VISCONTI, TWO FOUNTAIN PENS REMBRANDT A PURPLE FOUNATAIN PEN, 2009 Cap and Barrel: Amethyst marbled resin with palladium clip and bands Nib and Filling System: Steel medium nib, cartridge filling system, uninked Accessories: Visconti box, outer box with bottle of ink, Visconti booklet and outer card box MICHELANGELO A BLUE FOUNTAIN PEN Cap and Barrel: Navy blue resin with palladium clip and bands Nib and Filling System: White gold medium nib stamped 14K 585, cartridge filling system, uninked Accessories: Visconti box, Visconti booklet and outer card box Condition Report: Both pens are uninked and appear unused. The packaging has some storage wear and marks, but otherwise good. Condition Report Disclaimer
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Margaret Bryan (Nottingham, 1903-1988), three unframed engravings of Old Masters, "The Deluge" 9/30, approx. 20cm x 20cm; "Decorative Figure from the Ceiling of the Sistine Chapel" after Michelangelo, 4/50, approx. 20cm x 25.5cm; and "The Deluge" (detail), 1/20, approx. 20cm x 25.7cm. (3) Some foxing, marks and wear, fraying to edges.
PAUL MAXIMILIEN LANDOWSKI (1875-1961) | POEM WITH DEDICATION AND SIGNATURE (POLAND / POLISH) | 1939 | profession: Sculptor | country: Poland / France | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten poem dedicated to Karel Safranek | Lot information |Handwritten poem dedicated to Czech sculptor Karel Safranek. The text reflects the strength of the human spirit and its resilience against obstacles, while also paying tribute to the art of sculpture. The author compares Safranek's work to the masterpiece of the divine Michelangelo and extends his admiration to other artists as well. This unique manuscript is not only a literary artifact but also a rare testament to the artistic connections between creators from different fields.
This evocative original oil on canvas was painted after Italian painter Caravaggio's The Calling of St Matthew, originally commissioned for the Contarelli Chapel in Rome. Set in a dimly lit tavern, the interplay of light and shadow exemplifies Caravaggio's pioneering use of Tenebrism and chiaroscuro, which this piece replicates. Reproductions of Caravaggio's works gained popularity during the 19th and 20th centuries, when art enthusiasts sought to study and appreciate his contributions to Baroque art. This reproduction is a testament to Caravaggio's enduring influence and the timeless appeal of his masterpieces. Signature on lower right: WJB, illegible. Artwork dimensions: 19"L x 23.50"H. Frame dimensions: 24"L x 28"H x 1.50"W.Artist: After Michelangelo Merisi da Carravaggio (Italian 1571-1610)Issued: 20th centuryDimensions: See DescriptionCountry of Origin: ItalyCondition: Age related wear.
Art. A collection of late 19th & early 20th century pocket artist biographies. The lot to include nineteen titles from the Gowans Art Books series incl. the Masterpieces of Reynolds, Raphael, Goya, Vermeer & Michelangelo among others; eight titles from the Duckworth Popular Library of Art series including Rembrandt, Rossetti, Whistler & the Pre-Raphaelites, along with a number of similar titles incl. Turner's Liber Studiorum miniature edition, Drawings from the Old Masters British Museum Drawings, Fourth Series in glassine wrap, Whistler by Haldane MacFall in glassine wrap, and others. Some in publisher's orig. paper or paper vellum wraps, others in cloth or paper covered boards, generally in smart condition with some edgewear and occ. loss. Small 8vo.
Folio Society. A collection of works on science and philosophy, art & music, including four titles by Richard Dawkins. Comprising The Selfish Gene, The Blind Watchmaker, Climbing Mount Improbable and Unweaving the Rainbow by Dawkins, along with Easy and Not So Easy Pieces by Richard F. Feynman, The Ascent of Man by Jacob Bronowski, History of Western Philosophy by Bertrand Russell, On Liberty by John Stuart Mill, Meditiations and Other Writings by Descartes and Rights of Man by Thomas Paine, Beethoven, Michelangelo, Mozart, Lives of the Engineers by Samuel Smiles (mint in shrinkwrap), Goethe Faust & Delacroix, and History of Western Music by Burtholder, Grout & Palisco. All presented in decorative cloth bindings (bar History of Western Philosophy & Music in leather), and in slipcases. Fine condition, with just very light shelfwear to the slipcases. Largest 4to.
Vittore Carpaccio, La Vie et L'Oeuvre du Peintre, half red morocco, published Librairie Hachette, Paris 1910, inscribed 'Alfred de Rothschild Esq, ... Dec 1909'; John Addington Symonds, The Life of Michelangelo Buonarroti, published by John C Ninno, London 1893, 2 volumes (with uncut pages); and W G Collingwood, The Life and Work of John Ruskin, published by Methuen & Co, London 1893, 2 volumes, bookplate for L de Rothschild, (with uncut pages).
AFTER MICHELANGELO BRONZE FIGURE, of 'Lorenzo de Medici', Duke of Urbino, 74cms (h)Provenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
ANTONIONI MICHELANGELO: (1912-2007) Italian film director whose works include Blowup (1966). Antonioni was the recipient of an Honorary Academy Award in 1995. Signed and inscribed colour 4 x 6 photograph of the director seated in a relaxed full-length pose. Signed in black ink to a light area at the foot of the image. VG
THOMAS AMBROISE: (1811-1896) French composer of the operas Mignon (1866) and Hamlet (1868). A good A.L.S., Ambroise Thomas, four pages, 4to, Paris, n.d. (c.1893), to Arthur Meyer, on the printed stationery of the Conservatoire National de Musique et de Declamation, in French. The letter, a draft copy with several corrections, is written in response to a request for Thomas to write a preface to an edition of Charles Gounod´s last compositions, Thomas stating ´Quoiqu´une preface ne puisse rien ajouter l´interet que ces oeuvres, encore inedites, offriront au public, pouvais-je ne pas m´associer au nouvel hommage que les admirateurs de Gounod se proposent de lui rendre?´ (Translation: ´Although a preface can add nothing to the interest that these works, as yet unpublished, will offer the public, could I not join in the new tribute that Gounod's admirers intend to pay him?´) and continuing ´Je me joins donc a vous de tout coeur en souvenir de l´ami avec lequel j´ai traverse la vie: tous deux egalement passionnes par notre art; ayant tous les deux le culte fervent des grands maitres, et nous aimant de plus en plus a mesure que nous avancions vers le soir de notre existence. L´eloge de l´auteur de Faust n´est plus a faire. Je puis donc, sans me livrer a une analyse detaillee des oeuvres qu´on publie aujourd´hui, me borner a constater ques dans les dernieres pages qu´il a ecrites, Gounod est reste fidele a lui-meme. Les Preludes et fugues pour l´etude preparatoire du clavecin bien tempere de J. S. Bach, morceaux excellents, dignes du grande modele qui les a inspires, temoignent, une fois de plus, de l´admiration que Gounod n´a cesse de professer pour celui dont il dit "J. S. Bach est, en musique une etoile de premiere grandeur; comme Dante, Shakespeare, Michel-Ange, il marque un des ces sommets qui ne se rencontrent pas deux fois dans l´histoire d´un meme art".´ (Translation: ´I therefore join you wholeheartedly in remembering the friend with whom I went through life: both of us equally passionate about our art; both of us fervently devoted to the great masters, and loving each other more and more as we moved towards the evening of our lives. The author of Faust is widely praised. I can therefore, without indulging in a detailed analysis of the works published today, confine myself to noting that in the last pages he wrote, Gounod remained faithful to himself. The Preludes and fugues for the preparatory study of the well-tempered harpsichord by J. S. Bach, excellent pieces, worthy of the great model which inspired them, testify, once again, to the admiration that Gounod never ceased to profess for the man of whom he said "J. S. Bach is, in music, a star of the first magnitude; like Dante, Shakespeare, Michelangelo, he marks one of those summits which do not meet twice in the history of the same art".´), further adding ´Quant a ce Requiem auquel il a travaille jusqu´a son dernier jour, c´est une oeuvre d´une haute valeur, ecrite dans un style severe et pur, ou l´on retrouve l´elevation de pensee, le sentiment mystique qui caracterisent toutes ses compositions religieuses. En nous leguant, pour ainsi dire, ses dernieres inspirations, ne semble-t-il pas que Gounod ait voulu encore nous venir en aide, nous defendre contre des tendances et des exces, contre une philosophie nebuleuse qui, chaque jour d´avantage, menacent de nous faire perdre les qualites essentielles et distinctives de notre race? Ne sont-ce pas, en effet, ces qualites qui constituent le genie de Charles Gounod et la beaute de son oeuvre? L´oeuvre de toute sa vie qui lui a conquis et assure a sa memoire une juste et universelle renommee´ (Translation: ´As for this Requiem, on which he worked until his last day, it is a work of great value, written in a severe and pure style, in which we find the elevation of thought and the mystical feeling that characterise all his religious compositions. In bequeathing to us, so to speak, his last inspirations, does it not seem that Gounod still wanted to come to our aid, to defend us against tendencies and excesses, against a nebulous philosophy which, each day more so, threatens to make us lose the essential and distinctive qualities of our race? Are these not, in fact, the qualities that constitute the genius of Charles Gounod and the beauty of his work? His life's work, which won for him and for his memory a just and universal renown´). A letter of good content in which Thomas writes a moving tribute to Gounod. Some very light staining and minor age wear to the edges, otherwise VGArthur Meyer (1844-1924) French journalist, director of the daily newspaper Le Gaulois.Charles Gounod (1818-1893) French composer of the operas Faust (1859) and Romeo et Juliette (1867) as well as Ave Maria (1853), an elaboration of a piece by Johann Sebastian Bach. Gounod spent his last years composing sacred music and died whilst working on the setting of a Requiem for his granson Maurice, who had died in infancy. Ambroise Thomas was one of the pallbearers at Gounod´s state funeral in Paris on 27th October 1893.
After Michelangelo Buonarroti, Italian 1475-1564- Two Engravings of Scenes from the New Testament: Christ crucified between the two Thieves; and Christ and the Woman of Samaria, engraved by Mario Cartaro; engravings on laid paper, the first with a watermark of an anchor in a circle surmounted by a star (similar to Briquet 563), the second with a watermark of an anchor in a circle, the first 37.1 x 28 cm., the second 37.4 x 28.4 cm., two (2). (unframed / mounted). Provenance: Christie's, London, 25-26 April 1984, lot 533 (with others). Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).Literature: (Cartaro) Nagler 3; Passavant 29; see Bianchi 10 (by Beatrizet, in reverse). Note: These two large and rare engravings, created in the second half of the 16th century, have been largely ignored by earlier catalogues of Italian printmaking. The Crucifixion or Christ crucified between the two Thieves is inscribed in the plate 'Luca Bertelli formis', indicating that it was published by Bertelli, who was working in Venice as a bookseller and publisher, but engraved by another, yet-to-be-identified hand. To our knowledge, the print is not described in any of the literature relating to Bertelli's print production (Le Blanc, Meyer, M. Grosso, etc.). The only other impression we were able to find in public collections is in the Albertina, Vienna; catalogued as engraved by Bertelli after Michelangelo (inv. no. It/II/15/81). Only a few sources (Passavant, Nagler and Bianchi) mention the other print in this lot, Christ and the Woman of Samaria, by Mario Cartaro after Michelangelo, with the address of and published by Ferrando Bertelli, another member of the same family of Venetian librai. It is a copy of an earlier version by Nicolas Beatrizet, (B. 17), in the same direction. A third, anonymous version of the subject was sold at Christie's, London, on 19 January 2021, lot 39.
Michele Lucchese after Michelangelo Buonarotti, Italian fl.1534-1564- and Italian 1475-1564- The Climbers; engraving on laid paper, mid-16th century, with a watermark of a Ladder in Shield surmounted by a Star (similar to Woodward 249, circa 1550-60), a fine impression of this rare print, printing sharply and with good contrasts and depth, with many vertical wiping marks, signed with initials 'ML' (within the plate, lower right), bears collector's stamp for Benjamin Robert Haydon [Lugt 412] (lower right), 28.3 x 23 cm. (unframed / mounted). Provenance: Benjamin Robert Haydon (1786-1846), London (Lugt 412). With P. & D. Colnaghi & Co., London (according the label on the back of the former frame). Private English Collection; gifted to the present owner. Literature: Bartsch 487 (Raimondi, copy); Passavant 16. Note: The present work is informed by Marcantonio Raimondi's (1480-1534) print after a detail from Michelangelo's fresco of the Battle of Cascina for Florence's City Hall, which was commissioned in 1504 but never completed. The original work was viewed by a number of artists, including Raimondi, before being destroyed, and was therefore known by later generations only through the work of these contemporary copyists.
Anne Claude Philippe de Tubières, comte de Caylus, after Michelangelo, French 1692-1765, and Italian 1475-1564- Mercury; etching on laid paper, inscribed 'Michel Ango In' (within the plate, lower left), 'Cab. du Roy' (within the plate, lower centre), and 'C Sculp' (within the plate, lower right), 41 x 22.5 cm. Note: The Comte de Caylus's etching is after an original sketch by Michelangelo (1475-1564) depicting Mercury and Apollo, in reverse, in the collection of the Louvre [INV 688].
Michele Lucchese, after Michelangelo, Italian fl.1534-1564, and Italian 1475-1564- The Prophet Ezekiel; engraving on laid paper, titled and inscribed 'EZECHIEL / M.L. cum privilegio. Ant. Lafrery' (within the plate, lower edge) and 'Michaelangelus inventor' (within the plate, below the figure's feet), bears later inscriptions to the mount, 30.7 x 24.5 cm. (unframed / mounted). Provenance: Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).
* Testa (Giovanni Cesare, active 1630-1655). The Last Communion of Saint Jerome, after Domenichino, circa 1650-55, etching on laid paper, published by Francois Collignon, Rome, trimmed to platemark, sheet size 548 x 360 mm (21 1/2 x 14 1/8 ins), together with other various Italian and French Old Master prints, mostly 17th and 18th century, including several plates from Valentin Lefebvre (circa 1642-1682), Opera Selectiora after Titian and Veronese (1682), Francois Joullain (1697-1778), Apollon Ecorchant Marsyas, after Veronese, Salvator Rosa (Apollo and The Cumaean Cibyl, a copy in reverse), Panini, Nicolo della Casa, Detail from the Last Judgement, after Michelangelo (damaged), etc. QTY: (50)
* Hamilton (Gavin, 1723-1798). The Erythraean Sibyl, after Michelangelo (1475-1574), later 18th century, black and red chalk on laid paper, sheet size 230 x 153 mm (9 1/8 x 6 ins), glued to outer corners verso to later laid cream backing paper, window-mounted, with inscription in pencil to lower right 'Gavin Hamilton (after Michelangelo) [done in Rome: Italian paper]' in the hand of Michael Jaffé, framed and glazedQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.
DEUTSCHER BILDPLASTIKERTätig Anfang 20. Jh.GIULIANO DI LORENZO DE MEDICI Bronze, braun patiniert, auf einer Plinthe und Marmorsockel (H. 3,5 cm). Ges.-H. 30,5, B. 12, T. 12,5 cm, Gew. ca. 5,33kg. Seitlich an der Plinthe Giessereimarke 'R. Bellair & Co. Berlin Friedrichstrasse 182'. Nach dem Original von Michelangelo in der Medici-Kappelle von San Lorenzo in Florenz. Min. ber. und Verlust der Patina.
Antonietta Brandeis, Gondoliere in Venedig, AquarellAntonietta Brandeis,1848 Miskovice, Böhmen, Kaisertum Österreich - 1926 Florenz, österreichische Malerin, Venezianischer Kanal mit einem Gondoliere, seine Gondel steuernd, Aquarell, 34 x 19 cm, r. u. sign.Zur Künstlerin: Antonietta Brandeis studierte in Prag bei Karel Javůrek und ab 1867 als erste Frau an der Akademie in Venedig bei Michelangelo Grigoletti. Sie blieb in Italien wohnen und bediente mit ihrer Vedutenmalerei die Italientouristen. Brandeis malte auch in anderen italienischen Touristenorten wie Bologna, Florenz und Rom.
Kleines Graphikkonvolut mit 7 Arbeiten, u.a. Albin Brunovsky, Leo Zogmayer, Otto W. Eglau, Olav Jenssen u. Hans HartungAlbin Brunovsky, 1935-1997, Lady with a hat III, Radierung, 1981. 39,5 x 29,5 cm / Leo Zogmayer, *1949, o.T., Radierung mit Kohlezeichnung, 1983, 50 x 38 cm, signiert / Unbekannt, Zeichnung/Mischtechnik, 34 x 27 cm, signiert, datiert (19)74 / Unbekannt, "Thanks to Michelangelo", Farbradierung, 20 x 26,5 cm, signiert / Otto Wilhelm Eglau, 1917-1988, Schiffsbug mit Seilen, Farbradierung, 49 x 59,5 cm, signiert, datiert (19)61, num., betit. / Olav Christopher Jenssen, *1954, Farblithographie, 32 x 21,5 cm, signiert / Hans Hartung, 1904-1989, Plakat Moderne Galerie Otto Stangl 1958
ITALIAN SCHOOL (17TH CENTURY) AN IGNUDO FROM THE SISTINE CHAPEL VAULT, AFTER MICHELANGELO Black chalk, with stumping, and squared black chalk 29 x 23.5cm (11¼ x 9¼ in.) With two collection stamps (lower right and left) Provenance: G. Vallardi (L. 1223). Condition Report: The sheet of paper presents various apparent tears to the edges, most notably to the lower left and upper left corner. Various creases are visible, as well undulation of the paper. A quite apparent crease is also present on the leg of the nudo.Condition Report Disclaimer
Andre Durand (b.1947) Canadian "Androles and the Lion" Signed and dated 1980, oil on canvas, 73cm by 108cmCanadian-born Durand draws influence from the Old Masters such as Titian, Michelangelo, Velázquez and Rubens.Spending the majority of his time between London and Italy, Durand is most celebrated for his classical and allegorical portraits, including a series of works depicting Princess Diana. However, he has painted many official portraits including those of Pope John Paul II, the 14th Dalai Lama and the Irish novelist Elizabeth Bowen, which is housed in the National Portrait Gallery in London.
Books – Art and architecture: Ruskin (John, LLD, 1819-1900), Aratria Pentelici, Seven Lectures on the Elements of Sculpture, 1st edn., 1890, 12mo, xii + 283pp, 21 engr. plates; The Seven Lamps of Architecture, 1890, xviii + 401pp, engraved frontis. with tissue guard and 13 other plates, both Orpington & London, George Allen, 1890, 12mo, marbled edges and endpapers, bound full calf with gilt embossed arms of Shrewsbury School to front board, five raised bands, gilt plines & titles to spines; Duppa (R., LLB, 1770-1831), Michel Angelo, and de Quincy (Quatremère, 1755-1839), Lives of the Italian Painters, bound together, London, David Bogue, 1846, 12mo, vi + 474pp, engr. tonod of Michelangelo frontis., marbled edges and endpapers, bound full calf with gilt lines, five raised bands, gilt lines and titles to spine (titles rubbed, fr. board loosening) (3)
A finely detailed scale model of the SS Michelangelo, a renowned transatlantic ocean liner operated by the Italian Line (Societa di Navigazione Italia). The Italian Line was established in 1932 and became synonymous with luxury, innovation, and Italian craftsmanship during the golden age of ocean liners. The Michelangelo was launched in 1965, representing the peak of post-war Italian shipbuilding. Designed by naval architects Nino Zoncada and Gustavo Pulitzer-Finali, the ship was famous for its advanced hydrodynamic design, modern amenities, and stylish interiors that reflected the elegance of Italian mid-century modernism. The SS Michelangelo, along with its sister ship SS Raffaello, was built to serve the prestigious North Atlantic route, connecting New York and the Mediterranean. It also catered to Caribbean cruises, offering passengers an unmatched experience of luxury and comfort. Despite its short service life, the Michelangelo became an icon of maritime history, celebrated for its aesthetic and technical achievements. This meticulously crafted model captures the grandeur of the Michelangelo, featuring lifeboats, detailed deck structures, and masts. The model is encased in a custom acrylic display case with etched lettering highlighting its Mediterranean and Caribbean routes. Manufacturer History: Italian Line's shipbuilding legacy is a hallmark of Italy's maritime history. With origins dating back to the 19th century, the company became a leader in ocean liner luxury, producing iconic ships like the Rex, Andrea Doria, and the Michelangelo. This ship model is a testament to the Italian Line's legacy and would make a prized addition to any maritime or collectible display. This item has a base included. Dimensions: 26.25"L x 3.50"W x 7"HCondition: Age related wear.
Juan Baptista Franconio. Late 16th century, based on the casting of Michelangelo Buonarroti's model."Christ"Gilded bronze sculpture with silver perizonium.22.5 x 21 cm.Cross Size: 52,5 x 29 cm.Magnificent gilded bronze Christ. This is one of the pieces obtained by casting bronze from the model by Michelangelo, which Juan Baptista Franconio, an Italian silversmith, brought to Seville in 1597 from Rome, where he settled.The significance of the Christ by Michelangelo was such that it was one of the inspirational works of art that led Juan Martínez Montañés to create his Christ of the Chalices. Francisco Pacheco recounts this in his posthumously published "Art of Painting" in Seville in 1649.He mentions that Martínez Montañés made this sculpture following the posture of another Christ, describing it as follows: "Michaelangelo, the illustrious light of painting and sculpture, made a crucifix with four nails for a model, which we can now enjoy. Juan Baptista Franconio, a brave silversmith, brought it to this city, cast in bronze, in 1597, and after enriching all painters and sculptors with it, he gave the original to Pablo de Céspedes, a canon of the Holy Church of Córdoba, who held it with great esteem around his neck." It is now known that the original is, for the moment, unaccounted for.Pacheco also specifies in his writing that he applied on January 17th (1600) a matte polychrome to the first of these four-nail crucifixes he cast.One of the painters whose work was enriched by being able to capture such a sculptural marvel on canvas, was Diego Velázquez, due to family ties, as he was Pacheco's son-in-law. In Anselmo López Morais' article “Crucifijo de Miguel Ángel (Un ejemplar en colección particular de Orense)” (Crucifix by Michelangelo (A specimen in a private collection in Ourense))' the 'two portraits he made in 1620 in Seville of Mother Jerónima de la Fuente (one in the Prado Museum in Madrid and another, where [the crucifix] can be seen clearly, in the Fernández Araoz Collection, also in Madrid)' are mentioned.Precisely this article is very useful in order to contrast similarities between this sculpture and the one mentioned by Michelangelo cast by Franconio. Among other things, it states: "The news from Pacheco was collected by Manuel Gómez-Moreno who, intrigued for a long time by a series of metal images obtained by casting, attributes them, with many doubts, to the Granada sculptor Alonso Cano, but later identifies them as those obtained from the Crucifix by Michelangelo mentioned in the 'Art of Painting'."López Morais continues quoting Gómez-Moreno to define the detailed characteristics of the 22 cm Crucifix: "it imposes by its very sobriety of resources, an imposing start that enlarges such a small work, [and] the body hangs limp, with absolute mass symmetry, as in real life; the head, which is small, falls on the chest and leans slightly to the right; the hands contract, clenched; the left leg crosses over the right, as revealed by Saint Brigid, flattening the calf upon contact, and the foot is deformed by the pressure of the nail; the almost embryonic nature of his virile organs matches a narrowness of hips that gives predominance to the chest over the other members; the belly sinks, and the complexion, emaciated, accentuates bony reliefs rather than muscles, except in the arms where tension makes even the arteries visible, but it is all modelled with unsurpassed delicacy and art."In Spain, there are several known silver or bronze specimens considered to be original castings from Franconio. Originals are found in the Museum of Caminos in Astorga, Palacio de Oriente in Madrid, the Gómez-Moreno Museum in Granada, the Caja de Ahorros de Segovia, the Cathedral of Seville, and the Ducal Palace of Gandía, among others. Some others are unsure whether they were cast from the original or even at that time.The Metropolitan Museum of Art in New York has a Christ and the two thieves in its collection with the registration number 37.28a–d, and currently attributes authorship for this figure of Christ as based on a model by Michelangelo Buonarroti. The question arises as to whether it was a casting made in Rome, a hypothesis supported by the context of the set, or whether, like ours, it is one of the examples made from Franconio, which is based, according to the MET, on "the quality of modeling and casting, both crisp and fluid, [which] brings it closer to numerous surviving silver copies in Spain". Reference bibliography:- López Morais, Anselmo. (1988). Crucifijo de Miguel Ángel (Un ejemplar en colección particular de Orense). "Porta da aira: revista de historia del arte orensano", Nº 1, 97-107.- Metropolitan Museum of Art. (s.f.). "Christ and the Two Thieves Crucified". https://www.metmuseum.org/art/collection/search/197995
ATTRIBUTED TO MICHELANGELO MAESTRI (ITALIAN 1741-1812) ALLEGORIES FROM THE DAY AND NIGHT SERIES BY RAFFAELLO SANZIO, CALLED RAPHAEL Mixed media on paper Each 40 x 30cm (15½ x 11¾ in.) In gilt mounted frames (4) Condition Report: Some light spots of surface dirt around the grey, red, and blue painted edges. Light undulation to the sheets under the glazed frames. Unexamined out of glazed frames. Framed measurements: 56 x 46.5cmCondition Report Disclaimer
KPM Berlin Bildplatte "Die Falschspieler" um 1905, links unten signiert GNußmann, Potsdamer Porzellanmaler Georg Nußmann (um 1900 für KPM tätig), rückseitig Pressmarke ab 1825, Präge- und Jahreszeichen für 1901, Ritznummer 237-158. sowie auf Klebezettel handschriftlich bezeichnet, querrechteckige Porzellanplatte mit feiner polychromer Bemalung, Darstellung zweier an einem Tisch sitzender Herren, beim Kartenspiel mit Münzen, vor dunklem Grund, einer mit versteckt gehaltener Karte, der andere mit hinter ihm stehendem Mann als Souffleur, nach Gemäldevorlage des französischen Malers Valentin de Boulogne (1591-1632), unterer Rand mit kleinem Chip (nicht das Motiv tangierend), sonst guter Zustand, Maße Platte 16 x 23,5 cm. Quelle: Bergmann, 1350 Gemälde auf Porzellanplatten, S. 32, Abb. 90. Info: Bis in das 20. Jh. hinein wurde das Originalgemälde fälschlicherweise dem Maler Michelangelo Merisi da Caravaggio zugeschrieben.
TWO BOXES AND LOOSE TOYS, to include a vintage teenage mutant ninja turtle van, made by Playmates toys 2002, Turtle Copter 1990, moto jet by Mirage Studios Inc 2003, Leonardo battle bike 2002, eleven teenage ninja turtle figures Donatello, Leonardo, Raphael, Michelangelo, other figures include Shredder, Super Shredder, Nanotech Monster, two foot soldiers, and armorised shredder, there are also some accessories and other vehicles etc. (2 boxes + loose), (sd/af)
(Art interest) Forty four works 'L'Abecedaire de Jacques Gorde,' hardback, colour illustrations throughout, vg, Association Les Amis de Jacques Gorde, Nimes, 2014; Ernest Ratoff. 'Paul Klee. Art for Children,' some miner finger soiling, vg, A Gemini-Smith Book, Doubleday & Co, New York, 1968; 'Richard Hamilton. Modern Moral Matters,' exhibition catalogue at the Serpentine Gallery, London, 2010; Austin and Howard Mutti-Mewse. 'Frank Worth. Worth Exposing Hollywood,' b+w photographic illustrations throughout, vg, Cinemage limited, London, 2002; Jorn Merkert (ed). David Smith. Sculpture and Drawings,' card wraps, images throughout, vg, Prestel-Verlag, Munich, 1986; Frederick Hartt. 'The Drawings of Michelangelo,' folio, clipped dj, vg, Thames and Hudson, London, 1971; With thirty eight other works including David Hockney, Richard Diebenkorn, British Council Collection, Jack Flam, Vivienne Westwood, David Nash &c. &c. (44 in two boxes)
Roth, Otto: (1907 Bretten - Khe.-Durlach 1992). Michelangelo Buonarroti. Büste nach rechts gewendet. Farbholzschnitt auf Japanbütten nach einem gemalten Selbstbildnis, um 1930. 24,7 x 18.3 cm., Blgr. 34,7 x 25,7 cm. Mit Bleistift sign. u. bez. "Handdruck". O.Roth war Meisterschüler von Ernst Würtenberger an der Karlsruher Akademie. - Ränder tls. fleckig, unten feuchtigkeitsrandig. - Selten.
Konvolut alte Fotographien, 1. H. 20. Jh., u. a. verschiedene Ansichten von Paris, Rom, Venedig, Florenz u. Trier; Fotos von Skulpturen wie David von Michelangelo, Raub der Polyxena von Fedi; Alpenländische Landschaftsfotographien von Bergen und Gletschern aus der Sammlung des Fritz Brothuhn; teilweise auf Pappen montiert, Größen zwischen 15,5 x 21,5 cm u. 27,3 x 35 cm. 4822-0087
A GROUP OF SIX SCULPTURES AFTER THE ANTIQUE 20TH CENTURY Including: Ajax, From the Pasquino group, Augustus after the Prima Porta model, Theseus and the Minotaur, Zeus, Alexander, after Praxiteles, David after Michelangelo the largest measures 50cm high, 50cm wide, the smallest measures 33cm high, 27cm wide Condition Report: PLEASE NOTE: ALL LOTS IN THIS AUCTION ARE NOT AVAILABLE TO VIEW Please note the below condition report is the only one available. With wear, marks, knocks and scratches as per age, handling, use, and cleaning Dirt and discolouration to all Some chips, notably to Alexander's nose (some of which is in an envelope) Distressed appearance and uneven surface wear to Zeus Augustus' wooden spear has snapped, there is some restoration, notably to index finger on right hand and the marble base is crackedThe above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. PLEASE NOTE: ALL LOTS WILL BE AVAILABLE TO COLLECT FROM SACKVILLE WEST STORAGE IN ANDOVER, SP10 3SA, TWO DAYS AFTER THE AUCTION. Condition Report Disclaimer
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