Twit DIE 4 Hh ber Ps Digitized by the Internet Archive in 2023 with funding trom Getty Research Institute https://archive.org/details/illustratedcatalO0amer_86 CONDITIONS OF SALE I. Rejection of bids: Any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance may be rejected by the auctioneer if in his judgment such bid would be likely to affect the sale injuriously. Il. The buyer: The highest bidder shall be the buyer, and if any dispute arises between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. Ill. Identification and devosit by buyer: The name of the buyer of each lot shall be given immediately on the sale thereof, and when so required, each buyer shall sign a eard giving the lot number, amount for which sold, and his or her name and address. A deposit at the actual time of the sale shall be made of all or such part of the purchase prices as may be required. If the two foregoing conditions are not complied with, the lot or lots so pur- chased may at the option of the auctioneer be put up again and re-sold. IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer, and thereafter the property is at the purchasers’ risk, and neither the consignor nor the Association is responsible for the loss of, or any damage to any article by theft, fire, breakage, however occasioned, or any other cause whatsoever. V. Delivery of purchases: Delivery of any purchases will be made only upon payment of the total amount due for all purchases at the sale. VI. Receipted bills: Goods will only be delivered on presentation of a receipted bill. A receipted bill presented by any person will be recognized and honored as an order by the buyer, directing the delivery to the bearer of the goods described thereon. If a receipted bill is lost before delivery of the property has been taken, the buyer should immediately notify the Association of such loss. VII. Storage in default of prompt payment and calling for goods: Articles not paid for in full and not called for by the purchaser or agent by noon of the day following that of the sale may be turned over by the Association to some carter to be carried to and stored in some warehouse until the time of the delivery therefrom to the purchaser, and the cost of such cartage and storage and any other charges will be charged against the purchaser and the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. In any instance where the purchase bill has not been paid in full by noon of the day following that of the sale, the Association and the auctioneer reserve the right, any other stipulation in these conditions of sale notwithstanding, in respect to any or all lots included in the purchase bill, at its or his option, either to cancel the sale thereof or to re-sell the same at public or private sale without further notice for the account of the buyer and to hold the buyer responsible for any deficiency and all losses and expenses sustained in so doing. VIII. Shipping: Shipping, boxing or wrappmg of purchases is a business in which the Association is in no wise engaged, but the Association will, however, afford to pur- chasers 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. IX. Guaranty: The Association exercises great care to catalogue every lot cor- rectly and endeavors therein and also at the actual time of sale to point out any error, defect or imperfection, but guaranty is not made either by the owner or the Association of the correctness of the description, genuineness, authenticity or condition of any lot and no sale will be set aside on account of any incorrectness, error of cataloging or imper- fection not noted or pointed out. Every lot is sold “as is” and without recourse. Every lot is on public exhibition one or mcre days prior to its sale, and the Asso- ciation 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 thereafter sell the lot as catalogued or make mention of the opinion of such expert, who thereby will become responsible for such damage as might result were his opinion without foundation. X. Records: The records of the Auctioneer and the Association are in all cases to be considered final and the highest bid shall in all cases be accepted by both buyer and seller as the value against which all claims for losses or damage shall lie. XI. Buying on order: Buying or bidding by the Association for responsible parties on orders transmitted to it by mail, telegraph, or telephone. if conditions permit, will be faithfully attended to without charge or commission. Any purchases so made will be subject to the foregoing conditions of sale, except that, in the event of a purchase of a lot of one or more books by or for a purchaser who has not through himself or his agent been present at the exhibition or sale. the Association will permit such lot to be returned within ten days from the date of sale, and the purchase money will be refunded if the lot differs from its catalogue description. Orders for execution by the Association should be given with such clearness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot. and when the lot consists of one or more volumes of books or objects of arts, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Asso- Gatien. a deposit must be sent or reference submitted. Shipping directions should also e given. Priced Catalogues: Priced copies of the catalogue, or any session thereof, will be furnished by the Association at charges commensurate with the duties involved in copy- ing the necessary information from the records of the Association. These conditions of sale cannot be altered except by the auctioneer or by an officer of the Association. AMERICAN ART ASSOCIATION, INC., OTTO BERNET, MANAGERS, HIRAM H. PARKE, AUCTIONEERS, INTELLIGENT APPRAISALS FOR UNITED STATES AND STATE TAX INSURANCE AND OTHER PURPOSES AND CATALOGUES OF PRIVATE COLLECTIONS APPRAISALS AND CATALOGUES. Together with the increase in its exhibition and sales rooms, the American Art Association, Inc., will expand its service of furnishing appraisements, under expert direction, of art and literary property, jewelry and all personal effects, in the settlement of estates, for in- heritance tax, insurance and other purposes. It is prepared also to supplement this work by making catalogues of the contents of homes or of entire estates, such catalogues to be modelled after the finely and intelligently produced catalogues of the Association’s own Sales. The Association will furnish at request the names of many Trust and Insur- ance Companies, Executors, Administrators, Trustees, Attorneys and private individuals for whom the Association has made appraisements which have not only been entirely satisfactory to them, but have been accepted by the United States Revenue Department, State Comptroller and others in interest. THE AMERICAN ART ASSOCIATION, Inc. AT ITS AMERICAN ART GALLERIES MADISON AVENUE 56TH TO 57TH STREET ENTRANCE, 30 EAST 57TH STREET NEW YORK CITY FIRST SESSION FRIDAY AFTERNOON, JANUARY 25, 1924 IN THE ASSEMBLY HALL OF THE AMERICAN ART GALLERIES BEGINNING AT 2:30 O'CLOCK Catalogue Numbers | to 146, inclusive RENAISSANCE BRONZE PLAQUETTES AND MORTARS 1—-Bronze Mepau Italian, Seventeenth Century Bronze medal representing a Doge of Venice, 1629. Below the bust an unknown signature, AE TS 78. 2—-BronzE PLAQUETTE Italian, Seventeenth Century The bust represents Pianniccio, Duke of Parma e Piacenza, 1646—1694. Signed G T. 3—-BronzE Mepar Italian, Seventeenth Century Bust representing Duchessa Isabella Carafa, 1626, with coat of arms and Virgin on either side. 4—Gitt Bronze MeEpau Italian, Seventeenth Century Portrait representing Scipio Montibus. 5—Bronze Mepan Italian, Seventeenth Century Portrait representing Pietrus Beretinus Cortone. Signed A. M. GR. 6—Bronze Mepau By Leone Leoni; Italian, Sixteenth Century Portrait representing General Giovanni Battista Castaldus; on the reverse the General raising a female figure. (See Medalists by L. Forrer, p- 406.) Very rare. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 7—Bronze Mepan Italian, Seventeenth Century Portrait representing Isabella Monteapto, 1616. 8—Bronzze MeEpa Italian, Siateenth Century Portrait represents, in armor, Andrea Carafa, Conte de San Severino, Vice-king of Naples, 1525. (See Armand, Médaillistes italiennes. Book Iisp. LOS Nosi2es) 9—Bronze Mepar Italian, Fifteenth Century One side has a portrait representing Angelo Ambrogini, called Poliziano ; the other side has a portrait of his wife, dated’ 1454—1494. Very rare. 10—Gitt Bronze Mepar Italian, Sixteenth Century Portrait representing Dominic Fontana, Conte Palatina, 1589. 11—Bronze Mepar Italian, Sixteenth Century Portrait of Prospero Santo Crucino; on the reverse a fortress with date 1570. 12—-Ovat Bronze PLaQuEeTTE Italian, Siateenth Century Design representing Bacchus. 13—Bronze Mepau Italian, Seventeenth Century Portrait representing Petrus Gyron, duca di Ossuna, with date 1618; on the reverse a horse. 14—-BronzeE Mepau Italian, Seventeenth Century Portrait representing Cardinal Vincenzo Costaguti, signed by Ameranus, 1647. 15—-Bronzze Mepa Italian, Fifteenth Century Portrait representing Nicola Orsini, Conte di Nola. 16—Gitr Bronze Mepar Italian, Siateenth Century Portrait representing Henri II of France. This medal was made for his conquest in Italy in 1552. 17—Sinver Meparu Italian, Sixteenth Century The portrait represents Alessandro Farnese, the Governor of Flanders under Charles V. First Session 18—-Smatt Morrar 1n Bronze Italian, Sixteenth Century With flaring rim; exterior decoration consisting of four panels with shield-shaped devices, separated by projections. Light brownish patina. Height, 3% inches; diameter, 43/4, inches. 19—Smartt Morrar 1n Bronze Italian, Sixteenth Century With slightly flaring rim, decoration of sirens, trees and griffons ; slightly flaring foot. Light brown patina. Height, 51% inches; diameter, 6%, inches. 20—Smaru Mortar in Bronze Italian, Siateenth Century With bold flaring rim; on exterior a band of cherub heads, festoons and shield shaped designs. Dark brown patina. Height, 61% inches; diameter, 8Y2 inches. 21—Bronze Bey Probably Early French or Spanish Work Bell found near Bordeaux in the late war. Height, 61% inches. EGYPTIAN, GREEK AND ROMAN BRONZES, STONE, TERRA COTTA AND GLASS 22-—-Smatut Ficure 1n Buve Farence Egyptian, Eighteenth Dynasty A small seated figure representing Nefer Tem. Height, 2% inches. From the Samuel L. Austin Collection. 23—-Ancient AmBER Guass Bow. Imperial Roman An amber glass bowl of most exceptional size; almost unique. Height, 3 inches; diameter, 41/4 inches. 24—Smati Ficure in Green Giazep FarENcE Egyptian, Saite Period Figure of the goddess Ubasti with lion’s head. Height, 3 inches. From the Samuel H. Austin Collection. 25—Ficure 1n Bive GuazE Egyptian Saite Period Small figure representing the child Horus. Height, 2% inches. From the Samuel H. Austin Collection. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 26—Ficure 1x Brituantr Brive Grazep Farence Egyptian, Satte Period Egyptian ushabtie. On the base is an inscription indicating that the work was made for Heru, a priest of Amen. Found at Deir-el-Bahri, Egypt. Height, 4% inches. From the Hilton Price Collection. 27—STATUETTE OF A Kine in Bronze Egyptian, Saite Dynasty He is in a walking attitude, with his hands joined at the front. He is attired in a shenti, and wears a rayed cap bearing the ureus. On a wooden base. Height of figure, 7%, inches. From the Borelli Bey Collection of Alexandria. (Illustrated) 28—FicurE OF A SCRIBE IN GRANITE Egyptian, Nineteenth Dynasty Small figure of a seated scribe, described in a hieroglyphic inscription as “Overseer of (?) Khonsu the justified.” Height, 3°4 inches. (Illustrated) . 29—BronzeE STATUETTE OF Isis Egyptian, Ptolemaic Period She is seated with the child Horus, and wears the usual headdress of a disk with horns and the ureus. Height, 10 inches. From the Borelli Bey Collection, Alexandria. (Illustrated) , 30—Smaty Ficure 1n Granite Egyptian, Egypto-Roman Period Statuette of the God Ptah, on a base of blue-green faience with a hiero- glyphic inscription signifying “Give Life O Ptah, beloved of Memphis.” Height, 4%, inches. (Illustrated) GLINVUD NI Saad NVIddADY—OE ‘8G ‘SON SULLANLVLS aAZNOUG NVILdAD'Y—66 OG “SON 86 66 LG 0& Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 31—Gotp Rine with CarveD GEM Hellenistic Work A gold ring in which is set a carved carnelian; workmanship of the Hellenistic period. 32—SraTuETTE IN Terra Corra Tanagra, Greece, Third Century B.C. Representing a dancer, draped in a himation, the left hand on the hip; the right hand drawing her dress over the right knee. High coiffure. Traces of coloring. Archaic style. Height, 8 inches. (Illustrated) 33—STATUETTE IN TERRA CoTTa Alexandrian, Second Century B.C. Represents a priest standing. He is dressed in a tunic adjusted at the waist, over which is a mantle covering the shoulders. The hands are open and spread wide apart. On black wooden base. Height, 8% inches. (Illustrated) 34—Sratrurrre in Terra Corra Tanagra, Greece, Third Century B.C. Represents a young woman standing, dressed in a himation, the right hand on her hip, the left hand holdmg the folds of her costume; the head is covered with the himation. Height, 91% inches. (Illustrated) SraTuettTes iN Terra Corta (T'anagra, Greece) Nos. 32-34 Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 35—FicurE oF THE GoppEss CyBELE IN TERRA CoTTa Cyprian Sculpture, Second Century B.C. The figure served as the lid of a sarcophagus. The goddess is in standing attitude, with upper parts of the arms pressed to her sides, the fore arms (now missing) having been held out from the elbows. She wears a plain crown, cut low, covering a hood which falls at the back to the shoulders. Her attire is a Doric chiton, with a fold of drapery brought across the front; and the whole costume with the general design of the figure belongs to the fifth century B.C. The work, however, was executed at Cyprus in the second century B.C., no doubt after a full sculptured figure of three or four centuries earlier, but which is now lost. In excel- lent preservation, and a rare example of Cyprian sculpture. Found in Marsala, Sicily. Height, 5 feet 9 inches. No. 35—Tue Goppess CYBELE IN TERRA CoTTa (Cyprian Sculpture, Second Century B.C.) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 36—Bronze Ficure or a Man Archaic Greek Apparently an athlete, he wears a conical cap, but is otherwise nude, and stands with his feet wide apart, and his arms held out in a fighting attitude. Found at Messina. Height, 514 inches. From the Pozzt Collection. Illustrated in “Le Musée” II, page 178. ¥ 37—BronzE STATUETTE OF THE GoppEss Usast1 Egyptian, Saite Period Represented with the head of a cat. She holds a sistrum in her right hand, and in the left a lion A.gis, while a basket hangs on her arm. Height, 34%, inches. From the Samuel H. Austin Collection. First Session 38—Bronze Ficurre or A Man Roman, First Century B.C. He is nude except for a waist cloth, and a lacerna thrown over his left shoulder. He wears a Parthian conical hat with a leather band, the ends of which come down over the shoulders. Both arms are bent up from the elbows. A rare model in fine condition. On a red marble base. Found near Rome. Height, 9 inches. 39—Smatut BronzE STATUETTE Egyptian, Twenty-seventh Dynasty Figure of a man holding a bowl in each hand. Height, 31% inches. 40—Smartt Heap anv Bust 1n Bronze Early Imperial Roman Small head and bust representing Jupiter Ammon. Height, 4%, inches. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 41—Larcr Erruscan Copper CuisEL or AXE Fourth Century B.C. Made with curved edge, and with the sides raised for use as a wedge as well as a cutting implement. In perfect condition, with a green patina. Length, 13 inches. 42—-SMALLER Erruscan Copper CuHIsEL or AXE Fourth Century B.C. Similar to preceding, but of smaller size. In equally good condition, and of the same period. Length, 74% inches. 43—Bronze FicurE oF AN Oxtympran Victor Greek, Late Fifth Century B.C. Representing a nude youth standing at rest and wearing a crown of wild olive, significant of his triumph at one of the athletic festivals held every Olympiad. The sculpture is typical of the best work of its kind in the greatest period of Greek art, and evidently belongs to the school of Polyclitus the Elder. A bronze statuette of another Olympian victor and of about the same size as this is in the Louvre, but there is apparently no third one in existence. Height, 11 inches. (Illustrated) No. 43—Bronze Figure or AN Ortympian VICTOR (Greek, Late Fifth Century B.C.) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 44—SraTurTTe oF A Faun 1n Bronze Greek, Late Fourth Century B.C. Probably represents Marsyas of the legend in which Athena, having invented the twin pipes, threw them down in disgust when she noticed from her reflection in a brook that her cheeks swelled out when she played them. Marsyas observed her from behind a bush, and started with amazement at the action of the Goddess, and it is this moment that is represented by the artist of the bronze. The work is of the period succeeding Praxiteles, and the figure shows the delicate and perfect model- ing of the school of this artist, but, judging from the strong neck and powerful limbs, the sculptor was also influenced by Lysippus. A noticeable feature in the work is the skill with which the artist has repre- sented the momentary repose between two steps in the action of the faun. Generally the work is of high importance and great rarity. Found in the province of Cordova, Spain, among ancient Carthaginian remains. On a red marble base. Height, 18 inches. No. 44—Sratuette or a Faun in Bronze (Greek, Late Fourth Century B.C.) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 45-—Bronze Ficurre or a Man Greco-Roman Period He wears a large cloak of skins, which falls from his head nearly to his feet. Huis hands are tied behind him to the trunk of a tree, and he leans forward with strong effort as if to free himself. The subject is apparently unique in ancient sculpture. Height of figure, 8% inches. From the Pozzi Collection. Illustrated in “Le Musée,” Pp. lSh. 46—Bronze Ficure or Victory Roman, Third Century A.D. Represented standing on a small globe. Height, 51%, inches. First Session 47—Trirop 1n Bronze Archaic Greek, Sixth Century B.C. The tripod is mounted on the paws of a lion, and is of the regular archaic type seen on early Greek painted vases in representations of Hercules y fighting for the Delphic Tripod. It is ornamented with small nude male in figures. Similar tripods, but less fine in execution, are in the British Museum and at the Vatican. Found in the vicinity of Rome. Height, 2 feet. From the Kerkirian Collection. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 48—GRANITE URN Egyptian, Ptolemaic Period The urn has two handles and a cover. Height, 151, inches. 49—Canopic VasE IN ALABASTER Egyptian, Saite Period The vase has a cover representing a human head. Height, 20 inches. From the Borelli Bey Collection. 50—LarcEe Irmescent Guass Vase witH Cover Roman Glass, Roman Period Large vase with cover, beautiful iridescence. Found in a tomb in Ravenna. Height, 13 inches. 51—-VasE 1N Onyx Roman, First Century A.D. The vase is shaped as a hemispherical bowl on a square base. Height, 161, inches; diameter, 151 inches. GREEK VASES 52—Attic KyatHos 1x Terra Cotta Greek, Early Fifth Century B.C. The cup is decorated with black figures on red ground. ‘The painted scene, which is full of action and very finely executed, shows two heroes fighting over Sarpedon, who sits wounded on the ground. At either side are four spirited coursers apparently terrified with the din of battle: doubtless intended to picture the scene described by Homer (Iliad XVI), “The affrighted steeds, their dying lords cast down, scour o’er the fields.” The cup is thin and most delicately made,.while its condition is nearly perfect. The grouping of the horses corresponds with that on some of the well-known coins of Syracuse. Height, 5°4, inches; diameter at rim, 41% inches. (Illustrated) Coe hanquag yisiq hyo ‘yaatD)) VILOD VAUAT, NI SOHLVAY OILLY—ZgG ‘ON Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 538—CypriotEe Jar witH Lip Greco-Phenician, Seventh Century B.C. The jar has an unglazed yellowish surface decorated with formal flower and leaf patterns, which, however, have largely disappeared with age. The piece is almost unique, in that rising from the body to an inch or so above the rim are three molded heads of women, all in perfect con- dition. Height, 61, inches; diameter, 6 inches. 54-—-CorRINTHIAN JAR Greek, Early Sixth Century B.C. Yellow ground is decorated with a frieze containing fabulous animals in black and red and, above and below this, bands of formal patterns. The colors are exceedingly well preserved, and the jar is a rare and fine specimen of early Corinthian work. Height, 6 inches; diameter, 6 inches. First Session 55—AmpuHora IN Terra Cotta Greek, Fourth Century B.C. Amphora with black ground, red figures, representing on one side Thetis bringing the armor to Achilles, on the other the departure of warriors. Height, 141%, inches. 56—Larce Vase (SkypHos) in Terra Cotta Second Century A.D. Large vase with cover and large handles, red figures on a black ground. On one side a scene representing the presentation of wedding gifts; on the other, a bethrothal scene. Upon the cover a scene with Eros. Tech- nique very rare; resembling the work of a pen. Beautiful workmanship. Found at Ruvo (Puglia). Height, 16 inches. From the Borelli Bey Collection of Alexandria. 57—-Ampuora IN Terra CoTTa Italiote, Second Century A.D. Amphora with two handles, black figures on red ground; on the two sides lions with manes in white. Found at Pozzuoli, Italy. Height, 9 inches. 58—-Pomprtan Fresco 1n Coxor Roman, First Century A.D. The design represents a man lifting a cupid from a cage which contains two others, while Venus is standing by watching the action. Height, 1 foot 10 inches; width, 1 foot 9 inches. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 59-——F resco Greek, Third Century B.C. Representing a griffon. In a wooden frame. Found at Boscoreale, near Pompeii. Height, 181 inches; width, 1514 inches. 60—Ampuora IN TERRA Corta Archaic Greek, Fifth Century B.C. The amphora has a cover and a red background with black figures, poly- chromed in dark red. On one side, dance of the satyrs; on the other, the offer of the cock to the athletes. Height, 11 inches. 61—Hypria 1 Terra Corra Greek, Third Century B.C. The vase is decorated with red and white figures on a black ground. The design is very unusual. On the ground is seated Hermes who is address- ing Aphrodite, the goddess standing to the right, with Eros suspended in the air and apparently also speaking to her. At the back of Aphrodite is a warrior with spears, and on the left of Hermes a woman standing. The subject seems to represent Hermes, assisted by Eros, consoling Aphrodite for the loss of Adonis. Height, 13 inches. (Illustrated) No. 61—Hypria 1n Terra Corra (Greek, Third Century B.C.) Kindly read the Conditions wnder which every item is offered and sold. They are printed in the forepart of the Catalogue. 62—AtTtic CotumMN Krater 1n Terra Corta Greek, Fifth Century B.C. The krater is decorated with red figures on black ground in two scenes. In the first scene a nude man holds a vase in his hand while turning his head around; in the other, a man with a long knotted stick, who holds a cup in his left hand, faces a nude young man who presents to him a harp. Over the latter scene is a band of lotus buds, and below is a lotus bud chain in black on a red inset. Under the rim of the vase is incised the name “Simonos.” The work on the vase is of a high order, and seems to belong to the school of Euthymedes. To the knowledge of the writer no other vase exists bearing the name of Simonos. Height, 15 inches. Cod fanquag yifiq ‘yae1) ViILoD VuuA], NI YALVUY NWATOD 1LLY—zZ9 “ON Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 63—Larce Artic Krater in Terra Cotta Attic Greek, Fifth Century B.C. The krater is decorated with two scenes in red figures on black ground. In one scene Apollo is represented standing between Leto and Artemis. He has a harp under his left arm, and with his right hand holds a bowl toward Artemis, who is about to offer a libation. Leto also holds a bowl. The figures are of stately proportions and firmly drawn. Beneath the rim of the krater is a wide band of running palmettes, and below, over the scenes, are meander chains. The vessel is in fine condition, and is an excellent example of the highest period of Greek pottery. Height, 141% inches; diameter of rim, 1714 inches. y B.C.) « ’ Fifth Centur No. 68—Larce Artic Kratrer 1n Terra Corta (Greek, Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 64—Amrpuora IN Terra Cotra Attic Greek, Siath Century B.C. The amphora has a black ground and is decorated with two scenes of black figures on red panels, In the first scene Dionysus is shown holding a long horn-shaped cup between two maenads and two satyrs, who are dancing. The second scene represents Briseis having on each side of her a warrior and a herald. A-lotus bud chain is painted over the scenes. The painting is of a very high order. Height, 181%, inches. First Session 65—Ampuora witH Lip 1s Terra Cotta Attic Greek, Sixth Century B.C. The amphora is decorated with black figures on red ground in two scenes. In the first Dionysus stands between two satyrs, holding up a cup, the figures being set between palmettes and vine tendrils. The second scene shows Apollo with harp, and on either side of him a woman and a man, the former holding out the lower part of her chiton as if about to dance. On the neck of the amphora is a wide band of double palmettes, and at the base a lotus bud chain. Height, 19 inches. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 66—AmrpnHora IN TERRA CoTTa Greek, Seventh Century B.C. This is one of the earliest and rarest examples of ancient Greek pottery existing in America, and is of exceptional interest, since it must be one of the first Attic pieces in which the human figure was introduced to vary the conventional geometrical patterns. The decoration is arranged in unbroken friezes, with one containing animals above a meander, below which is the central frieze showing warriors with chariots apparently proceeding to battle. Beneath is a series of rings. A curious feature is the presence of plastic serpents on the handles and shoulder of the vase. While the general characteristics of the work are purely Greek, there are strong Mycenean influences present, and altogether the amphora must be regarded as of high importance in the history of Greek pottery. Height, 20 inches. (Illustrated) MAJOLICAS OF THE XV AND XVI CENTURIES 67—Masotica PLATE Caffagrolo, Italy, Sixteenth Century The plate has a flat rim. It is invested with a white glaze and decorated in blue, green, orange and yellow, with scrolled escutcheons charged with the coat of arms of the Chigi family and the initials “C.R.,” the rim with heart-shaped medallions separated by diamond-shaped interlacements. Diameter, 9 inches. 68—-Masoutica PHarmMacy Ewer Caffagiolo, Italy, Sixteenth Century Pear-shaped, with straight cylindrical spout and flat looped handle. It is invested with a white glaze and decorated in blue, with touches of green and yellow, and with the name of the drug and musical and military trophies. Height, 9 inches. 69—Masouica ALBARELLO Caffagiolo, Italy, Early Sixteenth Century Cylindrical shape with incurved sides. Invested with a white glaze and decorated, in blue and orange, with shuttle-shaped medallions, rosettes and scrolls. Height, 121 inches. No. 66—Ampuora IN Terra Cotra (Greek, Seventh Century B.C.) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. Val 73 70—PuHarmacy Ewer 1x Masotica Faenza, Italy, Early Sixteenth Century Vigorously executed decoration in bright blue, yellow and green. The center of the globular body has a wide label inscribed “S D PAPAVERO” (Syrup of Poppies) surrounded by a banded laurel garland and with acanthus scrollings above and below. Cylindrical neck, tapering slightly toward the mouth; straight spout and flattened handle. Height, 91% inches. From the Stefano Bardini Collection. 4 71—Puarmacy Vase witH Twistep Hanpie in Masotzica Siena, Fifteenth Century The decoration is blue and orange on white ground. The globular body is decorated with vertical and horizontal bandings of impressionistic guilloche, zigzag and arch motifs. The front is imscribed in blue “Pantasilea” within a wide label; the back inscription is fragmentary. The twisted looped handles are impressionably decorated in blue and orange. (Glaze slightly chipped.) Height, 101% inches. From the Stefano Bardini Collection. First Session 72—-Two-HANDLED VaAsE IN Magsotica Urbino, Late Sixteenth Century The vase has an elaborate all-over decoration, the front with grotesques, griffons, dolphins, etc., in yellow and blue on white, and with a central uninscribed tablet supported by amorini and dated 1600”; the reverse side, with graceful leaf decoration in blue. Twisted serpentlike handles, terminating in rams’ heads. Truncated ovoid body with low neck. Height, 18 inches. From the Stefano Bardini Collection. (Illustrated) 73—Puarmacy VasE 1In Masouica Siena, Siateenth Century Elaborately decorated in blue, yellow and characteristic orange in scroll, acanthus, cornucopia and dolphin motifs. The front has a broad band inscribed “EY DINARI COSE.” Inverted pear-shaped body with short neck, Straight spout, connected by a twisted and encircling rope with the neck. Broad flat handle. Height, 11 inches. From the Stefano Bardini Collection. (Illustrated) (4—Masorica PHarmacy Ewer Caffagiolo, Italy, Stateenth Century Pear-shaped, with flat looped handle and straight spout with twisted support. Invested with a white glaze and decorated in blue, green and yellow, with a wreath of leaves and cones, a label with name of drug, and a ground diapered with dots and with scrolled leaves and flowers. Height, 81% inches. (Illustrated) 75—Puarmacy Ewer ry Magsorica Faenza, Italy, Siateenth Century On the front an acanthus garland of very decorative design enclosing cornucopix, acanthus leaves and a wide band inscribed in blue “A (qua) Celidonia.” Globular body on high foot; shaped spout. Short, narrow neck, with flattened, ribbonlike handle. White, decorated in orange, blue and green. Height, 10 inches. From the Stefano Bardini Collection, Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 76—Derrr Puate 1x Masorica Faenza, Casa Pirota, Sixteenth Century It is ornamented in the center with a small medallion, polychromed, repre- senting the death of Cleopatra. The rest of the plate is decorated with the so called “Berettino” composed of foliage, vases and dolphins. On the reverse are geometric motifs. Diameter, 11 inches. a From the Engel-Gros Collection, Paris. 77—-ALBARELLO IN Mago.nica Faenza, Italy, Sixteenth Century White, with gracefully executed decoration in blue of a boy in a monk’s robe, playing the cornemuse, the entire surface surrounded by delicate flower vines. Cylindrical, incurved body with low neck and foot. Height, 8 inches. From the Stefano Bardini Collection. “a Larece Vase 1n Magouica: A Brccuccio Italian, Castel Durante, Sixteenth Century 78 The vase has two handles; on the front is the coat of arms of the Pic- colomini family. The body is decorated with yellow ornaments and figures on a blue background. Height, 164 inches. First Session (rr Larce Puate in Magouica Hispano-Moresque, Early Sixteenth Century Made in the factory at Manises, Spain. In the center is the coat of arms of the great Count Manises, founder of the factory, with the bull and the rose. The border is gauffered in an exquisite design. Over the whole is a beautiful lustre in gold with ruby reflections. On the back are ara- besques in lustre. This plate is one among the very good specimens of this period. Diameter, 181% inches. 80—VasE IN MagsoLica Faenza, Italy, Sixteenth Century Decorated in fine tones of dark blue on ivory white, with graceful floral scrolls of heart-shape and acanthus-leaf form, surrounding the wide cen- tral label inscribed “Aqua endivie.” Globular body with short incurved cylindrical neck. Height, 9% inches. From the Stefano Bardini Collection. Kindly read the Conditions under which every item -is offered and sold. They are printed in the forepart of the Catalogue. 81—Larcr Magsouica PLATE Deruta, Italy, Sixteenth Century In the broad deep cavetto is represented the portrait of a Florentine lady, probably a member of the great Salviati family of Florence, as is indicated by the coat of arms embroidered on the front of her gown. The arms of the Salviati family show the lilies and the “‘rastrera” given them by the King of France. To the left of the portrait winds a ribbon with the motto of this family “‘Chi biene vida sua barchia sempre in porto si truva” (He who guides his bark well always arrives in port). The rim of the plate is decorated with conventionalized palmettes and carna- tions. The whole plate, lustred in Deruta, is very exceptional; the lustre usually is yellow gold in color, while in this plate it is ruby-toned gold. Diameter, 161%, inches. First Session 82—-Larcr Prate in Maso.uica Pavia, Italy, Early Sixteenth Century The factory at Pavia was founded by the Duke of Sforza, who ruled Milan. The work was cut in with a stick. In the middle of the plate is an unidentified coat of arms of a Milanaise family; around it are placed four medallions, in each of which is represented a Saint. The outer rim is decorated with a border of palmettes. The background is a deep mustard color and the relief is in yellow and green. Diameter, 1814 inches. 83—Grovup in EnamMELED AND PotycHromep Terra Cotta Urbino, Sixteenth Century The group represents the Adoration of Christ in a grotto; on each side are two angels playing music; on the top, a group of three angels. Beau- tiful coloring. Very rare specimen. Height, 19 inches. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 84—PuaTEe In Magsotzica Gubbio, Italy, Sixteenth Century Made by an artist of Faenza and lustred at Gubbio. In the center is the representation of the wolf suckling Romulus and Remus, with a view in the background of trees and the Campidoglio; on the border is seen the man who saved the children from the river, and an old man representing The Tiber. The coloring is in beautiful tones of blue with lustre made in Gubbio. On the back rich lustering in a design of palmettes. Diameter, 944 inches. 85—Larce Puate 1n Masouica Orvieto, Fifteenth Century In the center is represented the Crucifixion with two Saints, surrounded by an inscription and medallions in which are the busts of sixteen saints. Decorated in green and yellow. This is a fifteenth century reproduction of a Byzantine metal plate. Diameter, 15 inches. First Session 86—-Larcre Vase 1n Magsonica Italian, Faenza (Casa Pirota), Sixteenth Century The body is ornamented with musical instruments, shields, armor, etc., in white on a blue ground. The front a beccuccio, beneath which is a circle with masks and other motifs. Height, 18 inches. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 87—Larcer VasE witH Two Hannes anp Foor Deruta, Italy, Siateenth Century On the center of the vase are two medallions representing young cavaliers in costume of the time. ‘The background of the medallion is brown, but the rest of the vase is white and blue with a beautiful lustre in gold with ruby reflections. Height, 101%, inches. From the Taylor Collection sold at Christie’s in London in 1912. (Illustrated) 88—Warer Jar In Magsonica Pavia, Fifteenth Century Water jar in majolica, with portrait of a noble lady. Work cut in with a stick. Height, 8 inches. From the collection of Miss Walters Cacciola of Taormma, Sicily. 89—PraevE Ins Maso.uica Mantua, Fifteenth Century The subject represents the Virgin and Child with a cherub’s head. The work is cut in with a stick and in bas-relief. In a red velvet frame. Height, 16 inches; width, 101% inches. From the collection of Miss Walters Cacctola of Taormina, Sicily. 90—Titz Orvieto, Early Fifteenth Century Representating a coat of arms among branches. 9 inches square. 91—Smatt Vase In Farence Kirman, Persia, Siateenth Century Pear-shaped body, with cylindrical neck and two looped handles. In- vested with a crackled turquoise-blue glaze. Height, 5 inches. “ 92—Smauu VAsE InN Farence Kirman, Persia, Sixteenth Century Pear-shaped body, with short cylindrical neck. Invested with a crackled turquoise-blue glaze. Height, 4% inches. (fanz uag yzuaaqary ‘hypzy “vjn4aqZ) LOO GNV SWIGNVET OM], HLIM aASVA TUV'T—Lg ‘ON Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 93—Masouica Dish For Hotpine Ecos Faenza, Italy, Fifteenth Century Very rare form in the shape of an escutcheon. The top and bottom in a beautiful design of blue on white ground, all lustred. Length, 8 inches; width, 634 inches; depth, 3 inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 94—-ScuULPTURE IN ENAMELED AND PoLycHrOoMED Magzgouica Faenza, Fifteenth Century The subject is the “Flight into Egypt.” The majolica has a great preponderance of manganese and copper green. Very rare specimen. Height, 18 inches; width, 13 inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. al 95—PuaevE In Masotica Faenza, Fifteenth Century The design is in relief and represents the apparition of Christ to St. Francis; red relief, white ground, yellow frame. Height, 19 inches; width, 18 inches. First Session 96—-PriaauE IN Masouica Faenza (Casa Pirota, 1529) Majolica plaque representing the “Arrival of the Magi.” To the right, in front of the grotto, the Virgin is seated with the Child, and St. Joseph is standing with an expression of wonder and reverence on his face; in the background are the shepherds. On the left the landscape shows the star that guided the Magi on their journey to Bethlehem. The artist has treated this so oft-repeated subject in a manner all his own, which brings back to our mind the pictures of primitive Italian art. On the back of the plaque, within a coat of arms, is the inscription: “IN DEO SEM- PER”; below, J .S. MDXXVITIII N. PISAVRI. This plaque is done in very beautiful colors, light blue predominating; characteristic of the Casa Pirota. Height, 81, inches; width, 434, inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. These plaques are very rare; another such is in the Carrand Collection in the Bargello Museum. Kindly read the Conditions under which every item- is offered and sold. They are printed in the forepart of the Catalogue. GREEK AND ROMAN SCULPTURE IN MARBLE AND STONE 97—Marste Heap anv Bust or APHRODITE Greco-Roman An excellent reproduction of a fourth century B.C. sculpture of the goddess. The nose is partly restored. Height, 21 inches. 98—MarsrE Bust Roman, First Century A.D. Bust of a faun in marble, excavated at Boscoreale. Height, 21 inches. First Session 99—-MarsLtE Heap anp Torso or A Younc BaccHANtT Greco-Roman The head is dressed with a wreath of vine tendrils and grapes, and a flower tendril passes down the body from the left shoulder upon which hangs a wine skin (partly broken away). The figure is an excellent piece of sculpture executed in the Greek manner. Found at Rome. Height, 141% inches. 100—-Marsire Torso or A Man Greek, Third Century B.C. He wears a Doric peplos, which leaves the right side of the body exposed to the waist. The sculpture is of a high character. The torso probably belonged to the portrait statuette of an orator. Height, 101% inches. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 101 SpuHrnx in MarBie Roman, First Century A.D. A very fine example of a shortened sphinx, and in nearly perfect condi- tion. Though of the Roman period, the work is apparently by a Greek artist. Height, 211% inches; base, 9 by 7% inches. 102—Marsie STATUETTE OF APHRODITE Greco-Roman Reproduction of life-size figure, the type of which was very popular in late Grecian and Roman times. The figure is nude except for a fold of drapery falling to the ground from above the knees, where it was origin- ally held by one of the hands. The figure is a good example of the small work of the period. Found in Spain. The head is not original. Height, 231, inches. 103—Two Marsie BaAs-RELIEFS Greco-Roman These reliefs are sections of a frieze. Each represents a group of menades taking part in a Dionysiac procession, the action being most skilfully rendered. Height, 1 foot 8 inches; width, 2 feet 6 inches. From the Borelli Bey Collection of Alexandria. (Illustrated) Roman) RELIEFS (Greco 1083—Two Marsie Bas No Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 104—MarxsiE SarcopHacus Roman, Second Century A.D. The sarcophagus bears at the front a funeral design in relief. In the center is a portrait bust of a woman set in a medallion which is held by two male figures. There are also four women attendants, two of whom carry wreaths and another a torch. In good condition. Length, 2 feet; height, 9 inches; width, 12 inches. 105—Marste Scuuprure In Hicw Rertrer Roman, Second Century A.D. Representing a procession of Bacchus. The god is drawn in a car by a centaur, and attended by sileni, fauns, menads, and a lion and leopard, the group being led by a man carrying a bullock on his shoulders. The scene is high-spirited and full of action, and the work is extremely well designed, the overcrowding of figures, common in this period, being avoided. The sculpture is set in a carved wood frame. Height of marble, 1 foot 614 inches; length, 4 feet 1 inch. First Session 106—Marsie Heap or a Younc Man Greek, Fourth Century B.C. A young Greek with clean-shaven face and hair sculptured in short curls, a double fillet passing over the crown. This is a fine example of Attic sculpture and is particularly noticeable for its perfect condition, for it is very rare indeed that such a head is found with the features intact. Height, 9 inches. Kindly read the Conditions wnder which every item is offered and sold. They are printed in the forepart of the Catalogue. 108——Marsue Bust of THE Emperor Commopus Roman, About 190 A.D. Represented as Hercules. He is nude save for a lion’s skin which falls at his back, with the feet brought over the shoulders, and tied in a knot at the front, while the head of the animal rests on his left shoulder. The hair and beard of the Emperor are shown in thick curls, as in all the con- temporary sculptured heads of Commodus. The work is of a very high class, and it is seldom that one sees so fine an example of Roman sculp- ture. Evidently the portrait represents Commodus as he was shortly before he was assasinated (192 A.D.). On a high marble pedestal. Height, 2 feet 7 inches. MarBLE Bust or THE Emperor Commopus (Roman, About 190 A.D.) No. 108 Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 109—-Frmate Heap ty Parran Marsre Greek, Second Century B.C. Head of a woman with hair dressed close; part, probably, of a figure of a poetess. On red marble base. Height, 4 inches. 110—MarsieE Ficure or a Boy Greco-Roman, First Century B.C. A nude boy who is holding a bird to his breast with both hands. Height, 2 feet 5 inches. 111—Bencu 1n Pavonazzo Marsie Greco-Roman, First Century B.C. The seat rests on two supports, each representing a sphinx from the front view. In unusually good condition. Found at Boscoreale. Height, 2 feet; length, 4 feet; width, 1 foot 6 inches. First Session 112—SrTaTvEtTTEe IN Pentretic MAarsLe Greek, Alexandrian Period The statuette represents Triptolemus, standing at rest, wearing a short tunic, his left hand falling at the side, and the right holding a bunch of wheat stalks (broken off short). His hair falls in flowing ringlets to his shoulders, and a fillet of wheat ears crowns his head. At his feet is a young boar, beautifully sculptured. The group is of excep- tional interest, both from the point of view of design and of the excel- lence of the sculpture, while it has the rare advantage for marbles of this period, of being in nearly perfect condition. Found at Terranova near Syracuse, Sicily. er é eight, 311% inches. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 113—Marsre Group: THe THree Graces Greek, Third Century B.C. The Graces stand nude, joined together by their hands on one another’s shoulders. On each side of the group is a tall vase with drapery hanging gracefully over it. An arm is missing from each figure, and the heads are modern restorations, made by Léon André of Paris. The design of this group is well known from the existence of a similar one (but without the vases) which was found in the fourteenth century during the excavations for the Siena Cathedral, in which edifice it now stands. This work suggested to Raphael the marvelous painting of the Graces now at Chantilly, in which, indeed, the grouping is scarcely varied at all from that of the sculpture. The extension of the base of the sculpture by the addition of vases is an admirable device, and the absence of these from the Siena group seems to indicate that it is a later work than the Canessa example. The principal feature in the group is the remarkable rhythmic harmony presented in the pose, the design almost suggesting that the figures are about to move together in a dancing step. This is brought about by an exquisite adjustment of the figures to the respective positions they oc- cupy, and a perfect balance of expression in the forms. The torsos are built up on ideal principles, subject to natural modifications necessitated by the character of the grouping, the whole work being a fine example of beautiful form and technical skill. Found at Capua. Height, 3 feet 614 inches; width, 3 feet 1 inch, Formerly in the Ferront Collection sold m Rome m 1909. eit ee Nhe ab ii: fea Sg - po No. 1183—Marsrie Grove: THe Turee Graces (Greek, Third Century B.C.) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 114—Marpsre Torso: Lire-sizz Ficurr or APpHRODITE ANADYOMENE Greek, Third Century B.C. The model corresponds with the well-known headless statue at Syracuse. The figure is nude except for a single large fold of drapery which, in the complete statue, was gathered partly round the lower limbs, and fell to the ground. ‘Two corners of the fold are shown in the torso, lightly held at the base of the stomach by the left hand. The sculpture is of a very high character, and the torso must be classed as one of the really important Greek marbles in America. Height, without base, 3 feet 6 inches. Formerly in the collection of the sculptor, Comm. Gerace of Naples. No. 114—Marsrie Torso: ApHropirs ANADYOMENE (Greek, Third Century B.C.) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 115—-SratvE oF ApHRODITE IN MarBLE Greco-Roman, or Early Imperial Roman The goddess stands at ease, with the right knee bent, and the weight of the body resting mostly on the left foot. She is attired in a long chiton of thin material, fastened on the right shoulder, and falling down loosely from the left, uncovering the breast. The right arm is held out and bent up from the elbow, the hand lightly holding a fold of the drapery. In the left hand is the apple awarded by Paris. The head and extremi- ties of the limbs are sixteenth century restorations. This figure is an ancient reproduction of the statue known as Venus Genetrix, a life-size example of which is in the Louvre. The origin of the design has not yet been settled. The Louvre figure is usually regarded as a reproduction of “Aphrodite of the Gardens” by Alcamenes, but this attribution was given to it by Furtwangler without any material evidence. Others give the original to Calamis, and others again claim that the Louvre statue is an original by Arcesilaus, an early Imperial Roman sculptor, though agreeing that the general type belongs to an earlier period. It is obvious, from the nobility of the design, the type of the head, and the character of the drapery, that the Louvre figure must be based upon a work of the latter part of the fifth or the early part of the fourth century B.C., even if it be not a direct reproduction of a work of this period; but it is scarcely likely that the point will ever be settled. The statue under consideration is clearly of the Greco-Roman or early Imperial Roman period, and must be placed as one of the best existing examples. . Height, with base, 8 feet 8 inches. This statue is from the collection of Cardinal Altemps. When this Col- lection was sold, most of the pieces were acquired by Pope Leo XIII for the Vatican, and four were bought by the late Mr. J. P. Morgan and are now wm his library. No. 115—Srtatrur or ApuropitE IN MarsBue (Greco-Roman, or Early Imperial Roman) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. ROMANESQUE SCULPTURE IN STONE 116—Carvep Stone PANEL Romanesque, Ninth or Tenth Century A.D. 7 0) Representing two pairs of lions rampant in circles, connected with a 5 Byzantine cross in front of an oak tree. It is a work of old Christian symbolism, examples of which are very rare. The period of the sculpture is fairly definite, but its locale is hard to determine, since at this time decorative work for sacred buildings was largely in the hands of monks who traveled from place to place over central and southern Europe. Height, 1 foot 91% inches; length, 5 feet 61% inches. 117—Carvep STONE PANEL Romanesque, Ninth or Tenth Century A.D. Similar in workmanship to No. 128. Showing an ox and a lion facing each other in a forest on either side of an oak tree. Height, 2 feet 1% inch; length, 5 feet 61% inches. 118—Cover or a SarcopHacus In PorPHyry Byzantine Period Sculptured to represent a child. Probably a memorial sarcophagus. The work is Oriental. There are examples of this work in the Vatican and in Venice. Length, 22 inches; width, 11 inches. 119—ScunptTurep Lion 1N SERPENTINE Romanesque, Eighth or Ninth Century A.D. Representing a crouching lion in serpentine stone, of Eastern European design. Probably an architectural decoration for a religious building. Height, 101% inches; length, 15 inches. First Session SCULPTURE IN MARBLE AND STONE OF THE FOURTEENTH, FIFTEENTH, SIXTEENTH AND SEVENTEENTH CENTURIES 120—Reuier 1n Marsite: THE VircInN AND THE APOSTLES French (?), About 1400 Modeled in a depression forming a frame is seen, to the left, the Virgin wearing a closely fitting dress over which is draped a mantle covering her head, shoulders and lower part of her dress. Both of her hands are held up in a gesture of astonishment. Next to her, St. Peter is standing. He has short curly hair and a round beard, and wears over his gown a mantle draped in the Roman fashion; and he holds a key in his right hand, while in his left is a closed book. To the right is St. Paul. dressed [Continued on following page Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. [ No. 120—Continued | similarly and holding in both hands a closed book. His hair is cut short and his beard is long. Behind are seen the heads of three other personages whose bare feet also show behind those of the Apostles, which are also bare, while the Virgin’s are shod. On the top is a frieze, showing in the center a cross on a shield, and at the right the letters S.M. The letters at the left are missing. Height, 1914, inches; width, 12, inches. There is in the Martin LeRoy Collection, reproduced in Catalogue I, pl. 27, an applied relief in gilded copper of the thirteenth century, Limoges workmanship, of which the representation is identical with this but without the frame. It is possible that it served as a model for it; it is also possible that both reproduce an unknown miniature or book-cover. Though this relief is identical with the Martin LeRoy group, which is of the thirteenth century, it is not possible to assign it to the same period owing to the inscription on it, which is of the late fourteenth or the beginning of the fifteenth century. (Illustrated) 121—-Fremate Movurnine STATuEtTteE IN PAINTED STONE French, Early Fifteenth Century Represented facing to the front and standing on a low round base with hands folded in prayer. She wears a gown girdled at the waist and over it is a mantle covering her back and her shoulders and draped around her arms. On her head is a veil from beneath which shows a wimple framing her face. Height, 2014, inches. The facial expression and the pose of this figure are of exquisite charm. She is composed in the same spirit as some of the funerary statuettes of the late fourteenth century and some of the mourners from the tombs of the Dukes of Burgundy. There are also analogies with a statuette of a mourner in the Cluny Museum. (See reproduc- tions in Vitry et Briere: “Documents de Sculpture francaise du Moyen Age” pl. 97, pl. 114 and 115.) (Illustrated) { y i No. 121—Fremate MournineG StTatTuEtTtTe IN Painted STONE (French, Early Fifteenth Century) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 122—SraTvuETTE IN ParnTED STONE: Vircin AnD CHILD French, End of Fifteenth or Beginning of Sixteenth Century The Virgin is standing, wearing a closely fitted and gilded dress, over which is thrown a full mantle of the same color lined with blue. Her hair is parted in the middle and arranged over her ears. On her head is a crown. On her left arm, covered by the folds of her mantle, is seated the Infant, His naked body covered only with a drapery. His left arm is missing and with His right He is holding the Virgin’s dress. His hair is curly and His expression is smiling. The Virgin holds in her right hand a branch and on it is a bird, with head missing. Height, 1 foot 8 inches. There are some similarities with the Virgin of St. Giraud de Vaux in Bourbon- nais, reproduced in Vitry: “Michael Colombe et la Sculpture francaise de son temps,” p- 309. No. 122—Srarurrte in Paintrep Stone: Virgin anp CHILD (French, End of Fifteenth or Beginning of Sixteenth Century) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. TINO DA CAMAINO Sculptor and Architect, Siena, Fourteenth Century. 123—Marpsie FEMALE Statue oF A Virtus Attributed to Tino da Camaino The figure here reproduced represents a Virtue standing on a low hexa- gonal base and wearing a gown girdled a little below her breast-line and falling down in long straight lines. Over it is a mantle covering her back and shoulders and draped in front and over her arms so as to expose her bodice and the lower part of her gown. Her face is elongated with a round chin, almond-shaped eyes, a thin nose, high forehead and long neck. Her hair is arranged in serpentine locks around her head, and a small portion of it covers the back of her neck. On her head is a low crown. In her left hand she was probably originally holding a sceptre, while in her right is a white lily, the emblem of Virginity. The figure is full of nobility and distinction. She stands erect looking straight before her and has a serious but serene expression, and a noble countenance. The modeling is fine, the proportions harmonious and the draperies finely conceived. The draperies are treated in the Gothic spirit, while the type shows classical influence. Height, 3 feet 5 inches. The same statue of a Virtue is seen in the tomb of Mary of Valois, who died in 1831 and who was the wife of the famous Charles Duke of Calabria. This tomb was executed by Tino da Camaino just before his death, as the last payment for it was given to his widow June 7, 13839. He also executed that of Charles of Calabria, who died in 1828, and both are erected in the Church of Santa Chiara in Naples. The tomb of Mary of Valois is composed in the form of a high monument with several divisions and supporting it are two figures of Virtues, of which the one at the right is exactly the same as the statue here reproduced. (See photograph at Brogi, No. 12420, where the tomb is erroneously said to be that of her daughter, Johanna I, Queen of Naples.) Part of the tomb is also reproduced in Venturi: “Storia dell’Arte Italiana,” IV, p. 281, Fig. 202. No. 123—Marsie Femate Stature oF a VIRTUE (Attributed to Tino da Camaino) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. GIOVANNI ANTONIO DE AMADEI—catitep AMADEO or AMODEO Born in Pavia in 1447; died in Milan in 1522. Influenced first by Michelozzo and later by Mantegazza. 124—Marre StTatuetTe: THE VirciIn oF THE ANNUNCIATION (?) Italian, by Giovanni Antonio de Amadet The figure is standing on a low base, her right knee slightly bent forward. She wears a gown girdled at the waist, with sleeves slashed at the sides. A mantle, the ends of which she is holding in her left hand, covers her back and left shoulder and is draped in front. Her hair falls loose on her back in long curly waves. On her nude feet are sandals. The statue seems to have been made about 1475, about the same time that Amadeo worked at the Colleoni Chapel in Bergamo. It belongs to his first manner when influenced by Michelozzo and by some of the produc- tions of the Milan Cathedral. The Colleoni Chapel, which so clearly brings out the characteristics of his first manner, shows two figures stand- ing on pedestals of the same style and workmanship, as this statue. (See F. Malaguzzi-Valeri: “G.A. Amadeo,” pp, 44, 45.) Height, 37 inches. No. 124—-Marsie Sraruerre: Tur Virein or THE ANNUNCIATION (?) (By Giovanni Antonio de Amadei) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. POSSIBLY BY VINCENZO ONOFRI 125—Srone Base Italian, Bolognese, Late Fifteenth Century Quadrangular, each of its angles decorated with winged sirens termi- nating in volutes. Branches of leaves, masks, shells, etc., complete the decoration of the base. Height, 1 inches; width, 12 inches. The same elements of decoration can be seen in the tomb of the Vescovo Nacci by Vincenzo Onofri about 1480 and reproduced in Venturi: “Storia dell’Arte Italiana,” VI, p. 804. Formerly in the Engel Gros Collection. Reproduced in Sale Catalogue, 1921, p. 180, pl. No. 263. AGOSTINO DE FONDUTIS (Active in Padua, Milan and Piacenza) Lomparp ScuHoou: Late FirrerentH CENTURY 126—A Bust 1x Marnie Possibly by Agostino de Fondutis Representing a Roman Emperor, facing to the front, shown below the shoulders, which are uncovered. Around his head is a laurel garland. His face is square, with slightly prominent and energetic features. Standing on an octagonal wooden base. Height, 834 inches. The attribution of this bust to Agostino de Fondutis is based on the fact that it shows characteristics found in the works executed by him, such as his busts in the Sacristy of San Satiro in Milan, reproduced in Malaguzzi-Valeri: “La Corte di Lodo- vico il Moro,” pp. 71-74. (Illustrated) No. 126—Bust 1n Marsie (Lombard School, Late Fifteenth Century) eo Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the’ Catalogue. 127—SrTaTvuEtTtTeE in Limestone: A Movurner French, School of Burgundy, Fifteenth Century Standing on an octagonal base and facing to the front is the mourner. His head, with hair cut short, is bent forward. He wears a large full mantle with a hood, and with a flap of his garment, which covers his right hand, he is drying his tears. His left hand is missing. Height, 1714, inches. This figure, so full of character and of interest, comes probably from one of the tombs of the Dukes of Burgundy, of which so many are now in museums and private collections. Comparing it with those in existence, we find it almost identical with one of the mourners from the tomb of Philippe le Hardi, Duke of Burgundy, who died in 1404, now in the Museum of Dijon, and with another mourner in the Cluny Museum in Paris, both reproduced in Vitry: “Documents de sculpture francaise au moyen age,” pl. 109, Nos. 1 and 9. There are also many similarities to a mourner from the tomb of Jean Sans Peur who succeeded his father, Philippe le Hardi, and who died in 1419, reproduced in Humbert: “La sculpture sous les ducs de Bourgogne,” pl. 28. First Session 128—Marste Herarpic Leoparp Italian, Late Fifteenth Century The animal is represented sitting on a low base with his jaws open and his head turned toward the left. He is holding in his forepaws a shield blazoned with three “rencontres de boeuf.” Height, 161, inches; width, 1114 inches. Formerly in the Engel-Gros Collection, sold mm Paris m 1917. Repro- duced in the Catalogue, pl. No. 257. 129—TapEeRNACLE IN Carrara Marsie Italian, Fifteenth Century In the middle opens a small door with frontispiece, flanked by two small pilasters surmounted by eapitals. In one medallion is the characteristic monogram of Christ: IHS. Below is seen the coat of arms of the donor, and the inscription which preserves his memory reads: PETRUS BATA DE LENIS. | Height, 2 feet 10 inches; width, 1 foot 81, inches. From the collection of Joachim Ferroni, Rome. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. ANDREA BREGNO, cattep atso ANDREA DA MILANO One of the foremost Roman sculptors in the second half of the fifteenth century. Born in 1421 in Osteno near Como; died in 1506 in Rome. 180—Marsie Group REPRESENTING THE VIRGIN AND CHILD IN A NICHE By a Follower of Andrea Bregno The Virgin, standing on a low base in a niche, is wearing a closely fitted dress over which is draped a mantle covering her head, shoulders and the front of her gown. She is holding a branch of flowers in her right hand, while the Infant Jesus is seated on her left arm. He is naked, holds an apple in His right hand and looks smiling toward his Mother, who also smiles. The niche shows a rounded arched top decorated with pearls, darts and oves, while the side panels show a decoration composed of vases, branches of flowers and leaf work. The group of the Virgin and Child, so charming in its simplicity, is composed in the purely Gothic spirit. The expression of the Virgin is of the greatest purity and the deep hatchings of her garments are char- acteristic of medieval workmanship. The way, also, in which she is hold- ing and looking at the Divine Child is still according to the Gothic tradi- tions. On the other hand, the ornamental decorations are composed in the Renaissance style. This relief originally formed part of a larger ensemble. It most prob- ably belonged to some tomb of which so many have been destroyed and of which fragments are scattered in Museums and churches. Height, 2 feet 111% inches; width, 1 foot 714 inches. In comparing it with works by Andrea Bregno we find many analogies. Taking for instance his altarpiece in Santa Maria del Popolo in Rome, executed in 1473 (re- produced in Venturi: Storia dell’Arte Italiana, VI, p. 949), we see figures in niches composed and decorated in the same way and putti holding shields of whom the types and modeling of the body are similar to the Infant Jesus. In comparing it further with the Virgin and Child from the tomb of Benedetto Superanzi in Santa Maria sopra Minerva in Rome and given to a follower of Bregno (Venturi: Vol. VI, p. 956, fig. 644) we find many analogies in the types and in the draperies. No. 130—Marsie Group: Virgin anp Cuitp In a NICHE (By a Follower of Andrea Bregno) Kindly read the Conditions under which every item: is offered and sold. They are printed in the forepart of the Catalogue. TOMMASO FIAMBERTI CALLED THE “MASTER OF THE MARBLE MADONNAS” Active in Florence, Urbino, Cesena and Forli. Influenced by Antonio Rossellino and Mino da Fiesole. Late Fifteenth Century. 131—Marsie Bas-rREvWIEF REPRESENTING THE VirGIN, CHILD AND ANGELS By Tommaso Fiamberti The Virgin, facing to the front, is seen in half figure. She wears a gown girdled at the waist, with a passementerie border around her neck and wrists. A mantle covers her shoulders and is draped in front serving as a support to the Infant Jesus, who is lying naked, holding a bird in His right hand. The Virgin, with hands crossed on her breast, adores Him, while two winged angels with floating draperies around their bodies are putting a jeweled crown on her head. Modern frame. . Height, 18 inches; width, 15 inches. Formerly in the Ferront Collection in Rome (Catalogue, 1909, pl. xxaix, No. 754.) The relief shows all the characteristics of a large number of works which have been grouped under the name of the “Master of the Marble Madonnas.” The bodies of the babies are plump, the eyes are almond-shaped, showing circles underneath, with eyelids somewhat swollen. The thin-lipped mouths are smiling. The expression of the faces as a whole, so typically in his manner, is derived from the art of Antonio Ros- sellino, while the treatment of draperies and hair shows clearly Mino da Fiesole’s in- fluence. His reliefs in the Bargello and St. Stefano in Florence, in Urbino, in Berlin, etc., clearly show the same characteristics. 4 For comparison, see Virgin and Child in the Church of Del Sacro Eremo in Camal- doli, another in the Gambier Parry Collection and several in Berlin (reproduced in Bode: “Denkmiiler,”’ pl. 423 and 424, and in Frida Schottmiiller: “Die Italienischen und Spanischen Bildewerke der Renaissance,’ Nos. 156-159). All these works show the same characteristic shape of the eyes, mouth and hands, and garments similarly draped and the same particular way of modeling the wings of the angels. The “Master of the Marble Madonnas” has been recently identified as Tommaso Fiamberti by Giacomo de Nicola, Director of the National Museum in Florence. In an article published in Rassegna d’Arte, March, 1922, he groups under his name his signed and unsigned works and in the list of works which he gives he also mentions the relief we are concerned with here. CuiLtp AND ANGELS VIRGIN, y Tommaso F RELIEF: Marsie Bas- 131 ° i) iambert (B Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. BARTOLOMEO BELLANO Born about 1430-1435; died about 1492. Pupil of Donatello. Active in Padua, Florence, Perugia and Venice. School of Padua. 1382—Marsut ReEvIEF REPRESENTING THE VIRGIN AND CHILD By Bartolomeo Bellano The Virgin is represented half-length, dressed in a pleated gown girdled at the waist and ornamented in front with a cherub’s head. Her thick and curly hair is parted in the middle and over it is draped a mantle partly covering her head and shoulders and draped in front. ‘The Infant clothed in a robe similar to the one of the Virgin sits on a cushion on the Virgin’s lap and reads from an open book which He is holding in His hand. The niche in which the group is represented is decorated with a garland sustained by rings. Height, 1 foot 11 inches; width, 1 foot 4& inches. The composition is well proportioned and of great charm. The facial expression both of the Mother and Child is of infinite sweetness, and the modeling itself is very fine. In comparing it with work by Bartolomeo Bellano we find many analogies with his signed and dated relief in marble in the Jacquemart André Collection in Paris representing the Madonna, Child and Angels, and of which there is a replica in the Berlin Museum (reproduced in Frida Schottmiiller: “Die Italienischen und Spanischen Bildwerke der Renaissance und des Barocks,” p. 107). We see that the flesh is of the same plump and soft quality, that the treatment of the hair of the Child is identical), that His ears and nose are shaped similarly and that the garments show the same hard folds, looking as if they were cut with a chisel. The head of the Infant shows the same large and characteristic proportions as the Infant in the relief just mentioned. The same can be said in comparing» it with the other works by Bel- lano such as his marble reliefs in the Sacristy of San Antonio in Padua. As for garlands suspended from rings we find them also in Bellano’s tomb of Antonio Rosselli in the chiesa del Santo in Padua (reproduced in Venturi: “Storia dell’Arte Italiana,” VI, p. 489). As for the way in which the Virgin’s hair is arranged, similarities can be found with his bronze statuette of “Ecate”’ in the Berlin Museum reproduced in “Archivio Storico del’ Arte,” 1891, p. 415. The relief as a whole is one of the most pleasing of Bellano’s creations, made at the time when he was strongly influenced by Florentine productions. Another example of the same relief is in the Quincy Shaw Collection in the Boston Museum of Art. No. 182—Maresue Reuier: Vircin anp CHILD (By Bartolomeo Bellano) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. MATTEO DI GIOVANNI CIVITALI Sculptor and Architect. Born in Lucca in 1436; died there in 1501. Active in Lucca, Pisa, Genoa and elsewhere. 183—A Tapernac LE IN MarBLE By Matteo Cvvitali The tabernacle is constructed in the form of a door and is decorated on the sides with candelabra, leaf-work and garlands. The base shows a six-winged cherub’s head surrounded by two volutes, while in the upper part runs a frieze with three winged cherubs’ heads. On top in the lunette is seen the Christ. He is represented half length holding an open book in His left hand while giving the benediction with His right. His hair and beard are long and curly and behind His head is a halo. An egg and dart pattern, oves, pearls and rosettes complete the dec- oration. Height, 6 feet 1 inch; width, 3 feet 1 inch. This tabernacle is characteristic of Civitali’s workmanship. The composition as a whole shows analogies with Civitali’s tabernacle in the Berlin Museum (reproduced in Frieda Schottmuller: “Die Italienischen und Spanischen Bildwerke der Renaissance und des Barocks,” p. 98, fig. 240). Christ in the lunette is very similar to the one in the Lucca Museum and the decoration on the side pilasters shows analogies with the ones on either side of the Annunciation in the same museum (both reproduced in Venturi: “Storia dell’ Arte Italiana,’ VI, pp. 702 and 695). No. 133—TABERNACLE 1N MarBLeE (By Matteo Civitalz) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart. of the Catalogue. ALESSANDRO VITTORIA (JACOPO ALESSANDRO VITTORIA DELLA VOLPE) Born 1525 in Trent; died in 1608 in Venice. Pupil first of Vicenzo Vicentini and later of Jacopo Sansovino. Active in Venice and in Padua. 184—Marsie Bust REPRESENTING VINCENZO ALESSANDRI By Alessandro Vittoria Represented half length, facing to the front with head slightly turned toward the right. He is bearded and has a moustache and short curly hair. Over his tightly fitted garment is draped a mantle, in the fashion of the Roman Emperors, fastened with a clasp over his right shoulder. On the plinth is seen the following inscription: VINCS. ALEXANDRIUS A SECR®. SER™: REL Ve Height, 2 feet 74, inches. As indicated by the inscription, Vincenzo Alessandri was a Venetian Patrician and Secretary to the Republic. His portrait can be classed among the finest by Ales- sandro Vittoria. In comparing it with his many busts so full of expression and char- acter, we find most analogies in the treatment with his bust of Ottavio Grimani in the Berlin Museum and with the one of Jacopo Sansovino in the Seminario Patriarcale in Venice. The draperies and flesh are treated almost identically. The same can be said of the bust of Giovanni Contarini in the Berlin Museum, all three reproduced in Planis- cig: “Die Venezianischen Bildhauer der Renaissance,” pp. 482-483. As for the treatment of the hair, it is identical with that of the figure in bronze representing Saint Francis in the baptismal font in the Church of Saint Francis della Vigna in Venice, reproduced in the same book, p. 507, Fig. 546. No. 134—Marsie Bust RepresENTING VINCENZO ALESSANDRI (By Alessandro Vittoria) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. SCHOOL OF FRANCESCO LAURANA 185—Marste Rewer Representinc Two Ancets Hoipinc a MEDALLION Italian Sixteenth Century On either side of the medallion is an angel wearing a floating and puffed gown girdled at the waist. They have wings and their long and curly hair is parted in the middle and surrounded with a ribbon. The medal- lion which they are holding and which is set within a laurel crown rep- resents the Pash of the Hebrews, which is thus described in Chapter 12 of Exodus: “The Lord spoke unto Moses and Aaron in the land of Egypt saying: This month shall be unto you the beginning of months; it shall be the first month of the year to you. Speak unto all the con- gregation of Israel saying in the tenth day of’ this month they shall take to them every man a lamb according to the house of their fathers, a lamb for a house. Your lamb shall be without blemish, a male of the first year; ye shall take it out from the sheep or the goats—and you shall eat it with your loins girded, your shoes on your feet and your staff in your hand; and ye shall eat it in haste: it is the Lord’s passover.” This scene is represented here according to the tradition. In the center below is a cherub head. Height, 1 foot 4% inches; length, 2 feet 3 inches. It is interesting to compare this medallion with decorative details from the arch of triumph in Naples of which the greater part was executed by Laurana. In many of the figures we see a similar arrangement of hair, similar types and a similar way of treating the folds of the garments. First Session BY A PUPIL OF TULLIO LOMBARDI 136—Mepauion In Marais, RepresENtING THE Porrrair or a Lapy Lombard School, First Half of the Sixteenth Century She is represented to below the neck, turned to the right. Her curly hair is parted in the middle and arranged over her ears in the antique fashion. A small portion of her frilled gown is visible around her neck. Height, 134% tnches. This medallion shows analogies with types by Tullio Lombardi in the arrangement of the hair and in the type itself. It is interesting to compare it with his busts in the Huldschinski Collection and with another in the Berlin Museum both reproduced in Leo Planiscig: “Die Venezianischen Bildhauer der Renaissance,” p. 252. Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. GIOVANNI LORENZO BERNINI Architect and sculptor. Born in Naples in 1598; died in Rome in 1680. Active in Naples and Rome, but worked also in Ferrara, Siena, Madrid and Paris. Roman School. 137—Mars_te Bust in RELIEF By Giovannt Lorenzo Bernini The bust represents an elderly lady seen in profile and turned to the left. She wears a tightly fitting gown and a veil draped over her head and shoulders partly exposing her thick and curly hair. Around her neck is suspended a decoration. Formerly in the Villa Colonna at Capodimonte in Naples. Height, 3 feet; width, 2 feet 3 inches. This bust is of wonderful workmanship and is a characteristic example and among the finest of Bernini’s work. It is supposed to represent Doria Colonna and formerly adorned the Villa Colonna at Naples. No. 137—Marste Bust in Reiger (By Giovanni Lorenzo Bernini) Kindly read the Conditions under which every item is offered and sold. They are printed in the forepart of the Catalogue. 138—Vaskr 1n OrteENTAL ALABASTER Florentine, Sixteenth Century Beautiful quality of alabaster with two carved masks, one on either side ; the bowl part in the form of a fluted shell, on a molded base. There is a similar vase in the Pitti Palace. Very rare specimen. Height, 11 inches; length, 221% inches. From the Marquis Pucci Collection, Florence. 139—GarcoyLEe In Marsie Italian, Sixteenth Century Representing a fantastic animal. Probably intended for a fountain. Height, 16 inches; length, 23 inches. 140—GarcoryLE IN STONE Italian, Fifteenth Century Representing a fantastic animal resting on its paws. Probably made originally to decorate a fountain. Height, 14 inches; length, 24 inches. 141—Two OrrenraL ALABASTER VASES Italian, Seventeenth Century The vases are of a classical design. Height, 23 inches. 142—Two Orrentat ALABAsTER VASE Italian, Seventeenth Century Similar to the preceding. Height, 23 inches. First Session 143—Two Vases in Carrara MarBLE Empire Period Exteriors carved, representing foliage and masks, with coats of arms. Height, 171% inches. 144—Two Harr Cotumns 1x Breccra MarsieE Italian, Seventeenth Century Two round columns on square bases, from Verona. Height, 4 feet; diameter, 11 inches. 145—-A Coutection or Firry-rour Carvep OrrentaL ALABASTER CAMEOS Italian Work, Sixteenth Century The cameos are carved from two strata of alabaster, giving them the appearance of onyx. The workmanship is fine and true to the style of the otiginals, which are the bas-reliefs on the arches of Trajan, Titus and Marcus Aurelius, some of which reliefs have since disappeared. With these cameos is sold the case and table in which they are arranged. 146—Heap in Reirr: Cororep Terra Cortra Italian, Sixteenth Century Representing the head of St. John the Baptist as presented to Salome, mounted on an antique red velvet frame. Height, 101%, inches; width, 1014 inches. THE GETTY CENIER IBRARY GETTY CENTER LIBRARY iT LAPS 7DISZI3 ‘ ; Feld an i . : hay aah PPC HO NE Y y Mey th Dit \ i i ; " ! SN ey ue Daim ese ae ; the alta TANNA HR RNC SSH CMe ME ALAR H fi ns i HAR gear AIR ie | Hit d 5 If bi? 3 bln i) t Hi} Eli mt CUE teal Pa ;