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"After Botticelli - The Birth of Venus; after Canaletto - The Bucentaur at the Piazzetta, photographic reproductions (2) "

A COLLECTION OF MINIATURE PORTRAITS DEPICTING VARIOUS ARMY OFFICERS AND LADIES TOGETHER WITH OVAL MAGNIFICAT BOTTICELLI PRINT

After Botticelli - `Virgin with Child and Singing Angels`, tondo colour print, diameter approx 55cm, within an oak frame with applied inscribed plaque.

Louis Le Brocquy RHA (1916-2012) Procession with Lilies Oil on canvas, 115 x 147cm (45½ x 57¾") Signed and dated (19)'84-85 verso; inscribed with title, dated 1984-85 and numbered '523' on stretcher Literature: "Louis le Brocquy - Procession" Gandon Editions 1994, full page illustration p22 Procession with Lilies is the second in a series of four major paintings by Louis Le Brocquy. The catalyst for the subject was a photograph which appeared on 14th June 1939 in the Evening Herald and was sent to the artist, then living in France, by Robert Dobbyn, manager of the le Brocquy family oil business. It shows Dublin schoolgirls attired in white communion dresses, carrying bunches of lilies. They are returning from the Franciscan Church of Adam and Eve on Merchant Quay where they have taken part in the celebration of the feast of St. Anthony. The ceremonial aspect of the image appealed to the artist as well as the tension that it evoked between the playful innocence of childhood and the constraints of ritual and religion. Later the artist described its composition as evocative, 'recalling even Botticelli... The whiteness of these girls holding their lilies, submerged in time, seemed to me to be equally mysterious'. While le Brocquy made some sketches based on the image in the 1940s and 1960s it was not until the mid 1980s that it inspired the series of Procession paintings. Whereas his earlier works such as the Presences and Heads series emphasised the isolation of the individual, the theme of the procession allowed le Brocquy to explore the dynamics of the group. The artist also connected the subject with the ideas of James Joyce, Bloomsday coinciding closely with the date of the photograph. He described the subject as 'a Joycean charade, a conscious but fleeting actuality in a continuous progression of present thoughts'. This idea of the effect of memory on the passing moment is evoked in the painting through the use of fragmented forms which breaks up the sense of a specific historical instant frozen in time and space. Instead the resulting painting depicts the figures as elements integrated with their surrounding space and with each other through a cubist inspired flattening of perspective and faceting of form. The lack of solidity adds to the dynamism and fluidity of the composition. Le Brocquy emphasises the timeless aspects of the procession through the otherwordly appearance of the figures, the whiteness of whose costumes give them a ghostly air. The restricted palette of greys, green and whites, flecked by strong red and orange, and the darkened facial features similarly lend the subject a strange and perplexing quality. Ultimately however a sense of the joy and carefree attitude of childhood permeates the work with each figure expressing its individuality while remaining part of the procession. Dr. Roisin Kennedy August 2012 I Louis le Brocquy. Procession, Gandon Editions, 1994, p.8. II Louis le Brocquy quoted in Louis le Brocquy Paintings 1939-1996, IMMA, 1996, p.83.

AFTER SANDRO BOTTICELLI (c.1445-1510) MADONNA OF THE MAGNIFICAT (detail) Watercolour 49.5 x 38.5cm. * A detail, circa 1900-1920, from Botticelli`s original of c.1485 (Florence, Uffizi) ++ Generally good condition; slightly faded

A large Della Robbia pottery two handled vase, late 19th/early 20th Century, decorated by Madame Marianne de Caluwé, monogrammed, to one side a portrait of a girl above the inscription `S. Botticelli`, to the reverse a tree wrapped with a ribbon banner inscribed "`O Alma Mater Redemptoris", Chaucer`, within foliate framing, flanked by loop handles with mask terminals, incised and painted marks to base, height approx 38cm.

A miniature after Botticelli, in an enamelled oval easel back frame, 4.5cm, two miniatures, and a print

Roethlisberger (Marcel). Claude Lorrain, The Drawings, 2 vols., University of California Press, 1968, num. b&w plts., orig. cloth in d.j.s (a few tape repairs to versos), large 4to, together with Wheelock (Arthur K., Jr.; Barnes, Susan J. & Held, Julius S.), Van Dyck Paintings, 1991, col. and b&w illusts. throughout, orig. cloth gilt in d.j., large 4to, plus Brown (Christopher), Van Dyck Drawings, 1991, col. and b&w illusts. throughout, orig. cloth gilt in d.j., large 4to, plus seventeen other art reference, incl. Sandro Botticelli, Life and Work, by Ronald Lightbrown, 1989 (d.j. repaired), etc. (21)

After Sandro Botticelli - Tondo Study of the Crowning of the Virgin, late 19th Century sepia watercolour and ink heightened with white, diameter approx 27cm, within a circular wood frame.

16TH CENTURY CONTINENTAL SCHOOL IN THE MANNER OF BOTTICELLI "Lady seated at a window, a jewellery casket upon a ledge, a pearl and jewelled necklace in her right hand, a landscape unfolding in the background", oil on panel, unsigned, 28.2 cm x 17.5 cm (ILLUSTRATED)

An extensive Rosenthal porcelain dinner service decorated in the `Botticelli` pattern and including; twenty-three dinner plates (25.6cm diameter), twelve plates (19.8cm diameter), twelve plates (15.4cm diameter), twelve dessert bowls (25.6cm diameter), two lidded tureens, one large lidded tureen, two sauce boats and stands, one large platter, five smaller platters, three circular large plates, four square shaped bowls and one shaped dish.

AFTER BOTTICELLI, `Portraits of young women`, lithographs, 28cm x 20cm, framed.

Julia Cartwright; "Sandro Botticelli" bound in decorative leather boards, "The Handy Natural History of Mammals" by Protheroe, published 1909, in "prize" boards and various other books.

After Sandro Botticelli - Tondo Study of The Crowning of the Virgin, late 19th Century sepia watercolour and ink heightened with white, diameter approx 27cm, within a circular wood frame.

A mixed lot of decorative items, to include: a Goebel vase transfer decorated after Botticelli with the Birth of Venus, an anniversary clock, two pieces of Maling and a Royal Doulton character jug, Drake.

A small quantity of Rosenthal "Botticelli" pattern table ware including 2 tureens, sauce boat on stand, oval serving platters etc (a lot, as viewed)

Franklin Mint 100 Greatest Masterpieces silver proof medals, including Praying Hands (Albrecht Durer 1508), The Virgin of the Rocks (Sandro Botticelli , circa 1480), many other masterpieces, housed in a good quality wooden chest of six drawers, with certificates (100 medals)

A small selection of Arts Reference Volumes etc., including Sandro Botticelli, Hans Holbein and Rubens etc., (5)

MINIATURE WATERCOLOUR ON IVORY after Botticelli`s Madonna del Libro, signed DIMA, the oval shaped painting set in ivory clad frame with gilt metal surround, the frame marked Avorio D M, miniature 6cm x 5cm, frame 12.5cm x 11.5cm

19th Century Limoges style enamel plaque with decoration depicting the Madonna and Child after Botticelli, signed Marchaison, 13.25cm x 9.5cm in a giltwood easel frame

Dante Alighieri. La Divina Commedia or The Divine translated by H.F.Cary number 782 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 spine very slightly faded but not as much as usual modern cloth slip-case [Dreyfus 50] folio Nonesuch Press 1928.

(Roger binder).- Dante Alighieri. La Divina Comme (Roger binder).- Dante Alighieri. La Divina Commedia or the Divine Vision... translated by H.F.Cary number 560 of 1475 copies printed in Monotype Blado text in Italian and English double-page plates from drawings by Sandro Botticelli bound in crimson goatskin by Roger Powell with five-line gilt circling ribbons on covers and across spine small gilt dots along upper and lower edges spine titled in gilt and with floral ornament at head and foot five raised bands t.e.g. others uncut marbled endpapers signed “19 RP 77” in blind at foot of rear turn-in goatskin-backed cloth drop-back box spine a little faded folio Nonesuch Press 1928.

COLLECTION OF SILVER ITEMS comprising a pair of floral engraved glass holders; two embossed pill boxes, one with deity and floral decoration and the other depicting Botticelli`s `Primavera`; a vesta; a caddy spoon; a metal cased Waltham pocket watch; a plated fob watch; and a silver and stone set plaid brooch

Dante Alighieri. La Divina Commedia translated by H.F.Cary one of 1475 copies text in Italian and English double-page plates from drawings by Sandro Botticelli some foxing particularly at beginning and end original vellum stained orange gilt t.e.g. others uncut spine faded as usual Nonesuch Press 1928 § Percy (Thomas translator) Ancient Songs chiefly on Moorish subjects number 224 of 250 copies plates ink signature stamp and number on front free endpaper original cloth-backed boards uncut soiled Oxford 1932 § [Morison (Stanley)] Edward Topham 1751-1820 first edition one of 100 copies colour frontispiece plate stab-marks to lower outer corner of some leaves original boards dust-jacket worn and faded Cambridge 1933; and 3 others v.s. (6)(6)

A Caithness cut glass vase by David Gulland depicting the birth of Venus after Botticelli, signed and dated 1972, 8 3/4" high.

Candino, a gentleman`s 18 carat gold wristwatch, with automatic movement; Raymond Weil, a stainless steel dress watch, on white rubber strap; DKNY, a lady`s stainless steel coppered bracelet dress watch, with stone set bezel; Dolce & Gabbana, a lady`s stainless steel wristwatch: and Botticelli, a stainless steel wristwatch

School of Mantegna c.1495-1498- The Senators (B.11, H.16 L.126, premier Engraver) together with the Corselet Bearers, (B.13,H.15, L.123, Giulio Campagnola) engravings, circa. 1495-1498, two plates, trimmed to subject, paper losses at edges of sheet and some restorations and one later engraving after Mantegna, (3) (unframed) Note: Mantegna as a painter is well documented but as an engraver his history is obscure, he rarely signed or dated any of his plates, apart from a brief period in 1472. Vasari`s asserts that Mantegna began engraving in Rome prompted by the engravings produced by the Florentine Baccio Baldini after Sandro Botticelli. This places Mantegna in the later part of his career and seemingly unlikely; with his earlier engravings indicating an earlier period of his artistic style. He may have begun engraving while still in Padua under the tuition of a distinguished goldsmith, Niccolò. (LP)

Sel. art books inc Botticelli & Van Gogh

Three small water colour portraits on ivory all within matching gilt metal frames, one depicting Filippo Lippi`s Madonna (oval), another Botticelli`s Madonna and the third of a pious woman (both round).

A folio of assorted pictures and prints, including four costume designs by George Barbier, a colour etching by Max Rives, charcoal nude studies stamped `Janowski`, photogravures after Ghirlandajo and Botticelli, and others.

AFTER SANDRO BOTTICELLI, 19TH CENTURY MADONNA OF THE MAGNIFICAT circular, 77cm diam, unframed After the picture of c1485 in the Uffizi Gallery, Florence. ++In fine condition, not lined and on the original stretchers. A good quality copy in need of a light clean

Lightbown (Ronald) Sandro Botticelli 2 vol. Berkeley & Los Angeles 1978 § Ahl (D.C.) Benozzo Gozzoli New Haven & London 1996 § Wright (A.) The Pollaiuolo Brothers New Haven & London 2005 § Cadogan (J.K.) Domenico Ghirlandaio New Haven & London 2000 § Kent (D.) Cosimo de`Medici and the Florentine Renaissance New Haven & London 2000 § Olson (R.) The Florentine Tondo Oxford 2000 § Barriault (A.B.) Spalliera Paintings of Renaissance Tuscany University Park Pa. 1994. illustrations some colour original cloth dust-jackets the first also with slip-case; and 15 others on late 15th century Florentine painting v.s.(23)

A COLLECTION OF TEN ITALIAN SHELL CAMEOS of shaped oval form, signed Balzano Garofalo, Esposito after Botticelli and others, approximate maximum measurement 4" x 3" (see illustration).

A reconstituted stone figure of Botticelli`s Venus, lacking feet, 140 cm high.

THREE FOLD DRAUGHT SCREEN ENGLISH SCHOOL, 1990S each fold with lancet arch, painted after Botticelli`s Nymphs of Galatea, gilt framed each fold 51cm wide, 188cm high

CONSTANCE SPRY "Come into the Garden Cook", signed 30th June 1955, Raphael Tuck and Sons, The Dollshouse Postcards, two folders of coloured prints, Botticelli and Prugino and topical black and white postcards

THREE MINIATURES, after Botticelli, watercolour in ivory; a reclining nude with putti, watercolour on ivory; two girls in Renaissance costume, watercolour in ivory. (3) First 9.5cm by 7cm

after Sandro Botticelli, The Madonna of the Magnificat, Tondo, oil on board, 51cm (20") diameter, in a carved wood and gilt gesso frame, Provenance: Prinknash Abbey

A Botticelli print of the Prima Vera, 20" x 42".

ANNILEASE GALIOTTI (19TH CENTURY) of Florence after Botticelli - Judith's return to Bethulia, signed, watercolour, 10 1/2" x 8" in decorative gilt wood and gesso frame, the borders decorated with neo-classical style urns, swags and foliage, titled and inscribed to card backing verso (see illustration).

After Sandro Botticelli c.1445-1510- "The Virgin and Child with the Young St John the Baptist and an Angel", published by A & C Black, Soho, London from the Menpes series of great masters; colour reproduction print, in a gilt tondo frame, 41cm., dia. Note: The original is held by the National Gallery, London

A pair of early 20th Century silk needlework panels, fruit, flowers and birds, 75cm x 39.5cm (29.5"x 15.5"), framed and glazed and a large framed print after Botticelli

A 20th century Murano glass panel, inscribed to the stand Part. Primavera del Botticelli Firenze, etched and gilded decoration of classical figures in woodland setting, signed Brubos, 51cm (20in) high

Yashiro, Yukio, Sandro Botticelli. London, Medici Society, 1925, first edition, 3 volumes, 4to, number 59 of 630 copies, plates, original buckram, t.e.g., uncut, very lightly marked (3)

Nonesuch Press. La Divina Commedia, or The Divine Vision of Dante Alighieri in Italian & English, 1928, forty-two illusts. after Sandro Botticelli, many double-page, free endpapers browned, t.e.g., remainder untrimmed, orig. orange vellum gilt, spine sl. sunned, contained in cloth slipcase, folio Limited edition 1229/1475. (1)

After Botticelli, Venus and Mars, Watercolour, 24.5cm x 61.5cm.

A sculpted white marble model of a nude maiden last quarter 20th century loosely in the manner of Sandro Botticelli”s Birth of Venus with rockwork base 203cm high Provenance: a Cheshire country estate

Jackson (Charles James). An Illustrated History of Church Plate Ecclesiastical and Secular, 2 vols., Holland Press, 1967, b & w illusts., orig. cloth in VG d.j., 4to, together with Binyon (Laurence), The Art of Botticelli, 1913, signed etched frontis. by Muirhead Bone, numerous colour plts., orig. quarter vellum gilt, folio (limited edition of 275), and Richter (J.P.), The Mond Collection, 2 vols., 1910, b & w plts., t.e.g., orig. dec. vellum, 4to, plusErnst (Henri, pub.) Tapis Roumains/Tapis Anciens de la Chine/Tapis de Finlande Norvege Suede/Tapis de Pologne, Lithuane et Yougoslavie, pub. Paris, c.1920s, together four volumes of textile designs, colour porchoir style illusts., all in orig cloth-backed portfolios, some wear to extrems., folio (9)

CONWAY, SIR MARTIN, ED. CATALOGUE OF THE LOAN EXHIBITION of Flemish & Belgian Art, Burlington House, 1927. Limited Edition, No. 895 of 1000 copies. Large 4to., orig. boards, d.w. orig. board shipcase -- HORNE, HERBERT P. Sandro Botticelli. 1908. Folio, orig. boards, linen backed. Plates (2)

Modern Pen Drawings European & American, 1901] A Studio Special Number, with two others: Modern Etching & Engraving (1902), & Modern Etchings Mezzotints & Dry-Points (1913). Also two Phaidon monographs: Botticelli (1937), & Raphael (1948) (5)

Property of a Lady After Alessandro Filipepi, called Sandro Botticelli La Primavera oil on canvas 204 by 312.5 cm.; 80.25 by 123 in. A 19th century copy after Botticelli's original presently in the Galleria degli Uffizi, Florence. Botticelli's canonical composition is one of the most original and famous pictures of the Florentine renaissance.

A Botticelli style oil on canvas of a reclining nude lady 39 1 - 2" x 20 1 - 2""

Gregynog Press. The Plays of Euripides, illust. Robert Ashwin Maynard and Horace Walter Bray, 2. vols., 1931, untrimmed, orig. terracotta cloth, heavily rubbed and marked, 1st vol. with some fraying to foot of spine, folio, limited edition 55/500, together with Nonesuch Press. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, 1928, b&w plts. after Botticelli, front endpaper and front blank water stained, partly untrimmed, orig. orange vellum, a little rubbed and marked, spine lightly faded, folio, plus Cresset Press. The Heroycall Epistles of the Learned Poet Publius Ovidius Naso, trans. George Turbervile, illust. Hester Sainsbury, 1928, b&w plts., t.e.g., remainder untrimmed, orig. cloth, sl. rubbed and spine sl. dulled, small folio (4)

Gerald Leslie Brockhurst, R.A., 1890-1978. the rape of lucretia, incised with signature, tempera on panel, 30.5x39.5cm.; 12x15.5in. , Executed circa 1923. Brockhurst was accepted into the Birmingham School of Art at the early age of 12 and went on to the Royal Academy Schools in 1907. He first visited Italy in 1913-14 and was profoundly influenced by the early Renaissance paintings he saw there.. He was particularly taken with the , work of Piero della Francesca, Botticelli and Leonardo Da Vinci.

Manner of Sandro Botticelli The Madonna and Child oil on panel, arched top, in a tabernacle frame 81.5 by 45 cm.; 32.125 by 17.625 in..

Doni (Pietro). Pitture del Doni, Academico Pellegrino. Nelle quali si mostra di nuova inventione: Amore, Fortuna, Tempo, Castita, Religione, Sdegno, Riforma, Morte, Sonno & Sogno, Huomo, Republica, & Magnanimita, Libro Primo [all pub.], Paduo, 1564,. title with printer's woodcut device, old inscription to verso (covered with bistre crayon), light water stain to upper portion of title, first three leaves and final leaf of text with minor paper repair to extreme outer corners, large pictorial woodcut initials, some minor marks throughout, later marbled boards with dark blue morocco label to spine, rubbed and a little chipped at head and foot of spine, 4to. An important work on the art of painting, with suggestions for appropriate subjects. The text refers to important contemporary figures such as Vasari, Botticelli, Ghirlandaio, Gonzaga, Strozzi, etc. (1)

La Divina Commedia or Divine Vision of Dante Alighieri, London, The Nonesuch Press, 1928, large 8vo (310 x 190mm.), 42 double-page plates after Sandro Botticelli, original orange morocco gilt, t.e.g., No. 233 of 1475 Limited Edition copies

Nonesuch Press. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian and English, 1928,. forty-two double-page sepia plts. after Botticelli, endpapers soiled, orig. orange-stained vellum, gilt, bowed as usual, spine not faded, but with signs of removal of small mark at base, folio. Number 716 of 1475 copies. Cary's translation; the first occasion that the full set of Botticelli drawings had been published with the text. (1)

NONESUCH PRESS. Dante Alighieri. La Divina Commedia.in Italian and English. Limited Edition, No. 735 of 1475 copies, 1928. Large 8vo., orig. orange vellum gil, t.e.g. (spine faded, slightly warped). Plates after S. Botticelli.

AN ENAMEL PLAQUE IN LIMOGES STYLE Painted with the Madonna and Child by Marchaison after Botticelli, 5.25in.(13.5cm.) x 3.35in.(9.5cm.). In gilt frame.