on va a : ese tested ou Lars | ae eos — Le ee Se jn Se = Ee: ; ef wre, aes} eS wt Saoetaiets e ; S : ; i, aS Pe, ‘s : . 2 “ . * Snt~ , oad? . See ees Satara ner spate x ae : SS : : pos is . ¢ > De = : . a - : ae ae, sy eae re : tate gee: ew eh te R= ie thee i + Peg : e sao age ata ey ee eye ee : . 7 Se Tee yes ie ng ar ee Arta ; (none - hee iy, PO en Aste ae _——— Tee Sie ——— se its Aa a + .* F 4 a ¥4 ; ; vi Te Price Paid, “tae ¥ Ve Patre,” by F i ¢. Coolidge, dre Ryn OC -Bostorie Fn 4 Pd . . $ JAA 23 PICTURES BRING $81,975 Daubigny’s “ Morning on the Marne ti Fetches $14,000—A Roussecu Brings ‘$11,700, and a Millet $11,300. | The beautiful little lot of pictures. of ' the:James A. Garland collection—twenty- three of them—sold last evening at Men- | ‘delssohn Hall, under the auspices of the American Art Galleries, for $81, 975. The! bidders were not numerous, but the sale! _ was brisk. . .The Corot brought the highest Sue $15,900, paid by T. J. Coolidge, Jr., of. Boston. .The picture was started at. $5,000, jumped by thousand bids to $10,- 0CO, then ran quickly up. by smaller) bids to the selling price, ‘‘Le Patre’’. was the Corot’s title. It is a large pic- ture, 454% by 35,4 inches; two large trees “standing out prominently on the lower ' Slope of a rough hillside, with the figures of @& man and woman beneath, the fig-. ures of a mah and a sheep silouetted | against the sky at the top of a knoll, | aad, at the left, rambling buildings, . Emerson MeMillin gave $14,000 SS Daubigny’s ‘“Morning on the Marne.,”’ Bidding for this picture started at $2,500, jumped to $3,000, then $5,000, and then by hundreds to the selling price. A small Millet, ‘‘The Shepherdess,’’ went to Scott & Fowles for $11,300. The last single figure picture of Millet sold by the American Art Galleries went for) $23,025, Mr. Kirby explained. “La Ferme,’ a, Rousseau from the Mary J. Morgan collection, brought $11,700. The) ““Market Morning, Constantinople,’’ Al-, berto Pasini, went to C. Vanderbilt Bar- | ton for $1,050. ° The Dupré, which went | for $9,000, was bought by Mr. Garland from a Philadelphia collection in 1899 for $8,000, Following is the list of pictures, with hames of artists, purchasers, and prices: A Savant—Francols Domingo; Dr. P. Ry ROMOCESUISOME Ak SKE a cea bce say's Fe Meeks Dateless $225 A. Shepherdess—Miltet; Scott & Fowles. 11,300 La Ferme—Theodoré Rousseau; Knoed- | WEP te ea aE SLA elas SO RON deere donne Se ool bs 11,700 \Gossiping—Daniel Ridgway Knight; aig ss ranean spe for the a the collection, although + better of the two Duprés pects to wake up some day to eee a embiiee "h sh: Gal eee “38, 000, tod even at. that fi ie — : an advance of more than ia e excellent and “Morning on the Marne” sk a $2,500 bid, and jumping t $5, 900 immediately, aele at was elicited by the « two small canvases ‘about eight by ten * ches, oy “Rousseau respectiv Shep ‘and “La Ferme,” ek two. s ‘dealers were after and: went after Pe and when the dealers bid #) tells its own story. “A Shep 1@) ee. ‘to one of ‘the firms for $11,3¢ aise Bd os aioe on can ee sat | © high figure of the e Was pi y T. Jefferson Coolidge, Jr., of twhio gave $15,900 for Corot’s as the catalouge has it, a lan sition of early evening in ge =< ‘figures are incidental. eee res buys for the Beaton Museum there was the customary specula | to whether the painting is isto find i ne there. The canvases bringing more than with artists’ names, those of as announced and the prices the Chae “A Shepherdess,” Millet; Scott & Ne i su “La Ferme.” oe Knoedler & Co.. “Venice,” Rico;gW. 5 GIR Bas pA Vines 8 " f “Market Morning, ” re "Passini; i. Vander. pa BUt Barton. 45 ole Soy See ee, 1,050 a nn a “Morning on the Marne,” Daubigny; E. Casein |.) Foe a cabs so avs Chuturon Morning.” he oo LN. L. Amster... a Mba the Schelde” Gane ange T. Bom ot ae ¢ Scheldt,” ays: eo ner. ; MEA Batre,” Corot in Coallde 4 es) ee ip => 22 @ #3 gee 2 -— rt zi - AMERICAN ART GALLERIES NEW YORK y MADISON SQUARE SOUTH ~~ pyre th ad " ee Teed ore wart | ae rae * ~ shia ~~ fe Sie is ¥ a > ia < r - - , >. an . . “# * ro ¥, rd tar. . e >4} SielW - < 3 . " A » ; 4% > =“ ~ Pe Sar ey ence tie FS Dele - it Lat a ¥ eS ; Est R oa a} * . . ie » ah eh A — ~ rr) Pg et the a ee a oe ee ey a et eee +h sacl ea pales 1 6 rr Fp ont jfor Daubigny's: ens nde len ji: tures cunecied ieee ‘late James me Garland—twenty-three—were sold March 19 at Mendelssohn Hall for $81,975. The bidders were not numer- ous, and the hall has rarely ever been more sparsely filled at an important auc- tion, but the sale was brisk, chiefly due to the competition between prominent dealers with each other and with a few collectors for the more important can- | Vases. The Corot, Pie. Patre, ” brought the Lnistiest: price, $15,900, paid beets. Coolidge, Jr., of Boston. The picture was started at $5,000, jumped by thou- | ~ sand bids to $10,000, then ran quickly | | up by: sale bi bids to the selling price. | Mr. Emerson McMillin gave $14,000 “Morning on _ the Marne,” a rarely fine example. Bidding for this picture started at $2,500, jumped to $3,000, then $5,000, and then by hundreds to the selling price. Following is the list of pictures, with names of artists, purchasers and prices: | ‘Ideal. Head,” Ludwig Knaus; N. L. Amster $250 ion bee Violinist,” B. Tirado; Ne LL. Amster. 300 i“A Savant,” F, Domingo; Dr. P. i}. Oettinger 225 bad 6 Shepherdess,” Millet; Scott & Fowles.. 11,300 |“La Ferme,” Rousseau ; ‘Knoedler & Co....: 11,700 “Gossiping,” D. Ridgway Knight; A. W. Smith 350 “The Arrival,’ J. R. Goubie; atte Bernet, 0 EE ee et re 450 fe: Soe Peasant Girl,” L. Pasini; N. L. Am- | ee veka hie KES ee Kon ee 600 “Steady, Johnny, Steady,” Erskine Nicol; | PeeRseClley Oe ee we ec eee oe ees 950 ‘Head of a Gisl,” Gabriel Max; Dr. P. J. Oettinger 2 a ee ar ee een 300 ‘Venice,’ Martin Rico; W. B. Gow =) See ome 1,600 ‘Market Morning, Constantinople,” A. Pasini; Vanderbilt PAs Gs safes 6) 2 ea 1,050 | “The Telegram,” Madrazo; Col. H. D. Seixas. 625} “The Butterflies,” F. Kraus; N. oF Amster... 550 ‘Sketching in the Mountains,” F. H. Kaem- |. merer ; Seer aCe. 14 fsb ow 4's anys on ene 375 (“A ° Morning Walk,” F. Heilbuth; C. M. OE en ee 250 “Morning on the Marne,” Daubigny; Emer- . Pree Ns Oe nc ne ass co se Tee eens 14,000 iL Ile des Amours,”’ Diaz; Knoedler & Co. 5,200 “Autumn Morning,’ Jules) Dupré; N. Ti Ee Lie cig ses 6 ces nahn ae 8 sp sie eee 4,200 ‘Landscape—Cattle and Pool,” Jules Dupré; co EE > 7S Se ee ae 9,000 ‘On the River Scheidt,” P. J. Clays; George SSS OO aero. core 1,850 ‘Le Patre,” Corot; T. J. Coolidge, Jr.; Bos 0 OS eres eee ee eo 15,900 ‘Harbor on the Coast of Cornwall,’ William T. Richards; G. B. Hopkins............-. 950 ee. Vig ss neues © oe Sey e eed $81,975 j eran Soir sur le lac, de Coro _ lidge, de Boston, a payé 90,500 francs. Ls oo a poussé jusqu’a 85,000 francs une . sgt représentant un Christ mort sur les | ra be dont les ee étaient a i donate eset ae __ Un Daubigny, .M inée ‘sur la 70,000 franes par M. Emerson Mac Mi Rousseau, la Ferme, 58,500 franes par fin-une toile de “Joan-Franeois Millet, la francs par MM. Scott et Fowles. - Ces prix sont d’autant plus vaarisek a que ; merce des tableaux et-des objets d'art a été for atteint a7 les événements de Yan Seathefe en ri \ | ae ie euvres. @art ‘dolvant. Steins enter. ‘ franchise aux Etats-Unis, on verra d'ici peu les trar _ actions de VYAmérique et de la France s belt's p aaa, a des sommes énormes. ae a) 4 ng chile figure. aoe highest price (Wee ts paid {cMillen, ; yrs bo mght | : : ‘on the: Ma " for our first bids, on that cplcture et ch, running it up to. $10,000 in| | «tO. eey the: susvessive cane tt vbut it. ‘is ee he remain ( ugene ere & Go. | he ‘Dupre ‘Landscape, Cat- | abt x3 ni. _ Sco "ke les gave ‘$11,300 f let “Shepherdess,” af pane] | inches. N. lL. Amster pala Pp ae a, 0 2 re ae e ad $4,200 fon, ) “Autumn: Morning,” ° tigers mye was Dr. = for Ga Gin or a’ $225 f f “A Savant ‘iheilothe:. buyers. were, th. te paid $850 for R cee RN TA for Ri bite eae “the Paeatnl PS Sea Morning,” | for $1,050; Colonel H,! pe pe ns. ¥E 525 tor. “Madrazo’ s Aaeue i ‘ Bon chelat”” for He, BY ici 0 paid $950 f T. Rie is? ‘SHanbor on the Cdlist of Cornwall Manas CSS STE Se * Mle des 0. It wa Amou s certain! 600, bo assini’s ‘Market went to C. and Mad-. $625 to. 4 — y 2 _) pate a a er An ay a a © Siew << . \ ; ; } | 7 LE “PATRE, CSCOROT. ON FREE PUBLIC VIEW BEGINNING SATURDAY, MARCH 13, 1909 CONTINUING UNTIL THE DATE OF SALE THE JAMES A. GARLAND COLLECTION TO BE SOLD AT UNRESTRICTED PUBLIC SALE AT MENDELSSOHN HALL ON FRIDAY EVENING, MARCH 19TH At 8.30.O’Clock and Continuing AT THE AMERICAN ART GALLERIES ON SATURDAY AFTERNOON, MARCH 20TH AT 3 O’CLOCK ILLUSTRATED CATALOGUE OF OTHE RY AeA BILE ART PROPERTY Belonging to the estate of the well-known connoisseur, the late JAMES A. GARLAND, ESQ. A former trustee of the Metropolitan Museum of Art TO BE SOLD AT UNRESTRICTED PUBLIC SALE Deere OF CHARLES T. GARLAND, ROBERT B. DODSON AND ROBERT EMMET, TRUSTEES ON THE DATES HEREIN MENTIONED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK, 1909 a eee ep | Ee mae one COPYRIGHT, 1907, BY THE AMERICAN ART . NEW YORK: 1) jugs ALL RIGHTS RESERVED COMPILED BY THOMAS E. KIR 7 -@ a) «i ; i ‘ = f > i ’ . a e CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immedi- ately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and, therefore, in his judg- ment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses and, if so’ requested, to pay down a cash deposit, or the whole of the purchase price, at the time of sale; the remainder of the purchase price to be paid or otherwise settled for to the satisfaction of the Managers, on or before delivery. Upon failure to comply with the above conditions the article purchased shall, at the election of the Auctioneer, be re- sold either immediately or within a reasonable time, and either at public or private sale and without notice other than that here given. If so re-sold, the first Purchaser’s account shall be credited with his deposit (if any) and the amount obtained on the second sale less all charges attending the same, and the deficiency (if any) shall be a charge against the defaulting Purchaser at the sale. If the Auctioneer shall not elect to re-sell an article sold, but not delivered for the-reason above given, then the Vendor thereof may at his election either enforce the Sale to the Purchaser or cancel the same. 4. To prevent inaccuracy in delivery, and inconvenience in the settlement for purchases, no Lot is to be removed during the Sale; all Lots, however, must be removed within twenty-four hours from the conclusion of the Sale. 5. After a Lot is sold, the Purchaser assumes all risk of any damage, theft or loss, except that which can be charged to the negligence and carelessness of the undersigned. 6. All Lots are to be taken away at the Purchaser’s expense and risk. The undersigned will afford to Purchasers every facility for employing careful carriers and packers. They are, however, in no manner connected with the business of the cartage or packing and shipping of purchases, and will not hold themselves responsible for the acts and charges of the parties engaged for such services. 7. Neither the Vendor nor the undersigned will hold themselves responsible for the correctness of the description, genuineness, or authenticity of, or any fault or defect in, any Lot, nor will they make any watranty whatever. They will, however, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Paint- ing or Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; failing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof for damage or injury occasioned thereby. THe AMERICAN ART AssociaTion, Managers Tuomas E. Kirpy, Auctioneer CL ENDELSSOHN (Fortieth Street, east of Broadway ) BEGINNING PROMPTLY AT 8.30 O FRIDAY, MARCH AT M ont CATALOGUE IN Ont LUDWIG KNAUS — GERMAN 9 0 TEX, terete 1829— IDEAL HEAD The head and shoulders of a tender little maiden some eight or nine summers old. The face is turned slightly to the left, the full, dark-brown eyes gazing directly at the spectator. A plain dress of green, beneath which shows the white of her chemise, discloses the round curves of throat and neck, sup- porting an oval face in which the red of the well-formed lips is repeated in the bloom of the cheeks. The firmly moulded contour of her chin, the shapely nose and the depth of her fair young forehead give promise of great individuality of ‘character, and the beautiful coloring of the flesh, framed by a wealth of red-brown hair, forms a delightful combination of tones. Signed on the left, Lu. KNAvs Height, 5 inches; width, 4% inches Ja. Ki e@o. tha.ck / POPC SCO No. 2 F. TIRADO ITALIAN CONTEMPORARY THE VIOLINIST Seated on a chair beside a handsome old chest of drawers, on which lies a quantity of music, is a man playing a violin. His dress is that of a dandy of the beginning of the last century—yellow-silk knee breeches, pink stockings and a flowered waistcoat with deep flaps. He has discarded his coat to give greater freedom to the movements of his arms, and the deep lace cuffs of his cambric shirt fall back to dis- close a well-shaped and muscular arm. His black hair is dressed en peruke, and his head is inclined to one side as he gazes intently at his notes; his features while not delicate are well formed, and his whole bearing is that of an aristocratic dilettante. Signed on the upper right, F. Tirapo Height, 12% inches ; width, 8% inches “ff wf Wy CoLLECTION OF M. KNOEDLER & Co. wo [Pe Jo °o NO. ” THE VIOLINIST, TIRADO. No. 3 x o FRANCOIS DOMINGO Lb (DON FRANCISCO DOMINGO Y MARQUES) - SPANISH 3 1843— | | A SAVANT In a high-backed leather chair in front of an open win- dow, a gray-haired man sits poring over a book. He wears a gown of blue silk over a yellow jacket. His hands are thin and sinewy, his hair is tousled and unkempt, and he evidently pays little attention to his personal appearance. The sunlight streams through the window and across the floor, on which a large dog is sleeping, showing up the rafters of the ceiling, a deep closet full of books, an open book-upon another chair, and a globe standing against the wall. Stgned on the lower right, ¥. DomMINnco Height, 6 inches ; width, 44% inches SSC). In. KucxredtG. Ca sge0e - Sa / PF a. e No. 4 JEAN FRANCOIS MILLET 1814-1875 A SHEPHERDESS Seated upon a grassy bank, her back supported against the trunk of a tree, is a French peasant woman. She is clad in a shapeless dress of coarse blue cloth, and a kerchief of the same color is bound around her head. Her large and muscular hands clasp a thick staff, and her expressionless face is turned slightly to the left. The skirt which drapes her lower limbs is all that betrays her sex, to such an extent have the environ- ment of her daily life and the sordid tasks which are part of her existence destroyed all traces of femininity, whether of form, feature or expression. The sheep nibble at the tender shoots of the young trees, and between the branches is a climpse of a plowed field and a creen hillside beyond. Stgned on the lower right, J. F. MILiet S99 E ON. Kise la. SG NO UI nhs COLLECTION OF AARON HeEaty. New York, 1891 Ruy fot] oe sg Gg * Ba A) so Sept /P? 4190Heak “250 Sree fp-2. e MILLET. 5 n ht ~ © Oo Zz. < mG ' 17! lad +s a ‘ | ' ay a 4 . 4 . é = ” * A THEODORE ROUSSEAU — Noe ae | + ND THEODORE ROUSSEAU \ve FRENCH \ 1 1812-1867 A gered ber P00 i LA FERME The picture shows a swampy piece of ground through the midst of which meanders a small stream, forming pools of water in those places where the configuration of the soil allows it. From the rich black soil the grass springs rank and luxuriant, and on the right grows a bed of osiers, domi- nated by some lofty elms. Upon the left the roof of a small farmhouse shows among the surrounding trees, and upon the river bank is a woman ina red dress, making a vivid note of color in the midst of the landscape. Between the clumps of ’ trees the view extends to the far horizon, where the landscape melts imperceptibly into the blue of the sky. High up in the heavens float masses of pearly cloud, their upper edges catching the glow of the sunlight, while the coloring of sky and cloud is repeated in the still bosom of the waters below. Stgned on the lower left, TH. RoussEau Hletght, 8% inches, length, 11% inches Mrs. Mary J. Morcan Cottection. New York, 1886 .§ ( Core “41> MK Fea PES gh Pot 3.2 50% /S¢¢ th. fg. wh. (ore No. 6 GS" DANIEL RIDGWAY KNIGHT AMERICAN ee 1850— .S Ss GOSSIPING WATER COLOR In the midst of a tangled field, overgrown with wild carrot and thistles, a young peasant woman sits on an empty barrow. Her dress is of the roughest—a coarse blue skirt, patched and darned, and a brown bodice; a yellow handker- chief is bound round her head, and her feet are thrust into clumsy leather shoes. Clasping one knee in her hands she leans back against the end of the barrow, evidently chatting to some companion out of the picture. Signed on the lower left, D. Ripcway Knicur, Parzs, 1883 AF ; K Fletght, 14 inches ; width, 10 tnches 31 ¢F. | eth. so Fe py No. 7 JEAN RICHARD GOUBIE . FRENCH 5 D “1842 th Ahtevhe | THE ARRIVAL Two horsemen have just ridden up to a gate in a garden + wall, and while one dismounts to open it, his companion half turns in the saddle to ease his own limbs and to afford his steed the benefit of a change in his position. He rides a big chestnut, while the other horse, a roan, with four white stock- ings, turns his shapely head and dark, intelligent eyes toward him, ‘The entrance is not often used, for both wall and gate are thickly overgrown with creeping plants of varying shades of green, against which a number of scarlet blossoms give a vivid touch of color. Behind the wall, tall trees grow thickly against the sky, their dense foliage touched by the bright sun- light, the blue of the heavens appearing between the delicate tracery of their lighter branches. Stgned on the lower right, R. Gousix, 1876 Fletght, 14 inches ; width, 10% inches Moe hye eTtth. ARRIVAL AB Y Je. Roa GOUBIE. aie. =. | 1832-1903 Ax brite No. 8 LUDWIG PASSINI FRENCH ITALIAN PEASANT GIRL WATER COLOR In the shadow of a doorway stands a little Italian girl of the lower classes. She is very poorly dressed in an old mauve skirt and red bodice, a colored handkerchief is knotted round her throat, and a woolen shawl is thrown round her shoulders and falls to her knees. On a wooden tray she carries a bundle of clothes to be washed, and her head, surmounted by a mop of tousled hair, is turned slightly to one side as she steps out into the open air. Stgned on the upper right, Lupwic Passtni, 18838 Fleteht, 18 enches , width, 11 inches No. 9 = ERSKINE NICOL, R.S§.A. : SCOTCH S 10 1825— \ Ye “STEADY, JOHNNY, STEADY!” Beside a swift-running burn in Scotland stands a roughly clad fisherman, in homespun coat and trousers, blue waistcoat and thick-soled shoes. He has hooked a large fish, and has skillfully maneuvered it into shallow water. A small boy stands eagerly by with the landing net, and is only restrained from dashing into the water by the elder man’s warning to be steady. The dour. expression on the man’s wrinkled face, fringed with red whiskers, as he stands tight-lipped awaiting his time, is in strong contrast with the face of the fair-haired, round-cheeked boy beside him. On the rough bank behind them a boat is drawn up, and the more distant objects are blotted out in a swirl of mist. Szgned on the lower right, Nicor, R.S.A., 1864 Hetght, 18 inches ; width, 18% inches Sc &G COLLECTION OF M, KNOEDLER & Co. sang), /€E JECe NO. 9. ‘‘ STEADY, JOHNNY, STEADY!” BY ERSKINE NICOL. a te ate a ere ee ae tad ou: No. 10 300 GABRIEL MAX AUSTRIAN ae HEAD OF A GIRL The head and shoulders of a young woman, pale and spirituelle, sitting in three-quarter view to the right. She wears a plain black dress with deep collar, set off at the throat by the white of an undergarment and a single rose in her bosom. The somberness of her garb accentuates the pal- lor of her face with its large, dark eyes and well-formed lips. Her fair hair is unconfined and falls tumultuously about her shoulders, and a turquoise earring gives a central note of color. Signed on the lower left, G. Max Hletght, 19 inches ; width, 15% inches COLLECTION OF M. KNOEDLER & Co. Q Noeda 0 \\0 : | MARTIN RICO SPANISH 1850— . Y, Cro/ VENICE The picture shows a long vista down a small canal in Venice, spanned in the distance by the arch of a bridge, and opening out beyond into a wide expanse of water. On the right are the white walls of a large house, pierced by many small windows, which are barred with elaborate iron grills. On the roof is a small arbor in which grow the dainty blossoms of the almond tree upon a trelliswork of. green. On the flight of stone steps which leads to the water sits a man chatting with some ladies in a gondola, which has stopped beneath the terrace. In the distance the buildings of the city. form a pretty picture, dominated by a lofty dome, and with the graceful masts of ships showing here and there among the trees. The scene is full of peaceful atmosphere, and overhead is the glorious blue of a perfect Italian sky. Stgned on the right, Rico Height, 27 inches ; width, 16% inches 1a Fy di 7 rs CoLLECTION oF M. KNOEDLER & Co. A$) / GA] y ip i ceo NO. 11. VENICE, BY MARTIN RICO. A Z . - * ® sy i- z > gre oe ory aia te indie, By SN Te eee fe a a ‘ . 3 re c rly re louse: Eee ono a ; oo a ~~ rakes) pM feo ; , tied eee ; +? 7 a ' vi eee 7 ’ i a ‘" f ’ ] wiv an @ Le 2 ‘ e.- ev # oT Me A. TANTINOPLE ot : Ps : ¢ mer ty Nhe “eos * * ia . “No #42 aK ALBERTO PASINI CU lat ms ITALIAN \v “1826-1899 MARKET MORNING, CONSTANTINOPLE Before the shops of a bazaar in Constantinople, the many- colored stream of Oriental life is passing—women veiled to the eyes, fruit vendors, a mountaineer with his heavy sword, and others. Awnings have been stretched to provide a shel- ter from the rays of the sun, and on the right some blocks of marble from a ruined building are scattered upon the ground. Behind the shops the dome and minarets of a large mosque rise against the deep-blue sky, and in the distance the tall buildings of the city rise tier on tier up the slope of a low hill. Szgned on the lower right, A. PASINI 4 GS [ ; Hetght, 18 cnches ; length, 22 inches hh. Kio rh Or ) F-O-o dee /p— ‘INISVd OLYARIV Ag 1 ‘A IdONILNV.LSNOOD ‘ONIN VOW reat vay 74 ane Si ok Pe. ee eet yD i +‘ L pe 5 ae ro i] % ok > - oe \ ps THE TELEGRAM BY IMUNDO MADRAZO > No. 13 RAIMUNDO MADRAZO SPANISH SD Ievlee 1841— re THE TELEGRAM On a sofa of gilt and silk sits a young woman holding in her hand the blue slip of a telegraph form. She wears a petticoat of mauve silk, over which is a negligée of white, con- fined at the waist by a broad satin ribbon. Her dark head is supported on her left hand, on the third finger of which gleams a wedding ring, and from the expression of her face it is evident that the telegram contains bad news. Stgned on the lower left, R. MApDRAzO flerght, 26% inches ; width, 14 inches 3 GG fCouiection oF M. KNOEDLER & Co. Bee /F¢ / 6-0 / 3. THE TELEGRAM, BY RAIMUNDO MALRAZO, eS ena va £0: i | FRIEDERICH KRAUS $ Aol Prveler GERMAN 1826— THE BUTTERFLIES In a tangled garden, surrounded by an ancient wooden paling and flanked by the timbered walls of an old red-brick building, a little girl is chasing butterflies. In a little red skirt and chemise, her stockings falling about her boot tops, and her eyes dancing with excitement, she stretches out her hands to catch a big yellow insect that is settling on a tall purple flower. Pansies and nasturtiums grow about her feet, an old apple tree casts its shade above her head, and the path through the garden is overgrown with weeds. Signed on the lower left, F. Kraus Hletght, 26 inches ; width, 19% inches oa 6/7 Kicg eon WG 7 06 Atn JE 0 No. 15 FREDERICK HENDRICK KAEMMERER FRENCH ‘ SKETCHING IN THE MOUNTAINS 1830-1892 Stretched upon a mossy couch of green turf beside a precipice in the mountains, a young lady lies reading a book of verses. She wears a simple gown of flowered muslin, cut low to reveal the soft curve of her bosom, and with short sleeves. Her feet, shod in pink-silk slippers, point saucily skyward, and her chip hat and a gourd of wine lie beside her fair head. By her side sits a young man in his shirt sleeves, sketching the expanse of blue mountains which rise on the farther side of the valley. He wears a waistcoat and breeches of green velvet, his shirt is of fine lawn with lace cuffs, and his hair is tied in a queue. Stgned on the lower right, F. H. KAEMMERER fletght, 21% tnches ; length, 31% inches 2738 po. Hae 2b. 17:50 Re fp, * ONIHOLANS “GT “ON “YWAWANNAVA “H “A Ad ‘SNIVLNOOW AHL NI dts tute EA otc EI See. FS A. Kicceolh vG- No. 16 FERDINAND HEILBUTH WOH Pillan GERMAN 1826-1889 A MORNING WALK Gaal young lady is taking her morning walk along the banks of a placid river which flows through the center of the composition. She wears a black dress of bygone fashion, a small straw hat is perched on top of her head, and her hair falls from a chignon to her waist. With her parasol balanced across her shoulders, she gazes contemplatively from the still flowing waters as they run between green, well-wooded banks, to the red roofs of a small village in the middle distance. The blue of the sky finds an echo in the depths of the waters, which reflect also the green of the trees and the pearly white of a large bank of clouds. Stgned on the lower left, F. HEtLBuTu, '82 Fletght, 238% inches; width, 17 inches se L6G) — Of gf h, No. 17 ea CHARLES FRANCOIS DAUBIGNY + FRENCH MORNING ON THE MARNE ) p {)- > '» 1817-1878 An early morning scene along the bank of one of Daubigny’s beloved rivers. The sun has scarcely risen and the mists of night still brood over the low-lying meadows, lending. a pearly quality to the atmosphere and blending dis- tant objects into a vague mass of form and color. Upon the right the river bank slopes sharply upward, and the summit is occupied by a low, rambling farmhouse shaded by several trees. The plaster walls and red roof make an agreeable con- trast with the green of the foliage, and a brilliant note is added to the composition as an errant sunray strikes one corner of the building, making it flash into pure white. By the water’s edge a number of women are washing clothes, a man is baling — : out one of the boats which are moored close by, and a : woman is carrying a jar of water to the house. The sky is covered with a mass of white cloud, through which appear a few patches of blue, and the still surface of the water reflects the varying aspects of the heavens and the deep green of the (recs, Szgned on the lower right, Dausicny, 1864 Height, 15 inches ; length, 26% inches SS $/ COLLECTION OF M. KNOEDLER & Co. f See o foot /p 7 /§F) Ges Fetf/Svvo ‘ANDIANVG *A *O Ad ‘“INUVN AHL NO ONINYOW Sere feet hee No. 18 NARCISSE VIRGILE DIAZ DE LA PENA FRENCH 5? 1807-1896 [wedter C2 Ry LPILE DES AMOURS Deep in a bosky glade a number of beautiful nymphs recline in various attitudes upon the velvet turf. With their clothing draped loosely about their lower limbs, their shapely arms and soft bosoms shining in the sunlight, they sport with a crowd of little cupids who flit through the air or run merry races upon the flower-bejeweled grass. In the distance is- the glint of water as a river flows gently by, and beyond the eye ranges over a verdant landscape to a mountain, blue upon the horizon. Through the trees shines the azure sky, in whose depths float masses of billowy cloud. Signed on the lower left, N. Diaz, 57 Fletght, 16% inches ; length, 24 enches Mrs. Mary J. Morcan Coirection. New York, 1886 J 7 @ 6 ‘7VId ‘A ‘N Ad SSUNOWV Saad ha gO | ts No. 19 JULES DUPRE FRENCH 2’ 1812-1889 . Maden y viv : AUTUMN MORNING §tOcornodcie. By the margin of a silvery stream a man is mooring his boat in the shade afforded by a clump of trees. From the low- lying bank a roadway: leads across a green field to a couple of humble cottages in the middle distance. Beyond, the ground rises into a graceful, rounded hillside, which stretches across the picture. Overhead the sky is a serene blue, with a heavy bank of rolling cloud near the horizon, from behind which a sun ray darts down, silvers the trunk of a tree in the fore- ground, and falling just behind the cottages, affords a brilliant note of light among the prevailing low tones of the picture. The blue of the sky is reflected in the mirror-like surface of - the river, save where the dark green of the trees plunges the water into semiobscurity. Sztgned on the lower right, JuLES Dupri Fleight, 21% inches; length, 25% inches J3 o7 COLLECTION OF M. KNOEDLER & Co. 2Zeoo oct |p ® PI/p0 Ted ca F666 LA 42017 @ 4. gag bee natal “aud nd SsatTon{ Ad ‘DNINYOW NWOALNV ‘6T ‘ON ee T a Age TLE J. BY JULES DUPRE A a 4 e AND POOL ae. fis No. 20 JULES DUPRE FRENCH °° Maengte be 4 1812-1889 . =| ~LANDSCAPE—CATTLE AND POOL 4 2 A In the golden glow of a late summer’s afternoon, the a herdsman drives his cows down to their drinking-place. The | procession strings out across the meadow, the leaders already be standing knee deep in the shallow waters of the old pond. ft Beyond the meadow stands the farmhouse, a low building with a thatched roof, shaded by the spreading branches of a huge oak, and in the far distance the dim outline of blue hills stretches across the picture. Low down upon the horizon isa. heavy stratum of cloud, tinged pink by the rays of the declin- ing sun, while overhead the heavens are of a still, calm blue, full of peaceful atmosphere. Stgned on the lower right, JuLEs Dupré Fletght, 20% enches; length, 31% inches COLLECTION OF M, KNOEDLER & Co. “aud sataf Ad ‘100d GNV ATLLVO—dAdVOSANVI ‘0% ‘ON cs a t a aoe ow = acct ih. Kanc3 0 fans No: 21 PAUL JEAN: CLAYS | BELGIAN 1819-1900 vessels thee are, broad- Beamod and blunted their ; pines by two square ENO Te shoe DOE sails fap long smudge of smoke. Overhead the sky is hei with clouds, the blue showing through in places, t ‘ answering note in the mirror of the depths below. ‘ Signed on the lower right, P. J. Ciays Inscribed on the back, ‘‘Groupe de bateaux Wins l Escaut par - matin. P. J. Clays.” 4 i 4 1 m4 rt No. 22 JEAN BAPTISTE CAMILLE COROT nee i) 0 Pigs | LE PATRE—EVENING ON THE LAKE On the lower slope of a rough hillside, overgrown with long coarse grass and rising in the distance into a precipitous mass of rock, stand two fine trees, the principal feature of the composition. Their trunks grow smooth and erect, and their branches spread symmetrically across the picture, un- harmed by the fierce storms of winter. The lighter twigs, with their feathery burden of leaves, are silhouetted gracefully against the sky, the foliage showing every gradation of tone, from ‘the delicate green of the tender young shoot to the yel- lower tinge of the withered leaf. In the distance are the white walls and red roofs of a large rambling structure, built on the hillside, and at the foot of the trees are a man and a woman talking, the latter bearing a heavy staff in her hand. Upon the summit of a low knoll stands a man beside a solitary sheep, gazing out over the surface of a large body of water, which extends, gray in the evening light, to the distant hori- zon. ‘The sun has set, and his last rays stream upward, tingeing the under side of the clouds with every tone of orange and gold, while overhead the sky is a delicate blue, flecked with early clouds which float serenely in the calm atmosphere. Signed on the lower left, Corot Fletght, 45% inches; width, 35% wnches — ae or M. KNoEDLER & Co. Pe ap a an/y é; Fi (See Frontisptece) EP. PE ae Si i]s «o No. 23 WILLIAM TROST RICHARDS AMERICAN - if , , 1833-1905 4G Khim HARBOR ON THE COAST OF CORNWALL ‘ WATER COLOR The scene shows the entrance to the harbor of a small town on the rock-bound coast of Cornwall. To right and left the : cliffs rear their craggy precipices sheer out of the water, their i lofty sides half concealed in the floating wrack of mist, the early sun glinting on the many-colored facets of the rocks. In the center of the picture a low promontory juts out into | the water, and on it a line of men are hauling at a rope, | warping a small vessel through the narrow entrance to the | harbor. A couple of ships are already moored in the shelter of the breakwater, built of massive stone, and the waves | break into foam as they lap against jetty and rocky wall. | Between the cliffs on either hand is a broad expanse of sky | covered with heavy vaporous cloud, which the early sun is rapidly dissipating, giving a glimpse of acalm blue sky beyond. | Signed on the lower left, WM. T. Ricuarps, 1881 i | Hetght, 23 inches ; length, 36% inches sROUP OF CARVED ( v i a é - z _ JRNOON SALE Shad ca ah! PeEMARCH 96, foo 9 sy ICAN ART GALLERIES | ’ ae . > ‘ . 4 COLLECTION OF JADE 24—Two SMALL SPECIMENS OF WHITE JADE A—Amulet of carved lotus design. B—Statuette of Chinese boy. 25—Two MINIATURE RouGE BoxEs Carved white jade; one flat peach-shaped, the other low circu- lar form. 26—WHITE JADE AMULET Carved in design of a closed bag. 27—MiniaTuRE WHITE JADE ORNAMENT Fantastic animal, carved in white texture. 28—SMALL GREEN JADE ORNAMENT Tiger and cub. 29—SMaLL WHITE JADE PANEL Landscape and river view, carved in low relief. | 30-—WHITE JADE ORNAMENT . Kylin, with branch of lotus. 31—GREEN JADE ORNAMENT Chinese boy astride an ox. 32—SMALL (7RAY JADE PANEL Dragon and cloud forms, carved in openwork designs. 33—WHITE JADE GIRDLE CLASP Scepter shape. Dragon, carved in relief and undercut. 34—WHITE JADE AMULET Carved in design of a Chinese sword; dragon and archaic designs executed in relief. 35—MINIATURE JADE VASE Oviform, greenish-white texture; archaic dragons, carved in ief and undercut. weet relief Height, 21% inches 36—MINIATURE STATUETTE Carved jade of greenish-white texture; Chinese boy with pet toad. Height, 2% inches 37—WHITE JADE AMULET In design of flower basket with swinging handle, finely carved in openwork. 38—MINIATURE WHITE JADE VASE Beaker-shaped, finely carved and fashioned after an ancient bronze. 39—MINIATURE VASE Pale-yellow texture, chicken and sacred fungus, carved in relief. 40—AMULET Carved white jade. Vase design, with swinging handle. Shou mark in relief. 41—AMULET Carved white jade. Butterfly design, with pierced svastika. 42—MiniaTuRE WHITE JADE VASE With loose ring handles, fashioned after an ancient bronze. 43—WHITE JADE GIRDLE CLASP Dragons and archaic designs, carved in openwork. i) 44 THREE JADE WINE Cups Moss-green texture; one in miniature form. 45—Fri Ts’u1 FINGER RING Fine emerald-green texture. 46—RARE THUMB RING : H Emerald-green jadeite, of exceedingly fine color. at 47—JADE BRACELET White texture, with emerald-green markings. 48—WHITE JADE AMULET Carved in design of a basket of peach fruit, with loose handle in design of a symbolical bat. 49—Beautirut Fer ts’ur Roucr Box Flat circular shape, of exceedingly rare quality. 50—MIn1aTuRE JADE Box Dark-green texture, finely carved archaic designs, executed in low relief. 51—Imperiat Fer ts’ur AMULET Carved in design of lotus and insect. 52—CARVED JADE STATUETTE Gray-white texture. A Taoist immortal. Height, 3% inches 53—WHITE JADE ORNAMENT Cucumber and vine, finely carved and undercut. 54—GRay JADE ORNAMENT Carp and lotus, artistically carved. , Length, 434 inches 55—GRAY JADE ORNAMENT Koi fish and lotus, finely carved. Length, 4% tnches — 56—WHITE JADE ORNAMENT Fantastic animal, finely carved. Length, 3% inches 57—WHITE JADE ORNAMENT Gourds and vine, finely carved in relief and undercut. 58—SMALL COUPE Cherry-blossom design, beautifully carved in fine white jade; branches and blossoms executed in relief and undercut. 59—Two OBLONG JADE PANELS Dragons, cloud forms and symbols, finely executed in intricate openwork carving. 60—Gray-WHITE JADE ORNAMENT Dragon and tree peonies, skillfully carved in openwork. Length, 5% inches; width, 2 tnches 61—Two LisaTion Cups Fashioned in white jade of almost eggshell thinness. 62—MINIATURE INCENSE BURNER Carved white jade, fashioned after an antique bronze. Archaic scrolls in low relief. Freight, 3 inches 63—MINIATURE TRIPOD Koro Carved white jade. Low circular shape, with rudimentary handles. Bands of floral scrolls in low relief. 64—INDIAN JADE COVERED Box Blossom shape, with four compartments, and ornamentation of lotus flowers, carved in low relief. 65—SMALL JADE CouPE With dragon handles, gray-white texture, landscape and river view, carved in low relief. 66—WHITE JADE OvaL PANEL Vase of peonies and two symbolical bats, carved in low relief. Length, 4% tnches 67—InpIaAN JADE WINE EWER Gray texture; lotus and border design, carved in relief; highly polished surface. Fleight, 4 inches 68—JADE GouRD Pale-yellow texture, highly polished surface. Height, 33% tnches 69—JabE Roucre Box Gray-white texture; cover ornamented with lotus, carved in low relief. Diameter, 234 tnches TO—SuPERB MILK-WHITE JADE CouUPE Leaf shape on tripod, carved and highly polished. Diameter, 234 inches TI—SuUPERB SACRIFICIAL WINE VESSEL AND TRAY White Indian jade of very thin texture, carved and highly polished and incrusted with rubies. 72—JapDE NECKLACE Composed of 18 gray Indian jade beads. 73—GRay JADE INRO Incrusted with Fei ts’ui and semiprecious stones. Length, 5% tnches 74—Jape AMULET Gray-white texture, archaic dragons Shou character and symbols carved in openwork. Height, 53% inches 75—WRiTERS’ WaTER CoupE White jade. Branches of magnolia, and figure of Chinese boy, skillfully carved in relief and undercut. Diameter, 4% inches 76—WHITE JADE VASE With cover. Cylindrical shape. Pine tree and rocks carved in low relief. Cover incrusted with uncut ruby. | Fleight, 4 inches 77—JaDE BEAKER-SHAPED VASE Pure-white texture. The inner and outer surface highly polished. Freight, 3% inches 78—SuperB INDIAN JADE JAR Oriform, gray-white texture. Exquisitely carved ornamentation of chrysanthemum flowers, executed in relief; handles incrusted with rubies. Height, 3% inches 79I—EXQUISITE JADE COUPE Gray-white texture, beautifully carved in design of plum blos- som; branches and small blossoms carved in intricate openwork; highly polished surface. Diameter, 4% inches 80—SMALL JADE VASE Gray-white texture, with emerald-green markings and brown matrix, carved in design of a pine-tree stump, with branches and stork. : freight, 33% tnches 81—JADEITE SAUCER Gray-white texture, with beautiful emerald-green markings. Diameter, 4 inches 82—SMALL JADE VASE Dark-green texture; carved and fashioned after an ancient bronze ; archaic scrolls, palmettes and gadroons, executed in relief. Fleight, 4% inches 83—JADE STATUETTE Figure of a priest, carved in jade, of pale-green texture. Height, 53% inches — ' ee * a m > a & ~~ a i. ="s 1 7 » i - a a | 8i—Jape Vase ee 4 Pale-yellow texture, carved in design of a a porting a miniature vase; highly polished salam 85—Jape Hanoinc Vase | Pale-yellow texture, carved archaic design, with oose 86—BeavuTiFuL Jape INCENSE BURNER Fine dark-green texture. Oblong shape, with four f handles, of dragon design. Archaic, scrolls and | carved in low relief. 5 87—Supers Jape Teapot * _ Pure white texture, carved lotus-flower ace hi gh ; realtones surface. — 88—BeautiruL WHITE JADE Vase wiTH CovER j Tall, slender, quadrilateral shape. Landscape, figures ar cliff, carved 2 jour and in bold relief. —. Height, 2 inches 89—BeautiruL Wuite Jape Koro = " Peony-flower shape; branches of peonies oe high relief. Openwork cover. 90—YELLOW Jape CoveRED VAsE Flat oviform. Figures of two Chinese pon on nee in high relief and undercut; lotus plants se Greek fret t incised. Height 91—Beavutirut Green Jape Trirop Koro Semiglobular shape, with rudimentary handles. lotus and leafy scrolls, finely carved in relief. 92—InpDIAN JADE VASE $ Flat oviform, with handles of lotus and leafy scrolls, carved <0 relief and undercut. Incised and gilded scrolls and i with rubies and emeralds. 93—SuPEeRB Jape INcENSE BuRNER Gray-white texture. Beautifully and intricately carved @ ; with peonies and leafy scrolls. Globular shape, with two han dl a formed of branches of peonies and loose rings. ‘< Height, 5 inches; diameter, 4% aa carve in bold relief and underest. Archaic ee ee i | Height, 35 inches . she 7 : +4 ait of archaic scrolls y ‘a ee ree, BK Backes > diameter, 63% imchzs ’ : 1 shape. Chinese legendary sub- : Height, 3 inches > dtameter, 6% inches AND OTHER TAPESTRIES . = a RRS RS SAE > SS Sa 117—ITALIAN EMBROIDERED ALTAR FRONTAL ‘. SEVENTEENTH CeNnTURY. Upon a foundation of rose-colored Genoese velvet is a very bold design of scrollwork, leaves and "4 flowers, surmounted by a broad border with two medallions. The main stems of the arabesque are embroidered in green silk, while the foliage and flowers are wrought in silver and gold thread, enriched in parts with bullion. A little blue appears in the flowers. It is noticeable that the ornament of the lower ~ portion of the frontal is not centered. The medallions, enclosed in a rim of silver bullion, contain pictures executed in petit point and needle painting. The subject of each is St. John; | commemorative in the one case of his Gospel and in the other of his Revelation. In the left design he is represented seated, gazing up at a vision of Madonna, below which rests his emblem, ~ the eagle. In the other he appears amid a scene of cliffs and water, ‘‘the isle that is called Patmos,” kneeling, as he listens in devout attention, to an angel floating in the sky. ™% 118—GRAND SPANISH ALTAR FRONTAL SEVENTEENTH Century. This splendid example of Spanish ec- clesiastical art is wrought upon Genoese velvet in gold and silver thread and bullion, sewn with garnets; the faces being painted on silk insets, subsequently worked over with stitches in the process known as needle painting. A broad panel extends across the entire top, and panels of similar breadth enclose the sides. These and the main field are embellished with emblems, under which appear scrolls bearing the initial letters of the words from the Latin Bible that they illustrate. The culminating feature of the whole, which from top to bottom occupies the center of the composition, is the glorifica- tion of the Virgin. Above is the figure of God the Father, crowned with the triune nimbus. The letters on the scroll beneath him are, ‘‘T. P. E. A.M. E.M.N.E.I.T.” They are the initials of words from Canticles, or the Song of Solomon iv, verse 7: inthe Latin, ‘‘Zota Pulchra Es Amica Mea Et Macula Non Est In /e”; in the English version, ‘‘ Thou art all fair, my love, there is no spot in thee.” Below appears the Holy Spirit under the symbol of a dove, beneath which is the Virgin with the Christ in her arms, and at the bottom the. monstrance in which the sacred elements are exhibited to the faithful. eT a NO. 118. GRAND SPANISH ALTAR sec RARITAS 4S ‘TRONTAL, SEVENTEENTH CENTURY. rr — gn ee a a ae Ct The Virgin, bearing a lily, the emblem of purity, is rep- resented according to the artistic formula prescribed by the Spanish Church as an interpretation of Revelation xii, 1: ‘‘And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars.” The splendor of the sun radiates behind her figure, her feet are on the moon, and eleven stars encircle her. ‘The twelfth, detached from her, hangs from a bough a little to the right. It is, as the letters indicate, S/e//a Matutina, the Morning Star. Grouped about the Virgin are the emblems of her virtue, drawn from the praise of Wisdom in Ecclesiasticus xxiv: ‘‘l was exalted like a cedar in Libanus, and as a cypress tree upon the mountains of Hermon. I was exalted like a palm tree in Engaddi, and as a rose plant in Jericho, as a fair olive tree in a pleasant field, and grew up as a plane tree by the water.” Also Canticles ii has supplied two: ‘‘I am the lily of the valleys and the flower of the field.” Upon the left is the rose (‘‘Q. P. R.” Quast Plantatio Rose), and beneath it the lily of the valleys (SL. C.” Lilium Convallium); and to the left the olive (‘‘Q. O.” Quasi Oliva) and the cedar (‘‘Q. C.” Quast Cedrus). Corre- sponding with these, on the Virgin’s right, are the plane tree (eer. Ovasi Platanus); the flower of the field (“ F.C.” Flos Campi); the cypress (‘‘Q. C.” Quast Cypressus), and the palm (80: P.” Quast Palma). Beyond this grouping of emblems are others that symbolize still further the beauty of Wisdom. Thus, upon the left appears a door surrounded with glory. It is the door of heaven to which Wisdom leads, Porta Cali (‘‘ P. C.”). Below it is another, closed to those who forsake Wisdom, Porta Clausa (‘'P. C.’’). Above it to the left is Jerusalem, Czvztas Det, the City of God, while down below are a walled garden (‘‘a garden enclosed is my sister,” Canticles iv, 12), and a fountain (“‘F.S.”), ous Sapz- entie, the Fountain of Wisdom. On the opposite side of the composition, corresponding to the ‘‘ Fountain of Gardens,” is the ‘‘Well of Living Waters” (‘‘P. A.”), Puteus Aquarum. Above it are the Holy Tabernacle, in which Wisdom serves (Eccle- siasticus xxiv, 10), and the Scala Cel (‘‘S. C.”), Ladder of Heaven, on the steps of which is inscribed what is believed to have been a motto of the Order of St. Francis. The inscription on the top step, ‘‘ Hac fuit T(2b7),” is apparently incomplete, but the following words are clear: ‘‘ Perseverantia,” ‘‘ Caritas,” “« Puritas,” ‘‘ Humtilitas.” To the right is represented a tower (‘‘T. D.”), Zurrts Davia, for ‘‘thy neck is like the tower of David, builded for an armory” (Canticles iv, 4). In the lower corner appears the Dragon of the Apocalypse. ‘‘ And there appeared another wonder in heaven; and behold a great red dragon, having seven heads—and the serpent cast out of his mouth water as a flood after the woman, that he might cause her to be carried away of the flood” (Revelation xii). The letters ‘‘I. C. C. T.” recall the saying in Genesis iii, 15:. ‘‘Ipsa Conteret Caput Tuum,” ‘‘It shall bruise thy head.” ae To return to the border: on the right of the Holy Father is the moon (‘‘P. V. L.”’), Pulchra Ut Luna, and on the left the sun’ (““E.V.S.”), Blecta Ut Sol, suggested by Canticles vi, 10: ‘‘ Who - is she that looketh forth as the morning, fair as the moon, clear as the sun?”’ In the corners are Seraphim (‘‘D.V.”), representing the description of Isaiah vi, 2: ‘‘Each one had six wings; with twain he covered (Duabus Velabat) his face, with twain he cov- ered his feet, and with twain he did fly.” In the center of the left-side border appears the Ark of the Covenant (SPT eas Zu Et Arca (‘ Arise, O Lord God, into thy resting place, Thou and the Ark of Thy Strength’—II Chronicles vi, 41). The pen- dant to this on the opposite side is a ship with the Cross of St. George on her ensign, and the inscription ‘‘D. L. P.,” De Longe Portans, taken from the praise of a virtuous woman in Proverbs xxxi, 14: ‘‘She is like the merchants’ ships; she bringeth her food from afar.” 119—Beautirut Inpo-Porrucugse CoverLet SEVENTEENTH CENTURY. The ground is of rich silk velvet that - when it is draped passes from a delicate gray in the high lights to a deep, dull blue in the shadows. The design consists of a large central medallion, quarter circles in the corners, anda broad border; but in addition to these main features the whole piece is embellished with scrollwork and foliations, wrought in gold thread in high relief, while the forms are stitched in silk. The medallion, enclosed within three concentric bands of deco- ration, gold-embossed, with a variety of stitching, contains amid a profusion of embroidered volutes a bird of paradise. The atter, showing the influence of Chinese art, is a superb ex- of raised needlework executed in gold, with a fringe of round the edges of the tail feathers, and with the eyes at rrenities worked in blue, yellow and white silk. The corner embellishments are similarly composed of three concentric quadrant bands of ornament, enclosing a decorated space, on which are displayed two admirably wrought fighting- cocks. Itis noticeable that all the gold parts are edged with white silk, which charmingly subdues their luster to the coolness of the blue ground. The border corresponds with the rest in lavishness, consist- ing of birds of paradise, intercepted by slim volutes from which emerge embossed foliations, variously stitched in gold, and fre- quent flowers in silk. These, as elsewhere throughout the design, are wrought in hues of cream and dull salmon. The whole is enclosed by a greenish-gold fringe. Length, 10 feet; width, 7 feet 4 inches 120—BeauTiruL INDo-PorRTUGUESE COVERLET SEVENTEENTH CENTURY. The embellishment, conventionalized in a truly Chinese spirit, is spread over a superb surface of silk velvet, in hue a curious old red, verging on terra cotta. The border sets the key for the scrollwork, foliations and flowers. The forms are enclosed in a rim of white silk and filled in with diversified stitches of gold thread, while the flowers represent a conventionalization of the lotus blossom. It appears in its simplest form as a circle surrounded by four other circles which elsewhere are increased in number to five and six. Compare the specimen No. 24, where this motive is much further elabo- rated, and clearly recalls the Buddhistic convention of the lotus, as the symbol of endless cycles of existence. Within the border at each of the four corners is a crane with fan-shaped tail,crest and extended wings, from each of which latter project three long, spiky feathers. The conventionalization that characterizes them is carried still further in the central feature of the composition, where, treated heraldically beneath a coronet, is a double-headed crane with five spiked feathers on each wing. It is enclosed in a circular stitching of white silk and, like the other birds, is sumptuously wrought in gold. ‘The whole design is surrounded bya fringe of pale old-rose silk with tassels at the corners. Length, 9 feet 5 inches; width. 7 feet 2 inches 121—BeavutiruL Inpo-PorRTUGUESE COVERLET SEVENTEENTH CentTury. -Silk velvet of peacock-green hue is _ the foundation of this superb design, which is wrought in gold thread in high relief, the forms, as in the other coverlets of this series, being edged with white silk, a technical device that invests the color schemes with extraordinary distinction. The characteristic detail of this design is a triple radiation of stout stem forms and leaves that suggest a conventionalization of the tulip or carnation. In the border they issue from a gold vase _and are flanked by foliated and floral scrolls, on which birds are perched that peck at hanging cherries, a motive which is repeated round the border’s entire surface. Inside the corners, enclosed in a quadrant band of ornament, the same scroll again occurs, though with slight variation, while the birds are full- sized partridges with extended wings. It is again repeated in the large central medallion, where amid the foliations appears a splendid bird of paradise, above whose head, a little to the left, is a sunburst. The whole is edged with gold braid and green silk fringe. Length, 9 feet, wath, 7% feet 122—GorcEous INDO-PORTUGUESE COVERLET SEVENTEENTH Century. ‘This sumptuous design upon a ground of ruby silk velvet represents a glorification of the Buddhistic convention of the lotus. The central feature is a large cluster of circular petals arranged concentrically around a center circle. Immediately from the latter grow four petals which are encircled by eight larger ones, and again by eight still larger, which bear at the tangents of their outer rims eight small ones. The scrollwork, which from this center flows over the whole field, is distinguished by the free sweep of its curves and by the richness of its leaf-forms, while sprinkled profusely over it are the flowers, varying in size, that play upon the petal motive of the central one. Some present multiples of four, others of five, while in certain cases the petals are indented like a clover leaf. The flowers, in fact, are eloquent of Oriental feeling, for in this con- vention of the lotus, as a multiplication of circles, is symbolized the Buddhistic doctrine of the endless cycles of existence. Compare the simplified use of this motive in specimen No. 20. Length, 9 feet 2 inches; width, 7 feet 7 inches GERMAN NEEDLEWORK PANEL, SIXTEENTH CENTURY. 123. NO. NO. 124. GERMAN NEEDLEWORK PANELS 123—GERMAN NEEDLEWORK PANEL SIXTEENTH CENTURY. SOLOMON AND THE QUEEN OF SHEBA. This tapestry commemorates the twofold subject of the Queen of Sheba’s visit to Solomon and also the king’s service to his people in building a temple to the Lord. The latter is sug- gested on the right of the composition, where the monarch, having laid aside his own crown, is worshiping the King of kings before an altar, on which rests a censer, held by a white- robed priest. In the left of the picture he is seen seated on a throne, the curtain of which is being drawn back by a page. Wearing a blue damask tunic, a rose under-robe of similarly sumptuous fabric and a cap of Persian design, surrounded by a crown, the king leans forward with hand extended toward the queen, who is being ushered into his presence by an old, bearded courtier. She advances with hands outstretched and eyes fixed upon the king, dressed, as are her attendant ladies, in the costume of the sixteenth century. Hers consists of a long red mantle over a gown of pale yellow and green, from the waist of which hangs a sash of knotted silk. A toy grey- hound walks beside her. Behind the queen stands a lady-in-waiting, carrying a parrot on her wrist. She is a step in advance of the three others, who are ranged in a line. They wear high Medici collars, except one, who is distinguished by a guimpe that fits tightly round her throat and is tucked into a stiff bodice. To their right, also in the second plane of the group, stand a warrior and a young man, the latter wearing a Phrygian cap that, like the king’s head-dress, gives an Oriental touch to the picture. Among the flowers that are sprinkled over the fore- ground appears a foxglove. Very exquisite in tone are the faded hues of blue, yellow, green, rose and gray that compose the color scheme, while additional delicacy, as of atmospheric effect, is produced by the actual texture of the needlework. fleight, 1 foot 11 enches,; width, 4 feet 11 inches 124—GERMAN NEEDLEWORK. Perit Point SIXTEENTH CenTuRY. THE Story or Tozit anp Tosias. The seven panels into which this composition is divided by columns AY Le “em Wine = SF igi et SIXTEENTH CENTURY. - STORY OF TOBIT AND TOBIAS represent scenes in the lives of Tobit and Tobias, a story that was very popular in the sixteenth and seventeenth centuries, and was illustrated by artists as dissimilar as Raphael and Rem- brandt. Tobit, as narrated in the apocryphal book of his own words, was distinguished by his kindness toward his fellow- Israelites during their captivity in Nineveh. But he was stricken with blindness as the result apparently of cataract, though he himself attributed it to some sparrows in the wall : having ‘‘muted” their ordure in his eyes, so that ‘‘a whiteness came into them.” In his grief he prayed that he might die, and at the same moment in the city of Ecbatane a certain woman, Sara, the daughter of Raguel, Tobit’s cousin, was also praying for death. For she was in ill repute, since she had $3 been married to seven husbands, each of whom had died before a the marriage was consummated. They had been killed by the ; evil spirit, Asmodeus, but it was supposed that she had strangled them. And God heard both these prayers. Tobit, expecting to die, bethought him of a loan that he had made to one Gabael, and determined that his son, Tobias, should collect it, bidding him take some man as a companion on the journey. Tobias meets Raphael and, not knowing him to be an angel, engages his services. The first picture shows Tobit in his affliction giving final instructions to Tobias, as the latter, accompanied by his faithful dog, is about to set forth with the angel. In the second is represented the first episode of the jour- ney. Tobias has caught a fish which comes near to killing him. But Raphael assists the young man and bids him cut from the fish its heart and liver and gall for purposes to be unfolded presently. The dog is running in high spirits. In the third panel there is a double picture. Tobias has been guided by Raphael to the home of Raguel, who recognizes him by his resemblance to Tobit, and determines to marry him to Sara. The angel stands between the two scenes, approving of the one and pointing to the other. The fourth or central panel represents the bridal night. By Raphael’s direction Tobias has sprinkled the heart and liver of the fish on the burning ashes of the fire, so that the fumes emitted may drive the evil spirit, Asmodeus, from the chamber. The angel has caught him and is checking his mischief by bind- ing him to a tree, while the dog watches the door against any — further intrusion. Then, when Raphael has collected the loan from Gabael and Tobias has received in dowry the half of his father-in-law’s pos- sessions, the start is made for home. 3 The fifth scene shows the return. Tobit, in his eagerness to greet his son, has stumbled, but is caught in the arms of Tobias. The dog, after his long journey, makes straight for - the familiar drinking-trough. By the artist’s oversight Sara is represented in the foregoing scene, whereas she had been left a little way back along the road until Tobias had announced his marriage. So she appears in the sixth picture, with the dog racing back to show his affec- tion for her, or perhaps to bring her. Meanwhile, in the house Tobias is curing his father’s blindness. By the angel’s direction, he anoints the eyes with the gall of the fish, which sets up an irritation and causes Tobit to rub them, whereupon the scales peel off from them. Many years have passed and Tobit makes a feast for Tobias and his sons. Then he instructs Tobias to leave Nineveh, which will surely be destroyed according to the denunciations of the prophet Jonah, and to settle in Media. Finally, his life duly accomplished, the old man dies. These three scenes are collected into the final picture. Raphael is seen flying back to heaven, and the faithful dog rests satisfied with the share he has had in all these happenings. The several panels, though differing from one another in arrangement, are ingeniously united by the architectural details into a prolonged decoration of remarkably harmonious effect, due in a great measure to the changing combinations of the colors, mauve, rose, slaty blue, pinkish brown and russet green and yellow. Fletght, 10 inches; wath, 11 feet 125—Taprrestry PoRTRAIT OF a Lapy Or Russian WORKMANSHIP, MADE IN 1770. The type of face, character of pose and fashion of costume, not to mention the color scheme, are such as are familiar in the portraits of the French artist Nattier. The hair, softly crimped and powdered, is dressed close to the head and surmounted by a little bow of sky-blue ribbon. The ears are adorned with circular ear- rings and a black lace ruffle encircles the neck and falls low over the bodice. The latter, square-cut over the bosom with a white lace stomacher that descends in a sharp angle below the waist, is of sky-blue silk, bordered with ribbon which is tufted and quilted into somewhat the shape of nasturtiums. Of the same blue silk are the over-sleeves, panniers and skirt, the latter two being embellished with broad bands of fated ribbon. The under-sleeves are of white lace, and below the arm and over the shoulders appear glimpses of a brown long-furred cloak. The lady, with somewhat affected gesture, carries a bunch of carnations in her left hand, while the right, extended down over the pannier, holdsafan. The background is a warm drab with a pale-yellow column to the right. The tapestry is signed in the right lower corner, ‘‘fait par Rondet Mt A Petersbourg, 1162.” The latter figure probably gr the registration number in the factory’s books. freight, 3 feet 6 inches ; width, 2 feet 10 inches (Lllustrated ) 126—ITALIAN RENAISSANCE Tapestry. THE Nativity SIXTEENTH CENTURY. A simple dramatic unity characterizes the action of the figures and the expression of their faces and hands, though the focus point of interest, the Holy Child, is curiously placed at the bottom of the composition. Here it lies on a white cloth spread over a little cot filled with hay. To right and left of it kneels a child-angel in adoration, the former with his back tous. The plumage of their swallow-like wings is barred with green and yellow. On the right of this trio of figures kneels the Virgin, her left hand holding the cloth on which the Babe lies and her right hand laid upon her bosom. She is clad in a warm grayish-white robe, over which falls in handsome folds a blue mantle, sewn with a damasked design, somewhat resembling fleur-de-lis. Above the Child is the figure of Joseph, leaning forward on a crutch stick. He is bare-headed, with loose brown hair and beard, and his full- sleeved tunic is of creamy amber hue in the high lights, but crimson in the hollow of the folds. Behind the Virgin appears an ox, at the back of which stands a young shepherd with a spear, beside the brick shaft, ivy-covered, which supports the roof of the stable. In the near distance, on the right, is a glimpse of wooded landscape, where a couple of shepherds in crimson drapery stand listening to the strains of two angels that hover overhead, singing from a scroll. « THE: NATIVES STRY .) RENAISSANCE TAPE ITALIAN 126, NO. ‘VIAId = “AYNLNAO HLIN@TALXIS SAULSAMVL OIHLOD “LZT “ON - y e : He . wd : =— oe ae ’ £. : z ‘ ¢ ‘ “ 4 of ; On the left of the main group the landscape spreads more spaciously. There are willow trees and water in the middle distance whence the ground rises to a knoll, covered with trees and high-gabled houses, while further back to the right the ground ascends to the walls and gates of Bethlehem. Floating among the trees on the left is a yellow ring that at first appears like a nimbus, but seems to be an accident of restoration. Height, 4 feet; width, 3 feet 2 inches 127-—FLEMISH “APESTRY GOTHIC. SIXTEENTH CENTURY. A PIETA SURROUNDED BY FIGURES. This elaborate subject, woven in gold, silk and wool, represents the group at the foot of the Cross, where the body of Christ has been lowered into the arms of His mother, and is about to be prepared for burial by the holy women and the faithful Joseph of Arimathea. The figures are ranged with Gothic formality, those in the front plane being seen in full, while only the shoulders and heads appear in the second plane, and the third tier consists solely of heads. The colors are particularly beauti- ful in their harmony of faded splendor. The emaciated body of Christ, with the stigmata on the hands, feet and breast, is supported’ in the arms of the Virgin, whose robe is of crimson with gold damask, while a blue cloak, threaded with gold, falls from her waist and lies in rich folds upon the ground. To the right of her kneels Mary, the wife of Cleophas, who with one hand smooths her sister’s brow and with the other helps to support the Saviour’s body. She wears a mantle of beautiful old crimson over a blue robe that has a damasked design of darker blue and gold. Behind her, in a gown of delicately faded rose with rich tones of madder red in the folds, the whole interwoven with gold and studded round the sleeves and the border of the skirt with clusters of pearls and lapis lazuli, kneels the Magdalene, raising the lid from the pot of spikenard. On the left of the Virgin is another woman, whose costume consists of a red head-dress, with trailing veil of the same color, and a black robe decorated with gold arabesques, over which -hang from the shoulders, back and front, rose damask panels, that are caught together at the hip with a jewel. ‘SdUAHdAHS AHL AO NOLLVUOGV “KULSAMVL AONVSSIVNAY JIHLOD NVWNYAO Behind her kneels, with bowed head and clasped hands, a gray-haired man whose reverent mien suggests that he is Joseph” of Arimathea. He is attended by a man ina blue tunic, with cuffs and lapels of old rose. In marked contrast with the dignity of these persons is the almost comic ugliness of a man in the second plane on the right, whose head is covered with a red turban. He holds three nails, and may represent one of the Pharisees gloating over the deathof Christ. Equally unsym- | pathetic, exhibiting curiosity or indifference, are several of the faces that peer forward from the back of the group. Beyond them is the blue sky, interrupted in the center by a section of ~ the Cross, while to the left and right are open spaces of land- scape, showing on one side a distant view of Jerusalem, and on the other a man, apparently in a boat. From the point where he is seen, a path ‘edged at intervals with stones winds toward the foreground, which, being Golgotha, ‘‘the place of a skull,” is strewn with fragments of bones. 7 The border, enclosed within green bands, is composed of a scrollwork of leaves, roses and pansies, involving the hues of green, gold, crimson and pale violet. Outside the border is an edging of black. Height, 3 feet 4 inches, length, 6 feet 9 inches 128—GERMAN TAPESTRY GoTHic RENAISSANCE. SIXTEENTH CENTURY. ADORATION OF THE SHEPHERDS, ‘The cartouches attached to the posts of the stable suggest that this tapestry was a votive gift to some church or convent by a donor whose identity would be preserved in the armorial bearings—three stars and an owl, standing on clouds, upon an azure field. In the center of the composition is the Holy Child, lying naked upon a part of the Virgin's mantle. This is of a grayish fabric, deep blue in the shadows, and falls from her shoulders in voluminous masses, the folds of which are characteristically Gothic in the intricacy and angu- larity of their arrangement. Clad as well in a robe of grayish- amber color, decorated with red arabesques, she kneels with hands upraised in prayer, looking down on her Child. Behind her hangs a crimson dossal, pieced together of rectangular parts, diapered in yellow. Balancing her figure is that of Joseph, who kneels upon the right of the Child, with hands folded upon the crutch of his staff. ir * Relies Fone tn Pig Rae e wlS opa epics fe a He wears a tunic of pinkish gray that deepens to a bricky rose in the shadows, and an undergarment of yellow with blue cuffs. In front of him kneels a little fair-haired angel, with pointed blue and white wings, while behind the Infant stands another angel with coppery golden locks. At his back appear the heads of the ox and the ass, while beyond the open side of the stable stretches a vista of hill surmounted by a red-brick building. On the right of the main group, where a low door in the wall gives entrance to the stable, are standing two shepherds, one in red and yellow, leaning on his crook, the other in gray and blue tunic and red cap, lifting up his hands in prayer. Beyond them extends a landscape up to the walls of Bethlehem. On the left of the composition two other shepherds are seen among their sheep. They have heard the singing of an angel that floats above them with long trailing drapery, and the one ceases playing on his pipe, while his companion kneels, both rais- ing their hands in attitudes of rapt devotion. The meadow recedes towarda hilly country, dotted with buildings. In the left corner of the foreground is a little tree of roses, reminder of the ‘*Rose of Sharon ”’ (Song of Solomon ii, 1), while in the opposite corner is another tree that may be an apple, suggested by an- other text in the same chapter: ‘‘ As the apple tree among the trees of the wood, so is my beloved among the sons.” Between these are growing narcissus, columbine and daisies. The border is formed of two Greek frets of two tones of pale yellow, the deeper one imposed upon the lighter, on a ground of crushed strawberry. Edged with a pale-greenish blue, it pro- vides a very choicely reserved frame to a composition that is dis- tinguished throughout by the gravity of its low-toned harmonies of color. Height, 3 feet 6 inches; width, 7% feet 129—FLemMisy TAPESTRY SIXTEENTH CENTURY. THE MEETING OF ISAAC AND REBEccA. The episode here represented may be found described in Genesis xxiv. Abraham’s servant has returned from his mission to Mesopotamia to secure a wife for Isaac, bringing with him Rebecca and her maid. Isaac, as ‘‘he meditated in the fields,” has seen afar off the cavalcade of camels approaching and has come to meet it. NOveiecn PE LEMISH, SIXTEENTH-CENTURY TAPESTRY. ISAAC AND REBECCA. e 9 - * b Nha BS be yolk 4 Rebecca has ‘‘ lighted off the camel,” and is now seen ac- cepting Isaac’s salutation, while the servant, his mission safely accomplished, is holding up his hand with a gesture of bene- diction. In all the figures except that of the servant the Renaissance influence is clearly perceptible. Isaac is clad ina cuirass and the short, tight-fitting trousers and boots of a Roman soldier. Over this blue. suit is a brownish-amber drapery that falls from the left arm and across the back. He is standing with his back to us, turning his head toward Rebecca, as he grasps her hand. She wears a head-dress of red and yellow stuff, Oriental in suggestion, but the rest of her costume is rather classic in design, consisting of a pinkish-gray skirt, over which is a pale-yellow tunic, bordered with a conventional design. It is gathered in at the waist with a band that also holds in place a rich blue cloak. Her maid wears a clinging robe of pinkish-white color, her head being veiled with a yellow drapery that descends over her left shoulder and is held up by her hand. ‘The servant’s costume comprises an Oriental head- dress of folded linen and a crimson robe with a handsome damasked design in yellow, that suggests one of the sumptuous fabrics of the Flemish looms. Behind the group is a beautiful landscape, with glimpses of a river and a background of bold hills, whose slopes are intersected with rows of trees, while buildings crown their summits. A short distance back at the left appears a group of servants and camels, one of the latter, from which Rebecca has alighted, being still on its knees. The foreground is sprinkled with small plants and vines, closed in on the right by an ivy- clad tree trunk. The details of tawny green and yellow against the paler yellow of the grass, the drab in the middle distance and the deep blue of the trees on the hills, combine with the richer but still subdued hues of the principal group to form a color harmony that has been graciously mellowed by time. The border is formed of a delicate interlace of vines and flowers, pale yellow on a dull-red ground, with touches of white and blue in the rosettes, while surrounding it is an outer edge of old indigo blue. Height, 3 feet 8 inches; width, 5 feet 7 inches NO. 1380. GERMAN GOTHIC TAPESTRY. A KING ON HIS THRONE. \ a A 0) ok 7 bie) Shee hapedey [Ester iagene 130—GERMAN TAPESTRY Earty Goruic Renaissance. A Kinc on His Turone. Can this be intended to represent the abdication of Charles V. in 1556, when he handed over the imperial crown to his brother Ferdinand? The king is seated on a throne, clad in a loose blue robe, with a jeweled chain hanging round his neck. While he raises one hand, he extends the other to a man who stands before him with arm extended in salute. But for the helmet, which rests upon the ground, his figure is clad capf-a-pie in Greco-Roman armor—shoulder pieces, cuirass, short bluish- green undershirt and greaves, the metal being decorated with rudely hammered arabesques. He wears a:sword at his left thigh, and carries in his right hand a marte/l-de-fer, or horse- man’s hammer. Behind him stands a man-at-arms, dressed in crimson hose slashed on the thighs, a blue shirt and a double necklace of red beads, and a blue full-sleeved short doublet. At his back appear the head and chest of a man dressed in brown. Two other figures complete the group. Upon the balustrade of the throne, over which a crimson drapery hangs, leans a man in a flat flapping cap and high ruff, such as may be seen in Hol- bein’s portraits, while seated beside the king is a bald-headed man, clad apparently in ecclesiastical vestments, carrying upon his shoulder a jeweled sword. The canopy of the throne, com- posed of a Persian carpet, is suspended from two columns—a short one that surmounts the balustrade anda taller one that rises directly from the pavement. They are of porphyry, with rudely carved capitals and shafts that swell out into a bulb shape, where they join the bases. Byzantine influence is shown in their design, as also in the interlaced border of the king’s robe, while the Classic influence of the Renaissance appears in thearmor. The figures, however, in their character and natural- ness are thoroughly German. The border is broad and exceptionally fine, having a ground of bluish black, on which, in hues of green and blue and rose, is an elaborate pattern of leaves, tendrils and bunches of grapes, interspersed with floral arrangements of roses and pansies and daisies. It is interrupted at the bottom by a panel, flanked at each end by a circular medallion, decorated with a bird on a bough. Among the grapes in the top border occurs what seems to be a coiled snake. . Height, 5 feet 2 inches; width, 6 feet 1 inch 131—FLEMISH TAPESTRY Earty SIXTEENTH Century. THe Crucirixion. While time has obliterated some of the details of this composition, it has mellowed the colors: “The singularly beautiful quality of the drab-gray flesh tones, the faded rose and yellow of the cos- tumes, with occasional flashes of crimson and an extraordinarily impressive deep blue not only in the armor and draperies, but also in the details of the landscape background, unite in a harmony as subtle as it is impressive. The composition for an instant recalls ‘‘ The Crucifixion” by Rubens, in the Antwerp Museum, for the episode depicted in each case is the piercing of Christ’s side, and here, as in the other picture, He is shown between the two thieves, the three bodies hanging high above a group of horsemen and people on foot. But this composition is loaded with more figures, and they rise one above the other with a formality of arrangement that shows the designer to have been still subject to the Gothic influence. On the left a horse is seen in back view and his rider has turned in the saddle to drive his spear into (as in Rubens’s pic- ture) the rzght side of the Saviour. Meanwhile the spear is also grasped by another mounted soldier who faces us. Balan- cing this group, appear on the opposite side of the central cross, two long-bearded horsemen, chief priests or Pharisees. Behind these groups are visible the heads of Roman soldiers, who carry forks and other instruments of torture on long sticks, which form a hedge between the bodies. ‘The latter are well drawn; the Saviour’s hanging in complete composure beneath the in- scription ‘‘I. N.R. I.” (/esus Nazarenus, Rex [udg@orum). The arms of the repentant thief are drawn over the top of his cross, though otherwise the attitude of his body expresses submis- sion, while that of the other malefactor is twisted in rebellion. Behind these impressive forms, which rise almost to the full height of the pictures, are glimpses of landscape; on the right, open country, with a bridge and large house, stretching to curi- ously steep hills; on the left, a pathway up a rocky incline to what probably represents Jerusalem. Across the foot of the composition extend a series of person- ages in the front and second planes. On the extreme left are two squat figures, the familiar boors of Flemish pictures, one of which carries a bucket of water and a sponge upon a spear. NO, 131. FLEMISH SIXTEENTH-CENTURY TAPESTRY. THE CRUCIFIXION. Near him kneels one of the Marys, clad in a white and blue robe and a rose-colored mantle that spreads over the ground in volu- minous folds. In the center of the foreground kneels the © Virgin, her hands extended down, her face raised in anguish. A blue mantle covers her head and shoulders and flows to the ground; her robe is of creamy rose, damasked with a fawn-— colored pattern. Behind her kneels the Magdalene, embracing the Cross, her fair hair descending below a dove-gray veil on to the creamy surface of her gown, a beautiful figure that once more recalls the Magdalene of Rubens. To the left of the . Virgin are two other women on their knees, in rose-colored costumes, directing their hands and eyes to the Cross, while behind them stands a man. He is taller than the boors but of rude shape, though the expression of his face is full of grief. He is probably Peter, for near him is the cock whose crow followed upon that apostle’s denial of his Master. | Fletght, 7 feet 10 inches, width, 5 feet 7 inches 39°133—A Pair OF TAPESTRY GROTESQUES ITALIAN. SIXTEENTH CenTuRY. ‘These grotesques are said to have been made for the bed of Margaret of Parma, daughter of Charles V. She was first married in 1536, at the age of fourteen, to Alessandro de Medici, Duke of Florence, who was assassinated in the following year. Later she married Ottavio Farnese, Duke of Parma and Piacenza. From 1559 to 1567 she was Regent of the Netherlands on behalf of Philip II., who removed her because of the outbreak of the revolt of the Dutch provinces. These tapestries once belonged to the Spitzer Collection and later formed part of that of Baron Nathaniel de Rothschild. One of them is illustrated in Eugene Muntz’s ‘‘ La Tapisserie,” fifth edition, page 222. They are woven in silk and gold. Their borders are alike, consisting of a French-gray ground, shading off in parts to blue, on which is arranged a series of arabesques that include trophies of musical instruments, arms, ox skulls, and, at the top corners, swans. The main compositions also correspond in general design and color. “AUNLNAD HLINAALXIS ‘SANGSALOUD AULSAMVL AO Ylvd V dO YANO ‘CET “ON . In both, the field is a dull carnation on which is projected a fanciful structure of gold strapwork, in ingenious perspective, that encloses certain spaces of a pinkish butter color and shows open spaces of pale gray. They vary, however, in the design of the structure and the choice of details. | In the center of No. 132, under a light canopy, hangs a trophy of figs, pomegranates and grapes, in hues of pale yellow and green and dark blue. Oneach sideis a Hermes, surmounted by a woman’s head and bust. Her hands hold garlands, one of which drops to the bottom of the trophy, while the other rises to the upper framework, where a bird receives the ribbon in its beak. _Near it is fixed a flaming candle. From the bird the ribbon again drops, this time supporting a canopied chair, in which a figure is seated, from whose hand the ribbon descends in a loop to the bottom, where it is caught up in a series of loops, suspended by various devices, among them being a gamboling goat and sheep. ‘The right-hand figure is that of a girl, holding a cornstalk; the left, a man in Roman armor, holding, instead of arms, a bulrush. Presumably these two typify pa and pros- perity by a and sea. In No. 133, beneath a trelliswork entwined with vines and grapes, is suspended a sort of crate-basket, profusely filled with cherries, plums and pears, crowned with a bunch of pink and white carnations. It is flanked, as is the central feature of the other tapestry, by two seated figures. Costumed respectively as a shepherd and shepherdess, they gaze into the air with a sen- timental expression. Behind them is a kind of hanging cage with birds from whose beaks are suspended bunches of figs, pears, grapes and plums, while a third bird hovers between them. Those on*the right are a grouse, peacock and lark; and on the left, a pheasant, flamingo and dove. Ranged along the foot of the decoration, beginning at the left, are a trophy of panpipes and pipes; a rabbit in a circle; two birds perched on a fountain, one of them a macaw; a butterfly; a vase with two birds; a cat in a circle; and a trophy of a ewer and a basin. Height, 5 feet 3 inches; width, feet \ tuck "AUNLNAD HLNAALXIS ‘SHNGSALOUD AULSAMVL AO UlVd*V AO ANO ‘EET “ON x Rebesnts of! oC dite tos i Y 4 4 : a : OE SE a eee eee | OLD MUSICAL INSTRUMENTS 132—Two Drums Pair Italian military drums. Seventeenth century. Painted sides decorated with coats of arms; heads made from illumi- nated church missals. Fletght, 26 inches; diameter, 12% inches 133— MANDOLIN Body of delicate shape, inlaid with tortoise shell, ivory and mother of pearl. Made by Andra Guainicin. 1705. 134—LuTE Early eighteenth-century Italian lute. ‘‘The Rose” of carved paper; very deep. Made in four sections; inlaid body. Length, 33 inches 1385—LuTE Italian lute. Satinwood body, ebony stem; retains original cord. Label date, 1777, inside. . Length, 36 inches 136—CHITARRA BATTENTE Italian. Early eighteenth century. Very deep body, inlaid with tortoise shell and mother of pearl; 14 keys. Length, 37 inches 137—LuTE 7 Italian. Eighteenth century. Oval body, inlaid with ivory; long stem with swell head; retains original cord. Length, 34 inches 138—LuTE Italian. Seventeenth century. Large pear-shaped body. Made of alternate narrow strips of light and dark wood; elaborate carved flat rose. Label inside, dated Rome, 1613. Length, 38 inches 139—GUITAR Italian. Eighteenth century. Body and stem inlaid with tortoise shell and mother of pearl; 13 keys. Label reads, Gio Barrissa, facit. An. 1791. Napoli. Length, 35 inches 140—LyreE Italian. Early eighteenth century. Large, wide body; two sound holes; uprights carved and gilded. Fleight, 35 inches 141—ManbDoLin sis Italian. Eighteenth century. Fluted body, inlaid with tor- toise shell and mother of pearl. Label reads, Joseph Filanos- itius, Neap. Anno. 1783. 142—M ANDOLIN Italian. Eighteenth century. Fluted body, inlaid with tortoise shell and mother of pearl. Dated Neapoli, 1777. 143—-CHITARRONE Italian. Eighteenth century. Large pear-shaped body, flat back, long stem; 16 keys. Length, 44 inches 144—-CHITARRONE French. Eighteenth century. Large, irregular-shaped body, with finger board extending down at side. 16 keys. Made by Renault, Paris. Length, 44 inches 145—Lyre Italian. Seventeenth century. Large body. ‘Two sound holes with inlaid ‘‘roses.” Uprights elaborated, carved and gilded. Ffletght, 36 tnches 146—GUITAR Italian. Eighteenth century. Long, thin body, elaborately inlaid with mother of pearl, ivory and ebony. Length, 35 inches 147—GUvITAR Italian. Early eighteenth century. Body of alternate bands of wood and thin strips of ivory; front and stem elaborately inlaid with engraved ivory, pearl shell and ebony. Curious green cord and tassel. Length, 36 tnches 148—MaNDOLIN Italian. Eighteenth century. Very deep fluted body, inlaid with tortoise shell and mother of pearl. Antonius Vinaccia, facit. An. 1792. Napoli. f . ‘ ere 149—LyreE GUITAR Antique Greek form. Long body and slender horns, united by metal rod; ebony finger board. Italian. Eighteenth century. Length, 30% inches 150—Harp Lyre | $ Italian. Seventeenth century. Combination of lyre body with harp frame. Decorated in gold with musical instruments, scrolls and other designs. Post and head of harp carved and gilded. *‘ The Rose,” a carved and gilded sunburst, stands on gilt base. Height, 35 inches 151—Manbo.in Small body, of engraved ivory and ebony strips; finger board of ivory, engraved with children playing on musical instru- ments. ‘The rose is flat, inlaid with mother of pearl. Italian. Early eighteenth century. 152—GUITAR © Italian. Eighteenth century. Long, slim body, elaborately inlaid with ivory and mother of pearl; frets of finger board extend on body. Label, ‘‘ Pitano Donati Filins facit, Neap. 1780.” Length, 37 inches 153—CHITARRONE Italian. Eighteenth century. Large, pear-shaped body, of alternate narrow bands of wood and thin ivory; hollow finger board, 24 keys; stem terminates in a gilded cherub head. Length, 50 inches 154—CoRNEMUSE The bag covered with green velvet, decorated with silver tinsel and fringe. Ivory drones and mouthpiece. French. Eighteenth century. 155—CoRNEMUSE The bag covered with brocade velvet; carved ivory mouth- piece. Lacks the drones. French. Eighteenth century. AMERICAN ART ASSOCIATION Managers Tuomas E. 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