ote , aint tit y yA ec 7 H fe: ‘ a dt Hi is ; k tari ve A j P, x Rf rn Z < % : j et peng bt y iy : | H i 5 fh , ) ; f RE ae Po erie uA : tf cota as if c Hy rsd pigenitet iy Septet gt ' * i i 4 4 i 1 ey, if tit tk one if i t resiriaiter Le ebatai ities t bits isiteain iat f ne i iit eae AS RET . it hs she bth rireelelatets Ser tates . atk i tgedeanrt ; i iinet oe ' Aeartittis 4 ‘ " w é i ia M4 Tae, a, < y Saale 1 4 i y odor at ih PRIMITIVES AND OTHER OLD MASTERS BELONGING TO NICOLAS RIABOUCHINSKY MOSCOW FROM THE COLLECTION OF PRINCE GOLINICHEFF-KOUTOUSOFF PERSONAL SECRETARY TO HER MAJESTY THE DOWAGER EMPRESS MARIE FEODOROVNA AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK @ pot ielee by roni is not-t 1ip a Eee uchinsky Primitiv inese Rugs from ~ ORKS BY THE LATE. ~ . WILLIAM KEITH Russian Leon Gaspard’s Brilliant Impressions of the War at Reinhard Gallery. — = ee Be es tai as : | __s- By ROYAL CORTISSOZ. —__ _ Seven years ago there was organized trograd, by the managers of the _ |art journal “Starye Gody,” an ex- _ jhibition of old masters from the pal- " jaces-and private collections of Russia. ade a profound impression, which» pened when Van Oest, of aaa, “brought out a well illustrated, on’ the subject. Everybody had | ; known the fame of the great at the Hermitage. but few re of the artistic riches lying ves of other galleries. M. enit ges of the id, made it plain, too,| isseur had long ean markets. t moment en some interesting | this fact. M, Nicolas | of . Art Galleries thirty-. paintings from the collection | icheff- tousoff, func- | Golinichefft-Kouto ie ary im the imperial circle at ad. . They will . the | mext Wednesday evening. Apart | their intrinsie merits, they awake sd reflections on what the Ger-. ns, looking around for exeuses for i erimes against civilization, are yont quaintly to eall “the Slav peril.” At this particular time, when te orld is rejoicing over the landing © assian troops in France, it is pe- y appropriate and pleasing to also another testimony to Rus- interest in the things of the mind, Though this is not a great collec- |tien it has a ver serious Patty ed : @ character. The traffic of the Kus- “i ee Gone with the French in. the eighteenth century, { | } sigs 4 which promoted ithe importation into the country of r Day oe the. more pilot ag art period, is recalled here le pee piece, the little “Sleeping Sym hs,” attributed to the school of f ch ; ignificance a grave slg : Be devotional subjects +e Italian school. For pure charm ’ best of these is the “Madonna an There are ose Milanese origin Dulitde ee only hin Abe type f the Madonna’s face an ead, a ie sweet sentiment pervading be whole composition. The two pain ings by Sodoma and the Madonnas by Lippi and Piero di Cosimo, if not a “highest quality, are at all evan : rain ristically beautiful examp ee of the earlier Italian tradition. ‘% ardo is unmistakable, Moscow, is showing | | be_sold at the, | All the other paintings are || of the. Child,” given to the school of Leon-| a ds not: to be fen ised. The second of the twa Poussin, is admirably representative} of his quality, both in the noble land- seape and in the vivid and satyrs. : : _ But the special import of this exhi-j{ bition is traceable to the northern primitives and their successors. It is strongest in the landscapes of Patinir, ' Pieter Breughel and Herri Met. de} Bles, those naive masters who turned nature into a kind of child’s dream, | dotting the scene with romantic ne itles, peopling it with figures half hu- morous (to our modern eyes) and bee, stately, and somehow contriving—de- | spite their essentially topographical hypcthesis of wood and mountain—-to fill their paintings with an exquisite atmosphere. They had color; they had: —in their way—light and air, and es- | pecially they had imagination. All ith | pictures in this category count with real weight in the show. As pendants to them or as the full fruits of the in- ‘spiration they embody we may cite the) levely “Waterside with Boats,” by, Salomon Risdael, the “River Fishing. Scene,” by Van Goyen, and the “Milk-: isg Seene,” by Paul Potter. These are all masterly illustrations of the more. veined naturalism of the Low Coun- tries, The figure subjects by the prim- itives include a jewel by Mabuse, the “Virgin Enthroned,” an interesting if. not altogether convincing “Christ” Amongst the Doctors,” attributed to Jerome Bosch, a slightly more persua- sive “Flight into Egypt” given te Van der Goes, a couple of fine panels by Gerard Van der Meire, and two curi- ious panels by an anonymous fifteenth century German. The “Peasants Fight- ing,” by the elder: Breughel, the por- ‘traits by. Amberger, Van Dyck and Moreelse, are of slight interest. The portraits by Cranach are of no greater value, but this “Madonna and Child” is 4 sound souvenir of his art. In the entire company of paintings there are but three or four things that are quite uegligible, In the main, as we have ‘indicated, it justifies itself in a delight- ful manner. The upper rooms are filled with lancient Chinese rugs and carpets from the Tiffany Studfos, a collection of 145 mieces which will be sold next Friday ang Saturday afternoons. There is one lastuunding object in the lot, the grand temple carpet (No. 145), which . was made for the late Empress Dowager, a ‘masterpiece in orange and _ apricot, ‘maacuring a little more than 32 by 31) feet. In its vastness and in its beauty | lit is a mightily dominating affair. But | of that by only a sin- | there is choiceness everywhere in this | exhibition. One has only to step into the next reom, for example, to observe | the Chinese artist working ov a much | smaller scale and in a more intimate | mood with equal success in the ex- | quisite “Seventeen-Medallion Rug No. 124), a little miracle in blue and weory. We attempt no further specific comment. The collection as a whole is a joy. French pictures, the “Bacchanal,” by} | rout of nymphs! |- “Tnusual Interest in Collection of Dowager Empress’s Interest in the art’ season now near- ing its close will be kindled afresh by. Some collections just placed, upon pub- [lic view in the galleries of the Ameti can Art Association: These are the ola masters belonging to Nicolas Riabouch- insky of Moscow, Russia, the Chinese rugs of the Tiffany studios, and an ex- tensive set of old views of New York and old maps. The Riabouchinsky pictures formerly Couns Secretary, priv RAN Y RUGS “OFFERED belonged. to Prince Golinicheff-Kou- tousoff, personal secretary | to 2 dowager empress, Marie Feodorovna, — sand were once housed in ‘the Winter Palace, Petrograd. These paintings are all ancient and Some come under the category of prim- itives. The nearest to our epoch is 4n eighteenth century panel, aseribed to the school of Bouches.. There is a pors btrait. by Moroni and Madonnas by Pier@: » (di Cosimo and Filippo Lippi, ‘but for the most part the work is northern, | Flemish, Dutch and German. Contain Much to Interest. Such interesting and distinguished primitive paintings “have not appeared) inh an auction here for a long time, cere | tainly not this season. The separate | works of art will appeal to persons of taste, and the collection as a whole has so much homogeneity that it may. be recommended to those who take pleas- ‘ure in. a gallery that is the result of a leonsistent and’ informed standard. Hyven ithe landscapes are imaginative in qual- lity and will succeed greatly with all those who bring this faculty to bear im \their admiration of pictures. A | A landscape by J. D. Patinier; @ \Flemish painter, is given the place of honor in the gallery, possibly not so much because it leads the collection in ‘importance as for its decorative value, \It is, however, an important landscape, \It shows a wide expanse of territory ‘with all the details that the mediaeval ‘mind loved to dwell upon. There is a4 wide river with a turreted castle upon }an island, and there are wild crags, |battlemented gates, all sorts of activi- ities in the distance, a nativity at one) side, peasant pilgrims at the other, and ‘in the middle foreground upon a curious ‘bridge, a philosopher all alone, musing ipossibly upon the vanities of this life. i'This bridge is cleverly placed to frame lin the wide river which otherwise would jhave divided the interest of the painting jinto two hopeless halves. ! This Patinier landscape and also those iby Josse de Momper and Pieter Breuys ixhel] the tnird are decorations that one. would decidedly not grow tired of soon, The De Momper landscape, to whieh ‘figures by Breughel have been added; lis amazing in detail and in the truth iof the detail. It has somewhat thé air lof a setting for a grand opera, say, by Weber or Wagner, and from a clé@ft in a wooded foreground one peeis out upon a. wide valley. This valley is bathed rite be 7 Sones landscape, ~ Ai; picture are few, but— tney aré-s pe over the foreground in. ba the right ‘places. Why oes aie “Dominated by “oly Fa “The opposite. wall of the A er laminedted by a “Holy Family,” by the great Sodoma of Signna, which, in ‘ad- dition to its religious tenderness and rich color, is, like all the other works in the Riabouchinsky collection, eminent] ‘decorative. The Virgin is a gracious and beautiful type. She holds the infant Christin her lap, who regards the infant ‘St. John serenely. St. Joseph is at the right in an atitude of worshipful humil- liation. The Van der Goes “Flight into Hgypt” is a small panel excellently de- Signed, and so, too, are the altar panels ‘by Gerard van der Meere, clearly and ‘Straightforwardly realistic in the Flem- ‘ish style. * A portrait of a man by Lucas Cranach the elder shows a robust personage of middle age cof great force of character.) | The artist has taken especial.pleagure in) ‘the textures of the flesh; the hair of the head and beard and also of the fur -tippet, which are carefully differ-) entiated. The great Frenchman, Nicolas’ Poussin, is represented by a charming ““Bacchanal,” in which there is dancing’ and revelry in a classic grove besnde| a. statue to Bacchus. The Moroni por-' trait is a three-quarter length of. a) ‘bearded, melancholy man, in a cloak, and ruff. . Two pictures of the German school, painted in the fifteenth century, portray) ‘pisodes in the life of St. Catherine land incidentally give one vivid ideas of | certain historic atrocities. St. Catherine in one picture is seen in the act of mar- tyrdom. Callous torturers ignite the fire at her feet. A bearded man who watches the scene in terror, is himself, haled be- fore the emperor in the companion pic-| ture and by the looks of the torturers is to receive short shrift: -Van Aeken’s “Christ with the Doctors,” Christoph} Amberger’s “Portrait of Charles - V.,” Paul Potter's “Milking Scene’ and the Lucas Cranach “Madonna” are among i | 4 the other notable works in the display. | iy ; tives : — by sm ks Rigbouchiisley Ho Be Sold. . ? Be ~ee beet Thirty-two paintings: Sroweti t to. aes country recently py Nicholas. Riabouchit= | sky, of Moscow, awho is an agent. of the Russian government in, ‘the placing of war orders: in:this country, were place on exhibition | yesterday at the’ Ameri F Att Galleries, No. 6 Madison © ‘Squar pe ti, pre to ‘their co a. Prince Golinicheft - “Koutousenel A eaonall| aay Ger Dowager “Empress ot secretary to the Marie Feodorpvna. The collection is rich in Wares by primitive painters and by the old mas- fe -One of. the snost interesting is) aie | Sheruba:” by Lucas icranaeh™ the. ier lod | n a work that is typical in color. and subject of the early German. school.. The Virgin, \Samon in features, © yellow hair, smooth over the head - ‘and falling in >ringlets upon the shoulder, The “cherubs have — blue - green wings. The Christ Child, standing in the: lap of the Virgin, offers an apple. to the infant St. John. The pier is dated 1586, An interesting painting of the. French’ school is’ ‘““A. Bacchanal’ by Nicholas ‘Poussin. A statue of Bacchus is sheltered in -& pleasant landscape. Fauns play on their pipes and nude nymphs _ dance. ‘Qandscape with Representation ‘of the Nativity’ is. a work most beautiful in: color by. Patinir, sixteenth century Flem- ish master, with a panoramic landscape having a river, a city and a ‘eastie in the distance. “Another Flemish sixteenth cen- tury picture of entrancing beauty of color, with its ultramarines and reds, is “A Mountain Landscape with Abraham’s Sac- | for each item. eye rifice of Isaac,’ by “Met de Biles. | The! scenery is of the noblest and ig interpreted, in a fine romantic key. The two oldest pictures in the collection are a pair.of fifteenth century German primitives, one depicting the martyrdom of St. Catherine and the other showing the fate of her earthly lover. These picture are most typical of the early German school, with vigorous drawing and noth- ing undone to indicate the villainous char- acter of the torturers. The colors are as pright, apparently, as they were on: the day they were painted. | A. fifteenth century Dutch picture is| “Christ with the Doctors in’ the Temple,’ by Jerome Bosch, an interior with brown tones and vigorous characterization. A) fine fifteenth century Flemish example) is “light into Egypt,’ by Huge van der) Goes, bright in color and tender of sen- timent. The early Italian master Sodoma. is represented .by two. works, “The Holy! Family with St. John,’’? most: peautiful in uy bouch ey. a Mas! guy ee pictures, Sout : or three of Dutch puscular region | ers. as Joachim Pa de Bles. names * Exp of hattle, he cataloene ‘ collection is ¢ tly -co out a trace of per A cerning the attri : the usual patter - | earlier sales, but: ful descriptive | - The pictures differ g ‘The panel given to Jer haye delighted the bale of] js an unconventi ) he temple scené with Christ and tors. ‘The interior rarer sented is rich in luminous “ows. ‘Two ar $ arched doorway Bite: ‘tiie ‘The éight doctors wear v ‘$ions of interest or in far “in the background child Christ, his importance as jnent of the scene minimized, T per of the artist is precisely th: “which Daumier drew his famous eourt- ‘room series. A primitive touch | the ‘introduction of ‘a béautifully ited butterfly in the foreeropiid near, the’ edge of the panel. The Patinir landscape te ee eal sive’ composition, with rocks and land- ‘scape, a little town, a decorative river, bridges, and human figures assembled under a deliberately composed sky. The 4 , i color is pure and lively,’ and the of the foreground are triumphs of. viduality,, dramatic ae POS, and expression, 4 he ay Se a ar Chetstonh Amberger. “The ster of the ‘Death of the is credited with a charming ling in expression’ nd executed detail, Ab Marcellus Koffer. g chiefly for the desing and the pars. the figure of S y) is-also eve his typ pee ‘and the - fine nga: , it whottp” ‘its: ‘ent condition. The | f dens niba and pee ny Studios, one of which ; for its combined great ike Print. Room id ie pia Mies and maps of York and other anerican. Art ‘et St. Mark’s. Lclu eae tt iil ia now an exhibition of Pp psig on yiew in the Hall of St. rin-the-Bouwerie by Lewis: Wp , Mr. Herzog is a well- trained -and a mtich medaléed artist, who eferred this quiet little aAllery ww out on a daffodil bed te the S eg vee for showing his pic- ‘ have to make your way " path running beside the grave- he church undér thé stern | gaze © ? the 8 Stuyvesant statue to reach the ‘hall, and he cannot be sald that the | pictures are in oy good light when ‘you, ] Nast but the ee well worth see- Ay he Amsterdam Flowér Mar- Ht in particular is a piquant pein ie ent ef coior and expressive movement Wan? o¢casional figure detaching itself he rich foregrotind. mass with an [inaividuan gesture and attitude.” adonna and Child,” in a. eie Ls Ponte! thelanee to Petcok olin here A ie -Koutousoff, personal secretary to the Pin § Dowager Empress Marie Feodorovna, ii Winter Palace, Petrograd, is now over n i] here to be sold by the American Art Galleries, Madison ‘Square South, is, after all, a simple matter. This is true, even though it is more than four” thonsand tiles as the crow flies from Nevski Pros- pect to the square where the hours are. chimed “tron the Metropolitan’ Tower and Farragut in bronze ‘listens for eight bells. Because Mr. Nicolas Riabouchinsky, of Moscow, is'a very wealthy man, he bought the collection of _ Prince Golinicheff-Koutousoff. Because Russia is at war, Mr. Riabouchinsky is in New York engaged in the service of his country in certain matters con- nected with the purchase of war supplies. Because he is here he has discovered that in this land of >. A. Bethlehem Steel, U.7S8. Steel,. Crucible Steel and much higher—prices than they do on the Continent | even in the most favored times, let alone now. That is, why. the former. Golinicheff-Koutoysoff. collection of paintings will be placed on view next Saturday in the American Art Galleries and will remain there on exhibition until the following Wednesday, when, the old masters will be taken to the Hotel Plaza — and—rap, rap, rap—be sold at public vendue to the buyers upon whose bids Mr. Kirby’s pencil descends | with a final rap. Wealthy Russians have long been collectors af | art and especially of ancient paintings and objets | dart. The Eremitage, Petrograd, is one of the great | public collections of the world. It fixes a standard | so high that it would seem impossible for a Russian of culture to go astray either in forming a gallery or in appreciating a collection that may have come o him by inheritance or purchase. Mr. Riabouchin- by ’*s collection is catalogued as containing old mas- ters “of the Northern and Southern schools’’—that is, paintings by masters of the Low Countries and Ger- many, and by those of France and Italy. | The Flemmg Hugo van der Goes is represented ‘in the catalogue by an altar panel, a “Flight Into Egypt,” and there is another panel by the Flemish artist Gerard van der Meere, with what is probably ia companion piece by the same artist; the two panels ‘most likely being wings of a triptych. | Also of the “Northern school” is the portrait of a young man by Moreelse. The dark brown hair of ‘this young man is brushed up into a roll at the top lof the head and at the sides brought forward into a | Single curl, formerly the war lock of Central Europe, pehoush the custom may now have gone out. Nor is ‘the subject of that part of Europe, but more likely | Italian. Another portrait of a young man, painted in | golden brown tones, the hair curling low on the fore- | head and falling over the ears in cayalier ringlets, 'is catalogued as by Van Dyck. As in practically all 'the Van Dyck portraits, the costume, due partly, of course, to the picturesqueness of the period, is at- ‘tractive. The broad linen collar, fitting close under | the chin, is edged with spikes. The slashed sleeves ea “war brides,” works of art’ sell at highet== Feapitel taker would like “throne in Mabuse’s “Virgin: figures are so dwarfed | by carved throne that it is a picture « of _ than of the Virgin and Child. And the ‘throne was Bs well worth painting. For it is an elaborate construction, the aien one. of the Flemish Renaissance. The throne rises from a low white marble dais right to the top of the picture, and must even be imagined as continuing | slightly above it. The canopy is.crowned with a circle enclosing the winged head of a cherub. There are two carved newel posts and two large carved _pendants that droop from the canopy, the design f being ‘in: conventionalized fleur-de-lis. Through a paluster and scroll carving in the back there is af- ‘forded a glimpse of the landscape, which also ex- “tends to either side of the throne. It is likely to ‘have been copied from a then existing piece of “carved woodwork, which, from its importance, it _ would be interesting to identify. There is a special reason for calling attention to: the “Madonna and Child, ” attributed. to the Milanese school of Leonardo da Vinci. Almost any owner of a collection of which this picture was a part would have it restored in the lower left hand corner and along the left arm and sleeves of the Virgin and the » legs of the Child. When. I saw the picture I asked if it was not to be restored. I was told, however, that Mr. Riabouchinsky’s. instructions were that it | ‘was to be left untouched. Hvidently his view is that the picture as in its present state should go into the sale and its restoration or non-restoration be left to the preference of the purchaser, Incidentally. cautious work done by an expert restorer would not. harm the picture, but I presume it is the owner’s view that he is selling his paintings as they are, not as they might be made to appear. Yet it would not be surprising if in the ease of this picture he were persuaded to have a little legitimate restoring carried out on it. q Pays $2,500 for eh ‘scape with Repr - A ‘collection . ih abiiatives and Nativity,” by ac x Patinir ‘In a court in the foreground is” - appears to be a medieval castle in the . Nativity A in the ce Deee of Be even econ hese ramen Mu se Patinier, “No. 29, 2 - aiiaee of the sixteenth century. in Museum for a ae The picture is a geeint inve a a of the Nativity. There are other. value figures, a stream of water with what! centre connected with the land by ma bridge; a town, winding roads, bridges, || rolling ground partially covered with. trees, in the centre of the be an enormous turreted rock, and oe is the warm) blue sky seen in. many ony pictures. An. interesting Paul Potter; a“ Milking! Scene,’’ No. 7, a row of slight feathery-_ topped trees, in the field are sheep, with the cows gathered to be miilked by 7 icturesque maid, a quaint house, arge gate, a stream and bridges with: a tender sky, brought one of the a hinhet prices of the evening, going to Bo agent, for $1,775. A delightful “* Ma-’ donna and Child,” Filippo Lippi, No. 17, went to Seaman, agent, for $1,550; CAM Bacchanal,”? by ‘Nicolas Poussin, No." $2, one of the few canvases in the Pie lection, went to the same buyer $1,600. The... seductive ** Slee Nymphs mer 8 by. Satyrs,” Se te of Bouckiey, Ao. 9. went ta D. Geo Dery, for $7 a Hn GG peda 3 Dates rd yr! 2 ‘- = ELE PES ty te “amy Siringér.. © a if mag ; ae Fan \ ir 1-8 en P| “Brueghet TPP tendeeay with i figur van, Wee OLS sate 28——Hern Mat 4 le co ssa Oh A Landscape men _ Abraham’s. dole of BC head ame M, J 2—Joachin D, Patinir, “Landsea f ig oe Boilies 8 Atoly Family. NY. Rit Wey Melkopoltean if Mus St. FOL” Fetches the trop. . 8-—Giovannl’ Battista’ Moroni, “Por-_ Oe abe sicaa \Oranson tke’ cet oh Figure, $8. 500. | | donna, and Child With 8. John) ‘ and Cherubs’; T. Brummer... / é alii: Poussin, re pec chonats ei Sp | Wi Wt aman, agent......... 1,600) ¢| MUSEUM ONE OF BUYERS ee e* ee eae a So Bs ‘The art collection of Nicholas Riabou- Bidens which formerly peloyig to Prince || Golinicheff-Koutousoff, secre) ry to the } Dowager Empress Marie” eodorovna, ||‘was sold last evening in the ballroom oft the Plaza Hotel by the American : eee i B50 J‘ rt Association, “hila — panel) ioo8 _ Possibly ‘because the ‘collection was as the . | small one (there were only thirty paintings in it), or possibly because many wf the artists were unfamiliar to New "York collectors, the audience was not a jlarge one. It included, however, most | of the well known dealers, and the Met- ' |ropolitan Museum of Art was among the ‘purchasers. The total for the sale was $31,850, © ' A composition by Sodoma of the “Holy Family With St. John” brought the leading price, selling to the Kleinberger |)Galleries for $8,500. The landscape by |‘Patinir, for which the Metropolitan Mu- 4} |seum of Art gave $2,800, is & charming ‘| |transeript of medieyalism, with quaint castles upon crags and one upon an island in a river. The jist of pictures with buyers and prices follows: 1—Paulus Moreelse, ‘‘Portrait of a Young Man,’ R. Hderheimer,. $150 8—Lucas Cranach the Bilder, “poy. trait of: Martin Luther,” #. K. ~ SUPin Bere) sea a ete ek 100 ’ §—Anton Van Dyck, “Portrait of a Young Man, 7 OW. OW, Seaman, EET cette a a Wea ae Fag hee 400. o4—Jan Van Mabune, “The! Virgin Hnthroned,”’ O, Bernet, agent. 525 6—Hendrik Van Balen and Jan Brueghel, “Madonna and Child With Angels,” ©. Bernet, agent 675 6—Marcellus Koffermans, “The Crucifixion,’’ Hdward Stone... 250 7—Paul Potter, “Milking Scene,’ O. an ] uN; aK. ‘Serine th F Horna: Gi jaV bitte alee +8 800, 25 Eger aig Penola ni ey a ven gee i ee 600 caer any Raateciibe wath Ab. s K Met de ‘of Isaac, (panel)— Bles; F=M. Wirmpie.. Representation of SS on D, | for haa: Bernet, ASents ies ve es os as sis ens Ba Be 3} Hh ed ah. Cate : $—Lucas Cranach the Bider, “Por- i] trait of a Man,” Kleinberger | Os Aa Ei OO ere a aol Hoe Galleries... -...- Dy wieae a 550 adoniie “and ne with. Sé. ure —School of Boucher, sleeping Cherubs Nymphs Surprised by Satyrs, hae ee. - Veanaseyred Di GROOVE Go SIV ia.0 ae ysis a Cepepmaele 700 | YESS Creech wigs 10—Salomon Van Ruisdael, “sk Water- “A 'Bacchanal, — (Canvaa) “Nicholas ews side With Boats,” A. S. Van q | WHS OU i ois sed Sack arate BAS vei"s, ¢:'4 call he iil "Poussin; Seaman, -agent..... sieevess+ 1,600 OF aie a ae Goyer, idsioes Wishing | 50 | Scene,” A. Si Van Wezel... ... 5BO 132—-Pleter Brueghel the Hilder, “Pease Ci A ants Fighting,’’ B, K. Stringer. 300 18Josse de Momper and. Pieter | Brueghel 8d, ‘‘Landseape With Figures,’’ O. Bernet, agent..... 550 a. heey were formerly “of the ‘of Prince Golinicheff-Kou- ih PR ersonal secretary to the Do- mpress Marie Feodoroyna, N4——Joos Van Cleef the Elder, .‘‘Ma- io Palace, a lat donna and Child,” Bdward | SOULE sd Ma IC Te ETC SL ee ULE) ae 550 t5—Sodoma, ‘Madonna and: Child,’ RR. MGSrpHeimMer fi ei Vb ee 700 16—Leonardo da Vinci, “Madonna and Child’’; R, Hderheimer. 1,050 ‘egtie o Lippi, “Madonna and ila”; W. W. Seaman, agent.. 1,550 Agave Van der Meere, altar > panel; J. Goudard....... PPR reat a: | 19—-Gerard Van der Meere, altar panel; J. Goudard........ 650 i90—Christoph Amberger, “Portrait. of Charles ‘V. of Germany’; A. 3. Van WWesebih.) dc. eugiete at ace $25 2—Piero di Cogimo, ‘Madonna ‘and Child’; W. W. Seaman, agent.. 1,100 eo 9.-Sodoma, “The Holy Family With | S. John’; Kleinberger Galleries. 8,500 '23—-Hugo Van “der Goes, “Blight Into | Beyprr ay de. Tl. Olivemwiaisn 48 ces 850 24—Jerom Bosch, “Christ eh the Doctors in the Temple”; M. de ESTO WEA eek ob x oe MMOD sg ala “gee ph 825 |25—-German school, ‘Martyrdom of i Catherine’; E. K. Stringer... 300 iY _— be: Bis vi 0 Bs sent brief answer, the suit be : In. | ater -he “‘‘ denies y allegation,’ and more says that on Jan. 19,’ 1916,; ‘plaintiff engaged in a game. nown as roulette, This he, ; the only transaction between nd he believes that the dealings h. eee the papers filed by McKenna. to a game of chance. He further that ‘all transactions and all ‘between the defendant and the | tiff were wagering contests which, ithout consideration and voidi?}) <4 . of this, Riabouchinsky asks “the suit be dismissed. His attor- S were unwilling yesterday to go the details of the roulette game, but was contended by Walater ohn last zhi that M..Riabouchinsky had no ar knowledge that he had ever met Kenna, much less that he oweed him ay such sum as he has been sued for. . Riabouchinsky could not be found st evening. At the Vanderbilt Hotel Bs was said that he was not in his suite d that he and his wife had gone out for the evening. In a well-known. res- taurant where Mr. McKenna is usually 9 be found it was eaid. dees he war ‘not around.”’ | tras fet tougoff, 0 on. April 26 ; jwas realized, An art eritic and. iter on ane su ri jects, M. Riabouchinsky several mon -jago gave an .exhibition of Russian nh sketches in Paris which attracted n ugh jattention. ay ‘A suit to recover in'a camping! tr ‘action, in which a Tim McKenna * was brought’ in January, i e ‘Frank McDougal brought suit in’ reme Court to compel William: Ei to make good on a check. for Sid. 600 ova by Nolan to McKenna d by MeDougal. ; the» thorogee ae throad Gur : é was own 0 bat Ba Weak bee La of court ‘Nolan fe} ipea Pers ah the’ check. “stop ! ad not until over i. MeDou @ year later that brought ‘suit. © McDougal, 1, was, the dealer in the 4 Husband no Co ABOUGHINSKY, 1) Noted Art FERNANDO ROCCH £ i ¥ s ie r d her cent for the Rus ga 1vorce se ? known a id ? e the wo in in ford purchas ing I RI iful women ky, ins is su he iabouch 4 Ss whom holas R ent, N ernm 1c ° * ? Gov one of the most beaut 1D) M* husband sian ye - ON FREE PUBLIC VIEW FROM 9 A.M. UNTIL 6 P.M. AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM SATURDAY, APRIL 22nd, 1916 UNTIL THE MORNING OF THE DATE OF SALE INCLUSIVE PRIMHIVES AND OTHER OLD MASTERS BELONGING TO NICOLAS RIABOUCHINSKY MOSCOW, RUSSIA TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON WEDNESDAY EVENING, APRIL 26th, 1916 BEGINNING AT 8.30 O’CLOCK IN THE GRAND BALLROOM OF THE PLAZA FIFTH AVENUE, 58th TO 59th STREET ILLUSTRATED CATALOGUE OF THE VALUABLE PAINTINGS BY THE OLD MASTERS OF THE NORTHERN AND SOUTHERN SCHOOLS BELONGING TO MR. NICOLAS RIABOUCHINSKY MOSCOW, RUSSIA FORMERLY OF THE COLLECTION OF PRINCE GOLINICHEFF-KOUTOUSOFF PERSONAL SECRETARY TO HER MAJESTY THE DOWAGER EMPRESS MARIE FEODOROVNA WINTER PALACE, PETROGRAD TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE EVENING HEREIN STATED DESCRIPTIONS WRITTEN BY MR. CHARLES H. CAFFIN THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1916 CONDITIONS OF SALE : 1, Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the pur- chasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon payment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P.M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on pre- senting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the pur- chaser. Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. {. Guarantee is not made either by the owner or the Association of the correctness of the description, genuineness or authenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold ‘tas is” and without recourse. The Association exercises great care to catalogue every lot cor- rectly, and will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. CATALOGUE SALE WEDNESDAY EVENING APRIL 26th, 1916 IN THE GRAND BALLROOM OF THE PLAZA FIFTH AVENUE, 58TH TO 59TH STREET BEGINNING AT 8.30 O’CLOCK PAULUS MOREELSE Hoxzanp (Utrecht) : 1571—16388 No. 1—PORTRAIT OF A YOUNG MAN (Panel) ] aes Height, 914 inches; width, '7Y% inches 7 ‘THE figure, seen almost to the waist against an olive back ground, faces three-quarters to the left, while the eves look toward the right. ‘The dark-brown hair is brushed up into a roll above the forehead, and a single curl, brought forward from above the left ear, lies upon the cheek. The face is distinguished by glowing flesh tints; brows that form a double curve over the gray eyes, and full lips, meeting in a Cupid’s bow. ‘The neck is hidden by a lace ruff, buttoned close up to which is a black tunic, with tight sleeves and shoulder caps. On the back is an inscription: “Orazzio d’Aless. d’Amer. ‘Temperani Panno XX nel AET.”, which would suggest that the portrait was painted during the artist’s sojourn in Rome. No (Qa R Rin weve une ” ¥ a aS ee 7". = LUCAS CRANACH THE ELDER GERMAN (Saxon School): 1472—1553 No. 2—PORTRAIT OF MARTIN LUTHER ( Panel) J/O06% = Height, 9% inches; width, 7 “"d Tue figure of a man is shown o i the waist, cing three-quarters to the right; the hands, as they hold an open book, resting on the top of a slab of stone. ‘The head is covered with grayish white hair of nearly the same tone as the background. The eyes are brown and piercing, beneath finely penciled arched brows; the nose is strong and thick; the mouth small and firmly set, and the chin and jaw are noticeably large and full. A white collar, with a black edge, is fastened above the red bor- der of what appears to be a black robe. There are also traces of the coat having had a brown fur collar, but the picture is in bad condition. On the slab are in- scribed three couplets in Latin hexameter and pentameter verse. The first is as follows: “Cernis ut invicto dederat natura Luthero Flammantes oculos, oraque plena Deo,” which may be translated: “To Luther, unconquered, thou seest how nature had given Eyes charged with flames and countenance full of the Lord.” ANTON VAN DYCK Fruemisu: 1599—1641 No. 83—PORTRAIT OF A YOUNG MAN ( Panel) Height, 984 inches; width, 784 inches ge bee W.-W. J RAAB PAINTED in golden brown tones, the figure of a young man is shown to a little below the waist, slightly in- clined to the right. His hair curls low on the forehead and falls in “cavalier” ringlets over the ears. Fitting close under the chin is a broad linen collar, edged with spikes that spread over the tunic. ‘The latter has slashed sleeves, disclosing undersleeves of lawn with lace cuffs. A sash surrounds the waist, and from the left shoulder | a bandolier crosses the chest. On this the young man holds his right hand, with the fingers elegantly splayed, while his left hand grasps a truncheon. The background is composed of drapery. JAN (GOSSART) VAN MABUSE FLEMISH Born about 1472 at Maubeuge; died 1541. No. 4—THE VIRGIN ENTHRONED ( Panel) See. Height, 1124 inches; width, ie Tuer Virgin, draped in a violet-rose Banga Coed folds that yet cling to her figure, is seated with her face held close to the Child’s, as He stands on her lap. Her throne is an elaborate construction of Flemish Renais- sance design, that rises from a white marble dais to the top of the picture, where the canopy is crowned with a circle, enclosing the winged head of a cherub. Con- spicuous features of the carved work are two newel posts, surmounted by conventionalized fleurs-de-lis, and two pendants that droop from the canopy. At the back of the Virgin is an opening through which appear the details of a landscape that also extends beyond the throne, showing, on each side, a house. ‘The one on the left is backed by wooded hills, leading to craggy mountains; the one on the right by water, following the windings of a precipitous shore line. HENDRIK VAN BALEN AND JAN BRUEGHEL Fruemisu: 1560—1682 or 1638; 1568—1625 No. 5—MADONNA AND CHILD WITH ANGELS ( Panel) i 7) Kony Height, 10% inches; length, 18 inches Tue landscape, painted by Jan Brueghel, presents in tones of green and blue a sylvan glade, bordered on the right by water, which extends to a woody bank, sur- mounted by blue hills. Against the water appear two red-breasted birds, perched on twigs in the foreground, while a third is similarly depicted on the left of the com- position beside a leafy bank. Under the shelter of fol- lage in the center sits the Virgin, clad in a rosy robe with a blue drapery across her lap. On this stands the Child, turning with eager hands toward a dish of fruit, offered by an angel kneeling at the left. The latter is fancifully attired in a yellow silk gown, fluttering above a red skirt. Another angel kneels behind her. The heads of Madonna and Child are distinguished by nimbi of suf- fused glory; and flowers, dear to the Virgin—forget-me- nots, pink and white roses—lie scattered at her feet. -_ ee eee le Sn § he Ss - tA Pat ee AM 2 > . A obs ' ale Mex on ae * if < . a ‘ - ; ; ~ MARCELLUS KOFFERMANS Admitted free master of the Guild of 8. Luke in Antwerp, 1549. No. 6—-THE CRUCIFIXION ( Panel) Height, 13°24 inches; width, 10234 inches pits ov ° io g YA S A | THe Saviour, on a cross bearing the “monogram “I.N.R.I.” hangs between the T-shaped crosses on which are suspended the two thieves, the impenitent one being distinguished on the right by the contortion of his limbs. The figures are tinged with brownish tones, which also are employed in the landscape and a view of Jerusalem with turreted walls and a domed temple. ‘The sky is over- cast with dark gray stormy clouds. The Magdalen, robed in white, kneels with her arms around the Saviour’s cross, holding a dove-gray drapery that descends over the lower part of her figure. As if invoking pardon for the sin- ner, the Virgin stands at the left, shrouded in a black- ish-blue mantle, while on the Saviour’s right S. John also stands in pleading attitude with arms extended to- ward the Magdalen. ‘The expression of death is variously, but with marked convincingness, portrayed in the figures on the crosses. PAUL POTTER Houwannp: 1625—1654 No. 7—MILKING SCENE ( Panel) 5 ee Height, 14 inches; length, 18 inches ‘i]s 7 Da Birr ger A HERD of cows is grouped in the foreground and on one/ of them a milkmaid leans an arm, as she stands holding her bucket. A man with a stick approaches from the right, while to her left a woman, in white cap and red skirt, is seated on the ground beside a large brass bowl. Behind the figures extends a row of eight trees, whose stems and traceried boughs and foliage form a screen, be- yond which appears a gabled building with turret and spire. The entrance to its grounds seems to be on the left of the composition, through a gateway of brick piers, surmounted by lions. On the right, in the middle dis- tance, a narrow, arched bridge leads to meadows, dotted with cattle, beyond which a village and church tower nestle amid trees, Signed at the lower right, P. P. PTO cPshlcrieaalte * aston hig ey ee asa hot 0% am eo ee LUCAS CRANACH THE ELDER German (Saxon School) : 1472—1558 No. 8—PORTRAIT OF A MAN (Panel) bom Ree Height, 1514, inches; Wig 0, ¥ TurNeED three-quarters to the right appear the head and bust of a man of middle age. He is of sturdy, somewhat stubborn type; has brown hair threaded with yellow, growing thickly above the ears and stiffening on the crown. Wrinkles show below the eyes, which have full fleshy lids; the nose has a strong, flat bridge and the lips are compressed with a decided protrusion of the lower one. He wears a short mustache, a littl growth below the under lip and a beard that curls close to the chin and jaw, extending to the ears. A white collar, edged with a frill and fastened with a string bow, les over a black coat, which has a broad border of brown and buff fur over the shoulders and down the front. Signed in the upper right-hand corner with a winged serpent and dated 1582. SCHOOL OF BOUCHER Frencu: EIGHTEENTH CENTURY No. 9—SLEEPING NYMPHS SURPRISED BY SATY RS ( Panel) a7 14 Height, 1614 inches; width, 131% inches 9. Ge, Four sleeping nymphs are grouped in the he foreman around a goblet and grapes, their rosy nude forms inter- ; laced in soft allurement. One holds a leopard’s tail; an- other, on the right, reclines upon a blue drapery, while the figure vis-a-vis to her is supported by red. cushions. Above her a carved satyr’s head projects from a ruined fountain, to which is attached an amber-brown silk cur- tain that forms a shelter for the sleepers. Peering over the top of it are the faces of two satyrs crowned with vine leaves, and the face of a baby Love. Another Love hovers in the air, brandishing in each hand a torch. = = a a . ‘1. oy Bae ay his Ye a > . a1 VAN RU ‘ ~ ¢. 4 > ' vs 4 ; ‘ ‘ ~~ r ~ ) SALOMON VAN RUISDAEL Houianp: 1600( ?)—1670 No. 10—d WATERSIDE WITH BOATS ( Panel) ja fatae Height, 151% inches; length, 2314 inchs THE foreground is composed of water, the smooth sur- face of which is interrupted by boats and the reflections of trees that fringe the opposite bank. Near the left of the latter appears a buff-colored hut, overhung by a yel- low willow and a green tree, under which a man is seated. Trees extend along the waterside in a perspective line that comes to a point on the extreme right. Here, a boat dots the water like a speck. Nearer to us lie two others; while about the center of the foreground, still another pair is in plainer view—occupied, respectively, by three and two figures. There is a prevalence of gray tones in the landscape, suggestive of misty atmosphere; but toward the left of the sky hovers a rosy creamy cloud, near which two birds are flying. aie ne P| nt * MG) eg Y i VA i { N JAN VAN GOYEN Houianp: 1596—1656 No. 11—RIVER FISHING SCENE ( Panel) 6s Ai Height, 141% inches; length, 314, inches A = - VwrlWy Tue bend of a river occupies the foreground, whefe a man in a boat is approaching two eel-pots that are slung from a cross-bar, supported on posts. Farther back to the left le two other boats with fishermen, while a fourth is moored to a stake by some rushes, at the extreme left of the foreground. On the opposite side of the composi- tion the shore slopes up to a bank, under the lee of which sit two women in conversation with a man, who stands leaning on a stick. Beyond this group appears a clump of trees, near which is a single bird in flight, while a flock of six are silhouetted, higher up, against a puff of cloud. On the left of the middle distance a windmill rises among trees that show faintly along the horizon. The color scheme involves a prevalence of golden brown, indicative of Van Goyen’s earlier manner. PIETER BRUEGHEL THE ELDER Fruemisu: Asout 1530—asout 1570 No. 12—PEHEASANTS FIGHTING (Panel) 3 4 b Mas Height, 16 inches; length, 22 ya THE scene is a village green, backed by gabled/houses, leading on the right to a wide street where peasants are congregated. Playing-cards are scattered about the foreground and at the right a bench has been overturned. A woman, whose arms are folded, is falling with it, be- ing pressed back with a three-pronged fork by a man on whose head a flail is descending. It is wielded by a fellow in olive-green coat and gray hose, who in turn is being pulled back by another man. The group is com- pleted by another man and a woman, while in the left middle distance still another man stands between two trees in the act of hurling a missile. Opposite, at the left, a girl with a milk-pail on her head is approaching from a glade of trees that leads to a red house. Signed on a barrel at the lower left and dated: P. BruecHey 157? i P a 3 DE MOM 1GHEL Il ER. JOSSE DE MOMPER AND PIETER BRUEGHEL III Friemisu: 1564—16384; 1589—1688 No. 13—LANDSCAPH WITH FIGURES ( Panel) =_ 7q oe Height, 161% inches; length, 23°4 inches Tue landscape, painted by De Momper, is in ton¢s of blue and cream, with a foreground, representing a knoll, of rich golden brown. Here Brueghel has added the fig- ures—a man in gray suit, with a sack on his back, stand- ing in conversation with two women; one of whom, dis- tinguished by a red skirt, is seated, while the other rests her basket on a boulder. A boy with a basket on his arm is looking away toward a greyhound at the left. Be- hind this group a man and his dog approach the brink of the knoll, below which another man is disappearing. A cross stands on the edge of ground, showing dark against a valley and distant hills, on which appears a church. Another church occupies the middle distance at the right; a wood of bossy trees rising behind it on the lower level of a precipitous crag. On the summit of the latter the glimpse of a castle peeps ovt from the fo- hage of a tree that mounts up from the right of the fore- ground. Linon to "AM pa we 2 are a Al 2 * a rs JOOS VAN CLEEF THE ELDER (Master of the Death of the Virgin) German (Cologne): Died 1540 No. 14—MADONNA AND CHILD i ( Panel) UEORU or Height, 19 inches; width, 134% inches WitH a veil, transparent as water, trickling over her soft blond hair, which falls in ringlets to her shoulders, the Virgin is seated in the center of the composition. A rosy mantle, lined with brown fur and bordered with gold filigree, partially conceals her deep blue robe, which is cut square across the bosom, and has loose sleeves, folded back at the wrists, so as to reveal the gray lining. On her right hand she supports the sleeping Infant, whose own right hand clutches the thumb of the Mother’s left hand, while His left is twined around her second finger. Behind the figures is a landscape, executed with minute detail in tones of blue and brown, at the left of which appears an archer shooting up into a tree, while on the right two swans float on water, near a bridge that leads back to a cathedral and a windmill. if “i ah “¥ A st A a a = o NI ANTONIO BAZZI. oF GIOVANNI ANTONIO BAZZI (Called SODOMA) Iravian (Sienese) : 1477—1549 No. 15—MADONNA AND CHILD ( Panel) yr Height, 22 inches; width, 1444 inches 70 0'— ie DraPep in a bluish green mantle that falls from her head to the ground over a rose-colored robe which clings to her supple figure in many folds, the Virgin kneels in the center, her arms extended in expressive gesture, her body inclined in loving adoration toward the Christ who sleeps on a crimson cloth at the right. In the opposite corner of the picture the infant S. John kneels, with hands raised in prayer, but his head turned toward the left, in which direction also, a dog, by his side, is gazing. Above the child’s figure appears S. Joseph, whose old and reverent head is bent toward the Virgin, while his right hand is raised with spread fingers in a gesture of protection. Be- hind the Christ kneels an angel with rosy wings, clad in an iridescent robe of red and blue. Farther back two slim trees with bushy tops form the prelude to a hilly landscape. Attributed to the Milanese School of LEONARDO DA VINCI Irauian (MizanesE): 1452—1519 No. 16—MADONNA AND CHILD ( Panel) v6 esote ce Height, 24 inches; hee i mnches Tue Virgin is represented standing behind a balustrade, on which reclines the nude figure of the Infant Christ, whose head is supported by a plum-red cushion, held in place by the Mother’s right hand. His head is clustered with golden curls, and He holds a bunch of daisies to which He is pointing with His left hand. Madonna’s face, lowered toward her Child’s, is of oval shape, with arched brows and drooping eyelids, a nose long and rounded at the tip, and a curving mouth with a full un- derlip. Her head and figure are wrapped in a blue mantle, the rosy lining of which is revealed around her golden chestnut hair, and in the folds of the drapery over her arms. The background is a wall of dark olive-green, pierced by two small arched windows, through which ap- pear glimpses of rocky landscape, the one on the right including a group that suggests the Flight into Kgypt. 4 beEVeE Ped es FILIPPO LIPPI Iranian (Florentine): 1406—1469 No. 17—-MADONNA AND CHILD ( Panel) Height, 2514 inches; width, 161% inches Vy. VW 2AISAGS. Mn- Tur Infant Christ reclines in a half-seated posture on TE the left of the composition, turning His head to gaze at the spectator, while stretching His arms toward the Mother. She kneels at the right, with hands devoutly joined and her head bowed in absorbed reverence and love. A solid gold nimbus, pricked with indentations, surrounds her head, over which a dainty veil falls in a series of fluted folds. The downcast eyes are deep brown and the face is delicately tinged with rose. Part of her crimson robe is visible beneath a blackish blue mantle that is edged with gold and embellished on the shoulder with a gold star of eight points. ‘The landscape set- ting includes a formation of rocks, slaty-colored, like the ground, while to the right, painted in tones of brown and pale blue, spreads a valley, intersected by a winding stream and bounded by blue hills, beneath a sky of faintly luminous blue. GERARD VAN DER MEERE (or MEIRE) Fiemisu (Ghent) Flourished about 1452 to about 1472. No. 18—ALTAR PANEL (Panel) / he pas Height, 3014 ae inches From an arched gateway, overhung with a portcullis, a lady in the costume of the fifteenth century has come forth to greet an elderly man. She is bending her knee and leaning forward as if in the act of curtseying, while he also bows to her, resting his left hand on her right upper arm and his right on her other arm above the wrist. He is attired in an old rose drapery over a robe of gold tissue, and wears a blue cap, with brown fur border in the front of which is a star of pearls. The lady’s head is covered with a white cloth, fastened un- der the chin; over which les an ashy plum-red veil that falls in loose folds to the ground, disclosing a little of her blue gown. ‘The figures are standing in a paved court, enclosed at the back by a battlemented wall, over which appear the spire-tipped turrets and roof of a pile of buildings. The panel appears to be one wing of a triptych, to which No. 19 is a companion. GERARD VAN DER MEERE Friemisu (Ghent) Flourished in the second quarter of the XV century. No. 19—ALTAR PANEL ( Panel) [ ays fant Height, 8014 eae 1034 inches Md Ly pry btA_ ‘T'Hx scene is a Gothic interior, with a round-topped win- dow composed of two trefoiled lights, surmounted by a quatrefoil. A canopy of brocade overhangs a table or altar, spread with a white cloth, on which li five gold pieces. Behind the altar stands an ecclesiastic in a rose- colored mitre from which a drapery of the same color falls over the shoulders of an apple-green vestment. Moy- ing away on the right of the composition, with a lamb in his arms, is the man who appears in No. 18, while behind him another man, distinguished by long brown hair, is offering a lamb at the altar. On the floor, in the left of the foreground, lies a lamb with its throat cut. The panel appears to be one wing of a triptych, to which No. 18 is a companion. CHRISTOPH AMBERGER GrerMAN (Augsburg): (?)—1563 No. 20—PORTRAIT OF CHARLES V OF GERMANY AND I OF SPAIN (Canvas) é > Be a Height, 25 inches; a a) inches lv gs NAN THE figure is shown to the waist, facing three-quarters . to the right, the hands, one resting on the other, appearing at the foot of the canvas on a black, arc-shaped object, decorated with gold arabesques. ‘The head is covered with soft white hair, arranged in wavy rows, while the mustache and beard, curved round the square chin and jaws and growing up to the ears, where some black ap- pears, complete the white framing of the face. The lat- ter, as well as the hands, is painted in limpid colors with miniature-like refinement. ‘The eyes are olive-gray, sur- rounded by wrinkles; the nose is long, slender and aqui- line, and the crimson underlip has the protrusion char- acteristic of the Hapsburg lineage. In the upper left corner of the olive-green background appear armorial bearings, enclosing the castles of Castile. PIERO DI COSIMO (DI LORENZO) Irauian (Florentine): 1462—azour 1521 No. 21—MADONNA AND CHILD (Panel) Height, 2414 inches; width, 20 inches Tt WW te nn AGAINST an evening sky of primrose hue, the beautiful head of Madonna is seen, turning to the right, as she stands beside a scarlet-topped table, on which stands the nude figure of the Infant Christ. He gently grasps a little bird, and nestles up to His Mother’s body, while she joins her hands in prayer. Her headdress is com- posed of a gossamer white veil over a silk drapery of silvery wine-colored tones, which is knotted over the ears and falls to the shoulder. ‘The blue mantle is turned back, like lapels across the bosom, revealing the yellow- gold lining, which also shows in the folds around the elbow. Her robe is of crimson velvet, gathered into tucks by the neck-band, which is embroidered with gold diaper, and by the band at the waist. In the background, on the right, appears the glimpse of a city with walls and towers. GIOVANNI ANTONIO BAZZI (Called SODOMA) Irauian (Sienese): 1477—1549 No. 22THE HOLY FAMILY WITH S. JOHN (Panel, Tondo) IZ Say 0 tA Diameter, flac bogie Tuer Virgin occupies the center of the composition, lean- ing toward the left, as she regards with reverent solici- tude the Child Christ, who is seated beside her. He turns His head to the infant S. John, on the left, who is clad in a skin from which a plump arm and leg protrude. A transparent veil covers the yellow hair of the Vir- gin, who is dressed in a deep blue mantle and rose-col- ored robe, the latter being embellished around the neck and sleeves and over the shoulders with a diaper of gold embroidery. ‘To her right stands S. Joseph in a mus- tard-yellow mantle and an olive-brown tunic, edged with gold. His hands are raised and his head, distinguished by dignity and tenderness, is bowed in worshipful humil- ity. Behind the figures spreads a landscape painted in tones of blue and white. It shows a hilly country, sprinkled with spray-like trees and intersected by a river, spanned by two bridges, over one of which a horseman is advancing at a gallop. Conta HUGO VAN DER GOES Friemisu (Ghent): Asnour 14385—1482 No. 283—F LIGHT INTO EGYPT ( Panel) Height, 3114 inches; width, 11 inches THE Holy Family is represented at the foot of the com- position, journeying toward the right; the Virgin being seated on an ass, whose body is nearly hidden by her greenish black mantle. Her head is protected by a straw hat, worn over a white cloth that descends upon her shoulders and down her back. She is seen in profile, gazing tenderly at the Child, whom she holds up so as to bring His face near hers. Joseph turns round to gaze at the pair, as he walks by the ass’s head, carrying a bundle on a stick over his right shoulder and a basket in his left hand. His headdress is blue, as also is his tunic, over which he wears a rose-colored cloak. On the left of the group two trees rise to the height of the pic- ture, where their foliage unites in a mass against the blue sky. In the middle distance, at the right, a camel and its rider are approaching an archway that forms part of a mound, with steps ascending to a pedestal, surmounted by a blue globe. A pilgrim is making the ascent upon his knees. HIERONYMUS VAN AEKEN (Called JEROM BOSCH) Hourianp: 7?1460—1518 No. 24—-CHRIST WITH THE DOCTORS IN THE TEMPLE ( Panel) re Height, 2614 inches; width, 23 mches THE scene is an interior, painted in tones of byown, open- ing through an arched entrance on the left into a street, where two figures are approaching. In the back wall are two round-topped windows, flanking a small column, the capital of which is carved with a kneeling figure, hold- ing the ‘Tables of the Law. Beneath this sits the youth- ful Christ, holding up two fingers of the right hand in blessing, as He watches one of the doctors on the left, who with palm exposed and index finger raised is argu- ing emphatically. ‘Two men are near Him, while on the right-hand side of the room sit five, with various expres- sions of attention or indifference. One old man in a black cap has gone to sleep. The faces of all the per- sonages are shrewdly characterized. Near the lower right corner a tortoise-shell butterfly has settled on the paved floor. ae oe ae eee cay 4 = ’ Pa’ 2 cy Cenreny) GERMAN SCHOOL (XV Century) No. 25—MARTY RDOM OF S. CATHERINE ( Panel) 3 m6 = Height, 261% inches; length, 27, inches Code d Dun THis seems to be a companion picture to No. 2@/ In an open space, backed by rows of gabled houses, a group is gathered around the Saint, over whose head floats the Dove in Glory. The lady of Alexandria is dressed in a gown of gold and black brocade, flounced with white. Her hands are fastened behind her back, and a soldier, grasping her left arm, has plunged a sword through her neck. Another torturer, standing on her right, has taken a coal from a bucket with a pair of pincers and holds it to the crown of her head; while a third is blowing with bellows at a fire that is set around her feet. Mean- while, with other figures at the left, stands a black-haired, black-bearded man, conspicuous in a scarlet robe, dam- asked with gold, who holds one hand over his heart. ‘The same figure appears in No. 26 and may represent the Saint’s earthly lover, converted by her constancy to the Faith. —o m GERMAN SCHOOL (XV Century) No. 26—PRISONER BEFORE AN EMPEROR ( Panel) 2 pig Height, 261 ere ff inches THIs seems to be a 5 Gee Seren to N | 25 and to represent another incident in the story of S. Cath- erine. The man in scarlet and gold robe, who appeared in the other picture with his hand on his heart, is here being dragged by two soldiers into the presence of a crowned monarch, seated on a throne. Presumably it is the Emperor Maximinius, though, while his right hand grasps a sword, he holds in his left a black orb, sur- mounted by a cross. He is attired in a bluish-green robe with a broad white collar and a broad border of white at the bottom of the skirt. The throne is set beneath a red canopy in a Gothic interior, which includes an arched entrance and a mullioned window. The subject possibly depicts the fate of S. Catherine’s lover, who yielded to her influence and embraced the Faith. L Ul HE tUEG 6sd — JOSSE DE MOMPER AND PIETER BRUEGHEL III Friemisu: 1564—1634; 1589—16388 No. 27—LANDSCAPE WITH FIGURES ( Panel) Height, 2434 inches; length, 404 inches THE landscape, painted by De Momper, shotys on the right of the foreground a rocky bank crowned with a clump of oaks, from which a pathway descends. Farther back is a hillside, covered with fir trees, and beyond this sweeps a view of valley, cut by a winding stream. ‘The vista terminates in ranges of blue mountains. The fig- ures, supplied by Brueghel, include a woman. and child approaching by the pathway, on the right, a group that is composed in the foreground. ‘The center is occupied by a woman in red cloak and blue skirt, accompanied by a spaniel. She stands near an ass, laden with pan- niers, in each of which is a baby. On the right are dis- posed a man, a child and two women, one of the lat- ter being engaged in washing linen. Balancing these on the left of the foreground is a man holding an ass, while its saddle panniers lie on the ground beside a red cloak. HENDRIK (called HERRI) MET DE BLES Friemiso: Aznout 1480—apout 1550 No. 283—A MOUNTAIN LANDSCAPE WITH ABRAHAMS SACRIFICE OF ISAAC ( Panel) Height, 231% inches; length, 331% inches e 4 (] as S. Wi. Y- Buve and gray mountains rising to crags’ and tower-like rocks are conspicuous in the left half of the background, the other part of which is occupied with level land, inter- sected by a river. On the edge of the farther shore rises a walled city surrounding a cathedral, while farther back a mountain range shows faintly against the sky. The mid- dle distance is filled with brown, green and yellow trees in which buildings are embosomed. On the left of the foreground, Abraham has grasped the kneeling Isaac, but turns to find his uplifted sword arrested by a float- ing angel. Beside the group lie a faggot and a pot of fire, while the ram that is to be substituted for the child’s life is seen “caught in a thicket.” The patriarch’s two servants, one of whom is a negro, are waiting on the right of the foreground beside an ass. JOACHIM D. PATINIR (or PATINIER) Fremisu: Asout 1490—asout 1524 No. 29—LANDSCAPE WITH REPRE- SENTATION OF THE NATIVITY ( Panel) Height, 251% inche: oe ot ; 5 in OW: 14 inches PROMINENT in the foreground is an arched hyidge with t , i: . ° SODA BRAAMA red parapets, on one of which a man sits reading a book. In the light of the other details he may be supposed to be reading the prophecies of the Nativity, for this event is depicted on the right of the composition. Through an arched entrance two figures, one of them holding a lamb, the other a lantern, are passing into a court, sur- rounded by buildings. Here upon a slab of stone lies the Infant, whom the Virgin, S. Joseph and a shepherd are adoring, while the ox and ass stand at the back. Be- yond this enclosure appears an open space, lively with figures and bounded by gabled houses and a church. The background of landscape displays a fascinating variety of details; in the center, a vista of water, island and bridges, extending to a precipitous rock, hollowed with grottoes and rising up in pinnacles, while on each side is an expanse of water, with a roadway following the sinuous curves of the shore. 5 PA MORONT GIOVANNI BATISTA MORONI Irauian (Bergamo, Venetian Territory): Anour 1520—1578 No. 830—PORTRAIT OF A MAN (Canvas) Height, 8714 inches; width, 2914 inches hae Ge. AGAINst a dark golden-brown backgretind, the half- length figure of a man of middle age is depicted, three- quarters to the left, while his eyes gaze to the front. The hands are shown near the bottom of the canvas; the right holding a gray leather, cuffed glove. The in- terval between them and the head is occupied with the black masses of the costume, which consists of a cloak and a tunic, buttoned up to the throat, where the gravity of effect is relieved by a delicate white ruff. The sub- ject’s dark-brown hair grows in a little point over the forehead. The face is of brownish hue, rather rugged, with brown eyes, deeply set and fringed with wrinkles; a long, somewhat aquiline nose; and a mustache and pointed beard, a little lighter than the hair of the head. LUCAS CRANACH THE ELDER German (Saxon School) : 1472—1558 No. 31I—MADONNA AND CHILD WITH S. JOHN AND CHERUBS (Canvas—transferred from Panel) 70 or Height, 4614 inches; width, 32% inches THREE cherubs with blue-green wings, floating against an olive background, suspend a crimson velvet dossal over the sacred group. Madonna is seated, facing three-quar- ters to the left, with her arms tenderly encircling the Christ as He stands on her lap, offering an apple to the infant S. John, who looks up lovingly while resting a hand on a lamb’s head. The Virgin’s yellow hair, smooth over the head and falling in ringlets upon the shoulder, is covered with a transparent veil that reaches down to the almond-shaped brown eyes, which are looking out of the picture. She is clad in a blue robe that reveals a glimpse of filmy material at the neck. Signed at the upper right with the winged serpent and dated 15385. daset Ini Se pi 4 ; : hy i 1 y - 7 4 mi Py 7 rh ; Gt N ey eM Na fs ~~ NS. re ie » ao NICOLAS POUSSIN Frencu: 15938—1665 No. 382—A BACCHANAL (Canvas) Height, 38 inches; length, 54 inches i, Vie 0. a WW. Pega In the center of a pleasant landscape, composed of suave, tranquil lines and masses, rises a mound, occupied by five trees that shelter a statue of Bacchus, raised upon a pedestal. At the foot of the latter is a votive wine-jar, near which are grouped three nude pipe-players and a fourth with a tambourine. Below the mound reclines” a mother, whose child is struggling to reach her breast. A. faun leans over her, and another is seated at the right beside a nymph, whose beautiful form is nude save for a pale rose drapery. On the left of this group two other nymphs are dancing with a youth, their blue and white draperies floating freely to the grace of their movements. The wreath of figures is completed by two other men dancing with spirited abandon, while, under the shadow of a tree on the left, two fauns set the measure with their pipes. AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEER. REPRESENTED AND EIR WORKS LIST OF ARTISTS REPRESENTED AND THEIR WORKS AMBERGER, CuristorH Portrait of Charles V of Germany and I of CATALOGUE NUMBER Spain 20 BAZZI, Giovanni ANTONIO Madonna and Child 15 The Holy Family with S. John 22 BOUCHER, (ScuHoor or) Sleeping Nymphs Surprised by Satyrs 9 BRUEGHEL, Jan, ann HENprik VAN BALEN Madonna and Child with Angels 5 BRUEGHEL III, Pierer, anp Jossr pbE MOMPER Landscape with Figures 13 Landscape with Figures : 27 BRUEGHEL THE ELDER, PI£TER Peasants Fighting 12 -CRANACH THE ELDER, Lucas Portrait of Martin Luther 2 Portrait of a Man 8 Madonna and Child with S. John and Cherubs 31 DA VINCI, Lronarpo (Attributed to the Mi- lanese School of) Madonna and Child 16 DI COSIMO (DI LORENZO), Pirro Madonna and Child GERMAN SCHOOL (XVrH Century) Prisoner before an Emperor Martyrdom of S. Catherine KOFFERMANS, Marcetius The Crucifixion LIPPI, Finippro Madonna and Child MET DE BLES, Henprik (cALLED HeErrt) A Mountain Landscape with Abraham’s Sacrifice of Isaac CATALOGUE NUMBER 21 17 28 MOMPER, JossE bE, AND Pieter BRUKGHEL III Landscape with Figures Landscape with Figures MOREELSE, Pautus Portrait of a Young Man MORONI, Gtovanni BatTrTistTa Portrait of a Man PATINIR (or PATINIER), Joacuim D. Landscape with Representation of the Na- tivity POTTER, Paur Milking Scene POUSSIN, Nicotas A Baechanal 13 27 30 29 32 | VAN VAN VAN VAN VAN VAN VAN VAN VAN CATALOGUE NUMBER AEKEN, Hrrronymus Christ with the Doctors in the ‘Temple 24 BALEN, Henprikx, ann Jan BRUEGHEL Madonna and Child with Angels 5 CLEEF THE ELDER, Joos Madonna and Child 14. DER GOES, Huco Flight into Egypt 23 DER MEERE (or MEIRE), Grrarp (Attributed to) | Altar Panel 18 Altar Panel 19 DYCK, ANTON | Portrait of a Young Man 3 GOYEN, Jan River Fishing Scene 11 MABUSE, Jan (Gossarr) The Virgin Enthroned 4 RUISDAEL, Satomon A. Waterside with Boats 10 FOR INHERITANCE TAX AND OTHER PURPOSES THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH INTELLIGENT APPRAISEMENTS OF ART AND LITERARY PROPERTY JEWELS AND PERSONAL EFFECTS OF EVERY DESCRIPTION IN CASES WHERE PUBLIC SALES ARE EFFECTED A NOMINAL CHARGE ONLY WILL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY Pe ech S i nas yee COMPOSITION, PRESSWORK i AND BINDING BY ep PEE EE OO IO wm F 17 Ax > seit S, A, Van Wezel, E, K, Stringer, W. W, Seaman, Agt., Otte Bernet, Agt., Otte Bernet, Agt., Edward Stone, Otte Bernet, Agt., Kleinberger Galleries, DD, Geo, Derry, A, 8, Van Wezel, A. &, Van Wezel, ; E, K, Stringer, Otto Bernet, Agt., Edward Stone, Ederheinsr, iderheimer, W,. Seaman, Agt., Goudard, Goudard, 3, Van Wezel, W, Seaman, Agt., einberger Galleries, T, Oliver, de Brozik, - K, Stringer, E, K, Stringer, A, 5, Van Wezel, J, M, Wimpil, B, Burroughs, 1 T * Bet a 2 a eB Sedwick, « Brummer, W, W, Seaman, Agt., THE PLAZA, SALE WEDNESDAY EVENING, APRIL 26, 1916, mena ee tie $150.00 100,00 400 ,00 525,00 675,00 250,00 1,775.00 550,00 700,00 1,050,00 550.00 300,00 550,00 550,00 700,00 1,050,00 1, 550,00 1,250.00 650,00 325,00 1, 100,00 8, 590,00 850,00 325,00 300,00 225,00 650,00 600,00 2, 800,00 350,00 900,00 1, 600,00 SALE OF PRIMITIVES AND OTHER OLD MASTERS BELONGING TO NICOLAS RIABOUCHINSKY, MOSCOW, RUSSIA, AT THE PLAZA HOTSL, NEW YORK, WEDNESDAY EVENING, APRIL PSs. 4 stkEeys*= WOw hw wre js 17 BUY E.R 5: S. A. Van Wezel E. K. Stringer We We Seaman, Agent Otto Bernet, Agent #-do# Edw. Stone Otto Bernet, Agent Kleinberger Galleries BD. Geo. Derry A. S&S. Van Wezel =-do= E. K. Stringer Otto Bernet, Agent Edw. Stone R. Ederhsimer “~do# W. W. Seaman, Agent J. Goudard =do= A. Se Van Wezel We We Seaman, Agent Kleinberger Galleries Re Ts Oliver M. de Brozik E. K. Stringer =do= A. Ss Van Wezel J» M. Wimpil Be Burroughs T. Sedgwick T. Brummer We W. Seaman, Agent SALE OF PRIMITIVES AND OTHER OLD MASTERS BELONGING TO NICOLAS RIABOUCHINSKY, MOSCOW, RUSSIA, AT THE PLAZA HOTEL, NEW YORK, WEDNESDAY ZVENING, APRIL | | 3 26th, 2 NO. BUY £ ORS. PRICES. 1 S. A. Van Wezel $ 150. 2 E. K. Stringer 100. 3 We We Seaman, Agent 400. 4 Otto Bernet, Agent 525. 5 #do- 675. 6 Edw. Stone 250. 4 Otto Bernet, Agent me yai-r 8 Kleinberger Galleries §50. 9° ®. Geo. Derry 700. 10 A. & Van Wesel 7 - 1050. iL #dow 550. = aa E. K. Stringer 3 300. 13 Otto Bernet, Agent 550. ae 44 x Edw. Stone 550. Ei iit eee R. Ederheimer 700. ieee oes doe 1050. | 17 W. W. Seaman, Agent 1550. 18 J. Goudard 1250. 19 -do@ 650. 20 A. 8. Van Wezel 325. as We We Seaman, Agent 1100. 22 Kleinberger Galleries 8500. 23 R. T. Oliver 850. 24 M. de Brozik 325. 25 &. K. Stringer 300. 26 _ =doe 225. 27 A. S. Van Wezel 650. «2B J. M. Wimpil 600. 29 B. Burroughs | 2800. 20 T. Sedgwick 350. 33 T. Brummer 900. 32 W. W. Seaman, Agent 1600. ae | tae : ESEARCH INSTITUTE | NUM "33125 016630143 rath Hit tal ida ter a Pee sates Phepte r foarte Ff t . + a Benes er oa Hani aihebe Serre ars HD : : seagate “ ke sf rss ph ay r th gt High ates ey atte Li 4 z be " uetigethe ita ta tatetie sietaittar A gveut ere t eaten HEP eT ana een i wis AST ua MT A og Seige Hr ; * ¢ et) Pticcige Hage » + Beant nH rH : te | cas pak Hii ae i Ranta ia ni * £5 ff %, Ty fttttas tf Sthascsgtee sisterceeses caste = < Stetpeessags = as ieee ta St Pst, is ER 3