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PAUL-GETTY MUSEUM LIBRARY Six Rickety Italian | | Chairs Bring $3,660 at the Bardini Sale r- “ed Prices for ‘Other Aged Stained Decorative Pieces—Total to Date Is $312, 650. rol 4 Rickety old ‘chairs and ‘age stgined a deco- at rative pieces were sold at auction yester- of day- in the American Art Association auc-} ul- tion room for hundreds and thousands of st, dollars in the sale.of the art collection of “Stefano Bardini. It seemed- -that the nearer en ‘the ‘squeaking old works appeared to the \id- trash heap the more money they repre- py ‘sented. It looked as if it took actual ch courage to bid and pay $3,660 for six tumble ‘aS down Italian _ chairs, gilt and bronze us mounted svood, of the Empire period,, as 40- coh ww. French & Co. paid for them yester- ind day. This was the largest amount paid » is for a single lot in the afternoon. ; : Ww. any Tyler, acting as agent, paid $1,880 me! Italian decorative panel of blue and -ground, richly carved. The same 7. $1,040 purchased a ‘set of wall is*used in the early periods. al amount received for the (one nd forty-two. pieces sold: -yester- oon was $59,620. The sale totals ate, and will continue this after- American galleries. ~ epi” dee eg aay he Two Italian 16th Century Tables Bring $21,300 at Last Sale— Flemish Tapestries, $8,200. 'f -' Returns for the last day of the Ste- : fano Bardini sale of Italian art treas- ures and antiquities at the American Art Galleries yesterday afternoon, $133,240, brought the grand total near the half-| 'p million, the 782 numbers bringing $443,- Is 90. %It was a sale marked with a| Bye’ notable attendance, both while the col- | eo lection was on exhibition and also at} the sales. Representatives of the Met- ropolitan Museum of Art, the Brooklyn | Museum, and the Rhode Island School 2 of Design were present at the sales, as “ well as well-known people of this city and large numbers of out-of-town buy- ers. The sale, following that of the Volpi collection, shows the increasing in- terest in Italian interior decorations. A couple: of Italian sixteenth century tables brought the top prices at yester- day’s sale, going to the Duveen Broth- /= = vers, one for $11,400 and the other for m $9,900. Both were of Florentine wal- nut, heavily made, with carved: lion’s legs. and paws finishing the supports. The first was 8 feet, 1142 inches long by 8 feet, 5 inches wide, and the second 10 ’ feet, 3 inches long by 2 feet, 10 inches a wide. ; Among other things bringing the . higher prices of the day a sixteenth cen- ars tury Florentine walnut armchair, with i equare back and gilded mask finials, Wate the seat and back covered with green velvet of the period, finished with gold galloon, went to- Bernet, agent, for a $1,275. A high price for a single chair was paid by Seaman, agent, for another tS Florentine walnut armchair of the same Nie period, with a rectangular back and gilded acanthus finials, for which ro & paid $3,000. The back and seat of this sth ts chair were covered with a gold-woven Re contemporary tapestry, a Kind now of rare occurrence. On a gold background *y on the back of the chair was a “design ' showing Neptune brandishing his tri- dent, starding on a chariot drawn by Bea. horses, with details of Nereids, a see fish and sea dragon. ‘The seat had a pad a waterfall design. and the sides floral yee” rosettes and ribbons forming the border abe ef the tapestry. For another armchair with a verdure design tapestry Seaman paid #1, 300, An armchair, the frame bearing an ota aS a. as escutcheon,’ the tapestry covering of pia ey eriod, went to French & Co. for An armchair with contemporary ¥ ‘teen ba a and gold galloon covering went ys Deke to W. H. Johnson for $1,800, and to Mii the same buyer a sixteenth century (eee Umbrian walnut tripod table for $1,450. bas 74 A sixteenth century Tuscan walnut ta- pe . ble went to Lorenz, agent, for $1,900, g and a seventeenth century French wal- hen . nut throne chair, elaborately carved, 4% from the collection of M. Carrand, Di- , rector of the Lycns Museum, went tp Ae the same buyer for $1,400. 3) eo For a pair of seventeenth century [aie Flemish verdure tapestries French & LA Co. paid $8,200, and for a sixteenth was 2 century Italian sabesiey panel Bernet, sf eat pave $5,100 ic ; | $ sixteen century oren , ‘ nd gilded. waln Hine. chryed TIS) ae I No. 3872—Firreenru Century Guazep TERRA-cOT OricinaL TABERNACOLO FrRaME (By Andrea Della Robbia) TA Bas-RELIEF IN ITS DE LUXE ILLUSTRATED CATALOGUE OF THE 2 BEAUIEUL TREASURES AND ANTIQUITIES ILLUSTRATING THE GOLDEN AGE OF ITALIAN ART BELONGING TO THE FAMOUS EXPERT AND ANTIQUARIAN SIGNOR STEFANO BARDINI _OF FLORENCE, ITALY THE ENTIRE COLLECTION mee be SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF SIGNOR BARDINI, THE SOLE OWNER ON THE AFTERNOONS AND EVENING HEREIN STATED CATALOGUE COMPILED, FROM DESCRIPTIONS AND PROVENIENCES FURNISHED BY PROFESSOR STEFANO BARDINI, BY MR. HORACE TOWNSEND OF NEW YORK THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANT, MR. O. BERNET, OF THE AMERICAN ART ASSOCIATION, MANAGERS MADISON SQUARE SOUTH, NEW YORK 1918 ae wy A fpr t€ &3-27 ee THE AMERICAN ART ASSOCIATION | aE DESIGNS ITS CATALOGUES AND DIRECTS ASE ; ALL DETAILS OF ILLUSTRATION | | ire Renee en TEXT AND TYPOGRAPHY THE BARDINI COLLECTION Signor Stefano Bardini, of Florence, who has consigned to the American Art Association, to be sold at unrestricted public sale, the objects herein described, has for nearly two generations held a fore- most place among European experts and antiquarians. Not only a majority of oe private collectors interested in the artistic produc- tions of Renaissance Italy, but most of the Directors of the great National Museums, have been wont to repair to him during the past half-century. By them he has been regarded not merely as a dealer in precious things, but as an expert who has made a life study of the art of the Quattrocento and Cinquecento, and to him they have often turned when the authenticity of any particular piece was in question. Signor Bardini’s determination to offer so large a proportion of his gatherings of a lifetime to the American public is due to the dis- turbed state of his country, brought about by the present war con- ditions, and so the people of this country have an opportunity, which would not otherwise be afforded them, of purchasing at an unre- stricted public sale Italian Objects of Art selected and assembled to- gether by one of the world’s acknowledged experts. _ The collection, so interestingly representative of Signor Bardini’s career of over half a century, has as one of its outstanding features a group of some twenty-nine colored Stucco Reliefs which were gath- ered during the first years of his business experience. This means that they were selected some half-century ago when creations by the leading artists of the Renaissance were readily obtainable, and it is, therefore, not surprising to find among them the works of such masters as Luca della Robbia, Donatello, Desiderio da Settignano and Antonio Rossellino. The Marbles, headed by an exquisite torso assigned by leading critics to Polvkleitos, include also masterpieces of the Middle Ages by such sculptors as Benvenuto Cellini, Baccio Bandinelli and the painter we know as Francia, while the works in glazed terra-cotta by the Della Robbia family, of which there is a quite surprising showing, number among them a superb Madonna and Child by no less a hand than that of Andrea himself. Signor Bardini’s collection of Bronzes, among which will be found examples by Giovanni da Bologna, Rustici and Verrocchio, is especially notable for the number of Plaquettes, Medallions and Medals therein included, for during the past two decades examples such as comprise Signor Bardini’s collection have won the appre- ciation of all collectors of Florentine and Paduan art at its very best. Testimony to the care and discrimination of Signor Bardini as a collector is afforded by the fact that from his treasure house many pieces of note have found their way into the Louvre, the South Ken- sington and other National Museums, in whose catalogues they have been deemed worthy of illustrating. The temptation is great to linger upon the Bardini Ma- jolicas, among which will be seen typical products from the kilns of Faenza, Caffaggiolo, Urbino, Deruta and Siena, upon the small but delightful collection of Tapestries, and upon such “Ogetti Varie” as the magnificent Porcelain Clock case made for his own use by the Marchese Ginoni at Doccia, as the carven Reliquary and as the cleverly wrought Monstrance, or upon the collection of pictures chosen mainly for their decorative value. Particular attention, however, must be directed to what may form a chief attraction of Signor Bardini’s collection. This is the gathering of Italian Furniture, representing the craftsmanship of some three centuries, although the larger proportion consists of the work of the [Italian artificers of the Fifteenth and Sixteenth Centuries. Here are Chairs ranging from the dignified Seggiole, covered with lordly tapestries with golden grounds, to those of Sgabello type, with wood seats and backs, delightsome in the intricacy of their carving, Tables distinguished by the stately nobility of their appearance, and Cabinets, the severity of whose outlines is relieved by the graceful elegance of their detail. To these must be added what is probably the largest collection of Cassone ever placed on exhibition in this country—carved, gilded, inlaid, painted and finished with the richest of pastiglia work—and a very striking gathering of the carved and gilded furniture of later days when the Italians vied with the French in the luxury and display which served as a background to their domestic life. Unfortunately, this remarkable collection is not as complete and representative of the owner’s taste and ability as a connoisseur as Signor Bardini origi ded, owing’ to the fac at ¢ the last moment tl xovernment, under the provisions 01 its statutes, exercised its right to become the owner of a number of important objects, and to refuse permission for the exportation 0 other objects of artistic distinction. While the public sale of this collection, like all others managed by the American Art Association, will be subject to its usual terms and conditions as set forth in this and other catalogues it publishes, a final word may be said to the effect that Signor Bardini has himself assigned to each object its authorship, or period, thereby giving to it, as it were, the stamp of approval of one whose opinion in such matters, as already has been pointed out, is universally regarded as authoritative. Horace TOWNSEND. New York, April 10, 1918. ok ome CONDITIONS OF SALE 1. Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the pur- chasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other than this notice, re-sell the lots fur the benefit of such purchaser, and the deficiency (if any) arising from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon payment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on pre- senting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the pur- chaser. ‘Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. : Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 7. Guarantee is not made either by the owner or the Association of the correctness of the description, genuineness or authenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold “as is” and without recourse. The Association exercises great care to catalogue every lot cor- rectly, and will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. - CATALOGUE In the following catalogue of Bronze Plaquettes, Medals and Medallions, references are made to: “Catalogue of Italian Bronzes,” Berlin Museum, 1904. “Les Plaquettes,”’ by Emile Molinier, Paris, 1886. “Italian Medals,” by Cornelius von Fabriczy, New York, 1904. “Catalogue of the Wallace Collection,” London, 1910. “Guide to the Medieval Room, British Museum,” London, 1907. The Bronze Plaquettes and Medals of the fifteenth and early six- teenth centuries have, within the last decade, become highly prized by collectors. Largely copied from antique gems or from engravings, they were evidently made with the object of rendering fine work acces- sible to a wider circle than that of the rich and noble, but even such artists as Donatello did not disdain to take them as their models for work of a more important character. Principally made in the North of Italy, in Padua, Mantua, Venice, Bologna and Ferrara, their popu- larity soon spread into other countries, especially France and Ger- many. Their chief use was to decorate such things as caskets, ink- stands and sword pommels, but some were evidently treasured for their own beauty alone. FIRST AFTERNOON’S SALE TUESDAY, APRIL 23, 1918 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK FIFTEENTH AND SIXTEENTH CENTURY BRONZE MEDALS AND MEDALLIONS I—FIFTEENTH CENTURY ITALIAN Bronze MEDALLION Oval shape. Obverse modeled, in low relief, with a bust portrait of the Empress Faustina; reverse, with a Roman ‘Triumph. Diameter, 14% inches. 2—Turee FirreentH Century Iravtian Bronze Sworp Pom- MELS (a) Circular shape, with floral border, modeled, in low relief, with a subject of “Laocoon Attacked by Serpents.” After an antique gem. Gilded. Diameter, 1 inch. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate X LI. (s) Circular shape, with scrolled border, modeled, in low relief. with a seated Cupid. Gilded. Diameter, 1 mech. (c) Circular shape, enclosed by a wreath. Modeled, in low relief, with a subject of “Leda and the Swan.” From an an- tique gem. Gilded. Diameter, 1 inch. 3—SIXTEENTH CENTURY ITALIAN Bronze MEDALLION Circular shape. Modeled, in low relief, with a sub ject of Cupid forging his darts. From the antique. Diameter, 24% mches. 4—F irreEntH Century Iranian Bronze MEDALLION Circular shape. Modeled, in low relief, with the head of the Roman Emperor Septimus Severus in the character of Her- cules. After an antique gem. Gilded. Diameter, 1 imch. Another example is in the Berlin Museum. Llustrated. Catalogue, Plate XLI. 5—SIXTEENTH CENTURY ITALIAN BronzE MEDALLION Circular shape. Modeled, in low relief, with a figure subject of Mercury, Hercules and Omphale, surrounded by the legend “VTRIVSQUE” in raised Roman letters. Diameter, 14% inches. 6—FirrEENtH Century MANTUAN BrRonzE MEDALLION BY ME- LIOLI Circular shape. Modeled, in low relief, with a subject of a Hunter and Bacchante. By Bartolommeo Melioli (1448-1514). Gilded. Diameter, 1 inch. Other examples are in the Louvre and Berlin Museums. Illus- trated, No. 104, Molinier’s ‘“‘Plaquettes,” and Berlin Catalogue, Plate LVIII. {—FIFTEENTH CENTURY FLORENTINE MEDALLION Oval shape. Modeled with a figure of Diomedes, seated, and regarding the Palladium which he holds in his left hand. From an antique gem. Height, 2 inches. The chalcedony gem in the cabinet of Lorenzo de’ Medici, on which this was based, was a favorite subject with Quattrocento artists. Dona- tello copied it, and Niccold Fiorentino used it for the reverse of his Lecia medal. Other examples of this plaquette are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate XX XIX. 8—SIxTEENTH CrentTuRY ITALIAN Bronze MEDALLION Oval shape. Modeled, in low relief, with a classical figure sub- ject. Height, 2 inches. 9—FivrrentH CENTURY FLORENTINE MEDALLION Horseshoe shaped. Modeled, in low relief, with the figure of Pomona, seated. After an antique gem. For the pommel of a sword hilt. Height, 2 inches. 10 12 10—SIXTEENTH CENTURY ITALIAN Bronze MEDALLION BY DI Boeero Circular shape. Modeled, in low relief, with a subject of a “Combat,” with two mounted warriors contending and three foot-soldiers carrying trophies. Surrounded by a legend in raised Roman characters, “MARTI vicTorI.” By Gianfrancesco di Boggio (circa 1588). Diameter, 2 inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate LVII. 11—SIxTEENTH CENTURY ITALIAN Bronze MEDALLION Oval shape. Modeled, in low relief, with a profile of Diana. From an antique gem. ae Height, 2 imches. 12—FiIrrEENTH CENTURY ITALIAN BronzE MEDALLION Circular shape. Modeled, in low relief, with a Bacchic subject. Signed: “IO. F. F.” Diameter, 2 inches. 13—SIxTEENTH CENTURY Papuan Bronze MEDALLION Circular shape. Modeled, in low relief, with figure of a Bac- chante holding a vase of wine and treading on the prostrate figure of a Satyr. Diameter, 2 inches. 14—FirreEntH Century Mantuan Bronze MEDALLION BY MELI011 | | Circular shape. Modeled, in low relief, with a subject of “An Offering.” Under a tree is seated a nude man approached by three others bearing baskets of fruit. The similarity between this and No. 24 is obvious. By Bartolommeo Melioli (1448- 1514). Gilded. Diameter, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LVIII. 15—FIrreENTH CEentTURY MANTUAN BronzE MeEpDAL By MELIOIJI Circular shape. Reverse modeled, in low relief, with a subject of Orpheus standing under a tree and charming the animals who surround him. By Bartolommeo Melioli (1448-1514). Diameter, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LVIII. 16—FIFrTreentH CENTURY NortH ITALIAN MEDALLION By Mo- DERNO Circular shape. Modeled, in low relief, with a subject of a Pieta. The Virgin, at the foot of the cross, bends over and raises the arm of the dead Christ, who lies in the foreground on a linen cloth upheld by two boy angels, one at each side. In the foreground are two nails and flowers. By Il Moderno (Fifteenth and Sixteenth Centuries). Diameter, 3 inches. 22-_ FP IrrEENTH CENTURY FLORENTINE BronzE Merpau By BER- TOLDO Irregular circular shape. Obverse modeled, in low relief, with the head of Lorenzo de’ Medici, in profile and looking to the right, and with the octagonal chair of the Cathedral of Florence with the priest celebrating High Mass and the Pazzi conspira- tors attacking the brothers outside. Reverse, with the head of Giuliano de’ Medici looking to the left, and the same scene. Inscribed in raised Roman letters, the obverse, “LAURENTIUS . MEDICES” and “SALUS . PUBLICUS’; the reverse, “IULIANUS . MEDICES” and “Luctus . puBLIcUS.” By Bertoldo di Giovanni (1420-1491). Diameter, 2% inches. This is the celebrated ‘Pazzi’ Medal formerly attributed to Antonio Pollaiuolo, but now generally conceded to have been modeled by Bertoldo. It commemorated the conspiracy of 1478 to which Giuliano de’ Medici fell a victim, and is illustrated on Plate XXII of “Italian Medals,” by Cornelius von Fabriczy, New York, 1904, and at p. 178 of Dr. Bode’s “Florentine Sculptors of the Renaissance,” 1908. t ee a ok Saag a + ha 23—TIrTEENTH CENTURY FLORENTINE Bronze MEDAL By Pasto- RINI Oval shape. Obverse modeled, in low relief, with a portrait of Hippolyta Gonzaga of Mantua, surrounded by a legend in Roman characters; reverse, with a figure of Diana. By Pasto- rini de’ Pastorini (1508-1592). Diameter, 234 inches. 24—F 1rTEENTH CENTURY FLORENTINE LEAD MEDALLION BY Mr- LIOLI Circular shape. Modeled, in low relief, with a subject of a Roman soldier with the head of St. John the Baptist approach- ing Herod, who is crowned and sits on a bench on the left with two bearded figures behind him. By Bartolommeo Melioli (1448-1514). Diameter, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LXX. 25—F irreENtH Century Mantuan Bronze MEDALLION BY MeE- LIOLI Circular shape. Modeled, in low relief, with a subject of a Hunter and a Bacchante. By Bartolommeo Melioli (1448- 1514). Probably from the antique. Similar to No. 6. Diameter, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated, No. 104, in Molinier’s “Plaquettes”; Berlin Catalogue, Plate LYIII. ~ 26—SixTEENTH CENTURY [raALIAN BronzE MEDALLION with laurel wreath, bearing a cornucopia, probably intended for “Fortuna.” Surrounded by a legend, in raised Roman char- acters: “HOC . OPVS.E. FRVGES . EFVNDO. COPIA. CORNY.” After the antique. Vs shape. Modeled, in low relief, with a bust of a goddess Height, 2 inches. Another example is in the Berlin Museum. Tlustrated in Catalogue, Plate XL. 27—F IFTEENTH CENTURY FLORENTINE BroNZE MEDALLION Circular shape, with raised border. Modeled, in low relief, with a seated figure of the Virgin holding the Child Christ on ~ her lap with St. John the Baptist on the left. St. Francis on the right and a lamb below. Diameter, 2 inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate XLII. 28—FirrrentH Crentury Papuan Bronze MEpALLION Circular shape. Modeled, in low relief, with a subject of “Leda and the Swan.” On the left side stands a Cupid. From an an- tique gem by a Paduan under the influence of Riccio. Diameter, 2 inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate LXIII. 29—SIxTEENTH CENTURY ITALIAN Bronzk MEDALLION Circular shape. Obverse modeled, in low relief, with the bust portrait of a woman within a border formed of putti and scroll- ings. Diameter, 2 inches. 30—Late Firrrenty Century Norru Iranian Bronze Mepat- LION Circular shape, with molded rim. Modeled, in low relief, with an allegory of “Fidelity” shown as “The Return of Ulysses.” The field is divided by a branching tree into two sections: on the right Ulysses is welcomed by his faithful hound, and on the left stands Penelope with a spindle in her hand. Inscribed with the legend in Roman characters: “NxQ (VE) MORTE . SOLVENDUS.” Diameter, 2% inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate LXIII. 31—FIFTEENTH CENTURY ITALIAN BronzE MEDALLION Circular shape, with pierced frame of volute scrolls. Modeled, a) in low relief, with a subject of St. Thomas placing his finger Vy in the wounds of Christ. Surrounded by a quotation from the | Vulgate: “Er . CREDIDERU(NT) . BBATI Q(UI) . NON . VIDE- RU(NT) (Blessed are they that have not seen and yet have be- lieved). , Diameter, 2% inches. 32—Latre Firreentn Century Norrs Irarian Bronze Mxpat- LION BY Moprrno Circular shape. Modeled, in low relief, with a subject of “A Combat.” A nude warrior on horseback riding over two pros- trate figures. Inscribed with the legend, “puBIA rorTU-NA.” By Il Moderno (Fifteenth and Sixteenth centuries). Diameter, 214 inches. Other examples are in the Louvre, Victoria and Albert, and Berlin Museums. Illustrated in Molinier’s “Plaquettes,” No. 215, and Ber- lin Catalogue, Plate LILI. FirreENtH CENTURY FLORENTINE BronzE MEDALLION BY Forpa Circular shape. Modeled, in low relief, with a subject of the “Bathers.” Figures of two nude men, one of whom is pulling his shirt over his head. In the distance a ship with a lateen sail. By Ambrogio Foppa—Il Carodosso (1452-1526). Diameter, 214 inches. 33 Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LVIII. 34—SIxTEENTH CENTURY ITALIAN Bronze MEDALLION Oval shape. Modeled, in low relief, with a head of Minerva or Mars wearing a helmet and a brooch decorated with the subject of “Hercules and the Lion.” After the antique. Height, 3 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate XLIII. (Illustrated) 35—SIXTEENTH CENTURY ITALIAN Bronze MeEpAL or ISABELLA Dp Estr Oval shape. Obverse modeled, in low relief, with the portrait bust of Isabella d’Este in sixteenth century costume. Reverse defaced. Height, 24% inches; width, 14% inches. (Illustrated) 0 36—SIXTEENTH CENTURY ROMAN MEDALLION BY BERNARDI vat Oval shape. Modeled, in low relief, with a subject of the “Eagle Tearing the Body of Prometheus.” Signed: “I0ANEs . B.” By Giovanni Bernardi da Castelbolognese (1496-1533). Height, 2°84 inches; width, 34% mches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LXVIILI. (Illustrated ) (90 37—FirTrENTH Century Iratian Bronze MxepALiion By BELLI ; Oval shape, with molded border. Modeled, in low relief, with a subject of an “Entombment.” Signed below: “VALERIVS DECIUS VICEN.’ By Valerio Belli, known as Vicentius (1465- 1546). Height, 31% inches; width, 4 inches. (Illustrated) 38—TIrrEENTH CrentTuRY IraLIAn Bronze PLAQUETTE Oval shape. Modeled, in low relief, with a three-quarter-length figure of the Virgin, seated and holding the undraped Child Christ in her lap. 7 Height, 3% inches; width, 2% inches. (Illustrated) > VtGEN GF sts “fee ESS wt = a > % Fy atlas ee same y" 39—Late FirreentH Century GrerMAN Bronze MEDALLION : »» Circular shape. Modeled, in low relief, with a three-quarter- A> length figure of the Virgin with the Child Christ in her arms. On a large crescent and surrounded by rays, alternately straight and spiral. Diameter, 4 inches. 40—F'RAGMENT OF SIXTEENTH CENTURY ITALIAN BronzE MeEpAL- . yo LION & Irregular shape. Modeled, in low relief, with seated figure of Vulcan forging arms for Thetis, mother of Achilles, who stands on the left. Height, 2% inches. 41—SIXTEENTH CENTURY ITALIAN Bronze MEDALLION ; % Oval shape, with raised border. Modeled, in low relief, with a ies subject of Venus Rising from the Sea, with attendant Nereids. Height, 244 inches. ly tv 42—SIXTEENTH CENTURY RomAN BronzE MerpAL By LEONI Circular shape. Modeled, in low relief, with the head of Suley- man the Magnificent, Sultan of the Turks, shown as a hand- some man with a mustache and wearing a large turban. Sur- rounded by the legend, in Roman characters “soLYMAN . IMP. TuR.” By Leone Leoni (1509-1590). Under Suleyman I, called by Europeans “The Magnificent,” the Turkish Empire reached the summit of its power and glory. .This medal was probably modeled to the order of the Emperor Ferdinand of Austria in 1548, when a truce was made with the invading Turk. Diameter, 5 inches. 43—FIFTEENTH CENTURY MANTUAN BRONZE MEDALLION BY poo MELIOLI Circular shape. Modeled, in low relief, with a subject of “The Judgment of Solomon.” In the center Solomon sits on a high throne, on the left are the contending women and on the right a soldier with a drawn sword. By Bartolommeo Melioli (1448- 1514). Diameter, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LVIIL. 44—FIrTeEENTH CENTURY NortH ITALIAN Bronze MEDAL BY 2 x3 2 DE’ Pastt Ps Circular shape. Obverse modeled, in low relief, with the por- trait head, in profile and looking to the left, of Sigismondo Pan- dolfo Malatesta, Tyrant of Rimini. Inscribed in raised Roman characters: “‘SIGISMUNDUS . PANDULFVS . MALATESTA . PAN. F.” Reverse, with the Rocca Malatestiana, that castle of the Mala- testa at Rimini described by Dante. By Matteo de’ Pasti (1420-1490). ; Diameter, 3 mches. Another example of this medal is in the Wallace Gallery, No. 344 (Gallery III), and a version is illustrated on Plate IX of “Italian Medals” by Cornelius von Fabriczy, New York, 1904. (Illustrated) 45—FivrrENtH Century Nortu Irauian Bronzk MEDALLION BY A MopErNno : ee [7 ~~ Circular shape. Modeled, in low relief, with a subject of the “Death of Orpheus.” Orpheus, under a leafless tree with his - hands tied behind his back, is assailed by two Monads wielding clubs. ‘Two others carry armor. By I] Moderno (Fifteenth and Sixteenth Centuries). Diameter, 214 inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate LI. 46—FirrrentH Crenrury VicENZAN Bronze Mepat By BELLI Circular shape, with reeded rim. Reverse modeled, in low re- lief, with a “Way of the Cross.” Christ, bending under the weight of the cross, which he carries on His shoulders, is dragged and urged forward by Roman centurions. Signed: “vALERIUS . ay VIcENTIUS .¥.” By Valerio Belli (1465-1546). Height, 31% inches; length, 4 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LXIV. (Illustrated) fy 47—F irreentH Century Iratian Bronze MEpALiion ‘’ Oval shape. Modeled, in low relief, with a subject of Alex- ander the Great receiving the Wife of Darius. Signed. Height, 24, inches; width, 2Y% inches. dS19AIY— FF ISIIZAGO—FF FIFTEENTH AND SIXTEENTH CENTURY BRONZES 48—E arty SIXTEENTH CENTURY GERMAN BroNZE PouNcetT Box A) BY VISCHER Ys. Formed as a dog sitting on its haunches and scratching its face with one paw. The back hinged to form lid. By Peter Vischer (1455-1529). Height, 2 inches. 49—SIXTEENTH CENTURY PADUAN BronzE FIGURE (o Sejant lion, intended to form a finial. QS Height, 31% inches. 50—SIXTEENTH CENTURY ITALIAN Bronze INKSTAND 6° Formed as a couchant bull with short horns, the back hinged to \y 0 : form lid. On rectangular base with shaped aprons and scrolled feet. Height, 3 inches; length, 8 inches. 51—FIrreEntH Century ITALIAN Bronze BELL Baluster-shaped handle and body with incurved sides, decorated, g nf e° in low relief, with shields charged with coats-of-arms and having . winged gryphon supporters. Height, 5°4 mches. 52—SIXTEENTH CENTURY FLORENTINE BronzE BELL \ A> Handle formed as a partially draped figure; curved body, deco- A S rated, in low relief, with bands of acanthus leaves and figures. a = Head of figure missing. Height, 6 inches. WY 538—SIXTEENTH CENTURY VENETIAN Brass FLask {> Pear-shaped, with short cylindrical spout and ring for suspen- /) sion. Body decorated with an escutcheon, masks and scrolled Yo branches of leaves and flowers. Height, 8 inches. ae nf 4 VU if t wn : “yr 54—SIXTEENTH CENTURY FLORENTINE Bronze Bown a Coupe-shaped bowl, with incurved sides upheld by three putti with hands held behind them. The interior is decorated, in low relief, with a scrolled patterning. Height, 444 inches; diameter, 61% inches. A) 8 eet ty ie Ss \ if \w Vv ~ a \\ 55—SIXTEENTH CENTURY ITALIAN BronzE Mortar a \e : Straight tapering sides and molded rim and base. Side deco- rated, in low relief, with winged gryphons, scrolls and trophies. Height, 31% inches; diameter, 414 inches. A 56—SIXTEENTH CENTURY FLORENTINE Bronze Mortar Tapering sides, with molded rim and foot and two looped han- dles formed as dolphins. Sides decorated, in low relief, with - festoons of pointed leaves and branches of oak leaves supported by statant lions; rim enriched by band of acanthus leaves and foot by band of flutings. Height, 514 inches; diameter, 614 inches. Formerly belonging to the della Rovere family. 57—SIXTEENTH CENTURY FLORENTINE Bronze Mortar t he \ "4 Tapering incurved sides, with molded rim and foot, and two scrolled looped handles. Body decorated in low relief with figures of playing amorini, rim with band of acanthus leaves and foot with detached leaves. Height, 5% wmches; diameter, 684 inches. jecting handles, formed as bands of pointed leaves. Sides deco- rated, in low relief, with vases, supported by Grecian sphinxes, r and surmounted by scrolled cornucopie of fruits and leaves. I" Rim enriched with acanthus leaves and foot with scrolled fes- ye Tapering incurved sides, with molded rim and foot and two pro- WW: toons of leaves. ~ Height, 6% inches; diameter, 7°4 inches. 59—FirrrentH CrenTuRY IraLiAN Bronze Mortar Swelling sides and molded rim, enriched with band of pointed ue o leaves and modillions. Body decorated, in low relief, with vases | of flowers and emblem of monastery (a circle with letter “B” and cross). Molded foot. Height, \6 inches; diameter, 73/4, inches. 60—SIXTEENTH CENTURY GERMAN Brass CANDLESTICK Formed as a figure dressed in gathered tunic with balloon sleeves and knee breeches and with widespread arms holding two cylin- drical candle-sockets. On round and octagonal base with branched feet. Height, 10 inches. SIXTEENTH CENTURY VENETIAN BRONZE CANDLESTICK BY SANSOVINO ? y~ Ink receptacle shaped as a cylindrical vase, decorated, in low relief, with masks and supported, on their shoulders, by two 61 Yu winged undraped amorint. On rectangular stand bordered with i: scrolls and masks. By Jacopo Tatti—Il Sansovino (1477- 1570). / Height, 9 inches. This candle socket is of unusual size in order that it might hold the glass tube which shielded the candle from draughts. Another example is in the Louvre Museum. \ « i x) yan ., 62—SIXTEENTH CENTURY PADUAN BRONZE CANDLESTICK Calyx-shaped ink receptacle, supported by three scrolled acan- thus leaves on triangular stand decorated with voluted gry- phons’ heads and acanthus leaves, and with handle formed of volutes supporting a human head. Height, 4 inches; width, 51% inches. (Illustrated) 683—Pair OF SIXTEENTH CENTURY VENETIAN BronZzE CANDLE- se? v STICKS BY VITTORIA Shaped as a tripod formed of three voluted scrolls faced with A “female caryatid figures and with feet formed as dolphins’ heads, separated by masks. Vase-shaped candle-sockets modeled with figures of putt? and rams’ heads. By Alessandro Vittoria (1525- 1613). Height, 7 inches. (Illustrated) 64—PatrR oF SIXTEENTH CENTURY VENETIAN BronzZE CANDLE- \ STICKS BY VITTORIA hee Shaped as a tripod formed of three voluted scrolls carrying female caryatid figures, with festoons of flowers and leaves be- tween and with square molded feet. Vase-shaped candle- sockets, modeled with putti and rams’ heads. By Alessandro Vittoria (1525-1613). | Height, 7 inches. (Illustrated) 65—SIXTEENTH CrenTURY ITALIAN Bronze Morrar 0 o Cylindrical shape, with curved spreading sides, molded rim and su body, decorated, in low relief, with floral rosettes and a band of vine-leaf meander patterning. Molded foot. Height,|{6 inches; diameter, 634 inches. 66—SIXTEENTH CENTURY ITALIAN Bronze Mortar : Straight tapering sides, molded rim and foot, with two looped acanthus-leaf handles. Body decorated, in low relief, with a \ i scrolled escutcheon, flanked by scrolled ribbons and bearing an incised monastery emblem. Height, 7 inches; diameter, 81/4 inches. 67—ITALIAN Bronze Morvrar 10" ey 68 Cylindrical shape, with curved spreading sides, molded rim, in- cised with maker’s name, “Fr, GAETANO DAVANZELLI’”’; body deco- rated, in relief, with scrolled escutcheon, charged with the em- blem of S. Francis of Assisi. Molded base and foot and two scrolled and voluted looped handles. Height, 16 inches; diameter, 18 inches. SEVENTEENTH CENTURY F‘LORENTINE Bronze Mortar Vase-shaped, with reeded rim and circular spreading foot deco- rated, in relief, with band of acanthus leaves. The body deco- rated, in relief, with lions’ masks and festoons of fruit and leaves. ‘Two projecting handles formed as dragons’ heads. Height, 18 inches; diameter, 14 inches. 69—F'LoRENTINE Bronze Mortar Pye, Cylindrical shape, with molded rim, inscribed in raised. letters, ap U FounTAIN By TAcca o 4 v Modeled as the mask of a bearded satyr, with horns and open Vv + mouth. By Pietro Tacca (1577-1640). { a Height, 12 inches. . Pr This mask formed a portion of a monument at Leghorn by Pietro NS Tacca. (Illustrated) 77—F IF TEENTH CENTURY ITALIAN Bronze KNOCKER ris = )°- Plate shaped as a grotesque mask holding in its mouth a ring tT” on which swings the looped knocker, formed as acanthus-leaf scrolls and winged sphinxes. Exceptional patina. Height, 10 inches. (Illustrated) 78—SIXTEENTH CENTURY F'ERRARESE BRONZE KNOCKER 7 ’ Plate formed as a human mask, below which is a bar from which |\~ swings the looped knocker, formed as twin dolphins holding a | bearded satyr mask. Height, 1014 inches. (Illustrated) 79—FRAGMENT OF ..A SIXTEENTH CENTURY ITALIAN BRONZE “ s/t ff FOUNTAIN Modeled as the head of a fabulous monster with open mouth for the egress of water, with a lion’s mask below. Height, 12 inches. (Illustrated) E. 80—Parr oF SIXTEENTH CENTURY VENETIAN BrRonNzE CANDLE- - ‘) STICKS . ye ' U.? Baluster-shaped stems, with cylindrical and gadrooned bases \ © and molded feet, on tapering molded pedestals. The stems are ¥ : decorated, in low relief, with masks and acanthus leaves, the y ty pedestals with quatrefoil interlacements. Flat bobéches and _— \ Ve fluted candle-sockets. Height, 9 inches. (Illustrated ) 81—SIxTEENTH CrentTUuRY IraLiAN Bronze Ewer ae wv Pear-shaped body with incurved neck, molded domed cover fas- (0. tened by a chain, scrolled over-handle, curved spout with mask Y termination and molded foot. 3 Height, 111% inches. 82—-BoLOGNESE BronzE Morvrar re Cylindrical shape, with curved spreading sides and molded rim 4 () decorated with bands of twisted ribbon, bead and reel pattern a and raised inscription: “Teruntur hic pharmaea morbis an teritur salus C. Navaroli Prior C. Parme F. F. Barborini F. MDCCCIX.” The body decorated with lion masks, festoons of beads, loops of ribbon and band of pointed leaves. ‘Two pro- jecting handles shaped as leopards’ heads. Height, 8 inches; diameter, 914 inches. 83—FIrTEENTH CENTURY GERMAN Bronze Ewer yee Spherical body, with long cylindrical neck, spreading rim, L hinged dome cover with human head finial, looped handle, bird- shaped spout, cylindrical stem and circular foot. Height, 10 inches. 84— SEVENTEENTH CENTURY PapUAN Bronze Mortar g0 Cylindrical shape, with straight spreading sides and molded rim. / 66 The body decorated in relief with masks and vertical bands of scrolling, the base with a band of scrolling. One twisted, looped fyaebteed handle. Height, 41% inches; diameter, 6 inches. sgee 85—SIXTEENTH CeEntTURY IraLiAN BronzE EWER 4) Pear-shaped body, with incurved neck, molded rim and circular if ye molded stem, and two scrolled looped handles terminating in | scrolled masks. 'The curving spout is molded as a grotesque winged head with open mouth. Height, 15 inches. 86—SIXTEENTH CENTURY ITALIAN Bronze Ewer ry Pear-shaped body, with incurved neck, circular foot and over- _/) handle formed of two voluted scrolls starting from masks at y! the sides and with a shield charged with the Medici coat-of- arms in the center. Curved spout with dragon’s head mouth and acanthus-leaf enrichment. Height, 22 inches 877 SEVENTEENTH Century FrLorENTINE Bronze Ewer Ovolo-shaped body, with incurved rim and molded foot, fixed scrolled and molded over-handle springing from satyr masks, and straight spout supported by winged Grecian sphinx head with shaped escutcheon below. Height, 30 inches. La SEVENTEENTH CENTURY FLORENTINE Bronze Mortar ob Cylindrical shape, with curved spreading sides and molded rim FY ? - and foot. The body is decorated, in low relief, with festoons of grapes and vine leaves and bands of scrollings and acanthus leaves. ‘Two scrolled and voluted looped handles. 88 Height, 184% inches; diameter, 17% inches. bi 89—ParMan Bronze Mortar Cylindrical shape, with curved spreading sides and molded rim inscribed in raised letters with the names of the maker, “1osEPH MONTANARI,” and the owner, “DOMINICO BABORINI.” ‘The body decorated, in relief, with festoons of fruits, birds and putto masks. Molded foot, decorated with masks and acanthus leaves, and two projecting handles. Height, 1314 inches; diameter, 15 inches. (Illustrated) 90—EIGHTEENTH CENTURY FLORENTINE Bronze Morrar | , Cylindrical shape, with curved spreading sides and molded rim “ * and foot. Body decorated, in low relief, with scrolled oval me- { 0 dallion enclosing a cherub, with scrolled strapwork and acanthus leaves and with incised name, “MANVEL BARAGLI,” and date, “1761.” ‘Two scrolled, voluted and looped handles. Height, 14 inches; diameter, 144% inches. (Illustrated) 91 —RiGHTEuNTH, Century Iratian Bronze Mortar 6 0” “Cylindrical shape, with curved spreading sides and molded rim \ and foot. Body inscribed, in raised letters, “A. S. R. F. 1761.” ¥ Two looped handles formed as nude female caryatids. Height, 14 inches; diameter, 151% inches. (Illustrated) 92—F LoRENTINE Bronze Mortar re 0 Cylindrical shape, with curved spreading sides and rim deco- rd ' x rated, in low relief, with bands of scrollings and floral festoons. ) The body with the names of the maker, “CARLO RUFINI,” and the owner, “BARTOLOMEO BUSCIONI, with the date “mpccLut.” Molded foot, decorated, in low relief, with rosettes and acanthus leaves. ‘Two looped handles. = Height, 15 inches; diameter, 1814 inches. (Illustrated) 93—SEVENTEENTH CENTURY PapUAN Bronze Mortar ; my Cylindrical shape, with curved spreading sides and molded rim : “y~ ; and foot. Body decorated, in relief, with shaped escutcheon, \ uf , J charged with the Piccolomini coat-of-arms and flanked by ee quatrefoil medallions and acanthus-leaf scrollings and by a fes- ae *. ; toon of figs and leoves. Two scrolled and looped handles. Height, 18 inches; diameter, 21 inches. (Illustrated) 94—F rTEENTH CENTURY FLORENTINE BRONZE STATUETTE BY DA BoLOoGNA A Figure of Mercury wearing the “petasus,” or winged cap, with. his left arm raised. Shown to the knees only. On cylindrical pedestal. By Giovanni da Bologna (1528-1608). Height, 614 inches. This is from a study in wax for the large bronze figure modeled by Giovanni da Bologna in 1564, (Illustrated) 95—SixTEENTH CENTURY FLORENTINE BRONZE STATUETTE y) a coca: . . . F SY Figure of “Silence.” Standing figure of a woman in classical a robes, with her right hand on her hip and her left with out- stretched finger raised to her lips. rn) Height, 614 imches. Jer There is a striking resemblance between this figure and a drawing by Luini Bernardino in the Louvre. (Illustrated) 96- SIXTEENTH CENTURY FLORENTINE BRONZE FIGURE BY DA Al, BoLoegna Q\U Figure of a Bacchus, shown as a nude youth holding in his ) . . . . D outstretched right hand a wine cup and in his left hand a bunch of grapes. On circular base, drum-shaped bronze pedestal, decorated with festoons of drapery and three paw feet. By Giovanni da Bologna (1528-1608). x Height, 8 inches. This is a portrait of Morgante, the Court Dwarf of Cosimo I de’ Medici, as Bacchus. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate XV. (Illustrated) 97—SIXTEENTH CENTURY ITALIAN BrRonzZE EQUESTRIAN FIGURE vy yo (ScHoo. or Riccio) Figure of a bearded man, with his right arm held out and bearing on his shoulders a cornucopia. Seated on a horse with elaborate trappings. On hexagonal shaped base with plinth decorated, in low relief, with honeysuckles and scrollings and supported by three sejant lions. By a pupil of Andrea Briosco (II Riccio). Height, 81% inches. Another example is in the Berlin Museum. Illustrated. Cata- logue, Plate XX. 98—LatTE SEVENTEENTH CENTURY ITALIAN Bronze STATUETTE o? Kquestrian figure. Bare-headed and carrying a drawn sword in | lb his right hand, while the left holds the reins aloft. The horse has a saddle-cloth and its arched tail is tied with a ribbon. On an oval pedestal, probably Paduan of the fifteenth century, broken at the angles by four caryatid figures with tapering ter- minations. Molded cornice, and base and body decorated with acanthus scrolls arranged in quatrefoil. Height, 14 inches. 99— FIFTEENTH CENTURY PADUAN BRONZE STATUETTE o ay Figure of Atlas bearing the world. Nude figure of a bearded man, seated upon the stump of a tree and supporting on his shoulders, with both arms raised, a globe. On molded oval bronze base. Gilded. Height, 6 inches. | L \ a ad , 100—F irrreNtH CENTURY PapUAN Bronze CANDLESTICK BY : It, Riccio g | 0 Kneeling figure of a satyr with goat’s beard, a horn appearing we from his forehead, and goat’s hoofs, and with his head thrown back, holding in one hand a vase-shaped acanthus-leaf deco- rated candle-socket. Supported on a triangular stand encircled y jh. by a band of foliage ornamentation and with three paw feet. “Dr 3 | By Andrea Briosco—Il Riccio (1470-1532). Height, 10 inches. 101—SIXTEENTH. CentURY FLORENTINE Gitt Bronze STATUETTE Figure of Hercules. Standing, draped from the waist down- ward with his lion’s skin thrown over his left shoulder and hold- ing his club in his right hand. In his outstretched left hand he holds the three golden apples of Hesperides. On square base. Completely gilt. | Height, 81 inches. 102— FIFTEENTH CENTURY FLORENTINE BRONZE STATUETTE BY gf" SANSOVINO (? Full-length figure of an amorino. He has close-curling hair, \ stands upon one leg with the other drawn up, in the attitude of drawing his bow, which he holds in his left hand and shooting an arrow with his right. Across his shoulder is a strap for his quiver. On square chamfered wooden base. By Jacopo Tatti or Sansovino (1477-1570). Height, 7 inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate VII. 103—SIxTEENTH CENTURY F'LORENTINE BRONZE STATUETTE BY - Rustic Figure of Mercury, poised on one foot with the right hand lifted high in the air. He wears the “petasus,” or winged cap, and talaria, or wings, on his feet, but does not carry a “cadu- ceus.” On square molded base. By Giovanni Francesco Rus- tici (1474-1544). Height, 131% inches. Signor Bardini points out the differences between this statue and the similar Mercury by Gian da Bologna. Rustici was a pupil, accord- ing to Vasari, of Verrocchio and, without doubt, of Leonardo da Vinci. He modeled the group of St. John, the Levite and the Pharisee over the north door of the Florentine Baptistery. (Illustrated) No. 103—Si1xTEENTH CENTURY FLORENTINE BronzE STATUETTE By Rustict oY v at) Ww 0? ] U ya N oy WZ | Bue? 104—Graco-RoMAN Bronze VASE OF THE KigHTEENTH CENTURY B.C. Pear-shaped body, with incurved cylindrical neck, molded rim and foot and molded looped handle starting from a winged — Grecian sphinx mask, and having a satyr’s head, with horns, pointed ears and beard, for a thumb-piece. The shoulders are — decorated with raised fluting, below which is a band of incised honeysuckle ornamentation, the lip with a band of egg and. dart patterning and the foot with a band of water-leaf orna- mentation. ‘The surface is partially covered with a crust due to long burial, revealing a most beautiful greenish-blue patina. Height, 14% wcehes. Signor Bardini particularly values this vase, pointing out with approbation its extremely beautiful shape, reticent decoration and superb patina. (Illustrated) No. 104—Greco-Roman Bronze VAseE oF THE EIGHTEENTH Century B.C. na y \ 105—SIXTEENTH CENTURY FLORENTINE BronzE FIGURE BY SUSINI Kneeling figure of Atlas, shown as a nude man, carrying on his shoulders, in place of the conventional globe, the framework of a dial consisting of interlocked rings of bronze. On cylindrical molded bronze pedestal. By Susini (Sixteenth and Seventeenth Centuries). Height, 16 inches. From the atelier of Giovanni da Bologna. Ypo% 106—SIXTEENTH CENTURY GERMAN BRONZE STATUETTE OF JUSTICE Figure of a woman, with bare arms and legs, wearing sandals and a classic robe entirely covered with a delicately chased pat- terning of scrolls and flowers. Her curling hair is twisted into a knot, and she stands with a smile on her face and both arms outstretched, one originally holding a sword, the other a balance, both of which are missing. On square molded base. (Tinger faulty. ) Height, 23 inches. 107—SIXTEENTH CENTURY BoLOoGNESE- Bronze CRUCIFIX BY DA AW, BoLoena "| \ ~ Wooden cross, on shaped, broken and triple-pedestaled base of ebonized wood, with moldings carved with fine gaufferings. On the cross hangs a bronze figure of Christ supported on one side by a bronze figure of the Virgin, who stands gazing at the cross with upraised hands, and on the other by St. John in a similar attitude. By Giovanni da Bologna (1524-1608). _ Height, 32 inches. (Illustrated) ay STOPES ERTS | SEE RLCERET RELL EE OLE TES pitti ee ia 5 3 ; 4 wt . DOC ORED i eae ewereEe oceee : LEAS COVE SEARS EE TIES! ite ease teseveesbaeeenten atturscc seu eaeepEERSTOTSE eee ‘a “ ‘eee es POLES PE SER EREEE SD CREE SSE PEERS oes oe aA Ii seeeremnecovenesireneecyrenenearerettter=anaprnren-nateeurensalnesteetoersiereneispereemtenrennmenremeeeseenesneanie No. 107—Si1xTEENTH CENTURY BoLoGNEsE Bronze CruciFrix BY DA BOLOGNA Pe \ 108—SIXTEENTH CENTURY I‘LORENTINE BRONZE CALVARY BY DA VOLTERRA Rocky mound of hanging moss and pointed-leaf vegetation sur- mounted by three crosses. On the center one hangs the entirely undraped figure of Christ, having on His right the penitent thief, who hangs in a relaxed attitude and gazes with a reliant expression at his Saviour. On the left hangs the impenitent thief, his limbs distorted and his face turned away. On square molded base resting on feet shaped as couchant lions. By Zaccaria da Volterra (Sixteenth Century). Height, 3144 inches. The figures, according to Signor Bardini, are modeled from a draw- | ing by Michelangelo, of whom da Volterra was a pupil. (Illustrated) ; No. 108——SixreentH Century FLorentTINE Bronze CALVARY BY DA VOLTERRA ; as \ y \ ny WROUGHT IRON AND BRONZE 109—SrxTEENTH CENTURY FLORENTINE WROUGHT-IRON BRAZIER 40) 110— o> 20 \ t STAND Formed of two horizontal flat rings of wrought iron, supported by eight brackets of scrolled flat iron enriched with wrought-iron leaves and riveted into upper ring. On three wrought scrolled strap-iron feet. Height, 14% inches; diameter, 28 inches. (Illustrated) SEVENTEENTH CENTURY FLORENTINE SILVER AND BRONZE HeartH Brazier , Octagonal shape with molded rim of bronze, supported by gilt bronze brackets shaped as cherubim and volutes, with molded base and scrolled feet, shaped as cherubim, also of gilt bronze. ‘The sides are paneled with plates of silver repoussé and chased in designs of strapwork scrollings. Looped swing carrying handles of silvered steel in a scroll design. Fitted with iron fire-tray. Length, 30 inches; width, 21 inches. This brazier came from the Borghese Palace in Rome. (Illustrated) eae AEA 110 Ms, aca ec ert cesarean cies 109 111—Parre or SIXTEENTH CENTURY FLORENTINE BRONZE ANDIRONS F\ -\ f) ) \ a8 Turned baluster-shaped standards, with bodies of vase forms, ball finials and molded bases. On arched and voluted feet of wrought strap-iron. Height, 26 inches. (Illustrated) 112—Patr oF SIXTEENTH CENTURY FLORENTINE BronzE ANDIRONS Turned vase-shaped standards, with fluted bodies, gadrooned and acorn finials and fluted triangular bases. Modeled at the angles with lions’ masks. On voluted feet of wrought strap- iron with wrought-iron aprons. Height, 25 inches. (Illustrated) 113—Pair or SIXTEENTH CENTURY FLORENTINE Bronze ANDIRONS - a ad su “i : Turned vase-shaped standards, with boldly gadrooned bodies, gadrooned ball finials and fluted triangular bases. Modeled at the angles with masks and leaves. On voluted feet of wrought strap-iron with wrought-iron aprons. Height, 22% inches. (Illustrated) Itt raat §I1 114—F IF TEENtTH CENTURY FLORENTINE WROUGHT-IRON BASIN aY Qi /J STAND Standard of spirally twisted iron, with molded ball knop and basin-holder of four branches of strap-iron with voluted ter- minations. On three curved and voluted feet of strap-iron with wrought-iron ball pendant. Height, 28 inches. (Illustrated) os 115—SIxTEENTH CENTURY FLORENTINE West e -IRON BaAsIN e ’ A 0 STAND Of tripod form, with circular basket top and three legs of scrolled and voluted strap-iron. Triangular base, with three scrolled and voluted legs of strap-iron. Height, 31 inches. (Illustrated) = Lt SIXTEENTH CENTURY FLORENTINE WrovuGHT-IRON Basin STAND Of tripod form, with circular top and three legs of strap-iron of scrolled and voluted design. Triangular base and three curved and voluted feet of strap-iron. Height, 31 inches. (Illustrated) 116 114 115 117—_SIXTEENTH CENTURY FLORENTINE WROUGHT-IRON STAND 4), Of tripod form, with triangular top and three standards of a) scrolled and voluted design of wrought strap-iron. Triangular U base and three scrolled and voluted feet of strap-iron. Height, 32 inches. g@ a0 118—Firreentn Century FLoreNTINE WrovucGut-Iron Bastn- HOLDER Basin-holder of pointed and serrated leaves, square iron bar standard with octagonal knop, and tripod base with curved and straight legs and spreading feet. Height, 36 inches. ys 119—FirreentoH CEnTury JFL oren tine WrovcuHtT-1ron STAND Formed of three radiating iron bars, supported by curved brack- ets, one terminating in mask, two 19 ‘voluted scrolls and all three supporting loose {ron rings. Thé three triangular-shaped wings are occupied/by shields surrounded by wrought-iron leafage, and end inAcrolled hoops,“ The standard is square and enriched with poirtted leaves andthe tripod base is formed of carved and straight legs ending in paw feet. Height, 35 mches. 120—FirrrentH Century FLORENTINE WROUGHT-IRON STAND y 0 Formed of three radiating iron bars, supported by curved brack- Y A ets, one terminating in mask, two in voluted scrolls and all three \ supporting loose iron rings. The three triangular-shaped wings are occupied by shields surrounded by wrought-iron leafage, and end in scrolled hoops. ‘The standard is square and enriched with pointed leaves and the tripod base is formed of carved and straight legs ending in paw feet. Height, 35 wmches. (Illustrated) 121— FIFTEENTH CENTURY FLORENTINE WROUGHT-IRON STAND , Formed of three radiating iron bars, supported by curved brack- 6 /“ ets, one terminating in mask, two in voluted scrolls and all three ys supporting loose iron rings. ‘The three triangular-shaped wings are occupied by shields surrounded by wrought-iron leafage, and end in scrolled hoops. The standard is square and enriched with pointed leaves and the tripod base is formed of carved and straight legs ending in paw feet. Height, 35 inches. (Illustrated) 122— FIFTEENTH CENTURY FLORENTINE WROUGHT-IRON STAND 4; Formed of three radiating iron bars, supported by curved brack- (*/ ets, one terminating in mask, two in voluted scrolls and all three Q 2 supporting loose iron rings. The three triangular-shaped wings : are occupied by shields surrounded by wrought-iron leafage, and end in scrolled hoops. The standard is square and enriched with pointed leaves and the tripod base is formed of carved and straight legs ending in paw feet. Height, 35 inches. (Illustrated) col A Jase Ee, ala! «-m) 123—Parr or FIrreentH CENTURY FLORENTINE WROUGHT-IRON ANDIRONS Baluster-shaped standards, with ball knops and incised pattern- 0 ing of conventional foliage, large acorn finials and molded bases. 0 On trefoil arched feet of wrought strap-iron with incised pat- .) ternings. In front are wrought-iron brackets with acorn finials. . Height, 33 inches. ‘sis t 124— Parr or FirrrentH CEentury FLORENTINE WROUGHT-IRON ge ye ANDIRONS Baluster-shaped standards, with ball knops and incised pat- ternings of conventional leaf design. In front are curved bal- uster-shaped brackets with leaf finials. On trefoil arched feet of- wrought iron with incised patternings. Height, 32 inches. 125—Patr or FirreeENtH CENTURY FLORENTINE ANDIRONS Square standards, ending in volutes with voluted sporte, or brackets, and arched feet with trefoil scrollings. < ‘f = . A, ] - Height, 40 inches. (Illustrated) & 126—KEarty Friereenra Crentury FLorENTINE WROUGHT-IRON \ 0 W ASHSTAND Basin-holder of four scrolled flat iron arms, square standard with square knop, on tripod stand of scrolled-bar-iron and strap-iron legs and spreading feet supporting a square bar vertical standard with scrolled top and arm from which hangs a basin-shaped bronze water fountain. Height, 61 inches. (Illustrated) & Weenies 125 126 125 0 A Vy 127—Pair or FIFTEENTH CENTURY FLORENTINE ANDIRONS Standards of square iron bars with beveled knops, sporte, or brackets, of wrought-iron rings, with ball finials and smaller brackets below. Arched and trefoil scrolled feet. Height, 50 inches. 128—Parir oF FIrreEENTH CENTURY FLORENTINE WROUGHT-IRON 'TORCHERES | | b 0 Standards of spirally twisted flat iron, circular bobéches, with scalloped aprons supported by curved iron brackets and crowned with trefoil scrollings, and tripod bases of scrolled flat iron. Height, 634% inches. a ~ = = = 129—Pair oF SIXTEENTH CENTURY FLORENTINE WROUGHT-IRON TORCHERES Standards of round iron bars with double baluster-shaped knops; saucer-shaped bobéches supported by scrolled strap-iron brackets and pointed prickets. On tripod bases formed of scrolled and voluted strap-iron legs, enriched by spiral tendrils and bronze vase-shaped finials. Height, 5 feet 3 inches. ry? | 130—Parir Earty FIrreenNtH CENTURY FLORENTINE WroUGHT- TRON 'TORCHERES Standards of wrought-iron bars; circular bobéches, with scal- loped aprons supported by curved iron bar brackets. On tripod bases with straight legs ending in spreading feet. Height, 5 feet 3 mches. 131—Parir oF FirreeNtH CENTURY FLORENTINE WROUGHT-IRON yt _-ToRcHERES ( 6 "Standards of rounded iron bars, with pear-shaped knops. Cir- y /— cular bobéches with scalloped and pierced aprons, supported by scrolled brackets, pointed prickets, and tripod stands of scrolled flat iron bars. Height, 63 inches. (Illustrated) 132—EarLy FIrreEENTH CENTURY WROUGHT-IRON 'TORCHERE ah wl Standard of a square iron bar, the upper section wrought with spiral ribbon enrichment, circular bobéche with scalloped apron supported on a pointed-leaf collar by three twisted iron bars, pointed candle pricket and tripod base of flat iron bars and pointed leaves. Height, 683 inches. td ae 5 Pras & As ae SOF a 133—FIFTEENTH CENTURY FLORENTINE WROUGHT-IRON FIRE AY SCREEN ‘) “\\ 7 Formed of two square iron bar standards, with knops of pointed leaves and curved pistils, terminating in sporte, or brackets, of iron rings with flat scrolled iron side, connected above by a round-arched brace of scrolled iron and below by two parallel square bars, fitted in with flat iron scrollings. On arched feet of flat iron with incised patterning. ; ' Height, 42 inches; width, 381% inches. 1384—SIxTEENTH CENTURY FLORENTINE CAST-IRON FIRE Back In the form of an architectural tablet with round-arched pedi- ment supported by volutes. Above is a winged mask, in low relief, and below a shaped molded escutcheon enclosing a female figure. On square molded base. Height, 24 inches; width, 25 inches. oe ae ee ee So Te ae (? 185—SIXTEENTH CENTURY FLORENTINE CaAstT-IRON Fire Back yo. Shaped as a rectangular tablet with molded frame, broken and Ba ) chamfered angles and arched top. Flanked by voluted brackets and surmounted by voluted scrollings. Interior modeled, in low relief, with an oval coat-of-arms of the Della Rovere quartered with those of the Belmonte families, framed in a wreath of oak _/ leaves and acorns and surrounded by seven dancing and play- ing putti, flying draperies and scrollings. Below is a scrolled tablet with the date, partly obliterated by the action of the fire, fag 0 a oe Height, 85 inches; width, 42 inches. 136—SrxTeentH Century FLORENTINE WROUGHT-IRON FENDER at? Formed of a plinth of wrought iron, with molded border top and bottom, scrolled and voluted with a turned handle in the center. Height, 44 inches; width, 25 inches. / 4 Yr G2 ff tarve q Pa / ii/ SECOND AFTERNOON’S SALE WEDNESDAY, APRIL 24, 1918 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.80 O'CLOCK FIFTEENTH AND SIXTEENTH CENTURY BRONZE PLAQUETTES 187—FirTEENTH CENTURY ITALIAN Bronze PLAQUETTE Octagonal shaped. Modeled, in low relief, with a Crucifixion realistically treated. The cross in the center and many Dis- ciples, Roman soldiers and Jewish priests stand around it. Height, 1% inches. 188—FirreentH Century Irarian Bronze PLAQUETTE Irregular oblong shape. Modeled, in low relief, with an al- legorical subject of a reclining female figure. After an antique gem. Length, 214 inches. 139—FourTEENTH CENTURY ITALIAN Bronze PLAQUETTE Rectangular shape, with molded frame. Modeled, in low relief, with the figure of St. Barbara carrying in one hand her sym- bolic tower, in the other a palm branch. Height, 184 inches. 140—LatE Firrerenty Century Norru Irarian Bronze P1La- QUETTE BY MopERNO Rectangular shape. Modeled, in low relief, with a subject of the Centaur Nessus carrying off Dejanira. By Il Moderno (Fifteenth and Sixteenth Centuries). Height, 134 inches; width, 134 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LII. 141—FirreentH CENTURY Bronze PLAQUETTE BY TOPPA Rectangular shape, with raised frame. Modeled, in low relief, with “Rape of Ganymede.” Above, Ganymede, seized by the Eagle of Jove, is seen in the sky. Below are three horsemen, and in the center are three dogs. By Ambrogio Foppa—I] Caradosso (1452-1526). Height, 2 inches; width, 2 inches. Other examples are in the Louvre and Berlin Museums. ITlustrated. Berlin Catalogue, Plate LVIII. 142—FivrEENTH CENTURY PapUAN BroNZzE PLAQUETTE Rectangular shape. Modeled, in low relief, with an elaborate ‘Deposition from the Cross.” Leaning against the arms of the cross are two ladders, on each of which stands a Disciple, one lifting down the body of our Lord, the other receiving it. Around the foot of the cross are other figures. Silvered. By a Paduan follower of Mantegna, after an engraving by An- drea Mantegna (Bartsch, No. 4). Height, 284 inches; width, 2 inches. Other examples are in the Louvre and Berlin Museums. Llustrated. Berlin Catalogue, Plate LIV. 143—F irrrentu Century NortuH [rattan Bronze PLAQUETTE BY Moprrno Rectangular shape, with raised frame. Modeled, in low relief, with an elaborate architectural niche, occupied by a seated fig- ure of the Virgin holding the Child Christ. Above are flying angels and festoons and below is a sculptured sarcophagus flanked by nude figures. By Il Moderno (Fifteenth and Six- teenth Centuries). Height, 284 inches; width, 214 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate L. 144—SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure of a Nymph symbolizing Architecture. Height, 3 inches; width, 214 inches. 145—FIFTEENTH CENTURY VENETIAN BronZE BAS-RELIEF Modeled, in low relief, without background, with a standing figure of the Virgin, holding on her left arm the undraped Child Christ. On octagonal base, denoting its original use as a finial. Height, 3 inches. 146—FIrTEENTH CENTURY PApDUAN BRONZE PLAQUETTE BY Foppa Rectangular shape, with molded frame. Modeled, in low relief, with a subject of a “Flagellation.” Christ tied to a column, forming a colonnade surmounted by a rich entablature, is being scourged by two Roman soldiers. By Ambrogio Foppa (1452- 1526). Height, 2°4 inches; width, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LVIII. The plaquette closely resembles Man- tegna’s engraving of the “Flagellation.” (Bartsch, No. I.) 147—FIrTreEENTH CENTURY ITALIAN Bronze BASs-RELIEF Shaped in the form of a Tabernacolo frame, with circular pedi- ment and cornice, pilasters and molded base. Occupied by a— round-arched niche, modeled, in low relief, with the figure of the Virgin adoring the Child Christ. Height, 314 inches; width, 1% inches. 148—FrtrEENtTH CENTURY PiIsAN BronZE BAS-RELIEF Shaped as a trefoiled and pointed-arched panel flanked by two Gothic buttresses, surmounted by a pointed crocketed gable and pierced and modeled, in low relief, with a figure of Christ on the cross with the Virgin and St. John on either side. Height, 3% inches; width, 2 inches. Another very similar example in the Berlin Museum. Illustrated. Catalogue, Plate XX XVII. 149—F rereentu Century [rattan Bronze PLAQUETTE BY ENZOLA Oval shape, with raised border. Modeled, in low relief, with “St. George and the Dragon.” The Saint, on horseback, is transfixing the Dragon with his spear, while in the background kneels the daughter of the king of Lydia. By Giovanni Fran- cesco Enzola (Fifteenth Century). Diameter, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate X LIX. (Illustrated) 150—SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled with a standing figure of the Virgin holding the Child Christ, to whom a standing infant St. John tenders fruit. Height, 234 inches; width, 134 inches. (Illustrated) 151—SIXTEENTH CENTURY FLORENTINE BronNZE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure in sixteenth century costume, holding a scepter. Height, 234, inches; width, 134 inches. (Illustrated) 152—-SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled with an allegorical figure of Time carrying his symbolic scythe and holding an infant in his arms. Height, 3 inches; width, 214 inches. (Illustrated) 153—SIXTEENTH CENTURY NUREMBERG Bronze PLAQUETTE BY FLOTNER Symbolic figure of “Music.” A female figure in loose robe playing upon a pipe. In front of her is an organ. Background pointillé in scrolls. By Peter Flotner (d. 1546) of Nuremberg. Another example, in lead, is in the Medieval Room of the British Museum. Illustrated, Guide, Fig. 166. (Illustrated) 151 es a +, 2X ee is Se % ’ 154—F IF TEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with a Baccha- nalian subject of Silenus riding upon a lion with ruins in the background. Height, 3 inches; width, 214 inches. 155—FIFTEENTH CENTURY FLORENTINE BrRoNZE PLAQUETTE Rectangular shape. Modeled, in low relief, with a Baccha- nalian subject of Silenus astride a wine-barrel, with satyrs and an ape. Height, 3 inches; width, 214 inches. 156—FIFTEENTH CENTURY PADUAN BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with a square panel surrounded by a scrolled border and occupied by a seated figure of the Virgin with the undraped Child Christ on her lap. On either side stand boy angels. By an anonymous follower of Mantegna. Height, 3 inches; width, 214 inches. 157—FrTEENTH CENTURY NortH Iranian Bronze BucKLE Oval shape, with frame formed of a wreath, putt? and scrollings. (\\ / Within is a half-length figure, modeled in low relief, of Judith ACA holding the head of Holofernes. Height, 3 inches. 158—FirreentH CENTURY FLORENTINE Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a Bacchanalian subject of Silenus upon an ass supported by Bacchantes. Height, 3 inches; width, 21/4, inches. 159—F IFTEENTH CENTURY FLORENTINE BronzE PLAQUETTE Rectangular shape. Modeled, in low relief, with a Bacchanalian subject of nude Bacchantes drinking and an Ass. Height, 3 inches; width, 24/4, inches. 160—F irrrentH Crentury Papuan Leap PLaQuETTEe By Riccio Rectangular-shaped, with chamfered angles. Modeled, in low relief, with a standing figure of Venus attended by Cupid, who stands clasping her knee. After an antique gem. By Andrea Briosco—I Riccio (1470-1532). Height, 334 inches; width, 244 inches. Other examples are in the Louvre and Berlin Museums. Illustrated in the Berlin Catalogue. 161—SIXTEENTH CENTURY NortH ITALIAN BRONZE PLAQUETTE BY MopErRNO Rectangular shape. Modeled, in low relief, with a figure of St. Sebastian shown as a nude youth pierced with arrows, his hands tied behind his back to a Renaissance column. Modeled by Il Moderno (Fifteenth and Sixteenth Centuries). Height, 3 inches; width, 24% inches. Other examples are in the Louvre and the Berlin Museums. — Ilus- trated, No. 182, in Molinier’s ‘“‘Plaquettes,” and Berlin Catalogue, Plate LI. tua = : via y % fe ore Cy 154 154—F IF TEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with a Baccha- nalian subject of Silenus riding upon a lion with ruins in the background. Height, 3 inches; width, 21, inches. 155— FIFTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with a Baccha- nalian subject of Silenus astride a wine-barrel, with satyrs and an ape. Height, 3 inches; width, 24%, inches. 156—FIFTEENTH CENTURY PADUAN BronZE PLAQUETTE Rectangular shape. Modeled, in low relief, with a square panel surrounded by a scrolled border and occupied by a seated figure of the Virgin with the undraped Child Christ on her lap. On either side stand boy angels. By an anonymous follower of Mantegna. Height, 3 inches; width, 244 imches. 157—F Ir TEENTH CENTURY NortrH ITaLIAN Bronze Buckle Oval shape, with frame formed of a wreath, putti and scrollings. \) ,/ Within is a half-length figure, modeled in low relief, of Judith Al holding the head of Holofernes. Height, 3 inches. 158—FlrreentTH CENTURY FLORENTINE Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a Bacchanalian subject of Silenus upon an ass supported by Bacchantes. Height, 3 inches; width, 21, inches. 159—FIrTEENTH CENTURY FLORENTINE Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a Bacchanalian subject of nude Bacchantes drinking and an Ass. Height, 3 inches; width, 21, inches. 160— FIFTEENTH CENTURY Papuan LEAD PLAQUETTE By RIcCcIO Rectangular-shaped, with chamfered angles. Modeled, in low relief, with a standing figure of Venus attended by Cupid, who stands clasping her knee. After an antique gem. By Andrea Briosco—I1 Riccio (1470-15382). Height, 334 inches; width, 214 inches. Other examples are in the Louvre and Berlin Museums. Illustrated in the Berlin Catalogue. 161—SIxTEENTH CENTURY NortH [rauian Bronze PLAQUETTE BY Moprrno Rectangular shape. Modeled, in low relief, with a figure of St. Sebastian shown as a nude youth pierced with arrows, his hands tied behind his back to a Renaissance column. Modeled by Il Moderno (Fifteenth and Sixteenth Centuries). Height, 3 inches; width, 24 imches. Other examples .are in the Louvre and the Berlin Museums. Ilus- trated, No. 182, in Molinier’s ‘“Plaquettes,” and Berlin Catalogue, Plate LI. 162 163 164 162—SrixTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure of a Nymph reading a book. Height, 3 inches; width, 244 wches. 163—SIXTEENTH CENTURY FLORENTINE BRronzE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure of “Truth” shown as a winged female gazing in a Muror. Height, 3 inches; width, 24, inches. 164—SIxTEENTH CENTURY FLORENTINE BronzE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure symbolizing Architecture shown as a Nymph with her foot on a globe and holding a pair of Compasses. Height, 3 inches; width, 24 inches. 165—SIxTEENTH CENTURY NortH ITALIAN Bronze PLAQUETTE Rectangular shape, with raised frame. Modeled, in low relief, with a subject, “A Roman Triumph.” Armed men, some bear- ing trophies, while others on horseback are issuing from the gate of acity. By one of the school of Moderno. Height, 2 inches; width, 3 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LIV. 4 Be a a a ee nee! 1 a tas 166 167 168 166—SIXTEENTH CENTURY FLORENTINE BronzE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure of “Truth” gazing in a mirror. Height, 3 inches; width, 24, inches. 167—SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure of Music, playing a mandolin. Height, 3 inches; width, 21/, inches. 168—SIXTEENTH CENTURY FLORENTINE BronzE PLAQUETTE Rectangular shape. Modeled, in low relief, with an -allegorical figure. Height, 3 inches; width, 21/4 inches. 169—FivtrENTH CrentTuRY Nortu [ranian Bronze PLAQUETTE BY Moprrno Rectangular shape. Modeled, in low relief, with a round- arched niche, in which is seated the Virgin, holding on her lap the Child Christ, with boy angels on either side and a decorated pedestal below. By Il Moderno (Fifteenth and Sixteenth Centuries). Height, 3 inches; width, 214 inches. Another example is in the Louvre Museum. Illustrated, No. 185, in Molinier’s “Plaquettes.”’ 170 171 172 170—SIxTEENTH CENTURY FLORENTINE Bronze PLAQUETTE ~. Rectangular shape. Modeled, in low relief, with an allegorical figure of a Nymph with books at her feet. Height, 3 inches; width, 214 inches. 171— SIXTEENTH CrentTury Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical winged figure eating a loaf of bread, with a dog seated regard- ing him. Height, 3 inches; width, 21, inches. 172—SIXTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with the standing figure of a Nymph with hands clasped and a vase by her side. Height, 3 inches; width, 214 imches. 173—F IrTEENTH CENTURY PaAaDUAN Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a square panel surrounded by a scrolled border and occupied by a seated figure of the Virgin with the undraped Child Christ on her lap. On either side stand boy angels. By an anonymous Paduan fol- lower of Mantegna. , Height, 3 inches; width, 214 inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate XLVI. i ie a Le 4 a ae 4 a ee ra 174. 175 176 174— SIXTEENTH CENTURY BoLOGNESE Bronze PLAQUETTE Rectangular shape. Modeled with an allegorical figure of a Nymph playing a harp. Height, 3 inches; width, 21, inches. 175—SIXTEENTH CENTURY FLORENTINE BronzE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure of a Nymph pouring water from a bow] into a vase. Height, 3-inches; width, 24 inches. 176— SIXTEENTH CENTURY FLORENTINE Bronze PLAQUETTE Rectangular shape. Modeled with an allegorical figure of a Nymph with broken pillar at her side at the base of which is a serpent. Height, 3 inches; width, 244 inches. 177— FIrTEENTH CENTURY ITALIAN BRONZE PLAQUETTE Rectangular shape, with round-arched top. Modeled, in low relief, with a “Presentation in the Temple.” On the right side stands the Virgin, cradling in her outstretched arms the un- draped figure of the Child Christ as she presents him to the High Priest, who is seated on the left. In the background are large candlesticks. Height, 3°4 inches; width, 2 inches. (Illustrated) | 178—FirtrENtH CENTURY ITALIAN Bronze PLAQUETTE Rectangular shape, with round-arched top. Modeled, in low relief, with a “Visit of the Magi.” On the right is seated the Virgin, holding on her lap the Child Christ. Kneeling in front of her is Caspar, one of the Magi, proffering his gift, while be- hind him stand his two companions holding vases. Height, 3°4 inches; width, 2 inches. (Illustrated) 179—FierrentH Century Parmesan Bronzn PLaquerrs By En- ZOLA Rectangular shape, with chamfered sides. Modeled, in low re- lief, with a subject of an old man with hooded mantle walking and leaning on a staff. On the right is a castle, a vat of grapes and a vine. By Gianfrancesco Enzola (Fifteenth Century). Height, 234 inches; length, 3 inches. (Illustrated) 180—F 1rTEENTH CENTURY ITALIAN Bronze PLAQUETTE By CoR- NIOLE Rectangular shape with round-arched top. Modeled, in low relief, with an “Entombment.” The body of Christ being laid in the tomb by the Disciples and Holy Women. In the dis- tance is Golgotha, surmounted by the three crosses, and Jeru- salem. By Giovanni delle Corniole (1470-1516). Height, 314 inches; width, 234 inches. Other copies are in the Louvre and Berlin Museums. Tlustrated, Berlin Catalogue, Plate LVII. (Illustrated) 181—F irreentH Century BurGcunpiAn Bronze PLAQUETTE Rectangular shape, with round-arched top and fluted frame. Modeled, in low relief, with a “Nativity.” The Virgin and St. Joseph, under a tiled pent-roof, kneeling and adoring the Infant Christ. The border consists of a title below, “Nativitas Domini” (the Birth of the Lord), and a legend around the sides and arch, all in raised Gothic characters. Height, 2°4 inches; width, 2 inches. (Illustrated) 181 179 182—SrxTEENTH CENTURY FLORENTINE BronzE PLAQUETTE Rectangular shape. Modeled, in low relief, with an allegorical figure of a Nymph holding a sword in one hand and a pair of scales in the other, symbolizing Justice. Height, 3 inches; width, 24, inches. 183—FIrreEENTH CENTURY VENETIAN BRONZE PLAQUETTE Rectangular shape. with round-arched top. Modeled, in low relief,’ with a subject of Christ appearing to His Disciples after the Resurrection. In the center the figure of Christ with right hand upraised and on ‘either side five Disciples. Back- ground of a large gateway. Mounted as a pax in molded and acanthus-leaf decorated frame with scrolled and voluted brass cresting. By a master of the Venetian school. Height, 3% inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LX XI. 184—FourTEENTH CENTURY PADUAN BRONZE PLAQUETTE BY PISANO Rectangular shape. Modeled, in low relief,-with a half-length figure of the Virgin, her face to the right, wearing a diadem, and with a hooded mantle, holding in both arms the undraped figure of the Child Christ. At either side are candelieri, with putti having-vases of flames on their heads, and below a festoon of-drapery. By Giovanni Pisano (1250-1329.). Height, 4 inches. Other examples are in the Louvre and Berlin Museums. Illus- trated, No. 367, in Molinier’s “Plaquettes,” and Berlin Catalogue, Plate XEVI. . : 185—LatEe FirreENtH CrentTury Nortu ITALIAN PLAQUETTE BY MoprERNO . Rectangular shape. Modeled, in low relief, with a “Presenta- tion in-the Temple.” In a vaulted interior the Virgin. extends, across an elaborately decorated altar, the undraped Child Christ to the High Priest, who faces her. Figures of St. Joseph and attendant priests complete the composition. By I] Moderno (J*ifteenth and Sixteenth Centuries). . : Height, 4 inches; width, 234 inches. Other examples are in the Louvre and Berlin Museums. Illustrated, No. 169, in Molinier’s “Plaquettes,” and Berlin Catalogue, Plate LI. ae & ‘ye ? ge ae ee Pe or >, a} LAF * , , MO sland 188 Ab 9 185 186—FourTeEENTH CrenTURY ITALIAN Bronze BAS-RELIEF Formed as a Tabernacolo frame with pointed pediment the tympanum occupied by a cherub with floral finial, two voluted pilasters and acanthus-leaf apron. The frame encloses a figure of Christ in ecclesiastical robes and wearing a mitre on the cross. In the angles are winged angels. ‘The Christ represents the famous Volto Santo of the Lucca Cathedral. Height, 3 inches. 187—F erEENtH CentTURY Papuan Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with an elaborate “Deposition from the Cross.” Leaning against the arms of the cross are two ladders, on each of which stands a Disciple, one lifting down the body of our Lord, the other receiving it. Around the foot of the cross are other figures. By a Paduan follower of Mantegna, after an engraving by Andrea Man- tegna (Bartsch, No. 4). Height, 234 wmches; width, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LIV. 188—FIrrrENTH CENTURY PADUAN Bronze PLAQUETTE BY Riccto Rectangular shape with raised frame. Modeled, in low relief, with a figure of St. Roch standing in a landscape, with build- ings and figures in the distance. He holds a Pilgrim’s staff and hat in his left hand, and with the right he points to the plague spot on his thigh. By Andrea del Briosco—I1 Riccio (1470-1532). Height, 3 inches; width, 214 inches. Molinier gives this plaque unhesitatingly to Vlocrino, whom he identifies with Riccio. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LXI. 189—Larr FirrrENtH Century Papuan Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a standing figure of St. Jerome with the symbolic lion at his feet. Signed “VLocRINO.” By Andrea Briosco—I1 Riccio (1470-1582). Height, 3 inches; width, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated in Molinier’s “Plaquettes,” No. 248. M. Molinier has identified the plaquettes signed “Vlocrino” as being by Briosco (Il Riccio). 189 187 191 188 190—Latre Firereenrn Century Norru Irartan Bronze Pua- QUETTE BY MopERNO Rectangular shape, with raised frame. Modeled, in low relief, with a figure of “Hercules Strangling the Nemean Lion.” Adapted by I] Moderno from a Syracusan gold coin of the fifth century B.C. Height, 3 inches; width, 24/4, inches. Other examples are in the Louvre, the Wallace Gallery and the Berlin Museums. Illustrated, No. 198, in Molinier’s ‘‘Plaquettes,” and Berlin Catalogue, Plate LIT. (Illustrated) 191—SIxTEENTH CENTURY NortTH ITALIAN BRONZE PLAQUETTE BY Moprrno Rectangular shape. Modeled, in low relief, with a figure of St. Sebastian shown as a nude youth pierced with arrows, his hands tied behind his back to a Renaissance column. By II Moderno (Fifteenth and Sixteenth Centuries). . Height, 3 inches; width, 24 inches. Other examples are in the Louvre and Berlin Museums. Illustrated, No. 182, in Molinier’s “Plaquettes” and Berlin Catalogue, Plate LI. (Illustrated ) 192—F IrrrENTH CENTURY NortHu ITALIAN BRronzE PLAQUETTE BY MopERNO Rectangular shape, with molded frame. Modeled, in low relief, with a subject of a “Pieta.” The upright, undraped body of Christ shown to the waist and supported by Mary Magdalene and St. John. Flanked by two candelabra supporting, by a festoon tied with scrolled ribbons, a tablet with the Sacred Monogram. Below, the sculptured front of the tomb forms a dado. By Il Moderno (Fifteenth and Sixteenth Centuries). Height, 314, inches; width, 214, inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate L. 198—FirreentH Century FLorentine Bronze PLAQUETTE Rectangular shape, with rounded ends. Modeled, in low relief, with a subject of “Apollo and Marsyas.” Marsyas hangs on a tree on the left, and on the right Apollo stands with his lyre and a miniature figure kneeling at his feet imploring mercy for Marsyas. After an antique in Lorenzo de’ Medici’s col- lection. Height, 3 inches; width, 21% inches. Another example is in the Berlin Museum. Illustrated in Cata- logue. 194— FIFTEENTH CENTURY VICENZIAN BronzE PLAQUETTE BY BELuI Rectangular shape, with raised frame. Modeled, in low relief, with an “Ascension.” Above, a standing figure of Christ in the clouds with His right hand upraised, and flanked by angels. Below, the empty tomb, with Roman soldiers seated beside it asleep. Gilded. By Valerio Belli—called Valerio Vicentino (1465-1546). Height, 314 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate LIV. 195—F IrTEENTH CENTURY F'ERRARESE BRONZE PLAQUETTE BY CASTELBOLOGNESE Rectangular shape, with round arched top. Modeled, in low relief, with a subject of the Adoration of the Magi. The Vir- gin, with the Child Christ on her lap, sits on the left, with St. Joseph behind her. Before her kneels Caspar, with his crown by his side, offering a vase, while behind him stand Balthasar and Melchior holding their offerings. In the background is a gabled building, and above, a star with a guiding ray of light. By Giovanni Bernardi da Castelbolognese (1496-1533) . Height, 4 inches; width, 21% inches. Other examples in the Louvre and Berlin Museums. Illustrated. Catalogue, Plate LXIX. 196—FIFreeNtH CENTURY ITALIAN BRONZE PLAQUETTE Rectangular shape. Modeled, in low relief, with a “Deposi- tion.” The Virgin and St. John at the foot of the cross, sup- porting and weeping over the body of Christ. Height, 3 inches; width, 24% inches. 197—Eariy Firreenta Century Patuan Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a subject of the Crucifixion. Beneath a triple Gothic arched canopy is a figure of Christ on the Cross with His hands outspread, as though in benediction. At the foot of the cross is Mary Mag- dalene and on either side Disciples. In the background are Jewish Priests. Surmounted by a scrolled cresting. Height, 344 inches. 198—SIxXTEENTH CENTURY PapUAN Bronze BaAS-RELIEF In the form of a Tabernacolo frame, with round arch sur- mounted by a palmette finial supported by twin pilasters on a molded base. Occupied by a figure of the Virgin seated on an elaborate throne holding the Child Christ on her lap and sur- rounded by cherubim with figures of St. Francis and other saints on either side and two kneeling figures below. By a Paduan Master influenced by Mantegna. Height, 4 inches; width, 2 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate XLVI. 199—F IFTEENTH CENTURY NortH ITALIAN BRONZE PLAQUETTE BY Moprrno Rectangular shape, with molded frame. Modeled, in low re- lief, with a “Pieta.” The upright, undraped body of Christ shown to the waist and supported by Mary Magdalene and St. John. Flanked by two candelabra supporting, by a festoon tied with scrolled ribbons, a tablet with the Sacred Monogram. Below, the sculptured front of the tomb forms a dado. By Il Moderno (T'ifteenth and Sixteenth Centuries). Height, 3 inches; width, 2% inches. Another example is in the Berlin Museum. Illustrated. Catalogue, Plate L. 200—F irTEENTH CrentuRY Papuan Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a panel sur- rounded by a scrolled border and occupied by a ‘“‘Pieta.” The upright body of Christ, seen to the waist, supported on either side by the Virgin and St. John. With an inscription below “O DOMINE IESV xc.” By an anonymous follower of Mantegna. Height, 31, inches; width, 2% inches. Other examples are in the Louvre and Berlin Museums. TIlustrated. Berlin Catalogue, Plate LIV. 195 197 201—F ivereentu Crntury ParmMEsaAN Bronze PLAQUETTE BY ENZOLA Rectangular shape, with molded and beaded frame. Modeled, in low relief, with a subject of “St. Jerome in the Desert.” ‘The Saint, with long beard, kneels in front of a crucifix placed amid the rocks on the right. On the left stands the Lion. By Gian- francesco Enzola of Parma (Fifteenth Century). Height, 2144 inches; width, 314 inches. Other examples are in the Louvre and Berlin Museums. Illustrated, page 63, of Molinier’s “Plaquettes,” and Berlin Catalogue, Plate XLIX. (Illustrated) 202—FirTtreENtH CrnTUuRY ITanIAN BRONZE PLAQUETTE BY MopErNno Rectangular shape. Modeled, in low relief, with an “Entomb- ment.” The body of Christ being laid in a sarcophagus by St. John, Joseph of Arimathea and the Holy Women. In the center, Mary Magdalene upraises her arms in a gesture of de- spair. The front of the sarcophagus decorated with Scenes of the Passion, in low relief, and forming the lower panel of the plaquette. In the distance is Golgotha, surmounted by three crosses. By I] Moderno (Fifteenth and Sixteenth Centuries). Height, 3°4 inches; width, 234 inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate L. (Illustrated) 2083—FIrrEENTH CENTURY PapUAN Bronze PLAQUETTE Rectangular shape with molded frame. Modeled, in low relief, with two nude figures watching the gambols of infant Bac- chants, one of whom carries a vase of wine, another a basket of fruit. By a follower of the Paduan School. Height, 1% inches; width, 4 inches. Another example is in the Berlin Museum. Illustrated, Plate LY. (Illustrated) 204—FIrrEENTH CrenturY ITALIAN Bronze Bas-RELIEF BY SANSO- VINO Pear shape. Modeled, in low relief, with a half-length figure of the Virgin. Gilded. By Jacopo Tatti—I] Sansovino (1486- 1570). Height, 314 inches. (Illustrated) 201 Mts ete eerie sng 202 205—FirTeEENTH CrentTurRY ITALIAN BRONZE BAS-RELIEF BY SANSO- VINO Pear shape. Modeled, in low relief, with a half-length figure of Mary Magdalene holding in both hands the symbolic vase of precious ointment. Gilded. By Jacopo Tatti—I] Sansovino (1486-1570). Height, 314 inches. (Illustrated) 206—FIFTEENTH CENTURY FLORENTINE BRONZE BAS-RELIEF BY SANSOVINO Pear-shaped. Modeled, in low relief, with a half-length figure of St. John the Divine holding in one hand a scrolled label. Gilded. By Jacopo Tatti—I] Sansovino (1486-1570). Height, — inches. (Illustrated) 207— FIFTEENTH CENTURY FLORENTINE BAS-RELIEF BY SANSOVINO Modeled, in low relief, and without background with a half- length figure of the Virgin holding, on her left arm, the Child Christ. By Jacopo Sansovino (1477-1570). Height, 3 inches. (Illustrated) 208—FIrTEENTH CENTURY ITALIAN BRONZE BAS-RELIEF BY RossEL- LINO Modeled, in low relief and without background, with three- — quarter-length figure of the Virgin seated and supporting on her knee the Child Christ dressed in a tunic and holding a bird in His hand. By Antonio Rossellino (1427-1479). . Height, 51, inches. (Illustrated) 209—F IrTEENTH CENTURY FLORENTINE Bronze Bas-RELIEF Modeled, in low relief and without background, with the seated figure of the Virgin with her right hand upraised. She sup- ports on her lap the Child Christ, who holds in His hand some fruit He has taken from a dish presented to Him by an infant St. John the Baptist. Height, 4 tnches. (Illustrated) 206 209 210—SIXTEENTH CENTURY FLORENTINE Bronze PLAQUETTE BY SANSOVINO Rectangular shape. Modeled, in low relief, with a subject of “Our Lady of Loreto.” The figure of the Virgin seated on the roof of a church and holding on her knee the erect figure of the Child Christ. In the distance is the Campanile of the Chiesa della Casa Santa, at Loreto, and below are cherubim. By Jacopo Tatti—I Sansovino (1486-1570). Height, 434 inches; width, 4 inches. Another example is in the Berlin Museum. Illustrated, Catalogue Plate LX XXII. 211—FIrTEENTH CENTURY NortH ITALIAN BRONZE PLAQUETTE Rectangular shape, with molded frame. Modeled, in low re- lief, with a “Deposition in the Tomb.” The disciples and Holy Women laying the body of Christ in the tomb. In the distance is Golgotha, crowned with crosses. Completely gilded. Height, 444 inches; width, 314 inches. 212—FirtrentH Century Papuan Bronze PLAQUETTE Rectangular shape, with molded frame and scrolled cresting with ring for suspension. Modeled, in low relief, with a full- length figure of the Virgin surrounded by Angels. Holding the Child Christ in her arms, she stands on a terrace with an ornamented balustrade. Behind her is an architectural niche, while two of the angels, standing on columns, hold a double floral festoon above her head. By a Paduan influenced by Mantegna. Height, 51, inches; width, 34% inches. Other examples are in the Louvre, Victoria and Albert, and Berlin Museums. Illustrated, Berlin Catalogue, Plate XLVI. 213—Firreento Century I[rantiAn Bronze BAS-RELIEF Modeled, in low relief, and without background, with a standing figure of the Virgin holding in her arms the Child Christ. Height, 5 inches. 214—FIFTEENTH CENTURY PADUAN BronzE PLAQUETTE Rectangular shape, with molded frame. Modeled, in low relief, with the Virgin seated on a throne with gryphon supports and a high back surmounted by angels, supporting in her lap and suckling the Child Christ, who is clothed in a tunic. By a Paduan Master influenced by Mantegna. Height, 51% inches; width, 3% inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate XLVI. (Illustrated) 215—F irrreNtH Century IraLiAn Bronze PLAQUETTE BY SANSO- VINO Rectangular shape, with molded frame. Modeled, in low re- lief, with a Virgin seated under a canopy on a stone seat, with a vase of lilies beside her, a closed book in her right hand and with her left holding on her lap the Child Christ. Standing at her side and looking upwards is the infant St. John the Baptist. By Jacopo Tatti—I] Sansovino (1486-1570). Height, 614 inches; width, 44% inches. Other examples are in the Louvre and Berlin Museums. Illustrated, Berlin Catalogue, Plate LX XI. (Illustrated) 216—Firrrenty Century Minanrese Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a bust por- trait in profile of Gian Galeazzo Visconti, shown as a young man, clean shaven save for a pointed goatee and dressed in a closely buttoned jerkin. Inscribed, in raised Roman letters, “IOANNES GALEACIVS.” Possibly by Vittore Pisano—Pisanello (1380-1451). Height, 61% inches; width, 5 inches. Of Gian Galeazzo Visconti, the great Duke of Milan who for seven- teen years (1885-1402) threatened the freedom of all Italy, Pisano made a famous medal which has now disappeared. There is a silver- point portrait of Gian Galeazzo by Pisano in the Louvre. It is highly probable that, as Signor Bardini believes, this isthe only example of this plaquette in existence. (Illustrated) a. i > % 217—FirteENtH CEentTurY ITALIAN Bronze BAs-RELIEF In the form of a Tabernacolo frame. Circular pediment, cor- nice and frieze supported by pilasters with figures of saints on either side and molded base with scrolled plinth. Enclosing a figure, modeled in low relief, of the seated Virgin holding the Child Christ. Gilded. Height, 4 inches; width, 2% inches. 218—Latr FirrreNtH CENTURY BoLoGNESE PLAQUETTE Rectangular shape. Modeled, in low relief, with an “Kntomb- ment.” The undraped figure of Christ being laid into the tomb by figure in tight-fitting costume. At either side stand the Virgin and St. John. In the distance, on one side, is Golgotha, with the three crosses, and above are clouds. By an anonymous Bolognese artist. | | Height, 414 inches; width, 4 mches. Another example is in the Berlin Museum. Illustrated. Cata- logue, Plate LIV. 219—F irreENTH CENTURY FLORENTINE Bas-RELIEF BY DA MAIANO In the form of a Tabernacolo frame with round-arched top, square molded pilasters and molded base. - Occupied with a figure of the Virgin seated on a throne under a shell canopy and holding the undraped: Child Christ on her lap.. By Bene- detto da Maiano (1442-1497). . Height, 5 inches; width, 224 inches. Other examples are in the Louvre and: Berlin Museums. Illustrated. Berlin Catalogue, Plate XLV. 220—Firrrenta Century Papuan Bronze PLAQUETTE Rectangular shape, with round-arched top. Modeled, in low relief, with a figure of the Virgin looking to the left and holding on her lap the undraped Child Christ, surrounded by cherubim. Mounted as a Pax in a Tabernacolo frame, with pointed pedi- ment surmounted by a figure of the Deity holding an orb and flanked by figures of St: Gabriel.and the Virgin. Frieze incised with an Ave Maria inscription and supported by two cylin- drical Doric pilasters. Broken base and plinth incised with Latin inscription. At the sides are panels of niello work. Par- tially gilded. By a Paduan master influenced by Mantegna. Height, 6 inches. (Illustrated) No. 220—FirreentH Century Papuan Bronze PLAQUETTE 221—FirreEENTH CENTURY FLORENTINE BRONZE PLAQUETTE BY VERROCCHIO Rectangular shape. Modeled, in low relief, with a “Deposi- tion.” The undraped body of Christ being lowered to the ground by weeping women and Disciples. In the background is the cross, treated decoratively rather than realistically. By Andrea Verrocchio (1432-1488). — Height, 5 inches; width, 31% inches. (Illustrated) 222——FirTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE BY MoprErNo Rectangular shape. Modeled, in low relief, with a “Flagella- tion.” In the center, tied to a pillar, is Christ, undraped, save for a loin cloth. On either side stand Roman soldiers, partially draped, wielding scourges. By I] Moderno (Fifteenth and Six- teenth Centuries). Height, 644 inches; width, 5°4 mches. Another example is in the Louvre Museum. (Illustrated) 223—SIXTEENTH CENTURY FLORENTINE BRONZE INTAGLIO SEAL Circular shape. Intaglio-engraved with a subject of St. Fran- cis of Assisi receiving the Stigmata. The Saint in a monk’s robe kneels in the center, with rays proceeding to his out- stretched hands and feet from a winged seraph hovering above him. In the distance are trees, and on the right a church porch with Leo, St. Francis’ disciple, standing in the open doorway. Surrounded by a border of inscription in Lombardic characters. This seal was probably in use at the Franciscan Monastery of ” Assisi. _ Clllustrated) e Fg pee ttc a RE LE CNL eA fr 3 penne 222 221 224—FIrreEENTtTH CENTURY ITALIAN Bronze BAS-RELIEF Modeled, in low relief and without background, with a standing figure of the Virgin holding in her arms the undraped Child Christ. Gilded. Height, 5 inches. (Illustrated) 225—FirrEENTH CENTURY VENETIAN BronZE Bas-RELIEF BY Lom- BARDI . Modeled, in low relief and without background, with standing figure of the Virgin holding in her right arm the Child Christ. On semicircular bracket. By Tullio Lombardi (1460-1532). Height, 6 inches. Another example in the Berlin Museum. Illustrated. Catalogue, Plate LXII. (Illustrated) 226—Earity FirrrentrH Century Bas-RELIEF BY DONATELLO Standing figure of the Virgin, with hooded mantle and halo, holding on her left arm the undraped Child Christ. Completely gilded. By Donato de’ Bardi—Donatello (1383-1466). Height, 7 inches. (Illustrated) 227—FIrrrENTH CrnTURY ITALIAN Bronze BAS-RELIEF BY MicHELOZZI Modeled in the form of a 'Tabernacolo frame with crocketed Gothic arched top and “poppy” finial, paneled pilasters and molded base. Occupied by a three-quarter-length figure, mod-. eled in low relief, of the Virgin supporting the Child Christ on her left arm. Above are two flying angels holding a crown over her head. By Michelozzo Michelozzi (1396-1470). Height, 7 inches; width, & inches. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, Plate XLII. 228—SIxTEENTH CrEentTURY ITALIAN Bronze PLAQUETTE BY Lom- BARDI Oval shape, with molded frame. Modeled, in low relief, with an “Assumption of the Virgin,” having the figure of the Vir- gin standing, within a mandorla, upon a crescent supported by a cherub and surrounded by a border of cherubim, some of whom are playing upon musical instruments. Modeled by Tullio Lombardi (1460-15382). Height, 7 inches; width, 41% mehes. Other examples in the Louvre and Berlin Museums. Described in Molinier’s “Plaquettes,” No. 440. Illustrated, Berlin Catalogue, Plate LXII. (Illustrated) 229—FIFTrEENTH CENTURY PapuUAN BronZE Bas-RELIEF 5 0 Modeled, in low relief and without background, with the stand- ing figure of a Bishop in mitre and episcopal robes. On semi- hexagonal molded bracket with ball pendant. ® Height, 7 inches. (Illustrated) 230—FirrreNtH CENTURY VENETIAN BroNZE BAS-RELIEF Modeled, in low relief and without background, with the figure 0 of St. Bartholomew in loose robes and holding the symbolic on knife of his martyrdom in his right hand. On semi-hexagonal molded and pointed bracket. Height, 61/4 inches. (Illustrated) 229 230 46u4r 231— Fir TEENTH CENTURY FLORENTINE’ BRONZE PLAQUETTE BY RossELLINO feo. 8e Rectangular shape, with round-arched top and molded frame. modeled, in low relief, with an “Adoration.” The Virgin, under -a pent-roof, kneels in adoration of her Infant Son, who les in front of her with the infant St. John at His side. Above are clouds, the Sanctus Spiritus Dove and God the Father. By Antonio Rossellino (1427-1479). Height, 5 inches; width, 8% inches. Another example is the Berlin Museum. Illustrated. Catalogue, Plate XLV. 232—S1txTEENTH CENTURY BRONZE PLAQUETTE BY SANSOVINO Rectangular shape. Modeled, in low relief, with the Virgin kneeling on the roof of a church. In her arms she holds the undraped Child Christ, against whose face she presses her own. In the distance is seen a campanile, while below are cherubim. By Jacopo Tatti—I] Sansovino (1486-1570). Height, 634 inches; width, 414 inches. (Illustrated) 233—FIFTEENTH CENTURY IT‘LORENTINE BronzE PLAQUETTE Rectangular-shaped. Modeled, in low relief, with an “Entomb- — ment.”’. The Disciples, assisted by child angels, laying the dead _ body of Christ in the tomb. > Oo (4 Height, 684 inches; width, 5% inches. (Illustrated) S eeeuieneee , ee 234—F IFTEENTH CENTURY FLORENTINE BRONZE PLAQUETTE Rectangular shape, with raised frame. Modeled, in low relief, 5S with a subject of sportive amorini, some playing around a vase, one mounted on a donkey. . Height, 21% inches; width, 61% inches. (Illustrated) 235—SIxTEENTH CENTURY ITALIAN Bronze PLAQUETTE Rectangular shape. Modeled, in low relief, with a subject of se a “Hunt with Huntsmen” in sixteenth century costume, on oor horseback and on foot. Height, 3 inches; width, 9 inches. (Illustrated) MISCELLANEOUS OBJECTS 236—FirtrENtTH CENTURY NUREMBERG CoppER RosE WATER Disu | ape Circular shaped, with curved rim and turned-over edge, deco- 4 rated in low relief, as to the interior, with a subject of “Adam and Eve and the Serpent in the Garden of Eden,” surrounded by a border of scrolled design. The rim decorated with incised quatrefoils and a border of pointed arch design. 237—SIXTEENTH CENTURY NUREMBERG Brass Orrertory DIsH Circular shape, with flat rim. The center repoussé with a raised 6 ,°°— boss surrounded by a quatrefoil design of pointed leaves be- tween sprays of tulip blossoms and lions and by a band of German inscription in raised Gothic lettering. The rim is stamped with a border of repeated trefoil pattern. | Diameter, 15 inches. * > : c . ae N — a et -4 ay = nn, 238—SIXTEENTH CENTURY PERUGIAN PasticLia Box | Rectangular shape, with hinged lid. Covered with a raised deco- Bo a cae ration of animals, masks, flowers and scrolls in pastiglia or rice- paste. The interior of the lid has an oval escutcheon charged with a coat-of-arms, surmounted by a helmet and supported by half-length figures ending in scrollings and holding palm- branches. Completely gilded. Height, 24 inches. These pastiglia boxes, designed chiefly to hold jewels, were made only in Perugia. 239—SEVENTEENTH CENTURY VENETIAN LACQUERED WoOoDEN PLAQUE Circular shape, with deep curved rim. Of wood lacquered in gold and red on a black ground, the interior with a design of birds, peony blossoms and branches, the rim with a border of vine-leaves, grapes and birds. Diameter, 17% inches. 240—FIrTEENTtTH CrentTURY NurEMBERG Brass Derr DisH Circular shape, with narrow flat rim. Decorated in low relief, bores as to the interior, with a central circular medallion enclosing a subject of “The Annunciation” bordered by a German inscrip- tion in Lombardic characters and surrounded by a broad band of scrolled fruits and flowers. The rim decorated with fleurons at regular intervals. Diameter, 18 inches. A dish with a precisely similar center is in the Medieval Room of the British Museum. Illustrated, Guide, Fig. 6. 241—SIXTEENTH CENTURY FLORENTINE SILVER GILT AND Bronzr CHALICE TS ae Straight-sided silver bowl, the lower part chased with acanthus ae leaves and scrolls; octagonal bronze stem inlaid with colored enamels, octagonal knop faced with quatrefoil-shaped panels enameled with figures of saints, spreading base modeled in relief with palmettes and scrolls and shaped molded foot. Height, 10 inches. 242—ParR OF SIXTEENTH CENTURY VENETIAN ROCK-CRYSTAL ALTAR CANDLESTICKS Stems of baluster, vase and cylindrical shape of cut rock-crystal mounted in gilded bronze chased with acanthus-leaf borders, crystal bobéches, pointed bronze prickets and molded bronze feet. Height, 11 inches. =) ae 243—SIxTEENTH CENTURY FLORENTINE Bronze Bow. Squat pear-shaped body, incurved cylindrical neck. Scrolled ~ looped side handles and three molded paw feet. Height, 11 inches; diameter, 1614 inches. Go.,00 244— SEVENTEENTH CENTURY ITALIAN CoprER BRAZIER y Oval shape, with molded sides and rim, repoussé with bands of no scrolled acanthus leaves. ‘T'wo leopards’ head handles holding swinging iron rings, and four paw feet. Fitted with brazier pan having rim repoussé with acanthus scrollings and two flat swinging engraved iron handles. Height, 101% mches; length, 18 inches. SIXTEENTH CENTURY FLORENTINE SILVER ALTAR CANDLE- STICK 245 Cylindrical stem with round, fluted and pointed-leaf enriched knop, octagonal spreading base with enameled decorations and | (O° beaded foot. Cut rock-crystal bobéche and pointed bronze pricket. Height, 1114 inches. 246—FOURTEENTH CENTURY SIENESE GILT Bronze MonstrRANCE Made in the form of a reliquary, with Gothic lantern-shaped ee square top surmounted by a crocketed gable with traceried tym- panum and fléche surmounted by a crystal ball, flanked by pro- jecting trefoil-arched niche with fléches surmounted by crystal balls and front of rock-crystal. The stem is of cylindrical rock- crystal, with an elaborate hexagonal knop formed as arched niches with pinnacles and_ buttresses carrying the figures of saints, and the hexagonal foot is paneled and studded with jewels. The shaped spreading base has a pierced gallery. Height, 15 inches. (Illustrated) No. 246—Fovrreentru Crentrury SIENEsE Gitr Bronze Mons rk ance bo 24 7 —FIFTEENTH CENTURY TUSCAN CaRVED, PAINTED AND GILT Woop ALTARPIECE Rectangular niche, with pointed canopy of Gothic arched tracery surrounded by a border of circular holes, surmounted by a semi-hexagonal canopy with carved pendants and cusped pointed arches surmounted by cusped gables and pinnacles, the spandrels occupied by Gothic leaf carvings, trefoils and a painted half-length figure of Christ, and flanked by spiral pil- lared buttresses having pointed-arch panels filled with paint- ings of saints and surmounted by crocketed gables and pin- nacles. On molded and carved stand with octagonal stem; molded knop and octagonal foot, carved with Gothic leaves and shields. Painted and gilded. Height, 63 inches. (Illustrated ) 248—FIFTEENTH CENTURY FLORENTINE PastiGLiIA DEcorATED Box Rectangular shape. Hinged lid, with rounded edge, decorated with pastiglia fleurons. Body with molded cornice and base enriched with bands of pastiglia ornamentation and front deco- rated with a repeat of masks, grotesque figures and acanthus scrolls all in raised pastiglia. Completely gilded. Height, 7% inches; length, 23 inches; width, 18 inches. AN Carvep, PAINTED AND Gitt Woop ALTARPIECE USC Century T 247—F Ir TEENTH oO. vk 249 250 249—P air oF SIXTEENTH CENTURY FLORENTINE CARVED, PAINTED AND GILT ANGELS so Carved figures of angels with outstretched wings, curling hair and loose tunic and robe, kneeling on one knee and on the other supporting turned, baluster-shaped candlesticks with iron prickets for candles. On molded hexagonal bases. Painted in natural colors and gilded. Height, 12 inches. 250—FiurereentH Century FrLorentine Carvep, Parnrep AND Gitt Woop AuTar Cross a Floriated cross, bordered with carved and gilt acanthus-leaf | crockets and turned pointed spindles, and occupied by a paint- ing of a crucifix with figure surmounted by an “I. N. R. I.” label and a figure of the Pelican feeding its young. In the floriations are paintings of God the Father above, and the Vir- gin and St. John at either side. On turned and painted stem and square base, with incurved sides and painted flutings. Height, 34 inches. rE eee 251—LaTE SIXTEENTH CENTURY CARVED, GILT AND Parntrep Woop oOo ALTARPIECE -Round-arched niche, surmounted by a triple round-arched can- opy and a cresting of florid Gothic traceries, ending in pointed pinnacles and crocketed at the sides with flowers and leaves. The niche encloses on a projecting paneled base, carved with escutcheons, a crucifix; the cross, with floriated arms bordered by delicate Gothic traceries, is surmounted by an “I. N. R. I.” label, flanked by a sun and moon above and two flying angels below the arms. On either side are figures of the Virgin with head averted, and St. John gazing upwards. The figures are painted, the decorative carvings and background gilded. Height, 291% inches; width, 20 inches. 252—EIGHTEENTH CENTURY Doccta PorcELAIN BRACKET CLOCK Enamel dial, with hours in’ Roman and minutes in Arabic numerals. Rectangular case of colored porcelain, with domed top of diapered open trellis-work pattern surmounted by a figure of Time with a scythe. In the center is a scrolled es- cutcheon painted with the coat-of-arms of the Ginori family and surmounted by scrolled acanthus leaves and putti with mu- sical instruments. ‘The cornice is molded and painted, and the chamfered angles are supported by voluted acanthus enriched brackets serving as pedestals for two figures emblematic of Literature and Music. ‘The dial plate is surrounded with a painted diaper of open trellis-work pattern; below are six putti, modeled in low relief, playing musical instruments, and the base is formed of a laurel-leaf band, with scrolled acanthus-leaf and lions’ paw feet. The movement is signed, “J. Robert et fils et Compagnie a la Chaux de Fonds,” and plays airs on a metal pipe organ. Height, 46 inches; width, 26 inches. This clock was made by workmen from Saxony who were imported by the Marchese Carlo Ginori in 1735 when he founded the Doccia fac- tory. It was purchased by Signor Bardini from the present Marchese Carlo Ginori. (Illustrated) No. 252—E1cHtTreento Century DoccrA Porcetarn Bracket Crock 2583—FIrTEENTH CENTURY FLORENTINE CARVED AND GILT Woop CANDELABRUM Turned, fluted, voluted and carved columnar stem, with large vase-shaped fluted base with voluted brackets and fluted cir- cular foot. On cylindrical pedestal carved with reedings, vo- lutings and beadings, and carved circular base. Saucer-shaped bobéche, carved with gadroons and scrolled leaves. Gilded and painted. Height, 5 feet 214 inches. (Illustrated) 254— FIFTEENTH CENTURY FLORENTINE CARVED AND GILT Woon CANDELABRUM ier ) Turned, fluted, voluted and carved columnar stem, with large '/ 7. |,” pear-shaped fluted base and circular foot, on square pedestal Cast with incurved sides carved with scrolled acanthus leaves and circular carved base. Saucer-shaped bobéche, carved with gad- roons and scrolled leaves. Gilded and painted. Height, 5 feet 3 inches. (Illustrated) 255—SEVENTEENTH CENTURY ITALIAN STANDING DIAL Turned baluster-shaped stem, on molded circular foot sur- Jae% mounted by an armillary dial consisting of a series of brass rings, some engraved with equatorial divisions. Height, 40 inches. 256—SEVENTEENTH CENTURY GENOESE TERRESTRIAL GLOBE Terrestrial globe of papier-maché, mounted on a wooden stand ¢s,°° of annular shape, with turned projections and four voluted feet ending in lions’ paws. Height, 26 inches. ITALIAN MAJOLICA 257—SIXTEENTH CENTURY Derruta MasoricA HAnpd WARMER Be Shaped as a Book of Devotions, with the sides decorated with ay five cinquefoil medallions, between which are triangular panels of scrollings. Invested with a blue glaze. Height, 31% inches; width, 6 inches. 258—SIXTEENTH CENTURY FAaErnzA MAsoLicA ALBARELLO Cylindrical body, with incurved-neck and foot. Decorated, on a white ground, in blue and yellow, with a laurel-leaf wreath enclosing a horseshoe-shaped rayed figure surmounted by a cross and occupied by the initial “F.” Height, 81% inches. 259-—SIXTEENTH CENTURY FArnzA MagsonicA ALBARELLO | Cylindrical body, with incurved sides, molded neck and carved tone foot. Decorated, on a white ground, with scrolled trefoil leaves and an oval panel of reserve painted, in outline, with a three-quarter-length figure of a man in monastic robe playing a cornemuse. Height, 8 inches. 260—FIrTEENTH CENTURY SIENESE MagsonicA PHARMACY ALBA- RELLO Cylindrical body, with incurved sides, incurved neck and foot. Decorated, in blue and yellow on a white ground, with an oval laurel-leaf wreath enclosing a painting of a rooster and the name of a drug in Roman letters. Above and below, the em- ar blem of the monastery with the letter “s.” Bottom missing. Height, 10 inches. 261—F IrTEENTH CENTURY DELLA RoppstA Masouica VASE Pineapple-shaped, on a molded foot, with surface modeled to simulate the fruit. (Foot faulty.) Invested with a blue glaze. Height, 81% inches. 262— FIFTEENTH CENTURY DeERUTA MAJOLICA VASE ’ |a** Pineapple-shaped, on molded foot, with surface modeled to simulate the fruit. (Cover missing.) Invested with a golden lustre glaze. Height, 81% inches. _2638—_F Ir TEENTH Century Derruta PINEAPPLE VASE _.» Of pointed pineapple shape on cylindrical stem and circular foot. Invested with a mottled lustred glazing of yellow, red and green. Originally designed without cover. (Foot faulty.) 3 Height, 13% inches. 264—FIrFTEENTH CENTURY DELLA RopptA PINEAPPLE VASE a Of pointed pineapple shape on cylindrical stem and circular foot. Originally designed without cover. Glazing of Della Robbia blue. Height, 15 incher 260 263 265—Firrrentu Century Farnza Masonica PLATE Circular shape, with curved rim. Decorated, on a white ground, ‘vas to the center with a circular medallion with orange back- ground occupied by the profile portrait bust of a young woman in fifteenth century costume, surrounded by bands of toothed and imbricated patternings in blue, white and orange. Diameter, 91% inches. 266—SIXTEENTH CENTURY CAFFAGGIOLO Masorica PITCHER Pear-shaped body, with pinched-in rim and pointed spout. Decorated, on a white ground, in blue with a wreath of berries enclosing the letter “R.” (Handle missing.) Height, 10 inches. 267—F IFTEENTH CENTURY Papua MagsoricA PLATE Circular shape, without rim. Decorated, on raised “stucco” work on a white ground, as to the center, with a scrolled shield ./ charged with a coat-of-arms of a hound rampant, and sur- rounded by a deep border of acanthus-leaf scrollings proceed- ing from lions’ heads and separated by panels of honeysuckle ornamentation. Diameter, 10 inches. 268—SIXTEENTH CENTURY Urpino Masouica Tazza Circular shape, with curved rim and circular foot. Decorated, ee. oP on a white ground, as to the center with a marine view. On the v3 right, a round tower with pinnacled roof and a church. On the left, a harbor with a ship having a lateen sail. Surrounded by a border of guilloche patterning. Diameter, 9% imches. 269—SIXTEENTH CENTURY CAFFAGGIOLO MagsornicA PLATE Circular shape, with flat rim. Decorated, blue and brown, on white ground, as to the center with a circular medallion of radiations surrounded by a border of interlacements, and as to the rim with six semicircular radiations with trefoils between. ge Diameter, 7 inches. 270—F rreentu Century Farenza Masorica PLATE i Circular shape, with a carved rim. Decorated, on a white Go | ground, as to the center with a circular medallion occupied by ; fur the profile portrait bust of a young woman in fifteenth century costume, surrounded by bands of twisted ribbon and meander patternings. Diameter, 91% inches. ee Sha ae ea A nS Y la 271—S1xTEENTH CENTURY FAENZA Magsonica PLATE Circular shape, without rim. Decorated in lustre on a white ground with a circular medallion occupied by the profile bust of a Roman statesman shown as a bearded man with aquiline nose and bald head, surrounded by a deep border of bold acan- thus-leaf scrollings, flowers and medallions. Diameter, 11 inches. (Illustrated) 272—SIxTEENTH CrenTURY FAENZA Magsoxrica PLATE Circular shape, without rim. Decorated, on a white ground, as to the center with a statant heraldic gryphon holding in its front paws a shield charged with a cross and surmounted by a deep border of pointed ribbon interlacements. (Repaired.) Diameter, 18 inches. (Illustrated) 273—SIXTEENTH CENTURY FLORENTINE GLAZED ‘'TERRA-COTTA Basket BY DertuA Roppia Circular cluster of fruits and leaves realistically modeled and glazed in natural colors. Diameter, 9 inches. (Illustrated ) 274—SIXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA BAS- KET BY DerLuA RoppidA Circular cluster of fruits and leaves, with a frog realistically modeled and glazed in natural colors. Diameter, 101% wmches. 275—SIXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA BAS- KET BY Dertita Ropsia Circular cluster of fruits and leaves, with a lizard realistically modeled and glazed in natural colors. Diameter, 101% wches. (Illustrated ) ’ 276—SIXTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA BovuaquET BY Detia Rossia } Circular cluster of fruits and leaves, with a frog realistically modeled and glazed in natural colors. Diameter, 18 inches. (Illustrated) if re 278—— FourTEENTH CENTURY PRIMITIVE OrviETO Masouica VASE Pear-shaped body, with incurved neck and two flat looped han- dles. Decorated, on a cream-colored ground in brown and manganese, with a band of scrollings containing trefoil flowers with hatched petals. Height, 7 inches. (Illustrated) SIXTEENTH CrentTuRY Farnza Masouica VAsE Bottle-shaped, with globular body and incurved cylindrical neck. Decorated in blue, on a white ground, with an all-over patterning of heart-shaped and acanthus-leaf scrollings. Height, 91% inches. (Illustrated) . 279—SIXTEENTH CENTURY FAENZA MasouicA PHarmacy Ewer , Pear-shaped body, with incurved cylindrical neck, carved spout and flat straight looped handle. Decorated, on a white ground, with a wreath of acanthus leaves enclosing cornucopie, scrolls and a rectangular tablet inscribed “A creLmoNniA” in Roman letters. Height, 10 inches. (Illustrated) 277 279 278 280—F irrEENTH CrntTuRY CaArraccioLo MasoiicaA Bow. Coupe-shaped bowl, decorated, on a white ground, as to the center of the interior with the emblem of St. Francis of Assisi, two clasped hands having above a cross and below a label with the word “repE” (faith), surrounded by a band of honeysuckle patterning and a rosetted border. Height, 8 inches; diameter, 11 inches. (Illustrated) 281—F IrTEENTH CENTURY SIENESE Masouica 'Two-HANDLED VASE .— Pear-shaped body, with incurved neck and two flat looped han- dles. Decorated, on a white ground, with a wreath of laurel leaves tied and banded with scrolled ribbons and enclosing a shaped shield charged with a coat-of-arms. Height, 11 inches. (Illustrated) ; 282—FirTEENTH CENTURY SIENESE MasoLica ‘lW0O-HANDLED a Puarmacy VASE 1° Pear-shaped body, cylindrical neck and two twisted looped handles. Decorated, on a white ground, with horizontal bands of zigzag ornament, vertical panels of guilloche patterning and the body with a rectangular panel having the name “PAaNnTA SILEA” in Roman lettering. Height, 101% inches. (Illustrated) 283 ~ Bottle-shaped, with ovolo body and incurved cylindrical neck. Decorated, on a white ground, with scrolled label inscribed in Gothic characters with the name of the drug, surrounded by floral scrollings with the emblem of the monastery below. (Rim faulty.) | SIXTEENTH CENTURY Farmnza MagsorticA PHarmacy VASE ON Height, 11 inches. 281 284— SIXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA VASE Urn-shaped body, with incurved neck, circular foot and two dol- phin-shaped looped handles. Decorated, in low relief, the under part of body with flutings, the upper part with a band of inter- laced strapwork and the neck with a diaper of imbrications. In- vested with a blue glaze. With cover. Height, 11 inches. 285—FirrEeENtH CrntTury Drtia RosprA Giazep TERRA-COTTA. VASE Urn-shaped body, with incurved neck, circular foot and two dolphin-shaped looped handles. Decorated, in low relief, the under part with a band of interlacements and the neck with a diapered pattern of imbrications. Invested with a light blue glaze. Similar to No. 284 but of earlier date. Height, 10 inches. Professor Allan Marquand, in his ‘Della Robbias in America,” illustrates, No. 54, a similar vase and bouquet, and calls attention, as a parallel, to the vase in the framework of the altarpiece at Verona by Giovanni della Robbia. A similar vase, too, is in the Victoria and Albert Museum, South Kensington, and is illustrated in M. L. Solon’s “Italian Majolica,” 1907, Fig. V. 286—F irrEENTH Century Ursino Masonica 'Two-HANDLED VASE Pear-shaped body, with cylindrical neck and two upright looped handles with scrolled ribbon terminations. Decorated, on a white ground, with a floral and pointed-leaf wreath, tied with a knotted ribbon, enclosing, on a yellow ground, a painting of an amorino with outstretched wings brandishing a thyrsus. Height, 11 inches. 287—SIxTEENTH CENTURY FArENzZA Masontica PHARMACY EWER iar?” Pear-shaped body, with incurved neck, straight spout with twisted support and flat straight looped handle. Decorated in reserve with an arabesque of scrolled acanthus leaves: and chimere and with a scrolled label of white reserve inscribed “a. ACETOSE” in Roman letters. Height, 13 inches. 288—F irrrrentH Century Farnza Masonica PHarmacy EWER Pear-shaped body, with cylindrical neck, straight ringed spout and flat looped handle. Decorated in reserve, above, with acan- thus-leaf scrollings proceeding from a mask; below, with ro- settes and a cherub with outstretched wings; and between, with a label inscribed with the name of the drug in Roman letters: S.D. PAPAVER. Height, 91% inches. 289—SrxteEntH Crentury Caste, DurANTE PHarMACcY VASE > Pear-shaped body with incurved neck, straight spout with twisted supporting brace and flat looped handles. Decorated, in blue and yellow, on an orange ground, with cornucopia, scrolls and dolphins and with a label in white reserve inscribed, in Roman letters, “EY° DINARI COSE.” Height, 11 inches. 290—Patir or SIXTEENTH CENTURY FAENZA MasonicA PHARMACY ALBARELLI f | Cylindrical body, with incurved sides, molded rim and _ foot. 2 et Decorated, on a white ground, with a scrolled label inscribed ; with the name of the drug in Gothic characters with ornamental initials, surmounted by the figure of a rooster and with the emblem of the monastery below. Height, 13 inches. (Illustrated) 291—SIxTEENTH CENTURY FAarnzA MagsoricA DrEer DisH ~ Circular shape, with flat rim. Decorated, on a white ground, the center with a circular medallion enclosing an armorial shield surmounted by a Bishop’s Hat inscribed “b6 16” and sur- rounded by a band of acanthus-leaf scrolling in blue on an orange ground. The rim is decorated with a similar band of ornamentation. (Repaired. ) O- / ci) Diameter, 14 inches. (Illustrated ) 290 292—F irrrentH Century Ursino Masorica Bown Circular shape, with scalloped rim and fluted sides. Decorated, ro” yd on a white ground, in blue and yellow, as to the center with a 4 - | scrolled shield charged with a coat-of-arms, surmounted by a / helmet and mantled with acanthus-leaf scrollings, within a cross- shaped shell formed by four oval panels connected by straight lines and occupied by floral and pointed-leaf arabesques. ‘The rim is bordered with a band of blue and white patterning. Height, 614 inches; diameter, 15 inches. 298—SIXTEENTH CENTURY FarnzA Magozica Bown os Circular coupe-shaped. Decorated, on a white ground, as to late the center of the interior with a circular medallion occupied by a conventionalized dolphin, in colors, and as to the sides with a diapering of pointed-leaf scrollings in blue. Height, 8% inches; diameter, 171% inches. 294—F IFTEENTH CENTURY DerrutA MasonuicA Drrp DisH Circular shape, with flat rim and reeded edge. Decorated, in lustre, the center with the bust profile portrait of a Roman Em- peror, the rim with alternate panels occupied by checkered dia- perings and floral and leaf scrollings. Diameter, 151% inches. 295—Srxreentu Century FarnzA Masorica Bow. apo Circular coupe-shaped. Decorated, on a white ground, as to the center of the interior with a circular medallion occupied by fish, crabs and frogs in natural colors, symmetrically disposed, and as to the side with a diapered patterning of pointed-leaf scrollings in blue. Height, 9 inches; diameter, 18 inches. 296—SIxTEENTH Century Ursino Masoiica Two-HANDLED VASE _- Pear-shaped body, with two round looped handles with ram’s eee head terminations. Decorated, on a white ground, with an all- over patterning of floral and pointed-leaf arabesques, including chimere, and tablet dated “MDC” and a blank panel for a name. ly Height, 18 wmches. (Illustrated) 297— FIFTEENTH CENTURY FAENZA MaAsonica PHARMACY 'Two- HANDLED VASE — Pear-shaped body, with incurved neck, annular foot, and two es dus twisted looped handles. Decorated with a scrolled oval es- cutcheon charged with a coat-of-arms, a hound rampant on a brown ground and having above a mask and acanthus-leaf scrollings, and below a label inscribed with the name of the drug in Roman letters. Height, 13 inches. (Illustrated) “ia, ee . 1) FOR - W . ins 2 Spee os 298—FirreeENtH CrEentTurY CAFFAGGIOLO Magsouica 'Two-HANDLED 290 —— VASE Pear-shaped body, with cylindrical neck, straight spout and two looped twisted handles. Decorated, on a white ground, with a rosetted wreath of laurel leaves banded with crossed ribbons and enclosing a scrolled egg-shaped escutcheon charged with a coat-of-arms quartered with that of the Medici family and sur- mounted by a radiated crown. Height, 19 inches. (Illustrated ) SIXTEENTH CENTURY FAaENZA MasoiicA PLAQUE Rectangular tablet, modeled, in basso-relievo, with a three- quarter-length figure of the Virgin in red robe, girded at the waist, a blue mantle semé with stars, and a linen veil. Her head ~ is inclined toward the right; she is standing and supporting with both hands the undraped Child Christ, who has His right arm thrown around His Mother’s neck and holds the neck of her robe with His left hand. Above are two angels with wings. In the lower left-hand corner is a panel painted with a subject of St. Francis receiving the stigmata. Glazed in natural colors. Height, 24 inches; width, 17 inches. (Illustrated ) 300—FirrrentH CrEntTurRY CarraccioLo MasoticA PHARMACY V ASE Pear-shaped body, with high cylindrical neck. Decorated, in blue on a white ground, with a scrolled label inscribed with the name of the drug in Gothic characters with ornamental initials. Above is the emblem of the monastery. Height, 15 inches. (Illustrated ) 301—Parir or SIxTEENTH CENTURY DerLLA Roppia MaAsonica Vases WITH Bouquets Pear-shaped bodies, with molded bands, cylindrical necks, an- nular feet, projecting voluted and acanthus-leaf scrolled han- dles, and raised spout apertures shaped as masks. Glazed in white and painted, with pear-shaped scrolled escutcheons sur- mounted by crowns and charged with the arms of the Medici family. ‘The bouquets are of terra-cotta modeled with fruits, flowers and leaves glazed in their natural colors. Height, 271% inches. (Illustrated ) 301 802 303 ( 302. 302—Parr or EIGHTEENTH CENTURY CAPO pI MontTE PoRCELAIN VASES AND COVERS ~ “~~ Pear-shaped bodies, cylindrical necks and domed covers. In- vested with a fine white glaze and painted in natural colors, the bodies with crater-shaped vases of roses, other flowers and leaves on rocky bases, the covers with floral sprays, and the necks in gold, with medallions and scrollings. (Finials re- stored. ) | 1 Height, 17 wmches. 303—EIGHTEENTH CENTURY GERMAN PorRCELAIN PITCHER AND BAsE ) 0° Pear-shaped body, with scrolled looped over-handle formed as - a dolphin, and turned-over lip. In front of the body is a half figure of Silenus, crowned with leaves, terminating in voluted scrollings and supporting a festoon of husk patterning. In- vested with a plain white glaze. On carved and gilded wooden pedestal supported on tripod of scrolled acanthus leaves with a molded triangular base. Height, 28 wches. This vase and pedestal came from the Borghese Palace, Rome. THIRD AFTERNOON’S SALE THURSDAY, APRIL 25, 1918 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK COLORED STUCCO OF THE FIFTEENTH AND SIXTEENTH CENTURIES 305 307 306 ANTONIO DA SAN GAELO ¢ Pay SIXTEENTH CENTURY vs 0 305—SIXTEENTH CENTURY FLORENTINE COLORED ‘TERRA-COTTA Bust or St, JOHN THE BAPTIST \ Half-length figure of the Child Christ, with curling hair, par- tially robed and wearing a coral necklace with a cross as pen- dant. Colored naturalistically. Height, 9 inches. PIERINO DA VINCI (0 FirrEENTH CENTURY ( abe 306—FIFTEENTH CENTURY FLORENTINE CoLoRED Stucco Bust Half-length figure of the Child Christ, with ringleted hair, and clothed in a loose-fitting tunic with embroidered collar. Height, 12 inches. FLORENTINE SCHOOL FIrrEENTH CENTURY 307—F irteENtH CENTURY Stucco Porrrair MEDALLION (Circular medallion portrait of Cosimo de’ Medici (1884-1464) , oak “Pater Patriae.” Profile head, looking to the left in low relief, of an elderly man, wearing over a skull cap a Florentine bonnet. Around the rim is the name “costmus MEDICcCES.” Uncolored. Diameter, 16 inches. This is a study for one of the celebrated series of medals of Cosimo the Elder concerning which a storm of controversy has raged. For long they were attributed to Donatello. Armand and Heiss, however, give all four variants to Michelozzo, Friedlander to Niccolo Fiorentino, and Dr. Bode, finally, to Bertoldo di Giovanni. MATTEO CIVITALI 1435—1501 308—FIrTEENTH CENTURY ‘TERRA-COTTA Figure of St. Sebastian, shown as a nude youth with his hands (=) hy tied behind his back, standing against a rocky pedestal. ‘The : figure, which has preserved its original coloring, is placed in a round-arched niche having its background colored blue and semé with gilded stars. Height, 18 inches; width, 12 inches. This terra-cotta is a sketch by Civitali himself, for his life-sized marble statue of St. Sebastian now in the temple of the Voti Santi in the Cathedral of Lucca. This temple, the first contract for which was signed in 1482, is dated 1484, and offers abundant proof that, though Civitali worked as a sculptor during the greater part of his life, he was also a thoroughly accomplished architect. BENEDETTO DA MAIANO 1442—1498 309—F IF TEENTH CENTURY. FLORENTINE CoLoRED 'TERRA-COTTA iN | FIGURE Re, \) Seated figure of the Virgin, her head covered with a veil and ye wearing a red tunic and loose blue mantle. On her left knee she holds the seated Child Christ, who presses close to His Mother as though for protection. On irregular terra-cotta base. Nat- uralistically colored. Height, 18 inches. 314 308 315 310—FirTEENTH CENTURY FLORENTINE CoLoRED TERRA-COTTA ) FIGURE > he Virgin, with bare head and clothed in a robe with embroid- ered border and blue mantle, sits upon a bench, with her left vi hand holding the standing nude figure of the Child Christ, who supports Himself with His arm thrown around His Mother’s neck. Her right hand the Virgin holds pressed against her breast. On octagonal terra-cotta base. Naturalistically col- ored. : Height, 18 inches. FLORENTINE SCHOOL FirreEENtH CENTURY 311—FirrrEENTH CENTURY FLORENTINE COLORED 'T'ERRA-COTTA Group Seated figure of the Virgin, in red robe and flowing blue mantle, RN with the nude Child Christ sitting on her left knee. She points ANY with both hands to her heart, as she turns her head to gaze at x St. Elizabeth, who stands behind her. On circular molded base of terra-cotta, the-plinth decorated in relief with masks and dolphins. Height, 16 inches. | FLORENTINE SCHOOL FIrTEENTH CENTURY 312—-SIxTEENTH CENTURY FLORENTINE CoLorED ‘TERRA-COTTA 0 FIGURE ve * “St. John the Baptist in the Wilderness.” The youthful saint, with long, curling hair and clothed in-camel’s hair tunic over which is thrown a loose mantle, stands against a rocky ledge, his right arm extended with forefinger pomting. Above, on a ledge of rock, sits a small animal. On rocky base. Naturalisti- cally colored. Height, 17 inches. GIOVANNI BATTISTA TASSO fie \ : 14( ?)—1548 3183—SixtrentH Crntury FLorENTINE CoLorEeD 'TERRA-COTTA ' FIGURE “St. John the Baptist in the Wilderness.” The youthful saint ; is shown seated on a pedestal of stratified rocks. He wears a aS. garment of goat-skin, holds in his left hand a scroll, and by his side, on the left, is the figure of a lamb. Height, 18 inches. Architect, ds wellgas sculptor, Tasso, though born in the fifteenth century, died an old man in the middle of the sixteenth century. ~ FLORENTINE SCHOOL FirreENtTH CENTURY 314—FirreentH CENTURY FLORENTINE COLORED TERRA-COTTA FIGURE “St. Francis of Assisi.” The saint is shown as the standing fig- ure of a middle-aged man with slight beard. He wears the robe of his Order, with a rope girdle. The left hand is pressed to his breast and in the right he holds a small book and a pouch. In hands and feet are shown the sacred “stigmata.” On square molded terra-cotta base. Naturalistically colored. Height, 21 inches. (Illustrated) FLORENTINE SCHOOL FIrreENtH CENTURY 315—FourRTEENTH CENTURY BURGUNDIAN WALNUT Woop Cary- ING ; aN “The Birth of the Virgin.” The Mother of the Virgin reclines in a low post-bed of the period, her head coifed with a linen cloth, and hands the infant Virgin to a nurse, who wears a Burgundian peasant’s cap. At side of the bed are seen various utensils. Height, 17 inches; width, 19 inches. (Illustrated) ANDREA DELLA ROBBIA FIFTEENTH CENTURY 316—F IFTEENTH CENTURY FLORENTINE TERRA-corTA MEDALLION Circular medallion of terra-cotta, modeled with a bust portrait of a youth, shown in full face, with slightly curling hair and wearing a tunic and a mantle secured at the right shoulder with a brooch. In a contemporary richly carved and gilded wood frame. Diameter of terra-cotta, 15 inches; diameter of frame, 18 inches. (Illustrated) PIERO TORRIGIANO 1472—1522 317—SIxTEENTH CENTURY FLORENTINE COLORED ‘'TERRA-COTTA : FIGURE S Nude figure of St. Sebastian, his limbs tied tn ropes to a tree ’\ trunk and the head fallen forward as if in the throes of dis- > solution. Around his waist he wears a knotted loin-cloth. His body shows the marks of wounds, and at.one side is the body armor of a Roman warrior and on the other the standing figure of a putto. On the tree is hung a quiver full of arrows. On irregular rocky base. Naturalistically colored. Height, 26 inches. Torrigiano is, perhaps, best known as the designer and sculptor of the tomb of Henry VII in Westminster Abbey, London. Ly A (Illustrated) ANDREA VERROCCHIO 1432—1488 # 818 FIrTEENTH CENTURY FLORENTINE CoLORED Stucco FIGURE 4) / “Infant Hercules Strangling the Serpent.” Undraped. figure aN Vf of an infant with voluminous closely curling hair, leaning \) ( against a rock, lying upon one side and seizing with his right hand (now absent) the head of a serpent the body of which he holds in his left hand. Rectangular base of gesso duro. Colored ~ naturalistically. " #H eight, 24 inches; length, 27 inches. This stucco closely resembles a marble bas-relief by Verrocchio which formerly adorned one of the doors of the Palazzo Vecchio, Florence. Verrocchio, like so many of his contemporaries, began as a goldsmith and most of the works he has left to us are in bronze. He was an artist of great power, and among the pupils he influenced were Leonardo da Vinci, Lorenzo da Credi and Pietro Perugino. (Illustrated) 820 tae GIOVANNI DELLA ROBBIA 1437—1528 319—Firreento. Century FLoRENTINE COLORED ‘TERRA-COTTA °) Putt WA Figure of two nude children, or putti, disputing over a vase 6 of fruit which stands between them. One, on the left, is stand- Ly’ i ing and brandishes in his left hand a fruit, while with his right he endeavors to withdraw another fruit from the vase. ‘The other putto, on the right, seated on a tree stump, restrains his companion. He has seized him by the right wrist and is biting his forefinger in an attempt to make him let go of the fruit. On rectangular terra-cotta base. Colored naturalistically. Height, 21 inches; length, 33 inches. (Illustrated) DESIDERIO DA SETTIGNANO 1457—1485 320—FirrrENTH CENTURY COLORED Stucco FIGURE Standing figure of the Child Christ, nude, with curling brown si hair and with the right hand raised in the act of benediction. ; \) The left arm hangs by His side, the hand holding the symbolic . nails, supported by a fold of colored drapery. On rocky base 0 and square pyramidal molded pedestal of colored stucco. Height, 22 inches. This is a replica, in colored stucco, of the marble figure by Desi- derio in the Church of San Lorenzo, Florence. (Illustrated) YY FLORENTINE SCHOOL ¢) | FirTEENTH CENTURY 2 3291—FirreentH CENTURY FLORENTINE COLORED ‘TERRA-COTTA GROUP “Charity.” Shown as a beautiful woman of ripened charms, with long hair falling over her shoulders, dressed in a loose robe with one breast exposed and holding on her knee a nude child around whom her left arm is thrown as though in protection. Her right arm falls by her side and her hand holds that of an- other nude child, who stands by her side. One the right kneels yet another child. On rocky terra-cotta base. Naturalistically colored. Height, 21 inches. Dr. Bode attributes the group to the anonymous Florentine author of the “Struggling Children,” illustrated at p. 159 of “Florentine Sculptors of the Renaissance,” where it is assigned to the “School of Donatello.” FLORENTINE SCHOOL FIFTEENTH CENTURY 322—Fivrrento Crentrury FLorENTINE COLORED PAPIER-MACHE Bust Portrait Bust-length portrait of St. Anthony, Archbishop of Florence. The saint is shown as an old man with emaciated features, thin, tightly closed lips, a partially bald head and an expression of great benevolence. He wears an ecclesiastical robe with hood thrown back at the shoulders and banded with a white orphrey patterned with crosses in red. On octagonal molded wooden base. Height, 20 inches. RE oe caste earee Sen FLORENTINE SCHOOL FIFTEENTH CENTURY 323—SIXTEENTH CENTURY CoLorED Stucco Busr Portrait Bust-length portrait of an elderly man with long forked and curling gray beard and bald head. He wears a Senator’s robe. On octagonal base, painted and gilded. Naturalistically col- ored. Height, 23 inches. ae ALESSANDRO VITTORIA 1525—1613 324—SIXTEENTH CENTURY CoLORED Stucco Bust PorTRAIT Half-length portrait of a lady with bare head, the curling hair tightly drawn back from the forehead. She wears a close-fitting bodice buttoned up the front, a high collar and frilled ruff and sleeves puffed and slashed at the shoulders. In front is a scrolled tablet for the name. Height, 26 inches. This and the following bust came from a palace in Padua, belonging to an old family, of whose ancestors they are believed to be portraits. Of Vittoria it may be said that he was a pupil of Jacopo Sansovino, whose place he took after his death as the leader of Venetian artists. In that city of his adoption he has left a number of sculptural and architectural monuments to his undoubted talents. ALESSANDRO VITTORIA 1525—16138 325—SixreentH Century CoLorep Trrra-corra Porrrarr Bust Bust-length portrait of a middle-aged nobleman with partially bald head, full curling beard and mustache. He wears a tight- fitting jerkin with narrow turned-over collar and a fur-trimmed robe with puffed and slashed sleeves. Round his neck is a heavy linked chain with a cross and eagle as pendants. In front of the base is a voluted name tablet. Height, 30 inches. LUCA DELLA ROBBIA 1400—1482 326—FIrFTreEENTH CENTURY FLORENTINE CoLoRED Stucco Bas- RELIEF Rectangular tablet, modeled, in low relief, with a small three- sie quarter-length figure of the Virgin in red robe and blue mantle N\/ standing and supporting, with her left arm, the Child Christ, oe who stands by His Mother’s side, leaning His head against hers and with His arms around her neck. Colored naturalistically. In molded and carved frame of stucco. Height, 19 inches; width, 14 inches. PD PTR eS Sa . e < F : No. 326—FirreentH Century FLORENTINE COLORED Stucco BaAs-RELIEF NEROCCHIO BARTOLOMMEO DA SIENA 1427—1500 327—F rtrentH Crntury SIENESE CoLorED PAPIER-MACHE Bas- RELIEF y Rectangular round-arched tablet, modeled, in low relief, with a ) j “\S three-quarter-length figure of the Virgin in a dark red robe (\ and blue hooded mantle. Her head is inclined toward the left, and she is seated and holds on her lap the Child Christ, in a red tunic, who raises His right hand in the act of benediction. Be- low is an inscription, “REGINA COEL. MARIA,” in Roman letters. In contemporary molded and painted wooden frame. Height, 28 inches; width, 171% inches. ER-MACHE BaAs-RELIEF E CoLorED Parr SIENES No. 827—FirrEENtTH CENTURY SO SLITS IER EE NNO a GE HAL, Lk ed Oh ee ee yo Seat ROAR RG SIAL 2S a SETTER ate Eine ss E j ty wan &. - 4 ethanol Settee SSNS nn FLORENTINE SCHOOL { Firreentu Century SIXTEENTH CENTURY FLORENTINE CoLORED Stucco Bas- RELIEF N vA 328 Rectangular round-arched tablet, modeled, in low relief, with a full-length figure of the Virgin in red robe, seated on a chair with voluted arms and holding in both arms the Child Christ, who is nursing at her breast. Above, on either side, a cherub with outstretched wings. On rectangular base incised, in Roman letters, with an “avE MARIA” inscription. Colored nat- uralistically. In contemporary 'Tabernacolo frame of molded, carved, painted and gilded wood, with a molded, dentelled and egg and dart carved cornice and plain frieze supported by two fluted and astragalled Ionic pilasters. On molded base and apron. Height, 29 inches; width, 17% inches. SCHOOL OF SIENA na FIrrEENTH CENTURY 329—FirreentH CENTURY SIENESE CoLorED Stucco BAS-RELIEF Rectangular tablet, modeled, in low relief, with a small three- quarter-length figure of the Virgin in red robe and blue hooded mantle. She holds in her arms the undraped Child Christ and restrains Him from leaping forward by clasping His right arm with one hand. Colored naturalistically. Im contemporary Tabernacolo frame of molded, carved, painted and gilded wood. Molded cornice with plain frieze supported on two fluted pi- lasters with Romanesque capitals. Molded base and shaped, scrolled and voluted apron. Height, 36 inches; width, 19 imches. ANTONIO ROSSELLINO 1427—1490 330—F ir trENTH CENTURY FLORENTINE CoLOoRED Stucco Ma- DONNA BY ROSSELLINO Rectangular tablet modeled, in low relief, with a three-quarter- length figure of the Virgin in a red robe with gold-embroidered border and blue hooded mantle looking to the right. She is seated in a chair and holds in her lap with both hands the undraped Child Christ, wearing a necklace of beads with a cross pendant. The background is occupied by a festoon and pendants of cherries and leaves. Within a rectangular stucco frame, molded and decorated in relief with bands of reel and bead and acanthus-leaf ornamentation on a paneled base deco- rated, in relief, with a vase and rinceaux of acanthus leaves and flowers. Height, 24 inches; width, 1634 inches. LUCA DELLA ROBBIA 1400—1481 331— FIrreENtH CENTURY FLORENTINE CoLorED Stucco Bas- Av RELIEF Rectangular tablet, modeled, in low relief, with a half-length figure of the Virgin in red robe and blue hooded mantle, stand- ing and holding with both arms the Child Christ in linen tunie. He presses His face close to His Mother’s and with the left hand clasps a fold of her mantle. Colored naturalistically. In contemporary molded, painted and gilded wood 'Tabernacolo frame. Pointed pediment, with molded cornice and plain frieze supported by two pilasters with fluted shafts and capitals. On molded apron. Height, 37 inches; width, 20 inches. { A) / ‘ LA \ : DESIDERIO DA SETTIGNANO 1457—1485 332—FirrrENtH CENTURY FLORENTINE CoLoRED Stucco Bas- RELIEF Rectangular round-arched tablet, modeled, in low relief, with a figure of the Virgin in red robe and blue mantle with bare head, standing and pointing with her right hand to the seated Child Christ, who, undraped, turns His head to the right. On a base with two flying putti, who support a circular medallion enclosing an armorial shield. Original coloring. In contempo- rary arched frame with base of molded and painted wood. Height, 34 icnhes; width, 25 imches. A Madonna by Desiderio, precisely similar to this, but in gray stone, is in the Victoria and Albert Museum, South Kensington. ' BENEDETTO DA MAIANO a 1442—1498 (1 333—FirreentH CrEntTurY FLORENTINE CoLorED Stucco Ma- DONNA Round-arched tablet modeled, in low relief, with a three-quar- ter-length seated figure of the Virgin in a red robe and blue mantle, her head draped with a white linen veil. She is looking to the left, and holds in her arms the Child Christ undraped save for a fold of linen. He lies upon a tasseled cushion with His right hand raised and clutching at His Mother’s veil, while He nurses at her right breast. She bends her head over Him in loving adoration. Surounded by a round-arched molded and carved stucco frame, with a molded base, plain plinth and molded apron, colored red and blue. Height, 33 inches; width, 24 inches. baer FLORENTINE SCHOOL Earty Firrrentu CEntTuryY 334— FIFTEENTH CENTURY FLORENTINE CoLORED Stucco MADONNA Half-length figure of the Virgin, in red robe and blue mantle, with head veil falling in folds. She holds in her right hand, pressed to her breast, a fruit, and supports on her left arm the Child Christ clad in a tunic. He embraces His Mother’s neck with both arms and presses His face close to hers. The faces of Mother and Child are suffused with a brooding melan- choly. On a square molded bracket of painted wood with traces of an inscription and a shaped apron painted with scrolls and a shield charged with a coat-of-arms. Height, 28 inches. e & l” MASTER INFLUENCED BY DELLA QUERCIA ;, A} % oF EA FirreentH CENTURY iW : 335—Firreentu Crntury FLORENTINE CoLorep Stucco Bas- RELIEF Modeled, in low relief and without background, with a half- length figure of the Virgin, the head only inclined to the right. She wears a hooded mantle of blue, within which she has pro- tectingly wrapped the undraped Child Christ, whom she holds on her left arm. He clasps with both hands the red tunic of His Mother. On a rectangular molded base of stucco modeled in the center with two flying angles supporting a wreath enclos- ing the Sacred Monogram, and at the sides with armorial pointed shields. : Height, 30 inches; width, 27 inches. ae ( [7 (’ )) )) \ LUCA DELLA ROBBIA 1400—1482 3386—FirtEENtH CENTURY FLORENTINE CoLoRED Stucco Bas- RELIEF Tondo-like circular medallion, modeled, in low relief, with a three-quarter-length figure of the Virgin in red robe, blue man- tle and a linen veil, standing with her head inclined to the right and gazing down at the Child Christ, whom, clothed in a girdled tunic, she holds in her arms. He hides His head on His ~Mother’s breast and holds both hands before His face. Above is seen the Sanctus Spiritus Dove hovering above the Virgin’s head, while, slightly below, on either side, is a cherub with folded wings. Colored naturalistically. Enclosed in a plain border of stucco. Diameter, 22 inches. SCHOOL OF SIENA \y FirrEENtH CENTURY y, A 337—FirreENTtH CENTURY SIENESE CoLorED Stucco BAs-RELIEF Tondo-like circular medallion, modeled, in low relief, with a small three-quarter-length figure of the Virgin in red robe and blue mantle, her head covered by a fold of linen. She supports with both arms the undraped Child Christ, who clasps His hands together as He smiles with an expression of childish glee. Col- ored naturalistically. Surrounded by a molded and carved frame of stucco. Diameter, 21 inches. ANTONIO FEDERIGHI (DETTO DE’ TOLOMEID) 1425(?)—1490) 3388—FIFTEENTH CENTURY SIENESE COLORED Stucco BAs-RELIEF Round-arched tablet, modeled, in low relief, with a three-quar- ter-length standing figure of the Virgin in red robe and blue mantle draped about her head. With one hand she supports the Child Christ, who, clad in a linen tunic, stands and nurses at her breast. Colored naturalistically. In a contemporary Tabernaclolo frame of molded, carved, painted and gilded wood. It has a round arch flanked and surmounted by volutes and honeysuckle ornaments and supported on two pilasters with acanthus-leaf capitals and fluted and astragalled shafts. The base is molded and inscribed, in Roman letters, with a nearly ef- faced Latin inscription, and an apron of voluted acanthus leaves enclosing a shield. Height, 33 inches; width, 24 inches. 2 Se ee RR RUM E tReet eee Ud Blan ee a DESIDERIO DA SETTIGNANO x 1427—1485 \ 339—FIrreENTtH CENTURY FLORENTINE CoLoRED Stucco Bas- RELIEF Rectangular tablet, modeled, in low relief, with a three-quarter- length figure of the Virgin in red robe girdled at the waist, blue mantle and linen head veil, seated and holding on her left knee, her left hand clasping His waist, her right hand holding His feet, the Child Christ, who is clothed in swaddling-bands.. Col- ored naturalistically. In a contemporary molded, carved, painted and gilded wood Tabernacolo frame. On molded base, with dentelled and egg and dart carved apron. Height, 49 inches; width, 31 inches. A marble bas-relief by Desiderio, closely resembling this stucco, was recently sold by the Hospital*of the Sta. Maria Nuova to M. Foulc of Paris. ANTONIO ROSSELLINO 1427—1490 340—FIFTEENTH CENTURY FLORENTINE CoLoRED Stucco Bas- RELIEF Rectangular tablet, modeled, in low relief, with a three-quarter- length figure of the Virgin in red robe and blue hooded mantle seated in a chair and holding on her lap, with both hands, the Child Christ, undraped and wearing a necklace with a cross as pendant. Enclosed within a round-arched niche with two Romanesque pilasters with paneled shafts, the arch having in raised Roman letters an “AvE MARIA” inscription and the span- drels being filled with a scrolled ornamentation colored nat- uralistically. In contemporary Tabernacolo frame of molded and painted wood. Molded cornice, with frieze supported on Doric pilasters and inscribed in Roman letters, “Quos OMNES QUI TRANSITIS PER vIAM, &c” (“It it nothing to you, all ye that pass by? Behold and see if there be any sorrow like unto my sorrow.” Lamentations, i. 12). Molded base with plinth inscribed, “Ploravit in nocte, &c.”’ Height, 31 imches; width, 201% inches. This stucco is of somewhat exceptional interest owing to its unusual state of preservation. Time has merely mellowed the coloring, and Signor Bardini is responsible for the statement that it has never been cleaned, much less retouched. (Illustrated) No. 340—FirreentaH Century Fiorentine Contorep Stucco Bas-RELIEF LUCA DELLA ROBBIA 1400—1481 341—FirreENtH CENTURY FLORENTINE COLORED 'TERRA-COTTA BaAS-RELIEF Rectangular tablet, modeled, in low relief, with a small three- quarter-length seated figure of the Virgin clothed in a red robe and blue mantle and with bare head, the hair braided over the forehead and knotted behind. Her face is in profile, looking toward the right and regarding with interest the undraped Child Christ, whom she holds in her arms as He stretches forward, ~ extending both arms as He seizes a stem of lilies. In the origi- nal 'Tabernacolo frame of molded, carved, painted and gilded wood. Molded cornice, plain frieze supported on two fluted pilasters with Gothic capitals, and molded base, the plinth with a Latin inscription in Roman characters. Height, 36 inches; width, 26 inches. This is a terra-cotta study for the celebrated “Madonna of the Lilies” in glazed terra-cotta by Luca della Robbia which is now in the Church of St. Andrea Rovezzano, and hence is generally known as the Rovezzano Madonna. Another version is in the Quincy A. Shaw Collection in Boston and another in the Liechtenstein Collec- tion in Vienna. Illustrated in Dr. Bode’s ‘Florentine Sculpture of the Renaissance,” p. 108. (Illustrated) No. 341—Fiereentu Century FiLorentinE Conorep 'TERRA-COTTA BASs-RELIEF LUCA DELLA ROBBIA 1400-——1482 342— FIFTEENTH CrnTURY FLORENTINE CoLorED Stucco Bas- RELIEF Round-arched tablet, modeled, in low relief, with a three-quar- ter-length figure of the Virgin in a red robe, her head hooded with a long, flowing veil. She is standing with her head turned to the right and bent over with an expression of maternal solici- tude toward the face of Christ, whom she guards with her right hand, caressing His hair with her left. Undraped, save for a short skirt of fine linen, He stands supporting Himself with one hand laid on His Mother’s breast. His face is turned toward the spectator. Colored naturalistically. In a contemporary carved, molded, painted and gilded wood frame with round- arched top flanked and surmounted by voluted acanthus leaves and rimmed palmettes. Molded base and apron. Height, 38 inches; width, 29 inches. (Illustrated) nr CoLorEep Stucco Bas-RELIEF TuRY ELORENTIN No. 342—FIrTEENTH CEN ANTONIO ROSSELLINO 1427—1490 343—FIFTEENTH CENTURY FLORENTINE CoLORED Stucco Bas- RELIEF ») Modeled, in low relief and without background, with a half- ~\) length figure of the Virgin with long curling hair, the head in- clined to the left and looking downwards with a pensive ex- pression, holding in her arms and clasping with both her hands the Child Christ, who reclines in a seated position against her right arm. The figures are on a square molded base, the front modeled with a festoon of fruits and leaves flanked by cherubim and the broken angles surmounted by spheres. Colored natural- istically. In original molded, carved and gilded wood Taber- nacolo frame. Pointed molded and dentelled pediment and cornice with plain frieze, supported on two pilasters with pan- eled shafts and Composite capitals. On molded base with molded apron. Tabernacle: Height, 55 inches; width, 40 inches. Stucco: Height, 26 inches; width, 21 inches. This stucco, in Signor Bardini’s opinion, served as a model for the terra-cotta now in the Berlin Museum, which is a tenth smaller in every direction, due to the shrinkage of the clay when baked. (Illustrated) FIrreEntH Century FLORENTINE COLORED Srucco BAs-RELIEF No. 343 SIENESE SCHOOL FIrTtTEENTH CENTURY 344—FIFTEENTH CENTURY SIENESE COLORED Stucco BAS-RELIEF : Rectangular tablet, modeled, in low relief, with a half-length figure of the Virgin in red robe and blue mantle draped over her head, seated and embracing the undraped Child Christ, who sits and with one hand arranges the folds of His Mother’s mantle. Above is a cherub with outstretched wings, and below, a base modeled in relief with a cherub and two putte hold- ing escutcheons. Colored naturalistically. Im contemporary molded, carved, painted and gilded wood Tabernacolo frame having a triangular pediment with painted tympanum, molded and dentelled cornice, frieze carved in relief with ox-skulls and festoons of laurel leaves supported by two fluted pilasters with Composite Corinthian capitals. Molded base carved with water leaves. Height, 46 inches; width, 26 inches. (Illustrated) Sac role AFG REN TONG RAR PRN aaa seis 2 Sk ad ek Sd ian tae iw iar wow'ee ie Hy Woe WOME ama No. 344——-FirTEENTH CENTURY SIENESE CoLtorEp Stucco BaAs-RELIEF FRANCESCO DI GIORGIO 1439—1506 345—FirreentoH CENTURY SIENESE CoLoreD Stucco BAS-RELIEF oo Round-arched tablet, modeled, in low relief, with a three-quar- ter-length figure of the Virgin in a loose robe with full sleeves, her head hooded with a flowing veil. Her face, seen in profile and looking downward, is turned toward the Child Christ, whom she holds in her arms. He is undraped, and is laughing in child- ish glee as He grasps with one hand a fold of His Mother’s veil. Colored naturalistically. In original molded wooden frame, with arched top and molded base and apron. Height, 88 inches; width, 23 inches. Francesco di Giorgio Martini, architect, engineer, sculptor and author, was a pupil of I] Vecchietta and gained his chief celebrity as a sculptor by the two bronze angels on either side of Il Vecchietta’s taber- nacle in the Cathedral at Siena. | (Illustrated) No. 345—Firreentu Century SieNESE COLORED Srucco BaAs-RELIEF DONATO DE’ BARDI--DONATELLO 1383—1466 346—FIrreEENtH CENTURY FLORENTINE CoLoRED Stucco Bas- RELIEF Round-arched tablet, modeled, in low aetey with a half. length life-size and seated figure of the Virgin dressed in a red robe with tight-fitting sleeves and a blue mantle which serves also as a hood, holding on her lap with one arm the Child Christ, who, undraped, leans His chin upon His right hand. His left hand rests on the outstretched left hand of His Mother. Both Ma- donna and Child have gilded haloes. In molded frame of stucco. Colored naturalistically. Height, 82% inches; width, 2144 inches. This bas-relief is especially prized by Signor Bardini, who con- siders it not only an original work of the great master, but as favorably comparing with the similar example in the Victoria and Albert Museum, South Kensington, and in the Liechtenstein Collection in Vienna, as well as that in the Berlin Museum referred to by Dr. Bode in his “Floren- tine Bildauer der Renaissance,” p. 104. (Illustrated) 2 BI unm pear RELIEF xtu CEentURY FLORENTINE CoLorED Stucco Bas No. 346—FiF TEE SPERANDIO MAGLIOLI DA MANTUA 1425—1500 347—F rTEENTH CrentuRY MANTUAN CoLoRED Stucco BAS-RELIEF BY SPERANDIO Rectangular tablet, modeled, in high relief, with a three-quarter- length figure of the Virgin in loose robe with full sleeves, her head hooded with a close-fitting veil. Her head is inclined slightly to the left and she gazes with downcast eyes and an expression of sad foreboding at the Child Christ, whom she holds in her arms. He has curly hair, is clothed in a loosely fitting tunic and holds His right hand uplifted in the act of benediction. ‘The figures are on a base, the front modeled with a cherub with outstretched wings flanked by two other cheru- bim. Colored naturalistically. In the original Florentine 'Tab- ernacolo frame of molded, carved, painted and gilded wood. Pointed molded pediment, the tympanum occupied by a painted Sanctus Spiritus Dove, with molded cornice and frieze painted with three circular medallions enclosing figures of Saints, sup- ported on two fluted pilasters with Composite capitals. Molded base, with plinth painted with a Latin inscription in Roman let- ters, and molded and painted apron. By Sperandio Maglioli da Mantua: (1425-1500). : Tabernacle: Height, 6 feet 4 inches; width, 34 inches. Stucco: Height, 30 inches; width, 18 inches. The validity of the attribution of this stucco to Sperandio must be obvious to those who compare it with the terra-cotta monument by Sperandio in the Church of St. Domenico, Bologna. (Illustrated) No. 347—Firreenty Century Manruan Conorep Stucco BAs-RELIEF BY SPERANDIO SCHOOL OF SIENA FIrrEENTH CENTURY 348—FirreENTtTH CENTURY SIENESE COLORED Stucco BAS-RELIEF nN Rectangular table, with semi-octagonal top, modeled, in low & / relief, with a figure of the Virgin in red robe and blue mantle \y and with bare head. She is standing and clasping with caressing fervor the undraped Child Christ, whom she carries in her arms, her face seen in profile looking to the right, turned toward Him as though in listening adoration. He clasps His Mother’s neck with His left arm and turns His face toward the spectator. Colored naturalistically. In contemporary molded wooden frame. Height, 20 inches; width, 16 inches. (Illustrated) ucco BAs-RELIEF E CoLoreD ST ES SIEN TURY No. 348—FirreentH CEN _ LUCA DELLA ROBBIA 1400—1482 - 349—F irTeentH CENTURY FLORENTINE Stucco | Rectangular tablet, modeled, in low relief, with a figure of the Virgin in red robe and blue mantle over her head, ne with both a ee Height, 284, renee width, 4 ( Mlustrated) a a AM % e be - > é y es * ae x oa = ale ry a ) Fs =< EF ‘ Wr y FLorENTINE Stucco Bas-RELIE 3849—FirTrrEENTH CENTUR No : ¥ wt? a aN nets te es SPERANDIO MAGLIOLI 1425—1500 350—SIXTEENTH CENTURY MANTUAN TERRA-COTTA BAS-RELIEF 4) Round-arched niche; the arch, with shell background and span- £’~ drels occupied by cherubim, is supported by plain pilasters with molded capitals. The niche is occupied by a subject, modeled in low-relief, of “The Resurrection.” Christ, partially robed in a flowing garment, kneels on the tomb, holding in His left hand a cross and holding up His right in the act of benediction. Below is seen the figure of a Roman centurion asleep and lean- ing against the tomb. Painted in white to simulate marble. In a molded, painted and gilded Tabernacolo frame with molded and dentelled cornice and frieze painted with a meander pat- terning, supported by two Doric pilasters, their shafts painted with arabesques proceeding from urn-shaped vases. Molded base painted with rosettes, and apron with voluted and scrolled acanthus leaves enclosing a shield charged with a coat-of-arms. Painted white. Height, 33 inches; width, 161% inches. Sperandio was one of the greatest medallists of his time, as is evidenced by the surprisingly able manner in which he has handled this composition within the limits of so confined a space. The same treatment appears in the monument by Sperandio now in the Church of S. Francisco at Bologna. (Illustrated) No. 350—SiIxTEENTH CENTURY Mantuan Terra-corTta BaAs-RELIEF ) DONATO DE’ BARDI (DONATELLO) 13888—1466 351—F iv reENTH CENTURY FLORENTINE COLORED 'TERRA-COTTA Bas- RELIEF Three-quarter-length figure of the Virgin, modeled in low relief. Seen in profile, with the head turned to the left, the Virgin, who is clothed in a gold robe brocaded with red, and a blue mantle with trimmings of unusual richness, the most prominent of which is a broad band embroidered on a gold ground in red with conventional cherubim at regular intervals, holds with both finely modeled hands the Child Christ, dressed in a linen gar- ment dotted with gold and banded with red, arranged after the fashion of the swaddling clothes then the fashion in Italy. He presents His full face to the spectator and His childish features are composed into an expression of foreboding melancholy. In the background are two cherubim with smiling children’s faces and red-feathered wings. In a very richly decorated, slightly restored T'abernacolo frame of molded, carved, gilded and painted wood. It has a round-arched opening, the molding en- riched with egg and dart carving and the finial formed of two voluted acanthus leaves surmounted by a fan-shaped ornament. At either side are pilasters with molded console capitals and shafts carved in low relief and painted with clustered acanthus- leaf pendants. The base is molded and carved and the bracket apron formed of scrolled acanthus leaves enclosing an oval panel painted with a figure. Upper part restored. Measurement of the Bas-relief: Height, 35 inches; width, 28 inches. Few of the sculptors of the Italian Renaissance so impressed his own and succeeding generations as did Donatello. His work, indeed, as astonishing in the extent of its output as in its surpassing beauty, is typically representative of his school and epoch. The Madonna here under consideration possesses supreme interest, for while the face of the Madonna herself is strangely attractive by reason of its very un- usualness, the two cherubim sum up for us the whole spirit, half-Pagan, half-Christian of the Italian Quattrocento, while the face of the Christ with its weird foreboding of pain and sorrow inevitably stamps the work as being that of the master himself. (Illustrated) No. 351—Firreentn Century Fiorentine CoLorep ‘TERRA-COTTA Bas-RELIEF 352——Firreentu CENTURY FLORENTINE CoLorep Stucco Bas- RELIEF Tondo-like circular medallion, modeled, in low relief, with a F\ \)* three-quarter-length figure of the Virgin in a red robe and blue mantle and with bare head. She sits with her hands in her lap, her face in profile, looking toward the left, gazing with ma- ternal solicitude at the Child Christ, who les undraped before her, His face turned toward the spectator and His right hand raised in the act of benediction. Colored naturalistically. Kn- closed in a border modeled with cherubim with outstretched wings, symmetrically disposed. Diameter, 231% inches. (Illustrated) BENEDETTO DA MAIANO 1442—1498 353—F irrrentuH Century FLORENTINE CoLoRED TERRA-COTTA Ma- DONNA BY BENEDETTO DA MAIANO Three-quarter-length standing figure of the Virgin in red robe and blue mantle, her head hooded by a white linen veil. She on holds in her arms the Child Christ, whose head, with a profusion OD of curls, is thrown back as though in contemplation. His right \ V/ hand is raised in the act of benediction. Both Mother and Child ay are haloed. Colored naturalistically and placed in a tondo frame of glazed terra-cotta and of the della Robbia school of the fifteenth century. The glazed terra-cotta frame, of the period of Andrea della Robbia, consists of a wreath of fruits and leaves, in their natural colors, with an inner border, in white, of egg and dart ornament and an outside border of imbricated patterning. : Height of figure, 37 inches; diameter of frame, 54 inches. This bas-relief is so much larger than the marble it closely re- sembles, of the Tornabuioni monument in Sta. Maria Novella, that Signor Bardini deems it to be a study by the artist for the marble which exigencies of architectural space forced him to make smaller. (Illustrated) . a U7 ny . * ; BENEDETTO DA MAIANO 1442—1498 354—FIFrTEENTH CENTURY FLORENTINE CoLoRED Stucco Bas- “A RELIEF Rectangular tablet, modeled, in low relief, with a three-quarter- length figure of the Virgin in red robe, blue mantle and wearing a white linen veil. She holds in her arms the Child Christ, who, undraped save for a fold of linen, lies upon a tasseled cushion and nurses at His Mother’s breast. The Virgin gazes down at her Child in loving and maternal adoration and He looks up at her in childlike trust and confidence. Colored naturalistically. In the original Tabernacolo frame of molded, carved, painted and gilded wood. Molded triangular pediment, with a carved, bearded and haloed head of God the Father occupying the tympanum; molded cornice and frieze painted with a circular medallion enclosing the sacred monogram and flanked by scrolled leaves; supported on two fluted pilasters with Roman- esque capitals. Molded base; plinth with an “Ave MARIA” in Roman characters and molded apron. Height, 50 inches; width, 28 inches. (Illustrated) tucco BAs-RELIEF S ED E CoLoR FLORENTIN No. 354—FirrEENTH CENTURY DONATO DE’ BARDI (DONATELLO) 1383—1 466 355—FirrEENtH CENTURY FLORENTINE COLORED Stucco BaAs- RELIEF Rectangular tablet, modeled, in low relief, with a half-length figure of the Virgin in red robe with blue mantle and linen veil, her face in profile turned toward the right, with hands brought together in front of her, adoring the Child Christ, who sits, draped in swaddling clothes, on a small chair in front of her. Colored naturalistically. In the original Tabernacolo frame of molded, carved, painted and gilded wood. ‘Triangular pedi- ment, the tympanum occupied by a Sanctus Spiritus Dove in high relief, with molded cornice, and frieze carved with two cherubim and catenaries, supported by two fluted pilasters with pointed-leaf capitals. On molded base, the plinth painted in Lombardic characters with an “Ave Maria” flanked by es- cutcheons charged with the coat-of-arms of the Medici family. Molded apron. Height, 51 inches; width, 29°4 inches. A careful study of this stucco will suggest, according to Signor Bardini, that it must have been the model on which was based the famous bronzed terra-cotta now in the Victoria and Albert Museum at South Kensington. ([llustrated) on EN I - Sigh eels RMP Ramee ier coe panne i ter AC Ri PA aT tht eMac tenmmeem Fe No. 355—Firreentu Century FLorentineE CoLorep Srucco Bas-RELIEF pa NB Wad ANTONIO ROSSELLINO SEN 2 he 2 / 1427—1490 356—F irTEENTH CENTURY FLORENTINE MapoNNA AND CHILD IN CoLorEeD Stucco Bas-RELIEF Rectangular tablet, modeled, in low relief, with a three-quarter- length figure of the Virgin in a red robe and blue mantle, her head covered by a thin veil. Seated and regarding with face turned to the right and with a dignified calm the Child Christ, who, in a white tunic with red girdle, is seated on her knee clasping in both hands a bird, at which He looks with childish glee. On either side, in the background, is modeled a “candeli- eri” decoration of vases festooned with ribbons and supporting a floral festoon. Original coloring. In original Tabernacolo frame of molded, carved, painted and gilded wood. Pointed pediment, with molded and dentelled cornice and plain frieze supported on two fluted pilasters with acanthus-leaf and shell- carved capitals. Molded base, the plinth painted with an “avr MARIA” Inscription in Roman lettering, and molded apron. Height, 55 inches; width, 30 inches. (Illustrated) CHILD IN AND NNA Mapo NE I NT TuRY FLoreE ED Sr o B + a EENTH CE No. 3856—Firr a CLIEF 4 AS-RE ) ICC ‘OLOR fa ANTONIO ROSSELLINO 1427—1490 357—F ivrkeENtH CrntTURY FLORENTINE CoLorED Stucco Bas- RELIEF Rectangular tablet, modeled, in low relief, with a three-quarter- length life-size figure of the Virgin’in red robe, blue mantle and linen veil, seated, looking to the left and regarding, with down- cast eyes and an expression of maternal solicitude, the Child Christ, who, clad in a purple tunic, sits on her lap, supported by His Mother’s hand, which clasps His shoulder. On either side, in the upper background, is an Angel in green robe with red wings adoring, with folded hands. Traces of original col- oring. In original Tabernacolo frame of molded, carved, painted and gilded wood. Pointed pediment, with molded cornice and frieze decorated with three cherubim, modeled in papier-maché and separated by catenaries tied with scrolled ribbons, supported on two fluted pilasters with Corinthian capitals. Molded base, the plinth flanked by modeled escutch- eons, with molded apron. Height, 55 inches; width, 30 inches. Signor Bardini considers this the most beautiful of all the Ma- donnas modeled by Antonio Rossellino. (Illustrated) No. 857—Firrrentru Cenrury FuoreNtINE CoLtorep Stucco Bas-revier GIOVANNI PISANO 1250—1829 358—THIRTEENTH CENTURY PisAn CoLorED Woop FIGuRE Full-length standing figure of the Virgin, wearing a trefoiled crown over a linen veil, a red robe and blue mantle. She sup- ports, on her left arm, the partially draped figure of the Child Christ, while raising her right hand and bending her head as though to listen to His childish prattle. He, on His part, looks into her gentle, calm face with a delightful air of confidence. His right hand is raised as though to attract His Mother’s at- tention, while He rests the left on His knee. His little bare right foot is bent downward in a surprisingly natural attitude. Colored naturalistically and gilded. On circular wooden base and an octagonal molded stand. Height, 53 inches. The son of Nicola Pisano, that greatest of Italian mediaeval sculp- tors, Giovanni, as well as Arnolfo di Cambio and others, pupils with him of his father, carried from Pisa into other parts of Italy that revival of the art of sculpture for which Nicola was chiefly responsible. Siena, Padua and Pistoja are enriched by examples of his skill. This statue betrays the strong influence of the antique works of art the Pisani studied to such advantage. (Illustrated) No. 358—TuirTEENTH CENTURY Pissn CoLorEeD Woop Ficure GLAZED TERRA-COTTAS BY THE DELLA ROBBIA FAMILY GIOVANNI DELLA ROBBIA \y Pa SIXTEENTH CENTURY 359—SIXTEENTH CENTURY FLORENTINE GLAZED ‘TERRA-COTTA TABLET Shaped tablet, glazed white with painted inscription paneled in Roman characters, “D. PE'T. M.,” surmounted by a triple loop of ribbons, branches of acanthus and a shell and with an apron of a cherub with outstretched wings within a festoon of fruits and leaves. ‘Tablet and cherub glazed in white, the rest in nat- ural colors. Height, 23 inches; width, 18 inches. wy “ DELLA ROBBIA FAMILY J/\ SIXTEENTH CENTURY 360—-SIXTEENTH CENTURY GLAZED TERRA-COTTA FIGURE Half-length figure of an angel, shown as a woman with long curling hair and pointed diadem, with wings, clothed in a sleeve- less tunic girdled with knotted ribbon and holding on the right arm a stem of lilies. On a base formed of clouds. Left arm missing. Glazed in natural colors with portions left unglazed. Height, 21 inches. The admirable figure, according to Signor Bardini, was modeled by the member of the della Robbia family who made the famous frieze on the front of the Hospital of Pistoja. me LUCA DELLA ROBBIA 1400—1482 361—SIxTREENTH CrntTURY FLORENTINE GLAZED 'TERRA-COTTA ge? MeEpaALLion <0 Circular medallion, modeled in low relief with a shaped shield charged with a coat-of-arms ona blue ground consisting of a field argent with a bend or, mantled with a scrolled yellow rib- bon. Enclosed within a frame of wreath of fruits and leaves. glazed in their natural colors. Diameter, 191% inches. (Illustrated) LUCA DELLA ROBBIA 1400—1482 362—FIFrTEENTH CENTURY FLORENTINE GLAZED ‘TERRA-COTTA MEDALLION :. Circular medallion, modeled on a blue ground with the emblem BF, of St. Lawrence, a purple gridiron surmounted by two yellow ears of wheat and a white floriated cross. Enclosed within a frame having an inner border of egg and dart patterning glazed white, surrounded by a wreath of fruits and leaves banded with ribbons. Glazed in natural colors. Diameter, 28 inches. (Illustrated) LUCA DELLA ROBBIA 1400—1482 363—FIrTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA MEDALLION A) Circular medallion, modeled, in low relief, with a shaped shield AN charged with the coat-of-arms of the della Robbia family, party \ per fesse argent, a cross crosslet, three daggers displayed, surrounded by a wreath of acorns and leaves. Enclosed within a frame of a wreath formed of alternate sections of fruits and leaves and pine cones and needles glazed in their natural colors. Diameter, 251% inches. (Illustrated) 361 363 YL A Via \ 4 > be \ LUCA DELLA ROBBIA > 1400—1482 f \ \ 364—F rtrentH Century FLorentTiInr GLaZzep 'TERRA-COTTA MEDALLION Circular medallion, modeled in very low relief, with a circle containing the Sacred Monogram (I.H.S.) combined with a cross, and surrounded by pointed alternate straight and spiral rays in yellow on a blue ground. Enclosed within a frame of a wreath of fruits and leaves banded with ribbons on a white ground. Glazed in natural colors. Diameter, 25 inches. (Illustrated) DELLA ROBBIA FAMILY SIXTEENTH CENTURY 365—SIXTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA y MEDALLION > Circular medallion, modeled with a shaped shield, glazed blue on a green ground and charged with the emblem of St. Anthony, a hand resting on a crutch, and mantled with a scrolled and tasseled ribbon. Enclosed in a frame having, on a white ground, a wreath of bunches of fruits and fir-cones tied with scrolled ribbons. Glazed in natural colors. Diameter, 29 inches. This and the following medallion came from a monastery near Florence. (Illustrated) DELLA ROBBIA FAMILY SIXTEENTH CENTURY 366—F IFTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA MEDALLION Circular medallion, modeled with a shaped shield glazed in blue and charged with the emblem of St. Francis, two crossed hands showing the stigmata below a floriated cross in white, purple and yellow. Enclosed within a frame formed of a wreath of fruits and leaves on a white ground naturalistically colored. Diameter, 301% inches. (Illustrated) LUCA DELLA ROBBIA 1400—1482 367—FirreentH CrEnturY GuLaAzep TErRA-corraA PortTRAIT MEDALLION Circular medallion, modeled with the bust portrait of a Roman Emperor shown as a young man with a wreath of laurel tied with scrolled ribbons. Glazed in white, with a blue background and enclosed in a frame of glazed terra-cotta modeled with a wreath of fruits and leaves glazed in their natural colors. Diameter, 28 inches. The admirable modeling of this bust, so Signor Bardini asserts, cannot fail to give assurance that it is the work of Luca himself. (Illustrated) ANDREA DELLA ROBBIA 1437—1528 368—l'trrEENTH CENTURY GLAZED 'TERRA-COTTA PORTRAIT MEDALLION 3 Circular medallion, modeled with a bust portrait, in the antique style and glazed in white, of a bearded man of middle age look- ing downwards and wearing a toga with an under tunic. En- closed in a frame of glazed terra-cotta modeled as a wreath of fruits, flowers and leaves glazed in their natural colors. ‘The background to the bust is of wood. — Diameter, 31 inches. (Illustrated) ANDREA DELLA ROBBIA 1437—1528 ,869—FIFTEENTH CENTURY GLAZED ‘TERRA-coTTA PorTRAIT MEDALLION 71) Circular medallion modeled with a portrait bust, in the antique style, of a man shown in full face wearing an under tunic and with a toga draped around his shoulders. Glazed in white with a blue background. Surrounded by a glazed terra-cotta frame of a wreath of fruits, flowers and leaves glazed in their natural colors. Diameter, 34 inches. (Illustrated) GIOVAN NI DELLA OEE ee iE 469-1529 370—F ourTEENTH CENTURY ae TERRA-COTTA B. ( Rectangular tablet. of terra. cotta, glazed in natural copy of Rossellino’s marble bas-relief of “St. Jer on: Desert. er There are a few eee oe the compositions are alles In terra-cotta white. , ; ee in the Chureh of Monte Oliveto 2 | (Mlustrated) San AG AER iit tt. Sirah higher EA 4 Set eran +i No. 870—FovrtTEENTH CENTURY GuAzeD. TERRA-coTTA BAsS-RELIEF GIOVANNI DELLA ROBBIA 1469—1529 871— FIrTEENTH CENTURY FLORENTINE GLAZED ‘TERRA-COTTA STATUE Standing figure of Judith, with long curling hair falling over her shoulders and dressed in a loose robe gathered over the hips and with the sleeves rolled up. In the left hand she holds by the hair the decapitated head of Holofernes. Her right arm is uplifted. On circular base, lettered “supitT,”’ and square molded pedestal, the sides enriched with festoons of flowers and fruits and with cherubim. The figure glazed in white, the pedestal in white and colors. Right arm missing. Height, 42 inches. Signor Bardini directs attention to this statue as being of excep- tional artistic value. During the Decadence, the followers of the Della Robbias frequently copied this subject, but their copies entirely lack the brilliancy of the glaze and the admirable modeling shown in this example. \\ ANDREA DELLA ROBBIA 1437—1528 372— FIFTEENTH CENTURY GLAZED TERRA-COTTA BAS-RELIEF IN ITS ORIGINAL TABERNACOLO FRAME (yO Round-arched tablet, modeled with three-quarter-length figure of the Virgin in robe confined at the waist with a knotted girdle and hooded mantle fastened at the neck with a cord and buttons. She is standing with her head, seen in three-quarter view, in- clined to the left, the features surcharged with an expression of pensive melancholy. Her left hand holding His left ankle and her right hand clasping His body, she supports the un- draped standing Child Christ, who has His left arm thrown around His Mother’s neck and holds in His right hand a bird. His full face is turned to the spectator, at whom he gazes with an air of Divine dignity. The background is diversified with horizontal bands of clouds, while above are three cherubim, one with outstretched and two with folded wings shown with the faces of smiling care-free children. Mother and Child, as well as the three cherubim, have haloes. This exquisite tablet is placed within a Tabernacolo frame having an inner broad bor- der of seven cherubim with outstretched wings, some with smil- ing faces, some looking downwards with a pitying expression; the outer border is a molding of egg and dart patterning. Ona base of a double ogee molding, the upper member enriched with an acanthus leaf, the lower with an egg and dart patterning. The shaped apron is outlined by two curving fluted cornucopize with voluted terminations filled with fruits, and in the center is a cherub with halo and outstretched wings. Glazed in white with a blue background. Slightly restored. Height, 39 inches; width, 20 inches. Professor Allan Marquand of Princeton, acknowledged as a leading authority on the works of the Della Robbias, in his forthcoming volume [ No. 372—Continued | on Andrea della Robbia provisionally puts this Bardini Madonna in the decade 1490-1500. He also writes: ‘You make no mistake in at- tributing this Madonna to Andrea della Robbia.” In his “Della Robbias in America” (Princeton, 1912), Professor Marquand points out (pp. 35-36) that the similar Madonna in the Quincy A. Shaw Collection (recently presented to the Boston Museum of Fine Arts) is evidently based on the “fine relief” by- Andrea in the Church of St. Egidio, con- nected with the Hospital of Santa Maria Nuova, Florence, and that both, though later, are not far removed from Andrea’s relief in the Church of St. Gaetano. It may be mentioned that another similar relief, illustrated on page 108 of Cavallucci and Molinier’s “Les Della Robbia,” Paris, 1884, is No. 7547 in the Victoria and Albert Museum, South Kensington. It is there assigned to Andrea della Robbia, but has an entirely different, and much more commonplace, frame. — (See Frontispiece) ANDREA DELLA ROBBIA 1437—1528 373— SIXTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA TAB- ERNACOLO FRAME » Shaped architectural frame, with semicircular pediment flanked and surmounted by rosettes and honeysuckle ornaments. The molding is enriched by an acanthus-leaf border and ro- setted fascia and encloses a fluted shell-shaped ornament super- imposed on which is a monstrance, while at the right stands an undraped putto, with hands clasped in adoration. The molded cornice, with enriched members and fluted frieze, is supported by two pilasters with voluted capitals of differing designs and shafts with plain panels enclosing pendants of fruits and leaves supported by knotted ribbons. Molded base and pear-shaped apron, enriched with acanthus-leaf scrollings, large blossoms and a shaped shield charged with the arms of the Borgia family, and surmounted by a Bishop’s mitre. Glazed in natural colors. Height, 58 inches; width, 19 inches. (Illustrated ) No. 373—SIxTEENTH CENTURY FLORENTINE GLAZED Terra-corra TABERNACOLO FRAME GIOVANNI DELLA ROBBIA 1469—1529 374—SixTreENTH CENTURY GuLazED TERRA-coTtA ARMORIAL MeEpDALLION Circular medallion, modeled with radiating shell-like flutings, — having in the center a shaped escutocheon charged with the arms of a Florentine family (a rampant lion), surrounded by - a scrolled ribbon with tasseled ends. Enclosed in a frame with inner border of egg and dart patterning glazed white and sur- rounded by a wreath of fruits, flowers and leaves. All glazed in their natural colors. Diameter, 76 inches. STONE AND MARBLES yor the Thirteenth, Fourteenth, Fifteenth, Sixteenth and Seventeenth Centuries \4 375—F IrTEENTH CrenTuRY IstrIAN STonE Lion fe Marzocco. Formed as a heraldic sejant lion with conventional- ized mane massively curled. ry Height, 1 foot 8 inches. YY Sf, This lion represents a Marzocco, the emblem of the City of Florence, as the Lily was its Coat-of-arms. It was formerly a decora- ‘tion of the famous Loggia dell’ Orcagna in the Square of the Signoria, Florence, as the illustration, taken from a photograph, shows. f MG, © Yates (Illustrated) a i} O : fom nn fe : bar eraires CenTURY Pisan Carvep MarsiE Eacie Portion of a lectern or pulpit, formed as a standing eagle with head thrown back in a defiant attitude and outspread wings sup- y} Vv porting on its back an octagonal slab of marble to serve as a book support. On flat sloping marble base. Height, 2 feet 4 inches. This eagle formerly served as the desk of a lectern in one of the ’ churches of Pisa. (Illustrated) 377—THIRTEENTH CENTURY BYZANTINE MARBLE STATUE Figure of St. Augustine, in Bishop’s vestments with embroid- y (0 ered orphrey, wearing a mitre and seated on an ecclesiastical [ throne having spirally fluted columns as side supports. On his. lap is an open book held with his left hand. The right arm is msising. A Latin inscription is incised on the right side. Height, 26 inches. This statue was found in the Abruzzi town of Aquila. _ (Illustrated) BRE 4 } . i “ 378—FIrrEENTH CENTURY ITALIAN MARBLE PEDESTAL Square shaft, flanked by octagonal columns with voluted capi- tals supporting paneled pilasters, with insets of marble inlay, above which is a broken molded cornice. Between the pilasters are molded Gothic trefoil arches and between the columns panels of gilded and colored glass mosaic inlay in a diapered pattern of, six-pointed stars. Broken molded base and square pedestal. Height, 30 inches; width, 12 mches. (Illustrated) 379—FourRTEENTH CENTURY ITALIAN CARVED STONE PEDESTAL Cylindrical shaft, carved with the full-length figure of a bearded apostle in classic robes with bare feet and the right hand raised breast high in the act of benediction. The capital is carved with volutes and a shield-shaped stemma or coat-of-arms of the Rovere family supported by a winged cherub, below a molded abacus. Molded base on square pedestal, with tongue-shaped leaves occupying the angles. Of Istrian stone. (Illustrated) Height, 3 feet 4 inches. 3880—FouRTEENTH CENTURY IsSTRIAN STONE COLUMN Shaft formed of three clustered spirally fluted cylindrical col- umns carved at the top with scrolled acanthus leaves. Capital missing. Molded base and square pedestal, with tongue-shaped leaves occupying the angles. Height, 3614 inches. (Illustrated) 381—-Roman Parian Marpirrt Heap (Second century B.C.) \ cy \7 Head of a man with curling hair and beard, close-fitting cap and fillet with laurel-leaf pendants. On molded cylindrical pedestal. (Fractured. ) (Illustrated) Height of head, 25 inches. 382—First Century Roman Pentretic MarsptE PEDESTAL Square tapering shaft carved in front in high relief with bust of a smiling youthful Hercules crowned with fruit and leaves and carrying over his right shoulder a knotted club, and at the side with voluted and square projecting brackets. Molded abacus, molded base and square pedestal. (Illustrated) Height, 2 feet 8 inches. 377 375 376 383—THirTEENTH Century ITALIAN MARBLE FIGURE Figure of a bearded saint dressed in on ecclesiastical vestment with many conventional folds. The right hand is raised up- \/> wards and rests on his breasts, while the left supports a square 7 book or chalice cover. Height, 2 feet. (Illustrated) 384—FourTEENTH CENTURY IsTRIAN STONE COLUMN / Shaft formed of four clustered and spirally fluted columns hay- Ugee a ing carved human masks at their upper intersections below a “ xX ‘~~ molded abacus. Molded base and square pedestal. Height, 4 feet. (Illustrated) ( 385—Tuiereente Century Iranian Marsite Cotumn Spirally twisted shaft, the twists turned vertically in the center. The capital, of earlier date, is carved, in high relief, with a grotesquerie of a dragon devouring another mythical animal below a molded abacus. High base, also of earlier date, carved with a winged gryphon, holding in its claws a grotesque fem- inine bust. ‘The molded base is enriched with acanthus-leaf {3 carving. %? Height, 68 inches. * : (Illustrated) \ if { 386—FIFTEENTH CENTURY ITALIAN STONE CoLUMN XX << Shaft spirally twisted, boldly molded and fluted with circular Bee ENS. molded abacus-like capital, molded base and cylindrical pedes- tal. Of sandstone. . Height, 48 inches. y 13 4 This column came from a Confraternity Church of Arezzo in \A .~ .vV Tuscany. A? ome (Illustrated) i | \\* \ be —\) 887—THIRTEENTH CrnTURY ROoMANESQUE MarsLe CoLUMN Square shaft, decorated on all four sides with panels of meander patterning and yoluted leaves of Romanesque character. Square capital, carved with pointed leaves, volutes and spirals. \. Square molded base. Height, 47 inches. (Illustrated) 386 381 382 885 Pitt HORS 8 fame ser Sis ee a. ~ 388—FIFrEENTH CENTURY MARBLE PEDESTAL Plain shaft of Cipollino marble, molded capital and base, and square pedestal. Height, 62 inches. 389—Roman OrrentaL Marsir Pepestat (First Century A.D.) Plain shaft of variegated Persian marble, molded base and square pedestal. Height, 62 inches. This interesting example of “Fior di Persico” marble was found near Rome in the river Tiber. 390—SIXTEENTH CENTURY ITALIAN Marsie Lerrer Box FRONT Rectangular tablet with rounded corners, pierced in the center with aperture for letters flanked by crescented grotesques, ) masks or “mascheroni.” Below are the three bends of the coat- \ of-arms of a patrician family, while above is incised, in Roman letters, the inscription “QUI SI PONGONO LE LETTERE.” s\ Height, 22 inches; width, 14 inches. From a palace in the town of Pesaro. (Illustrated) BENEDETTO DA ROVEZZANO 1477—1552 391—SIXTEENTH CrenTURY FLORENTINE MarsLe TABLET Rectangular-shaped panel, originally forming a portion of a frieze. Carved in high relief with a Renaissance patterning of three masks surmounted by baskets of fruits and separated oF by rinceaux of acanthus leaves and flowers. Height, 91% inches; length, 7 feet 2 inches. This panel by Benedetto di Grazino, known as da Rovezzano, one of the most noteworthy ornamentists of the Renaissance, who spent some years in England, formed part of a monument the niches of which are now in the Bargello Museum. (Illustrated) 392-Seconp Century Roman Marsie Bas-RELIEF Rectangular-shaper panel, enclosed by a molded border and carved in low relief with a band of conventional waves and two mythical sea-monsters, one with a ram’s head and body and a dragon’s tail, and one with two winged snakes’ heads. The lat- ter draws by a cord a bowl in which stands a vase-shaped ewer. (Slightly repaired. ) Height, 601% inches; width, 20 wmches. (Illustrated) 393—SIxTEENTH CrentuRY ITALIAN Marple CoAtT-OF-ARMS Cs a) Rectangular tablet, carved in low relief with a shaped escut- cheon charged with a coat-of-arms (quartered with a two-headed eagle) surmounted by a helmet and the couped head of a soldier, with steel morion, holding a bodkin. ‘The helmet is mantled with drapery and tasseled acanthus leaves and sur- rounded by a label inscribed in Roman characters with a Latin inscription. Height, 25 inches; width, 22% mches. (Illustrated) 394—FIrTEENTH CENTURY ITALIAN MARBLE PAPAL COAT-OF-ARMS Rectangular tablet, carved with a wreath of oak leaves flanked by scrolled ribbons and enclosing a shaped escutcheon charged with the coat-of-arms of the Piccolomini family (a cross with five crescents) surmounted by the crossed Keys and Papal Tiara tied by an embroidered stole. This coat-of-arms is that of Enea Pio Piccolomini (Pius II), better known as Aeneas Sylvius, who was Pope from 1458 to 1464. (Slightly repaired.) Height, 25 inches; width, 401% inches. (Illustrated) 395—FIFTEENTH CENTURY ITALIAN Marsite Papat Coat-oFr-ARMS _Xectangular tablet, carved with a catenary of festoons of fruits tied with scrolled ribbons and with fruit pendants and with a shield charged with the coat-of-arms of the Piccolomini family (a cross and five crescents) surmounted by the Crossed Keys and Papal Tiara tied with an embroidered stole. This coat- of-arms is that of Enea Pio Piccolomini (Pius II), Pope from 1458 to 1464. Height, 41 inches; width, 25 inches. (Illustrated) 393 395 396—Roman Marsieé Bas-revier (Second century A.D.) oo Rectangular tablet, probably a portion of a sepuchral monu- ment. Chamfered upper corners, carved in low relief with en- twined rinceaux of acanthus leaves and flowers, which support, at either side, seated putti holding flaming cornucopiz. In the center is a square pedestal, surmounted by a fluted urn-shaped vase from which issue conventional flames. Height, 26 inches; width, 20 inches. (Illustrated) : SIXTEENTH CENTURY ITALIAN MARBLE PAPAL COAT-OF-ARMS Rectangular tablet, carved in low relief with a shaped escut- cheon charged with the coat-of-arms of the Medici family (five pellets and three fleurs-de-lis) , surmounted by the Crossed Keys and Papal Tiara tied with an embroidered stole, flanked by cir- cular rosettes, cords and pendent tassels. Below is carved “Firma Fides” (Constant Faith). This is the coat-of-arms of Giovanni de’ Medici (Leo X), Pope from 1518 to 1523. Height, 32 inches; width, 23 inches. (Illustrated) \ | Weer \y SixteentH Cenrury Iranian Marpie Papar Coat-or-arMs Rectangular panel, with molded border. Carved in low re- lief with a shaped escutcheon charged with the coat-of-arms of the della Rovere family (an oak tree), surmounted by the Crossed Keys and Papal Tiara, tied with an embroidered stole, and flanked by a scrolled ribbon. This coat-of-arms is that of Giuliano della Rovere (Julius IL), who was Pope from 1503 to 15138. Height, 4414 inches; width, 27% inches. (Illustrated) 396 399—FirreentH Century FLoreNTINE Lion Marzocco. Formed as a heraldic sejant lion with open mouth <| and conventionalized curled mane. On rocky base. Height, 1 foot 10 inches. Formerly a decoration of the Loggia dell’ Orcagna, Florence. JACOPO TATTI (IL SANSOVINO) 1477—1569 SIXTEENTH CrentTuRY FrorenTINE Marsie FIGuRE Nude figure of St. John the Baptist, with curling hair and beard, seated, with crossed legs, in the cleft of a tree trunk, +: around which and across his lap are thrown the folds of a skin BEY garment. At his side stands a lamb. On irregular rock base. ie oe 7 Portions of figure missing. 400 Height, 19 inches. DONATO DE’ BARDI (DONATELLO) 1383—1466 La 401—FiverrentH CENTURY FLORENTINE MAaArBLE ‘TABERNACOLO y APRON \ Triangular-shaped apron, carved with two voluted and fluted LALO scrolls enclosing two winged angels bearing between them a . chalice and holy wafer. Below are a shaped escutcheon charged with a coat-of-arms, and scrolled ribbons. Height, 22 inches; width, 32 inches. This apron is very similar to that of Donatello’s frame, containing a bronze statue by Verrocchio, in the Church of San Michele in Florence. MINO DA FIESOLE 1400—1485 402—F 1vTrenTH CentuRY MaArs_e Heap or St. JOHN THE BAPTIst Head of St. John the Baptist, shown as a bearded young man, thrown back with eyes looking upward and mouth slightly opened. The lifelike expression and attitude of his head are remarkable. On square molded wooden base painted with scrolled foliage, gilded and enriched by carving. Height, 18 inches. ITALIAN SCHOOL SIXTEENTH CENTURY 403--SIxXTEENTH CENTURY STONE PROFILE PortTRAIT 8 Rectangular panel, molded on three sides and occupied by a J/~ carving in low relief of the profile portrait bust, looking to the VAP © right, of the Roman Emperor Hadrian. He is shown with a /\ ‘/ short curling beard and mustache, curling hair confined by a IX knotted fillet, and wearing a loose-fitting toga and a “radiated” crown. Below is the inscription in Roman letters “apRIANUS AuGusTUs.” From the antigue. Height, 21 inches; width, 15 inches. ry FLORENTINE SCHOOL & FIrTEENTH CENTURY ry “V 404—F irtEeNTtTH CrentTuRY Marsie ProriLe Portrait Rectangular tablet, occupied with a profile portrait bust, look- ing to the left, of a young girl with wavy hair confined by two fillets, and a robe open at the throat and with a turn-over collar. In Tabernacolo frame of wood, with broken pediment, molded cornice and base and shaped apron. Height of marble, 11 inches; width of marble, 8 inches. FRANCESCO RAIBOLINI (IL FRANCIA) 1450 1517 405—F rTEENTtTH CentURY MARBLE Portrrarr Bust or Mino Rossi 4) ay Square panel, surrounded by raised molding with circular ro- settes at the angles and enclosing a circular medallion with molded frame carved with cable and bead and reel enrichments, /and enclosing a profile portrait, looking to the right, bust in high relief, of a young warrior with heavy waving hair. He wears a round silk biretta-like cap and a steel breastplate with chased, scrolled and shelled ornaments. The background is of colored marble. Height, 17 wmches; width, 138 imches. This beautiful bust of Mino Rossi, of Bologna, came direct to Signor Bardini from the celebrated Palazzo Bevilacque, a noted store- house of superb works of art. Its centuries-old attribution to Francesco Raibolini, better known as Francia, is entirely warranted when the facts are taken into account that Francia was until middle life a gold- smith and medallist, that one of the most famous medals by him now in existence is a profile portrait of Bernardo Rossi, Count of Berceti, Governor of Bologna in 1519 and a kinsman of Mino, and that the tech- nique of the medallion is very similar to that of the Bentivoglio busts in the family chapel in Bologna, which are undoubtedly the work of Francia. (Illustrated) No. 405—Firrrento Century Marpie Portrait Bust or Mino Rossi FLORENTINE SCHOOL FIFTEENTH CENTURY 406—FIrTEENTH CENTURY MarsBLe Portrait Bust Bust portrait of a middle-aged Florentine merchant with clean- shaven face and curling hair, wearing a close-fitting Florentine cap with turned-up back lappets, and a mantle draped over his shoulders. On octagonal molded and gilded wooden base. Height, 19 inches. ARNOLFO DI CAMBIO 1232—1310 407—K arty FourteENTtTH CENTURY Marsie Portrait Bust Life-size bust of a man with regular features and curling hair and wearing a round Florentine cap. He is dressed in a tight- fitting jerkin fastened closely at the neck. On octagonal molded and gilded wooden base. (Restored. ) Height, 19 inches. Arnolfo di Cambio, one of the most celebrated early fourteenth century architects and sculptors, was a distinguished pupil of Nicola Pisano. The churches of Sta. Croce and Sta. Maria del Fiore in Florence are monuments to his skill. NORTH ITALIAN SCHOOL FourTEENTH CENTURY 408—FourtEENtTH Century Marsir Porrrarr MEpALLiIon Circular medallion, framed with a wreath of leaves and berries . with cross bands of ribbon and occupied with a profile portrait | y head, looking to the left, of a lady, probably a queen, with curl- ss ing hair confined by a net and with pearl-embroidered lappets. The panel is of the fifteenth century. Diameter, 16 inches. (Illustrated) NORTH ITALIAN SCHOOL SIXTEENTH CENTURY 409—SIXTEENTH CENTURY LomparpIc MarsLE MEDALLION 60 Circular medallion, occupied with a portrait head in profile, "4 ae looking to the right, of a Roman Emperor with curling hair and 4 beard tied with a ribbon ‘fillet, and wearing a “radiated” crown. After the antique. Diameter, 22 inches. (Illustrated) ALESSANDRO ALGARDI SEVENTEENTH CENTURY 410—SEVENTEENTH CENTURY MARBLE PORTRAIT Oval medallion, supported by two puttc and enclosing a bas- vom relief bust portrait of an ecclesiastic with a skull cap, long curl- et ing hair, a closely buttoned cossock and a turned-over linen ; ~ collar. Arm and foot of putto missing. \ 6 Height, 20 inches; width, 22 inches. \ 9 i (Illustrated) 411—Marsie Heap (Roman, of the second century A.D.) Head of a statue of Juno, with curling hair confined by a fillet. On a fifteenth century Istrian stone molded cylindrical base en- riched by carving, and square pedestal with tongue-shaped leaves at the angles. Height, 21 inches. (Illustrated) 412—Marste Hrap (Roman, of the first century A.D.) 4), Head of a statue of Apollo with long curling hair confined by a aE K ‘ knotted fillet. On cylindrical molded marble base. Height, 21 inches. (Illustrated) 413—MarsiE Bust or A Warrior (Roman, of the second century A.D.) Bust of a youthful warrior looking downward and wearing a steel helmet with visor, and a breastplate with shoulder-pieces enriched with figures of bearded warriors in low relief, and a winged mask in low relief in center of breast. On contemporary cylindrical molded base. Height, 35 inches. (Illustrated) GIP SIT IL¥ LEONE LEONI 1525—1587 414—SIXTEENTH CENTURY LomBARDIC MARBLE Bust PortTRAIT OF Cosimo I pr’ Mepici1, DuKE or FLORENCE Bust of a middle-aged man with curly hair, a spade-shaped hI mA AV beard and mustache, betraying strength and determination in ; 7’) the strong features with tightly closed lips. He wears a classic L y toga secured at the left shoulder with circular brooch. On square base. Height, 23 inches. (Illustrated) LEONE LEONI 1525—1587 415—SIXTEENTH CrentTURY LompBarpIC MARBLE Bust PorTRAIT OF A Ducuess or THE Mepic1 FAMILY ered sleeveless tunic, underbodice with full sleeves of silk and stiffly starched lace-bordered ruff. Around her neck she wears a necklace of large pearls, falling in two loops over the tunic. Her hair is curled and dressed to fall on either side of the face, which looks downwards with an enigmatic smile on her lips. (Nose restored. ) u ne Bust portrait of a lady in fifteenth century costume of embroid- Height, 25 wches. Perhaps the most famous Lombard artist of his day, Leone Leoni, goldsmith, medallist and sculptor, was called not only “Il Cavaliere Aretini,” but also I] Scultore Cesareo, because he made so many portraits of the Imperial family. , (Illustrated) La LEONE LEONI Pe aa 1525—1587 yi, 416—SrxreentH Century Lomparpic Marsie Busr Porrratr or 5 eo Kine Puinir II or Spain ti f f) sk Bust-length portrait of the monarch na steel breastplate with Be, large riveted shoulder guards and a high standing collar bor- dered with lace. He wears his hair long and carelessly thrown back, and the familiar mustache and goatee. On square base. (Illustrated) Height, 26 inches. 414 416 \ ! ~ : LORENZO BERNINI 1598—1680 4 a 6° Y 417—SEVENTEENTH CENTURY Marsie Bust Portrait Bust of a lady of the Roman court with hair drawn back from, and plaited above the forehead and falling behind in a loose lock. She is dressed in a loose robe bordered with Venetian point lace. On cylindrical carved, molded, fluted and gilded marble base. Height, 35 inches. This and the two following busts by Cavaliere Lorenzo Bernini came from the Villa Lamporecchio, built by Prince Rospiglioni during the seventeenth century from a design by Bernini. ne _ LORENZO BERNINI 1598—1680 418—SEVENTEENTH Century Marsix Bust Porrrarr Bust-length portrait of a young lady of the Roman court. Her curling hair is brushed back from the forehead and falls in two long ringlets over her shoulders. She is dressed in a loose-fitting robe trimmed with punto gotico lace. On cylindrical carved, molded and fluted marble base. Height, 33 inches. LORENZO BERNINI 1598—1680 419—SEVENTEENTH CENTURY Mars_e: Busr Powmarr Bust-length portrait of an ecclesiastic with lea v0 and curling hair brushed back | from. the forehea a loose cassock-like robe buttoned up to the n drical carved, molded, fluted. and. gi ded marble wooden pedestal elaborately carved with cherubir and with a shield-shaped escutcheon charged with a of-arms and surmounted by a aa tiara and cr Completely gilded. — ‘ fi Sac: ae nia ae . | (Illustrated) | a No. 419—SEVENTEENTH CENTURY Marsie Bust Porrrair ANTONIO ROSSELLINO 1427—1490 420—F IF TEENTH CENTURY FLORENTINE MARBLE BAS-RELIEF Rectangular tablet, carved in-low relief with a subject of “St. Jerome in the Desert.” The saint, with beardless, emaciated face, kneels in front of a rocky grotto adoring a cru- cifix at the foot of which is a skull. At the saint’s side is the emblematic lion, in the mid-distance a hound and in the distance a landscape with trees and two men with a loaded camel. On the right is a stag, and on the left a squirrel. In old Tabernacolo frame. Molded cornice and base. Height, 23 inches; width, 18 inches. Antonio Gamberelli, better known as Antonio Rossellino, was one of the greatest scholars of Donatello and was almost the founder of a new style in sculpture, his works being more intellectual and pracefully re- fined, if less elevated and religious, than those of his predecessors. Vasari says that they “may be justly called the really true modern style.” The similarity of the landscape and general technique of this example to one of the “Madonna” by Antonio, now in the Bargello, is curiously apparent. (Illustrated) No. 420—FrereentH Century Fiorentine Marsie Bas-RELIEF pe BACCIO BANDINELLI \ 1487—1559 421—SIxTEENTH CENTURY FLORENTINE MARBLE BAS-RELIEF Rectangular tablet, carved with the half-length seated figure of the Virgin, with braided hair and clothed in an elaborately em- broidered robe and mantle, holding in her arms, her right hand resting on His shoulder, the standing figure of the Child Christ, with curling hair and clothed in a tunic confined at the waist by a folded sash. In a contemporary Tabernacolo frame of wood, with molded cornice, voluted side brackets and molded base. Height, 22 inches; width, 15 inches. This bas-relief shows the debt Bandinelli owed to Donatello, whose works, at the behest of Leonardo da Vinci, he studied closely. It is highly suggestive of the base of the Medicean Monument in the Piazza San Lorenzo, Florence. (Illustrated) TuRY FLORENTINE MarsieE BaAs-RELIEF EN No. 421—SrixtTEentuH C \ ee eS BERNARDO ROSSELLINO 1409—1 464 422—FIFTEENTH CENTURY FLORENTINE MARBLE BaAS-RELIEF Rectangular tablet, carved, in low relief, with the standing fig- ure of the Virgin, her head covered with a veil, and wearing a simple robe gathered at the waist and a mantle. With both hands she supports the figure of the Child Christ, who stands at her side on a cushion. He is clothed in a linen tunic, holds a fold of linen in His hands and looks directly at the spectator. Both Virgin and Child have haloes and in the background are clouds. In old carved and gilded wood 'Tabernacolo frame, with molded and dentelled cornice, enriched with egg and dart ornament, finely painted frieze, pilasters with Ionic capitals and paneled shafts and molded base and apron. Height, 231% inches; width, 171% inches. (Illustrated) No. 422—Firreentu Century FLoRreNntTINE MarsiLe BAs-RELIEF - 423 BENVENUTO CELLINI 1500—1571 SIXTEENTH CENTURY FLORENTINE MARBLE BAS-RELIEF Rectangular tablet, carved in low relief with a subject of “Venus and Cupid.” The Goddess, completely nude, lies full length and turns toward the smiling Cupid on the left as though just aroused from sleep. On the right is a youthful satyr who, holding a torch in one hand, with a malicious grin withdraws with the other the draperies from the recumbent Venus. In an old carved and gilded frame with molded and dentelled cornice and voluted brackets. Height, 19 inches; width, 25 inches. The figure of Venus is remarkably like that of the large Venus by Benvenuto Cellini now in the Louvre. This bas-relief came from the small collection of the Perruzzi family (related to the Medici and, in the fifteenth century, one of the most distinguished families of Flor- ence), and with it, originally, was the bas-relief of “The Flagellation” now in Berlin Museum. (Illustrated ) AAITAU-SVG ATHUVi, ANILNAYOTY AUNLINGA) ALNAALXIQO—€Gp “ON 424—T HIRTEENTH CENTURY COLORED IsTRIAN STONE STATUE Figure of the Madonna seated and holding on her knee the Christ Child. Her hair is long and confined by a fillet. She is dressed in a loose robe and mantle held at the throat by a quatrefoil brooch and in her right hand she holds a clasped mis- sal supported on her knee. On her left knee she supports a seated figure of the Christ in a loose robe and with a cap fas- tened at the breast by a leaf-shaped clasp. He has curly hair and His hands are missing. Both faces show evidence of a Byzantine influence. Of Istrian stone, with the original poly- chrome decoration. Height, 24 inches. ANTONIO GAGINI ag FIFTEENTH CENTURY ] 425—FirTEENTH CENTURY ITALIAN MarsiE FIGURE Nude figure of a youth supporting with his right hand a lamb which lies across his shoulders. His left arm holds a cornu- copia from which formerly issued a stream of water. Height, 33 inches. This statue, part of a baptismal font, came from the sacristy of a Neapolitan church, destroyed during the modernization of a part of the city. Ke PERGAMENIAN SCHOOL Arout Sreconp Century B.C. 426—TueE Dyinc GAUL Seated figure of a wounded Gaul bleeding from a sword stab in his body. He is seated on a pointed shield having in its center a Medusa-like head, and his body is inclined forward from the hips, with the head, with close curling hair, bent in an attitude of dejection. His legs are stretched out before him, the right one quite straight, the left one slightly bent. Around his waist is a girdle formed of a leather strap with iron links. On oval marble base. Of Pentelic marble, invested with a dark brown patina due to the effect of much weathering. Head and feet restored, and right leg repaired. Height, 20 inches; length, 31 inches. At Pergamos, in Mysia, Greek sculptural art flared upward in one triumphant burst before finally settling into oblivion of consummate mediocrity. The new school, for it amounted to little less, was formed under the influence of King Attalus I (241-197 B.C.) and was called upon to glorify the victory of Attalus over the Gauls (239 B.C.) in a series of groups and compositions, and the Pergamenian sculptors so well acquitted themselves that one of their types of a conquered but un- subdued race forms one of the chiefest treasures of the Capitoline Museum in Rome. As the “Dying Gladiator” our fathers knew it, but to-day it is more rightfully termed “The Dying Gaul.” The figure of “The Captive Gaul” so rivals it in poignancy of expression and in rare sculpturesque quality that it may fairly claim to companion it on equal terms. The statue has for long been exposed to the elements, and its patina gives evidence of the effects of this weathering, Other statues from the same frieze are to be found in the Muscums of Naples and Venice. (Illustrated ) No. 426—Tue Dyine Gaur POLYKLEITOS OF SICYON Greek Scuupror or THE FirrH Century B.C. 427—Partan MARBLE Torso oF A YOUTHFUL ATHLETE ., Figure, almost to the knees, of a boy athlete. Shown as a nude (¥ youth with closely curling hair, the head inclined forward, the face down-looking and the features, of extreme masculine beauty, charged with a pensive expression. The pronounced muscular development of the body, the clearly indicated ana- tomical structure of ribs and breast bone and the prominence of the lyre-shaped abdominal muscles are all exceedingly char- acteristic of Polykleitos and his school. The head has been broken off, but has been replaced; there are slight restorations to the upper lip and the nose, as well as to the left hip. The arms are missing, but the rectangular socket for the tenons which originally held them in place are plainly visible. ‘The torso has for base the capital of a Greek Ionic column of the second century B.C., with plain volutes, a band of egg and dart molding, and bolsters formed of banded pointed leaves. Of white Parian marble, with a fine patina, beautifully colored by age and showing only a few surface indications of burial. Height, 3 feet 1114 inches. From the Borghese Palace, Rome. This statue, excavated in the gardens of a Villa in Rome, was for long in the Borghese Collection in Rome, and, save that it was accident- ally omitted from the official Fide Commisso, would have passed with the rest of the Borghese Museum into the possession of the City of Rome. His belief that it is a work of the contemporary and rival of Pheidias, the Argive sculptor of the Diadumenos in the British Museum, the Doryphoros at Naples and the Amazon in Berlin, Signor Bardini shares with many European critics of eminence. Peter von Bienkowski has written an exhaustive monograph “On a Statue by Polykleitos” in the monthly Review of the Leipsic Museum, of which he is the Director. He begins by saying: “To Signor Bardini of Florence belongs the Statue of a Youth in Parian marble.- This statue comes from the Villa Borghese and is very well preserved, having retained even its original surface’; and continues: “As one can see almost at the first glance, we have here to do with a work of Polykleitos. Its movement and bear- ing are so intimately suggestive of the Diadumenos that, were it not for the fortunate preservation of the head, one might have supposed this No. 427—Parian Marsue Torso or A YouTHFUL ATHLETE [No. 427—Continued | torso to be a replica of that statue. Like the Diadumenos, the Bardini Youth arrests his stride and turns his head to the right.” The writer then points out that the proportions of the Bardini athlete scarcely differ from those of the celebrated Canon of Polykleitos and that the details of the modeling, such as the lyre-shaped outlines of the abdom- inal cavity, are of themselves essential characteristics of the Polykleitos style, though these, he avers, are displayed by the head even more than by the body. The shape of the head, the arrangement of the hair, the shape of the ears, are all as in the Doryphoros and the statues related to it. Finally, he adds: ‘The half-open mouth, the broad planes of the delicate cheeks, the whole expression of the wonderful nobility and modesty shown in the refined face, remind one of the Diadumenos and the Amazon. From all this it seems to me that the Bardini Athlete displays so plainly the characteristics of Polykleitos as one knows them from his authentic and recognized works that I wish to attribute the original, naturally of bronze, to the Master himself.” The loss of the arms prevents any positive determination, according to the writer, of the reason for what must have been their raised posi- tion, and no contemporary works throw any light upon the subject, for, as he points out, the only statue that is probably a copy of the Floren- tine Athlete is in the Uffizi (No. 76, Alinari Photo I, 1170) and that has no arms or thighs and is headless. ‘“‘So,’’ he concludes, “it only remains to seek an explanation in the head itself of the Bardini Statue. The unswollen ears and the delicate contours of the lower part of the face show that the youth represented was not a hero of the fist, or Pancratium, but must have been the winner of a race, or of the Pen- tathlon, in which it was a question rather of agility than of mere brute strength.” (Illustrated) PISAN SCHOOL FourtTEENtH CENTURY 428—FourRTEENTH CENTURY MAarBLE STATUE _) Standing figure of the Virgin in a tight-fitting tunic and loose ae mantle, with long hair and wearing a trefoiled crown. On her left arm she carries, and with her right hand points to, the Child Christ, who is nude to the waist; with His right hand He sup- ports Himself by His Mother’s tunic and in His left He holds a bird. On circular base. Height, 39 inches. (Illustrated) No. 428—FovurtTEENTH CENTURY MarBLE STATUE \ ‘ ne 429— \- ny wv } anit 430— PISAN SCHOOL FourtTEENTH CENTURY Parr oF FourtTEENTH CENTURY MarBLE STATUES Chief figures in an Annunciation. The Virgin, clothed in a tunic and loose mantle with a veil thrown over her head, stands in a listening attitude, her right hand holding an open missal. The Angel Gabriel, shown as a youth with curling hair, stands hold- ing open with both hands a parchment scroll. Both figures are on circular bases and are supported on similar contemporary columns with heavily fluted shafts, molded bases and square pedestals, with tongue-shaped leaves at the angles. Heights of statues, 45 inches; of bases, 87 inches. (Illustrated ) oe & Pair or KiGHTEENTH CENTURY MarBLE FLOWER-HOLDERS Oval shape, with incurved sides and plain rim and base. The sides fluted and carved with two goats’ heads and two ribbon bows, supporting festoons of ivy leaves and berries. Of white statuary marble. Height, 2 feet 51% inches; diameter 2 feet 8 inches. 431—THIRTEENTH CENTURY ITALIAN MArsBLE Hoty Water Stoup 5 L Ve 4.32— (N + Circular bowl, with straight sloping side and annular rim, studded at regular intervals with sea-horses in the form of hu-’ man masks. On fluted columnar step spreading to a polygonal foot. Ona square marble base of second century B.C. Etruscan workmanship. At the angles are rams’ heads with large voluted horns, the plinth between being decorated with figures of danc- ing satyrs. Below, the edge is molded. Height, 5 feet; diameter of bowl, 3 feet 4 inches. (Illustrated ) THIRTEENTH CENTURY IraLtIAN Marsite Hoty Water Stoup Circular coupe-shaped bowl,- with heavily gadrooned sides, ter- minating around the rim with a Gothic-like arcading. The stem is formed as a tapering fluted column, with molded capital and base, the whole standing on a square base, with molded sides enriched with bands of guilloche and vine-leaf patterning, and resting on two couchant lions of highly conventional character. Height, 5 feet; diameter of bowl, 2 feet 9 inches. (Illustrated ) 433—TirTEENTH CENTURY RomMAN MarsBLE MANTELPIECE A) wr ‘i . Of white marble. Molded cornice, enriched by acanthus-leaf, beaded and egg and dart carvings and frieze carved with three festoons of fruits, flowers and leaves separated by two shaped shields, one charged with the coat-of-arms of the Borgia family, a bear and three pellets, the other with the initials “G. P. Q.,” supported on two voluted console brackets carved with flutings and two paneled pilasters carved with pendants of fruits and leaves. Fitted with raised stone hearth. Height, 6 feet 1 inch; width, 5 feet 4 inches. (Illustrated ) CETTE SOT I | NERA OOM! shennan ou - ee 432 gs 434—FIrTrENTH CENTURY FLORENTINE STONE MANTELPIECE Of graystone or pietra serena. Molded cornice, enriched with ege@ and dart carving and paneled frieze carved with two flying amorini holding with outstretched arms and scrolled ribbons a wreath of laurel leaves and berries enclosing a shaped shield charged with a coat-of-arms, supported on two voluted con- sole brackets, the fronts carved with laurel leaves, and on pan- eled pilasters enriched with pendants of shields and weapons. Square base. Height, 7 feet 1 inch; width, 7 feet 2 inches. 435—FirreentH Century Umprian Ursino Stone MANTELPIECE Mantelpiece of cream-colored Urbino stone, with molded cor- nice enriched with egg and dart carving and paneled frieze en- closing a carving in low relief of two flying amorini holding with both hands a wreath of laurel leaves occupied by a shaped shield supported by two acanthus-leaf carved, voluted console brack- ets, below which are paneled pilasters, the shafts enriched with stems of pointed leaves carved in low relief. Height, 6 feet 1 inch; width, 5 feet 4 inches. ) a. ny \ ' 436—Firreentu Century FLORENTINE STONE MANTEL Of graystone or pietra serena. Surmounted by a shaped over- piece carved in the center with an urn-shaped fluted vase in front of which is a shaped shield charged with the fleur-de-lis of Florence. From the vase depend two festoons of fruits and leaves, the other ends of which are held by winged amorini hold- ing pointed shields. The cornice of the chimneypiece proper is molded, enriched with an egg and dart carving, and the frieze is paneled with a beaded molding and enriched with a carving of two flying amorini who hold a laurel wreath pierced with a cusped rosette and are flanked by two cherubim with folded wings. Both are supported by voluted console brackets carved with acanthus leaves and by beaded and molded paneled pi- lasters enriched with arabesques of acanthus leaves, rosettes and. cherubim springing from urn-shaped vases. On square base. Height, 7 feet '7 inches; width, 6 feet 7 inches. This mantelpiece is more complete than usual, in that it possesses the decorative over-piece which marked the starting of the cappa, or . tapering hooded smoke-flue, examples of which may now be seen in the famous chimneypieces of the Ducal Palace in Urbino. (Illustrated ) — ND { No. 436—Firreentn Century FLORENTINE STONE MANTEL 437—SIXTEENTH CENTURY LOMBARDIC MARBLE TABERNACLE NICHE Recessed niche of architectural character, with a semicircular pediment having a fluted and lotus-leaf carved arch. molding flanked by cinquefoil rosettes and honeysuckle ornaments, sur- mounted by two similar rosettes and a flamed vase and occupied by a carving in low relief of God the Father shown as a bearded man with his arms extended in the act of benediction and sur- rounded by four cherubim. ‘The molded and dentelled cornice and bowed frieze, carved with honeysuckle and lilies, are sup- ” ported by flat pilasters with voluted acanthus-leaf capitals and shafts carved with stems of pointed leaves and flowers springing from urn-shaped vases. Below the molded base is a segmental apron carved with acanthus-leaf rinceaux, cinquefoil blossoms and honeysuckles of white marble. Height, 5 feet 8 inches; width, 3 feet 2 inches. (Illustrated ) =m. No. 437—SixrEentH Century Lomsparpic TABERNACLE NICHE 488—THIRTEENTH CENTURY STONE FOUNTAIN Rectangular sarcophagus shape. Of Istrian limestone. Heavy molded top with the upper member enriched with a band of honeysuckle ornamentation carved in low relief. The vertical sides are carved with five masks of bearded men, some with curling hair and some with close-fitting caps, from whose open mouths streams of water proceeded. ‘These masks are sepa- rated by scrolled acanthus-leaves on fluted grounds, and at the angles are voluted acanthus leaves. The receding base is formed with a plain cavetto molding and the mountain rests on two plainly molded blocks which in turn rest upon the backs of two marble couchant lions of fourteenth century workmanship. Height, 3 feet 5 inches; length, 4 feet 91% inches; width, 2 feet 4 inches. This fountain is peculiarly interesting, as offering a noteworthy example of the manner in which the Gothic feeling exerted its influence upon the early Renaissance designers. Entirely mediaeval in its con- ception, even such obviously Classic details as the Greek honeysuckle and acanthus-leaf ornamentation are yet touched with a lingering Gothicism. The Lions, fashioned at least a century later, show a much more intimate commingling of the two apparently antipathetic styles. EVENING SALE THURSDAY, APRIL 25, 1918 AT THE AMERICAN ART GALLERIES BEGINNING AT 8.15 O'CLOCK VECELLI TIZIANO—TITIAN VENETIAN: 1489—1576 440—PEN AND INK DRAWING Stupy for a landscape. On the right is a trunk of a tree, seated under which is a figure in classical costume with right arm upraised. On the left is a clump of trees and shrubs. A recent biographer of Titian says: ‘‘No estimate of Titian’s art would be sufficient without mentioning the surpassing beauty of his landscape back- ground.” GIOVANNI DOMENICO TIEPOLO VeneTIAN: 1727—1804 441—GROUP OF NINE SKETCHES IN SEPIA (For ceiling decoration) (a) Bearded man in flowing garments supporting a youth with his right arm. Background of clouds and cherubim. (s) Elderly bearded man in loose robes, with winged angel below. Background of clouds and cherubim. (c) Bearded man in loose robes, with outstretched arms between which is the figure of a youth. Background of clouds and cherubim. (p) Bearded man seen from behind, with one arm upraised. Below are figures of angels. Background of clouds and cherubim. (x) Groups of figures, the center one falling as from a height with outstretched arms. Background of clouds and cherubim. (F) Central bearded figure in loose robe, with both arms raised, ~ supported by winged angels. Background of clouds and cherubim. (G) Elderly bearded man, with left arm extended and clasping a child with the right. Supported by winged angels and clouds. (1) Elderly man with long beard, reclining on a cloud, with left arm extended and pointing upward. Below are winged angels. Background of clouds and cherubim. (1) Sketch from life: “The Letter Writer.” Sketch of a veiled woman seated at table with writing materials. Man in square-cut coat and cocked hat, seen from the rear, talking to her. Background of arched niche, with shelf supporting flasks. | GIOVANNI BATTISTA PIAZETTA VENETIAN: 1682—1754 442 GROUP OF EIGHT DRAWINGS IN BLACK CRAYON (Belonging to the same series as that now on exhibition in the picture gallery of Venice) (A) Head of a young woman in eighteenth century costume, seen in three-quarter view, looking to the left through a lorgnette. (8) Head of a youth, seen almost in profile, looking to the left and downward as he reads a large book which he supports with his right hand. (c) Profile view of the head of a young woman turned to the left. Her dark hair is twisted into a knot, and she wears a mantle trimmed with fur. Her left hand is raised to her breast. (p) Full-face view of the head of an old man, clean shaven and with long white hair, looking toward the spectator and inclined to the left. Over his shoulder is thrown a fur collar and on his breast is a large order. (e) Portrait of a young man in eighteenth century costume with long curling hair and wearing a cambric cravat. Shown almost in full face and regarding the spectator. (¥) Head of a youth with close-cropped hair, dressed in eighteenth — century costume, with a cambric cravat. Shown almost in profile, looking to the right and downwards. (G) Head of an old woman with white hair and wearing a dark head- covering. Shown in profile, looking to the left. (H) Head of a beggar with dark disheveled hair, scanty white beard and mustache, and wearing a white linen shirt. Shown in three- quarter view, turned to the left and looking at the spectator. sore » dre ee ee ae ta ease ae mececianees enti ca cence antaeee memnenaie acetic meena a A i i A og ie OBC ASR RE BR Re - ” = ‘ ‘ a ‘4 . ‘ 4 ‘ ‘ ‘ « ‘ 4 & 4 ‘ +. ‘ ‘ ‘ ‘ & \ . ‘ & ‘ & 1 4 n a n 4 ‘ 4 ‘ ‘ ‘ ‘ “ ‘ ahaa dl ail 2a ot a mm © 6 6 OS SF SEF SSHEHEESHSSeE HE Sireeeoeoe eee eseeHHHReO eS HO HBS HE . * “es +eteeeoeeoe eee eeeeveeceee eee eanaee eee eee eee eee se Bees een tee & & wt Se en - Ss i re ia Sli 27 SLM RRS = RE a 2B = agp pensar ae — . a ITALIAN SCHOOL SIXTEENTH CENTURY 443—CRAYON DRAWING Heap of a partially bald elderly man with forked white beard and mustache, wearing a turned-over linen collar and tight-fitting jerkin. Seen in full face. (Illustrated ) ANDREA D’AGNOLO (ANDREA DEL SARTO) FLorENTINE: 1487—1581 444—CRAYON DRAWING Srupy in life size of the head of a child with curling hair. Seen nearly in profile looking to the right. (Illustrated ) ITALIAN SCHOOL SIXTEENTH CENTURY 445—DRAWING IN TWO-COLORED CHALK Heap of a bearded man seen in three-quarter view looking to the right. He wears a frilled turned-over collar. (Illustrated) GIOVANNI BATTISTA PIAZETTA 446-—DRAWING IN BLACK AND WHITE CRAYON Height, — wmches; width, — inches Lire study of a sleeping young woman. She lies on the ground with her head pillowed on the right arm. Over the left arm is the handle of a large basket from which three loaves of bread have tumbled out. (Illustrated) 444 45 46 4 4 443 FLORENTINE SCHOOL FirreeNtH CENTURY 447 HERCULES AND ANTAUS (Panel) Height, 17 inches; width, 1214, inches Hercutrs, completely nude, stands with his back to the spectator, his head, with curling hair, thrown back and his face seen in three- quarter view. He holds with both arms Antewus, whom he raises from the ground. The latter, with his right hand, clutches Hercules’s hair and grasps the arm of his adversary with his left. The figures are placed in a landscape with a rocky eminence on the left side. On the right is a tree from the branches of which hangs a shaped shield charged with the coat-of-arms of the Rovere family of Flor- ence. In the distance are trees. In old, molded wood frame. (Illustrated ) FRANCESCO GUARDI 17121798 448-VIEW OF SAN GIORGIO MAGGIORE, VENICE Height, 15 inches; width, 20% inches In the center is the island of San Giorgio Maggiore, with the church distinguished by its classic portico, lofty dome and square campanile, and on the right a low brick building with a round-arched entrance. In the foreground is the Lagoon, having in the center a gondola propelled by two gondoliers, and on the right the prow of a ship with a flapping sail. In the distance, on the left, is a shore with build- ings. Blue sky and white clouds. x ae. ac tell th. aie No. 447—HeErcuLEs anp ANT£US FRENCH SCHOOL SIXTEENTH CENTURY 449—PORTRAIT OF A BOY (Canvas) Height, 25 inches; width, 1814, inches Ova shape. Half-length portrait, seen in three-quarter view turned to the left, of a youth with long hair. He is dressed in a richly em- broidered coat of sixteenth century style with full sleeves, lace cuffs, a falling lace collar and a beribboned under-jerkin. His right hand holds the hilt of a sword and the left rests on his hip. Inscribed: ‘““AETATIS SVAE VII.”* In old carved and gilded frame. RACHEL RUYSCH Fiemisu: 1664—1750 450—d BOWL OF FLOWERS (Panel) Height, 17 inches; width, 201% imches In a bronze bow] is a bouquet of peonies, roses and anemones, some of which have fallen out of the bowl and lie on the table. In the foreground is a white butterfly. In a carved and gilded wooden frame by the famous Brostolone of Venice. LUCA SIGNORELLI Cortona: 1441—1523 451—_THE FLAGELLATION (Panel) To the right of the center, Christ, undraped save for a loin cloth, is tied with His hands behind His back to a post, the bands being strengthened by a nude man with violent contortions. Around are four nude men with scourges, and on either side Roman soldiers. On the left is a group of Romans and Jews, and Pilate seated on a throne under a canopy. In old molded wood frame. Height, 14 inches; width, 36 inches. (Illustrated) k 450 GERMAN SCHOOL SIXTEENTH CENTURY 452—PORTRAIT OF A YOUNG WOMAN (Panel) Height, 21 inches; width, 15 inches Hatr-tenctu figure of a young woman shown in full face. Her dark hair is parted in the middle, brushed smoothly back and bound with a circle of beads. Around her neck she wears a necklace with center clasp and double-looped gold chain, while in her left hand she supports a richly repoussé gold cup, the cover of which she holds in her right hand. Through an open window on the right is seen a landscape with figures and rocky eminence. (Illustrated ) PRIMITIVE ITALIAN SCHOOL FourTEENTH CENTURY 453—BIRTH OF THE VIRGIN (Polygonal Panel) THE polygonal picture is divided into three parts by a flat arch of stone supported on two clustered Gothic columns. The center division is occupied by the figure of St. Anne (the mother of the Virgin). She is seated upright in a large bed at the side of which stands a woman offering a platter of fruit. In the center foreground are two figures of women, one dressed as a nun, having between them the undraped figure of the infant Virgin. In the right hand is the figure of a nun holding a metal bow]; in the left hand are two figures of women. In the background is seen an open walled courtyard with a niche in which is seen a vase of flowers. The influence of Diirer is obvious through- out the composition.. In old molded wood frame. Diameter, 20 inches. (Illustrated ) eae es $20 22d ded 452 451 FLORENTINE SCHOOL FIrrEENTH CENTURY 454—A FLORENTINE PATRICIAN AND HIS WIFE (Fresco) Height, 22 inches; width, 201% inches HALF-LENGTH portraits, seen in profile, of husband and wife im fif- teenth century costume. They stand facing each other with uplifted hands, the man with his hair in the style of the period and thin, pointed beard, his wife with fair hair dressed in a knot behind. The figures are placed in a round-arched niche with tiled background, while at the left are seen the cupola, tiled roof and machicolated battlement of a castle. In old carved and gilded wooden frame. FRENCH SCHOOL SEVENTEENTH CENTURY 455—PORTRAIT OF AN ECCLESIASTIC (Canvas) Height, 28 inches: width, 23 inches Bust portrait, the face in three-quarter view and looking to the left, of a middle-aged man, clean shaven and wearing a curled wig, a turn-over collar and a loose habit buttoned up the front. In old pierced, carved and gilded wood frame. } A cos SI MARS OT eT ee eT > / . * vv AL 4 a ay i . 4 + A rs ' W\ A a ; —— ; « 3 , g MOS es VENETIAN SCHOOL Firreentu Century 456—PORTRAIT OF A PATRICIAN LADY Height, 27 inches; width, 20 inches THREE-QUARTER-LENGTH portrait of a lady standing, her face seen in profile looking to the right. She wears a richly embroidered robe of white satin and an embroidered undergarment with tight-fitting sleeves, a pearl-embroidered coif, and a frilled ruff. In her right hand she holds a rose. In the distance is a mountainous landscape with the towers of a castle. In carved and gilt wood frame. LAMBERT LOMBARD or SUSTERMANN Fiemisu: 1505-1566 457—PORTRAIT OF LEOPOLDO DEI MEDICI Height, 29 inches; width, 21 inches HAL¥-LENGTH portrait looking to the left of a young man with long dark hair, mustache and small imperial. He wears a steel corselet with armpieces, a deep falling lace collar and a blue sash across the right shoulder. His right hand rests on a steel helmet. Dark back- ground. = = * ome a Se SS a, So Se aa int. ile Mrep meee ees ai teas Kalen Sea te he ay a itn os Chen Mh ate 5 mes > to, 2 AALS t ~ 7 = a SAAS & 3 gt i : > - * “ a Pod eed ee Nd A DOMAIN es . 4 Pd e. fax Y » “ nt be sk f ~ ‘ pr Se Fe Y eS TIN Vs rt r ie x vy 3 tt A gO LEER EERE RE (~ 5° yn i gue a” Pik Pere LIRR PR LE No Rg epee i a Bae ne i ee ee ee ne ae a LAMBERT LOMBARD or SUSTERMANN Fremisu: 1505—1566 458—PORTRAIT OF A MEDICI Height, 33 mches; width, 25 mches HAL¥-LENGTH portrait of a young man with face clean shaven save for a light mustache, his curling hair plaited into a long braid which falls over his left shoulder. He wears a broad-brimmed hat, a deep falling lace collar, a steel corselet and a silken sash over the right shoulder. In the lower left-hand corner of. the picture is a steel morion. ATTRIBUTED TO FRANCIS POURBUS Friemisu: 1569—1622 459 —PORTRAIT OF A MANTUAN NOBLEMAN Height, 37 inches; width, 291 inches T3IREE-QUARTER-LENGTH portrait of a youth in sixteenth century cos- tume of striped green jerkin, full crimson breeches and frilled lace ruff and cuffs. He wears a jeweled chain and is standing looking to the left and rests his right hand on a brass-bound red velvet coffer, on which is thrown his steeple-crowned hat. In carved and gilt wood frame. LUCAS CRANACH German: 1472—1553 460 MADONNA AND CHILD (Panel) Height, 291 inches; width, 22 inches Tue Virgin, strongly German in character, with long fair hair fall- ing, in rippling strands, over her shoulders, is seated facing the spectator with an air of mild benignity. She wears a red robe with large sleeves with gathered linen bands at the wrists. On her lap she supports, with both hands clasping His body, the Child Christ undraped save for a linen loin cloth. With His head slightly on one side He looks inquiringly at the spectator, rests His left hand on His Mother’s and the right on a bunch of grapes which she holds in her left hand. Dark background. Signed in the upper right-hand corner with Cranach’s emblem, a flying dragon. (Illustrated) TOMMASO GUIDI (xnown as MASACCIO) FLoreNnTINE: 1401—1428 461—M ADONNA, CHILD AND SAINTS ( Panel) Height, 37 inches; width, 22% imches In the center of the picture, upon a stone throne, sits the Virgin presenting her full face to the spectator, wearing a blue mantle with white linen veil draped over her head and embroidered undergar- ment. On her left knee she holds, with her left hand, the undraped figure of the Child Christ, who lifts His right hand in the act of bene- diction and holds in His left a scrolled label inscribed “Eco sum.” On either side stand two saints, the lower figure on the left side wear- ing a bishop’s mitre and holding a crozier. ~All the figures have haloes, that of the Christ having a cross. In old, carved, molded and painted frame. (Illustrated ) _— ore: TAN 460 paun chee at eK x es ‘Te GEORGES DES MARIEES Frencu: 1697—1776 EIGHTEENTH CENTURY 462—PORTRAIT OF A YOUNG PRINCE Height, 28 inches; width, 251 mches ‘THREE-QUARTER-LENGTH portrait seen in full face slightly turned to the left of a youth with a notably plump face, and curled hair. He wears a black turned-up hat fastened at the side with a jeweled aigrette, a short coat trimmed with ermine and an ermine-lined crim- son mantle. In his left hand he holds the scabbard of a sword which he has half drawn out with his right. On a cushion on the right is an Imperial crown. On the left is the base of a column with draperies and in the background a balustrading with spherical finial. LON Bay] REET EE TURE me AS Feld AS) AS BAAS 2a | Sst Ss ee TS i a rg as fe ee FRENCH SCHOOL SEVENTEENTH CENTURY 468—PORTRAIT OF A SOLDIER Height, 43 inches; width, 30 inches THREE-QUARTER-LENGTH portrait of-a man with face turned to the right. He wears a full curling peruke, steel armor consisting of a breastplate and armpiece, a lace and cambric steenkirk and a silk sash. The right hand rests on the top of a cane. The left is sup- ported by the sash. Background of sky and clouds. SPANISH SCHOOL SIXTEENTH CENTURY 464—PORTRAIT OF A SPANISH NOBLEMAN (Canvas) “ Height, 501% inches; width, 41 inches THREE-QUARTER-LENGTH portrait with face turned to the right of a young Spanish nobleman. He is clean shaven, save for a slight mus- tache and dressed in a sixteenth century costume of pointed jerkin, buttoned at the front with tight-fitting undersleeves and puffed knee breeches. He wears a lined cloak thrown over the right shoulder, a lace ruff around the neck and ruffed wristlets. His left hand rests on the hilt of his sword. Dark background. Carved and gilded wood frame. ITALIAN SCHOOL SEVENTEENTH CENTURY 465—PORTRAIT OF A SPANISH CARDINAL ARCHBISHOP Height, 571% inches; width, 37 inches Neary full-length portrait of an ecclesiastic. He stands facing the spectator, with bushy dark hair, a mustache and imperial, wearing a brown-colored cape from under which appears a cassock with bands of lace insertion, a Vandyked border and lace cuffs to the full sleeves. The right hand rests on a table on which stands an archbishop’s mitre and in the left he holds a leather-bound book with silver clasps. Dark background. In old carved and gilded wood frame. FLEMISH PRIMITIVE FirrEENtTH CENTURY 466—THE EXHIBITION OF CHRIST TO THE - PEOPLE: WINGS OF AN ALTARPIECE (Panel) Height, 38 inches; width, 11 inches Two rectangular-shaped panels. - One occupied by a painting, in monotint, of the figure of Christ, after the flagellation, undraped save for a loin cloth and shoulder cape and with His hands tied in front — of Him, surrounded by a soldier with a scourge, the Jewish high priest and a man in pointed high hat; the other, with a group of Jews, lifting their hands and turning aside their faces in an attitude of negation. Both groups are on semi-octagonal bases with acanthus bracketings and in arched niches, one of them surmounted by a bell- shaped canopy. In old painted and gilded wood frame. ITALIAN PRIMITIVE Pisan ScHooL or THE FourRTEENTH CENTURY 467—TRIPTYCH (Panel) Height, 40 inches; width, 44 mches CENTER panel with pointed top and two hinged wings. Center panel with subject in low relief and in gilded gem of a standing figure of Christ in glory with right hand upraised in the act of benediction, the left hand holding a book and with rays proceeding from. the wound in His. side. Around Him are twelve adoring angels with upraised hands. The background is incised with a pattern of scrolled vine leaves. Below is a painted panel representing the service of the Mass. On either side a priest and a deacon are celebrating at an altar, while in the middle a priest administers the host to a communicant. The wing on the right hand is occupied with a figure of Christ en- throned and resting His hands on a crucifix on which is a figure of Himself. Below, a monk is preaching from a wooden pulpit to an audience of monks and laity, while below stands a bearded and ton- sured monk. That on the left is occupied at the top with a figure of the Virgin seated and holding the Christ Child. Below are twelve panels, each representing an incident in the life of Christ, including Christ bearing the Cross, the Crucifixion, the Flagellation, the Trial before Pontius Pilate and the Reception into the Glory. No. 467—Trivtycu FRANCESCO UBERTINI (known as IL BACCHIACCA) 1494— 1557 468-—THE CHILDREN OF ISRAEL AND THE MIRACLE OF MANNA (Panel) In the center, slightly to the left, stands Moses, directing the people with his rod of office. Some are seated behind him and others ap- proach him carrying vessels of gold and silver in which they have stored the manna which others are still gathering from the ground. Directly behind Moses stands Aaron, emptying into a vessel held by a woman the “omer” of manna he was to preserve. In the middle distance is a rocky landscape with other groups of figures, some of whom are catching the quail sent in a miraculous flight. In the fore- ‘ground are leopards, goats, an ox and a giraffe, and in the distance an arm of the sea with mountains and buildings. | yy) i ee See Coin, Sis SL, een eS —~ oo 4 | we et Oty seat et? BORE nail Crono Ny aia i SIZ. SAAB SA BBA ROS I =p. SPANISH SCHOOL SEVENTEENTH CENTURY 469—THE ROMAN DAUGHTER (Canvas ) Height, 37 inches; width, 44 inches Tur Roman father condemned to imprisonment occupies the center of the canvas. He is seated in his cell, nude save for a mantle thrown over his left shoulder and with his hands manacled. His stern, bearded face is seen in profile turned to the right. On the left, grasp- ing with one hand the bars of the grated window, his young daughter stands looking inward at her parent. ‘The only light comes through the barred window. In old carved, painted and gilded wood frame. ATTRIBUTED TO JAN FYT FLemisu: 1609—1661 470—STILL LIFE (Panel) Height, 37 inches; width, 50 inches On the right, resting on a trestled table with a red cloth, is a repoussé brass vase in which are a white napkin, a bunch of asparagus and a blue and white delft bowl of strawberries. In the center a dead hare, ducks and artichokes, while on the left is a round wickerwork basket filled with bunches of white and purple grapes. Dark back- ground. ROMAN SCHOOL SEVENTEENTH CENTURY 471—SET OF THREE DECORATIVE PANELS Height, 41 inches; width, 51 inches ReEcTANGULAR shape. In the center of each is an oval escutcheon sup- ported by nude kneeling figures and surmounted by nude putt. These escutcheons are occupied with emblematic devices: (A) A globe, an open book and a sword; (B) the open Tables of the Law and a hand clasping a naked sword; and (c) a bursting bomb im the air above a fortress. Two have Latin mottoes and one a French motto, on scrolled labels. Above them are the skulls of oxen and catenaries in gold; on either side are caryatids, and below, masks and festoons of fruit and leaves. ATTRIBUTED TO MELCHIOR DHONDECOETER 16386—1695 . 472--FLOWERS AND BIRDS (Canvas) Height, 67 inches; width, 50 inches In the foreground are two geese and a mallard duck having behind them in the middle distance a molded stone plinth of which the top is strewn with brilliantly painted cut flowers. On the left is a carved stone fountain and on the right a peacock. Above is a looped drapery and, beyond, a park with clipped hedges and a flight of marble steps with, in the distance, a mansion of white stone. In carved and gilded wood frame. (Illustrated) } ’ ie ic AY Aare ( 3 °% E € — % « a = ; SCHOOL OF PANINI Eicureenru CEenrury 473—RUINS: PAIR OF DECORATIVE PANELS (Painted in Tempera on Canvas) Height, 55 inches; width, 88 inches (a) In the center, classic ruins consisting of a cluster of Corinthian columns with marble shafts and the springing of an arch. Qn the left are a weir with falling water, a stream crossed by a bridge and a Palladian palace. In the immediate foreground are fragments of masonry and figures. ; (B) On the right, a ruined portico with Doric columns and a flight of steps. In the distance, a Gothic Church with spire and gable. In the immediate foreground on the left, the large scrolled wings of a flight of steps and figures, and on the right a broken rusticated column. In shaped, molded and gilt wood frames. 72d BO cial ea ge oe \ SCHOOL OF PANINI EIGHTEENTH CENTURY 474 RUINS: PAIR OF DECORATIVE PANELS (Painted in Tempera on Canvas) Height, 55 inches; width, 38 inches (A) On the left is a classic ruin consisting of a semicircular columnar peristyle enclosing a pillared sarcophagus and surmounted by a cornice and statue. In the foreground is a sweep of steps and figures. On the right is the prow of a boat with a furled sail, and in the dis- tance a port with hills and buildings. Blue sky with white clouds. (z) On the right is a classic ruin consisting of one massive column, a flight of steps and a brick arch with a scaffolding and shed of wood. In the center is a stream of water with a wooden bridge over which two cows are crossing. On the left is a clump of trees. The bank of the stream, with two figures, forms the foreground, and in the middle distance is a fountain with figures. Landscape background and blue sky. In shaped, molded and gilt wood frames. i 5 ee LF | foil (il! ed ! SCHOOL OF PANINI 1691—1764 475—SHAPORTS: PAIR OF DECORATIVE PANELS (Painted in Tempera on Canvas ) Height, 55 inches; width, 51 inches (A) On the right the wing of a ruined classic portico with Dorie col- umns and ball-shaped finials. In the middle distance a ruined arch supported by two Romanesque columns. In the immediate fore- ground on the left a large grindstone under a wooden pent roof with two men at work and children playing, in the middle distance a boat with sail, on the right a seaport and in the distance an areading, build- ings and a tower. (B) View of a seaport with a classic portico with twin Dorie columns and arched pediment, a pointed arch with Corinthian fluted columns, a balustrade and a stone vase. Below is a stone cistern and figures. In~ the center, an arm of the sea, while in the distance are classic ruins and an obelisk. Blue sky with white clouds. In pierced, carved and gilt wood frames. SCHOOL OF PANINI EIGHTEENTH CENTURY 476—RUINS: PAIR OF DECORATIVE PANELS (Painted in Tempera on Canvas) Height, 65 inches; width, 51 inches (a) In the center is a classic ruin consisting of a variegated marble Composite Corinthian column and pilaster with a cornice and the start of a broken arch. In the foreground are two contadine, and in the middle distance a ruined arch with scaffolding, a hoisting wheel and workmen. In the distance are a pyramidal building and a square tower. Blue sky and white clouds. (B) On the right are a round-arched portico with fluted columns, a balustrade above and stone vases at the side. In the foreground is a group of soldiers with a standard and drum and on the right a broken marble column. In the middle distance an arched courtyard with two figures, with a mountainous landscape in the background. Blue sky with white clouds, In shaped, molded and gilt frames. Mees an _e # BOLOGNESE SCHOOL — EIGHTEENTH Cexrury A 477 ARCHITECTURAL PANEL (Eainted | in Sanna on Canvas) - = * kee a Height, 79 aaihar width, 66 inche: : ” _—— ENTRANCE to a palace. In the aie ve a on a fluted Doric columns at the base of one of ¥ al flowing robes. On the left is a pedestal surmot Minerva seated and a pedimented entrance doo1 in Roman armor. On the right is a_ broken flu the distance, thr ough an arched and balustra Hane caD ee with a eos ruin and figures. pas i ee . + ‘ ey : a iy 4 + 3 ac ye ve a re i j ‘ q Az : ae ~ ae eo 2 i = - i 4s * * ow ~ i = ces eS aa a 5 Al ae am, . j Me) 2s Sig ¢ - rie E * par el i = } ? F BOLOGNESE SCHOOL EIGHTEENTH CENTURY 478 —ARCHITECTURAL PANEL (Painted in Tempera on Canvas) Height, 65 inches; width, 76 mches Inrertor of a church. In the center is a pointed arched bay sup- ported by projecting fluted classic columns and enclosing a consoled pediment supporting an equestrian statue in bronze. On the right is a sarcophagus-shaped tomb and on the left a large wreath-encircled vase with a group of figures below. In shaped, molded and gilded wooden frame. a | We? BOLOGNESE SCHOOL EIGHTEENTH CENTURY 479—-LANDSCAPE PANEL (Painted in Tempera on Canvas) Height, 85 inches; width, 60 inches THE flight into Kgypt. In the center is the Virgin, with the Child Christ seated upon a donkey, with St. Joseph at her side. Above them is a large tree with one broken limb and foliated branches. On the right is another tree, with a stream on the banks of which are two figures and a rocky landscape in the distance. In the foreground on the left is a seated figure. In molded and gilt wood frame. BOLOGNESE SCHOOL EIGHTEENTH CENTURY 480—LANDSCAPE PANEL (Painted in Tempera on Canvas) Height, 85 inches; width, 76 inches A WATERFALL. In the center is a tree with foliaged branches, beneath which a young woman is seated on a donkey, with a bearded man with wide-brimmed_ hat by her side. On the right is a rocky waterfall, formed of three steps, and in the distance a landscape with figures. In molded and gilt wood frame. ITALIAN PRIMITIVE Scuoou or Pisa: FirreEENTH CENTURY 481— FIGURE OF SAINT STEPHEN : (In Oil on Panels) Height, 5 feet 10 inches; width, 2 feet 10 inches K'igure of a saint shown as a deacon, clean shaven, standing upright, holding in his right hand a palm branch and in his left an open book. His head is tonsured, surmounted by the symbolic stone and sur- rounded by a gilt halo. He wears a rich deacon’s dalmatic, the collar embroidered with an “Ave Maria,” the body with crane-like birds symmetrically disposed, and the cuffs and apparel of rich brocade. The alb below is of white linen with a brocaded apparel, and the maniple is embroidered with crosses. Behind him is a brocaded hang- ing, and he stands in front of a square recess, the side pierced with Romanesque, round-arched windows, through which are seen, on one side, a landscape with winding stream and a turreted building and, on the other, two yew trees. At the same side kneels the miniature figure of a tonsured ecclesiastic with a scrolled label inscribed in Gothic characters, “FRAT MATEN LAY prior.” In molded and gilt wood frame. FLORENTINE PRIMITIVE FiIrrEENTH CENTURY 482-THE STORY OF DAEDALUS Height, 23 inches; length, 71 inches Pe Front of a cassone divided into three panels, separated by fluted pilasters and flanked by figures of warriors with clubs holding pointed shields. In the left-hand panel Theseus and the Minotaur are shown in the Labyrinth constructed by King Minos. At the entrance are the King and a sentinel, and on the left is a river with the prow of a ship. The background is a landscape. In the center, d%geus is cast- ing himself into the sea, where his son, in error, displays a black sail, while in the right-hand panel, Daedalus is shown flying in the air with the wings he made for himself and his son Icarus, who is falling into the Iacarian sea, owing to the melting.in the sun of the wax which fastened his wings. | (Illustrated ) SCHOOL OF PISA FourtEENTH CENTURY 483—ITALIAN PRIMITIVE (In Tempera on Panel) Height, 6 feet 5 inches OnE wing of an altarpiece. Divided into two panels by borders painted in imitation of geometrically patterned marble inlay. In the upper panel is a figure of God the Father in the character of Judge. He is shown as a bearded man, dressed in flowing robes, and seated on a throne with canopied top and column supported wings. He holds in His right hand a scepter and points to one side with the index finger of His left. In the panel below is shown the death of a bishop, who, in mitre, and ecclesiastical robes, lies stretched on a drapery-festooned bier. At one side an acolyte swings a thurifier, his head is supported by a priest in embroidered cope, in front of him a woman holds her hand to her face with an expression of grief and on the left stands a tonsured priest. Below is painted a fringed curtain with embroidered border, ADO? dd be € * AY & VISTAS VOTE ’ v4 eat Ay 4 saat, " ree Se ee "Pees agavanoee” * o aR . +4 * 9 saheasset*” ae a) iene i ama i a imaciatattees oa POPE ft a ee ee SSeS : aie . ~ * j . = ; * i » : ‘ ‘ P 7 * +. “al . 7 FOURTH AFTERNOON’S SALE FRIDAY, APRIL 26, 1918 AT THE AMERICAN ART GALLERIES ee BEGINNING AT 2.30 O'CLOCK 487—F irTeeNtH Century Iranran Carvep Woop Mrrror Rectangular mirror in molded frame enriched with egg and dart and beaded carvings, surmounted by a molded and fluted cornice and a cresting of two scrolled cornucopiz. Apron carved with two half figures of winged sphinxes and a shaped shield. Height, 25 inches; width, 10% inches. 487A—SEVENTEENTH CENTURY [raLIAN Carvep Woop Mirror Circular mirror, the frame carved with two half-length nude figures of putti holding a crown and terminating in acanthus- leaf scrollings. 488—SIxTEENTH CENTURY FLORENTINE CARVED AND GILDED Woop Mrrror Circular mirror surrounded by a border carved with the clasped hands of St. Francis of Assisi and a Cherub and set in a Taber- nacolo frame with semicircular pediment, flanked and sur- mounted by rosettes and honeysuckle ornaments, enclosing a female figure holding two shaped shields and supported on two cylindrical Doric pilasters. Molded base with carved plinth and shaped apron. Partially gilded. Height, 26 inches; width,-13 inches. (Illustrated) 489—SIxTEENTH CENTURY ITALIAN CarveED Woop Mirror Rectangular mirror in Tabernacolo frame with voluted and scrolled pediment, molded and dentelled cornice and plain frieze supported on fluted and astragalled pilasters. Molded base and shaped apron outlined with voluted scrolls. Height, 26 inches; width, 131% imches. (Illustrated) 490—SIXTEENTH CENTURY FLORENTINE Carvep Woop Mirror Rectangular mirror in Tabernacolo frame with round-arched pediment flanked and surmounted by volutes and honeysuckle ornaments, with molded cornice and plain frieze supported by two fluted and astragalled pilasters with Ionic capitals. Molded base and apron carved with two curved cornucopiz and a shaped shield. Height, 30 inches; width, 14 mches. (Illustrated) a. ants HPC Ae ia eye a eae, TREY verry, 4 her iw rAECCREL ECE sd th tah hdl eb hoi dh sh se y g 491—SrxteentH Century Iranian Carvep Woop Mirror Circular mirror with frame carved as a banded wreath of fruits and leaves surmounted by an eagle with outstretched wings flanked by winged dragons and with an apron carved with voluted cornucopix, a Pan’s pipes and scrollings. Height, 24 inches; width, 15 imches. (Illustrated ) 492—F IFTEENTH CENTURY FLORENTINE CarvED Woop Mrrror FRAME Rectangular tablet of marble incised with an oval medallion within a rectangular border, within a molded frame of wood carved with flutings and beadings, surmounted by a band of wood carved with flutings and molded and fluted cornice and a voluted pediment, with an oval escutcheon charged with a coat- of-arms in the center. Voluted side brackets and shaped apron carved with acanthus leaves and a shield charged with a coat-of- arms. (Illustrated) 4983—SIxTEENTH CENTURY ITALIAN CARVED Woop Mrrror Circular mirror in frame carved as a wreath of flowers, fruits and leaves, surmounted by a shaped cresting carved with drag- ons and with an apron carved with voluted acanthus-leaf scroll- ings and a shaped shield. : Height, 24 inches; width, 13 inches. (Illustrated) 494—SEtT oF Six EKIGHTEENTH CENTURY ITALIAN WALNUT ARM- CHAIRS OF THE DtrectTory PERIOD Square backs, with molded side supports, voluted ears and shaped head rail carved with shells, acanthus leaves and diapers. Curved and acanthus-leaf carved arms on carved cabriole sup- ports. Serpentine seat fronts carved with shells, acanthus leaves and diapers; curved legs with voluted feet and curved cross stretchers. Seats and backs paneled with woven canework. (Illustrated) Segara tsps Sie t = CFE REE TE CEES OE OE FEE EE EE WE Ewes Owe Se g een ee ae pine Rink. 1 4 ~ ia eB RMCML UME MT MT MT ee wy ee ere SRGGEE EEE GS, o}) « Wo “ Bs lille Biel adie tie hth tee te el Ot te ee he te teat Wi LJ a th PEP CE PERO CES KS KE KK BOs eS RE 'Se's* 3 - dA dda aw aaa et? eal —! Coal ae ad at —, od wea at ewe — voad =~ a — at =) Pow, 4 495—Srtr or Stix Ergurrentu Century Iratian Watnut Cuarrs oF THE Directory PERIOD Square backs, with incurved tops, reeded and carved side sup- ports and horizontal splats enclosing oval panels with reeded frames. Circular seats, with molded frames carved with central rosettes and broken by quatrefoiled dies which serve as the ter- minations of the square curved, reeded and carved legs. Seats and backs paneled with woven canework. (Illustrated) SEVENTEENTH CENTURY ITALIAN WaLNUT CHAIR High back, with turned and medallion carved side supports, carved ball finials; oval panel with scrolled, voluted and acan- thus-leaf carved frame and cresting pierced and carved with voluted scrolls and acanthus leaves. Reeded seat front, flanked by rosetted dies, and turned and carved bulbous legs with pear- shaped feet. Back and seat paneled with woven canework. 496 (Illustrated) 497—Sert or Six EIGHTEENTH CENTURY FRENCH WALNUT ARM- CHAIRS OF THE Louis XVI PERIopD Oval backs, with molded and acanthus-leaf carved frames; curved, molded and voluted arms on curved molded supports. Bowed molded seat front, flanked by rosetted dies, and turned tapering and fluted legs. Seats and backs paneled with woven canework. - (Illustrated) 498—Ser or Six EighTrentH Century Watnut Iratian ArmM- CHAIRS OF THE Louis XV PrErRiIop Rectangular backs, with molded and carved side supports and shaped head rails carved with shells, acanthus leaves and dia- perings. Straight carved arms on curved supports carved with acanthus leaves; serpentine seat fronts carved with shells and acanthus leaves, and cabriole legs with shell-carved knees. Backs and seats paneled with woven canework. (Illustrated) 96T 86P voV “ , * 499—E1GHTErntH Century Norru [Iranian WALNUT ARMCHAIR Shield-shaped back, with scrolled and shell-carved frame, pierced and carved head rail and center vase-shaped splat, scrolled and carved. Curved scrolled arms on ecabriole acanthus- leaf carved supports; bowed seat front with shaped and carved apron, cabriole legs and curved, scrolled and carved stretcher and side rails.. Seat and back in woven canework. 500—E arty E1GHTEENTH CENTURY VENETIAN WALNUT ARMCHATR or THE Louis XV PrErrop Shield-shaped back, with molded frame and pierced and carved cresting. Curved, molded and voluted arms on curved, molded supports. Bowed seat front, with pierced and rococo scroll carved apron; cabriole legs, with scroll carved knees and voluted feet. Seat and back covered with silk damask woven on a rose-colored ground in a pattern of scrolls and floral sprays. (Illustrated) 501—Set or Four Late EIGHTEENTH CENTURY ITALIAN ARM- CHAIRS OF THE Louris XVI PeEriop Spade-shaped backs, with molded frames carved with husk pat- ternings. Enclosing shaped medallions with molded frames and with carved shells in the spandrels. Bowed seat fronts, carved with husk patternings and flanked by rosetted dies. 'Turned tapering and fluted legs. Seats covered and backs paneled with satin damask. Carving gilded. (Illustrated) 502—Set or Four Late EicureenrH Century Iranian ARM- CHAIRS OF THE Louis XVI PErtIop Square open backs, with molded frame enclosing circular me- dallions, with frames carved and pierced in a pattern of annular interlacements. Curving molded arms, straight molded seat fronts flanked by rosetted dies and turned tapering and fluted legs. Seats covered and backs paneled with satin damask. (Illustrated) 500 ey =z OE LE OS A Oa IE» 501 502 Ser or Strx Roman Waunut ArRMCHAIRS OF THE Louis XVI PERIOD \) Square backs, with reeded frames, rounded tops and carved 4 crestings. Curved reeded and voluted arms on curved reeded \- supports. Bowed molded seat fronts, and tapering turned and \y" ' / fluted legs with ball feet. Seats and backs covered with green satin damask woven in a design of scrolls and flowers. 503 (Illustrated) / 504—Pair RoMAN WaLNvuT ARMCHAIRS OF THE Louis XVI PERIop We Similar to the above, with the exception of the covering, which is in red satin damask. 505—Ser or Four Late KicHTrentH Century Iratian ARM- _ CHAIRS OF THE SHERATON PERIOD Square open backs, with frames carved with a bead and reel pattern and with vertical slats pierced with geometrical inter- lacements. Flat curved arms on curved supports, bead and reel carved seat fronts flanked by rosetted dies and square tap- ering legs with spade-shaped feet. Seats covered with satin damask. (Illustrated) 506—SET or Four EicHTrentH Crntury ITALIAN WALNUT Crairs oF THE Louis XVI PrEriop Oval backs carved with interlaced strapwork and floral crest- ing’; circular seats, the frames carved with interlaced strapwork and broken by square rosetted dies. Four tapering turned fluted and acanthus-leaf carved legs with pear-shaped feet. Seats and backs upholstered with silk brocade in a pattern of classical figures and Vitruvian scrollings. (Illustrated) 507—Srr or Four Lare Eienreenta Century Iranian Arm- CHAIRS OF THE Louis XVI- PEriop Open backs of interlaced ovals, with molded frames and carved medallion cresting. Curving voluted arms on curved acanthus- leaf carved supports. Bowed molded seat fronts, pierced and carved with festoons and flanked by rosetted dies. Turned tapering and fluted legs. Seats covered with satin damask. (Illustrated) 0 507 Set or Four Lars EigurrenrH Century Iranian ARrm- CHAIRS OF THE SHERATON PERIOD Open shield-shaped backs, with slats pierced and carved with diamond medallions and husk festoons; curving molded arms and molded seat fronts carved with festoons and flanked by rosetted dies. Square tapering legs, carved with husk pendants, and with ball feet. Seats covered with satin damask. Carving gilded. 508 (Illustrated) 509—Pair or Late EigHTEENTH CrEntury Iratian Girt ArmM- CHAIRS OF THE Late Louis XVI PErtIop Spade-shaped backs, with rounded tops and molded frames. Curving upholstered arms, with curved molded and voluted front supports. Molded bowed seat front and square tapering paneled legs with acorn feet. Backs, arms and seats are covy- ered with blue silk brocade, woven in a design of pillared pavilions and vases of flowers. I'rames completely gilded. (Illustrated) 510—Parr or Latte EKicgotrrentH Crntury Iranian Gint ArRM- CHAIRS OF THE Late Louis XVI PrERIop Similar to the preceding. 511—Patir or Late EicguHTrentyo Century Irauian Git Arm- CHAIRS OF THE LATE Louis XVI PeEriop Similar to Catalogue No. 509. 512—Srr or Srx Lare Eigurerntru Crenrury Iranian Gint CHarrs oF THE Louris XVI PerErtop Open shield-shaped backs, with scrolled and double voluted. ay ry _frames, molded and carved with sprays of foliage. The vertical open splats are pierced and carved in the form of classic vases, with handles from which spring three stems of acanthus leaves. (Illustrated) 518—Pair or Late Eigorerntru Century Iranian Grr CHarrs OF THE Louis XVI PeErtop Similar to the preceding. oo) No age? gi seh hee x ct = i: a é y ¢ ih) eae rere 514 aN ack ate GP amin | easement —— 512 509 514—Srr or Six EicurrenrH Century Nort Iranian GILT ARMCHAIRS OF THE Louis XVI PeErrop Shield-shaped backs, with arched frames carved in guilloche patterning and floral medallions, curved molded and voluted arms on turned tapering and fluted supports, bowed seat fronts carved with circular medallions and turned tapering and fluted legs. Seats and backs upholstered in silk brocade woven in a pattern of Vitruvian scrolls and animals. (Illustrated ) 515—Srr or Srx Late EiguTeentu Century Irarian WALNUT ARMCHAIRS Shield-shaped backs, with carved and pierced rococo scrolled frames and floral and rocaille head rails. Curved voluted and molded arms; seat frames carved with scrolls and rocaille orna- mentation and cabriole legs. Seats and backs upholstered in Hungarian point embroidery in a design of scrolls and flowers on a yellow ground. (Illustrated) 516—Set or THREE Late EK1iGHTEENTH CENTURY ITALIAN PAINTED AND GILT ARMCHAIRS OF THE Louis XVI PERIop Circular backs, with frames carved with laurel-leaf wreaths, spreading molded, carved and voluted arms on molded, carved and turned supports. Bowed molded and carved seat fronts and tapering turned fluted and pointed-leaf carved legs with pear-shaped feet. Backs and seats upholstered in blue and white silk damask woven in a pattern of classical figures. Frame painted white and gilt. (Illustrated) 517—Parm or Late Eicgutreenty Century [rattan Gitt CHarrs OF THE Louis XVI Prriop Rectangular back with rounded top and melon-shaped finials, with molded and carved frame, carved acanthus-leaf enriched arms on carved supports carved with acanthus leaves. Bowed molded and carved seat fronts with rosetted centers flanked by square dies and with square tapering molded and carved legs with ball feet. Seats and backs covered with blue and white silk damask woven in a design of classical figures. Frames entirely gilt. (Illustrated) 515 PITA RS fs ee ey RRS SP Fir0' ve | & 4 4 & 8 Me 8 & e i ? 517 516 518—Pair oF SEVENTEENTH CENTURY VENETIAN WALNUT CHAIRS Rectangular backs, with square side supports. Scrolled, vo- luted and acanthus-leaf carved legs, with pierced, carved, scrolled and voluted front rails and square side and back rails. Seats and backs covered with Hungarian point embroidered in designs of acanthus-leaf scrollings and vases and finished with deep silken fringe. 519—Parmr or EIGHTEENTH CENTURY ITALIAN PAINTED CHAIRS Shield-shaped molded and carved backs, scrolled serpentine seat fronts and cabriole legs. Seats and backs covered with silk brocade woven in a rose-colored and white striped and floral , oe pattern. Frames painted white. J cq 6 | has yw~ wl has WY 520—Pair or SIXTEENTH CENTURY FLORENTINE WaALNutT ARM- CHAIRS Rectangular backs, with gilt acanthus-leaf carved finials. Curv- ing flat voluted arms on curved acanthus-leaf carved supports. Straight square legs on square base rails, with paw terminations and deep front rail carved with a rosette and voluted scrolls. Seats and backs covered with cut velvet in a diapered design secured with oval brass-headed nails and finished with a silken fringe. Carving gilded. 521—Pair oF EIGHTEENTH Century ITALIAN Gi_t CHAIRS OF THE Louis XV PeEriop ta Bi Straight upholstered backs, with shaped tops, square seats and | 6] (ar cabriole legs carved at the knees with scrolled escutcheons and with paw feet. Frames gilt. Backs and seats covered with silk brocade woven in a pattern of floral sprays on a white ground. \\ 522—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Rectangular back with acanthus-leaf carved finials. Flat 0. , molded arms on turned baluster-shaped supports, straight VN square and turned legs on square base with paw terminations and deep front rail carved with voluted scrollings and a central egeg-shaped escutcheon. Back and seat covered with contem- porary tapestry, the back woven in a design of a large goat’s- head trophy with crossed swords. %: 523—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Similar to the preceding. © \ 524—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Similar to the preceding. ae 525—Patr or SIXTEENTH CENTURY FLORENTIE WALNUT CHAIRS ti Ls Rectangular upholstered backs and seats; turned baluster- shaped legs, with turned front rails, side rails and stretchers. Seats and backs upholstered in sixteenth century varicolored woven stuff finished with silken fringe. 526—EIGHTEENTH CENTURY ITALIAN WALNUT ARMCHAIR _Shield-shaped back, with molded and scrolled side supports and head rail carved with a circular portrait medallion, curved and . molded arms on carved supports, bowed scrolled and medal- lioned seat front and cabriole legs. Seat and back upholstered in silk brocade woven in a design of floral sprays. i f ay \LA NY <— 527—S1xTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR High rectangular back with finial carved as female mask, flat voluted arms on turned baluster-shaped supports, straight square and turned legs on square base rails with paw termina- Pike tions and deep front rail, carved with acanthus-leaf scrolls and cherubim and with scrolled and voluted apron. Back and seat covered with contemporary tapestry, the back woven in design of a soldier in sixteenth-century costume and carrying a musket. (Illustrated) 528—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR High rectangular back, with finial carved as female mask, flat voluted arms on turned balustér-shaped supports, straight square and turned legs on square base rails with paw termina- tions and deep front rails carved with acanthus-leaf scrolls and cherubim and with scrolled and voluted apron. Back and seat covered with contemporary tapestry, the back woven in design of a huntsman, in sixteenth-century costume and carry- ing a musket. (Illustrated) 529—Parr oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS . Rectangular backs, with gilt carved finials, straight flat molded arms on square supports carved with acanthus leaves. Square legs and base rails with paw terminations. Backs and seats, the latter with deep aprons, covered with cloth-of-gold silk having a pattern of acanthus-leaf scrolls, tulips and flowers in silk ap- pliqué bordered with gold. Carving gilt. (Illustrated ) 5380—Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS "/ Rectangular backs, with gilt carved finials; straight flat molded arms on square supports carved with acanthus leaves. Square legs and base rails with paw terminations. Backs and seats, the latter with deep aprons, covered with cloth-of-gold having a pattern of acanthus-leaf scrolls, tulips and flowers in silk ap- pliqué embroidery bordered with gold. Carving gilt. 529 527 2 F 5381—SEVENTEENTH CENTURY VENETIAN WALNUT ARMCHAIR Straight back with turned side supports, with center panel sur- \\ rounded by scrolls and shells and with cresting carved to cor- respond. Boldly scrolled and voluted arms on scrolled sup- ports. Scrolled and voluted legs with deep front rail, also carved with a shell and voluted scrolls. Seats covered and back paneled with Hungarian point embroidered in a design of a vase on a pedestal and acanthus-leaf scrollings and finished with knotted fringe. 582—Par or Eiguteentu Century Iranian WALNUT ARMCHAIRS Shield-shaped backs, the head rails carved with rose blossoms. Curved and voluted arms on carved supports. Carved serpen- tine seat fronts and cabriole legs. Seats and backs covered in silk brocade with rose-colored ground. (o/ sis ARMCHAIR Ae Straight back, with arched top, carved and molded frame and “\ scrolled cresting, carved with festoons of flowers, acanthus leaves and pointed leaf and berry pendants. Scrolled and voluted arms carved with acanthus leaves on voluted scroll sup- ports, scrolled and voluted legs carved with acanthus leaves and scrolled acanthus-leaf carved cross stretchers carved with shells at their intersections. Back and seat covered with silk brocade woven in a pattern of scrolls, leaves and flowers and finished with silken fringe. Frame entirely gilded. SEVENTEENTH CENTURY RoMmMAN CARVED AND GILT Woop \ 534—EI1GHTEENTH CENTURY ITALIAN WaALNutT ARMCHAIR Open back, with arched, molded and beaded head-rail and vase- ay shaped central splat carved with imbrications and an oval leaf- | carved medallion. Curved and voluted arms on fluted tapering columnar top, incurved beaded seat front and fluted tapering legs. Seat covered with red and white silk brocade. 535—Patr or Earty EIGHTEENTH CENTURY VENETIAN GILT CHArrRs oF THE Louis XIV Perrtop Shaped backs, with scrolled, voluted and acanthus-leaf carved frames. Cabriole legs, floridly carved with acanthus-leaf scrolls, and grotesque masks and with voluted feet. Scrolled and acan- thus-leaf carved cross stretchers, with pineapple finials. Backs paneled and seats covered with red velvet, the latter finished with silk galloon and fringe. Frames entirely gilt. 5386—Set or Four EIGguHTreentH CrEntury ITALIAN WALNUT CHAIRS Shield-shaped backs, with molded side supports and head rails. Serpentine carved seat fronts and carved cabriole legs. Seats and backs covered in red silk brocade with stripes of white and green. ay \ 587—SEVENTEENTH CENTURY VENETIAN CarvVED AND GiLr Woop ARMCHAIR Straight upholstered back, with shaped cresting pierced and carved in a design of a shield charged with a coat-of-arms, sur- mounted by a coronet and flanked by voluted scrollings and floral pendants. Rococo scrolled and acanthus-leaf carved arms on molded supports carved with masks, scrolled legs on voluted feet and scrolled and acanthus-leaf carved cross stretchers with pointed finial. Back and seat covered with crimson velvet em- broidered with silver thread in a design of a shield, charged with a coat-of-arms, surrounded by scrollings, flowers and leaves, and finished with silk fringe. Frame entirely gilded. 5388—EIGHTEENTH CrntTURY IraLIAN Watnut ARMCHAIR Shield-shaped molded and carved back, curved molded and rv voluted arms on molded and carved supports, scrolled and carved bowed seat front and cabriole legs. Seat and back covered with silk brocade woven in a pattern of floral sprays on a rose-colored ground. \ ' §89—SrvENTEENTH CENTURY VENETIAN WALNUT ARMCHAIR Straight back, with shaped top. Curving, molded, voluted and carved arms on bulbous acanthus-leaf carved supports. ‘Turned legs, with acanthus-leaf carved domed feet and deep front rail pierced and carved with acanthus-leaf scrollings. Back and seat covered in yellow and red brocatelle woven in a design of acan- thus-leaf scrolls and flowers and finished with silken fringe. 540—SrtT or Six EIGHTEENTH CENTURY ITALIAN WALNUT ARM- s CHAIRS Vv / Shield-shaped backs, with molded side supports and head rails YQ / carved with volutes and acanthus leaves. Curved, molded and voluted arms, carved with acanthus leaves, on curved supports. Carved and scrolled bowed seat fronts and cabriole legs carved with acanthus leaves at the knees. Seats and backs covered in red silk brocade with white and green stripe. om Anh “4 541—SEVENTEENTH CENTURY VENETIAN WALNUT ARMCHAIR «) ' Straight back, with shaped top. Curving, molded, voluted and carved arms on acanthus-leaf carved supports. Scrolled and acanthus-leaf carved legs on voluted feet, with deep pierced front rail pierced and carved with linked acanthus and pointed- leaf scrollings. Square back rail. Seat and back covered with yellow and red brocatelle woven in a design of acanthus scrolls and flowers and finished with silken fringe. {/ 542—Srer or Four EIGHTEENTH CENTURY ITALIAN WALNUT / Kp we CHAIRS ) Shield-shaped backs, with molded and carved side supports and \ head rails, bowed and carved seat fronts and molded and carved cabriole legs. Seats and backs covered with silk brocade woven in a design of floral sprays on rose-colored grounds. ke BUA as 543—EIGHTEENTH CentURY CARVED AND Parn'TED VENETIAN CHAIR Straight open back, with square reeded side supports, molded \\ head rail carved with crossed palm branches, and oval medallion | with sunken molded panel painted with wreath. At the angles are carved rosettes. Serpentine seat front, carved with a central acanthus-leaf scroll, and turned tapering and fluted legs. Seat covered with red silk brocade. 544—SEVENTEENTH CENTURY VENETIAN WALNUT CHAIR Straight square back and seat. Scrolled and acanthus-leaf carved legs with pierced and carved scrolled and voluted front rail and square side rails. Seat and back covered in Hungarian point finished with silk fringe. 545—SIXTEENTH CENTURY FLORENTINE ARMCHAIR Straight back, with carved and gilt finials. Straight molded AW, arms on turned baluster supports, turned legs and square base n> rails with paw terminations. Seat and back covered with red NN : : y * and yellow brocatelle secured with brass-headed nails and fin- ished with silk fringe. hi 546—Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS | Straight backs, with carved and gilt acanthus-leaf finials, curved flat voluted arms on turned supports, and square legs, with deep front rails carved with voluted scrolls and gilded. Seats and backs in contemporary leather secured with brass-headed nails and finished with silken frmge. 'The back tooled in gold with scrolled armorial shield. 547—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Straight square back with carved and gilt finials, flat curved arms on curved acanthus-leaf carved supports, and straight square legs, with front rail carved with volute and a rosette, and gilt square base rails with paw terminations. Seat and back covered with brown velvet cut, on a yellow ground, in a diapered pattern of scrollings and finished with silk fringe. [ye 548—Patr OF FIFTEENTH CENTURY FLORENTINE WALNUT CHAIRS j gJ Straight backs, with shaped tops, square curved cross legs with a) % voluted feet pivoted as though to fold and with turned rails. 3s r Seats and backs covered in red and yellow brocatelle. 549—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Straight back, with carved and gilt finials, straight molded arms : Av on turned baluster supports, turned legs and square base rails y with paw terminations. Seat and back covered with red and h A yellow brocatelle woven in a design of crowns, scrolled leaves _yz and flowers and finished with silken fringe. yo 550—SIxTEENTH CrntTURY FLorRENTINE WaLNuT ARMCHAIR et ? we Straight square back, with gilded finials carved as masks hold- wis ' - ing rings, straight molded arms on turned baluster supports, g a straight square legs with deep front rail carved with voluted ly scrolls and escutcheon and gilded. Square base rails, with voluted terminations. Seat and back covered with Hungarian point secured with brass-headed nails. 551—Pair oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS Straight backs, with shaped top. Curved, molded and voluted arms on square baluster-shaped supports. Square tapering carved legs and molded and voluted arched cross stretchers. Seats and backs covered with crimson silk damask finished with silk fringe. 552—Patir oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- oe CHAIRS ee | Similar to the preceding. 553—Pair oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS 7 ‘ve Similar to the preceding. \ } Ve = 554—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR - Rectangular straight back, with gilded acanthus-leaf carved finials, flat molded arms on square Supports with acanthus-leaf carved brackets, straight square légs and base rails terminating in paws, and deep front rail carved with voluted scrolls and a central oval escutcheon. Back and seat covered with contempo- rary tapestry. 555—Pair oF Late EigHtTeentH Crentury ITALIAN GILT CHAIRS oF THE Louris XVI PERrIop Rectangular back with rounded top and melon-shaped finials, with molded and carved frame, carved acanthus-leaf enriched arms on carved supports carved with acanthus leaves. Bowed molded and carved seat fronts with rosetted centers flanked by square dies and with square tapering molded and carved legs with ball feet. Seats and backs covered with silk damask woven in a design of classical figures. : iva) aVa\ RAR AL Boon CHAIRS OF THE EafPrre PERIoD Square open backs, curvingto meet the seats, with square side fu Aupports paneled with gilt bronze moldings and with rosettes uF y /, and round head rails carved below with winged medallions. The Url K legs, mounted at the’seat levels with gilt bronze lions’ masks, ee are tapering, square, paneled with gilt moldings and with feet of gilt bronze birds’ legs and claws. The sides are decorated with gilt six- pointed stars. ‘The open panels at top are laced with gilt bronze cords, the fronts of the seats are finished with deep knotted fringes and the seats and -backs are covered with silk. These chairs, possibly made in Rome, came to Signor Bardini dir wes om the apartment of Princess Pauline Borghese. 557— EIGHTEENTH CENTURY GILT VENETIAN STOOL ) Rectangular shape, with cabriole legs. Completely gilded. Cov- ered with silk brocade. \/ \ \\558—Parr oF EIGHTEENTH CENTURY/ Girt Roman STOOLS Rectangular shape with shaped’ aprons carved with shells, four cabriole and voluted legs caved with floral pendants, voluted cross stretchers and caryéd pineapple finials. Tops covered ie \ with old crimson velvet appliqué in a scroll design with gold D. 3 galloon. | Height, 22 inches. 559—PaIirR OF KicutTEgNTu Century GiI_tt Roman STOOLS ¥ \ \ Companion toAhe preceding. as 560—4P AIR OF SIXTEENTH CENTURY FLORENTINE CARVED AND GILT 4 ee Woop SToOoLs 7 . Boe Or sgabello type. Rectangular molded seats, with shaped front } WA } \y supports carved with voltted - scrolls, acanthus leaves and as ey : grotesque masks. Back ‘supports shaped and incised with vo- AMES scrollings. Painted cream color and brown, and gilded. qo Ms Height, 22 inches. 561—Pair SrxTEENTH CENTURY GILT Tuscan WatnuTt WALL PEDESTALS \ Vp See a Console form, with square molded shelf and square bracket Tay ON carved with scrolled escutcheon and winged masks. Supported by a caryatid figure of a child having a double fishtail termina- tion carved with acanthus leaves. On square molded base. 562—Parr SIxTrENTH CENTURY Gitt Tuscan Watnut Wat vy, J A ~ PEDESTALS nay 1) “Console form, with aware, and molded shelf and bracket sup- Pip a pe ported by large volute masked by a carved acanthus-leaf scroll- . 2 ing and with a tapering fluted termination carved with husked patterning. On square molded base. — Areight, 4 feet 11 inches. 5683—EIGHTEENTH CENTURY CARVED AND GILT Woop PEpbESTAL Circular fluted top, with paneled and carved apron. On tripod scrolled and voluted stand with carved festoons of fruits and leaves. On triangular marbled base. Height, 8 feet 7 inches. 564—Parr OF SEVENTEENTH cle Iranian ParntTED PEDESTALS Triangular tapering shape with molded capitals and bases on . ), ball feet. Painted on a by6wn ground in colors with an arabesque Wy | design of scrolls and/intersections. Portion of one capital missing. 565—Pair or Late EigntrrenraH Century Roman Gitt ConsoLe \ TasBLes oF THE Louris XVI PERIOD \ yr Semicircular tops, with friezes carved with acanthus rinceaux 5 ee separated by square dies having oval medallions. On four ie \ turned, tapering, fluted and carved legs with acorn feet. The tops are of African marble shaped and with mounts of gilded bronze. Height, 2 feet 81 inches; width, 3 feet 6 inches; depth, 1 foot 814 inches. These and the following table came from the Borghese Palace, Rome. 566—Late EIGHTEENTH CENTURY RomAN Git CoNnsOLE TABLE OF THE Louis XVI Perriop if ) va Semicircular top with frieze carved with acanthus rinceaux \' : separated by square dies having oval medallions. On four turned tapering, fluted and carved legs with acorn feet. The top is of African marble shaped and mounted with gilded bronze. od Height, 2 feet 844 inches; width, 3 feet 6 inches; depth, 1 foot 814 inches. ae 567—KIGHTEENTH CENTURY RomMAN CARVED AND GILT Woop ny TABLE at. Vy Circular top of black slate painted with a view of the waterfalls WW at Tivoli. Apron carved with oval floral medallions and acan- thus leaves. On four turned tapering legs carved with lotus and acanthus leaves. Carving gilded. Height, 2 feet 6 inches; diameter, 2 feet 9 inches. 568—Pair or SEVENTEENTH Century ItaLiAn Git TorcHERES Shaped as partially draped female figures symbolizing Ceres A and Flora, Ceres holding in her hand a sheaf of wheat, Flora .. a bunch of flowers. The figures support circular brackets en- circled by wreaths of fruits, flowers and leaves. On rectangular : pedestals, paneled with masks and with voluted consoles at the angles. Completely gilded. a Height, 66 inches. ee Oe SS Ore ee AS —— Seaata Wa CTA pre Se i -~ ‘OW ees . 569—Ear.Ly EIGHTEENTH CENTURY ITALIAN GILT CONSOLE TABLE oF Louris XV PERIop / Shaped marble top, with molded and carved edge and shaped ID apron pierced and carved in a design of rococo scrollings, vo- MK \ lutes and flowers on four scrolled and voluted cabriole legs carved with acanthus-leaf scrolls and flowers. Rococo scrolled cross stretcher, with pierced and carved finial. The top is of African marble shaped and mounted with gilded bronze. Height, 34 inches; width, 6 feet 4 inches; depth, 24 inches. This and the two following tables came from the Borghese Palace, Rome. pai Eis EIGHTEENTH CENTURY ITALIAN GILT CONSOLE TABLE or Louris XV PrErtop \ ‘\ ~ Similar to the preceding. f ‘i rn »} ; ; by ' ¥ Height, 34 inches; width, 6 feet 4 inches; depth, 24 inches. 571—E arty EIGHTEENTH CENTURY ITALIAN GILT CONSOLE TABLE oF Louis XV Perriop Similar to No. 569. Height, 34 inches; width, 6 feet 4 inches; depth, 24 inches. 572—ITALIAN GILT SETTEE OF THE LATE Louis XVI PERIOD Shaped back, with molded frame carved with twisted ribbon and 4 aes 600 599 ee ee Joey ing eeey Tver sey ey Tery ratte BANE BLES EEO ELE Lees le ee ei CCE " BY 602—SrxTrrentuH Century Nortru Iranian WALNUT CABINET Rectangular shape with molded cornice and plain bowed frieze. The front is divided by four projecting pilasters formed as draped female caryatid figures terminating in tapering terms carved with imbrications into three bays surmounted by pointed molded pediments separated and flanked by consoles carved with masks and draperies. The upper portion is fitted as two rows of drawers, while. below they are each fitted with two drawers with sunken paneled fronts and horizontal bands of carved guilloche patterning, while the center bay is arranged as a cupboard with hinged door, the front carved with a colon- naded hall seen in perspective with tiled floor and domed roof, two knights on horseback tilting with spears in the foreground. and a vase with tree in the background. ‘The front is flanked by two voluted grotesque mask caryatids with tapering termi- nations and vase-shaped bases. Molded base, plain plinth and sides with sunken panels and wrought-iron swinging looped carrying handles. Height, 23 inches; width, 30 inches; depth, 17 inches. 603—SEVENTEENTH CENTURY:FELORENTINE PAINTED AND GILDED CABINET BY TACCA Rectangular shape, with molded Oriental marble top supported by wooden molding and, at the angles, by four gilded male caryatids holding voluted scrolls and with tapering carved scrolled and voluted terminations. The body arranged as a cupboard with two hinged doors painted in gold with a repeat pattern of acanthus-leaf scrollings linked by crowns and en- closing flowers and fleurs-de-lis. On molded base, with carved and gilded feet of voluted scrollings. By Pietro Tacca (1577-1640). Height, 3 feet 9 inches : length, 5 feet 2 inches; depth, 2 feet 8 inches. Pietro Tacca, a pupil of Giovanni da Bologna, Florentine sculptor of repute, chiefly knoyn as the designer and modeler of the bronze fountain in the square’ of S.S. Annunziata, Florence, and of the famous monument to Cosimo/de’ Medici in Leghorn. —— 603 604—SEVENTEENTH CENTURY VENETIAN WALNUT TABLE By Bros- TOLONE Rectangular top with molded edge. Apron carved with vo- luted scrollings, acanthus leaves and central pointed-leaf pen- dants, legs pierced and carved with voluted scrolls, husk pen- dants and acanthus-leaf scrolls,° acanthus-leaf carved and scrolled side, front and back rails with central pointed-leaf fin- ials corresponding with the pendants above and lions’ paw feet. Height, 2 feet 114% imches; length, 4 feet 10 inches; width, 2 feet 314 inches. ; Brostolone was the most noteworthy Venetian carver of his genera- tion, though his efforts were chiefly confined to picture frames. (Illustrated) 605—SEVENTEENTH CENTURY VENETIAN TABLE BY BROSTOLONE Rectangular top with molded edge. Apron carved with voluted 0 scrollings, acanthus leaves and central pointed-leaf pendants, (© legs pierced and carved with voluted scrolls, husk pendants and acanthus-leaf scrolls, acanthus-leaf carved and scrolled side, %) front and back rails with central pointed leaf finials correspond- ing with the pendants above, and lions’ paw feet. ANOTOLSOUG AM AIAV], LANIVAA NVILANAA AUYALINAD HINTALNAATG—FOIQ “ON 606—SEVENTEENTH CEentTURY Tuscan InLAID WaLnutT TABLE Rectangular shape, with molded top and frieze carved with & overlapping patere, finished with a scrolled and voluted apron and supported at the angles by scrolled brackets. Turned, fluted, beaded and carved tapering legs. The top is inlaid in ebony and light-colored woods with a design of scrolled acan- thus leaves, flowers and geometrical intersections. Height, 2 feet 7 inches; length, 4 feet 4 inches; width, 2 feet 4 inches. 607—SEVENTEENTH CENTURY VENETIAN WALNUT TABLE Rectangular top with molded edge and plain frieze with scrolled and voluted apron. Legs of rectangular section scrolled, vo- [ luted, decorated with raised lozenges and set diagonally on molded bases with raised chamfered dies. Longitudinal molded stretcher with scrolled and voluted finials and curved and scrolled rising braces decorated with raised lozenges. Height, 31 inches; length, 51% inches; width, 25 inches. (Illustrated) HTaV T, LONIVAA NVILANGTA AUDINAT) HINGALNAAAS—) (IQ “ON . ? t t Y PY Ptb Sth Sahi att VESETERE NE Deane iP Sehicwte W OCD AON Som on On ues 608—SIXTEENTH CENTURY ‘TUSCAN GILT WaLNuT Mirror FRAME Rectangular shape. ‘The inner frame molded and carved with flutings, beadings and reel and bead ornament. ‘The sides sup- ported by scrolled and voluted brackets meeting on shell centers, © and the apron carved to correspond. On cresting is a scrolled and voluted carved broken pediment, having in the center a scrolled oval escutcheon charged with a coat-of-arms of a couped dragon, supported by two youthful angels and surmounted by the Papal Tiara and crossed keys. Carving heightened by gilding. This coat-of-arms was that of Ugo Buoncompagno (1502-1585), Pope Gregory XIII, for whom the frame was made. It is to this Pope that we owe the Gregorian calendar, in almost universal use at the present day. eS i “ 4 $ a 'd . 73 ‘ naa riot Q/ ‘ Vv 609-—SixrrentH Century Tuscan Warnutr Mirror Frame Rectangular shape with molded and fluted cornice supported by rectangular consoles with fluted fronts and pendants carved with overlapping pater,” The frame is molded and carved with bands of guilloche patterning separated by square rosetted dies, and the apron is scrolled, voluted and carved with a female. 7. Height, 641% inches; width, 42% inches. ~ N Rectangular shape with molded and fluted top. Body arranged as cupboard with drawer over. Cupboard with hinged and molded paneled door, the panel carved with circular fluted me- dallions and fluted fan-shaped ornaments at angles. Tlanked by molded panels carved/with voluted palm-branch patterning. Drawer above with front and flanking dies, and plinth below with molded panel, all carved to correspond. Incurved stand, carved with voluted scrollings and winged lion mask, molded base and scrolled feet. | \ ra /610—SIXTEENTH CENTURY TuscAN WALNUT CABINET A Height, 4 feet 6 inches; width, 2 feet 71% inches. 611—SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CASSONE y \ Rectangular shape. Molded domed top with molded edge (carved with flutings. The front is formed. as a sunken molded panel occupied by an elaborate carving of a central scrolled armorial oval escutcheon, surmounted by a winged grotesque mask and supported by two winged Grecian spliunxes, ter-— minating in boldly scrolled acanthus leaves and winged gry- phons. Incurved molded base carved with astragalled flutings. — Carved paw feet. : Height, 2 feet 4 inches; length, 4 feet 10 inches; depth, 2 feet 3 inches. (Illustrated ) 612—FIrrEENTH CENTURY CENTRAL ITALIAN CARVED AND GILDED WALNUT CASSONE Sarcophagus-shaped, with domed hinged lid carved with flut- ings and imbrications. ‘The body with incurved frieze and lower , part carved with bold gadroonings and with scrolled acanthus » / leaves at the angles. Above and below are bands of bead and reel ornament. On carved paw feet. The carving is heightened with gilding. Height,-1 foot 91) inches; length, 5 feet 8 inches; width, 1 foot 10 inches. 7 1 | ' 613—SIxXTEENTH CENTURY FLORENTINE INLAID WALNUT CASSONE ‘ . ° e y Rectangular shape. Molded domed hinged lid with sunken ) paneled top and edge carved with shallow flutings. The front , a is formed as a raised molded panel, occupied by inlay work \ . / of colored woods in a design of a central scrolled armorial es- cutcheon on a rectangular plinth, surmounted by a ducal coronet and flanked by two seated winged amorini extending their hands to two ambulant leopards, who are surrounded by scrolls \ of acanthus leaves and flowers. At the angles are male and female caryatid figures with voluted acanthus-leaf termina- tions. Incurved base cayved with curved astragalled flutings and acanthus leaves. On carved paw feet. Height, 2 feet 4 inches ;/length, 4 feet 10 inches; depth, 2 feet 3 inches. / / (Illustrated) 614—SIXTEENTH CENTURY FLORENTINY CARVED WALNUT Cassone Sarcophagus-shaped, with molded, domed and hinged lid .and \ y an incurved frieze carved with astragalled flutings. The lower part of body carved with curved and voluted flutings, central /\) wreath of fruits enclosing a scrolled escutcheon, the angles with es acanthus leaves. On carved/lions’-paw feet. Height, 2214, inches; length, 631% inches; width, 20 inches. (Illustrated) / / / FI9 \ €19 ee = rar NARS SN WS NaS rv \ 615—Pair or SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CASSONI friezes carved in relief with drapery festoons depending from winged masks and knots of ribbon. The lower parts of the bodies are carved with carved gadroonings and acanthus leaves in the centers and at the angles. On carved lions’-paw feet. \ A) " Sarcophagus-shaped, with molded, domed and hinged lids and (\ ray Height, 24 inches; length, 63 inches; width, 20 mches. (Illustrated) 616—SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CASSONE Sarcophagus-shaped, with molded, carved, domed and hinged lid and incurved frieze carved with astragalled flutings and acanthus leaves. The lower part of the body carved with curved and voluted gadroonings having a banded laurel wreath in the center occupied by a scrolled escutcheon charged with a coat-of- arms and acanthus leaves at the angles. Above are bands of shell and bead and interlaced annular, and below a band of bead ornament. On carved, voluted and fan-carved feet. - Height, 23 inches; length, 68 inches; width, 23 inches. ( Illustrated) 919 S19 A AN NC A Gli 6138—> SIXTEENTH CENTURY BoLoGNrsrk [NLA CaAssonE | Rectangular shape, with domed, molded and hinged lid. The front and sides are paneled and painted with arabesque pattern- ings of grotesque animals, birds and scrollings, the front with a pear-shaped cartouche in the center. The panels are sur- rounded by borders painted, in/line, with a meander patterning, and the base is molded and painted, in line, with acanthus-leaf scrollings. On four carved paw feet. Height, 2 feet 24% inches; length, 5 feet 11 inches. (fllustrated) SIXTEENTH CENTURY FLORENTINE [NLA WALNUT CASSONE Rectangular shape, with a sunken paneled and hinged lid in- laid with bands of geometrical interlacements and frieze inlaid with false flutings. The front is divided by four pilasters with acanthus-leaf capitals and paneled shafts with three panels sur- rounded by sunken moldings and bands of differing inlaid pat- ternings and occupied with intarsiatured work, the center hav- ing a shaped shield charged with a coat-of-arms and supported by headless horses and bows of ribbons, that on the left with a view of a tiled courtyard, a classic building, trees and hills, and that on the right with a landscape and trees, a castello, a church, a river with boats and a bridge. Molded base carved with an imbricated patterning. Height, 30 inches; length, 72% inches; width, 2614 inches. (Illustrated) arcing i Matsa tee eA 3 Se peter eee ve leaves, senate eee ae ie patterns and the base is molded. The sta with a frieze fitted with two drawers hav correspond with those above and supp¢ : beaukets-< on. cross, oe with: ve oe ote eke No. 619—SixtEENtH CENTURY Bresct1AN Waxtnut Capinet AND STAND 620-——SEVENTEENTH CENTURY ITALIAN Esnony AND Bronze CaB- oy ye if INET Rectangular shape, of ebonized wood with molded cornice and base, on feet of gilt bronze shaped in front as dolphins and at the back as turned balls. The front is divided into eight com- partments with fronts of panels of reddish stone set in gilt bronze and a central arched compartment flanked by two female caryatids of gilt bronze on projecting pedestals. (Illustrated) 621—EarLy SIXTEENTH CENTURY FLORENTINE WALNUT CASSA- )/ PANCA Rectangular shaped, with straight back. Molded top rail. Straight arms, molded on the sides and fronts and carved with imbrications and gadroonings. Seat formed as a box with hinged molded ld and fitted with drawers having bronze cres- cent-shaped handles. ‘The front and side are divided by raised moldings into rectangular molded panels, the center of the front having an octagonal broken panel enclosing a pear-shaped scrolled cartouche surmounted by a helmet and charged with the coat-of-arms of the Strozzi family; molded base and molded platform base. . Height, 3 feet 1% inches; length, 6 feet 10 inches. This bench came from the Strozzi Palace in Florence. (Illustrated) | eo 622——FirTeentH CEenturY FLORENTINE CERTOSINA CASKET ~~ Rectangular shape, with hinged lid having two side braces and molded base. Front, sides and top inlaid in ivory certosina work wc) in a diapered geometrical design, the front with a panel of oc- =~ i tagonal patterning surrounded by borders of star patterning. / Swing looped carrying handles of wrought iron. 623 Rectangular top with molded edge, on four flat-shaped legs with voluted bracketed ends and shaped stretcher rails secured \ 6 ~ by keyed tenons which could be removed in order to take the table apart. Height, 2 feet 7% inches; length, 5 feet 11 inches; width, 3 feet 10 inches. (Illustrated) 624—Earty FIrreentH Crntury FLoRENTINE WALNUT SIDE {SIT ARLE eA Rectangular top with molded and fluted edge, on exceptionally xy heavy chamfered cross braces supported on square legs, the back legs plain and spreading, the front legs with carved, vo- » luted bracket ends resting on voluted bases carved with gadroon- ings. Height, 3 feet 4 inches; length, 6 feet 1 inch; width, 8 feet 9 inches. (Illustrated) SSD LEVYS YS 623 624 jovdhvanessarr retiree erie cea P ERR HEF Ay a ae i an {i gd te rH ry Cn Gn vy | o) {OO : Vays - /625—Eicutrrnta Century VENETIAN Lacqurrep EscrivorrE Rectangular shape, made in two portions. The upper part, with molded cornice and pierced and carved cresting of later date, is arranged as a cupboard fitted with compartments and pigeon-holes and closed with two hinged doors, the fronts of which have arched panels surrounded by raised mold- ings and occupied by mirrors, wheel-engraved with eight- pointed stars. The lower part is arranged as a desk with sloping fall-down front fitted inside with drawers and pigeon- holes. Below are two short and two long drawers, with cir- cular brass keyhole escutcheons and pear-shaped drop handles. Molded base and pear-shaped feet. The escritoire is decorated with gold lacquerings of Chinoiseries on a red ground, con- sisting of Chinese figure subjects, birds, flowers, rock-forms, interlacements and scrollings. Height, 7 feet 1 inch; width, 8 feet 2 inches; depth, 1 foot 10 wches. (Illustrated) No. ly A yy 1 a5. he e— Fx 625—E1gHTreentH Century VENETIAN LacauERED EscriTorre 626—SEVENTEENTH CENTURY VENETIAN PAINTED CABINET ON gy STAND Rectangular shape, made in two portions. The upper part, with broken pediment, the pedestal surmounted by a circular pedi- ment, painted with the sacred monogram and with a painted frieze, is arranged as a cupboard, the interior fitted with drawers, having two hinged doors painted with stems of scrolled acanthus leaves and flowers springing from gadrooned vases. 'The lower portion, with plain cornice and painted frieze, supported at the angles by two detached Ionic columns, is also arranged as a cupboard fitted with drawers, and having two hinged paneled doors painted with grotesqueries of female figures holding dolphins, vases of flowers and scrollings. ‘The stand has a double molded top, with aperture for writing slab, and shaped, scrolled and painted apron supported on two spiral columns painted with branches of vine leaves and grapes. Molded stretcher shelf and ball feet. All painted in gold and colors on a black ground. Height, 7 feet 10 inches; width, 4 feet; depth, 2 feet. (Illustrated) +O apr ( aw B — *) ~ No. 626—SEvVENTEENTH CENTURY VENETIAN PainrTEp CABINET ON STAND V \" A} jf A fi 627—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET Rectangular shape, made in two portions. ‘The upper part, sur- mounted by a cresting carved with two puttt supporting a pedestal crowned by an eagle with extended wings and flanked by scrolled acanthus leaves and flowers, has a molded cornice and plain frieze supported by paneled pilasters carved with standing puttt and pendants, and has been, at a later date, ar- ranged as a cupboard with hinged glazed doors. ‘The lower part, with molded cornice and frieze carved with a mask and scrollings, is flanked by paneled pilasters carved with amorini and pendants and arranged as a cupboard with hinged paneled doors carved in the centers with female masks. Height, 8 feet; width, 4 feet 2 inches; depth, 1 foot. (Illustrated) mee ~% * e ~ Ga Ga eee — | SS ut CABINET No. 627—SixTreENtTH CENTURY FLORENTINE WALN 628—LatTE SLXTEENTH CENTURY FLORENTINE WALNUT CABINET Rectangular shape, made in two portions. The upper part, sur- mounted by a cresting carved with two puttt supporting a pedestal crowned by an eagle with extended wings, has a molded and fluted cornice and carved frieze supported by bearded cary- atids terminating in lions’ macks, festoons, eagles and pendants, and has, at a later date, been arranged as a cupboard with hinged glazed doors. The lower part with molded, dentelled cornice, and frieze fitted with drawers with carved fronts, is flanked by paneled pilasters, and arranged as a cupboard with hinged paneled doors. Molded base and dolphin feet. Height, 8 feet; width, 4 feet 2 inches; depth, 1 foot 6 inches. / (Illustrated) f No. 628—Lare SixreentH Century Fiorentine WaAtNut CaBINET 629— EIGHTEENTH CENTURY VENETIAN Cane HarpsicHorD Tarp-shaped case, ee ane. lid | and tot, auOHOIsduvVp{ GALNIVd INV GHAUV,) NVILANG A AWOLNGA) HLINGAALHOIY—6§69 “ON y i - JR 7. hae Py $i, cc) ply &: Se @. we) fp 1 fart FIFTH AND LAST AFTERNOON’S SALE SATURDAY, APRIL 27, 1918 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK 630—SIXTEENTH CENTURY TUSCAN WALNUT WALL PEDESTAL Console form, with shaped and molded shelf and bracket sup- 0. ported by a large volute masked by a carved acanthus-leaf v scrolling having a tapering molded and voluted termination and a square molded base. Height, 5 feet 3 inches. \Ara, Reet Vp 7 631—SIxXTEENTH CENTURY TUSCAN-P-APTER-MACHE WALL PEDESTAL Console form, with semi-octagonal molded shelf supported by a winged grotesque caryatid figure with tassel-hung drapery and tapering-leaf carved termination. On carved paw base. Height, 4 feet 4 imches. La (Illustrated) Vt \ + WweliA - 632—SrxTEENTH CentTURY Tuscan Parir-arxeHkt WALL PEDESTAL yo & Console form, with semi-octagonal molded shelf supported by a hae oye winged grotesque caryatid figure with tassel-hung drapery and tapering-leaf carved termination. On carved paw base. Height, 4 feet 4 inches. (Illustrated ) 633— Pair oF SIXTEENTH CENTURY Tuscan Watnut WAtxL PEDES- TALS qo! Console form, with shaped, molded and mask supported shelf and square paneled bracket supported by two shaped, voluted and leaf-carved wings having between them a tapering panel carved with flower and leaf cluster and tasseled pendant. On square molded base. - Height, 4 feet 11 mches. (Illustrated) f3 634—SIXTEENTH CENTURY TUSCAN WALNUT WALL PEDESTAL Console form, with shaped, molded and mask supported shelf >? and square paneled bracket supported by two shaped, voluted \\° and leaf-carved wings having between them a tapering panel 3 carved with flower and leaf cluster and tasseled pendant. On square molded base. Height, 4 feet 8% inches. 635—SIXTEENTH CENTURY FLORENTINE ParntED Woop Coat-or- era ete! ARMS Octagonal escutcheon in molded frame painted with two putti undraped and supporting a shaped shield charged with the coat- yd : of-arms of the Borgia family. Vv Diameter, 29 inches. (Illustrated) 638 636—SixTEENTH CENTURY FLORENTINE CaARvED AND Git Woop 200°” CoAT-OF-ARMS ~* Shaped escutcheon in frame of voluted scrollings carved with : floral scrollings, birds’ heads and a shell and surrounded by Re: three figures of putti. The escutcheon is charged with the arms | of the Medici family (six pellets), carved in high relief. Gilded. Height, 55 inches; width, 44 inches. (Illustrated ) 6387—SIXTEENTH CENTURY FLORENTINE CARVED AND PAINTED +5 Woop Coat-oF-ARMS eae “y= "" “Carved oval scrolled and voluted escutcheon charged with a ‘tus painted coat-of-arms. 3 Height, 283 inches; width, 17% inches. (Illustrated ) -638—FIrTEENTH CENTURY FLORENTINE COLORED Stucco Coat-or- ea aie eA MS Circular medallion bordered by two cornucopiz and surmounted by a cherub with outstretched wings. ‘The medallion is modeled, 2 in low relief, with a shaped shield charged with the arms of the ( 0 Medici family, five pellets, one with the lilies of France, sur- mounted by crossed keys and a Papal tiara and supported by two demi-lions. This escutcheon was made for Giovanni de’ Medici (Pope Leo X). (Illustrated) 639—SIXTEENTH CENTURY VENETIAN CARVED AND PAINTED CoatT- OF-ARMS Rectangular tablet with molded frame enclosing a voluted and mae scrolled shield charged with a painted coat-of-arms and sus- oa pended from a floral rosette by a knotted and scrolled ribbon. Hanging from the upper volutes of the shield is a festoon of clusters of fruits and leaves suspended by scrolled ribbons. Height, 42 inches; width, 30 inches. (Illustrated) 9€9 LE9 640—FirreENtH CENTURY FLORENTINE PAINTED COAT-OF-ARMS Circular medallion painted with scrollings of acanthus leaves and flowers and with.a shaped shield charged with the arms of 0° the Piccolomini family quartered with those of a related family. | In carved and gilt wood frame formed as a banded wreath of fruits and leaves. Diameter, 36 inches. 641—SIXTEENTH CENTURY FLORENTINE CARVED Woop CoAat-orFr- ARMS Shield of carved wood suspended by bowed and scrolled ribbon vad and charged with the arms of Castile quartered with those of the Gonzaga family. | Height, 40 inches; width, 24 inches. (Illustrated) 642— SEVENTEENTH CENTURY VENETIAN .CARVED Woop CoatT-oF- a Pe ARMS Oval escutcheon surrounded by a fluted frame and by bold voluted scrollings carved with masks, a double festoon of flowers and leaves and surmounted by a heraldic statant lion. The es- QO” cutcheon is charged with the coat-of-arms of the Capello family, cup with cords, a rayed sun and a cross. Height, 56 inches; width, 33 inches. (Illustrated). Sie A eT 639 643—SrxTEENTH CENTURY FLORENTINE CARVED AND PAINTED CoAT-OF-ARMS Serolled and voluted oval escutcheon carved above with two ide dolphins, below with a grotesque mask and charged with a painted coat-of-arms. Height, 36 inches; width, 27 wmches. (Illustrated) 644—SIXTEENTH CENTURY FLORENTINE CARVED AND GILT WALNUT ~ iat Har Rack : Rectangjilar shape, with molded and fluted cornice. The body is arranged in five molded panels enclosing carved rosettes, in eS ee the center of which are turned wooden hat-pegs. The cresting 5 is formed of a scrolled egg-shaped armorial escutcheon, charged with a coat-of-arms and flanked by two voluted scrolls and cherubim. ‘The apron is shaped, scrolled and carved in the center with a winged mask. Carving heightened by gilding. Height, 2 feet 3 inches; length, & feet 1 inch. (Illustrated) 6444—SIxTEENTH CENTURY FLORENTINE WaLNnut Har Rack °°°" Rectangular shape, with molded and fluted cornice.. The body 5" is arranged with three oval scrolled and voluted panels, having bd in each two turned and carved hat-pegs. Shaped and scrolled v apron, carved with overlapping patere and with an oval ar- morial escutcheon painted with a rampant lion in the center. Height, 1 foot 4 inches; length, 4 feet 5 inches. - (Illustrated) V¥r9 PP9 bE eg nnn ee ecco a 4 : z 1 4 u 645—Pair oF SIXTEENTH CenTURY VENETIAN WALNUT CHaIRs Straight open back with square side supports, acanthus-leaf carved finials and two horizontal splats carved with pear-shaped sA- 4 - escutcheons, scrollings and acanthus leaves. Wooden seats with i straight square legs, shaped side rails and deep front rails carved with pear-shaped escutcheons and scrollings. 4 (Illustrated) 646—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Straight back with square side supports, carved finials and two _, horizontal splats pierced and carved with acanthus-leaf scroll- Vl 7 ings and a shell. Straight molded arms on square supports with acanthus-leaf brackets, wooden seat with scroll carved J* apron, straight square legs and side rails and deep front rail carved with voluted scrolls and demi-rosettes. (Illustrated) 647—F our SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIRS Straight backs. Square side supports with acanthus-leaf carved J finials and two horizontal shaped splats carved with trefoils and Pan fan-shaped leaves and incised with scrolled and voluted line. Cente Straight flat molded arms on square supports, wooden seats with shaped aprons and front rails carved and incised with scrolled and voluted lines. Square legs, shaped side rails. Carving and incised lines gilded. “ws (Illustrated) 648—F our SIxTEENTH CentTURY FLORENTINE WALNUT ARMCHAIRS Similar to the preceding. u ie 649—F our SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIRS Similar to No. 647. 6 7 \¥ J . 650—F our SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIRS ¢ 5 Similar to No. 647. Te ae aa 949 Sto L¥9 651—SixTEENTH CreNntTURY BoLocNeseE WaLNuT CHAIRS Straight open backs with square fluted side supports and acan- | thus-leaf carved finials. Deep quatrefoil-shaped splat pierced \L 0 and carved with scrollings and flowers. Wooden seats with shaped and scrolled aprons. Straight, square and turned legs with shaped side and back rails and deep shaped front rail carved with acanthus-leaf scrolls. (Illustrated) 652—Pair or Earty SIxTEENTH CENTURY T‘LORENTINE WALNUT CHAIRS Rectangular backs with square side supports, (gilded acanthus- \ leaf carved finials and two horizontal splats pierced and _ carved in a design of quatrefoils and fleurs-de-lis,) Pierced and carved apron, square legs and side rails, and deep front rail pierced and carved (with quatrefoils and fleurs-detlis. ) Go" 7 oie CStA don Qian (Illustrated) 6538—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Straight back with square carved side supports, acanthus-leaf carved finials and two horizontal splats pierced and carved with » acanthus-leaf scrollings and a shell. Curved flat voluted arms yu on square supports with acanthus-leaf brackets. Leather-coy- ered seat with leather apron secured by large brass-headed nails. Straight square legs and side rails. Shaped and pierced back rail and deep front rail pierced and carved with acanthus-leaf scrolls. (Illustrated) 654—-Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS Straight back, with square side supports and finials carved as Gothic leaves. Straight flat molded arms on turned baluster- Ok shaped supports, turned legs and square base rails with paw eh a terminations. Backs and seats covered with contemporary yt leather, gold tooled, as to the backs with scrolled armorial Sy he shields and palmette-shaped ornamentations, and as to the 0 © aprons, with bands of scrollings. Secured by large round- headed brass nails and finished: with knotted silken fringe. ‘ % ASS SSF "ie inetd sin. title nie 4 & cs EFELEIIFIE y > & ne 653 651 655—Ser or Turee Firreentra Century FLorENTINE WALNUT CHAIRS Rectangular backs with square side supports, gilded acanthus- leaf finials and two horizontal splats pierced and carved with ) interlacements of pomegranate branches and fruits. Square \ © ~ straight legs and side and back rails and deep front rail carved to correspond with the splats. Signor Bardini directs attention to these chairs as forming 1n- teresting examples of the almost Gothic rigor of the early Renaissance design to become coarsened and deteriorated in later centuries. Coie ae (Illustrated) 656—Turer SixteentH Century FLORENTINE WALNUT CHAIRS Rectangular backs with square side supports, gilded acanthus- yo leaf carved finials and two horizontal splats pierced and carved YY in a scroll design. Shaped apron, square and turned legs with square side rails and front rail pierced and carved to correspond with the splats. , 0 iN (Illustrated) 657—SIXTEENTH CENTURY FLORENTINE WALNUT CHAIR ,°°: Straight back, square side supports with acanthus-leaf carved A} OF ai finials and two shaped horizontal splats, pierced and carved in (j pra a he , designs of voluted scrollings and acanthus leaves. Square legs a with shaped front rails pierced and carved in designs of voluted scrollings and rosettes, and shaped side rails. Seat covered with contemporary leather secured with large brass-headed nails and finished with silk fringe. no.uw bS ) Dx (Illustrated) 658—THreE Karty SixreentH Century FLORENTINE WALNUT nee thc SCH AIRS Rectangular backs with square side supports, gilded acanthus- bien leaf carved finials and two horizontal splats pierced and carved o in a design of quatrefoils and fleurs-de-lis. Pierced and carved apron, square legs and side rails and deep front rail pierced and carved with quatrefoils and fleurs-de-lis, - \ ~ LSSh 999 gs9 (Gra) & 4 © v_ Lod 659—T wo Srxrrentu Century Frorentine WaALNvuT CHalrrs “=°~ Soabello type. Shaped backs carved with voluted_ scrollings and scrolled egg-shaped escutcheons charged with coats-of-arms. Shaped seats with circular depressions and fluted edges, shaped front supports carved with rosettes, twin dolphins and egg- shaped escutcheons charged with coats-of-arms, and shaped back supports. 660—SIxTEENTH CENTURY FLORENTINE WALNUT CHAIR :. Sgabello type. Shaped back carved with female caryatids sup- porting voluted crestings and terminating in scrolled acanthus leaves; between them is carved the Orsini coat-of-arms. Semi- octagonal seat with carved edges, shaped front support carved with scrolls, acanthus leaves and an egg-shaped escutcheon charged with a coat-of-arms and shaped back support. 661—SIxXTEENTH CENTURY FLORENTINE WALNUT CHAIR Sgabello type. Shaped back carved with voluted scrolls and a grotesque mask; seat with chamfered angles; shaped front sup- ports carved with twin dolphins and a scrolled egg-shaped es- cutcheon and shaped back support. 662—SIXTEENTH CENTURY FLORENTINE WALNUT CHAIR Sgabello type. Shaped back carved with voluted scrolls, shells and an oval scrolled escutcheon carved with the Borghese coat-_ of-arms. Shaped wooden seat; front support carved with vo- luted scrolls and shells, and shaped back support. 6638—-Pair OF SIXTEENTH CENTURY FLORENTINE WALNUT CHAIRS “lS eabello type. Shaped backs carved with voluted scrolls, flut- ings and scrolled heart-shaped escutcheons; shaped seats with circular depressions; shaped front supports carved with rosettes, dolphins and scrolled heart-shaped escutcheons and shaped back — supports. 664—THREE SIXTEENTH CENTURY FLORENTINE WALNUT CHAIRS: Sgabello type. Shaped backs carved with voluted scrolls. Cir- cular medallions and oval escutcheons. Semi-octagonal seats with molded edges, square tapering box pedestals, shaped front supports carved with voluted scrolls and scrolled egg-shaped escutcheons, and shaped back supports. 663 662 664 WE 665—Two SIxTEENTH CENTURY FLORENTINE WALNUT CHAIRS Sgabello type. Shaped backs carved with voluted acanthus-leaf scrolls and oval escutcheons, one charged with a coat-of-arms. Semi-octagonal seats, shaped front supports carved with vo- luted acanthus-leaf scrolls and dolphins, and shaped back sup- ports. 666—T'wo SrxreentH CrentTuRY FLORENTINE WALNUT CHAIRS Sgabello type. Shaped backs carved with voluted scrolls and _ scrolled oval escutcheons, one charged with a coat-of-arms; shaped and octagonal seats; shaped front supports carved with dolphin and scrolled egg-shaped escutcheons, and shaped back supports. — . 667—SrxTeEntTH CENTURY FLORENTINE WALNUT ARMCHAIR “Hoa, - oe v a Square back, with gilded finials carved as masks; flat curved voluted arms on square baluster-shaped supports; straight square legs on square base rails, with paw terminations and deep front rail pierced and carved with voluted scrolls and cir- cular medallions. Back and seat covered with contemporary green velvet bordered with gold galloon, secured with rosetted brass-headed nails and finished with silk fringe. 668—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR { #0 Rectangular back with square side supports and gilded acan- thus-leaf carved finials. Straight, flat, molded arms on square supports with carved acanthus-leaf brackets. Straight square and turned legs, square side and back rails and deep front rail carved with voluted scrolls and a central rosette. The seat and back are covered with contemporary tapestry woven with gold background in a pattern of Neptune, Nereids, a Dragonfish and conventional waves. The carving is heightened with gild- ing. 669—Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS Rectangular backs, with gilt carved finials, square curving and voluted arms on curved supports carved with acanthus leaves, straight square legs, pierced front rail carved with scrolls and volutes and square base rails with paw terminations. Backs and seats covered with red and yellow brocatelle, of a conven-. tional flower and leaf design, secured with round brass-headed nails and finished with silken fringe. Carving of frame gilded. 667 669 ee G = 670—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR \-Rc0+e> Prk Rectangular back, with square side supports and gilded acan- thus-leaf carved finials. Straight, flat, molded arms on square supports with carved acanthus-leaf brackets. Straight square and turned legs, square side and back rails, and deep front rail carved with voluted scrolls and a central rosette. The seat and back are covered with contemporary tapestry, the back being woven, with gold background, in a design of Neptune brandish- ing his Trident and standing in a chariot drawn by sea horses; in the distance are Nereids, in the foreground fish and a sea dragon, and the background is of conventional wave forms. The seat has a design of a waterfall and the sides have a tapestry border of floral rosettes and ribbons. The carving is height- ened with gilding. ‘These gold-woven tapestries are of rare occurrence. The reason generally advanced is that in the late eighteenth century they were burnt in large quantities in order to recover the gold bullion woven into them. 671—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR ‘=s®~ Rectangular back, with square side supports and gilded acan- , thus-leaf carved finials. Straight flat molded arms on turned Sy “Haluster-shaped supports. Straight square and turned legs on square base rails with paw terminations and deep front rail » carved with voluted scrolls and a central rosette. ‘The seat and » back are covered with contemporary tapestry, the back being \ Se woven, with gold background, in a “verdure” design with trunks of trees, foliage, rocks, a winding stream of water and wild ani- mals, including camels, deer, an elephant and what is meant to be a hippopotamus. The seat has a verdure design and the sides a tapestry border of floral rosettes and ribbons. The carvings are heightened with gilding. 672— 674— SrxreentH Century FLorentiInE WaALNuT ARMCHAIR Rectangular back, with acanthus-leaf carved finials. Flat molded arms on turned baluster-shaped supports, straight square and turned legs on square base rails with paw termina- tions and deep front rail carved with voluted scrollings and a central egg-shaped escutcheon. Back and seat covered with contemporary tapestry, the back woven in a design of a mason- sculptor at work on an architectural carving. (Illustrated) SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Rectangular straight back, with carved and gilt finials. Flat molded arms on turned baluster-shaped supports. Square and turned legs on square base rails with paw terminations. Back and seat covered in contemporary tapestry, woven, the back in a design of a woman in sixteenth-century costume holding a festoon of fruits and leaves, the seat with an escutcheon, the apron with flowers, fruits and leaves. (Illustrated) SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Rectangular back, with acanthus-leaf carved finials. Flat molded arms on turned baluster-shaped supports, straight square and turned legs on square base rails with paw termina- tions and deep front rail carved with voluted scrollings and a central rosette. Back and seat covered with contemporary tapestry, the back woven in a design of a gardener in sixteenth century costume, seated, with his arms resting on a cluster of pomegranate and flowers. (Illustrated) 673 oT 674 675—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR \r°°- High straight back, with gilded voluted finials carved with eagles and lions’ heads; flat molded arms on turned supports, square and turned legs on square base rails with paw termina- tions and deep front rail pierced and carved with voluted scrolls and palmettes. Seat and back covered with contemporary tapestry woven in a design of a scrolled medallion occupied by two figures in sixteenth century costume and finished with silk fringe. 676—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Rectangular back, with gilded acanthus-leaf carved finials. Flat molded arms on curved acanthus-leaf carved supports; straight square legs and deep front rail carved with an oval escutcheon charged with a coat-of-arms, and with acanthus-leaf scrolls and volutes. Back and seat covered with crimson velvet, bordered and paneled with broad gold galloon and finished with silken fringe. 42 677—Pair OF SEVENTEENTH CENTURY VENETIAN WALNUT ARM- CHAIRS Rectangular backs, with gilt bronze ball finials; curving, reeded - and voluted arms on square supports; square molded legs pan- eled and carved with twisted ribbon patterning. Scrolled, vo- luted and carved cross stretchers. Seats and backs covered in Hungarian point embroidered in designs of scrolled acanthus leaves and flowers and finished with silken fringe. 678—SIXTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Rectangular back, with gilded acanthus-leaf carved finials. Flat molded arms on curved acanthus-leaf carved supports; straight square legs and deep front rail carved with an oval escutcheon charged with a coat-of-arms, and with acanthus-leaf scrolls and volutes. Back and seat covered with crimson velvet, bordered and paneled with broad gold galloon and finished with silken fringe. “ >t eee iaemcr ae | Sorperenn seer peeparninct ha 679—Pair or SIxTeEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS Square backs, with gilded acanthus-leaf carved finials; flat curving voluted arms on turned and carved baluster-shaped supports; straight turned and carved legs on square base rails, ) with carved terminations and deep front rails carved with vo- by luted scrolls and rosettes. Seats and backs covered with con- temporary crimson velvet bordered with gold galloon, secured with large round brass-headed nails and finished with silk fringe. 680 SX Earty SIXTEENTH CENTURY FLORENTINE WALNUT a Let CHAIRS , PY Straight backs, with acanthus-leaf carved finials. Straight ~ square legs, with deep front rail pierced and carved in a design ( \) (pe of voluted scrolls, and shaped back rail. Seats and backs coy- \. . ered in original leather fastened with round-headed brass nails. The backs gold tooled with circular medallion enclosing a chrysanthemum blossom and the inscription: “ss. ROSARI DEL MOD.” SO QP Se ers * “ ° * » ha? NL * 8 : min ¥ * ¥ he He ® 681I—SixTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR A Square back, with carved finials, flat arms on turned baluster- r shaped supports, square legs on round base rails with voluted terminations and deep front rail carved with voluted scrolls and a central oval escutcheon surrounded by acanthus leaves. Seat and back covered with Hungarian point embroidery secured with round brass-headed nails. 682—TuHreE EARLY SIXTEENTH CENTURY FLORENTINE WALNUT CHAIRS Similar to the preceding. 683—SEVENTEENTH CENTURY VENETIAN WALNUT ARMCHAIR Straight back, with shaped top. Curving, molded, voluted and carved arms on bulbous turned and carved supports. Turned and carved legs, with voluted feet and deep front rail pierced and carved with linked acanthus-leaf scrollings. Turned side rails. Back and seat covered with silk damask woven in a de- sign of flowers and scrolls, the latter finished with silken fringe. 684—SIXTEENTH CENTURY FLORENTINE WaLnut ARMCHAIR : of Rectangular back, with gilded acanthus-leaf carved finials. Flat molded arms on curved acanthus-leaf carved supports; straight square legs and deep front rail carved with an oval es- cutcheon charged with a coat-of-arms, and with acanthus-leaf scrolls and volutes. Back and seat covered with crimson velvet, bordered and paneled with broad gold galloon and finished with silken fringe. d) a8 Sani eben beekee ane eRe ar carvec cylindrical pedestal and carved Bete wane feet. ei Hastratedye 686 Six Tren Ee Canine CENTRAL Iranian” Leer, TABLE 355 r Octagonal top with plain edge, peed GY bracketed and voluted wings, with ps Q “pendant and lions’ paw carved ae : * ie | oe | (lustrated) ne ae = a pt. si 3 Sp 685 686 - 687—SixteentuH Century Tuscan Wace OcTAGONAL | \°°.~ Octagonal top with molded and enriched rim, supported Or pierced and carved voluted brackets with molded upright rails meeting in the center to form a pe : molded octagonal base. Re - | Height, 2 ee 7% inches; dia (Illustrated) 688—EarLty SIXTEENTH CENTURY Nowra Tranian TABLE Ae 0 Rectangular plain top, with chanieeneds cross | wh / apron fitted with two drawers with paneled fre y ___ by shaped, scrolled and voluted brackets on recta with paneled sides, fitted with two drawers with Square plain base and shaped, scrolled and. Height, 2 feet 8 inches; length, 4 Piss My inches ath, 1%, inch. eon (Illustrated) ge 688 em at. van’, TS ay ay ; , "ae f ,, ; > y. ie, Che a Octagonal Slain fap ee on aus stint ; d Q yO paneled frieze and four carved and voluted w drical pedestal and carved lions’ paw feet. (Illustrated) ele oe a ae iron scrolls with curving flatten f d toe (E eo) ) 5 aie e « » fe Ca ; ] ff os i w -- * na ~ . » Se ¢ “e es . | eae i on P 689 ? us i N 8 3 y a 4 ; tn ihe) +L ie | tale ii / fe 3 a at | Os : eh 4 te rie 691—SIXTEENTH CENTURY LIGURIAN WALNUT CABINET Rectangular shape. The molded top is hinged to open and with the frieze, carved with acanthus leaves, is supported by pilasters with molded capitals and paneled shafts carved with scrolled, voluted and rosetted patternings, and the body, arranged as a cupboard with two hinged doors, and the sides. arranged as shallow cupboards, are paneled and carved with oval leaf medallions having floral rosettes at the angles and turned wooden knobs in the centers. On molded and fluted base and plinth carved with false shaped apron and rectangular panels of voluted leaf ornamentations, and arranged as three ° drawers. . Height, 3 feet 3 inches; width, 3 feet 10 inches; depth, 1 foot 91% inches. aN yi a fd Warr: - ii ; aha ‘ VROPPR PPT ROOT aE Wee : a 692—SIxTEENTH CENTURY UMBRIAN WALNUT CABINET a Rectangular shape, with molded top and frieze fitted with drawer, the front carved with voluted palmettes flanked by acanthus-leaf carved console brackets which serve as drawer fronts and are supported on pilasters whose fronts are carved with imbrications and which have acanthus-leaf carved consoles serving as drawer fronts in place of capitals. The body ar- ranged as a cupboard, with two hinged doors whose fronts are paneled and surrounded by borders carved with zigzag orna- mentation. On molded base, with plain plinth and ball feet. Height, 2 feet 3 inches; width, 3 feet 4 inches; depth, 1 foot 5 inches. 698—EarLy SEVENTEENTH CENTURY FLORENTINE WALNUT CABINET . Rectangular shape, with incurved angles. Molded cornice and plain frieze, supported by two pilasters with tapering paneled shafts and Composite capitals, arranged as a cupboard with two hinged doors having shaped paneled fronts. On molded base with cushion feet. Height, 3 feet 81% inches; width, 4 feet 814 inches; depth, 2 feet 11 inches. (Illustrated) 694—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET Rectangular shape, with molded and carved cornice and paneled frieze, carved in the center with scrolled escutcheon, supported " by winged caryatids terminating in tapering shafts and claw feet on carved pedestals. Fitted with eleven drawers, with pan- eled fronts and turned knobs and with two round-arched and recessed compartments supported by detached Doric columns. Molded and carved base. tate ayn Height, 30 inches; width, 40 inches; depth, 18 inches. (Illustrated) s aot sae enn, ‘ i gee 9 = a cons tace Uh vs ai 694, 695—SIxTEENTH CENTURY FLORENTINE WALNUT CABINET Rectangular shape, with molded, fluted cornice and frieze, en- riched by circular medallions separated by console brackets, sup- ported by two pilasters with tapering carved shafts and molded capitals. Arranged as cupboard, with hinged paneled doors having turned knobs. Molded and carved base, shaped and scroll carved apron and paw feet. Height, 4 feet 6 inches; width, 4 feet 8 inches; depth, 2 feet 3 inches. (Illustrated) 696—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET Rectangular shape, with molded top and frieze enriched with : ~/> circular medallions separated by triglyphs and guttz and fitted ay with two drawers. Supported at each side by console brackets with carved fronts and arranged as a cupboard with two hinged and molded paneled doors flanked by vertical molded panels. Molded and broken base. Height, 36 inches; length, 48 inches. (Illustrated) A 5509 992222 Be x sana.“ ae om 908 ti A pO LIU 9 SEN, TEE HN 695 696 6o7—— rd SIXTEENTH CENTURY TUSCAN WALNUT CABINET Rectangular shape. Molded top, with frieze fitted with two drawers with molded paneled fronts and turned wooden knobs. The body is arranged as a cupboard with two hinged doors with sunken paneled fronts and diamond-shaped medallions formed by raised moldings. These doors are separated and flanked by columnar pilasters with fluted capitals and tapering and vase-shaped shafts carved with imbrications, flutings and gad- roonings. Plain broken plinth, molded base and shaped cross block feet. The sides are paneled to conform with the front. Height, 3 feet 3 inches; width, 8 feet 2 inches; depth, 1 foot 6 inches. 698—SIXTEENTH CENTURY NortrH ITALIAN WaALNutT CABINET *S°~ Rectangular shape. Molded and carved cornice and plain frieze carved with a bearded mask and rosettes supported by seven : (0 caryatids: four of queens, with drapery and voluted termina- tions; three of Tritons, with twisted fishtail terminations. luted scrolls. Back and seat covered with contemporary leather, gold tooled, as to the backs with scrolled shields charged with Uf | coats-of-arms surmounted by helmets and surrounded by a bor- der of scrollings, and as to the aprons with bands of fleurons. Leather secured by double rows of round brass-headed nails and finished with silken fringes. 710—Pair OF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- i CHAIRS j Straight rectangular backs, spirally turned arms, supports, legs, { front and side rails and stretchers. Backs and seats in original S e: leather secured with brass-headed nails. 11—Pair oF SEVENTEENTH CrentTuRY FLorENTINE WALNUT ARM- | : CHAIRS r ‘ rAN ERE, 4 We ee \\ J Similar to the preceding. - . 712—Parr oF SEVENTEENTH CENTURY FLORENTINE WALNUT ARM- \ o \ f CHAIRS al A Similar to the preceding. a ic y ) © Dee Ne 2 71383—SIxTEENTH CENTURY FLORENTINE WALNUT ARMCHAIR Straight back, with square side supports and finials carved as Gothic leaves. Straight flat molded arms on turned baluster- shaped supports; turned legs and square base rails with paw terminations. Back and seat covered with contemporary leather, gold tooled, as to the back with a diamond-shaped me- ~ dallion surrounded by a border of scrollings, and as to the apron with a band of scrollings, secured by large round-headed brass nails and finished with knotted silken fringe. 714—Pair oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- CHAIRS a Straight backs, with carved and gilt acanthus-leaf finials. Flat molded arms on turned. baluster supports; straight legs and Y cross braces. Seats and backs in contemporary leather secured J : with brass-headed nails and finished with silk fringe. Backs _ j Ton tooled in gold with central scrolled armorial shields and pal- mette-shaped ornaments in the angles. E 715—Par oF SIXTEENTH CENTURY FLORENTINE WALNUT ARM- JV CHAIRS LY Similar to the preceding. | bik 4 Aur J {0 Te 716—Patr or FirreentH Century FLORENTINE WALNUT CHAIRS Straight square backs and seats, turned legs, side rails and stretchers. Seats and backs in original leather, secured with round-headed brass nails, finished with silk fringe. E \ 717-—Patr or FirreentH Century FLORENTINE WaLNutT CHAIRS \ sP Straight square backs and seats, turned legs, side rails and \ oj} iv stretchers. Seats and backs in original leather, secured with \ } ey ai brass-headed nails and finished with silk fringe. Backs tooled a . ) < : ' \ \ | in gold with a scrolled armorial escutcheon and floral borders. Wea | 1 fy- (Illustrated ) 718—Pai or SrxteentH Century FLORENTINE WaLNUT ARM- batts CHAIRS L. nw Square back, with square side supports and gilded, carved acan- | thus-leaf finials, flat molded arms on turned baluster-shaped (\ 4’ — supports, square legs on square base rails with paw terminations “) and shaped back rails. Backs and seats covered with leather, 7 gold tooled, as to the backs, with quatrefoil medallions sur- rounded by paneled borders, and as to the aprons, with dia- ‘A mond-shaped medallions, secured by double rows of round brass-headed nails and finished with silken fringe. (Illustratedy (i 719—Srer or Two FirreentH CrentTury FLORENTINE WALNUT () nee ye CHAIRS | } lo a] Straight backs, with carved gilt shell-shaped finials, square vis scrolled cross legs with voluted feet pivoted as though to fold, iN and with turned front and back rails. Seats and backs in ct | original leather fastened with round-headed brass nails and oe \p f finished with silk fringe. / (Illustrated) 720—Pair or FIFTEENTH CENTURY FLORENTINE WALNUT CHAIRS Similar to the preceding. 721—Parr or FIrreentH Century FLORENTINE WALNUT CHAIRS 7 - 2 OD, Similar to the: preceding. 722—Pair or Firreentu Century FLORENTINE WALNUT CHAIRS “eo” Similar to the preceding. ee wR pte \ see 718 719 17 CUSHIONS AND TAPESTRIES OF THE SIXTEENTH AND SEVENTEENTH CENTURIES 725—Pair oF SIXTEENTH CENTURY FLORENTINE EMBROIDERED SILK CUSHIONS Rectangular shape. Covered with blue silk, embroidered in 4\ pL" i. : . : on Ve gold with a diapered patterning of raised torsades surrounded ¢; by interlacements and scrollings. Height, 15 inches; width, 181% inches. (Illustrated) 726—SIXTEENTH CENTURY FLORENTINE EMBROIDERED CUSHION A, Covered with red silk. Kmbroidered in colored silks, as to the \) center, with a scrolled armorial shield charged with a coat-of- C) arms mantled with foliage and surmounted by a helmet. This \ U is surrounded by four large palmette-shaped figures of scroll- ings and flowers starting from conventional vases at the angles. Finished with silk tassels. Height, 14 inches; width, 191% inches. (Illustrated) 727—SIXTEENTH CENTURY FLORENTINE EMBROIDERED SILK CUSHION Rectangular shape. Covered with red silk, embroidered in col- r/\ v ored silks and gold with a scrolled pear-shaped escutcheon charged with a coat-of-arms and surrounded by scrolled ribbons. At the angles are voluted and floral palmettes, and the border is of vases, scrolled acanthus leaves and flowers. Height, 14 inches; width, 19 inches. (Illustrated) 728—PAIR OF SIXTEENTH CENTURY FLORENTINE CUSHIONS _ Covered with red satin embroidered, in colored silks, as to the center, with figures of Justice carrying her scales and a female Bacchante pouring out a libation of wine from a vase. At the angles are palmette-shaped figures of scrollings and flowers. Border of scrollings and vases. Finished with silk tassels. Height, 151% inches; width, 201% inches. ee 729—Pair oF SIXTEENTH CENTURY FLORENTINE EMBROIDERED SiLK CUSHIONS Rectangular shape. Covered with red silk, embroidered in gold and colored silks with oval medallions occupied by figures ‘of Minerva with spear and shield and Diana with a bow, en- closed by a border of medallions and acanthus leaves and sur- rounded by scrolled ribbons. At the angles are scrolled pal- mettes, and the borders are of acanthus-leaf scrollings sym- metrically diapered. Finished with tassels. Height, 15 inches; width, 191% inches. 730-——SIxTEENTH CENTURY FLoRENTINE EMBROIDERED SILK CusHION Rectangular shape. Covered with red satin, embroidered in gold and colored silks with a scrolled escutcheon charged with (fo a coat-of-arms and with voluted and floral palmettes at the “) | angles and with a border of acanthus-leaf scrollings and flowers. ‘ Height, 21 inches; width, 15 imches. (Illustrated) 731—SrxteentH CrentTuRY FLORENTINE EMBROIDERED CUSHION Covered with red silk embroidered in colored silks, as to the ; center with a two-headed eagle surmounted by a crown and 4 displaying a shield charged with a coat-of-arms. In the angles \ are heraldic eagles. Surrounded by a border of scrollings and flowers. Finished with silk tassels. Height, 2014 inches; width, 151% inches. (Illustrated) 732— FIrTEENTH CENTURY FLORENTINE TAPESTRY COVER Rectangular shape. Woven to simulate an Asia Minor rug, * with a field of quatrefoil-shaped interlacements, inner and outer \ guards of square quatrefoiled rosettes, main border with a dia- pered pattern of looped interlacements and leaves, and outer border of looped tassels. Length, 11 feet 5 inches; width, 6 feet 10 inches. (Illustrated) 730 x? KO Oy «> ates 731 Resateiiae bike The center woven = a panel, occupied by a scrolled and shaped shield ¢ a coat-of-arms, and surrounded by an arabesqu of scrolled acanthus leaves and cornucopie filled ) leaves. The border is of meander pattern of a scrollings separated by fluted vases. The g whale, Pp Lhe colors on dark grounds. Sn san Height, 8 feet 9 inches; width, ) (Illustrated) ee : ; K 4 ; > 2 ae es oe Z 734— SEVENTEENTH CENTURY Iranian Horatic Ta Rectangular shape. The center woven with a cent panel, occupied by a scrolled and shaped shield c el a coat-of-arms, and surmounted by an arabes ue scrolled acanthus leaves and Raney! fled v serollings PEACE * nae vases. “The eho hehe colors on dark grounds. 2S i> Sepa sis * Rp igh 8 feet 9 ‘inbie: wid w*ve ea 7 A . a é t SOE h ome / i ay 2 i pa He ( eee No. 733—SEVENTEENTH CrentTuRY Heraupic Tapestry PANEL 735—SHVENTEENTH Century Fiemisu Verpure T oor” Rectangular shape. ‘The center woven in a “ve of large scrolled, pointed and serrated leaves in of green on a dark ground and intertwined with \ and other flowers, buds and leaves, and with birds. v ur is a broad band of flowers and fruits, woven in colors, and leaves on a light ground, - pt a4 Ks Height, 11 feet 3 inches; Se ve! esse ete ee “i wf z Bim AS yd at ‘ ee 7 36—SrvENTHENTH CunTURY Fiemisn ‘Vexpors bth Rectangular asacee Apa = [ K\ feb bread. hana aE aa ate fruits, wo colors, and leaves on a ae sete thes oS No. 735—SEVENTEENTH Century Fremish Verpure Tapestry PANEL 1 ee Century ITALIAN TAPESTRY PANEL ce y Rectangular shape. Woven with episodes of the Siege of Tro In the center are the figures of Paris, in classical armor, and Helen in a loose robe and wearing a close-fitting cap. On either side are the trunks of trees, that on the left being an apple tree with a small animal below preparing to climb it and a scrolled escutcheon charged with a coat-of-arms above, while that on the right is an oak tree with a parrot perched on one of the branches. On the left is Diomedes with the captured Palladium, and on the right Achilles seizing Polyxena. On the extreme right is a city gate. In the distance a landscape with figures and a castle. The architecture and costumes, with the exception of that of Paris, are Italian of the sixteenth century. Surrounded by a border of a laurel-leaf garland and clusters of fruits, flow- ers and leaves. Height, 5 feet 7% inches; width, 18 feet 9 inches. TANVG AULSadV |, NVIVIVLT AUOLNAS) HLNAALXIGC—)JE) “ON FURNITURE OF THE FIFTEENTH, SIXTEENTH AND SEVENTEENTH CENTURIES 738—SIXTEENTH CENTURY FLORENTINE WaLNuT CABINET Rectangular shape, with molded and dentelled cornice, paneled frieze fitted with drawer, arranged as cupboard with hinged paneled door, having in the center an applied carving of , cyl ry scrolled and voluted lion mask. The sides have scrolled an i voluted round-arched niches occupied with carved figures of bearded men, manacled and wearing’ Phrygian caps, on brackets. Molded base. 7] Height, 4 feet; width, 1 foot 10 inches. (Illustrated) 739—SIXTEENTH CENTURY TuscAN WALNUT CaBINET Rectangular shape, with molded top carved with two bands of flutings. The frieze fitted with two drawers, separated and flanked by carved voluted lions’ masks and with sunken paneled X / fronts carved with voluted strapwork scrollings. The lower part is arranged as a cupboard with two hinged sunken paneled doors separated and flanked by narrow vertical panels carved with floral rosettes. The plinth is carved with circular fluted rosettes and the base is molded and fluted.. On double fluted block feet separated by voluted carved fan-like ornamentations. Swinging scrolled and looped handles of bronze. Height, 4 feet 2 inches; width, 8 feet 4 inches; depth, 1 foot 8 inches. (Illustrated) 738 739 740—FirreentH Century Norte Irarian CarveED, PAINTED AND Gitpep Woop OvERMANTEL Rectangular shape.. Of, molded and carved wood painted in / gold on a blue ground and divided, horizontally, into sections \ / by molded cornices and friezes enriched with carved acanthus- leaf scrollings, and vertically, into three divisions by four Ionic pilasters with shafts and pedestals paneled and carved with candelabra and acanthus-leaf scrolls. In the middle section these divisions form niches with round-arched tops, shell pedi- ments and spandrels carved with scrollings. Height, 47 inches; width, 58 inches. (Illustrated ) 741—SixtrentH Century Brescian WaLNut CABINET Rectangular shape, with molded and carved cornice and frieze, ( fitted with two drawers with paneled and carved fronts sepa- rated and flanked by acanthus-leaf carved console brackets, aN which also form drawer fronts, and supported by three pilasters a with paneled and carved fronts. Arranged as a cupboard with | hinged doors, the fronts with round-arched panels enriched by » radiating and horizontal flutings. On molded and carved base and paw feet. Height, 4 feet 2 inches; length, 4 feet 1 inch; depth, 1 foot 9 inches. (Illustrated ) aie PRET © Re RA BT TAY rs Res Hi TEER ee tet Sie « . 740 742—SIxTEENTH CENTURY VENETIAN WALNUT CABINET Rectangular shaped, with molded cornice and frieze flanked by dies carved with fleurs-de-lis, supported by pilasters carved with female caryatids, pendants of fruits and leaves and tassels. Ar- ranged as a cupboard with hinged doors, each having two broken and three plain molded panels, with carved masks in center panels. Molded base and shaped bracket feet. Height, 4 feet 8 inches; width, 3 feet 5 inches; depth, 1 foot 6 inches. (Illustrated ) 743—S1IxTEENTH CENTURY Tuscan WaLNutT CaBINET Rectangular shape, with molded and carved top. Apron divided by three carved console brackets and fitted with two panel-_ fronted drawers. ‘The lower portion divided into two portions by bearded and female caryatids, with flower and leaf pendants, having between two sunken. paneled hinged doors with turned wooden knobs, molded and gadrooned base and paw feet. Height, 4 feet 2 inches; width, 5 feet; depth, 2 feet 1 inch. (Illustrated ) NARS PDO DIE IIE IS I EID i non f t t B F + ( i : i i | :. i ' 742 743 siete akieies 4 PAPA AL EI ESAS Fs) “ eg Ay ste? ne ree ; e . 744—FourTEENTH CENTURY FLORENTINE [NLAip WaLnut Manta Vooes or Breap CHEST Rectangular shape, with hinged lid having a molded front. ‘The {/ body of the chest is divided vertically into three parts, the center _ A\/~ of which is enriched by sunk and raised molded panels sur- \ 0 rounded by bands of geometrical inlay. This is flanked by squares with diagonal bands of inlaid fleurons. 'These side sec- tions are shaped below so as to form a cusped arch with carved rosettes at the points. = Height, 3 feet; width, 5 feet; depth, 2 feet. Signor Bardini considers this as a very interesting piece on account, not only of its rarity, but of its exceptional state of preservation and rich patina. (Illustrated ) 745—FOURTEENTH CENTURY SIENESE PastTIGLIA DECORATED CAS- Y & D0. A o SONE 5 oce Rectangular shape, with domed, hinged and molded lid deco- rated with painted panels of interlacements. The front is sur- - _ rounded, in pastiglia work, with a band of eight-pointed star- “shaped sunken medallions’enclosing conventional foliage sprays; Bi within the border, on a ground decorated in relief with scrolled sprays of pointed leaves, is a central round and cusped arched panel, the arch supported on spirally fluted pilasters, enclosing a heraldic figure of a statant lion on a ground semé with floral sprays. ‘This is flanked by two quatrefoil-shaped me- dallions enclosing shields charged with coats-of-arms. On base shaped with a series of cusped pointed arches. ‘The sides are decorated with quatrefoil medallions, on grounds of scrolled sprays of pointed leaves, and enclosing figures of animals. Height, 3 feet 5 inches; length, 5 feet 51% inches; width, 2 feet 11% inches. (Illustrated) K 744 4 x ' ot x vel +e ene —) = * $a00.- SConeee Rectangular shape, with hinged lid rine: side 4) 0 front and sides are decorated in colored gess« v7 diapering of large fleurs-de-lis enriched | with stalks a Pony and with two heart- “shaped eseutcheons su patternings i in pated gesso. Vertically banca ; of wrought iron shaped with recurrent beast Shaped apron painted with masks. | | Height, 1 foot ny i males Florence. © UTAALO() daLNIivg a NQO@-NOU a NIL NAUOT AUOL Nad) HL NGALWIOY —9Ph oO N ty Vv 4) / We wf ws 747—KarLY FourTEENTH CENTURY PADUAN PAINTED CASSONE Boat-shaped, with ‘arched hinged cover and side braces. The entire cassone is covered with painted leather and the body is strapped with two bands of wrought iron. The front is painted in a design of a central circular medallion with red ground, surrounded by green, with a banded laurel-leaf wreath which encloses a shaped armorial shield. The ground is divided 5 into twelve squares of alternate conventional wave pattern — diaperings in red and white and A-shaped figures entwined with white looped ribbonings on blue ground. On molded cross- brace feet. Height, 16 inches; length, 4 feet 9 inches; depth, 17 inches. This cassone is considered to be one of the earliest in existence. Consideration being had as to its age, its state of preservation is re- markable. (Illustrated) 748—FivreENtH Century FLORENTINE CARVED WALNUT CASSONE y f ectangular shape, with molded and carved hinged lid. Front with one long panel surrounded by a ribbon-bound band of / fruits and leaves flanked by nude male caryatids. Molded base and carved and molded bracket feet. Height, 1 foot 11 inches; length, 5 feet 8 inches; width, 2 feet 1 inch. (Lllustrated ) LVL Srl ees [RVR IRM EAN. A FBR IR VIR YOY ct VOY HUAN. Toe GRTAY RSNA & Se " . Ae ‘ tees é ae pee See iterav? e : ; : : : : s i SEorePre Rr NON 749—SixTEENTH CENTURY Papuan Carvep WALNUT CASSONE Rectangular shape, with molded, domed and hinged lid and frieze carved in low relief with a band of guilloche patterning. The front is decorated with a panel carved in low relief with a voluted shield charged with a coat-of-arms, flanked by scroll- ings of oak leaves and acorns, vine leaves and bunches of grapes and surrounded by a border of trefoil meander patterning. At the angles are female caryatid figures. Incurved base carved with astragalled flutings and carved paw feet. Height, 2 feet 6 inches; length, 6 feet 144 imches; width, 2 feet 3 inches. _ (Illustrated) | 750—SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CASSONE ) Rectangular shape, with carved and molded hinged lid. ‘The front is divided by rosette and acanthus-leaf carved borders into three panels; the center carved with a scrolled armorial es- cutcheon surmounted by a cherub and the side ones with stand- ing figures of winged putti. Gadrooned base forming a drawer front at one end and paw feet. Height, 2 feet; length, 5 feet 6 inches; depth, 1 foot 10 inches. (lllustrated ) 6FL 0gL yswwterwr ewkt ew er weer we ee ot tpi = SIXTEENTH CrnTURY Foren tine Canven a AND 42 ae a Gear NuT CASsONE are Br hoe Pao Dne ae pes with molded and dom d Height, 2 feet 1 inch, Gadi 5 feet 5Y ine ) | (Illustrated) ANOSSV() LONIVAA Cada TI) GQNV CHAU’) ANILNAYOT AUWMOINA) HLN@ALXIG—T[G) “ON e 752 ie SIXTEENTH CENTURY FLORENTINE INLAID WALNUT CaSSONE Rectangular shape, with molded, domed and carved hinged lid, inlaid in light and darker colored woods with oval and octagonal medallions. The front is divided into three panels inlaid in light-colored woods, the center with a scrolled armorial es- cutcheon charged with the Florentine lilies, those_on either side with arabesque scrollings of winged dragons, puwtti, lions, birds and scrollings. Carved and molded base and large paw feet. Height, 28 inches; length, 4 feet 5 inches; depth, 26 inches. (Illustrated) 7583—SIXTEENTH CENTURY BOLOGNESE INLAID WALNUT CASSONE Rectangular shape, with molded and domed hinged lid inlaid, in light-colored woods, with scrolled medallions and interlace- ments. Iront divided into three panels with raised moldings, the center inlaid with an oval escutcheon supported by amorini, the side ones with figures of Venus in a triumphal car drawn by sheep driven by amorini. At the angles are caryatids formed as winged sphinxes, with acanthus-leaf terminations. Molded and carved base and paw feet. Height, 2 feet 1 inch; length, 5 feet 8 inches; width, 1 foot 11 inches. (Illustrated) 69h GGL eee SU et meet eee eee ” a wa bs 754—S1xTEENtTH CrntTuRY BoLoGNesE WALNUT CassoNE Rectangular shape, with molded and fluted top and frieze carved with oval and circular medallions separated by voluted console brackets, supported by paneled pilasters carved with cherubim on voluted console brackets. Arranged as a cupboard with hinged paneled doors carved with oval medallions surrounded by turned rosettes. Molded base and plain plinth, on square base rails with carved terminations. Height, 4 feet 2 inches; width, 5 feet 5 inches; depth, 1 foot 4 inches. (Illustrated) 755—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET Rectangular shape, with molded and dentelled cornice and frieze, with two drawers separated and flanked by gryphons’ masks, supported by three tapering turned and carved baluster- shaped pilasters with Ionic capitals. Arranged as cupboard, with two pairs of paneled hinged doors. Molded broken base. Height, 4 feet 3 inches; width, 6 feet 2 inches; depth, 2 feet 3 inches. (Illustrated) ; . s ~ arn (PIONERO NE OM Pe Oe enene ieee: GE EE Here aiermie. a te SE J, j on | ‘ ou ii | Wi ; | eee eee ei 755 754 fact wa eZ, of 3g *, QUAY}, 758—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET se Rectangular shape, made in two parts. The upper part, with molded cornice and fluted frieze supported by two pilasters with paneled fronts carved with stems of interlacing leaves, is fitted with six long and four square drawers of later date with original paneled fronts surrounded by bands of carved guilloche pattern- ing and with turned knobs. The lower portion is divided by three broad Ionic pilasters, with twin shafts paneled and carved with guilloche patterning, into two sections with paneled hinged doors. Molded base and ball feet. Height, 6 feet; width, 3 feet 9 inches; depth, 1 foot 6 inches. 3 b Ps ea sere ee ee A ‘ , ., Came Se > eet hae oh " ‘ : "5 ‘ SINT LY II I5, ; “ j i 6 3900 = 759—SIxTEENTH CrentuRY Ligurian WaLnutr CABINET ©.~ Rectangular shape, made in two parts. The upper part, with molded and carved cornice and modillioned frieze supported on three fluted Ionic pilasters, is arranged as a cupboard with two paneled hinged doors surrounded by heavy raised molding carved with rosettes, the panels carved with flat acanthus-leatf scrollings and projecting female heads. ‘The lower part, with carved top and frieze carved with gadroonings forming the fronts of two drawers, is divided by three fluted Tonic pilasters into two parts, with hinged doors matching those above, the panels carved with voluted strapwork. On molded and carved base and ball feet. Height, 6 feet; width, 4 feet; depth, 1 foot 9 inches. oat] 760—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 0 Rectangular shape, made in two parts. The upper portion, with a molded and dentelled cornice and plain frieze supported by two caryatid figures terminating in tapering pedestals and paw feet, has been, at a later date, partitioned into eleven drawers, with paneled fronts and a central compartment with a hinged door, the front of which is architecturally treated with a broken. pediment and molded cornice. The lower portion, with a molded and carved top and modillioned ‘frieze, fitted with a carved front drawer supported by two female caryatids with tapering pedestals and flanked by two detached turned baluster-shaped columns, is arranged as a cupboard with hinged door having a paneled front with raised molding. Molded base and paw fear, Drop looped handles of chased bronze to all drawers and doors. Height, 6 feet; width, 3 feet 3 inches; depth, 1 foot 6 inches. ; | | 3 | 1:4 if i + } + | | nh i i ? Zz. ety lau 761—SEVENTEENTH Century Ligurtan WALNUT CABINET 1S*%- Rectangular shape, made in two parts. The upper portion, with roken straight pediment, its finial made in the form of a broken pedimented round-arch niche, molded cornice, supported by wo detached columnar pilasters, and frieze with raised center panel and divided by modillions, is arranged as a cupboard with two molded and raised paneled hinged doors. The lower por- tion, with molded top, supported by console brackets and broad pilasters with paneled and oval medallion carved fronts, and triple paneled frieze carved with a cherub, is also arranged as a cupboard with two molded and raised paneled hinged doors. Molded base, ball feet and paneled sides. Height, 7 feet 10 inches; width, 3 feet 6 inches; depth, 1 foot 6 inches. This piece illustrates most admirably the French influence re- ceived, by way of Lyons, by the North Italian furniture makers of the seventeenth century. 762—Pair oF FirreEENTH CENTURY FLORENTINE WALNUT GRADINI Rectangular shape. The pair form two incurved sections, one superimposed on the other and carved with a diapered pattern- ing of plaited strapwork. In the center of the lower section is a scrolled oval escutcheon charged with the coat-of-arms of the Arnolfi family of Florence, flanked by medallions carved re- spectively with the letters “L” and “E.” Height, 1 foot 3 oho width, 6 feet 6 inches. These “Gradini” were used by the Florentines of the Renaissance for the display of majolicas, bronzes and glass. 763—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET Rectangular shaped, with broken molded cornice and fluted frieze supported in front by three fluted and astragalled Ionic pilasters and with two corresponding pilasters at the sides. Arranged as a cupboard, with two hinged paneled doors flanked by narrow vertical molded panels. Incurved gadrooned and molded base on four carved paw feet. Height, 4 feet 2 inches; width, 6 feet 10 inches; depth, 2 feet 7 inches. (Illustrated) errr cr Ame mt af id te | iy e Re a ore teres i ie He al hie k No. 763—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 764—FouRTEENTH CENTURY SIENESE PASTIGLIA COFFER Rectangular shape, with molded and domed hinged lid. The front has a molded panel decorated in gilded pastigla with an arcading of pointed and cusped arches supported by spirally scrolled pilasters, the four center ones occupied by three women in flowing robes, two warriors in a boat, two women and a warrior at a.city gate, and a woman with drawn sword con- fronting a warrior, the two side ones with shaped shields sur-' | mounted by helmets, mantled with scrollings and charged with coat-of-arms. Above and below are bands of heraldic passant lions separated by heart-shaped acanthus leaves, and the panel is flanked by vertical panels of scrollings, interrupted in the center by heart-shaped cartouches. ‘The base is molded. Height, 2 feet 51% inches; length, 5 feet 11 inches. (Illustrated) ae UatAtO*) VITOLLSV ASANAIG AYNMLNAT) HINGIALYNO Y—F9) “ON 765—FIrTEENTH CENTURY PAINTED FLORENTINE CASSONE Rectangular shape, with hinged lid having a molded edge, plain sunken paneled front, decorated with three painted panels sur- . vounded by raised moldings, borders painted with leaf scrollings, quatrefoils and diamond-shaped interlacements and eight raised turned rosettes. Molded base, with plinth painted with a pat- tern of -scrollings. Plain wrought-iron lock plate. The three painted panels, probably by Dello-Delli (1404-1466), though decoratively similar, are unrelated in subject. One is devoted to the life of Apollo. On the left the god is seen, armed with a bow and arrow, destroying the serpent Python, while on the right he pursues Daphne, who is changing into a laurel tree. _ In the background he stands conversing with Cupid, who is credited with inducing him to seize Daphne. The center panel suggests the use of this cassone as a marriage chest, for it shows a young Florentine bridegroom, accompanied by his father and attendants bearing gifts, approaching a young prince who stands at the gate of his castle. In the background stands the bride. The other panel probably illustrates a contemporary novella; it shows a youth seated at a table under an arched pa- vilion with an older man at side. On the left is a maiden pluck- ing fruit from a tree; on the right a nude figure bathing in a stream of water; in the distance is a female figure. Height, 2 feet 2 inches; length, 6 feet 314 inches; width, 2 feet 3 inches. . (Illustrated) GOL “ON HNOSSV() ANILNAYOTH GaLNIiv q AWOLNAY) HLINGALALY 4 766—SIXTEENTH CENTURY UMBRIAN CarvEp Wars i ll Fol Rectangular shaped, with molded and domed hi with shallow flutings. The front is paneled an oval scrolled cartouche in the center, surmou mask and supported by two winged female in bold acanthus-leaf scrollings interspersed pents and winged dragons. Lower portion ca astragalled. Supported on carved Bee f eet.” Height, 2 feet 3 inches; length, i fect | 9 (Illustrated) ANOSSV) LANIVAA GHAUVD NVIVANG) AYALNAD HLINAALXIG—9Q9) “ON econ ei NA SO NC TERENCE IEEE 767—FirrEENTH CENTURY FLORENTINE CARVED AND INLAID WAL- NUT CASSONE Rectangular shape, with domed hinged lid molded and carved with imbrications, and fluted and astragalled frieze, supported at the angles by carved scrolled medallions and wings. ‘The front is paneled, bordered with a band of inlay and a molding, and is occupied by a view of the Florentine square, Piazza Sta. Croce, with palaces, executed in intarsiata work. The ends are plainly paneled, with the Monastery device of “O.S” im circle with cross. The base is molded and carved with an acan- thus-leaf bordering and the plinth is carved with a meander pattern of scrolls and pointed leaves. On large paw feet. Height, 8 feet 5 inches; length, 7 feet 5 inches; width, 2 feet 9 inches. (Illustrated) 7 AMALNAD HINGALALY— 19) ANOSSV) LOANIVAA GIVIN] GNV GaAUV/) ANILNAVOT se) y ORE SEE Tere sceeere ee re = we Gn NS ae “ON 768—F irrrENTtTH CENTURY VENETIAN INLAID WALNUT CASSONE Rectangular shape, with sunk paneled, molded and inlaid hinged lid. The front is divided into four square panels’ surrounded by bands carved with florid Gothic pointed-leaf meanders and enclosed by inlaid moldings. Bordered by inlaid bands of geo- metrical interlacements and sunken panels molded and carved with pointed-leaf patternings and occupied alternately by banded laurel-leaf wreaths and pointed-leaf carved medallions, the centers of which are carved bosses surrounded by curved Gothic traceries. The shaped plinth is carved with bands of acanthus leaves and enriched flutings and the base is molded. Height, 2 feet 6 inches; length, 6 feet 1 inch; width, 2 feet 1 mch. (Illustrated) GNOSSV,) LONTVAA GIWIN]T NVILANG A AWOINGA) HIN@ALALY—89 “ON 769-—FIFTEENTH CENTURY FLORENTINE GILT GEsso DECORATED CASSONE Rectangular shape, with molded, domed, hinged lid and frieze decorated with gilt gesso work on green ground in a pattern of scrolls, volutes and trefoils. The front is decorated with a panel bordered by a raised molding and occupied by gilt gesso work on a green ground in a pattern of urn-shaped vases, acan- thus-leaf scrollings and large flowers, with a circular medallion in the center enclosing a shield charged with a coat-of-arms on a red ground, the whole flanked by two paneled pilasters with acanthus-leaf capitals and shafts decorated in gesso work with stems of pointed leaves rising from urn-shaped vases. The sides are decorated with panels of gilt gesso work on green grounds in a pattern of cusped quatrefoil Gothic tracery, and the plinth with a band of gesso work in a pattern of scrolls, volutes, pointed leaves and vases. Molded base. Height, 2 feet 9 inches; length, 6 feet 2% inches; width, 2 feet 214, inches. (Illustrated) ANOSSV() GALVAOOUCT OSSHX) LTI*) ANILNAYVOTY AUIINGA) HINAALALY—69), “ON REIL EAA ED Se NER a eg RT EN 2 NR ecahas top with ara aoe < j | on bracketed cross braces and shaped habe: | with bold volutes and acanthus leaves, and ¢€ and paws. Heavy shaped longitudinal t keyed tenons. Bias Height, 2 feet 9 Pa. gis 8 fet eS . 5 inches. aa . eta ef lustrated) +. : 3 . y ‘ f at tna es, ae ~*~ ee ‘an ae ‘ : iy) F ‘ v hae ’ &, ATaV T, LONIVAA ANILNAYOT AUNING) HINADLXIG—())) “ON iis AMA iare;s 4 on lyre- oe ee iited cuppa paw terminations. Longitudinal sl keyed tenons and enriched with | (Iustrated) — ATaV T LONIVAA NVIIVIT TIVULNG,) AUNLINGA’) HLNAALXIG—T[) ) “ON Rectangular top with molded edge, a and fluted a apron on shaped supports carved on one side with escutcheons charged with a coat- of-arms and ending in paw feet and shaped and carved base - tudinal ee stretcher eG with a ter 44/, inches. (1 lustrated 7) 4 % foe we a. ee 72—SIxTEENTH CENTURY PERUGIAN Watnut TABLE No. and reeen base rails. Sra longtl ii into end ese a keyed tenons. bE * t om nae uy pha ihe Finn. += - 7 é 1 oe t 1 : on ihe as SS oe a d et i ae iy 4 Sen's M ? Ales ‘ ~ . “i * ' yee Te) ATAV > LONTIVAA ASHAVUNAY AUNLNA) HINGALXIO—®@) N 2 i . ion base a RRA ae ae ae ; ; ; = bin Th lat. te YE SM RRMA RD ne %5d0.~ Yar» Maver” Rectangular top with ieee moldee nya fluted € and voluted supports carved with central acar with lions’ legs and paws. Longitudinal Ss cured with keyed tenons. Height, 2 feet 8 imches; length, 10 0 feet 10 inches. i (Mlustrated) GATAV], LONIVAA ANILNGYOT YT AUDLING) HINAALXIG—Ff)), “ON Le Rectangular top ant; molded. ae tuted: Ee f cross braces and shaped molded supports, a lutes and ending i in lions’ paws. es Le rey Height, 2 feet 8 inches; length, u feel 24 3 111% inches. (Iltustrated) ATAV], LONIVAA ASHNOOTOG AYNOLNG) HINWALXIQG—G)), “ON 7 EP. ° % « : | j * a * ; ¢ Je} - to end are Height, 2 feet 11 inches; length, 8 feet 8 silck inches. (Illustrated) : ATIV], LANIVAA INILNGUOTY AUALNAD HLNAGLXIG—9Q)L ‘ON 777—F IFTEENTH CENTURY FLORENTINE INLAID WALNUT CABINET Rectangular shaped, with serpentine front. Molded cornice, with frieze inlaid with intarsia work in a band of geometrical interlacements. ‘The front and sides divided into sections by five vertical molded panels of geometrical interlacements. Ar- ranged as a cupboard, the front, with two hinged doors, having paneled fronts bordered with bands of diamond and twisted ribbon interlacement, patterned inlay and bronze knobs. ‘The sides are paneled to correspond. Molded base with inlaid plinth. Height, 3 feet 9 inches; length, 8 feet 6 inches. 8 LANIGV, LOANIVAA GIVIN] ANILNGUOTY AMALINAD HINGDLALT—)L) ‘ON 778—FivreentH CENTURY, Foren Tine Ista WaALnt \, L900" PANCA es ; Ag: ees Rectangular shaped. Straight had ing ae voluted arm-rests. Back paneled with ~ surrounded by borders of diamond-shaped ir vertical molded panels of double guilloche formed as a box, with molded hinged lid a dered with band of inlay. Molded base, wi I 5 molded platform base, the front and side ¢ band of Greek key pattern. ; 3 . . Height, 8 9be 8 inches ie ye ae (Ilustrated) | pai | VONVdVSSV/) LONTVAA GIWIN]T ANILNYYOTY AWILNG) HLINGALALY—S8)), “ON 779-——SixteeENTtTH CENTURY TuscAN CARVED AND GILT W oop FRAME Rectangular shape. Molded cornice and frieze, carved, in re- lief, with scrolled acanthus leaves and flowers, supported on two half-round pilasters with Composite Corinthian capitals, shafts carved with linked acanthus-leaf scrollings, molded bases and square pedestals carved with voluted scrolls. Plinth carved, in relief, with a half figure holding acanthus-leaf scrollings and molded base. Inner molded and scroll-carved frame. Entirely gilt. 2 Height, 4 feet 9 inches; width, 4 feet 6% inches. ' Inside, 82 by 387 inches. (Illustrated) 780—SIXTEENTH CrntTURY TuscAN GILDED WaLNuT Four-pPost Bep | Posts formed as Doric columns, encircled by reeded rings lacquered in gold, on a black ground, with spirally disposed vine leaves and tendrils, and supported on square pedestals. Above is a molded and modillioned cornice supporting vases of flames at the angles and with a ceiling divided by molded stiles into ~ square and octagonal panels. Below the cornice is a knotted silken fringe. The headboard is paneled, supported at the sides by voluted brackets and carved with an oval scrolled medallion enclosing a figure of Sleep shown as a nude nymph reclining — and holding an orb, with the towers and Duomo of Florence in the distance. The medallion is supported by two winged drag- ons. Above is a shaped cresting carved with an oval scrolled medallion flanked by acanthus-leaf scrollings; the side and foot rails are molded, bracketed and carved in the center with cheru- bim having voluted scrolls in place of wings. On pear-shaped feet, carved with imbrications and beads. The paneled ceiling is painted with subjects of the “Life of the Virgin.” In the center is the kneeling Virgin, above whose head the two First Persons of the Trinity hold a crown, while the Dove of the Holy Spirit descends. This panel is surrounded by others con- taming angels playing musical instruments, while at the four corners are octagonal panels of Virtues. Beyond these, again, are other panels of angels, and at the angles scenes from the Life of the Virgin, including the Annunciation, the Visitation and the Nativity. Height, 1 foot 6 inches; length, 7 feet 9 inches; width, 6 feet. (Illustrated) No. 779—SrxreeNtH Century Tuscan Carvep anv Girt Woop FRAME No. 780—SixteentH Century Tuscan Gitpep Watnur Four-posr Bep ron a 99 TIRGIN THE \ “LIFE OF .) u ECTS OF TH Gc: Suns S80—PaNnELED CEILIN ~ ( O N 781—SIxTEENTH CEenTURY NortH IraLian GILDED WaLnut Low Post Brep The four posts are formed as heavy columns with spirally fluted and acanthus-leaf carved shafts, with capitals .carved with shields and floral festoons, molded bases and urn-shaped finials carved with the figures of putti holding floral festoons. These columns rest on square pedestals with turned medallions and on turned pear-shaped feet. The headboard is paneled with an oval scrolled medallion enclosing a figure of Somnus, shown as a winged youth holding an orb representing the sun and moon in one hand. Above is a shaped cresting carved in the center with an oval escutcheon carved with a floriated cross and the initials “D. B.” and flanked by conventional dolphins with scrolled tails. The side rails are plain, with voluted brackets. Height, 6 feet; length, 7 feet 4 inches; width, 5 feet 9 inches. (Illustrated) agg Lsog MOT LANIVAA CACTI NVITVIT HLYON AUALNAD HINATLXIG—][Q) ‘ON ro es , a \\ * AX Ss A WS * . 782—SIXTEENTH CENTURY BrescIAN CARVED AND GILT WALNUT Low Post Brp The posts are of baluster shape, with shafts carved with pointed leaves and pear-shaped finials carved with gadroonings, rosettes and pineapples. The headboard is paneled, carved with acan- thus-leaf and flower scrollings and surmounted by a shaped and voluted cresting with an oval medallion carved with a figure and by scrollings of pointed leaves and volutes. The end and sides are carved with acanthus-leaf rinceaux, the footboard being surmounted by a shaped voluted cresting carved with scrollings and a medallion charged with a coat-of-arms. The legs are straight and carved with large acanthus leaves with voluted ends. Height, 5 feet; length, 7 feet 2 inches; width, 6 feet. (Illustrated) aqagq LSOg MOT LANTIVAA ITI) GNV GHAYUVY) Nvlosaug AYOINAY) HLINAALXIG—ZS8L “ON FOR INHERITANCE TAX AND OTHER PURPOSES THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH INTELLIGENT APPRAISEMENTS OF ART AND LITERARY PROPERTY JEWELS AND PERSONAL EFFECTS OF EVERY -DESCRIPTION IN CASES WHERE PUBLIC SALES ARE EFFECTED A NOMINAL CHARGE ONLY WILL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY COMPOSITION, PRESSWORK _ AND BINDING BY | eemerra big bits ESS Fy fie WA 5 te ue Bag’ A Salada hearig, G gM aes oom Sb ce peer ie LTS ae ee mote Mt aie ERT henry AB afin iy Shrag Ca) ris res Ssh : Neen S plied . is a RIE ier parler fe wyatt we ‘ y: ae A Bai os rei FER PSH ee che BR etd oes # Zhe Cpa Mp ak - aot. pe tat i Pad ay iy eee AT! fc ‘A ay em oh Heke; Ae wad) » re Sy ees, sree che Ut et wy, SHO ae oe Wil Eig SNP yS Aires Ty Fg WER: Wy 4 Os Nh THN whee Bee Wy rita teh WUBI Gi Weir aA ely VEE catg Paco om Muli ene SA aan ye ts