4A 
 ‘ Aid i fate ' ' / ' - 
 {i . \ f é 
 4 i ‘ 4 : ‘ ‘ aava ae Gabe a ateatea ne 
 \ ‘ \ 4 2 Aik eb 4 4 fey ep wwe worn 
 ‘ 4 hava a 
 Pere Ere rere; Be sii shanaietiin 
 tee ties Ag 4 Pash 3h OF 
 wey ane ainet Keen ee teen ay 4 ‘ 
 P 5 +e mh vlad ae aheraaen ar Prerrerarier ticity ins 
 ‘ Seijahate 4) 3606 Pita ema tle a tap eRLe TON chee NGI) CAbaHND paeteetea a ae 4 
 ’ 5 4 , visas aid Sham eeia Perererieriiti tial rte ca 
 ‘ ‘ : 4 We ate auwels putt wea Sey nheed that - Petre rr in pale 
 , Asha peagH oS ipRasaiade ver 
 ‘ sented jhe gate in a9 asd dann tox t 
 { ‘ ajawar Wrey tt ssdvbet 
 ! 4 Perr ene, Steer " yous 
 papas 4 muss sieayaheaty 29 Perereter Wrenn) 
 ; > " . 2ha9h 44a peo atoall aioe tae bon Gin lp adul ooas 
 ‘ , ib aie hg nbn 24 9 mf se Gyan arabs i *)e4 Sh AR Hed thet lb oH Ub Hen ays 
 4 ; i rh a kas) gh aleahaiped absuicths RPMs eH aga Maha edi 2rmNNhS Het eno han nies ibaeiu mae 
 } ; ) ajhalg Pasdead Heathen agaie +24 $2 ih ahntiey wie wan hekpdew-o ne 
 ‘ sai rt t fer ; W5O5G040 8% Sing tehannd ey cadlng eater 
 4a ‘ faibe ameewpate) LANE PAM e ep ate apee oF 
 f ‘ ' isu ‘ Wynd aterdpa Pha tha Wo ioe HOE MipO lm Hohe dower abst 
 ‘ ‘ + ad terest neh at 4 way Hoh ered bait 8 we 48 Me 
 ‘ iiaahameeedatl 200aey atiny Aa 5 eit aS eH aFe 
 ‘ ; ‘| ; Wansead aie \ Ayaevondehohy at 
 / i stah ‘ Nthi8.5¢ seta we Weasel adebence ss 
 ‘ jh pegasy V4 4 eh-viinhh eth ania wa inny shane bu gaaienl a@ 
 its " vr cpa bay diniebn 05 herbal mh cay wepel) ene OG HN 
 ; VWord sengyaly * ait PHS say WR ANAM oka ee 
 bled 4 { ji’ ft te ey eng) erty HSE O TN meh alt mpd tpartabon the 
 b; ye t 7 ay han ha) hr 80an 9494 2% prtwrlisa geno ets oy 
 ‘ aig sah ays) ope hn (6 46 ane ' Neh ele ai abe lh syobaibyPrgs heer iene “ 
 ‘ ‘ ' ' 4 ba) AGatba. NrErertl  eamrren . ste 
 4 seeneyen Handy enone lig 5p saatodaten Letoguaeemir 
 prj sig . vohat Weowrrreiert tiie orca.) alk! sthan vee oie bpew sian s 
 HyW hohe i hah anol ; bw As 406 aha btn ean Ane halons 561 Aad Drage rouey 
 nent veihey obey oth ‘ : ‘ rere teri pees 5 steno of ehalpehe> 
 eat ay ’ aioe $i) badavedawane sateder . 
 Wew ‘ , aren. eras {OTP whaborsdainy pean prenecerrrrrn t 
 , ' ‘ prareeis s1herayad ena eh rbeunanes renner tt peganeheret 
 ‘ : ‘ yi wiatberrg 46 8 wt) oe bb t pipe bap aches bois pate tr-o-o4 whe lh rt 
 od a) 4s neuer ase onal 4D gienepaien ha Gabe bolsaiya Oe eeins mente ays BP orrts 
 ; cnet ) : ‘ vue 00% LV UR DDO ts Ay 5S aibaipe RON ay mia telee gamenelt nom eniert 
 ' ye . Aci avibresipon anes vib sd ue rib afer epee ee nti Hrqated prea he sens ores 
 ‘ ' a4 aeus ‘ yetets oka bodoibes  haye ab shogsweiaiaites miei) ehene 
 Ws bea aip 2eip npeeryey rere ¥ Hane (3 be ayqthatraeg edie dy on) 
 } ‘ ya gets , , vive gain g iene deeegee pede ahes Jahren be ye yaihel wares 
 ] NEAR aH Tree Datan lee ‘ Hoga afobsire 
 * winie ; cae) Dake ob BINH ELE dag de e® 
 A wi) ' wy team Weqereegth Oa celta te ue pe 
 : ' ‘ , ’ ; ' Woah tends a errs Perit ct ns 
 ‘ nN 4 ‘ : f Wrirererercar seer tr rity, 
 
Ss Oe eee ee 
 
 ? 
 
 Spy ibid. dete 
 % rn 
 
 i 
 
thes a Viren 
 1, of the 4 he fifteenth cent 
 
 Virgin, in. rel é} 
 ifor $250. 
 To Je Frankl 
 
 n fo 
 ef the foureae cent 
 i ouk. “Th Bhs 
 r 
 
 “<The Magdalen, pen original % 
 century pieces of. Limoges en 
 ‘Pierre Reymond, from a. conve 
 hacia ee 
 
 4 
 ‘ 
 
 é 
 
 q 
 
Ea ~- 
 
 = ek, Garena 
 
 oe 
 
 a < 
 
By Francesco Goya 
 
 =< 
 pe 
 eo 
 me 
 © 
 ip) 
 ea 
 = 
 fx) 
 a 
 — 
 Or 
 a 
 < 
 = 
 = 
 ee 
 © 
 © 
 =< 
 pa 
 Be 
 © 
 aw 
 
 No. 309. 
 
Collection of 
 
 Retrospective Paintings and Art Objects 
 From the XII to the XVIII Centuries 
 
 Comprising 
 
 Wood and Ivory Carvings, Vestments, Brocades, 
 Laces, Jewelry, Enamels, Tapestries, Ret- 
 ables, Altar Pieces, Reliquaries 
 
 together with a group of 
 
 Bes [akan and Spanish Primitives 
 
 and 
 
 A Remarkable Portrait, by Goya 
 
 Being the property of 
 
 M. Emule Pares 
 
 of Paris and Madrid 
 
 To be sold on Thursday and Friday Afternoons 
 * and Friday Evening, February 18th and 19th, 1915 
 
 at 
 
 The Anderson Galleries 
 
 On Public Exhibition from Saturday, February 6, 1915 
 
 x 
 
 Pee OorOLITAN ART ASSOCIATION 
 Madison Avenue at Fortieth Street 
 New York 
 
CONDITIONS OF SALE 
 
 1. All bids to be PER LoT as numbered in the Catalogue. 
 
 2. The highest bidder to be the buyer; in all cases of disputed bids the 
 lot shall be resold, but the Auctioneer will use his judgment as to the good faith __ 
 of all claims and his decision shall be final. He also reserves the right to reject ~ 
 any fractional or nominal bid which, in his judgment, may delay or injuriously 
 affect the sale. 
 
 3. Buyers to give their names and addresses and to make such cash pay- 
 ments on account as may be required, in default of which, the lots purchased 
 to be immediately resold. 
 
 4. The lots to be taken away at the buyer’s expense and risk within 
 twenty-four hours from the conclusion of the sale, and the remainder of the 
 purchase money to be absolutely paid on or before delivery, in default of which, 
 the Metropolitan Art Association will not be responsible if the lot or lots be 
 lost, stolen, damaged or destroyed, but they will be left at the sole risk of the 
 purchaser, and subject to storage charges. 
 
 5. To prevent inaccuracy in delivery and inconvenience in the settlement 
 of purchases, no lot will be delivered during the sale. 
 
 6. All lots will be exposed for public exhibition in The Anderson Galleries 
 before the date of sale, for examination by intending purchasers, and the Metro-- 
 politan Art Association will not be responsible for the correctness of the descrip- 
 tion, authenticity, genuineness, or for any defect or fault in or concerning any 
 lot, and makes no warranty whatever, but will sell each lot exactly as it 1s, 
 WITHOUT RECOURSE. But upon receiving before the date of sale, expert opinion 
 in writing that any lot is not as represented, the Metropolitan Art Association 
 will use every effort to furnish proof to the contrary, and in default of such 
 proof the lot will be sold subject to the declaration of the aforesaid expert, he 
 being liable to the owner or owners thereof, for damage or injury occasioned 
 by such declaration. 
 
 7. Terms Casu. Upon failure to comply with the above conditions any 
 sum deposited as part payment shall be forfeited, and all such lots as remain 
 uncleared after twenty-four hours from the conclusion of the sale will be resold 
 by either private of public sale at such time as the Metropolitan Art Association 
 shall determine, without further notice, and if any deficiency arises from such 
 resale, it shall be made good by the defaulter at this sale together with all the 
 expenses incurred thereby. This condition shall be without prejudice to the 
 right of the Metropolitan Art Association to enforce the contract with the buyer, 
 without such resale. 
 
 The Metropolitan Art Association will afford every facility for the employ- 
 ment of carriers and packers by the purchasers, but will not be responsible 
 for any damage arising from the acts of such carriers and packers. 
 
 Priced Copy of this Catalogue, $1.50. 
 
 THE ANDERSON GALLERIES 
 
 Metropolitan Art Association 
 
 Mapison AVENUE AT ForTIETH STREET, NEw YoRK 
 
 TELEPHONE 7680 BRYANT 
 
“ORDER OF SALES 
 
 Thursday Afternoon, February 18, 1915, at 2:30 o'clock Lots 1-143 
 
 French and BNI ste Teal Setter che scr 9 atts. a ace gator wie ees Nos. 1- 22 
 Hispano-Moresque Majolica, Sévres, etc................. 23-39 
 Antique Laces—English, Flemish, Spanish, etc........... *<  40- 69 
 ierent Carvings, Furniture;and Brass. .:. 00. 000...0.... + F7O-106 
 Ecclesiastical Embroideries, Draperies, etc............... * IOI-143 
 Friday Afternoon, February 19, 1915, at 2:30 o clock Lots 144-284 
 Antique Italian and Spanish Jewelry, in Rock Crystal, 
 (ROE STRONG Gn RE, a a rr Nos. 144-172 
 PICICME NW ANUGCIIN lst Arun GF i.+ a. 2240 a. - hss Mecks eee tee i “173-176 
 Ecclesiastical Embroideries, Velvets and other Textiles.... 177-222 
 Limoges Enamels and Ancient Wood and-Ivory Carvings.. “223-259 
 Wer etee abinets, Chairs and Ketables....0..2..0...... “260-284 
 Friday Evening, February 19, 1915, at 8:15 o clock Lots 285-309 
 Patines: | flemish aiid Spanish Primitives .......-...... Nos. 285-305 
 Painting by Alexander Cimabue (1240-1302)........00... No. 306 
 Pinte ye) Greco (1548-1625)... ee ew eee a 307 
 ipryedoyitne “iviaster of Krankfort”,....-......... ie 308 
 
 re sya tacit 1740-1528) bn oe ee ee ee 309 
 
A AND CHILD 
 
 bue 
 
 THE MADONN 
 
 . 306. 
 
 No 
 
 ima 
 
 By C 
 
NOTE 
 
 For many years the establishments of M. Emile Pares, 
 in Paris and Madrid, have been the resort of connoisseurs 
 from all parts of the world. ‘There collectors, dealers, 
 amateurs and agents of Museums gathered to compete 
 with each other for the treasures which he continually 
 brought together for their instruction and delight, and 
 thence many rare works have gone forth to find a resting 
 place in such gatherings as the great Morgan Collections, 
 or in the Museum of Fine Arts at Boston; or the artistic 
 homes scattered throughout this country. 
 
 The situation in Europe has changed things and trans- 
 formed New York into the great art mart of the world, to 
 which all things are now brought. The Collection here 
 shown has been selected from his treasures by M. Pares 
 himself, with a view to securing a wide variety and to 
 maintaining a high artistic level. Every object is guar- 
 anteed as to its genuine character, and the assembly in 
 its entirety has the retrospective character of a well-chosen 
 
 private museum. 
 
Collection of Retrospective Art 
 
 From the XII to the XVIII Centuries 
 
 The authenticity of each and every article in 
 this Catalogue and its genuine character as an 
 original and as described in these pages is 
 guaranteed by M, Emile. Paresi=thewomer 
 whose knowledge and judgment of antique 
 art objects are unquestioned by the collectors, 
 dealers and amateurs of the world. Every 
 article is offered without restoration of any 
 kind whatsoever. 
 
FIRST SESSION 
 Thursday Afternoon, February 18, 1915, at 2:30 o'clock 
 
 French and Spanish Fans, Dresden and Sévres Porcelain, 
 Talavera and Hispano-Moresque Majolica, Italian, 
 Spanish and Flemish Laces, Clocks, Braziers, 
 Torchéres, Columns, Armchairs, Marble 
 Vases, Embroideries, Vestments, 
 
 Brocades and Damasks 
 
 French and Spanish Fans of the XVIII Century 
 
 1 ANTIQUE SPANISH FAN OF THE PERIOD OF JSABELLA II. 
 
 With mother-of-pearl sticks pierced and overlaid with gilt 
 figures, swanskin mount printed with féte champétre and colored. 
 
 2 jot aNistt LOUIS PHILIPPE FAN. 
 With sticks of mother-of-pearl pierced and gilded, mount painted. 
 
 3 ANTIOUE ENGLISH FAN OF THE XVIIT CENTURY. 
 
 With ivory sticks pierced, swanskin mount printed and colored. 
 
 feet ott LOUIS PHILIPPE FAN. 
 
 With sticks of mother-of-pearl pierced and gilded, paper mount 
 printed and colored. 
 
 5 FRENCH FIRST EMPIRE FAN. 
 With sticks pierced and gilded, swanskin mount printed and 
 colored; the guard sticks of bronze with relief cisélé decoration 
 studded with brilliants. 
 11 
 
IO 
 
 II 
 
 12 
 
 ENGLISH FIRST EMPIRE FAN, 
 With ivory sticks pierced and carved, swanskin mount printed 
 and colored. 
 
 FRENCH FIRST EMPIRE FAN. 
 
 With bronze sticks pierced, paper mount printed and colored; 
 the guard sticks of bronze with relief cisélé decoration studded 
 with jewels. 
 
 ANTIQUE LOUIS XV. FRENCH FAN. 
 
 With ivory sticks pierced, engraved and gilded, swanskin mount 
 printed and colored. 
 
 FRENCH FIRST EMPIRE FAN. 
 
 With ivory sticks pierced and painted with flowers, swanskin 
 ~ mount printed and colored. 
 (Damaged.) 
 
 ANTIQUE LOUIS XV FRENCH FAN. 
 
 With ivory sticks pierced and painted with medallions and 
 scrolls, swanskin mount painted with musical figures in a land+ 
 scape. 
 
 ANTIQUE LOUIS XVI FRENCH FAN. 
 
 With mother-of-pearl sticks pierced and gilded, swanskin mount 
 printed and colored. 
 (Damaged.) 
 
 ANTIQUE SPANISH FAN OF THE PERIOD OF ISABELLA II. 
 
 With ivory sticks carved, silk mount painted and embroidered _- 
 
 with spangles. 
 
 ANTIQUE SMALL LOUIS XV FRENCH FAN. 
 
 With ivory sticks, pierced and gilded, swanskin mount painted 
 with féte champétre. 
 12 
 
 sce ‘ 
 
 sn gar ilee AiaY ee Ei 0 al 
 
 oe eee 
 
14 
 
 16 
 
 17 
 
 18 
 
 10 
 
 20 
 
 21 
 
 22 
 
 ANTIQUE LOUIS XV FRENCH FAN. 
 
 With ivory sticks, pierced, painted and gilded, swanskin mount 
 painted with féte champétre. 
 
 ANTIQUE LOUIS XV FRENCH FAN. 
 
 With ivory sticks pierced and painted, swanskin mount painted 
 with a landscape. 
 
 ANTIQUE SMALL LOUIS XV FRENCH FAN. 
 With sticks of ivory and pearl engraved and gilded, swanskin 
 mount painted with pastoral scenes. 
 
 ANTIQUE LOUIS-XV FRENCH FAN. 
 
 With ivory sticks pierced and engraved with medallions, swanskin 
 mount painted with an Autumn scene. 
 (Damaged.) 
 
 ANTIQUE LOUIS XV FRENCH FAN. 
 With ivory sticks pierced, swanskin mount painted with a 
 bacchanal. 
 
 -ANTIQUE LOUIS XIV FRENCH FAN. 
 
 With ivory sticks pierced and gilded, swanskin mount painted 
 with a bacchanal. 
 
 ANTIQUE LOUIS XV SHELL FAN. 
 With sticks of blond shell, swanskin mount stippled with a 
 pastoral scene. 
 
 ANTIQUE LOUIS XV FRENCH FAN. 
 With ivory sticks pierced, engraved and gilded, the swanskin 
 mount painted with a pastoral scene. 
 
 ANTIQUE LOUIS XV FRENCH FAN. 
 With mother-of-pearl sticks pierced, painted and gilded, swanskin 
 mount painted with historic subject. 
 
 (Damaged.) 
 13 
 
Dresden and Sevres Porcelain, Talavera and Hispano- 
 
 2 
 
 Lo) 
 
 24 
 
 25 
 
 26 
 
 27 
 
 30 
 
 ~ Moresque Majolica 
 
 ANTIQUE TALAVERA. MAJOLICA PITCHER OF THE XVII 
 CENTURY ‘ 
 
 Decorated with leaves and bands in yellow and green. 
 
 Height, 8% inches. 
 
 ANTIQUE TALAVERA MAJOLICA: PITCHER: 
 
 Decorated with flowers and a lion rampant. Height, 94% inches. 
 (Lip chipped.) 
 
 ANOTHER SIMILAR. 
 
 Decorated with landscape and palm-tree. 
 
 ANTIQUE SPANISH. BRONZE ALTAR BERD OFS tat 7 
 CENTURY. 
 
 With relief decoration, the handle shaped as three Amorini. 
 ANOTHER SIMILAR. 
 1zNOTHER SIMILAR. 
 
 ANTIQUE TALAVERA MAJOLICA PIT@GHERS ORS a 
 CERIN CER, 
 
 With twisted handle, sides decorated with flowers and leaves in 
 yellow and blue. Height, 8% inches. 
 
 ANTIQUE TALAVERA MAJOLICA PITCHER. 
 
 Decorated with a Monastery coat-of-arms and with colored 
 bands. : Height, 41% inches. 
 
 ANTIQUE TALAVERA MAJOLICA PITCHER OF THE XVII 
 CENTURY: 
 With twisted handle, the sides decorated with coat-of-arms and 
 bands in color. Height, 14 inches. 
 14 
 
 ee ee ee ee a, Se ew Us 
 
32 
 
 33 
 
 BE: 
 
 36 
 
 37 
 
 38 
 
 39 
 
 ANTIQUE TALAVERA MAJOLICA PITCHER OF THE XVII 
 
 CENTURY. 
 Decorated with landscape and horse and bandsincolor. (Cracked.) 
 Height, 12 inches. 
 
 ANTIQUE TALAVERA MAJOLICA PITCHER OF THE XVII 
 CENTURY. 
 
 With twisted handle, the sides decorated with character heads 
 
 and bands in black and yellow. Height, 12 inches. 
 
 ANTIQUE LOUIS XVI DRESDEN TABLE JARDINIERE. 
 
 » With fluted edge, leaf handles, the sides decorated with sprays 
 of flowers. 
 
 Pero ean yen MAJOLICA PITCHER OF THE XVII 
 CENTURY. 
 
 Decorated with landscape in blue and with yellow bands. 
 Height, 10 inches. 
 
 ANTIQUE LOUIS XVI DRESDEN TABLE JARDINIERE. 
 
 With fluted edge, rose and gold border, the sides decorated with 
 fruits and foliage. 
 
 PAIR OF ANTIQUE SEVRES PORCELAIN VASES OF THE 
 Dav GENTURY. | 
 
 With decoration of gold and silver, in black Lac du Chine. Date 
 
 1780. Height, 9 inches. 
 
 (See Illustration.) 
 
 ANTIQUE HISPANO-MORESQUE PLAQUE OF THE XVI 
 CENTURY. 
 
 Decorated in blue and metallic lustre. Diameter, 19% inches. 
 (See Illustration.) 
 
 ANTIQUE HISPANO-MORESQUE PHARMACY JAR, OF 
 Tar XV CENTURY, 
 With blue and gold decoration in metallic lustre. 
 
 From a convent at Calatayud, Spain. Height, 10% inches. 
 (See Illustration.) 
 
 15 
 
avi AOVINAVHd 
 
 ANOSAUOW 
 ANOLLNV 
 
 ONVdSIH 
 ‘6£ ‘ON 
 
 16 
 
Spanish, Italian and Flemish Laces, Marriage Communion 
 
 Cloths, Tabliers and Altar Scarfs 
 
 40. 
 
 4I 
 
 42 
 
 43 
 
 44 
 
 45 
 
 46 
 
 47 
 
 48 
 
 49 
 
 50 
 
 Pe oUire sh ANISH LACE: CHALICE (PALL OF THE 
 
 avi CENTURY. 
 
 ANOTHER SIMILAR. 
 
 ANTIQUE SPANISH XVI CENTURY MARRIAGE COM- 
 
 MUNION CLOTH. 
 
 ANTIQUE SPANISH LACE ALTAR FRONT OF THE XVI 
 
 CENTURY. 
 
 The design showing warriors on horseback. 
 
 ANTIQUE XVI CENTURY MARRIAGE 
 ClO, 
 
 Of lace and drawn-work. 
 
 ANTIQUE CHALICE PALL. 
 
 Flemish lace of the seventeenth century. 
 
 ANTIQUE XVI CENTURY MARRIAGE 
 CEOAE. 
 
 Embroidered in _ blue. 
 ANTIQUE XVI CENTURY MARRIAGE 
 PAX TH. 
 
 Of Venetian guipure and embroidery. 
 
 ANOTHER SIMILAR. 
 
 COMMUNION 
 
 COMMUNION 
 
 COMMUNION 
 
 ANTIQUE SMALL SPANISH TABLE COVER OF THE XVI 
 
 SENTURY. 
 
 ANTIQUE SPANISH MARRIAGE COMMUNION CLOTH OF 
 
 mn xXVI-CENTURY. 
 The design showing the figure of David. 
 17 
 
No. 61.. TABLE ‘COVER OF VENETIAN GUIPURE OF XViger a ie 
 
 18 
 
52 
 
 53 
 
 54 
 
 5g 
 
 60 
 
 61 
 
 ANTIQUE ITALIAN LACE: ALTAR, FRONT OF THE XVI 
 CENTURY. 
 
 Combined with drawn-work. Length, 5 yards. 
 
 ANTIQUE SPANISH LACE TABLIER OF THE VIRGIN, OF 
 eTHE XVI CENTURY. 
 
 Peeve PUEMISH LACE CHALICE PALL OF THE XVII 
 CENTURY. 
 
 ANTIQUE ENGLISH POINT LACE OF THE XVII CENTURY. 
 Length, 34% yards; width, 4% inches. 
 
 Pee eet EVs ACK FLOUNCE OF THE XVII 
 
 CENTURY. —_ Length, 2 yards, 20 inches; width, 19 inches. 
 
 ANOTHER SIMILAR. 
 
 ANOTHER - SIMILAR. 
 
 ANTIQUE LOUIS XIV FLEMISH LACE FLOUNCE. 
 The design showing fleurs-de-lys, scrolls and foliage. 
 | Length, 3 yards, 24 inches; width, 24 inches. 
 
 From a church at Toledo. 
 
 mee meraNGlisl LACE FLOUNCE OF ‘THE TIME: OF 
 LOUIS <XTV. 
 
 From a Cardinal’s Robe. The design showing shells, vases of 
 
 flowers and scrolls. Length, 3 yards, 6 inches; width, 24 inches. 
 
 ANTIQUE FLEMISH LACE FLOUNCE. 
 From the Robe of a Cardinal. 
 , Length, 4 yards, 12 inches; width, 25 inches. 
 
 From a church in Valencia. 
 
 ANTIQUE TABLE SCARF OF XVI CENTURY, VENETIAN 
 GUIPURE. 
 
 Composed of net-work of squares, each of different pattern, 
 
 alternating with geometrical designs of open lace-work. 
 Length, 72 inches; width, 51 inches. 
 
 From the Palace of the Bishop of Valencia. 
 (See Illustration. ) 
 19 
 
Sk, 
 
 SEER 
 
 Sea 
 
 Bey 
 ee 
 
 ae 
 
 a 
 Ais 
 
 A 
 Seek 
 
 Iss ce x 
 Soe 
 
 os 
 
 20 
 
 (e 
 oO 
 — 
 oe 
 an 
 oO 
 ae 
 (=) 
 P41 Ae 
 > Bi 
 i= 
 ee 
 (> Om 
 Oa 
 fx 
 7 
 SZ 
 = 
 , la 
 [Ga 
 2g 
 = 
 C= 
 4 Pm 
 O na 
 (x) 
 ae) 
 7, Se 
 <= Au 
 = 
 fa fa 
 Zz. a 
 (2) Aas 
 > 8 
 
 co ot 
 \O \O@ 
 66 
 Z. 2m 
 
62 
 
 63 
 
 64 
 
 65 
 
 66 
 
 67 
 
 68 
 
 69 
 
 ANTIQUE FLOUNCE OF POINT DE MILAN LACE. 
 From a Bishop’s Robe. Length, 4 yards; width, 11 inches. 
 
 ANTIQUE VENETIAN ROSE POINT LACE FLOUNCE. 
 Period of Louis XV. Length, 4 yards, 13 inches; width 11 inches. 
 
 From the collection of the Duchess of Oporto. 
 (See Illustration.) 
 
 Poe reyENETEAN ROSE POINT LACE OF LOUIS XV 
 PERIOD. 
 
 With flowers in high relief. This lace matches the flounce. 
 Length, 2 yards, 26 inches; width, 3 inches. 
 From the collection of the Duchess of Oporto. 
 (See Illustration.) 
 
 PIVITOUPTIAMIAN LACE FLOUNCE. 
 
 From a Bishop’s Robe, showing a design of vases of flowers and 
 
 scrolls. Width, 25 inches. 
 
 PeitOUreitatiaN XVI CENTURY ALTAR FRONT. 
 
 Of linen, embroidered with birds, flowers and animals in silk. 
 
 ANTIOUE BRUSSELS LACE FLOUNCE OF THE LOUIS XIV 
 PERIOD. : Length, 3 yards; width, 15 inches. 
 
 From a convent at Seville. 
 (See Illustration ) 
 
 ANTIQUE ENGLISH POINT LACE FLOUNCE OF THE XVII 
 CENTURY. 
 
 From a Bishop’s Robe, showing designs of flowers and scrolls. 
 Length, 1 yard, 29 inches; width, ro inches. 
 
 ANTIQUE XII CENTURY POINT DE MILAN LACE. 
 From a Bishop’s Robe. Length, 3 yards, 6 inches; width, 13 inches. 
 
 21 
 
AONNOT AOVT HSINATA ANOLLNV 
 
 ‘LQ ‘ON 
 
 N 
 N 
 
Braziers, Benches, Clocks, Torchéres, Columns, Armchairs, 
 
 70 
 
 7i 
 
 72 
 
 73 
 
 74 
 
 75 
 
 76 
 
 77 
 
 ~ and two Fine Sienna Marble Vases 
 
 SMALL ANTIQUE SPANISH BRASS BRAZIER OF THE XVI 
 CENTURY. 
 
 With ball and claw feet. Height, 21% inches. 
 
 ONE HUNDRED AND TWENTY-FIVE SMALL ANTIQUE 
 AVEORA TILES. 
 
 TWO ANTIQUE CARVED WOOD COLUMNS OF THE XVII 
 CENTURY: 
 
 The shafts carved with leaves and grapes; bases and capitals 
 carved and gilded. Height, 44 inches. 
 
 LADY’S ANTIQUE FRENCH MAHOGANY DESK, LOUIS XVI 
 PERIOD. : 
 
 With seven drawers and two glazed doors, folding writing-shelf, 
 
 marble top with brass rail. 
 Signed by Murro, Paris, 1778. 
 [ss (See Illustration.) 
 
 ANTIQUE SPANISH BRASS BRAZIER OF THE XVI CENTURY. 
 With feet shaped as dolphins. Diameter, 24 inches, height, 17 inches. 
 
 ANTIQUE ENGLISH MANTEL CLOCK OF THE LOUIS xV 
 PERIOD: 
 
 Finished in gold and black lacquer, with bronze mountings. 
 
 Peter Higgs, maker, London. Height, 19 inches. 
 
 THREE LOUIS XVI ARMCHAIRS. 
 
 The modern frames carved and gilded, covered with genuine 
 antique petit point tapestry, showing a design of birds and flowers 
 
 on a gray ground, 
 
 From a chateau at Fontainebleau. 
 (See Illustration.) 
 
 ANTIQUE LOUIS XVI MANTEL CLOCK. 
 Of marble and bronze, the dial supported by gilt bronze female 
 figure and Cupid, after Falconet. Rocquet, Paris, maker. 
 Height, 151% inches. 
 (See Illustration.) 
 23 
 
No. 37. SEVRES VASES No. 270. 
 No. 73. LADY’S WRITING DESK ANTIQUE ITALIAN COFFER 
 . (On top of the column) 
 
 24 
 
No. 76. LOUIS XVI ARMCHAIR 
 
 78 TWO SMALL ANTIQUE SPANISH CARVED WOOD COLUMNS. 
 
 With spiral shafts entwined with leaves and grapes and carved 
 capitals finished in gold and polychrome. Height, 43 inches. 
 
 79 ANTIQUE SPANISH BRASS BRAZIER OF THE XVI CENTURY. 
 With scroll feet. Diameter, 23 inches. 
 
 80 THREE ANTIQUE SPANISH CARVED WOOD COLUMNS 
 OF THE XVI CENTURY. 
 
 The shafts entwined with wreaths and grapes; the capitals carved 
 and gilded. | Height, 20 inches. 
 
SI 
 
 83 
 
 84 
 
 85 
 
 No. 77. LOUIS XVI MANTEL CLOCK 
 
 ANTIQUE LOUIS XVI MANTEL CLOCK. 
 Of marble and bronze; the dial surrounded by a laurel wreath 
 supported by Amorini on a white marble base. 
 Length, 13 inches; height, 14% inches. 
 
 ANTIQUE LOUIS XVI ALABASTER STATUE TE: 
 
 A child kneeling in prayer on a cushion base. Height, 12 inches. 
 
 From a convent at Seville, Spain. 
 
 MANTEL CLOCK OF THE DIRECTORY PERIOD. 
 Of bronze and marble, showing two seated figures, reading; 
 the top crowned by a spread eagle; the base of green marble 
 overlaid with sphynx and scrolls in gilt bronze. 
 Length, 34 inches; height, 20 inches. 
 
 FOUR ANTIQUE SPANISH CARVED WOOD COLUMNS OF 
 TOESEXVII CEN SURG | 
 
 With relief decoration; carved capitals; gilded. 
 Height, 26 inches. 
 
 ANTIQUE ENGLISH MANTEL CLOCK OF THE LOUIS XV 
 PERIOD. 
 The case finished in red lacquer and gold with bronze mountings. 
 William Creak, London, maker. Height, 20 inches. 
 26 
 
86 
 
 87 
 
 88 
 
 89 
 
 90 
 
 gl 
 
 92 
 
 93 
 
 94 
 
 95 
 96 
 
 TWO MASSIVE ANTIQUE CARVED WOOD. ENGLISH CON- 
 SOLE BRACKETS. 
 
 Of the eighteenth century. Of Mahogany, carved with figures 
 shaped as Amorini. Height, 26 inches. 
 
 ei OTrER PAIR SUMILAR. 
 
 TWO ANTIQUE SPANISH CARVED WOOD CANDLESTICKS, 
 GILDED. Height, 57 inches. 
 
 From a convent at Lisbon. 
 
 ANOTHER PAIR. 
 
 From the same source. 
 
 POU SPOR] UGEYSE HALL CHAIR OF THE XVII 
 
 CENTURY. 
 With high back and arms; seat and back covered with sculptured 
 leather, finished with brass-headed nails and brass pinnacles. 
 
 ANOTHER. 
 
 Companion to the preceding. (One arm restored.) 
 Both came from a noble family at Oporto. 
 
 PAIR OF ANTIQUE CARVED WOOD TWISTED COLUMNS 
 OF THE XVII CENTURY. 
 
 The stems entwined with leaves and flowers, finished in color 
 
 on a gold ground; capitals carved and finished in polychrome 
 
 and gold. Height, 50 inches. 
 
 From a convent at Valladolid. 
 
 ANTIQUE FRENCH LOUIS XIV ARMCHAIR. 
 The frame carved with shells and scrolls; seat and back covered 
 with crimson damask. 
 
 ANOTHER SIMILAR. 
 ANOTHER SIMILAR. 
 
 TWO LARGE ANTIQUE SIENNA MARBLE VASES, ITALIAN, 
 Oren XViIll CENTURY. 
 Urn-shaped, the base gadrooned, having a frieze of figures in high 
 relief, representing a Roman Dance. Masque handles. 
 Height, about 4 feet, 6 inches. 
 
 Museum piece and very unusual. From a chateau at Fontainebleau. 
 (See Illustration.) 
 
 27 
 
97 ANTIQUE SPANISH CHURCH BENCH OF THE XVII 
 CEN TURN: 
 
 Of oak, with panelled and spindle back and arms. 
 Length, 54 inches. 
 
 98 ANOTHER SIMILAR. 
 
 Both are from a convent in Granada. 
 
 No. 96. PAIR SIENNA MARBLE VASES 
 99 SIX ENGLISH ANTIQUE SIDE CHAIRS OF HEPPLEWHITE 2 
 DESIGN. 4 
 
 Of mahogany, the backs carved, having slip seats covered with 
 red damask. 
 
 too FOUR MORE. 
 
 28 
 
Antique French and Italian Vestments, Brocades, Court 
 
 IOI 
 
 102 
 
 103 
 
 104 
 
 10S 
 
 106 
 
 107 
 
 108 
 
 109 
 
 IIo 
 
 III 
 
 Costumes, Bed Covers, Mantles and Tabliers 
 
 ANTIQUE ITALIAN COPE. . 
 Of brocade trimmed with silk fringe. 
 
 ANTIQUE LOUIS XVI FRENCH BED COVER. 
 Of yellow silk with green valance, lined. 
 Length, 75 inches; width, 61 inches. 
 
 ANTIQUE WALL -HANGING OF ITALIAN CRIMSON 
 DAMASK. 
 
 ANTIQUE LOUIS. XVI FRENCH SMALL TABLE COVER. 
 Of yellow broché. Length, 71 inches; width, 51 inches. 
 
 ANTIQUE ITALIAN XVI CENTURY CHASUBLE. 
 Of green damask trimmed with gold gimp. 
 
 ANTIQUE LOUIS XVI COURT COAT. 
 
 Of mauve silk embroidered with flowers in French point chenet. 
 
 HALF A CHASUBLE OF ANTIQUE CRIMSON VELVET. 
 
 The orphreys embroidered in gold point on crimson velvet, with 
 three panels of Saints. 
 
 ANTIQUE LOUIS XVI BROCHE BED COVER. 
 
 In yellow, with valance. 
 
 ANTIQUE TABLIER OF THE. VIRGIN, OF LOUIS XVI 
 PERIOD. 
 
 Of white satin embroidered in a pattern of birds and flowers. 
 
 ANTIQUE CRIMSON VELVET WALL PANEL. 
 
 With medallion of appliqué embroidery, trimmed with silver 
 gimp and lined with crimson silk. 
 Height, 80 inches; width, 65 inches. 
 
 ANTIQUE LOUIS XIV ITALIAN BED COVER. 
 In yellow and white damask. 
 29 
 
Dr 
 
 hs 
 
 116 
 
 117 
 
 118 
 
 119 
 
 120 
 
 121 
 
 122 
 
 123 
 
 ANTIQUE SMALL. XVI CENTURY CHURCH BANNER. 
 
 Of crimson velvet trimmed with yellow silk fringe. 
 ANTIQUE BED COVER OF ITALIAN CREAM BROCADE. 
 
 ANTIQUE LOUIS XVI ITALIAN COPE. 
 
 Of brocatelle figured with gold and silver, having a green band 
 trimmed with silver gimp. 
 
 ANTIQUE CHASUBLE OF CRIMSON DAMASK. 
 
 The orphreys of crimson velvet embroidered in color and gold, 
 with five medallions. 
 
 ANTIQUE ITALIAN LOUIS XIV TABLE COVER. 
 Of yellow damask, lined with blue silk and trimmed with fringe. 
 
 ANTIQUE ALTAR FRONT OF LOUIS XIV PERIOD. 
 Of French yellow silk brocaded with silver, trimmed with gold 
 gimp. 
 
 ANTIQUE LOUIS XV ITALIAN BED COVER. 
 Of blue damask. 
 
 ANTIQUE LOUIS XVI COURT COSTUME. 
 
 Consisting of coat of green cut velvet, embroidered with flowers; 
 knee-breeches to match and waistcoat of pale blue satin, em- — 
 broidered in point chenet. | 
 
 ANTIQUE LOUIS XIV BANDEAU OF TAPESTRY. 
 
 In French petit point. Scalloped and trimmed with fringe. 
 Length, 73 inches; height, 18 inches. 
 
 ANTIQUE LOUIS XV TABLE COVER. 
 Of Italian yellow damask. Length, 71 inches; width, 51 inches. 
 
 ANOTHER SIMILAR. 
 
 ANTIQUE COURT SUIT OF GREEN CUI VERE. 
 With white satin vest embroidered in spangles and flowers. 
 30 
 
124 
 
 {27 
 
 128 
 
 129 
 
 130 
 
 $31 
 
 132 
 
 134 
 
 135 
 
 136 
 
 feat nIN tT TOUR CANOPY: OF THE- END’ OF THE XV 
 CENTURY. 
 
 Of crimson damask, the border of sixteenth century appliqué 
 embroidery. Length, 104 inches; width, 87 inches. 
 
 ANOTHER SIMILAR. 
 
 ANTIQUE LOUIS XIV ITALIAN BED COVER. 
 Of yellow damask. 
 
 ANTIQUE MANTLE OF THE VIRGIN OF LOUIS XV PERIOD. 
 Of French gold and silver brocade trimmed with gold lace. 
 
 From a convent at Valladolid. 
 
 ANTIQUE CHASUBLE OF GREEN DAMASK. 
 
 French, seventeenth century, trimmed with yellow gimp. 
 
 ANTIQUE LOUIS XIV BED COVER. 
 Of green French damask. 
 
 EIGHTEEN YARDS OF ANTIQUE CRIMSON DAMASK. 
 
 In two pieces. One, 3 yards and 13 inches long, the width 
 formed of three breadths of 24 inches; the other, 4 yards long, 
 the width formed of two breadths of 24 inches each. 
 
 ANTIQUE ITALIAN BED COVER OF GOLD BROCADE. 
 
 TWENTY-TWO AND ONE-HALF YARDS OF ANTIQUE 
 ITALIAN LOUIS XIV YELLOW DAMASK. 
 
 ANTIQUE ITALIAN XVI CENTURY BED COVER. 
 Of rose and old gold damask. 
 
 ANTIQUE LARGE MANTLE OF THE VIRGIN, OF LOUIS 
 XV PERIOD. 
 
 Of salmon silk brocaded with silver. 
 ANTIQUE LOUIS XIV FRENCH BROCADE BED COVER. 
 
 ANTIQUE LOUIS XIV TABLE COVER. 
 Of green damask with silk fringe. 
 31 
 
137 
 
 138 
 
 139 
 
 140 
 
 I4I 
 
 142 
 
 143 
 
 ANTIQUE LOUIS XVI FRENCH BED COVER. 
 Of pale blue silk, with valance. 
 
 TWENTY-SIX YARDS OF ANTIQUE LOUIS XIV FRENCH 
 DAMASK. 
 
 ‘(4 pieces.) 
 
 ANTIQUE TABLIER OF THE VIRGIN, FRENCH, LOUIS 
 XV PERIOD. 
 Of blue brocade. 
 
 ANTIQUE LOUIS XIV BED COVER. 
 Of French yellow damask trimmed with silk fringe. 
 
 ANTIQUE. LOUIS; XVE- COURT “COA 
 
 Of olive gros-grain silk embroidered with flowers. 
 
 ANTIQUE FRENCH LOUIS XVI BED COVER OF YELLOW 
 DAMASK. 
 
 ANTIQUE ITALIAN BED COVER OF GREEN TEXTILE - 
 FABRIC. | | 
 
 Known as “‘tissu.”’ 
 
 32 
 
SECOND SESSION 
 Friday Afternoon, February 19, 1915, at 2.30 o'clock 
 
 Jewel Caskets, Statuettes, Tapestries, Jewelry, Reliquaries, 
 Crosses, Limoges Enamels, Ivory Carvings, Vestments, 
 Canopies, Altar Fronts, Antique Red Velvet, Wood 
 Carvings, Cabinets, Escutcheons, Fonts, Primi- 
 tive Paintings of the Flemish, Italian and 
 
 Spanish Schools, Antique Retables and 
 a Remarkable Portrait, by Goya 
 
 144 NEST OF ANTIQUE SPANISH WEIGHTS OF THE XVII 
 CENTURY. 
 
 In bronze case; with carved bronze figures. 
 
 145, 1|WO ANTIQUE CHURCH CANDLESTICKS OF THE XVII 
 | CENTURY. 
 
 Of wrought iron; with scroll decoration. Height, 34 inches. 
 
 146 ANTIQUE SPANISH LEATHER JEWEL CASKET OF THE 
 XVII CENTURY. | 
 With wrought-iron mounts gilded. 
 
 147 ITALIAN SMALL ANTIQUE LEATHER JEWEL CASKET OF 
 THE XVI CENTURY. 
 Blind-tooled; with drop front showing eight drawers. 
 Height, 64% inches. 
 
 148 ANTIQUE ITALIAN JEWEL CASKET OF THE END OF THE 
 XVI CENTURY. 
 Encrusted with ivory; having two doors which opening reveal 
 an interior fitted with ten drawers and a central compartment. 
 The whole set with plaques enamelled in color. With bottom 
 drawer and small coffer in the top. 
 Height, 21 inches; width, 18 inches; depth, 11 inches. 
 
 From a noble family at Valladolid. 
 (See Illustration) 
 
 33 
 
34 
 
149 ANTIQUE XVI CENTURY ITALIAN JEWEL CASKET. 
 
 Covered with leather tooled in gold; having brass handles and 
 secret drawer. Length, 12 inches; height 7 inches. 
 From a Spanish church at Lerida, Catalonia. 
 
 Pome OUR FRENCH CAEN STONE STATUETTE OF THE 
 poy CEN TURY.: : 
 
 Figure of Saint holding two doves. Height, 20% inches. 
 
 From a church at Valogne, France. 
 (See Illustration.) 
 
 151 ANTIQUE CARVED WHITE MARBLE FIGURE OF THE 
 XIV CENTURY. 
 
 Representing “The Madonna,”’ with detached canopy; both 
 
 mounted on red velvet panel. (Repaired). Height, 221% inches. 
 
 From a convent at Pampeluna. 
 
 No. 150. ANTIQUE STATUETTE No. 267. ANTIQUE MARBLE 
 OF THE XVI CENTURY STATUETTE OF THE XV CENTURY 
 
 30 
 
; 
 : 
 | 
 
 Jewelry, Relquanes and Crosses from the XV to the 
 XVIII Centuries 
 
 152 ANTIQUE LOUIS XVI. SILVER BROOCH. 
 
 Set with rose diamonds and emeralds. 
 (See Illustration.) 
 
 ~) 
 
 153. SMALL SPANISH ANTIQUE: PENDANT: FRAMESORS ae 
 VE CENTORA: mee 
 
 Of copper, gilded and enamelled; glazed in rock crystal. 
 
 154 ANTIQUE SPANISH FLAGON OF THE XViGi xe 
 
 Of silver decorated with enamel. 
 
 135s ANTIQUE RELIQUARY OF THE EARLY XVII CENTURY. 
 
 Rock crystal, cut in intaglio with representation of the Virgin. 
 Height, 3 inches. 
 
 156 ANTIQUE SPANISH BISHOP’S CROSS OF THE END OF THE 
 DNISCR IN DU RY: 
 
 Of rock crystal and enamelled gilt metal, set with coral. 
 
 Height, 51% inches. 
 From a convent.in Seville. 
 (See Illustration.) 
 
 157. ANTIQUE ITALIAN PENDANT RELIQUARY OF THE XVI | 
 CENTURY | 
 Of gold and enamel, containing a boxwood carving of the crucifix; 
 
 the reverse side showing Christ bearing the Cross. 
 
 From a convent at Cadiz. . 
 
 158 ANTIQUE ITALIAN SMALL XVI CENTURY FLAGON. 
 
 Of boxwood, carved with figures. (Imperfect.) 
 From a convent in Madrid, 
 
 159 ANTIQUE. SMALL “SPANISH PLAQUE Gt ee: 
 CENTURY. 
 
 Of rock crystal and gold, with figures in enamel representing 
 Angels presenting the Holy Sacrament. 
 From the Cathedral of Pampeluna. 
 (See Illustration.) 
 
 36 
 
LOUIS XVI BROOCH 
 
 BISHOP’S CROSS 
 
 ANTIQUE SPANISH PLAQUE 
 
 ANTIQUE ITALIAN PENDANT, WITH SIX ENAMEL PLAQUES 
 ANTIQUE SPANISH PENDANT 
 
 ANTIQUE ITALIAN PENDANT OF THE XVI CENTURY 
 ANTIQUE ITALIAN PENDANT OF THE XVI CENTURY 
 
 ae 
 3/7 
 
160 
 
 161 
 
 162 
 
 163 
 
 164 
 
 165 
 
 166 
 
 167 
 
 ANTIQUE ITALIAN PENDANT OF THE XVI CENTURY, 
 Of gold and enamel, having six plaques showing scenes from the 
 Life of Christ. 
 
 From the Duc de Tamarit, Catalonia. 
 (See Illustration.) 
 
 ANTIQUE SMALL ITALIAN WOOD CROSS OF THE XVI 
 CENTURY. 
 Studded with symbols of the Passion in gold and enamel. 
 (Repaired.) 
 
 From a convent at Guadalajara. 
 
 ANTIQUE SPANISH PENDANT OF THE END OF THE XVI 
 CENTURY. 
 La Vierge de Pilar in rock crystal, gold and enamel. 
 
 From a convent in Saragossa. 
 (See Illustration.) 
 
 ANTIQUE SPANISH BISHOP’S CROSS OF THE END OF THE 
 AVI CENTURY. 
 
 Of gold and enamel. 
 From a church at Madrid. 
 
 ANTIQUE ITALIAN PENDANT OF THE XVI -CENTURY. 
 A lion of gold and enamel, having five pendant pearls. 
 (See Illustration.) 
 
 ANTIQUE ITALIAN PENDANT RELIOQUARY OF THE XVII 
 CENTURY. 
 Of gold, rock crystal and enamel; showing the Crucifixion. 
 
 From a convent at Cordova. 
 (See Illustration.) 
 
 ANTIQUE ITALIAN GOLD RING OF THE VIRGIN, OF THE 
 XVI CENTURY. 
 
 Enamelled and set with rock crystal. 
 From a convent in Madrid. 
 
 ANTIQUE SPANISH GOLD .RING SET WITH SMALL DIA- 
 MONDS OF THE XVII CENTURY. 
 
 38 
 
168 ANTIQUE ITALIAN PENDANT OF THE XVI- CENTURY. 
 Of gold and enamel, the design symbolizing the Holy Ghost; 
 set with emeralds and baroque pearls. 
 
 From a convent in Seville. 
 
 Too, UNTIOQUE SPANISH SILVER GILT CHALICE OF THE XV 
 
 CENTURY. 
 With inscription in Spanish showing it was given by Paul to the 
 Carmelite Monks at Salamanca. Height, 10 inches. 
 
 170 ANTIQUE LOUIS XV ETUI. 
 Of ivory, with gold mountings, the sides set with two small 
 miniature paintings. 
 
 171 ANTIQUE SPANISH BISHOP’S CROSS OF THE END OF THE 
 BV ISCENTURY- 
 Of silver gilt; showing on one side the Crucifixion in relief, and 
 on the other the Virgin. 
 
 From a convent in Salamanca. 
 
 172 SMALL FRENCH ANTIQUE MAROQUETRY BOX. LOUIS 
 XV PERIOD. 
 Top, bottom and sides decorated in marquetry, with pictures 
 after Teniers. Interior lined with gold. 
 An exceptional curio of great value. From an old family at Valladolid, Spain. 
 
 173, ANTIQUE MANUSCRIPTS. Spanish Patent of Nobility. 
 Manuscript of 88 leaves of thick vellum. Patent of Nobility granted 
 1593. With four miniatures (two being full-page), very finely painted 
 in colors and gold, and many large initials also in gold and colors. Folio, 
 in the original red velvet binding, but worn. Granada, 1593. 
 
 One of the miniatures is a finely painted portrait, full length, of Philip II, seated on 
 his throne. The date of this manuscript is only five years after the sailing of Philip’s 
 famous “Invincible Armada’; and Maurice of Nassau was still fighting Philip IT in the 
 war for the Independence of the Netherlands at the time it was written. 
 
 From a noble family at Valladolid. 
 
 174 ANTIQUE MANUSCRIPT. Persian manuscript of 142 (should 
 be 143) leaves, written in red and black, within gold borders, and with 
 headings and rules in gold. The first two pages illuminated in gold and 
 colors, and with seven additional full-page drawings in gold and colors; 
 of a high quality of Persian art. S8vo., in the original Persian leather 
 binding painted and gilded. Saec. XVI. 
 
 39 
 
175 ANTIQUE MANUSCRIPT. ‘Hours of the Virgin” in Latin. 
 Neatly written manuscript, on 118 leaves of vellum, including the Calendar. 
 Illuminated in gold and colors with nine historiated initials, with figures, 
 and numerous other initials. Probably of Norman-English workmanship, 
 about the thirteenth century. 16mo, in contemporary leather, stamped 
 with a twisted cable decoration. The binding, of same epoch, is rubbed, 
 a leaf is lacking in the Calendar, and some of the pages are soiled in the 
 margin from constant usage. Saec. XIII. 
 
 An interesting manuscript, the character of the designs in the historiated initials 
 showing early English influence. 
 
 St. Alban and some other English saints occur in the Calendar. The fly-leaves 
 contain writing in early Spanish. 
 
 From a convent at Salamanca. 
 
 176 ANTIQUE MANUSCRIPT. Hore Beate Marie Virginis 
 secundum usum Romanum, cum Calendario. Manuscript finely written 
 on 158 leaves of vellum, in Flanders, in the 15th century. Illustrated 
 with one full-page miniature, 16 historiated initials, 22 full-page borders 
 (one in camaieu), and hundreds of small initials in gold and colors. “Two 
 or three of the illuminations have been rubbed, but otherwise the manu- 
 script is in good condition. 16mo, in contemporary stamped leather 
 binding (worn), green silk fly-leaves. Saec. XV. 
 
 A manuscript of very high quality of work, and evidently written for a member of 
 a noble family whose portrait is probably seen in the historiated initial representing the 
 Adoration of the Magi. The illuminations are of exquisite drawing and coloring, many 
 unusual shades of delicate color being employed, especially in the initials. The full-page 
 borders are adorned with butterflies and insects, birds, flowers, jewels, fruits, etc., and 
 a few have architectural or renaissance designs. 
 
 From a convent at Seville. 
 
 40 
 
 4 
 P| 
 > 
 | 
 
Hispano-Moresque Fabrics, Vestments, Brocades, Canopies, 
 
 177 
 
 178 
 
 179 
 
 180 
 
 181 
 
 182 
 
 183 
 
 184 
 
 185 
 
 186 
 
 Benediction Cloaks, Altar Fronts, and Quantities 
 of Sixteenth Century Red Velvet 
 
 ANTIQUE CHASUBLE OPSTHE Xx VISCE NEU RY: 
 
 Of crimson velvet; embroidered in six medallions of figures in 
 color and gold, and bands of embroidery. 
 
 PiIpCr OR xXViIPCENTURY ANTIQUE CRIMSON VELVET. 
 
 With circular piece cut from the center. 
 Length, 334 yards; width, 11% yards. 
 
 ANTIQUE LOUIS XIII ALTAR FRONTAL. 
 With extra sides and band of cloth of silver; with appliqué 
 embroidery in color and gold. (4 pieces.) 
 
 ANTIQUE LOUIS XV BED COVER. 
 
 Of rose brocade. 
 
 ANTIQUE XVI CENTURY CHURCH BANNER. 
 Of crimson velvet, embroidered with medallion in applique 
 
 and trimmed with silver lace. 
 From a church in Burgos, Spain. 
 
 THREE AND ONE-QUARTER YARDS OF XVI CENTURY 
 ANTIQUE CRIMSON VELVET. 
 
 EIGHT YARDS OF XVI CENTURY ANTIQUE CRIMSON 
 MELVET, 
 
 Formed of smaller pieces joined. 
 
 ANTIQUE DALMATIC OF THE END OF THE XV CENTURY. 
 Of Venetian brocade bouclé with gold thread. 
 
 ANTIQUE RED VELVET OF THE END OF THE XVII 
 CENTURY. 
 
 One piece containing three breadths, each 3 yards long. 
 
 ANOTHER LOT. 
 One piece containing same amount. 
 41 
 
~ 
 
 ot ee oa 
 Poh bee By f vans ; 
 ~ apa 7 = Ps 2 % “i < n ae a : 
 é 5 bles - ss 7 - - ‘ ye ' ~ ‘ 
 et dies ik ae Sah Seis / LENT 
 een Seem Dy seemed mao sarossetiae Seas rine of 5 a _ 
 ite, By peosogees st “ nh geo indi ei 
 
 | ) BA gL ae 
 
 SE 
 
 be 
 pe 
 = 
 = 
 Z 
 ea 
 O 
 > 
 * 
 ica 
 an 
 EH 
 Gy 
 ‘eo 
 ica) 
 AY 
 O 
 9; 
 (x) 
 ) 
 fe) 
 ‘a 
 Zz, 
 < 
 < 
 —- 
 = 
 S 
 ey 
 
Poe LIOUE CHASUBLE OF THE XVII. CENTURY. 
 
 Of white silk brocaded in a pattern of birds, shells, castles, books 
 and animals; trimmed with gold gimp. 
 
 188 ANTIQUE BENEDICTION CLOAK OF THE XVI CENTURY. 
 
 Of Italian crimson damask; trimmed with fine gold lace of the 
 period. 
 
 Pome Ne AND -ONE-HALE YARDS OF XVI CENTURY 
 ANTIQUE CRIMSON VELVET. 
 
 Formed of several pieces. 
 
 Poo TIOUE TTALIAN PABLE COVER OF THE XVI CENTURY. 
 
 Of crimson damask. Length, 70 inches; width, 66 inches. 
 
 1901 ANTIQUE ITALIAN CANOPY OF THE XVI CENTURY. 
 
 Of crimson brocade; with silk fringe. 
 192 ANTIQUE CRIMSON VELVET OF THE XVI CENTURY. 
 193. ANOTHER LOT SIMILAR. Together, 2034, yards. 
 
 194 ANTIQUE LOUIS XIV BENEDICTION CLOAK. 
 
 Of Italian crimson and gold brocade; trimmed with fringe. 
 
 Pee OUR, COPE OF ITALIAN VELVET OF THE: XV 
 CENTURY. 
 
 (See Illustration.) 
 
 195 TWENTY YARDS OF XVII CENTURY ANTIQUE CRIMSON 
 VELVET. 
 
 In one piece. 
 From the church at Valladolid. 
 
 196 ANTIQUE XVI CENTURY WALL HANGING. 
 
 Of ivory satin, embroidered in applique. 
 Height, 36 inches; width, 27 inches. 
 
 foyer IQUE’ RED VELVET’ OF THE END OF THE XVI 
 CENTURY. 
 One piece containing four breadths. Each 31% yards long. 
 43 
 
198 ANOTHER LOT. 
 
 One piece containing same amount. 
 
 199 ANOTHER: LOT. 
 
 One piece containing same amount. 
 
 200 ANOTHER LOT. 
 
 One piece containing same amount. 
 
 20% »ANOTHER LOT. 
 
 One piece containing same amount. 
 
 202 ANOTHER LOT. 
 
 One piece containing same amount. 
 
 | 
 | 
 
 203 ANOTHER. LOT. 
 
 One piece containing same amount. 
 
 204. ANOTHER LOT. 
 
 One piece containing same amount. 
 
 No. 269. TWO ANTIQUE MARBLE LIONS OF THE XIV CENTURY 
 44 
 
205 
 
 206 
 
 207 
 
 208 
 
 No. 206, ANTIQUE COPE OF VIOLET VELVET 
 
 ANOTHER LOT SMALLER. 
 One piece containing four breadths. Each 14 yards long. 
 
 Ppei@ureCOPE OF THE XVI-CENTURY. 
 
 Of Venetian violet cut velvet. 
 
 From a convent at Saragossa. 
 (See Illustration.) 
 
 ANTIQUE ITALIAN CHASUBLE OF BLUE VELVET OF THE 
 Pier THE XVI CENTURY, 
 
 Figured with gold; the center of violet damask and trimmed with 
 gold gimp. 
 
 Peeour PABLE MAT OF PERSIAN VELVET. OF THE 
 mov CENTURY, 
 
 Wrought in a design of cats, flowers and scrolls, and bordered 
 with lace of the eighteenth century. 
 Length, 64 inches; width, 22 inches. 
 
 From a convent in Granada. 
 (See Illustration.) 
 
 45 
 
No. 208. 
 
 ANTIQUE TABLE MAT 
 
 46 
 
 —— 
 
209 
 
 210 
 
 211 
 
 212 
 
 Bit 
 
 214 
 
 215 
 
 217 
 
 pi TIOURSIEALIAN COPE OF THE XVI’ CENTURY. 
 
 Of green, red and gold; showing designs of crowns, hunters, 
 dogs and scrolls. 
 From a-convent at Lyon. 
 
 (See Illustration.) 
 
 ewer RED VELVET OF THE END OF THE. XVI 
 CHILURY. 
 
 One piece containing six breadths. Each 4 yards long. 
 
 ANOTHER LOT. 
 One piece containing five breadths. Each 4 yards long. 
 
 ANOTHER LOT. 
 
 One piece containing four breadths. Each 3 yards, 3 inches long. 
 
 ANOTHER LOT. 
 
 One piece containing six breadths. Each 3% yards long. 
 All from a church at Valladolid, Spain. 
 
 ANTIQUE FRAGMENT OF A PERSIAN RUG OF THE 
 XVI CENTURY. 
 In red and blue. 
 
 FRAGMENT OF ANTIQUE RUBY HISPANO-MORESQUE 
 CUT VELVET, OF THE XIV CENTURY, 
 
 Length, 27 inches; width, 7 inches. 
 
 ANTIQUE MANTLE OF THE VIRGIN, ITALIAN; EARLY 
 XVI CENTURY. 
 Of violet Genoese velvet; wrought in a design of flowers, scrolls 
 and Amorini. 
 
 ANTIQUE HISPANO-MORESQUE COPE BAND OF THE 
 XIV CENTURY. 
 The fabric shows a design of lions wrought in silver thread, with 
 Arabic inscription on an old rose ground. 
 Length, 60 inches; width, 5 inches. 
 From a convent in Burgos, Spain. 
 (See Illustration.) 
 
 47 
 
ee 
 
 AYAINAO UX AHL 10 GNVE ANOSAYOW-ONVdSIH 
 CNV AdOOD ANOSAAOW-ONVdSIH ANOILNV 
 
 AdOO NVITVLI ANOLLNV 
 
 ‘O77 “ON 
 ‘LIZ ‘ON 
 607 ‘ON 
 
 48 
 
218 
 
 219 
 
 220 
 
 221 
 
 ANOTHER SIMILAR BUT SMALLER. 
 
 Length, 20 inches; width, 20 inches. 
 
 From a convent in Burgos. 
 
 A FRAGMENT SIMILAR. 
 
 Length, 41% inches; width, 3% inches. 
 
 ANTIQUE HISPANO MORESQUE HORSE BAND OF THE 
 
 pale ENTURY.’ 
 
 Of “‘tissu”’ wrought with silver thread and set with Limoges 
 
 enamels and rock crystals. 
 
 Length, 21 inches; width, 34% inches. 
 
 From the Cathedral at Oviedo. 
 
 (See Illustration.) 
 
 TWO ANTIQUE FRAGMENTS OF TOLEDO FABRICS OF 
 
 THE XVI CENTURY. 
 
 Showing heraldic devices 
 on a black background. 
 
 of the Cardinal of Santiago, in gold 
 
 49 
 
222 
 
 223 
 
 224 
 
 226 
 
 227. 
 
 228 
 
 229 
 
 Limoges Enamels and Ivory Carvings 
 
 ANTIQUE ITALIAN CARVED IVORY GROUP OF THE XVII 
 CENTURY: 
 
 Subject: “Madonna and Infant Christ’’; wood base. _ 
 Height, 12% inches. 
 
 ANTIQUE FRENCH CARVED IVORY BOOK PLAQUE OF 
 THE XIV CENTURY. 
 Scenes of the Annunciation, and Christ among the Doctors. 
 Height, 21% inches; width, 3% inches. 
 
 *From the Cathedral at Segovia. 
 
 ANTIQUE CARVED IVORY FIGURE OF THE XIV CENTURY. 
 Subject: “Madonna and Child.” Height, 7 inches. 
 
 *From the convent at Salamanca. 
 
 ANTIQUE CARVED IVORY FRAGMENT OF A DIPTYCH 
 OF THE, XP. CENTURY. 
 
 Subject: “The Virgin and two Saints.” 
 
 Height, 3 inches; width, 2 inches. 
 From the Cathedral at Segovia. 
 
 ANTIQUE SPANISH CARVED IVORY (FIGURE -Or tint 
 XVileCEN EUR Ys 
 
 Subject: “The Infant Jesus’; on a wood base. Height, 12 inches. 
 
 ANTIQUE ITALIAN CARVED IVORY: FIGURE OF THE 
 END OF THE-XVI.CENTURY. 
 
 Subject: “Ste. Catherine’; on a wood base. Height, 8 inches. 
 
 SIX PIECES OF ANTIQUE LIMOGES CHAMPLEVE ENAMEL. 
 
 Formerly formed the decorations of a Crucifix. Period, the begin- 
 ning of the fourteenth century. 
 
 From a church at Salamanca. 
 
 ANTIQUE BYZANTINE BRONZE CRUCIFIX. 
 
 The figure of Christ, decorated with Limoges enamel, wearing a 
 crown set with turquoises. End of the twelfth century. 
 Very rare. Height, 9 inches. 
 
 “From a church in the Province of Madrid, Alcala de Henares. 
 (See Illustration). 
 
 50 
 
sioyinod uvaf Aq “TAINVNY SHADOW 
 puoursay eiarg Aq “TANVNGA SHADOW! 
 
 puousey azatg Aq “THINVNA SHODOWT! 
 THINVNA SHDOWII AO ANOVId YOOM ANILNVZAd ANOLLNV 
 
 THINVNA SHDOWIT AO ANOVId OOM ANILNVZAY ANOLLNV 
 XIMIONUO AZNOUM ANILNVZAd ANOLLNV 
 
 AAA 
 
 Uyeee 
 
230 ANTIQUE BYZANTINE BOOK PLAQUE OF LIMOGES 
 ENAMEL. 
 
 The Virgin in relief. Twelfth century. Height, 634 inches. 
 The handle at the back added later for presenting it at the com- 
 munion for the devoted to kiss. 
 
 From the Cathedral at Siguenza, Spain. 
 (See Illustration.) 
 
 ae sy i 4h »: 
 ed csacidibrbgutitaa 
 
 1 
 / 
 
 a) 
 { 
 Re 
 ays 
 ; 
 iv 
 y 
 / 
 4 
 
 / 
 { 
 
 f 
 
 y 
 
 i 
 
 8 I AO AE, 
 ‘i So She a8 
 
 * Pie # o 
 8 OM SGA AIL EA 
 F 
 
 | | AMAL, eras 
 WA APA RAE LIEK EL, 4 
 
 ji 
 
 No. 232. GOTHIC BASIER DE PAIX, SPANISH; 
 OF THE EARLY XV CENTURY 
 
 231° ANTIQUE BYZANTINE BOOK COVER] OFS EiniOGrsS 
 CHAMPLEVE ENAMEL. 
 
 Subject: “the Crucifixion and two Saints.” From the beginning 
 of the thirteenth century. Very rare. 
 Height, 94% inches; width, 5% inches. 
 From an Ursuline convent, Balanguer, in Catalonia. 
 (See Illustration.) 
 o2 
 
232 
 
 +33 
 
 4|- 234 
 
 235 
 
 ANTIQUE GOTHIC BASIER DE PAIX, SPANISH, OF THE 
 Panty XV CENTURY. 
 
 Silver and blue enamel; the base set with crystals. (One missing.) 
 Height, 7 inches; width, 4 inches. 
 
 From the Cathedral at Segovia. 
 (See Illustration.) 
 
 ANTIQUE ORIGINAL LIMOGES ENAMEL, BY PIERRE 
 REYMOND. 
 
 An original of the sixteenth century. Subject: ‘‘The Resur- 
 rection.” Height, 71% inches; width, 61% inches. 
 From a convent at Vittoria. 
 (See Illustration. ) 
 
 ANTIQUE ORIGINAL LIMOGES ENAMEL, BY PIERRE 
 REYMOND. 
 An original of the sixteenth century. Subject: “The 
 Magdalen.” Height, 71% inches; width, 61% inches. 
 From a convent at Vittoria. 
 (See Illustration.) 
 
 ANTIQUE ORIGINAL LIMOGES ENAMEL, BY JEAN 
 COURTOIS. 
 Oval, framed in silver with corner reliquaries. Subject: “The 
 Adoration of the Magi.” Height, & inches; width, 6 inches. 
 
 From the Cathedral at Pampeluna. 
 (See Illustration.) 
 
Antique Wood Carvings of the Fourteenth to the 
 Eighteenth Centuries 
 
 236 ANTIQUE SPANISH TABERNACLE DOOR OF = THEexXyi 
 CENTURY. | 
 
 Subject: “The Resurection,” showing figures in relief in color 
 
 and gold. Height, 2144 inches; width, 13% inches. 
 
 From a church in Burgos. 
 
 >) 
 
 237 ANTIQUE SPANISH CARVED WOOD FIGURE OF THE END 
 OF THE-XVI_ GENTURY 
 Subject: “Ecce Homo,” in polychrome decoration. 
 Height, 12 inches. 
 
 238 ANTIQUE CARVED WOOD STATUETTE OF THE XVII 
 CENTURY. 
 Subject: “St. Francis of Assisi.” Polychrome decoration. 
 Height, 19% inches. 
 
 239 ANTIQUE SPANISH CARVED WOOD RENE OF THE 
 XVI CENTURY. 
 Representing a Bishop; decorated in polychrome. 
 Height, 154% inches. 
 
 (See Illustration.) 
 
 240 -ANTIQUE SPANISH CARVED WOOD DIPTYCH OF THE 
 XVI CENTURY. 
 
 The two panels with relief figures representing the “Mass of 
 
 St. Gregory”? and the “‘Martyrdom of a Pope’; decorated in 
 
 polychrome. Height, 34 inches; width, 37 inches. 
 
 From the convent at Reosejo. 
 
 241 ANTIQUE ITALIAN CARVED WOOD TABERNACLE OF THE 
 END OF THE XV CENTURY. 
 Two front doors, carved and finished in polychrome and gold, 
 having iron bolts. The sides carved in relief. 
 
 Height, 21 inches. 
 From a church in Burgos. 
 
 242 ANTIQUE FLEMISH CARVED WOOD FIGURE OF THE 
 XV CENTURY. 
 Subject: “‘Madonna and Child,” gilded. Height, 114% inches. 
 From a church at Toledo. 
 54 
 
“4 emg ee 
 
 me nes 
 
 Sabine 
 scram 
 
 OD a itp, 
 
 ia 
 
 Hie 
 
 Small Objects on Top: 
 ANTIQUE CARVED WOOD BISHOP 
 ANTIQUE FLEMISH GROUP OF ST. MARTIN 
 SPANISH CABINET OF THE XVI CENTURY 
 
 5d 
 
243 
 
 244 
 
 245 
 
 246 
 
 247 
 
 248 
 
 ANTIQUE CARVED TABERNACLE PANEL OF THE XVI 
 CEN EU RIG 
 
 - Subject: ‘“The Resurrection,”’ in relief, decorated in polychrome 
 and gold. Height, 20 inches; width, 14 inches. 
 
 ANTIQUE SPANISH CARVED WOOD NICHE OF THE XVI 
 CENTURY, 
 
 The exterior painted with birds and foliage in gold; the interior 
 showing relief carving, gilded. The base contains a small drawer. 
 
 Height, 22 inches. 
 From a church at Murcia, Spain. 
 
 ANTIQUE FRENCH CARVED WOOD GROUP OF THE XVI 
 CENTURY. 
 
 Subject: ““The Martyrdom of a Saint.” Height, 12 inches. 
 
 ANTIQUE FLEMISH CARVED WOOD FIGURE OF THE 
 XV CENTURY. 
 
 Decorated in gold and polychrome. Height, 12 inches. 
 From a church in Toledo. 
 
 ANTIQUE SPANISH XVI. CENTURY GAR Vp aey, oD 
 PANEL OF ST. JAMES. 
 
 Seated on horseback, attended by kneeling figures; in polychrome 
 decoration. 
 
 *From a convent at Salamanca, 
 
 ANTIQUE FLEMISH CARVED WOOD FIGURE OF THE 
 XV. CENTURY. 
 
 Subject: “St. Martin on horseback, with beggar at his side.” 
 Height, 171% inches. 
 
 From a church at Saragossa, Spain. 
 (See Illustration.) 
 
 ANTIQUE SPANISH. RELIQUARY CARVED AS THE BUST 
 OF A MONK. 
 
 End of the sixteenth century, in polychrome decoration. The 
 relic receptacle is in the breast. Height, 28 inches. 
 From a convent at Salamanca. 
 
 56 
 
‘0SZ 
 
 AUNLNAO AIX AHL AO ‘NOU AVLIV GAAUVO ANOLLNV 
 
250 
 
 252 
 
 253 
 
 254 
 
 255 
 
 ANTIQUE. CARVED ALTAR GROUP, END OF THES xi 
 
 CENTURY. 
 Subject: ““The Mass of St. Gregory,” showing ten figures in 
 polychrome decoration, with Royal attributes in gold. 
 Height, 39 inches; width, 36 inches. 
 
 From the Royal Santo Domingo Cathedral in Rioja. 
 (See Illustration.) 
 
 ANTIQUE SPANISH CARVED WOOD STATUETTE OF A 
 YOUNG ARAB OF THE -XVIT CENTURY. 
 
 Showing the young Arab after conversion to Christianity. | 
 
 Polychrome decoration, the base carved and gilded. 
 Height, 19% tnches. 
 
 ANTIQUE ITALIAN XVII CENTURY STATUETTE OF 
 S. ANTOINE OF PADUA. 
 Of gilded bronze, the base of Sienna marble. 
 Height, 144% inches. 
 
 From a convent at Tarragona. 
 
 SIX ANTIQUE CARVED WOOD PILASTERS, BY BERUGETE. 
 Carved with Florentine arabesques and scrolls in relief, and 
 
 finished in gold on a white ground. 
 Width, 9 inches; length, 6 feet. 
 
 ANTIQUE SPANISH RELIQUARY CARVED AS THE BUST 
 OF A WOMAN. EARLY XVI CENTURY. 
 In polychrome decoration. ‘The relic receptacle in the top of 
 the head. Height, 22 inches. 
 
 Carving from a convent at Burgos. 
 
 ANTIQUE CARVED WOOD ALTAR GROUP OF THE XV 
 CENTURY. 
 Subject: “The Mass of St. Gregory,” showing six figures of 
 cardinals in polychrome decoration. \ 
 Height, 31 inches; width, 32 inches. 
 
 From a convent in Valladolid. 
 (See Illustration.) 
 
 ANTIQUE FLEMISH RELIQUARY CARVED AS THE BUST 
 
 OF A WOMAN WEARING A CROWN. XIV CENTURY. 
 The relic receptacle in the breast. Height, 21% inches. 
 From a convent in Saragossa, Spain. 
 
 58 
 
No. 255. ANTIQUE CARVED WOOD ALTAR GROUP OF THE XV CENTURY 
 
 257 ANTIQUE CARVED WOOD GROUP OF THE XV CENTURY. 
 In a single piece representing “The Flight into Egypt,” showing 
 the Virgin and Child on a Donkey, with St. Joseph gathering 
 
 Fe ff fruit from branches arching overhead, which support two angels; 
 
 decorated in polychrome and gold. 
 Height, 50 inches; length, 37 inches. 
 
 From a convent at Burgos, Spain. 
 (See Illustration.) 
 
 258 ANTIQUE SPANISH CARVED WOOD BLAZON OF THE XVI 
 
 CENTURY. 
 In polychrome and gold decoration. Height, 24 inches. 
 From a church at Valladolid. 
 
 259 ANOTHER SIMILAR. 
 From a church at Valladolid. 
 
 260 ANTIQUE SPANISH CAEN STONE BLAZON OF THE XVI 
 CENTURY. Height, 19 inches. 
 
 From a chateau in Spain. 
 
 59 
 
ANTIQUE CARVED WOOD GROUP OF THE XV CENTURY 
 60 
 
261 
 
 262 
 
 263 
 
 264 
 
 266 
 
 267 
 
 268 
 
 FRENCH MARBLE ESCUTCHEON OF THE XVI CENTURY. 
 Height, 26 inches. 
 
 From a chateau at Pau. 
 
 ANTIQUE SPANISH STONE ESCUTCHEON OF THE XVII 
 CENTURY. 
 With bronze crown. Height, 26 inches. 
 From a chateau in Spain. 
 
 ANTIQUE FRENCH MARBLE ESCUTCHEON OF THE XVII 
 CENTURY. Height, 22 inches. 
 
 *From a chateau at Lyon. 
 
 ANTIQUE SPANISH HOLY WATER FONT OF SCULPTURED 
 STONE. 
 Shaped as a shell. 
 
 From a church at Balaguer in Catalonia. 
 
 ANTIQUE FLEMISH CARVED WOOD DIPTYCH OF THE 
 END OF THE XV CENTURY. 
 The panels show the “Annunciation” and “Nativity.” The 
 frame decorated in polychrome and gold. Each panel, 
 Height, 19 inches; width, 17 inches. 
 
 From a Cathedral at Saragossa, Spain. 
 
 ANTIQUE ITALIAN IRON TRIPTYCH OF THE XVI 
 CENTURY. 
 Showing the Madonna and Child in relief, decorated in color and 
 gold. 
 Height, 10 inches; width, 154% inches. 
 From a convent at Pampeluna. 
 (See Illustration.) 
 
 ANTIQUE FRENCH MARBLE STATUETTE OF THE XV 
 CENTURY. 
 Subject: “Madonna and Child.”” The Madonna holds a book in 
 one hand and wears a crown. Height, 14% inches. 
 
 From a convent at Pau. 
 (See Illustration.) 
 
 ANTIQUE CARVED STONE STATUETTE OF ST. MARTHA 
 Opeire XLV-CENTURY. 
 School of Bourgogne. Height, 21 inches. 
 From a church at Macon, France. 
 61 
 
No. 266. ANTIQUE ITALIAN IRON TRIPTYCH OF THE XVI CENTURY 
 
 269 TWO ANTIQUE ITALIAN CARVED MARBLE LIONS OF 
 VH Ee XVeCR Ni Rvs 
 
 Seated, they hold escutcheons and wear crowns. (One damaged.) 
 Height, 164% inches. 
 
 From the Monastery of Anteguera in Granada. 
 (See Illustration.) 
 
 270 ANTIQUE ITALIAN COFFER OF THE XV CENTURY. 
 Hexagonal in form, with canopy top, having inlaid borders; 
 the sides encrusted with carved bone plaques. (Finial missing.) 
 
 Height, 9 inches; diameter, 9 inches. 
 From a church at Murcie, Spain. 
 (See Illustration.) 
 
 271 ANTIQUE PERSIAN SWORD OF THE XV CENTURY. 
 The blade marked, the handle enamelled and gilded. 
 
 From a convent at Vittoria. 
 
 272, ANTIQUE HISPANO-MORESQUE CHAIR OF THE XY 
 CEN LURK: 
 
 Decorated with medallions of silver and ivory; seat and back 
 
 of stamped leather of the period. 
 Very unusual. From the Palace of the Bishop of Valencia. 
 
 62 
 
273 
 
 274 
 
 275 
 
 ANTIQUE HISPANO-MORESQUE COFFER OF THE XV 
 ENTURY. 
 
 Of walnut, inlaid with ivory both outside and inside. The 
 interior fitted with drawers and compartments, whose fronts 
 are inlaid with ivory; iron drop-handles. 
 Length, 30 inches; width, 18 inches; height, 12 inches. 
 From a convent in Granada. 
 
 ANTIQUE SPANISH CABINET OF THE XVI CENTURY. 
 
 With drop front, inlaid with rosewood and ‘holly etched; the 
 interior showing eight drawers, whose fronts are inlaid with 
 scroll, flowers and masques; the central drawer showing a figure. 
 
 Length, 19 inches; height, 14 inches; depth, 12 inches. 
 
 From a family in Saragossa. 
 
 AN TIOUER SPANISH CABINET OF THE XVI CENTURY. 
 Of walnut, inlaid with carved boxwood, having ten drawers 
 and two compartments, whose fronts are decorated with sculp- 
 tured busts, scrolls and monograms; bronze drop-handles. The 
 base shows numerous drawers and compartments decorated 
 with carving in relief. 
 
 Length, 41 inches; depth, 15 inches; height, 50 inches. 
 
 eee reeor ANISH CABINET OF THE EARLY. XVI 
 CENTURY. 
 
 Having drop-front, ornamented with plaques pierced in a foliated 
 pattern and gilded, laid on red velvet; with antique lock and 
 drop-handles; the interior fitted with numerous drawers and com- 
 partments ornamented with carved wood and ivory. ‘The base 
 consists of two end-supports of columns, joined by an arcade. 
 
 Length, 41 inches; depth, 17 inches; height, 56 inches. 
 
 (See Illustration). 
 
 277 ee TIOUE SPANISH WALNUT CABINET OF THE XVI 
 
 CENTURY. 
 
 The drop-front is inlaid with ivory both within and without; the 
 interior fitted with fourteen drawers and two compartments, 
 decorated with ivory. The whole supported on carved spiral 
 columns, joined by a carved arcade. 
 Length, 33 inches; width, 18 inches; hatght 56 inches. 
 From the collection of Count de Guendelier, Spain. 
 63 
 
278 
 
 279 
 
 280 
 
 281 
 
 282. 
 
 283 
 
 ANTIQUE SPANISH CABINET OF THE EARLY XVI 
 CENTURY. 
 The drop-front ornamented with iron plaques pierced in a foliated 
 pattern, and laid on red velvet, the interior fitted with numerous 
 drawers and compartments, the fronts decorated with sculptured 
 wood and ivory; drop-handles and antique lock; the. base has 
 numerous drawers and compartments, with relief Arabic ornament 
 in ivory. Length, 41 inches; width, 17 inches; height 55% inches. 
 
 ANTIQUE SPANISH WALNUT CABINET OF THE XVI 
 CENTURY. 
 The front having numerous drawers and compartments carved 
 with coat-of-arms, leaves and scrolls; the slides with shell ter- 
 minals; the base consists of two upright end-supports, joined by a 
 carved arcade. 
 Length, 50 inches; width, 16 inches; height 68 inches. 
 
 (See Illustration.) 
 
 ANTIQUE FRENCH RENAISSANCE TAPESTRY FRAGMENT. 
 Subject: ““The Chase,’’ and a Chateau in the background. 
 *From a chateau at Pau. Height, 62 inches; width, 65 inches. 
 
 ANTIQUE FLEMISH TAPESTRY OF THE BEGINNING OF 
 THE XVI CENTURY. 
 Subject: “Farm Scene with Figures,” with modern border. 
 Height, 58 inches; width, 76 inches. 
 
 *From a chateau at Lille. 
 
 ANTIQUE AUBUSSON TAPESTRY OF THE XVI CENTURY. 
 A Grand Seigneur presenting a sword to his soldiers returned 
 from the war; floral border. Height, 121 inches; width, 94 inches. 
 
 From the church of Teruel, Spain. 
 
 ANTIQUE SPANISH CARVED WOOD RETABLE, OF THE 
 XVI CENTURY. 
 
 Central painting shows Madonna and Child, with Saint Ann 
 in adoration, painted on gold ground; lunette shows Crucifixion, 
 with angels and saints in adoration; in architectural setting, 
 having a base with Latin inscription and escutcheon carved in 
 relief from which rise pilasters and carved spiral columns sup- 
 porting a pediment. The whole finished in gold. 
 
 Height, 651% inches; length, 79 winches. 
 
 *From the Spanish church in Guadalajara. , 
 
 64 
 
* EES 
 
 WWE BEET 
 
 LOUIS XVI MANTEL CLOCK (On Top) 
 ANTIQUE SPANISH CABINET OF THE XVI CENTURY 
 
 es 
 Hs, 
 
 TEE} 
 
 4 
 
 33> 
 
 3 
 
 YPC) 
 
 TEE ‘ 
 
284 ANTIQUE SPANISH CARVED WOOD RETABLE OF THE 
 XVI CENTURY. 
 
 ~Showing seven panels carved in high relief, the subjects being: 
 “The Nativity,” “St. Luke in Adoration,” “Descent from the 
 Cross,” ‘‘Crucifixion”’ and ‘‘Martyrdoms of Saints,” finished in 
 polychrome and gold; the whole supported by pilasters and 
 columns upholding a pediment, the cornice studded with carved 
 heads of cherubim; the whole finished in gold. 
 
 From a church in Cuenca, Spain. 
 
 No. 301. TWO FLEMISH PRIMITIVE PANELS 
 
 66 
 
THIRD SESSION 
 Friday Evening, February 19, 1915, at 8.15 o'clock 
 
 Primitive Paintings of the Flemish, Italian and Spanish 
 
 286 
 : i / ie 
 i] 
 287 
 yf 
 ley) * 
 288 
 289 
 ff 
 YU 
 290 
 em 
 
 Schools, Antique Retable and a Remarkable 
 Portrait by Goya 
 
 . ANTIQUE OIL PAINTING, BY AN UNKNOWN PAINTER, 
 
 OF THE FRENCH SCHOOL. 
 Portrait of a Court Lady of the time of Louis XV. Canvas. 
 From a chateau at Evreux. Height, 32 inches; width 251% inches. 
 
 ANTIQUE OIL PAINTING OF THE SCHOOL OF RIBERA. 
 Subject: ““Abraham Sacrificing his Son.”’ 
 wood frame. 
 
 From a church in Seville. 
 
 Canvas. In carved 
 
 Height, 41 inches; width, 36 inches. 
 
 ANTIQUE ORIGINAL SEPIA DRAWING, BY LORENZO 
 TIEPOLO (1737-1772). 
 Subject: “Cain and Abel.” 
 Height, 201% inches; width, 154% inches. 
 From a chateau at Caen, Normandy. 
 
 ANTIQUE OIL PAINTING OF THE SPANISH SCHOOL OF 
 gH xXVI-CENTURY. 
 Subject: Isabella Bourbon, Queen of Spain. In antique carved 
 wood frame. Canvas. Height, 23 inches; width, 18 inches. 
 
 From a noble family of Saragossa. 
 
 ANTIQUE PRIMITIVE PANEL OF THE XV CENTURY. 
 Subject: ‘The Condemnation of St. Andrew.” 
 Height, 331% inches; width, 264% inches. 
 
 From a convent at Saragossa. 
 
 ANTIQUE FLEMISH PRIMITIVE PAINTING OF THE XV 
 CENTURY, ATTRIBUTED TO PETRUS CRISTUS (1400- 
 1473). 
 Subject: “Female Saint.” 
 (Repaired.) 
 
 Panel. 
 Height, 10 inches; width, 8 inches. 
 
 67 
 
ANTIQUE FLEMISH TRIPTYCH, OF THE XVI CENTURY 
 
 No. 299. 
 
ANTIQUE FLEMISH OIL PAINTING, BY VAN DORIN, OF 
 THE XVIII CEN'FURY. 
 Subject: “A Vase of Flowers.” Canvas, signed ‘‘M. Van Dorin, 
 
 1784.” Height, 221% inches; width, 16 inches: 
 From a noble family at Madrid. 
 
 ANOTHER SIMILAR. Companion to the foregoing. 
 
 ANTIQUE PRIMITIVE FLEMISH PAINTING, BY BOSCO. 
 PERIOD, XVI CENEURY. 
 Subject: “ The Vision Tondali.” This little picture shows 
 numerous small figures and is marked by characteristic medieval 
 imagery. Panel. Height, 81% inches; width, 6 inches. 
 
 From a convent at Avilla. 
 
 ANTIQUE STILL-LIFE PICTURE, BY MARCOS CORREA. 
 This painter of the Spanish School was a member of the Academy 
 at Seville, and died in 1673. He devoted himself to still-life 
 subjects, which he rendered with great care and much detail. 
 His work is little known outside of Spain. Canvas, signed. 
 
 eed Height, 39 inches; width, 21% inches. 
 
 From a convent in Valladolid. 
 
 ANOTHER. 
 
 Companion work of the same size. 
 
 ANTIQUE SPANISH PRIMITIVE PANEL OF THE XV 
 CENTURY. 
 Part of a retable; subject: ‘Martyrdom of St. Andrew.” 
 From a convent at Saragossa. Height, 35 inches; width, 27 winches. 
 
 ANTIQUE FLEMISH TRIPTYCH PANEL OF THE END OF 
 THE XV CENTURY. 
 Subject: ““The Descent from the Cross.’”’ Panel. 
 Height, 141% inches; width, 16 inches. 
 
 From the monastery of the Escorial. 
 
 ANTIQUE FLEMISH OIL PAINTING, BY KOFFERMANS, 
 OF THE XVI CENTURY. 
 Subject: “The Crucifixion.” The Cross rises against a land- 
 scape background, with the three Holy Women gathered about its 
 
 foot. Panel. In antique frame. 
 Height, 12 inches; width 843 winches. 
 From a convent at Valladolid. 
 69 
 
a) 
 S 
 am 
 O 
 Q 
 Zz. 
 < 
 as 
 ) 
 = 
 > 
 i 
 ca 
 Za 
 < 
 AY 
 a 
 is 
 = 
 ea 
 = 
 fx 
 — 
 ea 
 ‘= 
 = 
 x 
 A, 
 
302 
 
 < 303 
 
 2,10 
 
 i Ku. ov/ 
 
 ANTIQUE TRIPTYCH OF THE FLEMISH SCHOOL OF THE 
 XVI CENTURY. 
 Subject: “Adoration of the Magi,” the side panels showing the 
 “Flight into Egypt” and the “Nativity.” 
 
 From a church at Vittoria, Spain. Height, 28 inches; width, 42 inches. 
 (See Illustration.) 
 
 ANTIQUE FLEMISH PANEL OF THE END OF THE XV 
 CENTURY. 
 Subject: “The Virgin and Child.” Wearing a red mantle, the 
 Mother, seated in a garden, leans her head against that of her 
 Child, whom she holds on her arm; fruit-trees laden with fruit 
 rise at the back. Panel. In a modern frame. 
 Height, 151% inches; width, 101% inches. 
 
 From a convent at Pampeluna. 
 (See Illustration.) 
 
 TWO ANTIQUE PRIMITIVE FLEMISH PANELS OF THE 
 XVI CENTURY, FRAMED TOGETHER. 
 Subject: ks John” and “St. Elizabeth.” 
 
 Each, height, 18 inches; width, 8 inches. 
 From a Beh 3 in Madrid. 
 (See Illustration.) 
 
 ANTIQUE OIL PAINTING, BY MARCELLUS KOFFERMANS. 
 PERIOD, XVI CENTURY. 
 Subject: “The Reading Magdalen.” Dressed in white, the 
 Magdalen reclines on the ground with a book open before her. 
 Landscape background. 
 
 Little is known of this Antwerp painter, save that he entered 
 as a Master of the Guild of St. Luke in that city in 1549, and 
 his pictures are rarely met with. Panel. 
 
 Height, 6 inches; width, 8 inches. 
 
 Bought from a family at Cadiz, Spain. 
 
 ANTIQUE OIL PAINTING, BY CLAUDIO COELLO (1621-1693). 
 Subject: “Portrait of a Spanish Nobleman.” ‘The subject 
 wears a decoration, and the inscription at the bottom of the 
 canvas informs us that he was the founder of a Chapel. ‘Though 
 of Portuguese parentage, Coello was born at Madrid and became 
 Court Painter to Philip IV. He was the last great Spanish 
 painter of the seventeenth century. Canvas. 
 
 Height, 41 inches; width, 33 wnches. 
 
 From the Castelar family at Madrid. 
 (See Illustration.) 
 
 71 
 
rors 
 
 SS 
 
 ANTIQUE TRIPTYCH, BY THE MASTER OF FRANKFORT, OF THE COMMENCEMENT OF THE XVI CENTURY 
 
 No, 308. 
 
No. 307. THE NAPKIN OF VERONICA 
 By El Greco 
 
 304 ANTIQUE ITALIAN RETABLE OF THE END OF THE XV 
 CENTURY. 
 Subject: “The Nativity,” upper panel showing Christ and 
 Female Saint. In the border appear single figures of Saints. 
 . The whole framed in carved wood of the period. 
 Height, 64 inches; width, 34 inches. 
 
 (See Illustration.) 
 
 305 ANTIQUE SPANISH PRIMITIVE PAINTING OF THE XI 
 OR XII CENTURY. 
 Being the door of a Sacristy painted on both sides; one side show- 
 ing six panels with subjects from the New Testament, painted 
 , on a gold background; the reverse side showing scenes from the 
 Life of Christ. 
 Height, 6 feet 6 inches; width, 4 feet 9 inches. 
 
 From a church at Balaguer, Catalonia. 
 (See Illustration.) 
 
 73 
 
OF THE END OF THE XV CENTURY 
 
 > 
 
 ITALIAN RETABLE 
 
 No. 304. 
 
 74 
 
ANISH PRIMITIVE PAINTING 
 
 SP 
 
 . 
 
 305 
 
 No. 
 
Z, 
 < 
 = 
 <a 
 — 
 al 
 © 
 Zz. 
 an 
 i 
 Z, 
 < 
 A 
 MN 
 = 
 fz, 
 © 
 tH 
 <x 
 aa 
 ft 
 ae 
 ‘s) 
 ae 
 
 No. 303. 
 
 By Claudio Coello 
 
306 ANTIQUE PAINTING, BY GIOVANNI CIMABUE (1240-1302). 
 
 Subject: “The Virgin Enthroned with Infant Christ.” Seated 
 
 on a throne, the Mother wearing a blue mantle holds the Child, 
 
 robed in red, on her left arm; the whole against a background of 
 gold. 
 
 Cimabue, whom Vasari termed “‘the father of modern painting,” 
 
 : is renowned for his colossal Madonna in the Church of Santa 
 
 + Co Maria Novella, in Florence, for which it was painted. This 
 
 : eS historic picture was so admired by his contemporaries that it 
 
 AV was carried in festive procession through the streets of Florence, 
 
 Mf yw and up to that time was the largest Altar piece that had been 
 
 painted. he present example is believed to be the only one in 
 
 this country. Panel. Height, 52 inches; width, 32 inches. 
 
 From the Cathedral of Calahara, Spain. 
 (See Illustration.) 
 
 307 ANTIQUE OIL PAINTING, BY DOMENICO THEOTOCOPULI 
 (CALLED “EL GRECO”), 1584-1625. 
 Subject: “The een of Veronica.” Canvas, signed. 
 Height, 19% inches; width, 25% inches. 
 
 From a convent at Seville. 
 
 ay yt (See Illustration.) 
 nw 
 
 308 ANTIQUE TRIPTYCH, BY THE MASTER OF FRANKFORT, 
 OF THE COMMENCEMENT OF THE XVI CENTURY. 
 The center panel shows ‘‘ The Mystic Marriage of St. Catherine”’; 
 .. the side panels angels with musical instruments. 
 VF, oO Height of the central panel, 27 inches; width, 19 inches; side panels, 
 eal / height, 27 inches; width, 8% inches. 
 
 lana oA From the parish church of Casbas (Huesca). Shown in the Retrospective 
 a a fie Art Exhibition in Saragossa in 1908, and described and illustrated in the 
 Historical and Critical Volume, by Emile Bertaux, published in Paris in 1910. 
 
 (See Illustration.) 
 
 309 OIL PAINTING, BY FRANCESCO JOSE DE GOYA (1746-1828). 
 Portrait of La Marquise de Sonora. Dressed in black with 
 a white fichu crossing her bosom, the lady is seated in a red chair 
 against a green curtain background. Her white hair is rolled high 
 above her forehead and she gazes directly toward the spectator. 
 The only Spanish painter showing remarkable quality during 
 =the latter part of the eighteenth century; only im recent years 
 ” has Goya won the recognition his art deserved. Canvas. In- 
 piv a modern carved wood frame. Height, 40 inches; width, 30 inches. 
 (See Frontispiece.) 
 
 77 
 
 ip. 
 
"hb OLE 
 
 \ 
 pe aed 
 
 ~& 
 4 
 
 fy ee 
 , tal 
 . 4 a ' 
 i f 
 ‘ 
 \ 
 © 
 AD 
 - 
 
amit INSTITUTE: © 
 
 ETTY RES 
 | hl | | 
 | hl | | 
 3 3125 
 
 MN nN 
 
i Vet katy wey dears + 
 VHNGER EME aL hee [hey 
 ve apni Che Pat ne iceng ba! 
 
 ange 
 
 Abe ee bty 
 Seen qlahere her 
 arcay heal elb hu ene at 
 Roni fe segues ay ‘ 
 Ou FoR) bet ya | ous 106 qt 
 (ke we be POC FTEG eye ete or f 
 Pade dd dle OM a ADH Mi 
 wee errinyg Meda lle May ha 
 Sites renders 
 © eo reyentin eanhy 
 
 Kite GA RHRK EA tg 
 
 VF 
 
 Aine 
 shee 
 
 Ay arf Pad & Te 
 eh he Mevegd mien 
 
 ST eA Vic as bon kine ACHE 
 " SNe ar 
 oy 
 
 way OG 
 WE ba! Weleke Te 
 Mathis Hy (ape FER ed eine Mab 
 OE per Tyee eh rads fe 
 Aide HeNeg nity tape 
 bine 
 
 ae ta 
 abe * mee 
 SOCAL A cies hyddetenk Hane Aeie Phitt wh (le ped Wes 
 re Oat IEG Whi Pyadang ee BEE CER bays SN) bhp 
 IMIR 04 Fat eat As CTH bay iy ny Ts 
 Mi abadidantnenl fecha reva na aeomags bal 
 
 babe Det FAL Dt 
 i has ete oY 
 
 deopy! Oa Li He RAE H wit: e even a ty Hea 
 senate itateiae atte aha anette Koester tea Us aEr Leder eh Boye 
 sottvaraeatces roti aN Painntitie pene kG babe ait Abed ti PEA Tee f Mis 
 w Oe 
 
 Sy ONC AYP RRR DAY Ge 
 Cao I iM HE 
 ; vrai ds Het ed Wey Hatent 
 Hod Riles elvaire iy tn hee B Ga pede niet 
 aepaee ge reid peer me sgh Wat tenh 
 A rob Sb (teehee, hd hi LO RD Oh RUE PALA PA ba) 
 sh Hee 13! WN MOS ta: rieeest PI oe cyaweasiatt if ayhe raap lite Atenebianeay 
 Shite enoe ed hada py dei aufabre delete n\Sa ae dey de 
 
 Wa ganee besbiiiny eared tll USK tte peti ha Ue Ine Gees 4 
 ee HRA LEM dle See Epeqegedy r= ( Be 
 AL hw id o6 re elm emahe tate nen EUR tly ie Pes ol Beata doh 4 
 
 elias 
 i 
 
 Wereteordetiy d 
 ibnib urine aby shat Ang 
 bd feeemg OY Wap te Maren A iepang afd pelea, 
 
 SAR LLL Acard ded Crepe 
 bcp rants peehube be ae nite: “Beis vais 
 eps Medel had wad) bess by nae 
 Radian deeets ae 
 
 PUES FeLi Bee 
 CUR di eas 
 
 ee | 
 ae | 
 
 baud 
 
 vod 
 
 eae s 
 
 meat thy, 
 Lpube bd baa 
 
 (bmn Ne fepsaa aleititpas' i 
 dre Ris Paes Rede al vied ene ene ite 
 my " sutety on sHeyeteed tiny, 
 
 athe itt ep ale ib a oe stones) SURE sale pepe de masiediteneguteay hy at eeled forks Ate tate, x : 
 eh Ad coat cs ow th Oe OT a Mok bari (ote det SL ed enews Peirce’ el aged at lisel ith eleuia ppl #e at) th dit 
 pPereht ern bein etl By seonieenndcted ibnhiiaas eee neue righdh . Hey Pacts te i leore Hts Fs 
 wea ory) asduieie itt Pe ue aa Mtpicteigge tngedensay te ii aus Uaes erg Lo 8 ditehnds vite deers 5 4 
 ated feat ne het MS Chu om Ege 3 Ha sey be Hed us vaworin pets gekaire Hts pede ge Uy Heol the be y 
 é a a) (ls ir HOPE USERRS Ur HCHO VEE ON Mn qe niy PRIME mes ee he Ustad wits (adie 7 
 Lil ears dota) i "hy Reren ay Nirerens pes WENO HEM EME IL Met ene ihe Hy ue Mb penisw beyvetses ver Preidege buen 
 sdunconinists at ee pap ele eee \horep Es ete TERA EES MAN et Sede Vente by Dei uae un ¢ 4 
 ale Teavetaneisdeeeicinets Liyrerert Hadye ihe ent red ay a Re ibaa Leora bir “i 
 Phen Hertel sevedataiteny (sists o, Aaery pesteritatatae taste i¢ eh SUN Hance | ‘ 
 eeear elton etnede (ie Oa ftetredtene ye, nies saris Ms Hi aA yl + 
 eebedeeegee'9 ebay. titaut tee peteg vaemeeere reba hia feat cite eed ter 4 
 reads Ot a) mys nine he + ure) ’ aio meee ah Sinwh eeigege rent Da eee | j 
 yn Han Hy bere ledl ay iaystde <3) he eid Hh if it t bay at Hany Arrant ‘ 
 loth ef mbar, Hh yh judapbnner rita bale Th wee Her 
 pire pie jesod deli hyaies bee aa ath 
 eaeverenenst oat 4 Mevete Rearmed { + ewe (leg ph 5 
 ry baie) Wridcitoudestacfuieanietete yeieken Ny. pide: ak LEE ERM LIS, 
 son elites mat Liwjcdsrecerivestennie he Veketiect BEAM CR AES ° * Hitudy Y A 
 ita edit Pee dade eames le hehe) Der MNanvating Hi yer he nit a an sua iat bi lene we j 
 haqamd sida pay abv tn die ACH DEB AL HHS ME AED UU ed ame Draede He MEME E efle f) } HA fi diets + 4 val wi 
 Cal eindetae mba debts yerensear ictnmaoat Hes stepidc eee Nodame y Salty rey i % k ‘f bes . wih ‘ 4 lose i 4 
 i Linh vuln 4b rites habit, PY ec eLE ereaste aay 18 ee 7 est oat Ua 5 } i ¥ asah iy Ev} is Sen nh q 
 at baal Aby «{yedieibe (hae. bias Reiereeecaanecesttt Coase pnge re Hated iih aey ty. pit weet ory bode Aen Ye oud ® 
 ARES OCA RIE SR riadalatte ; ten CIPS Ahi * ; He i - Me : 
 ¢: fies G +f , } Awe Ue biden ‘ 
 ar teaetets hy ay Oy edt ai y ak 
 hy geet i ie v4 atEy rn ait an ben oe eves aie t 
 Relea ee Far MR UNE be ATA Oe Kemmis y hes 
 ob ts f rhs Wy wt ea ae iat v aac fa Dy tere ha + Bee, it 
 Heh ae Pes Ms * ht re . 
 ea teed ipa? ah nh fick Ves al wate Rened Hay +h Hy HOT aMe Utne a te Date yay ‘ ; 
 eeiteiaect les et 45 itt ies prone st NaN 5 a f 
 etre murs * ty phe bhytebs Aue ¥ ; 
 eras - wit ee tabi rnd yy vith 
 i Ha Oe tieitineiet aha Seria Ute 
 Be HORSE WAT TERM Aa Bed Lib i hEay Sik 
 oe OS EE at aes 
 rats - ee efits Hie belo 
 dit hi bs ris redemitintt Hee Seth ut Hoar Ue 
 ue Ha3 cigetes jeenise ete itt Be ? 
 ye : heat bd Rabies iit ‘ 
 weap ied rigs yee bea YS ee it wis 
 ae a haces etre i 
 sunt 4 dhve Hehe sae Hinde ete 
 eat by it qui at tat ake SH es nea i : 
 * vel) e WY , 
 fh sie Rene mainas naan ia fet ‘f oni eit 
 : ae nate Pspitet UCR et eyl ay TED Pa 
 sie priee irene ai iia rots LH nut a A y ifn a ay 
 i fra ni wt it i a HG as " 
 : -s ~ 
 erect ae ie ratatas aie tinitol ne 
 Hh 5 ua + he deuseriig ‘ 
 bryape ee ai 2 ) het hen te tie ti 4 
 we Kleeas oe eae i bie Soh ete hee bat 
 ath ‘ane ay ie Pe Cand itera i rene mee 
 uM tis 
 Uagte au * Shy ei 
 Hess Sey ray “ bhp ean eee Wah i rh Sid yt 
 
 shh 4} 4 : eae 
 
 eh ti 
 atk ath hh a ee et N 
 Lie teleinbeee ot 1 ee i i 
 it : f i 
 i] aes oe i Sih 
 one a . : 
 f hp! si 
 ran BAe ee y Hs f bie 
 temeM i Rah Oy mati 1 ae 
 A r i th 4h ha + 
 ‘4 ny se i ( 
 th aa Ht i wee) 
 eit ieQejiciape Ve eat ea Wied 
 eee ine We eee 5) M We nl nah be, Beate \ » 
 ba t 4 ’ ANd Be ly it 
 ie Awa aati th 
 
 wisye fectege th 
 Lua need 
 seuebadiellt 
 gv neciaes 
 Amd Moet 
 
 jhcéadatiaue) penis 
 Lichahaa} edie faite Ri ihe feo Wethe ie 
 
 Metebulludehivedrwtckens siieded uF 
 reves peat mE RSHEY sasiistinds it tod Bo hs ieee 
 Lebar b Ped TBP: rh 43 Fetene ishenedehs i 
 \ovnatadyagl sdcbe tated ‘ 
 ba Ueant : ie npn Fei bh sy rep fee fine 
 
 pours 
 
 ES eats OP: a. 
 aie aes = 
 
 Nanetls 
 
 phy basbaber bbb eaaae tae; 
 prncocdes Prsbeytiy bit habe Sees a he 
 Pb pod baobapy ea ey yy 
 
 A pavbd phe tibet pelt y: te eis ats 
 eiediei dens rhea HSE elie] ae i eis 
 Hcalryabeydetabs Aine buh) be 4 
 Porgy tidy Pheu 4 ae 
 Las Sytenchobat vated’ phi He Wea ee 
 ae heaibiie “ Hitt: tm nae 
 
 veiw ite he i Hajime 
 see HS dard albedo Aube belie fe nee 
 Ph erdd lpi p mea taasby td hp eby eRe 7 
 wre Hae ey (etree mite heed a a ie 
 Mopinker tan rly Hite doings ky ire vieceatt 
 nde eoeeusuatiuacatl ber dh de, 
 tplele pee bbemteneotteus Hips 
 4 RaPrmegy 4.22) (PAT Dobe Uninet 
 Sniedhade fic heaeha ht 
 
 indy, 
 Sea 
 wives Hil Wath rey inet 
 
 ae 
 tay 
 
 hon thy 
 eee 
 ta 
 
 oy 
 dee) pie wrene ries * 8 ays 
 Aa antes bei ie Hi ah nate jeueieneeciteleHeict sbi 
 appeals fahadticene Mic tatiaad eitien ne oe mui 
 ae yrarpetneas sn ickhey me + jagene cat 
 
 ee 
 Bhd hon deh i fp bebo Hay i) 2 
 fea eee 8 i 
 ject ev yea ial ht: 
 
 Sih ab iar 
 
 preaaodahrgetny SI ty titataadtes 
 
 + 
 Heeaveseni vets ¥ pep 
 Aewonvee | 7 Da! iy ee tibet * it r 
 wainiie Fol ny eiebe Veet Hitdisrdaih aed ie Hsayaweanae 
 syegiein tis neds dit SEC, tn. m 
 
 ae 
 
 cite ate 
 
 / vp dsiindie : 
 reabereotet ace aanda i 
 pee pe sath * eiheesbe et iy fu enor 4 bebe hi dou e(bet inh 
 $y3: cbs seas) PUPA ty ateatth ne 
 ithe 
 
 tice seta 
 vf phe Nave tenere pans ts a 
 
 * 
 wh 
 Tne ianatteiie Hat 4 Wy teeta oats ; eenashs My pe 
 rset isitite eseatitatics seta se sein ofees ‘ 
 nee Fir bh I Wey 
 Px 
 ei ; 
 
 ae : iy i 
 ponpcaeasinglarencempadcaeps ia woah } ned in 
 nye We 3 J ie 46 ened ih be . heey 
 sos ueatdyee: arate i st rest Rotey vis Si led he visgni te “ Mi oe ne = ine 
 pean re Macerdabeae Verwity Aoi iebetied nvm irks ie dogg AC) tt ne " ee sehes ie uh ih ine Ke 
 va atedearer ted ene ft Oe tan na san aCe at f: , “ge ys rdie eet WD ate 
 rt Cre We ate eyenviet sonatas Pyeen eave pea sreatiit tits eee 
 mig irer gene’ Coded uy we ie 4 PI PLL Ll i ; + i 
 Sr Ag hes ae es a He peceonna fy iia pee Nd in fs brat ‘ t 
 Goes sens eit eric eniged hathe AS ip uenn eat nn | a. vif RAST 8 (4 so i 
 ; paiearatis i cikaiad Pian baat Bite sn He t a rh ‘th Bide he hee Wie Geliete tee Hi 
 vile yahnise rf hil aba ae He MeN EEA: hele Be me be AL Wy Hehe hs 
 hed ies ibe ms ths NitAe ete a eet Piast hs wrote HM yee ERA Reb 
 * . * . , 
 Tacieisaed belied Mona a wo iptv hihi i (rh the wld VAP pede Ace vibe wey ria 4 TREAT AOK