We found 1011 price guide item(s) matching your search

Selection of various 19th/20thC plates Copeland "The Pine Warbler", Adams Titian Ware, Wedgewood Catherine Shape and a large cup unmarked.Condition ReportAll items with wear, crackle to glaze all commensurate with age. Cup a/f.

NO RESERVE Exhibition handbill.- Mr. Day's Ancient Pictures and Casts, now on exhibition and sale at the Egyptian Hall, Piccadilly, printed recto only, vertical fold, creased, trimmed, 200 x 120mm., no printer, [c.1822].⁂ A rare survival. Includes Michelangelo, Raphael and Titian.

A mixed collection of decorative and collectable pottery and porcelain, late 19th and 20th century, including a Carlton Ware butterfly girl, a Hancock & Sons Titian Ware candlestick, a similar Cherry Ripe pattern vase, height 24cm, a Beswick horse Spirit of Freedom and two John Barleycorn Doulton character jugs (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Midwinter "Stylecraft" jug, a Royal Adams "Titian Ware" shaped plate, a Royal Winton Grimwades plate, a Honiton bulbous jug, other jugs, assorted plates, a Copeland part dinner service and other items

A QUANTITY OF PRINTS AND NEEDLEWORK PICTURES ETC, to include 'The Peasant Wedding' by Pieter Bruegel the Elder, approximate size 80cm x 115cm, 'Butter Cross - Ludlow' by Louise Rayner, 'The Cornfield' and 'Flatford Mill' by John Constable, 'A Man with a Quilted Sleeve' by Titian, Barbara Tate still life study of flowers in a glass vase, Abraham Mignon 'Still life with snails and monkey', together with other assorted prints and still life wool work pictures etc

After RAPHAEL DE SANZIO (Italy, 1483 - 1520); 19th century"Madonna of the Chair.Oil on canvas. Re-drawn.It presents slight faults in the canvas caused by the passage of time.Measurements: 24,5 x 24,5 cm; 32 x 33 cm (frame).This 19th century painting is a version of one of the best known works of the great Renaissance artist Raphael Sanzio, "Raphael", the "Madonna of the chair", conserved in the Palazzo Pitti in Florence. It is in fact a group of the Virgin and Child in her arms, accompanied by Saint John Child, a representation that combines a devotional character with the tenderness evoked by the mother with the two little ones. This dual character explains the extraordinary success of this type of representation throughout the Renaissance and Baroque periods. Although on many occasions the group of figures is set in a landscape, often accompanied by other figures such as Saint Anne or Saint Joseph, Raphael chose to place his figures in an interior of which, however, he offers no details, limiting himself to setting the scene with a sturdy carved wooden chair that later gave the work its popular name. According to an anecdote handed down by various historians, Raphael would have been inspired for this beautiful figure of Mary by a humble peasant woman whom he had seen tenderly embracing her son on a walk in Velletri. Struck by the girl's beauty, he immediately made a chalk sketch that he would later use for this and other compositions. Raphael's work is in tondo format and was painted approximately between 1513-1514, during the artist's Roman period. It reveals a new warmth in both the composition and the colour range that differs from that used throughout the artist's Florentine period, probably due to the influence of Titian, among others. The artist respects the general lines of the Renaissance master's composition, although he chooses a rectangular format for his work, and adopts a somewhat warmer colour range, with a marked chiaroscuro and very well-defined volumes.

A FOLDER OF FOUR BLACK AND WHITE ETCHINGS BY LUDOVICO CARACCIOLO (1746-1841), depicting Italianate landscapes, after Claudio Di Lorena (Claude Lorrain), 20.5 x 27 cm together with FRANCESCO BARTOLOZZI (1727-1815). 'Triumph of Mercy', 'Cornelia', 'Mother of The Gracchi', 'Prospero disarming Ferdinand' and 'Pipe Players', engravings and ALPHONSE LEROY (1820-1902). Man leaning against a wall holding a halberd, after Titian, engraving, stamped Louvre Gallery, 38 x 27 cm

Van Dyck (Anthony, 1599-1641). Christ crowned with thorns (also known as The Reed Offered to Christ), circa 1631, etching and engraving on laid paper, bears watermark, the second state, with printed inscription at foot: Anton Van Dyck invenit et fecit aqua forti, and with the privilege: Cum privilegio, without the publisher's name Bon Enfant, a very good well-inked dark impression, trimmed near the plate mark to left and bottom margin, upper and right blank margins retained, sheet size 272 x 227 mm (10.75 x 9 ins), mounted on later grey-blue backing paper (glued at top and bottom edge only)QTY: (1)NOTE:Hollstein 20, state 2 (of 8); New Hollstein 519, state ii/ix.Of Van Dyck's 19 etchings 17 are portraits, the exceptions being Titian and his Mistress and the present work.

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 Tiziano Vecellio, called Titian, Italian c.1485-1576- River landscape with a boy leading a horse, a man seated in the foreground; pen and brown ink on laid paper laid down on cream paper, inscribed 'Titiano' (lower right), 33.4 x 44.2 cm. Provenance: The estate of the late designer Anthony Powell. Note: A 17th-century rendering of the original etching by Titian (see National Gallery, Washington DC no 1972.65.21). See, also, Jane Martineau and Charles Hope, eds., The Genius of Venice, 1500–1600, exh. cat. (London: Royal Academy of Arts, 1983), 341–42, p.44. Please refer to department for condition report

VALENTIN LEFEBRE (BRUSSELS 1637-1677 VENICE)The abduction of Europa (after Titian), [1682]etching210 x 300 mm Together with five other prints: title plate from Athanasius Kircher's Mundus Subterraneus, etching, trimmed, 210 x 295mm, 1664; Raymond Lafage, Bacchanale, etching, c.1680; Francesco Zucchi and Nicola Grassi, Saints, etching and engraving, 170x240mm, After Rembrandt, Faust in his study, etching, 171 x 131mm, a 19th-century impression mounted on a card on the reverse of the previous print; After Dürer, St. Hubert, a photogravure. (6)*For a condition report and high-resolution images of this lot, please contact the Paintings Department at paintings@chiswickauctions.co.uk

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.

Circle of MATEO CEREZO (Burgos, 1637-Madrid, 1666)."Penitent Magdalene".Oil on canvas. Re-retouched.It presents repainting and restorations.Measurements: 103 x 85 cm.In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed with a jet robe, on which the red tone of the cloak stands out. Although it is an unusual feature, the young woman, who appears to be absorbed in the Scriptures, does not have long, flowing hair, which alludes to the style of the young woman's life before she met Christ. The saint is depicted next to a perfumer, the Holy Scriptures and the skull. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The work of this artist from Valladolid has also been identified as Cerezo's descendant, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.

RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999).Untitled.Wax on paper.Slight damage to the frame.Signed in the lower right corner.Measurements: 30.5 x 20 cm; 45.5 x 34 cm (frame).Rafael Alberti was a writer and poet belonging to the Generation of '27, considered one of the greatest writers of the so-called Silver Age of Spanish literature. He received numerous prizes and awards, including the National Poetry Prize (1925), the Lenin de la Paz (1965), the National Theatre Prize (1980), the Cervantes Prize (1983) and the Roma Prize for Literature (1991). He renounced the other great Spanish literary award, the Prince of Asturias, because of his strong republican convictions. Rafael Alberti's first vocation was painting, but his real discovery of this art came in 1917, when he moved to Madrid with his family and visited the Prado Museum for the first time. He first exhibited his work in 1920 at the Salón de Otoño in Madrid, and two years later he exhibited at the Athenaeum in the same city. His painting was characterised by the fact that it was not his definitive path, since after the death of his father, he began to write his first verses. As a writer, Alberti enjoyed great success from the beginning of his career, but at first his success was linked to artistic prestige, as he was still financially dependent on his family. The new literary magazines accepted and wanted to publish his works. He was also beginning to make friends within the circle known today as the Generation of '27. He began to write in a style that was not only more formally demanding, but also allowed him to be more satirical and dramatic. From then on, his life gradually opened up to what would become the centre of his inspiration, poetry, without ever completely abandoning his vocation as a painter. Among his last works is A la pintura ('On Painting') (1945). These reflect his intellectual activity during his exile, as Alberti returned to painting and began a series of poems to bring together his thoughts on painting. A subject to which he continued to devote himself for many years. Among these poems dedicated to painting he wrote a series of sonnets on the retina, the hand, the canvas, the brush, etc.; a series of short poems in free verse on colours; and finally a series of poems in homage to various painters such as Titian, El Greco and others.

A Sèvres blue-ground portrait cup and saucer (tasse à chocolat AB et soucoupe), dated 1825-27Painted with the portrait of François I, King of France, titled above, after the painting by Titian, within an oval panel surrounded by formal gilt borders heightened with platinum against a blue ground, gilt and platinum borders to the rim and footrim, applied with an elaborate gilt scroll handle, the saucer with a gilt flowerhead and similar gilt and platinum borders, the cup: 12.2cm high; the saucer: 15.7cm diam., interlaced LL monogram enclosing a fleur-de-lys/25 and 27 stencilled in blue, the saucer dated 25 9.bre 23 in green, the cup dated 29 av 24 E in green, both with gilders' and incised marks (handle restuck)Footnotes:Provenance:Collection Manoel A. S. Braga (paper label to reverse of saucer)The plaster model for this shape still exists; illustrated by Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen, vol. III (2009), p.1035.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

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

Blenheim Palace. Manuscript inventory & valuation report by Bigwood Auctioneers, Birmingham, conducted in February & March of 1886. The changing fortunes of Blenheim Palace are well-documented during this period, when a number of important works were sold off at auction - which some see as the launching of the antiques trade. This document records the various objects passing under the will of the late George, Duke of Marlborough, and the Resettlement of the Blenheim Estates made on 14 July 1866. The inventory records the household furniture, pictures & prints, tapestry, plate, and china within the various rooms and passages. Of note is an altarpiece of the Madonna by Raphael, which is scored through as sold [the Ansidei Madonna now in the National Gallery, described as "one of the most perfect pictures of the world" in Ruskin & Cook's Popular Handbook]; a self-portrait by Rubens, with wife Helena Fourment & child, scored through as sold [now in the Metropolitan Museum of Art]; a large portrait of Charles I on Horseback, scored through as sold [now in the National Gallery]. Other paintings are recorded by Rembrandt, Tintoretto, Da Vinci, van Dyck, Titian, Reynolds, Teniers, Kneller, and others. Occasional pencil notes in margins referring to the famous Christie's sale of the same year (July, 1886). Small folio, bound in dark purple straight-grain morocco lettered in gilt, marbled endpapers, 185pp., plus some loosely-inserted cataloguing notes. Contents well-preserved with some light handling marks; leather binding worn but solid

Old Master drawing. The Destruction of Pharaoh's Host in the Red Sea, unsigned, pen, brown ink & wash, 35cm by 70cm, framed & glazed, bearing label verso, Hal O'Nians, Old Master Drawings, 25 November - 17 December 1964, with a catalogue entry, numbered 126, attributing the piece to (School of) Titian, and describing it as a 'preparatory study for the varying composition engraved in an outsize woodcut by Domenico delle Grecche in 1539', also two barcode labels, 'Old Master Drawing'. Toning, fold-lines, wear & slight loss, unexamined out of frame

After Lorenzo Bartolini (1777?1850), an alabaster, Reclining Venus, the composition inspired by Titian, 33cm long

A COLLECTION OF ITALIAN ARTISTS / PAINTERS ILLUSTRATED REFERENCE BOOKS, to include Botticelli, Claude Lorrain, Caravaggio, Lorenzo Lotto, Leonardo da Vinci, Titian, Correggio and Raphael (18)

ALPHONSE LEROY (1820-1902). Man leaning against a wall holding a halberd, after Titian, engraving, stamped Louvre Gallery, 38 x 27 cm

French school of ca. 1730."The nymph Callisto seduced by Jupiter in the form of Diana".Oil on canvas. Relined.Size: 82 x 83.5 cm; 106 x 106 cm (frame).The gestation of the rococo painting takes place in France during the period of the Regency of Philip of Orleans (1715-23), having its stellar period during the reign of Louis XV (1723-74). The style represented the "discovery of freedom", the main idea of the society of the time. It was a hedonistic style of painting, centred on formal beauty and pleasant subjects, reflecting contemporary high society. In contrast to the thematic and formal rigour of the Baroque, Rococo represented colour and sensuality. One of the favourite themes par excellence during this period was love, which became a society game in which the libertine acted as a virtuoso. The game is broken down into four figures: choice, seduction, fall and rupture, all developed at a very fast pace. In the case of this painting, the scene depicted corresponds to the second moment, that of seduction, which was by far the favourite one for painters. The scene depicts the deception of the god Jupiter by the nymph Callisto, an episode narrated by Ovid in the Metamorphoses (Book II). Callisto, a nymph of great beauty and a member of Diana's retinue, was seduced by Jupiter, who took on Diana's features. Pregnant, the nymph tried to hide her condition from the goddess, who, a virgin herself, forced her companions to remain celibate. Jupiter turned her lover into a bear to spare her from punishment but, discovering the deception, Diana shot her with arrows. On her death, Callisto was taken to heaven by Jupiter, who placed her among the constellations and named her Ursa Major. Thus, the composition shows the goddess Diana, goddess of the hunt, with the fourth moon on her head and a quiver on her back. Next to her, Cupid (carrying the bow and arrows) rests on an eagle.The elements indicated are those that help to identify the two figures. Diana, in ancient Roman mythology, was the virgin goddess of the hunt, associated with animals and wild lands (forests, jungles...) and, later, supplanting Luna as the goddess of the hunt (which is why her attributes include the crescent quarter). Callisto was sometimes described as a nymph, and classical mythology considered her to be the daughter of the Pelasgian king Lycaon, as well as part of the court of Artemis or Diana. Ovid ("The Metamorphoses") records one episode in particular that reflects the relationship between the two: it would show here the moment when the goddess discovers that her maiden has become pregnant by Zeus (Jupiter in Roman mythology), who had transformed himself into Diana to get closer to the nymph; or, perhaps, the very moment of the impersonation. This theme has been treated by masters such as Rubens, Dosso Dossi, Palma the Elder, Gaetano Gandolfi, Guglielmo della Porta, Titian (two versions), Boucher, Federico Cervelli, Nicolas René Jollain, etc.

LUCA GIORDANO (Naples, 1634 - 1705)."Saint Mary Magdalene.Oil on canvas.Period frame.Size: 78 x 60,5 cm; 76,5 x 94,5 cm (frame).At the buyer's request, this lot can be enclosed with a copy of the certificate corresponding to the opinion nº80-177 signed by Mr. Gudiol on October 23, 1980, the original of which is in the Archives of the Institut Amatller.The present composition is undoubtedly the work of the great 17th century Neapolitan artist Luca Giordano, and can be related to the canvases of the same subject housed in the Museo del Prado, the Wallraf-Richartz Museum in Cologne and the Museo Soumaya in Mexico City. Formally, the painting is characterised by the economy of means used to achieve the expressive and luminous effect, by the chromatic synthesis and by the skilful anatomical modelling. Giordano was also influenced by José de Ribera, in whose workshop he trained during the early years of his career, and by the Caravaggesque style he learned during his time in the Eternal City. The present Magdalen is a faithful exponent of Giordano's painting and represents one of the most profusely worked themes of the period: Mary Magdalen in a dark grotto, with the crucifix (symbol of her loyalty to Christ), the prayer book (her link with God) and the Skull (symbol of the fleetingness of life). The saint's uncovered breast stands out, only partially covered by her very long blonde hair, and her eyes filled with tears as she claimed the truth of her repentance. This mode of representation (with the breast visible) was already used by Titian in his famous canvas in the Pitti Palace in Florence.Luca Giordano was the foremost Neapolitan painter of the late 17th century and one of the leading representatives of the late Italian Baroque. A painter and engraver known in Spain as Lucas Jordán, Giordano enjoyed great popularity during his lifetime, both in his native Italy and in Spain. However, after his death his work was often criticised for its speed of execution, which was at odds with the Greco-Latin aesthetic. It is thought that he trained in the circle of Ribera, whose style he initially followed. However, he soon travelled to Rome and Venice, where he studied Veronese, whose influence is evident in his work. This trip was key to the maturing of his style, as were the influences of other artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona. In the late 1670s Giordano began his large-scale mural decorations (Montecassino and San Gregorio Armeno in Naples), followed from 1682 onwards by other projects, including the mural paintings in the gallery and library of the Palazzo Medici Ricardi in Florence. In 1692 he was called to Madrid to paint murals in the monastery of El Escorial, where he worked from 1692 to 1694. He then painted the office and bedroom of Charles II in the Royal Palace of Aranjuez, and after these he undertook the paintings of the Casón del Buen Retiro (ca. 1697), the sacristy of Toledo cathedral (1698), the royal chapel of the Alcázar and San Antonio de los Portugueses (1699). However, royal commissions ceased with the arrival of Philip V in 1701 and the beginning of the War of the Spanish Succession, and Giordano returned to Naples in 1702, although from there he continued to send paintings to Spain. Today Giordano's works are housed in the most important art galleries throughout the world, including the Prado, the Hermitage in Saint Petersburg, the Louvre in Paris, the Kunsthistorisches in Vienna, the Metropolitan in New York and the National Gallery in London.

AFTER RAPHAEL (1483-1520). The Virgin and Child, oil on metal, 15½ x 12in; together with an oil painting after Titian depicting Lavinia holding a bowl of fruit; two (2)

A Mattel Swirl Ponytail Barbie doll, with blonde hair (greening to ears); a few Barbie outfits including dress from red Sheath Sensation and dress from Student Teacher; and other manufactured Barbie size outfits; a Mattel Skipper with titian hair, dress, jacket and socks from Town Togs and others

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.

School of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645)."Lamentation before the Dead Christ".Oil on canvas.Re-retouched.It has repainting and restorations.Frame of the 19th century.Measurements: 33,5 x 25,5 cm; 45 X 35 cm. (frame).In this canvas the painter is interested in approaching the theme of the Lamentation in a naturalistic way. The lifeless body of Christ has been taken down from the Cross and placed on a white shroud. Before being buried, the Virgin, Magdalene, John and Joseph keep vigil beside him in the dark night. The variety of attitudes, the expressiveness of the countenances, the strong chiaroscuro... are aspects that identify a baroque tenebrist style. Due to its technical characteristics, it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was a very successful artist in his time, admired as a follower of the formulas of the famous family of Venetian artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano family's pictorial manner, but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output, the painter must have had a very well-constituted workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, etc.

Italian school, late 18th century.Male portrait.Oil on canvas.Re-drawn.Frame of the 19th century.Measurements: 65 x 57 cm; 59 x 50,5 cm (frame).Male bust of naturalistic character, in which an expressive and extremely plastic palette has been used, based on strong contrasts between warm and cold tones. Wearing a beret, the figure is partially hidden behind a long beard of grey hair. His tanned skin, modelled with side lighting, emphasises his angular features. The influence of Venetian art can be seen in the treatment of light, as Venice is an enclave with a long tradition of portraiture, from the 16th to the 18th century, from Bellini to Giorgione and Titian to Giorgione. In particular, the legacy of Giorgione's vivid portraits of humble characters and old women can be appreciated,

A fine straw work snuff box, circa 1700 Of shallow circular form, the lid intricately and finely worked with a scene depicting Diana and Callisto, portraying the moment when the goddess Diana, patroness of hunters, discovers her maid Callisto is with child by Jupiter, the Roman King of the Gods See the painting by the late Renaissance master, Titian, ‘Diana and Callisto’ (c.1556-59) purchased by the National Gallery, London and the Scottish National Gallery, Edinburgh in 2012. Diameter 9cm  Some losses to straw work. Lid with vertical lines. Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com

A 19th Century alabaster / white marble panel depicting a scene by Titian entitled Diana & Callisto which shows the moment the Goddess Diana discovers that her maid Callisto has become pregnant by Jupiter. Set within a stepped oak frame with gilt slip.

Full title: A large Dutch Delft blue and white 'Venus and Adonis' jardinire, 1st half 18th C.Description:H.: 38 cm - Dia.: 30 cmÊ Provenance: - A Dutch private collection.-Exhibited at TEFAF.Ê This urn-shaped jardiniere or flower vase is sometimes referred to as 'Medici' vase. The Medici Vase is a monumental marble bell-shaped krater sculpted in Athens in the second half of the 1st century AD as a garden ornament for the Roman market. It is now in the Uffizi Gallery in Florence. Ê Oak leaves are the primary ornament surrounding the central medallions, which hold two representations: Venus and Adonis with two dogs on one side, and a shell-shaped fountain with three putti on the other. The representation of Venus and Adonis goes back to the mythological story of Venus and Adonis as described by Ovid in his 'Metamorphoses'. Venus, the goddess of love, was in love with the beautiful Adonis, yet warns him to be careful when hunting: "... Come on, boy, be not reckless at the expense of my love, do not hunt animals that be armed! Your glory has been paid too dearly for me. Those charms of yours, that youth with which you dazzle me, there is no bristle hog, no lion, no animal that lets eye or heart be tamed by it"To the great chagrin of Venus, Adonis is eventually killed by a wild boar while hunting. Pictured here, we see the moment Venus warns Adonis of the perils of the hunt, as Adonis breaks away from his resisting lover. In the depicting tradition, in 1554, Titian was one of the first to depict this moment in the history of Venus and Adonis.The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

School of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645)."Lamentation before the Dead Christ".Oil on canvas.Re-retouched.It has repainting and restorations.Frame of the 19th century.Measurements: 33,5 x 25,5 cm; 45 X 35 cm. (frame).In this canvas the painter is interested in approaching the theme of the Lamentation in a naturalistic way. The lifeless body of Christ has been taken down from the Cross and placed on a white shroud. Before being buried, the Virgin, Magdalene, John and Joseph keep vigil beside him in the dark night. The variety of attitudes, the expressiveness of the countenances, the strong chiaroscuro... are aspects that identify a baroque tenebrist style. Due to its technical characteristics, it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was a very successful artist in his time, admired as a follower of the formulas of the famous family of Venetian artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano family's pictorial manner, but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output, the painter must have had a very well-constituted workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, etc.

Italian school, late 18th century.Male portrait.Oil on canvas.Re-drawn.Frame of the 19th century.Measurements: 65 x 57 cm; 59 x 50,5 cm (frame).Male bust of naturalistic character, in which an expressive and extremely plastic palette has been used, based on strong contrasts between warm and cold tones. Wearing a beret, the figure is partially hidden behind a long beard of grey hair. His tanned skin, modelled with side lighting, emphasises his angular features. The influence of Venetian art can be seen in the treatment of light, as Venice is an enclave with a long tradition of portraiture, from the 16th to the 18th century, from Bellini to Giorgione and Titian to Giorgione. In particular, the legacy of Giorgione's vivid portraits of humble characters and old women can be appreciated,

Fünf Teile eines Services mit Dresdner GemäldekopienPorzellan, kobaltblauer Unterglasurfond, farbiger Aufglasurdekor, Vergoldung und Reliefgold. Bestehend aus Kaffeekanne (Deckel verloren), Teekanne und Zuckerdose mit Deckeln, Tasse mit UT. Alle Teile dekoriert mit Ovalreserven um äußerst fein gemalte Kopien berühmter Gemälde von Tizian, Raffael, Anthonys van Dyck und Francesco Albani. Unterseitig jeweils schwarz beschriftet. Unter der Kaffeekanne bspw.: "d'après l'original de Titian dans la Gallerie de Son Altesse Electorale de Saxe." Blaumarke Schwerter mit Stern, Dreherzeichen "47" (Kaffeekanne), "24", "3" und "B" (UT), unterglasurblaues Malerzeichen "4". Metallmanschette über Abbruch an der Tülle der Teekanne, Retuschen und Restaurierungen. Kaffeekanne H 15,1, Zuckerdose mit Deckel H 10,7 cm.Meissen, um 1775/80.Nicht alle auf dem Service reproduzierten Gemälde befinden sich heute noch in der Gemäldegalerie Alte Meister der Staatlichen Kunstsammlung Dresden, die die kurfürstlich sächsische Sammlung beinhaltet. Eine, vielleicht die berühmteste Vorlage, Raffaels "Sixtinische Madonna" von 1512/13 (Inv. Nr. Gal.-Nr. 93) mit den oft kopierten raffaelitischen Engeln am unteren Bildrand, gehört immer noch, seit 1745, zum Bestand. Tizians "Venus, von Amor bekränzt, zu ihren Füßen einen Lautenspieler", 1731 durch Baron Raymond de Leplat für Kurfürst Friedrich August I. erworben, gilt seit 1945 als vermisst (Inv. Nr. Gal.-Nr. 177). Das Gemälde "Danae und der goldene Regen" wurde 1723 durch Kurfürst Friedrich August I. von Sachsen als ein Gemälde von Anthonis van Dyck erworben. Erst später erfolgte die Zuschreibung an den Zeitgenossen Gillis Backereel. Heute gilt das Bild als vernichtet, verbrannt im Zweiten Weltkrieg. Die Darstellung von "Amor und Venus mit der Fackel" geht auf ein Ölgemälde auf Kupferplatte namens "Amorettentanz" von Francesco Albani zurück, entstanden 1640 (Inv. Nr. Gal.-Nr. 337). Es kann als einziges Gemälde neben Raffaels Madonna in der Dresdner Galerie heute noch bewundert werden.ProvenienzSammlung Dr. Annedore Müller-Hofstede.

After Titian, a late 18th Century / early 19th Century oil on wooden panel of Renaissance style depicting an assassination attempt. Unframed. Some heat damage. Overall size 25.5cm x 19cm

After Titian (Italian, ca. 1488-1576). Oil on canvas reproduction of Titian's "Sacred and Profane Love," ca. 19th c., depicting two women and a child leaning against a sarcophagus.Unframed; height: 22 1/2 in x width: 52 in. Framed; height: 36 in x width: 64 in.

Manner of Jean-Jacques Boissard, 18th CenturyFive Noblewomen each inscribed 'NOVA NVPTA ROMANA', 'NOBILIS FAEMINA ARAMANA', 'NobiLis FAEminA PISANA', 'NOBiLis FAEMina Vicentina' and 'CAMILLA SOLYMAnni TVRCArVm IMP. FILIA' (lower centre)five of a set, oil on panel, arched tops149.5 x 47.2 (58 7/8 x 18 5/8 in.), 149.5 x 38.2 (58 7/8 x 15 in.), 149.5 x 47.5 (58 7/8 x 18 ¾ in.) and 149.5 x 47.5 cm. (58 7/8 x 18 ¾ in.) (5)Footnotes:These unusual portraits are derived from Boissard's engravings that were published in 1581 in the costume book entitled Habitvs variarum orbis gentium. Boissard was a poet and illustrator who travelled widely in Europe and the Greek islands. His original plates depicted figures from various levels of society and regions across Europe, Asia and Africa. The present portraits entitled CamillA Solymanni TvRCArVm ImP. FILIA and NOBILIS FAEMINA ARAMANA appear to have been directly derived from Boissards's figures entitled Nobilis faemina ex Caramama and Camilla Solymanni Turcarum imperatoris filia respectively.The West's fascination with Ottoman imagery began with Gentile Bellini, who travelled to Constantinople to portray Sultan Mehmet II in 1479–80; while Vasari reported that Titian, despite never visiting Constantinople, completed portraits of both Hurrem and Mihrimah in the 1550s, images that were copied in great number and played a decisive role in shaping the European image of the Ottoman elite.This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

After Tiziano Vecellio, called Titian, 19th CenturyThe Madonna of the Rabbit oil on panel69.8 x 85.3cm (27 1/2 x 33 9/16in).Footnotes:Provenance Private Collection, UK, since before 1934 The present work is after Titian's original, now in the Musée du Louvre, Paris.For further information on this lot please visit Bonhams.com

Langley (John) [I E Thomas] - The Works of the Famous Antiquary Poidore Virgil Compendiously English't..., etched portrait, woodcut letters and ornaments, ownership signatures to fse (W Ford Manchester and J L Philips 1805) later diced calf, spine gilt with green label, worn and dry, shaved, 8vo, London: Simon Miller [probably 1659 or 1663], Sampson Erdeswick and Thomas Harwood - A Survey of Staffordshire Containing the Antiquities of that County..., contemporary half calf, Westminster: Nichols & Son, 1820, [Anna Eliza] Mrs Bray - Life of Thomas Stothard RA, later crushed half morocco by Hatchards, London 1851, Charles James Fox - A History of the Early Part of the Reign of James the Second, with errata slip, contemporary calf, London 1808, James Northcote - The Life of Titian, two volumes, contemporary calf, London 1830 and six others (12)

Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645)."Allegory of Winter".Oil on canvas.It has repainting and restorations.It has a frame following ancient models.Sizes: 144 x 162 cm; 156 x 174 cm (frame).In the foreground, the author structures two groups of characters; in the right zone a young man climbed on a ladder gathers firewood, while in the lower zone another one seems to carry a bundle with the branches provided by his companion. At the other end of the image several people are gathered around a fire, two children, a woman and a man, all of them trying to keep warm. In the background, a couple distribute the food and finally three figures can be seen who appear to be hunting, one with a shotgun and two with falcons that facilitate this practice. Finally, the scene is completed with a landscape and a large mountain in the background. The figures are notable for their large size and the roundedness of their forms, making them stand out from the landscape.Due to the technical characteristics of the work, it should be mentioned that it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was a highly successful artist in his day, admired as a follower of the formulas of the famous family of Venetian artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano family's pictorial manner, but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output the painter must have had a very well-established workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, etc.

NOLAND KENNETH: (1924-2010) American painter. A.L.S., Kenneth Noland, one page, folio, n.p. (New York), 6th November 1972, to Lawrence Diefenbach. Noland states that he has been building a new studio and moving from his old one and has therefore not had the time to reply earlier although hopes that his correspondent's exhibition was a success, continuing 'I don't think that an autograph or an autographed photograph would have added to your exhibit, but I did want to let you know how much I appreciate your effort', and further writing 'You asked me which one artist that I consider has influenced my work the most. I would have to say Paul Klee. I studied his work the most. There are many others, Matisse, Picasso, Pollock and the older masters especially Titian'. Accompanied by the original envelope hand addressed by Noland. Together with Allan D'Arcangelo (1930-1998) American artist and printmaker. A.L.S., Allan M D'Arcangelo, one page (folding air mail stationery), 8vo, n.p. (Ithaca, New York), 17th May 1968, to Dr. F. Schweighofer. D'Arcangelo writes, in full, 'I believe I already sent you a sample of my handwriting but since I am so interested in your project I am sending another sample. Best wishes to you in your research'. Hand addressed by D'Arcangelo to the verso. Some light age wear and creasing, about VG, 2

Vera Watson, watercolour, Titian beauty, image 42cm x 38cm, framed

A Part Titian ware Dinner Service, Maytime Pattern

A GROUP OF EUROPEAN ART & ARCHITECTURE BOOKS Consisting of six titles: The Greatest Masters - Giotto, Botticelli, Leonardo, Raphael, Michaelangelo, Titian Rome Art & Architecture - Marcoussagli (Ed.) The Art of the Italian Renaissance - Rolf Toman (Ed.) The Art of Florence Vol I & II - First Artabras Edition, copyright 1988 The Great Book of French Impressionism - Dane Kelder, 10th printing, Artabras Largest book 32.5 high x 28 wide x 5cm deep Condition: Minor signs of wear commensurate with age and use

Paolo Veronese, auch „Paolo Caliari“,1528 Verona - 1588 Venedig, Kreis desVenus und AmorÖl auf Leinwand. Doubliert.150 x 200 cm.In vergoldetem Prunkrahmen.Unter freiem Himmel, unterhalb eines schweren roten Brokatvorhangs, der links und rechts von vergoldeten Karyatiden flankiert ist, auf einem glänzenden weißen Tuch liegend, die schöne nackte Venus mit leicht überkreuzten Beinen. Sie hat sorgsam frisiertes Haar, trägt einen Perlenohrring und einen wertvollen, mit Edelsteinen besetzten goldenen Reif um ihren linken Unterarm. Ihren Oberkörper hat sie leicht auf ein weißes Kissen mit Quasten abgestützt, während sie ihre Beine nach links halb ausstreckt. Vor ihr, ihr kleiner Sohn Amor mit Flügeln, aus ihrer Beziehung mit Mars, einen Bogen in seinen Händen und einen Köcher mit Pfeilen auf seinem Rücken tragend, der auf sie herabblickt, während sie ihn aufmerksam beobachtet. Linksseitig fällt der Blick in eine Landschaft mit hohen Bäumen unter blauem Himmel mit großen weißen Wolkenformationen. Die bekannteste Darstellung der liegenden Venus geht auf Tizian zurück, dessen Venus von Urbino aus dem Jahr 1538 zahlreiche Parallelen, wenn auch spiegelverkehrt, zu dem hier vorliegenden Werk aufweist. Ebenso findet sich auch eine Darstellung mit „Venus und Armor“ in seinem Werk. Das Thema „Venus und Amor“ war bei zahlreichen berühmten Malern beliebt, dazu gehören Lucas Cranach d.Ä. (1472-1553), Alessandro Allori (1535-1607) und Peter Paul Rubens (1577-1640). Teils rest., teils Retuschen.Provenienz:Aus der Sammlung Italico Brass, Venedig, 20. JahrhundertAnmerkung:Der Künstler gilt als einer der bedeutendsten Meister der Spätrenaissance und der venezianischen Malerei. Er wurde 1553 nach Venedig berufen, um zusammen mit anderen Künstlern drei Säle im Dogenpalst zu dekorieren; von 1556 bis 1557 schuf er mit anderen drei Deckengemälde der Biblioteca Marciana, für die er einen Preis aus den Händen Tizians erhalten haben soll. Er malte neben Portraits mythologische Bilder oft mit erotischem Einschlag, insbesondere mehrere Darstellungen von Venus und Mars. 1588 starb er an einer Lungenentzündung. (1300431) (2)Paolo Veronese, also known as “Paolo Caliari”, 1528 Verona - 1588 Venice, circle ofVENUS AND CUPID Oil on canvas. Relined.150 x 200 cm.In gilded frame.The best-known depiction of the reclining Venus is by Titian, whose “Venus of Urbino” from 1538 shows numerous parallels to the present painting, although being mirror inverted. There is also another depiction of “Venus and Cupid” in his oeuvre. The subject of “Venus and Cupid” was popular with numerous famous painters, including Lucas Cranach the Elder (1472-1553), Alessandro Allori (1535-1607) and Peter Paul Rubens (1577-1640). Partially restored, with areas of retouching.Provenance:From the Italico Brass collection, Venice, 20th century.

After RAPHAEL DE SANZIO (Italy, 1483 - 1520); 19th century"Madonna of the Chair.Oil on canvas. Re-drawn.It presents slight faults in the canvas caused by the passage of time.Measurements: 24,5 x 24,5 cm; 32 x 33 cm (frame).This 19th century painting is a version of one of the best known works of the great Renaissance artist Raphael Sanzio, "Raphael", the "Madonna of the chair", conserved in the Palazzo Pitti in Florence. It is in fact a group of the Virgin and Child in her arms, accompanied by Saint John Child, a representation that combines a devotional character with the tenderness evoked by the mother with the two little ones. This dual character explains the extraordinary success of this type of representation throughout the Renaissance and Baroque periods. Although on many occasions the group of figures is set in a landscape, often accompanied by other figures such as Saint Anne or Saint Joseph, Raphael chose to place his figures in an interior of which, however, he offers no details, limiting himself to setting the scene with a sturdy carved wooden chair that later gave the work its popular name. According to an anecdote handed down by various historians, Raphael would have been inspired for this beautiful figure of Mary by a humble peasant woman whom he had seen tenderly embracing her son on a walk in Velletri. Struck by the girl's beauty, he immediately made a chalk sketch that he would later use for this and other compositions. Raphael's work is in tondo format and was painted approximately between 1513-1514, during the artist's Roman period. It reveals a new warmth in both the composition and the colour range that differs from that used throughout the artist's Florentine period, probably due to the influence of Titian, among others. The artist respects the general lines of the Renaissance master's composition, although he chooses a rectangular format for his work, and adopts a somewhat warmer colour range, with a marked chiaroscuro and very well-defined volumes.

A fine pair of 19th century Florentine paintings on porcelain circa 1860Superbly painted by hand, one with a 'Titian' lady, the other with Madame Vigee Le Brun, each framed within original carved Florentine giltwood scroll frames18 x 13.75cm ovalQty: 2Condition report: Overall very good condition

FRANK AUERBACH (B. 1931)Portrait of Debbie Ratcliff III 1984 oil on canvas 66 by 66 cm. 26 by 26 in. This work was executed in 1984.Footnotes:Provenance Marlborough Fine Art Ltd., London (no. 35238.6)Acquired directly from the above by the present owner in 1984 ExhibitedVenice, XLII Biennale di Venezia, British Pavilion, Frank Auerbach: Paintings and Drawings 1977-1985, 1986, p. 50, no. 32, illustrated in colourHamburg, Kunstverein; Essen, Museum Folkwang, Frank Auerbach, 1986-1987, p. 72, no. 37, illustrated in colourMadrid, Museo Nacional Centro de Arte Reina Sofía, Frank Auerbach: Retrospectiva, 1954-1985, 1987, p. 68, no. 37, illustrated in colourLiteratureRobert Hughes, Frank Auerbach, London 1990, p. 208, no. 215, illustrated in black and whiteWilliam Feaver, Frank Auerbach, New York 2009, p. 294, no. 505, illustrated in colourFrank Auerbach's Portrait of Debbie Ratcliff III is a masterly and empathetic painting which formed the third of a trio of portraits of his model and muse Debbie Ratcliff that were first unveiled at the 42nd Venice Biennale in 1986, where Auerbach was awarded the Golden Lion, sharing the prestigious prize with Sigmar Polke. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially Auerbach was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive debut solo-shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the School of London, a group that included Lucian Freud and Francis Bacon. Bacon shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human expression. However, despite his affiliation with the School of London artists and comparisons to Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux Arts Gallery until 1963, before joining Marlborough Gallery in 1965. Today his works are amongst the most internationally collected and desirable amongst all living artists. Beautifully positioned within the square canvas, Debbie Ratcliff sits composed and elegant, her angular shoulders asymmetrically filling the composition. Auerbach employs rich swathes of crimson, green hues, and vibrant yellows to build his portrait. There is a meditative, emotional quality to his paint; Auerbach's heavy impasto can take months to build up and scrape back, he paints slowly and methodically revealing an intense observation of his subject. He makes his mark with authority and finality, pushing abstraction to the limit while still capturing the essence of his sitters. Auerbach first met Ratcliff at the Slade School of Art in 1983. He was reportedly drawn to her strongly defined features and initially had her pose reclining on a bed. It was in the second sitting that Auerbach decided to seat her instead on a chair facing him; the pose would continue in all three of these portraits the artist created of her. Over the course of Ratcliff's sittings for him, the two would come to relax in one another's presence, enjoying conversations about art and literature. Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. A true draftsman as well as a painter, his graphic works, his signature thick black lines and the concerted mark-making that he employs give his sitters a flickering quality of energy. His method requires an intimate knowledge, not only of his sitter's physiognomy, but also their temperament and personality and most of Auerbach's sitters posed for him every week, often over many years. Connections were important to Auerbach, who despite the physical immediacy of his brushwork, ultimately undertook long and studied contemplations of his subjects. He has attested to finding himself simply more engaged when he knows the people, as they get older and change, enjoying the process of recording this in paint. Auerbach's portraiture features a number of long-standing sitters, including, his wife Julia, Catherine Lampert, Gerda Boehm, Stella West, 'J.Y.M.' and as seen in this present work, Debbie Ratcliff. Auerbach's distortions in his portraits have been likened to Francis Bacon's figures. However, perhaps unlike Bacon, a warmth emanates from the former's portraits. In Portrait of Debbie Ratcliff III, Auerbach's muse is cast as an impression instead of a likeness. Painting only those whom the artist has formed an intimate bond with, the paintings teeter on incomprehensibility. Auerbach's prolonged engagement with Ratcliff throughout the course of her sittings nonetheless captures a spirit in its fleeting and mercurial beauty. The rapid and vivid strokes perceive an individuality, a humanity. Portrait of Debbie Ratcliff III is a painting of life in action. An individual in the throes of contemplative personal eminence. Frank Auerbach is widely recognised as one of the most inventive and influential painters of the Post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MANNER OF TITIAN (1506-1576) Portrait of a Lady, quarter-length, wearing a white dress, oil on panel, oval, 6 x 4¼in, within a carved wood and gesso frame

After TitianThe Assumption of the Virgininscribed 'J S Lister...bought at Venice, April 1879' verso, oil on canvas laid on board, arched top54 x 29.2cm The original painting is in the Basilica di Santa Maria Gloriosa dei Frari, Venice.Condition report: At the reverse of the painting a wooden panel can be seen with horizontal battens at the top and bottom edges and a butterfly insert securing a split in the panel. This split has not come through to the front surface of the painting, although a concave deformation is visible in this area. The painting was not examined out of the frame but it seems probable that it has been painted onto paper or a fine textile support which has then been laid onto the panel. Drying cracks are evident in many passages of the paint layer, which would have formed as the oil film dried. There are a few scattered losses, although the paint layer appears stable and secure overall. The painting has a thick varnish layer which has yellowed with age and degraded, notably along the lower edge where the varnish is becoming opaque

French school; second quarter of the 19th century."Portrait of a gentleman.Oil on canvas.It conserves its original canvas.Measurements: 51 x 40 cm; 70 x 60 cm (frame).Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.

A vintage 20th century Franklin Mint Thomason Medallic Bible having a collection of 60 medallions portraying various scenes from the bible. Originally printed 1830. Medallins are inspired by Veronese, Bandelli, Titian, Rubens, Rembrandt, Michelangelo, Van Dyck, Corregio and more.

A hand painted Titian ware bowl, two graduated jugs, BR & Co. porcelain elephant, Cantonese jar (no lid).

Italian maiolica dish or charger, circa 1900, decorated in gilt-enriched blue, yellow and manganese lustre in Gualdo Tadino style with 'Bacchus and Ariadne' after Titian, unmarked, 49.5cm diameterCondition report: Two stabilised radial cracks - one with infilled rim loss. Metal wire hanging frame to foot rim.

Large Italian Castelli-style maiolica charger, circa 1900, depicting Bacchus and Ariadne on the Island of Naxos, within border of masks and grotteschi, 61.5cm diameter Whilst this theme was explored by Titian and Annibale Carracci, the most direct influence for this composition comes from Charles Antoine Coypel (1694-1752). Ariadne, abandoned on his rock of Naxos by Theseus, receives the visit of Bacchus. Above Ariadne, Hymen raises his torch, while Bacchus, his left hand on the heart, takes Ariadne's arm with the other, and makes his marriage proposal.Condition report: Typical glazing flaws - one by satyr's foot, others around rim. Crazing. Old metal strap hanger.

Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Resurrection signed, dated and inscribed 'TRETCHIKOFF/ SA/ 53' (lower left)oil on linen85.5 x 108.5cm (33 11/16 x 42 11/16in).Footnotes:ProvenanceToronto, Eaton's, American and Canadian Tour Exhibition, September 1954;Private Collection of Jack Hammell (acquired from the above exhibition);Private Collection, Ontario;Waddington's, Toronto, 29 November 1984;A private collection.ExhibitionCape Town; Johannesburg; Durban, Stuttafords Department Store, South African Tour Exhibition, September - November 1952San Jose, CA, Rosicrucian Art Gallery, June 1953USA; Canada, American and Canadian Tour Exhibition, 1953-1954.LiteratureV. Tretchikoff and H. Timmins, Tretchikoff (Cape Town, 1969), n.p (illustrated)Vladimir Tretchikoff and Anthony Hocking, Pigeon's Luck (London, 1973), p. 205 (illustrated, pp. 134 & 136)Andrew Lamprecht, ed., Tretchikoff: The People's Painter (Jeppestown, 2011), p. 166 (illustrated)Boris Gorelik, Incredible Tretchikoff: Life of an Artist and Adventurer (London, 2013), p. 288 (illustrated, p. 138).In 1952, when Tretchikoff was preparing for his first show in America which would launch his international career, a Cape Town director asked him to star in a film. It would be a documentary set in the artist's studio, showing the birth of an artwork from the first sketches to the painted canvas. Tretchikoff accepted the challenge. Although it meant working under the penetrating gaze of the camera, he decided that he could use the colour film to promote his work in the United States. The resultant documentary, Birth of a Painting, traced the creation of Resurrection (1955).At the time, Tretchikoff was fascinated by the idea that, when dying, the old gives way to the new - a theme explored by the artist in Resurrection. 'The painting was to symbolise the emergence of the soul from the body', recounted Tretchikoff. 'I painted a young girl awaking as if from a dream, the reincarnation of the gaunt, black, crooked body that she had been' (V. Tretchikoff and A. Hocking, 1973: p. 205).Cape Town papers reported that the artist's wife, Natalie, acted as a model for the painting. 'I was so cold, it was a wonder I did not get pneumonia', she told the press. However, the existing footage indicates that another nude model sat for Tretchikoff during the filmed sessions.Resurrection was first exhibited during Tretchikoff's tour of South Africa in 1952. The following year, it was taken to California and included in his show at the Rosicrucian Gallery, San Jose. The startling Resurrection was one of the highlights of this exhibition, and reproductions of the work were available for sale. At all of the public talks and lectures to promote the artist's American debut, Tretchikoff showed the Birth of Painting documentary, asserting the significance of Resurrection within his artmaking practice at this time.The commercial success of the San Jose show enabled Tretchikoff to hold a tour of the United States and Canada, which lasted for nearly two years. In September 1954, among the 52,000 visitors who attended his exhibition at Eaton's Toronto, 'Canada's Greatest Store', was the mining magnate Jack Hammell. He became the first owner of Resurrection.Along with Resurrection, Hammell purchased several paintings by Tretchikoff that day, including the iconic Dying Swan (1949). Later, the artist learnt that this prominent collector had only one painting in his private suite: it used to be a Titian, but had been replaced with Resurrection. The 1969 volume of Tretchikoff's works indicates that the painting subsequently belonged to John McKay-Clements of Haileybury in North-eastern Ontario (now part of Temiskaming Shores). Apparently, the new owner purchased the work from Hammell's heirs after 1958. Resurrection first came to auction in 1984, when it was sold by Waddington's in Toronto. For nearly seventy years, this work, highly valued by the artist, has remained in private collections. We are grateful to Boris Gorelik for the composition of the above footnote.BibliographyVladimir Tretchikoff and Anthony Hocking, Pigeon's Luck (London, 1973), p. 205.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

Spanish school of the 16th century. Circle of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645)."The Adoration of the Shepherds.Oil on canvas.With repainting. Frame of the 19th century.Measurements: 160 x 118 cm; 183 x 142 cm (frame).This work shows us the scene of the adoration of the shepherds through a costumbrist approach, according to the naturalistic taste of the baroque, something that, together with the warm, well toned chromatism, the veristic treatment of characters and animals and the tenebrist and scenographic illumination, allows us to place the painter in the orbit of Pedro Orrente (Murcia, 1580 Valencia, 145), the so-called "Spanish Bassano". It is a scene that lends itself to being interpreted as a large composition with numerous characters, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was depicted on the canvas, to the sacred story. Thus, the divine elements are reduced to a minimum, only a Glory breaking in the upper part, with a child angel attending the event and watching over the image.During his stay in Italy, Pedro de Orrente visited Venice, where he spent some time in the workshop of Leandro Bassano himself. In 1607 he returned to Spain and settled in Murcia, although he also visited Toledo, Madrid and Valencia. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes, as we can see here, would be fundamental in this respect. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such an extensive output, the painter must have had a very well-established workshop which repeated the models established by the master. Having had first-hand knowledge of the creations of the great Venetian masters, Orrente was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.

Paoletti (Bartolome, 1757-1834, & Pietro, 1801-1847). A collection of 52 plaster cameos (or intaglios), presented in a leather-bound double-sided faux book box, Rome, circa 1820, 52 white plaster intaglios, or impronte (miniature impressions in relief of ancient gems, cameos, coins and medals, as well as modern sculptures and portraits), each bordered with pale yellow paper (with manuscript numbers added in ink), and edged in gilt, generally between 2 and 5 cm in diameter, (but some between 6 and 9 cm), carefully arranged and mounted in recessed double-sided book-boxes, lined with dark blue paper, manuscript list of contents in brown ink to front and rear pastedowns of each volume, giving the subject, artist or location, with the address of the manufacturer added at foot of front pastedown 'Si fanno in Roma da Bartomomeo Paoletti, e Pietro Figlio, dimoranti di Studio in Piazza di Spagna numo. 49', marbled paper outer edges, original brown half calf over marbled paper boards, spines gilt, and lettered PAOLETTI, 3 and 'Uomini Illustri, Villa Albani, Museo di Firenze', rubbed and scuffed with a little wear to extremities, 8vo (24.5 x 15.5 cm)Qty: (1)Footnote: A collection of early 19th century plaster intaglios, known in Italian as 'impronte', manufactured by the Paoletti family, which became highly popular amongst aristocratic and fashionable travellers on the Grand Tour during the early part of the 19th century, especially from England. The Paolettis numbered amongst their clients Catherine the Great of Russia, Ferdinand III, Grand Duke of Tuscany, and Lord Elgin, and are listed in Heinrich Keller's contemporary directory of artists and craftsmen working in Rome in 1824 (Elenco di tutti i pittori, scultori, architetti miniatori...di Roma) at the same address as given in the present examples (page 70).Designed to form a kind of miniature museum of the history of art and classical mythology, this collection covers the collections of three museums in Rome: Uomini Illustri nel Museo Capitolino, Villa Albani, and the Museo de Firenze. Individual subjects include: Dante, Ariosto, Tasso, Petrarch, Correggio, Michelangelo, Galileo, Leonardo, Palladio, Titian, Poussin, Angelica Kauffmann, Winkelman; from the Villa Albani: Bacchante, Antinous, Agrippina, Aesop and Cupid; and from the Museo di Firenze: Venus, Minerva, Three Graces, Medici Venus, Raphael's Madonna della Sedia, Titian's Venus, Hercules defeating the Centaur, Mercury by Giambologna, Machiavelli, Niobe, and her four daughters.

TITIAN (ACTUALLY: TIZIANO VECELLIO) FOLLOWER OF THE 19TH CENTURY c. 1488 Pieve di Cadore - 1576 Venice GIRL IN A FUR COAT Oil on canvas (relined), at the top c. 8 cm later added and set. 111 x 63 cm (F. 130 x 82 cm). Verso: Inscribed on the stretcher with old provenance. Part. min. old rest. Frame. altrest. Rahmen. The painting was made after the picture 'Girl in a Fur Coat' in the Kunsthistorisches Museum in Vienna. in a Fur Coat'. Provenance: Rhenish private collection.TIZIAN (EIGENTLICH: TIZIANO VECELLIO) (NACHFOLGER DES 19.JH.) Um 1488 Pieve di Cadore - 1576 Venedig MÄDCHEN IM PELZMANTEL Öl auf Leinwand (doubl.), oben ca. 8 cm später ergänzt und angesetzt. 111 x 63 cm (R. 130 x 82 cm). Verso: Auf dem Keilrahmen bezeichnet mit alter Provenienzangabe. Part. min. altrest. Rahmen. Das Gemälde entstand nach dem im Kunsthistorischen Museum in Wien aufbewahrten Bild 'Girl in a Fur Coat'. Provenienz: Rheinische Privatsammlung.

RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999).Untitled, 1980s.Four ink drawings on paper.All of them signed, two dated (1983 and 1989).Size: 54 x 38 cm; 63 x 46 cm (frame).In parallel to his brilliant poetic career, Rafael Alberti entered the world of painting and drawing, with an avant-garde vocation, exhibiting already in early times in the Salón de Otoño and the Ateneo de Madrid. He was a writer and poet belonging to the Generation of '27, considered one of the greatest writers of the so-called Silver Age of Spanish literature. He received numerous prizes and awards, including the National Poetry Prize (1925), the Lenin de la Paz (1965), the National Theatre Prize (1980), the Cervantes Prize (1983) and the Roma Prize for Literature (1991). He renounced the other great Spanish literary award, the Prince of Asturias, because of his strong republican convictions. Rafael Alberti's first vocation was painting, but his real discovery of this art came in 1917, when he moved to Madrid with his family and visited the Prado Museum for the first time. He first exhibited his plastic work in 1920 at the Salón de Otoño in Madrid, and two years later he exhibited at the Athenaeum in the same city. His painting was characterised by the fact that it was not his definitive path, since after the death of his father, he began to write his first verses. As a writer, Alberti enjoyed great success from the beginning of his career, but at first his success was linked to artistic prestige, as he was still financially dependent on his family. The new literary magazines accepted and wanted to publish his works. He was also beginning to make friends within the circle known today as the Generation of '27. He began to write in a style that was not only more formally demanding, but also allowed him to be more satirical and dramatic. From then on, his life gradually opened up to what would become the centre of his inspiration, poetry, without ever completely abandoning his vocation as a painter. Among his last works is A la pintura ('On Painting') (1945). These reflect his intellectual activity during his exile, as Alberti returned to painting and began a series of poems to bring together his thoughts on painting. A subject to which he continued to devote himself for many years. Among these poems dedicated to painting he wrote a series of sonnets on the retina, the hand, the canvas, the brush, etc.; a series of short poems in free verse on colours; and finally a series of poems in homage to various painters such as Titian, El Greco and others.