We found 393 price guide item(s) matching your search
There are 393 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
393 item(s)/page
Lot 470
An Italian silver paper knife/desk seal, mid 19th century, possibly after designs by Michaelangelo Caetani (1804-1882) for Castellani, modelled as a saint with upswept wings forming the blade, wearing a tunic, hands raised in prayer and feet resting on a foliate decorated seal later engraved ‘MICHAEL’, with Papal States hallmark (in use between 1815-1870), and maker's mark for Rome, lozenge stamped ‘P122K’, contained in red leather case, length 20.7cm. £300-£500 --- Michaelangelo Caetani had close ties with the Castellani firm of jewellers, founded in Rome in 1815 by Fortunato Pio. Both as a personal friend of the founder and his sons Alessandro and Augusto, and being from a noble Italian family, Caetani brought with him important patrons and business collaborations. Between 1829 and 1859 he was known to have contributed many designs for metalwork and jewellery. “Paperknives, designed or personally carved by Caetani, were particularly popular items in the Castellani shop....The annual inventories of the Castellani shop usually list several examples in different materials... bronze, silver or wood”. (Soros & Walker). Literature: Susan Weber Soros & Stefanie Walker: Castellani and Italian Archeological Jewelry, pub. BCG YALE, 2004, pages 40-41.
Lot 1704
Castellani Star Vega 12 bore over and under shotgun with named lock, chequered semi-pistol grip and forend, sling mounts, single trigger, vented top rib and 27.75 inch barrels choked full and ¼, overall length 114cm, length of pull 35cm, serial number 58554. PLEASE NOTE THAT A VALID RELEVANT FIREARMS/SHOTGUN CERTIFICATE IS REQUIRED TO HANDLE/PURCHASE THIS ITEM.
Lot 94
ATTRIBUTED TO CARLO GIULIANO: EGYPTIAN REVIVAL TURQUOISE AND SEED PEARL FRINGE NECKLACE AND PENDENT EARRING SUITE, CIRCA 1870The collar composed of faceted batons of alternating lengths, each terminating with a turquoise sugarloaf cabochon and seed pearl accent, strung on spiga-linking concealed by a reeded rondel between each baton, the barrel-shaped clasp engraved with foliate detail, the articulating pendent earrings en suite, with surmounts of interlocking linking, mounted in gold, earrings with later post fittings, lengths: necklace 38.5cm, earrings 5.5cm, fitted case by Mr Streeter (Late), Hancock & Compy Limtd, Goldsmiths & Jewellers to the Royal Family, 37 Conduit Street and Bond Street, velvet exterior with tooled initials E.O.Footnotes:See Munn, G., 'Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century', (Trefoil: 1984), ill.p.26 for a similar example. This suite is a fine example of Neo-Egyptian jewellery by Giuliano. Interest in Egyptology was greatly enhanced in England when Miss Amelia Edwards founded the Egyptian Exploration Society, which subsequently brought a large quantity of Egyptian antiquities over to London. Neo-Egyptian jewels were made by Giuliano from the mid 1860's until his death in 1895, with notable examples featuring details such as faience and ancient Scarabs. The turquoise work and decorative devices are typical of motifs found in the designs of Pasquale Novissimo, who collaborated with the firm during the 1860's. This suite was retailed by Mr Streeter, who took over the firm of Hancock Burbock in 1868, dating this piece to 1868-1874 approximately, after which time Giuliano opened his own shop in Piccadilly.Colour illustration: Design for a parure by Pasquale Novissimo, watercolour on card, as illustrated in Munn, G., 'Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century', (Trefoil: 1984), ill.p.25.For further information on this lot please visit Bonhams.com
Lot 111
ERNESTO PIERRET: RENAISSANCE REVIVAL EMERALD, RUBY, PEARL AND ENAMEL PENDANT AND EARRING SUITEThe table-cut emerald in closed-back setting, between polychrome enamel sea serpents, issuing a pair of similarly-cut rubies within a drilled pearl and black enamel surround, suspending a pearl drop via a detachable table-cut emerald and pearl quatrefoil pendant, decorated throughout with rope-twist, wirework and beaded detail, the earrings en suite, maker's mark EPRT, pearls untested, later chain, later earring fittings, some enamel loss, lengths: pendant 9.0cm, chain 67.0cm, earrings 7.5cm (2)Footnotes:Ernesto Pierret (1824-1898) was born in Paris but moved to Rome as a young man where he trained as a goldsmith. It is possible that he may have been an apprentice in the workshop of Castellani, an idea supported by the clear similarities in styles and subject matter. In 1846 he opened his own shop in Florence, later moving to a Renaissance palazzo at 20 Piazza di Spagna, next to the Spanish Steps in Rome. Today the building is a national monument and regarded as one of the most important historic buildings in Rome. Renamed Palazzo Pierret, his name can still be seen above the entrance. His pieces are marked either with a monogram or signature, both of which are applied to the piece on a small gold plaque or tab.Please note, this lot has VAT at the prevailing rate on both the Hammer Price and Buyer's Premium. Additional duty of 2% will apply to the VAT. Please contact the department for further information.Saleroom notices:Please note, this lot should be dated circa 1870.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 2
A Victorian Castellani style rose gold enamelled target brooch. The Etruscan style brooch with a pearl star surmounting a turquoise blue enamel central dome, with white cloisonne enamel around and edged with enamel blue beads, the back with a glazed locket panel, base metal pin, diameter 30mm, 11.4g.
Lot 288
A mid-19th century Etruscan Revival micro-mosaic brooch in the manner of Castellani, of cross form inset four micro-mosaic panels of doves around a micro-mosaic Lamb of God and four triangular panels of lilies, suspended on detachable micro-mosaic bale, with locket back, unmarked, brooch 49mm x 49mm (not including hook), bale 22mm x 11mm, overall length of pendant 72mm, in fitted case "Edmond Johnson, Jeweller to the Irish Court, Grafton St, Dublin", (case a/f).
Lot 6006
(1) Invitation card for Mack's first solo show outside of Germany, in the legendary experimental exhibition space founded by Manzoni and Enrico Castellani (with some help of Lucio Fontana). 9 x 19 cm, printed white on translucent plastic sheet. This card is lacking a black sheet which seems to have been glued onto the back, making the white lettering stand out. Incomplete, but extremely scarce item. Added: (2) Invitation card Mack Galerie Schmela Dusseldorf, 25 November 1960. 21 x 15 cm, very light rubbing to corners, fine copy. (3) Mini Expo Mack bei Galerie Reckermann Cologne, 1969. Large fold-out card printed silver on thick black stock, 18.5 x 60 cm, in very good condition. (total 3)
Lot 6007
Arnhem, Nul-Verlag, 1963. Second volume of the periodical by the Dutch ZERO group featuring new movements in art. This issue was dedicated to the then recently deceased Yves Klein and Piero Manzoni. Edited by herman de vries, released in an edition of 300. Stapled booklet, 27.6 x 21.8 cm, 20 pp. text in German, French and English. Cover features Manzoni's enlarged fingerprints with hand stamped red O. Contributions by Schoonhoven, Aubertin, Haacke, Castellani et al. Includes the original collage with the 'Yves Klein-blue' square on black paper. Cover shows some age spotting, interior very good.
Lot 6030
(1) Castellani Manzoni Schoonhoven. Group show catalogue, Galerie Delta Rotterdam, 1962. 23.5 x 22 cm, 12 pp. texts in Dutch by H. Sonnenberg and J.J. Schoonhoven. With stamp and notation of Art Information Center. (2) Armando, Henk Peeters, Schoonhoven. La Cavana Galleria, Trieste, 1963. Catalogue, 4 pp. with stamp of Peter van Beveren on rear. (3) Nul - Armando Henk Peeters Schoonhoven / Zero - Mack Piene Uecker. The Hague, Gemeentemuseum, 1964. Double sided catalogue presenting the Dutch Nul artists on one side and the German Zero artists on the other side. (4) Catalogue nul = 0. Galerie Delta Rotterdam, 8 - 20 August 1964. Stapled booklet, 4 pp. with loose inserted sheet listing 40 international Zero and New Realist artists and their exhibited artworks. Participants were Peeters, Dadamaino, Fontana, Kusama, Manzoni, Schoonhoven, Klein, Soto, Arman, Raysse, Rot et al. Stamp of Art Information Center in rear. (5) Jan Schoonhoven: tekeningen en reliefs. De Utrechtse Kring/Galerie Orez, 1969. Striking purple, green and red printed covers, 4 pp. Contains price list of exhibited works, texts in Dutch by Carel Blotkamp and K. Schippers (Portret van J.J. Schoonhoven in 16 mededelingen). Scarce. (6) Invitations for Schoonhoven exhibitions at Galerie Aujourd'hui Brussels (1962), galerie Delta Rotterdam (1964) and Galerie Wulfengasse Klagenfurt (1965). (7) Leaflet announcing a Dutch 0=Nul group show featuring Armando, Peeters and Schoonhoven at Halfmannshof in Gelsenkirchen, 1965. (total 9)
Lot 6033
München, Galerie Heseler, 1972. Special limited edition, this one numbered 965/1000. Catalogue of an exhibition of works by Piene and other members of the Zero Group active from 1957-1966. Loosely inserted is a list of exhibited works by the participants such as Arman, Aubertin, Castellani, Dorazio, Fontana, Schoonhoven, de vries et al. Original colour silkscreen cover by Otto Piene, with transparent dust-jacket, 29 x 21.5 cm, 67 pp. profusely ill. in b/w, with one image by Yves Klein in black and blue. Text in German and English. Includes six original prints bound to spine, folded once in the middle, ca. 29 x 28.5 cm, rubber stamped with the artists' names. The works comprise a blind print by Günter Uecker (nails), and original silkscreen prints by Ruprecht Geiger, Hermann Goepfert, Oskar Hollweg, Heinz Mack and Otto Piene (twice, including the cover). The prints are all in very fine condition, with a tiny dog ear at the lower corner of Piene's work (1 cm). Very light abrasions to the cover edges, generally a crisp copy.
Lot 296
A natural pearl, diamond and enamel pendant by Carlo Giuliano, circa 1865-75, of cruiform design, centred with a pearl, bordered by old-cut diamonds within pyramidal settings, and further pearls to the cardinal points, with pearl drop below set beneath a blue and white spotted enamel cap, the pendant suspended from a similarly enamelled suspension loop, gold mounted, the reverse signed ‘C.G’, total diamond weight approximately 1.10 carats, length approximately 9.5cm. £5,000-£6,000 --- According to a verbal report from GCS the pearls are of natural saltwater origin. Verbal report number 5784-0261. Literature: For a comparable cruciform pendant by Carlo Giuliano, circa 1869-1874, incorporating natural pearls and similar pyramidal diamond settings, see: Castellani and Giuliano by Geoffrey G. Munn, pub. 1984, colour plate 28, page 34. Condition Report General light surface wear to the mount and settings commensurate with age. The pearls are creamy off-white hue with silver overtones, very soft lustre, even round shape (excluding drop), drop-shaped pearl with a couple of raised blemishes. Generally smooth skins, light scratches evident under 10x magnification, some pearls with surface crazing evident under close inspection. Internal crazes evident to most - to include central pearl. Some small chips to enamel evident under 10x magnification, possible touch-up to bale. Gross weight 19.4gm. Pearl measurements, approximately: 7.4 x 7.3mm 7.7 x 7.8mm 8.4 x 8.4mm 7.5mm (half-pearl to bale) 8.6 x 8.5mm 9.8 x 8.5mm (bouton-shaped central pearl) 11.1 x 9.6mm (drop)
Lot 80
La Lune en Rodage I Basel, Editions Panderma - Carl Laszlo 1960. • Wichtige Anthologie zur zeitgenössischen Kunst • Mit zahlreichen künstlerischen Originalbeiträgen • Der seltene erste Band Exemplar außerhalb der Numerierung. - Der sehr seltene erste Band dieser wichtigen und aufwendig hergestellten Anthologie moderner und zeitgenössischer Graphiken; die Arbeiten größtenteils signiert, teils auch datiert. Mit Beiträgen von Bazon Brock (Kundendienst), F. Hundertwasser (Eiöl-Tempera, mit sehr eigenwilliger Signatur), R. Hains (Farbcollage), V. Vasarely (Serigrafie), L. Fontana (Concetto spaziale, Kugelschreiberzeichnung auf perforiertem Metallkarton), E. Castellani (Prägedruck), P. Heliczer (Poem Number One, Faltgedicht), Man Ray (Fotografie), P. A. Benoit (Gedicht und Serigrafie), M. Oppenheim (Farblinolschnitt), Carl Laszlo (Testament 23), O. Piene (Rauchzeichnung), H. Mack (Lithographie), P. Manzoni (getöntes Sandpapier), E. Baj (Farblithographie), F. Arman (Mischtechnik), Lucien Clergue/Jean Cocteau (Fotografie), P. Brüning (Radierung), B. Munari (Faltobjekt), H. Arp (Holzschnitt; Arntz 200a) u. v. a. - Das Titelblatt mit 4 kleinen Abbildungen von J. Pollock, Wols, M. Tobey uns K. R. H. Sonderborg. EINBAND: Orig.-Halb-Sackleinenband mit Schraubenbindung, Deckel- und Rückentitel in Schwarz sowie kl. Metallobjekt von Gio Pomodoro auf dem Vorderdeckel. 33 : 35,5 cm. - ILLUSTRATION: Mit 62 meist signierten Orig.-Graphiken und anderen Original-Beiträgen, montiert auf Tafeln. - ZUSTAND: Auf Anfrage. - PROVENIENZ: Privatsammlung Schweiz. - Famous portable collection of Post War and Contemporary Art, with several unique modern artworks. The scarce first volume of the important anthology. - Copy omitted in numbering. With 62 mostly signed orig. graphics and objects on plates. Orig. half cloth with screw joints, front cover with metall plastic object by G. Pomodoro. - Back partly sligthly cracked, else fine and complete copy from a private Swiss collection. Dieses Objekt wird regelbesteuert angeboten (R).
Lot 75
A seed pearl pendant and earrings, Southern Italy, early-mid 19th century, comprising: a pendant, designed as a canopy of leaves suspending fruit, constructed from gold filigree threaded with seed pearls, suspending a pearl drop, length 6.8cm, pearls untested; and a pair of pendent earrings, mounted in gold, set with seed pearls, length 7.5cm each, hook and clip fittingsCf.: Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World, British Museum Press, 2010, p. 320, no. 276, for an image of similar jewels collected by the jeweller Castellani and displayed at the 1867 International Exhibition in Paris, now in the collection of the Victoria & Albert Museum, and Daniela Mascetti and Amanda Triossi, Earrings from Antiquity to the Present, London, 1990, p.64, for a similar pair of earrings dated to the late 18th century
Lot 86
CARLO GIULIANO: SEED PEARL, PEARL, ENAMEL, GARNET AND DIAMOND NECKLACE, CIRCA 1890The delicate openwork pendant with foliate and scroll detail set with a step-cut hessonite garnet, decorated with monochrome enamel, old-brilliant-cut and cushion-shaped diamonds, terminating in a pearl drop, suspended from four seed pearl strands with openwork cartouche terminals of similar enamel decoration rendered in diverse motifs, signed CG, lengths: pendant 5.4cm, shortest strand including clasp 20.3cm, necklace has been slightly shortened and clasp changed, tooled leather fitted case by C. Giuliano, 115 Piccadilly, LondonFootnotes:For a similar necklace noted as being in 'Indian taste', see Munn, Geoffrey, 'Castellani & Giuliano', London, 1984, plate 145.For further information on this lot please visit Bonhams.com
Lot 404
A RARE GOLD ARCHEOLOGICAL REVIVAL NECKLACE BY GIACINTO MELILLO WITH TWELVE ROMAN GREEN CHALCEDONY INTAGLIOS AND PEARLS. VARIOUS SUBJECTS. Stones: 2nd-3rd century A.D. Mounting: Second half of 19th century400 mm circa; stone min. 6x9 mm max. 9x12 mm; 50,54 gr.This precious necklace is composed of a serie of gold elements assembled on a large braided gold chain; 12 oval box-setting made of granules, braided and twisted gold wires decorated at the base with a small pearl. In each box-setting a roman green chalcedony intaglio. Each element is alternated by 4 gold spherical beads. From left to right the intaglios show: goat and tree; male bust facing left; young faunus playing the double flute in front of a column; Gryllos composed by a female bust conjoined with two silenos masks; a warrior; seated satyr near a tree; a running erote with a panther; a draped offerer; Venus Victrix; winged Nike; Fortuna Tyche; Venus with sea attributes. This model is a perfect example of the Revival Jewellery of the 19th century, assembling both ancient roman and modern elements. This model can be related to the Castellani Archaeological Revival necklace in the Museo Nazionale Etrusco di Villa Giulia in Rome (inv. 85013). The story of Giacinto Melillo (1846-1915) is intertwined with Alessandro Castellani's, when he put him under the direction of his first workshop in Naples in 1863. At this time, Melillo was only 18-19 years old and considered much more than an apprentice, more even than a normal employee: Augusto Castellani declared in 1878 that much of his brother’s jewellery was actually Melillo’s work . A eulogy of the work of Giacinto Melillo was published in 1896 by a celebrated collector, count Michel Tyskiewicz. “Naples does not shine in the perfection of its pseudo-antique jewellery. The treatment is coarse, heavy, pretentious and often absurd. Yet Naples possesses a goldsmith of the first order in Mr Melillo, who has far surpassed the work of the Casa Castellani in Rome. Whilst Carlo Giuliano had already taken-over the London shop, Melillo then took-over the ownership of the Naples workshop in 1870, and he immediately started trading under his own name. Melillo in the 1870's was still producing unsigned Castellani-type jewels, that were sold through Alessandro Castellani. An Archeological Revival necklace, Museo Etrusco di Villa Giulia, collection Castellani donated by Alfredo Castellani in 1919, inv. 8513. See also: Geoffrey Munn, "Giacinto Melillo: a pupil of Castellani", The Connoisseur, vol. 196 (1977), pp. 20-22; Geoffrey Munn, Les bijoutiers Castellani et Giuliano. Retour à l’antique au XIXe siècle, Fribourg 1983Provenance: European collection, acquired on the market, early 2000's.
Lot 428
A FINE GRAND TOUR GOLD BANGLE WITH A NEOCLASSICAL AGATE INTAGLIO. ALLEGORICAL SCENE. 19th centuryStone 18x26 mm; int. Size 48x58 mm; 41,95 gr.PIERRET Ernesto (Born in Paris, 1824). A Gold bangle bracelet set with a large agate intaglio. Circa 1860Of archaeological revival design, the oval intaglio, possibly a merchant’s seal, within a rope twist surround, two scrolls to either side, the bangle inscribed ‘SALVE’, translating s the Latin for ‘Hail’. The intaglio shows a Victory riding a quadriga to the left, on top an eagle holding a laurel wreath in its backs and thunderbolts in its paws. Beneath, portrait of a youth facing left, mouse inside a ring and grasshopper on ear of corns. Inscription retrograde ‘M.IVLI’. Ernesto Pierret was one of these jewelers. Born in Paris in 1824, Pierret moved to Rome in the 1840s, where he trained as a goldsmith. Historians speculate that he may have been apprenticed under Castellani, as Pierret's style was very similar to – and often compared to – the more popular Castellani. In 1846, Pierret opened his workshop. It was then that he began to build a reputation. The opening of his studio took place directly after his marriage to Virginia Crespi, the daughter of a wealthy lawyer. These family connections allowed him to move his studio to Rome's illustrious jewelry and artist district, where Pierret began to prosper.Provenance: U.K. private collection acquired on the art market.
Lot 46
A PAIR OF CARNELIAN ETRUSCAN SCARABS SET IN GOLD EARRINGS. VARIOUS SUBJECTS.Scarabs: 4th-3rd century B.C.; mounting 19th century. Stone 11x15 mm; total weight 8,9 grBoth scarabs are characterized by the same certainly ancient globular style and wear marks. The subjects are to be identified, but for one specimen it should be a warrior, for the other one probably horses. The stones are mounted in Castellani-type archaeological revival gold settings. The closures are missing.Provenance: U.K private collection
Lot 48
A Victorian archaeological revival gold brooch, c.1870, by Castellani,with a ram's head with twisted horns, its tail in the form of an ouroboros, with a vessel or urn style pendant, suspended to the centre. A replacement base metal pin to a later 'C' catch. 30mm x 25mm, 10.18gCondition ReportTested as approximately 18ct gold.Base metal pin.A later 9ct 'C' catch.A split in the tail at this point that continues (although narrower) through the head.Obscured maker's plaque - entwined CC monogram mark.
Lot 2879
Var. places and publishers, mostly undated (ca. 1900), mostly 2-4 p., var. sizes. All folded, occas. minor imperfections. These extremely rare prospectuses were only sent to book traders, this set to P. Out, Koog aan de Zaan (mostly w. letterpress ticket). Comprises prospectuses for titles such as: Félicien Rops/ Neue Folge. Text von Rudolf Klein. Sonderband der Kunst der Gegenwart (Berlin, Internationale Verlagsanstalt für Kunst u. Literatur), Ch. Castellani. Das Weib am Kongo (Minden, J.C.C. Bruns), Gefährliche Liebschaften. Roman in zwei Bänden von Choderlos de Laclos (Munich, H. von Weber), Graphische u. typographische Erstlinge de Syphilisliteratur aus den Jahren 1495 und 1496 (Munich, C. Kuhn), Geschichte der gynäkologisch-anatomischen AQbbildung von Dr. Fritz Weindler (Dresden, Von Zahn & Jaensch), Der Künstlerakt. Vorlagen zum studium des nackten menschlichen Körpers (Berlin, J. Singer & Co), Das Feigenblatt (Dresdner Roman-Verlag), Der moderne Act.; Grosse Ausgabe. Studienmappe für Künstler (n.pl., n.publ), Zauber und Liebe (Leipsic, A.F. Schlössel), Pierre Dufour. Geschichte der Prostitution (Berlin, J. Gnadenfeld & Co) and Die Eroberung des Frauenherzens. Taktik und Methodik der Liebeskunst von F.A. Geisler (Leipsic, A.F. Schlössel). (total 25)
Lot 6011
Publication of the Dutch ZERO group featuring new movements in art. First issue edited by Armando, Henk Peeters and herman de vries, later issues edited by de vries. Published by Nul-Verlag, Arnhem, in an edition of 500 (Nos.1-2) and 300 (Nos.3-4). Stapled copies, 27.6 x 21.8 cm, ca. 16-22 pp. each. Text in German, French and English. Scarce complete set in very good condition. Comprises: (1) No.1 (1961) silver metallic cover, with a rare addition, i.e. a punched out circle revealing the 'O' printed on the underlying blue sheet. Contributions by Aubertin, Mack, Uecker et al. Minor irregularities on the edges of the covers, interior near mint. (2) No.2 (April 1963) dedicated to the then recently deceased Yves Klein and Piero Manzoni. Includes the original collage with an 'Yves Klein-blue' square on black paper. Cover shows Manzoni's enlarged fingerprints and a hand stamped 'O'. Contributions by Schoonhoven, Aubertin, Haacke, Castellani et al. Very good copy, staples rusty, interior mint. (3) No.3 (1963). Includes original collages (2 tiny blue squares, 1 composition with 4 white squares) and ‘Relief’ and ‘Reflection’ by de vries. Regular age-toning on covers, interior very good. (4) No.4 (1964). Includes original works by Schmidt, Bischoffshausen, de vries, serigraphs by Goepfert and Calderara. Staples loose, cover with usual age-soiling, moderate age wear to edges of the fragile paper in interior.
Lot 6013
Third and final issue of the famous periodical of the ZERO-group including various (original) artists' interventions. Softcover, 20 x 21 cm, ca. 150 pp. Contributions by Fontana, Klein, Piene, Mack, Arman, Manzoni, Spoerri, Tinguely, Castellani, Uecker, Aubertin, Rainer, Rot et al. Texts in German, English and French. Rare complete copy including the half-burned sheet and partly torn page (Yves Klein), a white sheet with a small perforation hole (Jean Tinguely / Otto Piene), a sunflower seed (Jean Tinguely) and a match to be used in pyromaniac experiments (Spoerri). The seed and match are glued on to the last sheet, 2 perforation holes on the back cover protect them. Slight age wear to cover, else in very good condition.
Lot 6015
(1) Castellani Manzoni Schoonhoven. Catalogue for the group show at Galerie Delta Rotterdam, 1962. 23.5 x 22 cm, 12 pp. b/w ills. with a brief text in Dutch by H. Sonnenberg and J.J. Schoonhoven. Cover slightly toned. Rare. (2) Announcement flyer for the above show, folded for mailing purposes. (3) Zero 0. Invitation card for the exhibition at Rotterdamsche Kunstkring, July 1959. Contributors include Manzoni, Schoonhoven, Tajiri et al. (total 3)
Lot 6019
Philadelphia, Institute of Contemporary Art/University of Pennsylvania, 1964. Hardcover, 13.5 x 13 cm, ca. 60 pp. Exhibition catalogue for the first Zero exhibition in the USA. Artists include Armando, Bury, Castellani, Dorazio, Fontana, Goepfert, Graubner, Haacke, Holweck, Hoyland, Indiana, Klein, Kusama, Savio, Luther, Mack, Manzoni, Mavignier, Megert, Peeters, Piene, Pohl, Salentin, Schoonhoven, Soto, Spindel, Tinguely, Uecker, Verheyer and Vigo. Moderate age toning to spine and cover, else a near mint copy. Scarce.
Lot 6026
Arnhem, Nul-Verlag, 1963. Second volume of the periodical by the Dutch ZERO group featuring new movements in art. This issue was dedicated to the then recently deceased Yves Klein and Piero Manzoni. Edited by herman de vries, released in an edition of 300. Stapled booklet, 27.6 x 21.8 cm, 20 pp. Text in German, French and English. Cover features Manzoni's enlarged fingerprints with hand stamped red O. Contributions by Schoonhoven, Aubertin, Haacke, Castellani et al. Includes the original collage with the 'Yves Klein-blue' square on black paper. Cover shows age toning, light creasing along spine, interior very good.
Lot 6048
Exquisite poster silkscreen printed red and blue on very thin glossy tracing paper. 50 x 68 cm, machine folded three times as issued. Presents a group show by notable international and Italian avant garde artists such as Adami, Arman, Castellani, Cavellini, Ernst, Fontana, Gilardi, Hamilton, Jorn, Man Ray, Rotella, Tilson, Zini et al. N.d., no additional information found. The image on the poster shows an audience presumably watching a car race. Clean copy, curious item.
Lot 1838
Castellani,G.M.: Phylactyrion Phlebotomiae & Arteriotomiae: Das ist, Kurtzer Bericht vom Aderlassen: In welchem neben einer Figur vnnd Kupfferstück angezeigt vnnd erkläret wirdt, welche Adern deß gantzen Leibes, sie seyen Hertz- oder Leber Adern...pflegen geschlagen vnd eröffnet zuwerden:... zu Rom lateinisch an tag gegeben:...ins Teutsche transferirt vnnd versetzet durch L. von der Heyden... Straßburg, P.Ledertz 1631. Kl.4°. Mit 4 (von 5 ?, ohne Nr. 3) Kupfertafeln. 1 nn. Bl., 33 S. Mod. Hldr. mit gepr. Rtit. VD 17 15:744407C ohne Angabe von Tafeln, das Digitalisat der Universitätsbibl. Leipzig ebenfalls ohne Taf. - Die Tafeln zeigen chirurg. Instrumente. - Tls. angestaubt, stockfleckig u. wasserrandig, tls. etw. gebräunt, 2 Bl. Rand repar.
Lot 1850
A CARLO GIULIANO GEM SET BANGLECirca 1870s, set with a central motif of emeralds, pear shaped moonstones, a ruby and a rose cut diamond star, with blue enamel detailing to the sides and further adornments of moonstones, rubies and rose cut diamonds, in 18ct gold, gross weight 67.7 grams, with makers mark C.G for Carlo Giuliano and numbered 50, with a hinge and clip fitting and a safety chain. Please see the condition report for provenance. CONDITION REPORT - Good condition for age, no damage the enamel, very minor scratches and wear on the gold. One small rose cut diamond missing from the side. Hinge works well and is secure. Some tarnish to the gold.There has been two sections added in to widen the bangle with alterations.Provenance of Carlo Giuliano (1831-1895) - He was an exceptional Italian goldsmith and jeweller who created works for many royal and notable families. He trained under the famous goldsmith Castellani and followed Alessandro Castellani to London in 1860. in 1874 he set up his own shop. Often working in the Archaeological style with bright enamels and gemstones and golden filigree decorations and singing his pieces C.G as seen on this piece. After Giulianos death in 1895 his his two sons Carlo and Arthur took over the family business. The business was successful and followed his typical style and craftsmanship, the makers marked changed to C&AG as opposed to the earlier original C.G.Today few pieces come up and his works can be seen in museums such as The Victoria and Albert Museum in London. Bellmans are pleased to offer this fine example of his work.
Lot 15
Neo-Etruskische Brosche mit Granulation18 kt Gelbgold. Scheibenform mit sehr feinem flächenfüllendem Filigrandraht- und Granulationsdekor im archäologisch-historisierenden Stil. Im Zentrum leicht konkave Blütenrosette konzentrisch gerahmt von Ornamentbändern und umlaufendem Kordelband. Applizierte Reliefsignatur "PIERRET". Granulation mit kleinen Verlusten. Durchmesser 3,0 cm. Gewicht 8,52 g.Ernesto Pierret, Rom, um 1870/80.Der Franzose Ernesto Pierret (geb. Paris 1824) ging als junger Mann nach Rom und absolvierte dort eine Ausbildung zum Goldschmied. 1846 eröffnete er ein eigenes Geschäft und bot dort archäologisch-historisierenden Schmuck von hoher Qualität an, weshalb vermutet wird, dass er vorher einige Zeit in der römischen Werkstatt der Castellani verbracht hatte. John Murray beschrieb ihn 1853 in seinem „Handbook to Central Italy and Rome“ als „einen der ersten Künstler in Rom für etruskischen Schmuck“.LiteraturZu den antiken Vorbildern vgl. Katalog Trésors antiques, Bijoux de la Collection Campana, Musée du Louvre, Mailand 2005, Nr. 5.10, 5.33. Hier zwei Paar Ohrringe mit entsprechend gestaltetem Scheibenmotiv aus der berühmten Antikensammlung Campana, datiert ins 4. und 2. Jh. vor Chr.
Lot 1847
Castellani, Enrico. Estroflessione. Multiple aus Kunststoff. Mailand, Achille Mauri Editore, 1968. Objektgröße: 30 x 30 cm.Eins von 1000 Exemplaren. - Das Objekt gehörte ursprünglich zu dem Katalog "Enrico Castellani Pittore" von 1968, der hier allerdings nicht dabei ist. - Plastik etwas vergilbt, sonst gut erhalten.
Lot 100
CASTELLANI, E. Interpreting Bodies. Classical and Quantum Objects in Modern Physics. (1998). Owrps. -- U. NORTMANN. Unscharfe Welt? Was Philosophen über Quantenmechanik wissen möchten. 2. Aufl. (2009). Obrds. -- D.J. GRIFFITHS. Introduction to Quantum Mechanics. (1995). Or. bind. -- R. OMNÈS. Understanding Quantum Mechanics. (1999). Obrds. -- And 11 on the same subject. (15).
Lot 95
BRADING, K. & E. CASTELLANI, (eds.). Symmetries in physics. Philosophical reflections. (2003). Ocl. w. dust-j. -- J. ROSEN. Symmetry rules. How science and nature are founded on symmetry. (2008). Obrds. -- S. ALLÉN, (ed.). Possible worlds in humanities, arts and sciences. 1989. Ocl. -- D. J. WILLOCK. Molecular symmetry. (2009). Owrps. -- And 10 o. (14).
Lot 280
NO RESERVE Castellani (Valentina) & others, editors. Francis Bacon: Triptychs, loose as issued in original orange cloth drop-back box, Gagosian Gallery, 2006 § Lynton (Norbert) Ben Nicholson, 1993 § Stephens (C.) & Andrew Wilson. David Hockney, 2017 § Chapman (Jake & Dinos) Like a Dog Returns to its Vomit, 2005, plates and illustrations, many colour, all but the first original cloth or boards, the second with dust-jacket; and c.25 others on modern and contemporary British art, v.s. (c.30)
Lot 45
PHILLIPS BROTHERS: GEM-SET AND ENAMEL CROSS PENDANT, CIRCA 1865In Gothic Revival style, the arms of the cross set with banded agate batons, sky blue enamel borders and a central pearl, within an elaborate border of gold tracery and beaded trefoils, small glazed compartment on reverse, base of cross deficient and two of the finials converted into a pair of earrings, maker's mark, pearl untested, pendant length 9.1 cm, fitted tooled leather case by Phillips, 23 Cockspur St, LondonFootnotes:19th century goldsmith and jeweller Robert Phillips (1810-81) was one of the most prominent English jewellers working in the fashionable Revivalist style. Italian craftsmen employed by his firm included Carlo Giuliano and Carlo Doria and Phillips probably also visited the Castellani workshops in Rome and Naples.Mrs Haweis, in the chapter on 'Modern Jewellery' in her book, 'The Art of Beauty' (1878), described the 'artistic appreciation of good forms and good work' by Messrs Phillips of Cockspur Street, going to to say:'the most perfect models are sought for the ornaments they furnish. Museums and picture galleries are ransacked for devices of necklaces, earrings and pendants. I there observed an elegant cross copied from a picture by Quentin Massys in the National Gallery...'Phillips made several cross pendants with intricate goldwork very similar to the cross on the orb Christ holds in the Diptych 'Christ and the Virgin', from the workshop of Quentin Massys c.1510-25 in the National Gallery, London. For another example, sold by Bonhams, see lot 504, The Contents of Glyn Cywarch - The Property of Lord Harlech', London, 29 March 2017For further information on this lot please visit Bonhams.com
Lot 1315
Carlo Giuliano, an enamel and pearl necklace, late 19th century, and an unsigned gold and pearl pendant, mid 19th century, the necklace designed as a series of twisted cane links applied with black and white enamel, spaced by seed pearls, length 35cm, clasp signed CG for Carlo Giuliano, suspending a 19th century gold pendant in the Archaological Revival style, finely modelled as a cherub holding an amphora and a goblet containing a pearl, decorated with gold granulation and filigree work, length 2.3cm, unsigned, likely later added to necklace, pearls untestedCf.: Geoffrey Munn, Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century, England, 1984, no.152, for a similar example of the candy-twist enamelled necklace, thought to be based on a 16th century example known to the Giuliano family
Lot 37
Amedeo Modigliani zugeschriebenPorträt eines Mannes1917Bleistift auf Papier; gerahmt36,5 x 23,3 cm (Passep.-Ausschnitt); 39 x 25,7 cm (Blattgröße)Bezeichnet links unten: modiglianiDiverse alte Etiketten rückseitig auf alter Rahmenabdeckung: Hanover Gallery London, Stedelijk Museum Amsterdam, Bodley Gallery New York, Buscaglia-Castellani Art Gallery Niagara University New YorkGalerie Paquerau, Paris (1934);Hanover Gallery, London (Etikett rückseitig);Mrs. T. Stewart, London;Privatsammlung, Buffalo, New York;Sotheby's New York, sale no. 3987, 12.05.1977, Nr. 228 (dort: "portrait d'homme" mit der Provenienz "The Hanover Gallery, London" sowie dem Verweis "Exhibited Basel, Kunsthalle, 1934");Linda Hyman, New York;Hirschl-Adler Gallery, New York (1982);Jason Bloom (erworben 1982 von Hirschl-Adler Gallery);Sammlung Frank Morini, New York (erworben in den 1980er Jahren);im Erbgang an österreichische Privatsammlung1934 Basel, Kunsthalle, Modigliani, 7. Jänner bis 4. Februar, wohl Nr. 89 (ohne Abb.);Christian Parisot, Modigliani, Témoignages, Band IV, Livorno 1996, S. 217, (mit s/w Abb. S. 217, Titel dort: "portrait du peintre Ortiz", Datierung dort: 1915);Christian Parisot, Modigliani, Catalogue raisonné - dessins, aquarelles, Band III, Livorno 2006, S. 127, WV-Nr. 110/15 (mit Abb., Titel dort: "portrait du peintre Ortiz")
Lot 332
An enamel and moonstone pendant by Carlo Giuliano, circa 1870, the quatrefoil pendant centred with a cushion-shaped garnet set within four elongated moonstone cabochons, further spaced by polychrome enamel decorated fleur-de-lys motifs, gold mounted, maker’s mark ‘C.G’, length 47mm. £2,000-£3,000 --- The Italian jeweller Carlo Giuliano (1831-1895) was a leading exponent in the Renaissance revival style in the second half of the 19th century. A goldsmith and jeweller, he was working in London from 1860. Giuliano’s career began initially in Naples, working for Alessandro Castellani, who sent him to London to establish a branch of the Casa Castellani. He left Castellani’s employ in the early 1860s, establishing his own workshops in Frith Street, Soho, and retailing his jewels through established jewellers such as Robert Phillips, Hunt & Roskell and C. F. Hancock. In 1874, he opened his own retail premises at 115 Piccadilly, specialising in beautifully detailed enamel work and unusual gemstones, inspired by the Renaissance style. The Frith Street workshops were retained until 1877 after which all production moved to the Piccadilly premises. Patronised by Queen Victoria, and a favourite of the Pre-Raphaelite artists and fashionable elite, the business proved successful. After Giuliano’s death in 1895, his two sons Carol and Arthur continued the business under the new name of Carlo & Arthur Giuliano, still operating from Piccadilly until 1912 when they moved to 48 Knightsbridge, although with the tragic suicide of Arthur in 1914, the shop finally closed its doors. Condition Report General light surface wear commensurate with age and use. Small chip to the garnet. Unassociated period case. Gross weight 9.11gm.
Lot 88
JEAN-MICHEL BASQUIAT (New York, USA, 1960 - 1988) for DUNNY KIDROBOT.Untitled.Vinyl.With stamped signature of the Estate of Jean-Michel Basquiat and the publisher.Original box enclosed.Measures: 20 x 13,5 x 7 cm.In collaboration with the Estate of Jean-Michel Basquiat, Kidrobot presents Jean-Michel Basquiat Faces Dunny Art Figure focusing mainly on the "faces" of Basquiat's works. Each art figure represents a face or an image from one of the prolific New York artist's most iconic paintings.A prolific artist, Jean-Michel Basquiat began drawing at the age of three, inspired by urban culture through the cars, taxis and buses that roamed the streets, as well as through television and comic books. He captured this view of his surroundings in his paintings throughout his life, especially in the form of vibrant lines, intense strokes, figures cut in black, facial expressions pushed to the limit, and so on. During the early 1980s he began to emerge as an artist, at a time when the reign of conceptual art and aesthetic minimalism in all its forms was predominant. The presence of urban culture and graffiti mixed with the European figurative tradition. His first solo exhibition took place in 1982, at the Annina Nosei Gallery in SoHo, New York. This marked the beginning of a series of solo and group exhibitions that brought together his work with that of other important contemporary artists, such as Julian Schnabel and David Salle. During these years he produced more than two hundred canvases with portraits of influential figures belonging to that culture, including Muhammad Ali and Dizzy Gillespie. It was at this time that his works began to be highly sought after, and logically his presence was in demand at the most exclusive events of the time. It is worth mentioning his close relationship with Andy Warhol, who had a powerful influence on their work. The intensity with which Jean-Michel Basquiat created was mirrored in his life. A fan of drugs and nightlife since his teenage years, his consumption increased to such an extent that he developed a strong addiction to heroin and cocaine, which led to his death in 1988. From his first solo exhibition to the present day, his work has toured the world's most famous museums. His media power, the outrageous auction prices of some of his works and his visual intensity continue to move crowds. The strong influence of his canvases, graffiti and writings on contemporary art explains the enormous interest in his figure. He is currently represented in museums and institutions such as the Museum of Modern Art (MoMA) in New York, the Centre Pompidou in Paris, the Gagosian Gallery, the Museu d'Art Contemporani de Barcelona - MACBA in Barcelona, the Guggenheim Museum of Modern and Contemporary Art in Bilbao, The High Museum of Art in Atlanta, The Modern Art Museum of Fort Worth in Fort Worth, the Castellani Art Museum in Lewiston, the Whitney Museum of American Art in New York, the Broad Contemporary Art Museum in Santa Monica, the Fondation Carmignac in Paris, the Fukuoka Art Museum in Fukuoka, Japan, as well as in numerous private collections, such as that of David Bowie.
Lot 334
Klein, Yves - - Den inre och den yttre rymden, en utställning rörande universell konst. The inner and the outer space. An exhibition on universal art. Herausgegeben von Bergqvist Lindegren u. Karin-Hultén. Gruppenausstellungskatalog mit zahlreichen, teils farbingen Abbildungen sowie einer monochrom blauen Original-Serigraphie und einem goldfarbenen Blatt von Yves Klein. Stockholm, Moderna Museet, 1965. Quarto. OSchraubenbindung, vorn mit weißem Vinyl und dem hinteren Deckel aus Wellpappe (etwas angestaubt). Katalog der von Hultén kuratierten Gruppenausstellung im Stockholmer Moderna Museet vom 26.12.1965 bis 13.02.1966 - Enthält die 4 Teilen: 1) Kasimir Malevich, Text von Troels Andersen, 2) Naum Gabo, Text von K.G. Hultén, 3) Yves Klein, Text von Ulf Linde, IV) Katalog zu 35 Künstlern, deren Arbeiten sich mit der Erforschung des Raums befassen (u.a. Max Bill, Enrico Castellani, Piero Dorazio, Lucio Fontana, Don Judd, Piero Manzoni, Otto Piene, Robert Rauschenberg, Frank Stella, Mark Tobey, Günther Uecker, Herman de Vries etc.) - Kleins Serigraphie am unteren, überstehenden Rand etwas angestaubt u. berieben, das goldfarbene Blatt etwas knickspurig u. verso gestempelt "Guld är Solljuset fotograferat och fixeradt. August Strindberg". With num. ill., some in colour, as well as an original monochrome blue serigraph and a gold-coloured leaf by Y. Klein. - Catalogue of the group exhibition curated by Hultén at the Stockholm Moderna Museet from 26.12.1965 to 13.02.1966 - Contains the following 4 parts: 1) Kasimir Malevich, 2) Naum Gabo, 3) Yves Klein, IV) catalogue of 35 artists whose works deal with the exploration of space. - Klein's serigraph at the lower, overlapping margin somewhat dusty and rubbed. The gold coloured sheet somewhat creased and stamped on verso "Guld är Solljuset fotograferat och fixeradt. August Strindberg".
Lot 6009
Publication of the Dutch ZERO group featuring new tendencies in art. First issue edited by Armando, Henk Peeters and herman de vries, later issues edited by de vries. Published by Nul-Verlag, Arnhem, in an edition of 500 (Nos.1-2) and 300 (Nos.3-4). Stapled copies, 27.6 x 21.8 cm, ca. 16-22 pp. each. Text in German, French and English. Super rare complete set in good condition.Comprises: (1) No.1 (1961) with silver metallic cover, contributions by Aubertin, Mack, Uecker et al. Creasing and small irregularities on the covers, interior near mint with some toning to extremities of the pages. Tiny tear (1 cm) in page 1/2. (2) No.2 (April 1963) dedicated to the then recently deceased Yves Klein and Piero Manzoni. Cover features Manzoni's enlarged fingerprints, contributions by Schoonhoven, Aubertin, Haacke, Castellani et al. Very good copy, minimal irregularities on front cover, interior mint. (3) No.3 (1963). Includes original collage (signed) and paper works ‘Relief’ and ‘Reflection’ by de vries. Regular age-soiling on covers, interior very good. (4) No.4 (1964). Includes original works by Bischoffshausen, de vries and a serigraph by Calderara. Very good copy, cover has usual age-soiling.
Lot 16
AGOSTINO BONALUMI (1935-2013)Bianco 1967 signé, daté 67 et inscrit N.Y. au revers toile de forme et tempera vinylique signed, dated 67 and inscribed N.Y. on the reverseshaped canvas and vinyl tempera 127.5 x 176 x 30.5 cm. 50 3/16 x 69 5/16 x 12 in.Footnotes:Cette œuvre est enregistrée sous le n° 67-015 auprès de l'Archivio Bonalumi, Milan ; un certificat signé par l'artiste sera remis à l'acquéreur.ProvenanceGalleria Fumagalli, BergameAcquis auprès de celle-ci par le propriétaire actuel en 2006ExpositionNew York, Galleria Bonino, Agostino Bonalumi painting – constructions, 1967BibliographieWolbert Klaus, Agostino Bonalumi, Parme 2003, p. 152, illustré en noir et blanc Renato Barilli, Lia Durante, Agostino Bonalumi. Premio 'Artista dell'anno 2006', Milan 2006, p. 53, illustré en couleurs Fabrizio Bonalumi, Marco Meneguzzo, Agostino Bonalumi. Catalogo Ragionato, Milan 2015, Vol. II, p. 406, n° 332, illustré en noir et blancAgostino Bonalumi est né en 1935 à Vimercate, en Italie. Artiste autodidacte, il a étudié le design technique et la mécanique. Il a passé la majeure partie de sa vie en Italie, à l'exception d'une période d'étude et de travail en Afrique méditerranéenne et en 1967 aux Etats-Unis. Bonalumi est surtout connu pour ses toiles monochromes enduites de vinyle façonné.Alors qu'il visite l'atelier du peintre Enrico Baj, il rencontre Piero Manzoni et Enrico Castellani, avec lesquels il exposera à Rome, Lausanne et Milan en 1958. Leur questionnement autour de l'art et de leur époque les amène à repenser leur peinture vers une forme de peinture-objet : pittura-oggetto concept qui plut aussitôt à Bonalumi. Un an plus tard, Bonalumi et Castellani fondent la revue Azimuth et commencent à fréquenter l'atelier de Lucio Fontana. En effet au contact de Lucio Fontana, Bonalumi a étudié le concept d'espace et a réalisé ses premières Estroflessioni, consistant à étirer et à déformer les toiles à travers des structures et des cadres construits derrière elles créant ainsi l'illusion d'une force invisible poussant par dessous. Dans les années 1960, l'artiste introduit de nouveaux matériaux dans ces peintures construites tels que l'aluminium, et il a agrandi l'échelle de son travail, créant finalement des installations.Le travail de Bonalumi a été présentée dans de nombreuses grandes expositions individuelles et collectives, notamment aux Biennales de Venise et de São Paulo, et fait partie des collections de plusieurs musées, dont la Galleria Civica d'Arte Moderna e Contemporanea de Turin, la Galleria Nazionale d'Arte Moderna e Contemporanea de Rome, le Museu Coleçao Berardo de Lisbonne, la Peggy Guggenheim Collection de Venise et le Walker Art Center de Minneapolis. Des rétrospectives de l'œuvre de l'artiste ont été organisées à l'Institut Mathildenhöhe de Darmstadt, en Allemagne, en 2003, au Musée d'art moderne de Moscou en 2011 et au Palazzo Reale de Milan en 2018.Le public américain a pu découvrir, Bianco et le travail de Bonalumi lors de son exposition dédiée par la Galleria Bonino à New York en 1967. Cette œuvre de 1967 est extrêmement importante étant donné cette composition extraordinaire qui sont l'une des plus recherchées par les collectionneurs et que le marché n'a que trop peu l'occasion de pouvoir voir sur le marché. Grand Artiste de son vivant, Agostino Bonalumi, nous éblouit à nouveau avec ses extroflexions semi circulaires sur les trois angles et joue avec une plus petite estroflessione pointue dans l'angle supérieur gauche, défiant avec les limites de la toile qui lui sont imposées. Son habileté et cette vision si particulière de l'espace nous amène vers la contemplation et l'introspection. Légère, aérienne, puissante, ce pur pittura-oggetto présenté est l'exemple parfait de la capacité de l'artiste à jouer avec les trois dimensions qui enrobe le spectateur. Cet architecte de la toile met en scène ici la lumière tel un réflecteur sensoriel ; les volumes dans l'espace captent avec force l'œil du spectateur et lui donne une dimension physique et tactile.Agostino Bonalumi was born in 1935 in Vimercate, Italy. A self-taught artist, he studied technical drawing and mechanics. He spent most of his life in Italy, except for a period of study and work in Mediterranean Africa and 1967 in the USA. Bonalumi is best known for his monochrome canvases covered with shaped vinyl.While visiting the studio of the painter Enrico Baj, he met Piero Manzoni and Enrico Castellani, with whom he exhibited in Rome, Lausanne and Milan in 1958. Their questioning of art and of their current times led them to rethink about their painting as a form of object painting: pittura oggetto, a concept that immediately appealed to Bonalumi. A year later, Bonalumi and Castellani founded the magazine Azimuth and began to visit Lucio Fontana's studio. Inspired by Lucio Fontana, Bonalumi studied the concept of space and made his first Estroflessioni, which consisted of stretching and deforming canvases through structures and frames built behind them, thus creating the illusion of an invisible force pushing from below. In the 1960s, the artist introduced new materials into these constructed paintings, such as aluminium, and expanded the scale of his work, eventually creating installations.Bonalumi's work has been shown in numerous major solo and group exhibitions, including the Venice and São Paulo Biennales, and is included in the collections of several museums, including the Galleria Civica d'Arte Moderna e Contemporanea in Turin, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, the Museu Coleçao Berardo in Lisbon, the Peggy Guggenheim Collection in Venice, and the Walker Art Center in Minneapolis. Retrospectives of the artist's work were held at the Mathildenhöhe Institute in Darmstadt, Germany, in 2003, the Museum of Modern Art in Moscow in 2011 and the Palazzo Reale in Milan in 2018.The American public first discovered Bianco and Bonalumi's work at his solo exhibition at Galleria Bonino in New York in 1967. This 1967 work is extremely important due to the extraordinary composition, one of the most sought after by collectors, and which rarely surfaces on the market. A great artist during his lifetime, Agostino Bonalumi dazzles us again with his semi-circular extroflexions on 3 angles, playing with a smaller sharp estroflessione in the upper left corner, defying limits imposed by the canvas. His skill and unique vision of space lead us to contemplation and introspection. Light, airy, powerful, this pure pittura-oggetto here on show is the perfect example of the artist's ability to play with the three dimensions that engulf the viewer. Here, this architect of the canvas stages the lighting as if it were a sensory reflector; the volumes of the space, giving it a physical and tactile dimension, forcefully capture the eye of the spectator.... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 211
GOLD AND GARNET-SET ARCHAEOLOGICAL REVIVAL BANGLE, CIRCA 1860Set with a series of garnet cabochons, issuing a fringe of garnet beads terminating with amphorae drops, between swags of cable-link chain and ropetwist borders, inner diameter 5.5cm Footnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.During the 1850s and 1860s, British jewellers began producing jewels in the Archaeological Revivalist style, in which the amphora motif is widely seen. Transported from the workshops of Castellani and Giuliano by the English-speaking communities of Florence and Rome, the resulting fashion for Archaeological Revival jewels in Britain was keenly adopted by notable jewellers, such as John Brogden and Robert Phillips, while the antique references appealed to the artistic and intellectual circles in which their clients moved (see Gere, C. and Rudoe, J., 'Jewellery in the Age of Queen Victoria', London, 2010, p.426). The use of garnet cabochons or 'carbuncles' issuing drops via swags of cable-link chain can be seen in a tassel brooch from circa 1850-60 with some Archaeological Rivivalist elements, which is held by the Museum of London (cf. p.117, ill.fig.72). Both jewels illustrate the mid-19th century taste in Britain for fine carbuncles with their rich and fiery, adamantine lustre.For further information on this lot please visit Bonhams.com
Lot 222
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 309
A 19TH CENTURY ITALIAN GRAND TOUR MICRO MOSAIC AND GOLD SCARF CLIP IN THE MANNER OF CASTELLANI of hinged oval form with mosaic panel depicting a swan amongst reeds, the reverse inscribed 'ROMA', in velvet and silk lined case, total weight 5.95g29mm wideIn very nice condition, with no losses and no signs of restoration. The top section of the hinge has a small section missing which wraps around the pin.
Loading...-
393 item(s)/page