Professor Theodor Linz - bronzener Portraitkopf Adolf Hitlers Überlebensgroße Darstellung, seitlich am Hals signiert "Tn. Linz" und auf der Rückseite "Kunstverlag - Werrmann Nürnberg-N". Höhe 37 cm. Theodor Linz (1886 - 1979), Studium an der Königlichen Kunstgewerbeschule in Nürnberg u.a., Bildhauerei von Professor Balthasar Schmitt an der Akademie der Bildenden Künste München. Bei Kriegsbeginn meldete er sich freiwillig zum 1. Bayerischen Feldartillerie-Regiment in München. 1915 als untauglich entlassen. Von 1939 bis 1943 mehrfach auf der Großen Deutschen Kunstausstellung in München vertreten. Professor Theodor Linz - a bronze portrait head of Adolf Hitler Professor Theodor Linz - a bronze portrait head of Adolf HitlerÜberlebensgroße Darstellung, seitlich am Hals signiert "Tn. Linz" und auf der Rückseite "Kunstverlag - Werrmann Nürnberg-N". Höhe 37 cm. Theodor Linz (1886 - 1979), Studium an der Königlichen Kunstgewerbeschule in Nürnberg u.a., Bildhauerei von Professor Balthasar Schmitt an der Akademie der Bildenden Künste München. Bei Kriegsbeginn meldete er sich freiwillig zum 1. Bayerischen Feldartillerie-Regiment in München. 1915 als untauglich entlassen. Von 1939 bis 1943 mehrfach auf der Großen Deutschen Kunstausstellung in München vertreten.Condition: I - II
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Geschwärzte Plakette mit Himmler-Portrait Wohl Bronze, geschwärzt. Reliefportrait über reliefierter Inschrift "H. Himmler". Rückseitig Künstlersignatur "Conert", Gießermarke der Mägdesprunger Eisenhütte sowie "Dez. 1933". Maße 12,5 x 9,5 cm. A blackened plaque with Himmler portrait A blackened plaque with Himmler portraitWohl Bronze, geschwärzt. Reliefportrait über reliefierter Inschrift "H. Himmler". Rückseitig Künstlersignatur "Conert", Gießermarke der Mägdesprunger Eisenhütte sowie "Dez. 1933". Maße 12,5 x 9,5 cm. Condition: II -
Leni Riefenstahl - verschiedene Fotos, eines mit Signatur, Postkarten, Sterbekarte sowie "In memoriam"-Layout-Foto Leni Riefenstahl, eine Portrait-Postkarte mit handschriftlicher Signatur "Leni Riefenstahl", sechs Fotos und Portrait-Postkarten in unterschiedlichen Größen, eine Sterbekarte mit ihrem Foto auf der Vorderseite, innen "Leni Riefenstahl 22. August 1902 in Berlin - 08. September 2003 in Pöcking" (starke Gebrauchsspuren). Fünf farbige Postkarten aus der Serie "Nuba im Sudan" sowie ein Layout-Foto, wohl für ein spanisches Magazin, "Los Ojos de la miranda - Riefenstahl in memoriam" in DINA-4-Größe. Leni Riefenstahl - various photos, one with signature, postcards, a death card and an "in memoriam" layout picture Leni Riefenstahl - various photos, one with signature, postcards, a death card and an "in memoriam" layout pictureLeni Riefenstahl, eine Portrait-Postkarte mit handschriftlicher Signatur "Leni Riefenstahl", sechs Fotos und Portrait-Postkarten in unterschiedlichen Größen, eine Sterbekarte mit ihrem Foto auf der Vorderseite, innen "Leni Riefenstahl 22. August 1902 in Berlin - 08. September 2003 in Pöcking" (starke Gebrauchsspuren). Fünf farbige Postkarten aus der Serie "Nuba im Sudan" sowie ein Layout-Foto, wohl für ein spanisches Magazin, "Los Ojos de la miranda - Riefenstahl in memoriam" in DINA-4-Größe. Condition: I - II
Benito Mussolini - Portraitbüste Lebensgroße Büste aus Steinguss, der Sockel bezeichnet "Benito". Verwittert. Höhe ca. 35 cm. Gewicht ca. 18,5 kg. Versandkosten möglicherweise höher als der Kaufpreis (Shipping costs possibly higher than the purchase price). Benito Mussolini - a portrait bust Benito Mussolini - a portrait bustLebensgroße Büste aus Steinguss, der Sockel bezeichnet "Benito". Verwittert. Höhe ca. 35 cm. Gewicht ca. 18,5 kg. Versandkosten möglicherweise höher als der Kaufpreis (Shipping costs possibly higher than the purchase price).Condition: III - IV
Monumental portrait vase of Julius Caesar wearing knight armor. The surfaces of Rembrandt pieces are heavily indented and along with the portrait ovals based on old master paintings, a quotation is also to be found such as the one on this piece "Cowards Die Many Times Before Their Death, The Valiant Never Taste of Death". Doulton backstamp. Dimensions: 9"W x 16"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Colonial School. 18th century."True and Sweet Portrait of Sister Magdalena de la Cruz, Franciscan, between the 15th and 16th centuries."Oil on canvas. Relined.58 x 47 cm. With niche: 76 x 79 x 18 cm.Franciscan nun from Cordoba (Aguilar de la Frontera, 1487) who was honoured as a saint during her lifetime for many years due to her many mystical visions and the miracles she performed, but was also declared a heretic by the Holy Inquisition around the same time.The portrait faithfully reflects her life, a heart inflamed with love for the crucified Jesus and her own sufferings, accompanied by numerous crosses that emanate from her head and float above her. These crosses "crucified" her during her lifetime but couldn't erase the serene smile that God bestows upon his chosen ones.Since the age of five, when she had her first encounter with the inexplicable, to the age of 13 when she entered the convent of Santa Isabel de los Ángeles in Cordoba as a novice, Magdalena never ceased to have visions, ecstasies, and "visits from a relative" (as she called it...). She gained fame as a healer and was known throughout Europe. The nobility and even Emperor Charles V held her in great esteem, and no one doubted her future canonisation because of the miracles she performed.She was elected abbess of her convent in 1533, serving as prioress for nine years.Beloved and hated, respected and envied by some of her sisters, she was accused of having "such marvels in her as the result of the action of devils" and was imprisoned for heresy in 1544.She spent two years in jail awaiting trial, but her previous reputation for holiness and her good connections saved her from certain death.She died in the convent of Andújar (Jaén) in 1560.During the early decades of the 16th century, her fame as a saint grew so great in Spain that nobles vied for relics of the nun. Emperor Charles V himself sent an emissary in 1527 with mantillas belonging to his son, the future Philip II, to be blessed by the Cordobesan Magdalena. These relics are now kept in the Royal Monastery of El Escorial.Accompanied by a carved, gilded, and polychromed wooden niche.
TOM WESSELMANN (1931-2004)Monica Nude with Matisse (Black variation #3) 1987/91 signed twice and dated twice 91 on the reverse enamel on cut-out steel129.5 by 218.4 cm. 51 by 86 in. Footnotes:This work is registered in The Estate of Tom Wesselmann, New York, under no. 19S-3. ProvenanceThe Estate of the artist, New YorkGalerie Thomas, Munich Private Collection, Germany Thence by descent to the present ownerExhibitedMunich, Galerie Thomas, Tom Wesselmann, 2006, p. 29, illustrated in colourWidely considered to be one of the most prominent figures of the American Pop Art movement, Tom Wesselmann devoted his career to transforming broadly recognisable popular imagery into vivid pop artworks of different scales and mediums. During a time when artists were moving towards Abstract Expressionism and straying away from figurative painting, Wesselmann took a contrastive approach, opting instead for his now famous representations of nudes, still lives, landscapes, and everyday objects. Profoundly influenced by images in advertising, Wesselmann's distinctive style is characterised by flat colours, clean lines, and highly stylised presentations of the female figure - an effort to make figurative art as exciting as abstract art. Majestic in scale, Monica Nude with Matisse portrays the sitter in an alluring pose with her robe nearly fully opened, her sensual lips and exposed breasts intensifying the erotic intimacy and her body language conveys a sense of quiet confidence and relaxation. The distinct minimalist outlines that define the work are one of Wesselmann's signature styles, while the use of black enamel initiates a sense of energy and dynamism. Wesselmann often omits the eyes of the model, lending a sense of anonymity and letting the viewer's imagination complete the work. The interplay of Monica's nearly faceless nude figure in the foreground and Matisse's elaborate painting as a backdrop creates a sense of depth and complexity that is both visually striking and intellectually stimulating.Wesselmann's female nudes are arguably the most renowned and recognisable subject in his oeuvre. Finished in 1991, Monica Nude with Matisse is an iconic and inventive work that celebrates Wesselmann's experimentation with painted steel-cut outs. This unique piece is an enamel on cut-out steel that combines a portrait of Monica with a reproduction of Henri Matisse's Purple Robe and Anemones from 1937 that is part of the Cone Collection at the Baltimore Museum of Art. The model – Monica Serra, is one of Wesselmann's favourite and most widely used models since the early 1980s. She had a close working relationship and friendship with Wesselmann, working first as his studio assistant and later his studio manager. Steel cut-outs depicting her are amongst the most sought after on the market, and the present work is a particularly beautiful and complex example.Within his extensive body of work, Wesselmann regularly referenced the distinguished French artist Henri Matisse, particularly in his renowned Great American Nude series that was launched in 1961. He said that 'I can't talk about Matisse without talking about myself. He is the painter I most idolized and I still do' (the artist in: 13 Quotes from Artist Tom Wesselmann, www.denverartmuseum.org, 19 June 2014). His preoccupation with the artist visible throughout the Great American Nude series showcases Wesselmann's deep appreciation for Matisse's artistry and his desire to engage in a creative dialogue with the master. Wesselmann's fascination with Matisse was not limited to the female form; it also extended to the exploration of colour, shape, and composition. By citing one of the most celebrated artworks in art history in the present work, Wesselmann invites the viewer to consider the ways in which the female form has been portrayed throughout history; a visual conversation between him and his predecessor is formed, which transcends time and bridges artistic generations. In the early 1980s, Wesselmann ventured into the third dimension using shaped canvases and cut metal that nevertheless retained a sense of his signature gesture - as though he is drawing with the metal itself. He enlarged his base drawings and then worked with the fabricator to cut them out of steel and aluminium before painting them in black or colour. The double date in the present work refers to the date of conception on paper and the finished object in steel. Wesselmann's works have been widely exhibited across the globe. He had retrospective exhibitions in many major museums, including the Denver Art Museum, Cincinnati Art Museum, the Virginia Museum of Fine Arts, and The Montreal Museum of Fine Arts and his works are a staple in some of the biggest institutional collections in the world. Today, Wesselmann's steel cut series is seen as a quintessential part of his oeuvre and a medium that is closest associated with his practice. Monica Nude with Matisse is a iconic example that showcases the artist's commitment to pushing the boundaries of what a new medium could offer in a new and dynamic way. The work represents a lifetime's dedication to the study of the female nude and the search to push beyond the classic flat painting surface. Coming fresh to the market, the work offers the opportunity to acquire an extraordinary example of the artist's oeuvre, a must-see piece and a wonderful addition to any distinguished collection.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
ANTONIO SAURA (1930-1998)Don 2 1989 signedoil on canvas130 by 96.9 cm.51 3/16 by 38 1/8 in.This work was executed in 1989.Footnotes:This work is registered in the Archives Antonio Saura Foundation, Geneva, under no. RIMT@1989@DON.2.This work will be included in the forthcoming Catalogue Raisonné being prepared by the Archives Antonio Saura Foundation, Geneva.ProvenanceGalerie Pierre Huber, GenevaGaleria Sarda, BarcelonaAcquired directly from the above by the present owner in 1990ExhibitedZaragoza, Palacio de Sástago, Saura Decenario; 1980-1990, 1991, p. 12, no. 28, illustrated in colourA beautiful and striking work that was conceived in a key phase of Antonio Saura's career, Don 2 from 1989 contains a sublime confidence in gestural technique. An intense presence emerges from the vivid brushstrokes, heightened by an intentionally flat background that allows the energies, associations, and characteristics of the artist's superbly represented figure to come alive on the picture plane. Don 2 is a supreme example of Saura's iconic abstracted biomorphic forms. The distorted portrait is imbued with the artist's personal style that developed independent from the artistic trends of his peers, granting him recognition as one of the most important avant-garde painters of his time. Inspired by Diego Velazquez and Francisco de Goya, Saura was self-taught, yet it is the striking fusion of these influences and context of his time that have shaped his unique style.Throughout Saura's oeuvre there is a highly visceral quality which pervades the composition of his portraits. The art historian Siegfried Gohr writes, 'Saura's portraits are dissolved into wild shapes and violently convulsive movements. It is as though the inner life of the facial traits had been brought to melting point by some volcanic force. Saura concentrates the destructive energies by leaving the background of the picture flat and untouched...Light and dark patches collide with each other seem to discharge their contradictory energy in an explosion.' (Siegfried Gohr in: Antonio Saura, Lugano, Museo d'Arte Moderna, 1994, pp. 56-58). Don 2 distils the quintessential elements of Antonio Saura's career as one of the most celebrated Spanish artists of the 20th century into one work. Saura's subject matters were often sourced from portraits of famous European aristocrats such as the Infanta Margarita or King Philippe II of Spain. The present work portrays an esteemed gentleman; his expressive visage executed in a palette reminiscent of Francisco Goya's Black Paintings is framed by the distorted white ruffles of his collar and the stark, ink-like background. Much like his inspirators, Saura's astute ability to imbue his canvases with a dramatic and cerebral ambience using his technical mastery of painting cements him within the canon of Spanish art.Antonio Saura is internationally recognised as one of the most influential Spanish painters of the post-war period and his works reside in the prestigious permanent collections of museums around the globe, such as the National Gallery in London, the Solomon R. Guggenheim Museum in New York and Fundació Joan Miró in Barcelona. Over the decades of his career, Saura had major retrospective exhibitions at the Stedelijk Van Abbemuseum, Eindhoven, Netherlands in 1963, the Institute of contemporary Arts, London in 1966 and the Museo de arte contemporáneo, Madrid in 1982 and by the time the present work was executed, he was a confident master of his craft.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Property of a GentlemanCircle of Jacques-Louis David (1748-1825)Portrait of Monsieur MaillardOil on canvasInscribed, in a later hand, upper right: 'Maillard / Employé à la / Clle Générale / du Creseut (?) / mort en 1812 / …'Dimensions:(Canvas) 12.75 in. (H) x 9.75 in. (W)(Frame) 17.75 in (H) x 14.5 in. (W)
Property of a gentlemanAttributed to Angelica Kauffman RA (1741 - 1807)A portrait of James Hugh Smith BarryOil on canvas Provenance:James Hugh Smith Barry;and thence by descent.Dimensions:(Canvas) 40.5 in. (H) x 31.5 in. (W)(Frame) 51.25 in. (H) x 41.5 in. (W)James Hugh Smith Barry, eldest son of Hon. John Smith-Barry (1725-84) and his wife Dorothy, elder daughter and co-heiress of Hugh Smith of Weald Hall (Essex), born 25 December 1748 and baptised at Great Budworth, 18 January 1748/9. Educated at Eton (1762-67) and Brasenose College, Oxford (matriculated 1767; created MA 1770) and then travelled in Europe and the Middle East, 1771-76. In Italy, he visited Rome, Naples and Sicily before travelling on with a group of friends including Lord Winchilsea and Thomas Dashwood, on a two-year tour to Malta, Constantinople and Egypt. On returning to Italy he saw Capua and Florence. During his travels he bought works of art, classical sculpture and medals 'on a lavish scale but with little discernment', although his collection included a number of important works, including the Jenkins vase (now in the National Museum of Wales). His travels were curtailed when his father stopped payment of his bills and he returned to England via Dresden and Paris in considerable debt. He travelled again in 1779, visiting Florence, Rome (where Angelica Kauffman painted his portrait) and Naples. In 1781 he bought a statue of Zeus from the Villa d'Este for £600, which was probably his most important purchase (now in the Getty Museum in California). After inheriting his father's estates and considerable wealth in 1784 he became increasingly reclusive and lived chiefly at Fota, although his collections were divided mainly between Belmont and Marbury. J.L. de Bougrenet de la Tocnaye, who visited him at Fota in 1796-97 recorded that 'his riches have so surfeited him and disgusted him with the world that he has almost totally retired from society, and lives rather a melancholy life in his island'. He was High Sheriff of Cheshire, 1795-96, but otherwise took no part in public affairs. He was unmarried, but had acknowledged issue, by his mistress Ann Tanner (b. c. 1756), for whom he rented Swerford Park (Oxon), where the children were brought up.
Hugh Barron (1747 - 1791)Portrait of Dr Richard GuyOil on canvasIn an original carved and gilded Chippendale frame Provenance:Ellis and Smith, Grafton Street, their sale Christie's, 25 May 1934, lot 126;The Lord Duveen;By descent to Mrs B.H. Burns, by whom sold Sotheby's 20 March 1963, lot 168;Collection of Mark Birley, Annabel's Club, London. Dr. Richard Guy was an authority on the treatment of cancer in the mid eighteenth century. He advocated non-surgical approaches, using a series of medicines to attack tumors especially in breast and maxillofacial cancers. In 1762 he published Practical Observations on Cancers and Disorders of the Breast, the work alluded to on the label, which discussed the use of medications to combat breast cancer, and claimed over one hundred successful cures without surgery. In March 1767, the year of his death, he had published a letter in The London Magazine (p. 116) on the treatment of facial cancer. Barron himself was a celebrated pupil of Sir Joshua Reynolds. Dimensions:(Canvas) 29 in. (H) x 24.25 in. (W)(Frame) 30 in. (H) x 24.5 in. (W)
Hans Carl Alfred Voelcklerling (1872 - 1945)At the Start (c. 1913)Bronze with medium brown patina and black undertonesSigned 'Voelckerling'Fred Voelckerling, the eminent Dresden artist, hailed as a prodigious German painter, draftsman, and sculptor. In his tender years of merely four, he embarked on a remarkable journey, harnessing his talents by sketching noble steeds and valiant soldiers. From 1892 to 1894, he immersed himself in erudition at the School of Applied Arts in Dresden, furthering his craft. His insatiable quest for excellence led him to the hallowed halls of the Academy of Fine Arts, where he honed his skills from 1895 to 1896. Subsequently, he ventured to Paris, the wellspring of artistic erudition, to augment his proficiency.Upon returning to his native Dresden, Voelckerling graced the world with his masterful creations. The pinnacle of his oeuvre lay in the splendid equestrian statues, regrettably consigned to oblivion through the ravages of time. Additionally, he breathed life into bronze sculptures, immortalizing the grace and majesty of animals, predominantly the noble equine creatures and their equestrians. His dexterous hands also crafted captivating portrait works, capturing the essence and visage of his subjects with uncanny precision.Yet, it is within the realm of animal portrayal that Voelckerling's genius shone most radiantly. His ardor and devotion were unreservedly dedicated to the equine realm, unveiling their spirited existence in a myriad of settings. He artfully presented these magnificent creatures engaged in various pursuits - dutifully serving, traversing boundless prairies, pursuing the noble hunt, gracing the Polo-field with elegance, or galloping with fervor upon the racetrack.Provenance:American private collectionLiterature:Thieme-Becker's German artists encyclopedia.Ernst-Gunter Knuppel, 'Robert Diez. Bildhauerkunst zwischen Romantik und Jugendstil', Leipzig, 2009 (p.189-190)Dimensions:15 in. (H) x 13 in. (W)
Property of a gentleman of ChelseaJohn Watkiss (1961 - 2017)A portrait of Derek Jarman (1942 - 1999)Oil on canvasSigned and dated, top-centre: 'JOHN WATKISS 86-'Michael Derek Elworthy Jarman was an English artist, film maker, costume designer, stage designer, writer, gardener, and gay rights activist.Dimensions:(Canvas) 39.5 in. (H) x 29 in. (W)(Frame) 45 in. (H) x 35 in. (W)
Studio of Sir Anthony Van Dyck (1599 - 1641)A portrait of Sir William Killigrew (1606 - 1695)Oil on canvasThis fascinating and intriguing portrait of Sir William Killigrew has recently come to light, having been revealed by restorers. The central section appears to be an ad vivum oil portrait of Sir William Killigrew painted circa 1638 (cf. Tate Britain portrait of Sir William Killigrew, ref. no. T07896, and his wife, Mary Hill). This is not a fragment and there is evidence of tacking holes on all four sides.Another piece of 1630s unfinished canvas has been used to surround the portrait to extend the portrait to the 30 x 25 inch format. This other canvas shows parts of allegorical figures and dress of very fine quality. We suspect that unwanted / unfinished studio work has been used in this regard. Dimensions:(Canvas) 30 in. (H) x 25 in. (W)(Frame) 38 in. (H) x 33 in. (W)? (delta)
Jacopo Bassano (1510 - 1592)A portrait of a ProcuratoreOil on canvasProvenance:Lucien Bonaparte's Collection (as Portrait of Doge Priuli, Tiziano);Virginia Museum, Richmond (as Portrait of Doge Lorenzo Priuli).Dimensions:(Canvas) 24 in. (H) x 19 in. (W)(Frame) 30.25 in. (H) x 26 in. (W)The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in the sixteenth century. The man is wearing a decorated dark red velvet jacket, lined with ermine on the front. There can also be seen a dark stole draped over the sitter’s right shoulder and a black cap. The face is fully illuminated, and framed by a long, bushy gray beard. The beard is darker on the cheeks and almost white on the front. The sitter’s crimson jacket is in velvet, decorated with large floral motifs - concentric corollas of flowers – and it is edged with ermine.In the catalogue of the collection of paintings of Prince of Canino Lucien Bonaparte (1775-1840), we can read that the painting was known as “Portrait of Doge Priuli†and attributed to Titian. The attribution to Titian, however, is no longer sustainable. Already in 1972, Federico Zeri, in his census of Italian paintings from America collections, and reporting the painting in the collection of the Museum of Richmond, Virginia, he did not confirm the name of Vecellio, preferring the term “Venice school, 16th centuryâ€.The portrait has recently been confirmed as the work of Jacopo Bassano, by the Bassano academic Dr. Bernard Aikema, and is a significant addition to the corpus of that artist. The masterful handling of paint and the absolute naturalism are signatures of the work of Jacopo. The skill of the naturalistic rendering of the face (thin shadows in the area of the eyes, the light on one temple and the blue vein that is visible under the left eye) can be attributed to Bassano’s paintings of the late period. There are also features that you can find in his other portraits. The half-length in three-quarter pose is one that identifies almost all Bassano’s portraits, just as the dark background and the lack of contextual details (no objects, even the hands are excluded) that isolate the face and bring it to the fore.The role of Jacopo Bassano as a portraitist has been the subject of considerable academic discussion. Just one signed portrait exists, and the attribution of the other portraits included in the artist’s catalogue raisonne is based exclusively on stylistic evidence. The account book that records all commissions for Jacopo and his father up to the 1550s, registers little more than a dozen portraits over two decades. The number of those works was increased gradually by critics, basing their attributions on the analysis of touch, colors and on the identification of his basic naturalism. In more than one of these portraits, for example in the Portrait of a Man at the Getty Museum in California, all the attention is concentrated on the face, without the insertion of the arms and hands and environmental details, and with the help of contrasting dark clothes.The approach of these portraits is internalized, staking everything on the sitter and the expressiveness of his presence. A methodology that derives directly from Lorenzo Lotto and, more obviously, from Titian. A deep interpretation of a single personality and subject, supported by superb observation skills and the rendering of naturalistic reality.A formal analysis of the painting allows us to date the work to the fifth decade of the sixteenth century. This was a period during which the work of Jacopo Bassano is faithful to a certain realism, and doesn’t yet display the gradual disintegration of form of the following decades. In comparison, it is appropriate to look at parts of other contemporary works by the artist, such as the hyper-realism in the rendering of the faces (especially San Giuseppe) in the different versions of the Flight into Egypt (the one in the Civic Museum at Bassano del Grappa, and that in Toledo. The comparison with the Adoration of the Magi in the National Gallery in Edinburgh is also interesting, with the male faces in the foreground, the old man and the kneeling person behind. Also, the heads of the old men in the Last Supper of the Galleria Borghese in Rome and in the Miraculous Draught of Fishes, now in Washington.More striking is the comparison with the portraits. In addition to that of the podesta Bernardo Morosini, in the Staatliche Museen of Kassel, recognized by Rearick in 1980 (the portrait of the mayor, who held the city of Bassano from 1541 to '42, is documented in Libro secondo) One might sensibly suggest the Portrait of Cardinal, now in Szépm?vészeti Múzeum in Budapest (also present in Bonaparte collection): the same black background, the same refined attention to details in the face, the same half-length, and the same lack of descriptive elements.The painting is initially registered as Portrait of Doge Priuli (and assigned to Titian); Federico Zeri finds it cataloged with the same words in the inventory of the Museum of Richmond, even with the clarification that this is the Doge Lorenzo Priuli. In the sixteenth Century, there are two Doges from the Priuli family, the brothers Lorenzo (1489-1559), elected doge in 1556, and Girolamo (1486-1567), elected after him.What prevents us from identifying this painting as a portrait of a Doge is the dress worn by the subject, the crimson red decorated velvet jacket. This type of garment, with the stole, also velvet but darker in color, and the cap, allows us to make some considerations that may affect the social status of this man. The color of this velvet, decorated with giant caper flowers, was the exclusive prerogative of members of certain social categories and specifically of precise political offices. This dress, therefore, including the scarf on the shoulder, also velvet decorated with plant motifs, and the hat, appears to be the traditional "vesta" or "toga" worn by procurators and senators.There are a number of portraits of procurators and senators portrayed by Tintoretto, which are wearing this type of garment, and in the catalogue of Jacopo Bassano, there are two portraits of senators of the same type: one now in Berlin, Portrait of senator, Staatliche Museen, Gemäldegalerie, and the Portrait Bernardo Morosini. The Doge, in his official portrait, was always represented with the robe, which identified him as such, which was different from that worn by our sitter, and above all wearing distinctive headgear, the “corno ducaleâ€. This cannot, therefore, be a portrait of Doge. It is instead certainly a portrait of a senator, or procurator, and is likely to date from the mid-1540s. *We are grateful to Dr. Bernard Aikema for confirming the attribution of this painting to Jacopo Bassano.? (delta)
Sir Isaac Newton.- Macedo (José Agostinho de) Newton. Poema, second edition, engraved portrait frontispiece by Fontes, wood-engraved royal arms to title, occasional later pencil passage marking and marginalia, some mostly light staining, lightly browned, modern half calf, gilt, spine with red and black leather labels, [Azevedo-Samodães 1903; Innocêncio IV, 186; Soares 1018], Lisbon, Royal Printers, 1815; and 5 others, Macedo, v.s. (6)⁂ Macedo believed that Newton had bestowed more benefits on humanity than most great figures in history. In his introduction to this enlarged second edition he debates whether physics can be expressed in poetry.
NO RESERVE Ballet.- Fonteyn (Margot) Autobiography, signed presentation inscription from the author to "Alicia, Always with great admiration" to title, frontispiece with "The Dame Alicia Markova Collection" ink stamp to verso, original cloth, dust-jacket, light creasing to head, 1975 § Beaumont (Cyril W.) The Sleeping Beauty as Presented by the Sadler's Wells Ballet, 1946, portrait frontispiece signed by Margot Fonteyn, later half black morocco, spine gilt, g.e., 1946 § Fisher (Hugh) Alicia Markova, second edition, signed presentation inscription from Markova to title, dated 1976, original cloth, dust-jacket, rubbed, a few small chips and short tears to edges, one touching title, some tape repairs to verso, 1958, photographic plates or illustrations; and others on ballet or dance, including a presentation copy from Valery Panov and his wife Galina Ragozina, v.s. (c.67) ⁂ The first a charming association copy between two of the greatest British ballerinas.
Churchill (Sir Winston Spencer) Thoughts and Adventures, first edition, portrait frontispiece, some light spotting to peripheral ff., light browning to half-title and endpapers, original olive cloth, lettered in gilt, edges lightly rubbed, some light marking to covers, dust-jacket, spine a little browned, lightly creased at edges with a few small chips or tiny tears, still an excellent example, 8vo, 1932; and 2 others by the same, 8vo (3)
Hamilton (Emma) Memoirs...with Illustrative Anecdotes of Many of Her Most Particular Friends and Distinguished Contemporaries, first edition, engraved portrait frontispiece after Romney, armorial bookplate, frontispiece lightly offset, scattered spotting to endpapers and frontispiece, occasional light spotting to text, later half calf, spine richly gilt and with red morocco label, rubbed, upper joint split with cover nearly loose, 1815 § Parsons (Rev. Daniel) The Diary of Sir Henry Slingsby, Now First Published Entire from the MS., bookplate of John Sheepshanks, foxing and light damp-staining at beginning and end, handsomely bound in speckled calf, gilt, by Riviere, spine with red and green morocco labels, lightly rubbed, lower cover with a few marks to fore-edge, joints split but holding, 1836; and others, leather bound, v.s. (c.80)
Hutchinson (Lucy) Memoirs of the Life of Colonel Hutchinson, 2 vol., half-titles, frontispieces and 8 etched portrait plates, very light offsetting, handsomely bound in polished calf, gilt, by Zaehnsdorf, spines with red and brown morocco labels, some very light rubbing to edges, t.e.g., New York, 1885 § Boccaccio (Giovanni) The Decameron, 4 vol., edited by Edward Hutton, handsomely bound in contemporary crimson straight-grained morocco, gilt, edges lightly rubbed, 1909; and others, leather bound, v.s. (c.72)
Mining.- Fynes (Richard) The Miners of Northumberland and Durham, first edition, portrait frontispiece and 9 portrait plates, front endpaper with ink inscription "Presented to his Lordship ?M. Wilberforce as a token of respect by Thomas Leslie Miner - East Holywell Colliery July 9th 1885", newspaper clippings or pieces of ephemera pasted to endpapers, final f. of preface and verso, some dated or with notes in an early 20th century hand, light foxing and soiling to peripheral ff., near contemporary half calf, rubbed at edges, Blyth, 1873 § Holland (John)] The History and Description of Fossil Fuel, The Collieries and Coal Trade of Great Britain, first edition, half-title, illustrations, contemporary ink ownership inscription to head of title, some soiling and foxing to half-title and endpapers, contemporary half calf, rebacked and recornered, with original spine laid-down, old spine rubbed, 1835; and 3 others mining related, 8vo (5)
NO RESERVE Swift (Jonathan) Works, 19 vol., second edition, half-titles, engraved portrait frontispiece, some light foxing, handsomely bound in polished calf, gilt, by Bickers & Son, spines with red and brown morocco labels, edges lightly rubbed, some light marks or subtle stains to covers, g.e., Edinburgh, 1824.
Trollope (Anthony) The Way We Live Now, 2 vol., first edition in book form, half-titles, 40 wood-engraved plates by Luke Fildes, vol. 2 pp.65-80 bound out of order, vol. 1 with book-label, some light foxing to plates and occasionally to text, contemporary half calf, rubbed, vol. 2 spine head a little frayed, vol. 1 upper joint split at head, [Sadleir 44], Chapman and Hall, 1875; An Autobiography, half-titles, portrait frontispiece, bound in red half morocco by Sangorski & Sutcliffe, spines a little faded, t.e.g., Edinburgh and London, 1883; and others by the same, uniformly bound by Morrell, 8vo & 4to (10)
Metastasio (Pietro) Opere, 12 vol., engraved portrait frontispiece, engraved plates, very occasional light spotting, contemporary red morocco, spines gilt, sunned with gilt slightly faded, the odd minor stain or scuff, g.e., Paris, the widow Herissant, 1780 § Bossuet (J. Benigne) Discours sur l'Histoire Universelle, half-title, engraved royal arms to title, a few ff. uniformly browned, occasional light foxing, contemporary red straight grain morocco, covers and spine gilt, spine a little sunned, upper cover lower corner scuffed, Paris, Didot l'Aîné, 1784 § Massillon (Jean Baptiste) Petit Carême, half-title, engraved royal arms to title, a few scattered faint spots, contemporary red morocco, spine gilt with morocco label, light scuffing to joints and corners, Paris, Didot l'Aîné, 1789; and another in contemporary red morocco, 4to (15) ⁂ The first here mentioned is the first edition of the collected works of the Italian poet and librettist Pietro Metastasio (di Pietro Trapasso; 1698-1782), published shortly before his death. The present "very beautiful and still highly valued edition" (Ebert) from Paris was published parallel to the publication in Naples by de Bonis. Provenance: I. Sir Thomas Hasketh [1st Baronet Hesketh of Rufford; early bookplate] and Easton Neston Library [later bookplate]; III. Sidney Herbert Lord Elphinstone 1893 [bookplate].
Hegel (Georg Wilhelm Friedrich) Wissenschaft der Logik, vol.1 part 1 only (of 2 vol. in 3), first edition, Edward Caird's copy with his ink inscription to head of title, some foxing and browning, ex-library copy with ink stamps and label to front pastedown, later cloth, rubbed, spine soiled, Nuremberg, J.L.Schrag, 1812 § Regis (Pierre Sylvain) Systeme de Philosophie, contenant la Logique, la Métaphysique, la Physique, et la Morale, 3 vol., engraved portrait by Thomassin, titles in red & black, woodcut or engraved head- & tail-pieces, initials and illustrations, lacking folding engraved map, vol.3 with duplicate pp.1-2 (one torn), some light water-staining, mostly marginal, ex-Donaueschingen copy with small ink stamp to verso of titles, contemporary sprinkled calf, spines gilt, old paper label to foot of spines, rubbed and a little stained, Paris, Anisson, Posuel & Rigaud, 1690, 8vo & 4to (4)⁂ Edward Caird (1835-1908), Scottish philosopher and Hegelian idealist, Professor of Moral Philosophy at Glasgow University 1866-93, and Master of Balliol College Oxford 1893-1907.
Bibliography.- Silva (Innocencio Francisco da) Memorias para a vida intima de José Agotinho de Macedo, half-title, portrait frontispiece, lightly browned throughout, original printed wrappers bound in, modern half calf, gilt spine in compartments, rubbed, Lisbon, Printers of the Academy of Sciences, 1898 § National Library of Portugal. A Casa Literária do Arco do Cego (1799-1801) Bicentenário, numerous illustrations, a few colour, original pictorial cloth, marked, Lisbon, [c.1960] § Faria (Francisco Leite de) Estudos Bibliográficos sobre Damião de Góis, illustrations, original pictorial wrappers bound in, creased, modern cloth, spine gilt, marked, Lisbon, 1977; and a quantity of others, Portuguese bibliography & reference, v.s. (Qty.)
Chaucer (Geoffrey) The Workes of our Antient and Learned English Poet...newly Printed, black letter, double column, lacking title (supplied in facsimile) and all before A2 (preliminaries), also lacking A5-6, signature P, 2K6, 2V3, 3Z3-4 and all after 3Z6 (glossary etc.), with woodcut initials, divisional titles to 'Romaunt of the Rose' & 'Siege of Thebes' and illustration at head of Knights Tale, contemporary and old ink signatures of Richard Allen, Barbara Aston and Thomas Add and a few marginalia/pen trials, some light soiling and marginal staining, title to 'Romaunt of the Rose' with portion torn away from outer margin just touching edge of woodcut border, a few other marginal tears and defects, later half russia, spine gilt, rubbed, joints split, corners worn, [STC 5078; cf.Pforzheimer 177, variant printing], by Adam Islip, at the charges of Bonham Norton, 1598; and a copy of Milton's Paradise Lost of 1692 lacking portrait and some plates, folio; sold not subject to return (2)⁂ The sixth edition and the first by Thomas Speght which would become the preferred edition over the following centuries.
Brooke (Ralph) A Discoverie of Certaine Errours Published in Print in the Much commended Britannia, 1594, title printed in red and black, tear from gutter into text, previous owner's ink inscription to title, scattered spotting and staining, contemporary calf, rebacked, boards detached, rubbed and worn, scorched at edges, by J. Bettenham, for James Woodman, 1723 § Sparke (Edward) Thysiasterion (graece) vel. Scintilla Altaris. Primitive Devotion in the Feasts and Fasts of the Church of England, engraved portrait frontispiece, early marginal ink note to title, 40 engraved illustrations, scattered spotting and staining, contemporary calf, upper cover detached, staining to lower cover, cracking to spine, rubbed, for William Battersby, 1700 § Parkyns (Sir Thomas) A Practical and Grammatical Introduction to the Latine Tongue, scattered spotting, ex-library with bookplate and ink shelf-mark to title verso, contemporary calf, upper cover detached, ink number stencilled on upper cover, abrasion marks at spine foot where label removed, Nottingham, by William Ward, 1717; and others, v.s. (c.55)
Blackmer copy.- Islam & the Ottoman Empire.- Pereira (João José) Historia da vida, conquistas, e religião de Mafoma, e do governo civil, e militar do Imperio Ottomano, first edition, engraved portrait frontispiece by Joaquim José Ramalho, final f. blank, B6 small burn hole, affecting a few letters verso, water-stained, occasional spotting or staining, lightly browned, contemporary mottled calf, gilt spine in compartments and with red morocco label, worn at extremities, rubbed, cocked, [Azevedo-Samodães 2381; Blackmer 1285; Innocêncio III, 393; Soares 1680], 8vo, Lisbon, Simão Thaddeo Ferreira, 1791.⁂ The Blackmer copy of this work on the Muslim religion and life of the Turks. Provenance: Henry M. Blackmer, his sale Sotheby's 11th-13th October, 1989, lot 911 (bookplate to front pastedown).
Birch (Thomas) The Heads of Illustrious Persons of Great Britain, 2 vol., engraved title-vignettes by Gravelot, list of subscribers, 108 engraved portraits by Houbraken and Vertue, each with 2pp. of descriptive letterpress, some light foxing or browning, mostly marginal, plates generally clean, John & Paul Knapton, 1743-51 bound with Vertue (George) Heads of the Kings of England (The), proper for Mr. Rapin's History..., 62 engraved portraits and plates by Vertue (as listed), 3 folding or double-page, with a duplicate of de Heere's portrait of Henry Darnley loosely inserted, James, John & Paul Knapton, 1736; Prints. King Charles I. and the Heads of the Noble Earls, Lords, and others, who suffered for their Loyalty in the Rebellion and Civil-Wars of England, letterpress title, engraved frontispiece and 10 plates by Vertue after Van Dyck and others incorporating portraits and text, all trimmed and tipped into blank leaves, some mounts lightly browned, J.Ryall & R.Withy, [plates dated 1757], together 3 works in 2 vol., later maroon straight-grain morocco with borders and spines in gilt and blind, g.e., rather rubbed and scuffed, spine ends worn, old paper sticker to upper cover of vol.1, vol.2 with fading to lower cover and split to joint, folio⁂ The first incudes portraits of Geoffrey Chaucer, Francis Drake, Ben Jonson, William Harvey, John Milton, Robert Boyle, John Locke, Isaac Newton, William Shakespeare, and Alexander Pope.Loosely inserted is an undated A.L.s. from T.Cubitt of Thomas Cubitt (of Norwich) booksellers to W.Robinson Esq. recommending the use of Kiwi boot polish (Oxblood tint) for maintaining the binding of the book. He continues, "A friend who stood aside when I was bidding (Messrs Rimell of Duke St. St.James) told me that this copy was worth £25 & one day your son will find that is so, being in so crisp in condition...".
![[Scott (Sir Walter)] Novels and Tales of the Author of Waverley, 16 vol., titles with engraved vignette, Edinburgh, 1821; The](https://cdn.globalauctionplatform.com/c5ae9217-4bf1-4d15-901e-b02300c6305c/307e07c3-9169-49ce-958b-b02300f28cdc/468x382.jpg)
[Scott (Sir Walter)] Novels and Tales of the Author of Waverley, 16 vol., titles with engraved vignette, Edinburgh, 1821; The Poetical Works, 8 vol., engraved portrait frontispiece after Raeburn, contemporary ink ownership inscription of Mary Rivers Ford to front free endpapers, Edinburgh, 1822, some light foxing, handsomely bound in 19th century red straight-grain morocco, richly gilt, Novels and Tales covers with central gilt motif, rubbed at extremities, g.e., small 8vo (24)
Judaica.- Zangwill (Israel) The Works, 14 vol., edition de luxe, one of 1000 sets signed by the author, portrait and colour frontispieces by Alfred A. Wolmark, margins lightly toned, a few hinges cracked or tender but holding, original red half morocco, spines gilt with Star of David devices, rubbed at extremities, a few light marks to covers, t.e.g., 8vo, 1925.
Hogarth (William) The Works of William Hogarth, from the Original Plates restored by James Heath, with essay and explanations by John Nichols, 2 engraved portraits, 153 etched and engraved plates on 114 sheets, on wove paper, occasional surface dirt and spotting, some staining to lower left corner, not affecting plates, some nicks and tears to extremities of leaves, title, portrait frontispiece, covers and endpapers detached, lower marbled pastedown missing, first few pages very worn, original half morocco over marbled boards, heavily scratched and worn, gilt spine detached at head and foot, red morocco label wearing loose, Baldwin and Cradock, large folio, [1822].
Raphael. Imagines Veteris ac Novi Testamenti a Raphaele... in Vaticani palatii xystis mira picturae elegantia expressae, engraved throughout with pictorial title incorporating portrait of Queen Christina of Sweden, plate of Raphael's tomb and 53 plates by Pietro Aquila and Cesare Fantetti after Raphael, light marginal spotting, contemporary half roan, gilt-stamped green roan label to upper cover, spine gilt, rubbed, split to upper joint, spine ends and corners worn, oblong folio, Rome, Giovanni Giacomo de Rossi, 1674.⁂ Depicting scenes from the Old Testament, and a few from the New, from Raphael's frescoes in the Vatican Loggie painted c.1519.
Botany.- Lowe (E. J.) Fern Growing: Fifty Years' Experience in Crossing and Cultivation, first edition, ALs by author loosely inserted, engraved portrait frontispiece, 2 plates, one colour, illustrations, newspaper clipping on the author pasted to front free endpaper verso, bookplate, original pictorial cloth, slight bumping to corners and extremities, 1895; A Natural History of New and Rare Ferns, colour frontispiece, colour plates, one detached and loosely inserted, tissue-guards, original pictorial cloth, gilt, a little rubbed, bumping to corners and extremities, 1871 § Pratt (Anne) The Ferns of Great Britain and their Allies, colour plates, tissue guards, scattered spotting, original cloth, sunned, slight bumping to corners and extremities, n.d.; and others similar, 4to & 8vo (8)
Cricket.- Anderson (John Corbet) 14 Portraits of cricketers, including the group portrait 'Sketches of Surrey Cricketers', showing Sherman, Julius Caesar, Caffyn, and Lockyear, while the other portraits include George Griffiths, Caffyn, Lockyear, Julies Caesar, Stephenson, William Lillywhite, Reginald Hankey, THomas Box, Adams, Thomas Beagley, Hillyer, W Mortlock, and Alfred Diver, tinted lithographs, some with touches of hand-colouring, various sizes between 320 x 250 mm (12 1/2 x 9 3/4 in) and 355 x 410 mm (14 x 16 1/8 in), some occasional spotting and surface dirt, exposure lines, some small losses and nicks to extremities, unframed, [circa 1830s-1850s] (14)
America.- Wilkes (Charles) Narrative of the United States Exploring Expedition, 2 vol., frontispieces, additional vignette titles, plates and illustrations, publisher's advertisements at end, scattered faint spotting, original cloth, decorated in blind, gilt spine, bumping to corners and extremities, 1852 § Hole (Rev. S Reynolds) A Little Tour in America, first edition, half-title, photogravure frontispiece, illustrations, some full-page, front free endpaper detached, ex-library with occasional ink-stamps, remnants of label and ink-stamp to half-title, original cloth, mottling to upper cover where label removed, slight bumping and chipping to corners and extremities, 1895 § Churchill (Charles) Memorials of Missionary Life in Nova Scotia, 1845 § Bell (Rev. Fred) Midnight Scenes in the Slums of New York, portrait frontispiece, scattered spotting, ex-Nottingham Mechanic's Institute with bookplate, cracked hinges, original decorative cloth, light vertical mottled line to spine, London & Nottingham, [1881]; and others, North or South America, 8vo (7)
Europe.- Jones (Capt. E. D. Wynne) General Description of My Late Tour through France, Switzerland, and Germany, first edition, silver gelatin photographic portrait print frontispiece, 16 plates, pp31-32 with small hole affecting odd letter, scattered spotting, original decorative cloth, gilt, slight bumping to corners and extremities, 8vo, Rhyl, for private circulation, [1882].
World.- Gobat (Rev. Samuel) Journal d'un Séjour en Abyssinie, pendant les Années 1830, 1831 et 1832, half title, with manuscript note in ink "Voyage en Abyssinie S. Gobat" pasted, engraved portrait frontispiece, folding map, stamp on title of the "Sté de l'Histoire du Protestantisme Français S.H 3006", pages toned and slightly spotted in places, marbled endpapers and edges, "HW" sticker to front pastedown, original calf-backed marbled boards, spine gilt, slightly rubbed, Paris and Geneva, 1834 § W.S. Mayo, Kaloolah, or Journeyings to the Djébel el Kumri. An Autobiography of Jonathan Romer, frontispiece, plates, "[1849]" in pencil to title, some spotting, pages 25-28 torn at upper corner, not affecting text, patterned endpapers, original pictorial cloth, slightly stained and bumped, spine sunned, [1849]; and 9 others relating to travel, v.s. (11)
World.- Lawrence (T.E.) Seven Pillars of Wisdom, first trade edition, frontispiece, plates and illustrations, 4 folding maps, scattered marginal very faint spotting, original cloth, fractional bumping to corners and extremities, 1935 § Hewlett (Sir Meyrick) Forty Years in China, folding map at end, scattered spotting, previous owner's ink signature, original cloth, a little rubbed, slight bumping to corners and extremities, 1943 § Nordenskiöld (A. E.) The Voyage of the Vega round Asia and Europe, translated by Alexander Leslie, portrait frontispiece, one plate, illustrations, 2 colour maps, one folding, publisher's advertisements at end, original decorative cloth, a little rubbed, slight bumping to corners and extremities, 1883; and 10 others, v.s. (13)
Britain.- Camden (William) Britannia: or a Chorographical Description of Great Britain and Ireland, translated by Edmund Gibson, 2 vol., second edition of Gibson's translation, engraved portrait frontispiece, titles in red and black, 9 engraved plates of coins, 50 engraved general and county maps by Robert Morden only (of 51, lacking Surrey), 2 folding, woodcut & engraved illustrations, one full-page, short tear to lower margin of *b repaired, one or two other marginal tears, a little worming to lower edge and gutter (mostly marginal but slightly affecting foot of a few maps), occasional soiling, contemporary panelled calf, worn, covers detached or becoming so, [Chubb CXV], folio, by Mary Matthews, for Awnsham Churchill, 1722; sold not subject to return
NO RESERVE English.- Shorthand.- The Book of common prayer in short hand, according to Mr. Weston's excellent method, engraved throughout, portrait of James Weston, dedication and preface ff., occasional spotting, lightly browned, contemporary shagreen, metal clasps, spine in compartments, joints starting, but holding firm, little rubbed, Printed for the author at the Hand-&-Penover-against Norfolk-Street in ye Strand, 1730; and 9 others, English or England, v.s. (10)
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