8s 1922 Feb.16 NeAmT c.3 oh ae pe 3 artes aaa = : gt et r Ft ey EF en gt te eye Ay fo Ui CL P| Be 2 Ke ee rid fig. iS ks oy a ee a singh ie it bt ae & 4 iia e 7 ON FRiLE PUBLIC VIEW AT THE AMERICAN ART GALLERIES MADISON SQUAR“ SOUTH, NEW YORK BEGINNING SATURDAY, FEBRUARY 11, 1922 AND CONTINUING UNTIL THE DATE OF SALE FURNITURE AND WORKS OF ART FROM THE CASTLE FORMERLY OCCUPIED BY THE SAVOY FAMILY PIEDMONT, ITALY AND OTHER VALUABLE ARTISTIC PROPERTY RECENTLY SELECTED ABROAD BY Se RAOUL TOLENTINO ———— TT SAAN Qe TO BE SOLD AT UNRESTRICTED Pl Le SALE een ON THE AFTERNOONS OF FEBRUARY 16th, 17th AND 18th AT 2.15 AND EVENING OF FEBRUARY 17th AT 8.30 AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH be 7 § % = : ae oe ae. ao Dasa oe 3 ey ¢ eek : a \ rs jis. DE LUXE ILLUSTRATED CATALOGUE OF THE FURNITURE AND WORKS OF ART FROM THE CASTLE FORMERLY OCCUPIED BY THE SAVOY FAMILY IN VERZUOLO (PIEDMONT), ITALY AND OTHER VALUABLE ARTISTIC PROPERTY RECENTLY SELECTED ABROAD BY THE CONNOISSEUR CHEVALIER RAOUL TOLENTINO TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE DATES HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, MR. OTTO BERNET AND MR. H. H. PARKE, OF “ THE AMERICAN ART ASSOCIATION, MANAGERS MADISON SQUARE SOUTH, NEW YORK 1922 ALL DETAILS OF ILLUST RATIO Nee TEXT AND TYPOGRAPHY —*. L. ow.” — ‘ vwrael oie 1 ee es oe "Ob "00% "988 "a3 ‘weunes Ok *O0F "00 9 YoUetT Ay “SOT *66€ ze tnsueg “OPT "B6E *UBue es "OTE "L6E us ‘Ott “96E UT 7 Sny "OL °G6E "45% ‘ueUses °SE "PEE We AOUOG *s5 “€6E “ °SS “C6E [T8922 TA OY *T6E " "O€ "68E “6 "OL "BSE UAMT °S6 “LEE mA souof*T °SEé *98E ater. = STOTUTWOG *SSs “$8 _. “456 ‘UTZ SHY AGE ‘LIP *q3e'zuerol sstil 092 "PEE “ s "ST “OTP Use AOUOT °S? “EB STOTUTWOC "09 “oly . 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OD AS CD OD EHD CHR es > OS ed OD eat oe oe Se | x . a CP CS REC Os Co 2 Om 86-4 -A NOTE PREFATORY Chevalier Raoul Tolentino has been most fortunate in acquiring the entire contents of the Savoy Castle, near Verzuolo in Piedmont, for, now that Italy has given most of her art treasures to the world. it is seldom that pieces of such historic association can be purchased. For many centuries the House of Savoy has been intimately connected with the history of Italy. To-day the King of that coun- _ try can trace back in a direct line to Umberto Bianca Mano (Umbert the White-handed) who died in 1048 and to whom is attributed the choice of the site of the Savoy Castle (re-erected in the fifteenth cen- tury), just referred to. No history of Italy would be complete without a reference to the Order of the Annunciation, which was instituted in 1518 by Charles III, Duke of Savoy, in this very Castle of Verzuolo. Peculiar interest therefore attaches to the Bedroom of the Order, the contents of which form a part of the Castle Collection secured by Chevalier Tolentino. It formed a place of Pilgrimage for the Knights of the Order, in- cluded among whom was the great Napoleon, and there is little doubt but that he, following the invariable custom of great personages who made this pilgrimage, actually slept in the Fifteenth Century Bed with its embroidered hangings, now offered for sale. In this room is also a bas-relief sculptured by Giovanni Antonio Amadeo (1447- 1522), as well as some old furniture, including a set of Walnut Arm- chairs with front rails pierced in the form of the famous Savoy love- knot, and at least two Gothic Oak Cabinets as well as a carved Walnut - Table closely resembling that in the Kahn Collection. To the Castle noted artists came to paint the portraits of its ducal owners. Sanchez-Coello has resided there, and Chevalier ‘Tolentino, after consultation and careful investigation, has satisfied himself of the correctness of the attributions to Coello, to Moroni, Mignard and Sir Joshua Reynolds and others of merit, though of lesser renown, of the many portraits of members of the Savoy family brought from the Castle. There are other things too, from the Castle, of engrossing inter- est, such as the Gothic Fountain pinnacle, the wrought-iron Well- head and the set of Petit-point embroidered furniture of the eigh- teenth century. Chevalier Tolentino’s own collection includes a most notable mar- ble bust of Francesco de Laurana (1430-1501), two glazed terra- cotta medallions by Andrea della Robbia (1435-1525) ; a picture by Difendente Ferrari, early sixteenth century; a profusion of furni- ture, comprising some admirable Cabinets, some elaborate Cassoni, some excellent Chairs, some well-conceived Tables, and much Wroyght-iron work of a surprisingly fine description.. He has also a gathering of beautiful Textiles, as well as a number of objets dart. In short, Chevalier Tolentino’s own collection, as well as the gathering from the Savoy Castle, is representative of the most pains- taking and discriminating care. It will assuredly be a matter for self-congratulation on the part of those who secure examples at this sale to reflect that they came either from the historical Savoy Castle or from the collection of Chevalier Raoul Tolentino. Horace TOWNSEND. CONDITIONS OF SALE I. Rejection of bids: 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. Il. 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. III. Identification and part payment 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. Payment at the actual time of the sale shall be made of all or such part of the purchase prices as may be required. 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. IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer and thereafter neither the consignor nor the Association is responsible for the loss or any damage to any article occasioned by theft, fire, breakage or any other cause. V. Delivery of purchases: Delivery of any purchases will be made only upon payment of the total amount due for cll purchases at the sale. Deliveries will be made at the place of sale or at the storage warehouse to which purchases may have been removed. Deliveries at the American Art Galleries will be made only between the hours of 9 A. M. and 1 P. M. on sales’ days and on other days—except holidays, when no deliveries will be made— between the hours of 9 A. M. and 5 P. M. Deliveries at places of sale other than the American Art Galleries wil! be made only during the forenoon following the day of sale unless by special notice or arrangement to the contrary. Deliveries at the storage warehouse to which goods may have been sent will be made on any day other than holidays between the hours of 9 and 5. Deliveries of any purchases of small articles likely to be lost or mislaid may be made at the discretion of the auctioneer during the session of the sale at which they were sold. VI. Storage in default of prompt payment and calling for goods: Articles not paid for in full and either not called for by the purchaser or delivered upon his or her order by noon of the day following that of the sale will be turned over by the Associa- tion to some carter to be carried to and stored in some warehouse until the time of the delivery therefrom to the purchaser, and the cost of such cartage and storage will be charged against the pur- chaser and the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. NOTE: The Limited space of the Delivery Rooms of the Association makes the above requirements necessary, and it is not alone for the benefit of the Association, but also for that of its patrons, whose goods otherwise would have to be so crowded as to be subject to damage and loss. VII. Shipping: Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers ; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service, VIII: Guaranty: The Association exercises great care to catalogue every lot correctly and endeavors therein and also at the actual time of sale to point out any error, defect or imperfec- tion, 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 imper- fection 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 incor- rectly catalogued and in its judgment may thereafter sell the lot as catalogued or make mention of the opinion of such expert, who thereby will become responsible for such damage as might result were his opinion without foundation. IX. Buying on order: Buying or bidding by the Associa- tion for responsible parties on orders transmitted to it by mail, telegraph or telephone will be faithfully attended to without charge or 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 exhibi- tion or sale, the Association will permit such lot to be returned within ten days from the date of sale and the purchase money will be refunded if the lot in any manner differs from its catalogue description. Orders for execution by the Association should be written and given with such plainness as to leave no room for misunderstand- ing. 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 trans- mitting the order is unknown to the Association, a deposit should be sent or reference submitted. Shipping directions should also be given. Priced Catalogues: 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. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. EVENING SALE FRIDAY, FEBRUARY 17, 1922 AT THE AMERICAN ART GALLERIES BEGINNING AT 8.30 O'CLOCK Catalogue Numbers 366 to 417, inclusive PHILIP WOUVERMAN Dutrcu: 1619—1668 366—LANDSCAPE WITH FIGURES (On copper) Nes IA), V ; Dee cis 41/4, inches; length, 5 inches LO. = A tow flat country, with herbage in autumn browns in the fore- ground and green further off, and rounded bluish hills in the distance under a blue sky banked with creamy clouds. In the foreground, equestrians, and other figures gathered about a small fire at the foot of a tree. BASSANO 367—LANDSCAPE AND FIGURES WV Qonunecewu (On glass; in carved walnut frame of the period) | 0 ‘ Height, 7 inches; length, 9 ches In a sunny green landscape with trees and blossoming flowers, before a blue sky rosy at the horizon, a bucolic scene in the foreground with a half dozen figures variously engaged, and clad in brilliant colors. Close in the foreground, chickens and goats, and women milking. SCHOOL OF GUARDI EIGHTEENTH CENTURY 368—_ROMAN RUINS Height, 714 mches; length, 914 inches WW At left a building still in repair and beyond it ruins, and before the building men in eighteenth century dress beholding an arch preserved in a ruined wall on the right, where also are seen other figures. Above the arch a tablet with inscription, showing that it was erected by the. Romans to the Emperor Vespasian, of the first century. VENETIAN SCHOOL (Tur Work oF A Master oF Murano) 369 VIRGIN AND CHILD ( Panel) Height, 18 inches; width, 1414 inches } ‘ Gatisemer Tur Mother with especially finely chiseled features and delicately rounded cheeks appears at half-length, and facing slightly toward the left, standing, and holding the Child on her right arm; each with the nimbus. Both are in robes of black and soft vermilion and gold, and are limned on a gold background. Tfe so ANNA BARBARA AB ESCH EIGHTEENTH CENTURY 370—_THE CRUCIFIXION as (On glass) Bugwat Height, 151% inches; width, 111% inches / he oe THE Christ wrapped in a flowing loin cloth of white, above His haloed head the mocking title at the top of the Cross, and at its foot the two Marys and John in robes white and topaz, blue, crimson and scarlet, on barren brown earth. In the background classical archi- tecture, and a fading sunset under a darkening gray sky. Signed at the lower right: ANNA Barpara ap Escu, Prinxit, SuRBACI IN Hetveria, 1744. VENETIAN SCHOOL SEVENTEENTH CENTURY 871—A NUN OF THE SAVOY FAMILY Ronee Height, 31 inches; width, 241% mches HALF-LENGTH portrait of a young woman of clear-cut features and dignified mien, quiet eyes and plenty of rosy color, in the garb of a nun, white and black. She is portrayed almost full-face to the spec- tator, with gaze slightly diverted. ITALIAN SCHOOL SIXTEENTH CENTURY 872—A DUKE OF SAVOY were Cyt. Height, 28 inches; width, 23 inches HaAL¥-LENGTH portrait of a serious looking young man with sensi- tive nostrils and mouth, a faint up-curling moustache and short chin beard, and dark reddish-brown hair. He wears a white ruff of sinu- ous folds, and the cross of Malta conspicuous by its proportions over his shining and gold adorned armor. As pa SCHOOL OF GREUZE (JEAN Barr'stE GREUZE) FRENCH: 1725—1805 55, 40 373 JEUNE FEMME AU CHAT LL idapie Height, 22 inches; width, 161% inches Heap and shoulders portrait of a fair and pink-cheeked young girl, bust in profile to right and face three-quarters to the observer, gowned in silver and green brocade and wearing a white shoulder scarf in double fold and a broad Leghorn hat. She holds at her breast a_ white cat with brown head. Peal (A pendant to No. 374) SCHOOL OF GREUZE (JEAN BapristE GREUZE) Frencu: 1725—1805 374 JEUNE FEMME AUX FLEURS q } Height, 22 inches; width, 161 inches d % l . HaLr-LENGTH portrait of a fair and plump young lady with large blue eyes, and roses in her cheeks, her blond hair of the cendré type neatly buund in a white lace scarf and decked with flowers. She is facing the observer and turned silghtly toward the left. Black bodice décolleté, and laced with gold, and supporting a pink rose and its stem of green leaves at the white lace edging. Before her a jar of plants. : (A pendant to No. 373) FRA GALGARIO VirToRE GHISLANDI (Known generally as Fra Galgario, and known also as Fra Paoletto, and as I] Frate da Galgario) VENETIAN: 1655-1743 b 0. 3875—PORTRAIT OF A MARQUISE OF SALUZZO Height, 2384 inches; width, 22 inches HALF-LENGTH, seated and facing front, turned very slightly toward the left. A woman mature, of blond type, her light hair plainly dressed and brushed straight back from her high forehead. Her black gown, moderately décolleté, is edged with deep and fine lace at the neck, and her cloak reveals broad revers of royal purple. ITALIAN SCHOOL SIXTEENTH CENTURY 376—PORTRAIT OF A DUCHESS OF SAVOY Height, 23 inches; width, 21 inches Hot per /O, Art half-length, with tight bodice, and large sleeves puffed and slashed, necessitating a generous spreading of the arms. The silken gown silvery gray in tone, the slashes outlined in gold and revealing a rich ereen underground. A young lady with her brown hair in soft puffs and waves, and bound with pearls, while other pearls encircle her neck and drape her waist. She wears a broadly spreading ruff of delicate lace. ALONZO SANCHEZ-COELLO US, SPANISH: 1515—1590 377—DUCHESS OF SAVOY Rati yt. Height, 2314 inches; width, 2114 imches Portrait at half-length of a beautiful young lady of creamy com- plexion, facing the observer, with dark eyes and rose-touched cheeks, and carefully done ashen-blond hair showing hints of golden lights. A great ruff of Medician suggestion and lace fichu, pearl ear-drops and necklace, and pearl ropes draping her breast. Black velvet gown with tight waist and puffed and slashed sleeves, adorned in gold and the slashes revealing vermilion. Note: “He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, pod aS a } i | ALONZO SANCHEZ-COELLO SPANISH: 1515—1590 3878—_YOUNG DUKE OF SAVOY 3 O ; Height, 2314 inches; width, 21 inches A SMOOTH-FACED youth with dark brown hair in careful disarray™is portrayed at half-length, facing the spectator and turned slightly to the right. Ina ruff of many folds, and apparel of white silk buttoned and trimmed in gold and sporadically slashed. Across his breast the broad ribbon of an order, dark green. Note: ‘He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, is 14s, FRANCE SCO ZUCCARELLI ITALIAN: 1702-1 188 3879 —-LANDSCAPE WITH FIGURES ; ; Height, 21 inches; length, 2834 inches ye 3 Far in the distance a mountain range faintly bluish, under a fair blue sky filled with white and creamy clouds, and in sunlight in the middle distance groups of imposing buildings. Before them, at left and right, trees in silhouette against the sky, and in the central fore- ground reclining figures, semi-nude, and draped in blue and rose. (A companion to No. 380, by the same artist) FRANCESCO ZUCCARELLI Irauian: 1702—1788 380—LANDSCAPE a OVC eeee Be. Height, 21 mches; length, 28 inches 9: §).i= At left and right in foreground and middle distance dense trees are in a mellowed shadow, and throw into partial shadow a landscape where some dimly discernible figures are gathered about a stream, some reclining. In the distance blue mountains with snow-capped peaks, under a blue sky banked with white cumuli. (A companion to No. 379, by the same artist) el — hy AO a ca ae aa oe sai eed ere i i i SCHOOL OF AVIGNON FIFTEENTH CENTURY 381—THH CROWNING OF THE VIRGIN (Panel, in architectural carved and gilded wood frame S chau ner, oases tt) DAO mensions (inclusive), 361% inches square : AT center a throne under a polyfoliate arch, and on it, beneath a bell- ~ shaped canopy, Christ bestowing a golden crown upon the Virgin, the figures in robes of blue-green and purple, the throne and back- ground gold. At either side angels in richly colored robes, in musi- cal acclaim. Above the arch a clerestory showing blue background. ey) uy oe Height, 2714 inches; width, 22%4 inches ( ITALIAN SCHOOL SEVENTEENTH CENTURY 3824 MARQUIS OF SALUZZO Height, 291% inches; width, 22 inches () UL | \ re A MAN of keen eye and warm and florid complexion, with dark flow- ing locks and pointed chin beard and moustache, observed at half- length, standing and facing right, three-quarters front. His dark, polished armor is boldly lined in gold, and he wears the collar of the Annunziata, and a broad white collar completely overspreading his shoulders. ALONZO SANCHEZ-COELLO SPANISH: 1515—1590 3883—DUKE OF SAVOY At half-length, facing the right, three-quarters front. A youthful man with closely trimmed, incipient moustache and chin beard, and with a wealth of brown hair worn long and full. In a drooping ruff of many folds, and a suit of rich brocade, brilliant yet soft in its coloring, its decoration floral sprays naturalistic and conventional. Across his breast the blue ribbon of the Annunziata. Note: “He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, Ura Re em path ees ‘ TARA T UO INGAS ttc IN LR EA ER Ge ERE RK pres We eat Ce ae ees | | & & 2 a a 4 4 2 a a | * ‘ = a a. a. a, a, a. a a. a, a. a g E Be GIAN BATTISTA MORONE Irauian: 1510—1578 386—A LADY OF SALUZZO AND HER LOVE 9 Height, 241% inches; width, 191% inches 9 3 rc ) ae figure of a young lady of delicate features, figure to right and face three-quarters front, seen in a soft light before a neu- tral dark background. Her brown hair shows subdued golden notes in its carefully done loose folds. She is in a mahogany-colored gown with white over shoulders and breast and a white frill at her throat, and wears a gold necklace. She is holding up a head-and-shoulders portrait of a man of the Rondinelli family (indicated by the swallow perched upon its frame)—conjecturally, her fiancé, or her husband. FRANCOIS HUBERT DROUAIS FRENCH: 1727—1775 387 “BOY MARQUIS OF SALUZZO ies Height, 32 inches; width, 25 inches Portrait of a youth of the family of Saluzzo della Manta, observed at more than half-length, facing the spectator; in his right hand a rake held upright, beside a table on which some flowers are lying. He has large dark eyes and a fair, pinkish complexion, and his pow- dered hair has the semblance of a wig, tied at the back with blue ribbon. Over a long white waistcoat, he wears a coat which in the soft light of the painting has the silvery bloom of a purple-blue plum. Conven- tional background, dark and of an aerial note. 3 FRANCOIS HUBERT DROUAIS FRENCH: 1727—1775 388—_BOY MARQUIS OF SALUZZO 7b Height, 32 inches; width, 251/, inches THREE-QUARTERS length standing figure of a pink-cheeked smiling youth, facing front and headed slightly toward the left. In his right hand, extended before him, poppies and sheaves of wheat which he has just cut—his sickle held in his left hand at his side. He is in an emerald green coat and a white waistcoat, and wears a broad trimmed hat of Leghorn straw, trimmed with grain-heads and flowers. Out- door background of grain-fields and trees, and grayish sky. GIOVANNI BERNARDO CARBONE Ligurian: 1614—1683 SB eg tee OF SALUZZO Height. 421% inches; width, 36 Ue 30, Por?rrait of a man in ripe life, standing and facing the left, three- quarters front and shown at three-quarters length, before a dark neu- tral background. He is of warm complexion, with dark brown hair falling to his shoulders, and up-turned moustache and small lip-tuft also dark brown—the expressive head and the manner of its presen- tation carrying a suggestion of Van Dyck, for whose work the painter had great admiration, subjecting himself somewhat to its influence. The Marquis is in dark, rich robes, and wears a broad white collar and the Order of the Golden Fleece. ITALIAN SCHOOL SEVENTEENTH CENTURY 390—_MARQUIS OF SALUZZO Were vase Height, 43 inches; width, 35 inches / Os Portrait of a gray-bearded man partly bald, standing and observed at three-quarters length, facing front and turned very slightly to the right. His robes are black, relieved only by a narrow white ruff or collarette, and cuffs of the same pattern. JEAN BAPTISTE VAN LOO FRENCH: 1684—1745 391—M ARCHIONESS OF SALUZZO Height, 32 inches; width, 25 inches Uy b, ALF-LENGTH figure of a commanding woman with elaborate coif- fure, facing the spectator, her head poised toward her right, her smiling and somewhat interrogative glance direct. Décolleteé gown of olive-gray note, with gold embroidery and white lace at the corsage. Enfolded in a mantle of deeply glowing blue, with a rich brocade lining having a golden ground. Note: “At Turin he painted the Duke of Savoy, and several members of his Court.”—Encyclopadia Britannica. | “©. . . he visited Nice, Monaco and Genoa, and then went to Turin and worked two years for the Duke of Savoy and the Prince of Carignan.”— Bryan’s Dictionary of Painters, Vol. III, p. 245. | ‘ VENETIAN SCHOOL EIGHTEENTH CENTURY hen 392—4 BOY OF THE SALUZZO FAMILY | O F Height, 32 mches; width, 25 inches ‘AT three-quarters length, standing and facing the spectator, with his right arm embracing a pet puppy which looks up at him from a pedes- tal. He is in a dark blue coat faced with red, and a white jabot pro- trudes from his cardinal hued undercoat, while a mantle of faint old-rose note falls from his shoulders. HYACINTHE FRANCOIS HONORAT RIGAUD a Frencu: 1659—1748 393—A PRINCE OF THE HOUSE OF SAVOY [eee [ Height, 32 inches; width, 24 inches At half-length, facing right, three-quarters front. In dress armor, over which a white lace jabot falls in graceful folds. A man of bold features, seen in a warm light, his eyes intent in their gaze. In a full chestnut periwig. HYACINTHE FRANCOIS HONORAT RIGAUD Frencu: 1659—1748 394_M ARQUIS OF SALUZZO IN CORSELET Vyorwwern os ea eight, 29 inches; width, 224% inches Bee Bust portrait of a fine-looking young man of blond type, in the great periwig of the Louis XIV style, its hue chestnut. Figure to left, face to right, three-quarters front. His armor studded with gold, and above it a white lace collar with jeweled pin. ALONZO SANCHEZ-COELLO SPANISH: 1515—1590 3895—PORTRAIT OF THE DUKE OF SAVOY Height, 32 inches; width, 25 inches by (Poses. HAL¥-LENGTH, facing the observer, with eyes directed slightly to the right. A young man of finely modeled features, with brown moustache and imperial, carefully brushed dark brown hair and warm com- plexion. He is in dress armor resplendent with elaborate gold orna- mentation, the Savoy cross conspicuously overspreading it, and is wearing the collar of the Annunciation, below his deep stellate ruff, as he stands before the folds of a crimson drapery. Note: “He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, p- 14. ' Va ~ 4 > ALONZO SANCHEZ-COELLO SpaAnisH: 1515—1590 396—PORTRAIT OF A YOUTHFUL DUKE OF SAVOY POA Height, 41 inches; width, 34 inches [/0. In dress armor brilliant with gold studding, and wearing a white ruff and the order of the Saint-Esprit. Clean-cut and bold features, with an incipient moustache and a mass of curly dark hair. Right arm akimbo and left hand resting on a red-covered table which also sup- ports his plumed helmet with vizor raised, and bearing the fleur-de-lis. Dark grayish background. Note: “He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, p. 14. PETER POURBUS (the Younger) Fremisu: 1513—1584 397—_MARCHIONESS OF SALUZZO 2 J 0, H eight, 391, inches; width, 3214 inches | : ‘ THREE-QUARTERS length portrait of a fair young woman of smiling countenance, with a Medician ruff and lace-trimmed low corsage, her ample gown of rich black brocade displaying barreled. sleeves banded with pearls and slashed. Ropes of pearls are pinned at the breast by a jeweled brooch, and larger pearls encircle her neck and bind her light hair. Grayish background. ee ee ee eee ee oe RE re PR a Oe eee ante ets Fo oR tik, eCSC2CGEcE 2000¢ 668 C2 Lon se ete JEAN BAPTISTE VAN LOO Frency: 1684—1745 398—-DONNA TERESA DORIA DI DOLEACQU A, COUNTESS OF VERZUOLO Height, 301% inches; width, 26 inches : I¢o ALF-LENGTH portrait of a young lady of quizzical expression, in a quilted waist of orange notes broadly adorned in silver-gray, and turned over in flowing folds at the low corsage, which is bordered with lace. About her shoulders and concealing her arms, a mantle of rich blue with silvery lining and bordered in gold. Jewels glisten in her powdered hair. In broad light against a dark background. ‘ On back, the title, with date 1734 and stating the sitter’s age as 22 years. Note: “At Turin he (van Loo) painted the Duke of Savoy, and several members of his Court.”—Encyclopedia Britannica. s . he visited Nice, Monaco and Genoa, and then went to Turin and Worle two years for the Duke of Savoy and the Prince of Carignan.”— Bryan’s Dictionary of Paimters, Vol. II, p. 245. JEAN BAPTISTE VAN LOO Frrencu: 1684—1745 399—COUNTESS OF VERZUOLO DELLA MANTA HeigAt, 321/, inches; width, 26 inches ) Hatr-Lenern portrait of a fair and large-eyed young woman, with powdered hair over which a blue feather curls. She faces the observer, figure slightly turned to her right and head to her left, and wears a gown of light blue, with lace-edged low corsage and emphasized by a bow of darker blue, and over this a soft rose mantle with border lin- ing of golden notes. In full light against a dark neutral background. Note: “At Turin he (van Loo) painted the Duke of Savoy, and several members of his Court.”—Encyclopedia Britannica. e . he visited Nice, Monaco and Genoa, and then went to Turin and oe ie two years for the Duke of Savoy and the Prince of Carignan.”— Bryan’s Dictionary of Painters, Vol. ILI, p. 245. HYACINTHE FRANCOIS HONORAT RIGAUD FRENCH: 1659—1743 400—MARQUIS OF SALUZZO Q J da 491%, inches; width, 38 inches | 10 THREE-QUARTERS length standing figure of a young but mature man of fresh complexion, with full dark brown periwig and deep white collar, facing left three-quarters front. Appareled in crimson with gold embroideries, and wearing a parade cuirass adorned in gold Over shoulder and elbow a flowing scarf of bleu-de-ciel with silver lace trimming. He stands easily, with one gloved hand on hip, the other hand bare and resting on a table beside a plumed helmet. Back- ground of dark green drapery and a gray sky seen over a parapet. FRENCH SCHOOL Louis XIV PerEriop 401—PORTR AIT OF A LADY OF SAVOY eight, 81146 inches; width, 251% inches ) ty ' Gownep in black, with white crossing her shoulders, and white and rose at her sleeves, a stout lady of noble family is portrayed at half- length, seated and facing the observer, her hands crossed before her and holding a book. Her gown is moderately low at the neck, and her reddish-brown hair is confined by a black veil. VENETIAN SCHOOL EIGHTEENTH CENTURY 402—A NOBLE BOY OF THE SALUZZO FAMILY A : Height, 32 inches; width, 25 inches oS: HREE-QUARTERS length portrait of a fair-haired boy of rosy com- plexion, standing and facing the spectator, with figure slightly to right and face turned forward. He is in green of somewhat pale and dark shade, with silver buttons and trimming and lace cuffs, and wears a sword whose gilt handle he grips. FRENCH SCHOOL SEVENTEENTH CENTURY 403—PORTRAIT OF A DUKE Q Height, 311 inches; width, 251, inches 0. PRESENTED at a little less than half-length, standing, with figure to left and head turned toward the right. A young man of large fea- tures and wearing a large curled periwig of chestnut hair, and bril- liant dress armor with a modicum of gold enrichment. Crimson appears at his throat and sleeves, and at his side are some folds of blue drapery. JEAN BAPTISTE VAN LOO FRENCH: 1684—1745 404—SILVESTER ANTONIO SALUZZO, COUNT OF VERZUOLO (1687-1758) Height, 32 inches; width, 25 inches lO HALF-LENGTH portrait of a large and vigorous man in prime of life, smooth-faced and florid and wearing a gray curled wig. Seated, with figure to right, and face almost full to the front. His flowing silvery-gray robe with gold brocade lining, rolled back, discloses a coat equally rich in its golden adornment, and white lace at his breast. | On back, name and title of the sitter, with dates of his birth and death, in old Italian. Note: “At Turin he painted the Duke of Savoy, and several members of his Court.”—Encyclopedia Britannica. ss . . he visited Nice, Monaco and Genoa, and then went to Turin and worked two years for the Duke of Savoy and the Prince of Carignan.”— Bryan’s Dictionary of Painters, Vol. Ill, p. 245. FRENCH SCHOOL Lovis XIV Periop 405—PORTRAIT OF A DUKE OF SAVOY : : Height, 311 inches; width, 25% inches I'S _ Har-LenctTH portrait of an austere yet self-indulgent man of pa- trician bearing, his vigorous and florid features looking out from a great wig, whose curls fall to the brilliant and gold-studded armor cae ett p which encases him while it discloses his white lace stock. Figure to eB right, and face almost full to the front. Over his shoulder a crim- | 3 son mantle. E ; ITALIAN SCHOOL 4 SEVENTEENTH CENTURY 406-—DUKE OF SAVOY AS A KNIGHT OF MALTA ea gers () f [a Height, 46 inches; width, 36 inches A puxr of Shyoy in full dress armor brilliant with gold, and across his breast a green scarf with the Cross of Malta in white; right es hand resting on his equally brilliant helmet which lies on a table, baton hr beside it and high plumes above it; left hand at hip, above his sword. A man with dark hair and beard, and deep-sunken eyes, and wear- ing a much frilled ruff. Gray background, with galoon-trimmed olive drapery. JEAN BAPTISTE VAN LOO Frencu: 1684—1745 407—DUCHESS OF SAVOY Height, 32 inches; width, 251, ipies 1 0 Portrait of a lady of affable expression and handsome features, her white skin intensifying the depth of her dark brown eyes, a bow of purple in her powdered hair, a curl of which is brought forward over her shoulder. Face to the observer, with head turned slightly toward her right and figure toward her left; seen at little more than half- length, with hands concealed. Her décolleté waist of white silk is trimmed with lace, and her blue mantle bordered with floral embroi- deries in rich colors and gold. In full light before a dark-brownish background. Note: “At Turin he (van Loo) painted the Duke of Savoy, and several members of his Court.”—Encyclopedia Britannica. aes . he visited Nice, Monaco and Genoa, and then went to Turin and wonted two years for the Duke of Savoy and the Prince of Carignan.”— Bryan’s Dictionary of Painters, Vol. III, p. 245. a SA aa... aA, 4% * J Let f ’ hile 2) idk aes od ‘ “eich Hie ‘ea a® ~ oe rad PIERRE MIGNARD FRENCH: 1610—1695 408—M ARIE OF MODENA, QUEEN OF ENGLAND. WIFE OF JAMES II taal Height, 47 ches; width, 36 inches 10 OBsERVED at three-quarters length, standing and facing the left, three- quarters front, a young lady of fair complexion and rose-tinted cheeks, with fair hair in delicate curls, pearl ear-drops and a pearl necklet. Décolleté dress in various delicate colors and easy folds, though with tight waist, and trimmed with ropes of pearls. With one hand lightly holding a pale rose drapery about her hips, the other arm is crossed before it to rest on a pedestal, and back of her her coronet reposes on a table. Conventional drapery background of dark purplish tones. ares re a a ‘ = — > ee SIR PETER LEY ENGLISH: 1617—1688 409--MARY OF MODENA, QUEEN OF ENGLAND, WIFE OF JAMES II — (eel Fows. : | = OER Portrait of a bright-eyed, rosy-cheeked young woman, with ashen- blond ringlets falling nearly to her bared shoulders, seated and facing the left, three-quarters front, and seen nearly at full length. She is in gray satin, the tight bodice topped by a, corsage scarf of delicate olive, caught up with jewels, and her gown is trimmed with an abun- dance of pearls. More pearls edge her ermine-lined mantle of rich blue. Her coronet reposes in a window at her side, from which crim- son portieres are drawn away to form a part of the background. LOUIS TOCQUE Frencu: 1696—1772 410—MICHELE ANTONIO SALUZZO Monsu (Seigneur) della Manta, as a Boy Neca Height, 51% inches; width, 34 inches a 4 FULL-LENGTH standing figure of a chubby youth with matured fea- tures, facing the observer and slightly turned toward the left, shown in an attitude of play with a pet dog which he holds on a purple leash, a small lash whip raised in his right hand. _ His cheeks are rosy, his ringlets powdered, and he is in blue throughout, trimmed with gold and scarlet, and wears red-laced buff boots. Conventional background of drapery, architecture and landscape. On back, name and title of sitter, with his age, 4 years, and the date 1734. SIR JOSHUA REYNOLDS, P.R.A. Eneuiso: 1723—1792 411—PORTRAIT OF BENEDETTO SALUZZO (In original carved wood frame) QW OA Keio 58 inches; width, 40 inches oe THREE-QUARTERS-LENGTH, standing figure to left, and face to the front. A large man, of full years, with goodly color in his vigorous, smooth-shaven face, which is framed in a full shock of white hair. In scarlet coat heavily trimmed in blue and gold, and blue under-coat also with heavy gold trimming, and lace cuffs. In his right hand a baton poised upon a drapery-covered table before him. Dark neutral back- ground. Across the bottom of the canvas a long inscription, with the family coat of arms, probably placed there by another hand after the painter had finished the portrait, and describing the sitter with all his titles: Don Benedetto Saluzzo della Manta, Knight of the Grand Cross of the Holy Religion, and of the Mil- tary Order of SS. Maurice and Lazarus, General and Inspector-General of f Cavalry, Colonel of His Majesty’s Dragoons, Knight of the Supreme Order of the Annunziata and Governor of Saluzzo. This is dated 1750. [Reynolds went to Rome in 1749, remaining in Italy, south and north, until 1752. | = =< ALONZO SANCHEZ-COELLO~ SPANISH: 1515—1590 412—PORTRAIT OF A DUKE OF SAVOY iWwereewwers: Height, 74 inches: width, 39 inches S50 ‘ FULL-LENGTH standing figure of a well-poised man in youthful matu- rity, with high-tilted ruff, the collar of the Annunziata and the cross of Savoy, and holding a baton. In dress armor with elaborate orna- mentation in gold based on the Savoy love-knot. He has large eyes and warm complexion, and light brown chin beard and moustache, and faces the observer. Olive draperies in background. Note: “He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, p. 14; ALONZO SANCHEZ-COELLO SPANISH: 1515—1590 418—PORTRAIT OF A DUCHESS OF SAVOY Sr Corey Height, 74 inches; width, 391% inches 35, A FAIR young woman with gray-blue eyes, and a creamy complexion tinged with rose, stands facing the spectator before an olive back- ground arched with rose draperies trimmed with galloon. She wears a broadly spreading stellate ruff, the broad and rigidly spread bell skirt of the time, with tight bodice, and her puffed sleeves are slashed, her gown being gray satin with formal green and gold adornment. Her right hand, holding a fan, rests on a crimson-covered table. Note: ‘tHe painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Pamters, Vol. VY, Dass ALONZO SANCHEZ-COELLO SrpanisH: 1515—1590 414—PORTRAIT OF A YOUTHFUL DUKE OF SAVOY S LeU é Height, 74 inches; width, 401% inches | | ; } FULL-LENGTH standing figure of a smooth-faced young man with brown eyes and dark hair, facing front with head turned slightly to his left, in white silk hose and shoes, and body armor heavily gilded and displaying the Savoy knot. Over it a purple sash and the collar of the Annunziata, and about his neck a looped ruff. At his elbow his helmet, matching his armor and surmounted by brilliant white and scarlet plumes. Under an arch of golden-olive curtains, he stands on a floor of dull vermilion, well lighted. [This portrait hung in the Bedroom of the Collars of the Annunciation, in Savoy castle. | Note: “He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, Dele: ALONZO SANCHEZ-COELLO. | SpanisH: 1515—1590 415—4d DUCHESS OF THE HOUSE OF SAVOY \oveeuree sel Height, 74 inches; width, 38°4 inches on. lo 0 be ~ Portrait of a handsome young woman, with features approaching the pi masculine type, standing and facing the observer, with right hand resting on an armchair at her side, and displaying a ruby thumb- ring. She wears a black velvet gown with golden undersleeves and trimming, a jeweled gold girdle and a double rope of pearls. Pearls adorn her hair, and her face is set off by a narrow pointed ruff. . Dark olive background with golden-brown draperies. Note: “He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, p. 14. Bek ec OOS OL LLLLE LAL LIE AE ALONZO SANCHEZ-COELLO SPANISH: 1515—1590 416—PORTRAIT OF A DUKE Bae Werir Height, 72 inches; width, 39 inches ) Ls SranvinG figure of a middle-aged Duke of Savoy, wearing the collar — and mantle of the Order of the Annunziata, the crimson mantle show- ing rich golden adornment in which the Savoy knot is conspicuous. He is a man of prominent features, rather light in complexion, with dark brown hair and beard. His hands protrude from the great mantle, the left holding the golden. hilt of his sword. Neutral brown- ish background with dark olive draperies. Note: ‘He painted many portraits of Philip and other members of the royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Paiters, Vol. V, p. 14. ALONZO SANCHEZ-COELLO SPANISH: 1515—1590 417—A DUKE IN DRESS ARMOR 9 Oubw (ft: Height, ‘74 inches; width, 401/ inches o* eae. <- aor Portrait of a Duke of Savoy with large and deep-set eyes and warm oe olive complexion, with hair, moustache and beard dark brown. A narrow ruff appears above his shining waist armor richly adorned with gold, and gold again enriches his apparel below, while his legs are encased in plain gray silk tights. He wears the collar of the Annunziata, and a sword, and also carries a stick, and his left hand rests on a gaily plumed helmet on a table at his side. Dark background with golden-brown draperies. Note: “He painted many portraits of Philip and other members of the royal family. 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