* Baglione (Giovanni, 1566/71-1643/44). Young couple in contemporary dress, black chalk on pale grey-brown laid paper, with touches of white chalk, early manuscript number 174 in brown ink to centre of top margin, and ‘l 225’ in brown ink to lower right corner, inscribed in pencil to verso (in a later hand) ‘Del Cavalier Baglione’, sheet size 298 x 224 mm (11 3/4 x 8 7/8 ins), hinge-mounted to a larger sheet of 18th century laid backing paper, with elaborate presentation title and inscription in Italian in brown ink above and below the drawing, giving the artist’s name above, and a long biographical note below, old inscribed number in brown ink to upper left corner: 161, some marks and soiling to the backing sheet with a few short closed marginal tears to margins (not affecting the drawing itself), the backing sheet with ruled framing lines around the drawing, backing sheet 49 x 34 cmQTY: (1)NOTE:Provenance: Private Collection.Giovanni Baglione worked mainly in Rome, his mature style typical of the early Roman Baroque, whilst also retaining elements of his early training in the Central Italian tradition of disegno. Between 1621 and 1622 he was in Mantua as the court artist to Duke Ferdinando Gonzaga. Baglione is best known as the author of the Vite de’ Pittori, Scultori, Architetti, ed Intagliatori (Lives of Painters, Sculptors, Architects and Engravers), first published in 1642, one of the most important contemporary sources for artists in Rome at this time. The artist is also famous due to his suit for libel in August 1603 against Caravaggio, Orazio Gentileschi and other painters in connection with some unflattering poems then circulating in Rome the previous summer. Caravaggio’s testimony during the trial is one of the few documented records of his opinions on art and his contemporaries.The present drawing, in which the chalk has been applied lightly and with shaded areas creating a sfumato effect, depicts an elegant young couple in contemporary dress, with two other figures behind, and may be a study for a wedding procession or similar subject.
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European School, early 19th century- The conversion of St Paul; oil on canvas, 47.6 x 52.3 cm. Provenance: Private Collection, UK. Note: This painting records the moment when Saul of Tarsus, on his way to Damascus to annihilate the Christian community there, is struck blind by a brilliant light and hears the voice of Christ saying, 'Saul, Saul, why persecutest thou me?...And they that were with me saw indeed the light, and were afraid, but they heard not the voice...'(Acts 22:6-11). The subject was treated, famously, by Caravaggio (1571-1610) in his large oil on panel which is housed in the Odescalchi Balbi Collection, Rome.
Jan Saenredam, after Polidoro da Caravaggio, Dutch c.1565-1607, and Italian c.1499-c.1543- The wounded Scipio carried from a battle by his sons; engraving on laid paper, signed and dated 'J. Sanredam. Ao. 1593' (within the plate, lower right), inscribed 'Per Polidorum dilucide et subobscure depictum Romae, extra portam, iuxta castrum S. Angeli, et per HGoltzium evulgatum' (within the plate, lower margin), with watermark of a fleur-de-lys below a crown, bears various later indistinct inscriptions in pencil verso, 25.4 x 34.5 cm. (unframed / mounted). Provenance: Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).
Books. Musallam (B.F.), Sex and Society in Islam, first edition, Cambridge University Press, 1983, dustjacket over cloth boards, 8vo; Rosenthal (Franz), Gambling in Islam, first edition, Leiden: E.J. Brill, 1975, original green cloth, 8vo; art books, including Banksy Cut it Out, Monet, Caravaggio, the American artist Kitaj, etc., mixed bindings and sizes, (12)
Caravaggio (1986). Two signed stills, one by director Derek Jarman and one Tilda Swinton dated '86. Provenance: from the personal collection of former International film festival organisers, including many items gifted by participating filmmakers, visiting personalities and industry representatives
Honthorst, Gerrit van (1592 Utrecht - 1656 ebenda, Schüler des Abraham Bloemaerts, Aufenthalte in Italien und England, stark von Caravaggio beeinflusst, zentrale Figur des Utrechter Caravaggismus, erhielt Aufträge prominenter Mäzene wie dem Winterkönig Friedrich V. von der Pfalz, Karl I. von England und Mitglieder des Hauses Oranien-Nassau sowie von zahlreichen kirchlichen und bürgerlichen Auftraggebern),"Porträt des Jongheer Roelof van..., der eine Rüstung, einen weißen Kragen und eine rote Schärpe trägt", Öl auf Holz, signiert und datiert links G. Honthorst 1637, rückseitig bezeichnet Joncheer Roelof van ... 1637, 45.5 x 38 cm.Provenienz: Aus dem Nachlass eines Kunstsammlers aus Lübeck außerfamiliär an eine ihm nahestehende Person vererbt, seither Privatbesitz.Der Porträtierte ähnelt einem weiteren Herrenporträt von Gerrit van Honthorst, das sich in der Sammlung des Friesmuseums in Leeuwarden in den Niederlanden befindet (Objekt-Nr. S1995-042). Der hier Dargestellte wird dem friesischen Adelsgeschlecht der Burmania zugeordnet.Das vorliegende Porträt, geschaffen von Gerrit van Honthorst im Jahr 1637, stellt einen faszinierenden Vertreter der niederländischen Porträtkunst des Goldenen Zeitalters dar. Honthorst, als Schüler Abraham Bloemaerts ausgebildet und maßgeblich von den dramatischen Licht- und Schattenwirkungen Caravaggios inspiriert, war eine zentrale Figur des Utrechter Caravaggismus. Neben seinen Aufenthalten in Italien und England prägten prestigeträchtige Aufträge prominenter Auftraggeber, wie Friedrich V. von der Pfalz, Karl I. von England und Mitglieder des Hauses Oranien-Nassau, seinen künstlerischen Werdegang.
KPM Berlin Bildplatte "Die Falschspieler" um 1905, links unten signiert GNußmann, Potsdamer Porzellanmaler Georg Nußmann (um 1900 für KPM tätig), rückseitig Pressmarke ab 1825, Präge- und Jahreszeichen für 1901, Ritznummer 237-158. sowie auf Klebezettel handschriftlich bezeichnet, querrechteckige Porzellanplatte mit feiner polychromer Bemalung, Darstellung zweier an einem Tisch sitzender Herren, beim Kartenspiel mit Münzen, vor dunklem Grund, einer mit versteckt gehaltener Karte, der andere mit hinter ihm stehendem Mann als Souffleur, nach Gemäldevorlage des französischen Malers Valentin de Boulogne (1591-1632), unterer Rand mit kleinem Chip (nicht das Motiv tangierend), sonst guter Zustand, Maße Platte 16 x 23,5 cm. Quelle: Bergmann, 1350 Gemälde auf Porzellanplatten, S. 32, Abb. 90. Info: Bis in das 20. Jh. hinein wurde das Originalgemälde fälschlicherweise dem Maler Michelangelo Merisi da Caravaggio zugeschrieben.
limited edition digital print on paper, signed in silver ink and numbered 58/100, from the Revelations : A Portrait of Magic series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
(Art interest) Nine good works Gauddenz Freuler. 'Bartolo di Fredi Cini. ein Beitrag Zur Sienischen Malerei Des 14. Jahrhunderts,' original cloth, unclipped dj, colour illustrations throughout, vg to fine, Desertina Verlag, Switzerland, 1994; Andrew Wilton and Tim Barringer. 'American Sublime. Landscape Painting in the United States 1820-1880,' card wraps, illustrations throughout, vg, Tate Publishing, 2002; Giuseppe Beretti. 'Giuseppe e Carlo Francesco Maggiolini L'Officina del Neoclassiciso,' original cloth, unclipped dj, card slip, vg, Edizioni Libreria Malavasi, Milano, 1994; Edwin Becker (ed) et al and Michael Huig et al. 'Prague 1900,' original cloth, unclipped dj, illustrations throughout, vg, Van Gough Museum, Amsterdam, Museum of Applied Art, Frankfurt, Waanders Uitgevers, Zwolle, 1999-2000; With five other works including Caravaggio, Art Deco, the Handbook of Painted Decoration, Francesco Salvati and Alphonse Mucha. (9)
Perlen älterer romanischer Prosa.: Hrsg. v. H. Floerke u. A. Wesselski. 31 Bde. (= alles Ersch.). Mchn., G.Müller (1907-21). Tls. illustr. Orig.-Einbde. (17 Ohprgtbde., 12 Ohldrbde., 2 Oldrbde.). Die vollständige Reihe. Meist 1/800 bzw. 850 Ex. - I-III: Saccetti,F. Die Novellen. - IV: Cornazano,A. Die Sprichwort-Novellen. - V-VI: de la Sale,A. Die hundert neuen Novellen. - VII: Morlines,G. Die Novellen. - VIII-IX: Caravaggio. Die ergötzlichen Nächte. - X: Firenzuola,A. Novellen und Gespräche. - XI-XII: Margareta von Navarra. Das Heptameron. - XIII-XIV: Basile,G. Das Pentameron. - XV: Fernando de Rojas. Celestina. - XVI-XVII: des Periers,B. Die neuen Schwänke. - XVIII: Grazzini,A.F. Die Nachtmähler. - XIX-XX: Perez de Hita,G. Die Geschichte der Bürgerkriege von Granada. 1/50 Ex. in Ganzleder. - XXI: des Troyes,N. Der grosse Prüfstein. - XXII-XXIII: Fortinis,P. Novellen. - XXIV: Marcello,B. Das Theater nach der Mode. - XXV-XXVI: von Salerno,M. Der Novellino. - XXVII-XXIX: Bandello,M. Die Novellen. - XXX-XXXI: Fiorentino,G. Die fünfzig Novellen des Pecorone. - Insgesamt schön erhaltene Reihe.
Polidoro da Caravaggio (c.1499-1543) Schediasmata selecta ex archetypis di Musaeo Honi. viris A. Hume Bart. Conservatis, fideliter imitata, auctore C. M. Metz. [London: no publisher], 1789. Oblong folio (30.5 x 47cm), allegorical title-page and 61 plates by Conrad Martin Metz (all but the title-page after Polidoro da Caravaggio), sepia etchings with aquatint in imitation of chiaroscuro woodcuts, most numbered in the plate (erratically towards rear), disbound (retaining front board), title-page creased and dust-soiled, occasional spotting, pencilled foliation and a few damp-stains to upper outer corners not affecting images, collation not established and the lot sold as a collection of plates From the library of the Murrays of Dollerie, Crieff, Perthshire.
ALBERT SKIRA, ITALIAN PAINTING; three volumes comprising 'From Caravaggio to Modigliani', 'The Creators of the Renaissance' and 'The Renaissance: Critical Studies' by Lionello Vinturi, also three volumes of 'The History of Modern Painting' comprising 'From Baudelaire to Bonnard', 'Matisse Munch Rouault', and 'From Picasso to Surrealism' (6).
* STUART MCALPINE MILLER (SCOTTISH b. 1964), FROM THE EVIL WITHIN limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPELLBOUND IN MOTION limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), HYPNOTIC REVEAL limited edition digital print on paper, signed in silver ink and numbered 58/100, from the Revelations : A Portrait of Magic seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
Ted Jones (Irish, 1952)Coel, Craic angus Rince, 2000 Limited edition No. 148 / 500Signed & numbered in pencilPublished by Killarney Art Gallery, IrelandFramed & glazedTed Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style unmistakably his own. His unique style probably owes a lot to the fact that he never attended Art College, left to his own devices his style was able to evolve without influence, save his admiration for great artists such as Klimt, Rossetti & Caravaggio. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.Measures approx. 40 x 31cm (16" x 11").
limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPELLBOUND IN MOTION limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), A COMPLEX NATURE limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), HYPNOTIC REVEAL limited edition digital print on paper, signed in silver ink and numbered 58/100, from the Revelations : A Portrait of Magic seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), FROM THE EVIL WITHIN limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPLIT PERSONALITY limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glassimage size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
Orazio Gentileschi, 1563 Pisa – 1639RUHE AUF DER FLUCHT NACH ÄGYPTENÖl auf Leinwand.148 x 267 cm.Beigegeben ein Gutachten von Nicholas Turner, 10. August 2012 und eine Stellungnahme von Claudio Strinati, der es für möglich hält, dass das hier angebotene Gemälde der Prototyp für die anderen bekannten Versionen Gentileschis sein könnte.Diese Version von Gentileschis Die Rast auf der Flucht nach Ägypten existiert in mehreren Fassungen, wobei jedoch nicht alle eindeutig dem Maler zugeschrieben werden können. In Abwesenheit von Archivdokumentationen sind die Wissenschaftler nur in der Lage, sich auf stilistische Analysen zu stützen, um die Autorschaft und Datierung dieser Werke zu bestätigen. Das Vorhandensein zahlreicher Versionen zeugt von dem anziehenden Charme von Gentileschis Wahl der Ikonographie, insbesondere von der emotionalen Aufladung, die durch die thematische Spannung zwischen dem tief schlafenden Joseph und der Jungfrau, die das Jesuskind stillt, hervorgerufen wird. Hinter diesem Gemälde und allen anderen Versionen steckt ein kraftvolles theologisches Konzept: eine Ausarbeitung des Skeptizismus, den Joseph gegenüber der künftigen Erlösung Christi zeigt, der jedoch durch die Vorrangstellung der mütterlichen Liebe in der Kindheit Christi überwunden wird. Wenn man sich Caravaggios Rast ansieht, wird schnell klar, dass diese Art der Ikonographie vollständig die Erfindung von Gentileschi ist: Im Meisterwerk in der Galleria Doria-Pamphilj ist Joseph tatsächlich wach und sehr aufmerksam dargestellt, während seine Gegenstücke ruhen. Um das vorliegende Werk zu datieren, muss man eine wohl feinere Version aus dem Jahr 1625 berücksichtigen, die früher in der Sammlung des Herzogs von Buckingham war und sich heute im Kunsthistorischen Museum in Wien befindet. Die stilistischen Unterschiede zwischen diesem Werk (das wahrscheinlich von Gentileschi selbst während seines Aufenthalts in Paris an den Herzog geschickt wurde) und unserer Version setzen einen terminus ante quem für letztere. Zur Unterstützung einer festen Zuschreibung genügt es, stilistische Vergleiche mit der Version im Louvre zu ziehen, die 1671 vom Banker Jabach an König Ludwig XIV. verkauft wurde, und einer anderen im Museum von Birmingham, die beide dem Künstler zugeschrieben werden. Letztere, die als einzige das Eselchen zeigt, wird allgemein als das Prototyp für eine große Anzahl von Versionen angesehen, von denen die meisten von der Werkstatt des Malers stammen. Die dunkle Farbpalette und die Ausführung des vorliegenden Gemäldes könnten auf eine reifere Phase im Künstlerleben hindeuten und somit nahe am Prototyp liegen. Zudem weisen bestimmte stilistische Ähnlichkeiten, wie die dichte Anwendung von Pinselstrichen und die Vereinfachung geometrischer Formen, sowohl im Prototyp als auch im vorliegenden Gemälde auf. Dennoch gibt es einige auffällige Unterschiede zwischen diesen beiden Versionen, insbesondere der prunkvolle und groß angelegte Ton des Prototyps im Gegensatz zur Strenge von unserer Version, was bei Wissenschaftlern zu einiger Unsicherheit geführt hat. Um zu erklären, wie ein Werk wie das hier angebotene neben den prunkvollen Versionen aus Gentileschis reiferer Phase (Wien, Louvre und Birmingham) entstehen konnte, muss man Gentileschis Versuch berücksichtigen, seine künstlerische Tätigkeit in England für kommerzielle Zwecke mit Unterstützung seiner beiden Söhne, Giulio und Francesco, auszubauen. Es ist durchaus plausibel, dass die beiden Söhne als Kunstberater des Herzogs von Buckingham tätig waren und damit beauftragt wurden, Kunstwerke aus Italien nach England zu beschaffen, die den Anforderungen des Mäzens entsprachen. In diesem wahrscheinlichen Szenario könnten die Brüder Werke aus Gentileschis italienischer Werkstatt nach England gebracht haben, die entweder unvollständig waren oder von seinen Assistenten stammten, um sie auf dem englischen Markt zu verkaufen. In diesem Zusammenhang ist es vernünftig anzunehmen, dass das Gemälde hier zu einer Gruppe von Werken gehörte, die in einem frühen Stadium von Gentileschis Karriere entstanden, aber zu einem späteren Zeitpunkt von seinen Söhnen verkauft wurden. Es passt tatsächlich besser zu Gentileschis früheren Werken als zu denen, die in seiner reifen Phase ab den 1620er Jahren entstanden, wie man an den Figuren von der Jungfrau und Joseph erkennen kann, die eng mit Orazios früheren Gemälden wie der Heiligen Familie in der Galerie der Cassa di Risparmio in Pisa verwandt sind.Provenienz:Kunsthandel, Rom.Privatsammlung, Österreich.Literatur:R. Vodret and G. Leone, Caravaggio en Cuba, Ausstellungskatalog, Kuba, Havanna 2011, S. 100 - 103, Kat. Nr. 9.C. Strinati in: Lights and Shadows, Caravaggism in Europe, Ausstellungskatalog, kuratiert von M. di Martino and V.Rossi, Lampronti Gallery London, Rom 2015, Kat. Nr. 9, S. 32-35.Vgl. Benedict Nicolson, Luisa Vertova, Caravaggism in Europe, Bd. I, Turin 1990, S. 113.Vgl. Benedict Nicolson, The International Caravaggesque movement, Oxford 1979, S. 52.Vgl. Raymond Ward Bissell, Orazio Gentileschi, University Park u.a. 1981.Vgl. Hermann Voss, Orazio Gentileschi. Four versions of his „Rest on the Flight into Egypt“, The connoisseur, November 1959, S. 163-165.Vgl. Orazio and Artemisia Gentileschi, Ausstellungskatalog, Metropolitan Museum of Art, New York, 14. Februar 2002-12. Mai 2002, Museo Nazionale del Palazzo di Venezia, Rom, 20. Oktober 2001-20. Januar 2002, Saint Louis Art Museum, Saint Louis, MO, 15. Juni 2002-15. September 2002, hrsg. v. Keith Christiansen und Judith Walker Mann, New Haven u. a. 2001. (1421001) (†)Orazio Gentileschi,1563 – 1639 THE REST ON THE FLIGHT INTO EGYPT Oil on canvas.148 x 267 cm. Attached is an expert’s report by Nicholas Turner, 10 August 2012, and a statement by Claudio Strinati, who considers it possible that the painting on offer for sale in this lot could be the prototype for Gentileschi’s other known versions. There are several versions of Gentileschi’s Rest on the Flight into Egypt, although not all of them can be clearly attributed to the painter. In the absence of archival sources, scholars can only rely on stylistic analyses to confirm the authorship and dating of these works. To date the painting on offer for sale in this lot, a finer version dating to 1625 must be considered. It was formerly held in the collection of the Duke of Buckingham and is now located at the Kunsthistorisches Museum in Vienna. The stylistic differences between this painting, which was probably sent to the Duke by Gentileschi himself during his stay in Paris, and the present version set a “terminus ante quem” for the latter. To support a firm attribution, it is sufficient to draw stylistic comparisons with the version held at the Louvre, sold by the banker Jabach[AU1] to King Louis XIV in 1671, and another held at the Museum of Birmingham, both attributed to the artist. The latter, which shows a donkey, is generally considered to be the prototype for many versions, most of which originating from the painter’s workshop. To explain how a work such as the one offered here could have been created alongside the lavish versions from Gentileschi’s more mature period (Vienna, Louvre, and Birmingham), it must be considered that Gentileschi’s attempted to expand his artistic activity in England for commercial purposes with the support of his two sons, Giulio, and Francesco. In this context, it is reasonable to assume that the present painting is part of a group of works created at an early stage of Gentileschi’s career but sold later by his sons. It is in fact more in keeping with Gentileschi’s earlier works than with those produced in his mature period from the 1620s onwards, as can be seen in the figures of the Virgin and Jos...
Louis Finson, 1580 Brügge – 1617 Amsterdam, zug.ADONISÖl auf Leinwand. Altdoubliert.113 x 160 cm.Ungerahmt.Das großformatige, thematisch äußerst seltene Thema zeigt den nackten Adonis nur mit einem Ziegenfell dürftig bekleidet, in abendlich abgedunkelter Landschaft, auf einem Waldboden liegend. Der Oberkörper leicht aufgestützt, mit müdem Gesichtsausdruck, die Augen nur leicht träumerisch geöffnet. Das helle, blasse Inkarnat hebt sich vom dunkleren Hintergrund ab, links hinter dem Oberkörper ziehen Baumstämme hoch, im oberen Teil zeigen sich die Äste in X-förmiger Überkreuzung. Im Vordergrund Blattwerk von Lattichgewächsen sowie ein abgebrochener Ast neben einem blau wiedergegebenen Gegenstand, der einer Keule ähnelt. Im Hintergrund hügelige Landschaft unter dunklen Wolken mit zentral leicht erhelltem Wolkengebilde. Das Gemälde ist insofern von hoher kunsthistorischer Bedeutung als hier in seltener Weise der Ursprung und Vertreter des Menschengeschlechtes in melancholischer, nahezu visionärer Weise wiedergegeben wird, das Schicksal der Menschheit insgesamt bedenkend. Die Zuweisung an den Maler rechtfertigt sich aus Vergleichen mit anderen, gesicherten Werken, wobei hier auffällt, dass die betonte, über das Bild hinwegziehende, diagonale Komposition ein auffallendes Hauptmerkmal des künstlerischen Schaffens Finsons ist. Auch die bereits erwähnten, sich übereinander kreuzenden Äste in der linken oberen Ecke lassen sich in der manieristischen Stilistik durchaus vergleichen mit dem Gemälde „Allegorie der vier Elemente“ von 1611. Finsons Malstil resultiert vor allem aus seiner ersten Italienreise, in der er den Caravaggismus in seine flämische Malart eingeführt hat. Auch die Reisen nach Spanien und Frankreich, speziell in die Provence, haben den Malstil nachhaltig beeinflusst. Der seinerseits sehr erfolgreiche Maler, der auch als Gemäldevermittler tätig war, besaß selbst ein Werk von Caravaggio, das sich heute im Kunsthistorischen Museum in Wien befindet. (1421977) (13))
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/Valencia – 1652 NeapelDER APOSTEL PAULUSÖl auf Leinwand.130,3 x 104,5 cm.In mit reliefierten Ornamenten verziertem Rahmen.Beigegeben ein Gutachten von Nicola Spinosa, Neapel, 10. Januar 2020.Zudem ein ausführlicher Restaurierungsbericht von 1991 von Dr. Laszlo Cser, Toronto, Kanada, mit einem angegebenen Versicherungswert von 1.200.000,00 USD.Des Weiteren ist eine Korrespondenz von Felice Vicente Garin Llombart, Museo del Prado, Madrid, 7. Oktober 1991 bezüglich einer Ausstellung von 1992 in Neapel mit einem Versicherungswert von 1.500.000 USD sowie eine weitere eine Korrespondenz mit Spinosa vom 23. Januar 1992 beigegeben, aus der hervorgeht, dass eine Ausleihe des vorliegenden Gemäldes alleine aus logistischen Gründen nicht stattgefunden hat.Vor dramatisch abgedunkeltem Fond die Dreiviertelfigur des Apostel Paulus neben einer mit raffiniert, auf Leinwand übersetzten Oberfläche dargestellten Steinbrüstung stehend. Sein Blick dem Betrachter geltend, hält er in seiner Rechten sein ihm attributiv zukommendes Schwert in Händen, in seiner Linken das geschlossene Buch. Dunkel verschwimmt die Haartracht mit dem Hintergrund, während der Bart sich wirkungsvoll von dem in mächtigen Falten liegendem roten Gewand absetzt, das den gesamten Bildraum zu erleuchten im Stande ist. In seinem Gutachten vom 10. Januar 2020 führt Spinosa aus, dass das vorliegende Werk ein autografes Gemälde von Ribera selbst ist und kurz nach 1630 ausgeführt wurde.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz:Sammlung Edward E. LeMay und Laszlo Ferencz Cser.Musée des beaux-arts de l’Ontario.Literatur:Das vorliegende Gemälde wird erwähnt in: Nicola Spinosa, Ribera, L’opera completa, Neapel, 2006, S. 309 in Bezug auf das signierte und 1632 datierte Gemälde in der Hispanic Society of America in New York (A130): „Di questo dipinto si conoscono due copie antiche, rispettivamente nel Museo Regionale di Messina (...) e, nel 1992, in una privata raccolta a Toronto“.Vgl. Nicola Spinosa, Ribera, La obra completa. Madrid, 208, S. 387, Nr. A 151. (1420001) (13) (†)Jusepe de Ribera,known as “lo Spagnoletto”,1588/91 Xàtiva/Valencia – 1652 NaplesTHE APOSTLE PAULOil on canvas.130.3 x 104.5 cm.In a frame decorated with relief ornaments.Accompanied by an expert’s report by Nicola Spinosa, Naples, 10 January 2020 as well as a detailed restoration report from 1991 by Dr Laszlo Cser, Toronto, Canada.Also accompanied by correspondence from Felice Vicente Garin Llombart, Museo del Prado, Madrid, 7 October 1991 regarding an exhibition 1992 in Naples, with an insurance value of $1,500,000, and further correspondence on the subject with Spinosa on 23 January 1992, stating that a loan of the present painting was only declined for logistic reasons (Canada/Italy).The three-quarter figure of the apostle Paul stands before a dramatically darkened background Paul the Apostle, standing next to a stone balustrade with a ingeniously translated surface on the canvas. His gaze fixed on the observer, he holds his attributive sword in his right hand and a closed book in his left. His hair merges with the background, while his beard stands out effectively against the mighty folds of the red robe, which is able to illuminate the entire pictorial space. Provenance:Collection Edward E. LeMay and Laszlo Ferencz Cser.Musée des beaux-arts de l’Ontario.Notes:In the enclosed expert’s report, dated 10 January 2020, Spinosa states that the present work is an autograph painting by Ribera himself and was executed shortly after 1630.Literature: The present painting is mentioned in: Nicola Spinosa, Ribera, L’opera completa, Naples, 2006, p. 309 in reference to the painting in the Hispanic Society of America in New York (A130), which is signed and dated 1632: “Di questo dipinto si conoscono due copie antiche, rispettivamente nel Museo Regionale di Messina (...) e, nel 1992, in una privata raccolta a Toronto”.Cf. Nicola Spinosa, Ribera, La obra complete, Madrid, Fundación Arte Hispánico, 208, p. 387, no. A 151.
Italienischer Caravaggist des 17. JahrhundertsGemäldepaarKÜCHENSTILLLEBENÖl auf Leinwand. Doubliert.73 x 93 cm.In Prunkrahmen.Das eine Gemälde zeigt vor schwarzem Hintergrund eine von rechts ins Bild ragende Tischplatte, auf der ein geflochtener Korb mit einem Taubenpaar steht. Über diesem liegt ein erlegter Hase und es hängen daran einige kleine Vögel, sowie drei weitere am linken Rand der Platte. Zwei weitere größere Vögel hängen linksseitig von der Decke herab. Das andere Gemälde zeigt erneut auf einer ganz über das Bild hinweggehende Platte mehrere erlegte Vögel und Federvieh, darunter auch eine Ente, sowie erneut zwei von der Decke herabhängende Vögel. Malerei mit starken Hell-Dunkel-Effekten in der Art des Michelangelo Merisi il Caravaggio (1570/71-1610). (1420416) (18)Italian Caravaggist, 17th century A pair of paintings KITCHEN STILL LIFESOil on canvas. Relined.73 x 93 cm.
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/Valencia – 1652 NeapelSAN ROCCOÖl auf Leinwand.86 x 68 cm.Beigegeben Expertisen von Luigi Salerno; Nicola Spinosa, 15. Oktober 2014; Claudio Strinati, März 2015, jeweils in Kopie. Das Gemälde zeigt einen Mann mittleren Alters lebensgroß im Halbbildnis. Vor olivbraunem Hintergrund hebt sich das von links oben beschienene Gesicht ab, gerahmt von schwarzem Haar und halblangem Bart. Eine hell beleuchtete, von der Kleidung unbedeckte Hautpartie korrespondiert als Lichtfleck zum Gesicht, das mit nahezu einnehmendem Blick auf den Betrachter gerichtet ist. Einen großen Teil der Bildfläche nimmt der Oberkörper ein, bekleidet mit schwarzem Schultercape und dem bauschig darübergelegten braunen Mantel. Der nach links geneigte Kopf lässt dem breitkrempeligen schwarzen Hut über der Schulter Raum. Cape und Hut sind hier Attribute, die eine Benennung des Dargestellten als Rochus erlauben. Das Bild zeigt sich jedoch eindeutig als Portrait eines Zeitgenossen, möglicherweise eine Person namens Rochus, an dessen Namenspatron durch die Attribute erinnert werden soll. Dem Gemälde ist eine weitere Rochus Darstellung Riberas danebenzustellen (Museum Prado, 212 x 144 cm.). Es zeigt den nämlichen Mann, identisch in Kopfhaltung und Physiognomie, jedoch in Ganzfigur und mit den weiteren Attributen des Heiligen: dem Stab, dem Hund mit Brot im Maul, der gemäß der Legende den Heiligen während seiner Abgeschiedenheit mit Nahrung versorgt haben soll, sowie dem vorgestellten Oberschenkel. Bezeichnenderweise jedoch fehlt im Prado-Bild eine Pestbeule am Bein. Dies ist nur erklärbar, wenn es sich auch dort nicht um die Darstellung des Heiligen selbst handelt, sondern um ein Portrait eines Herrn mit diesem Namen, der eben keineswegs Krankheitsmerkmale zeigt, womit das Bein auch dort lediglich als Attributverweis auf den Namen zu verstehen ist.In den Jahren 1631-32 schuf Ribera eine Reihe von Portraitbildnissen, die später in andere Bildzusammenhänge – etwa als Philosophen oder Heilige – eingebracht wurden. Der in Spanien geborene Maler verbrachte jedoch die längste Zeit seines Lebens in Italien, wenngleich der Biograf und Maler Antonio Palomino de Castro y Velasco berichtet, Ribera hätte seine erste Ausbildung bei Francisco Ribalta (1565-1628) erhalten. Dessen brauntonige Malweise hat Ribera jedoch weitergeführt und durch italienische Einflüsse zur Steigerung gebracht. Wann er nach Italien kam, ist nicht bekannt, jedenfalls wissen wir, dass er in Parma und Rom gearbeitet und 1616 in Neapel geheiratet hat. 1626 wird er als Mitglied der Akademie genannt, 1631 als Ritter des Päpstlichen Ordens. Stets noch mit Spanien verbunden, erhielt er Aufträge der spanischen Vizekönige. Die tenebrose Farbskala seiner Werke vermochte gerade Märtyrerdarstellungen, Charakterköpfen oder Philosophengestalten unverwechselbaren Ausdruck zu verleihen. Seine Werke gelten als Höhepunkte in den bedeutendsten Museen und Sammlungen weltweit.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Literatur:Vgl. Nicola Spinosa, Ribera, l’opera completa, Neapel 2006.Vgl. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Köln 2000.Vgl. Alfonso E. Perez Sanchez, Nicola Spinosa, Jusepe De Ribera 1591-1652. Katalog der Ausstellung im Metropolitan Museum. New York 1992,Vgl. Jonathan Brown, Jusepe de Ribera: prints and drawings. Katalog zur Ausstellung im Art Museum, Princeton University, Oktober-November 1973, New Jersey 1973. (1401251) (11) (†)Jusepe de Ribera,also known as “lo Spagnoletto”,1588/91 Xàtiva/Valencia – 1652 NaplesSAINT ROCHOil on canvas.86 x 68 cm.Accompanied by expert’s reports by Luigi Salerno; Nicola Spinosa, 15 October 2014; Claudio Strinati, March 2015, each in copy.The painting shows a life-size half-length portrait of a middle-aged man. His face is illuminated from the top left and stands out against an olive-brown background; it is framed by his black hair and medium-long beard. A cloak and hat are attributes identifying the depicted as Saint Roch. The painting is, however, clearly also a portrait of a contemporary, possibly a person named Roch, whose namesake is intended to be commemorated by the attributes. Another depiction of Saint Roch by Ribera compares well to the present painting (Prado Museum, 212 x 144 cm). It shows the same man, identical in head position and physiognomy, but in full-length portrait and with the Saint’s other attributes: the walking staff, a dog with a loaf of bread in its mouth, which, according to legend, is said to have provided the saint with food during his seclusion, and the saint’s presented thigh. Significantly, however, the plague boil on his leg is missing in the Prado painting. This can only be explained if this is not a depiction of the saint himself, but rather a portrait of a gentleman with the same name who does not show any signs of illness, which means that the leg is only to be understood as an attribute reference to the name. In the years 1631-32 Ribera created a series of portraits that were later incorporated into other contexts – for example as philosophers or saints.Literature:cf. Nicola Spinosa, Ribera. l’opera complete, second expanded edition, Napoli 2006.cf. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Cologne 2000.cf. Alfonso E. Pérez Sánchez, Nicola Spinosa, Jusepe De Ribera 1591-1652, exhibition catalogue, Metropolitan Museum, New York 1992.cf. Jonathan Brown, Jusepe de Ribera: Prints and Drawings, exhibition catalogue, Art Museum, Princeton University, October – November 1973. Princeton University, Princeton, New Jersey 1973.
Suyderhoef, Jonas -- Die Grablegung. Kupferstich nach Caravaggio. 32,2 x 20 cm. Hollstein 1 I (von IV). Wz. Bekröntes Lilienwappen.Prachtvoller, klarer und kontrastreicher Frühdruck mit schmalem Rand um die teils gratig druckende Plattenkante, vor allen Adressen und den Überarbeitungen. Die Hilfslinien für die Schrift deutlich erkennbar. Minimale Altersspuren, sonst in ausnehmend schöner Erhaltung. Im ersten Zustand und in dieser Druckqualität selten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Goltzius, Hendrick -- Zwei Sibyllen. Kupferstich nach Polidoro da Caravaggio. 24,1 x 17,2 cm. Um 1592. B. 248, Hollstein 304 II, Leesberg (New Hollstein) 323 II (von III). Wz. Kreis.Während seiner Italienreise (1590-1591) setzte sich Goltzius intensiv mit dem Werk des Polidoro da Caravaggio auseinander. Polidoro verwendete in seinen Werken die neue Technik des Chiaroscuro, sie waren somit besonders zur Reproduktion in Stichen geeignet. Die Schriftzeile auf dem Blatt teilt uns mit, dass die Darstellung nach einem (heute verlorenem) Fresko Polidoros nahe der Porta di S. Angelo in Rom entstanden ist. - Prachtvoller, kräftiger Druck vor der Adresse Hendrick Hondius', meist mit der Facette, teils an diese geschnitten. Insgesamt leicht fleckig, rechts winziges Rostfleckchen, sonst in sehr schöner Erhaltung. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Goltzius, Hendrick -- Die Folge der antiken Götter: Saturn, Neptun, Pluto, Vulcan, Sol, Jupiter, Bacchus, Merkur. 8 Kupferstiche nach Polidoro da Caravaggio. Je ca. 35,5 x 21,7 cm. 1592. B. 249-256, Hollstein 296-303, je letzter Zustand.Nach den Fresken Polidoros auf dem Monte Cavallo in Rom. Mit den Nummern. Die vollständige Folge in ausgezeichneten, teils prägnanten Drucken überwiegend mit schmalem bzw. sehr feinem Rändchen zu den Seiten um die Facette, unten und vor allem oben teils knapp an die Einfassungslinie. Etwas fleckig vor allem zu den Rändern hin und vereinzelt etwas angeschmutzt, verschiedene Randläsuren und Randeinrisse, weitere Altersspuren, sämtlich auf ein Untersatzpapier montiert, sonst einheitlich und gut. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Luigi Amidani (Parma, 1591 - after 1629)“Martyrdom of St. Matthias”Oil on canvas. 206 x 125 cm.This is a painting that was previously unknown to the art market. This large format picture was already mentioned and reproduced in 1965, in an art magazine in Jerez de la Frontera, Spain. The private collection where this canvas was found, together with another (“Martyrdom of St. Andrew”), with which it was paired, is also located in the same town. It was then considered a Luigi Miradori, according to another scholar (Pérez Sánchez). And previously, in the 19th century, it had other and varied attributions. Professor Massimo Pullin made a study on Amidani (1591-1629) and an attribution to this Italian Baroque painter. He used the method of viewing and comparing as many paintings by the artist as possible from many world art galleries, cathedrals and private collections, as well as compiling all the writings and studies related to this Italian painter written until then, with opinions of scholars and curators of art galleries such as the Louvre itself.For his rigorous study, he observed and contemplated in depth all the work by Amidani that existed in Spain (the so-called “Iberian stage” of the painter in which he broke loose from being a mere copyist): on the one hand, a series of ten small paintings (0.43 x 0.35 cm) depicting the “Martyrdoms of the Apostles”, which were in the Royal Academy of San Fernando belonging to the novitiate of the Jesuits in Seville, (then attributed to Tintoretto) and which were in the Academy before 1796 (brought by Ponz); This attribution changed in 1804, in the "Inventario de Alhajas" (Inventory of Treasures), and the new attribution was to Pablo de Céspedes - a painter from Cordoba, as was then noted in ink on the back of the frames. This mistaken attribution was maintained throughout the 19th century, until it was modified by Alfonso Pérez Sánchez in the 1963/64 inventory in which, he proposed Luigi Miradori as the artist. Massimo Pullini in the 21st century (2020) disputed the previous authorship as he recognized the style of the Italian Baroque painter who accompanied Velázquez on his first trip to Italy, in most of this small series. In addition, Luigi Amidani was a favorite disciple of Bartolomé Schedoni, a painter linked to the Farnese family who, in turn, had a close relationship with Velázquez on the occasion of that first trip to Italy. Some of these small-format paintings, which were always on view to students and teachers at the Academy, served as inspiration for later paintings. Massimo, on the other hand, also studied the remains of what could have been another series of the same subject (martyrdoms of apostles) in a larger format, in Spain and in other art galleries around the world, which house the martyrdoms of St. Peter and St. Paul in the Museum of Fine Arts in Valencia, and those of St. Andrew and St. Matthias in a private collection in Jerez de la Frontera, (one of them, the painting we are commenting on).In the small format painting “The Martyrdom of St. Matthias”, the saint is shown lying down and dressed, being viciously stoned by his executioners. In the large format work we have here in our catalog, he appears half-naked, in the style of St. Andrew, St. John, St. Jude Thaddeus, St. Bartholomew..., the torsos are exposed and covered by peplos or remains of tunics or torn and hanging clothes. Professor M. Pullini observes the figures' morphology and expressions as being similar to those of the large format painting from Jerez de la Frontera, faces “that can well be defined as neo-Gothic, full of a hardness that at times borders on the grotesque”. In this large canvas the saint is depicted as being stripped between two soldiers, and in the foreground, kneeling, is the one who announces the method of martyrdom, carrying a basket full of stones. According to tradition, the saint was stoned in Judea around the year 80, after being condemned to death by the High Priest, and later beheaded with an axe for having opposed Caesar.His face does not lose courage or strength, and despite the intuition that he is going to die, he looks on with the strength of the One who fills him with his truth. The large vertical format of the painting must certainly have been chosen to complete the pictorial collection of some chapel or church. Crudeness in the images, pronounced foreshortenings, and violent effects of light are very reminiscent of the influences exerted by the master Caravaggio, and his mature style and the abrupt chromatic contrasts are very much influenced by Ribera.Two other canvases also studied by Massimo could come from this same large-format series. No longer in Spain, the so-called “Stoning of an Apostle” which appeared on the London antique market and the “Martyrdom of St. Paul” that can be found in the Schloss Weißenstein in Pommersfelden (Germany). Reference bibliography:Bibliografía de referencia:- Luzón Nogué, José María (ed.) (2022). "Velázquez en Italia. Entre Luigi Amidani y Juan de Córdoba". Madrid: Real Academia de Bellas Artes de San Fernando.- Pulini, Massimo (Noviembre de 2020). “Luigi Amidani da Parma a Madrid, da pittore dei Farnese a ‘confidente’ di Velázquez”. About Art On Line.- VV. AA. (2000). Corpus velazqueño. Documentos y textos, 2 vols., bajo la dirección de J. M. Pita Andrade. Madrid.
JIRI ANDERLE (Czech / Bohemian 1936) - Lutenist (after Caravaggio) | 1982 | technique: etching and drawing on paper | 660 x 490 mm | signature: down the middle | note: Sheet 34/70 | framed under glass | Lot description | This graphic sheet by the Czech artist Jiri Anderle is inspired by the work of the Italian Baroque painter Caravaggio. Here, Anderle reinterpreted the motif of a musician with a lute, which symbolizes the harmony between art, music and nature. In typical fashion, Anderle uses fine linework and detailed shading to emphasize the emotional depth of the scene. The combination of realistic and surreal elements gives the work a timelessness that is characteristic of Anderle's work and refers to his fascination with classical art in a modern expression. | condition report*In case of missing photos, please feel free to contact us.
A COLLECTION OF LATE 20TH CENTURY PAINTINGS AND PRINTS ETC, to include two oil on canvas maritime battle scenes signed Webb with an anchor, Battle of 'Trafalgar 1805' and 'Battle of the Nile 1798', approximate sizes 30cm x 40cm - both with small losses, an indistinctly signed watercolour depicting square rigged war ships, approximate size 39cm x 58cm, a print depicting the Barque Asia, approximate size 95cm x 129cm including frame, a smaller print of a sailing ship, a reproduction Sophie Anderson print of 'Music Hath Charms', Caravaggio print 'The Fortune Teller', a Christmas themed print, reproduction Charles Crombie golf prints etc and a painted metal sign from a golf course, approximate size 36cm x 122cm
Roman School, early 17th century- Salvator Mundi; oil on copper, 45.8 x 36.6 cm. Provenance: Private Collection, UK. Note: This arresting portrayal of Christ as Salvator Mundi, dramatically lit from one side so the subject's face is cast in atmospheric relief, shows the unmistakable influence of Caravaggio (1571-1610) and his circle of artists working in Rome at the beginning of the 17th century. The smooth, highly polished rendering of the skin is particularly reminiscent of the works of Caravaggio's pupil Bartolomeo Manfredi (1582-1622), including 'Cupid Chastised', held in the collection of the Art Institute of Chicago [1947.58]. The present work's intimate scale suggest it may have once hung in a private house or chapel.
Theodor Rombouts, Zwei junge Flötenspieler an einem Kohlebecken und ein RaucherÖl auf Leinwand (doubliert). 103,5 x 89,5 cm.Monogrammiert und datiert unten Mitte: TR (ligiert) 1637.GutachtenDr. Paul Huys Janssen, Den Bosch. 27. November 2018.ProvenienzPrivatsammlung, Luxemburg.Der in Antwerpen geborene Maler Theodor Rombouts reiste im September 1515 nach Italien und verbrachte in Rom die folgenden folgenden sieben Jahre. Caravaggio war zwar bereits verstorben, die prägende Kraft seiner Persönlichkeit lebte jedoch unter den römischen Malern fort und beeinflusste auch unmittelbar den jungen Flamen. Rombouts Werke aus dieser Zeit sind durch das kraftvolle Hell-Dunkel der römischen Caravaggisten geprägt, erst nach seiner Rückkehr nach Antwerpen im Jahr 1625 begann sich die Farbpalette unter dem Einfluss seines großen Zeitgenossen Peter Paul Rubens zu erhellen. Bei diesem 1637 datierten Bild „Zwei Flötespieler an einem Kohlebecken“ (Huys Janssen nennt es „Young Gentry“) handelt es sich um eines der letzten Werke des Malers, da er im selben Jahr verstarb. Die Szenerie dieser Komposition ist hell, in rosafarbenen, gelben und blauen Tönen, mit beherrschten, gezügelten Pinselstrichen ausgeführt. Die Stimmung ist ruhig und gelassen. Gewiss erinnert das dichte Nebeneinander der drei jungen Männer in Halbfigur an Kompositionen Caravaggios, aber nicht ihre Typologie. In den 1630er Jahren war Rombouts eindeutig zu einem unabhängigen klassischen Maler geworden.Nach einer alternativen Auffassung handelt es sich bei diesem Gemälde um ein Werk des Jacques des Rousseaux (um 1600 Tourcoing - 1638 Leiden).
Cobergher, Wenceslas (Nachfolger), 1560 - 1634: Anbetung des Christuskindes durch die Hirten, 17.-18. Jh.Öl auf Leinwand, doubliert auf grobem Rupfen, 158x122,5cm, vergoldet gerahmt, mit elektrifizierter Bildleuchte aus Messing am Oberrand (nicht getestet), die Bildfläche mit zwei Durchbrüchen u. alten prof. Leinwandrestaurierungen, kein Materialverlust. Die Darstellung der Anbetung der Hirten begann in der westlichen christlichen Welt um das 15. Jahrhundert zu erscheinen. Künstler von Caravaggio bis Guido Reni haben das Thema dargestellt; auch Cobergher, von dem eine Vorzeichnung zu diesem Gemälde überliefert ist, hat mit seiner Komposition für Nachfolger ein eindrucksvolles Vorbild geliefert. Z2-3.
Ted Jones (Irish, 1952)Greed, 1998Print on paper Limited edition 148 / 250Signed & numbered in pencilPublished by Killarney Art Gallery, IrelandFramed & glazedTed Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rosetti & Caravaggio. In 1998, demand for his work led to the publication of the first of a series of Signed Limited Edition Prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price.His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.Measures approx. 41.5cm x 33cm (16.5" x 13").
Ted Jones (Irish, 1952)Pride, 2001Limited edition print on paperNo. 148 of 250Signed & numbered in pencilPublished by Killarney Art Gallery, IrelandFramed & glazedTed Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rosetti & Caravaggio. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.Measures approx. 41.5 x 33cm (16.5" x 13").
Ted Jones (Irish, b. 1952) Anger, 2000Print on paperLimited edition No. 148 / 250Signed & numbered in pencilPublished by Killarney Art Gallery, IrelandFramed & glazedTed Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rosetti & Caravaggio. In 1998, demand for his work led to the publication of the first of a series of Signed Limited Edition Prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price.His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.Measures approx. 41.5cm x 33cm (16.5" x 13").
Italienischer Caravaggist des 17. JahrhundertsJÜNGLING VON EINER MAUS GEBISSENÖl auf Leinwand.65,1 x 51,1 cm.Das Bildmotiv lässt sich in eine Reihe ähnlicher Themen stellen, bei denen spontane Effekte zur Darstellung gebracht werden sollten. Schreck oder Entsetzen im Bild zu zeigen, war besonders bei Caravaggio zu einer neuen Aufgabe in der Malerei geworden. Sein exaltiert dargestellter „Jüngling von einer Eidechse gebissen“ steht am Anfang dieser Bildideen. Bartolomeo Cavarozzi (1590-1625) etwa schuf das Bild „Jüngling, von einer Krabbe gebissen“, welches in dieser Auktion auch angeboten wird. Ganz ähnlich hat der Maler das vorliegenden Gemälde den Augenblick des Schreckens beim Biss einer Maus in den Finger festgehalten. Zwar kommt hier das caravaggeske Hell-Dunkel noch nicht zum Tragen, umso mehr der Effekt des Augenblicks.Provenienz: Europäische Privatsammlung, 2017.Anmerkung:Zwei weitere Versionen dieser Darstellung sind in der Sammlung Borromeo, Isola Bella, sowie in der ehemaligen Mameli-Sammlung Rom zu finden. Das letzte Gemälde wurde im Dorotheum Wien, im November 2020 unter Lot 86 angeboten. Literatur: Vgl. Eberhard König, Michelangelo Merisi da Caravaggio, Köln 1997.Vgl. Sybille Ebert-Schifferer, Caravaggio. Sehen – Staunen – Glauben. Der Maler und sein Werk, München 2009.Vgl. Michael Fried, The Moment of Caravaggio, Princeton 2010.Vgl. F. Scaletti, Caravaggio, Catalogo ragionato delle opere autografe, attribuite e controverse, Bd. II, Napoli 2017, S. 65. (1410711) (3) (11)Italian Caravaggist, 17th centuryBOY BITTEN BY A MOUSE Oil on canvas.65.1 x 51.1 cm.The subject of the painting can be associated with a series of similar subjects portraying spontaneous effects. Depicting shock or horror in a painting had become a new task, especially for Caravaggio. His exalted depiction of Boy Bitten by a Lizard marks the start of these image ideas. Bartolomeo Cavarozzi (1590 -1625), for example, created the painting Youth Bitten by a Crab (also on offer for sale in this auction). Although the Caravaggesque chiaroscuro does not yet take effect here, the impact of the moment is even more noticeable. Two other versions of this depiction have become known held at the Borromeo Collection, Isola Bella, and formerly at the Mameli Collection, Rome (sold at auction, Dorotheum Vienna, November 2020 lot 86).Provenance: European private collection, Florence, 2017.
Theodor Rombouts, 1597 – 1637KARTENSPIELER AM TISCH MIT EINEM KIEBITZÖl auf Leinwand. Doubliert.145 x 200 cm.Beigegeben eine Expertise von Gianni Papi, Florenz, 11. April 2022, in Kopie.Wie nicht wenige Werke des Malers zeigt sich auch dieses in betontem Großformat. In abgedunkeltem Raum sitzen sich zwei Kartenspieler an einem Tisch gegenüber, zwei weitere Figuren, eine alte Wirtin und ein Jüngling vor seinem Glas und Teller sind rechts am Tischende zu sehen. Links dagegen beugt sich ein grauhaariger Alter weit vor, um in die Karten seines Tischnachbarn zu blicken. Die Figuren sind schlaglichtartig von links beleuchtet, aus einer Lichtquelle, die im Bild nicht zu sehen ist. Die Hell-Dunkel-Malerei des Caravaggismus lässt die Figuren umso plastischer erscheinen. Die Hauptfigur, ein Mann im noblen Landsknechtskostüm mit breitrandigem Hut und roter Feder und umgegürteter Stichwaffe im Halfter, sitzt einzig an der Frontseite des Tisches. Er hält seine Karten in der Linken und ist dabei eine rote Karte zu ziehen, während er gleichzeitig seine rechte Hand auffordernd an seinen Gegner richtet. Dieser wiederum zeigt sich noch unentschlossen. Die Darstellung lässt mehrere Deutungsmöglichkeiten des Spielgeschehens offen. Klar jedoch scheint, dass der Alte als Kibietz fungiert. Möglicherweise ist die Szene rechts dahingegen zu deuten, dass hier der Knappe des Landsknechts von der alten Wirtin ermahnt wird, von der Zusammenarbeit mit dem Betrüger abzulassen, was dieser nur mit einem Lächeln kommentiert.Papi sieht in dem vorliegenden Werk eine zweite eigenhändige Arbeit Theodor Rombouts, das sich im Museo di Belle Arti, Antwerpen, befindet. Bildaufbau und die Inszenierung der Darstellung stehen den Werken Caravaggios sehr nahe. So gilt Rombouts als der primäre Caravaggist dieser flämischen Stilrichtung. Zunächst studierte er unter anderem bei Abraham Janssens, vielleicht auch bei Nicolas Régnier in Antwerpen, bevor er sich 1616 nach Rom begab, um dort fast 10 Jahre zu bleiben. Es wird auch allgemein angenommen, dass er anlässlich eines Aufenthaltes in Florenz für Cosimo II de Medici arbeitete und damit auch mit Bartolomeo Manfredi in nahen Kontakt kam. 1625 wurde er Meister der Lukasgilde in Antwerpen.Auch in seinem bekannten Werk „Verleugnung Petri“ (Liechtenstein Museum) ist das Kartenspiel ein Begleitthema. Es erübrigt sich die Feststellung, dass Werke des Künstlers in weiteren bedeutenden Sammlungen zu finden sind. A.R.Literatur:Benedict Nicolson, Caravaggism in Europe, Bd. III, Turin 1990, S. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l‘Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, Ausst.-Kat., Palazzo Reale, Mailand 15.10.2005-6.2.2006, Mailand 2005. (1381861) (11) (†)Theodor Rombouts,1597 – 1637CARD PLAYERS AT A TABLE WITH LAPWINGOil on canvas. Relined.145 x 200 cm.Accompanied by an expert’s report by Gianni Papi, Florence, 11 April 2022, in copy.Literature:Benedict Nicolson, Caravaggism in Europe, vol. III, Turin 1990, p. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l’Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, exhibiton cat., Palazzo Reale, Mailand 15 October 2005-6 February 2006, Milan 2005.
Jack Butler Yeats RHA (1871-1957) On the Hazard (1911) Oil on panel, 29 x 38cm (11½ x 15”) SignedProvenance: Acquired directly from the artist by Serge Philipson, Dublin, May 1948; Christie's, London, 20 May 1999, lot 132; Sotheby's, London, 6 May 2010, lot 39; Sotheby's, London, 19 November 2013, lot 81; Sotheby’s, London, 19 November, 2019, lot 32, where purchased by the present owner.Exhibited: Dublin, Royal Hibernian Academy, 1911, no.134; Dublin, National Gallery of Ireland, 'Jack B. Yeats, A Centenary Exhibition', September - December 1971, no.28Literature: Hilary Pyle, 'Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings', London, 1992, no.27, illustrated p.26This early oil by Jack B. Yeats shows a group of cabbies playing cards by candlelight on the side of a carriage. The title, ‘On the Hazard’ is a pun on the role of chance and unpredictability, and perhaps even the dangers of gambling, in the outcome of the game, and on a Dublin expression, ‘on the hazard’. This refers to the place where cabs waited for hire. James Joyce used it in Ulysses, (1922), when he wrote, ‘Mr Bloom went round the corner and passed the drooping nags of the hazard’.Four men sit around the cab, one is perched on the top, and leans over to watch the game. Two, their faces lit by the candlelight, are engrossed in their cards. A fourth sits with his back to the viewer and is shown as a dark silhouette wearing a large hat and cloak. To the right the wheels and horse trappings of the vehicle and part of the waiting horse can be deciphered. The composition is cut-off adding a modern note to the subject.Hilary Pyle has suggested the influence of Caravaggio in the dramatic use of chiaroscuro (light-dark) in the composition. But also, and more feasibly, that of the French realist and political cartoonist, Honoré Daumier.[i] Yeats, who owned few art history books, had a copy of Henri Frantz’s book on the artist, which was given to him and his wife, Cottie, by his father and sisters in 1904.[ii] Yeats shared Daumier’s interest in the lives of working class men and women and in the depiction of the impact of poverty on urban dwellers.The painting is dominated by deep brown tones which are alleviated by the bright yellow light and by flashes of intense blue and green, as seen in the neck scarf of one of the cabbies and in the design of the playing cards. To the right a dash of strong red indicates the reflection of light on the cab wheel. The light is skillfully used to delineate the poses and expressions of the cabbies who sit in a relaxed and companionable fashion. The face of the man looking down takes on a ghostly quality as its features are transformed by the shadows into a mask-like form. The two players, whose features are clearly presented, appear to be ‘poker-faced’ with clenched expressions that indicate their deep involvement and enjoyment of the game. The painting is a rare depiction of a forgotten aspect of Irish urban life, one that was also found across Europe and North America. Here Yeats’s vivid and original composition, its close-up view of the interaction results in an intense and captivating work of art.The painting was acquired from the artist by the noted collector, Serge Philipson, a Frenchman who settled in Ireland, in 1948.Dr Róisín KennedyAugust 2024[i] Hilary Pyle, A Catalogue Raisonné of the Oil Paintings, London, 1992, no.27.[ii] This is now in the Yeats Archive, National Gallery of Ireland, Y1/JY/24/1/6/66.
Oil on canvas 99 x 73.5 cm The painting shows significant elements of 17th century Spanish portraiture and its greatest representative, Diego Rodríguez de Silva y Velázquez. Our canvas was born in the circle of artists who grew up under his influence, among them the most important students: Juan Bautista Martínez del Mazo, Juan de Pareja and Juan Carreño de Miranda. At the age of twelve he entered Francisco Pacheco's workshop, immediately demonstrating his talent. In 1618 he was already an independent artist, he worked in the city painting with a strong influence of Caravaggio. He moved to Madrid and became official painter to Philip IV. He thus had the opportunity to explore the court collection and cultivate a particular interest in the Venetian school and Titian in particular. Probably following the advice of the Rubens, he traveled twice to Italy, an opportunity to closely study the different schools of painting and the great masters, refining his style and concentrating on the pictorial and environmental interpretation of light. Loved and respected by his colleagues from his time, thanks to Alonso Cano y Zurbarán he was granted the title of Knight of Santiago. His painting of excellent quality and realism was experienced after his death thanks to his students, among them: Juan Bautista Martínez del Mazo, Juan de Pareja and Juan Carreño de Miranda. Diego Velázquez (Seville 1599 - Madrid 1660) circle of Portrait of a leader Oil on canvas 99 x 73.5 cm
* DYLAN LISLE (SCOTTISH b. 1978), HERACLES oil on canvas, monogrammed and dated '06framedimage size 38cm x 49cm, overall size 58cm x 68cmNote: Dylan Lisle trained at The Gray's School of Art in Aberdeen. "The academic or technical aspects of painting and drawing have always fascinated me. I have striven to challenge myself creatively by utilising methods and processes pioneered by masters such as Caravaggio and Zurburan. Techniques such as monochromatic underpainting, velatura, glazing and dry brush are modified to found working processes particular to each focus. The process of learning and the acquisition of knowledge in these areas is a fervent motivation. Each painting could be understood as an exercise in the mastery of technique. With the aid of life models I am able to explore my interests in anatomy. The poses are normally based around particular physical dynamics such has the torsion of a body, the tension in a muscle group or the weight of a limb. I attempt to deconstruct the inherent characteristics of a subject in order to represent them accurately and convincingly. The style of this work stems from my long held admiration of Baroque and Classical art. The strong chiaroscuro lighting of Caravaggio and the tactile dynamics of Titian's drapery have been of great influence to me. I have borrowed elements of these styles and married them with unusual and challenging poses more reminiscent of contemporary work. The juxtaposition of these contrasting approaches hopefully culminates in something that, whilst remaining progressive, pays homage to the fading notion of painting as a skilful craft. Solo exhibitions 2007 First London Solo Show, Gallery 27/The Gallery on Cork Street, Cork Street, London 2006 Solo show, The Carby Art Gallery, Aberdeen 2005 Solo show, The Carby Art Gallery, Aberdeen 2005 Solo show, The Queens Road Gallery, Aberdeen Group exhibitions 2006 The Power of Ten, The Leith Gallery, Edinburgh 2003 Aberdeen Artists Annual Exhibition, City Art Gallery, Aberdeen."Condition of the picture is good overall, with no visible or known issues.
RÖMISCHE CARAVAGGIO-SCHULE DES 17. JH.('Michelangelo Merisi, auch Michael Angelo Merigi, genannt Caravaggio')29. September 1571 Mailand - 18. Juli 1610 Porto ErcoleDER BÜSSENDE HIERONIMUS Öl auf Leinwand (altdoubl.). 70 x 59 cm (R. 85 x 72 cm). Part. besch., altrest. und Altretuschen, Farbverluste. Polimentvergoldeter Rahmen des wohl 17. Jh. Provenienz: Ostdeutsche Privatsammlung.
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