a RARE TAPESTRIES COLLECTION OF THE LATE EMILE JELLINEK-MERCEDES NICE + FRANCE EXHIBITION AND SALE AT THE AMERICAN ART GALLERIES MADISON AVENUE + 56+h TO 57th STREET New YorK FREE PUBLIC EXHIBITION From Saturday, February 13, Until Time of Sale Weekdays 9 a.m. to 6 p.m. 7 Sunday 2 to 5 p.m. UNRESTRICTED PUBLIC SALE Saturday Afternoon, February 20, at 4 O’Clock Exhibition and Sale at the AMERICAN ART GALLERIES MADISON AVENUE 7 56¢h TO 57th STREET New York (ity 1926 : i 553 8 i prapen ss eee 8 VILLA MERCEDES, PROMENADE DES ANGLAIS, NICE XVI-XVII AND XVIII CENTURY TAPESTRIIES GOBELINS +, BRUXELLES AUBUSSON, FLEMISH & VIEUX PARIS EXAMPLES GOILLECTION OF THE LATE EMILE JELLINEK-MERCEDES NICE » FRANCE Sales Conducted By Mr. O. Bernet & Mr. H. H. Parke AMERICAN ART ASSOCIATION - INC. MANAGERS 4 ME Se o cy The AMERICAN ART ASSOCIATION, Designs its Catalogues is and Directs -All Details of Illustration Text and Typography ae. * z ' , ye L} i ¢ : . / ; s 2 ee ‘ Ae ae el ce? - ” +f A! + VX FOREWORD HIS sale of tapestries is one of the rare events of the public salesroom. For these tapestries are all of a high standard of value in the art sense, as well as in the mere monetary way. ‘They were as- sembled over a number of years by a man distin- guished as an industrialist, whose interest in tapestries began as a casual incident and developed into a real and understanding pur- suit of the excellence to be found in this ancient art. The collection is small—thirty-two fabrics—but the units and in some instances the suites are important, they are beautiful pro- ductions, and their state of preservation is remarkable. ‘Their brilliance of color and soundness of texture are notable. And as they have not been “backed,” or lined, their structure is open to inspection—a condition none too often found. The incipience of the collection was romantic, but perhaps a word of the personality of the collector is in order—for those who do not follow the aftairs of the automobile industry; for those who do it is not necessary. The late Emile Jellinek-Mercedes called himself originally simply Jellinek. His attention was early attracted to the auto- motive industry, and when he had developed a car which chal- lenged public attention he sought a name for it that would have an agreeable sound to the public ear. Lo, it was at his hand: the name of his eldest daughter, Mercedes, who literally gave her name to her father, for later the Austrian Emperor conferred on him the right to the appellation, and he became Jellinek- Mercedes. Jellinek one day wrote to “Pere”? Daimler asking—the motors were then at the rear or else under the driver’s seat—why the motor could not be put in front “so I can see it, as I could see the horses.’’ After objections, this led to the placing of the motor in front and the appearance of the famous 12 H.P. Daimler, and on to large tires and light machines. Fortune followed, and the Villa Mercedes on the Promenade des Anglais at Nice, known to all automobile enthusiasts, enter- tained many visitors, Americans not the least among them. Emile Jellinek-Mercedes wanted tapestries to decorate the halls that held so many callers. Walking one evening, he saw under electric light at the shop of an antiquarian in Nice a small picture under glass and the delicacy of its color caused him to take it for a pastel. The merchant had that same day bought it; its price was 250 francs. The next day M. Jellinek removed the glass and found a Savonnerie tapestry like one in the Louvre. Within a week he refused an amateur’s offer of a hundred times what he paid for his, and his taste for tapestries was born. He canvassed museums and collections, and when he could he bought. He knew the im- perial Hapsburg collection, and studied and sought for productions of the same factories represented there, and as occasion and funds oftered opportunity he bought further. Hence the present collec- tion. ‘he Barons de Rothschild, fervent lovers of the Mercedes car, made gifts of tapestries to him from their palatial homes. When the war came the tapestries were seized by the French Government, and were for a long time “‘lost.”” After their recoy- ery some of them were wanted by the Louvre, but funds were insufhcient. America is thereby the gainer. The catalogue of the collection is so short that details will not be repeated here. Sufficient to say that Paris and Brussels, the Gobelins and famous Flemish ateliers, Aubusson and Italian tapestries are all here represented, in some instances by signed pieces. ‘The subjects include illustrations from the story of “Les Amours de Gombaud et de Macé,” a biblical incident from Re- becca’s history, details of Cesar’s triumphs, of Constantine’s glory, of the Feast of the Vintage, mythological and allegorical studies, and an example of the most rare Don Quixote series, ‘Sancho berné.” ‘The “Jeux d’Enfant” are after drawings by Le Brun, the first director of the Gobelins, under Louis,XIV. The tapestries date from the early Sixteenth, the Seventeenth and the Eighteenth centuries. Dana H. Carrouy NEw York, January, 1926. SCSPSSOHSSSSHSHSSHSHHSHSHHSHSHSSHSSHSSSHHHSSHHSHTHHFSHHHHSHHHHHTHTHH STHHHSEO®S AMERICAN Art Association, INc., MANAGERS SALE AT THE AMERICAN ART GALLERIES COLLECTION OF THE LATE EMILE JELLINEK- MERCEDES (Nice, France) Saturday Afternoon, February 20, 1926 To save time and to prevent mistakes each purchaser will oblige the management by filling in this slip and handing it to the record clerk or sales attendant on making the first purchase. Purchaser’s Name Address in Full Amount of Deposit @ “ o eae > eo @ AFTERNOON SALE Peery, FEBRUARY 20, 1926, A’l-4 P: M. Catalogue INCU cer tO uum ILC LUS1.We I. BRUSSELS; TAPESTRY Eighteenth Century RETURN FROM THE HUNT. Amid surroundings of trees, with considerable open space separating them, hunters return with game birds to their credit. In the foreground a woman is seated sidewise on a white horse, her back to the spectator and game swinging from the saddle-bags. A man converses with her, his head just seen above the neck of the horse. In front of the steed another huntsman kneels, putting other dead birds into a basket. At left in middle distance a man appears on horseback, a second man appearing at his side, conversing as to direction. Opposite them, on the right, a building occupies a point of land about which winds a river, where a woman is engaged in washing linen, while sheep browse and drink near her. Height, 7 feet 11 inches; width, 6 feet 8 inches. Senin ido i ASA GES Ft NOES if CATALOGUE No. FLEMISH TAPESTRY Seventeenth Century Mythological scene. Four persons appear in the foreground, under a canopy of verdure, the swaying branches of trees at either side leaving an opening at the centre, the eye traveling on across streams and trees golden in the sunshine to distant hills and mountains. The principal figures are two women, one in a light gown interwoven with gold and wearing a necklace of jewels, advancing to embrace a taller one in an orange-yellow drapery. Looking on are two lesser figures, one in a rose tunic, standing with folded arms before a tree on the right, the other on the left and wearing a crimson mantle, a hand extended in gesture. Formal border of bril- liant flowers precisely executed. Height, 9 feet 9 inches; length, to feet 7 inches. ~ a ve a an ot bgt z 4 CATALOGUE No. 3. BRUSSEES! GAPESERY Seventeenth Century Mythological scene. Diana and another goddess, in rich and abundant jeweled draperies and accompanied by dogs in leash walk forward side by side, both with graceful gestures. Their draperies are ivory-white and old-gold, with reliefs in delicate tones and emphasis in crimson and blue. ‘The group is in bright sunshine, in surroundings of shrubbery and trees, a stream running near by, and at the left a monumental pedestal with a sculptured urn on top of it. In the distant back- ground architecture is seen among the hills. Border of gar- lands, trophies and birds, in bright colors on a bright ground. Height, 10 feet 6 inches; width, 10 feet § inches. From the collection of Baron Henri de Rothschild. CATALOGUE No. 3 BRUSSELS TAPESTRY Seventeenth Century YOUNG HERDSMAN ATTACKED BY WARRIORS. In a central clearing in a wooded landscape a handsome young herdsman is the victim of an armed attack; seven figures appear altogether, the seigneur of the estate coming to the rescue and others also hastening up. The youth stands helplessly at the centre of the composition, his golden hair eloquent and his orange mantle flying in the breeze. ‘Trees stand behind the central group and beyond them a stream crosses the landscape, while in the background toward the right are broad grounds before an imposing castle with tall mountains rising above it, all in brilliant sunshine. Bordered with garlands in bright colors on a dull ground. Height, 10 feet; length, 17 feet. - ‘ON ANDOTF.LVD FLEMISH TAPESTRY Seventeenth Century Mythological scene with déesses. Before trees brightly illu- mined in the sunlight Mercury comes flying down, bearing before him the caduceus, on a mission to a group of god- desses who are gathered in the central foreground. They are in various attitudes and wear draperies of differing colors, and one carries garlands in her hands. At the left are two figures walking away from the scene, one ina blue mantle and carrying a basket of flowers, and his companion clad in ivory, golden-yellow and brown. In the background, seen between the trees, a distant city appears in bright sunshine. Border of rich garlands in bright colors on a light ground. Height, 10 feet; length, 13 feet 3 inches. fae = CATALOGUE No. 5 AUBUSSON TAPESTRY Eighteenth Century “Le MAY”; the féte of the month of May. Under a canopy of red draperies and garlands of white flowers—the garlands being continued in scrolls down the sides and across the bot- tom to frame the whole composition—a youth and a maid in eighteenth century costume dance around the garlanded May-pole to the music of a flute played by another maid re- clining on the ground at left. The costumes are of blue and rose, old-gold and a rich ivory-white. ‘The divertissement takes place in a sylvan landscape, the distance being under a light haze, and the nearer trees being a soft brown relieved by golden-brown shadows, and one on the right supporting bright blossoms. Height, § feet 11 inches; length, 7 feet 4 inches. A companion to the succeeding number. 6 CATALOGUE No AUBDUSSON DAPRES ERY Eighteenth Century L’oIsELEUR. Under draperies similar to those of its com- panion tapestry in the preceding lot, the composition enclosed is a varied one, with trees and shrubbery at either side, a cottage with high-peaked roof at left in the middle distance, buildings on a tall cliff opposite it on the right, and in the far distance a city beyond a stream. At the centre of the fore- ground the bird-catcher is seated beside a tree, his lady-love seated on the ground at his side in intimate companionship. A basket of flowers lies beside her. Both youth and maiden have their gaze fixed upon birds which are gathering toward a trap he has rigged near a pool, a long line to which he holds in one hand. Height, 5 feet 11 inches; length, 8 feet 2 inches. A companion to the preceding number. 4°ON FADOTF.LVOD PARIS TAPESTRY—GOBELINS? Seventeenth Century Allegorical composition. Wisdom represented by a river pictured as an aged semi-nude man half-reclining, at left, con- jures Youth—a young man approaching from the right on a run—not to deliver himself to the follies of love. The youth wears a-quiver of arrows, but has thrown away his bow, and breathlessly extends his arms toward Cupid, who appears on a cloud with a dart aimed at a vague Beyond. The youth wears a crimson mantle on which the light shimmers. Open background partly wooded. Interlacing scrolled border of strap-work, accented by floral figures and at the corners by cartouches, in gold on a blue ground. Height, 9 feet 7 inches; length, 9 feet 10 inches. CATALOGUE No. 8 AUBUSSON TAPESTRY Eighteenth Century DES ENFANTS JOUANT A SAUTE-MOUTON. Boys playing leap- frog, with one on the back of another who bends over, his head resting on a third boy’s knees. A fourth at the left starts to run to make his leap, and a fifth, an older youth, stands at the centre beside a tree, looking on. From the doorway of a gabled building on the left a maid in white cap looks out, and at the foot of a tree at the right a lady sitting on a felled stump reaches to take a child at her knee. She is in a rose gown, the child in a light blue. To these colors gol- den ones are added in the costumes of the others. The scene is a garden with trees and a monumental fountain. Scrolled border with flowers, and at the corners cartouches. Height, 9 feet 2 inches; length, 12 feet 6 inches. 6°ON FADOTF LVI Ta; AUBUSSON TAPESTRY Eighteenth Century Four persons at the border of the sea, a Watteau composi- | tion. Between fluted columns with ornamental capitals the spectator has a view of the sea, with small shipping afloat, across a narrow bank where slender trees appear growing lower down the slopes. Here are four figures, a youth stand- ing, looking seaward, and three girls. Of the girls one is standing and two are seated. Before the seated girl at the centre a pet dog on his hind legs begs for the morsel she holds tauntingly beyond his reach. The costumes display rose, crimson, cerulean, golden-yellow and ivory-white. The columns at the sides are wound with luminous garlands, and other garlands festooned across the top of the picture are supported by cupids. Height, 8 feet 8 inches; width, 5 feet 2 inches. CATALOGUE No. Io ie GOBELINS TAPESTRY kighteenth Century THE VOICE OF LOVE. Amid an orderly confusion of verdure, flowers, fruits and trees, two ladies appear in the foreground beside a fountain pool. Both face front and towards the right, the younger appareled in golden-yellow, mauve and rose, and wearing her hat. She appears disposed to quit the tender mother in old-rose kneeling at her side and caressing her arm, and to follow the call of her heart, while the mother makes a quiet appeal that she remain with her. Above, a pair of loves seems to call. The surrounding leafage, fruits and flowers are in soft tones of blue and green, brown, ivory and delicate hues of old-gold. Border of narrow columns or rustic pillars enwound with garlands. Fleight, 8 feet 3 inches; width, 6 feet 9 inches. CAlaLOGUE No, 11 1s2 FLEMISH TAPESTRY Sixteenth Century SERIES OF ‘GOMBAUD ET MACE.’ On a green sward dotted with trees and an occasional building groups of peasant fig- ures in garments of rich color are seated and standing, in ex- emplification of bounteous and joyous living, while two mounted gentlemen at the left are overlooking them. Do- mestic animals appear among them, and six scrolls variously placed bear informative legends—little songs in verse, in old French, some having the flavor of bucolic jollity. In the foreground, among growing flowers, various birds appear, looking on while an eagle—or falcon—pounces upon a heron. Wide border of cartouches, flowers, masks, both human and animal, fauns, cupids and fruits. Fleight, 11 feet 9 inches; width, 11 feet 4 inches. PADS DOE VERS VENT PHBE Tita: DERG TENES SEC STONES RETIRED VOR TRE MAINO TIN % Ge AMO TCLS SONT ING EPROEL. OUEROBINNE SERVE > los geen AES: “ARES: fe CALALOGUE No. 12 13. FLEMISH TAPESTRY Sixteenth Century SERIES OF ‘“GOMBAUD ET MACE.’ Three couples of the peas- antry, in medieval garments of soft color, are the conspicuous figures of a rural composition which embraces fruit trees in bearing, flocks and dignified aquatic birds. In the central background is a water mill. One couple standing at the edge of a wood at the left, in each other’s arms, are explained by the legend overhead, as are two other figures by another legend. These latter stand as the central group of the pic- ture, at the head of a croquet ground—this tapestry in fact being sometimes entitled ‘‘Le jeu de croquet.’ Beyond them, at a little distance to the right, the third couple—a young woman clinging to a tree and a youthful shepherd standing with a hand on her shoulder—have the third legend for their portion, the lines of all racy of the countryside and the life of the peasantry as portrayed in the romance. The bor- der a companion to that of the preceding tapestry. Height, 11 feet 8 inches; width, 8 feet 5 inches. Note: The pieces of this series of tapestries are found also in the imperial collection of the Hapsburg family. Reproductions of them were woven later, in the Seventeenth Century, at the Gobelins factory. CATALOGUE No. 13 14. FLEMISH, TAPESTRY Early Sixteenth Century Biblical subject: “Rebecca Gives to Drink.” An elaborate picture, of intricate and multitudinous detail, brilliant in the light of outdoors and extensive in its illustration. At left of the centre stands Rebecca, facing the right, three-quarters front, and before her Abraham’s eldest servant who “ruled over all that he had” receiving at her hands the pitcher of water. Behind them at left the “daughters of the men of the city” drawing water at the fountain, and at right the camels. In the distance the buildings of the city before blue mountains. Below the central figures the marriage of Re- becca is represented in a group of eight. Vases of flowers stand before columns at the sides, the columns surmounted by statuary figures from which depend garlands of fruit and flowers. Height, 8 feet; width, 6 feet 8 inches. From the collection of Baron Springer. 14 CATALOGUE No. Toe ITALIAN TAPESTRY, WITH COMPANION PIECE Early Sixteenth Century L/ ENTREE TRIOMPHALE DE CESAR. ‘The conqueror’s chariot. drawn by two prancing horses, passes to right across the scene, and on it are two semi-nude figures of vanquished kings, bound to an upright bundle of palms from which their crowns are suspended, their arms lying at their feet. “Ihe conqueror mounted, preceded by heralds and followed by warriors afoot, leads the procession, which passes before an obelisk and in- terested groups of people, with city buildings in the back- ground. Wide border with a red-brown ground, on which appear in soft colors trophies, ewers, crowns, winged human efigies supporting garlands and bearing on their heads bas- kets of fruit, cartouches, banners and lions. — Height, 11 feet 3 inches; length, 16 feet 7 inches. SI ‘ON FNDOITV LID 16. ITALIAN. TAPESTRY, A COMPANION TO THE PRECEDING Early Sixteenth Century L’ENTREE TRIOMPHALE DE CESAR. In this picture the trium- phal procession is continuing toward the right, with nine horse- men visible, carrying banners, insignia and laurel branches, their apparel and that of their horses a display of bright and of sober colors. Men and women line the route of the pro- cession, others are seen in gardens in the background, and Roman matrons look on from neighboring balconies. Some of the spectators are of amorous inclination. Border similar to that of the companion piece in the preceding number. Height, 11 feet 5 inches; length, 12 feet 4 inches. Note: These two tapestries, of which duplicates are not known, are from an historical chateau in Austria and were a gift of the Hapsburg family. Having always remained in the chateau, their remarkably fine condition is explained. A sm OA IE RP RCO a Se " a ar, . So. Cee Sis Oi ace eo, eo, serene, SR secenee CATALOGUE No. 16 Ls BRUSSELS TAPESTRY Early Seventeenth Century LA FETE DES VENDANGES, The gathering of the grapes is in full swing, workers being seen in a vineyard on the right and on their way with laden baskets to dump the grapes into a greater basket in the centre of the foreground. On the right a man is seated near a mound of hay cutting bread, and on the left are a couple dancing. Attached to a tree on the left is a panel reading “MAAND (month) ocTOBER.”’ ‘The scene 1s a lively one in the sunshine, and in the background is pictured an extensive and diversified landscape. Broad bor- der with vases at the base guarded by grotesque animals, and rising from the vases vines laden with luscious white grapes; at the centre cartouches, and above them birds, torches and sheaves, with volutes and shell patterns at the top. At the centre of the top a representation of Noah’s Ark floating on the waters. At the bottom are flowers, birds and sheep. Signed in the lower selvedge, M. WAUTERS. Height, 14 feet 1 inch; length, 17 feet 2 inches. CATALOGUE No. 17 18. BRUSSELS TAPESTRY Seventeenth Century LE TRIOMPHE DES ARTS. A grand tapestry with heroic fig- ures brilliantly costumed, some of the costumes jeweled. Painting, Sculpture, Literature, Architecture are conspicuous among the arts represented, by male and female figures stand- ing and seated, with Architecture—a thoughtful female— seated on a globe and dominating the group. Sculpture is at left; Painting at right, seated before her easel. Behind Painting stands a bearded and solemn man holding a large volume. Altogether there are twelve figures, in costumes and draperies of splendid color and enriched by gems. In the distance to right are seen water-courses and mountains. The scene is bordered by an affluence of fruit and flowers in mul- tiplicity of colors, with figures partly concealed emerging from amongst them, and at the bottom are globes and dials. The border forms not a frame, but works into the body of the picture. Signed, lan I. Eynrers, in the lower selvedge, accompanied by the Brussels mark (a shield between two BB's). Height, 12 feet 8 inches; length, 18 feet 5 inches. Sf “ON ANODOTV LVI 19. PARIS TAPESTRY, FROM THE ATEDIER ORS iiae FAUBOURG ST. MARCEL Seventeenth Century ARTEMIS AND THE NYMPH BRITOMARTIS. [he daughter of Jupiter has thrown herself into the sea, thus escaping the pur- suits of the Cretan king Minos. A nymph accompanying Artemis on parting the reeds bordering the water perceives the body of Britomartis, and Artemis and another nymph in sorrowful surprise approach from the left. From the right a bewildered shepherd hastens up. A varied landscape in a brilliant atmosphere. In the distance are hills and villages, and on the farther side of the stream two other figures are rushing toward the water. Border of brilliant garlands with small animals and birds. A tapestry of the same subject figures as No. 492 in the collection of the Hapsburg family. “The Gobelins manufac- tory also treated the same story. Height, 10 feet; length, 11 feet 2 inches. From the collection of the Polish Prince Lubetzky. CATALOGUE No. 19 20; -FLEMISH RAPES ERY Seventeenth Century A GAME OF CROQUET (after Teniers). A number of figures have gathered before an inn, which appears at the left, and are variously enjoying themselves, one couple dancing to the music of a violin, other persons playing croquet, and yet others seated at refreshments, not without a touch of amorous gal- lantry. The scene of merriment is under overarching trees, with fountains playing on the right, and the background en- larges into a formal park where are perceived other fountains and marble statues before a chateau. Border of deep brown ground enriched with a profusion of garlands. Height, 9 feet 9 inches; length, 12 feet 8 inches. From the castle of the Polish Prince Lubetzky. 0¢ "ON ANOQDOIV LVI 21. BRUSSELS. TAPESTRY Seventeenth Century LES BIENFAITS DE L’AGRICULTURE, an allegorical scene rep- resenting a goddess of earth seated on the right offering a magnificent cup of wine to the City, figured as another deesse seated on the left with one arm thrown over a geographical globe on which a cupid is at work with compasses. The globe rests on the back of a recumbent lion. The foreground is overflowing with fruits and vegetables—pomegranates, grapes and apples piled high with asparagus, cucumbers, melons and pumpkins—and at left of the lion is a monumental pedestal with sculptured ornamentation. Back of the first goddess—or nymph—who wears garlands in her hair, is a huge wine butt over which peers a Bacchic infant, while another who kneels beside the nymph is sipping wine. At right and left and across the top of the picture, in place of borders, the motive of the abundance of fruits is continued in a wealth of color, the fruits across the top being festooned between trees of the tropics and trees of more northerly climes. In the distance is architec- ture, and rugged mountain peaks rising toward the clouds. Height, 11 feet 7 inches; length, 14 feet § inches. One of the handsomest pieces in the collection; a gift from Baron Arthur de Rothschild. aby CATALOGUE No pape MAGNIFICENT BRUSSELS TAPESTRY, FROM THE ATECIERS -VAN-DEN® PIE Chee Seventeenth Century AuTUMNIs. Old-gold and deep crimson, rose and the fair- est of blue, burnt-orange, green and a deep cerulean, ivory and a silver white—the whole enriched with interwoven gold threads: a resplendent fabric of color and light. Allegorical figures in a vivid, corruscating expression of the abundance of autumn; one of a series of four tapestries of the Seasons, the significance of the figures comprehending also signs of the Zodiac, the Balance (Libra) appearing on the left and the Archer (Sagittarius) on the right. At the centre Ceres is enthroned, wearing a glorious gown and with a not less glorious drapery at her feet, where also lie the fruits of autumn in gay abundance. In the middleground on the right workmen from the vineyards, having come across a river, are bringing up the grapes to a chateau which stands at the left, the ladies looking down from balconies of their splendid palace upon the labors, which terminate in a feast taking place below. Wide and affluent border of fruits and flowers, of superb design and execution, in many light colors on a golden ground. Intermingled are vases and banners, birds perched and on the wing, gaily colored paroquets and white pigeons among them. Masks look out from the ornamentation, and in the lower border are running animals among the flowers. Signed in the selvedge, I. F. V. HECKE. Height, 12 feet 7 inches; length, 18 feet 2 inches. é€ “ON ANODOTV LVI He gat 2 t | 23. GOBELINS ‘TAPESTRY Seventeenth Century LA CREATION DE BYZANCE—one of the Constantine series. The Emperor Constantine stands at the right, laurel-crowned and wearing a mantle of deep crimson ornamented in blue and gold, a bearded philosopher supporting him and peering over his shoulder. Above the head of the emperor an eagle flies, bearing a chaplet of laurel in its talons, and before him, on a pile of capitals and columns lying on the ground, an architect kneels and with an attendant presents to the emperor his plan. In the distance on the left appears a growing city. In the left foreground a sculptor and laborers are at work. Border in many colors, with a variable ground, its ornamentation flowers, trophies, cartouches and amorini. At the centre of the upper border is the motto “In hoc signo vinces.” Height, 11 feet 9 inches; width, 10 feet 8 inches. Note: A series of the Story of Constantine containing this picture, with exactly the same composition, but of greater dimensions, belongs to the imperial Hapsburg collection, and four years ago was exhibited by the city of Vienna at the Belvedere. CATALOGUE No. 23 24. BRUSSEHESS TAPES Thy Eighteenth Century SANCHO BERNE. One of the diverting episodes at the inn which Don Quixote thought was a castle. Sancho, whose don- key stands idly at the right of the picture, is being tossed in a blanket by four Spanish youths who stand toward the left of the composition. Near them a maid carrying a kettle ap- proaches and hails the merriment. ‘The branches of a tree behind her overhang some of those holding the blanket, and fruit on the boughs hangs near Sancho as he bounces in the air. At left 1s the inn, from a balcony of which a couple look down, and ladies and gentlemen are standing on the ground below enjoying the spectacle. Others on the right are unmoved, and back of them the Knight of La Mancha gallops up on his horse, lance at tilt. Beyond him is a diversified landscape with flocks and herdsmen under an active sky. Formal border of rigid conventional designs in floral and scrolled motives. Height, 9 feet § inches; length, 15 feet 5 inches. Note: The only other known tapestry representing the tossing of Sancho formed part of the imperial Hapsburg collection, and was exhibited some vears ago in the Belvedere, at Vienna. 2 ‘ON TNDOTV.LVOD SUITE OF THREE GOBELINS TAPESTRIES After drawings by Le Brun, first director of the Manufacture des Gobelins {who died in 1690), and representing Les Jeux d’Enfants. With borders by the celebrated Bérain. GOBELINS: TAPESTRY Early Eighteenth Century JEU DE COLIN-MAILLARD; blindman’s buff. Quaint children, some with the faces of elders, at games on a rocky ledge, with shrubbery and wild flowers around them and tall trees rising aloft, their foliage golden in sunshine and dark in par- tial shadow. At the extreme right a tree silvery-blue projects into the picture. Beyond the ledge the landscape in vast reaches extends to vague distances, the sunlit atmosphere shim- mering over a great valley through which a stream courses and falls in cataracts through the arches of a bridge. High in the mountains on the left a castellated structure COmMM Btls the lands below. The figures number six, the three on the right playing blindman’s buff. One holds high a tambourine. Bérain border of flowers and conventional designs in gay colors on a light ground. 10 feet square. CATALOGUE No. 25 26. GOBELINS ‘FAPESTRY Early Eighteenth Century Series: JEUX D’ENFANTS. On the brown earth of the fore- ground half a dozen children are at play, grasping and slap- ping one another with their draperies, which are crimson and blue, rose and old-gold, and white. Around them are rocks and shrubbery. ‘lrees spread overhead, causing partial shad- ows, while in the background all is sunshine, over rounding hills and their neighboring valleys. Bérain border, the highly formal designs woven in soft colors on a light ground. 10 feet 7 inches square. 26 CATALOGUE No rar GOBEIINS TAPESTRY Early Eighteenth Century Series: JEUX D’ENFANTS; children in a glade. Eight children aré here depicted at play, one being carried pick-a-back in a group which is gathered at the centre. Two others are danc- ing at the left, and on the ground at the right a small girl is seated with her back against a tree playing a flute. Trees at the right and left and a clump of them at the centre rise to the height of the composition, and some of them above it, casting — mellow shadows over the foreground, and a winding road leads to the sunny distance. Height, 10 feet § inches; length, 12 feet 3 inches. CATALOGUE No. 27 28. VERY FINE PARIS TAPESTRY—GOBELINS? Seventeenth Century JEANNE D'ARC QUITTANT SA FAMILLE POUR SE RENDRE AUPRES DU ROI DE FRANCE. In sombre colors the corner of an old woden cottage appears on the right, a background for an active group of persons—the family of Joan, an old man who has been interrupted at his work as a basket maker, youths at first equally all but paralyzed with fright at the ap- parition of the Maid, and inside the cottage an elderly woman. The Maid coming upon them from the left appears in a flow- ing red cloak over a cuirass, and back of her in the distance are seen fields traversed by streams and bounded by hills. Wide border of light blue ground, supporting an interlacement of grapevines in full fruit—in allusion to the celebrated vine- yards of Lorraine—in rich golden-yellow, with cartouches of the young Bacchus and a goat, cherubic heads enwreathed in grapes, and at the lower corners satyr masks. Height, 10 feet 4 inches; length, 11 feet 2 inches. 28 CATALOGUE No. ap BRUSSELS TAPESTRY Seventeenth Century DANTE CONVERSING WITH A MUSE. At the corner of a terrace in a magnificent park of Italian style the poet stands, on the right, his hands in gesture, in conversation with a Muse who is seated. She also gestures with eloquence. In the fore- ground at left below them a pair of chickens and a large bird appear attentive, as they stand beside tall blooming flowers. Back of Dante is a statue on a pedestal and overhead ripe fruit is hanging from a tree, while on the opposite side, at left, ornamental trees extend their leafage toward the sunshine. In the park in the background fountains are playing in the dazzling sunlight.. Rich border of resplendent gardens, at either side displaying a classic bust. Height, 9 feet.7 inches; width, 9 feet 5 inches. 29 CATALOGUE No. 30. BRUSSE ES: TAPES TRY. Seventeenth Century Garden scene with figures. On the rigidly confined waters of a lake in a park of formal design two ladies are being rowed by an attendant in a canopied boat. One plays the lyre, her companion reads a scroll. Fountains play on both sides of them, and at the left a female figure mounts some steps with a wave of the hand to them, while across the water to the right two other women are looking on. The surround- ings are woods, and flowers brighten the shrubbery, and in the open background a palace stands in the sunlight. Border of garlands, birds and shields on a light yellowish ground. Fleight, 9 feet 9 inches; length, 10 feet 9 inches. CATALOGUE No. 30 AUBUSSON “TAPESTRY Eighteenth Century LE JEU DE COLIN-MAILLARD; blindman’s buff, Here repre- sented by young people in the costumes of the period, whereas in the tapestry after drawings by Le Brun the players were children clad ‘‘a l’antique.’’ Five figures are displayed in pale rose and crimson, deep cerulean, white, golden-yellow and a light and delicate blue. Four centre their interest in a blind-folded youth feeling for what he wants to find, while between two young women, one of whom lightly presses a finger on his bandaged eyes, the other cautioning silence on the company. ‘The gay colors of the costume sparkle in the sunshine which bathes near-by trees and the distant landscape, where buildings appear in the warm summer glow. Narrow border of floral and conventional designs with a jeweling en cabochon, Height, 7 feet 3 inches; width, 7 feet. CATALOGUE No, 31 B2. AUBUSSON TAPESTRY Eighteenth Century BERGERE ET SON TROUPEAU. At left a shepherd boy walks lingeringly along a brook, while the shepherdess on the right looks after him. She stands amid her flock in a gray-green meadow. Beyond her is a cow, and near by two milkmaids stand gossiping with interest at a well, where they have come to draw water. Further afield two other figures are seen, and on distant hills masses of classical architecture. At left in middle distance a bridge leads to the chateau. Ihe various figures are clad in crimson, white and blue, brilliant in the-soft sunshine illuminating the entire composition. Narrow border of garlands, with shell patterns at the corners. Height, 9 feet 2 inches; width, 7 feet 5 inches. ¥ , f Riot oan CATALOGUE No. 32 PNT VERS IAN TERS ILS BORO NITED STATES AND STATE TAX INSURANCE AND OTHER PURPOSES CATALOGUES OF PRIVATE COLLECTIONS 0 APPRAISALS. The American Art Association, Inc., will furnish appraisements, made by experts under its direct supervision, of art and literary property, jewelry and all personal effects, in the settlement of estates, for inheritance tax, insurance and other purposes. CATALOGUES. The Association is prepared to supple- ment this appraisal work by making catalogues of private libraries, of the contents of homes or of entire estates, such catalogues to be modeled after the fine and intelligently produced Sales catalogues of the Association. Upon request the Association will furnish the names of many Trust and Insurance Companies, Executors, Admin- istrators, T'rustees, Attorneys and private individuals for whom the Association has made appraisements which not only have been entirely satisfactory to them, but have been accepted by the United States Estate Tax Bureau, the State Tax Commission and others in interest. The AMERICAN ART ASSOCIATION + INC. 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