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 f A LIBRARY 
 
 (S972 | 14 East 57th St 
 
 pose: i New York 
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 | M. Knoedler & Co. 
 
- a ~~ - meena est neeeeceer rece SENET — = aed — == = 
 
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FREE, PUBLIC EXPIBITION 
 
 From Saturday ‘March 26: Until Time of Sale 
 Weekdays 9 to 6 » Sunday from 2 to 5 p.m. 
 
 UINKES TICTED PUBLIC ISAE 
 
 Thursday ° Friday and Saturday Afternoons 
 March 31 * April 1 & 2 beginning at 2:15 
 
 EXHIBITION AND SALE AT THE 
 
 American Art Galleries 
 Madison Avenue - 56th to 57th Street 
 New York City 
 
 “<Y 
 
 SALES CONDUCTED BY 
 Mr. O. Bernet and Mr. H. H. Parke 
 
 American Art Association‘Inc 
 MANAGERS 
 
 oe), 
 
Vista OF Pror. Votpr’s GARDEN, wITH RomAN MarsBie 
 
 CoLUMN AND WELL-HEAD 
 
 {See No. 439] 
 
Gothic and Renaissance Italian 
 
 WOT KS OF ARE 
 
 Was COILIEC TION! Ole 
 
 Professor Comm. Elia Volpi | 
 
 FURNITURE? TEXTILES sRUGS 
 SCULPTURES PAINTINGS. 
 OBECES @OERVART = INCE Ub: 
 ING MANY EXAMPLES FROM 
 THE DAVANZATI PALACE & 
 BARDINI COLLECTIONS 
 
 American Art Association : Inc 
 MANAGERS + MCMXXVII 
 New York 
 
Pegi (Cia 
 
 T was during the year 1916 that I came to your country for the first 
 time, for the purpose of selling my collection of antiquities. At that 
 time practically all business was paralyzed in Europe owing to the 
 
 world war, and the commerce in antiques was at a complete standstill. 
 Therefore it was not difficult for me to decide to accept the suggestion 
 given me to bring my collection to New York for dispersal at public sale— 
 although, as you may imagine, it was not so easy for me to part with my 
 treasures in what then appeared to me a far country. 
 
 My decision made, I entered wholeheartedly upon the enterprise, and 
 brought over all the very best that I then possessed, consisting of the entire 
 furniture and furnishings of the Davanzati Palace and the choicest of the 
 objects in my private collection. 
 
 Upon arriving in New York I had the unlimited support of those who 
 had encouraged me to make the sale—first among whom was Mr. Kirby 
 of the American Art Association—and although there were individuals, as 
 is usually the case, who tried to undervalue the collection, the intelligent 
 American public judged the objects fairly, and purchases were made with- 
 out the slightest hesitation or reserve. The sale brought approximately 
 one million dollars, and to this day, I say with justifiable pride, the collec- 
 tion has been considered the most beautiful and interesting assemblage of 
 Italian art ever presented to the American collectors—one which I had 
 formed, with the greatest patience, perseverance, self-sacrifice, and I may 
 say with undeniable artistic taste, that I might establish a worthy reputa- 
 tion amidst the population of the New World. 
 
 More than a decade has elapsed since my first sale, and I have now come, 
 I say regretfully, with the last collection which I shall offer in your country; 
 and I have again brought with me the rarest works of art and furniture 
 which I have been able to collect in the interim. I have come, may I say, 
 with the utmost confidence of being received by the art lovers in America 
 with that good will and deference formerly accorded me, and to which I 
 trust I am again entitled. I am also looking forward to the pleasure of 
 meeting many visitors—amateurs and connoisseurs—at the American Art 
 Galleries, interested in examining and judging the exhibition of the objects 
 in my collection, the authenticity of which I can guarantee beyond discussion. 
 
 Extra Votpi 
 
Priced (‘a talogues 
 
 Priced copies of the catalogue, or any session 
 thereof, will be furnished by the Association at 
 charges commensurate with the duties involved 
 in copying the necessary information from the 
 
 records of the Association. 
 
 The AMERICAN ART ASSOCIATION ° Inc 
 
 Designs its (atalogues 
 and Directs All Details of Illustration 
 Text and Typography 
 
w 
 
 Conditions of Sale 
 
 CEA ™,_» 
 
 . REJECTION oF Bins. 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. 
 
 . THe 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. 
 G, 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 hammer, 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. 
 
 . Detivery or Purcuases. Delivery of any purchases will be made only upon payment 
 
 of the total amount due for all purchases at the sale. 
 
 . Recewtep Birts. Goods will only be delivered on presentation of a receipted bill. 
 
 A receipted bill presented by any person wil! 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 property has been taken, the buyer should 
 immediately notify the Association of such loss. 
 
 . STORAGE IN DEFAULT oF Prompt PAYMENT AND CALLING FOR Goons. 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 Association 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. (J, 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, either 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. 
 
 . Suippinc. Shipping, boxing or wrapping of purchases is a business in which the Asso- 
 
 ciation is in no wise engaged, but the Association will, however, afford to purchasers every 
 facility for employing at current and reasonable rates carriers and packers; doing so, 
 however, without any assumption of responsibility on its part for the acts and charges 
 of the parties engaged for such service. 
 
 . Guaranty. The Association exercises great care to catalogue every lot correctly and 
 
10. 
 
 Il. 
 
 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, genuineness, authenticity or condition of any lot and 
 no sale will be set aside on account of any incorrectness, error of cataloguing or imperfec- 
 tion not noted or pointed out. Every lot is sold “as is” and without recourse. @, Every 
 lot is on public exhibition one or more days prior to its sale, and the Association 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 cata- 
 logued or make mention of the opinion of such expert, who thereby will become respon- 
 sible 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. 
 
 Buyinc oN Orver. Buying or bidding by the Association for responsible parties on 
 orders transmitted to it by mail, telegraph, or telephone, if conditions 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 te- 
 funded, if the lot differs from its catalogue description. (J, 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 cAssociation 
 
 OW INO) TJEIRUINs =o ISUORANIM 16. ID/N TK Is) CAuctioneers 
 
 AMERICAN ART ASSOCIATION - INC 
 Managers 
 
CAAT OGwe 
 
TUN IE ESO NDING IE ONS 
 
 ROFESSOR ELIA VOLPI, the well-known connoisseur, is paying 
 
 his last visit to America. You will recall his master work, the Floren- 
 
 tine Davanzati Palace, and accept his assurance that his last collec- 
 tion, enriched by many pieces from the late Stefano Bardini, is yet finer 
 than that of 1916. Professor Volpi has given his attention for a number 
 of years to the restoration of the magnificent Villa Vitelli of Citta di 
 Castello—an achievement dedicated in 1926 to the Italian Government 
 and destined to be the latest of his many benefactions to Italy. He has 
 here assembled for your pleasure a collection of early Renaissance art-works 
 of high worth; in this short preamble, we shall notice only a few of these, 
 so that you may glimpse something of his care and insight. 
 
 Item, an entire Venetian Cinquecento room of state, with frescoed walls 
 by Bernardo Parentino, frieze adorned with sculptured busts by Rizzo, and 
 superbly painted ceilings. Item, a sixteenth century walnut credenza of 
 Florentine workmanship, beautifully inlaid with vignettes portraying urban 
 scenes, and in original condition. Item, a cassapanca of the same city 
 crested with the Medicean arms, sculptured with mascarons and gadroon- 
 ing, of the most perfect proportions—a masterpiece of design, attributed 
 to the pencil of Michelangelo. Item, a four-post bed from the Bardini 
 collection, with tester painted by Poccetti; a pair of rare sgabello pedestals; 
 a collection of Dantesque chairs, cassoni and credenze of the Quattrocento 
 —that first flowering of the Renaissance in which simplicity and beauty of 
 form were dominant, and which has yielded the greater prizes to the 
 connoisseur and collector. 
 
 Of paintings, a most important XIII century primitive, Madonna and 
 Child, by Berlinghieri, with gold background; a Del Biondo, portraying 
 the Madonna with Saints and Angels, and The Annunciation; and archaistic 
 tempera works of the early schools of Cavallini, Margaritone, and Daddo 
 Daddi. Of reliefs and sculptures, a remarkable polychromed stucco by 
 the Maestro della Cappella Pellegrini, within a stanniferous enamel garland 
 of fruits and angels’ heads by Andrea della Robbia; a terra-cotta portrait 
 
of Lorenzo de’ Medici, and a polychromed stucco, by Verrocchio; an original 
 Della Quercia Madonna and Child; a delightful terra-cotta putto, by Ber- 
 nardo Rossellino; and, prominent above all, an Annunciation, composed of 
 two lifesize carved and polychromed wood figures, a triumph of XIV cen- 
 tury Sienese art, and one of the most valuable sculptures ever permitted by 
 the Italian Government to leave the country. 
 
 Impossible to enumerate categorically are the Gothic and Renaissance 
 textiles, bronzes, enamels and wrought iron, the Oushak carpets and prayer 
 rugs of Asia Minor and the Greek terra-cotta statuettes and small vases, 
 these last largely from the Stroganoff collection. We shall here merely add 
 with emphasis that the genuineness of each and every object is expressly 
 guaranteed by one of the foremost experts of the time—for Prof. Volpi 
 is entitled to this description—and presented by the American Art Asso- 
 ciation, Inc. with pleasure and confidence to his many friends and admirers 
 
 in this country. 
 
 AMERICAN ArT ASSOCIATION, INc. 
 
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 365. Carveo Watnut WALL 
 Mirror 
 Florentine, XVI Century 
 Upright molded frame with over- 
 hanging fluted cornice, on voluted 
 brackets with pendants; frieze cen- 
 tred with a festooned cartouche. 
 Oval frame, with deep rectangu- 
 lar borders of flutes. 
 Height, 27 inches; width, 24 inches 
 
 {See illustration } 
 
 Catalogue No. 365 
 
 FIVE PANELS BY THE FLORENTINE ARTIST 
 SPINELLO ARETINO 
 1332—_I410 
 
 Note: These panels portray the Crucifixion and incidents from the 
 lives of the Saints. They are portions of a predella belonging to a painting 
 in the Fogg Museum at Boston and illustrated by Perkins in one of his 
 works. 
 
 366. THE CRUCIFIXION 
 
 The Savior on the Cross with Roman soldiery at the left and three 
 female saints supporting the fainting figure of Mary. On either side 
 of the Cross, St. Longinus and St. John, with bearded figures and 
 soldiery at the right. 
 
 Panel: Height, 874 inches; length, 20% inches 
 {See illustration opposite } 
 
 200 
 
NOIXISIONYD FHT, ‘99 “ON 
 
 + 
 
 4 
 
DPE VOW CO Bie ih bON SO rae A ie AUN JAR TE 
 
 367. 
 
 368. 
 
 369. 
 
 370. 
 
 THE ALMSGIVING 
 
 The Savior and three saints with bags of money distributing it to 
 the poor, a nun bringing a ragged child up to the kneeling apostles. 
 Panel: Height, 9 inches; length, 14 inches 
 
 {See illustration opposite | 
 
 THE SERMON TO THE PEOPLE 
 
 Interior of a church, the bearded figure in blue robes and red cloak 
 preaching to two seated groups of men and women. 
 Panel: Height, 9 inches; length, 14 inches 
 
 {See illustration opposite | 
 
 THE MARTYRDOM BY FIRE 
 
 Saintly figure in blue robes and pink cloak thrust by three execu- 
 tioners into the flames; at the left, people issuant from a tower. Rocky 
 landscape with gold background. 
 
 Panel: Height, 9 inches; length, 14 inches 
 
 {See illustration opposite] 
 
 TEE ATING Or EE SICK 
 
 Bearded figure in blue robes and pink cloak surrounded by the halt 
 and the lame, in the streets of a city. 
 Panel: Height, 9% inches; length, 1434 inches 
 
 [See illustration opposite} 
 
 202 
 
nen 
 
 EE WV OUP CO LEG Si Ou Nene) mai sieA del AUN OAR 
 
 367. 
 
 368. 
 
 369. 
 
 370. 
 
 THE ALMSGIVING 
 
 The Savior and three saints with bags of money distributing it to 
 the poor, a nun bringing a ragged child up to the kneeling apostles. 
 Panel: Height, 9 inches; length, 14 inches 
 
 {See illustration opposite | 
 
 THE SERMON TO THE PEOPLE 
 
 Interior of a church, the bearded figure in blue robes and red cloak 
 preaching to two seated groups of men and women. 
 Panel: Height, 9 inches; length, 14 inches 
 
 {See illustration opposite] 
 
 THE MARTYRDOM BY FIRE 
 
 Saintly figure in blue robes and pink cloak thrust by three execu- 
 tioners into the flames; at the left, people issuant from a tower. Rocky 
 landscape with gold background. 
 
 Panel: Height, 9 inches; length, 14 inches 
 
 [See illustration opposite ] 
 
 THE HEALING OF THE SICK 
 
 Bearded figure in blue robes and pink cloak surrounded by the halt 
 and the lame, in the streets of a city. 
 Panel: Height, 9% inches; length, 1434 inches 
 
 [See illustration opposite} 
 
 202 
 
Nos. 367-370. SERIES OF PAINTED iF LSELS BY SPINELLO ARETINO 
 
—_—— 
 
 | DE OEP IG Ine C Tai Ne On i ie Aue lean Aare 
 
 | 
 
 | 
 
 DADDO DADDI 
 Florentine: XIV Century 
 
 371. MADONNA AND CHILD, WITH ANGELS 
 
 6 Seated figure of the Madonna in gold-brocaded orange robe and dark 
 dl ca cloak and hood, holding the Child, Who is wrapped in a yellow cloak, 
 to her right breast. Gold background with four angels on either 
 
 side, the haloes of the personages in bulino work. 
 
 Panel: Height, 3514 inches; width, 25% inches 
 
 | {See illustration opposite } eed 
 | pas 
 | ei 
 
Maponna AND CHILD, WITH ANGELS 
 
 371. 
 
 oO. 
 
 N 
 
DEE Vowel COL LEG Th ON Or Die A AGNC Ake. 
 
 PIETRO CAVALLINI 
 
 Roman: op. 1285—1308 
 
 372. THE NATIVITY f 
 
 Wild rocky landscape, the Virgin wrapped in purple and/blue robes, 
 <(-@ . testing on a scarlet cloak beside the manger, in which is the Child, 
 watched by a bull and an ass; above are figures of saints with gold 
 haloes, at the left, the Magi Kings, at the right, shepherds exalting. 
 In the foreground, St. Joseph and a midwife caring for the Child. 
 
 Panel: Height, 26 inches; width, 25 inches 
 
 Note: Towards the close of the thirteenth century commenced a 
 revival of art in Florence and in Rome; Cavallini, who was a contemporary 
 ) of Cimabue, is first heard of in 1273, when he was laying the founda- 
 tion of the short-lived native Roman school. The present picture, like 
 
 all of Cavallini’s work, is not naturalistic, yet displays the inventiveness 
 in composition and in types for which this early master has been noted. 
 It forms part of the oeuvre of his last period, when the descriptive side 
 of his style became accentuated. 
 
 [See illustration opposite } 
 
2 ate 
 
 No. 372. THe Nativity 
 
Piss WOH COLLIEC LOIN Of HI AILIAIN ART 
 
 GIOVANNI DEL BIONDO 
 
 Florentine: circa 1356—1392 
 
 373. MADONNA AND CHILD WITH SAINTS, 
 AND THE ANNUNCIATION 
 
 The Virgin in red robe and dark cloak, seated on a damascened 
 Gothic throne holding the Child; at left and right, against a gold 
 background, two angels and male and female saints. Below, a por- 
 trayal of the Annunciation, with a gold background ornamented with 
 bulino work. 
 
 Panel: Total height, 35 inches; width, 21 inches 
 
 {See illustration opposite } 
 
 208 
 
TS 
 
 No. 373. Maponna AND CHILD wiTH SAIN 
 
 AND THE ANNUNCIATION 
 
THE VOLPT ©O.DEE CT 1OwN YO Wield IOAN Ake 
 
 MARGARITONE D’AREZZO 
 Tuscan: 1236—1293 
 
 374. MADONNA AND CHILD 
 
 Seated figure of the Virgin in grayish robes and dark green cloak, 
 holding the Child, Who is wrapped in a scarlet cloak, on her left knee; 
 behind her, a Romanesque circumvallation. Background ornamented 
 in silver. Gilded frame. 
 
 Panel: Height, 32 inches; width, 2114 inches 
 
 Note: A mediaeval painter, whose work immediately precedes the 
 Proto-Renaissance of the end of the thirteenth century; he is known to 
 have been active in 1261. His style is founded on Roman-Byzantine tradi- 
 tions, and is with difficulty distinguished from that of the little known 
 masters of the contemporary Roman school. 
 
 [See illustration opposite | 
 
 LORENZO LOTTO 
 Venetian: 1480—1556 
 
 3750 HOLY FAMILY, WITH. CHE YOUTHFUL ST. JOON 
 
 Seated figure of the Madonna holding the Child, and accompanied 
 by St. Joseph and the youthful St. John, amid a peaceful green 
 landscape. 
 
 Height, 2614 inches; length, 39 inches 
 
MapoNnna AND CHILD 
 
 ° 
 
 374 
 
 0. 
 
 N 
 
Ga 
 
 Wiss WOQLPH COIL UHOUIN Qi Ii AJL AUN AUR TP 
 
 BERLINGHIERO BERLINGHIERI 
 Luccan: Early XIII Century 
 
 376. VIRGIN AND CHILD JW). Sea Cgf : 
 
 Head and shoulders of the Virgin in a blue gown with a hood fram- 
 ing the face, against a gold background; against her left shoulder she 
 “holds the Child, Who is wrapped in a golden-yellow robe, His right 
 hand raised in a gesture of benediction to the clasp of His Mother. 
 
 In magnificent preservation. Polychromed pastiglia frame. 
 Height, 31% inches; width, 21 inches 
 
 The present painting is a primitive of very great value. The city of 
 Lucca is generally recognized as being one of the birthplaces of Italian 
 painting and the family of Berlinghieri, which flourished there from the 
 end of the twelfth to the end of the thirteenth century, the oldest of the 
 Luccan masters [“i tre piu antichi pittori lucchesi’, as they are already 
 referred to in a parchment dated April 11, 1228, and quoted by Oswald 
 Sirén, Toskanische Maler im XIII. Jahrhundert, 1922, p. 38}. The 
 family consisted of the elder Berlinghiero Berlinghieri and his three sons, 
 Barone, Bonaventure, and Marco, who all became painters. 
 
 The manner of the elder Berlinghieri can be studied in the signed 
 Crucifix of the Pinacoteca at Lucca, which formerly belonged to the 
 Convento degli Angeli in the same city. His characterization is stiff and 
 archaic to an extreme extent, but a striving towards a more complete 
 modeling of the figure is clearly visible, and the intense devotion inspiring 
 his Madonnas, e.g., of the painting in the Florentine Academia, is a 
 remarkable tribute to the development of the native art since Byzantinism. 
 
 {See illustration opposite } 
 
376. VIRGIN AND CHILD 
 
 No 
 
THE VOLET COLLEGFION (OW ft ei ede Sed hel 
 
 UMBRO-SIENESE SCHOOL 
 
 XIV Century 
 Reon ¢F Uurerw 
 377. THE LIFE OF THE VIRGIN [Triptych] 
 
 Central panel with an enthroned Madonna and Child flanked by 
 male and female saints; above, the crucifix with figures of the Virgin 
 |b od: and St. John, in a pink cloak. The left wing portraying the Death 
 and Coronation of the Virgin and St. George killing the dragon; the 
 
 right wing, the Assumption of the Virgin and the Annunciation. 
 Height, 50 inches; length, 5 feet 3 inches 
 
 [See illustration opposite | 
 
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UGE, YW OLPL COLILIEC WILOIN OFF ICI AIL AUN AURTT 
 
 378. Finety Carvep WALNUT SGABELLO Umbrian, XVI Century 
 Cartouche-shaped voluted back, carved 
 with pendent shell motives and concave 
 gadrooning crested with a central bossed 
 blank escutcheon. Square incised seat, 
 turned with circular depressions, on 
 shaped frontal supports carved with two 
 scrolled dolphins flanking a similar 
 shield and crested by leaf rosettes. 
 
 From the ducal palace of Urbino 
 
 {See illustration} 
 
 379. Finety Carvep WALNUT SGABELLO 
 Umbrian, XVI Century 
 Similar to the preceding. 
 
 ‘ 
 
 Catalogue No. 378 
 
 From the ducal palace of Urbino 
 
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