—Pair Larce Buur ann Wuite TEMPLE JARS mS With hat-shaped covers. Sonorous porcelain of the K’ang-hsi eee (1661 WW 6 decorated with peony sprays and leafy scrolls in blue outline and white reserve sceptre-head shape on an opaque-blue ground. Round the foot are symbol a encircling the neck is a band of lotus scrolls. Have tall gilt wood stands. tf do. £32 Tene BuvueE Anp WuitrE TEMPLE JAR With original dome-shape cover. Clear white hard paste of the Rang-bsi The decoration painted in dark underglaze blue consists of pheasant on rock a Round the shoulder is a band of sceptre-head scrolls in blue outline, als encire border of gadroons. Has tall carved teak-wood stand. | | Turspay 44—Larce Five-coLtor TeEmMpuLe JAR witH Hat-sHarrE COVER January 18 Profusely decorated with birds, blossoms and flowers within numerous panels and _ beautifully painted in brilliant enamel colors of the K’ang-hsi famille verte. Height, 25 inches; diameter, 1414 inches. Ber iy, 45—Granp Bivue anp WuiteE Patace Jar Thick sonorous porcelain of the K’ang-hsi period (1661-1722). The artistically executed embel- lishment consists of sprays of peonies and leafy scrolls pencilled in blue outline on a ground of bril- liant opaque mazarine-blue and within panels of sceptre-head shape. Round the foot is a decoration of lotus and scrolls. Has tall carved teak-wood stand. Height, 32 inches; diameter, 18 inches. 46—GRAND BLUE AND WHITE IMPERIAL JAR Dense porcelain of the Wan-li period (1573-1619). Decorated in brilliant underglaze blue with large flowers of the sacred lotus and a profuse foliation; the foot is encircled with a band of gad- roons and round the shoulder are festoons of jewels hung with pendeloques of emblems. Under- neath the foot within an indented glazed panel is a six-character mark of the dynasty. Has tall carved teak-wood stand. . Height, 2014 inches; diameter, 19 inches. 47—Oxstone TABLE French Louis XV. period. Carved gilt wood, with relief ornamentation of foliated scrolls and shell patterns. It is surmounted by a slab of Egyptian marble. Length, 54 inches; width, 22 inches. 48—TaBLE-COVER Old red silk damask, bound with Italian Renaissance appliqué of red velvet on a - ellow satin ground. Length, 5 feet 9 inches; width, 2 feet 91% inches. 49—Louvis XVI. Sora Finely carved and gilded wood frame; double-cane back and ends and single-cane seat. ‘The back lambrequin and detached cushion are covered with antique silk and metal thread brocade, designed with sprays of wine-colored roses and gray leaves, and red rose-buds and delicate green leaves, on an ivory-color ground. 50—LARGE LOUIS QUINZE TAPESTRY SOFA Choicely carved and gilded wood frame, upholstered in fine antique Beauvais tapestry. The de- sign on the back, involving an incident from La Fontaine’s fable, “The Robbers and the Donkey,” shows a struggle between two men, while a third gallops away on a donkey toward a bridge in the rear. On the seat is represented a stag closely pursued by a hound, which is followed at a little distance by three others. The coloring consists of delicate rose and blue, mingled with tones of gray, pale ivory and creamy olive; while each panel is enclosed in a frame of scroll foliations, with festoons and sprays of flowers, that is mounted on a ground of diaper design in two shades of Rose Du Barry. Purchased from H. O. Watson & Co. - Prospective BuYERS WILL PLEASE READ SPEcIAL NOTICE HEADING Pace 1. THURSDAY JANUARY 20 51—SET OF SIX TAPESTRY CHAIRS Louis XV. period, en suite with the preceding sofa; wood frames choicely carved and gilded and upholstered in fine old Beauvais tapestry. The designs on the back represent “pastoral” subjects, while some of La Fontaine’s fables are illustrated on the seats. The panels are framed and mounted as on the sofa, and their delicate coloring again harmonizes with a ground of Rose Du Barry. A. The panel on the back contains a disconsolate shepherdess in rose-colored dress, re- clining on the ground, stifling a yarn; while the design on the seat illustrates the discom- fiture of the crow, who, after seeing an eagle carry off a lamb, tried to rival him with a ram. B. On the back a lovelorn shepherd, in rose silk cloak and tunic of rosy gold, sits with folded arms. On the seat are seen the stable and the bull that was too big to enter it, also the calf that, offering to show him the way, was bid not to presume to teach his elders. C. In the panel on the back a country girl with a basket on her lap sits with her feet dangling above a pool. In the design on the seat the fox is seen licking the platter from which his discomforted guest, the crane, is unable to get a swallow. D. A little lady, with powdered hair piled above her head, occupies the panel on the back. She sits with a nest upon her lap. In the accompanying design the crane is seen returning the fox’s hospitality, his beak buried in a jar of which the fox is licking the out- side. E. On the back appears a boy in rose tunic and white breeches and stockings, pick- ing apples; while the design on the seat illustrates “The Bear and the Bee-hive,” when a bear in pursuit of knowledge got stung for his pains. F. Gardening occupies the attention of a boy in rose-colored tail coat and breeches, who is represented in the panel on the back. In the design below a duck is swimming near the foreground and a ship appearing in the distance, while a bat is suspended in the air. Purchased from H. O. Watson & Co. Wepynespay §53—ANnTIQUE ITALIAN CHASUBLE JANUARY 19 THURSDAY JANUARY 20 do. do. Sixteenth Century. Ivory-white silk, beautifully embellished with sacred flowers in artistic needle- work, and foliated scrolls worked in relief in gold bullion threads. 54—Larcr Consou TaBLe French Louis XV. Carved and gilt wood; the four legs are of a square columnal design. There is a simple frieze, from which hangs an ornamental effect of leaf-scrolls and shells which is re- peated at the sides. The brace from the feet towards the centre is quite ornate. Surmounted by a large slab of Sarancolin marble. Length, 4 feet 10 inches; width, 2 feet 3 inches. 55—StTanpine Ciock or THE Louis XV. PeRiIop The case is decorated with wood marquetry and has bronze trimmings. The central design in bronze is that of a woman’s head with braids of hair tied under the chin, and a similar head sur- rounded with sun-rays is used on the pendulum. The dial shows black figures on white enamel; the panels separated by bronze leaf-scrolls. The face is inscribed “Passement & Paris.” Purchased from H. O. Watson § Co. Height, 6 feet 10 inches. 56—CueEvatL Guass Mahogany carved and finished in white enamel, and furnished with two gilt brass candle-branches. PROsPECTIVE BUYERS WILL PLEASE READ SPEcIAL Notice HEADING Pace 1. ‘Turspay January 18 7 yy > - + \ WEDNESDAY Janvary 19 4 do. i 4 ido, SDAY y 19 57—Patir or Bronze ANDIRONS The base consists of a figure of a woman seated on a lion and scrolls ending in dragons, and above is a decorated pedestal effect on which stands a cupid with arrows. Height, 3 feet. 58—Porar Bear-skin Rue Mounted with head and claws. ; 7 feet from tip to tip. 59—Poxar Bear-skin Rue Mounted with head and claws. 7 feet 4 inches from tip to tip. AGT nen Kirman Rue Closely woven silky pile. The centre field divided into four panels of floral designs in low tones of harmonious colors upon a cream-color ground. Framed in a series of wide and narrow borders of floral and conventional patterns. Length, 18 feet 8 inches; width, 10 feet 7 inches. 61—Two Pairs Door Curtains Fine red silk velour. They are finished with red silk fringe and cord, and lined with old gray silk, and have heavy silk cord and tassels. Each curtain: Height, 8 feet; width, 5 feet 71% inches. 62—Two Parrs CurTAINS Pointe d’Arabe lace, of floral and ribbon bow pattern. Each curtain: Height, 8 feet; width, 32 inches. 63—Six WINDOW-PANELS Pointe d’Arabe lace, of floral and ribbon bow pattern. Length, 5 feet; width, 2 feet. 64—Curnese Buvure anp WuirEe Rue Floral: sprays and shou symbols in two shades of bleu de nankin on a white ground. Length, 5 feet 81, inches; width, 3 feet 1 inch. OIL PAINTINGS The following pictures apparently form a series, several of them by the same hand, rep- resenting a number of the young princes and princesses of the Royal Family of France: 65—A Princess The half-length portrait of a young female, painted almost full face. She wears a blue silk dress, tight-fitting, and cut low across the bust, embroidered on the corsage with fine lace; the sleeves are also of lace, set off at the wrists by a small bow of blue silk ribbon. A cloak of old gold lined PROSPECTIVE BUYERS WILL PLEASE READ SpeciaL NOTICE HEADING Pager 4; FRrmDay EVENING JANuaARY 21 do. do. do. do. 66—A Youne ee, 67—A Roya Princess 68—A Youne PRIncE 69—A Princess ics ea a with ermine is fastened to the left shoulder by a pearl clasp, and is draped in graceful folds over her left arm. She wears a collarette with a brooch of large pearl drops, pearl earrings and a: jewelled head-dress. ¥ Height, 2414 inches; width, 1914 inche silk with wide skirts, the front frogged and dabreidered with gold, Gener which is a ann we coat heavily ornamented with bullion. Round his neck is a collar of fine lace, a jabot of the. material depending from the collar. From a narrow crimson ribbon across his shoulders har the badge of the Order of the Golden Fleece. His arms are held away from his body, resti on a table and a chair. a Height, 241, inches; width, 1914, The half-length portrait of a lady of aristocratic demeanor, full face to the apace wears a tight-fitting bodice of some dark material, lined with light blue, which shows at revers and on the turned-up portion of her wide sleeves; the dress is also embroidered with lace. From her head a long veil depends, falling below her shoulders and forming a Dee for the white powdered hair. Height, 2414 inches; via, 19 ae é & , i i and falls upon a table beside him, on which he rests his left hand. A lace collar - is ar neck, and on his head is a black velvet cap, in which two small feathers are held by a clasp. | Height, 241%, inches; : width, The half-length full-face portrait of a lady in a dress of violet silk, lined with light short sleeves being covered with lace ruffles. The dress i is cut low in front, and as chiffon which covers her head is draped over her shoulder and falls in graceful line: bosom. Around her throat is a necklet of dark material from which hang three pe Height, 241 inches; 70—A Princess = a — : _ The half-length full-face portrait of a young lady in a tight-fitting red cae thes sie : of rows of lace-flounces tied with red ribbon; down the front of the corsage is an elabo embroidered in gold. A scarf of green silk ribbon is pinned upon her bust by a je is led over the right shoulder and floats away behind her. A band around her throat. rows of pearls with a diamond cluster in the centre, while her earrings are of similar Height, 241% inches; width, Prospective Buyprs wILt PLEASE READ SpectaL Notice HEADING Pace 1. ; Sy Frmay ; - January 21 do. do. do. : do. EVENING . 71—A Youne Princess The portrait of a little girl, shown in half-length, facing the spectator. She wears a dress of dark blue silk, cut low at the neck, with short sleeves embroidered with lace. Over this is worn a cloak of light blue, embroidered in silver thread; around her neck is a narrow band of blue trimmed with pearls; her earrings are diamond pendants, and she has a spray of flowers in her hair. Height, 2414 inches; width, 1914 inches. 72—A PrINcEss The head and shoulders of a fresh-faced young lady in a dress of gray figured silk with tight sleeves, ending at the elbow in lace embroidery and revealing the rounded forearm beneath. The bodice is cut low across the bust and is trimmed with a jewelled band. A narrow ribbon across the right shoulder supports a cloak of blue silk, which conceals the outline of her figure on the left. She wears a white neck-band with diamond cluster and pendant, with earrings of similar pattern. Height, 241%, inches; width, 1914 inches. %3—Portrait or Maria THERESA The Queen is shown in half-length, standing in three-quarter view to the left. She wears a dress of light blue silk with wide flowing skirt, figured and embroidered with designs in gold thread, the bodice cut low off the shoulders. A cloak of old gold, lined with red, depends from her shoulder and falls over her left arm, which it conceals. It sweeps in a graceful line across the picture and is caught up on the right by a blue ribbon. On a cushion before her stands her crown, and her right hand is supported by a short sceptre topped by a crystal ball. The face is turned slightly to the left; the features are of aristocratic type, and the expression is proud and haughty. ; Height, 351, inches; width, 281/, inches. 74—A Youne Prince The half-length portrait of a young lad of about fourteen years old. He wears a short jacket of white silk, trimmed with silver and with red lining and cuffs. A dark blue waistcoat with deep flaps, a linen stock and a small periwig complete his attire, and he carries a three-cornered cocked hat under his left arm. Height, 2414 inches; width, 191%, inches. 75—A Princess The half-length portrait of a young girl in a blue dress with lace embroidery, cut low off the shoulder, showing the curve of an almost boyish figure. The skirt is made with panniers and is looped up around the waist. A cloak of dark crimson lined with ermine is cast around her shoulders and falls over her arm. Around her neck is a narrow collar of blue with a pearl centre and pendant; she wears diamond pendants in her ears, and a spray of flowers in her powdered hair. Height, 2414 inches; width, 1914 inches. 76—Porrtraitr oF Louis XIV. The grand monarch is shown standing in three-quarter-length. He is clad in armor of dark pol- ished steel ornamented with gold. A cloak of old gold lined with ermine hangs from his shoulder, Prospective Buyers wILL PLEASE READ SPeciaL NorTicE HEADING Pace 1. Fripay EvENING JANUARY 21 ‘TUESDAY JANUARY 18 do. do. do. do. do. Fripay January 21 Re eet = el ie Se ae ‘a f softens the effect of the armcr. His heavily powdered wig falls to his shoulders, and on his breast supported by a red ribbon is the badge of the Golden Fleece. In his right hand he bo Sd a short truncheon, and on a cushion beside him is a jewelled crown surmounted by a cross. Height, 241% inches; width, Bio ( 77—A PrincEss The portrait of a young lady in a dress of blue ie with low neck and short sleeves, with lace. She wears an underdress of crimson ornamented with silver thread. Her turned slightly to the right, the face full to the spectator. The band round her neck i “of edged with lace, in which is a jewelled brooch and pendant. Her earrings are diamond c and in her hair is set an ornament of flowers. OFFICE OR STUDY—GROUND FLOOR %8—Guitt Brass Matcu-Box | Chiselled casting. aa , Deere Seated aioe UES 81—Oup Deurt Jar = Octagonal shape; decoration of cupids and flowers in opaque-blue on a cream-co 82—Oup Iratian Fatence VASE in dark blue. ¢ 83—TRIPLe Frowrer VAsE Old Japanese pottery; red and green decoration. era 84—Manocany CHAIR ; Straight spindle back and inlaid with satinwood lines; seat covered with red leather. Prospective BuYERS WILL PLEASE READ SpeciaL Novice HEADING Pace 1. 85—AnTieuE Manocany Corner-cHAIR Seat upholstered with tapestry. 86—AntTIeuE Manocany ARM-CHAIR Chippendale; carved and lyre-shaped back, seat upholstered with olive-green figured plush. 87—Two Antievut Manocany CHIpPpENDALE CHarrs Carved legs and openwork backs; seats upholstered in morocco. 88—Larcze Manocany Hicu-spack CHAIR Red plush loose cushions, for seat and back. 89—AnTiaut FrRENcH ARM-CHAIR Louis XIV. period. Carved and gilt wood frame; seat and back upholstered with brown velvet and metal brocade. ~90—Oax Desx-cHar Revolving seat. ~91—Iniaip Manocany Writine Dresx Kidney-shape; Sheraton style; furnished with numerous drawers and enclosures. ~—92—Intaip Manocany ARM-CHAIR = To match the preceding desk; seat upholstered in red leather. 93—Manocany ExTENSION TABLE Formed by two early English drop-leaf tables. 94—Larcr Davenport Sora Upholstered in fine red silk plush; mounted on six carved and gilt wood ball-shaped feet. iS i : i | Lengih, 7 feet 8 inches; depth, 2 feet 10 inches. 95—Patir Sora-PILLows Silk and worsted tapestry of Oriental designs on a red satin ground. --: 96—Sora-PitLow . ks Terra-cotta silk velour with antique embroidery appliqués. Prospective Buyers WILL PLEASE READ SpeciaL Novice HEADING Pace 1, 97—Firre anp Burciar-PRoOF SAFE Lee SATURDAY ; : 4 tae Ae ARS in January 22 By Herring & Marvin. Constructed of high-grade Bessemer steel. Fire-proof vault lining doors, and locks of skilful workmanship; enclosed in walnut cabinet. ‘: 98—Parr Fire-proor DocumMENT SAFEs > do. : Constructed of Bessemer steel by Herring & Marvin. Each: Height, 29 inches; length, 301, inches; dep : 99—WInNDow-PANELS | zi Pointe d’Arabe lace, of floral pattern. Length, 5 feet 100—Smatu Seuare CHINESE Rue ¥e WEDNESDAY ae January 19 Shou symbol, cloud-forms and Greek fret border in bleu de nankin on a white grout 101—Cutnesz Ostone Rue 0. Conventional floral and bird designs; shou characters and foliated border in white ground. © Taegu 5 feet 9 in 102—AxminsTER RED Rue SATURDAY i JANUARY 22 Extra thick pile. EZ Length, 8 feet 5 inc do 103—Larcr Axminster Rue Extra thick pile; red ground surrounded by a wide border of a darker oh ae Length, 25 feet; th, 15 feet 6 inch MAIN HALL z 104—Pair Antique Irarian CaNnDLESTICKS Turspay ; January 18 Repoussé and chiselled brass gilt. Ornamented with iene borders, and thus-leaf and ball-feet. (Standing on cornice of vestibule door.) Height, 26 inches; diame er of a a 105—Paiz Antique Iran CANDLESTICKS poe eek Repoussé and aneAlis) brass gilt. To match the preceding. ; #H eight, 26 inches; diamete Se. 106—“Diana oF THE Tower,” sy Avcustus St. GAUDENS, oy ae Signed: “Augustus, Saint Gaudens, MDCCCXCLX.” Antique green patina. £ * ; ” ae < Gare ' Vea . yectanesy Act ye ny 18 107—AnTIauE JAPANESE Bronze Bown Ornamented with bands and border of gold and silver damascened crests, diaper, Greek fret and other designs. Underneath the foot a character mark. Height, 51% inches; diameter, 8 inches. 108—AntTiavE Japanese Bronze Tray Circular shape, with sunken centre and scalloped rim, which is ornamented with pierced designs of cherry blossoms, chrysanthemums and bamboo; coated with a rich brown patina. Diameter, 131/, inches. 109—AnTIavuE CHINESE VASE Oviform; hard paste of the K’ang-hsi period (1661-1722). Invested with a monochrome glaze of mustard-yellow of irridescent quality and minutely crackled. Height, 13 inches; diameter, 10 inches. 110—AntTievE CHINESE BEAKER-sHAPED VASE Sonorous porcelain of the K’ang-hsi period (1661-1722). Coated with a monochrome glaze of very dark brown of brilliant quality. Height, 22%, inches; diameter, 9 inches. 111—AntTieve CuInEesE CELADON JAR Dense, sonorous porcelain of the Ming period. Ornamented with branches of tree peonies, within panels and border to harmonize, carved in high relief in the paste, underneath a translucent Celadon glaze of sea-green tint, which also covers the inner surface. Height, 16 inches; diameter, 121% inches. 112—Larcr Antique CHINESE CELADON VASE Oviform body, with tall, flaring neck. It is of thick, sonorous porcelain of the K’ang-hsi period (1661-1722), and decorated with bold dragons amid cloud-forms, pursuing the pearl of omnipo- tence, symbolical designs, and borders and bands of Greek fret, leaf-patterns and svastika fret, all of which are carved in relief and incised in the paste underneath a pellucid sea-green glaze. Height, 251% inches; diameter, 12 inches. 113—Larce Antique JAPANESE Bronze VAsE Thick set, bottle-shape; encircling the body is a band of Greek fret modelled in relief and incised ; it is coated with a rich mottled-green and brown patina of fine quality. Height, 211% inches; diameter, 2114 inches. 115—SrxTeentH Century SpanisH Ficure Of a nude child modelled in pewter and tinted. The child stands with both arms outstretched on a gilt base, supported in front by a kneeling child in dark wood, and two medallions of child’s faces at sides. This is mounted on a larger gilt base, which is of carved and gilt wood, ornamented with medallion heads of Romans and scroll designs. _ Purchased in Toulouse, 1890, oy the late Stanford White. Height, 37 inches; width, 26 inches. Prospective BuYERS WILL PLEASE READ SPEcIAL NOTICE HEADING Pace l. WEDNESDAY January 19 116—SorFa-PILLOW Old Venetian cut velvet, crown and leaf-scrolls in relief in ruby-red on a cloth of gold groun edged with fringe. do. 117—Larce ee do. 118—Larcr Sora-PILLow Covered with fine old Flemish tapestry; showing two lions guarding a coat-of-arms. 1762, and below the crest is the name “William van der Hoeve.” Reverse is covered wi red silk. | ee do. 120—EcciesiasticaL BANNER : Spanish; Seventeenth Century. Old Genoese red velvet, richly cnbelehed In the « i oval medallion of needlework mounted on wood, representing the Holy Father. To the a cross and inserted sword, a branch of a tree worked in relief in gold thread, and to 1 a sun surrounded by its rays, also worked in gold thread, an elaborate border of rE: signs heavily embroidered in gold and silver threads complete the embellishment. : Purchased from Vital Benguiat. : oa Height, 5 feet; wi se 122—Spaniso RENAIssaNce Core Old Genoese ruby-red velvet. Across the top are two offrys of artistic needle-p ain the centre and separated into six panels with full-length figures. Beginning sae are: St. Cecilia, John the Baptist, St. Peter, Virgin and Child, St. James and St. low this band is a hood of similar workmanship, showing St. Martin sharing | beggar. : oe Purchased from Vital Benguiat. ' Height, 4 feet 10 ‘inches; I . Finined 21 123—Cuiwese Carvep TraxK-woop Taste Columnal support on tripod; circular-shape top with panel of India marble. eer 124—Larce Carvep anp Gir Woop ARM-cHAIR Louis Quatorze. Seat and back upholstered in very fine old Flemish tapestry in fawns, garlands of fruits and scroll borders, woven in finely combined tones. Fi nails. ee do. . 2 4 : 125—Larce Carvep anp Girt Woop ArM-cHAIR - Companion to the preceding. do. ae, 126—Larer Carved AND Gitt Woop ArM-cHAIR Louis Quatorze. Seat and back upholstered in fine old Flemish tapestry, of floral d ! low tones of red, pink, yellow, white and green. Finished with brass nails. E PRosPECTIVE Buyers WILL PLEASE READ Speciat Novice HEADING PAGE 18 eee 127—EXTRAORDINARY ANTIQUE CABINET ANUARY ‘ ; ee 2 Florentine; Sixteenth Century. The exterior is ornamented with Medusa heads of ivory and various woods and eight lions’ heads in high relief of carved ivory, numerous panels of olive wood, and the supports of ebony elaborately inlaid with ivory; in the base are six drawers and three enclosures ; the front of the upper part lets down and forms a desk and discloses an elaborate architectural design in ebony, carved ivory and marquetry; two doors on either side open and dis- close numerous drawers and compartments, the front panels of which are inlaid with ivory and - finished with wrought metal mounts. Purchased from the late Emile Peyre, a celebrated architect, Paris. # Outside measurement: Height, 6 feet 1 inch; width, 4 feet 11 inches; depth, 2 feet. ty 4 do 128—Larcer Hicu-pack Sora 3 With arms and wings. Carved gilt wood feet, brace and front panel. Upholstered all over with * fine old Genoese red velvet and finished with gimp. : Outside measurement: Height, 4 feet 8 inches; length, 5 feet 1 inch; depth, 2 feet 4 inches. do. 129—Lanex Hicu-sacx Sora Companion to the preceding. ofl SatTuRDAY 130—Lone Sora _ Janvary 22 : : . ° : 7 With tufted seat; upholstered all over with red velvet and finished with deep fringe. Outside measurement: Height, 9 feet; depth, 2 feet 8 inches. ; | Tuvnspay 131—CASSONE OF EARLY ITALIAN RENAISSANCE This richly carved and decorated wooden chest was probably designed for royal use, since a band of delicate ornament, interspersed with the word “Soveranse,” runs round three sides, immediately below a cornice of laurel leaves that supports the lid. The latter is raised by a concave sur- face, enriched with embossed flutings. ‘The chest at present is mounted on four claw-feet, but accompanying it are the original standards, of gilded seated figures, representing the four Evan- gelists with their emblems, respectively, of the Man, Lion, Bull and Eagle. The front of the chest exhibits a painted panel, flanked on each side by a niche, in which is mounted a choicely carved figure of a child, gilded over an under-painting of vermilion. The panel itself has a gold background, which around the heads of the figures shows arabesques of indented dots, while the figures themselves have the lyric grace of the old panel-paintings of Sienna. In the centre is Madonna enthroned. She is represented in a vermilion robe, holding a flaming heart in one hand and supporting with the other the standing figure of the Child. Her fair face and golden hair show delicately against a dark sexagonal nimbus, behind which her cloak is suspended like a dossal by five hovering angels. Below the throne reclines an old man, possibly an Evangelist, for he has a book in his hands, over whose head an angel holds a crown. On each side of this central group extends a line of figures, consisting of three pairs—a fe- male Saint, or, more probably, the personification of a Virtue, leading by the hand a male figure. The latter seems to represent a “sovereign” of the kingdom of the mind as well as of temporal power. Thus, on the left of the Madonna, a girl in white robe, decorated with diaper of gold, holds a chalice and leads forward, as if presenting him to Madonna, an old man, crowned and girt with a sword. Can he be King David, introduced by Temperance? Following these is a girl holding aloft a sword, while the old man whom she leads bears a rod. In these we may possibly detect Prospective BUYERS WILL PLEASE READ SPECIAL NOTICE HEADING Pace I. Moses escorted by Endurance. Behind them follows a girl of massive build with shield anc sceptre, who may represent Valor, holding by the hand a powerful man, nude except for a ga é land of leaves, whose club suggests he is that early Judge of Israel, Samson. On the right ‘oie the throne the foremost girl is offering Madonna her crown, while she leads forward a ¢ haired and bearded man in a robe of vermilion and gray. They are followed by a woman three heads, carrying a mirror, in whom we may recognize Truth, escorting a man who ho scroll, his head beneath its red biretta having some resemblance to Dante’s. Finally o right appears a young girl, pouring wine from one flagon into another, her arm being held b y a man in a lavender-colored robe, the sleeves of which are red like the cap. It is noticeal in the hem of every man’s robe an inscription appears to be embroidered, while a feat belongs in common to all the female figures is the nimbus, similar to Madonna’s. Ores head a crown is suspended by a hovering angel. ae The return surfaces of the chest are decorated with a niche containing a child figu holds a shield with a painted panel. The latter at the right end shows, a warrior, wit buckled to the waist, holding the hand of a lady whose head is distinguished by a high the panel at the other end contains two corresponding figures; the warrior, however, spear and the lady having her hair drawn up high and confined by a net. Length, 7% feet 91% inches; width, 2 feet 9 inches; total height from the floor, 3 foe ty Bie Tursoay 182—ItTarian Renaissance FIcuRE Die ae ‘Sea Kneeling cupid, sculptured in marble. Cupid is kneeling on his left knee and hol hands and clasped to his breast an open book. Mounted on a tall oblong pelos wh mented in relief with leaf-scrolls. do. 1383—Iratian Renaissance FicurE Kneeling cupid, sculptured in marble. do. 134—Parr Iratian RENAISSANCE FicuREs Carved marble. Kneeling cupids, holding in their hands an open book, yout on carve pedestals of tall oblong shape. These figures correspond with the preceding ty do. 135—Pair ANTIQUE WrovucutTt Iron STANDARDS Sarunpay 186—AnrTIQUE ITALIAN MARBLE STANDARD J 22 aris Carved ornamentation of acanthus-leaves, foliated scrolls, paw-feet and other de cular projection is midway, and from this rises a spiral column which supports apple design. ; Hei do. 137—Carvep Waitt Marsie STANDARD A reproduction of the preceding number. 138—Anrtieur Iratian Stanparp, Scutprurep 1n Wuite Marsye The base is triangular, and decorated with a ram’s head and floral festoons. The column rests on acorn decorations, and at a distance from the floor there is a circular finish, 13 inches in diameter, from which the upper part of the column rises to the finial ornament, which is in design of a pineapple. From Bardini, Florence. Height, 7 feet 7 inches. e By do. 189—Carvep Marsite STANDARD Antique Italian, similar to the preceding but more elaborately ornamented and finished. Height, 7 feet 10 inches. 140—Larce Waitt Marsie Bencu The supports are fan-shaped, the outer edges being decorated with torso caryatids, ending in a fish-tail; the flat sides have a basket of fruit on one side and a shell and an ornament on the other. Has cushion of fine old Genoese red velvet. Height, 21 inches; length, 7 feet 6 inches; width, 174, inches. 141—Larce Wuire Marsie Bencu Similar in style to the preceding, but the caryatids end in claw-feet and the broad parts of the supports have decorations of trophies inside and out. Has cushion of fine old Genoese red velvet. Height, 22 inches; length, 7 feet 7 inches; width, 171/, inches. 142—LARGE ITALIAN RENAISSANCE MARBLE TABLE A massive slab of Cipolini marble forms the top, which is supported by two elaborately carved white marble end pieces, which terminate in claw-feet resting on oblong bases. In the centre of each support is a group of “putti” and trophies. ~ Height, 35 inches; length, 7 feet 64, inches; width, 41 inches. 143—Irauian Renaissance Marsre WELL-cURB The ornamentation which is carved in high relief consists of three heraldic shields connected by ribbon filets. In the centre of the space between the shields the word “DIV” is repeated. Height, 321, inches; diameter, 371/, inches. - 144 MAMMOTH ANTIQUE ITALIAN MARBLE SARCOPHAGUS Oblong form, resting on four ball-shaped feet. The ornamentation is sculptured in high relief and the front panel resembles the decoration on a famous sarcophagus in the Louvre, which is described as follows: “Reliefs in three scenes, representing Adonis starting for the hunt, being wounded by the boar and dying in the presence of the mourning Aphrodite.” Height, 3 feet 9 inches; length, 6 feet 11 inches; width, 3 feet 4 inches. Prospective Buyers WILT PLEASE READ SprciaL Notice HEADING Pace 1. Lid * : VALUABLE OIL PAINTINGS SIR ANTHONY VAN DYCK FLEMISH (1599-1641) Froay 145—EQUESTRIAN PORTRAIT OF CHARLES I. ceaeohions This extraordinary example. of the great Court painter’s art was executed in duplicate by order of the King; one copy was hung in the Castle at Windsor, where it still remains; the duplicate, which we now have before us, was presented by Charles I. to Sir John Byron of Newstead, in the possession of whose family it remained for upward of two hundred years, when it was purchased, at the sale of Lord Byron’s property, for Sir John Borlace Warren, Bart., of Stapleford, Notts. It represents the King, in heroic size, mounted on a splendid white charger with arched neck, flowing mane and pawing hoof. He rides toward the spectator from beneath a deep archway in the palace wall, the dark shadows of which form an effective background to the group. The monarch is clad in full armor of polished steel, without ornaments, save for the Ribbon of the Garter across his breast. A broad collar of white lace is round his throat, falling upon his shoulders. His saddle-cloth, stirrup leathers and bridle are of scarlet cloth, embroidered and trimmed with bullion, and in his right hand he carries a slender baton, which he rests in an up- right position upon his saddle; thigh-boots of soft leather and leather breeches complete his cos- tume; his head is bare, and his long hair falls in natural curves upon his shoulders, framing the pathetic face, kindly but weak, with large, heavy eyes, long nose and short, pointed beard, made familiar to us in a thousand portraits. On his left hand, bearing the King’s helmet, walks his equerry Monsieur de St. eee a knight of Malta, clad in a long, flowing robe, a linen collar, and a broad blue ribbon across his chest. Like his royal master, he wears long hair and a small pointed beard, while on his head is a close-fitting skull-cap. As he walks, he turns his head to look back at the King. Through the archway can be seen a glimpse of blue sky covered by light clouds. Inscribed, “Charles I., by Van Dyck. He is attended by his equerry, Mons. de St. Antoine, a Knight of Malta.” It is surrounded by a monumental carved and gilt frame of Italian Renaissance design. Described in Smith’s Catalogue Raisonne, 1831, Part 3, Page 58. Height, 10 feet 2 inches; width, 7 feet 7 inches. LORENZO COSTA ITALIAN (1460-1536) do. 146—THE MADONNA ENTHRONED A splendid example of the purely ecclesiastical type of picture, into which, however, the artist ae . injected a larger amount of human character than is commonly met with. ‘The countenances of the standing figures are both full of expression; there is a freedom and grace in the attitude of the Madonna, and the stiff severity of style of the earlier masters is softened to a great extent — by the personality of the executant. The Madonna is shown seated on a raised throne in the centre of an architectural motif, the Child Christ upon her lap. Upon either side of the throne winged figures are playing elie various instruments, and above her head two flying angels hold a crown, surmounted by an in- scribed scroll. Nearer at hand, on either side and somewhat lower than the chief figures, stands a male saint. He upon the right wears a loose green cloak, close-fitting red breeches and knee- PRosPECTIVE BUYERS WILL PLEASE READ SpecraL Notice HEADING Paces 1. Savurpay: JANUARY 22 boots, while a red mantle with a black collar hangs from his shoulder. A heavy turban surmounts his brow, beneath which is a swarthy face fringed with a light beard, the eyes cast downward toward the ground. In his hands he holds some heavy nails and a pair of pincers. Thus identi- fied with the calling of a carpenter, he probably represents Joseph, the husband of Mary. The man upon the left is of poorer origin, wearing a simple loose garment of yellow turned back with green, a cloak of red being wrapped around his middle. His left hand is held across his bosom, and in his right is a carpenter’s square; his face is upturned in an attitude of adoration. The Madonna wears a long green mantle, falling in long, sweeping lines to her feet and ‘fastened on her shoulder with a brooch, a red dress with long sleeves showing underneath. She holds the Child upon her knee, supporting him with her left arm, while with the fingers of the right hand she attracts his attention, and makes him smile in playful fashion. In the back- ground two angels are playing upon a pipe-organ. This picture was formerly in the possession of the Collegio dei Jesui. The brooch which fastens the mantle of the Madonna upon her shoulder represents an eagle, the device of the family of the Estes; the picture may therefore be one purchased by the Duke of Ferrara in 1502, of which there is a manuscript record. It is surrounded by a monumental carved and gilt frame of Italian Renaissance design. Height, 8 feet 3 inches; width, 6 feet 81% inches. 147—AntievE Bronzze CANDELABRUM Italian; Sixteenth Century. ‘The base is triangular and is supported at the angles by small winged lions’ heads ending in claw-feet. The column consists of a vase effect, and from this rises the central column to which the six outer ones are bound. The centre column is finished with three nude figures, the upper part in bas-relief and the lower limbs detached. The surround- ing branches have simple leaf decorations. It is fitted for seven electric lights. Purchased from H. O. Watson & Co. Height, 8 feet 10 inches; spreads 4 feet. 148—ITALIAN RENAISSANCE SILVER CHANCEL LAMP Originally in an Italian Cathedral. The upper group consists of five winged cherubs’ heads, from which hands a supporting chain. The bowl consists of five shields surmounted by shell decora- tions; four have bas-relief with figures, and the fifth is plain polished silver. Between the shields are five branches, ending with female figures holding flower-shaped cups for candles, in which elec- tric lights are now placed. The lower part consists of three winged full-length figures support- ing three shields, and below this is a silver ring. 149—Patr MasstveE ANDIRONS Antique Italian, wrought iron and bronze. The bases of open scroll-designs supporting stand- ards, round which are twirling serpents of iron with chiselled bronze heads; a central ornament of globular shape and finials are of bronze ornamented with relief casting. Height, 5 feet 6 inches. 150—Exapsorate FIR£E-sET Of bronze and wrought iron to match the preceding andirons. 151—Exaporate Wroveut Iron FENDER Antique design, openwork panel of fleur de lis and scrolls. The end supports of bold scroll de- sign. Height, 3 feet 8 inches; length, 6 feet 10 inches. ProspPective Buyers WILL PLEASE READ SpEciaL Novice HEADING Pace 1. GRAND FLEMISH RENAISSANCE TAPESTRIES Six of a set of eight superb pieces; formerly in the possession of the Marquis Nicolai. Upon his th death they passed into the possession of Madame La Marquise, from whom they were purchased by Messrs. Duveen Brothers, in 1901. These tapestries were lent to King Edward VII. and used during the Coronation festivities, six being hung in the Banqueting Hall of Buckingham Palace and two in Westminster Abbey. The latter are shown in the famous picture of the Coronation : Ceremonies by Mr. Edwin A. Abbey, R.A. E The subjects of the pieces one to seven represent the exploits of Flavius Titus during his BS war against the Jews, terminating with his capture of Jerusalem, A. D. 70. The exceptionally elaborate borders follow the same general design throughout the whole series. Along the top of each piece extends a trellised and vine-covered pergola, supported by ay caryatids and connected by a balustrade. Birds and figures, sometimes with musical instruments, y appear at intervals, and its continuity is interrupted by three special designs, the middle one showing beyond an arch. Occasionally this emphatic spot is filled with a vase of flowers; more often with a landscape scene, in which two lovers are variously represented. Sometimes they are of gentle birth, walking, sitting together on a bench, or separated by a fountain; sometimes they betray their rustic manners. A similar scheme forms the motive of the bottom border, where, however, at each corner is a flight of steps leading up to an arbor, constructed of caryatids supporting draperies and leaf- age, in which two ladies and two gentlemen are sitting at a table spread with fruit. Each arbor extends up into the side border, where in turn appear a little domed temple, suspended by two birds; a bunch of fruit, surmounted by the torso of a faun with upraised hands; a pavilion with y a balcony in which are three musicians; a young warrior standing beneath a canopy, and lastly, = at the top, a trophy of leaves and fruit, swung from two caryatids. a The colors of the border comprise tones of green and blue, buff and occasional rose; while a the scheme of the enclosed compositions involve a play of rose and blue and gold upon a creamy BS ground. oe Winnapae 152—Tirvus Dirrectine THE SIEGE OF TYRE SERN Near the centre the general is caracoling on a finely caparisoned war-horse. He is attended by an esquire who flourishes a broad-bladed sword, and holds a shield that is armed with a spike and decorated with emblems of swift and furious victory—wings, thunderbolts and lightning. The : general is directing the operations of some soldiers on the right who are bringing up a scal- a ing ladder. In the middle distance appears a portion of the harbor close up to the city walls. Troops are landing from the vessels, others are hurrying forward a battering ram or swarming _ - upon the scaling ladders. The final desperate assault is being delivered. Height, 14 feet; length, 14 feet 6 inches. ie He a. a 153—Tirus Recrtvine TrisuTE FROM THE JEWS * The general is seated in the centre on a dais, which is covered with a drapery of old rose, orna- _ a mented with conventionalized flowers. The design of these is Tyrian, as also is the patterning a of gold foliations and gray-blue birds that are brocaded on the crimson skirt of an old woman - who kneels at the general’s right, presenting a large gold vase. She appears to be offering him > et a ransom on behalf of the young girl who, dressed in a rose and blue raiment, is standing in the attitude of the Medici Venus. Beside her is an old bald-headed man. The general, however a turns from this group to a strong, curly-headed warrior on the left of the composition, around whose body is wrapt a rose and gray drapery. Behind the general’s chair stand two lictors PROSPECTIVE BUYERS WILL PLEASE READ SpPectiaAL NOTICE HEADING Pace 1. bearing the “‘fasces,” who are surrounded by spearmen and standard bearers, one of whom holds a banneret, with the old inscription of the Republic, “S. P. Q. R.” (Senatus Populus Que Ro- manus). In the middle distance appear from right to left—a hut in which a man is drawing wine from a cask; a man engaged in kneading bread; a stable with horses; a canteen under a tree; and a group of soldiers resting, while a horseman gallops up to them. In the rear are seen the flat roofs and domes of Jerusalem, beyond which mount up terraced hills dotted with tents. Signed with the Brussels mark on the lower margin, left. Height, 14 feet 2 inches; length, 15 feet 4 inches. 6 Wepwespay 154—Tirus Directine THE SieceE OF JERUSALEM pe esns 18 In the left foreground soldiers with spears and shields are advancing to the attack, encouraged by the general’s esquire, who stands back to us with his shield upraised toward the city in the rear. Close by stands the general himself, holding his baton with heroic gesture. Back of this main group a squadron of cavalry is mancuvring, and in their rear appear the city walls. Troops are swarming up the scaling ladders, while others draw up a testudo, and some are al- ready assailing with a battering ram one of the gates, from the towers of which the defenders are shooting arrows and hurling stones upon the besiegers. Beyond the doomed city of Jeru- salem wooded hills rise in terraces against the sky. Signed with the Brussels mark on the lower margin, left, and with the monogram of the artist on the lower margin, right. Height, 14 feet 2 inches; width, 12 feet 8 inches. do, 155—Atrack Upon a Camp The camp is probably that of the Ionian mercenaries, who according to Josephus were employed by the Jews in the defense of their city. It has been taken by assault, and in the middle dis- tance the Roman soldiers are seen hacking down the stockade, and rushing in and out of huts and tents, killing and harrying the defeated foe. Meanwhile in the foreground the general, bareheaded and armed with sword and shield, strikes an attitude of heroic elegance, while his esquire cuts down one of the enemy who has sunk on his knees across the body of a prostrate soldier. In the background appear finely. undulating hills, studded with trees and interspersed with handsome villas. Signed with the Brussels mark on the lower margin, left, and with the monogram of the artist, lower margin, right. Height, 14 feet 4 inches; width, 12 feet 9 inches. do i56—Tirvus Recetvinc Trisute From TYRE ih His helmet and sword held by a page, the general is seated on the right, receiving the tribute of the conquered. By his side is an old man in turban and gaberdine, reading from an in- ventory, while a very handsome old man in a crimson robe, brocaded with birds and flower ; forms of Tyrian weave, stands before the general, pointing to two high vases filled with gold, which he appears to be offering as ransom for his son, a man with black beard and mustache, dressed in a yellow gaberdine. Behind this group is a cluster of soldiers with banners and other insignia of war. Meanwhile on the left is an independent group; three men seated at a table, handing out to the soldiers their share of the spoils. In the middle distance a train of prisoners is moving forward under escort, while elsewhere other victims of the victory are being beheaded or crucified. Further back lie the city and harbor, where the Tyrian ships are seen in flames. Signed with the Brussels mark on the lower margin, left, and with the artist’s monogram on the lower margin, right. SE. Height, 13 feet 10 inches; width, 10 feet 4 inches. Prospective Buyers WILL PLEASE READ Specian Notice HEADING PacE }. Wepnespay 157—TnriumeHau Enrry or Tirus into JERUSALEM January 19 do. do. do. TuEsDAy JANuARY 18 do. In the distance on the right, at the foot of rolling hills, appears the city, with a gateway from the town, on which float yellow and red flags. ‘The road to it is packed with a procession of sol- diers, captives and trophies of war, entering the city. Conspicuous in the distance are a body borne upon a litter, and a woman with a small palm tree in her hand, riding on a camel. Nearer to the front march trumpeters, blowing on the Roman tuba, followed by women playing on instruments and dancing, and a soldier bearing an immense golden vase, who walks immediately in front of the white horses that draw the general’s car. They are attended by a girl who, armed like Bellona, holds a palm and wreath of victory. The general is seated on a chair be- neath a canopy of yellow silk; and by his side caracoles a knight in golden armor upon a white and roan horse. Behind this main group is a forest of spears, trophies and flags. Over on the right of the foreground is a separate group, consisting of a knight beside a lady, attended by an old bearded man and a woman, who with a Tyrian drapery across her knees sits playing a lute. This seems to represent the general in the enjoyment of the peace he has won. Height, 14 feet 2 inches; length, 21 feet 3 inches. 158—AntTieve Kuyorrasan Rue Closely woven silky pile; dark blue centre panel with a profuse floral design woven in fine tones of red, light blue, white and pink, which is surrounded by a wide border of conventional floral designs on an old red ground and a series of narrow borders of scroll patterns. Length, 17 feet 9 inches; width, 6 feet 74%, inches. 159—EXTRAORDINARY ISPAHAN RUG Hindoo-Persian; early Sixteenth Century. The field of this beautiful rug is of rare old rose- color and is covered with an elaborate embellishment consisting of large and small flowers, “Ichi” cloud-bands, tiger lilies and scroll designs, which are woven in tones to resemble precious stones, among them the sapphire, topaz, emerald and turquoise. It is framed in a wide border of sap- phire-blue, which is embellished with Hindoo sacred flowers and other designs to harmonize with the centre panel. Two narrow borders of conventional pattern complete the design. This carpet is a fine specimen of the pashmina weave of the Mahometan conquerors of Hindustan. Such ~ carpets were ordered from East Indian navigators, and were presented to churches and cathedrals by Portuguese and Italian grandees. In this carpet everything seems to indicate that it was made for a church, and that its richness of coloring, together with its perfect drawing, of Raphaelesque influence, was designed to be in harmony with the stained glass windows. Purchased from Vital Benguiat. Length, 25 feet; width, 10 feet 4% inches. 160—Lion-skin Rue Mounted with head. Extreme length, 9 feet; width, 7 feet. LIBRARY 161—Watrvs Ivory Pirr Carved and etched ornamentation. 162—BreEacH-LoapiIne Pistou Carved ebonized handle. Prospective Buyers WILL PLEASE READ SpeciaL Notice HEApIne Pace 1. ep, ee >, ae” ee are 163—Mine Porrery Trieop Fire-row1n January 18 a Enamelled with a turquoise-blue glaze, and decorated with peonies and leafy scrolls pencilled in dark blue. / Diameter, 81/, inches. 164—Parr ANTIQUE JAPANESE Bronze VAsEs Octagonal shape, with broad flange tops and winged dragon movable handles. Ornamented with diaper patterns and floral medallions, damascened in silver and gold wire. Height, 1114 inches. 165—Eectric Taste Lamp Bronze, of Renaissance design, with pleated red silk shade. Height, 27 inches. 166—Pam Irauan Renaissance Canpiesticxs Carved and gilt wood, relief ornamentation of cherubs’ heads, bold scrolls and acanthus-leaves. Height, 30 inches. 167—AntiauE CHINESE VAsE Bottle-shaped; decoration of dragons, cloud-forms and Bene incised in the paste, underneath a monochrome glaze of aubergine glaze. Height, 16 inches; diameter, 9 inches. 168—Mine Porrery Jar anv Cover Oviform. It is coated with a dark cobalt-blue glaze and decorated with a scene representing the i Taoist Genii and the God of Wisdom assembled in a garden. Round the foot is a band of gad- roons, and encircling the shoulder there is a wide border of sceptre-head scrolls, within which are flowers of the sacred lotus. The entire ornamentation has been worked in relief with defining rims and counter-sunk cloisons, and filled in with turquoise-blue, purple, yellow, and white glazes. Height, 16 inches; diameter, 14 inches. 169—Mine Pottery Jar anv Cover It is of oviform-shape, and coated with a thick monochrome glaze of cobalt-blue. The decora- tion, which consists of figures of the Taoist Genii, and borders and bands of sceptre-head scrolls and gadroons, is worked in relief and outline, and partially glazed in turquoise-blue. Height, 16 inches; diameter, 13 inches. y, 170— Bee renion oa Faced with old silk brocade and blue velvet, which is bordered with old galloon. Backed with an- tique red velvet. 171—Sora-cusHIon Italian Renaissance. Old gold velvet, ornamented with metal thread and silk appliqué coat-of- arms, surrounded by scroll designs, and edged with fringe and tassel corners. Prospective BUYERS WILL PLEASE READ Speciat Notice HEADING Pace 1. gare ys 172—Two Sora-cusHIONns Pee: “asta Old Genoese ruby-red velvet, ornamented with needlework and Italian appliqué of floral design Finished with gold galloon, silk tassel corners, and backed with red silk. ' Tuurspay 173—AntTIeuE Manocany Liprary CHAIR eee First Empire period; curved back, ending in rams’ heads at arms. Seat upholstered in leat e as, 174—AntiaveE Carvep Watnut ARM-CHAIR Square shape; upholstered in Renaissance cut velvet, loose cushion. do. 175—Four Manocany CHIPPENDALE CHAIRS Finely carved backs in openwork design, of leafy scrolls and ribbon filets in the style co : XIV. Seats upholstered in green plush. | x do. 177—Set or Six Antique Oax Hicu-Back Cuairs “Jacobean.” Elaborately carved backs of openwork scroll designs; loose cushions embossed red velvet of scroll and floral patterns on an old gold ground. Finished fringe. Ga. 178—ComrorTaBLE ARM-CHAIR ’ Tufted back; upholstered all over in red silk velour. Pea Bi. a an 179—Pair Lance ARM-CHAIRS Upholstered all over in red velvet, and finished with deep fringe. an 180—Antiaue Carvep Oak Liprary TABLE French; Henri Deux. ‘The end supports of fluted column designs, at the sides tically carved caryatids. The under-brace and mouldings are also finely carved Height, 2 feet 9 inches; length, 5 feet 7 inches eg 3 th, do. 181—Larce Davenport “: Tufted seat and back. Upholstered all over in antique red silk velvet. “Carve shaped feet. pot Length, 7 fect. B-anchad Wenwespay 182—BEAUTIFUL ALTAR FRONTAL : January 19 . Italian; Seventeenth Century. Old Genoese ruby-red velvet, profusely and artisti 9 1883—GORGEOUS ALTAR FRONTAL Italian Renaissance. Old Genoese ruby-red velvet, embellished with massive gold and silver thread needlework. ‘The embellishment consists of two coats-of-arms of the donor, clusters of fruit and bold floral and scroll designs, all executed in very high relief. Finished with a wide gold galloon, deep fringe and pendants of cords and tassels. ¢ _ Purchased from Vital Benguiat. ‘ Height, 9 feet 31% inches; width, 4 feet. 184—Iratran Renaissance WaALi-PANEL Fine old Genoese ruby-red velvet, richly embellished. In the centre is an écusson executed in sil- ver and gold threads and silk needlework. A wide border is of lilies, tulips and foliated scrolls worked in relief in gold and silver threads, and the lower end is finished with deep gold bullion fringe. 2 Height, 7 feet 8 inches; width. 4 feet 5 inches. _ 185—SUMPTUOUS WALL-PANEL > Italian; Sixteenth Century. Composed of three lengths of fine old Genoese ruby-red velvet, each of which is embellished with passion-flowers, leafy scrolls, baskets of fruits and birds, in cloth- of-gold appliqué and silk needlework. Framed with a border of tulip design, and edged with metal fringe. Lined with red silk rep. Purchased from Vital Benguiat. Height, 10 feet 6 inches; width, 5 feet 8 inches. _ 186—SUMPTUOUS PORTIERE Italian; Sixteenth Century. Fine old Genoese ruby-red velvet, elaborately embellished with bullion thread needlework and cloth-of-gold appliqué. The central design bears an earl’s coronet, and the wide border is of bold and ornate floral and foliated scroll design. Finished with galloon and metal fringe, and lined with red silk rep. _ Purchased from Vital Benguiat. Height, 10 feet 6 inches; width, 9 feet. at 87—SUMPTUOUS PORTIERE Italian; Sixteenth Century. Companion to the preceding. Length, 10 feet 4 inches; width, 9 feet. 8—Antieve Genorsre Rep VELVET - Covering walls. ; Length, 102 yards; width, 20 yards. 9—PortucuEsE SrxTeentH Century VALANCE Van Dyke pattern. Old Genoese red velvet, with appliqué ornamentation in old gold silk, trimmed a _ with galloon and edged with deep bullion fringe. +190 RARE, AND COSTLY BOOKCASES ie Consisting of four wall and two corner cases. These bookcases of Italian walnut and dark oak ‘oO date from the Fifteenth and Sixteenth Centuries; they are formed of choir stalls taken from an old church in Naples and part of a sacristy or chapel in Italy. The pilasters which separate the Length, 26 yards; width, 28 inches. Prospective BuyERS WILL PLEASE READ SPeciAL Notice HEADING Pace 1. aa a eS glass doors and the brackets below the projecting shelf are carved in high relief with male torsos, trophies and ornamental scrolls. Above the principal case, east side, is a carving representing “The Baptism of Christ”; a canopy over this composition is upheld on either side by draped female figures; the one to the right caresses two children (Charity), that to the left holds a cross in one hand and an urn in the other (Faith or Hope). The latter and the beautifully carved pilasters are undoubtedly the work of Giovanni Marliano, da Nola, a celebrated Italian sculptor and architect of Naples, who died 1856. The wall space covered by the above bookcases is: Height, 8 feet; length, 41 feet 9 inches. eee 191—NineE SIDE-BRACKETS Of hammered metal, finished to match the woodwork of the bookcases; each have three branches and are arranged for electricity. do. 192—AntiaueE Wau Lamps Gilt brass. Arranged for electricity. EARLY ENGLISH AND OTHER OIL PAINTINGS LUCAS CRANACH GERMAN (1472-1553) Froay 1983—A NOBLEMAN AND His WIFE canis In this interesting example we are shown the portraits of some great nobleman and his lady, standing in profile to the left before an archway draped with a green curtain; both are shown in three-quarter-length, the lady half concealed behind the form of her spouse. He wears a long gown of black velvet with embroidery, over which is a loose cloak of similar material trimmed with rich brown fur, which also shows through the slashes of his big sleeves. A lace collar is the only relief to his somewhat sober attire, if we except a triple chain of gold which he wears | around his shoulders. His left hand grasps the hilt of his sword, his right rests upon his hip; coe his head is bare, showing a short-cropped growth of reddish hair, a long, red beard upon a pug- : nacious jaw, overshadowed by a bulging forehead, beneath which are set a pair of beady eyes. The lady wears a long brown dress and cloak, with lace cuffs and collar, and elaborate gold embroidery covers her bosom, and she wears a number of chains, bracelets and other ornaments of gold and precious stones, and on the first and third fingers of either hand is a gold ring set with a single jewel. Her profile is of no less aggressive a type than the man’s, her haughty nose and chin being accentuated by a lofty forehead from which the hair has been drawn tightly back and concealed beneath a flat velvet cap surrounded by a coronet. Signed, middle left, with the device of a winged snake, and dated 1510. Height, 141% inches; width, 11144 inches. From the Collection of Hollingworth Magniac, Esq., London, 1892. Catalogue No. 32. GEORGE HENRY HARLOW ENGLISH (1787-1819) do. .194—PORTRAIT OF THE COUNTESS GROSVENOR A portrait, executed by the artist in his best manner. It shows us the head and shoulders of a young woman, scarcely more than a girl, wearing a dress of brown velvet, cut square across the bosom in the prevailing fashion of the times, the edges trimmed with a narrow filet of delicate lace. PROSPECTIVE BUYERS WILL PLEASE READ SpPeciaL NOTICE HEADING Pace 1. From the crown of her head depends a veil of some soft dark material, against which the curve of her neck shows fresh and distinct. Above her bare shoulders the slender throat rises, support- ing a shapely and aristocratic head, which she carries inclined slightly to the left. Her features, while not of classic regularity, are very characteristic, and possessed of great charm; her mouth is shapely, her nose slightly retroussé, and her complexion fresh and clear; her fine eyes are a dark blue, gazing upward at the distance with a soulful expression. Around her brow her bright chest- nut hair clusters in loose ringlets, glinting in the sunlight with the tones of ruddy gold, and consorting well with the coloring of her cheeks. The background suggests the foliage of a large tree, beyond which is a glimpse of a blue and distant sky. , Height, 21%, inches; width, 1614 inches. SIR THOMAS LAWRENCE, P.R.A. ENGLISH (1769-1830) 195—Porrrait or Miss BuLKELY The head and shoulders of a young woman in the first flush of her youth and beauty. She wears a dress of dark brown velvet, cut square across the bosom, in the fashion of the early Nineteenth Century. Where the edges of the dress meet the flesh of neck and shoulder, the harsh lines are softened by the introduction of a narrow band of creamy tulle, and a vivid note of color is intro- duced by a single crimson rose in the centre of her corsage. Her neck, slightly inclined to the line of her shoulders, supports her head in a picturesque attitude. Above a firm mouth a pair of deep blue eyes gaze steadfastly directly at the spectator, and around her broad, low forehead the — hair clusters in masses of dark blue-black ringlets. The drawing is firm and precise, and the flesh tints crisp and clear. Height, 2114, inches; width, 1714, inches. ITALIAN SCHOOL —196—A Youne Man in Armor The three-quarter-length picture of a young man standing by a table, on which his hand rests in an easy attitude. He wears a suit of black armor, embossed and inlaid with gold. On his left breast are astronomical symbols, and from his right breast a rest for his lance is set like a curving horn. An order of knighthood depends from a slender chair around his neck. Fastened to the lower edge of his body armor by a series of small straps is a skirt of some heavy material. He wears his hair a cut short to his head, and mustache and beard fringe his lips. My Height, 3934 inches; width, 31 inches. SCIPIONE PULZONE. CALLED GAETANO. ITALIAN (1550-1588) parr a : _ 197—Porrrair or a Youne Nosieman 1n Armor - Scipione Pulzone, an artist of great promise, did not live long enough to come to his full powers. Authorities differ as to the precise date of his death, Bipon giving it as occurring in 1588, whilst Bain places it as late os 1600. The examples of his art which are authenticated show a precision ProsPEctTivE BuYERS WILL PLEASE READ SPECIAL Norice HEADING Pace l. Frinay EvENING JANUARY 21 SATURDAY JANUARY 22 do. TUESDAY JANUARY 18 of line and a command of light and form which make him notable even among the great men who were his contemporaries. This is the three-quarter-length portrait of a young man in Spanish armor of the late Sixteenth Century; it is most ornate, of dark, polished steel, richly damascened and embossed with gold in various patterns. The gorget is set off by a ruffle of fine lace which sur- rounds the throat, and his voluminous trunk-hose are of satin trimmed with gold. He stands be- side a table, on which are his gauntlets and a helmet, on which he rests his right elbow, while he holds in his right hand a roll of manuscript inscribed “Itl moGys Sor Jaco Scipio Coirtono facie latz 1574.” In his left hand, which hangs at his side, he grasps a scroll. His hair is dark and cropped close to his well-shaped head, and he wears a small pointed beard. The background shows hangings of some dark material trimmed with gold, and the light is diffused in a mellow glow from the upper right. Signed on M.S. and dated 1574. Height, 48 inches; width, 39 inches. Purchased from Messrs. Thomas Agnew and Sons, London, who some ten years ago obtained the painting from the Patrizi family, Italy. BARTOLOME ESTEBAN MURILLO SPANISH (1700-1761) 198—TuHe Inrant CHRIST AND JOHN A very touching little picture, making by reason of its very simplicity a direct appeal to the imagi- nation and to the sympathies. In a glow of warm golden light, the two children stand alone, clasping one another. The most prominent of the two, his fair hair like an aureole around his face, is nude, save for a linen cloth flung over his shoulder and falling in a graceful fold to the ground. He stands in three-quarter view to the right, while behind and half concealed by his form is the infant John, turning as if for protection to his elder brother, who throws about him the support of his sheltering arms, their heads close together as for mutual comfort. ‘The mellow light falls full upon the two figures, casting a deep shadow over the rest of the picture, which is obscure and mysterious. Height, 273, inches; width, 181, inches. 199—AntTievE ITatiaAn WuitEe Marsie STANDARD Resting on four claw-feet; from the square base rise four inverted leaf-scrolls, which support a twisted column having projected leaflets and which ends in a finial ornament of Artichoke design. Height, 6 feet 10 inches, 200—Carvep Wuitrt Marsie STANDARD Reproduction of the preceding. Height, 6 feet 10 inches. 201—Parr Wrovcut Iron Anpigons With finials of grotesque bird design in bronze. ProsPectTivE BuyERS WILL PLEASE READ SPECIAL NOTICE HEADING Pace 1. __ Wrought iron and bronze, to match the preceding andirons. 3—AntTiquE WrovcutT Iron Fenper -Openwork scroll design. -Two Pairs Lone Wrinpow-curTains zeit Fine Gothic ruby-red velvet, finished with silk and metal fringe, lined with cream-white sateen and __interlined. Complete with silk and metal cords and tassels and chiselled gilt brass hooks. rie Each curtain: Height, 13 feet 114 inches; width, 3 feet 5 inches. Each curtain: Height, 13 feet 11, inches; width, 5 feet 2 inches. -WInpow-PANELS d’Arabe lace of flower and ribbon bow pattern. nd narrow borders of harmonious designs woven in finely combined colors. Height, 21 feet; width, 17 feet 3 inches. DRAWING ROOM VERY VALUABLE OIL PAINTINGS SIR THOMAS LAWRENCE, P.R.A. ENGLISH (1769-1830) upon the canvas of the great artists of her day than any other woman. Reynolds, Gains- sh, Lawrence, all vied with each other in depicting her, idealized her, showed her in her various characters, as the tragic muse or as mere woman. The famous actress is shown en plein air beneath the shade of an overarching tree; she reclines against a low bank, covered by a white shawl, on which rests her right elbow. She wears a simple, short-waisted gown of white mus- lin, cut low in the neck, and confined beneath the bust by a narrow band of blue ribbon. Over this dress is worn a short zouave jacket of crimson cloth, open in front, and rising high at the back of the neck; trimmed with lace at the wrists and around the shoulders. As she sits, supported by her right arm, her body upright, her head erect, her left arm extended as in an attitude of farewell, her perfect profile is presented to the spectator; there one can see the full, dark eye, the shapely nose, the curve of the lip and the firm line of the chin. Her complexion is clear, and somewhat colorless; the dark hair which covers her head contrasts effectively with the pallor of her cheek. The pose of her figure is rather theatrical, an impression accentuated by the rose which she holds in her left hand and the curve of her taper fingers. ‘The background shows a glimpse of a deep blue sky covered by tossing clouds. From the Collection of James Cowen, Esq., Ross Hall, Renfrewshire, N. B. Height, 48 inches; width, 39%, inches. SIR THOMAS LAWRENCE, P.R.A. ENGLISH (1769-1830) Fray 210—Porrrair or Lavy HERTFORD EVENING January 21 The full-length portrait of a beautiful young Englishwoman of the highest type, well poised and of great dignity of expression. She is seated upon the veranda of a large country house, in a large arm-chair of red satin, over which is cast a silk scarf of sharply contrasting yellow. She wears a velvet dress of dark plum-color, short-waisted and confined beneath the bust by a narrow — girdle with a jewelled clasp; the sleeves are short and voluminous, and are caught up at the shoul- ders by an ornament of precious stones, leaving the forearm bare. Her gown is cut very low in front and is draped off the shoulders, showing the beautiful expanse of her neck and the soft curve of the bosom beneath a diaphanous veil of filmy lace. Upon the tall and shapely column of her neck her head is gracefully poised, her face turned almost full upon the spectator, at whom she gazes with her limpid dark blue eyes. Her features are very regular, her nose long and straight, her lips red and well shaped; her arching brow and fresh, clear complexion, the perfect contour of her face framed by her dark hair, which falls in long curls to her shoulders, the beautiful lmes of the compo- sition and the firm, crisp tints of the flesh, give us altogether one of the most pleasing of pictures. Height, 491%, inches; width, 40 inches. SIR MARTIN ARCHER SHEE ENGLISH (1769-1850) do. 211—Porrrait or THE Hon. Mrs. O’NIELL A characteristic portrait of a fair young woman in the heyday of her youth and beauty, showing great grasp of personality as well as power of execution. The sitter is shown to us in three- quarter-length, seated in an easy attitude, wearing a robe of plum-colored velvet with long sleeves extending to the wrist, where a border of fine lace softens the line of the material. The dress is PRosPECTIVE BUYERS WILL PLEASE READ Srecrat. Norice HEADING Pace 1. = a “a “ ‘3 = iE et aa al eli, i wm ae i a a ia , Seo se ee ee ae ee a ae le? iC ey ee Ae eee Se ae Se short-waisted, in the fashion prevailing at the time, and is confined beneath the bust by a narrow belt of silk ribbon, the shoulders being left bare, as the robe curves across the bosom, revealing a glimpse of diaphanous underwear. The head upon the graceful column of her neck is turned full- face towards the artist, and from the fine oval of her face her dark eyes look steadfastly forth ‘above a shapely mouth, the corners turned upward in a half-smile. Her dark brown hair falls in ringlets about her ears, and a rose nestles in its depths. Her right hand lies in her lap, and her left falls in an easy attitude across her body. The background is a dark red curtain, beyond which is a view of the open country and the gleam of distant water. Height, 36 inches; width, 2734 inches. JOHANN ZOFFANY, R.A. ENGLISH (1733-1810) 212—Porrratit oF A Lapy A most beautiful and intimate portrait of young patrician lady, whose pride of birth and ancient lineage is reflected in the perfection of her features and the delicate poise of her carriage. A cloak has been carelessly thrown over a grass-grown bank, and upon this she is seated, her body upright, a toy spaniel in her lap. A dress of white satin drapes her form, flowing in graceful lines about her limbs; the bodice of quilted blue silk is cut low across the bust, concealing, yet emphasizing, the curves of her bosom. A cloak of white satin embroidered with flowers and other designs in colored silks flows from her shoulders to the ground, mingling softer lines of composition with the outline of her form. Her short sleeves reveal the soft, moulded contours of her arms, and above her slender neck the exquisite poise of her head, slightly inclined to the left, is most alluring. From the shapely oval of the face her dark eyes gaze forth beneath a brow shaded by the brown hair which falls upon her shoulders. Her lips are full and ripe, the curve of the chin is firm, and consorts well with the delicate arch of the nostril and the broad expanse of her brow. Upon her head she wears a broad-brimmed velvet hat, in which is set a graceful feather. A book lies beside her, and over- head the sky is covered with clouds; the background gives a suggestion of open, rolling country. Height, 50 inches; width, 40 inches. THOMAS GAINSBOROUGH, R.A. ENGLISH (1727-1788) : 213—Tue Woopman’s Return. Upon the left of the picture grows a dense wood, the leafy garments of the trees blotting out the sky; to the right the ground rises in a low knoll, tree-covered, one gnarled and riven giant towering with spectral limbs above the trunk of a brother who has lately fallen a victim to the woodman’s axe. At the foot of the rising ground winds a rough country road, making an abrupt - turn to the right in the foreground. Along this road a young woodman is making his way home from work, the tools of his calling borne beneath his left arm. He is dressed in a loose coat and breeches of coarse homespun, clumsy shoes and woollen stockings which leave his knees bare. As _ he strides along, he turns half round in the direction whence he came, and with his right hand raises his cap in parting salutation. Just beyond, the group dips sharply downward over the PrRosPECTIVE BUYERS WILL PLEASE READ Spreciat NOTICE HEADING Pace 1. » Pe isa brow of a hill, where two donkeys stand peacefully grazing, their labor over for the day. Be- tween the masses of the trees the eye is led in a long vista over the tops of the trees which grow in the valley below, undulating as the billows of the ocean and extending to the distant horizon. in the middle distance a church-tower rises over the foliage, its walls illumined by a staccato note of sunlight. The sky is covered with heavy, rolling clouds glowing golden in the west in the set- ting sun, while the woodman’s face and shoulders are illumined by a last errant ray. Height, 40 inches; width, 491, inches. Extract from letter of H. O. Watson & Co., from whom the painting was purchased: 4 “In relation to the Gainsborough landscape sold to you, we can say that it was purchased by Mr. Lambert’s agents from Messrs. Laurie & Co., of 15 Bond Street, London, who assured him | that it was the picture mentioned in Fulcher’s Life of Gainsborough, and which he had purchased 4q from the family of Dr. Freckleton, and was the very one presented by Gainsborough to his phy- sician, Dr. Charlton, of Bath. It came directly to Mr. Lambert, and has been in his possession ever since.” Turspay 214-—Louts Quarorze Bronze Group January 18 This group, which is a reduction in bronze of Bernini’s group in marble, represents Hercules wrestling with a man and gathering up his force to throw the latter over his head. It may com- memorate the hero’s conquest of Anteus, whose strength was invincible as long as he remained in contact with Mother Earth. His antagonist is clinging to an altar with rams’ heads at the cor- ners; but Hercules, one hand gripping the man’s girdle and the other an ankle, has lifted him up until his body and legs form an arc, with its feet above his own head. The hero is tightening his muscles for a supreme effort, that will wrench his victim free of contact, when he will strangle him in mid-air. The group is mounted on a pedestal of mottled-gray and black marble. Purchased from Messrs. Duveen Brothers. do. 215—Bronze Ficure “Bacchante.” By Frederick MacMonnies. Reproduction of the large statue now in the Metro- politan Museum. Signed F. MacMonnies, 1890. Height, 3414, inches. do. 216—MARBLE FIGURE OF A GIRL Executed by Vassi, a favorite sculptor of the reign of Louis XV.; this figure may possibly repre-- sent Hebe, daughter of Juno, goddess of youth and cup-bearer to the deities of Olympus, for on the vase is a bas-relief, in which Hebe is seen pouring wine for Jupiter, whose thunderbolt is beside his throne, while Amorini sport behind it. The vase stands upon a Bacchic altar, which is supported by four goats’ legs and is embellished at the top corners with rams’ heads and garlands swung between. Resting her right hand on the lip of the vase, at which she looks down, the girl stands with her weight on her left foot. She is dressed in a clinging drapery that, parting at the thigh, leaves bare the right leg, which, crossing the other, is poised upon the toes. Her left hand holds a veil, gathered into folds over her breast. Her hair, rolled above the temples, curling at the Be sides, and worn in a knot behind, is decorated with a wreath of jasmine. . Purchased from Messrs. Duveen Brothers. Height, 28 inches. Prospective Buyers WILL PLEASE READ SPEcIAL NOTICE HEADING Pace 1. a 217—“L°OISEAU MORT,” MARBLE STATUETTE Upon a stump overlaid with drapery, the nude figure of a young girl is seated with crossed feet, looking down at a dead bird lying on her right knee. Her clasped hands are extended to the left, the right arm resting on the thigh, so that a graceful wind is given to the pose of the body. The piece is attributed to the French sculptor Etienne Maurice Falconet, who was born in Vevay in 1716, and died in Paris in 1791. Purchased from Messrs. Duveen Brothers. ; Height, 12 inches. - 218 Saxe Jan : Old Japanese Kyote pottery; brown crackle glaze decoration of plum-blossom in enamel colors. Height, 64, inches. oe — 219—Warrer’s WatTER-DISH Be Low, circular shape; hard paste of the Imperial Ch’ien-lung period (1736-1795). Enamelled with an apple-green glaze and richly decorated with Buddhistic symbols, flowers of the sacred lotus and foliated scrolls. a ie ‘i Bottle-shape; apple-green glaze with painted floral decoration and incised scrolls. Height, 4%, inches. << 9 21—Curnese Imperiar Vase ihe Of the Ch’ien-lung period. Bottle-shape, with dragon handles on neck. Beautifully painted _ decoration of landscape and river views in four white medallions and a profuse embellishment of _ flowers, leafy scrolls and symbols, executed in brilliant enamel colors on an imperial yellow ground. Seal mark underneath the foot. (1661-1722). The decoration consists of numerous butterflies painted in enamel colors of famille verte within panels of sceptre-head shape, and round the inner border of mouth; encircling the neck at resenting an emperor and his court, with their retinue, receiving a victorious warrior and his gen- erals, which is artistically painted in the brilliant enamel colors of the famille verte, enhanced by eu _ Purchased from Messrs. Duveen Brothers. as Diameter, 24 inches. >a ee ProspPective BuyERS WILL PLEASE READ SPECIAL NOTICE HEADING Pace 1. Hee 224—Pair Five-coLtor BEAKERS : Hard paste of the K’ang-hsi period (1661- -1722). The decoration, which is beautifully pai in brilliant enamel colors, consists of large tree peonies in full bloom, several pheenixes, th blem of the empress, and an elaborate foliation. do. 995 TALL BEAKER-SHAPED VASE White hard paste of the K’ang-hsi period (1661-1722). The decoration, which is be: painted in brilliant enamel colors of the famille verte, represents a royal personage — ‘rect delegation of ladies, each carrying a banner which bears a symbolical device. Assembled i it B den are warriors and on a high balcony to the left are other dignitaries. Round the oe garden scene with figures of the God of Wisdom, children and mandarins. | oH Height, 304 do. 226 —-TALL BEAKER-SHAPED VASE Of the K’ang-hsi period (1661-1722). It is beautifully decorated in brilliant enamel « famille verte. The subject is a Chinese garden and domestic scene, showing numerous mandarins and their families and symbolic devices. — ~ do. lei es ie Ee eae porcelain of the Yung-chéng period (1723- at face with tree peonies, facies chrysanthemi morning-glories and other low , Mounted on a carved and gilt wood stand of Louis XVI. design. Height of bowl, 16 a do. 298-—GRAND ANTIQUE CHINESE FISH-BOWL } Famille rose; globular shape, with two lions’ heads handles. Dense sonorous : Yung-chéng period (1723-1735). The outer surface decorated with tree peonies som, birds, and trees of pomegranate. On the inner surface, gold fish and se wee embellishment painted in brilliant enamel colors and enriched by gilding: Re rte and gilt wood stand of Louis XVI. design. d 999—Parr Crystat Guass FLower VaseEs Tall, lily-shape. a pees 230—AntiauE Louis XV. Smarty TasLe ANUARY With drawer. Of old oak, veneered with parquetry ; marquetry panel on top; : fin ormolu mounts. Purchased from Messrs. Duveen Brothers. Prospective Buyers WILL PLEASE READ SPeciaL Notice HEADING Pace 1. -931—AnTIQUE Louis XV. Smatu TABLE With drawer. To correspond with the preceding. Of old oak, veneered with parquetry; mar- quetry panel on top; finely wrought gilt ormolu mounts. Purchased from Messrs. Duveen Brothers. — 232—AntiaueE Louis XV. SECRETAIRE French parquetry and marquetry. Mountings and ornaments of chiselled gilt ormolu. Has drop front, drawers and enclosure. Purchased from Messrs. Duveen Brothers. 5 -233—Manocany Gem TaBLe Louis XVI. style. Supported by four spindle gilt legs of classical design, and mounted with chiselled ormolu mouldings. Bevelled glass inserted in top, sides and ends; plush-lined. : : 284—Axriav Frencu Harp Louis XVI. period. The sounding-board is decorated with a small landscape at the bottom, with wreath and trophies above, all in Vernie Martin. ‘The column is finely carved and gilded. Purchased from the late Bmile Peyre, Paris. Height, 5 feet 51% inches. § 185 —Awrrave Travian Renaissance Harp __-' The sounding-board is decorated with a finely painted scene representing an Italian garden. The column of carved and gilded wood is of fluted design and is surmounted by a Corinthian capitol, underneath which are floral garlands in relief. | BP iscately carved wood and gilt frame, ornamented with shell ornaments and leaf-scrolls carved i in high relief; surmounted by a slab of Alps green marble. Height, 34 inches; length, 6614 inohes: width, 291/, inches. 281—Exanonare Antique GEM TABLE Carved mahogany gilt. Caryatid legs, under-brace finely carved, and at four corners relief orna- ments of fabulous birds. Hinged top, with bevel glass panel. Lined with red silk velvet. Height, 321 inches; length, 434% inches; width, 25 inches. Pe 2 8—ELABORATE CENTRE-TABLE Louis XVI. design. Carved wood and gilt; profusely ornamented with skilfully executed carv- _ ing. The legs are of openwork design, faced on either side with caryatids, and on the sides and ‘ee ends are shell ornaments and foliated scroll designs in high relief. The under-brace is of elaborate i workmanship, and quite ornate. Surmounted by a massive slab of fleur d’peche marble. Length, 7 feet 4 inches. ’ProspEcTIVE BuYERS WILL PLEASE READ Sprciat Noricre HEADING Pace 1. Wepnespay 239—ITALIAN RENAISSANCE TABLE-COVER. JANUARY 19 Made of gold bullion lace of intricate workmanship, and mounted on green old grosgrain silk. ‘ey Length, 7 feet 21 inches; width, 4 feet 7 inches. EA Tuvrsnay 240—GRAND BOUCHER TAPESTRY SUITE ge a This set consists of sofa, six arm-chairs and two bergéres, the frames of which are gilded and carved with delicate wreaths and ribands, and occasional shells and sprays of flowers. They are covere | with genuine antique silk tapestry, the designs of which, by Boucher, comprise pastoral and rustic __ subjects; the back in each case showing a sentimental scene of dainty folks, coquetting with rural life; while the seat presents realistically some country pursuit. The color scheme hc eta ie out involves prominent notes of rose, pale blue and yellow, exhibited in the costumes, against the — 4 delicate tones of gray, green, blue and cream in the landscape and foliage. The suite comprises: _ Purchased from Messrs. Duveen Brothers. “A”—Larcr Hicu-pack Sora og This sofa displays upon its back a youth, sitting with one arm round the neck of a youn lady, and fingering the stops of a reed-pipe, into which she blows. She holds a riband, of the other gentleman. On the seat is seen a sheep-cote on wheels, in front of vitae ar shepherd leans over a fence, piping, while his sheep are bunched to the "ee ‘The I scene of houses skirting a lake on which are swans. bestia “B”’—BERGERE The back shows the same design that appears in Chair “F”; namely, a veut higher a ae roses to a lady sitting among ruins. The right arm has a design on the inside of a Ww fowl and on the outside of a dove-cote with conical roof; while the corresponding decor: on the left arm comprise two partridges and a water-mill. The detachable cushion of seat represents a pheasant, surprised amid flowering plants by a setter. _ “C”_BERGERE 7 On the back appears the design of a lady, whose bare feet appear below her pink a a sits with folded arms, while her lover fishes. A tub of fish is beside her. The ‘righ shows on the inside a jay and on the outside a mansion with a pool in front of it; the sponding subjects on the left arm being a coot diving into the water, and a cottage trees. The cushion of the seat, which is detachable, displays a swan startled ye a ‘hou ‘ “D”—Arm-cHarr Rat a This chair exhibits on its back a dainty girl, dressed as a peasant a la Watteau, oan vhile she holds a basket of flowers, gazes sentimentally towards a child, who is pressing a wre his breast. In the landscape, on a seat a peasant lad is lying prone, gazing into overhung with trees; while behind him sits a girl beside her basket, pointing in the of his gaze. Prospective BUYERS WIDL PLEASE’ READ Speciat Novice Heapine Pacw 1. “7h” ARM-CHAIR On the back of this chair miladi is seen lying asleep, her head resting on her hand, while the other holds a riband to which two spaniels are attached. The seat below this contains a rough white cart-horse, whose rider presents an exception to the usual realism of the de- signs on the seats, for he is clad in a three-cornered hat and a fine costume of buff silk with a pinkish mauve mantle. “F”’—_ ARM-CHAIR The back of the chair displays a lady seated among ruins, holding some flowers in the hollow of her drapery, while she looks up at a youth who is offering her a spray of roses. The seat shows a country woman seated on a log, with a fat child leaning its elbow on her lap. Close by stands a calf, with a lamb lying beside it. “G”— ARM-CHAIR On the back of this chair two young ladies are seen in loving attitudes; the one with her arm round the other’s neck, the three other hands fondling a dove; on the left appear a lamb and a basket of flowers. The seat presents a rocky valley, with streams coming down the hill-sides. Three sheep are grazing, while the shepherd has laid his scarlet cloak on a boul- der, and is leaning on it with his back to us. *“H”’—ARM-CHAIR The tapestry on the back of this chair represents a lady seated with a cage on her lap. She has just released the bird, and is restraining the eagerness of a child who leans for- ward to catch it. In the foreground of the scene, upon the seat, are scattered two brown and drab sheep and a white ram, ewe and lamb. Behind them, on a mound, reclines the shepherd with his crook. A road on the right of the composition leads to a grove of trees. **T”__ARM-CHAIR + The back of this chair displays miladi with a wreath of flowers on her arm, resting an elbow is on the shoulder of her swain, who gazes fondly at her while he fingers the stops of a pipe. a In the scene upon the seat a country girl sits holding a basket and watching a cow that lies in the foreground beside a wooden saddle. At the girl’s side a dog is trying to attract iy. her attention, while in the distance of the landscape a man is driving a donkey. _ Tuurspay 241—ELEGANT BOUCHER TAPESTRY SUITE January 20 2 Eee 3 ‘ To match the preceding set, and consisting of one sofa, eight arm-chairs and one fire-screen, as follows: Purchased from Messrs. Duveen Brothers. Prospective BUYERS WILL PLEASE READ SreciaL Notice Heapine Pace 1. ¥ 66 A? “Rr “C”—_ARM-CHAIR SH Uh 5! 1) SpA eee sen? —Hicu-pack Sora 7 This accompanying sofa is decorated on the back with a pyramidal group of figures. Miladi — sits with a bird-cage on her knee, while her swain, steadying it, holds a bird. Behind him his dog is nosing into a basket from which two bottles protrude. On the lady’s shoulder leans a small boy, watching the cage, while a younger child crouches below, holding a riband, te from the end of which flutters a canary. On the seat is represented a gabled, rambling ba m of wood construction, with a central arch. Poultry are dotted in front of it, and a laborer is wheeling a barrow, containing a cask. On the left a broken water-chute crosses a hol low, beyond which are distant hills. 4 ue ARM-CHAIR eae ; This chair is the only one whose back involves a new motive. The lady has bare feet, and sits holding the hand of her swain as he kneels gazing up into her face. The ae of the | tance of which appear more cows and some farm buildings. ~ # In this case the back is similar to that of 241 “D”; namely, a lady with a paakeels 0. who gazes at a little child pressing a wreath to his breast. On the seat is represent undulating landscape, in the middle distance of which a man is riding a hota that ‘ to have been frightened by a scarecrow. : = —ARM-CHAIR m The back displays a design resembling that of 240 “G’”; namely, two il aaa tionate attitudes; but in this case the background, consisting of rocks, trees : blue sky, is different. ‘The seat represents the fable of the dog who, carrying a meat, saw it reflected in a stream, and, deceived by appearances, lost the real nt grasp the unreal. ARM-CHAIR ey The design of the back corresponds with that of 240 “F”’; namely, a yous prese to a lady, who sits among ruins. On the seat appears a long, Ce bird ae Chinese building shows among palms and other trees. —Ama-cHam ing a child from touching a canary that she has released from a cage. On t picted a landscape in which there is a cottage, apparently built on to a ruin. — ProsPECTIVE BUYERS WILL PLEASE READ SPECIAL NorTicEe HEADING Pace 1. <5 3S “G”—ARM-CHAIR The design of 240 “I” is represented on the back; namely, a lady resting her elbow on the shoulder of her lover. The seat shows a blue and pink cockatoo on a branch, and a duck waddling toward it. In the foreground are a pool and shrubs of azalea, while the distance is occupied by a villa and a pagoda among trees. “H’’— ArM-CHAIR The back of this chair repeats the design of 240 “I.” The seat represents a pool, bounded at the back by trees, with a fence on the right of the foreground, where a duck and drake are splashing in the water. _ ¢ “1??__ ARM-CHAIR e The design of the back follows, with slight variations, that of the Bergére, 241 “C”; a youth fishing beside a lady. The seat shows a landscape, in the foreground of which is a one- arch bridge, over which a road leads to a pond on the left, where in the distance appears a mill. “J” — FIrE-SCREEN The frame and its feet are carved and gilded to match the set of chairs. The picture on the Boucher tapestry panel represents a musical party of three people in a landscape bounded by handsome trees. The centre of the group is a lady in a rose-colored gown, who sits with an open music-book on her lap. Over her right shoulder appears a man in a tunic, with one loose pink sleeve and a more tightly fitting one of cream, playing a fife; while on her left another man, clad in a pale pink suit and blue mantle, leans forward to scan the music while tuning a violin. Tuurspay 242—MAGNIFICENT ANTIQUE COMMODE JANUARY 20 Louis XV. period. Old oak, veneered in parquetry and marquetry work, and elaborately mounted in chiselled gilt ormolu of artistic workmanship by the celebrated Jean Jacques Caffieri. Surmounted by Bréche d’Alep marble. Mounted on a movable base, which is covered with old green plush. Purchased from Messrs. Duveen Brothers. Outside measurement: Height, 341, inches; length, 60 inches. do. 243—BEAUTIFUL ANTIQUE LOUIS XV. COMMODE Old oak, vencered in parquetry; elaborate mounts and ornaments of skilfully wrought gilt ormolu. Surmounted with a slab of Bréche d’Alep marble; has a movable base, which is covered with old green plush. Purchased from Messrs. Duveen Brothers. Outside measurement: Height, 35%, inches; length, 57 inches. ProsPECTIVE BUYERS WILL PLEASE READ SprciaL NoTIceE HEADING Pace 1. Weexespay 944—BOUCHER TAPESTRY, EIGHTEENTH CENTURY GOBELIN This exceptionally fine example of a Boucher design illustrates the subject of “The Fortune-Teller.” A comely gypsy, dressed in a pale rose skirt looped up over a deep blue fringed petticoat, carrying her baby in a sling on her back, occupies nearly the centre of the composition. She bends forward to examine the hand of a Marquise Shepherdess, who is seated with a group of companions. Her hair is dressed with flowers, and her trim figure rises from the silken profusion of an amber-gold skirt. Beside her sits a young girl with powdered hair, gowned in blue and white, who rests her chin on her hand as she listens to the fortune-teller. In front of her, to the left, reclines another girl, dressed in rose, over whose head a youth in blue, with curly hair, is holding a wreath. On the right of the foreground some lambs are lying beside a mass of leaves and reeds, among which stands a shattered tree-trunk. In the background, rising above the group, is a faun caryatid, supporting a broken capital, which projects from a mass of rock, where grow a twisted olive bush and willow. The coloring of the background involves delicate hues of buff, gray, grayish green and blue, upon a ground of creamy ivory, emphasized in parts by deeper greens and slaty blue. Height, 10 feet 9 inches; width, 8 feet. do, 245—FRENCH RENAISSANCE GOBELIN TAPESTRY This piece is a pendant to the one that follows; and while the latter extols Bacchus and the grape, the present seems to celebrate Music, or, perhaps, more generally, the Joy of Gaiety. Which- ever it may be, it is personified by a seated female figure in loose white robe, with rose silk drapery massed voluminously about her knees and a veil of lighter hue floating behind her fair head. She is crowned, and carries a sceptre, and baby forms with butterfly wings hover round her, blowing lustily. Over her head are two torch-sceptres, crossed within a gold crown, deco- rated with carbuncles and feathers. The meaning of the latter is enforced by the number of gay- plumaged birds that poise and perch amid the surrounding ornament. ‘This, as in the following tapestry, takes the form of a fantastic canopy surmounting the figures. It consists of decorated lambrequins, mauve, gold, gray and blue, flanked by bagpipes and interspersed with garlands and birds, culminating at the top in a cartouche with the emblem of a bear. The whole is supported on slender columns, decorated with serried rows of laurel leaves. These columns spring in groups of three, from brackets, each of which also carries a vase, surmounted by a peacock; while near the latter hangs a trophy, composed of a girdle, battledore and shuttlecock. In the lower corners of the composition are baby forms, the one on the right having bagpipes and the other playing on a fife. Between this is a central device of a hand-organ and crossed trumpets, below which are cornucopias. They are inverted, and from them pours a profusion of crowns and jewelry. Height, 10 feet 9 inches; width, 8 feet. do. 246—FRENCH RENAISSANCE GOBELIN TAPESTRY This piece is a pendant to the foregoing tapestry. Seated upon clouds in the centre of the com- position is a youthful Bacchus, his girlish locks crowned with vine-leaves. He is nude, except for a _ leopard-skin and rose mantle draped below the waist. He holds a goblet in his right hand, and in the other his thyrsus, twined with grapes, at one of the bunches of which a little faun is sucking. The figures are poised beneath a fantastic canopy, composed of scroll-work and lambrequins, the latter sumptuously embroidered in rose and blue, with baskets of fruit and flowers. Surmounted on the left by a red-tailed macaw, and on the right by a macaw of blue and yellow plumage, it ter- Prospective Buyers with PLEASE READ SPECIAL NOTICE HEADING Pace 1. minates at the top in two festoons of grapes attached to a central cartouche, on which appears the emblem of the scorpion. ‘This canopy is supported on six columns, decorated with bands of laurel leaves, which rise from two brackets that are embellished with highly ornate vases, resting on embroidered mats. Below these brackets the corners of the composition are occupied by two little fauns, the one on the right squeezing grape-juice into a leopard’s mouth, while the other is clashing cymbals together, at the sound of which a leopard is cowering. Between these pendant groups appears a fountain, where wine flows from the mouth of a vine-crowned satyr’s face into a semi-circular basin. The border is composed of various bands of architectural ornaments and a principal band of blue, with a diaper design in gold. Height, 11 feet 9 inches; width, 8 feet. Sarurpay 248—Wuirr Marsie Font JANUARY 22 “ . é F ‘ Italian Renaissance. Triangular-shape base, with carved dolphin ornaments. Standard encircled with a band of acanthus-leaves, carved in relief. Height, 4 feet 41, inches; bowl, 251, inches. Turspay 249—Parr AntTiauE ANDIRONS January 18 Wrought iron; of tall, slender spiral design, with bronze, ball-shaped terminals and scroll-feet. Purchased from Durlacher, London. Height, 44 inches. ao; 250—Beavtirut AnTIQuE Fire-scrEEN Composed of a wrought and repoussé iron grill of the Louis XV. period; of openwork scroll pat- tern, with eagle and unicorn in relief. Mounted on standards of modern workmanship. Height, 37 inches. do. 251—F 1r5-sEtT ; Wrought iron and bronze, to match the andirons No. 249. ‘ Wennxesoay 252—UNIQUE PERSIAN SILK PALACE RUG . ahead 4, This extraordinary rug is evidently from the throne-room or state reception room of a Persian Potentate, whose character for patience and endurance is depicted by the camel in the centre of the rug, upon which the throne is placed. “In this rug are composite representations of all the famous periods in Persian history. The Hafiz me- dallion in the centre ornamented with figures of animals and floral designs, the domestic animals representing peace and contentment, the monster animals to keep watch and devour the evil spirits who should dare to approach.” “The flowers are a tribute to happiness and beauty. These are surrounded by a red ground of brilliant hue, denoting the life-blood of the nation, upon which the throne rests. Through this ground run massive columns ornamented in Iran effects, with the animal and flower decoration representing the spirits of mis- fortune overshadowed by the God of Protection and Prosperity. Upon each end of the centre panel we find a group of three representative specimens of antique weaving (six in all), each panel of individual importance, artistic merit and beauty, embodying two different epochs of Oriental art, viz., Ghiorde, Kirman, Djoskian, Meles and Koula prayer rugs. Upon each side of the ground of all three panels is white, upon which sat the “ “ ie J é 7 a ci ProsPectTive BuYERS WILL PLEASE READ SpEcIAL Novice HEADING Pace 1. 0 SaTURDAY JANUARY 22 do. do. do. do. do. do. high priests during the high audiences. Upon the other end, the two outside panels are in blue and the centre one in white. Upon the blue sat the chiefs of the army, the color of the mat denoting their faithful- ness; upon the centre panel of white sat a judge representing the purity of the law.” — ia “The date upon the rug is 1239 Mohammedan Hegira, thus making the rug seventy-eight years old. The inscription on the plain ground just outside the medallion, immediately above the ape and peacock, is i Arabie a wish of exclamation, ‘Oh, God, save me from slavery and from the indignity of grovelling to m “The centre is surrounded by a series of thirteen borders executed in a bold and skilful manner in | plete harmony with the centre design. The prevailing color of the border is a ripe old ivory, the ornamen tion in rich deep reds, blue and orange, mingles as only Persian artists of the highest order would conce Length, 23 feet 3 inches; width, 18 feet 4 in by 953—Twetve ELABORATE WALL-LIGHTS five branches and are arranged for electric lights, and have tulip-shape shades. The above described wall-lights will be sold, two, with the privilege of the entire lot. 254—BeavutiruL Antieve Watt Drapery | Beet fl Fine old red silk damask of Louis XV. design. Bottom edge finished with fringe. = 255—Winpow Drarery AND LAMBREQUIN Fee . Beautiful antique red silk damask, to match-wall drapery; trimmed with heavy gold bullior and lined and interlined. The lambrequin is embellished with an écusson embroidered n gold and. silver threads and silks, and bordered with wide antique gold thread galloon. Complete with elab- orate antique bullion thread cords and tassels. ea 256—Bay-winpow Drapery AND LAMBREQUIN Beautiful antique red silk damask, to match the preceding. Length, 13 feet 6 inches; wid 257—Four Patrrs WINDOW-CURTAINS : ‘ey “a Pointe d’Arabe lace. : 258—Srx Winpow-sasH PANELS Pointe d’Arabe lace. 259—TWO REMARKABLY FINE SLIDING-DOORS Attributed to Giovanni Marliano, da Nola, Naples (1500-1550). The oak frame-work of doors, which lead from the drawing room to the library, consists of stiles and rails, de concave circles inset with quatrefoils, which divide the surface into twelve rectang ments, arranged in three upright courses of four each. The left and right cours panels of antique oak, with designs of heads and strap ornament carved in gold relief from the top left side downwards, and continuing with the right course from top t following details may be enumerated. ae A. A flat-faced satyr, with high-pointed ears and beard. — Prospective BuyERs WILL PLEASE READ Speciat Notice neapinc Pace 1. January 22 S A large satyr-head with horns and protruding tongue; surrounded by hair and beard, conven- tionalized into a caricature of the anthemion ornament. A young face, with radiating tiara and a bead necklace looped under the chin from the ears, and from the latter festooned to the scrolls, which terminate in the profile heads of leering satyrs. A youthful face and torso, with extended hands, holding up the scroll-work. A small head with mustache, decoratively conventionalized. A laughing face within a sunburst; with festoons of riband in place of mustache, and a bunch of fruit suspended from the mouth. Small head surrounded by anthemion tiara, with a valence of drapery suspended from the ears beneath the chin; while attached to the volutes of the scroll-work are two small profile heads. A satyr’s head with horns and open mouth, from which a large tongue protrudes. All these panels are framed in borders, choicely carved with foliated or guilloche designs. Height, 10 feet 10 inches; width, 6 feet. = Beas 260—EXTRAORDINARY SLIDING-DOOR This door, which leads from the main hall into the drawing room, is decorated on the reverse side with eight boldly carved antique oak panels that correspond in design with those described in No. 259. In this case, however, the increased width of the door has involved the insertion of twelve smaller panels instead of four. ‘The obverse displays six large panels of antique oak, arranged horizontally in three pairs, framed in decorated borders and set within stiles and rails, whose sur- faces are enriched with interlaced designs, punctuated alternately by mitres and crossed keys. The figures are full-length, and rendered with an admirable union of delicacy and vigor, the heads being well characterized and the draperies finely disposed. Reckoning from the top, horizontally, in pairs, they represent the following subjects, all-of which are undoubtedly the work of Giovanni Marliano, da Nola, a celebrated sculptor and architect of Naples, who died 1550: Firstly: A Bishop and John the Baptist. The former is shown in mitre and cope, holding a crozier as he gazes up at a vision of the New Jerusalem in the clouds. ‘The Baptist, nude but for a skin round his shoulders and loins, holds the cruciform staff, from which a banner streams, while a lamb on its hind legs reaches up to him for protection. Secondly: S.S. Peter and Paul, each holding a book; the: former distinguished by the keys, and the latter by the sword. Thirdly: The Annunciation. In the left the angel Gabriel is seen in fluttering draperies, leaning for- ward, with a lily in his hand, toward the Virgin, who occupies the right panel. She is . kneeling at a prie-dieu that is decorated with a vine ornament growing out of a calix, while a dove in glory hovers over her head. The ground of all these main panels is diapered with a pattern of rosettes in octagons, alternating with plain squares. Height, 10 feet 10 inches; width, 7 feet 6 inches. ProspPective BuYERS WILL PLEASE READ SpPeciaL Notice HEADING Pace 1. SATURDAY JANUARY 22 do. do. THURSDAY JANUARY 20 do. do. TUESDAY January 18 do. DINING ROOM 2961—AntievE Marsie Herarpic SHIELD In the centre a medallion male portrait in high relief; border of scroll design. Height, 291%, qnchoe? width, ae inc ’ ¥ NM U 262—Larce Herartpic SHIELD Carved marble; Sixteenth Century. Double-head eagle, each having a crown and scroll border. < 263—AnTIQUE HERALDIC SHIELD relief. 264—ItTatian RENAISSANCE STANDARD : 1 Carved and gilt wood. Triangular base, on which rests a ball covered with leaves aa fl we are carved in high relief; from this rises a spiral column ornamented with vine designs mounted by a Corinthian capital. : carved in high relief and undercut. globe. Above this is a vase-shape ornament, with grape Arranged for electricity, and with a large bace. 265—I Traian RENAISSANCE STANDARD Companion to the preceding. 266—Iratian RENAISSANCE CANDELABRUM Of artistic workmanship; irregular column design of bronze, with leaf decoratio base of scroll design, the corners ending in claw-feet. Between the feet are shell and on the sides are “putti’” heads. The whole is mounted on a square-shape ground with gilt decorations of ewer, wreaths and ribbon. It has six branches fit tric lights, and a finial figure of Saint Peter. With pleated green silk shade. _ 267—Patr Outp JAPANESE Bronze Vases Urn-shape, on movable bases. Gremented with branches of plum blossoms skilf = openwork. f - Fae ; 4 Height, 10%, kaehes’ é 268—O.Lp CHINESE Bronze VASE Bottle-shaped, with two scroll handles on neck. The entire outer surface covered tion of dragons, amid cloud-forms chiselled in low relief. + Prospective Buyers WILL PLEASE READ SpectaAL Notice HEADING Pace 1. Vuursvay 269—ANTIQUE ITALIAN CASSONE eee vany 20 The chest stands on massive lion-feet. From a border of acanthus-leaves the sides swell out and then curve inward up to a cornice composed of convex flutings, the corners being sheathed with an acanthus repeat. All the decorative details are richly carved and gilded. The front surface of the chest is divided into large and small panels by a geometrical arrangement of bands, dec- orated with a gold interlace of guilloche on an olive-black ground, bordered with dull brown. The panels comprise three octagons and two oblongs, the latter separating the end octagons from the central one, all of which are decorated with pictorial subjects. Meanwhile there are six irregu- larly shaped small spaces, which are filled in with arabesques. The pictured panels, representing figures in a landscape setting, are, both in design and richness of color, suggestive of the early Venetian school. The central octagon shows a boyish figure in rose and drab draperies, holding by its tail a snake, the head of which lies along the ground at the foot of a girl, whose costume is one of rose and mauve-plum. She extends her hands, one upward, the other toward the snake. A building constructed of arches appears in the rear. In the right hand oblong reclines a winged female figure in a white robe. She holds like a sceptre a torch, from which one of two amorini seems to be kindling his, as if to transmit the light to others. In the corresponding panel on the left, Lucretia, in a robe of white and old rose, is seen stabbing herself after the outrage committed on her by Sextus Tarquinius. Thus the idea which connects these panels seems to be the knowledge of good and evil; that it originally came to Adam and Eve through the serpent’s guile; and while the knowledge of good has lightened the world with wisdom, the knowledge of evil has resulted in shame and death. The octagonal panel on each side of the above contains amorini, with dark bluish wings, supporting a shield, which above the “fess” carries two crescents, and below it one, gold on an azure ground. A similar design appears on the left hand end of the chest, while at the opposite end it is repeated, with the differ- ence that balls are substituted for crescents, and that the colors are reversed, being now blue on gold. Height, 3217, inches; width, 22 inches; length, 6 feet 3 inches. Saturpay 270—ELABORATE DINING TABLE alll Of solid mahogany. Square-shape top. ‘The base is carved and picked out with gilt. On the i central base rest three columns, while each of the two end braces has a free fluted column in the f centre, with an attached column on either side. The cross ends are finished with winged female torsos wreathed with fruits. a Size '7 feet square, and can be extended to 11 feet square by the addition of four leaves on ; the outside, resting on extensive supports which are decorated with carved lions’ heads. ees 271—Six Maeniricent Dinine CuHarrs é aad = Carved and gilt wood legs and braces of Italian Renaissance design. Seats and back uphol- stered all over with beautiful ruby-red cut velvet in design of elaborate leafy scrolls on a golden yellow silk ground. 972—S1x Maeniricent Dinine CHAIRS To match the preceding. Prospective Buyers WILL PLEASE READ SPEcIAL NOTICE HEADING Pace l. THURSDAY 273—Twetve Maeniricent Dintne Cuarrs January 20 To match No. 272. do. 274—Eneven Maeniricent Dinine CHairs To match No. 273. do. ig ay ENE ITALIAN oe SIDE- eer cally carved in high relief and in openwork, with a central ornament sth a Madores lands of fruits and flowers, bold foliations and end ‘ornaments of cherubs’ heads, i legs terminating in paw-feet. & Length, 6 PN 8 eke dey 276—ANTIQUE ITALIAN OAK SIDE-TABLE do. To match the preceding. ; a 277—ANTIQUE SIDE-TABLE French Gothic. Supported by seven standards of plain column designs. | end panels. ; ie Purchased from the late Emile Peyre, Paris. Length, 4 feet 3 an Q7 Gace EC Tues 279—Pam ELABoraTE ANDIRONS a Se nate Te At the base two winged dragons Mane erne a pedestal on which stands an heraldic shield. Rich brown patina. Ee: \ : =e ¥ bath < ae NEM ds i eight, if é SaTuRDAY 280—TuirteEen Hancine Lamps ‘ JANUARY 22 ; : : , gh eis Carved and gilt wood of Italian Renaissance design. Complete with chains ranged for electric lights. Each have special designed shades of tulip p The above described lanterns will be sold, two, with the privilege of the entire lot. rls 281—BEAUTIFUL ANTIQUE PORTIERE Old Genoese ruby-red velvet, ornamented with two appliquéd écussons, which are embroidered in gold bullion thread and bordered with wide bands of old red velvet and yellow silk insertions. _ Edged with deep fringe, and lined with red surah. Length, 10 feet 7 inches; width, 9 feet. 282—PAIR BEAUTIFUL LARGE DOOR CURTAINS Old Genoese ruby-red velvet, each curtain ornamented with a cardinal’s écusson in silk embroidery and appliqué. Lined with red silk velvet, interlined, and edged with silk fringe. Each curtain: Length, 13 feet 3 inches; width, 10 feet 5 inches. 283- -—ELABORATE LAMBREQUIN Portuguese. Old Genoese ruby-red velvet, embellished with conventional floral and scroll designs in cloth of gold appliqué; edged with deep fringe. Length, 18 feet; width, 2 feet. 284—BeavutiruL Bay-winpow CurTAINS Of fine old Genoese ruby-red velvet, with bands on outer edge of antique red velvet, with insertions of leafy scroll designs, of Portguese workmanship, in yellow silk, and outlined with metal cord. Finished with deep fringe and lined with cream sateen, and interlined. Complete with elaborate silk cords and tassels and gilt brass curtain-hooks. Length, 3 feet 3 inches; width, 6 feet. — 285—Bay-winpow LamBreauin Portuguese; Sixteenth Century. Old Genoese ruby-red velvet, with conventionalized floral and scroll patterns in cloth of gold; edged with deep fringe. Length, 15 feet 6 inches; width, 2 feet. - 286—Two Pas Beautiru, Winpow-currarns | To match those of bay-window, catalogue No. 284, and with Portuguese Sixteenth Century lam- brequins of old Genoese red velvet, embellished with cloth of gold appliqué. Each: Length, 13 feet 3 inches; width, 3 feet 5 inches. Each: Length, 13 feet. For bay-windows. Consisting of one pair of panels, 3 feet wide; two single panels, 3 feet 4 inches wide. 2 a a ui - ot — 289—PornTE D’ARABE Lace SASH-CURTAINS Each 2 feet wide. oe |” For two windows. Consisting of four panels. ¥ Prosrective Buyers wilt PLEASE READ SpeciaL Notice HEADING Pace 1. Wepnespay 290—PointE pv’AraBe Lace CurTAINS JANUARY 19 SATURDAY JANUARY 22 For two windows. Length, 13 feet 3 inches. 291—SUPERB ANTIQUE MARQUETRY AND CARVED OAK DOOR This sliding-door, at the entrance from the main hall into the dining room, is composed of wood- work which once formed a part of the wainscot (No. 398) now in the corridor. The whole origin- ally surrounded the interior of the chapel in the Chateau de la Bastie d’Urffe, in the department of the Loire, France, which was built by Claude d’Urffe, about 1550. The framework is con- structed of oak stiles and rails, decorated with a pattern of guilloche. ‘The stiles are disposed so as to form central panels, nearly twice the width of the side ones. They are crossed at about one- third of the height from the floor by two rails, which enclose a row of three narrow panels, decor- ated with geometrical designs in modern marquetry. ‘These preserve the character of the old marquetry work, which appears in the top panels on each side of the central one, in the upper divi- sion of the door. This central feature corresponds in importance to the panel of “The Day of Pentecost,” in the corridor, but it is even larger, measuring 601% inches by 4014 inches. Its sub- ject is “The Last Supper.” As in the other panel, the scene is a handsome architectural setting of square columns, supporting a beamed ceiling, which in this case has coffers decorated with large rosettes. An opening at the back reveals a view of hilly country, where in the foreground a shep- herd is tending his flock, and farther off two horsemen are pursuing a deer, while in the distance ap- pears the city of Jerusalem with the Temple on the Mount of Sion. As in Da Vinci’s picture, the table extends across the scene, Christ occupying the centre. But here an apostle on each side of Him leans toward Him speaking; and at the two ends of the group a figure is seated in front of the table, the one on the left holding up a cup. Lying beside both these figures, on the table, is a knife, the blade of which is inset in silver. On the front of the tablecloth appears the inscription, “HOC EST CORPUS MEUM” (“This is My Body’); while at the foot of the composition is included the name of the artist, which, it is to be noticed, is not the same as that of the principal panel in the corridor: ‘*Frater Damianus Conversus Bergomas Ordinis Predicatorum Faciebat MDXLVIII” —“Brother Damianus, transferred to Bergamo (?), of the Order of Preaching Monks, executed this 1548.” ‘This main subject is flanked by two smaller panels, which contain admirably executed architectural designs without figures. That on the left shows a barrel-vaulted corridor approached by steps and extending to an outside scene, where a stag appears in a rocky landscape. The com- panion piece shows two flights of steps leading to arched corridors above, while below, in the centre, is another vaulted passageway, beyond which is seen a landscape with a house that has a tower. In the lower division of the door are three panels, richly and boldly carved in oak. The side ones correspond with the lower series of panels in the corridor, and contain cartouches, bearing the monogram of two C’s and I, interlaced (Christus), surrounded by strap ornament and scroll- work, bearing profile faces and flaming vases. The central subject, which measures 4214 inches by 28 inches, represents a hilly landscape, in the foreground of which a lamb is being sacrificed on an altar of stones; while farther off, on the right, from behind a boulder, are visible the body -and the head of a man and the head of a bull. To the left of the middle distance appear buildings with a dome and spire. Length, 10 feet 10 inches; width, 7 feet 6 inches. PRosPEcTIvVE Buyers WILL PLEASE READ SpEeciIAL NOTICE HEADING Pace 1. i LA a : ¥ tt dees dra a li ‘i En et n Te ae ih ti Teen Te ee en ee A ee ee ee ee ee ee el ere Ee eee ciel eh eee ee 8 ee NY ee ee eee ee ‘ re ae ee 4 3 q ‘i : a Oe a oy Te Oe Ma wee PLA err rege ss ee Saturday January 22 do. do. do. __ Turspay January 18 do. \ 4 Sarurpay January 22 292—PAIR SPANISH RENAISSANCE MASSIVE COLUMNS Carved gilt and tinted wood. Elaborately ornamented in relief with grotesque figures, cherubs’ heads, garlands of fruit and bands of acanthus-leaves; surmounted by Corinthian capitals, which are also ornamented with grotesque masks. Height, 12 feet 4 inches; diameter, 1214 inches. Does not include base. 293—Very Larce anp Fine Rue Oriental production; closely woven pile. Old red ground surrounded with wide border of conven- tional designs, woven in low tones on a blue ground. Length, 30 feet 10 inches; width, 26 feet. CONSERVATORY 294— ANTIQUE MARBLE GROUP The fragments of this group, which were dredged from the Tiber, are Greek of the Second Cen- tury B.C. ‘The central figure appears to be a Dionysos, a youth of feminine aspect, with curls clustering over the ears, a girlish face and slender torso and legs; the arms are missing. He stands with the chief weight on the right foot, the left crushing a snake. Attachments which project from the hip and thigh suggest that originally his arm supported some object. At- tached to his left leg is now a headless and armless satyr, one of whose goat-legs is kneeling on a rock. Correspondingly, to the right leg of the main figure is now attached the headless body of a leopard, the legs of which have been restored. Two detached heads, respectively of a satyr and leopard, accompany the group. Height of central figure, 6 feet 31% inches. 295—MASSIVE ANTIQUE MARBLE WELL-CURB Italian Renaissance. From Padua. Elaborately carved relief ornamentation of heraldic shields, floral festoons and bold acanthus-leaves. Height, with base, 2 feet 10 inches; diameter, 4 feet 11 inches. 296—Smatt Marsrie Cuurcu Font Antique Italian. Outer surface beautifully carved in relief with heraldic shields and other designs ; on the inside, at the bottom, a carved church symbol. Height, 10 inches; diameter, 18 inches. 297—Pair Antique TERMINAL FicurREs Italian; Sixteenth Century. Finely executed in terra-cotta, and coated with a thick white glaze of lustrous quality. On tall pedestals to correspond. : Height, 6 feet 1114 inches; diameter, 21 inches. 299—TwerELveE SASH-CURTAINS For conservatory bow window. Pointe d’Arabe lace. Length, 11 feet 4 inches. ProsPkcTIvE BUYERS WILK. PLEASE READ Spectan Notice HEADING Pace 1. GRAND BALL ROOM Tuourspay g00—Louis XV. Sepan Cuan January 20 : ‘ ; Made into a cabinet; covered with leather, which is finely decorated with landscape scenes, the coat-of-arms of a marquis or earl, and borders of scroll and shell design. ‘The mouldings and ornaments are of carved and gilded wood. It is surmounted by a finial ornament of cup and acorn design. Bevelled glass panels in door and sides, and lined with tufted satin. do. 301—MAGNIFICENT ANTIQUE THRONE-SEAT Italian; Sixteenth Century. The frame, which is of carved and gilt wood, is elaborately orna-_ mented all over with scrolls, flowers, grotesque heads, shell patterns and other designs. Seat and back upholstered with fine old ruby-red cut velvet, of bold floral and leaf pattern. do. 302—Four Very Larcr anp Exxueant Soras Italian Renaissance; from an old palace near Florence. The frames, which are of carved and gilt wood, are elaborately ornamented in high relief with leaf-scrolls, shell-shape ornaments, masks and acanthus-leaves. ‘The two arms terminate in dolphins, and on either end of back, in bold relief, are figures of mermaids. Eight legs are of leaf-scroll pattern, terminating in paw-feet. Seats and backs covered with fine old Genoese ruby-red velvet. i The above described palace sofas will be sold, one, with the privilege of the four. ; Aue Each, length 9 feet 3 inches. do. 303—EicHTren Patace Wat Cuairs Upholstered in fine old Genoese ruby-red velvet. The above described chairs match the palace sofas, Catalogue No. 319. They will be sold, six, with the privilege ‘se of the eighteen. ie do. 304—Louvis QuaTorzE Beauvais Tapestry ARM-CHAIR This is a companion piece to No. 305, and the decoration of its frame corresponds with that mick of the suite No. 808. The top is enriched with a course of fluted riband, overlaid with a delicate vine and roses, which centres in a shell, enclosing a pomegranate, while shells, acan- thus and flowers embellish the remainder. In the case, however, of this chair and its companion, — ; 3 the reverse of the frame is also exposed. ‘The ground color of the tapestry is a rich, dull red, surrounding a medallion of dusky cream. This is framed with acanthus volutes, which are inter- — spersed with roses, anemonies, narcissus and pinks, while from the top depends a bunch of grapes. — The design thus enclosed shows an ox in the water and a frog on the rich olive-green and yel- lowish brown bank, illustrating the fable of ‘The Ox and the Frog.” On the seat is shown the — despair of the dog who, snapping at the reflection in the water, lost the real Bikes of meat — 4, he carried in his mouth. . Height, 3 feet 10 inches; width, 2 feet 1 inch. do. $05—Loutis QuATORZE Bravvats Tapestry ARM-CHAIR This is a companion piece to the preceding, No. 306. The top is enriched with a course of ace ee riband, overlaid with a delicate vine and roses, which centres in a shell, enclosing a pomegranate, _ Prospective BuYERS WILL PLEASE READ Spectau Norice HEADING Pace 1. TrursDAY January 20 do. do. while shells, acanthus and flowers embellish the remainder. In the case, however, of this chair and its companion, the reverse of the frame is also exposed. The ground of the tapestry is a rich, dull red, surrounding a medallion of dusky cream. This is framed with acanthus volutes, which are interspersed with roses, anemonies, narcissus and pinks, while from the top depends a bunch of grapes. ‘The latter has been used by the designer as a detail of the pictured subject, which il- lustrates the fable of “The Fox and the Grapes.” The subject represented on the seat is the fable of “The Fox and Crow.” The reverse is upholstered in dark red satin. Height, 3 feet 10 inches; width, 2 feet 1 inch. 306—Louts Srize Beauvais TAPEstry SCREEN The carved and gilded frame of Louis XVI. style is composed of delicate rococo scrolls and sprays of jasmine, centring at the top in a coil of foliage, enclosing shells. The tapestry, which is also of the Louis Seize period, woven in floral designs upon a ground of soft rose pink, pre- sents a color harmony of tenderly choice distinction. The details involve a frame, composed of reed-like volutes of acanthus, bunched and entwined with anemonies of various hues, narcissus and roses. At the top of the space, thus enclosed, swings a garland, which is cut by a drop rope of flowers of duller hue, that suspends a trumpet-shaped basket. This is filled with flowers, and has festoons of flowers dropping from its sides to its pointed base, from which hangs a nosegay of flowers. Height, 4 feet 101% inches; width, 2 feet 31% inches. 807—SincLE Panext Tapestry SCREEN The carved and gilded frame of Louis XVI. style has a quasi-architectural design, composed of fluted side columns, supporting an architrave, decorated with a series of vertical flutings, sur- mounted by an egg-and-dart border. Above this, at the ends, are flaming cones, and in the centre a bow-knot of ribands and roses. ‘The dusky ivory ground of the tapestry is embellished with a pictorial subject, inset in a frame. The latter is composed of a rose-colored canopy of drapery fringed with yellow, which is swung in two loops across the top and falls half-way down the sides in folds. Here it is continued in slim calix forms, being closed in at the base with scrolls. The whole frame is entwined with a delicate wreath of roses and blue flowers. Within this a girlish figure is seated, looking at a white dog that sits in front of her, while a boy in blue lounges close by. Height, 4 feet 3 inches; width, 2 feet 51% inches 308—SUITE OF BEAUTIFUL OLD BEAUVAIS TAPESTRY FURNITURE This set of eleven pieces comprises one sofa, two bergéres and eight arm-chairs. It was pur- chased by the Duveen Brothers from Prince Nicholas Obidine, who obtained it from a chateau in the neighborhood of Mans. The tapestry has been slightly repaired in the corners, where it had been worn, and the old carved and gilded frames have been replaced by new ones. These, however, in the quality of their craftsmanship, repeat the choiceness of the original Louis XV. style. The decorative motive of the-back of the frames consists in a centre ornament of pomegranate within a shell and a running design of foliated ribands, overlaid with a delicate vine and occasional roses. The arms and lower woodwork present variations of acanthus interrupted by shells. The ground of the tapestry savors of Rose Du Barry, but is a trifle browner. Upon this is a frame, composed of goldish brown and pale yellow shell and acanthus, profusely bunched or wreathed with deep green leaves and crimson and cream roses, honeysuckle, carnations, asters and ProsrectTiveE Buyers wiLL PLEASE READ SpeciaL NoTiceE HEADING Pace 1. THURSDAY JANUARY 20 do, do. do. do. “A”_Larce HicH-BAcK SOFA “B”—_BERGERE “C”__BErRGERE ““T)”°—_ ARM-CHAIR “HY”? _ ArRM-CHAIR other flowers. ‘This general design of the backs is repeated on the seats, though with bolder scroll- work and a more magnificent profusion of floral embellishments. In each case the frame encloses an animal subject, illustrating one of La Fontaine’s fables. These are from the designs of the celebrated animal painter, Jean Baptiste Oudry (1686-1775), made during his directorship of — the Beauvais Gobelin factory. The animals are woven in hues of brown and buff; but the landscape backgrounds, which constitute the chief beauty of each subject, comprise varying plays upon delicate tones of cream, pale blue, faint green and buffs, and stronger hues of bluish greens and — olive browns, these deeper tones appearing chiefly and very effectively in the lower part of each picture. The suite consists of : The sofa displays in the panel on its back the fable of “The Heifer, the Goat, the Sheep and ~ the Lion,” who formed a partnership. The goat has snared a stag, and the lion is about to divide it into four parts and eat all of them. On the seat appear four hounds hot on the — trail, while the stag is stopping in a grove to slake his thirst on some grapes that mee from a vine on one of the trees. This bergére, like its companion piece and all the follies chairs, shows a variation on the — a flowers that embellish the sofa. Here blue morning- glories mingle with the roses, and promi- 5 nent among the other flowers are tulips, narcissus, pinks and clusters of blue blossoms. The subject on the back is a white cock with crimson comb and wattles, raising his head and one ~ leg as he crows. The left arm of the chair has, on the inside, a design of two doves and, on ae oe the outside, a hawk; while the right arm represents, respectively, a bird returning to its — a nest to find its mate dead, and the crane of the fable, extracting a bone from the wolf’s — ata: throat. The seat, which is detachable, shows a fox gazing hungrily up at a cock, Perna in « a tree. Le This bérgere illustrates on the back the fable of “The Eagle and the Kite,” ae on the Fic! : tachable seat the fable of the fox, who cajoled the crow to sing, and thus possessed him- a self of what she held in her beak. On the inside of the left arm appears the crow dropping aT pebbles into the pitcher, to raise the height of the water; while on the outside is an illustra- tion of “The Dog Whose Ears Were Cropped.” The right arm shows ¢ on the inside “The aA Fox and Crow,” and on the outside “The Dog and His Shadow.” toise.”’ The back of this chair shows the fox invited to dinner by the crane, while the seat illustrat tes ae the fate of the goat, who got into the well to help the fox out. ProspecrivE Buyers wiLL PLEASE READ SPECIAL NOTICE HEADING Pace 1. ‘THURSDAY JANvDARY 20 do. do. do. do. do. do, “h?__Arm-CHAIR The design upon the back of this chair commemorates the misfortune of the gnat that, after worrying the lion, was caught in a spider’s web. That of the seat shows the dolphin sav- ing the life of a shipwrecked monkey in the belief that he was a man. The monkey’s pre- tenses being discovered, he was drowned. *G’—_ARM-CHAIR The chair-back illustrates ““The Dog and His Master’s Dinner”; the seat, “The Ox and the Frog.” **H’’— ARM-CHAIR Upon the back of this chair is shown “The Hare and the Tortoise,” and on the seat the fable of “The Dog Invited to Supper.” “°T’?__ARM-CHAIR The fate of the crow, who tried to emulate the eagle’s feat of carrying off a lamb, is illus- trated on the back of the chair; the fable of ““The Dog and His Shadow” on the seat. “ 3 plied underneath the glaze. Height, 22 inches; diameter, ary, 322—Larcr ANTIQUE Benes Puant JAR in underglaze blue. Bare an: Vaan hose PLant Jar tions painted in bleu de Cee 324—Concert Granp Piano By Steinway & Son. Rosewood case, carved legs. With rosewood piano bench. | BS eeauae ie PIANO- Cope bellished with a royal écusson and elaborate flotsh and leaf scrolls, executed i in gol | and lion threads and silk needlework. Towson 8 feet; 326—DrarpeEry FoR OrcGan KEYBOARD Italian Renaissance; made of a panel of old Genoese ruby-red silk velvet, wl 3827—REnNAISSANCE Watt DRAPERY Old Genoese ruby-red silk velvet, richly embellished with bold floral ana seroll eh: gold appliqué and bullion fringe. " ae aN eh CHASUBLE PROSPECTIVE BUYERS WILL PLEASE READ Srectat Notice HEADING PAGE 1. Wevnespay 829—RARE CLOTH OF GOLD TAPESTRY. HOLY FAMILY JANUARY 19 do. do. French; Sixteenth Century. The Virgin is seated on a pavement of many colors beneath a bal- dachino that is supported by four graceful columns wreathed with incrusted ornament. Suspended from the top, in front, is a lambrequin, decorated with cornucopias and fruit, while the back of the canopy terminates in an arch, through which appears a sloping hill dotted with trees and houses. The landscape is rendered in soft tones of blue, gray and cream, the details being represented with surpassing delicacy. The Virgin is robed in deep blue, with a drapery of crimson falling from her waist. ‘The Infant upon her lap leans forward to squeeze a bunch of grapes into a chalice held by a woman who kneels upon the left. The pendant figure on the right is that of a woman in blue rai- ment, who is drawing a sword from its scabbard. Behind the group stand five angels in gar- ments of rose and pale plum-color, and in the sky appear the figure of the Almighty, and the Third Person of the Trinity in the form of a dove. The panel is enclosed at the sides and base in a narrow bead border. A beautiful feeling of reverential tenderness pervades the skilfully drawn figures, and the color scheme is delicately resplendent. The specimen is unique and of surpassing interest. Henry G. Marquand Collection, New York, 1893, Catalogue No, 1331. Length, 8 feet 2 inches; width, 6 feet 11 inches. 330—SUPERB BOUCHER TAPESTRY The date of this tapestry, together with the name “F. Boucher,” appears on a stone near the net. It has been woven, like the rest of the composition, from the back, so that it reads backward, “1775. This is five years later than the death of Boucher (1704-1770). But the second “7” has been repaired, and possibly incorrectly. On the other hand, the weaver may have changed the original date of Boucher’s signature to that of the year in which the tapestry was actually woven. Anyhow, the question is of comparatively small account, since the character of the design speaks for itself. In its tactful introduction of classic accessories and playful affectation of elegant young people, masquerading in a country scene, especially in the ingenuity of the composition, the precision and fluency of the drawing, and the sensitive feeling for color, the design is not only a Boucher, but Boucher at his best. The incident depicted is a “fowling party”; a net arranged on the right, with a decoy bird, and cages to imprison the captives. Such is the slender theme of reality on which is embroidered an orchestration of decorative elegance, imbued with the spirit of the court life of the period. In the centre of the composition is a mound, surmounted by a group of dwarfed trees that. spread their masses of bluish green and buff foliage against a creamy sky. Dis- posed below is a group of young people; conspicuous among them, a youth in blue drapery, putting a canary into a cage; another youth in paler blue, and a girl beside him, in a bodice of the same color; and another girl, watching the proceeding, with her back to us, in a gown of deep crimson. To her right sits a dainty figure in lavender-pink bodice and pearly white skirt, who restrains a child from grasping a canary. Behind her a girl is caressing a canary, and to the right is a group of three—a youth and two girls—one of the latter looking up coquettishly, as she holds a canary to her lips. In the background, on the left, rear up a fountain, composed of two babies, and a villa attached to a circular temple; while, as a contrast, appears in the distance, on the right, a rustic cottage. The border presents a repeat of shells and acanthus-tips, gold and gray on a ground of reddish brown. BO ee a eae i ; Length, 12 feet 214 inches; width, 18 feet 91 inches. 331—_SIXTEENTH CENTURY FLEMISH TAPESTRY This is a companion piece to No. 332, which adjoins it on the east wall of the ball-room. Both are framed in very handsome borders, composed of luxuriant masses of white lilies, roses, tulips Prospective Buyers WILL PLEASE READ Speciat Novice HEADING Pace Il. and other flowers, entwined with scrolls and crimson drapery festoons, and interspersed with blue and yellow macaws. ‘The side borders start in the lower corners from grotesque dolphins, while the central feature of the top and bottom borders is a trophy of flowers, pomegranates, grapes and cherries, flanked on each side by a gambolling spaniel. The pictorial subjects repre- sent the pursuits of country life. This one shows on the left of the foreground an apple- tree, from the boughs of which a little boy is dropping fruit into the apron of a woman who stands below. She wears a bright blue skirt, folded over so as to show the rose lining.