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 ; SALE NUMBER 2058 R 
 "PUBLIC EXHIBITION FROM SATURDAY, APRIL TENTH 
 
 RARE & IMPORTANT 
 
 GOBELIN & FLEMISH TAPESTRIES 
 _ FURNITURE, RUGS, NEEDLEWORK 
 ARMS & BARYE BRONZES 
 FROM THE COLLECTIONS OF 
 ‘MR. J. J. ALBRIGHT 
 
 BUFFALO, N-Y. 
 (EXHIBITED AT THE ALBRIGHT ART GALLERY) 
 
 “nel SCHEREMIETIEV & BARON ROPP 
 
 SOLD BY ORDER OF KIRA DE BELLAGIO 
 PARIS, FRANCE 
 
 SAMUEL W. WEIS 
 CHICAGO, ILL. 
 (EXHIBITED AT THE CHICAGO ART INSTITUTE 
 & THE DELGADO MUSEUM OF ART) 
 
 B.A. DENNISON Z SIMON JAMES SHWARTZ 
 fe NEW YORK CITY NEW ORLEANS, LA. 
 
 5 J. BUCHANAN’ —_ GEORGE BLAKE DEXTER, . | 
 _ PITTSBURGH, PA. BOSTON, MASS. _ peas 
 WILLIAM H. McGEE FREDERICK RIDER - cg eae 
 _ NEW YORK CITY NEW YORK CITY 23. Ze ae 
 MRS. JENNY HALBMAYR Se ho ee 
 MARIENBAD, CZECHO SLOVAKIA =. RS a ee ee 
 TO BE SOLD BY THEIR ORDER °F Se 
 
 & Rs 
 SELECTIONS FROM AN IMPORTANT _ 
 
 FRENCH COLLECTION 
 SOLD BY ORDER OF 
 CHARLES D. MORGAN, ATTORNEY 
 
 ' PARIS, FRANCE 
 
 ea TO BE SOLD BY AUCTION 
 aes FRIDAY, SATURDAY AFTERNOONS 
 x APRIL SIXTEENTH, SEVENTEENTH 
 
 — TWO-THIRTY O° CLOCK 
 
 - ‘THE ANDERSON GALLERIES 
 [MITCHELL KENNERLEY, PresipenT |] 
 
 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
 1926 
 
Fraga 
 pr Sra 
 
 * b 
 
Leuasa Claws 
 
 PRIA es Fad 
 
DIANA REJECTING OTUS 
 RARE AND FINE GOBELIN TAPESTRY WOVEN IN 
 PARIS ABOUT 1610 
 
 [NUMBER 203] 
 
SALE NUMBER 2058 
 PUBLIC EXHIBITION FROM SATURDAY, APRIL TENTH 
 
 RARE & IMPORTANT 
 
 GOBELIN & FLEMISH TAPESTRIES ae 
 FURNITURE, RUGS, NEEDLEWORK  ¢ 
 ARMS & BARYE BRONZES 
 FROM THE COLLECTIONS OF IT 
 Wily |b Ik ANE RCS Ap 
 BUFFALO, N. Y. 
 (EXHIBITED AT THE ALBRIGHT ART GALLERY) 
 
 COUNT SCHEREMIETIEV & BARON ROPP 
 SOLD BY ORDER OF KIRA DE BELLAGIO 
 PARIS, FRANCE 
 
 SAMUEL W. WEIS 
 CHICAGO, ILL. 
 (EXHIBITED AT THE CHICAGO ART INSTITUTE 
 & THE DELGADO MUSEUM OF ART) 
 
 E. A. DENNISON SIMON JAMES SHWARTZ 
 NEW YORK CITY NEW ORLEANS, LA. 
 JAMES J. BUCHANAN GEORGE BLAKE DEXTER 
 PITTSBURGH, PA. BOSTON, MASS. 
 WILLIAM H. McGEE FREDERICK RIDER 
 NEW YORK CITY NEW YORK CITY 
 
 MRS. JENNY HALBMAYR 
 MARIENBAD, CZECHO SLOVAKIA 
 
 TO BE SOLED BY ‘THEIR ORDER 
 & 
 
 SELECTIONS FROM AN IMPORTANT 
 
 FRENCH COLLECTION 
 SOLD BY ORDER OF 
 CHARLES D. MORGAN, ATTORNEY 
 PARIS, FRANCE 
 
 TO BE SOLD BY AUCTION 
 FRIDAY, SATURDAY AFTERNOONS 
 APRIL SIXTEENTH, SEVENTEENTH 
 
 AT TWO-THIRTY O'CLOCK 
 
 THE ANDERSON GALLERIES” LASOSS 
 
 [MITCHELL KENNERLEY, Presipent ] 
 
 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
 1926 
 
CONDITIONS OF SALE 
 
 ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. 
 
 The highest bidder to be the buyer. In all cases of disputed bids the decision 
 of the Auctioneer shall be final. 
 
 Buyers to give their names and addresses and to make such cash payments on 
 account as may be required, in default of which the lots purchased shall be 
 resold immediately. 
 
 Purchases to be removed at the buyer’s expense and risk within twenty-four 
 hours from the conclusion of the sale, and the remainder of the purchase money 
 to be paid on or before delivery, in default of which The Anderson Galleries, 
 Incorporated, will not be responsible for any loss or damage whatever, but the 
 lot or lots will be left at the sole risk of the purchaser, and subject to storage 
 charges. 
 
 All lots will be placed on public exhibition before the date of sale, for examina- 
 tion by intending purchasers, and The Anderson Galleries, Incorporated, will 
 not be responsible for the correctness of the description, authenticity, genuine- 
 ness, or for any defect or fault in or concerning any lot, and make no warranty 
 whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. 
 
 If accounts are not paid and purchases removed within twenty-four hours of the 
 conclusion of the sale, or, in the case of absent buyers, when bills are rendered, 
 any sum deposited as part payment shall be forfeited, and The Anderson Gal- 
 leries, Incorporated, reserve the right to resell the lot or lots by either private 
 or public sale, without further notice, and if any deficiency arises from such 
 resale it shall be made good by the defaulter, together with all expenses in- 
 curred. ‘This condition shall be without prejudice to the right of this Com- 
 pany to enforce the sale contract and collect the amount due without such 
 resale, at its own option. 
 
 The Anderson Galleries, Incorporated, will afford every facility for the employ- 
 ment of carriers and packers by the purchasers, but will not be responsible 
 for any damage arising from the acts of such carriers and packers. 
 
 The Anderson Galleries make no charge for executing orders for their cus- 
 tomers and use all bids competitively, buying at the lowest price permitted 
 by other bids. 
 
 A Priced Copy of this Catalogue may be obtained for Two Dollars 
 THE ANDERSON GALLERIES, INC. 
 
 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
 TELEPHONE REGENT 0250 CATALOGUES ON REQUEST 
 
 SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON 
 
SALE FRIDAY AFTERNOON, APRIL SIXTEENTH, AT TWO-THIRTY 
 
 FIRST SESSION 
 
 NUMBERS 1-124 
 
 1 OLD CARVED ROSEWOOD TEA CADDY 
 Mantel ornament with mirrored glass front and carved spiral corner 
 pilasters. (Dennison) Height, 12 inches 
 
 2 SEVEN SMALL CHINESE PAINTINGS KANG HSI 
 In album form, depicting landscapes, figure subjects and flower 
 subjects. In wood folder. (Dennison) (7) Size, 18 x 13 inches 
 
 3 BRASS BANDED MAHOGANY CELLERETTE 
 ENGLISH, 18TH CENTURY 
 Oval, with brass lion mask handles at the sides; on stand with square 
 legs. Pewter liner. (Dennison) Height, 24 inches; width, 27 inches 
 
 4 MAHOGANY NIGHT COMMODE ENGLISH, 18TH CENTURY 
 Hinged tray top, serpentine front and square supports. (Dennison) 
 Height, 30 inches; width, 22 inches 
 
 5 MAHOGANY BOOKSTAND ENGLISH, ABOUT 1800 
 Stand of open shelves with small cupboards in the base. Defective. 
 (Dennison) Height, 4 feet 6 inches; width, 32 inches 
 
 6 SMALL STRIKING WALL CLOCK BY STEPHEN WOGDEN, 
 GREENWICH ENGLISH, ABOUT 1720 
 The domed black lacquer case gilded with Chinese figures and flowers. 
 Chased dial with cherub-head corner mounts and engraved with the 
 maker’s name. (Dennison) Height, 14 inches; width, 8 inches 
 
 7 INLAID HAIRWOOD DWARF COMMODE 
 ENGLISH, 18TH CENTURY 
 Semi-circular shape. Enclosed by two doors with small drawer 
 above. On short stump feet. The front and top panel with line 
 inlay of satinwood and rosewood. (As is) (Dennison) 
 Height, 32 inches; width, 30 inches 
 
MAHOGANY DRESSING GLASS 
 ENGLISH, ABOUT 1780 
 
 [NUMBER 8] 
 
 8 INLAID MAHOGANY DRESSING GLASS ~— ENGLISH, ABOUT 1780 
 Swing mirror with curved top, on base fitted as escritoire with slant 
 writing flap enclosing drawers; another drawer beneath. Mahogany 
 banded in tulipwood and ebony. Small ogee bracket feet. (Dennison) 
 
 Height, 40 inches; width, 21 inches 
 
 [SEE ILLUSTRATION ] 
 2 
 
SMALL MAHOGANY WRITING TABLE 
 ENGLISH, ABOUT 1790 
 
 [NUMBER 9] 
 
 9 LADY’S MAHOGANY WRITING TABLE ENGLISH, ABOUT 1790 
 Charming piece in blond mahogany which retains the original finish. 
 Serpentine front fitted with three small drawers. Stands on tapered 
 and fluted legs with turned feet. (Dennison) 
 
 Height, 30 inches; width, 33 inches 
 
 [SEE ILLUSTRATION ] 
 3 
 
10 
 
 11 
 
 12 
 
 13 
 
 14 
 
 SIX OLD BRETON CARVED OAK WAINSCOT CHAIRS 
 The square backs carved with rosettes and strap work in different 
 designs. Solid seats and braced square supports. (Dexter) (6) 
 
 PINE AND MAPLE TAVERN TABLE AMERICAN, ABOUT 1700 
 
 Heavy original pine top. Sturdy ring turned legs braced by high 
 
 and low stretchers. A drawer in the scrolled apron. (Albright) 
 Size of top, 41 x 24 inches 
 
 INLAID MAHOGANY CONSOLE TABLE ENGLISH, ABOUT 1790 
 Console or card table. Solid mahogany banded and inlaid in rose- 
 wood and satinwood. Semi-circular fold-over top lined with green 
 baize. Four tapered square supports with spade feet, one pivoted to 
 support the fold-over leaf. (Dennison) Diameter of top, 42 inches 
 
 SEVENTEENTH CENTURY BRITTANY CARVED SETTLE 
 
 Fireside or porch settle from an old inn. The canted back pierced 
 in baluster fashion; sturdy square legs with heavy brace. Solid 
 seat. (Dexter) Length, 64 inches 
 
 TWO HEPPLEWHITE MAHOGANY SIDE CHAIRS 
 
 ENGLISH, 18TH CENTURY 
 Graceful models designed in the Louis Quince taste with shaped 
 and carved shield backs; on carved cabriole supports. (Resold for 
 account of purchaser) (2) 
 
15 
 
 LION WALKING 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 15] 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Lion Walking’. The finest and most popular of Barye’s works. 
 Reminiscent of the famous Assyrian bas reliefs. Bronze cast by 
 Barbedienne. Signed ‘‘Barye” on the fore part of the base. (Weis) 
 Height, 914, inches; width, 16 inches 
 
 See illustration in Roger Ballu’s “‘L’Oeuvre de Barye’’, page 130. 
 Exhibited at the Chicago Art Institute. 
 
 [SEE ILLUSTRATION ] 
 5 
 
16 
 
 17 
 
 cg pecs Setemmne ns eitsiz— xem eeaaeeamammitaany: 
 
 BOAR ATTACKED BY HOUNDS 
 BY P. J. MENE 
 
 [NUMBER 16] 
 
 BRONZE GROUP BY P. J. MENE FRENCH, 1802-1875 
 “Boar Attacked by Hounds”. A group of four hounds have sur- 
 rounded and are bearing to the ground a full grown wild boar 
 which, in its death fight, has managed to administer the coup de 
 grace to one of its adversaries. Very fine realistic and rugged 
 
 sculpturing of a motif so well portrayed by the great Dutch master, 
 
 Franz Snyders. Signed “P. J. Mene” on the rocky oval base. (Weis) 
 Height, 1014 inches; width, 181% inches 
 
 [SEE ILLUSTRATION | 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Lion Devouring a Gazelle’. A magnificent full grown recumbent 
 lion, the inert body of a gazelle beneath his fore paws, gives vent 
 to a roar of satisfaction. Signed on the oblong base. Very fine 
 mass modelling. Height, 434, inches; length, 1014 inches 
 
 6 
 
18 
 
 i) 
 
 20 
 
 21 
 
 22 
 
 23 
 
 SMALL BRONZE BY T. MOIGRIEY 
 “Seated Fox”. Finely modelled small figures. Signed on the circular 
 base. (Weis) Height, 234, inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans, La. 
 
 SMALL BRONZE BY A. CAIN 
 “Crowing Rooster’, perched on a basket. Signed “A. Cain”. (Weis) 
 Height, 7 inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 HERALDIC TAPESTRY PANEL AUVERGNE, 17TH CENTURY 
 The centre occupied by the supporters—two winged cherubim with 
 cranes at their backs holding a coronet forming a reserve with 
 their outstretched hands. The centre, an elephant carrying a quar- 
 tered armorial bearing on a banner tied to his body. To the right 
 and left, lions’ grotesques with fleur-de-lys bodies. The represen- 
 tations are woven in golden tans, crimsons and heightenings of other 
 tones on a brilliant sky-blue ground. 
 
 Length, 37 inches; width, 22 inches 
 
 NEEDLEWORK STOLE FRENCH, LATE 17TH CENTURY 
 Worked in point de chainette in multicolored formal silk flowers and 
 leaves on an intricately meandered cream colored ground. Golden 
 brown and rose colored ribband border of point de chainette. 
 Length, 8 feet 2 inches 
 
 UNUSUAL SAMPLER OF POINT DE HONGRIE NEEDLEWORK 
 ENGLISH, 1775 
 
 Brilliantly colored silk embroidery worked in bold diaper pattern 
 of black outline. Meandered fields in rainbow tints with brilliant 
 yellows and orange predominating. Signed and dated “SW, 1775.” 
 Size, 16 x 614 inches 
 
 FINE SPANISH SEVENTEENTH CENTURY BROCADE PANEL 
 A church hanging or coverlet with fine deep border of flowers on old 
 ivory ground. Soft gray centre with similar flowers. Gold thread 
 borders and fringe. A cross at each corner. (Dexter) 
 
 Size, 68 x 58 inches 
 
24 
 
 RARE TAPESTRY EMBROIDERIES 
 ENGLISH, ABOUT 1700 
 
 [NUMBERS 24 AND 25] 
 
 TAPESTRY EMBROIDERY ENGLISH, ABOUT 1700 
 Worked in silks and wools in an endeavor to simulate tapestry. 
 Oblong panel; the centre a walled Tudor castle with duck filled 
 moat and outhouses. To the right and left a goatherd and a 
 shepherdess with their flocks among fruit laden trees with birds 
 perched upon their branches, and with background of a church, tree 
 crested hills and a castle. The tones are predominately blue-green 
 and apple-green with brilliant heightenings of the goatherd’s scarlet 
 coat, the scarlet of flowers and fruit and the deep rose of the brick 
 covered houses. There are some unfinished parts interestingly 
 showing the method of working. Size, 4534, x 838 inches 
 
 [SEE ILLUSTRATION ] 
 
 TAPESTRY EMBROIDERY ENGLISH, ABOUT 1700 
 In workmanship similar to preceding. The right is occupied by a 
 delightful composition of an arbor in three parts resting on two 
 tiers of stone balustrades. It has green grown domes. The centre 
 faced by a Renaissance fountain, two arbors flanking, with two 
 young couples in Stuart costumes facing the onlooker. To the left 
 a cluster of houses, a water mill with pond and water birds, and 
 screening the spectacle, fruit laden trees and a lone palm tree. 
 
 Size, 3814 x 83% inches 
 
 [SEE ILLUSTRATION] 
 
 8 
 
26 
 
 27 
 
 28 
 
 29 
 
 30 
 
 31 
 
 o2 
 
 ANTIQUE SILK EMBROIDERED BED SPREAD 
 
 ENGLISH, 18TH CENTURY 
 Fine embroidery of Persian palmettes and conventional flower 
 medallions in colored silks on a linen background. (Dennison) 
 
 EIGHTEENTH CENTURY NEEDLEWORK FIRE SCREEN 
 
 Rectangular mahogany frame on trestle supports. Mounted with a 
 fine panel of petit point needlework depicting a pastoral scene with 
 figures in the grounds of a country mansion. The frame repaired. 
 (Dennison) Height, 57 inches; width, 22 inches 
 
 SLANT-TOP DESK OF APPLEWOOD ENGLISH, 18TH CENTURY 
 Fitted interior of pigeonholes and small drawers with ivory knobs 
 enclosed by a slant writing flap. Four long drawers in the body 
 fitted with wood knobs which are of a later date. (Dennison) 
 Height, 41 inches; width, 34 inches 
 
 PAIR OF OLD VIENNA PORCELAIN STATUETTES OF POMONA 
 AND FLORA AUSTRIAN, ABOUT 1780 
 Draped figures, Pomona at the side of a baroque socle on which 
 rests a fruit filled bowl, at her feet a crouching simian. Flora 
 is flanked by a rectangular socle with a sacrificial urn, at her feet 
 crouching a hunting dog. Invested with a brilliant white glaze, the 
 flesh tints naturalistically enamelled. The socles slightly chipped. 
 (2) Height, 10 inches 
 
 MAPLE SECRETARY PENNSYLVANIA, 1800 
 Richly figured golden maple. Fitted upper part enclosed by a pair 
 of panelled doors with three small drawers below. Lower body 
 equipped with three long drawers and fold-over writing flap. Spiral 
 pilasters at the corners. Sturdy turned and tapered legs with Dutch 
 feet. (Albright) Height, 6214 inches; width, 391% imches 
 
 SET OF SIX ITALIAN SEVENTEENTH CENTURY LADDER- 
 BACK CHAIRS 
 
 High backs with three curved slats and acorn finials to the slender 
 posts. Trumpet turned legs in the William and Mary style, braced 
 by scrolled X stretchers ornamented with turned central finials. 
 Upholstered seats. (Dexter) (6) 
 
 GROUP OF OLD ZURICH PORCELAIN SWISS, ABOUT 1780 
 Two youths, a maiden in fleuretted garments kneeling on a green 
 with her youthful companion about to catch a butterfly with his 
 brilliant emerald green hat. Soft metallic cream glaze with traces 
 of ‘copper resist.” Height, 7 inches 
 
RARE QUEEN ANNE WALNUT SETTEE 
 ENGLISH, ABOUT 1710 
 
 [NUMBER 33 
 
 33 QUEEN ANNE WALNUT SETTEE ENGLISH, ABOUT 1710 
 High triple chair back with vase shaped splats, curved crest rails; 
 voluted arms and cabriole legs with pad feet. Slip seat covered with 
 crimson velvet. Graceful and rare piece. (Dexter) Width, 70 inches 
 
 [SEE ILLUSTRATION ] 
 
 10 
 
34 TWO BOTTLES OF JACOB PETIT PORCELAIN 
 PARIS, ABOUT 1800 
 A very uncommon pair in the Oriental taste representing musicians. 
 The maiden, a lute player in brilliant white garments enriched with 
 gold; the male musician holding a flute of Pan. The heads natural- 
 istically painted act as stoppers. The figures are seated in the 
 Oriental fashion on fleuretted tasselled floor cushions. (2) 
 Height, 71 inches 
 
 35 TWO CARVED ALABASTER AMPHORAE 
 ENGLISH, 18TH CENTURY 
 Tall bulbous bodies furnished with boldly modelled ram’s head 
 handles. The necks with rosetted ribbands and other members with 
 acanthus. On both sides are figure groups carved in bas relief taken 
 from Greek mythology. Wooden covers of later addition. (2) 
 Height, 36 inches 
 
 11 
 
SYRIAN SEVENTEENTH CENTURY IRONWOOD CHEST 
 FROM THE DEXTER COLLECTION 
 
 [NUMBER 36] 
 
 36 SYRIAN SEVENTEENTH CENTURY CARVED AND INLAID 
 IRONWOOD CHEST 
 Of hard dark colored wood similar to ebony. The front panel 
 magnificently carved in colonnade pattern, each niche containing a 
 conventionalized “tree of life’. This is heightened with a rich inlay 
 of mother-of-pearl representing typical Oriental pointed palmettes, 
 star motifs and meander borders. Stands on high bracket supports 
 similarly inlaid. (Dexter) Height, 38 inches; width, 54 inches 
 
 An entertaining narrative by Dexter in his “The Lure of Amateur 
 Collecting’ tells of his quest for these interesting and rare old Syrian 
 chests and of their being placed on exhibition in the Boston Museum 
 of Fine Arts as part of the George Blake Dexter collection. 
 
 [SEE ILLUSTRATION | 
 
 12 
 
37 
 
 38 
 
 39 
 
 40 
 
 SEVENTEENTH CENTURY CARVED ARABIC IRONWOOD 
 
 CHEST 
 
 Same shape as the preceding chest, but larger. The whole front 
 
 richly carved with a geometrical flower pattern similar to the Arabic 
 
 needlework designs. Hinged top and high bracketed base. (Dexter) 
 Height, 36 inches; width, 57 inches 
 
 PINE AND MAPLE TAVERN TABLE 
 
 AMERICAN, EARLY 18TH CENTURY 
 Framed overlapping pine top. Slender tapered and partly turned 
 supports braced by plain stretchers. A drawer in the front. 
 (Albright) Size of top, 40 x 25 inches 
 
 WILLIAM AND MARY HIGHBOY ENGLISH, ABOUT 1690 
 Of oyster walnut with inlaid marqueterie forming oval medallions 
 on the top and the fronts of the two small and three long drawers. 
 The stand with two small drawers and trumpet turned legs braced 
 by curved stretchers. (Dennison) Height, 52 inches; width, 33 inches 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Lion of the Louvre” (called the Philosopher). Strikingly modelled 
 figure of a full grown crouching male lion, gazing straight before 
 him. Rugged modelling expressing strength in repose. Antique 
 green patina. Signed on the oval base. 
 Height, 1414 inches; length, 1134, inches 
 
 13 
 
Al 
 
 TIGER KILLING A FAWN 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 41] 
 
 BRONZE GROUP BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Tiger Killing a Fawn’. A powerfully modelled group showing a 
 muscular full grown tiger which has seized a fawn and is devouring 
 it. The mortal agony and relentless power expressed by the two 
 animals is typical of Barye’s most vigorous mood. Signed on the ~ 
 fore part of the rocky base. Antique greenish patina. Mounted on 
 wood plinth. (Weis) Height, 1414 inches; width, 20 inches 
 
 Exhibited at the Chicago Art Institute. 
 [SEE ILLUSTRATION | 
 14 
 
42 
 
 TERRA COTTA FIGURE 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 42] 
 
 TERRA COTTA FIGURE BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 Standing figure of a monk or friar in jovial attitude, feet apart, the 
 head inclined to the left, the hands clasped behind the back. On 
 moulded plinth. (Weis) Height, 814, inches 
 
 This rare figure is illustrated in Roger Ballu’s “L’Oeuvre de Barye’’, 
 page 93, entitled “Fou de Rome’’. 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 [SEE ILLUSTRATION | 
 15 
 
BRONZE LION AND CAT 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBERS 167 AND 43] 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Seated Cat’. Ranks as one of the master’s finest works, the 
 modelling of the small figure expresses the subtleness and mystery 
 attaching to all animals of the feline tribe. Signed on the rugged 
 base. On green marble plinth. (Weis) 
 Height, 334, inches; width, 314, inches 
 
 See Illustration in Roger Ballu’s “L’Oeuvre de Barye’’, page 123. 
 Exhibited at the Chicago Art Institute. 
 
 [SEE ILLUSTRATION ] 
 16 
 
44 
 
 45 
 
 46 
 
 47 
 
 48 
 
 49 
 
 50 
 
 51 
 
 SMALL BRONZE BY P. J. MENE FRENCH, 1802-1875 
 “Pecking Hen”. Signed ‘“P. J. Mene” on the oval base. (Weis) 
 Height, 31% inches; width, 41% inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 SMALL BRONZE ANIMAL BY P. J. MENE FRENCH, 1802-1875 
 “Seated Hare’. Another exquisite small figure by this eminent 
 French animal sculptor. Signed “P. J. Mene” on the oval base. On 
 wood plinth. (Wevs) Height, 314, inches; width, 334, inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 BRONZE FEMALE MASK AFTER THE ANTIQUE 
 Mounted on tapered square plinth of porphyry. (Solano) 
 Height, 17 inches 
 
 PAIR OF DUELLING PISTOLS, IN CASE FRENCH, CIRCA 1830 
 Finest quality, damascus steel barrels with the name “Piset Robert 
 Bte. a Paris”, inlaid in gold. In brass banded rosewood case, with 
 tools. (Shwartz) 
 
 PAIR OF GILDED BRONZE STIRRUPS ITALIAN, 17TH CENTURY 
 For state or ceremonial use by a high personage. High oval sun- 
 burst shape instep guards. The sides richly decorated with military 
 trophies and flowers. Rare. (Shwartz) (2) Height, 9 inches 
 
 FALCHION FRENCH, LOUIS XIV PERIOD 
 Short cutlass-like sword probably of an officer of engineers. Heavy 
 brass cross hilt surmounted by a cock, the bar hilt decorated with 
 lion and basilisk masks. Curved blade with saw back. Original 
 brass mounted leather scabbard. (Shwartz) Length, 36 inches 
 
 EXECUTIONER’S AXE FRENCH, 18TH CENTURY 
 Wide head with milled brass edge guard. Inscribed “Me DUMONT 
 A LA Gde. Nle. DE We LE ROI’. Original wood shaft with brass 
 hilt. Rare. (Shwartz) Length, 37 inches 
 
 BALKAN SHORT BLUNDERBUSS CIRCA 1800 
 Two-fire flintlock. Wood stock and butt richly decorated with silver 
 pique work and gilt metal mounts profusely chased with military 
 trophies. The barrel has the word “London” inlaid in gold, a sign 
 of the prestige enjoyed by English gunsmiths of that period. 
 (Shwartz) Length, 26 inches 
 
 17 
 
52 
 
 53 
 
 54 
 
 55 
 
 56 
 
 57 
 
 58 
 
 59 
 
 SMALL FLINTLOCK PISTOL ENGLISH, CIRCA 1810 
 Pocket pistol in good condition. (Shwartz) Length, 6 inches 
 
 TWO ORIENTAL FLINTLOCK PISTOLS PERSIAN, 18TH CENTURY 
 One richly mounted in chased silvered metal; the other with chased 
 brass mounts. (Shwartz) (2) 
 
 DUTCH EIGHTEENTH CENTURY OFFICER’S NAVAL CUTLASS 
 Heavy blade engraved, “Vive la Patrie. Mivan Mouta Gu a Gand”. 
 Brass half basket hilt; decorated with an eagle, a coronet above. 
 (Shwartz) Length, 35 inches 
 
 OLD JAPANESE WALL GUN 
 Heavy bronze barrel decorated with a sacred dragon in chisel work 
 heightened with gold inlay. (Shwartz) Length, 40: inches 
 
 BERBER SNAPHAUNCE 18TH CENTURY 
 Wide butt mounted with heavy ivory plaque. Long barrel and 
 leather covered stock decorated with repousse and engraved silver 
 mounts. (Shwartz) Length, 73 inches 
 
 ARTILLERY OFFICER’S SWORD FRENCH, 1ST CONSUL PERIOD 
 In fine state of preservation. Handle and scabbard richly mounted 
 in chased ormolu. Blade with gold inlay of flowers and trophies. 
 Has the original gold braid tassel. (Shwartz) Length, 39 inches 
 
 SMALL CROSSBOW OR PRODD SWISS, 18TH CENTURY 
 
 In good condition with the original platted twine stem. Carved 
 
 walnut butt with ivory and mother-of-pearl inlay. (Shwartz) 
 Length, 22 inches 
 
 IMPORTANT VERDURE TAPESTRY 
 
 FLEMISH, LATE 17TH CENTURY 
 A fine longitudinal panel in excellent state of preservation. Com- 
 posed of a landscape with birds, and architecture in rich blue-green 
 and golden yellow foliage. The foreground with densely covered 
 bushes. The perspective and the scale of detail is exceedingly well 
 handled. Original complete border of bow-knotted floral clusters 
 on a dark brown ground. Size, 9 x 16 feet 
 
 18 
 
60 
 
 61 
 
 RARE NEEDLEWORK COVER 
 [NUMBER 60] 
 
 IMPORTANT NEEDLEWORK COVER FRENCH, ABOUT 1700 
 The centre a naive conception of Adam and Eve represented as two 
 children fully attired in Louis Quatorze costumes running from 
 Paradise with the fatal fruit in their hands, while God the Father, 
 represented as a King with a King’s crown looks on from behind a 
 barrier. Above the image of Phaeton on his chariot and a youth 
 holding an apple. To the right a turretted hunting lodge and a 
 fruit laden tree with a bird. Some details worked in petit point 
 of silk. Handsome borders of birds and arabesque volutes in scarlet, 
 blue and tan on a black ground. Size, 29 x 26 inches 
 
 [SEE ILLUSTRATION] 
 
 LARGE NEEDLEWORK PANEL FRENCH, ABOUT 1720 
 The centre, a chinoiserie motif worked in the finest petit point: a 
 maiden in crimson Oriental robes playing a Santir (Dulcimer) to 
 the company of two singers at her side, a lady in blue with flowered 
 headdress and a man in crimson with turban—in a reserve filled with 
 intricately worked floral patterns. Framework of baroque Indo- 
 Persian arabesques in blue, scarlet, tan and silver-gray on a dark 
 brown ground. Length, 331% inches; width, 27 inches 
 
 19 
 
62 
 t 
 
 63 
 
 64 
 
 65 
 
 IMPORTANT LOT OF OLD CRIMSON AND GOLD BROCATELLE 
 
 ITALIAN, ABOUT 1650 
 Composed of 23 yards, 734, inches; each length with bold floral 
 arabesques and volutes in a brilliant crimson on a gold colored 
 ground in repeating patterns. 
 
 KHORASSAN MEDALLION RUG PERSIAN 
 The field sustains a handsome large peony medallion with deep blue 
 and “stone-green” ground, filled with radiating blossoms and leaves 
 in brilliant shades of yellow and red. The corners of the field are 
 bright red with similar flowers. Five borders of rosettes and vines 
 in soft colors. (McGee) Size, 11 feet 4 inches x 7 feet 6 inches 
 
 LARGE INDIAN RUG: 
 
 Thick weave. The field of shaded blue sustains an all-over pattern 
 of floral palmettes on meander vines and numerous small flower 
 forms:in beautiful pastel shades, ivory-yellow and amethyst predom- 
 inating. Three borders, the main one with similar design on pale 
 yellow ground. A handsome rug. (Rider) Stzé, 15 xe 2ece 
 
 EIGHTEENTH CENTURY TYROLEAN CARVED CHEST 
 The front handsomely ornamented with shaped mouldings forming 
 panels containing carved urns of flowers. High bracket supports 
 also carved with flowers and with the date 1735. Original lock and 
 large key. Fine mellow color. (Dexter) 
 
 Height, 28 inches; width, 49 inches 
 
 20 
 
66 
 
 FINE GEORGIAN SOLID MAHOGANY DINING TABLE 
 [NUMBER 66] 
 
 GEORGIAN MAHOGANY OVAL DINING TABLE 
 ENGLISH, LATE 18TH CENTURY 
 Comprising a pair of segmental shape tables which join together 
 and form a circular table and with the addition of an extra leaf 
 at the centre makes an oval table. Stands on eight boldly turned, 
 fluted and tapered legs with brass cap and castored feet. A detach- 
 able dumbwaiter or plate tray stands on the centre. At intervals 
 around the bevelled edge of the top are pulls. Fine quality solid 
 mahogany. (Buchanan) 
 Width of top, 68 inches; with extra leaf, 931 inches 
 
 [SEE ILLUSTRATION] 
 Al 
 
67 
 
 INLAID HAIRWOOD CONSOLE TABLE 
 EIGHTEENTH CENTURY 
 
 [NUMBER 67] 
 
 EIGHTEENTH CENTURY CONSOLE TABLE OF INLAID HAIR- 
 
 WwooD 
 
 Banded in rosewood and tulipwood and with fine marqueterie inlay 
 
 of diaper ornament and rosettes in medallions. Folding semicircular 
 
 top lined with red baize. On four tapered square legs with brass 
 
 feet. (Dennison) Width, 4 feet 
 [SEE ILLUSTRATION ] 
 
 22 
 
68 
 
 MAGNIFICENT WILLIAM AND MARY WING SOFA 
 PETIT POINT NEEDLEWORK COVERING 
 
 [NUMBER 68] 
 
 VERY FINE WILLIAM AND MARY WINGED SOFA COVERED 
 IN PETIT POINT NEEDLEWORK 
 The high shaped back, winged sides and loose seat cushion covered 
 with needlework showing a sumptuous design of flowers and leaves 
 surrounding four shaped oval medallions; two on the back contain 
 figures of a seventeenth century gallant and lady, two on the seat 
 show plumage birds under flower branches, worked in fine petit point 
 and gros point, in rich colors. Stands on square baluster front legs 
 braced by pierced and carved scrolled stretchers. A magnificent 
 piece. (Albright) 
 
 Height of back, 3 feet 10 inches; width of seat, 5 feet 
 
 [SEE ILLUSTRATION ] 
 
 23 
 
69 
 
 70 
 
 TOA 
 
 OLD ENGLISH CARVED OAK BIBLE BOX 
 JACOBEAN OAK GATELEG TABLE 
 
 [NUMBERS 69 AND 70] 
 
 CARVED OAK BIBLE BOX ENGLISH, 17TH CENTURY 
 
 Bible or desk box with slant hinged lid. The front carved with the 
 
 initials “M. R.” and date 1674 above a band of hollow flutes. Rare. 
 
 (Dexter) Size, 27 x 25 4nenes 
 [SEE ILLUSTRATION | 
 
 JACOBEAN OAK GATELEG TABLE ENGLISH, 17TH CENTURY 
 One gate supporting a wide single drop leaf. Sturdy club and ball 
 turned legs braced by heavy stretchers. Partly restored, drawer at 
 one end. Rare. (Dexter) Size of top, 45 x 41 inches 
 
 [SEE ILLUSTRATION |] 
 
 MAHOGANY LIBRARY BOOKCASE ENGLISH, ABOUT 1800 
 With open shelves above; cupboard base with recess centre. Fluted 
 Sheraton pilasters at the corners. Also original brass mountings. 
 
 Height, 8 feet 6 inches; width, 6 feet T inches 
 
 Originally made for Lord Canterbury in whose possession it remained 
 until a short time ago. 
 Companion to the following bookcase. 
 
 24 
 
70B MAHOGANY LIBRARY BOOKCASE ENGLISH, ABOUT 1800 
 
 ol 
 
 Companion to the preceding bookcase. 
 Height, 8 feet 6 inches; width, 6 feet 7 inches 
 
 Originally made for Lord Canterbury in whose possession it re- 
 mained until a short time ago. 
 
 TIGER ATTACKING A STAG 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 71] 
 
 BRONZE GROUP BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Tiger Attacking a Stag’. A magnificent group doubly signed by 
 the sculptor, once in the casting and once after the casting and also 
 
 numbered; it is therefore an artist’s proof. A full grown stag is 
 
 being borne to the ground by a muscular tiger, which has driven its 
 fangs into the stag’s neck. This group is sometimes referred to as 
 the panther attacking a stag. Stands on oval wood plinth. (Weis) 
 
 Height, 141% inches; width, 2114 inches 
 
 See illustration in Roger Ballu’s ‘“L’Oeuvre de Barye’’, page 68. 
 Exhibited at the Chicago Art Institute. 
 
 [SEE ILLUSTRATION | 
 
 25 
 
73 
 
 74 
 
 75 
 
 76 
 
 CARVED OAK LINEN FOLD COFFER FRENCH, 15TH CENTURY 
 
 The front divided into three panels of fine linen fold carving. Very 
 
 simple but refined type. The hinged lid is modern. (Dexter) 
 Height, 30 inches; width, 50 inches 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Jaguar Walking”. Magnificent muscular animal, the fine modelling 
 showing the suppleness of the body and lightness of tread. On rustic 
 base. Reddish-brown antique patina. In the master sculptor’s — 
 rugged style. Signed. Height, 5 inches; length, 9 inches 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Reclining Panther’. The head raised, its prey between its fore 
 paws, the hind legs drawn under the body. Finely modelled figure 
 with brown antique patina. Signed on the oval base. Mounted on 
 oblong slab of polished black marble. 
 Height, 234, inches; length, 714, inches 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Hart Running’. Lithesome animal speeding through tall grass. 
 Signed on the oval base. Fine delicate modelling and greenish antique 
 patina. Height, 5 inches; width, 614, inches 
 
 PAIR OF SILVER SALTCELLARS IN THE LOUIS SEIZE TASTE 
 
 VIENNA, ABOUT 1810 
 
 Shaped as Greek altars on tripods of snake bodies with leaf tail 
 
 crestings; incurved three sided bases with antefix and acanthus on 
 a reeded ground. (Halbmayr) (2) 
 
 Height, 334, inches; weight about 7 ounces 
 
 26 
 
17 
 
 78 
 
 79 
 
 80 
 
 81 
 
 PAIR OF SILVER SALTCELLARS IN THE LOUIS SEIZE TASTE 
 
 VIENNA, DATED 1817 
 Designed as Greek altars on converging serpent body supports with 
 marguerite flower cresting. Finely reeded bowls and circular bases. 
 
 (Halbmayr) (2) Height, 31% inches; weight about 7 ounces 
 
 PAIR OF SILVER SALTCELLARS IN THE LOUIS SEIZE TASTE 
 
 VIENNA, DATED 1817 
 
 Formed as Greek altars on three S scrolled supports on moulded 
 bases. Initialed “J. M.” (Halbmayr) (2) 
 
 Height, 314, inches; weight about 7 ounces 
 
 SILVER SALTCELLAR IN THE LOUIS SEIZE TASTE 
 VIENNA, DATED 1807 
 Boat shape body with twisted handles, on moulded and pointed 
 oblong base. (Halbmayr) 
 Height, 41% inches; weight about 31% ounces 
 
 PERSONAGE TAPESTRY FLEMISH, LATE 17TH CENTURY 
 The Story of Orpheus and Eurydice. The centre composition occupied 
 in the foreground by a life-size figure of the youthful Orpheus with 
 a wreath of oak leaves in his curling hair. He is dressed in armor 
 and carries a shepherd’s stick with an emblematic arrow at its end. 
 In the right background, the fading figure of Eurydice followed by 
 the crowds of the departed. To the right, floriated foliage and to the 
 left, trees of a silver and blue-green verdure. The exceedingly hand- 
 some borders are complete. The perpendicular panels with flower 
 vases and floral festoons united by fruit cartouches in a deep blue 
 frame. The upper and lower panels with macaws perched on car- 
 touches, volutes, ribbands and floral arabesques in blue, blue-greens, 
 golden tans, and cream on a dark brown ground. Outer borders of 
 bars and darts. Size, 10 feet 8 inches x 9 feet 6 inches 
 
 VERDURE TAPESTRY PROBABLY OF FULHAM WEAVE 
 ENGLISH, MID-18TH CENTURY 
 The centre occupied by a Georgian mansion in a park with a pond 
 and bridge. Foreground of tall densely foliated trees with birds 
 perched upon their branches, one a blue bodied swallow-tail with 
 long beak. Handsome border of canopied motifs, birds in hoops, 
 fruit and flower compositions and cartouches, woven in colors 
 reminiscent of the Renaissance on a soft gray ground. Uncommonly 
 close warp. (Resold for account of purchaser) 
 Size, 9 feet 5 inches x 9 feet 9 inches 
 
 27 
 
82 
 
 83 
 
 84 
 
 86 
 
 87 
 
 APRICOT COLORED SILK VELVET BANNER 
 
 VENETIAN, ABOUT 1720 
 Of a soft hue embroidered with a coronet cresting an oval medallion 
 with a sacred monogram, all worked in silver bullion and gold. 
 Uncommon silver galloon embossed with a cross of Malta. 
 (Halbmayr) Size, 389 x 24 inches 
 
 TWO PANELS OF SILK LAMPAS FRENCH, ABOUT 1770 
 On a rich rose satin ground brocaded with figure subjects in the 
 Oriental taste, war trophies, trees and floral arabesques in cream and 
 green. (Halbmayr) (2) Size, 2 feet T inches x 2 feet 9 inches 
 
 RENAISSANCE TAPESTRY PANEL FLEMISH, 16TH CENTURY 
 Oblong panel, the centre an allegorical figure holding a sword in one 
 hand and a bird in the other; above, another figure at the side of a 
 temple and floral groups. Formal scroll border. Woven in poly- 
 chromy on a golden yellow ground. Tape of later addition. 
 (Halbmayr) Size, 2 feet 10 inches x 2 feet 2 inches 
 
 COVER OF RENAISSANCE SILK BROCATELLE 
 
 FLORENTINE, EARLY 17TH CENTURY 
 Composed of broad band of crimson and gold brocatelle designed 
 with floriated formal volutes in an all-over pattern, and two narrow 
 bands of green and gold brocatelle with similar border designs. 
 (Halbmayr) Size, 4 feet 5 inches square 
 
 COVER OF MULBERRY COLORED SILK VELVET 
 
 ITALIAN, 17TH CENTURY 
 Fine silk velvet of a rare tonality, framed in metal galloon. 
 (Halbmayr) Size, 3 feet 5 inches square 
 
 EMBROIDERED SATIN COVER VENETIAN, ABOUT 1750 
 Worked with an harmonious pattern of finely trellised cornucopia 
 from which rise in each corner garden flower groups of bold design 
 in tones of the Chinese taste; on a deep blue ground. Lined with 
 contemporary crimson satin. (Halbmayr) 
 
 Size, 3 feet T inches x 2 feet 8 inches 
 
 28 
 
88 
 
 MAGNIFICENT LARGE SERAPI CARPET 
 [NUMBER 88] 
 
 FINE LARGE SERAPI CARPET 
 
 Magnificent design. On the field of bright red is a large shaped panel 
 containing conventionalized flower and leaf forms and medallions in 
 contrasting colors, on deep blue ground. The corners of the field 
 show sectional panels in opposing colors to that of the centre. Wide 
 border with similar design flanked by narrow guard stripes of 
 fleurettes. (Rider) Size, 15 feet 10 inches x 18 feet 1 inch 
 
 [SEE ILLUSTRATION | 
 
 29 
 
89 
 
 90 
 
 91 
 
 SHIRAZ RUG PERSIAN 
 The field of deep blue sustains a rich color design of small leaves 
 and flowers with stems which form a trellis-like pattern, in tones 
 of bright red, turquoise-blue, and orange. Three borders, the main 
 one with rosettes and serrated leaves forming meander vines on deep 
 blue ground; two with fleurettes on pale yellow, flanked by guard 
 stripes in contrasting red and white. (McGee) 
 
 Size, 10 feet 10 inches x 8 feet 8 inches 
 
 LARGE CHINESE WOOLEN RUG 
 
 Striking design of plumage birds and sprays of flowers in bright 
 yellow, orange, ivory-white and indigo on the rich blue field. Three 
 borders, two with black key pattern on orange; the main one with 
 cloud forms in deep tones on bright yellow. Blue outer border. A 
 handsome rug. (Rider) Size, 23 feet 3 inches x 17 feet 9 inches 
 
 CARVED CHEST FRONT NORMANDY, 16TH CENTURY 
 Divided into four panels of conventional rosette or guilloche carving, 
 intersected by feather or leaf carved moulding. Frieze above of 
 carved naturalistic meander grape vine. (Dexter) 
 
 Height, 37 inches; width, 54 inches 
 
 30 
 
92 
 
 FINE WILLIAM AND MARY WALNUT CHEST OF DRAWERS 
 [NUMBER 92] 
 
 WILLIAM AND MARY INLAID WALNUT CHEST OF DRAWERS 
 
 ENGLISH, 1690-1700 
 Of crotch walnut finely inlaid with oval panels of pollarded elm on 
 the top and fronts of the two small and three long drawers; fine 
 herringbone pattern borders in cross-cut light colored wood. A very 
 decorative chest. (Dennison) Height, 37 inches; width, 38 inches 
 
 [SEE ILLUSTRATION ] 
 31 
 
93 
 
 94 
 
 FINELY CARVED MAHOGANY CHAIR 
 PHILADELPHIA, 1750-60 
 
 [NUMBER 93] 
 
 FINELY CARVED MAHOGANY CHAIR PHILADELPHIA, 1750-60 
 Showing Chippendale and Dutch influence. Open back with vase 
 shape centre, yoke top ending in scrolled ears and centred by a finely 
 carved open shell. Cabriole front legs with similar carved shells on 
 the knees and very fine eagle claw and ball feet. Slip seat covered 
 in green velour. (Albright) 
 
 A nearly similar chair is illustrated in Lockwood, Vol. II, Fig. 542. 
 
 [SEE ILLUSTRATION ] 
 
 FINE OLD NORMANDY PEASANT DOLE TABLE 
 
 FRENCH, 17TH CENTURY 
 Panelled on all sides; the deep frame constructed as a chest to hold 
 articles of domestic use. Framed and cleated top of solid walnut; 
 sturdy chamferred square legs braced by grooved stretchers. 
 (Dexter) Size of top, 65 x 29 inches 
 
 32 
 
IMPORTANT RENAISSANCE TAPESTRY COVERED 
 WALNUT SETTEE 
 
 [NUMBER 95] 
 
 95 IMPORTANT RENAISSANCE WALNUT SETTEE COVERED IN 
 FLEMISH SIXTEENTH CENTURY TAPESTRY 
 High back with brass finials, richly carved broad arms Aocetied ig 
 square balusters. Deep front stretcher and legs also richly carved in 
 boss and arabesque pattern. The back and seat covered. with two 
 panels of very fine Flemish Renaissance tapestry, woven with rich 
 baroque patterns of figures, flowers and fruits with distant vistas 
 of verdure landscapes, in colors. The tapestry is of remarkable con- 
 dition and quality. (Albright.) 
 Height of back, 4 feet 10 inches; width of seat, 5 feet 3 inches 
 
 En suite with the following two armchairs. 
 [SEE ILLUSTRATION ]| 
 
 33 
 
96 
 
 IMPORTANT PAIR OF RENAISSANCE ARMCHAIRS 
 EN SUITE 
 
 [NUMBER 96] 
 
 IMPORTANT PAIR OF RENAISSANCE WALNUT ARMCHAIRS 
 COVERED IN FLEMISH SIXTEENTH CENTURY TAPESTRY 
 En suite with the preceding settee. The backs and seats covered 
 with panels of very fine Flemish Renaissance tapestry. The backs 
 woven with panels of figure subjects in scroll cartouches surrounded 
 by amorini, flowers and fruits. The seats showing winged female 
 figures and helmeted warriors. (Albright) (2) 
 
 Height of backs, 5 feet 2 inches; width of seats, 27 inches 
 
 These armchairs and the foregoing settee constitute a Renaissance 
 suite of imposing dignity and fine quality. 
 
 [SEE ILLUSTRATION | 
 34 
 
s fe 
 f » 
 
 ass . age $- a OR ay ae Pe oy 
 
 FINELY WORKED VOLANT OF ROSEPOINT LACE 
 GIVEN BY LOUIS XV TO LA MARQUISE DE PRIE 
 
 [NUMBER 97] 
 
 97 VOLANT OF “VENETIAN” ROSEPOINT LACE OF LA MAR- 
 QUISE DE PRIE FRENCH, EARLY 18TH CENTURY 
 A very important broad band measuring 5 yards 23 inches of point 
 de France worked in the style of Venice with “fleurs volantes’”’; the 
 flowers with petals in low relief in a continous arabesque pattern 
 united by stalks. Finely and intricately worked diapered patterns 
 interchanged with the linen ground. 
 
 Given by Louis XV to the Marquise de Prie nee Berthelot de Pleneuf 
 from 1698 to 1721, on the occasion of his marriage to Marie Lesczin- 
 ska, as trimming for her state robe of gold. This marriage took 
 place August 15th, 1725. The role played by the Marquise de Prie 
 in arranging the marriage of Louis XV is referred to by Monsieur 
 de Nolhac of the Academie Francaise in his book on the marriage of 
 Louis XV. (Morgan) 
 
 [SEE ILLUSTRATION ] 
 35 
 
98 VERY FINE AUBUSSON TAPESTRY PANEL 
 
 FRENCH, 19TH CENTURY 
 “The Muletier’. A hilly landscape in the Auvergne country; the 
 foreground occupied by a train of handsomely caparisoned mules led 
 by the muletier in rose colored velvet. To the right, youthful 
 peasants returning from the vineyards; the two maidens carrying 
 grapes in wooden crates on their backs and in their aprons, and a 
 young brightly garbed lad carrying a copper marmite. Background 
 of a seventeenth century chateau and arch, and in front farmers 
 hauling the wine casks. To the right and left golden brown and 
 blue-green verdure. Formal meander, scroll and rosette border in 
 two tone amber. This tapestry is woven with an abundance of silks 
 and equals in close weave the finest of early eighteenth century 
 tapestries. In composition it delightfully recalls the tapestries com- 
 monly called Teniers. Size, 10 feet x 9 feet 6 inches 
 
 [SEE ILLUSTRATION] 
 36 
 
THE MULETIER 
 VERY FINE AUBUSSON TAPESTRY PANEL 
 
 [NUMBER 98] 
 
99 LACE JABOT OF POINT D’ALENCON OF EMPRESS MARIE 
 THERESE FRENCH, EARLY 18TH CENTURY 
 An historical object of singular beauty. Rectangular in form, it is 
 worked in the very finest needlepoint on a reseau of infinite delicacy. 
 The centre is occupied by the figure of the Empress with a tall 
 oak leaf enriched crown on horseback; placed on a bracket. Above 
 are two flying amorini holding a crown from which bouquets of 
 flowers are showered upon the sovereign. To the right and left are 
 knights on horseback in full armour. The remainder of the composi- 
 tion comprises boar hunters and huntresses under canopied motifs, 
 garden pavillions and islands surrounded by water birds, hunters, 
 deer and hounds, heraldic birds and an inexhaustible wealth of floral 
 and leaf arabesques, palmettes and pendants all with their intricate 
 diapered reserves. The well-nigh miraculous interlacing of patterns, 
 the perfection of outline make this piece one of the most outstanding 
 examples of the lacemakers’ art. 
 
 Given by Marie Antoinette, daughter of Marie Thérése to the Mar- 
 quise de Chabert in 1780. (Morgan) Size, 16 x 13 inches 
 
 [SEE ILLUSTRATION ] 
 
 38 
 
ERK Rte RA «6 I %: 
 oe % eo 
 
 “he 
 
 DELICATE LACE JABOT OF POINT D’ALENCON 
 GIVEN BY MARIE ANTOINETTE TO LA MARQUISE DE CHABERT 
 
 [NUMBER 99] 
 
100 
 
 100A 
 
 IMPORTANT FRENCH NEEDLEWORK PANEL 
 [NUMBER 100] 
 
 LARGE AND IMPORTANT NEEDLEWORK PANEL 
 FRENCH, ABOUT 1700 
 Composed of European figures and Indo-Persian ornaments in a series 
 of tiers. The upper half a hunting lodge with pinnacled towers ap- 
 proached by a noble huntress on a spirited white charger, a youthful 
 attendant with hound, and in front of her the pack chasing the 
 deer. Below another attendant in huntsman’s attire holding a boar’s 
 head on a spear. The composition is filled with stiff-leaf floriated 
 trees with birds perched upon branches and flying through the air, 
 and a great variety of other imaginative details worked in daringly 
 multicolored wools on a dark brown ground. 
 Length, 331% inches; width, 28 inches 
 
 [SEE ILLUSTRATION ] 
 
 SHIRAZ WOOLEN RUG PERSIA, 1830-40 
 Light colored field covered with rows of jardinieres filled with large 
 roses and flanked by birds, in rich reds and green touched with in- 
 digo and orange. Narrow border of roses and meander vines. Close 
 weave and short nap. Very pleasing rug. 
 
 Size, 75 x 69 inches 
 
 40 
 
101 
 
 102 
 
 FINE NEEDLEWORK CHAIR SEAT AND BACK 
 FRENCH, ABOUT 1720 
 
 [NUMBER 101] 
 
 NEEDLEWORK CHAIR SEAT AND BACK FRENCH, ABOUT 1720 
 In composition and colors similar to the preceding. The back in petit 
 point, centre with the figure of a ‘‘Precieuse” blowing a shepherd’s 
 horn. She is flanked by two rosebushes. The seat in gros point 
 with a flower filled vase in the Indo-Persian taste. 
 
 Size of back, 19 x 1814 inches; seat, 23 x 23 inches 
 
 [SEE ILLUSTRATION] 
 
 NEEDLEWORK CHAIR SEAT AND BACK FRENCH, ABOUT 1720 
 The back with a centre of fine petit point needlework of silk repre- 
 senting a court lady with feathered headgear in an allegorical pose, 
 and to her right a sacrificial bowl. The outer framework in wools 
 and silks of floral stiff-leaf arabesques in rose, brown, green, blue 
 and silver-gray on a black ground. 
 The seat with a gros point centre with a flower composition in multi- 
 colored silks on a silver-gray ground in a reserve surrounded by 
 frame and arabesques designed similarly to back. 
 
 Size of back, 19 x 1814 inches; seat, 2114 x 23 inches 
 
 41 
 
103 
 
 104 
 
 105 
 
 106 
 
 107 
 
 NEEDLEWORK CHAIR SEAT AND BACK _ FRENCH, ABOUT 1720 
 In composition and colors similar to the preceding. The back in petit 
 point with a figure from the Italian Comedy; a Harlequin in brightly 
 checkered costume flanked by leafy trees. 
 The seat in gros point with a floral arrangement in reserve. 
 
 Size of back, 19 x 1814 inches; seat, 2214 x 23 inches 
 
 NEEDLEWORK CHAIR SEAT AND BACK — FRENCH, ABOUT 1720 
 In composition and colors similar to the preceding. The back in petit 
 point with a youthful player, a lady in flowing robes of gold, scarlet, 
 blue and silver-gray wearing an arrangement of ostrich feathers 
 in her hair. The seat in gros point in a floral composition. 
 
 Size of back, 19 x 1814 inches; seat, 2214 x 23 inches 
 
 NEEDLEWORK CHAIR SEAT AND BACK _ FRENCH, ABOUT 1720 
 In composition and colors similar to the preceding. The back in petit 
 point with a figure of a noble huntress in tight fitting yellow bodice 
 over a gold and crimson robe. She wears a hunting hat with feather 
 and holds a hunting horn. In need of slight repairs. 
 
 Size of back, 19 x 1814 inches; seat, 221% x 24 inches 
 
 NEEDLEWORK CHAIR SEAT AND BACK FRENCH, ABOUT 1720 
 In composition and colors similar to the preceding. The centre in 
 petit point with a figure of a courtier playing a musette; dressed in 
 a coat of gold and scarlet and wearing a large feathered hat. He 
 holds a musette (the Troubadours’ instrument) of blue velvet. Rich 
 flowered ground of brilliant blues and flowered trees flanking. Seat 
 in gros point similar to preceding. 
 
 Size of back, 1914 x 1814 inches; seat, 23 x 24 wches 
 
 CURLY MAPLE HOODED HIGHBOY AMERICAN, ABOUT 1740 
 Of fine hard blond maple showing a faint curl. The upper chest has 
 three long drawers with three small drawers above, the centre one 
 enriched with a carved sunburst. Double scroll hooded pediment at 
 the top ornamented with three carved finials. The lower part con- 
 tains a long shallow drawer above a deeper drawer which has a 
 carved sunburst to match the one at the top. Triple arch skirt and 
 graceful cabriole supports with pad feet. (Albright) 
 
 Height, 7 feet; width, 38 inches 
 
 [SEE ILLUSTRATION] 
 
 42 
 
EARLY AMERICAN CURLY MAPLE HOODED HIGHBOY 
 [NUMBER 107] 
 
108 CARVED MAHOGANY SERVING TABLE ENGLISH, ABOUT 1800 
 Wine or buffet table. Semicircular with pivoted decanter holder. 
 Drop end flaps and spirally fluted legs. (Dennison) Width, 6 feet 
 
 DACHSHUND 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 109] 
 
 109 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Dachshund’’. In walking attitude with head slightly turned to the 
 left and tail held high. On moulded oblong base. A most pleasing 
 figure in Barye’s best rugged style. Signed on the base. 
 Height, 61% inches; length, 91% inches 
 
 See illustration in Roger Ballu’s “L’Oeuvre de Barye’’, page 35. 
 Companion to the following number. 
 
 [SEE ILLUSTRATION ] 
 
 110 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Dachshund”. Companion to the preceding number. 
 
 Height, 64 inches; length, 942 inches 
 44 
 
Lit 
 
 112 
 
 113 
 
 114 
 
 BRONZE EQUESTRIAN FIGURE BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 Charles VII, victorious. Crowned with laurel wreath, wearing full 
 armour and mounted on a charger. Very fine detail modelling. 
 Antique greenish-brown patina. Signed on the oblong’ base. 
 Height, 111% inches; width, 1014 inches 
 
 Charles VII, first king of Sweden and Gothland, reigned from 1162 
 to 1168. He founded churches and spread the Christian faith 
 throughout Northern Europe. He avenged the death of his father 
 who was murdered by Magnus Erickson, and in turn was assassinated 
 by the murderer’s son Canute Erickson. 
 
 See illustration in Roger Ballu’s “L’Oeuvre de Barye’’, page 42. 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Running Stag’. Signed “Barye” on the foliated base. A doubt 
 exists as to the authenticity of this piece. (Weis) 
 
 Height, 4 inches; width, 5 inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 SMALL BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Dachshund”. Standing with tail erect and head slightly turned to 
 the right. Unusually fine example of Barye’s work. Signed ‘“Barye’”’ 
 on the oval base. (Weis) Height, 4 inches; width, 514, inches 
 
 A slight variant of the Daschund illustrated in Roger Ballu’s ‘“L’- 
 Oeuvre de Barye’”’, page 35. 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 SMALL BRONZE BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Ragle, Alighting’. Its massive wings full spread, the head slightly 
 inclined to the lower right as though watching its prey far below. 
 Signed on the base and mounted on polished black marble plinth. 
 Height with plinth, 7 inches 
 
 A slight variant of the eagle shown in Roger Ballu’s ‘‘L’Oeuvre de 
 Barye’’, page 64. 
 
 45 
 
115 
 
 116 
 
 Tie 
 
 118 
 
 119 
 
 BRONZE FIGURE BY L. HOTTOT 
 
 “Ta Forgeron”. A young Picardy blacksmith fashioning with pincers 
 and hammer a sickle blade upon an anvil. Finely sculptured figure 
 with greenish patina. (Estate of Ada D. Black) Height, 35 inches 
 
 FRENCH BRONZE FIGURE BY H. MULLER 
 Man with scythe. Signed on the base. (Estate of Ada D. Black) 
 Height, 151% inches 
 
 ITALIAN BRONZE GROUP 
 Neapolitan shepherd boy. Signed “Chivvrozzi, Napoli”. On veined 
 marble slab (Hstate of Ada D. Black) Height, 18 inches 
 
 FINE LARGE ANATOLIAN SILK RUG 
 Close even weave and short nap. The field of Nile green is centred 
 by a large oval medallion which shows Persian figures of musicians 
 and dancers entertaining high personages in gardens, on a ground 
 of bright red, surrounding this are numerous inscriptions in indigo 
 on ivory-white. The remainder of the field sustains beautiful flower- 
 ing trees and shrubs represented in naturalistic form, in delicate 
 pastel colors. Eight borders, the main one with flowering trees, 
 birds and other animal forms, in similar delicate pastel tints on pale 
 green ground. Deep fringe at one end. (Rider) 
 
 Size, 16 feet 9 inches x 12 feet 3 inches 
 
 BROCADED HALF CHASUBLE VENETIAN, ABOUT 1720 
 Covered with Persian flower and leaf arabesques in silver-gray and 
 emerald with petals of soft rose on a rich golden yellow ground. 
 (Halbmayr) 
 
 46 
 
120 GROS POINT AND PETIT POINT NEEDLEWORK PANEL 
 ENGLISH, ABOUT 1720 
 Oblong panel, the centre with a noble shepherd and shepherdess with 
 a background of a clipped hedge in soft tones worked in very fine 
 petit point. Framework of stiff-leaf arabesques in green, rose and 
 tan on a dark brown ground. (Halbmayr) 
 Size, 2 feet 6 inches x 1 foot 7 inches 
 
 121 SILK EMBROIDERED ANTEPENDIUM OF THE LOUIS SEIZE 
 PERIOD VENETIAN, ABOUT 1770 
 
 A delightful hanging on a soft amber colored moire ground embroid- 
 
 ered with a bold S scrolled trellis pattern in silver-gray with height- 
 enings of blue and gold, and in each field gracefully contorted field 
 flowers worked in multi-colored threads. Bottom border richly em- 
 broidered au passe with imaginatively designed interlaced scrolls 
 
 and flower motifs. Original polychromed silk thread. (Halbmayr) 
 
 Size, 6 feet x 3 feet 5 inches 
 
 122 DRAP D’OR CHASUBLE ITALIAN, ABOUT 1750 
 An exceedingly fine fabric woven with garden flower groups in multi- 
 colored silks with numerous petals of silver bullion and climbing 
 ribbands of silver and purple, on broad fields of silver cloth, the whole 
 on a ground of cloth of gold. Handsome contemporary gold embossed 
 galloon. (Halbmayr) 
 
 123 LOUIS QUINZE CHASUBLE OF ROSE COLORED BROCADE 
 FRENCH, ABOUT 1750 
 Back and front covered with interlaced palmette leaves and fleurette 
 groups in an all-over pattern woven in pale rose with leaves of silver- 
 gray in relief on a diapered soft rose ground. Gold lace trimming. 
 (Halbmayr) 
 
 AT 
 
124 IMPORTANT GOBELIN TAPESTRY AFTER THE CARTOON OF 
 JACQUES BAILLY FRENCH, PREVIOUS TO 1690 
 “Jardin des Plantes”. Resembling in composition the celebrated set 
 of the Seasons after the same master. The tapestry is composed 
 architecturally as a columnar opening through which can be seen 
 the trees and foliage of the Jardin des Plantes. In the centre on a 
 green are small groups of figures minutely drawn, beyond a playing 
 fountain and to the left the bosquets of a labyrinth, and further 
 on high clipped walls of green and pavilions. The foreground repre- 
 sents a lyre scrolled balustrade, each lyre with the emblem of the 
 fleur-de-lys; perched upon its ramp the bold outline of a guinea 
 fowl, and screening the balustrade the combat of an eagle and a 
 lioness. The sides are furnished by Ionic marbled columns. The 
 border of a garden flower and oak leaf garland composition in rich 
 naturalistic tones on a terra cotta ground. It is crested by a bold 
 cartouche flanked by eagle wings and supporting a medallion con- 
 taining a representation of the goddess Demeter in sanguine and 
 tan on a golden yellow ground. The bottom bears in another car- 
 touche the inscription “Jardin des Plantes” in black letters on a rich 
 rose colored ground. (Halbmayr) 
 
 Height, 10 feet; width, 6 feet 4 inches 
 
 Jacques Bailly, the miniaturist, 1629-1679, worked at the Gobelins 
 under Le Brun. His cartoons are unmistakable by the introduction 
 of engaging small details into the bold composition of the tapestry. 
 
 [SEE ILLUSTRATION | 
 
 48 
 
JARDIN DES PLANTES 
 
 RARE AND IMPORTANT GOBELIN TAPESTRY 
 AFTER THE CARTOON OF JACQUES BAILLY 
 FRENCH, PREVIOUS TO 1690 
 
 [NUMBER 124] 
 
SALE SATURDAY AFTERNOON, APRIL SEVENTEENTH, AT TWO-THIRTY 
 
 125 
 
 126 
 
 128 
 
 129 
 
 130 
 
 131 
 
 SECOND SESSION 
 
 NUMBERS 125-247 
 
 OLD CHINESE DECORATED LACQUER BOX 
 Fitted with numerous smaller boxes. Painted and gilded with figures 
 and landscapes on a black ground. (Dennison) 
 
 Size, 16x 1114 inches 
 
 SMALL CARVED WALNUT MIRROR ENGLISH, ABOUT 1730 
 Attractive frame cut in scrolls. A flat cyma mould borders the old 
 glass panel. (Dennison) Height, 2714 inches; width, 20 inches 
 
 MAHOGANY WASHSTAND ENGLISH, 18TH CENTURY 
 
 Top fitted for wash bowl and articles of toilet; slotted swing mirror 
 
 at the back. The front with drawers and doors. (Dennison) 
 Height, 38 inches; width, 2514 inches 
 
 MAHOGANY DROP-LEAF OCCASIONAL TABLE 
 ENGLISH, LATE 18TH CENTURY 
 Three-panel folding top of solid mahogany. Supported on slender 
 turned spindle legs and gates. (Dennison) 
 Size of top, 31 x 34 inches 
 
 FRENCH SIXTEENTH CENTURY DESPATCH BOX 
 
 Of walnut, with the original fine wrought iron flower shape strap 
 hinges, hasp and lock. From the Chateau Teriat, Valley of the 
 Rhone. Said to have been used to transport State papers to Paris. 
 (Dexter) Size, 24 x 1214 inches 
 
 EIGHTEENTH CENTURY SMALL BURLED WALNUT WRITING 
 DESK 
 
 Charming small writing desk with hinged slant top enclosing fitted 
 interior; a drawer below. On tapered square legs with fret corners. 
 (Dennison) Height, 38 inches; width, 20 inches 
 
 WALNUT CORNER CHAIR ENGLISH, ABOUT 1730 
 Roundabout chair with two pierced beaker shape splats; slip seat 
 covered in crimson damask; one cabriole and three straight legs. 
 (Dennison) 
 
 51 
 
NEEDLEWORK AND MAHOGANY POLE SCREEN 
 ENGLISH, ABOUT 1770 
 
 [NUMBER 132] 
 
 132 NEEDLEWORK AND MAHOGANY POLE SCREEN 
 ENGLISH, ABOUT 1770 
 Vase turned and fluted tripod support with snakehead feet. Mounted 
 with a rectangular panel of fine contemporary petit point needlework 
 showing a classic urn fitted with summer flowers. (Dennison) 
 Height, 50 inches 
 [SEE ILLUSTRATION ] 
 
 52 
 
RARE OLD ENGLISH CARVED OAK CHEST 
 ob [NUMBER 133] 
 
 133. JACOBEAN CARVED OAK CHEST ENGLISH, ABOUT 1630 
 Simple sturdily built specimen in fine old English oak blackened with 
 age. Panelled top and sides; a border of carved half rosettes orna- 
 ments the three-panel front. Original condition. (Dexter) 
 
 Height, 24 inches; width, 44 inches 
 
 [SEE ILLUSTRATION] 
 53 
 
134 
 
 138 
 
 CHIPPENDALE MAHOGANY FOLDING CARD TABLE 
 
 ENGLISH, ABOUT 1750 
 Shaped square top supported by acanthus carved cabriole front legs 
 with eagle claw and ball feet. The remaining two cabriole supports 
 have pad feet and are pivoted to support the fold-over leaf. A drawer 
 in the front. (Dennison) Width, 33 inches 
 
 EMBROIDERED SEMAINIER (CALENDAR) 
 
 SPANISH, 18TH CENTURY 
 An exceedingly interesting wall pocket arched at the top and em- 
 broidered on five panels in silver bullion and colors on a dark 
 sapphire-blue ground with figures, scrolls, creatures of the air and 
 a multitude of imaginative arabesques. Each panel with incidents 
 from Don Quixote. Between each panel appear inscriptions in Gothic 
 and Hebrew letters. Size, 26 x 614 inches 
 
 PETIT POINT NEEDLEWORK FRAME FRENCH, ABOUT 1720 
 In a silver bullion embroidered frame surrounded by a composition 
 of garden flowers tied by ribbons and worked in blues, rose, two 
 tone greens, and creams on a dark brown ground. In gilded frame 
 of later addition. Size, 10 x 1014 inches 
 
 BLUE VELVET AND GOLD EMBROIDERED SADDLE CLOTH 
 
 SPANISH, 17TH CENTURY 
 A cover of sapphire-blue silk velvet embroidered with large fleurette 
 and palmette leaf compositions in the Persian taste in gold bullion 
 on a basket weave embroidered gold ground. Original gold galloon 
 and fringe. One cover and two semi-oval flaps. 
 
 NEEDLEWORK CHAIR COVER FRENCH, ABOUT 1710 
 The centre in petit point with an uncommon composition of mas- 
 queraders in costumes of the Italian Comedy; a male youth as a 
 Harlequin and the maiden as Pierette in tightly fitting bodice. They 
 are surrounded by a floral and bird design in the taste of the “Ten- 
 tures des Indes.’”’ Leaves and fruit laden branches and an heraldic 
 bird perched upon them worked in petit point in soft golden tones 
 with heightenings of greens and blues on a darkbrown ground. 
 Persian arabesques in multicolored wools on a brown ground. 
 
 Size, 28 x 27 inches 
 
 54 
 
EARLY AMERICAN MAHOGANY ARMCHAIR 
 ATTRIBUTED TO WILLIAM SAVERY 
 
 [NUMBER 139] 
 
 189 CARVED MAHOGANY ARMCHAIR ATTRIBUTED TO WILLIAM 
 SAVERY PHILADELPHIA, ABOUT 1760 
 Open back finely carved with scrolled acanthus leaves; the pierced 
 centre splat formed of C scrolls framing a diamond or comet shape 
 motif. Cabriole legs ending in eagle claw and ball feet. Slip seat 
 retains the original torn leather covering. A few slight repairs. 
 (Albright) 
 
 A nearly similar chair is illustrated in Lockwood, Vol. II, Fig. 544. 
 [SEE ILLUSTRATION] 
 
 5D 
 
PANTHER SEIZING A CIVET CAT 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 140] 
 
 140 BRONZE GROUP BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Panther Seizing a Civet Cat.” The larger animal is in a springing 
 attitude and has stricken the cat to the ground with his huge paw. 
 Rugged modelling and probably one of Barye’s early works. Signed 
 on one side of the rocky base. (Weis) 
 Height, 9 inches; width, 18 inches 
 
 Exhibited at the Chicago Art Institute. 
 [SEE ILLUSTRATION | 
 
 56 
 
141 
 
 142 
 
 143 
 
 144 
 
 145 
 
 SMALL BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Antelope Running in Long Grass.” Very pleasing small figure 
 delicately modelled. Signed ‘‘Barye, 1837” on the oval base. Slight 
 defect. (Weis) Height, 314, inches; width, 414 inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 PAIR OF SMALL BRONZES BY P. J. MENE — FRENCH, 1802-1875 
 Dead Pheasant and Dead Hare, hanging on wood panels. Signed 
 “P. J. Mene” on the panels. (Weis) Height, 71% and 51% inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 BRONZE ANIMAL BY E. FREMIET FRENCH, 1824-1868 
 “Hound Standing.” As though straining at the leash, the head 
 slightly to the left, the hind legs extended. Signed “‘E. Fremiet’’ on 
 the oblong base. Fine figure. (Weis) 
 
 Height, 34% inches; width, 72 inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Bear Standing.” Reared on its hind legs, its fore paws raised in 
 
 _ combative attitude. Ruggedly modelled figure expressing strength. 
 
 Signed on the rocky base. Antique greenish patina. 
 Height, 914 inches 
 
 See illustration in Charles de Kay’s “Barye’’, Fig. 27. 
 
 TWO SMALL FRENCH BRONZE FIGURES 
 Reclining Fawn and Snail. Unsigned. Fine miniature sculpturing. 
 (Weis) (2) Width, 234, and 134 inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 57 
 
146 
 
 147 
 
 148 
 
 FINE EARLY AMERICAN TWO-BACK 
 MAHOGANY SETTEE 
 
 [NUMBER 146] 
 
 FINE CHIPPENDALE TWO-BACK MAHOGANY SETTEE 
 AMERICAN, 1760-70 
 Has wide proportioned two-chair back with Cupid’s bow crests, 
 slightly down curved to meet the grooved side rails. Pierced and 
 entwined vase shape centre splats with carved stalactite motifs at 
 the tops in the style of the Philadelphia chair makers. Voluted and 
 knuckled arms; serpentine-front seat upholstered and covered in 
 black leather. Grooved square legs with carved corner brackets and 
 plain stretchers. (Albright) Width, 6 feet 4 inches 
 
 [SEE ILLUSTRATION ] 
 
 CURLY MAPLE LOWBOY AMERICAN, EARLY 18TH CENTURY 
 Contains a long drawer and three small drawers above a gracefully 
 arched skirt. On sturdy cabriole supports with club feet. Rectan- 
 gular top with curled texture. (Albright) 
 
 Height, 34 inches; width, 39 inches 
 
 SEVENTEENTH CENTURY WROUGHT IRON FIREBACK 
 
 Depicting a group of figures in an arcaded niche, representing the 
 “Marriage at Cana’’. Inscribed below is the date 1681. Originated 
 from Brittany. Rare. (Dexter) Size, 28 x 20 inches 
 
 58 
 
QUEEN ANNE WALNUT SLANT-TOP DESK 
 ENGLISH, ABOUT 1710 
 
 [NUMBER 149] 
 
 149 QUEEN ANNE WALNUT SLANT-TOP DESK 
 ENGLISH, ABOUT 1710 
 Finely figured crotch walnut banded with herringbone borders. Slant 
 top encloses drawers and pigeonholes. Body contains two small and 
 three long drawers. Has acquired a fine mellow patina. (Dennison) 
 Height, 381% inches; width, 33 inches 
 
 [SEE ILLUSTRATION | 
 59 
 
150 
 
 151 
 
 152 
 
 153 
 
 154 
 
 SMALL STRIKING WALL CLOCK BY W. MOORE, LONDON 
 ENGLISH, ABOUT 1700 
 Case of burled walnut with herringbone borders. Brass dial with 
 chased corner mounts and fine hour and minute hands; engraved 
 with the maker’s name. Complete with chains and weights. (Den- 
 nison) Height, 13 inches; width, 10 inches 
 
 PERSONAGE TAPESTRY FROM THE CHATEAU D’ERMENON- 
 VILLE FLEMISH, 16TH CENTURY 
 “The Conquest of Troy.” A vigorous composition of war, the centre 
 occupied by victorious soldiers in Roman armour about to annihilate 
 prostrate enemies. Background of an ideal landscape in the style 
 of Floris with temples, chatelets and blue and gold verdure. Hand- 
 some border of landscape vignettes, flower vases and canopied alle- 
 gorical motifs in blue greens and golden tans. (Morgan) 
 
 Size, 9 feet 7 inches x 17 feet 
 
 LARGE CHINESE WOOLEN RUG 
 The field of deep blue is covered with an all-over pattern of small 
 sprigs of flowers, also five large shaped medallions representing 
 peonies, the centres filled with a similar flower pattern. Wide border 
 of palmettes alternating with characters, in peacock-blue and bright 
 red on blue ground. Very fine quality. (Rider) 
 
 Size, 24 feet 6 inches x 18 feet 
 
 LARGE KHORASSAN WOOLEN RUG PERSIAN 
 The field of bright red sustains a rich all-over design of peony pal- 
 mettes in conventionalized form in shades of green, blue and yellow, 
 intersected by smaller flower and leaf motifs in similar colors. Wide 
 border of peonies and meander vines on deep blue, flanked by narrow 
 guard stripes of diaper pattern. Outer border of mulberry red. 
 (McGee) Size, 15 x11) feet 
 
 WOOLEN RUG KIRMAN, PERSIA, LATE 16TH CENTURY 
 Closely related to the vase rugs. Main border showing purple and 
 light blue cypress trees and large palmetto flowers. The centre field 
 divided into compartments by large arabesque leaves. In the single 
 compartments groups of roses, star flowers, irises, lilies, ete., in 
 beautiful strongly conventionalized design. Deep indigo-blue back- 
 ground. Repaired. Size, 7 feet 9 inches x 7 feet 8 inches 
 
 [SEE ILLUSTRATION] 
 60 
 
LATE SIXTEENTH CENTURY KIRMAN WOOL RUG 
 [NUMBER 154] 
 
156 
 
 157 
 
 158 
 
 EMBROIDERED CHASUBLE OF THE LOUIS SEIZE PERIOD 
 
 FRENCH, ABOUT 1770 
 Worked in a pattern of climbing floral branches in golden yellow, 
 olive-green, silver-gray and tan on a soft sapphire-blue moire ground; 
 trimmed with gold galloon. (Halbmayr) 
 
 GOLD AND SILVER BROCADED CHASUBLE 
 
 ITALIAN, ABOUT 1720 
 On a fleuretted dark brown ground covered with serpentined floral 
 garlands in multicolored silk threads with enrichments of silver 
 interlaced with baroque acanthus scrolls of gold; trimmed with silver 
 lace. (Halbmayr) 
 
 VERY IMPORTANT GOLD BROCADED COPE 
 
 VENETIAN, ABOUT 1730 
 On a warm silver-gray ground are woven singularly graceful re- 
 peating patterns of flower baskets and floral volutes in the Persian 
 taste with palmettes, petals and leaves in gold; the other designs in 
 soft apple-green and two-tone rose and golden yellows; others in a 
 tone lighter than the ground of the fabric. Original very uncommon 
 floriated gold lace. (Halbmayr) Size, 9 feet x 4 feet 5 inches 
 
 GOLD BROCADED DALMATICA VENETIAN, ABOUT 1730 
 In workmanship similar to the preceding. 
 
 62 
 
TWO OF A SET OF NINE FLORENTINE CHAIRS 
 SEVENTEENTH CENTURY 
 
 [NUMBER 159] 
 
 159 NINE FLORENTINE SEVENTEENTH CENTURY CHAIRS 
 Leather covered shaped high backs and seats. Six have collar and 
 baluster turned legs and stretchers; the remaining three have spiral 
 twisted stretchers and large button feet, this, however, does not 
 prevent their harmonizing as a group. The backs bear the Medici 
 erest. (Dexter) (9) 
 
 In “The Lure of Amateur Collecting’ Mr. Dexter gives an interesting 
 account of how he acquired these chairs from a castle north of 
 Florence and of the legend connected with one of the set to the 
 effect that this particular chair was used only by the Cardinal and 
 ancestor of the former owner. 
 
 Exhibited at the Boston Museum of Fine Arts, 1923. 
 [SEE ILLUSTRATION ] 
 63 
 
160 
 
 161 
 
 162 
 
 163 
 
 EXTREMELY FINE GOTHIC CARVED 
 WOOD PANEL 
 
 [NUMBER 160] 
 
 RARE GOTHIC CARVED WCOD PANEL FRENCH, 16TH CENTURY 
 Beautifully carved in tracery, chevron and rosette pattern. Pro- 
 nounced by French authorities on Gothic art as one of the finest 
 examples of its period. An admirable ornament as an overmantel 
 for a Gothic room. (Dexter) Height, 39 inches; width, 62 inches 
 
 [SEE ILLUSTRATION] 
 
 DECORATED LACQUER TRIPOD TABLE 
 ENGLISH, 18TH CENTURY 
 Similar to the preceding. The top damaged. (Dennison) 
 Diameter of top, 36 inches 
 
 DECORATED LACQUER TRIPOD TABLE ENGLISH, 18TH CENTURY 
 Circular tilt top, turned pillar and tripod base with carved paw feet. 
 Decorated with Chinese figures and pavilions in black on a ground 
 of bronze lacquer. (Dennison) Diameter of top, 36 inches 
 
 ‘WILLIAM AND MARY WALNUT LOWBOY ENGLISH, ABOUT 1690 
 
 Fitted with a long drawer above two small drawers and standing on 
 ring, club and ball turned legs which end in large defective ball feet 
 and are braced by scrolled stretchers. (Dennison) 
 
 Height, 32 inches; width, 32 inches 
 
 64 
 
164 
 
 THESEUS SLAYING THE MINOTAUR 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 164] 
 
 BRONZE GROUP BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Theseus Slaying the Minotaur.” A fine group expressing great 
 strength and vigor. Theseus standing with legs astride, grasps with 
 his left hand the bull-headed, human-bodied Minotaur and is in the 
 act of plunging his dagger into the creature’s brow. One of the most 
 celebrated works by this master sculptor. Signed on the oblong base. 
 Fine antique patina. Height, 1734, inches; width, 111% inches 
 
 See illustration in Roger Ballu’s ‘‘L’Oeuvre de Barye’’, page 92, and 
 Charles de Kay’s “‘Barye”, Fig. 64. 
 
 [SEE ILLUSTRATION ] 
 
 65 
 
165 
 
 166 
 
 167 
 
 168 
 
 L69 
 
 BRONZE GROUP BY P. J. MENE FRENCH, 1802-1875 
 “Panther Attacking a Crocodile.” Powerful group portraying a 
 mortal battle between a denizen of the swamp and of the jungle. 
 Finely executed in rugged mass modelling. The panther has sprung 
 upon the back of the crocodile and seized with his fangs the only 
 assailable part of the reptile’s hide. Signed “P. J. Mene” on the 
 rocky base. (Weis) Height, 714, inches; width, 15 inches 
 
 FRENCH GROUP BY P. J. MENE FRENCH, 1802-1875 
 “Mare with a Colt.” A mare gently trotting over rough ground 
 looks around upon the antics of a young colt prancing at her side. 
 Signed “P. J. Mene”. Fine realistic group. (Weis) 
 
 Height, 12 inches; width, 19 inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Seated Lion” (called The Philosopher). Ruggedly modelled seated 
 figure of a full maned lion resembling the traditional lion of the 
 Louvre. With rich brown patina. Probably a Cire Perdue casting. 
 Signed ‘‘A. L. Barye” on the base. (Weis) 
 Height, 7 inches; width, 614, inches 
 
 Exhibited at the Chicago Art Institute. 
 
 [SEE ILLUSTRATION PAGE 16] 
 
 BRONZE HEAD 
 “Laughing Boy.” Signed S. Gatti. Mounted on tapered marble 
 plinth. (Solano) Height with plinth, 21 inches 
 
 CARVED ONYX RELIEF PLAQUE 
 Bacchante Disarming Cupid. (Dennison) Size, 1444x17 inches 
 
 66 
 
ONE OF A PAIR OF CHIPPENDALE MAHOGANY ARMCHAIRS 
 ONE OF A SET OF FIVE CHIPPENDALE MAHOGANY SIDE CHAIRS 
 
 [NUMBERS 171 AND 170] 
 
 170 SET OF FIVE CHIPPENDALE MAHOGANY SIDE CHAIRS 
 
 171 
 
 ENGLISH, ABOUT 1760 
 The backs in Chippendale’s so-called Gothic style and finely carved 
 on the cupid’s bow top with waterleaf motifs. Seats covered in black 
 morocco studded with brass nails. Grooved legs with fret brackets 
 at the corners and H stretchers. Fine quality. (Buchanan) (5) 
 
 This set and the following five numbers comprising fourteen Chip- 
 pendale chairs show but little difference in the style of the backs 
 and were used by the owner as a set of two arm-chairs and twelve 
 side chairs, all of the seats being covered in the same material. 
 
 [SEE ILLUSTRATION] 
 
 PAIR OF CHIPPENDALE MAHOGANY ARMCHAIRS 
 ENGLISH, ABOUT 1760 
 With Gothic style pierced and carved open backs; cupid’s bow crest 
 rails, voluted and grooved arms, chamferred square legs braced by 
 stretchers. Slip seats covered in black morocco. (Buchanan) (2) 
 Width of seats, 23 inches 
 [SEE ILLUSTRATION ] 
 
 67 
 
172 
 
 173 
 
 ONE OF A PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 
 ONE OF A PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 
 
 [NUMBERS 172 AND 173] 
 
 PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 
 
 ENGLISH, ABOUT 1760 
 Fine Gothic style pierced open backs carved with acanthus scrolls 
 on the crest rails. Square legs also finely carved with conventional 
 rosettes; pierced fret brackets at the corners are an addition; plain 
 stretchers. Seats upholstered in black morocco with brass nails. 
 (Buchanan) (2) 
 
 [SEE ILLUSTRATION ] 
 
 PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 
 
 ENGLISH, ABOUT 1760 
 Open backs with pierced vase shape centre splats. Yoke shape crest 
 rails carved with rosettes and acanthus foliage. Some of the fret 
 brackets at the angles of the grooved legs are restored; H stretchers 
 brace the legs. Seats covered in black morocco studded with brass 
 nails. (Buchanan) (2) 
 
 [SEE ILLUSTRATION] 
 
 68 
 
174 
 
 175 
 
 176 
 
 Eee 
 
 PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 
 
 ENGLISH, ABOUT 1760 
 Handsome Gothic pattern pierced open backs with carving of stalac- 
 tite and acanthus scrolls on the scalloped crest rails and centre splats. 
 Grooved legs with pierced fret brackets at the corners, and plain 
 stretchers. Seats covered in black morocco studded with brass nails. 
 (Buchanan) (2) 
 
 CHIPPENDALE MAHOGANY SIDE CHAIR ENGLISH, ABOUT 1760 
 Attractively carved and pierced open back with Gothic style centre 
 splat. Grooved legs with fretted brackets at the corners, three re- 
 newed. Black morocco covered seat. (Buchanan) 
 
 LARGE PANEL OF NEEDLEWORK FRENCH, ABOUT 1700 
 The design after Daniel Marot. The centre in the Indo-Persian taste 
 with an Oriental Queen on a chariot. Above and below, meander 
 volutes and floral arabesques in multicolored silks and wools on a 
 mirror black ground. Size, 29 x 27 inches 
 
 NEEDLEWORK PANEL FRENCH, ABOUT 1700 
 An exceedingly imaginative composition, European in design and 
 Oriental in its arrangement of detached motifs. The lower tier with 
 two chateaux of most unusual high-towered classic architecture, and 
 a rustic carrying an amply filled basket. Above, a shepherd play- 
 ing a horn with his flock; background of a terraced villa and to the 
 left a church, and above a pastorale group and a windmill. Between 
 these detached motifs of petit point and gros point placed on islands 
 of greens are a wealth of trees in bloom, flowered bushes and creat- 
 ures of the air in brightly colored wools reminiscent of the then 
 favored lacquered objects in the Oriental taste. 
 
 Size, 2814 x 22 inches 
 
 69 
 
IMPORTANT NEEDLEWORK BENCH COVER 
 FRENCH, ABOUT 1720 
 
 [NUMBER 178] 
 
 178 NEEDLEWORK BENCH COVER OF THE REGENCE PERIOD 
 FRENCH, ABOUT 1720 
 Important panel with shaped outlines, the centre a reserve of very 
 fine petit point in the style of Desportes, a pond with water birds 
 and flamingos, a park with deer and a columnar building with guinea 
 fowl on its balustrades and steps; a crimson parrot and a macaw 
 on tree branches, etc. Gros point frame of stiff-leaf arabesques in 
 multicolored threads on a canary yellow ground. 
 Size, 7034, x 25 inches 
 [SEE ILLUSTRATION] 
 
 70 
 
RARE PETIT AND GROS POINT 
 NEEDLEWORK PANEL 
 ENGLISH, ABOUT 1700 
 
 [NUMBER 179] 
 
 179 PETIT AND GROS POINT NEEDLEWORK PANEL 
 
 ENGLISH, ABOUT 1700 
 In the manner of a tapestry picture. The centre with a figure of 
 the Good Shepherd with his flock in a mille fleurs garden, and a hound 
 tied to a tree. Background of a magnificent Renaissance palace with 
 a formal garden and a high church tower beyond, a Tudor mansion, 
 a windmill in a plain backed by silhouetted hills, and to the right 
 fruit laden trees. Worked in golden tans and blue-greens with 
 
 heightenings of crimson on a brilliant canary-yellow ground. 
 Size, 2514 x 2834 inches 
 
 | SEE ILLUSTRATION ] 
 
 (el 
 
RARE CHIPPENDALE MAHOGANY SIDEBOARD TABLE 
 [NUMBER 180] 
 
 180 CHIPPENDALE CARVED MAHOGANY SIDEBOARD TABLE 
 
 ENGLISH, 18TH CENTURY 
 In solid mahogany. Rectangular top with two-tier brass rail at the 
 back. A long drawer in the front; frame and chamferred square 
 legs finely carved in fret pattern and with pierced and carved acan- 
 thus scroll brackets at the angles. Sideboards or sideboard tables of 
 
 this type are rarely found. (Buchanan) 
 Height, 341% inches; width, 6 feet 714 inches; depth, 3 feet 
 
 [SEE ILLUSTRATION] 
 
 12 
 
181 
 
 182 
 
 183 
 
 184 
 
 BROCADED DALMATICA VENETIAN, ABOUT 1750 
 On a cream and silver-gray fleuretted silk ground covered with 
 bouquets of garden flowers in mulberry, green and rose and with 
 
 arabesques in soft two-tone blue. Contemporary gold galloon. 
 (Halbmayr) 
 
 BROCADED DALMATICA VENETIAN, ABOUT 1750 
 Similar to the preceding. (Halbmayr) 
 
 CHIPPENDALE MAHOGANY CHEST OF DRAWERS 
 ENGLISH, MID-18TH CENTURY 
 Finely constructed in solid mahogany. Serpentine front and sides. 
 Four long drawers and leaf carved chamferred corners. On finely 
 shaped carved bracket feet. (Dennison) 
 Height, 40 inches; width, 45 inches 
 
 PANELLED OAK LANCASHIRE SETTLE 
 
 ENGLISH, EARLY 18TH CENTURY 
 High back divided into four arcaded and chamferred panels. Scrolled 
 and flattened arms, cabriole supports. Web seats and crimson 
 brocade loose cushion. (Dexter) Width. 72 inches 
 
 73 
 
185 
 
 FINE PAIR OF WHEELLOCK PISTOLS 
 AUGSBURG, ABOUT 1560 
 
 [NUMBER 185] 
 
 FINE PAIR OF IVORY INLAID WHEELLOCK PISTOLS 
 
 AUGSBURG, ABOUT 1560 
 The stocks and ball pommels magnificently inlaid with ivory, the 
 chief embellishment being the lion or leopard mask. The barrels 
 bear the Augsburg town mark. Steel flint hammers and wheellocks 
 in remarkably fine condition. Key attached. The slight difference 
 in size of the two pistols should not be taken as meaning that these are 
 not a pair, as similar specimens in the Metropolitan Museum of Art 
 show the same difference in measurements. Very rare. (Shwartz) 
 (2) Length, 21 inches 
 
 [SEE ILLUSTRATION | 
 
 74 
 
186 
 
 187 
 
 188 
 
 189 
 
 190 
 
 191 
 
 192 
 
 GUISARME AUSTRIAN, ABOUT 1560 
 Guisarme or Bill. Fine steel head with pointed, straight and curved 
 tangs. Engraved on both sides with a coat-of-arms formed as a 
 quartered shield charged with Imperial eagles. Original chamferred 
 wood shaft. Very rare. (Shwartz) Length, 72 inches 
 
 GENTLEMAN’S SWORD SPANISH, ABOUT 1580 
 Long tapered and pointed blade partly grooved. Full cup and long’ 
 bar guard. Carved bone grip and ball pommel. (Shwartz) 
 
 ORIENTAL LONG FOLDING KNIFE 18TH CENTURY 
 Tapered blade engraved with palmette decoration, inscribed at the 
 hilt “Albarte Safe Sarrion.”” Ivory and brass scabbard. (Shwartz) 
 
 Length, 45 inches 
 
 OLD CARVED IVORY CEREMONIAL SWORD 
 The hilt and scabbard of solid ivory elaborately carved with 
 mediaeval decoration of figures, etc. (Asis) (Shwartz) 
 
 Length, 40 inches 
 
 SOLOMON ISLAND CLUB 
 
 Of carved acacia wood, formed as the head of a hornbill, the native’s 
 emblem of death. The haft bound round with cotton fabric. 
 (Shwartz) Length, 27 inches 
 
 PAIR OF DUELLING PISTOLS, IN CASE 
 
 FRENCH, EARLY 19TH CENTURY 
 Made by Aury a St. Etienne. Octagonal rifled barrels, percussion 
 locks and finely shaped walnut stocks. Complete with tools. In 
 brass banded walnut case. (Shwartz) 
 
 OLD TWO HANDLED STATE SWORD 16TH OR 17TH CENTURY 
 Long double grooved blade; loop and bar hilt, leather covered grip 
 with ball pommel. (Shwartz) Length, 70 inches 
 
 75 
 
193 
 
 194 
 
 195 
 
 196 
 
 LOT 
 
 WHEELLOCK SPORTING MUSKETOON ITALIAN, 17TH CENTURY 
 Heavy rifled octagonal barrel, wood stock and butt mounted in ivory. 
 Flint hammer and wheellock engraved; with spanner. Fine con- 
 dition. (Shwartz) Length, 44 inches 
 
 EIGHTEENTH CENTURY PERSIAN MACE 
 Six lobe head and richly damascened handle. Rare. (Shwartz) 
 Length, 25 inches 
 
 OLD FRENCH TURRET PISTOL 
 
 Inventor’s model. This interesting type of small pistol was ex- 
 perimented with by the United States Government in 1860 with 
 disastrous results to the user. (Shwartz) Length, 834, inches 
 
 PAIR OF HOLSTER PISTOLS FRENCH, CIRCA 1800 
 By “‘Fleron a Paris’. Heavy bronze barrels, flint hammers and short 
 curved wooden butts. Complete with ram rods. In good condition. 
 (Shwartz) (2) 
 
 SET OF SEVENTEENTH CENTURY ROTHENBURG CHASED 
 SILVER HINGES, LOCK, KEYPLATE AND KEY 
 Two handsome shaped strap hinges with repoussé and pierced de- 
 coration of baroque foliage; a fine large lock and keyplate to match; 
 also key. Handsome embellishments from a late Renaissance chest. 
 Rare. *(Dervter) 36) 
 
 Length of hinges, 21 inches; length of lock, 12 inches 
 
 76 
 
FINE PAIR OF CUIVRE DORE APPLIQUES 
 LOUIS QUINZE PERIOD 
 
 [NUMBER 198] 
 
 198 TWO CUIVRE DORE APPLIQUES OF THE LOUIS QUINZE 
 PERIOD FRENCH, ABOUT 1735 
 A very handsome pair of two-armed brackets composed of a rocail 
 scroll from which rise floriated and pierced arabesques. Two candle 
 arms with baroque bobeches and bulbous candlecups of which one 
 pair is fluted, the other with reeded enrichments. Original parcel 
 gilding. (Morgan) Height, 20 inches 
 
 These appliques have been traditionally attributed to the craftman- 
 ship of the Younger Caffieri by their owners. 
 
 [SEE ILLUSTRATION | 
 
 77 
 
199 ELABORATE ORMOLU TABLE ORNAMENT WITH MIRRORS 
 AND FIVE ORNAMENTS FRENCH, ABOUT 1800 
 A work of art, perfect in technique and refinement. It consists of a 
 series of seven trays, those on either end semicircular, the others 
 rectangular, fitting together and forming the setting for the five 
 standing ornaments. Each of these trays stands on bracket feet and 
 is framed by a heavy ormolu gallery, with perforated classic pal- 
 metto and griffon pattern, of perfect balance and execution. The 
 inside with heavy mirror glass. The five upright ornaments consist 
 of a centrepiece, combining fruit basket and candelabra, of two fruit 
 baskets, and two candelabra on either side. The centrepiece with 
 round base and three female bacchantes holding up a basket to which 
 seven candle-brackets are attached. The two following pieces consist 
 of two seated amorini, with fruit baskets on their heads. The cande- 
 labra at either end show winged Victories standing on low columns 
 and upholding a four-light candelabrum. The whole set ormolu 
 bronze of remarkably fine chiselling and gilding. 
 
 Height of centrepiece, 281% inches; height of fruit basket, 19 inches; 
 height of candelabra, 20 inches; length about 11 feet 
 
 200 SHERATON INLAID SATINWOOD FOLDING CARD TABLE 
 ENGLISH, ABOUT 1790 
 Banded in rosewood; the semicircular top and frame with fine inlay 
 of fan medallions in shaded holly. On tapered legs painted with 
 palm leaves at the tops. Inside lined with green baize. Very fine 
 quality. (Dennison) Diameter, 40 inches 
 [SEE ILLUSTRATION ] 
 
 78 
 
pene crcesepgrama 
 
 FINE SHERATON SATINWOOD 
 FOLDING CARD TABLE 
 
 [NUMBER 200] 
 
201 MAHOGANY DAY BED ENGLISH, ABOUT 1790 
 Frame of solid mahogany. Scrolled ends, low back panel and fluted 
 and tapered square legs. Caned. (Dennison) 
 
 Length, 6 feet 10 inches; width, 30 inches 
 
 202 WILLIAM AND MARY INLAID WALNUT CABINET ON STAND 
 
 ENGLISH, ABOUT 1690 
 
 Finely veneered in large and small circular medallions of matched 
 
 walnut bordered by inlaid stringing of holly, imparting to the piece 
 
 a most attractive appearance. Fitted with small drawers surround- 
 
 ing the centre locker and enclosed by a pair of rectangular doors. 
 
 A long drawer in the frieze. On partly restored stand with drawer, 
 spiral twisted legs, ball feet and curved stretchers. (Dennison) 
 
 Height, 5 feet; width, 3 feet 5 inches 
 
 [SEE ILLUSTRATION ] 
 
 80 
 
WILLIAM AND MARY WALNUT CABINET ON STAND 
 ENGLISH, ABOUT 1690 
 
 [NUMBER 202] 
 
208 
 
 2) 
 v0 
 
 EARLY GOBELIN TAPESTRY WOVEN IN PARIS ABOUT 1610 
 “Diana Rejecting Otus.” From a set of the story of Diana by 
 Dubreuil. This tapestry is an important specimen of the earliest 
 productions of Mare de Comans and Francois de la Planche, who set 
 up their tapestry looms about 1601 in that establishment which 
 still houses the National French Manufacture. Since these two 
 tapissiers came from Flanders, there is no wonder that in their 
 earliest work a Flemish touch is noticeable, which sometimes causes 
 their productions to be assigned to Brussels. About the French 
 origin of the present tapestry there can, however, be no doubt. 
 
 Felibien relates that the French artist, Toussaint Dubreuil designed 
 cartoons for a “Story of Diana’. The present tapestry belongs to this 
 set. Other sets woven from the same cartoons are in the Mobilier 
 National in Paris, in the Royal Spanish Collection in Madrid, and in 
 former Imperial Collection in Vienna. The Spanish tapestries are re- 
 produced in Monzo-Canton, ‘‘Los Tapices de la Casa del Rey, Madrid, 
 1919, and in Count Valencia, ‘‘Tapices de la Corona de Espana,” 
 Madrid, 1903. They bear the mark ‘“F M’’, the meaning of which is 
 somewhat obscure, and the mark “DMP”. The latter mark occurs also 
 on tapestries, which by the ‘“‘double P” and the fleur-de-lys are authen- 
 ticated as early Gobelin. The Madrid series is therefore early 
 Gobelin without any doubt. The borders are different from that of 
 the present tapestry. Renaissance acanthus spirals are introduced 
 in the upper borders of the Spanish set, an indication of slightly later 
 period, when under the influence of Pierre Lefevre Florentine styles 
 were again encouraged in Paris. 
 
 Of greater interest than the Madrid tapestries is the Diana series 
 richly interwoven with metal in the former Imperial Austrian Collec- 
 tion. Plate 165 in the publication of the Vienna tapestries by Baldass 
 reproduces a tapestry exactly identical with the present one, border 
 and design. This tapestry has the Paris mark, two ‘P’s” enclosing 
 a fleur-de-lys, and two other marks, one formed by the letters “T”’ 
 and “H,” the other, by the letters “F”’ and “M”’; the latter mark is 
 also found in Madrid. 
 
 Particularly interesting in the Vienna tapestry is the fact that the 
 border design tallies exactly with that of the present tapestry with 
 the only difference that in the former a plain disc replaces the coat 
 of arms of the latter. 
 
 The coat of arms of the present tapestry is not entirely clear. The 
 yellow cross on red ground, found here in the first and fourth quarter 
 of the shield, is the emblem of the Counts of Toulouse. The second 
 and third quarters would be the arms of Lautrec if the lion were not 
 
 82 
 
crowned. As the arms of Toulouse and Lautrec are very often 
 associated, we may assume a mistake on the part of a weaver un- 
 skilled in heraldry. The inshield, a rampant greyhound on blue, 
 seems to be a northern coat of arms. Although a complete identifica- 
 tion seems not to be possible, the coat of arms points to a Southern 
 French noble family as the original owners of the tapestry. 
 
 The tapestry shows no marks in the blue border save the initials 
 “C R” in the lower right border. The Paris mark, which might be 
 expected to appear at the left of the lower border must have dis- 
 appeared. Since unexplained weavers’ marks such as this clearly 
 distinguishable ‘“C R” or the monograms in the Vienna tapestry 
 occur in early Gobelin tapestries, this mark proves nothing against 
 the Parisian origin of the piece. 
 
 The tapestry itself is in perfect condition, of unusually well preserved 
 color and of excellent design, reflecting the style of the northern 
 followers of the late Italian Renaissance. The trees and plants are 
 executed with exquisite detail. The composition is well-balanced and 
 harmonious. In the centre, Diana with her maidens meets the cortege 
 of Otus, who stands in vivid discomfiture at the left. Large groups 
 of trees are on either side; in the background is a landscape with a 
 stag-hunt. The border shows classic figures in grisaille in the four 
 corners, with hunting emblems and Flemish flower garlands on the 
 sides. (Albright) 
 
 Discussed in Hunter, ‘‘Practical Book of Tapestries’, pp. 140 and 267. 
 Exhibited at the Albright Art Gallery, Buffalo, 1921. 
 Size, 13 feet 6 inches x 12 feet 3 inches 
 
 [SEE FRONTISPIECE | 
 83 
 
204 
 
 205 
 
 206 
 
 FINE CHARLES I NEEDLEWORK PANEL 
 ENGLISH, EARLY SEVENTEENTH CENTURY 
 
 [NUMBER 204] 
 
 CHARLES I NEEDLEWORK PANEL 
 ENGLISH, EARLY 17TH CENTURY 
 Depicting farm life. To the right are children picking flowers from 
 flower beds, and Ceres in mediaeval costume holding a palm leaf 
 preceded by a pet dog. To the left harvesters in the fields, a young 
 trumpeter blowing a horn and beyond two young lovers richly attired, 
 in a flower garden with a fruit laden tree. Worked in long stitches of 
 polychromed wools on a dark plum colored ground. (Halbmayr) 
 | Size, 2714 x 9 inches 
 [SEE ILLUSTRATION ] 
 
 IMPORTANT GOLD AND SILVER EMBROIDERED DALMATICA 
 
 MALTESE, LATE 17TH CENTURY 
 On a warm rose satin ground, the centres occupied by vase shaped 
 floriated volutes with leafy branches rising from their scrolls. 
 Worked in a variety of basket weave stitches in gold and silver 
 bullion. Multiple borders of climbing garlands and flowered scrolls. 
 (Halbmayr) 
 
 ENGHIEN TAPESTRY BANDEAU OF THE RENAISSANCE 
 PERIOD FRENCH, ABOUT 1600 
 The centre with a Bacchic satyr mask in a cartouche, to the right and 
 left archaic compositions of fruit festoons and leaves woven in a 
 fine point in dark greens, blues, orange and tans on a golden yellow 
 and brilliant orange-red ground. (Halbmayr) 
 
 Size, 1 foot 6 inches x 7 feet 7 inches 
 
 84 
 
ANGELICA AND ROGER 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 207] 
 
 207 BRONZE GROUP BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Angelica and Roger’. The rescuing hero, Roger, mounted on his 
 winged and dragon-footed steed, the Hippogriff, his arms about 
 Angelica; below is the coiled form of the sea monster. A remarkably 
 fine group expressing swift action and vigor. Reddish brown patina. 
 Signed rather indistinctly on the base. On mottled green marble 
 plinth. One of Barye’s finest groups. 
 Height, 21 inches; length, 26 inches 
 See illustration in Roger Ballu’s “L’Oeuvre de Barye’’, page 80, and 
 Charles de Kay’s “Barye’, Fig. 53. 
 Another interpretation of this romantic legend is that of “Perseus 
 
 and Andromeda”’. 
 [SEE ILLUSTRATION] 
 
 85 
 
208 BRONZE EQUESTRIAN FIGURE BY ANTOINE LOUIS BARYE 
 
 209 
 
 210 
 
 FRENCH, 1796-1875 
 Gaston de Foix, wearing armour and mounted on a richly caparisoned 
 charger. Fine statuesque modelling and brown antique patina. Signed 
 on the oblong base. Mounted on polished mottled green marble 
 plinth. Total height, 18 inches; width, 12 inches 
 
 Gaston de Foix, Duc de Nemours, son of Marie of Orleans, the sister 
 of Louis XII. Known as “The Thunderer” in Italy and won the battle 
 of Ravenne, 1512, where he was killed. 
 
 See illustration in Roger Ballu’s “L’Oeuvre de Barye’, page 44. 
 
 SMALL BRONZE ANIMAL BY FRATIN 
 
 “Reclining Tiger’. Exquisite small figure modelled in the rugged 
 
 style of Barye. Signed “Fratin” on the oblong base. (Weis) 
 Height, 134, inches; width, 534, inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 SMALL BRONZE BY ANTOINE LOUIS BARYE 
 
 FRENCH, 1796-1875 
 “Tortoise walking’. Fine intricately modelled small figure mounted 
 on green onyx marble slab. Reddish-brown antique patina. 
 
 Length, 3% inches 
 
 BRONZE STATUETTE 
 “Danseuse’. Signed, Renoa. Reminiscent of the dancing girl by 
 Degas. (Solano) Height, 11 inches 
 
 86 
 
HANDSOME PAIR OF RENAISSANCE TAPESTRY 
 STUART ARMCHAIRS 
 
 [NUMBER 212] 
 
 212 TWO RENAISSANCE TAPESTRY STUART ARMCHAIRS 
 Handsomely carved and shaped walnut frames on C scrolled supports 
 and cross rails; scrolled and moulded arms and arm rests; backs and 
 seats covered in sixteenth century Flemish tapestry designed with 
 martial subjects and woven in brilliant crimsons, blues and golden 
 yellows on a tan ground. (2) 
 
 [SEE ILLUSTRATION ] 
 87 
 
FINE RENAISSANCE TAPESTRY STUART SOFA 
 [NUMBER 213] 
 
 213 RENAISSANCE TAPESTRY STUART SOFA 
 
 Handsomely carved and shaped walnut frame on C scrolled supports 
 and cross rails; scrolled and moulded arms and arm rests; the seat 
 and back covered in sixteenth century Flemish tapestry. The back 
 with a picture of a royal bear-hunt in a vignette framed by seated 
 putti flanked by winged mermaid-body caryatides supporting flower 
 and fruit vases; the seal with two handsome youthful figures in 
 arbors, one a lute player and the other a queen dressed as a huntress; 
 the arbor is supported by slender female caryatides. 
 
 Length, 50 inches 
 
 [SEE ILLUSTRATION ] 
 
 88 
 
214 
 
 215 
 
 216 
 
 217 
 
 218 
 
 ITALIAN SEVENTEENTH CENTURY MONASTERY TABLE 
 WITH INLAID MARQUETERIE 
 Heavy framed top inlaid with emblems of the Passion at the centre. 
 Arabesque motifs at the corners. On sturdy club and ring turned 
 legs braced by broad flat stretchers. Fine quality. (Dexter) 
 
 Size of top, 64 x 28 inches 
 
 SIX ITALIAN SEVENTEENTH CENTURY MONASTERY CHAIRS 
 Ladder backs with scrolled shaped slats; solid seats; turned front 
 legs braced by scrolled and turned stretchers. It is said that each 
 monk made his own chair which accounts for the slight difference in 
 size. (Dexter) (6) 
 
 CARVED WALNUT MONASTERY SIDEBOARD 
 
 BRITTANY, 17TH CENTURY 
 Enclosed by three moulded doors, the centre one carved with the pyx 
 or monstrance; the two side doors carved with conventional medal- 
 lions. Stiles and frieze carved with running borders of foliage. The 
 top is of later date. A dignified example of old ecclesiastical furni- 
 ture. (Dexter) Height, 32 inches; width, 5 feet 6 inches 
 
 FINE LARGE SARUK MEDALLION RUG PERSIAN 
 Best quality. Close even weave and short nap. The field sustains a 
 large shaped medallion containing a beautiful compact design of 
 flower sand leaves on geometrical stems, in brilliant colors on a ground 
 of deep blue, centred by a smaller medallion which contains arabesque 
 leaves and fleurettes in softer tones. The wide border contains a 
 running meander vine of bold arabesque leaves alternating with 
 flower shrubs and fleurettes on a ground of bright red, flanked by six 
 narrow guard stripes in contrasting colors. A very handsome rug. 
 
 (McGee) Size, 20 feet 2 inches x 14 feet 10 inches 
 LARGE KERMANSHAH FLOWER RUG PERSIAN 
 
 Beautiful specimen with fine design of shaped flower medallions 
 representing peony and other blossoms occupying the whole field, in 
 fine pastel colors on a ground of bright red. The wide border sustains 
 similar medallions which contain flower and bird forms in similar 
 colors, flanked by narrower borders and guard stripes. A narrow 
 outer border of bright red. The rich color profusion and sumptuous 
 design of this rug is reminiscent of the famous sixteenth and seven- 
 teenth century specimens. (McGee) Size, 21 feet 6 inches x 14 feet 
 
 89 
 
219 VERY FINE KASHAN MEDALLION RUG PERSIAN 
 Extremely close weave and short nap. On the pale yellow field is 
 superimposed a beautiful shaped oval concentric medallion filled with 
 naturalistic peony and other blossoms on curved stems, in pleasing 
 pastel shades on deep blue and bright red. At the corners of the 
 field are sprays of flowers emerging from vases, in delicate colors. 
 Magnificent border of arabesque leaves and peony blossoms in similar 
 soft shades on a ground of deep blue; flanked by narrow guard stripes 
 of diaper motifs in seal brown. (McGee) Size, 16 feet x 11 feet 
 
 [SEE ILLUSTRATION] 
 90 
 
MAGNIFICENT PERSIAN KASHAN MEDALLION RUG 
 
 [NUMBER 219] 
 
220 
 
 221 
 
 222 
 
 223 
 
 HUNTING TAPESTRY FLEMISH, 16TH CENTURY 
 Covered with small scale figure motifs of archers hunting bear. In 
 the left foreground a clump of trees with a knight in mediaeval 
 armour tightly clutching a tree trunk, and further on a turretted 
 building with loggie, apparently a hunting lodge. To the right a 
 deer hunt and verdure. The foreground is filled with the struggle 
 of wild beasts and a quaintly rampant rabbit in densely foliated 
 bushes. (Halbmayr) Height, 80 inches; width, 621% inches 
 
 FLEMISH VERDURE TAPESTRY PANEL 
 OUDENARDE, ABOUT 1680 
 A delightful oblong hanging, remarkable for its well shaded tones 
 and its harmonious scale of composition. The left and upper fore- 
 ground with dense blue-green foliage screening a landscape with a 
 mediaeval round-towered castle in the centre background. The 
 centre and left foreground with tall bushes in bloom of rich golden 
 yellow and orange-red. (Halbmayr) 
 Height, 71 inches; width, 361% inches 
 
 IMPORTANT NEEDLEWORK CHAIR SEAT AND BACK 
 FRENCH, ABOUT 1720 
 The back in petit point worked in a reserve with a delightfully com- 
 posed pastorale; two young people in handsome costumes dancing to 
 the music of a youthful piper who is dressed in a seventeenth century 
 costume with a tall cone-shaped gold bordered black hat. Background 
 of blue-green verdure. 
 The seat in petit point with chinoiserie flowers flanking two birds 
 in heraldic posture facing a flowered bush. Framework of arabesques 
 of dark rose and two-tone tans. In need of slight repairs. 
 Size of back, 24 x 25 inches; seat, 25 x 30 inches 
 
 IMPORTANT NEEDLEWORK CHAIR SEAT AND BACK 
 FRENCH, ABOUT 1720 
 The back with a composition, in the spirit of Teniers, of card players 
 in seventeenth century costumes; a lady in tight fitting blue bodice 
 on a tall upholstered chair covered in gold and a gentleman in gold 
 velvet on a chair covered in blue. The players’ table is covered with 
 a green scalloped cover on which can be seen the tarots. Behind the 
 lady stands an onlooker richly garbed in crimson, gold and blue with 
 a feathered, cylindrical hat. Background of trees and bushes in 
 bloom. The seat also in petit point with a composition of heraldic 
 birds and flowers. Framework similar to preceding. 
 Size of back, 24 x 25 inches; seat, 2414 x 29 inches 
 
 92 
 
224 NEEDLEWORK CHAIR SEAT AND BACK ~ FRENCH, ABOUT 1720 
 
 225 
 
 226 
 
 The back with a delightful composition in silk petit point in the style 
 of Teniers the younger; a youthful lute player entertaining a rustic. 
 The colors of this centre are felicitously chosen with its brilliant 
 green table top surrounded by the multicolored tones of the garments. 
 Background of floral sprays, and a creature of the air. 
 
 The seat with an heraldic griffon among Persian arabesques in multi- 
 colored silks of petit point and gros point on a cream colored ground. 
 Framework of crimson, golden tan and blue arabesques on a brilliant 
 canary-yellow ground. Shield shaped outlines. In need of slight 
 repairs. Size of back, 17 x 16 inches; seat, 16x 1714 inches 
 
 IMPORTANT NEEDLEWORK BACK AND SEAT WITH MOTIFS 
 AFTER JEAN BERAIN FRENCH, ABOUT 1710 
 The back, a large rectangular panel of petit point and gros point. 
 To the right a canopy from which steps forth a lady in flowing blue 
 garments with copiously feathered headdress. She is greeted by a 
 juggler and a trumpeter both imaginatively conceived in Roman 
 armour with fantastic headgears. Above, a youth in Phaeton’s char- 
 iot. Background of Indo-Persian arabesques in multicolored threads 
 on a dark brown ground. The seat an all-over pattern of uncommon 
 multicolored arabesques surrounding a tropical bird. 
 
 Size of back, 33 x 27 inches; seat, 2214 x 26 inches 
 
 IMPORTANT NEEDLEWORK CHAIR SEAT AND BACK 
 FRENCH, ABOUT 1710 
 The back, a large rectangular panel occupied by a most decorous 
 representation of Suzanna and the Elders. One perceives the chaste 
 Suzanna in ample fur lined robes of gold and blue bathing her feet 
 in a pool refilled from the horn of a Triton body fountain. Suzanna 
 is approached by two venerable bearded elders. Background of a 
 balustrade and fruit laden trees and bushes. To the left is placed 
 a handsome ewer and basin on a flower grown ground. 
 The seat with a La Fontaine fable in petit point. Framework of 
 Indo-Persian arabesques in multicolored threads on a brown ground. 
 Size of back, 30 x 27 inches; seat, 2514 x 30 inches 
 
 93 
 
227 CHIPPENDALE CARVED MAHOGANY CABINET IN CLASSIC 
 STYLE 
 In two parts, the upper part fitted with adjustable shelves and en- 
 closed by a pair of doors with bevelled clear glass panes. Cupboard 
 base enclosed by a pair of chamferred panel doors. The doors have 
 finely carved Greek fret borders with small rosettes intersecting. 
 Surmounted by a moulded pediment in architrave form which lifts 
 off. (Buchanan) 
 Height, 8 feet 10 inches; width, 3 feet 9 inches; depth, 18 inches 
 
 Companion to the following cabinet. 
 
 [SEE ILLUSTRATION ] 
 
 228 CHIPPENDALE CARVED MAHOGANY CABINET IN CLASSIC 
 STYLE 
 (Buchanan) 
 Height, 8 feet 10 inches; width, 3 feet 9 inches; depth, 18 inches 
 Companion to the preceding cabinet. 
 
 94 
 
FINELY CARVED CHIPPENDALE MAHOGANY CABINET 
 
 [NUMBER 227] 
 
VERY FINE RENAISSANCE WALNUT SETTEE 
 COVERED IN RARE FLEMISH TAPESTRY 
 
 [NUMBER 229] 
 
 229 FINE RENAISSANCE WALNUT SETTEE COVERED IN SIX- 
 TEENTH CENTURY FLEMISH TAPESTRY 
 A dignified piece with fine proportions. The straight back and seat 
 covered with two very fine panels of Flemish Renaissance tapestry, 
 the back panel woven with birds, flowers and terminal figures form- 
 ing a cartouche supported by kneeling figures and rich groups of 
 flowers and fruits in fine colors. The seat panel shows a rich baroque 
 pattern of foliage, flowers and fruit. Walnut arms slightly scrolled, 
 front stretcher pierced in chain fashion, the straight square legs 
 standing on low brace with carved claw feet. (Albright) 
 Width, 5 feet 6 inches 
 [SEE ILLUSTRATION ] 
 
 96 
 
TWO OF AN IMPORTANT SET OF TEN RENAISSANCE 
 WALNUT CHAIRS COVERED IN OLD FLEMISH TAPESTRY 
 
 [NUMBER 230] 
 
 230 IMPORTANT SET OF TEN RENAISSANCE WALNUT CHAIRS 
 COVERED WITH FLEMISH SIXTEENTH CENTURY TAPESTRY 
 Four armchairs and six side chairs. The square backs and seats 
 covered with panels of fine sixteenth century tapestry woven with 
 groups of figures, exotic flowers and fruits in the rich style of the 
 Renaissance. Carved and gilt acanthus finials ornament the back. 
 Sturdy frames of carved walnut. A most dignified set of Renaissance 
 chairs of fine quality. (Albright) (10) 
 
 [SEE ILLUSTRATION | 
 oF, 
 
231 
 
 “ABRAHAM AND ISAAC WELCOMING REBECCA,” EARLY 
 BRUSSELS TAPESTRY WOVEN ABOUT 1520 FROM A SET OF 
 THE STORY OF ISAAC AND REBECCA AFTER CARTOONS BY 
 BARENT VAN ORLEY 
 
 Probably woven for the Van Ameyde family. 
 
 This tapestry, with the following one, has formerly been attributed 
 to Jan Mabuse (1474-1556), but a comparison with the well-known 
 tapestries of the “Hunts of Maximilian” and of the “Battle of Pavia” 
 by Barent van Orley (1490-1542) makes the ascription to the latter 
 great tapestry designer almost a certitude. Such ascription has 
 been advocated by Hunter in his “Practical Book of Tapestries’, 
 page 127. 
 
 Both compositions must have been woven before 1528, when the 
 marking of Brussels tapestries became compulsory by law. Barent 
 van Orley seems to have had business connections with both of the 
 two foremost Brussels weavers, Pieter Van Aelst and Pieter Panne- 
 maker. We may therefore safely ascribe the tapestry to one of 
 these two master-weavers. 
 
 The religious subject is only a pretext. The composition portrays 
 with delightful realism the meeting of a cavalier of the period with 
 his chosen bride, receiving the paternal benediction. The young pair 
 stands in the foreground under the benign eye of the venerable 
 father of the young man, surrounded by the ladies-in-waiting of 
 the bride, pages and retainers, on foot and on horseback. Of partic- 
 ular interest is the group to the right: two stately cavaliers stand- 
 ing near the palanquin carried by two horses, in which the bride 
 has arrived. In the background is a beautiful landscape with out- 
 look on a medieval city in which may be seen a western rendering 
 of the picture of Jerusalem with the Dome of the Rock. The cos- 
 tumes of gentlemen and ladies, some of them still with rich pome- 
 granate patterns, are executed with delightful detail and form a 
 most valuable illustration for the history of costume and manners 
 of the early sixteenth century. 
 
 Of particular interest are little details hitherto unobserved by 
 students of the tapestry. The three poles supporting the roof of 
 the palanquin end in round ornamental discs decorated with lozenge- 
 shaped coats of arms. This shape ought to have attracted the at- 
 tention of former students of this tapestry, for it is the shape used 
 by unmarried ladies, and therefore appropriate for the palanquin of 
 a bride-to-be. Each of the three shields is quartered. The second 
 quarter shows a design of three yellow crescents on blue. In the 
 fourth quarter, below a yellow band are three white stars on blue. 
 
 98 
 
ABRAHAM AND ISAAC WELCOMING REBECCA 
 RARE EARLY BRUSSELS TAPESTRY WOVEN ABOUT 1520 
 
 [NUMBER 231] 
 
This looks like a deliberately given oriental touch, but close examina- 
 tion reveals that the four quarters are perfectly well identifiable 
 arms of which three are Dutch and the fourth of Nurmberg but, as 
 the linguistic form of the name indicates, of Dutch origin. The 
 identification follows: 
 
 First quarter, Van Ameyde (Dutch): sable, two pales gold. 
 
 Second quarter, Van Couwenhoven (Dutch): azure, three crescents 
 tournés. 
 
 Third quarter, Van Brandwyk (Amsterdam): silver, six cubes or 
 billets gules. 
 
 Fourth quarter, Kalterbeek (Nurmberg): azure, three stars silver, 
 a chief gold. 
 
 The name Kalterbeek is low German (Dutch). The Southern German 
 equivalent would be Kaltenbach. 
 
 It is, to put it mildly, a strange coincidence that on the hat of young 
 Isaac is a medal with a motif that is seemingly formed by an inter- 
 twined “V” and “A”, which would be the initials of Van Ameyde. 
 The study of these interesting heraldic details permits us to con- 
 clude that this set of tapestries has probably been woven for the 
 Van Ameyde family, perhaps on the occasion of a matrimonial alli- 
 ance of that family. 
 
 The border shows the typical early Brussels design with garlands 
 of foliage, fruit and flowers at top and bottom; on the sides a blos- 
 soming iris, sweet peas, oranges, hollyhocks, a melon vine and 
 columbines form a delightfully varied succession. (Albright) 
 Height, 12 feet 4 inches; length, 18 feet 9 inches 
 
 Exhibited at the Albright Art Gallery, Buffalo, 1921. 
 
 [SEE ILLUSTRATION PAGE 99] 
 100 
 
232 
 
 233 
 
 234 
 
 GOTHIC CARVED OAK CHEST FRONT ~— FRENCH, 15TH CENTURY 
 Very fine example of late Gothic or early Renaissance carving and 
 very well preserved. Divided into three narrow panels of diaper 
 zigzag pattern in delicate intaglio carving, intersected by mouldings 
 carved with conventional acanthus leaf or feather motifs. Very 
 adaptable as overmantel for a Gothic room. (Dexter) 
 
 Height, 35 inches; width, 49 inches 
 
 SECTION OF CARVED PANELLING BRITTANY, 15TH CENTURY 
 Comprising three narrow panels richly carved with arabesques in low 
 relief framed by moulded stiles similarly carved. Choice example 
 of late Gothic carving. (Dexter) Height, 34 inches; width, 48 inches 
 
 GOTHIC CARVED CHEST FRENCH, 13TH CENTURY 
 A museum piece in good condition considering its great age. The 
 front ornamented with three panels of primitive carving in the form 
 of conventional rosettes or sunbursts, surrounded by carved fluting 
 on the horizontal and vertical stiles. Panelled ends and domed lid 
 with the original hinges and lock. (Dexter) 
 
 Height, 30 inches; width, 45 inches 
 
 101 
 
235 
 
 “ELEAZER ASKING REBECCA’S HAND FROM BETHUEL,” 
 EARLY BRUSSELS TAPESTRY WOVEN ABOUT 1520 FROM A 
 SET OF THE STORY OF ISAAC AND REBECCA AFTER CAR- 
 TOONS BY BARENT VAN ORLEY 7 
 
 Probably woven for the Van Ameyde family. 
 This tapestry, as the design of centre field and border shows, be- 
 longs to the same set as the preceding one. 
 
 In the centre of the picture Eleazar is shown greeting Bethuel, who 
 is seated on a throne in sumptuous flowing robes. The back of the 
 throne shows an almost over-rich Renaissance decoration. A bed is 
 seen at the right, and at the left windows open into a luxuriant land- 
 scape. Retainers, pages, etc., are grouped about the main figures 
 of the composition. A youthful female figure in the foreground 
 may represent Rebecca. 
 
 Above the door at the left is a quartered coat of arms, which must 
 have been bungled by the weaver, for it cannot be identified. Some 
 elements of it are found in the arms of the Kuipers family of Leeu- 
 warden, Holland. The vague possibility of its pertaining to that 
 family may be of interest to compare with the finds concerning the 
 arms of the preceding tapestry. (Albright) 
 
 Height, 12 feet 7 inches; width, 13 feet 9 inches 
 
 Exhibited at the Albright Art Gallery, Buffalo, 1921. 
 
 [SEE ILLUSTRATION] 
 102 
 
ELEAZER ASKING REBECCA’S HAND FROM BETHUEL 
 RARE EARLY BRUSSELS TAPESTRY WOVEN ABOUT 1520 
 
 [NUMBER 235] 
 
236 
 
 FINE PAIR OF BRONZE CANDELABRA 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBER 236] 
 
 PAIR OF BRONZE SIX-LIGHT CANDELABRA BY ANTOINE 
 LOUIS BARYE FRENCH, 1796-1875 
 The stems formed as stags sharpening their horns against tree trunks 
 with hart and fawns seated around. Each with six scrolled branches 
 for candle lights, surmounted at the centres by eagles attacking 
 hares. The oval bases have lizard supports. Signed ‘“Barye” in 
 two places, also “‘Barbedienne Fondeur”’. (Weis) (2) 
 
 Height, 2214 inches 
 
 This extremely fine pair of candelabra rank among Barye’s best 
 works, and are a slight variant of the pair illustrated in Roger 
 Ballu’s, “L’Oeuvre de Barye’’,, page 89. 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 [SEE ILLUSTRATION ] 
 104 
 
237 
 
 238 
 
 STANDING STAGS 
 BY ANTOINE LOUIS BARYE 
 
 [NUMBERS 237 AND 238] 
 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Standing Stag”. Full grown spike-horn stag standing in an alert 
 attitude, its head raised as if scenting the approach of an enemy. 
 Signed “Barye, 1838” on the base. (Weis) 
 Height, 7 inches; width, 614, inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 [SEE ILLUSTRATION ] 
 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
 FRENCH, 1796-1875 
 “Standing Stag’’. Its head raised as if calling for its mate. Modelled 
 
 with extreme grace and lithesomeness. (Weis) 
 Height, 6 inches; width, 614, inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 [SEE ILLUSTRATION ] 
 
 105 
 
POINTER AT STAND 
 BY P. J. MENE 
 
 [NUMBER 239] 
 
 239 BRONZE ANIMAL BY P. J. MENE FRENCH, 1802-1875 
 “Pointer at Stand”. The body in half crouched position expresses 
 the nervous tension of a well trained pointer awaiting the word of 
 command. Heavily foliated oblong base, signed “P. J. Mene”’. On 
 plush covered stand. (Weis) Height, 414 inches; width, 12 inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 [SEE ILLUSTRATION ] 
 
 106 
 
i: a a 
 
 240 BRONZE ANIMAL BY P. J. MENE FRENCH, 1802-1875 
 “Pointer with Head Turned”. In running attitude, the head fully 
 turned to the right as though arrested in its flight by a strange 
 sound. Signed “P. J. Mene” on the foliated base. (Weis) 
 
 Height, 434, inches; width, 8% inches 
 
 Exhibited at the Delgado Museum of Art, New Orleans. 
 
 241 BRONZE STATUETTE OF MEISSONIER BY N. GEMITO 
 CONTEMPORARY ITALIAN 
 A remarkably well sculptured standing figure of the famous painter 
 holding palette and crayon. Signed. (Solano) Height, 23 inches 
 
 242 SILVERED BRONZE STATUETTE BY N. GEMITO 
 CONTEMPORARY ITALIAN 
 Nude figure of a young boy with water jar, surmounting a fountain. 
 Inscribed “Dall Originale Propta, del Redi Napoli S.M. Francesco IT’. 
 Signed. (Solano) Height, 21 inches 
 
 243 JAPANESE BRONZE MODEL OF A LION 
 Finely modelled representation of the king of beasts giving vent to a 
 defiant roar. (Solano) Length, 18 inches; height, 12 inches 
 
 107 
 
244 
 
 245 
 
 FOUR EARLY TEXTILES VENETIAN, 18TH CENTURY 
 (a) Runner woven in soft tones with a design of Persian flowers and 
 arabesques in silver thread heightened with rose on a brocaded 
 ground of jade green satin furnished with designs of snow white 
 leaves; trimmed in contemporary silver galloon. (b) Embroidered 
 mantle of the Bambino; of cafe au lait colored silk with diapers of 
 Byzantine crosses embroidered with a monstrance of gold enriched 
 with fine pearls, above a group of oak leaves embroidered in bril- 
 liantly colored silks and husks of gold spangles. (c) Brocaded 
 mantle of the Bambino worked with silver ribbands and floral bou- 
 quets in the Persian taste on a pekined pale blue Silk. (d) Coat of the 
 Bambino of figured Directoire cut and uncut velvet of a deep rose 
 hue woven with climbing husks forming wreaths from which are 
 suspended scalloped circular lockets with sprays of carnations in their 
 reserves; gold lace trimming. (Halbmayr) 
 
 EMBROIDERED HALF CHASUBLE VENETIAN, ABOUT 1740 
 On a delightful rose du barry ground are embroidered baroque corn- 
 ucopia volutes of silver from which rise a multitude of gayly colored 
 garden flowers of silk with leaves, stems and centres of silver. Silver 
 galloon trimming. (Halbmayr) a 
 
 108 
 
TWO GOBELIN TAPESTRIES OF GREAT IMPORTANCE AND 
 HISTORICAL INTEREST 
 
 “Les Nouvelles Indes” (New Indian hangings). 
 
 Two of a set of four executed under the direction of James Neilson, 
 1749 to 1788 after the cartoons of Alexandre Francois Desportes, 
 1661 to 1743, figuring in the inventory of the Gobelins as gifts to 
 the Grand Duke and Grand Duchess of Russia (the future Emperor 
 Paul I and son of the great Catherine.) The Indian Hangings were 
 among the most favorite creations of the Gobelins and reappeared 
 in various compositions, colors and with changed borders under the 
 changing directions of the Gobelins. They were considered gifts for 
 royalty par excellence. The third border appearing on both tapes- 
 tries was probably designed by Jacques, “ornemaniste” at the Gob- 
 elins. It was composed of a bold exterior ribbon and interior trellis 
 moulding with shell and oakleaf spandrels with a cresting of a fleur- 
 de-lys cartouche flanked by eagle wings. 
 
 The tapestries are mentioned in ‘Etat General des Tapisseries de 
 La Manufacture des Gobelins” by M. Maurice Fenaille on page 62, 
 “The Camel, second series, Begun July 17th, 1772, Idem, Neilson’s 
 Ateliers,” etc., also on page 65 as follows :— 
 
 “In 1782 the Grand Duke and Grand Duchess of Russia who travelled 
 in France under the name of Count and Countess du Nord received 
 with other presents of Sevres porcelains and tapestries, a hanging 
 of four pieces of the Indies”. And on page 66:— 
 
 “According to the account of Manufactury and the Inventory of the 
 Gobelins the pieces of Indian Hangings given to the Grand Duke of 
 Russia seem to be the following :— 
 
 ‘Le Chameau’, second series, terminee en 1774 
 
 ‘Le Cheval raye’, first series, terminee en 1774 
 
 ‘Le Combat des Animaux’, first series, terminee en 1779 
 
 ‘Les Pecheurs’, fourth series, terminee en 1781.” 
 
 In 1900 these pieces existed in Saint Petersburg in the Imperial 
 Palace. 
 
 James Neilson worked at the Gobelins as a master weaver with 
 Cozette, Le Blanc and Audran. He was considered one of the most 
 capable and inventive weavers. He immensely improved the methods 
 of weaving and dyeing to bring tonalities and drawing of tapestries 
 close to the cartoons. He was principal at the School of Instruction 
 at the Gobelins. 
 
 From the collections of Count Scheremietjev and Baron Ropp. 
 
 109 
 
246 LE CHAMEAU 
 (Second Series, Third Borders) 
 To the right appears a gray charger with silver-white mane richly 
 harnessed with jewelled straps and pendants. A cover of Persian 
 gold and crimson embroidery is thrown over its back. It is attended 
 by a young Moor in loose fitting garment of blue trimmed gold. In 
 the foreground are a brightly colored flamingo, an ibis and a snow 
 white llama. To the left surrounded by a wealth of tropical growth 
 and fruit a dromedary on whose hump is humorously perched a 
 small monkey holding an apple. In the very foreground a stream 
 of carp and goldfish. The centre background is occupied by a lux- 
 uriantly overgrown apple tree with cockatoos perched upon its 
 branches. Against the sky one sees a bird in flight. The tapestry 
 is signed in the right hand corner, Neilson ex 1774. (In “Les 
 Anciennes Indes” an Indian was put on the horse’s back in the 
 monkey’s place.) Borders as described above. Illustrated in Hunter 
 (1925), “Practical Book of Tapestries”, plate XII E. (De Ballagio) 
 Size, 14 feet 5 inches x 12 feet 3 inches 
 
 [SEE ILLUSTRATION ] 
 110 
 
LE CHAMEAU 
 VERY IMPORTANT GOBELIN TAPESTRY OF 
 
 GREAT HISTORICAL INTEREST 
 
 [NUMBER 246] 
 
247 LE COMBAT D’ANIMAUX 
 
 (First Series, Third Borders) 
 
 An awe-inspiring phantasmagoria of jungle life with golden brown, 
 spotted and white bodies of lions, tigers, stags, deers and tapirs 
 intertwining their bodies in their struggle for survival while above 
 their heads among palm and fruit trees soar an eagle and owl and 
 brightly colored birds of the tropics in a spirited melee. Signed in 
 the right hand corner, Neilson, 1779. The selvage bears also the 
 signature of Neilson, the fleur-de-lys and the date. Borders similar 
 to preceding. (De Bellagio) Size 14 feet 5 inches x 14 feet 7 inches 
 
 [SEE ILLUSTRATION ] 
 1g 
 
LE COMBAT D’ANIMAUX 
 VERY IMPORTANT GOBELIN TAPESTRY OF 
 GREAT HISTORICAL INTEREST 
 
 [NUMBER 247] . 
 
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