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A BOX OF MISCELLANEOUS TO INCLUDE CUTLERY CRESTED SP0ONS TITIAN WARE ETC

Ten Medals From The Thomason Medallic Bible Series19th century medals depicting passages from the bible. Every coin is based on the painting of important painters such as Rembrandt, Rubens, Titian. The reverse shows the biblical text for each passage. Tin metal73mm each

Adams Titian Ware tea and dinnerware

Attributed to William Young Ottley (1771-1836). Sketchbook from the artist's tour of Italy, circa 1791-99, 75 leaves of laid paper (cockerel watermark; countermarked 'D'), unfoliated, leaves [1-2] with pencil annotations in Italian and an architectural pencil sketch (somewhat faded), leaf [3] with annotated bookplate of Thomas Ashby and additional annotation 'Drawings by Wm Young Ottley' probably in Ashby's hand, 4 medial leaves left blank, the remaining 68 leaves containing 25 sketches in pen and brown ink over occasional traces of pencil and approximately 43 pencil sketches, nearly all rectos only (one sketch to a page; one pencil sketch double-page; one on verso), mainly studies after paintings but several apparently from life (including landscapes, clothed figures, and 3 sketches captioned 'Nature' and depicting a boy with a dog, a woman with a child on her back, and a crouching boy), 12 further sketches with legible manuscript captions (see note), tide-mark to upper outer corners gradually fading and receding but touching edges of image in about 10 cases, cords split between penultimate and final quires, first 3 leaves and final quire (6 leaves) with modern clear tape reinforcement in gutter, floral-patterned endpapers, contemporary Italian vellum binding with envelope flap, vellum soiled, tie perished, 4to (18.2 x 13.7 cm)Qty: (1)NOTESProvenance: 1. Thomas Ashby (1874-1931), British archaeologist in Italy and director of the British School at Rome (bookplate, with manuscript aquisition note 'Wey[?], Charing X Rd, 18/7/6, 2 vols, Vol 2'). 2. Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Ottley, the son of a plantation owner entered the Royal Academy in 1787, studying briefly under John Brown, and was in Italy from 1791 to 1799. After his return to London ' Ottley established himself as a writer, connoisseur, and marchand-amateur . He was elected a fellow of the Society of Antiquaries and, as a leading arbiter of taste, he advised others on the purchase of works of art' (ODNB). He was responsible for a number of ambitious art publications and in 1833 became keeper of prints and drawings at the British Museum. A number of the sketches have manuscript captions in Italian referring to the original work, the artist or its location, the inconsistencies in spelling suggesting a non-native author. These include 'Bologna, Domenchino [sic] in S. Agnese' (after Domenichino, Martyrdom of St Agnes; a section), 'Turino palazo [sic] Reale, Carlo Cignani' (after Cignani, Adonis and his Dog , cf. Palgrave, Hand-book for Travellers in Northern Italy, 1847, p. 20), and 'Tizziano [sic], palazzo Reale a Parigi' (after Titian, Venus Anadyomene ); briefer captions indicate originals by Guercino (the sketch depicting a woman holding a jug), 'Reggio' (presumably Raffaellino da Reggio), and Coreggio ('Coreggio a Parma'); the Palazzo Caprara and the Palazzo Bonfiglioli are cited as locations for originals which are otherwise unidentified.

A large pair of Imari decorated twin handled vases, height 43cm, a Hancock & Sons Titian ware small bowl, an Austrian green painted cream ground vase, a pair of decorative vases, plates, dressing table items etc.Additional InformationRubbing to the gilding on the large urns, the lidded cylindrical pot has had the finial broken and removed, the lid has cracked in two and the base is also cracked.  The Vienna vase has very minor surface wear and general surface rubbing.

Studio Dagher, after Titian, figures in a pastoral landscape, oil on canvas, 89cm x 130cm, in our opinion, a 20th century copySurface marks and minor paint loss to top in front of stretcher rail

After Tiziano Vecelli or Vecellio (called Titian) (1490-1576) - Portrait of a lady said to be Catherine Cornaro The Last Monarch of Cyprus, painted as The Saint Catherine of Alexandra, oil on vellum laid down onto a pine panel, 16.5" x 11.5" - ** A very interesting work possibly a fragment from a larger painting and contained within a period partially carved giltwood frame, the frame decorated with acanthus leaf decoration

After Titian (Italian, 1485-1576), Untitled (Religious Scene with Figures), woodcut, bears initials lower right, image: 9.25"h x 7.25"w, overall (with frame): 17.5"h x 15.5"w

Ghislaine Howard Father and Son, 2020 Acrylic and pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ghislaine Howard is an artist who speaks directly of what it is to be human - how we feel and how we live. She made her reputation with the ground-breaking solo exhibition, 'A Shared Experience' at Manchester Art Gallery in 1993. Her work has been shown at many prestigious venues including the British Museum, Canterbury Cathedral, The Wellcome Foundation and the Foundling Museum in London. Over eighty of her canvases act as the anchoring point for 'Love is a Rebellious Bird', the extraordinary installation/exhibition curated by the internationally acclaimed artists and film-makers, Al and Al. Ghislaine has an amazing ability to express in line and colour a deep and powerful response to the world - its joys, delights and, in her daily 365 paintings for which she is so well known, the events that shape our lives on a domestic, national and international level. Her work is loved by collectors, critics, curators and can be found in many public and private collections including the Manchester and Whitworth Art galleries and the Royal Collection. She is currently working on a series of paintings after the great Titian paintings on show at the National gallery, London and is bringing to completion the final versions of her seven painting cycle of 'The Seven Acts of Mercy'. Her work is the subject of many publications, including Ghislaine Howard: The Human Touch, written by her husband the art historian Michael Howard and published by Manchester Metropolitan University in association with Martin Heaps and Collect Art. Many critics have written about her work, including Sister Wendy Beckett who recognised in her painting 'such passionate excitement in the abstract glories of colour and light; we are swept away by the beauty of the actual paint even before we start to take delight in the image which she is celebrating. Howard clearly loves what she paints, and what she paints is in itself, in a strange symbolic fashion, love also.'

Ghislaine Howard Rebecca Pregnant, 2020 Acyrlic on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ghislaine Howard is an artist who speaks directly of what it is to be human - how we feel and how we live. She made her reputation with the ground-breaking solo exhibition, 'A Shared Experience' at Manchester Art Gallery in 1993. Her work has been shown at many prestigious venues including the British Museum, Canterbury Cathedral, The Wellcome Foundation and the Foundling Museum in London. Over eighty of her canvases act as the anchoring point for 'Love is a Rebellious Bird', the extraordinary installation/exhibition curated by the internationally acclaimed artists and film-makers, Al and Al. Ghislaine has an amazing ability to express in line and colour a deep and powerful response to the world - its joys, delights and, in her daily 365 paintings for which she is so well known, the events that shape our lives on a domestic, national and international level. Her work is loved by collectors, critics, curators and can be found in many public and private collections including the Manchester and Whitworth Art galleries and the Royal Collection. She is currently working on a series of paintings after the great Titian paintings on show at the National gallery, London and is bringing to completion the final versions of her seven painting cycle of 'The Seven Acts of Mercy'. Her work is the subject of many publications, including Ghislaine Howard: The Human Touch, written by her husband the art historian Michael Howard and published by Manchester Metropolitan University in association with Martin Heaps and Collect Art. Many critics have written about her work, including Sister Wendy Beckett who recognised in her painting 'such passionate excitement in the abstract glories of colour and light; we are swept away by the beauty of the actual paint even before we start to take delight in the image which she is celebrating. Howard clearly loves what she paints, and what she paints is in itself, in a strange symbolic fashion, love also.'

after Titian, 34 x 28cm; together with a print after Raoux, 47 x 34cm, and three other prints (5)

Théodore Géricault (Rouen 1791-1824 Paris)Portrait of a man, probably the engraver Francois Godefroy (d. 1819), on his deathbed oil on canvas19.1 x 24.5cm (7 1/2 x 9 5/8in).Footnotes:Provenance(Possibly) Charles-Emile Callande de Champmartin (1797-1883)(Possibly) His sale, Hotel Drouot, Paris, 28-29 January 1884, lot 273 (as Géricault, Portrait de Godefroy, graveur, this sale was cancelled)(Possibly) His sale, Hotel Drouot, Paris, 28 January 1888, lot 112 (as 'Attributed to Géricault, Godefroy, graveur, sur son lit de mort)Private Collection, ParisLiteratureB. Chenique, Géricault, au coeur de la creation romantique; etudes pour la Radeau de la Meduse, exh. cat., Clermont-Ferrand, 2012, p.230, no. 37, ill.ExhibitedClermont-Ferrand, Musee d'Art Roger-Quillot, Géricault, au coeur de la creation romantique. Etudes pour le Radeau de la Meduse, 2 June - 3 September 2012, cat. no. 37This intimate oil sketch, painted the same year as Géricault's masterpiece The Raft of the Medusa, represents an extremely important addition to this major artist's oeuvre. It is almost certainly the picture from the collection of Émile Champmartin, who was Géricault's friend and fellow apprentice in the studio of Pierre Guérin. Long known to scholars only through sale catalogues, its recent rediscovery adds considerably to our understanding of an artist working at the forefront of the emerging Romantic movement, during the turbulent early years of the Bourbon Restoration. Until this painting surfaced recently in a private collection in Paris, references to a portrait of 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues were believed to describe a work acquired by the Art Institute of Chicago in 1937. That work, likewise a small oil sketch of a man's head, bore an old label that seemingly confirmed its provenance: 'Géricault (Th)/69 – Tête d'homme sur son lit de mort, provident de la coll. Champmartin'. Evidently a cutting from an old sale catalogue, the label had yet to be traced in 1991. The art historian Lorenz Eitner defended the attribution to Géricault in his two major studies of the artist (1971 and 1983), albeit without attempting to identify the model. It was Philippe Grunchec (1978) who first doubted the attribution of the Chicago picture to Géricault on the grounds that the drapery, in particular, bore no resemblance to other works by the artist. When the Chicago picture was finally cleaned of old restorations in 1985, Grunchec's suspicions were confirmed: the cleaning revealed a bold signature in red, 'E. Champmartin'. By the time of the Géricault exhibition, held at the Grand Palais in Paris in 1991, the Chicago picture was known to be by Champmartin. Curator Sylvain Laveissière revisited the question of the model's identity at this point, postulating 'si l'on croit les catalogues des ventes Champmartin, le modele serait Godefroy, graveur'. Parmi les artistes de ce nom contemporains, le meilleur candidats est François Godefroy, né en 1743...et mort l'année meme du Radeau de la Meduse.' Laveissière's identification of the model as 'probably François Godefroy' is based on the mention of the aforementioned painting entitled 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues. M. Laveissière further restates Grunchec's hypothesis that the painting in the Champmartin sale catalogues (1884 and 1888) was in fact the Chicago picture, now known to be a signed work by Champmartin. Born in Rouen in 1743, Godefroy was a successful and prolific engraver with a thriving studio in Paris. He can be linked to Géricault through the Coiny family of engravers, father and son; the younger Coiny, Joseph, was awarded the Prix de Rome in 1816, the same year in which Géricault competed unsuccessfully. Even more tellingly, Godefroy died in Paris on 28 April 1819, aged 76 – just four months before the Salon at which Géricault unveiled the Raft of the Medusa, in preparation for which he made a number of studies in oil of cadavers. Unusual though it might seem to us today, for 19th century artists the practice of painting corpses followed a longstanding academic tradition. In-depth studies of human anatomy, based on dissections and drawing from nude models and ancient sculpture, were fundamental for Renaissance masters, such as Leonardo and Michelangelo. It was in this classical Academic tradition that Géricault received his earliest training, in the studio of Pierre-Narcisse Guérin. However, the talented but disobedient Géricault did not last long in this environment of strict instruction. Abandoning his apprenticeship, Géricault began his own programme of independent study, setting up his easel in the Louvre, recently renamed the Musée Napoleon and filled with the artistic spoils of conquest from Italy and Flanders. He bypassed the classicists such as Raphael and turned instead to works by Rubens, Titian, Velázquez and Rembrandt. These were the masters of colorito painting, in which the tones and physicality of the paint medium reign supreme over elegant contours. Travel to Italy in 1816-17 reinforced Géricault's reliance on colorito, which lends itself readily to the turbulence and emotion that characterise the Romantic style. As one of the early proponents of Romanticism, Géricault laid the groundwork for the subsequent generation of French masters, including Delacroix and Courbet. It was in Italy that Géricault began his practice of painting contemporary events in the elevated manner of history painting. Upon his return to France, Géricault chose as his subject for the 1819 Salon The Raft of the Medusa, a monumental representation of man's struggle against nature (fig. 1). In order more accurately to depict the shipwrecked passengers, Géricault made a number of studies at local hospitals and of victims of the guillotine. A friend of the artist, Théodore Lebrun, recalls posing for Géricault when he fell sick with jaundice; Géricault, upon spotting Lebrun's sickly pallor, exclaimed 'Ah! Mon ami, comme vous êtes beau!' It is to this important moment in Géricault's career that the oil sketch of Godefroy can be dated. Demonstrating all the hallmarks of Géricault's mature style, the forms are defined by heavy impasto brushwork, with alternating areas of illumination and deep shadow suggesting a candlelit interior. The small scale of the work lends it an air of intimacy: although it can be linked, artistically, to such grim studies as the Severed head of a man (private collection, Paris) and Le Guillotiné (Musée Royale d'Art Moderne, Brussels), it is a dignified rather than a gruesome representation of death and in this regard recalls Renaissance postmortem portraiture, and even religious iconography. There is an ambiguity to the old man's half-closed eyes and sunken cheeks that suggests the space between living and dead, sleeping and dying. It is altogether a subtler, more sensitive painting than that by Champmartin in Chicago and is a testament to Géricault's enduring appeal among today's contemporary artists, including Lucien Freud. This work has historically been excluded from Géricault scholarship simply because it has, until now, been unknown to experts. Charles Clément, the first chronicler of Géricault's work, was unable to interview the elderly M. Champmartin, which explains why works in his collection receive no mention in his monograph. This omission has been compounded in all subsequent scholarship. However M. Bruno Chenique, who has had the opportunity to study this work first-hand and has confirmed its attribution in a letter, dated 8 September 2013, will include it in his forthcoming catalogue raisonné, currently in preparation.... For further information on this lot please visit Bonhams.com

Studio of Tiziano Vecellio, called Titian (Pieve-di-Cadore 1485-1576 Venice)Portrait of a lady, three-quarter-length, in a turban oil on canvas108.6 x 85.1cm (42 3/4 x 33 1/2in).Footnotes:ProvenanceAcquired by the present owner from a private collection in Sussex, in the U.K. While there are considerable differences in the costume and headdress, the composition of the present portrait appears to be derived from Titian's Young woman in a feathered hat, oil on canvas, 97 x 75 cm., in the Hermitage Museum, Saint Petersburg. Titian's portrait shows the sitter in a white chemise with a green coat draped over her shoulder and has been dated to circa 1536.For further information on this lot please visit Bonhams.com

Luca Bertelli after Titian The Adoration of the Shepherds engraving 37 x 49cm. Provenance: From the Collection of the late Professor Eric Gerald Stanley (1923-2018).

NO RESERVE Italian Art.- Walker (John) Bellini and Titian at Ferrara: A Study of Styles and Tastes, 1956 § Robertson (Giles) Giovanni Bellini, Oxford, 1968 § Panofsky (Erwin) Problems in Titian, mostly iconographic, 1969 § Salomon (Xavier F.) Veronese, 2014 § Lauts (Jan) Carpaccio Paintings and Drawings, 1962 § Hirst (Michael) Sebastiano del Piombo, Oxford, 1981 § Razzall (R.) & Lucy Whitaker. Canaletto & the Art of Venice, 2017 § Baldass (Ludwig) Giorgione, 1965, illustrations, some colour, original cloth or boards, all but the first with dust-jackets, the last a little frayed at edges; and c.15 others on Venetian painting, mostly Renaissance, 4to & 8vo (c.25)

Villani (Giovanni). Croniche ... nelle quali si tratta dell' origine di Firenze, 1st edition, Venice: Bartholomeo Zanetti, 1537, large printer's putto device on title-page (apparently after Titian), title-page toned, with remnants of early ink ownership annotations, and with fore edge softened with minor damage, occasional spotting or marks (mostly to margins), some margins with early ink manuscript annotations (trimmed at fore-edge), intermittent dampstaining (mostly to gutter or margins), lacking final leaf (blank except for repeated putto device), stitching showing in places, 18th century vellum, dust-soiled with some wear to extremities, rubbed spine with loss at foot, spine label deficient, small folio in 8s (Qty: 1)NOTESFirst edition of this famous chronicle by the foremost historical writer of the Middle Ages, giving an accurate description of the history and development of Florence, of its trade, industry, social classes, religious customs, relation to its neighbours, and its ceaseless and passionate domestic conflicts. This edition contains the first 10 books, the final two not appearing until the second edition of 1554.

Vera y Figueroa, Juan Antonio de, conde de la Roca, 1588-1658. - Epitome de la vida y hechos del invicto emperador Carlos V, vellum, 8vo, engraved portrait of Carlos V by P. De. Iode after Titian, title page with contemporary owners signature ink - F. Rubens, ink writings to front and back endpapers, Francisco Foppens, Brussels, 1656 and Watson, Robert, 1730-1781?. - History of the reign of Philip the third King of Spain, calf, quarto, spine header with gilt stamp - "United Presbyterian Library" and paste down to front inner board, title page, creased, printed for G. Robinson, London, 1783

Vera y Figueroa, Juan Antonio de, conde de la Roca, 1588-1658. - Epitome de la vida y hechos del invicto emperador Carlos V, vellum, 8vo, engraved portrait of Carlos V by P. De. Iode after Titian, title page with contemporary owners signature ink - F. Rubens, ink writings to front and back endpapers, Francisco Foppens, Brussels, 1656

A BERLIN PORCELAIN PLAQUE, LATE 19TH C painted after Titian with a Girl with a Platter of Fruit, 24 x 18cm, impressed sceptre and KPM, incised  size 9 ¾  x 7 3/8"After the picture in the Gemaldegalerie, Berlin Good condition, long in the present local private ownership

F.X. Abraham - S. Hancock & Sons - An early 20th Century Titian Ware biscuit box and cover decorated with fruits against a sponged brown and green ground, printed mark, height 17cm.

Two Continental plates including a Meissen style hand painted reticulated lattice plate, depicting putti and a goat, together with a Vienna plate of Mutter und Tochter after Titian, 24.5cm diameter (2)

After Tiziano Vecellio, called Titian The Madonna of the Rabbit Oil on canvas 69.3 x 84.1cm; 27¼ x 33in Unframed After the original in the Louvre, Paris (inv. no. 743)

Wedgwood Jasper ware and silver plated sugar shaker, approx 15 cms h, together with a Hancock & Sons Titian ware bowl painted with fruit and a Copeland Spode hand painted fruit bowl. (3)

Still life with Titian signed 'Kuhfeld' (lower left) oil on canvas (Dimensions: 45 x 50cm)(45 x 50cm)Condition report: Oil on canvas attached to a wooden stretcher. The support and paint layers are in a good condition. The frame is sound but there are no glazing spacers and the painting is up against the glass.

Aretino (Pietro). Lettere Scritte al Signor Pietro Aretino, da molti signori comunita, donne di valore, poeti, & altri eccellentissimi spiriti, 2 volumes, 1st edition, Venice, Francesco Marcolini, [1551]-1552, titles with woodcut devices, devices repeated at end, volume II colophon dated October 1551, volume II title excised at head, annotated at foot and laid down, text close-trimmed at top margin, volume I title with ink stamp removed and small repair, some light spotting and a few ink splashes, bookplate to volume II, volume I bound in later vellum, volume II in later sheep gilt, repaired, 8 vo (Qty: 2)NOTESProvenance: Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Adams 1577. Collection of 816 letters to Aretino from Michelangelo, Charles V, Titian, Serlio, Bembo, Vasari and others and including two written by Ambrogio Eusebio, who had emigrated to South America, which describe the revolt against Alvar Nunez Cabeza de Vaca, Governor of the Rio de La Plata Province.

Quantity of Adams 'Titian' ware dinner and tea ware, etc.

Late 17th century continental school after Titian (1490-1576, Italian) in the manner of Jacopo Bassano (1510-1592, Italian) - 'The Adoration of the Magi', Nativity scene, oil on canvas, 125 x 215 cm, in substantial period moulded frame (After the original painting in the Prado Museum, Madrid

Italy.- Barri (Giacomo) The Painters Voyage of Italy. In which all the famous paintings of the most eminent masters are particularised, as they are preserved in the several cities of Italy, first edition in English, directions to binder f. and licence f. at beginning, etched allegorical frontispiece by W.Lodge and portraits of Michelangelo, Titian, Veronese, Cortona & Raphael, folding engraved map of Italy, frontispiece trimmed at outer edge just within border, trimmed at head, affecting the odd headline, occasional spotting, lightly browned, contemporary calf, gilt spine in compartments, lacking label, upper joint splitting, [Cicognara 4132; Wing B916; Pine-Coffin 671], 8vo, printed for Tho. Flesher, at the Angel and Crown in S. Paul's Church-yard, 1679.

Trio of colourful vases including Titian Ware & Decoro

After Titian Venus and Adonis Miniature on Ivory, 10cm by 13cm

A TITIAN TTK587GD0 25CC PETROL FOUR IN ONE MULTI TOOL WITH CARRY CASE

A Ralph Jandrell pottery vase together with Hancock & Sons Titian Ware bowl decorated with grapes, a parrot bud vase and a Carnival glass dish

A large collection of photographs, comprising Italian art and architecture, to include photographic prints of works by Bellini, Raphael, Michelangelo, Titian and Leonardo Da Vinci, including substantial numbers of late 19th and early 20th century prints from leading photographic agencies (9 boxes)

Giovanni Andrea Podesta (1608-1674), after Titian (1489-1576), The Worship of Venus, etching, 31.3 x 39.4cm

A collection of Adams ivory Titian Ware, teapot, plate and dish, etc.

NO RESERVE Italian Art.- Wethey (Harold E.) The Paintings of Titian, 3 vol., 1969 § Pignatti (Terisio) Giorgione: Complete Edition, 1971 § Pepper (D.Stephen) Guido Reni: A Complete Catalogue of his Works, Oxford, 1984 § Rearick (W.R.) The Art of Paolo Veronese 1528-1588, Washington D.C. & Cambridge, Mass., 1988 § Brown (P.F.) Private Lives in Renaissance Venice: Art, Architecture, and the Family, New Haven & London, 2004 § Molmenti (P.) & Gustav Ludwig. The Life and Works of Vittorio Carpaccio, original pictorial cloth, gilt, t.e.g., others uncut, 1907, plates and/or illustrations, many colour, original cloth or boards, all but the last with dust-jackets; and c.20 others on Venetian art, mostly Renaissance, 4to & 8vo (c.25)

Large Hancock & Sons Titian ware bowl by F.X.Abraham, diameter 23cm approx

Hancock & Sons lidded trinket box & jug the trinket box Titian ware by F.X.Abraham in the form of a heart, and the jug Rubens ware by F.X.Abraham

Four various Hancock & Sons English vases including 2 Coronaware, one Woodlands pattern by F.X Abraham, the Cherry-ripe by Molly Hancock, and 2 Titian ware by F.X.Abraham, height 17.5cm approx (tallest) (one with minor chip to base)

An Italian 19th century Renaissance revival hardstone mounted ebony and engraved ivory marquetry table cabinet by Giovanni Battista Gatti (1816-1889)Circa 1865, inlaid overall with Arabesques of entwined scrolled foliage, honeysuckle, dragons, birds, animals, flaming torches, urns of flowers and griffins, surmounted by a baluster gallery, the top inlaid with four figures allegorical of the cardinal virtues: Justice, Fortitude, Prudence and Temperance, each within a tablet, above a pair of panelled doors each centred by a roundel, one depicting an allegorical figure of painting and the other an allegorical figure of poetry, the borders interspersed by ovals of classical figures such as Hercules, Venus, Cupid and Bacchus, with eight angles inlaid with profile medallions of Ludovico Ariosto, Petrarch, Torquato Tasso, Dante, Titian, Raphael, Michelangelo, Leonardo encompassed by malachite and lapis lazuli cabochons, enclosing fifteen walnut lined drawers encased within a lockable removable box with two secret catches, with rounded angles and panelled sides, each side inlaid with tablet angles showing birds of various types within landscapes, the reverse with six small and three large inlaid tablets, each small one centred by a Green Man mask, with a printed label which reads: 'GIO.BATT.GATTI. Fabrica mobili di lusso facendo sui di essi in tarsia fiori, figure, ornati ed arabeschi, detti all Raffaello... ROMA, Via degli Angeli Custodi, No. 30, 90cm wide x 41cm deep x 69cm high, (35in wide x 16in deep x 27in high)This lot is subject to the following lot symbols: TP Y ?

A quantity of early engravings, unframed, to include example after Titian etc

PATRICK GRAHAM (B.1943)Mayo Series, Approaching StormOil on canvas, 183 x 204cmSigned, inscribed and dated 2007Provenance: With Hillsboro Fine Art, label verso.From the Antoinette & Patrick J. Murphy Collection.Born Mullingar, County Westmeath in 1943, Patrick Graham’s childhood shaped his life and art. His father emigrated in search of work, his mother spent long periods in hospital suffering from TB, and, aged six, Graham was sent to ‘a small rural community, to my grandparents, my brother and sisters went other places, orphanages I think’. Displaced, without siblings, ‘I became a watcher . . . at six or seven years . . . I became aware that I was a stranger, I was silent; for my secret self I found secret places - a pool of spring water, a tree so tall and full of flickering light that lifted me high up into the unpeopled sky. . . . In my private world there existed an innocence of God and of beauty, a magical belief in nature, my holy trinity, so to speak, was God, nature and a secret self receptive to a vision not of the eye but of the sensual engorgement that saw from within.’ He tells of how ‘I would strip naked on the bog, fill myself with the sensuality of the black earth, then black light and the head-high colour’. This for Graham was ‘pure energy’ and ‘my truest most innocent experience of the transcendent body made one in God and nature’. But ‘bog, body, the eating and drinking of colour, the sensual earth and the sensual body and spirit’ of boyhood gave way to power and terror on entering the Christian Brothers. There he experienced ‘religious fear and religious guilt’ but school also offered hope. In 1957 he began to help his art teacher provide stage sets and backdrops for local amateur productions and it was this that formed Patrick Graham’s palette which Peter Murray lists as ‘ochres, umbers, Titian reds, purples, Naples yellow and blue-blacks’. A brilliant draughtsman and teenage prodigy, Patrick Graham won a scholarship to NCAD and was recognised as such by his tutors and fellow-students. But he himself felt that he ‘collapsed under the dogmatic demands of academic tyranny’. After college, he worked in advertising for a while, abandoned painting for years and in an Interview with John Daly of Hillsboro Fine Art said, ‘I left behind that part of my life that stretched from 1962 to 1983 and began again from nil’. In a 1978 solo exhibition Graham presented his NCAD Diploma from 1964 with Cancelled stamped across it accompanied by a self-portrait with gouged-out eyes. Today, Patrick Graham, is revered by Irish artists, is internationally acclaimed and has been the subject of numerous exhibitions [Los Angeles, Amsterdam, London] and symposia here and abroad. Elected to Aosdána in 1986, Graham was awarded the President’s Gold Medal, Oireachtas Exhibition 1987For years, Graham had a house and studio in Lacken, on the North Mayo coastline. Very interested in that landscape’s archaeological and historical past, especially sheela-na-gigs and famine graves, speaking of the broader landscape he told John Daly that he loved ‘to look into nothingness’ there. This magnificent painting, in which Patrick Graham’s intense, sensual, boyhood connection with landscape still holds, gives us a bird’s eye view of a rugged, dramatic coastline. In the foreground a solid cliff face is loosely, fluently rendered. Low down, a cave’s dark opening contrasts with a sunlit grassy stretch on the cliff top and the gleam of silver sandy beaches in the distance, along the coast, lures and delights the eye. We are on the edge of the North Atlantic and it’s captured here translucently. Signed lower right ‘Graham, Lacken 2007’ the words ‘Mayo 2007’ are also found top centre. The words, lower left, ‘Approaching storm North Mayo Coast’ indicates imminent change, nature in constant flux.Patrick Graham likes to show the work and disappear. ‘If it needs me around to give it life, then I’ve failed.’ To John Hutchinson [in an Irish Arts Review interview] he spoke of ‘absolute surrender in relation to my work’. That ‘a loss of self-will, combined with an awesome sense of - for want of better words - some sort of “God experience”, is what I’m trying to achieve.’ And that’s what he achieves and achieves gloriously here.Niall MacMonagle

Hancock & Sons lidded trinket box & jug the trinket box Titian ware by F.X.Abraham in the form of a heart, and the jug Rubens ware by F.X.Abraham

Hancock & Sons Titian ware lidded ginger jar by F.X.Abraham, height 15.5cm approx

Large Hancock & Sons Titian ware vase artist F.X.Abraham, height 26cm approx

A French rectangular ceramic plaque painted by Marie Besson, copy of a Titian painting 'Les Disciples de Emmaus', 17 x 24cm.

An early 20th Century Art Deco hand painted Hancocks and Sons Titian Ware sugar shaker, grape and vine decoration on cobalt blue ground. Stamped to the base Hand Painted F.X. Abraham. Measures cm tall.

Barrie Cooke HRHA (1931-2014)Black Stones (BC09900)Oil on canvas, 137 x 152cm (54 x 59¾)Signed, inscribed and dated 1999Provenance: With the Kerlin Gallery, Dublin 2000.It’s well-known that Barrie Cooke had Heraclitus’s words ‘Everything flows’ on his studio wall. The fifth-century BC, Greek philosopher’s belief that everything is in a state of flux resonated with English-born, US-educated, Irish artist Barrie Cooke who, having moved to Ireland in 1954, lived close to lakes and rivers in Kilnaboy, Co Clare, Thomastown, Co Kilkenny and Kilmactranny, Co Sligo. Born in Knutsford, Cheshire, in 1931, his family emigrated to the US when Cooke was 16 and he began studying Biology at Harvard: ‘I was going to be a fishery biologist so that I could spend my life fishing’ but he switched to art history and painting and fishing became his lifelong enthusiasm. His Harvard degree, in History of Art, Biology and Chinese Poetry, and his knowledge of art history, his love of nature and his poetic sensibility are evident in his work.Seamus Heaney, writing about his friend, said that in Cooke’s case ‘[t]he rod tip is like a straw in the cosmic wind . . . the tip of the loaded brush is even more exploratory and receptive’. Black Stones, from 1999, the immediacy and freshness of the work, its movement and aliveness captures a fisherman’s attentiveness to the scene before him; it’s an artist-fisherman’s concentration on the moment. For Cooke, fishing was his contact with the earth, ‘It’s my meditation’.Black Stones is a work from the very end of the twentieth century and the end of a millennium. By then, and decades before global leaders paid any attention to the greatest crisis of our time, Barrie Cooke was very aware of how pollution was the world’s biggest challenge. He saw, first hand, the death of lakes and rivers and during the 1990s paintings such as ‘Sewage Outlet’ [1993] and ‘Lough Arrow Algae’ [1995] reflected his concerns. But this painting is fresh, clean, pure. It splashes with life. Cooke says ‘I think there has to be one thing in painting - energy, vitality, that’s ninety-nine percent of it’ and vibrant it is. The palette is simple. Black, white and blue. The large black stones are `more airy rather than weighed down and blue had always been important to Cooke: ‘right from youth blue has always been a wonderful colour. It is sky. It’s the blue of Titian, Bellini. It’s all those things.’Both representational and abstract, Black Stones drips with light and movement. Cooke himself says that ‘Art maybe is an attempt to hold the moment, to keep it alive. It is difficult, and if you manage to realise actual vitality on the canvas you have achieved something quite rare, and perhaps that’s enough.’This is a right here, right now painting. It is earth, air and water. Barrie Cooke spent a long time on each painting but it looks spontaneous and from the dazzling water, at any moment, a fish could jump.Barrie Cooke was chosen to represent Ireland at the Paris Biennale and the ten-year retrospective at the Douglas Hyde Gallery in 1986 was shown in Belfast, Cork and Limerick. A major show was held in the Haags Geementemuseum in 1992 and the RHA held a Retrospective in 2003. His work is in all major Irish Art Collections and international collections include Fogg Museum, Boston, Gemeentemuseum, The Hague, Harvard University, Stedelijk Museum, Amsterdam.Niall MacMonagle 2019

* Jackson (John Baptist, 1701 - circa 1780). The Death of St. Peter Martyr, after Titian, 1739, & The Descent of the Holy Spirit, after Titian, circa 1743, two chiaroscuro woodcuts, printed from 4 blocks [published in Venice in 1745 by Giovanni Battista Pasquali as a collection of twenty four chiaroscuro woodcut prints after Italian Old Master paintings], some marks and wear to edges, both prints laid down on linen, and each stretched over a wooden support, with the outer margin (including the title of the first work) blank edges wrapped around the stretcher edge, and secured with old tacks, visible area 53 x 35cm (21 x 14 ins), 56.5 x 39 cm (22.25 x 15.4 ins), respectively (Qty: 2)

A collection of Paragon, Buckingham and Royal Albert Elfin tea services, with Aynsley Flowers and Titian ware

SCHOOL OF ANTHONY VAN DYCK (17TH CENTURY)The Penitent MagdaleneOil on canvas, 125 x 101cmSeveral versions of a now lost original of this composition by Van Dyck have been published, including one in Susan Barnes 'Van Dyck: A Complete catalogue of the Paintings', III.A9, page 403.Anthony van Dyck (1599-1641) was born in Antwerp and grew to become a prolific painter, revered both in his own country and abroad. A precocious talent, van Dyck was employed as a studio assistant for Peter Paul Rubens and it was here that he truly mastered his ability. Whilst aiding with Rubens’ work, van Dyck also took on his own commissions. At the time, much of the wealth was held by the church and, as such, many of his works were of religious subjects. Circa 1620, just as van Dyck was finishing in Rubens’ studio, the artist undertook to paint ‘The Penitent Mary Magdalene’ which is now held in the Rijksmuseum. The subject of Mary Magdalene was popularised in the 16th century as part of the Counter Reformation. During a period when many were questioning Catholic power, religious bodies adopted the image of the Magdalene in a hope of inspiring religious devotion amongst their congregations. Coming to Christ as a prostitute, Magdalene was the ultimate depiction of salvation through adoration. Portrayed as a wretched figure, the image of the saint worked to remind people that forgiveness and eternal life would reward spiritual dedication.Van Dyck approached this commission with Northerly flare, half draping his masculine figure with a crisply sculptured cloth. As with Flemish art of the period, his scene is picked out with hard, clear lines and his figures bear the characteristic pointy features that are so often seen in works by Rubens. Though by the same artist, this work seems far removed from the soft portrayal of the repentant saint depicted in the current lot.In 1621, van Dyck chose to expand his artistic training and travelled to Italy where he was to spend the next six years. Arriving in Venice, his art fell under the influence of the Venetian School and its great master, Tiziano Vecelli. Numerous copies of Titian’s works were made by van Dyck, with a sketchbook of his (now housed in the British Museum) containing just under sixty imitations of his works, with careful annotations made as to composition and colour used. Van Dyck took his admiration further and undertook full oil paintings after the master, as can be seen in his rendition of Titian’s Magdalene in the York Museum, England. In this image, van Dyck’s Magdalene is transformed into a humble portrayal of female deference. Gone are the harsh lines of his Northern roots and, instead, his painting is filled with the sumptuous flowing lines of womanly flesh.It is, thus, without surprise that we find Titian’s influence in the current lot. As an artist who constantly revisited this subject matter throughout his career, a second work by Titian depicting the Penitent Magdalene (Hermitage Museum, St. Petersburg) is seen as bearing significant resemblance to this portrayal by van Dyck. Unlike the work previously mentioned, this rendition is not a slavish copy but, rather, a homage to a respected artist. Certain compositional aspects seem to have been borrowed directly from Titian, such as the looming rock to the left and the clear delicate tree to the right, each working to frame their subject in the centre. As with Titian’s piece, the Magdalene is accompanied by a skull and an open bible, her anguished face lifted and gazing to the right in adoration and imploration of the Heavens.Despite being the work of a Flemish painter, we can see van Dyck’s total embrace of the Italian painting style in this work. The careful use of sfumato blends his figure with her background and the Italianate landscape evokes a romanticism formerly unseen. Though van Dyck did not adhere to his change in style and future works lapse back into his Northern training, there is no doubt that Italy held immense influence over his work, with pieces such as this bearing testament to the respect that he nurtured.

Jackson (John Baptist, c.1701-1780) Death of St Peter Martyr, after Titian; The Finding of Moses, after Veronese, two works from 'Opera selectiora', chiaroscuro woodcuts on Venetian laid papers, one with text-based watermark of the letter '[?S]A',, borderlines 535 x 345 mm. (21 x 13 1/2 in), and 560 x 380 mm. (22 x 15 in), respectively, each with good margins, unframed, 1739-1741 (2)Literature:Kainen 16 and 28, respectively

Old master prints.- Bol (Ferdinand) An old man with a long beard, wearing a velvet cap, etching and drypoint, a good well inked impression on thin laid paper without watermark, without sign of much wear to plate, sheet 119 x 88 mm. (4 5/8 x 3 1/2 in), trimmed within platemark, small loss to lower left corner, other small nicks to extremities, some spotting and surface dirt, unframed, 1642; together three other old master prints, including a trimmed impression of Adriaen Janz van Ostade's 'The Peasant's Quarrel', a portrait of Dutch lady by Hollar, dated 1644, and a portrait of Titian by Giovanni Battista Cecchi, all unframed (4).Literature:[Bol] Hollstein 9

Attributed to Samuel Raven (1775-1847). A finely painted papier mache snuff box, decorated with 'The Miniature' after T. Harper, with concealed inner lid decorated with nudes, Venus after Titian and Venus with doves after Westhall, 4in.

AFTER TITIAN A MAN WITH A QUILTED SLEEVE oil on canvas, 81 x 66cm, unframed++A circa late 19th c copy of Titian's masterpiece in the National Gallery London with old retouched scratch upper left, minor surface marks and scratches, varnish discoloured with age, unlined, on the original stretchers

A Tray of Titian Ware Coffee Cups, Saucer and Side Plates by Adams

A FOLDER OF 17TH, 18TH AND 19TH CENTURY ENGRAVINGS, MEZZOTINTS AND LITHOGRAPHS ETC., from 'The Henshaw Collection', portraits and figure studies to include Robert Peel, Alexander Pope, Robert Boyle, artists include TITIAN, MURILLO, RAPHAEL, DURER FRA BARTOLOMEO etc., smallest 19 x 15 cm, largest 42 x 32 cm (Approx 150)

Gordon Radford (1936-2015), "Titian Exhibition, Venice Accademia" - series of studies, all signed and annotated, one dated '08, watercolour and pencil, 13.5 x 20cm, 5.25 x 7.75in (4).

A mixed lot of ceramics to include Denby, Chelsea, Titian ware, Poole Pottery, etc

J Douglas (19th century)After Titian, The Allegory of Alfonso D'Avalos signed, dated 87, watercolour, 26cm x 20.5cm