awe = : au >= - Daim ” Sere ee ig ke Lae ae - irpedetetes a - B iets os: A ‘. ~~ pepceaaes * ee ibambeie’ Waar Session capers eyeiusesei ersitrsstety cael Pt eum >. 7 treed wee perepetiee = . Fs ee eer o Pome > ie ie ot ih it +e by Re gird tour arn Phan Sy sow apt ea , * 4 i eats : s * eh eaog3 3 - mn 3 i ry 5 + ~ ee eS a er he arly oq t _—_ - CL. Aa LIBRARY M. Knoedler & Co. 14 East 57th St. New York eh a eee 5 i 25) Sas ant HS enon 9 5 ee ph ae i be ON FREE VIEW FROM MONDAY, FEBRUAIRY 247TH UNTIL THE DATE OF SALE, INCLUSIVE (SUNDAY EXCEPTED) FROM 9.00 A.M. UNTIL 6.00 P.M. oi PROPERTY COLLECTED BY THE LATE RICHARD MANSFIELD UNRESTRICTED PUBLIC SALE On Monpbay and TuvueEspAay AFTERNOONS MarcH 2ND AND 3RD BEGINNING AT 2.30 O'CLOCK Awnp on Tuespay Eveninc, MarcH 3RD BEGINNING PROMPTLY AT 8.30 O’CLOCK AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK CATALOGUE © OF VALUABLE PAINTINGS Antique Flemish Tapestries - ANTIQUE ITALIAN, FRENCH AND ENGLISH FURNITURE RARE OLD ENGLISH SEVRES AND OTHER CHINA BOHEMIAN GLASS, RELICS AND CURIOS IMPORTANT HENRY II. AND FRENCH RENAISSANCE CARVED MANTELS TEXTILES AND EMBROIDERIES And Miscellaneous Objects of Interest COLLECTED BY THE LATE RICHARD MANSFIELD TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF Mrs. RICHARD MANSFIELD mete AMERICAN ART GALLERIES ON THE DATES HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK : 1908 Press of J. J. Little & Co. Astor Place, New York | CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be tm- mediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, unless otherwise specified by the Auctioneer or Managers previous to or at the time of Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authen- ticity of, or any fault or defect in, any Lot, and make no War- ranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; fail- ing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof, for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be re- moved during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for em- ploying careful carriers and packers, they will not hold them- selves responsible for the acts and charges of the parties engaged for such services. Tue AMERICAN ART ASSOCIATION, Mawnacens. THOMAS E. KIRBY, AvcrTionernr. CATALOGUE EVENING SALE TUESDAY, MARCH 3p, 1908 AT THE AMERICAN ART GALLERIES BEGINNING AT 8.30 O’CLOCK OIL PAINTINGS g No. I : p = CB. Ponce & SEAWAY Bass Date hs ees ) UNKNOWN Portrait of Cardinal Giuseppe Sartanese THE head and shoulders of a cardinal, clad in the scarlet robes of his office. His hair is gray and brushed over his ears to form two long curls. His face is turned slightly to the right, the eyes somewhat downcast and looking past the spectator. Height, 5% inches; width, 414 inches. Cue a Q ais, Portrait of Bishop Conolly of New’ York THE head and shoulders of the bishop, in a black robe with wide turnover collar, beneath which hang his cru- cifix and rosary. The yellow collar of his undercoat is buttoned around the throat in military fashion. The head is bare, the face being turned slightly to the right. Height, 5%4 inches; width, 4% inches. Nops3 Lo. ro ey ae WA Cas Portrait of Correggio Tue head and shoulders of a man in profile to the left. He wears a pink coat, over which is a tippet of brown fur, and a white collar. He has a long brown beard and mustache. . Height, 8 inches; width, 6 inches. No. 4 /9.°? UNKNOWN — oAANh VANE THE head and shoulders of a man in three-quarter view to the right. He wears the costume of the sixteenth ‘century, a dark velvet coat and a loose white linen col- lar. A broad-brimmed hat is set jauntily on one side of his head. The eyes look straight at the spectator out of the picture, which is strongly lighted from the upper left. Portrait of Rubens Height, 8 inches; width, 6 inches. No. 5 UNKNOWN o age £O Head ma VaEsy Kl) Me bar Tue head of a florid-faced man of middle age clad in the rough cloak of a monk. His ruddy face, with full bushy beard, is strongly lighted from above; his head is bald, with the exception of one curl in front and a few tufts of hair behind the ears. Height, 7% inches; width, 6 inches. Nh a SCR Bate eran es No. 6 J. M. W. TURNER, R.A. oie 0 ENGLISH: 1773—1851 UC f The Dogana, venik Ww - ecca, looking toward the THIS is a view down the Gi sea. On the right is the gray mass of the Dogana, with its lofty porch and square-pointed tower. On the left in the distance is the graceful Campanile, dominating all the surrounding buildings as it rears its needle-like point against the sky. The surface of the canal is alive with gondolas and sailing boats, the gay colors of which are reflected in the still waters. The sky is covered with | light clouds, touched with a faint pink tinge from the rising sun. Height, 514 inches; length, 8% inches. No. 7 V. DE PAREDES SPANISH J Te re A stupy for the artist’s larger work of the same name. The picture shows the interior of a large salon in the time of one of the Louis’. A number of men in the dress of the middle of the eighteenth century are gathered round a table at which a cardinal and a gentleman are seated, playing a game of chess. That the cardinal is winning is indicated by the title of the picture; the reason is perhaps that his opponent’s attention is distracted by two young ladies who stand whispering close by. yi ge? Monsignor Gagne Height, 914 inches; length, 13%4 inches. Inscribed: “ébauche pour mon tableau ‘ Monsignor Gagne.’—V. DE PAREDES.” No. 8 SIR JOHN WATSON GORDON, P.R.S.A. 5 0.09 SCOTCH: 17 VIVA GA. Portrait of Miss Margaret Harriet Steu 86 THE half-length portrait of a young lady in early nine- teenth century costume. She wears a dress of red vel- vet, cut low off the shoulders, with large puffed sleeves. Round her neck is a gold chain, from which hangs a large Maltese cross. Her hair is dressed high on top and falls in graceful ringlets to her shoulders. The face is in three-quarter view to the right, the eyes looking out of the picture. Height, 10 inches; width, 8 inches. Inscribed on-back: “To the Honble. Mrs. Steuart of Dalguise, 1829.—WaAtTSON GorRDON.” Miss Margaret Harriet Steuart, daughter of Mrs. Steuart of Dalguise and niece of the famous Lady Nairne, was born in 1797. She was a well-known member of the illustrious Edinburgh literary set in the early nineteenth century, and was a friend of Sir Walter Scott. She lived more than one hundred years. No. 9 RUDOLF SUHRLANDT GERMAN: 1781—1862 eta ai oe Bee Al Tue head and shoulders of a middle-aged lady. She Wears a green dress with a high roll collar, under which is a white scarf. Her head is covered by a white linen cap covered with gauze, the band of which passes be- neath her chin. Height, 10 inches; width, 7% inches. Inscribed on back: “ Gemalt vom Professor Suhrlandt.” No. 10 ABRAHAM MIGNON Berg be GERMAN: 1640—1679 Still Life ed LAL. (Water Color) o, On the ground beside an old paling is a large cabbage, together with a turnip, some onions and other vegetables. A butterfly and a lady-bird have settled upon the cabbage. Height, 11% inches; width, 8% inches. Signed on the lower left, M1cNon. No. I1 ABRAHAM MIGNON ey yee GERMAN: 1640—2679 ae 1 Tita Still Life lee (Water Color) Ow a stone balustrade is a confused heap of vegetables and fruit, cabbages red and green, artichokes, carrots, apples, grapes and many others. A butterfly, a cater- pillar and other insects are depicted on various members of the group. Height, 11% inches; width, 8% inches. Signed on the right, Micnon. No. 12 Fares: 57 mae CP hon Portrait of a Gentleman THE half-length portrait of a man. He wears a red cut- away coat with black velvet collar, and a yellow waist- coat unbuttoned to show the fine linen ruffle of his shirt. His dark hair is unpowdered and falls to the level of his chin. He stands with his left hand thrust into his bosom, his body turned slightly to the right, his face toward the spectator. Height, to inches; length, 12 inches. No. 13 GEORGE INNESS, -N.A. AMERICAN: 1825—1894 | ; ie a 0. ve ry) > WZ Landscape re Yd ey Soe. THE scene shows a meadow, parched brown by the sum- mer drought, in which lie the trunks of two old trees. On the left is the corner of a rail fence, and beyond this a line of birch trees, almost denuded of their foliage. In the distance a few cottages and outbuildings indicate the site of a village, and beyond, the ground rises into a low range of hills. The sky has an autumnal appearance, and is covered for the most part with dark rain clouds. Height, 10% inches; length, 16 inches. Signed on the lower right, G. INNEss, 1883. No. 14 Do edd SPANISH SCHOOL7 y it CO Lilie Tue head of a soldier clad in elaborate armor of steel { inlaid with gold. A white linen ruff round the neck sets off a melancholy face with pointed beard and drooping mustache. The face is in three-quarter view to the right, the eyes looking straight at the spectator. Portrait of a Gentleman Height, 16 inches; width, 10% inches. No. 15 Von ee SCHO ee me Portrait of a contin (Pendant to the Preceding) THE head of a man in armor and ruff similar to the preceding. His mustache has more of a military twirl, and his hair is brushed back stiffly from his forehead. Height, 16 inches; width, 10% inches. No. 16 = ? 50 fo GRAVINSKY (?) Head of a ene mid The a if (thepG THE head of a young woman in three-quarter view to the right. A gauze veil thrown over the head and falling below the shoulders conceals the figure and only allows a few locks of dark brown hair to be seen. Height, 15 inches; width, 11 inches. Signed on the upper left, GRAVINSKY. lay DUTCH: 1670—1722. 4A Ae Lady with Fruit and Game SEATED in a reclining position on a bank is a young woman. She wears a loose white chemise, which has slipped off her shoulder and leaves the breast bare. Over this is an upper garment of red, fastened at the neck by a jewelled clasp, and a mantle of blue lined with orange. On her knee she holds with her right hand a bunch of fine grapes, while her left clasps a woodcock and the leg of a great bustard. On the ground lie a robin, a king- fisher and other birds. The background shows the trees of an extensive park. Height, 16% inches; width, 14 inches. No. 18 EARLY SPANISH SCHOOL Portrait of a Man in Armor o, eh US Sg faye THE three-quarter length portrait of a young man. He wears a corslet, with shoulder and arm pieces, of polished steel elaborately damascened and inlaid with gold. A stiff skirt heavily embroidered depends from his waist, and a white scarf is tied round his right arm. His head is bare, his dark chestnut curls framing a delicate and aristocratic face. Height, 14 inches; width, 10% inches. a te IS spender peinnico Sali NS SE Ap apy rasa rte ma oat pet ee pete en rn te mr ete etree. No. 19 UNKNOWN, te C4: i / ; OU Fe Head of a Gentleman (Pastel) THE head and shoulders of a young man in three-quarter view to the right. He is dressed in a dark green coat with short cape. Over his left shoulder is thrown a red cloak. Round his neck is a fine linen stock and on his head a small periwig, which covers his ears. Height, 18 inches; width, 14 inches. No. 20 Lp sd W. N. Cr) vA Aton Suite ip Portrait of a Gentleman vo : ( CA ef. THE half-length figure of a gentleman lressed in the style of the mid-Victorian era. He is seated, with his arms folded, by a stone balustrade, from which is ob- tained a wide view of a pleasant rolling country. He wears a black frock-coat with velvet collar, striped waist- coat cut very low and a large black stock. The face and figure are in three-quarter view to the right. Height, 171%4 inches; width, 15% inches. Signed in monogram at lower right, ty No. 21 RICHARD PARKES BONINGTON I S-7% ENGLISH: 1801—1828 THE scene shows a strip of sandy seashore, with high cliffs, on the left, and on the right the sea, tossed and ‘angry, under a dense storm cloud which has almost ob- scured the sky. Seated upon the sand in the foreground. and leaning against a large flat rock is a young man, dressed as a fisherman, with heavy sea boots, wide leather breeches and rough jersey. Over his shoulder is a large bag closed by a cord, and on his knee is an earthenware jar, which may at one time have contained spirits. Young Fisherman Height, 15 inches; length, 18 inches. Signed on the lower left, R. P. B. No. 22 JOHN W. EHNINGER, N.A. wa? “A AMERICAN: id. Interior Uf Sete On the bottom st Y ot a stairway down which pours a shaft of sunlight stands a young girl in the costume of the late sixteenth century. She wears a blue skirt and pink bodice, the sleeves puffed and slashed on the shoul- der. In the room itself stands a young man, richly dressed in black and gold, with a short blue cloak hang- ing from his shoulders. In his hand is a velvet cap with a jaunty feather, and as he leans upon the back of a chair he seems to be urging something upon the girl to which she is loath to agree. Height, 18 inches; width, 1434 inches. Signed on the lower left, J. W. EHNINGER. No. 23 UNKNOWN wo). 50 y, y, Portrait Z Elizabeth Fennell MES, op Tue head and shoulders of an elderly lady. She is clad in a black dress and wears on her head an elaborate white cap tied at the throat with a blue ribbon, beneath which two bunches of curls appear at either side of the fore- head. The face is in three-quarter view to the left, the eyes looking straight at the spectator. Height, 1914 inches; width, 1514 inches. Elizabeth Fennell was one of the first actresses to come to the United States. She was married to John Fennell, himself an actor (1766—1809). No. 24 EUGENE VERBOECKHOVEN Tio gece DUTCH: 1798—1881 Landscape with Cattle en Fin hae On a little knoll are two cows, one standing, the other lying down, a ewe with two lambs and a milch goat, all in close proximity to a dead tree, against which leans a peasant who supports himself on a staff and gazes into the sky. In a pool in the foreground are two ducks with their brood, and other ducks are flying through the air towards them. The scene extends over flat meadows, through which runs a marshy stream, to a belt of trees, | behind which are some large buildings, and in the far distance several windmills. Height, 19% inches; length, 24 inches. Signed on the lower right, EuGENE VERBOECKHOVEN, 1846. So eG ego He. [SSO It | No. 25 /09 0,10 PARLY FRENCH SCHOOL : Hétel Bourgogne in Moliére’s Time THE scene shows one end of a long room, with two tiers of galleries supported by pillars, and a central box, the railing of which is covered with a large rug, presumably for the comfort of the most important guests. A crowd of figures in fancy dress, harlequins, clowns, beggars, etc., are moving about, masked and otherwise. In the | foreground a harlequin is conducting a flirtation with one lady, while another proffers him a glass of wine. Height, 1814 inches; length, 3714 inches. : No. 26 CHARLES ANDRE VAN LOO a ): ad Cael 1705—I Portrait of Francois Boucher THE famous painter is represented, palette on thumb and paint brush poised for work. He wears a cloak of brown cloth lined with red and turned back to show the sleeve of his coat, which is of sage green, trimmed with gold braid. Fine lace cuffs are round his wrists, setting off his slender, nervous hands. The face is in three-quarter view to the right, the eyes apparently fastened upon the . subject of his picture. ; Height, 20 inches; width, 15 inches. Francois Boucher (1703—1770) was a celebrated French painter. He was a pupil of Le Moine, and succeeded Van Loo as painter to Louis XV. Among his masterpieces were “Venus Ordering Arms for Aeneas” and “The Bath of Diana.” No. 27 GEORGE ROMNEY se By 0. @¢ ENGLISH: 1734—1802 pay Portrait of David Garrick han oe THE head and shoulders of the famous actor are shown as if leaning into the picture from the right. He wears a red coat and waistcoat, the top buttons of which are unfastened, showing the shirt beneath. Upon his head he wears a close-fitting periwig. The face is in three- quarter view to the right, the eyes looking out of the picture, which is lighted from the upper left. The back- ground is a graded tone of blue. i Height, 24 inches; width, 20% inches. From the collection of Lady Bruce. David Garrick, born in 1716 at Hereford, was one of the great- est actors that ever lived. Originally educated for the law, he abondoned it for the stage, appearing first in 1741 at Ipswich. His success was immediate and lasting. He appeared at Drury Lane in 1742, his performance of Richard III. being much praised by Pope. He created many parts, and was also a successful writer of plays, chiefly comedies. He died in 1779, and is buried in Westminster Abbey. No. 28, wae: EARLY FRENCH-—SCHOOL TW Portrait of a Lady Tue head and shoulders of a lady im three-quarter view to the right. She wears a red dress, cut low in front and trimmed and embroidered with heavy gold bullion. A large knot of blue ribbon decorates the front of her cor- sage. The hair is brushed back off the forehead and _ dressed in a very lofty pompadour in which is inserted _ a single rose. ) Height, 24 inches; width, 19%4 inches. No. 29 /30.?® JOHN GILES ECHARDT\~//) A German painter, who visited England about 1740, and became a pupil of John Baptist Vanloo. He acquired considerable repu- tation as a portrait painter and was much employed, particularly by Horace Walpole. Among other portraits were those of Mrs. Woffington, the actress, and Dr. Middleton. He died in 1799. Portrait of Lady Maria Walpole THE picture shows a young lady seated at a table facing the spectator, her arms resting in an easy attitude upon a book of music which lies open upon the table. She wears a dress of peacock blue satin, cut low in front, without any ornament save a large bow with three pearl drops upon her breast. Her hair is dressed in close ring- lets and is covered with a filmy gauze scarf decorated with gold. Her fine oval face is inclined slightly to the left and rests upon the fingers of her left hand. The eyes look past the spectator out of the picture. In the top left-hand corner is a coat-of-arms. In the top right-hand corner is the following inscription: “ Lady Maria Walpole, only Daughter of Sir Robert Walpole, Earl of Orford, by Maria Skerret his second wife. Mar- ried to Charles Churchill, Esq.” Height, 29 inches; width, 24 inches. From Strawberry Hill Collection. No. 30 SIR PETER LELY it 00 mes ENGLISH, 1617— VAey Portrait of the Duke of Marlborough fm Armor THE great soldier is shown to his waist\the body turned to the right, the face towards the spectator, the eyes looking straight at him. He is clad in a corslet and arm- pieces of dark polished steel, the only relief being a white kerchief tied round the throat. The face is almost ef- feminate in its regularity of feature, with its high-arched aristocratic nose and full, sensuous mouth. Huis hair, luxuriant as a woman’s, descends in soft masses below his shoulders. The background is a graded tone of brown. Height, 28 inches; width, 23 inches. ~ John Churchill, first Duke of Marlborough, victor of Blenheim, Ramillies, Oudenarde and Malplaquet, was one of the most ex- traordinary men of any time. A magnificent soldier, he was yet in turn faithless to every sovereign. Deserting the Stuarts, he served in turn William III. and Anne, in whose reign his greatest victories were gained. He was more than suspected of trafficking with the Stuarts, and on one occasion was sent to the Tower for corresponding with the exiled house. He married Sarah Jen- nings, the favorite of Anne, through whom his influence at court was maintained until she was supplanted by Mrs. Masham in 1710. Born 1650, died 1722. No. 31 | | DAVID BEEK ~ $49 DUTCH: CO Portrait of a Man fe | THE head and shoulders De fair-haired young man in three-quarter view to the right. He wears a suit of black armor with large shoulder flaps, studded with brass-headed rivets. Round his neck is a kerchief of fine lace, fastened with a bow of scarlet ribbon. Round his left arm is tied a broad sash of orange color, indi- cating that he is an adherent of the Stadtholder. His head is uncovered, his long hair falling in natural waves \ to his shoulders. Height, 29 inches; width, 24% inches. No. 32 WILLIAM DOBSON f / 3.06 ENGLISH: a Portrait of a Man in Armor Mu (eo lai dhin Tue half-length portrait of a young man. Over a jerkin of some soft brown material he wears a corslet of pol- ished steel, braced over the shoulders with leather straps. At his throat is a kerchief of fine white lace. His head is bare and his dark locks fall unrestrained to his shoul- ders, framing a somewhat mournful face, with a long aristocratic nose, dark eyes and expressive mouth. The background is a graded tone of golden brown. Height, 30 inches; diameter, 241% inches. | No. 33 WILLIAM HOGARTH 2° 00 ENGLISH: 16 7—1764 ess ae 1%. Praben Portrait of Himself et THE artist has represented himself as a young man of some twenty-five years of age, dressed in a coat of brown cloth, a few buttons at the top undone to show the white linen beneath. He wears no collar or stock, and his shirt is unfastened at the throat. On his head, which is shaven for the reception of a wig, he wears a loose-fitting red cap, so large that it partly covers his ears. His body is partly turned to the right, while his face is in three- quarter view to the left, the eyes looking boldly out of the picture, which is lighted from above. Height, 30 inches; width, 25 inches. No. 34 > )- 49 mee rae A Portrait of a Divine fe Tue head and shoulders of a stoutish man of middle age, clad in the garb of an ecclesiastic of the early eighteenth century. He wears a plain black coat, over which 1s a gown of rich black silk. ‘A crucifix is suspended by a broad ribbon round his neck. On his head is a close-fit- ting gray wig. Height, 30% inches; width, 25% inches. No. 35 NICOLAS DE LARGILLIERE ee) ERENCH: 1666-1746 Portrait of Louvois THE hali-length, full-face portrait of a famous war minister. He is dressed entirely in black, the sombre tones relieved only by the fine lace of his cuffs and the elaborate ruff which encircles his neck. His face, some- what high-colored, is kindly, and the upturned corners of his mouth give him a rather humorous expression. He wears a very large wig, parted in the middle and fall- ing thickly on either side of his head. His left hand rests on a wooden pillar in front of him. Height, 31 inches; width, 25 inches. Francois Michel Letellier de Louvois, born 1641, died 1691. Was minister for war under Louis XIV. from 1666 to his death. The confrére and rival of Colbert, he eventually supplanted him in the king’s favor. Through his influence the edict of Nantes was revoked and the Palatinate laid waste. According to Macau- lay he was “the greatest adjutant general, the greatest quarter- master general, the greatest commissary general that Europe had seen.” Weary of his insolence, Louis XIV. was on the point of dismissing him, when he died suddenly in 1691. hia), ey No. 36 ne bo a0 SPANISH SCHOOL nt Portrait of a Chil Tus is the full- length portrait of a little girl about eight years old. She stands on a tesselated floor beside a table covered with a green cloth, on which she is just placing a basket of flowers. She is clad in a stiff red dress, falling to her feet, embroidered with elaborate foliations in gold. The sleeves are slashed to show the white linen beneath. Fine lace cuffs are at her wrists, _ and a collar of the same material is round her neck. Her fair hair falls in natural curls to her shoulders, and on her head is a flat cap with a single feather. Height, 36 inches; width, 2514 inches. No. 37 SIR THOMAS LAWRENCE, R.A. 40 ENGLISH: 1769—1830 7/0 Va | Portrait of the Hon. Thomas Cane dM) Cah THE head and shoulders of a burly man of about middle age. His florid face, with its somewhat coarse features and masterful air, is typical of the country squire of the early nineteenth century. He is clad in a dark-colored coat with roll collar, buttoned down the front. At the neck can be seen the lapel of a light waistcoat and a white linen stock. He wears mutton-chop whiskers, and his hair is somewhat untidy. His face is turned slightly to the right, the eyes looking upward and out of the pic- ture, which is strongly lighted from the upper left. Height, 36 inches; width, 27 inches. Bequeathed by the sitter to his nephew, Herbert C. Robinson, and sold by him to Richard Mansfield, May 18, 1906. No. 38 Fe 40 EARLY Ne S Te Portrait of Madame uation THE lady is represented seated in a high-backed chair be- side a spinet, upon which she is leaning in a graceful attitude. Her dress is of plain white satin, cut low in a V shape in front, disclosing the white linen chemisette beneath, and laced across the bust with a blue ribbon, the only touch of color to relieve its otherwise some- what severe simplicity. The sleeves fall just below the elbow, revealing a well-rounded arm. Her right hand holds a piece of music on her knee. Her face is turned slightly to the left, the eyes looking’straight at the spec- tator. Height, 43 inches; width, 37 inches. Maria Felicita Malibran, daughter of Manuel Garcia, was born in 1808. She was a famous actress and singer, having equal tri- umph in Paris, London, New York, Rome and Berlin. She died in 1836. No. 39 Vay, Wy j fel : Arte _ Tue three-quarter length portrait of a lady dressed in the style of the middle of the sixteenth century. Over a dress of white satin trimmed with galloon and elabo- rately embroidered with gold thread, she wears a long mantle of dark cloth, trimmed and lined with rich brown fur. Round her neck is a large lace ruff, and on her head is an elaborately jewelled cap. Suspended from a jewelled collar is a crowned eagle from which hang three large pearls. Her right hand holds a necklace of pearls, while with her left she caresses a large dog which stands by. The face is turned slightly to the left, the eyes down- cast and looking out of the picture. ae SCHOOL OF aaa Portrait of a Lady with Dog Height, 45 inches; width, 35 inches. No. 40 SIR GODFREY KNELLER psy Aao-* r) ae 2 hin Portrait of the Duke of Marlborough THE three-quarter length portrait of the Duke standing by a table. He wears a complete suit of steel armor, through the interstices of which can be seen some softer under garment. Fine lace at the wrists and throat, and a gold sword belt supporting a rapier are the only at- tempts at ornament. His face is framed by a mass of dark brown hair, which falls in long ringlets below his shoulders. His right hand holds a staff, while his left ~ rests upon a plumed helmet which stands on the table — beside him. The background consists of a curtain, on which is a coat of arms, and which is drawn back to show the blue sky beyond. : Height, 46 inches; width, 36 inches. No. 41 igen RAMSAY, V. P. S. or A. Qad Pw) BRITISH: - : ok _P EGY Portrait of a Nobleman fier THe three-quarter length portrait of a young man dressed in the style of the early eighteenth century. He wears a long coat of crimson velvet, with flaring skirts and deep cuffs, below which appear the sleeves of a fine linen shirt. Beneath his left arm he carries a cocked hat, while his right hand rests lightly on his hip. Across his breast he wears the blue ribbon of the Garter, the motto and badge of the order being embroidered upon the breast of his coat. The background shows the corner of a building and some trees and blue sky beyond. Height, 48 inches; width, 39 inches. No. 42 JOHN RILEY 7b 20 ENGLISH: 1646—1 ee VU VS arene Portrait of Justice Smit THE judge is represented leaning upon a marble-topped table, clad in the robes of his office. The long gown is 4 of scarlet cloth, with deep cuffs and trimmings of ermine, _ while a tippet of the same fur hangs round his shoulders. _ A narrow velvet ribbon confines his waist, and the con- — ventional bib is round his neck. In his left hand he holds — a roll of parchment. Huis heavy wig frames a long face, — with a sharp-pointed nose and lofty forehead. | Height, 4914 inches; width, 40 inches. No. 43 GAINSBOROUGH DUPONT ae 40 ENGLISH: 1767—1797,7 2 Portrait of David Garrick bb. i. Ae PA Tuis is a full-length portrait of the famous actor. He is dressed in a coat and breeches of rich black velvet, under which is a scarlet waistcoat with long flaps edged with galloon. His left hand holds a cane, while in his right is a three-cornered hat. His legs are crossed, as he stands leaning in an easy attitude against a pedestal, upon which stands a bust of Shakespeare, the base of which is encircled by his right arm. The face is in three- quarter view to the right, the eyes looking upward and out of the picture. The background shows part of a park, with trees, ornamental water and a classic temple. Height, 54 inches; width, 28 inches. FIRST AFTERNOON’S SALE MONDAY, MARCH anp, 1008 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK 50—OLpD ENGLISH WINE GLASSES. Cut diamond pattern, with initial M. within shield panels. Two sizes. 51—Two OLD-FASHIONED SPIRIT LAMBS. Clear pressed glass. 52—TEAPOT AND CREAM PITCHER. Antique English cut glass. 53—Four Tati GosLets. Thin crystal glass; engraved ecclesiastical insignia and border of floriated scrolls. 54—E1IGHTEEN LARGE FINGER Bow Ls. Clear thin glass; engraved ornamentations in scenes in old Holland. 55—PairR Quart DECANTERS. Old English cut glass. ' 56—Quart DECANTER. “4 Old English cut glass; diamond pattern foot. 57—QuartT DECANTER. Crystal glass; richly cut. 58—Pair ANTIQUE DECANTERS. Cut foot and stopper. 59—Fruir Disu. Crystal glass; richly cut, with diamond and other a patterns. 60—TALL CLARET PITCHER. 4 Clear texture, richly and elaborately cut; silver 4 mountings. Height, 1512 inches, 61—TaLt CLARET PITCHER. | Richly cut. Diamond and star patterns; repoussé silver mountings. a Height, 141%4 inches. 62—LarcE CrystTAL GLASss VASE. Very heavy texture. Elaborate and richly cut dia- mond, star and palm-leaf patterns. : Height, 14 inches; diameter at base, II inches. 63—TWENTY-ONE AUSTRIAN CHAMPAGNE GLASSES. Boat-shape bowls. Decoration of figures and floral scrolls, painted in enamel colors; gilt edges. 64—FivE BOHEMIAN CLARET GLASSES. Amber bowls. Engraved ornamentation. 65—BoHEMIAN Gass FINGER BowLs. Amber color. Engraved grapevine decoration. 66—SEVEN SPECIMENS OF GLASS. Four Venetian finger bowls; blue and white spiral pattern. Three ruby-red finger bowls. 67—ANTIQUE BOHEMIAN GLass VASE. Ruby red and white texture. Engraved initials and date, T. M., 1845. 68—THREE ANTIQUE BOHEMIAN GLASS VASES. Ruby-red textures; one gilded. 69—THREE OLD BOHEMIAN GLAss TUMBLERS. Ruby red and white texture. Decoration of coat-of- arms, foliations, and grapevine designs. 70—PAIR GOBLET-SHAPE VASES. Ruby red and white Bohemian glass. 71I—OLpD BoHEMIAN GLASS GOBLET. Ruby red and white. Engraved ornamentation of landscape, deer and hare. 72—OLD BOHEMIAN GLASS VASE. Ruby red and white. Engraved views of famous castles. 73—FivE OL_p BOHEMIAN GLass VASES. Hexagonal shape; ruby red and white texture. 74—OLpD BoHEMIAN GLAss DECANTER. mera one Ruby red and white. 75—Ei1cHtT O_tp BOHEMIAN GLass FINGER Bow Ls. Ruby red. Four with engraved coat-of-arms. Two sizes. 76—Four Otp BoHEMIAN GLASs TUMBLERS. Octagon shape; ruby-red texture. 3 77-—RuBy-RED GLass Disu. Cut-star pattern foot. Diameter, 9% inches, 78—DECANTER. Ruby red and white glass. 79—BOHEMIAN GLass VASE. Ruby-red texture. Engraved grapevine decoration. Height, 914 inches. 80—OLp BOHEMIAN GLASS VASE. Low form. Ruby red and white. Diameter, 8 inches. 81—Otp BoHEMIAN Fruit DIsH. Ruby red and white glass ; repoussé silver-plated foot. 82—CRACKER JAR. Barrel shape. Ruby red aad white glass. Height, 8% inches; diameter, 7% inches. 83—CAKE TRAY. Ruby red and white glass. Diameter, 10 inchés. 84—OLp BoHEMIAN DECANTER. Ruby red and white; gilt decoration. Height, 1314 inches. _ 85—OLp BoHEMIAN Fruit Bow. Ruby red; gilt decoration. Diameter, 10 inches. 86—OLp BOHEMIAN COVERED VASE. Ruby red. Engraved dedication, 50th Anniversary Birthday Gift. Height, 14 inches. 87—Pair TALL VASES. Old Bohemian ruby red and white glass; gilt deco- ration. Height, 13 inches. 88—Patr OLD BOHEMIAN TALL VASES. Light-green texture. Elaborate gilt decoration. Height, 154 inches. 89—TWwELvE Baccarat LIQUEUR GLASSES. Green and white crystal glass; square bases. gO—TWELVE WINE GLASSES. To match the preceding. oI—TrEn TALL CHAMPAGNE GLASSES. To match the preceding. Q2—TWwELvE BaAccARAT GOBLETS. Green and white crystal glass. Cut-star pattern foot. 93—Two Pint DECANTERS. Green and white crystal glass, to match the pre- ceding. 94—CAMEO GLASS JAR. Flowering plant, in relief, in golden brown. Height, 64% inches; diameter, 9 inches. Q5—TABLE PLATEAU. Louis XV. design, in gilded brass. Mirror panel. g6—Four COASTERS. Two, old English plate, openwork edge and glass foot; the others, wood base with silver rim. 97—Two PEPPER SHAKERS. Empire design; silver plated. 98—Two Op ENGLISH SKEWERS. Silver plated. Renaissance design. Q9—INDIVIDUAL COFFEE Por. ; Old English silver plate. Repoussé ornamentation. 100—Four CoASTERS. Old English; silver plated. Various designs. 101—Two BoNBONNIERES. Sterling silver. Repoussé and openwork border. 102—-[' wo Bonson DISHES. One sterling silver. Grapevine border in relief; the other, old English, silver plated. 103—SILVER-PLATED Fruit DisH. Openwork pattern; bead edge. I04—SILVER SALAD ForRK AND SPOON. Reproduction of old Dutch. 105—Toast RAck. Old English; silver piated. I06—DECANTER STAND. Sheffield plate. Large size, high-rim caster or mag- num stand. Period of George III. Side decorated with reticulated work and the rim with grapes and leaves in high relief. Stamped with six marks. Probably the joint work of J. Bell and Boulton shops. 107— WHISKEY CASK. Cut glass, with silver-plated mountings; has silver- plated stand. 108—Pair CANDLESTICKS. Colonial design; silver plated. 1090—Four SILVER-PLATED CANDLESTICKS. Column designs. IIO—TALL CANDLESTICK. Old Sheffield; silver plated. 111—Two Pairs TALL CANDLESTICKs. Old Sheffield; silver plated; floral sprays in relief. I12—Pair TALL CANDLESTICKS. Silver plated; antique designs. 113—Pair CANDLESTICKS, Silver plated; grapevine design. 114—Ecc BolILer. Silver plated. 115—Ice BASKET. Silver plated. Old English style. 116—EcGcG CASTER. Old English; silver plated. 117—Ova_ DisH. Silver plated. Old English. 118—RounpD SILVER-PLATED TRAY. Engraved medallions and foliated scrolls. 119—Two Fern DIsHEs. Silver plated; openwork design. 120—COVERED JAR. With hinged lid. Old English; silver plated; en- graved ornamentation. 121I—Two SILVER-PLATED STANDS. With medallion and mask ornaments. I122—SILVER CASKET. Dutch reproduction of a French casket of the mid- dle of the eighteenth century. Sides and cover rep- resent rural festivals in high relief. Gilt inside; has lock and key. Stands on four feet. Size, 34% x 4% xQ inches. 123—Pair ANTIQUE CANDLESTICKS. Fitted with engraved glass shades. 124—Four PLATES AND CUPS. Old English china. Decoration in rose-pink, blue and yellow. 125—Four PorcELAIN PLATES. Manifaitura Ginori. Floral decoration in various colors. 126—S1x OLp SpopE PLATES. Rope edge. Finely painted decoration, “The Co- lossus of Rhodes,” and similar subjects. 127—THREE OLD Lowestorr PLATES. Figure medallion and grapevine borders. 128—E1cut PIEcES or OLp WEDGWOOD. Six plates and three oval dishes of leaf pattern, coated with an ivory-white glaze. 129—THREE OLD WepDGwoop FRuiT BASKETS. With trays. Basket pattern openwork and green borders. 130—THREE PIECES OF CHINA. Old English platter and two soup aisties Floral 2 a decoration. ; : 131—Two CovereD PITCHERS. Old French porcelain. Finely painted floral medal- lions. Coral-red glaze and gilded edges. 132—COVERED SouP TUREEN AND PLATTER. Old Creil; impressed mark. Bacchanal medal- lion and grapevine borders printed in sepia. 133—OLpD CreIL CorFEE Por. Decoration, Le Jour, La Nuit. Printed in sepia. Impressed mark. 134—COVERED PITCHER. Old German faience. 135—O.Lp Lowestorr CHINA. Decoration in sepia and gold. Teapot, sauce tureen, sauce boat and tray and plate. 136—SEvres Bow on Tact Foor. Buff and gold bands and scroll borders in colors. Louis Philippe. 137—T wo TUREENS AND Ova DisH. Old French china. Decoration in enamel colors and gilding. 138—Four Cups AND SAUCERS. Old Staffordshire. Floral panels on a dark-blue ground. Decoration in copper lustre. 1390—NINE PLates. Five old French porcelain; borders of fruits and vines. Four Dutch faience, with crown and initial W. in red, white and gilding. ~140—-NINE AssorTED PLATES. Old Staffordshire. Davenport, Italian and French. 14I1—CuPs AND SAUCERS. Old Staffordshire. Decoration in sepia. Imprint, Vermisilla. 142—Two LarGE Cups AND SAUCERS. Old French porcelain, richly decorated. 143—Five TEACUPS AND SAUCERS. Old Staffordshire. Floral decoration. 144—THREE LarGE Cups AND SAUCERS. Buff and gold bands. (One repaired.) 145—AFTER-DINNER COFFEE CUPS AND SAUCERS. Nine specimens of various makes and decoration. 146—CovVERED CUP AND SAUCER. Sevres style. King’s blue glaze. Gold matte deco- ration. 147—OLp WeEpGwoop CovEeRED SouP TUREEN. Oval shape, with palm-leaf handles. Ivory-white glaze and slight decoration in green. 148—OLp WepGwoop Soup TUREEN AND PLATTER. Large size; to match the preceding. 149—Larce OLD WeEDGEwoop DiIsH. Circular shape, with strainer to match. 150—OLpD FRENCH CHINA FRuIT STAND. Floral and gilt decoration. 15I—OLp SpopE Fruit TRAY. To match the preceding. 152—Fruitr SERVICE. Copy of old Worcester. Rich blue and gold bor- ders and finely painted floral decoration. Consists = of six plates and one leaf-shape fruit tray. 153—Four Lrear-sHAPE TRAYS. Crown Derby style. To match the preceding. 154—OLp Crown DerBy WARE. Richly decorated with floral medallions, with blue and gold borders. Rope edge. Consists of 23 plates, two sizes, eight platters of various sizes, one cov- ered sauce tureen and two shell-shape fruit trays. (Three plates repaired.) 155—Twetve Deep Otp BorpEAux PLATES. Scalloped edge. French faience style. Decoration of rich-plumage birds and floral design; basket- pattern border. 156—Spope’s IMPERIAL CHINA. Plate and small platter. Floral and other decora- tion in blue, red and gold; rope edge. 157—Twetve GAME PLATES. Derby china. Blue and gold borders; rich-plumage birds and various insects finely painted in white panels. 158—NineE Davenrort DINNER PLATES. Floral decoration, painted in bright enamel colors. Lavender-color borders and gilt edge. 159—NineE Ovp FreNcH CuinaA DINNER PLATES. Decoration of floral sprays in delicate colors. 160—TWELVE DESSERT PLATES. Spode. Floral vines, painted in enamel colors and gold. 161—EMPIRE DESSERT SERVICE. Sevres. Louis Philippe, 1833. Buff and gold bor- ders, with decoration of various bon mots. Con- sisting of 12 plates and ice-cream compote. 162—S1x PorcELAIN Dessert PLATES. Le Rosey, Paris. Gilt edge. Crest and monogram in colors. Marked, Prihourt Lerosay. 163—OLp ENGLISH CHINA. Decoration in pink and blue. Consists of five plates and four cups. Marked “ Cleopatra.” 164—SIXTEEN PLATES. Old French porcelain. Floral bouquets and sprays finely painted in enamel colors. Consists of eight soup and eight dinner plates. 165—Two Ovat MEAT PLATTERS. To match the preceding. 166—OvAL VEGETABLE DISH. To match No. 164. 167—-ENGLISH DINNER WARE. “Daniel.” Ivory-white texture, with turquoise-blue border and gilt decoration. Consists of eleven din- ner plates, four cake plates, three round covered © dishes, sauce tureen and platter, and three meat platters. 168—VALUABLE SEVRES PORCELAIN DINNER WARE. Mark, S 57. Decoration of floral bouquet and sprays and gilt borders. Consists of 17 soup plates, 12 dinner plates, 12 breakfast plates, 3 three large round dishes, I low compote, 2 round covered vege- table dishes and 2 relish dishes. 169—DINNER WARE. Chamberlain’s Worcester. Decoration of fine bor- ders in violet and green, and monogram R. M. in gold and violet. Rope borders. Consists of 24 large dinner plates, 2 large covered vegetable dishes and 3 meat platters. 170—HAVILAND’S LimocEs TABLE SERVICE. Gilt edge, and bearing Mr. Mansfield’s yacht pen- nant. Consisting of 12 soup plates, 11 dinner plates, 6 breakfast plates, 23 dessert plates, 6 porridge bowls, 1 oval vegetable dish, 4 round deep dishes, I round dish without cover, 2 round platters, 4 oval platters, 1 covered dish, I sauce boat, 1 milk pitcher, I creamer, 12 egg cups, 2 mustard pots, 13 teacups and saucers, 11 individual butter plates and 10 after- dinner coffee cups. 17I—OLpD FRENCH PoRCELAIN TABLE SERVICE. Buff border, with gilt decoration, consisting of 18 soup plates, 36 dinner plates, 24 breakfast plates, 22 small deep plates, 12 meat platters, various sizes; 1 fish dish, 4 low compotes, 6 covered vegetable dishes, I large soup tureen, 2 sauce boats and plat- ters, 2 covered sauce tureens and platters, 2 oval dishes, 2 relish dishes, salad bowl, 15 after-dinner coffee cups and saucers, 18 covered custard cups and stands. 172—OLpD FRENCH PorcELAIN TEA WaRE. Blue and gold, with finely painted floral medallions. Consists of 2 teapots, one without lid; sugar bowl (imperfect), milk pitcher, large bowl, 9 cups and saucers. 173—NINE OLp SPODE PLATES. Blue and gold border of basket ice “nly ‘ painted decoration of floral bouquets. ee 174—Patr OLp Ficures. Poodle dogs. 175—Two OLD CHELSEA STATUETTES. The gardener. 176—STATUETTE. Boy feeding chickens. Old German. 177—Two OLp CHELSEA STATUETTES. Fisherwoman, and the Huntsman. 178—Two OLD CHELSEA FIGURES. Sheep and lamb. 179—OLD CHELSEA FIGURES. Two zebras. 180—Two OLp GERMAN STATUETTES. King and Consort. 181—OLD VIENNA STATUETTE. RA Hiawatha. 182—-CoPENHAGEN STATUETTE. Mother and child. 183—OLD GERMAN STATUETTE. Young girl. 184—OLp CHELSEA STATUETTE. Young organ grinder and monkey. 185—Patr OLD GERMAN STATUETTES. Cobbler and his wife. 186—Two [nx HOovpers. Recumbent greyhound. Old Paris. 187—OLD CHELSEA FIGURE. Poll parrot. 188—OLp CHELSEA STATUETTE. Young Bacchus. 189—Two OLD CHELSEA STATUETTES. “ Neptune ” and “ Faith.” 190—PairR FRANKENTHAL FIGURES. Pastoral figures with floral baskets. 191—Otp GERMAN INKSTAND. Doves in relief. 192—OLD GERMAN PorCELAIN INKSTAND. With group, “ Grandfather’s Darling.” 193—Pair O_p CHELSEA Fi1GuREs. “ King and his queen.” Height, 10 inches. 194—MINTON PariAn Group. Boy and donkey. 195—OLp FRENCH Bisque FIGURE. “ Autumn,” by Binet. Gilt brass base in Louis XV. aa style. Height, 14 inches. 196—OLD GERMAN GROUP. Pastoral subject. | Height, 11 inches; diameter, 9 inches. 197—Pair OLD GERMAN PoRCELAIN CANDLESTICKS. Vase design; bisque. Pastoral figures in relief. Height, 14 inches. 198—Capo-p1-MonTE GROUP ON STAND. Directoire figures and floral designs in intricate workmanship; ivory-white glaze. Height, 1714 inches. 199—PairR OLD GERMAN PORCELAIN VASES. Decorated. Neptune and mermaid supporting cor- — ; nucopias. | Height, 1614 inches. 200—MINTON’S FrRuIT BASKET. Figures of cupids in relief. Blue and white, ivory- white glaze, and gilt borders in outline. Height, 12 inches; diameter, 11 inches. 20I—PAIR ENGLISH CANDELABRA. For four candles each. Ivory-white texture. Blue and gold decoration. Height, 18 inches. 202—Patr O_tp FRENCH CHINA VASES. Cornucopia shape. Coral-red glaze; floral medal- lions and scrolls in gilding. 203—OLp FreNcH FLOWER VASE. Decoration of birds and flowers in bright enamel colors. 204—FRENCH PoRCELAIN VASE. Gold lacquer ground, with decoration in Rhodian style. Height, 11 inches. 205—OLD GERMAN JUG. Finely painted decoration, after Adrian Brouwer. Height, 12 inches. 206—Pair DECK VASES. Tall cylindrical shape. Turquoise-blue glaze, with decoration of Oriental designs in black. Height, 17% inches. 207—PaIR SMALL VASES. Old English faience. Decoration in colors and gild- ing. 208—INDIAN Pottery, Muc AND Bow L. Crudely decorated. 209—OLtp RuHopIAN BowL. Figures and lilies in rich opaque colors, over an ivory-white glaze. Height, 4 inches; diameter, 6 inches. 210—SMALL FAIENCE VASE. Green running glaze. Silver mountings. 211—FAIENCE VASE AND Bow. Iridescent glaze, in imitation of old Greek glass. 212—O.Lp FRENCH PoRCELAIN INKSTAND. Decorated. 213—OLp CHINESE CovERED Bow L. Globular shape. Decoration in salmon and gold. Height, 614 inches; diameter, 5% inches. 214—OvIFORM VASE. Japanese faience. Rich blue glaze, with crests and ferns pencilled in gold. Iris and morning glories in two celadon panels. ¢ Height, 9 inches. 215—ITALIAN FaAIENCE Ewer. Mermaid handle. Decoration in blue, yellow, green and brown. Height 10 inches. 216—ITALIAN FAIENCE OvirorM JAR. With scroll handle. Decoration of rampant bulls, deer, flowering plants and other designs painted in yellow, brown and green. Blue fret and gadroon borders. Height, 13 inches; diameter, 8 inches. 217—OLp FAIENCE BorrLe-SHAPE VASE. With dented sides and four rudimentary handles on shoulder ; coated with a mottled brown glaze. Height, 14 inches. 218—OLp FRENCH FAIENCE VASE. With cover. Landscapes and other designs painted in green. Height, 16 inches; diameter, 7 inches. 219—O1p DELFT PLAQUE. Decoration in dark cobalt blue. Diameter, 13% inches. _ 220—JAPANESE CLOISONNE ENAMEL VASE. Oviform. Chrysanthemum in green and white on an opaque ground. Height, 12 inches. 221—SAKE BOTTLE. Old Japanese pottery, hexagonal shape ; coated with a thick green crackle glaze. Height, 5% inches. 222—(GOURD-SHAPED VASE. Chinese porcelain, coated with a mottled apple- green glaze. 223—-OVIFORM VASE. Royal Berlin porcelain, coated with a flambé glaze in imitation of an old Chinese specimen. Height, 8%4 inches. 224—OvIFORM Bort te. Chinese hard paste of the Clvien-lung period. In- vested with a red and purple flambé glaze. Height, 8 inches. 225—OVvIFORM JAR. . aa Japanese stoneware, coated with a thick Raku glaze. — Height, 8% inches. 226—TALL CYLINDRICAL VASE. Chinese dense porcelain ; enamelled with a red glaze of the Lan-Yao type. Modern production. | Height, 16 inches. 227—-BoTTLE-SHAPE VASE. Modern Chinese porcelain. Blue and white haw- thorn decoration. Height, 15 inches. 228—CHINESE PORCELAIN BowL. Storks and cloud forms on a dark-blue ground. Height, 7 inches. 229— TEMPLE JAR. Chinese porcelain of the Ch’ien-lung period. Deco- ration of tree peonies, chrysanthemums and other designs in brilliant-enamel colors on a clouded green ground. Height, 14 inches. 230—Pair CANTON VASES. Oviform. Figures, flowers and symbols painted in enamel colors (one defective). Height, 14% inches. 231—LOWESTOFT COVERED VASE. Medallion and panel decoration of Chinese land- scape in sepia brown. Floral sprays, grapevine and pomegranates in blue and red and gilding on a salmon-color ground. Height, 11% inches. 232—ANTIQUE FRENCH JARDINIERE. Celadon bowl, mounted in chiselled and gilt brass. Louis XVI. : | Height, 9 inches. 233—Pair SPANISH FAIENCE URNS. Cream-white glaze; leaf shape and other ornaments painted in green. Height, 12% inches. 234—OLD VENETIAN FAIENCE URN. Relief ornamentation under an ivory-white glaze. Coats-of-arms in four panels. Height, 15% inches. 235—Composition Bust. “The Jolly Friar.” Height, 1814 inches. 236—Artistic Lire-sizeE TERRA Cotta Bust. Of Camillo Benso di Cavour, an illustrious Italian statesman, who died in 1861. Height, 31% inches. 237—Pair TERRA Cotta FIGURES. The bird’s nest. Height, 29 inches. 238—Portrait Bust oF A FEMALE. Italian. Artistically modelled in terra cotta, and enamelled and decorated. Has base. Height, 22 inches. 2390—TeErRRA Cotta Bust or A YoUNG MAN. Reproduction of an antique, glazed in imitation of _ a bronze. Gh Height, 16% inches. 240—UMBRELLA STAND. Doulton faience. Relief and painted decoration; brown and yellow glaze. 241—LaARGE PLANT Jar. Japanese faience, coated with a splash glaze. Height, 9% inches; diameter, 15 inches. 242—LARGE PLANT JAR. Finely painted decoration of landscape. (Repaired. ) Height, 13% inches; diameter, 16 inches. 243—LAaArRGE PLANT JARS. Doulton faience. Globular shape. Yellow glaze, with figure and garden scene painted in brown. pe Height, 13% inches; diameter, 16 inches. _ 244—Two CELADON PLANT JARS. Octagon shape. Chinese thick porcelain. Archaic designs carved in relief under a white and lavender glaze. ~~ Height, 10 inches; diameter, 1114 inches. ; ¥ , : a ! “ 4 : a } i Sal 1 we vo ae i. n a , j z ‘4 + - = . 1 : : re. vie | | H Ag Bee ¥ q ‘ oa a fs... | ie | > 4 i! ‘ asa. ce Py a, wae : 4 ee te fh ‘a a4 se ie oe y Sh i ry ag ‘ 4 ’ “ - —- & { ; 245—LARGE PLANT JAR. pone Oriental porcelain. Pine tree, peonies and border designs painted in rich underglaze blue. Height, 15 inches; diameter, 18 inches. 246—JAPANESE BRONZE PLANT JAR. Globular shape. Bold dragon and sparrows in relief casting. | Height, 15 inches; diameter, 16 inches. 247—JAPANESE BRONZE PLANT JAR. Globular shape. Birds, with branches of cherry blossom in relief casting. Height, 1334 inches; diameter 15 inches. 248—Pair Brass PLANT JARS. Repoussé. Globular shape on tall foot. Lion head and loose ring handle. Height, 29 inches; diameter, 17 inches. WILLIAM HOGARTH A SERIES OF LINE ENGRAVINGS BY THOMAS COOK (1744-1818), AFTER THE ORIGINAL ENGRAVINGS BY WILLIAM HOGARTH. ee Much that we could do but imperfectly with the pen, Hogarth has done imperishably with the graver. Essentially metropolitan in his tastes, there is little notable in the London of his day of which he has not left us some pictorial idea. He has painted the Green Park, The Mall, and Rosamond’s Pond. He has shown us Covent Garden and St. James’s Street; Cheap- side and Charing Cross; Tottenham Court Road and Hog-Lane, St. Giles’s. He has shown us Bridewell, Bedlam, and the Fleet Prison. . . . He takes us to a cock-fight in Bird-Cage Walk, to a dissection in Surgeons’ Hall. . . . He gives us, unro- manced and unidealized, ‘the form and pressure’, the absolute details and accessories, the actual mise-en-scéne of the time in - which he lived.”—Austin Dosson: William Hogarth, pp. 8-9. “T esteem,” says Fielding in the “Champion” (June roth) “the ingenious Mr. Hogarth as one of the most useful Satyrists any Age hath produced. In his excellent Works you see the delusive Scene exposed with all the Force of Humour, and, on casting your Eyes on another Picture, you behold the dreadful and fatal Consequence. I almost dare affirm that those two Works of his, which he calls the Rake’s and the Harlot’s Progress, are calculated more to serve the Cause of Virtue, and for the Preser- vation of Mankind, than all the Folios of Morality which have | been ever written; and a sober Family should be no more with- out them, than without the Whole Duty of Man in their House.” cf _— eee "habla Pe 249—PortTRAIT OF WILLIAM HoGarTH. The best portrait. It is in the National Gallery, Pee London. The dog is his favorite pug “ Trump.” 250—PortTRAIT OF JOHN WILKES and THE FIVE ORDERS oF PERIWIGS. eee Saye Rad +. Ee Two subjects upon one plate. : “i “In May, 1763, Wilkes was brought to Westminster Hall upon his trial for libel, and Hogarth found opportunity to sketch him. . . . If this really resembled Wilkes (and Wilkes himself allowed it did) he must have.-carried in his face a confirmation of some of the worst vices that have been laid to his charge.’—AustiIn Dorson: William Ho- garth, pp. 172-173. A Pa 4) ph P) Ye /) fp W/ 251—PorRTRAIT OF SIMON, LoRD Lovat.V ftv J. / 5 , Yi ritkhe 3. 370 In August, 1746, the notorious Simon Fraser, Lord Lovat, was brought in a litter to St. Albans on his way to London, where he was tried, and subsequently executed on Tower Hill. Upon the invitation of a local physician (Samuel Ireland’s friend, Dr. J. Webster) Hogarth went to St. Albans to meet him. . . . The short, squat figure, the crouching attitude, the crafty eyes, and the ‘pawky’ expression of Lovat as he counts over the various High- land clans on his fingers, are admirably rendered; and it is no wonder that this most effective sketch, having besides its own merit all that of an d-propos, should have been widely popular.”—Austin Dosson: William Hogarth, p. 19. q (/ 4} ff.) is 252—Portralt OF MarTIN FoOLKEs. 4/ & , ts bie SPs , Mathematician, antiquary and a vice-president of the Foundling Hospital. 253—Portrait or Dr. BEN[AMIN Ho , BISHOP OF WINCHESTER. . . y ; v7 “. , . . that full-blown and prosperous prelate .. . whose copious paragraphs Pope, mindful of His Grace’s Hanoverian propensities, had satirized in the ‘ Swift, for closer style, and Hoadly for a period of a mile.’ of the second imitation of Donne.” 254—PortTRAIT OF C. CHURCHILL. £, [/ f “The Bruiser,’ C. Churchill (once the Rev'd !) in the PRS We Character of a Russian Hercules, Regaling himself after having kill’d the Monster Caricatura that so Sorely Gall’d his Virtuous Friend, the Heaven-born Wilkes.” THe LAUGHING AUDIENCE. pee REHEARSAL OF THE ORATORIO OF “ JUDITH.” j AN EMBLEMATIC PRINT THE SoyTH ,SEA Ke SCHEME, Prec l PR. Three subjects upon one plate. “The Laughing Audience” was engraved as a Subscrip- tion Ticket for “ A Rake’s Progress.”—1734. at THE SLEEPING CONGREGATION. 2504 CoLuMBUS BREAKING THE Ecc. MASQUERADES AND OPERAS, BUR ee GATE. late, "ie by Plate ee a Three subjects upon o “In ‘The Sleeping CODE TCaahion * the slumbering au- ditory are poorly treated ;but the Rev. Dr. John Theophilus Desaguliers . . . . and his pompous clerk, struggling between drowsiness and the ill-guarded attractions of the pretty girl at his side who has fallen asleep with her prayer- book open at ‘ Matrimony,’ are not to be improved upon.”— Austin Dosson: William Hogarth, p. 68. as 7 ad J.o° 257—SERIES OF ILLUSTRATIONS FOR HuDIBRAS, AND BuTLer’s HEap. Twelve plates upon seven sheets. One lot. 574—Kine Henry VIII. anp ANNE BOoLeyn. 257B—A MipnicHut MoperN CONVERSATION. 257C—SARAH Matcotm. THE BENcH. a Two subjects upon one plate. ok aa \ 257D—SANCHO AT THE Feast StTarveD By His Puy- SICIAN. 258—A RakKeE’s PROGRESS. Veg do ~ I. He Takes Possession. V. He Marries. II. His Levee. VI. He Gambles. III. ( Missing.) VII. (Missing.) IV. He Goes to Court. VIII. In Bedlam. Six pieces (should be eight, th are missing). One lot. Vp. “In the first plate ‘Tom Rakewell’ has éntered suddenly upon his inheritance. In a jumble of leas, bonds, and the miscellaneous hoardings of avarice, he is being measured for his mourning. Already his knavish attorney plunders him; and he himself begins badly by casting off the poor girl whom he has ruined while at Oxford. The next plate (The Levee) transforms the clumsy lad into an awkward man-of-fashion. . . . In the next scene he enters upon the first stage of his decline. He is igno- miniously arrested for debt in St. James’s Street, as he is going to Court on Queen Caroline’s birthday, also St. David’s Day, as is indicated by an irascible-looking Welsh- ird and seventh , : man with an enormous leek in his hat. . . . Inthe plate that follows he is repairing his fortunes by an alliance in old Marylebone Church, then much used for private mar- riages, with an elderly heiress. The bride is one-eyed, and tremulously exultant; the bridegroom indifferent, and al- ready engrossed by the good-looking lady’s-maid. Plate VI. shows him in a Covent Garden gaming-house. He has lost all his recently acquired wealth, and flings him- self upon the ground in a paroxysm of fury and execration. In allusion to the burning of White’s, in April, 1733, flames are seen bursting from the wainscot, but the absorbed gam- blers take no heed. . . . The last scene is in Bedlam. He is an incurable maniac, fettered and dangerous, who tears at himself with the heartrending laugh of the insane.” —AvusTIN Dozsson: William Hogarth, pp. 53-54. 259—SOUTHWARK Fair. ae L, Uy eee “This festival (or carnival) was suppressed in 1762; but in 1733, when Hogarth drew it, it was diligently frequented, 747 .?? during the fortnight for which it was held, by ‘persons of [ all distinctions of both sexes.’ Its notabilities are faithfully depicted. Elkanah Settle’s droll of the ‘Siege of Troy,’ as given at Lee and Harper’s booth; the ‘ posture-master ’ and ‘curious Indian birds’ of Mr. Fawkes, the conjuror; the wax-work, exhibiting ‘the whole Court of France’; Miller or Miller, the Leipzic giant; Violante, the tumbler; Cadman, the steeple-flyer—all these have been carefully set down.”—AustTIn Dosson: William Hogarth, p. 58. a 259A—-WOMAN SWEARING A CHILD TO A GRAVE CITIZEN. co \2598—" BEFORE.” tom 260—THE DISTRESSED Porites 7 : | / 00 “Was Oliver Goldsmith’ thinking of the Distressed Poet fe when, in August, 1758, he described himself to his friend Bob Bryanton as ‘in a garret writing for bread, and expect- Ty ing to be dunned for a milk score’? Except that the milk- maid has already arrived, and is angrily exhibiting her tally, this is the precise status quo of Hogarth’s print. The poor verseman, high in his Drury Lane or ‘ Porridge Island’ sky-parlour, has risen by candlelight to finish a poem on ‘Riches’ for some contemporary Curll. . . . Neither the map of the ‘Gold Mines of Peru’ nor ‘all his books around ’—a magnificent total of three, the ‘Grub Street Journal’ on the floor not included—can help him at his need. Meanwhile his vociferous creditor . . . clamours for the score; a dog, which has entered with her, steals the meagre meal; the cupboard is bare, and the wind whis- tles ‘through the broken pane.’ - He has a consolation, how- ever, that poor Goldsmith lacked through life, one of the sweetest female companions that Hogarth ever drew.”— Austin Dosson: William Hogarth, pp. 79-80. It is thought that the Poet was meant for Lewis Theobald, the editor of Shakespeare, and the -. original hero of the Dunciad. It has also been 261—Four TIMES OF THE Davy. jae said to represent Thomas Rymer, the critic and antiquary. Morning. Evening Noon. Night. {(/ Four pieces. One lot. “The engravings of the Four Times of the Day are dated March 25, 1738. They represent three scenes in London and one at Islington. The first plate shows us Covent Garden at early morning on a winter’s day, with a disorderly com- pany coming out of ‘Tom King’s Coffee House’; the sec- ond, a congregation issuing at noon, on Sunday, from the French chapel in Hog Lane, St. Giles (now Crown Street) ; the third, a citizen and his wife returning from Sadler’s Wells on a sultry summer’s evening, and the fourth, the neighborhood of Charing Cross at night, on ‘ Restoration Day, with the ‘Salisbury Flying Coach’ upset in the middle of a bonfire. . . . All are filled with a multi- plicity of detail that deserves careful study. The uproarious misery of the lad in Noon, who has broken his pie-dish by resting it too heavily upon a post, and the delightful cox- combry of the Frenchman in his ailes-de-pigeon and soli- taire, the much-enduring dyer and his melting wife in Evening, and the drunken freemason in Night, are excel- lent. But the cream of the characters represented is cer- tainly the censorious prude in the first scene, with her lank- haired and shivering footboy. She is said to have been an aunt of the painter, who, like Churchill, lost a legacy by too inconsiderate a frankness. Fielding borrowed her linea- ments for the portrait of Miss Bridget Allworthy, and Thackeray has copied her wintry figure for one of the initials to the ‘Roundabout Papers.’”—Austin Dogson: Wiliam Hogarth, p. 73. 262—STROLLING ‘ACTRESSES DRESSING IN A BARN. “The play to be represented is ‘The Devil to Pay in ud fo Heaven.” . . . In the centre Diana, not much more . closely clad than Shakespeare’s ‘ chariest maid,’ “Tf she unmask her beauty to the moon,’ recites (and probably rants) her part. Near to her Flora is tallowing her hair, while Night (a negress) darns a hole in Juno’s stocking. Jupiter, rubente dextra, is peaceably superintending the removal by Cupid of some stockings from the pasteboard cloud upon which they have been hung to dry. Ganymede, a siren, and Aurora are engaged in mutual civilities; the eagle is feeding her baby with a spoon; the Witch clips a cat’s tail to get blood for scenic purposes, and two boy-devils—their foreheads budding with their first horns—are fighting at an altar for a pot of beer. The plate is crowded with minute strokes of humor—such as the fowls roosting upon the waves, the crown jewels in a hamper, the kittens sporting with the orb, the plays in the bishop’s mitre.’—Austin Dogsson: William Hogarth, Pp. 74. 263— MarriAGE-A-LA-Mope. I. The Contract. (jp A Y, eu? II. The Breakfast Scene. PO. UY ty/m II, The Scene with the Quack. 7) aaa IV. The Toilet Scene. V. (Missing.) VI. The Death of the Countess. Five pieces. (Should be six. This set lacks No. Never One-lot. Of this, as of his other series of “ pictur’d Morals,” Hogarth himself writes: “*Tn these compositions, those subjects that will both en- tertain and improve the mind, bid fair to be of the greatest public utility, and must, therefore, be entitled to rank in the highest class. . . . I have endeavoured to treat my subject as a dramatic writer; my picture is my stage, and men and women my players, who by means of certain ac- tions and gestures are to exhibit a dumb show.” “The plot, like that of all masterpieces, is extremely sim- ple. An impoverished nobleman who marries his son to a rich citizen’s daughter; a husband who, pursuing his own equivocal pleasures, resigns his wife to the temptations of opportunity; a foregone sequel and a tragic issue :—this material is of the oldest, and could make but slender claim to originality. . . . Yet combined and developed under the brush of Hogarth, set in an atmosphere that makes it as vivid as nature itself, decorated with surprising fidelity, and enlivened with all the resources of the keenest humour, it passes out of the line of mere transcripts of life, and re- taining the merits of the specific and particular, becomes a representative and typical work, as articulate to-day, as direct and unhesitating in its teaching, as it was when it was first offered to the world.”—Austin Dopson: William Hogarth, pp. 88-89. 264—INDUSTRY AND IDLENESS. /7ee This set is incomplete. It comprises the following plates : Plate 1. The Fellow ’Prentices at Their Looms. Plate 6. The Industrious ’Prentice out of His Time and Married to His Master’s Daughter. Plate 8. The Industrious ’Prentice Grown Rich and Sheriff of London. Plate ro. The Industrious ’Prentice Alderman of London, The Idle One Brought before Him and Impeached by His Accomplice. The Industrious ’Prentice Lord Mayor of London. Plate 3. The Idle ’Prentice at Play in the Church- yard during Divine Service. Plate 5. The Idle ’Prentice Turned Away and Sent to Sea. Plate 7. The Idle *Prentice “Retumeq witonis oc and in a Garret with a Common Prostitute. Plate 9. The Idle ’Prentice Betrayed by His Whore and Taken in a Night Cellar with His Ac- complice. The Idle ’Prentice Executed at Tyburn. Ten pieces. One lot. “Industry and Idleness, says Hogarth himself, ‘exhibited the conduct of two Fellow-prentices; where the one, by taking good courses, and pursuing those points for which he was put apprentice, becomes a valuable man, and an ornament to his country; whilst the other, giving way to idleness, naturally falls into poverty, and most commonly ends fatally, as is expressed in the last print.’ ; There is no more eloquent stroke in the whole of Hoparth than that by which the miserable player of ‘halfpenny- under-the-hat’ in Plate III. is shown to have but a plank between him and the grave; nor is there anything more vivid in its squalid realism than the episode in Thomas Idle’s career to which Dr. King subjoined for epigraph— “The sound of a shaken leaf shall chase him.’ ””—AvusTIN Dozson: William Hogarth, pp. 121-122. THe TIMES. 265 } A Country INN-YARD. Y) ff Ah ~ ~ /\ . fy 7 | y Two subjects upon one pl K, MAL Lis “In The Times the ‘ World’ public-house is on fire. Pitt on stilts, as the tyrant Henry VIII., and having, in allusion to his pension, a millstone inscribed with £3,000 hanging from his neck, is exciting the flames; while Bute, played upon with a syringe by a featureless man (Lord Temple), and a brace of garreteers (Wilkes and Churchill), is direct- ing the hose of an engine worked by Highlanders, soldiers and sailors. A Grub Street hack, with a barrowful of ‘Monitors’ and ‘North Britons,’ endeavors to cut the supply pipe. . . . To the right Frederick of Prussia G-99 ‘fiddles among his weeping subjects, while to the left a Dutchman, behind whom a fox peeps out of a kennel, sits on a bale watching the proceedings.’—Austin Dosson: William Hogarth, p. 170. ae O, THE Roast BEEF oF OLD ENGLAND!” Showing the Gate of Calais. One of Hogarth’s most popular prints. 267—TuHE Marcy To FINCHLEY. “In The March to Finchley he has exhibited all the dis- orders of a military dislodgment. While the vanguard are winding away to the horizon, the foreground, between the “King’s Head’ inn and the ‘Adam and Eve,’ at Totten- ham Court Turnpike, is filled with a confusion of depart- ure that defies description. Sutlers, soldiers, spies, spec- tators and camp-followers are all blended inextricably in one of those wonderful crowds of which he had already given notable example in the Execution scene of the Ap- prentice series.”.—Austin Dosson: William Hogarth, p. 129. fp 367 oa 268—BEER Pe. Sp th VF. plore 268a—TuHeE Four STAGES OF CRUELTY. First Stage of Cruelty. (Third Missing.) Second Stage of Cruelty. Cruelty in Perfection. Three pieces. (Should be four.) One lot. “The Four Stages of Cruelty are a set of plates exhibit- ing the ‘progress’ of one Thomas Nero, who, from tor- turing dogs and horses, advances by rapid stages to seduc- tion and murder. . . . ‘The leading points in these,’ rt says Hogarth, ‘were made as obvious as possible, in the ee hope that their tendency might be seen by men of the lowest rank. Neither minute accuracy of design nor fine engrav- ing was deemed necessary, as the latter would render them too expensive for the persons to whom they were intended to be useful.’?”--Austin Dosson: William Hogarth, pp. 133-134. 2609 PAuL BEFORE Fat, a Ved Bethy é: CARICATURE OF THE SAME. Cr re Two pieces. One lot. ee 270—MosEes BrRouGHT TO PHARAOH’S DAUGHTER. { | 27 a ANALYSIS OF BEAUTY, PLATE I. 271 | 7 ANALYSIS OF BEAUTY, PLATE 2. 6. ed | Two pieces. One lot. ) | Se Fate ha Nadler 71A—FRONTISPIECE FOR KirBy’S “ PERSPECTIVE.” 272—Four PLATES OF AN ELECTION. I. An Election Entertainment. / ao. 6 il. Canvassing for Votes. Ys: ‘" “IIL. The Polling. Ve Ab — ? f1 ; IV. The Chairing. a Four pieces. One lot. 273—Tue Invasion. a (3 arly y | I. England. aah a 3 Two pieces. One lot. Pi ae Cock’ Pir. “Another print, dated Nov. 5th, 1759, exhibits the old Cock Pit in St. James’s Park with all the ‘celestial anarchy and confusion’ which, according to Sherlock, characterized the pastime of which it was the theatre. Jockeys and cock- © breeders, sweeps and Quakers, English Dukes and French Marquises, blind men and deaf men—are absorbed in this exciting sport. A defaulter, whose shadow only is seen, has, in compliance with cockpit law, been drawn up to the ceiling in a basket, whence he vainly tenders his watch to satisfy his creditors. It is one of the best of Hogarth’s later prints.’—AustTIn Dopson: Le vi p. oe 275—THE GooD SAMARITAN. Painted on the staircase of St. Bartholomew’s Hospital. 6—BAINBRIDGE ON TRIAL FOR MURDER BY A COM- MITTEE OF THE HousE oF COMMONS. Tn (a THE CoMPANY OF UNDERTAKERS. 77 THE LECTURE. | Two subjects upon one plate. ms LL ae “The Company of Undertakers is a whimsical coat-of- i arms, composed of doctors. . . . Conspicuous among them, in a harlequin suit, is Mrs. Sarah Mapp, a famous bone-setter or ‘shape mistress,’ who enjoyed a brief popu- larity circa 1736-7. Two other figures which support her have been identified, one as the famous quack oculist or ‘Ophthalmiator,’ known as the ‘Chevalier’ Taylor, the other as the Dr. Joshua Ward to whose nostrums Fielding had recourse in his last illness..—Austin Dosson: William Hogarth, p. 67. 278—FInIs; or, THe BATHos. tl “A few months before he died Hogarth ber to work to prepare a ‘tailpiece’ to his works, then numerous enough to form a bulky volume. . . . Supported by the frag- ZS 7 ment of a column, Time, moriturus, with shattered scythe and glass, exhales the final puff from his pipe, which breaks ae as it falls from his nerveless hand. By the will at his side *” he has devised his worldly goods to Chaos, his ‘sole Ex- ecutor, and the Fates are witness. Nature is bankrupt; Apollo lies dead in his chariot; the sign of the ‘ World’s End’ is falling, the ship founders, the trees are withered, and the moon is dark. A play-book open at Exeunt omnes; an empty money-bag; a shoemaker’s last and a cobbler’s end; the remnants of a crown; a halter and a stringless bow; a cracked bell and a broken bottle; a broom-stump and a gunstock without a barrel—litter the ground. The Times, the cause of so much heart-burning, crackles and parches in the flames of a candle-end, and the shattered palette of the painter has done its work.”—-Austin Dogson: William Hogarth, pp. 176-177. e f DRAMATIC. PORTRAIT OF RACHEL. Vy ‘S Lithograph by Raunheim. ub ” avinreL 279 + PorTRAIT OF MADAME BOULANGER. __| Engraved by Bertonnier and Audouin after the S 58 painting by Rouget. Two portraits in one frame. One lot. 281—Portraits OF Mute. DucHeEsnois, TacLioni, Mite. Georces Weimer, Miss Nasu, MLLE, y io a7) DuPulis. (Me aw es VVadey Five portraits in one frame. One lot. 282—PorTRAITS OF CARLOTTA GRISsI, RistTorI, JUDITH, MapAME ALBont, Mrs. SImDpons As ‘ay et oD Tracic Muse, AND MLLE. PE ea UG Six portraits in one frame. One l6t 283—PortTRAITS OF WILLIAM SHAKESPEARE Cie’ Chan- ® dos portrait engraved by John Hall), Epwin - 0 Forest, MoLigrRE, GEORGE AND JANE BEN- S NETT, BARRY SULLIVAN, MADAME CELESTE, * Miss Gtyn AND Miss Laura ADDISON. i 284—Miss Cooper, CHARLOTTE AND SUSAN CUSHMAN, ° %&y AND SCENE FROM “ Mipas” (PorTRAITS OF 3 60 FARREN AND MADAME VESTRIS). Ip OS Three pieces in one frame. One lot. / [wVr. MO | Nine portraits in one frame. One lot. | | . t 4 285—FAWCETT, THE COMEDIAN. FYbruadene Line engraving by W. G. Edw as after the paint- x ¢¢ ing by Sir Thomas Lawrence, P.R.A. 286—PorTRAIT OF JOSEPH JEFFERSON. | 3 P ye Photogravure and thfee other traits. Four pieces. One tof YUU. ah yn a valle } 287—PoRTRAIT OF SARAH BERNHARDT. | ’ 3 And three other portraits ra cee ~ Jf P fa ; J- Four pieces. One oN atk yd 288—PortTRAIT OF MAry ANDERSON. » ¢¢ And three other portraits. F in Four pieces. One lot. 289—LEAR IN A stom VLane ol /) Nadunr. A Two illustrations to “ Romeo and Juliet,” and illus- e , tration to “ Virginius.” ) Four pieces. One lot. 290—PaoLo AND POY a Exizaneru, // Mr.™M pe er Ore. And two other subject Four pieces. One lot. see Thre F I nie ” @@ Line engraving by Girard, after Ducis. 292—PoRTRAIT OF WANDERHOFF. Line engraving from a daguerreotype by Paine. 293—THE Late Mr. Dowron as “ Dr. CANTWELL.” Three pieces. One lot. = 294—Davip GARRICK : Line engraving after the painting by Pine. Q5—MAcrEADY. Lithograph by Le Moine. Two pieces. One lot. : _f96—La BLACHE As FALSTAFF. Lithograph by Salabert_ Coevit gh. [Aa / a” 97—A ter p oNicur AT’: THE PLAYERS.” ! After the painting by C. Y. Turner. Proof on Japan paper. we 2908—SHAKESPEARE’S HOUSE. Photograph. | 299—PortrRAIT oF Sir JOHN LuBBock. Together with an autograph letter signed, ad- dressed to Mr. O’Callaghan. ¥ Two pieces in one frame. ne f, lla oo—Dr. SYNTAX AND His CouNTERPART. Aquatint in colors after Rolandson. AA Bane 301I—P ay Brix ror “ THE ScHooL FoR SCANDAL.” The King’s Theatre, Haymarket, October 30th, 1792. Sir Peter Teazle—Mr. King (the original / y Sir Peter). Lady Teazle—Miss Farren (after- wards Countess of Derby). Besides King (the original Sir Peter), the names of the following © who appeared in the play on its production occur ‘in this bill, namely: John Palmer, Aickin, Packer, Dodd, Baddeley and Miss Pope (the wees Mrs. Candour). 302—AN ANCIENT Makes IN 1610, SHOWING | Ff } KinGc RicHarp’s BATTLEGROUND. Presented to Mr. Richard Mansfield by Mr. Wee- don Grossmith. Together with engraved plan for the salon of Princess Sartorinski of Poland. Two pieces. One lot. 303—NapoLeon (‘“ THE Make Etched by Ruet, after the painting by Delaroche. a 4° 60 Signed remarque proof on vellum. oy 303A—BEETHOVEN. Line engraving by A. H. Payne. ‘ 7 fon. ‘ > 0 © \304—PHOTOGRAPH OF, PaBLINO D1az, INDIAN CHIEF. Two pieces. One lot. *i 305—THE SMOKER’S REBELLION. Photogravure after G. H. Bouten. 3h87 30 5A—A Goop Story. | After H. Stacey Marks. / Md. yegeg ds a 306—Tue LANDING OF THE VIKINGS. Etching and aquatint. Three pieces. One lot. DP ae 307—THE OLD OxForD Toasy é (“ Hounds stout and ase 7a Coborde earth well | & yf b stocked and foxes plenty.’’) : Four etchings, by FE. Caldwell, upon one plate. One lot. 308—JupitH AND HoLoFeRNEs. GRAIG ! Line engraving, after the painting by Michel- rd ¢¢ angelo. CHARLES HOUDARD ; 309—La MONTAGNE. e th) | Etching printed in colors. Signed artist’s proof /, 94 on Japanese paper. Sixth proof of ten printed. CHARLES HOUDARD 310—ON THE MARSHES OF Brest. Wave (€ A CRA i Py, Printed in colors. Signed artist’s proof on Jap- an ff anese paper. Proof No. 9 of fifty printed. i CHARLES HOUDA a iy 311—A Roap TuHRouGH THE Woop 2 ia Printed in colors. Signed Hee proof on Jap- 3 vi anese paper. Proof No. 4 of ten printed. a EUGENE i ee RAD 312—STREET IN Han FUR ae / .@9@ Printed in colors. Signed\artist’s proof. ie. No. 15 of fifty printed. 313—OLp CHINESE PAINTING. i, Q- Pale | v 0g: .@¢ ‘A legendary subject ee in brilliant colors and mounted on a mirror background. ee ae Oe eee ee aa ee eT re TTS Oe aa ee ees seat ro te ey ea = so 5 dll ee <5 id = fee a = = _——— eae 7 a o - SECOND AFTERNOON’S SALE TUESDAY, MARCH 3rp, 1908 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 0’CLOCK 316—Fruit BASKET. Made by Pima Indians, Arizona. 317—Otp Brass JAR oN TRIPop. | Globular shape, with lion head and loose ring handles. 318—CicaR STAND. Ram’s horn, mounted in brass. : 319—ANTIQUE BRONZE INKSTAND. : French. 320—ANTIQUE TEA Cappy. Black enamelled on tin; floral bouquet in iridescent mother-of-pearl. 32I—ANTIQUE TIN TEA Cappy. Black enamel ; decoration, “ The Pet Dog.” 322—ANTIQUE COFFEE URN. Be Pas | Enamelled metal; Dutch farming scene in me- — dallion. 323—ANTIQUE TRAY. Black enamelled on tin; decoration of rustic scene. 324—OLp Benares Brass JAR. Repoussé ornamentation of archaic designs. Height, 7 inches; diameter, 8 inches. 325—OLp Benares PLATE. Engraved ornamentation. Diameter, 9 inches. 326—THREE PEWTER CANDLESTICKS. Two, tall form, of Colonial design; one low form. 327—-OLp Brass CANDLESTICK AND SNUFFERS. Low form, with large circular base. 328—Pair ‘ANTIQUE BRONZE CANDLESTICKS. Tall shape. 329—PaiR CANDLESTICKS AND SNUFFERS TRAY. Antique enamelled tin, with decoration of domestic scenes. 330—Pair CANDLESTICKS AND SNUFFERS AND TRAYS. Yellow enamel. 331—Pair CANDLESTICKS. Gilt and silvered brass; figures of “dancers” in relief. 332—Pair ANTIQUE Brass CANDLESTICKS. With lustres; figure of veteran and child in relief; marble bases. 333—ANTIQUE FRENCH DouBLE CANDLESTICK. Dolphin design ; medallion heads and twigs of fruits in repoussé on base. 334—TABLE LAMP. Benares brass; openwork shade of Japanese brass, with Kiri crests and scrolls in openwork. Duplex burner. 335—TasLe Lamp. Similar to the preceding. 336—TasLe Lamp. Similar to 334. 337—ANcIENT DutcH Lamp. Wrought in iron. 338—ANTIQUE CopPpER CoAL Hop. Inverted helmet shape. 3390—FoLpING FIRE SCREEN. Woven wire. 340—FRENCH RENAISSANCE FENDER. Gilt brass ; openwork design, with panel of classical subject, surrounded by cornucopia and leafy scrolls. Height, 4 feet 6 inches. 341—Pair ANTIQUE ANDIRONS. French Renaissance. Gilt brass; designs of urns, garlands of roses, festoons, trophies and flame finials. 342—Louis XV. FENDER. Gilt brass; chiselled floral scrolls, shell ornament and pierced panels. Length, 5 feet 2 inches. 343—Pair Louis XV. ANDIRONS. Bold leafy scroll design, wrought in brass and gilt. 344—ANTIQUE COPPER Peat Pot. With brass hoops, lid and handle. Height, 17 inches; diameter, 11 inches. 345—-SHERATON BRACKET CLOCK. Mahogany and marquetry case, English movement, with calendar attachment. Dial inscribed, “Begone about your business.” 346—DutcH BRACKET CLOCK. Green enamel case, with gilt brass mountings and ornaments. 347—Louis XIV. CLock. Sévres porcelain case, of lyre shape, enamelled with a king’s blue glaze; plinth, mountings and orna- ments of chiselled ormolu. The dial surrounded by an aureole. 348—ANTIQUE FRENCH CLOCK. Carved white marble case of arch design, orna- mented with chiselled brass mounts and ornaments. Movement by Ferdinand Berthoud. -349—Pair Louis XV. CANDELABRA. Bronze cupids holding gilded brass branches of rosebush design ; white marble bases, with chiselled ormolu mounts. 350—Pair Louis XV. CANDELABRA. Gilded brass; for five candles each. 351— Two Gas Sipe BRACKETS. Two candle lights each, one fitted for electricity, the other for gas. 352—T wo GREEN BRONZE SIDE BRACKETS. Three candle lights each, fitted for gas. 353—I wo Louis XV. Sipe BRACKETS. Gilt brass; three candle lights each, fitted for gas. 354—-ELABORATE ANTIQUE SIDE BRACKET. Gilt brass; ten candle lights, fitted for electric lighting. 355—ANTIQUE CHANDELIER. French Renaissance; carved and gilt wood and composition. Eight candle branches, fitted for electric lighting. 356—GiLT Brass CHANDELIER. Louis XVI. design. Eight candle branches, fitted for electric lighting. 357—TIwo ANTIQUE SPANISH FANS. One, tortoise-shell, with inserted spangles; the s other, painted decoration, with openwork tortoise sticks. 358—ANTIQUE SPANISH FAN. White gauze, covered with gold spangles; carved and gilt wood sticks of openwork designs. 3590—ANTIQUE SPANISH FAN. White silk gauze, with hand-painted decoration of Ey figures, floral garlands and festoons of gold span- ta gles. Ivory sticks, carved and inlaid with metals, ‘ in intricate workmanship. 7 | getter wl? el nage Pot eae era 360—ANTIQUE SPANISH FAN. f White silk; painted and gold spangle decoration. ' Ivory sticks inlaid with metal. < ny 361—Two ANTIQUE FRENCH FANS. ¢ One, paper, with figure medallions and elaborate SS ne eee scrolls and gilding ; carved ivory sticks. The other, chicken skin, with hand-painted medallions; ivory and inlaid sticks. * 362—ANTIQUE FRENCH FAN. Louis XV. Mother-of-pearl, intricately carved and inlaid with gold and silver. 363—ANTIQUE. ENGLISH FAN. Buff silk, with painted floral decoration ; beautifully carved mother-of-pearl sticks. 364—ANTIQUE ENGLISH FAN. Chicken skin. Decoration of cupids and cloud forms in monotone. Ivory sticks. 365—ANTIQUE PURSE. Old rose velvet, with needlework ornamentation of pastoral scene. 366—CHATELAINE Bac. Antique French mounting, wrought in openwork. Black silk and steel bead bag. 367—ANTIQUE CARRIAGE PARASOL. Black thread lace; carved ivory sticks. 368—BisHop’s MITRE. Italian. Eighteenth century. Cloth of gold, with passion, heart-shaped medallions, leafy scrolls, em- broidered in silver threads and spangles. 369—BisHor’s MITRE. Italian. Eighteenth century. Cloth of silver, with an elaborate ornamentation of sacred flowers and border design, embroidered in gold threads and spangles. 370—SOFA PILLOw. Silk and wool tapestry ; floral bouquet in low tones. 371—FRENCH Sora PILLow. Ivory white satin, with hanging basket; floral de- signs and lace pattern border in ribbon and chenille embroidery. 372—FRENCH SOFA PILLow. Light green satin, with basket of chrysanthemum flowering plants and scrolls in ribbon and chenille embroidery. 373—CHASUBLE. French. Louise Quinze. Flowered silk and gold brocade, trimmed with galloon. 374—PRIEST’S VESTMENT. Spanish. Eighteenth century. Salmon-pink satin. Elaborate embellishment in silver thread and span- gles of passion flowers, leafy scrolls, grapevine in bearing and other designs. Consists of chasuble, stole and maniple. 375—Louis XV. COPE. French silk and gold thread brocade. Elaborate floral design in low tones of colors on a yellow ground. Trimmed with galloon and fringe. Re- poussé gilt metal clasp. \ ie & 3 376—PIANO COVER. Originally a Venetian eighteenth century cope. Green satin brocade, with elaborate designs of trees, flowers, fruits, birds and other patterns, woven in low tones of silk. Trimmed with gold and silver galloon. For a Parlor Grand piano. 377—COVERLET. French Louis Quinze. Salmon-pink silk and metal brocade. Elaborate floral and leaf designs, woven in silver and gold threads and delicate shades of green silk. Finished with silver galloon. Length, 6 feet 5 inches; width, 5 feet 2 inches. 378—COVERLET. To match the preceding. Length, 7 feet; width, 7 feet. 379—FRENCH PLUSH PANEL. Ruby-red silk, with elaborate Mosque window de- signs, woven in low tones of silk. Top and lower border of floral designs. Length, to feet; width, 4 feet 4 inches. 380—CHINESE SILK CREPE SHAWL. Imperial yellow. Embellished with tree peonies, leafy scrolls and other designs; embroidered in bright-colored silks, the obverse and reverse being precisely alike. Deep fringe border. 5 feet square. 38I—JAPANESE PORTIERE. | Lavender-figured silk brocade. Elaborately em- bellished with dragons, aquatic and rich plumaged birds, chrysanthemums, cherry blossoms and lotus; embroidered in bright-colored silks. Length, 9 feet 6 inches; width, 4 feet. 382—]JAPANESE COVERLET. Rose-pink satin brocade. Elaborate and rich em- bellishment of dragon pursuing the sacred pearl, rich plumaged birds, a bold tiger, chrysanthemums, blossoms, scrolls and other designs ; finely embroid- ered in rich and harmonious tones of silks. Length, 8 feet; width, 7 feet 6 inches. 383—JAPANESE HANGING. ‘ Two howo birds, skilfully embroidered in various silks. The background, of solid needlework, is of ey the design of a wistaria vine in bearing, executed in ivory-white silk. Finished with wide borders of brown and silver grey brocade. Length, 6 feet 6 inches; width, 4 feet 8 inches. 384—TapEstTRY PANEL. French weave of the eighteenth century. Subject: Constantine sees in the sky the monogram of Christ, and being converted to Christianity establishes it as the state religion of the Roman Empire. Woven in colors of low tone, greens predominating. Height, 9 feet 4 inches; length, 9 feet 4 inches. a 385—Tapestry PANEL. French weave of the eighteenth century. Subject: Paris and Helen of Troy. Woven in harmonious colors, greens and blues predominating. | Height, 8 feet 2 inches; length, 17 feet ¥0 inches. 387—-LonG FLEMisH Tapestry PANEL. Sixteenth century design in seventeenth century weave. Subject: The Coronation of Alexander the Great. Woven in low tones of ivory-white, greens, blues and brown. Height, 7 feet 5 inches; length, 16 feet 11 inches. 388—Pair oF GOLD BULLION EPAULETS. Decorated with Austrian crown and the stars and btittons of The Order of St. John of Malta. Also wide blue moire silk ribbon sash. All in an old- time tin epaulet box. 389—GAUNTLETS. Pair of chain mail gloves; fine mesh of unwelded links, strengthened at wrists by extra fine mesh. Finger tips open. Very large hand. Length, 16% inches. 390—PISTOL. ' German. Flint-lock horse pistol. Eighteenth cen- tury. Steel barrel and lock; wood stocks. En- graved brass mounts. Length, 1814 inches. 391—PISTOL. Flint-lock pistol. Early eighteenth century. Bar- rel inlaid with silver, wood stock, mounts of chis- eled steel, wooden rammer. Signed on lock, P. MARTINONI. Length, 11 inches. 392—SWorD. Empire period dress sword. Triangular hollow ground blade, decorated with gold ornament ; chis- eled ormolu guard, ornamented with lion’s heads and military emblems in relief. Mother-of-pearl grip. Length, 37% inches. 393—SWORD. Mounted officer’s saber. Slender, bright steel blade, slightly curved, grooved on each side. Steel scabbard. Bronze basket hilt. Length, 40 inches. 394—ANTIQUE JEWEL CASKET. Carved wood. Decoration of hunting scenes, ecus- son, birds and other designs chiselled in high relief. Parcel-gilt and incrusted with imitation precious stone. 395—ANTIQUE RUSSIAN STATUETTE. St. Peter. Silver gilt, incrusted with imitation jewels. Hall mark. 396—ANTIQUE RussIAN POLYPTYCH. Brass. Scenes from the Life of Christ, in relief casting and chiselled on a background filled in with blue and white enamel. NGM Ai 3 { we t } Ty 3 _. 397—AnTIQUE RussIAN Icon. Artistic repoussé ornamentation of Madonna and Saints, encrusted with lapis-lazuli, turquoise and other stones. Hall mark. 398—CarRVED AND GiLt Woop STATUETTE. Cupid. Height, 15 inches. 3990—ANTIQUE TEA CHEST. Walnut, with marquetry medallions. 400—SERVING TRAY. Walnut, with brass inlays. Needlework panel underneath glass. 40I—ANTIQUE TEA TRAY. Green-painted metal. Figures and garden scene finely painted in medallion. Silver-plated rim and handles. 402—ANTIQUE WOODEN TRAY. Oval shape. Marquetry medallion of shell design, rimmed with metal. 403—TrEA TRAY. Walnut, with inlay. Brass handle. 404—ANTIQUE TEA TRay. French walnut, with needlework panel underneath glass. 405—ANTIQUE MAHOGANY WINE COOLER. Brass hoops and lining. 406—FLORENTINE Book Rest. Carved and gilt wood. 407—TuRKISH TABOURET. Arabic inscriptions, foliated scrolls and star-shaped ornaments, inlaid with various woods and mother- of-pearl. 408—LarGE TURKISH TABOURET. Elaborately inlaid with various woods and mother- of pearl. Arabic inscriptions. 409—ANTIQUE ENGLISH PEDESTAL TABLE. Column supports and octagon top. AIO—ANTIQUE MaHoGANY CANDLESTAND. Sheep foot. ATI—ANTIQUE Manocany Tip TABLE. Carved claw feet. 412—Co.LoniAL Tip TABLE. Mahogany; inlaid rim. 413—ANTIQUE MAHOGANY TABLE. Colonial. With enclosure and two drop leaves. Carved ornamentation and claw feet. 414—CoLoniAL Bureau Mrrror. Carved mahogany; swinging glass. 415—JAPANESE WorK TABLE. Lacquered ornamentation of birds, peonies and blossoms. 416—CHINESE TEAKWooD HaALi TABLE. Carved openwork panel. 417—Lapy’s WritinG DEsK. Japanese. Cherry wood. Elaborate carved orna- mentation of dragons, storks, flowers and foliated scrolls. With drawers and side enclosure. 418—OLD-FASHIONED RUSH-SEAT CHAIR. Painted lavender-color frame, with shell pattern and scrolls in silver and gold. 419—OLD-FASHIONED RusH-SEAT CHAIR. Painted in yellow, with panels of fruits and foliated scrolls in colors and gilded. 420—OLD-FASHIONED RUSH-SEAT CHAIR. Yellow-painted frame, with fret borders and folia- tions in silver and gold. 421I—EIGHT OLD-FASHIONED CANE-SEATED CHAIRS. Painted black frames. Eagle within laurel wreath; foliations and borders in gilding. ral eb bs ki DEON oa? 422—-Two OLD-FASHIONED CANE-SEATED CHars. 4 Painted black frames. Dish of fruit and leafy scrolls in gilding. me 423—THREE OLD-FASHIONED CANE-SEATED CHAIRS, Painted black frames. Leafy scrolls and borders in yellow and gilding. 424—Two OLD-FASHIONED CANE-SEATED CHAIRS. Painted black frames, with splat backs, floral and leafy scrolls and gilding. 425—-T' wo OLD-FASHIONED CANE-SEATED CHAIRS. Painted black frames, with cornucopias, floral and leafy scrolls in gilding. 426—THREE OLD-FASHIONED CANE-SEATED CHAIRS. Painted black frames, with landscape and marine ~ views in sepia brown and gilding. 427—-Two OLD-FASHIONED CANE-SEATED CHAIRS. Painted black frames, with flowers and shells in colors and gilding. 428—ELEVEN OLD-FASHIONED WINDSOR CHAIRS. Painted frames; splat back. Decoration of star ornaments and leafy scrolls in black, brown and gilding. 429—MaAHOGANY CHAIR. Back panel inlaid with shell design and other orna- mentation. Upholstered seat. 430—ANTIQUE WALNUT SIDE TABLE. Four cabriole legs, with sheep feet. Drawer and sides faced, veneered in parquetry. Scaglioli mar- _ ble top. : 43I—ANTIQUE ITALIAN CHaIR. Carved back and front brace. Seat upholstered in garnet silk velvet. 432—Two CarveD WALNUT CHAIRS. “Sheraton.” Carved openwork backs, legs and underbrace.° Seats covered with silk arras em- broidery. 433—CURRICULE CHAIR. Italian. Inlaid with ivory and olive wood. Up- holstered in red velvet and brass nails. 434—CURRICULE CHAIR. Carved and gilt. Arabic inscription on back. Star- shaped ornaments and inlaid with mother-of-pearl. 435—MoortsH TABLE. With shelf. Elaborately carved with ‘Arabic in- scriptions, with scroll designs, star-shaped and other ornaments inlaid with mother-of-pearl and ebony. 436—Two MoortsH Harti Cuarrs. Elaborately carved, and inlaid with mother-of-pearl. Seat upholstered in silk and gold thread damask. 437—HEPPLEWHITE SETTEE. Mahogany and inlaid frame, covered with Louis XVI. silk brocade of stripe and floral pattern. 438—CarveD MAHOGANY CHAIR. “ Hepplewhite.” Seat covered with watered silk brocade of green and white stripes and floral vines. 439—COoLONIAL WinG ARMCHAIR. Carved mahogany frame. Upholstered in flowered cretonne. 440—ANTIQUE DRESSING STAND. Mahogany. Supported by lyre shape standards, carved claw feet. Swinging mirror, one large and two small drawers, with glass knobs. 441—GoTHIC TABLE. Carved oak. Parquetry octagon-shape top. 442—ANTIQUE ITALIAN TABLE. Oblong shape, with two drawers. Marquetry panel on top of classical design. Entire surface covered with marquetry in different woods. 443—Two ARMCHAIRS. Italian Renaissance. Carved and gilt walnut frames. Upholstered in red satin damask and fringe finish. 444—ARMCHAIR. Italian Renaissance. Carved walnut frame, with gilt leaf-shape finials. Seat and back covered with red satin damask and trimmed with galloon and fringe. 445—ANTIQUE ITALIAN ARMCHAIR. Carved walnut frames, with gilt finial ornaments. Seat and back upholstered in red silk damask and fringe finish. 446—THREE THRONE CHAIRS. Antique Italian. Carved walnut frames, with gilt finial ornaments. Seat and back upholstered in red satin damask and fringe finish. 447—Two THRONE CHAIRS. ' Italian Renaissance. Carved wood frames. The underbrace with ecusson, eagles and scrolls in bold relief. Upholstered in figured olive-green velvet, and finished with gold galloon and large brass nails. Finial ornaments of brass finely chiselled. 448—THRONE CHAIR. Italian Renaissance. Carved arms and underbrace, the latter with ecusson, leafy scrolls and high relief. Upholstered with garnet silk velvet and gold gal- loon. The back ornamented with cardinal’s coat-of- arms in appliqué. Brass finials. 449—Pair ELABORATE ARMCHAIRS. Italian Renaissance. Carved walnut arms, legs and underbrace. Upholstered in rich green satin damask and fringe finish. 450—Two EvLaporatE THRONE CHAIRS. Carved and gilt frames. Seat and back covered with rich green satin damask. Trimmed with wide velour galloon, and ornamented with an appliqué ecusson. Brass finials. 451—ADAM’S TABLE. Half round shape, with folding top and four straight legs. Satin wood inlaid with other woods, and painted decoration of floral festoons and ribbon filets. : 452—ADAM’S ARMCHAIR. Satin wood. Painted ornamentation of floral bou- quets and leafy scrolls. Cane back, loose cushion of sixteenth century French brocade. 453—Louis XVI. TABLE. Decorated porcelain of the Sevres style. Vase sup- port and large plaque decorated with cupids and floral wreath, finely painted in brilliant enamel colors; borders of turquoise blue. Elaborate mountings of gilt brass. 454—REcEPTION CHAIR. Carved and gilt. Cane seat. 455—Louis XV. Gem CABINET. Tulip wood, with chiselled brass mounts. Bevelled glass top, sides and ends. 2h i a ald he a Ci mary Al Sas cat Pot sors ihe SE Ee re pigs pe tr ap nigra ay Sot dmb walla tartan Liged on oo et SA et 450—Marquetry TEA TABLE. With glass tray. Mountings of gilt brass. Louis XV. style. 457—Louis XVI. Gem CABINET. Circular shape. Carved and gilt wood. Glass top and sides, lined with silk damask. 458—Louis XVI. SETTEE. Carved and gilt wood frame. Double cane back and wings, loose cushions of striped satin brocade, with floral and vine designs on rose-pink and pale- green ground. 459—Two Louis XVI. Reception CHaIrs. Carved and gilt wood frame. Upholstered to match the preceding. 460—Lovuis XVI. CHaIsE LOUNGE. Carved and gilt wood frame, with double cane back and wings. Loose cushions of striped satin brocade of floral design on rose-pink and green ground, 461—Louis XVI. CentTRE TABLE. Circular shape, on four slender legs, with under- brace and basket shape ornament. FElaborately carved in relief and finished in white. Variegated marble top. 462—Louis XVI. BERGERE. Frame of carved and gilded wood, covered with heavy silk brocade of the period. Gold floral and leafy scroll designs outlined, with gold thread loose cushion. 463—Louis XVI. Accouporr. Elaborately carved wood and gilded. Upholstered with silver and silk flowered brocade of the period. Loose cushion. 464—FRENCH ARMCHAIR. Carved and gilt wood frame. Upholstered in red silk flowered brocade. 465—Larce Louis XV. Sora. Finely carved and gilt wood frame. Upholstered in flowered red satin damask. 466—Louis XV. ARMCHAIR. To match the preceding. 467—Two Louis XV. S1pE CHairrs. To match sofa. 468—Two Louis XV. ARMCHAIRS. Carved and gilt wood frames. Upholstered in ma- roon satin damask of bold floral pattern. 469—CoNSOLE TABLE. French Renaissance. Elaborately carved and gilt wood frame. Grey marble top. 470—TALL WALL BRACKET. Italian Renaissance style. Carved and gilt orna- mentation. Height, 5 feet. 471—Pair TWISTED COLUMNS. With Corinthian capitols. Carved wood and gilt. Vine ornamentation carved in high relief. Height, 4 feet 4 inches. 472—-FOURFOLD SCREEN. Carved English oak frame, with panels of tooled leather. Height, 5 feet 11 inches; width, 8 feet 4 inches. 473—TALL FourFOLD SCREEN. Covered with antique Spanish leather, embossed floral and scroll designs in low tones and golden lustre. Height, 6 feet 9 inches; width, 9 feet. 474—PIANO. Rosewood veneered case, with painted decorations of festoons, metal inlays and mounts. Has three drawers in base. Made by A. Babcock for R. Mackay, Boston. as = Vet ‘xs 475—ANTIQUE CHIPPENDALE CONSOLS. Carved cabriole legs, with claw feet, leaf scrolls, shell ornaments and fleur-de-lis carved in relief. Egyptian marble top. 470—ANTIQUE MARRIAGE CHEST. Italian Renaissance. Carved and inlaid ornamenta- tion. 477—COLONIAL SECRETARY. Mahogany, inlaid with satin wood lines, and initial C. F., and date, 1807. Has four large drawers, numerous smaller ones and enclosure. 478—LARGE COLONIAL BUREAU. Mahogany, carved columns and claw feet; original glass knobs. Has four large drawers. 479—ANTIQUE BUREAU. Italian Renaissance. Elaborately carved ornamen- tation of foliated scrolls, masks and handles. 480—BuREAU SECRETARY. : Mahogany. Three drawers, slide and secret com- partment. Carved figures of Saints in bold relief concealing secret compartment. Claw feet and elaborate border of masks and foliations. 4 =< = See " ch Yes y 481—ITALIAN RENAISSANCE CABINET. Walnut. Mouldings and panels artistically carved in relief, with ecussons, bold foliations and gro- tesque masks. Has drawers and enclosures. Height, 4 feet 7 inches; width, 4 feet 4 inches; depth, 21 inches. 482—Two DiIvans. Upholstered, green silk velours, and trimmed with old gold galloon. Each with large cushions to match. 483—HeEnri Deux Woop MANTEL. The shelf supported by turned columns with Gothic capitals, the curved soffit elaborately panelled. The front of overmantel is in three panels formed by spiral-turned columns; the upper part of each panel contains a head surrounded by Gothic tracing; the lower part of centre panel has two shields and scroll work; the lower part of the other two panels is filled with linen scroll design. A band of leaves en- circles capital to frieze. The ornamental members on the front are returned on both ends, which are panelled. Outside measurement: Height, 11 feet 2 inches; width, 5 feet Io inches. Fireplace opening: Height, 3 feet 10 inches; width, 3 feet 4 inches. — ee 484—FRENCH RENAISSANCE Woop MANTEL. Pilasters in form of caryatides carry the shelf. The frieze is decorated with carved mask, festoons of flowers and leaves, and the ends of mantel are panelled. The overmantel, which has an oil por- trait of a court beauty inserted in an oval frame, has spiral fluted columns, with clusters of grapes, birds and vine leaves supporting a frieze with car- touche and scrolls in high relief. The panels at ends of frieze enclose marks, and the terminating capitals are enriched with floral carving. Outside measurement: Height, 11 feet 6 inches; width, 5 feet 8 inches. Fireplace opening: Height, 3 feet 1 inch; width, 3 feet 8 inches. THE AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEER. 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