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A 19th century sapphire Renaissance revival brooch by Castellani, circa 1860, the pierced circular panel with trefoil and bead detail, with a central cross set with cabochon sapphires, maker's mark to the reverse, 4.4cm wide

A 19th century micro mosaic brooch by Castellani, circa 1870, the circular brooch with a central panel of blue tesserae with white tesserae spelling TYXH EPΩΣ , the ancient Greek for Soul (Pysche) and Love (Eros), within a ropetwist surround with beadwork detail, with maker's mark to the reverse, 3.5cm diameter

A 19th century Archaeological revival cornelian scarab brooch by Castellani, circa 1860, the principal bar with applied ancient Greek Xaipe, between two carved cornelian scarabs, and beneath an owl, suspending a further carved cornelian scarab engraved to the reverse with a man holding a shield and sword, with maker's mark for Castellani to the reverse, 5.5cm long

An Archaeological Revival gold shell cameo brooch, c.1865,by Castellani. The oval carved shell cameo profile of a gentleman in cream to a tan ground, rub set with a fine twisted wire top edge and applied Assyrian scrolled wire and palmette decorations to the sides, an outer frame of plain and twisted wire circles with applied beads and a plain outer wire edge, plain pin and conical cap with maker's mark, 67 x 57mm, 41.97g, pinned to a silk covered board labelled verso 'Cameo portrait of Dr Deakin of Heathaleigh, Tunbridge Wells,together with a Victorian shell cameo brooch,with the profile of a lady in white to a brown ground, claw set to a rolled gold frame, 54 x 46mm, pinned to a silk covered board labelled 'Cameo portrait of Mrs Deakin of Heathaleigh, Tunbridge Wells' (2)

Fine quality Victorian Classical Revival brooch, in the manner of Castellani and Giuliano, with a polychrome enamel plaque depicting a figure of Pan playing the flute, seated on a column, framed by a border of rose cut diamonds on an architectural plaque with applied gold beads, ropetwist border and graduated drops with pinecone terminals, 67mm x 35mm CONDITION REPORT A very fine quality piece. No obvious maker's marks or hallmarks. We have not removed the back to see if the enamel is signed. The enamel panel is perfect. There is one pendant drop missing. 21.2 grams

12 Bottles fine Italian wine including Chianti Classico Riserva, Recioto and AmaroneComprising 3 bottles Chianti Classico Riserva Castellani 1995, 2 bottles Recioto di Gambellara Podere il Giangio 2002, 1 bottle Amarone Speri Monte St Urbano, 4 bottles Vin Santo Dei Barbi, 1 bottle Campomaggio and 1 bottle Gavi de Gavi

A 24ct matte gold plated 'Castellani' pendant and chain from the Victoria & Albert Museum range

A fine 19th century Italian gold brooch set an unpolished micromosaic in the manner of the Castellani family with bead and rope twist borders, it shows a girl in national costume seated in a landscape, at her side a flowering potted plant. In shaped case for W & E Mimpriss Goldsmiths & Jewellers 32 Davies Street, Berkeley Square.

Style of Castellani - A bloomed yellow gold Etruscan style Victorian brooch having diamond and pearl star surmounting a blue enamel dome in centre, with white cloisonne enamel around, locket at back Condition Report Good condition - no obvious damage or repairJust under 3 cm square, enamel in good condition, centre stable

E’ primavera di Renato Castellani Offset, 1950. Artero, Roma, cm 70x33. Qualità: A-.. E’ primavera di Renato Castellani Offset, 1950. Artero, Roma, 27,56x12,99 in. Condition: A-. € 100

An Edgar Brothers Hatsan Striker 1000S .22 air rifle, with a 3-9 X 40 scope, a Castellani shooting jacket, a 12 gauge leather cartridge belt, and other accessories (qty)

GIACOMO CANEVA  1813 - 1865 Stone bridge and pavilion of Summer palace , Beijing, China  1859 Carta salata montata su cartoncino originale, timbro "A.Sacchi" al verso. Il rapporto tra Sacchi e Caneva è noto come risulta dall'articolo che Luigi Sacchi pubblicò su "L'Artista" il 12 gennaio 1859 annunciando la partenza di Caneva per la Cina a seguito della spedizione della Società Serica Castellani e Freschi. cm 20,5 x 25,5 GIACOMO CANEVA  1813 - 1865 Stone bridge and pavilion of Summer palace , Beijing, China  1859 Salt print mounted on original thin cardboard. "A.Sacchi" ink stamp verso. The relationship between Sacchi and Caneva is well documented thanks to the article published by Luigi Sacchi in "L'Artista" 12th January 1859. Quite interesting in the article is the notice about Caneva's departure with Società Serica Castellani e Freschi to China. in. 8.0 x 9.9 € 1000

AN ARCHAEOLOGICAL REVIVAL AIGRETTE, circa 1860, the circular panel of bombé form, depicting a cluster of graduated flowerheads framed by ropetwist wirework borders, with hinged double pin fitting, unmarked, panel diameter 2.2cm Similar archaeological revival 'Millefiori' jewels of the period were produced by Castellani, incorporating flowers, birds and putti in profusely decorated circular panels.

AN ANTIQUE COIN BROOCH BY CASTELLANI, mounted circa 1865, the gold wire frame with maker's signature to reverse, diameter 2.1cm For a similar brooch by Castellani see Understanding Jewellery by David Bennett and Daniela Mascetti, Antique Collectors' Club Ltd, Suffolk, 2010, page 171

Castellani - a 19th century yellow gold and agate neo-classical brooch, c.1860, the polished, domed 'eye' agate in a classical style circular reel and rope twist border, signed with entwined 'C' monogram to reverse, 3.3cm. diameter, in Tessiers Ltd. of Bond St. box.

A Castellani style 22ct gold, tourmaline and enamel pendant brooch, hallmarked 'KMC 22CT', the oval brooch with central pink tourmaline carved as an Egyptian mask, within multiple beaded, ropework and black enamel borders, the outer scroll border in white enamel, set at the cardinals with four baguette cut pink tourmalines, 43 x 39mm.* Condition: Minute chip to left hand emerald cut stone. Tiny natural flaw to back of carved stone near centre. No damage to enamel work. When held to the light, one can see a vertical line in the carved stone, which almost has the appearance of a drilled hole from top to bottom. See photo.

Castellani, parure realizzata nel XIX secolo, composta da pettorina, collana, orecchini e tiara.La pettorina in stile rinascimentale è formata da due grandi spille scomponibili impreziosite da 15 cammei di corallo mediterraneo, 3 diamanti taglio a rosa e da 49 diamanti "rosina d'Olanda". Quella superiore è formata da un insieme di nastri che disegnano un grande fiocco impreziosito da smalto bianco applicato ad incavo che mette in evidenza motivi di fronde e fogliame. La parte inferiore è costituita da un'altra grande spilla smontabile arricchita da volute di nastri intrecciati e da cammei di corallo pendenti.Sul retro delle spille vi sono dei fili d'oro che seguono fedelmente il movimento serpentiforme della parte finale dei fiocchi. I vari agganci e snodi agli anello consentono un completo movimento di tutta la pettorina.Dimensioni: altezza cm. 15; larghezza da cm. 8 a 6. Gr. 87.70Gli orecchini a fiocco realizzati in volute di nastri d'oro con smalti bianchi e impreziositi da 22 diamanti tagliati a rosina d'Olanda; i fiocchi sono sorretti da ganci in filo d'oro in stile pompeiano. Nel centro sono presenti quattro cammei in corallo mediterraneo raffiguranti busti a mezzo profilo di donne. Materiali e tecniche di realizzazione sono gli stessi della pettorina.Dimensioni: lunghezza cm. 5; larghezza cm. 3.10. Gr. 27.91La collana è composta da elementi raccordati tra loro e formati da sette motivi a fiocco con pendenti in oro e smalto bianco uniti da castoni rettangolari per mezzo di fili a "U" trattenuti da doppi anelli. Gli elementi a fiocco ospitano dei cammei in corallo mediterraneo raffiguranti busti di damine incorniciati da diamanti a rosina d'Olanda. All'interno dei castoni rettangolari sono posizionati dei cabochon rettangolari di corallo mediterraneo con cornice di smalto ad alveoli che riprende il motivo floreale. Materiali e tecniche di realizzazione sono gli stessi della pettorina.Dimensioni: lunghezza cm. 43.5; larghezza cm. 3.4; altezza cm. 4.5. Gr. 114.93La tiara è realizzata con un doppio filo di "piattina" stondato sulla parte anteriore; su di esso sono inseriti castoni ovali in oro giallo che incorniciano dei cammei in corallo raffiguranti profili di damine alternati a castoni con griffe in argento che sostengono diamanti taglio a rosa. Al di sopra della raggiera è posto un grande motivo a fiocco in oro e smalto bianco che ripropone il disegno caratteristico di tutta la parure, con al centro un cammeo in corallo sormontato da un diamante fissato in un castone d'argento.Sul retro si nota il monogramma Castellani rappresentato da due "C" incrociate.Dimensioni: lunghezza cm. 17; altezza cm. 4.5. Gr. 46.37⁂ La parure è in buono stato di conservazione e non mostra interventi di restauro. E' accompagnata da report e studio IGN.⁂ Il lotto è offerto con licenza d'esportazione.Enamel, coral and diamonds parure by Castellani comprising a necklace, a tiara, a devant de corsage and a pair of earrings, 19th Century.Accompanied by IGN report.Accompanied by export license

EIGHTEEN CARAT GOLD AND MICRO-MOSAIC 'ARCHAEOLOGICAL' DEMI-PARURE, C. & E. TOMBINI, ROME, CIRCA 1870 the stylized bulla pendant/brooch decorated with granulation, applied wire and rope twist borders, set to the centre with a micro-mosaic depicting the head of a pharaoh within a laurel border suspending a pendant depicting a scarab and chain swags, with two pairs of matching earrings, one pair mirroring the pharaoh head design, the other the scarab, Papal States gold marks, indecipherable maker's mark, in original red leather case with applied label Roma, Babuino 133 134, C. ed E. Tombini, Orefici, Londra, 22 Wigmore St Tombini were known for their jewellery in the 'archaeological style'; pieces by the firm could be purchased at the shop in Rome, as well as through their retailer in London's Wigmore Street. Such revivalist style jewellery was popularised by Napoleon III's wife, who wore items from the Campana collection, which included many pieces of ancient jewellery. The most influential jeweller at this time was Fortunato Pio Castellani and his sons Alessandro and Augusto, who endeavoured to re-create historically precise models of recently excavated finds. They displayed their work at International Exhibitions and had shops in London and Paris. The style gained momentum with Carlo Giuliano & John Brogden in London, Henri Vever & Eugene Fonteney in Paris and Josef Bacher & Sohn in Vienna. No traveller's trip to Rome would be complete without a visit to a jeweller working in this new 'Classical' style. George Eliot and George Henry Lewes, when visiting the city, chose Tombini to mount a cameo of a Bacchante they had acquired. In his diary for 18 April 1860 Lewes wrote: "The Bacchante we took to a goldsmith and there chose an Etruscan mounting" (see Yale University Library GEN MSS 818 for the cameo in its Tombini gold mount). A Handbook of Rome and its Environs (John Murray, London, 1871) notes that Cesare Tombini was 'a good working jeweller at 65, via Babuino who can be relied upon for setting cameos, mosaics, etc'. There was an increasing interest in the Egyptian style through the 1860s, helped by Auguste Mariette's excavations for the Louvre and the digging of the Suez Canal. Verdi's Aida (1871) was based on a plot by Mariette, following the Khedive's request for an opera story. This demi-parure, with its strong pharaonic motifs, reflects the time's passion for objects in the Egyptian taste, displaying a freer adaptation of the 'archaeological style' than early Castellani examples; for a similar Tombini pendant in similar case see Diana Scarisbrick's chapter in Castellani an Italian Archaeological Jeweller, p.328, fig.12-25 (edited Susan Weber Soros & Stephanie Walker, New York, 2004).

Luca Castellani Paisley Print Scarf, Cornelia James Wild Bird Print Scarf and Two Equestrian Design Scraves

3 bottles of Castellani Riserva 2012 Chianti DOCG Italia

A PAIR OF 19TH CENTURY GOLD AND MALACHITE PENDENT EARRINGS, CIRCA 1860Of Etruscan revival design, each articulated earring formed as an oval malachite cameo depicting the face of Venus, suspending a gold and malachite amphora, with applied beading detail, mounted in gold, French assay mark, length 6.8cmEtruscan Revival JewelleryIn the early 1800s archaeologists excavated Etruscan tombs outside Rome, unearthing many treasures that had been buried including jewellery. The most beautiful examples were intricately wrought gold earrings and necklaces bearing rows of pendants in the form of various mythological creatures such as harpies, mermaids and gorgons. Jewellery with such fine gold work had not been seen since the burials themselves many centuries ago.The discovery of these ancient designs sparked inspiration in goldsmiths and jewellers of the 19th Century and by the middle of the century the Etruscan style was prominent in revival jewellery, joining the Egyptian and Renaissance revival designs. The 19th Century Italian jeweller Fortunato Pio Castellani specialised in the recreation of ancient jewellery and he produced many replicas of Etruscan jewellery using ancient techniques. With jewellers such as Castellani emulating this style, it quickly spread throughout Europe and was used to produce elaborate jewellery that was so coveted by Victorian high class society.The spread of ancient civilisation jewellery was accelerated by the mass production of the industrial age, even reaching across the Atlantic to the shores of America. The American Civil War had widowed many woman and orphaned many children thus making Victorian England mourning jewellery particularly appealing. A typical motif seen adorned on mourning lockets was a classical urn in Etruscan style with a lock of the deceased loved one’s hair against a grieving heart.

A Victorian yellow metal Castellani style pendant in the form a rams head

Castellani and Giuliano: Revivalist Jewellers of the 19th Century, by Geoffrey Munn, 1984; 5 other books on collecting jewellery

J *** Steffelaar (Belgian, 19th Century) Portrait of a lady, believed to be Marie-Caroline de Bourbon-Sicile, Duchess de Berry, seated before a fireplace, probably a member of the Bourbon family, wearing gold and emerald jewels, with a small Maltese terrier on her lap signed lower right "J Steffelaar" oil on mahogany panel 44 x 35cm (17 x 14in) Provenance: In the collection at the Chateau de Maintenon and by descent to Adrien, 8th Duc de Noailles; his daughter Elizabeth, Lady Macready (1898-1969) whose granddaughter bequeathed it to the present owner. Other Notes: This portrait of circa 1840 by an apparently unrecorded artist is possibly the wife of Ferdinand, Duc de Berry, who was murdered in 1820, four years after she married him, hence her wearing black, and with fleur-de-lys on her footstool. The Maltese Terrier was a favourite dog of high-born ladies; the sitter is wearing important contemporary jewellery, including a suite of Renaissance revival jewellery comprising of a necklet and pendant, earrings and bodice ornament/brooch of gold set with coloured enamel, pearls and emerald cabochon, in the manner of Carlo Giuliano (see lot 185). On her wrist we can also see a Renaissance Revival gold bracelet in the manner of Alessandro Castellani whom Giuliano trained under in Naples. Two rings can also be seen on her left hand, most likely set with diamonds and a small pearl buckle or brooch holds up the right sleeve off-setting the dark colour of her gown. Oil on panel. Paint layer is in good condition. Alligatoring and drying cracks in dark dress of the sitter. Glossy, even varnish. Light surface dirt present. Small loss on decorative beading on frame.

A diamond, pearl and enamel Renaissance revival pendant by Carlo Giuliano, the diaper outline quatrefoil jewel set to the centre with an old cushion cut diamond with a seed pearl border, in an ornate pierced surround of white-patterned mid-blue enamel lines punctuated by leaf trefoils set with small old cushion-mine cut diamonds and by seed pearl trefoils, suspending an enamel and oval pearl drop, to a trifurcated seed pearl, diamond and enamel bale; both principal feature and bale with oval cartouches containing initials 'CG'; overall length 9.1cm; one small diamond and one seed pearl lacking and some losses to enamel Other Notes: Carlo Giuliano (1831-1895) was a Neapolitan who trained in Rome (conceivably in the Castellani workshop, already renowned and a mecca for tourists by the 1850s) where his interest in archeological and historical styles developed. He moved with his family to London around 1860, setting up a workshop, though without, in the early days, a retail outlet to go with it, relying rather on established retailers such as Hunt & Roskell, CF Hancock and Robert Phillips. Many of his pieces were inspired by Hellenistic, Etruscan, Egyptian or Assyrian artifacts, but he is principally known for his Renaissance Revival jewels. They are of exquisite craftsmanship and complex design, predominantly enamelled 'en ronde bosse', but usually with a limited colour palette - opaque black and white or blue and white being especially favoured. He incorporated gemstones - often pearls, sometimes diamonds, but other very precious and faceted stones are used sparingly, and less precious gems cut en cabochon are more frequently used. These materials and techniques were especially suited to pendants, chain or fringe necklaces, bracelets and pendant earrings. In 1874 he opened his own shop in Piccadilly which his two sons, Carlo and Arthur, continued after his death until the death of the latter in 1914. Carlo senior seems habitually to have signed his work with his initials in an oval cartouche, as with this example; sometimes there will also be another stamp of the retailer - i.e., H&R for Hunt & Roskell; the sons' work has a cartouche with C&AG; his brothers Federico and Ferdinando were also skilled goldsmiths working in London in the same traditions, but appear not to have signed their work. Our piece is in a very typical design from Carlo Giuliano - a diaper or lozenge form, with bale and pendant drop - features materials that are also entirely characteristic and is a work of marvellous craftsmanship .

A Castellani style yellow coloured metal ring, in the form of a serpent, four other rings and other jewellery

*Enrico Castellani (b.1930)ESTROFLESSIONE, 1968Thermformed plastic multiple, published by Achille Mauri Editore, Milan, Italy,with the book 'Enrico Castellani Pittore' and cardboard presentation box30 x 30cm*Artist's Resale Right may apply to this lot.

A portrait cameo of a young woman by Saulini set in an enamelled brooch, the finely carved shell cameo of a woman's profile with neatly dressed hair (in the fashion of the 1840s), slender neck and loosely draped shawl, signed 'Saulini F' (for 'fecit' = made it), in a yellow precious metal mount with open ropetwist border, one strand being of turquoise enamel, length 6.3cm Tommaso Saulini (1793-1864) and his son Luigi (1819-83) were the foremost cameo carvers of their day. Working in Rome in both hardstone and shell, their subjects were predominantly Classical figures and scenes, but also portraits of their contemporaries. They are known to have used Castellani to mount their cameos.

A gold tiara in the Archeological taste by Castellani, designed as a laurel wreath with large berries and centred with a hexafoil spherical design, with gold frame and the flat reverse supports probably gilt metal. Signed with the monogram of inverted C's. 17cm. Similar in style to the parure illustrated in plate 215, page 236, Geoffrey C. Munn, Tiara's A History of Splendour. Similar, if not the same, as checklist 157, Castellani and Italian Archeological Jewelery, Editors: Soros and Walker. With reference to Design Dora Liscia Bemporad.

A gold bracelet by Castellani, circa 1860. Formed with six circular discs, each centred with a 'millefiori' cluster within surrounds of fine wirework in the Etruscan manner. Each disc joined with flexible links, the two centre discs signed to the reverse with conjoined Cs. 18cm. Fitted case. For similar bracelets see Castellani and Italian Archaeological Jewellery, page 41. Soros and Walker. And Understanding Jewellery, Bennett and Mascetti, plate 253.

519 [Legatura]. Messina e Reggio prima e dopo il terremoto del 28 dicembre 1908. Firenze, Società Fotografia Italiana, dopo il 1908. In 2° oblungo (261 x 300 mm); [2], 437, [1] pagine. Numerose riproduzioni fotografiche nel testo, 9 tavole e carte geografiche anche a colori e ripiegate in fine volume. Legatura di presentazione a S.M. il Re in marocchino verde firmata Cecchi di Firenze, sui piatti cornici di rotelle e filetti e al centro del piatto superiore armi Savoia, risguardi in seta verde, taglio superiore dorato. Ex libris di Vittorio Emanuele III. Esemplare numero 1, copia di presentazione al Re con dedica Luigi Castellani di questo volume con la prefazione di D’Annunzio, e i testi di Villari, Alfani, Ojetti e Ricci. Nel lotto anche Il gonfalone della provincia di Messina del 1927 con bella legatura alle armi della città di Messina. (2 volumi) € 250,00

Pair of 19th Century Probably Castellani Micro Mosaic and 18 Karat Yellow Gold Earrings. Stamped (illegible). Small losses to micro mosaic otherwise good condition. Measure 2-3/8 inches long, 3/4 inch wide. Approx. weight: 10.55 pennyweights. Shipping $28.00

Cofanetto estense in pastiglia muschiata, Maestro dei trionfi romani (II periodo), Ferrara, 1480-90 circa, Cm 9,5x17x9,5. La scatoletta in descrizione, la cui attribuzione è già da anni storicizzata al "Maestro dei trionfi romani", è pubblicata in "Cofanetti in pastiglia del rinascimento italiano", a cura di Luciana Martini e Leonardo Foi, 2005, pp. 32-35, ill.). Rimando pertanto alla consultazione della lunga scheda, ben esaustiva, del testo citato, di cui sicuramente avrete copia. La produzione di piccoli cofanetti lignei finemente decorati in pastiglia muschiata è documentata a Ferrara fin dalla fine della signoria di Lionello d'Este. Inizia intorno al quarto decennio del Quattrocento e perdura fino ai primi due decenni del secolo a seguire. La bottega che li impronta, è stipendiata della corte estense ed esegue questi "scrigni" ornandoli con rilievi marcatamente plastici (composti da una mescola costituita da gesso, collanti animali e muschio), soventi dipinti in biacca bianca e dispiegati su fondi ribassati e rimessi ad oro bulinato. I telai lignei erano di norma in cipresso, pioppo o abete, e le figure erano stampate con matrici di ferro che ne rilasciavano il negativo in pastiglia. Contenevano gli ori, i preziosi o i "desiderata" delle nobildonne della corte ducale. I temi iconografici narrano episodi epici o eroici di storia romana (a sfondo virtuoso e moraleggiante) o sono ispirate alla mitologia greco-romana o più raramente derivano dalle grandi opere letterarie. Guido Castellani, operoso tra il 1434 e il 1453, era tra gli esecutori degli elementi lignei. Il bretone Giovanni Carlo da Monlione realizza tra il 1430 e il 1452 i rilievi in pastiglia, poi dorati da Giorgio d'Alemagna.e talvolta condotti da varie maestranze a finitura pittorica con esiti di rara piacevolezza, compito a cui attese anche Cosmé Tura, quando ancora giovinetto. Entro l'attività di questo atelier, vanno ricondotte alcune tipologie di fase tarda, che ne sono la naturale evoluzione figurativa tra l'ultimo quarto del Quattrocento e i primi anni del secolo a seguire. A quest'ultima fase produttiva è da riconoscersi l'attività del cosiddetto "Maestro dei Trionfi Romani", i cui cofanetti sono contraddistinti da un repertorio iconografico chiaramente ispirato all'omonimo ciclo pittorico eseguito da Andrea Mantenga nello studiolo della marchesa di Mantova Isabella d'Este, mentre il "Maestro dei cofanetti Amor-Ecouen" si caratterizza per la soverchiante e fitta disposizione di figurette decorate. Queste scatolette erano celebri per essere veri e proprio essenzieri profumati, tali da emanare - anche dopo molti anni -un piacevole profumo di muschio. Se l'anima lignea era in duro legno di cipresso resinoso, (tale da non essere intaccato da tarme o tarli), le finiture a pastiglia erano composte da una mestica del tutto singolare, una sorte di brevetto estense, arricchito dalla compresenza di essenze di muschio. Prodotte ad uso e consumo delle corte estense e quindi donate ad alcune delle più celebri donna della rinascenza, tra cui le mogli dei duchi estensi, e tra queste la bella Lucrezia Borgia. Bibliografia. "Cofanetti in pastiglia del rinascimento italiano", a cura di L. Martini, 2005, p. 32 e seguenti, ill. Neret- Minet, n. 92, p. 19, Parigi, 2005. Provenienza: acquisizione del 2011. Già Coll. Celestina Prandi (Brescia) e in precedenza Coll. Bottarel e Foi (Brescia). Costo: 15.000 curo. Provenienza: acquisizione del 2011. Già Coll. Celestina Prandi (Brescia) e in precedenza Coll. Bottarel e Foi (Brescia).

Enrico Castellani (1930), Senza Titolo incisione su carta a mano, stampatore Lafranca Lugano, es.xxvi/cxx, cm. 15x21, tiratura CXX copie con numeri romani e 120 con numerazione araba, firmate a matita dall’artista. Edizione Plura, Milano

ALEXANDER YAKOVLEV (RUSSIAN 1887-1938)L`Escalier, Capri, Nuit, late 1920s-early 1930sgouache on paper65 x 99.5 cm (25 1/2 x 39 1/8 in.) [sight]stamped with artist`s Chinese stamp lower rightPROVENANCERobert C. Vose Gallery, Boston, MA Buscaglia-Castellani Art Gallery, Niagara UniversityEXHIBITEDNew York, Grand Central Art Galleries, Memorial Exhibition of the work of Alexandre Iacovleff April 11-29, 1939PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.

[SILVER & JEWELLERY] a selection of modern titles, including Bainbridge's Faberge (1968 issue) & Munn's Castellani and Giuliano (1984).

AN ACOUSTIC GUITAR labelled 'Pietro / Castellani / Fece in Firenze / in via Calzzaiolli / l'Anno 181..', the body 44.5cm high, in a wooden case.

A mid 19th Century Archaeological Revival brooch by Alessandro Castellani, circa 1870, the brooch with a textured rams head swallowing its tail in the form of an Ouroboros, with ropetwist and granulation decoration, marked with the Castellani makers mark, 4.2cm long, 26g

BOX 91 - ITALIAN WINE Casa Vinicola Sartori Garda Garganega 2013 Sainsbury's SO Organic Soave 2013 Sincaru 2011 Castellore Pinot Grigio Ramanto 2013 Sainsbury's Winemakers Selection Soave Colli Scaligeri 2013 Terredora di Paolo Aglianico 2011 Quaranta Nero d'Avola 2012 Rocca Alata Amarone della Valpolicella DOCG 2011 Campo di Lago Bianco 2013 Sainsbury's Taste the Difference Amarone 2011 Miseria e Nobiltà Merlot 2012 Castellani Chianti Riserva 2010

Enrico CASTELLANI (Castelmassa, 1930) Enrico Castellani Pittore Livre et concetto spaziale dans un emboîtage en carton fort d’origine, Milan, 1968, Achille Mauri Editore, broché, 30 x 30 cm. Édition originale. La publication comporte des photographies de G.A. Colombo, Franco Angeli, Ugo Mulas et Lucas Uliano. Concetto Spaziale : Plastique blanc thermoformé, 29,5 x 29,5 x 1 cm Emboîtage en carton légèrement abîmé

CASTELLANI SILVER MOUNTED GLASS PLAQUE marked 925

A group of three equestrian themed lady's scarves inc. a Castellani

Sisto V (1585-1590) - Testone 1587 Zecca: Fano - Fronte: effigie del Papa a sinistra - Retro: stemma sormontato dalle chiavi decussate e dalla tiara - gr. 9,20 - Tipologia molto rara - Millesimo mancante alla collezione ex-Reale, elencato nel C.N.I. attraverso l`opera del Castellani, e dichiarato inedito dal Muntoni, che cita l`esemplare della collezione Gelli ora nel Museo Civico di Pistoia - Di qualità molto buona per questa tipologia - (C.N.I. XIII/301/8) (Muntoni II/94/106a) Argento

A mid 19th century gold and sapphire quatrefoil archeological revival brooch, circa 1865, the brooch with shaped polished cabochon sapphires within stepped gold settings, the reverse with engraved decoration and the entwined maker`s mark, 2.2cm long. Alessandro Castellani (1823-1883) was born into an Italian family of jewellers, collectors and writers. His father, Fortunato Pio Castellani founded the family business in Rome in the early 19th century, and Alessandro expanded the business to premises in Paris, London (with his compatriot jeweller Carlo Giuliano), and Naples.

A Victorian Gold Foil Castellani Style Double Scroll Brooch set with Amethysts and Seed Pearls and with double tassel drop, 31mm x 64mm overall within fitted red leather case

MICROMOSAIC BROOCH. A good, 19th century micromosaic brooch in the style of Castellani. The mosaic of a mythical sea creature outlined in gold wire, the brooch mount with beading & twisted wire work. To the reverse, an applied oval flower head boss. Diameter 3cm.

A John Brogden Archaeological revival gold Pharaoh brooch within original box, the naturalistically modelled Pharaoh's head bearing a textured nemes with raised hieroglyph decoration, the reverse stamped 'JB' with later attached safety chain, presented within original fitted box 'John Brogden Goldsmith Manufactory 16 Henrietta St Covent Garden London', brooch measures 25mm x 21mm, total weight 10.4gms Note: John Brogden began his career as an apprentice to a London firm of watch and clockmakers in the 1830's. From 1842 to 1864 he was a partner in the firm 'Watherston and Brogden', a goldsmiths based at 16 Henrietta Street Covent Garden. In 1864 Borgden took over the business and operated under his own name until 1880. Between 1881 and 1885 he worked as an 'Art Goldsmith' at the Grand Hotel Buildings in Charing Cross. Brogden exhibited jewellery at the 1851 Great Exhibition and won various awards at exhibitions in Paris and London from the 1850's to the 1870's. His pieces bear the stamp 'Brogden' or 'JB' within a cartouche Many of his designs were inspired by Archaeological excavations in Syria and Egypt as well as being influenced by the work of the Italian jeweller Fortunato Pio Castellani Examples of his work and designs can be found in collections in the Victoria and Albert Museum, London

A John Brogden Archaeological revival gold Pharaoh brooch within original box, the naturalistically modelled Pharaoh's head bearing a textured nemes with raised hieroglyph decoration, the reverse stamped 'JB' with later attached safety chain, presented within original fitted box 'John Brogden Goldsmith Manufactory 16 Henrietta St Covent Garden London', brooch measures 25mm x 21mm, total weight 10.4gms Note: John Brogden began his career as an apprentice to a London firm of watch and clockmakers in the 1830's. From 1842 to 1864 he was a partner in the firm 'Watherston and Brogden', a goldsmiths based at 16 Henrietta Street Covent Garden. In 1864 Borgden took over the business and operated under his own name until 1880. Between 1881 and 1885 he worked as an 'Art Goldsmith' at the Grand Hotel Buildings in Charing Cross. Brogden exhibited jewellery at the 1851 Great Exhibition and won various awards at exhibitions in Paris and London from the 1850's to the 1870's. His pieces bear the stamp 'Brogden' or 'JB' within a cartouche Many of his designs were inspired by Archaeological excavations in Syria and Egypt as well as being influenced by the work of the Italian jeweller Fortunato Pio Castellani Examples of his work and designs can be found in collections in the Victoria and Albert Museum, London

BOX 38 - ITALIAN WINE Piera Martellozzo Chardonnay Friuli Grave DOC Terre Magre 2013 Sainsbury's Taste the Difference Amarone 2011 Aete 2011 Pinot Grigio DOC Friuli "Il Tralcetto" 2013 Terre di Ginestra 651 Nero d'Avola Syrah 2012 Hand Selected Spar Chianti 2013 Taurasi Fatica Contadina DOCG 2009 Castellani Chianti Riserva 2010 Sainsbury's Taste the Difference Verdicchio Classico dei Castelli di Jesi 2013 Villa Nostra Bianco 2013 Sciala 2012 Tenuta Il Palazzo Chianti Riserva DOCG 2010

HOSPICES de BEAUNE 1987 MAGNUM A.C. Beaune. Acquis, eleve et mis en bouteille par Joseph Drouhin. 150cl, 13.5% volume. RIOJA VINA PRIMERA RESERVA 1989 (3) Bodega Ondarre. 75cl, 12.5% volume. GIGI RONO CASCINA ARIONE BAROLO 1992 D.O.C. BAROLO. 70cl, 13% volume. CHIANTI COLLI SENESI 1993 IL TESORO Imbottigliato da Castellani. 75cl, 12% volume. CHATEAU VIEUX RAQUINE 1995 A.C. Bordeaux. 750ml, 12% volume. 1 magnum, 6 bottles Good.

An Italian Maiolica charger possibly by Torquato Castellani dated 1843-1931 depicting a Coat of Arms within a scrolling border of white flower heads on a black ground. The back of the plate is initialled TC and dated 1882 Roma within blue concentric circles, approx 46.4 cms diameter (18"").

Three glass paperweights to include an egg shaped example in clear glass with extensive chaotic Millefiori decoration in shades of green, red, blue, orange, etc, a further example in the form of an apple with applied moulded leaf, internal decoration in Millefiori flowers with label - Castellani together with a large Murano egg shaped example with decoration in mottled shades of pink, orange and blue with Murano sticker

An unusual 19th century Romantic cast silver plated paper knife, after a design by Michaelangelo Caetani (or Castellani), to be viewed pointing upwards, when the design (on both sides) is revealed as an angel, whose upswept wings for the 6” blade, head and crossed arms holding palms form the crossguard, and robed body forms the grip, the angel stands on the pommel, which is an orb bearing a cross, supported by an eagle. Good Condition (minor wear to blade edges) Plate 14

A 12 bore over and under shotgun by Castellani (A current shot gun certificate is required to bid on this lot)

(Afrique centrale, Congo) - Exploration : 18 ouvrages dont 6 sur Stanley (1 en double), formats et rel. div. (lég. us.), 19e-20e s. Est. : 150/ 200 € Dont : CASTELLANI, Ch.- Vers le Nil français. Paris, Flammarion, s.d., in-8° demi-chagrin.— SCHWEINFURTH, G.- Au coeur de l`Afrique (1868-1871). P., Hachette, 1877, in-8° pleine percaline. Avec h.-t.— BURDO, A.- Niger et Bénué. P., Plon, 1880, in-8° demi-toile.— LECLERCQ, J.- Aux sources du Nil. P., Plon-Nourrit, 1913, in-8° demi-toile. Avec h.-t. dont 1 carte dépl.

Giovanni FRANCO RIXE SUR UN PONT VENITIEN, de la série "Habiti d’Huomini et donne venetiane con la processione della Ser. ma Signoria et altri particolari Trionfi Feste Cerimonie Publiche della nobilissima citta di Venetia" qui donne un aperçu des costumes jeux et cérémonies de fêtes Vénitiennes. Un décret du Grand Conseil en 1369 encourageait les citoyens à participer à la "bataille universelle" le premier jour de chaque nouvel an. Au XVe siècle ces combats ont pris de l’ampleur notamment sur les ponts de Venise entre deux factions connues sous les noms de Castellani et Nicolotti. (Michael Bury, The Print in Italy 1550-1620, The British Museum Press 2001). 232 x 152. Burin. Très belle épreuve légèrement jaunie, quelques restes de montage au verso. Petites marges.

Erte, My Life/My Art, an autobiography, published by EP Dutton, New York, Erte, The Things I remember, published by Peter Duerr London, Castellani and Italian Archaeological Jewellery, eds S. Weber Seros and Stefanie Walker, published by Bard Graduate Center, New York, and J.H. Gabriel, The Gilbert Collection, Micromosaics, pub P. Watson, and Erte Costumes and Sets for Der Rosenkavalier, 1980 Glyndebourne Festival Production, (5).

CASTELLANI ENRICO b. 1930 Superficie bianca, 1976 impressione a secco (calcografia) su carta cm. 50x70, esemplare 13/100, firma in basso a destra, dichiarazione d`autenticità della Futur Arte (Pordenone) allegata.Starting Price: €1,000

SCIENCE & MEDICINE: Selection of signed pieces, letterheads, a few letters and photographs etc., by a variety of scientists, surgeons, physicians (some appointed to British monarchs), chemists, etc. including Richard Arkwright, Henry Roscoe, William Abney, Charles Laval Williams, Reginald Watson-Jones, Henry Tidy, Denis Melrose (inventor of the heart lung machine), Wilder Penfield, Horace Evans, Aldo Castellani, Herbert Barker etc. G to VG, 14

OPERA: A small notebook containing lined pages with over 50 signatures by various opera singers, a few composers and conductors etc., 1940s - 50s, including Ettore Bastianini, Cesare Bardelli, Gino Bechi, Franco Patane, Ernesto Dominici, Francesco Merli, Mario Del Monaco, Tito Gobbi, Edmea Limberti, Saturno Meletti, Carla Castellani, Beniamino Gigli, Rina Gigli, Virginia Zeani etc. A few signatures in pencil and most pages with small attached programme portraits of the subjects. Some staining and age wear, about G