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Lot 107
Gottfried Eichler 1677 Lippstädt/Sachsen - 1759 AugsburgDas flammende Herz Jesu. 1753.Lavierte Federzeichnung. Auf Papier, auf Bütten kaschiert. 11,4 x 7,9 cm (4,4 x 3,1 in), fast blattgroß. [CB]. PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 15.19 h +/- 20 Min.ENGLISH VERSIONGottfried Eichler 1677 Lippstädt/Sachsen - 1759 AugsburgDas flammende Herz Jesu. 1753.Wash Pen and ink drawing. On paper, laminated on laid paper. 11,4 x 7,9 cm (4,4 x 3,1 in), almost the full sheet. [CB]. PROVENANCE: From former collection Wilhelm Laaff. ca. 15.19 h +/- 20 min.
Lot 117
Johann Anwander 1715 Rappen - 1770 LauingenEntwurf für ein Deckengemälde. Mitte 18. Jahrhundert.Lavierte Federzeichnung. Auf Bütten, kaschiert auf weiteres Büttenpapier. 32,4 x 23,6 cm (12,7 x 9,2 in), blattgroß. Verso auf dem Kaschierungsblatt ausführliches Schreiben in alter Handschrift. [CB].PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 15.27 h +/- 20 Min.ENGLISH VERSIONJohann Anwander 1715 Rappen - 1770 LauingenEntwurf für ein Deckengemälde. Mid 18th century.Wash Pen and ink drawing. On laid paper, laminated on another sheet of laid paper. 32,4 x 23,6 cm (12,7 x 9,2 in), the full sheet. Verso of laminated sheet with extensive writing by an old hand. [CB].PROVENANCE: From former collection Wilhelm Laaff. ca. 15.27 h +/- 20 min.
Lot 125
Jacob Wilhelm Mechau 1745 Leipzig - 1808 DresdenMusizierende Kinder. Ende 18. Jahrhundert.Lavierte Federzeichnung. Auf Bütten, auf dünnen Karton kaschiert und mit gemalten Zierrähmchen. 8,1 x 9,5 cm (3,1 x 3,7 in). Karton: 13,4 x 14,7 cm (5,3 x 5,8 in).Auf dem Unterlagekarton bezeichnet `Mechau`. [CB].PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 15.33 h +/- 20 Min.ENGLISH VERSIONJacob Wilhelm Mechau 1745 Leipzig - 1808 DresdenMusizierende Kinder. Late 18th century.Wash Pen and ink drawing. On laid paper, laminated onthin board and with painted margins. 8,1 x 9,5 cm (3,1 x 3,7 in). Board: 13,4 x 14,7 cm (5,3 x 5,8 in).Inscribed `Mechau` on backing board. [CB].PROVENANCE: From former collection Wilhelm Laaff. ca. 15.33 h +/- 20 min.
Lot 207
Thomas Theodor Heine 1867 Leipzig - 1948 StockholmPia Monikas Zukunft - Ein armes Königskind bittet um eine milde Gabe. 1907.Tuschfederzeichnung. Links unten mit Bleistift bezeichnet `Th.Th.Heine` sowie am unteren Blattrand mit handschriftlichen Angaben für den Drucker. Auf dünnem Karton. 34,2 x 23,5 cm (13,4 x 9,2 in), Blattgröße. Verso von fremder Hand betitelt, mit den Simplicissimus-Heftdaten sowie mit einer typografischen Nummerierung.Vorlage für die Illustration im `Simplicissimus`, 12. Jahrgang, Nummer 31, erschienen am 28. Oktober 1907, Verlag Albert Langen, München. [CB].ca. 16.34 h +/- 20 Min.ENGLISH VERSIONThomas Theodor Heine 1867 Leipzig - 1948 StockholmPia Monikas Zukunft - Ein armes Königskind bittet um eine milde Gabe. 1907.Pen and India ink drawing. Lower left inscribed `Th.Th.Heine` in pencil and with hand-written printer notes. On thin board. 34,2 x 23,5 cm (13,4 x 9,2 in), size of sheet. Verso titled by a hand other than that of the artist, with Simplicissimus dates and with typographic number.Model for the illustration in `Simplicissimus`, 12th year, number 31, released on 28 October, 1907, published by Verlag Albert Langen, Munich. [CB]. ca. 16.34 h +/- 20 min.
Lot 208
Félicien Joseph Victor Rops 1833 Namur - 1898 Essones`Naiveté & Hermaphrodisme!`. Ende 19. Jahrhundert.Federzeichnung in Schwarzgrau, auf selbem Blatt mit der Radierung `Les Mirlitons`. Für die Radierung: Exsteens 582 III (von III). Bei der Zeichnung handschriftlich betitelt. Neben der Radierung signiert, gewidmet und mit kleiner Notenzeile versehen. Auf Velin. Zeichnung ca. 13,5 x 11 cm (5,3 x 4,3 in). Radierung: 8,6 x 6 cm (3,3 x 2,3 in). Papier: 46,2 x 31 cm (18,2 x 12,2 in).Oben rechts handschriftlich nummeriert `R. 321`. Verso mit Bezeichnungen von fremder Hand. [CB].PROVENIENZ: Sammlung J.-Louis Burtin, Nancy (verso mit dem Sammlerstempel, nicht bei Lugt).Galerie Klewan, München.Deutscher Privatbesitz. ca. 16.35 h +/- 20 Min.ENGLISH VERSIONFélicien Joseph Victor Rops 1833 Namur - 1898 Essones`Naiveté & Hermaphrodisme!`. Late 19th century.Pen and ink drawing in black gray, with etching `Les Mirlitons` on same sheet. For the etching: Exsteens 582 III (of III). Drawing with title. Signed, dedicated and with short line of notes next to etching. On wove paper. Drawing ca. 13,5 x 11 cm (5,3 x 4,3 in). Etching: 8,6 x 6 cm (3,3 x 2,3 in). Sheet: 46,2 x 31 cm (18,2 x 12,2 in).Upper right with number `R. 321`. Verso inscribed by a hand other than that of the artist. [CB].PROVENANCE: Collection J.-Louis Burtin, Nancy (verso with collector`s stamp, not in Lugt).Galerie Klewan, Munich.Private possession, Germany. ca. 16.35 h +/- 20 min.
Lot 232
Gottlob Friedrich Steinkopf 1778 Stuttgart - 1860 StuttgartKleine felsige Landschaft mit Ziegenhirten. Anfang 19. Jahrhundert.Federzeichnung. Auf chamoisfarbenem Bütten. 17,5 x 21 cm (6,8 x 8,2 in), blattgroß. Verso von fremder Hand bezeichnet. [CB].PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 16.53 h +/- 20 Min.ENGLISH VERSIONGottlob Friedrich Steinkopf 1778 Stuttgart - 1860 StuttgartKleine felsige Landschaft mit Ziegenhirten. Early 19th century.Pen and ink drawing. On creme laid paper. 17,5 x 21 cm (6,8 x 8,2 in), the full sheet. Verso inscribed by a hand other than that of the artist. [CB].PROVENANCE: From former collection Wilhelm Laaff. ca. 16.53 h +/- 20 min.
Lot 253
Moritz von Schwind 1804 Wien - 1871 München oder NiederpöckingLegendenszene. Mitte 19. Jahrhundert.Federzeichnung über Bleistift. Rechts unten signiert. Auf dünnem Karton. 20,7 x 29 cm (8,1 x 11,4 in), Blattgröße. [CB]. PROVENIENZ: Dorotheum, Wien, Auktion am 22. September 1964, Lot 257 (mit Kaufquittung in Kopie)Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 17.09 h +/- 20 Min.ENGLISH VERSIONMoritz von Schwind 1804 Wien - 1871 München oder NiederpöckingLegendenszene. Mid 19th century.Pen and ink drawing over pencil. Signed lower right. On thin board. 20,7 x 29 cm (8,1 x 11,4 in), size of sheet. [CB]. PROVENANCE: Dorotheum, Vienna, auction on 22 September, 1964, lot 257 (with coyp of receipt)From former collection Wilhelm Laaff. ca. 17.09 h +/- 20 min.
Lot 74
Carlo Cignani 1628 Bologna - 1719 ForlìKrönung der Santa Rosa. Um 1700.Federzeichnung in Braun. Auf feinem Papier, auf festes Bütten kaschiert. 35,7 x 24,8 cm (14 x 9,7 in), blattgroß. Verso unbekannter Sammlerstempel (nicht bei Lugt). Vermutlich handelt es sich bei diesem Blatt um eine Vorzeichnung zum gleichnamigen Gemälde des Künstlers, das heute in der Pinacoteca Communale in Forlì hängt. [CB].PROVENIENZ: Wilhelm Alexander Freund (1833-1917), Berlin (verso mit dem Sammlerstempel, Lugt 954).Privatsammlung Hessen. ca. 14.54 h +/- 20 Min.ENGLISH VERSIONCarlo Cignani 1628 Bologna - 1719 ForlìKrönung der Santa Rosa. Um 1700.Pen and ink drawing in brown. On delicate paper, laminated on firm laid paper. 35,7 x 24,8 cm (14 x 9,7 in), the full sheet. Verso with stamp of unknown collector (not in Lugt). This sheet presuambly is a preliminary drawing for the painting of the same name by the artist, today it is in possession of the Pinacoteca Communale in Forlì. [CB].PROVENANCE: Wilhelm Alexander Freund (1833-1917), Berlin (verso with collector`s satmp, Lugt 954).Private collection Hesse. ca. 14.54 h +/- 20 min.
Lot 76
Süddeutsch Auferstehung Christi. Ende 18. Jahrhundert.Federzeichnung, rotbraun laviert und weiß gehöht. Auf rot laviertem Bütten. Später hinzugefügter Architekturrahmen auf angestücktem Papierbogen. 44,2 x 33,8 cm (17,4 x 13,3 in), blattgroß. Verso handschriftliche Bezeichnungen. [CB].ca. 14.56 h +/- 20 Min.ENGLISH VERSIONSüddeutsch Auferstehung Christi. Late 18th century.Pen and ink drawing, wash in red brown and white-heightened. On red wash laid paper. Architectur frame on mended sheet of paper added later. 44,2 x 33,8 cm (17,4 x 13,3 in), the full sheet. Verso with inscriptions. [CB]. ca. 14.56 h +/- 20 min.
Lot 79
Christoph Heinrich Kniep 1755 Hildesheim - 1825 NeapelSizilianische Küste bei Taormina. 1787.Braun lavierte Federzeichnung. Auf Bütten (mit angeschnittenem Wasserzeichen `Bekrönte Lilie`, darunter `C & I Hon[..]`). 40,3 x 55 cm (15,8 x 21,6 in), blattgroß. Recto links unten mit unbekanntem Sammlerstempel (vgl. Lugt 2702). Verso zweifach von fremder Hand bezeichnet.PROVENIENZ: Privatsammlung Süddeutschland. Der in Hildesheim geborene Christoph Heinrich Kniep erhält den ersten künstlerischen Unterricht in Hannover bei seinem Onkel Johann Friedrich Ziesenis. Es folgen verschiedene Stationen in Hamburg, Kassel, Lübeck und Berlin, wo er in Gelehrten- und Künstlerkreisen um Friedrich Gottlieb Klopstock, Daniel Nikolaus Chodowiecki und Johann Heinrich Voß verkehrt und freundschaftliche Beziehungen zur Familie Tischbein pflegt. Seinen Lebensunterhalt verdient der junge Künstler zu dieser Zeit vor allem mit Porträtzeichnungen. 1781 reist Kniep nach Italien, lebt zunächst in Rom, anschließend lässt er sich in Neapel nieder. Seine künstlerische Arbeit umfasst nun in erster Linie Landschaften und Veduten der antiken römischen Bauwerke. Wilhelm Tischbein und Jacob Philipp Hackert vermitteln ihm einige Aufträge, Tischbein knüpft 1787 auch den Kontakt zu Goethe, den Kniep daraufhin nach Sizilien begleitet. 1822 wird Kniep zum Professor an der Akademie in Neapel ernannt.Auf der Sizilienreise entsteht neben der hier angebotenen Zeichnung eine nahezu identische und lediglich in der Staffage minimal variierte Ansicht der Küste bei Taormina, die sich heute im Niedersächsischen Landesmuseum Hannover befindet. Diese Variante ist abgebildet in: Georg Striehl, Der Zeichner Christoph Heinrich Kniep (1755-1825). Landschaftsauffassung und Antikenrezeption, Hildesheim u.a. 1998, Kat.-Nr. 61 (s/w-Abb.152). [CB]. ca. 14.58 h +/- 20 Min.ENGLISH VERSIONChristoph Heinrich Kniep 1755 Hildesheim - 1825 NeapelSizilianische Küste bei Taormina. 1787.Brown wash Pen and ink drawing. On laid paper (with truncated watermark `crowned lily`, below `C & I Hon[..]`). 40,3 x 55 cm (15,8 x 21,6 in), the full sheet. Lower left on recto with stamp of unknown collector (cf. Lugt 2702). Verso twice inscribed by a hand other than that of the artist.PROVENANCE: Private collection Southern Germany. ca. 14.58 h +/- 20 min.
Lot 87
Augustin Hirschvogel 1503 Nürnberg - 1553 WienZugeschrieben - Flußlandschaft. 1547.Federzeichnung. Oben mittig in der Wolke datiert. Auf Bütten. 21,3 x 31,2 cm (8,3 x 12,2 in), blattgroß. [MK]. PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 15.04 h +/- 20 Min.ENGLISH VERSIONAugustin Hirschvogel 1503 Nürnberg - 1553 WienZugeschrieben - Flußlandschaft. 1547.Pen and ink drawing. Dated in cloud in upper center. On laid paper. 21,3 x 31,2 cm (8,3 x 12,2 in), the full sheet. [MK]. PROVENANCE: From former collection Wilhelm Laaff. ca. 15.04 h +/- 20 min.
Lot 88
Christoph Amberger Um 1505 - 1561 o. 1562 AugsburgZugeschrieben - Übergabe des Pallium. Um 1550.Lavierte Federzeichnung. Auf Bütten. 20,7 x 20,4 cm (8,1 x 8 in), blattgroß. [CB]. PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 15.05 h +/- 20 Min.ENGLISH VERSIONChristoph Amberger Um 1505 - 1561 o. 1562 AugsburgZugeschrieben - Übergabe des Pallium. Um 1550.Wash Pen and ink drawing. On laid paper. 20,7 x 20,4 cm (8,1 x 8 in), the full sheet. [CB]. PROVENANCE: From former collection Wilhelm Laaff. ca. 15.05 h +/- 20 min.
Lot 89
Hendrick van Cleve 1525 - nach 1590. Tätig in AntwerpenZugeschrieben - El Tore S. Vinsento. 2. Hälfte 16. Jahrhundert.Federzeichnung. Oben rechts betitelt. Auf Bütten. 17,3 x 23,9 cm (6,8 x 9,4 in), blattgroß. [MK]. PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 15.06 h +/- 20 Min.ENGLISH VERSIONHendrick van Cleve 1525 - nach 1590. Tätig in AntwerpenZugeschrieben - El Tore S. Vinsento. 2nd half of 16th century.Pen and ink drawing. Titled upper right. On laid paper. 17,3 x 23,9 cm (6,8 x 9,4 in), the full sheet. [MK]. PROVENANCE: From former collection Wilhelm Laaff. ca. 15.06 h +/- 20 min.
Lot 90
Niederlande Adam benennt die Tiere. 2. Hälfte 16. Jahrhundert.Federzeichnung, grau laviert über Bleistift. Oben links und rechts unleserlich bezeichnet. Auf Bütten. 20 x 32 cm (7,8 x 12,5 in), blattgroß. [MK]. PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. ca. 15.06 h +/- 20 Min.ENGLISH VERSIONNiederlande Adam benennt die Tiere. 2nd half of 16th century.Pen and ink drawing, gray wash over pencil. Illegibly inscribed upper left and right. On laid paper. 20 x 32 cm (7,8 x 12,5 in), the full sheet. [MK]. PROVENANCE: From former collection Wilhelm Laaff. ca. 15.06 h +/- 20 min.
Lot 94
Hans Rottenhammer 1564 München - 1625 AugsburgAnbetung der Hirten. Um 1605-1608.Lavierte Federzeichnung, weiß gehöht. Auf Papier, auf dünnen Karton kaschiert. 18 x 13,3 cm (7 x 5,2 in), blattgroß. Wir danken Herrn Dr. Heiner Borggrefe, Weserrenaissance-Museum, Lemgo, für die wissenschaftliche Beratung.PROVENIENZ: Aus der ehemaligen Sammlung Wilhelm Laaff. Hans Rottenhammer erhält seine Ausbildung in seiner Geburtsstadt München bei Hans Dornauer. Mit der finanziellen Unterstützung des Herzogs Wilhelm V. reist er 1589 nach Venedig und lässt sich dort für einige Jahre nieder. 1594/95 lebt Rottenhammer in Rom, wo er auf zahlreiche internationale Künstler trifft. Ein besonders enger Austausch und künstlerische Zusammenarbeit besteht während dieser Zeit mit den flämischen Künstlern Paul Bril und Jan Breugel. 1595 kehrt Rottenhammer zurück nach Venedig und gründet seine eigene Werkstatt. Er spezialisiert sich auf kleinformatige Kupfertafeln, die schon bald zu kostbaren Sammlerstücken auf dem expandierenden Kunstmarkt werden.Rottenhammer wiederholt bei dieser Darstellung der Anbetung eine eigene Komposition, die in einer Zeichnung aus der Zeit um 1593 in Weimar vorliegt (vgl. Harry Schlichtenmaier, Studien zum Werk Hans Rottenhammers des Älteren (1564-1625), Reutlingen 1988 (Diss. Tübingen 1983), ZI 7). Allerdings weist der hier bereits ausgereifte Duktus auf die Zeit nach 1600, vielleicht um 1605-08 hin (vgl. Schlichtenmaier ZI 85).Nach seiner Übersiedlung nach Augsburg im Jahr 1606 wendet sich Rottenhammer verstärkt der Freskomalerei zu und erhält Aufträge unter anderem für die Ausgestaltung der Münchener Residenz und des Augsburger Rathauses. Trotz seines langjährigen künstlerischen Erfolges stirbt Hans Rottenhammer 1625 in Augsburg krank und verarmt. [CB]. ca. 15.09 h +/- 20 Min.ENGLISH VERSIONHans Rottenhammer 1564 München - 1625 AugsburgAnbetung der Hirten. Um 1605-1608.Wash Pen and ink drawing, white-heigtened. On paper, laminated on thin board. 18 x 13,3 cm (7 x 5,2 in), the full sheet. We are grateful to Dr. Heiner Borggrefe, Weserrenaissance-Museum, Lemgo, for his kind expert advice. ca. 15.09 h +/- 20 min.
Lot 332
A ladies guillloche enamel fob watch, together with a mourning brooch, gem mounted hairslide, an enamel decorated dressing table box with oval top and young lady and suitor upon a bench, surrounded by paste stones and gilded edge and a velvet panel displaying several silver coloured Christmas pudding treasures and two treenware watch cases, one in the Sorrento manner CONDITION REPORTS The oval enamel decorated box with the paste stones - overall with some wear and scuffs, some rubbing around footrim, some nicks and chips the enamel, some slight undulation around edges where the paste stones are set. Some filler visible to the interior where metal mounts meet the body of the box - to mounts may have been re-attached, but generally the box has a reasonably good overall appearance. Size of the oval box is approx 8.25 cm wide x 3cm high. The Christmas pudding treasures with various scuffs, wear and dents. The fob watch with wear, scuffs and some scratches, some chips and losses to the enamel. Some scrathed inscriptions/numbers to interior which have been circled with highlighter pen. The hairslide with some losses. The wooden boxes with some wear, scuffs and chips. The mourning brooch with some alterations to the fitments to back and some fitments missing, some blemishes to stones, but front appearance generally reasonably good.
Lot 10
A box of assorted sporting related items to include binoculars, tie pins, cameras, signed Swindon Town football, two miniature cricket bats, pair of boxing gloves and a golf related display CONDITION REPORTS All in used and worn condition, with various wear, scuffs, some damage and losses. The football is scuffed and smudged and has some newspaper type print which has stuck to it. Miniature cricket bats are inscribed in biro and felt tip pen and the is some wear, scuffs, smudges, and some chips and tears to the bats. Gloves worn and scuffed and some small tears.
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 256
Set of two lithographic prints comprising:lithographic print of drawing by Frederico Barocci entitled Head of a young Woman, originally drawn c.1582-84Acquired by Charles II (1630-85).Black, red and white chalk on blue paper. Olsen compares the likeness of this study to the Virgin in the Vatican Annunciation executed between 1582-1584 for the chapel of Francesco Maria II, Duke of Urbino, in the basilica at Loreto, which is more likely. His head studies are meticulously drawn using pen, wash and a variation of different coloured chalks, many hundreds of which survive. Noted for his altar pieces, Barocci was based in the small city of Urbino and many of his commissions were for provincial sites thus restricting his influence.Print size inches: 7.5 x 9.7 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 294
Set of three lithographic prints comprising:lithographic print of drawing by Guercino entitled A Woman reading, originally drawn c.1621Acquired by George III, King of the United Kingdom (1738-1820).Red chalk. A study for Aurora, the figure of Night in the ceiling fresco of the principal ground floor room of the Casino Ludovisi in Rome.Print size inches: 9.3 x 9.8 together with lithographic print of drawing by Frederico Barocci entitled Head of a young Woman, originally drawn c.1582-84Acquired by Charles II (1630-85).Black, red and white chalk on blue paper. Olsen compares the likeness of this study to the Virgin in the Vatican Annunciation executed between 1582-1584 for the chapel of Francesco Maria II, Duke of Urbino, in the basilica at Loreto, which is more likely. His head studies are meticulously drawn using pen, wash and a variation of different coloured chalks, many hundreds of which survive. Noted for his altar pieces, Barocci was based in the small city of Urbino and many of his commissions were for provincial sites thus restricting his influence.Print size inches: 7.5 x 9.7 together with lithographic print of drawing by Guercino entitled Peace, originally drawn c.1618-20Acquired by George III, King of the United Kingdom (1738-1820).Charcoal, some black chalk, heightened with white chalk on greenish-grey paper. An allegorical figure of a woman holding a torch. No related painting is known.Print size inches: 7.9 x 9.6
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 drawin
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 158
Charles Lane Vicary (19th/20th Century) - Pen ink and watercolour cartoon - The silly season/arrival of the sea serpents at North-End-On-Sea, signed and dated 1910, titled to mount, 40cm x 28cm Somewhat scuffed to top right corner, this is clearly visible in the image, probably a little discoloured - ** General condition consistent with age
Lot 158
Charles Lane Vicary (19th/20th Century) - Pen ink and watercolour cartoon - The silly season/arrival of the sea serpents at North-End-On-Sea, signed and dated 1910, titled to mount, 40cm x 28cm Somewhat scuffed to top right corner, this is clearly visible in the image, probably a little discoloured - ** General condition consistent with age
Lot 280
F O FERGUSON: ARCHITECTURAL PERSPECTIVE ? WITH HINTS ON PEN AND INK DRAWING, 1891, 1st edn, orig cl, worn and soiled + R RANDAL PHILLIPS: SMALL FAMILY HOUSES, 1926, 2nd edn, orig cl, gt + NIKOLAUS PEVSNER: STUDIES IN ART, ARCHITECTURE AND DESIGN ? VOLUME 1 FROM MANNERISM TO ROMANTICISM ? VOLUME 2 VICTORIAN AND AFTER, 1968, 1st collected edn, orig unif cl gt d/w?s + JAKA COP AND TONE CEVC: SLOVENSKI KOZOLEC ? SLOVENE HAY-RACK, AGENS DOO ZIROVNICA 1993, orig lam bds, (5)
Lot 596
CHRISTOPHER HAILS AND FRANK JARVIS: BIRDS OF SINGAPORE, Singapore, Times Edns, 1987, 1st edn, with original pencil sketch on ffep by Frank Jarvis or a bird perched on a trailing branch, signed and dated 1993, orig cl d/w + ROLAND GREEN: HOW I DRAW BIRDS ? A PRACTICAL GUIDE FOR THE BIRD-WATCHER, 1951, 1st edn, signed and with original pen and ink sketch of bird to the title page + original Pencil Sketch signed by Roland Green loosely inserted, orig cl, d/w (2)
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