Be > ' oe [' Lee } iy youd tO . aie Bp jas) SC pat = ej | 4 x SRA bay: dh | as f Tx A’, eh aid Natale \ a “y } mh 4 y/ t \ \ e 3 i) A Ne a emia id as ae M ( / das me Nae eek Kale she ¥ ate tr) i » as \ Pees, esas tas ae ‘ \( ‘h ( 2 ou Meet? ;' OL LD ENGLISH FURNITURE. a PAINTINGS airs rer oy PORE Saleen G: penis Os year Sia 4 “ho. sé Kid, ee 7 ‘ : A. A ¥ A KO } ay | AND OBJECTS OF ART : | i ; FROM | 4 | . TWICKENHAM, ENGLAND ae _ TO BE SOLD BY ORDER OF = MISS ANNE CHAPMAN ___—_—s SION HOUSE, TWICKENHAM, ENGLAND GOLD SNUFFBOXES & WASHINGTON RELICS, ETC. TO BE SOLD BY ORDER OF MR. JOHN L. CLAWSON BUFFALO, NEW YORK URNITURE, TAPESTRIES, NTINGS, ANTIQUE BRONZES -FROM THE COLLECTIONS OF ‘THE EARL OF LOVELACE, LORD FOLEY THE HON. KEITH TURNOUR-FETHERSTONHAUGH a TO BE SOLD BY ORDER OF ~ROBERSONS, t1tp. — [BY APPOINTMENT TO HIS MAJESTY THE KING] ~ KNIGHTSBRIDGE HALL, LONDON, ENGLAND INNSBOROUGH SKETCH-BOOK Bt QUIS XV KINGWOOD MARQUETRY os LADY’S SECRETARY TO BE SOLD FOR THE ACCOUNT OF R REDITORS OF WARWICK HOUSE, trp. tR OF UNITED STATES COURT, SOUTHERN DISTRICT OF NEW YORK E Re ruIDGk. TRUSTEE: BOSKEY, SCHILLER & SERLING, ATTORNEYS {ISH 16rs CENTURY TAPESTRY TO BE SOLD BY ORDER OF MR. ALFRED P. DENNIS WASHINGTON, D. C. ia AND OTHER RARE: AND BEAUTIFUL ce OBJECTS OF ART y f 3 \ i} fy ong : “ Tee of 7 ain Cay: & wg See aden b: =i , i SALE NUMBER 1886 PUBLIC EXHIBITION FROM WEDNESDAY, NOVEMBER TWENTY-SIXTH TO BE SOLD BY AUCTION AT UNRESERVED PUBLIC SALE FRIDAY EVENING, SATURDAY AFTERNOON DECEMBER FIFTH, SIXTH AT EIGHT-FIFTEEN AND TWO-THIRTY THE ANDERSON GALLERIES MITCHELL KENNERLEY, [Presipent| 489 PARK AVENUE AT FIFTY-NINTH STREET NEW YORK SION HOUSE, TWICKENHAM REPRODUCED FROM “‘ARCHITECTURAL REMAINS OF RICHMOND” (DRAWN IN LITHOGRAPHY BY THOMAS R. WAY, WITH TEXT BY FREDERIC CHAPMAN) bane 2 er > “> E: zy ash , PAINTE : > AND OBJ Caen: s ee rae OLD ENGLISH FURNITURE ~ PAINTINGS AND OBJECTS OF ART FROM SION HOUSE TWICKENHAM, ENGLAND TO BE SOLD BY ORDER OF MISS ANNE CHAPMAN SION HOUSE, TWICKENHAM, ENGLAND GOLD SNUFFBOXES MINIATURES & WASHINGTON RELICS, ETC. TO BE SOLD BY ORDER OF MR. JOHN L. CLAWSON BUFFALO, NEW YORK FURNITURE, TAPESTRIES, PAINTINGS, ANTIQUE BRONZES FROM THE COLLECTIONS OF THE EARL OF LOVELACE, LORD FOLEY COL. THE HON. KEITH TURNOUR-FETHERSTONHAUGH TO BE SOLD BY ORDER OF ROBERSONS, trp. [BY APPOINTMENT TO HIS MAJESTY THE KING] KNIGHTSBRIDGE HALL, LONDON, ENGLAND GAINSBOROUGH SKETCH-BOOK & LOUIS XV KINGWOOD MARQUETRY LADY’S SECRETARY TO BE SOLD FOR THE ACCOUNT OF CREDITORS OF WARWICK HOUSE, trp. BY ORDER OF UNITED STATES COURT, SOUTHERN DISTRICT OF NEW YORK JULIAN HARTRIDGE, TRUSTEE: BOSKEY, SCHILLER-& SERLING, ATTORNEYS FLEMISH 16Th CENTURY TAPESTRY TO BE SOLD BY ORDER OF MR. ALFRED P. DENNIS WASHINGTON, D. C. AND OTHER RARE AND BEAUTIFUL OBJECTS OF ART CONDITIONS OF SALE ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. The highest bidder to be the buyer. In all cases of disputed bids the decision of the Auctioneer shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased shall be resold immediately. Purchases to be removed at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the lot or lots will be left at the sole risk of the purchaser, and subject to storage charges. All lots will be placed on public exhibition before the date of sale, for examina- tion by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuine- ness, or for any defect or fault in or concerning any lot, and make no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the conclusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum deposited as part payment shall be forfeited, and The Anderson Gal- leries, Incorporated, reserve the right to resell the lot or lots by either private or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter, together with all expenses in- curred. This condition shall be without prejudice to the right of this Com- pany to enforce the sale contract and collect the amount due without such resale, at its own option. The Anderson Galleries, Incorporated, will afford every facility for the employ- ment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. The Anderson Galleries make no charge for executing orders for their cus- tomers and use all bids competitively, buying at the lowest price permitted by other bids. A Priced Copy of this Catalogue may be obtained for Two Dollars THE ANDERSON GALLERIES, INC. PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK TELEPHONE PLAZA 9356 SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN AND MR. A. N. BADE rane Sone! ed SION HOUSE AND FREDERIC CHAPMAN FREDERIC CHAPMAN lived at Sion House, Twickenham, for more than a quarter of a century. It is a house, and a neighborhood, rich with asso- ciations; and richer now, to those who turn occasionally from the Main Streets of literature or life to the quiet bypaths, through its association with this modest, unassuming, gifted man. In a book* for which Thomas Rk. Way provided the beautiful drawings, and Frederic Chapman wrote the - quiet notes from the fulness of his knowledge, there are memorable pictures of this old-world, old-time residence, and its different occupants and - owners. “The second house from the river, known as Sion House, was the resi- dence of John Sydenham, Esq., a descendant of the celebrated physician from whom the Sydenham Society takes its name. “Between him and the widowed Countess of Catherlough, who lived in King Street, a ‘becoming’ friendship existed, according to the Anecdotes of Miss Letitia Matilda Hawkins. . . . Miss Hawkins could well re- member Oliver Goldsmith teaching her ‘to play Jack and Gill by two bits of paper on his fingers,’ and Dr. Johnson fondling her ‘in his way,’ and asking her if she would be his little housekeeper. ¥. Miss Hawkins published a large number of novels which have passed into oblivion; but her three volumes of Anecdotes still possess much interest, and present many vignettes of Twickenham and Twick- enham people during the period which her long life enabled her to recall. Here, for instance, is her vivid description of Horace Walpole: “His figure was not merely tall, but, more properly, long and slender to excess; his complexion, and particularly his hands, of a most unhealthy paleness. . . . His eyes were remarkably bright and penetrating, very dark and lively; his voice was not strong, but his tones were extremely pleasant, and, if I may so say, highly gentlemanly. I do not remember his common gait; he always entered a room in that style of affected deli- cacy which fashion had made almost natural; chapeau bras between his hands, as if he wished to compress it under his arm; knees bent, and feet on tiptoe, as if afraid of a wet floor! His dress in visiting was most usually in summer, when I most saw him, a lavender suit; the waistcoat em- broidered with a little silver, or of white silk worked in the tambour; partridge silk stockings, and gold buckles; ruffles and frill generally lace! I remember, when a child, thinking him very much undressed if at any time, except in mourning, he wore hemmed cambric. In summer no powder, but his wig: combed straight, and showing his very smooth, pale forehead, and queued behind; in winter powder.” * Architectural Remains of Richmond Twickenham Kew Petersham and Mortlake. Miss Hawkins’ father, Sir John Hawkins, was a direct descendant of the famous Elizabethan sea-captain. He was a devoted fisherman, and will be long remembered through the edition of The Compleat Angler which he annotated. He was probably, however, far prouder of his History of Music, a work in five quarto volumes, which he undertook at the in- stance of Horace Walpole. He published, too, a Life of Dr. Johnson, for which he was sharply censured by Boswell. ‘By assiduous attention upon Johnson in his last illness, he obtained,” says Boswell, “the office of one of his executors.” Sir John’s intimacy with Johnson, however, was of long standing. He was a member of a club founded by the formidable Doctor, and an original member of ‘The Literary Club”. 4 It was here, at Sion House, with the ghosts of more than Johnson and ~ Walpole and Hawkins, that Frederic Chapman lived. He worked in Lon- don, with John Lane the publisher, at the Bodley Head, Vigo Street—as George Meredith worked in a similar way for Chapman and Hall. He was the first to translate Anatole France into English: his edition of the great Frenchman’s works was an extraordinary achievement, even for him; but there are many well-known men who owe much to his advice and help- fulness; and there are many others, not well known, who remember him with real affection. That is why I am writing this brief introduction for the catalogue in which the personal possessions that he gathered here and there are described. They are being sold for the benefit of his sister, Miss Anne Chapman, with whom he lived at Sion House; and it is only right that one of those who knew him should say a few words about a man who never said anything about himself. CHARLES VALE ORDER OF SALE ZE, MARBLE AND WOOD SCULPTURES 1- 42 43- 47 Be iss al AFTERNOON, DECEMBER SIXTH | OLD ENGLISH FURNITURE 84-124 _ IVORY CARVINGS 125-133 - RARE PERSONAL RELICS OF GEORGE WASHINGTON 134-139 RARE GOLD SNUFFBOXES, MINIATURES AND OTHER OBJECTS OF ART 140-185 a, RARE OLD SEVRES AND CHINESE PORCELAINS 186-196 _ FINE OLD ENGLISH AND FRENCH FURNITURE 197-255 SALE FRIDAY EVENING, DECEMBER LPT EH, AT 8:15 FIRST SESSION NUMBERS 1-83 RARE BRONZE, MARBLE AND WOOD SCULPTURES NUMBERS 1-42 ANTIQUE SPANISH SET OF BRONZE WEIGHTS Contained in engraved case. (Robersons) SMALL ANTIQUE BRONZE GROUP Group of Dancing Fauns. On red porphyry plinth. (Robersons) Height, 101% imches PAIR OF ANTIQUE SMALL BRONZE FIGURES OF ATLAS Standing on onyx plinths. (As is) (Robersons) (2) Height, 9 inches SMALL BRONZE FIGURE OF DANCING WOMAN ITALIAN, 16TH CENTURY On wood plinth (Robersons) Height, 414 inches SMALL BRONZE FIGURE OF MERCURY ITALIAN, 16TH CENTURY Standing on Sienna marble plinth. (Robersons) Height, 634, inches ANTIQUE ITALIAN POLYCHROME AND CARVED WOOD FIGURE Kneeling figure of minstrel with bagpipes. (Robersons) (As is) Height, 18 inches SMALL ALLEGORICAL GILT BRONZE STATUETTE FRENCH, 18TH CENTURY Winged bust of Time, with broken column, etc. On red porphyry plinth. (Robersons) Height, 91% inches PAIR OF TERRA-COTTA FIGURES OF CUPIDS FRENCH, 18TH CENTURY On circular wood bases. (As is) (Robersons) (2) Height, 12 inches 10 at 12 13 14 15 16 17 TWO EARLY 17TH CENTURY INDO-CHINESE CARVINGS Royal personages in sitting posture. (Sion House) (2) Height, 14 inches BRONZE STATUETTE ITALIAN, 16TH CENTURY Bacchus standing by a column, holding cup in his left hand. Square base. (Robersons) Height, 1414 inches GILT BRONZE GROUP BY VANNETTI Napoleon standing beside his horse. Green marble base. Signed. (John L. Clawson) Height, 18 inches; length, 15 inches From the Brady Collection. CONTEMPORARY BUST OF NAPOLEON IN CARRARA MARBLE Very fine modelling of Napoleon as First Consul. Full bust; head slightly turned to the left, wearing buttoned coat with embroidered collar. The lower part with a spread eagle and oak leaves; standing upon a flaming torch. From Russia. (John L. Clawson) Height, 29 imches CONTEMPORARY BRONZE BUST OF NAPOLEON BONAPARTE Wearing the hair long and tied at the back, high-collared military coat and stock. Gilt bronze and mottled green marble plinth. (John L. Clawson) Height, 141% inches ANTIQUE BRONZE HEAD AND TORSO OF MALE FIGURE On shaped plinth. Very rare. (Robersons) Height, 11 inches From the Stantain Collection. BRONZE FIGURE ATTRIBUTED TO GIOVANNI DA BOLOGNA Dionysus devouring a child. Very fine modelling. On marble base. (Robersons) Height, 231% inehes ANTIQUE ITALIAN EAGLE AND LION BRONZE DOOR KNOCKER A handsome massive bronze knocker formed as a figure of a lion sus- pended from a lion’s mask. Mounted on oval oak plaque with eagles, rams’ masks and acanthus festoons. (Robersons) Size, 26 x 18 inches BRONZE GROUP FRENCH, LATE 18TH CENTURY A woman in flowing costume grieving over a semi-nude figure which lies upon a draped couch. (Robersons) Length, 14 inches 2 18 19 20 21 22, 23 24 25 ANTIQUE ITALIAN BRONZE MALE FIGURE Attributed to Giovanni da Bologna. Nude male figure, possibly a warrior. Standing on wood base. (Asis) (Robersons) Height, 16 inches SET OF FOUR ANTIQUE ITALIAN BRONZE PLAQUES School of Benvenuto Cellini. Representing the four seasons. In chased ormolu frames. (Robersons) (4) Size, 1014 x 7 inches EQUESTRIAN BRONZE STATUETTE OF NAPOLEON Signed Meissonier. Study in bronze of the mounted figure of Napo- leon, immortalized in the famous artist’s “Retreat from Moscow”. (John L. Clawson) Height, 16 inches TERRA-COTTA BUST ON MARBLE PEDESTAL | FRENCH, 18TH CENTURY Life-size full bust of a lady as a muse. On ebony plinth. Signed at the back, “A. Carrier Belleusi.” On variegated marble pedestal in the form of a Roman column. (Robersons) Total height, 5 feet 6 inches LARGE CONTEMPORARY BRONZE STATUETTE OF NAPOLEON I Standing figure of the Emperor in military uniform; a dying eagle hes at his feet. Russian. (John L. Clawson) Height, 34 inches CARVED FIGURE OF THE KNEELING MADONNA SPAIN, ABOUT 1600 Extremely fine carving. The Madonna represented in an attitude of meditative prayer in flowing robes, which still show traces of old polychromy characteristic of Spanish Renaissance art. Fine patina. Height, 1014 inches BRONZE SACRIFICIAL VESSEL CHINA, YUAN PERIOD Body of flattened ovoid shape. Wide mouth. Decorated with bands engraved with archaic animals on a ground of fretwork. Ring handles. Dull green patina. Height, 91% inches BRONZE GROUP FRENCH, EARLY 18TH CENTURY A seated figure of an aged man on a rock holding an inverted pitcher on his left knee. A symbolical group. This motif was frequently used to symbolize river sources and other like subjects. Sculptor unknown. (Robersons) Height, 16 inches 26 27 28 29 GROUP OF CARVED WOOD GERMANY, SUABIAN SCHOOL, ABOUT 1480 A group of simple dignity, representing St. Anne with the Virgin and the Christ Child. The head of St. Anne is an especially impres- sive bit of carving. Fine old polychromy. Height, 11% inches RARE ITALIAN IRON PLAQUE INLAID WITH GOLD ABOUT 1600 : Rectangular. Embossed and partly gilded. Under an arch borne by two fluted columns in relief, is represented the entombment of Christ. In the spandrels are two angels with the instruments of the Passion. The inner plane of the arch is decorated with gilded rosettes ; the flutings of the columns are also gilded. Height, 734, inches; width, 6 imches From the famous Spitzer Collection, Paris; later in the F. von Gans Collection, Frankfort.. BRONZE STATUETTE OF A BOY NORTH ITALIAN, EARLY 18TH CENTURY Standing figure of a sturdily built young boy. On ebonized wood base. (One foot slightly damaged) Height, 24 inches Formerly in the Collection of Count Lehndortf. ALBERT BARTHOLOME FRENCH SCHOOL, 1848-1919 BATHING GIRL IN TINTED LIMESTONE This charming work of the sculptor of the famous “Monument aux Morts” at the entrance to the Pére Lachaise Cemetery in Paris, rep- resents a kneeling maiden, nude, drying her hair in her hands. The eyes are half-closed; the face has a strange dreaminess, and the fluid lines of the girlish body are delicately beautiful. Height, 42 inches [SEE ILLUSTRATION | BUST OF A FEMALE SAINT GERMAN, LATE 15TH CENTURY An interesting work showing the influence, if not the manner, of Joerg Syrlin of Ulm. The saint is represented in an attitude of prayer. The ample draperies, the realistically treated locks, show the hand of a master. Set in green velvet canopy. Height, 22% inches ESTON ME IRL IN TINTED LIM Y ALBERT BARTHOLO [NUMBER 29] BATHING G B THE ADORATION OF THE MAGI FLEMISH CARVED WOOD PANEL, ABOUT 1500 [NUMBER 31] 31 FLEMISH CARVED WOOD PANEL BRUGES, ABOUT 1500 The Adoration of the Magi, executed in high relief. A piece of un- usual charm. The sweet naiveté of the Virgin and the lovely grace of the child, leaning toward his kingly visitor, in pleasing contrast with the rugged, bearded figures of the Magi. The gentle charm with which the subject is presented is enhanced by the mellow colors \ of the original polychromy. The tone of the gilding is especially } fine. Narrow frame of the period. Height, including frame, 24 inches; width, including frame, 23 inches ‘ From the collection of an Austrian nobleman. [SEE ILLUSTRATION | 6 D2 Sts) ANTIQUE ITALIAN BRONZE STATUETTE OF HERCULES AND EMBLEMATIC GROUPS, “THE TIBER” AND “THE NILB”’ [NUMBER 32] | [NUMBER 33] [NUMBER 32] THE TIBER AND THE NILE A pair of finely modelled Italian sixteenth céntury bronze emble- matic groups. Each with a reclining laureated River God, with drapery, of voluminous folds, thrown slightly over their lower limbs and partly forming a covering to the plinth. The God representing the Tiber rests upon his right elbow, holding a cornucopia of fruit in his right hand beneath which lies the Wolf, suckling the Infants, Romulus and Remus. The God representing the Nile, rests in sim- ilar attitude, upon his left arm, and holds a cornucopia, beneath which is stationed a Sphinx. Plinths of both are modelled with waves. Each group is mounted on a rectangular Louis XVI pedes- tal of rosso antico; mounted with a gadrooned border of ormolu, the base chased with a band of vine, foliage and grapes. (Robersons) (2) Total height, 18 inches; width, 18 inches Illustrated in the private catalogue of the Fetherstonhaugh heir- looms from Up Park, Petersfield, Hants. [SEE ILLUSTRATION ] ANTIQUE ITALIAN BRONZE STATUETTE Hercules carrying a wild boar. Very fine modelling. On wood plinth. (Robersons) Height, 18 inches [SEE ILLUSTRATION | 7 o4 35 o6 BRONZE GROUP BY AUGUSTE RODIN FRENCH, 1840-1917 “Eternal Springtime.” Signed to the right of the base. Purchased from Tiffany & Co., in 1909. Height, 26 inches; width, 33 iches A similar group in white marble by Rodin in the Isaac D. Fletcher Collection at the Metropolitan Museum of Art, New York City. GREEK MARBLE DISC OF HYGEIA A charming work of the Hellenistic period. The medallion, with simple beaded rim, shows the goddess in high relief—an idealized classic head, draped bust and hand holding the snakes of A%sculapius. Diameter, 834, inches CHARLES ANTOINE COYSEVOX FRENCH SCHOOL, 1640-1720 MARBLE RELIEF OF THE DAUPHIN LOUIS This marble relief portrait of the Dauphin Louis, son of Wows XIV, who died-before his father and therefore never ascended the throne of France, is a piece not only of great artistic merit, but also of his- toric importance. Coysevox was the favorite sculptor of Louis XIV. In sources of the period a portrait of the Dauphin by his hand is mentioned—doubtless the present relief, which is signed ‘“A.C.F. 1683’’— ‘“‘Antoine Coysevox Fecit 1683.” An inscription, ‘“Ludovi- cus Delphinus’’, identifies the marble as a portrait of the Dauphin. The relic is contained in a carved and gilt frame of the Régence period, decorated with fleurs-de-lys and the interlaced initials “L’’. Oval, 1614 x 1114 inches [SEE ILLUSTRATION ] 8 MARBLE RELIEF PORTRAIT OF THE DAUPHIN LOUIS SON OF LOUIS XIV BY CHARLES ANTOINE COYSEVOX, 1683 [NUMBER 36] VENETIAN MASTER ITALY, 16TH CENTURY 37 BRONZE AND MARBLE BUST OF ARISTOTLE The great Greek scholar is represented in bronze with flowing beard and locks, his head covered by a close-fitting cap, and set into a drapery of antique bréche marble. An impressive and characteristic piece, well known in literature. On an ebonized wooden pilaster. Height of pilaster, 36 inches; of bust, about 33 inches Discussed by Planisicz in “Venezianische Bildhauer der Renais- sance’”’; also by Bode in “The Collection F. von Gans” and by Falke in “The Bachstitz Collection”. [SEE ILLUSTRATION ] 10 wy i BRONZE AND MARBLE BUST OF ARISTOTLE VENETIAN, 16TH CENTURY [NUMBER 37] GIOVANNI DELLA ROBBIA | aa FLORENTINE SCHOOL, 1469-1529 38 KNEELING ANGEL | peers Glazed terra-cotta figure of a kneeling angel. The body of fired clay ; is invested with an unctuous, stanniferous glaze, heightened with gold. The angel, sweetly smiling, with flowing locks and a robe in the manner of the late quattrocento, holds a square candlestick. (Slight repairs) : Height, 31 inches Formerly in the C. von Hollitscher Collection, Berlin. — Mentioned by Falke in ‘‘The Bachstitz Collection’. [SEE ILLUSTRATION | 12 TERRA-COTTA FIGURE BY GIOVANNI DELLA ROBBIA [NUMBER 38] PAIR OF BRONZE CENTAURS ITALY, 16TH CENTURY [NUMBER 39 | 39 PAIR OF BRONZE CENTAURS © ITALY, 16TH CENTURY These figures, of unusually fine execution, are typical of the Renais- sance, with its breathing of new life into classical tradition. They are replicas of the antique centaurs by Aristeas and Papias from the villa of Hadrian, now in the Museo Capitolino, Rome. One, an old centaur of massive physique, has his hands bound behind him. The second, youthful and jubilant, holds one hand aloft and grasps in the other a club of thornwood. Both figures are mounted on bases of red marble ornamented on either end with the pipes of Pan in gilt-bronze. (2) Height, without base, of the old centaur, 1234, inches; depth, 9 inches; height of the young centaur, 141% inches; depth, 1014 wmches Described by Dr. Wilhelm Bode in his book “The Collection von Hollitscher’’, and by Falke in “The Bachstitz Collection”’. [SEE ILLUSTRATION ] 14 BRONZE GROUP: NESSUS THE CENTAUR AND DEIANIRA ITALY, ABOUT 1690 [NUMBER 40] 40 BRONZE GROUP ITALY, ABOUT 1690 A classical subject treated with the charming romanticism of the late seventeenth century. Nessus, the centaur, in the act of carrying off the maiden Deianira, sinks dying, struck by the arrow of Hercules. Mounted on an ebonized wooden stand ornamented with a bronze lion’s mask. Height, excluding stand, 81% inches; width, 81% inches This piece was formerly in the Kaiser Friedrich Museum, Berlin, and is described by Dr. Wilhelm Bode in “The Collection von Hollitscher’’ and by Falke in “The Bachstitz Collection’’. [SEE ILLUSTRATION ] 15 41 MARBLE BUST OF A LADY, ON PEDESTAL 42 EMPIRE PEDESTAL 43 ITALIAN, 17TH CENTURY Life size full bust of a lady of high rank with her hair curled at the sides of her head and tied with ribbon; a deep collar of fine lace over the shoulders and wearing also an octagonal pendant 7 of the Madonna and Child suspended from a necklace. Her corsage is ornamented with strings of pearls. Beautiful sculpture work show- ing strong Bernini influence. The pedestal formed as a tapering Renaissance column; the capital with a cartouche bearing a coat-of- — arms. (Robersons) | Total height, 7 feet From the Lord Huntley Collection. | Gilt bronze column. Corinthian capital finely decorated with Sévres blue enamel, and gilt. Revolving brown marble top. Stepped square base. (John L. Clawson) Height, 4- feet 2 inches RARE TAPESTRIES NUMBERS 43-47 VERDURE TAPESTRY FRENCH, 17TH CENTURY Finely woven in shaded greens and yellows with a landscape, the foreground of which is filled with many richly foliated trees, en- circling a lake in which are ducks and water flowers, a chateau in the left distance; background of rolling hills. Border of Renais- sance flower and foliage scrolls in colors on a dark ground. (Robersons) Size, 7 feet 9 inches x 18 feet 16 WOOL AND SILK TAPESTRY, “‘THE PLAGUE OF THE FROGS” FLEMISH, 1550-1600 [NUMBER 44] 44 WOOL AND SILK TAPESTRY FLEMISH, 1550-1600 “The Plague of the Frogs’, from the story of Moses. This interest- ing tapestry has two unusual qualities. The entire landscape back- ground and many of the details are executed in silk, while other tapes- tries of this period show considerably more wool, less silk. Secondly the tapestry must have been very little exposed to sunlight. While as a rule in sixteenth century tapestries delicate shades, such as pink, light blue and pale yellow, are almost unrecognizably faded, they are in perfect condition in the present tapestry. The cartoon has been made by one of the artists in the wake of Barent van Orley, mixing the classic style of the Italian Renaissance with the robust realism of sixteenth century Flanders. 17 A5 The composition shows Pharaoh, the queen and courtiers sitting at table to the right, with retainers and servants attending. The table and the dishes of food covered with frogs, which are also seen to ! the left pouring down in a stream from the sky. The landscape background to the left, the draperies to the right lend the composi- — | tion an unusual note of color. Border of Renaissance acanthus in yellow on red, simulating an architectonic wall panel. (Alfred P. Dennis) Size, 14 feet 5 inches x 13 feet 4 inches Purchased from the Duke Cardinali Collection, Naples, Italy. [SEE ILLUSTRATION, PAGE 17] IMPORTANT GOBELINS TAPESTRY PANEL | : The story of Antony and Cleopatra: The meeting of Antony and Cleopatra in Cilicia. This important tapestry is practically entirely woven in silk. It has in the right lower corner the signature of Lefebure, with a fleur-de-lys and the letter “G”. H. L. Lefebure, fils, was “entrepreneur d’atelier” at the Gobelins from 1697 to 1736. The French government still possesses a series of tapestries woven at the Gobelins in the atelier of Audran depicting the story of Antony and Cleopatra in three compositions by the painter Charles Joseph Natoire (1700-1777), to whom also the cartoons for the present two tapestries must be ascribed. The two present tapestries are of remarkable quality, and were for- merly in the Collection of Lord Lovelace. The present tapestry was reproduced in color in ‘‘The Connoisseur”, December, 1920, when the design and origin of these masterpieces were established. The present tapestry, first of the set, shows a landscape background with perfect execution of the details. A massive group of trees in the centre, a classic building to the right, and Antony’s ship to the left. The centre of the composition is held by the graceful figure of the Egyptian queen, clad in a rose-colored garment with a pale blue mantle, held by two maidens who seem to comment upon the attitude of the two principals. Antony, approaching from the left, shows too openly the beginning of a passion that is to lead him to ruin. The border of the tapestry frames only right and left. It shows in the middle a cartouche with a mythological composition on pale blue ground. Above and below is a pilaster with golden molding and red field showing pale blue floating ribbons to which a quiver, a bow and a hanging lamp are attached. } Height, 7 feet 9 inches; length, 13 feet 9 inches This tapestry and the companion tapestry were exhibited at the Retrospective Loan Exhibition of European Tapestries held in the San Francisco Museum of Art, 1922. [SEE ILLUSTRATION ] 18 . PPE MLA LE * Soe ANE AIH RE oy oe ae y es Peni PR HHT DEAD YO” PRT. THOT bd i RR at ereanqoesnee sceeoaeen REA BF IMPORTANT GOBELINS TAPESTRY THE STORY OF ANTONY AND CLEOPATRA [NUMBER 45] 46 IMPORTANT GOBELINS TAPESTRY PANEL The story of Antony and Cleopatra: A tryst between Antony and Cleopatra. Companion piece to the preceding. This important tap- — estry has the same border to right and left as the preceding one. is The composition depicts a tryst of the two lovers. Antony, approach- — ing from the left, seemingly impatient to meet the beloved, is clad in a yellow tunic and red mantle. Cleopatra, in stately robes, seated — to the right, looks happily toward the approaching hero. A maiden stands in the background. The entire composition is held together by a boldly draped pale blue canopy. ee Height, 7 feet 10 inches; length, 11 feet , [SEE ILLUSTRATION | ee ee 47 TWO FLEMISH SIXTEENTH CENTURY TAPESTRY PANELS Executed in fine, mellow colors, in wool with interwoven silk threads- Narrow border of delicate morning-glory vines in naturalistic inter- pretation on pink ground. The main panel with standing figure of Jupiter, holding shield and staff and wearing a short white tunic and flowing red cape, draped over one shoulder. Above and below, fine flower and fruit compositions—grapes, apples, and pears, harebells, iris and other flowers, all in naturalistic treatment and with deli- cately rendered detail. Harmony of red, blue, yellow and green on ivory-white. (2) Height, 7 feet 5 inches; width, 27 inches: 20 ; | & : Hi IMPORTANT GOBELINS TAPESTRY THE STORY OF ANTONY. AND CLEOPATRA—THE TRYST [NUMBER 46] PAINTINGS NUMBERS 48-83 FLORENTINE SCHOOL 15TH CENTURY 48 PROFILE PORTRAIT OF NERI DI GINO CAPPONI In a red velvet cloak with an emerald-green surplice. (Sion House) ) Size, 23. x 2714 inches ; Neri di Gino Capponi was:one of the most picturesque figures of Florentine political life during the reign of Cosmo de’Medici, and his most powerful opponent. He died in 1457. JAIME VERGOS AND JAUME HUGUET SPANISH SCHOOL, 1459-1503 AND 1448- (?) 49 POLYPTYCH <1) The painting is divided into five panels; in the centre panel the ) D suffering Christ; on either side of the Christ, the Virgin and St. John. In the two end panels St. Barbara holding the tower, and a female saint with dog. The figures are set against a rich back- ground of Spanish Gothic textile motifs in crimson and gold and green and gold. On panel. Height, 2 feet 3 inches; length, 6 feet 10 inches ENGLISH SCHOOL 18TH CENTURY 1S O's PAIR OF MARINE SUBJECTS Two canvases occupied by war vessels fully rigged on the high seas. In their original carved and gilded gesso frame. (Sion House) (2) Size, 21 x 2414 inches 22 CASISA ITALIAN, 18TH CENTURY 51 STILL LIFE WITH A PEACOCK Delightful arrangement of fruit and flowers near a fountain with the - figure of a dryad, landscape with a ruin at the left. Canvas. Signed at the lower left. Height, 30 inches; width, 25 inches ITALIAN SCHOOL 17TH CENTURY 52 PAIR OF FLOWER SUBJECTS 53 54 Nice arrangement of many blooms in vases with dark backgrounds. Ganvas: (2) — Height, 29 inches; width of each, 25 inches GERARD de LAIRESSE FLEMISH, 1641-1711 LANDSCAPE WITH ARCHITECTURE AND FIGURES On the right the remains of a temple of Corinthian order with groups of youths in brightly colored classic garb. Background of blue-green hills. A lake with round towered castles. In black and gold frame of the period. (Sion House) Total size, 30 x 34 inches Gérard de Lairesse, called the Flenish Poussin, was celebrated for his perfect knowledge of architecture, depicted in the backgrounds of his paintings. SCHOOL OF WATTEAU FRENCH, 18TH CENTURY THE MINUET A mademoiselle and a young gallant are dancing in the foreground while a number of young demoiselles are grouped about on the green sward in animated postures; park background with a marble bust on a high pedestal at the left; glimpse of blue sky with cloud effect. Canvas. Height, 13 inches; width, 151% inches 23 37 / Ga. roe Fe GAINSBOROUGH DUPONT ENGLISH, 1767-1797 55 THE MARKET CART A sketch by Thomas Cainsboroush “Std finish by Gainigbapeten () 64. Dupont. A wooded clearing through which passes a fully ‘laden market cart. The picture scintillates with the bright spots of the farmers’ costumes seated on the cart, and grouped near the lake, and under the shadow of the trees. Panel. (Sion House) a bi Size, 1514 x 13 inches we Gainsborough Dupont was the nephew of Thomas Gainsborough and one of his most successful disciples. It seems as if this panel had been painted as a preparatory sketch to the longi canvas oom ae borough himself. [SEE ILLUSTRATION ] 24 THE MARKET CART BY THOMAS GAINSBOROUGH AND GAINSBOROUGH DUPON [NUMBER 55] 56 oS 57 RICHARD WILSON, R.A. ENGLISH, 1714-1782 LANDSCAPE AND RUINS A North country landscape, the centre background oconupied by a round towered ruined castle on a wooded bluff descending to a lake. The foreground with a stone portal of the castle’s underground pas- sage, with rustics brightly costumed grouped about. To the right and left richly foliated trees. A characteristic example by the Ruysdael of British landscape painters. (Sion House) — Size, 181%4 x 2514 inches [SEE ILLUSTRATION |] EDWARD CALT ENGLISH, 18TH CENTURY TWO MARINE PAINTINGS (a) BRITISH ADMIRALTY YACHT. Taking the admiral to a waiting cruiser. (b) A MAN-OF-WAR FULLY RIGGED. In the right and left foreground are seen small cruisers. Canvas. In their original carved and gesso frames. (Sion House) (2) Size, 1444 x 1714 inches 26 LANDSCAPE AND RUINS BY RICHARD WILSON, R.A. [NUMBER 56] FRANCIS COTES, R.A. ENGLISH, 1726-1770 58 PORTRAIT OF YOUNG MISS BATES bes. Half-length portrait of a young woman dressed in a tight-fitting: riding habit of a soft blue and white brocaded fabric held by strings: of scarlet. In her right hand she holds a riding crop. Signed in a flourishing script in the upper right background, “‘Francis Cotes, fet. 17577... Canvas.” (Si0n-tlouse) Size, 30 x 25 wches: [SEE ILLUSTRATION ] 28 i. Mis, : PORTRAIT OF MISS BATES IN A RIDING HABIT BY FRANCIS COTES, R.A. | [NUMBER 58] LE SIR JOSHUA REYNOLDS, P.R.A. ENGLISH, 1723-1792 59 CUPID ISL, Broadly painted figure of a winged Cupid with curling hair about to discharge his arrow. His arrow case hangs from a blue ribbon tied about his nude body. Landscape background. Re On mahogany panel. In carved wood frame. (Sion House) | Size, 1114 x 9 inches Finished sketch for the Burdett Coutts painting of Venus and Cupid. — Purchased from Arthur Tooth & Sons by Frederic Chapman. 4 [SEE ILLUSTRATION | 30 CUPID: FINISHED SKETCH FOR THE BURDETT COUTTS PAINTING OF VENUS AND CUPID BY SIR JOSHUA REYNOLDS, P.R.A. [NUMBER 59] AL BY gore, GEORGE VAN DER HAGEN % DUTCH, 1615—AFTER 1671 LANDSCAPE WITH FIGURES Park expanse with fine tree growths, cavaliers in colorful costumes on the road in the middle ground, a pool of water at the left fore- ground, searching characterization of a tree trunk in the right foreground, simple sky. Canvas. H eight, 58 inches; width, 76 inches Expertized by Dr. Wilhelm von Bode. Oscar Huldschinsky Collection. JACOB DE WIT DUTCH, 1695-1754 TWO GRISAILLE OVERDOORS (a) ASTRONOMY. Composed of four allegorical genii with their em- blems, a globe, compass and lyre. (b) Music. Composed of the figure of Apollo playing the lyre and a recumbent female holding tibiz while two others are listening. In moulded and gilded baguettes. (Sion House) (2) Size, 2814 x 6014 inches, and 2734, x 6214 inches Jacob de Wit is celebrated for his paintings in vmitation of bas relief, of which there are fine examples in the Dresden Gallery and Rotter- dam Museum. JACQUES LOUIS DAVID FRENCH, 1748-1825 PORTRAIT OF MME. LEBLANC DE LA VALLIERE Three-quarter length, shoulders to the left, head turned toward the spectator, in white lawn bodice with wide fluted collar, black corselet with red laces, tea-colored satin skirt, rich brown braided hair, her hands crossed, holding a letter in the right; half-length sleeves edged with lace; neutral dark background. Canvas: Height, 37 inches; width, 28 inches 2 MONUMENTS OF ROME BY CAVALIERE GIOVANNI PAOLO PANNINI [NUMBER 63] CAVALIERE GIOVANNI PAOLO PANNINI ITALIAN, 1691-1764 68 MONUMENTS OF ROME View of Rome. Foreground occupied by colonnades, the left by a temple. In the background a seventeenth century palace. On the steps of the colonnades and in the street are groups of soldiers, monks, and townspeople, and one sees the engaging picture of a coach drawn by two horses with its attendants in the costume of the period. Elaborate contemporary gesso frame. (Sion House) Size, 4214 x 55 inches [SEE ILLUSTRATION ] 3 0. FRANCOIS XAVIER WINTERHALTER FRENCH, 1806-1873 64 PORTRAIT OF A LADY Half-length, seated, shoulder toward the left, head direcieat +46 the oe? : spectator; in low-cut white lawn dress, her hands folded, wearing lp pearl eardrops and a gold ornament on a black velvet band about her neck, her dark brown curly hair combed back from the forehead; gray background. Canvas. Height, 34 inches; width, 27 Vy inches a Francois Xavier Winterhalter was Court painter to the Court of : Napoleon III and Queen Victoria of England. From the Collection of Dr. de Frey. [SEE ILLUSTRATION ] 34 PORTRAIT OF A LADY BY FRANCOIS XAVIER WINTERHALTER [NUMBER 64] THOMAS GAINSBOROUGH, R.A. ENGLISH, 1727-1788 65 GAINSBOROUGH’S SKETCH BOOK, CONTAINING THREE HUN- — DRED AND TWENTY-NINE PENCIL, INDIA-INK AND SEPIA DRAWINGS BY THE MASTER | Including preparatory sketches for the following paintings: PORTRAIT OF MRS. HENRY FANE (E. Raphael, Esq. 1772) Page 158 — “COUNTESS OF SUSSEX AND LADY BARBARA YELVERTON” Large drawing of Lady Barbara Yelverton without bonnet, and a — smaller beneath with bonnet as appearing in the portrait. Page 150 LADY SHEFFIELD (Baron de Rothschild Collection) Page 151 MRS. JOHN DOUGLAS (1786) Page 153 HONORABLE MRS. GRAHAM (National Gallery of Scotland) Pages 218-224 MRS. ROBINSON (Wallace Collection) Page 205 MRS. SIDDONS (National Gallery) Two drawings. Page 164 DUCHESS OF DEVONSHIRE Page 151 THE PINK BOY (Baron de Rothschild Collection) Drawn with his feathered hat on the ground. Page 299 DIANA SURPRISED BY ACTZON (Windsor Palace) Pages 193-198 BOYS AND DOGS (Lord Iveagh Collection) Sketches of fighting dogs. Pages 312-315 he A Seg cas en pestered! = elas: re ae SO EESORT EM, Pee aR a ae Nancie SEAS Fen Sas. Re ae F FULL-PAGE DRAWINGS [NUMBER 65] SMALL REPRODUCTIONS 0 An account book of hand-made paper bound in dark green calf and filled with portrait sketches, allegories, nudes, animal studies, land- scapes, preparations for ceilings and wall panels, vignettes for illus- trations of which many are finished drawings, others quick render- ings of fleeting impressions of faces and bodies of women who enchanted the artist, children who charmed him, the Rinse most impressed by physical grace. To appreciate the romantic attraction of this book, one Pec aut ; finger these pages and find constant surprises. In close companion-— ship with the sketches for the celebrated canvases whose names have become legendary, one finds enchanting compositions for pic- tures which apparently never reached their canvases, like that be- witching group of “Children at Play” (illustrated), and a vast and varied number of brilliant interpretations which were whimsically titled by Gainsborough in his own hand, such as on page 20, “There I Seek the Weeping Muse in Vain’, or on page 22, a fine India-ink drawing entitled “The Lamented Mary, Queen of Scotts”; while on page 166 we find an illustration of this rhyme by Cooper, “Her swelling breast new tremors move, And all her melting soul was love.” On page 104 are drawn a few graceful heads of amorini over an account of purchases also written in the artist’s hand. Purchased by the last owner from direct descendants of Thomas Gainsborough. (Warwick House) [SEE ILLUSTRATION, PAGE 37] 38 A. VENUS AND MERMAIDS—FROM A MOORISH BATH BY GIULIO ROMANO [NUMBER 66] GIULIO ROMANO (PIPPI) ITALIAN, 1492-1546 66 VENUS AND MERMAIDS From a Moorish bath. Resembling markedly the cartoon by Giulio Romano presented to the King of France by Richard Cosway, the miniaturist (at present at the Louvre). “The Infidel Florentines’”’ sent their wares to the African coast during the Renaissance period. One can find many a fine faience jar in the Gardens of Morocco and Algiers. (Sion House) Size, 6 feet 6 inches x 2 feet 2 inches This canvas was purchased by Frederic Chapman at R’abat. [SEE ILLUSTRATION | 39 a SIR THOMAS LAWRENCE, P.R.A. PORTRAIT OF A YOUNG LADY BY SIR THOMAS LAWRENCE, P.R.A. [NUMBER 67] ENGLISH, 1769-1830 67 PORTRAIT OF A YOUNG LADY Bust to the front, pale auburn hair, vivacious expression, attired in plain white bodice with frilled edge, a pink drapery thrown over her right shoulder; sky background, feigned oval. Canvas. Height, 20 inches; width, 27 wmches [SEE ILLUSTRATION | AQ ‘i PORTRAIT OF A GENTLEMAN SCHOOL OF VELASQUEZ, SPAIN, 17TH CENTURY [NUMBER 68] SCHOOL OF VELASQUEZ SPANISH, 17TH CENTURY ASO 68 PORTRAIT OF A GENTLEMAN , Half-length, seated, head and shoulders to the front, in black doublet with white collar and cuffs, holding a buff-colored handkerchief ; dark background. Canvas. Height, 32 inches; width, 27 inches (rounded top) [SEE ILLUSTRATION | 41 0 CORNELIUS TROOST DUTCH, 1697-1750 69 BEFORE THE SYNDIC At a table covered with green silk cloth is seated a young adr in a brocaded velvet cloak, wearing a red turban and folding the leaves of an open book. Before him appears a young couple, the man — dressed in gold-braided court costume. He holds a silver-headed cane in his right hand; the young woman is in a voluminous, brilliant canary-yellow, purple-lined robe and wearing a white cap. Back- ground of an interior. Law books on the shelves of a bookcase. On — the wall is a gilt bracket with a Delft jar and on the left an elabo- — rately carved console table. Green draperies conceal the open window. Canvas. Gilded gesso frame of the period. (Sion House) Size, 28 x 3514 inches Cornelius Troost, called the Dutch Watteau, united the excellence of draughtmanship and the richness in coloring of Vermeer ae the French grace of composition. [SEE ILLUSTRATION ] 42 BEFORE THE SYNDIC BY CORNELIUS TROOST © [NUMBER 69 | " 5 O. (b) Mrs. Garrick. In a tight fitting beige-colored bodice ending ~ WILLIAM HOGARTH ENGLISH, 1697-1764 70 PORTRAITS OF DAVID GARRICK AND HIS WIFE, EVA MARIA (a) DAVID GARRICK. Standing full length and dressed in a long flar-— ing gray jacket. Background of his famous villa at Hampton andy forest beyond. S Tyr, in a voluminous skirt. She wears a lace-trimmed linen cap, linen ruffles and apron. Background of garden at Hampton. | Canvases. (Sion House) Size, 20 x 14 inches © Mrs. Garrick was married to the celebrated actor in 1749. She was Eva Maria Veigal, a Viennese, known as Mlle. Violette, a popular dancer. Garrick called her the best of women and wives. [SEE ILLUSTRATION] 44 i PORTRAITS OF DAVID GARRICK AND HIS WIFE EVA MARIA BY WILLIAM HOGARTH [NUMBER 70] Sire 50. JEAN FRANCOIS MILLET FRENCH, 1814-1875 (a) THE HAYBINDERS. (6) WOMAN CARRYING A JUG The technique of these pictures has a rugged, almost aedeonce quality and a daring and prophetic assertion of color, which gives them an unusual decorative importance. One can feel the influence of Ingres. Though not as bold in strokes as the Millets we know, these early examples have an irresistible appeal. (Sion House) (2) 3 Size, 24 x 20 inches These two paintings of the Barbizon School were purchased by Frederic Chapman in the 80’s and were always held as early examples of the master of Barbizon. SIR JOSHUA REYNOLDS, P.R.A. ENGLISH, 1723-1792 72 SELF-PORTRAIT OF THE MASTER 93 0: Bust portrait of a young artist dressed in crimson with a scarlet cloak. He wears a white stock and an artist’s velvet hat on his pale blond hair. Background of verdure and clouds. Painted about 1753 for Horace Walpole. This portrait has lost none of its brilliance of pigment. Canvas. In an elaborately carved wood frame. (Sion House) Size,.20 & 2b menes Purchased from Arthur Tooth & Sons by Frederic Chapman about 1885. [SEE ILLUSTRATION ] 46 ER PORTRAIT OF THE MAST SELF BY SIR JOSHUA R A P.R I EY NOLDS [NUMBER 72] FRANCOIS CLOUET | FRENCH, 1500-1572 Al 73 PORTRAIT OF A PATRICIAN LADY Bust, head and shoulders slightly to the left, eyes directed toward the spectator, wearing rich pearl and jeweled ornament in the hair, close-fitting lace fluted collar, black brocaded bodice with gilt em- broidery, cream-colored satin sleeves; dark background. In charm- ing frame with inlaid colored marble and columns. Panel. Height, 71% inches; width, 534, inches [SEE ILLUSTRATION] 48 PORTRAIT OF A PATRICIAN LADY BY FRANCOIS CLOUET [NUMBER 73] ro tee [SEE ILLUSTRATION] : nee a ae 50 THE BALLETEUSE (DANCER) BY EDGAR DEGAS [NUMBER 74] SIR THOMAS LAWRENCE, R.A. ENGLISH, 1769-1830 75 PORTRAIT OF A DIPLOMAT Nearly half-length, head and shoulders slightly to the left, eyes di- rected toward the spectator, seated on a crimson velour, high-backed chair, attired in black garments with gilt buttons, touch of white u 5 60. line and black cravat; complementary background. Canvas. Height, 30 inches; width, 25 inches Asher Wertheimer Collection, London. F. von Gans Collection. [SEE ILLUSTRATION] 52 PORTRAIT OF A DIPLOMAT BY SIR THOMAS LAWRENCE, R.A. [NUMBER 75] bree 716 ADRIAEN ISENBRANDT FLEMISH, BEFORE 1510-1541 TWO WINGS OF AN ALTARPIECE | On the left wing the bearded St. Jerome is seen standing on a pedestal, the lion crouching at his feet; attired in a deep crimson robe with wide cream-colored collar and borders, the Saint is writing on a book held with his left hand while a scribe’s inkhorn is sus- pended from a black silken cord. On the right wing St. John is standing on a pedestal holding the lamb; he is clothed in a warm brown tunic tied at the waist with an ivory-tinted girdle, and a mantle of deep red thro over Lae left shoulder. Panel. Height of each, 313/ inches; width e each, 934, inches Dr. Friedlaender states, “the wings helped me very much in deepen- ing my understanding of the delicate and graceful personality of this master, when they were shown me in 1902.” Georges Hulin van Loo ranks them among the ripest pees of the master. | Collections: C. & G. de Somzee, Brussels, Th. Agnew & Sons, London, F. von Gans, Frankfort, K. W. Bachstitz, The Hague. Exhibited: Bruges 1902, Exposition des Primitifs Flamands, No. 93. ghey Literature: Dr. M. J. Friedlaender, ae D. W. von Bode, Dr. G. Gronau. Also described in E. von Bodenhausen’s “Gerard David and his School’, 1905. In “Cicerone’’, October 20th, 1922; and Bulletin of the Bachstitz Gallery, The Hague. [SEE ILLUSTRATION | 54 a a Ss ee Photogravure Bruckmane TWO WINGS OF AN ALTARPIECE ISENBRANDT [NUMBER 76] BY ADRIAEN S 0. APPROACH TO VENICE BY J. M. W. TURNER, R.A. [NUMBER 77] J. M. W. TURNER, R.A ENGLISH, 1775-1857 77 APPROACH TO VENICE The outline of Santa Maria delle Grazie and San Georgio through the mist of the approaching evening. A bridge of rustic architecture and boats filled with turbaned gondoliers. In the lagoon and on shore, peasant women with high laced bonnets. Painted about 1843. (Sion House) Size, 18 x 2534 inches Bought from Arthur Tooth & Sons by Frederic Chapman. [SEE ILLUSTRATION | 56 JOSEPH HIGHMORE ENGLISH, 1697-1780 78 PORTRAIT Seated figure of a lady dressed in brown, wearing lace cap, fichu, and ruffles. (Sion House) mize, Lorxal2anches Joseph Highmore is celebrated as a painter of The Banquetting Hall at Whitehall. His portraits of Samuel Richardson and Dr. Stebbing are in the National Portrait Gallery, London. DL oN erie em pet nce: % | TWO STATIONS FROM A POLYPTYCH a BY A VENETIAN MASTER OF THE 15TH CENTURY [NUMBER 79] ‘= VENETIAN SCHOOL | 15TH CENTURY f Oo. | 79 TWO PAINTINGS ON PANELS | | Two stations from a polyptych. Each composed of five upstanding figures, some in brilliantly colored cloaks, on a floor of brightly colored tiling. (Sion House). (2) Size, 5144 x 434 inches [SEE ILLUSTRATION ] : 57 ENGLISH SCHOOL EARLY 19TH CENTURY 80 A ROYAL GARDEN FETE | 0 ‘ Painting on canvas. In. semi-circular frame with convex glass. (Sion House) Size, 1714 x 21 inches GEORGE MORLAND ENGLISH, 1763-1804 ae 81 THE FARMER AND THE FARMER’S WIFE Two original color drawings. (Sion House) (2) Size, 2334, x 19 inches SPANISH SCHOOL 17TH CENTURY 6 82 THE HOLY WOMEN, THE INFANT LORD, AND SAINT JOHN % : (Sion House) Size, 834, x 10 inches 83 THE CITY MERCHANT A canvas of the Regency period. Interesting for its entertaining details of interior and costumes. (Sion House) Size, 28 x 39 inches 58 SALE 84 85 86 87 88 89 90 SATURDAY AFTERNOON, DECEMBER SIXTH, AT 2:30 SECOND SESSION NUMBERS 84-253 OLD ENGLISH FURNITURE NUMBERS 84-124 CHIPPENDALE NEEDLEWORK AND MAHOGANY STOOL ENGLISH, ABOUT 1770 Rectaugular, with fluted square legs. The top covered in eighteenth century needlepoint with design in colors. (Robersons) Height, 17 inches; width, 22 inches WINDSOR SPLAT AND SPINDLE BACK ARMCHAIR ENGLISH, 18TH CENTURY The back with) Ricco Gothic splat; shaped arms and armrests. (Sion House) WINDSOR SPLAT AND SPINDLE BACK ELM TREE ARMCHAIR ENGLISH, 18TH CENTURY The back with a pierced splat enriched with a carved vase motif. Shaped arms and armrests. (Sion House) JACOBEAN OAK SIDE TABLE ENGLISH, 17TH CENTURY On four graceful vase-shaped and turned baluster supports; straight underframing. The front fitted with one drawer. Moulded top. (Sion House) Height, 27 inches; size of top, 28 x 1914 inches SHERATON WINDOW SEAT ENGLISH, 18TH CENTURY Covered in old eighteenth century maroon-colored printed linen. (Sion House) Length, 4 feet 7 inches JACOBEAN OAK SIDE TABLE ENGLISH, 17TH CENTURY On four columnar baluster supports with straight rails. The front fitted with one moulded drawer with the original drop handles. (Sion House) Height, 2714, inches; top, 30 14, x 2234 inches ADAM STUCCO MANTELPIECE ENGLISH, EARLY 19TH CENTURY The centre key panel with a group of Venus and cupids in high relief. (Sion House) Height, 4 feet 7 inches; width, 5 feet 10 inches — 59 ENGLISH JACOBEAN SPINDLE-LEG OAK TABLE [NUMBER 91] 91 JACOBEAN SMALL SPINDLE-LEG OAK TABLE 92 ENGLISH, 17TH CENTURY A very interesting example for its delicacy of construction and origi- nality of design. It is an occasional table standing on four turned tapering supports, ringed at the top and connected by uncommonly shaped transverse splats as underframing. Moulded top. (Szon House) Height, 24 inches; top, 15 inches square [SEE ILLUSTRATION |] ADAM “LAC” GUERIDON ENGLISH, 18TH CENTURY A cabinet fitted with one tambour slide and a drawer beneath with engraved bronze knob. Standing on four tapered spade-foot legs. Decorated in black and gold with stripe and honeysuckle patterns. Drawer restored. (Sion House) Height, 301% inches; width, 20 inches 60 93 94 95 96 97 98 99 100 CHIPPENDALE HIGH BACK ELM TREE ARMCHAIR ENGLISH, 18TH CENTURY A very uncommon Pade with pierced vase-shaped splats. Moulded top rail enriched with tracery. Moulded voluted arms and shaped armrests, the frame embellished with pierced spandrel ornaments. Slip seat. (Sion House) Height, 3 feet 514 inches OAK GATELEG TABLE ENGLISH, 17TH CENTURY On columnar turned supports with moulded capitals and bases. Drawer at one end. (Sion House) Height, 3934, inches; top, 35 x 31 inches -QUEEN ANNE WALNUT DRESSING TABLE ENGLISH, EARLY 18TH CENTURY Shaped moulded and arched frame containing bevelled Vauxhall plate, on a trestle stand. Height, 3834, inches; width, 331% inches CARVED OAK DOOR ENGLISH, 17TH CENTURY Recess panelled with boldly carved mouldings enriched with repeat- ing patterns of Tudor roses. The centre of the upper section, framed in a circular medallion, with a boldly protruding lion’s head mask. The lower section in a square reserve, a rosette of acanthus. (Sion House) . Height, 6 feet 344 inches; width, 2 feet ADAM MAHOGANY BOW-FRONT CHEST OF DRAWERS ENGLISH, 18TH CENTURY Gracefully bowed front fitted with three long and two _ short drawers. Arched base. In fine figured woods. Rosetted drop handles. (Sion House) Height, 411% inches; width, 41 inches JACOBEAN OAK SIDE TABLE ENGLISH, 17TH CENTURY On very uncommon vase-shaped and turned baluster supports. Moulded arch frieze, a drawer in the front. Moulded top. (Sion House) Height, 27 inches; top, 283 x 5214 inches JACOBEAN OAK SHIP’S CHEST ENGLISH, 17TH CENTURY On two trestles cut ‘“V” shaped at the base. The front enriched with arched tracery; the edges with husk carving. (Sion House) Height, 25 inches; length, 381% inches; depth, 1334, inches QUEEN ANNE FRUITWOOD DRESSING TABLE ENGLISH, EARLY 18TH CENTURY The front fitted with one long and two short drawers with their original drop handles. Ogee moulded top. On moulded support. (Sion House) Height, 30 inches; top, 58 x 1814 inches 61 101 102 103 104 105 106 107 STUART OAK SIDE TABLE : _ ENGLISH, 17TH CENTURY On vase-shaped baluster supports connected by straight rails. Jig- saw cut apron; the front fitted with a drawer furnished with unusual contemporary chased escutcheon handles. (Sion House) | Height, 2334, inches; top, 3314 x 21 inches TWO GOTHIC WINDSOR ELM TREE ARMCHAIRS ENGLISH, 18TH CENTURY Backs enriched with a design of interlaced pointed arches. (Sion House) (2) TWO GOTHIC WINDSOR ELM TREE ARMCHAIRS ENGLISH, 18TH CENTURY Similar to the preceding. (Sion House) (2) GOTHIC WINDSOR ELM TREE ARMCHAIR ENGLISH, 18TH CENTURY Similar design to the preceding. (Sion House) JACOBEAN OAK CHEST OF DRAWERS ENGLISH, 17TH CENTURY The front fitted with three long and two short drawers with fretted drop handles of the Queen Anne period. The stiles bear uncommon beading in relief. Moulded top. Recess panelled returns. Shaped bracket base. (Sion House) Height, 37 inches; width, 37 inches QUEEN ANNE WALNUT CHEST OF DRAWERS ENGLISH, EARLY 18TH CENTURY Fitted with three drawers with escutcheon and drop handles. The stiles are enriched with protruding beads. Recess panelled returns. Moulded top. Turned ball feet. (Sion House) Height, 32 inches; width, 33 inches JACOBEAN OAK TABLE ENGLISH, 17TH CENTURY On four vase-shaped turned balusters connected by uncommonly shaped underframing. Arched apron fitted with three drawers. (Sion House) Height, 2734 inches; size of top, 291% x 2114 inches 62 108 109 110 Lit 112 113 LONG CASE CLOCK ENGLISH, 18TH CENTURY Movement by William Smith, Great Bardfield. Steel dial with gilded bronze spandrels. The pine case painted to simulate tortoise shell. Moulded cornice and base. (Sion House) Height, 5 feet 3% inches; width, 1514 inches LOUIS XVI ORMOLU-MOUNTED SHOW TABLE Shaped table with rising glass top. Interior lined with crimson velvet. Two shelves below. Round tapered legs. Snakewood inlaid with ebony lines and mounted with ormolu borders and rosettes. (Robersons) Height, 35 inches; width, 41 inches ANTIQUE CARVED OAK SMALL CHEST Front and side panels with elaborate carving of Renaissance orna- ment. With lift-up cushioned top of Oriental weave forming a seat. Interior lined with crimson velvet. (Robersons) Size, 34 mches x 19 inches TWO-FOLD “COMPOSITE” SCREEN ENGLISH, EARLY 19TH CENTURY Each fold vered with a multitude of rare Cruikshank and Row- landson colored engravings on an old figured paper ground. These highly decorative “‘scrap screens” have become exceptionally rare. (Sion House) . Size per panel, 5 feet 8 inches x 8 feet PAIR OF CARVED AND GILT RENAISSANCE STYLE PEDE- STALS WITH MARBLE TOPS Shaped tops inset with marble slab, supported on four scrolled and acanthus decorated legs which stand on oval bases. Ornamentation of husk festoons. (Robersons) (2) Height, 30 inches; width, 16 inches EARLY GEORGIAN BURL WALNUT OVERMANTEL ENGLISH, EARLY 18TH CENTURY Composed of burl walnut frame with oblong mirror plate. Above an Italian view with Roman arch and amphitheatre in the fore- ground, a silhouette of a town in the background with townspeople grouped about. (Sion House) Size, 8114 x 38 inches 63 114 115 LG Vaibyy 118 CROMWELLIAN WRITING DESK ENGLISH, 17TH CENTURY Of simple sturdy proportions on the original moulded base. The front fitted with three drawers with their original drop handles. Hinged desk front concealing compartments and small drawers with a panelled centre door. (Sion House) Height, 3 feet 414, inches; width, 2 feet 11% renee JACOBEAN OAK GATELEG TABLE ENGLISH, 17TH CENTURY On eight vase-shaped baluster supports. Moulded apron, a drawer at one end. With the original top. (Sion House) Height, 2 feet 314 inches; top, extended, 4 feet 6 inches x 3 feet 10 inches QUEEN ANNE WALNUT CHEST OF DRAWERS ENGLISH, EARLY 18TH CENTURY Fitted with three long and two short drawers, veneered in light burl walnut, while the body is covered with a similar veneer of a darker tone. Moulded top. Oval escutcheons and drop pinchbeck handles chased with fruit cornucopia. Bracket supports. (Sion House) Height, 37 inches; width, 37 inches CHIPPENDALE MAHOGANY CHEST OF DRAWERS > ENGLISH, 18TH CENTURY Small body fitted with four drawers with exceptionally fine escut- cheon drop handles in the Chinese taste, the back plate designed as a pagoda resting on trellis brackets supporting flower cornucopie. Moulded top. Bracket support. (Sion House) Height, 311% inches; width, 34 inches JACOBEAN OAK TRAVELLING HIGH CHEST OF DRAWERS ENGLISH, 17TH CENTURY Made in two sections. The whole is fitted with three long and two short drawers furnished with fretted escutcheon handles of a later addition. Beaded stiles. Panelled returns. Moulded top. The con- struction of this piece is especially interesting from the point of view of cabinet makers’ skill; the division has been made to facilitate the transfer from one house to another. (Sion House) Height, 391% inches; width, 37 inches 64 119 120 121 122 123 124 LONG CASE CLOCK OF THE STUART PERIOD ; ENGLISH, 17TH CENTURY Slender body on moulded pedestal base. The hood with moulded cornice and flanked by two Doric columns. Moulded door with original strop hinges. Bronze dial with elaborate spandrels, signed, Thomas Moore, Medford. It is uncertain whether Thomas Moore of Medford is identical with the clock maker of this name of Ipswich, who is quoted in Britten’s book, “Old Clocks and Watches’, page 440. (Sion House) Height, 6 feet 7 inches TWO CHIPPEN DALE CARVED MAHOGANY CHAIRS é ENGLISH, 18TH CENTURY Finely carved and delicately pierced ribbon backs, carved cabriole supports with serpentined underframing. (Sion House) (2) MAHOGANY BOW FRONT CHEST OF DRAWERS | ENGLISH, 18TH CENTURY Veneered with richly figured picked wood. The front fitted with three long and two short drawers and furnished with rosetted ring handles of a later addition. (Sion House) Height, 3 feet 434 inches; width, 3 feet 434, inches WALNUT ARMCHAIR FRENCH, FIRST HALF OF 17TH CENTURY Louis XIII period. Upholstered with gorgeous crimson velvet of the period fastened with ormolu studs. The rectangular back sur- mounted by elaborately scrolled openwork finial, showing two dragons holding an escutcheon. The sides of the back with Herme of fauns’ heads. The armrests curved and voluted with acanthus-leaf carving, supported by turned columns. Legs and stretchers with elaborate twisted turning. (Slight repairs) TWO HEPPLEWHITE MAHOGANY SIDE CHAIRS ENGLISH, 18TH CENTURY Graceful models designed in the French taste with shell-crested and shaped shield backs. Carved cabriole supports with arched rails. (Sion House) (2) CHIPPENDALE MAHOGANY AND NEEDLEWORK FIRESCREEN ENGLISH, ABOUT 1760 Mounted with a rectangular panel of fine early eighteenth century needlework designed with a bouquet of flowers contained in a scrolled cartouche in petit and gros point. The adjustable sliding panel be- tween two fluted posts with spreading supports. (Robersons) Height, 44 inches; width, 28 inches 65 125 126 127 128 129 IVORY CARVINGS NUMBERS 125-133 CARVED IVORY STATUETTE OF CARDINAL RICHELIEU FRENCH, 18TH CENTURY Standing figure, forming a closed triptych. Interior representing the Madonna and Child enthroned. Very fine. (John L. Clawson) Height, 6 inches From the Collection of the Countess de Seilhac. From the George A. Hearn Collection. CARVED IVORY STATUETTE OF THE MARQUISE DE POMPADOUR FRENCH, 18TH CENTURY Standing figure, holding bouquet of flowers in the left hand, a fan in the right. The costume beautifully carved in imitation of floral brocade and embroidery. Inscribed on the base. Very fine. (John L. Clawson) Height, 18 inches From the Collection of the Countess de Seilhac. From the George A. Hearn Collection. ANTIQUE CARVED IVORY TRIPTYCH “Marriage of Henry IV and Marie de’ Medici.” Delicate relief carv- ing, partly colored and gilt. Mounted in a mahogany case. (John L. Clawson) Size, Tl x 6 inches From the George A. Hearn Collection. ANTIQUE CARVED IVORY TRIPTYCH “Arrival of Marie de’ Medici at Marseilles.” Having just disem- barked from a beflagged galley, she is being welcomed by the Genius of France, and numerous others. A herald angel floats above, tritons in the foreground. Mounted in mahogany case. (John L. Clawson) Size, 1114 x 11 inches From the George A. Hearn Collection. This is a copy of the large composition by Rubens in the Louvre. ANTIQUE CARVED IVORY TRIPTYCH “Massacre of St. Bartholomew.” The Queen attended by her ladies is standing upon the steps of a castle, gazing upon the slain bodies of the martyrs strewn around. Mounted in a mahogany case. (John L. Clawson) Size, 11 x 1014 inches From the George A. Hearn Collection. 66 130 131 132 133 134 PAIR OF ANTIQUE CARVED IVORY RELIEF PLAQUES © “Oliver Cromwell.” A pair of finely carved plaques depicting Oliver Cromwell riding through the streets of a town, and a Roundhead encampment. Mounted in a mahogany case. (John L. Clawson) (2) Size of each, 334, x 514, inches From the George A. Hearn Collection. ANTIQUE CARVED IVORY PLAQUE “Cardinal Wolsey at Leicester Abbey.” The Cardinal is seen ap- proaching the abbot, leaning upon the shoulder of a youth. Mounted in mahogany case. Very fine. (John L. Clawson) Size, 7144 x 1114, inches “An old man broken with the storms of State is come to lay his weary bones among ye; Give him a little earth for charity.” King Henry VIII. Act Iv: Scene 2. From the Collection of the Countess Santagnesse. From the George A. Hearn Collection. CARVED IVORY STATUETTE OF MADAME POMPADOUR Beautifully carved standing figure, holding fan and rose blossoms. The lower part opens, disclosing triptych, finely carved with Court scenes of the period. (John L. Clawson) Height, 1814 inches From the Collection of Prince Strossi, Florence. From the George A. Hearn Collection. ANTIQUE CARVED IVORY TRIPTYCH “Battle of Pavia, 1525.” Fine relief carving showing the mounted figure of Francis I engaged in battle. Mounted in mahogany case. (John L. Clawson) Size, 10 x 814 inches From the George A. Hearn Collection. RARE PERSONAL RELICS OF GEORGE WASHINGTON NUMBERS 134-139 WASHINGTON’S CHINA GLUE POT French China glue pot, decorated with flowers. (Cracked in several places, and one handle missing) (John L. Clawson) Height, 3% inches With an affidavit by Madison Rush Calvert stating that the piece was presented by Eleanor Parke Custis, Washington's adopted daughter, to Elizabeth Biscoe Calvert, from whom Mr. Calvert inherited it. 67 135 136 137 138 139 GEORGE WASHINGTON’S CANDLESTICK A small Sheffield candlestick, silver-plated on copper, formerly owned by Washington. (John L. Clawson) Height, 2 inches With an affidavit by Madison Rush Calvert stating that the piece was presented by Washington’s adopted daughter, Eleanor Parke Custis, to Elizabeth Biscoe Calvert, from whom Mr. Calvert mherited it. BROOCH FROM ONE OF GENERAL WASHINGTON’S SPOONS Wrought in the shape of a small hatchet from a silver spoon, and engraved with the script monogram “G. W.” Glazed and framed, with label. (John L: Clawson) Length, 15 inches From the William Lanier Washington Sale, April, 1917. TORTOISE-SHELL SNUFFBOX OWNED BY WASHINGTON Inlaid with silver and gold piqué, marked “‘G. W.”’ The initials on the top are in facsimile of Washington’s handwriting. In a fine black morocco case, with inscription. (John L. Clawson) Size, 444, x laa et ines From the William Lanier Washington Sale, April, 1917. An affidavit by William Lanier Washington accompanies the snuff- box, stating that the relic was inherited from George Washington by — his nephew, Corbin Washington, and tracing its further history com- pletely until it was inherited by William Lanier Washington. [SEE ILLUSTRATION ] RARE STAFFORDSHIRE BUST OF GEORGE WASHINGTON Showing the General with black coat and flowered waistcoat. This bust in its original state is excessively rare, and we know of but one other similar, which is preserved in the British Museum. | Reproductions have been made several times during the last fifty years, and such reproductions should not be confused with this original. (John L. Clawson) Height, 8% inches From the William Lanier Washington Sale, April, 1917. [SEE ILLUSTRATION | BRONZE STATUETTE OF WASHINGTON EARLY 19TH CENTURY Finely modelled standing figure, the General being presented with his left hand on his breast, his right hand holding a manuscript. On a fluted half column of white marble, ormolu-mounted. (John L. Clawson) Height of figure, 91% inches; of base, 5 inches [SEE ILLUSTRATION] 68 TORTOISE-SHELL SNUFFBOX OWNED BY WASHINGTON [NUMBER 1387] RARE STAFFORDSHIRE BUST EARLY 19TH CENTURY OF WASHINGTON BRONZE STATUETTE OF WASHINGTON [NUMBER 138] [NUMBER 139] 140 141 142 143 144 RARE GOLD SNUFFBOXES, MINIATURES AND OTHER OBJECTS OF ART NUMBERS 140-185 4 GOLD-MOUNTED LAPIS-LAZULI SNUFFBOX F ’ FRENCH, LOUIS XVI PERIOD — 7 Lapis-lazuli mounted in gold. The mounts finely engraved with a various diaper patterns. Octagonal oblong in shape. Marks. (John — L. Clawson) Size, 24%, x 2le x 3% inches a JEWELLED GOLD BONBONNIERE ee Depressed globular shape with dome cover. Completely encrusted with lobed motifs of tourmalines and peridots surrounded by rubies, rhinestones and moonstones rising from a large topaz in the centre of foot; all in delicate open gold settings. A cabochon tourmaline in centre of top. (One stone missing) (John L. Clawson) . | Diameter, 2% inches GOLD SNUFFBOX By Tiffany. Enriched with panels of transparent: blue enamel | bordered with narrow bands of white enamel. The cover with a’ miniature in enamel of a classic landscape after Poussin. (John L. — Clawson) Size, 3 x 14% x % inches - GOLD SNUFFBOX DUTCH, LATE 18TH CENTURY Rectangular, with rounded corners and hinged lid. Engraved with a diapered ground of checkered pattern, framed with a border of foliage scrolls and rosettes, partly filled in with blue enamel. 18- karat gold. Stamped inside with Hall marks. (John L. Clawson) Size, 814 x 214 x VY inches From the George A. Hearn Collection. GOLD-MOUNTED GREEN MALACHITE SNUFFBOX FRENCH, LOUIS XVI PERIOD Octagonal oblong. Beautifully figured green malachite mounted in gold. The mounts of the lid, finely chased with foliage scrolls, typi- cal of the period; the side mounts, as small Corinthian columns. Marks. Lined with a brown and white speckled polished stone. (John L. Clawson) Size, 3¥g x 1% x 134 inches 70 145 146 | 147 | 148 149 LOUIS XV GOLD SNUFFBOX FRENCH, 18TH CENTURY Deep rectangular hinged box. The cover finely chased with a gallant and lady, the sides and bottom with pastoral subjects, after Watteau. This decoration is executed in two tints of gold upon a ground en- graved with star pattern. The borders with scroll and floral orna- mentation. Stamped inside with marks, which are worn. (John L. Clawson) Size, 314, x 2144 x 154 inches LOUIS XVI GOLD PATCH BOX FRENCH, 18TH CENTURY Small oval hinged box enriched on all sides with beautiful engraving giving a rich rippled effect, sprinkled with small circles which gives the appearance of studding. Bordered by a narrow band chased with foliage sprays in a different tint of gold. The cover mounted with a miniature on enamel of a lady of high rank, encircled by a similar ornamentation. Compartmented interior with hinged lid similarly chased. Stamped inside with the maker’s marks, which are worn, and appear to be “L. F. T.”, in a shaped shield. (John L. Clawson) 4 Size, 214, x 134, x % inches LOUIS XVI GOLD SNUFFBOX FRENCH, 18TH CENTURY Oblong, rounded at the ends. The cover, sides and bottom enriched with panels of waved line engraving which produces a beautiful rippled effect; this is sprinkled with small circles, simulating stud- ding, framed in narrow bands of raised beading. Stamped inside with the maker’s mark, “P. J. L.”’ in a shaped shield with pellet and fleur-de-lys above. (John L. Clawson) Size, 334, x 114, x ¥% inches LOUIS XV GOLD AND AGATE BONBONNIERE FRENCH, 18TH CENTURY Beautifully streaked yellow agate, mounted in gold, finely chased with scrollwork. The gold mount pierced with small shaped panels, by this means exposing to view the beautiful texture of the agate. The cover mounted with a setting of brilliants representing a basket of flowers. (John L. Clawson) Oval. Size, 234 x 134 x 13% inches GOLD AND BLOODSTONE SNUFFBOX Octagonal oblong in shape. The cover mounted with a fine minia- ture portrait on enamel of Napoleon Bonaparte as General, full bust, showing left profile, wearing scarlet uniform with gold facings. Beautiful bloodstone with mottled red, green and yellow texture. Mounted in gold, finely chiselled with flower and foliage scroll orna- ment. Signed, ‘““Vachette a Paris.”° (John L. Clawson) Size, 332 x 214 x 34 inches 71 ' : ‘ / 4 GOLD SNUFFBOX PRESENTED BY NAPOLEON TO THE MAYOR OF GIVET [NUMBER 150] 150 GOLD SNUFFBOX PRESENTED BY NAPOLEON BONAPARTE TO DECOUXROSSE, MAYOR OF GIVET Heavy gold oblong snuffbox, enriched with bands of engraved foliage and swastika ornament. On the cover in large script are Napoleon’s initials in high relief, indicating that it was presented when he was First Consul, as these initials were never used after he became Emperor. Stamped inside with the maker’s mark, “C.O.”, between a heart and star in a lozenge-shaped shield. (John L. Clawson) Size, 34 xX 2% 84 aches Accompanied by the original letter of presentation through Marshal Duroc, one of Napoleon’s favorite officers, written in his official capacity as Governor General of the Palace. Translated it reads: “St. Cloud, 21 fructidor, an 11 de la République Francaise (Sep. 8, 1808). The Citizen Decouxrosse, Mayor of Givet (on the Meuse). I have the honor, Citizen, to present to you on behalf of the First Consul a gold snuffbox with his monogram, as a special mark of his estecm and appreciation. Please accept the assurance of my con- sideration, DUROC.”’ [SEE ILLUSTRATION ] f. 72 GOLD SNUFFBOX GIVEN BY NAPOLEON TO HIS SISTER THE QUEEN OF NAPLES [NUMBER 151] 151 GOLD SNUFFBOX GIVEN BY NAPOLEON I TO THE QUEEN | OF NAPLES : The cover mounted with a miniature of the Emperor by Jean Bap- tiste Isabey. Full bust portrait, the head slightly turned to the left, wearing blue uniform, orders and red sash across the breast, ini- tialled and dated, “J.I., 1815”. The box, oval in shape, enriched with bands of engraving and Sevres blue enamel. Stamped inside with the maker’s mark, “G.R.’’, in a lozenge-shaped shield. Gold quality, 750/1000 fine. On the inside of the cover is engraved the following: “This bow, enriched with the portrait of the Emperor Napoleon, (painted at Elba) was a gift from him to his Sister the Queen of Naples, and was presented by her to Col. Macerone, the Aide du Camp and friend of her husband, Joachim Murat, King of Naples.” (John L. Clawson) Size, 21% x 814 x 6/8 inches [SEE ILLUSTRATION ] T5 GOLD SNUFFBOX WITH THE CROWNED ‘“‘N”’ SET IN DIAMONDS, PRESENTED BY NAPOLEON TO THE SULTAN OF MOROCCO [NUMBER 152] 152 GOLD SNUFFBOX PRESENTED BY NAPOLEON I TO THE SULTAN OF MOROCCO Oblong, with shaped sides, the cover and bottom beautifully engraved with an all-over diaper pattern consisting of small rosettes upon a matted ground, bordered with a band of lunette and floral ornament. The shaped sides with narrow panels of similar decoration. Mounted on the cover is a fine oval medallion of Sevres blue enamel upon which is the crowned initial ‘‘N”’ set in small diamonds, this being encircled by a row of larger diamonds. (John L. Clawson) Size, 3144 x 214 x Y% mches This is accompanied by an affidavit from a previous owner, stating that it was purchased from the Collection of jewels and boxes belong- ing to the Sultan Abd-el-Aziz. [SEE ILLUSTRATION ] 74 LOUIS XVI GOLD AND ENAMEL SNUFFBOX WITH ENAMEL MINIATURES AFTER BOUCHER [NUMBER 153] 153 LOUIS XVI GOLD AND ENAMEL SNUFFBOX FRENCH, 18TH CENTURY Oval in shape, beautifully wrought in two tints of gold with amatory and musical trophies, and floral sprays, the decoration on the sides divided into four panels by tapering pilasters hung with drapery festoons. The edges ornamented with bands of key pattern and meander engraving, partly filled in with blue enamel. The cover, sides and bottom, are enriched with six beautiful oval enamel minia- tures after Boucher, representing the story of Mars and Venus, each panel depending from a ribbon tie. Stamped inside with the maker’s marks, which are partly obliterated. (John L. Clawson) Size, 2¥, x 15% x 114 inches [SEE ILLUSTRATION ] 15 GOLD AND ENAMEL SNUFFBOX WITH ENAMEL MINIATURE AFTER FRAGONARD [NUMBER 154] 154 GOLD AND ENAMEL SNUFFBOX Louis XVI style. Enriched with panels of fine translucent amethyst enamel bordered with delicate beading in white enamel. The cover embellished with an oval enamel miniature of a pastoral subject after Fragonard. Borders chased with bands of laurel sprays partly filled with ruby-red and emerald-green enamel. (John L. Clawson) 3 Oval, 234, x 2 x 112 inches [SEE ILLUSTRATION | 76 d = - GOLD SUUFFBOX PRESENTED BY MADAME DE STAEL TO HER HUSBAND [NUMBER 155] 155 GOLD SNUFFBOX PRESENTED BY MADAME DE STAEL TO HER HUSBAND Rectangular gold box beautifully chiselled at the sides and on the base with panels of diaper ornament framed with engraved bands of foliage scrollwork partly filled in with blue enamel. The cover is enriched with an oval miniature on ivory of Madame de Staél. Bust portrait, head slightly turned to the left, wearing embroidered yellow and white silk turban-like headdress, her hair falling in ring- lets from the temples, a yellow silk low-neck bodice with miniature at her breast. In the four corners of the cover are set four large diamonds in claw setting, the whole outlined by a narrow band of blue enamel. Stamped inside with the maker’s mark, “A.H.’, in a lozenge-shaped shield. (John L. Clawson) Size, 85 x 214, x 34 inches The Baroness de Staél, usually known as Madame de Staél, was born in Paris in 1766, and died in 1817. She was the daughter of OL - Neckar, Minister of Finance under Louis XVI, and married Baron de Staél-Holstein, the Swedish Minister to France. She was married a second time to a young officer of the Swiss guard, named Rocca, to whom she gave the snuffbox because on it was a picture of herself at the age of twenty, the age of the man whom she was marrying. She was twenty-three years his senior. Baroness de Staél was reckoned one of the most brilliant women im France of her period, and she did not repudiate this belief herself. Once she said to Napoleon: “Sire, who do you think is the greatest woman in France?” She was very much surprised when she received this reply: “The greatest woman in France,” answered Napoleon, “1s the woman with the most children.” [SEE ILLUSTRATION, PAGE 77] LOUIS XVI GOLD AND ENAMEL SNUFFBOX WITH MINIATURES AFTER FRAGONARD [NUMBER 156] 156 LOUIS XVI GOLD AND ENAMEL SNUFFBOX 7 FRENCH, 18TH CENTURY Oval in shape, the cover enriched with two fine octagonal enamel miniatures of amatory subjects after Fragonard, outlined with bands of blue enamel and laurel engraving, the space surrounding the miniatures being beautifully chased with sprays of foliage. The borders of the cover engraved with entwined foliage ornament partly filled in with blue and black enamel. The sides embellished with panels of blue enamel intersected by engraved baskets of fruit. The bottom with similar decoration. (John L. Clawson) | Size, 334 x 214 x Ye inches [SEE ILLUSTRATION | 78 157 158 159 GOLD SNUFFBOX FRENCH, LOUIS XV PERIOD Deep rectangular in form. The cover, bottom and sides exquisitely enriched with an amatory subject after Boucher in fine colors, framed in scrolls and sprays of flowers in enamel. This decoration is ap- plied to the gold surface which is chiselled all over with a diaper pattern framed at the borders with trellis ornamentation. Stamped inside: with the maker’s marks, which are partly worn. An ex- tremely rare specimen. (John L. Clawson) Size, 33 x 25 x 1% inches COUNTESS DU BARRY’S CRYSTAL AND GOLD SEAL Clear tapered crystal, spreading at the base and rounded at the top, eut with fluting and small concave circles around the shoulder. Mounted at the top with a gold boss, chiselled with amatory trophies, encircled by a band of laurel ornament in two tints of gold. The seal base with the arms of the Comtesse du Barry, framed in gold, engraved with a similar wreath of laurel ornamentation. (The crystal slightly chipped) (John L. Clawson) Length, 3 inches From the Collection of the Marquis de Girardin. This is accompanied by an affidavit from the Marquis de Girardin, which translated reads: “This seal belonged to the Countess du Barry, it was given to my great-grandfather. (Signed) Marquis de Girardin.” The great-grandfather was Xavier, Comte de Girardin, born in Lunéville in 1765, died in 1827. He was celebrated for having ex- tended hospitality to Jean Jacques Rousseau at the Chateau of Ermenonville. THREE VELVET-LINED CASES COVERED IN CRIMPLED GRAY CALFSKIN For snuffboxes, ete. (John L.-Clawson) (3) Size, 11 x 9 inches; 1014 x 8 inches; 514 x 414 inches i, 160 161 162 163 KNIFE, FORK AND SPOON USED BY NAPOLEON I DURING HIS CAMPAIGNS 3 These three fine relics of Napoleon were used by him in the field; it would therefore be difficult to find three articles which have a stronger personal association with the Emperor. They comprise (1) A Folding Spoon, with silver-gilt rat-tail bowl, engraved with the letter ‘““N” in a laurel wreath. This bears the mark of Jurgen Linden, a Russian silversmith who worked in Riga between 1674- 1688; the pistol handle is of steel, encased in silver with niello decoration. Length when open, 614, inches (2) A Folding Knife, with steel blade, similar handle to the spoon, engraved with letter “N”’. Length when open, 6 inches (3) A Folding Fork, with steel prongs, the handle similar to spoon and knife. Engraved with the letter “N”’. Length when open, 534, inches Enclosed in green morocco case lined with crimson velvet. (John L. Clawson) (3) SEVRES BISQUE BUST OF NAPOLEON AS FIRST CONSUL Finely modelled representation of the First Consul. Wearing em- broidered high-collared coat and stock. With black and gold fluted plinth, ornamented with laurel festoons and inscribed “Bonaparte ler Consul”. With glass case. (John L. Clawson) Height, 121% inches PAIR OF MINIATURES ON IVORY BY CHARLES DAVID NAPOLEON I, and JOSEPHINE. Bust portraits. Gilt metal and tortoise-shell frames. Signed. Very fine. (John L. Clawson) (2) Oval. Size, 314 x 3 inches MINIATURE ON IVORY FRENCH, LATE 18TH CENTURY MARIE ANTOINETTE. Full bust portrait, slightly turned to the left, wearing large white and crimson silk headdress with ostrich feathers, and low-neck crimson bodice with white lace collar. After Lebrun. Chased gilt metal and silver frame. (John L. Clawson) Diameter, 314, inches 80 | 164 165 166 167 PAIR OF MINIATURES ON IVORY BY FRANCOIS DUMONT NAPOLEON I, after Delaroche; EMPRESS JOSEPHINE, after Gérard. Three-quarter length. Gilt metal frames. Signed. Very fine. (John L. Clawson) Oval. Size, 4 x 314 inches From the Brady Collection. MINIATURE ON IVORY ENGLISH, 18TH CENTURY GENERAL JAMES WOLFE. Bust portrait, half turned to the right. Wearing red uniform with yellow and blue facings and blue stock; the hair unpowdered. Painted just before his death. In chased metal mount; red morocco case. Very fine. (John L. Clawson) Oval. Size, 2 x 11% inches “The Hero of Quebec.” Commanded the famous expedition up the St. Lawrence River against Quebec. Mortally wounded in the battle of The Plains of Abraham, with the heroic Montcalm, September 13, 1759. LOCK OF GENERAL WOLFE’S HAIR Contained in a gilt metal oval locket, inscribed on the back: ‘Pro Patria Mori, Maj. Gen. James Wolf, 13 Sept., 1759. T.B.” The name Wolfe has been spelt without the “e’’, which is very interesting. In a red morocco case. (John L. Clawson) Size of locket, 3 x 2% inches This is accompanied by a certificate from John Arthur Burnaby of Greenwich, Kent, to the effect that the locket was given to his father by Mr. Thomas Bell, sometime Aide-de-camp to General Wolfe. MINIATURE ON IVORY ENGLISH, 18TH CENTURY Sir WILLIAM Howe. Bust portrait, three-quarter turned to the left, wearing red coat, white lace stock, and powdered hair. Mounted as gold brooch. In a red morocco case. Very fine. (John L. Clawson) Oval. Size, 114, inches x 1 inch Friend of General Wolfe and brother of Admiral Richard Lord Howe, Commander-in-chief of the fleet operating against Count dEstaing in the Revolution. Commanded at the battles of Louis- bourg and Quebec under General Wolfe, and was Commander-in- chief of the British forces during the earlier years of the Revolution. His name is especially remembered in connection with the battles of Bunker Hill, Long Island, White Plains, Brandywine and Germantown. 81 350, eye) 6S, MINIATURE OF SIR WALTER SCOTT PRESENTED BY THE “‘WIZARD OF THE NORTH” ‘ TO HIS DAUGHTER MRS. LOCKHART [NUMBER 168] | se 1* ~ esr ee —s ee 168 MINIATURE OF SIR WALTER SCOTT Fine bust portrait on ivory, half turned to the right; mounted in oval pinchbeck frame. In plush-lined black morocco case. Presented by the great novelist to his daughter, Mrs. Lockhart. (John L. Clawson) Size, 314 x 3 inches From the Harry B. Smith Collection, in the catalogue of which—“‘A Sentimental Library”’—there is a color reproduction of this fine piece. [SEE ILLUSTRATION ] 82 169 170 171 172 173 GEORGE III JEWELLED GOLD WATCH ENGLISH, DATED 1815 Massive 18-karat gold case beautifully enriched with royal blue enamel back encrusted with open jardiniére of flowers in rose dia- monds and surrounded by three borders of evenly matched seed pearls. Porcelain dial with large extra minute hand; enriched on rim with similar pearls to back. Movement by D. & W. Moore, Fenchurch St., London. Case Hall-marked, and maker’s initials “TW.” (John L. Clawson) Diameter, 244 inches OLD SWISS JEWELLED SILVER-GILT WHISTLING BIRD BOX An ingenious example of mechanical art. In the form of a small casket on dolphin feet, finely ornamented with filigree work and enamel and set with brilliants and mother-of-pearl. The mechanism is wound up by a key at the base; the bird begins whistling by mov- ing a release to the left, which is on the front of the box. (John L. Clawson) a Size, 334, x 214 inches RARE ROMAN CARNELIAN INTAGLIO OF THE IMPERIAL PERIOD Representing in delicate carving the Forge of Vulcan. In seven- teenth century setting of painted enamel. Oval, 1144 x 11% inches ROMAN JASPER CAMEO PROBABLY IMPERIAL PERIOD A graceful female bust in classic style, executed in bluish jasper and set on brown sardonyx. Probably a work of the Imperial period. Renaissance mounting of the sixteenth century, gold, with white enamel rim. Green rosettes on top and base. Oval. Size, 24% x 1% inches This belonged formerly to the Collection of the Earl of Arundel. It was identified as Junia Claudia. From the Arundel Collection it passed into that of the Duke of Marlborough. SILVER ENAMEL LAPIS LAZULI STANDING COUPE Made by the celebrated French jeweller J. Chumet. Oval shell- shaped coupe on baluster stem with oval foot. Mounted with winged scroll dragon handle in colored silver enamel. In case. (John L. Clawson) Height, 514 inches 85 174 175 176 177 178 179 SILVER ENAMEL, IVORY AND GILT BRONZE JEWEL CASKET In the form of miniature Louis XVI armoire, with enriched pediment and lattice pilasters, supported on leaf and claw feet. With two doors, the upper with miniature, ‘“‘a court lady festooning the altar of love”. Signed Laur. Lower door, pilasters and ends enriched with dainty silver enamel, doves within wreath, rosebuds, etc. (John L. Clawson) Height, 14 inches; width, 6 inches GOTHIC JEWELLED AND ENAMELLED METAL CASKET French or German early fifteenth century. In the form of a shrine, one side with fall front and ornamented with six star-like circular enamel medallions intersected by small chased rosette bosses. The reverse side with six figures of saints flanked by small square bosses inset with various colored stones. The ends with similar ornamen- tation. A pierced frieze at the top with three ball finials, one of which is missing. A museum piece. (Robersons) | Height, 10 inches; length, 1014, inches FRENCH SILVER AND ENAMEL CIGARETTE BOX The cover mounted with picnic scene, painted on ivory, after Watteau. Very fine. (John L. Clawson) Size, 6144 x 414, inches ANTIQUE JEWEL-STUDDED HUNTING SWORD Interesting specimen, with horn handle and jewel-studded leather scabbard. The curved blade inscribed “Edwardus Prins Anglie’’. (Robersons) SMOKED TOPAZ BOWL ON STANDARD ITALIAN, 17TH CENTURY - The bow] oval, shell-shaped, with acanthus decoration, is carved from a single piece of topaz and is finished with an ormolu rim decorated with the graceful figure of an amorino standing at one end of the rim and shooting an arrow. A snail is seen on the opposite end. On the sides are Renaissance mascarons of bearded men set with stones. — The base is baluster-shaped, with ormolu mounting. A rare and precious piece. (Slight repairs) Height, 8 inches RARE AGATE BOWL ITALY, 16TH CENTURY The circular bowl wrought of a piece of agate with brown and gray veins. Baluster base with gold enamel mounting showing graceful late Renaissance motifs executed in black and white and studded with turquoise. Height, 434, inches 84 PORN GCOS: “MEER. RE. MR ian sede PERSIAN LUSTRE TILE, 15TH CENTURY MBER 182] [NU i80 181 182 183 184 185 RHAGES POLYCHROME POTTERY BOWL PERSIA, 12TH-13TH CENTURY A figural composition in the delicate pastel shades characteristic of the polychrome overglaze technique. In the centre is a king seated on athrone. To the right, a hunter on horseback pursues a leopard, which escapes across the foreground. To the left, a barefooted per- sonage runs toward the rim of the bowl. Border of “coufique fleurl’. Diameter, 81/4, inches RHAGES POLYCHROME POTTERY BOWL . PERSIA, 12TH-13TH CENTURY A legendary composition showing two personages, with attendants, seated on either side of a fantastic cypress tree. In the foreground is a pool with fishes, on the banks of which are a pair of ducks. Two birds fly overhead. The bowl is bordered inside and outside. Typi- cal color combination with dominant notes of crimson, fine turquoise and black. Diameter, 85%, inches FIFTEENTH CENTURY PERSIAN LUSTRE TILE The centre is occupied by the figures of two genii upholding a crown. The frame a columnar mihrab. Enamelled in brilliant metallic lustre of gold, white, blue and turquoise. It is inscribed, ‘‘In the Name of God, the Merciful, the Clement; the building of this dwell- ing was commenced by the most mighty Sultan, the victorious Abu Said Bahadar Khan whose kingdom God make stand. Written by Neri Eddis Muhammed in the year 860” (A.D. 1444). (Sion House) Size, 25 x 1714 inches [SEE ILLUSTRATION, PAGE 85] TWO OLD SAXE VASES Marble-green with white serpent handles. (2) | Height, 101% inches ANTIQUE DECORATED LIMOGES ENAMEL TAZZA The bowl with allegorical figure subject. Baluster stem and circular foot with grotesque masks in the Renaissance manner. (Robersons) Height, 6 inches; diameter, 734, inches OLD CREAM GLAZED POTTERY FIGURE OF AN OWL With aperture at back, forming money saving box. (Robersons) Height, 13 inches 86 RARE OLD SEVRES AND CHINESE PORCELAINS NUMBERS 186-196 186 DECORATED SEVRES BLEU-DE-ROI CUP AND SAUCER 187 188 | DATED 1779 Gold decorated, painted with pastoral scenes in circular panels by Gérard. Bases with mark and date. (Saucer repaired) (Robersons) (2) PAIR OF SEVRES DECORATED TURQUOISE-BLUE CANDLE- STICKS LOUIS XVI PERIOD Charming pair. Formed as urns standing on plinths, painted with butterflies, birds and flower festoons in panels outlined in gold. Ormolu bases with winged paw feet. (Robersons) (2) OLD SEVRES PORCELAIN ROSE WATER EWER AND COVER AND OVAL-SHAPED BASIN DATED 1782 Apple-green ground inside and out, decorated with red and gold trellis design, with six panels, reserved and painted in colors, with hunting scenes in landscapes, framed by broad gilt bands and mounted with Louis XVI chased ormolu rim and shell billet to the ewer, plinth with lion’s claw feet to the bowl. (Robersons) (24) Height of ewer, 9 inches; width of bowl, 1214 inches Illustrated and described in the private catalogue of the Fether- stonhaugh heirlooms from Up Park, Petersfield, Hants. 87 189 PAIR OF SEVRES BLEU-DE-ROI PORCELAIN VASES — ee Ribbed bottle shape, touched with gold. Ribbon ties at the neck. a Circular bases, standing on square gilt metal plinths. (One slightly — | chipped at the base) (Robersons) (2) Height, 1734, inches [SEE ILLUSTRATION ] 190 RARE OLD SEVRES TURQUOISE-BLUE PORCELAIN TULIP- SHAPED VASE AND COVER WITH ORMOLU MOUNTS LOUIS XVI PERIOD ‘Beautifully shaped vase in fine turquoise-blue or bleu céleste, a color invented by Hellot in 1752. Ornamented with pierced and chased ormolu lion’s mask and wreath handles; the shaped rim with entwined ormolu mount supporting a domed cover with pomegranate and acanthus-leaf knob. The stem of the vase decorated with acan- thus leaves, standing on square base. (Repaired) (Robersons) Height, 181% inches % . ; Illustrated and described in the private catalogue of the Fether- stonhaugh heirlooms from Up Park, Petersfield, Hants. [SEE ILLUSTRATION ] 88 RARE SEVRES PORCELAIN VASES [NUMBER 189] [NUMBER 190] [NUMBER 189] Ea 192 IMPORTANT PAIR OF OLD SEVRES PORCELAIN CAMPANA- SHAPED VASES AND COVERS WITH GROS-BLEU AND GOLD (EIL-DE-PERDRIX GROUND -. LOUIS XVI PERIOD Each with two oval panels, reserved, beautifully painted .with Boucher subjects of a cupid seated on clouds, in a garden, and sporting with doves, bow and arrow, and on the reverse with a group of flowers, in rich colors, in simple gilt band framing. The handles are modelled as white and gold coroneted female terminal busts, holding festoons of oak foliage, their elbows resting on the edge of the vase, the covers surmounted by gilt pineapple knobs. They are mounted on Louis XVI square plinths of chased ormolu with lion’s claw and acanthus leaf feet, and pierced rims of the same with fluted edges. (Robersons) (2) | — Height, 20 inches — Illustrated and described in the private catalogue of the Fether- stonhaugh Heirlooms from Up Park, Petersfield, Hants., where they. were housed from 1787 until coming into the possession of Mr. Roberson. [SEE ILLUSTRATION | IMPORTANT OLD SEVRES GROS-BLEU PORCELAIN OVIFORM VASE AND COVER PAINTED BY DODIN LOUIS XVI PERIOD The body of the vase encircled by a band of four cartouche-shaped panels, white and gold, in high relief, suspended by cords and rings from boutons. The front panel is finely painted by Dodin, with a Camp scene, with a woman and two soldiers outside a tent, and a dog and vegetables, etc. in foreground; each of the other three panels is painted in rich colors with a large group of various flowers and fruits. The neck, stem and cover have bands of fluting, in gros bleu, white and gold, a band of white and gold interlaced strapwork, inclosing boutons and ovals, around the lip, the cover gilt with an oak wreath on gros bleu ground and surmounted by a white and gold fir-cone knob, the stem encircled by a row of large white pearled beads in relief and white and gold laurel wreath foot. It is mounted on a Louis XVI square plinth of chased ormolu, with lion’s claw and acanthus-leaf feet, and with pierced ormolu rim, with fluted and corded edges. Showing faint cracks. (Robersons) 3 Height, 2214 inches Illustrated in the private catalogue of the Fetherstonhaugh heir- looms from Up Park, Petersfield, Hants. A similar vase with decoration by Dodin is in the British Royal Collection. | [SEE ILLUSTRATION ] 90 IMPORTANT OLD SEVRES PORCELAIN VASES [NUMBER 191] [NUMBER 192] [NUMBER 191] 193 IMPORTANT PAIR OF DECORATED SEVRES VASES WITH | COVERS EARLY LOUIS XVI PERIOD White oviform vases on square bases with gilt branch handles at the sides. Bodies and domed covers beautifully painted with small rose bouquets encircled by foliage wreaths, each side with a large central rose bouquet contained within wreaths of small blue flowers, by the well-known decorator Tandart. The stems decorated with basket pattern in gold. Standing on ormolu mounted green velvet stands. Base of one with Sévres mark enclosing letter “P”, the date mark for 1768 and with the decorator’s mark of three dots below. (Robersons) (2) Height, 1714 inches From the Lord Foley Collection. | 7 pT [SEE ILLUSTRATION] 92 Sp come “rs gomcegonainpereerecneerar eed serene Mei A RAHM FS ORD ot ROR Oo ERDAS RRR BRE AGES ABA SMMR AL ESE AREREAD BIH BRE AK: PAIR OF EARLY LOUIS XVI DECORATED SEVRES VASES [NUMBER 193] Did 194, ee A meat el Ait. of. Gioia On an oval 0 rocaille decoration is a porcelain group by F. E. M« the pair is a bronze trellis on which grow deli lain flowers. At their feet lies a Bue sage re AU SLE AN AN D GILT BRONZE INKSTAND © _MEISSEN, GER representing a seated Chinaman, who reads Bet shade of a parasol held by a fair-haired pol [SEE ILLUSTRATION ] 94 PORCELAIN AND GILT BRONZE INKSTAND MEISSEN, ABOUT 1750 [NUMBER 194] «7 ¥ " ~e 195 IMPORTANT PAIR OF CHINESE DECORATED FAMILLE-ROSE — VASES WITH COVERS YUEN CHING PERIOD — Handsome pair of large vases. The bodies bulbous octagonal shape = with short necks and slightly flaring bases. The shaped panels a beautifully decorated in enamel famille-rose colors with landscapes _ and flowers of the four seasons, vases and other objects, the divid- _ ing borders slightly raised and with decoration of chrysanthemum ee and other blossoms in famille-verte and famille-rose colors on a y mirror-black ground. The small panels at the neck similarly deco- rated and framed with borders of patera in rouge-de-fer. Thedomed covers are decorated in similar colors and are surmounted by gilt — kylins. Unfortunately one of these covers has been lost, but Mr. Roberson will undertake to replace it with an exact reproduction by Samson of Paris if the purchaser so desires. (Robersons) (2) Height, 28 inches [SEE ILLUSTRATION ] 196 CHINESE DECORATED PORCELAIN VASE KANG HSI PERIOD Elongated oviform ribbed vase decorated with panels of flower and butterfly ornament in rouge-de-fer and famille-verte colors. Also modelled with small dragon and mask motifs. Stand. (Robersons) Height, 11 inches 96 PAIR OF CHINESE DECORATED FAMILLE-ROSE VASES YUEN CHING PERIOD [NUMBER 195] Le 198 193 200 FINE OLD ENGLISH AND FRENCH FURNITURE NUMBERS 197-255 TWO QUEEN ANNE BURL WALNUT MIRRORS ENGLISH, EARLY 18TH CENTURY Upright frames gracefully arched with broad mouldings covered with figured walnut veneer. Bevelled Vauxhall plates in two sec- tions. (2) Size, 46 x 1834 inches WILLIAM AND MARY YORKSHIRE OAK DRESSER ENGLISH, 17TH CENTURY In two parts, the lower a cupboard designed with three arched sec- tions, graceful vase-shaped splats joined by a solid panel. Fitted with four small and one large centre drawer and furnished with drop handles of a more recent addition. The upper part forms a plate rack with three moulded shelves. Solid beam back. (Sion House) _ Height, 6 feet 6 inches; width, 5 feet 2 mches WILLIAM AND MARY NEEDLEWORK AND WALNUT CHAIR High slightly raked back and seat covered in old silk and wool needlepoint designed with bouquets of flowers and foliage. Baluster turned legs and stretchers. (With slight restorations) (Robersons) STUART OAK DRESSER ENGLISH, 17TH CENTURY In two parts. The lower on four columnar balusters on beam plat- form. The front fitted with three drawers with escutcheon handles of a more recent addition. The upper part forming a plate rack with three guarded shelves. Dentiled cornice. (Sion House) Height, 6 fect 514 inches; width, 5 feet 1 inch 98 201 202 203 204 205 206 SIX WINDSOR ELM TREE SPINDLE-BACK SIDE CHAIRS ENGLISH, 18TH CENTURY The round backs with six upright spindles. (Sion House) (6) TWO WINDSOR SPINDLE-BACK ELM TREE SIDE CHAIRS ENGLISH, 18TH CENTURY Similar to the preceding. (Sion House) (2) SIX WINDSOR ELM TREE WHEEL-BACK SIDE CHAIRS ENGLISH, 18TH CENTURY The backs enriched with pierced splats centred upon a wheel. (Sion House) (6) SIX WINDSOR WHEEL-BACK CHAIRS | ENGLISH, 18TH CENTURY Similar to the preceding. (Sion House) (6) GEORGIAN MAHOGANY BOOKCASE ENGLISH, 18TH CENTURY Fine specimen with exceptional purity of design. Made in one piece. The lower part fitted with two moulded drawers, the upper part with glazed doors enriched with boldly protruding meander mullions. The cornice with Greek pattern frieze. (Sion House) Height, 6 feet 11 inches; width, 2 feet 10 inches SHERATON PAINTED AND CARVED SETTEE ENGLISH, LATE 18TH CENTURY In the Italian taste of the period. Oblong back crowned by pediment panel carved in the recess with sphinxes and a mask. Sloping arms. Faced by boldly carved lions’ heads. Terminating in claw feet, on which rest turned baluster supports with fluted feet. Back, seat and arms are panelled with their original caning, the frames are painted jade-green. (Sion House) Height, 3 feet 31% inches; length, 6 feet oe SHERATON PAINTED AND CARVED ARMCHAIR [NUMBER 207] 207 SHERATON PAINTED AND CARVED ARMCHAIR ENGLISH, LATE 18TH CENTURY Made to harmonize with the preceding. (Sion House) [SEE ILLUSTRATION | 100 ; > ae yt ee ee ES aT grommet Tiga ay ay, paca “£244. “A } QUEEN ANNE WALNUT HIGHBOY [NUMBER 208] 208 QUEEN ANNE WALNUT HIGHBOY ENGLISH, 1700-1710 Handsome piece, made in two sections; the upper part, a chest with three long and two small drawers with banded fronts. The stand with shaped apron with three small drawers. Finely carved cabriole lees with Spanish feet. One side slightly blistered. (Robersons) Height, 52 inches; width, 37 inches [SEE ILLUSTRATION | LOL 209, 210 211 212 213 QUEEN ANNE LADY’S WALNUT SECRETARY-BOOKCASE ~ a ENGLISH, EARLY 18TH CENTURY 3 In two parts of graceful proportion. The lower part fitted with four = drawers with ring handles and desk front enclosing arched pigeon- holes and drawers. The upper part fitted with one door. Ogee moulded cornice. The base veneered with richly figured burl walnut and enriched with lines of hollywood. am Height, 5 feet 514 inches; width, 19 inches SIX SPINDLE-BACK ELM TREE CHAIRS Tall ers composed of columnar uprights with shaped head rails and flat centre and bottom rails supporting five vase-shaped baluster 3 spindles. The turned slightly tapering supports terminate in club | ; feet. Turned knobbed baluster front rails. In fine state of preser- ; vation. (Sion House) (6) TWO SPINDLE-BACK ELM TREE CHAIRS : ENGLISH, 18TH CENTURY Similar to the preceding. (Sion House) (2) TWO SPINDLE-BACK ELM TREE CHAIRS ENGLISH, 18TH CENTURY Similar to the preceding. (Sion House) (2) GEORGIAN MAHOGANY AND PAINTED HIGH POST TESTER BED ENGLISH, 18TH CENTURY Two columnar front posts with fluted and beaded shafts rising from urn-shaped base, boldly carved with acanthus and crowned with acanthus-carved capital. Panelled rail ends. The tester is composed of three arched sections painted with Greek ornaments in yellow on black ground with key panels painted in rose color camaieu of two musical amorini plucking a lyre. French linen hangings of a more recent addition. (Sion House) Extreme height, 10 feet 1 inch; length, 7 feet 4 inches; width, 6 feet 2 inches [SEE ILLUSTRATION ] 102 ENGLISH, 18TH CENTURY a ee ee —— ee ee Oe _ 2 Ss See rr nil 7 aha pee eee a a) ey Z < a Pa QF Zw af oD cy ro ae AN Ga & ae aa) NM — i Om au pb rie < So) oe ) ea me 214 QUEEN ANNE MEN PSEA DAYBED see * ENGLISH, EARLY | Conipaeed of hoop-shaped back with moulded ‘side r urn-shaped splat. The frame is moulded and rests on supports connected by plain stretchers. Slip sides. i Height of back, 35 lees length, 6 Bee 7 [SEE ILLUSTRATION] 104 QUEEN ANNE WALNUT DAYBED [NUMBER 214 | 215 216 217 218 WILLIAM AND MARY CARVED WOOD CHIMNEY PIECE ENGLISH, 17TH CENTURY Composed of ogee moulded facing surmounted by an overmantel of two deeply recessed moulded panels carved with boldly protruding fruit festoons and the centre panel holding the arms of the Rutlands painted in colors on canvas with the motto, “Pour y Sage Stok Heavily moulded cornice. (Sion House) Height, 7 feet 5 inches; width, 5 feet 4 inches [ SEE ILLUSTRATION] LADY’S LOUIS XV KINGWOOD MARQUETRY SECRETARY FRENCH, 18TH CENTURY A dainty specimen in beautifully matched kingwood with fine mar- quetry inlay of flower baskets and sprays. The fall front encloses four small drawers with geometrically inlaid fronts and ormolu borders, a drawer above and below. Slender ormolu mounted eabriole legs. Mottled brown marble top. (Warwick House) Height, 46 inches; width, 24 inches ELIZABETHAN OAK DINING TABLE ENGLISH, SECOND HALF OF THE 16TH CENTURY A fine example in heavy solid oak construction. Plain rectangular top composed of four solid planks bound at the ends. Shallow moulded frieze. Bold baluster turned legs with Doric capitals and block bases connected by heavy footrails. Strong Italian Renais- sance influence in the design. (obersons) Size of top, 5 feet 10 inches x 2 feet 9 inches ADAM MAHOGANY SIDEBOARD ENGLISH, 18TH CENTURY Of unusually harmonious proportions. Straight front with protrud- ing centre. The stiles inlaid with bands of kingwood and lines of ebony. The sides fitted with deep cellaret drawers, the centre with a long silver drawer with arched opening beneath. Graceful spade foot supports. Shaped top veneered with figured mahogany and en- riched with bands of satinwood and lines of ebony. Fretted wreath. brass handles, with sunflower escutcheons. (Sion House) Height, 2 feet 11 inches; length, 5 feet 214, inches 106 WILLIAM AND MARY CARVED WOOD CHIMNEY PIECE ENGLISH, 17TH CENTURY [NUMBER 215] 219 JACOBEAN WELSH OAK HUTCH CUPBOARD 220 221 ENGLISH, 17TH CENTURY In two parts. The lower with two doors and moulded stiles; the doors on their original wrought-iron strap hinges. The upper, a coffer, composed of two larger and one smaller moulded panel, two of which are hinged as drawers. The moulded cornice is furnished with two knob-shaped pendants. This cupboard, though of Puritanical sim- piety, is noticeable for the fine scale of its molding. (Sion House) Height, 5 fect 314 inches; width, 4 feet 61% inches SHERATON BOOKCASE ENGLISH, LATE 18TH CENTURY Made in two parts. The lower a cupboard with two doors, concealing trays and hinged front drawer uncovering writing compartment. The doors as well as the drawer are veneered with a richly figured ma- hogany with finely designed geometrical inlays of satin and. king- woods. The cabinet of the interior is veneered with satinwood. The upper part a glazed bookcase of a classical mullion pattern. Frieze and cornice are inlaid with bands of satin and kingwoods. (Sion House) Height, 7 feet 4 inches; width, 3 feet 914 inches GEORGIAN MAHOGANY SECRETARY-BOOKCASE ENGLISH, 18TH CENTURY In two parts. The lower composed of two panelled doors with cham- ferred moulding. Hinged drop front enclosing several interior draw- ers. The front is inlaid with fine beadines of king and holly wood on a richly figured and matched veneer. Original ormolu escutcheon handles and circular chased knobs and engraved escutcheon plates. The top is fitted with two glazed doors with finely moulded meander mullions. Dentiled and moulded cornice. (Sion House) Height, 6 feet 10 inches; width, 3 feet 9 inches Me LOSE 222 THE IMPORTANT CHARLES CLAY MUSICAL CLOCK ENGLISH, EARLY 18TH CENTURY This rare a important clock, well known to all collectors and stu- dents of old clocks and watches, is illustrated and described in Britten’s “Old Clocks and Watches and Their Makers’’, page 245. We quote the following description from his book: “Charles Clay, Musical clock by him—A remarkably handsome mu- _ sical clock by Charles Clay, of Fenchurch Street, dating from about 1740, which stood for many years in a manor house in Suffolk, is shown in Fig. 228 by favor of Mr. P. Webster. It is 8 feet 6 inches in height, the case being divided into two portions, the upper part of which is of amboyna wood relieved with heavy brass mounts well finished. In the arch of the dial are shown the age of the moon, the day of the month, and the following list of tunes played by the clock: (1) Mr. Arceangelo Corelli’s Twelfth Concerto, 1st Adagio, 2nd Al- legro, 8rd Saraband, 4th Jigg. (2) The Fugue in the overture of Ariadne. On the hour circle is engraved the maker’s name, ‘Charles Clay, London’. The pedestal, which is of Spanish mahogany and amboyna wood, contains Clay’s chiming machine with 21 bells. It is a fine piece of mechanism, driven by an ordinary chiming weight, though the barrel is fully 12 inches in diameter. Dampers are used to avoid vibration of the bells one with another, and by an ingenious contrivance the music starts immediately the clock finishes striking. Charles Clay came from an eminent family of horologists, and seems to have worthily sustained his reputation.” In the opinion of the cataloguer a specimen of such indubitable au- thenticity should find a place in one of the important private or public collections of this country. (obersons) 109 223 PAIR OF LOUIS XVI PARQUETERIE ENCOIGNEURES BY RIESENER WITH ORMOLU MOUNTS BY GOUTHIERE a FRENCH, 18TH CENTURY The ground is of mahogany, rosewood and harewood, with panels inlaid in a diamond trellis design, with narrow dividing lines of boxwood and ebony; each has a door in the centre, inlaid inside with a similar design in harewood, partridge and satinwoods. In the frieze above a hinged drawer which is mounted with an applied pierced and chased band of ormolu with alternating fluted and springing acanthus foliage, the edges beaded. The angles are splayed, with convex centres and are mounted with finely chased groups of rosebuds, undoubtedly by Gouthiére; also pendent flower sprays beneath. The doors mounted with a beautiful lock escutcheon © chased with a female mask, Royal Cypher, the interlaced “LL” in acanthus-leaf design and framed by a flower wreath. The doors with a chased laurel rosette in each corner. An acanthus-leaf chas- ing in the form of a bracket applied beneath the centre of each door. The short legs mounted in cups of upright leafage. They are surmounted by plain white marble shaped slabs. (Slight repairs to borders) (Robersons) (2) Height, 36 wnches; width, 33 inches Illustrated in the private catalogue of the Fetherstonhaugh heir- looms from Up Park, Petersfield, Hants. 224 IMPORTANT LOUIS XVI NEEDLEWORK AND PAINTED SUITE FRENCH, 1770-1780 A settee and six armchairs. Beautifully shaped long settee with fluted and voluted frame painted white with touches of red, covered in rare Louis Seize petit point designed with sprays of flowers alter- nating with a monogram formed with the letters ““A.L” entwined, in pastel colors on a ground of soft yellow and red, rose festoons above — and below forming cartouches. Six armchairs with oval backs and shaped seats in petit-point of similar design. On fluted and tapered legs with cuffed feet. The opportunity to possess a suite of this quality very rarely presents itself. (Robersons) Length of settee, 7 feet 3 inches [SEE ILLUSTRATION ] 110 3 : Birr. tne di $0. ; Ltn oF se See aner ee cg ie aii BRBESOAWR SE & m : g < : 5 gee : Pe $ if : Pee se SHREK CRETE E LOUIS XVI NEEDLEWORK AND PAINTED SUITE —SETTEE AND SIX ARMCHAIRS [NUMBER 224] 225 SIX SHERATON CARVED MAHOGANY CHAIRS ENGLISH, LATE 18TH CENTURY Rectangular backs furnished with handsomely carved and pierced, shaped splats. Panelled tapering supports. Covered in old glazed linen. (Sion House) : LOtg ae iG = g y 226 ee AND MARY WALNUT MARQUETRY LOWBOY ENGLISH, LATE 17TH CENTURY In two sections, with one deep drawer and two other drawers, the front inlaid with geometrical and heart patterns in seaweed marquetry on richly veneered walnut ground and with finely chased drop handles and escutcheons engraved with winged amorini heads, the drops with profile portrait of William and Mary. The stiles are panelled with seaweed inlay. Panelled returns. Top with beaded edge inlaid with star pattern and heart motifs. A scarce, genuine example of rate short period of furniture making. (Sion House) Height, 3 feet 15 inch; width, 3 feet 1 meh [SEE ILLUSTRATION ] 112 WILLIAM AND MARY WALNUT MARQUETRY LOWBOY ENGLISH, 17TH CENTURY [NUMBER 226] PAIR OF ITALIAN NEEDLEWORK AND PAIR OF ITALIAN RENAISSANCE ARMCHAIRS WALNUT ARMCHAIR RENAISSANCE ARMCHAIRS [NUMBER 227] [NUMBER 228] [NUMBER 227] ead 228 PAIR OF TAPESTRY WALNUT ARMCHAIRS ITALIAN, 17TH CENTURY Very rare pair of Italian Renaissance chairs. The rectangular backs and seats covered with panels of old Flemish tapestry woven with swags of flowers and fruit, mainly in silk. The backs with carved acanthus finials. Broad armrests with turned baluster supports. Columnar and block legs with foliage scroll carved front stretcher. (Robersons) (2) [SEE ILLUSTRATION | NEEDLEWORK AND WALNUT ARMCHAIR OF WILLIAM AND MARY DESIGN The high back and seat covered in early 18th century petit and gros point of fine workmanship. Voluted and scrolled arms; scrolled legs with carved front stretcher. (Robersons) [SEE ILLUSTRATION ] 114 ae aaa ae ee ee a \. 229 231 LOUIS XVI BEAUVAIS SILK TAPESTRY GILT FIRESCREEN FRENCH, LATE 18TH CENTURY Rare specimen, mounted with a panel of rare Beauvais tapestry of the period, designed with a drapery cartouche which contains an um of flowers supported on arabesque scrolls, in beautiful colors and of extremely fine quality. The frame carved and gilt as two fluted col- umns ornamented with flower festoons with vase finials at the tops and spreading supports. (Robersons) Height, 36 inches; width, 34 inches From Lady Fairbank’s Collection. SIX SHERATON MAHOGANY AND SATINWOOD DINING CHAIRS ENGLISH, LATE 18TH CENTURY The square backs of an exceptionally light and graceful pattern, com- posed of panels and moulded tapering side rails crowned with acanthus-carved finials. The head arches are of picked satinwood panelled with lines of ebony. Pierced backs in the form of ‘C” scrolls tied by rosettes and forming a lily pattern with flowered stems rising between. Upholstered seats; on square spade foot legs. (Sion House) (2) GEORGIAN MAHOGANY DINING ROOM SET OF EIGHT CHAIRS ENGLISH, 18TH CENTURY Six side chairs and two armchairs with shield backs of uncommon design with gracefully curved side rails. Shaped top rails and lyre shaped splats. Veneered with richly figured mahogany. Straight ~ angular supports and underframing. Deep slip seats covered with red leather. The armchairs with bowed and scrolled arms. (Sion House) (8) 115 232 233 236 Of slender proportions. Made in two parts; the lower a desk with — d four drawers. Hinged fall front concealing pigeonholes and — Babee i, is GEORGIAN MAHOGANY SECRETARY-BOOKCASE a ENGLISH, 18TH CENTURY — drawers. Upper part fitted with one door panelled in a handsome 3 moulded Flemish Renaissance pattern. The centre veneered with a q particularly fine picked figured wood. Fretted drop handles of a — later addition. (Sion House) og Height, 6 feet 11 inches; width, 2 feet 6 inches _ [SEE ILLUSTRATION] — GEORGIAN MAHOGANY LIBRARY TABLE _ ENGLISH, LATE 18TH CENTURY Unusual shape. The leather-covered top rounded at one end and with gallery. Five drawers in the frieze. One end with pedestal cupboard, the other with fluted and tapered legs. (Robersons) Length, 57 inches; width, 35 inches MAHOGANY BOW-FRONT CHEST OF DRAWERS ENGLISH, 18TH CENTURY Fitted with three long and two short moulded drawers with their original and most uncommon pinchbeck knobbed handles faced by a boldly designed lion’s mask. The arched base is enriched with lines of hollywood and ebony. The top with beaded edge. (Sion House) Height, 3 feet 5 inches; width, 3 feet 614 inches MAHOGANY BOW-FRONT CHEST OF DRAWERS ENGLISH, 18TH CENTURY The gracefully shaped front with arched base is fitted with three long and two short moulded drawers, furnished with their original chased pinchbeck handles of uncommon pattern. (Sion House) Height, 3 feet 534, inches; width, 3 feet 534 inches JACOBEAN LARGE OAK GATELEG TABLE ENGLISH, 17TH CENTURY On eight columnar baluster supports. One drawer. Original top. (Sion House) Height, 2 feet 5 inches; size of top, extended, 5 feet 1 inch x 4 feet 116 4 ’ F rr So ENGLISH GEORGIAN MAHOGANY SECRETARY-BOOKCASE [NUMBER 232] 237 PAINTED FOLDING TABLE DUTCH, 17TH CENTURY — ] On three legs, one of which moves on a bracket, painted to simulates ‘ marble. Oval moulded top painted with a picture of a Dutch fleet approaching port with fully rigged men-of-war in the foreeoaa (Sion House) | a Height, 27 inches; size of top, 4 feet 334, inches x 8 feet Vv inches - q 238 QUEEN ANNE NEEDLEWORK PANEL es ENGLISH, EARLY 18TH CENTURY In fine state of preservation. Centre is occupied by a tall tree and under its shade a lady in brilliant cherry-colored frock holds a spin- a ning wheel while a gallant piper, richly garbed in purple and yellow entertains her with his music. About them are grouped sheep, a stag, a cow, a dog and a hare in greens, and to the left and righta house and hills. (Sion House) Size, 25 x 24 inches a [SEE ILLUSTRATION | 239 EARLY GEORGIAN PETIT POINT NEEDLEWORK PANEL ENGLISH, EARLY 18TH CENTURY _ Designed as a doorway with Corinthian pilasters supporting an arch with fretted ornamentation. The doorway frames a basket of golden- yellow, filled with softly colored flowers and leaves, and similar flowers are festooned under the arch. Background of soft rose. The work is done in an exceptionally fine point. (Sion House) Size, 25 x.18 inches 240 ANTIQUE MIR SERABEND RUG PERSIA Extremely fine knotting. The centre field with delightful design of Cashmere palmettes in delicate pastel shades on deep red. Delicate border of angular Serabend vines on _ ivory-white ground. (Robersons) Size, 6 feet 2 inches x 4 feet 241 SEVENTEENTH CENTURY ARMENIAN EMBROIDERED COVERLET Worked with a repeating pattern of sunburst and meanders in reds, whites and yellows on a soft blue ground. (Sion H ouse) Size, 59 x 68 inches 242 EMBROIDERED CRIMSON VELVET TABLE SCARF ITALIAN, 17TH CENTURY Crimson velvet runner appliquéd with fine arabesque flower and scroll silk embroidery in colors. (As is) (Robersons) Length, 8 feet; width, 18 inches 118 ORK PANEL 8] W 2 Lo E EEDL [ NUMBER QUEEN ANNE N 243 244 247 248 NAPOLEON’S CARD TABLE Purchased at the sale of the Jumel Collection of Napoleonic relics, . 1916. Octagonal folding top. Centre support formed as four round | a“ columns with gilt metal capitals. The base with four tapered and spreading legs with paw feet. Ornamented with ormolu mounts, (John L. Clawson) Width, 3 feet = CROMWELLIAN OAK WAINSCOT BEDSTEAD ef : ENGLISH, 17TH CENTURY __ Panelled headboard composed of a section of five vertical and two long horizontal panels, the latter embellished with applied Flemish mould- ings in the taste of the period. Moulded cornice. Plain angular side and foot rails. This bed is remarkable for the surface of its wood and its fine state of preservation. (Sion House) | Height of back, 4 feet 4 inches; width, 5 feet; length, 6 feet 6 inches CROMWELLIAN LARGE OAK GATELEG DINING TABLE : ENGLISH, 17TH CENTURY On sturdy square angular supports. Scalloped aprons and two ends fitted with drawers. The top is a solid one-inch beam. This table is of unusual solidity and remarkable for its size. (Sion House) Height, 2814, inches; top, 5 feet 10 inches x 4 feet 814 inches PAIR OF CARVED AND GILT PEDESTAL CONSOLES ENGLISH, EARLY 18TH CENTURY Formed as Renaissance capitals carved with acanthus scrolls and female masks, in the style of William Kent. Richly veined white marble tops. (Robersons) (2) Height, 30 inches; width, 26 inches QUEEN ANNE OAK CORNER CUPBOARD ENGLISH, EARLY 18TH CENTURY The front fitted with two upper and two lower doors finely moulded and panelled and hinged on fretted brass strap hinges. Beaded stiles. Richly moulded cornice. (Sion House) Height, 5 feet 4 inches; width, 3 feet 414 inches JACOBEAN OAK SIDE TABLE ENGLISH, 17TH CENTURY On columnar turned supports with straight rails. Moulded apron fitted with one drawer with old drop handle. (Sion House) Height, 26 inches; top, 284% x 1814 inches 120 249 = eS at bes = = AND °° Fl iene ENG RNA Ese Sens oO rset i a ® oe. a a Be 250 251 252 254 255 On four columnar supports with straight rails. Moulded top. (Sion House) PAIR OF MARIE ANTOINETTE MAHOGANY SIDE CHAIRS ) FRENCH, ABOUT 1790 Purchased at the sale of the Jumel Collection of Napoleonic relics, 1916. Open square backs, the centre panels with fleur-de-lys carving. Slightly curved tapering square legs. Stuffed seats. (John L. Clawson) (2) ENGLISH, 17TH CENTURY One front drawer. JACOBEAN OAK SIDE TABLE Height, 26 inches; top, 3114, x 2014 inches ENGLISH, 18TH CENTURY (Sion TWO-TIER WINDSOR ARMCHAIR Back and arms with spindles; turned baluster armrests. House) (2) WINDSOR TWO-TIER ELM TREE ARMCHAIR , ENGLISH, 18TH CENTURY Back with pierced vase-shaped splats and spindles. Baluster turned armrests. (Sion House) WINDSOR TWO-TIER ELM TREE ARMCHAIR ENGLISH, 18TH CENTURY Back and arms with spindles. Turned baluster armrests. (Sion House) SHERATON MAHOGANY TIP-TOP TABLE ENGLISH, 18TH CENTURY On a single vase-shaped baluster centre support terminating in spade foot tripod brackets. Octagonal top with embellished lines of tulip- wood. (Sion House) Height, 271% inches; top, 17 x 15 inches ANTIQUE ITALIAN POLYCHROME AND CARVED MIRROR Small rectangular acanthus frame flanked by a pair of cherubs termi- nating with scrolls. Base with cartouche with Latin inscription and date 1659. (Asis) (Robersons) Height, 36 inches; width, 27 inches 121 TO BE SOLD BY AUCTION —— | AT UNRESERVED PUBLIC SALE FRIDAY EVENING, SATURDAY AFTERNOON DECEMBER FIFTH, SIXTH | THE ANDERSON GALLERI MITCHELL KENNERLEY, [Passe NEW YORK > we ‘snc } uid i saa, 1 ¥ 4 Re ae ( * : ' i a 7? } ] Fs, oi pea. "7 ' wee oe _ P a an s GETTY RESEARCH INSTITUTE i : ha a8 { - iv t t ~ td \ ro af | 4 =” g ( ‘ ) \ =\. att er ‘ ; \ FA ny 7 : te; Be \ \ [ 7 \ Vite S aa 2) 5 ee, ) ay aT a | . O - i? / 3.3125 01694 1755 gt 4\ j ch ‘hs A, a { a hy Aaa thy! atte a me . —~ we 8) Lome ae a Fie WP Peer re hgh ae ¥ ie ae pa EE YEE 2 yi aplaeO7 Oe Eh Sian eae Lago