There are 481 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe{ Option of lots: 70 } Florentine Domed Mirror Genuine English Reclaimed Timber The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For, Having Nurtured The Talents Of Both Michelangelo And Botticelli. Regal Curves Are Handcrafted Around The Domed Mirror, With A Slightly Distorting Effect For Modern Day Drama. 110 X 10 X 95cm RRP £2080
Florentine Domed Mirror Genuine English Reclaimed Timber The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For, Having Nurtured The Talents Of Both Michelangelo And Botticelli. Regal Curves Are Handcrafted Around The Domed Mirror, With A Slightly Distorting Effect For Modern Day Drama. 110 X 10 X 95cm RRP £2080
Florentine Domed Mirror Genuine English Reclaimed Timber Stained Black The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For, Having Nurtured The Talents Of Both Michelangelo And Botticelli. Regal Curves Are Handcrafted Around The Domed Mirror, With A Slightly Distorting Effect For Modern Day Drama. 110 X 10 X 95cm RRP £2080
Flemish School, Mary Magdalene with anointing pot, 16th/17th century, tempera on panel, 63 cm x 45 cm. NOTE - Accompanied by a report from The Leicester Museums & Art Gallery Identification Service which notes that it is probably a copy after Botticelli by a Northern European artist (see illustration).
*Cannelli (Luigi Stefano, active 2003). Sappho "Invito all Erano", pottery charger painted in the style of Sandro Botticelli, showing a mother and child by the sea, painted marks to base including a poem by Sappho, translated by S. Quasimondo, painted in the workshop in Gubbio, Italy, 40.5cm diameter, with related paperwork (1)
NO RESERVE Italian Art.- Berenson (Bernard) The Drawings of the Florentine Painters, 3 vol., second impression, Chicago & London, 1970 § Cadogan (J.K.) Domenico Ghirlandaio, 2000 § Wright (A.) The Pollaiulo Brothers, New Haven & London, 2005 § Lightbown (R.) Sandro Botticelli, 2 vol., 1978 § Fischer (Chris) Fra Bartolomeo: Master Draughtsman of the High Renaissance, Rotterdam, 1990 § Kanter (L.B.) Luca Signorelli: The Complete Paintings, 2001, illustrations, original cloth, the first with slip-case (a little soiled), the rest dust-jackets; and c.25 others on later Florentine Renaissance art, 4to & 8vo (c.35)
Malcolm Archer signed Sandro Botticelli coin cover. Benham official FDC PNC, with 1998 Isle of Man 50p coin inset. Bethlehem Llandeilo 6/11/2007 postmark. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95
SHERINGHAM G. & BOYD MORRISON R. (Eds). Robes Of Thespis, Costume Designs By Modern Artists. Col. & other plates & illus. Quarto. Orig. blue cloth gilt. Ex lib. with no. to back & stamps & labels mainly to early leaves. 1928; also Reynolds by Randall Davies, 1913 & Arundel Library, Sandro Botticelli, n.d., each quarto & ex lib. with plates & illus. (3).
*De Morgan (Evelyn, 1855-1919). Head of the Madonna, after Botticelli's Virgin and Child with Saint John and an Angel, pencil on thick paper, laid down on card, head and shoulder study of a young girl wearing an embroidered head covering, inscribed in the artist's hand with date '1875' and '42 Euston Sqr' lower left and right respectively, a little dusty, mainly to margins, 35 x 25cm (13.75 x 10ins) Aged just twenty when she produced this highly skilled drawing, Evelyn De Morgan had already spent three years studying at the Slade School of Art, and been awarded a number of prizes by that establishment. The original painting now described as Workshop of Botticelli, is in the National Gallery, London. (1)
Manetti Antonio. Dialogo... circa al sito, forma, & misure dello 'Inferno' di Dante Alighieri. [Firenze: Filippo Giunta, 1506 ca.].8° (153x98 mm). 56 leaves. Collation: A-G8. Seven woodcuts showing cross-sections and maps of Hell and a map of the Earth on fols. C8v, G1r, G2r, G3r, G4r, G4v, G5v. A good copy, first quire uniformely browned; pale waterstain to the gutter. Contemporary limp vellum, pastedowns and flyleaves re-mounted. Ownership inscription on the title-page, 'Dominusnobis App. Loco Cappucc. Forlj'. The first separate edition of the Dialogo circa el sito, forma et misure dello Inferno by the Florentine mathematician, architect, and member of the Accademia Fiorentina Antonio di Tuccio Manetti (1423- 1497), posthumously edited from Manetti's notes by the humanist Girolamo Benivieni (1453-1542), and presenting for the first time in the iconographical tradition of the Commedia woodcut cross-sections and maps of Hell. The images illustrating the position, structure, and dimensions of Hell are based on Manetti's unpublished calculations and designs, which had been one of the sources employed - in addition to Nardo di Cione's fresco in Santa Maria Novella in Florence - by Sandro Botticelli for his famous La Mappa dell'Inferno (Biblioteca Vaticana, ms Vat. Lat. 1896). A synopsis of Manetti's calculations had already been included by Landino in his commentary to the Commedia of 1481, but only after the Giuntina publication did the vogue for measuring and mapping Hell become widespread. Manetti's Discorso was also included in the first edition Commedia from the press of Filippo Giunta, appeared in the same year 1506. Adams, M 351; Sander, 4181. In-8° (mm 153x98). Segnatura: A-G8. Carte 56. Carattere corsivo. Illustrato da sette xilografie, rispettivamente impresse alle carte C8v, G1r, G2r, G3r, G4r, G4v, G5v e raffiguranti piante e spaccati dell'inferno dantesco. Buon esemplare, carte del primo fascicolo uniformemente brunite, lieve gora al margine interno del volume. Legatura coeva in pergamena floscia, contropiatti e sguardie rimontate. Al frontespizio nota di possesso manoscritta: 'Dominus nobis App. Loco Cappucc. Forlj'. Prima edizione separata del Dialogo dell'umanista, matematico e architetto di Firenze Antonio Manetti (1423- 1497), stampata molto probabilmente dai Giunta a Firenze intorno al 1506, anno in cui la stessa tipografia aveva pubblicato un'edizione della Commedia curata da Girolamo Benivieni (1453-1542), che conteneva anche il testo del trattato del Manetti. L'opera, nella quale sono fornite le spiegazioni cosmo- logiche su ubicazione, struttura e proporzioni dell'Inferno dantesco, era già stata menzionata e ampiamente utilizzata da Cristoforo Landino nel suo commento alla Commedia del 1481. Il Dialogo venne pubblicato postumo per le cure del Benivieni - che di Manetti fu allievo e amico - sulla base degli appunti che il maestro gli aveva lasciato in eredità, come si ricava anche dalla prefazione indirizzata a Benedetto Manetti, fratello del celebre matematico. Da tale scritto preliminare si apprende infatti che, dopo un periodo di esitazione, il Benivieni si decise a sistemare il materiale di argomento dantesco redatto dal Manetti e a pubblicare l'operetta a vantaggio della comunità degli studiosi del poema. Adams, M 351; Sander, 4181.
Manetti Antonio. Dialogo... circa al sito, forma, & misure dello 'Inferno' di Dante Alighieri. [Firenze: Filippo Giunta, 1506 ca.]. In-8° (mm 153x98). Segnatura: A-G8. Carte 56. Carattere corsivo. Illustrato da sette xilografie, rispettivamente impresse alle carte C8v, G1r, G2r, G3r, G4r, G4v, G5v e raffiguranti piante e spaccati dell'inferno dantesco. Buon esemplare, carte del primo fascicolo uniformemente brunite, lieve gora al margine interno del volume. Legatura coeva in pergamena floscia, contropiatti e sguardie rimontate. Al frontespizio nota di possesso manoscritta: 'Dominus nobis App. Loco Cappucc. Forlj'. Prima edizione separata del Dialogo dell'umanista, matematico e architetto di Firenze Antonio Manetti (1423- 1497), stampata molto probabilmente dai Giunta a Firenze intorno al 1506, anno in cui la stessa tipografia aveva pubblicato un'edizione della Commedia curata da Girolamo Benivieni (1453-1542), che conteneva anche il testo del trattato del Manetti. L'opera, nella quale sono fornite le spiegazioni cosmo- logiche su ubicazione, struttura e proporzioni dell'Inferno dantesco, era già stata menzionata e ampiamente utilizzata da Cristoforo Landino nel suo commento alla Commedia del 1481. Il Dialogo venne pubblicato postumo per le cure del Benivieni - che di Manetti fu allievo e amico - sulla base degli appunti che il maestro gli aveva lasciato in eredità, come si ricava anche dalla prefazione indirizzata a Benedetto Manetti, fratello del celebre matematico. Da tale scritto preliminare si apprende infatti che, dopo un periodo di esitazione, il Benivieni si decise a sistemare il materiale di argomento dantesco redatto dal Manetti e a pubblicare l'operetta a vantaggio della comunità degli studiosi del poema. Adams, M 351; Sander, 4181. 8° (153x98 mm). 56 leaves. Collation: A-G8. Seven woodcuts showing cross-sections and maps of Hell and a map of the Earth on fols. C8v, G1r, G2r, G3r, G4r, G4v, G5v. A good copy, first quire uniformely browned; pale waterstain to the gutter. Contemporary limp vellum, pastedowns and flyleaves re-mounted. Ownership inscription on the title-page, 'Dominusnobis App. Loco Cappucc. Forlj'.The first separate edition of the Dialogo circa el sito, forma et misure dello Inferno by the Florentine mathematician, architect, and member of the Accademia Fiorentina Antonio di Tuccio Manetti (1423- 1497), posthumously edited from Manetti's notes by the humanist Girolamo Benivieni (1453-1542), and presenting for the first time in the iconographical tradition of the Commedia woodcut cross-sections and maps of Hell. The images illustrating the position, structure, and dimensions of Hell are based on Manetti's unpublished calculations and designs, which had been one of the sources employed - in addition to Nardo di Cione's fresco in Santa Maria Novella in Florence - by Sandro Botticelli for his famous La Mappa dell'Inferno (Biblioteca Vaticana, ms Vat. Lat. 1896). A synopsis of Manetti's calculations had already been included by Landino in his commentary to the Commedia of 1481, but only after the Giuntina publication did the vogue for measuring and mapping Hell become widespread. Manetti's Discorso was also included in the first edition Commedia from the press of Filippo Giunta, appeared in the same year 1506.Adams, M 351; Sander, 4181.
Nonesuch Press.- Dante Alighieri. La Divina Commedia Or the Divine Vision of Dante Alighieri in Italian & English, translated by H.F.Cary, number 932 of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, engraved bookplate of John Raymond Danson, offsetting on to front free endpaper, original vellum stained orange, gilt, t.e.g., others uncut, without the usual extensive fading to spine, lightly marked, [Dreyfus 50], folio, Nonesuch Press, 1928.
Florentine Mirror Hv Ds Gls - Vintage Chrome 150 X 6 X 200cm The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For Having Nurtured The Talents Of Both Michelangelo And Botticelli Regal Curves Are Handcrafted Around The Domed Mir With A Slightly Distorting Effect For Modern Day Drama
Repubblica Italiana - Secolo XX - Insieme di natura collezionistica comprendente n. 4 10.000 Lire "Michelangelo", n. 1 20.000 "Tiziano", n. 1 50.000 "Volto di donna", n. 1 100.000 "Botticelli" e n. 12 500.000 "Michelangelo" - In lotto anceh n. 11 10 Lire "Impero" - Buona qualità per quasi tutti gli esemplari - Da esaminare € 1500
Cary (Henry Francis). The Vision; Or, Hell, Purgatory, and Paradise, of Dante Alighieri, volumes 1-3, 3rd edition, 1831, some minor spotting, uniform modern red morocco spines retaining contemporary gilt decorated calf boards, slightly rubbed to head and foot, 8vo, together with Moore (Edward), Studies in Danite, volumes 1-4, OUP, 1968-69, uniform original blue cloth in dust jackets, spines slightly faded and rubbed to head and foot, 8vo, and Botticelli, The Drawings for Dante's Divine Comedy, 2000, numerous colour and monochrome illustrations, original boards, oblong 4to, plus other 19th and 20th century Dante reference and literature, mostly original cloth, some in dust jackets, some foreign language and paperback editions, G/VG, 8vo/4to (3 shelves)
Ann Griffin-Bernstorff (20th/21st Century) CATTLE IN A FIELD, 1986 oil on canvas signed and dated lower right 26½ x 27½in. (67.31 x 69.85cm) Ann Griffin-Bernstorff is a native of Co. Limerick. Having trained as a horticulturist in France, she won the Taylor Art Scholarship in 1963, which saw her move to Paris to study at the Atelier Yves Brayer and Ecole des Beaux Arts. She then came to Dublin where she spent five years training and working as a picture restorer. In 1957 she married a Danish aristocrat, Count Gunnar Bernstorff, and they settled in Berkely Forest, an historic house near New Ross.Ann Griffin-Bernstorff's art is encouraged by a number of influences. Having amassed a fine collection of antique dolls and costumes, her work conveys playful, almost storybook scenarios. She looks to Botticelli as well as early Dutch and Flemish artists. Even at a glance, the influence of the Old Masters is evident, but at the same time Ann’s work inspires an element of fun, drawn straight from her own imagination. The figures depicted in her paintings are plump and pale faced, their attire plucked from a stage costume wardrobe. Each scene is whimsical, often portraying brightly painted images of mythical creatures before a theatrical backdrop.The on-going Ros Tapestry Project is a momentous community scheme based on art and history within the town of New Ross, County Wexford. The project has produced a tapestry comprised of fifteen large panels, each telling the story of the Normans coming to Ireland in the twelfth century. Ann acted as historian for the venture as well as painting the cartoons for each panel, while an assembly of volunteers workedon the stitching of each section.Griffin-Bernstorf's work is to be found in the following Irish public collections: the Office of Public Works, National Self Portrait Collection, University of Limerick and the Lambert Modern Art Collection, Irish Museum of Modern Art, Kilmainham, Dublin. She has exhibited widely in Dublin, Wexford and Derry and internationally in London, Chicago, New York and Miami.
BRITISH SCHOOL (MODERN) MIXED MEDIA ON CARDBOARD Abstract composition 19 3/4" x 19" (50cm x 48cm) also a MODERN ABSTRACT OIL PAINTING ON BLOCK CANVAS BY CAROLINE JARIWALA entitled 'Hefted to Delph' dated 2007 24" x 24" (61cm x 61cm) REPRODUCTION PRINTS AFTER ELIZABETH FRINK, PAUL KLEE, BOTTICELLI AND VARIOUS OTHER PICTURES (12)
Mother Teresa autographed postcard. Very, very rare vintage religious postcard of Madonna, Child and Singing Angels by Botticelli, autographed on the front by the late great Mother Teresa, winner of the Nobel Peace Prize who was recently canonised, now known as Saint Teresa of Calcutta. She has added God Bless You to her signature. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Binyon (Laurence). The Art of Botticelli, an essay in pictorial criticism, 1913, 21 (of 23) plates including frontispiece etching lacks colour plates at pp. 46 & 56), some light toning, original quarter vellum, spine slightly marked, folio, (limited edition of 275), together with James (M.R.), The Canterbury Psalter, 1935, numerous colour and black and white facsimiles, some minor toning, original gilt-decorated blue cloth, spine slightly faded, folio, (limited edition 342/425), plus Van Gogh (Vincent), The Complete Letters of... , volumes 1-3, USA, 1959, numerous stuck down plates, original gilt-decorated black cloth in partial slipcase, spines slightly faded, 8vo, plus other modern art reference, mostly original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)
Nonesuch Press. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, 1928, parallel text in two columns, forty-two illustrations after Sandro Botticelli, endpapers slightly toned, top edge gilt remainder untrimmed, original orange vellum gilt, a very bright copy, folio (1)
Loading...
