GOLD AND GARNET-SET ARCHAEOLOGICAL REVIVAL BANGLE, CIRCA 1860Set with a series of garnet cabochons, issuing a fringe of garnet beads terminating with amphorae drops, between swags of cable-link chain and ropetwist borders, inner diameter 5.5cm Footnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.During the 1850s and 1860s, British jewellers began producing jewels in the Archaeological Revivalist style, in which the amphora motif is widely seen. Transported from the workshops of Castellani and Giuliano by the English-speaking communities of Florence and Rome, the resulting fashion for Archaeological Revival jewels in Britain was keenly adopted by notable jewellers, such as John Brogden and Robert Phillips, while the antique references appealed to the artistic and intellectual circles in which their clients moved (see Gere, C. and Rudoe, J., 'Jewellery in the Age of Queen Victoria', London, 2010, p.426). The use of garnet cabochons or 'carbuncles' issuing drops via swags of cable-link chain can be seen in a tassel brooch from circa 1850-60 with some Archaeological Rivivalist elements, which is held by the Museum of London (cf. p.117, ill.fig.72). Both jewels illustrate the mid-19th century taste in Britain for fine carbuncles with their rich and fiery, adamantine lustre.For further information on this lot please visit Bonhams.com
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WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A 19TH CENTURY ITALIAN GRAND TOUR MICRO MOSAIC AND GOLD SCARF CLIP IN THE MANNER OF CASTELLANI of hinged oval form with mosaic panel depicting a swan amongst reeds, the reverse inscribed 'ROMA', in velvet and silk lined case, total weight 5.95g29mm wideIn very nice condition, with no losses and no signs of restoration. The top section of the hinge has a small section missing which wraps around the pin.
Enrico Castellani*, Dante Alighieri, Io son venuto al punto dela rota.Enrico Castellani*, (1930-2017)1993Dante Alighieri, Io son venuto al punto dela rota. 12 Blätter mit 4 signierten und nummerierten Prägedrucken von Enrico Castellani. 33,5 x 22 cm. Lose Bögen in Original Kartonumschlag mit blindgeprägtem Deckeltitel. In Original Plexiglaskassette. Belluno, Edizioni Proposte d'Arte Colophon, 1993. Poiêin. Eines von 75 nummerierten Exemplaren (hier Nr. VIII von 25 römisch nummerierten Exemplaren/ Gesamtauflage 113 Ex.) auf Hahnemühle 300 g. Das Werk beinhaltet vier Dante-Gedichte mit Originalgrafiken des Malers und Reliefkünstlers Enrico Castellani. Provenienz: erworben in der Galerie Peter Zimmermann.
Avantgarde 61. Katalog zur Ausstellung im Städtischen Museum Trier, 7.10.-5.11.1961. Mit 2 eingelegten Plakaten. Faltblatt in 3 Segmenten in Original-Kartonage geheftet (Karton etwas knickspurig, Rücken berieben, leicht fleckig, kleiner restaurierter Einriss links oben).Sehr seltener Ausstellungskatalog mit Texten von Klaus Jürgen-Fischer, Emil Zenz und Curt Schweicher. - Die beiden Plakate auf transparentem Papier mit Werken der teilnehmenden Künstler. 41,5 x 59 cm. 42,5 x 59 cm. - Mehrfach gefaltet. - Leicht gebräunt, teils leichter Abklatsch, 2 kleine Einrisse in den Falzen. - Teilnehmer der Ausstellung waren Armando, Berner, Bartels, Bischoffshausen, Bleckert, Castellani, de Luigi, Dorazio, Fontana, Geiger, Girke, Goepfert, Henderikse, Holweck, Honegger, Jochims, Jürgen-Fischer, Kusama, Kleint, Link, Lo Savio, Manzoni, Peters, Piene, Quinte, Rainer, Sellung, Schoonhoven, Uecker und Zangs. - Papierbedingt leicht gebräunt, erste Seite mit kleinem restaurierten Einriss. - Beigegeben: avantgarde 63. absolute farbe. Katalog zur Ausstellung im Städtischen Museum Trier, 19.7.-18.8.1963. Mit zahlreichen Abbildungen. Original-Kartonage. - Klammerung erneuert.
Manzoni, Piero und Enrico Castellani (Hg.). Azimuth. La nuova concezione artistica. The new artistic conception... Heft 2 (von 2). Mit mehreren Abbildungen. Mailand, E.P.I., 1960. Unpaginiert. 30 x 21 cm. Original-Kartonage (etwas angestaubt und lichtrandig, Rücken berieben und unten ca. 4 cm eingerissen, leicht knickspurig, Umschlag aus Klammerung gelöst).Seltenes 2. Heft der nur in 2 Exemplaren erschienenen Zeitschrift. - Manzoni und Castellani eröffneten 1959 in Mailand ihre berühmte Galerie "Azimuth", die bis zum frühen Tod Manzonis im Juli 1963 bestand. - Enthält Texte von Enrico Castellani, Udo Kultermann, Piero Manzoni und Otto Piene. - Mit Beiträgen von Yves Klein (einzige farbige Abbildung, halbseitig International Klein Blue), Kilian Breier, Enrico Castellani, Oscar Holweck, Heinz Mack, Piero Manzoni, Almir Mavigner und Otto Piene. In der Heftmitte eingebundener Karton zur Ausstellung la Nuova Concezione artistica. Galerie Azimut (sic), Mailand, 4.1.-1.2.1960. - Papierbedingt in den Rändern leicht gebräunt, sonst gut erhalten.
Galerie dato. 2 Plakate der Galerie dato bzw. d, Frankfurt, 1961 und 1963.I. Exposition dato 1961. Plakat zur Ausstellung Frankfurt, 1.-31.12.1961. 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. - II. Europäische Avantgarde. Plakat zur Ausstellung in der Schwanenhalle des Römers, Frankfurt, 9.7.-11.8.1963. 79,5 x 20 cm. - Zur Eröffnung sprach Fritz Usinger. Mit Arbeiten von Aubertin, Breier, Castellani, Fontana, Goepfert, Holweck, Klein, Mack, Manzoni, Peeters, Piene, Rainer, Rot, Soto, Tinguely, Uecker, Vasarely, de Vries u.a. - Falzspuren, stellenweise leicht fleckig, sonst gut erhalten.
ZERO. Tentoonstelling nul. Katalog zur Ausstellung im Stedelijk Museum, Amsterdam, 9.-25.3.1962. Plakat als Katalog 99,5 x 70 cm (ausgefaltet) montiert in Original-Kartonmappe (etwas fleckig).Seltener erster Ausstellungkatalog der niederländischen ZERO Gruppe. - Teilnehmer der Ausstellung: Arman, Armando, Pol Bury, Aubertin, Castellani, Dorazio, Fontana, Goepfert, Haacke, Hendriksen, Holweck, Yayoi Kusama, Mack, Dada Maino, Mavignier, Manzoni, Megert, Peeters, Piene, Pohl, Lo Savio, Schoonhoven, Uecker, Verheyen und de Vries. - Plakat verso mit Texten zur Ausstellung. - Plakat sehr gut erhalten.
Manzoni, Piero. Les Lignes. The Lines. Le Linee. Mailand, Azimuth, 1959. 4 Bl. (inklusive Umschlag). 24 x 17 cm. Illustrierte Original-Broschur.Seltener Katalog zur ersten Ausstellung in der Galerie Azimuth Mailand am 4.-24.12.1959. - Mit einem Text von Vincenzo Agnetti auf Französisch, Englisch und Italienisch. - Manzoni und Castellani eröffneten 1959 in Mailand ihre berühmte Galerie "Azimuth", die bis zum frühen Tod Manzonis im Juli 1963 bestand. - Sehr gutes, frisches Exemplar. - Beigegeben: Kleinplakat zur Ausstellung Galleria Schwarz, Mailand, 1964. 48 x 33 cm. Verso mit Text. Falzspuren, leicht gebräunt. - Beigegeben: 5 Kataloge und 2 Karten zu Ausstellungen Manzonis. 1966-1973. - Gut erhalten.
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. 1960. 1 Bl. 30 x 29,5 cm.Das Manifest erschien zur Ausstellungs-Aktion der Hamburger Galerie im Juni 1960: "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. - Zwei mittige Falzspuren, Ränder minimal gebräunt und leicht knickspurig.
CASTELLANI (VINCENZO)Vincentii Castellani Forosemproniensis De Bello Melitensi Historia, woodcut printer's device on title, historiated initials, minor damp-staining, contemporary limp vellum, worn, ties missing [EDIT16 CNCE 9971], 8vo, Pisa, Hieronymum Concordiam, 1566Footnotes:Rare account of the siege of Malta in 1565.Provenance: Library stamp of Biblioteca Capilupiana (Mantova) on first fly-leaf and verso of title-page; rubbed ex-libris 'Avv. ?Nic [...] Monza' on first fly-leaf.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Yves Klein - - Den inre och den yttre rymden, en utställning rörande universell konst. The inner and the outer space. An exhibition on universal art. Herausgegeben von Bergqvist Lindegren u. Karin-Hultén. Gruppenausstellungskatalog mit zahlreichen, teils farbingen Abbildungen sowie einer monochrom blauen Original-Serigraphie und einem goldfarbenen Blatt von Yves Klein. Stockholm, Moderna Museet, 1965. Quarto. OSchraubenbindung, vorn mit weißem Vinyl und dem hinteren Deckel aus Wellpappe (etwas angestaubt). Katalog der von Hultén kuratierten Gruppenausstellung im Stockholmer Moderna Museet vom 26.12.1965 bis 13.02.1966 - Enthält die 4 Teilen: 1) Kasimir Malevich, Text von Troels Andersen, 2) Naum Gabo, Text von K.G. Hultén, 3) Yves Klein, Text von Ulf Linde, IV) Katalog zu 35 Künstler, deren Arbeiten sich mit der Erforschung des Raums befassen (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.) - Kleins Serigraphie am unteren, überstehenden Rand etwas angestaubt u. berieben, das goldfarbene Blatt u. verso gestempelt "Guld är Solljuset fotograferat och fixeradt. August Strindberg". - Die blaue Serigraphie durch weiße Streifen stark berieben, am Rand wie immer etwas bestoßen, die Goldfolie etwas knickspurig, vor allem am Rand. With num. ill., some in colour, as well as an original monochrome blue serigraph and a gold-coloured leaf by Y. Klein. - Catalogue of the group exhibition curated by Hultén at the Stockholm Moderna Museet from 26.12.1965 to 13.02.1966 - Contains the following 4 parts: 1) Kasimir Malevich, 2) Naum Gabo, 3) Yves Klein, IV) catalogue of 35 artists whose works deal with the exploration of space. - Klein's serigraph at the lower, overlapping margin somewhat dusty and rubbed. The gold coloured sheet somewhat creased and stamped on verso "Guld är Solljuset fotograferat och fixeradt. August Strindberg". The blue serigraph heavily rubbed by white stripes, a bit bumped at the edges as always, the gold foil a bit creased, especially at the edges.
CASTELLANI: GOLD AND ENAMEL 'MILLEFIORI' BROOCH AND SEVEN GOLD BEADS, CIRCA 1860The circular brooch with a central putto amongst flowers with white, blue and red enamel, within a ropetwist and blue enamel surround, together with seven gold beads with pellet and wirework decoration, brooch with maker's mark CC, lengths: brooch 4cm, beads 1.5cm, case by Cameo Corner, 26 Museum Street, London WC1, accompanied by a purchase receipt for the brooch from Cameo Corner dated 14th March 1973Footnotes:For a comparable brooch example, see Weber Soros, Susan., 'Castellani and Italian Archaeological Jewellery', p.235, pl. 9-11. Many variations of this 'millefiori' motif are known, and these brooches are one of the jewels that can be directly related to designs of Michelangelo Caetani, which are kept at the Fondazione Camille Caetani , Rome (Munn, G., 'Castellani and Giuliano', 1984, p. 48. These brooches are typically domed in the centre, whereas the design of lot 32 is flat. For a 'Campana' necklace by Castellani containing similar beads, see Weber Soros, Susan., 'Castellani and Italian Archaeological Jewellery', p. 215, pl. 8-23.Provenance:Hilary Clarke of Cameo Corner (1925-2015) Known as 'Jill' to her friends, Hilary Clarke was one of the first women to be made a Fellow of the Gemmological Association in 1951. In her early career she worked as a designer for Edward Barnard & Sons of Hatton Garden (1950-1951) and S Root & Co. Ltd (1951-1954) before joining Cameo Corner, Bloomsbury as assistant manager in 1954.Cameo Corner (located at 26 Museum Street, just behind The British Museum) had a world-famous reputation not only for its historic jewels but for its royal, as well as celebrity connections. Queen Mary, Princess Margaret and Queen Elizabeth The Queen Mother had all been frequent visitors.When Hilary Clarke was made a director in 1962 she instigated a series of annual modern jewellery exhibitions which soon became a regular fixture in the trade calendar until the shop eventually closed in 1978. In 2001, in recognition of her contribution in promoting the work of British studio jewellers from the early Sixties until the mid-Eighties, she was awarded The Centennial Medal by the Society of Designer Craftsmen.Hilary Clarke's vast knowledge of jewellery history has become legendary within the industry. She was frequently asked to give talks and lectures and retained, until her death, close ties to The Society of Jewellery Historians.Black and white photography of Hilary 'Jill' Clarke © Private CollectionFor further information on this lot please visit Bonhams.com
Il decoro vede sul corpo una elaborazione dei motivi "castellani" con putti inseriti in paesaggio araldico, mentre il collo è decorato a piccole squame. Rotture non d'epoca Manifattura abruzzese del secolo XIX ( - ) Bottiglia in maiolica dipinta in policromia, forma arrotondata con spalla molto piana e collo cilindrico portato alto, base appena sottolineata altezza cm 27
Assorted boxed 1:43 scale models of Motor Racing Car Transporters,comprising Ford C Type truck 'Gelo Racing Team Ferrari 512M/McLaren M8E' by Exoto (EXO00009); Ford C Type truck 'Maranello Concessionaires' by Exoto (EXO00013), both with packing, instructions, inner and outer boxes (outer boxes sun bleached in places); a Ford Transit 'Penthouse Racing' by Spark (S0294); four Licenced Ferrari 1:43 scale models by Old Cars di Castellani & C (model numbers 57000, 29100, 77000 and 2000); three transporters by Premium ClassiXXs for BMW, Martini Racing and Jagermeister Racing Team (two with outer card boxes); a limited edition 750/1000 Ferrari GP Italia 1961 World Championship Team set with three F161 cars and a transporter, spare wheels and figures, in decorated box with magnetic lid and carboard packing box, by Brumm of Italy (RTS02); and a Mercedes-Benz LP608 'Porsche' transporter from a limited edition of 1000 by Schuco (03521); together with an unboxed 1970 Leyland Transporter Equipe Matra by Spark, (S0291) with base and Perspex cover. (Qty)Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
EMILY LEDBROOK (1886-1932) "Flowers on a ledge", oil on canvas, signed lower right, 25.5 cm x 41 cm, together with G P "Study of young girl in pensive pose with doll and vase of flowers in foreground", oil on board, indistinctly signed lower right, inscribed verso "Mr Kessell Principi d'Amici Alvito Castellani" and No'd. 32987, 23 cm x 29.5 cm CONDITION REPORTS EMILY LEDBROOK - the size given is of the canvas only. There is a small dent to the canvas on the decoration of the bowl. Otherwise in need of a clean. General wear and tear conducive with age and use to include some rubbing to the paintwork on the frame edge. See images for more detail.
LAS CASAS, D. Frei Bartholomé de, O.P.- ISTORIA | ò Breuissima Relatione | DELLA DISTRVTTIONE | dell'Indie Occidentali | [...] | Conforme al suo vero Originale Spagnuolo già stampato in Siuiglia. | Tradotta in Italiano dall'Eccell. Sig. Giacomo Castellani,| già sotto nome di Francesco Bersabita...- In Venetia: Presso Marco Ginammi, 1643.- [8], 149, [2] p.; 21 cm.- E. ], Italian translation of the best-known work by Las Casas, a terrible libel against the processes of the “encomiendas” of the Indians, by the Spanish colonists and which came to provoke the publication of the New Laws of the Indies, protecting the indigenous people. Numerous references to Cuba, Argentina, Peru, Guatemala, Venezuela, etc. Las Casas (1474/84-1566), an indefatigable fighter against the oppression of American Indians, considered a precursor of abolitionism, in addition to having been bishop of Chiapas (Guatemala), he was a protege of Cardinal Cisneros who appointed him Universal Attorney and Protector of the Indians and obtained from Charles V several legislative measures for their protection. Bilingual text, printed in two columns, in Italian and Castilian. The last two pages are a list of works printed by Marco Ginammi. On the back of the title page: stamp from the library of a school belonging to the Society of Jesus and large(!) ex-libris by Diogo de Mello pasted on an unidentified stamp. Handwritten ownership on title page, slightly handled. Copy slightly cropped, with slight browning. Bound in flexible parchment, not original (repurposed), with new endpapers. Palau, 46955 (for the first Italian edition of 1626). Hail, 3286.
CASTELLANI - AN ETRUSCAN REVIVAL BROOCH, a target plaque with foliate cannetille decoration, suspending amphora pendant drops by chain swags, with enamelled detail. Maker's mark, 6cm by 2cm, 9.2 gramsCONDITION REPORTOne tiny grain deficient to the granulation on the plaque and ditto to one of the pendant drops. It is not hallmarked or stamped but in our opinion would test as gold.
PHILLIPS BROTHERS: GOLD, ENAMEL AND HARDSTONE CAMEO BROOCH/PENDANT CIRCA 1860Oval, depicting the head of an idealised Roman empress facing right, within a ropetwist and beaded frame decorated with black and blue enamel, maker's mark, length 6.8cmFootnotes:Phillips Brothers, founded by Robert Phillips (1810-1881), was one of the most prominent and inventive British jewellers working in the fashionable revivalist style. The firm produced jewels in ancient Greek, Roman, Scandinavian, Byzantine, Renaissance, Assyrian, Indian and Egyptian taste as well as mounting engraved gems for customers in the tradition of 19th century Italian jewellers. Mrs Haweis in the chapter 'Modern Jewellery' in her book 'The Art of Beauty' (1878), described the 'artistic appreciation of good forms and good work' by Messrs Phillips of Cockspur Street, going on to say: 'The most perfect models are sought for the ornaments they furnish. Museums and picture galleries are ransacked for devices..'Craftsmen employed by the firm included Carlo Giuliano and Carlo Doria and the Castellani workshops in Rome and Naples were visited. Robert Phillips was the only English jeweller to be awarded a gold medal at the Paris Universal Exhibition in 1867. The firm, once located at 31 Cockspur Street, moved to 23 Cockspur Street in 1855 and became known as Phillips Brothers & Son in 1869. The firm bears a distinctive mark of backed Ps with the Prince of Wales's feathers, acknowledging the patronage of the Prince and Princess.For further information on this lot please visit Bonhams.com
PHILLIPS BROTHERS: GOLD ARCHAEOLOGICAL REVIVAL BRACELET, CIRCA 1860Of hemispherical linking decorated with ropetwist and beaded decoration, with a baton clasp, maker's mark, length 18.7cmFootnotes:Phillips Brothers, founded by Robert Phillips (1810-1881), was one of the most prominent and inventive British jewellers working in the fashionable revivalist style. The firm produced jewels in ancient Greek, Roman, Scandinavian, Byzantine, Renaissance, Assyrian, Indian and Egyptian taste as well as mounting engraved gems for customers in the tradition of 19th century Italian jewellers. Mrs Haweis in the chapter on 'Modern Jewellery' in her book 'The Art of Beauty' (1878), described the 'artistic appreciation of good forms and good work' by Messrs Phillips of Cockspur Street, going on to say: 'The most perfect models are sought for the ornaments they furnish. Museums and picture galleries are ransacked for devices..'Craftsmen employed by the firm included Carlo Giuliano and Carlo Doria and the Castellani workshops in Rome and Naples were visited. Robert Phillips was the only English jeweller to be awarded a gold medal at the Paris Universal Exhibition in 1867. The firm, once located at 31 Cockspur Street, moved to 23 Cockspur Street in 1855 and became known as Phillips Brothers & Son in 1869. The firm bears a distinctive mark of backed Ps with the Prince of Wales's feathers, acknowledging the patronage of the Prince and Princess.For further information on this lot please visit Bonhams.com
ARCHAEOLOGICAL REVIVAL MYRTLE LEAF TIARA, CIRCA 1865Realistically modelled as a bandeau of myrtle buds and leaves, the frame hinged at the front, dimensions 2.5cm x 12.0cm x 16.0cm Footnotes:For a comparable wreath set with pearls by Castellani with a matching festoon necklace see Bury, S., 'Jewellery 1789-1910, The International Era', Vol II, p. 580, ill.pl. 298). The Castellani myrtle wreath was given to Emily Bootle-Wilbrahim (1848-1934) upon her marriage in 1869 to James, Lord Lindsay (1847-1913), later 26th Earl of Crawford.Traditionally associated with marriage since antiquity, gold myrtle wreaths have been excavated extensively in Macedonia. Its use in bridal jewellery became very popular during Queen Victoria's reign with increasing academic interest in the language of flowers and the fashion for archaeological revivalist styles.For further information on this lot please visit Bonhams.com
λ A 19th century Etruscan Revival coral-set gold brooch by Pierret, the circular gold brooch with pellet and ropetwist decoration and suspending five graduated coral beads, signed Pierret, 5.5cm high It has been suggested that Ernesto Pierret (1824 - 1898) may have been an apprentice or at least spent some time in the workshop of Castellani due to the similarity in style and mastery of technique both firms display. By the early 1880's the business had been taken over by Luigi Pierret, Ernesto's son This lot is offered without a reserve.
MAPPENWERKE / SAMMLUNGEN AUS: DIE SPITZE DER PYRAMIDE 1974 - 1987 Sammlung von 8 Blatt Graphiken der Reihe. Spiegel-Verlag, Hamburg. Von ca. 49,5 x 69,5 bis 60 x 98,8 cm. (Leichte Altersspuren, wenige Blatt in den Randbereichen gering gebräunt).Enthaltene Arbeiten: Werner Nöfer. 1974. Farbserigraphie. Ex. 198/300 / Jens Lausen. 1976. Farbserigraphie. Ex. 79/300 / Heinz Mack. 1978. Siebdruck, Irisverlauf mit Prägung. Ex. 294/300. Mack 141 / Günther Uecker. 1980. Prägedruck mit Goldauflage. Ex. 52/300 / Gottfried Honegger. 1987. Aquatinta. Ex. 31/200 / Max Bill. 1981. Farbaquatinta. Ex. 14/199 / Enrico Castellani. 1983. Prägedruck. Ex. 46/200 / Per Arnoldi. 1986. Farbserigraphie. Ex. 168/200.
11 BOTTLES ITALIAN RED AND 1 WHITE WINEBotter Gran Passione 2020; Cantina Monteci Valpolicella 2015 and 2016; Enoitalia Aristocratico 2017; Pietro Zardini Corvina-Cabernet 2017; La Carezze Jupiter 2018; Tenuta Lena di Mezzo Valpolicella 2016; Telos Azienda Agricola Valpolicella 2017; Cantina di Soave Rocca Sveva 2016; Le Carezze Vulcanus Merlot 2017; Corte Canella Valpolicella 2016; Castellani Michele Cinque Stelle 2016
A group of catalogues of public and private collections Comprising: D. Von Bothmer, Glories of the Past; Ancient Art from the Shelby White and Leon Levy Collection, 1990; H. Hoffmann, Norbert Schimmel Collection, 1964; O. White Muscarella, Ancient Art; The Norbert Schimmel Collection, 1974; V.A. Hibbs, Iberian Antiquities from the Collection of Leon Levy and Shelby White, 1993; D. Von Bothmer, Ancient Art from New York Private Collections, 1959; N. Thomas and C. Oldknow, By Judgment of the Eye, The Varya and Hans Cohn Collection, 1991; S. Hooper, The Robert and Lisa Sainsbury Collection, part I, European 19th and 20th century Paintings, Drawings and Sculpture, 1997; S. Hooper, The Robert and Lisa Sainsbury Collection, part II, Pacific, African and Native North American Art, 1997; S. Hooper, The Robert and Lisa Sainsbury Collection, part III, Precolumbian, Asian, Egyptian and European Antiquities, 1997; I. Rubin, The Guennol Collection, vol I, 1975; G. Richter, Catalogue of Greek and Roman Antiquities in the Dumbarton Oaks Collection, 1956; M.C. Ross, Catalogue of the Byzantine and Early Medieval Antiquities in the Dumbarton Oaks Collection, vol I, 1970; J. Babelon, Choix de Bronzes de la Collection Caylus, 1928 (x2); J. Babelon, Choix de Bronzes et de Terres Cuites des Collections de Janze et Opermann, 1929 (x2); J. Babelon, Le Cabinet du Roi ou le Salon Louis XV de la Bibliotheque Nationale, 1927; B. Fedele, L. Todisco et al. (eds), Antichita della Collezione Guarini, 1984; L. Marangou, Ancient Greek Art from the Collection of Stavros S Niarchos, 1995; J. Sieveking, Bronzen, Terrakotten, Vasen der Sammlung Loeb, 1930; J.L. Kieth, The Pomerance Collection of Ancient Art, 1966; H. Bloesch, Greek Vases from the Hirschmann Collection, 1982 (x2); H. Jucker and D. Willers, Gesichter, Griechische und Romische Bildnisse aus Schweizer Besitz, 1982; Von Zabern, Antiquities from the Collection of Christos G Bastis, 1987; D. De Menil, The John and Dominique De Menil Collection, 1962; J. Boardman, Engraved Gems; the Ionides Collection, 1968; S.D. Campbell, The Malcove Collection, 1985; G.B. Waywell, The Lever and Hope Sculptures, 1986; E. Angelicoussis, The Woburn Abbey Collection of Classical Antiquities, 1992; A. Scholl, Die Antiken Skulpturen in Farnborough Hall, 1995; D. Boschung, H. Von Hesberg and A. Linfert, Die Antiken Skulpturen in Chatsworth, 1997; D. Grassinger, Antike Marmorskulpturen auf Schloss Broadlands (Hampshire), 1994; J. Fejfer, The Ince Blundell Collection of Classical Sculpture, vol I, the Portraits, part 2, Roman Male Portraits, 1997; J. Fejfer and E. Southworth, The Ince Blundell Collection of Classical Sculpture, vol I, the Portraits, part 1, Female Portraits, 1991; I. Love, The Ophiuchus Collection, 1989; M. True and K. Hamma (eds), A Passion for Antiquities; Ancient Art from the Collection of Barbara and Lawrence Fleischman, 1994; A. Macgregor, Antiquities from Europe and the Near East in the Collection of the Lord McAlpine of West Green, 1987; R.W. Hamilton, Antiquities from the Bomford Collection, 1966 (x2); R.W. Hamilton, Ancient Glass, Jewellery and Terracottas from the Bomford Collection, 1971; L. Marangou, The Nicholas P Goulandris Foundation, from the Private Collection to the Museum of Cycladic Art, 1991; R. Wehrli, Sammlung E und M Kofler-Truniger, Luzern, 1964; R. Nicholls, Classical Heritage, Greek and Roman art from the Cambridge College Collections, 1978; I. Caruso, Collezione Castellani, Le Ceramiche, 1985; A. Kozloff, Animals in Ancient Art from the Leo Mildenberg Collection, 1981; U. Gehrig, Tierbilder aus Vier Jahrtausenden, Antiken der Sammlung Mildenberg, 1983; A. Kozloff, D.G. Mitten and M. Sguaitamatti, More Animals from the Leo Mildenberg Collection, 1986; G. Zahlhaas, Aus Noah's Arche, Tierbilder der Sammlung Mildenberg aus Funf Jahrtausenden, 1996 (x2); E. Strong, Catalogue of the Greek and Roman Antiques in the Possession of the Right Honourable Lord Melchett, PC, DSc, FRS, 1928 (x2); C. Boerker, E. Reschke and E.E. Schmidt, Katalog der Antikensammlung des Prinzen Carl von Preussen im Schloss zu Klein-Glienicke bei Potsdam, 1972; M.B. Wyndham, The Leconfield Collection, 1915; Von Saldern, Glaser de Antike; Sammlung Oppenlander, 1974; J. Doring, Art Antique, Collections Privee de Suisse Romande, 1975; J.D. Beazley, The Lewes House Collection of Ancient Gems, 1920 (QTY)For further information on this lot please visit Bonhams.com
A gem-set and enamel gold brooch by Castellani, c.1860, of quatrefoil design, with green and turquoise enamel decoration, set with cabochon rubies and emeralds and with ropetwist and pellet decoration in gold, the four pearl terminals with gold caps, signed to reverse, pearls untested, 5cm wide Literature: A similar example was shown in the 1862 International Exhibition, see 'Weber Soros, S., Walker, S., Castellani and Italian Archaeological Jewellery, (2004), p. 228, pl.9-1.
Ɵ Assorted mostly antiques reference books to include Geoffrey Munn 'Castellani and Giuliano', with dutwrapper and slip case; 'Faberge: Treasures of Imperial Russia' by Geza von Habsburg, slipcase (14 ) Condition Report: All showing some signs of use for reference and reading- garden book dusty Condition Report Disclaimer
A PAIR OF 19TH CENTURY ARCHAEOLOGICAL REVIVAL CARNELIAN EARRINGS, IN THE MANNER OF CASTELLANI, the carved carnelian scarab beetles with an intaglio of a figure verso, within pivoting granulated settings and outer rope frames, with hook fittings. Measure 3.2cm by 1.8cm, 11.4 gramsCONDITION REPORTSome splitting/pitting to the inner frames. They are not hallmarked or stamped but in our opinion would test as gold.
A gold enamel archaeological revival Etruscan style fringe brooch, by Fortunato Pio Castellani, c.1860,probably originally from an earring. A shield form plaque with a central daisy style flower head with radiating petals. Concentric rows of twisted and plain wire to a graduated bead border. Foxtail chain swags in the 'Campana' style, with turquoise enamel ivy leaves, small flower heads, lapis lazuli blue enamel discs and decorated urn pendant drops. A later case by J.C. Vickery Regent St. W. 59 x 20mm, 9.08gLiterature: For a similar fringe necklace by Castellani see 'Castellani and Giuliano Revivalist Jewellery of the Nineteenth Century' by Geoffrey C. Munn, plate No. 126.
A circular micro-mosaic brooch by Castellani, c.1865, depicting the Holy Dove with gold halo, on light blue ground, the gold brooch mount with fluted border, signed to the reverse with applied addorsed Cs cartouche, 2.3cm wide For similar Holy Dove earrings and pendant see SOROS, S.W., WALKER, S., Castellani and Italian Archaeological Jewellery, page 246 For a similar brooch, see Woolley and Wallis, 'Jewellery by Design: The Collection of Dr Anne Shannon, An Academic Eye', 31st Oct 2018, ex lot 278
CASTELLANI ANNÉES 1860 BRACELET JONC SCARABÉES, Il est en forme de jonc légèrement articulé rehaussé de trois scarabées en cornaline, céramique verte et stétatite brune patinée. Les mots " Amour, Foi et Espérance" en grec et en relief. Monogramme de CASTELLANI. Monture en or jaune 18K. Poids brut : 50,14 gr. Largeur : 1,2 cm. Tour de poignet : 16,8 cm. , Les CASTELLANI et les bijoux "retours à l'antique". Immenses collectionneurs et archéologues, les Castellani participèrent à la découverte des traces de la civilisation étrusque. Les CASTELLANI, la bijouterie archélogique à l'italienne. Avec beaucoup de certitude ce bracelet illustre également la paraphrase des vertus théologales sur un thème plus profane, celui de l'amour. Cela nous pousse à présenter ce bracelet comme un cadeau de fiançailles ou de mariage à l'époque de sa création. Référence : Les Castellani, Susan Weber Soros, Yale University, New Haven, 2004. Page 46, un bracelet de modèle identique avec une autre série de scarabées est reproduit., A cornaline, ceramic, steatite and 18K yellow gold bracelet by CASTELLANI, circa 1860. The words "love, faith and hope" in Greek and in relief. CASTELLANI monogram. Gross weight : 50,14 gr. Width : 1,2 cm. Wrist circumference : 16,8 cm. The CASTELLANI and the "returns to the antique" jewelry. Immense collectors and archaeologists, the Castellani took part in the discovery of Etruscan civilization traces. The CASTELLANI, the archelogical Italian jewelry. With great certainty, this bracelet also illustrates the paraphrase of the theological virtues on a more secular theme, that of love. This prompts us to present this bracelet as an engagement or wedding gift at the time of its creation. Reference : Les Castellani, Susan Weber Soros, Yale University, New Haven, 2004.
Josef Heintz d. J., um 1600 – um 1678 DIE CACCIA AI TORI AUF DEM CAMPO DI SAN POLO Öl auf Leinwand. 61 x 91,5 cm.Es ist eine Eigenart Josef Heintz d.J., dass in seinem Werk ein gewisser Eklektizismus vorherrscht, der einem gleichzeitigen Interesse an verschiedenen Stilen geschuldet ist, und der Tatsache, dass sich sein Schaffen mitunter auch an der jeweilig herrschenden Mode orientierte. So sind einerseits noch stark dem Manierismus verpflichtete Werke seiner Hand bekannt, andererseits dem durch den Dänen Bernardo Keilhau (1624-1687) in die Lagunenstadt eingeführten Naturalismus verpflichtete Werke, während gerade das hier angebotene Gemälde mit der Stierjagd im Campo San Polo von dem farcenhaften Impetus des Callot erfüllt ist – dadurch erhielt er auch den Beinamen „pittore di più pennelli“. Viele seiner Gemälde erinnern an die Holzschnitte Pieter Brueghels d.Ä. (um 1525-um 1569) und Jacques Callot (1592-1635) und in dem vorliegenden Gemälde erhält der Letztere in seiner Bedeutung den eindeutigen Vorrang. Dargestellt ist hier die Jagd auf die Stiere auf dem Campo di San Polo, welche die gotisch-maurische Fassade des Palazzo Garzoni hervorhebt, der jedoch im frühen 19. Jahrhundert abgerissen wurde. Es ist das beliebteste, aber auch das blutigste tradtionelle venezianische Fest, das während des Karnevals zelebriert wurde. Es war eine Hatz auf Stiere und oft auch Ochsen, zu denen die eingesetzten Hunden speziell ausgebildet wurden. Stiere, die sich losrissen, konnten unter den umherstehenden Schaulustigen eine – nicht immer ungewollte – Panik hervorrufen, die bei Zuschauern, die das Treiben auf Balkonen und von Fenstern aus beobachteten, natürlich ausblieb und in Belustigung umschlug. Ein weiteres Spektakel ist zu sehen: Turner nehmen an der Forze d‘Ercole teil, einem Wettkampf zwischen den Castellani und Nicolotti, deren Rivalität auf das 12. Jahrhundert zurückgeht, bei dem es darum ging, mit Hilfe von Stäben eine menschliche Pyramide zu bauen. Joseph Heintz d.J. war Sohn des Joseph Heintz d.Ä. (1564-1609) und war ab 1617 in der Werkstatt von dessen Schüler Matthäus Gundelach (um 1566-um 1653) tätig. 1621, bevor es Heintz nach Italien zog, besuchte er vermutlich auch die Werkstatt des bekannten Buchmalers Johann Matthias Kager (1575-1634), der bereits Schüler von Hans Rottenhammer in Venedig war. 1625 war er jedoch schon in Italien, namentlich in Venedig und Rom, tätig und führte sogenannte „capricciosissimi“ aus, also dramatische Gemälde, in denen Ungeheuer mit Heldendarstellungen kombiniert wurden. Im Jahr 1632 hielt er sich in Venedig auf, wovon das Votivaltarbild in der Kirche San Fantino zeugt. Von 1634 bis 1639 war er in der Zunft (Fraglia) der Maler eingeschrieben. Am 30. November 1655 wird der Maler zusammen mit Nicolas Régnier (1590-1667) beauftragt, die Sammlung von Giovanni Pietro Tiraboschi zu schätzen. Im Jahre 1663 gab Graf Czernin, Bevollmächtigter von Kaiser Leopold I, mehrere Werke bei ihm in Auftrag.Provenienz: Privatsammlung Vereinigtes Königreich. (1271582) (13) Joseph Heintz the Younger,ca. 1600 – ca. 1678Joseph Heintz the Younger was the son of Joseph Heintz the Elder (1564-1609) and since 1617 he was active in the workshop of Matthäus Gundelach (ca. 1566-ca. 1653), a pupil of his father.THE BULL HUNT IN CAMPO Di SAN POLO Oil on canvas.61 x 91.5 cm.This is a depiction of The Bull Hunt on Campo San Polo in Venice with the Gothic-Moorish façade of the Palazzo Garzoni, which was demolished in the 19th century. This is one of Venice’s most popular, but also its bloodiest traditional festivity of the Carnival season. The Bull Hunt entailed hunting bulls and sometimes also oxen with specially trained hounds. The depiction shows another spectacle: acrobats are taking part in a sports tournament, the “Forze d’Ercole”, a contest between the “Castellani” and the “Nicolotti”, whose rivalry dates back to the 12th century. This involved creating a human pyramid with the use of sticks.Provenance:Private collection, UK.
In 2° (500 x 350 mm). Solo primo volume, cartella in tela entro scatola editoriale in tela contenente 25 incisioni originali firmate, numerate e recanti il timbro a secco dell’editore, inserite nei passe-partout originali ciascuno recante a stampa il numero progressivo. Il volume contiene le incisioni di Giuseppe Ajmone, Ugo Attardi, Giovanni Barbisan, Luigi Bartolini, Arnaldo Battistoni, Giovanni Brancaccio, Renato Bruscaglia, Domenico Cantatore, Carlo Carrà, Felice Casorati, Francesco Casorati Pavarolo, Bruno Cassinari, Leonardo Castellani, Vincenzo Ciardo, Arnoldo Ciarrocchi, Italo Cremona, Fiorella Diamantini, Enzo Faraoni, Pericle Fazzini, Franco Gentilini, Giuseppe Guerreschi, Virgilio Guidi, Nunzio Gulino, Renato Guttuso e Mario Lattes. Esemplare n. 11/75, stampato sotto la direzione di Alberto Manfredi su carta Magnani Pescia. Si tratta di una delle più importanti edizioni di grafica del Novecento, realizzata con incisioni appositamente realizzate dai maggiori artisti del tempo. - TAGS: Libri, libro, books, Arte
Jan Schoonhoven - - 1914 Hof van Delft - 1994 Delft R 71-18. 1971. Relief. Pigment und Papiermaché auf Holz. Verso signiert, datiert, betitelt und bezeichnet sowie mit Richtungspfeilen. 104 x 202 cm (40,9 x 79,5 in). • Von größter Seltenheit. • Bisher wurde noch kein Relief in dieser Größe auf dem internationalen Auktionsmarkt angeboten. • Weitere großformatige, frühe Reliefs befinden sich heute in Museumsbesitz, darunter das Museum Boijmans van Beuningen, Rotterdam, und die Stiftung Kunst im Landesbesitz Nordrhein-Westfalen, Düsseldorf. • Kleinformatigere Reliefs befinden sich in zahlreichen bedeutenden internationalen Sammlungen wie dem Museum of Modern Art, New York, und der Tate Modern, London. • 2014/15 war Schoonhovens Werk auf den großen 'ZERO'-Schauen im Solomon R. Guggenheim Museum, New York, und im Martin Gropius Bau, Berlin, zu sehen. Wir danken Herrn Antoon Melissen, Amsterdam, für die wissenschaftliche Beratung. Die Arbeit wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen. PROVENIENZ: Aus einer wichtigen europäischen Privatsammlung (direkt vom Künstler erworben). 'The square is perhaps the purest of the basic shapes, a kind of frame of reference for all the others.' Jan Schoonhoven, 1972, zit. nach: Jan Schoonhoven, Delftse meester, De Telegraaf, 12.1.1972. Schoonhovens monochrom-weiße Reliefs - Faszinierende Klarheit und Radikalität Schoonhovens Reliefs faszinieren durch ihre formale Klarheit, ihre künstlerische Radikalität und ihre technische Perfektion. Bereits 1972 im Katalog zur Schoonhoven-Ausstellung in Mönchengladbach wird ihr einzigartiger Charakter als 'Cool, strictly ordered, well-considered. But also familiar, humane and intimate' beschrieben (zit. nach: A. Melissen, Jan Schoonhoven's silent white revolution, in: J. Schoonhoven, Galerie Zwirner, New York 2015, S. 15). Schoonhoven war ein Einzelgänger, der tagsüber seiner nicht-künstlerischen Tätigkeit in der Immobilienabteilung der niederländischen Post nachging, bevor er sich ab Ende der 1950er Jahre allabendlich am Esstisch seines Delfter Grachtenhauses der konzentrierten Arbeit an seinen Reliefs hingibt. Durch den räumlichen Kontext ihrer Entstehung sind die Formate seiner Reliefs meist auf ein Maximum von gut einem Meter im Quadrat beschränkt. Großformate wie 'R-71-18' sind eine absolute Seltenheit in Schoonhovens Werk. Jan Schoonhoven - Protagonist der niederländischen 'ZERO'-Bewegung 1956 entsteht mit 'Motel' sein erstes monochrom weißes Relief, das formal allerdings noch auf seinen zwar stark abstrahierten, aber noch figürlichen Kompositionen dieser Jahre basiert. Hier jedoch findet Schoonhoven bereits zu der sein weiteres Schaffen prägenden, antiakademischen Materialität des Papiermaché. Allerdings sollte erst die zunehmende formale Reduktion hin zu streng geometrischen Reihungen von Rechtecken oder Quadraten - wie in 'R 71-18' - in den Folgejahren für die Einbeziehung des lebendigen Spiels von Licht und Schatten grundlegend sein. Im Anschluss an die erste niederländische Ausstellung des Italieners Piero Manzoni, der ebenfalls für seine weißen Reliefbilder international bekannt ist, gehört Schoonhoven 1958 zu den niederländischen Mitbegründern der 'ZERO'-Bewegung. Erst in den Folgejahren finden Schoonhovens Reliefs zu ihrer charakteristischen formalen Strenge, für die architektonische Strukturen wie Mauern, Pflastersteine und Gitterabdeckungen zentrale Inspirationen liefern. 'R 71-18' - Das Quadrat als geometrische Basisform Der Grundstruktur des Quadrates kommt in Schoonhovens Schaffen eine entscheidende, geradezu prototypische Rolle zu, da der Künstler gerade dem Quadrat den reinsten Ausdruck einer geometrischen Grundform zuspricht, die für alle anderen geometrischen Formen grundlegend ist. Das großformatige Relief 'R 71-18' ist damit in besonderer Weise exemplarisch für Schoonhovens Schaffen: Es basiert auf der vervielfachten Reihung des Quadrates als geometrischer Basisform, aus deren Zusammenstellung Schoonhoven ein großes Rechteck entwickelt hat. Schoonhoven hat dafür 14 Reihen mit jeweils 28 Quadraten untereinandergesetzt und damit eine beeindruckende dreidimensionale Relieflandschaft aus 392 gleichgroßen Quadraten entworfen, die durch ihre formale Klarheit und optische Ruhe begeistert. Bereits formal bietet die streng geometrische Struktur seiner Reliefs keinen Raum für eine spontane, gestische künstlerische Handschrift. Darüber hinaus arbeitet Schoonhoven bald für die Ausführung seiner Reliefs mit Assistenten zusammen, da für ihn der eigentliche künstlerische Schaffensprozess allein in der Konzeption und im zeichnerischen Entwurf liegt. Dadurch hat Schoonhoven noch einmal mehr eine der zentralen künstlerischen Grundideen der niederländischen 'ZERO'-Bewegung, der Gruppe 'Nul', auf den Punkt gebracht: die konsequente Verneinung der individuellen künstlerischen Handschrift. In einem 1972 gedrehten filmischen Porträt, das Schoonhoven unter anderem bei der Arbeit an einem seiner Reliefs zeigt, hat der Künstler folgende Beschreibung des Schaffensprozesses geliefert: 'It's purely technical, what I'm doing here, nothing but pure handiwork. The artistry, the 'künstlerische', has naturally already occured when I made the design. A lot of thoughts went into that design, preceded by a process of drawing, and this is the final result. Everything is calculated, everything is evaluated' (zit. nach: ebd., S. 39). 'R 71-18' - Zur Seltenheit des Großformates in Schoonhovens Schaffen Jan Schoonhoven, dessen monochrom weißes Hauptwerk wie auch das Schaffen von Piero Manzoni, Lucio Fontana, Günther Uecker und Enrico Castellani zu den bedeutendsten Beiträgen der europäischen 'ZERO'-Kunst zählt, hat insgesamt wohl etwa 900 Reliefs hinterlassen, von denen jedoch der Großteil kleinformatig ist und wohl nur weniger als 20 Arbeiten in vergleichbar großem Format wie 'R 71-18' ausgeführt wurden. 'R 71-18' kommt deshalb in Schoonhovens Schaffen ein absoluter Seltenheitswert zu und wir freuen uns sehr, mit der herausragenden Arbeit 'R 71-18' erstmals ein bedeutendes Großformat des gefeierten niederländischen 'ZERO'-Künstlers auf dem internationalen Auktionsmarkt anbieten zu können. [JS] Aufrufzeit: 18.06.2021 - ca. 18.34 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
A 19th century 'millefiori' brooch, in the manner of Castellani, the circular panel centred with a bombé cluster of flowerheads, bordered by ropetwist wirework, (clasp deficient), diameter 3.3cmCondition report: Some flowerheads missing to central cluster, other flowerheads have been knocked out of position or are heavily tarnished. The panel has multiple dents to the edges and reverse. The brooch has scuffs, scratches, nicks and chips throughout. The clasp is missing, to secure the brooch pin, and there is an area of grey solder repair to the panel reverse. The brooch pin is mis-shapen. The mount is untested but appears to be gold. Gross weight approx. 11gm.
Hochkarätiges Gelbgold. Hohl getriebener bärtiger Männerkopf (Göttervater Zeus) an feststehender Bandöse nach einem etruskischen Vorbild. Reich dekoriert mit sehr feiner Granulation, die flache Rückseite mit granulierter griechischer Inschrift. Nase bestoßen, minimale Oxydation am Auge. 4,5 x 3 cm. Gewicht 12,84 g.In der Art Castellani, um 1870.Der Anhänger orientiert sich stilistisch und in der Verarbeitung sehr an dem berühmten Acheloos-Anhänger aus der römischen Goldschmiede Castellani. Dieser entstand um 1860 und ist eine exakte Kopie eines etruskischen Vorbilds aus der berühmten Campana- Sammlung. ProvenienzNachlass Günter Kauth (1946-2016), Frankfurt a. M.
18 kt Gelbgold, farbiges Glasmosaik. Geschmeidiges Milanaiseband im archäologisch-historisierenden Stil, gegliedert durch plastische Spangen mit Granulation und Kugel-Endungen sowie durch fünf runde kordelgerahmte Medaillons mit verschiedenen christlichen Symbolen in sehr feinem polychromem Mikromosaik. Im Zentrum Agnus Dei (Lamm Gottes) flankiert vom Anker, dem christlichen Symbol für Hoffnung und dem griechischen Christus-Monogramm Chi-Rho sowie zwei gegenständigen Tauben als Symbole des Heiligen Geistes. Originales violettfarbenes Samtetui mit Etikett von "A. Rey, Via Condotti, Roma". Jedes Medaillon gestempelt: Römische Beschau (Tardy, 217). Unsigniert. L 19 cm. Gewicht 57,69 g.Rom, um 1860-70.Das unsignierte Armband mit den sehr qualitätvollen Mikromosaiken, die von frühchristlichen Vorbildern in Rom und Ravenna inspiriert sind, erinnert sehr an die Arbeiten der Castellani. Diese römische Goldschmiededynastie begründete in den 1830er Jahren das "Archeological Revival" in der Schmuckkunst, das um 1870 seinen Höhepunkt erreichte. Unter der Leitung des Direktors der Mosaikwerkstätten, Luigi Podio, entstanden zwischen 1851 bis zu seinem Tod im Jahre 1888 Mikromosaikarbeiten von hoher Qualität und Feinheit der verwendeten Tessere (Glassteinchen). Provenienz1950 anlässlich der Feiern des Heiligen Jahres unter dem Pontifikat von Papst Pius XII. als Souvenir im römischen Kunsthandel erworben.
7th century BC. A substantial restrung necklace of amber beads, mainly biconvex and spherical types, with eight gold filigree collars wrapped around amber discs, two lentoid section rectangular beads with herringbone detailing, one repaired, and a biconvex iridescent green glass bead centrepiece; modern clasp.Cf. Troili, E. et al., Treasures From Tuscany - The Etruscan Legacy, Edinburgh, 2004, item BM11, for type; see a similar Picenian necklace in the Museo Nazionale di Villa Giulia, Rome, with small rings and big amber pendant, in Weber Soros, S., Walker, S., Castellani Italian Archaeological Jewelry, New Haven and London, 2004; for other examples cf. Torelli, M., Gli Etruschi, Cinisello Balsamo, 2000, pp.112,576, necklace from Vetulonia, in the Archaeological Museum of Firenze, inv.94225; Orsini, B., Le lacrime delle Ninfe, Tesori d’ambra nei musei dell’Emilia Romagna, Bologna, 2010, no.1, p.90 (necklace), from the grave 335.5 at Vitale; no.1, p.117 (elements of necklace), from Terramara di Montale-Castelnuovo Rangone; no.17, p.119 (elements of necklace), from the grave of the Nosadella, Castelvetro, 5th century BC; necklaces in amber pearls, figs.7b and 9b, pp.131-132; the necklace in the Ravenna National Museum, p.147, fig.1.60 grams, 57cm (22 1/2"). From an important North West London collection; acquired in the late 1980s-early 1990s; previously in an old New York, USA collection; by repute formerly with Sotheby's; accompanied by an archaeological report by Dr Raffaele D’Amato and an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no. 174380/24/03/2021; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10641-174380.Amber jewellery was often an alternative to gold for Etruscan women. For example, the women of Spina, near Ferrara, wore gold earrings but did not like to flaunt other gold jewellery, preferring to wear necklaces with amber and glass paste inspired by Greek models instead. The Etruscans mainly controlled the trade of amber from the Baltic regions, through the Celts. A high-ranking woman buried in one of the tombs at the necropolis in the Golasecca area (near Genova), was found with a rich array of jewellery, including an elaborate amber necklace with carved pendants in the shape of a boot or vase. The presence of a rich and probably foreign woman buried in this area is further confirmation of the commercial alliances established through marriages. The jewellery found in the tomb also indicates close connections with the Etruscan centres in the Po Valley, where goldsmiths' workshops were operating, producing fibulae in precious metals, and refined necklaces and pendants carved in amber imported from the Baltic Sea through the Celts. Fine condition.
A 19th century Italian silver-gilt chamber stick, unmarked, probably by Castellani, Rome circa 1880-1890. modelled as a seated devil with arms out to hold a candlestick, his tail forms the ring handle, the shaped base with flame decoration, the front with a grotesque mask, on three owl and winged devil mask feet, length 11cm, approx. weight 8.7oz. For another example of a devil chamber stick, see Bonhams, New Bond Street, Important Design, 27 November 2019, lot 23. The design for this chamber stick is by Michaelangelo Caetani, who was Castellani's principle patron. A number of candlesticks designed as demons are noted in Castellani's stock registers up to 1899.
Vincenzo Verdejo (1809-1859)A hunting sceneMicro mosaic Gold frame Italy, 19th centuryLiterature: Benjamin, John, Starting to Collect Antique Jewellery, Suffolk: The Antique Collector’s Club, 2003. Bennett, David & Mascetti, Daniela, Understanding Jewellery, Suffolk: The Antique Collector’s Club, 2011. Bury, Shirley, Jewellery: The International Era 1789-1910, Volume II 1862-1910, Suffolk: The Antique Collector’s Club, 1997. Gere, Charlotte & Rudoe, Judy, Jewellery in the Age of Queen Victoria, London: The British Museum Press, 2010. Grieco, Roberto, Micromosaici Romani, Rome: Gangemi Editore, 2001. Mack, John, The Art of Small Things, Boston: Harvard University Press, 2007. Soros, Susan Weber & Walker, Stefanie, Castellani and Italian Archaeological Jewelry, New Haven: Yale University Press, 2004. 7,8x4 cm Additional Information:The vernacular expressions “God is in the details” and The Devil is in the details” express the concept that all must be made and thought in a thorough manner, and that something that might be perceived as plain and simple at first sight, can hide great effort and dedication.The plaque that we are now bringing into sale is an accomplished example of a meticulous and labour consuming art, in which the master crafter applied with a tweezers, hundreds if not thousands of tiny tesserae, in order to compose a scene depicting a lion attacking a dog.It was Sir Arthur Gilbert (1913-2001) – a notable British decorative arts collector – who coined the term micro mosaic. Such pieces were, up until then, simply known as ”roman mosaics”, a clear misnomer which, although alluding to ancient arts, was being applied to objects that did not exist up to the 18th century.These dense artworks are nonetheless a type of mosaic created from minute glass fragments or tesserae. Fired at high temperature, tesserae are mosaic components normally made in glass or enamel that can be produced in a wide range of colours, known as smalto. This smalto is produced in thin rods or strands, the filati (meaning strand enamel) which, once cooled are cut into hundreds of minuscule cubes, the tesserae, that are carefully applied onto a metal (copper, gold or silver) or stone ground (in the 19th century Belgium black was the favoured stone). They are fixed onto a layer of mastic or cement to create the desired pattern – be it a portrait, a landscape or a hunting scene. Once this substrate hardens, a layer of coloured waxes is applied to the whole surface and polished to reach a smooth and uniform finish. SOME HISTORICAL CONTEXT It is generally believed that the art of mosaic originated in the Far East, albeit the earliest mosaic compositions – created with pebbles and shells – are dated to the 3rd century B.C.E. and have been unearthed in Macedonia. It was however in Ancient Rome that mosaics, composed of small marble, terracotta and glass fragments, reached their utmost popularity for the decorating of floors in wealthy patrician villae.The climax of this art was reached during the Byzantine Empire (330-1453 C.E.), when mosaics were chosen for decorating the earliest Christian temples. Such choice is certainly related to the material durability but it is also associated to the sumptuous and extravagant impression they convey, particularly through the abundant use of gilt tesserae, such as those seen at the Mausoleum of Galla Placidia in the Italian city of Ravena.Throughout the Renaissance (14th – 17th century) and the Baroque (17th – 18th century) the use of decorative mosaic compositions decreased as painted frescoes became favoured for both inner and outer surfaces. The use of mosaics however, was never totally abandoned as is suggested by Michael Angelo’s (1475-1564) plans for the dome of Saint Peter’s Basilica in Rome.Although the Vatican’s mosaic workshops emerge initially under the Papacy of Gregory XIII (1572-1585) with the purpose of producing the mosaics that were being applied in Saint Peter’s, as well as on the altarpiece of the Basilica of the Vatican, they would not be fully inaugurated until the 18th century. By then some of the Basilica’s decorative paintings had deteriorated and the decision was made to replace them with mosaic compositions. This fact, together with the increasing numbers of papal commissions, contributed to the growth of master crafters able to fulfil the demand. The availability of free time in-between papal commissions allowed these crafters to experiment and perfect the use of the minute tesserae, that would eventually become the small portable artworks that we now know as micro mosaic.Almost simultaneously the aristocratic taste for the Grand Tour emerges amongst the European educated elites. Lasting for months or even years the Grand Tour was perceived as an essential step in the education of the upper classes. Its main ideal was that these Grand Tourists would return home imbued with the culture of the cites they had visited and their greatest art. Within that mind frame, and to be able to remember and revisit what they had seen and experienced, the Grand Tourists developed a growing awareness of the importance of acquiring souvenirs. As such, a visit to micro mosaic workshops became almost as important as a visit to famous classical ruins or art museums.Easy to carry – they could be kept with luggage until the end of the trip or sent home as “postcards” – they could portray a variety of subjects such as Roman ruins, flowers, birds, animals or Italian country scenes. Later, inspired by the latest archaeological discoveries in Europe (particularly those at Pompey), Northern Africa or the Middle East, they would replicate newly unearthed Roman motifs, Etruscan tombs, early Christian signs and hieroglyphs.Often adapted or applied to pieces of jewellery these small precious objects became undisputed Grand Tour mementos.Bibliografia/Literature:Benjamin, John, Starting to Collect Antique Jewellery, Suffolk: The Antique Collector’s Club, 2003;Bennett, David & Mascetti, Daniela, Understanding Jewellery, Suffolk: The Antique Collector’s Club, 2011;Bury, Shirley, Jewellery: The International Era 1789-1910, Volume II 1862-1910, Suffolk: The Antique Collector’s Club, 1997;Gere, Charlotte & Rudoe, Judy, Jewellery in the Age of Queen Victoria, London: The British Museum Press, 2010;
~ An Archaeological-Revival Millefiori Brooch, circa 1880, of trefoil design the two circular plaques of bombé form, decorated with clusters of flower heads, the border decorated with twisted wire work, surmounted with a seated owl and supporting beads, with a further circular pendant drop applied with a frog, the frame similarly decorated with a flower motif to each side, supporting three graduated beads, reverse with hair locket compartment, measures 4.5cm by 6.0cm; together with Two Dress Studs, similarly applied with a frog motif Many versions of Millefiori gold work pieces are known and this brooch would appear to be of the work of a close follower of Castellani. The brooch is in good condition, with slight scuffing commensurate with age. It fastens with a pin and hook catch. There are indistinct marks to the hook but in our opinion the brooch and studs would test as gold. Gross weight 27.7 grams. CR made 17.02.21.
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