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Caravaggio.: Eglise de Caravaggio. Zeigt die Fassade der "Chiesa dei Santi Fermo e Rustico". Anonyme Bleistiftzeichnung 1857. Blgr. 23,5 x 30 cm. Unt. betitelt u. dat. - Gebr. R

FOLLOWER OF CARAVAGGIO (17TH CENTURY)THE VEGETABLE SELLEROil on canvas89 x 68cm (35 x 26¾ in.)

Flemish school of 1620-1630. Workshop of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."Self-portrait.Oil on canvas. Relined.With repainting.The frame shows slight lack of polychromy.Size: 75 x 57 cm; 103 x 85 cm (frame).Excellent painting of Flemish school, belonging to the workshop of Rubens, in which we recognise the self-portrait of the baroque genius. It is a work of great artistic quality, which faithfully follows the original model produced by Rubens around 1618, now in the collection of self-portraits in the Uffizi Gallery in Florence. The one in the Uffizi collection shows Rubens at the age of about 41, when he was still living in Antwerp. The artist depicts himself bust-length, with a stern gaze fixed on the viewer, with no other symbols of his rank than the dignity of his face. In the present work, which belongs to the workshop of the Baroque genius, we can appreciate the energy and direct teaching of the master: both the figure and the background share shadows and lights, the spotlight sliding across the flushed complexion and the dark eyes, playing with thousands of nuances that extract velvety textures and naturally capture the boldness of the gallant countenance. As for Rubens's workshop, it is worth noting that the prolific artist could not have tackled the abundant creative fecundity of his work alone. He employed expert collaborators and enlisted the help of external painters, who helped to satisfy the fertile demand for commissions.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral.

Jacob van Oost,1601 – 1671, zug.Die EmmausjüngerÖl auf Leinwand.110 x 155 cm.In ebonisiertem Profilrahmen.Seine ersten Studien unternahm Jacob van Oost wahrscheinlich bei seinem Bruder Fans van Oost, woraufhin er sich von 1621 – 1628 in Italien aufhielt und ab 1651 die Funktion als Stadsschilder bekleidete. Wie in unserem Gemälde gut zu sehen ist, wurde sein Werk stark durch Caravaggio beeinflusst, aber auch durch die Flamen Rubens, Anthony van Dyck und Gaspard de Crayer. Vornehmlich besteht sein Werk auf Portraits und religiösen Werken. (1340351) (13)Jacob van Oost,1601 – 1671, attributedTHE EMMAUS DISCIPLES Oil on canvas.110 x 155 cm.In ebonized, profiled frame.

Agostino Verrocchi,1586 – 1659Tätig überwiegend in Rom.FRÜCHTESTILLLEBENÖl auf Leinwand. Doubliert.59,5 x 72,5 cm.Über den Maler ist in der Kunstwissenschaft nur wenig bekannt geworden, wenngleich sich etliche seiner Werke in bedeutenden Sammlungen befinden, wie etwa in der Medici-Villa in Poggio a Caiano. In jüngster Vergangenheit haben wenigstens zwei bedeutende Ausstellungen den Maler gewürdigt, wie etwa „La natura morta al tempo di Caravaggio“ im Musei Capitolini in Rom vom Dezember 1995 bis April 1996. Die weitere Ausstellung „L‘incantesimo dei sensi“ fand 2005 im Museo di Arti Decorative Accorsi-Ometto in Turin statt. In der Forschung sowie in den Ausstellungen wird Verrocchi neben Meistern wie Pietro Paolo Bonzi (1573-1636), Panfilo Nuvolone (1581-1651), Giuseppe Recco (1634-1695) oder Giovan Battista Ruoppolo (1629-1693) gestellt.Das dunkelgrundige Stillleben zeigt im Zentrum helle Trauben am Zweig mit Blättern, daneben Kürbis, Feigen und weitere Baumfrüchte. Diese nebeneinander aufgereiht an einem Steinsockel. Die Beleuchtung von oben lässt die Gegenstände vor dunklem Hintergrund zur Wirkung bringen. (†)Literatur:Publiziert in: Alberto Cottino, Natura silente, Edizione Omega, 2007. (13306032) (10)Agostino Verrocchi,1586 – 1659Predominantly active in Rome.FRUIT STILL LIFEOil on canvas. Relined.59.5 cm x 72.5 cm.Two important exhibitions have recently commemorated the painter such as “La natura morta al tempo di Caravaggio” at the Musei Capitolini in Rome between December 1995 and April 1996 and “L’incantesimo dei sensi” at the Museo di Arti Decorative Accorsi-Ometto in Turin in 2005. (†)Literature:Published in: Alberto Cottino, Natura silente, Edizione Omega, 2007.

Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel Apostel SimonÖl auf Leinwand. Doubliert.86 x 66 cm.Oben am Rand betitelt „S. SIMON“.In breitem, ornamental verziertem Rahmen.Vor unbestimmtem Grund hebt sich die leicht nach links gerichtete Gewandfigur als Hüftstück hab, in der linken Hand eine Säge haltend, die den Dargestellten attributiv als Apostel Simon Zelotes (geb. 1. Jhdt. n. Chr. in Babylon, heute Han-al-Mahawil) ausweist. Gemälde mit Aposteln oder ganze Apostel-Serien (Apostolados) waren während der Gegenreformation sehr beliebt und wurden zumeist – wie hier – als Halbfiguren vor neutralem Hintergrund dargestellt. Sie dienten als Archetypen für Wiederholungen, die teilweise in variierender Qualität von der Werkstatt angefertigt wurden. Apostelados sind verschiedentlich dokumentiert, so etwa im Kloster Santa Isabel in Madrid und im Kloster Santo Domingo in Valencia, sodass auch für das hier angebotene Gemälde angenommen wird, dass es einst Teil einer Gruppe von Apostelgemälden gewesen ist, zu der eventuell alle zwölf Apostel gehört haben mögen.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (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 erhoben 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: Sotheby’s, Monaco, 23. Juni 1985, Lot 236. Privatsammlung, Monte-Carlo. Anmerkung:Ein Vergleichsbeispiel „Apostel Simon“, Museo del Prado, Inv.Nr. P001090. Das aus den königlichen Sammlungen stammende, im Prado verwahrte Gemälde ist mit 74 x 62 cm etwas kleiner als das hier angebotene Gemälde und stimmt in weiten Teilen mit unserem Bild überein. Es ist Bestandteil einer Serie mehrerer Apostel, die alle in den 1630er-Jahren entstanden sind und neben Simon Peter, Paul, Andreas und Thomas zeigen. Nicola Spinosa, Ribera. La obra completa, Madrid 2008, S. 376.Literatur: Nicola Spinosa, in: Ribera inedito tra Roma e Napoli, Neapel 1989, S. 14, Farbabb. S. 12. Robert B. Simon, in: Important Old Master Paintings. Discoveries. In una Nuova Luce, Piero Corsini, New York 1988, S. 73-76, Farbabb. S. 75. Robert B. Simon und Frank Dabell, in: Important Old Master Paintings. Devotion and Delight, Piero Corsini, New York 1989, Farbabb. S. 24, Abb. 2. Nicola Spinosa, Jusepe de Ribera. L’opera completa, Neapel 2003, S. 278, Nr. A86. Nicola Spinosa, Ribera. La obra completa, Madrid 2008, A 125, S. 376. R. B. Simon und Tiziana Zennaro, in: La Pittura Eloquente, Ausstellungskatalog, Maison d’Art, Monaco, 16. Juni 2010-16. Juli 2010, S. 53-58, Nr. 9, Farbabb. S. 55.Ausstellungen: Castel Sant’Elmo, Neapel 22. April-7. Mai 1989, Farbabb. im Katalog, S. 12. Important Old Master Paintings. Discoveries. In una Nuova Luce, Piero Corsini, New York 20. April-20. Mai 1988, S. 73-76, Farbabb. S. 75. La Pittura Eloquente, Maison d’Art, Monte-Carlo 16. Juni-16. Juli 2010, Nr. 9. (1340091) (13)Jusepe de Ribera,also known as “lo Spagnoletto“,1588/91 Xàtiva/ Valencia – 1652 NaplesSIMON THE APOSTLE Oil on canvas. Relined.86 x 66 cm.Titled top margin “S. SIMON“.Provenance: Sotheby’s, Monaco, 23 June 1985, lot 236. Private collection, Monte Carlo. Notes:An example for comparison “Apostle Simon”, Museo del Prado, inv. no. P001090. At 74 x 62 cm, the painting from the royal collections in the Prado is slightly smaller than the painting offered here and largely corresponds to our picture. It is part of a series of several apostles, all dating to the 1630s, showing Peter, Paul, Andrew and Thomas alongside Simon. Nicola Spinosa, Ribera: La obra completa, Fundación Arte Hispánico, Madrid, 2008, p. 376Literature: Nicola Spinosa, in: Ribera inedito tra Roma e Napoli, Naples, 1989, p. 14, colour ill. p. 12. Robert B. Simon, in: Important Old Master Paintings, Discoveries, in una Nuova Luce, Piero Corsini, New York, 1988, pp. 73-76, colour ill. 75. Robert B. Simon and Frank Dabell, in: Important Old Master Paintings, Devotion and Delight, Piero Corsini, New York, 1989, colour ill. p. 24, Ill. 2. Nicola Spinosa, Jusepe de Ribera, L’opera completa, Naples, 2003, p. 278, no. A86. Nicola Spinosa, Ribera. L’opera completa, Fundacioón Arte Hispanico, 2008, A 125, p. 376. R.B. Simon and T. Zennaro, in: La Pittura Eloquente, Maison d’Art, Monte Carlo, 2010, pp. 53-58, no. 9, colour ill. p. 55. Exhibitions: Castello Sant’Elmo, Naples 22 April - 7 May 1989, colour ill. in catalogue, p. 12. Piero Corsini, Important Old Master Paintings, Discoveries. In una Nuova Luce, New York 20 April - 20 May 1988, p. 73-76, colour ill., p. 75. La Pittura Eloquente, Maison d’Art, Monte-Carlo 16 June - 16 July 2010, no. 9.

Jan Harmensz van Bylert,um 1597 Utrecht – 1671 ebendaDER LAUTENSPIELERÖl auf Leinwand.105 x 80 cm.Der Maler hatte sich auf Halbbildnisse spezialisiert, insbesondere auch von Musikern oder Philosophen, die in mehreren öffentlichen Sammlungen vertreten sind, wie das bekannte Gemälde mit einem Konzert mit Lauten- und Cellospielern. Auch das hier vorliegende Motiv zeigt einen Jüngling im Dreiviertelbildnis nach rechts, in sitzender Haltung an einer Laute, wobei sein halb geöffneter Mund andeutet, dass er sich selbst singend begleitet. Über dem schwarzen kurzen lockigen Haar ein Barett mit großer weißer Straußenfeder, eine Reminiszenz auch an das Werk Caravaggios, wie ebenso die Darstellung des jungen Musikers mit entblößter Schulter. Farblich dominierend ist das kräftige Rot im Umhang, das als farblicher Gegenpol zum hellen Grau-Blau des Hintergrundes steht. Der Einfluss Caravaggios ist auch in dem vorliegenden Gemälde unverkennbar.Der Künstler war Sohn eines Glasmalers und nach Mitteilung des frühen Künstlerbiographen Joachim von Sandrart d. Ä. (1606-1688) ein Schüler des Abraham Bloemaert (1564-1651), bevor ihn seine Studienreisen nach Frankreich und dann nach Italien führten. In Rom verblieb er wahrscheinlich bis 1624 und stand dort in Kontakt mit den holländischen Malern Jan Gerritsz van Bronchorst (1603-1661) oder Cornelis van Poelenburgh (1586-1667). Ab Mitte der 1620er-Jahre ließ er sich stark von Michelangelo Merisi il Caravaggio (1570/71-1610) und Guido Reni (1575-1642) beeinflussen, wie ebenso von Gerrit van Honthorst (1590-1656). Er gilt als einer der führenden, wenn nicht sogar als führendster Vertreter der Utrechter Caravaggisten.Literatur:Paul Huys, Jan van Bijlert, 1998, S. 139 Nr. 105, Pl. 46, circa 1625-1635. (12901421) (11)Jan Harmensz. van Bylert,ca. 1597 Utrecht – 1671 ibid.LUTE PLAYEROil on canvas.105 x 80 cm.Literature:Paul Huys, Jan van Bijlert, 1998, p. 139 Nr. 105, Pl. 46, circa 1625-1635.

Dirck Hals, 1591 Haarlem – 1656 ebenda, zug.Gesellschaft beim KartenspielÖl auf Leinwand.35 x 46 cm.Um 1630-40.In profiliertem Holzrahmen.In einem Innenraum, der durch eine Karte, welche die rückwärtige Wand ziert näher definiert wird, eine um einen Tisch sitzende Gruppe von Karten spielenden und rauchenden Personen. Dem Spiel obliegt immer auch eine Kritik, dem Raucher kann eine Vanitassymbolik unterstellt werden.Von Dirck Hals, dem Bruder des noch berühmteren Frans Hals (1580-1666) sind uns zahlreiche vergleichbare Gemälde mit Gesellschaften in Innenräumen bekannt. Als Mitglied der St. Lukas-Gilde blieb er Zeit seines Lebens in seiner Geburtsstadt Haarlem, in der er sich auf eben solche beliebten Gesellschaftsstücke konzentrierte. Seine Gemälde befinden sich unter anderem im Musée du Louvre, in der National Gallery in London und natürlich im Rijksmuseum in Amsterdam. Motivische Ählichkeiten sind zu Caravaggio und George de La Tour zu ziehen, wobei Dirck Hals eine eher camaieuhafte Malweise inne liegt sowie eine Freude am Spiel, wie sie auch in der Utrechter Schule überliefert ist. (†) (13414513) (13)Dirck Hals,1591 Haarlem – 1656 ibid., attributedTHE CARD PLAYERSOil on canvas.35 x 46 cm.Ca. 1630-40. (†)

Orazio Gentileschi, 1563 Pisa – 1639 London, zug./ Werkstatt desMaria LactansÖl auf Leinwand. Doubliert.135 x 105 cm.In altem rötlich changierendem Profilholzrahmen.Nur leicht changiert das Licht um die Hauptakteure dieses Gemäldes, das alles um sich herum außer Acht lässt und sich – von der Beleuchtungsinszenierung unterstützt – auf sich selbst konzentriert. Auf den querformatigen Versionen unterstreicht ein auf der Erde lagernder Josef das Elend, in dem das Paar und das Jesuskind auf der Flucht nach Ägypten ist. In dem vorliegenden Gemälde hingegen wird die Bedeutung der mütterlichen Hingabe an das heranwachsende Kind und dessen Versorgung herausgestellt. Während der caravaggeske Realismus etwa in dem Wiener Bild noch eine große Rolle spielt, tritt dieser zu Gunsten des toskanischen Schönheitssinns, in dem Gentileschi seine Heimat wiedererkennt, zurück und lässt die innige Liebe zwischen Mutter und Kind triumphieren. Er, der Vater der Artemisia Gentileschi, malte zunächst im manieristischen Stil, wurde dann in Rom von Caravaggio beeinflusst und zog dann erst nach Paris, wo er am Hof von Maria de Medici wirkte, und dann nach London, wo Charles I von England sein Auftraggeber war.Provenienz:Privatsammlung, Rheinland, Monogramm P.B.Privatsammlung, Südwestdeutschland.Anmerkung:Identische Maße und quasi identische Darstellung bei dem Gemälde, das bei der Fondazione Zeri unter 76304 als Orazio Gentileschi registriert ist und zuletzt 1956 auf dem deutschen Kunstmarkt vermerkt ist (Weltkunst 1956, Nr. 10, S. 18, O. Gentileschi, zug.). Besonders die gleichen Maße bei ähnlich guter Qualität lassen eine Zuschreibung an Gentileschi auch unseres Gemäldes angemessen sein. Eine weitere isolierte Version der „Ruhe auf der Flucht nach Ägypten“ mit Maria und dem Kind wurde am 4.12.1991 unter Lot 72 bei Christie’s in Rom verkauft (Maße: 107 x 102 cm).Als Vergleich kann auch das querformatige Gemälde Gentileschis „Ruhe auf der Flucht nach Ägypten“ herangezogen, werden, welches per Signatur für Gentileschi gesichert ist „HORATIVS GENTILESHVS FECIT“ und seit spätestens 1783 in der Wiener Gemäldegalerie nachweisbar ist. Man kann davon ausgehen, dass Gentileschi das vorliegende reizvolle Motiv auch isoliert – wie hier angeboten – anfertigte oder seine Werkstatt damit beauftragte.Die National Gallery in London verfügt ebenfalls über eine „Ruhe auf der Flucht nach Ägypten“ des genannten Künstlers, wobei Maria jedoch ein schlichteres Gewand trägt und dem Jesuskind ein üppigeres Haupthaar zugedacht wurde. Im Louvre wird vermutlich die jüngste Version verwahrt. Literatur: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. (1340072) (13)Orazio Gentileschi, 1563 Pisa – 1639 London, attributed/ workshop ofTHE NURSING MADONNA Oil on canvas. Relined. 135 x 105 cm.Provenance:Private collection, Rhineland, monogram P.B.Private collection, Southwest Germany.Notes:A painting listed at Fondazione Zeri under no. 76304 shows identical dimensions and a virtually identical depiction and is described as by Orazio Gentileschi and last noted on the German art market in 1956. (Weltkunst 1956, no. 10, p. 18, O. Gentileschi, attribution). It is particularly the identical dimensions and a similarly good quality which make an attribution to Gentileschi fitting for our painting. Another isolated version of “Rest on the Flight into Egypt“ with the Virgin and the Christ Child was sold on 4 December 1991 under lot 72 at Christie’s in Rome (dimensions: 107 x 102 cm).Gentileschi’s landscape format painting “Rest on the Flight into Egypt“ is also comparable, which is secured by a signature for Gentileschi (HORATIVS GENTILESHVS FECIT) and can be traced to the Vienna Picture Gallery since 1783 at the latest. It can be assumed that Gentileschi also produced this attractive motif in isolation – as is offered here – or instructed his workshop to do so.The National Gallery in London also holds a “Rest on the Flight into Egypt“ by the same artist, although the Virgin wears a simpler robe, and the Christ Child was given a lusher head of hair. The most recent version is probably held at the Louvre.Literature:cf. Benedict Nicolson, Luisa Vertova, Caravaggism in Europe, vol. I, Turin 1990, p. 113.cf. Benedict Nicolson, The International Caravaggesque movement, Oxford 1979, p. 52.cf. Raymond Ward Bissell, Orazio Gentileschi, University Park et al. 1981.cf. Hermann Voss, Orazio Gentileschi. Four versions of his “Rest on the Flight into Egypt“ The connoisseur, November 1959, pp. 163-165.cf. Orazio and Artemisia Gentileschi, exhibition catalogue, Metropolitan Museum of Art, New York, 14th February 2002-12th May 2002, Museo Nazionale del Palazzo di Venezia, Rome, 20th October 2001-20th January 2002, Saint Louis Art Museum, Saint Louis, MO, 15th June 2002-15th September 2002, ed. by Keith Christiansen and Judith Walker Mann, New Haven et al. 2001.

Andrea Locatelli, 1695 Rom – 1741, zug.STIMMUNGSVOLLE KÜSTENLANDSCHAFT MIT FIGURENÖl auf Leinwand.113 x 170 cm.In vergoldetem Rahmen.Malerischer Blick auf das breite, felsige Ufer eines kleinen Fischerhafens mit zahlreichen Figuren: im Vordergrund von links eine kleine Familie, ein anlegendes Boot, ein Soldat in antiker Kleidung mit Helm, zwei sitzende Männer verweisend und am rechten Bildrand eine Gruppe von Fischern, deren Bootssegel nach oben ragt. Mittig links das Ufer mit antiken Gebäuden einer Stadt, darunter die Reste eines steinernen Rundbaus und ein Torbogen, durch den ein Weg mit einem Hirten und seiner Herde zum Wasser führt, an dem mehrere Boote ankern. Einige Fischer sind gerade dabei ihre Netze einzuholen. Am linken Bildrand zudem als Repoussoir eine hohe, im Schatten liegende Baumgruppe. Rechtsseitig Sicht über das ruhige Meer auf ein Gebirge im diesigen Licht der warmen Nachmittagssonne unter hohem hellblauen Himmel mit wenigen weissen Wolkenformationen. Qualitätvolle, stimmungsvolle Malerei mit gekonnt gesetzter Licht- und Schattensetzung in der Manier des Künstlers, bei der sich sein Studium von Küstenlandschaften nachvollziehen lässt.Provenienz:Sir Arthur Ingram Aston, Aston Hall, Chester; his estate sale; Christie’s, London, 6 August 1862, lot 69, als „Borsini“.Anmerkung:Locatelli war der Sohn des Malers Giovanni Francesco Locatelli (1660-1741). Er studierte bei Monsù Alto (einem Maler von Küstenlandschaften), nach dessen Tod bei Bernardino Fergioni (1674-um 1738) und Biagio Puccini. Bei letzterem studierte er vor allem das Malen des menschlichen Körpers. Seine Landschaftsbilder mit mythologischen und antiken Motiven erinnern u.a. an Claude Lorrain. 1715 war er an der Ausmalung des Palazzo Ruspoli in Rom beteiligt (mit maritimen Szenen, wobei er nur die Figuren malte und schon hoch bezahlt wurde) und für Victor-Amadeus II. von Savoyen malte er 1723 bis 1725 zwei Bilder für dessen Schloss Rivoli in Turin (im Auftrag von Filippo Juvara).Literatur:Vgl. L. Laureati, in Da Tiziano a Caravaggio a Tiepolo. Capolavori di tre secoli di arte italiana, V. Sgarbi (ed.), Florenz 2002, S. 162, Nr. 60.Vgl. M. Moschetta, Pittori di vedute, di prospettive e di paesaggi nella Roma del ’600 e ’700, Aretto, 2004, S. 52-53.Vgl. A. Busiri, Andrea Locatelli, Rome, 1976, Nr. 215-216, Nr. 42,43, 44, 48. (13306077) (18)Andrea Locatelli,1695 Rome – 1741, attributedATMOSPHERIC COASTAL LANDSCAPE WITH FIGURESOil on canvas.113 x 170 cm.In gilded frame.Literature:cf. L. Laureati, in Da Tiziano a Caravaggio a Tiepolo. Capolavori di tre secoli di arte italiana, V. Sgarbi (ed.), Florence 2002, p. 162, no. 60.cf. M. Moschetta, Pittori di vedute, di prospettive e di paesaggi nella Roma del ’600 e ’700, Aretto, 2004, pp.52-53.cf. A. Busiri, Andrea Locatelli, Rome, 1976, no. 215-216, no. 42,43, 44, 48.

Basil Blackshaw HRHA RUA (1932-2016)CockerelOil on canvas, 40 x 50cm (15¾ x 19¾")SignedProvenance: With Solomon Gallery, Dublin, label verso; Collection of the late Vincent Ferguson; Private CollectionA good friend of Basil Blackshaw’s, Hugh McIlveen, noted that the rural community into which his family moved shortly after his birth, Boardmills, was crucial in shaping his sensibility. It was only 20 miles south of Belfast but it was a world apart, a realm of small farms and “high hedgerows.” It was, McIlveen points out, only supplied with mains electricity in 1953. Here Basil, the son of a professional hunt horse trainer who worked regularly in England, spent a childhood among animal breeders, steeped in rural pursuits. The yards at home, first Boardmills and, later on, Culcavy, Hillsborough, were perpetually busy with horses, terriers, lurchers and, a little underneath the radar, fighting cocks. Of the latter, McIlveen writes, Blackshaw had “an unusually expert knowledge.”Blackshaw spent a great deal of time looking at animals of one sort of another. His paintings of cockerels of whatever kind tend to be intensely lively, vivid, even explosive in terms of movement and energy. Wild flurries of paint equate to the fierce animation of the birds. Here, the artist conveys the colours, mass and drive of the animal with bursts of paint applied at speed. He scrapes through the storm of pigment, perhaps with the tip of the brush handle - like many other painters including Caravaggio - to pin down and indicate the continuity of form in the midst of the confusion.The youngest of seven siblings, Blackshaw was recognised as being precociously gifted and fast-tracked his way through art college. He remained a countryman, however, never settling in the city and usually surrounded by animals. Famously, when he took on a teaching job, a traditional livelihood for art graduates, he treated the school’s temporary closure during a snowy spell as a providential sign and never went back. Renowned for his paintings of landscape, a range of animals, the human figure and many portrait subjects, he was and remains highly esteemed among artists and public alike.Aidan Dunne, October 2022

RACHEL MERRIMAN (born 1971); mixed media on paper depicting 'The Death of Marat' by Jacques-Louis David, initialled RM and dated 1996 in pencil lower right, image size approx 19.36 x 16cm and mixed media on paper depicting 'Bacchus' by Caravaggio, initialled 'RM' in pencil lower right, image size approx 10.6 x 8.9cm, both framed and glazed (2). † CONDITION REPORT: This lot may qualify for Artist Resale Rights. For further information, please visit

Denys CalvaertAnbetung der Hirtenum 1600/10Öl auf Holz136 x 109 cmPrivatbesitz, ÖsterreichDenys bzw. Dionys Calvaert stammte aus Antwerpen, begann aber sehr früh seine Ausbildung in Italien in den Werkstätten von Lorenzo Sabatini (1530 – 1576) oder Prospero Fontana (1512 – 1597). Dank seines intensiven Studiums der Werke von Correggio und Parmigianino avancierte er sehr bald zu einem gefragten Landschafts- und Figurenmaler. Der Flame gründete eine angesehene Werkstatt in Bologna und zählte u.a. Guido Reni (1575-1642) und Domenichino (1581 – 1641) zu seinen Schülern.Charakteristisch für den Stil Calvaerts sind die fein ausgearbeiteten Gesichtszüge der Figuren und das leuchtende Kolorit der Gewänder, wobei hier die Farbgebung teils dezenter gewählt wurde und sich an den tonalen Hintergrund anzupassen scheint. Die miteinander interagierenden Protagonisten, meist im Profil oder Dreiviertelprofil wiedergegeben, weisen bereits die typisch spitz zulaufenden Finger auf, welche Guido Reni (1575-1642) später für seine Gemälde adaptiert.Die Komposition der Hauptfigurengruppe im Mittelgrund ist einer Federzeichnung der "Anbetung der Hirten" (Kupferstichkabinett Berlin, Staatliche Museen, Inv. Nr. 18602) von Polidoro da Caravaggio (1499-1543) besonders nahe. Die Figuren wurden in ähnlicher Weise auf einem Felsplateau arrangiert, welches an eine Tempelanlage grenzt. Verwandt sind Haltung, Hinwendung und Zeigegestus der Heiligen Familie, Bewunderer und herbeieilenden Hirten. Womöglich war die Berliner Figurenstudie Ideengeber für die vorliegende Arbeit Calvaerts."Neben der auf einem erhöhten Felsen sitzenden Heiligen Familie ist besonders die Szene im oberen Bildteil mit auf von der Sonne beschienenen Wolkenband markant, auf dem geflügelte musizierende Engel in farbenprächtigen Gewändern herunter schweben. Diese strahlende Helligkeit, die die Details des Vorder- und Mittelgrundes für den Betrachter gut erkennbar werden lässt, ist bezeichnend für die Zeit der Caracci-Malerei in Bologna zu Beginn des 17. Jahrhunderts. Dort in Bologna ‚verlässt‘ Calvaert die flämische Landschaftsmalerei völlig und wendet sich ganz der religiösen Figuren-Darstellung zu" (vgl. Gutachten Dr. Ertz).

Graphik -- Ca. 213 Blatt des 16.-19. Jh.Darunter von und nach: Bonasone, Boucher, van den Broeck, Le Brun, Callot, P. da Caravaggio, van Dyck, Duflos, Fialetti, L. Gautier, Goya, Huquier, Le Pautre, Perignon, Piazzetta, Piranesi, Raffael, Reni, Rosa, J. Sadeler. - 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.

Graphik -- Ca. 78 Blatt des 16.-20. Jh. Darunter vor und nach: Atkinson, Boissard, Caravaggio, Daumier, Forest-Fleury, Frommel, Klauber, Lamsvelt, Monnet, Moreau, Raphael, Rembrandt, Stöber, Tizian, Zanetti. - 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.

Vier Münzsätze: 51 Münzen '500 Jahre Schweizer Garde', limit. Auflage 191/1000, Zeitraum 1942-2006. Darunter: 2 Euro 2006 Schweizer Garde. In goldgeprägter, roter Samtbox. Proben-Münzsatz Johannes Paul II. 2004, mit 2 x 10 Cent, 2 x 20 Cent, 2 x 50 Cent. In geprägter Pappbox. Kursmünzensatz 2010 Benedikt XVI. Mit einer Silbermedaille Caravaggio, Silber 925, 42,1 g. (Mit Zertifikat u. Originalverpackung). Kursmünzensatz 2007 Benedikt XVI.

Italian school of ca. 1600."Children musicians".Oil on canvas. Re-coloured.Size: 56 x 79 cm; 71 x 84 cm (frame).In this work the artist has represented a group of children musicians, following the sweet and idealized ways typical of the Italian school of the Carracci. At the beginning of the 17th century, at the same time as Caravaggio was breaking with Mannerist and even Renaissance conventions, a new way of understanding painting emerged in Bologna under the guidance of Carracci, commonly known as "eclecticism". It sought to integrate the best of each master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, Annibale Carracci's personality led him to evolve towards a highly personal classicism that did not disdain certain Caravaggiesque achievements.

* DRYSDALE SCOTT (SCOTTISH b. 1963), THE GIFT OF GIVING oil on board image size 91cm x 102cm, overall size 112cm x 122cm Framed. Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor. Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.Condition is good overall.

CHAÏM SOUTINE (1893-1943)La femme en rouge au fond bleu signed 'Soutine' (lower right)oil on canvas75.4 x 55cm (29 11/16 x 21 5/8in).Painted circa 1928Footnotes:ProvenanceJos Hessel Collection, Paris.Jacques Laroche Collection, Paris.Georges Keller Collection, New York and Davos (acquired by 1943).Carroll Carstairs Gallery, New York (acquired by 1949).Mr & Mrs Walter Ross Collection, New York (acquired from the above by 1957); their collection sale, Parke-Bernet Galleries, New York, 21 October 1964, lot 38.McRoberts & Tunnard Gallery, London (acquired at the above sale).Perls Galleries, New York (acquired by 1967).Alex Maguy, Paris (acquired by 1972, until 1973).Private collection, Japan; their sale, Sotheby's, New York, 5 November 1981, lot 233.Perls Galleries, New York (acquired at the above sale).The Roland Collection (acquired from the above in 1985); their sale, Dorotheum, Vienna, 24 November 2020, lot 12.Acquired at the above sale by the present owner.ExhibitedNew York, Bignou Gallery, A Selection of Paintings of the Twentieth Century, 8 February - 20 March 1943, no. 16 (titled 'The Red Dress').New York, Bignou Gallery, Exhibition of Paintings by Soutine, 22 March - 16 April 1943, no. 15 (titled 'The Red Dress').Montreal, Montreal Museum of Fine Arts, Manet to Matisse, An Exhibition of 19th and 20th Century French Paintings, 27 May - 26 June 1949, no. 39 (titled 'Femme en rouge' and dated 1932).New York, Perls Galleries, 24 Major Acquisitions, 27 February - 6 April 1968, no. 21 (titled 'Jeune femme au fond bleu').New York, Perls Galleries, Chaïm Soutine (1893-1943), 11 November - 13 December 1969, no. 18.Paris, Alex Maguy, Présence de la peinture, 2 June - 12 July 1972.Tel Aviv, Tel Aviv Museum of Art, 1996.LiteratureConnoisseur, vol. 172, no. 693, November 1969 (illustrated p. ccxvii).P. Courthion, Soutine, peintre du déchirant, Lausanne, 1972, fig. B (illustrated p. 258; titled 'La femme du cordonnier II' and dated 1926-1927).A. Soutine, Journal de l'amateur d'art, 1973 (illustrated p. 14).Exh. cat., The Evelyn Sharp Collection, New York, 1978, p. 90.M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943), Catalogue Raisonné, Vol. II, Cologne, 2001, no. 123 (illustrated p. 692).IFAR Journal. vol. 10, no. 3/4, 2008/2009, p. 57 (illustrated on the inside back cover).In La femme en rouge sur fond bleu, Chaïm Soutine portrays a woman with unparalleled emotion and intimacy. Despite the artist's choice to leave the sitter anonymous, he renders her familiar to anyone as he translates raw emotions onto the canvas. The present work is the quintessence of Soutine's portraits: it blends the most important colours in Soutine's work (red and blue) and brings together the artist's modern and traditional artistic influences in a consummate psychological portrait.Chaïm Soutine was born in 1893 in Smilovitchi, a small town of the Russian Empire mainly populated by observant Jews. At the age of thirteen, he secretly drew a portrait of the village rabbi, transgressing the ban on depicting the human face, and was beaten by the rabbi's son for it. He spent two weeks in hospital, and the Soutine family obtained twenty-five roubles in compensation which enabled him to leave the Smilovitchi ghetto and the painful childhood memories he had there. Soutine used the money to take drawing classes in Minsk, before enrolling at the Vilnius School of Fine Arts. He then arrived in Paris in 1912 and moved to La Ruche (The Beehive), a hub of artist studios whose name came from its cylindrical shape where low studio rent and free models attracted many artists who had recently emigrated to Paris with little money. Among others, Marc Chagall, Ossip Zadkine, Alexander Archipenko, Constantin Brâncuși, and Diego Rivera, would come and stay at La Ruche, which soon became the epicentre of the École de Paris, a term that paradoxically came to designate the scene formed at the beginning of the 20th century and until the Second World War by artists from all over the world, who converged in the French capital. Soutine had no resources and worked as a labourer in a Renault factory and at the Grand Palais to make ends meet. In 1914, an incurable stomach ulcer prevented him from being mobilised, despite his desire to do so. In 1915, Soutine met Amedeo Modigliani and the two artists formed a solid friendship that would withstand all odds. In 1916, Modigliani introduced him to his dealer Léopold Zborowski, who would go on to also represent Soutine. Zborowski financed Soutine's career and trips to the South of France, in Céret, Cagnes and Vence, but without commercial success.Modigliani's death in 1920 was a terrible setback for Soutine. His physical and mental health deteriorated drastically and he chose to live apart from the artistic community. For almost two years, he painted intensely and kept a very close circle of friends and relationships; mainly Zborowski and Paulette Jourdain, Zborowski's assistant and former model of Modigliani. Jourdain became an important friend, confidante, and model for Soutine. It is almost certain that she is the sitter for La femme en rouge sur fond bleu.Jourdain, who also sat for André Dunoyer de Segonzac, Ossip Zadkine, and Moïse Kisling, was the model for one of Modigliani's very last portraits in 1919. It is highly likely that Soutine was inspired by the Portrait de Paulette Jourdain, which bears many similarities with La femme en rouge sur fond bleu, such as the same fontal position, stately manner, and clasped hands.In 1922, the American collector Albert Barnes noticed the artist's work and bought almost a hundred paintings from Soutine, who became rich and famous overnight. He was now an established painter and had a daily salary of 25 francs from Zborowski, with a car and a driver, and became a fashionable and eccentric Parisian. And yet, despite his newfound introduction to bourgeois society, Soutine became preoccupied with the still-life genre, surrounding himself with dead carcasses in his studio to paint his celebrated series of Bœufs écorchés (Slaughtered oxen, circa 1925). He would visit slaughterhouses to buy dead carcasses of oxen to hang in his studio to paint. Soon the flies swarmed, and the neighbours complained about the smell. Paulette Jourdain recalls that when the police turned up, Soutine hid, terrified. But Jourdain defended the painter, arguing that his work was not done and that he needed to keep them for a while longer. She would sit for portraits for Soutine next to these dead carcasses in the studio while he painted her and would endure the smell and the flies for hours. Indeed, there are strong connections between Soutine's masterpiece of the Carcasse de bœuf (1925) and the present work: they share the same vivid palette, with the main subject painted in red hues and standing out against a blue background with impassioned brushstrokes that unbalance the perspective and stability of the scene. Both subjects occupy the centre of similar-sized canvases, while the colour and treatment of the flesh and blood of the flayed ox recalls that of the sitter's skin and dress. In the words of Cynthia Zarin, 'like Caravaggio, who painted some of the most disturbing and beautiful pictures in the world, and whom these portraits call to mind, Soutine was interested in the agencies of the flesh. In the snarl of paint on the canvas, you can feel his hand on the brush' (C. Zarin, 'The Time Travelling Portraits of Chaïm Soutine' in The New Yorker, 21 March 2018, n.p.). Moreover, like the Bœufs écorch&... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Polidoro Caldara, called Polidoro da Caravaggio, Italian 1499-1543- The Rape of the Sabines; pencil, pen and black ink and grey wash on laid paper, inscribed 'Polidoro' (lower left), 18 x 51 cm., (unframed). Provenance: The estate of the late designer Anthony Powell. Note: Romulus, who is is seen at the left with his outstretched left arm, orders the Romans to search for the women. Cherubino Alberti (1553 - 1615) produced five engravings after Polidoro's original, the first of which corresponds to the present work. The National Gallery in Washington owns a set of proofs of the five plates printed on satin, before the dedication to Cardinal Francesco Barberini [2004.114.2]. See, also, the corresponding engraving held at the British Museum, London [1873,1213.283.1]. Please refer to department for condition report

Archie Franks Waitrose Flat Peaches, 2022 Pen on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others.   Education   Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9   Select Exhibitions/Awards   'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation   Aleph Contemporary   Statement about AOAP Submitted Artwork   I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Archie Franks Ghost Train, 2022 Pen on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others.   Education   Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9   Select Exhibitions/Awards   'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation   Aleph Contemporary   Statement about AOAP Submitted Artwork   I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Archie Franks Village Cricket Featuring Cows, 2022 Oil Pastel and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others.   Education   Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9   Select Exhibitions/Awards   'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation   Aleph Contemporary   Statement about AOAP Submitted Artwork   I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Archie Franks M&S Pie, 2022 Oil Pastel and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others.   Education   Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9   Select Exhibitions/Awards   'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation   Aleph Contemporary   Statement about AOAP Submitted Artwork   I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

NO RESERVE Byron (George Gordon Noel, Lord).- Moore (Doris Langley) Two Typescript Letters signed to Miss Violet Walker, each 3pp. and 2pp., c. 255 x 205 mm., notepaper headed 'Museum of Costume, Eridge Castle, Tunbridge Wells', signed by Moore in blue biro, 10th & 28th December 1956, Doris Langley Moore is writing to Miss Violet Walker of the City of Nottingham Public Libraries about various books she plans on writing about Byron, "I found when I went to Eridge that I could never get down to any solid writing there, and when I am away during the winter, I can't trundle a huge collection of reference books with me, so I had to abandon temporarily my book After Byron, and I started instead to do this novel which (I tell you very confidentially) is about a man who forges Byron's burned Memoirs," folds, staple in corner, the first with library-stamp to top edge, housed in modern cloth chemise; and a first edition of Moore's "My Caravaggio Style", v.s. (3).

* DRYSDALE SCOTT (SCOTTISH b. 1963),THE GIFT OF GIVINGoil on boardimage size 91cm x 102cm, overall size 112cm x 122cmFramed.Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor.Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.Condition is good overall.

A very large gilt wood picture frame, external approx. 145x170cm, internal approx. 118x145cm, bearing plaque reading L'Adorazione Dei Pastori Michelangelo da Caravaggio, 1659-1609

MASON STORM,SUPER SALVATOR SALE,Digital print on 308 gsm Hahnemuhle photo rag, cut edges,41cm x 59cm,Printers ProofBritish artist Mason Storm is known for provocative works that poke fun at the hypocrisies within modern society. In his compositions—which reference canonical paintings by Caravaggio, Johannes Vermeer, and Norman Rockwell—Storm inserts elements from movies, TV, and pop culture to create clever juxtapositions that speak to contemporary issues. Like Banksy, Storm works anonymously, hiding his identity behind a designer balaclava. Self-taught, Storm claims to have a background in martial arts, security, and intelligence.

MASON STORM,THUG 4 LIFE,Digital print on 308 gsm Hahnemuhle photo rag, cut edges,50cm x 47cm,Printers ProofBritish artist Mason Storm is known for provocative works that poke fun at the hypocrisies within modern society. In his compositions—which reference canonical paintings by Caravaggio, Johannes Vermeer, and Norman Rockwell—Storm inserts elements from movies, TV, and pop culture to create clever juxtapositions that speak to contemporary issues. Like Banksy, Storm works anonymously, hiding his identity behind a designer balaclava. Self-taught, Storm claims to have a background in martial arts, security, and intelligence.

MASON STORM,MONKEY PARLIAMENT 2022,Giclee print on Hahnemuhle Museum Etching 350 gsm,56cm x 80cm,AP Test printBritish artist Mason Storm is known for provocative works that poke fun at the hypocrisies within modern society. In his compositions—which reference canonical paintings by Caravaggio, Johannes Vermeer, and Norman Rockwell—Storm inserts elements from movies, TV, and pop culture to create clever juxtapositions that speak to contemporary issues. Like Banksy, Storm works anonymously, hiding his identity behind a designer balaclava. Self-taught, Storm claims to have a background in martial arts, security, and intelligence.

After Caravaggio(1492-1543)Contrapposto and Tumbling Putti,offset lithographs,36 x 22cms, framed.

The picture is a very good copy of the painting of the carters in the Dresden picture gallery (94.5 × 137 cm, gallery no. 408). The viewer witnesses how a naive young man is cheated in a card game. The theme goes back to a painting by Caravaggio from 1595/1596 (Ford Worth, Kimbell Art Museum), which was immediately taken up by a number of other artists. Valentin de Boulogne came to Rome in 1627 and became one of the most important French Caravaggists.Comes with fully carved Florentine frameOil on canvasSize 96 x 139 cm (155 x 200 cm with a frame)

After Michelangelo Merisi da Caravaggio (Italian 1573-1609): 'The Supper at Emmaus' with anthropomorphic figures and allegorical still life at table, triptych set three oils on canvas unsigned each 186cm x 151cm (3)

RACHEL MERRIMAN (born 1971); mixed media on paper depicting 'The Death of Marat' by Jacques-Louis David, initialled RM and dated 1996 in pencil lower right, image size approx 19.36 x 16cm and mixed media on paper depicting 'Bacchus' by Caravaggio, initialled 'RM' in pencil lower right, image size approx 10.6 x 8.9cm, both framed and glazed (2). † CONDITION REPORT: This lot may qualify for Artist Resale Rights. For further information, please visit

* DRYSDALE SCOTT (SCOTTISH b. 1963),THE GIFT OF GIVINGoil on boardimage size 91cm x 102cm, overall size 112cm x 122cmFramed.Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor.Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.

Spanish or French school of the 17th century. Follower of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."The Descent from the Cross".Oil on panel. Engatillado.Size: 63 x 46 cm; 80 x 63.5 cm (frame).The present panel is a faithful reproduction of the painting of the same subject, "The Descent from the Cross", painted by Peter Paul Rubens in 1612. It is the central part of a triptych, which also shows the Visitation of the Virgin and the Presentation of Jesus in the Temple. It is kept in Antwerp Cathedral, Belgium. The author of the present work may have become acquainted with Rubens' painting through a contemporary engraving by Lucas Emil Vorsterman, as is attested by an engraving identical to the present work in the Rijks Museum.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, such as the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family was originally from. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral. By this time Rubens was already the leading painter in Flanders and it was in his workshop that outstanding masters such as Anton van Dyck and Jacob Jordaens were trained. Today works by Rubens are to be found in the most important collections throughout the world, including the Prado Museum, the Hermitage in Saint Petersburg, the Louvre in Paris, the Mauritshuis Gallery in The Hague, the Metropolitan Museum in New York, the National Gallery in London and the Rijksmuseum in Amsterdam.

Agostino Verrocchi, 1586 – 1659, tätig überwiegend in RomFRÜCHTESTILLLEBENÖl auf Leinwand. Doubliert.59,5 x 72,5 cm.Über den Maler ist in der Kunstwissenschaft nur wenig bekannt geworden, wenngleich sich etliche seiner Werke in bedeutenden Sammlungen befinden, wie etwa in der Medici-Villa in Poggio a Caiano. In jüngster Vergangenheit haben wenigstens zwei bedeutende Ausstellungen den Maler gewürdigt, wie etwa „La natura morta al tempo di Caravaggio“ im Musei Capitolini in Rom vom Dezember 1995 bis April 1996. Die weitere Ausstellung „L‘incantesimo dei sensi“ fand 2005 im Museo di Arti Decorative Accorsi-Ometto in Turin statt. In der Forschung sowie in den Ausstellungen wird Verrocchi neben Meistern wie Pietro Paolo Bonzi (1573-1636), Panfilo Nuvolone (1581-1651), Giuseppe Recco (1634-1695) oder Giovan Battista Ruoppolo (1629-1693) gestellt.Das dunkelgrundige Stillleben zeigt im Zentrum helle Trauben am Zweig mit Blättern, daneben Kürbis, Feigen und weitere Baumfrüchte. Diese nebeneinander aufgereiht an einem Steinsockel. Die Beleuchtung von oben lässt die Gegenstände vor dunklem Hintergrund zur Wirkung bringen. (†)Literatur:Publiziert in: Alberto Cottino, Natura silente, Edizione Omega, 2007. (13306032) (10)Agostino Verrocchi,1586 – 1659, predominantly active in RomeFRUIT STILL LIFEOil on canvas. Relined.59.5 cm x 72.5 cm.Two important exhibitions have recently commemorated the painter such as “La natura morta al tempo di Caravaggio” at the Musei Capitolini in Rome between December 1995 and April 1996 and“L’incantesimo dei sensi” at the Museo di Arti Decorative Accorsi-Ometto in Turin in 2005. (†)Literature:Published in: Alberto Cottino, Natura silente, Edizione Omega, 2007.

Jan Harmensz. van Bylert, um 1597 Utrecht – 1671 ebenda DER LAUTENSPIELERÖl auf Leinwand.105 x 80 cm.Der Maler hatte sich auf Halbbildnisse spezialisiert, insbesondere auch von Musikern oder Philosophen, die in mehreren öffentlichen Sammlungen vertreten sind, wie das bekannte Gemälde mit einem Konzert mit Lauten- und Cellospielern. Auch das hier vorliegende Motiv zeigt einen Jüngling im Dreiviertelbildnis nach rechts, in sitzender Haltung an einer Laute, wobei sein halb geöffneter Mund andeutet, dass er sich selbst singend begleitet. Über dem schwarzen kurzen lockigen Haar ein Barett mit großer weißer Straußenfeder, eine Reminiszenz auch an das Werk Caravaggios, wie ebenso die Darstellung des jungen Musikers mit entblößter Schulter. Farblich dominierend ist das kräftige Rot im Umhang, das als farblicher Gegenpol zum hellen Grau-Blau des Hintergrundes steht. Der Einfluss Caravaggios ist auch in dem vorliegenden Gemälde unverkennbar.Anmerkung:Der Künstler war Sohn eines Glasmalers und nach Mitteilung des frühen Künstlerbiographen Joachim von Sandrart d. Ä. (1606-1688) ein Schüler des Abraham Bloemaert (1564-1651), bevor ihn seine Studienreisen nach Frankreich und dann nach Italien führten. In Rom verblieb er wahrscheinlich bis 1624 und stand dort in Kontakt mit den holländischen Malern Jan Gerritsz van Bronchorst (1603-1661) oder Cornelis van Poelenburgh (1586-1667). Ab Mitte der 1620er-Jahre ließ er sich stark von Michelangelo Merisi il Caravaggio (1570/71-1610) und Guido Reni (1575-1642) beeinflussen, wie ebenso von Gerrit van Honthorst (1590-1656). Er gilt als einer der führenden, wenn nicht sogar als führendster Vertreter der Utrechter Caravaggisten.Literatur:Paul Huys, Jan van Bijlert, 1998, S. 139 Nr. 105, Pl. 46, circa 1625-1635. (12901421) (11)Jan Harmensz. van Bylert,ca. 1597 Utrecht – 1671 ibid.LUTE PLAYEROil on canvas.105 x 80 cm.Literature:Paul Huys, Jan van Bijlert, 1998, p. 139, no. 105, pl. 46, circa 1625-1635.

Pietro Paolini, 1603 Lucca – 1681 ebenda Junger GitarrenspielerÖl auf Leinwand.73 x 60 cm.In ebonisiertem Holzrahmen.Beigegeben ein Gutachten von Prof. Patrizia Giusti Maccari, in Kopie.Das vorliegende Werk ist zudem bei der Fondazione Zeri unter Nummer 55820 mit Abbildung dokumentiert als Pietro Paolini1928 wurde das angebotene Gemälde von Adolfo Venturi noch Caravaggio zugeschrieben.Vor unbestimmtem Hintergrund das Hüftportrait eines leicht nach links gewandten jungen Mannes eine Gitarre spielend, die er in geschickter optischer Verkürzung in den Betrachterraum hält. Wenngleich das Gemälde noch 1928 als Werk Caravaggios galt, erkannte Federico Zeri es jedoch als eigenhändiges Werk des lucchesischen Malers Pietro Paolini an. Giusti Maccari datiert das Gemälde in ihrem mehrseitigen Gutachten auf ca. 1625 – 1630. Ein Hauptaugenmerk seines Schaffens lag auf allegorischen Gemälden und auf Portraits- und vermutlich haben wir es hier mit einer Kombination beider Typoi zu tun, so weißt die Nase auf portraithafte Züge hin, während die Gitarre auch als Allegorie des Gehörs verstanden werden kann. Im Walters Art Museum wird etwa die Allegorie der Fünf Sinne verwahrt, in der freilich der allgegenwärtige Caravaggismus der Zeit mit seinen Chiaro-Scuro Effekten mitschwingt. Überhaupt scheint Musik eines seiner Lieblingsthemen zu sein, so wird das 1620-1630 entstandene Gemälde „Konzert“ im Dallas Museum of Art aufbewahrt, welches ebenso wie das hier angebotene Gemälde in die Anfangsjahre seiner Römischen Tätigkeit fällt.Provenienz:Laut Fondazione Zeri Römische Privatsammlung. Anmerkung:Paolini wurde bereits sechzehnjährig nach Rom geschickt um unter der Anleitung von Angelo Caroselli zu arbeiten und sich die verschiedensten Malerschulen der Bologneser und Florentiner zu eigen machen zu können. Dabei ist sein Stil stark vom Caravaggismus beeinflusst worden. 1628 in Venedig, kehrt er bereits 1631 in seine Heimatstadt Lucca zurück, wo er 1640 seine eigene Akademie zur Ausbildung lokaler Künstler gegründet hat. Von Giacomo Sardini (1751-1811) wurde er erstmals in großem Stile als einer der strahlensten Maler der Luccesischen Schule gewürdigt. Der Einfluss aus dem Kreis von Bartolomeo Manfredi ist unverkennbar.(1330522) (13)Pietro Paolini,1603 Lucca – 1681 ibid.YOUNG GUITAR PLAYEROil on canvas.73 x 60 cm.Acompanied by an expert’s report by Professor Patrizia Giusti Maccari. The present painting is also listed with an illustration at Fondazione Zeri under n. 55820 and described as by Pietro Paolini.When the painting was offered for sale by Adolfo Venturi in 1928 it was attributed to Caravaggio. Although the painting was still considered a work by Caravaggio in 1928, Federico Zeri recognized it as an original work by the Lucca painter Pietro Paolini. Giusti Maccari dates the painting in her multi-page report to around 1625-1630. In his multi-page report Giusti Maccari dates the painting to ca. 1625 – 1630. The Walters Art Museum, for example, holds The Allegory of the Five Senses, which resonates with the omnipresent Caravaggism and its chiaroscuro typical for the time. Music seems to have been one of his favourite subjects generally, like the painting Concert (1620-1630) held at the Dallas Museum of Art for example, which dates to his early years in Rome like the painting offered for sale here.Provenance:According to Fondazione Zeri held in private collection, Rome.

Bernardo Cavallino, 1616/22 Neapel – 1654/56 ebendaDREI GEWANDFIGURENÖl auf Pappelholz.17,5 x 22 cm.Dem Gemälde ist eine schriftliche Echtheitsbestätigung von Prof. Nicola Spinosa, Museo di Capodimonte, Neapel, beigegeben.Auf kleiner Holztafel gemalte, nebeneinanderstehende Figuren: Zwei Männer mit je einem Stab, sowie eine stehende Frau in langem dunklen Kleid, vor dunklem Hintergrund, auf grünlicher Bodenfläche. Die linke Jünglingsfigur mit angezogenem entblößten Bein, in einer Haltung, wie sie für die Darstellung etwa des Heiligen Rochus denkbar ist. Die Mittelfigur in rotem Umhang, wie auch die nach oben blickende Frauenfigur, ebenfalls in Anmutung von Heiligengestalten. Möglicherweise liegt hier eine seltene interessante Vorstudie entweder zu einer Gruppendarstellung oder zu einzelnen Bildthemen vor. Der lockere Pinselstrich, die manieristische Körperhaltung und die Farbgebung entsprechen ganz dem Malstil Cavallinos, der als Schüler des Massimo Stanzione (1585-1656) von Michelangelo Merisi il Caravaggio (1570/71-1610) beeinflusst war. Seine Werke, von denen nur etwa 80 gesichert sind, überwiegend kleinformatig. (†) (13306225) (10)Bernardo Cavallino, 1616/22 Naples – 1654/56 ibid.THREE FIGURESOil on poplar panel. 17.5 x 22 cm.A written confirmation of authenticity Professor Nicola Spinosa, Museo di Capodimonte, Naples regarding the present painting is enclosed. (†))

BONASONE, Antonio, 1498-1580: Alte Sammlung von 5 Mytolog. Szenen Ital. Manierismus1: Pan und Nymphe - 27x22cm Rändchen - im Randbereich min. Fehlstellen 2: Grablegung nach Titian - oberer Rand in der Darst. min besch. 29x18cm links montiert, Quetschfalte im Druck, unten i.d.Pl. sign. 3: Das Parisurteil: 43x29cm im Rand Besch. Fehlkanten- etc montiert unten i.d.Pl Sign. 4: Clelie Überquert den Tiber nach P. Caravaggio 43x30cm, im Rand Besch. Fehlkanten- etc Montiert . unten i.d.Pl. sign. und bez. 5: Götterdarstellung mit Ceres und Merkur im Sommer, auf Pappe montiert im Rand Besch., Fehlkanten- unten i.d.Pl. sign., 37x27cm.

Italian School, circa 1600Design for a vase, after Polidoro da Caravaggio pen and brown ink and brown wash on laid paper32.3 x 17.1cm (12 11/16 x 6 3/4in).unframed together with two additional unframed drawings of vases by different hands (3)Footnotes:ProvenanceH. Schickman, 1969The Lodewijk Houthakker CollectionPrivate Collection, The NetherlandsLiteratureP. Fuhring, Design into Art, Drawings for Architecture and Ornament, The Lodewijk Houthakker Collection, London, 1989, vol. 1, p.342, cat. no. 526The present work is derived from an engraving by Alberto Cherubino, published in Rome in 1582. It follows the print in outline only with significant differences in the detail. A similar drawing, but in reverse, is in the Royal Academy, London.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

* Bartoli (Pietro Santi, 1635 - 1700). Eight Palazzo engravings of Classical Friezes, eight uncoloured etched panels of classical scenes after Caravaggio, wide margins, each approximately 160 x 450 mm, bound with contemporary stitching, no coversQTY: (8)NOTE: Taken from a fresco by Polidoro da Caravaggio and Maturino da Firenze in the Palazzo Gaddi, Rome, depicting the arrival of the Etruscans in Latium.

"Johannes der Täufer mit dem Widder" nach Caravaggio1602 schuf Michelangelo Merisi da Caravaggio (1571-1610) sein heute in den Kapitolinischen Museen in Rom verwahrtes Gemälde "Der Heilige Johannes der Täufer - Knabe mit Widder", das Gemälde war ein Auftragswerk für die Privatsammlung des römischen Marchese Ciriaco Mattei, der das Gemälde im Inventar seiner Sammlung und seinem Testament (1623) als "Giovanni Battista [Johannes der Täufer]" erwähnte und es nach seinem Tod dem Kardinal Francesco Maria Bourbon Del Monte (1549-1927), einem frühen Förderer Caravaggios vererbte, die provokante wie sinnliche Darstellung des Heiligen als nackten, geradezu erotisch wirkenden Straßenjungen, war seinerzeit ein Skandal und wurde wegen Verstoßes gegen das Decorum der Zeit von den Sittenwächtern abgelehnt, das nicht eindeutig auf biblischer Überlieferung beruhende Motiv irritierte, da die wesentlichsten Attribute des Johannes, bis auf Fellschurz und roten Mantel, fehlen, darüber hinaus wird Johannes sonst in Gegenwart eines Lammes, welches als "Agnus Dei [Lamm Gottes]" für Jesus steht, dargestellt, im vorliegenden Motiv lässt Caravaggio seinen Johannes einen unverkennbar ausgewachsenen männlichen Widder umarmen, das in trefflicher Hell-Dunkel-Malerei [Chiaroscuro] und bestechendem Naturalismus erfasste Gemälde mit seiner unkonventionellen, doch intensiven Bildsprache faszinierte ob seiner höchsten künstlerischen Qualität die Zeitgenossen und transportierte so unter dem Deckmantel eines Heiligengemäldes eine nahezu unverhohlene Homoerotik, welcher der Künstler und wohl auch der Auftraggeber selbst anhingen, feine, gering pastose Kopie, nahezu in Originalgröße, Öl auf Leinwand und Keilrahmen, links unten undeutlich signiert und datiert "2009", ungerahmt, Falzmaße ca. 131 x 97 cm.

David Teniers I., der Ältere: Antwerpen 1582 - 1649. Flämischer Maler. Von 1600 bis 1605 in Rom tätig, kehrte er danach nach Antwerpen zurück. Kirchen- und Landschaftsmaler, bäuerliche Motive, monumentale Historiengemälde, mythologische Szenen, biblische Darstellungen, Märkte, Dorffeste etc. Beeinflußt von Rubens und Caravaggio. Motiv: Kleines dörfliches Zusammentreffen mehrerer Personen vor einem Bauernhaus. Unter wolkigem Himmel im Hintergrund eine Kirche in der weiten Landschaft.Öl auf Holztafel, unten links in Ligatur monogrammiert „D.T.“, 25 x 32 cm, in schwarzem Rahmen. Partiell retuschiert, Altersspuren, reinigungsbedürftig.

δ Blek le Rat (b. 1951)Death of CaravaggioScreenprint in colours, 2008, signed in pencil, numbered from the edition of 75, printed and published by Black Rat Press, London, on wove paper, with full margins, sheet 880 x 720mm (32 5/8 x 28 ¼ in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Three original works; John Loan, pen and inch sketch, 'Children Playing at Cathedral Close', 20.5cm x 14.5cm, framed and glazed, a pastel portrait of Caravaggio, 25.5cm x 37cm, unsigned, framed and a pencil and watercolour sketch of a Middle Eastern man smoking a pipe, 22cm x 30cm, indistinctly signed to lower left, unframed.

Four large format books on Freud, da Vinci, Durer and Caravaggio (4).

Caravaggio, The Complete Works book, pub. Taschen

Large quantity of art reference books in english, to include books on Michelangelo, Caravaggio, Leonardo etc, in five boxes

After Michelangelo Merisi da Caravaggio, called Caravaggio, Italian 1573-1609- Ecce Homo; oil on canvas, 58.2 x 77. Provenance: Private Collection, UK (Since 1996). Note: A slightly later (partial) copy of the picture which made art news headlines in 2021 for its appearance at a Madrid auction house as 'Circle of José de Ribera' and subsequent withdrawal from the public market, after several art historians decreed it to be a long-lost work by the Italian Baroque master, Caravaggio. Spain has blocked its sale and export and is undertaking a thorough investigation of its authorship. Please refer to department for condition report

Manner of Michelangelo Merisi da Caravaggio, called Caravaggio, late 18th / early 19th century- Judith and Holofernes; oil on canvas, 112.5 x 86.5 cm., (unframed). Please refer to department for condition report

An assortment of art related books. To include 'Fresco's from the 13th to the 18th century', 'Caravaggio the Complete Works', and many more

JOAN MIQUEL ROCA FUSTER (Palma de Mallorca, 1942 - 2006)."Child and horse".Oil on canvas.Signed in the lower right corner.Measurements: 100 x 81 cm; 127 x 108 cm (frame).Dreamlike and suggestive composition, resolved with a palette of soft tones, starring two figures that remind us of peace of mind: a white horse and a child. Roca Fuster began his artistic training in Palma de Mallorca but soon, in 1958, he moved to Barcelona and enrolled at the Sant Jordi School of Fine Arts. On his first trip to Madrid in 1960, in the Prado, he was fascinated by the paintings of Velázquez, Zurbarán, Goya and El Greco. During this decade of the sixties he became interested in abstraction and informalism, even painting pictures in which figurative elements were relegated to a secondary role. A key element in his work was always music, as well as the myths of cinema and theatre. During the seventies and eighties he drew closer to Rembrandt and Caravaggio, as well as to the Pre-Raphaelite school. His first exhibitions, held in 1965 in the Grifé Escoda galleries in Madrid and Palma, were a great success with the public and critics. In fact, the following year he made the leap abroad, with his solo exhibition at the Don Quixote Gallery in London; almost all his work from this period was sold in England to important private collections. From then on he exhibited his work throughout Europe and the United States, with group and solo shows in New York, Stockholm, Oklahoma, Chicago, Antibes (France), Lyon and Los Angeles, in addition to his repeated participation in the International Fairs in Basel, Frankfurt, Los Angeles and New York. Throughout his career he won numerous prizes, such as the first prizes for Young Painting from the Sala Parés (1961) and from the Dirección General de Bellas Artes (1962), the first medal at the Salón de Otoño de Palma de Mallorca (1966), the extraordinary prize at the I Bienal Internacional de Barcelona (1967), and the first medal at the Salón de Otoño de Madrid (1968), among many other mentions. Although most of his work is in private collections, we can see an exhibition at the Museo de Arte Contemporáneo de Madrid.

A collection of hardback coffee table art history books, relating to artists including Gustav Klimt, Turner, Caravaggio, and others, and to artistic movements including Art Nouveau, The Impressionists, and others, one box.

Galestruzzi, Giovanni Battista: (1615/18 Florenz - 1669). Trophäen römischer Waffen aus Dekorationen über den Fenstern im zweiten Stock des Palazzo Milesi in Rom (Nr. 3 /6). Aus der Serie: Antichi trofei di guerra. Radierung. 1656. G.B. Galestruzzi nach Polidoro da Caravaggio. 11,2 x 15,5 cm. ╔Dabei: Ders,╗Die Soldaten des Cyrus, die das Heer der Spargabises zerstückeln (Tafel 4). Aus der Serie: Fassade des Palazzo Milesi. Radierung. 1640-60. 11,1 x 12,5 cm. R

SALMAN TOOR (born 1983)Alexandra, the Boys, City Lights 2006 signed, dated '06 and inscribed DONE AT A HIGHLY FORMATIVE TIME IN NYC. THIS IS MY WEST VILLAGE APARTMENT on the reverseoil on canvas60.5 by 75.8 cm.23 13/16 by 29 13/16 in. Footnotes:ProvenancePrivate Collection, Pakistan (acquired directly from the artist in 2012)Coming to auction for the first time after remaining in the same private collection for a decade, Alexandra, The Boys, City Lights from 2012 captures an interior scene that is strung with deeper hidden meanings and tensions between its three subjects. Hailed as a rising star of figurative painting, Salman Toor grew up as a queer youth in Lahore, Pakistan, and settled in New York after a brief stint studying art at the Ohio Wesleyan University. From early on in his studies, Toor has shown a predilection for the past, concentrating on the techniques and compositions of the Old Masters with a particular focus on artists such as Caravaggio, Van Dyck, Peter Paul Rubens, and the refined Rococo canvases of Jean-Antoine Watteau. 'Instead of moving with the times, I wanted an academic education in painting,' he explained. 'I wanted to be as good as the white old masters. In fact, I was happy only when I could pretend that I was a 17th or 18th century painter living in Madrid, Venice or Holland' (the artist in: Ayla Angelos, ''I wanted to be as good as the white old masters': meet painter Salman Toor' www.itsnicethat.com, 7 November 2019). Toor depicts his apparently casual but meticulously staged protagonists in imagined surroundings, drawn from his own life and experience as a queer Pakistani man living in America. His works are imbued with an air of the past mixed with modern life. Classically inspired compositions are broken up by the inclusion of a hand clutching a phone, a car, or the view onto the lights of a metropolis in the background. His imagery is not based on concrete events but drawn from memory and feelings. His protagonists draw parallels to the artist himself, people that have been marginalized within the Western canon: 'I like for the characters in my painting to move between vulnerability and empowerment. I like foolish, marionette-like figures that evoke empathy as immigrants crossing borders, but they also have agency and dignity: things that have not been traditionally associated with our faces and bodies in painting' (the artist in: Nidhi Gupta, 'Pakistani-origin, New York-based artist Salman Toor wants to paint a world where the East and West harmonise', GQ India, 12 March 2020). Whilst Alexandra, The Boys, City Lights depicts a quintessentially modern scene – three people painted in an earthy palette inhabit a dimly lit room – the artist's penchant for the classical tradition is palpable. The room and its furnishings are only hinted at with the composition focusing fully and dramatically on its inhabitants. We are drawn straight into the room, Alexandra sits on the corner of what appears to be a bed, she is in the foreground of the composition and her upper body takes up as much space as the two men to the right. Her eyes are lowered, her expression is difficult to read but she seems to be reacting directly to what is happening behind her, a fleeting, indistinct but intimate encounter between two lithe young men. The work shows the artist's ability to create atmospheric and enigmatic narratives, human emotion is perfectly captured in every face, and we cannot help but be drawn into the scene and wonder what is going on. The artist himself has elevated the painting by inscribing the reverse: 'Done at a highly formative time in NYC - This is my West Village apartment'. Following his critically acclaimed institutional debut How Will I Know, at the Whitney Museum of American Art in New York in 2020–21, Toor has recently completed a residency at the Frick Madison, New York, as part of its Living Histories: Queer Views and Old Masters programme. His work Museum Boys is currently displayed there in a wonderful juxtaposition with Johannes Vermeer's Officer and Laughing Girl (circa 1657) and Mistress and Maid (circa 1666-7) from the Frick collection. The Whitney also recently acquired three of Toor's paintings for its permanent collection, a sure testament to the quality and promise of Toor's oeuvre in the increasingly diverse contemporary art scene.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A COLLECTION OF ITALIAN ARTISTS / PAINTERS ILLUSTRATED REFERENCE BOOKS, to include Botticelli, Claude Lorrain, Caravaggio, Lorenzo Lotto, Leonardo da Vinci, Titian, Correggio and Raphael (18)

Genueser Meister des 17. JahrhundertsSCHLACHTENENDE MIT KÖNIG Öl auf Leinwand. Doubliert.55,5 x 72,5 cm. Ungerahmt.Im Zentrum mehrere berittene Soldaten, dazu rechtsseitig ein Orientale mit großem weißem Turban, auf einem sich nach unten beugendem Pferd sitzend, der seine Hand fragend nach vorne streckt und den Blick seitlich nach unten gewandet hat, zu einem jungen Knappen in Pluderhosen, der sich vor Schrecken Nase und Mund zuhält und auf einen am Boden liegenden Gefallenen weist. Es ist ein König mit weit geöffnetem weißem Hemd, auf einem roten mit Goldfäden durchwirken Mantel liegend, dessen Krone sich am Boden befindet und aus dessen Mund kleine Schlangen herauskommen, die ebenfalls seitlich der Krone zu finden sind. Eine sich über ihn beugende Frau in mehrfarbigem Gewand hat ebenfalls mit ihrer Linken die Nase und den Mund bedeckt und streckt ihre Rechte abwehrend nach vorne. Hinter ihnen ein goldener Streitwagen mit großem Rad, in der Mitte ein Reiter auf einem großen Braunen und daneben zwei Soldaten in silber glänzenden Rüstungen. Malerei mit starkem Hell-Dunkel-Kontrast, die teils an Caravaggio (1570/71-1610) erinnert, die vier Hauptfiguren durch ihre teils helle Kleidung, auf die das Licht fällt, besonders hervorgehoben. Teils Retuschen. (13210712) (18))

Polidoro da Caravaggio, um 1497 Caravaggio – um 1543 MessinaGemäldepaar RÖMISCHER TRIUMPHZUG sowie BACCHANAL Jeweils Öl auf Leinwand. Doubliert. Je 34 x 100 cm.Die beiden Gemälde in extremem Längsformat, in Entsprechung antiker bzw. Renaissance-Friesmalereien oder -Reliefs. Möglicherweise wurden sie als Supraporten oder für Kabinettfelderungen geschaffen. Die Farbigkeit in beige-bräunlichem Camaieu lässt die Figuren im Sinne eines Steinreliefs erscheinen, jedoch mit völlig dunklem Hintergrund, vor dem sie sich betont abheben. Im erstgenannten Bild zieht ein römischer Triumphzug nach links. Die Hauptfigur, ein Feldherr oder Imperator, sitzt mit erhobenem Feldherrnstab und einer Siegespalme in der Linken auf einer Biga, von zwei Pferden gezogen. Er hält den Kopf zurückgewandt und blickt auf den behelmten Träger einer Legionsstandarte, dem zwei Krieger folgen. Dazwischen ein Mann mit Helm, der den Rotulus mit der Aufschrift „SPQR“ hochhält. Kannen und Amphoren tragende Frauen sowie ein Musiker mit Doppelaulos und Lorbeerkranz begleiten den Zug. Die Gefangenen, zwei davon in langen Philosophenmänteln, ziehen voraus, die Köpfe gesenkt. Am linken Bildrand ein geharnischter weiterer Standartenträger zwischen einem Jüngling mit erhobener Beuterüstung sowie einem weiteren, der mit geschultertem Beil einen jungen Stier führt, der zum Tempel als Opfertier geführt wird. Im Gegenstück wird das wilde Treiben eines antiken Bacchanals präsentiert. Die Ausführung in entsprechender Farbigkeit. Auch hier findet sich die Hauptfigur rechts im Bild, ein beleibter Bacchus mit Weinschale schwankend auf einem Esel reitend, gestützt von einem Satyr und einem Knäblein, der sein Bein sichert. Davor ein Ziegenbock, Symbol der Trunkenheit. In die rechte untere Ecke hat der Maler eine junge Frau eingefügt, darüber ein Hornbläser. Die linke Bildseite ist durch eine Herme betont, die mit einem Kranz geschmückt wird. Die gesamte Mittelzone wird von musizierenden Jünglingen und Mänaden im Tanzschritt belebt, mit Triangel, Serpenthorn, Doppelauloi, Becken oder Tyrsosstab. Der bocksbeinige Pan mit Panflöte. Die Darstellungen evozieren den Eindruck eines Hochrelief-Plastikfrieses, dies besonders durch die Beleuchtung von links, mit entsprechenden Schattenbildungen und dunkler gehaltenen Figuren im Hintergrund. A. R. Der Maler ist bereits in den Künstlerviten des Vasari genannt. Demnach kam er 18-jährig nach Rom, wo er wahrscheinlich in der Werkstatt von Giulio und Giovanni da Udine lernen konnte. Schon zu seiner Zeit wurde er durch seine Malereien an Gebäudefassaden in der monochromen Sgraffito-Technik gerühmt. Die Thematik seiner Werke greift fast ausschließlich in die Mythologie der Antike. Verblüfft hatte er seine Zeitgenossen mit seiner damals völlig neuen Chiaroscuro-Malerei. Auch die Tatsache, dass er als Erster in Italien Heiligenfiguren als winzige Gestalten in die Landschaften setzte, lediglich als Staffagefiguren. Die Pestepidemie und der Sacco di Roma veranlassten den Maler 1527 nach Neapel zu ziehen, um dann 1530 in Messina Aufträge des spanischen Konsuls anzunehmen, Werke die jedoch dem Erdbeben 1908 zum Opfer fielen. Die letzte Nachricht über seine Tätigkeit ist der Auftrag der Stadt Messina, den Sieg Kaiser Karls V auf ein hölzernes Triumphtor zu malen. 1543 starb der Maler eines gewaltsamen Todes. Quellen nennen seinen Schüler Tonno Calabrese als den Täter, der angeblich an sein Geld kommen wollte. Neben Deodato Guinaccia waren Antonio Catalano, Stefano Giordano, Jacopo Vigneri und Mariano Riccio seine letzten Schüler in Messina. Werke seiner Hand finden sich in zahlreichen bedeutenden öffentlichen Sammlungen und Museen, wie der National Gallery London, der Royal Collection Windsor, dem Nationalmuseum Capodimonte Napoli oder dem Metropolitan Musem of Art, N.Y. Literatur: Die beiden Gemälde sind besprochen und abgebildet in: Maurizio Marini (Hrsg.), Polidoro Caldara da Caravaggio. L‘Invidia e la fortuna, Venedig 2005. (1281111) (11)Polidoro da Caravaggio,ca. 1497 Caravaggio – ca. 1543 MessinaA pair of paintingsROMAN TRIUMPHAL PROCESSION andBACCHANALEach oil on canvas. Relined. 34 x 100 cm each.The two paintings are painted in an extreme landscape format in line with antique or Renaissance frieze paintings or reliefs. They may have been created as overdoor paintings or as cabinet landscaping. The colouration in brownish-beige Camaieu makes the figures look like stone reliefs standing out against a completely dark background.Works by his hand are held in numerous important public collections and museums, such as the National Gallery London, the Royal Collection Windsor, the National Museum Capodimonte Napoli or the Metropolitan Museum of Art, N.YLiterature:Both paintings are illustrated and discussed in: Maurizio Marini (ed.), Polidoro Caldara da Caravaggio. L’invidia e la fortuna, Venice 2005.