ates ha om S55" ‘e4 ."S eee ei, P Vo not i a ' re : . i ee i ton : Ske es : ~ * . ma , a ~ = a ‘ . ? OLD. * 5 & Falls”. NGS S Of Landscape PAINT! Fus £. paintings and ves of the 18 pictures were sold under the of the American Art Associ- Thomas E. Kirby auctioneer, for $5,100. ie ‘Virgin and Child ‘The fine» ‘' Portrait of Miss ksther “Raine,” by John Hoffner, which started at $2,500. went to Rudert, agent, for 800. A vivid portrait of the Marquis French, by Louis Leopold Boilly, started vat $2,500, ‘agent, for $3,900. The Ruisdael was -originall Crewe, London. The eighty-one pict- ures brought $124,775. and St. Cather- | Ben-. Se a Nos. CMON OUP ADH ; w ~ al Swor sm eanr Soot 94H AaNnESworonsune Prices 110. 100. 180, 370. 500. 500. 975. 550. BO. 675. 425. 500. 375. 500. 725.6 650. 1700. 475. 2000. 800. 1700. . 175. 375. 500. 1500. 1500. 1900. 5000. 425. 925. - 925. 1800. 1450. 3400. 1100. 525. 2000. 2600. 600. 600. 1750. Ancient Paintin FP. Kleinberger Galleries EE et tories eh Sale at the American Art Association Buyers ReM. Hoan A. Jacobs Karl Preund Mrs.D.B. Delavan T.Ellison R. Ederheimer A. Kingsley Porter Ids @) "Reilly W.W. ics Bratt Agt. Charles H. Johes E.T. Hess Ehrich Galleries E.T. Hess W.W. Seaman, Agt. C.A. Platt Paul J. Moffat Chas.H. Jones - Re Ederheimer Ce Gmelielmetti Ehrich Galleries E.T. Hess Re Ederheimer Paul J. Moffat W.E. Benjamin L. Bourgeois A. Kingsley Porter R. Ederheimer Karl Freund tt " Otto Bernet, Agt. Ehrich Galleries WW. Seaman, Agt. Re. Ederheimer Satinover Galleries Otto Bernet, Act. Parish Watson R. Ederheimer Li w Je Bourgeois January 25, 1918, 9) ~I Buyers : R. Ederheimer Otto Bernet, Act. Parish Watson C.A. Platt , Otto Bernet, Agt C.0. Kienbusch Bourgeois weer pola Ehrich Chas.H, Jones w " t Edw. Staab : WeW. Seaman, Agt. Otto Bernet, * pags Benjamin gee Nite ckes R. Ederheimer ' Paul Moffat Otto Bernet, Agt. wt iid a R. Ederheimer We Samuels I Otto Bernet, Agt. ? t ft Karl Freund veye emeets ef Le Rudert, Agte John Levy Otto Bernet, " W. Sanmels Satinover Galleries A. Rudert,Act. C.J. Charles Otto Bernet, Agt. Scott & Fowles EST. Hess Satinover Galleries JeS. Miller T. Ellison : Satinover Galleries! af 4 > a | \ i. S nf a ~“S oe ; “0008 | Sh ch GOR «sien fl ee i. | / ‘a § - f ; S ) : he 5 Se ig . , | a % adooaG Xx ; o . +. s me ts * Sereraer GF So as Bs & 3 4 : a >. > oar he pte ey : . Bort iz en & op fe raat +7 Ot FOO S & a ee A ee, esttaliad soitda sana) tom eae cbt angels Li AE SOE is Pe ae 4 sa & Seon poe yi tee si.) | iy a evn A eHBMSSs «2 hat | aotrofied “sod abort 1g | 3. , FAL shed Poss eonttortts bi 0 | 0 O08:. a TST TOM .b: Leed oP. us ‘ a — | ES t N -_ a _— -" Pier. tomiedebe .2 tetios % ee a Ne etek ce past wise? ela raKe x Nae VS r ~s 7 \ * i Re rk Oo © & “4G Gl +. OF {Ros . * ut» O32 & ry © oO Ny ON FREE PUBLIC VIEW 9 A.M. UNTIL 6 P.M. AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM FRIDAY, JANUARY 18th, 1918 UNTIL THE DATE OF SALE, INCLUSIVE HIGHLY IMPORTANT COLLECTION OF ANCIENT PAINTINGS BELONGING TO THE F. KLEINBERGER GALLERIES TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON WEDNESDAY EVENING, JANUARY 23rd, 1918 IN THE GRAND BALLROOM OF THE PLAZA HOTEL FIFTH AVENUE, 58th TO 59th STREET BEGINNING AT 8.15 O’CLOCK °c 1” re * 7? Re eye? ees 63254" Pw \ 3 ILLUSTRATED CATALOGUE z OF A HIGHLY IMPORTANT COLLECTION OF ANCIENT PAINTINGS OF THE ITALIAN, DUTCH, SPANISH, FLEMISH AND FRENCH SCHOOLS INCLUDING AN IMPOSING GATHERING OF ITALIAN AND FLEMISH PRIMITIVES TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF THE F. KLEINBERGER GALLERIES FOR THE PURPOSE OF ADJUSTING THE BUSINESS INTERESTS OF THEIR FORMER PARTNERSHIP AND THE PRESENT INCORPORATION IN THE GRAND BALLROOM OF THE PLAZA HOTEL FIFTH AVENUE, 58th TO 59th STREET ON THE EVENING HEREIN STATED CATALOGUE BY MR. MAURICE W. BROCKWELL THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANT, MR. OTTO BERNET, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1918 THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS _ ALL DETAILS OF ILLUSTRATION — TEXT AND TYPOGRAPHY CONDITIONS OF SALE 1. Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either de- cide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the pur- chase money as may be required, and the names and addresses of the purchasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale ‘shall be made within ten days thereafter, in de- fault of which the undersigned may either continue to hold the iots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) aris- ing from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon pay- ment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays— between the hours of 9 A. M. and 5 P. M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on presenting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business ~ in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. ‘The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the purchaser. 'Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. AMERICAN ART ASSOCIATION, : American Art Galleries, Madison Square South. PREFATORY NOTE To catalogue and then classify eighty-two pictures by the Old Masters, possessed in one hand, is somewhat of an under- taking. And after completing such a task, one naturally con- siders them according to their importance by the country, school and period to which they belong. Exactly half of the works now offered at public auction belong to the various schools of painting in Italy. Beginning with the Florentines, we may note that the intensity of spiritual feeling seen in Nardo di Cione’s “Crucifixion” (No. 19) is characteristic of its era, and is more marked than in the “Coronation” (No. 17) by Jacopo di Cione which was for a generation in private possession in England. The rarity of Giovanni Bonsi’s works is calculated to draw at- tention to the “Madonna” (No. 63) now assigned to him. The whole setting of the “St. James and St. John” (No. 64) leads us to regard them as the wings of some dismembered altarpiece by Giovanni dal Ponte. Characteristic of their time also are the “Madonna” (No. 10) by Ambrogio di Baldese and a work (No. 72) by Paolo di Stefano, while the “Virgin and Child” (No. 7) by Neri di Bicci marks the temporary lull which heralds the coming Renaissance. It was acquired from a private col- lection in Florence. No uncertainty attaches to the “Virgin and Child, with Saints” (No. 18) by Mariotto di Nardo. The artistic personality, formerly known tentatively as “Alunno di Do- menico,” and now accepted under the name of Bartolommeo di Giovanni, gives us a “Saint” (No. 27) at the moment of the high Renaissance. Although the stern realities of primitive endeavor had passed away when Bronzino painted his “Young Lady” (No. 12), his decorative sense enabled him to portray in a win- ning manner the features of some near relative of Cosimo de’ Medici, first Grand Duke of Tuscany. The pious contemplation of Siena is evinced by the “Do- minican Legend” (No. 48) of Taddeo di Bartolo, and we en- counter something of the “Sanctuary swept and garnished” in the work of Sano di Pietro, to whom a “Madonna” (No. 8) is assigned. Foremost among the early workers in Central Italy comes Alegretto Nuzi, to whom are given the “Christ on the Cross” (No. 41) and two small “Martyrdom” predella panels (Nos. 50 and 50a). Even more characteristic is the ““Madonna” (No. 34) by Antoniazzo Romano, which is decorative in treat- ment and majestic in its charm. The Central schools of Italy were so influenced by the activities of great painters attracted or summoned to Rome circa 1500 that we naturally see, in the ‘‘Por- trait of a Roman Lady” (No. 82)' by Gianfrancesco Penni, the dominating influence of his master Raphael. When we pass to Northern Italy we encounter in Milan an echo of Leonardo and his famous sitter ‘‘Mona Lisa,’ whose personality of mysterious environment is called to mind by the “Bust of a Woman” (No. 36) which here passes under the name of Leonardo’s follower Giampetrino. From the Veneto comes a primitive altarpiece (No. 74) signed with the name of Simone de Cusighe, as well as a “St. Bernardino” (No. 78) by Dario di Giovanni. Certain Venetian elements may be detected also in Filippo Mazzuola’s *‘Madonna” (No. 20) while the era of high achievement had been reached in Venice when the “Young Man” (No. 33) was executed by the hand of Lorenzo Lotto. Brescia had by now begun to play its part in the artistic ideals of ter- © ritories allied with Venice, and of this a trace is afforded by Civerchio’s “Nativity” (No. 3). But much more sumptuous and imposing is the effect created by Leandro Bassano’s “Portrait of Agostino Barbarigo” (No. 77) who, in the sumptuous robes of his office as Doge of Venice, calls forth visions of the great republic and the art of the Bellinis and Titian. In a later age grandeur of conception and poetic visualization give way to the decorative schemes and gayer tones that are so often met with in the sketches of Giambattista Tiepolo, whose small canvas (No. 38) must have been designed as the sketch for a large ceiling painting. Almost three centuries may have elapsed between the execu- tion of Simone da Bologna’s “Coronation of the Virgin” (No. 28) and Salvator Rosa’s “Diogenes, in Search of an Honest Man” (No. 75), the modernity of which indicates the closing moments of Italian Art. The outlook of the Netherlander is more realistic and ob- servant than that of the Italian, and the telling incident counts for more. Thus Patinir in his “St. Jerome” (No. 52) shows some claim to be regarded as the earliest of the landscape painters of the northern schools. The influence of the primitive Fleming still lingers on in the two wings (No. 4) of a dismembered altar- piece, while the accuracy of vision in Netherlandish portraiture is well attested by the “Portrait of Quentin Matsys” (No. 56) by the Master of the Death of Mary. Ambrosius Benson, or Bentsoen (No. 71), stands for a somewhat similar outlook, but Lucas de Heere (No. 62) and Pieter Brueghel the Younger (No. 21) prepare us for the Revival in the XVII Century under Rubens, whose finest achievements and pictorial qualities are seen in his sketches; among these may certainly be included a “Minerva and Thetis” (No. 46). Powerful as is the characteri- zation of Cornelis de Vos, as seen in a pair of portraits (No. 25 and No. 26), the concluding phase of Netherlandish paint- ing was rapidly approaching when Sustermans passed under the influence of Italian painting in the time of “Ferdinand II de’ Medici” (No. 76). Again we retrace our steps, if we seek to survey the art of Germany. For the Master of St. Severin (No. 44) and the Master of Frankfort (No. 70) antedate Bartholomaus de Bruyn’s “Portrait” (No. 57) and Lucas Cranach’s “Salome” (No. 48). Something of the glamour and rigid conventionality of the Court of Philip IV is preserved to us in the “Portrait of the Infanta Margarita Maria” (No. 65) which we assign to Mazo, the pupil and son-in-law of Velazquez, and in the proud and imposing portrait (No. 80) by Carrefio. But we deal with al- most modern times, when we consider the fanciful costumes and freer outlook in Spanish life that may be seen in the “Dancers” (No. 2) of Goya’s contemporary, Eugenio Lucas. Among the earliest painters of Holland we must class Lucas van Leyden, whose “Adoration of the Shepherds” (No. 14) comes from an English Collection. And but little later Jan van Scorel paints for us a “Madonna” (No. 42) that has been the subject of special enquiry in the Italian magazine, Rassegna d’Arte. With the XVII Century, however, we naturally meet with a repre- sentative “Dutch Canal” (No. 45) bearing the Monogram of Jan van Goyen, and a “Landscape” (No. 60) by Jacob van Ruisdael, which possesses a long pedigree in addition to being © signed. Signed works by Hendrik de Meyer are rare, but his authenticated “River Scene at Dordrecht” (No. 24) is both signed and dated. The immediate circle of Rembrandt is brought vividly before us when we contemplate the “Lady, as Diana” (No. 69) which Ferdinand Bol painted as an early work and duly signed. ‘The style and early manner of Rembrandt are reflected in Gerard Dou’s “Christ among the Doctors” (No. 61), while the “Joseph telling his Dreams” (No. 79) by Jan Victoors, in spite of the signature and the date, was for- merly attributed to Rembrandt. Equally important in another phase of the art of Holland is the “Lady and Gentleman at Tea” (No. 59) which bears the monogram of Pieter de Hoogh and has a long pedigree. Brekelenkam’s “Tailor’s Shop” (No. 58), from the main elements of its composition and the choice of subject, testifies, to the reliability of the Monogram. On the other hand Molenaer in his “Interior” (No. 23) controls the disposition and the lighting of his figures along different lines, and ends by signing his name on the footstool on which the cat is lying. If only to complete the range of European Schools of paint- ing, and to observe how various is the choice of collectors, we may study, although only in isolated instances, the varying tra- ditions of French painting and then throw a glance at the methods employed by Portrait Painters in England at the end of the XVITIth Century. In conclusion we do not fail to observe that these paintings have in the course of time been assembled, by a dealer of vast experience and an acknowledged expert, from such distant and unrelated centres as Florence, Siena, Milan, Paris, Cologne, Strassburg, Frankfort, Vienna, Bruges, Moscow, England, Scot- land and the United States. The wide scope of such a varied collection as this could hardly be better indicated. Maurice W. BrockweEt.u. January 4, 1918. Shi. a Lae ee BS Catalogue No. 34 10 11 27 77 7 28 29 63 12 JE 19 3 74 78 36 81 64 33 18 30 31 20 INDEX OF PAINTINGS BY SCHOOLS ITALIAN SCHOOLS Antoniazzo Romano Baldese, Ambrogio di Baldese, Ambrogio di Bartolommeo di Giovanni Bassano, Leandro Bicci, Neri di Bologna, Simone da Bologna, Simone da Bonsi, G. da Firenze Bronzino, Angelo Cione, Jacopo di Cione, Nardo di Civerchio School Cusighe, Simone de Dario di Giovanni Giampetrino Giotto, School of Giovanni dal Ponte Lorenzo, Lotto Mariotto di Nardo Masaccio, School of Masaccio, School of Mazzuola, Filippo FLEMISH Benson, Ambrosius Bosch, Jerome Brueghel, Pieter Cleve, Joost van (Master of Death of Mary) Flemish Primitive Heere, Lucas de Koffermans, Marcellus Catalogue N 6 Monaco, Lorenzo (att. to) 41 Nuzi, Alegretto 50 Nuzi, Alegretto 50a Nuzi, Alegretto 22 Palermo, School of 72 Paolo di Stefano 32 Penni, Gianfrancesco 75 Rosa, Salvatore 53 Salviati, Il 8 Sano di Pietro 9 Sano di Pietro 7 Sicilian School, XVth Cen- tury Strozzi, Zanobi Taddeo di Bartolo Tiepolo, G. B. 4 38 Tiepolo, G. B. 39 Tiepolo, Giovanni Dome- nico 40 Tiepolo, Giovanni Dome- nico 73 Zaganelli da Cotignola SCHOOL 52 Patinir, Joachim D. 15 Pourbus, Pieter, the Younger 46 Rubens, P. P. 76 Sustermans, Justus 25 Vos, Cornelis de 26 Vos, Cornelis de ° ) * GERMAN SCHOOL Catalogue Catalogue No. No. 49 Amberger, Christoph 1 Dietrich, Christian 57 Bruyn, Bartholomaus de 70 Master of Francfort 43 Cranach, Lucas, the Elder 44 Master of St. Severin DUTCH SCHOOL 69 Bol, Ferdinand 24 Meyer, Hendrik de 58 Brekelenkam, Q. 23 Molenaer, Jan Miense 61 Dou, Gerard 60 Ruisdael, Jacob van 45 Goyen, Jan van 42 Scorel, Jan van 59 Hoogh, Pieter de 79 Victoors, Jan 14 Lucas van Leyden SPANISH SCHOOL 13 Burgos, Juan de (att. to) 2 Lucas, Eugenio 80 Carrefio de Miranda 65 Mazo, Juan B. del FRENCH SCHOOL 68 Belle, Alexis Simon 5 Clouet, Francois, School of 66 Boilly, Louis Léopold 67 Tocqué, Louis ENGLISH SCHOOL 55 Hoppner, John 54 Reynolds, Sir Joshua SALE WEDNESDAY EVENING. JANUARY 23, 1918 IN THE GRAND BALLROOM OF THE PLAZA Firru AvENvE 58TH TO 59TH STREET BEGINNING PROMPTLY AT 8.15 O CLOCK CHRISTIAN WM. ERNST DIETRICH German: 1712—1774 g $ PORTRAIT OF A BANKER (Canvas) Height, 1414, inches; width, 12%4 inches SMALL, three-quarter-length figure. He is seated in an arm- chair, and wears a dark red costume and a hat. Several bags of money and loose coins are on a table on the right; one of these he grasps with his left hand. From the table hangs down a pear] necklace. Light gray-brown background. f. ERNST DIETRICH I—CHRISTIAN WN) No. No. 2 EUGENIO LUCAS SpanisH: Earty XI XtH Century — SPANISH DANCERS @.- (Canvas) Height, 11 inches; width, 8 inches A youne Spanish couple, dressed in the national costumes of about 1800, are dancing, with castanetas in their hands, on a stage. The background shows a house on a hill topped by a castle. A light blue curtain on the right. j No. 2—EUGENIO LUCAS 6° ha ae a No. 8 VINCENZO CIVERCHIO (ATTRIBUTED TO) > Travian: Earty XVItTH Cunvone 4 ‘a Darn A_ re THE NATIVE ‘on a ae (Panel, rounded at the back) Height, 21% inches; width, 13 inches BeneatuH an arch, and in front of a thatched pent-house, the Virgin on the right and St. Joseph on the left, kneel before the Infant. The ox and the ass are near by. Above is the An- nunciation to the shepherds, with four small angels, of whom three play on musical instruments. Above the arch, and on either side, are the Archangel Gabriel and the Vergine Annunciata seen against a plain wall. Examined by Prof. O. Sirén. No. 8—VINCE .O CIVERCHIO (Arr. 10) No. 4 FLEMISH PRIMITIVE gee WINGS) Earty XVIrH Century THE NATIVITY rrr: 1). cl | AND THE VIRGIN AT PRAYER a 3 7 js (Panel) a Each Wing, Height, 2114 inches; width, 7 inches '% The Dexter Wing. ‘The Virgin and an Angel kneel near the cradle in which Christ lies. St. Joseph stands behind, holding a lighted candle and protecting its flame from the wind. Farther back is a building in ruin, and beyond a landscape with a house. FN ere en SE Ey ey a a ey The Sinister Wing. The Virgin, at prayer before her fald-stool, kneels with folded hands. Above hovers the Archangel making the gesture with the right and holding in the left hand the scroll with the words of the Annunciation. In the sky is the Holy Dove within a golden circle. sr erection stp: tae roe" entice ; viatine opera bar sa ih ill nee lin natn neir hett Nhiasash ame cpcatettnsi a. “ ty" on aes , , earings ie P| tS xian se “Scteue -4pnteryenienasidatne on ee . ~ x ile dene apa Fos oa Rony be mae ° . hie, : Lied, s A ar een 9 a a a aA I sro, ey ad NGS WI 7h F 4 MISH PRIMITIVN JE [ F No. 4— No. 5 FRANCOIS CLOUET _ (ATTRIBUTED TO) OSL 1516—1573 a: E Maton PORTRAIT OF A YOUNG LADY ExY®) a oe (Panel) Height, 201, inches; width, 15 inches Bust-LenNcrH portrait; three-quarters to the left. In low-cut striped white dress, white drapery and a rosette of multicolor | material at her breast; a thin black necklace. Long, dark hair | falling over her shoulders, and confined at the back within richly colored material. Plain background. 4 5—FRANCOIS CLOUET (Art. 10) S No. 6 LORENZO MONACO (ATTRIBUTED TO) FrorENTINE: Active 1870—1425 MADONNA AND CHILD, (2 5 Gis WITH SAINTS AND ANGELS Height, 2624 inches; width, 16 inches Tue Infant clambers round His Mother’s neck. In the left fore- ground stand St. George with the dragon at his feet, and St. James with the pilgrim’s staff. On the other side they are bal- anced by the figures of St. Anthony and a Camaldolese. Behind, on either side, are a seraph and a cherub. Tiled foreground. PR AP Me es A a i ng wate ‘it tn dele a ie) ein From the collection of Sig. Mazzoni, Siena. ible cuit, mek, i Ve 8 pean 7 See tn 8 og TO) CO (Arr. A wi N MO LORENZO I No. 6 No. 7 NERI DI BICCI Iranian: XVrH Century THE VIRGIN AND CHILD (Panel) | CL - sf 15> ——~—- Height, 29 inches; width, 16 inches (round top) Se er ta ee eee ae Tne Virgin, seen at three-quarter length, is holding saith i hands the Child, who stands on a brown cushion. The Virgin has_ a red robe and a blue mantle. The Child holds an apple in his hands. A brown curtain in the background, DEERE oo with a white and red pattern. ea > From the collection of Mason Perkins, Esq.; Florence. SF meen ee i By No. 7—NERI DI BICCI No. 8 SANO DI PIETRO ST ae aa SreNEsE: 1406—1481 eo 0° THE MADONNA AND CHILD WITH SAINTS (Panel) | | Height, 24° inches; width, 18 inches | ye Tue Virgin, in her traditional robes of office, holds the Child, in yellow patterned robe, before her. He rests on the crescent moon. In the left background is St. Jerome; in the ee St. Bernardino, with the sacred monogram. Blue sky. From the sollbetion of M. G. Denis, Paris. ANO DI PIETRO / Z S .o— No No. 9 SANO DI PIETRO ; | “i SIENESE: pe 7 wy: YV AAA to 39)‘ MADONNA AND CHILD . (Panel) Height, 16 inches; width, 1214 inches Smaz, bust length of the Virgin, who is turned toward the left, her head framed in by the white kerchief and blue hood. A rosette is at her breast. With both hands she holds up the Divine Child, who wears a light green robe and a red mantle. Gold background, with the halos incised and tooled. No. 10 AMBROGIO DI BALDE SE FLORENTINE: 1352—1429 THE MADONNA AND CHILD, == WITH SAINTS eT é Wo © (Wood, arched) Vy: Vy Height, 221, inches; width, 12% inches Tue Madonna, in a richly brocaded tunic and a dark blue mantle lined with green, holds on her lap the Child, who wears a light yellow robe, girt at the waist; on the left are St. Peter, and St. Dominic with the lily. On the right are St. Paul, with a sword, and St. Nicholas with the three golden balls. Gold background. In the upper portion of the composition is Christ in the tomb; on the left is the Virgin, on the right St. John the Baptist. Exhibited in the Loan Exhibition of Italian Primitives, New York, N ovember, 1917, Catalogue No. 15. “We know that Ambrogio worked for the Florentine Duomo, where he executed decorative works in conjunction with such painters as Jacopo di Cione and Bicci di Lorenzo. In his best works he stands on the.same level as Gio- vanni dal Ponte, and he may thus be regarded as one of the links between the old Giotto School and the Quattrocento masters of Masolino’s and Ma- saccio’s time and style.” (Catalogue of the above Loan Exhibition.) No. 1O—AMBROGIO DI BALDESE No: -11 ae > AMBROGIO DI BALDESE q a "i 4 ty enteae Iratran: GD ghee ‘eine a THE MADONNA AND CHILD, € a WITH SAINTS AND ANGELS a (Panel) Height, 261, inches; width, 17 inches Tue Virgin, enthroned between two seraphs, and seen against a gold background in small full-length figure, looks out at the beholder. On the left of the throne stands St. Anthony, and on the right St. Paul. Se Sen 8 SRAAAAAA a aks cae aie aie note ee ALDESE No. 1I—AMBROGIO DI B No. 12 ANGELO BRONZINO fate a os Tesirane 1502—1572 SOO —. PORTRAIT OF A YOUNG LADY (Panel) Height, 1824 inches; width, 144 inches ea. Bust length ; three-quarters to the left. In low-cut dress, j juicy | green in color, with gold buttons, slashed and puffed; a Medici collar, decorated on the inside with gold pattern. A pearl neck- lace with pendent jewel and pearl ornament; pearl coronet and ornaments in her hair. Dark background. £ eS ys No. 12—ANGELO BRONZINO No. 18 JUAN DE BURGOS (ATTRIBUTED TO) SPANISH: XVTH ey hui & ST. BLAISE 3 [Ss (Panel) Height, 25°%/, inches; width, 20 inches Hatr-Lenecru figure, turned slightly to the right. In full ec- clesiastical attire; his robe is bordered with gold and set with precious stones. The sleeves are white. The right hand is up- raised to bless; the left, which holds the crozier, is gloved. The mitre is set within a halo. Gray hair, and with an earnest and pious expression. Seen against a plain stone low wall, above which the background is decorated with gold, square patterns which contain floral or geometrical designs. BE Rain Pts DE BURGOS 13—J UAN . oO N No. 14 LUCAS VAN LEYDEN Durcu: 1494—1533 THE ADORATION OF THE SHEPHERDS SO Cee ee a “Ny tre Height, 17% inches; length, 23% inches Smatu full-length figures, in an interior, before a niche, the: Hoot i in half ruin. In the left background kneels the Virgin, in rich blue dress, a white headdress and a kerchief across her shoulders; her hands are crossed over her breast, as she regards the Infant who, surrounded by puttz, lies in the center foreground. A tall shep- herd, in strong red robe on the right, inclines his body toward the cradle. Further back, and on the left, are two shepherds, one of whom plays the bagpipes. The dark-green curtain, half drawn aside in the right foreground, reveals og of children Bronce together. From an English collection. NHGUAWT NVA SVON'I—FI ON és a | EA PR Nae No. 15 PIETER POURBUS THE YOUNGER : Fremisu: 1513—1584 PORTRAIT OF A YOUNG MAN LORAIN a Woe 4 (Pancha ‘VW. ( ee Height, 1934 inches ; width, 141%, inches Sma. three-quarter-length figure of a young man, tiened to- ward the right. In a black doublet, with hanging sleeves, small ag white ruff and cuffs. His right hand is on his waist, his left holds a his gloves by his side. Fair hair, bright blue eyes, and an incipient = —_ beard. | Sean a Inscribed at the top on the left, “anno pyr 1574”; and on the right, “ARTATIS | suAE 25,” with the artist’s initials “P.P.” From the collection of Baron Kervyn de Lettenhove, Bruges. No. 15—PIETER POURBUS THE YOUNGER an ATRL timer cial det Hg URL, No. 16 JEROME BOSCH FiemisH: 1460—1518 THE LEGEND OF ST. CHRIST wes i bird om (Panel) = Ce ‘ Height, 19°4 inches; width, 1314 inches Unper the branch-thatched penthouse reclines the giant Offero, with his palm-tree staff on the ground by his side. From the right, across the ford, approaches the Infant Christ, who calls to Offero (afterwards to become St. Christopher ) to carry Him across. From among the many incidents in the background we discern the guardian of the ford, who holds his lantern for the enlightenment of travelers; a procession of men on horseback, and others, seen near houses outside the walls of a medieval city. Beyond is a wide-spreading landscape, with a windmill and dis- tant hills. Blue sky, with birds. From the collection of L. Gordon-Stables, Esq., London. No. 16—JEROME BOSCH No. 17 JACOPO DI CIONE IraLiaANn: Seaguae. Rae THE CORONATION OF THE KIRGIN) (Panel) , / Tb ae _ Height, 23% inches; width, 16% inches SMALL, nearly full-length figures. An octagonal composition, on — a gold ground. The Virgin, on the left, wears a red tunic and a white decorative mantle lined with green. In profile, to the right, she receives the crown from the hands of Christ, who wears His traditional robes. Behind and between their knees and the back- ground kneels an angel. At the sides are a pair of six-winged, red-clad seraphs. Above fly two blue-robed cherubs. From the collection of Alexander Barker, London. _ From the collection of Sir William Farrer, London. Exhibited at Exhibition of Early Italian Art, New Gallery, 1893-94, London. Exhibited at Leeds in 1868 (“lent by Alexander Barker, Esq.’). Mentioned by Graves in “Century of Loan Evhibitions,’ p. 2101. Examined by Prof. O. Sirén. 17—JACOPO DI CIONE No No. 18 MARIOTTO DI NARDO AL ye a sor ee Irarran: Active. AB. ,1420 . THE VIRGIN AND CHILD, W (Panel) Height, 341, inches; width, 18 inches (arched top) SAINTS Smaut full-length figures. The Virgin, seated and with clouds at her feet, gives the breast to the Child. In the front, on the left, kneel St. Bartholomew and St. Lawrence; and further back is St. Catharine. On the right are St. John the Evangelist and St. Augustine, with St. Dorothy at the back. A half segment of a Mandorla above is formed of cherubs and seraphs. Arched, and cusped setting. Along the base: “Pater Noster qui es in.......” From the collection of Wesley Harper, Esq. “4A thoroughly characteristic work by the Florentine painter Mariotto di Nardo, executed about 1420.”—Osvatp Siren. . ARDO di N No. 18S—MARIOTTO DI ma Bi Syne ig 3 eee oe oer + ny ete SRN: more No. 19 : NARDO DI CIONE FLorENTINE: (Active 1340—1365) THE CRUCIELXI ON ott — ee ae, By Height, 28 inches; width, 121%, inches Tue Cross is erected in rocky ground; at the foot of it kneels Mary Magdalene, who embraces the feet of Christ which rest on the swppedaneum. On the left are the Marys and St. John, and a soldier on horseback. On the right is the Centurion Longinus with another horseman; the soldiers are casting lots for the rai- ment. High above the cross is the pelican, billing its breast. Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 1917, Catalogue No. 12. “The composition of the picture is in many ways unusual. ° The figures are arranged on the steps of a rock in different vertical planes, almost as in a stone relief. The combination of bright yellow, blue and red is very effective and original, and therefore seldom met with in Trecento pictures. Only in the works of Andrea Orcagna and his elder brother, Nardo di Cione, do we find similar compositions and arrangements of colour. We may especially here compare Orcagna’s small picture representing the Adoration of the Magi in the Jarves Collection at New Haven. The composition is there built up on similar principles. The types, however, are different from those in Orcagna’s works and correspond most closely to the types which we find in the Paradise frescoes of the Capella Strozzi in Sta. Maria Novella, Florence, which were painted by Nardo.” (Catalogue of the above Loan Exhibition.) AE REN BIE SON: sible aa reas face iecemen se. aah a 9 caadia eit emma iemeenrete Cee eae ro a we ase Ste UNRATE wy De: ep SMB Mo enn E No. 19—NARDO DI CION No. 20 | FILIPPO MAZZUOLA x J 6 2 v Nort Irarran (Active 1475-1505) , 5 THE MADONNA AND CHILD, WITH ST. JOHN AND ST. C (Wood) Height, 32 inches; width, 201% inches | THREE-QUARTER-LENGTH figure of the Madonna, in red robe, cut square at the breast, and a mantle bordered with gold. She is seated on a throne which has a cloth of honor with a red and. white edging. Beneath red curtains, and against a dark back- ground stand St. John the Baptist on the left, and St. Catharine, — with her wheel, on the other side. A parapet, with the inscription in the cartel unfortunately obliterated. 3 Exhibited in the Loan Exhibition of Italian Primitives, N ew York, November, 1917, Catalogue No. 93. . S “Probably an early work by Filippo, painted about 1480, or a little later. It is more primitive in feeling, and more provincial, than his later works in which the Venetian influence becomes more dominating.” (Catalogue of the above Loan Exhibition.) No. 20—FILIPPO MAZZUOLA No. 21 PIETER BRUEGHEL THE YOUNGER ~ Fremisu: 1564—1638 Ly} 09072 -A BETROTHAL FPESTIVITY (Panel) Height, 29 inches; length, 46 inches Some thirty peasants and their women folk are assembled in an interior, apparently for the purpose of celebrating the betrothal of two of their number. In the center, and toward the right, at a table a woman in a red dress and a man, in brown coat, appear to be determining the amount and nature of the dowry of a young woman, seated between them with the bridegroom at her side. In the foreground are couples dancing. A crowd on the right. In the center a couple are kissing near a pair of steps. On the left are bagpipers, and a man leaning on a table. A scene of much merriment. Signed below, on the left, BrurcueEr, 1644. From the collection of Mr. Rodolphe Kann, Paris. Described and reproduced by Dr. Bode in the Catalogue of the Rodolphe Kann Collection, Vol. I, p. 8, No. 6. No. 21I—PIETER BRUEGHEL THE YOUNGER pe =a Now 22 SCHOOL OF PALERMO Iratrtian: XVruH CENTURY Ge Ce eo | 9 THE DORMITION OF MARY / i hy scat (Panel) Height, 2614, inches; length, 481, inches Some twenty-one figures, smaller than life size. On a couch, spread with a red covering, the Virgin lies prone in death, her hands crossed over her lifeless form. In a Mandorla at the back, Christ in Heaven receives into His arms the Virgin’s soul; four angels are round about Him, while two others hold candlesticks. One of the apostles, near the head of the couch, holds the aspergés and another a censer. Other apostles stand round in various postures. Floral foreground, gold background. No. 22—SCHOOL OF PALERMO No. 93 | oe JAN MIENSE MOLENAER Dortcu: as. 1615—1668 AN INTERIOR, Kee FIGURES et vi gt (Panel) Height, 241%, inches; length, 34 inches | ee A MERRY company of men, women and children, arranged in dif- ferent groups. In front of the fireplace on the left a woman, about to peel an apple, looks round toward an old man on whose lap sits a child. A cat is on the stool by his side, and a dog sits on its haunches. Children kneel inwards, facing each other, in the center as they play. On the extreme right a man in a red coat points the finger of scorn at a woman seen n through a half- door in the right background. Signed on the box footstool on which the cat is lying, Moen an. YUAVNAWIOWN ASNAHIN NVL—EZ ‘ON 7 ; ) were. - oa. ah oj Pe ‘i ae SpA eee oa No. 24 HENDRIK DE MEYER Doutcn: XVIIrH CentTuRY A RIVER SCENE, AT DORDRECHT, a ae WITH SHIPP. RAI AND TGC ES 210; 0 ee (Panel) | Height, 29 inches; length, 42 ark Numerous sailing vessels, gaily beflagged, and boats are on the river Maas opposite the church of Dordrecht. Many men and much merchandise and horses in the ferry-boat which crosses in the center. In the left foreground are five men, dressed in of- ficial attire, in a rowboat. From the bank on the right runs out a wooden jetty near a landing place. Blue sky with cloud cumuli. Signed on the sailing vessel to the right, near the Jetty, H.D.M. f. 1652. UHAUWN Ad MWIYANAHH—*Vé ON No. 25 CORNELIS DE VOS Fremisu: 1585—1651 PORTRAIT OF A GENTLEMAN AND HIS SON vi SO Oe (Panel) /V - oe Height, 36 inches; width, 27 inches THREE-QUARTER-LENGTH figures, facing inwards toward the right. The father is in a black doublet, with white ruff and cuffs. The fingers of his right hand are inserted in a gray-bound book, with red-ties, placed on the table with a green cloth on the right. Behind him is his son in gray doublet, flat lace collar and ue his hands are folded. Neutral background. A companion picture to the following, No. 26. From the collection of the Due de Talleyrand-Sagan, Paris. Yo. 25—CORNELIS DE VOS No. 26 CORNELIS DE VOS_ ‘Fremisu: 15851651 PORTRAIT OF A LADY AND HER DAUGHTER / so g a6 (Panel) Ta Height, 36 inches; width, 27 inches ¥.5 THREE-QUARTER-LENGTH figures, facing inwards towards the left. The mother wears a black dress trimmed with gold buttons, large ruff and white cuffs; her hands are folded, as she kneels before an open book placed on a green-covered table on the left. Behind her is her daughter in dark gray dress with pleated ruff. Both of these figures wear gold, framed headdresses. Neutral background. A companion picture to the preceding, No. 25. From the collection of the Duc de Talleyrand-Sagan, Paris. No. 26—CORN ILIS DE VOS Noe2e BARTOLOMMEO DI GIOVANNI (“ALUNNO DI DoMENICcO’” ) | FrorentiInE: Active 1485—1500 1 Gye A SAINT ve fe 70 (| rents (Wood) ; (3 H eight, 26 inches; width, 191%, inches THREE-QUARTER-LENGTH figure of an Evangelist (?), turned three-quarters to the left. In a black robe, he has a long gray beard, and holds a red book in his left hand. Light blue sky. Exhibited in the Loan Ewvhibition of Italian Primitives, New York, November, 1917, Catalogue No. 29. “Bartolommeo di Giovanni was first discussed as an artistic personality under the name of “Alunno di Domenico” by Mr. Berenson in an article in the Burlington Magazine, No. 1, 1903, where the painter’s close relation with Domenico Ghirlandaio was emphasized. Yet it is evident that Bartolommeo went through some distinct stylistic transformations, caused by influences from different quarters. This picture probably belongs to 1486. It is strongly Ghirlandaiesque in style.” (Catalogue of the above Loan Exhibition.) No. 28 SIMONE DA BOLOGNA BoLoGNESE: ACTIVE 1370 THE CORONATION OF THE VIRGIN Of 4 (Wood) Cee fs 4) U Center Panel: Height, 1914 inches; width, 91% i S ¢ d Oe ~~ Each of the Wings: Height, 8 inches; width, 434 inches Tue Madonna, seen at full length, is being crowned by Christ. The canopy of the throne is borne by two angels, and behind them are three seraphim and six cherubim. Still higher up are other angels. In the left wing in separate panels, in three tiers, are (I) St. Benedict, (IL) St. John in the Isle of Patmos, and (IIL) The Announcing Angel. In the right wing, similarly disposed, are (I) St. Nicholas, (II) St. John the Baptist, and (IIL) The Annunciate Virgin. Inscribed in the center, below: “Symon de Bononia pinxit.” Formerly in the Marcille Collection, Paris, and sold March 6, 1876, No. 61. In the Somzée Collection, Brussels, March, 1904, No. 368. G. Rosini: “Storia della Pittura Italiana,’ 1848, Vol. II, p. 145. Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 1917, Catalogue No. 75. “The unusually fine preservation of this little domestic altarpiece, in its old frame, adds to its interest as an example of the Bologna School towards the end of the Fourteenth Century.” (Catalogue of above Loan Exhibition.) MONE DA BOLOGN# No. 28—SI No. 29 SIMONE DA BOLOGNA — BonocNese: AcTIvVE AaBoutr 1370 fe es THE CRUCIFIXION, 6 dw gt ake WITH SAINTS AND ANGELS. (Panel) © Height, 1434 inches; width, 8 inches — Curist on the Cross is ministered to by blue-clad angels who catch the blood in chalices. Seated on either side, against a gold back- ground, are the Virgin and St. John. In the small arcaded com- partments below are half-length figures of female Saints; of these the Magdalene, Catherine and Helena are placed in the center. Examined by Prof. O. Sirén. ee Stes ee \ 4 OGN A BOL D. E ON IM No. 29—S No. 30 SCHOOL OF MASACCIO | Hi pO BS -Fronentine: 1401 Fie be ee SALOME RECEIVING THE HEAD 4 OF ST. JOHN THE BAPTIST (Panel) Height, 11% inches; length, 20 inches On the right, at one end of the long table at which are other guests of honor, Herod is seated between dignitaries of the Court. Salome kneels, holding the head of the Saint on the charger. Floral tapestry background to these figures. Towards the left are three youthful courtiers; menials and a monkey are by a table on the left, on which are viands. Through the doorway is | the view of a garden. Tiled foreground. ‘, From the collection of Baron Miller von Aicholtz, Vienna. OIDIVSVW AO TOOHOS—08 ON No. 31 SCHOOL OF MASACCIO FLORENTINE: ge 3 92 512 THE BAPTISM OF CHRIST — : (Panel) ‘ . Height, 11% inches; length, 20 inches TurreE angels holding the vestments, which are red, blue and white, stand on the bank on the left. In the center Christ is in the River Jordan, at the moment of His Baptism by St. John, - who, holding the shell and the cross, stands on the edge of the bank on the right. Rocky setting. The Holy Dove appears in’ the sky. | ~ ag From the collection of Baron Miller von Aicholtz, Vienna. F OIDOVSVW AO "IOOHOS—TE& ‘ON No. 32 GIANFRANCESCO PENNI Roman: 1488—1528 PORTRAIT OF A ROMAN LADY ? y. ¥ 00) Rgds «2 (Canvas) (OT Barn Y Height, 26%, inches; width, 201%, inches Har length; three-quarters to the left. In a rich puce dress, the breast, sleeves and shoulders trimmed with bands of gold material; a thin gauze insertion over the shoulders. She wears a gold coronet. Architectural background, with a rich green curtain on the right. Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 1917, Catalogue No. 838. Examined by B. Berenson. (Letter dated April 28, 1913.) “The place of honor among Raphael’s Roman pupils may without hesi- tation be accorded to Giovanni Francesco Penni. He approaches his master, particularly as a draftsman, more closely than any other of the painters who followed in the wake of the young Umbrian. The greater part of Penni’s drawings have been honored with Raphael’s name, and the same has indeed happened to many of his paintings, particularly his portraits. The present portrait of ‘A Roman Lady’ is most closely connected with a portrait in the Museum at Strassburg. It must have been executed during Penni’s very latest period; he died almost as young as his master, forty years of age, in 1528.” (Catalogue of the above Loan Exhibition.) NG.633 LORENZO LOTTO. VENETIAN: 1480—1557 PORTRAIT OF A YOUNG MAD [+4 CME | (Canvas) Height, 27% inches; width, 25 inches Hatr length, nearly full face. In a black doublet edged with fur, and a black cap. His left hand is gloved, and he holds the other in his right. He has long hair and a beard. Gray background. a ; About 1854 in the collection of the Duke of Devonshire; and seen by 43 Waagen (“Art Treasures,’ Vol. III, p. 345), who eee attributed it to Lorenzo Lotto. . Mentioned also by Crowe and Cavalcaselle, Vol. VI (1876), p. 592. (Cot. eos lection at Chatsworth.) > Subsequently in the collection of Count Goloubew, Paris. Graves: “Summary of Waagen,” p. 112. Exhibited in the Loan Ewhibition of Ttalian Primitives, New York, November, 1917, Catalogue No. 94. LORENZO LOTTO No. 33 No. 34 ANTONIAZZO ROMANO Centra Iranian: Active 1460—1508 | |, THE MADONNA AND CHILD St she Ui ON gees (Wood) WV: Height, 22%, inches; width, 144%, inches Tue Virgin, in her traditional robes, holds on the parapet before her the standing Infant who wears a coral necklace, and is in part — covered by the gauze material which He grasps in His right hand. His right hand is raised to bless in the Greek manner. The back-— ground is of gold, and patterned with floriated designs placed in — ogee-shaped compartments. Exhibited in the Loan Ewhibition of Italian Primitives, New York, Niven 1917, Catalogue No. 82. “No doubt this is one of Antoniazzo Romano’s most pleasing Midornes It repeats, with slight modifications, a composition which was almest canonical | in the Umbrian School towards the end of the fifteenth century, and was repeated by a number of Perugino’s and Pintoricchio’s followers. Antoniazzo— has emphasized the ornamental aspect of the picture by adorning the golden background with a brocade pattern, in the same manner that he treated the background of the large altarpiece representing the Madonna between St. Peter and St. Paul, with twelve members of the Rota, in the Vatican Gallery. | That is probably Antoniazzo’s finest artistic achievement, and it is only just to say that the present Madonna is closely allied to the Vatican altarpiece, both in style and quality. It was painted between 1480 and 1490.” (Catalogue of the above Loan Exhibition.) No. 34— ANTONIAZZO ROMANO dis! fa ae . Siw ol eae a) ae “yy po > <<. 2 ee ee) a No. 385 ZANOBI STROZZI IranrAn: 1412—1468 ( . - ae THE DESCENT FROM THE CROSS Vall gd 0 (Panel) Height, 2454 inches; width, 17 inches Tue lifeless body of Christ is being lifted down from the Cross — by Joseph of Arimathea and Nicodemus, who stand on ladders. At the foot of the Cross is Mary Magdalene, in a red robe. Near by are the Marys, and some of the Disciples. Landscape back-_ ground with hills, a river and the wall-surrounded city of Jeru- salem. From the collection of Prof. Elia Volpi, Villa Pia, Florence, Catalogue, 1916, No. 1,008. 7 : NOBI STROZZI L 35—ZA oO N No. 36 ¢ oe } | ; ; i | i GIAMPETRINO (PIETRO RICCI) Tratran: XVItH Century BUST OF AWQMAN ~~ ¢ 3 oe SS (Panel) OA AOVOe Height, 28, inches; width, 21%, inches THREE-QUARTER length, turned three-quarters to the left. She has long, golden-brown hair which is plaited and falls in long curls on to her shoulders. She is partially nude, and seated in a ee round armchair. A drapery is round her waist, and loosely e. placed over her right forearm. Her right hand is peat! on a her left, which rests on the arm of the chair. ‘ From the collection of Count Chabriéres-Arlés, Paris. Engraved in the “Catalogue of Chabriéres Collection,’ No. 7. Pictures of this type have been the subject of criticism at the hands of — many leading art writers. In quite recent times we may instance the articles | a = on the subject in Rassegna d’Arte, March, 1909, and the Burlington Magazine, \ May, 1909. The whole subject has been most fully and responsibly dealt with __ by Mr. Herbert Cook in his “Reviews and Appreciations,” 1912, pages 35-40. Such compositions, whether in cartoon or painting, have their origin in the magnificent cartoon, in black chalk heightened in white, which belongs to the Musée Condé at Chantilly. In that, as well as in a less degree in the cartoon in the collection of Lord Spencer, we find something of the mystery of Mona Lisa. Certain other painted versions are treated with a boldness and with peculiarities of modeling which suggest the hand of such pupils and followers of Leonardo da Vinci as Ambrogio de Predis and Salaino. The present work has such an archeological interest, which is in fact heightened by its having been engraved as a work by Giampetrino. CI) C No. 36—GIAMPETRINO (PIETRO RI No. 387 GIAMBATTISTA TIEPOLO VENETIAN: 1696—1770 go LA BEATA LUDVINA (Canvas) i777 é Height, 26 inches; width, 20 inches” Busr length, in full front, her head rather on one side. sf a Noose brown cloak, which is buttoned; a neck-kerchief round her throat; — her head partly covered. Gray background. A girl of vee - years, with an ecstatic gaze. According to the inscription on the back of the painting, Ga. B. roe painted it in 1741. ie From the Galleria Crespi, in Milan. Described by A. Venturi, “La Galleria Crespi,’ p. 185. Described by P. Molmenti, p. 147. . Described by E. Sack, pp. 99, 172, No. 187; (reproduced). Described by P. Molmenti, Edition Francaise, p. 118. o. 8I7—GIAMBATTISTA TIEPOLO No. 38 ial ‘io GIAMBATTISTA TIEPOLO VENETIAN: 1696—1770 THE LAST JUDGMENT rf .o . (Sketch for a Ceiling Puntiig oe’ 0 0 YW (Canvas octagonal) Height, 30 inches; width, 1514, inches t THe Angel announces the End of All Things on the trumpet, as - he descends from the sky. The bearded figure of God the Father is accompanied by the heavenly host. On the left the Blessed rise out of the tombs; on the right the Damned go down into the tortures of everlasting night. Below the frieze of the archi- ~ tectural setting are putti. : From the collection of M. Camille Groult, Paris. oS From the collection of M. Henri Rochefort, Paris. O 4 TIEPOI No. 38—GIAMBA TTISTA San jae No. 39 GIOVANNI DOMENICO TIEPOLO — VENETIAN: 1727—1804 uv © — HEAD OF AN eer y (Canvas) Height, 23° inches; width, 1934 inches _ Busr length, life-size, slightly towards the right. In cage and brown toned cloak, open at the neck; a large turban richly col- ored and patterned in white, blue and gold. Neutral background. From the collection of the Duke de Hijar. | From the collection of the Duke de Salamanca, Paris. From the collection of Mr. Rodolphe Kann, Paris. Described and reproduced by Dr. Bode in the Catalogue of the Rodolphe Kann Collection, Vol. II, No. 139. Mentioned in the Preface of same — Catalogue. 0. 89—GIOVANNI DOMENICO TIEPOLO 70 ( 0 GO: —- (Canvas) No. 4.0 VENETIAN: 1727—1804 | ms | HEAD OF A YOUNG its Ln ee Height, 23%, inches; width, 19%, anche Bust length, life-size, towards the right. In fine blue mantle, Ti F and trimmed with fur; white under-coat, with jeweled clasp. F ancifully ornamented head-dress. Blue backerquaaay : aes From the collection of the Duke de Hijar. | _ ae 3 From the collection of the Duke de Salamanca, Paris. > 2 a From the collection of Mr. Rodolphe Kann, Paris. | = spar Described and reproduced by Dr. Bode in the Catalogue of the Rodolphe Ronn Collection, Vol. II, No. 13}. Mentioned in the Pie Of the same | Catalogue. i I DOMENICO TIEPOLO Z. = No. 40—GIOV No. 41 ALEGRETTO NUZI CENTRAL IrTartan: 1806—1385 CHRIST ON THE CROSS Pi Wood, arched : een) : Height, 29 inches; width, (19°, inches Two angels fly inwards beneath the arms of the Crucified to catch the blood. At the foot of the Cross is Mary Magdalene; on the left are the Marys; on the right is St. John, with clasped hands. | In the foreground kneels a Dominican nun. In the upper por-— tion of the composition, but detached from the main action, are (1) on the left, a small half-length figure of St. John the Evan- gelist in the cauldron of boiling oil, and (2) on the right St. Francis. Gold background. | Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 1917, Catalogue No. 71. : “This Crucifixion must have been painted by Alegretto Nuzi at a rather early epoch of his career, but after he had left Florence (where he probably studied in the bottega of Orcagna) and had settled in his native city of Fabriano. It shows close stylistic affinities with the altarpieces by Alegretto at Fabriano and at Macerata, dated respectively 1366 and 1369. The well drawn figures with the large sculptural heads reveal the master in full possession of his individual method of expression, and in a rather interesting emotional aspect.” (Catalogue of the above Loan Exhibition.) O NUZI ETT . 41--ALEGR No No. 42 JAN VAN SCOREL Dutcu: 1495—1562 MADONNA AN AILL aT TU we (Panel) : Height, 1914, inches; width, 1314, inches Due Virgin, wearing a fur-lined red mantle and a blue Lane which is cut square across the breast and is open to suckle the Infant, looks down at her Son, who has fallen asleep on her left —__ arm; with her right hand she turns the pages of the book placed = on the parapet, behind which she is seen at half length. A Raeren a ware vase, on the parapet, contains a lily stem. Landscape back- - ground, with trees and rocks. Reproduced and described in “Rassegna d’Arte” (1911) by Ferdinando Meazza, Vol. XI, p. 125, “Un dipinto inedito Di Jean Schoorel” (“A hitherto unknown painting by Jean Schoorel”). AN VAN SCOREL No. 42—J 0 a ee No. 43 a LUCAS CRANACH THE ELDER German: 1472—1553 — Se OS SALOME | Fe: ae Of C0 mes Panel) (OL, Q. Nr LU Height, 224%, inches; width, 13%, inches Smaxy full-length, non-resilient figure of a lady painted to Teo, : semble Salome. Her dark red dress has several bands of gold embroidery, and her sleeves are puffed and slashed. She wears a _ gold necklace, a chain and jewels on her bare neck, and her hair s falls in curls on to her shoulders. As she moves toward the left, she holds on a metal charger the head of St. John the Bap-— tist. She is standing on a light-toned cee bee a dark wall at the back. — Signed high up on the right ee: the orotomed serpent, the painter's sign 34 manual. From the collection of Count Montbrizon, Chateau St. Roch, France. From the collection of Mrs. Chauncey J. Blair, Chicago. DER 4 I E E No. 48—LUCAS CRANACH TH No. 44 THE MASTER OF ST. SEVERIN | GerMAN: Late XVruH CenTURY THE VIRGIN AND CHILD, WITH ST. a. Sug ge Pm arr eh WVatitrns — Height, 16% inches; width, 131% inches Iy an enclosed garden in front the Madonna is enthroned, with the Child on her knee. On the left kneels St. Catherine, with her crown, book, sword and wheel. Facing her is St. Mary Magdalen, with her pot of ointment. In the hortus clausuws, which bounds the composition, ladies in bright attire promenade before dwelling houses with high-stepped gables. Trees and blue sky. From the collection of Count Montbrizon, Chateau St. Roch, France. From the collection of Mrs. Chauncey J. Blair, Chicago. VERIN 4 S ER OF ST No. 44—THE MAST No. ADS ; JAN VAN GOYEN 9 Durcn: 1596—1666 RARE i oe) < A DUTCH CANAL WIT FISHE (Panel) o ‘i ; G Ga Height, 14 inches; width, 17 inches On the bank of a canal two rowboats containing putting in to a landing stage. On the left the steps cipitately to the level above, where are fishermen nea standing out against the sky. On the right is a wide waters of the canal with sailing vessels in the distance. sky. ; | | iy Signed, on the boat on the left, with the monogram, J. V.G. ee : < s wis & » { Bust length; three-quarters to the right. In academic robe a rich red sleeves; white cravat; light brown hair si on to be his ears; flat, round, black cap. Neutral background. BS From the collection of ie Steele, Esq. ge ans | to | (Canvas) yA p. 7 roe) No. 54 SIR JOSHUA REYNOLDS, P. R. A. Encusu: 1723—1792 PORTRAIT OF THE ARTIST = ae Height, 20 inches; width, 16 inches =@ = a wD Q =] © I val ca fa =< i) an nn 2) = = nN 4 10 . S 3 No. 55 ‘JOHN HOPPNER, R.A EN OLisH: 1758 21810 PORTRAIT OF MISS ESTHE (Canvas) 5 f TG oe Height, 3044 inches; width, 25% inches | Har length to the left. In white muslin dre 385 neck, and white cap; she is seated in a red-back before a dull-toned wall. Her long brown gloves her elbows. Gas, “Miss Esther Raine was the daughter of the Rev. Mathew November 7th, 1807. He was vicar of St. John’s Chure Rector of Kirkby Wiske, Yorkshire. She probably married 180 -’— ALGERNON Graves, in a letter dated Dec. 11th, 1915: ier From the collection of Mr. Jules Porgés, Paris. a. ie ry A ER, R — Ay © en Z. a0) © i 1 Ten) cS} Z, No. 56 THE MASTER OF THE DBATH IDENTIFIED WITH pit JOOS VAN CLEVE THE FLEMISH: 1485?—1540? oe | PORTRAIT OF QUENTIN 1 ays od d9 ; ‘(Canvas Ly Lb ; Height, 283, inches; width, Was fur; small black cap; long fair hair. hang he touches a gold ring Paes on the ‘eae left hand. Green background. aie In perfect state of preservation. pv E DEATH OF MARY ASTER OF TH M No. 56—THE No. 57 BARTHOLOMAUS DE BRUYN 1 THE: Gas Active AB. LBA iene the left. Ina black joahen ith red a black flat hat, white collar and white linen Across the foreground is a parapet covered wi carpet. His right hand rests on a black-bound vol on the parapet; his left grasps his glove and rests u the top of the panel, left and right, are two } rh charged with his arms and his merchant’s mark. — From the the collection of Baron de Weng de ae ™ Strassburg. te No. 57—BARTHOLOMAUS DE BRUYN THE ELDER te Ss, Renn aS QUIRYN BREKELENI “AN Dutcu: ACTIVE 1653—1669 _ THE T AILOR’S SHG op es the tailor is sitting at me pea fork wears spectacles and is sewing a blue robe; the ii left is occupied with yellowish-red clothes. wall warms his hands over a charcoal burner. Si is an empty barrel; kitchen utensils are placed on the flo foreground to the right. On the wall at the back are a map, straps, a bag and a shelf with various objects. A leat and a coat are by the partition which ge SS the Ww from the kitchen. ; Mail ai Signed below the window, with the monogram: Q.B. as a S ) fi. From the collection of Arthur Kay, Esq., Glasgow. No. 585—QUIRYN BREKELENKAM a “Ete pee. YOR ee 2 ere) es No. 59 PIETER DE HOOGH Dutcu: 16382—1 67 i. A LADY AND GENTLEMAN A Uy. peg ees Height, 26% inches; length, 33 inches In a large room a gentleman, wearing a long re black hat, is turned to the right and seated by a back is an open window. On the far side of the table, an Oriental carpet, is a lady with a white head-dr boy, by her side, is pouring out a glass of wine. On tl the back hangs a picture. A heavy curtain is drawn up through a doorway, a gentleman who is walking for dog is in the foreground. In the left foreground a Servi kneels, as she stirs the fire. The floor is paved in large panels. The walls are covered with Spanish cat : (Canvas) From the collection of J. can den Berg, Amsterdam, 1776. From the collection of Mr. Thurlow, 1904. From the collection of Ludwig Mandel, Moscow. Described by Dr. Hofstede de Groot, in his “Catalogue Raisonné,” Vol. ee 190. It is there stated in error that this canvas is “of the very period of the master,” and that “from the style of the costumes i be dated nearer to 1690 than to 1680.” But this picture cannot be « as late. The artist was, moreover, dead long before 1690. Its styl tone place it earlier than the “Music Party” which, four years ag as from the Steengracht Collection, at The Hague, and ultimately to - National Gallery; that picture is signed and dated 1677. , HOOOH Wd YUALAId—6¢s “ON ta cia tt Didobl dat AS ¢ £3 ¥ wie CTRL UE No. 60 JACOB VAN RUISDAEL _ Dutcu: 1630—1682 LANDSCAPE—W ATERF ALLS ee V Oto Height, 2844 inches; length, 3734 inches i “Tr scene exhibits a hilly country; with a fall of water on 1 either side; that on the left is supplied by a stream which flows between high banks, and under a rustic bridge; the other stream is divided by a rocky elevation, and the fall is feeble. The water 's of both falls mingle in eddies on the front ground. The : secon distance is diversified with flax and other fields, beyond which i: a lofty hill, whose sides are thickly studded with young oak trees _ and bushes, which conceal in part several cottages; but of these ~ the nearest stands at the base of the hill, and is entirely seen. The summit of a snow-capped mountain is visible above the woody hill. A man and a woman in conversation are on the bridge, and an- other man, with a wallet on his shoulder, is approaching from the te : right. The appearance is that of a fine day. This is a carefully wrought work of the master.” (Description in John’ Smith's Catalogue Raisonné.) : a Signed, below to the left: “J. Ruisdael.” eS =: From the collection of Lord Crewe, London. pe From the collection of W. A. Fébore, Paris, 1882. From the collection of Paul Eudel, Paris, 1888. From the collection of A. Schloss, Paris. From the collection of A. de Ridder, Francfort. mK ‘ Exhibited at the British Institution, London, 1841. Engraved by Gustave Greux for the Fébvre Catalogue, No. 82. Described in John Smith’s Catalogue Raisonné, Supplement, page 697, No. 47. Mentioned in Dr. Hofstede de Groot’s Catalogue Raisonné, Vol. IV, No. 410a. qavasinu NVA dOOVL—09 “ON Srey yetanne ty: ica 1 poly, 0 Oe Height, 30 inches; length, 421%, inches No. 61 GERARD DOU eae 1618—1675. (Panel) a hall of noble proportions. In one center is enthinonetl t Priest, in full dark red robes; his left hand is extended. side, to the right, stands his batonnier; behind, to the younger man consults the writings of the prophets, while baned man in the foreground is similarly employed. Fro left, at the back, enter St. Joseph and the Virgin. Chi diminutive figure, with legs bare and wearing sandals, and His arms extended in argument, stands on the left. At the ba and behind Him, is a group of small figures standing or seated 01 a staircase. Round a table in the foreground are three “men - on it is an open folio; to the right is an armchair. : : The style of Dou and the early manner of Rembragde are here clear to ale see, notably in the little concealed portraiture of some of the figures. Thus, the man in a dark red robe with a plume in his hat, and seen on the extreme left of the group on the steps, is beyond doubt a portrait of Rembrandt's. ’ father. Dou painted him several times. And the young man holding an : ea open book, who stands behind the High Priest, on the left, is Rembrandt __ when he was about thirty. The picture must have been painted by Dou about ee 1636, under the supervision of Rembrandt. From the collection of Paul Delaroff, Petrograd, Catalogue No. 183, (where the picture was attributed to Rembrandt). - ( Exhibited at the “Exposition Trécentenaire de Rembrandt,” held at Leyden, 1906. Reproduced in the “Klassiker der Kunst,’ Volume “Rembrandt.” NOd GUVUAD—TYI ON No 62 LUCAS DE Bee FLEMIsH: 1534—1584 PORTRAIT OF DOROTHY, LADY, (Panel) re f fe ST 72 - Height, 36 inches; width, 27 inches TuHREE-quarTER length, turned slightly to the ornamented costume of the Elizabethan period; patterned and wrought, and puffed over the square across the breast, the dress is further or gold chain, and a cameo set in a jeweled ornament. A with pendant and an ornamental head- dress. The clasped before the waist, and a ore ae is in the ground. | toe Inscribed above, on the left, “ano pn1 1579,” and a cartaleeen hers full. On the right, “arravis sv . . .” and the coat-of-arms with s1 62—LUCAS DE HEERE No. No. 638 Oy a GIOVANNI BONSI DA FIRENZE [ A O40 oie FLorENTINE: Active 1366—1371 THE MADONNA AND CHILD, WITH SAINTS (Wood) Height, 451, inches; width, 28 inches Tue enthroned Madonna, wearing a robe of golden texture and a dark blue mantle lined with green, holds the Infant Christ on her lap. He wears a red robe lined with green, and a gold under- [Continued on the following page d robe. With His right hand He blesses in the Greek manner; in His left He holds a cardellino. On the left and right of the foreground kneels an angel, with folded hands. Above the throne another pair of angels hold up the red, blue and gold cloth of honor. Each figure is nimbed and seen against a gold back- ground. The inscription in the center of the lower step may be read, with its contractions: “Questa tavola a fatta fare Mona filippa di dophilo Ammanati, moglie charissima Di puchio di ghetto.” Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 1917, Catalogue No. 12. “The present picture is attributed to Giovanni Bonsi da Firenze, be- cause of its striking similarity in style with the large Madonna, bearing his name and the date 1372, in the Vatican Gallery. The points of contact are so close that there can be no hesitation as to the attribution, yet it is worth noticing that only these two paintings by the master are at present known.” (Catalogue of above Loan Exhibition.) ) 247 ee (Wood) | No. 64 GIOVANNI DAL PONTE FLorENTINE: 13885—1487 (S ST. JAMES AND ST. JOHN; THE RESU. I (Two Wings of an Altarpiece) Each panel: Height, 49 inches; width 1242 inches In the dexter, or left panel, St. James holds the pilgrim’s s staff in his right hand, and a book in his left. | Above, Christ is seen rising from the tomb with the Banner of the Resurrection; the Roman soldiers lie asleep on the ground. In the sinister, or rights panel St. John the Baptist, wearing his camel’s hair coat, holds a crystal cross with the scroll inscribed: “Ecce Angnus (sic) Dei.” Gold background with trees. Above, angels catch the blood Here ¢ issues from the wounds; the sun and moon are treated symboli- Be cally. ~~ i Exhibited in the Loan Exhibition of Italian REA New Y ork, N ovember, 1917, Catalogue No. 14. ~~ “The tall and powerful figures, with sharply cut types, reveal at once Pa oe the hand of a strongly individual painter. We know the same hand from a several large altar pieces in the Uffizi, in the National Gallery in London, and in other collections. All these pictures used to be ascribed to Jacopo da Casentino, a mistake caused by some misleading statements of Vasari, — corrected by Herbert P. Horne in an article in the Burlington Magazine, August, 1906, where full documentary evidence is set out about the painter - Giovanni dal Ponte. He was a younger contemporary of Lorenzo Monaco, and one of the most interesting transitional masters of Florence. \ The design of his figures has still something of the Gothic swing, while the treat- ment of the folds and draperies approaches the classic mode of the Quat- trocento.” (Catalogue of the above Loan Exhibition.) No. 64—GIOVANNI DAL PONTE JUAN B. DEL MAZO- SPANISH: : 1610—1687_ PORTRAIT OF THE INFANTA MARGARITA 1 MARL : on a red ground at her breast; a ee scarf hangs { right shoulder. A large red feather over her right ear; | hair; a white kerchief in her right hand; a rose in” A red curtain, in the background, is caught up on a cl left. There can be little doubt that this Infanta is to ne I Margarita Maria, daughter of Philip IV and Mariana of Aus heroine of Velazquez’s famous “Meninas,” or “Maids of , Prado. She was five years old when that picture was painted. The work belongs to about the same period. Ye No. 65—JUAN B. DEL MAZO | No. 66 ‘LOUIS LEOPOLD BOUL Fuente : 1761—18 31 re GENERAL, THE MARQUIS D aL a ace (Canvas) S q U Gee Hei 351, inches; gi 28h inches with red ane ane. gold ee eacde a sword and black high boots with spurs. His left h: his right clasps the bridle of his steed that 1 sandy soil. Trees and a grassy background on diers ride up in the left distance. Lafayette. Each in turn owes soinething to the dominating Dyck’s “Portrait of Charles I,” then already in the Cae 3 gee owe on the left, BOILLY PINXIT 1788. Engraved by Balechon. From the collection of Eugéne Kraemer, Paris. iD BOILLY ‘ OUIS LEOPOI No. 66—L ad Rade ou (Care Height, 38%, inches ; ‘width, 31 inches with blue bows heightened with a Rl has eae black kerchief on her powdered hair. On a table to t] music. She plays on the hurdy-gurdy held in bate: rE wall forms the ACE BT ONE —— eee St te Oe ed ee ee ’ No. 67—LOUIS TOCQUE No. 68 ALEXIS SIMON BI H LSE: 16741734. LL. i. PORTRAI T OF A DA UGH TER Or (Canvas / et | On: Height, 50 inches; width, 40 ‘inches i Sue than life-size, ee eae Tn lo a vee apran in aia; at olin ‘dada sik white cap, and she wears red shoes with gold buckles. bottom corner a dog looks up at the bird which stick in her left hand. A portico in Bs nem bac scape setting on the left. | In the Versailles Museum there is a panne by th | representing the Princesse de Montauban and the Marquise de - No. 68—ALEXIS SIMON BELLE | ‘No 60. FERDINAND BOL DutcuH: 1611—1681 THREE-QUARTER-LENGTH, life-size portrait of a lady, wards the right. She is in a golden-yellow dress, girdle bandolier, open corsage and pearl necklace. — hand is her arrow, and in the other her bow which i near the head of a hound. Dark landscape background. Of the best period of the master and strongly painted. ee Signed below, on the left, F. Bow recrr, 1647. | 7 From the collection of Mr. Jules Porgés, Paris. | No. 69—FERDINAND BOL No. 705 See THE MASTER OF FRANK) German: Earty XVIrH Cenrury : ne THE VIRGIN AND CHILD, WITH — ST. CATHERINE AND | Sal pan ee (Panel) (Wh | Height, 291, inches; length, 46 inches an Furt-Lencru figures, smaller than life-size. TI _ throned in the center, with the Child standing on her a fur-lined red robe. In the left background is a n on the right, behind a table that has a basket of fre St. Joseph, who holds a. er of wine in his left right hand and her wheel on her left ‘aes In ae right. St. Barbara with an open book on her knee, and ee t< background. eed i Siaas Beste peel deeo tinea tiga ere : mse ipigidlans bare ; s No. 702—THE MASTER OF FRANKFORT & Decca AP - ae pee % - ere ee eee ies: : ; ; “ iE oe: masts. * = eae F “ Sy steno se eel Mince eit rin PA eh A AGEL LEDLM NADAL AE LE, eota teh BE REE EEE Se oo, We ST. AGNES (A Triptych) (Panel) Vie S Center, 3014 inches by 164% inches No. 71 _AMBROSIUS BENSON Fiemisn: Earry SCV GH (CENTURY Each of the wings, 30%. inches by sy, Priston Tue Virgin, holding the Child on her lap, is seatedny in a yard under a canopy of red velvet with a cloth of honor o and gold brocade. Surrounding the se is a pee ing the keys of a harp. An angel in white robes floatsay head of the Virgin and holds a richly beers Om 7 sword and a broken wheel, aad reading from a bra an open window the background is formed by a pence scape with a blue sky. ~ On the right wing is St. Agnes, with en lamb i in the f ground; she holds a palm branch. Behind her through | a win we see a continuation of the landscape of the other eee SS i a RNA: ON EL SANNA ROCA BRTT AAA wr aU 7 3 isn ner RL RR ER a aia SE RO CONSE SEE - 3 ores toina nk sepa carne emcee ong No. 71—AMBROSIUS BENSON | No. 72 PAOLO DI STEFANO FLORENTINE: ACTIVE 1450—1478 + THE MADONNA AND CHILD, WITH [AN | (Wood, arched at the top) = 6 ee om 450 sf eal Height, 57 inches; ie i Tue Virgin, her head framed in with her ark blue hood, is. on a broad cushion and presses to her breast the Infant ( He stands on her left knee, His robe having a scalloped and being confined at the waist by a girdle. He holds a | His left hand, as He looks up earnestly into the eyes of mother and inserts His right hand in the upper part of her rc Angels hold the crown in the sky... ‘The Ngwe are aac the background is of gold. Evhibited in the Loan Exhibition of Italian Primitives, N ew -Y ork, N 1917, Catalogue No. 17. Formerly in the Davanzati Palace, Florence. . . =f “Paolo di Stefano’s name is known from a large fresco painting now the cloister of St. Apollonia in Florence; Cavalcaselle has also, with reason, attributed to him a large picture in the Pisa Gallery, and a in San Miniato al Monte, outside Florence. Particularly characteris the painter are the large floating angels with outstretched arms, who Madonna picture are holding a crown over the Virgin’s head, and : "i fresco are catching the blood of Christ in golden chalices.” (Catalogue of above Loan Exhibition.) ae No. 72—PAOLO DI STEFANO | Noi.73 sea CENTHAL ITALIAN ECA CIIVE 1495—1518 Ris “ye -. a ST. LUCY — te a ~ (Wood, the top of the panel cut away at the corners) 6 , 19 d 16, e. Height, 73 inches: wig Tr) 29 inch ie FuLu Toners standing on a texrace ih-trone 6 walls of a castle. In a richly brocaded oe bo | pearls, and a dark red mantle lined with blue. Her hair f profusion onto her shoulders. In her raised right hand holds a dagger ; in her left is a dish, in which float her eyes. — angels on small clouds hold the crown of martyrdom above head. Gold background. From the collection of George G. Barnard, New York. Exhibited in the Loan Exhibition of I Baa Primitives, New York, 1917, Catalogue No. 96. “This picture may be compared a the large altar prere in the Gallery, dated 1499, in which exactly the same facial type and the sculpturesque treatment of the folds are again found.” (Catalogue o. above Loan Exhibition.) . No. 73—ZAGANELLI DA COTIGNOLA SIMONE DE CUSIGHE VENETIAN: Active 1380—1410 ST. ANTHONY ABBOT AND OTHER SAINTS, ENTHRONED ie 3 J itis (Wood, heightened in he f, barlae Height, 241%, inches; length, 75 ine] ENTHRONED in the center of the wide and ee, setting St... Anthony Abbot holds his bell in his. right hand and a crozier in his left. On the extreme left, and equally detached from the other Saints, is St. Jovita, who stands on a spiked wheel. Between that and the principal figure is St. Gottardo, in full ecclesiastical robes. On the right is St. Bartholomew, with his knife; and, in another panel, on the extreme right is St. Anthony of Padua, holding a heart in his right hand. Crowe and Cavalcaselle (History of Painting in North Italy, Vol. II, p. 59) mention five pictures by Simone as being then in the Casa Pagani at Belluno, one of them the picture here on exhibition. [Continued on the following page oe sb Soe hy oe w York, November, — No. 75 ‘ss SALVATORE ROSA — Irarsan: 1615—1673 _DIOGENES IN SEARCH OF ANG (Canvas Height, 4314 inches; width, 331, ceche BS of 9g ae} Lire-sizE, three-quarter-length figures. The bea in a yellow robe and red mantle, holds in his up. lantern, which has a lighted candle in it. A wo and a man and a woman on the right jeer and w cal buildings in the background. ; From the collection of Edward Knight, Esq. Engraved by William Sharp, 1780, when the paintings ‘was in Edward Knight, Esq. é ey The engraving accompanies the painting. (i a No. 75—SALVATORE ROSA No. 76 “JUSTUS ea FLEeMISH: TO FERDINAND Il DE’ MEDICI a . ny Veni ; cures eat Fe t x price aes Jue 5G A Height, 6446 inches; wi ABS inches 2 | Fuut length, three-quarters to the left. As a young Bice . man in damascened armor; brocaded trunk-hose and white hose; white lace ruff and cuffs ; eee sword. His - Tiled foreground. From the collection of Mr. Jules Porgeés, Paris. Evhibited at the “Exposition de Bagatelle,” Paris, 1911, No. 149, Described in the “Revue de Belgique,” August, 1910, p. 314. Described in “Burlington Magazine,’ July, 1911. RMANS ‘STE L JUSTUS S No.- 76 No. 7 LEANDRO BAS SANO- VENETIAN: 15591622 (Canvas) se! 3 Height, 68 i inches; width, 53 inches Tur Doge has a long, gray beard and blue eyes. three-quarters length, and is turned three-quarters to Habited in the full robes of his office, he wears a ric mantle of gold and lemon- toned damask, decorated Bu Born in 1419, he was Podesta: of Verona and pans and Procurator 0 San Marco before bowing himself onto the ducal throne as seventy-four Doge of Venice in 1486, at the age of 66. One of the most. _important events in his dogado was his official reception of Beatrice d’Este. His: por-- trait is seen in the altarpiece of the “Madonna, with St. Agostino and St Marco with Angels,” in the Church of St. Pietro Martire at Murano, es i Fs Formerly in the collection of the Gradenee family, one of the most ancient ; in the Veneto and one which gave two Doges to the republic. Rise ae in the possession of Antonio Gradenigo circa 1860. ; The attribution as well as the identity of the Doge was aatecasbed by ia ay Mr. Berenson on the basis of the portrait, bearing the name of Gentile Bellini, a in the collection of the Rt. Hon. Lewis Harcourt, at Nuneham, near Onyord, ae Exhibited in the Loan Evhibition of Italian Primitives, New York, N: Ryd *, 1917, Catalogue No. 101. 2 aa No. ViI—LEANDRO BASSANO No. 78 DARIO DI GIOVANNI MESS: ACTIVE IASI ST’. BERNARDINO )F SIENA oe ae | ee Seer he oie) Height, 71 inches; Furt-Lenctu figure of the Saint, in a Franciscan habit, and girdle, standing toward the right and wearing sandals. A red- bound book is in his right hand. In his left he holds the circular ‘y tablet, with the Sacred Monogram carved within it. The mitre 4 3 by his left side and the two by his right recall that the bishoprics of Siena, Ferrara and Urbino were offered to him in vain. His | name is inscribed across the panel. Bes Exhibited in the Loan Exhibition of Italian Primitives, New York, N vcember, 3 1917, Catalogue No. 92. an “This characteristic, and decorative, figure of St. Bernardino is evidently the work of a painter who very strongly felt the influence of the Paduan School about the middle of the fifteenth century. The hard-and minute s . drawings both of the plants and the figure, and the relief work in the deco-) "ame rative details prove the painter’s connection with the art of Squarcione and Crivelli. The same peculiarities and morphological details may be observed | in Dario di Giovanni’s signed altarpiece in the Museo Civico at Bassano, FS representing the Virgin of Mercy between the Baptist and St. Bernardino; — . particularly, the very characteristic feet and hands prove the identity of the 7) | master. Dario di Giovanni, called in contemporary documents “Pictor Vaga- bundus,” worked in the Romagna as well in the Veneto (Asolo, Treviso, Conegliano); his art is a typical product of the Veneto-Romagnolo current, — about the middle of the fifteenth century,” (Catalogue of the above Loan Exhibition.) a NI No. 78—DARIO DI GIOVAN No. 79 JAN VICTOORS Dutrcu: 1620—1672 JOSEPH TELLING HIS DREAMS SO lee (Canyas a7 ~ VASA Height, 67 inches; width, 65 inches Tue boy Joseph stands on the left near the fireplace; he wears a brocaded robe of golden texture, with a girdle, and a dark blue flat cap. With emphatic gestures he tells his dreams. His [Continued on the following page mother is seated on a low stool in the left foreground, and listens attentively. Standing on the far side of the table in the left background are three of his brethren near a small window. His aged father, bearded, turbaned and wearing a loose red robe is seated in the center and turned towards the left. Behind him is a man in profile in the same direction. Another group are in the right background, while in front a young woman kneels by a fire as she stirs a bowl of soup. Signed on the left, below, “J. Vicroors, vr. 1651.” From the collection of Catholina Lambert, Catalogue No. 359, in the sale of which the painting was attributed to Rembrandt. After the removal of the over-painting, the full signature of Victoors, together with the date, came to light. Then also were revealed the groups of figures in the left and right background, in a perfect state of preservation. ‘= Et i air fa: oman - a : '. ei | ¥ Ian 80 CARRENO DE MI proudly out at the beholder. In black velvet cc cloak, a broad white collar and cuffs and black s dark hair. In his right hand he holds his black he holds a sheet of ae which is an ins . “Al ., = Potent . > .Venezsta sayents sidenen table saith yellow, gold- femeet cloth. His massive figure « strong shadow. Floor and background of neutral tone. Inscribed on the right: “IO” (ie. Pea From the collection of the late Count Nelidof, Ambassador ees Paris. EP ages, No. 80—CARRENO DE MIRANDA No. 81 SCHOOL OF GIOTTO Iranian: 1266—1887 POPE URBAN IP, AND ae ; | (Panel) iSO ne Height, 60 inches; widt) Tue enthroned Pontiff in puce- -toned robe, and full red edged with gold, and wearing his triple tiara, blesses in h manner with the fingers of the right hand. On the gold le ground, in cartels, are the words “Papa” and “Urba.” In left foreground is the small kneeling figure of a blue-rok ed don his wife, somewhat similarly attired, kneels and faces. him. From the collection of Rev. Dr. Robert J. Nevin, Pastor of the A Church at Rome. ; ay From the collection of Mrs. Robert H. Sayre, South h Bethlehem, Pa, latter’s sister. ey, - 631 inches | No. 81I—SCHOOL OF GIOTTO eV: a zit . , ISTS REPRESENTED THEIR WORKS rn nes = LIST OF ARTISTS REPRESENTED AND THEIR WORKS CATALOGUE NUMBER AMBERGER, Curistoru Portrait of a Young Man 49 ANTONIAZZO ROMANO The Madonna and Child 34 BALDESE, Ameroeio pri _ The Madonna and Child, with Saints 10 The Madonna and Child, with Saints and Angels 11 BARTOLOMMEO DI GIOVANNI (“Artunno pi Domenico”) A Saint 27 BASSANO, Lreanpro Portrait of Agostino Barbarigo 10 BELLE, Atexis Smvon Portrait of a Daughter of Louis XV 68 BENSON, Amprosius The Virgin Enthroned, surrounded by Angels and St. Catherine and St. Agnes (4 Triptych) 71 BICCI, Neri pi The Virgin and Child rf BOILLY, Louis Létoro.ip General, the Marquis de Lafayette 66 ~ BOL, Ferpinanp Portrait of a Lady, as Diana BOLOGNA, SIMONE DA The Coronation of the Virgin The Crucifixion, with Saints and Angels , ’ fs is BONSI DA FIRENZE, Giovanni The Madonna and Child, with Saints BOSCH, Jrrome 7 The Legend of St. Christopher ~BREKELENKAM, Quiryn The Tailor’s Shop BRONZINO, AncExo Portrait of a Young Lady BRUEGHEL THE YOUNGER, Pirerer A Betrothal Festivity BRUYN THE ELDER, Barrnuotomaus pE Portrait of a Man BURGOS, Juan ve (Attributed to) St. Blaise CARRENO DE MIRANDA Portrait of the Artist CIONE, Jacorvo pt The Coronation of the Virgin CIONE, Narpo p1 The Crucifixion CATALOGUE : NUMBER CIVERCHIO, Vincenzo (Attributed to) The Nativity 3 CLOUET, Francois (Attributed to) Portrait of a Young Lady 5 CRANACH THE ELDER, Lucas Salome ; 43 CUSIGHE, Simone dE St. Anthony Abbot and Other Saints, Enthroned 74 DARIO DI GIOVANNI St. Bernardino of Siena 78 DIETRICH, Curist1an Wn. Ernst Portrait of a Banker 1 DOU, Gerarp Christ among the Doctors 61 FLEMISH PRIMITIVE (Two Wings) The Nativity and the Virgin at Prayer 4 GIAMPETRINO (Pierro Riccr) Bust of a Woman 36 GIOVANNI DAL PONTE St. James and St. John; The Resurrection, and Christ on the Cross (Two Wings of an Altar- piece) 64 HEERE, Lucas per Portrait of Dorothy, Lady Chandos 62 aa te Nh ase ky 03 as Shane of Bt a Aas aie oe if : HOPPNER, Joun, R.A. Portrait of Miss Esther Raine HOOGH, Pierer pe A Lady and Gentleman at Tea IL SALVIATI (Francesco DEI Rosst) Portrait of a Man + KOFFERMANS, Marce.uus Christ on the Cross LOTTO, Lorenzo Portrait of a Young Man LUCAS, Evcenio Spanish Dancers MASTER OF FRANKFORT. (THE) The Virgin and Child, with St. Catherine and St. Barbara MASTER OF ST. SEVERIN (Tue) The Virgin and Child, with St. Cathetate and St. Mary Magdalen MASTER OF THE DEATH OF MARY (CT ae)s joni witH Joos Van CLeveE THE ELpER eee a Portrait of Quentin Matsys 56 | Pe MAZO, Juan B. vdEL | ee Portrait of the Infanta Margarita Maria, of Spain 65 : a MAZZUOLA, Fitipro The Madonna and Child, with St. John and St. _ Catharine 20 CATALOGUE : NUMBER MEYER, Henprik pE A River Scene, at Dordrecht, with Shipping and. Figures 24 MOLENAER, Jan Mienst An Interior, with Figures 23 MONACO, Lorenzo (Attributed to) Madonna and Child, with Saints and Angels 6 NARDO, Manriorro pi The Virgin and Child, with Saints 18 NUZI, Avecretro Christ on the Cross | 41 The Martyrdom of St. Stephen 50 The Martyrdom of St. Uursula and her Attendant Virgins 50a PAOLO DI STEFANO ‘The Madonna and Child, with Angels 12 PATINIR, Joacuimm D. St. Jerome 52 PENNI, Gianrrancesco Portrait of a Roman Lady 32 POURBUS THE YOUNGER, Pierer . Portrait of a Young Man 15 REYNOLDS, Sim Josuva, P.R.A. Portrait of the Artist 54 ROSA, Satvatore Diogenes in Search of an Honest Man 15 RUBENS, Perer Pavr Minerva and Thetis SANO DI PIETRO The Madonna and Child with Saints Madonna and Child SCHOOL OF GIOTTO Pope Urban IV, and Donors SCHOOL OF MASACCIO The Baptism of Christ SCHOOL OF PALERMO Dormition of Mary SICILIAN PAINTER The Annunciation STROZZI, Zanost er The Descent from the Cross me SUSTERMANS, Justus Ferdinand II de’ Medici TADDEO DI BARTOLO A Dominican Legend TIEPOLO, Giampattista La Beata Ludvina 8 The Last Judgment (Sketch for a Ceiling Paint- a ing) 38 TIEPOLO, Giovanni Domenico Head of an Oriental Head of a Young Man TOCQUE, Lours Portrait of a Lady VICTOORS, Jan Joseph Telling his Dreams VOS, CorneELIS DE Portrait of a Gentleman and his Son Portrait of a Lady and her Daughter VAN GOYEN, Jan A Dutch Canal with Fishermen VAN LEYDEN, Lvcas _ The Adoration of the Shepherds VAN RUISDAEL, Jacos Landscape—Waterfalls VAN SCOREL, Jan Madonna and Child ZAGANELLI DA COTIGNOLA St. Lucy CATALOGUE NUMBER 39 40 67 45 14 60 42 FOR INHERITANCE TAX AND OTHER PURPOSES THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH INTELLIGENT APPRAISEMENTS OF ART AND LITERARY PROPERTY JEWELS AND PERSONAL EFFECTS OF EVERY DESCRIPTION IN CASES WHERE PUBLIC SALES ARE EFFECTED A NOMINAL CHARGE ONLY WILL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY x Carer rete} ae apt ean os ~ es af) af “4 ay COMPOSITION, PRESSWORK ___ AND BINDING BY eee SSS tecieer rarrnere yen alle Si NE ho nary f ia ~~ i t t ‘ we . 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