Etienne Duperac - Pyramide Cestio / Description: Vestigi dell'Antichitá di Roma Raccolti et Ritratti in Perspettiva con Ogni Diligentia da Stefano Du Perac - 1575 Piramide CistioFrom the first edition of the series of prints etched by Etienne Du Pérac and published in Rome in 1575Publisher: Lorenzo Vaccari (Italian, active Rome, ca. 1575–1608).Du Pérac (1525-1604) was a French architect and garden designer who had studied engraving under Antonia Lafreri, to who's Speculum Magnificentiae he contributed. The prints were published in the same year as the set by Battista Pittoni. While Pittoni works closely to the work of Hieronymus Cock, Du Pérac shows his own designs. Du Pérac represents as no other the lively renewal and interest in sixteenth century Rome, his prints form a a key source for the state of the Roman monuments at that time. / Dimensions: 21,00 x 38,50 cm / Condition: Superb good inked impression with good plate tone. Full plate border and margins on laid paper. Excellent condition. / Literature: Etienne Dupérac (Etcher, engraver, painter, draughtsman, architect, garden designer, French c.1535? - 1604) He had studied engraving under Antonio Lafreri, to whose Speculum Romanae Magnificentiae he contributed.Etienne Duperac, a native of Bordeaux or Paris, he soon moved to Venice, where he learned the art of making various subjects by Titian, mainly for the publisher Giovanni Francesco Camocio.He arrived in Rome in 1559 where he devoted himself to the study of architecture and antiquities, with special attention to the works of Michelangelo. In Rome knows Onofrio Panvinio, archaeologist and antiquarian who influences him and introduced him to the study of Roman antiquities. Like all artists from Northern Europe, was fascinated by the majesty of the Roman ruins and decided to study them. The above representations of the monuments of Rome, such as those performed by Hieronymus Cock in 1550, were painted and embellished with elements of fantasy.The great importance of the views of Rome Duperac lies in the fact that they were represented with absolute precision archaeological and topographical, as to be now studied with great attention by scholars of archeology, monuments and sites as they often are now lost." Roma Rome Robert Dusmenil, Peintre Graveur Francais, vol. VIII, pp. 92 - 99, 1 - 40; Reed & Wallace, Italian Etchers of the Renaissance & Barocque, p. 83,84. 380 210He specialized in antiquities, maps and views and published his own work..""I vestigi dell'antichità di Roma raccolti et ritratti in perspettiva da Stefano Du Perac parisino"", first published in Rome in 1575 by Lorenzo Vaccari. The set, composed by 39 plates and 2 title. Etching with engraving, very good condition. Etienne Duperac, a native of Bordeaux or Paris, he soon moved to Venice, where he learned the art of making various subjects by Titian, mainly for the publisher Giovanni Francesco Camocio. He arrived in Rome in 1559 where he devoted himself to the study of architecture and antiquities, with special attention to the works of Michelangelo. In Rome knows Onofrio Panvinio, archaeologist and antiquarian who influences him and introduced him to the study of Roman antiquities. Like all artists from Northern Europe, was fascinated by the majesty of the Roman ruins and decided to study them. The above representations of the monuments of Rome, such as those performed by Hieronymus Cock in 1550, were painted and embellished with elements of fantasy. The great importance of the views of Rome Duperac lies in the fact that they were represented with absolute precision archaeological and topographical, as to be now studied with great attention by scholars of archeology, monuments and sites as they often are now lost." Roma Rome Robert Dusmenil, Peintre Graveur Francais, vol. VIII, pp. 92 - 99, 1 - 40; Reed & Wallace, Italian Etchers of the Renaissance & Barocque, p. 83,84. 376 215In 1574 URBIS ROMAE SCIOGRAPHIA EX ANTIQUIS MONVMENTIS ACCVRATISSIn 1575 he published VESTIGI DELL’ ANTICHITA DI ROMA. / Medium: Etching /Circa: 1575 180
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Cherubino Alberti, after Michelangelo - St John Baptist - 1591 / Description: St John the Baptist after Michelangelo's figure in the Last Judgement. St Johnis shown in an elaborate cartouche with angels, one of whom proclaims its fame. Engraving made by: Cherubino Alberti in 1591. / Dimensions: 43,10 x 23,10 cm / Condition: A good impression in very good condition on a bit sturdy laid paper. Collection stamp on the backside. im / Literature: Bartsch / Le Peintre graveur (XVII.74.67) --- Michael Bury, 'The Print in Italy 1550-1620', London, 2001, cat.no.94; The figure, here shown in reverse, stands on Christ's right in Michelangelo's fresco of the Last Judgement. ---- Massari, 1983, p.72, no.81.:Bonasone has isolated a figure from the Last Judgement and presented it in reverse as a self-standing invention / Medium: Engraving /Circa: 1591 320
A LARGE ITALIAN CARVED CARRARA MARBLE PLAQUE DEPICTING THE LAST SUPPER AFTER MICHELANGELO 19TH CENTURY 136.5cm wide, 51.5cm high, 14cm deep Provenance: Private Collection, Channel Isles Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Repaired to vertical break through middle, other cracks notably both upper corners- weathering with greening, loss to raised details and denaturing of surface- edge chips and losses Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
JOHN WARRINGTON WOOD (1839-1886) A CARVED MARBLE GROUP 'SISTERS OF BETHANY' DATED 1876 Depicting the scene as told in the Gospel of John, chapter 11, with Martha entreating her sister to meet with Christ and with the imminent resurrection of their brother Lazarus to follow, signed, inscribed and dated in cursive script on rear of chair J. WARRINGTON WOOD Sculpt Rome 1876, plinth inscribed: "SISTERS OF BETHANY, THE MASTER IS COME AND CALLETH FOR THEE" approximately 109cm high, base 49 by 33.5cm John Wood was a sculptor mainly of mythological and biblical subjects, and also portrait busts. Born in Warrington, Lancashire in 1839, he adopted Warrington as his middle name to distinguish himself from the older sculptor John Wood (1801-70). After training as a stonemason, he moved to Rome in 1865 where he studied under John Gibson. His success afforded him the wealth to purchase the Villa Campana. He exhibited works at the Royal Academy of Arts from 1868 to 1884 including a version of this sculpture in the 1879 Royal Academy Exhibition, catalogue No. 1509, which was displayed in the Central Hall.In 1877 he was elected to the Guild of St. Luke in Rome and his statues of Raphael and Michelangelo stand at the entrance to the Walker Art Gallery in Liverpool with further work in Manchester Town Hall and in the museum and art gallery in Warrington. Another version of this work, dated 1871, is currently exhibited at the Kibble Palace, Glasgow Botanic Gardens, Glasgow, Scotland. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with surface dirt- some of which is engrained leading to a yellowish tint in some areas. With some wear and minor losses including but not limited to: Seated figure: left hand's fingers- loss and repair Standing figure- repair to thumb of her right hand Natural flaws and veining to stone, with some remedial infill- mostly probably at time of carving including but limited to: sections of raised edges of drapery to reverse. Hairline faults including to seated figure left forearm, stains to standing figure right forearm and small scattered spot stains throughout Some edge wear and nibbles including to raised areas of drapery to reverse, bottom edge of plinth including larger loss to front corner Approx 200kg- requires careful lifting and transit Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Francesco Primaticcio (1504–1570) was an Italian Mannerist painter, sculptor, and architect who spent a significant portion of his career working in France. Born in Bologna, Italy, Primaticcio played a key role in the development of the Fontainebleau School and contributed to the spread of Italian Mannerism in France.Primaticcio's early career in Italy included work in Bologna and Rome, where he absorbed influences from the Renaissance and the art of Michelangelo. In 1532, he traveled to France, initially commissioned to create frescoes for the Château d'Ancy-le-Franc. However, he soon became associated with the court of King Francis I and played a major role in the decoration of the Château de Fontainebleau.Key aspects of Francesco Primaticcio's career include:1. **Fontainebleau School:** Primaticcio became a central figure in the Fontainebleau School, a group of artists who worked on the decoration of the royal palace at Fontainebleau. Alongside Rosso Fiorentino, he played a crucial role in developing the Mannerist style in France.2. **Decoration of Fontainebleau:** Primaticcio was responsible for numerous frescoes, stuccos, and decorative schemes at Fontainebleau. His work included mythological and allegorical themes, showcasing a sophisticated and refined Mannerist aesthetic.3. **Collaborations:** Primaticcio collaborated with other artists, including Rosso Fiorentino and Niccolò dell'Abbate, to create a cohesive and harmonious decorative ensemble at Fontainebleau.4. **Sculpture and Architecture:** In addition to painting, Primaticcio was involved in sculpture and architecture. He contributed to the design of the palace and created sculptural works, including a famous series of terracotta caryatids.After Francis I's death in 1547, Primaticcio continued to work for subsequent French monarchs, including Henry II and Catherine de' Medici. His influence persisted through the 16th century, and his Mannerist style left a lasting impact on French Renaissance art. Francesco Primaticcio's legacy is particularly tied to the artistic achievements at Fontainebleau and the dissemination of Italian Mannerism in France.Measures 3.7 x 1.5 x 1.5.Brass and black marble.
Collection of nine 1/1250 scale Mercator Marine Miniature diecast model ships to include M512 Bremen, M402 A Vaterland, M912B Schwabenstoin, M548 E.O Britain, M404 Titanic, M926 Ille De France, M907 Michelangelo Raffarello, M568 Rex Passenger Ship and M928 Georgic 1933, all diecast vg overall, boxes vg with names in pen / pencil to side of boxes
Collection of Playmates Teenage Mutant Ninja Turtles TMNT figures / vehicles to include 12 x carded figures (Michelangelo, Donatello, Ooze Tossin Raph, Baxter Stockman, etc), 4 x carded Playmates Flingers (in shop box), 2 x boxed Playmates vehicles sets (Shelleaiser & Sewer Cruiser), 1 x Boxed Water Tower Washout, etc (3 boxes)
Mario Salmi & others. The Complete Work of Michelangelo, over 1000 colour and b/w plates and illustrations in text, original publishers cloth, dust jacket, folio, New York; Reynal and Company in association with William Morrow and Company, n.d.; Redig De Campos Deoclecio. Reffaello Nelle Stanze, numerous coloured plates, original publishers cloth, dust jacket and slipcase, 4to, Firenze: Giunti Martello, 1983; Ronald Lightbown. Piero Della Francesca, numerous coloured and b/w plates and illustrations in text, original publishers cloth, dust jacket, 4to, New York: Abbeville Press Publishers, 1992; and 34 others, similar, mostly relating to Italian Renaissance Art, v.s. (37) Provenance: Ex-Libris Robert Lenkiewicz Foundation.Mixed condition.
Kleine Pietà in Carrara-MarmorHöhe: 21 cm.Rom, 17. Jahrhundert.Maria mit dem Leichnam des Sohnes auf einem mitgearbeiteten Rechtecksockel mit Bodenprofilen. Der Kopf Mariens dem Haupt Christi zugewandt, ihre linke Hand – mit fein gearbeiteten Fingern – hält die Hüfte des Sohnes. Reiche Bildung der Gewandfalten, die am linken Mantelarm einen großen Bausch bilden. Der rechte Arm Jesu ist senkrecht nach unten geführt, ein Motiv, das seit der berühmten Pietà des Michelangelo zur Norm des Bildtypus geworden ist, wie insgesamt auch diese kleine Pietà auf dieses Vorbild zurückgreift. Die Kopfoberseite der Maria abgeflacht, was auf eine ehemalige Krone in anderem Material hinweist.Rechter Arm der Maria, rechter Unterarm Christi und dessen linke Hand fehlen. Kleine Abbrüche an den Sockelecken. A.R. (1351232) (11))
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NeapelHEILIGER PETRUSÖl auf Leinwand. Doubliert.126,5 x 99 cm.In breitem ornamental verzierten Rahmen.Beigegeben eine Expertise von Prof. Nicola Spinosa, in Kopie.Das Bildthema geht auf die Stelle des Neuen Testaments zurück, wonach der Heilige Petrus in schuldhafter Reue seines Verrats an Jesus gedenkt. Diese Bibelstelle wurde von mehreren bedeutenden Malern aufgegriffen. Der Blick ist, wie auch hier, zumeist nach oben gerichtet. Hier sitzt der Heilige an einem Tisch, den Kopf auf seinen linken Arm gestützt. Die Qualität der Bildoberfläche im Bereich des Heiligen lässt keinen Zweifel an der vollen eigenständigen Schaffung des Gemäldes durch Ribera, in dem die charakteristische Rauheit der Hände und die Falten der Stirn, die verwelkte Haut und die Rötung um die Augen, verursacht durch Weinen und Alter, deutlich wahrnehmbar sind. Das Motiv finden wir auch in Darstellungen des Guido Reni oder Diego Velasquez. Für das Gemälde gibt es einige Vergleichsbeispiele, wie etwa ein Werk in einer Londoner Privatsammlung, signiert „Jusepe R“ (Spinosa, 2003, S. 272, Nr. A. 67), ebenfalls dargestellt in einem intimen und bußfertigen Gespräch mit der Gottheit, sowie die halbfigurige Interpretation desselben Modells, dargestellt in der identischen physiognomischen Haltung, aufbewahrt in der Eremitage von Sankt Petersburg (Spinosa, 2003, S. 276, Nr. A80). Auch im Giustiniani-Inventar von 1638 von Spagnoletto wird ein Gemälde erwähnt, das dem vorliegenden Werk nahe steht (Danesi Squarzina, 2003, S. 325). Ebenso ist ein Gemälde, das im Art Institute of Chicago (Inv. Nr. 1993:60) verwahrt wird, thematisch vergleichbar.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz:Christie‘s, 08. Dezember 2017, Lot 165 als aus der Werkstatt Riberas stammend. Literatur:Vgl. Nicola Spinosa, L‘opera completa di Ribera, Mailand 1979.Vgl. Silvia Danesi Squarzina, La collezione Giustiniani, 3 Bde., Turin 2003.Vgl. James Hall, Dizionario dei soggetti e dei simboli nell‘arte, Mailand 2003.Vgl. Nicola Spinosa, Ribera, L‘opera completa, Neapel 2003.Vgl. Nicola Spinosa, Ribera. La obra completa, Madrid 2008, S. 501. (1381871) (13) (†)Jusepe de Ribera,also known as „lo Spagnoletto“,1588/91 Xàtiva/ Valencia – 1652 NaplesSAINT PETEROil on canvas. Relined.126.5 x 99 cm.Accompanied by an expert’s report by Prof Nicola Spinosa, in copy.Provenance: Christie’s, 8 December 2017, lot 165 as a work by the workshop of Ribera.
Hendricx de Clerck, um 1570 Brüssel – 1629MARIA MIT DEM JESUSKIND UND DEM JOHANNESKNABENÖl auf Holz. Parkettiert.138 x 157 cm.In breitem ebonisierten Holzrahmen.Beigegeben eine Expertise von Ferdinando Arisi, in Kopie.Die Figurengruppe in einer Waldlandschaft wiedergegeben, im Schatten von Eichenbäumen mit mächtigen Stämmen. Rechts hinten Ausblick in Landschaft mit dunklen Wolken und einer tiefer stehenden Burg auf einem Felsen. Maria nach links sitzend, hält in ihren Armen das stehende Jesuskind, das sich an ihren Körper schmiegt, etwas furchtsam auf das hochspringende Lämmchen blickend, das der Johannesknabe in Händen hält. Das Laubwerk des abgedunkelten Hintergrundes fein gemalt, die Konturen des Inkarnats in leichtem Sfumato ausgeführt, die Figuren in bewegter Haltung. Die Farbkomposition betont die Verwendung von Rot im Dreiecksaufbau, wobei das blaue Kleid der Maria, um diesen Farbeffekt nicht zu beeinträchtigen, ins Violett abgeschwächt ist. Der Stab des Johannesknaben auf dem Boden abgelegt, umwickelt von schmalem Rotulus. Die Burg rechts hinten ist symbolisch als die Festung der göttlichen Zuversicht zu verstehen.Anmerkung:Arisi verweist auf eine gewisse Stilanlehnung an die Madonna von Michelangelo, welche sich in der Kirche Notre Dame in Brüssel befand. Ferner wird Bezug genommen auf ein Gemälde „Sacra Famiglia con un angelo“ in einer Privatsammlung, signiert und datiert 1607, abgebildet in: J. de Maere, M. Wabbes, Illustrated dictionary of 17th century Flemish painters, Brüssel 1994, S. 252. (1391121) (13)Hendricx de Clerck, ca. 1570 Brussels – 1629THE VIRGIN AND CHRIST CHILD WITH THE INFANT SAINT JOHN THE BAPTIST Oil on panel. Parquetted.138 x 157 cm.Accompanied by an expert’s report by Ferdinando Arisi, in copy. Notes:Arisi points out a similar style to Michelangelo’s Madonna, which was in the Notre Dame church in Brussels. Furthermore, he also refers to a painting titled Sacra Famiglia con un Angelo held in a private collection, signed and dated “1607“, illustrated in J. de Maere and M. Wabbes, Illustrated dictionary of 17th century Flemish painters, Brussels 1994, p. 252.
Maler des 18. Jahrhunderts,ehemals Michelangelo Unterberger, zug.MOSES SCHLÄGT DAS WASSER AUS DEM STEINÖl auf Leinwand. Doubliert.118 x 141 cm.In Rahmen mit Wellenleistenprofil.Zentraler, mächtiger Fels von spärlicher Vegetation überfangen mit davor stehender Figur des Moses mit Stab, welcher soeben Wasser dem Fels entlockt hat. Um ihn herum zahlreiche Figuren, links auf einem Fels eine angedeutete Festungsarchitektur. Dargestellt wird eine Erzählung des Alten Testaments mit dem Auszug der Israeliten aus Ägypten, diese sind mit Moses an der Spitze noch immer in der Wüste unterwegs. Die Israeliten sind unzufrieden, da sie kein Wasser finden und haben. Als Moses und Aron zu Stiftshütte gehen um zu beten, sagt Jehova zu Moses, er möge alle zusammenrufen und er solle vor dem Volk zu diesem Felsen reden, dann würde genug Wasser für alle Leute und ihre Tiere aus dem Felsen sprudeln. Daraufhin ruft Moses das Volk zusammen und schlägt zweimal mit einem Stab gegen den Felsen, worauf ein großer Wasserstrahl hervorbricht. (13803117) (13))
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel BILDNIS EINES LESENDEN PHILOSOPHENÖl auf Leinwand. Altdoubliert.91 x 112 cm.Unten mittig signiert.In teilebonisiertem breitem Rahmen.Beigegeben eine Bestätigung von Prof. Riccardo Lattuada.Ganz in der Auffassung Riberas geschaffenes Dreiviertelbild eines älteren Mannes mit grauen Bartstoppeln in einem Innenraum, der vom schwarzen Hintergrund links zur rechten Seite aufhellt. Der sitzende Gelehrte in dunklem Gewand unter dem der helle Hemdkragen hervorschaut und mit einer schwarzen Kopfbedeckung. Er hält in seinen leicht angehobenen Händen einen handgeschriebenen Brief, den er aufmerksam mit gesenkten Augen liest. Links von ihm auf einer Tischplatte mehrere große alte, wohl wertvolle ledergebundene Bücher, die ihn als Gelehrten ausweisen. Besonders auffällig, wie bei Ribera sehr häufig, der betonte Hell-Dunkel-Kontrast: das von links oben aus nicht sichtbarer Quelle einfallende Licht beleuchtet die linke Gesichtshälfte vor schwarzem Hintergrund, während die Kopfbedeckung vor hellem beigen Hintergrund wiedergegeben wird. Das Gemälde von hoher Qualität. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen. (1390115) (13) (†)Jusepe de Ribera, also known as „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NaplesPORTRAIT OF A READING PHILOSOPHEROil on canvas. Old relining.91 x 112 cm.Accompanied by a confirmation by Prof Riccardo Lattuada.
Willem van den Broeck, zug.1530 – 1579/80ANATOMISCHE BRONZE-STANDFIGUR DES HERKULESHöhe: 45 cm. Gesamthöhe inkl. Holzsockel: 53 cm.Bronzeguss, dunkle Patina. Auf runder, mitgegossener Plinthe, mit angewinkeltem rechten Bein an einem Baumstumpf, über den das Fell des Nemeischen Löwen, den er besiegt hatte, mit Löwenhaupt gelegt ist. Ein Teil des Fells mit Pfote zieht am linken Bein zum Boden. Der Kopf gesenkt, der Körper zeigt die Muskulatur offen, ein manieristischer Effekt, der dem Interesse an medizinisch-biologischen Erkenntnissen des 15. und 16. Jahrhunderts entspricht, seit Künstler wie Michelangelo oder Leonardo sich heimlich in Leichenhäusern der Anatomie gewidmet hatten. Die Figur entspricht weiteren Ausführungen, so etwa in Terrakotta, wie ein Exemplar im Kunsthistorischen Museum, Wien zeigt. Der Bildhauer ist zudem bekannt u. a. für drei Statuen in der Liebfrauenkathedrale in Antwerpen, wo er 1557 bereits Freimeister der Lukasgilde wurde. Ein Alabaster-Relief, „Kalvarienberg“, befindet sich im Louvre, ein „Garten Eden“ in Brüssel.Literatur: Vgl. Broeck, Guillaume van den, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL). Bd 14, München u. a. 1996. (1390213) (11)Willem van den Broeck, 1530 – 1579/80, attributedANATOMICAL STANDING BRONZE SCULPTURE OF HERCULESHeight: 45 cm. Total height incl. wooden base: 53 cm.Bronze casting with dark patina. On a round, cast-in plinth. Hercules´ right leg bent on a tree stump, over which the skin of the “Nemean lion”, which he had defeated, is laid with the lion´s head. The figure corresponds to other versions, for example in terracotta, as an example held at the Kunsthistorisches Museum in Vienna shows. Among other things, the sculptor is also known for three statues in the Cathedral of Our Lady in Antwerp, where he became a free master of the Guild of Saint Luke in 1557. An alabaster relief, Calvary, is held at the Louvre and a Garden of Eden in Brussels.
Neapolitanischer Maler des 17. Jahrhunderts, Kreis des Jusepe de Ribera (1588/91 – 1652)GRABLEGUNG CHRISTIÖl auf Leinwand. Doubliert.178 x 245 cm.In vergoldetem Profilrahmen.Hell leuchtet der fahle Leichnam Christi, dessen Farbe sich kaum von dem Leichentuch abhebt und dessen blutrote Wunde dadurch umso eindrucksvoller ins Auge sticht, um ihn herum sind Nikodemus, Josef von Arimathäa, Maria, Johannes und Maria Magdalena dargestellt. Der Körper liegt auf einer gestuften Grabplatte, im Hintergrund wird ein Architekturfragment sichtbar. Das vorliegende Gemälde nimmt Bezug auf ein bisher unbekanntes Gemälde Jusepe de Riberas, das jedoch durch mehrere Kopien oder Varianten überliefert ist. Der Maler unseres Gemäldes, das von einer hochfeinen Ausführung und Auffassung zeugt, wird sicherlich dem unmittelbaren Kreis Riberas zuzuschreiben sein, wobei die Farbwahl auf eine Entstehung auf um 1640-1650 schließen lässt. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (1483-1520) und Agostinos (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhoben ihn zum Hofmaler des Herzogs von Ossuna sowie des Königs von Neapel. Im Jahr 1644 wurde er zum Ritter des Christusordens durch den Papst. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der Neapolitanischen Malerei mit Betonung des Chiaroscuro.Provenienz:Adelsbesitz, Marken, bis 2019.Literatur:Vgl. Nicola Spinosa, Ribera. L‘opera completa, Madrid 2008, S. 521. (1391951) (3) (13)Neapolitan School of the 17th century,circle of Jusepe de Ribera (1588/91 – 1652)THE ENTOMBMENT OF CHRIST Oil on canvas. Relined.178 x 245 cm.The painting on offer for sale in this lot refers to a previously unknown work by Jusepe de Ribera, which has, however, been passed down in several copies or variants. The artist of the present painting, which demonstrates a very fine execution and composition can certainly be attributed to Ribera’s immediate circle, but the choice of colours suggests its creation around 1640 - 1650.Literature:cf. Nicola Spinosa, Ribera. L’opera completa, Madrid, 2008, p. 521.
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NeapelAARONÖl auf Leinwand. Doubliert.130 x 95 cm.In ornamental reliefiertem Rahmen.Beigegeben ein Gutachten von Nicola Spinosa, Neapel, 22. Mai 2023, in Kopie.Vom rechten Bildrand ragt eine Tischecke in den Bildraum hinein, über die sich eine Figur in dem Gewand eines Hohepriesters zu beugen im Begriff ist. Seine Kopfbedeckung verweist auf das Alte Testament, in seiner Hand hält er mehrere sich windende Schlangen, seine andere Hand weist auf ein metallisch schimmerndes Weihrauchgefäß in barocker Form. In der Erzählung von der Berufung Mose soll er dessen Auftrag, die Israeliten aus der Knechtschaft Ägyptens zu führen, durch seine Sprachgewandtheit unterstützen. Gegenüber dem ägyptischen Pharao tut sich Aaron als Wundertäter vor, um die Überlegenheit Jahwes darzulegen: Sein Stab wird zu einer Schlange, die die ebenso zu Schlangen gewordenen Stäbe der ägyptischen Weisen verschlingt (Ex 7,8-13). Spinosa setzt die Entstehung des hier angebotenen Gemäldes auf um 1616 oder kurze Zeit später fest, in Riberas Zeit zwischen Rom und Neapel.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Literatur:Das hier angebotene Gemälde ist publiziert in: Nicola Spinosa, Aniello Falcone e i pittori della sua cerchia, Cinisello Balsamo 2023, S. 19.Vgl. Nicola Spinosa, L‘opera completa, Neapel 2006.Vgl. José Milicua, Javier Portús, El joven Ribera, Ausstellungskatalog, Museo Nacional del Prado, 4. April -28. August 2011, Madrid 2011.Vgl. José Milicua, Javier Portús, Ribera tra Parma, Roma e Napoli (1608 - 1624), Ausstellungskatalog, Museo di Capodimonte, 23. September 2011-08. Januar 2012, Neapel 2011.Vgl. Benedikt J. Collinet, Aaron, Bruder des Mose, in: Biographisch-Bibliographisches Kirchenlexikon, Bd. 42, Nordhausen 2021. (1390021) (13)Jusepe de Ribera,also known as “lo Spagnoletto”,1588/91 Xàtiva/ Valencia – 1652 NaplesAARONOil on canvas. Relined.130 x 95 cm.Accompanied by an expert’s report by Nicola Spinosa, Naples, dated 22 May 2023, in copy. Spinosa dates the painting to ca. 1616 or shortly thereafter, a period in the artist’s life when he was active in Rome and Naples. He was appointed as court painter to the Duke of Osuna and the King of Naples due to the quality of his paintings. In 1644 he was awarded The Supreme Order of Christ by the Pope. He was already a member of the Accademia di San Luca in Rome in 1630. Alongside Caravaggio, he is the most important naturalist of Neapolitan painting with an emphasis on chiaroscuro. A main feature of his oeuvre is the deliberate depiction of mostly old, ascetic, bony and slim figures such as hermits or philosophers.Literature:The painting on offer for sale here is published in: Nicola Spinosa, Aniello Falcone e i pittori della sua cerchia, p. 19.
After Michelangelo, a bronze model of The Young Slave, 20th century, 17cm highProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Footnotes: Note: The present lot is after Michelangelo's original marble sculpture dateable to around 1525-30 and is part of the "unfinished" Prigioni, along with The Awakening Slave, Bearded Slave and Atlas Slave, intended for the tomb of Julius II.
* Skippe (John, 1742-1811). Five chiaroscuro woodcuts from Amicis suis necnon unicuique Artium elegantiorum Amatori, Tabulas insequentes Ludentis Otii temporibus ligno incisas, 1781, including A Group of Monks and a Woman, after Rubens, chiaroscuro woodcut from four blocks on cream laid paper, 'P: P: Rubbens inv. / Joan: Skipp scul.' to top right, with narrow margins, research notes to verso of frame in ink, small closed tear to left edge, handling creases to lower margin, tipped onto backing board at each corner, image size 37.7 x 23.4 cm (14 3/4 x 9 1/4 ins), sheet size 39 x 34.4 cm, framed and glazed, and Seated Young Man, after Michelangelo, chiaroscuro woodcut from four blocks in maroon on laid paper, 'Typum hunc / a M. Angelo / Scheda [...] Joan Skippe / D 1781' to lower right, trimmed to image, sheet size 18.7 x 15.8 cm (7 1/4 x 6 1/4 ins), framed and glazed, with Male and Female Caryatid, after Raphael, two chiaroscuro woodcuts printed in pale green and black, both trimmed to image, image size 6.8 x 8 (6 3/4 x 3 1/4 ins) respectively, framed and glazed, together with the Frontispiece to the collectionQTY: (6)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.
* Fuseli (Henry, 1741-1825). Study after Michelangelo's Last Judgement, circa 1775, pen and brown ink on antique laid paper, with watermark of a crossbow (probably late 16th century, similar to Briquet 729), slight loss to extreme lower left margin and to lower right corner, edges restrengthened to verso, inscribed in pencil in a later hand to verso 'Henry Fuseli i/ Rome after Michelangelo £ 9. 10. 0' and in another hand 'Michel Angelo', sheet size 205 x 315 mm (8.1 x 12.4 ins), window-mountedQTY: (1)NOTE:Provenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge.Fuseli travelled to Italy in 1770 and settled in Rome, where he remained until 1778. There he studied classical sculpture and especially Michelangelo’s frescoes in the Sistine Chapel. According to Allan Cunningham in his Lives of the Most Eminent British Painters, 1830, 'It was a story he loved to repeat, how he lay on is back day after day, and week succeeding week, with upturned and wondering eyes, musing at the splendid ceiling of the Sistine Chapel - on the unattainable grandeur of the Florentine…He fulfilled the injunction of Reynolds - he ate and drank and slept and waked upon Michelangelo’.The present work is a sketch of the lower right portion of Michelangelo's famous Last Judgement in the Sistine Chapel, depicting the arrival of tormented souls across the River Styx in Charon's boat to the land of the dead (as described in Dante's Divine Comedy), where they are received by demons.
Marco Dente, called Marco da Ravenna (c.1486-1527) Laocoön Engraving, circa 1520, a slightly worn impression on laid paper with watermark of six-pointed star within a circle surmounted by an additional smaller six-pointed star [apparently not in Briquet], sheet 471 x 324 mm (18 1/2 x 12 3/4 in), trimmed within the platemark, some spotting, surface dirt and handling creases, with drying crease with repairs to splitting, tipped at edges onto Stirling-Maxwell's mount (unframed)Provenance: Sir William Stirling-Maxwell (1818-1878); then by descent to the present owners.Together with a group of 4 other Italian old master prints: Marcantonio Raimondi (1480–1527) The Judgement of Paris, after Raphael [B.245] and Parnasuss, after Raphael [B. 247]; Domenico Barbiere (1506-1565) The Brazen Serpent, after Michelangelo; and Cherubino Alberti (1553-1615) Mary Magdalen standing on clouds, being transported to heaven by angels, [B. 63] (5)
Juan Baptista Franconio. Late 16th century, based on the casting of Michelangelo Buonarroti's model."Christ"Gilded bronze sculpture.22.5 x 21 cm.Magnificent gilded bronze Christ. This is one of the pieces obtained by casting bronze from the model by Michelangelo, which Juan Baptista Franconio, an Italian silversmith, brought to Seville in 1597 from Rome, where he settled.The significance of the Christ by Michelangelo was such that it was one of the inspirational works of art that led Juan Martínez Montañés to create his Christ of the Chalices. Francisco Pacheco recounts this in his posthumously published "Art of Painting" in Seville in 1649.He mentions that Martínez Montañés made this sculpture following the posture of another Christ, describing it as follows: "Michaelangelo, the illustrious light of painting and sculpture, made a crucifix with four nails for a model, which we can now enjoy. Juan Baptista Franconio, a brave silversmith, brought it to this city, cast in bronze, in 1597, and after enriching all painters and sculptors with it, he gave the original to Pablo de Céspedes, a canon of the Holy Church of Córdoba, who held it with great esteem around his neck." It is now known that the original is, for the moment, unaccounted for.Pacheco also specifies in his writing that he applied on January 17th (1600) a matte polychrome to the first of these four-nail crucifixes he cast. One of the painters whose work was enriched by being able to capture such a sculptural marvel on canvas, was Diego Velázquez, due to family ties, as he was Pacheco's son-in-law. In Anselmo López Morais' article “Crucifijo de Miguel Ángel (Un ejemplar en colección particular de Orense)” (Crucifix by Michelangelo (A specimen in a private collection in Ourense))' the 'two portraits he made in 1620 in Seville of Mother Jerónima de la Fuente (one in the Prado Museum in Madrid and another, where [the crucifix] can be seen clearly, in the Fernández Araoz Collection, also in Madrid)' are mentioned. Precisely this article is very useful in order to contrast similarities between this sculpture and the one mentioned by Michelangelo cast by Franconio. Among other things, it states: "The news from Pacheco was collected by Manuel Gómez-Moreno who, intrigued for a long time by a series of metal images obtained by casting, attributes them, with many doubts, to the Granada sculptor Alonso Cano, but later identifies them as those obtained from the Crucifix by Michelangelo mentioned in the 'Art of Painting'."López Morais continues quoting Gómez-Moreno to define the detailed characteristics of the 22 cm Crucifix: "it imposes by its very sobriety of resources, an imposing start that enlarges such a small work, [and] the body hangs limp, with absolute mass symmetry, as in real life; the head, which is small, falls on the chest and leans slightly to the right; the hands contract, clenched; the left leg crosses over the right, as revealed by Saint Brigid, flattening the calf upon contact, and the foot is deformed by the pressure of the nail; the almost embryonic nature of his virile organs matches a narrowness of hips that gives predominance to the chest over the other members; the belly sinks, and the complexion, emaciated, accentuates bony reliefs rather than muscles, except in the arms where tension makes even the arteries visible, but it is all modelled with unsurpassed delicacy and art." In Spain, there are several known silver or bronze specimens considered to be original castings from Franconio. Originals are found in the Museum of Caminos in Astorga, Palacio de Oriente in Madrid, the Gómez-Moreno Museum in Granada, the Caja de Ahorros de Segovia, the Cathedral of Seville, and the Ducal Palace of Gandía, among others. Some others are unsure whether they were cast from the original or even at that time.The Metropolitan Museum of Art in New York has a Christ and the two thieves in its collection with the registration number 37.28a–d, and currently attributes authorship for this figure of Christ as based on a model by Michelangelo Buonarroti. The question arises as to whether it was a casting made in Rome, a hypothesis supported by the context of the set, or whether, like ours, it is one of the examples made from Franconio, which is based, according to the MET, on "the quality of modeling and casting, both crisp and fluid, [which] brings it closer to numerous surviving silver copies in Spain". Provenance: Fernández Araoz Collection. Reference bibliography:- López Morais, Anselmo. (1988). Crucifijo de Miguel Ángel (Un ejemplar en colección particular de Orense). "Porta da aira: revista de historia del arte orensano", Nº 1, 97-107.- Metropolitan Museum of Art. (s.f.). "Christ and the Two Thieves Crucified". https://www.metmuseum.org/art/collection/search/197995
Fattorini, Thomas (Skipton, later Bradford, 1827-present) ENGLAND, Royal Academy of Arts, 1979, a silver medal by T. Fattorini, Virgin and child being presented with a goldfinch by the infant St John, being a representation of the marble Taddei Tondo by Michelangelo, rev. initials of Michelangelo being worked by two cherubs, cornucopia above, hallmarked tf Birmingham 1979, 64mm, 99.30g (cf. Royal Collection Trust 444089). Brilliant mint state; in black case of issue by Thomas Fattorini, Regent St, Birmingham B1 3HQ £50-£70 --- The marble, believed carved in 1504-5 during Michelangelo’s first period in Florence, was commissioned by the wealthy cloth merchant and connoisseur Taddeo Taddei (1470-1529); it was acquired by the Royal Academy in 1829.
A Wedgwood Masterpieces Collection jasperware Michelangelo pedestal bowl, after the 1880 model, 1980, limited edition 61/100, the circular bowl with white rosettes and foliate scrolls sitting on a tripartite base with three classical male figures, with gilt inscription and impressed factory marks to underside, 23.5 cm high x 22 cm diameter
Ulysse Nardin MicheLangeLo UTC Dual Time GMT Big Date gentleman's automatic wristwatch ref. 223-48 with digital jump hour and date apertures, luminous blued hands, silver dial, Arabic numerals, stainless steel case and 23 jewel movement, on brown crocodile leather strap, case size 35x37mm, serial number 1483, in original fitted wooden box with certificate card, related paperwork and outer card box.
Art interest to include reference volumes on Faberge, Titian, Tissot, Michelangelo, Chanel, Caravaggio, Bridget Riley and many others. Together with The Works of William Hogarth (1833), bound copies of Colour magazine from 1914/5 and Original Views of London by Thomas Shotter Boys, 1842 (1926)
Folio Society. A collection of twelve works of non-fiction, relating to history and art. Comprising 2015 Great Contemporaries by Winston Churchill, 2015 The Age of Illusion - England in the Twenties and Thirties by Ronald Blythe, 1989 Undertones of War by Edmund Blunden, 1978 Memoirs of a Revolutionist by Peter Kropotkin, 2011 On The Eve by Ivan Turgenev, 1999 Civilisation by Kenneth Clark, 2007 Michelangelo, 2005 Leonardo da Vinci, 2009 Colour by Victoria Finlay, 2001 The Folio Society Book of the 100 Greatest Paintings, 2010 The Nude by Kenneth Clark, and 2013 Landscape into Art by Kenneth Clark. All first printings. Each in the publisher's original pictorial boards, and housed in a slipcase. Excellent condition.
FAKSIMILE "Michelangelo - Die Sixtinische Kapelle", Hartt, Frederick, Schlesak, Dieter (Hgg.), Die Sixtinische Kapelle, 3 Bd., Augsburg 2004. 1.) Band I: Die Deckenfresken vom Propheten Zacharias über dem Eingangsportal bis zum Sündenfall. Die Lünetten von Eleazar / Mathan / bis Ezechias / Manesses / Amon. 2.) Band II: Die Deckenfresken von der Erschaffung Evas bis zum Propheten Jonas über der Altarwand. Die Lünetten von Ozias / Joathan / Achaz bis Aminadab. 3.) Band III: Das Jüngste Gericht. Je Alters- und Gebrauchsspuren. In originaler Kartonage.| FAKSIMILE "Michelangelo - The Sistine Chapel", Hartt, Frederick, Schlesak, Dieter (eds.), Die Sixtinische Kapelle, 3 vols., Augsburg 2004. 1) Volume I: The ceiling frescoes from the Prophet Zechariah above the entrance portal to the Fall of Man. The lunettes from Eleazar / Mathan / to Ezechias / Manesses / Amon. 2) Volume II: The ceiling frescoes from the Creation of Eve to the Prophet Jonah above the altar wall. The lunettes from Ozias / Joathan / Achaz to Aminadab. 3) Volume III: The Last Judgement. Traces of age and use. In original cardboard box.
Lenzkirch-Tag und Nacht Kaminuhr nach Michelangelo BuonarrottiGrüner Marmorgehäuse weiss geädert, massiver Bronzebesatz Figuren Tag und Nacht nach den Suppraporten von Michelangelos Sagrestia nuova (Neue Sakristei) in der Basilika San Lorenzo in Florenz, Italien für Lorenzo de Medici. Lenzkirch Werk mit Marke "1 Millionen und Seriennummer 935035, 1 Woche Gangdauer ohne Schlag. Rückseitiger Standfuß fehlt. Kein Postversand, 77x36x14cm, Z2-
Tischlampe, "Rebellischer Sklave", Frankreich, 19. Jh., Bronze-Schaft, patiniert, bezeichnet F. Barbedienne Fondeur sowie Rundstempel "Reduction Mecanique A. Collas Brevete", Figur nach dem Original von Michelangelo, Holzsockel, 71 cm hoch, elektrifizierter Lampenaufsatz ergänzt, Lichtglas mit kleinem Sprung
Giochi Preziosi and Playmates Nickelodeon Teenage Mutant Ninja Turtles boxed group of modern release collectables, with specific examples including Leo and Donnie's Patrol Buggies, a Mutations Quad Rotor Turtles multi-mode mutating machine motorcycle, a Battle Shell Michelangelo action figure, and others, all in their original packaging
Box of reference and non-fiction books to include: 'Discovering Royal Doulton', 'The Readers Digest World Atlas', 'The Monument Guide to England and Wales' Jo Darke, 'A History of the Royal Cork Yacht Club', 'Samuel Walters Marine Artist', 'The World of Michelangelo' ,'Essential Michelangelo', 'Making Waves, a history of the Royal Yacht Squadron 1815-2015', 'Prehistoric Animals' etc.(B.P. 21% + VAT)
Armbanduhr: Modell Michelangelo in Gold. ULYSSE NARDIN. Referenz-Nr. 161-42. 750er Gelbgold (18 kt). Länge: 34 mm. 64,5 Gramm. Automatikwerk, 19 Steine, Kaliber 16-5, water-resistant. Verglaster Boden, 4-fach verschraubt, seitlich Korrekturdrücker, Saphirglas, weißes Zifferblatt mit Perlmutt-Einlagen, Hilfszifferblätter für Datum, Wochentag, Monat, Mondphase. Bewegliche Bandanstöße, Krokodillederband (Alligator) mit Dornschließe, Korrekturstift. Im Kurzeit-Test funktionstüchtig.Léonrad Frédéric Nardin (* 1792) war der erste Uhrmacher der Familie, sein Sohn Ulysse Nardin gründete 1846 in Le Locle die Uhrenfabrik. Die Uhr ist über einen langen Zeitraum nicht bewegt worden, für Funktion und Gangenauigkeit können wir keine Garantie übernehmen * Partnerauktion Bergmann.Provenienz : Süddeutsche Privatsammlung.Kein Versand außerhalb der EU!Aufrufzeit 23. | Feb 2024 | voraussichtlich 20:18 Uhr (CET) Wristwatch: Michelangelo model in gold. ULYSSE NARDIN. Reference No. 161-42. 750 yellow gold (18 ct). Length: 34 mm. 64.5 grams.Automatic movement, 19 jewels, caliber 16-5, water-resistant. Glazed back, 4 screws, correction pushers on the sides, sapphire crystal, white dial with mother-of-pearl inlays, sub-dials for date, day of the week, month, moon phase. Movable lugs, original leather strap with pin buckle, correction pin. Functioning in the short time test.Léonrad Frédéric Nardin (*1792) was the first watchmaker in the family; his son Ulysse Nardin founded the watch factory in Le Locle in 1846. The watch has not been moved for a long period of time, we cannot guarantee its function and accuracy * Partner auction Bergmann.Provenance : South German private collection.Call time 23. | Feb 2024 | presumably 20:18 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
THE FOLIO SOCIETY, Eleven Titles including three volumes of Vasari; Giorgio, Lives Of The Artists, Gaunt; William, The Pre-Raphaelite Tragedy, Holmes; Edward, The Life of Mozart, Brief Lives by John Aubrey, Finlay; Victoria, Colour, Clark; Kenneth, The Nude, Clark; Kenneth, Leonardo Da Vinci, Hibbard; Howard, Michelangelo & The Folio Society Book of The 100 Greatest Paintings, all titles in slip cases, some scuffing or dust marks to cases and biro handwriting to one case (1 BOX) (PLEASE BE AWARE THAT THE LOT MAY HAVE SIGNS OF MOULD/DAMP DAMAGE, SMELLS FUSTY)
FOUR BOXES & LOOSE BOOKS containing over 130 miscellaneous titles in hardback and paperback formats to include fifteen volumes of Chamber's Encyclopaedia, four volumes of The International Encyclopaedia of Science, two volumes of The Complete Works of Michelangelo, a Times Atlas of the World, other subjects include Penguin, Puffin and Pelican publications, religion, birds, cookery and classic or contemporary fiction
Outstanding watercolor and gouache hand-painted engraving on paper in the style of Michelangelo Maestri that depicts four Neo-Classical allegories set on a black background. They are reminiscent to Roman frescoes in Pompeii and Herculaneum and to Raffaello Sanzio's Allegorical Hours of the Day and Night. Set in an antique gilded frame. Artwork dimensions: 9"L x 11.75"H. Frame size: 11"L x 13.25"H x 0.75"W. Artist: Michelangelo MaestriIssued: Early 19th centuryCountry of Origin: ItalyCondition: Age related wear.
Buonarotti, Michelangelo: (1475-1564) nach. La Sibilla Persica. Persische Sibylle. Kupferstich von CherubinoKupferstich von Cherubino Alberti (1553-1615). Blgr. 43,5 x 29,5 cm. Mit "Cum privilegio summi Pontificis" i.d. Platte. Bartsch 74. - Etw. gebr. u. wasserrandig, 2 unterl. Wurmsp. im li. Zwickel. - ╔Dabei:╗ "Schola Italica Picturae... 1773". Titelbl. Kupferstich v. Joseph Perini n. Michelangelo, Rom 1771. Blgr. 57,5 x 36,5 cm. - 2 Kupferstiche n. ╔Raffael,╗ 1 aus der Folge "Triumph des Cäsar" nach ╔Mantegna╗ u. 1 ein weiterer, 18. Jh. Qu.4° bis Qu.Fol. 1 Bl. aufgezogen. - Versch. starke Alters- u. Gebrauchssp. Zus. 7 Bl. D
Galliani, Omar u. Michelangelo: (1954 Montecchio Emilia u. 1957 ebda.). Il sogno di un padre. Bronzerelief mit 999 Silberauflage von Michelangelo Galliani, rund, Dm. 25 cm, Sign. u. num., Editionsstempel "FMR" in Acrylkasten, 2 sign. u. num. Serigraphien "Nuovi Santi" - "Nuovi Fiori: Opera 1/2 Rosso" von Omar Galliani, Blgr. je 76 x 58 cm, mit Zertifikaten und Begleitbuch ╔Amor Sacro,╗ 112, S., 3 Bl, im Impr. sign. u. num., illustr. Olwd. (etw. fingerfl.). u. Katalog "FMR" ventisinquesimo anno. Speciale", Okart. Zus. in schwarzer, illustr. Olwd.-Kassette (angestaubt, etw. schmutzfl., Deckel gelöst). - Jwls. Ex. 188/225 (GA: 250). - Neupreis 2008: 12.000 Euro. D
Raphael Sanzio d'Urbino.: Oeuvres completes. 4 Bde. Paris, Didot 1844. 4°. Mit 475 Umrißradierungen auf Taf. Hldrbde. d. Zt. (Berieb. u. best.). Tls. leichte Gebrauchsspuren. - ╔Dabei: Michelangelo╗ Oeuvres completes et choix de Baccio Bandinelli et de Daniel de Volterre. Ebda. 1844. 4°. Mit 82 (von 83) Taf. - Ohne Taf. 71. - Zus. 5 Bde.
A FISTFUL OF DOLLARS (1964) - David Frangioni Collection: Italian One Panel (2-Fogli) - Linen-Backed, 1965Bidding for this lot will end on Thursday 8th February. The auction will begin at 2:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. This eye-catching and stylish re-release country of origin Italian poster by Michelangelo Papuzza has Eastwood's "Man With No Name" smoking his trademark cigar and holding a literal fistful of dollars. We can see the bounty hunter has earned his money as he walks away from five corpses strewn across the background. Papuzza's brilliant use of colour makes this poster a truly stunning display piece. Provenance: David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.39.5" x 55" (100 x 140 cm)Condition: Very FineConservation linen-backed with fold line and border restoration as well as the yellow in the top-right corner. Displays to stunning effect.Artist: Michelangelo Papuzza£3000 - 6000VAT Status: ΩClick here for our Poster Auction Grading Guide
After Michelangelo, Lorenzo de Medici bronze sculpture in the manner of Barbedienne Fondeur (1810-1892) 9.5cm wide 27cm high excluding the plinth. Provenance: Enid Boulting (1928-2021), fashion model; former wife of Roy Boulting, film director (1913-2001) and later wife of the 9th Earl of Hardwicke, thence by descent. Good, Not signed.
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