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Click here to subscribeFRAMED CHRISTIAN FAITH PRINTS, reproduction Michelangelo panels depicting same and similar items to include a needlework panel with military type emblem, the words 'Egypt, Jerusalem and Palestine' over and 'To My Dear Mother' under, 43 x 38cms overall and a marble slab shard depicting Madonna with the words 'Royal Marines' alongside their military emblem containing the word 'Gibraltar', 41.5 x 15.5cms max
MONTEGRAPPA SCIENCE AND NATURE FOUNTAIN PEN.Blue enamelled barrel and silver finish.Nib M in 18 Kts white gold.Limited edition of 1912.No box.Measures: 14,5 cm length; 17,3 mm diameter.Montegrappa Science and Nature fountain pen. This pen, the first of Montegrappa's trilogy dedicated to the human species, celebrates the link between science and nature. The body depicts Adam in the style of Michelangelo, and the underlying design evokes a printed circuit board. Sterling silver mountings; blue marbled resin cap.
ART INTEREST. 'Raffaello: The Paintings, The Drawings,' unclipped dj, Grange Books, Itay, 1998; 'Michelangelo: The Complete Sculpture, Painting, Architecture,' by William E. Wallace, Beaux Arts Edition, 1998; 'David Hockney by David Hockney.' Unclipped dj, Thames and Hudson, 1976; with five other books including 'Robert Lenkiewicz,' signed by the author Keith Nichols. (7)
Ramsden (E. H., editor). The Letters of Michelangelo, 2 volumes, 1st edition, Stanford: University Press, 1963, numerous monochrome illustrations, original uniform cloth in slipcase, volume 2 spine slightly marked, large 8vo, together with:White (John), The Birth and Rebirth of Pictorial Space, 2nd edition, London: Faber and Faber, 1967, numerous monochrome illustrations, original cloth in dust jacket, spine slightly faded, 8vo, plusPope-Hennessy (John), The Portrait In The Renaissance, London: Phaidon, 1966, numerous monochrome illustrations, some minor toning, original cloth in dust jacket, large 4to, and other art reference & related, mostly original cloth, some in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (6 shelves & a carton)
A. Corsi Lalli,Italian 1849-1937-Three portrait miniatures - Portraits of Leonardo da Vinci, Titian, and Michelangelo;miniatures, ovals, the third signed and dated 'A Corsi Lalli 1883' (right), each 6 x 4.5 cm., three (3).Ivory registration submission reference: 9UP2BNBLHeld in matching glazed gilded metal oval frames. Please refer to department for condition report
After Michelangelo Merisi da Caravaggio, called Caravaggio, Italian 1573-1609- Ecce Homo; oil on canvas, 58.2 x 77. Provenance: Private Collection, UK (Since 1996). Note: A slightly later (partial) copy of the picture which made art news headlines in 2021 for its appearance at a Madrid auction house as 'Circle of José de Ribera' and subsequent withdrawal from the public market, after several art historians decreed it to be a long-lost work by the Italian Baroque master, Caravaggio. Spain has blocked its sale and export and is undertaking a thorough investigation of its authorship. Please refer to department for condition report
ATTRIBUTED TO EDMÉ BOUCHARDON (CHAUMONT-EN-BASSIGNY 1698-1762 PARIS)Study of a mask on the 'Fonte de Ercole'red chalk on laid papermeasured in the mount: 470 x 537 mmPROVENANCE:Marquis de Bailleul, Belgium, acquired in 1977private Collection, UKThe present lot possibly represents a study of a bronze mask on the 'Fonte de Ercole' by sculptor Andrea di Michelangelo Ferrucci (1465–1526).*For a condition report and high-resolution images of this lot, please contact the Paintings Department at paintings@chiswickauctions.co.uk
Bartolozzi, Francesco (Florenz 1728 - 1815 Lissabon), Bogenschützen schießen auf eine Herme, spiegelverkehrt nach einer Zeichnung von Michelangelo, Radierung, 21,5 x 32 cm, auf Rückseite Bildtitel und Angaben zu Motiv und Vorbild, im Passepartout 32 x 48 cm, erworben Bei Venator & Hanstein, Köln 2012, Provenienz: aus einer südwestdeutschen Privatsammlung. 3160-231
An early 19th century Italian snuff box with inset oval micromosaic panel depicting St Peter's Squarethe panel, Roman, circa 1830the rectangular black vitreous paste box with hinged gold mounts, 2.4cm high, 7cm wide, 3.8cm deep, the micromosaic 3.4cm high, 4.4cm wide Footnotes:The offered lot depicts St Peters Square with the Basilica and the central obelisk flanked by twin fountains bordered by two curved colonnades. Numerous depictions of St Peters Square attest to the popularity of this tourist attraction as a subject for micromosaic souvenirs. The Basilica was begun in 1506 by Bramante and then modified by Michelangelo in 1547 who additionally also designed the dome. Bernini later added the colonnades in 1657.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
Cesare Roccheggiani (Italian, act. second half 19th century): A micromosaic inlaid black marble circular paneldepicting a bouquet of brightly coloured garden flowers, mounted within a pierced gilt bronze frame, the rear with gilt tooled makers mark, the panel, 27cm diameter, the frame, 33cm diameter Footnotes:As a member of a well-known dynasty of master mosaicists, Cesare Roccheggiani had a reputation as one of the most accomplished artists in Rome in the second half of the 19th century. Probably related to Lorenzo Roccheggiani, a late 18th century mosaicist at the Vatican workshop, he was possibly also related to Nicolo Roccheggiani, possibly Lorenzo's son and another artist at the Vatican a little later in the century. Previously thought to have been active in the Vatican Mosaic Workshop in the period 1856-1864, little was known of Ceasre Roccheggiani before he established his own atelier. However, more recent examination of his mosaics suggests that he may have worked in the atelier of Michelangelo Barberi given the strong influence of the latter's style, and in some cases Rocchegiani directly copied some of Barberi's compositions, such as the famous 'Rome by Night and Day'. After Barberi's death in 1867, his studio continued under the direction of his daughter, Isabella, until 1873, the year before Roccheggiani first opened his own business.In the mid-19th Century nearly one hundred mosaicists were active in Rome, often small workshops producing large quantities of pieces on a small scale, to serve the burgeoning tourist trade. By comparison the best studios such as Roccheggiani's produced more substantial or finer micro-mosaics in much smaller quantities. These sought after works remained the preserve of the rich and powerful and many, often produced by the Vatican workshop, were either commissioned by aristocrats and monarchs or displayed at the major international exhibitions such as the Great Exhibition of 1851. A contemporary photograph of Roccheggiani's shop front shows the broad range of mosaics that his company offered and a guidebook to Rome lists him as a supplier of mosaic pictures, tables, cabinets, paper weights and gold ornaments (Murray, 1899, p. 22). Roccheggiani's mosaics were exhibited at the 1876 Centennial International Exhibition at Philadelphia and the Melbourne International Exhibition, 1880, and his standing was such that he served as a committee member for The Italian Exhibition in London in 1888.Examples of his work in the UK include an étagère with mosaics in the Gilbert Collection, Victoria and Albert Museum, and a necklace in the British Museum, London (see Gabriel, 2000, no. 59; Gere, 1984, no. 966).For further information on this lot please visit Bonhams.com
Louis Barberi (Italian, active second half 19th century): A pair of micromosaic panels depicting St Peters Square and The Forum mounted within original gilt framesRoman, circa 1870each of rectangular form, the former with multiple figures around the central Vatican obelisk, the later with two gentleman, a lady and a boy to the foreground of the ruins, all finely worked in polychrome tesserae and set within black marble borders, the original gilt gesso and wood frames with vermicular sgraffito decorative outer moulded borders and inner stiff lappet inner sights, the rear of each with original French printed paper studio labels inscribed LOUIS BARBERI, fabricant et PROFESSEUR en Mosaiques, de toutes grandeurs, On fait de Portaits en camee et Bijouteries Romaines, Place d'Espagne, No 97, 98, 99, A' ROME, the panel depicting the Forum with an additional original Italian printed paper framers label inscribed FRANCESO SOMASCA, Doratore, Via de Corso, no. 480, the panels, 17.5cm x 24cm, the frames, 32cm x 38.5cm approximately (2)Footnotes:Provenance:By repute acquired by George Bolden, Officer in the 2nd Battalion 15th foot from 1864 who travelled in Europe and was stationed in Gibraltar and Dublin amongst other places. He later sold his commission and set up the Calico Printers Association and died in 1930's; Or by George Lennard Bolden (b. 1879), Director of the Calico Printers Association, later to become Courtaulds, when travelling extensively throughout the world including China and Japan in the late 1920's.Thence by decent to the present vendor.Louis Barberi came from a prominent and highly renown Roman mircomosaic dynasty who were much in demand from the visiting European aristocracy. He was the son and pupil of Gioacchino Barberi (1783-1857) who has since been acknowledged as arguable one of the greatest mosaic masters with a body of virtuoso works including a table-top produced for the Imperial Court of Nicholas I in 1833. His grandfather Paolo Emilia Barberi was a painter, and his great-uncle was the famous Cavaliere Michelangelo Barberi (1787-1867) with another acclaimed body of work noted for its artistic and technical virtuosity including his 'Twenty four Hours in Rome (Night & Day)' mosaic tabletop from 1866 now in the Victoria & Albert museum. Unusually, his daughter, Isabella Barberi is known to have continued fathers' business during his declining health. Other noted family members include Johachin Barberi who specialised in the creation of animal subjects and undertook work for Prince Anatole Demidoff in the middle of the 19th century.For further information on this lot please visit Bonhams.com
Ozias Humphry (British, 1752-1810), after MichelangeloThe Prophet Daniel inscribed, signed and dated 'from Michael angelo, in the Capella Sistina - Ozias Humpry fecit/ 1776' (on the verso)black chalk heightened with white on paper51.1 x 39.9cm (20 1/8 x 15 11/16in).together with 6 other copies of Old Masters by the same hand, each signed and inscribed on the reverse and all but one dated, all unframed (7)Footnotes:Provenance:Sale, Christie's, South Kensington, 14 November 1990 lot 218, where purchased by the present ownerOzias Humphry resolved to go to Italy to study oil painting, having initially trained as a miniaturist. He travelled out with his fellow artist, George Romney, and they arrived in Rome in June 1773, the year in which some of these drawings were done.For further information on this lot please visit Bonhams.com
Bolognese-Roman school, second half of the 17th century."Virgin and Child".Oil on canvas.Relined.Repainting and restorations.Measurements: 74 x 61 cm; 84 x 71,5 cm (frame).In this Maternity, the golden veil of the Virgin wraps her head and the body of the Child Jesus, in such a way that the couple is sheltered under the canvas, protecting their eternal love. The small naked body, skilfully foreshortened, is held in both arms by the mother, who lovingly bows her head. The child's eyes are two intense beacons that seem to caress the Virgin with their clear gaze. This painting belongs to the Bolognese school of the Baroque, which draws its references from Greco-Latin classicism and the Renaissance. Various trends developed within the Bolognese school, and the present painting is most closely related to the line initiated by Annibale Carraci (closer to the Roman tradition than to the Venetian), who reinterpreted the classicism of Raphael and Michelangelo. Michelangelo's Michelangeloesque drawing was combined with Raphael's sweetness, Titian's colour and Correggio's plasticity. The masters of the Bolognese Baroque did not copy but created a new style inspired by what they considered to be the best of the classical past. The school of Baroque classicism was dominated by the Carracci: Annibale, his brother Agostino and his cousin Ludovico, creators of the Accademia degli Incamminati (1582), with which they tried to renew the predominantly mannerist art of the time, which they considered already decadent. Annibale was the principal creator of the new style, while Agostino was important for the dissemination of models as an engraver and Ludovico was the principal master of the academy. The Carracci's painting was the same as Caravaggio's naturalism at the outset: a counterpoint to the dominant trends. They reacted against Mannerism, already very repetitive, which they saw as extremely artificial. The Carracci, on the other hand, wanted to represent reality, the natural, which was precisely what had been lost in Mannerism. The protagonists of the Classicist Baroque, and therefore of the Bolognese school, did so in two ways: on the one hand, by looking at nature and painting things as they were, and on the other, by admiring the great masters, especially Correggio and the Venetians of the 16th century. From Titian they took the loose brushstroke and themes, from Veronese the luxury, brilliance and theatricality of gesture (especially evident in compositions such as the one we present here), and from Tintoretto the chiaroscuro.
Attributed to JACOPO DI ANTONIO NEGRETTI, "Palma il Giovane" (Venice, 1548-1628)."The Flagellation of Christ", pp. 17th century.Grisaille on canvas adhered to panel.On the reverse there is an inscription: "grisaille par Palma".It has slight repainting.The piece will be available after a period of up to 60 days.Size: 40 x 27.5 cm; 52 x 42 cm (frame).The present work is modelled on an engraving made in 1594 by Aegidus Sadeler (1579-1629) from a drawing by Palma the Younger, an engraving now in the Museum of Capodimonte. The direct attribution to the Venetian artist is not only due to the inscription on the back of the painting, but is also reinforced by the various versions of this theme from the life of Christ that the artist produced.Its composition follows the same guidelines as his oil on canvas "The Scourging of Christ" or "Christ tied to the column", which was released in 2010. Not to forget the oil on copper in which he reworked the same scene.These patterns, executed in different media and using different techniques, reveal the importance that the Italian mannerist gave to this biblical passage. The suffering that Jesus undergoes during the moment of the scourging is reflected in his face and body, which appears to be on the verge of collapsing to the ground. While a group of spectators attend the moment taking action in the scene, such as the executioner who is about to inflict another blow on Jesus, recognising also an old man of the Council with a long beard and covered by a tunic, being one of the instigators of Christ's condemnation; as well as Pilate, represented just behind the old man.The style and workmanship of the painting is very close to Jacopo Negretti's mastery in recreating the light and shade that add volume to the painting. Furthermore, it follows exactly the structure and distribution of the figures in the scene depicted in Aegidus Sadeler's engraving.Jacopo Negretti, also known as Palma "the Younger" to distinguish him from his great-uncle Palma "the Elder", trained as a painter at the court of Urbino and in Rome, where he spent nine years. During this period he studied Michelangelo and assimilated the imperatives of the Counter-Reformation, discovering and following the pictorial principles of Zuccaro, Salviati and Santi di Tito.Through the various influences of his contemporaries and predecessors he acquired technical skill and a prominent position in the Venetian school, but he did not form any disciples. His eclecticism led him from religious to historical and mythological subjects, from painting to engraving. One of his greatest works is undoubtedly the decoration of the Ospedaletto dei Crociferi.
FRANCISCO LEIRO LOIS (Cambados, Pontevedra, 1957)."Untitled".Wood sculpture.Provenance: Puchol Gallery, Valencia.Measurements: 190 x 55 x 50 cm.Francisco Leiro began his training as a self-taught artist, influenced by popular Galician imagery and by his father, a stonemason by profession. He then moved to Santiago de Compostela to enter the city's School of Arts and Crafts, and later completed his studies at the School of Fine Arts in Madrid. In 1975 he held his first exhibition, at the Cultural Society of Cambados, and during this decade he formed part of the artistic group Foga, while the influence of surrealism was accentuated in his production. At the beginning of the eighties he took part in the Atlántica collective exhibitions, which brought together the emerging generation that was to renew Galician art. Soon, before the end of the decade, he was a constant presence in artistic circles in Spain, Europe and the United States; in 1985 he represented Spain at the São Paulo Biennial, and the following year he took part for the first time in the ARCO fair in Madrid, where he has shown his work regularly ever since. In 1988 he settled in New York, and that same year he received his first public commissions: "My sofas" (Pontevedra) and "Coloso" (Palacio de la Magdalena in Santander). The following year he was selected for the 1st Mostra Unión Fenosa in A Coruña, where his work "Torso Sentado" (Seated Torso) was acquired by the company. Also in 1989 he carried out another important public commission, "Balboas III" (El Ferrol). In fact, from this moment on, his public projects were repeated: "Nave" (Santiago de Compostela, 1990), "Sireno" (Vigo, 1991), "Puertas de la Torre de Hércules" (A Coruña, 1992), "Porta Santa" (Santiago de Compostela Cathedral, 1993), "Homenaje a Castelao" (Santiago de Compostela, 1995), "Bañista no Areal" (Vigo, 1997), "Miarritz" (Biarritz, France, 1999), "Marzo del 73" (Fene, A Coruña, 1999), "Astronauta" (Valdemoro, Madrid, 2001), "Vértigo" (Autovía M50, Madrid, 2004), "Dama de Navalcarnero" (Navalcarnero, Madrid, 2007) and "Simeón sentado" (Torre Espacio, Madrid, 2007). Having consolidated his international career, in 1990 he began to work for the Marlborough Gallery in New York, where he had a solo exhibition of sculpture that year. Since then he has held solo exhibitions in this gallery as well as in others in Spain, Portugal, the United States, Chile, Buenos Aires, Brazil and El Salvador, as well as taking part in important group shows and fairs in Europe and the United States, in such prominent centres as the Palais Royal in Paris (2001) and the MNCARS in Madrid (2006). He has also been awarded the Castelao Medal by the Xunta de Galicia (2000) and the Medal for Fine Arts by the CEOE (2003). Francisco Leiro's plastic language has gone through different periods, but he has always remained faithful to a totally personal expressionist figuration, closely linked to traditional Galician popular sculpture. His sculpture also displays a certain archaic air, a hieratism of Egyptian and Mesopotamian heritage, which links harmoniously with the monumentality of Michelangelo and German expressionism. He is currently represented at the MACBA in Barcelona, the Museo de Arte Contemporáneo Patio Herreriano in Valladolid, the Marugame Hirai in Kagawe (Japan), the Stedelijk in Amsterdam, the Fundación Caixanova, the Museo de Castrelo in Vigo, the Museo de Bellas Artes in Álava, the Instituto de Crédito Oficial in Madrid, Grounds for Sculpture in New Jersey, the collections-foundations La Caixa, Coca-Cola and Caja de Madrid, the Centro Gallego de Arte Contemporáneo in Santiago de Compostela, the Centro Cultural São Laurenço in Almancil (Portugal), the Asociación de los Amigos del Museo Nacional Centro de Arte Reina Sofía and the Akron Art Museum in Ohio (USA), among other collections.Among other public and private collections.
Giulio di Antonio Bonasone (1498-1580)The Last Judgement from the Sistine Chapel, after MichelangeloEngraving, circa 1540s, an excellent detailed impression of the second state (of two), on thick laid paper without watermark, sheet 583 x 450 mm (23 x 17 3/4 in), trimmed to or just within the platemark, old horizontal crease and associated folds, minor nick into the lettered cornice at the upper edge, scattered surface dirt (unframed)Literature:Bartsch 80; Massari 79 ii/ii[Together with]Agostino Carracci (1557-1602)Portrait of TitianEngraving, 1587, a good impression of the lettered state with some signs of wear, on laid paper without watermark, sheet 330 x 237 mm (13 x 9 1/4 in), mounted on 18th century paper support with Italian collector's ink inscription below, some surface dirt and browning, old folds and minor handling creases (unframed)Literature:Bartsch 154 iii/iv
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel APOSTEL ODER EVANGELIST Öl auf Leinwand. 50 x 49 cm.Dem Gemälde ist eine ausführliche Expertise von Nicola Spinosa, Napoli, 12. Mai 2022 beigegeben. Das Gemälde wird im kommenden Jahr aufgenommen in der Monographie: Nicola Spinosa, Aniello Falcone e i pittori influenzati da Ribera e attivi a Napoli. Spinosa weist in seiner Expertise eine Reihe von Vergleichsbildern auf, die dem hier vorliegenden Bildnis nahestehen. So etwa „Hl. Petrus als Büßer“, „Mathäus und der Engel“ oder der „Hl. Andreas im Gebet“. Was die Datierung des vorliegenden Werkes betrifft, so verweist Spinosa auf die Schwierigkeit der Feststellung, ob es noch zu den letzten Monaten von Riberas Aufenthalt in Rom (1614/15- bis 1615) gehört, oder in den Beginn seines letzten Aufenthaltes in Neapel von 1616-1618 zu setzen ist, als Ribera in der Stiftskirche in Osuna malte. Letztendlich scheint dem Experten eine Datierung zwischen 1615 und 1616 als überzeugend. Damit zählt das vorliegende Werk zu den wenigen erhaltenen dieser von Spinosa genannten Schaffungsperiode. Das bisher unveröffentlichte Gemälde kann hier als eine sensationelle Neuentdeckung für das Werk des bedeutenden Malers Ribera vorgestellt werden. Dementsprechende gut dokumentierte, jüngste Forschungsergebnisse des zuständigen Experten Nicola Spinosa belegen die Autorschaft des Künstlers (s. u). Es liegt uns hier ein Gemälde vor, das den Kopf eines kräftigen bärtigen Mannes in brauner Kutte zeigt. Das Haupt kahl, dem Betrachter nahe, schräg nach rechts ins Bild gesetzt. Nachdenklich blickt er von seinem offenen Buch auf. Von der Hand, die das Buch hält, ist am unteren Bildrand ein Finger zu sehen. Mit den geöffneten Seiten, die eine Abbildung erkennen lassen, fügt sich das Buch mit hochgeschlagener Seite kompositionell überlegt in die rechte untere Ecke ein. Das Bildnis zeigt die meisterliche Handschrift des genannten Malers, mit allen Aspekten, die seine malerische Charakteristik ausweisen, wie die bräunlich-goldene Farbgebung, die Lichtreflexe, bis hin zur überzeugenden psychologischen Erfassung, Die Identifizierung des Dargestellten stößt an Grenzen, da eindeutige Attribute fehlen und man auf Ähnlichkeiten mit weiteren Bildnissen von Heiligen, Aposteln oder Evangelisten im Werk Riberas zurückgreifen muss. Das Buch mag vornehmlich an einen Evangelisten denken, etwa Matthäus oder Markus, die ebenfalls in vorgeschrittenem Alter und kahlköpfig gezeigt wurden. Möglicherweise haben wir es hier mit einem Gemälde der kastilianisch genannten Serie der „Apostolado“ zu tun, die Ribera in seiner langen Karriere zu verschiedenen Zeiten schuf. Erstmals zwischen 1609 und 1610 zu Beginn seines Aufenthaltes in Rom (Spinosa 2008, S. 303 f.). Eine zweite Serie entstand im Auftrag von Pedro Cosida von Saragossa, den Vertreter des spanischen Königs beim Papst. Vier Bilder dieser Serie finden sich in der Fondazione Roberto Longhi in Florenz. Weitere Serien entstanden bis in die späten 1630er Jahre. Wie durchdacht die Komposition insgesamt ist, zeigt die Beobachtung, dass der Lichteinfall von links oben in einer nach rechts unten führenden Diagonale - über Kopf, Nase und Bart hinweg - auf die Buchseite weist. Als Gegen-Diagonale sind die Mantelfalte und die Schrägstellung des Buches zu sehen. Dies und der malerische Duktus liegen Riberas „Hieronymus“-Themen nahe, auch, weil hier wie dort erkennbar wird, wie Ribera in den Armenvierteln Roms seine Charaktermotive suchte. Nahezu identisch zeigt sich ein Petrus-Bildnis, Teil der erhaltenen Serie in den „Girolamini“, die sich in Neapel befinden. A.R.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhoben ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der Neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Literatur: Nicola Spinosa und A.E. Perez Sánchez, Jusepe de Ribera 1591-1652, Ausstellungskatalog; Napoli – Madrid – New York 1992. G. Papi, Ribera a Roma. Soncono/Cremoa, 2007. J. Milicua und J. Portús (a cura) Il giovane Ribera tra Roma, Parma e Napoli, Ausstellungskatalog, Madrid – Napoli 2010-2011. (1321691) (11)Jusepe de Ribera, also known as "lo Spagnoletto",1588/91 Xàtiva/ Valencia – 1652 NaplesAPOSTLE OR EVANGELIST Oil on canvas.50 x 49 cm.Accompanied by a detailed expert’s report by Nicola Spinosa, Napoli, 12 May 2022. Next year, the painting will be included in the forthcoming monograph: Nicola Spinosa, Aniello Falcone e i pittori influenzati da Ribera e attivi a Napoli. In his expert’s report, Spinosa points to a series of comparable paintings very similar to the present portrait such as “The Penitent Saint Peter Matthew and the Angel” or “Saint Andrew in Prayer”. With regards to dating the present work, Spinosa finds it difficult to determining whether the painting was created in the last months of Ribera’s stay in Rome (1614/15- to 1615) or at the beginning of his last stay in Naples in 1616-1618 when Ribera was painting in the collegiate church in Osuna. Ultimately, a dating between 1615 and 1616 seems convincing to the expert. This makes the present work one of the few surviving works from this creative period. The previously unpublished painting can thus be presented as a sensational new discovery for the work of the important painter Ribera. It is accordingly well-documented and recent research results of the responsible expert Nicola Spinosa prove the authorship of the artist (see below).The present painting shows the head of a strong, bearded man in a brown robe. The bald head, close to the viewer, is placed diagonally to the right in the picture. He looks up thoughtfully from his open book. One finger of the hand holding the book can be seen at the bottom of the painting. In a considered composition the open pages reveal an illustration and the book with the page turned up fits into the lower right corner. The portrait shows Ribera’s mastery and typical painterly characteristics such as the brownish-golden colouration, the light reflections, and the convincing psychological assessment.It is difficult to identify the depicted, since there are no clear attributes, so one must revert to similarities with other portraits of saints, apostles, or evangelists in Ribera’s oeuvre. The book suggests an evangelist, such as Matthew or Mark, who are usually also depicted as advanced in age and bald. It is possible that we are dealing here with a painting from the Castilian series called “Apostolado”, which Ribera painted at various times during his long career. For the first time between 1609 and 1610 at the beginning of his stay in Rome (Spinosa 2008, p. 303 f.). A second series was commissioned by Pedro Cosida of Zaragoza, the Spanish king’s representative to the Pope. Four pictures from this series are held at the Fondazione Roberto Longhi in Florence. Other series continued into the late 1630s.The painting’s sophistication is obvious when following the ...
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel DER PHILOSOPH DIOGENES Öl auf Leinwand. 96 x 72 cm.Das Gemälde größerformatig angelegt und, wie bei Ribera und dessen Hell-Dunkel-Malstil üblich, in caravaggesker Malweise mit dunklem Hintergrund, vor dem der hier alt und graubärtig wiedergegebene Philosoph in hellem Licht erscheint. Der aus Sinope stammende griechische Denker (um 412-323 v. Chr.) wird hier, wie üblich, mit einer Laterne dargestellt. Der Sinn dieses attributiven Gegenstandes geht aus der Legende hervor, wonach Diogenes bei der Befragung, warum er bei Tageslicht eine Laterne hält, geantwortet haben soll „Ich suche einen Menschen“. Dieser Skeptizismus ist auch der Inhalt der Lehre der damaligen griechischen Philosophie geworden. Hier in Dreiviertelansicht in Lebensgröße wiedergegeben, hat der Maler ihn leicht nach rechts gebeugt gezeigt, mit nachdenklichem Blick, die Laterne in der Linken, ein großes Buch in der Rechten haltend. Als Kleidung dient ihm lediglich ein bescheidener brauner Kittel mit weißem darunterliegendem Hemd, wobei jedoch die gesamte rechte Brust- und Schulterpartie freigelassen wird. Das weithin bekannte Gemälde von Ribera, das ebenfalls den Philosophen zeigt, befindet sich in der Gemäldegalerie Dresden, stellt aber den Philosophen in noch jüngerem Alter vor, in noch stolzer aufrechter Haltung und mit nahezu vorwurfsvollem Blick, wodurch sein Satz nach der Suche des wahren Menschen noch herausfordernder thematisiert ist. Im vorliegenden Gemälde jedoch erscheint der gealterte Philosoph bereits in einer Resignation dargestellt. Ribera, bekannt für mehrere seiner Philosophendarstellungen, hat speziell diesen Diogenes mehrfach in unterschiedlichen Bildauffassungen geschaffen, wobei das vorliegende Gemälde wohl zu den ausdrucksvollsten aus dieser Serie zu zählen wäre.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhoben ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der Neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz: Galerie Jacques Leegenhoek, Paris, November 1996. Literatur: Das hier angebotene Gemälde ist abgebildet in: Nicola Spinosa, Ribera. La obra completa, Madrid 2008, Nr. B2, S. 485. Spinosa datiert das Gemälde auf ca. 1612-1613. (1241111) (2) (11)Jusepe de Ribera, also known as “lo Spagnoletto”,1588/91 Xàtiva/ Valencia – 1652 NaplesTHE PHILOSOPHER DIOGENESOil on canvas.96 x 72 cm.Provenance: Galerie Jacques Leegenhoek, Paris, November 1996. Literature: The painting on offer for sale here is illustrated in: Nicola Spinosa, Ribera. La obra completa, Madrid 2008, no. B2, p. 485. Spinosa dates the painting to ca. 1612-1613.
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel SAN PIETRO IN LACRIME Öl auf Leinwand. 138 x 98 cm.Beigegeben eine Expertise von Prof. Vincenzo Paccelli, Neapel, der in dem Gemälde ein Werk von Jusepe de Ribera sieht; zudem ein technischer Untersuchungsbericht von Ing. Claudio Falcucci „Pentimenti“ unter der Malschicht feststellend (beides in Kopie vorliegend). Das Bildthema geht an die Stelle des Neuen Testaments zurück, wonach der Heilige Petrus in schuldhafter Reue seines Verrats an Jesus gedenkt. Diese Bibelstelle wurde von mehreren bedeutenden Malern aufgegriffen. Der Blick ist, wie auch hier, zumeist nach oben gerichtet. Hier sitzt der Heilige an einem Tisch, den Kopf auf den rechten Arm gestützt. Die Qualität der Oberflächen des Heiligen lässt keinen Zweifel an der vollen Eigenständigkeit des Gemäldes durch Ribera, in dem die charakteristische Rauheit der Hände und die Falten der Stirn, die verwelkte Haut und die Rötung um die Augen, verursacht durch Weinen und Alter, deutlich wahrnehmbar sind. Das Motiv finden wir auch in Darstellungen des Guido Reni oder Diego Velázquez. Für das Gemälde hat Prof. Vincenzo Pacelli, Autor des Werkes „Pittura del'600 nelle collezioni napoletane“, Vergleichsbeispiele genannt, wie etwa ein Werk in einer Londoner Privatsammlung, signiert „Jusepe R“ (Spinosa 2003, S. 272, Nr. A. 67), ebenfalls dargestellt in einem intimen und bußfertigen Gespräch mit der Gottheit, sowie die halbfigurige Interpretation desselben Modells, dargestellt in der identischen physiognomischen Haltung, aufbewahrt in der Eremitage von Sankt Petersburg (Spinosa 2003, S. 276, Nr. A80). Durch die diagnostischen Untersuchungen von Claudio Falcucci wurde bestätigt, dass die Leinwand des untersuchten Werks, das „d‘imperatore“ genannt wird, eine in der Malerei von Caravaggio und seinen ersten römischen Nachfolgern sehr verbreitete Malart aufweist; durch die dokumentarischen Hinweise ist es zudem nicht ausgeschlossen, dass das fragliche Gemälde mit der Leinwand „San Pietro in d'imperatore“ identifiziert werden könnte, die im Giustiniani-Inventar von 1638 von Spagnoletto erwähnt wird (Danesi Squarzina 2003, S. 325). Kopien aus dem Inventar des Conti Gonzaga di Novellara liegen vor. Kehrt man zu den Erkenntnissen zurück, die aus Falcuccis diagnostischen Untersuchungen hervorgehen, so offenbaren sie ein weiteres entscheidendes Datum für die Zuschreibung des Heiligen Petrus an Ribera, nämlich das Vorhandensein von Pentimenti, die den Finger der vorgelegten und anschließend bewegten Hand betreffen. Bekanntlich beweist das Vorhandensein von Pentimenti die Originalität eines Werkes und im vorliegenden Fall ist somit klar, dass es von dem genannten Künstler Jusepe de Ribera stammt. A. R. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (1483-1520) und Agostinos (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhoben ihn zum Hofmaler des Herzogs von Ossuna sowie des Königs von Neapel. Im Jahr 1644 wurde er zum Ritter des Christusordens durch den Papst. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der Neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz: Privatsammlung, Barcelona. Anmerkung: Pentimenti sind Veränderungen, die während des künstlerischen Schaffensprozesses an Gemälden vorgenommen werden. Literatur: Nicola Spinosa, Ribera. L‘opera completa, Mailand 1979. Silvia Danesi Squarzina, La collezione Giustiniani, 3 Bde., Turin 2003. James Hall, Dizionario dei soggetti e dei simboli nell'arte, Mailand 2003. Nicola Spinosa, Ribera, L‘opera completa, Neapel 2003. (1270713) (2) (11)Jusepe de Ribera,also known as “lo Spagnoletto”, 1591/91 Xàtiva/ Valencia – 1652 NaplesSAINT PETER'S TEARSOil on canvas.138 x 98 cm.Enclosed is an expert’s report by Prof Vincenzo Paccelli, Naples, who considers the painting to be a work by Jusepe de Ribera; also a technical examination report by engineer Claudio Falcucci, who found “pentimenti” beneath the painting surface (both available as copies).Provenance:Private collection, Barcelona.Literatur:Nicola Spinosa, Ribera. L’opera completa, Milan 1979.Silvia Danesi Squarzina, La collezione Giustiniani, 3 vol., Turin 2003.James Hall, Dizionario dei soggetti e dei simboli nell'arte, Milan 2003.Nicola Spinosa, Ribera, L’opera completa, Naples 2003.
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel, und WerkstattBILDNIS DES PHILOSOPHEN THALES MIT PAPIERROTULUS Öl auf Leinwand. 120 x 94,5 cm. Verso Provenienz-und Ausstellungs-Etikett.Beigegeben Expertise von Claudio Strinati o. J. sowie Prof. Riccardo Lattuada, Juli 2021. Das in Variationen vom Künstler wiederholt gemalte Werk ist mehrfach dokumentiert. (Dokumente beigegeben). Dargestellt ist die Gestalt eines Philosophen in Dreiviertelfigur, der aus dem dunklen Hintergrund hervortritt, von links oben beleuchtet. Das Gesicht, mit tiefliegenden Augen und kurzem, dunklem Bart, ist dem Betrachter zugewandt, während er uns demonstrativ einen aufgerollten Papierrotulus zeigt, auf dem geometrische Zeichnungen mit Kreisen zu erkennen sind. Mit dem rechten Arm nach unten gerichtet hält der Dargestellte eine Sanduhr in der Hand. Aufgrund der Zeichnungen auf dem Rotulus mit Kreisdarstellungen, aber auch von Beschriftungen weiterer Versionen, ist die Identifizierung als „Tales von Milet“ gesichert. Der Philosoph hat bekanntlich im 6. Jahrhunderts v. Chr. neben anderem den Satz formuliert: alle Winkel in einem Halbkreis sind rechtwinkelig. Bildnisse bedeutender Philosophen kennen wir auch von anderen Malern, wie etwa „Thales“ von Luca Giordano, mit der nämlichen Zeichnung. Die Annahme, es könne sich um den Skeptiker Sextus Empiricus des 2. Jhdts. handeln, stellt sich daher nicht mehr. Nicola Spinosa erwähnt weitere Versionen der Darstellung, so zum Vergleich etwa in der Sammlung Wemys, London, in der National Gallery of Scotland, Edinburgh, eine weitere „replica autografa“ in einer Pariser Sammlung aus der Collection des Marchese di Remisa. Darüber hinaus ist ein Gemälde bekannt geworden, das nur den Kopf zeigt, in einer Privatsammlung Kopenhagen. Auf Seite 296 f. des Werkverzeichnisses von Spinosa (2003) ist eine dem vorliegenden Gemälde vergleichbare Version abgebildet (A 89), am Oberrand beschriftet „TALES MILESIO“. Letztlich folgert Riccardo Lattuada in seiner hier beigegebenen Expertise aus den ebenfalls beiliegenden Unterlagen, dass es sich hier um ein Werk Riberas unter Mitwirkung seiner Werkstatt handelt. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhoben ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der Neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz: Sammlung Matarazzo di Licosa, Neapel (bis 1974). Ausstellung Galleria Previtali, 1974. Das Gemälde in der Literatur besprochen und abgebildet: S. Ortolani, in: Ausstellungskat. „La mostra ella pittura napoletana del ’600 – ’700 – ’800, Neapel 1938 scheda 215. Ganzseitige Abbildung S. 71. F. Parlato, La collezione del Conte Giuseppe Matarazzo di Licosa, Neapel 1950, S. 64-75, Teil p. 71 (vermutet als: „L‘Architetto“). Katalog: Galleria Privitali, Bergamo, Dipinti Antichi, 1974, S. 32, Abb. S. 33 Nicola Spinosa, Ribera, L‘Opera Completa, Neapel 2003: La obra completa, Fundaciòn Arte Hispánico Madrid. 2009. Weitere Literatur: August Liebmann Mayer, Jusepe de Ribera, Leipzig 1908. Nicola Spinosa und A.E. Perez Sánchez, Jusepe de Ribera 1591-1652, Ausstellungskatalog; Neapel – Madrid – New York 1992. G. Papi, Ribera a Roma. Soncono/Cremoa, 2007. J. Milicua und J. Portús (a cura) Il giovane Ribera tra Roma, Parma e Napoli, Ausstellungskatalog, Madrid – Neapel 2010-2011. (13207829) (2) (11)Jusepe de Ribera, also known as "lo Spagnoletto",1588/91 Xàtiva/ Valencia – 1652 Naples, and workshopPORTRAIT OF THE PHILOSOPHER THALES WITH PAPER ROTULUS Oil on canvas.120 x 94.5 cm.Provenance and exhibition label on the reverse. Accompanied by an expert’s report by Claudio Strinati, n.d. and by Professor Riccardo Lattuada, July 2021. Provenance: Collection Matarazzo di Licosa, Naples (until 1974).Exhibition Galleria Previtali, 1974.The painting is discussed and illustrated in:S. Ortolani, in: La mostra ella pittura napoletana del ‘600 – ‘700 – ‘800, exhibition catalogue, Naples 1938, file card 215. Full-page illustration p. 71.F. Parlato, La collezione del Conte Giuseppe Matarazzo di Licosa, Naples 1950, pp. 64-75, part p. 71 (assumed as: “L’Architetto”).Dipinti Antichi, exhibition catalogue, Galleria Privitali, Begamo 1974, p. 32, ill. p. 33.Nicola Spinosa, Ribera. L’Opera Completa, Naples 2003: La obra completa, Fundación Arte Hispánico, Madrid 2009.
Jan Harmensz. van Bylert, um 1597 Utrecht – 1671 ebendaDER LAUTENSPIELER Öl auf Leinwand. 105 x 80 cm.Der Maler hatte sich auf Halbbildnisse spezialisiert, insbesondere auch von Musikern oder Philosophen, die in mehreren öffentlichen Sammlungen vertreten sind, wie das bekannte Gemälde mit einem Konzert mit Lauten- und Cellospielern. Auch das hier vorliegende Motiv zeigt einen Jüngling im Dreiviertelbildnis nach rechts, in sitzender Haltung an einer Laute, wobei sein halb geöffneter Mund andeutet, dass er sich selbst singend begleitet. Über dem schwarzen kurzen lockigen Haar ein Barett mit großer weißer Straußenfeder, eine Reminiszenz auch an das Werk Caravaggios, wie ebenso die Darstellung des jungen Musikers mit entblößter Schulter. Farblich dominierend ist das kräftige Rot im Umhang, das als farblicher Gegenpol zum hellen Grau-Blau des Hintergrundes steht. Der Einfluss Caravaggios ist auch in dem vorliegenden Gemälde unverkennbar.Anmerkung: Der Künstler war Sohn eines Glasmalers und nach Mitteilung des frühen Künstlerbiographen Joachim von Sandrart d. Ä. (1606-1688) ein Schüler des Abraham Bloemaert (1564-1651), bevor ihn seine Studienreisen nach Frankreich und dann nach Italien führten. In Rom verblieb er wahrscheinlich bis 1624 und stand dort in Kontakt mit den holländischen Malern Jan Gerritsz van Bronchorst (1603-1661) oder Cornelis van Poelenburgh (1586-1667). Ab Mitte der 1620er-Jahre ließ er sich stark von Michelangelo Merisi il Caravaggio (1570/71-1610) und Guido Reni (1575-1642) beeinflussen, wie ebenso von Gerrit van Honthorst (1590-1656). Er gilt als einer der führenden, wenn nicht sogar als führendster Vertreter der Utrechter Caravaggisten. Literatur: Paul Huys, Jan van Bijlert, 1998, S. 139, Nr. 105, Pl. 46, circa 1625-1635. (12901421) (11)Jan Harmensz. van Bylert,ca. 1597 Utrecht – 1671 ibid.FLUTE PLAYEROil on canvas.105 x 80 cm.Literature:Paul Huys, Jan van Bijlert, 1998, p. 139, no. 105, pl. 46, circa 1625-1635.
Maler des 17. Jahrhunderts in der Art des Michelangelo Merisi il Caravaggio (1570/71 – 1610)KREUZABNAHME MIT ENGELN Öl auf Leinwand. Doubliert.118 x 92 cm.Vor dunklem Landschaftshintergrund der vom Kreuz abgenommene helle fahle Corpus Christi, nur mit einem weißen Tuch um die Hüfte bekleidet. Er hat braunes langes Haar, einen Bart, geschlossene Augen und sein Kopf ist von einem Strahlennimbus hinterfangen. Sein Körper wird von mehreren nackten, teils geflügelten Putti gehalten, von denen einer in rötlich-brauner Farbgebung direkt unter dem Corpus Christi nur schwer zu erkennen ist. Im Vordergrund zwei kniende Putti, die aufmerksam die Wunde am Fuß Jesu betrachten. Malerei mit starker Hell-Dunkel-Akzentuierung: Der Körper Jesu und der Engel besonders durch ihre helle Farbgebung gegenüber dem dunklen Hintergrund ganz im Stil des Caravaggismus besonders hervorgehoben. Teils rest., teils Retuschen und Farbabrieb. (1301535) (18)Painter of the 17th century in the style of Michelangelo Merisi da Caravaggio (1570/71 – 1610)THE DEPOSITION FROM THE CROSS Oil on canvas. Relined.118 x 92 cm.
Antonietta Brandeis, 1849 Miscocon, Galizien – 1910 VenedigPAAR ANSICHTEN VON VENEDIG Jeweils Öl auf Holz. Je ca. 13 x 23 cm Jeweils links unten signiert „ABrandeis“. Jeweils in vergoldeten Prunkrahmen.Das erste Gemälde zeigt von erhöhtem Standpunkt den Blick über die von der Sonne beschienene Piazetta mit dem prächtigen Dogenpalast auf der linken Seite und der rechts verschattet liegenden Bibliotheca Nazionale Marciana, die teils Schatten auf den Platz wirft. In der Mitte der Platz mit mehreren Staffagefiguren und den Säulen des Hl. Theodor und dem Markuslöwen vor dem Canal Grande. Auf dem zweiten Gemälde die Punta della Dogana, die sich an der Spitze der Insel Dorsoduro befindet. Gut erkennbar der Turm, an dessen Spitze die Skulptur der Erdkugel steht. Dahinter die Kirche Santa Maria della Salute mit ihrer mächtigen Kuppel. An der Anlage selbst haben – auf dem ruhigen Wasser des Canal Grande mit zahlreichen Spiegelungen – einige wenige Boote angelegt. Harmonische Malerei in weicher Farbgebung unter hohem, sommerlich hellblauem Himmel, in der typischen Manier des Künstlers. Antonietta Brandeis studierte in Prag und ab 1867 als erste Frau an der Akademie in Venedig bei Michelangelo Grigoletti. Sie blieb in Italien wohnen und malte überwiegend Veduten verschiedener italienischer Städte. (1320291) (18)Antonietta Brandeis,1849 Miscocon, Galicia – 1910 VeniceA PAIR OF VISTAS OF VENICE Both oil on panel.ca. 13 x 23 cm each.Each signed “ABrandeis” lower left.
Richard Harris signed 10x8 black and white photo. Richard St John Francis Harris (1 October 1930 - 25 October 2002) was an Irish actor and singer. He appeared on stage and in many films, notably as Corrado Zeller in Michelangelo Antonioni's Red Desert, Frank Machin in This Sporting Life, for which he was nominated for the Academy Award for Best Actor, and as King Arthur in the 1967 film Camelot, as well as the 1981 revival of the stage musical. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
AFTER MICHELANGELO, BRONZE FIGURE 'LORENZO DE MEDICI' FRENCH LATE 19TH/EARLY 20TH CENTURY Signed to the cast 'R.Tion Sauvage' (Réduction Sauvage) 27cm high, base 9.5cm wide Provenance: Property from the Kingshott Collection Condition Report: Generally good condition- mild rubbing wear, wax deposit to left eyeCondition Report Disclaimer
A PAIR OF ITALIAN BRONZE GRAND TOUR FIGURES OF LORENZO AND GIULIANO DE MEDICI AFTER MICHELANGELO (ITALIAN 1475-1564), LATE 19TH CENTURY on black marble stepped plinths (2) 24.5cm high Catalogue Note See Woolley and Wallis, Furniture, Works of Art and Clocks, 30th March 2022, lot 351 for a similar gilt bronze pair of figures.
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 - Königreich beider Sizilien : 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).
Ausländische Orden & Ehrenzeichen - Königreich beider Sizilien : Orden St. Georgs der Wiedervereinigung - Kommandeurkreuz verliehen an den ehemaligen Justizminister des Königreichs beider Sizilien Michelangelo Cianciulli (1734-1819).Das Ordenskreuz Gold und Emaille. Am langen, genähten Original - Halsband aus feinster hellblauer Moiréeseide. Das dreiteilig gearbeitete Medaillon in plastischer Goldschmiedearbeit. Das transluzide rote Emaille der Kreuzarme mit fein guillochiertem Untergrund.Besonders fein gearbeitetes Exemplar in bester neapolitanischer Juweliersqualität aus der Stiftungszeit des Ordens.Rückseitig ein Kreuzarm tragebedingt gechipt. Dieses Exemplar wurde an Michelangelo Cianciulli verliehen. Michelangelo Cianciulli (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). Besonders die Kommandeursklasse sehr selten. Foreign Orders & Decorations - Königreich beider Sizilien : Orden St. Georgs der Wiedervereinigung - Kommandeurkreuz verliehen an den ehemaligen Justizminister des Königreichs beider Sizilien Michelangelo Cianciulli (1734-1819). Kingdom of the Two Sicilys - Order of Saint George of the Reunion Commander's Neck Badge. Gold and enamels. With long original - neck ribbon made of the finest light blue moiré silk. The three-part centers in finest goldsmith' craftmanship. The translucent red enamel of the cross arms with fine guilloche background. Particularly finely crafted example of the best Neapolitan jeweler's quality from the period of the Order's foundation. One arm of the cross chipped on the reverse due to wear. This badge was awarded to Michelangelo Cianciulli. 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). Especially the commander's class very rare. With this very interesting provenace highly desirable.
Rubinstein. Kmoch, Hans. Rubinstein gewinnt! Hundert Glanzpartien des großen Schachkünstlers ... Nachdruck. Zürich, Olms, 1981. 8°. Mit 1 Porträt und Diagrammen. 151 Seiten. (30) * Beiliegen: Hannak, J. Wilhelm Steinitz. Der Michelangelo des Schachspiels. Nachdruck. Zürich, Olms, 1989. 8°. Mit 1 Porträt. 126 S., 1 Bl. / Tartakower, S G. Moderne Schachstrategie. Ossip S. Bernsteins Schach- und Lebenslaufbahn. Nachdruck. Zürich, Olms, 1985. 8°. Mit 1 Porträt und Diagrammen. 139 Seiten. / Kagan, B. (Hrsg.) Maróczy's Hundert Schachpartien ... erläutert von ihm selbst ... Nachdruck. Zürich, Olms, 1984. 8°. Mit 1 Porträt und Diagrammen. XIV, 157 Seiten. Alle Teile: Orig. Kunstlederbände mit Schutzumschlägen. "Tschaturanga ..." Band 14, 85, 61 und 52. Zustand: Innen etwas gebräunt. Schutzumschläge teilweise verblichen.
Quantity of 80s toys to include Playmates Teenage Mutant Ninja Turtles figures (Leonardo, Donatello, Raphael, Michelangelo, Splinter, April O'Neil, Foot Soldier, Rocksteady, Bebop,Krang Mobile Life Support System & 2 x Cheapskate), LJN Thundercats (Panthro, Cheetara, Tygra, etc), Star Wars (Han Solo, AT-ST Driver), Mattel He-Man (Skeletor) Kenner Ghostbusters (Green Ghosts, Stay Puft Marshmallow Man, Ecto 2, etc), etc plus related accessories
AGRIPPA (CAMILLO)Trattato di scienza d'arme, et un dialogo in detta materia, engraved title-page with portrait of the author, numerous engraved illustrations throughout (some double-page), woodcut initials and ornaments, without final blank, a few very small holes to title-page, 2 double-page plates shaved just within platemark of one margin, small loss (filled) to fore-edge margin of final 16 leaves just touching printed border of an illustration on 3 pages, recased in early limp vellum [Cockle 745; Thimm, p.4; Vigeant, p.25], 4to, Venice, Roberto Meglietti, 1604Footnotes:Third edition of an influential manual on fencing, first published in 1563 at Rome, by Camillo Agrippa (1520-1595), a Milanese engineer, architect, and mathematician. The fine illustrations of the Trattato show various positions in fencing (the fencers usually represented naked), and are usually attributed to Jan van der Straet (1523-1605), but sometimes to Michelangelo. Provenance: Capt. Torquato Poccianti, early ink ownership name at foot of title-page, dedication leaf and final page, with small ink stamp on title (touching printed area) and dedication leaf.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Attributed to Michelangelo Maestri (Italian, fl. 1796-1812) Allegorical figures from the frescoes at the Villa of Cicero, Pompeii, possibly from the series of The Hours of the Day or Nightgouache on laid paper44.5 x 34.5cm, a pairMichelangelo Maestri is known for his works in gouache that he based on the then only recently discovered wall frescos in Pompeii. His works became very popular amongst travellers on their Grand Tour. The first of the works in the present lot is directly inspired by one of the flying figures also described as 'Dancers' or 'Danzatrici ' found in the frescoes in the triclinium of the Villa of Cicero in Pompeii discovered on 25th May 1748 (now at the Archaeological Museum of Naples, inv. 9295). The subject of the second figure is drawn from one of the seven flying female figures with musical instruments, all fragments of a fresco found in the villa on 18th January 1749 (inv. 9297).sheet 46.2 x 36.2cm Framed 56 x 51cmScuffs and surface dirt. Wrinkling to the paper.One examined out of frame. On paper watermarked 'WHATMAN', no date. One loose in its frame.
Full title: An Italian walnut figure of The Risen Christ after Michelangelo, Rome, 17th C.Description:H 45 cmÊ Expert: Cabinet Benoit BertrandAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Full title: 'Eerbetoon aan Jan Hoet' (Tribute to Jan Hoet), Friends of the S.M.A.K., folder II, four colour lithographs, ed. 93/100, dated 2004Description:Various dimensions.Ê 95 x 65 cm (the folder)Ê 77 x 57 cm (the largest, Forg, full page)Ê 60 x 47 cm (the smallest, Tuymans, full page) Ê The complete portfolio with works by Marina Abramovic, Gunther Forg, Michelangelo Pistoletto and Luc Tuymans. Ê Prov.:Ê - Bought by Mr. De Grande via the television program 'Stukken van Mensen'. ÊRef.:Ê - '50 jaar Vrienden van het SMAK', p. 190.About this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
'The Complete Work of Michelangelo' and the companion volume, 'The Complete Work of Raphael'.(The former with 1,040 illustrations and 32 plates in full colour, printed in Japan, originally retailed for $60 in the US (37.5cm high x 28cm wide). The latter with 49 full-colour plates and 875 monochrome illustrations).(2 volumes, circa 1969)
Follower of TIZIANO (Pieve di Cadore, Belluno, Veneto, ca. 1477/1490 - Venice, 1576); 19th century."Madonna and Child, Saint John the Baptist and Donor".Oil on canvas.It shows faults and repainting on the pictorial surface.The original canvas is preserved.It has a 19th century gilded frame.Measurements: 73 x 92 cm; 90 x 110 cm.This work is modelled on the painting by Titian which belongs to the collection of the Alte Pinakothek in Munich. The work in question, which depicts the Virgin and Child accompanied by a donor, belonged to the collection of Archduke Leopold Wilhelm and later to that of John Wilhelm of Düsseldorf. Titian created this piece as one of a larger series of images produced around 1514 that depicted sacred conversations set in a landscape.In this piece the artist follows Titian's guidelines faithfully, dividing the space in two, showing an enclosed area and the right-hand area of the scene open to the landscape. The Child, slightly displaced from the centre of the scene, holds his mother's neck, but looks towards Saint John the Baptist, who has his back to the viewer, showing an anatomical composition clearly inspired by Michelangelo. The Virgin, located in the centre, looks at the donor who kneels before her in a devout attitude.
Spanish school; circa 1600."Calvary".Oil on canvas. Re-drawn.It presents faults on the pictorial surface.It has a 19th century frame with faults.Measurements: 128 x 89 cm; 141 x 103 cm (frame).This piece follows the models of the Calvary painted by Michelangelo Bounarroti, which was later collected in the engraving by Domenico Custos (1560-162). Michelangelo was inspired by the Laocoön to create the face of Christ, so that he endowed the figure of the Redeemer with the same exacerbated posture. The original work is in Logroño Cathedral.This canvas shows the Crucifixion with the Virgin, Mary Magdalene and Saint John the Evangelist at her feet. In Western art, the representation of Christ on the cross was preferred, as a narrative scene, and the figure of Saint John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.
AFTER MICHELANGELO BUONARROTI (ITALIAN, 1475-1564), A BRONZE MODEL OF LORENZO DE' MEDICILATE 19TH CENTURY, POSSIBLY F. BARBEDIENNE FOUNDRYPortrayed in armour and seated, his head turned to dexter, being a copy from the tomb of Lorenzo de' Medici, Duke of Urbino, in the New Sacristy of San Lorenzo, Florence44cm highProvenance: Private Collection, Oxfordshire. Purchased from Mallams in 2007Cf. examples sold at Christies and Bonhams of this figure each marked for the renowned foundry.
Bronze nach Michelangelo"Bacchus", 20. Jh. Braun patiniert. Stehender männl. Akt m. Weinranken im Haar, in d. erhobenen Hand eine Trinkschale, in d. herabhängenden eine Tuchdraperie haltend, in d. weitere Trauben versteckt sind, wovon ein hinter ihm sitzender Faunknabe nascht. Auf Felssockel, verso bez. "Michelangelo", Garantiemarke "Bronze Garanti Paris, J.B. Déposée". Auf schw. Marmorsockel. Oberflächen teils minim. berieben. Ges.H 57,7 cm Nach d. Skulptur v. Michelangelo (um 1497), im Museo Bargello, Florenz.Akt, Faun, Florenz, Marmorsockel, Renaissance, Wein
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