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Lot 52
Eddie Masaya (b.1960) - A 20th Century African carved stone sculpture in the form of a stylized figure. Signed by the artist to the base. Measures approx; 53cm x 12cm. Eddie Masaya is a Zimbabwean sculptor. Born in the Nyanga district, Masaya showed little interest in sculpture until, while at school, he found a copy of The African Times containing an article about Zimbabwean stone sculpture.
Lot 127
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Veduta degli Monumento del Condotto delle Acqua Claudia" and "Avanzo del Castello dell'Aqua Claudia".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13.5 x 20 cm (print c.u.): 57 x 42 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every afternoon to see which views sold best and to listen to the comments of the customers. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Lot 128
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzo del Tempio di Castore e Polluce" and "Veduta degli avanzi del tablino della Casa Aurea di Nerone".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13 x 20 cm (print); 10.5 x 27 cm (print): 57 x 43 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views were selling best and to listen to customers' comments. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Lot 129
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzo del Tempio della Speranza Vecchia" and "Stanza scoperta e demolita nella Vigna Casali".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13.5 x 20 cm (print c.u.): 57 x 42 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views were selling best and to listen to customers' comments. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Lot 36
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703)."Jesus and the adulteress".Oil on canvas.Relined.Measurements: 84 x 105 cm; 95 x 116 cm (frame).In this oil painting by Matías de Arteaga, as was typical of this painter's art, the architectural interior has been meticulously described and worked following the precepts of Italian perspective. However, Renaissance spatial solutions became more complicated in the Baroque period, with the superimposition of scenes and spaces. The main scene is occupied by Jesus, who points to the ground while saying "Let him who is blameless cast the first stone". In front of him is the woman who was to be stoned for adultery. The other figures are stunned and undecided by his words. The relief effect of the figures carved in the stone, the rich plasticity of the robes and the flesh tones, as well as the solution of the groups escaping towards a background of arcades are remarkable. The work is very similar to works by Matías de Arteaga, in which classical architecture plays an important role, such as the Wedding at Cana, which belongs to the collection of the Museo de Bellas Artes in Seville, or the Marriage of the Virgin, in the collection of the Museo del Prado.Matías de Arteaga y Alfaro was a Spanish Baroque painter and engraver. A member of the Sevillian school, he was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, when he was still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, and the inventory of his estate at his death reveals that he lived well off, having a slave and a large, well-furnished house with a medium-sized library containing important books in Latin and Spanish and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skilful in the creation of these deep, skilfully illuminated perspectives, he was, however, somewhat clumsy in his treatment of the figures and their bodily expressions. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
Lot 3
The Sword In The Stone (1963) - an animated scene featuring Madam Mim from the Disney classic animated movie. The scene was copied from the Disney Animation Research Library by lead animator Richard Bazley during his time working for the studio, and used by him for various reference work on his own projects, including Pocahontas, Tarzan and Hercules. All A3 (approx). Copies, not hand drawn. Copies made c1990s. 80+ pages.
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