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Various ArtistsPaolo Minoli: Progetto 25 The complete portfolio including 25 screenprints, 2005-2007, on wove paper, numbered 30/125 on the justification page, each print signed by the respective artist and numbered VI/XXV in pencil (the total edition was 165 copies), printed by Rinaldo Rossi, Genova, published by Fondazione Paolo Minoli, Cantu, the full sheets, all loose (as issued), within the original folder, in very good overall conditionOverall 520 x 520mm. (20 1/2 x 20 1/2in.)Footnotes:Artists included in this portfolioGetulio Alviani, Giovanni Anceschi, Richard Anuszkiewicz, Davide Boriani, Enrico Castellani, Andreas Christen, Carlos Cruz-Diez, Gabriele De Vecchi, Angel Duarte, Anthony Hill, Janusz Kapusta, Julije Knifer, Edoardo Landi, Peter Lowe, Victor Lùcena, Enzo Mari, Manfredo Massironi, Almir Mavignier, François Morellet, Ivan Picelj, Kenneth Snelson, Jeffrey Steele, Joël Stein, Grazia Varisco and Ryszard WiniarskiFor further information on this lot please visit Bonhams.com

Otto Piene 1928 Bad Laasphe - 2014 Berlin Ohne Titel (Rasterbild). 1959. Acryl auf Leinwand. Verso signiert, datiert und mit Richtungspfeil. Auf dem Keilrahmen nochmals signiert und datiert. 70 x 90 cm (27,5 x 35,4 in). • In 'ZERO-Weiß' gehaltene Arbeit des 'ZERO'-Protagonisten Otto Piene • Teil seiner wichtigen Werkserie der 'Rasterbilder' (ab 1957) aus der frühen 'ZERO'-Zeit (1958-1966) • 1959: Das Jahr der wohl bedeutendsten 'ZERO'-Ausstellung überhaupt: 'Vision in Motion - Motion in Vision' (Hessenhuis, Antwerpen) • Im selben Jahr stellt Piene erstmals auf der documenta aus (documenta II) • Weitere Arbeiten des Künstlers aus dieser Zeit befinden sich u. a. im Museum Folkwang, Essen (Sensibilité prussienne, 1960), im Städel Museum, Frankfurt/Main (Rasterbild, 1959), im Museum of Modern Art, New York (Ohne Titel, 1959), und im Centre Pompidou, Paris (Pure Energy III, 1959). PROVENIENZ: Galerie Reckermann, Köln. Sammlung Deutsche Bank (vom Vorgenannten erworben). AUSSTELLUNG: German Encounters, Fire Station, Doha, 2.10.2017-20.1.2018. 'Anfangs hat man Zero als absurde Abweichung von der herrschenden Kunstströmung abgelehnt. Jetzt haben wir die Botschaft von Zero in die Welt getragen.' Otto Piene, 2013, zit. nach: Comeback des Feuerkünstlers, Handelsblatt (online), 5.2.2013 Als Mitbegründer der Künstlergruppe 'ZERO' und einer der großen Pioniere der internationalen Lichtkunst gehört Otto Piene zu den 'großen Avantgardisten der deutschen Nachkriegskunst' (Zeit Kultur). Mitte der 1950er Jahre, als die deutsche und europäische Kunstszene größtenteils von informeller bzw. tachistischer Kunst geprägt ist, wagen Otto Piene und Heinz Mack 1957 einen neuen Ansatz: Sie fordern eine reduziertere, purifizierte, von der Subjektivität des Individuums gereinigte Kunst, die sie als Synthese von Natur und Technik verstehen und die ihrer Ansicht nach nicht nur Gefühle hervorrufen, sondern auch die Ratio des Betrachters ansprechen soll. Sie möchten den dramatischen, expressiven und oftmals düsteren Bildern des zeitgenössischen Informel eine leuchtende, stille Kunst entgegensetzen. Piene schreibt: 'Beunruhigt durch die merkwürdige Neigung der zeitgenössischen Kunst zum undurchsichtigen Dunkel, begann ich 1957 Bilder zu malen, die das Licht in möglichst vollkommener Reinheit widerspiegeln sollten. Sie waren weiß und gelb und machten das Licht als Kraft mit leiser Stetigkeit sichtbar.' (zit. nach: Ausst.-Kat. Heinz Mack, Otto Piene, Günther Uecker. Zero, Hannover 1965, S. 127). Im Laufe der Jahre führt 'ZERO' Künstler wie Yves Klein, Lucio Fontana, Piero Manzoni, Enrico Castellani, Jean Tinguely und Jan Schoonhoven zusammen, die auf die Kunst der Gruppe 'ZERO' jeweils wesentlichen Einfluss haben und selbst wichtige Impulse für das eigene Kunstschaffen empfangen. 1959 schafft Otto Piene erste sogenannte Rasterbilder, die aufgrund ihrer halbmechanischen Herstellung und einer hellen Farbigkeit den formulierten 'ZERO'-Forderungen nachkommen. Pienes Ziel ist eine Malerei des Lichts zu schaffen, Licht zum eigentlichen Bildinhalt zu erheben: 'Hell sollen meine Bilder sein, heller als die gegenwärtige Welt.' (Heinz Mack, Otto Piene u. Günther Uecker, Zero. Der neue Idealismus (Manifest), 1963). Den nun entstehenden 'Rasterbildern' ist auch das hier angebotene Werk zuzuordnen. Sie entstehen fast mechanisch, ohne dass der Künstler die Farbe mit einem Pinsel auf die Leinwand aufträgt. Stattdessen stanzt er mithilfe eines Locheisens kleine Löchlein in unterschiedlichen Konstellationen, mal als rhythmisierte Streifen, mal als schwungvolle Kreisformationen in Metall- oder Kartonplatten, durch die er anschließend Ölfarbe presst. Die Farbe gelangt so in Form von kleinen, erhabenen Rasterpunkten analog zu der jeweiligen Perforierung der Platte auf den zuvor in der gleichen Farbe monochrom grundierten Bildträger. In ihrer Vielzahl versetzen diese von Piene als 'Einzelkräfte' betitelten Punkte das jeweilige Werk optisch in Vibration und Schwingung, sobald das auf das Raster treffende elektrische Licht (oder Tageslicht) von der hellen Farbe reflektiert wird. Durch dieses Einbeziehen der natürlichen Energie des Lichts entsteht ein Kraftfeld, das sich dann auf die Energie des Betrachters übertragen und Empfindungen wecken soll. Piene und die 'ZERO'-Künstler verwenden in ihren Bildern ganz bewusst jene Farben, die besonders gut reflektieren und damit einen hohen Licht- und Energiewert besitzen, insbesondere Weiß-, Gelb-, Silber- und Goldtöne. Piene selbst erklärt in seiner Rede anlässlich einer Ausstellungseröffnung im Kaiser-Wilhelm-Museum in Krefeld: 'Die Fleckenlosigkeit des Weiß zog uns an. Wir sahen darin Reinheit und Licht. Wir hatten genug Trübheit und Konfusion, Dämonie und Dunkelheit erlebt. / Wir versuchten, das Weiß zu erleben und erlebbar zu machen, indem wir es durch Raster in Schwingung versetzten. Das Relief der geordneten Oberfläche gab dem Licht Gelegenheit, sich selbst im Widerspiel mit Schatten zu zeigen.' (zit. nach: Ausst.-Kat. Heinz Mack, Otto Piene, Günther Uecker. Zero, Hannover 1965, S. 133 f.). In dem hier angebotenen 'Rasterbild' von 1959 sind die innovativ-kreative Kraft des Künstlers, sein Kunstverständnis und die Ideale der gerade gegründeten Gruppe 'ZERO' real geworden. Die Rasterbilder und die dafür gefertigten Rastersiebe inspirieren Piene bald darauf zu weiteren neuartigen Werken. Noch im selben Jahr entwickelt er das 'archaische Lichtballett', bei dem er sozusagen auf Wänden und im Raum mit Licht 'malt', indem er mithilfe von Lampen und Folien Licht durch die Löcher seiner Rastersiebe strahlen lässt. Im selben Jahr wagt er mit seinen 'Rauchbildern' ein weiteres Experiment und leitet erstmals Rauch und Ruß durch seine Rastersiebe. Aus diesen Arbeiten entwickelt er später seine berühmten 'Feuerbilder'. Diese Aufzählung allein macht deutlich, über welch kreative Kraft und unbeirrbaren schöpferischen Willen Piene in den späten 1950er Jahren verfügt und welche Bedeutung dem Entstehungsjahr unserer Arbeit im Kontext seines gesamten Œuvres zukommt. 1959 findet im Hessenhuis in Antwerpen mit 'Vision in Motion - Motion in Vision' außerdem die bahnbrechende, im Nachhinein wohl wichtigste 'ZERO'-Ausstellung überhaupt statt. [CH] Aufrufzeit: 11.12.2020 - ca. 18.43 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).

An early 19th century sardonyx cameo by Nicolo Morelli (1771-1838), depicting Flora or Venus in profile and wearing a pearl necklace, signed Morelli, 2.8cm high Niccolo Morelli was a Rome-based gem engraver. He was commissioned by Napoleon and members of the Imperial family and it is believed that he tutored Giovanni Pistrucci. Morelli's gems were used by the jewellers Castellani.

An Archaeological-Revival Bracelet, by Castellani, circa 1860, the articulated bracelet in Roman Taste composed of three rows of curved batons, with lion's head terminals, the central row bisected by reeded discs, signed twice with interlaced 'C's', length 18.2 cm width 2.8cm see illustration This piece can be compared with another included in the exhibition 'Castellani and Italian Archaeological Jewellery', Bard Graduate Center, New York, November 2004-2005 (later sold at Sotheby's New York 2006, Judith H Siegel Collection, Lot 12). It also compares closely with another similar bracelet by Castellani sold at Tennants on 22nd July 2016 lot 37.. There is a bar which has been filed and a bar which has been filed and has a hole in it, otherwise is good good condition with slight surface scuffing. It fastens with a tongue and box clasp which is in working order. Stamped twice with two intertwined 'C's'. Length including tongue 20.2cm. Gross weight 107.2 grams. CR made 05.08.20.

AN ARCHEOLOGICAL REVIVAL CARNELIAN AND ENAMEL BRACELET, BY GIACINTO MELILLO, CIRCA 1880 Centrally-set with a carnelian intaglio, within a finely worked double-knot surround, decorated with enamel motifs and flowerheads, between shoulders accented with vari-coloured enamel, to a fine mesh-link bracelet and enamelled clasp, maker's mark GM, wooden maker's case (Dimensions: Length: 18.0cm)(Length: 18.0cm)Footnote: Giacinto Melillo (1846-1915) Giacinto Melillo was a Neapolitan jeweller, trained in the workshop of Alessandro Castellani. He studied Ancient Art history, especially Etruscan, Roman, Greek and Byzantine art which greatly influenced him and his work. Melillo took over the management of the Castellani workshop in Naples in 1870, when Alessandro Castellani returned to Rome, from which city he had been exiled since 1858. After he had travelled to London and Paris in 1861 and 1862, Alessandro had settled in Naples and founded a school of goldsmiths which, by 1865, was being run by Melillo and it is assumed that the Naples workshop of Alessandro Castellani was established at around the same time. Melillo was clearly a pupil of outstanding ability, directing a goldsmiths' school when he was only nineteen and running a workshop at twenty-four, by which time he was also exhibiting under his own name, at the Workmen's International Exhibition in London in 1870, where he won a silver medal. Melillo took part in fifteen international exhibitions between 1870 and 1900, receiving gold medals at five of them, including Paris in 1878 and 1889. Apart from his jewellery in the 'archaeological style', Melillo also produced silver copies of Roman treasures and exquisite coral jewellery. Melillo's jewels sometimes bear his initials but are more often than not unsigned.

Italian Mid 19th Century Etruscan Revival 18ct Gold Double Locket / Pendant of Oval Form, Helenistic Borders, Attributed to Fortunato PIO Castellani, Italian Jewelers After the Antique. c.1860. Wonderful Quality and Condition. 38.6 grams. Tests 18ct - 750 Gold. 2 Inches - 5 cm High & 1.5 Inches - 3.75 cm Wide.

Italian Mid 19th Century Etruscan Revival 18ct Gold Double Locket / Pendant of Oval Form, Helenistic Borders, Attributed to Fortunato PIO Castellani, Italian Jewelers After the Antique. c.1860. Wonderful Quality and Condition. 38.6 grams. Tests 18ct - 750 Gold. 2 Inches - 5 cm High & 1.5 Inches - 3.75 cm Wide.

An archaeological revival intaglio brooch, by Ernesto Pierret, circa 1865The oval amethyst cameo carved to depict Cupid holding a lyre, to an openwork floral and foliate bar, mounted in gold, signed Pierret, length 7.2cm, maker's caseFootnotes:Ernesto Pierret (1824-1898) was born in Paris but moved to Rome as a young man where he trained as a goldsmith. It is possible that he may have been an apprentice in the workshop of Castellani, an idea supported by the clear similarities in styles and subject matter. In 1846 he opened his own shop in Florence, later moving to a Renaissance palazzo at 20 Piazza di Spagna, next to the Spanish Steps in Rome. Today the building is a national monument and regarded as one of the most important historic buildings in Rome. Renamed Palazzo Pierret, his name can still be seen above the entrance.For further information on this lot please visit Bonhams.com

An antique gold Etruscan revival cameo brooch pin. The cameo carved from shell - depicting a figure having shrouded veiled hair upon a pair of wings with the words ROMA. Possibly a depiction of Night / Nyx  in the manner of Castellani. The cameo mounted in a gold filigree beaded frame having C Clasp verso. Unmarked, tests indicate high carat gold. Measures approx 3.5cms x 4cms. Weight 16.4g

Italian Mid 19th Century Etruscan Revival 18ct Gold Double Locket / Pendant of Oval Form, Helenistic Borders, Attributed to Fortunato PIO Castellani, Italian Jewelers After the Antique. c.1860. Wonderful Quality and Condition. 38.6 grams. Tests 18ct - 750 Gold. 2 Inches - 5 cm High & 1.5 Inches - 3.75 cm Wide.

Torquato Castellani, an Italian faience dish, 1879, painted in the Iznik Persian style with flowering plant in a foliate border, concentric rings and monogram Roma, 44.5cm diameter

A gold bracelet, Castellani mounted in 15k gold; bracelet length: 7 1/4in.; signed: Castellani

An Archaeological Revival gold and silver tiara by Castellani, c1860, the tubular band of silver threads fitted with a central repoussé flower flanked by a series of gold ornaments styled as laurel leaves and berries, signed with interlaced C's, 33cm long, 3cm high Provenance: Sotheby's New York, Castellani & Giuliano: The Judith H. Siegel Collection, 6 December 2006, ex lot 33

A Renaissance Revival gem-set cruciform pendant in the manner of Giuliano, set with a square-shaped ruby, sapphires and green stones, with enamel and counter enamel decoration and with glazed locket compartment to reverse, 4.3cm high For a similar example, see Munn, G. C., Castellani and Giuliano, Revivalist Jewellers of the 19th Century (London: Trefoil: 1984), plates 167-168.

the oval, faintly banded, cornelian depicting the head of a man in his prime, possibly an emperor, profile facing right, in a reeded mount and plain tapered shank, size approximately S; also included in the lot is the hardback Christie's catalogue from June 1899 of the sale of The Marlborough Gems, at which, by family tradition, this ring was boughtFootnote: Provenance: Along with the aforementioned catalogue is a contemporary newspaper cutting explaining that this huge collection in 739 lots, principally of intaglios and cameos, was amassed by the 3rd Duke of Marlborough in the 18th century. It amalgamated his own enthusiastic and knowledgeable collecting in Europe with the acquisition of the collections of the early 17th century Earl of Arundel, the Earl of Bessborough, the Earl of Chesterfield, and of 'Medina, a Jew at Leghorn' (Livorno, Italy). It had previously been put forward for sale by Agnews on behalf of Mr David Bromilow in 1875, when it was bought en bloc for the reserve price of £35,000 (the valuation was done by 'the eminent expert Signor Castellani' - famous today for his exquisite jewellery often inspired by, and sometimes incorporating, elements from classical antiquity). The present ring was bought at this sale; thence by descent for 120 years.

the oval cameo depicting Guiseppe Garibaldi (1807-1882) in profile, with bushy beard and moustache, and fine straight hair to the nape, receding from a broad forehead, wearing his signature (red) collarless shirt, with loosely tied scarf-bandana, and looped watch chain; contemporary inscription of the sitter's name on the back, and signed more firmly 'De Gaetano'; plain collet mount with no border, engraved 'Cannero 20th 8mo 1866'; plain pin and hook, also suspensory loop; length 5.0cmFootnote: Other notes: Garibaldi was one of the heroes in the fight for Italian unification and independence. In the early 19th century the Italian peninsula was a mass of small states mainly under the rules variously of France, Austria or their own monarchies. After the fall of Napoleon in 1815, the Risorgiento evolved, growing in impetus but with many setbacks, striving along with the Carbonari for political and social revolution. Garibaldi was one of the giants championing a republic, along with such men as Giuseppe Mazzini and King Victor Emmanuel II. Garibaldi was born in Piedmont, then under French rule, and after a failed uprising in 1834, he fled to South America where he spent fourteen years in exile, fighting in different arenas and honing skills as a guerrilla before returning home. In 1860 he became a national hero with victory in Sicily, proceeding to the mainland and up to Naples. The unification of the peninsular happened piecemeal, but was felt complete by 1870-71. Garibaldi spent his last years back in Piedmont; his erstwhile fellow revolutionary, Massimo d'Azeglio, retired there too at a similar time to his villa at Cannero, on Lake Maggiore, dying in January 1866. Further research might reveal more of a link between the subject of this cameo and the inscription on the mount. The signature on the back of this cameo may possibly be that of Gaetano Sirletti. He, along with his brothers, Giovanni and Pietro, is known to have been an 'engraver' (a term that covered both metal work and gem carving, both intaglios and cameos), working in Rome in the middle decades of the 19th century. He had a workshop close to (and sometimes selling to) the Castellani workshops. Castellani are known to have produced for popular sale (along with their more famous pieces), cameos of political figures especially associated with freedom, from biblical David to George Washington - and heroes of the Risorgimento.

A gold and coin brooch, Castellani, circa 1900the gold coil mount set with a pair of Roman coins, the left featuring the helmeted head of Roma, its reverse of Dioscuri riding, the right featuring Vejovis hurling thunderbolts, its reverse of Minerva with javelin and shield riding quadriga; with maker's mark; gross weight approximately: 13.95 grams; mounted in 18k gold; width: 1 17/18 in.

Munn, Geoffrey C. Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century, London: Trefoil Books 1984, dust wrapper, small 4to.

Gemstones.- Dutens (Louis) Delle Pietre Preziose e delle Pietre Fine, woodcut ornament to title, woodcut head- and tail-pieces and decorative initials, some foxing, original limp boards, ink numbers to upper wrapper, Venice, Giovanni Gatti, 1780 § Duke of Urbino.- Castellani (Vincenzo) De Nuptis Illustrissimi Principis Francisci Mariae Ubaldi Urbinatium Ducis filii, title with woodcut printer's device, some staining and spotting, recent binding, using old vellum, [EDIT 16 CNCE 9972], [Bologna], Benatii, 1571; and 7 others, Italian, v.s. (9)

A pair of faience and granulated gold earrings by Natalia Josca, the carved faience heads below panels of gold granulation, and above spiralled filligree work, with shepherd's hook fittings, 4.5cm long These earrings are copies of a pair of earrings made by Castellani now in the Museo Nazionale Etrusco di Villa Giulia in Rome. Illustrated in Munn. C. Geoffrey, Castellani and Giuliano, Revivalist Jewellers of the nineteenth Century, (Trefoil Books, London, 1984,) pp. 120-121 The earrings by Castellani were based on Greek prototypes popular in the 4th century B.C; there are a pair of similar earrings from Crete that are now in the British Museum that represent Maenads. From the collection of Natalia Josca

12 BORE CASTELLANI OVER/UNDER SHOT GUN, NON EJECTOR, 28" BARREL

ENRICO CASTELLANI (1930-2017) Trous 1996quattro tavole calcografiche cm 30x30 di Enrico Castellani firmate datate e numerate e testi poetici di Emilio Villaesemplare 37/75Edizione Proposte d'Arte Bellunoconservate in cofanetto di legno originaleTrous 1996four calcographic plates by Enrico Castellani 11 81x11 81 in (each)signed dated and numbered poetic texts by Emilio Villaedition 37/75Edizione Proposte d'Arte Bellunothe work is in its original wooden case

12 bore over and under ejector shotgun by Castellani with 29 inch barrels, choke Full & 3/4, single trigger, 14 1/2 inch pistol grip stock, serial no. 41792 (shotgun certificate required)

Anatomical illustration.- Aselli (Gaspare) De lactibus sive lacteis venis quarto vasorum mesaraicorum genere nove invento...dissertatio, first edition, additional engraved title and portrait of the author, both by Cesare Bassano, 4 folding chiaroscuro woodcut plates printed in black, dark and light red, title with small stain to upper margin, repaired wormholes to rear endpapers and pastedown, one also affecting final plate, some plates with old reinforcing strips to folds on verso, contemporary vellum, slight worming to spine, edge and corners of lower cover slightly worn, [Garrison & Morton 1094; Heirs of Hippocrates 453; Norman 76; Osler 1846; Waller 502; Wellcome 6837], 4to (218 x 176mm.), Milan, Giovanni Battista Bidelli, 1627.⁂ A very good copy in contemporary binding of the first book with anatomical illustrations printed in colour and the first scientific study of the lymphatic system. "in 1622, while performing vivisection on a dog, Aselli chanced upon the lacteal vessels. His De lactibus is a landmark in the history of anatomical illustration: it may well be the first publication to use colored illustrations in the service of scientific clarity." (Norman). The plates have been attributed to the Milanese engraver Cesare Bassano (1584-1648) and his associate Domenico Falcini (c.1575-1632).Provenance: Giuseppe Perego (Mantuan physician, ink inscription dated 1651 to front endpaper); Luigi Francesco Castellani (Mantuan physician 1727-94, ink inscription dated 1752 to front endpaper).

A Victorian high purity gold cross form pendant in the manner of Castellani, micro mosaic set at the centre with a beetle within a gold wreath, the terminals set with micro mosaic, maximum height including suspension loop, indistinct marks, 38.5mm. See illustration

Giacinto Melillo Napoli, a very fine Sterling silver tazza, with coiled snake decoration in the classical style, signed on plaque, circa. 1900, 18oz gross NB.Giacinto Melillo Napoli was work shop manager to the famous jewellery Castellani until 1875

Castellani Game Gun (Italian) over & under ejector shotgun with single selective trigger, 27 1/2 inch barrels, fixed chokes 1/2 & 3/4, 70mm/2 3/4 inch chambers and 15 inch semi pistol stock, serial no. 42838 (shotgun certificate required)

A 19th century gold stick-pin: with circular granulation work panel in the style of Castellani, a single diamond-set stick-pin; and a collection of twelve various stick-pins.

A 19th century Castellani style cross set with oval and square garnets and seed pearls, gilt metal set with brooch fitting and pendant hanger, on yellow metal chain stamped 9ct

A pair of silver engraved bell earrings, with inscription 'TOI COM MAC IN' translating to 'I am submitted to the eyes', 4.8cm high Copied from a prototype found on Mount Esquiline in Rome the silver bells are similar to examples made by Castellani, see MUNN, G., Castellani and Giuliano, p.97

A LATE 19TH CENTURY RUBY AND EMERALD SET BROOCH IN THE MANNER OF CASTELLANI, the shield shaped mount of symmetrical design of elaborate coiled, ropework and beaded metal detailing, set with four ruby bead highlights and four emerald bead highlights, on brooch pin fitting with fixed pendant loop. Diameter 3cm. Weight 11.5gms.

A Victorian Castellani gold and Roman carnelian intaglio archaeological revival style brooch, the oval carnelian carved with an angel, signed en verso, 49mm.

Brand new ex-shop stock Castellani UK size 46 left handed shooting vest

Brand new ex-shop stock Castellani UK size 44 right handed shooting vest

Brand new ex-shop stock Castellani UK size 50 right handed shooting vest

Brand new ex-shop stock Castellani UK size 46 right handed shooting vest

Brand new ex-shop stock Castellani UK size 44 left handed shooting vest

IN THE MANNER OF CASTELLANI: A VICTORIAN YELLOW GOLD FILIGREE TARGET BROOCH set with seven "sherry tourmaline" and numerous seed pearls, on a filigree ground, 35mm dia.

Early 20th Century Italian Maiolica charger by Torquato Castellani, Rome, (b.1846) having painted decoration depicting head and shoulders studies of four Renaissance men amongst stylised foliage, the border with flowerheads on a blue ground, verso signed T.Castellani, Roma, 6.1. 1900, 49.25cm diameter Condition: Reverse displays spray restoration and two faint lines suggesting that a section of the border has been re-attached although this glows only very faintly under UV light, it is more noticeable to the naked eye and is partially covered by a Frost & Reed label, sold as seen - **General condition consistent with age

A SILVER WINGED ANGEL PAPER KNIFE, AFTER DESIGNS BY MICHELANGELO CAETANI (1804-1882) FOR CASTELLANI, PROBABLY ROME MID 19TH CENTURY the upswept conjoined wings forming the blade, the handle as the angel with arms crossed over the breast, Papal States mark and maker's lozenge apparently reading F22F 17.5cm long In his book 'Castellani's Castellani and Giuliano, Revivalist Jewellers of the 19th century', Geoffrey Munn quotes from a letter written by one of Castellani's English customers, Harriet Countess Granville, to her brother, the 6th Duke of Devonshire, from Rome: "The novelties here are now things made from designs by Michelangelo Caetani - there are leaf openers, one an angel, another a devil. Castellani makes them in silver a hundred francs each." (Geoffrey Munn, Castellani and Giuliano, Revivalist Jewellers of the 19th century, London 1984, plates 39-40). These angel and devil paper knives appear to have been produced in a number of variants, in boxwood and ivory, as well as in silver.Descriptions in both printed and on-line catalogue formats do not include condition reports and all lots are sold as viewed. The absence of a condition statement does not imply that the lot is in good condition. Prospective bidders are recommended to request a condition report prior to bidding, wherever possible satisfying themselves in person at the gallery as to the condition of a lot.

Saba Umberto. Figure e canti. Milano, Treves, 1926. (mm 190x135). [8], 133, [1] pagine. Brossura editoriale. Lievi segni d'uso al dorso, piccolo strappo al piatto posteriore. Nota di possesso 'Giorgio Petrocchi' all'occhietto datata 1946, al piatto posteriore etichetta a stampa 'Aldo Garzanti Editore'. Prima raccolta poetica dell'autore triestino, in parte originale, pubblicata presso un editore di rilievo grazie alla mediazione di Ugo Ojetti, a cui è infatti dedicato il volume. Comprende i versi di Preludio e canzonette (1923), i componimenti successivi apparsi sul periodico Il Convegno e alcuni inediti. Al piatto anteriore indicazione Secondo migliaio. Gambetti-Vezzosi, 792; Castellani, Bibliografia Saba, I.6.(190x135 mm). [8], 133, [1]. Wrappers. A bit solied, small tear at the back cover. Ownership note by Giorgio Petrocchi at the half title dated 1946, at the back cover printed label 'Aldo Garzanti editore'.First poetry collection of this author, partially original, published by an important editor thanks to Ugo Ojetti, whom the work is dedicated to. Includes Preludio e Canzonette, some later works already appeared on the periodical Il Convegno and some unpublished. Gambetti-Vezzosi, 792; Castellani, Bibliografia Saba, I.6.

A finely worked 19th century gold brooch in the style of Castellani, c1890, centred with a twisted rope design cruciform section set with five small pearls and with enamel decoration within further borders of red enamel within rope twist borders ad within a surround of small turquoise cabochons (some missing), the reverse engraved 'SOUVENIR BLSB JUNE 11/91', 3.8cm wide, case by S.J. PhillipsAccompanied by original purchase receipt from S.J. Phillips Ltd. dated 4th July 2008.

A gold ring by Castellani, c1865, the plain oval head engraved with a dancing girl, signed to the reverse with inverted Cs cartouche, size T, case Provenance: Christie's 'Important Jewellery', 6th December 2006, lot 148Accompanied by original purchase receipt from Christies, King Street dated 6 December 2006

A gem-set gold Revivalist brooch by Castellani, c1865, the cruciform centre section set with rose-cut diamonds and ruby within a Gothic inspired circular surround, each quarter with foliate pierced decoration, engraved to the reverse and signed with inverted Cs, 3.6cm wide, case by Harvey & GoreAccompanied by original purchase receipt from Sue Brown Antique Jewellery, 1-7 Davies Mews London dated 25th February 1999

A gold portrait plaque bracelet by Castellani, c1860, six plaques chased with the profile of celebrated Medieval and later philosophers, artists, scientists, etc., one plaque with an owl to one side representing wisdom, the symbol of Athena, and the inverted Cs signature of Castellani, all with black enamel borders and joined with chain and vertical baton spacer bars, simple double-hook clasp, 21cm, case by S.J. Phillips .Exhibited BARD Graduate Centre, New York, under their Classical revival Jewellery exhibition in 2004 and 2005 and later in Rome.Accompanied by original purchase receipt from S.J. Phillips dated 4th September 1998

An archaeological-revival gold 'millefiori' brooch by Castellani, c1860, of circular bombé-form and decorated with a standing putto and four doves within an elaborate cluster of flowerheads, fine twisted rope design border, the reverse signed with inverted Cs cartouche, 3.4cm wideFor a similar millefiori example by Castellani but centred with a serpent, see MUNN, G., Castellani & Giuliano, Revivalist Jewellers of the 19th Century, page 50, with explanatory note that the design is by Michelangelo Caetrani, see also SOROS, S.W., WALKER, S., Castellani and Italian Archaeological Jewellery, page 41 for similar millefiori studs each centred with a ram's mask and also a bracelet incorporating six millefiori discsAccompanied by original purchase receipt from John Joseph Antique Jewellery dated 16th May 2001

A circular micro-mosiac brooch by Castellani, c1865, depicting the Holy Dove with halo, on light blue ground, the gold brooch mount with triple fine twisted rope borders, signed to the reverse with applied inverted Cs cartouche, 2cm diameterFor similar Holy Dove earrings and pendant see SOROS, S.W., WALKER, S., Castellani and Italian Archaeological Jewellery, page 246

A coloured stone and enamel gold bracelet by Giuliano, c1896, the twelve quatrefoil foliate collets (including the clasp) are each decorated with black and white enamel and centred with faceted and cabochon gemstones, accompanied with a handwritten key explaining, to one side, that the twelve stones mentioned in the Bible, Revelations, chapter 21, verses 19-21 are Jasper, Sapphire, Chalcedony, Emerald, Sardonyx, Sard, Chrysolite, Beryl, Topaz, Chrysoprase, Jacinth and Amethyst, to the other side of the note an explanation that the twelve stones are symbolic of the Twelve Apostles: Peter, Andrew, James, John, Philip, Bartholomew, Matthew, Thomas, James the Lesser, Thaddeus, Simeon and Matthias, 19cm, the clasp signed with stamp C & AG, the tongue with partially obscure scratched inventory no. 432?, with fitted case for C & A Giuliano, 115 Piccadily, LondonIn the building of Paradise in the Book of Revelation each of the gems also represent a virtue: Jasper, firmness and constancy; Sapphire, heavenly and beautiful thoughts; Chalcedony, ardent zeal; Emerald, suavity of manner; Sardonyx, variety of teaching; Sard, readiness for martyrdom; Chrysolite, restrained by no obsctacles; Beryl, goodness of mind at all times; Jacinth, calmness in all things and Amethyst, sobriety and temperance.For a similar bracelet see MUNN, G., Castellani and Giuliano; Revivalist Jewellers of the 19th Century, pl.141 and 142.Accompanied by original purchase receipt from S.J. Phillips dated 30th August 1994

A Renaissance Revival gem-set pearl, gold and enamel necklace by Giuliano, c1896, the pendant and mounts applied with black and white piqué enamel and four sections with intricate scrolling gold enamel decoration, the pendant suspending a natural pearl, the necklace comprising six rows of pearls, signed C & AG in five places, the necklace 42cm, the pendant 6cm high (maximum), with fitted case (probably later) marked for C & A Giuliano, 115 Piccadilly, LondonFor a similar necklace in the Indian taste see MUNN, G., Castellani & Giuliano; Revivalist Jewellers of the 19th Century, page 145.Accompanied by a valuation by S.J. Phillips dated 18th August 2003

A gold Etruscan Revival panel 'Campana' bracelet, attributed to Giacinto Melillo, c1870, designed as seven hinged square panels and two semi-circular terminal panels each finely decorated with granulation and wirework and applied florets, polychrome enamel decoration and centred with a pearl, 'pin-and-slot' type hinge, the reverse of each plaque decorated with a fine wirework foliate quatrefoil and centred with a circle, one of the terminal panels stamped TRIUNFO (triumph), 19.5cm, 99gFor similar bracelet see TAIT, H., The Art of the Jeweller; A catalogue of the Hull Grundy gift to the British Museum, page 245, pl.71 It is interesting to note that the British Museum example is signed with initials GM to one of the terminal plaques whereas lot 295 is marked TRIUNFO in a similar place.SOROS, S.W., WALKER, S., Castellani and Italian Archaeological Jewellery, page 185, fig.7/8.Melillo could well have made this bracelet when he had taken over the management of the Castellani workshop in Napels in 1870.Accompanied by original purchase receipt from John Joseph (John's Antiques) dated 12th June 2007.

A gold 'Helios'-inspired Revivalist brooch by Melillo, c.1870, in the form of the chariot of the Sun supported on a bar with lion's head terminals, a cupola-shaped ornament supporting two Victories holding palms and circlets hanging from the chariot, and supporting a tassel of many fine link chains mounted with pearls and enamel-set circles and leaf motifs, signed to the reverse GM in applied cartouche, 7.5cm high, modern fitted case by LavenderFor a similar brooch see MUNN, G., Castellani and Giuliano; Revivalist Jewellers of the 19th century, page 24 and for another example by Castellani see SOROS, S. and WALKER, S., Castellani and Italian Archaeological Jewellery in which a check list note no. 91 states that, translated from the Italian, ' Gold taken from a small tomb near Bolsena excavated 1861, restored and reworked Neo-Classical Castellani.This brooch was almost certainly inspired by jewellery that was discovered from the Kul-Oba Scythian burial site from the 4th century B.C. and was excavated in 1830, see SOROS, S. and WALKER, S., Castellani and Italian Archaeological Jewellery, page 208, figures 810 and 811, and for a similar pair of 4th century B.C. Etruscan gold earrings, see SOROS, S. and WALKER, S., Castellani and Italian Archaeological Jewellery, p.54, fig 242Accompanied by original purchase receipt from D.S. Lavender (Antiques) Ltd, dated 1st October 2002.

A pair of gold Etruscan Revival earrings attributed to Melillo, c1870, depicting putti riding doves, with large hoop attachments surmounted by later stud fittings, 3.5cm highFor a similar pair of earrings by Giacinto Melillo see WEBER SOROS, S. and WALKER, S., Castellani and Italian Archaeological Jewellery, page 318, fig.12-2. The pair of earrings exhibited in the Boston Museum of Fine Arts.For another similar pair see FALES, M., Jewellery in America, 1600-1900, p.348, pl.229 and Christie's New York, (15 September 1983), lot 208 Accompanied by original purchase receipt from Greens of Cheltenham Ltd dated 11th June 2007

A collection of books on the subject of antique jewellery, including:GERE, C., & RUDOE, J., Jewellery in the age of Queen Victoria: A Mirror to the World (London: British Museum Press: 2010) - signed to the authorsMUSEE LUXEMBOURG., René Lalique: Exceptional Jewellery 1890-1912 (Milan: Skira: 2007)SCARISBRICK, D., Jewellery in Britain 1066-1837: A Documentary, Social, Literary & Artistic Survey (Norwich: Michael Russell: 1994)VEVER, H., French Jewelry of the Nineteenth Century: VOL. I, II & III (London: Thames & Hudsoon: 2001) La Collezione Augusto Castellani (Rome, L'Erma di Bretschneider, 1999)Together with the following titles: The Belle Époque of French Jewellery 1850-1910I gioielli degli anni '20-40 Cartier e i grandi del DécoJewellery in America 1600-1900Rene Lalique: Musée des Arts Décoratifs Réunion des musées nationauxTrésors antiques: Bijoux de la collection Campana

A collection of books on the subject of antique jewellery, including:BECKER, V., Antique & 20th Century Jewellery: A Guide for Collectors (London: NAG Press: 1980) MUNN, G., Castellani & Giuliano: Revivalist Jewellers of the Nineteenth Century (London: Trefoil Books: 1984) NEWMAN, H., An Illustrated Dictionary of Jewellery (London: Thames & Hudson: 1981) RAULET, S., Art Deco Jewelry (London: Thames & Hudson: 1985) THE VICTORIA & ALBERT MUSEUM., Maharaja: The Splendoura of India's Royal Courts (London: V&A: 2009) The Master Jewelers (London: Thames & Hudson: 1990) - a collection of essays WEBER SOROS, S. & WALKER, S., Castellani & Italian Archaeological Jewelry (London: Yale University Press: 2004) Together with the following titles: Answers to Questions about Old Jewellery 1840-1950 European & American Jewellery 1830-1914 Gems of Costume Jewellery A History of Jewellery 1100-1870 Jewelery from Antiquity to the Present Jewellery through 7000 Years Jewels & Jewellery (x2) Seven Thousand Years of Jewellery Streeter of Bond Street: A Victorian Jeweler Victorian Jewellery Victorian Jewellery: A Complete Compendium over four thousand pieces of jewellery Victorian Jewellery Design

A collection of books on the subject of antique jewellery: including:MOREL, B., The French Crown Jewels (Antwerp: Fonds Mercator: 1988)MUNN, G., The Triumph of Love: Jewelry 1530-1930 (London: Thames & Hudson: 1993)MUSÉE DE LA VIE ROMANTIQUE., Bijoux romantiques 1820-1850: La Parure à L'Époque de George Sand (Paris: Paris musées: 2000)MUSÉE DE LA VIE ROMANTIQUE., Trésors d'Argent: Les Froment-Meurice, orfèvres, romantiques, parisiens (Paris: Paris musées: 2003)Together with the following titles:Ancient Egyptian Jewellery Cartier the LegendThe Cartier Museum and the Goldsmiths' Hall, Foster Lane, London (Exhibition catalogue: 23 May - 10 June 1988)Diamonds and the Power of Love: The Diamond Engagement Ring - a commitment to love over the centuriesThe Gold of MacedonGreek Gold: Jewellery of the Classical WorldHollywood Jewels: Movies, Jewellery, StarsJaponisme: from Falize to Fabergé, The Goldsmith and JapanL'oro nei secoli dalla Collezione CastellaniMade by Cartier: 150 Years of Tradition & InnovationTudor and Jacobean Jewellery

A hardstone cameo brooch in a fine ornate mount, in the style of Castellani, the cameo depicting the profile of a young woman in Elizabethan dress, collet set above a broad border with applied wirework scroll, ropetwist and bead decoration, with further beads applied to the outer edge, yellow metal tests for 15ct gold, with safety chain ring and steel pin, length 4.6cm 4.50 x 3.80cm (2 x 1in)

A mid-19th century Etruscan revival broochin the style of Castellani, of square outline with blue, white and red enamel detail to the granulated ground, unmarkedWidth: 28mm

A Revivalist Victorian gold bar brooch, at the centre a diamond, at each end a steer, the whole with cannetille work in the style of Castellani. Condition report: Generally in very good condition, two possibly three tiny balls missing, 2 1/8 inches long. Approx 2 carat spread from star on one end.

A collection of five books on the subject of jewellery, including: WEBER SOROS, S., WALKER, S., Castellani and Italian Archaeological Jewelry, (New Haven & London: Yale University Press: 2004) MUSÉE DES ARTS DÉCORATIFS, Les Fouquet: Bijoutiers & Joailliers à Paris 1860 - 1960, (Paris: Flammarion: 1983) VEVER, H., Le Bijouterie Francaise au XIXe siècle (1800-1900) Vol I - Consulat, Empire, Restauration, Louis-Philippe VEVER, H., Le Bijouterie Francaise au XIXe siècle (1800-1900) Vol II - Le Second Empire VEVER, H., Le Bijouterie Francaise au XIXe siècle (1800-1900) Vol III - La Troisième République

A mid 19th century gold brooch in the style of Castellani, centred with a ram's mask in a raised millefiori design, with fine wire-work border and upper tubular section with ram's mask terminals each suspending an amphora design pendant, the central circular pendant applied with a grotesque mask, 5cm wide, fitted case