We found 43065 price guide item(s) matching your search
There are 43065 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
43065 item(s)/page
Lot 1580
BOX 30 - SPIRITS Grappa della Cantina Privata Bocchino Moscato - Wood Finish Marie Brizard Watermelon Brizard Liqueur Marie Brizard Peach Brizard Liqueur Grappa Riserva Affinata in Botti da Porto Grappa Porto Wood Finish Gentiane Salers 16% Vol. Honkaku Mugi-Shochu Kusu 2008 El Dorado Rum 5YO Pinckney Bend Rested American Whiskey Glen Garioch Founder's Reserve Highland Single Malt Scotch Whisky Waitrose Speyside Single Malt Scotch Whisky 10YO Bowmore Small Batch Islay Single Malt Scotch Whisky Miyanoyuki Daiginjo 2012
Lot 1581
BOX 31 - SPIRITS Tokubetsu Junmai-Shu Suigyoku Grappa Riserva Affinata in Botti da Porto Grappa Porto Wood Finish Bundaberg Master Distillers' Collection Small Batch Original Rye J.H. Mizu Shochu (Mizunomai) The Dubliner Irish Whiskey Liqueur Noilly Prat Extra Dry Master of Malt Blended Scotch Whisky (1st Edition) 10 YO Tequila Real Gusto Añejo Organic Appleton Estate Reserve Rum The Tweeddale Deluxe Blend Scotch Whisky 12YO Marie Brizard Ginger Essence Liqueur
Lot 1611
BOX 61 - PORTUGESE WINE Monte Largo Regional Tejo Syrah Castelão Tinto 2013 Adega da Vila Regional Alentejano Tinto 2013 Solo DOP Dão Reserva Tinto 2012 Quinta da Aveleda 2013 Topázio DOC Douro Reserva Tinto 2012 Point West Red 2011 Monte Largo Regional Tejo Arinto Chardonnay Branco 2013 Almagrande DOP Douro Reserva Tinto 2011 Casa do Lago Red 2011 Grand'Arte Shiraz 2011 Cara Viva Sweet Summer Fruit 2013 Bigode 2012
Lot 1612
BOX 62 - PORTUGESE WINE Adega da Vila Regional Alentejano Branco 2013 Paxis 2012 Brigando 2013 Venturer Vinho Verde 2013 D.Fuas Regional Terras Dão Reserva Tinto 2012 Aluado White 2013 Casaleiro Regional Tejo Colheita Seleccionada Tinto 2013 D.Fuas Regional Terras Dão Reserva Tinto 2012 Coreto Joker Red 2012 Segada 2013 Paxis Arinto 2013 Magna Carta Regional Alentejano Reserva Tinto 2012
Lot 1613
BOX 63 - SPANISH WINE Veiga da Princesa 2013 Haceinda Zorita Abascal Vineyard Limited Edition 2010 Borsao Garnacha 2013 Hacienda Zorita Verdejo Vega de la Reina 2013 Laguna de la Nava Rosado 2013 Toro Loco Rosé 2013 Laguna de la Nava Rojo 2013 Toro Loco Tempranillo 2013 Alma de Blanco 2013 Berberana Carta de Oro Rioja Gran Reserva 2006 Cepa Lebral Rioja Joven 2012 Campo Castillo 2013
Lot 1615
BOX 65 - PORTUGESE WINE Portada Winemaker's Selection Rosé 2013 Two Ravens Red 2012 Storks Landing White 2013 Two Ravens Rosé 2013 Casa do Lago Grande Reserva 2011 Point West White 2013 Pink Elephant Rosé 2013 Quinta da Ponte Pedrinha 2012 Mateus Expressions Baga and Shiraz 2013 Quinta de São Sebastião Reserva 2011 Casa do Carregal 2012 Quinta da Ponte Pedrinha Touriga Nacional 2012
Lot 1617
BOX 67 - PORTUGESE WINE Terras do Grifo Branco 2013 Contemporal Alvarinho 2013 Mundus Escolha Red 2010 Mundus Escolha White 2012 Mundus Syrah 2009 Mundus Aragonez 2009 Mundus Seleccionado Light White 2013 QM Alvarinho 2013 Quinta da Gândara 2010 Quinta da Gândara Branco 2011 Pato Frio Red Edition 2012 Gáudio Verdelho 2013
Lot 1618
BOX 68 - PORTUGESE WINE Mateus Expressions Aragonez and Zinfandel 2013 Mateus Expressions Baga and Muscat 2013 Duas Quintas Red 2012 Quinta de Cidadoura 2012 Casa Ferreirinha Quinta da Leda 2011 Quinta dos Carvalhais Duque de Viseu 2013 Mateus Expressions Maria Gomes and Muscat 2013 Mateus Expressions Maria Gomes and Chardonnay 2013 Callabriga Reserva 2011 Grão Vasco 2010 Callabriga Douro DOC 2011 Chaminé White 2012
Lot 1620
BOX 70 - PORTUGESE WINE Herdade dos Grous Red Reserva 2010 Negreiros 2010 Grand'Arte Alvarinho 2013 Sainsbury's Winemakers Selection Portuguese Vinho Verde NV Sainsbury's Winemakers Selection Portuguese Red NV Monte da Ravasqueira Sauvignon Blanc 2013 Monte da Ravasqueira Viognier 2012 Casabel Special Selection 2011 Herade do Esporãdo Verdelho 2013 Quinta dos Murças Reserva 2010 Quinta dos Loridos Alvarinho 2012 Tinto da Ânfora 2011
Lot 1646
BOX 96 - ITALIAN WINE Trebbiano d'Abruzzo DOC Riserva Marina Cvetic 2011 Bissoni Vino Rosso da Uve Stramature 2011 Suavemente Campania Bianco IGP 2012 Villa Antinori Rosso 2010 La Piuma Montepulciano d'Abruzzo DOC 2012 Anima di Negroamaro Lizziano DOP 2012 Toscana Rosso IGT Saracosa 2013 Villa Nostra Rosso 2013 Casa Conforto Chianti Riserva DOCG 2011 Vigna a Solatio Riserva 2011 Piuma 2012 Campora 2008
Lot 1649
BOX 99 - PORTUGESE WINE Eminência 2010 Monte da Ravasqueira Alvarinho 2013 Morrison's Everyday Portuguese Rosé NV Loureiro Adega Ponte de Lima 2013 Adamado Adega Ponte de Lima 2013 Abastado Grande Reserva Tinto 2011 Abastado Grande Reserva Tinto 2009 Gaivosa Primeiros Anos 2011 Colheita do Socio Garrafeira 2011 Dom Bella 2010 Morgado de Sta. Catherina 2012 Kopke D.O.C. Reserva Branco 2012
Lot 1650
BOX 100 - ITALIAN WINE Olmaia Sant'Antimo Cabernet DOC 2010 Col d'Orcia Brunello di Montalcino DOCG 2001 Da Vinci Toscana Rosso 2012 La Sogara - Garda Corvina DOC 2013 Il Nostro Rosso Puglia 2013 Mauro Primitivo del Salento IGT 2012 Raccolto Nero d'Avola Cabernet Sauvignon 2013 Mauro Amarone della Valpolicella 2010 Costanza di Mineo Magnus Siculus 2010 Geografico Montegiachi Chianti Classico Riserva DOCG 2010 Geografico Contessa di Radda Chianti Classico DOCG 2010 Geografico Torri Chianti Colli Senesi DOCG Riserva 2010
Lot 299
AN 18th CENTURY GRAND TOUR FOLIO OF ENGRAVINGS AFTER ITALIAN OLD MASTERS, a total of thirty-eight numbered plates (lacking two from original forty), including Michelangelo, Raphael, Guido Reni, Leonardo Da Vinci, Giorgione, Veronese, Titian etc, engravers including Domenico Cunego, Volpato, Lonsing etc, variously dated between 1770 and 1772. Plate sizes up to 28cm by 49cm
Lot 664
The Da Vinci Code (2006) a prop Masquerade style face mask, from the Dan Brown adaptation starring Tom Hanks the masks can be seen during several flashback sequences depicting the secret gatherings of the Priory of Sion, constructed of a lightweight painted plastic with interior comfort pads & elasticated net head band strap, with name badge `Matthew Barglett`, from Angels Costumiers 9in. (23cm)
Lot 473
Assorted port to include one bottle each: Taylor's, 1995; Delaforce, 1985; Croft Platinum; Cockburns LBV, 2007; Warre's Otima, 10 year old Tawny, (50cl); Taylor's, 1985, two bottles; Tesco Ruby; Porto Fine White, Quinta de Sta Eufemia; Fonseca Bin No 27; Warre's Quinta da Cavadinha, 1996; Taylor's LBV, 2000, twelve bottles in total
Lot 473
Assorted port to include one bottle each: Taylor's, 1995; Delaforce, 1985; Croft Platinum; Cockburns LBV, 2007; Warre's Otima, 10 year old Tawny, (50cl); Taylor's, 1985, two bottles; Tesco Ruby; Porto Fine White, Quinta de Sta Eufemia; Fonseca Bin No 27; Warre's Quinta da Cavadinha, 1996; Taylor's LBV, 2000, twelve bottles in total
Lot 135
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled Neptune with his Sea-horses., originally drawn c.1504-5Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Black chalk on white paper. A study for the drawing of Neptune for his friend Antonio Segni, master of the papal mint. Although highly praised in the sixteenth century, the large finished drawing is now lost and what we see here is a preparatory study. The flowing design and movement is comparable with the Battle of Anghiari on which Leonardo was working at the same time. At the top of the paper is written, in Leonardo`s hand a reminder to `Abasse icchacalli` (lower the horses).Print size inches: 9.3 x 6.1 together with lithographic print of drawing by Leonardo da Vinci entitled A Deluge or Cloudburst, originally drawn c.1517-18Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and black ink with wash. Probably executed during the last couple of years of Leonardo`s life, the cataclysmic storm became one of Leonardo`s favourite themes both in his drawings and writings. His dramatic execution of The Deluge illustrates his fascination of the destructive force of wind and water on the landscape. The inscription, all but hidden among the clouds at the top, demonstrates his scientific approach of understanding. It reads; `Of rain. You will show the degrees of falling rain at various distances and of varying degrees of obscurity, and let the darkest part be closest to the middle of its thickness`.Print size inches: 8.2 x 6.5
Lot 137
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled Star of Bethlehem and other Plants, originally drawn c.1505-7Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Red chalk with pen and ink. During this time (1505-7), Leonardo was creating a number of studies of plants for the foreground of the painting Leda and the Swan, destroyed around 1700. Moving towards a more stylised structure the drawing illustrates the Star of Bethlehem with flowers growing from a draped ring of swirling leaves and grasses behind. To the left one identifies leaves of crowfoot and to the right wood anemone with spurge and detail of its individual flowers below.Print size inches: 6.5 x 8 together with lithographic print of drawing by Michelangelo entitled Man Nude, with Proportions indicated, originally drawn c.1515-20Acquired by George III, King of the United Kingdom (1738-1820), by c.1810.Two tones of red chalk. With only two exceptions, the drawings by Michelangelo in the Royal Library were first recorded in the collection of George III. This is one of Michelangelo`s most majestic studies of a nude, possibly intended for teaching purposes having the proportions of various parts of the body indicated. Throughout his life the artist was drawn to the investigation of musculature and form, as reflected in this drawing. Of his few pupils, Sebastiano del Piombo (c.1485-1547) was probably the most adept and it was possibly drawn for Sebastiano as a teaching aid.Print size inches: 6.2 x 9.8
Lot 139
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled A Man Tricked by Gypsies, originally drawn c.1493Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and Ink on white paper. Recto: A composition of five heads depicting four grotesque gypsies surrounding the central figure of an old man wearing a wreath of oak leaves. Gypsies acquired a reputation for fortune telling and theft in the early fifteenth century and were ordered to leave Milan in April 1493. The drawing shows the figure on the right reading the old man`s palm - a section of the paper has for some reason been trimmed off at an earlier date - whilst in the foreground the crone on the left slips her hand beneath his arm to steal his purse. Verso: An inscription describing evil men.Print size inches: 7.8 x 9.8 together with lithographic print of drawing by Leonardo da Vinci entitled The Head of Leda, originally drawn c.1504-6Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink over black chalk. This is a study, four of which survive, for the head of Leda in the painting Leda and the Swan. The theme is based on the mythical tale of Leda seduced by Jupiter in the form of a swan. Leonardo demonstrates his attention to detail with the whorls and braids of the hairstyle, not dissimilar to forms created by water. The painting itself does not survive, having been destroyed in the eighteenth century.Print size inches: 6 x 7.2
Lot 140
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled The Head of St James in the Last Supper, and architectural sketches, originally drawn c.1485Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A study of St James for The Last Supper 1495 -1485, refectory of Santa Maria delle Grazie, Milan. In the final painting Leonardo has transformed the youth seen here, into an older man with a beard. Probably a quick sketch drawn from life with the addition of three architectural studies depicting a corner bastion and a plan of the same. The diversity of these sketches suggest that this is an informal work study.Print size inches: 6.8 x 9.7 together with lithographic print of drawing by Leonardo da Vinci entitled A Seated Old Man, originally drawn c.1510Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A pen and ink sketch of an old man seated in front of a tree meditating, seemingly looking towards four separate studies of swirling water, a theme which fascinated Leonardo all his life. The inscription in Leonardo`s hand explains the `motion of the surface of the water which resembles hair`. On the verso of this sheet are various architectural studies in red chalk.Print size inches: 8.6 x 6.3
Lot 152
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled The Head of St James in the Last Supper, and architectural sketches, originally drawn c.1485Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A study of St James for The Last Supper 1495 -1485, refectory of Santa Maria delle Grazie, Milan. In the final painting Leonardo has transformed the youth seen here, into an older man with a beard. Probably a quick sketch drawn from life with the addition of three architectural studies depicting a corner bastion and a plan of the same. The diversity of these sketches suggest that this is an informal work study.Print size inches: 6.8 x 9.7 together with lithographic print of drawing by Michelangelo entitled Man Nude, with Proportions indicated, originally drawn c.1515-20Acquired by George III, King of the United Kingdom (1738-1820), by c.1810.Two tones of red chalk. With only two exceptions, the drawings by Michelangelo in the Royal Library were first recorded in the collection of George III. This is one of Michelangelo`s most majestic studies of a nude, possibly intended for teaching purposes having the proportions of various parts of the body indicated. Throughout his life the artist was drawn to the investigation of musculature and form, as reflected in this drawing. Of his few pupils, Sebastiano del Piombo (c.1485-1547) was probably the most adept and it was possibly drawn for Sebastiano as a teaching aid.Print size inches: 6.2 x 9.8
Lot 155
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled Star of Bethlehem and other Plants, originally drawn c.1505-7Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Red chalk with pen and ink. During this time (1505-7), Leonardo was creating a number of studies of plants for the foreground of the painting Leda and the Swan, destroyed around 1700. Moving towards a more stylised structure the drawing illustrates the Star of Bethlehem with flowers growing from a draped ring of swirling leaves and grasses behind. To the left one identifies leaves of crowfoot and to the right wood anemone with spurge and detail of its individual flowers below.Print size inches: 6.5 x 8 together with lithographic print of drawing by Leonardo da Vinci entitled A Standing Masquerader, originally drawn c.1513Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink and wash, over black chalk. One of a series of designs for court festivities. The last years of Leonardo`s life were spent in the service of Francis I of France, a time of extravagant festivities at the French Court. Descriptions of the celebrations held in 1518 are well documented and the costumes described show a close resemblance to Leonardo`s designs suggesting that these studies were for costumes to be worn at this time.Print size inches: 6.7 x 9.8
Lot 163
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled A Man Tricked by Gypsies, originally drawn c.1493Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and Ink on white paper. Recto: A composition of five heads depicting four grotesque gypsies surrounding the central figure of an old man wearing a wreath of oak leaves. Gypsies acquired a reputation for fortune telling and theft in the early fifteenth century and were ordered to leave Milan in April 1493. The drawing shows the figure on the right reading the old man`s palm - a section of the paper has for some reason been trimmed off at an earlier date - whilst in the foreground the crone on the left slips her hand beneath his arm to steal his purse. Verso: An inscription describing evil men.Print size inches: 7.8 x 9.8 together with lithographic print of drawing by Leonardo da Vinci entitled A Standing Masquerader, originally drawn c.1513Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink and wash, over black chalk. One of a series of designs for court festivities. The last years of Leonardo`s life were spent in the service of Francis I of France, a time of extravagant festivities at the French Court. Descriptions of the celebrations held in 1518 are well documented and the costumes described show a close resemblance to Leonardo`s designs suggesting that these studies were for costumes to be worn at this time.Print size inches: 6.7 x 9.8
Lot 186
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled A Standing Masquerader, originally drawn c.1513Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink and wash, over black chalk. One of a series of designs for court festivities. The last years of Leonardo`s life were spent in the service of Francis I of France, a time of extravagant festivities at the French Court. Descriptions of the celebrations held in 1518 are well documented and the costumes described show a close resemblance to Leonardo`s designs suggesting that these studies were for costumes to be worn at this time.Print size inches: 6.7 x 9.8 together with lithographic print of drawing by Pietro Perugino entitled Study for a Man in Armour, originally drawn c.1490-3First recorded in The Royal Collection inventory of c.1810. Metal-point on a prepared blue surface, heightened with white. A drawing based on Donatello?s marble statue of St. George (now in the Bargello, Florence). Perugino used the figure for his St. Michael in the altarpiece, now in the National Gallery in London, which was commissioned (c.1496) for the Certosa di Pavia.Print size inches: 7.3 x 9.8
Lot 194
Set of two lithographic prints comprising:lithographic print of painting by Gentile da Fabriano entitled Madonna and Child with Angels (The Quaratesi Madonna), originally painted c.1430Purchased by the Prince Albert - Queen Victoria`s husband from Warner Otterly for £200, July 1846.Painted for the Quaratesi family in May 1425, this oil panel once formed the centre piece for the predella of the church of San Niccolo sopr` Arno near the Porta S. Miniato in Florence. It was placed in the Page?s Waiting Room at Osbourne House.Print size inches: 4.8 x 10.5 together with lithographic print of painting by Fra Angelico entitled St. Peter Martyr, originally painted c.1430-50Purchased by Prince Albert - Queen Victoria`s husband, through Ludwig Gruner, from Metzger of Florence in 1845.Oil on panel. An early Renaissance work which formed part of a large altarpiece in the San Marco series of paintings, completed in 1440.Print size inches: 4.3 x 9.5
Lot 252
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled The Head of Leda, originally drawn c.1504-6Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink over black chalk. This is a study, four of which survive, for the head of Leda in the painting Leda and the Swan. The theme is based on the mythical tale of Leda seduced by Jupiter in the form of a swan. Leonardo demonstrates his attention to detail with the whorls and braids of the hairstyle, not dissimilar to forms created by water. The painting itself does not survive, having been destroyed in the eighteenth century.Print size inches: 6 x 7.2 together with lithographic print of painting by Guido Reni entitled Cleopatra with the Asp, originally painted c.1628Acquired Frederick Louis, Prince of Wales, 1st son of George II, King of Great Britain (1707-51). Acquired in or before 1749.Oil on canvas, the painting was hung in the Prince`s Closet at Leicester House. Executed in the late 1620s, Reni is known to have painted at least three other versions. According to Reni`s biographer Carlo Cesare Malvascia, Cleopatra was commissioned by his friend Palma Giovane (d.1628) for Boselli, a Venetian merchant, to be judged in competition with companion pictures by Giovane, Renieri and Guercino. Although Reni did not win the competition, Renieri purchased the painting following Boselli`s death.Print size inches: 7.7 x 9.3
Lot 275
Set of two lithographic prints comprising:lithographic print of painting by Canaletto entitled The Bacino di S. Marco on Ascension Day, originally painted c.1734Acquired by George III, King of the United Kingdom (1738-1820), with the collection of Joseph Smith, British Consul in Venice.This oil on canvas, paired with `Regatta on the Grand Canal` (see No 26), is part of a series of 14 views on the Grand Canal. The scene depicts a traditional Venetian ceremony showing the Doge and his suite on the ceremonial vessel, the Bucintoro, after its return to the Molo from the ceremonial Wedding of the Sea on Ascension Day. Formerly in the collection of Consul John Smith, the series was engraved by Antonio Visconti and published in 1735.Print size inches: 8.9 x 5.3 together with lithographic print of drawing by Leonardo da Vinci entitled A Standing Masquerader, originally drawn c.1513Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink and wash, over black chalk. One of a series of designs for court festivities. The last years of Leonardo`s life were spent in the service of Francis I of France, a time of extravagant festivities at the French Court. Descriptions of the celebrations held in 1518 are well documented and the costumes described show a close resemblance to Leonardo`s designs suggesting that these studies were for costumes to be worn at this time.Print size inches: 6.7 x 9.8
Lot 283
Set of two lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled Studies of a Rearing Horse., originally drawn c.1503Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A dynamic study in red chalk and pen and sepia c.1503-4. Leonardo made a number of studies of horses for a mural in the Palazzo delle Signoria in Florence depicting the Battle of Anghiari (1440). Only part of the mural, which ultimately did not survive, was completed. The movement in this sketch is demonstrated by the varying positions of the horses legs and head. The cursorily drawn rider adds further to the mood. Below are the faint outlines of smaller drawing of a horse rearing towards the left.Print size inches: 5.8 x 6.2 together with lithographic print of painting by Veronese (Paolo Caliara) entitled David and Goliath, originally painted c.1546Purchased by Charles II in 1662.This oil on panel was acquired as by Schiavone and has been repeatedly attributed to him, but there is little doubt that this is an early work by Veronese. We see David kneeling victorious over the dead Goliath with the Philistines fleeing in the background.Print size inches: 8.9 x 3.7
Lot 305
Set of four lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled Neptune with his Sea-horses., originally drawn c.1504-5Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Black chalk on white paper. A study for the drawing of Neptune for his friend Antonio Segni, master of the papal mint. Although highly praised in the sixteenth century, the large finished drawing is now lost and what we see here is a preparatory study. The flowing design and movement is comparable with the Battle of Anghiari on which Leonardo was working at the same time. At the top of the paper is written, in Leonardo`s hand a reminder to `Abasse icchacalli` (lower the horses).Print size inches: 9.3 x 6.1 together with lithographic print of drawing by Michelangelo entitled Archers shooting at a Herm, originally drawn c.1530Acquired by George III, King of the United Kingdom (1738-1820) by 1810.Two tones of red chalk. One of a few presentation drawings made as gifts for his closest friends and considered the pinnacle of Michelangelo`s draughtsmanship. Fuelled by the fire kindled by the putti on the left, a group of naked youths, both male and female, aim urgently at a herm (a squared stone pillar with a head on the top). With one exception they have no weapons and their arrows fall to the base and sides of the target missing the centre symbolising the theme that ?passionate, blind striving cannot achieve its real aim?.Print size inches: 9.2 x 6.4 together with lithographic print of drawing by Raphael entitled The Massacre of the Innocents, originally drawn c.1510Recorded in the collection of George III (1738-1820).Red chalk over a tracing in pencil and a sketch with a stylus. A study for the design which was engraved by Marcantonio but was not apparently used for any other purpose. On the verso a study for a salver with marine deities.Print size inches: 9.3 x 5.6 together with lithographic print of drawing by Leonardo da Vinci entitled Studies of a Rearing Horse., originally drawn c.1503Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A dynamic study in red chalk and pen and sepia c.1503-4. Leonardo made a number of studies of horses for a mural in the Palazzo delle Signoria in Florence depicting the Battle of Anghiari (1440). Only part of the mural, which ultimately did not survive, was completed. The movement in this sketch is demonstrated by the varying positions of the horses legs and head. The cursorily drawn rider adds further to the mood. Below are the faint outlines of smaller drawing of a horse rearing towards the left.Print size inches: 5.8 x 6.2
Lot 310
Set of seven lithographic prints comprising:lithographic print of drawing by Leonardo da Vinci entitled A Standing Masquerader, originally drawn c.1513Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink and wash, over black chalk. One of a series of designs for court festivities. The last years of Leonardo`s life were spent in the service of Francis I of France, a time of extravagant festivities at the French Court. Descriptions of the celebrations held in 1518 are well documented and the costumes described show a close resemblance to Leonardo`s designs suggesting that these studies were for costumes to be worn at this time.Print size inches: 6.7 x 9.8 together with lithographic print of drawing by Michelangelo entitled The Risen Christ, originally drawn c.1532First recorded in The Royal Collection c.1810.Black chalk. One of the most magnificent of Michelangelo?s designs; he completed more than a dozen drawings of the Resurrection, some possibly intended as preparatory works. However much care has been taken with this work, and such highly finished drawings were a specialty of Michelangelo, as seen in his presentation drawings created as gifts for his closest friends.Print size inches: 6 x 9.8 together with lithographic print of drawing by Annibale Carracci entitled Study for St. Andrew, originally drawn c.1603-4The great collection of drawings by the Carracci in The Royal Library came from two sources; the Albani collection, purchased in Rome for George III, King of the United Kingdom (1738-1820) in 1762, and Consul Joseph Smith?s collection, bought for the King in 1763.Black chalk, heightened with white. A study from the life for the figure of St. Andrew in the picture of the Crucifixion at Munich. The painting is attributed to Carracci`s pupil Domenichino, who would have used the detailed studies of his master`s drawings.Print size inches: 9.3 x 8.7 together with lithographic print of drawing by Pietro Perugino entitled Study for a Man in Armour, originally drawn c.1490-3First recorded in The Royal Collection inventory of c.1810. Metal-point on a prepared blue surface, heightened with white. A drawing based on Donatello?s marble statue of St. George (now in the Bargello, Florence). Perugino used the figure for his St. Michael in the altarpiece, now in the National Gallery in London, which was commissioned (c.1496) for the Certosa di Pavia.Print size inches: 7.3 x 9.8 together with lithographic print of drawing by Michelangelo entitled Man Nude, with Proportions indicated, originally drawn c.1515-20Acquired by George III, King of the United Kingdom (1738-1820), by c.1810.Two tones of red chalk. With only two exceptions, the drawings by Michelangelo in the Royal Library were first recorded in the collection of George III. This is one of Michelangelo`s most majestic studies of a nude, possibly intended for teaching purposes having the proportions of various parts of the body indicated. Throughout his life the artist was drawn to the investigation of musculature and form, as reflected in this drawing. Of his few pupils, Sebastiano del Piombo (c.1485-1547) was probably the most adept and it was possibly drawn for Sebastiano as a teaching aid.Print size inches: 6.2 x 9.8 together with lithographic print of drawing by Jacopo Tintoretto entitled Study of a Man, originally drawn c.1555First recorded in The Royal Collection inventory of c.1810. Black chalk or charcoal on blue paper, heightened with white and brown oil paint. The drawing is a study for the turbaned man placing a ladder against the cross in the centre of Tintoretto`s canvas, The Crucifixion (c.1560- 65). Now in the Academia in Venice, the canvas was painted for the church of Saint Severo in Venice.Print size inches: 5 x 9.6 together with lithographic print of drawing by
Lot 45
Lithographic print of drawing by Leonardo da Vinci entitled A Man Tricked by Gypsies, originally drawn c.1493Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and Ink on white paper. Recto: A composition of five heads depicting four grotesque gypsies surrounding the central figure of an old man wearing a wreath of oak leaves. Gypsies acquired a reputation for fortune telling and theft in the early fifteenth century and were ordered to leave Milan in April 1493. The drawing shows the figure on the right reading the old man`s palm - a section of the paper has for some reason been trimmed off at an earlier date - whilst in the foreground the crone on the left slips her hand beneath his arm to steal his purse. Verso: An inscription describing evil men.Print size inches: 7.8 x 9.8
Lot 46
Lithographic print of drawing by Leonardo da Vinci entitled The Head of St James in the Last Supper, and architectural sketches, originally drawn c.1485Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A study of St James for The Last Supper 1495 -1485, refectory of Santa Maria delle Grazie, Milan. In the final painting Leonardo has transformed the youth seen here, into an older man with a beard. Probably a quick sketch drawn from life with the addition of three architectural studies depicting a corner bastion and a plan of the same. The diversity of these sketches suggest that this is an informal work study.Print size inches: 6.8 x 9.7
Lot 47
Lithographic print of drawing by Leonardo da Vinci entitled Neptune with his Sea-horses., originally drawn c.1504-5Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Black chalk on white paper. A study for the drawing of Neptune for his friend Antonio Segni, master of the papal mint. Although highly praised in the sixteenth century, the large finished drawing is now lost and what we see here is a preparatory study. The flowing design and movement is comparable with the Battle of Anghiari on which Leonardo was working at the same time. At the top of the paper is written, in Leonardo`s hand a reminder to `Abasse icchacalli` (lower the horses).Print size inches: 9.3 x 6.1
Lot 49
Lithographic print of drawing by Leonardo da Vinci entitled Star of Bethlehem and other Plants, originally drawn c.1505-7Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Red chalk with pen and ink. During this time (1505-7), Leonardo was creating a number of studies of plants for the foreground of the painting Leda and the Swan, destroyed around 1700. Moving towards a more stylised structure the drawing illustrates the Star of Bethlehem with flowers growing from a draped ring of swirling leaves and grasses behind. To the left one identifies leaves of crowfoot and to the right wood anemone with spurge and detail of its individual flowers below.Print size inches: 6.5 x 8
Lot 50
Lithographic print of drawing by Leonardo da Vinci entitled The Head of Leda, originally drawn c.1504-6Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink over black chalk. This is a study, four of which survive, for the head of Leda in the painting Leda and the Swan. The theme is based on the mythical tale of Leda seduced by Jupiter in the form of a swan. Leonardo demonstrates his attention to detail with the whorls and braids of the hairstyle, not dissimilar to forms created by water. The painting itself does not survive, having been destroyed in the eighteenth century.Print size inches: 6 x 7.2
Lot 51
Lithographic print of drawing by Leonardo da Vinci entitled A Seated Old Man, originally drawn c.1510Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A pen and ink sketch of an old man seated in front of a tree meditating, seemingly looking towards four separate studies of swirling water, a theme which fascinated Leonardo all his life. The inscription in Leonardo`s hand explains the `motion of the surface of the water which resembles hair`. On the verso of this sheet are various architectural studies in red chalk.Print size inches: 8.6 x 6.3
Lot 52
Lithographic print of drawing by Leonardo da Vinci entitled A Standing Masquerader, originally drawn c.1513Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink and wash, over black chalk. One of a series of designs for court festivities. The last years of Leonardo`s life were spent in the service of Francis I of France, a time of extravagant festivities at the French Court. Descriptions of the celebrations held in 1518 are well documented and the costumes described show a close resemblance to Leonardo`s designs suggesting that these studies were for costumes to be worn at this time.Print size inches: 6.7 x 9.8
Lot 53
Lithographic print of drawing by Leonardo da Vinci entitled A Deluge or Cloudburst, originally drawn c.1517-18Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and black ink with wash. Probably executed during the last couple of years of Leonardo`s life, the cataclysmic storm became one of Leonardo`s favourite themes both in his drawings and writings. His dramatic execution of The Deluge illustrates his fascination of the destructive force of wind and water on the landscape. The inscription, all but hidden among the clouds at the top, demonstrates his scientific approach of understanding. It reads; `Of rain. You will show the degrees of falling rain at various distances and of varying degrees of obscurity, and let the darkest part be closest to the middle of its thickness`.Print size inches: 8.2 x 6.5
Lot 425
Thangka portraying the Dharmapala "Palden-Lhamo" Mongolia, 19th Century This beautiful thangka portrays the Dharmapala Palden-Lhamo. Here she rides her wild donkey, holding in her left hand the Kapala and the scepter da??a in her right hand. Besides her there are two animal-headed ?akini, Makaravaktra and Si?havaktra, and she is surrounded by four goddess: the goddess of winter Hamanta-Rajñ, who rides a camel; the goddess of autumn Sarad-Rajñi on a deer; the goddess of rain Var?a-Rajñi, who rides a bull and the goddess of spring Vasanta-Rajñi, who rides a running horse. Other four figures are depicted over Palden-Lhamo`s head: Yamaraja, standing on a bull and Tso?-kha-pa (Rje rim-po-che), with two lamas of the Gelug-pa school. lxh 35 x 54 cmPrezzo di partenza: ?1800
Loading...-
43065 item(s)/page