4 ‘ PZest es sree ’ os , ‘ . . ? eo ute oy y At CPF Fe ty ead PAOLO Ble mee Pesos es a) pew wee, snr ele A Ps 4 fidivee tse oe F hs; ‘ ‘ GP eed ee ee irs baer pi den bere ib ore ' arte Aa Pike 4 Fao PA vi Meee gs OUTS sa we de ages ; ‘ ‘ See. Cea , ; ; TASTER Stee 0 oe heey ser am ‘ ' 1 Lae rere Uae eh oh iene ‘ PPE OL Hy an ae ' Leiden , TUN AP NO Teak FGI Pry Lege Blt FON pag nantes nee pe ‘ ‘ ‘ Pale ie ae PN Wy ne DF 44> Gere ak $Eor fang Pe wr at ere ten ee ‘ . a 0 asa hy wiih dew) gh , ; a ee ed aera) ¢ Lett ectengrees ive sae ' woe PS P . ope ‘ey . TL PS Onde ety Relat sata e . ‘ Ta eeks MAP eR Perens dates ‘ ’ 9 > ‘ s 4 seis 7% de ' Me OO ee, ’ POPE rege a Pa gi wtd sess sen ‘ ' P88 tg oe Saree 5 : ee 2. oe 2 eyiv bs eee bee ’ ’ : ’ ' yee tion ‘ . oe) 7 ’ Ss ites Pirate ore : ‘ eddie Be : t . eG, er “ss : eethsegee set gears es LS fps oe ¥ : : ‘ en ; . . v4 5 Ae re eee pial Bhd ndash J fnae FINE peel we mesg + ete ‘ a er} PaT eee tee eee onc) enon Tenia . . . , we te OME DP Oreste PAO Bt A Ae . . PW Ca fede “Reo bere 08 P oe ‘ ’ tee Leta oo ae . A OP OE ee nem’ ’ a . Rs F; ire Sd AS A408 2 SOG Dre Brete see ete Pues cepa . oe ei ee oh ee ee ee ee ee a ey Lees by er ae ee ee FO me : *3 Oe ge Ie NM Saees Pe 88 8 240008 40 0S Feet aca COney , . ge tes y frabhee e é ve . ‘ ‘ . TEEPE MOO BURY 985 oy 2 1 PME dO O88 ent tae: oe at a eee are at eT P71 d ‘ ‘ me i 4 LIME MP TART Me eaewnnas - it ‘ jay ee re sree ’ ’ ’ ; ' ' tee +e i SEA PRES Owe eee ong caer ¥ : Osh eee se een gs TOP. whe seep eaerer : co BERET TRD DEE © US 66008 aN y GABE LEE OF ON ge . “oe epverd \s o Mate ets Me eae Lapea engin © ‘7 ty ‘ free OS ghee OF tL wg gets te cenarare. AE $i faded tptadt by) th ab 4 : P ST Dae Sar aerenaity 4 ere gagens fag ih rege "er of ve eet eager’ . . : - eos Ficepinte ; . ; f sre segterye Prine tere at8 tsegeee ful dad 9 : > ed Ee ar wv Hf. Bnei fee eta eagle Mae TAviremrts ' : OF WS Fld goerease SF =e ' OS HEL org gy se TOV O Ss he ae rad a ertas f Pe teag pepre peagrregim aad arg ty . oa. oe eae) % SEAPLINS Gos peg? Meee ASHE fe aA, se a) ttey SLUR Ee Ose GEE EL FR OS GALO fay Obs Bg Se geese eR M9 : . Tee MOE E ee suave PENTEL TOEFL Pas igies ge rs Oneripewaire?: . ‘ RGR oth oh MAL be a be SM pea NE 8 BTR Se rarer ee Ce ts aban be OC. AEs. SVE OS SB; bem ne © TERE UGE Or mates * ; FETE OTL EE Beas ager ter x ‘ ri Fee? SFOS ERS ‘ 49° fp erewNs 4 ohm Bt dich Dealt ae reg a tetees 1ysesn $3 + dais wer e othe oO ater : ss ¥ ei fro ne orm ee ‘ ‘ . PP OO Oger HS Sed}, ses eT ae ates : Me i a FP VU 4 gee He nt og f . “ ‘ . Ae Pe seyeve Spare g5 MO SOE CHARS Nonvigne years’ a } i BeOS EAL O 8 a dew prwere se red LIER s fie eet FONE erets tees ‘ ear. ed Pe bd es ees owe reget D Peer erels. er ees egetiowsetts” seregr é oie ss Sets wy Nuere e-? ; 4 ety rte Meeees te gee - 7° irr ree boverte Cebit. 0A oe sree ree ieee A . ee Sek ed aa t. $02.8 ¢ cenbe quageencqwens ve Law rere oe ae : . ‘ Sitess sce reener ets A Pha eee : era - ttt RE . ; sie, d ates 4 . ; fates sei ars * T ASSOCIATION 7 INC i AeMCE Rel CA Nv A TION OF THE . - NEW YORK 1927 war es agit rt PREE PUBLIC EXHEBITION From Saturday - January 8 - To Time of Sale Weekdays 9 a.m. to 6 p.m. 7 Sunday 2 to 5 p.m. UNRESTRICTED PUBLIC SALE Thursday : Friday co Saturday Afternoons January 13-14 © 15 beginning at 2:15 Pb TION AND SALE AT THE American Art Galleries Madison Avenue: 56th to 57th Street New York City > SALES CONDUCTED BY Mr. O. Bernet and Mr. H. H. Parke American Art Association 7 Inc MANAGERS 1927 No. 363. POLYCHROMED EQUESTRIAN STATUE | OF SAN HIPOLITO Important Mediaeval and Early Renaissance Works of Art from Spain SCULPTURES, FURNITURE Pret) nS ,.TAPESTRIES AND RUGS + COLLECTION OF CONDE DE LAS ALMENAS MADRID + SPAIN (atalogue Written By Mildred Stapley Byne and -Arthur Byne Descriptions at La pestries &! Italian Objects Written by Ercole Canessa cy NEW YORK AMERICAN ART ASSOCIATION: INC 1927 ’ | nae | —— « phe] Ca ne =F é F ie The AMERICAN ART I. ye Conditions of Sale CEA,» REJECTION OF Bips. Any bid which is not commensurate with the value of the article offered, or 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. Tue Buyer. The highest bidder shall be the buyer, and if any dispute arises between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. . IDENTIFICATION AND Deposit By Buyer. The name of the buyer of each lot shall be given immediately on the sale thereof, and when so required, each buyer shall sign a card giving the lot number, amount for which sold, and his or her name and address. QL A deposit at the actual time of the sale shall be made of all or such part of the purchase prices as may be required. (I If the two foregoing conditions are not complied with, the lot or lots so purchased may at the option of the auctioneer be put up again and re-sold. . Risk AFTER Purcuase. ‘Title passes upon the fall of the auctioneer’s ham- mer, and thereafter the property is at the purchaser’s risk, and neither the consignor nor the Association is responsible for the loss of, or any damage to any article by theft, fire, breakage, however occasioned, or any other cause whatsoever. DELIvery oF Purcuasges. Delivery of any purchases will be made only upon payment of the total amount due for all purchases at the sale. . RecErpTeD Britis. Goods will only be delivered on presentation of a re- ceipted bill. A receipted bill presented by any person will be recognized and honored as an order by the buyer, directing the delivery to the bearer of the goods described thereon. If a receipted bill is lost before delivery of the prop- erty has been taken, the buyer should immediately notify the Association of such loss. ._ STORAGE IN DEFAULT oF Prompr PayMENT AND CALLING FoR Goops. Articles not paid for in full and not called for by the purchaser or agent by noon of the day following that of the sale may be turned over by the Associa- tion to some carter to be carried to and stored in some warehouse until the time of the delivery therefrom to the purchaser, and the cost of such cartage and storage and any other charges will be charged against the purchaser and the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. CL In any instance where the purchase bill has not been paid in full by noon of the day following that of the sale, the Association and the auctioneer reserve the right, any other stipulation in these conditions of sale notwithstanding, in respect to any or all lots included in the purchase bill, at its or his option, cither to cancel the sale thereof or to re-sell the same at public or private sale without further notice for the account of the buyer and to hold the buyer responsible for any deficiency and all losses and expenses sustained in so doing. ae SHrppinc. Shipping, boxing or wrapping of purchases is a business in whi the Association is in no wise engaged, but the Association will, however, ch 10. II. 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. Guaranty. The Association exercises great care to catalogue every lot correctly and endeavors therein and also at the actual time of the sale to point out any error, defect or imperfection, but guaranty is not made either by the owner or the Association of the correctness of the description, genuine- ness, authenticity or condition of any lot and no sale will be set aside on account of any incorrectness, error of cataloguing or imperfection not noted or pointed out. Every lot is sold “as is” and without recourse. QM Every lot is on public exhibition one or more days prior to its sale, and the Associa- tion will give consideration to the opinion. of any trustworthy expert to the effect that any lot has been incorrectly catalogued and in its judgment may thereafter sell the lot as catalogued or make mention of the opinion of such expert, who thereby will become responsible for such damage as might result were his opinion without foundation. Recorps. The records of the auctioneer and the Association are in all cases to be considered final and the highest bid shall in all cases be accepted by both buyer and seller as the value against which all claims for losses or damage shall lie. ? BuyiInc ON Orpver. Buying or bidding by the Association for responsible parties on orders transmitted to it by mail, telegraph, or telephone, if con- ditions permit, will be faithfully attended to without charge of commission. Any purchases so made will be subject to the foregoing conditions of sale, except that, in the event of a purchase of a lot of one or more books by or for a purchaser who has not through himself or his agent been present at the exhibition or sale, the Association will permit such lot to be returned within ten days from the date of sale, and the purchase money will be refunded, if the lot differs from its catalogue description. QL Orders for execution by the Association should be given with such clearness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Association, a deposit must be sent or reference submitted. Shipping directions should also be given. These conditions of sale cannot be altered except by the auctioneer or by an officer of the -Association OTTO BERNET = HIRAM H. PARKE * -Aurtigonerrs AMERICAN ART ASSOCIATION - INC Managers eter CD Gab TON + RRANGEMENTS were made for the sale of the collection of A the Excelentisimo Senor de las Almenas in June of this year. Nothing so important in mediaeval and early Renaissance art will ever again come out of Spain, not only because an equal number of genuine objects of the same range and high quality could never again be assembled, but because the recent law of August fifteenth, 1926, against their exporta- tion is now rigorously enforced and would prevent their being offered en bloc to connoisseurs. This opportunity therefore, of reaping the benefit of an inheritance which has been patiently and discriminatingly augmented by several generations of one family, is unique. Among the old family possessions comprising chiefly furniture, tap- estries and rugs, there are a number of attractive bibelots, the sort of gifts which were exchanged between families centuries ago and which give the collection an appealing personal note. As for the more recently ac- quired numbers, they are represented mainly by the architectural acces- sories used in the remodeling many years ago of the Madrid residence of the Almenas family, and the comprehensive array of polychromed wood statuary which became accessible to collectors mostly after the disestablish- ment of the Monsteries in 1835. Briefly resumed then, the Spanish por- tion of the collection embraces the magnificent display of polychromed wood sculpture, carved wood architectural embellishments of the Plater- esque period, Hispano-Moresque rugs and carpets, a quantity of furniture covering the best epoch [that is to say, prior to the invasion of the French styles], specimens of historic velvets and damasks from the looms of Toledo, Talavera, Segovia and Granada, laces and embroideries from Castile and Andalusia, and finally pieces of early pottery and glass from Valencia and Catalonia. ‘The superb tapestries cannot be claimed for Spain; for owing to the close relations between Spain and Flanders, brought about by the intermarriage of their respective reigning families, the Spanish nobility began before the end of the fifteenth century to im- port their tapestries from Arras and Brussels. The sculpture in wood is of rare beauty and is distinctively Spanish as to type and treatment. Spain, it will be recalled, invented the lofty retable for her churches, rising to the very spring of the apsidal vaulting; its many niches were designed to hold Biblical figures. “These were of wood, and to supply them an army of artists was kept busy. The wood carvers of the late fifteenth and early sixteenth centuries, although their works went f oe unsigned, enjoyed in Spain the same prestige as was later accorded to the great and better known Spanish painters who flourished in the seventeenth century. Among the sculptors represented in this collection are Gil de “a Siloe, Gaspar de Becerra, Alonso de Berruguete, Juan de Juni, and Alonso — Cano: Nor must we pass without mention the anonymous artists of the thirteenth and fourteenth centuries who produced the very beautiful and spiritual Virgin of the Annunciation and the majestic Saint Peter. ; These sculptures, which may be considered the nucleus of the collection, having long been part of the decorative scheme of a private house, they were provided with appropriate bases covered with antique velvets and were displayed under gilded canopies, which objects in themselves must have cost no small effort to find. Arranged thus as a connoisseur would arrange his choice pieces for his own house, something was preserved of _ the original impressiveness of the time and place for which they were created. . Afhliated with the statuary and produced often by real masters, are the important architectural pieces, mostly in carved pine, which form part of the collection. Here too the carving can be claimed as intensely Spanish, full of nervous energy; life, whether animal, human or half human, was always in action. ‘This is equally true of the minute decoration of a colon- nette at small scale or the overwhelming vigor of some massive ceiling frieze at monumental scale. It is safe to say that if an equally large as- semblage of Spanish architectural details has ever before been offered for sale it has been representative of the surchargé Baroque, not the earlier and more subtle Plateresque period. In other words, dismantled ecclesias- tical structures furnished the Baroque, while stately palaces furnished the Plateresque here shown. 7 In conclusion, we may confidently repeat that no Spanish collection as important as the Almenas, both in period and variety, has ever before been brought to this country. In Spain itself the only collections comparable to it are the remarkable pre-Romanesque and Gothic display in the Muse- ums of Vich and Barcelona, the private collection of Don Luis Plandiura in Barcelona, and the collection of Don Juan de Valencia [commonly called the Osma Collection] in Madrid. AMERICAN ART ASSOCIATION, INC. PRES T° SESSION Thursday January 13, 1927 at 2:15 p.m. Catalogue Numbers I to 156 Inclusive Peer ANEOUS .. THREE ROMAN TEAR PHIALS, OF IRIDESCENT GLASS Two of them intact, found at Italica, near Seville. Heights, 344, 4% and 51% inches ROMAN GLAss VASE From Italica The mouth about four inches in diameter, the sides tapering down to a small base. Absolutely intact and thickly incrusted with earth. Height, 61% inches Gass VASE Catalan, XVI Century The glass is greenish white, and the form is that of a small globular body with tall funnel neck [cracked] and four handles from the shoulder to about half way up the neck. Over the whole surface passes a fine spiral thread, while on the handles is an applied wavy ribbon which separates from them towards the top and rejoins the brim. Between the handles are applied flowers in relief. Pieces almost identical may be seen in the Museum of Fine Arts, Bar- celona. Height, 734 inches Grass VASE Catalan, XVI Century A globe form on a spreading base, with long straight neck opening at the top into a cup-shape. Two handles run from the bottom of the globe to the neck, and on them is laid a wavy ribbon of glass which separates and continues around the neck; at this point a fine spiral fillet begins and runs up to the brim. ‘The piece was orig- inally plain white but has acquired through age a faint iridescence. Intact. To quote from Royall Tyler’s Spain, her Life and Arts: “The Catalans have always been cunning craftsmen . . . The in- dustries in which they most excelled were the working of silver and iron, and glass-blowing. Of the glass, of course much has perished . . . and there is doubtless many a Catalan piece in many a museum which passes for Venetian.’ Height, 9% inches 13 $. REVERSIBLE GLAss DisH, FoR DESSERTS OR LOWERS 2 Catalan, XVI Century — An ingenious combination of a large plateau from which pastry - might be served, mounted on a small inverted bowl for base; turn- _ ing it upside down it makes a centerpiece of a glass disc with a — gracefully shaped bowl for flowers in the center. The glass is greenish white, slightly iridescent, and shows the attractive imper- fections of tiny bubbles. The plateau has an upturned brim three- ' quarters of an inch high decorated by a fine blue line in relief, while a broad scroll band of the same is applied to the under surface of the plate. The blue scroll motive itself is again seen on the bowl. The piece is intact. a GLAZED TILE Valencian, Dated 1472 Pavement tiles in the form of an elongated hexagon were made in quantity in Valencia throughout the fifteenth century. “he surface of the tile is white with an outer border of blue, inside of which is 7 a band of gold lustre. The density of the clay and the condition of the glaze after four and a half centuries of usevattest to tiem excellence of the old tile-making industry in Valencia. Length, 6% inches LEATHER CASE FOR SCISSORS XVI Century A leather case embossed and tooled, intended to hold four pairs of scissors of different sizes. On the face are two well modeled classic profiles, and on the sides a vine design. It is provided with a silk cord to suspend it from the waist, and finished off with a tassel. Probably Italian. Height, 7 inches LEATHER-COVERED TABLE Box wITH ARCHED TOP XVI Century The entire box is covered with dark leather and on top of this are laid thin panels of leather in two different tones, light and dark. The panels are delicately tooled and gilded and where they meet the joint is almost invisible. The inside is lined with old red silk; the lock is missing but the little bronze handle with spindle grip is the original. Length, 9 inches Height, 214 inches; diameter, 101% inches 10. EY. 12. CARVED SPOOL-HOLDER XVIT Century This unique little object [the Spanish would call it a chisme] is hollowed out of a square block of cocowood and adorned with applied carvings of pearwood. The female head surmounting the box would appear by the headdress to be German or Flemish; like- wise the initials APL, in script, are German-looking, as if taken from an embroidered sampler. The relief head of a man is more Spanish in type and Spanish also was the seventeenth century prac- tice of inserting glass eyes. ‘The piece was probably a gift from a lover to his sweetheart and the heads were intended for portraits. It is a charming reminder of a time when it was considered worth while to expend art on even a practical trifle. Height, 7% inches TEN LINENFOLD PANELS OF WALNUT XV Century Portion of a frieze in the hall of the Almenas house. These panels present a peculiarly Spanish variation of the general European linen- fold device, in that the edges of the folds, upper and lower, ter- minate in animal motifs, or bichos. 6 by 15 inches Hour Grass, IRON MouNTED | XVI Century A rare little piece charmingly mounted. Connecting the upper and lower stages of the mount are diminutive balusters, beautifully wrought at small scale. The termination at the top is ingeniously devised to fit into the socket of the stand when the glass is inverted. All the ironwork was at one time gilded and coloured; a few traces remain. Height, 10 inches RouND JoRTOISE-SHELL Box XVII Century A curious and beautiful bit of workmanship. Top and bottom of the box of shell inlaid with brass and silver, and the side is a strip of brass etched with a rinceau pattern and cut in little scallops top and bottom which bend and clip the shell discs. ‘The scallops are held down by a twisted brass wire. On the bottom there is an inlaid rose of brass from which radiate smaller ones in brass and silver, their surfaces etched. Outside of this is a vine of silver roses, brass leaves, and stems of tiny metal dots. The shell disc forming [ Continued | 15 No. 12. Concluded iB): 14. IS. the cover has, besides the floral inlay in brass and silver, a shield of etched bars and eight pointed stars. Around it in inlaid letters is the following inscription: Doi Grazias y Alabo al Santisimo Sacra- mento del Altar. The inlaid metal flowers surrounding the coat of — arms have fallen out. ifs Height, 1% inches; length, 41% inches BRONZE ENAMELED FIGURE OF THE SAVIOR ATILT Century This rare figure in half-round was undoubtedly part of a crucifix from which it was wrenched, mutilating the hands and feet. Itisof _ the familiar form of the thirteenth century Limoges enamels, head — q crowned, face bearded, and eyes like two little beads of jetty enamel. | : The surface of the crown is stippled. he only enamel left is the 4 blue in the pleats of the skirt. Height, 51% inches THREE MINuTe Boxwoop RELIEFS AVI Ceningy The scenes represented are the Annunciation, the Dormition of the Blessed Virgin, and the Visit of the Magi. In the Annunciation the Virgin kneels before the altar on which is an open missal, and turns to receive the angel’s message. An interesting detail is that the curtain above her altar is held to the wall by a carved arm and hand with two fingers raised in the manner of benediction. In the Dormi- tion, the Virgin on her couch is. surrounded by twelve figures, all with haloes, and one holding the Martyr’s palm. Above their heads is a three-arched portico resting on tiny fluted pilasters with capitals. The same arched motif originally crowned the third scene, the — Visitation of the Wise Men, but only one of the arches remains. The Virgin sits with the Child on her lap while one of the three Magi kneels before Him and presents his gift. Back of the Virgin are Joseph and an angel. 214 inches square _ SMALL Boxwoop CASE XVI Century A charming bibelot imitating a leather book-binding. The two faces and shelf back are carved with a central panel a jour which ~ is surrounded by a border of ivory inlay. The carved dedication in raised letters is A DON FADRICI DE INSUA, the F, D, and s, turned backwards as often happened with illiterate carvers. The simulated leaf edges are gilded, the top sliding open. 5 by 2% inches 16 16. oe Oy E 18. 19. LEATHER Box | XVI Century Like so many small table boxes of the period this takes the old trunk form with arched lid. It is covered with beautifully tooled leather and has an interesting lock and key. On the front and ends is a typical Plateresque motif of grotesques within a black oval, and on the arched lid a more important decoration in the shape of a medallion of a bishop, his right hand raised in bene- diction and the left grasping the crozier. The box is lined with green silk. Height, 71% inches; length, 9 inches EmBoss—ED LEATHER FACE OF CHRIST Italian [?], XIV Century The Santa Faz, or imprint of the Sacred Face as it appeared on Santa Veronica’s veil, looks straight ahead and the halo bears the Latin inscription, in Renaissance lettering: J have not turned my face from those who spat upon me [beginning FACIEM MEAM NON AVERTI . . .]. The elongated face is well modeled and natural- istically colored; the rest of the leather is dark, embossed in slight relief in a small Renaissance border. ‘This subject painted directly on the leather is not an infrequent accessory to a Spanish altar, but examples embossed and painted are rare. 9% by 7% inches [without frame] SMALL EmBossED LEATHER CASE XV Century This cover was perhaps intended to enclose a small Book of Hours. Around a central panel of vine design runs an inscription in Gothic characters, and in the corner is the cross of the Order of Calatrava. 514 by 3% inches SMALL LEATHER COFFER, [RON MOUNTED XV Century A well preserved Gothic table box with lock and clasp complete. These miniature chests were built up of wood. and covered with leather, first soaked to take the form, then tooled in patterns mostly geometric, but here a few Gothic scrolls adorn the spandrels of the design. Next the strap bands of iron were fastened in place, the central one forming the hasp. Handle, hasp, and lock-face with columnar fixing-staples are all interesting in detail. Length, 12 inches 17 720: 21. 22. 22 24. SMALL TasLe Box INLAID WITH IvoRY AND SILVER » . XVI Century An ebony exterior with silver mountings, beautifully inlaid with ivory in delicate tendril pattern surrounded by a border of flowers. Inside are five drawers whose decoration is of the accomplished craftsmanship that indicates the Oriental influence always operative in Spain. The minute inlay pattern is based on the star, and in addition to ivory and various coloured woods, fine pieces of metal have been introduced to give the surface a wonderful glow. The - little drawer-pulls are of silver. Height, 8 inches; length, 11 inches GOTHIC STONE CAPITAL XV Century Stone capital from Toledo, octagonal in form, with abacus and necking mould of Gothic profile. Two of the sides are adorned with shields, one with a simple urn and flowers, the other with the raiment of Christ for which the Roman soldiers threw dice. The intervening sides of the capital are carved with a thorny leaf orna- ment. Height, 12 inches; diameter, 11 inches Pair VALENCIAN URNS AV Century These unique Valencian bowls on a stem base have been fitted for electric lights. Gothic in form and in their decoration of delicate blue tendrils, the brim is accentuated by four turrets crowned with a perforated cresting. In the decoration figures a coat of arms with the bar sinister. [ Restored. | : Height, 15 inches Four CARVED WoopDEN CoRBELS ae AVI Century Console in form, carved in walnut, with a cupid in full figure on the face in the attitude of sustaining the upper portion of the scroll. “The mouldings above are modern. | Height, 13 inches BRAZIER AND SUPPORT XVII Century The brazero forms an essential part of Spanish household furnish- ing. There are two types of tarima or wooden support—the flat octagonal piece studded with nails, and the two-storied on spindles, of which the present is an example. The frame is of walnut, octagonal in shape, and extending very little beyond the copper pan; the handles of the brazier are of brass. Height, 12 inches; diameter, 22 inches 18 25. PAIR SMALL RELIQUARY Busts, GILDED AND PAINTED XVII Century Two female heads of classic type turned slightly towards each other. These are beautiful examples of the estofado process, the translucent paint being thinly applied over heavy gilding, and then scored in fine horizontal lines to reveal the gold. In addition there was a bold floral pattern in imitation of the richly coloured Valencian silks of the period. On the back, which was as elaborately treated as the front, the pattern and colouring of the supposed silk mantle is well preserved there. Height, 11 inches 26. A HEALING STONE MOUNTED IN Brass def 28. The mystery of the healing stones of the Middle Ages was probably solved by the discovery of radium. At any rate there was more than mere superstition in the belief that certain physical ail- ments could be cured by the contact of such stones, which were much prized and were lent or even rented out by their fortunate possessors. Further, a healing stone was considered worthy of a beautiful and costly setting. The present piece is encased in a curious winged animal form of brass mounted on a turned pedestal. On top of it is a tiny bird. The body surface, all etched, is formed of four parts which leave the stone visible between them. ‘These parts are hinged to lift up and permit the removal of the stone to be laid on the afflicted part. Length, 3 inches GILDED AND DECORATED FRAME XVI Century A chaste mirror frame earlier in period than the better known Spanish portrait frame of elaborately carved corners on a red or black background. In this instance the frame is beautifully moulded with delicate, flat, acanthus leaves in the corners and center. Be- tween the moulds is a painted band of floral ornament which in drawing and colour is copied after the early illuminations. Height, 28 inches; width, 24 inches CARVED PEDESTAL FOR A STATUE XVI Century A five-sided pedestal or plinth of walnut beautifully carved, gilded, and painted. On each panel is a recumbent female figure, among them allegorical representations of Justice and Plenty. The tasteful colouring is enhanced by a lustrous patine. Diameter, 12 inches 19 29. SHEET OF ILLUMINATED MANUSCRIPT XIV Century A double columned page of manuscript on vellum beginning with IN VIGILIA, richly coloured and brilliant with gold. The page has an exquisitely drawn border of foliation in which appear the usual fan- ~ tastic animals and birds along with three important figures of kneel- ing angels with gold haloes. The uncial contains a beautiful minia- ture of the Assumption of the Virgin. By the shape of the heads and the crispness of the draperies the work appears to be of the fourteenth century school of Burgos; in fact it might even be from the famous missal of San Pedro de Cardena [the monastery selected by the Cid for his burial place] which missal is now in the pro- vincial museum of Burgos. 11 by 834 inches q [See illustration ] 4 20 a 30. ILLUMINATED PARCHMENT SHEET FROM A CHoIR Book XV Century Interest centers in the initial letter some eight by ten inches framed with a leaf border in gold. A curious scene is represented: Six monks seated in choir and raising an admonishing finger at a small urchin with a basket of eggs who is led into their presence by an- other fraile who has a cat-o’-nine tails. ‘The checkered floor is of blue and white tiles which run clear to the top with no perspective. Around the entire page is a beautiful vine border, its scrolls em- bracing monkeys, parrots, cherubs, and fantastic animals. Across the top of the page this vine border gives place to one of Mozarab interlacings. 24 by 17 inches [See illustration ] = Rie ay. sist 34. AN ILLUMINATED PARCHMENT SHEET 7 4 FROM A CHorR BOooK eae a Century — The initial, some nine inches square, contains a Crucifixion with the 4 Virgin and St. John, robed in blue and red, at the foot of the — Cross. Beyond are the reddish towers of the city and in the distance, — bare greyish mountains. The scene is framed by the same curious — columns and arch as seen in Number 32. One of the columns is — a particularly curious conceit, with a base of two fantastic humans ~ with interlocked arms, each weeping and holding a handkerchief to 3 the eyes, and their lower limbs replaced by acanthus leaves. The — left margin of the page is decorated with a winged head from whose _ mouth rise four slender branches filled with minute fruits, flowers and birds. | a | 38 by 26 inches ILLUMINATED PARCHMENT SHEET FROM A CHorr Book | XVI Century The page begins with a large painting of the Resurrection enclosed _ in a letter composed of fantastic columns and arch of plant forms. — Masks in gold, red and green, decorate these curious architectural — forms. The composition shows the risen Christ within an aureole rising into the blue, while the horizon glows with the light of dawn. _ To the left of the scene are the grey towers of the. city, while the : rest is sea and a rocky shore. On the wide left margin of the page is a gold oval supported by two cupids and enclosing six angels, — four of them with long trumpets. The rest of this border is filled with cupids, vase and vine, an eagle, a monkey playing the violin, and a pig with bagpipes. 38. by 26 inches | STONE CORBEL | a XV Century An angel holding a shield carved with a winged grifin. Onthe head — and wings there are traces of gold and on the robe traces of blue. © The piece is mounted on a low base of cut green velvet. } ‘Height, 14% inches — STONE HEAD OF A SAINT — XVI Century This fragment of an early Gothic statue is reminiscent of the — Byzantine tradition in the conventionalized treatment of beard and hair, once gilded. The eyes are almond-shaped, the nose and mouth small and fine. The head is mounted on a base of sixteenth cen- tury cut velvet of amber tone. Height, 9 inches; base, 3 inches 22 GREEK MARBLE HEAD oF A GiRL, FROM AMPURIAS Greek Period In the third century B.C. Emporion and Rhodes were the two most important Greek colonies on the Mediterranean coast south of Mar- seilles. [hey now fall geographically into the Spanish Catalan region and are known as Ampurias and Rosas. Important excava- tions have been made there by the Institut de Estudis Catalans resulting in a quantity of statuary and coins. ‘The best known Ampurian treasure is a beautiful head of a girl in the Guell col- lection, Barcelona. The Almenas piece shows a youthful head thrown back, lips parted, and wavy hair gathered into a loose knot at the nape of the neck. Height, 8% inches [See illustration ] No Ww 36. 37: AWE RoMAN MarsiLe Bust ; Representing an Emperor, on whose corselet is a Medusa head. It stands on a plinth of brown marble flecked with yellow. © Height, 1714 inches with base MoZARAB CAPITAL OF STONE : Nee eid A small stone capital whose face is in the form of an inverted trian- gle, truncated at the bottom to receive the column shaft. It was a form commonly employed in twin-light Visigothic and Mozarab windows, with their delicate dividing shafts of marble. The length 4 of the capital was so proportioned as to support the thickness of the wall. There is an incised quatrefoil decoration in the capital ends, and a geometric device of semicircles and crown on the face. Height, 5 inches; length, 16 inches RomaAN Masque, MARBLE FAUN Roman Period This bit of Roman sculpture was found on the Almenas estate near Jaen in northern Andalusia. Lying for centuries in the red soil of the district the marble has taken on a rich colour. The head with pointed ears and full beard is crowned with a wreath of leaves and flowers. The piece is supported on a base of cut green velvet. Height, 8% inches COMPLETE STONE COLUMN FROM CATALONIA XIV Century This very slender shaft with its capital and base was undoubtedly the central number of an ajimez or two-light window, the typical fenestration of Catalan Gothic architecture. [The shaft is about two and a half inches in diameter and the base is composed of a double plinth, the lower with rosettes at the side, the upper with balls at the corners forming part of the column base. On the capital we see highly conventionalized leaf-work flaring out horizontally not unlike certain late Mussulman capitals in the Alhambra. Height, 4 feet 8 inches 24 CDACES Antique Spanish laces and embroideries are so little known to collectors that it may not come amiss to state that the very important textile museum of the city of Lyons recently acquired at a large price a private Spanish collection of laces, for which the director prepared a catalog and from whose introduction thereto we quote the following: “The honor of having invented pillow or bobbin lace has long been disputed between Italy and Flanders; we may now assert, thanks to the evi- dence of our new collection, that Spain possessed at the time under discussion lace-makers equally skilful in managing the bobbins, and further that they gave to their pillow lace a special oranmentation and certain originalities of technique which make it seem probable that the Spaniards may even have preceded the Italians and Flemings in this particular branch of lace making.” This entire collection of laces belonging to the family of the Conde de las Almenas formed the nucleus of the exhibition of laces held in Madrid by the Sociedad de los Amigos de Arte in 1915. 40. BuRSE OF GREEN AND GoLp Lace XVII Century 41. Aa: 43- The coloured lace of the burse is interspersed with bird and leaf motifs in light coloured silks all shown to advantage by the salmon- coloured silk lining. This ritualistic accessory is known in Spanish as the bolsa de los purificadores—the little linen doylies for cover- ing the chalice. II inches square Strip OF WHITE SILK AND SILVER Lace INSERTION XVII Century Pillow made. Length, 28 inches SMALL SQUARE OF Gotp Tureap XVII Century Small square, allover web of gold finely threaded by braids of three strands which meet and separate into loops. 8 inches square SQUARE FOR A BURSE IN SILK AND SILVER THREAD XVII Century A pillow lace of red, blue, and green silks, in patterns of birds, flowers, and letters all connected by a silver mesh. In the center is the sacred monogram I HS. 6 inches square 25 44. Lace NIGHT-capP AVIT Century This interesting piece of lace consists of a six-sided silk web of cherry colour, darned with gold thread and coloured silks in nat- uralistic designs, such as are seen on the popular embroideries of — the seventeenth century. Among the figures are a woman mounted ~ on a donkey, a shepherd leaning on his staff, a siren, etc. Ihe cap is tied with old cherry-coloured ribbon, into which a gold flower is woven. [See illustration ] 26 45. Man’s SILK Cap XVIII Century In the form of a pouch to accommodate the queue of the eighteenth century. It is knitted of old-rose silk and silver thread. Similar headgear can be seen on the men in Goya’s cartoons for Spanish tapestries. Length, 10 inches without tassel [See illustration | 27 46. 47: 48. 49. 50. (aie Strip OF FINE LINEN PiLLow LACE XVIII Century 4 With three very broad scallops; imitation of Russian. Length, 28 inches; width, 8 inches STRIP OF SILK AND SILVER LACE XVII Century A strip of yellow silk pillow lace with broad scallops, the pattern ‘3 accentuated by being run with fine gold thread. It is stitched to _ a heading or gimp of ecru silk and silver lace through which passes a narrow ribbon of silver. Length, 36 inches; width, 4 inches CHERRY SILK EMBROIDERY IN SCRIM XVII Century This is merely one end of a beautiful towel, or perhaps a scarf, of loose woven linen cloth of unbleached tone much used for silk 4 embroidery and called catamaza. ‘The pattern consists mainly of three large floral motifs pointing towards the center, and the Per- sian pine tree enclosed in each. The silk is loosely spun [torsal] and wonderfully lustrous. A narrow needle lace borders the piece. 32 inches square “@ ALTAR SQUARE WITH GoLD Lace BORDER XVI Century A linen center with a lace border of the punto de Espana or Valla- dolid type. The linen lace is run by the needle with gold thread and with blue, green, and grey silk; for further enrichment the entire design of the lace is edged with gold loops. 16 inches square VELVET PANEL BORDERED WITH GOLD LACE XVIT Century Within a lace circle is embroidered the imperial double-headed eagle of Charles V, black on white silk, outlined in gold. The lace is of gold, made to form, and about four inches wide. The whole medal- lion is mounted on a panel of purple velvet lined with yellow damask and edged with yellow and purple fringe. Length, 40 inches; width, 21 inches SQUARE BORDER OF COLOURED SILKS nae, AND SILVER XVIT Century Each silk motif appears to have been made separately of one colour only, by the needle; the various units of the design were then united by a web of fine silver thread. Birds and flowers are the same as in No. 43. An inscription, two words to a side, runs around the [ Continued | 28 No. 51. Concluded pe 53: 54. inner edge. The letters are of rose silk an inch and a half high and are probably a quotation from Santa Teresa: MI CORAZON . PARA DIOS . . . IDENTRODEL . . . SOLO DIOS. 25 inches square; width, 6% inches GOLD AND SILVER LAcE BorDER FOR A SQUARE XVI Century This deep band has a narrow lace stitched to its outer edge. The linen lace is pillow made and is run with fine gold and silver thread in the Valladolid technique. Another technical detail is that the main scrolls of the pattern are thickly overlaid with gold loops, which treatment may have been inspired by the bouclé weaving of the period. This handsome border has been mounted on a square of sixteenth century velvet embroidered with a beautiful escutcheon of lions and castles surmounted by a cardinal’s hat. The piece is lined with damask and bordered with gold fringe. 30 inches square GoLD AND Rose SILK LACE SQUARE XVI Century A border about three inches wide, made to surround a silk or linen square, and designed with three wide scallops to a side. The lace is pillow made, old-rose silk and fine gold thread entering in about equal proportion. In addition, the silk part is made very effective by being run with a flat silver tape. 24 inches square DEEP EMBROIDERED BAND ON A GREEN SILK CENTER XVII Century An open square border of fine linen is mounted on a coarser linen and then embroidered with coloured silks and gold thread. Certain little motifs are padded, and as embroidery in relief was not much practised before the Baroque epoch, this piece may date from the late seventeenth century. At the outer edge of the border an all gold narrow pillow lace is stitched and on the inner edge, a gold insertion. The green silk on which the lace is mounted is curious in that the surface is slashed diagonally in short cuts close together. 21 inches square 29 55. Lace Borper To a Red VELVET SQUARE AVI Century This border, four and one-half inches wide, is the same as that on No. 63, but the loops are of silver thread instead of gold. In the center of the red velvet is a fine appliqué escutcheon. The piece is edged with gold and red silk galloon. ; 28 inches square [See illustration ] 30 S,SURRE P 2° nee y 3 2. , RAP Ree eqs 4 Sak ihe at pay “ atta : Se tae A ekas > 289%», ae bad . sr sake AL e Pa ate Ledert wis a Cyt, eee Fe ea Se we Eee eae em eee Bhat ty ee ee ie oe ers nt pe Lad HARSHER SURREY F ca ‘a am Se * Swidoews ce ond og a so, ¥ e atari sete Dee Stille ic tyes ey : xs HP ghis } pes ERAS werUER A” wae HE ae é forhe gage ese e ine ete | ye <'} $95 < Re ~e Ree ae sage es sar aaer 335: & 1a 9 4 Ge et SH RBBB, 2724 BROS te weed Cae ER aw sete om ek es Sah woe le’ + See & os 3 a Rog o8) Fre, a ae Nea es ft, i x 5 + 7 a ORE Sak SHO eed SE RTP: trereeeremet tite, Bae Sack Saks te oer, hast oie ih eee $6. Sirk FILET TaBLe Cover XVI Century Heavy red silk was used to knot the filet, or malla, and on this groundwork was darned, quite densely, an interesting pattern in various coloured silks. In addition the pattern is loosely threaded with gold and silver, making a brilliant piece of lacework. On the outer edge is a narrow needlemade lace of silk and gold. 32 inches square [See illustration | 31 57: 58. 59. 60. LINEN APPLIQUE ON A RED a SILK TABLE COVER - AVI Century A very interesting and painstaking decoration made by cutting the lace pattern out of fine spun linen and applying it to a silk ground. The cut edges are outlined with a gold thread frequently looped, ~ and the interstices of the design are filled by a gold mesh. The gold outline is stitched down sometimes with blue, sometimes with — green silk. A gold fringe edges the table cover. | q | 30 inches square ~ GREEN SILK TaBLe Mar | sie ' Goitp Lace BorpDER : ue XVII Century — A pillow lace insertion two and one-half inches wide has been — used to trim the mat. It is made of coarse silk thread wrapped in — fine spun silver and a thinner thread wrapped in gold, the two — combined in a very open pattern. The piece is finished with green — and gold espiguilla. | | 32 by 24 inches 4 EMBROIDERED END TO A LINEN TOWEL ?t (XELD Centura This embroidery has survived the body of the towel which it once ~ adorned. It is technically of the same type as seen on the lamp — shades in the collection, and which is referred to for lack of a — better name as ‘Sierra Morena work.’ The main outlines of the — design are back-stitched with cerulean-blue silk and. the background ~ is then filled by vertical rows of the same in half-cross stitch, with — the peculiarity that the rows are separated from each other by a — vertical line of back-stitch. Thus the ground is as heavy as a woven — silk fabric. The design comprises a central urn and plant and ~ on each side of it a Diana with cross-bow seated in her chariot — drawn by a lion. Accompanying her is a cavalier with falcon and ~ a dog in leash. The costumes are of the period of Philip III. Length of towel, 32 inches . Width of embroidery, 12 inches — GREEN SILK AND SILVER Lace BORDER | ON A RED VELVET SQUARE XVI Century — This border was probably made for a lady’s kerchief, such articles — having been very large in the sixteenth and seventeenth centuries, as — can be seen in Velasquez’s paintings of the Infantas, where the handkerchief held in the hand falls almost to the ground. The — lace in question is of the punto de Espana type and the design is — overlaid with row upon row of gold loops. 26 inches square Width of band 7 inches 32 61. SILVER Lace BorDER To A Rep VELVET TABLE COVER XVI Century The cover is of sixteenth century velvet with a cardinal’s escutcheon richly embroidered with silk and gold in the center. The lace border, made in the form of an open square, belongs to what 1s called in Spain the ‘school of Valladolid,’ meaning that after the completed piece was removed from the pillow it was threaded or darned with coloured silks. ‘The present piece, made of silver thread and with a scalloped edge, is further embellished with grey silk. The table cover is lined with yellow silk. 24 inches square [See illustration | 33 62. 63: 64. SquaRE LAcE BORDER IN LINEN SILK AND GOLD XVI Century This piece was described in the Madrid Lace Exposition of 1915 as an edging for a lady’s handkerchief, of punto de Espana in the Valladolid style. The foundation is a linen thread of scroll and _ leaf design beautifully worked out at the corners and scalloped at the edge. Into the linen lace is threaded fine spun gold and silver, also a quantity of pale green silk and a little brown. 26 inches square; width, 5 inches GOLD AND COLOURED SILK LACE BORDER TO A VELVET SQUARE XVI Century This border, three inches wide, made for an altar cover is of the punto de Espana type; the lace after being made was threaded with blue and old-rose silk, also with gold, and outlined in gold loops. It was considered worthy of a full-page colour illustration in the catalog of the lace exposition held in Madrid in 1915. 25 inches square LINEN TowEeL EMBROIDERED IN GREEN SILK AND GOLD XVI Century This fine piece, complete and in an extraordinary state of preserva- tion, is pronouncedly Italian in feeling and was probably copied or © adapted from the Exemplario di labori che insegna alle donne il modo e l’ordine di laborare, by Giovanandrea Vavassore. The linen of the towel is fine and closely woven, and the embroidery is drawn tight so as to open but not to wrinkle the weave, thanks to its being worked on a frame. The frame also explains its being finished equally well on both sides. Italian Renaissance designs of this sort were generally interpreted in Spain by the opposite system of filling in the background and leaving the griffins blank; further, the Spanish embroiderer seldom took motifs from the end to repeat them up the side of the towel. The pillow-lace edging of green and gold is of the sort that was made in and around Tala- vera de la Reina. 54 by 37 inches 34 65. 66. 67. 68. 69. 70. TEs ned Bel bg OE aS Paik LINEN Lamp SHADES MapeE or SEVENTEENTH CENTURY TowreL ENps The background worked in blue silk leaving blank the small pattern of men, beasts and leaves. Diameter, 8 inches Pair GREEN DAMASK CUSHIONS One of the cushions is covered on both sides with green damask in the large medallion pattern of the late fifteenth or early six- teenth century weavings, and is edged with narrow gold galloon. The other has a small patterned damask on the face and green and gold thread tissu on the reverse. It is edged with a beautiful web-like gold lace. 20 by 23 inches; 23 inches square EMBROIDERED COLLAR OF A DALMATIC XVII Century Richly worked on both sides and split to make a little table mat. The blue silk galloon is not applied but was woven in and shaped with the piece. Outside of it is a red espiguilla, or narrow-fringed gimp. SMALL CUSHION OF CHECKERED VELVET The face of the cushion is made of blue and old-gold checkered velvet, probably of the fifteenth or early sixteenth century, and the back of yellow silk. It is finished with gold galloon and narrow blue fringe. 27 by 15 inches YELLOW SILK COVER With narrow red velvet stripes, probably of the fifteenth century. The galloon and deep gold fringe are woven together. 25 by 42 inches Two SmMaLt Pieces or VELVET AND A STRIP OF GALLOON The two panels are of a buff stripe alternating with one of red vel- vet, this latter including rosettes of bouclé weave. The galloon or ribbon is also of looped technique, red silk on a loosely woven buff ground, and finished with handsome tassels. 24 by 6% inches 2% yards by 2% inches ., LHREE SATIN CUSHIONS a, a) 4 a, AMBER-COLOURED CUT-VELVET STRIP XVI Century With pattern in velvet weave on a satin ground of the same tone. — The pattern comprises the cross of the Order of Santiago. 24 by 10 inches — EMBROIDERED VELVET PANEL BAL Century Square of red velvet heavily embroidered in gold. The center is — designed with a cartouche embracing the cross of the Order of — Calatrava and surrounding it are urns, dragons, and foliation, all | worked in high relief. A heavy gold galloon borders the panel. , Height, 18 inches; width, 21 inches a EMBROIDERED VELVET PURSE | An almoner’s purse bearing the coat of arms of Cardinal Cisneros — [died 1515], one of the most noted of Spanish prelates and regent — after the death of Ferdinand the Catholic. Purses of the same sort — are seen hanging from the belts of ecclesiastics in mediaeval paint- ings. This one is embroidered in gold and coloured silk on red — velvet; its gold cord simulates the metal work of a fine gold chain and is finished with a handsome tassel. ee 8 by 7 inches 3 SMALL VELVET EscUTCHEON OF THE BorjA FAamILy The Borja family, Dukes of Gandia, were prominent in papal his- tory chiefly through Alexander VI [Rodrigo Borgia], and in Span- — ish, chiefly through Francisco who renounced his high worldly — station to enter the Company of Jesus and succeeded Ignatius — Loyola as its head. The Borjas and their various Spanish ramifica- tions show a toro, or bull, in their armorial bearings. Quatrefoil shape; of cherry red satin woven with a small gold — flower, dating probably from the sixteenth century. 20 inches square BLUE AND GOLD STRIP XVI Century — Gold thread and blue silk interwoven to form a satin ground sprinkled with small gold motifs. The runner is edged with an old- gold galloon. 46 by 10 inches BO 77: 78. 79: So. ae 82. SMALL EMBROIDERED CUSHION XVII Century Typical convent work in coloured silk embroidery on white silk, the pattern outlined in gold thread. The chief motif of the design is the monogram of the Virgin surmounted by her crown. Front and back are joined by an insertion [randa] of gold thread made by the needle, and the tassels at the corners are of the same silks used in the embroidery. 15 by 10 inches GREEN VELVET PANEL WITH _ ARMORIAL BEARINGS XVII Century Green velvet edged with narrow fringed galloon or espiguilla, and divided by a red baton or bar sinister. Above and below are shields whose quarterings show the lion, castle, fleur-de-lys and the mulberry tree [peculiar to Madrid and figuring in the city’s escutcheon |. 22 by 24 inches STRIP OF GOLD AND GREEN VELVET XV Century With a floral and scroll pattern outlined in velvet weave on gold tissu and the outline filled with gold bouclé, or looped weave. The piece is edged with gold and green espiguilla. 26 by 13 inches Strip OF Rep VELVET IN HicH RELIEF XV Century Velvet of this type is called de dos altos [of two heights]. Woven on a warp of heavy yellow silk, it has the thickness and durability of a carpet. The pattern includes large medallions and a jeweled crown. The piece is edged with a narrow fringe of red and gold. 29 by 11 inches TABLE COVER OF GREEN CuT VELVET XVI Century Wavy stripes of green velvet on a ground of yellow silk interwoven with gold thread. The piece is edged with rare green espiguilla, lined with green damask. 40 by 29 inches VELVET TABLE COVER XVI Century Over a yard of pigeon-blood heavy velvet bound with narrow gal- loon and edged with fringe; silk lining. 40 by 24 inches 37 One 84. BiG 86. 37 88. 89. GREEN SILK TABLE RUNNER XVIII Century Delicate piece of weaving consisting of the French wavy ribbon — design on a green ground. The ribbon simulates a band of lace and in each of its loops is a brilliant bouquet of red and yellow roses. — The piece is lined with green silk of the period and edged with © pillow lace of silver thread. 4 24 by 53 inchesa™ STRIP OF RED Cur VELVET AV Century= This piece of velours ciselé shows the large medallions and Oriental — interlacings of the Hispano-Moresque weavings. he strip is 4 edged with red and green galloon and fringe woven in one. ; 35 by 13 inches 4 BLuE VELVET CUSHION AVI Century | The velvet is of rare faded cerulean-blue, and across the center q of the cushion is a band of gold velvet with blue floral pattern. It — is edged with narrow gold galloon. / q 27 by 20 inches ~ STRIP OF RED VELVET AND GOLD | From an important Castilian tomb dated 1454, similar to bits of Valencian weave of the thirteenth century in the Episcopal Mu- seum of Vich. q 29 by 8 inches > Rep VELVET TABLE RUNNER A single long strip of sixteenth century velvet trimmed with a two and a half inch band of appliqué heavily embroidered in coloured silks. Around the edge are two layers of deep fringe, the upper gold, the lower red silk. | Length, 2 yards 8 inches; width, 32 inches GREEN CuT VELveT TasBLteE Mat Around a center of small patterned damask are three strips of velours ciselé, of the Gothic period. The piece is edged with gold espiguilla and fringe. 35 by 27 inches CuT VELVET CUSHION aie Century — Beautiful piece of plum-coloured velours ciselé, the large medallion pattern indicated in a fine cut line. The front and back are laced together by an old-gold cord with tassels. 27 by 24 inches 38 go. OT. 92. JRE 94. 95. GREEN VELVET AND SILVER STRIP XV Century A curious and beautiful checkered weave, probably Moorish, of small silver squares alternating with green satin squares in which is a raised velvet flower. ‘The piece is edged with gold espiquilla which ends in a knotted fringe, under which is a green silk fringe. Something of the same sort is mentioned by Lopez de Ayala [1360 | who tells that a minister of Peter the Cruel had one hundred and twenty-five coffers of cloth-of-gold and silks in his palace in Toledo. Length, 4 feet PAIR GREEN VELVET CUSHION COVERS Lustrous moss-green velvet of the sixteenth century on one side, small patterned damask of the same shade on the other, and fin- ished at the corners by a cluster of green silk loops, like cushions seen in the Velasquez paintings. 36 by 24 inches Park RED VELVET CUSHIONS One cushion has a bold red velvet pattern on a gold-woven back- ground, Spanish probably, and dating from the late fifteenth cen- tury. The reverse is of yellow velvet, and the border of red fringe. On the second, the reverse is of green, white, and rose Talavera brocade edged with narrow light espiguilla. 21 by 16 inches TaBLE CoOvER OF GREEN CuT VELVET XVI Century In floral pattern of high relief on a ground of amber silk. Bound with an interesting narrow loop-edged galloon of gold and silver. 41 by 33 inches Rep CuT VELVET CUSHION In small pattern, with the reverse of plain velvet. Red and gold galloon and four interesting tassels complete the cushion. 20 by 13 inches EMBROIDERED SILK TABLE COVER XVII Century Two pairs of embroidered panels on red silk, apparently from a dalmatic, have been mounted on the old handspun linen which in- variably formed the interlining of such vestments, and the piece edged with espiguilla of the period. The work is executed in gold and silver thread, the motif of each panel being a central vase, gar- lands, tendrils and leaves. 45 by 20 inches 39 96. 97: 98. DEF BLUE VELVET LAMBREQUIN On a strip of rare blue sixteenth century velvet has been mounted and embroidered a coat of arms, and the whole bordered in heavy — gold embroidery. At the bottom is a double fringe, the upper being — of gold and the lower of blue silk. The rarity of old blue velvet — need hardly be emphasized. Length, 63 inches; depth, 12 inches [ without fringe | WINDOW CURTAIN OF LACE AND EMBROIDERY Bands of old filet alternating with Sierra Morena embroidery have been joined horizontally to make this curtain. The filet is knotted — of extremely fine linen thread and probably dates from the seven- 3 enteenth century. Of the embroidery bands, two are worked in red ~ silk and the central, which is widest, in blue. In the pattern are unicorns, a bird, and a griffin. The curtain is finished with silk 4 fringe and gold galloon. 45 by 26 inches Woot ARAGONESE HANGING XVIT Century — Wall hanging or large spread from the Alto Aragon or Pyrenean district, woven entirely of wool, the background of. lemon-yellow, — the patterning a repeat design of dark green, and so woven that the colour combination on the back is just the reverse of that on the face [see Popular Weavings and Embroideries in Spain, by Mildred Stapley, Plate 30]. This type of weaving has not been done for over a century, and such spreads are consequently much rarer than the Alpujarras. Length, 8 feet 4 inches; width, 7 feet 4 inches WooL ARAGONESE HANGING ALCANIZ COLOURING XVII Century Heavy linen and wool spread from the district of Zaragoza, in Aragon; interesting for its beautiful combination of light blue and dark maroon wool on a grey field. This is not unlike the scheme of colouring seen in the famous carpets of Alcaniz not far from Zaragoza. The repeat pattern is lozenge in form with a decorative centerpiece, all reminiscent of Moorish work. The process of weav- ing is the same as that of No. 98. 8 by 9 feet 40 100. EMBROIDERED Rep VELVET CHASUBLE XVII Century IOl. Spanish chasuble of red velvet, edged with yellow and red silk espiguilla, and with a pillar of elaborate gold embroidery in the center. The front pillar or panel is featured with three circular cartouches, the upper with the Cross, the central with a coloured silk embroidery of the Virgin, and the lower with the insignia of the Order of Santiago. The back has but two cartouches, one of the Virgin in coloured silk, the other containing the same insignia as on the front. Between the cartouches the space is filled with rich gold embroidery of Renaissance design. The pillars are edged with a heavy gold galloon in high relief. Length of chasuble folded, 55 inches mee CARVINGS SMALL Boxwoop Triptycu XVI Century A tour de force in minute carving, the center showing St. Jerome in the desert adoring the crucifix, while the folding leaves are divided into two panels each, to accommodate the four Evangelists. These last are accompanied by their symbols and are named in fragmentary black letters on a scroll. Saint Jerome, under a tri- lobed arch, is the traditional long bearded emaciated nude, an ana- tomical study at an infinitesimal scale and carved completely in the round. The ground of the panel is blue and the mouldings are gilded. Closed, we have a plain mottled red surface; the triptych retains its original little clasp and shows signs of having been car- ried for generations, every edge worn round and smooth. Small diptychs and triptychs in boxwood, believed in Spain to have been carved in the country in the early sixteenth century, were treasured amongst the small portable religious objects of many of the great ladies of the land; one said to have belonged to Queen Cristina now figures among the boxwood carvings in the Morgan Collection in the Metropolitan Museum. Height, 234 inches 41 102 POLYCHROMED Oak STATUE OF AN INQUISITOR Attributed ‘to Pedro Millan, Late XV Centurya This dignitary stands consulting the book of the condemned and — holding, apparently, an instrument of the Inquisition. The black — headdress of the Holy Office was probably enlivened by gold but the face, if ever coloured, is now scraped to the wood; the rest of — the polychrome and gilding is intact. The mantle of red is pat- 4 terned with gold, the under tunic is entirely gold; likewise the maniple, that important article of the priest’s vestments which en- — dowed him with special sanctity. , | There is a great deal of character in this small head; the face, modeled by a few small planes, 1 is expressive of a man who could _ have condemned to torture in the full, honest conviction of per- forming a Christian service. That he should be represented with — an instrument of torture is not surprising since it was the custom to engrave an Inquisitor’s visiting card with a border of these un- pleasant devices. Height, 9 inches without base Note: Pedro Millan worked in Sevilla in the late KV century. He is known chiefly by the magnificent series of terra-cotta figures in the Archivolt of the great western portal of the Cathedral. He is also the author of the Virgin in the Chapel of the Virgen del Pilar. Like his contemporaries he also worked in wood on both a large and a small scale. 103. Iwo STATUETTES OF PROPHETS IN Naturat WALNUT AVI Century The two figures hold long scrolls. One wears a high-crowned hat with upturned brim and a long cloak caught up in the left hand; the other, a close cap and a cape with hood. The faces and hands are sensitively carved. The statues are flat at the back and are mounted on their original little corbels. Height, 10 inches without base 104. PAIR SMALL WoopEN LIONS GILDED AND PAINTED XV Century These crouching animals once served as supports for a small coffer as is indicated by the abrupt cutting down behind the heads. The box, in turn, must have rested on the typical low table as suggested by the upturned heads of the beasts. The carving is flat and deco- rative, of the Gothic heraldic convention. Length, 12 inches 10S. GotHic REeLiquary Box CoveREeD WITH GEssO XV Century A small box with curved top like the old-fashioned trunks and a battened base. The decoration is of the age-old Oriental tech- nique—a covering of adamantine gesso [yeso] modeled, painted and gilded; the modeling in this case is in the form of a long Latin inscription beginning with MAGNIFICAT, in Gothic letters. The sides and top have two oblong panels each and the ends, one, con- taining in larger characters the Greek Jesus Christ, 1us xps. ‘There is considerable relief to the decoration and the rich red undercoat- ing shows attractively through the finely crackled surface of the gold. ‘The base is ornamented with quatrefoils within a lozenge, and the top is hinged in the primitive manner of the Egyptian cos- metic boxes, by means of two pairs of interlocked staples. Inside, the wood is painted blue. Height, 6% inches; base, 4% by 9% inches [See illustration | 43 106. Oe 108. GILDED Woop STATUE OF SANTIAGO | AS A PILGRIM | XV Century Even earlier than the representation of St. James the Greater as a Moorslayer was his image as an apostle, clothed exactly like the pilgrims who kept constantly streaming into Spain to visit his tomb in Santiago de Compostela. Images like this—the saint wearing a pilgrim’s hat on which was sewn the shell, and carrying his book and stafi—were common all along the pilgrim route, not only in Spain but in France. Monsieur Emile Male tells us that the first statue of this sort can be seen at Notre Dame de Minizan, and dates from the early thirteenth century. The gilt of the Almenas piece is finely crackled and the undertunic is hatched horizontally. ‘he right forearm is missing. Height, 20 inches SMALL Bust oF A FEMALE SAINT IN. POLYCHROME Attributed to Gregorio Fernandez, XVI Century This head of a young girl, probably the artist’s daughter, shows a charming Castilian type. The head thrown back, the lips slightly parted, the eyes raised, seem to depict innocence and ecstasy. The rich warm colouring of the flesh is enhanced by the white lace- trimmed bodice. Over one shoulder is a mantle -of interesting estofado work. The bust stands on its original base. Height with base, 20 inches Note: In Gregorio Fernandez, 1576-1636, was crystallized the national art of image-carving as practised by the distinguished group of Valladolid sculp- tors. He was the author of numerous superb works now seen in the Valladolid Museum, especially the Santa Teresa and the Piedad. PAINTED Woop RELIEF XIV Century FLIGHT INTO EGYPT. This archaic piece shows the Virgin seated on a mule, in her left arm the Child, Whose hand strokes her cheek. A tree behind the head is arranged to suggest a halo. Some of the original colour remains, red in the robe and a greenish blue in the mantle. We have here the work of some local carver copied, probably, from the archivolt of a Romanesque church; Catalonia perhaps, since there is a very similar figure on one of the Catalan stucco altar frontals in the collection of Don Luis Plandiura of Barcelona. Height, 1244 inches 44 109. PoLYCHROMED Woop FIGURE Or ST. PETER XIII Century A vigorous figure, half life size, its colour well preserved. St. Peter as Pope stands in rigid Byzantine fashion. Beard and hair of tight curls; piercing black eyes in a strong face. The hands are gloved, with a book in the left while the right once held the crozier now missing. He wears the conical papal tiara, and is garbed in the usual white alb, gilded chasuble with painted border, and painted dalmatic. Height, 3 feet [See illustration ] 45 110. PatrR WooDEN STaATuES, HEAVILY GILDED XVI Century 1 Two Apostles in the nondescript long mantle common to Biblical imagery. The carving is spirited, the attitude is that of El] Greco’s Apostles at Toledo. The pieces are heavily gilded and stand on their original bases. a Height, 1514 inches TERRA-COTTA “STATURTIE- | | OF AN ANGEL a By Zarcillo, XVIII Century The figure stands on clouds, with its large black wings drooping as if just alighted after flight. “The robes leave bare the left shoulder and right leg in the oft-seen Baroque manner. Over the right shoulder, and passing between the wings, is a red scarf tied at the hip and catching up the loose girdle. In this latter are touches of red; otherwise the drapery is greyish brown. ‘The flesh tones are fresh, and there is fine modeling in the neck and inclined head, also in the slender hands crossed at the breast. Height, 12% inches without base Note: With Francisco Zarcillo or Zalcillo, 1707-48, the great epoch of Spanish national sculpture may be said to have terminated. Born at Murcia of a Neapolitan father, his earliest wood sculpture was remimiscent of the popular Presepe figures of the Campania region, but soon, without sacrificing any of his realism, he began to invest his figures with a depth of feeling and a nobility of composition that raised them into the realm of art and ranked him as equal to his distinguished predecessors of the seventeenth century. His works both in wood and terra-cotta remain mostly in his native city. WooDEN STATUE—THE Mater DoLorosa XVI Century A mature standing figure, grief stricken, with hands clasped at the breast. In the front an ochre-coloured dress shows beneath the long blue mantle; the head is draped in a white veil falling over the mediaeval wimple, which passes close up under the chin, and the whole drapery is a fine study of line. The face is very Castilian and full of character, the artist having realized that the Virgin was a woman who had been tried by life even before this last tragic event. Height, 174 inches; wooden base, 4% inches 46 113. SAINT MIcHAEL KILLING THE DRAGON XVI Century A beautiful little walnut carving of the Saint standing, his lance piercing the jaw of the crouching Devil, whose legs end in two ser- pent tails. ‘The statue was apparently once furnished with wings, otherwise it is intact save for the Devil’s horns. There is vigorous modeling in the body which in spite of the corselet is treated as a nude against a long cape falling from the shoulders. It is left in the natural wood. Height, 9% inches; base, 2% inches [See Illustration ] 47 fel 42 Heap or JOHN THE BAPTIST IN TERRA-COTTA Attributed to Montanes [d. 1649] The terra-cotta life-size head of the Baptist is undoubtedly from — the usual composition of the newly severed head presented on a salver. Under the bronze patine can be detected traces of natu- — ralistic painting. The eyelids have not been closed nor the lips, in the intention of evoking Christian pity for the martyr. Further — realism was imparted by the naturalistic colouring now hidden under a bronzy patine. In a land where wood was “archaic the chosen material of the sculptor, works in terra-cotta are rare outside of Sevilla — where, in the fifteenth century, Pedro Millan made the fine series adorning the grand west portal of the Cathedral. Between Millan and Montanes a century passed. | 4 Height, 10% inches — Note: Martifez Montafnes of Sevilla, an intensely earnest sculptor of religious subjects, broke entirely away from lingering classic influences of the sixteenth century and returned to what the Spanish people wanted—to the only thing that could provoke emotion in them—coloured scenes in the most realistic mode of expression. All who have visited Sevilla are familiar with his painted - statuary—rich robes of estofado, earnest melancholy heads, lean artistic hands; all the figure expressing dignity and pathos. In the present piece of barro cocido we have an interesting example of the skill with which Spaniards might have worked in this plastic material had not their passion for wood almost excluded all else. [See illustration ] 48 No. 114. HEAD oF JOHN THE BAPTIST IN TERRA-COTTA ie, GILDED REpoussE CopPpeR DipTycH XIT Century It may be well to recall that the diptych or two-leaved folding tablet — ornamented with devotional scenes, preceded the triptych or three- leaved form that came into such general Christian use in the Gothic period. This example, the Annunciation, has a pair of round arched leaves scalloped at the edge and was set with cabochon stones, long since pried out and leaving only the riveted setting. [he two sides are hinged on the butt system to a central shaft of rope twist. The gilded surface is etched and patterned with a quatrefoil and has a most attractive patine. The two attenuated figures, the Angel and the Virgin in half relief, are of the set tradition of the period. Height, 43¢ inches [See illustration | 50 116. GILDED STATUE OF A BIBLICAL PERSONAGE XVI Century 117: Great action is expressed in this figure; the hands clasped above the right shoulder; the head turned over the left, and the weight of the body on the right hip. The face is beautifully carved, the fea- tures fine and expressing deep emotion as if witnessing the Flagel- lation or the Crucifixion. The surface of the statue is heavily gilded excepting the cape and scarf, which are of deep reddish bronze. ‘The work is probably of the Valladolid school of the middle sixteenth century and formed part of a retable. Height, 27 inches GILDED AND PAINTED STATUE OF ST. JOHN XVI Century A tall gaunt hgure with thin Pride and feet, accompanied by the lamb; clothed in a skin garment which, like the beard, hair and mantle, is gilded. [he mantle falls back leaving a bony right shoulder and arm bare, and is lined with black, gold-dotted and sprinkled besides with a small acanthus motif. In the left hand Saint John holds a gilded book with jeweled clasp and his right is raised as if enforcing by gesture the words he is preaching. ‘The face is intensely earnest; the lips parted as if speaking. All the gilded surface has a specially fine patine. It would be perfectly justifiable to ascribe this statue to Berruguete although the owner has never made such claim. Height, 2 feet 6 inches 51 118. Carved Woop STATUE OF AN ALDERMAN [CONCEJAL | AVI Century The “city father” stands as if arguing before his colleagues, his forensic robe gathered up under the left arm, while the right 1s making the age-old gesture appropriate to declamation. The head, evidently a literal portrait, is an interesting bit of characterization. The figure shows traces of paint and gilt. Height, 25 inches , 119. i2o. i a CARVED STATUE oF St. JOHN IN NATURAL WALNUT XVI Century The figure is standing holding a book, and partly covered with a long shaggy robe. The face is of the primitive Spanish ascetic type with long thin nose and intense eyes set close together. Face and hands are beautifully carved. Height, 27 inches RELIQUARY Bust oF SANTA URSULA A CARTON, FROM THE ESCORIAL Dated 1577 ‘This head of Santa Ursula is unusual in being of hollow carton, treated like a painted and gilded statue of wood. Of heroic size and classic type, it has beautiful flesh tones and the hair is heavily gilded. Around the neck is a real necklace set with three little coloured stones, and on the breast is a large hinged brooch in gilded bronze that opens to show the relic. The statue stands on its original base which is treated to imitate coloured marble in the Baroque manner. On the left panel of the base appears the grid- iron and the initials of Saint Lawrence, to whom the Escorial is dedicated; on the right side is the monogram of the Virgin; and on the central panel the following inscription: CAPUTUNIUS VIRGINIS ET MARTIRIS SOCIARUM BEATAE URSULAE—PHILIPPUS II HISPANI- ARUM REX ME DONAVIT ANNO MDLXxviI. The bust was meant to be visible from all sides and is as carefully finished on the back as on the front. Height, 2 feet CARVED WALNUT STATUE XVI Century ST. MICHAEL AND THE DEVIL. The Saint represented, as usual, trampling down Satan, whose one arm clutches his shield. On the shield is carved the head of Goliath, implying the similarity of the legend of David and Michael. The Saint is in armour, his cape is thrown back over the shoulders, and the right arm is raised and once held a lance. The statue was originally gilded. Height, 27 inches G51: PRA PAINTED AND GILDED STATUETTE 3 | OF SANTA BARBARA a 18a eV Gan a This is the rarest and most beautiful of the so-called chuletas;— likewise it is somewhat disconcerting to classify. Instead of the custcmary representation of the Virgin, we have here a Santa Barbara with her attributes of tower and book; and instead of the © usual nondescript long mantle, she wears a carefully studied cos- — tume of Oriental aspect, looking like a mediaeval version of the — three-tiered skirt of the Cretan statuette recently found at Knossos. — The long slender waist is another unusual feature, one that con-— tributes greatly to make the profile enchanting. As to type, the — eyes are thoroughly Chinese, but the sensitive mouth and fine pointed chin recall Botticelli. T’wo long thick golden braids pass around a the head and then fall over the shoulders. Exquisitely delicate are — the hands, intact. ‘The long straight tunic is visible only towards — the bottom, being covered above by the shorter gilt skirt of two | layers, the lower with a wide flare. Its surface is stippled with lozenges and discs, and the border is of. alternate red and black — scallops. such as are seen on Eastern tents. In addition, the lower q flare has a border of black Gothic lettering, apparently the word — SANTA. A bead ornament ending in a large pendant hangs in 4 front. Minute black letters and red initials can be made out on — the pages of the open book in the Saint’s hand. The walnut base without restoration. q Eeoke 5 inches; mee 5 inches: am [See laste 54 No. 122. PAINTED AND GILDED STATUETTE OF SANTA BARBARA 123. SCULPTURED Woop STATUE OF ST. JOHN XVI Century GQA: 12%, 1120; _ Spanish, with features unsymmetrical and full of tense expression. a tall candelabrum. ‘The face is thrown upwards and to the right A striking figure in sombre polychromy in the school of Berruguete, — from Valladolid. The Saint is posed with the weight of the body | on the left foot; in his right hand he holds the Book and the Lamb. The head and face are admirably modeled in a manner thoroughly No less interesting in handling is the lamb, vigorously carved andl treated in an ashy grey estofado. In conformity with the tradi- q tion, the entire figure is decor ated in polychromy and gold. : mec 4 feet ?2 inches _ WALNUT STATUETTE OF SANTA BARBARA XV Century — Santa Barbara once held the wafer and chalice of which now only — the stem remains. Bushy curls escape from under a close small — headdress. She stands resting her weight on the right hip and the _ left side relaxed. The robes, once greyish sprinkled with little — black and gold flowers, have lost most of their decoration, and — only on the beautiful face and hands a the original painting intact. Height, 34 inches RELIQUARY Bust oF St. JOHN, Woop IMITATING BRONZE From the Escorial, XVI Century — The Saint gathers his lamb to his breast and holds his shepherd’s q i crook [curved top missing]. Features and hands are fine and sensi- 24 tive, more the delicate Italian than the traditional sturdy Spanish St. John. An extraordinary metallic tint was secured for the flesh — while the hair and camel-skin mantle are in heavy gold, the two tones making a striking contrast. The bust stands on its original — carved and gilded base. _ Height, 22 inches — GILDED Woop STATUE OF AN ANGEL AV Century The typical Gothic conception of an angel [wings missing], holding and the figure is clad in a long tunic girdled at the waist and over it a long mantle fastened at the breast by a brooch. Both hands are _ concealed according to the reverent Oriental tradition; the right, which holds the base of the candlestick, at the same time catches up the folds of the cloak, while the left, which grasps the stem, is concealed under a gilded serviette. Height, 26 inches L2 STATUE OF A SAINT IN NATURAL WALNUT XVI Century A standing figure of a Saint or perhaps an Evangelist with book and quill pen. ‘The under tunic falls to the ground enveloping the feet while over it is a dalmatic; the border carved in relief. The collar is treated in the same way. ‘The interesting head shows close study of the model; the hands too are full of character. The figure stands on a base covered with Gothic cut velvet. Height, 24 inches Wn “I 4 _— (28. CARVED PROCESSIONAL STAFF XVI Century Of wood gilded and polychromed, the cary- — ing again particularly interesting in that it — represents, as in No. 129, “The Tree of — Knowledge” sheltering the Tempter in the © form of a serpent with a woman’s head. In © this later example, the body of the serpent is short and incised with scales, and the Tree of Knowledge instead of being shorn — of limbs and bare of leaves is clustered thick _ with fruit and foliage, all in polychromy. The large single processional candle or — cirial is held by a single gilded socket in the — center ob theta a Height, 7 feet a [See illustration] 4 58 129. CARVED PROCESSIONAL STAFF XV Century Of carved wood gilded and painted. The subject is specially interesting as it represents ‘““The Tree of Knowl- edge,”’ sheltering the Tempter in the form of a serpent with a woman's head. The serpent’s body winds near- ly the full length of the pole. The tree has a gilded trunk and short leaf- less branches. It is to be noted that this representation of Satan the Temp- ter with the head of a young woman appeared for the first time in Spanish art in the early thirteenth century, the earliest example found being on a page of the famous thirteenth century Apocalypse manuscript now in the J. Pierpont Morgan library. In this, the older of the two processional staffs in the collection, provision is made for carrying the candles by three iron sockets driven into the end of the pole. Height, 7 feet 5 inches [See illustration | =i, 130. PoLYCHROME STATUE OF A Doctor oF Law XV Century [See illustration | 60 A standing figure with head turned to left, clad in long robes and holding a book. ‘This statue is specially interesting in that Gothic sculpture of personages in civil life are rare and this is unquestionably a portrait made on the order of some rich advocate. The clean- shaven face, which retains its flesh tones, is carefully modeled, accentu- ating the characteristic heavy jowls. A long thin nose, keen black eyes, i short thick black curls, make a type _ of great force. The expression, in combination with the direction of the head, suggests a lawyer in the act of arguing his case. The hands are fine and sensitive and the delic- ate fingers have fortunately escaped mutilation. | Over the long under tunic is a copious mantle caught at the breast by a jeweled brooch. On this gar- — ment, once gold, there was an etched — pattern but the vandal who, ages ago, scraped off most of the gold, scraped the gesso with it. ‘he ~mantle was lined with blue, and the red of the hat completed the poly- chrome. This statue is as fine a piece of characterization as one can hope to find within this period. Height, 1 foot 10 inches P 131. 132. rq. mek NEE OR EB SMALL IRON TRIPOD XVI Century In the small circular rim at the top was placed the pitcher of wine [and a few cloves] to be set among the hot embers of the hearth where the wine was allowed to slowly mull for hours. Height, 8 inches IRON PRICKET CANDLESTICK Catalan, XIV Century This once common form of candlestick has a solid cylindrical shaft riveted to a tripod base whose extremities open out into three little discs. he shaft broadens out halfway down into a faceted knob, and becomes four-sided at the top and bottom. The surface of the whole shaft is filled with incisions geometrically patterned, which probably once held coloured enamels. Height, 11% inches WROUGHT IRON BRACKET AND SHADE The small right-angle bracket has a decorative brace in the form of a diminutive sixteenth century baluster enhanced by crock- eted wisps of iron. Traces of fire gilt remain. The shade is com- posed of an antique band of Sierra Morena embroidery, a red ground of silk chain-stitch leaving the pattern in raw linen.’ ‘The shade is edged at top with gold galloon and finished at the bottom with gold fringe. ; All the embroidered linen lamp shades from the Almenas house were made from similar antique bands worked in silk in a purely Oriental technique no longer practised in Spain, but still used in Morocco. The effect is created not by the usual process of embroid- ering the design, but by filling in the background and leaving the design blank. The filling is always of one only colour, and gen- erally in silk, the density being secured by row after row of flat stitch or long-and-short cross stitch. ‘Old bands worked on the system of negative pattern against a positive ground are generally the only remains of bridal towels. They are occasionally found in the Sierra Morena region of Spain, more often in North Africa, the Spanish being easily distinguished by their Renaissance motifs, and dating from the sixteenth and seventeenth centuries.’’—Stapley and Byne, Popular Spanish Weaving and Embroidery. Height with shade, 24 inches 61 134. 135. 136. ieee heey PaiR SMALL GILDED [RON | ‘4 WALL APPLIQUES — 7 > 4° GI Centura Each bracket is made up of four twisted pieces used in the arm, a band of perforated leaf ornament for the candle cup, and a_ pierced quatrefoil for the bottom of the cup. The lampshades — accompanying these wall lights are made of antique bands of red — silk embroidery on linen, such as are described i in connection with — Number 133.: 7 Diameu She cup, 4 inches Parr IRON Whi Abert WITH ae EMBROIDERED SHADES | — XV-XVI Century — The iron brackets are made up of the following pieces: a drip pan crenellated on its upper edge, a wall hook, and a shaft to support _ the shade. The shades are sixteenth century towel ends from the a Sierra Morena,—a rich embroidery of terra-cotta silk on white linen. The figures seated on the tail end of the donkey in Arab — : fashion and with arms swinging in the air bespeak the Oriental 7 tradition of the district. Height with shades, 15 inches GoTHIc IRON KNOCKER | XV Century Genuine old ironwork in what was once a very popular form, the hammer being a lizard with scaly body, long legs and a twisted tail. _ The backplate consists of a traceried panel of superimposed plates; at the hinge of the hammer is a repoussé boss. Length, 11 inches Park IRON WALL BRACKETS WITH EMBROIDERED SHADES XVII Century Nicely wrought and hinged brackets, with spindled vertical shaft | terminating in a drip-pan supported by diminutive scrolls; traces of fire gilding. ‘The shades are of linen embroidered with red silk, the pattern formed in the blank. This is the traditional needlework of the Sierra Morena district and rarely encountered to-day. Total height with shades, 17 inches PAIR SEWING CHAIRS 7 Walnut frames with turnings, and covered in green velvet fastened with perforated brass nails. Ladies sat either on cushions or on these diminutive chairs to sew. Their servants, at a distance, sat on low pine chairs with rush seats, while that of the mistress was generally of rich material. Height, 2 feet 3 inches 62 139. ae = nanan i RSS SE CARVED WALNUT STOOL XVI Century A good small piece in the style of Philip Il. Owing to the dearth of large plain chairs in the sixteenth century stools were more gen- erally employed in Spain than elsewhere. As a rule they are simple in construction and sought for to-day because of their well-worn surface rather than their art, but in this instance the piece is, of some importance. The top is moulded at the edges, has a hand-grip in the center and a carved apron under the seat, a refinement rarely met with in Spanish stools. The legs are turned at the top and square below with fillets on the four sides, and are connected by patterned stretchers. The piece is well preserved. Height, 19 inches; top, 12 by 19 inches [See illustration | 63 140. TAle 142. Lone ToLepo DAGGER XVI Century Fine Spanish dagger, with shell-shaped guard from the famous weapon armouries of Toledo. The blade is gradually tapered and | at the hilt, just under the cross-guard, 1s beautifully patterned and © incised with the single letter B on both sides. More patterning a occurs on the wide cross guard. The grip is strongly wrapped in — steel cord and topped with an ornamental button. ‘The hand guard ~ is in the form of the cockle shell of Santiago with’ pg top @ and perforated sides. 4 Lengene 22 inches Lone Sworp XVI Century — Beautiful weapon signed alike on both sides of the blade: xx ARNOLDTI xx BRACH xx IHN xx. Aside from this inscription the actual blade is otherwise undecorated. In contrast, the sword handle and guard are handsomely wrought and ornamented. The guard is in the form of an open shell of filigree with scalloped outer — edge to each extended half. The gap between the shells is taken up by a motif worked in strong steel wire. The handle is richly ornamented with filigree and on each side bears a vignette of a knight in armour. Length, 3 feet 8 inches CASQUE XVI Century Beautiful metal headpiece with elaborate Renaissance decoration showing traces of gilding. The casque is featured by the usual ridge-piece, gorget and ear-guards. Finely chiseled and engraved ornamentation extends along both sides of the ridge, across the neck-piece, over the beaver and ear-guards. The motifs include torsos in armour, cannon, casques, trophies all nicely composed and drawn together by festoons and garlands. The casque is studded with bronze nails and carries a little cartouche at the back of the same material. Ornamentation and cartouche are very Italian. Height, 12 inches 64 «143. 144. 145. 146. CASQUE WITH VISOR XV Century A fine example of a mediaeval headpiece in perfect condition. It consists of three pieces—inner skull cap, a second or outer covering hinged at the ears to afford double protection for the forehead, and the visor with its neck plate. The helmet shows evidence of hard use, but is nevertheless complete even to the hook and eye holding the visor. Sumptuous pieces of armour for royal use are known to have been ordered from Italy and Germany, but many fine pieces and most of the strictly utilitarian armour were of Spanish make, ~ as may be seen in the Armeria of Pamplona. Height, 13 inches SINGLE CHAIR WITH WOVEN WooLeN COVERING XVII Century A high-backed walnut frame, Castilian in provenience, with a simple carved splat in front. Seat and back are covered with woolen weave made to size and shape, in the technique of the carpets of Cuenca, and in the same typical colouring—honey, cinnamon and blue, with a little pale green. On the seat is a panel of blue, and on the back an heraldic cartouche surmounted by a plumed casque with two running hounds. Both seat and back are edged with a multicolored silk fringe. There were once four chairs of this type in the family but the set was long ago divided by inheritance. It was always understood that they were ordered direct from Cuenca in the seventeenth century. Height, 3 feet 5 inches SMALL [RON HaNncinGc Lamp XVII Century The body of the lamp is square, formed by a delicate perforated screen patterned with the escutcheon of the Order of Santiago. From the four corners rise twisted iron volutes which grip the cen- tral ornate shaft. Traces of gilding may be seen. Height, 3 feet Paik WrouGHT ANDIRONS [morillos | XV Century To a lover of Gothic ironwork these simple household objects are of most interesting craftsmanship. The upright member, starting as a bar of rectangular section, was rapidly twisted while hot, each of its four faces scored with a deep line, and the top ham- mered back into a knob which still retains the ridges of its original four sides. Below the twist is a faceted collar. The horizontal member is triangular in section, and where it intersects the vertical there is a large fleur-de-lis appliqué, whose stem terminates in an animal head. Height, 25 inches; depth, 31 inches 65 tage 148. 149. 150. LEATHER-COVERED WALNUT ARMCHAIR XVI Century ~ The frame is of the traditional Spanish form known as the frailero, — or friar’s chair, because of its general use in the monasteries. Dur- © ing the truly Spanish period of furniture, that is to say, until French — fashions were well established by the Bourbon kings of Spain, the designers wisely kept to this simple, one might almost say rigid, — frame, seeking richness in the covering and in the nails that held | it. As for the frame itself, its degree of elegance was generally de- — termined by the front splat which was often elaborately carved. — In the present case the leather back is tooled with the family escut- cheon embracing the five-pointed coronet. The quarterings show — a lion rampant and a hand grasping a sword. ‘The chief adornment is the large perforated fire-gilt nails, very effective against the dark 4 leather Height, 4 feet 3 inches SMALL WaLNuT TaBLe witH Bracine Irons XVI Century © The Spanish small table was always a popular piece of furniture _ and no salon was complete without several. This example is delicate in design with turned and spiral legs braced by graceful scrolls of iron. The drawer face is paneled in relief and inlaid with bone 4 lozenges. In good condition. Height, 1 foot 10 inches; length, 2 feet 9 inches; width, 1 foot 10 inches IRON RADIATOR SCREEN WITH RepoussEs PILASTERS _XVI Century ey The screen is built up of heavy plaques perforated to form a pleas- ing pattern of figures and scrolls. The corner pilasters are beaten into pattern on their two exposed sides—delicate tendrils and leaves rising from an urn. In the center of the screen panel is afhxed a cartouche surmounted by the castle of Castile and the lion of Leon. Height, 3 feet; width, 2 feet 6 inches; depth, 1 foot 2 inches WALNUT AND LEATHER ARMCHAIR XVI Century In olden times when noble families visited their various estates a good part of their furniture traveled with them, strapped to pack mules; hence the device of the collapsible frailero; by removing the twin screws that hold the splats and then unhooking the iron bar across the top of the back, the two sides of the frame are brought together for packing. For this type, floor runners, or sole-pieces, were indispensable for securing rigidity. In the present example we have the slightly curved arm, a refinement which as a rule indi- [Continued) — 66 - No. 154. 150. Concluded cates a later date than the straight arm. Leather and wood have acquired an admirable patine. Collapsible frame. Height, 4 feet 5 inches Low ARMCHAIR WITH BAcK AND SEAT OF ONE PIECE XVII Century These armchairs are occasionally seen in old houses in Spain, and are referred to as Philip II chairs, probably because that gouty mon- arch was constantly looking for a comfortable piece of furniture to ease his aching limbs. Most of those found to-day date from the seventeenth century. The structure is based on a criss-cross frame with the back arm much extended. The leather back in this example bears a beautifully embossed double-headed eagle, the ubiquitous emblem of Charles V, first of the Hapsburgs in Spain. 5 Height, 3 feet FoLtpING [RON LECTERN XV Century Composed of four slender bars loosely twisted, and with graceful flare at the floor; half-way down they cross and are riveted scissors- fashion. At the bottom are two twisted stretchers, and at the top the corresponding pieces extend some four inches at each end and terminate in simple hammered bosses. Set into these are staples holding chains which run from front to back and support the book. The lectern is original and absolutely untampered with. Height, 5 feet 7 inches WaLNutr TaBLeE WITH BraAcING [RONS XVII Century A medium-sized walnut table with beautifully patterned legs of unique design and end stretchers to match. This sort of table leg generally indicates an Aragonese origin, the turned leg being pre- ferred in Castile, and the straight unfeatured leg in the north. The table is braced by good over-reaching irons with delicate discs in the center. Height, 2 feet 8 inches; length, 5 feet; width, 2 feet 4 inches WALNUT SERVING TABLE XVI Century A dining-room piece of the period of Philip II, nicely proportioned with projecting top, double drawers, and solamonica legs [the latter always in favor with Spanish furniture makers]. A note of dis- tinction is the outside stretcher. Appropriate dining-room furniture, aside from the table, is difficult to find in Spain. Height, 2 feet 10 inches; length, 3 feet 10 inches; depth, 1 foot 8 inches 67 jsp 156. Hicu LEATHER-COVERED PORTUGUESE CHAIR AVIT Cena A chair of this type is known in See as a silla Portuguesa, white does not always mean that it came from Portugal, for many were made after the same model in Sevilla and Cordova, where they were in common use during the seventeenth century. ‘The type seldom varied in form: walnut with turned legs, claw feet, and a carved intertwined splat, the back high and peaked. Much art was ex- pended on the tooling and embossing of the leather, which 1 in this example is beautifully executed. ; Height, 4 feet 4 niche E PLATERESQUE LECTERN oF CARVED Woop = PAINTED AND GILDED XVI Conti 4 This fine atril stands on a three-cornered base, each side of which — . contains a panel in relief with the typical Plateresque motifs of — cherubs, masks and trophies. ‘The carved baluster shaft is vainted tl 4 in red and gold, while the stand on which the book lies is com- — posed of St. John’s eagle heavily gilded and perching on a scroll. — The bird measures from wing to wing some thirty-three inches. Height, 5 feet 1 inch [END OF FIRST SESSION] 68 2. 158. 159. SECOND SESSION Friday January 14, 1927 at 2:15 p.m. Catalogue Numbers 157 to 312 Inclusive PoACEEN COE SMALL HispANO-MoORESQUE COUPE XV Century The form is that of a deep bowl with stem and base, interesting because of its being decorated with the eagle of St. John, to whom Valencia was specially devoted and whose emblem was put only on the choicest wares. The ground is a light buff colour and the lustre is pale gold. The eagle spreads over the entire interior from brim to brim, while in the body or deepest part of the bowl is the sacred monogram IHS in Gothic letters. The outside is decorated with gold dots and splashes. [Repaired around the brim. | Height, 3% inches; diameter, 5 inches SHALLOW PATERNA BowL XV Century The potter's thumb, pressed five times into the wet edge of his bowl, made an interesting wavy brim. Outside, the piece is not glazed but inside it has the distinctive green and manganese heart- shaped decoration along with black triangles and scroll. Diameter, 5 inches Pair HisPANO-MOoRESQUE BOWLS XV Century These two bowls are decorated in pale gold luster. In the bottom is a luster shield within a blue circle. [he shield embraces the Gothic Y [for Ysabel la Catolica], and rising up from the three sides of the shield to the brim, three crowns in blue. In the inter- vening space is a luster leaf. On the back the bowls are decorated with luster circles encircling a splash, a common treatment on the reverse of fifteenth century pieces. [Slightly repaired. | Diameter, 514 inches 69 160. TO 162. HisPANO-MORESQUE MUG | Xe Centum Both in form and decoration this piece is unusual amongst Hispano- Moresque wares. It has two handles and between them on one side is a spout which was once fitted with a metal stop-cock. The decoration consists of three graceful fern leaves on each side rising from base to brim, the leaves being white and ground blue. Base and neck are ridged and there is a deep gold band on the inside of the mouth. [Slight repair above one handle.] _ a: Height, 6 inches; diameter, 5% inches SMALL HISPANC-MORESQUE PLATE Valencian, XV Conta A deep plate of warm white ground decorated in blue and brownie luster changing to violet. In the bottom is a bird in luster, and | a above, two rows of vine patterning, the leaves alternately blue and luster. All over the ground both inside and out are small luster scrolls. [ Repaired. | m ‘J | Diameter, 6% inches SMALL PATERNA VASE XV Century — The base has a small globular body and long straight neck and is — decorated in the typical green and manganese. ‘The design, “pp | only from the bulge upwards, consists of three horizontal lines and between them the two green hearts enclosing leaves as so often seen on Paterna ware. On the neck are two green “‘V’s’” enclosing a — Paterna black triangle. The rest of the ground is covered wie 3 small black scrolls. The piece’ is intact. — Height, 6 inches — Note: Transcript from an article by Dr. Kuhnel, Curator of the Islamic Section of the Kaiser Friedrich Museum, Berlin: “The Islamic section has recently acquired in Valencia, two little examples and a small number of broken fragments of a kind of Moorish ceramic decorated in green and man- ganese, the existence of which, outside of a few rare pieces (two in the Museum of the Louvre, for instance), are concentrated entirely in the Museum of Barcelona. ‘This ceramic comes from the excavations undertaken in 1908 at Paterna, one of the ceramic quarters of Valencia, on the site of the old kilns where, in rubbish heaps, innumerable small fragments had been al- ready found. Don Joaquin Folch I Torres, the zealous director of the Bar- celona Museum intervened in time to secure for his museum the total results of these important excavations, so that very few pieces have ever come upon the market.” 7O i283: PaiR HispANo-MoRESQUE “BLoop Bow Ls” Valencia, XV Century The sangradera was an article much used in the days when blood- letting was the remedy for all ills and when the local barber was the surgeon. Sangraderas were made at all the chief pottery works of Spain, in cheap and expensive grades, the luster bowls of Manises being specially prized. The bowls have a handle at each side formed by a thick tongue of clay projecting horizontally from the brim. One of the pair, with handles chipped, has a bright gold fleur-de-lis in the bottom and around the upper edge the disjointed URBI ET ORBI inscription between two gold bands; the outside has alternate broad and thin gold bands. It shows signs of having often been placed in the live embers. The other has a bronze and ‘purplish luster. In the bottom, a flower, above it a lace scallop decoration surmounted by the B inscription. The outside is deco- rated with circles. Diameter with handles, 8 inches HispANO-MoRESQUE PITCHER XV Century A pleasing and unusual form, long, deep, and flat-bottomed, resting on a stem and foot. ‘The greenish white ground is entirely covered with blue bars, vertical and horizontal, and between these is a smaller set in gold luster as if the idea had been to imitate the small patterned plaid weavings of the day. [Top repaired. | Height, 8% inches PaiR SMALL HispANo-MoRESQUE PLATES XV Century The plates have a very small centre rising to a pronounced boss. The ground is clear white and the luster coppery changing to ma- genta. One of the plates has a blue shield around the boss enclos- ing a luster leaf; from this rise nine panels, three of which contain blue quatrefoils, three a leaf, and three simple bands of cross hatch- ing. The back of the plate is decorated with concentric circles of luster. The second plate is also decorated in copper luster, the outermost border being an inscription of the recurrent B’s derived from the Latin URBI ET ORB; inside of this is a scalloped lace deco- ration around a blue centre. The back is decorated with luster circles. [ Repaired. | Diameter, 9% inches 166. Lome 168. back is a decoration of luster scrolls. The piece is intact. Diameter, 814 inches — DerEP HispANo-MoreEsque DIsH — XV Century 4 The dish has a flat four-inch base on which is a bird’s wing in luster; _ i Se HispANo-Moresque Disu | XV Century This “brazier’’ type dish has a flat outer brim one and a half inches wide, and the rest takes the form of a deep bowl. The ground is a rich buff colour flecked with a very iridescent gold luster. In the | bottom is a luster rosette enclosed within a blue ring, and rising up — the sides are three blue groups of leaves with a circle between them — containing luster discs. Around the brim are six groups of blue — Gothic letters, separated by the same gold rings and discs. The letters seem to be intended for AVE MARIA GRATIA PLENA. On the | the rest of the decoration consists of an all-over leaf and vine of gold luster disposed within three horizontal bands. On the back is a 3 series of concentric rings. [ Repaired. | DEEP PATERNA BOWL | AV Century — A rare and valuable piece, being a combination of copper-toned luster _ with the traditional green decoration of Paterna. Inthe bottom of — the bowl is a large luster rosette surrounded by interlaced arches from which broad green bands run up to the brim, dividing the sur- face into thirds. The pattern in these bands appears to be derived — from Arabic letters as can be seen on some of the best pieces in the Barcelona Museum. In the center of each of these thirds is the typical Paterna heart-shape in green. Outside, between two green bands is a luster zigzag and below it between two luster bands a series of whirls. The base, which is very concave, has a whirling - rosette in luster. [Brim repaired. | Height, 4% inches; diameter, 10 inches SHALLOW PATERNA BowL AV Century This is a sample of the simpler Paterna product, with its outside Diameter, 934 inches undecorated. On the inside in the center of the base is a green flower with a green shield-shape. Up the sides are green circles enclosing a flower and on the broad flat brim are two green lines interrupted at four points by a group of diagonal lines. [The brim has been repaired. | Diameter, 10 inches - 170. SMALL HispANO-MorRESQUE VASE Granada E71. (72. This piece resembles in form the celebrated large vase found in the sixteenth century in a cellar of the Alhambra Palace and attributed to the early fourteenth century. The neck is long like a funnel and the body tapers down to a small base. Two wing-shaped handles pass from the neck to the globe [one of them repaired]. Pale luster vine leaves and tendrils make up the decoration. On the in- side of the mouth is a deep luster band. A piece somewhat smaller than this but otherwise exactly similar is in the British Museum. Height, 10% inches PatR CUERDA SECA PLATES XV Century Two shallow plates, the center of each rising into a small boss. The one with the rabbit design has a greenish white ground and the design is mainly blue and green. The brim is edged with a dark green band, inside of which is a yellow one; on the rabbit the col- ouring is capriciously divided, brown for the body and three legs, blue for the head and remaining leg, and green for the long ears. Discs and leaf forms are scattered over the ground. The bird plate has a yellowish white ground, a band of dark green around the edge, while the bird with its spread wings is all brown, perched on a blue twig. The glaze shines like glass. [Both plates have slight repairs. | Diameter, 10% inches Note: Dishes with these charming designs, and made by this same process were common household articles in the fifteenth century before the more sophisticated Italian painted decoration was introduced. Cuerda seca, as the process was called, referred to the outline of grease and manganese with which the pattern was indicated on the moist clay, and which prevented the colours from flowing together when floated over the intervening spaces. The colours on being baked rose into low blister-like relief, while the grease dried out of the broad outline. Cuerda seca decoration was practised in several of the pottery centers of Spain, but the wares of Sevilla are best known. A rabbit plate similar to the one here exhibited is in the museum of The Hispanic Society of America. HispANO-MorESQUE PLATE XV Century A shallow plate with whitish ground on gold and blue decoration. In the center within a gold ring is the sacred monogram IHS, in Gothic lettering. From this radiate blue stems full of small blue leaves and flowers with a gold center. [The whole ground of the plate is covered with thin gold tendrils. On the back are alternating blue and luster leaves on a ground of luster scrolls. [ Restored. | Diameter, 11 inches 73 L7; Lye HANGING FERN BowL Talavera, XVII Century This graceful bowl, hung with green silk cords, has a what g and a decoration in ochre and purple. Above the shoulder are : well modeled masks through which the cords pass, and betwee masks are pierced quatrefoils. Below, where the form narrow painted four different coats of arms, each with a cardinal’s hat and tassels are painted with ochre. The spaces between tl motifs are again pierced. . ) Pairk APOTHECARY JARS FROM THE ESCORIAL XVII Cen These jars are of the graceful shape called a/borella, so named be cause it imitates the section of the bamboo tree in ere the spices and drugs from the Orient used to be sent to Europe. The ground is flecked with blue and white and strewn with yellow spots; above and below a diagonal band of lettering is a shield, the upper of the monastery, the lower of the donor. In the former is the gridiron on which St. Lawrence, to whom the Escorial was dedicated, suffered martyrdom; the crown indicated that the monastery was royal foundation. The shield below the hand holds a lion and is on mounted by a cardinal’s hat with cords and tassels. The lettering on one of the diagonal bands indicates that the pot held Spica | Celtica and the other Lignum | Spongie. 4 a © es Height, 12 “inches e 2 7 ' Sa Two DEEP VALENCIAN-MoRESQUE DISHES XVI Century These two little dishes are of the brazier type, meaning a deep center. One has a white ground with a small blue leaf and flower and in the bottom the sacred monogram in Gothic characters; this aq lettering is in gold. On the back is a decoration in large gold inter- lacing curves. The broken piece of the edge has been carefully re- placed. The other plate has a buff ground sown with blue leaves — alternating with a frieze, and in the bottom is a griffin of copper luster. a 74 176. P77. 178. Two Hispano-Moresaue MepIcINE Jars XV Century The jars are of the typical Arab or bamboo-section shape, one deco- rated in copper luster and the other with gold. Both have a beau- tiful design of vine leaves in blue and luster with the stems and ten- drils in luster only. The taller jar has four horizontal blue lines around it and the other has five. [Both have been considerably repaired.] Pieces almost identical are exhibited in the Museum of the Hispanic Society of America. Height, 12 inches ParR TALAVERA PoTTrery JARS XVI Century Talavera [de la Reina, because it formed a part of the dowry of the queens of Castile ] was famous for its wares at a remote date, and important early pieces like the pair here offered are almost as much prized in Spain as Hispano-Moresque. The jars are of the phar- macy pot shape and with a series of moulded ridges at the shoulder and again at the base. The scroll decoration is left white while the spaces around it are filled with dark blue interrupted by yellow leaves and flowers. The main motif is a medallion enclosing a figure. On one vase, there are two medallions, oval, framed by a laurel wreath and holding the profile of a warrior; on the other are four medallions surrounded by blue and white lines and holding a cupid blindfold about to let the dart fly from his arrow. At the neck of each bottle a row of little arches is drawn in black and filled with a yellow and blue splash. The more robust quality of the clay and the resistance of the glaze as compared with the later and more plentiful examples of Talavera products will be easily rec- ognized. Absolutely intact. Height, 1314 inches; diameter, 9 inches SMALL TERRA-COTTA OIL JAR WITH HANDLES XV Century The tinaja of unglazed coarse reddish clay was made for holding either oil or wine, principally in Toledo, Seville and Granada. ‘The present example is of graceful form,—-a small base and wing-shaped handles. On the handles and neck are traces of a green glaze. Running around the shoulder of the vase are concentric ridges and below a broad horizontal band of incised quatrefoils within circles. Height, 13% inches “I Wi 179. A Deep TERUEL PLATE | ve eA a Century 180. alee Teruel in Southern Aragon still contains many vestiges of the various Moorish arts that once flourished there. Its pottery bears close resemblance to that of Tunis and of Paterna [see No. 162 ]— an oyster tone for the ground with green and black decoration. The plate here exhibited is absolutely intact and has a small flat base from which radiate four cardate leaves outlined in bold green — and black, and with a scroll in the center. The brim is decorated with green scallops like lace, their centers cross-hatched diagonally : in black. ‘The surface of the plate is most beautifully crackled and the green is almost lustrous. Old plates not unlike this have been : also found in Majorca. aa = Diameter, 14 inches — | 3 A Hispano-Moresque Dis Manises Ware, XVII Century — This is an imposing though late piece of luster ware and is abso- — lutely intact. In form a base rising in a large boss like an in- — verted plate, from which the sides rise sharply to the broad four- inch brim; this slopes considerably upward. The ground tone is buff and the luster is gold changing to green and blue. Around the 2 brim is a luster decoration of the tulip motif bordered by a luster — band at the outer edge and a blue at the inner. Blue circles appear 3 at the upper and lower edge of the base, while on the back is a 3 decoration of circles in luster. oe Diameter, 1814 inches; depth, 4 inches a MIS CEL Lb ANOS PEDOMETER XVII Century — A unique piece in perfect working order for registering the distance walked. The mechanism is guarded in a small metal case, brass dipped in gold and engraved on its principal face. The register dials are of steel. From a lever at the side was attached a cord “@ which connected with the leg of the pedestrian. As indicated by the hook at the back the case was fastened to the belt, and to judge by _ its worn surface it once served as a practical instrument. Height, 3 inches 76 £2. 183. 184. SMALL PAINTED LiIMoGES ENAMEL XVI Century SAINT JEROME. The typical composition of Saint Jerome in the desert painted on the usual black ground of the late Limoges wares. The copper plaque is rounded at the top; to the left kneels St. Jerome before his rustic altar, on which rests a scroll. He is nude to the waist and in his hand is the jagged stone with which he has been mortifying his flesh; crouching near-by is the faithful lion; his Bishop’s hat lies on the ground. Beyond the fine flesh tints there is but little colour save the blue-green of tree and ground; the drapery is white. To the left side under the curve of the arch in gold letters we read: Sancte Jeronimee. ‘The piece is in perfect condition except where slightly chipped on the lower right corner. Height, 314 inches SMALL FOUR-FACED BRONZE CLOCK WITH BELL An intresting little upright clock in Plateresque style, its mouldings and corner pilasters cut with the chisel and its whole surface etched; surmounted by a steel bell with fine timbre. ‘The time face has Roman numbering up to twelve and Arabic up to twenty-four. The opposite face indicates the months on the larger disc and the days on the smaller. On the principal face a hunting scene is etched; the month-and-day face has an allover scroll pattern, while on the other two sides there is a Crucifixion and the Worship of the Brazen Serpent. Small clocks of this sort where the pendulum is visible are called Mosca or fly clocks. Height, 7 inches SMALL HispANo-MorESQUE JAR WITH FouR HANDLES XVI Century A typical orza or compote jar, globular in form and with four loop handles from shoulder to brim. The ground is a beautiful warm white and the luster of copper tone. Three horizontal blue bands and three blue lines outlining the luster handles enter into the deco- ration. On the bottom is a band of degenerate inscription derived probably from Ave Maria. The inside of the neck is decorated with luster. This is a fine piece and absolutely intact. Height, 8 inches 77 ese 186. Tioa7. 188. PrerA IN CARVED JET XVI Century The piedad and its Renaissance frame are carved in one piece. The subject is a typical Italian composition and it is fitting that it should be framed in a tabernacle form. Jet (azabache) was used for cary. ing in the northwest of Spain from the early days of Christianity. Asturias yielded the material plentifully and when the pilgrimage. to Santiago began to attain great vogue, good-luck amulets and small images of the Saint were carved in great numbers to be sold not only in the city of his shrine but also all along the Pilgrim Route. Later, when the high and lowly of Europe left off tramping across | northern Spain to visit Santiago de Compostela, the azabacheros turned their attention to other figure subjects besides St. James; but owing to the fragility of the material not many of the immense . number of small carvings have survived, hence a perfect piece like E the present one is highly prized. ‘The bereaved Mother holds the lifeless form of her Son across her knees. ‘The carving is in the | high relief of the period and shows close study in the two faces and = the nude body. Filling the round tympanum of the little tabernacle S is a winged cherub head. a Height, 434 inches SMALL FLat HEXAGONAL TaBLE CLOCK XVII Century ~ SMALL INLAID TABLE Box XVIT Century ya Small box or cabinet with let-down lid, fancifully inlaid with walnut, s box and maple. The bolder pattern in walnut is geometric in form; the lighter forming the background is floral. The interior is set out with eight little drawers each with the same inlay as the exterior. 4 The drawer- pulls are of brass in the form of a diminutive lion’s head ~ with a ring in the mouth. [The exterior lock of the cabinet is missing. | A Height, 8 inches; length, 11 inches; width, 7 inches ALABASTER STATUE OF SAINT GEORGE XVI Century Saint George is the patron saint of Catalonia, where alabaster was much used. He is represented as a mediaeval knight with long plumes waving from his helmet. In this spirited composition the [ Continued | 78 190. 188. Concluded rearing steed is trampling down the black-scaled dragon while the rider pierces it with his gold-tipped lance. The sculpture retains many traces of gold. ‘The horse’s tail and trappings, even to the insets of tiny rosettes in the hoofs, were gilded, and the Saint’s cloak was painted red. At the back of the stone was left in the rough and meant to be placed against a retable. Height, 21 inches ALABASTER Brrp By Gil de Siloe, XV Century This sort of bird, designated in Spanish art as a bicho, is similar to those adorning the corners of the star-shaped pedestal of the royal tomb at Miraflores, the masterpiece of Gil de Siloe. In fact the alabaster appears identical in tone and texture and might well have been intended for the group. The bird’s wing is caught by a griffin, and such details as feathers and claws are beautifully carved. Height, 17 inches Note: Gil de Siloe, father of Diego, was the most distinguished of the notable group of late Gothic artists who worked in Burgos, where he pro- duced a number of elaborately sculptured tombs which rank among the most important products of the late mediaeval period. ALABASTER Heap oF St. JOHN THE BAPTIST XIV-XV Century Head and salver are carved from one clear piece of alabaster, a substance which abounded along the Ebro River and was much esteemed for its superior quality by Spanish sculptors. The head is in half relief and the eyes and lips are painted, while the thick hair and bear are gilded [over red paint]. At each side is a full- length angel similarly coloured and gilded (one head missing), and at the top an angel half-length. The piece is probably from Aragon where the important and enormously rich monasteries of Poblet, Santas Creus, Piedra, etc., ordered an infinity of works in alabaster. Diameter, 1334 inches £9 LOT: 192. 193. . each side of the clasp is pierced a jour but the rest of the band is in the scroll he holds are the only parts ungilded. On the scroll 1s Lev EER GILDED SILVER PERFUME BALL | Wa Century A little swinging censer or pebetero, hinged into. upper and lower halves, the upper perforated at the top and with a ring for fasten- ing a chain. The inside is lined, its upper half lifting out as a_ lid with a little leaf to serve as handle. The ball has a flat base | and the lower part of its surface is etched with acanthus motifs. The upper has a band of modeled ornamentation which has minute | torsos of grotesques separated by a floral design. The torso at d relief against an etched ground. On the tiny plate of the spring ~ clasp are the characters IO.Z. A perfume ball exactly similar save — for its purely Oriental decoration is in the British Museum, Cairene 7 art of the thirteenth century. ne a --Height, 2 jee : "3 SILVER GILT PERFUME BURNER | eae ead Century An interesting object in three tiers, including the top, and projecting — from each stage three shells. The bottom compartment held the — incense; in the next a small quantity was placed to be ignited and © through the topmost which is perforated the odour escaped. The — surface is etched with a simple strap design on a stippled ground. The cover and the inside still retain their gold. - Height, 6 inches a Two SILVER STATUETTES By Juan de Arfe y Villafane, XVI Century Diminutive though these pieces are they are excellent specimens of Arfe’s work. The Prophet Isaiah is an energetic figure, head thrown back over the right shoulder and exhibiting remarkable modeling in the face and the twisted neck. Bearded and turbaned, he is a true Asiatic type as though some Arab of pure blood still _ lingering in Spain had sat as the model. WHead, hands, feet, and written in Roman letters, ‘‘ESAYAS’’. This little seated figure undoubtedly came from one of the famous Arfe custodias whose every niche and angle are filled with just such pieces. Y ™ Se ah p SUE RRS > hs Si aS bea og [ Continued] sie) a 193. Concluded The cther Biblical statuette is that of an old man kneeling, his hands clasped in prayer. The long hair and thick beard suggest one of the Patriarchs. Forehead and cheeks are searchingly mod- eled and everything about the figure bespeaks the most earnest attitude of supplication. 2% inches and 2% inches respectively Note: Juan de Arfe was the third generation of the noted family oc silver- smiths that supplied Spain with its finest orfevrerie. Born in Ledén in 1535, he was the first of them to depart from the Gothic style and introduce Renais- sance motifs and treatment into the imposing monstrances [custodias] used in Spanish Cathedrals. Not only did he design these pieces but it is said that he personally did the founding, chiselling, and gilding of many of them down to the last detail. Author of the custodias of Valladolid, Avila, Burgos, Osma, Escorial, and Sevilla, he considered this last his best, even better than that of the Escorial, which, besides the silver figures, is adorned by some sixty copper busts for holding relics. [See illustration | 81 194. SILVER ALMS PLATE WITH COLUMNAR BASE XVI Century This fine piece of silver smithery is stamped with the mark of Cordova. It is unusual in having retained the two figures, called by the Spanish /as animas [the souls], for these have disappeared from most of the old limosnero plates, having been sold separately. The souls are usually Adam and Eve but in this case they represent two male figures, one old and one young, entirely nude and appar- ently imploring mercy while awaiting juddgment as to their fitness to enter Paradise. The figures are most exquisitely executed, of classic perfection, and the head and hands are engraved. This piece was exhibited in the Exposition of Spanish Orfebreria, by the Sociedad de Amigos de Arte, Madrid, 1921. ‘ Diameter, 12 inches ; [See illustration | : 82 cen s. SILVER PLATTER_ XVII Century A deep platter with pierced radiating design and solid rim an inch and a half deep, this embossed in foliate border and scalloped at the outer edge. Exhibited at the Orfebreria Exposition of the Amigos de Arte, Madrid, 1923. Diameter, 15 inches [See illustration | SILVER CHALICE A simple cup on a stem, the lid once surmounted either by the Cross or acrystal orb. The inside is gilt. Around the flare base are little repousse and etched discs, and the same treatment is repeated on the lid, which is edged by an anthemion cresting. ‘The chief decoration, however, is the beautiful embossed lettering around the cup in Gothic characters, the words separated by a tendril. The legend begins HIC EST CORPUS DNI. Height, 6% inches 83 197. A SILVER CHALICE XVII Century A beautiful chalice heavily gilded, with a separate bowl inside. The body is six-sided and has a lozenge-shaped base, the whole sur- mounted by a crystal orb topped by the Cross. The decoration consists. of embossing and etching with the dolphin’s form con- sistently used throughout, also chiselled into projecting brackets. Around the top, free-standing is a band of anthemion cresting. An inscription beginning ABEVERUM . . ., runs around the body of the chalice. This is an important piece of Spanish ecclesiastical silver work exposed in Madrid, 1924. | : Height, 1514 inche [See illustration | : 84 198. 199. BYZANTINE RELIQUARY XVI Century In silver, enamel and boxwood. Height, 934 inches [See illustration ] SILVER PITCHER XVI. Century The pitcher rests on a short stem opening out into a wide base and has a prominent angular handle. Embossed on the body is a rich band of hunted animals between two mouldings of considerable pro- jection, and above this a‘flat engraved pattern of scrolls and leaves. Embossed ornamentation again occurs on the base and the handle is beautifully worked in cartouches; the lip is adorned with a grotesque mask. The silversmith’s mark is unrecognizable. Height, 8'% inches 200; Four SILVER MEDALLIONS IN HiGcH RELIEF XVI Century The four pieces of silver-smithery which are here mounted on an amethyst velvet panel, came from the base of one of the great Plateresque monstrances. ‘The scenes depicted are: the Annuncia- tion, containing two figures; the Resurrection with three; the Adora- _ tion by the Shepherds and the Presentation in the Temple, with five each. ‘The Virgin of the Annunciation kneels in prayer under a shell niche on which perches a dove, and turns toward the angel; be- tween them is the classic vase with a lily. In the Resurrection scene the startled Roman guards awakening at each side of the tomb and clasping their shields and swords show fine action. More reminis- — cent of Gothic is the Adoration, where the Virgin kneels under a rustic gable, an ox peering over her shoulder, and where the bearded shepherd nearest the child holds a tiny candle and shields his face from the flame. The scene in the Temple is again more classic, the figures tall and the Virgin holding the Child towards the High Priest Simon, above a draped Roman altar. ‘These are excellent examples of Spanish figure work at small scale, not un- worthy of the great platero Juan de Arfe [see No. 193]. Diameter, 214 inches Exhibited in the Orfebreria Espanola in 1923. [See illustration | 86 201. 7 SFR x we SILVER BENITIER WITH HANDLE XVIII Century This sort of bucket, or acetre, used in church for bringing holy water from the sacristy to the altar, is of graceful inverted bell- shape, with handle of triple curve. ‘This is riveted to the rim and the rivet is concealed by finely executed classic masks. The body of the vessel is deeply fluted and has at the top a narrow embossed band surmounted by a deeper one of engraved pattern. Exhibited in the Orfebreria Exposition of Madrid, 1923. Height, with handle raised, 151% inches [See illustration | 87 ZOZr 203: 204. 2058 oy Lip oF A GOTHIC SILVER CHALICE XV Cent An interesting bit of silver-smithery i in two diminishing stages, each six-sided with turrets at the angles. Each tier is surmounted by a little fleur-de-lis cresting, and the top terminates in a dome. [ e tracery around the sides simulates Gothic church windows and the top is likewise architectural, imitating a sexpartite ribbed dome. Height, 634 inches s : a SILVER PiTCHER 3 _ XVI Centurg The form is interesting; a series of heavy ribs rising from the stem — and seeming to grip the body of the pitcher. ‘There is an engraved band of ornament between two little mouldings, which shows traces” of once having been gilded; the handle has a curious hook shape and — the lip takes the form of a faun mask. There 1 is noundrk: | - Height, gy incheg * BRO NIZA ES GILDED BRONZE Mask Roman — en Representing a satyr, and found at Mérida. me: Height, 8 inches — BRONZE STATUETTE > | Itahan, XVII Century . Venus Anadycmene. es the oneing by) UAnticon. Height, 6 inches BRONZE ATLAS Italian, XVIII Century Model after the original by II Riccio. | Height, 7 inches a 88 207. EQUESTRIAN STATUETTE IN GILDED BRONZE Italian, XVII Century It represents a Roman Emperor on a horse. Black marble base. Height, 334 inches [See illustration ] 89 208. SMALL BRONZE STATUETTE Roman Period — A Roman Lar holding in his left hand a rhyton. \ : Height, 414 inches [See illustration ] a go PO PPE IY Ao Me™ ares STATUETTE IN BRONZE | Italian, XVI Century It represents St. Paul with an angel; he holds in his left hand a book and in his right a sword. Height, 9 inches [See illustration ] gI (210, 7BRONZE OTATUEILE 7 By Andrea Briosco, called I] Riccio; Paduan, Early XVI Century — It represents a satyr holding a flute. : Height, 7 inches [See illustration | ae 92 CS eee a y's PAIR OF SPANISH BroNzrEs GILDED XVI Century Inscribed SAN PABLO and SAN MATEO, but even without the Spanish spelling the figures would be easily distinguished as to provenience by their typical energetic movement, similar to that seen in the many wood carvings of Biblical personages in the sixteenth century. Height, 934 inches [See illustration | 93 212. SMALL STATUETTE IN GILDED BRONZE Italian, XVI Century Representing a man in Venetian costume. | Height, 21% inches [See illustration | OF Bry. h. BRONZE STATUETTE REPRESENTING AN ANATOMICAL FIGURE Florentine, Middle of the XVI Century Standing on his left foot, the right one raised from the ground, is a male figure resembling a skeleton. His left arm is raised above his head; the right arm swings free. Height, 8% inches [See illustration | 95 214. BRONZE STATUETTE OF VENUS Atelier of Giovanni da Bologna; Itahan, XVII Century j Mode] after the Venus of Cnidos. Height, 9 inches [See illustration | 96 215. BroNZE STATUETTE Italian, XVI Century Representing a buffoon. Height, 11 inches [See illustration | 97 216. SILVER GILT BUST OF THE EMPEROR CHARLES YV | XVI Century Bust made from a model by Leone Leoni [1509-1592] by an Augs- burg orfevrer, for a table garniture. It represents Charles V in armor. Marble and bronze base with insignia of the Order of the Golden Fleece. A unique specimen. Height, 1114 inches [See illustration | 98 S217. 218. z109. | 220. A Wea a, S08 Bd Gl Sg) DRS THREE SMALL QUATREFOIL CUSHIONS An amber pair is of cut velvet of a large sixteenth century pattern. The third is of old-red velvet on one side and red damask on the other. 3 20 inches square Hoop oF A CaPpA MAGNA XVI Century A capilla richly embroidered in gold thread and silk, and with the galloon and the architectural part of the picture woven into the fabric. [he scene appears to be the blessing by Our Lord of one of His disciples, in the presence of two others and two angels. The two principal figures are in a blue, the others in green, old rose and yellow. They stand on a tiled floor of alternate gold and silver squares separated by stitched lines of old rose silk. Long vertical stitchery is seen in the clouds, couched horizontally by gold thread. The capilla is edged with red and gold espiguilla, a gimp with looped edge. 18 by 20 inches PAIR EMBROIDERED RED VELVET PANELS XVII Century Within a wreath heavily embroidered in gold and silver is a motif evolved from the double-headed eagle and so designed that the velvet, left visible in the center, is in the form of the dagger-cross of the Order of Santiago. In each corner of the panel is a silver pilgrim-shell, and others are seen in the border. The panels are edged with gold and red galloon [espiguilla] and have a gold fringe at the bottom. 24 by 20 inches PEACH-COLOURED VELVET CUSHION The velvet is of unusually beautifully colour and is divided into four panels by a narrow gold espiguilla with which is woven a narrow silk fringe. The back of the cushion is of old green damask. Around the edge is a scalloped silk fringe of alternate white and peach colour, and at the corners are beautiful tassels of gold thread knotted around little chenille buttons. 32 by 20 inches oF PRP EANS 222. ayy ee 224. | papal throne. Oriental weavers who still lingered in Spain; but though much of ; EMBROIDERED Hoop FROM A COPE XVI Century In the making of ecclesiastical vestments, which was a great industry in the sixteenth and seventeenth centuries, the hood or capilla of the circular capa magna was the special object of the embroiderer’ s attention. Generally heavy with gold and silver thread and ter- minating with a rich tassel, it outlived the damask or velvet of the | cope. The present example is woven in gold, embroidered in silks, — and is edged with a splendid gold galloon woven to shape. The 7 figure represents a pope yg a | the triple tiara and seated on the ~ 18 by 22 inches — TaBLE RUNNER OF RED SILK WITH VELVET BORDER Ahi Conceal Long runner [originally an altar doth] with central panel of gold — tissu pattern on red silk and with edging of gold galloon. ‘The 1 border consists of a wide strip of Burgundy-coloured silk covered with red velvet appliqué, stitched with gold thread, finished by a q fringe of close-cut red and white silk. ; 22 by 106 inchesas VELVET STRIP WITH ORPHREY PANELS AVIT Century Black velvet table mat with corner tassels, edged with galloon, and — lined with blue silk. The two orphreys are beautifully embroidered in gold, one representing St. Stephen with an almoner’s purse. The — backgrounds are worked in high relief representing a temple interior — in Byzantine Gothic, with twisted columns at the side and simulated? vaulting beyond. In good condition. 3 21 by 50 inchesl TaBLE RUNNER IN RED VELVET AND GOLD THREAD WEAVE | XVI Century An important strip of two pieces in the typical medallion pattern of the famous Broussa textiles of the fifteenth and sixteenth cen- turies which were so much sought by Spaniards and copied by the it was made in Spain, this sort of rich red velvet on a gold ground ~ is always classed commercially as Florentine brocade of the fifteenth century. ‘The piece is edged with a gimp or espiguilla and has a double fringe, gold above and red silk below. Length, 62 inches; width, 22 inches 100 225. 226. 227. 228. PAIR EMBROIDERED STRIPS Coloured silks on red velvet, and edged with gold espiguilla. The work appears to be of the early sixteenth century. 48 by 8 inches STAMPED VELVET HANGING XVII Century On a background of mauve-coloured silk velvet is stamped by a block-print process a striking design in brilliant colours. The art was much practised in Catalonia and Majorca in the seventeenth century. he design is typical of the period, bold scrolls and volutes in chrome yellow, clusters of flowers in red, and the whole inter- spersed with green foliation. To accentuate the design the motifs are strongly silhouetted in line. 52 by 80 inches APPLIQUE VELVET TABLE RUNNER XVII Century A sumptuous strip of silk appliqué on velvet in late Renaissance design, edged with green silk. [he pattern is dense [in Spanish cuajada | so that the velvet is almost eclipsed. The principal colour employed in the appliqué is an ivory-toned silk, enlivened here and there with insertions of green, blue, and yellow. ‘The process is a painstaking one; either the edge of the silk must be turned under and the double thickness sewed down, or, as in this case, the silk edged with double cord and stitched in place, without which pre- caution the appliqué would be short lived. Length, 72 inches; width, 22 inches Five GREEN SILK CURTAINS These curtains are made of alternating widths of small patterned sixteenth century damask and plain silk of the same shade. ‘The sides are finished with green silk fringe and the bottoms with gold fringe. They were hung by hand-made iron rings and pulled by green silk cord with fine old tassels. Length, 6 feet 6 inches ; width, 1 foot IOI 229. BO: 231. _ the heavy brocatelle altar cloths of the previous century. At each colour combination. The piece is lined with old red linen. and As in An old-rose silk with bouquets of flowers, from the looms of bodies curving away so as to form a complete circle; in composition TABLE RUNNER OF RED AND GoLp SILK ss XV Century Of heavy silk with twilled ground and gold design in. satin weave. The piece is evidently a seventeenth century reproduction of one of end is a panel of lustrous cherry-red on a gold twilled ground. The | sides are finished with a narrow espiguilla of alternate red and white, while at the ends there is a deep knotted fringe of the same excellent condition. fee 7 ; 22 ae 104 ince FLOWERED SILK CAPE or ie) Los’ ro TG Talavera de la Reina. The cape probably belonged to an impor- a tant image of the Virgin, since it 1s cut with a train. The general tone is particularly beautiful and is enriched by a prodigality of silk — in the patterning. A silvery effect was obtained in the meander — stripe by means of a thread of very pronounced luster. Diameter, 112 inches — Rep BROCATELLE HANGING, GoLD THREAD Early XVI Century Important piece of weaving dating from: circa 1500, and known as tela Hispano-Arabe. It is in three widths in the form of a hanging ~ and is remarkably well preserved. The background is a soft deep red in colour animated by an Oriental pattern woven in combined thread of gold and yellow silk. The weight of the fabric alone attests to the quantity of gold thread employed. ‘The pattern, like all Hispano-Arab weaving, is compact and small in scale; it consists of two conventionalized dolphins facing each other but with their with them is an urn of stiff flowers and buds. As readily seen it is a version of the classic Persian motif of peacocks or lions and the — fountain of life. The fabric is in excellent condition. 5 by 7 feet 102 TABLE COVER OF GREEN SILK AND LINEN EMBROIDERY XVI Century This piece was once originally a towel, green silk having long since been substituted for the fine linen center which was worn thread- bare. [he embroidered ends and sides which have survived were worked on a frame and the execution 1s equally admirable on both sides. [he work is done in coloured silks which have retained all their luster, and gold thread which has never tarnished. Inter- spersed among the larger motifs are minute birds, butterflies, and buds. The outer edge retains its antique narrow lace of linen, green silk and gild. On the inner side of the embroidery, where it 1s laid against the green center, there is an insertion of gold thread and brownish silk. All the elements used appear to date from the sixteenth century. 40 by 50 inches [See illustration | 103 233. Four Rep Vetiver Hancines witH OrpHreys XVI Century : These four pieces constituted the hangings of a pretentious camilla or brazier table under which was placed the pan of hot coals. Camil- las with rich curtains like these can be recognized in many of the paintings by Velasquez and his contemporaries. Each one of the four sides has a richly embroidered orphrey in the center: the Vir- — gin and Child in robes of blue and gold; a mitred bishop clothed ~ in amethyst; a santa with her palm of martyrdom dressed in ~ green and gold, and St. Jerome as cardinal, holding the paw of his faithful lion. These figures are pictured standing on a floor — simulating tiles of alternate colours. The curtains are edged with — gold galloon and fringe. | Each panel: 27 by 29 inches 3 [See illustration | 104 234. VELVET EMBROIDERED DALMATIC XVI Century A handsome dalmatic of deep apricot velvet with green velvet panels of appliqué on the front, back and sleeves. These four panels claim the attention particularly; the tone of green velvet in itself is very beautiful, and the golden-yellow of the silk pattern effective by contrast. The Renaissance design is crisp in drawing with candelabra, dragons, and arabesques making up the theme. In excellent condition, and the rare apricot colour almost impossible to duplicate in velvet of the epoch. Length, 48 inches 105 220: 237: 2238 Four VELVET ORPHREYS - Guadalupe, Early XVII Century Mounted on a panel of green velvet which once filled the back of an altar in the small chapel of the house, these richly embroideaia ’ pieces from an ecclesiastic vestment are well set off. The gold thread background is architectural, with columns crowned by a flam-— boyant cresting; above is a bit of blue sky. The figures stand on a tiled floor of blue and yellow units laid out in odd perspective, and — surrounding the figures is a lozenge pattern woven in gold. The — robes of the Biblical personages represented are of rich moss-green, | deep blue, brilliant green edged with gold, and red and gold. The — work is a typical product of the renowned atelier of ecclesiastic — embroidery established by the monks in the monastery of Gua- dalupe, and which flourished until the end of the seventeen ia century. vege? 4 feet by B fel IO inches am Orphreys: 8 by 20 inches RicHLy EMBROIDERED VELVET CHASUBLE ~ XVII Century — This red velvet chasuble has an imposing cartouche of the Dove in = the center of the cross. Above is a ducal crown with jewels simulated in coloured silk. The whole motif is worked in silver and is noteworthy for its high relief. The form of the cross on the chasuble instead of the straight pillar indicates that it came from one of the French orders in Spain. | ice @ ~ Length, 42 inches — EMBROIDERED RED VELVET HANGING XVI Century @ Beautiful old hanging of worn velvet with an embroidered motif of angels raising the Host. In the background are featured the golden stars from the escutcheon of the Fonseca family, cardinals — of Spain for three generations. The piece undoubtedly served asa _ door hanging to a sacristy which would explain the worn surface — of the center and lower portion. The monstrance is a triumph of the embroiderer’s art, simulating with remarkable skill the minute detail of silversmithery. The angels too, despite their worn surface, _ are beautifully worked, particularly the modeling of the heads with curly hair and delicate faces. The piece is valuable because it has never suffered change nor restoration. A curtain very similar to. — this hangs at the door leading from the Constable’s Chapel in — Burgos Cathedral to the sacristy. 48 by 86 inches [See illustration | 106 tT HANGING LVt pD Rep VE RE a 4 + No. 238. EMBROIDI 239. PLUVIAL CAPE WITH EMBROIDERED ie eet Hoop | 240. SAM 242% Late AVI Centr ) Undoubtedly the entire cape was at one time of fed volver : embroidery is in full Renaissance design with candelabra and vases, arabesques and flowers; here and there the gold is relieved by bit Ss of silver and colour. The central panel, simulating the hood of the capa magna of antiquity, has as its central motif the sacred monogram surrounded by gold arabesques. 3 é a ie" 4 a a Diameter, 120 inches Pair EMBROIDERED VELVET Sia FROM THE Reon a XVIT ‘Century Ona ced velvet ground is an