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ENRICO CASTELLANIOhne Titel4 Blatt Prägedrucke auf kräftigen handgeschöpften Bütten. Jeweils signiert und nummeriert. Ex. 45/50. 30 x 42 cm.(Ecken teils mit Knitterspuren, vermutlich durch Herstellungsprozess.)

CARL LASZLOHommage à Carl Laszlo. (Olten): Edition le Cadre (H. Dude, 1968). 21 x 15 cm. 26 lose Doppelblattbogen (24 rot, 2 schwarz) enthaltend: 1 montierte Photographie von C. Laszlo, 1 signiertes und nummeriertes multiples Objekt (Bonbon), 1 signiertes und nummeriertes Papier-Falt-Objekt, sowie 19 (12 farbige) signierte und teils nummerierte Original-Graphiken, 2 Faksimiles und 4 Textbeiträge. OrLn.-Kassette mit montiertem OrKunststoffobjekt von E. Castellani, verso mit signiertem und nummeriertem Etikett.(Kassette und Deckelobjekt mit leichten Gebrauchsspuren. Kunststoff-Multiple "Pistole" fehlt. Kleber der Deckelplastik und einige der montierten OrGraphiken gelöst.)Nr. 65 von 100 Ex. Erschien anlässlich des 45. Geburtstages des Basler Kunstverlegers und Kritikers C. Laszlo. Enthalten sind Beiträge von G. Alviani, Arman, C. Belloli, G. Biasi, A. Brauer, E. Castellani, G. Fruhtrunk, W. Dexel, H. Hanko, L. Kassák, M. Kutter, Y. Laloy, M. Morandini u. a.

Frank Avray Wilson, British 1914-2009 - Tower, c.1958; oil on board, signed with initials lower right 'FAW' and inscribed with artist's name and title on the reverse, 35.5 x 25.5 cm (ARR) Provenance: with The Leicester Gallery, London (according to the labels attached to the reverse of the frame); R. J. D. Anderson, purchased from the above (according to the label attached to the reverse of the frame); private collection, gifted from the above and thence by descent, Australia Exhibited: The Leicester Gallery, London, 'Artists of Fame and Promise, Part I', July 1953, cat. no.92  (according to the labels attached to the reverse of the frame); Note:Frank Avray Wilson was possibly the first artist in Britain to create works in an Abstract Expressionist or Tachiste manner, his canvases characterised by pure colour and an 'allover' approach. In 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. 

A large collection of signed boxing photographs and memorabilia, formerly the property of 1950 - 1960s boxing promoter/trainer Ronald Bottone of Bermondsey - four albums including over fifty five signed boxing postcards and photographs and over sixty unsigned cards - signed cards including Rocky Marciano, Jackie Turpin, Randy Turpin, Arthur Howard, Freddie Mills, Marcel Cerdan, Dick Turpin, Roland La Starza, Roy Sugar Robinson, Jack Gardiner, Ronnie Clayton, Jock McAvoy, Manuel Ortiz, Terry Allen, Ezzard Charles, Bobby Boland, Ron Johnson, Gene Fullmer, Sammy McCarthy, Bruce Woodcock, Billy Graham, Tony Janiro, Laurie Buxton, Ron Barton, Wally Thom, EddieThomas, Freddie King, Wes Bascom, Ron Cooper, Floyd Patterson, Gus Lesnevich, Bob Murphy, Rocky Castellani, Joey Giambra and other etc

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, Blattgröße 70 x 50 cm, signiert, nummeriert 12/30, 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.

Agostino Bonalumi, Komposition I und II, 2 signierte Farbserigraphien, 1973Agostino Bonalumi, 1935 Virmercate - 2013 Desio bei Mailand, Mitglied der Gruppe "ZERO", Mitbegründer der Gruppe "Nouvelle Ecole Européenne", hier: Geometrische Kompositionen, Blattgröße 23 x 23 cm, signiert, datiert (19)73, nummeriert 417/600 und 58/600, o. RahmenZum 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.

Kathleen AbsonKerry CoastlineOil on boardInitialledTogether with a poster for Jacopo Ligozzi poster, an oil painting of a horse by a pond, a sketch of Civita Castellani attributed to James Holland, a C W Oswald oil painting of a Highland scene and a collection of etchings and engravings

1874 A.D. London: George Bell and Sons, 1874 - brown cloth boards (disbound), titled in gilt on front cover and spine, folio, moulded ornament to covers; twenty albumen prints, each approx. 10 x 7½ in., mounted on card with printed descriptive text; title page with photographer's credit; folded in: a small hand-drawn watercolour necklace and drop earring initialled 'C.I'; a larger watercolour on card, also initialled 'C.I'; spine torn; rare. 1.74 kg, 34 x 46 cm (13 3/8 x 18 1/8 in.). Property of a London, UK, gentleman.Alessandro Castellani (2 February 1823 – 10 June 1883) was a goldsmith, antique dealer and art collector from a notable Italian family of goldsmiths and antique dealers.

1884 A.D. Auction catalogues: (1) Palais Castellani - Rome, 1884, hardback, rebound as quarter-calf with marbled boards, 324 pp, monochrome photographs and engravings; gold title block to spine; (2) Hotel Drouot, 12th-16th May 1884 - Paris, 1884, hardback, quarter-calf with marbled boards and endpapers, 83 pp, numerous monochrome photographs and tinted engravings; spine cracked. 2.8 kg total, 22.8 x 30.2 - 22.2 x 30cm (9 x 11 7/8 - 8 3/4 x 11 3/4 in.). [2, No Reserve] Property of a London, UK, gentleman.

Charles Haslewood Shannon RA (British, 1863-1937). 'Portrait of Miss Rachel Castellan', depicting a woman with androgynous charm, dressed in highwayman’s garb sitting with her arms folded, gazing up at the viewer, signed and dated 1915 to lower right, oil on canvas, 73 x 61 cm, mounted in a gilt frame.  Note: Charles Haslewood Shannon RA was an English artist best known for his portraits. His works featured in several major European collections, including London's National Portrait Gallery. The identity of the sitter has now been revealed in official archives of The Royal Academy. While the sitter's surname is widely recognised as ‘Castellan,’ the 1916 exhibition catalogue listed a slightly different version: ‘Castellani.’ Miss Rachel Castellani was a model for the renowned British artist Augustus Edwin John OM RA—one of the leading figures of early 20th century art. John painted a striking portrait of Miss Castellani, titled Rachel, just two years after the completion of Shannon’s work. Augustus John's portrait of Rachel resides in the Tate Gallery. This painting was also used for Virginia Wolf's 'Orlando' novel cover image. This painting is also referenced in Kenneth McConkey’s Edwardian Portraits: Images of an Age of Opulence (1987), a copy of which will be included with this sale.

Carlo Giuliano, a Victorian gold, rock crystal and enamel vesta case, circa 1863-95, designed in the Renaissance Revival style, set with two panels of rock crystal, the oblong gold case with rounded ends applied with alternating stripes of pale blue and black enamel with foliate patterns in gold reserve, the central compartment intended for matches opening via a hinged lid, one side of the case with a gold vesta strip, measuring approximately 5.0 x 3.0 x 0.8cm, signed CG for Carlo Giuliano to the interiorCf.: Geoffrey Munn, Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century, London, 1984, pg. 165, cat no. 164, for an illustration of an identical vesta case, possibly the present example

CHAMPAGNE & WINE, Thirteen Bottles comprising 2 x Veuve Clicquot Ponsardin Champagne, 2 x Duval Le Roy Premier Cru Champagne, 1 x 37.5cl bottle of Oudinot Cuvee Brut Champagne, 2 x Di Mondelli 789 Prosecco, 1 x Maschio Prosecco, 1 x Tenuta Sconta Prosecco, 1 x Villa Sandi Prosecco, 1 x Moscato Spumante, 1 x Gran Tradicion Cava and 1 x 50cl bottle of Castellani Chianti, all seals intact

ROBERT PHILLIPS: REVIVALIST GOLD AND ENAMEL NECKLACE AND BROOCH SUITE, CIRCA 1870The necklace designed as a fringe of Tudor Rose drops, with red, white and yellow enamel, alternating with green enamelled foliate leaves, suspended from a fine triple mesh collar, the brooch of similar form, with five Tudor Roses upon a branch with foliate detailing, maker's marks for Robert Phillips, lengths: necklace 39.0cm, brooch 3.50cm cased, (2)Footnotes:Robert Phillips (1810-1881) was one of England's foremost jewellers working in the fashionable Revivalist style, with close links to both Castellani and Giuliano, the latter being employed by his firm. During the 19th century, copying and adapting motifs from antiquity and earlier historical periods became an important symbol of Nationalism for the wearer of the jewel, which in turn helped to create a national style. The design of this brooch and necklace exemplifies the Tudor Revival style that was unique to Britain. The motifs seen in similar jewels were often inspired by the tapestries and clothing depicted in the paintings of Hans Holbein the Younger (c.1497-1543). For the Victorians, the Holbein label embodied the romance of the entire Tudor dynasty and a quintessentially English aesthetic.In 1872, the Art-Journal praised Phillips's designs in the 'Holbeinesque' taste and described a series of Tudor rose jewels thus: 'Another rose in enamel has been copied from a document, to which is attached the sign manual of Henry VIII. The design is by Holbein, who, in commemoration of the union of the houses of York and Lancaster, has formed the flower of white and red leaves. This may be used as a brooch or pendant.' See Gere, C. and Rudoe, J. Jewellery in the Age of Queen Victoria, The British Museum Press, 2010, pp.331-353. In her book, The Art of Beauty (1878), the historian and chronicler of fashion, Mrs Haweis, described the 'artistic appreciation of good forms and good work' by Messrs Phillips of Cockspur Street, going on to recall, '.....the most perfect models are sought for the ornaments they furnish. Museums and picture galleries are ransacked for devices of necklaces, earrings and pendants. I there observed... a bracelet of enamel and gold whose delicate traceries with Tudor roses and fleur-de-lis, are adapted from a fine frieze beneath the tomb of Henry VII in Westminster Abbey...' See Richie, H. Designers & Jewellery 1850-1940, pp.37-39.For further information on this lot please visit Bonhams.com

CARLO & ARTHUR GIULIANO: ENAMEL AND GEM-SET NECKLACE, CIRCA 1900Highly articulated, composed of swags of scrolling motifs decorated with black and white enamel, set centrally with a graduation of mixed cut green and blue-green sapphires, suspending a 8.5mm bouton-shaped pearl drop of grey tint, accented by cushion-shaped green sapphires, circular and French-cut garnets, terminating with seed pearl finials, mounted in gold, maker's mark C&AG, pearl untested, length 40.0cm, length of pearl drop (from shortest swag to grey pearl) 9.5cm, fitted maker's case, 115 Piccadilly, London, handwritten label, 'Tourmaline & Jargoon' pinned to interior lining of caseFootnotes:For a similar necklace set with diamonds and a drop pearl with closely comparable black and white enamel scrolls, see Munn, G., 'Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century', Trefoil, 1984, p.120, ill.fig.139.The exterior base of the case is embossed with the letter 'G' for Guichard - considered by far the best case maker - Guichard's cases are often embossed 'G' near the hinge. Other firms such as C.J. Kitts, Wheeler and Oliver were also employed by Giuliano as specialist case makers. See Munn, p.168 fig.174.For further information on this lot please visit Bonhams.com

ATTRIBUTED TO CARLO GIULIANO: RENAISSANCE REVIVAL GEM-SET AND ENAMEL CROSS PENDANT, CIRCA 1870The Latin cross with blue, black and white enamel decoration, centrally-set with an old cushion-shaped diamond, issuing four 4.2-4.5mm pearls, set throughout with foil-back step-cut gemstones; including rubies and emeralds, the reverse with polychrome enamelled floral pattern, centrally-set with a glazed compartment, suspending three 5.2mm-5.5mm drop pearls, pearls untested, enamel loss, length 8.5cm, fitted caseFootnotes:For a similar cross pendant by Carlo Giuliano, circa 1863-1895, see Munn, G. Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century, p.161, pl.167-168.The style of enamelling used on this jewel derives from English 17th century prototypes, which provided a popular range of designs for revival jewellery workshops.For further information on this lot please visit Bonhams.com

Schynse,A.: Zwei Jahre am Congo. Erlebnisse und Schilderungen. Hrsg. v. K.Hespers. Köln, Bachem 1889. Mit 7 Abb. nach Orig.-Photogr. des Verf. XI, 92 S. Obrosch. (Gebrauchssp.). Dinse 581. Kainbacher I, 129. - Der rheinländische Missionar August Schynse verbrachte zwei Jahre am Kongo und gründete eine Missionsstation am Kassai. Im Matadi traf er 1887 mit Stanley zusammen, der seine beschwerliche Rettungsaktion für Emin Pascha begann. Zwei Jahre später treffen sich die beiden wieder. - Gebräunt, tls. etw. Randläsuren. - ╔Dabei: Castellani,C.╗ Das Weib am Kongo. Minden (1902). Mit 62 ganzs. Abb. Ohlwd. - ╔Schlunk,M.╗ Francois Coillard und die Mission am oberen Sambesi. Gütersloh 1904. Mit Portr., 13 Abb. u. 1 Karte. Hlwd. d. Zt. - ╔Freeden,W.v.╗ Reise- und Jagdbilder aus Afrika. Lpz. 1888. Mit 88 Textabb., 22 Tafeln und 1 kolor. Faltkarte. Olwd. - ╔Volz,B.╗ Emin Paschas Entsatz und Stanleys Zug durch das "dunkelste Afrika". Lpz. 1891. Mit 37 Holzstichabb. im Text und 23 auf Tafeln, 1 kolor. Faltkarte. Olwd. - ╔Mecklenburg,A.F.zu.╗ Vom Kongo zum Niger und Nil. 2 Bde. Lpz. 1912. Mit 512 tls. farb. Abb. auf Tafeln und 6 Karten. Olwdbde. - ╔Schweinfurth,G.╗ Auf unbetretenen Wegen in Aegypten. Hbg. u. Bln. 1922. Mit Abb. Ohlwd. - Versch. starke Gebrauchssp. Zus. 8 Bde.

Denis Bowen,  South African/British 1921-2006 -  Double Star: B, 1989;  oil and metallic paint on canvas, signed, titled and dated on the reverse 'Denis Bowen Double Star: B 1989', 76.8 x 61.3 cm (ARR)  Note:  Denis Bowen ran New Vision Centre Gallery in London in 1959 and 1962, alongside fellow artists Halima Nalecz and Frank Avray Wilson. 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.       

A 19th-century gold and cloisonne enamel pendant, in the manner of Castellani. The frame and bale with circular wire roundals with pale blue and red dot enamel, with globule applied decoration and clusters, the Limoges style enamel on copper showing two ladies in a garden setting with a goat, length including bale 45mm, width 30mm, 5.8g.

ZERO. Vol. 3. Dynamo. Dusseldorf, H. Mack & O. Piene, (1961). (Ca. 150 pp.). Sm-4°. Owrps. (2 tickets on front cover, sl. age wear, some moderate age toning). NOTE: Third and final issue of the famous periodical of the ZERO-group including various (original) artists' interventions. Contributions by Fontana, Klein, Piene, Mack, Arman, Manzoni, Spoerri, Tinguely, Castellani, Uecker, Aubertin, Rainer, Rot et al. Texts in German, English and French. Rare complete copy including the half-burned sheet and partly torn page (Yves Klein), a white sheet with a small perforation hole (Jean Tinguely/Otto Piene), a sunflower seed (Jean Tinguely) and a match to be used in pyromaniac experiments (Spoerri). The seed and match are glued on to the last sheet, 2 perforation holes on the back cover protect them.

Nouveau-Realisme - Zero - - Azimuth 2. La nuova concezione artistica. The new artistic conception. Die neue künstlerische Konzeption. La Nouvelle Conception artistique. Heft 2 (von 2). Mit einigen Illustrationen. Mailand, E.P.I. (editoriale periodici italiani), 1960. 14 Bll. 4°. Illustrierte Original-Broschur (etwas gebräunt und leicht fleckig). Mit Bild-Beiträgen von Yves Klein (halbseitige farbige Abbildung, International Klein Blue), Kilian Breier, Enrico Castellani, Oscar Holweck, Heinz Mack, Piero Manzoni, Almir Mavigner und Otto Piene. - Die 1959 von Piero Manzoni und Enrico Castellani gegründete Kunstzeitschrift erschien in nur zwei Ausgaben und war stark von theoretischen Aspekten der Kunst geprägt. Das hier vorliegende zweite Heft mit Texten von Castellani, Manzoni, Udo Kultermann und Otto Piene. Im Dezember 1959 eröffneten Manzoni und Castellani unter Bezugnahme auf die Zeitschrift, aber zur Unterscheidung des Namens durch das Fehlen des abschließenden H, die Galerie Azimut in Mailand. - Klammerheftung von Einband gelöst. Papierbedingt etwas gebräunt. Wohlerhalten. Issue 2 (of 2). With some illustrations. Illustrated original wrappers (somewhat browned and slightly stained). - With illustrated contributions by Yves Klein (half-page colour illustration, International Klein Blue), Kilian Breier, Enrico Castellani, Oscar Holweck, Heinz Mack, Piero Manzoni, Almir Mavigner and Otto Piene. - Founded in 1959 by Piero Manzoni and Enrico Castellani, the art magazine appeared in only two issues and was strongly characterised by theoretical aspects of art. The second issue presented here contains texts by Castellani, Manzoni, Udo Kultermann and Otto Piene. In December 1959, Manzoni and Castellani opened the Azimut Gallery in Milan, referring to the magazine but distinguishing the name by the absence of the final H. - Staple binding detached from wrappers. Some browning due to paper. Well preserved.

Mappenwerk - - Laszlo, Carl. Hommage à Carl Laszlo. Band 1. Mit montierter signierter Photographie von C. Laszlo, 1 signierten und nummerierten multiplen Objekt sowie 18 (12 farbigen) signierten und teils nummerierten Original-Graphiken, 1 signierten und nummerierten Metall-Objekt, 2 Faksimiles und 4 Textbeiträgen. Olten, Edition le Cadre. H. Dude, 1968. 22 x 15,5 cm. 26 lose Doppelblätter in Original-Leinenkassette mit montiertem Original-Kunststoffobjekt von E. Castellani.Eins von 35 (GA 100) nummerierten Exemplaren des Privatdruckes für die Mitarbeiter, 65 Exemplare gingen in den Handel. - Anlässlich des 45. Geburtstages des Basler Kunstverlegers und Kritikers C. Laszlo erschienene Hommage, mit Beiträgen von G. Alviani, Arman, C. Belloli, G. Biasi, E. Castellani, W. Dexel, H. Hanko, L. Kassák, M. Kutter, Y. Laloy, M. Morandini,Fritz Köthe, Chr. Megert u.a. - Das multiple Objekt von Arman (Kunststoff-Pistole) auf Pappe montiert ist beiliegend. - Das Faltobjekt von Megert doppelt vorhanden. - Das Kunststoff-Objekt von Castellani lose und etwas berieben, die graphischen Beiträge meist lose, die Pistole etwas angestaubt, sonst gut erhalten. - Provenienz: Aus dem Nachlass von Ben Wagin.

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.

ATTRIBUTED TO CARLO GIULIANO: EGYPTIAN REVIVAL TURQUOISE, RUBY AND SEED PEARL FRINGE NECKLACE, CIRCA 1870Issuing a fringe of lozenge-shaped turquoise cabochons, accented by seed pearls and circular-cut rubies, terminating with seed pearl finials, strung on cable-linking concealed by a series of wirework spacers, two gem-set batons with losses, one turquoise deficient, unsigned, later clasp, length 37.5cm, cased by Tessiers Ltd, 26 New Bond Street, LondonFootnotes: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 to London. Neo-Egyptian jewels were made by Carlo Giuliano from the mid 1860s until his death in 1895, with notable examples featuring details such as turquoise, faience and ancient Scarabs. A closely comparable necklace featuring two rows of turquoise cabochons and a central row of rubies featured at Bonhams New Bond Street on 24th April 2008 (lot 20), together with a pair of earrings en suite bearing Giuliano's 'CG' maker's mark. See Munn, G., 'Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century', (Trefoil: 1984), ill.p.26 for a photograph of a gem-set Egyptian Revival suite of similar design.The final image shows a design drawing for another similar 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). Novissimo was Carlo Giuliano's chief designer. He worked for the Giuliano firm between 1874-1914. Many of his beautifully painted design drawings remain in the hands of his descendants. They were used as a marketing tool to present to the firm's clients before the jewellery was produced. A small collection of Novissimo's drawings are held by the Victoria and Albert Museum together with revivalist jewels he designed for Giuliano.For further information on this lot please visit Bonhams.com

ETRUSCAN REVIVAL PARURE, CIRCA 18751st: The articulated bracelet composed of hinged panels with raised engraved decoration, within ropetwist borders, with pin-and-slot clasp, 2nd: The necklace of matching design, 3rd: The cross of tiered design, with fine wirework, ropetwist and beaded detailing throughout, 4th: The brooch of similar design, lengths: 1st 17.6cm, 2nd 48.5cm, 3rd 8.7cm, 4th 5.1cm, fitted case by Hunt & RoskellFootnotes:The mid 19th Century saw a renewed interest in ancient civilisations, largely due to early 19th century archaeological discoveries of jewellery from the classical world, including from Melos, Rhodes and Knossos, and, later in the 1840s, excavations of ancient Assyria. Inspiration was sought by jewellers not only for design, but also technique. A technique goldsmiths dedicated themselves to understanding and recreating was the delicate art of granulation, used to striking effect in pieces from antiquity. The technically complex effect was wonderfully replicated by the Castellani family, who benefited from close inspection of the magnificent Campana Collection of ancient jewels for six months, during their repair in 1859. The collection had recently been seized due to the owner, Giovanni Pietro Campana, Director of the Sacro Monte de Pietà, embezzling funds in order to support his near obsession with the ancient world.Both the bracelet and necklace have an unusual concertina movement, which enhances the tactility of the raised, engraved design - both feeling very contemporary when worn. The pin-and-slot clasp is very typical of revivalist panel bracelets, mimicking mechanisms seen within the ancient world. The Hunt & Roskell fitted case allows for these complimentary jewels to be presented together, showcasing the different elements of the goldsmith techniques being rediscovered and reimagined in the mid 19th Century.For a similar example of the bracelet, by Phillips Brothers in silver, see The Victoria and Albert Museum, Accession No. M.111-1978.For further information on this lot please visit Bonhams.com

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.