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A Carlo Manzoni stylised floral vase, late 19th century, signed to the base, 14.5cm high. Condition - good Good condition, no cracks or chips.

MIMMO ROTELLA (1918-2006)Con l'angolo 1959 signé ; signé, titré et daté 1959 au revers décollage sur toile signed ; signed, titled and dated 1959 on the reverse decollage on canvas 43 x 38 cm. 16 15/16 x 14 15/16 in.Footnotes:Provenance Collection Carlo Rizz, ItalieJZ Art Trading, MilanCollection particulière, ItalieCollection particulière, SuisseExpositionsLecco, Villa Manzoni, Città di Lecco per l'arte, avril - mai 1991Ascona, Museo comunale d'arte moderna, Nouveaux Réalistes, gli anni classici 1960-70, 3 mai - 3 septembre 2017, p. 37, illustré en couleurs Bibliographie Germano Celant, Mimmo Rotella: Catalogo ragionato, 1944-1961, V.I, Tome II, Milan 2016, p. 647, n°1959 015, illustré en couleursThis lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A late 19th Century miniature Carlo Manzoni vase of compressed ovoid form with collar neck, slip cased in white over terracotta and incised decorated with stylised flowers and foliage with a enamel highlights, incised mark, height 7.5cm.

A Granville Pottery charger by Carlo Manzoni, dated 1898, incised and painted to the well with an angel holding a bowl of flowers, inside bands of stylised flowers and foliage, in shades of green, blue, turquoise and buff incised marks, date and monogram, 45.5cm. diam.

Title: Guillaume Corneille van Beverloo (Corneille, 1922-2010): 'Le chat-vigil', acrylic on canvas, dated (19)95Description:Work: 60 x 50 cm Frame: 91 x 81 cm The painting is accompanied by a handwritten certificate by the artist himself (Paris, October 30, 1995). Provenance: - Ex-collection Galleria San Carlo s.r.l., Milan, Via Manzoni 46.

(Milano 1819 - 1886)Cm 45x55 | In 17.72x21.65Oil on canvasThe son of Carlo, an accountant employed by Marquis Giuseppe Arconati Visconti in 1840, he graduated in law from the University of Pavia. He soon abandoned the idea of a career as a lawyer and in 1842 he presented a series of genre paintings at the Brera exhibition. Following in the footsteps of Domenico Induno, Salvatore Mazza later chose to focus on realistic painting, as opposed to the dominant Romantic current that preferred courtly and historical painting. In 1844 he presented at Brera two canvases with episodes from the Greek War of Independence and genre paintings of popular settings. He undertook long study trips to the Papal States and the Kingdom of the Two Sicilies, taking new insights from life in the cities and villages and filling his albums with sketches of landscapes and figures. Back in Milan he painted Funerale nella Campagna romana, Briganti calabresi, La maliarda (1845) and Predica al santuario nelle vicinanze di Sora (1847). With his father Carlo and older brother Giuseppe he distinguished himself in March 1848 during the defense of Milan from Austrian troops. Many years later he collected his memories in the autobiographical book The Five Days of Milan (1885), in which he described his experience among Carlo Cattaneo's supporters. On the same theme he painted in 1850: Scene of the Five Days in Via Santa Radegonda, Scene of the Five Days at Porta Tosa, Milanese Nocturne and Milan March 18, 1848 the beginning of the Five Days Revolution. With his brother Giuseppe he militated in the ranks of the Piedmontese army during the Campaign of 1859. A versatile artist, he devoted himself to writing historical novels, such as Il memoriale di frà Luca d'Avellino-set in 18th-century Naples and embellished with some 800 of his illustrations, including genre scenes and landscapes, done with a quick and sure touch-and Fantasie artistiche e letterarie. Between 1850 and 1854 he presented 28 paintings at Brera, including I bravi alla Malanotte, a subject from The Betrothed. Two of his mountain landscapes-A Hurricane on the Apennines and The Fall of the Sun-were published. In 1856, he was awarded the Mylius Prize with the painting A Herd at Rest. He also made medium or small canvases, with landscapes and with animals, to please the tastes of the Milanese bourgeoisie. He often painted en plein air, as he recounted in Gite d'artista e studii dal vero: descrizioni e racconti. He worked particularly on the pre-Alpine and Apennine hills, following the method favored by other Lombard landscape painters, such as Giovanni Battista Lelli and Gaetano Fasanotti (1831-1882). As a draftsman, caricaturist, and cartoonist, he collaborated on satirical newspapers, including Lo Spirito Folletto and Leone Fortis's two Milanese magazines Il Pungolo and Panorama, in which Cletto Arrighi, Ippolito Nievo, Venetian playwrights Paulo Fambri and Vittorio Salmini, and Giuseppe Rovani wrote. As an illustrator he collaborated on Franco Mistrali's I misteri del Vaticano o La Roma dei papi (1861-62), published in four volumes? a curious and anticlerical reinterpretation of Church history. His painting La stalla di un albergo was awarded a prize at the 1861 National Exhibition in Florence, while his canvases Il pensieroso, Il maniscalco, and Stalla rustica were presented at the 1867 Universal Exhibition in Paris. He was elected a member of the council of the Brera Academy; he reviewed exhibitions in the Milanese newspapers Il Pungolo and La Lombardia, then in L'Illustrazione Italiana. He was an honorary member of the art academies of Mantua and Urbino. A portrait of him as a young man, painted by his brother Giuseppe, is in Milan at the National Center for Manzonian Studies, Casa Manzoni. He died in Milan on October 24, 1886. An early portrait of him, autographed by his brother Giuseppe, is in Milan, Centro nazionale di studi manzoniani. The Milanese Mazza family gave three artists: Salvatore Mazza - who as a cartoonist signed himself Salvatore - his brother Giuseppe (Milan, 1817 - Milan, 1884), a painter of historical and genre subjects, and Aldo (Milan, 1880-Gavirate, 1964) - Giuseppe's son - who was a painter, publicist, cartoonist and caricaturist.

A Giovanni Carlo Manzoni pottery vaseof tapered ovoid form, with incised repeat leaf pattern, underside with incised marks, 'Hand Drawn Painted No.39....' and monogram for Minerva Art Ware Manufacturers. height 19cmCondition:In good condition overall, minor areas of crazing to around the neck.

A Carlo Manzoni terracotta dish, sgraffito mark, 27cms diameter

A Manzoni Pottery charger by Carlo Manzoni, dated 1897, incised with a medieval figure decorating an elaborate jug, the rim with foliate bands, in shades of green, blue, sand and white incised factory marks and Manzoni inscription, 46cm. diam. Provenance The Douglas Johnson collection.

CARLO MANZONI (1855-1910), AN ARTS AND CRAFTS POTTERY BOTTLE VASE, incised decoration of green leaves, blue, yellow and red flowers, incised marks. 18cm highNote: Carlo Manzoni had a short-lived career at Della Robbia pottery under Harold Rathbone and Conrad Dressler from 1893 to 1895, when he left the company to form Minerva Art Ware Manufacturers, renting space in the Granville Pottery, Stoke-on-Trent. In 1898 he left the company in the hands of his staff and returned to Della Robbia, where he continued to work until 1906

Hendrik Frans van Lint, 1684 Antwerpen – 1763 Rom, zug.GemäldepaarVEDUTE DER VILLA DI SAN CARLO BORROMEO DI SENAGOsowie VEDUTE DES CASTELLO DI PESCHIERA BORROMEOÖl auf Leinwand. 31,5 x 59 cm. Eines der beiden links unten signiert „H. von Lint“.Van Lint war einer der wichtigsten Protagonisten der Landschaftsmalerei in der ersten Hälfte des 18. Jahrhunderts, und als gebürtiger Antwerpener ließ er sich 1700 in Rom nieder, wo er in der Werkstatt von Gaspar van Wittel (1653-1736) arbeitete, der für seine detaillierten Darstellungen der Ewigen Stadt berühmt war. Ein weiterer Künstler, den Lint sehr bewunderte, war Claude Lorrain (1600-1682): Seine idealen, in sanftes Licht gehüllten Ansichten, deren akribische Technik Zeichnungen erforderte, die oft an Ort und Stelle ausgeführt wurden, waren in der Tat unerlässlich für diejenigen, die die klassizistische Ästhetik der römischen Landschaft heraufbeschwören wollten. Es ist daher nicht verwunderlich, dass seine Werke sowohl von den aristokratischen Reisenden auf der Grand Tour als auch von den großen Patrizierfamilien wie den Altoviti, den Pamphili und den Sacchetti mit Begeisterung gesammelt wurden. Don Lorenzo Colonna zum Beispiel besaß nicht weniger als siebzig Landschaften des Künstlers in seiner Sammlung. Erstaunlich ist auch die Darstellungsvielfalt von van Lint, der seine stark charakterisierten und wiedererkennbaren Ansichten, die das Ergebnis wiederholter Aufenthalte in der Stadt sind, nur selten repetierte. Die beiden hier angebotenen Ansichten sind als Sujet recht ungewöhnlich und selten, da van Lints Ansichten von Venedig bekannt sind, nicht aber von der Lombardei. Der Blick auf die Villa San Carlo Borromeo ist von oben aufgenommen, wodurch die architektonische Einbettung in die weite Landschaft deutlich wird: Der Eingang zur Villa erfolgt durch ein großes Portal, durch das eine Kutsche in das Gemälde einfährt, und man kann die Größe des Bauwerks und die Weite der Gärten erkennen. Die Landschaft geht in einer Mischung aus Salbeigrün und kühlen Blautönen in den Horizont über, an die auch der romantische wolkenverhangene Himmel erinnert. Die Villa San Carlo Borromeo, die heute ein Kunstausstellungszentrum ist, steht auf einem künstlichen Hügel, der die Basis einer keltischen Siedlung aus dem 8. Jahrhundert vor Christus. Später bauten die Römer ihre Festung, die bereits von Julius Cäsar genutzt wurde. Dann waren die Langobarden an der Reihe, sie zu ihrer Festung zu machen. Auf seinen Ruinen errichtete die Familie Visconti im 14. Jahrhundert den „Palazzo“, der von allen vier Seiten umschlossen ist. Es war Federico Borromeo (1564-1631), der 1629 die eine Seite abriss. Im Jahr 1630 empfing er die besten Theologen der damaligen Zeit in der Villa, um sie vor der Pest in Mailand zu retten. Weitere Eingriffe wurden von Giberto Borromeo (1671-1740) durchgeführt. Damals war das heutige Erdgeschoss noch das erste Stockwerk. Giberto vervollständigte die Einrichtung, indem er Möbel, Kronleuchter und prächtige Kunstwerke zu all dem hinzufügte, was Federico bereits dort aufgestellt hatte. Im Laufe von sieben Jahrhunderten sollen viele Menschen die Villa besucht haben, von Leonardo da Vinci bis zu den Schriftstellern und Künstlern der Sforza, vom Heiligen Karl Borromäus (1538-1584) bis zu Ippolito Pindemonte (1753-1828), von Denis Diderot (1713-1784) bis Stendhal (1783-1842), von Alessandro Manzoni (1785-1873) bis Benedetto Croce (1866-1952), von Filippo Tommaso Marinetti (1876-1944), bis Giovanni Verga (1840-1922) und Luigi Pirandello (1867- 1936). Die Ansicht des Schlosses von Peschiera Borromeo ist schräg, um die Hauptfassade und die Tiefe hervorzuheben, die sich in einer einfachen landwirtschaftlichen Umgebung abzeichnet: Das Schloss hat einen schlanken zentralen Turm, vier Ecktürme und einen Wassergraben, der das gesamte Gebäude umgibt. Es ist der älteste borromäische Besitz in der Lombardei. Die erste Erwähnung stammt aus dem Jahr 1422, als Filippo Maria Visconti, Herzog von Mailand, Vitaliano Borromeo den Auftrag erteilte, die „Peschiera“ zu befestigen, eine ländliche Anlage, die bereits im Besitz der Frati Negri (Augustinermönche) war. Zehn Jahre später erhielt Borromeos die herzogliche Erlaubnis, „einen Graben, eine Zugbrücke und ein Tor in dem Palast, der Peschiera genannt wird“, zu bauen. So entstand aus einem bereits bestehenden Gebäudekomplex die Burg in der Form, die wir heute noch sehen können, mit Mauern, Türmen, Ravelin und einem großen Wassergraben; ein befestigtes Gebäude, das in seiner Art in der Lombardei einzigartig ist wegen seiner runden Türme, die in dieser Region ungewöhnlich sind und während der spanischen Herrschaft teilweise abgebaut wurden. Zwischen 1448 und 1450, während der militärischen Operationen zur Eroberung des Herzogtums Mailand, war das Schloss der strategische Sitz von Francesco Sforza. Später weilte hier Ludwig XII, König von Frankreich, als Gast der Familie Borromeo, einer der berühmtesten Patrizierfamilien Mailands, die durch das Bankgeschäft reich wurde. (†) Literatur: Vgl. Andrea Busiri Vici, Peter, Hendrik e Giacomo van Lint. Tre pittori di Anversa del‘600 e ’700 lavorano a Roma, Rom 1987. (1291414) (13)Hendrik Frans van Lint,1684 Antwerp – 1763 Rome, attributedA pair of paintingsVEDUTA OF THE VILLA DI SAN CARLO BORROMEO DI SENAGO and CASTELLO DI PESCHIERA BORROMEO Oil on canvas.31.5 x 59 cm.One painting signed “H. van Lint“ lower left.Van Lint was one of the main protagonists of landscape painting in the first half of the 18th century, originally from Antwerp, he settled in Rome in 1700, where he worked in the workshop of Gaspar van Wittel, famous for his detailed depictions of the Eternal City. (†)Literature:cf. Andrea Busiri Vici, Peter, Hendrik e Giacomo van Lint. Tre pittori di Anversa del’600 e ‘700 lavorano a Roma, Rome 1987.

glazed earthenware, inscribed verso DR/ 54/ AEA/ 1897, later framed52.5cm x 47.5cmFootnote: Literature: Jeremy Cooper Ltd., The Birkenhead Della Robbia Pottery 1893-1906, 1980, front cover illustrationHyland, P., The Della Robbia Pottery Birkenhead 1894-1906, ACC, 2014, p.209, pl.225Note: A prominent sculptor and artist based in London, Ellen Mary Rope never worked at the Della Robbia Pottery, however she did supply a significant number of designs from 1897 until the factory’s closure in 1906. After studying at the Slade, she quickly gained a solid reputation and received a number of important commissions, including one to produce four panels for the Woman’s Building at the 1893 Chicago Exhibition. At the same time, Rope also wanted her work to be more accessible to a wider market; her charming designs and traditional working methods, very much in keeping with Arts & Crafts ideology, appealed to Harold Rathbone, who was in need of a talented designer and sculptor to replace Carlo Manzoni and Conrad Dressler.Her designs for the pottery were an instant success, and featured heavily in the 1896 catalogue, as well as in exhibitions at the Walker Art Gallery in Liverpool. One of Rope’s most popular designs is arguably the present lot, which she titled ‘Mother and Child’. The figures, modelled with simplicity, have a certain classical aura about them and their delicate treatment offers a graceful and tender interpretation of the relationship between them. Often seen on large square bas-relief panels, as in the present lot, this particular design was also reproduced by the pottery as small medallions by Marion de Clawé.

A CARLO MANZONI EARTHENWARE BOTTLE VASEwith sgraffito decoration by Carlo Manzoni with stylised flowers and leaves in shades of ochre, green and blue on a pale blue ground, incised "Hand drawn & Painted, dated 1897 and Monogrammed CM, 18cm high together with another vase by the same hand, 16.5cm high (2) Condition Report: Available upon request

A rare Carlo Manzoni (Della Robia) Minerva Art Ware, Granville Pottery jardiniere and stand, 1896, with incised slip decoration with heart-shaped panels of formal flowers, picked out in colours, incised monogram and date 1896, 96cms overall.

CARLO MANZONI (1855-1910) FOR MINERVA ART WARE MANUFACTURERS GOURD VASE, DATED 1897painted with a frieze of stylised flowers and foliate motifs, painted inscription to base HAND DRAWN & PAINTED, painted artist's monogram CM/ NO. 40/ 1897(25cm high)Footnote: Note: Carlo Manzoni had a short-lived career at Della Robbia pottery under Harold Rathbone and Conrad Dressler from 1893-1895 when he left the company in to form Minerva Art Ware Manufacturers, renting space in the Granville Pottery, Stoke-on-Trent. In 1898 he left the company in the hands of his workers and returned to Della Robbia where he continued to work until 1906.

Carlo Manzoni, an art pottery vase, ring necked conical form, sgraffito decorated with peacock feather and heart scroll cartouches, below geometric bands, incised marks, 23.5cmhigh

Carlo Manzoni, an art pottery vase, bulbous form with knopped neck, sgraffito decorated floral strands above bands of wave and Persian cartouches, incised marks, 15.5cm high

A Carlo Manzoni Pottery vase, dated 1896, carafe form with knopped neck, painted with panels of stylised flowers and foliage in shades of yellow, blue and turquoise in the manner of the Della Robbia Pottery, incised marks and date to base, 20.5cm. high

A DELLA ROBBIA EARTHENWARE BOTTLE VASE, sgrafito decorated by Carlo Manzoni with stylised flowers and leaves in shades of ochre, green and blue on a shaded green ground, incised "Hand drawn & Painted ", 5 3/4" high (Est. plus 21% premium inc. VAT) (Illustrated)

A late 19th to early 20th Century Carlo Manzoni, Minerva Art Ware vase decorated with incised flowers and foliage against a cream ground, incised marks, height 21.5cm, S/D, together with an early 20th Century stoneware double gourd vase decorated with impressed autumn leaves against a textured ground and glazed in a tonal blue, all in the manner of Royal Doulton, incised E T LB.CC AS to the base, height 26cm. (2)

Giovanni Carlo Manzoni of the Minerva Art Ware Manufacturers, a large shallow dish with circular central geometric motif flanked by foliate pattern and geometric borders, heightened in ochre, blue and green, the base with incised "Hand Drawn & Painted" Minerva mark "no.46" and "1897", 27cm

Giovanni Carlo Manzoni of the Minerva Art Ware Manufacturers, a tall bulbous vase, with central Arabesque style pattern on a cream ground, flanked by a teardrop shaped design on a green ground, rising to a thick flared everted rim, marked to base "Hand Drawn & Painted" Minerva mark and "1897", height 25.5cm

Giovanni Carlo Manzoni of the Minerva Art Ware Manufacturers, a vase with pinched rim, and sections of sky blue, green, ochre, white and inky blue stylised plant life decoration, "Hand Drawn & Painted" Minerva mark 1898, height 22cm

Carlo Manzoni, an art pottery plate, 1897, after Della Robbia, sgraffito decorated with a winged putto within concentric ring borders of ribbon and leaf and denticulated lappet motifs, incised marks, 26.5cm diameter

Carlo Manzoni (Italian 1855-1910) - an art pottery vase, underglaze painted in tones of blue, yellow and brown, with incised floral stylised decoration and oval feature panels, onion topped and of lower bulbous tapering form, incised monogram and dated 1895 verso, h.24.8cmCondition : Visible areas of restoration to top rim.  Subsequent repainting of these areas also visible. Running and trailing to paint (vertically) to body of vase. Otherwise good. 

Carlo Manzoni (1855-1910) Vase, 1895 yellow band between trailing vines and leaf impressed initials and date 26cm high.

Carlo Manzoni, an art pottery vase, 1895, baluster form, sgraffito decorated with roundels and chevrons, incised marks, 15cm high, together with a large Belgian vase, decorated with floral motifs and comb border, 37cm high (2)

Carlo Manzoni for Granville Pottery, an art pottery vase, circa 1900, cylinder form, sgraffito decorated with rose and scale design, incised marks, 11cm high

Carlo Manzoni for Granville Pottery, an art pottery vase, 1898, onion bottle form, sgraffito decorated with rose wine, below a dotted neck, incised marks, 19.5cm high

A Carlo Manzoni earthenware vase, in the Della Robbia manner, incised with flowers and foliage in tones of red, green and yellow, 19.5cm high, incised hand drawn and painted V40, monogrammed for Carlo Manzoni; another, similar, decorated with roundels and chevrons, in tones of blue, green and yellow, 15cm high, incised with monogram for Carlo Manzoni, 1895 (2)

A Carlo Manzoni earthenware bottle vase, in the Della Robbia manner, decorated with flowers and foliage in tones of blue, green and yellow, 19.5cm high, incised hand drawn and painted No.46, E26 , monogrammed for Carlo Manzoni, 1896

A Carlo Manzoni earthenware vase, in the Della Robbia manner, incised with flowers and foliage in tones of red, green and yellow, 19.5cm high, incised hand drawn and painted V40 , monogrammed for Carlo Manzoni

A Carlo Manzoni earthenware vase, in the Della Robbia manner, decorated with roundels and chevrons, in tones of blue, green adn yellow, 15cm high, incised with monogrammed for Carlo Manzoni, 1895

Carlo Manzoni for Della Robbia, a large art pottery charger, 1898, sagraffito decorated with central winged figure with sceptres, within a Persian style rosette and foliate border, incised marks and monogram, No 44, 45.5cm diameter

Carlo Manzoni (1855-1910); a tin-glazed terracotta albarello jar decorated with poppy heads, acanthus leaves and other floral sprays to a white ground, signed to the bottom with the CM monogram and dated 1897, also marked 'Hand drawn and painted' and 'N24PI37', height 24cm. CONDITION REPORT Carlo Manzoni was a designer and maker for Della Robbia and founder of Minerva Art Ware Manufacturers.Hairline crack to the rim.

Carlo Manzoni (1855-1910); a tin-glazed terracotta gourd vase decorated with scrolling floral design in pink, yellow and blue to a white ground, marked to the base with Carlo Manzoni monogram, dated 1898 and numbered 40A, also inscribed 'Hand drawn and painted', height 18.5cm. CONDITION REPORT Carlo Manzoni was a designer and maker for Della Robbia and founder of Minerva Art Ware Manufacturers.

Carlo Manzoni (1855-1910); a tin-glazed terracotta mallet-shaped vase decorated in the Art Nouveau style with stylised floral sprays, marked to the base with the Carlo Manzoni monogram dated 1898 no.37 'Hand drawn and painted', height 21.5cm. CONDITION REPORT Carlo Manzoni was a designer and maker for Della Robbia and founder of Minerva Art Ware Manufacturers.

Carlo Manzoni (1855-1910); a tin-glazed terracotta gourd vase decorated with scrolling floral design in green, yellow and blue to a white ground, marked to the base with Carlo Manzoni monogram, dated 1898 and numbered 40, also inscribed 'Hand drawn and painted', height 18.5cm. CONDITION REPORT Carlo Manzoni was a designer and maker for Della Robbia and founder of Minerva Art Ware Manufacturers.

Carlo Manzoni (1855-1910); a tin-glazed terracotta conical bottle vase with folded rim and floral banded decoration in yellow, cobalt blue, green and white, with eggshell blue neck, marked to the base with Carlo Manzoni monogram, dated 1898 and numbered 69, also inscribed 'Hand drawn and painted', height 21cm. CONDITION REPORT Carlo Manzoni was a designer and maker for Della Robbia and founder of Minerva Art Ware Manufacturers.

Carlo Manzoni (1855-1910); a tin-glazed terracotta mallet-shaped vase decorated in the Art Nouveau style in yellow, blue, green and white, marked to the base with Carlo Manzoni monogram and dated 1897, no.37 'Hand drawn and painted', height 23.5cm. CONDITION REPORT Carlo Manzoni was a designer and maker for Della Robbia and founder of Minerva Art Ware Manufacturers. Crazing in places.

Carlo Manzoni (1855-1910); a tin-glazed terracotta mallet-shaped vase decorated in the Art Nouveau style in blue, green, yellow and white with Carlo Manzoni monogram to the base and dated 1898, with incised no.37 to base, height 22cm. CONDITION REPORT Carlo Manzoni was a designer and maker for Della Robbia and founder of Minerva Art Ware Manufacturers. Crazing throughout.

DELLA ROBBIA POTTERY, BIRKENHEAD BALUSTER VASE, CIRCA 1900 the vase of baluster form decorated with a frieze of flowering lilies, 17.5cm high; and a CARLO MANZONI BOWL, with incised decoration, 10cm diameter, both with incised maker's marks (2)

A Carlo Manzoni charger, dated 1897, incised with a putti playing a harp, inside geometric bands, in colours incised marks and monogram to back, restored, 45.5cm. diam.

CARLO MANZONI; an earthenware dish with incised floral decoration, incised marks, hand drawn and painted 'CM 1897, .46, P. 74', diameter 26.5cm.

CARLO MANZONI; an earthenware dish with incised floral decoration, incised marks, hand drawn and painted 'CM 1898 N.46, PCA', diameter 29.5cm.

A Carlo Manzoni slipware on terracotta baluster vase of squat proportions c 1898

Annali tipografici di stampatori italiani. Lotto di 57 opere.Italian Printers Annals. Lot of 57 works.Il lotto comprende, tra gli altri:Camerini Paolo. Annali dei Giunti. Volume Primo. Venezia. Parte Prima [-Seconda]. Firenze: Sansoni Antiquariato, 1962-1963. Due volumi. Two volumes.Camerini Luigi Silvestro (a cura di). I Giunti tipografi editori di Firenze. 1497-1570. Parte Prima [-Seconda]. Firenze: Giunti Barbera, 1978.Camerini Luigi Silvestro (a cura di). I Giunti tipografi editori di Firenze. 1571-1625. Annali inediti... Firenze: Giunti Barbera, 1979.Manzoni Giacomo. Annali Tipografici dei Soncino. Tomo III-IV. Bologna: Gaetano Romagnoli, 1883-1885.Manzoni Giacomo. Annali tipografici dei Soncino. Parte Prima [-Seconda]... Bologna: Arnaldo Forni 1979. Ristampa anastatica dell'Edizione Bologna: presso Gaetano Romagnoli, 1883-1886. Guarducci Giampiero. Annali dei Marescotti, tipografi editori di Firenze (1563-1613). Firenze: Olschki, 2001. Tinto Alberto. Annali Tipografici dei Tramezzino. Venezia-Roma: Istituto per la Collaborazione Culturale. Ristampa 1968.Gli Annali della Tipografia Veneziana di Francesco Marcolini, compilati da Scipione Casali... Bologna: Alfredo Gerace, 1953. SI AGGIUNGE: il volume di Supplemento. Bologna: Gerace, 1978.Canterzani Giambattista. Catalogo Ragionato dei libri a stampa pubblicati in Bologna dai tipografi Lelio e Petronio dalla Volpe.. A cura di Marco Bortolotti e Alessandro Serra. Bologna. Cooperativa Libraria Universitaria, 1979. Infelise Mario. I Remondini di Bassano. Stampa e industria nel Veneto del Settecento. Bassano: Tassotti, 1980.Zotti Minici Carlo Alberto. Le Stampe Popolari dei Remondini. Venezia: Neri Pozza, 1994.Bernoni Domenico. Dei Torresani, Blado e Ragazzoni... Milano: Hoepli, 1890.Il lotto comprende opere dedicate ad altri famosi tipografi e stampatori tra cui Carlo Baduel, Niccolò Gorgonzola, Comino Ventura, Orazio Salviani, Mattia Cancer, Giovanni Giacomo Carlino e Tarquinio Longo, Giuseppe Pomba, La Tipografia di Alvisopoli, La Tipografia Soliani, e le edizioni di Capolago.

A Carlo Manzoni vase, decorated with a floral design. Circa 1900. Impressed marks. Height 24cm.

NO RESERVE BUR Biblioteca Universale Rizzoli. Lotto di 500 volumi (circa) Il lotto include i seguenti volumi, con aggiunta di numero a catalogo.The lot includes the following lots (about 500), with their catalogue number.I titoli sono preceduti dal numero seriale di collana: 7-8. Emile Zola. Teresa Raquin; 10-11. Marcel Roland. La grande lezione dei piccoli animali; 14-15. Abate Prévost. Le avventure del Cavaliere des Grieux e di Manon Lescaut; 18. William Shakespeare. Otello il Moro di Venezia; 19-20. I Fioretti di San Francesco e le Considerazioni delle Stimmate; 22-23. Giuseppe Parini. Il Giorno; 26-27. Hans Christian Andersen. La sirenetta e altri racconti; 30. J.-H. Bernardin de Saint-Pierre. Paolo e Virginia; 41-42. Edgar Allan Poe. Racconti del mistero; 43-46. Emily Brontë. La voce nella tempesta; 58-59. Platone. Processo e morte di Socrate (Eufitrione, Apologia di Socrate, Critone, Fedone); 60. Giuseppe Mazzini. Dei doveri dell'uomo; 71-73. Le parole del Signore. A cura di P. Friedrich Streicher; 77-80. Ricarda Huch. Federico Confalonieri; 88. Vittorio Alfieri. Della tirannide; 89-90. Gaio Valerio Catullo. Carmi; 91-98. Alexandre Dumas. I tre moschettieri; 101. Longo Sofista. Gli amori pastorali di Dafni e di Cloe; 110. Carlo Goldoni. Il ventaglio; 111-112. E. T. A. Hoffmann. L'uomo della sabbia e altri racconti; 118-119. Alexandre Dumas (figlio). La signora dalle camelie; 130. Pedro de Alcarcón. Il cappello a tre punte; 132-133. Rudyard Kipling. Il libro della giungla; 143-145. Aleksandr Puskin. La figlia del capitano - Le novelle di Bielkin - La donna di picche; 148-150. Honoré de Balzac. Papà Goriot; 151-154. Giuseppe Giusti. Poesie; 158-160. Robert Louis Stevenson. Il Signore di Ballantrae; 164-165. I notturni di Bonaventura; 169-170. F.-R. de Chateaubriand. Atala - Renato - Le avventure dell'ultimo Abenceragio; 174-175. Alfred de Musset. Mimì Pinson e altri racconti; 193-194. Marcel Roland. Le meraviglie del microscopio; 196-197. Wilhelm Hauff. Süss l'ebreo - La mendicante del Pont-des-Arts; 198-200. Nathaniel Hawthorne. La lettera scarlatta; 210. Gustave Flaubert. Tre racconti; 217-218. Florence Montgomery. Incompreso; 219. Friedrich Schiller. Maria Stuarda; 220-227. Giovanni Boccaccio. Decameròn. 2 volumi; 230. Joseph Conrad, Tifone; 237-238. Hermann Sudermann. La donna in grigio; 239. Molière. L'avaro; 248-249. William Shakespeare. Amleto; 250-253. Walter Scott. La sposa di Lammermoor; 254. Alphonse Daudet. Tartarino di Tarascona; 255-257. Alessandro Manzoni. Tutte le tragedie; 258. Jeremias Gotthelf. Il ragno nero (2 copie); 259-260. Romain Rolland. Vita di Tolstoi; 267. Voltaire. Zadig ovvero Il destino, storia orientale (2 copie); 291-292. William Shakespeare. Re Lear; 294-296. Gustavo Adolfo Bécquer. La croce del diavolo; 297-302. Publio Cornelio Tacito. Annali; 305-307. Theodor Storm. La città sul mare; 308-309. Alfred de Vigny. Servitù e grandezza della vita militare; 313-314. Jules Renard. Pel di Carota; 315-316. Molière. La scuola delle mogli - La critica alla scuola delle mogli; 330-331. Marcel Roland. Canti d'uccelli e musiche d'insetti; 334-335. Pierre Loti. Pescatore d'Islanda; 336-338. William De la Rive. Vita di Cavour; 343-344. Giuseppe Parini. Odi; 345-347. Jerome K. Jerome. Loro e io (2 copie); 348-350. Edmond e Jules de Goncourt. Le due vite di Geremia Lacerteux (2 copie); 351. William Shakespeare. Macbeth; 352. Carlo Goldoni. La serva amorosa; 353-355. George Meredith. I tragici commedianti (3 copie); 363-366. Publio Terenzio Afro. Tutte le commedie (La donna d'Andria - L'eununco - Il tormentatore di se stesso - Formione - La suocera - I fratelli); 371-372. Stephen Crane. Il segno rosso del coraggio (2 copie); 383-386. Jonathan Swift. Viaggi di Gulliver in vari paesi lontani del mondo; 390-391. Madame de La Fayette. La principessa di Clèves; 392-393. Jens Peter Jacobsen. La signora Fönss e altre novelle; 401. Dante Alighieri. Vita nuova.; 405. Jacques Cazotte. Il diavolo innamorato; 411-413. Ugo Foscolo. Tutte le poesie; 415-416. Heinrich von Kleist. Il brigante galantuomo - La marchesa di O⁂ - Terremoto in Cile; 417-418. Octave Feuillet. Il romanzo di un giovane povero (2 copie); 423-425. Angelo Poliziano. Tutte le poesie italiane; 427-429. Alfred de Musset. Le due amanti e altre novelle; 430-431. Théophile Gautier. Vita di Balzac; 432-434. Rudyard Kipling. Kim; 435-436. Dante Alighieri. Rime; 437-438. Wolfgang Goethe. I dolori del giovane Werther; 439-441. Montesquieu. Lettere persiane; 442-444. Anton Cechov. Uno scherzetto (Tutte le novelle, III); 447. William Shakespeare. La vita e la morte di Re Giovanni (Storie inglesi, I); 452. Carlo Goldoni. Un curioso accidente - L'avaro; 453-454. Lev Tolstoi. I cosacchi; 467-468. Rosvita. Tutto il teatro (Gallicano - Dulcizio - Callimaco - Abramo - Pafnuzio - Sapienza); 469-470. Mary Shelley. Frankenstein ovvero il Prometeo moderno; 471. Publio Cornelio Tacito. La vita di Agricola - La Germania; 472-473. Nicolaj Gogol. L'ispettore generale; 479-482. Giovanni Ruffini. Lorenzo Benoni ovvero Pagine della vita di un italiano; 483-486. Dante Alighieri. Convivio; 487-488. Paolo Ferrari. Goldoni e le sue sedici commedie nuove - La medicina di una ragazza malata; 489-490. Marcel Roland. Vita e morte degl'insetti; 495. Robert Louis Stevenson. Lo strano caso del Dottor Jekyll e del Signor Hyde; 500. Jean Racine. Fedra; 511-512. Oscar Wilde. L'importanza di essere onesto; 516-518. Antòn Cechov. Il giudice istruttore (Tutte le novelle, IV); 522-523. Lev Tolstoi. I racconti di Sebastopoli; 524-527. Thomas Hardy. Vita e morte del sindaco di Casterbridge; 528. Gilles Bellemère. Le quindici gioie del matrimonio; 531-532. Petronio Arbitro. Satiricon; 535-536. Robert Louis Stevenson. Il fanciullo rapito; 543-546. Sofocle. Aiace - Elettra - Le Trachinie - Filottete - I segugi; 549-551. Benjamin Constant. Adolfo - Il quaderno rosso - Cecilia - Amelia e Germana - Lettera intorno a Giulia; 555-556. Gaio Crispo Sallustio. La guerra giugurtina; 557-558. P.-A. Caron de Beaumarchais. La folle giornata, ovvero Le nozze di Figaro; 559-562. John Galsworthy. Il signor Forsyte, possidente; 565-566. Heinrich Mann. L'angelo azzurro; 567-570. Tito Maccio Plauto. Anfitrione - La Commedia degli asini - La pentola del tesoro - Le bacchidi - I prigionieri - Casina (Tutte le commedie, I); 573-574. Antòn Cechov. La steppa (Tutte le novelle, V); 575-576. Guy de Maupassant. Racconti della beccaccia (Tutte le novelle, III); 587. Jack London. Il richiamo della foresta; 591. William Shakespeare. La tragedia di re Riccardo II (Storie inglesi, II); 592-594. Theodor Storm. Mio cugino Cristiano; 595. José Maria de Eça de Queiroz. Il mandarino; 601-602. André Gide. La porta stretta; 606-609. Tommaso Grossi. Marco Visconti: storia del trecento cavata dalle cronache di quel tempo; 610-611. George Sand. La piccola Fadette; 619-620. Marcel Roland. Amore, armonia, bellezza: aspetti del mondo animale; 622-623. Antòn Cechov. Una scommessa (Tutte le …

A Carlo Manzoni slipware on terracotta baluster vase of squat proportions c 1898

A Carlo Manzoni, Granville Pottery circular plateHaving incised floral decoration surrounding a central bust, inscribed marks to verso, diameter 26cm CONDITION REPORT: Crazing to glaze, but good condition no chips, cracks or restoration.

A Carlo Manzoni Pottery Vase, (with marks on base).

A Carlo Manzoni charger by PF, dated 1897, incised with a putti playing a harp, inside geometric bands, in colours incised marks and monogram to back, restored, 45.5cm. diam.

Carlo Manzoni, Granville Pottery vase, dated 1895, baluster form decorated with a Persian inspired design of stylised foliage and a trail of flowers at the neck in blue, yellow and buff glazes, incised marks, height 22cmProvenance: The David Hillhouse Collection, past Curator of the Williamson Art Gallery and Museum, Birkenhead, publisher of 'Della Robbia Pottery, Birkenhead, An Interim Report (Wirral Borough Council 1981)

Carlo Manzoni, Granville Pottery plate, dated 1896, decorated with a circle of blue leaves against an ochre ground within a buff stylised foliate border, incised marks, 22cm diameterProvenance: The David Hillhouse Collection, past Curator of the Williamson Art Gallery and Museum, Birkenhead, publisher of 'Della Robbia Pottery, Birkenhead, An Interim Report (Wirral Borough Council 1981)

A Carlo Manzoni pottery vase. Circa 1890. Incised marks. Height 19cm.

Three Carlo Manzoni pottery vases, floral design, monogrammed C.M, circa 1900. Height of tallest 29cm. (3)

A Carlo Manzoni pottery vase, decorated with floral design, monogrammed C.M, dated 1898. Height 13cm.

A Carlo Manzoni pottery vase, decorated with floral design, monogrammed C.M, dated 1898. Height 19cm.

Carlo Manzoni (ex. Della Robbia) onion shaped vase, incised with stylised leaf patterns, incised marks to base, no.64 dated 1897, 18cm high For condition report please see the catalogue at www.peterwilson.co.uk