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LIBRARY SE 1088 M. KNOEDLER & CO, 556-8 FIFTH AVE. ACC. NEW YORK \| Mb; Flemish ics y of rene Century Brings Highest Price, $41,080. { 178 OBJECTS DISPERSED) Well Known Collectors and Dealers! Engage in Spirited Bidding at ake? Two. Sessions. Gen eee Sia With a grand total of $363,355 for the 178 items, the Rita Lydig art collection was sold yesterday by the American Art Association in two sessions. In the after- noon the marbles, bronzes and other objects d’art were sold at the American |Art Galleries, the total being $157,905 for |the 123 items, Inthe evening the paintings, jtapestries, rugs and banners were sold in ‘the ballroom of the Plaza Hotel and the ‘proceeds were $205,450 for the fifty-five items. Mr. Thomas B. Kirby presided as |auctioneer at both sessions, | A feature was the sale of a Flemish tap- jestry of gold and silver thread, dating, jabout 1510, which went to Duveen Brothers for $41,080. This magnificent work repre- ; pepnce the risen Christ and St. Mary Mag- idalen in the garden. Christ is standing to} the right draped in a red cloak and’ hold- i ing a spade in his left hand, his right} raised as thopgh he were uttering the words, ‘‘Touch me not.” Another tapestry, Flemish, woven about 1510, representing a mythological subject, went. to P. W. French & Co. for} $15,500. King , Jonathan addresses two women and two men who stand at the} right of the throne. At the left of the throne stands Lucrece. A Burgundian} tapestry of about 1460, representing Frederick Barbarossa mounted on a white [5P3200 for a companion picture, charger, was sold to Seligmann & Co. for $15,500. Another Burgundian tapestry from Jean Grenier’s atelier, woven about 1505, representing ‘‘Cavaliers and Wood- cutters,’ went to Seligmann & Co. for $10,000. $11,300 for a Botticelli, Of the paintings, the highest price was brought’ by Botticelli’s ‘Venus,’ which “went to Mr. FH, Steinmeyer for $11,300. The goddess stands on a marble base nude except for a diaphanous white drapery, } which she holds with both hanes so that floor. \ » Matteo di Giovanni “Virgin and Child,” a beautiful Siennese primitive, } 4 was sold to an anonymous bidder for $10,500 woman,’ known as “The Girl in Red,’} was bought by the Blakeslee Galleries} jfor $10,300. This is a full length figure of a thin faced but beautiful young wearing a sixteenth, century {Spanish costume. ‘Portrait of the In-|_ fanta Margarita,” by Mazo, who was the pupil and son-in-law of Velasquez, brought $6,000, but the buyer’s name Was suppressed. “Portrait of a Man,’ by Antonio Moro} (Sir Anthony Moore), went to the Phrich} f Coello’s “Portrait of a Noble-} H woman, Galleries for $6,000. The same bidders paid } type of the early Seventeenth century, | prices were as follows:— |“‘Madonna and MAN. CARRYING A CHILD” BY "VENUS, BY BOTTICELLI, POGGINI. Seventeenth {Ispahan rug, pane Vee «e Benguiat .. Portrait| |Ispahan - rug, of a Woman,” by the same artist. Benmial 5 angnait Two small paintings, studies by Tinto-!{cpanan rug, tetto for his “Scene from the Legend of! Bengniat .. the True Cross,’ went to an anonymous |Ispahan rug, connoisseur for $2,000 each. | 0..0, Rumsey.....; Of the rugs, a large one of the Ispahan | Heclesiastical banner, Spa eentury; Seligmann & Co. s Ecclesia 1 . went to Mr. V. Benguiat for $5,900. The| cowie: Golignany «Shas, Sixteenth same buyer paid $5,100 for an imperial) sitar frontal, Indian rug with a conventional sized | Huber & Co flower design, woven about 1650, Velvet cope, A Spanish ecclesiastical banner of about) UWiher & C the year 1700 went to an anonymous bide \Yelret cope, Italian, Sixteenth oe Italian, Italian, IK or thty GEM os nds fg sok cea eee 1,000 der for $8,000, The entire hangings of a (3v..y n velvet brocade, Italian, Fifteenth ae room of deep crimson velvet, Italian, Six- century: V. Benguiat .................. 1,325 teenth century, went to Huber & Co. for! Three pairs of curtains with nBeHWas $7,700. The same buyers bought five other) Italian, Sixteenth century; Huber & Co. ‘hangings for $3,200, Other important items of the evening sale, with the purchasers names and the. ‘Pair of curtains with lambrequins, Italian, Sixteenth century; Huber & Co Tihree pairs of portieres, Italian, Sixteenth eentury; V. Benguiat’......... \Two pairs of curtains with “Virgin and Child,’”’ by a Florentine artist; o ona). italian, Sixteenth century; Huber & Co. 1,450 | Knoeder tl Go rere Ro (oe tp re para eer ge $2200) $10,700 £ Chest “Virgin and Child by Sano di Pietro; ou or a isis! SHORYMOUSiv «is Mieoiaids's hile he Wea ete moh ee 2,000, Ait the afternoon session the highest Child, by Nervggia “ai Bartolomew; Seligmann & Co.. rice was e100, cpale Bs ts Ween 2,400 : ( : i = fj Co..for. an Italian walnut chest, or cas- iailivee Mid or Caneans cme ile 1,300/ sone, dating about the middle of the six- Tapestry, ‘‘CTriumpb of the ‘ Innocents,” lteenth century, profusely decorated with Burgundian, about 1470; Huber & Co.... 2,500| figures and ornaments in high relief. The Persian rug, seventeenth century; D. (chest is in the shape of a Roman sarcoph- (pe v 2,008 agus, supported on four lion’s feet. and peehea crne, Seventeenth century; * y gnot¢overed by a deep lid with a heavy hasp and padlock in wrought iron. One of the ‘relief designs shows Apollo slaying the Sons of Niobe. The same bidders also | paid $8,600 for a pair of walnut chests, or cassoni, of. the same period, decorated with coats of arms and scrolls of foliage and flowers. Seligmann & Co., represented by Mr. Eu- gene Glaenzer, were heavy bidders, their jmost important purchases being a His- pano-Moresque lustred faience dish with jmoek Arabic inscriptions, made about 1430, ifor $8,000. The dish is ornamented in pale jblue, dark blue and. gold lustre on a cream ;colored ground, and in the middle is a roundel containing a.star pattern. They ipaid $7,700 for a marble relief ‘Madonna 'and Child’ by Fiesole, showing the Virgin in profile turned toward the left, with her hands folded in adoration of the sleeping Child; $7,600 for a ‘Madonna and Child” at- 'thibuted to Andrea della Robbia, showing in high relief the Virgin carrying on her left arm the nude Christ while with her right arm she gently supports His body; and $5,500 for a woode image of “King Clotaire and’ an Attendant,” by a French artist. of about the year 1500, which was part of a large group forming a single unit jin an altar piece dedicated to St. Eloi, the king attired in a long gown. This lat- ter piece is from the Church of St. Eloi, at Recoloses, France. Small Statuette Brings $8,000. Duveen Brothers paid $8,000 for a small bronze statuette, ‘“Man Carrying a Child,” after the manner of Domenico Poggini, | and dating te about the middle of the! sixteenth century. It ig a full length nude| figure of a tall man: of muscular build] With a massive throat, striding. He car- | ries a child on his shoulder. The same] firm paid $5,600 for two candlesticks by | Jacopo ‘Sansovino, in the forms of chil-! dren, nude except for scarfs wound round their waists, who carry\ candle sockets shaped like baskets on their shoulders. ~P. W. French & Co, paid $3,100 for ‘“‘Ma- }donna Adoring the Child, with an Angel,” in ‘terra cotta high relief, in the style of Andrea della Robbia. J. & I. Goldschmidt paid the same price for a bronze statuette, “Wrestling Women,” by a Flemish artist of the sixteenth century, Among the private buyers Mr. H. Vailen- tine bought an Italian two handled majol- ica vase, of the first half of the fifteenth century, for $5,000. This vase, of reddish clay, has a/full rounded body with cylin- | Statuette, ‘‘A Youth,’ ‘Botticelli’s Famous “Venus,” the Most Highly Prized Painting in Collec- : tion, Goes for $14,300. a t oe! BU Ss en ae wee ieee | Copper crucifix, Rhenish, twelfth century; jSeligmann & Co........: we . horse, German, i!tiable ornament, H sixteenth || Table ornament, horse, German, seventeenth century; Mr. D) N, Walker......... t = : Table ornament, lion, German, si §0 about 1510, which went to Duveen | century; J. & T. Goldschmidt... 'Brothers for $41,080. This magnificent Table ornament, goat, German, s work represents the risen Christ, and Oe eal Bohler & Steinmeyer....:..... St. Mary Magdalene in the Garden, fable ornament, hen, German, seventeenth Christ is standing on the right draped in jcentry; J..& T. Goldschmidt......... E Aeshe a : ¥ Table ornament, horse, century; J. &I. Gold {Marble statue, *‘A Youth,’’ by a follower of Michael Angelo; A. F, Huber'& Go.... (Alabaster ‘‘Crouching Venus,” Giovanni da Bologna; A. ¥. Huber & Co Terracotta relief, ‘Madonna of the Seligmann & Stucco relief, ‘Madonna and Child;” A. F, Huber & Co P. W. French & Co Fran o da Sant’ Agata; P. W. French & Cc Statuette, (*‘Anatomical Rosenbaum ..... Statuette ‘“Vanus at t Two Florentine, Six- Venetian; iMibew €5° C06. 05 fangs naerce Long walunt seat, s S Amory Carhart Walnut table, Italian, tenth century; Mis Walnut table, Florentine tury; Duyeen ‘Brothers Two lamps, Italian rena 1,200 Among those present at the afternoon sale were Mr. Potter Palmer, Jr.; Mrs. James Speyer, Mr. Arthur B. Davies, Miss Hisie de Wolfe, Mr. Thomas B. Charles, Dr, W. R. Valentine, Mr. Alexander Mor- ton, Mr. Enrico Caruso, Mrs. Reginald De Koven, Mr. Mortimer Schiff, Miss Mer- drical neck) and twisted handles. Mr. T. L. Platt paid $3,000 for a pair of dolphin handled vases of enamelled terra cotta, from the atelier of the Della Robbias, i aie about 1500, and $1,400 for a ‘“Ma-* donna and Child,” in high relief stucco, polychrome and gilded Italian, from the first half of the fifteenth century. Mr. Mortimer L. Schiff bought several items, including an Italian white marble basin, of the sixteenth century, in the form of a child’s sarcophagus, for $1,200. Mr. D. W. Walker paid $2,000 for a bronze inkstanad |in the form of a casket, Paduan fifteenth century. Mr. D. H. Farr, $3,100 for |bronze statuette, “Hercules and the Ar- }cadian Stag,” by Giovanni da Bologna. Mr. Enrico Caruso paid $900 for a col-| fered"stucco relief, “Madonna and: Child with St. John,” Fiorentine fifteenth cen- tury, and $575 for a bronze statuette, “Satyr, After the Antique,” Italian of the sixteenth century. 1 | Other articles selling. for more than $500, with the purchaser’s name and the price, }were as follows :— : Porcelain jardiniere, Chinese, nasty; anonymous bidder.. Porcelain jardiniere, Ming Potter Palmer, Jr, Porcelain jardiniere, Motiimer Sehr ge: [ia tiiatia elem ners eierelsine e'« ° jLustred falence apothecary j Valencia, 1400; Mr. D. W. Walker....... ares tenes Lustred faience jar, Valencia, 1450-1475; Bohler & Steinmeyer... Wood reliquary, French, t! Seligman & (CO). e ens se usied ene bt . 3,860 Ming. dy- cedes De Acosta, Miss Hlizabeth Marbury, Mrs, George T. Bliss and Mrs, Horace Harding. ONG COLLECTION BRINGS sii fo, Chay, ee Be Feature of Sale Was Flemish Tapestry of About 1510 at $41,080 4_+ a “Mgt” Walnut Chest Goes for $10,700 at Auction’ of American Art Association s *. \ From The Inquirer Bureau. NEW YORK, April 4.—With a grand total of $363,855 for the 178 items, the ‘century; Bohler & SteInmeyer...... Sinaiere. 5300) 1,700 Coe easter cicay Gna Cike ty 2,400 bE Stucco, “Madonna ild;” 2 lige | Pratt aguoas) sige BO pee ans 1,209 ed on a white charger, was sold to oom | Statuette, ‘‘Marsy Fifteenth century; ( mann & Co, for $15,500. Another 4 | P, W. French & G 625 gundin tapestry from fean Greniers’ Statuettes, ‘Two Saty ‘Atelier, woven about 1510, representing) Seligman & Co., 800 Two small folding chairs, French, teenth century; Mrs. N. C. Scovill....., 800 Four gilt bronze processional lanterns, 1,480 Rita Lydie art collection was” sold) to day by the American Art Association in, \two sessions. In the afternoon the mar- bles, bronzes and other objects d’Art were sold at the American Art Galleries, thé total being $157,905 for the 123. wems. In the evening the ‘paintings, tapestries, rugs and banners were. sold in the ballroom of the Plaza Hotel and . 8,100 the proceeds were $205,450 for. the 55) items. - | The feature of the sale was a Flemish tapestry of gold and silver thread dating | a red cloak and holding a spade in his) left hand, his right raised as though he were uttering the words “Touch me} not.” Another tapestry, Flemish woven, | about 1510, representing a .mythologi-| cal subject, went to P. W. French &| for $15,500. | A Burgundin tapestry. of about 148 representing Frederic Barbarossa, mount Cavaliers and woodcutters’ went Seligmann & Co. for $10,000. if i | ‘At the afternoon session the highest = price was $10,700, paid by P. W. French) & Co., for a walnut chest or cassone dating about the middle of the sixteenth WIR COR See te teen dustry saad aee A 650 t ; fi a Boxwood ‘‘Adam and Eye,’ German, Six- century, profusely decorated with leis teenth century; Seligman & @o........ _ 8,800 and ornaments in high relief. The same Statuette, ‘‘Borghese. Warrior;’’ anony- bidder also paid $8600 for a pair of PbO Wu oak. ee Lot to Pa Ae i Ly RPE MEN 3,000 |\Wwalnut chests or caseni of the same pe- riod, decorated with coats of arms and) scroll of foliage and flowers. = Seligmann & Co., represented by Eu- gene Claenzer, were heavy bidders, thei) : most important purchases being, a His-) pano-Moresque lustred Faience dish with. mock Arabic inscriptions, made about. 1480, for which they paid $8000. i ; This firm paid $7700 for a relief Ma- donna and Child,” by Mion da Mesole; $7600 for a “Madonna and Ohild” at- tributed to Andrea Della Robbio, and $5500 for a wooden image of “King Clo- taire and an Attendant,’ by a French artist of about the year 1500. : Duveen Brothers paid $8000 for © a amall bronze statuette, “Man Carrying a Child,”. after the manner of Domeinco ‘Poggini and dating to about the middle. of the sixteenth century. The same firm paid $5600 for two candlesticks by. Jacopo Sansovino- eae French & Co. paid $3100 for “Madonna Adoring the Child. with an Angel,” in terra cotta high relief in the style of Andrea Jsella Robbia. ; | J. & T. Goldschmidt paid the same | price for a bronze statuette, “Wrestling ! Women,” by a Flemish artist of the six- | teenth century. Y He ‘Among the private buyers A. V alentine bought an Italian two-handled majolica | vase of the first half of the fifteenth century for $5000; this vase of reddish clay has a full rounaed body with eylin- drical neck and twisted handle. ~ T. L. Platt paid $3000 for a pair of | dolphin handle vases of enamel terra cotta from the Atelier of the Della Robbias, dating about 1500, and $1400 for a “Madonna and Child” in high relief stuc-, ‘ co, polychrome and gilded Italian, from the first half of the fifteenth century. Enrico Caruso was a buyer, paying $900, for a colored stucco relief, ‘“Madonna and Child with St. John,” Florentine, fifteenth century, and #575 for a bronze jetatnette, ‘‘Satyre After the Antique,” Italian, of the sixteenth century. : The more important sales were as fol- lows: Tustred Science Apothecary 1400; D. W. Walker, $13 Wood reliquary, French, Seligmann & $3800. Copper crue Rhenish, Seligmann & Co., $3100. jar. Valencia, thirteenth century, twelfth century, known ag one of the rarest mish weaving at th Meé examples of its highest point of 2) Noli Flemish tapestry - Four table ornaments, sixteenth and seyen- ushtapestry, teenth centuries, from $1200 to $2700. Tangere, _ Marble statue, ‘A Youth,’? by a follower Fle Michael A, ¥F. Huber ee te Angelo, A, er as "development. For this Duveen Bros. paid __ Alabaster, ‘Crouching Venus,’ Giovanni da $41,000. Two of the other tapestries, a Bologna, A. F. Huber & Oo., $1700. Terra cotta relief, ‘Madonna and the Lily, Seligmann & Co., $2400. » Flemish and an old Burgundian example, went to P. W. French &'Co. and J, Selig- . , ‘*Madonn hild,** J. C. Prat Pe as Lr segnL gkU C. Pratt, man for $15,500 each. The other tapestries, Statuette, ‘Two Satyrs Playing Ball,” P, both Burgundian, went to J. Seligman for W. French & Co.. $1026 s Statuette, | <4 Youth,’’~ Francesco da Sant’ /10, 000, and Huber & Co; for $2,200, Atata,,P. W. French & Co,, $1400. _ | Mrs. Lydig’s twelve rare paintings were Statuette, *‘The Borghese Warrior,’ Italian, 5 Y Me earn cehties: a rony ene: $3000, cught by the following purchasers: The Borwood, “Adam and Hye,” German, gix-|Botticelli Venus by F. Steinmeyer for $11,- teenth century, Seligmann & Co., $3800. 300. A late fifteenth century Florentine Other important items of the evening Vi sale with the purchaser’s name and the prices were as follows: “Virgin and Child,’’ by a Florentine artist, Knoedler & Co., $2200. “Virgin and Child,’’ anonymous, $2000. “Madonna. and Child,’ tholomew, Seligmann & irgin and Child, by Knoedler & Go. A Vir- gin and Child by Di Giovanni, by Rudert (agent) for $10,500. The next highest price by Sano di Pietro) Galleries for’ Coello’s. full-length portrait 10.. $2400. “Portrait of a Cavalierin Armor,’’ attributed for $10,300. Other paintings which went to Strozzi, Huber & Co., $1300. for more than $5,000 were two fine por- Tapestry, ‘‘Triumph of the Innocence,’’ Bur- aan . a 6 gundin, about 1470, Huber & Co., $2500. traits by Antonio Moro, one of a woman, and _Persian rug. Seyenteenth century, D. K.the other of a man, the first going for Beta 182000. $6,000, and the other for $5,200. W. Sea- Five Ispaban rugs. $1850 to $3900. seventeenth century, from man (agent) bid six thousand dollars for Velvet cupe, Italian, sixteenth century, Hu- fhe Infanta Margarita by Marinez. ber & Co., $1300. i Hikes ees 3 Velvet cupe, Italian, fifteenth century, D, | Of the six remaining. paintings, a late eth i clea part fifteenth century Florentine Virgin and air of Ss wi a ins eurtains with Jambrequins, Italian, Child went to Knoedler & Co. for 2,200, a (Madonna and Child: by Landi to J, Selig- ‘man for $2,400, a Virgin and Child by Di Pietro to an agent for $2,000, and the two small decorative panels by 'Tintoretto went to W. W. Seaman for $2,000 each. Huber & Co. paid for’a portrait tof%a cavalier in armor $1.300. The total sum paid for the tapestries, ex- sixteenth century, Huber & Co., $3500. THE LYDIG SALE ; Auf 4~ 4 ¥, ‘i Paintings; Tapestries, Hangings, Rare Old Bronzes, and Gther Art Treas- ures. Bring a Total of $362,555. cluding the very exceptional Flemish ex- Yesterday afternoon and evening’ in theample in such unusually good condition, Ae was $43,500. J. Seligman bought two of presence of many excited bidders and on- lookergs, the collection assembled by: Mrs Philip Lydig was sold at auction. This means the dispersal of a comparatively small but valuable and exceptionally homo- genious collection. The afternoon session was held at the American Art Galleries, Madison Square South, and the total ceipts amounted to $157,105. _In the eve- ning, at the Plaza, when Mrs. lLydig’s twelve rare paintings were sold, the larger stm of $205,405 was realized. P. W. French & Go. paid the record $575 for a bronze. statuette. price of the afternoon session, $17,700 for — = pia are a sixteenth century walnut cassone, deco- ‘YI ART SALE rated richly in high relief.. Two other cas- went to the — the Burgundian tapestries for, $15,500 and ‘$10,000 respectively, while P. W. French & Co. paid $15,500 for a Flemish tapestry and Huber & Co. paid $2,500 for a Burgun- dian. This firm also paid $7,700 for the old Italian velvet hangings. The average prices paid for rugs, pottery, and other objects, all illustrating the col- lector’s distinction of taste, were good. En- rico Caruso paid $900 for, a fifteenth cen~- tury stucco relief, fifteenth century Ital- jan, Madonna and Child, with St. John, and re- ) for the paintings was paid by the Blakeslee ® by Nerodia di Bar- of a noblewoman which was sold to them! Soni, also late Renaissance, same firm for $8,600. They were also suc- cessful bidders for a bronze statuette and en TOTAL § Me a ‘fifteenth-century terra-cotta’ medallion . which went for $1,400 and $3,100, respec- ‘/14 WZ. : ee fe ve Pr tively. The rare old bronzes which are so much in demand, and also so difficult to ob- tain at the present ‘time, brought — high prices. Man Carrying a Child, attributed went to Duveen & a to Domenica Poggini, Co. for $8,000. Seligman & Co. bought number of treasures, including a lustred faience dish for $8,000, a relief Madonna and Child, attributed to Mino da Fiesole, $7,700; a Madonna and Child, attributed to Della Robbia, $7,600; and a carved, wooden figure of King Clotaire and an Attendant, for $5,500. The record price of the sale was for one of the beautiful tapestries, given the High Benes: Rule © When Treasures Collected by Society Woman Go Under Hammer. BIDDING MOST SPIRITED Great “‘Noli Me Tangere’’ Tap- estry Brings $41,000, Top Price of Sale—Botticelli’s Venus Takes $11,300. A large crowd turned out in force yes- terday afternoon and ev ening at the sale of the art collection made by Mrs. Philip M. Lydig, who is now in a sanatorium in Rochester, Minn., recovering from an op eration. At the afternoon session obiets dart were. offered in the American Art Gal- leries, in Madison Square South, while in! the evening paintings were offered in the grand ballroom of the Plaza Hotel. Thomas E. Kirby, who conducted the. Sale, asserted that it was the greatest ever held, because it was ‘the greatest lat of art treasures ever sold.” The total receipts at the afternoon ses- sion were $157,105. The evening’s total was making the total receipts for the High Prices Ruled. The top price at the afternoon session | was $17,700, paid by P. W. French &) Co.. for a walnut chest,or. cassone «tf the sixteenth century—a remarkably fine example of the late Renaissance type, said to be from the workshop of Tatti, in Rome. The chest was profusely decorated with figures and ornaments in high relief and was in the form of| a Roman sarcophagus, supported on four lion feet and covered by a deep lid, with a heavy. hasp and padlock in wrought /} iron, { The same firm gave $8,600 for a pair of ! walnut chests of the same period. The} firm also. paid $8,100 for a high relief enamelled terra cotta medallion of the fifteenth _ century entitled “Madonna Adoring the Child, with an Angel.” It collection | pie was formerly in the Molinier They gave also $1,400 for in Paris. | | | | | | | | THE BOTTLCELLI ’’ VENUS. Which brought $11,300 at the sale of Mrs. Philip Lydig’s art treasures. Youth,” a bronze statuette by Francesco { Da Sant’ Agata. | There was brisk bidding for a bronze } RLASUCREC entitled ‘Man Carrying a Child,” attributed to Domenico Poggini. | tt was finally knocked down to the Du: | veens for $8,000, A similar figure is in} the collection of the late J. P, Morgan. | aes Same buyers gave $7,600 for “Two] Candlesticks in’the Form of Putti” (bronze statuettes) and $1,700 for a Florentine walnut table of the sixteenth century. Seligman & Co. paid $8,000 for a lustred faience dish with mock Arabic tions ornamented in pale and dark blue and gold lustre on a cream colored ground. The Seligmans also bought for $7,700 a half-length relief marble “Madonna and Child,” by Mino da Fie- | sole, who died in Florence in 1484. For another “Madonna and Child,’ done inj terra cotta and attributed to Della Robbia, they gave $7,600; also $5,500 for a carved wooden figure of ‘‘King Clo- taire and an Attendant,” from the altar, piece of St. Eloi, in a "church at Re-| closes, France. Caruso a Purchaser. Enrico Caruso gave $900 after a spirit- ed bidding bout for a middle relief col-| ored stucco of the “Madonna and C hild | with St. John,” by an Italian artist of) the fifteenth century. He also gave] $575 for a bronze statuette, ‘Sa tyr, After the Antique,” by an Italian artist. | Other art objects that brought more | than $2,000 were: “The Borghese Wa ir | rior,’ sold to R. H, Lornenz for $3,000; | two. carvings, dam and Eve,” to the| Seligmans, $3,800; a two-handled majol- iea vase, to E. Valentine, $5,000, and a silver gilt table ornament in the form of a lion to J. & I. Goldschmidt, $2,200. Those present at the afternoon ses- sion included Miss:Mercedes de Acosta, Mrs. Juydig’s sister; Mrs. Horace Har- ding, Mrs. James Speyer, Miss Elsie De Wolfe, Mrs. George I. Baker, jr., Mrs. George T. Bliss and Mrs. Reginald De Koven. Paintings Bring High ‘Prices. In the evening there were twelve paint- ings sold. Of these, Botticelli’s ‘‘Venus’”’ brought the top price, $11,200. It was pought by F. Steinmyer. The next high- ‘Vir- est price was $10 0,500 for Giovanni's gin and Child,’’ sold to Rudert as agent. The Blakeslee Galleries gave $10,300 for Coello’s ‘Portrait of a Noblewoman.” There was keen competition for the great Flemish tapestry, ‘‘Noli Me Tan- ‘gere.’’ The first bid was $25,000. In less than three minutes it ran up to $40,000, ‘and it was knocked down a minute later to ttie Duveens for $41,000, J. cae | being he. underbidder. The composition | jrepresents the risen Christ and Saint | Mary Magdalen. in the garden, P, Ww. | French gave $15,500: for another tapestry, (a mythological subject, and Mr. Selig- lman paid the same price for a Burgun- dian tapestry, ‘‘Frederick Barbarossa.” Prices of the principal items sold were as follows: PAINTINGS. Title and artist. Buyer and price. “Venus,” Botticelli; F. Steinmyer......$11,300 “Virgin and Child,’’ Fiorentine (about 1. JXnoedler & Co....../ Pron ts AA telgies 2,200 “Virgin and Child,’’ Di Pietro; Rudert (ABENT) ee eee et es ee eta 2,000 “Virgin and Child, with SS. Bernardino and Catherine of Sien Di Giovanni; i Rudert (agent) .. 3 10,500 “Madonna and Child, man 2,400 “Seene from the of the True Cross.’’ Tintoretto; W. W. Seaman | (agent) . ee cree tet t eee tee ce ts 2,000 “Scene from the Legend of the True Cross.’ Tintoretto; W. W. Seaman (agent) 2,000 | inscrip- | of | 14 in ‘a Man,”* of a Cayalier: & “Portrait Huber “Portrait 1,300 ) Moore; Ehrich Galleries,. 6,000 | ‘*‘Portrait of a Woman,’’ Moore; Ehrich Galleries. . . 5,200 “Pertrait of a Noblewoma rnvnes Blakeslee :Galheries ... 10,300 “The Infanta Margarita,’ 6 We Seaman Masene) acre. sas nae 6,000 i TAPES' sTRIES. Cate logue No, 36—Flemish; Duveen Brothers . 4 —Burgundian; Seligman.. Bee 38—Flemish; P. French & © md "500 189—Burgundian; Seligman. 15,700 140—Burgundian—Huber & Co. 2.500 141—-Hest Persia, Ispahan; D. I 2,000 ; & ast Persia, TIspahan; Vital Benet ce st Persia, Ispahan, Vital Benguiat ‘ 50 3,900 ‘jast night to Mr. ) 145—EHast Persia, Ispahan; Vital Benguiat 800 146—East Persia, Ispahan; Vital Beneulat dane ; Mrs. Rum— He + 1,150 | di: «is NO 169—1I talian als et Hanetnees Huber & at Co. 7,700 HIGH PRICES PAID FOR MRS. LYDIG'S ART rs Se es i Sodat World Out in Force to Bid for Her Treasures. Ne tid Unusual ESTRY GOES AT $41,000 $11,300 for Botticelli Venus, and Walnut Chest Fetches $10,700. TEAR The eagerly awaited sale of Mrs. Philip. Liydig’s. art collection gave both the social and the art worlds a full It began with a matinee Art Associa- porcelains, day yesterday. session at the American tion rooms, where the pronzes and furniture were sold for a total of $157,105. Then the scene Shifted in the evening pallroom’ of the Plaza Hotel,’ all the characters reappeared, a proper change of costume, to the selling .of the Botticelli to the where after witness | Venus, the Moro portraits and the won- derful tapestries and hangings. This accomplished, Mr.. Kirby still presiding as auctioneer, and $205,- 450 was added to the’ totals, making $362,555 in all for the collection. Although the figures appear to be jarge, some disappointment was ex- pressed by the experts present at the figures, and the remark: was frequently heard that ‘the picture part of the col- lection would have sold better. in Paris. Tt was thought there were too few of such. collections in this country to have formed a cult for such rare paintings | by masters; with unfamiliar names, and as a matter of fact most of the bidding came from the dealers The best’ price of the evening was $41,000, pai by Duveen Bros., for | the famous “Noi Me Tangere” tapestry, which represents the risen Christ and was finally the garden. This tapestry, Mar y in | which was formerly in the Spitzer col- lection, represents the Flemish weav- ing at its highest development. The Botticelli Venus came from the Ferroni Palace in Florence, and subse- quently lay hidden away for years in an English country house, so that few modern critics knew of it until Crowe and Cavalcaselle unearthed it. It sold Steinmeyer for $11,- 300. The beautiful “Virgin S.S. Bernardino and Cat by Di Giovanni, sold to $10,500; the Moro portraits sold to the Bhrich Galleries for $6,000 and $5,200, respectively; and the Blakeslee Gallery bought the Coello for $10,300. The list-of the principal evening sales, and Child, With herine of Siena,” Mr. Rudert for | with title, purehaser and- price fol- ‘J lows: 4 ‘venus,’ Sandro Botticelli; Mr. Stein- WHOMET. |. esd haga oe $11,300 “Virgin - and Chilc Knoedler & Co.. 2,200. “Virgin and Child,” Sano di Pietro; 2,000 Mr. Rudert, agent.. “Virgin, Child and aints,’’ di Giovanni; Mr. Rudert, agent... 10,500 Neroccio de’ “Madonna and Child,” Seligman && Bartolommeo Landi; (Ofc yy SAE a ee eee fit ne Lee “Legend Tintoretto 2)* W. Seaman) agents asda ke ali in armor, Bernardo Stroz (attribute Huber & Co “Portrait of a Man Antonio Moro; Ehrich Galleries... 2... ./..+5. 23.5 “Portrait | of a Woman,” Antonio Moro; Ehrich Galleries. “Portrait of a /~Nobleman, Blakeslee Galleries “Infanta Margarita, Seaman, agent. ..). “Noli me Tang veen Bros... Burgundian tary Woodcutters”’ ; Flemish (1510) French) & «Co, ny. 3. i wits Burgundian (1460) tapestry, “Fred- erick Barbarossa’’ Seligman & Ca, Burgundian tapestry, the Innocents’; Huher Ispahan rug; D. Kelekian... ‘tapestry; ; Ispahan Vitall Benguiat i Ispahan Vitall Benguiat 1,850 Ispahan li Benguiat 3,900 Ispahan ll Benguiat 1,800 Ispahan ll Benguiat 1,600 Ispahan rug; Mrs. Rumsey... 1,150 Indian rug (about 1630); V. BUTE BE Bis Coa a re OUR a a ee eae 5,100 Armeénian stole; Huber & Co 25 Italian cope, xteenth centur: Deny VOG.cuiscaren monuments apes 1,800 Italian cope, fifteenth century; D, Kelekian 1,000 Crimson velvet har Co 4 3,200 Crimson velyet hangings of the Ly- dig music room; Huber & Co..... 7,700 At the afternoon session there was every outward manifestation that. some- thing important was taking place. Be- fore the doors of the galleries on Madi- son Square South there was a crush of all that is the latest in the way of motor cars, and in the lobbbies stood groups .of women fashionaly attired, but inclined to tears, ‘ to secure admission cards ta advance anc hence had been denied at the e.- trance. Inside even the standing room Was completely occupied. Among the standees was no less a personage than Enrico Caruso, who ar- rived late. Mr..Caruso failed to abtain a seat, but managed to secure twu of Mrs, Lydig’s wonderful little bronzes. He bid | upon still another, a Gladiator after the} manner. of Domienigo Poggini, and thought he had secured it at $625. Buf there were two bidders, and the tech- nicalities of the auction required it to be put up again, when it sold to Hugo | 4 Blumenthal for $725 notables Dr. Among the other Mrs. James Speyer, William were who had neglected | present} PARR: Davies, ‘the piintek wae thane, some purchases; Miss Elizabeth Mar-| hury, Mrs. Reginald De Koven, Mrs. Willy Doug 21ass, ‘Mrs. Goerge Blumen-. tial, Mrs. Amory Carhart and Mrs. Storrs- Wells. The ‘highest price of the session was $10,700, paid by French & ©o., for a wal- nut cassone, or chest, of a late Re- naissance type, thougnt to have come| from the Tatti workshop in Rome. It was. profusely, caryed in high relfef, | the incurving sides of the iower part | of the chest being decorated with a re-} ‘lief: of Apollo. slaying the sons and daughters of Niobe. French & Co. pur- chased two othér walnut cassoni of the same period for $8,600. ° The selling of the bronze statuettes, aroused great interest and no one was willing to venture a guess in advance as to what they would bring. They are so rare that it was feared no publia would he found to appreciate them. Duveen Bros. bought the ‘Man Carry-| ing a Child,” by Domenigo Poggini, for $8,000, which was the top- figure for the statuettes. The figure is similar to one in the J. Pierpont, Morgan col; lection. which was: attributed: te Pog- gini by Dr. Bode. Duveen Bros. also purchased two bronze candlesticks ‘in the form of putti, by Jacopo Sansovini |for $5,600. The “Wrestling Women,” by [a Flemish sculptor, was sold to S. Gold- schmidt for $3,100, and) D. H. Farr Ramee the “Hercules and Stag,” by Giovanni da Bologna, for. $3,100. Seligman & Co. purchased the King ;Clotaire and Attendant by a French woodcarver of 1500 for $5,500, and for the quaint figures in boxwood of Adam and Eve, supposedly by Konrad Meit, they pai donna % lief, Which Dr. Valentiner attributes to Mino da Fiesole (1450), for $7,700; the’ Madonna and Child by Awdrea della Robbia for $7,600; a Madonna, of the Lilies Suckling the. Child, by a late fifteenth century Florentine artist, who, worked in the della Robbia studios, for $2,400; a small oblong reliquary of French Limoges, eighteenth eentury, for $3,800; "an archaic small Rhenish cruci- fix in enamels for $3,100, and a lustred Faieince dish with mock Arabic descrip- tions, fourteen inches in diameter, for $3,000. It was ornamented in pale blue, dark blue and gold lustre, and dated from the first period of Hispano- Moresque ware. Other sales were: A large two handled majolica vase, fifteenth cen- tury, to H. Valentine, for $5,000; a table ornament in silver gilt of a prancing horse, to Bohler & ‘Steinmeyer, for. $1, 800;, anothér in the form of a lion, to J. & I. Goldschmidt, for $2,200; another, a.prancing goat, to Bohler & Stein- meyer, for $1,200; a jumping horse in silver gilt, to J. & I. Goldschmidt, for $2,700; a marble youth by a pupil of Michelangelo, to D. F. Huber & Co., for $1,700; Crouching Venus, by Giovanni. da. Bologna, to Huber & Go., for $1,700; Madonna and Child, with Angel, by Buglioni,, to P. W. French & Co., for { $3, 100; pair of dolphin handled vases by Jthe © della Robbias to J. T. Pratt for $3800. They. pought the Ma- | nd Child, in marble, middle re- | l lg gilt ‘proce a eee to Huber & Co., for walfut seat, to Mrs. Amory wrt walnut table, Duv at, 700, and an Italian doorway, to | }& Co., for $1,050. Maw ld Nay’ 4-1-1 RITA LYDIG SALE. The sales of the so-called Rita Ly- dig art collections, which occurred Fri- day afternoon and ev ening of last week, after the Art News had gone to press, were almost unique in the history of New York art auctions, as they par- took of the character and atmosphere of art business and social gatherings. Dealers, artists and men and women prominent in Society jostled and rub- bed elbows with each ier at the af- ternoon session at the American Art Galleries, and again mingled, with more space and air, at the evening ses- sion in the Plaza ballroom. There was, for several obvious reasons, much curiosity, both in the social and art trade worlds, regarding this sale, and, quite naturally, numberless rumors and stories regarding its cause, the me- thod of its management, etc. The dailies, always eager for sensation had “played it up” for weeks in advance, and so the sale became more than an incident—and was an event. The personalities of the sellers, for Capt. and Mrs. Lydig have long been prominent in Society and as art col- lectors, the well-remembered fact that the late Stanford White had largely designed their handsome residence in East 52 St., and had had much to do with its furnishing and appointments, the known taste, especially in Gothic and Renaissance art, of Mrs. Lydig, in- herited from her Spanish ancestors, and lastly, her illness and absence which gave a pathetic touch to the sale, all combined to make it memorable. Was the sale successful? That’s an- other question. The dealers who were out in force, especially those or their representatives who had sold, here or abroad, most of the pictures and art ob- jects, were the hie! stipporters and largest buyers, many of them securing no one knows whether at a profit or loss but themselves, and they won't tell, the very pictures and art objects they had disposed of to the Lydigs, and reached, and ra i rule, | sold brou | was NEW MOON, By George H. Bogert. In combined art some high figures especially for the tapestries bronzes, terra cottas and wood gures, the textiles sold as a to Mr. Vitall Benguiat, who them in turn to the Lydigs ght comparatively low sums. a curious study this sale, while one whose full and inside story may some day be told, but cannot be related here Were | Chin had | It Salesdtellazdeborel (GEAR Ca ew Ras tenibiiggnsion cde gpmoo sens Porcelain Jardiniere, CSe266n Cm le Ghanlesi mateo siete ere Glazed Pottery Vase, Mesopotamian (14th Century)» Bernet (gts) ee cii-e senrs Glazed Pottery Vase, Mesopotamian (14th Century), Bernet (agt.)...-..-+.-2es cree eee Tispano-Moresque Lustred Faience Dish with Mock Arabic Inscriptions (1400-1430), J. Seligmann Hispano-Moresque Lustred Faience Apothecary Jar with Mock Arabic Inscriptions (1400- 143)), D. W. Walke Tispano-Mo Jar (1 wo-Handled Majol EB. Valentine. - *lorentine Century) /and now. Florentine ‘Majolica Apothecary ‘Jar (14th Cen- . 3 isa) ye OR elees Sebdep a nodone abou Ouo coum bn | (First Session.) Paenza Majolica Apothe (16th Cen- | o + A eREMO! x fe 7 Stucy)), \Weudihaateloy we (Cohen gad monnoedeson _The a DSuehbess large gallery oF the Ameri- ile rbino’ M ajolica Plate (16th Century), H ; can Art Association, 6 East 23 Street, was trench Limoges Reliquary (13th Century |filled to overflowing when Mr. Thomas .) _Seligmanm .....--.ssretee seer ass estas | ai zer t anis *FHWdCl o 2 *e. ° Kirby began the afternoon sale of art ob- G@man Rhenish Crucitp (12th Century), J. ‘Mis <= ; nf ‘S\olblegedghiusy ope ngna oe Beda one Sodus Looe oo] | Jects Friday afternoon, April 4, and the German Table Ornament, (Late 16th icrowds kept coming all during the session, Century), I Steinmey only to be turned away, for lack of room. rs Sara 6 MRIURTEee |The curiosity and excitement _were remin- German Table Ornament, Lion (Late 16th Cen- liscent of the Marquand sale of some years tury), J, & S. Goldschmidt.......-...-..... ago. Mondaines of note; Caruso, the} Ceman Table: Ornament, | eee es, ik rer’ folk lul Century einmeyer tenor, who was buyer, player tolk, club German Tz rnament, Hen (17th Century), members, adiists and collectors, and above J. & S. Jean ebsiat cadena OE erDS GE TODS a lall dealers, faced the auctioneer -when~ he aes : Rook sep : ylbeiGe SenGoldschtnic tye mir teiareer wee began the sale, with that familiar, telling German Oval Pair (18th yoice, which has won him as large a for- _ Schiff ....... tune as has Caruso's velvety tones. At this)| ltahan Brass Sanctuary 2 ee c le $157,105 5 duber .6e (on. , aiternoon Session . of the sale wa Italian Marble Relief, “Madonna and Child,” by the total. The highest figure was $10,700, Fiesola, J. S : : paid by P. W. French & (Cor, toe 2 LOW ee Sees G ‘AT South, anes follower of | oA Michael Angelo, ber & | century Cassone, cand the same buyers paid Marble Statue, “Crouching Vem $gQ00 for a pair of the same wedding YolareCh wektisioe eodCuneGous ocuuade snuponos ; : Dell Robbi (attributed) Mad 1 a c ella NoDbDia attributed), JVLadonna anc \ Cees 2: eer 3 Child??- Ja Selignranntscss oem geass The s f the sale in detail is told in s | ie story ie) € sa Della Robbia (style), “Madonna Adoring Christ the list which follows, and which gives the — with Angel,” P. W. French & Co...... : title of the article, the buyer’s name when Terra Corte) Relief, “Madonna of the Lilies,” : , SMiowmek 5 Go ous abu como Un anno obtainable, and the price brought. Seca Weal oh alias Wee Suteace P -y Bowl, Ming Dynasty (1368 ; Wy, Piatto ctl seen eal oe ae iS 1643), er cs eae ae ae IA 125 Stucco Relief Child,” G. T WGtcneca ip ery Vase ing Dynasty (1368- BAU be ve leeseekalotede (once lcleials eit iehonesn cipsis sieve nsyehaieiere pene BORLEDY ¥ ial ‘ ‘ ; 150 Stucco Relief, “Madonna and Child With St. ) 1643), P. J. McCu ans SCE BEC STcO sy5 e Glazed Pottery Vase, el #. CarusO....+++++-- ete eee ene € (Ei8-907), Dotter Paliner: 4 350. Stucco’ Relief, “Madonna and Child + aze Pottery Vas CO. sererereeeteeees oe Chinese Glazed Pot or 375 Stucco, Madonna and Child,” Pratt : (618- 907), Seaman_(agt.) A o Lone sass i e) Porcelain Jardiniere, Ming Dynasty W hite Marble Basin (16th Century), M. Schiff -1619), Seaman (agt.) 500 Italian Porphvry Mortor and Pestle (6th Cen- POrCelai ardiniere, _tury), Chelsea ....-...--++. Dette es Pee | _ Porcelain Jar (Gea) 500 SEELOEG, “Reclining Woman” (6th-5th Cen- { Poreelain Jardinic = tury re yor @ . ae eee ee 2-1566), Potter P Tice 500 Statuette, Man” (6th-sth Century a) | Chinese Poreelain Jardiniere, Ming Dynasty SAE Ba Ront Dad @Seasias Ser tana s. eitocte ha aaa —_— a ————— — : . 1,200 600 5,100 300 160 7,700 1,700 1,700 7,600 | 3,100 2,400 3,000 1,400 90) 730 1,200 1,000 200 160 140 er Statuete, “Ay Young aMia (6th-4th Century ‘BENS, PR SAE HAT ed oc alae eee 34) ea C) Ngee eee Day 150 |, Three Cushions (17th Century Flemish Mate- Statuette, ‘‘Mar: 1s” (e | rial), Huber & Co.. 600 bh 1s We French | & Co... 625 | Cushion (18th Century Spanish Material), J. Bronze Inkstand form of Caske | Seligmann 2 310 ~ Century), D. W. Walker. 2,000} Cushion (18th Century Spanish M : Statuette, “Anatomical Figure,’ F lorentine MirsiH Sm Bava .cs tiawe bas toes ole oA 45 (16th Century), Wee Rosenbaum nene 675} Cushion (18th Century, Italian Z Statuette, ag G jladiator,” manner of D. Pog- (a Gurtains Virs eAu Ds eB randeicne ste 1 ree 40 _ gini (16th Century Blumenthalicsw.a. so | Three ce Curtains, Italian (17th Century), Statuette, “Man Carrying a Child,’ manner of Huber | & 800 D. Poggini (16th Century), Duveen Bros.... 8,000 | Three Statuette, “Hercules and the Arcadian 2 Hub 600 _by G. Da Bologna, IDE Wels Ine sere on r Three Lace Curtains, Italian (17th Century), Statuette, “Venus at the Bath,” manner of G. | Albentsunvachectonea eee ; 575 _Da Bologna (16th Century), D. W. Walker.. 650! Pair of Curtains, Alt ade 200 juestrian Statuette of Henry IV of France | Pair of Curtains, Italian, Mrs. 3 hool of G. Da Bologna, Seaman (agt.)... 800 BUS LC ClSies vein See aeh es wre nals Si 608 100 Statuettes Pair of Candlesticks in the form of Six Lace Curtains, Italian, Huber & Co.. 220 Putti, by J. Sansovino, Duveen Bros........ ,600 Two Lace Curtains, Bernet (agt.) 5 aS 210 Bronze Inkstand (16th Century), Hessline. . 5 Wood Mantles, Bernet (agt.)..... : : 30) Statuette, wo Satyrs Playing Ball,” by Cushion (15th Century Italian Mater Dy ClO Ee Vemb nen chine Cosmaneereaee ee Stee oe 1,025 | ihyepnaebibsl os SAAR ee Be a eaaeic 150 Statuette, “A Youth,” by F. da Santagata, P. | : Se, “Wrestling Women,” Flemish (16th | (Second Session.) entur GaSo ts) ¢ 310 : Statuerie’ © Borghese Warvion’ Taian ‘Gein? 1? The Plaza Ballroom and evening dress Century), Statuette, a 16th Century), THorenzi(act) sea mene: 3,000 was the setting for the second and final fter the Antique,” Italian session of the sale Friday night. Again MeL Oe Ata c.g cijemy ons hoe se rere aller < re and yr ine Bronze Apothecary’s Mortar, Italian (18th i WINGS: vel dealers galore and prominent Century), H. Van Slochem................ 79 | society men and women, and again the Bronze spothecety ROE Italian (18th +. ||curiosity and suppressed excitement were BH OH eat LB Ese DeLTeas “>, almost unique for such an occasion. A Wood Statue, “King Clot and an Attend- ant” (about 1500), J. Seligmann Statue, “St. Sylvester, (about 15)0), D. W. total of $20 03,450_ was obtained, which with the first session’s total made a grand total Wey Bishoae of” Seb Statue, “St. Blaise (? ste in | Cappadocia,” (about 1500), D. W. Walker 225 | Mr. Kirby, contrary to his usual custom, air of Consoles (about 1500), Huber & Co 300 |made an opening address, in which he German Wood Carving, ‘Adam and E (about 1520), J. Seligmann Two Walnut Armchairs, tury), Seligmann Two Walnut Armchai Leia )ss Sellictineniin 5 nan ood Womens a oeb ge 900 Sour Walnut Chai Italian (16th Centur Bernete (atime canst cemiceicis veins ohaetane ;stated that “Never before had there been such a sale, with such remarkable objects 909 ‘in this country.” Pausing a moment, to have this statement take due effect, he said harply and clearly, “What am 1 offered 400 for this grand example of Botticelli. ® i) Walnut Cacquetoire Chair, French (16th Cen- > (The first number, a full length female nude Libera ys Molalbeedonehobeleny onan Wb od ace nes Oe Be wae 500 in ten ra ite ian Repo heaBenkt M Walnut Cacquetoire Chair, French (16th Cen- empera like the Ons in the Berlin Mu- tury), J. Seligmann. 375 seum, of which Dr. Bode has expressed the Two Small ela : Chi go) Pinion hat it is a genuine work. tury), if N. 80! RAIA eRe oe i Seay are ' 5 aero Ain Hairs CP SELB Rese = STERN GOTIGEDE |; There w as an ominous silence, and then he (Ait berardei © On, tke ermine ence makatce 350 || said $1,000. he bids came slowly and hesi- four Sconce Spanish (16th Centur Hu- tatinely, and soon slackened. Mr. Kirby joys tee IC: A Soreness 5 560 4 3 as evidently surprised. He hesitated at 180 |the last bid of $11,300, and then his pencil /came down, but not with its accustomed S OUaEB CON GER DLC ChEC Oa AIsU iomeee Vane nan sharp ring of triumph. “It is not a good 18th Century), Huber & ( night for Botticellis,” remarked a collector. ong Walnut (16th Century Style), Mrs. = = =| The deed was done, and Mr. Steinmeyer of Three Oak J ‘ tury), Bernet (agt.) Oak Armch with Paneled Back, (17th Century), G. H. Rosenbaum pee: pier dal lanl arian veere irene 1,500 | aris, New York and Cologne carried off Mrs. 1 : the Venus. ° Walnut abies 1 oe The Primitives came next and only one, Miss Elsie De S/S: WR ia Ae Se ag Wire Ror Gs acs ets te siakiera , Gin (Comers aah), the charming Matteo dei Giovanni, repro Mrs. Geo. F. te is aac, ie ee tis duced in the Arr News of March 29, Walnut ble, Italian (16th Centu St brought a really good figure, namely, GanrollimScucliacy east aise erecta meron oe g c ¢ z phase % eat ae Walnut Table, Florentine (16th Cent uty), ‘Du- $10,500, from an agent. The two Tinto ween BLOS: «govtes Height, 1414 inches. Part of a series of the ‘““Labors of Hercules.” An identical group in the Wallace Collection, illustrated in Dr. Bode’s “Italian Bronze Statuettes,” Vol. III, No. CXCIX. One of the masterpieces among Giovanni da Bologna’s bronze statuettes. Purchased from J. & S. Goldschmidt. No. 54 MANNER OF GIOVANNI DA BOLOGNA (Latrer part or THE XVIrH Century) VENUS AT THE BATH co (Statuette, bronze. Black patina) oe wg = NG) THE nude Venus rests her left arm on a slender classic vase, which stands beside her on a pedestal partly covered with drapery. The weight of her body is borne on her right leg, her left being crossed in front of her so that she may the more easily remove her sandal with her right hand. Her hair is elaborately dressed. Height, 9 inches. After a classical statue. Quite in style of the acknowledged works of Giovanni da Bologna, showing the same motive as the statuette reproduced in Dr. Bode’s “Italian Bronze Statuettes,” Vol. 3. Purchased from M. Fridel, Paris. Wd ee VEE Akt 4 OE. No. 55 SCHOOL OF GIOVANNI DA BOLOGNA (Larrer part or THE XVITH CEentuRY) EQUESTRIAN STATUETTE OF HENRY IV OF FRANCE —_ (Bronze. Brown patina) : Ve paw Tue king, who is in complete armor save for his head, which is uncovered, rides a steed which prances on its hind legs as though suddenly reined back. The king looks down toward the ground at the right as if an enemy were lying at the feet of the horse. In his right hand Henry holds a short sword, while his left grasps the bridle reins, with which he pulls back the head of the horse. The king is bearded, as in his best known portraits. Height, 7 inches. Purchased from M. Fridel, Paris. No. 56 JACOPO SANSOVINO Born in Venice in 1486; died there in 1570. Worked in Florence, Rome and Venice. Most important sculptor in Venice during the Renaissance. Also an architect. TWO CANDLESTICKS IN THE FORM OF PUTTI ah OW or, ae (Statuettes, ey) yee aes THE two children, nude except for scarfs wound round their waists, carry candle sockets shaped like baskets on their shoul- ders, the one grasping his burden by the brim, the other by the upper part of the body. They are resting one on the right, one on the left foot, with the other foot drawn back, each stand- ing on a round plinth which rests on an elaborately decorated triangular base consisting of three volutes surmounted by winged sea-horses and separated by cherub heads. The lowest portion of the base is composed of scrolls and acanthus leaves. Height, 101% inches. An identical pair of figures were in the Taylor Collection which was sold in London in July, 1912; another pair in the collection of Mr. E. Simon, in Berlin, reproduced in Dr. Bode’s “Italian Bronze Statu- ettes,” Vol. 8, and attributed to Alessandro Vittoria. Purchased from Seligmann & Co. No. 57 VENETIAN ARTIST (Late XVItH Century) BRONZE INKSTAND ee (Dark patina) ae eee ( Oise oie KDE GADROONED urn supported by three winged genii with curly hair whose legs terminate at the knees in lion-feet. Between the figures free-standing scroll and floral ornaments. On the lid a cupid holding part of a bow. ‘This figure is a modern addition. Height, 9 inches. The composition is in the style of Alessandro Vittoria and Rocca- tagliata. Purchased from M., Fridel, Paris. No. 58 FLEMISH ARTIST WORKING IN ITALY (Late XVIruH Century) WRESTLING WOMEN > / 00 ec (Statuette, bronze. ee eee ; legs, her right hand on the head and her left on the abdomen of her opponent, whom she forces to bend backward. The latter grasps the upper left arm of the former with her right hand, her left on the other’s hip, and struggles as though about to yield. Height, 8 inches. The same group is in the Wallace Collection. Described in Dr. Bode’s “Italian Bronze Statuettes,” Vol. 3. Purchased from Gimpel & Wildenstein. Y i LCKAA Or the two large-limbed women, one stands with outspread WL, WV An No. 59 ITALIAN ARTIST (Late XVIiru Century) THE BORGHESE WARRIOR (Statuette, bronze. Blaek\patina) 7 Oss a oe Va 28 L A REDUCED copy of the famous classical statue now in the Louvre. As in the original the shield and sword blade (are missing. Height, 14 mches. A similar figure in the Kaiser Friedrich Museum, reproduced in Bode, “Italienische Bronzen, Museum, Berlin,” No. 410. 7 > > > Purchased from Gimpel & Wildenstem. Le} ¢ No. 60 ITALIAN ARTIST (Lare XVIvrH Century) SATYR, AFTER THE ANTIQUE =p aoe. (Statuette, bronze. Brown patina) Fuut-sBopiep bearded man, striding forward with the right foot in advance and the right hand upraised, holding a curved stick. He wears a lion-skin tied around the neck, with the knotted claws dangling in front on his chest. The rest of the skin falls behind until it is caught up and twisted around the left arm. On his head a garland of reeds. Height, 13 inches. Purchased from M. Fridel, Paris. ~ O)} No. 61 ITALIAN ARTIST (XVIlIru Century) BRONZE APOTHECARY’S MOREAR ly ff — o ; __, (Wall statue, limestone, remains of coloring) THE saint is represented as Pope, with his attribute, the bull, by his side. Over a long, girdled alb Saint Sylvester wears a cope which reveals the amice at the throat and the stole crossed in front of his breast. On his head the triple tiara. The right arm is raised in benediction. The left arm is missing. Height, 31 inches. Saint Sylvester (died 835 A.D.) converted Constantine, who made him Bishop of Rome. The bull, his symbol, was restored by him to life after being killed by a magician who said he knew the name of the Omnipotent and whispered the name in the ear of the animal, upon which the bull fell dead. Sylvester said the deed was done in the name of Satan and revived the animal by making the sign of the cross over it. , oo co No. 65 FRENCH ARTIST: SCHOOL OF THE LOIRE (Azoutr 1500) SAINT BLAISE (?), BISHOP OF SEBASTE IN CAPPADOCIA > 5 (Wall statue, limestone, withtraces of color) Ae Tue saint is represented as bishop, wearing a long cope over an alb and a dalmatic. About his neck is an appareled amice and on his head a high mitre. In his left hand he holds the pastoral staff, the upper part of which is missing, while with his right he makes the gesture of benediction. “Saint Blaise’ (?) on the plinth, in Gothic letters. Height, 37 inches. Saint Blaise was patron saint of Ragusa and healer of diseases of the throat. He died in 289 A.D. { / No. 66 FRENCH ARTIST: ILE DE FRANCE (Asoutr 1500) PAIR OF CONSOLES as (Middle relief, limestone) c Tuer under part of each console is décoratéd with the half figure of an angel garbed as a choir boy holding the liturgical book and singing. Each wears a hooded cope fastened in front with a large morse. Fillets are bound around their flowing hair. Their large wings are spread out on either side and curve inward toward the bottom. Height, 19 inches; width, 11¥% inches; depth, 8 inches. GERMAN SCULPTURE No. 67 MANNER OF KONRAD MEIT | Born in Worms, after 1514. Court Sculptor of Margarita of | Austria in Brussels; in 1586 member of the Guild in Antwerp. Most important sculptor in the Netherlands during the early Renaissance. ADAM AND EVE <— . (ull round, boxwood) SMALL nude figures. Adam stands with the/right leg behind the left, stretching his left hand out to Eve, who gives him the apple. He has bushy hair and is meagerly proportioned. Eve stands with the left leg behind the right and, smiling, turns her head toward him. Her hair hangs loosely. On small rec- tangular plinths. Height, 534, inches. These two remarkable carvings were executed about 1520 and show much resemblance to the works of Konrad Meit (compare, for instance, the treatment of the faces and the hair with the portrait figures on the tombs in St. Nicholas de Tolentin at Brou). Figures of the same style attributed to Konrad Meit are in the Museum at Vienna and in Gotha. Purchased from Seligmann & Co. ' FURNITURE ENGLISH, ITALIAN, FRENCH SPANISH AND PORTUGUESE OF THE XVtH, XVItH, XVIItH AND XVIIItH CENTURIES 68—T WO WALNUT SAVONAROLA CHAIRS ITALIAN: FLORENTINE (XVrH Ceyrury) Wy — SC, 4 fk An AIAG An le Or the shape known as Savonarola or X chairs, with back and arms. One chair has conventionalized lion feet. The back and seat covered with sixteenth century gold NA embroidery on red velvet. Height, 36 inches; width, 2534, inches; depth, 19% inches. Purchased from the late E. Moliner, Paris. 69—TWO WALNUT ARMCHAIRS ITALIAN: FLORENTINE (seconp parr or XVIrH Cen- ', Y Y ia} oS TURY) Cala, Aan 4 Ly REcTANGULAR seat, resting on four straight legs, carved with guilloches and connected in front’ by an elaborate stretcher. The back is composed of two straight posts with acanthus-leaf finials, joined by a broad cushioned rest. Back and seat cushioned in old red velvet orna- mented with sixteenth century embroidery in gold. Height of back, 43 inches. Purchased from the late E. Molinier, Paris. 70—FOUR WALNUT CHAIRS LA ppg ~~ Designed by Stanford White. J 7 f / > =e ) aAAKeA 92a—TureE Pairs or Curran Rests “0 7 > “OUVEOU Modern, in the style of the Italian Renaissance. Brass. 7 4 <¥ Designed by Stanford White. c lL 93 THREE Pairs or Curtain REsts ‘ Modern, in the style of Louis XVI. Figures of Satyrs OS 7 — and Bacchantes. Ormolu. Designed by Stanford White. J y 94—Two Lamers Ge A Rat In the style of the Italian Renaissance.” Carved stand- =) a x =M) a > “7-7 << ards resembling torcheres. Shades of filet lace over green. Walnut. Height, with shade, 6 feet 91% inches. f (A meets Yj + 95—SMALL CHAIR VARA 0 Letent VLaru 4 <= Upholstered in sixteenth century crimson velvet. 96—SMALL CHAIR "7 j Ge Upholstered in sixteenth century crimson velvet. 7d & 5 97—SMaALL CHAIR te ke a £ Modern, upholstered in seventeenth century Venetian © (6 ~— crimson damask. - / CD ba ber “E: SS eer. 1 DE) 98—ARMCHAIR é ; oor Modern; upholstered in sixteenth century crimson velvet. / J /— Loose seat cushion. One other cushion. se t 99— ARMCHAIR h % > , , ee Modern; upholstered in sixteenth century crimson velvet. WA) 3 a f 100 ARMCHAIR Yr |9- HaniAraee Modern; upholstered in seventeenth century Venetian yp E a: / 05 — crimson damask. 101— ARMCHAIR Ik In , Modern; upholstered in seventeenth century Venetian 5) c . /9 0 = crimson damask. g aes Nea 103—Sora } ven ae, yf Modern; upholstered in seventeenth century crimson < Venetian damask, trimmed with galloon. Curving back oS —and arms, loose cushions in the seat. Supported on gilded rests in the form of lions. Length, 8 feet; height of back, 39 inches. = AI ne, A 104—Sora Vr 2 3 T+ Modern; upholstered in seventeenth century crimson > -:+_ Venetian damask. With back and arms similar to No. 4 SU UA 2 Ae eo 103, but smaller and without galloon. Loose seat cushion. ‘wo other cushions. Gilded feet in the form of lions. Length, 6 feet; height of back, 39 inches. 105—Sora , rr Ale ad gh oO SEAS Modern; upholstered in sixteenth century crimson vel- VOI «* vet. Loose seat cushions. Two roll, and four other cushions. Length, 611% inches; height of back, 2614 inches. 106—SoFa Oe 7 Zoe PR Modern; upholstered in sixteenth century crimson vel- => ,-« vet. Feet in the form of lions. \ a) Length, 5 feet 10 inches; height of back, 29 inches. 107—So¥Fa 7 ~ H- Lu stg Modern; upholstered in sixteenth century crimson velvet. Length, 6 feet 4 inches; height of back, 24 inches. CUSHIONS, PORTIERES AND LACE CURTAINS 108—CusHION 7 Ob it ee Made of sixteenth century Italian ae covered on one side with a design of arabesques executed in appliqué ee and embroidery, surrounding a central medallion of the Transfiguration. Size: Length, 19 inches; width, 16 inches. 109—'THREE CusHIONS yo- Fv eee. Ld Made of sixteenth century Italian mn oui One side covered with old gold embroidery on a crimson velvet y Jd — ground. Size, 20 by 16 inches. 110—Two CusHions Sf bs VAG Ces: Made of sixteenth century Tenlien mate¢fials. On the one side elaborate embroidery in gold ahd colors on a ow (/ & crimson velvet ground of arabesques surrounding medal- lions of the Madonna and a Saint. Backs of old Genoese crimson velvet. Size, 20 by 16 inches. 111—CusHION Made of sixteenth century Italian materials. The front 1 | covered with portions of orphreys embroidered in gold | i 72 — ona crimson velvet ground. Back of seventeenth cen- | tury damask. Size, 18 by 21 inches. | | 112—THREE CusHIONS of. hod Ar | Ornamented with seventeenth century Flemish embroid- | ce 7 SY: The front of each covered with portion of an 1 orphrey, worked in gold and color and showing the half figure of a saint. Size: Length, 20 inches; width, 14 inches. Yu Va (CP 4 Ke 113—CusHIon I thnanGan “ke Made of eighteenth century Spanish materials. Old red velvet with hood of a cope applied to one side, embroid- 7 —ered in gold and color, and edged with deep gold fringe. In the center a medallion of the Madonna surrounded by cherubim. BES Size: Length, 23 inches; width, 20 inches. ey Gs Sh yi ae 114—CusHIoN CH Brrroner CO Made of eighteenth century Spanish(materials. Old red Dye velvet with hood of cope applied to one side, decorated eee with floral pattern embroidered in silver and color and edged with gold fringe. In the center a device of the cross and chalice. Size, 26 by 26 inches. 115—CusHIoN VO LIE LA Teg. Made of eighteenth century Italian materials. Old re Ld —ce velvet with small ecclesiastical banner embroidered in gold and color on deep garnet velvet ground, applied to one side. Size: Length, 19 inches; width, 23 inches. ) y / C), ¢ Ps Vay LA Ae Ns \ A LG oO Crit grt PAG” 117—Turee Lace Currarns Fro. 4 4O arn VIO = Italian, seventeenth century. Filet and reticello lace and ‘ network in various patterns. Size: Height, 10 feet 2 inches; width, 6 feet 6 inches. 118—TureEe Lone Lace CurrarnsY (3 Ff} CG AOL op Italian, seventeenth century. Filet: edged at the bottom with reticello. Subjects: A Nymph and a Satyr; Nep- fi re tune with Sea-horses; A Hunter and Hounds. go U ~ Lengths, 11 feet 6 inches; widths, 4 feet. Af KY i, 119—Turee Lone Lace Curtains VO OO meee Italian, seventeenth century. Composed of filet and sev- eral other varieties of lace. The lower edge bordered with Cee Ee reticello. Height, 10 feet 4 inches; width, 7 feet. 120—Pair oF Lace Curtains I \ Style of seventeenth century Italian work. Filet. A Log «* figure in each: (a) Cimabue, with device of palette in the upper left hand corner. (b) A warrior, with coat-of- arms in similar position. Lower edge of reticello. Size: Length, 7 feet 8 inches; width, 2 feet. aie ) aie C oo lore’ 121—Pam or Lace Curtains PVA AS, WO pumarcice Italian; style of the seventeenth century. Filet. One vy, Pa = with large figure of griffin, the other with a crowned lion holding a shield. Lower edge of reticello. Size: Length 5 feet 8 inches; width, 3 feet 7 inches. A 7 f f es ‘ il OE 122—-Srx Lace CurtTAIns Ge 7 26 Ut/l (og. Italian; style of the seventeenth century. Filet: various figures and heraldic animals. 1: Size: Length, 9 feet 2 inches; width, 36 inches. iS) : Size: Length, 6 feet 6 inches; width, 36 inches. 3: Size: Length, 5 feet 6 inches; width, 36 inches. Two Lace Currarns et oS ean VA In the style of seventeenth century Italian work. Filet. The one shows a female figure under an orange tree, pay ay the other a man draped in a leopard skin. Lower edge of reticello. 123 Size: Length, 8 feet 7 inches; width, 2 feet 6 inches. EVENING SALE FRIDAY, APRIL 4, 1913 IN THE GRAND BALLROOM OF THE PLAZA Firtn AvEeNvE, 58TH TO 59TH STREETS BEGINNING AT 8.45 O'CLOCK ITALIAN PAINTINGS No. 124 SANDRO BOTTICELLI Born at Florence, 1444 or 1445; died there 1510. Pupil first of the goldsmith Botticelli, then of Fra Filippo Lippi, influenced by An- tonio Pollaiuolo and Verrochio. Worked mostly in Florence; for a short time in Rome and Pisa. Painter of allegorical and religious subjects and portraits. VENUS - (Tempera on canvas) Of y THE goddess stands on a marble base, nude except for a diaphanous white drapery which she holds with both hands so that it covers the lower part of her body and on the right falls in many fine folds to the floor. In the main fold of the drapery are roses. Two curls of her golden hair fall in front, one on either shoulder, while behind her back the mass of her hair can be seen hanging down as far as the knees. The flesh is silvery white in tone, the pedestal bluish gray, and the background a dark neutral tint. Height, 57% inches; width, 25 inches. Formerly in the Ferroni Palace in Florence, then in the Bromley Davenport, Ashburton, and Northampton collections. For more than forty years hidden in a remote country house. Crowe and Cavalcaselle were the only modern critics of importance who knew the picture, and in the last edition of their “History of Painting” they mention this Venus after the “Mars and Venus” of the National Gallery, saying that it is better than the other similar representations of the goddess. It is obviously allied to the “Birth of Venus” by Botticelli in the Uffizi, as the Venus has a somewhat similar pose. In the composition and in the drawing of the hands and feet and of the white drapery, it reveals the master’s sense of design. Vasari in connection with the “Birth of Venus” speaks of “diverse femmine ignude” by Botticelli which were in Florentine palaces in his day. This may possibly be one of the figures referred to by Vasari. Dr. Bode has expressed the opinion that this is a genuine work by Botticelli. Purchased from Mr. R. Langton Douglas, London. j No. 125 FLORENTINE ARTIST (about 1475) VIRGIN AND CHILD (Tempera on panel, with arched top. In the original frame) Sl eleijiag ly. Jirnrrtdirr % Har-Lencru figure of the. Virgin, who wears a red dress under a dark blue cloak covering her left shoulder. From her blond hair falls a white veil which is loosely twisted about her neck. She holds the child a little to her left, bending her head toward him. The boy stands on a balustrade and seems to move from her. He is partly dressed in a white drapery and in his left hand holds a bird to his lips. Gold halos and back- ground incised with rays and dots. Height, 33 inches; width, 22 inches. Similar Madonnas are in the Fogg Museum at Harvard University, in the Kaiser Friedrich Museum in Berlin and in many private collec- tions. They are usually attributed to Pier Francesco Fiorentino, but this one appears rather to be the work of some closer imitator of Fra Filippo Lippi. Formerly in the collection of Mr. F. Mason Perkins in Assist. | No. 126 SANO DI PIETRO Born in Siena in 1406; died there in 1481. Pupil of Sassetta. The Academy of Siena owns forty-six of his paintings. Other works by him in the Vatican, the Louvre, in the Dresden Gallery and elsewhere. He painted also miniatures. VIRGIN AND CHILD ce uf S47) / Le {i Oe (Tempera on panel, with pointed Gothic top. Original frame, with delicate crockets above on the outside of the arch) Fu. length. On a simple stone seat the Virgin sits en- throned, holding with both hands the infant Christ, who stands upright on her lap. The Virgin’s head is bent toward the right and her whole figure turned slightly in that direction. Her eyes, like those of the Child, are turned toward the spec- tator, whom the young Christ blesses with His right hand. In His left He holds a scroll inscribed, “EGO S[UM].” The Virgin is almost completely enveloped in a dark blue mantle held together on her breast by a jeweled clasp. The mantle covers her feet, but allows the edge of a white veil to show about her face and reveals a portion of her red dress with its embroidered border. The Child is partly clothed in a reddish- white drapery. On either side against the gold background is a seraph’s head with halo and outstretched parti-colored wings extending up and down. Both the Madonna and Child have halos incised in the gold background, the former inscribed “Maria Dei Gratia et Mise....” Height, 57 inches; width, 27 inches. Formerly in the collection of Mr. F. Mason Perkins in Assisi. ul ieecemaanemmemmeee ee anne No. 127 MATTEO DI GIOVANNI Born in Siena about 1485; died in Siena, 1495. Pupil of Domenico di Bartolo. Influenced by Sano di Pietro. The most im- portant Sienese painter of the second half of the fifteenth century. Worked only in Siena. VIRGIN AND CHILD, WITH SS. BERNARDINO AND CATHERINE OF SIENA (Tempera on panel, round-topped. Originab frame, gilded) ay ese Vai, yf adh R = C€- 0 THE half-length figure of the Virgin is turned slightly to the right so that she may the more easily hold the Christ Child, whom she supports with both hands. The Child is clad in a transparent tunic of fine white material with a narrow line of embroidery at the neck. The Virgin wears a blue mantle over a red gown, both bordered with gold. On her right shoulder is the customary golden star. Behind the Virgin on the left is St. Bernardino (or St. Antoninus, according to Hartlaub) dressed in a gray Franciscan robe and holding an inscribed tablet and a reed-like cross. On the right is St. Catherine, her head covered with a white wimple. She holds a book and a lily. The background and halos are of gold tooled in pat- terns. The halo of the Virgin is inscribed REGINA CELI LETARE ALLE.... Around the semicircular head of the panel is the inscription AVE . MARIA . STELLA . DEI MEA ar Height, 29 inches; width, 201% inches. Painted about 1470-80. Compare G. F. Hartlaub, “Matteo da Siena,” Strassburg, 1910, p. 76, plate VIII—where the picture is reproduced as in the collection of Mr. F. Mason Perkins, from whom it was purchased through Mr. Bernard Berenson. 128 NEROCCIO DI BARTOLOMMEO LANDI Born in Siena in 144'7; died there in 1500. Influenced by Vecchi- etta and Francesco di Giorgio. Worked in Siena. Sculptor and painter. MADONNA AND CHILD (Tempera on panel. In theyoriginal frame) mee et UYU ee oe A oe gre Ha r-LeNcTH figure of the Virgin, who holds the Child on her right arm and bends her head toward His. She wears a gold and orange-colored dress with a dark blue mantle which covers her head. In the halo around her head the inscription, AVE MARIA GRATI(A). The Child, with smiling face and blond curling hair looks up to her and holds.a toy in his right hand. He wears a gold shirt ornamented with em- broidery. Gold background. Height, 181% inches; width, 121 inches. Early work under the influence of Vecchietta. No. 129 JACOPO ROBUSTI, called TINTORETTO Born at Venice in 1518; died there in 1594. Pupil of Titian. Influenced by Michelangelo. Worked in Venice. Next to Titian and Veronese the most important painter in Venice in the latter part of the sixteenth century. Painter of portraits, religious and allegorical subjects. SCENE FROM THE LEGEND OF THE TRUE CROSS eae (Canvas) = 7 a Va ) Av the right of the picture St. Helen, clad in a golden brown imperial mantle over a rose-colored dress and wearing a high crown, stands with right hand upraised directing the work of excavation. In the foreground a little to the left, a turbaned laborer clad in a red robe over pink is lifting from the ground a cross which he holds in both arms. In the middle distance between the saint and the laborer stand three men in flowing robes and turbans of blue and brown. At the extreme left of the picture two workmen hold the two other crosses which have just been dug up. In the far distance suggestion of a river and a landscape. Golden brown, rose and yellow- green predominate in the color. Height, 814 inches; width, 19 inches. A sketch by Tintoretto for a predella panel.. He treated the same subject as an altar-picce in St. Maria Mater Domini in Venice. (Re- produced in Thode, ‘“Tintoretto,” p. 6.) Purchased from Mr. R. Langton Douglas, London. DD) 4—T 7 No. 130 JACOPO ROBUSTI, called TINTORETTO SCENE FROM THE LEGEND OF THE TRUE CROSS (Canvas. A companion sketch to the preceding panel) c s VG Ve Ia 2s In the right center St. Helen, again clad in a rose-colored dress, imperial mantle, and golden crown, directs two turbaned laborers at her right, who are carrying the dead body of a man toward the true cross, the shaft of which is seen at the ex- treme left of the panel, supported by a man wearing a short yellowish tunic over a rose-colored under-coat. At the left of ‘the saint another laborer, clad in a whitish robe, with his back turned toward the spectator, holds a second cross, while in the background at the right of Helen the third is seen in the arms of a workman. Behind this group at the extreme right are two spectators. In the background at the left a clustered column with suggestions of a gloomy landscape beyond. Height, 814 inches; width,.19 inches. Purchased from Mr. R. Langton Douglas, London. No. 1381 Attributed to BERNARDO STROZZI Born in Genoa, 1581; died at Venice in 1644. Pupil of Pietro Torri at Genoa. Worked mostly at Genoa, later in Venice. Painter of genre scenes and religious compositions, of portraits and still life. Also an engraver. PORTRAIT OF A CAVALIER IN ARMOR (said to be Admiral Tinzini) ] == ‘ _, « (Canvas. Rich frame of the period), THREE-QUARTER length. He wears armor of a greenish-brown color and a red belt. Green-brown curtains behind him. Books and mariner’s instruments on a table to the left. Height, 40 inches; width, 331% inches. It is difficult to give a convincing attribution to this broadly and expressively painted work, which is undoubtedly of the Genoese school of the early seventeenth century. Until a better name is found, that of Strozzi, the best artist in the city during the period, may be accepted, as has been suggested by Dr. Bode. h 10° Purchased from Professor Grassi, Florence. } DUTCH PAINTINGS No. 182 ANTONIO MORO, called SIR ANTHONY MOORE Born at Utrecht about 1512. In 1547 member of the St. Lucas Guild in Antwerp. Died between 1576 and 1578. Pupil of Jan Scoorel. Worked in Holland, England, France and Spain. Court painter to the King of Spain. Painter of portraits and religious scenes. PORTRAIT OF A MAN Go (Panel. Frame of the period) | Se rl THREE-QUARTER length, turned oe right, with dark eyes looking at the spectator. Dark mustache and beard; black costume and bonnet; small ruff and cuffs. He holds a pair of gloves in one hand and rests the other on a skull. Dark neutral background. Height, 32% inches; width, 251 inches. About 1560-70. The portrait seems to represent a Spanish noble- man, and was very likely painted by Moro during his stay in Madrid. Purchased from the Ehrich Galleries. i i U No. 133 ANTONIO MORO, called SIR ANTHONY MOORE PORTRAIT OF A WOMAN (Panel. Companion picture tg the preceding) , , iS athe ¢ Uw) A mths “C#IIDAI THREE-QUARTER length, slightly turned to the left and looking out of the picture at the spectator. Pale, oval face with prominent nose and dark eyes and hair. She wears a small semi-ruff and tight-fitting mulberry-colored velvet bodice with short puffed sleeves trimmed with fur. Her skirt is of the same red velvet, opening down the front to show an underskirt in white and gold brocade. Her long, tight-fitting undersleeves are of white satin embroidered in gold, similar material showing also at the neck. She wears a fur tippet with jeweled ends, and a chain, brooch, girdle, bracelets and rings of gold thickly set with jewels. She holds the elaborate pendant ornament of the girdle in her left hand. On her head a jeweled coif. Height, 33 inches; width, 25% inches. Purchased from the Ehrich Galleries. SPANISH PAINTINGS No. 184 ALONSO SANCHEZ COELLO Born at Benifayro, near Valencia, Spain, in 1515 (?); died at Madrid in 1590. Pupil of Antonio Moro. School of Madrid. Portrait painter. PORTRAIT OF A NOBLEWOMAWN (called the “GIRL IN RED”) CR an / } Y) har f ; OAL / U.S (berg a L A VW, Ta U 4 Reed (Canvas. Italian frame of the period elaborately decorated in gilded gesso, surmounted by a pediment with a painted medallion of God the Father and on either side the Virgin Annunciate and the Angel Gabriel) I‘ULL-LENGTH figure. She is standing near a table upon which she rests her right hand, in which she holds a fan. In the other is a lace handkerchief. She wears a white lace ruff and stiff red dress decorated with gold bands. Diagonally across her breast is the chain of an order. Behind her a dark green curtain. Height, 79% inches; width, 451 inches. Exhibited in the Copley Hall Exhibition, Boston, 1912. Cata- logue No. 13. Paintings by Coello in the same style in the Madrid and Vienna Galleries. Purchased through Stanford White in Paris. No. 135 MAZO (JUAN BAUTISTA del MAZO MARTINEZ) Born at Madrid about 1610; died there in 1687. Educated in the school of Velasquez, whose daughter he afterward married, and whom he succeeded as court painter to Philip IV. Mazo’s works are frequently confused with those of Velasquez. Painter of portraits and landscapes. THE INFANTA MARGARITA (Daughter of King Philip IV and Mariana of Austria) (Canvas. Elaborately carved frame of the period) / \C Hr nnr_L 7 oe r< THREE-QUARTER length, slightly turned to the left. She is about seven years old and wears a tight-waisted, full-skirted costume of greenish silk with pink ribbons. The hair is parted on the right and falls loose to the shoulders. It is fastened with a pink ribbon on her left temple. The right hand rests on a table; the left holds a fan which is only partly seen. Height, 281% inches; width, 231% inches. Velasquez painted the same princess three times: first at about the age of three, a picture now in Vienna; second at the age of four, now in the Louvre; and third at about the age of seven, also in Vienna. Ours does not correspond exactly with any of these. The position is somewhat similar to the one in the Louvre, while the face resembles that of the later Vienna portrait. This is very likely one of the portraits intended as a gift from the Spanish King to some other European Court, and was probably painted in Velasquez’s studio. The late A. de Berruete was the first rightly to attribute the work to Mazo. As the princess was born in 1651, the painting was executed about 1658. Purchased from the Lesser Galleries, London, through Mr. Bernard Berenson. TAPESTRIES 136—TAPESTRY THREAD WITH GOLD AND SILVER FLEMISH: BRUSSELS (azour 1510). (In gold frame) 1) el i a SY nr Nout ME Tancere: The composition represents the risen Christ and Saint Mary Magdalen in the garden. Christ is standing to the right draped in a red cloak and hold- ing a spade in his left hand, his right raised as though he was uttering the words “Touch me not.” The Mag- dalen kneels on the left, her hands folded as if in prayer. She wears a rich costume with a headdress of white linen and an enveloping mantle of red and silver bro- cade of Italian design. The sleeves and underdress are of dark blue velvet. The box of ointment stands between the two figures. The background shows the garden with an orange tree in the center and a wattled fence in the distance. Beyond hills and rocks covered with fruit trees, the towers of Jerusalem can be seen on the horizon. The foreground is filled with flowers of many varieties, while the border shows flowers, birds and leaves in a beautiful and free design against a dark blue background. Gold and silver in costumes and in landscape. Height, 7 feet 9 mches; width, 6 feet I inches. The tapestry shows the highest development of the art of Flemish weaving. It was made at the end of the Gothic period when the designer came under Italian influence, as is evident from the harmonious simplicity of composition as well as from the details, the costume of Saint Mary Magdalen being of Italian brocade and the trees and foliage peculiarly Southern in char- acter. A Spanish product is seen in the box of ointment, a covered albarello of Hispano-Moresque faience. Formerly in the Spitzer Collection. 1387—TAPESTRY BURGUNDIAN: TOURNAI (arevier or JEAN GRENIER, aBout 1505). | A Yar we Cali Cavariers AND Wooncurrers: In thé middle a white horse with saddle and bridle. By the|head of the horse stands a page clad in blue and red, holding a sword. Behind are two men, one in red with a spear, and the other in a blue garment and red hat, with a hunting horn which he is blowing. To the left a bag-piper in a red slashed costume; to the right a peasant in tan and blue, cutting down a tree. Hilly country with towers in the background. In the foreground flowers and stumps of trees. A hound by the horse’s feet. An orange or lemon tree full of fruit and blossoms behind the horse. Height, 9 feet 9 inches; width, 11 feet 9 inches. This tapestry, in all probability, is the left half of one in the Musée des Arts Décoratifs in Paris, which represents the lord of the manor inspecting the work of his woodcutters. The master stands in the left-hand corner of the tapestry talking with one of his workmen, and it seems likely that our tapestry continued the design to the left. The riderless horse would then belong to the master, whose page is waiting behind him with his mount. The style of the two pieces is precisely the same. A. Warburg (Zevtschrift fiir bildende Kunst, 1907) has shown that the tapestry in Paris, and therefore ours, very likely belonged to the set which was ordered by Philip the Fair directly from Jean Grenier, one of the most famous weavers in Burgundy. 1388—TAPESTRY FLEMISH: BRUSSELS (anovur 1510) Probably from a cartoon by Maitre Philip after a design by Jan van Room. J IZ) te eed eee ae MyrHo.ocicaL suBsEcT: In the center underneath a brocaded canopy supported on four slender posts sits a king—Jonathan, according to the legend in Gothic let- ters above his head. He is clad in tan-colored brocade ornamented with ermine and holds a sceptre in his right hand. His left is raised as he addresses two women and two men who stand at the right of the throne. One of the women, who is dressed in blue and carries a palm, looks at the king as though offended by his remarks. On the left of the throne stands Lucrece, according to the inscription near her. The train of her gorgeous furred dress, of blue pomegranate-pattern brocade, is held by a young female attendant. Behind her are four women, holding palms. In the upper corners of the tap- estries are balconies filled with men and boys in elab- orate hats. Some of the boys stand on the railing em- bracing the columns. The foreground is filled with flowers. General color a soft light golden brown, re- lieved by pale reds and blues. The border shows grapes and roses against a red background. Height, 9 feet 6 inches; width, 10 feet 4 inches. From the great similarities in style, this tapestry was probably designed by the same artist who conceived the cele- brated Herkenbold Tapestry in the Brussels Museum, which according to documentary proof was the work of Jan van Room. i ! u > 1389—_TAPESTRY (6 NS} “UYU BURGUNDIAN (azovur 1460) AF] ee cn ) mare LA AON Ve 4 Freperick Barparossa: A knight if blue ‘and gold armor, wearing a jeweled turban and the imperial crown and carrying in his right hand an unsheathed sword, is mounted on a white charger which advances toward the left. The knight has the collar of an order round his neck, and wears on his left arm a small tilting shield inscribed with the double-eagle. The horse is protected by a brocaded surcoat in tan color, with an elaborate border, and the device F. B. on a shield twice repeated. The bluish foreground is thickly strewn with flowering plants, while in the middle distance of the background are orange trees with two large birds in their branches. In the far distance are castles with red roofs and ban- ners flying from their turrets inscribed “F” and “B.” In the upper right-hand corner an heraldic shield. At the top above the knight is a scroll inscribed in Gothic letters: “Vaillant, hardi, noble, chevallereux Par ma proesse je conquis plusieurs lieux Tant de citez je fondis en mon temps Que les ro[is ja]mais eu furet tozoiteus.” Height, 10 feet 5 inches; width, 11 feet, 11 inches. 140—TAPESTRY Y BURGUNDIAN (azsour 1470) a Y IPE iar Cotas ee Tur TrrumPH or THE INNOocENTS: Five great spotted giraffes, in pale tan, four of them with long jeweled and belled collars, fill the foreground of the tapestry. On the back and tied around the shoulders of each is fastened a heavy drapery in red or blue, forming a palan- quin in which are seated two or three young children, the “Innocents.” 'Three bearded drivers for the giraffes, with elaborate turbans and heavy staves, can be distin- guished among the press of attendants who fill the tap- estry. In the lower left-hand corner a turbaned woman offers a vessel full of milk to the two children mounted on the giraffe nearest her. She is attended by a piper on her left and by an Ethiopian drummer on her right. Underneath one of the giraffes in the center of the fore- ground is the head of a chained and captive dragon. In the right-hand corner another Ethiopian with small drums. In the middle distance at the left an elephant bearmg a woman holding two of the Innocents, in the center a pomegranate tree bearing both fruit and flowers, and at the right a river with ships and a towered city beyond. In the remote distance at the upper edge of the tapestry, hills, trees and castles. Narrow modern edging composed of three stripes. Predominant colors, tan, blue and red. Ma CN Mow Height, 9 feet 8 inches; length, 12 feet. RUGS 141—LARGE RUG OF THE SO-CALLED SB od . ISPAHAN TYPE EASTERN PERSIA: HERAT (rirst Har or XVIItH CEn- TURY) ] q C) ee 41g y Field: On a light claret ground, design of large pal- mettes and leaf forms chiefly in yellow-green, accented by light blue, and cloud bands in white and green and in white and yellow outlined in green. The slender con- necting stalks are in white and light blue. Borders: Peony flowers and palmettes chiefly in yellow and light blue on dark blue ground. Inner Guard Band: Conventional leaf design in yellow and dark blue on white ground. Outer Guard Band: Small floral design in white-yellow and blue on red ground. Size: 19 feet 6 inches by 7 feet 10 inches. 142—LARGE RUG OF THE SO-CALLED ISPAHAN TYPE EASTERN PERSIA: HERAT (BEGINNING or XVIItH CrEn- TURY ) 5 i ca) Oy yd Vw oe Ver AynnrEge ‘Field: On a bright claret ground, formal design/ of mae mettes and leaf forms chiefly in orange, accented \by dark blue, and of cloud bands in dark blue and green and in white and yellow outlined in light blue. The slender con- necting stalks are in white and light blue. Border: Large floral motifs chiefly in orange and blue on dark blue-green. Inner Guard Band: Geometrical design in blue on orange. Outer Guard Band: Floral design in dark and light blue on orange. Size: 18 feet by 8 feet 3 inches. / 143—RUG OF THE SO-CALLED ISPAHAN TYPE EASTERN PERSIA: HERAT (First nate or XVIItH Cen- TURY) fs, VS Lihplh \Owmantr-a “Field: On a soft claret ground, design of large/palmettes and leaf forms chiefly dark blue and orange, accented by dark blue, and of cloud bands in yellow and blue. The slender connecting stalks are in white. Border: Peony flowers and palmettes chiefly in yellow and red on dark green. Inner Guard Band: Geometrical design in red and yellow on green. Outer Guard Band: Floral border in blue and white on yellow. Size: 6 feet 8 inches by 4& feet 5 inches. 144—RUG OF THE SO-CALLED ISPAHAN TYPE EASTERN PERSIA: HERAT (vrirsy Hatr or XVIItH CrEn- TURY) ZY ) 7) ac a” [ ; y, Ut L Field: On a pale claret ground, design of large palmettes and leaf forms chiefly in dark blue accented by orange and white, and of cloud bands in rose color and blue and in dark blue and orange. ‘The slender connecting stalks are in white and light blue. Border: Peony flowers chiefly in rose and orange and in green and brown on dark blue. Inner Guard Band: Undulating design of dark leaves on light yellow ground. Outer Guard Band: Floral design on red ground. Size: 18 feet 9 inches by 5 feet 10 inches. ——s 145—RUG OF THE SO-CALLED ISPAHAN TYPE EASTERN PERSIA: HERAT (rirst natr or XVIITH Cen- TURY) Pee ~ : ww Tie oy @ le ee FA Field: On a bright claret ground, design of large pal- mettes and leaf forms chiefly in yellow-green, accented by orange, and in dark blue and orange, and of cloud bands in similar colors. The slender connecting stalks are in white and light blue. Border: Peony flowers and pomegranates chiefly in green, orange and red on dark blue-green. Inner Guard Band: Geometrical beading on light blue. Outer Guard Band: Small floral pattern in dark blue, green and red on orange ground. Size: 7 feet 7 inches by 4 feet 11 mehes. OO OSS > + 4 Cr 6 ee Dee ere : t, @ ot cl St Ht OOsetee tO OM t1Os © _ 3 146—RUG OF THE SO-CALLED ISPAHAN TYPE EASTERN PERSIA: HERAT (rirsr wate or XVIItruH Cen- TURY) ; f— - UO © V Ala er FOE Pield: On a rosy claret ground, design of large palmettes and leaf forms chiefly in yellow-green, yellow and white, and of cloud bands in dark blue and yellow and in light blue and white. The slender connecting stalks are in white and dark blue. Border: Peony flowers, chiefly in yellow and red on dark blue-green. Inner Guard Band: Floral pattern in pinkish-orange on green. Outer Guard Band: Floral pattern in dark and light blue on rose. Size: 6 feet 10 inches by 4& feet 7 inches. 147-RUG OF THE SO-CALLED ISPAHAN TYPE Lo EASTERN PERSIA: HERAT (rirst HALF oF XVIItH Cen- TURY) cy F ce ‘ VA y = i Ms VU. LCammnAey Field: On a dull claret ground, design of large palmettes and leaf forms chiefly in yellow-green, accented by dark blue, and of cloud bands in yellow and green. The slender connecting stalks are in white and light blue. Border: Peony flowers and palmettes chiefly in yellow and red on dark blue. Inner Guard Band: Small floral pattern in red and blue on green ground. Outer Guard Band: Floral pattern in light and dark blue on red ground. Size: 6 feet 3 inches by 4 feet 7 inches. 148—RUG WITH CONVENTIONALIZED FLOWER DESIGN INDIA: IMPERIAL MANUFACTORY (anowrn1650) i FIA Mn Field: On a strong claret ground, yellow trellis frame- work enclosing balanced groups of yellowish-white flowers with details in blue and pink. In the center a large conventionalized flower with four petals. Border: Design of single large flowers alternating with groups of four small flowers and Buddhist symbols on a claret ground. White guard bands with running flower pattern. OL Wool. Said to have come from a Mandarin in the northern part of China. Size: 15 feet 8 inches by 12 feet 2 inches. Li —_ TEXTILES AND EMBROIDERIES 149—STOLE / / i = bafeau® yas Cl AC Le Ny / < ARMENIAN (XVIL-XVIIru Century) SAINTS in niches, gold embroidery on red. Tassels at the ends. Length, 8 feet 2 inches; width, 5 feet. l b (h u 150—COVER IN GREEN VELVET AND EMBROID- ERY ce 1 aa Va A — ITALIAN (srconp Hair or XVItTH Century) Bacxkcrounp of old red velvet with strips and edging of galloon. Down the center a piece of embroidery in gold and color on a red background. In the center two cir- cular medallions containing figures of a male and a female saint. Length, 8 feet 4 inches by 1 foot 8 inches. 151—ECCLESIASTICAL MITRE RUSSIAN (XVIIIrxu Century) Or the domed shape used in the Greek Church, embroid- ered all over in silver and color in a floral design. Height, 9 inches. 152—ECCLESIASTICAL MITRE > ak +p — RUSSIAN (XVIlItx Century) 7 4 4 4 Ho. FIO wher Ker. Or the domed shape used in the Greek Church, embroid- ered in silver on a crimson velvet ground with a design showing saints in niches. On the upper part con- ventionalized patterns; around the bottom an inscription. The top surmounted by an ornament in gilded metal. Height, 8 inches. 1583—COPE HOOD ITALIAN (XVrH Cenrury) S J UA(Gie aC mae Tur Lasr Jupcmentr: At the top an arcade of three Gothic arches under which at either side is a trumpeting angel, and in the center Christ sitting in Judgment with the Virgin kneeling in adoration on His right and Saint John on His left. In the foreground the Archangel summoning the dead, who rise on all sides. Kmbroid- ered in colored silk and gold on a linen ground. Edged with galloon and a deep gold fringe. af — > (¢ 154 EKCCLESIASTICAL BANNER SPANISH (wate XVItrH Cenrury) : ot ny E bint S “KI {075 STRAIGHT top, and sides cut into two long triangular points below. Red velvet, embroidered in gold and color. In the upper part an elaborate cartouche showing two cherubim holding a chalice with the sacred wafer. 'Tas- sels on the points and at the ends of the supporting rod. Kw Size: '72 inches by 36 imches. ah 155— ECCLESIASTICAL BANNER SPANISH (rare XVIvn Century) _/ BN Hite t points below. Red velvet embroidered in gold and color. In the upper part an elaborate cartouche showing St. Michael. Tassels on the points and at the ends of the supporting rod. Silk velvet. Size: 79 inches by 33 inches. = 2 SrraigHr top and sides cut into two Jong triangular — g 156—ECCLESIASTICAL BANNER SPANISH (XVIUIrxu Century) J e KYA) 5 u —. x) OYCLO, KA AUN 7 c STRAIGHT top and sides cut into two long triangular points below. Red velvet, much worn, embroidered in gold. In the upper part a cartouche worked with the coat-of-arms of a cardinal. ‘Tassels on the points and at the ends of the supporting rod. Size: 80 inches by 40 inches. 157—ECCLESIASTICAL BANNER SPANISH (azour 1700) eer Lf) Pee, 1! STRAIGHT top and sides cut into two long triangular points below. Blue-green velvet, embroidered in silver. In the upper part a small cartouche set in an elaborate border, and surmounted by a crown worked on red velvet, and supported by two flying cherubim. ‘Two smaller cartouches on the points showing ecclesiastical devices. ‘Tassels on the points and at the ends of the supporting rod. Size: 92 inches by 43 inches. 158—ECCLESIASTICAL BANNER SPANISH (azovur 1700) Ce q fa} YD) ee J . ‘ae 4 (a PAAANALY as STRAIGHT top and sides cut into two long triangular points below. Green velvet, embroidered in silver. In the upper part a cartouche of blue velvet worked with the coat-of-arms of a cardinal. Tassels on the points and at the ends of the supporting rod. Size: 81 inches by 41 inches. 159—ALTAR FRONTAL ~ Dark red velvet embroidered in gold and colors. “Four ITALIAN (mipprte or XVIruH Century) =, zs Gee f panels divided by columns. Each panel consists of an oval surrounded by strap-work. First oval, the Virgin holding the Christ Child; second oval, martyrdom of St. Sebastian; third oval, the Virgin enthroned surrounded by saints and angels; fourth oval, St. Roch with an angel. Border of a running floral design. Length, 5 feet 3 inches; width, 2 feet. 5S $ 160—VELVET COPE ITALIAN (XVIrH CrnTury) , / Yo es vie f ; | Pea Hy SF Oban Xer Pain red velvet, with orphreys and hood embroidered in gold and colors. The orphreys are divided into eight panels containmg Renaissance ornament, each sur- rounded by a band of galloon. In the center of each panel | a circular medallion containing the half-length figure of an apostle. ‘The hood shows a mitred bishop sitting en- throned against a gold background. The hood is edged with galloon and gold fringe. The bottom of the cope | is bound with galloon. Length, 9 feet 6 inches; depth, 4 feet 6 inches. 161I—VELVET COPE ITALIAN (XVrxH Century) Al Wey po mie a. = RLS OEE, Uv Uv Y V Ce GREEN velvet, brocaded in a fine pattern derived from the form of the pomegranate. The orphreys, embroid- ered in gold and colors, are divided into six rectangular panels, each of which originally contained the figure of a saint standing in a simple early Renaissance niche with fA / a round arched top. Length, 9 feet 8 inches; breadth, 4 feet 5 inches. 162—VELVET BROCADE _, PTALIAN: VENICE (XVru Cenrury) ONE section of a great climbing pattern, based on the pomegranate and the pink. Alternating concave and con- vex bands covered at their intersections by a large pome- granate device above and two similar devices, reduced in size, below. Pattern in red velvet on a gold brocade ground. Edged with galloon. Size: 88 inches by 28 inches. 1683—TABLE COVER 5. .--e ITALIAN (XVIIru Century) Crimson velvet embroidered all over with a foliated pat- tern in gold, showing conventionalized lilies, roses and other flowers. Edged with galloon and deep gold fringe. Length, 72 inches; width, 48 inches. \D aye 24 Dhl Va yD <= s 7 Leh) 164— EKMBROIDERY Vipers 4. agli - ITALIAN (XVIItH Century) % S Cae Similar to preceding. Size: Length, 69 inches; width, 85 inches. 165—COVER IN VELVET BROCAD& a [ VU Ly Ue AL LA LL [Soe 166— ITALIAN: VENETIAN (XVrtH Cunvrury) / THREE strips of a great climbing pattern based on the pomegranate, in red velvet against a gold background. The whole edged with galloon. Size: Length, 9 feet 8 inches; width, 5 feet 5 inches. HANGING 3 JL (Comrosep or XVIIrH Cenrury Iranian MATERIALS) A. strip of red velvet ornamented with an applied car- touche, between two strips of large figured green damask. Separated by galloon. Length, 8 feet 5 inches; breadth, 6 feet 10 inches. ie ee 167—TWO VELVET HANGINGS GCL ITALIAN: GENOESE (XVII-XVIIItru Century) pap ee : Mike In the center of each a large armorial cartouche sur- rounded by a deep border of baroque ornament. Yellow and blue, on red ground. Height, 7 feet 6 inches; width, 7 feet. 2 f 168—FIVE HANGINGS He F- 6 vr-ter % Composep each of three strips of crimson velvet separated __ _ by broad bands of galloon. ) Gace Length, 18 feet by 5 feet 6 inches. 169—DEKEP CRIMSON VELVET HANGINGS ITALIAN (XVIrH Century) Is os f F a eo | — ‘THE entire hangings of a room, 50 strips, each measuring 10 feet 2 inches long by 19 inches wide; 4 strips 5 feet 6 inches long by 19 inches wide. Total: 176 lineal yards 2 feet 4 inches. 170—THREE PAIRS OF CURTAINS WITH LAM- BREQUINS ; 3 : ve (Mane or XVItxH Century Iranian MATERIALS) a a Or the same crimson velvet as the wall hangings No. 169. Trimmed with galloon, and with cartouches and armorial bearings in appliqué on each lambrequin. Size of lambrequin: Height, 2 feet; length, 5 feet 6 inches. wr Size of one curtain 10 feet, 7 inches by 4 feet 11 inches. 171—PAIR OF PORTIERES WITH LAMBREQUIN (Maver or XVIrn Century Travian MAFERIALSY a, ye +-) 51 tee “Go- 5 p—7 «