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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

λ&nbspPATRICIA O'BRIEN (IRISH B. 1927) THE YELLOW HAT Oil on canvas Signed and dated '96 (upper right); titled to frame (verso) 102 x 61cm (40 x 24 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: Very light surface dirt. Some minute pooling of varnish scattered across the surface. Overall in good original condition. Condition Report Disclaimer

λ &nbspPATRICIA O'BRIEN (IRISH B. 1927) THE OFFERING Signed (lower right) 91 x 122cm (35¾ x 48 in.)Provenance: Solomon Gallery, Dublin 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: The work appears to be in good original condition.Condition Report Disclaimer

After Sandro Botticelli. Madonna of The Book, print, in an ornate gilt wood frame, 35cm x 22cm, together with a late 18thC coloured engraving of The Child Jesus, with Mary and Joseph, 39cm x 29.5cm. (2)

Feliks Stanislaw Jasinski (Polish 1862-1901) Madonna and Child with St John the Baptist after Botticelli, signed lower right, 1890, engraving, 17.5 x 13 cm (i), frame 48 x 41 cm Provenance: Collection of Mr Magdi Obeid

Italian Art. A large collection of Italian art reference & related, including Botticelli, by Adolfo Venturi, London: A. Zwemmer, 1927, ex-library copy with associated marks, original cloth in dust jacket, large 8vo, many original cloth, some in dust jackets, some paperbacks, some Italian & foreign language, G/VG, 8vo/folioQTY: (6 shelves )

Horne (Herbert P.). Alessandro Filipepi, commonly called Sandro Botticelli, painter of Florence, London: George Bell & Sons, 1908, monochrome plates, ex-libris bookplate to front pastedown, library stamps to the foot of the half-title, verso of the title page & rear endpaper, gutters cracked, some minor marginal toning, original cloth spine to blue paper boards, slightly toned & marked, folio, limited edition 154/240, includes prospectus, together with:Binyon (Laurence), The Art of Botticelli, an essay in pictorial criticism, London: Macmillan and Co., 1913, frontispiece etching signed by Muirhead Bone, 23 tipped-in colour plates, some light toning & offsetting, original quarter vellum, boards & spine rubbed & marked with some small loss, folio, un-numbered limited edition of 250 copies, plusWare (William Rotch), Renaissance Doorways, Italian 1 [Topical Architecture...], 1st edition, Boston: American Architect and Building News Company, 1901, 104 monochrome plates, some light toning throughout, top edge gilt, original red cloth, boards & spine slightly rubbed, folio, and other Italian & European art reference & related, some leather bindings, many original cloth, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves )

[Folio Society Publications] The Notebooks of Leonardo Da Vinci arranged and translated by Edward MacCurdy, published 2009 in 3 volumes bound in gilt leather backed illustrated boards. Lives of The Artists by Giorgio Vasari A Selection translated by George Bull published 1993 in 3 volumes with colour plates in gilt cloth & slipcase (includes Da Vinci, Botticelli, Perugino, Giotto, Masaccio, Cosimo etc). John Ruskin’s The Stones of Venice 2001 and Christopher Hibbert’s Italian Cities 1997 in 3 moire silk bound volumes illustrated – all in slipcases

Vintage figure of a modern dancer with one arm up. Botticelli inspired nude art. Satin finished figure on a clear crystal base. Etched Lalique France at the bottom. Dimensions: 3"L x 4.5"W x 9.5"HManufacturer: LaliqueCountry of Origin: FranceCondition: Age related wear.

German art print folders, incl. Durer, Botticelli and Raffael; and a quantity of OS maps relating to Germany and the UK

Pre-Raphaelite decorative print on board after Sandro Botticelli, “The birth of Venus”. In panted and gilt frame. Overall including frame 31.5x36.5cm

Auktionskataloge - - Catalogue of the Collection of Pictures, works of art, and decorative objects, the property of His Grace the Duke of Hamilton, K.T. 5 Teile in 1 Bd. (so komplett). Mit 77 photographischen Pigmentdrucktafeln von James Craig Annan. London, Christie, Manson & Woods, 1882. 234 S. Gr.-8°. HLdr. d. Zt. mit goldgepr. Titel, Lederecken, Marmordeckeln u. dreiseitig gesprenkeltem Schnitt und Buntpapiervorsätzen (etw. berieben u. bestoßen, der Rücken leicht verfärbt). Von diesem Auktionskatalog erschienen zwei Versionen, eine ohne Tafeln und eine illustrierte Ausgabe mit Pigmentdrucken von James Craig Annan wie die vorliegende. Der schottische Pionier der Photographie Annan war erst 18 Jahre alt, als er die Photographien für den spektakulären Verkauf der Sammlung des Duke of Hamilton anfertigte. Innerhalb von fünfzehn Tagen wurden in fünf Abschnitten 2.213 Lose versteigert, darunter Gemälde von Botticelli, Breugel, Da Vinci, Dürer, Fra Angelico, Giorgione, Holbein, Rembrandt, Rubens, Tizian, Veronese u.a., aber auch Möbel, Porzellan sowie weitere dekorative Objekte. - Nur vereinzelt im Blattrand etw. fleckig. Insgesamt äußerst wohlerhaltenes und sauberes Exemplar, die Tafeln satt im Abzug mit tiefen Schwärzen. Auction Catalogues - 5 parts in 1 vol. (complete) With 77 carbon print plates by James Craig Annan. Half leather binding of the time with leather corners, marbled covers, three-sided speckled edges and coloured paper endpapers (somewhat rubbed and bumped, the spine slightly discolored). - Two versions of this auction catalogue were published, one without plates and an illustrated edition with carbon prints by James Craig Annan like the present one. The Scottish pioneer of photography Annan was only 18 years old when he made the photographs for the spectacular sale of the Duke of Hamilton's collection. Within fifteen days, 2,213 lots were auctioned in five sections, including paintings by Botticelli, Breugel, Da Vinci, Dürer, Fra Angelico, Giorgione, Holbein, Rembrandt, Rubens, Titian, Veronese and others, as well as furniture, porcelain and other decorative objects. - Only a few spots in the margins. Altogether an excellent and clean copy.

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, a superb copy without the usual fading to spine or splaying to covers, [Dreyfus 50], folio, Nonesuch Press, 1928.

Schule Fontainebleau des 17. JahrhundertsDIE GEBURT DER VENUSÖl auf Holz. Parkettiert.137 x 187 cm.Im Zentrum die Ankunft der römischen Göttin Venus an der Küste von Paphos, auf einer großen umschäumten Muschelschale stehend. Zahlreiche Figuren um sie herum wohnen dieser Ankunft bei, so auf der rechten Randseite drei Nymphen, von denen eine einen Spiegel hält, als Zeichen für die Schönheit der Göttin. In deren Hintergrund ist ein grüner Hügel zu sehen, auf dem ein Venustempel steht. Im linken Vordergrund ist Neptun zu erkennen, begleitet von Tritonen. Zudem sind mehrere Putti, sei es am Boden oder im Himmel fliegend wiedergegeben. Vielfigurige Malerei in differenzierten Farbtönen. Die bekannteste Darstellung der Geburt der Venus stammt von Sandro Botticelli (1445-1510) und befindet sich in den Uffizien in Florenz.Anmerkung:Schule von Fontainebleau ist die Bezeichnung für eine Gruppe von Künstlern und für die von ihnen geprägte Spielart des Manierismus, die vom 16. bis zum Anfang des 17. Jahrhunderts vom Schloss Fontainebleau, der bevorzugten Residenz des französischen Königs Franz I, ausging (13713334) (18)School of Fontainebleau, 17th centuryTHE BIRTH OF VENUS Oil on panel. Parquetted.137 x 187 cm.

Sandro Botticelli (1445 – 1510) – After. Allegory. Oil on canvas. 63 x 93 cm.

Charlie Bears limited edition Botticelli Isabelle Collection panda bear, 440 of 500, designed by Isabelle Lee, purple and white long pile curly mohair and tag certificate and fabric bag-- 16in. (41cm.) high

Italy, officially known as the Italian Republic, is a country located in Southern Europe. It is known for its rich history, cultural heritage, stunning landscapes, and delicious cuisine. Here's some information about Italy:1. History and Art: Italy has a long and influential history, with ancient civilizations like the Romans and Etruscans leaving behind remarkable ruins and archaeological sites. The country is also renowned for its Renaissance art, with famous masterpieces by artists such as Leonardo da Vinci, Michelangelo, and Botticelli found in museums and churches throughout Italy.2. Landmarks and Cities: Italy is home to numerous iconic landmarks and cities. Rome, the capital city, boasts attractions like the Colosseum, Roman Forum, and Vatican City with St. Peter's Basilica and the Sistine Chapel. Florence is known for its Renaissance architecture and art, including the Florence Cathedral and the Uffizi Gallery. Other notable cities include Venice with its canals, gondolas, and St. Mark's Square, and Milan with its fashion and design scene, as well as the famous Duomo.3. Beautiful Landscapes: Italy offers diverse and breathtaking landscapes. The Amalfi Coast is famous for its stunning coastal views, colorful cliffside villages, and crystal-clear waters. Tuscany is known for its rolling hills, vineyards, and picturesque countryside dotted with charming villages. The Italian Lakes, including Lake Como and Lake Garda, offer tranquil settings surrounded by mountains. The Dolomites in northeastern Italy are a UNESCO World Heritage site known for their dramatic peaks and outdoor activities like hiking, skiing, and mountaineering.4. Cuisine and Wine: Italian cuisine is renowned worldwide, and each region has its specialties. From pasta, pizza, and risotto to gelato and tiramisu, Italian food is beloved for its fresh ingredients and flavorful combinations. Italy is also known for its wine production, with regions like Tuscany, Piedmont, and Veneto producing world-class wines such as Chianti, Barolo, and Prosecco.5. Festivals and Celebrations: Italians love to celebrate, and the country is home to numerous vibrant festivals and events. The Venice Carnival is famous for its elaborate masks and costumes, while the Palio di Siena is a thrilling horse race held in the historic city of Siena. Other notable festivals include the Verona Opera Festival, the Feast of St. Mark in Venice, and the infiorata flower festival in Spello.Italy's rich cultural heritage, diverse landscapes, and culinary delights make it a captivating destination for travelers. Whether you're exploring ancient ruins, indulging in delicious food and wine, or simply enjoying the beauty of the countryside, Italy offers a wealth of experiences and a warm hospitality that is sure to leave a lasting impression.Measures 42 x 56.

ART BOOKS - ITALIAN OLD MASTERS Comprising; Bernini, Andrea Bacchi & Anna Coliva (ed.), Oficina Librari, Milan 2017 Botticelli Reimagined, Mark Evans & Stefan Weppelmann, V&A Publishing, London, no date Leonardo da Vinici, Frank Zöllner, Taschen, Köln 2018 Michelangelo, Frank Züllner & Christof Thoenes, Taschen, Köln 2017 (4) The largest 33.5cm high x 25cm wide Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Wittrock (Wolfgang). Toulouse-Lautrec, The Complete Prints, 2 volumes, 1st edition, London: Sotheby's, 1985, numerous colour & monochrome illustrations, original uniform cloth in dust jackets & slipcase, previous owner reference sticker to the spine of volume 1, folio, together with:Horne (Herbert P.), Sandro Botticelli, Painter of Florence, London: George Bell & Sons, 1908, 42 monochrome plates, limitation slip bound in to the half-title, gutters cracked, some minor toning & spotting, original cloth spine to blue paper boards, spine toned & some loss to the label, folio, limited edition 85/240, plusMillar (Delia), The Victorian Watercolours and Drawings in the Collection of Her Majesty The Queen, 2 volumes, 1st edition, London: Philip Wilson, 1995, numerous colour & monochrome illustrations, original cloth in dust jackets & slipcase, large 4to, and other pre-20th century art reference & related, mostly original cloth in dust jackets, some paperback editions, G/VG, 4to/folio QTY: (3 shelves )

A Rosenthal ‘Botticelli’ pattern part dinner service, with blue and gilt borders, including: two various twin-handled tureens with covers; graduated set of two serving plates; square form serving plate; shallow circular bowl; and other items; together with similarly decorated Spode ‘Knightsbridge Cobalt’ pattern dinner ware.

A selection of hardback books, primarily relating to Renaissance and Ancient art, titles including: The Christian Faith in Art, by Eric Newton and William Neil; The Art of Byzantium, by David Talbot Rice; Botticelli, by Elizabeth Ripley; The Civilisation of the Renaissance in Italy, by Jacob Burckhardt; Classic Art: The Great Masters of the Italian Renaissance, by H. Wolfflin; Egyptian Art, by J. R. Harris; and others, one box.

DOROTHY DIRK AFTER BOTTICELLI; a painted plaster rectangular plaque, inscribed verso, 29 x 22.5cm.

After Sandro Botticelli (Florence, 1445-1510), coloured print, 'Spring', displayed in a gilt wood frame and under glass, 30cm x 47cm, & 40cm x 60cm overall

Bill Brandt Portraits - The Ffoto Gallery 1980's poster, depicting Peter Sellers; plus a ' Rapina A Mano Armata ' (The Killing) movie poster, printed by I.G.E Roma, approx 99cm x 68.5cm (both framed). Together with Five art exhibition posters to include R B Kitaj The Orientalist - The Tate Gallery London (99.5cm x 29cm); Sandro Botticelli - La Primavera o "Il Regno di Venere" (part.) - Firenze, Galleria degli Uffizi (printed in Italy by Enit - 1963); Arte Etrusca - Testa dell'Hermes da Veio (510 a. c.) - Roma, Museo Villa Giulia (printed in Italy by Enit - 1963); Bonnard Dans Sa Lumiere - 1975 - Saint-Paul ('Maeght Editeur - Arte Paris' to lower right); and The Self Portrait - A Modern View - Touring Exhibition. All framed (7)

Armand Point (French, 1860-1932). Oil on board painting depicting figures on horseback riding through a quiet street, 1886. Signed and dated along the lower right. Much of his early works, such as the painting offered here, were Orientalist street scenes inspired by his childhood in Algiers. Point was a founding member of the Salon de la Rose + Croix. He was involved with the Symbolist movement and was additionally deeply moved and influenced by the Italian Renaissance artists Sandro Botticelli and Leonardo da Vinci.Sight; height: 21 1/2 in x width: 36 in. Framed; height: 25 3/4 in x width: 41 1/4 in.Condition: Overall there are no major losses. The colors are bold and bright and the surface is stable. There is craquelure; there are a few spiral cracks.There is wear to the edges with areas of paint loss and chipping to the board.There a few areas with inpainting. There is a minute spot of in-painting to lower left quadrant. There is a horizontal line of inpainting along the front legs of the horse in the center of the painting, measuring approximately 1 1/2 inches. Due to the thick and uneven varnish i is difficult to determine if there are further areas of inpainting or restoration. Wear to the extreme edges of the painting, likely from the rabbet of a previous painting. A newer board has been affixed to the verso. Light wear to the frame.

After Sandro Botticelli, Italian c.1445-1510- Madonna of the Pomegranate; pencil, watercolour, pen and gold ink on paper, tondo, diameter 74 cm. Provenance: Private Collection, UK. Note: A late 19th-century copy after Botticelli's larger composition, painted in tempera on panel in c.1487, and held at the Uffizi in Florence [accession no.1607]. The subject of the Madonna of the Pomegranate (Madonna della Melagrana) was popular amongst Renaissance artists. Fra Angelico (c.1395-1455), for example, treated the subject in c.1424-26, which is today held in the Prado, Madrid [P008233]. 

Alexander Appleby Digital Memories, 2023 Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alex's main influences are derived from popular culture and undoubtedly the artworld which he is firmly a part of. Alex considers he was born to a painter and as such art these influences run deep within his family. To quote Alex, "a broad stroke of art practices excited me. Lately it is work of old masters like Botticelli, Durer and da Vinci, but I also see inspiration from modern painters like Christian Rex van Minnen, Dani Calundy and John Stark". Education Wimbledon UAL Select Exhibitions/Awards Appleby Bros - Castlegate House Gallery - May 2023 Gallery Representation Castlegate House Gallery Statement about AOAP Submitted Artwork This is a work about digital media. The kind of imagery we consume through a computer screen. It sparks a fire in me as half my memories are tied to the virtual world.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Art Books - Portraits, Portraiture, and Figurative - Joshua Reynolds; Velázquez; Holbein; Michaelangelo; Botticelli; Anthony van Dyck; Gainsborough; etc, two boxes.

Five art exhibition posters to include R B Kitaj The Orientalist - The Tate Gallery London (99.5cm x 29cm); Sandro Botticelli - La Primavera o "Il Regno di Venere" (part.) - Firenze, Galleria degli Uffizi (printed in Italy by Enit - 1963); Arte Etrusca - Testa dell'Hermes da Veio (510 a. c.) - Roma, Museo Villa Giulia (printed in Italy by Enit - 1963); Bonnard Dans Sa Lumiere - 1975 - Saint-Paul ('Maeght Editeur - Arte Paris' to lower right); and The Self Portrait - A Modern View - Touring Exhibition. All framed

Ficino (Marsilio). Epistole Marsilii Ficini Florentini, Venice: Matteo Capcasa for Hieronymus Blondus, 1st edition, 11 March 1495, 204 leaves (6 unnumbered pages, clxxxxvii, 1 unnumbered leaf), printed in Roman type, front blank with small ownership inkstamp of the Bibliotheca Heberiana, title printed in black (with woodcut motif of a phoenix) with small contemporary inscription 'Diem dies docet, Aedeus', illegible oval ownership blindstamp, and ink signature of H. N. Coleridge dated 1834, elaborate woodcut border to title verso, repeated to first two pages of the prologue, numerous small woodcut initials, occasional minor mark or small waterstain, larger stains to upper outer corners of folios CXXIV to CXXIX, dampstaining to lower blank margin beginning at leaf CXXXXI and continuing to end, with some associated fraying and small losses to final leaves, contemporary ownership inscription of Nicolas Pelletur, dated 1499 to verso of blank leaf at rear, medieval manuscript fragment bound in to rear gutter, 17th century full calf with coat-of-arms of the Prince de Condé to centre of each cover, worn with backstrip missing and small loss to lower outer corner of rear cover, folio (textblock measures 305 x 202 mm)QTY: (1)NOTE:Provenance: Nicholas Pelletur, 1499 (inscription at rear of volume); Louis de Bourbon (1621-1686), Prince de Condé, "The Great Condé" with his coat-of-arms to covers; Richard Heber (1773 – 1833), bibliophile and founder member of the Roxburghe Club, inkstamp; H. N. Coleridge (1798-1843), signature.The very early latin manucript ownership inscription in brown ink reads: 'Nicolaus pelliparius artium et medicine doctor/hunc librum emit Lugdin' precio 21 gross’/anno domini 1499/Ni pelletur' ('Nicholas Pelletur, doctor of arts and medicine/bought this book at Lyons for 21 groschen/in the year of our Lord 1499/Ni Pelletur').Hain-Copinger 7059; GW 9873; BMC V, 486; Goff F154; ISTC if00154000. Editio princeps of the Epistole of Ficino.Marsilio Ficino of Florence (1433-1499), one of the most influential thinkers of the Renaissance, put before society a new ideal of human nature, emphasising its divine potential. For Ficino, the writings of Plato provided the key to the most important knowledge for mankind, knowledge of God and the soul. Ficino had been directed by Cosimo de’ Medici towards the study of Plato in the original Greek, and later formed a close connection with Cosimo’s grandson, Lorenzo de’ Medici. Gathered round Ficino and Lorenzo were such men as Landino, Bembo, Poliziano and Pico della Mirandola. The ideas they discussed became central to the work of many Renaissance writers and artists, including Botticelli, Michelangelo, Raphael, Dürer, Spenser, Shakespeare and Donne.“The Letters occupy in fact a very important place in Ficino's work. As historical documents, they give us a vivid picture of his personal relations with his friends and pupils, and of his own literary and scholarly activities. As pieces of literature, edited and collected by himself, the letters take their place among other correspondences of the time and are a monument of humanistic scholarship and literature. Finally, the letters are conscious vehicles of moral and philosophical teaching and often reach the dimensions of a short treatise. Ficino began to collect his letters in the 1470's, gradually arranged them in twelve books, had them circulated in numerous manuscript copies, and finally had them printed in 1495." (Paul Oskar Kristeller).

Cassandra Annie Walker for Della Robbia'Cantagali shape' twin-handled vase, dated 1903Terracotta, slip and sgraffito decorated with two portraits of women after Botticelli and Glasgow School stylised foliage, having moulded ring or 'fish' handles, coloured and glazed.32 cm highIncised Della Robbia galleon mark, with D R, 1903, C.A.W, .321. and 143 in an oval.Footnotes:LiteraturePeter Hyland, The Della Robbia Pottery, Birkenhead 1894-1906, 2014, p.164, Fig.174 (shows similar form recorded as 'Cantagali shape' and decorated with a paler, portrait of a woman, noted as after Botticelli)Cassandra Annie Walker was one of Della Robbia's best and longest serving designers and artists, and as with all of those who worked there, she would have executed her own designs as well as some by others. She continued her artistic education whilst working for Della Robbia and signed up for classes at the Liverpool School of Architecture and Applied Art (the 'Art Sheds') in 1896 and 1901, respectively. Interestingly, Herbert McNair, one of 'The Glasgow Four', moved to Liverpool in 1898 to take up a teaching post at the School. Herbert married Frances MacDonald in 1899 and they stayed in Liverpool until 1905. The connection to the School perhaps explains the Glasgow style influence of the decoration on the sides of the present vase.For further information on this lot please visit Bonhams.com

A group of art reference books, to include Grahame The Classified Directory of Artist's Signatures, Symbols and Monograms, Artists of Northumbria, Decorative Arts from the Ottoman Empire, Waters (Grant M) Dictionary of British Artists Working 1900-1950, further works relating to Botticelli, Leonardo Da Vinci, miniaturists, Dutch painting, etc. (1 shelf)