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After Michelangelo Merisi da Caravaggio (Italian, 1571-1610) - 'The Calling of Saints Peter and Andrew', unsigned, inscribed 'Peter Paul & John by ...RE Windsor[?] Castle July 5th 1769' verso, chalk on laid paper, 40 x 43 cm, glazed in gilt frame

Richard Bankes Harraden (1778-1862) A panoramic view of Florence from the Piazzale Michelangelo, with groups of figures in the foregroundsigned 'R. B. Harraden' l.r., with a later transcription verso, 'R. B. Harraden/Pinxt 1836/Cambe [sic]' oil on canvas76 x 129cmProvenance: Christie's, London, 9 November 2000, lot 215.Condition ReportOverall: 141 x 89cmRelined. Craquelure with light surface dirt. Some possible restoration to the edges. Not examined under UV light, for a full report please contact the department.

Signed Teenage Mutant Ninja Turtles (TMNT) head based off the original film, signed by Michelan Sisti - Michelangelo ("Cowabunga" signature "Mikey"), Leif Tilden - Donatello ("Radical Bro!!" Your Pal Always, signature "Donny"), and another Mikey signature, appearing to be made from latex, with Michelangelo headband

* ENZO PLAZZOTTA (ITALIAN 1921 - 1981), SPIRIT OF FREEDOM bronze sculpture with rich brown patina, stamped with the Plazzotta seal and numbered 34 inscribed title to plaque, on marble base 33cm high Provenance: Enzo Plazzotta Catalogue Raisonne No 329 illustrated page 171.Note: Enzo Plazzotta was born in Mestre, near Venice, in 1921 and spent his student days in Milan studying sculptural drawing and modelling under Giocomo Manzu at the Academia di Brera, and architecture at the Politecnicao. He decided to specialise in sculpture, but his studies were interrupted by World War ll. Plazzotta became a member of the Italian Resistance Movement and fought in the Ossola region as a partisan. He was captured as a result of a secret political meeting held in Milan and spent nearly a year in solitary confinement. While being transferred to a German prisoner of war camp, however, he managed to escape and rejoin the partisans. Plazzotta was engaged in guerrilla activities and in conjunction with the British Special Forces was on the organising end of a clandestine escape route for Jews and escaped Allied prisoners of war en route from Italy to Switzerland. Through these contacts with British Intelligence he was involved in the repatriation of Ferruccio Parri, the leader of the Italian Resistance, from Switzerland to Italy. Parri later became Italy's first prime minister after the war ended. Plazzotta's wartime record won him the Silver Medal for Military Valour. After the war, Plazzotta resumed his studies in Milan, and in 1947 received his first commission, appropriately enough from the Italian Committee of Liberation. This was to be their tribute to their successful wartime collaboration with the British Special Forces. The bronze sculpture was entitled Spirit of Rebellion and depicted the boy David with the head of Goliath. Plazzotta himself was chosen to make the presentation to the Special Forces Club headquarters in London, and the bronze still has a place of honour there today. This first visit to London played a major part in shaping Plazzotta's career, for he quickly decided to make London his permanent place of residence. From his first studio in London he received several portrait commissions and, in 1949, held his first exhibition at the former Brook Street Gallery, to be followed by many others. "Spirit of Freedom" was also commissioned by The Special Forces Club (London) as confirmed in the Catalogue Raisonne. One of his first public commissions was a monument to commemorate the 700th anniversary of the Battle of Lewes, and after this time he began to explore the themes for which he has become well known, specialising in studies of dance, the horse and the female form – all of which exude vitality and movement. His style, based on the classical lines of the Renaissance, reflects perfectly his own admiration for such great masters as Michelangelo and Rodin. He lived in Chelsea and worked from the studio formerly owned by the late Sir Charles Wheeler. Major public sculptures by Enzo Plazzotta include: Camargue Horses, on the Waterside Terrace at The Barbican Centre, London; The Cruxifixion, in the College Gardens of Westminster Abbey; Homage to Leonardo. Belgrave Square, London; Jeté, on the corner of 46 -57 Millbank, Westminster, London; The Hand of Christ, Dinand Library at the College of the Holy Cross, Worcester, Massachusetts, USA; The Helmet, Lewes Priory; Two Brothers, Boys Town, Nebraska, USA; Young Dancer, Royal Opera House, Broad Street, London. The estate of Enzo Plazzotta is handled by Chris Beetles Gallery (London) and their website at the time of writing shows "Spirit of Freedom" priced at £2750.

A varied collection of British and foreign coins, both circulated and uncirculated, with some medallions, and a wooden 14-drawer lockable coin cabinet. They include a British Maundy set 1879 in toned perfect condition in their original case, a crown 1935, a necklace of 11 silver threepences, about forty (40) British and Isle of Man cupronickel crowns, seven (7) £5 coins, eight (8) Germany Westfalen notgeld coins 1921-1923, a Portuguese India silver 1 rupia 1881 with a welded brooch fitting, an Australia $2 silver Kookaburra coin (2 ounces), an Apollo 11 bronze medal by Benson 63 of 1000, a silver medal of Apollo 13 (31.4 g), a Vatican sterling silver medal depicting Michelangelo (24.7g) cased with certificate, two US silver dollars 1887 O and 1888 O, a Silver Jubilee 9ct gold medal (2.5g) and a large quantity of circulated 20th C foreign and British coinage including a little further silver.

Sammlung: von 5 Werken. Versch. Großformate u. Einbde. ╔Enthält:╗ Michelangelo. Das vollständige Werk. Taschen-Vlg. - Braun/Hogenberg. Städte der Welt. Ebda. - Dürer,A. Sämtliche Holzschnitte. Darmstadt u.a., DBG o.J. - Münster,S. Cosmographey 1588. Grünwald, Kölbl 1977. - Schedel,H. Weltchronik 1493. Ebda. 1975.

A collection of books on The Decorative Arts - European & Russian Faniel, Stephane French Art of the 18th Century, 1956  Prevenier, Walter & Blockmans, Wim The Burgundian Netherlands, 1985  Stephens, George Handbook of the Old-Northern Runic Monuments of Scandinavia and England, 1884  Twining, Lord European Regalia' 1967  Fehrendt, Catharina J. Art for Spaces Spaces for Art: Interior Spaces as Works of Art Discovered in Palaces, Castles and Monasteries in Germany, 2005 Lorentz, Stanislaw & Rottermund, Andrzej Neoclassicism in Poland, 1986  Caroselli, Susan L The Painted Enamels of Limoges: A Catalogue of the Collection of the Los Angeles County Museum of Art, 1993  Thornton, Peter Form and Decoration: Innovation in the Decorative Arts, 1470-1870, 1998 Chernyak, Yakov - a.o. Tobolsk Bone Carvings from Surgut Museum and from private collections. Text in Russian & English (2 volumes in box), 1996 Cerwinske, Laura Russian Imperial Style, 1990  ? (in Russian) Text in Russian [Sculpture in Russia, 18th - 20th century, 1958  Romanelli, Giandomenico Venice: Art and Architecture Hardcover, Volume II, 2007  Muraro, Michelangelo Treasures of Venice, 1963 Barbantini, Nino & Lorenzetti, Giulio Il Settecento Italiano, Volume Secondo, Con 357 Tavole: Mobili, Arazzi e Stoffe, Ceramiche, Presepii, Sculture Ornamentali, Vetri e Argenti, Carrozze e Portantine Volume II only of 2 volumes, 1932  Borsook, Eve Italian Altarpieces 1250-1550 - Function and Design, 1994 Reggiori, Ferdinando Il Santuario di Santa Maria presso San Celso e i suoi Tesori [The Sanctuary of Santa Maria presso San Celso and its Treasures], 1968 Pirovano, Carlo Prezioso Quotidiano Tesori della Vita Russa [Precious Daily. Treasures of Russian Life], 2001 Vignetten Umrahmungen, Dekorative Ornamente, Embleme U.S.W. Des XVII. UND XVIII. Jahrhunderts, 1893  Rettelbusch, Ernst Stilhandbuch : Ornamentik, Möbel, Innenausbau von d. ältesten Zeiten bis zum Biedermeier, 1979  Richter, Detley (Klinkhardt & Bierrmann) Lackdosen [Brunswick lacquerware manufactory Stobwasser, production of lacquer cans and miniature painting, about lacquered gallantry goods from France, England and Germany, Russian lacquer cans and others], 1988  Stahl, Fritz Weg zur Kunst. Einfuhrung in Kunst und Kunstgeschichte [Path to art. Introduction to Art and Art History], c1930  Davanzo Poli, Doretta Angewandte & dekorative Kunst in Venedig, 1999  Jessen, Peter Das Rokoko im Ornamentstich (Meister des Ornamentstichs; Eine Auswahl aus Vier Jahrhunderten, Band 3) [The Rococo in ornamental engraving. 200 Picture Plates, Volume 3], c1920s  Rott, Hans Kunst und Künstler am Baden-Durlacher Hof bis zur Gründung Karlsruhes [Art and Artists at the Baden-Durlacher Hof],1917 Feuchtmuller, Rupert & Mrazek, Wilhelm Biedermeier in Osterreich,1963 Heidrich, Ernst Die Alt-Deutsche Malerei : 200 Nachbildungen mit geschichtl. Einf. u. Erl. Die Kunst in Bildern, 1909  Die Kunstwelt Monatsschrift fur die Bildende Kunst, 2 Volumes, 1913 Hamann, Richard Deutsches Ornament, Auswahl nach Aufnahmen des Kunstgeschichtlichen Seminars der Universitat Marburg, 1924  Hausenstein, Wilhelm und Joachim Wieder Rokoko : Franzosische und deutscher Illustratoren des 18. Jahrhunderts, 1958  Gonzalez-Palacios, Alvar Colnaghi: Objects For A 'Wunderkammer' 10 June To 31 July, 1981  Groer, Leon de Les arts decoratifs de 1790 a 1850, 1985 Humbert, Chantal Les Arts Decoratifs en Lorraine: De la fin du XVIIe Siecle a l'ere Industrielle, 1993  Belloncle, Michel Les objets du fumeur, 1971  Kohler, Arthur Connaissance des Style,s 1947  Verlet, Pierre Objects D'Art Francais de la Collection Calouste Gulbenkian, 1969  Hambly, M Les instruments de dessin : 1580-1980, 1991  Deschamps, Madeleine, Empire, 1994  Faniel, Stephane & Levallois, Pierre Le XVII Siecle Francais, 1958 Wark, Robert R French Decorative Art in the Huntington Collection, 1962  Klamkin, Marian Collector's Book of Boxes, 1972  (42)

AFTER MICHELANGELO, A BRONZE BUST OF DAVID 19TH CENTURY 48cm high, 40cm wide at widest point

Medallic FDCs, including The Railway Sesquicentennial, Michelangelo 500th Anniversary and two QEII examples. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

After Michelangelo, late 19th/early 20th century, a patinated bronze sculpture of Lorenzo de' Medici, Duke of Urbino,24cm wide27cm deep56cm high

Juventus F.C. - 2000 - Un Sogno in Bianco e Nero - Album fotografico in bianco e nero con le firme dei calciatori  Natalia Aspesi, Aldo Fallai e Gavino Sanna. 30 x 39 cm - Le firme autografe sono di: Jonathan Bachini Alessandro Birindelli Antonio Conte Edgar Davids Alessandro Del Piero Ciro Ferrara Daniel Fonseca Filippo Inzaghi Andreas Isakson Mark Juliano,Darko Kovacevic Zoran Mirkovic Paolo Montero Michele Paramatti Gianluca Pessotto Michelangelo Rampulla Marco Rigoni Alessio Tacchinardi Igor Tudor Van Der Sar Gianluca Zambrotta,Zinedine Zidane Fabian O'Neil David Trezeguet

Helen Schell (Bristol Artist) ' Touch of Michelangelo, Ink and Watercolour, signed and dated 24 July '84, details verso, 89cm square

Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.;Allegorie der Ewigkeit oder auch Venus im TriumphwagenDarstellung vor schwarzem Grund mit einer jungen, weiblichen Figur in einem Triumphwagen, gezogen von zwei schwebenden Amoretten mit brennenden Fackeln. Motiv und Stil des klassizistischen Blattes lassen es Maestri zuschreiben, der durch die antiken Fresken in Pompeji und Herculaneum sowie Raffael und Romano inspiriert wurde. Viele Gouachen Maestris erwarben wohlhabende Reisende und Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in enger Anlehnung an eine "Venus" betitelte Radierung Tommaso Pirolis in "Peintures de la Villa Lante à Rome" (1. Ausgabe Paris 1803), der hierin wiederum ein um 1520 geschaffenes Fresko von Giulio Romano wiedergibt, das sich einst in der Villa Lante in Rom befand und heute im Palazzo Zuccari zu finden ist. Gouache (über Umrissradierung?)/Papier. Unterhalb bez. "Giulio Romano (/) Michelangelo Maestri". Blatt ca. 40 cm x 53 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper. Inscribed "Giulio Romano (/) Michelangelo Maestri".

A large collection of commemorative coins, to include a 1997 deluxe proof set, an Italian 500th anniversary of Michelangelo coin, a Silver Jubilee silver coin and ten other silver coins, 1996 proof coin collection, other uncirculated collections, kingdom of Swaziland proof set, and others.

Florenz Ansichten von Florenz. Um 1830. Schöne und altkolorierte Ansichtenfolge von Florenz, ferner Pisa, Livorno und Siena. Die Sammlung enthält eine Gesamtansicht der Stadt Florenz vom Piazzale Michelangelo aus, 37 Ansichten der wichtigsten Plätze, Denkmäler, Innen- und Außenansichten von Museen und Kirchen in Florenz, 3 Tafeln mit typischen Kostümen, darunter die Confratelli della Misericordia, 5 Ansichten von Pisa, 3 Ansichten von Livorno und 2 von Siena; mit reicher Figurenstaffage in der Mode der 1830er Jahre. - Teils in der Platte handschriftlich in Italienisch bezeichnet. Die Ansichten (Format ca. 14 : 21 cm) mit schwarzer Linie eingefaßt, die breiten Blattränder in Grün oder vereinz. Grau getuscht. - Der italienische Künstler Giuseppe Carrocci schuf laut Le Blanc 594 eine ähnliche Folge von 34 Florenzansichten. EINBAND: Etwas späterer Halbmaroquinband mit Rückenvergoldung und goldgeprägtem Rückentitel Florence – Pise . 25 : 39 cm. - ILLUSTRATION: Folge von 51 kolorierten Aquatintatafeln. Dabei: Vedute di Firenze (Deckeltitel). Um 1820. Album mit 30 kolorierten Aquatintatafeln. Halblederband der Zeit mit etw. Rückenvergoldung und mont. Lederschild auf Vorderdeckel. 21 : 30 cm. - Schöne Folge mit Ansichten der prominentesten und schönsten Gebäude und Plätze der Stadt. Mit Bildunterschrift in Italienisch im unteren Plattenrand. - In den breiten Rändern leicht (stock-)fleckig. Kanten gering berieben, Deckelschild mit Schabspur. Set of 2 early 19th century albums with beautiful views of Florence, as well as few of Pisa, Livorno and Siena. Altogether 51 plus 30 colored aquatint plates. Slightly later half calf resp. contemp. half calf bindings. - Slightly stained or foxed in the wide margins. Edges of bindings slightly rubbed. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000571 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000571 This lot can be purchased subject to differential or regular taxation.

Zollner, Frank; Thoenes, Christof; Popper, Thomas, Michelangelo - Complete Works 1475-1564, pub. Taschen 2007, folio, ivory cloth with dust jacket.

Pillsbury. Bachmann, Ludwig. Schachmeister Pillsbury. Nachdruck der 3. Auflage Ansbach 1930. Zürich, Olms, 1982. 8°. Mit 1 Porträt im Text und Diagrammen. VIII, 277 Seiten. (60) * Beiliegen: Steinitz - Zukertort. Der Schachwettkampf zwischen Steinitz und Zukertort 1886. 2 Beiträge in 1 Band: 1. Minckwitz, Der Entscheidungskampf zwischen Steinitz und Zukertort 1886. 2. Schallopp, Der Schachwettkampf zwischen Steinitz und Zukertort 1886. Nachdruck. Zürich, Olms, 1986. 8°. Mit Diagr. VI, 1 Bl., 202, 48 S. / Hannak, J. Wilhelm Steinitz. Der Michelangelo des Schachspiels. Nachdruck. Zürich, Olms, 1989. 8°. Mit 1 Porträt. 126 S., 1 Bl. – Alle Teile: Orig. Kunstlederbände mit Schutzumschlag. "Tschaturanga ..." Band 26, 70 und 85. Zustand: Buchschnitt teilweise fleckig.

Großes Standbild Michelangelo Buonarrotiwohl Anfang 20. Jh., unsigniert, Bronze dunkel patiniert, Darstellung des berühmten Bildhauers Michelangelo Buonarroti mit Hammer und Meißel, neben einem Relief über Säulen, mit dem Antlitz Jesu, in zeittypischer Aufmachung, Patina vermutlich erneuert, H 85 cm.

Old Master Drawings Art Reference: a quantity of books relating to Old Master Drawings, to include: Marcel Roethlisberger, Claude Lorrain: The Drawings, two volumes, Berkeley and Los Angeles: University of California Press; and various others including volumes on mainly Italian masters and subjects, including Guercino, Tiepolo, Michelangelo and Florentine drawing (qty)  

Zes zwart gelakte gipsen bibliotheek bustes naar de Antieken, 20e eeuw; o.a. voorstellende: Michelangelo, Sappoh, Cato, Apollo. Allen voorzien van verguld Romeins cijfer. h. 44 cm Sotheby's London, Important Continental Furniture, 3 July 2007, lot 316 [6] A Set of six Ebonised Plaster Busts Comprising Michelangelo and Four Busts After The Antique; by Bennison; 20th century, modern

Manner of Ferdinand Barbedienne (1810-1892), a 19th century French bronze figure, seated Moses, after the original Moses sculpture by Michelangelo. Signed Michelangelo. H.17cm

Mirage Studios Playmate Toys Teenage Mutant Ninja Turtles action figures including Michelangelo, Leonardo, Raphael and Donatello and assorted vehicles and accessories, late 80's

Folio Society - many sealed, Benjamin Cowburn " No Cloak no Dagger " Dashiell Hammet " The Maltese Falcon" , Graham Greene " The Quiet American", Victoria Finlay " Colour", Kenneth Clarke " The Nude" , Howard Hibbard " Michelangelo ", Daniel Defoe " A Whole Tour of the Island of Great Britain"  William Daniell " A Voyage Around the Coast of Great Britain" , Rudyard Kipling " The Second Jungle Book", Anthony Trollope, Henry James, H G Wells " Brave New World", George Eliot, many other vols ( 4 boxes)

Hake-Verlag - - Sammlung von 9 Bänden. Mit Illustrationen von Winfried Gaul, Horst Antes, Gernot Bubenik, Kano Nishio, Wolff Buchholz, Helgart Rothe und Hajo Bleckert. Köln, Hake-Verlag, 1965-1967. Unterschiedliche Formate. Original-Broschuren (meist leicht angestaubt, vereinzelt gering fleckig).Vorhanden: I. Gaul, Winfried. Signale. Mit 4 Farbserigraphien von W. Gaul. Alle signiert, datiert und nummeriert. Exemplar: 16/120. 1966. - II. Aue, Walter. Image. Mit 15 Serigraphien von G. Bubenik. 1967. - Eins von 100 nummerierten Exemplaren. - III. Mon, Franz. Rückblick auf Isaac Newton. Mit 1 signierten Lichtgraphik von Hajo Bleckert. 1965. - Eins von 100 nummerierten Exemplaren, Druckvermerk von Franz Mon signiert. - IV. Bense, Max. Epische Studie zu einem epikureischen Doppelspiel. Mit 10 Offsets von Helgart Rothe. 1967. - Eins von 100 nummerierten Exemplaren. - V. Rühmkorf, Peter. Gemischtes Doppel. Mit 8 Lichtgraphiken von Wolff Buchholz. 1967. - Eins von 100 nummerierten Exemplaren. - VI. Stöhrer, Jörg. Monotaurus. Mit 4 Farboffsets von Horst Antes. - Eins von 100 nummerierten Exemplaren, Druckvermerk von H. Antes signiert. - VII. Aue, Walter. Michelangelo oder die art des fleisches. Mit sieben Fleische von Kano Nishio. 1965. - Eins von 100 nummerierten Exemplaren. - VIII. Artaud, Antonin. Texte und Briefe. 1967. - Eins von 182 (GA) 250 nummerierten Exemplaren. - IX. Ultimistischer Almanach. Hg. von Klaus M. Rarisch. Mit 2 Holzschnitten von Hans Arp und Raoul Hausmann. 1965. - Eins von 1000 nummerierten Exemplaren. - Gute Exemplare. - Provenienz: Aus dem Nachlass von Ben Wagin.

An Italian Naples figure, signed by Maggiori, Michelangelo, limited edition 33/500, to commemorate the 50th anniversary of the birth of Michelangelo on 6th March 1475, 46cm, framed circular certificate

Fuseli (Henry). Lectures on Painting, delivered at the Royal Academy, 2nd edition, London: T. Cadell and W. Davies, 1820, engraved portrait frontispiece, engraved vignette, engraved full-length portrait of Michelangelo after Fuseli at end, front hinge tender, contemporary calf, rebacked, green morocco title label lettered in gilt, 4to, together with:Audsley (W. & G.). Polychromatic Decoration as applied to buildings in the Mediaeval Styles, 1st edition, London: Henry Sotheran & Co., 1882, 36 chromolithograph plates, titled printed in red and black, some leaves loose (including title), top edge gilt, original brown cloth gilt, lightly rubbed, folio, withBuckton (Edward). Studies of Ancient Domestic Architecture, 1st edition, London: John Weale, 1846, 20 tinted lithographs, occasional spotting, original red blindstamped cloth gilt, spine faded, lightly rubbed, folio, plus 5 other related volumes on art and architecture QTY: (8)

A plaster figure of David, After Michelangelo, raised on a square plinth, 180cm high.

Armband mit EmailkunstItalien, 2. Hälfte 19.Jh.L 18 cm750/000 Gelbgold mit ca. 288 Diamantrosen zus. ca. 2,00 - 2,20 ct (geschätzt). Fünf emaillierte Medaillons mit Genien wohl nach Vorbildern von Michelangelo Maestri (1741-1812). Gewicht 67,3 g.Privatsammlung Baden-Württemberg

A selection of Folio Society books including 'Michelangelo'

Bronzen sculptuur van Bacchus met Faun, gesigneerd "E. Nahcepe" op voet, naar voorbeeld van Michelangelo, 20e eeuw, hoogte inclusief sokkel 49 cm.€ 150 - € 200

A LARGE BRONZE FIGURE OF GIULIANO DE MEDICI AFTER THE MODEL BY MICHELANGELO 20th century, modelled in classical style, seated as a Roman soldier holding a baton, on rectangular plinth base with acanthus border, wood base, after the model by Michaelangelo at the Medici tomb, Florence 57cm high Condition: Condition Report Some wear in places to the patination, the wood base is slightly ill fitting and the bronze sits to one side, the acanthus border and integral base are separate and sit off centre to the wood base. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Additional Information: Property of the Estate of CHUA Tian Yu

Sammlung kleinerer Lithos, Collagen, Zeichnungen, Originale6 kleine gerahmte Lithographien, Collagen, Zeichnungen,, etc. u.a. von Paul Wunderlich, Michelangelo Setola, Friedrich Meckseper. Versch. Größen von 11-26cm, Z1-2.

A Framed Michelangelo Print, Madonna and Child, Subject 31x44cm

Collection of Leatherbound Antiquarian books to include Ruskin Stones of Venice 1885 Vol 1 & 2, Michelangelo Buonarroti by Symonds Vol 1 & 2, Life of Napoleon by Rose Vol 1 & 2, The Ingoldsby Legends Carmine Edition, Twenty-Ninth of May Vol 1 & 2, Buckleys Natural Science, Lavengo by George Borrow, The Horse by Youatt & The Battle of Waterloo A General History of the Events connected  with the important Era from the Period of Bonapartes Escape from Elba to his arrival at St Helena. Plains of Waterloo June 18th 1815, by Lieut. G W Picton and published by R Edwards

After Michelangelo, print of mother and child.

Two boxed Neca Teenage Mutant Ninja Turtles figures sets to include Raphael and Michelangelo and Leonardo and Donatello, all complete, previously displayed, some box discolouring to end

Teenage Mutant Ninja Turtles - Three boxed Neca TMNT Movie figures to include Raphael, Donatello and Leonardo plus an unboxed Neca Michelangelo figure (4)

17 Boxed / carded TV Related figures featuring 4 x Flair Teenage Mutant Ninja Turtle figures (Leonardo, Donatello, Raphael & Michelangelo), 5 x Mattel Ghostbusters (Mayhem, Abby Yates, Patty Tolan, Erin Gilbert & Jillian Holtzmann), 2 x McFarlane Toys Game Of Thrones figures (Drogon & Viserion), 1 x Funko Games Of Thrones Daenerys Targaryen, 1 x Mezco King Kong Of Skull Island, 1 x Playmates Lara Croft Tomb Raider, Adult Swim Rick And Morty Morty Figure, Jakks Pacific Godzilla King Of Monster Rodan & Bandai Power Rangers Alpha 5 figure, vg overall

Michelangelo Maestri (Rome 1741-1812)Amor Pazzo ; Amor Crudele le premier signé et inscrit 'Giul. Rom. in. AMOR PAZZO Mich. Ang. Maestri fece in Roma' (en bas long la marge inférieure)le deuxième signé et inscrit 'Giul. Rom. in. AMOR CRVDELE Mich. Ang. Maestri fece in Roma' (en bas long la marge inférieure)une paire, gouache sur papier, sur une base gravéthe first signed and inscribed 'Giul. Rom. in. AMOR PAZZO Mich. Ang. Maestri fece in Roma' (along the lower edge)the second signed and inscribed 'Giul. Rom. in. AMOR CRVDELE Mich. Ang. Maestri fece in Roma' (along the lower edge)a pair, gouache on paper, on printed bases45.2 x 58.8cm (17 13/16 x 23 1/8in).(2)For further information on this lot please visit Bonhams.com

Michelangelo Maestri (Rome 1741-1812)Le triomphe des Dieux ; Le triomphe de Silène le premier signé et inscrit 'Giul. Rom. in. Mich. Ang. Maestri fece in Roma' (en bas à gauche et en bas à droite) le deuxième signé et inscrit 'Giul. Rom. in. TRIONFO DI SILENO Mich. Ang. Maestri fece in Roma' (en bas long la marge inférieure) une paire, gouache sur papier, sur une base gravé the first signed and inscribed 'Giul. Rom. in. Mich. Ang. Maestri fece in Roma' (lower left and lower right) the second signed and inscribed 'Giul. Rom. in. TRIONFO DI SILENO Mich. Ang. Maestri fece in Roma' (along the lower edge) a pair, gouache on paper, on printed bases35 x 51.2cm (13 3/4 x 20 3/16in).(2)For further information on this lot please visit Bonhams.com

Michelangelo Maestri (Rome 1741-1812)Neptune ; Pluton le premier inscrit 'NETTUNO' (en bas au centre)le deuxième inscrit 'PLUTONE' (en bas au centre)une paire, gouache sur papier, sur une base gravéthe first inscribed 'NETTUNO' (lower right)the second inscribed 'PLUTONE' (lower right)a pair, gouache on paper, on printed bases41.6 x 57.2cm (16 3/8 x 22 1/2in). (2)For further information on this lot please visit Bonhams.com

Henry Moore (1898-1986)Four Reclining Figures, from Omaggio a Michelangelo (Cramer 333) Lithograph printed in colours, 1974, signed and inscribed 'Ed. A' in pencil, numbered in roman numerals from the edition of 20 artist's proofs, aside from the edition of 200, printed by Curwen Press, London, published by Stufio Bruckmann, Munich, on BFK Rives paper, with full margins, sheet 602 x 797mm (23 3/4 x 31 3/8in)

EIGHTEEN BOTTLES OF RED WINE from France, Italy, Germany and Australia comprising 1 x Chateau De La Gardine Chateuneuf-du-Pape 1977, 3 x Appelation Bordeaux Clarets, 2 x Moreau Rouge Vin De Table, 1 x Chapelle Saint Etienne Coteaux Du Languedoc 2009, 1 x Cabernet Sauvignon Vin De Pays D'Oc 2007, 1 x Chateau Prat De Cest Corbieres 2009, 2 x Michelangelo Sicilian Syrah 2007, 2 x Barberino Montepulciano D'Abruzzo 2003, 1 x Cecchi Sangiovese Di Toscana 2001, 1 x Corallino Vino Da Tavola, 1 x Hawkes Run Cabernet Shiraz 2004, 1 x The Black Stump Durif Shiraz 2009 and 1 x Barrique Dornfelder Pfalz 2004 together with three bottles of Italian Red Wine Vinegar (21)

Elegant set of slender toasting champagne glasses, featuring the famous Michelangelo sculpture The David, etched on the upper clear portion of the glass, contrasting with the frosted ombre stem and base. Issued: 20th centuryDimensions: 11.75''H x 3.25''dia, EachCondition: Age related wear.

EUROPEAN SCHOOL, 19TH CENTURYPortrait miniature of Michelangelo on ivory (ref. Z621L5Y5) 9.5 x 7.5cm Provenance Private collection, UKFootnotes:This lot contains ivory and has been registered in accordance with the Ivory Act (section10). Reference No. Z621L5Y5Prospective buyers should be aware that some countries have limitations on importing items made from endangered species, including materials such as coral, ivory, and tortoiseshell. Therefore, it is advisable for potential buyers to familiarize themselves with relevant customs regulations before placing bids, particularly if they intend to import this lot into another country. 

MICHELANGELO MAESTRI (ITALIAN ACTIVE CIRCA 1802-1812) A SET OF SIX ALLEGORICAL SCENES: AMOR VILIS, AMOR POETICUS, AMOR LENTUS, AMOR VOLUBILIS, AMOR NOBILI, AND AMOR FURENS Gouache All inscribed as titled, and further inscribed 'Raph. San. Urb. In. Romae apud Maestri' Each 28 x 37cm (11 x 14½ in.) Together with a further larger work by Michaelangelo Maestri of 'The Infant Hercules And The Two Snakes' (7)The compositions of the Italian painter Michelangelo Maestri are taken from the frescoes discovered in Pompeii and Herculaneum during the 18th century and from the decorations imagined in particular by Raphael and his pupil Giulio Romano for the great Roman palaces of the Renaissance.Maestri's gouaches were popular with aristocrats making their Grand Tour of Italy. Thanks to their high quality of execution on the one hand, and because they were based on the great mythological themes known since the Renaissance on the other. 

ATTRIBUTED TO MICHELANGELO MAESTRI (ITALIAN, ACTIVE CIRCA 1779-1812) THE MUSES OF HEALING, DRAMA, AND DANCE Gouache Each 44.5 x 35cm (17½ x 13¾ in.) (3)

* Harford (John Scandrett, 1787-1866). View of Rome from Tower of Capitol, 1816, fine panoramic pen, black ink and watercolour on four conjoined sheets of laid paper, laid down on original brown backing paper, with double rule brown ink ruled outer border, signed lower left and titled and dated to lower right, pale backboard stains, and a few spots, 47.5 x 84.5 cm (18 3/4 x 33 1/4 ins), gilt framed, glazed QTY: (1)NOTE:Provenance: Private collection, Bristol.An impressively detailed panorama of Rome from the Vatican, possibly executed by Harford with the aid of a camera lucida, and showing part of the City since demolished. John Scandrett Harford F.R.S. (1787-1866) was the son of a Bristol Banker and Manufacturer, and owner of the Blaise Castle Estate near Bristol. He was an accomplished artist and Member of the Academy of Painting of St. Luke in Rome. His first visit to the City took place in 1815, when he sought the assistance of Pope Pious VII in suppressing the Spanish and Portuguese Slave Trade. Harford visited the City again in 1846 and 1852, primarily to collect materials for his biography of Michelangelo (1857), the first to be published in English.

* Style of Michelangelo Maestri (1741-1812). An album of original paintings taken from frescoes at Pompeii & Herculaneum, circa 1830s/40s, 44 gouache paintings on wove paper, depicting various classical deities, scenes, and animals, occasional small marks, and one or two corners chipped, 24.5 x 16 cm (9 5/8 x 6 1/4 ins) and smaller, and 3 albumen prints of Pompeii, paintings and prints tipped-in singly on recto of album leaves (some foxing and marks to latter), all edges gilt, leaf size 27.5 x 37.5 cm (14 3/4 x 10 3/4 ins), gutta-percha perished and leaves detached in contemporary green half morocco, rubbed, gilt decorated spine with paper label lettered in ink 'Pompeii and Herculaneum Paintings', oblong folioQTY: (1)NOTE:Michelangelo Maestri is best known for his designs based on the then recently discovered wall frescoes at Pompeii, which became popular with travellers on the Grand Tour, of which the finely-executed works in this album are likely a product.

* Style of Michelangelo Maestri (1741-1812). Four Allegorical Female Figures (including the muses of healing and dance), early to mid 19th century, gouache on a black background, depicting four allegorical female figures in various poses, some minor marks to black backgrounds, one with small closed tear to upper left corner, image size 19 x 16.5 cm (7 1/2 x 6 1/2 ins), framed and glazed, 33 x 26 cm and slightly smallerQTY: (4)NOTE:Michelangelo Maestri is best known for his watercolour and bodycolour designs based on the then recently discovered wall frescoes at Pompeii, which became popular with travellers on the Grand Tour, as well as a series of 12 works forming the Hours of the Day and Night, thought to have been based on lost works by Raphael.

Michelangelo Maestri (1741-1812)-attributed,6 pages with folk and comedia dell arte Characters, black ink with watercollours on paper, demages, smallest 25x19cm largest 27x30cm

AFTER MICHELANGELO MAESTRI Muses of LiteratureGouache, 39.5 x 29.5cm

Plakate - - Sammlung von 48 Ausstellungsplakaten. Verschiedene Techniken auf unterschiedlichen Papieren. 1974-2002. Blattmaße: zwischen 64 x 42 cm und 100 x 70 cm.Enthalten u.a.: Gerhard Richter, Keith Haring, Alfonso Hüppi, Panamarenko, A.R. Penck (9), Fritz Schwegler (2), Dieter Roth, Wolfgang Troschke, Bernd Heyden (2), Horst Bartnig, Michelangelo Pistoletto, Raffael Rheinsberg, Wolfgang Leber, Jürgen Klauke, Yana Yo. - Zwei Doubletten enthalten. - Plakate etwas berieben, die Ecken und Kanten stärker mit wenigen kleinen Einrissen, griff- und knickspurig, teils mit Knickspuren in den Ecken. - Provenienz: Aus dem Nachlass von Jürgen Schweinebraden.

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis signed and dated 'Foujita 1929' and further signed in Japanese (lower right); signed, inscribed and dated 'Paris 1929 Foujita' and further signed and inscribed in Japanese (on the stretcher)oil on canvas81.3 x 53.8cm (32 x 21 3/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson, ACRB (Art Cataloguing Research Buisson), Paris. This work will be included in the forthcoming Vol. V of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Colette Weil (acquired directly from the artist).Private collection, Germany and UK (probably acquired from the above circa 1930).Private collection, UK (a gift from the above circa 1965). Private collection, UK (a gift from the above circa 1997).'An idea came to me one day: in Japanese painting, there are only a small number of nudes. Even painters like Harunobu or Utamaro only let you see part of the leg or knee and could only express the feeling of the skin in those places. This is what encouraged me to start painting nudes again [...], with the precise objective of representing the quality of the most beautiful material of all: that of human skin.'(Foujita, '17 ans en France', quoted in exh. cat., Foujita, peindre dans les années folles, Paris, Musée Maillol, 2018, p. 119.) The Japanese painter Léonard Tsuguharu Foujita achieved this renewed aspiration to depict the unadorned female figure through a series of paintings known as the 'milky white' nudes. A leitmotiv of the Western artistic canon, this exploration initiated one of Foujita's most prolific and successful bodies of work, much praised by his contemporaries since the early 1920s. The present Nu assis, with her pearly skin and daring pose, was painted at a key moment of the artist's life trajectory, in the twilight of the so-called 'Années folles à Montparnasse' and shortly before he embarked on long travels between Japan and the Americas. In 1929 Foujita was at the highest point of his career: among the most celebrated figures of the École de Paris, he was one of the few artists of this school to achieve commercial success in his lifetime. Together with public acclaim, his luxurious and extravagant lifestyle attracted the attention of the French tax authorities to whom he owed a hefty sum. His following tour in Japan with his wife Lucie Badoul ('Youki') was thus also motivated by the need of exhibiting - and selling - his Parisian works. The museums and the newspapers in Tokyo were thrilled with the return of the local artist-idol after 16 years. In just 70 days, the travelling exhibition attracted more than 70,000 visitors, an unprecedented number for a modern artist. After all, Japan's recent opening to the West with the Meiji Renovation had stimulated a great cultural curiosity towards Europe. That same year he took part in the First Salon of Japanese Painters at Galerie La Renaissance and he chaired the committee for the Art Japonais: école classique contemporaine show at the Musée du Jeu de Paume in Paris.Foujita was effectively an artist suspended between two worlds, masterfully capable of inhabiting and bridging them both. Nu assis stands as a testament to this new blended aesthetic language, harmonising Eastern technique and Western canonical subject matter. At the beginning of the 20th Century, the nude had emerged as a symbol of artistic evolution and renewal, inspiring many contemporary artists to infuse their creative flare into the genre. This included renowned figures such as Henri Matisse, Pablo Picasso, and Amedeo Modigliani, all personally close to Foujita. His originality resided in a graphic technique previously unseen in the Western tradition of oil painting. The precise and delicate outlines of the present figure echo the traditional Japanese sumi-e style. The ink was applied by Foujita using a menso, the thinnest brush in traditional Japanese painting. This fine black line defines the border between the woman's opalescent skin and the pearly background, obtained using a technique Foujita called nyuhakushoku (chalk white, or literally 'milky whiteness'), typical of Japanese lacquerware designs. The mesmerising quality of this iridescent and smooth fond blanc (the exact composition of which he never disclosed), made his late 1920s and early 1930s works to be his most sought-after. Beyond pure technical concerns, the serenity of Foujita's calligraphic line marks an innovative aesthetic language, where the almost monochromatic nude emits an aura of purity and silence. Within this stillness, the model's body seems to pulsate, acting on the viewer's sense of touch. The artist's outstanding draughtsmanship and colourism are evident in the intricately detailed depiction of the model's wavy hair, casting a golden halo around her face. The vibrant muscular quality of her body, in conjunction with the marble-like surface, evokes that same sculptural conception of painting famously defining the oeuvre of Michelangelo (1475-1564), one of the Renaissance masters that Foujita idolised. His fascination with the classical nude can be traced back to his years as a copyist at the Musée du Louvre. One cannot help but notice the resemblance of Foujita's Nu assis to Rembrandt's Bathsheba at her bath (1654), which still hangs within the Louvre, having also inspired artists such as Pablo Picasso, Edgar Degas and Paul Cézanne. The present model's relaxed pose, with her nude torso twisting suggestively toward the viewer as she rests upon her left hand, her thighs outstretched across sensuous white drapery, appear to evoke a direct reference to Rembrandt's Bathsheba. Like her predecessor, Foujita's sitter's face is gently framed with copper-coloured hair, as her surroundings suspend her in an almost dreamlike atmosphere, like a sacred apparition. In this, Foujita achieves a deep assimilation of the finest tradition of Western painting by accomplishing a renewed conception of the nude suffused with melancholy and complexity of thought.Such introspective depiction of the female body also stems from Foujita's profound connections with women, testified to by his lifelong dedication to immortalising them in his art. Experiencing the loss of his mother at just five years old, he received close care and attention from his sister, her friends, and the family's female servants, towards whom he developed a deep personal affinity. Over the course of his life, all five of his wives would pose nude for his paintings. These devoted female models were able to infuse his work with a renewed vitality: 'I use models not only to produce my works but above all the way that food nourishes the body. Also like food, I have tried to absorb as much nutritious substance from them as possible' (Foujita quoted in S. Buisson, Foujita, Inédits, Paris, 2007, p. 127). While most of these pieces are cropped below the breasts, navel, or pubic area, the present work stands out due to its more extensive portrayal of the body, marking it a sublime and daring example of the celebrated 'milky white' nude series.Nu assis was acquired by Foujita's dealer, Colette Weil, directly from the artist and it has remained in the same family collection for almost a century, coming now to the market for the first time. It is a portrait of timeless modernity, where the forms of European Art are encased in a faithfully Japanese outline - a masterful example of the artist's unique capability of transcending the dichotomy between western canon and oriental aesthetics.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

AUGUSTE RODIN (1840-1917)Cariatide tombée portant sa pierre, petit modèle signed 'A. Rodin' (on the left side of the base), inscribed with the foundry mark 'Alexis Rudier. Fondeur. Paris.' (on the back of the base) and stamped with the raised artist's signature 'A. Rodin' (on the inside of the base)bronze with dark brown patina44.3 x 28.9cm (17 7/16 x 11 3/8in).Conceived circa 1881, this bronze version cast by the Alexis Rudier foundry in an edition of over 12 between 1902 and 1951.Footnotes:This work will be included in the forthcoming Auguste Rodin Catalogue critique de l'oeuvre sculpté, currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceWalter A. May Collection, Pittsburgh.Florence & Walter A. May, Jr. Collection, Pittsburgh (by descent from the above).Private collection, US (by descent from the above).Private collection, US (by descent from the above).LiteratureG. Grappe, Catalogue du Musée Rodin, Paris, 1944, no. 63 (another cast illustrated p. 27).G. Grappe, Le Musée Rodin, Monaco, 1947, p. 141 (another cast illustrated pl. 43).J-F. Chabrun & R. Descharnes, Auguste Rodin, London, 1967, p. 80 (another cast illustrated).B. Champigneulle, Rodin, London, 1967, no. 56 (another cast illustrated p. 134).L. Goldscheider, Rodin Sculptures, London, 1970, p. 117 (another cast illustrated pl. 20).J.L. Tancock, The Sculpture of Auguste Rodin, The Collection of the Rodin Museum, Philadelphia, Philadelphia, 1976 (other cast illustrated pl. 25).M. Busco, Rodin and His Contemporaries, The Iris & B. Gerald Cantor Collection, New York, 1991 (another cast illustrated pl. 25; marble and stone versions illustrated pls. 22-24 & 26).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Vol. I, Paris, 2007, no. S.477 (another cast illustrated p. 245).Auguste Rodin's Cariatide tombée portant sa pierre, petit modèle is a poignant example of the master sculptor's ability to imbue classical forms with deep emotional resonance. Conceived in 1881-1882 as part of Rodin's monumental project La Porte de l'Enfer ('The Gates of Hell'), this work demonstrates both his innovation in representing human struggle and his shift towards a more personal and expressive approach to sculpture.Rodin's La Porte de l'Enfer was inspired by Dante Alighieri's (c. 1265-1321) La Divina Commedia ('Divine Comedy', c. 1308-1321), particularly the first of the three major sections, Inferno. It was commissioned in 1880 as the entrance to a proposed Musée des Arts Décoratifs in Paris. Although the museum was never built, the monumental portal occupied Rodin for decades, providing the source material for some of his most iconic sculptures, including Le Penseur ('The Thinker') and Le Baiser ('The Kiss') (see, for example, lots 110 and 141). Cariatide tombée portant sa pierre was originally positioned at the top of the left pilaster of the gates, her form bent and crushed by the stone she bears, a metaphor for the weight of human suffering and destiny.A caryatid traditionally refers to an architectural figure, often a female, used as a supportive column or structure in place of a pillar. The origins of caryatids trace back to Ancient Greece, particularly the Erechtheion on the Athenian Acropolis (421-406 B.C.), where six serene women uphold the structure of the temple. However, in Cariatide tombée portant sa pierre, Rodin transforms this classical figure into something far more human and tragic. Rather than a stately, strong column, Rodin's caryatid is crushed under the weight of her stone, a symbol of human suffering and perseverance. This particular version, where she bears a large stone rather than an urn, carries a greater emphasis on the sense of physical as well as emotional burden. The substitution of the stone for the urn in fact came to Rodin at the suggestion of a client.Rodin's interpretation of the fallen caryatid is not merely an architectural ornament but an exploration of the psychological toll of existence. The twisting form, with its hunched shoulders and bent knees, draws the viewer's attention to the weight the figure bears, while her downward gaze and bowed posture suggest a deeper internal struggle. Rodin was influenced by Michelangelo (1475-1564), and, like the Renaissance master, he imbued his figures with a sense of inner turmoil, using their physicality to express emotional states. The art historian Albert E. Elsen described Cariatide tombée portant sa pierre as: 'crucial in Rodin's development, for it was made when he began to move away from Michelangelo's influence as seen in Adam, Eve, and The Thinker. Rodin began to ask himself, 'Why not work directly from life?' The results contributed greatly to his reputation for originality, an explosive productivity in the early years of working on The Gates and an expansion of body language in sculpture' (A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2003, p. 232).The petit modèle of Cariatide tombée portant sa pierre, standing at 44 cm, reflects Rodin's meticulous attention to detail and his ability to translate grand, monumental ideas into smaller, intimate works. The fluidity of the figure's form encourages viewing from multiple angles, each revealing new aspects of the sculpture's shadowing and surface texture. In this model, Rodin juxtaposes smooth, modelled flesh with the rough, craggy surface of the stone, heightening the visual drama and tension.The provenance of this particular sculpture adds to its significance as a work of art. As with Anto Carte's stunning Maternité (see lot 111) it comes to auction for the first time from the esteemed collection of Walter A. May, a renowned Pittsburgh collector, whose discerning eye and passion for art led to the creation of a superb collection in the early 20th century. His name was a staple in the Carnegie Institute's publications and exhibitions of the time, having regularly loaned many works for exhibition when called on to do so.The work stands as a testament to Rodin's mastery, with variations of this model housed in some of the world's most prestigious institutions, including the Musée Rodin in Paris, the Metropolitan Museum of Art in New York, the Musées Royaux des Beaux-Arts in Brussels, the National Gallery of Art in Washington, D.C., and the Victoria and Albert Museum in London. The presence of this sculpture in such distinguished collections underscores its enduring importance and influence in the history of modern sculpture.Cariatide tombée portant sa pierre, petit modèle is a rare jewel at auction, particularly with such concise and illustrious provenance. It is not only a superb example of Rodin's artistic genius but also a work with profound emotional and symbolic depth. Its rarity at auction, combined with its prestigious provenance, makes it a remarkable opportunity for collectors.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

FERNANDO BOTERO (1932-2023)Maternidad signed, stamped with the foundry mark and numbered 'Botero E-A 1/2' (on the back of the chair)bronze with brown patina47 x 19.5 x 32cm (18 1/2 x 7 11/16 x 12 5/8in).Conceived in 1955, this work is from an edition of 6, plus 2 artist's proofs.Footnotes:ProvenanceFoundation Veranneman, Belgium.Private collection, Madrid (acquired from the above in 2000).Thence by descent to the present owner. LiteratureJ.C. Lambert & B. Villegas (eds.), Botero Sculptures, Colombia, 1998 (illustrated p. 205 and n.p.)Renowned for his distinctive style of voluptuous and exaggerated forms, the Columbian artist Fernando Botero has left an indelible mark on the history of art. Acclaimed globally for his instantly recognisable paintings, Botero's venture into sculpture has further enriched his artistic repertoire over course of his career. Under the tutelage of Robert Longhi, a distinguished specialist on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that permeates much of his oeuvre. The canon of art history, especially the European one served as a rich source of inspiration, yet he shifts classical art historical topics into the realm of the everyday and the trivial, infusing them with his own personal experiences and the essence of his native Colombia. Today, Fernando Botero is recognised as one of the most important Colombian modern artists and his works are held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogota. In 1958 and 1992, Botero also participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. Inspired by the great classical masters, from Raphael, Peter Paul Rubens and Titian, to Giotto and Paolo Uccello, Fernando Botero's style is a modern interpretation of the ever-evolving thread of form. After moving to New York in 1990, he continued to develop his trademark style of bulbous and exaggerated figures and animals, drawing inspiration from Rubens' full-figured representations of female beauty. Often profoundly satirical, Botero asserts that his now iconic style - aptly termed 'Boterismo' - allowed him to explore mass and the sensuality of form, as well as to stress notable features in an almost caricature-like manner. 'Sculpture was a natural experience in my evolution because of the obvious sculptural element in my paintings,' Botero acknowledges. 'This was a return to simplicity, to growing indifference to details and to a more geometric awareness of shape.' (the artist quoted in: Botero: Aquarelles, Dessins, Sculptures, Basel: Galerie Beyeler, 1980).Botero first began experimenting with sculpture in 1972, eventually expanding his métier from wood and clay to bronze, the medium in which has best translated the pillowy volumes of his paintings into three dimensions. Since the early 1980s, his summer were dedicated to sculpture, working from a studio in Pietrasanta, a small town on the Tuscan coast that has attracted many famed artist-residents from Michelangelo to Isamu Noguchi and Henry Moore. Botero's sculptures are characterised by the same aesthetic principles that define his paintings – exaggerated volumes, harmonious proportions, and a playful approach to form. Transitioning from canvas to the three-dimensional, Botero has given his iconic subjects a tangible and interactive presence, encouraging viewers to engage on a more physical level. Whilst humour and irony are present in his work, the magnified proportions of Botero's figures can be interpreted as an endearing nod to the pleasure of the tactility of life and beauty explored through the female form.This smooth sensuality and the fertile lyricism of the curvaceous form is palpable in Maternidad. The medium highlights the monumentality of the sculpture and accentuates the enduring timeless quality and solidity of the work. Botero himself recognised the significance of his sculpture within his canon, and the sensorial potential it has on viewers. 'Certainly, in a painting you give the illusion of truth, but with sculpture, you can touch its reality. . . If I paint a knife in my pictures, it's imaginary, but if I sculpt it, then the sensation of having it in your hand is real— it's an object from your spirit, it's a sensual experience even in its execution. It brings a special joy to touch the material with your hands.' (the artist quoted in: 'Botero: A Love Letter to Latin America', operagallery.com, 19 September 2023). Maternidad wonderfully captures the essence of motherhood; the plumpness of the bodies perhaps helps convey this sense of maternal abundance and the fertility associated with motherhood, while her gentle embrace and the placement of her hand on her chest suggestive of a sense of tenderness. Domestic life is a central motif in Botero's body of work, especially women's roles within it. Here, Botero portrays the quintessential woman as both mother and caregiver to her young child combined with the heavy weight of art historical and religious iconography and a sense of shared human experience.Botero's international recognition and ability to transcend geographical and cultural boundaries have boosted the visibility of Latin American artists on the global stage. His contributions to the world of art are substantial and his unwavering commitment to his artistic vision has earned him a notable place in the history of art. Botero's oeuvre serves as a bridge between traditional and contemporary art, developing a melange classical techniques and modern and innovative flair. By embracing diversity and celebrating the inherent charm in each of his subjects, he challenges conventional notions of beauty and representation and forces viewers to reconsider their preconceived notions and stereotypes.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

ATTRIBUTED TO THE MASTER OF THE LANGMATT FOUNDATION VIEWS (ITALIAN FL. 1740-1770) THE GRAND CANAL, VENICE, WITH THE PALAZZO BALBI Oil on canvas 52 x 88cm (20¼ x 34½ in.) Provenance: Leonard Koetser, London, 1915 Sale, Christie's, South Kensington, 9 July 2004, lot 205 The attribution takes it's name from the eponymous works in the Langmatt Foundation, Baden, comprise a set thirteen venetian views. (See the exhibition catalogue, Mythos Venedig, Baden, June-October 1994, pp. 62-117).Palazzo Balbi is situated on the Grand Canal. It was built in1582, under design by Alessandro Vittoria as the residence of the Venetian patrician family of the Balbi. In the 19th century it was acquired by Michelangelo Guggenheim. It is now the seat of the President of the Veneto region and of the regional council.   Condition Report: The canvas has been lined and cleaned. Rubbing and abrasions to the framing edges. Fine craquelure throughout however the paint surface appears stable. Stretcher marks partially visible, together with some associated in-filling along the upper and right edges. This is visible in a natural light. Some other in-filling scattered throughout but mainly to the sky, is also visible in daylight. Inspection under UV light reveals light retouching scattered throughout.Condition Report Disclaimer

MICHELANGELO MEUCCI (ITALIAN 1840 - 1901) ROBINS; GOLDFINCHES; BLUEBIRDS Oil on canvas, a set of three Each signed, inscribed and dated 'Firenze 1901' (lower right) Each 45 x 27cm (17½ x 10½ in.) (3) Condition Report: The works have not been lined. Stretcher marks visible. Some superficial surface scratches and craquelure. Overall the works appear to be in good original conditionPlease note Dreweatts is not responsible for any damage to framesCondition Report Disclaimer

Michelangelo cruise ship model in painted and lacquered wood. 20th century. Defects. 40x155x22 cm approx. Modellino di nave da crociera Michelangelo in legno dipinto e laccato. XX secolo. Difetti. 40x155x22 cm ca.

FROM THE LIBRARY OF WILLI SOUKOP RA A collection of volumes on art history and decorative artistic practice, to include Memoirs of the Colombo Museum: Bronzes From Ceylon by Amanda Coomaraswamy (inscribed to Soucop); titles on Goya, Michelangelo and Picasso etc.; together with The Philosophy of Astrology by Manly Palmer Hall (first edition pub. 1943) etc. Provenance: Willi Soucop RA (1907-1995), Austrian sculptor and early teacher of Dame Elizabeth Frink. Condition Report:Available upon request