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An Isle of Wight lollipop vase. Height 15cm, together with a Castellani Murano swirl vase with certificate, and a piece of amber glass (3).

dating: First half of the 19th Century provenance: Kingdom of Italy, Lot of six medals: two for aeronautical valour, one of bronze and one of silver; one for the march on rome; one of bronze for the '1915-18' war volunteers; one bronze cross for war merit and finally one medal, air force military. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. varioius cm.

dating: Second part of the 20th Century provenance: Kingdom of Italy, Lot of two patches; one on a blue background with gilded threads decoration, the lower part with the embroidered letters and numbers '107th Gr. B.T'. The other one of octagonal shape and made of fabric, depicting the symbol of the 12th Italian Airforce Squadron (the three 'Sorci Verdi'), very rare. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. length 7.5 (diameter) - 12.5 cm.

dating: First half of the 20th Century provenance: Kingdom of Italy, Knight's cross of the Order of Saints Maurice and Lazarus; metal with enamel (missing parts); on ribbon. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. diameter 3.6 cm.

Der DornauszieherHöhe: 43 cm.Am Sockelrand signiert „Pazzi“.19. Jahrhundert.Weißer, kristalliner Marmor, besch.Anmerkung: Nach dem antiken Vorbild, das sich im Britischen Museum London befindet, des 1874 auf dem Esquilin ausgegrabenen „Dornauszieher Castellani“, eine römische Kopie des 1. Jahrhunderts. (1411301) (11))

Portrait-Cammeo-Brosche von Castellani6,7 x 5,7 cm. GG 750.Signiert „CC“, zwei gespiegelte Cs.Italien, um 1860.Selten feiner, großer, hochovaler Gelbgoldrahmen mit gekordeltem Kreisbanddekor und feiner Granulation und einer zentralen Muschelcammeo mit nach links gerichtetem Portrait eines Mannes, die differenzierte Schichtung der Muschelstruktur nutzend. Die Cammeo mit zwei kaum sichtbaren, unbedeutenden Haarrissen. Ansonsten ein makelloser Erhaltungszustand. (1410088) (13))

dating: 1943-1945 provenance: Italian Social Republic, Republican National Air Force badge of the 1st Fighter Group ‘Ace of Wands’; made of metal with enamel; back with vertical pin. Rare. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. dimensions 1.5 x 2.1 cm.

dating: 1930/40 provenance: Kingdom of Italy, Very rare ‘Atlantic Flyer’ patent made of gilded metal, on the front an eagle with the blue-enameled letter ‘A’ above, below the letters ‘I B’ linked by a bundle; marked ‘S. JOHNSON CP NUOVA 15 MILANO’ on the back. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. length 8 cm.

dating: Second part of the 20th Century provenance: Spain, A pilot's licence badge. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. length 7.5 - 7.5 - 8 cm.

dating: Second quarter of the 20th Century provenance: Kingdom of Italy, Royal Air Force badge of the 47th Wing; made of gilded metal and enamel; the back marked 'S. JHONSON / MILANO' and with a vertical pin. Rare. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. dimensions 3.3 x 3.5 cm.

dating: Second quarter of the 20th Century provenance: Kingdom of Italy, Royal Air Force badge of the 107th fast land bombardment group ‘BTV’; made of gilded metal and enamel; the back marked ‘S. JHONSON / MILANO’ and with vertical pin. Rare. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. dimensions 2.3 x 3 cm.

dating: Second quarter of the 20th Century provenance: Kingdom of Italy, Lieutenant Colonel Amedeo Paradisi's personal case containing nine Italian and Spanish badges and pins. Together with a bracelet and a skull ring. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. dimensions various cm.

dating: Second quarter of the 20th Century provenance: Spain, A rare pilot badge of the ‘tercio de los extranjeros’; made of gilded metal, marked ‘POSSENTI AMEDEO’ (nickname?) at the back, ‘Fermin’ and ‘916/000. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. length 8.2 cm.

dating: Second quarter of the 20th Century provenance: Kingdom of Italy, A lot of two small 'Sorci Verdi' pins, one with the back marked 'RIPROD. VIETATA'. Together with an envelope and a letter (blank) stamped with the 'Sorci. Verdu' symbol. Interesting and rare. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. length 2.8 - 3 cm.

dating: Second quarter of the 20th Century provenance: Kingdom of Italy, Royal Air Force badge of the 106th fast land bombardment group ‘BTV’; made of gilded metal and enamel; the back marked ‘S. JHONSON CP NUOVA 15 MILANO’ and with vertical pin. Badge 47th Wing. Rare. This lot belonged to Lieutenant Colonel Amedeo Paradisi, a Royal Air Force pilot in the 205th Squadron, 41st Group of the 12th Bombardment Wing, known as the 'Sorci Verdi'. In 1937, flying a S.79 (SIAI-Marchetti S.M.79 Sparviero) with his colleague Cupini, they landed as the first pair in the Istres-Damascus-Paris race; another eloquent proof came in 1938, when Biseo was ordered to fly from Rome to Rio de Janeiro in only two stages, the general chose Paradisi as the second, on this occasion Captain Moscatelli supported Castellani and Bruno Mussolini had Lieutenant Mancinelli as his companion. The three 'Sorci Verdi' thus took to the air. I-BISE and I-BRUN, commanded by Biseo and Mussolini respectively, reached the shores of Rio de Janeiro. The demands of the war made it necessary for the Royal Air Force to carry out special long-distance flights, links with East Africa, propaganda raids and demonstration bombing missions; for one of these missions, a raid over Asmara was chosen by Paradisi (considered one of the best pilots of the time); He took off from Guidonia on 7 May 1942 and arrived over Asmara on 9 May, dropping propaganda posters; he then returned to Rome, but unfortunately the plane crashed due to an engine blockage; in the accident Paradisi lost a leg and had to give up his career as a pilot. He later became a manager at Alitalia. dimensions 2.3 x 3 cm.

CASTELLANI ENRICO: (1930-2017) Italian Artist. Castellani worked on monochromatic geometric reliefs using nails from a nail-gun to distort his canvases. Unusual signed 5 x 7 colour photograph by Castellani. The image showing him standing in a half-length pose, working on one of his relief art works. Signed in blue ink `Castellani´, to the lower clear right corner. VG

Klein, Yves (1928 Nizza - Paris 1962) Zwei Serigraphien, eine ultramarinblaue Serigraphie und ein goldfoliertes Blatt (je Altersspuren, l. berieben) im Buch "Den inre och den yttre rymden, en utställning rörande universell konst...". Herausgegeben von Bergqvist Lindegren und Karin Hultén. Gruppenausstellungskatalog zu 35 Künstlern (u.a. Max Bill, Enrico Castellani, Piero Dorazio, Lucio Fontana, Don Judd, Piero Manzoni, Otto Piene, Robert Rauschenberg, Frank Stella, Mark Tobey, Günther Uecker, Herman de Vries, etc.) mit zahlreichen, teils farbigen Abbildungen. Stockholm, Moderna Museet, 1965-1966. L. Altersspuren. Schraubenbindung.

Enrico Castellani (Castelmassa 1930 - 2017 Viterbo)Superficie bianca 21963Acryl auf Leinwand, auf Sperrholzplatte22x26,6x3,5 cmSignaturRückseitig vom Künstler signiert, datiert und betitelt "Castellani 1963 / "Superficie bianca 2""WerkverzeichnisEchtheitszertifikat der Fondazione Enrico Castellani, Mailand, datiert vom 28. Februar 2024, liegt vorProvenienzPrivatsammlung SchweizZustandDie Oberfläche an einigen Stellen mit minimalem Oberflächenschmutz, vor allem in den Vertiefungen und Ecken. Einige Nagelspitzen (die höchsten) leicht berieben. Insgesamt in sehr gutem ErhaltungszustandErläuterungenEnrico Castellanis Werk ist seit seinen Anfängen von den sogenannten "Superficie" geprägt, eine erste Arbeit ist die "Superficie nera" von 1959, (Wirz/Sardella 46), im selben Jahr entstand die erste "Superficie bianca" (Wirz/Sardella 49). Monochrom gehaltene Leinwände mit Vertiefungen und Erhöhungen unter Verwendung von Nägeln werden fortan zu seinem Markenzeichen und prägen sein Œuvre über Jahrzehnte. Neben einzelnen Werken, die er in roter, blauer oder schwarzer Acrylfarbe schuf, dominiert in seinem Gesamtwerk die Farbe Weiss. Die vorliegende frühe Arbeit besticht durch ihr kleines Format – der Künstler realisiert nur wenige Werke in dieser Grösse - und die Konzentration auf wenige erhöhte Reihen in einem Rechteck in regelmässiger geometrischer Anordnung. Die seitlichen Ausformungen, über die die Leinwand gespannt ist, verstärken den Reliefcharakter und wirken wie ein versteckter Rahmen. Mit diesem System schuf Castellani über ein halbes Jahrhundert hinweg unterschiedlichste Oberflächenvarianten, die ihre Faszination im Spannungsfeld von Erhebungen und Vertiefungen und den dadurch entstehenden Hell-Dunkel-Kontrasten entfalten.Erwartete Ausrufzeit (+/- 15min)12.09.2024; 16:15 h (MEST)VersandkostenSchweiz / Switzerland: CHF 130.-Europa / Europe: CHF 230.-Übrige Länder / Other countries: CHF 290.-

A 19th century cameo brooch/trinket box cover, possibly by Castellani, the oval carved cameo with central depiction of Apollo and his chariot within a surround of carved zodiac signs, encompassed by a gold coloured surround with cannetille decoration, with brooch fitting to reverse (at fault) converted to trinket box cover, with glass body, cameo weight 56gms, 7.5cm wide   Condition report:  Please note, we have not tested the metal and there are no obvious marks to it.There is a large crack running the width of the cameo, below the chariot.Residue/dirt seen to the areas of high relief. Would benefit from a clean.Minor surface scratches, blemishes and cracks seen (predominantly seen with x10 loupe) There is a residue of a substance below the crack, where the shell and border meet - possibly an area of glueThe two front sections of the back horses legs are missing. Minor chip to the chariot. The gold coloured surround would benefit from a clean, there is residue and discolouration seen throughout. Surface scratches and blemishes seen to the gold coloured mount. Reverse shows evidence of brooch fitting with later fitting for the trinket box Fitting for the trinket box isn't straight to the reverse, has sunk a little lower on one side.Area to the cover that shows rubbing where it has been placed into the glass base. (see images) There is a gold coloured sheet which is to the reverse of the cameo, fitted below the exterior, this has areas of dents (see images) Glass base has no obvious chips, or cracks. Minor nibbles to the edges, commensurate with use.

Agostino Bonalumi, 2 Farbserigraphien von 1973Agostino Bonalumi, 1935 Vimercate - 2013 Desio, wichtigster Vertreter der Abstrakten Kunst des 20. Jhs. Hier: Abstrakte Kompositionen, 2 Farbserigraphien, je 22,5 x 23 cm, signiert, datiert (19)73, nummeriert 33/600 und 449/600, o. Rahmen.Zum Künstler: Nach einem technisch-mechanischen Studium kam Bonalumi schon in jungen Jahren mit dem künstlerischen Umfeld in Mailand in Kontakt und besuchte das Atelier von Enrico Baj, wo er Lucio Fontana, Piero Manzoni und Enrico Castellani kennenlernte. Er erkannte das Ende der dynamischen Entwicklung der informellen Kunst und arbeitete an der Zeitschrift Azimuth mit, in der er eine völlige Umkehrung der bisherigen künstlerischen Erfahrung und einen Neuanfang vorschlug, der auf einem neuen Pakt mit dem gesellschaftlichen Fortschritt beruhte. Manzoni, Castellani und Bonalumi verwirklichten diese Neuorientierung durch die Verwendung von einfarbigen (oft ganz weißen) Leinwänden, die mit verschiedenen Techniken umgestaltet wurden, um je nach Neigung der Lichtquelle wechselnde Licht- und Schatteneffekte zu erzielen. besonders hervorzuheben sind die Arbeiten Bonalumis der 1970er bis 1980er Jahre, in denen perspektivische Schatten entgegen der Richtung der normalen Lichtquellen einen desorientierenden Effekt erzeugen.

Paolo Scheggi, Ohne Titel (Intersuperfici curve), sign. Multiple der 1960er Jahre Paolo Scheggi, 1940 Settignano - 1971 Rom, Maler des Konstruktivismus. Hier: Ohne Titel, perforiertes Multiple aus braunem Papier, 31 x 30 cm, signiert, nummeriert 190/200, o. RahmenZum Künstler: Paolo Scheggi erhielt seine Ausbildung in Florenz an der Akademie der Schönen Künste. 1960 gründete er die Kunst- und Literaturzeitschrift Il malinteso. 1961 zog er nach Mailand um, wo er in Kontakt zu den Mailänder Konzeptkünstlern Agostino Bonalumi (1935-2013), Enrico Castellani und Dadamaino (1930-2004) kam und sich mit dem Informel und dem Werk Lucio Fontanas auseinandersetzte. 1965 hatte er die ersten Ausstellungen seiner Objekte in Mailänder Galerien. Scheggis monochrom gelbes Exponat „Intersuperficie curva da giallo“ (1965) zeigt die Verräumlichung des Tafelbildes zum Bild-Objekt. Er schnitt in geometrischer Anordnung kreisrunde Löcher in die mit Leinen überzogenen Wände, die er schließlich hintereinander montierte. 1966 war er auf der 33. Biennale di Venezia vertreten, wo er vier derartige Objekte (Intersuperfici curve) in weiß, gelb, rot und blau zeigte. In Paris war er 1966 mit einer Arbeit in der Abteilung der Konstruktivisten auf dem 21. Salon de Réalités Nouvelles im Pariser Musée d'art moderne vertreten.Im Januar 2013 wird die „Associazione Paolo Scheggi“ in Mailand gegründet wurde.

Turi Simeti, ZERO-Kunst, signierter Prägedruck von 1972Turi Simeti, 1929 Alcamo - 2021 Mailand, zählt zu den bekanntesten Vertretern der italienischen ZERO-Bewegung. Hier: Ohne Titel, Prägedruck, 55,5 x 36 cm, signiert, nummeriert 13/30, o. RahmenZum Künstler: 1965 zog Turi Simeti nach Mailand, wo er der ZERO-Gruppe beitrat, zu der auch Enrico Castellani und Agostino Bonalumi gehörten. Als Teil dieser jungen Generation von italienischen Künstlern und zusammen mit anderen Pionieren aus Europa, Südamerika und Japan nahm er neben Künstlern wie Heinz Mack und Otto Piene an der legendären Ausstellung „ZERO Avantgarde“ im Atelier von Lucio Fontana in Mailand teil. Seine Werke befinden sich in wichtigen Museen und Sammlungen wie dem Museu de Arte Moderna do Rio de Janeiro in Brasilien, Museo d’Arte Moderna di Bolzano (Bozen, Italien), Galleria Civica d’Arte Moderna (Turin, Italien) und dem Wilhelm-Hack-Museum, Ludwigshafen.

Castellani 18ct gold baroque chain necklace, pierced scroll links spaced by graduated baroque pearls, applied Catellani markCondition Report:Approx 42.7gm, tested 18ct, length = 123cm, some wear noted to some pearls

X-Men No. 5 CGC Grade 9.0 1:100 LEGO retailer incentive sketch cover by Leonel Castellani: homage to Wolverine by Frank Miller (Marvel comics, November 2013).Featuring a scare 1 per 100 retailer sketch cover. For every hundred copies of X-Men No. 5 (regular cover) ordered by retailer outlets, a single copy of this black and white sketch Lego variant cover was made available for the same retailer, immediately making the cover immensely rarer. The cover illustration is a homage to Frank Millers cover artwork for Wolverine Limited series no. 1.Creators: Story by Brian Wood, interior art by David Lopez, cover art by Leonel Castellani.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition.CGC serial number:1286568016CGC Grader Notes:Large, moderate spine stress lines(1)Condition Report: VF/NM (Very Fine/Near Mint) condition (9.0)

A selection of Art reference books to include Enrico Castellani

An Archaeological Revival intaglio ring, the glass intaglio depicting Eros trying to catch a butterfly, with basket and flaming torch on the ground, the intaglio bezel set with applied twisted wire decoration, winged figural shoulders and plain hoop, ring size M (VAT charged on hammer price)Cf. 'Castellani and Italian Archeological Jewelry', Susan Weber Soros and Stefanie Walker, for a very similar ring

CASTELLANI: HARDSTONE CAMEO BAR BROOCH, CIRCA 1860The bloodstone carved to depict a Roman Emperor in profile, possibly Augustus, between two annular plaques with wirework detail, mounted in gold, cameo signed CC, brooch with maker's mark CC, later brooch fitting, length 5.6cm, cased by Cameo Corner, 26 Museum Street, London, WC1Footnotes:ProvenanceProperty from the Ralph and Inge Ehrman collection (Lots 1, 3-7, 11, 13, 14, 48)For further information on this lot please visit Bonhams.com

ATTRIBUTED TO ERNESTO PIERRET: EGYPTIAN REVIVAL GOLD SCARAB BRACELET, CIRCA 1870Composed of four highly sculptural, engraved, swivelling scarab beetles, within ropetwist borders with beaded detail, each with a glazed locket compartment to the reverse, connected via arched cylindrical baton links with wirework detail, mounted in gold, length 21.0cm Footnotes:Ernesto Pierret (1824-1898) was born in Paris and moved to Rome as a young man, where he trained as a goldsmith. It is possible that he may have been an apprentice in the workshop of Castellani, an idea supported by the clear resemblance in styles and subject matter of their work. In 1846 he opened his own shop in Florence, later moving to a Renaissance palazzo at 20 Piazza di Spagna, next to the Spanish Steps in Rome. Today the building is a national monument and regarded as one of the most important historic buildings in Rome. Renamed Palazzo Pierret, his name can still be seen above the entrance. Scarabs were important symbols within ancient Egyptian culture, representing the cycle of birth, life, death and resurrection. They were often incorporated into amulets and talismanic jewels of the period; a testament to how important the concept of afterlife was in their culture. The locket compartments to the reverse of each scarab are characteristically Victorian in their sentimentality. As such, this exquisite jewel is a delightful marriage of ancient Egyptian motifs and modern Victorian culture.For a bangle featuring carved carnelian scarabs and similar cylindrical baton links, also by Ernesto Pierret, see Munn, G., 'Castellani and Giuliano: Revivalist Jewellers of the 19th Century', (1984), p.189, pl. 188. A similar bangle design by Castellani can be see in Weber Soros, S., Walker, S., 'Castellani and Italian Archaeological Jewelry', (2005), p. 74, pl. 2-82, demonstrating the similarity in style between master and apprentice. Please note, VAT at the prevailing rate is applicable on both the Hammer Price and the Buyer's Premium.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

CASTELLANI: ARCHAELOGICAL REVIVAL BEAD RING, CIRCA 1860The turquoise enamel bead with 'evil eye' motifs, within a ropetwist mount with beadwork detail, maker's mark CC, ring size approximately N (hoop off round)Footnotes:ProvenanceProperty from the Ralph and Inge Ehrman collection (Lots 1, 3-7, 11, 13, 14, 48)For further information on this lot please visit Bonhams.com

CASTELLANI: HARDSTONE INTAGLIO, ENAMEL, PEARL AND RUBY PENDANT/BROOCH, CIRCA 1860The banded agate engraved to depict Odysseus tied to a mast and a Siren playing the lyre, within a border alternating with white enamel sprays and ruby cabochons within pie-crust closed-back settings, suspending a detachable ropetwist finial issuing a 25.0mm baroque pearl beneath naturalistic leaves, mounted in gold, maker's mark CC, some enamel repair, pearl drop associated, lengths: brooch/pendant 4.7cm, detachable pearl drop 4.5cm, cased by S.J Phillips, 139 New Bond Street, London, W1.Footnotes:ProvenanceProperty from the Ralph and Inge Ehrman collection (Lots 1, 3-7, 11, 13, 14, 48)For further information on this lot please visit Bonhams.com

CASTELLANI: AGATE CAMEO AND GEM-SET PENDANT, CIRCA 1870The agate carved to depict Eros and Psyche, within a tiered ropetwist surround, accented by cabochon rubies and two half pearls, between a green enamel or hardstone bead, with piecrust decoration to the reverse, mounted in gold, maker's mark CC, replacement green bead, length 2.8cmFootnotes:ProvenanceProperty from the Ralph and Inge Ehrman collection (Lots 1, 3-7, 11, 13, 14, 48)For further information on this lot please visit Bonhams.com

Frank Avray Wilson, British 1914-2009 - Untitled No.10; oil on canvas, signed lower right 'Avray Wilson', 197.5 x 151.5 cm (ARR) Provenance: Dilys and Louis Osman and thence by descent Note:inscribed 'No.10' on the reverse.  Louis Osman (1914-1996) was a noted goldsmith and architect, working on projects with artists including Cavendish Square, with Jacob Epstein, and Ely Cathedral, with Graham Sutherland. Frank Avray Wilson was possibly the first artist in Britain to create works in a Abstract Expressionist or Tachiste manner, his canvases characterised by pure colour and an 'allover' approach. This early work, most likely from the 1950s, is built up of a dazzling array of brushstrokes, built around a central form, that evokes the creation of a star or an explosive. 1956 Frank Avray Wilson founded the New Vision Centre Gallery in London, alongside fellow artists Denis Bowen and Halima Nalecz. The gallery ran from 1956-66 exhibiting artists that would go on to international recognition, such as Aubrey Williams, Heinz Mack and Enrico Castellani and was one of the first spaces in Britain to display works by artists from the British Commonwealth and of non-Western origins. The New Visions Gallery Archive is now held by The Tate. 

Gelbgold 750 Armreif in Castellani Art mit reichem Granulé Dekor, Korallen und Süßwasserperlen, Italien 19.Jh., 20g, 5,6x4,8, 2 Perlen fehlen, Druckstellen, Riss innen, Tragespuren

A Castellani porcelain plaque of Giovanna Tornabuoni, after Domenico Ghirlandaio, inscribed verso and dated 1899, 49.5 x 36cm.

Timner, Carl. III. Öl auf Papier, auf Platte aufgezogen. Signiert und datiert unten rechts in Rot sowie mit einer Ritzsignatur versehen. Verso auf einem Galerieetikett der Ausstellung "Internationale Malerei 1960-60" betitelt, datiert und nummeriert "481". Blattmaße: 97 x 127 cm.Frühes abstraktes Werk des Berliner Künstlers Carl Timner (1933-2014), das auf der legendären Ausstellung "Internationale Malerei 1960-61" im Deutsch-Ordens-Schloß in Wolframs-Eschenbach, ausgerichtet von der Aschaffenburger "Galerie 59", neben Werken von Winfred Gaul, Lucio Fontana, Rupprecht Geiger, Enrico Castellani, Karl Fred Dahmen, Ernst Wilhelm Nay u.v.a. gezeigt wurde. - Die Arbeit wird in das Werkverzeichnis von Clara Moriconi Timner aufgenommen. - Umlaufend mit Papierklebeband eingefasst und mit schmaler Holzleiste gerahmt, diese mit kleinen Fehlstellen, insgesamt etwas angestaubt, nachgedunkelt und partiell minimal berieben.

Laszlo, Carl. Manifest gegen nichts für die Internationale Ausstellung von nichts. - Manifesto contra niente per l'esposizione Internazionale di niente. - Manifeste contre rien pour l'exposition internationale de rien. Typographisch gestalteter Einblattdruck in Rot und Schwarz von Onorio (Mansutti). Basel und Hamburg, 1960. 1 Bl. 30 x 29,5 cm. Und: Einladungskarte zur Ausstellung. Verso montiert. 21,5 x 21,5 cm.Das dreisprachige Manifest nach einer Idee von Carl Lazlo, Basel erschien zur Ausstellungsaktion der Hamburger Galerie Grandweg 24 vom 1.-6.6.1960 und wurde von Onorio Mansutti gestaltet: "Verkauft wird nichts, nummeriert und signiert, Preisliste liegt aus. Zur Eröffnung spricht niemand". - Unterzeichnet von Carl Laszlo, Onorio, Rolf Fenkart, Bazon Brock, Herbert Schuldt, Piero Manzoni, Enrico Castellani, Heinz Mack und Otto Piene. - Text in Italienisch, Deutsch und Französisch. Typographie: Onorio. - Die verso im oberen Rand montierte Einladungskarte mit detaillierter Wegbeschreibung und Nennung eines Sekretariats bei Herbert Schuldt in Hamburg. - Ränder des Manifests sauber auf Format der Einladungskarte gefalzt. - Leicht knickspurig, sonst sehr gut erhalten.

Galerie dato. Exposition dato 1961. Plakat zur Ausstellung Frankfurt, 1.-31.12.1961. Faltblatt. 83,5 x 21 cm.Zur Eröffnung sprach Max Bense. - Mit Arbeiten von Aubertin, Bartels, Breier, Castellani, Fontana, Goepfert, Yves Klein, Mack, Manzoni, Mavignier, Piene, Rainer, Uecker u.a. - Falzspuren, sonst gut erhalten.

Castellani (attributed), a very fine late 19th century gold Etruscan Revival fringe necklace, together with a pair of matching drop earrings, length of necklace 41cm, length of earrings 3.1cm, 45.6gOverall good conditionSome light marks and discolouration, in keeping with age and general wearEarring drops slightly bent out of shape, some necklace links bent out of shapeClasp in good working conditionEarrings with screwback fittings for non pierced earsStylistic attribution, based on similar works produced by the makerClients are advised to view and inspect items before bidding and they must satisfy themselves as to the condition of every lotFor enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com

Castellani,G.: In libros Aristotelis de humano intellectu. 1567. [8], 77, [5] Bl. - ╔Angeb.: H.Osorius.╗ De Gloria Libri V. 1552. 295 S. Sammelband mit zwei italienischen Drucken aus der Mitte des 16. Jh. - ╔I.╗ Erstausgabe v. 1567. Seltener Aristoteles-Kommentar, der Verfasser war ein italienischer Theologe, Philosoph und u.a. Inhaber des Lehrstuls für Philosophie an der Sapienza-Universität in Rom. (USTC 819369). - ╔II.╗ Eine Auseinandersetzung des portugiesischen Bischofs und Historikers Jeronio Osorio (1506-80) mit dem Werk Ciceros, erstmals 1549 erschienen, hier in Florentiner Ausgabe von 1552 (USTC 845587). - Einband berieben, stellenweise wasserrandig, vorderes Buchgelenk angebrochen. Mit Marginalien und Anstreichungen alter Hand. Ehemaliges Bibliotheksexemplar mit Stempel und Rückensignatur eines aufgelösten Klosters.

A CASTELLANI FRENCH OPALINE RECTANGULAR BOX AND COVER, the lid with two figures. 4.75ins.

An Italian silver paper knife/desk seal, mid 19th century, possibly after designs by Michaelangelo Caetani (1804-1882) for Castellani, modelled as a saint with upswept wings forming the blade, wearing a tunic, hands raised in prayer and feet resting on a foliate decorated seal later engraved ‘MICHAEL’, with Papal States hallmark (in use between 1815-1870), and maker's mark for Rome, lozenge stamped ‘P122K’, contained in red leather case, length 20.7cm. £300-£500 --- Michaelangelo Caetani had close ties with the Castellani firm of jewellers, founded in Rome in 1815 by Fortunato Pio. Both as a personal friend of the founder and his sons Alessandro and Augusto, and being from a noble Italian family, Caetani brought with him important patrons and business collaborations. Between 1829 and 1859 he was known to have contributed many designs for metalwork and jewellery. “Paperknives, designed or personally carved by Caetani, were particularly popular items in the Castellani shop....The annual inventories of the Castellani shop usually list several examples in different materials... bronze, silver or wood”. (Soros & Walker). Literature: Susan Weber Soros & Stefanie Walker: Castellani and Italian Archeological Jewelry, pub. BCG YALE, 2004, pages 40-41.

A CASTELLANI FRENCH OPALINE RECTANGULAR BOX AND COVER, the lid with two figures. 4.75ins.

Castellani, Giuseppe (1934 - 2017), "Notturno", Öl auf Leinwand, signiert unten links G. Castellani, 39.5 x 49 cm (RA)Provenienz: 1978 erworben Galleria d'Arte U Caruggiu; seither Privatbesitz

Castellani Star Vega 12 bore over and under shotgun with named lock, chequered semi-pistol grip and forend, sling mounts, single trigger, vented top rib and 27.75 inch barrels choked full and ¼, overall length 114cm, length of pull 35cm, serial number 58554. PLEASE NOTE THAT A VALID RELEVANT FIREARMS/SHOTGUN CERTIFICATE IS REQUIRED TO HANDLE/PURCHASE THIS ITEM.

An art glass vase by Castellani with red and yellow striped decoration, 12½" high with certificate

Relief, Italien, 2. H. 20. Jh., Murano, rechteckiges Glasplatte mit aufgelegtem Relief, plated mit floralem Dekor, tlw. farbig gefaßt , sign. Castellani, 40,5 x 22,5 cm

ATTRIBUTED TO CARLO GIULIANO: EGYPTIAN REVIVAL TURQUOISE AND SEED PEARL FRINGE NECKLACE AND PENDENT EARRING SUITE, CIRCA 1870The collar composed of faceted batons of alternating lengths, each terminating with a turquoise sugarloaf cabochon and seed pearl accent, strung on spiga-linking concealed by a reeded rondel between each baton, the barrel-shaped clasp engraved with foliate detail, the articulating pendent earrings en suite, with surmounts of interlocking linking, mounted in gold, earrings with later post fittings, lengths: necklace 38.5cm, earrings 5.5cm, fitted case by Mr Streeter (Late), Hancock & Compy Limtd, Goldsmiths & Jewellers to the Royal Family, 37 Conduit Street and Bond Street, velvet exterior with tooled initials E.O.Footnotes:See Munn, G., 'Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century', (Trefoil: 1984), ill.p.26 for a similar example. This suite is a fine example of Neo-Egyptian jewellery by Giuliano. Interest in Egyptology was greatly enhanced in England when Miss Amelia Edwards founded the Egyptian Exploration Society, which subsequently brought a large quantity of Egyptian antiquities over to London. Neo-Egyptian jewels were made by Giuliano from the mid 1860's until his death in 1895, with notable examples featuring details such as faience and ancient Scarabs. The turquoise work and decorative devices are typical of motifs found in the designs of Pasquale Novissimo, who collaborated with the firm during the 1860's. This suite was retailed by Mr Streeter, who took over the firm of Hancock Burbock in 1868, dating this piece to 1868-1874 approximately, after which time Giuliano opened his own shop in Piccadilly.Colour illustration: Design for a parure by Pasquale Novissimo, watercolour on card, as illustrated in Munn, G., 'Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century', (Trefoil: 1984), ill.p.25.For further information on this lot please visit Bonhams.com

ERNESTO PIERRET: RENAISSANCE REVIVAL EMERALD, RUBY, PEARL AND ENAMEL PENDANT AND EARRING SUITEThe table-cut emerald in closed-back setting, between polychrome enamel sea serpents, issuing a pair of similarly-cut rubies within a drilled pearl and black enamel surround, suspending a pearl drop via a detachable table-cut emerald and pearl quatrefoil pendant, decorated throughout with rope-twist, wirework and beaded detail, the earrings en suite, maker's mark EPRT, pearls untested, later chain, later earring fittings, some enamel loss, lengths: pendant 9.0cm, chain 67.0cm, earrings 7.5cm (2)Footnotes:Ernesto Pierret (1824-1898) was born in Paris but moved to Rome as a young man where he trained as a goldsmith. It is possible that he may have been an apprentice in the workshop of Castellani, an idea supported by the clear similarities in styles and subject matter. In 1846 he opened his own shop in Florence, later moving to a Renaissance palazzo at 20 Piazza di Spagna, next to the Spanish Steps in Rome. Today the building is a national monument and regarded as one of the most important historic buildings in Rome. Renamed Palazzo Pierret, his name can still be seen above the entrance. His pieces are marked either with a monogram or signature, both of which are applied to the piece on a small gold plaque or tab.Please note, this lot has VAT at the prevailing rate on both the Hammer Price and Buyer's Premium. Additional duty of 2% will apply to the VAT. Please contact the department for further information.Saleroom notices:Please note, this lot should be dated circa 1870.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

A Victorian Castellani style rose gold enamelled target brooch. The Etruscan style brooch with a pearl star surmounting a turquoise blue enamel central dome, with white cloisonne enamel around and edged with enamel blue beads, the back with a glazed locket panel, base metal pin, diameter 30mm, 11.4g.

A mid-19th century Etruscan Revival micro-mosaic brooch in the manner of Castellani, of cross form inset four micro-mosaic panels of doves around a micro-mosaic Lamb of God and four triangular panels of lilies, suspended on detachable micro-mosaic bale, with locket back, unmarked, brooch 49mm x 49mm (not including hook), bale 22mm x 11mm, overall length of pendant 72mm, in fitted case "Edmond Johnson, Jeweller to the Irish Court, Grafton St, Dublin", (case a/f).

(1) Invitation card for Mack's first solo show outside of Germany, in the legendary experimental exhibition space founded by Manzoni and Enrico Castellani (with some help of Lucio Fontana). 9 x 19 cm, printed white on translucent plastic sheet. This card is lacking a black sheet which seems to have been glued onto the back, making the white lettering stand out. Incomplete, but extremely scarce item. Added: (2) Invitation card Mack Galerie Schmela Dusseldorf, 25 November 1960. 21 x 15 cm, very light rubbing to corners, fine copy. (3) Mini Expo Mack bei Galerie Reckermann Cologne, 1969. Large fold-out card printed silver on thick black stock, 18.5 x 60 cm, in very good condition. (total 3)

Arnhem, Nul-Verlag, 1963. Second volume of the periodical by the Dutch ZERO group featuring new movements in art. This issue was dedicated to the then recently deceased Yves Klein and Piero Manzoni. Edited by herman de vries, released in an edition of 300. Stapled booklet, 27.6 x 21.8 cm, 20 pp. text in German, French and English. Cover features Manzoni's enlarged fingerprints with hand stamped red O. Contributions by Schoonhoven, Aubertin, Haacke, Castellani et al. Includes the original collage with the 'Yves Klein-blue' square on black paper. Cover shows some age spotting, interior very good.

(1) Castellani Manzoni Schoonhoven. Group show catalogue, Galerie Delta Rotterdam, 1962. 23.5 x 22 cm, 12 pp. texts in Dutch by H. Sonnenberg and J.J. Schoonhoven. With stamp and notation of Art Information Center. (2) Armando, Henk Peeters, Schoonhoven. La Cavana Galleria, Trieste, 1963. Catalogue, 4 pp. with stamp of Peter van Beveren on rear. (3) Nul - Armando Henk Peeters Schoonhoven / Zero - Mack Piene Uecker. The Hague, Gemeentemuseum, 1964. Double sided catalogue presenting the Dutch Nul artists on one side and the German Zero artists on the other side. (4) Catalogue nul = 0. Galerie Delta Rotterdam, 8 - 20 August 1964. Stapled booklet, 4 pp. with loose inserted sheet listing 40 international Zero and New Realist artists and their exhibited artworks. Participants were Peeters, Dadamaino, Fontana, Kusama, Manzoni, Schoonhoven, Klein, Soto, Arman, Raysse, Rot et al. Stamp of Art Information Center in rear. (5) Jan Schoonhoven: tekeningen en reliefs. De Utrechtse Kring/Galerie Orez, 1969. Striking purple, green and red printed covers, 4 pp. Contains price list of exhibited works, texts in Dutch by Carel Blotkamp and K. Schippers (Portret van J.J. Schoonhoven in 16 mededelingen). Scarce. (6) Invitations for Schoonhoven exhibitions at Galerie Aujourd'hui Brussels (1962), galerie Delta Rotterdam (1964) and Galerie Wulfengasse Klagenfurt (1965). (7) Leaflet announcing a Dutch 0=Nul group show featuring Armando, Peeters and Schoonhoven at Halfmannshof in Gelsenkirchen, 1965. (total 9)

München, Galerie Heseler, 1972. Special limited edition, this one numbered 965/1000. Catalogue of an exhibition of works by Piene and other members of the Zero Group active from 1957-1966. Loosely inserted is a list of exhibited works by the participants such as Arman, Aubertin, Castellani, Dorazio, Fontana, Schoonhoven, de vries et al. Original colour silkscreen cover by Otto Piene, with transparent dust-jacket, 29 x 21.5 cm, 67 pp. profusely ill. in b/w, with one image by Yves Klein in black and blue. Text in German and English. Includes six original prints bound to spine, folded once in the middle, ca. 29 x 28.5 cm, rubber stamped with the artists' names. The works comprise a blind print by Günter Uecker (nails), and original silkscreen prints by Ruprecht Geiger, Hermann Goepfert, Oskar Hollweg, Heinz Mack and Otto Piene (twice, including the cover). The prints are all in very fine condition, with a tiny dog ear at the lower corner of Piene's work (1 cm). Very light abrasions to the cover edges, generally a crisp copy.

A natural pearl, diamond and enamel pendant by Carlo Giuliano, circa 1865-75, of cruiform design, centred with a pearl, bordered by old-cut diamonds within pyramidal settings, and further pearls to the cardinal points, with pearl drop below set beneath a blue and white spotted enamel cap, the pendant suspended from a similarly enamelled suspension loop, gold mounted, the reverse signed ‘C.G’, total diamond weight approximately 1.10 carats, length approximately 9.5cm. £5,000-£6,000 --- According to a verbal report from GCS the pearls are of natural saltwater origin. Verbal report number 5784-0261. Literature: For a comparable cruciform pendant by Carlo Giuliano, circa 1869-1874, incorporating natural pearls and similar pyramidal diamond settings, see: Castellani and Giuliano by Geoffrey G. Munn, pub. 1984, colour plate 28, page 34. Condition Report General light surface wear to the mount and settings commensurate with age. The pearls are creamy off-white hue with silver overtones, very soft lustre, even round shape (excluding drop), drop-shaped pearl with a couple of raised blemishes. Generally smooth skins, light scratches evident under 10x magnification, some pearls with surface crazing evident under close inspection. Internal crazes evident to most - to include central pearl. Some small chips to enamel evident under 10x magnification, possible touch-up to bale. Gross weight 19.4gm. Pearl measurements, approximately: 7.4 x 7.3mm 7.7 x 7.8mm 8.4 x 8.4mm 7.5mm (half-pearl to bale) 8.6 x 8.5mm 9.8 x 8.5mm (bouton-shaped central pearl) 11.1 x 9.6mm (drop)

La Lune en Rodage I Basel, Editions Panderma - Carl Laszlo 1960. • Wichtige Anthologie zur zeitgenössischen Kunst • Mit zahlreichen künstlerischen Originalbeiträgen • Der seltene erste Band Exemplar außerhalb der Numerierung. - Der sehr seltene erste Band dieser wichtigen und aufwendig hergestellten Anthologie moderner und zeitgenössischer Graphiken; die Arbeiten größtenteils signiert, teils auch datiert. Mit Beiträgen von Bazon Brock (Kundendienst), F. Hundertwasser (Eiöl-Tempera, mit sehr eigenwilliger Signatur), R. Hains (Farbcollage), V. Vasarely (Serigrafie), L. Fontana (Concetto spaziale, Kugelschreiberzeichnung auf perforiertem Metallkarton), E. Castellani (Prägedruck), P. Heliczer (Poem Number One, Faltgedicht), Man Ray (Fotografie), P. A. Benoit (Gedicht und Serigrafie), M. Oppenheim (Farblinolschnitt), Carl Laszlo (Testament 23), O. Piene (Rauchzeichnung), H. Mack (Lithographie), P. Manzoni (getöntes Sandpapier), E. Baj (Farblithographie), F. Arman (Mischtechnik), Lucien Clergue/Jean Cocteau (Fotografie), P. Brüning (Radierung), B. Munari (Faltobjekt), H. Arp (Holzschnitt; Arntz 200a) u. v. a. - Das Titelblatt mit 4 kleinen Abbildungen von J. Pollock, Wols, M. Tobey uns K. R. H. Sonderborg. EINBAND: Orig.-Halb-Sackleinenband mit Schraubenbindung, Deckel- und Rückentitel in Schwarz sowie kl. Metallobjekt von Gio Pomodoro auf dem Vorderdeckel. 33 : 35,5 cm. - ILLUSTRATION: Mit 62 meist signierten Orig.-Graphiken und anderen Original-Beiträgen, montiert auf Tafeln. - ZUSTAND: Auf Anfrage. - PROVENIENZ: Privatsammlung Schweiz. - Famous portable collection of Post War and Contemporary Art, with several unique modern artworks. The scarce first volume of the important anthology. - Copy omitted in numbering. With 62 mostly signed orig. graphics and objects on plates. Orig. half cloth with screw joints, front cover with metall plastic object by G. Pomodoro. - Back partly sligthly cracked, else fine and complete copy from a private Swiss collection. Dieses Objekt wird regelbesteuert angeboten (R).

Old Cars di Castellani & C.s.n.c. Ferrari scale model truck, 1/43, in box 48 cm long and Ferrari truck in box, total 38 cm long

A seed pearl pendant and earrings, Southern Italy, early-mid 19th century, comprising: a pendant, designed as a canopy of leaves suspending fruit, constructed from gold filigree threaded with seed pearls, suspending a pearl drop, length 6.8cm, pearls untested; and a pair of pendent earrings, mounted in gold, set with seed pearls, length 7.5cm each, hook and clip fittingsCf.: Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World, British Museum Press, 2010, p. 320, no. 276, for an image of similar jewels collected by the jeweller Castellani and displayed at the 1867 International Exhibition in Paris, now in the collection of the Victoria & Albert Museum, and Daniela Mascetti and Amanda Triossi, Earrings from Antiquity to the Present, London, 1990, p.64, for a similar pair of earrings dated to the late 18th century

ENRICO CASTELLANI 1930 OHNE TITEL 1992 - 2017 Prägedruck auf handgeschöpftem Papier. Signiert. Ca. 42 x 69 cm (61,5 x 90 cm). (Geringe Altersspuren, teils schwach lichtrandig und Ränder leicht gewellt).

MAPPENWERKE / SAMMLUNGEN PER RETINA 1981 5 (von 6) Graphiken (Aquatinta) von Achille Perilli, Umberto Mastroianni, Piero Dorazio, Enrico Castellani, Pietro Consagra in OrLnMappe. Jeweils signiert. Ex. 24/70. 50,5 x 69,5 cm. (Ohne Graphik von Giuseppe Santomaso. Mappe mit l. Bereibungen).