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Los 149
19th Century gilt bronze relief profile portrait of the Duke of Wellington, 4ins high approximately in a later pine frame, together with a 19th Century red wax relief profile portrait similar, inscribed ' Modelled by J.R. Seman, 1855 ', 5ins high approximately (at fault), in a birds eye maple frame
Los 1586
Adolfo Farsari (1841-1898) - „The Four Seasons in the Extreme Orient"Leporello-Album mit 8 hand-kolorierten Fotografien Japans und lose Leporello-Seiten mit 64 weiteren kolorierten Fotografien, darunter Landschaften, Portrait u. a. JAPAN 24,3 x 19/25,6 x 20 cm Provenienz: Aus einer süddeutschen Privatsammlung, vor 2010 erworben - Viele Seiten lose, Altersspuren ADOLFO FARSARI (1841-1898) - „The Four Seasons in the Extreme Orient”A small leporello album containing 8 hand-coloured photographs of Japan together with loose leporello pages containing 64 further coloured photographs of landscapes, portraits, and others Adolfo Farsari (1841-1898) - „The Four Seasons in the Extreme Orient”
Los 1310
Seltener vierteiliger Stellschirm JAPAN, Muromachi-Periode 138,5 x 245 cm Linker Schirm aus einem Paar. Auf jedem Paneel Portrait eines Priesters aus der Gruppe der Acht Patriarchen der Shingon-Schule, von rechts nach links der 5. Patriarch Zenmui, der 6. Patriarch Ichigyô, der 7. Patriarch Keika, und der 8. Patriarch Kobo Daishi. Auf dem Panel Topfsiegel, das zweite Schriftzeichen nobu. Provenienz: Aus einer bedeutenden süddeutschen Privatsammlung, in den frühen 1960'er-Jahren in München erworben, das abgebildete Foto wird in das Jahr 1967 datiert - Die Gruppe der Acht Patriarchen der Shingon Schule (Shingon hasso) wurde im 9. Jahrhundert kanonisiert. Während die ersten beiden Patriarchen legendär sind, haben die übrigen sechs als real existierenden Priester den esoterischen Shingon-Buddhismus in Ostasien entscheidend geprägt. Unter ihnen ist Kobo Daishi der einzige japanische Priester. Die Folge von Patriarchenbildnissen wird bei shingon-buddhistischen Initiationszeremonien zu je vieren an gegenüberliegenden Wänden der Halle aufgehängt. Anstelle von Hängerollen konnten auch zwei Stellschirme à vier Paneele dienen, die den Anwärtern die Traditionsfolge seiner Religion vor Augen führte. Die Bildhaftmachung von Überlieferungslinien von Lehrer zu Schüler wurde im Buddhismus seit jeher praktiziert. Die Achtergruppe Shingon Hasso ist in der Kunstgeschichte erstmalig belegbar in der Wandmalerei der Pagode des Daigoji bei Kyoto aus dem Jahr 952. In der Heian-Zeit ist dann ihre Darstellung kanonisch und ikonographisch festgelegt und wird seitdem mehr oder weniger unverändert fortgeführt. Die bekanntesten Sets dieser Patriarchenportraits befinden sich in japanischem Tempelbesitz oder bedeutenden japanischen Museen. Alle Dargestellten tragen einfache und immer gleiche Mönchsroben. Identifizierende Attribute sind Gebetsschnur, vajra und Handgestus (mudra). Vor der Sitzbank stehen Schuhe und Wasserkanne. Nur der chinesische Mönch Keika wird zusammen mit einem Akolythen wiedergegen. Die obere Gestaltung des Bildfeldes hingegen variiert bezüglich der namentlichen Identifizierung und den biographischen Angaben zu den Priestern. So gibt es Schriftfelder, die sich über die ganze Bildbreite ziehen, ein einzelnes Schriftfeld jeweils rechts, oder in großen Schriftzeichen geschrieben der jeweilige Name. Bei den vorliegenden Bildnissen sind die Schriftfelder frei geblieben. Buddhistische Malerei und auch solche Patriarchenportraits wurden von anonymen Werkstätten meist arbeitsteilig ausgeführt. Diese Bilder sind nicht signiert, höchstens aus einer rückwärtigen Aufschrift könnte ein Datum oder ein Name hervorgehen. Das im vorliegenden Fall ein Siegel angebracht wurde, ist ungewöhnlich. Siegel in Form eines archaischen chinesischen Bronzegefäßes wurden von den Malern der Kano-Schule und Zen-Mönchen ab dem 16. Jahrhundert verwendet. Das Siegel hier ist atypisch, da es nur ein einziges Paar Henkel gibt und diese am Hals angebracht sind und nicht wie üblich am Korpus oder auf dem Gefäßrand aufsitzen - Kleinere Alterssch. und alte Rest., etwas berieben, auf Stand montiert A RARE FOUR-PANEL SCREEN, Japan, Muromachi period, with a portrait of a Shingon patriarch on each panel, from left to right: the fifth patriarch Zenmui, the sixth patriarch Ichigyô, the seventh patriarch Keika, and the eighth patriarch Kobo Daishi ink and colours on paper, pot seal, the second character reading Nobu The group of the Eight Patriarchs of the Shingon school of Buddhism (Shingon hasso) was canonized in the ninth century. While the first two monks are considered legendary, the following six priests partook an important role in shaping orthodox esoteric Buddhism in the Far East. The eighth patriarch Kobo Daishi, also known as Kukai, is the only Japanese proponent of this school within this group. A set of paintings representing the Shingon hasso was used during initiation ceremonies and displayed on the opposing walls of a temple hall, four on each side. The monks undergoing initiation were thereby presented a visualization of the Shingon lineage of transmission of esoteric Buddhist doctrine. This explains why in this case the screen is four-panelled, while regular screens for interior decoration consist of six panels. In art history the Shingon hasso first appear on the walls of the Daigoji pagoda in the year 952. Their iconography was laid down in the Heian period and was continued through the centuries more or less without changes. The most famous sets belong to Japanese temples and are housed in the national museums of Japan. The priests are represented seated on a dais wearing simple monk's robes. They can be identifying by their age and physiognomy as well as the gestures of their hands (mudra) and their attributes vajra and prayer beads, all in varying combinations. Their shoes and a water bottle are placed before the seating bench. Only the Chinese monk Keika is represented with an acolyte. While these figural representations go unchanged, the manner of conveying the biography of these monks varies. Shikishi papers with a written biography in the upper section of the painting take up either the whole width of the painting or are pasted at the righthand corner. Other sets merely show the name of the priest in large Sanskrit syllables and Chinese characters. These Shingon hasso portraits, as Buddhist paintings in general, were produced in specialised ateliers by anonymous painters who furthermore worked on these images through a division of labour. To find a seal on such paintings is rare. The present seal in shape of an archaic Chinese bronze vessel is of a type used by the Kano school painters and Zen-Buddhist priests - Property from an important South German private collection, bought in the early 1960's in Munich, the illustrated photo can be dated to 1967 - Very minor damages due to age, minor rest., wear, mounted on stand
Los 723
Deutscher Maler - Portrait Datiert 1886 27,5 x 21,5 cm Porträt eines Chinesen, vermutlich Li Hongzhang (1823-1901). Datiert 1886. Öl auf Leinwand, auf Holz aufgezogen, gerahmt. Signatur des Künstlers: "PS (O?), 1886". Notiz auf der Rückseite des Bildes: ". Li Hung Thang, letzter chines. Kanzler. Das Bild wurde bei Firma Krupp, Essen, im . Peter Schiek gemalt." Darunter spätere Erläuterung: "Li Hung-tschang, geb. 14.2.1821 in Peking, am 7.11.1901 gestorben. Schloss 1895 den Frieden von Schimonoseki." Auf angeklebtem Etikett: "Portrait: Li-Hung-Thang. Provenienz: Aus der Sammlung von Prof. Dr. med., Dr. phil. Hermann Schroeder (1902-1991) - Altersspuren German painter, Portrait of a Chinese, probably Li Hongzhang (1823-1901), China, dated 1886. Oil on canvas, pasted on wood, 27,5 x 21,5 cm, framed Signature by the artist on the painting: "PS (O?), 1886". Note on the back of the painting: ". Li Hung Thang, last Chinese Kanzler. The picture was painted at the Krupp Company in Essen, in . Peter Schiek." Beneath an explanation was added later: "Li Hung-tschang, born 14.2.1821 in Peking, died in 7.11.1901. Negotiated the Peace of Shimonoseki in 1895." On a glued on piece of paper is stated: "Portrait: Li-Hung-Thang ." - Property from the estate of the collection of Prof. Dr med., Dr phil. Hermann Schroeder (1902-1991) and his family - Li Hongzhang (1823-1901) was one of the most eminent Chinese ministers and diplomats of the second part of the 19th century. He organized and let an army successfully against the Taiping rebellion and recovered many cities and provinces for the Qing government. He was also a leading man in modernizing China through the import of Western technologies. In 1866 the Chinese government sent its first embassy to Europe, which also did a visit to the Krupp Company in Essen. From 1871 to 1880 China bought altogether 764 canons from Krupp using them for example in the war against the Moslems in Sinkiang. It also wanted to import whole factories from Krupp but the company refused. Li Hongzhang did his great journey to Europe and America in 1896 on occasion of an invitation to the new Czars coronation. He afterwards visited the German Kaiser and Bismarck, went to Brussels and Paris and met Queen Victoria before he travelled to Washington and Vancouver and back to Tianjin - Minor traces of age
Los 491
Malerei im Stil von Castiglione, der Kaiser Qianlong und seine Konkubine CHINA, Qing-/Republik-Periode 115 x 62 cm R. Sign. chen langshining gonghui (gemalt von Eurem Untertan Langshining) mit Siegel chen shining yin und gonghui. Ein Sammlersiegel yunshu canghua zhi yin, unter Glas gerahmt. Provenienz: Aus einer alten und bedeutenden europäischen Privatsammlung, vor 1990 gesammelt - Altersspuren und kleine Schäden, etwas fleckig und berieben A PORTRAIT OF THE QIANLONG EMPEROR AND HIS CONCUBINE IN THE STYLE OF CASTIGLIONE, China, Qing/Republic period, signed chen langshining gonghui and seals chen shining yin and gonghui. one collector's seal yunshu canghua zhi yin - Provenance: Old and important European private collection - Traces of age, minor damages and stains, wear, framed under glass
Los 11
Queens South Africa medals with Six battle clasps, Relief of Kimberley, Paardeberg, Driefontein, Johannesburg, Diamond Hill and Wittenbergen. Officially impressed 3655 Pte A Hardy 12th R Lancers. 1st type Queens medal with ghost dates. Kings South Africa medal with two date clasps officially impressed to 3655 Pte A Hardy 12th Lancers. Sold together with small Boer War period portrait photo of recipient.
Los 1038
Jan SaudekPortrait of Ida Gelatinesilberabzug handkoloriert. 23,7 x 24,2 cm. Unten rechts mit Tinte signiert. Umlaufend mit Papierstreifen eingefasst, darauf mit Tinte signiert, datiert, betitelt und nummeriert sowie beschriftet '#1927 - model print - FINISHED: FEBRUARY 1892'. Exemplar 6/30. - Unter Passepartout montiert.ProvenienzLempertz Auktion 761, 7. Nov. 1998, Lot 300; Privatsammlung, Hessen Jan SaudekPortrait of Ida Gelatin silver print hand tinted. 23.7 x 24.2 cm. Signed in ink lower right. The edges bordered with paper strip, thereon signed, dated, titled and editioned as well as inscribed in ink '#1927 - model print - FINISHED: FEBRUARY 1892'. Print 6 from an edition of 30. - Matted.ProvenanceLempertz auction 761, Nov. 7, 1998, lot 300; private collection, Hessia
Los 911
Monsieur XOhne Titel 3 Vintages, Gelatinesilberabzüge. 23,6 x 17,8 cm, Hoch- und Querformate. Jeweils rückseitig von fremder Hand mit Bleistift bezeichnet. - Jeweils mit leichten Aussilberungen..ProvenienzPrivatsammlung, SchweizLiteraturvgl. Alexandre Dupouy, Collection privée de Monsieur X. L'Œuvre inédite d'un photographe anonyme des années 30, Paris 1996 Monsieur XUntitled 3 vintage gelatin silver prints. 23.6 x 17.8 cm, portrait and landscape formats. Each annotated in an unknown hand in pencil on the verso. - Each with slight oxidation mirroring..ProvenancePrivate collection, SwitzerlandLiteraturesee Alexandre Dupouy, Collection privée de Monsieur X. L'Œuvre inédite d'un photographe anonyme des années 30, Paris 1996
Los 843
Enrico VerzaschiRoma Album mit 50 Albuminabzügen. Von 25,5 x 27,6 cm bis 28,7 x 38,3 cm, Hoch- und Querformate. Die Abzüge zum Teil mit einkopierter Bezifferung. Einzeln auf Kartonseiten aufgezogen. In Ledereinband mit goldgeprägtem Dekor und TitelLiteraturBonetti 2008, S. 169 - 174 mit Abbn. (Kat. 210 - 259)Enrico Verzaschi war seit 1860 als Photograph tätig und übernahm 1870 das Atelier seines Kollegen Gioacchino Altobelli (vgl. Lot 827), der nach Francesca Bonetti auch Autor einiger Aufnahmen in dem hier vorliegenden Album ist. Aufwändig gebunden, war es für eine wohlhabende Klientel gedacht. Die Motive folgen der Choreographie, wie sie in derlei Erinnerungsalben üblich war: Den bekanntesten Baudenkmälern der Antike, der Renaissance und des Barock folgen Aufnahmen der Campagna Romana und zuletzt Bilder der Skulpturen aus den Vatikanischen und Kapitolinischen Sammlungen sowie Reproduktionen der Meisterwerke etwa von Michelangelo und Raffael. Enrico VerzaschiRoma Album containing 50 albumen prints. From 25.5 x 27.6 cm to 28.7 x 38.3 cm, portrait and landscape formats. Some of the prints numbered in the negative. Individually flush-mounted to album pages. In leather binding with gold embossed ornament and title.LiteratureBonetti 2008, ill. pp. 169 - 174 (cat. 210 - 259)Enrico Verzaschi had been working as a photographer since 1860 when in 1870 he took over the studio of his colleague Gioacchino Altobelli (see lot 827), who, after Francesca Bonetti, is also the author of some of the photographs in this album. Lavishly bound, it was intended for a wealthy clientele. The motifs follow the choreography that was typical in such commemorative albums: The most famous architectural monuments of Antiquity, the Renaissance and the Baroque are followed by photographs of the Campagna Romana and, finally, pictures of the sculptures from the Vatican and Capitoline collections as well as reproductions of masterpieces by artists such as Michelangelo and Raphael.
Los 999
Will McBrideIch war verliebt in diese Stadt Portfolio mit 11 Gelatinesilberabzügen 2014. 23 x 34,4 cm (30,4 x 40,3 cm) bis 23,4 x 35 cm (30,4 x 40,3 cm), Hoch- und Querformate. 10 Abzüge rückseitig mit Bleistift signiert, datiert, betitelt und nummeriert. Exemplar 10/10. - In originaler Portfoliobox..LiteraturMathias Bertram (Hg.), Will McBride. Berlin im Aufbruch. Fotografien 1956-1963, Berlin 2013, mit Abbn.Sein Portfolio "Ich war verliebt in dieser Stadt" produzierte Will McBride anlässlich der gleichnamigen Retrospektive, mit der das C/O Berlin im Herbst 2014 seine neuen Räumlichkeiten im Amerikahaus eröffnete. Bereits 1957 hatte der gebürtige US-Amerikaner in dem Bau am Bahnhof Zoo erstmals seine Arbeiten ausgestellt. Nur wenige Tage nach Ende der Ausstellung verstarb Will McBride Ende Januar 2015. So schloss sich mit seiner letzten Ausstellung zu Lebzeiten ein Kreis. Das hier zum Aufruf kommende Portfolio gehört zu den letzten Werken seines umfangreichen photographischen Schaffens. Die Motive: Das Kutscherpferd trinkt, Berlin, 1956Junge kauft Zeitung, Berlin, 1958Popcorn Essen am Wannsee, Berlin, 1959Riverboat, Berlin, 1959Horst Buchholz und Miriam, späte 1950er JahreMann in der Bernauer Straße, Berlin, 1961Kinder spielen an der Mauer, Berlin, 1961Babys über die Mauer zeigen, Berlin, 1971Kennedy, Brandt, Adenauer am Brandenburger Tor, Berlin, 1973Ohne Titel (Kontaktbogen mit den am Brandenburger Tor entstandenen Aufnahmen), 1973Das neue Kleid, Berlin, Pfaueninsel, 1980 Will McBrideIch war verliebt in diese Stadt Portfolio containing 11 gelatin silver prints, printed 2014. From 23 x 34.4 cm (30.4 x 40.3 cm) to 23.4 x 35 cm (30.4 x 40.3 cm), portrait and landscape formats. 10 prints signed, dated, titled and editioned in pencil on the verso. Portfolio 10 from an edition of 10. - In original portfolio box.LiteratureMathias Bertram (ed.), Will McBride. Berlin im Aufbruch. Fotografien 1956-1963, Berlin 2013, with ill.Will McBride produced his portfolio "Ich war verliebt in dieser Stadt" on the occasion of the retrospective of the same name, with which the C/O Berlin opened its new spaces in the 'Amerikahaus' in autumn 2014. The US-born artist had already exhibited his works there for the first time in 1957. Only a few days after the end of the exhibition, Will McBride passed away at the end of January 2015, thus closing the circle with his last exhibition in his lifetime. The portfolio on offer here is one of the last works in his extensive photographic oeuvre.Subjects: Das Kutscherpferd trinkt, Berlin, 1956Junge kauft Zeitung, Berlin, 1958Popcorn Essen am Wannsee, Berlin, 1959Riverboat, Berlin, 1959Horst Buchholz und Miriam, späte 1950er JahreMann in der Bernauer Straße, Berlin, 1961Kinder spielen an der Mauer, Berlin, 1961Babys über die Mauer zeigen, Berlin, 1971Kennedy, Brandt, Adenauer am Brandenburger Tor, Berlin, 1973Ohne Titel (Kontaktbogen mit den am Brandenburger Tor entstandenen Aufnahmen), 1973Das neue Kleid, Berlin, Pfaueninsel, 1980
Los 1004
Peter HeblerOhne Titel 8 Gelatinesilberabzüge. Von 36 x 34,5 cm (40,3 x 30,3 cm) bis 40,3 x 30,3 cm, Hoch- und Querformate. Jeweils rückseitig mit Bleistift signiert, datiert und mit Copyrightstempel des Photographen. Peter HeblerUntitled 8 gelatin silver prints. From 36 x 34.5 cm (40.3 x 30.3 cm) to 40.3 x 30.3 cm, portrait and landscape formats. Each signed and dated in pencil as well as photographer's copyright stamp on the verso.
Los 846
Giacomo CanevaSkulpturen, Vatikanische und Kapitolinische Museen 7 Salzpapierabzüge, jeweils vom Papiernegativ. Von 18,5 x 8,9 cm bis 20,5 x 24,4 cm (Hoch- und Querformate). Jeweils rückseitig mit Ölkreide signiert. Jeweils neu auf originalen Unterlagekarton montiert, dort unten mittig von fremder Hand mit Bleistift bezeichnet.LiteraturBonetti 2008, S. 92, S. 149 und S. 150 mit Abbn. [Kat. 40, 43, 44, 45, 47, 49, 50]Die Skultpuren: Ariadne, Herkules, Herkules und Telephos, Venus im Bade, Putto, der eine Gans erdrosselt, Karyatide sowie Moses (Michelangelo, San Pietro in Vincoli)Caneva war, wie Francesca Bonetti vermutet, wohl der erste Photograph, der die Skulpturensammlungen im Vatikan und den Kapitolinischen Museen mit der Kamera dokumentierte. Das Bild der schlafenden Ariadne nahm er in die von ihm selbst 1851/52 herausgegebene Mappe Roma in Fotografia auf, von der sich heute ein Exemplar in der Sammlung des Museum Ludwig, Köln, befindet. Giacomo CanevaSculptures, Vatican Museums 7 salt paper prints, each printed from paper negative. From 18.5 x 8.9 cm to 20.5 x 24.4 cm (portrait and landscape formats). Each signed in oil pastel on the verso. Each mounted to original card, annotated in an unknown hand in pencil below the image on the mount.LiteratureBonetti 2008, ill. p. 92, p. 149 and p. 150 [cat. 40, 43, 44, 45, 47, 49, 50]The sculptures: Arianna, Hercules, Hercules and Telephos, Venus in the Bath, Putto strangling a Goose, Caryatid, Moses (Michelangelo, San Pietro in Vincoli)Caneva was, as Francesca Bonetti suspects, probably the first photographer to document the sculpture collections in the Vatican and the Capitoline Museums with his camera. He included this picture of the sleeping Ariadne in the portfolio Roma in Fotografia, which he self-published in 1851/52 and of which a copy is currently housed in the Museum Ludwig, Cologne.
Los 375
THREE JAPANESE LACQUERED MASKS MEIJI PERIOD, 19TH AND 20TH CENTURY The largest in red and black lacquer, carved as a grimacing face with a long beak-like nose, possibly depicting a tengu; another with the eyebrows, moustache and goatee made of hair, sticking its long tongue out, possibly depicting Shishiguchi; the last of smaller size and carved with emaciated cheeks, possibly a portrait of Usofuki, 31cm max. (3) Provenance: from a deceased estate, Hampshire.
Los 292
FOUR JAPANESE WOODBLOCK PRINTS BY TSUKIOKA YOSHITOSHI (1839-1892) MEIJI PERIOD, C.1888 The four oban tate-e from the series Fuzoku sanjuni so (Thirty-two Aspects of Customs and Manners of Women), comprising: a beauty and her cat entitled 'Tiresome/noisy: Habits of a virgin of the Kansei era'; another a geisha resting, entitled 'Loose: Habits of a geiko of Kyoto of the Kansei era'; the third the portrait of a courtesan being tattooed and entitled ' Painful:Habits of a prostitute of the Kansei era'; the fourth reading with her cat, entitled 'Warm: Habits of an urban widow of the Kansei era', each print approx. 24cm x 36cm. (4)
Los 72
δ Francis Bacon (1909-1992)Portrait of Michel Leiris (Sabatier 30)Lithograph printed in colours, 1990, signed in pencil, numbered from the edition 150, printed by Atelier Mourlot, published by Galerie Lelong, Paris, on Arches paper, with full margins, 480 x 360mm (18 7/8 x 14 1/8) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 6
δ David Bomberg (1890-1957)Portrait of Austen St. Barbe Harrison (1891-1976)Oil on canvas, signed and dated '31' in the upper left corner, 610 x 505 mm (24 x 20 in), some craquelure (framed)Provenance:Lilian Thirza Charlotte Bomberg née Holt;Gifted to Austen St. Barbe Harrison [manuscript letter from Lilian to Harrison included, dated '63]Sale, [?]Christie's, London, 13th June 1986, lot 271;The Phoenix Galleries, Suffolk;Private collection, BristolExhibited:Waterhouse & Dodd, London (possibly 'David Bomberg' November 2013) [label affixed to reverse of frame]Literature:cf. Cork (Richard), David Bomberg, 1987, p. 152⁂ An intimate portrait of the artist's "close friend", whom he met during his time in Jerusalem. Austen St. Barbe Harrison, a British-born architect who spent most of his career in the Middle East, met Bomberg while he was a Government appointed architect working in Jerusalem. Harrison lived above the artist, where he was living with his wife, Lillian. Cork writes 'Harrison soon became a close friend [...] and the Bombergs would go to supper at [Harrison's] house and spend the evening in uninhibited conversation' [op cit.]. A manuscript letter from Lillian to Harrison is included in the present lot, which highlights both the close relationship between Harrison and Bomberg, as well as Harrison's friendship with Lillian.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 58
Ɵ Bartholomeus de Sancto Concordio, Summa de casibus conscientiae, in Latin, stout pocket-sized illuminated manuscript on parchment [Italy (Milan), dated last day of January 1444]To view a video of this lot, click here.361 leaves (plus a single thick parchment endleaf at front and back), complete, collation: i-xliv8, xlv9 (last a singleton added to complete text), many catchwords and quire and leaf signatures partially or completely trimmed away, double column of 33 lines of a small late Gothic Italian bookhand, index at end entirely in red penwork, capitals touched in red, paragraph marks in alternate red or blue, 2- to 3-line initials in red or blue encased in contrasting blue or purple penwork, larger initials with these angular and geometric penwork decorations extending the height of borders, some terminating in large bezants with stamen-like penwork tendrils, one initial at front (fol. 1v) in dark pink enclosing coloured foliage on gold grounds with painted acanthus spray in margin, frontispiece with 10-line initial in same, enclosing portrait of author as a tonsured Dominican friar with one hand on an open book, with pink, green and red angular foliage in margins on three sides (enclosing an unfilled coat-of-arms in bas-de-page), the fourth side with two large bezants, leaves at each end with slight cockling, stains to edges of frontispiece and losses to edges of decoration there, small smudge to background of author's portrait, lower outermost corner of fol. 1 once lost and now filled with modern parchment, borders of last leaf torn in places, some small spots and stains throughout, but overall in fine and fresh condition on cream/yellow parchment with wide and clean margins, 170 by 125mm.; later parchment binding over thin pasteboards (perhaps nineteenth century) with yapp edges, Early Modern library classmark (probably monastic) of 'L' followed by erased number at head of spine, later "Barthol: de Pisis / Summa Casuum / Manoscritti / del / 1444" in pen lower on spine Provenance:Completed by a scribe who names himself Roland "de sabbelie" (perhaps the estate attached to Castel Savelli, Lazio) on the last day of January 1444 in Milan: colophon in red on fol. 354v at end of main text. A final line added by the same hand below that inscription: "Philippi de Florentia" may well indicate the original owner.Text:Bartholomaeus de Sancto Concordio (1262-1347; also Barthomeo Granchi and Bartolomeus Pisanus) entered the Dominican Order in 1277, studied at Bologna and Paris, and taught logic in Italian Dominican convents before returning to Pisa around 1335. He gained fame as a preacher, poet and teacher of canon and civil law. This is greatest work, a vast penitential survey of the whole subject of moral theology, with detailed examples taken from Canon Law, created for practical use by preachers. It was finished c. 1338, and was based on the Summa confessorum of another Dominican, Johannes of Freiburg (d. 1314). What Bartholomeus added was an alphabetical arrangement of the subject matter, setting aside the older and cumbersome thematic arrangement of the topics. It was enormously popular, and hundreds of manuscripts have been traced in European libraries by J. Dietterle ('Die Summae confessorum (sive de casibus conscientiae) von ihren Anfangen an bis Silvester Prierias', Zeitschrift für Kirckgeschichte, 27, 1906, pp. 166-70), with that list revised by S. Kuttner (A Catalogue of Canon and Roman Law Manuscripts in the Vatican Library, 1986, II:25-31). In the fourteenth century it was translated into Italian by Giovanni delle Celle (d. 1394; see Yale University, Beinecke Library, MS 759), and was among the first books printed in Germany, France, and Italy.
Los 229
Philippe Garel b1945. French. Substantial oil on canvas. “Portrait of an African Woman”. Signed and dated 86 side left.Measures 126cm x 157cmCondition Report – Excellent original condition.Philippe Garel is one of the finest post-war French painters currently working, producing large canvases with elaborately textured backdrops and lushly realized figures. This work was previously called "Mother Earth" when it was hanging on the south wall of Toronto artist and critic Paul Duval's studio. It was there that it was first seen by journalist Sarah Thomson, who was so struck by the piece that she dreamt of using a ladder to peek through the studio windows to see her again. Thomson described it, painted in clay reds and earth tones, as "so warm it seemed to heat the room". Garel has been exhibited in Paris, Madrid, Munich, New York, Brussels, Bologna, Milan, Rome, Turin, Geneva, and Amsterdam. The world famous Italian fashion designer, Valentino, proudly displays his large Philippe Garel, "Portrait à la robe noire", 1984, (exhibited at the Galerie Albert Loeb's "Philippe Garel", show held September 20 - October 20, 1984 in Paris, Cat. No. 25), in his office, where it is featured as a backdrop to a colour photograph in a 2009 article in Vanity Fair. Garel taught for 25 years in the École régionale des Beaux-arts de Rouen before being elected into the Académie des beaux-arts in 2015.
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283287 Los(e)/Seite