1918 Feb.25 NeAmH FORMED EY THE LATE | GEORGE A. HEARN OF NEW YORK CITY N ART GALLERIES Y SQUARE SOUTH HEARN ART OBJECT SALI The first session of the sale of the George A. Hearn collection of art objects, Monday —aft., at the American Art Galleries, was de- ‘voted to the dispersal of jades, enamels, acquers and marble statuettes. There was a good attendance, and while certain objects provoked spirited bidding and brought fair prices, a number of bar- - ;gains were obtained and a total of only $5,719 was obtained for the 241 lots. No. 183—A carved Ch-ien-lung Peking lacquer vase ‘of oviform brought $300, the highest figure, from R. Hickson. | Other sales of interest included a Viennese lapis- lauzuli and enameled scepter, the faceted pear-shaped ‘head formed of pyramidal spikes pierced and enameled ‘and set with pearls, the pointed finial surrounded by a band of Gothic niches filled with figures of knights in armor. W. W. Seaman,. agent, $250. No. 221—Viennese XVI century ostrich shell enameled and silver gilt standing cup and cover. S. Schepp, $180. No. 223—Viennese enameled clock and cabinet, formed as a Gothic tower. F, Baumeister, $145. No. 217—Viennese enamel XVII century crystal vase. « F, Baumeister, $160. No. 185—Cinnabar Ch’ien-lung lacquer presentation ‘box.” Roland N. Moore, $130. rs _ Second Afternoon Session _ Hawthorne jars, cloissone enamels and _ bronzes, and Oriental decorated gallipots and temple jars, were offered at the second ‘session, when Mr. Otto Bernet was auc- -tioneer, Tuesday afternoon, for a total of ve pos.t2s. The sensational feature was the sale of a ' large, tall K’ank-hsi black hawthorne vase, cm which brought the record price in America for a single piece of porcelain, of $24,000, and which was secured by Duveen after a iad of spirited bidding between Parish Watson, chief underbidder, who stopped at $23,900, C. T. Loo, Yamanaka & Co. and Roland N. Moore. - The second highest figure of $1,100 was a obtained for No. 316, a blue K’ang-hsi ovoid = hawthorne ginger jar; fine hard paste por- -——s celain. with deep cobalt-blue reticulated ground, from Mr. Roland N. Moore. cet, | No, 387—A massive decorated globular Ming jar wo with figures of eight Tcoists. Yamanaka & Co., $870. Tu No. 380—Imperial decorated oviform Ch’ien-lung a _tvase. F. W. White, $620. . : ~ No. 388—Large oviform Chinese jar of dense hard - .-. }paste, coated with a cobalt-blue glaze. Roland N. = Moore, $470. i : No. 311—Blue and white K’ang-hsi ovoid haw-~ thorne ginger jar, deep blue ground. F. Muller, agent, $330. No. 378—Tall cylindrical K’ang-hsi vase; clear white »fhard paste with monochrome peachbloom glaze. F. W. _ White, $360. Ey Third Afternoon Session K’ang-hsi sang-de-boeuf vases, peach- _ bloom water receptacles and monochrome ; (Chien-lung bottles were dispersed at the third session, which took place Wednesday, for a total of $10,476.50. | No, 591—A K’ang-hsi sang-de-boeuf vase with _bril- Jiant glaze brought $1,100, the top figure, from G. F. Saito. * : + The second highest figure, $670, was paid by Mr. ‘Samuels for a Sung monochrome yellow bottle. Other sales were: No. 590—A tall K’ang-hsi sang- de-boeuf vase. Roland N. Moore, $490. No, 625—Translucent K’ang-hsi Imperial yellow vase; cylindrical club-shape. H, R. Mallinson, $450. No. 561—K’ang-hsi peachbloom water receptacle; semi-globular shape. Duveen Brothers, $400. No. 562—K’ang-hsi_ peachbloom water receptacle; bemi-globular. G. F. Saito, $350. J i Fourth Afternoon Session European carved ivories, including statu- ‘ettes, relief panels ornamented with legen- _ dary and historic subjects, powder flasks and tankards, were dispersed at the fourth session Thurs. aft., for a total of $21,387. | No. 862—A carved ivory rose-water ewer and dish: Bacchanale at the Court of Venus,” brought $625, he top price, from T. Barth. / No, 846—Statuette: Venus. George H. Pepper, No. 773—Three relief panels: scenes in the Thirty Years’ War.” Miss Lorenz, agent, $520. No. 786—‘Rape of the Sabine Womun.” ~Brook- lyn Museum, $550. _- No, 844—Tankard: “The Revels of Neptune and the Naiads.” W. B. George, $480. No. 776—Relief panel: “Faun with Children and Goat.”’? Miss R. H. Lorenz, agent, $420. | No. 792—Circular vase, the body decorated with a procession of children. Miss Lorenz, agent, $350. Fifth Afternoon Session ~ i os 4 J i ing for the fiv Interest ce eaftern prud= 3 umphal Fi? eee eed, ah = — oe — La car of the Empefor Maximillian I (No. 1100), which proved the feature of the after- noon. It was purchased by J. J. Austin, after a round of spirited bidding for $2,500, the top price of the sale. No. 1095—‘‘Hercules, Deianira and the Centaur | Nessus.” Brooklyn Museum, $10,000. _ No. 1097—Decorative plateau, representing Freder- ‘ick IT, of Germany, and scenes from his conquest of | Jerusalem. Captain Delamar, $785. _No. 1070—A Spanish triptych,-comprising a compo- sition of eight panels, and representing the figure of | Christ at the column, on the Cross and before Pilate. Brooklyn Museum, $725. No, 1091—“The Last Supper.” A large group and a_ composition of thirteen figures seen at full length Christ on the far side, in the center. J. J. Austin, $750. No. 1071—“Charles V Entering “ Chia Ching Oviform, with short everted neck. The light “camellia-leaf green” (ta-lu) glazing trending to a light emerald tone with small crackle. Height; 10 inches. 617—CAMELLIA-LEAF GREEN VasE witH Sitver Rim K’ang-hsi Oviform; presenting an unusually fine example of its variety, the even color sustaining a typical small crackle. The interior, like the foot, glazed in “snake green.” Height, 1214, inches. 618—PEARL-GRAY FLOWER-STEM VASE Chien-lung Quadrangular form, with tubular neck and square flanged lip. The shoulder sustaining six small tubular necks intended to hold flowering twigs or ornamental grasses. The pale pearl-gray glaze trending to a clair-de-lune tone, showing even color and brilliant quality. Height, 12% inches. 619—BrinLiant Mirror-BLAck VASE Yung Cl’éng Bulbous gallipot form, with small neck and spreading base. Uniformly invested with a so-called brilliant mirror-black glaze of even quality. Height, 12% inches. 620—Rep anp Onive FiampBt Borrie Cl’ien-lung Bulbous pear-shape, with tubular neck. The transmutation effect in the glaze showing brilliant ruby-red hues, with olive splashing on a white ground, that is marked with crackle. Height, 131% inches. 621—PraRL-GRAY CRACKLED HANGING VASE Cl’ien-lung Quadrangular shape, with curved contour, supporting two handles and openings at the base for the suspension cords. The thick pearl-gray glaze is marked with large dell-defined crackle. Height, 12 inches. 622—Dark Tra-pust GLAZED VASE Tao Kuang With vertical ribbed body and attenuated neck, sustaining two scroll handles. The olive-toned “tea-dust”’ glaze, in its soft lustred quality, simulating the patine of old bronze. Height, 14 inches. 623—Cu1 Hune Rep Fiamprt Borrir CWien-lung Broad pear-shaped body, with slender everted neck and low spreading base. With a brilliant red flambé glaze of the yao-pien variety, show- ing dark “dragon’s blood” speckling, together with purplish clouding toward its base. Height, 1434, inches. 624-—TatL Turquoisk Guazep Borre Clrien-lung Bulbous pear-shape, with tubular neck. The light Oriental turquoise- toned glaze showing an even quality, with slight orange-peel surface. Distinguished further by being without crackle. Has white glazed foot. Height, 16% inches. 625—'TRANSLUCENT IMPERIAL YELLOW VASE K’ang-hsi Cylindric club-shape with everted neck. Fine Ta Ch’ing dynasty por- celain, invested with a monochrome yellow glaze of translucent quality and even color. Without crackle. Foot underneath bears Ming six- character mark of the Ch’éng hua period within double rings. Height, 174% imches. 626—BEAKER-SHAPED VASE Cl’ien-lung Of white hard paste, and invested with a monochrome glaze of powder blue. Height, 17% inches. 627—TaLL Pracock-BLUE BorrLe Clien-lung Bulbous pear-shape, with tubular neck. Presenting a delicate incised decoration in the form of Fu-dogs that appear under the brilliant pea- cock-blue glaze, with clouding of turquoise tone and “‘fish-roe” crackle. Height, 1714 inches. _628—Rosin’s-EcG BLUE Vase Clien-lung period Quadrilateral shape, with raised corner ornaments representing the Pa kwa or “eight trigrams,” within vertical panels. The speckled “robin’s-egg” blue showing a soft lustred even quality. Height, 1484 inches. 629—Two 'TuRQUOISE-BLUE J ARDINIERES Cl’ien-lung Everted bowl shapes, with low ribbed bases. Porcellanous stoneware, coated with a mottled turquoise-blue glaze. Height, 6 inches; diameter, 9 inches. 630—CyYLINDRIC TURQUOISE-BLUE JAR Cl’ien-lung Tubular neck; the surface presenting a large imperial dragon in pursuit of the effulgent jewel midst cloud scrolls. The ornamentation is rendered in low relief under the turquoise-blue glazing that is distinguished by small “‘shad-roe” crackle; both the rim and base are surrounded by narrow key fret bands with like glazing. Height, 1484 niches. 631—Tatt Rep FLamBet Bortie Ch’ien-lung Bulbous pear-shape, with receding tubular neck and gilt-bronze mount- ing. The glaze starting with a solid even red color from the neck and running over the shoulder in fluent red interminged with streaks and zones of light crackle céladon. The transmutation effect ending near the base in a solid ox-blood tone. Has céladon crackled foot. Height, 181% inches. 632—OLIVE SpeckLep FLamBrt BorriEe Late K’ang-hsi Bulbous pear-shape, with tubular neck and silver mounting. The evenly — speckled glaze, of the tortoise-shell variety, showing varied tones of brown, olive, moss and tan. Height, 1644 inches. 633—TaLL Ovirorm VASE _ Kang- With gracefully spreading neck. Invested with a mottled glaze various tones of green and displaying an interesting color effect. Height, 19% ine 634—TaLL CHINESE FLAMBE VASE Tao Ovoid shape, with dragon-like handles. The flambé or transmut glaze including flashes of red, blue and grayish-purple brilliancy. Height, 25 inche ¥ FOURTH AFTERNOON'S SALE THURSDAY, FEBRUARY 28, 1918 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK Catalogue Nos. 635 to 862, inclusive EUROPEAN CARVED IVORIES ANTIQUE AND MODERN SPECIMENS 635—Carvep Ivory CircuLar Box The upper side of the cover is carved with a man in a landscape playing the pipes in the presence of his dog. The sides and the bottom are decorated with floral designs. Height, 114 wmches; diameter, 2 inches. 636—SMALL CircuLaR Ivory FLask and OrNAMENT (a) A man hastens toward the left, to escape the dragon which seeks to pursue him on the bank. The edges decorated with floral designs. The back portion is missing. (8) On the obverse is Christ on the Cross; on the reverse the Virgin of the Assumption borne aloft by angels, and standing on the crescent moon. 687—THREE SMALL Ivory CARVINGS (a) Double-headed ornament. On each side is an inverted head of a man and a woman, apparently intended to indicate them at two periods of life and varying fortune. (s) A decorative panel, of irregular oval shape, is ornamented with a vessel with full sail set. In the sky are clouds, a balloon and three clear- cut profile heads. (c) Oval medallion. Five men are assembled, while three of their num- ber are playing bowls. A house and a tree on the right. The back is plain. 638—Two Smaut Ivory CaArviINGs (a) An amulet. A two-headed group, with the heads back to back. The one is that of an elderly woman; the other, of a young woman, with decorative fillet round her forehead. (s) A hollow column. Four male figures, clasping hands, move solemnly round a column. The base is simply carved. 639—ArFRICAN Ivory CARVING Unshaped mass. Seventeenth century. The holes show that it was worn around the neck with a string, while those made in the surface may have counted the years of its wearer, or the number of the enemies he killed. Height, 5 inches; 2% inches thick. 640—Two Ivory Portraits (a) Portrait of the Hon. Mrs. Graham. In low-cut dress, with hair beautifully done, and wearing a hat with feathers, she is seen at bust length. She is placed before a recess in the wall. Rectangular plaque in a black frame. Height, 2% inches; width, 14% inches. Evidently copied from a well-known portrait by Thomas Gainsborough, R.A. (s) Portrait of Madame Vigée-Lebrun. Bust-length portrait, turned slightly to the left, her hair dressed high; a finely decorative head-dress. Set within a recessed niche. Oval plaque, in a black frame. Height, 3 inches; width, 2 inches. Evidently derived from the portrait painted of the artist by herself. Her name is inscribed at the back. 641—Four Ivory SNUFFBOXES (a) French: Dieppe. Seventeenth century. Irregular oval in form, carved with Cupids, wreaths and heads in medallions (the top missing). (x) Flemish: Seventeenth century. Carved to resemble a large bunch of grapes, with leaves. (c) French: Dieppe. Eighteenth century. With curved body and shaped at the sides, with a foot and screw stopper. (») French: Dieppe. Eighteenth century. Carved on either side with a group of figures, not identified, framed within a wreath. Standing object, closed with a screw top. 642—CoLLECTION OF SEVEN SMALL Ivory Carvines (a) Antique Ring of Bone. Roman. Second century. Inscribed with antique letters caEs(Ar). A ring apparently belonging to a Roman Proconsul. (3) Harp-whistle. Italian. Late seventeenth century. Shaped to re- semble a harp, decorated with the figure of a dolphin, terminating in a female head, on which is a Phrygian cap. (c) Amulet. Hispano-Moresque. A Hand. Seventeenth century. An ornament of a closed hand crushing an adder. Carved round the wrist. (p) Pulverizing and Crushing Mill. Flemish. Late seventeenth cen- tury. Bellows-like in shape. (2) Knob of a Rajah’s Staff. Oriental. Seventeenth century. With silver arabesques and geometrical designs, inlaid in blue. () Snuffbox. Ovoid. French: Dieppe. Eighteenth century. With bands of simple patterns and shaped. With foot and stopper. (c) Powder Horn. English. Eighteenth century. Carved with simple designs below; above is a woman seated in a chair, behind which stands aman-servant. Closed with a silver-gilt lid. CoLLEcTION OF Five Sma Ivory Carvinas (a) Circular Ornament, or Plate. Flemish. Early seventeenth century. Carved with a figure of a monkey, fruit and flowers. 643 (s) Rounded Plaque. French. Eighteenth century. A young woman nursing an infant, a young girl at her side under a tree. (c) Plaque, with Coat-of-arms. Italian. Seventeenth century. Charged with the arms of a Count, with eagles as supporters: Argent, a chevron, three swans placed 2 and 1, facing deater. [ Continued [No. 643—Continued | (p) Plaque: Louis XIV. French: Dieppe. . Early eighteenth century. Carved with the head of the king, in a wig, and turned in profile to the left. In the museum at Dieppe is a work exactly like this, and considered one of the finest objects in that collection. Possibly executed shortly after the death of the king. («) Openwork Bas-relief: Country Concert: French: Dieppe. Eigh- teenth century. A shepherd boy seated in the open and playing his pipe near a girl. (Her head is missing.) A tree on the right. Curved. 644—COoLLECTION OF Six SMALL Ivory Bas-RELIEFS (a) A Woman Kneeling. Spanish. Seventeenth century. Draped female figure, with hands by her side, and looking upwards. (s) A Bishop. French. Eighteenth century. In full canonicals, with hands folded, in profile to the right. (c) A Biblical Character. German. Late sixteenth century. Rounded figure of a bearded and fully draped man who moves toward the left. Above is an embattled wall. (p) A Warrior. On bone. Italian. Sixteenth century. Rounded fig- ure, holding a shield on his left arm, his club in his right hand. Standing under the edge of a building. (£) God the Father. German. Late sixteenth century. Bearded, and seen at half length. The right hand raised, a book in the left. (r) A Warrior. On bone. Italian. Sixteenth century. Rounded fig- ure, holding his shield on his left arm, his club before him. 645—COLLECTION OF SEVEN SMALL Ivory CaRrvINGs (a) Sheath. French. Early eighteenth century. Dieppe. Plain, un- carved, straight and shaped at the corners. (8) Hexagonal Case, with Top. Hindoo. Seventeenth century. The six sides are carved with floral designs enclosed in panels. (c) Cylindrical Case, or Round Sheath. French: Eighteenth century. Dieppe. Uncarved. With circular gold bands. (>) Sheath. Flemish. Eighteenth century. A cylindrical case, or sheath, carved with bird and animal forms on the top. The lower part with seated figure of a child, and architectural setting. (=) Sword Hilt. German. Early eighteenth century. A boy, in large hat, long curls, short and beautiful dress, an object in his right hand, his left behind him. This artistic figure may represent the son of Maria Theresa of Austria, viz., Louis XIV as a child; but it may be the child of Maria Theresa, Empress of Germany and Queen of Hungary. [ Continued [No. 645—Continued] (r) Sword Hilt: Remorse. French. Eighteenth century. Nude figure being devoured by a dog-headed, lion-mouthed monster. (c) Sword Hilt: Persian. Eighteenth century. Carved front and back, with geometrical designs and variegated patterns. 646—Two Smatt Carvep Ivory Boxes (a) Oval. Inlaid. Hindoo. Seventeenth century. The lid is inlaid with floral designs. The under side is carved with patterns. Metal rim and hinges. (3) Beauty Box. Mounted in silver. French. Eighteenth century. The lid is carved with the figure of a woman bathing. Behind a tree on the right are two men. Apparently from the picture of “Susan Bathing” by Santerre. 647—Carvep Ivory Carp Case Orientals grouped in various scenes set in elaborate gardens, in which are pagodas. 648—Carvep Ivory PocKkETBOOK The panel on the front represents a Kermesse, with figures seated in the foreground and peasants dancing at the back. Buildings and trees in the distance. The back is uncarved. With a pencil. 649—Carvep Ivory SNUFFBOX French. Seventeenth century. The cover represents Neptune with his trident urging forward his three sea-horses which draw his car. Their hind parts terminate in dolphins’ tails. The under part carved with ancient musical instruments. The sides ornamented with flowers. The cover does not seem to have been made by the same hand but recalls the period of Henri IV, while the other parts are of the time of Louis XIV. 650—SNurFFBOx OF BonE: “VENUS AND PsyCHE” French: Dieppe. Seventeenth century. Flat, but shaped. The cover, attached by metal hinges, carved with “Venus and Psyche.” 651—Two Carvep Ivory Sworp Hixts (a) French. Late sixteenth century. The shepherd Paris, with his dog behind him, is about to award the prize of beauty, an apple, to one of the goddesses. But they are not represented. He wears a large- brimmed hat, and buskins. To the hilt is attached the blade of the short sword. [ Continued [ No. 651—Continued ] (8) Spanish-Flemish. Early seventeenth century. Bearded, standing figure of a man, holding a sword in his right hand. ) St. Augustine, Bishop of Hippo. Spanish. Eighteenth century. In ecclesiastical robes which are polychromed, and a mitre, he blesses with the right hand. Bearded and looking to the front. Partially gilt. (2) Pieta. Flemish. Late fifteenth or early sixteenth century. The Dead Christ, lamented by the Virgin, who holds His body on her knees. 657—F ivr Carvep Ivory SMALL STATUETTES (a) Young Woman with a Thorn in her Foot. Italian. Sixteenth cen- tury. Nude female form, seated on a tree trunk. Her left leg is raised and rests on her right knee, to extract the thorn. Apparently North Italian, and School of Treviso. | Continued [ No. 657—Continued | (8) Woman with a Serpent. North Italian. Sixteenth century. Nude, her right hand to her breast, her gaze directed above. A serpent around her body issuing from a tree trunk behind her. (c) A Whistle in Male Form. French: Dieppe. Seventeenth century. A musician, apparently Persian, in high peaked hat, playing on the pipes. Pointed shoes. (») Bust of a Young Girl with a Bird. German: Nuremberg. Seven- teenth century. Half-length figure of a woman, holding a bird in her right hand, her left behind her back. Low-cut dress, and necklace. (2) Young Woman Standing. Italian. Sixteenth century. Nude, with wavy hair, holding an open flower before her, and a bunch of flowers in her left hand. Behind her is a tree trunk. Apparently North Italian, of the School of Treviso. Six Carvep Ivory SMALL STATUETTES (a) The Virgin. French. Fourteenth century. Kneeling, with hands folded, her body turned toward the left, her eyes to the front. 658 (p) Souvenir of Death. French. Seventeenth century. Child with scant drapery, and right foot raised on a skull. Looking to the left. A tree trunk on the right. (c) A Holy Woman. French. Fourteenth century. Fully draped, the hands across the waist, the mantle enveloping the head. (») A Holy Woman. French. Fourteenth century. Draped, the head partially enveloped by her mantle. (z=) Cupid Adolescent. Italian. Seventeenth century. With a quiver full of arrows slung from his left shoulder, he raises his head as he exerts his full force to direct the arrow in his right hand. On a black circular pedestal of wood. (v) Group. Two Heads of Cherubim. French. Seventeenth century. A rounded piece carved with two winged heads of angels. 659—Four Carvep Ivory SMALL STATUETTES (a) The Dead Christ. French. Fourteenth century. Lying on His right side, the loins girt, the left leg upon the right. (3) Bas-relief. St. Jerome. German. Early seventeenth century. Kneeling on the ground, about to beat his breast with a stone. Above hangs his cardinal’s hat on a tree. Turned toward the right. A narrow border to the work, the right portion of which is missing. Remarkable for the outline of the head. | Continued [No. 659—Continued | (c) An Eeclesiastic. French. Late seventeenth century. A bearded man, his right hand raised, a book in his left. Possibly a member of the Jesuit Order. Ona circular base. (Injured.) (p) Bas-relief. A Child Dancing. Franco-Italian. Sixteenth century. Nude figure of a child raising the right leg as he dances toward the right. The face to the front. Apparently blending the characteristics of the Italian Renaissance with that of France. 660—THREE CaArvep Ivory SMALL STATUETTES (a) A Woman. North Italian. Sixteenth century. Nude female figure, holding a model of a building in her right hand. Her left foot rests on the head of a fish, or dolphin, the tail of which she grasps with her left hand. On a black and white pedestal. (8) Group of Figures. English. Eighteenth century. The mother stands with a hoop in her right hand and her left clasps the nude child to her waist. Behind stands the father, a walking-stick in his left hand. A dog at the back. On a wooden pedestal. Of the period of Hogarth. (c) A Knight of the Order of St. Iago. Spanish. Early seventeenth century. Beardless, short figure of a man, wearing his chain of the order of St. Iago. On a black and white ivory base. 661—THREE Carved Ivory STATUETTES (a) A Holy Woman Weeping. French (?). Seventeenth century. Draped female figure, her right hand holding her robe to her face. On a black wooden pedestal. Height, 3% inches; of pedestal, 144 inches. (sp) Madonna and Child. German. Seventeenth century. Wearing a crown, with her right leg advanced, she holds on her left arm the Infant, whose head is missing. Height, 5 inches. (c) “The Assumption.” Spanish. Seventeenth century. Richly at- tired, her hair falling on to her shoulders, the Virgin has her hands clasped. Height, 51% inches. 662—TuHREE Carved Ivory STATUETTES (a) St. Ignatius Loyola. Spanish. Early seventeenth century. In cassock and surplice, the right hand to the breast, the left hand holding a book. Height, 43/4 inches. (ws) St. Augustine, Bishop of Hippo. French. Seventeenth century. In full canonicals, with the mitre, the eyes to the left. (The hands are missing.) An excellent example of the French school of the seventeenth century. Height, 5% inches. | Continued [ No. 662—Continued | (c) A Holy Woman. Italian. Thirteenth century. In close-fitting robes, the hands to the waist. The draperies suggest the thirteenth century. Height, 5% inches. 663—Turerrt Carven Ivory STATUETTES (a) “St. Margaret Vanquishing the Dragon.”” Spanish. First half of the seventeenth century. Standing with her left foot on the back of the doglike monster, her hands are clasped. Flames of fire issue from the mouth of the monster. On a brown wood pedestal. Height, 4% inches; of pedestal, 114 inches. (8) Madonna and Child. Early seventeenth century. The Virgin, with left foot advanced, holds the Infant on her left arm. On a black wooden pedestal. Bears characteristics common to both Italian and German art. Height, 8%, inches; of pedestal, 1% wmches. (c) Madonna and Child. French. Late seventeenth century. The Virgin (the upper portion of whose head is pierced) stands in full front. The Infant places his right arm around her neck. On a black wooden pedestal. Height, 41% inches; of pedestal, 144 inches. 664—Four Carvep Ivory STATUETTES (a) St. Veronica. French. Early seventeenth century. Full-length figure, holding the sudariwm, or Holy handkerchief, which has the impress of the Holy Face. Height, 514 inches. (sp) St. Margaret. French. Seventeenth century. Her hands across her waist, and her right foot resting on the back of the dragon. Height, 5 inches. (c) Madonna and Child. Italian. Seventeenth century. The Virgin holds on her left arm the Infant, whose head is missing. Height, 5% inches. (>) St. Bruno. French. Seventeenth century. A skull in his right arm, a book held with both hands. Looking toward the left. Possibly the book deals with the Order which he founded. Height, 614 inches. 665—THREE Carved Ivory STATUETTES (a) After the Bath. French: Dieppe. Eighteenth century. Nude figure, the left arm, with a bracelet on it, rests on top of her head. Her hair falls on to her right shoulder. Height, 544 inches. [ Continued [ No. 665—Continued | (3) A Woman Dancing. French: Dieppe. Eighteenth century. With her left leg raised in the attitude of dancing, and partially draped, she moves her hands from side to side. The Museum of Dieppe contains a number of somewhat similar pieces. Height, 5°84 inches. (c) A Bacchante. Italian. Late sixteenth century. A woman, nude but for a girdle of vine leaves, carries a child on her shoulder. Another child stands and places his arms around her right leg. Possibly executed after an original antique model. Height, 6 inches. 666—TuHREE Carvep [vory StTarurrres (a) St. John at the Foot of the Cross. French. Seventeenth century. Draped figure with right hand to the breast, his eyes directed to the left. On black wooden pedestal. Height, 414 inches; of pedestal, 1Y% inches. (s) St. Catharine. Italian. Late sixteenth or early seventeenth cen- tury. In a sumptuous robe, and a portion of her wheel by her left side. On a base. Height, 41% inches; of base, 1% inches. (c) “The Assumption of the Virgin.” Spanish. Seventeenth century. The Virgin kneels in ecstasy. (The arms are missing.) On the ground are angel heads which support her as on a cloud. Height, 5% inches. 667—Two Carvep Ivory Comps (a) The teeth are thicker at one end than at the other. On the front the center portion is decorated with a group of warriors and female figures, moving toward the left. On the back, geometrical designs. Height, 5 inches; width, 3°4 inches. (8) Cupids sporting in a landscape bounded by trees at either end; ornamental decorations in each of the four corners. In similar fashion they are amusing themselves on the back; similar decorative designs in the four corners. Height, 61% inches; width, 34%, inches. 668—Two Carvep Ivory CEREMONIAL Combs (a) In four arcaded and cusped compartments are simple scenes with small figures; a winged head between each. On the reverse are four geometrical designs between the tops of which are winged heads. Height, 4% inches; width, 5 inches. [| Continued [ No. 668—Continued ] (8) On the obverse is the sphinx, between two reclining odalisques ; on the reverse are the radiating lines of a half-circle. Height, 41% imches; width, 6 mches. 669—T'wo Carvep Ivory Comps (a) The teeth of the lower half are thicker than those of the upper. In the middle, on the front, are plant forms treated in decorative de- signs. On the back a warrior overcoming a lion; birds and animals round him. Height, 71, inches; width, 34g inches. (s) The teeth at one end are fine, at the other thicker. In the center panel, on the front, are birds and flowers arranged in geometrical pat- terns; on the back is similar ornamentation. Height, 7 inches; width, 2% inches. 670—Carvep Ivory Comp The tecth of different thickness at either end. The panel in the center of the front shows a domestic scene with a man and his wife greeting each other; a serving maid on the left; a man-servant on the right, about to address a child seated at table. The back decorated with scrolls and bands of plain ornament. Height, 644 inches; width, 5 inches. 671-—Two Carvep Ivory CrreMoniaL Comps (a) On the obverse two figures, accompanied by amorini, recline amid the trees. Doves are billing on the right. On the reverse are geometrical patterns. The sides are elaborately carved. Height, 6 inches; width, 4 inches. (3) On the obverse are cupids sporting in the open, with bows and arrows. On the reverse a classical head set between mythical animals. flaborately carved at the sides, Height, 5 inches; width, 34% inches. 672—Carvep Ivory CrerEMoNIAL ComB In four arcaded and cusped compartments are domestic scenes, with two or three figures; a winged head between arches. Similar scenes also on the reverse. Height, 434 inches; width, 7 inches. 673—CarvepD Ivory STATUETTE The almost nude Infant Jesus lies asleep on a couch; in the foreground is the Crown of Thorns, together with the Cross. On a marble pedestal. Length, 4+ inches. 674—Carven Ivory Carvinc Young Bacchanals. Seven young Bacchanals, in a landscape sctting, are sporting with a goat. Height, 3°4 inches; width, 5°4 inches. 675—T wo Carvep Ivory Marre Portraits (a) In fanciful attire, and wearing a felt hat with feathers. Turned toward the left. Half-length. Oval plaque, contained in a frame carved with floral designs. Height, 3 inches; width, 2\% inches. (s) In bucolic attire, with loose-fitting dress, and a straw hat. Turned toward the right. Half-length. Oval plaque, contained in a frame carved with floral designs. (Partly broken.) Height, 3% inches; width, 22% inches (without the frame). 676—Carvep Ivory PANEL “The Flight into Egypt.” Flemish. Seventeenth century. At a turn in the road, after passing the tree of Matarieh, the Holy Family passes toward the left, with St. Joseph leading the ass. In small wood frame. The composition seems to be after Patinir. Height, 614 inches; width, 5 inches. 677—Pair OF CarvED Ivory STATUETTES St. Paul and St. Catharine (?). Full-length figures. The male saint holds a sword in his right hand. The female saint has-a scepter in her right hand, and a book in her left. Each on a round wooden base. Height, 41% inches; width, 14 inches. 678—Two Carvep Ivory STATUETTES (a) Christ. Spanish. Seventeenth century. Seen at full length and fully draped, He places his right hand to His breast and the other falls by His side as He gazes upward earnestly. Height, 544 inches; width, 2 inches. (x) A Female Saint. In ample robes and a hood, she stands with her hands clasped on her breast as she gazes out into the distance. Height, 51, inches; width, 2 inches. 679—Two ByzantTINE Ivory STATUETTES 1078-1081 (a) Nicephorus III. In close-fitting robes of office, a sword in his right hand and a mantle over his left arm, he is crowned and wears jeweled earpieces. On a rectangular base, rounded at the corners. Height, 514 inches; width, 1% inches. (p) Maria, Wife of Nicephorus III. In close-fitting robe and ample sleeves, crowned and holding the scepter in her right hand. On an oval base. Height, 514 inches; width, 1% inches. 680—Carvep Ivory STATUETTE “The Virgin in Adoration.” Plain, simply clad, full-length figure of the Virgin with hands clasped and standing on the crescent moon. Height, 61 inches. 681—T wo Carvep Ivory StTaTurrrEs Sixteenth century (a) “The Pietd.” Portuguese. The Virgin, in decoratively treated robes, holds on her lap the figure of the Dead Christ. On the ground in front is the Crown of Thorns. Height, 5%4 inches. (8) Madonna and Child. The Virgin holds the Infant on her left knee. He blesses with the two fingers of His right hand in the Greek manner. Height, 51% inches; width, 2 inches. 682—Two Carvep Ivory STaTUETTES (a) Henry VIII. French. Sixteenth century. At half length, and in Tudor robes with plumed cap, he looks fixedly to the front. The forepart of his robe opens and reveals within three panels dealing with a genre subject. Height, 44, inches. From the collection of the Countess of Seilhac. (s) Catherine de Médicis. French. Sixteenth century. In Italian Renaissance costume, with high collar, she is seen at half length. ‘The forepart of the body opens, to reveal within the Queen on her throne surrounded by her courtiers, with the action continued in the side panels. On a round base. Height, 51, inches. From the collection of the Countess of Seilhac. Carvep Ivory STATUETTE Charles the Bold. Bust-length portrait, carved in the round, of a warrior wearing full armor and the chain of the Order of the Golden Fleece, a helmet and movable vizor. The forepart opens, and reveals inside, on three small panels, incidents in the “Bataille de Nancy, 1477,” at which a heavy defeat was suffered by Charles the Bold, whose name is inscribed in French characters above the front. On a rectangular 683 base supported by female heads. Height, 6% inches. 684—Parr ByZANTINE Ivory STATUETTES 1081-1118 68 ~ 8 lees Alexius I and his Queen. The King, in close-fitting robes of office, holds his scepter in his right hand; a mantle is over his left arm. The Queen, more elaborately dressed and crowned, is similarly presented. Height, each, 514 inches, STATUETTE OF Woop, witH THE Heap or Ivory Cyrano de Bergerac. The figure in undress military costume, with sword held in the right hand and advanced stands forward in an atti- tude of excited endeavor. The sword, the sheath, the hand, the head and round base of ivory. Height, 584 inches. 686—Two FreNcH Ivory STATUETTES (a) Charles I. Seventeenth century. In doublet, with lace collar and sash, a felt hat with a plume. The front opens, to disclose on the inside three panels illustrating war-like scenes. Height, 4°4 inches. From the collection of the Countess of Seilhac. (es) Francis I. Sixteenth century. Bearded and wearing a_ helmet with the vizor up. The front of the body armor opens, to show within three panels setting forth a battle scene. Height, 5 inches. From the collection of the Countess of Setlhac. 687—T'wo Ivory Caryvines: Roman Warriors (a) In cuirass, with battle-axe raised over his right shoulder and a shield on his left arm, he advances with the right foot. He is bearded and wears a helmet. On circular base. Height, 6°4 inches. (8) In cuirass, his shield on the ground by his right side, and a lance in his left hand. Wearing a helmet, he steps forward with his right foot. Height, TV, inches. 688—Two Carvep Ivory Groups (a) Venus and Cupid. French. Seventeenth century, The goddess, her right hand raised, guides with her left Cupid, who walks by her side. Height, 61% inches. (ws) A Child. ‘The Souvenir.” French. Eighteenth century. Turned toward the left, the right foot resting on a skull, and raising his right hand to speak. The two holes near his left hand suggest that he for- merly held a bouquet. The influence of Bouchardon may be noted. On a black wood square pedestal. Height, 6°4 inches; of pedestal, 114 inches. 689—Two CarveD STATUETTES (a) “St. George and the Dragon.” English. Late sixteenth century. With shield and sword, St. George stands on the body of the vanquished dragon. On a black wooden base. Height, 634 inches; of base, 1% wches. (8) Father Time. French. Sixteenth century. An old man with flow- ing beard, holding a scythe against his right side. In his left hand he holds a circular emblem of a serpent biting its tail. (Broken and repaired.) On a brown and white base. Height, 7 inches; of base, 2% inches. 690—T'wo Carved Ivory STATUETTES (a) Diana. French. Late sixteenth century. Diana as huntress, in loose attire, her breasts partially bare. She wears the crescent-shaped ornament on her forehead. A sphere in her right hand. Her dog by her left side. On a white and brown base. Height, 6g inches; of base, 2°% inches. (s) Roman Soldier. French. Late sixteenth or early seventeenth century. In military attire, he holds a sword in his right hand. His legs are bare; high boots. Height, with wory base, 81% inches. 691—Grour or TWELVE GROTESQUE Ivory STATUETTES An orchestra of eleven musicians and a bandmaster. Each figure on a small wooden pedestal. Height of each figure, about 4 inches; of pedestal, 1%4 inches. (Illustrated) 692—Carvep Ivory STATUETTE Mephistopheles is seated in a pensive attitude beneath a canopied recess, on the summit of which has perched a mythical bird on to whose back descends an eagle. Height, 91/4 inches. . THREE Carvep Ivory STATUETTES (a) Venus Chastising Cupid. Venus, draped below the waist, raises the branch with which to chastise the small, winged Cupid who holds the bow in his right hand and raises his right leg in his pain. On a round pedestal. 693 Height 8 inches. (s) Venus. By Gaellen. French. Eighteenth century. Almost nude figure, whose left arm is raised. Signed at the back of the base with the name of Gaellen. On a black wooden pedestal. Height, 6 inches; of pedestal, 24/, inches. (c) Venus.’ French. Late sixteenth century. Small copy of the Venus de Médici. The figure is erect, while in the original the upper part of the body bends slightly. Thus this is copied from the famous statue by some traveling ivory carver. On a pedestal resting on a cir- cular base. Height, 644 inches; of pedestal and base, 284 inches. S ITE yr 4 IVORY STATUE 4 SQUE LV GROLE ROUP OF TWE ‘ ¥ 691—C No. 694—Two Carvep Ivory STATUETTES (a) The Clown of Francis I. The clown, in cap and bells and bear- ing a standard, is astride a heterogeneous animal. ‘This strange beast may betoken the salamander. Height, 81 inches. (zn) A Blind Musician. In tattered attire, a cloth round his forehead, a flat hat, and his dog by his side, the musician plays on his instru- ment. Behind him is a tree, in the upper branches of which is perched a monkey eating nuts. Height, 84, inches. 695—Two Carvep Ivory STATUETTES (a) A Captain. French. Seventeenth century. In court dress, with a ruff and rosettes on his shoes, and wearing a hat, he stands with his right hand raised; his left is on his hip. Height, 7% inches. (sw) A Peasant, on whose back has climbed a monkey, is astride a cloven-hoofed boar which squats on the ground. Height, 10% inches. 696—SMALL CarvED Ivory Horn Carved on one side with a stag hunt; and on the other with a medallion of “Stephan R. Pol,” together with the royal crown. A dog’s snout forms the mouthpiece. Length, 9 inches. 697—IvoryY-HANDLED CARVING KNIFE AND ForK The steel blade and prongs are fastened into shafts of ivory carved with Oriental figures placed amid classical shapes and floral designs. Respective lengths, 7 inches and 61% inches. 698—DaccER WITHIN CaArveD Ivory SHEATH. The sheath, decorated with floral designs and inlaid with animal forms, is mounted in gold. In it are a dagger, with malachite handle and three sharp instruments. With silk attachment. Height, 13 inches. 699—Horn or Warrus Tusk The base is decorated with Diana and her hounds; and on the back the monogram “F.R.” and the royal crown. The summit is carved with a lion attacked by a hound. Length, 10 inches. 700—Carvep Ivory Crozirr Heap: Tort ANNUNCIATION At the summit, within the curve, is the archangel announcing to the Virgin. Height, 61% inches; width, 3% inches. 701—Carvep Ivory Crozimr Hrap Fifteenth century The summit is curved within the circle. Contains a griffin devouring a deer. Height, 6 inches; width, 3% inches. 702—TureE Carven Ivory Strarurrres (a) A Holy Woman. Italian. Late sixteenth century or early seven- teenth century. A draped female figure, at full length with downcast eyes. On a black wooden pedestal. Height, 5 inches; of pedestal, 24, inches. (sp) Madonna and Child. French. Seventcenth century. The In- fant rests on the left arm of His mother. On a black wooden pedestal. Height, 54% inches; of pedestal, 134 inches. (c) Mary Magdalen. French. Early seventeenth century. In ecstasy. On a black wooden pedestal. Height, 6 inches; of pedestal, 114 inches. This little masterpiece expresses in its lines the artistic cycle begun by Poussin and continued by Simon Vouet and Lesueur, Carvep Ivory TREE-SHAPED ORNAMENT A classically draped male figure, standing in water and resting his right arm on a branched staff, is in conversation with a man mounted on an elephant. Landscape setting. Inlaid with floral and geometrical patterns. A branch protrudes below, another shoots out from the trunk above. The summit and rings are later additions. Height, 11 inches. 703 704—Carvep Ivory Crozier Huan: THE Discentr rrom THE Cross AND THE MApONNA AND CHILD On the obverse, within the curved head, is the Descent from the Cross. A composition of five figures. On the reverse is the Madonna enthroned between angels. Height, 7% inches; width, 5 inches. 705—Two Carvep Ivory STATUETTES (a) St. Anthony and a Child. The saint, who is bearded and stands on clouds borne aloft by angels, holds the child in his arms. Height, 684 inches; width, 2 inches; on an octagonal base. (x) St. Nicholas. The saint, enthroned before a circular niche, holds in a handkerchief before him the three innocent children whom he brought back to life. Height, 634 inches; width, 244 inches. 706—T'wo Carvep Ivory STaTuErTEs (a) “The Empress Helena Carrying the True Cross.’ seventeenth century. Draped female figure, slightly gilt, in demi-alto- relievo in a piece of rounded ivory. (The Cross is broken.) Pedestal > Spanish. Early of gilt, diamond-pointed wood. Height, 54% inches; of pedestal, 11% inches. > Indo-Spanish. Late sixteenth century. (s) “The Virgin in Prayer.’ A draped female figure, with hands crossed over the breast. Her robe has an ornamental border. Standing on a base, shaped with floral designs. ; Height, 7 inches. 707—Two Carvep Ivory STATUETTES : (a) The Madonna and Child. Frisian. Sixteenth century. The In- fant (whose head is missing) rests on His mother’s left arm. The Virgin wears a crown, and stands on a base on which is an angel head. Height, 7 inches. (3) “The Assumption.” Italian. Sixteenth century. A draped figure, the right arm to the side. (The hands are missing.) Standing on a base formed of three joined figures of angels who bear her body aloft. “A perfect specimen of a sculpted object in ivory.” Height, 7% inches. 708—Carvep Ivory Group: Tor Manonna AND CHILD, WITH THE INFANT St. JOHN Seated at full length, the Virgin holds the Infant on her knee. He blesses with the fingers of His right hand. On the left kneels St. John the Baptist, who makes an offering of his lamb. Rounded in front. Height, 4% inches; width, 4°/4 inches. 709—St. CECILIA The Patroness of Music is enthroned; before her kneels, on the left, a young man who is instructed by her to give up his life to the study of the keyed organ on the lowest step on the right. The composition suggests the art of Melozzo da Forli. Height, 81% inches; width, 484 inches. CarveD Ivory DovusLe Hoty Warrr Cup An elongated, shallow and rounded vessel. The cover at each end can be raised. In the center, between the hinges of each part, is a double statue of an angel kneeling with hands folded. On a high sided floral base. 710 Height, 744 inches; width, 71% inches. 711—Carvep Ivory Heap or A Crozier The rounded upper portion is carved with the figure of the Lamb, contained within a circle which is in part formed by the tongue and head of a winged animal. Height, 9 inches; width, 314 inches. 712—Carvep Ivory Heap or A Crozier The rounded upper portion is carved with a figure of St. George over- coming the Dragon, the tail of which forms the circular head and is lost in the simple ornament of the shaft. Height, 12 inches; width, 3°, inches. 7183—Carvep Ivory Heap or a Crozier The rounded upper portion is carved with the figure of the Archangel Gabriel and the Annunciate Virgin, contained within the circle deco- rated with simple patterns. Height, 8%4 inches; width, 384 inches. 714—Two Carvep Ivory STATUETTES (a) “Christ Bound.” German. Seventeenth century. Wearing a loin cloth, and a drapery partly covering His right side. His hands bound before him. Height, 8 inches. (s) “The Divine Reaper.” French. Late sixteenth century or early seventeenth century. Bearded figure, the loins girt, with a scythe resting against his right side. A sheaf of corn in his uplifted left hand. On a square base. Height, 81% inches. 715—Carvep Ivory PANEL “The Virgin and the Three Marys.” On a panel rounded at the back. The four figures in simple attire, with hands raised, facing the front and in close relationship, are seen at full length. Height, 61% inches. 716—Two Carvep Ivory STATUETTES (a) Madonna and Child. Italian. Seventeenth century. The Madonna holds the Infant against her right shoulder in a graceful pose. On a black and white shaped base. Height, 61% inches; of pedestal, 2% inches. (s) St. Martha. French. Seventeenth century. A book in her right hand and a vessel hanging from her right wrist. She stands on the dragon which she tamed. A combination of the art of Southern France and that of Spain. With circular base. Height, 7° inches. 717—Carvep Ivory STATUETTE “Eece Homo.” Spanish. First half of seventeenth century. Stand- ing, the gaze directed toward the left. His hands are bound before him; a cloth is around His loins. 4 se . Tae ed ta ae ae ae oe eb ee eh ee ee i ‘ , je Bay a % Reeth) it) | toe BE ley a) 4 SETTER Le ees fe 1045—MaponNNA AND INFANT CHRIST, WITH Donors: Com- MEMORATIVE ‘TRIPTYCH Sixteenth century To the enthroned Madonna and Child, with St. Joseph seated left, appears an angel. In the left wing kneels the donor with his patron saint. In the right wing is his wife, under the protection of St. Catherine. The center panel is higher than the side ones. Height, 10% inches; width, 1214 inches. 1046—DrvorionaL Diprycu (Polychromed): ScENES FROM THE Lirr or Curist (1) In a complexed, arched setting we see (1) The Annunciation and (2) The Descent from the Cross, (s) In the other leaf are, similarly set forth, (1) “Noli me Tangere” and (2) The Ascension. Height (each panel) 7° inches; width, 8°4 inches. (Illustrated) 1047—HisroricaL TrrerycHo: THr ARRIVAL OF Mariz pE Mepici AT MARSEILLES In the center panel the Queen is debarking, and is received by the Genius of France on her arrival. Jupiter and the naiads have given the Queen a safe passage. Height, 10 inches; width, 101% inches. This is a copy of the large composition of Rubens in the Louvre. 1048—ReELier Pane: A Kine Brineina His Son To A MONASTERY A varied and orderly procession from the left, headed by the King, against whose side the son reluctantly presses himself. The monks issue from the monastery on the right. Decorative panels above and below. Height, 7 inches; width, 11% inches. xX BeOS REDE EEE TE Sask SES eer. = eR nee Let { -=-namgessnseaneetietnesieseienetnestnrmmeete tae ol « p— a >! ak OSE = 2LOIGE Pee Has AAS Baunea > hx gl ED oo i ae aX Pe IN Per ees Ss Sa Pr 3 HIstoricaL s Day: Bs RTHOLOMEW St. Ba SACRE OF H E Mas ie 1049—T ‘6 TRIPTY At the entrance to a medieval castle is the Queen, attended by ladies ground in the foreground, their their victims lie on the bodies being continued on into the wings. of the Court; width, 11 inches. , 1214 inches; Height 1050—Renier Carvine: JoserH Soup spy THis Breruren A fragment. A continuous composition. The heads of two figures at the right have been broken off. In a silver frame, studded, along the base, with emeralds and rubies. Height, 10 inches; width, 12% inches. 1051—SraturrTE: St. CATHERINE Superbly attired in Renaissance robes, with large sword in her right hand and a large wheel by her left side, she stands proudly on the body of the downtrodden Maxinian, who impotently raises his scepter. Rounded at the base. Height, 151% inches; width, 6 inches. 1052—STATUETTE: A FEMALE SAINT Seventeenth century French. In simple robe, with head-dress and crown, and a book in her right hand, she raises her left to her breast. On an octagonal ped- estal placed on a wooden base. Height, 20 inches; width, 61% inches. 1053—A_ Bisnor Sixteenth century Spanish. Three-quarter-length figure of a bishop, in his mitre, his right hand raised, his left holding a book. Below him is a tall column decorated with four figures of ecclesiastics set in niches. The stem is carved with simple designs and is supported on the backs of three lions. Height, 31 inches. 1054—ON®r or THE BarrLes oF ALEXANDER THE GREAT The successful warrior, mounted, in the center and moving toward the right, is accompanied by his javelin men and armed host, who ap- proach from a river on the left. The confusion is great on the right among the conquered. Height, 5°84 inches; width, 1836 mcehes. (Illustrated ) 1055—A 'TANKARD Scenes in a Roman Conquest. The soldiers, under the orders of their commander, belabor, bind and take captive their defeated enemies. The procession passes onwards to the right, where the King himself is seized. The scene is set in woods with trees in full bloom. ros . . 1 z “ a - ‘ ny 2 . J bie Te tat ws a f + we x... iY aie Ot a wee LIBRARY _ GETTY CENTER *