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A group of art reference books, to include Grahame The Classified Directory of Artist's Signatures, Symbols and Monograms, Artists of Northumbria, Decorative Arts from the Ottoman Empire, Waters (Grant M) Dictionary of British Artists Working 1900-1950, further works relating to Botticelli, Leonardo Da Vinci, miniaturists, Dutch painting, etc. (1 shelf)

'My Spirit is the Same' O'Malley (Ernie), Republican. A remarkable ALS, 2 pp (single sheet), from Kilmainham Prison, 26/11/1923, to 'Dear K' (evidently a Republican comrade), asking for books to be sent to him,  'Here I am again on the flat of my back as the [hunger] strike terminated on 23/11. I believe I will never be strong again, and may pull round somewhat in time, but what's the odds. My spirit is the same whatever about the body, and after all that's the main thing. My sight is bad and I nearly kicked it several times but I had not the luck to die.'   He expects he will not be released before Easter, and in the meantime he needs reading material, particularly literature and art books.  He gives a long list of writers and painters, starting with Shakespeare and Botticelli, and says he can send £5, and perhaps 'some of the enthusiasts out there' may do something for him. 'I have work to do for Ireland yet, and can be educating myself as best I can with what books I can lay my hands on'. He says 'Frank [Aiken] is still at the helm, and thank God for that. He understands the Northern question and will pay due attention to it & help to represent a better Ireland unpartitioned. He is to my mind the best man by far that we have & I expect great things from him.' He wishes 'K' success with his or her mission, which apparently is in America. 'I will pray for you and for your success and will offer up Communion for you; unfortunately I get it only once a week. It was a terrible trial to be so long without it  .. Ever  your friend, Ernie.' Ernie O'Malley was very seriously wounded in November 1922, while resisting capture in a Dublin 'safe house'. At that time he was assistant chief of staff of the Anti-Treaty IRA.  He spent five months in a prison hospital, and then went on a forty-day hunger strike. He was released on medical advice in 1924. He partly recovered his health, and went to Spain and the United States, where he wrote the classic, 'On Another Man's Wound'. A fine revealing letter, which well captures the man, his spirit and his courage. Letters from O'Malley are very uncommon. (1)

Sandro Botticelli (1145-1510)-school, Portrait of a young man with red hair and cap in landscape. Tempera on wooden panel with integrated gilded frame. 49 x 34 cm.

A framed watercolour of a landscape scene signed 'Donald Jackson' along with four framed Botticelli prints

DANTE ALIGHIERI: ZEICHNUNGEN VON SANDRO BOTTICELLI ZU DANTE'S GOETTLICHER KOMODIE NACH DEN ORIGINALUM IM KUPFERSTICHKABINET ZU BERLIN/HERAUSGEGEBEN VON F LIPPMANN, Berlin, 1887, reproduced from the 1481 edition of Dante's Divina Commedia, added title page, 91 (of 93) plates, oblong elephant folio, cloth very worn and disbound, contents loose

A folio of vintage Botticelli unframed large format monochrome museum issue prints - sold with various other loose prints - various condition

After Botticelli - a pair of coloured prints depicting figures in medieval dress, framed & glazed, 66 by 44cms (2).

George Burrows after Sandro Botticelli (1446 - 1510): 19th century oil on copper panel, Madonna and Child, paper label verso, 18 x 23 cm. Not available for in-house P&P

A FIFTY PIECE ROSENTHAL DINNER SERVICE, decorated with garlands of roses, stamped Botticelli to base, comprising a large soup tureen and stand, two vegetable tureens and stands (one chipped), two small soup tureens and attached stands (one with broken cover, the other missing cover), two ladles, four meat plates of varying sizes (one chipped and cracked), eleven dinner plates, ten salad plates (one chipped), five side plates and ten wide rimmed plates, together with a jug by Glyn Colledge and a porcelain figure of a small dog height 13cm (52) (Condition Report: generally ok, specific obvious damage as stated, wear to gilding, signs of light use, would benefit from a clean)

Nonesuch Press.- Dante Alighieri. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, translated by H.F.Cary, one of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, browning and light spotting to endpapers, original vellum stained orange, gilt, t.e.g., others uncut, upper cover a little spotted, some slight splaying to covers but without the usual fading to spine, folio, Nonesuch Press, 1928

Three framed and glazed prints, a map of the solar system, Primavera by Sandro Botticelli and Classical cherubs holding a ribbon. H.59 W.79cm

A large quantity of various Medici prints including copies of works by VERMEER, REUBENS, BOTTICELLI, VAN EYCK, REMBRANDT, TURNER, VELAZQUEZ, PERUGINO, GIOTTO, etc, etc. CONDITION REPORTS All items are prints. Over 200 including those in booklet form. See images for more examples.

TWO FRAMED BOTTICELLI PRINTS

Finely carved 19th century walnut circular frame, carved with fruiting wreath in lambrequin and beaded borders, 29cm diameter, housing print after Botticelli

Nonesuch Press. Dante Alighieri, 'La Divina Commedia' or the 'Divine Vision of Dante Alighieri' in Italian and English. Italian text edited by Mario Casella, English version of H.F. Cary. 42 Illus. after Botticelli. London 1928. 116/1475 on Van Gelder paper. Original orange calf. B/ps for A.T. Bartholomew (Cambridge) and David Sellars (305 x 205mm) Binding spotted and bumped. Some browning throughout

French copper wall mounted holy water stoop with plaque depicting 'Madonna and Child with the Young St.John the Baptist' after Botticelli in relief, signed L.De.Melly, mounted on onyx inscribed on the back with 'Avril 1919' H25cm

Alighieri, Dante: La Divina Commedia, edited in Italian by Mario Casella and translated side-by-side to English by H. F. Cary, with illustrations after drawings by Sandro Botticelli, orange stained vellum and printed on Van Gelder paper, limited edition 876/1475, The Nonesuch Press, London, 1928 The spine with considerable fading from sun exposure as visible in the on-line photo. Some marks and scratches to the boards, to the exterior and interior. Pages are generally in good condition with slightly worn edges, all illustrations are present and generally in good condition.

Collection of decorative prints to include two Botticelli works in contemporary gilt frames and a 'Classic Print Portfolio- Masterworks of Claude Monet' containing 12 individual prints

Feliks Stanislaw Jasinski, after Sandro Botticelli - Madonna and Child with the Young St. John the Baptist, etching with engraving, signed in pencil, published by Hautecoeur, Paris, 1890, 21.5cm x 16cm, within an ebonized and gilt frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

The Primavera - after a painting by Sandro Botticelli, a chromolithographic print by William Greve, Berlin, for the Arundel Society label verso 52cm x 81cm Location:

NONESUCH PRESS DANTE La Divina Commedia 1928, London, fol. orig. orange fl. vellum, dbl. p. plts. after Botticelli ltd. 1475 copies, sp. a little faded, sl. bow to bds.

Rare Arundel Club London 1910 - Annual subscribers print collection(19 of 20 are present). Seventh Year of Publication. Included are No. 1 - Masaccio(Florentine School 1401-1428) 'Madonna & Child', No. 2 - Bartolommeo Di Giovanni 'Mythological', No. 3 - Sandro Botticelli 1446-1510, No. 4 - Antonio Pollaiuolo 1429-1498, No. 5 - Andrea Del Sarto 1486-1531, No. 6 - Mariotto Albertinelli 1474-1575, No. 7 - Francesco Zaganelli 1460/70-1531, No. 8 - Francesco Zaganelli 1460/70-1531, No. 9 - Andrea Mantegna, No.10 - G.B. Tiepolo 'Antony & Cleopatra', No. 11 - Unknown Artist c1530 'Edward Howard', No. 12 - Anthony Vandyck 1599-1641, No. 13 - Benedetto Gennari Bolobnese School 1633-1715, No. 14 - Hans Holbein II 'Moses', No. 15 - Lenain 1588-1648, No. 16 - Diego De Silva Y Velazquez 1599-1660, No. 17- Bartolome Esteban Murillo 1617-1682 'Ecco Homo', No. 18 - Bartolome Esteban Murillo 1617-1682 'Swineherd' and No. 19 - Thomas Gainsborough 1727-1788 'Augusta Phipps'.CONDITION - Prints are generally excellent. The paper cover has wear and marks, remnants of the outer card wallet. NOTES - From 1904 The Arundel Club did an annual series of reproductions taken from Old Masters paintings. Paintings mostly from private collections. Each year they produced around fifteen to twenty. Protective paper cover, printed titles and housed in paper folder detailing contents. Distributed to it's members.The Arundel Society Notes - Founded in London in 1849 and named after the Earl of Arundel, the famous collector of the Arundel Marbles. Originally the idea of the lawyer Bellenden Ker. The society was discontinued in 1897 and it would be seven years before the 'Club' was formed. Also known as "Arundel Society for Promoting the Knowledge of Art"

A quantity of glass magic lantern slides, most depicting classic paintings by artist to include Reubens, Botticelli and Leonardo da Vinci, in a stained pine box.

Books - Local Interest and Art History - Nicolson (Benedict), Joseph Wright of Derby: Painter of Light, two-volume set, first edition; Hulton (Paul) The Work of Jacques Le Moyne de Morgues, 2 vol., 1977; others, The Pre-Raphaelites, Wright of Derby; The Sculptures of Michelangelo; Botticelli; etc

DINNER SERVICE, Rosenthal 'Botticelli', with twenty-two tea cups, forty-six dinner plates, twelve soup, eighteen side, ten serving, tureen, twelve gravy, approx 92 pieces.

Peter Paul RubensSiegen 1577 – 1640 AntwerpenWerkstattNachfolge„Drei Grazien“17./18. JahrhundertÖl auf Leinwand124 x 104 cm, mit Rahmen 136 x 120 cmBei diesem bedeutenden Gemälde handelt es sich um eine hochqualitative Wiederholung eines Werkes von Peter Paul Rubens von 1620-24 (Akademie der Bildenden Künste Wien, Inv.-Nr. GG-646). Das äußerst beliebte mythologische Bildthema bezieht sich auf die drei Grazien (lat. gratiae) namens Euphrosyne („Frohsinnige“), Thalia („Blühende“) und Aglaia („Strahlende“). Die Chariten bringen den Menschen Lebensfreude und werden auch mit Großzügigkeit in Verbindung gebracht. Bereits im antiken Pompeji wurden die drei Töchter des Zeus als sich gegenseitig umarmende Akte dargestellt. Bedeutende Ausführungen existieren von Sandro Botticelli (um 1482/87), Raffael (1504/05) und Lucas Cranach dem Älteren (1530). Rubens malte zahlreiche Varianten desselben Bildthemas, wobei sich jene Version, die sich heute im Museo del Prado in Madrid (um 1630-35; Room 029) befindet, bis zum Ableben des Künstlers in seiner persönlichen Sammlung befand.Der Maler verortet die drei Göttinnen in der Natur, gerahmt von zwei Baumstämmen, die ein Tuch als Vorhangmotiv tragen und dahinter als Ausblick ein idyllischer See oder Teich. In verspielter Manier strecken die Frauen ihre nackten, nur mit hauchdünn-durchsichtigen Stoffbahnen bekleideten Körper, die beinahe ineinander verschlungen zu sein scheinen, um einen großen Blumenkorb gen Himmel zu halten. Dabei werden die Akte besonders variantenreich in Szene gesetzt: Die linke Figur ist im Profil, die mittlere Figur in Dreiviertelansicht und die rechte Figur in Rückenansicht gezeigt. Die Grazien haben außerdem unterschiedliche Haarfarben und tragen verschiedene Frisuren. Die am Fußballen aufgesetzten Füße suggerieren eine dynamische Drehung und Vorwärtsbewegung, während der Blick der Frauen konzentriert nach oben gerichtet ist. Der überquellende Blumenkorb ist mit Rosen in voller Blüte gefüllt, die die Pracht der Grazien widerspiegeln. Hier strebte der Künstler nach einer bewegt-liebreizenden Gesamtwirkung, weiters gerahmt von weißen und rosafarbenen Rosen im Vordergrund und an der rechten Seite, in unterschiedlichen Stadien des Blühens.Im Gegensatz zum Gemälde in der Akademie der Bildenden Künste sind die Körper zarter und weicher modelliert, wobei die Oberfläche insgesamt von einem satteren und wärmeren Ton zeugt. Als wohl eines der Lieblingssujets von Rubens ist auch dieses qualitativ hochwertige Gemälde präzise und mit sorgfältigem Blick aufs Detail ausgeführt.

Friedrich Karl GotschPries im Kreis Eckernförde 1900 - 1984 SchleswigVariation Botticelli VenusHolzschnitt48 x 69 cm, mit Rahmen 76 x 90 cmMonogrammiert u.r.Auf dem Passepartout signiert und datiert 1965 u.r.Bezeichnet „originaler Probedruck“

Cesare da Sesto Sesto Calende 1477 - 1523 Mailand Zugeschrieben „Madonna con bambino“ Öl auf Holz 35 x 27 cm, mit Rahmen 60 x 54 cm Hochqualitativer originaler Rahmen des 16. Jahrhunderts holzgeschnitzt & original vergoldet Zugeschrieben in rückseitiger Inschrift Der italienische Renaissancemaler Cesaro da Sesto war ein Schüler von Leonardo da Vinci (1452-1519) und möglicherweise auch ein Mitarbeiter von Raffael (1483-1520). Seine Malweise war geprägt von einem lombardischen Naturalismus, durchtränkt von einem leuchtenden Kolorit. Er hatte durch seine bedeutenden Auftragsarbeiten eine sehr große Vorbildwirkung, obwohl der Künstler bereits früh, noch vor dem Erreichen seines 50. Lebensjahres, verstarb. Da Sesto malt die Gottesmutter hier in liebevoller Zuneigung zum Kind. Maria ist als Halbfigur dargestellt; vor ihr steht das nackte Jesuskind auf einer Bank oder einem Tisch. Es umfasst mit der linken Hand den Hals der Mutter, während Maria ihr Kind mit der rechten Hand zärtlich an sich drückt. In der linken Hand präsentiert sie dem Betrachter ein aufgestelltes Buch. Hierbei handelt es sich vermutlich um die Heilige Schrift, die Bibel, die durch die rote Passionsfarbe bereits den Leidensweg Christi verkündet. Möglicherweise sind deshalb ihre Lider nachdenklich gesenkt, ihr Kopf zum Kind geneigt. Jesus blickt schräg am Betrachter vorbei, verweist jedoch mit dem Zeigegestus auf seine Mutter; beinahe so, als würde er mit ihr trotz des fehlenden Blickkontakts kommunizieren. Die idyllische Landschaft mit Bergen und Flüssen im Hintergrund offenbart eine italienische Stadtvedute mit kleinen Staffagefiguren, die eine Brücke auf der rechten Bildhälfte überqueren. Ein Werk mit ähnlicher liebevoller Gestik befindet sich im Museu Nacional de Arte Antiga in Lissabon, wobei Maria hier sowohl Jesus als auch den Johannesknaben auf ihrem Schoß hält. Das Gemälde weist weiters auch Ähnlichkeiten mit Raffaels Madonna di Foligno von 1511/12 auf. Die Kopfhaltung Marias sowie das Buch als Attribut der Weisheit ist jedoch besonders mit der „Madonna del Libro“ (Museo Poldi Pezzoli, Mailand) von Sandro Botticelli (ca. 1445-1510) von 1480/81 vergleichbar, obwohl hier das Buch nicht aufgeschlagen ist, sondern hier dem Jesuskind in einer intimen Szene gegenübergestellt wird, wobei dies die bedeutende Stellung der Bibel betont. Kompositorisch verwandte Bilder sind die sogenannte „Madonna mit dem Granatapfel“ des florentinischen Malers Lorenzo di Credi (ca. 1457/59-1536) von 1475/80 in der National Gallery of Art in Washington D.C. (Inv.-Nr. 1952.5.65) und die Madonna von Sandro Botticelli um 1470 (National Gallery of Art, Inv.-Nr. 1937.1.21). Allerdings ist Maria hier nicht mit dem Kind auf dem Schoß dargestellt, sondern in verstärkt repräsentativem Typus auf einem Tisch. Besonders die weich modellierten, sinnlichen Körper in zärtlicher Haltung zeigen jedoch die Parallelen zu seinen Lehrmeistern auf. Besonders schlagend ist die Betrachtung der Zeichnung einer Madonna aus dem Album von da Sesto. Dabei handelt es sich um ein Notizbuch mit 36 Zeichnungen (Pierpont Morgan Library, New York). Diese Studie zeigt die liebevolle Umarmung der Mutter, die den Blick gesenkt hat, während das Kind zum Betrachter sieht.

An early 20th century circular print of the Madonna of the Magnificat after Sandro Botticelli by Renart & Co

The Life and Works of Botticelli by Edmund Swinglehurst 1994 First Edition Hardback Book with 79 pages published by Parragon Book Service Ltd some ageing good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

A SET OF SIX 'BOTTICELLI' OVERSIZED WINE GLASSES, WINE GLASSES PLUS CHAMPAGNE FLUTES

After Botticelli "The Birth of Venus", a large composite garden ornament.

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis (Jacqueline Barsotti-Goddard) signed and dated 'Foujita 1929' and further signed in Japanese (centre right); signed and dated 'Foujita 1929' and further signed and inscribed in Japanese (on the stretcher)oil on canvas64.8 x 100.2cm (25 1/2 x 39 7/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson. This work will be included in the forthcoming Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Mantelet (Colette Weil), Paris (acquired directly from the artist in 1929).Private collection, France (acquired from the above in 1929).Thence by descent to the present owner.ExhibitedMoscow, The Pushkin State Museum of Fine Arts, Les muses de Montparnasse, 15 July – 3 October 2021, no. 183.The living body, the naked and natural body, the body stripped of artifice, the woman captured in her truth, her simplicity, her beauty, the woman: that was what fascinated Foujita. He put her at the very centre of his art, and she embodied the origin of the world. Mother, lover, confidante, and muse all at once, Foujita considered her a mediating figure between the human and the divine, a Renaissance-like conduit to God. Officially, Foujita had five wives. However, he admitted to having had thousands of models, visible in numerous studies, drawings, engravings, and paintings made of one or the other, populating his oeuvre. The angelic yet melancholic face of the present subject belongs to one of these muses, well-known among the artists of the Montparnasse: Jacqueline Goddard. In demand by fellow artists Kisling, Pascin, Derain, Matisse, Giacometti, Man Ray and Picasso, it was Foujita's house at the Parc Montsouris that Goddard favoured. Enchanted by this Art Deco, bucolic villa, she was adopted as a sister by Youki Foujita, the artist's wife and fellow muse.Jacqueline's modern look, Grecian profile, long neck and tousled hair made her one of the legendary models of Montparnasse from an early age. She was an orphan: her French mother died when she was young, whilst her father, André Barsotti, was a talented Tuscan sculptor who died three years before the present work was painted. If Foujita's name now evokes elegance, delicacy and contemplation, it is mainly due to his nudes. Painting Nu assis (Jacqueline Barsotti-Goddard) connected him not only to his past loves, the masters of the Italian Renaissance, such as Michelangelo and Botticelli, but also to his Japanese roots, and to the floating world of printmaking (Ukiyo-e), where modest nudity appears with great sensual intensity. The present work was one of the crown jewels of the Colette Weil gallery, with which Foujita had close ties in 1929, and was acquired by one of the gallery's patrons. The West and the East come together in Nu assis (Jacqueline Barsotti-Goddard), as Foujita transformed a young woman into a modern goddess of love. The contour of the shapes is perfect, the anatomy is irreproachable, and the body is harmonious. Everything flows in a smooth transition, reminding us of the firmness of a sculptural bronze and the polish of marble. The classic face evokes that of Simonetta Vespucci, the model for Botticelli's Venus in The Birth of Venus. Her muscular body seems to descend straight from the ceilings of the Sistine chapel, like a female version of an Ignudo painted by Michelangelo.The nude was an important theme for Foujita because it connected him to nature and to universal beauty. It also allowed him to follow in other great artists' footsteps: in addition to the masters of the Sistine, one sees the influence of Goya, Manet, Rodin, Canova, Ingres and even his contemporaries Modigliani, Matisse and Van Dongen. Even though Foujita's art did not belong to any specific time or school, it remained full of references, and if he broke the rules, it was because he knew them so well. In 1929, Foujita was at the highest point of his career. His milky white backgrounds and range of soft, creamy colours had already established his reputation around the world. Like Degas, Foujita considered that a well-drawn painting was always a well-painted painting. Indeed, his mastery culminated in the way he drew the outline: dipping his brush in black, he stretched the lines on the canvas without hesitation, in a single movement. Those lines were firm and assured, but also delicate and sensitive, which created balance and harmony. The traditional and stable triangular composition, which connects the head to the left hand and the heel of the foot, is balanced by the hair, which allows the painter to let his flat brush slide on the silky canvas. The strands of hair come to life and frame the face, effortlessly and freely resting on the neck like an opalescent mother-of-pearl. Despite the Western model, subject and medium, Foujita allowed his Eastern heritage to express itself, blending both cultures together. As in all his paintings, the figure floats slightly, as if suspended in weightlessness, between rest and action. This Japanese notion of suspension, interruption, and emptiness, which can be found in painting as well as in architecture and in Japanese craftsmanship, is the Ma. It influenced Foujita, who explored the space between the lines, outside and inside the figure. Evoking Japanese metaphysics and aesthetics, which sanctify the idea of breathing, the artist painted the time of breathing, between inspiration and exhalation. Goddard's gaze in the present work is lost in the distance: the beautiful thinker meditates. She holds her breath like Foujita. Another Japanese notion comes into play: the katabokashi, or the fading of the form. If the Ma connects the forms while separating them, the katabokashi is a clever network of greyness, barely visible, which emphasises and translates the Ma. It animates the lower section of the painting and gives it life. It corresponds to the lighter white halo that surrounds the body and allows it to stand out against the background. To achieve this effect, Foujita rubbed cotton wool barely dipped in black or grey pigment. Another Japanese aesthetic and spiritual concept used by the artist was the wabi-sabi: the veneration of the beauty of imperfect things, the magic of their patina and their ageing process. Evoking the wear and tear of time on the surface of the painting, Foujita highlighted the impermanence of life and beauty. To achieve this effect, he used cotton wool soaked in grisaille made of black soot and dry oil. Then, he scattered the pigment inside the small air bubbles that dried and broke on the surface of the canvas. This gave the illusion that the painting had been shaped by time. Foujita embraced his ancestral roots but turned to the West to enrich his artistic vocabulary in this East/West hybrid work. His ability to oscillate between these two cultures, to feed on them and to transcend them was due to his love for art and life rather than aesthetic satisfaction. All his life, he believed in the invisible power of art without borders, embodied by the Montparnasse, which brought together the best avant-gardes from all over the world. Transcending the world, escaping time, and connecting with the gods of creation was Foujita's artistic goal from an early age. Sylvie BuissonArt HistorianAuthor of the forthcoming Volume IV of the Léonard Tsuguharu Foujita catalogue raisonné, in collaboration with Casimir Buisson, expert for the artist at the French ... 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

Botticelli by L D and H S Ettlinger 1976 First Edition Hardback Book with 216 pages published by Thames and Hudson Ltd some ageing good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

° ° Nonesuch Press - London - Dante Alighiera - La Divina Commedia, one of 1475, with illustrations after Sandro Botticelli, 4to, original orange vellum, London, 1928, together with 2 a/l’s, from Sir Francis Meynell to Charles Gimlett, FRCS, explaining certain points relating to the type and binding of the book.**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Print after Botticelli, in decorative glazed frame 107cm x 76cm overallThe print is in very good condition, the decorative frame has some losses to the outer edges. Overall framed size in inches 29.5 x 42.

Emile Gebhart, 'Sandro Botticelli, et son epoque', Paris, Goupil & Co., 1907, with French-language text on Michelangelo by the same author, both volumes consisting of loose pages contained within embossed leather cases. (2)

Nonesuch Press:- La Divina Commedia or the Divine Vision of Dante Alighieri in Italian and English. Casella, Maria, Cary, H.F. Eds. 42 Illus. after the drawings by Sandro Botticelli 1928. On Van Gelder paper. Ltd 936/1475. Rich orange tooled vellum with cypher (310 x 210mm) Spine faded and slight warping

A Regency Circular Ebonised Frame with Gilt Slip. Botticelli print of the Virgin and Child. Probably once held a concave looking glass

BÜSTE DER ANGELICA MARIAArnaldo Giannelli, Italien 20.Jh. Renaissancebüste nach Sandro Botticelli. Verbundwerkstoff (Alabaster) auf Marmorsockel. Gemarkt. H.25cm

2014 limited edition Solomon Islands one dollar, Botticelli Birth of Venus edition. P&P Group 0 (£5+VAT for the first lot and £1+VAT for subsequent lots)

Reiterstandbild des Bartolomeo Colleoninach Andrea del Verrochio, um 1880, Kupfer-Bronze dunkel patiniert, Nachbildung des bekannten Reiterstandbilds vor San Giovanni e Paolo in Venedig, dieses sollte den Condottiere Bartolomeo Colleoni ehren und prägte die Reiterstandbilder bis in das 19. Jh., Colleoni wird in prunkvoller Rüstung auf seinem geschmückten Hengst dargestellt, auf späterem rechteckigen Holzsockel, gute altersgemäße Erhaltung, H Bronze 42 cm, H gesamt 74 cm. Künstlerinfo: eigentlich Andrea di Michele Cioni, italienischer Bildhauer und Maler (1435 Florenz bis 1488 Venedig), einer der bedeutendsten Künstler in der Übergangszeit von der Früh- zur Hochrenaissance, absolvierte wohl eine Lehre zum Goldschmied und Bildhauer, verwaltete die Sammlung der Familie Medici und leitete eine eigene Werkstatt, in der Kunst verschiedener Richtungen wie Bildhauerei, Malerei aber auch anderes Kunsthandwerk angefertigt wurde, es wurden Schüler wie Sandro Botticelli, Lorenzo di Credi, Leonardo da Vinci und Perugino ausgebildet, die in der Hochrenaissance Bedeutung erlangten. Quelle: Internet.

Various vintage books including art books with colour plates, Van Gogh, Botticelli, Augustus John, together with A song of the English, our King and Queen.

Roethlisberger (Marcel). Claude Lorrain The Drawings, 2 volumes [Catalog, Plates], 1st edition, Berkeley: University of California Press, 1968, numerous monochome illustrations, some spotting to the text blocks, original uniform cloth in dust jackets, covers slightly with minor tears to head & foot, large 4toThe Claude Lorrain Album in the Norton Simon, Inc. Museum of Art, 1st edition, Los Angeles: County Museum of Art, 1971, numerous monochrome illustrations, original cloth, covers lightly toned, oblong 4to, Cavalier Pietro Tempesta And His Time, 1st edition, Newark: University of Delaware Press, 1970, numerous monochrome illustrations, original cloth in glassine wrapper, large 8vo, together with:Lightbown (Ronald), Botticelli, 2 volumes [Life and Work, Complete Catalogue], 1st edition, Berkeley: University of California Press, 1978, numerous colour & monochrome illustrations, original cloth in dust jackets, & slipcase, large 8vo, plus Chapman (H. Perry et al), Jan Steen, Painter and Storyteller, 1st English edition, Washington: National Gallery of Art, 1996, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head, oblong 4to, and other European & Old Master art reference & related, mostly original cloth in dust jackets, 8vo/4toQTY: (24)

A large collection of vintage 20th century 8 Tracks to include Sounds Exciting, The World of Oliver, Presenting: Botticelli & his Orchestra, The World of Hits vol. 4, Bob Rowe's Music Box, Robertino, Tom Jones, Donna Summer, Adrian Baker, Gilbert O'Sullivan.

MANNER OF BOTTICELLI, Cupids and Aphrodite, oil on canvas, 120cm x 90cm.

Art, The Renaissance - From Berenson's Own Library at Villa I Tatti, Berenson (Bernhard), The Florentine Painters of the Renaissance, with an Index to their Works, later signed, dedicated, and dated 1945 by the author in ink MS, first edition, London: G. P. Putnam's Sons, 1896, frontispiece, original cloth, Ex Libris Bernardi et Mariæ Berenson, their marital book label to recto pastedown, 8vo, (1); another four works by Berenson, unsinged, original cloth (one with dustjacket), 8vo, (4); Yashiro (Yukio), Sandro Botticelli, one of 600 copies, three-volume set, London: The Medici Society, 1925, printed on mould-made paper, colour frontispieces, further illustrated with 290 monochrome collotype prints, original dustjackets over grey cloth gilt, top-edge gilt, others uncut, crown folios (36cm x 27cm), (3), [8] Provenance: the Chandos-Pole family, removed from the Library of Radbourne Hall, Derbyshire.

SCHAEFFER (EMIL) SCHAEFFER (EMIL), Sandro Botticelli, 1 oblong folio volume, 1921, Limited Edition number 141/400 copies, printed in Germany, displaying plates of many of the artist's work.

Early Capodimonte Italian porcelain plaque, with a Neoclassical scene in low relief of a group of female bathers surrounded with mythical creatures. The composition is highly reminiscent of Renaissance works by artists such as Alessandro Botticelli. Marked with the Capodimonte crowned Neapolitan N along the upper right corner of the composition.Unframed; height: 9 1/4 in x width: 17 1/2 in. Framed; height: 15 1/2 in x width: 24 in.

Nevinson, C. R. W. Modern War Paintings With an Essay by P. G. Konody. London: Grant Richards Limited, 1917. First edition, 4to, original green quarter cloth, green paper boards, printed labels to spine and front cover, dust jacket, colour lithographic frontispiece ('The Column on the March') signed by Nevinson in pencil and with captioned tissue-guard, 24 monochrome plates, peripheral toning to boards, corners bumped, dust jacket with toned spine, chipping to head and foot of spine and joints, short closed tear to head of front panel, a few small marks; Bone, Muirhead. Glasgow. Fifty Drawings. Glasgow: James Maclehose, 1911. 'Special edition', number 2 of 110 copies (of which 10 were for presentation) with a signed original etching, comprising text volume (folio, original wrappers, partly unopened), signed etching (in window-mount), and 53 unbound plates (each on separate card mount and including duplicates of plates 3, 11 and 36), all in portfolio as issued; Binyon, Laurence. The Art of Botticelli. An Essay in Pictorial Criticism. London: Macmillan and Co., 1913. First edition, one of 275 copies, folio, original quarter vellum, etched frontispiece by Muirhead Bone (signed by the artist), 23 tipped-in colour plates, tissue-guards browned; Burns, Robert (1869-1941). Scots Ballads. London: Seeley Service & Co Limited, [1939]. First edition, one of 320 copies only, folio, original quarter cloth, printed on japon, wood-engraved illustrations throughout; [Chromolithography]. Poem by Lord Byron. Illuminated by W & G Hudsley, Architects. London: Day & Son, 1865. 4to, original decorative cloth, 20 chromolithographic leaves, gutta percha perished and contents loose; Stevenson, Robert Louis. Familiar Studies of Men and Books, New Arabian Nights. A New Edition; Ballads. London: Chatto and Windus, 1888-89-90. 3 works, large-paper editions, each one of 100 copies only, 4to, original cream cloth, slightly marked, tips bumped (8)

After Sadro Botticelli, 19th Century, The Holy Family, watercolour, 9.52 x 7.75", (a/f).

Various books relating to The Renaissance, Baroque, Rococo, etc., to include Lightbown, Botticelli, Boucher (Bruce) Italian Baroque Sculpture, Set in Stone; The Face in Medieval Sculpture, Bernini; Genius of The Baroque, etc. (a quantity)

A Louvre Edition etching after Sandro Botticelli, Primavera. 56cm x 84cm, framed and glazed

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

Deutscher Maler um 1800DIE DREI GRAZIEN Öl auf Holz, montiert auf Holz. 42 x 33 cm. In dekorativem vergoldetem Rahmen.In Landschaft mit rechtsseitig hohen Felsen die anmutig stehenden drei schlanken nackten Grazien Aglaia, Euphrosyne und Thalia mit wohlfrisierten Haaren, in die goldener Schmuck eingearbeitet ist. Der Schambereich wird entweder durch ein weißes Tuch oder die Hand bedeckt bzw. wird die dritte Grazie in leichter Rückenansicht gezeigt. Links von ihnen auf einem grauen Rundsockel stehend die Skulptur des ocker-goldfarbenen Amors, der in seiner Hand einen Bogen hält. Sein Haupt wird gerade bekrönt mit einem Blütenkranz durch die in der Mitte stehende Grazie. Feine Malerei in zurückhaltender Farbgebung. Kleine Rest..Anmerkung: Die Wiedergabe der drei Grazien ist ein beliebtes Motiv in der Malerei der Kunstgeschichte, so u.a. zu finden erstmals wohl bei Raffael, aber auch bei Botticelli oder Peter Paul Rubens. (1321023) (18))

Gartenfigur auf Sockel "Venus", nach Sandro Botticelli, um 1975, Säule aus Terrakotta, weiß gefaßt, Gebrauchspuren, H. 49 cm, Dm. 31 cm, Figur aus Steinguß, Witterungsspuren, H. 75 cm

SILBERMEDAILLE - 925er Silber (65,5 g), Silbermedaille aus dem Set der 100 größten Meisterwerke; Silbermedaille mit Geburt der Venus aus dem Gemälde von Sandro Botticelli um 1480, Durchmesser: 5,0 cm.

Giovanni Rocchi Head of Thalia tempera on panel after Primavera by Sandro Botticelli in the Uffizi, framed paper label to reverse 20.5 x 19.5cm.

Nonesuch Press.- Dante Alighieri. La Divina Commedia..., translated by H.F.Cary, number 891 of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, engraved bookplate of Grahame B.Tubbs, original vellum stained orange, gilt, t.e.g., others uncut, a few small spots, folio, Nonesuch Press, 1928.

A miscellany of books about art and artists, to include works on Goya, Max Beerbohm, Turner, Cox, De Wint, Fra Angelico, Laszlo, Sickert, Botticelli etc, with further works on art from Spain, Italy, the South Pacific, stained glass, ceramics etc (Qty)