\ DAVANZATI PAL 1 } . "ART GEIS ARE HERE Famous Collection of Paintings and Medieval Furniture Now on Exhibition. | | | TO GO UNDER HAMMER Rare Specimens of Craftsman- ship Shown by American | Association. } ‘The famous Davanzati Palace of "Florence has been brought to New York. *hat is, it has been stripped of its won-| derful medisval furniture, its majolicas, tapestries and pictures, that made it one of the show places of Italy, and they have been set up in the galleries of the American Art Association and will be) sold there at auction. : Art enthusiasts who thronged the rooms yesterday mingled with their ad- miration words of regret that it had not, heen possible io keep the collection in-| tact. Prof. Volpi’s knowledge and re- | sources had made it possible to restore | the forsaken and abused house of the | old family of the Davanzati into a, splendid replica of a Renaissance strong- | hoid and dwelling, a much more effective appeal to the mind than that of such art | objects when coldly distributed in the | usual museum. | Gems of Mediwval Art, The Davanzati Palace was-a museum ef a superior order. Without doubt many of the pieces will find their way more or less directly into our public co)- | Tections. _It is.even not. unreasonable to | hope that the sight of so immense anda | complete a collection of rare specimens of ancient craftsmanship and ‘artistic skill will fire some ambitious amateur with the idea of assembling such a mu- seum of medieval art in this country. Prof. Volpi ardently desired that the | Davanzati Palace might be sold to the Italian Government, but it was impos- | sible at this time. This is a fair enough |} indication of the opportunities presented to American art lovers by the condition of affairs across the seas. Mrs. John Gardner’s Venetian Palace on the Fen-| way in Boston is an object of interest | and a place of pilgrimage for all astute Americans, There seems to be no rea- | son why a similar artistic venture should | be denied to New York. In the meantime the ancient carved benches, the chests and tables and| feliquaries that could tell so much his- tory if they would. are installed in the rooms in Madison Square South. ‘The babel of tongues in the galleries yester- day showed that ‘students and experts were fully alive to the importance of the occasion. The association galleries are spacious and the installation of the fur- niture and palace accessories has been accomplished tastefully. | Famous Artists Included. The pictures in the collection are by | artists whose names are written large in| history. There are two large Titians and a still larger Signorelli; the same) Signorelli, so James Addington Symonds | Insists, that ‘set the pace for Michel-| angelo. There is a painting by Jacopo | Palma of a famous beauty, a circular. madonna by Sandro Betticelli and: a| eae eens “Maadoni ila ana ag at high by Fran highly inte: pot ihe Francesco Guardi pictures ball in the Ridotto, | and two ently studies, by Tiepolo, exhib! - freshness of handling for which he is famous. Peruzzi, the great architect. who was also a painter, is represented by his own portrait and he has not scrupled to make himself out | as handsome as possible. r There are also portraits by Rubens and Vandyke, the latter with the usual’ grace and refinement showing in both | sitter and artist. A copy of the Rem- brandt self-portrait is said to be by no less a person than Ferdinand Bol, who, was Rembrandt’s best known pupil. The, primitives are. numerous. Some of the panels in the altars have been painted) by well known men. One, for instance,)| is by Ghirlandaio, However, the great impression pro-| auced by this exhibition is not that given by the pictures but by the furniture, for’ it comes with more of an element of sur- prise. Volumes have been written about Titian and Signorelli and the public knows about what to expect from these two masters, but the glories of the fur- niture of those days, much of it designea by the greatest. artists, are almost a new story. In every direction objects are con* fronted that vividly bring back the a mance of medisval Italy. Boccaccio an Savonarola are suggested by turns. This table with itsselaborate carvings was dey signed by Pinturicchio, and the chair be; side it is one that Andréa del Sarto used and painted into one of his pictures. 1 The princely beds in Prof. Volpi’s col lection are as royal as much carving and fine gold can make them with damasks and old velvets by way of coverings. The unique bed of the occasion, however, is an early fifteenth century piece of pan, ‘ elled walnut, which is built upon a wide dais. Any number of retainers or cour- tiers could sit about the bed on this dais, The going to bed in those days was a formal and intricate affair for royalty, and this wonderful relic helps a modern ’ to appreciate it. { | There are many great benches in ing t | 1 collection, noble in design and of grea' solidity. One that bears the arms of the) Orsini family upon a scroll was, it is be-) i lieved, designed by Gian Bologna. The | table by Pintuviechio is of Umbrian wal-| nut, has a moulded edge to its square | top, with intricately arranged acanthus | leaves carved upon the legs. Its work-| manship is almost jewellike in finish. | The writing cabinets are of every, description. There is one, no doubt from a duchess’s boudoir that is all in red and gold, with panels of paintings conceived in such a primitive style that, paradoxi- cally, they seem almost modern. Others) in severer lines and of more sober work-! manship were probably used by cardinals’) secretaries, } Marriage Chests Prominent. . As might be expected in a collection, so purely Italian, the cassoni, or mar-| | Tiage chests, are very prominent, and | they include many that have been en-| riched with painting or figures carved in| | relief. It is doubtful if more interest- ing specimens of the chairs popularly |named after Savonarola have*‘ever been) shown here. | It is said the Davanzati Palace con-. tained forty rooms, and to complete) the pictures of medigwvalism at which! Prof. Yolpi aimed, he ransacked alll Italy for the minutie necessary for he | various rooms. These include many) quaint objects such as the kitchen mill, | iron standards for fat candles, brackets, | brazlers, wood chests, torches, spinning | wheels, and so forth, all of which il-| lustrate various phases of ingenious workmanship, j To many the interest of the whole show ‘will centre in Prof. Volpi’s ma- jolica. These include not only the much} prized Gubbio lustres, but an important, group of primitive majolica recently un-' earthed at Orvieto, which aroused the , greatest interest among Huropean con-) roisseurs.. No specimens have been shown here before. Dr. Bode of Berlin, | who studied them with enthusiasm. has) Rave Vatuew even in restoring their ¥ aehes aera ae Designs Well Pres The Volpi specimens of this v intact, however, and the desis the bowls, pitchers and tureens are 1 markably effective, in a primitive and well preserved, The disposition — these unusual wares will be awai with extreme interest, id arty One of the Gubbio lustres is a di plate, richly decorated by the famo maestro Giorgio. A sixteenth centu bowl is by Francesco de Medici, 1 had the honor of producing the first porcelain in Europe. The present speci- men is marked with the dome of the | Florence Cathedral. Only thirty pieces of his. work have suryived, most of it in museums, Mere The Venetian glass, the armor, antique nens and tapestries a worthy of detailed descriptions for whi space lacks. The chief of the tapestries has the place of honor in the large gallery, It is of early Flemish weavi and hung for generations in the pa of the Princess Altieri near Lucca. — is a “marriage” tapestry, th Re. showing in quaint fashion the arrival of the bride to be with her attendants her future home, ish The sale of the Davanzati Pal fittings begins at the galleries on N ; vember 21. The paintings will be | tioned at the Plaza Hotel on the eve of November 27, ay an Art» alleries, reveal. 2 uninitiated the aoe nature, u lig with their deep-— work, their warm leath-. the pied tg ‘Palace ‘and the Villa Pia in Florence, where Elia Volpi, a deale and collector on a vast scale, had gath ‘ered many: ‘treasures in addition to those belonging: to: the furnishings of the red by. the same ‘spirit that has moved. Italy as sa whole ‘to safeguard eee Bees In very recent years the Volpi not long ago undertook the rehabilitation. of. the. Davanzati Palace. eset some time in the fourteenth -cent- : little group 0 Davanzati in 1576, nega strious citizens of sth oul has to diseutse and de- ane tdi ONE ae Sis: | contents are tetas with the contents ina rekey of more tha 3 with specific com- sixteenth centur: y alntures in stucco, terr _ a small number of and the majolicas. ions certain to at- of experts is that : Bronze Statuette Tete pent forward in tation, hair parted 2 and covering the ears, arm. tretched forward aad Tl “as is shown by rane. “iy down. The ipeherved “work of the Ba his is assigned is ayaih and the delicate cha @ will make. friends | 10 . re envelop land the sturdy sabes “8 \porting the wooden base o jcornbine with it in, an ag iposition. It is an heat anne is irestraint and trained sense of grertegas ‘to’ ‘the’ Italian: modelers, of that me primitive majolica of Orvieto iplays a cons iduous part in this section of the exhibition. The rich, low colors and restricted shapes of’ this early ware have captured the favor of collectors 'yho rank it above the later majolica mot only on agcount of its rarity, ‘but tor its aesthetic: character, « Se ond afternoon’s sale takes ; and part of the furnitu es from the “' mirrors of th ipera paintings of FI sues hone $223, coe | } to aprons : Biren +H from Davanzat! iin. th Woe rofessor "Di lia, Votpi, the collector w af collection to We cout: pee is fri eas the table brour ‘top with molded | a morn oF edie tn os ; jguil lower re chet tae tek iaare v chan poi was Husa © a iwas 2 faet % 7% inches, its | iy inches, width 3 fect 24 No Takers for $6,090 Watrack. The upset price of $6,000 on a six s teenth century Italian walnut hanging © hatrack saw no takers, and Professor pi, it was said, would send it ba be placed onee more in Davan ‘Palace, which has been offered to 1 4 Tralian cts aes The hatrack | Ss i yr, with 4 pi 4 ry, om. Davennaty Palace we ed to this countr 5 thro. ath shipment from Naples hac n held up by the authorities, als ec mmittee from that city “has . The reason given q gp peaes Naples had noth h aca of the ship oa. A valuable sixteentk 7 r an State bench, a fifteenth r large rane throne, and a six~ , en th Sienese painted ete | e objects asec eee eo at ributed to Gian Bol rmoire cabinet was. ire: went to Duveen yi | et more than two dozen fo y included Ce firs 1 nd legs, y rosette at the intersection, debated) oe ons ioe is pictures. izi Gallery, in Florence, for a rawing in sanguine b shows his wife hair, of the largest sales: veut la xteenth century Serene wa gies On. geht by SS) Re as 500. Th of the ves of the Paraters hs nt a century Florentine ble, for which. Duveen Brot 2 cas a ts Sorenthic Bed Brings $6,600. BH. BH. Caressa bought a fifteenth cent- ary Geonese walnut side table for nee WwW. Seaman, agent, @ fourtee « ntury ere walnut. credence yi $3,100. he bids for the eredence start: ed at $500 and Ewer Oe as $50 and vel bids until finally sold. Duveen Br ers took two early fifteenth century ‘lorentine walnut, inlaid chests for $8,+ 0 in separate bids of $4,000, A hia] teenth century walnut Sienese cabin 'ost P. W. French & Co. $3,000, and @ sixteenth century Umbrian Walnut etd wre table $5,000, Carl W, Hamnitén oneht a fifteenth century Florentine } 2¢ 4 5d PO¥ $0600: Miss (Nor 482, century Tuscan wal- ing been iniatd Wein —— niaiaend - Pee nee! | Ralaey CALLS OLD MASTERS ary Sienes ( oye ae | BACTIS: SURS VOLPI agider, and J. K. Branch $1,020 tor “a si tho, Sa ee er Ze "Ops eowwsane = B= 7° is ; for No. 445, a sixteenth century Tuscan | St. Louis Collector Alleges That an ony century Bolognese walnut resented by Miss R. H. Lorenz, agent, Among those at the sale were Mr. and 1 EN hie kad ab plong H f walnut table, This had a heavy oblon | Pictures ouch e or top, with exceptionally heavy lyre shaped | PichuEes Bought bs 0 | $8,400 Are Worth Only $200. 'chilip Lehman, Mr. and Mrs 3 Tom Mrs. Prederick hea Ma MES 7 iy Bethe: Mrs. haa Kahn, Mr. and Mrs. L } reese, : t . Yidener’ of Philadelphia rie PB oat j avi 30, W. Hinkel Smith of hat and Michael Dreicer This rte gre ne consist o iteenth, sixt ] ceventeenth, and eighteenth Gauturial y Mrs. Daniel G, Reid, Mr. and Mrs. legs, richly carved. Miss Lorenz also paid $4,500 for No. 413, the Florentine walnut centre table, which is said to | have been designed by Vasari, the writer. PP. Wy French & Co. gave $5,000 for \ No. 427, an Umbrian walnut centre teble, the design of which. is. attributed ‘to the celebrated painter Pinturicchio ; $3;000 for No. 424, a sixteenth century Sienese ‘walnut table; $4,300 for. No. 438, a fifteenth century lorentine carved and gilded marriage coffer; ‘$4,200 for No. 439, a Florentine coffer said to have beén designed by Pollaiuolo, the decoration of ‘which portrays Bac~- ehus and Ariadne in a triumphal car drawn by winged gryphons urged on by a youthful Bacchante, and $4,200 for No. 440, also a coffer by Pollaiuolo with the design of ‘The Rape of Pros pine.’”’ ECHO OF GREAT ART SALE “Thomas E. Kirby Defends Italian Expert’s Good Intentions — No Other Works Questioned. [ .On the charge that two paintings, sold st November at the American Art Gal-. ies by Professor Hlia Volpi of Flor- Italy, as old masters, were not | ine, Justice Hotchkiss granted an} hment for $11,800 yesterday against property. of Professor Volpi’s that - found in. New York.. The at- nent was issued in a suit brought _ assigned claim of Jackson, John- jillionaire art collector of St. o paid $8,400 for the pictures. itings’ are .“‘ Carolus de Mial=) as a Peter Faul Rubens, and n Lomeliini,’’ sold as the werk Van Dyck. . : of -Professor Volpi’s paint- xe the Davanzati Palace and the ia, Florence, occupied eight days ember, and realized $944,102. sale ended Thomas WH. Kirby was the greatest sale ever held country, judged by the general of the collection. Many ; were sold, and among the pur- rs were Joseph E. Widener, Henry k, Otto H. Kahn, the Metropeli-| m, Boston Art Museam, Min- > Art Museum, and the Rhode lof Design. Professor Vol- n represented the work of He purchased thé Davan- as a home for the paintings, uge in gonditions, due: to the a him: to: present the palace to 1 Government, as a museum all his: paintings to this coun- Arnold Seligman Large Buyer. Arnold Seligman gave $4,000 for No 446, a fifteenth century inlaid walnut Florentine cassone; $2,300 for No. 443 and $2,800 for No. 442, both of whic were walnut cassoni of- fifteenth century workmanship, and $3,500 each for No 430 and No, 431, both being inlaid wal nut benches made in the sixteenth cen- tury. Some of the more important purchases of Duveen Bros, were as _ follows $5,500 each for No, 362 and No. 363, both being Sixteenth century chairs vi the kind called Dante,“ and both havi seats in old green velvet with deep silk fringe; $6,200 for No. 414, a fifteenth leentury walnut pedestal table; $4,000 each for No, 422 and No. 428, a pair of inlaid walnut chests of early fifteenth ntury workmanship; $3,000 for No. 449, a sixteenth century Tuscan walnut bench; $3,100 for No. 355, a Savonarola chair; $2,100 for No. 356 and 357, a pair of Savonarola chairs: $2,400 and $2,000 for No. 374 ana No. 375 respec vely, being “Dante” chairs; $2,800 for No. 376, a “Dante” chair; $2,200 for No. 877, a “Dante” chair in old red velvet: $2,500 for No. 378, a “Dante” chair wit ivelvet cushions, and $2,200 for No. 396 a “Dante” chair with embroidered cush- ‘it on whieh the attachment d said that the paintings h only $100 each, whereas if been genuine they would have 1 $6,000 each. Mr, Johnson, in fidavit, said he was not an art judge of paintings, and that in ig the pictures he relied on the de- nm in the catalogue. He said he en informed by Martin Hofer, an ast lifty-seventh the pictures were not genu- . worth only $100 each, Mr. is a dealer under the name ouse, Ltd., in New York and pid in the pictures for Mr, ‘at the sale. questioned last night Mr. Hofer suit had been brought. after jence with Thomas E. Kirby 1erican Art Galleries. He said ught about $230,000 worth of pictures, but had no doubts ut the two named., y said that the controversy en the purchaser and Profes- yi, since no picture is sold under ntee. He said, however, that opportunity for inspection was before the. sale. | { Other Important Paorchases. Kleinberger Galleries gave $3,100 for ‘No. 435, two fifteenth century walnut benches; Miss Paul of Boston paid $4,300 for No. 454, a fourteenth cen- | tury Tusean walnut sacristy cupboard ; | Louis C. Tiffany gave $3,100 for No. 4544, a fifteenth century Sienese carved re land gilt frame; Warwick House bought Falaee | No, 411, a Florentine walnut cabinet, Vv be ‘ | and Miss Barr paid $8,000 for No. 433 fet ta sixteenth «entury carved walnut bench. if ; | W. W. Seaman, agent, got No. 448, +a fourteenth century coffer, for $6,400; ' No. 344, a Sienese carved walnut bowl ; holder, for $2,500, and No. 311, a velvet )covered coffer, for $2,000; Carl W. Hamilton bought No. 453, a Florentine l inlaid walnut dais bed, for $6,600; W. |W. Seaman, agent, paid $3,100 for © No. 421, a Venetian Gothic walnut cre- j dence; Miss Barr gave $2,100 for No. | 417, a Florentine walnut cradle; Louise |D. Putnam Lee paid $1,850 for No, ‘cabinet; C. HE, Canessa paid $2,300 for | No, 415, a Genoese walnut side table, fand $1,500 for No. $98, a walnut “Dante” chair, and Mrs. Keller bought | No. 392, two sixteenth century Umbrian walnut leather covered armchairs. | The sale of the Dayanzati collec | continues this afternoeu. : tion "Century Plorentine Chair on Condl- tion He Takes It Back to Italy: | % a Attended. by” & representative group 0 lees <" the third session of the euctio: l Volpe collection pt ert treas Rosina’ at the Anais in Madison square south nd total of sales so fa » high water mark wa with sales aggregating . Kirby was auctioneer } throng which gained entrance t Mibee the auction was hel t eter “Fierentine wel aly data an have been used br ition Dal which was purchased after brisk z by James W. Wlisworth. The p however, had a tangible string fo it order of the Italian. government ir must be returned to Italy in nh. Mr. EUsworth eolved ae rence, Villa Palmieri. ‘ef threa pieces concerning which nm had ‘been taken by the Ital- orities. They were shipped by; just before the vessel tee of artists protested the Gticike leaving the country. were allowed to leave there, but igh had to promise they woulé - nc which will find its way is a beautifully sere 1 | cn ie piece ts Italy on his restore it to its oldtime plac chest ‘pid of the day was that of Ta: centre table of Tuscan ‘eenth century, whic ~, Lorenz, agent for a est buyers of the day othe 8, whose purchaaés the collection. Another ae oh & Co. after having this table is considered efferings of the collec os top with moulded on carved with bold Gettea w with a drawer, . obiecta withdrawn from sale the Bertion ak sit Italian was a so an walnut fifteenth century. It at- 9 attention because of t the carvings “embellishing it ters with richly carved 6 back inte three obleny i Dig fy @ moulded the whole stands on a m base. A painted Sienes mn tors at the ses cot = pe of entatee 1 sth also leat Leis spo of thee Volpi colle vember 27. The paar wil continue un Ht November 28. ————— BIG PRICES. AT: ‘Ttaly was repr an ne is here to ; HAT ee One of the events of the withdrawal of a eae ury Italian walnut. hat rack the sale by Professor Blia who bad pinoed ae upset price anzatl Bee y Italian state century peelien by ea Bisel. Gaew loma,” it was announced | by Gane B. Kirby, auctioneer, have been retained by the. Italian | ; | Government. An interesting feature was the | purchase of Andrea Del Sarto’s ’ _ chair, sixteenth century Florentine sat oe of rare historical interest, Ellsworth, among bidders. A sixteenth century Tuscan wal- nut centre table with lyre-shaped legs, richly carved, with bold acan- of, et TONEIMED RE teces f r \ bai } OMitteenth Century Florentine eee table was obtained by Du- veen | hers for $6,200 ‘Among other purcnases by Du- en Brotiaers were: a Fifteenth ef New. Beal tor $4,000 after a spirited tilt ° r Sis.too, the top price of the af-_ heeaeary Italian ““Danite’” chair rory and another | a Bixkcetey Century for $5,500, “Dante”. chair | A Sixteenth Century Florentine | | Lorenz for $4,500 f TABLE paivan $5,000. PP Ws French & Co., who often | rivalled the Duveens in the bidding, “got a Sixteenth Century Umbrian walnut table for $5,000. teenth Century Florentine nut bench went to Arnold | Mrs. J. h, of Philadel. ! walnut centre table, known as the - Vasari” table, a obtained by Miss { = ames L, Breese, ick Pratt, Mr. y, Mr. and Mrs. Hirskine Hewitt. — be contlayed a 1 DAVANZATIC TABLES IN THE BIDDING veen Bros. Pay $66,000 for XV. Century Bronze Incense Burner. The American Art Association made @ ‘ave beginning yesterday afternoon in rhe art treasures of the Da* anzati Palace, which Prof. Volpi has te g county, The largest { this season turned out me record prices were aot huge total of the ring the auction ] . William | Peter Cooper Hewitt, 1d, Mrs. Samuel MY asco, David Warfi ‘harles D, Crocker and 4 on Bradley. price of the\ sale was ic 8 paid by Duveen Bros. ‘fift by EK Ricelo. only wens thts ht. This is a record price ch a bronze. shat bronzes of this de- Br ee in the auctions “value of them are not y Recalls Powe Art Auction, ; Yast considerable previous sale of occurred in the auction of the . Philip Lydig art collection, but it ; fe Hire at that time to secure the ‘that, the objects would ee, | cones in Europe. The present sale wil é Ae REET of influencing cage: $ $109.14 ‘Van- er ‘Donatello, on the Rates the Church of St. Anthony, He iS ordered to ’muke it by his patron, the Duke of Mantua, and the bronze has always: remained in this - family until, Quite recently, — Bidders Showed Hesitation. There was a reserve price placed on the bronze of $55,000, and the bidding hesitated long before it finally mounted ‘With $1,000 bids to the winning figure. Ween a bidder was the firm of P, W. encth & Co. | The séeond highest price was $15,000 ‘paid by C. &, Canessa for a Greek ‘bronze statuette of Sappho, which dates ‘from the fourth century B, C. The fig- lure, whieh was exhumed at Melos, has been much written about by experts of ‘antique sculpture. | A fifteenth century Florentine stucco ‘bas-relief by Antonio Rossellino sold t ‘Otto Bernet, agent, for $5,700, and for No, 115, a sixteenth century Florentine iglazed ferra eetta alte-relief, by. Gio ‘yanni della Robbia, Mr. Bernet $7,100. Mr. Bernet, as agent, also go \No, 81, a bronze statuette by Pollain ee ‘for $4,300, and No. 116, a glazed terra ‘cotta by Rosellino and Luca della Rob- bla, for $3,900. es Pes Seaman, agent, gave $4,400 for \No. 114, a glazed terra cotta tabernacle ‘by Giovanni della Robbia, and $2,500 for No. 113, a bas-relief by Giovanni Bo- logna. David Warfield bought No. 82, a fifteenth century enamelled cross, and ‘Mrs. Peter Cooper Hewitt paid $275 fon ‘No, 37, a sixteenth century bro plaque. Miss R. H. Lorenz, agent, Se for No. 638, two bronze eandle- by Ti Sansovino, and $1,400 for a fifteenth century bronze bull. ‘French & Co. paid $2,000 for aft ‘four seventeenth century carved panels; Kleinberger Galleries ae 476 for No. 10, a French gothic f { ; t y and J. D. Meltlhenny gave 82,00 pr No. 151, a fifteenth century adonna and child. |The ‘ecianees will be resumed this after- total seen ee ait 7 B07 ge house attended of American Art Apa Nt yt were drawn in curiosity aon of the paateenany, of we museum directors m. out of town, Among hed Cable, . Fobupn Breet of the Min eapo- lis Museum, | David Belasco and ‘Hinckle Smith, : j The total’ for yesterday’s sales amounted to $77,807.50, making a grand \tetal for the two days sales of $246,950, $5,100 for Bolognese Table. The last number on the programme, splendid sixteenth century Bolognese walnut table, led the list of prices, going iat $5,100 to a buyer represented by Otto Bernet. This table is oblong, with plain top that has a fluted moulding be neath. The two legs are lyre shaped ae whole design being massive and sim- p | The Minneapolis Museum acquired for $1,050 No. 328, sixteenth century Floren- tine chancel stalls, and for $500 No 319, an Umbrian walnut cholr book lec- rn, made in the sixteenth century. Wtceates Art Museum purchased sixteenth century cushions, No. 195, f red velvet embroidered with silver and gold, for $250. _ The beautiful gilt four post bed which attracted so much attention during the exhibition will return to Italy, having been purchased for $2,000 by L. O, Or- selli, the well known antiquarian of Florence. In the ornament on this b was included the arms of the De ‘Bella family. Mr. Orselli also bought 'No. 317, a sixteenth century Florentine walnut sideboard, for $1,550, and No. vp a Bolognese walnut armoire, for _ R. Daniels, who made many purckases, jaid $3,800 for No. 825, a sixteenth cen- bary walnut bench; $1,175 each for No. 315 and 316, companion Bolegnese wal 2 marriage chests; $950 for No. 2: entine walnut table; $660 for 288, two Italian walnut armchairs; $800 for "No. 284, two sixteenth century..wal- ut armchairs with tpholstery in con- emporary embroidery, and $925 for No. 261, a sixteenth century Cushak rug. Walnut Bench Brings $1,575. Mrs. Peter Cooper Hewitt paid $1,575 for No. 824, a Siennese inlaid walnut bench; E, L. Perera gave $3,200 for No. ‘329, an Umbrian walnut library book- case, and the Kleinberger Galleries bought No. 320, a gilt synagogue cabinet jof Italian walnut, for $1,600. J. D. wt TIihenny of Philadelphia got No.° 313, Siennese walnut marriage chest, for $1,400. Ra Seligman paid $1,400 for No. , @ Florentine inlaid walnut marriage be: $1,600 for No. 308, a Lombardy walnut eredence, and $810 for No. 256, a piece of sixteenth century red velvet. Miss R. H. Lorenz, agent, paid $1,400 for No. 258, a nomad Asia Minor prayer rug; No. 260, an ancient “leaf”? rug, went ‘o J. D. McIlhenny for $1,700, and Mrs. Peter Cooper Hewitt gave $900 for No. 262, three seventeenth century stools. A. IE. Canessa bought No. 276, two high Italian pedestals of gilt, for $1,000; Miss Barr gave $1,340 for No. 283, two sixteenth century walnut armchairs; W. W. Seaman, agent, paid $1,050 for No, 304, a Florentine octagonal walnut table, and P. W. French & Co. paid pie 100 for No, 307, a sixteenth century ‘lorentine gilt walnut high candlestick. The Duveen Bros. paid $650 for No. 294, $750 for No. 295 and $700 for No. 296, all three being rare old Savonarola chairs. The same firm paid $800 for No. 2T1, also a Savonarola chair, No. 309, an Umbrian walnut table of oblong shape, went to Otto Bernet, agent, for $2,900. The sale of the furniture from the Davanzati palace, will be continued this afternoon. * More interest than has been shelve (One of the Best Pemene of: “ore mi Art Was Recently Exhumed—_ : A Nita of nee a FN art lovers in. sales of art ob ‘ar this season was displayed e ati ead at. the He sages: Act ie Duvee 0, The burner was a 3 quecento. art,. and. was fas réa. Briesco, known as 1) hej was a co-worker with’ n the hronze doors of t rat . Anthony, He was order t by his patron ‘¢ ga yf the family of the. lescendunt of Gonzaga, F vit 1, durin the cen once, the: red it to be, one: of. the ful ttalian Renaissance br world he late Je the. piece F Feist owners’ hands. he’ price went. up $1} finally” er a) WE low the eagles are three ks with rams” herns and betwe 88 wes figures possibly: of mar ies standing on somewhat. can ltionalized wave forms. ‘The lower - jot the body, ‘separated.freni the u by: a. gold fillet, is’ desorated arity jtaons’ of fruits, ‘shells, grotesque | lund elght. sma}l arcnh-snaped ‘apertu q ivarin Buys an old or $2,000 — Amer!-. Nie Shpall ee Art ‘Gals e sale of art treas- ae 8 feet 5 Bape Hy bial widts feet 3 inches. It has an oblong top 3 beneath. The: sgl baie ve “with bol volutes an parotles on both” sides, ee edges carved hat large imbrications and the feet ormed as large lion’s paws. ‘There Is be massive longitudinal. brace with olded terminations Bare into the legs rm each en . Daniels “pought : sixteenth century Florentine walnut bench for $38,800. The bench jis rectangular, with a straight back and 1 a with haviorg cornice and frieze, inlai colored woods in a design t) ‘eeomete trical Peg lacensr nts: Both ba arms are divided. into moleed panels “surrounded by bands of inlay of a lozenged pattern. The seat Ss molded top. ie wd as a box with a (fe ag to serve as 4 ~The eight of ithe bench is 3 feet inches and length 8 feet 9 inches. | Umbrian Bookease for $3,200, _ BE. L. Perera paid $3,200 for a fifteenth eg Umbrian walnut library book- ase, the upper portion of which is fitted as a bookcase with six-hinged, ree doors, the middle portion itted with oat upbeards and six doors ower Ttion projecting forward nd led Pie cupboards with nine- ouble-panel doors. It stands or nfaped base 9% feet high, 18 if a gu ong, and has a depth oi Je the majority of those presen) opening afternoon were men, yen: : afternoon there were more wo: en present. Mrs. Burke Roche bow. mM = cone eee Italian velvet ch 2 seventeenth sennens i Ghreriet for $180, another Italian overs for $185, two seventeenth cent- 7% on for $410, a damask strip ue BON mays Qo her less sxnengi ye rte tury italia! an rs. Peter Coo eg eat sixteen he $90; she paid $160 for an Ital “4 ey coverlet of red silk, and _ $280 or one of age shape, but made of teen silk damas Mrs. eae Are pought three Italian s for $900, two seventeenth century igh. pedestals for $750, and a six- ecentur ney Sienese inlaid walnut for $1, Antiquarian Orselli a Buyer, L. Orselli, antiquarian of Florence, Italy, who came to this country for the ale, bought a sixteenth century Italian gilt four ea Bo. and for rig 000, a Beleny ness armeoir t a e) or r tM use ‘eae eget em a velvet ones sd Paes sor s Museum of Art, o, and. ws £0: pager Breck, acquired a, ts epntany Umbrian, ehut choir 090. i er works which brought hi Paes were: A tifteenth 1 tor $1,400 walnut i es Fs slso bought a4 Paes ic “waln yi Sradercs for $1,500, | jand nut table for $2,800, and & Six-. 2s, eentury velvet in three strips for $0; wainut synagogue cabinet : the Kleinberger alleries for 500; a si h century walnut ang which went to Otto Bernet, agent, ble an Pe a te tteenth century wal at or $1,1 ielaneo, art lover, who buys E8 for his personal Seftects, } enhance scenic beh a sont a git vet table cover for $200 ts) er ee BS ae two velvet Mase 00, —artiore for 88 " ana etiboaighe Dees i one. iBone! at the sale hah Mrs. : i seph Baldwin, Mrs. James L, Breese. fe fore t ussell, Mr. a and Mrs. Daniel Ke ee ae Ignetben Buena, otis: Gna John Pratt. _ ry VOLPI PICTURE SUIT. STIRS ART WORLD Many Curators Will Testify in ~ Hearing of Charges That Old Masters Were Bogus. | | j BOOKS IN TESTIMONY Plaintiff Offers Standard Works to Show Rubens and Van Dyck Are False. S) } > . . In the suit brought in behalf of Jack- 'son Johnson, wealthy shoe manufacturer of St. Louis and owner of the St. Louis |Star, against Professor Elia Volpi. of | Plorence, Italy, to recover $11,800 dam- ages from the art collector on the Sround that an alleged: Rubens and a ‘supposed Van Dyck, for which he paid $8,000 were bogus, it was learned yes- 'terday has been ordered on the Supreme | Court calendar for tris] next Thursday, ‘over the protests of Professor Volpi's ‘attorney. The evidence on which Bar- inett L. Hollander of Hollander & Bern- ‘hejlmer, attorneys for Mr. Johnson, in- ltends to rely chiefly, was also made known. The triai promises to equal in interest that of the William T. Evans. suit ‘against William Clausen, over the al- ‘leged bogus Homer Martins in 1910, ‘when the jury, after a prolonged trial, | disagreed. The leading art experts and 'coitectors in the country will testify. Supreme Court Justice Finch granted the request of Attorney Hollander for an early trial of the action on the ground that it has been pending since 1917 and it is in the public interest that the au- thenticity of the paintings should be es- tablished if possible. Justice Finch told Attorney Eliot Norton for the defendant, who opposed trial at this time, on the ground that his client was in Italy, that the defendant could have reached this country in time for the trial if he had started as soon as he got notice. Attorney Hollander pointed out in his application for the trial that although it was stated in behalf of Professor Volpi when the suit was brought that he would return to this country and es- tablish beyond a doubt that the pictures ‘were genuine, that ‘‘ the defendant has taken every step possible to defeat the’ plaintiff on the technicalities and avoid trial on the merits.” Nearly a score of motions, among which was an effort to have the courts rule that the case must be tried in Italy, were made in Professor Volpi’s behalf and in each he lost. He stated that when the case was nearing ‘trial last January Attorney Norton ‘cabled and got an answer from the de- fendant that he would be here “in the ‘Spring ’ to ask for an adjournment, but he has made no preparations to be here for the trial as far-as is known. . sy Rey (ge re OR TE) 0 ESC a S80 Call Curators, 20 | > hee . TS coe _ Mr. Hollander stated that many of the ‘witnesses he will call are curators of museums, and because their ‘'‘ time be- longs to the public” the lawyer asked that the case be set for a definite day. He pointed out that an order for the ex-. amination of Professor Volpi in behalf | of the plaintiff was obtained in October, 1917, when the defendant came here for’ a sale of paintings and antiques, and for three months Professor Volpi fought to set aside the order, but was finally com- pelled to testify, The testimony of the defendant, which was made known yesterday, shows that Professor Volpi is 60 years old, and has been a dealer in art objects of all kinds for twenty-five years. Befare that he was a painter. Asked as to the source of his knowledge of ol masters, Pro- fessor Volpi said: “TI have been a painter since boyhood. A man named Bandini, who has a large business in Florence, engaged me as @ restorer, and I stayed with him for thir- teen years. That is where I got my knowledge and got into this business.’ | Professor Volpi said he bought the Van. Dyck .“‘ Augustin Lomellini’’.. in 1910 or 1912. He said he could not re- member when he acquired the picture bought as a Rubens, *’ Carolus de Mal- l\lery,’’ but that he had a bill for it and | believed he bought it in 1912. When asked where he got the description of \the Rubens which was used in the cat- alogue of the American Art Galleries sale, where Mr. Johnson bought it, the defendant said: ' ‘JT always see with my own eyes. I never go anywhere else to get informa- |tion. (The one who sold.it me held it as a Rubens.”’ ‘‘ Before you put up the Rubens for sale ‘at your first auction in this coun- try did you have it examined by any experts or authorities or those whom | would be deemed experts?’’ asked Mr. | Hollander. ‘“No, becausé the experts generally say a lot of nonsense.’’ ‘“* How did you come to the conclusion that the picture was a Rvtens, and what were the distinguishing marks? ’’ ‘““T have been a painter a long time and also a restorer, and in my wander ings in all these art galleries and mu- seums I acauired a knowledge of the | different shadings between painters. It |is impossible to give the distinguishin patie You feel those things, and tha s all.” ] Professor Volpi then stated that his answers would be the same if he were | questioned concerning the Van Dyck. “When. asked concerning Professor n- |chi of Florence, who was stated by the | | defendant’s representative to be one of ithe authorities wpon wham the defend-| fant relied for the authenticity of the | paintings, Professor Volpi said: : ‘He ts an excellent restorer, perhaps. the biggest restorer we have in Europe.”’ “He did no restoring on these paint- ings, did he?”’ “No, they didn’t need it.” Professor Volpi admitted that for fif- teen years he has made his livelihood through dealing in pictures and art_ob- jects. He said he belleved that Van Dyck painted the ‘‘ Augustin Lomellini ”’ portrait when he was in Geona because the defendant bought the picture there, and it was always in the Lomellini family. - “Who told you that?” “The Marchese Reggio, who sold it to me. I suppose he must have been a member -of the family, because the portrait went into his home.” Bought from Laurenti. Professor Volpi. said he bought the Rubens from Professor Cesare Lau- /renti, a painter and restorer. Questions .by Mr. Hollender.then brought out. the: | statement that Professor Zanchi, who ‘was his chief reliance as to the au-, ithenticity of the disputed paintings, has ‘a, studio with the defendant in the Villa Pia, at Florence. He said he had no |doeuments attesting to the authenticity of the paintings except the original bills from the sellers, and never tried to get | any. “You did not think it’ necessary «to have your paintings, and especially the |Rubens and Van Dyck, expertized in | this country?” mt | “Certainly I did not,” | “Did you aéquire the Rubens and Van | Dyek at a public or private sale?” | * Private sale.” 5 ‘a Attorney Hollender pointed out that when the authenticity of the paintings’ |was first questioned by Mr. Johnson ‘early in 1917 he wrote Cesare Gugliel- metti, the defendant's representative in | this city, and the latter replied concern- | ing the Rubens: ae | ‘*I bed to inform-you that this picture |was purchased by. Professor Volpi in 1911 in a-very important sale in Italy and it originally. belonged to @ very, prominent family in Lucca. Professor Volpi always believed this was undoubt- | edly. the work of Rubens and ‘this opin: | ion has been confirmed by other experts in Italy, among them Professor Venturi and Professer Zanchi.’’ ‘ Changed Van Dyck Frame. Professor Volpi replied, in answer to a question, that he didn’t know to what |family the Ruben belonged. Many ob- | | jéections to the questions asked him were |made by Francis P. Garvan, now the! | Alien Property Custodian, who appeared | at the examination in behalf of Profes- sor Volpi. The defendant said he threw - away the frame on the Van Dyck when he bought it because it was “‘ ugly,” and placed it in a new framé. The old one had been made fifty years before, he said. The, frame of the Rubens was not changed, he Said, but both were of \the period of the paintings, the end of the fifteenth or the beginning of the sixteenth century. He said he did.not look at the back of either painting for marks of authenticity before he bought them. He said that Professor Laurenti, who sold him the Rubins, was not only a pointer, but a sculptor and restorer. Mr. Hollander asked if there was 2 picture resembling the Rubens in ar gallery in Europe and Professor Vo! replied : f Wa ‘* Personally, I don’t know of any.” The defendant produced the original pills showing that he paid 22,000 fra for the Rubens and 46,500 frances for Van Dyck, he said. The bill from ; Marchese Reggio stated that the paint- ing was ‘attributed to Van Dyck.” The bill from Profess Laurenti for the Rubens said: “i declare that said portrait comes fram the ancient and noble family of the Marquis Spinola of Genoa, who owned it from iclent | times.”’ ee During the examination before Su- preme Court Justice Delehanty, A ney Hollander had marked for identif cation. two books on which the plainti will place great reliance in seeking to prove the two paintings bogus. One is a standard wor on the paintings of Van Dyck which contains 2. photograph 0! Van Dyck’s “Portrait of @ Mar hanging in the Dresden betatcge OS plptitt will ae ig. apg noe s the suppos Da } Ru “ Carolus de Sattere he 0! in the. Van Duck book and the p ee ale Keetiee are said to appear to pe identical. RS in ‘The other volume is. dhe of the “Classics in Art Series” published by Brentano and written by Emil Schae |in 1908, which deals w the work: | Van Dyck. One of the classificatio the volume is headed “ Painted eign Hands,” or, as the plaintiff tends, pictures which were not the of the artist, but by others in imite of ie ae. j BS of the pictures. p' raphed, in $ group is on Page | eat tled ‘Portrait of a Nobléman o Lomeltini Family, in the Palazzo Marchese tan, Gettoa.”’ - The Marquis Nicolo Reggio Rosan d’A zune ot Genoa, owner of he Palazzo Rostan. ks > ice- ¥. i, oF Saree S i. 7 (a . - s . j 3 ‘ ‘ p fs ; ie A 7 i - -_— Rae 3 Te ie ae ge To + ie ON FREESRUBLIG? VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK BEGINNING THURSDAY, NOVEMBER 16th, 1916 AND CONTINUING UNTIL THE MORNING OF THE DATE OF SALE, INCLUSIVE THE RARE AND VERY VALUABLE ART TREASURES AND ANTIQUITIES FORMERLY CONTAINED IN THE FAMOUS DAVANZATI PALACE: ALSO THOSE CONTAINED IN PEEVE PLA FLORENCE, ITALY UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES ON THE AFTERNOONS OF NOVEMBER 21st AND THE SIX FOLLOWING WEEK DAYS BEGINNING EACH AFTERNOON AT 2.30 O’CLOCK AND IN THE GRAND BALLROOM OF THE PLAZA ON MONDAY EVENING, NOVEMBER 27th AT 8.30 O'CLOCK Tue Davanzati PaLace ILLUSTRATED CATALOGUE OF THE EXCEEDINGLY RARE AND VALUABLE ART TREASURES AND ANTIQUITIES THE FAMOUS DAVANZATI PALACE FLORENCE, ITALY WHICH, TOGETHER WITH THE CONTENTS OF HIS VILLA PIA WERE BROUGHT TO AMERICA BY THEIR OWNER PROFESSORE COMMENDATORE ELIA VOLPI THE RECOGNIZED EUROPEAN EXPERT AND CONNOISSEUR THE COMBINED COLLECTIONS WITH THE EXCEPTION OF TWENTY ITEMS NOTED IN THIS CATALOGUE BY AN ASTERISK WILL BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE AFTERNOONS AND EVENING HEREIN STATED CATALOGUE WRITTEN BY MR. HORACE TOWNSEND OF NEW YORK AND MR. CESARE A. GUGLIELMETTI OF ROME, IN COLLABORATION WITH PROFESSOR VOLPI THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANT, MR. OTTO BERNET, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1916 THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION ~ TEXT AND TYPOGRAPHY 2. “= eon | Po? + eg ee 2 i (a a rs es 2 4 pare a “* = A) ga fa >. A oh? 5 ¥ Ps a fo i i Xe = AT THE AMERICAN ART GALLERIES Maptson SQuARE Soutu, New York ORDER OF SALE CONTENTS OF THE VILLA PIA TUESDAY AFTERNOON, NOVEMBER 21st BEGINNING AT 2.30 0’CLOCK IVORIES, MEDALS, BRONZES AND SCULPTURE CATALOGUE Nos. 1 To 169K, INCLUSIVE WEDNESDAY AFTERNOON, NOVEMBER 22np BEGINNING AT 2.30 O CLOCK LINENS, CUSHIONS, VELVETS AND FURNITURE CaTALOGUE Nos. 170 To 330, INCLUSIVE CONTENTS OF THE FAMOUS DAVANZATI PALACE THURSDAY AFTERNOON, NOVEMBER 23rp BEGINNING AT 2.30 O°CLOCK FURNITURE OF THE 14rhu, 15th AND 16TH CENTURIES CATALOGUE Nos. 331 To 454A, INCLUSIVE FRIDAY AFTERNOON, NOVEMBER 247TH BEGINNING AT 2.30 O CLOCK FURNITURE, MUSICAL INSTRUMENTS, ASTRONOM- ICAL OBJECTS, RUGS, CARPETS AND TEXTILES CATALOGUE Nos. 455 To 609, INCLUSIVE SATURDAY AFTERNOON, NOVEMBER 25TH BEGINNING AT 2.30 O CLOCK MAJOLICA, SCULPTURE AND ARMOR CATALOGUE Nos. 610 To 805, INCLUSIVE MONDAY AFTERNOON, NOVEMBER 27TH BEGINNING AT 2.30 O'CLOCK GLASSWARE, BRONZES AND IRON CATALOGUE Nos. 806 To 979, INCLUSIVE TUESDAY AFTERNOON, NOVEMBER 287TH BEGINNING AT 2.80 O'CLOCK ANCIENT LINENS AND CURIOS CATALOGUE Nos. 1044 To 1215 AND IN THE GRAND BALLROOM OF THE PLAZA I'irrnH AVENUE, 58TH TO 59TH SrTREET, New YorK MONDAY EVENING, NOVEMBER 2771 BEGINNING AT 8.30 O'CLOCK ANCIENT PAINTINGS From tHe Famous Davanzatt PALACE AND THE VILLA PIA CaTaALoGuE Nos. 980 To 1043 THE DAVANZATI PALACE AND THE VOLPI COLLECTION Having had occasion to write to the Editor of that leading French art review “Les Arts” concerning the reprinting of the “Davanzati Palace” number, I took the opportunity of saying a few words about the pains I had taken to bring together the beautiful things which, for so many years, made this Palace the most.interesting museum in Italy of Renaissance life and art. I also referred to the unhappy state of Europe which has forced me to disperse the gatherings of years, and gave the reasons for my determination, not only that my collection should be sold at public auction, but that the sale should take place in America. I now find myself on the threshold of that event and somewhat perplexed. Every complete catalogue, it appears to me, should have an introduction critically explanatory of the collection that is to be sold. In my case I had long hoped that, when the time came, the intro- duction to my own sale would be written by Dr. Wilhelm von Bode, of the Berlin Museum, who has always intended to devote a book to a complete description of the Davanzati Palace and its contents. That, however, is clearly impossible, and it is left for me, myself, to briefly introduce my collections to the American public. My métier, it is true, is not that of a critical writer, but I think I may, without offending good taste, indicate what, so far as I may judge, are the most noteworthy objects among those I am offering for absolutely unrestricted acquisition by private collectors and lovers of Italian art. Among the pictures, for instance, it will be found that the few from the Davanzati Palace belong, without exception, to the School of Italian Primitives, the majority coming from the sacristy of the convent of St. Felice in Florence. My own Villa Pia collection covers a wider field, and includes two masterpieces of decorative art by the great Titian, an historical Madonna by Francia, a portrait by Bor- done, and a small gem by Francesco Guardi. Among the sculptures in stucco and terra-cotta the Davanzati Palace Madonnas are known to all connoisseurs, as are also the au- thentic busts of Dante and Petrarch, while in my private collection the great sculptor Gian Bologna is represented by two bas-reliefs, and there is a Tabernacle by Donatello. The bronzes, in what will doubtless be the opinion of admirers of the great art of Praxiteles, Scopas and Lysippus, are headed by the early Greek “Sappho,” one of the most beautiful statuettes in the world, while lovers of the more humanistic art of the Cinquecento Italians will be attracted by Pollaiuolo’s “Marsyas” and Tribolo’s “River-God,” which formed the pick of the Countess Stroganoff’s famous collection. Beyond all words of mine, finally, is the bronze incense burner of Riccio, which Dr. Bode declared to be one of the most beautiful of existing Renaissance bronzes. The Davanzati Palace collection of majolica is a notable one, for among it will be found, not only some rare blue and white Cafaggiolo ware, but a few pieces of lustered Gubbio ware, as well as examples of Maestro Giorgio and Giorgino themselves, but it will chiefly interest by its showing of primitive Orvieto majolica—the re- sults of the fortunate excavation, in 1911, at Orvieto, concerning which Dr. Bode has written so ably and so exhaustively. Finally, the small gatherings of ivories are enriched by the French Gothic Ma- donna of the Stroganoff Collection on its fifteenth century Pisan base, the rugs by the famous fifteenth century “Doria Rug” from Genoa, the tapestries by that world-renowned example of Flemish weave known as the “Prince Altieri” tapestry, and the linens by a number of uncommon pieces from the Davanzati Palace. To enter into further details of a collection catalogued so fully and with such care would be useless, but I take the opportunity of extending my sincerest thanks to Professor Zanchi, the well-known art-critic of Florence, for his aid in preparing the catalogue so admirably written by Mr. Horace Townsend, and above all to Mr. Cesare A. Guglielmetti of Rome, who has most effectively, co- operated with me in this sale. In reply to a question that has often been asked me since my arrival in America, I may add that the Italian Government consented to the removal of these objects of art because, at the present stage of National affairs, they. shrank from purchasing so extensive a collection, especially as I expressed to them my hope of seeing the Davanzati Palace itself become, at some time, the property of the nation. But, after all, the most important declaration I have to make is that each piece here catalogued can stand by itself as a genuine | example of Italian art. Before acquiring any single object I have studied it thoroughly and convinced myself of its worthiness. Thus, those who purchase have the benefit, not only of my life-long experl- ence in the world of art, but also of my confident belief in the genuineness of every object offered at this sale, which I may say includes only the private collection from my Villa Pia and that of the Davanzati Palace. ELIA VOLPI. New York, November, 1916. CATALOGUE _ | IMPORTANT NOTICE Contrary to the general custom of the Association, it has per- mitted, by reason of their unique character and great value, a reserve price to be placed by Professor Volpi upon twenty items of his re- markable collection, and such items will be identified in the catalogue by an asterisk. With the exception of the aforementioned twenty items the sale of the collection, which comprises over one thousand catalogue numbers, will be absolutely without reserve or restriction, as is the case with all the sales held under the Association’s management. THE AMERICAN ART ASSOCIATION, Manacers. New Yorx, November 15, 1916. FIRST AFTERNOON’S SALE TUESDAY, NOVEMBER 21, 1916 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK Catalogue Nos. 1 to 169k, inclusive FIFTEENTH AND SIXTEENTH CENTURY IVORIES 6 Hoar 1—Firreentyu Century Frencu Ivory Mirror FRAME | Circular frame of ivory, carved with animals at the angles and, a S40 at the back, with a cusped medallion with figure subjects. Length, 334 inches. te YVR: WK: & VV RAM" 2—SixreentH Century Iranian Ivory-InLaip Powper FLAsk Circular-shaped powder flask of wood inlaid with ivory in a 0 : (9-9 pattern of circular medallions. Brass neck. Diameter, 5 1/8 inches. } of 4 ’ > ob. Y- 0 arolrvg 38—FirrreENTH CENTURY FRENCH Ivory Box Cylindrical form, with flat hinged lid. The sides are decorated ‘— with painted figures of animals. The applied hinges, square and escutcheon plate are of wrought and gilded bronze, and there is a small swinging loop handle of the same metal. _ Height, 51% inches; diameter, 424 inches. From the Countess Stroganoff Collection of Rome. y) trent 4—SIXTEENTH CENTURY ITALIAN Ivory-INLM{p PowvER FLASK Bottle-shaped, of wood, inlaid with ivory.. On one side a man —— in sixteenth century costume holds in his hand a label on which is an inscription in Roman lettering. On the reverse is a Saint above with a man kneeling in front of a cannon. Brass meas- uring tube and silk cord. Height, 81/4, inches; width, 5 7/10 inches. f? ~ Yr: VW: oe CanrmriAar Aer 5—FIrrEENTH Century [Taian Ivory-INLAID JEWEL-CASKET Octagonal shape of ebony inlaid with ivory, with hinged cover of pinnacle form and molded ebony base. The sides are deco- ~ rated with ivory figures, carved in relief, of cavaliers and ladies in fifteenth century costumes. The backgrounds of the niches in which they stand are painted in colors with floral sprays. The upper side of the spreading lid is inlaid with a geometrical patterning and the pinnacle top with lozenge-shaped plates of ivory painted with flowers. The cylindrical interior lined with old red satin. ; Height, 6 1/38 inches; diameter, 5% inches. 6—SEVENTEENTH Century [rattan Ivory Pax or THE SCHOOL OF BERNINI (CL (3 Lad Bee 330° a Rectangular shape. Formed of a semi-cylindrical plaque of ivory carved in low relief with a subject of “The Deposition from the Cross.” The plaque is framed in.chiseled bronze with a figure of St. Veronica above, and at the sides two angels, in high relief holding emblems of the Passion. Mounted on wood with a carved wooden handle. Height, 61: inches; width, 4 1/8 mches. Lente Vrehntorhn 7—FourTEENTH Century UMpriaAN TABERNACLE f Tabernacle of wood, with pointed arch top. The center is 3 po nes paneled with an ivory plaque carved in low relief with a subject of a Crucifixion, the two wings with Saints holding swords. Height, 13 4/5 inches; width, 91% inches. phe Nios 8—SIXTEENTH CENTURY SPANISH Ivory Eieure i — Rimini; on the Reverse a view of a temple and the date mccccz. Diameter, 14% inches. | “A 1 ih, \ of fr. / oy Wi 12—FirreentH Century Iranian Mepan ~~ ¥ @*UVOWrarcé On the Obverse the head of Giovanni Bentivoglio; on the Re- verse the inscription: MAXIMILIANI IMPERATORIS MUNUS. AL MccccLxxxxi (The gift of the Emperor Maximilian 1493). Diameter, 1¥% inches. A a, 4 ae ¥ , / 183—FirrerentH Century Iranian Mepan VV‘ / “C+ Krr1 X22 On the Obverse the heads of the Emperor Maximilian and the = Empress Maria, of Austria. ig Diameter, 1% inches. , (\ /) 14—SrxTeentH Century Iratran MEDAL 26 > ere On the Obverse the head of Pope Sixtus IV; on the Reverse / 2.52_ the coat-of-arms of the Della Rovere family. Diameter, 134 inches. From the Countess Stroganoff Collection of Rome. 15—SrxreentH Century Iranian Mepan 70° OW SS eigen g On the Obverse the head of Pope Calixtus 3rd¥ on the Reverse / 2- 4 %_ bases decorated with scrolls and are clad in loose tunics elabo- ety rately painted in various colors with a design representing em- broidery. Their outstretched right legs support the mandolas on which they are playing, while their upstretched wings are gilded and painted, ‘Their blond curls, falling to their shoulders, are of real hair confined by silk and cords. Height, 1114 inches; length of base, 9Y%g inches. (Illustrated) 89—FirreentH Century Umprian Carvep COLORED AND GILT Woop ALTO-RELIEF (Qo (3 on vi Cau -¢ Three-quarter-length figure of the Virgin holding the ee Christ, in high relief. She is dressed in a rich vestment of gold and red, and on her head is a golden crown from which a white veil falls over her shoulders. On her left arm she carries the Christ, who is dressed in a short varicolored and gilded tunic. On an octagonal molded base. UX Crrrel 159—SIxTEENTH CENTURY FaENzA MasoricA ALBARELLO : — ¢ Cylindrical shape. Decorated, on a gray crackled ground, in ¢ ¢ ~~ dark blue, with a diapered pattern of large scrollings and flowers. Height, 9 2/5 inches. gp Naps om Moo ND DO” AEWA 160—SrixtreEentH Century Iratian Magorica PLATE Circular shape, with wide flat rim. Decorated on a dark blue ground, the rim with an arabesque patterning in shaded light Lc) °£— )lue, the center with a shield surmounted by a lily and occupied with the arms of the Rondinini family of Florence in orange, yellow and blue. (Repaired.) Diameter, 914 inches. y /™ ae AAG \) at got 161—SIXTEENTH CENTURY ITALIAN MAJOLICA PATE Circular shape, with wide flat rim. Decorated, on a die blue eae ground, the rim with an arabesque patterning in shaded light blue, the center with a shield surmounted by a lily and occupied with the arms of the Rondinini family of Florence in orange, yellow and blue. Diameter, 91/4 inches. 16 HS SSS Century Iranian Grazup 'Trerra-corra “Bovu- al J A QUET”’ kee A group of fruits and flowers, with a snail naturalistically glazed | Ret is A 7 ‘4 — in colors and arranged in a circular holder with a cylindrical unglazed stem originally built into a wall. Diameter, 9 2/5 inches. l per ip Crom Serre (Chaer ve 163—SIXTEENTH CENTURY VENETIAN Masotica Ewer AND-STAND Amphora-shaped ewer, with handle and circular stand.\ Deco- rated on a solid ground of light blue, with scrollings in yellow, the stand with a coat-of-arms surrounded by scrollings in yellow. Height of ewer, 6%/4 inches; diameter of stand, 914 inches. 164—SIxTEENTH CENTURY ITALIAN GLAZED , Trerra-corra Basket witH F RvuITs ( i eran Circular basket, with pierced sides. Filled with various fruits 5, «¢_ naturalistically colored. Glazed terra-cotta, of the school of ie Della Robbia. Diameter, 9Vg inches; height, 6 1 /3 inches. 165—Patir or SIXTEENTH CrenTuRY ITALIAN Masouica / PHARMACY VASES Pretiniche? or. | ¢¢__ Pear-shaped bodies, with cylindr ical necks. Glazed in light blue, or igeaen decorated with branches of yellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis (clasped hands and cross). Height, 12 inches. Olto CG prrtigol ie 166—SIXTEENTH CENTURY FLORENTINE Masoutica PLATE _ Circular shape, with flat rm. Decorated, on a white ground, aon <<— the rim with a border of lozenge-shaped medallions of yellow in almond-shaped scrollings of blue, and the center with a checkered pattern of small green and manganese squares. p Nake! 10 nihas Ih eS Aare Pepin 167—Two SIxTEENTH CENTURY URBINO Ware PITCHERS Pear-shaped bodies, with looped handles, with varicolored deco- 5 7 x & rations. 4-0 Height, 101% inches. 7. : x Ween CAARF\_ 168—FIrTtrENtTH Crentury SIENESE Primitive Masouica VASE Cylindrical shape. Decorated, on a reddish-white ground, in js green and manganese, with a pattern of interlacements with / 5 © hatched interspaces. Height, 1014 inches... TA se 1 f MY VA nei ere 169—T wo SrxtrentH CENTURY Ursino Ware PITCHERS Pear-shaped bodies, with straight spouts and looped handles. Varicolored decoration, on one side, of a bishop’s mitre, and on od the other of a cross with crescents (arms of the Strozzi family). Height, 10 38/5 inches. 169A—SIXTEENTH CENTURY UrsiIno Ware Fruit DisH Circular shape, with scalloped edge, deep fluted rim and cir- 4 ¢ — cular foot. Decorated in various colors with grotesqueries of dolphins, birds, putti and scrolls. The center is occupied by a painting of Galatea and a Cupid riding upon dolphins. Height, 434 inches; meena 13 imches. 8e. 169B—SIXTEENTH CENTURY FAENZA Mosca! HARMACY Pear-shaped body, with projecting evince spout ane two scrolled handles with mask terminations. Decorated, on a white 7 44 ground, in green, yellow and blue, with a scrolled label inscribed “A. D. MELISSA,” and with a wreath of leaves enclosing a coat-of- arms. On the other side, in blue, a device of a double-armed cross and a shield initialed G. F. B. and the date 1593. Height, 11% inches. S N (3 Met Lr_ 169c—SIXTEENTH CENTURY FAENZA WARE VASE = Cylindrical shape. Decorated with the bust of a warrior on a i : /° blue background between two ribbons in white, one of which bears an inscription, and with palm leaves. | Height, 11% inches. (VON - - r UAE 169D—SIXTEENTH CENTURY FAENzZA WarE PiIrcHEeR Pear-shaped body, with looped handles. Height, 13 inches. ° 169E—P air oF SIXTEENTH CENTURY ITALIAN, Mason ICA PHARMACY, oe VASES Tne ktyrue Ry. Co Pear-shaped bodies, with cylindrical necks. Glazed in light blue, decorated with branches of yellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis (clasped hands and cross). Height, 12 3/5 inches. VIF x ? KATA fee & YY oO 169r—Two SIxTEENTH CENTURY CasTEL DURANTE WaRrE VASES ane te ye Albarello-shaped pharmacy vases, decorated with the names of © the drugs in Gothic lettering and with coats-of-arms, and mili- tary trophies enclosed in garlands of fruits and flowers. Height, 73), inches. 169G—Pair OF SIXTEENTH Century Iranian Masonica PHARMACY VASES Vy % pepe“ Maret Pear-shaped bodies, with cylindrical necks. Glazed in light blue, decorated with branches of yellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis (clasped hands and cross). Height, 121% inches. 169H—Parr OF SIXTEENTH CENTURY ITALIAN Masonica Puarmacy ri rT hd { v VASES VU. Pear-shaped bodies, with cylindrical necks. Glased in 1 light blue, decorated with branches of yellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis (clasped hands and cross). Height, 12% inches. am Z bat | ar a A A a 1A Lere uw Wr ee ge RK. AEP gh 1691—Pair oF SIXTEENTH CENTURY CaFrAGGIOLO WaRE VASES Pear-shaped, with cylindrical necks and two handles. The necks o/ ) — decorated in blue on white with the emblem of St. Francis, within a wreath of fruits and leaves. Height, 22 1/5 winches. LG ee 1693—SIXTEENTH CENTURY Farnza Masouica TILE : Oblong shape. Decorated, on a white ground, with the profile head of a woman in light blue and brown on a dark blue ground. [se Height, 5% inches; length, 11% wches. /) 6) to neerty 169K—SIXTEENTH CENTURY FarEnNzA Magouica TILE {a SMe Oblong shape. Decorated, on a white ground, with a portion ah ee of a scrolled circular medallion in blue occupied by the profile head of a woman in blue, brown and yellow. Height, 5% inches; length, 117% inches. SECOND AFTERNOON’S SALE WEDNESDAY, NOVEMBER 22, 1916 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK Catalogue Nos. 170 to 330, inclusive ITALIAN LINENS _— , CEG Grrr Agen 170—TWENTY-THREE EIGHTEENTH CENTURY ITALIAN Berge leg 25 Hand-towels of white linen. M by Us \ 171— FRAGMENT OF A FIFTEENTH CENTURY UmerIAN LINEN 'TOWEL J Ws _ Part of a hand towel with a woven patterning in blue. (gy Dot wee er Bsa Mie i a © Sey CML 172— FIFTEENTH CENTURY UmBrRIAN LINEN TOWEL ates f A hand towel of white linen with a woven pattern in blue. age Pa DAA | M124 a 173— EIGHTEENTH CENTURY VENETIAN Stans: TABLE GArR Nearly square shape. Table center of white silk, interwoven in an ornate design with silver threads, and with a decoration of S—<* flowers and leaves, embroidered in varicolored silks. Finished with a gold fringe. Length, oes gt ae width, 181% inches. 174—SIXTEENTH CENTURY ITALIAN LINEN Tr ecrarie Paws Oblong shape. A small tablecloth of white linen embroidered ° — with a small design in gold and silk, with a fringe of gold threads. Length, 31 inches; width, 20% inches. 175—SIXxTEENTH CrentTuRY ITaLIAN LINEN TAaBLEctorH Oblong shape. A small tablecloth of white linen bordered with Sere a small edging embroidered in yellow and red silk, and with a small fringe. Length, 3-feet 7 1/3 inches; width, 21 3/5 inches. 176— EIGHTEENTH CENTURY ITALIAN TABLECLOTH ((,s/7 Of white linen with fringe. () pit yr. a AOA 177—SIXTEENTH CENTURY ITALIAN LINEN TABLECLOTH ~ , ». Oblong shape. Tablecloth of white linen, embroidered in Eng- / ¥ —~ lish point, with a foliage design of various colors. Length, 6 feet 4% inch; width, 2 feet 7% inches. { W) ‘3 yj, 178—F 1rTEENTH CENTURY UmpBrian IANEN TABLECLOTH Oblong shape. ‘Tablecloth of white linen cloth with a woven Lib See patterning in blue, of figures of plants. Length, 8 feet 81% inches; width, 2 feet 81% inches. TEXTILES — van a Ya | NS ane Kase 179—SIXTEENTH CENTURY ITALIAN SILK CUSHION Oblong shape. Covered with red silk having a small waved os “— design. Length, 14 1/6 inches; width, 10 1/12 inches. Bai AS ae 180—SIXTEENTH CENTURY ITALIAN SILK CUSHION / Oblong shape. Covered in green striped yellow ‘silk with pat- ¢_ _ ternings in white. Length, 1584 inches; width, 11 inches. Cea. fi ( CM: Rit, Agent 181—SIxTEENTH Century Iranian Empromerep Linen te Square shape. Covered with white woven linen and chore ered with yellow and white silk. Length, 15 inches; width, 18 2/5 inches. ay Wn ee ~~ we ‘s- . om >. Vr “Ho. Gk BYR. 182—SrixTEENTH CENTURY ITALIAN VELVET CUSHION Oblong shape. Covered with red velvet, embroidered on one 4 , « side with gold thread and spangles in a scrolled floral design. Wood tassels covered with red silk and gold thread. Length, 14 3/5 inches; width, 11 4/5 inches. 4ya) Va) / We Starr prad 183—SIxTEENTH CENTURY ITALIAN SILK CUSHION / 2s Oblong shape. Covered with white silk, interwoven with silver =" thread. Yellow tassels and border. Length, 16 1/7 inches; width, 10 2/3 inches. 7 AD > ey . frm "¥ Wann 184—SIXTEENTH CENTURY ITALIAN VELVET CUSHION ~ Oblong shape. Covered with purple velvet with a border of gold "s g p purp g LL (/ — thread. Length, 161% inches; width, 10 2/8 inches. sf al Yn’ by «Ul. | CO, ee a 185—SIXTEENTH CENTURY ITALIAN SILK CUSHION pee Oblong shape. Covered with green silk with a symmetrical Vv —~— woven design of grapes and vine. Yellow and green silk tassels. Length, 16% inches; width, 14 1/6 inches. TRAD YY 186—SIXTEENTH Century IratiAn Empromwrrep SiLK CUusHION Oblong shape. Covered with red silk surrounded by a trefoiled Bl ee border embroidered in varicolored silks and gold thread and with embroidered floral sprays at the angles. In the center is em- broidered an oval coat-of-arms mantled with acanthus leaves. Length, 18 9/10 inches; width, 13 inches. Wia in Copan 187—T wo SixteentH Century ITALIAN VELVET CUSHIONS a Oblong shape. Covered with red velvet. i Ane Length, 19 1 /8 inches; width, 18 inches. f \ 188—Two SrxTrENtH CENTURY ITALIAN VELVET CusHIONS ¢ —~s_ Oblong shape. Covered with red velvet. iN 4 189—Two SrxTeentH Century Irautan Vetiver CusHions —~ «-— Oblong shape. Covered with red velvet. ; Ft VS Vi ‘Lrtatte fee Ad DECOY) a tN ee 190—SixteentH Century I[raviAn EMBROIDERED SILK CusHI0N Nearly square shape. Covered with red silk with a broad ser oNed an and trefoiled border embroidered in varicolored silks and gold and with embroidered scrolled floral sprays at the angles. In the center is an oval coat-of-arms mantled with acanthus leaves. Length, 19 1 /3 inches; width, 15%, inches. TWA ~ KK. we PAM AWA 191—T wo SIxTEENTH CENTURY ITALIAN VELVET CUSHIONS ~-7 ‘£ Oblong shape. Covered with red velvet trimmed with yellow. — Length, 2114 inches; width, 16 1/7 inches. 4 Cs (} 192—Two SixTEENTH CENTURY ITALIAN VELVET CUSHIONS ¢ -,. Oblong shape. Covered with red velvet trimmed with yellow. ar Similar to the preceding. !* {c ( 193—Two SixTeentH Century ITatiaAN VELVET CUSHIONS Oblong shape. Covered with red velvet trimmed with yellow. =. Similar to No. 191. fe ly (¥ : é to kat " AAM 21 . 194—T wo SIxTEENTH CENTURY ITALIAN DAMASK etal es Oblong shape. Covered in red silk damascus. ( im”) — Length, 20 inches; width, 16 1/7 inches. 195—T wo SrxTeEENtH CrentTUuRY ITALIAN CusHtIons ) / 4 | Square shape. Covered with red velvet embroidered at the cor- ners with a scroll design in silver and gold, and in the middle with a coat-of-arms. Length, 17°4 inches; width, 167g inches. 4 /) / Hy. BLAKE 196—SIXTEENTH CENTURY ITALIAN SILK CuSHION Oblong shape. Covered with red silk, embroidered on both sides in gold and silk of various colors, with a broad border and floral sprays at the angles, and a coat-of-arms in the center. Length, 1734 inches; width, 12 8 /5 inches. (Illustrated) i ¢ 196 1 ia YU . ne Bs Net Ken Ae A_ WO 197—S1xTrENTH Century ITALIAN EMBROIDERED CUSHION Oblong shape. Covered with red silk with a trefoiled border embroidered in varicolored silks and gold thread and with simi- larly embroidered scrolled floral sprays at the corners. In the center is embroidered an oval coat-of-arms surmounted by a helmet and mantled with scrolls and acanthus leaves. Height, 19 1/3 inches; width, 15 inches. ~ =" Go a ot Ret a ee CM Cis BAe eG 198—SixTEENTH CENTURY ITALIAN EMBROIDERED SILK CUSHION Nearly square shape. Covered with silk with a scroll and tre- ST = foil border embroidered in varicolored silks and gold and with scrolled floral sprays at the angles. In the center is embroidered an oval coat-of-arms mantled with acanthus leaves. Length, 19 1/8 inches; width, 1534 inches. ra ag (Egy: fp. s is (oO. ( i ate v™ -\ TRAKAMN BC 199—Two SrxTEENTH CENTURY ITALIAN DAMASK CUSHIONS Oblong shape. Covered in red silk damask. h ~ (4) , Bp. YY RYU QI Www 200—Two Srxreenta Century Prarran Damask CUSHIONS Oblong shape. Covered in red silk damask. Similar to the preceding. /) : Y) AK iy Wines Obs 201—SIXTEENTH CENTURY ITALIAN Damask CUSHION SSI LU —_ Oblong shape. Covered in red silk damask. Similar to the pre- jf 730 ~=— ceding (No. 200). : 4 Wyre Qe aL 202—SIXTEENTH CENTURY ITALIAN STK CusHION Oblong shape. Covered on both sides with white silk, bordered with galloon. ipo Length, 15 inches; width, 1734 inches. 203—T wo SrxreenrH Century Irarian Vetver CusHIons ( Oblong shape. Covered on one side with velvet and on the ot — >, «¢_ with red silk damask; gold trimmings and yellow silk tassels. 0 wv er Length, 1784 inches; width, 15% inches. aioe if sf 1A , rd -(L- Vi Vote 204—Two SIxTEENTH CENTURY ITALIAN EMBROIDERED SILK CuSHIONS Oblong shape. Covered with red silk embroidered in gold ~~ thread, at the four corners with heart-shaped figures formed by floral scrollings and in the center with a large coat-of-arms of a rampant lion surmounted by a helmet and mantled with bold scrollings. ‘Tassels of red silk wound with gold thread. Length, 21 8/5 inches; width, 151% ches. A A a VAM ‘nr VMI oC. Xp ehck _ 205—SEVENTEENTH CENTURY ITALIAN DAMASK Larce CusHIon~ Oblong shape. Covered, on both sides, with red silk damask. ye : : : we” Length, 3 feet 1 4/5 inches; width, 181% inches. oN | Y Qe QVUUNSarvek&, 206—SEVENTEENTH Century IratiAn Damask LArce CusHIon Oblong shape. Covered, on one side, with red silk damask. ms 7 oe Length, 3 feet 101% inches; width, 151% imches. KD > Oe 207—T wo FIrrEENTH CENTURY FLORENTINE EMBROIDERED VELVET Cusuions (7/447 (010: Lorre Ogan® Rectangular shape. Covered with red velvet richly embroidered in gold and silver with voluted foliage. In thd center is a coat- of-arms consisting of an eagle. Silk tassels at the corners. Length, 18% inches; width, 12 1/5 inches. 4 Fon f 208—KEIGHTEENTH CENTURY ITraLIAN Sink MANIPLE Maniple of red silk decorated with flowers and crosses, embroid- ered in varicolored silks and gold and silver thread. J, , war Sor IWe renee 209—SIXTEENTH CrntTuRY ITALIAN SILK STOLE : Priest’s stole of green silk, with a small woven design and silk fringe. re re oe Ok Nay aot eR ee fe MK 210—SIxTEENTH CENTURY IraLIAN EmproipErRED SiLK CHALICE CovER —., Square shape. . uw i A A \ Ce 7 - LAR 3 Q a 217—EIGHTEENTH CENTURY VENETIAN Lapy’s CosTUME j= A lady’s dress, consisting of a bodice, with sleeves and skirt of white silk, interwoven with silver and decorated in bold design of flowers and leaves woven in green silk and gold. Length, 9 feet 10 inches. eee, fy Ta Lf Wr pn lhe. Anns t§dae 218—SrxTeEENtTH CENTURY ITALIAN CUT-VELVET ALTAR FRONTAL Oblong shape. “Paliotto” or altar cover of cut red velvet bor- dered with galloon of silk and silver thread and a fringe of green silk. Length, 5 feet 81% inches; width, 811% inches. | Fa /) fi ; f hn Na 6 Wow 219—SIXTEENTH CENTURY ITALIAN ALTAR FRONTAL 220 A deo . f} a A Paliotto or altar covering of Hungarian point worked in a geometrical design. Bordered with gold galloon and fringe and having a decoration of silver threads on the upper part. Length, 7 feet 3/5 inch; width, 3 feet 1 3/5 inches. SIXTEENTH CENTURY rite Pana Cook A priest’s cope of white brocatelle, with a scrolled patterning in red and a border and fringe of yellow silk. in et (2.2 Woe A 221—FirrreentuH Century FLoRENTINE CutT-vELVET BANNER BY A core A. processional banner of cut red velvet, the ground interwoven with silver threads and with a red silk fringe. Height, 6 feet 684 inches; width, 22 inches. a Re RIA? A 222 Four SIXTEENTH CENTURY ITALIAN SILK CHaArR Backs Oblong shape. A set of four chair-back coverings of red silk. Embroidered in varicolored silks with a design of foliage and scrolls having dolphins’ heads in yellow silk. Length, 201% inches; width, 15 inches. aia 5 /) y UF Lia eee le _- 223—SIXTEENTH CENTURY VENETIAN TABLE COVER Square shape. Small table cover of brocade in a foliage design gee interwoven with gold and silver threads and edged with a gold fringe. Length, 2114 inches; width, 20% inches. Cita a 45 ~ er aan 224—SIxXTEENTH CENTURY ITALIAN CUT-VELVET /FABLE OVER 3 a Oblong shape. ian Table cover of yellow cut velvet eee a small design in relief of green and edged with a rich silk fringe. Length, 4 feet 4/5 inch; width, 3 feet 3 2/5 inches. {\ A ve A ee Rr K GUC AR 225—FIFTEENTH CENTURY Traian” BrRocaTELLE CovER Oblong shape. Table cover of red brocatelle woven in’a small be design on a background interwoven with gold threads and edged - with a rich gold fringe. Length, 5 feet 8 9/10 inches; width, 1 foot 5 1/8 inches. Y ora /N Pt ee A Mgeore ee 226— FIFTEENTH CENTURY ITALIAN CUT-VELVET TABLE COVER Oblong shape. Table cover of green cut velvet with a small de- 5 _ ge signin relief and edged with a fringe of gold threads. o/ Uj — Length, 5 feet 5 inches; eRe 2 feet 111% inches. Yur- o Ci hctybed. 227—SIXTEENTH CENTURY ITALIAN BROCATELLE TABLE COVER Oblong shape. Table cover of vellow brocatelle with a design fs ‘ 6 FO errr 243—EiGHTerntH Crntury Iranian Sirk Brep HANGINGS Draperies and canopies for a bed of green moiré silk bordered J S50 ‘“_ with a fringe. First curtain: Height, 7 feet 1014 inches; width, 7 feet 2 8/5 inches. Second curtain: Height, 8 feet 2 2/5 inches; width, 7 feet 81% inches. Canopy: Length, 22 feet %4 inch. Small canopy: Length, 21 feet 39/10 inches. ane ey A VC Wannceke 244—SIXTEENTH CENTURY ITALIAN VELVET eae A length of old red velvet. ey ie, Length, 7 feet 2 3/5 inches; width, 3 feet 1 2/5 inches. ws « a (Se 77 245—SIXTEENTH Century IranIAN VELVET STRIP ease AE A length of old blue velvet. Length, 3 feet 81/10 inches; width, 1 foot 11 3/5 mcehes. i eS (c | e ea) Ne ae A eA. AL 246—FirreENtH CEnTury ITALIAN CUT-VELVET STRIP | : Olive-colored cut velvet of a small foliage design on a back- oem ground interwoven with gold threads. Edged with yellow silk fringe and a blue border embroidered in gold. Length, 6 feet 8 4/5 mches; width, 11 4/5 inches. fi yy NAVs SP ennnrtt 247—SEVENTEENTH CENTURY ITALIAN Damask Several pieces of red silk damask, woven in a bold design. 7 ae eT 0 Complete length, 15 feet 9 3/5 inches; width, 2 feet 1 3/5 inches. : > Bee fe) 248—SEVENTEENTH CENTURY IraLIAN Damask STRIP A length of old red silk damask, woven in a bold pattern. 4 a Length, 19 feet 61/4 inches; width, 2 feet 1114 inches. 249-—StxtEENtH CrnturRY IraLiAN VELVET STRIP iWor 2een, Length of red velvet. | Length, 9 feet 1014 inches; width, 19 3/5 inches. f é 7 , \ “ VY -—+ /) f 250—Two SEVENTEENTH CENTURY FLORENTINE CUT-VELVET STRIPS Two lengths of cut red velvet of a bold design of scrolled, pointed and voluted leaves on a ground solidly interwoven with gold. Lengths, 29 feet 634 inches and 19 feet 4 inches. Ge Note: This velvet has an interesting story. During the XVIIth century Count Alessandri of Florence ordered his bedroom to be hung with cut velvet. After the work was completed two rolls remained and were placed for safety in a cassone. Here they remained forgotten until Professor Volpi purchased them from the present Count Alessandri. So the room in the Alessandri Palace is still hung with faded velvet of the identical weave of that here catalogued, which is as fresh and un- sullied as when it was made nearly three hundred years ago. Fa Sg , (ASA oa ee 251—SIxTEENTH CENTURY ITALIAN ere SrTrip A length of pink satin in four pieces. ' "ea / OY ——— Length, 28 feet 10 1/5 inches; width, 19 3/5 inches. is rs y a Ure, Ct AALS 252—QUANTITY OF SEVENTEENTH CENTURY IvaLIAN SATIN Old red satin woven in a bold pattern. Total length, 84 yards 25 3/5 inches. i fp Any, f f APAMH Shit mig 253 EENTH CENTURY IraLian CUtT-vELVET STRIP ,« A length of red velvet, cut in a bold counter-changed ‘design g ~ ona light yellow ground. Length, 68 inches; width, 19 3/5 inches. =) Ee) ir sat Mn" 254—SIXTEENTH CENTURY ITALIAN SrLK Srrip 4 Small length of red silk, richly embroidered in gold thread with — « a design of small floral and foliage sprays bordered on three sides with a gold fringe. ieee 21 3/5 inches; width, 7 inches. ae 255—Two SEVENTEENTH CENTURY ie AMASK a Two lengths of red silk damask woven in a bold design. Lengths, 14 feet 2% inches and 27 1/5 inches; widths, 13 feet 5 2/5 mches and 26 inches. rine O bh an ANE 256—SIXTEENTH CENTURY ITALIAN VELVET A piece of old red velvet in three strips. Fy fA oe _ Length, 85 feet 1% inches; width, 201% inches. Y ‘ —~ f : rm e Movrek |ikater 257—QUANTITY OF SEVENTEENTH CENTURY ITALIAN SATIN ,¢ Lot of old red satin, consisting of 58 pieces. a ae 4 aed Total length, 247 yards and 5 3/5 inches; widths, 20 inches to 24 2/5 inches. we y Y) MW VA q hy > er ¢ oF ad ee ee OY herr lly ina ai Thara (OM: deren ran poh or 258—Nomap Asia Minor Prayer RvuG / Y Executed in Ghiordes pattern about 1800. Oblong hens ‘The ,, mihrab, with a red ground, has a shaped and stepped arch out- ~ lined in white, with two ewer forms and a floral spray taking the place of the usual mosque lamp. The sky spandrels, on a light blue ground, are occupied by a scrolled floral patterning of red, white, blue and yellow. The main border, on a dark ground, has a design of pointed scrolled zigzags occupied by scrolled interlacements in light colors. The inner and outer guards are of undulating and quatrefoiled patternings on a yellow ground. Length, 5 feet 10% inches; width, 3 feet Y inch. OREO AE IGRI DOG A U9 DEORE CSN St bITa aa EY SEV hy 3 ate & 259—ANCIENT Lear Rue sips rut 2 Western Asia Minor, sixteenth century. An exceptionally choice specimen, of the same type as the rug No. 260. The field, with a red ground, is patterned with geometrically conven- tionalized leaf forms and interlacements in yellow relieved by passages of light and dark blue. The main border, on a red eround, has a design of regularly diapered quatrefoiled medal- lions and trefoil lily forms in yellow and red. Length, 5 feet 1 inch; width, 5 feet 1 inch. aon ostasmisemtantny ARN) Ea app oa {\eey Ah Lan / / G) 12 \ 1 | Vise 260—ANCIENT Lear Rua ete Ne Western Asia Minor, sixteenth century. One of the finest of the rare rugs often seen depicted in the paintings of Lorenzo UU _ Lotto, Girolamo dai Libri, Bronzino and Luca Longhi. Speci- men of the very highest order. The field, with a red ground, is decorated with a pattern of geometrically conventionalized leaf forms and interlacements in yellow relieved by passages of light and dark blue. The main border, on a blue ground, has a patterning of interlacements based on Cufic lettering in various colors of which yellow is the predominating. Length, 7 feet 6 3/5 inches; width, 4 feet 7 1/10 inches. Ao RR AS $72 ayy x Bx 261—Rue or Buur Srars ( + ES coh CONTE ECE CREPE RAT aS 2 ee itis {wads ¥ * «4 A # = * $P en DO Cen >, Se 3 OM! ae SA ot SS LENS IANS # $8: ; Yo ; . (p10 tee ~ NY AML Cushak, Western Asia Minor, sixteenth century. Similar rugs are to be seen depicted in Bordone’s “Fisherman and Doge” at Venice and in Netherlandish paintings of the early seven- teenth century. A rug that is almost priceless. The field, on a red ground, is patterned with large eight-pointed star figures alternating with smaller lozenge-shaped medallions, enriched with interlacements and arabesques and is further decorated with scrolled branches of flowers and leaves. The main border, on a red ground, has a reciprocating pattern of arabesque leaf forms and loops in black, blué and yellow. The inner and outer guards have scrolled and floral patterning of yellow on blue grounds. Length, 12 feet 1 3/5 inches; width, 6 feet 634 inches. ‘ eR 7) nt * ll» a re i® ‘el * * * a 44 tg be » > J 4 F I ors ix 1a 4 “a ” << * 4 i E ie rare te 43 be a ITALIAN FURNITURE OF THE EARLY RENAISSANCE That the furniture of the Villa Pia and of the Davanzati Palace Collections should be of a character so similar is easily explainable by the fact that the same guiding motive directed their gathering. Though typically Italian, these nobly proportioned, exquisitely fash- ioned, cabinets and tables and chairs, carry with them hardly a sugges- tion of that later and more flamboyant furniture of the Italy with which many of us are familiar. That “beautiful simplicity and purity of the Grecian and Roman models,” which influenced more than one gen- eration of Italian artists and craftsmen, is nowhere seen to better ad- vantage than in this magnificent furniture. Despite its ample size, which adapted it originally to the spacious and lofty rooms of the Cinquecento palazzi, and occasionally the almost lavish exuberance of its marvelous carving, yet the sweetness and severity of its lines entitle it to find itself at home no matter what the surroundings amid which it may find itself. Het: FURNITURE SPDR Ss (STS aan corde Lary 262—TuHREE SEVENTEENTH CENTURY ITALIAN WALNUT STOOLS Rectangular shape, supported on four square tapering legs, 0 ** molded and carved, and with scrolled and carved cross-stretchers. Covered in contemporary red velvet with red silk fringe. Height, 1 foot 8 inches; width, 1 foot 10 inches. 4 Sito mwa 263—F ouRTEENTH CrntTURY VENETIAN GorHiIc RELIQUARY In the form of a chdsse with hinged cover shaped as a gabled roof. Decorated with carvings of the late Gothic period. The he sides are enriched with Gothic tracery, the cover with similar tracery enclosing the sacred monogram I.H.S. and the head of a Saint, and the sloping angles of the top are crocketed, the angles of the body being buttressed. Almost entirely gilt with gold leaf overlaid on a red ground, the background being picked out in blue. . i Aa Height, 1 foot 5% mches; length, 1 foot 8 inches; depth, 1 foot. 264—SEVENTEENTH CENTURY VENETIAN CARVED AND GILT Woop Mirror Cae 2G, oy rea Shield-shaped, with inner molded frame surrounded by panels formed by molded ribbings. The outer frame elaborately carved with female caryatides at the sides, scrolls and festoons of flow- ers and leaves and masks. Below, from a carved floral rosette spring two curved branches terminating in carved rosetted candle-sockets. Original mirrors. Height, 2 feet 7 inches; width, 1 foot. 5 inches. 265—SEVENTEENTH CENTURY VENETIAN CaRVED AND Git Woop ade Mirror 0 yy ok mae, ( ‘di 3 \ ay A “hee Similar to the preceding. . C VAAL Height, 2 feet 7 inches; width, 1 foot 5 inches. 266—SIXTEENTH CENTURY FLOR TINE TES ae AND GIL Mirror FRAME yes tc Rectangular frame molded,/carved|and supporting a frieze’ carved with masks, floral festdons and a cherub head with out- stretched wings; above this is a molded cornice and a broken voluted pediment, the central molded entablature being sup- ported by a cartouche carved with a coat of arms. The frame is flanked by female caryatides with voluted terminations and is supported by a vase-shaped column carved with rosettes and acanthus leaves. The cylindrical base is flanked by reversed consoles and bears a Latin inscription in Roman lettering with the date “1595.” Decorated with profuse gilding. Height, 3 feet; width, 1 foot 31% inches. 267—-SEVENTEENTH CENTURY VENETIAN CARVED AND GILT Woop Mirror C ye nhl. Sag Shield-shaped, with inner molded frame surrounded by panels = * formed by molded ribbings. The outer frame elaborately carved with female caryatides at the sides, scrolls and festoons of flow- ers and leaves and masks. Below, from a carved floral rosette spring two curved branches terminating in carved rosetted candle-sockets. Original mirrors. Height, 2 feet 7 inches; width, 1 foot 5 inches. 268—SEVENTEENTH CENTURY V ENETIAN Carvep AND GILT W oop S30 gs eo . ( sey prrth icciaad Similar to the preceding. Height, 2 feet 7 inches; width, 1 foot 5 inches. 269—T'wo oe Century Iranian BEECHWoon “Savona- ROLA” CHAIRS ag (Sn LiKe. ,. Curved sides and bases, formed of seven interlacing square -¥ & ~~ supports pivoted at their intersections so as to form folding chairs with square seats. Shaped back rails, with incised circles, straight arms ending in turned balls. Fronts with incised deco- ration and straight base rails. 270—Two SEVENTEENTH CENTURY ITALIAN yeaa pore otc: 99 { ROLA’ CHAIRS KY APE ITE Bs S12. Curved sides and bases, formed respectively of seven and eight aa « interlacing square supports pivoted at their intersections so as to form folding chairs, with square seats. Shaped back rail with incised rosettes and circles, straight arms with ball and bracket shaped ends. Fronts with incised rosette decoration and straight base rails. 271—T wo ae tH Century Iranian WaALNuT Ries ROLA” CHAIRS LQ nvr \Wrne Curved sides and bases, formed of eight We ariaeae square sup- vy x gj & ports pivoted at their intersections so as to form folding chairs | with square seats. Shaped back rails decorated with incised circles, straight arms with molded ends, fronts with rosetted decorations and straight base rails. 272 SEVENTEENTH CENTURY hae BrncH woop “SAVONAROLA” Cua L. Cat Curved sides and bases, formed respectively of seven and ten interlacing square supports pivoted at the intersections so as to form folding chairs with square seats. Shaped and reeded back rails, straight arms with ball ends, fronts with incised deco- ration and straight base rails. 6 Ay eaiG / VG Want 273—FIFTEENTH CENTURY ITALIAN WatLNutT CABINET ‘TABLE Square shape. The top inlaid with bands of light-colored wood. The lower portion is formed as a cabinet with drawer and cup- board, the drawer front and hinged door being paneled. Molded base with two scroll-shaped feet. Height, 2 feet 7 inches; width, 2 feet 9 inches; length, 3 feet 3 inches. /) ve - CAC Uh_ SIXTEENTH CENTURY see WaLnvr CABINET Rectangular shape. The front is flanked by two tapering pilas- ters decorated with sunken lines, and supporting a molded cornice enriched with modillion-shaped brackets. The pilasters enclose a cupboard with two hinged paneled doors, and rest upon a molded base. Height, 3 feet; width, 3 feet 1 inch; depth, 1 foot 2 inches. A Vt. Ne GV MALE 275—FIFTEETH CENTURY ITALIAN WALNUT CABINET 274— o Ji f ae a eae V/ we —_ oe > ig q _ ‘ Hexagonal shape on bigh molded base. The cornice is molded and dentelled and each of the six sides is paneled, the panels being enclosed by carved moldings... On one side the panel forms a hinged door with a heavy bronze drop handle and the base is formed as a drawer also with a bronze drop handle. Height, 8 feet; diameter, 2 feet 10 inches. View /) 276—'T wo SEVENTEENTH Century IraLtian Gitt Hic Pinner ste Of Sgabello form. The two side pieces support square molded «tops, are carved with gold volutes enclosing pendants of husk Sa design below which are oval medallions and grotesque masks, and are supported on lions’ paw feet. Entirely gilt on brown background. Height, 4 feet 2 inches. % f) ya f) / ( / ‘ a, x “O LA i ae a, 277—T wo FirreentH Century Iranian Gitt WALL PEDESTALS Shaped as scrolled consoles. The bases are decorated with boldly - earved acanthus leaves and the shafts are fluted. Entirely gilded yy 4 and picked out with blue. Height, 5 feet 2 inches. Yo C% | 278—Two SIXTEENTH CENTURY _ ITAEIAN CARVED | AND GILT PEDESTALS OS eer A dtr RgevrA— Pay. The fronts of the vase-shaped sides are outlined Ghith boldly carved voluted scrolls, the volutes of which support festoons of fruits and pendants of drapery. Between are grotesque masks and below are carved scrolls and honeysuckle ornamentation. The bases are molded and carved and the cross-bars are turned, their junctions at the sides being concealed with rosettes. En- tirely gilt. 4 6 @ Height, 5 feet 6 inches. U Y Canttea_ 279—SEVENTEENTH CrentTuRY ITALIAN GILT PEDESTAL ye Of Sgabello form. The two side supports, which terminate in square molded tops, are carved with bold volutes at the sides enclosing pendants of husk design, are further decorated with cherubim heads, rosettes and shells, and rest on lions’ paw feet. The entire design is gilt with a black background. ~ p Height, 4 feet. Kw - N/ PNK 9 280—SuvenreentH Century Tranian Watnur CHa Square back, with gilded and acanthus-leaf finials. Curved, molded and voluted arms on turned columnar supports. Turned legs and side rails. Seat and back upholstered in old scarlet silk damask with silk fringe and cut-yelvet edgings. 6: r) i Ve ¢ Vn bi tna_ 281—T'wo Earty SrxTeentH Century [taLian WaALNut CHarrs Straight square backs, with carved and gilded acanthus-leaf finials. Front rails carved and pierced in a scroll design, square legs and square-shaped side-rails. Seats and backs covered in contemporary leather stamped in gold, with bands of arabesque pattern, secured with rows of contemporary large brass-headed nails. amar yi XK A-\S alld 282—HarLy SIXTEENTH CrenTuRY ITaLian WaLNuT CHAIR Straight square back, with carved and gilded acanthus-leaf finials. Front rails carved and pierced in a scroll design, square legs and square-shaped side-rails. Seats and backs covered in contemporary leather stamped in gold with bands of arabesque pattern, secured with rows of contemporary large brass-headed nails. | ge Tite Gs. 2883—Two SrixTeentH Century Iranian WaLNuT ARMCHAIRS Square backs, with carved and gilded acanthus-leaf finials. Straight flat arms supported by turned balusters, turned legs / 2 iL a and straight feet-bars with molded ends. The seats and backs upholstered with contemporary Italian embroidery in a design of floral scrolls and baskets of fruit, worked, in colored silks, upon a coarse linen background. EN silk fringe. Ue-h/ QnAUnLe 284—T wo SIxTEENTH CenTURY ITALIAN WALNUT ARMCHAIRS A Os Gc f pX_ Fro td 285—Two SEVENTEENTH CENTURY ITALIAN SCLC CHams Similar to the preceding. ip Square backs, with gilded and carved acanthus-leaf. finials. Curved, molded and voluted arms on turned columnar supports. hy 0 ,« Turned legs and side rails. Seats and backs upholstered in old f scarlet silk damask with silk fringe and cut-velvet edgings. | KS 286—Two Earty SixreenrH Creyrury Iranian Watnut CuHairrs Square back, with carved and gilded acanthus-leaf finials. * ,. Front rails carved and pierced in a scroll design, square legs 7-7 ~— and square-shaped side rails. Seats and backs covered in con- temporary leather stamped in gold with bands of arabesque pattern, secured with rows of contemporary large brass-headed nails. | G NS) f U- (A (s ok prea 287—Two EarLy SIXTEENTH CENTURY ITALIAN WALNUT CHAIRS 288—Two SEVENTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS _,, ¢_ Similar to the preceding. Rounded backs with curved, molded and voluted arms on turned baluster supports. Turned legs, side rails and stretchers. 'The seats and backs are upholstered in contemporary red silk damask with silk fringe. ae ~ a / (r ff Mn: (s Ar Creg 289—Two SEVENTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS Straight square backs, with carved, pierced and gilded acanthus- Say ‘ leaf finials. Straight flat arms on turned columnar supports a and turned legs with lions’ paw feet, on flat base rails with” molded ends. Seats and backs upholstered in old red silk damask with silk galloon and silk ball fringe. f Twas: Ge Lathan 290—T wo SEVENTEENTH CENTURY ITALIAN WaLNUtT ARMCHAIRS 291—T wo SEVENTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS Straight square backs, with carved, pierced and gilded acanthus- 3 fay TA leaf finials. Straight flat arms on turned columnar supports and turned legs with lions’ paw feet on flat base rails with molded ends. Seats and backs upholstered in old red silk damask with silk galloon and silk ball fringe. a Og ¢ “~ Similar to the preceding. — een é hww- Se: pee) Wee if pnt SA 2—T wo SEVENTEENTH CENTURY ITALIAN Watnur Carrs Square backs, with gilded and carved acanthus-leaf finials. ¥ Curved, molded and voluted arms on turned columnar supports. LEY (0 —Turned legs and side rails. Seats and backs upholstered in old scarlet silk damask with silk fringe and cut-velvet edgings. rn ; 293—Two SEVENTEENTH CENTURY ITALIAN a eam eee : _ .« Similar to the preceding. hanes 5 aan @, acote F Id 294—T wo SEVENTEENTH CeNnTurRY IraLiaAn BEECHWoop “Sayona- ROLA” CHAIRS L/ pparr“Qemw_ (VF Ad. Curved sides and bases, formed of seven interlacing square sup- _. ports pivoted at the intersections so as to form folding chairs fe SU — with square seats. Shaped back-rails with incised circles and rosettes, straight reeded arms with molded ends and straight base rails. 295—Two SEVENTEENTH CENTURY ITALIAN BEECHWoop “Savona- ROLA” CHAIRS KV apnrnterr 9 r4e . Curved sides and bases, formed respectively of six and eight ~ interlacing square supports, pivoted at their intersections so as to form folding chairs with square seats. Shaped back-rails, one with incised shield and monogram, fronts with incised deco- ration, straight arms with ball and molded ends and straight base-rails. DSO ¢ / | Pes vo AL UsAhn_ Irth 296—T wo SEVENTEENTH CENTURY ITALIAN BEECHWOOD “SAVONA- pies, ROLA” CHAIRS [Uv ‘(ies Curved sides and bases, formed respectively of seven and ten interlacing square supports, pivoted at their intersections so as to form folding chairs. Square seats, shaped back-rails with incised circles, fronts with incised decoration, straight arms with ball ends and straight base-rails. y, 2607 = HIS eid eens eae Cah. tA 297 SIXTEENTH CENTURY FLORENTINE WALNUT TABLE Rectangular plain top. The apron is divided into two drawers with paneled fronts carved with floral scrolls design. At each corner are square projecting dies paneled and carved to cor- respond. The table is supported on four turned baluster legs with capitals carved in an egg and dart pattern and the lower portions with acanthus leaves. Side and end rails are carved with alternating leaf and rosette patternings. Height, 2 feet 11 inches; length, 4 feet 4 inches; depth, 2 feet 5 inches. Ty> tx SEVENTEENTH CENTURY ITaLIAN Git HicH Prprstan Of Sgabello form. The two side pieces support square molded tops with shell enrichments, are carved at the sides with bold volutes enclosing pendants of husk design, below which are lions’ masks, and are supported on lions’ paw feet. Entirely gilt. Height, 4 feet 1 inch. a Es ae RCE ELE Sia —— An | AWE | Sore 299—FirtreNTtTH CENTURY UMBRIAN TE TABLE Y Rectangular top, with straight edge carved in a pattern of im- — prications, supported on two lyre-shaped legs and brackets of modillion outline, the surfaces carved with bold imbrications. The voluted bases are similarly carved and have escutcheons occupied by coats-of-arms in their centers. There is a longi- tudinal brace carved with leaves and fleurs-de-lis and wedged into the legs. Height, 2 feet 714 inches; length, 4 feet 10 inches; width, 2 feet 11 inches. 300—T wo SEvENTEENTH Century Iranian BercHwoop “Sayona- ROLA” CHAIRS 4, Onn Oe Oe Re ‘2 Curved sides and bases, formed of seven interlacing square sup- ports, pivoted at their intersections so as to form folding chairs. Square seats, shaped back-rails, one with elaborate incised deco- ration, fronts with incised patterning, straight arms with ball and molded ends, and straight base-rails. se Gs ee ps f) fn: lhe A, pos WAN od HMA GWAWG 301—F 1rrEENTH CENTURY LIGURIAN WALNUT TABL Rectangular shape. The top has molded edge carved with semi- rosettes and the apron is divided into two drawers with carved scrollings of elaborate character and carved masks holding bronze rings in the centers. Separating the drawers and at the angles are carved angels’ heads. At each end are spirally turned columns and from the wide longitudinal brace, carved with floral scrollings, rises an arcade of three spirally turned columns. The cross base pieces at the ends terminate in carved couchant lions resting on ball feet. Height, 2 feet 10 inches; length, 4 feet 6 inches; width, 2 feet 5 inches. (Illustrated) 3802—SIXTEENTH CENTURY FLORENTINE INLAID WALNUT CABINET Pd AQ Rectangular shape in two divisions. The upper portion is fin- ished with a molded cornice and a frieze inlaid in light-colored woods with an inscription, in Roman letters, “Invidos virtute superabis” (“By virtue you will overcome the envious’). The fall-down front, inlaid with geometrical designs and an archi- tectural subject gives access to the interior fitted with fifteen drawers of various sizes with inlaid fronts and bronze drop handles. Below is a cupboard with two hinged doors, with sunken panels inlaid with views of castles having crenellated walls. ‘The sides are also inlaid. Height, 5 feet 2 ches; width, 3 feet 9 inches. / es Ay J~ \> Noe A NW 303—SIXTEENTH CENTURY FRENCH WALNUT Draw TABLE Rectangular top, with draw-out extension leaf inlaid in light- colored woods with a geometrical design and supported on four turned legs. The upper surface of the base is richly carved and rests on four cushion ball feet. Height, 3 feet 2 inches; length, 4 feet 8 inches; width, 3 feet 334 inches. ATAV], LANTVAA NVIUASIT AUAINGID HINGTLALT “LOG ‘ON ¥% * i ¥ BIEL EROS 304—SIXTEENTH CENTURY FLORENTINE -~OcTAGgoNAL WALNUT Tas_e Ihe WV 2 < RGYVMN.ANE- ,« Octagonal-shaped top on tripod base. ‘Top with molded ri ~ fluted apron fitted with four drawers. Tripod base carved in a scrolled and rosetted design and ending in lions’ paw feet. Height, 2 feet 10 inches; diameter, 4 feet 6 inches. oe AANM iz CL 305—SIXTEENTH CENTURY [FLORENTINE ta ‘ABLE Rectangular plain top, with deep apron carved in a design of G7, 0 flutings and astragals. The semi-cabriole legs are carved with es tones boldly curved acanthus leaves and end in lions’ paw feet sup- ported on square molded bases. Height, 2 feet 74% inches; length, 4 feet 4 inches; width, 3 feet 4 inches. 306 306—T wo SEVENTEENTH CrentuRY IraLiIAn Girt HigH PEDESTALS Of Sgabello form. The two side pieces support square molded tops enriched with carved shells; are carved at the sides with bold volutes enclosing pendants of husk design below which are small oval medallions and large grotesque masks. ‘Turned cross- bars and four lions’ paw feet. Gilt on a white background. Height, 4 feet 2 inches. rt —_ 4) ‘ Ney’ \ \ ey? YW) = ry 2 ] : Kye AY = f= ph LI M_ Lh 307—SIXTEENTH CENTURY FLORENTINE GiLt WaLNnut HicH CANDLESTICK °¢ On a pyramidal paneled pedestal with molded base and cornice resting on four lions’ paw feet. The shaft is of turned baluster design carved with festoons, acanthus leaves and beadings. The spreading top, with iron pricket, supports a gilt metal crown to receive the drippings of candle wax. U/ ad Height, 5 feet 3 inches (Illustrated) ‘ HP AALT KS BK 12. 1A Ginn Qa 308—SIXTEENTH CENTURY LomBarDIC WALNUT CREDENCE / Rectangular shape, with plain top supported by three voluted and acanthus-leaf carved modillions between which are two drawers with wooden knobs, the fronts carved with foliage. Below, the front is divided by three fluted Ionic pilasters into two cupboards with hinged doors, the fronts of which have molded panels occupied by oval medallions framed with acan- thus-leaf scrollings and carved in relief with arms of the Sforza family. Incurved and boldly fluted base on lions’ paw feet. g¢ Height, 3 feet 7 inches; length, 4 feet 11 inches; width, 1 foot 11 inches. (Illustrated) LUG Ne L/W Ge} | 309—SIxTEENTH CENTURY UmBRIAN WaLnut TABLE Oblong shape. Top with edge carved in foliage design. Apron fitted with two paneled drawers separated by carved masks and -¢@ flanked at the angles by carved escutcheons occupied by the arms of the Orsini family. The four legs are formed as winged female terms ending in lions’ paw feet and supported on carved and shaped bases. Side and end rails are carved in a rosetted pattern. Height, 3 feet; length, 5 feet 1 inch; width, 4 feet 11 inches. (Illustrated) WONATCAU YY) LON TV AQ JICUVENOTT AWOLNGAS) HINGALNIG “SOR “ON ¢ wa* a ner reas Allens sioaparjnmest ann nuenmncabeaniteteeis 4. rm Se ee ne eS nT See Ones ee eee eee WN pL HAENUIV AY NVEEEIN |] VALOR N OE) TAR NODE NTEQ TGOR TON . . (a & / Ne % CTA; Le Btn Ww fo 310—SIXTEENTH CENTURY ITALIAN Gint CHURCH LECTERN Straight crossed supports carved in an imbricated pattern and gilt, and turned and carved stretchers. The head is pierced and carved in a scroll design with a cherub’s head, the foot with a scroll. Mounted with contemporary red velvet, bordered by a broad band of gold braid. [ a | Height, 5 feet 4 imches. | : > x i ES QAM AKR, 83811—SIXTEENTH CENTURY ITALIAN WALNUT F‘ALL-FRONT CABINET — 1 © v In two horizontal divisions. The upper part is flanked by fluted pilasters supporting a deep frieze fitted with two drawers and a molded cornice. The fall front, veneered in matched burr walnut, gives access to the interior which is divided into five drawers and three cupboards with paneled doors and drawer- fronts. The lower portion, flanked by narrow molded panels, is arranged as a cupboard with two hinged doors having arched panels. Molded base. Bronze drop handles to drawers and cupboard. The fall front has pierced bronze lock escutcheon and bolt plates. Height, 5 feet; width, 3 feet; depth, 1 foot 6 inches. (Illustrated) LANIGV() LNOWI-TIVY LON TV AA NVVIVL]T AUNLNG) HINGALXIG “TLE “ON Se ae Sa A wi # u bt Boal i Hes @é i t ad fe Ae Ae siisidé Sil a ij Hii cal Hi @ ejeie Heide (a dsiere eiead é ~ ey bias PANS NO BUA SU SES HASH ELS 4 312—SIXTEENTH CENTURY FLORENTINE WaLNUT TABLE Rectangular shape. Edge of top carved in an egg and dart — design. Apron divided, on either side, into three panels carved with half rosettes and a mask in the center and fleurs-de-lis at the angles. Semi-cabriole legs ending in lions’ paws and carved with heavy garlands of fruit; side and end rails carved with Greek fret designs. Height, 2 feet 8 inches; length, 5 feet 2 inches; width, 3 feet. PORE GA LEILS LIDDELL ID DOP DLP PPPS ELAR D er aw 313—EarLy SIXTEENTH CENTURY SIENESE WaLNuT MarriacE CHEST \ Beli LG Bcc; Rectangular shape, with haneed ne The front is divided into | five panels molded and carved in a guilloche pattern, the center ate panel being occupied by a carved scrolled cartouche. The in- curved base is boldly carved in a design of conventional leaves and gadroons. The domed lid is molded and carved in a guil- loche pattern. The front legs are of lions’ paw and acanthus- leaf design. Height, 2 feet 1 inch; length, 6 feet 1 inch; depth, 2 feet. 314—SIXTEENTH CENTURY Botoeyerse [xiarp Watnut MarriacE CHEST VW/C nL Am Lie ‘<- Rectangular shape, with hinged lid. The paneled front is inlaid, in light-colored woods, in a design of foliage, satyrs and chimeras and with a coat-of-arms in the center. The front angles are supported by winged female terms ending in carved acanthus leaves. ‘The domed lid is molded, the incurved base is carved with bold gadroonings and the feet are formed as lions’ paws. At the ends are heavy bronzed drop handles. Height, 2 feet 5 inches; length, 6 feet; depth, 2 feet. ( ie le, Se Oa an = 315—SIXTEENTH CENTURY BOLOGNESE WALNUT MARRIAGE CHEST Rectangular shape, with hinged lid. Paneled sides with boldly x7 73 —v* carved escutcheons in the centers occupied by coats-of-arms and flanked by panels inlaid in hght woods. At the angles are female caryatides terminating in volutes. The incurved base is carved and gadrooned, with grotesque masks in the center, and is supported on lions’ paw feet. Domed and molded lid decorated with carved fillets. Height, 2 feet 3 inches; depth, 2 feet 5 inches; length, 6 feet | 2 inches. c VI anche. 316—SIxXTEENTH CENTURY BoLOGNESE WaLNuT MArriAGE CHEST Companion to the preceding. 3 come f / we { vOut 317—SIXTEENTH CENTURY FLORENTINE WALNUT SIDEBOARD Rectangular shape. The front divided by three pilaster-like panels into three larger panels surrounded by raised moldings and occupied, the center one with a carved oval escutcheon hav- ing a coat-of-arms in relief, the side ones by fluted rosettes. Above is a fluted frieze divided by four voluted modillions into three drawers with turned wooden knobs, and above this again is a molded cornice enriched by egg and dart carving. The ineurved fluted base is supported on lions’ paw feet. Height, 3 feet 8% inches; width, 2 feet; length, 6 feet 6 inches. ICED teams og euwe ee a — NCL ae ee Sa 318—SIXTEENTH CENTURY BOLOGNESE WALNUT ARMOIRE Rectangular shape. ‘The front is divided by three caryatid fig- ures terminating in carved tapering bases into two paneled doors carved in relief with elaborate arabesque scrollings springing from double-tailed sirens. Above is a curved frieze carved with fruits and a heavy molded cornice enriched with a dentelled course and an egg and dart patterning. Below are three pro- jecting carved pedestals between which are panels carved in relief with female figures bearing cornucopiz. Carved and molded base. Height, 6 feet 614 inches; width, 3 feet 3 inches; depth, 22 inches. 319. SrxteentH Century Umprian Watnut CHotr-RooKk LECTERN 3819—SIXTEENTH CENTURY UMBRIAN WALNUT 3820— A JV Sf SPIMVAGA! LECTERN Formed in two portions. The lower portion as a square pedes- tal having scrolled and carved consoles at the angles, flanked by Doric pilasters whose shafts are enriched by carved ro- settes. The sides have double panels surrounded by egg and tongue moldings with carved cherubim heads in the centers of the upper stiles. Above is a frieze decorated with festoons of fruits and flowers carved in high relief, surmounted by a molded cornice. ‘The base is molded and has shaped aprons. ‘The upper portion consists of the lectern, whose double sloping book sup- ports are surmounted by a carved cherub and scrolling and are supported by a turned and fluted column standing upon a square molded base. Total height, 8 feet 2 inches; height of base, 4 feet 9 inches; width of base, 3 feet. (Illustrated) 4 i e SIXTEENTH CENTURY ITALIAN GILT WALNUT SYNAGOGUE CABINET Rectangular shape, with two fluted Corinthian pilasters sup- porting a frieze decorated with carved floral scrollings and a deep molded cornice. Above is an elaborately pierced and carved pediment of a boldly scrolled design terminating in a crown form and flanked by two large “flames” in vases. The body is arranged in four cupboards with hinged doors having lozenge-shaped panels. Molded and paneled base. The con- temporary iron locks are fitted with wrought-iron keys. ‘The carvings and moldings are gilded. Height, 9 feet 6 inches; width, 5 feet 3 inches; depth, 2 feet 2 inches. Note: This was an Ark in which the Scrolls of the Law were kept. The Hebrew inscriptions are: “The Crown of the Law” and “Prepare to meet thy God.” CHOIR-BOOK if t ‘ hy - - a we er be Oe yt wz 4 oe a TnAnr “VTA rR eee 321—SEVENTEENTH CENTURY ITALIAN WALNUT SETTER yf High back, with molded cornice and frieze, carved in a guilloche design, and supported by three pilasters, one in the center and one at each end. Between these are two groups of four turned balusters. The seat has a molded edge and is splayed at one end in an obtuse angle. Supported on three front legs. Height, 4 feet 2 inches; length, 8 feet. FIFTEENTH CrentTurRY IranIAN PAINTED AND CARVED SYNA- f GOGUE CABINET ™m ve ple. , Te ee Rectangular shape in two horizontal divisions. The upper por- tion, having a break front, is divided into four cupboards, with hinged doors, by seven pilasters of the Composite order, the shafts fluted and astragalled, the capitals carved and the bases molded. The cupboard doors are divided by molded stiles into three panels, the large central panel in each case being deco- rated with a painted arabesque patterning upon a gilt ground, while the inner sides of the doors are fitted with sliding panels decorated with Hebrew inscriptions in gold on red grounds. The lower portion is similarly divided into four cupboards by paneled pilasters upon paneled pedestals. The hinged doors have single molded panels and are decorated with painted ara- besques on blue grounds, the moldings of the pedestal being gilded. Ona molded base. The sides are paneled and decorated in a similar manner to the front. This cabinet came from the Synagogue of Urbino. Height, 7 feet 10 inches; length, 9 feet 2 inches; depth, 2 feet 10 inches. (Illustrated) Note: This was the Ark in which the Scrolls of the Law were kept. The Hebrew inscriptions mainly consist of passages from the Psalms and other Biblical quotations, including the Ten Commandments. There is also an inscription denoting that this Ark was the gift of the “people” of Urbino (actually it was presented by the Duke of Urbino), and another giving the Hebrew dating of 5211, corresponding to the year 1451 A.D. ED SYNAGOGUE y p Cary AN NTED AN Pat al y Irar ENTUR Earby SIXTEENTH C 322 CABINET a) / Ard Sinnamon 323—F IrTEENTH CENTURY FLORENTINE INLAID Watsut MARRIAGE CHEST Rectangular shape, with hinged lid. The front is divided into two molded panels occupied with an elaborate inlay in light- colored woods in a subject of a Renaissance church front surrounded by fifteenth century houses. The panels are sur- rounded by a broad band of inlay of a floral design and nar- rower bands of geometrical patterning. The ends are paneled in a lozenge form and inlaid in geometrical and floral designs. The domed lid is molded and bordered with bands of inlay of geometrical patterning. The chest stands on a molded base. Height, 8 feet 6 inches; length, 6 feet 7 inches; depth, 2 feet 4 inches. (Illustrated) LSHH() ADVINUVIY, LONIVAA GIWIN]T ANIINGYOTY AYIINGAS) HINGALATY “CE “ON /) 4 / (Arve: Qs oe cee 324—SIXTEENTH CENTURY SIENESE [NLA Watnut BEencH Rectangular shape. Straight back and arms with molded cornice and shallow inlaid frieze. The back has one long panel and the arms have also single panels on their inner surfaces, these panels bemg surrounded by bands of inlay of a scrolled ribbon pattern. The seat is arranged as a box with the top having an inlaid edge and being hinged to serve as a lid, while the seat front has one long molded panel surrounded by a border of lozenge pattern inlay. The fronts of the arms are of pedestal form with single molded panels of guilloche patterned carving surrounded by bands of inlay and the base is molded. On a platform sub-base. Molded and with an inlaid plinth. Height, 2 feet 9 inches; length, 8 feet 5 inches. (Illustrated) Ve ng onan 825—SIxTEENTH CENTURY FLorenTINE WaLNuT BEencH Rectangular shape. Straight back and arms with molded cor- nice and frieze inlaid with colored woods in a design of geo- metrical interlacements. Both back and arms are divided into molded panels surrounded by bands of inlay of a lozenged pat- tern. ‘The seat is arranged as a box with a molded top hinged so as to serve as a lid. There is an inlaid apron, and the front, curving inwards, is paneled and inlaid. The fronts of the arms are carved with winged women’s busts and with bold volutings, and below are broken into pedestals with molded panels oc- cupied by carved scrolled oval escutcheons. On a high molded and inlaid platform base, with chamfered angles. Height, 3 feet 2 inches; length, 8 feet 9 inches. (Illustrated) No. 324. SrxTEENTH CENTURY SIENESE INLAID Watnut Brencu No. 325. SixTEENTH CENTURY FLORENTINE Watnut BENCH C (3 THY IV MA PAO 326—Firrrentao Century FLorentine Inia WaLnut CABINET Oblong shape. Finished on all four sides and standing on a platform base with molded and carved sides. The two sides are respectively divided into ten panels, the ends into four, by molded stiles inlaid with designs of interlaced lines in light- colored woods. The panels are surrounded by bands of inlay in Greek fret and checker patternings and the upper panels at the extreme ends of the front are inlaid with floral scrollings and the arms of the De la Bella family. The top, with a molded cornice, is inlaid with the same coat-of-arms. Height, 3 feet 4 mches; length, 8 feet 9 inches; depth, 3 feet 4 inches. (Illustrated) LANIGV() LANTIVAA GIWIN] ANILNAUOTY AYAINGAD HINADLALT ‘9ze ‘ON 327—SIXTEENTH CENTURY ITALIAN Git Four-post BED The lower portions of the four tapering turned posts are carved with winged Amorini dancing and playing, the upper portions enriched with spiral turnings. The high head-board is divided into four open panels by five pilasters against which stand angels playing musical instruments carved in high relief. Above is a frieze of carved shells separated by cherubim heads, and the whole is surmounted by a pierced and carved cresting of floral scrolls supporting an oval medallion carved with a subject of the Annunciation. The hangings are of contemporary wine-colored velvet bordered with gold braid and fringe. The coverlet is of old red silk damask. The woodwork is entirely gilt and has a fine patina. Height, 8 feet 6 inches; length, 7 feet; width, 6 feet 214% inches. From the Castle of the Duke Verzuolo. 328—SIXTEENTH CrentTuRY FLorENTINE CHaNnceL STALis Rectangular shape. Divided into four divisions by five semi- detached Corinthian pilasters supporting on acanthus-leaf carved modillions an overhanging frieze and a molded and dentelled cornice. The spaces between the pilasters are treated as sunken panels surrounded by an egg and dart molding, the surfaces divided into smaller panels by reeded stiles; the centers are surrounded by raised and carved moldings. Below, the paneled pedestals of the pilasters project, dividing the back of the seat into four spaces occupied with panels having raised moldings. The seat is arranged as four bases, each having a hinged lid with molded edge, and the seat itself is of sarcophagus form with incurving front and sides divided by fine fluted pilasters into four divisions occupied by oblong molded panels with lozenge-shaped centers, and the base is molded. On a molded platform sub-base. Height, 9 feet 10 inches; length, 14 feet 5 inches. , 399—FirreeENtH Century UmBrian WALNUT LiprAary BooKCAsE Rectangular shape, in three horizontal divisions. ‘The upper portion is fitted as a bookcase with six hinged four-panel doors -_ with inlaid stiles enclosing wrought-iron grilles of a quatrefoil and lozenge design. ‘The middle portion is fitted with four cup- boards and six drawers, having molded and paneled fronts to correspond, with inlaid stiles. The lower portion projects for- ward and is divided into cupboards with nine hinged double- paneled doors, the sunken panels surrounded by fine moldings and carved beaded fillets. The strap hinges are of wrought iron with incised ornamentation. On plain chamfered base. Height, 94% feet; length, 13 feet 10 inches; depth, 3 feet 1 inch. (Illustrated ) ASVONOOG AUVUMIT LANIVAA NVIMMWE) AYAINAD HINATLALT “Eze “ON Ax ¥ Ny art due eis ye arty, © Sa Oke ne / om fap : LM \S rrr Wyre 330—SIXTEENTH CENTURY BOoLOGNESE WaLNUT TABLE ( g¢ Oblong top of plain board, with carved fluted molding beneath. On two lyre-shaped legs, carved with bold volutes and scrolls on both sides, the edges carved with large imbrications and the feet formed as large lions’ paws. There is a massive longitudinal brace with molded terminations keyed into the legs at each end. Height, 2 feet 7 inches; length, 8 feet 5 inches; width, 3 feet 3 inches. THE DAVANZATI PALACE (From “Les Arts,’ Paris, A ugust, 1911) Even in our own day, we can live again an age now past, we can still enjoy the poetry of an older civilization, discover in the recesses of our own being memories of a time long since vanished, memories slumbering, hidden beneath the commonplaces of a worka- day world. We can still penetrate to the heart of the Italian Renaissance, seek out its very beginnings; forgotten memories can thrill us to the depths of our souls; about us and in us, we can resurrect a world full of life, of feeling, and emotions, a world of long ago and passed from our view. : What joy to escape for a few hours from the monotony and coarseness of our modern life; and having once entered the enchanted sphere of the most beautiful Renaissance, what happiness comes to us in listening to the music of the past, telling of life with its joys and its sorrows, of the splendor of its feasts and the sadness of its woes, of the gorgeousness of its public manifestations and the sim- plicity of its life in the home circle. | The private life of a rich and noble family of the Quattrocento (15th century) has far greater attraction for us than the grandeur of a lordly court of the Renaissance. Instead of looking upon a scene of flashing and constantly changing colors, instead of an ostentatious pageant moving to and fro, and always very much the same, instead of magnificent feasts which surpass our power of imagination in their splendor, we find ourselves in the intimacy of a private family. The family is one of the highest placed in the Florentine Renaissance period, but one which strongly appeals to us by its manner of living, its customs and its tastes. It is a family typical of many in Italy during the Renaissance; one of those families which has inscribed its name in letters of gold in the glorious annals of the fourteenth cen- tury. We can enter this home and participate in its daily doings, share its life. Is it a miracle or is it a dream? We have been taking part in Italy, during recent years, in an awakening of the artistic and historical sense and taste, which we cannot follow and observe too closely; for this revival of interest has already brought forth good fruit, and has led to most valuable results. For too long a time we seem to have justified ourselves in de- ploring the lack of initiative on the part of the government and of individuals, not to be surprised and greatly rejoiced at the changes brought about as a result of this revival. And so, all those who had become accustomed to blaming the indolence of officials and the wealthy possessors of masterpieces, have had to renounce their cus- tomary pessimism and have been forced to admit that serious and methodical work has been begun for the protection and conservation of our artistic inheritance. Thus it came about that the Italian Government, shaking off its apathy, undertook a series of works, investigations, excavations and restorations worthy of the highest praise. The great excavations of the Roman Forum and of the Palatine, the purchase of the Borghese Gallery, of the early-inherited antiquities of the Barberini family, the restorations, but lately begun, of the Baths of Diocletian, and of the Coliseum (which will soon be undertaken) —all this shows the desire, a little tardy, to be sure, on the part of the Government, to pursue energetically its noble enterprise and to fulfil a duty too long un- recognized and forgotten. Individuals have followed this fine ex- ample, and we have seen, with both emotion and pride, Baron Baracco present to the city of Rome his magnificent and truly unique col- lection of ancient sculptures; Mr. Stibbert bequeathing his collection of arms and ancient armor to Florence; Baron Franchetti his precious collection of fabrics; and Mr. Avondo the beautiful chateau of Issogne. While, on the other hand, nearly all the Italian galleries were arranging their treasures in a manner more worthy of them, the work of transforming the Palazzo Vecchio in Florence was being efficiently carried out. The municipal offices, which occupied so much room in the glorious and magnificent palace, were moved elsewhere and gradually the superb apartments were rebuilt and restored to their former splendor. It was under these circumstances that we were enabled to dis- cover the admirable studio of Francis I, and it is thanks to this initiatory step that we could admire in their harmonious setting the splendid apartments of the famous palace, in each room of which some page of Florentine history has been written. Besides this grand and magnificent restoration, another one has been undertaken on a seem- ingly more modest scale, but even more inter esting in that it is more complete and more suggestive, developing an interest more general and personal in its appeal. This undertaking merits our commenda- tion all the more, because it is a task that has been undertaken neither by the State nor by the inhabitants of the town, but by a private indi- vidual who wished to restore to its former splendor, at his own expense, a historical palace of Florence, the palace of the Davanzati family, bringing to his task all the talent and love of the work that i inspires an amateur of taste and refinement. The Davanzati palace is situated in one of the quarters of Flor- ence most renowned in history, in the via Porta Rossa, where a great number of the oldest houses of the town used to stand. The via Porta Rossa was included in the first enclosure of the medieval walls of Florence, and early became one of the most important streets of the Borgo quarter, because of the great and beautiful edifices it contained. Indeed, there dwelt in this very street the families of the Ardinghelli, Soldanieri, Davanzati, Monaldi, Bostichi, Cosi, Bensi, Foresi, Davizzi, Bartolini, Cocchi, Cambi del Nero, Arnoldi and many others, who, with their palaces, their towered houses or their more modest domiciles, made it one of the most beautiful and richest streets of the town. To-day it is with the utmost difficulty that one can find traces of its former splendor. In spite of the ravages of time the street retained, up to the present time, its medieval appearance; but the reconstruction of the center of Florence, with the demolition that was found necessary, destroyed in a few months all the beauty which it had taken centuries to build up, and which the ages had faithfully preserved for us. And so, we have seen demolished, with a nee of sadness, and, alas! in spite of useless protests, the Bostichi tower, opposite the Loggia of the Marketplace; the Cosi tower, the Cocchi-Campagni palace, the old and beautiful Davanzati palace, the Adimari, and Ala- maneschi and Cavicciuli towers, the palaces of the Bisdomini, Adimari, Bonaccorsi, Macci, Abatti—the Neghittosa Loggia—the churches of Sainte-Marie Nipotescosa and St. Bartolo al Corso, and many other buildings of the same period, which still preserved the strong and gracious forms of the Middle Ages and the Renaissance and the beau- tiful coloring given to the masonry by the lapse of time. With rela- tively few simple changes, the beauty of these palaces and houses might have been preserved, and to the old street might have been restored its ancient physiognomy in all its beauty, color and propor- tion. Unfortunately, such has not been the case, and the wreckers have accomplished their task. Very few buildings have been respected ; for instance, the Foresi tower; that of the Monaldi family, above the beautiful Torrigiani palace, built by Baccio d’Agnolo for the Bartolini family, and the old Davizzi palace, better known as the Davanzati pal- ace, which still shows its ancient and wondrous beauty. In the thirteenth century a number of houses belonging to the Davizzi family occupied the spot where the Davanzati palace is now situated. This family, like many other noble families of that period, possessed a group of houses in which dwelt the members of the various branches of the family. They formed in the town little islands, sepa- rated by streets and alleys, but which could become as a single strong- hold when the occasion so demanded. It is on the site of some of these houses that the palace of which we are speaking was erected. /— and lace fringe. Length, 5 feet 1 inch; width, 3 feet 11 inches. WWreo- we (Y. WWryrrg 1064— SEVENTEENTH Century Iranian TasieciotH Rectangular shape. Of fine white linen, with a border of cut gue ai work. Length, 5 feet 1 inch; width, 3 feet 11 inches. —_ Jf 1065—SIxTEENTH CENTURY Itattan Linen TAasLectori Rectangular shape. Of fine white linen, bordered at the ends ae with Modano point lace and fringed. Length, 5 feet 8 inches; width, 3 feet 114 inches. NWwartn 1066—SIXTEENTH CENTURY ITaLIAN HaAND-TOWEL Rectangular shape. Of fine linen, with lace borders. es — Length, 5 feet 61% inches; width, 2 feet 814 inches. Z / 1067—F IFTEENTH CENTURY UmBRIAN TABLECLOTH Rectangular shape. Of white linen, with border, woven in blue with a design of fantastic animals. cee lo © Length, 5 feet 9 inches; width, 1 foot 9 inches. Q ff W/ ty ; Mihbatnc VWartiu 1068—SIxTEENTH CENTURY ITALIAN TABLECLOTH Rectangular shape. Of white linen, bordered at the ends with , «& Modano point lace and a small fringe. o V Length, 5 feet 81 inches; width, 8 feet 11% inches. 5 may, IV -Viy- fo Ugen L 1069—S1ixTEENTH CrEntTury ITALIAN TABLECLOTH Rectangular shape. Of fine white linen, bordered at the ends a <-es_— with a deep band of Modano point in a design of animals and (- with a narrow fringe. Length, 5 feet 934 inches; width, 8 feet 11% inches. He Wnres (OOF: Sug Age 1070—Sixrrentn Cenrury Venetian Lace Taser aan _ Rectangular shape. Of Venetian point lace, in a design of V/ YY] 4 “small squares filled with attending designs and with a deep border and fringe. Length, 5 feet 1114 inches; width, 4 feet 2% inches. 1071—TWENTY-sEVEN EIGHTEENTH CENTURY emg HAnp- , oes TOWELS Gad Ww, fe Ke LANA pp ree es HL9 — Rectangular shape. Of white linen, bor dered with lace an fringe. v Various sizes. L a “—— 1072—SixTEENTH CENTURY VENETIAN Lapy’s Pi hasta Ape Under-garment of fine white linen, hemstitched around the neck OAT ee ‘— and on the shoulder, with bands of varicolored crocheted lace finishing off the sleeves. Nichole Marto 1073—SrxteentH Century Irauian Lapy’s Smock Under-garment of fine linen, with nies and hemstitching around is 0 qe = the neck. (s ty 1074—SixTEENTH CrntTuRY VENETIAN’S Lapy’s SMocK Under-garment of fine white linen, embroidered around the neck. x aes Pics as 1 a ay [d , Vi) 1075—FirreentH Century UMBRIAN eae: Soe nN centage: Rectangular shape. Of white linen with a woven border of ee te blue design of figures of animals and Gothic letters. Length, 6 feet 2 inches; width, 1 foot 7 inches. fe Wired RG Se Ng wrt 1076—FirreentH Century Umprian TABLECLOTH 4 7 Rectangular shape. Of white linen with border, woven in blue with a design of fantastic animals. | Se sod ry w) ; ; ‘ Length, 6 feet 2 inches; width, 1 foot 9 inches. \ fp Meds WN Moa gud 1077— FIFTEENTH CENTURY UmBrRIAN HAND-TOWEL Lae Rectangular shape. Of white linen, with border woven in ihc a blue with a design of fantastic animals. Length, 6 feet 2 inches; width, 2 feet. OQ: uderr_tygow 1078—F IrTtrENTH CENTURY nents SMALL TABLECLOTH Fy Rectangular shape. Of fine white linen, with border woven in tees blue in a design of fantastic animals. Length, 6 feet 6 inches; width, 2 feet. aN /f) 1079—SEVENTEENTH CENTURY ITALIAN Hanp“TOWEL Rectangular shape, bordered with Modano point lace. Ces ies Length, 6 feet 6%4 inches; width, 2 feet 414 inches. Trg (0: 00- lew) gat 1080—SEVENTEENTH CENTURY ITALIAN TaBLECLOTH / ( Rectangular shape. Of fine linen, with borders of a foliage on , ¢4_ design in Modano point. ( ¥ Length, 6 feet 6°4 inches; width, 2 feet 414 inches. A Fon 2 / vf) ; IA > ’ Caibpptar VW gtr 1081—SEVENTEENTH CENTURY ITALIAN TABLECLOTH Rectangular shape. Of fine linen, bordered with Modano point , «-od_ lace and fringed. Tonnes 6 feet 6° inches; width, 8 feet 31% inches. Khynrs: 4. mM. MV Lae Ne 1082—SEVENTEENTH CENTURY ITALIAN TABLECLOTH Rectangular shape. Of fine linen, bordered with Modano point -¢-__ lace and fringed. : Length, 6 feet 684 inches; width, 3 feet 31% inches. ve: Y [ (e Vines ¢ L a eae, Ud Av 1083—SIxXTEENTH CENTURY ITALIAN LINEN SHEET ares, Rectangular shape. Of linen, with lace border and fee at ad eee SONPEENG: { / Length, 6 feet 11 inches; width, 5 feet 1 inch. B ne We ee lr ; ) ‘ ' VAL lf VAAo VU% Kirin. “WF L 1084—-SIxTEENTH CENTURY VENETIAN LacE TaBLE COVER | is Rectangular shape. Of Venetian point lace, in a design of i Do ‘<_small squares of alternating designs. Finished with a fringe. Length, 6 feet 3 inches; width, 5 feet 7°34 imches. Vit - ( AA LA. (AN Anne KL4_ 1085—FirTrEENTH CENTURY UmBriAN HAND-TOWEL Rectangular shape. Of white linen, with a border, woven in uf 7 3p — blue in a design of figures of animals. Length, 7 feet 4°34 inches; width, 2 feet 3Y2 inches. BD YVNwW-~ ae | * TiAl Ze te 1086—SIXTEENTH CENTURY ITALIAN Aurar CLori ( Rectangular shape. Of white linen, with insertion and a thread ag fringe. Length, 7 feet 2% mches; width, 2 feet 814 inches. ED (\ if 1087—SIXTEENTH CENTURY ITALIAN TABLECLOTH VU s Nrtrirte Rectangular shape. Of fine white linen, with insertion and y 4 ~——Iringe. Length, 7 feet 2 inches; width, 2 feet 11 inches. 1088—SixTEENTH CENTURY VENETIAN ‘'l'ABLECLOTH Rectangular shape. Of fine white linen, with narrow border and six rows of Gothic stitch in a “fogliamo” patterning with voto ; figures of animals worked in red silk. Length, 7 feet 34 inch; width, 8 feet 3% inches. ~ 1089—FirrrentuH Century Umprian TABLECLOTH Be -( Mt_g@wre Oyun Rectangular shape. Of fine white linen, with a border woven 43 “in blue in a design of fantastic animals and geometrical pat- terning. Length, 7 feet 8 inches; width, 3 feet 7 mches. fe f) \ 1090—SrxrrentH Century IraLtiaAn SILK COVERLET Kit -—— Bed coverlet of yellow silk woven with a foliage design in/ red. Length, 7 feet 101 inches; width, 3 feet TV inches. 1091—SixtEentH Century Ira Linen Suter Rectangular shape. Of fine white linen, with fringe and in- /O 5 ‘+ sertion border. Length, 7 feet 10% inches; width, 5 feet 834 inches. Py 1 {r 1092—SIxTEENTH CENTURY ITALIAN Linen SHEET | Rectangular shape. Of white linen, bordered with Modano /O-¢ ‘— point lace and fringe. Length, 7 feet 9 inches; width, 5 feet 8 inches. Wie Th © ype 1098—T'irrrENtH Crentury Umprian TABLECLOTH Rectangular shape. Of white linen, with border, woven in blue, 5 5S with a design of fantastic animals. Length, 8 feet 6 inches; width, 2 feet 8 inches. ree 1094—F'IrtEENTH CENTURY Umpri Tasteqtori Rectangular shape. Of fine white linen, with border, woven in A747 4% blue, with a design of animals and geometrical patternings. Vs = Length, 8 feet 7 inches; width, 2 feet 5 inches. Was VOI Nour 1095—SIxTEENTH CENTURY IratiaAn Linen SHEET / (/ Rectangular shape. Of white linen, with insertion. Y 0 ec Length, 8 feet 7 inches; width, 6 feet 8 inches. WC Vie 1096—SixtrentH Century Trarian (LINEN SHEET Rectangular shape. Of fine white linen, with border of in- ) “> sertion. Length, 8 feet 21, inches; width, 7 feet 21% inches. 1097—SIxTEENTH CENTURY ITALIAN LINEN SHEET / / Rectangular shape. Of fine white linen, with fringe alad inser- /uf g tion border. i Length, 9 feet 10 inches; width, 6 feet 834 inches. 4’ (\ Me iPS eget 1098—SixtrentH Century Iranian Linkn SHEET eel fs oud Rectangular shape. Of fine white linen, with fringe and inser- Y tion border. Length, 9 feet 10 imches; width, 6 feet 834 wmches. } fo) NALA we eae d QZ [V0 - VAAN hte 1099—SIXTEENTH CENTURY ITALIAN LINEN SHEET Rectangular shape. Of fine white linen, with a border em- / / j °*—-roidered in yellow silk and a yellow and white fringe. Length, 9 feet 334 inches; width, 6 feet 1144 inches. y, ie KINA. Ak ly taki 1100—StIxTEENTH CENTURY ITALIAN Liven SHEET Rectangular shape. Of white linen, with ihsertion. Length, 9 feet 2 inches; width, 6 feet 10 mches. | 2 Vt ( LL [Onidy U u J101—SrxTeentH Century ITALIAN LINEN SHEET a Rectangular shape. Of fine white linen, with a fringe ddd border embroidered in a cross-stitch patterning in blue silk. o//’— : Length, 9 feet 244 inches; width, 7 Bee 41%, inches. I}. 4S ASS ae 1102—SrxterentH Century [rarian LINEN HEET Rectangular shape. Of fine white linen, with fringe and in- ». _ sertion border. [3d eas Length, 9 feet 6 inches; width, 7 feet 4% inches. ALY, Af Nef oe 1103—SixrrentH Century Iranian Linen SHEED ” Rectangular shape. Of fine white linen, with fringe and in- sertion border. / f 5 ii ee Length, 9 feet 6 inches; width, 7 feet 6Yy inches. Yl- MH Vd, nr 1104—SixTrentH CENTURY SICILIAN ALTAR Créer Rectangular shape. Of fine white linen, with borders em- broidered in a foliage design, in red. ve // pet pore Length, 10 feet 2 inches; width, 2.feet 6 inches. y/| n je are Nicht (V\ grrr 1105—SIXTEENTH CENTURY ITALIAN LINEN SHEET Rectangular shape. Of fine white linen, with a border em- 5 ~~ proidered in blue silk and a white and blue fringe. Length, 10 feet 2 inches; width, 6 feet 634 inches. A C\ tO. Netra wr, A f) if 1106—SIXTEENTH CENTURY Irsttan LINen SHEET Rectangular shape. Of fine white linen, with fringe and in- »- __ sertion border. Length, 10 feet 2 inches; width, 6 feet 634 inches. VA soe 2. M4erg_ 1107—SIXTEENTH CEnTuRY Itatian Linen SHEET Rectangular shape. Of fine white linen, with fringe and in- ye sertion border. rz Length, 10 feet 91% inches; width, 7 feet 41/4 inches. + 4, | VV aa ok 0-26. ote g Agent 1108—SIxXTEENTH CENTURY ITALIAN LiInEN SHEET Rectangular shape. Of fine linen, surrounded on all sides with a band of openwork. Ne Length, 10 feet 2 inches; width, 7 feet 414 inches. Ae ae 7 I Vine: 6 -/"- Veen 1109—SixTEENTH CrEnTURY ITALIAN Linen SHEET Rectangular shape. Of fine linen, with insertion of bands of ee Modano point and fringe at the ends. Cp Length, 10 feet; width, 7 feet. J _f/ eats fl = 8, Sara, Vitae 1111—SIxTeenTH CeEntTuRY ITALIAN LINEN SHEET Rectangular shape. Of fine white ae with a border em- y) ‘= proidered in a cross-stitch with white and yellow silk. as) / Length, 10 feet 2 inches; width, 6 feet 634 inches. Wu lZAaAn. 1112—SIxTEENTH CrEeNTURY ITALIAN LINEN SHEET rer Rectangular shape. Of fine white linen, with fringe and in- Y © . f/ “— sertion border. gg Length, 11 feet 11% inches; width, '7 feet 984 inches. Vr An4 VOW: Jhon, “gente 1113—SIXTEENTH CENTURY ITALIAN LINEN SHEET | ,, Nectangular shape. Of white linen, with insertion. Length, 12 feet 1 inch; width, 7 feet. 1 A ¢ om lab4) JY oe 1114—Srxteenty Century Iranian LINEN SHEET | Rectangular shape. Of white linen, with insertion. . 60 : Length, 12 feet 1 inch; width, 7 feet. qe VY) & ty eons O VVA PA ey s C Je ~ A ; A ye) 1115—Firreenty Century Umerian Tasiectori Rectangular shape. Of fine white linen, with borders woven in —-~-» ¢ —a design of animals and plants. 6 /| f} Y Length, 15 feet; width, 3 feet. CURIOS 7 ~ i) ‘/) po 14 iy (e La- } Se o- VL (: AA 4 L 1115a—Two EientTeentH Century Iratian DIcE jee Of ivory. Cube-shaped, with rounded corners forming circular pe = eres faces. CU . ( tudor Uger— 1116—SEVENTEENTH CENTURY ITALIAN Ivory NEEDLE-CASE / s Cylindrical shape. Carved in a diapered pattern of lozenges // §* — containing human heads carved in low relief. The screw top is of acanthus-leaf design. lA a My 1117—SEVENTEENTH CENTURY ITALIAN Tomer CoMPANION Ivory pocket knife-shaped case, the sides carved in a pattern of . «6 ¢cireles, with hinged toilet implements of ivory. mts oy (aa Case ANY “Wwe 1118—SixtEentH Century Irauian Tomer Powprer-pox Cylindrical form, with removable lid. Of wood, with molded / 7&2 rim to lid and base. The body covered with leather painted, on é a dark blue ground in gold, with a pattern of geometrical in- terlacements. Rim and lid gilded over a red ground. Height, 5 inches. 1119—SIxTEENTH CENTURY hanks fe = Small scissors, with pivoted blades and scrolled handles. En- pe graved and gilded blades. lv 4) h 1120—SEVENTEENTH CENTURY ITALIAN ScIssors Small steel blades, engraved in a pattern of floral scrollings and —— figures of saints and gilded. A, v _ 7 Sat: Length, 41% inches. ZL. (tethencleee 1121—SrxTEENTH CrentuRY VENETIAN Lapy’s Scissors Small scissors, with pivoted blades, engraved ina scroll design /s%_ and gilt. In carrying case of papier-maché wound with gold thread and green silk. Silken tassels. nn. Pcarnran eel 1122—SIxTEENTH CrEentTURY ITALIAN Tae Box Of wood. Circular form, with removable lid. Deasratat as 3 in a design of scrolls, trophies, a Cupid and the initials W. I., cee. gilded on a blackened ground. The case is of leather mounted with gilt metal bands and hung by a silken cord. Length, 8% inches. ponies Ni Ce \edrnte 1164—SIxTEENTH CENTURY FLORENTINE LaApy’s Wokrk-scIssors Steel blade, with hooped spring handle. Blades engraved and ~ _,« gilded ina pattern of floral scrolling with the figure of a seated i OS — woman carrying a hawk on her wrist on one side and with the Capponi coat-of-arms and the name “Sigra Selvaggia Cap- poni” on the other. Length, 8 inches. Note: The Capponi family was one of the foremost of the Merchant class in Florence during the sixteenth century. [Vay | 7 ie Q. / te tre 1165—SrventeentH Century Iranian Sram“SMoorHEr Of boxwood, with turned shaft, ball handle and wedge-shaped ¢ 2 ° : 7 “— end. Used by dressmakers for pressing seams. Length, 7% inches. UO eBoy & 1166—Firreenty Century IraLiAN CUIR-BOUILLI ASTROLABE Cask Heart-shaped, with pull-off lid. Of cwir-bouilli worked in a small arabesque design based on Arabic lettering. Projecting LH ‘<— Jeather loops for threading the silken cord by which the box was carried. Used for carrying a small astrolabe or dial. Length, 5 inches. 1167—FirtrentH Century FLORENTINE CUIR-BOYILLI CARRYING CASE uo Jy. g har tyd Rectangular shape, with pull-off lid. In cuir-bouilli, or o~ 4 Jeather worked when artificially softened. Decorated, in relief, on one side with a coat-of-arms surmounted by a helmet and the crest of a winged dragon surrounded by a scrolled ara- besque patterning, on the other side with a shaped escutcheon enclosed in a pentacle, also surrounded by arabesques. At the sides are leather loops for suspension at the girdle by silken cords. ‘The interior divided into compartments, probably for carrying tablets or memorandum books. Note: Between the fourteenth and sixteenth centuries the art of work- ing in cutr-boudli was a notable one in Italy. The leather is supposed to have been softened by long steeping in melted wax. Height, 6 inches; width, 41% inches; depth, 244 oi nrue We. Started 1168—SIXTEENTH CENTURY FLORENTINE Ex-voTo Case / eee Dumbbell-shaped, with removable lid at one end. Of wood ; painted green, with floral scrollings in yellow. On the flat sur- face of the lid is painted the coat-of-arms of the Medici family. Ls 71% inches. 1169—SIXTEENTH CENTURY ITatian Pastry Samp | Of wood, in the form of a cylinderical roller with turned i fire handles. The body intaglio-carved with patterns of a shell and a rosette. Length, 6 inches. Vv 1170—SEVENTEENTH CENTURY ITALIAN WALNUT Spick MILL Of wood, bound with iron. In the form of an octagonal shaft / P: “2- on a square base with drawer. At the upper end is a hinged iron cover. ey C 4 -1171—SEvVENTEENTH CENTURY eRe’ WaLnvtT SPICE [4 {n ight, 6 inches. ILL Cae Of wood, bound with brass. In the form of an octagonal shaft Y on a square base in which is a small drawer. At the top is an iron crank with turned wooden handle grinding the spice. Height, 6 inches. fi A r § ap 4 OY ae tY' NO - PRO pnne 1172—SrxteentH Cxnrury Iranian Ivory Morar anv Prstie Mortar in solid ivory of urn-shape, with molded bands and cir- ay, «e cular foot. Pestle with acorn finial and rounded cylindrical head. Head, 6 inches; diameter, 4 inches. ls y a ny \)y ty fy 1173— E1gHTEENTH CENTURY NorTH TrargAan ‘Spi¢r Morvan Of wood. Cylindrical shape, the sides carved with panels of —_ men’s and women’s figures. The cylindrical pestle carved with Th —— a knob shaped as grotesque masks.. Height, 61% inches. A bh \s 1174— SEVENTEENTH CENTURY ITALIAN WaLNut Spice MILn on Of wood. In the form of an octagonal shaft on a square base. (ot eee At top is an iron crank. Height, 61% inches. - ‘gate Wl - Me tart 1175—SIXTEENTH CENTURY ITALIAN Wee Watnur Pane. Rectangular shape. ‘The interior occupied with a carving in 3 low relief of a circular wreath of pointed leaves and flower Y / ‘bound with ribbons whose scrolled ends are filled with spandrels. Within the wreath is a shaped shield mantled with scrolled leaves, surmounted by a helmet, and standing Putti holding a branch of flowers and containing the coat-of-arms of the Ginori family. Painted molded frame. Height, 4 feet 2% inches; width, 61% inches. Yr" KY VPA LRAR,EN 1176—F ivteentH Century Umprian STEEL JEWEL CasKET _4« Square shape, with hinged lid. Entirely covered with a pierced " wS ~ decoration of a geometrical diaper ed design in wrought steel. The hinged double harp plate is of steel minutely wrought and chiseled in a design of Gothic tracery and detached columns. Lined with dark velvet. Height, 5% inches; length, 121% inches. p / Mu-W- of Langer 1177—E1eutrentH Century Iranian Spick GRATER : Tongue-shaped flat grater of boxwood. With pierced metal So Oe grater, having at one end a box-like receptacle for spice, with hinged carved lid. Height, 7 inches. 1-1: Ane 1178—SIxTEENTH CENTURY ITALIAN inca Hovur-cass Of turned wood, with four baluster-shaped columns and two aie half columns. Mounted, with a swivel at the center, on a shaped board so as to be hung up against the wall. Height, 13834 inches. 1179—SIxTEENTH CENTURY ITALIAN yi gpk Straight blade of triangular section. Handle of wrought iron. Length, 1144 inches. 4 (\ V1 Setar 1180—SIXTEENTH CENTURY ITALIAN ParER CUTTER Steel leaf-shaped pointed blade. Surrounded with figures and ([ / sy a scrolled design and gilded. Handle of ivory square, carved and tapering to a flat point. 3 t Length, 14% inches. fp TVA ee Con fant 1181—SIxTEENTH CENTURY ITALIAN Ivory FOLDING) FooT-RULE ~ Of ivory in five folding sections. Incised linear’ divisions, but : no figures or numbers. Gy Q \ Length, 23 inches. YW. 16- Op baarteprr 1182—E1cHTreentu Century Irantan WaQlkInG Stick Shaft plated with tortoise-shell. Octagonal gold top, with roe initials C. D. in enamel. (o Length, 33 inches. { AW f 1188—SrixtrentH Cenrury [raniAN Marsie Inxstanp | In yellow marble, formed as a recumbent lion holding a circular ALS inkwell. Height, 51% inches; length, 7 inches. MAAK ah 1184—FIrtEENTH CENTURY ITraLIAN MARBLE INKSTAND Of white marble, formed as a couchant lion and lioness drinking at cylindrical receptacles which form the inkwells. On ir- regular base. Height, 8 inches; length, 9Y inches. a W/ ) Y socal 2 Wy efppstdd /} Arr 1185—SIxTEENTH CENTURY ITALIAN CANDLE SNUFFERS Of wrought iron. Of scissors type, resting on three feet. 2 eee Length, 7% inches. A /) . ee, : Witte Vr G girfpty A 1186—TuHrer Pieces or SrxTeeNtH Century [rattan WRrovuGHT Tron ‘ “Ss Small anchor, with arrow head flukes; pair of pincers, with > — . * . . ° . a, pivoted handles and nipper jaws; hammer, with iron head in- cised with initials N. P. and Florentine lily, and wooden handle. ; a aye! ; : Pe r SO ns = = eS —. go ee si < of MRRERe temetry Son e hi BR OEE ge I ee as ae Pon ok et RA hats St eee ae -Duveen we. ure mana ‘ 000,00 By Bo, ie me = Ss = = ste 2? = We Me Seanan, Ages ae He FOLNBOL, | We Mr, James, a (Sold with ‘wi W. Me sear and gout nish | "460,00 ; He tuacias ire. ‘Keller, Mr. James, ee : Mrs, Jy Js cece, Duveen Bros., Mise M, ¥, Almirall, — Mra, Louis P, yses, : Duveen cael Er wae Re A, Climpton, a ae tas Alfred Wilisrest,. eee ae ae te bab tess ate | i a he Rudin ‘hae $1,025 "Cs B, Canessa es 1,000 Me Radert, Agtsg 375 Dawkd Belasco, 2,350 OP, w, Brena, ©, Ors gQO é Ms JOHNG ON, sce 259 re Pe We Fronch & Coy 200 Re Serials. . 900 Men, iets, HH whos %, Waterbury, — 400 . We. We Seaman, Agte,s £00 ie JGnes, Be | ras ore, Gorden Bell, a 65 be Oraelii, aga 60 ds Kerr Branch, | 63 . ode Kerr Branch, 5 . 100 5 sy By Ay Barber, — 260 Be, James, peter. 525. ‘Mrs, Gordon Bell, ' 30, We Hy Johnson, | 19. ) 8, Ve Hoffman, 7 80 By VE GSM 30, ‘Re Dandels, — ee - 89S. ("We Me Jotneon, s00 ST ~—s— David Belasco, Retaiey 2106 275 «= Duveon Bros., 7 3,400 : Ce a ata | : | 200, Ne hah ie a Biwi a Yroderiek hadiasiok: | 340, sl 0siys, Samuol Untermeyer, = 360, © Warwick House, ee cadeent' Mer | Mirae Ay By Frankenburg, ie 35, Eo Warster House, NS: : GQ, Pe, tes, MORE eS ha eA gts J Kerr Branch, | 400, .. Jas, Ballard, he VP ehh 625. &. Kingsley Porter, 600, ‘Be 5. Laird, e . 600, Re Daniele, ; St ; 41¢c. r Ms o.3 ve ei. 4 ES < ’ é > a Cae bed a, 3 hale ~ ; es » P n \, ’ or aR i hy, eel x et age <2 bart , y te. . 9? ys) Pt re? eT . X a Mie 4 a | 4 ca me ve We FO a Pes - SAE duet My oan i i * ». ; ae ol ae e et top y! rea ¥ 7] <7 i ‘ " be om a Ping ly’ }- » £ Z J Otte Bernet, yori manag: T'S Gre a ee Fe Ballard, — sas As Kingsley Porter, P.WeFronch & Co., Viatall Bengmar, Otto Bernet, Agt., P.We French & Cosy Varwd ck House, PW. French & Con, PGORY. 1G Nicholas Martin, ira, W, Stanford, Nicholas Martin, a Mrs. liskernon, Nicholas Martin, W, W. Seaman, Agt., irs. W. Stanford, Nicholas Martin, Otto. Bernet, Agtes Nicholas Martin, Otto Bernet, Agt., iirs, W, Stanford, Otte Sernet, Agte, We He Smith, Nicholas Martin, ” Minneapolis Institute of Art, Otte Bernet, Abe, We B. Thompson, Ge E Canessa, : Wy Mu, Milliken, iy, Thomas, MPG. le Py Dy Lao, W. Hy, Johneon, ba § # +8 Mra. lee P, D. Lee, (Duplicate) Re He Johnson, MZ"S CG. 5, Lee, We Me Johnson, Je Je Murphy, ; Dr. Ae F. Longacre, Nicholas Martin, v FIFTH AFTERNOON'S SALE amber 28 L916. aa) &oon ef yew ee £20.02 4 98409 23 00 220,09 ey a Were 22 Mies. RaH.Lorens, Agtey 420,90 Hons He dehaseri, as $0,900 be oe te ico ae et RD OE : | Ndsholes Martin, = Fae WW. H, Johnsen, oe BR6Q00 Ay Kingsley Perter, == + — 18,00. We He iin Bee nbn Se ey | “4a, 00 45.00 (399.06 99,09 270,00 _ 150.00 © ge, ope Tg ee iS, Co S. ley: tC ttt CO Rio: Beradt, Agts, oO 8 oo -2BOQ00. . : ge Ee BE oi Sa rae ; 75.00 pie 44 gat Pitt: 3 igenee ot ee | ; ne ¥ pian ty 200 675,08 ferGing ce, ROR Sk Bg TS ER OS Se a aoe Pa ‘ i oy toa’ cal eee Le eS , Rangaley ‘Serr Sa on none {20,00 é | ties, he Se aie oe EEN SS MW. ti, Geumeey eB RO es en ee “a Se oe BIRO Ok eng. £90.09 ae Se Wears Pog gre Otte Samet, pt Pate Mite Co Be Lewy oc) ma taal We H, Johnson, Cc. b Canessa, Miss. R HeLorenz, Agbes Otte Bernet, Agtes ” " Mive. Putnan Lee, ¥,W,.Seanan, Agtes Otto Rernet, Agtey WM, Milliken, We -, Milliken, law Le Jones, Otte Bernet, Agt., Chas, we Schott, Tes Ctto Bernet, Agt., MIS » We Stanford, %, H, Johnaon, Chas. My, Sehott, Iles Otto Bernet, dgt., Chass Me Schott, IVs, ¥eH.Johasen, s Theo. Offerman, Otte Bernet, Agbes Urs. Putnam Lee, CG. i. Canessa, Theo. Offerman, David Selaseo, Pes rs GPANGZAY , David Pelaseo, Theo, Offerman, David Delasee, Ge Dupont, : ibe Canesea, Ge Dupont, C. &, Canesea, David Selaseo, Cy &. Canesga, G, £, Canessa, Ge Dupont, Ginsberg & Levy, C. & Canessa, W, H. Johnson, P.W. French & Cony David Belasco, Ge Dupont, (15) $950.00 3,100.00 © 2,800,00 17,900,00 200,00 475,00 ~ By$00,00_ , . 4,100.00 2,300.00 1, 700,00 450,00 190, 00 5,00 17,00 - 20.00 6,00 17,90 35,00 45.00 27,50 25,00 20,900 15 00 47.50 30,00 80,00 55,00 340,06 135,00 95,006 130,00 90,00 90,00 105,00 60,00 45,00 140,00 180,00 90,00 60,00 200,00 145,00 70,00 45,00 60,00 16,00 30,00 7,00 42,50 200,00 90,00 65,00 820,00 ; 786 eesessssssegessese3 3888 (16) David Belasco, G. Dupent, Ge Be Canessa, ? il Thee. Offerman, — oh " Ge Dupont, b at Theo, Offerman, Chae, N, Schott Jr., P.¥.French & CO. (17) Mra. W. peat ie Janos, @ ad ” (npn) “Museum of Art, iusewn of Art, = SES99S0 og 8E994 sa2agS 99850855 (Duplicates) 65,00 Ae Ruder't, Agtes 5, F. Caldwell Co. . Seid with 914, i Williams, Seld with 915, As Rudert, Agtes MS » Keller Sold with 924, Mys. Keller, o Ke Jonns, ie %e, “taitfo88,* - Williams, aeda with 915, Seld with 915, T, Williams, tT Willdame, Seld with 915 Seld with 914 Mrs. W. Stanford, A. Rudert, Agte, T. Williame, Sold with 914, Seld with 915, Sold with 914, Sold with 914, Sold with 914, T, Williams, 8, Willdans, Seld with 915, Mrs, Keller, T. Wilidams, T. Williams, Geo, Gray Barnard, T. Williams, Jo Ke J ohns, R. I. Scheol of Design, E, ¥, Caldwall Co., T. Williams, tT. Williams, T, Williams, Warwick House, at ob%o Rernet, Agtes Kleinberger Galleries, Otte Bernet, Agt., Out, WoW, Seaman, Agtes Kleinberger Galleries, Ce Ml, Wooley, Out, G, K, Steteon, Mra, Cy 5, Lee, P, Bourgeois, R. I, Schoole® Design, Otto Bernet, Agtes Myre. Ny Le By G iiss R, Hy Lorenz, Agts,. iva, J, FL NeKernon, Mise Re Hy Lorenz, Agta, Nicholas Martin, lis, Cy M, MacNeill Mies R.- He Lorenz, Agte, Mies L. Scoville, : We We Seaman, Agte, Nicholas Martin, — Maas R, H, Lorens, Agte, Hye DeVivo, . Ne Martin, Mira. L. FP. Myers, Te Re Thomas, N. Martin, Mise L. Scoville, Nicholas Martin, W. W. Seaman, Agt., Nies.- R, H. Lerenz, Agte, Philip Berelsheimer, CG. Burton, Nicholas Marta, Mrs. £,M,Berolgheimer, Miae RH. Lorenz, Agte, Miss M, Hague, A, Rudert, Agt., Philip Sawyer, — 25, 000,00 25, 000,00 00 aa) ‘ ides R. He: Levens, dates Gat ; | Mitte Ce Me MneNoill, ‘i —? Re He Lorenz, Agtes bom