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Click here to subscribeMetalldose mit Porzellanbild 1. Hälfte 19. Jahrhundert Messing. Im Steckdeckel eine hochrechteckige Bildplatte mit sehr feiner und polychromer Portraitdarstellung des Künstlers Michelangelo nach einer Vorlage von Marcello Venusti aus dem Jahre 1535 (heute in der Londener National Gallery). Unsigniert und ungemarkt. 16 x 10 cm.
Michelangelo.- Piroli (Tommaso) [Prophets and Sibyls of the Sistine Chapel in the Vatican, after Michelangelo], 14 etchings printed in black ink, on thick wove paper, some sheets watermarked with dates '?1821', each platemark approx. 375 x 270 mm (14 3/4 x 10 5/8 in), sheets 560 x 410 mm (22 x 16 1/4 in), scattered foxing throughout, minor surface dirt, collector's label to inside upper cover 'de la Bibliotheque du Comté Nicolas d' Eszterhazy', contemporary limp marbled boards, blue morocco label with gilt title to upper cover 'Piroli/ Roma/ Propheti et Sibille/ di/ Michelangelo', folio, [circa 1800-1825].
BAVARIA. A PICKELHAUBE OF 1915-16, AN EARTHENWARE BOTTLE BEARING THE BAVARIAN ARMS AND A PIETÀ A Pickelhaube of the 1915-16 design bearing the armos of Bavaria;A stoneware bottle bearing the polychrome arms of Bavaria, signed M.K.M.;An alabaster Madonna della Pietà signed A. Santini (for the sculptor Amilcare Santini) after Michelangelo Buonarroti's sculpture now housed in Saint Peter's Basilica, Vatican City. (3)
Large oil on canvas painting after Raphael (Italian, 1483-1520). Reproduction painting depicting perhaps his most famous artwork, the fresco "The School of Athens" (1509-1511). With a metal plaque identifying the artwork. The number 4 is painted along the lower left corner. The original fresco is located in the Apostolic Palace in Vatican City. It is part of a series of rooms now known as the Stanze di Raffaello. The painting depicts noted Greek philosophers and mathematicians including Plato, Aristotle, Pythagoras, Archimedes, and Heraclitus. The Renaissance artists Leonardo da Vinci and Michelangelo are also present in the painting and are depicted as Plato and Heraclitus respectively.Provenance: Joseph Burnett, Southborough, Massachusetts; Donated from previous to San Francisco State University, 1930, displayed in their library until the 1970s.Sight; height: 65 1/2 in x width: 45 1/2 in. Framed; height: 56 in x width: 76 1/2 in.Condition: Dust collected to the surface. Craquelure throughout, particularly to the lower center, there is a spiral crack visible. The original canvas appears to be affixed to another piece of canvas; along the margins, the underlying canvas is visible. The underlying canvas is heavily toned, which is also visible from the verso. Along the margins, there are white unidentified accretions collected. Along the margins, particularly along the left margin, there are wear and paint losses, possibly against the previous frame. Throughout the recto, there are three minute white accretions adhered to the surface. To the upper right quadrant, there is light vertical and horizontal line marks, which are not visible at arm's length; please see the listing image. From the verso, the canvas is heavily toned and has soiling. Heavy wear to the frame as shown in the listing image.
Sechs Positionen der 60er Jahre - - Gerz, Jochen. Attenzione L'Arte Corrompe. 6 "Miniposter". Paris, Agentzia, 1968. 8 x 13,2 cm. Verso gummierte Blätter in Block mit Klebeheftung auf Pappe.Agentzia 8. - Petzinger III, 731 (hier 50 Blatt angegeben). - Die seltenen Aufkleber mit gummierter Rückseite ("Spuckis" oder "Schleckis") wurden in Gerz gleichnamiger ersten Performance in Florenz 1968 verwendet, vgl. Petzinger I, 1: "Aufkleber mit dem Text Attenzione L'Arte Corrompe werden auf das Portal des Domes von Florenz, die Türen des Baptisteriums und den Sockel des David von Michelangelo geklebt. Gleiche Aufkleber in deutscher, englischer und französischer Sprache werden später andernorts verwendet..." - Guter Zustand. - Provenienz: Archiv Klaus Groh.
Armbanduhr: große astronomische Herrenuhr, Ulysse Nardin "Michelangelo Jumbo" Ref. 161-42, Etui und Papiere: Ca. 30 × 43mm, 18K Gold, Saphirboden, Seriennummer 1621, Automatikwerk, Vollkalender mit Mondphase, weißes Zifferblatt, originales Straußenleder-Armband mit Dornschließe, Originalpapiere von 1990, originale Ulysse Nardin Serviceetui und Bedienungsanleitung, vom Erstbesitzer, Service dringend nötig (Aufzug, Automatik), da die Uhr seit Jahren nicht gelaufen ist. Lederband muss erneuert werden.
Italien - Königreich beider Sizilien : Degen aus dem Besitz des Regenten des Königreichs beider Sizilien und Justizministers Michelangelo Cianciulli (1734-1819).Das feuervergoldete Gefäß im typischen Empire - Dekor mit weiblichen Hermen, Sphingen, Fabelwesen, Lorbeerzweigen und Arabesken in feinster Qualität- Die dreikantige Klinge im oberen Drittel gebläut und vergoldet. Auf der rückseitigen Fehlschärfe Herstellerzeichen "W". Mit originaler schwarzer Lederscheide mit fein ziselierten feuervergoldeten Beschlägen. An Zwei Tragringen. Wunderschöner, eleganter und prächtiger Degen in feinster Qualität und Erhaltung. Länge: 96 cm. Dieser Degen stammt aus dem Besitz Michelangelo Cianciullis (1734-1819), Regent des Königreichs beider Sizilien in den Jahren 1806 und 1808. Präsident des Staatsrats (1808), Vizepräsident des Staatsrats (1809-1815), Minister der Gnade und der Justiz des Königreichs beider Sizilien (1807-1809). Italy - Kingdom of the Two Sicilies : Sword from the possession of the Regent of the Kingdom of the Two Sicilies and Minister of Justice Michelangelo Cianciulli (1734-1819). The fire-gilt hilt in typical Empire decoration with female herms, sphinxes, mythical creatures, laurel branches and arabesques of the finest quality. The three-edged blade blued and gilded in the upper third. The maker's mark "W" on the back of the ricasso. With original black leather scabbard with finely chiselled fire-gilt mountings. On two suspension rings. Beautiful, elegant and magnificent epee of the finest quality and condition. Length: 96 cm. This sword comes from the possession of Michelangelo Cianciulli (1734-1819), Regent of the Kingdom of the Two Sicilies in 1806 and 1808, President of the Council of State (1808), Vice-President of the Council of State (1809-1815), Minister of Grace and Justice of the Kingdom of the Two Sicilies (1807-1809).
‡ AFTER MICHELANGELO (1475-1564), A VAL D'OSNE CAST IRON FIGURE OF GIULIANO DE' MEDICI FRENCH, LATE 19TH CENTURYPortrayed in armour and seated, his head turned to sinister, the rectangular section base stamped for the 'Val d'Osne' Foundry 92cm high, 35cm wide ‡ UK import VAT at the reduced rate (currently 5%) Michelangelo created the tomb of Giuliano de' Medici for the Medici Chapel of San Lorenzo in Florence between 1520 and 1534. It is widely held to be one of Michelangelo's greatest achievements.The pose of the central figure on the tomb is depicted with arms resting at his sides and legs comfortably apart The open composition suggest a contented Duke, generous in both mind and spirit and at ease with himself. Light plays freely on his serene face, yet the figure is lacking in energy and seems to wilt under the burden of the Roman armour. Michelangelo did not intend for this sculpture, nor that of Lorenzo, to be a recognizable portrait of the Duke, but instead an ideological tribute through its enhanced beauty and dignity.Val D'Osne 109 Julien Pl. 575Condition Report: Cleaned to areas of the surface and with some re-patination. This has been drilled to the rear (possibly for electricity previously), this has now been patched in, also with a small panel inset to left footCondition Report Disclaimer
Selection of Silver Medallic First Day Covers, and other proof sets; including: Great Britons medallic first day cover, The Railway Sequicentennial medallic first day cover, The Turner Bicentenary medallic first day cover, the Michelangelo 500th anniversary medallic first day cover, cupro-nickel Platinum Wedding anniversary first day cover collection; also including the Partners in Space commemorative issue, United Nations 1975 peace medal, the day of the Concorde commemorative issue; all in original cases/envelopes of issue with certificates of authenticity, all FDC
A small amount of coins and medallions, 1975 500th Anniversary of Michelangelo Buonarroti Silver Medallion on card in folding wallet, Michelangelo Silver Medallion with edge named Rachel, Singapore 10th Anniversary 10 Dollar in wooden case, Silver Maria Thersea in plastic case and five UK Silver Coins, 1890 crown, 1890 Double Florin, 1878 Half Crown, 1923 and 1944 Half Crowns
MICHAEL WILKINSON (B.1954) - 'RHAPSODY' (1995) Acrylic sculpture Signed, dated and numbered 74/500 to base, together with a framed print of the original sketch design for the work 68cm high Provenance: Galerie Michelangelo, Caesar's Palace Hotel, Las Vegas, where acquired by the present owner, sold with information card Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Drawings by Michelangelo, Raphael and Leonardo and their contemporaries The Queen's Gallery, Buckingham Palace 197273 First Edition Softback Book with 75 pages printed by Lund Humphries London good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
A FRENCH BLACK SLATE AND GILT METAL MOUNTED MANTEL CLOCKCIRCA 1860The eight-day bell striking movement stamped with a Vicenti Et Cie Medaille D'argent 1855 roundel, the dial with gilt Roman numerals inscribed Martin & Co, Paris & Cheltenham, the case surmounted by a model of Lorenzo de Medici after Michelangelo, with presentation plaque dated August 186567cm highCondition Report: The figure in thought has been identified as Lorenzo de MediciThe metal areas with dirt and discolouration, dust to the recesses, uneven patina, the slate with numerous chips and losses, knocks and bashes, various signs of old repairs and restorations with filler, some of these repairs with knocks and losses also. The adhesive attaching the top of the case and the figure has failed and the elements can be removed and are not secured to eachotherOverall the case will require some professional attention prior to use in a domestic settingThere is a winding key and the movement appears to be ticking at time of report, Dreweatts make no comments or guarantees as to the accuracy of longevity of the movement - we recommend this is overhauled by a qualified clock restorer prior to use in a domestic settingPlease see additional images for visual reference to conditionCondition Report Disclaimer
Collection of 80s onwards figures & toys to include 2 x Hasbro Wrestling (The Ultimate Warrior & Brutus Beefcake), 1 x Playmates Rock n Roll Michelangelo figure, 2 x Mattel Masters Of The Universe figures (Leech & Mantenna), 9 x AmToy Madballs, 3 x Russ Trolls along with 5 x boxed board games (2 boxes)
Collection of 80s onwards play worn figures to include 7 x Playmates Teenage Mutant Ninja Turtle figures (Donatello, Raphael, Michelangelo, Splinter with sword cane, Turtlecycle, etc) 8 x Mattel Masters Of The Universe figures (Roboto, Spikor, Kobra Khan, etc) & 1 x Hasbro Takara G1 Transformers Landfill figure
Ruggieri (Francesco). Scelta di Architetture Antiche e Moderne della Citta di Firenze, Opera gia date in luce, misurata, disegnata, ed intagliata dal celebre Ferdinando Ruggiero, Architetto Fiorentino, Edizione Seconda, pubblicata, ed ampliata in quattro volumi da Giuseppe Bouchard, 4 volumes bound in two, Florence, Appresso l'Editore, 1755, four additional engraved titles, four printed titles in red and black, with engraved vignette to each, large folding engraved map of Florence, three unnumbered engraved portraits of Nelli, Michelangelo and Rossi, and 279 fine copper engraved plates, including many double-page, engraved head-pieces, etc., engraved bookplate of Joseph Augustin Brentano to front pastedown of each volume, and later printed bookplate of Leo S. Olschki, Firenze to upper outer corner of front pastedown of first volume, short closed tear to lower margin of engraved title to first volume, fine contemporary marbled full calf, gilt-decorated spines, rubbed and joints partly cracked at head and foot, with minor wear to extremities, large folio (49 x 37 cm)QTY: (2)NOTE:Provenance: (1) Joseph Augustin Brentano (1753-1821), Dutch merchant and art collector of Italian descent, who traded with both the Dutch East India Company and Dutch West India Company. His large art collection included paintings by Rembrandt, Rubens and Hals, as well as Italian painters including Titian, Raphael and Annibale Carracci. He founded an old people's home (Brentano's Steun des Ouderdoms), funded by the posthumous sale of his collection of 400 paintings, as well as books and other rarities, in 1824. (2) Leo Olschki (1861-1940), bookseller and publisher, who founded the Leo S. Olschki publishing house in Verona (later Venice and Florence) in 1886.Millard Architectural Collection (Italian and Spanish Books) 118. Berlin Katalog 2690. Cicognara 639.A fine copy, lavishly printed on thick paper, of this monumental work on the architecture of Florence. The second edition was published by the Frenchman Joseph Bouchard, using the original copper plates from the first edition of 1722-28. This edition is the first to combine three separately published works by Ruggieri: the three volumes of Studio d'architettura civile sopra gli ornamenti di porte, e finestre... (1722-1778), V descrizione e studi della insigne fabbrica di S. Maria del Fiore... (1733), and La Libreria Mediceo-Laurenzinia Architecttura di Michelagnolo Buonarroti... (1739).Ruggieri's map of Florence included in this work, was the first original plan of the city since Buonsignori's Plan of 1584.Born in 1687, Ruggieri studied under Giovanni Battista Forggini in Florence and became a member of the Florentine Accademia del Disegno in 1718. The most distinguished architect of Florence of his day Ruggieri, best known for his facade of the Church of San Firenze.
De Tolnay (Charles). Michelangelo, 5 volumes, 2nd edition 2nd printing, Princeton: University Press, 1969, numerous monochrome illustrations, some minor marginal spotting, original uniform cloth in dust jackets, covers lightly rubbed to head & foot, large 8vo, together with:Bora (Giulio et al), The Legacy of Leonardo, painters in Lombardy 1490-1530, 1st edition, Milan: Skira, 1998, numerous colour & monochrome illustrations, original cloth in dust jacket, some very minor rubbing to the head & foot of the covers, large 4to, plusPope-Hennessy (John), Donatello, Sculptor, 1st edition, New York; Abbeville Press, 1993, numerous colour & monochrome illustrations, original cloth in dust jacket, folio, andSalmi (Mario, introduction), The Complete Works of Raphael, New York: Harrison House, 1969, numerous colour & monochrome illustrations, minor rubbing to the head & foot of the covers, folio, plus other modern Michelangelo, Leonardo, Donatello & Raphael art reference, mostly original cloth in dust jackets, G/VG, 8vo/folioQTY: (3 shelves)
Fencing.- Docciolini (Marco) Trattato in materia di scherma...Nel quale si contiene il modo, e regola d'adoperar la spada così sola, come accompagnata, first edition, woodcut arms of dedicatee Giovanni Medici to title, woodcut diagram and initials, foxed, early printed matter used in binding, contemporary limp vellum, little marked and stained, small 4to, Florence, Michelangelo Sermartelli, 1601.⁂ A rare copy of this treatise by the Florentine fencing master Docciolini. The last copy we can trace at auction was in 1977. Literature: Thimm p.80; Cockle 253.
Antonietta Brandeis, 1849 Miscocon, Galizien – 1910 VenedigSEGELBOOTE IN DER LAGUNE VON VENEDIGÖl auf Leinwand.30 x 40 cm.Links unten signiert „A Brandeis“.In dekorativem Rahmen.Blick über den ruhig fließenden Canal Grande, in dem sich nicht nur die Segelboote rechtsseitig widerspiegeln, sondern auch die zahlreichen berühmten Gebäude der Stadt mit Campanile. Malerei in überwiegend weicher Farbgebung, die Darstellung unter hohem, sommerlich hellblauem Himmel mit weißen Wolkenformationen. Minimale Fleckchen, vereinzelt kleine Retuschen.Anmerkung:Antonietta Brandeis studierte in Prag und ab 1867 als erste Frau an der Akademie in Venedig bei Michelangelo Grigoletti (1801-1870). Sie blieb in Italien wohnen und malte überwiegend Veduten verschiedener italienischer Städte. (1351733) (18))
Ernst Fuchs, 1930 Wien – 2015 ebendaDer Künstler gilt als ein Mitbegründer der Wiener Schule des Phantastischen RealismusMONUMENTALPLASTIK: MOSES-BRUNNENBronze, gegossen, mittelbraun patiniert.Höhe: 185 cm.Gießerei: Kunstgießerei Strassacker, Wien. Edition 6/6.Anfang der 1970er-Jahre erwirbt Ernst Fuchs eine zum Abbruch bestimmte Villa im Wiener Stadtteil Penzing, restauriert sie und passt sie mit behutsamen kleinen Eingriffen seinem eigenen künstlerischen Stil an. Bereits als Kind soll er seiner Mutter versprochen haben, das Gebäude einmal zu erwerben. Hier wohnt er mit seiner Familie, stellt seine Objekte aus. Wohnhaus und Garten werden zu einem Künstlerhaus europäischen Ranges. Die Brunnenanlage ist zentraler Punkt des Architekturensembles; sie entwickelte sich zwischen den Jahren 1986 und 2000 und stellt ein Nymphenheiligtum über einer Quelle dar, die Anklänge zu antiken Vorbildern mit ihrer Säulenarchitektur bietet und von Freitreppen umrandete Kaskaden zeigt. Die Moses-Plastik wurde 1965 bis 1970 konzipiert und beinhaltet eine Wiederaufnahme der Moses-Figur des Michelangelo in Rom, ist also ein Rückgriff auf die Renaissance. Die Hörner, die wir auch bei unserer Bronze sehen, ist ein Symbol für die Fähigkeit zur prophetischen Schau, mit der Gott Moses nach der Rückkehr vom Berg Sinai bedacht hatte. Moses schlug mit dem Stab gegen einen Felsen, wo ein Quell fortan Wasser spendete, als sein Volk in der Wüste zu verdursten drohte, auch teilte Gott für Moses das Rote Meer, sodass dem Volk Israel die Flucht ermöglichst wurde, sodass Moses auch als Schützer vor der ungebändigten Macht des Wassers gesehen werden kann. Wie eine Schutzmantelmadonna umfängt Moses Mantel die Menschen, die ihm hier in der Plastik in den Mantelkanneluren eingestellt sind. Provenienz:Atelier Ernst Fuchs.Dort vom Vorbesitzer erworben.Anmerkung 1:Das hier angebotene Objekt wurde in der Traditions-Kunstgießerei Strassacker in Wien gegossen, der Ernst Fuchs gern seine Skulpturen-Entwürfe zur Umsetzung in Bronzeguss anvertraute.Anmerkung 2:Vier weitere Exemplare sind zu findem am original Standort, dem Nymphäum Omega in der Otto-Wagner-Villa (Ernst-Fuchs-Museum Wien-Penzing), auf dem Domvorplatz in Wiener Neustadt, im Stadtpark von Bärnbach in der Steiermark sowie in einer Privatsammlung.Ausstellungen:2017, Hoffnungs(t)raum Phantastisch. Eine Reise durch die phantastische Kunst, Kunsthalle Leoben.2017-2022, Blauer Salon des Ernst-Fuchs-Museums, Wien. (1352161) (13)Ernst Fuchs,1930 Vienna - 2015 Ibid.The artist is considered a co-founder of the Vienna School of Fantastic Realism.MONUMENTAL SCULPTURE; MOSES FOUNTAINHeight: 185 cm.Foundry: Kunstgießerei Strassacker, Vienna. Ltd. edition no. 6/6.Bronze; cast with mid-brown patina. At the beginning of the 1970s, Ernst Fuchs acquired a villa destined for demolition in the Penzing district of Vienna and subsequently restored and adapted it to his own artistic style with small, cautious changes. As a child he is said to have promised his mother that he would purchase the building one day. He lives here with his family, exhibits his objects, and the house and garden became an artist’s house of European rank. The fountain complex is the central point of the architectural ensemble and was developed between 1986 and 2000 and represents a sanctuary for nymphs above a spring, which is reminiscent of ancient models with its columnar architecture and shows cascades surrounded by open staircases. The Moses sculpture was designed between 1965 and 1970 and includes a re-enactment of Michelangelo’s Moses sculpture in Rome, so it is a throwback to the Renaissance. The horns, which also adorn the present bronze sculpture, are a symbol of the ability for prophetic vision that God bestowed on Moses after his return from Mount Sinai. Moses struck his staff against a rock where a spring gave water from then on, when his people threatened to die of thirst in the desert. God also divided the Red Sea for Moses so that the people of Israel could flee, hence Moses can also be interpreted as a protector from the untamed power of water. Like the cloak of the Virgin of Mercy, Moses’ cloak encloses the people who are placed in its folds.Provenance:Atelier Ernst Fuchs.Acquired there from the previous owner. Notes 1:The object offered for sale here was cast in the traditional Strassacker art foundry in Vienna that Ernst Fuchs readily entrusted with the bronze casting of his sculptural designs.Notes 2:Four more copies can be found at their original location, the Nymphaeum Omega in the Otto-Wagner-Villa (Ernst-Fuchs-Museum Vienna-Penzing); on the cathedral square in Wiener Neustadt, in the city park of Bärnbach in Styria and in a private collection.Exhibitions:2017, Hoffnungs(t)raum Phantastisch. Eine Reise durch die phantastische Kunst, Kunsthalle Leoben.2017 - 2022, Blauer Salon des Ernst-Fuchs-Museums, Vienna.
Jan van Scorel, 1495 Schoorl – 1562 Utrecht, Umkreis desDIE HEILIGE FAMILIEÖl auf Holz. Parkettiert.76,4 x 69 cm.In einem nach innen offenen Rundbogengang eines Renaissancegebäudes die Heilige Familie mit der sitzenden Maria in rotem Gewand und blau-grünem Tuch über ihren Beinen, auf dem der schlanke nackte Jesusknabe aufrecht sitzt mit blondem Haar. In seiner rechten Hand hält er eine mit einem Kreuz bekrönte Sphärenkugel, als Symbol für die Herrschaft Christi über die Welt. Rechts neben ihnen Josef, über einen Sockel gelehnt und dabei stützt er mit seiner rechten Hand seinen Kopf ab. Jesus und er schauen dabei aus dem Bild heraus. Links am Boden zudem ein Korb mit Früchten und dahinter auf Stufen einige leuchtend rote Kirschen, symbolisch für die Reinheit Mariens, aber auch für die Liebe stehend. Das Licht fällt von rechts auf die Gesichter der Familie und wirft Schatten auf den Gang im Hintergrund. Das Gebäude und die Skulpturen in den Nischen verweisen auf Rom, wo Scorel zwei Jahre lang gelebt hatte.Anmerkung:Jan van Scorel war ein niederländischer Maler, der nach seiner Rückkehr aus Rom die italienische Kunst der Hochrenaissance in Holland einführte. Er war Maler des Vatikans von 1522 bis 1523, wo er von Raffael und Michelangelo beeinflusst wurde. (1350665) (1) (18)Jan van Scorel, 1495 Schoorl – 1562 Utrecht, circle ofTHE HOLY FAMILYOil on panel. Parquetted.76.4 x 69 cm.
Italienischer Meister des 17. JahrhundertsPAAR LANDSCHAFTENÖl auf Leinwand. Doubliert.150 x 190 cmIn vergoldeten Rahmen mit Eckzierrat.Beigegeben in Kopie ein Gutachten von Patrizia Caretto, Turin, 17. Juli 2007, das Werk Willem de Heusch zuschreibend. Offensichtlich kompositorisch als Gegenstücke angelegt bietet dieses Gemäldepaar eine beeindruckende realitätsnahe Ansicht einer Landschaft, die von der Staffelung mehrerer Motive lebt, die von leicht erhobenem Standpunkt des Betrachters erlebbar wird. Die Macht und Größe der Natur wird durch Größenvergleiche, die sich durch die Staffierung mit italienisierten Architekturen und Figuren – die mitunter in ein Scharmützel verwickelt sind – ergeben, unterstrichen. Die Figurendarstellungen an Michelangelo Cerquozzi (1602-1660) und auch Jan Miel (1599 - 1663) erinnernd. Auch de Heusch hielt sich zwischen 1640 und 1649 in Italien auf und saugte dort das italienische Licht und die Landschaften rund um Rom auf, die er – wie auch sein Lehrer Jan Both – gern in seinen noch in Utrecht entstandenen Landschaftskompositionen verwendete.Literatur:Vgl. Walther Bernt, Die niederländischen Maler und Zeichner des 17. Jahrhunderts, München 1979, Bd. 2.Vgl. Luigi Salerno, Pittori di Paesaggio del ´600 a Roma, Rom 1977, Bd. 2.Vgl. Luigi Caretto, Guida al mercato dei pittori fiamminghi e olandesi 1600 - 1700, Turin 1995. (1350863) (4) (13)Italian School of the 17th centuryPAIR OF LANDSCAPESOil on canvas. Relined.150 x 190 cmAccompanied by an expert’s report by Patrizia Caretto, Turin, 17 July 2007, attributing the work to Willem de Heusch, in copy.
Precious Kids Betty Boop in nurse uniform collectible 10" fashion doll, within Good sealed packaging. Hasbro Star Wars modern large scale 2 in 1 Anakin / Darth Vader figure, Excellent to Near Mint, complete, within Fair Plus (split in plastic window) opened packaging. Giochi Preziosi/Playmates Ninja Turtles Turtle Assault Van, includes Leo figure, Excellent to Near Mint, Un-used, complete, within Good to Good Plus opened packaging. Giochi Preziosi/Playmates Ninja Turtles figures x 3 includes Raphael, Donatello and Michelangelo, all Mint, within Excellent sealed packaging. (6)
AVARD TENNYSON FAIRBANKS (1897-1987) ‘GEORGE WASHINGTON’ A Monumental Bronze Bust of America’s First President George Washington, signed distinctly and dated.Provenance: A gift to The Richmond American University London from the George Washington University, Washington DC USA. In commemoration of the University’s 175th Anniversary and the Honorary Doctor of Laws Degree, awarded by Richmond College to GWU President Stephen Joel Trachtenberg in 1995. Acquired from Richmond American University London by the present owner. The original bronze plaque is present, bearing the full provenance.Measuring 118cm x 84cm x 84cm. This bust was featured in the National Art Initiative organised by Art UK in 2021. Photo credit: Juliet Ferguson for Art UK, julietcferguson@gmail.com https://www.julietferguson.com‘George Washington’ (1975) by Avard Fairbanks was a series of outdoor sculptures cast in bronze, depicting America’s first President and greatest founding father. The monumental bronze bust was created to commemorate the 1976 Bicentennial of the Declaration of Independence. The portrait was modelled in clay, cast in plaster, and then cast in bronze at the Adonis Bronze Foundry. According to Eugene F. Fairbanks, son of Avard Fairbanks, in his book ‘Creating a Portrait in Sculpture’ (2013), three casts in bronze were made. One was given to Salt Lake City Airport, another to Son Dr David Fairbanks, a Professor at George Washington Medical School DC. The third was given to Eugene F. Fairbanks for placement in The Washington State Capitol Building.Approximately 25 additional casts were erected in prominent locations throughout the USA. Locations include:The George Washington University, Washington, D.C. United States of America.The Mount Vernon Visitors Centre, Virginia, United States of America.The Washington State Capitol, Washington, D.C. United States of AmericaThere is thought to be only one other known example in the United Kingdom at Sulgrave Manor, Near Banbury, Oxfordshire, United Kingdom.Born in Utah in 1897, Avard Tennyson Fairbanks was the youngest child of artist John Fairbanks. He quickly displayed an aptitude for sculpting and was hailed ‘A Young Michelangelo’ by The New York Herald. In 1910 at the age of just fourteen, Avard Fairbanks was offered a scholarship to study at the Art Students League at New York under renowned American sculptor James Earle Fraser.Fairbank’s early work from this period was displayed at the National Academy of Design. While saving up to study abroad, Fairbank’s attracted large crowds and recognition by sculpting a lion from butter at the Utah State Fair. Fairbanks went to Paris in 1913 to study at Ecole Nationale des Beaux Artes under decorated French sculptor Jean Antione Injalbert. He also studied at the Académie de la Grande Chaumière, the Académie Colarossi, and the École Moderne and became the youngest student to be admitted to the French Grand Salon.The outbreak of World War II forced Avard Fairbanks and his father to return to New York, where he finished his school education. After returning from Paris, some of Fairbanks’ clay models were displayed in The Panama-Pacific International Exposition and The Palace of Fine Arts. In 1915 he received his first major commission sculpting statues and a very elaborate frieze on the Laie Hawaii Temple for The Church of Jesus Christ of Latter-Day Saints. As World War I ended, Avard Fairbanks created monuments to the men who had fought and died in the war. The ‘Idaho Doughboy’ was cast and placed in two cities in Idaho and later a memorial to The 91st Division was erected in Fort Lewis, Washington.He also created the bronze-panelled doors for the US National Bank in Portland.Avard Fairbanks married and travelled to Italy, where he studied in Florence and in 1922 created The Pioneer Mother Memorial . This was cast in bronze and is now in Vancouver Washington. He then moved back to America, where he joined the faculty of the University of Michigan. Teaching and studying, he was awarded a Master of Arts degree in 1933 and a Doctor of Philosophy in Anatomy degree in 1936. He taught here until 1955, during which some of his greatest monuments were erected, including ‘Nebula’ and ‘Rain’ and ‘Tragedy at Winter Quarters’.Avard Fairbanks was notorious for his sculpture of prominent people in American history. Aside from George Washington, he sculpted other Presidents such as Abraham Lincoln and John F Kennedy. Avard Fairbanks created almost 100 public monuments as a professional sculptor, a career which spanned over 75 years. Three of his sculptures are in the United States Capitol, two of them in National Statuary Hall. There are seven other statues in Washington, DC. The state capitols in Washington, North Dakota, Utah and Wyoming also have his works. Avard Fairbanks continued sculpting until his death in 1987.This lot is subject to Artists Resale Rights, payable by the buyer. For more information, please see our terms and conditions.Condition report: The bust is in good condition, with no damage or losses. It is structurally sound and suitable for outdoors. The accompanying plaque is also in good condition. The concrete stand does not accompany the bust.
A selection of lapis lazuli jewellery comprised of a graduated bead necklace, 45cm long, a bead bracelet, a pair of oval stud earrings stamped '925' and two oval pendants.We are pleased to be offering this lot from the stock of family run firm Shipton and Co., who were based in Hastings White Rock area, and who were unfortunately forced to close their doors in 2014 after a section of the rock face above collapsed onto their shop, making the building unsafe. Famously used on the burial mask of Tutankhamun and by Michelangelo when painting the Sistine Chapel, lapis lazuli has been highly prized since ancient times. It's colour varies from a medium greyish blue to an intense royal blue, to deep indigo, with varying amounts of white and brassy gold from calcite and pyrite inclusions. Archaeologists have found lapis lazuli beads, jewellery and carvings dating back as early as 6,000 BC. It is though by many to have protective qualities, with different cultures across the world and throughout history believing it to have a strong force for good, holding it in the highest regard.CONDITION REPORTS & PAYMENT DETAILSIMPORTANT* Descriptions do not include condition reports. Please contact us to if you require further information or images.* Please consider shipping costs before bidding as this may affect your decision to bid* Please familiarise yourself with our payment methods. Our preferred method of payment is by bank transfer. We do not take cash or card payments.
"Saint Benedict Receiving Gifts from the Peasants" Italian school, 18th centuryOil on canvas227x132 cm Note:Note:The painting we are now offering for auction is based on a lost fresco by Guido Reni (1575-1642) for the Church of San Michele in Bosco in Bologna.When speaking of Guido Reni life in his work “Felsina Pittrice: vite de' pittori bolognesi”, the art historian Carlo Cesare Malvasia (1616–1693) describes this fresco with the following words:“In this painting Guido represented Saint Benedict at the top of a mountain, stepping out of a grotto with a certain affability that does non diminish his gravitas, receiving the various gifts brought to him by the rustic inhabitants of different genders, ages, and complexions, and diverse in proportion, attitudes, and costumes. A graceful young girl, girdled with the finest veils and carrying a basket of eggs, is in the style of Raphael; in the style of Correggio, an older girl, her companion, with a smiling face rests a hand upon her shoulder. Both look out toward the viewers with so much liveliness and spirit they seem to breathe. In the style of Titian there is a little sheperd playing a flute with hands of a living and tender flesh; another sheperd, of not inferior beauty, listens intently to his music. In the style of Annibale is a woman with a nursing baby at her breast, and another older child whom she prods with her right hand into offering a basket of apples on which he fixes greedy eyes. Passing over many other figures, I shall mention a full-length nude in the foreground who pulls forcefully at a donkey's reins, and who is so vigorously and furiously drawn that it would seem that Michelangelo himself had traced his contours, leaving to the school of Lombardy the task of covering his body with living flesh in a more tender manner”.Currently on that place, we find a copy of this representation made by the painter Giovanni Maria Viani (1636-1700).Giacomo Maria Giovannini (1667–1717), engraved it and we find examples in the most diverse private and public collections, such as the collection of the Philadelphia Museum of Art with inventory number 1985-52-22095, and that of Victoria and Albert Museum with inventory number DYCE.1528.
LUCIANO BOSIS A FINE, VIRTUALLY UNUSED MARTINELLI-ENGRAVED 12-BORE 'MICHELANGELO' SINGLE-TRIGGER OVER AND UNDER PINLESS SIDELOCK EJECTOR, serial no. 449, for 2007, 30in. nitro chopperlump barrels with solid tapered raised matt top-rib engraved '1' at the breech end, side ribs, 2 3/4in. chambers, bored approx. 1/4 and 1/2 choke, hold-open toplever carved '1' in relief, automatic safety, the action, pinless sidelocks and furniture profusely engraved with fine acanthus scrollwork interspersed with fine floral motifs and with ornate bordering, the top strap with a diamond star patterning, the triggerplate signed 'NAIDA MARTINELLI', the fore-end decorated en suite and finely inlet with the Bosis crest in gold, bright finish overall, 14 5/8in. highly-figured stock, weight 7lb. 12oz., in a universal case with a spare set of mainsprings and strikers. S2 - Sold as a Section 2 Firearm under the 1968 Firearms Act
After Michelangelo,a pair of grand tour bronze figures, one of Guiliano di Lorenzo de' Medici, the other Lorenzo di Piero de' Medici, after the Cappelle Medicee funerary monuments in the Sagrestia Nuova, Florence,16.5cm high (2)Condition ReportHeavy but with signs of adhesive to the base indicating possible later weight added. Natural wear to the extremities, resulting in lighter areas.
A RARE BRONZE LION BELL TERMINAL, EASTERN JAVANESE PERIOD, 12TH CENTURYA finely cast bronze figure of a lion, almost certainly the upper portion of an important ritual temple bell, and part of a rather small corpus of surviving Javanese bronzes depicting the powerful feline. The gazing eyes outlined below folds of skins, ears of spade-form, mane with three stylized rows of curls, the figure standing erect above a primitive lotus-form base, with claws unsheathed and ready to strike.Provenance: The Marcel Marnat Collection, Paris, France. A collector in Chicago, USA, acquired from the above. Marcel Marnat (b. 1933) is a French musicologist, journalist, and radio producer. He has written books about Maurice Ravel, Joseph Haydn, Igor Stravinsky, Antonio Vivaldi, and Giacomo Puccini, and published articles on Modest Mussorgsky, Michelangelo, D. H. Lawrence, Paul Klee, and Ludwig van Beethoven. His book on Giacomo Puccini was honored by the Academie des Beaux-Arts and received the prix Pelleas as well as a prize for a musical biography of the SACEM at the Deauville book festival. He was an assiduous visitor to Hôtel Drouot for a long time and has built an eclectic collection including Southeast Asian and Indian works of art.Condition: Very good condition, commensurate with age. Extensive wear, minor losses and nicks, shallow surface scratches, expected casting flaws, signs of weathering and erosion, and encrustations. Superb, naturally grown patina.Weight: 1,127 gDimensions: Height 16.5 cm (excl. stand) and 21.7 cm (incl. stand)Mounted on a modern stand. (2)Javanese bronze images of lions are rare, but thankfully several large stone guardians remain scattered across ancient temple sites, such as the pair at the eastern staircase in Borobudur. These ancient stone guardians give us important clues for stylistic dating comparisons. The rarity of bronze lions probably stems from the fact that images of lions in Java were likely imported from Sri Lanka when Gunadharma, the great 9th-century architect, designed Borobudur for King Samaratungga of the Sailendra Dynasty. The depiction of these lions follows a clear evolution from the early examples at the palace of King Ashurnasirpal II in Assyria to the pair carved two millennia later at Yapahuwa Castle in Sri Lanka.Expert's note: The bronze has an attractive, deep patina that is characteristic of early Javanese metal works exposed to the tropical climate of Indonesia for many centuries.Literature comparison: Compare a closely related demon-form top of a bell, 12.5 cm high, also dated to the Eastern Javanese period, ca. second half of the 12th to early 13th century, in the Metropolitan Museum of Art, accession numbers 1987.142.17. Compare a closely related demon-form top of a bell, 11.8 cm high, also dated to the Eastern Javanese period, 14th century, in the Metropolitan Museum of Art, accession number 1982.460.2. For an in-depth discussion and comparison of the iconography of guardian lions across Asia through the ages, see Masatoshi Iguchi, Java Essay: The History and Culture of a Southern Country, Leicester, 2015.Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 2 December 2002, lot 173Price: EUR 7,768 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A Javanese bronze temple bell, 13th/14th centuryExpert remark: This comparable confirms that the size of the present lot is within the appropriate range for a bell-handle element. Compare also the similarities in both the patina and the archaic pointed lotus petal-form base surrounding the figures.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 25 October 2007, lot 198Price: GBP 11,875 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A bronze lion terminal, probably India, 14th centuryExpert remark: A similar type of rampant lion-form bronze handle. By comparison, the Javanese example can be viewed as a stand-alone object, and not primarily as a fragment, and is much more desirable in that regard. Seeing similar objects from other regions also further solidifies the iconographic power that the lion held across ancient cultures as discussed by Masatoshi Iguchi.
A Slade, Hampton & Sons, collection of Birmingham silver enamelled miniature portrait panels in Renaissance and later styles, complete with original presentation box (each panel: 4cm x 3cm), an American Bicentenial First Day cover containing a sterling silver proof of the Official Bicentenary Day commemorative medal, combined with the Official United States Postal Service Bicentenial commemorative stamp, issued on the 4th July 1976, in original presentation pack, a Michelangelo First Day cover containing a sterling silver commemorative coin and three commemorative stamps issued by the Italian Post Office and a limited edition sterling silver proof of the medal in Commemoration of the Apollo-Soyuz space mission with commemorative stamps (a lot)
GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948).Untitled, 1984.Gouache on paper.Slight roughness on the paper.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 49 x 33 cm; 71 x 53 cm (frame).The exceptional nature of this work lies both in its subject matter and its aesthetics. Pictorial portraits are not frequent in the work of Pérez Villalta, who works in a broader way with the insertion of complete figures in a space. For this reason, bust portraits, as in this case, are not common in his painting. Furthermore, the technique in this work is much freer. He still maintains the monumental features which are based on the influence of the classics, but the use and play of colour predominate over the drawing. In the solo exhibition dedicated to the artist at the Sala Alcalá 31 (2021), the way in which the artist portrayed the figures was explored, describing him in this way: "At times, in their anatomies there is the memory of Michelangelo and in their faces there is the eternal gaze of a Byzantine Pantocrator, the distant attitude of a surrealist type, or the temperance of a little Frenchman de Chardin".Pérez Villalta was one of the leading representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the Biblioteca Nacional, the Estampa fair, the Banco Zaragozano and the Museo de Bellas Artes in Bilbao. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.
Epifanio d' Alfiano (fl. 1590s)The contest of the Muses and the PieridesEngraving, 1592, a well inked impression of the first state (of two) with the coat of arms and before the added address of Succhielli, on 16th century Italian laid paper with indiscernible oval watermark, sheet 232 x 337 mm (9 1/4 x 13 1/4 in), trimmed to or just within the platemark (unframed)Together with: A large collection of over 25 other old master prints, including: three Claude Lorraine etchings [Mannocci 17, 20, 23], 19th century impressions; an etching of a Rocky Landscape with Volcano by Gaspard Dughet, with ink inscriptions verso of both Lenormand du Coudray (1712-1789) [L. 1704] and Colnaghi & Co.; Pietro Testa's 'The Symposium of Plato' [Cropper 114]; Cherubino Alberti's 'Prometheus and the Eagle', after Michelangelo, and prints by Ghisi, Ciamberlano, Farinati, Sadeler, Saenredam, Dietterlin, Hollar, Wierix, Della Bella, amongst others, 16th to 19th century (c.30)
A collection of bronze medallions, to include: a Napoleon I example, obverse with profile bust of Napoleon, reverse with double profile deity busts and inscribed ROME PARIS, 1809 to exergue, 40mm; a medallion commemorating the execution of Louis XVI, 21 January 1793, with conjoined profile busts of Louis XVI and Marie Antoinette, reverse with execution scene, 50mm; a single bust medallion of General Lafayette, 47mm; another commemorating the execution of Marie Antoinette, obverse with bust, reverse with execution scene, 47mm; an Italian commemorative medallion by Nicola Cerbara, obverse with profile bust of Michelangelo, dated in exergue 1828, reverse with Michelangelo's image of the Prophet Zacharias on the Sistine Chapel Ceiling, 56mm; a bronze Papal medallion, obverse with profile portrait of Pius XI, reverse with Papal arms, 65mm; an example with bust of Antonio Canova to obverse, reverse inscribed COLLEGIUM ARTIFICUM A DIVO LUCA IN FURNERE D.D. and dated 1822, 52mm; and six others (13)Provenance: The Property of John Kenworthy-Browne FSA
The International Society of Postmaster's Official Commemorative Issue, with 36 Sterling Silver medallion covers, within one album, together with a selection of other medallic covers, including Royal Wedding (Princess Anne), Turner Bicentary, The Railway Sesquicentennial, Historic Churchill, Great Britons, Michelangelo 500th Anniversary and more (parcel)
A Swiss silver-gilt and enamel ladys' keyless fob watch and other silver/ vertu first Swiss marks, white enamel dial with black Arabic numerals, green and gold guilloche enamel decorated case back with scrolling leaves together with a silver envelope stamp case, Birmingham 1927 by Gourdel Vales & Co., a bell pendant on chain, a cased silver thimble initialled C.S, a Genius of Michelangelo silver proof coin etc., (qty)variousCondition: Lady's fob watch does not wind and needs servicing small chip to enamel to front. Dings and dents to envelope and bell
Art, European and Persian, Printing and Wood-Engraving A collection of 13 volumes Sotheby & Co. Catalogue of the renowned collection of Western Manuscripts, the property of A. Chester Beatty. 2 volumes, 4to, plates, black half morocco gilt;Symonds, J.A. The Life of Michelangelo Buonarroti. London, 1893, 2 volumes, large 8vo, number 47 of 112 copies with photo-etchings printed on Japan paper as proofs before letters, contemporary half parchment, spines gilt, t.e.g.;Mardersteig, Giovanni. The Officina Bodoni, an account of the Work of a Hand-Press 1923-1977. Verona, 1980. 4to, original cloth, slipcase;Gibbings, Robert. The Wood Engravings. London: Dent, 1959, 4to, original cloth, dustwrapper;Raverat, Gwen. The Wood Engravings. London: Faber, 1959. 4to, original cloth; Grube, Ernst J. Islamic Paintings from the 11th to the 18th century in the collection of Hans P. Kraus. New York, 1972, folio, plates, original cloth;Colnaghi & Co., P. & D. Persian and Mughal Art. 1976. 4to, original cloth, dustwrapper;Ettinghausen, R. Persian Miniatures in the Bernard Berenson Collection. Milan: Ricordi, 1961, folio, original pictorial cloth; Robinson, B.W., editor. Islamic Painting and the Arts of the Book. The Keir Collection. London: Faber, 1976, 4to, original cloth, dustwrapper;Robinson, B.W. Persian Paintings in the India Office Library. 1976, 4to, original cloth, dustwrapper;Welch, Stuart C. Royal Persian Manuscripts. London, 1976, 4to, original wrappers;together with:Dante Alighieri. The Vision, translated by H.F. Cary. Florence, [c.1905], 4to, full calf gilt embossed with bronze medallion of Dante's bust on upper cover, spine gilt;Farrington, B. Science and Politics in the Ancient World. London, 1939, 8vo, original cloth
Spanish school, late 16th - early 17th century."Saint John. Based on an engraving by HENDRICK GOLTZIUS (Bracht, 1558 - Haarlem, 1617).Oil on canvas.Needs restoration.Size: 106 x 81,5 cm; 128 x 103,5 cm (frame).Saint John the Apostle has been represented here from the engraving of Hendrick Goltzius included in the series "Christ, the twelve apostles and Saint Paul" (also known as "The short Creed", because each print was accompanied by a verse of the Creed). The half-length figure emerges from a dark background. The figure has been sculpted with intense tenebrist lighting, and can be inscribed in the Mannerist tradition, which draws freely from Renaissance sources. As in Goltzius, the anatomical focus is on the expressiveness of the hands.Hendrick Goltzius was a Dutch draughtsman, engraver and painter. Considered the best Netherlandish engraver of Nordic Mannerism, he is renowned for his sophisticated technique and the "exuberance" of his compositions. Goltzius formed his style in the tastes of Mannerism, of which Haarlem was a stronghold until later. This was influenced by the painter and theorist Karel van Mander, who had moved to Haarlem from Vienna, bringing with him designs by Bartholomeus Spranger, the leading Mannerist painter outside Italy. In Rome Goltzius carefully studied the art of Michelangelo, Raphael Sanzio and lesser-known masters such as Polidoro da Caravaggio. Goltzius engraved six planetary Gods that Polidoro had painted in a palace in the Quirinal. His style evolved towards a more restrained classicism, presenting the figures in larger clothes and with more relaxed expressions. He was a meticulous yet productive printmaker. Among his early series is a series on Christ and the Apostles (1589), called The Creed. Around 1594 he created a series of six large plates on the life of the Virgin, for which he went back almost a century to imitate six different masters, including Dürer, Parmigianino, Titian and Lucas van Leyden. These engravings were so admired that they were nicknamed "Meisterstiche" (masterly engravings).
Spanish school, late 16th century - pps.s.XVII."Saint Philip". Based on an engraving by HENDRICK GOLTZIUS (Bracht, 1558 - Haarlem, 1617).Oil on canvas.Needs restoration.Size: 107 x 85 cm; 129,5 x 102 cm (frame).This painting, of tenebrist lights and mannerist workmanship, follows the model of Hendrick Goltzius in the gestural dramaturgy and the saint's features, as well as in the amplitude of the cape and its deep drapery. Specifically, Saint Philip the Apostle is depicted here based on Goltzius's engraving from the series "Christ, the Twelve Apostles and Saint Paul" (also known as "The Short Creed", because each print was accompanied by a verse from the Creed). The body has been chiselled by means of intense contrasts of light. Goltzius gave special prominence to the hands, furrowed with veins, as well as to the musculature, making tendons visible. A melting pot of influences converged in his painting: Michelangelo, Raphael? but also classical statuary, which the Dutch engraver had studied in depth in the Vatican collection.Hendrick Goltzius was a Dutch draughtsman, engraver and painter. Considered the best Netherlandish engraver of Nordic Mannerism, he is renowned for his sophisticated technique and the "exuberance" of his compositions. Goltzius formed his style in the tastes of Mannerism, of which Haarlem was a stronghold until later. This was influenced by the painter and theorist Karel van Mander, who had moved to Haarlem from Vienna, bringing with him designs by Bartholomeus Spranger, the leading Mannerist painter outside Italy. In Rome Goltzius carefully studied the art of Michelangelo, Raphael Sanzio and lesser-known masters such as Polidoro da Caravaggio. Goltzius engraved six planetary Gods that Polidoro had painted in a palace in the Quirinal. His style evolved towards a more restrained classicism, presenting the figures in larger clothes and with more relaxed expressions. He was a meticulous yet productive printmaker. Among his early series is a series on Christ and the Apostles (1589), called The Creed. Around 1594 he created a series of six large plates on the life of the Virgin, for which he went back almost a century to imitate six different masters, including Dürer, Parmigianino, Titian and Lucas van Leyden. These engravings were so admired that they were nicknamed "Meisterstiche" (masterly engravings).
THE GEMS OF MICHELANGELO SIXTY COIN SET BY JOHN PINCHES. The album comprising a full set of Frescoes from the Sistine Chapel Ceiling, The Last Judgment, Other Paintings and Drawings, Sculptures Based on Classical Themes, three coins from the Sculptures of Famous People, no coins from Sculptures of Christ and The Madonna. Total of 43 coins. In bound volume.
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