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A collection of thirteen Arundel Society chromolithographs To include fine examples after Holbein, Luini, Botticelli, Van Eyck, Raphael, Memling and others,various sizes, unframed

Inspired by Sandro Botticelli (Italian, 1445-1510) 1480s tempera on canvas painting of the goddess Venus standing on a large shell. She emerged from the sea fully grown. The figure is attached to a black base. Classica Figure Sculptor A. Santini, Made in Italy sticker. Artist signed on the back of the shell. Artist: Amilcare SantiniIssued: 20th centuryDimensions: 7"L x 4.25"W x 16.5"HCountry of Origin: ItalyCondition: Age related wear.

20th Cent. bronze sculpture - signed Jim DavidsonDAVIDSON JIM (20° EEUW) sculptuur in brons met een thema als hommage aan Botticelli : "De geboorte van Venus" - hoogte : 39 cm getekend

MONTBLANC, PATRON OF ARTS, LORENZO DE MEDICI, 4810 A LIMITED EDITION FOUNTAIN PEN, NO. 1952/4810, 1992 Cap and Barrel: Octagonal silver cap and barrel engine turned and engraved with Renaissance motifs, stamped 925 with common control marks, the barrel with engraver's initials Z. He Nib and Filling System: Two tone gold coloured nib, stamped 18K and 750, piston filling system, inked Accessories: Original Montblanc lacquered wood box, Lorenzo de Medici International Warranty card, Lorenzo de Medici International Service Certificate and Lorenzo de Medici booklet, and Lorenzo de Medici outer card box The Lorenzo De Medici was the very first Patron of the Arts pen from Montblanc, issued in 1992, and pays tribute to one of the most important figures of 15th century Italian Renaissance culture and politics. Lorenzo 'il Magnifico' (1449-1492), ruler of Florence in all but name, was a patron of major Renaissance artist talents such as Leonardo da Vinci, Michelangelo, Botticelli, Verrocchio and Ghirlandaio, who were all resident at his court.Provenance: A Single Owner Collection of Fine and Limited Edition Montblanc Pens and Accessories Condition Report: Inked with light use. Some scuffs and wear to the outer card packaging.Condition Report Disclaimer

A NORTH ITALIAN EBONISED SIDE TABLE POSSIBLY MILAN, 19TH CENTURY with a moulded top and conforming frieze on square tapering legs 89cm high, 179cm wide, 56cm deep Provenance: Purchased: Botticelli Antichita, via Maggio, Florence Condition Report: Generally good, structurally secure with general wear and tear, light scratches, dents and marks and shrinkage cracks due to age and use. There is very shrinkage and splitting, some constructional, to the ebonised veneer on the table top, rubbing to the ebonised decoration only visible under a strong light, and a small scrape to the front surface of front left leg which would likely polish out. Minor scuffs to legs and feet. Small signs of old worm. Condition Report Disclaimer

A RISING VENUS GREEK GODDESS APHRODITE STATUE AFTER BOTTICELLI TOGETHER WITH A BUST OF A FRENCH GIRL IN A BONNET

Dante Alighieri.: Divina Commedia. (Mit Kommentar von Cristofor Landino und Würdigung Dantes durch Marsilio Ficino). (Auf dem letzten bedruckten Blatt:) Florenz, Niccolo di Lorenzo, 30. August 1481. Fol. Römische Type, Kommentar um die Verse gedruckt; 57 bis 60 Zeilen (inkl. Kopfzeile). 361 unnum. Bl. (statt 372 Bl.; Prooemium: 10 statt 14 Bl., ohne das erste und letzte weisse Bl. und ohne das erste und achte bedruckte Blatt; Inferno: 153 Bl. statt 154, ohne das erste weisse Bl.; Purgatorio: 107 Bl. statt 108, ohne das erste weisse Bl.; Paradiso: 91 statt 96 Bl., ohne die beiden bedruckten Bl. 85/86[L1-2] und die letzten drei weissen Bl.). Mit einer in Rot und Schwarz eingemalten grossen Initiale zu Beginn des ersten Canto und zwei in den Text eingedruckten Kupferstichen (wiederholt) zu Beginn des zweiten und dritten Cantos. Pergamentband des späten 19. Jhs. Mit goldgeprägtem Rückenschildchen. (Dieses lädiert). ISTC id00029000. GKW 7966. BMC VI, 628. Goff D-29. Mambelli 2311. Erste in Florenz gedruckte Commedia-Ausgabe, die erste mit dem sehr umfangreichen Kommentar von Cristofor Landino und der "Gratulatio" von Marsilio Ficino. Wie üblich nur mit zwei in den Text gedruckten Kupferstichen. Bis auf vier Textblätter und die weissen Blätter vollständiges Exemplar. "Niccolo di Lorenzo of Florence is the only printer thus far far encountered that did not abandon copper engraving after the first asttempt. He conceived the idea of the first illustrated Dante. At the head of each of the one hundred cantos he planned for an engraving. A magnificent folio resulted, but the illustrations give an almost perfect picture of the difficulties which he was not able to surmount. Of the one hundred engravings contemplated, only nineteen were finished. No copy is known to-day in which more than three of these are printed on the same page with the text, but in the bottom margin of the page - simply because the printer in setting up the type had forgotten to leave space for it! To-day, we invariably find it badly cropped. The balance of the nineteen engravings - and only a ferw copies contain this full number - are alwys pasted in. Some authorities have endeavoured to relate the engravings to Botticelli's designs, and to attribute them to the Florentine engraver Baccio Baldini. The discovery of a real series of Botticelli drawings for Dante, now at Berlin, which must be dated after 1490, has made rather short shrift of this theory." (Philip Hofer, Early Book Illustration in the Intaglio Medium, I, in: Print Collector's Quarterly vol. 21, No. 1, 1934, S.218ff.). "In most copies only the first and second plates are printed on the book's own paper, the others being ommited altogether or seprately printed and pasted on their places. In a few, of which this is one, the plate for Canto II is repeated at the head of Canto III. These illustrations influenced those of the Brescia and Venice editions of 1488 and 1491." (Katalog Dyson Perrin, No. 23). Das vorliegendeExemplar weist diesselbe Eigentümlichkeit auf. Da vorliegende Exemplar wurde zu Beginn des 20. Jhs. mit 22 Faksimiles der originalen Kupferstiche versehen. Sehr reizvoll ist an diesem Exemplar, dass die im Druck fehlenden Verse - die mit grossem Aufwand gemachte Ausgabe ist nicht sehr zuverlässig! - von einer zeitgenössischen Hand ergänzt wurden (Inferono Canto VI 3 Verse, Canto XXX 4 Verse; Purgatorio Canto XXXII 6 Verse und Paradiso Canto XVI 4 Verse). Eine weitere Eigenheit dieses Exemplars ist, dass die Recto-Seite des zweiten Blattes des Purgatorio nicht bedruckt, die Verso-Seite hingegen korrekt bedruckt ist. Durchgehend fingerfleckig, ebenfalls zahlreiche Bräunungen und schwacher Stockfleckenbefall. Das erste vorliegende Blatt stark fleckig, im Falz verstärkt und mit einigen Löchern. Einige weitere Blätter des Prooemiums im Falz verstärkt Der Unterrand des ersten Blattes des Inferno weggeschnitten und durch ein Faksimile des originalen Kupferstiches ersetzt; aussderdem Riss, im Falz unterlegt. Eine Reihe weiterer Blätter mit alten Ausbesserungen in den Rändern und an den Ecken. Auf einigen Blättern Besitzeintrag " Ex libris Nuti" oder "Io Franco Nuti"; ein Francesco Nuti gehörte zu den Spendern für das Dante-Monument in Santa Croce in Florenz.

A Pair of Framed Prints, Sandro Botticelli, Subject 24x33.5cms and 27x26cms

Made for Giuseppe Armani Collectors Society members only. Hand painted figure inspired by Sandro Botticelli (Italian, 1445-1510) 1480s tempera on canvas painting, The Birth Of Venus. The figure is attached to a wooden base. She is attached to a wooden base. Giuseppe Armani marked, Capodimonte backstamp and Florence Giuseppe Armani plaque on base. Artist: Giuseppe ArmaniIssued: 1992 - 1993Dimensions: 6.25"L x 5.75"W x 14.5"HManufacturer: Florence Sculture d'ArteCountry of Origin: ItalyCondition: Age related wear.

Kathleen Muriel Scale (Muriel Harding-Newman) (British, 1913-2006). Four Nudes with Two Herons signed and dated 1935 (lower left), oil on board 108 x 93cm (42.5in x 36.5in) Footnote: Born in Jersey in 1913, the daughter of Lieutenant Colonel John Dymoke Scale, she married in Cairo Cathedral Brigadier Rupert Norton Harding-Newman in November 1939, he was awarded an MC in 1942 and served in the Secret Intelligence Service. Scale attended Farnham School of Art where she was taught by Otway Maconnell FRSA RBA, later going onto Goldsmiths College where she was taught under the guidance of James Bateman RA. She studied Early Renaissance painting and was greatly influenced by the work and palette of Michelangelo, Botticelli, Piero della Francesca, as well as El Greco. Rowland Hilder taught her line drawing, but she was much more interested in producing large scale mythological and biblically based subjects, such as the work offered here, which provided Scale with much more scope for adventure and fantasy. Her large-scale compositions were initially worked up in sketchbooks, she would then produce a working watercolour or drawing which would be squared up ready to place onto the gesso prepared board. In 1933 at the age of nineteen she had her first painting exhibited at the Royal Academy and between 1933-38 Scale had seven paintings accepted and hung. Later in 1936 she was invited by the National Gallery of Canada to exhibit at an exhibition of Contemporary British artists such as George Spencer Watson, Duncan Grant, Vanessa Bell and Stanley Spencer amongst others. She also exhibited at the RBA and for many years with the Society of Women Artists. She later settled in Somerset and then Dorset after her husband retired. In 1995 Kathleen Muriel Harding-Newman as she was now known had a retrospective of her work held at the Dorset Museum in Dorchester. 'Artist’s Resale Rights (ARR) may apply to this lot'.

A 9ct gold and shell cameo brooch, carved with the birth of Venus, after Botticelli, 13.6g.

2 boxes with Rosenthal porcelain tableware with Botticelli decor

A French Silvered Copper, Glass and White Marble Holy Water Stoop, late 19th/early 20th century, of shaped rectangular form, set with a plaque depicting Madonna and Child with the young St John the Baptist after Sandro Botticelli over a demi-lune cup within formal borders, signed L DE MELLY26cm high

A shell cameo brooch, carved to depict The Birth of Venus after Botticelli, in a 9ct gold mount, together with a shell cameo clasp, the gilt mount of cannetille design, to a meshwork bracelet, and a 9ct gold hinged bangle, of entwined knot design, first length 53mm. (3) £200-£300 --- Condition Report Viewing advised. General wear commensurate with age and use. Weight of bangle: 7.3gm.

Alighieri (Dante).La Divina Commedia or The Divine Vision of Dante Alighieri in Italian & English.Nonesuch Press, 1928, numbered limited edition of 1475 copies, small folio, illustrations after Sandro Botticelli, abbey bookplate to front pastedown, original orange vellum binding (taped shelf ref. to spine).

The Master of Marradi (active in Tuscany, 1480-1500) Madonna and Child Enthroned, oil on panel, exhibition labels and previous auction details verso, image 85.5 x 63.5cms, in gilt frame 107 x 84cms total.Exhibition: Royal Academy of Arts - Winter Exhibition, 1881. No.184 'Small full-length figure of the Virgin and Child enthroned, in a red undergarment and dark blue mantle; the Child, seated on a red cushion on her lap, holds a jewelled clasp in his l. hand; on either side of the richly decorated throne is seen in a landscape with buildings, and on the l. figures on foot and horseback proceeding along a road. Panel 34 by 25' - To see the catalogue listing click here Exhibition of Early Italian Art From 1300 to 1550: The New Gallery, Regent Street, 1893-4 - 115 'Full-length under life-size figure of the Virgin seated facing in a very richly ornamented shrine; the Infant Christ is seated on a cushion on her right knee playing with a jewel which hangs from her mantle; landscape background. Panel 34X 25 in. Follow Link Royal Academy of Arts Exhibition - 1896 No.147 'Small fully-length figure of the Virgin enthroned, holding the Child, Whi is seated on a red cushion on her lap and holds the jewelled fastening of her robe in His l. hand...'. Provenance: Lot 137 - Christie, Manson & Woods, Catalogue of highly important pictures by old masters, the property of the late Charles Butler, Sold £1,102. Thence by descent. Notes: Previously attributed to Bernardino di Betto, known as Pinturicchio (Little Painter), this rare work has only recently been uncovered as a work by The Master of Marradi. The full-length Madonna and Child shows the Christ-Child holding a pendant suspended from the neck of the Virgin Mary. Seated on an altarpiece set within a landscape, behind a procession and town can be seen. The work was verified by Everett Fahy (1941-2018) in the mid-1990s and images and details are available in the Everett Fahy Photo Library found here.The Master of Marradi produced altarpieces, tondi, ornamented chests or forzieri, and small devotional panels in Tuscany between the late 15th Century and the early 16th Century. The artist is named after the location where a large nucleus of his works are located, conserved in the church of San Lorenzo at Marradi, in the province of Florence, situated in the Appennines dividing Tuscany and Emilia Romagna. His works were originally situated in the nearby abbey church of Santa Reparata in Salto at Badia del Borgo, and consist of five altarpieces, the most important of which represents the titular saint of the abbey complex, the Santa Reparata Altarpiece, dated 1498. The latest work in his oeuvre can be dated with certainty; it is the Enthroned Madonna and Child of Montefiridolfi of 1513.During the last century, various scholars identified this anonymous artist with a specific artistic personality: among them were Roberto Longhi and Wilhelm Suida, who proposed different names. However, it was during the 1960s that Federico Zeri coined the current and generally accepted name, based on his identification of the most substantial body of works by this anonymous Master at Marradi. Zeri identified this artist as a follower of Domenico Ghirlandaio and his circle, active in both Florence and its territories, as was the case with Marradi. Moreover, the artist reflects the influence of his contemporaries, including Botticelli, Filippino Lippi, and Perugino, by creating works (such as the present one being offered) in which rigorous compositional sobriety is combined with a delicate linearism. This is seen in the figures’ gracefully depicted faces and draperies, and in the detail, such as the Virgin’s transparent veil.

Amico Aspertini (1475-1552) attrib. Der Berg Parnassus ist Apollo und den Musen gewidmet. Kupferstich, mit Passepartout hi./Gl. gerahmt (33 x 43 cm); dazu Sandro Botticelli (1445-1510). Dantes Inferno. Kupferstich, mit Passepartout hi./Gl. gerahmt (22 x 28 cm). (spätere Abzüge)

Nonesuch Press.- Dante Alighieri. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, translated by H. F. Cary, one of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, original vellum stained orange, gilt, t.e.g., others uncut, an excellent copy with only very slight fading to spine, preserved in custom-made slip-case, [Dreyfus 50], folio, Nonesuch Press, 1928.

After Sandro Botticelli - 'Birth of Venus' & 'Primavera'. Contemporary reproductions on canvas. 52cm x 32cm

Bruno Bruni, Sammlungsnachlass mit 7 Farblithographien, 6 x gerahmtBruno Bruni, *1935 Gradara, Italien, Bildhauer und Maler, "Die Quadratur des Kreises", Farblithographie, 70 x 50 cm, im Stein dat. 1985 und bez., sign., mit Widmung, hinter Glas gerahmt; Liegende, Farblithographie, 57 x 76,6 cm, sign. u. nu,. 84/100, hinter Glas gerahmt; "A Botticelli" Farblithographie, 88 x 64,5 cm, sign., num. 247/250, im Stein bez. u. dat. 1985, edition Volker Huber, unter Glas gerahmt; "Abbadonnata", Farblithographie von 1979, 31,5 x 40 cm, sign. u. num. 1490/1500, hinter Glas gerahmt; "Natura morta La Visita", Farblithographie von 1984, 87,5 x 62,5 cm, im Stein sign. u. bez., num. 707/1000, oben mittig minimaler Knick, li. o. Wasserfleck, li. u. Ecke leicht geknickt, verso Kleberreste, o. Rahmen; "Amanti" und "Orchidea " (1981), Farblithographien, 33 x 23 cm/ 23 x 33 cm, beide hinter Glas gerahmt.

Mohair Charlie Bear Botticelli SJ5568, designed by Isabelle Lee, limited edition no. 373/500, with swing labels, L45cm

19TH CENTURY BRITISH SCHOOL watercolour - head and shoulder portrait of a gentleman in a black coat with white scarf, unsigned, 22 x 18.5cms, with a print on canvas after Botticelli, young man with red cap, 22 x 15cmsProvenance: private collection GwyneddComments: watercolour framed and glazed, print framed

A Roman marble bust of a patrician woman Julio-Claudian, circa mid 1st Century A.D.38.7cm high Footnotes:Provenance:Professor Elia Volpi (1858-1938) collection, Florence, prior to 1910.Vente de la Collection Elie Volpi; Hotel de Ventes Jandolo & Tavazzi, Florence, 25 April-3 May 1910, lot 53, pl. XCII (illustrated).Private collection, France, likely Château de Beaumesnil, near Rouen.Provenant du Château de Beaumesnil et du Château de T...Objets d'Art et de Bel Ameublement Principalement du XVIIIe, Palais des Congres, Rouen, 20 February 1983.Anonymous sale; Hindman, Chicago, 25 May 2023, lot 194.Acquired by the present owner at the above sale.Published:Illustrations du Catalogue des Précieuses Collections d'Objets d'Art Appartenant au Prof. Elie Volpi, exhibition catalogue, Florence, 1910, no. 53.La Gazette de L'Hôtel Drouot, edition 5 (Gazette), Paris, 4 February 1983, p. 36 (auction advertisement).B. Varkıvanç, Baki Öğün'e Armağan - Melanges offerts a Baki Öğün - CALBIS, Ankara, 2007, p. 97-108.This portrait of a patrican woman calls to mind portraits of Agrippina Minor, specifically the example in the NY Carlsberg Glyptotek, Copenhagen, acc. no. 755, placing this otherwise unknown sitter in the first half of the 1st Century A.D..Elia Volpi (1858-1938) is acknowledged as one of the greatest Italian antiquarians of the early 20th Century. Beginning his career as a restorer and assistant to fellow Florentine Stefano Bardini, he began selling antiques in the mid-1890s. Initiating such a business in Florence at this time was highly auspicious and lucrative, as the market for antiques was flourishing with new material after the renovation of the historic centre of the city, beginnning in 1866. Innumerable notable works passed through Volpi's ownership, including the Annunciation by Botticelli currently in the Metropolitan Museum in New York, acc. no. 1975.1.74, and the Portrait of Cardinal Pietro Bembo by Titian, in the National Gallery in Washington, acc. no. 1952.5.28 (both originally in the Barberini collection in Rome).For further information on this lot please visit Bonhams.com

After Botticelli, in gilt frames.44cm diameter (tondo)Qty: 2In good condition considering age and use.

Art / design interest (20+) to include Botticelli, Picasso, Boswell's Grand Tour, Kilim reference etc

Andy Warhol 1928 Pittsburgh - 1987 New York Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482). 1984. Farbserigrafie. Signiert und nummeriert. Aus einer Auflage von 70 Exemplaren. Auf festem Velin. 63,5 x 94 cm (25 x 37 in). Papier: 82 x 112 cm (32,3 x 44,1 in). Blatt 3 des insgesamt 4 Farbserigrafien umfassenden Portfolios. Gedruckt von Rupert Jasen Smith, New York. Herausgegeben von den Editionen Schellman & Klüser, München/New York (verso mit dem Stempel). [SM]. • Botticellis Ikone der Renaissance, die 'Geburt der Venus' (Uffizien, Florenz), erklärt Warhol zu einer Ikone der Pop-Art. • Warhol ist ein Meister der Adaption und Verfremdung: stark fokussierter Bildausschnitt, intensive Pop-Art-Farbigkeit und Ausführung in mehreren Farbvarianten. • Durch die Konfrontation von Renaissance und Gegenwart, Einzigartigkeit und serieller Reproduktion, Aura und Adaption fordert Warhol unsere traditionellen Vorstellungen von Kunst heraus und schafft ein faszinierendes Sinnbild seines neuen Kunstbegriffes. • Warhols künstlerische Auseinandersetzung mit Sandro Botticellis 'Geburt der Venus' ist das berühmteste Blatt der Werkfolge 'Details of Renaissance Paintings' neben Meisterwerken von Piero della Francesca, Paulo Uccello und Leonardo da Vinci. PROVENIENZ: Privatsammlung Hessen (seit ca. 1989). LITERATUR: Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints. A catalogue raisonné 1962-1987, New York 2003, WVZ-Nr. II.319. - - Forty are better than one. Edition Schellmann, 1969-2009, hrsg. v. Jörg Schellmann, S. 345 (m. Abb., wohl anderes Exemplar). Andy Warhol, zit. nach: Andy Warhol, Die Philosophie des Andy Warhol von A nach B und zurück, München 1991, S. 73. Aufrufzeit: 07.06.2024 - ca. 15.02 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482). 1984. Silkscreen in colors. Signed and numbered. From an edition of 70 copies. On firm wove paper. 63.5 x 94 cm (25 x 37 in). Sheet: 82 x 112 cm (32,3 x 44,1 in). Sheet 3 of the portfolio comprising a total of 4 color silkscreens. Printed by Rupert Jasen Smith, New York. Published by Editions Schellman & Klüser, Munich/New York (with the stamp on the reverse). [SM]. • Warhol makes Botticelli's Renaissance icon, the 'Birth of Venus' (Uffizi, Florence), a pop art icon. • Warhol is a master of adaptation and alienation: closeup view, gaudy pop art colors and an execution in several color variants. • Confronting Renaissance and present age, originality and mass production, aura and adaptation, Warhol challenges our traditional ideas of art and creates a fascinating new concept. • Alongside masterpieces by Piero della Francesca, Paulo Uccello and Leonardo da Vinci, Warhol's exploration of Sandro Botticelli's “Birth of Venus” is the most famous work in the series “Details of Renaissance Paintings”. PROVENANCE: Private collection Hesse (since ca. 1989). LITERATURE: Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints. A catalogue raisonné 1962-1987, New York 2003, no. II.319. -- Forty are better than one. Edition Schellmann, 1969-2009, ed.by Jörg Schellmann, p. 345 (illu., presumably different copy). 'The other day a company wanted to buy my aura. These people didn't want a 'product' from me, they said: >>We want your aura.

GRASSO, LAURENT1972 Mülhausen/FrankreichTitel: Ohne Titel (Studies Into the Past). Untertitel: 2-teilig. Datierung: 2013. Technik: Jeweils: Öl auf Holz. Maße: 75 x 33cm. Rahmen/Sockel: Rahmen. Provenienz: - Sammlung Prof. Dr. Thomas Olbricht, Essen- Eines der international gefragten Gemälde der Werkserie "Studies into the Past"- Meisterhafte zeitgenössische Umsetzung des Jan van Wassenaer von Jan Mostaert- Starke räumliche PräsenzDie 2009 begonnene Werkserie von Laurent Grasso, die unter dem Titel "Studies into the Past" zusammengefasst ist, veranschaulicht wie sehr die Werke des Künstlers von einer Meditation über die Zeit durchdrungen sind. Der Korpus besteht aus Zeichnungen und Ölgemälden auf Tafeln, deren Stil und Ausführung von italienischen und flämischen Malern des 15. und 16. Jahrhunderts wie Fra Angelico, Piero della Francesca, Paolo Uccello, Andrea Mantegna, Sandro Botticelli und Pieter Bruegel dem Älteren inspiriert sind. Durch Grassos Augen betrachtet, wird dieses Kapitel der Malereigeschichte jedoch durch die Anwesenheit von Fremdkörpern unterbrochen, die perfekt in jedes Bild integriert sind. An die Stelle der für die Epoche charakteristischen mythologischen und religiösen Erzählelemente treten Himmelserscheinungen, die vor dem 19. Jahrhundert selten dargestellt wurden - Finsternisse, Polarlichter, Meteoriten - sowie seltsame Rauchwolken, ein über einer Landschaft schwebender Felsen, ein unzusammenhängender Vogelflug in einem Wald. Diese Einfügung von Fragmenten der Zukunft in Gemälde aus der Vergangenheit schafft mehr als nur ein Gefühl des Anachronismus: Die Studien in die Vergangenheit sind in der Tat ein großes konzeptionelles Projekt, das darauf abzielt, unsere Wahrnehmung der Realität einer anderen Epoche zu rekonstruieren. Die Werke sind zeitgenössisch, aber so konzipiert, als stammten sie aus einem anderen Zeitalter, und werden mit wissenschaftlich exakten historischen Methoden von Spezialisten-Teams (einschließlich Restauratoren) ausgeführt. Grassos Ziel ist es, durch diese Verschmelzung verschiedener Zeiträume ein, ein wie er es nennt, "falsches historisches Gedächtnis" zu schaffen, so dass es in ferner Zukunft unmöglich sein wird, die Entstehungszeit der Werke zu identifizieren. Er scheint zu versuchen, ihre Historizität zu manipulieren und ihre Beziehung zur Zeit zu verändern. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Laurent Grasso Frankreich Zeitgenössische Kunst Unikate 2010er Rahmen Porträt Gemälde Öl Landschaft

Andy Warhol, Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482)Farbserigraphie auf Karton 81,3 x 111,8 cm. Unter Glas gerahmt. Signiert und nummeriert. Rückseitig mit dem Stempel "© ANDY WARHOL 1984". Exemplar 16/70 (+18 A.P. +5 P.P. +5 H.C.). Blatt 4 der gleichnamigen Folge. Edition Schellmann und Klüser, München/New York (mit rückseitigem Stempel). - Mit geringfügigen Altersspuren.Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr.II.319ProvenienzGalerie Renate Kammer, Hamburg (1998); Privatsammlung, Berlin

Argan (Giulio Carlo) Botticelli: Biographical and Critical Study, first edition, tipped-in colour plates, jacket extremities slightly rubbed, a couple of spots to spine, New York, 1957 § Grossmann (F.) Bruegel: The Paintings, second edition, illustrations, jacket with lower cover slightly soiled, spine lightly sunned, 1966 § Illing (Richard) The Art of Japanese Prints, first edition, illustrations, jacket edges lightly creased, 1984, original cloth, dust-jackets; and c.60 others, art reference, v.s. (65)

⊕ ‡ AFIFA ALEIBY (IRAQI B.1952) CAPELLO BIANCO (WHITE HAT)signed in Arabic and dated 03 upper rightoil on canvas50 x 40cm; 19 3/4 x 15 3/4in 55.5 x 45.5cm; 20 3/4 x 18in (framed)Property of a Private Collector, The NetherlandsProvenanceDe Twee Pauwen, The HagueAcquired from the above in 2004 by the present owner ExhibitedThe Hague, De Twee Pauwen Gallery, Afifa Aleiby, 2004Born in Basra, Iraq, Aleiby studied at the Institute of Fine Arts in Baghdad whilst working as an illustrator. In 1974, the artist left Iraq for Moscow to further her studies in monumental art on a scholarship at the Surikov Institute. She remained there for six years, where her artistic endeavours were fostered by a community of Iraqi intellectuals. In the wake of political conflict, Aleiby was unable to return to her homeland and instead relocated to Italy where she was inspired by the Renaissance masters. The work of Sandro Botticelli, for example, has HAD a noticeable influence on Aleiby's practice. Her serene female figures, such as in Capello Bianco (White Hat), often resemble European court society portraiture or formal ecclesiastical iconography (notably the Madonna). Aleiby uses these female figures to reflect beauty, taste, politics and society and to emphasise the significance of women in society. Aleiby lives and works in the Netherlands, and has participated in numerous exhibitions throughout her career, from Baghdad and Moscow to Yemen, Italy, Syria, Lebanon, England and the United States. Her paintings are held in important international public and private collections, such as Azman Museum’s collection, Farjam Foundation, Rana Sadik Collection, Beth Rudin de Woody Collection and Barjeel Foundation.

Florence, known as Firenze in Italian, is a city in the Tuscany region of Italy and is renowned worldwide for its rich history, stunning art and architecture, and cultural significance. As the birthplace of the Renaissance, Florence is a treasure trove of artistic masterpieces, architectural marvels, and historical landmarks.At the heart of Florence lies the iconic Florence Cathedral, or Il Duomo, with its magnificent dome designed by Brunelleschi and its elegant marble facade adorned with intricate sculptures. Nearby, the Galleria dell'Accademia houses Michelangelo's iconic statue of David, along with other masterpieces by Renaissance artists.The Uffizi Gallery, one of the world's oldest and most renowned art museums, showcases an extensive collection of Renaissance paintings, including works by Leonardo da Vinci, Raphael, and Botticelli. Visitors can admire Botticelli's famous Birth of Venus and Primavera, as well as Caravaggio's Medusa, among countless other treasures.Florence's historic center, a UNESCO World Heritage Site, is a labyrinth of narrow cobblestone streets, medieval churches, and Renaissance palaces. The Ponte Vecchio, a medieval bridge spanning the Arno River, is lined with jewelry shops and offers panoramic views of the city.Beyond its artistic and architectural wonders, Florence is a vibrant cultural hub with lively markets, street performers, and traditional festivals celebrating local traditions and customs. The Mercato Centrale, a bustling food market housed in a 19th-century iron and glass structure, is a must-visit for food lovers seeking to sample Tuscan specialties such as fresh pasta, artisanal cheeses, and Chianti wine.Florence's culinary scene is as rich and diverse as its artistic heritage, with trattorias, osterias, and Michelin-starred restaurants serving up delicious Tuscan cuisine made from fresh, locally sourced ingredients. From hearty ribollita and bistecca alla fiorentina to delicate pappa al pomodoro and cantuccini biscuits dipped in Vin Santo, Florence delights the senses with its flavorful dishes and culinary traditions.With its timeless beauty, cultural richness, and warm hospitality, Florence continues to captivate visitors from around the world, offering an unforgettable experience that celebrates the best of Italian art, history, and cuisine.Backed by canvas.Measures 33 x 24.

Sandro Botticelli (1445-1510) - Manner, portrait of a lady in court dress, tempera on wooden panel, 32 x 22 cm

SCHIAPARELLI, collection Haute Couture, Automne 1938. Rare collier articulé.Collection PaïenneEn métal doré et partiellement émaillé figurant des branchages et des feuilles, sur deux feuilles deux insectes endormis. (manques)Non signé.'La collection de l'automne 1938 de Schiaparelli était truffée de références à la flore et à la faune, inspirées par les représentations luxuriantes du printemps du peintre de la Renaissance Sandro Botticelli, notamment dans 'La naissance de Vénus' et 'Primavera', comme l'explique Dilys Blum dans son ouvrage 'Shocking ! The Art and Fashion of Elsa Schiaparelli' de Dilys Blum. Appelée la collection 'païenne', les motifs tels que les insectes, les feuilles et les fleurs étaient abondants dans les broderies, les boutons et les bijoux, comme ce magnifique collier unique en son genre. Artistiquement rendu en métal doré émaillé, le dos est aussi fascinant et réaliste que le devant, signe d'un travail de qualité. La présence des deux insectes est une touche subtile et magistrale de Schiaparelli que l'on ne remarque qu'au deuxième coup d'œil, donnant un ton surréaliste à cette pièce ornementale par ailleurs brillante et naturaliste.' Notice du MET Museum.Nous pouvons rapprocher le collier que nous présentons des deux colliers de la même collection conservés au MET Museum à New York sous les références 2009.300.1237 et 2009.300.1236, ancienne collection de madame Milicent Rogers.Footnotes: SCHIAPARRELLI, Haute Couture collection, Autumn 1938. Rare articulated necklace. Pagan Collection. In gilded and partially enameled metal depicting branches and leaves, on two leaves two sleeping insects. (missing) Unsigned. For further information on this lot please visit Bonhams.com

After Sandro Botticelli, Madonna of the Magnificat, an engraving in a circular mahogany and parcel gilt frame and one print

SANDRO BOTTICELLI (FOLLOWER OF THE PROBABLY 18./19.TH CENTURY)('Auch Alessandro di Mariano Filipepi oder Sandro di Mariano di Vanni Filipepi')1. März 1445 Florenz - 17.05.1510 beerdigt ebendaDIE VERLEUMDUNG DES APELLES Öl auf Holztafel (parkettiert). 61 x 91 cm (R. 85 x 113 cm). Verso: Auf der Tafel bezeichnet: 'V. Bianchini Studio viale Petrarca, Firenze'. Part. leicht altrest., min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.

Charlie Bears Botticelli Isabelle Collection panda bear, SJ 5568, 2017, LE 419/500, designed by Isabelle Lee, purple and white long pile curly mohair, with swing label certificate (slight wear to tag please see photographs), canvas bag, Near Mint to Mint, 16"/41cm.

Nonesuch Press.- Dante Alighieri La Divina Commedia, translated by H.F. Cary, one of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, original vellum, stained orange, gilt, t.e.g., spine sunned, head of spine very slightly creased, otherwise an excellent copy, folio, Nonesuch Press, 1928.

AFTER THE WORKSHOP OF SANDRO BOTTICELLI THE VIRGIN AND CHILD WITH ST. JOHN AND AN ANGEL Oil on canvas, tondo 85cm (33¼ in.) diameter Provenance: John Anster Fitzgerald and by descentAfter the work in the National Gallery London, catalogued as The Workshop of Sandro Botticelli, NG275. When the National Gallery's painting arrived in London in 1855, a great excitement spread in the city, bringing numerous artists to see it and producing copies. This version belonged to John Anster Fitzgerald, an artist known for his fairy themed pictures. When the painting arrived in London, Fitzgerald was only twenty-three, and must have inspired him deeply. Albeit it is difficult to prove that Fitzgerald painted this copy, he did copy paintings from the National Gallery, such as his watercolour version of Turner's Ulysses Deriding Polyphemus, sold at Dreweatts, 26 May 2022, lot.159. Condition Report: The canvas has been relined which is providing good support. There is fine surface cracking. Under UV light there are several long lines of restoration across the image . One running from the Madonna's neck to the infant Christ. There are two other lines on either side of this and two in the lower half, in background areas. It has been cleaned and revarnished. Condition Report Disclaimer

MANNER OF SANDRO BOTTICELLI MADONNA LACTANS, THE NURSING MADONNA Tempera on panel 59 x 39.5cm (23 x 15½ in.)Provenance: Sale, Dorotheum, Vienna, 2 April 2019, lot 138, as Follower of Antoniazzo Romano

A COLLECTION BOOKS, MAINLY LEATHER BOUND, TO INCLUDE: F E HULME, FAMILIAR WILD FLOWERS, JAMES PRIOR, MEMOIR OF EDMUND BURKE, 1824, SUPINO, SANDRO BOTTICELLI, 1900, ROBERT CAMPBELL, THE LIFE OF JOHN DUKE OF ARGYLL AND GREENWICH, 1765, JOSHUA SPRIGGE, ENGLANDS RECOVERY BEING THE HISTORY OF THE CONDUCT OF SIR THOMAS FAIRFAX, 1647, ETC.

Art. A large collection of art reference & related, including The Art of Botticelli, an essay in pictorial criticism, by Laurence Binyon, London: Macmillan and Co., 1913, original quarter vellum, folio limited edition un-numbered copy of 275, & The Art of Herbert Schmalz, by Trevor Blakemore, London: George Allen & Company, 1911, signed by Herbert Schmalz to the limitation page, original full vellum, folio, limited edition un-numbered copy of 150, mostly original cloth, many in dust jackets, overall condition is generally good, 8vo/folioQTY: (6 shelves & a carton)

PAIR OF CAROLINE BECKITT BOTTICELLI

Rosenthal Speiseservice *Botticelli* Porzellan mit unterglasurgrüner Manufakturmarke Rosenthal, Selb-Bavaria um 1920/30, Modell *Botticelli* nach einem Entwurf von Hans Günther Reinstein u. Philipp Rosenthal um 1902, weißes Porzellan mit Rosenblüten- und vergoldetem Rand, Service bestehend aus 6 Vorspeiseteller Ø ca. 19 cm, 7 Speise- u. 5 Suppenteller Ø ca. 25 cm, 6 Dessertteller Ø ca. 15 cm, je eine quadratische Anbietschale ca. 21 x 21 u. 25 x 25 cm, je eine ovale Anbietplatte mit geraden Abschlüssen ca. 24 x 31 u. 27 x 37 cm sowie 1 Sauciere ca. 22x 16 cm, H ca. 8 cm, ges. 29 Teile, Gold teils partiell berieben

Nonesuch Press.- Alighieri (Dante) La Divina Commedia or the Divine Version of Dante Alighieri in Italian & English, one of 1475 copies, translated by H. F. Cary, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, light spotting to endpapers, original vellum stained orange, gilt, t.e.g., others uncut, tiny spotting to upper cover, lightly faded spine, slight bowing, [Dreyfus 50], folio, The Nonesuch Press, 1928.

After Sandro Botticelli (Italian, 1444/5-1510),'Madonna of the Magnificat',Mezzotint on paper, probably 19th century,Printed signature lower right,48.5cm x 44.5cm,Framed and glazed Provenance: Property of 7th Baron Harlech, The Lord Harlech, Glyn & Brogyntyn Estates

TWO MEDICI PRINTED ROUNDELS AFTER BOTTICELLI AND DEPICTING THE MADONNA AND CHILD. Dia. 44cms. WITHIN GILT FRAMES.

Andy Warhol 1928 Pittsburgh - 1987 New York Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482). 1984. Farbserigrafie. Feldman/Schellmann/Defendi II.319. Signiert und nummeriert. Aus einer Auflage von 70 Exemplaren. Auf festem Velin. 63,5 x 94 cm (25 x 37 in). Papier: 82 x 112 cm (32,3 x 44,1 in). Blatt 4 des insgesamt 4 Farbserigrafien umfassenden Portfolios. Gedruckt von Rupert Jasen Smith, New York. Herausgegeben von den Editionen Schellman & Klüser, München/New York (verso mit dem Stempel). [JS]. • Botticellis Ikone der Renaissance, die 'Geburt der Venus' (Uffizien, Florenz), erklärt Warhol zu einer Ikone der Pop-Art. • Warhol ist ein Meister der Adaption und Verfremdung: stark fokussierter Bildausschnitt, intensive Pop-Art-Farbigkeit und Ausführung in mehreren Farbvarianten. • Durch die Konfrontation von Renaissance und Gegenwart, Einzigartigkeit und serieller Reproduktion, Aura und Adaption fordert Warhol unsere traditionellen Vorstellungen von Kunst heraus und schafft ein faszinierendes Sinnbild seines neuen Kunstbegriffes. • Warhols künstlerische Auseinandersetzung mit Sandro Botticellis 'Geburt der Venus' ist das berühmteste Blatt der Werkfolge 'Details of Renaissance Paintings' neben Meisterwerken von Piero della Francesca, Paulo Uccello und Leonardo da Vinci. PROVENIENZ: Edition Schellmann & Klüser, New York/München (Herausgeber). Privatsammlung Deutschland (1984 vom Vorgenannten erworben, seither in Familienbesitz). LITERATUR: Forty are better than one. Edition Schellmann, 1969-2009, hrsg. v. Jörg Schellmann, S. 345, Warhol, Kat.-Nr. 14 (m. Abb., wohl anderes Exemplar). 'Neulich hat eine Gesellschaft meine Aura kaufen wollen. Diese Leute wollen kein 'Produkt' von mir, sondern sagten: >>Wir wollen ihre Aura.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482). 1984. Silkscreen in colors. Feldman/Schellmann/Defendi II.319. Signed and numbered. From an edition of 70 copies. On firm wove paper. 63.5 x 94 cm (25 x 37 in). Sheet: 82 x 112 cm (32,3 x 44,1 in). Sheet 4 from the portfolio of a total of 4 color silkscreens. Printed by Rupert Jasen Smith, New York. Published by the Editions Schellman & Klüser, Munich/New York (with the stamp on the reverse). [JS]. • Warhol declares Botticelli's Renaissance icon 'Birth of Venus' (Uffizi Gallery, Florence) an icon of Pop Art. • Warhol is a master of adaptation and alienation: strongly focused image detail, intense Pop Art color and execution in several color variations. • By confronting Renaissance with the present, uniqueness with serial reproduction, aura with adaptation, Warhol challenges our traditional notions of art and creates a fascinating allegory of his new concept of art. • Warhol's artistic exploration of Sandro Botticelli's 'Birth of Venus' (Uffizi Gallery, Florence) is the most famous sheet in the series of works 'Details of Renaissance Paintings' based on masterpieces by Piero della Francesca, Paulo Uccello and Leonardo da Vinci. • Part of a German private collection since its creation. PROVENANCE: Edition Schellmann & Klüser, New York/Munich (publisher). Private collection Germany (acquired from the above in 1984, ever since family-owned). LITERATURE: Forty are better than one. Edition Schellmann, 1969-2009, ed. by Jörg Schellmann, p. 345, Warhol, cat. no. 14 (fig., presumably different copy). 'The other day a company wanted to buy my aura. These people did not want a 'product' from me, but said: >>We want your aura.

Gerald Leslie Brockhurst (1890-1978) Portrait of Charlotte Elizabeth Hollingsworth Oil on board, 60 x 47cm (23½ x 18½'') SignedGerald Brockhurst's portrait of Florence Forsyth attracted much attention when it came under the hammer at Adam's. The painting had been commissioned by Florence's father, who worked for Norwich Union in Dublin, in the late 1920s. This portrait has as its subject his wife, Charlotte Hollingsworth, Florence's mother. She makes an imposing figure against a muted, mountainous background, but rather than projecting hauteur or distance, she has a notably benign, warm presence, skillfully conveyed by the artist.Brockhurst was celebrated as a society portrait painter from the early 1920s. From Edgebaston, Birmingham, he was recognised as precociously gifted at drawing from an early age, even though he was a poor student academically. His aptitude gained him early entry to art school. His self-portrait as an art student, painted when he was just 15, is in the Scottish National Portrait Gallery. Visiting France and Italy on a scholarship, he was much taken with the work of several Italian renaissance painters, including Botticelli and Piero della Francesca, influencing the classical poise of his mature style.While travelling he met, and married, Anaïs Melisande Folin and they spent most of the First World War years in Ireland, including in Connemara, where he posed and painted Folin as Ireland personified. He also made portraits of others in Ireland including poet Francis McNamara and Aileen Cox. The latter portrait, with graphic works he made in Ireland, is in the National Gallery of Ireland. Back in London from 1919, he became a much sought-after portrait painter, and was also recognised as a printmaker of brilliance. His capacity to lend his sitters film star aura, positioning them skillfully lit against low horizon lines in almost photographic images, gained him many prestigious sitters. His pre-eminence was only disrupted when his relationship with his model Kathleen 'Dorette' Woodward became front-page news and his marriage broke up. He and Woodward decamped to the United States, where he attracted another succession of well-known clients (Merle Oberon, Marlene Dietrich, J Paul Getty among them). By the time of his death in 1978 he was, though, largely neglected. A number of exhibitions and sales have revived interest in his work over the last two decades.Aiden Dunne

Giuseppe Rusnati (Italian, 1647-1713): A monumental carved white marble bust depicting Cesare II Visconti, 3rd Marquis of CislagoThe noble sitter wearing armour, an embroidered jabot, elaborate curling long wig and flowing vest, draped on the shoulders, raised on a contemporary coloured marble tapering rectangular pedestal, the bust, 99cm high, 210cm high overall including pedestal (2)Footnotes:ProvenanceCollection of Count Francesco Castelbarco Albani, Italy,Sotheby's, Palazzo Capponi, Florence, May 22, 1973, Sale of the Collection of Count Francesco Castelbarco Albani,Sotheby's London, Dec 10, 2002 Lot 126Private Collection Milan, ItalyBotticelli Antichita, Florence, Italy,Acquired from the above by the present ownerIn 1973 at the Sotheby's sale in Florence, the catalogue entry for the present lot read as follows: 'Exquisite Baroque bust in marble of an unknown Nobleman...probably Roman, late seventeenth century.' That same year in the bi-monthly magazine Antichita Viva, the present lot featured in the section which highlighted the most important artworks to have been offered at auctions in Florence. The footnote on this occasion mentioned that the bust was one of the 'last Viscounts of Cislago.'Cesare II, third Marquis of Cislago was son of Tebaldo (Milan, 1601-1674). When Cesare II died in 1716 the Cislago banch of the Visconti family died out too and the title was inherited by Carlo Francesco Ercole Castelbarco Visconti. This would possibly therefore explain why in 1973 in the Sotheby's sale in Florence, Count Francesco Castelbarco Albani did not know the identity of the subject. Cesare II succeeded his father in 1674 and it is possible that he commissioned a marble bust to commemorate his rise to power. He was born in 1643 meaning that he would have been in his mid thirties when the bust was completed.Rusnati was born in 1647, probably in Gallarte and completed his training in Rome between 1671 and 1673. When he returned to Milan he faced the financial crisis that affected the Fabbrica del Duomo. As such it was only in 1678 that he completed his first statue for the prominent Cathedral of Florence. If Rusnati worked outside of Milan it is very possible that Cesare Visconti would have chosen him to carry out the commission of the self portrait. In fact, the Viscounts of Cislago were lords of Gallarte, the place thought to be where Rusnati was born. In addition when one considers that Rusnati would have just returned from his training in Rome, he must have been an attractive candidate since he would have been well versed in the latest portrait artists such as Bernini. Although no portraits created by Rusnati were initially thought to have survived, closer examination of the sculptors works of a sacred nature mean that stylistic parallels can be drawn. The drapery, for example, can be seen in the terracotta model for a statue of David which was intended for the Cathedral in Milan. There are also two works which date later than the present lot in the Assunta Collegiate church of Gallarte which demonstrate Rusnati's distinctive treatment and inventiveness.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Nonesuch Press.- Dante Alighieri. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, translated by H. F. Cary, one of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, original vellum stained orange, gilt, t.e.g., others uncut, an excellent copy without the usual fading to spine, light splaying to covers, head of spine lightly creased, [Dreyfus 50], folio, Nonesuch Press, 1928.

PAULA MODERSOHN-BECKER UMKREIS Kinder mit LampionsÖl/Karton, 62,5 × 53 cmSCHÄTZPREIS °€ 800 - 1600STARTPREIS °€ 800Die deutsche Malerin Paula Modersohn-Becker, geborene Minna Hermine Paula Becker, war eine bedeutende Vertreterin des frühen Expressionismus. Ersten Kunstunterricht erhielt sie an der von Elíseo Abelardo Calderón und Bernard E. Ward gegründeten St. John’s Wood Art School in London. In Bremen erhielt sie privaten Malunterricht bei Bernhard Wiegandt. 1898 spendierte ihr Onkel Wulf von Bültzingslöwen ihr zur Belohnung für ihren erfolgreichen Studienabschluss am Lehrerinnenseminar eine Reise nach Norwegen; beide lernten dort die Malerei von Edvard Munch kennen.1893 sah sie in der Kunsthalle Bremen erstmals Bilder des Worpsweder Künstlerkreises, von Otto Modersohn, Fritz Mackensen, Fritz Overbeck, Hand am Ende und Heinrich Vogler. Modersohn wurde später Beckers Ehemann. In Berlin belegte sie einen Kurs an der Zeichen- und Malschule des Vereins der Berliner Künstlerinnen, bei Jacob Alberts und Curt Stoeving. 1896 begann sie eine eineinhalbjährige Ausbildung: Porträtmalerei bei Jacob Alberts und Martin Körte, Aktmalerei bei Ernst Friedrich Hausmann, Landschaftsmalerei bei Ludwig Dettmann. Während dieser Zeit traf sie sich öfter mit Rainer Maria Rilke, den sie später porträtierte, und der ihre Kunst bewunderte. Ein Jahrzehnt zuvor hatte Kätze Kollwitz an der sogenannten „Damenakademie“ des Vereins der Berliner Künstlerinnen studiert. 1897 wurde Becker in die Malklasse von Jeanna Bauck an der Damenakademie aufgenommen. Bauck weckte in ihr den Wunsch, nach Paris zu gehen. 1899 lernte sie Carl Vinnen und Carl Hauptmann in Berlin kennen. Während ihrer Berliner Jahre verbrachte Becker viel Zeit zum Zeichnen in Museen. Ähnlich wie die Nazarener zuvor schätzte sie vor allem die Künstler der deutschen und italienischen Renaissance wie Albrecht Dürer, Lucas Cranach, Hans Holbein d. Ä., Tizian, Botticelli und Leonardo da Vinci. Becker verbrachte widerholt viel Zeit in der Künstlerkolonie Worpswede und in Paris. Die Künstler von Worpswede bemühten sich, ähnlich wie die von Théodore Rousseau gegründete Schule von Barbizon, um eine neues Naturverständnis. Ab etwa 1898 entwarf sie im Auftrag des Kölner Schokoladeproduzenten Ludwig Stollwerck zusammen mit Otto Modersohn, Fritz Overbeck und Heinrich Vogeler Stollwerck-Bilder. In Paris war sie u. a. mit Auguste Rodin bekannt und studierte Paula Becker an der Académie Colarossi bei Courtois, Collin und Louis-Auguste Girardot. In Paris besuchte Becker Ottilie Reylaender, Schülerin und Johann Hinrich Fehrs und Fritz Mackensen. Eine weitere Freundin war Clara Westhoff. Das Ehepaar Modersohn-Becker besuchte Carls Hauptmann und lernte dort den Soziologen Werner Sombart kennen. In Dresden machten sie die Bekanntschaft von Otto Mueller. Angeregt durch eine im Salon des Indépendants gezeigte Plastik, besuchte Becker den Bildhauer Bernhard Hoetger in seinem Pariser Atelier, was einen bleibenden Eindruck bei ihr und in ihrer Malerei hinterließ. Infolge ihres zweiten Paris-Aufenthalts um 1900 herum gewannen Monumentalität und Strenge in Komposition und Form in Beckers Werk an Bedeutung, was auf eine intensive Auseinandersetzung mit Paul Gaugin, Henri Matisse und Paul Cézanne verweist. Ferner fällt die stilistische Nähe ihrer Kinderbildnissen zu den Gemälden des jungen Picasso aus der Blauen und Rosa Periode auf. In den Porträts von 1906 und 1907 zeigen sich Elemente des Kubismus.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

Sandro Botticelli (1445-1510)-school. Portrait of an elegant lady in court dress. Oil or tempera on wooden panel in a classical gilded and carved collectors frame. 33X22 cm.

Paar Flaschen, Renaissance-Stil,Ginori wohl um 1900. Rötl. Scherben, hellgelb glasiert u. bunt bemalt. Von ov. Grundriss aufsteigender, tropfenförm. Korpus m. weiter Bauchung, d. schlanke Hals m. aufgeschraubtem Kuppel-Deckelchen m. Knauf. Schultern gerahmt v. Maskeron-Zierhenkeln. Wandung jew. schauseitig m. gr. Darstellung eines Engels m. Blütenzweig vor Landschaft, diese auch auf Rückseite d. Flasche. Jew. auf kl. Ovalfuß m. durchbrochener Kante. Am Boden jew. handschriftl. blaue Marke m. stilis. Krone, blaue Nr., Ritzzeichen. Jew. 1 Henkel m. Rissen; 1 x Fuß m. kl. Chip u. Deckelchen leicht bestoßen/ Knauf rep., 1 x Gewinde bestoßen u. rep./ Wandung bestoßen/ Fuß rep. H 29,3 bzw. 29,6 cmBotticelli, durchbrochen, Engel, Heiliger, Historismus, Italien, Keramik, Majolika, Maskeron

Eugeniusz Zak (Polish, 1884-1926)A Young Man in Profile signed 'Eug. Zak' (upper left)mixed media on paper46.0 x 37.5 cm (18 1/8 x 14 3/4 in).framed 52.5 x 43.75 x 3.5 cm (20 2/3 x 17 1/5 x 1 2/5 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. During the following period he painted several works depicting the same sitter in the same position. One of these is the well-known Young Acrobat, 1919 (sold at Skinner Boston in 2017 and previously exhibited at Towarzystwo Zachety Sztuk Pieknych, Warsaw), which bears many similarities to the present painting. These paintings all depict a solemn figure in a sparse interior setting and recall Pablo Picasso's Rose and Blue Period paintings, as well as the elongated figures of Amedeo Modigliani's works. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com

Eugeniusz Zak (Polish, 1884-1926)A Young Man in Profile signed 'Eug. Zak' (upper right)oil on canvas mounted on paperboard53.0 x 37.0 cm (20 7/8 x 14 9/16 in).framed 41.0 x 57.0 x 3.0 cm (16 1/8 x 22 3/8 x 1 1/5 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. During the following period he painted several works depicting the same sitter in the same position. One of these is the well-known Young Acrobat, 1919 (sold at Skinner Boston in 2017 and previously exhibited at Towarzystwo Zachety Sztuk Pieknych, Warsaw), which bears many similarities to the present painting. These paintings all depict a solemn figure in a sparse interior setting and recall Pablo Picasso's Rose and Blue Period paintings, as well as the elongated figures of Amedeo Modigliani's works. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com

Eugeniusz Zak (Polish, 1884-1926)A Man with a Cravatunsigned; collections label from Zbioryz T Rudnickich (affixed to the backing board) graphite on paper 31.0 x 25.0 cm (12 3/16 x 9 13/16 in).framed 43.0 x 34.5 x 2.0 cm (16 11/12 x 13 3/5 x 4/5 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com

Eugeniusz Zak (Polish, 1884-1926)The Lovers signed 'Eug. Zak' (lower right)tempera and pastel on paper44.0 x 36.5 cm (17 5/16 x 14 3/8 in).framed 46.0 x 53.0 x 3.0 cm (18 1/8 x 20 3/4 x 1 1/4 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com

John Piper After Botticelli, Madonna of the Magnificat, pen and oil wash on panel, in gilt frame, pencil signed and bearing a related newspaper cutting verso, 40 cm sight size

λ&nbspPATRICIA O'BRIEN (IRISH B. 1927) THE LESSON Oil on canvas Signed and dated '90 (lower right); further signed and titled to frame (verso) 81 x 100cm (31¾ x 39¼ in.)Exhibited: London, Stephen Bartley Gallery, 1990 Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an "out-and-out discovery" in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled "The Fruit Eaters" became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond. Condition Report: Very light surface dirt throughout. There is a small cluster of minute losses to the edge of the woman's pink dress. In overall good original condition. Condition Report Disclaimer

λ&nbspPATRICIA O'BRIEN (IRISH B. 1927) BIRDS OF PREY Oil on canvas Signed and dated '94 (lower left); titled to frame (verso) 36 x 31cm (14 x 12 in.)Patricia O'Brien's artistic journey took off in 1977 when she first exhibited her work at the Upper Street Gallery in London. This initial exhibition marked the beginning of a flourishing career that would see her gain representation by Stephen Bartley and participate in numerous international exhibitions. From 1981, O'Brien's talent and unique artistic vision caught the attention of the Royal Academy. She participated in the prestigious Royal Academy Summer Exhibition, a renowned annual event that showcases the best of contemporary art. John Russell Taylor, an esteemed critic, hailed O'Brien as an "out-and-out discovery" in his review of the 1989 Royal Academy Summer Show. In a remarkable testament to the impact of her work, O'Brien's painting titled "The Fruit Eaters" became the main promotional press image for the Royal Academy Summer Show in 1990. Throughout Patricia O'Brien's body of work, the female figure takes centre stage, becoming a focal point of her compositions. O'Brien delves into the complexities of human relationships, exploring their dynamics, inviting viewers to interpret and question the narratives presented. O'Brien repeatedly portrays three figures, possibly a connotation to her own complicated relationships. Her works exude an intense visual poetry, compelling viewers to unravel the stories behind each character and scene portrayed on the canvas. O'Brien creates a sense of stillness in her work, capturing a fleeting moment suspended in time whether that be taking a lesson (Lot 96), eating fruit (Lot 98) or purchasing flowers at the market (Lot 100). There is a mystical and disquieting quality to her pieces, evoking a sense of melancholy that adds depth and complexity to the overall atmosphere. The deliberate absence of traditional perspective in O'Brien's work contributes to her distinctive style, along with a subdued colour palette and meticulous composition of objects and figures within the surrealist landscapes. These elements make O'Brien's art instantly recognisable and draw the viewer into a world of carefully constructed beauty.In 1972, Patricia O'Brien made the decision to settle down in the perfume capital of France, Grasse. Drawn to the allure of its mountainous landscapes and expansive vistas, these majestic surroundings served as a prominent influence in her work, providing the backdrop against which her pensive figures would come to life as can be seen in lot 98 and 99. It was during her time in France that she forged a close friendship with Frederick Gore, a fellow artist.Patricia O'Brien's artwork is a captivating blend of surrealist iconography and Renaissance influences, creating a unique and distinctive style. O'Brien was especially drawn to fifteenth century Italian artists such as Sandro Botticelli and Piero della Francesca whose focus on exquisite attention to detail, with a particular emphasis on depicting the human form with individuality, empathy, and sensitivity, inspired her. Humanism permeates O'Brien's work, as she delves deep into the layers of emotions experienced by her figures and situates them within the natural world, infusing her paintings with spiritual meaning. One striking aspect of O'Brien's paintings is the luminous complexion and porcelain skin of her figures particularly apparent in Lot 99 which shows three female nudes attending to flowers beneath the mountainous landscape beyond. Condition Report: In good original condition. Condition Report Disclaimer