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
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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
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)
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
Possibly Venetian, 16th CenturyOn a later wood cross.Height of figure 10 1/2 inches (26.6 cm), width 9 1/2 inches (24.2 cm), overall 14 5/8 inches (37.2 cm), width 10 3/4 inches (27.3 cm)Sotheby's, New York, January 26, 2012, lot 289ExhibitedSan Francisco, M.H. de Young Memorial Museum, Renaissance and Baroque Bronzes from the Abbott Guggenheim Collection, March 3-September 11, 1988, cat. no. 11 LiteratureL. Camins, Renaissance and Baroque Bronzes from the Abbott Guggenheim Collection, San Francisco, 1988, no. 11, pp. 43-45M. H. Schwartz (ed.), European Sculpture from the Abbott Guggenheim Collection, New York, 2008, no. 42, p. 95 The design of the current corpus is derived from a drawing attributed to Michelangelo, housed in the British Museum under the acquisition number 1895,0915.504. The portrayal exhibits a refined expression and extended limbs, characteristics often linked to the Venetian adherents of Jacopo Sansovino.
Group of two art exhibition posters: 1. Original vintage advertising poster for Michelangelo Drawings Exhibition held in British Museum London. Very good condition, creases in corners, small stain on the left margin. Country: UK. Year: 1975. Designer: after Michelangelo. Size: 76 x 51. 2. Original vintage advertising poster for Michelangelo Drawings Exhibition held in British Museum London. Very good condition, creases in corners. Country: UK. Year: 1975. Designer: after Michelangelo. Size: 76 x 51.
AFTER MICHELANGELO BUONARROTI (ITALIAN 1475-1564) A pair of French bronze sculptures of Day and Night, from the tomb of Giuliano di Lorenzo de' Medici in the Sagrestia Nuova, each signed F. Barbedienne Fondeur and with A. Collas Réduction Mécanique stamp, 16cm high Condition Report:Available upon request
1.Salvation - The Holy Land (Andres Serrano)A photography book by Andres Serrano focusing on religious and sacred imagery, exploring themes of spirituality and iconography.2.Uffizi GalleryA guidebook featuring artworks from the Uffizi Gallery in Florence, Italy, home to Renaissance masterpieces including works by Botticelli, Michelangelo, and Leonardo da Vinci.3.[Book with Furniture Art Cover]Likely a book on modern design or an exhibition catalog, featuring contemporary or minimalist furniture pieces.4.With Space in MindA book focusing on modern art or sculpture, possibly featuring works that explore abstract, space-related themes.Second Row (Left to Right):5.Beeldentuin Kröller-Müller MuseumA book about the sculpture garden at the Kröller-Müller Museum in the Netherlands, highlighting its renowned collection of modern sculptures.6.Van Trajanus tot TajiriThis book likely explores the journey from ancient Roman art (Trajanus) to modern or contemporary artists (such as Tajiri).7.I Promise to Love YouAn art or photography book possibly focused on love as a central theme, presented by Cadic Collection.8.Loss of ControlA book on contemporary art, focusing on the theme of losing control, and potentially examining abstract or avant-garde pieces.9.Guggenheim MuseumA guidebook to the Guggenheim Museum, showcasing its architecture and iconic modern art collection.Bottom Row (Left to Right):10.BelvédèreLikely a catalog or guide from the Belvedere Museum in Vienna, featuring its collection of Austrian art, including works by Klimt and Schiele.11.LouvreA small guidebook for the Louvre Museum, highlighting its vast collection, including the Mona Lisa and other significant works.12.The Metropolitan Museum of Art (Guide)A comprehensive guide to the Met’s extensive collection, covering a variety of artworks from different cultures and time periods.13.The Collections of the British MuseumA book detailing the vast and diverse collection of the British Museum, from ancient artifacts to contemporary pieces.14.National Gallery of IrelandA book showcasing the collection of the National Gallery of Ireland, featuring European and Irish masterpieces.15.Vatican MuseumsA guide to the Vatican Museums, highlighting famous artworks like the Sistine Chapel ceiling by Michelangelo.This lineup appears to be a curated selection of museum and exhibition catalogs, offering an insight into various art collections and exhibitions worldwide.
A Victorian slate clock the second half of the 19th century, the black enamel dial with Roman numerals, flanked by two columns, surmounted by a bronze figure 20th century, a bronze figure, after Michelangelo, of Lorenzo de' Medici, Duke of Urbino, stamped to the base 'Reduction Mecanique A. Collas Brevete',35cm wide16cm deepclock 22cm high, with bronze 60cmCondition ReportThe bronze detached from the clock. Winds and ticks but cannot be guaranteed to keep time. Stamped under the bell. Please see the additional images.
Folio Society, range of Non-Fiction cased Folio Society books to include; The Folio Society Book of The 100 Greatest Paintings, The Folio Society Book of the 100 Greatest Photographs, Michelangelo by Howard Hibberd, Leonardo Da Vinci by Kenneth Clark, Picasso (1961), Renoir (1965), Rembrandt (1963), Toulouse-Lautrec (1958), Egypt Revealed, First Folio, From Atlanta to the Sea, The Hundred Years War, The Siege of Malta, The Voyage of the Frigate Pallada, The Third Crusade, Scotts Last Expedition, The Relief of Lucknow and Shakespeare’s Life and World, The London Journal, Journal of my Service in India, My life on the Plains, The New Newgate Calendar, Journal of the Plague Year, A Memoir of the Forty-Five, Lives of the Most Notorious Pirates, Life of Nelson, The Spy’s Bedside Book, A Short History of Time, Kenneth Clark Civilisation, Life by Richard Fortey, Colour by Victoria Finlay, The Wars of the Roses, The Folio book of Days, The Earth an Intimate History, A Tour through the Whole Island of Great Britain, The Making of the English Landscape, A Voyage Around the Coast of Great Britain. Total books 38. (38)
Lot consisting of a plaster figure of an Alsation dog and girl. A white metal coffee grinder with blue enamel to front, and a white metal mug. A scrap book containing various old cutouts of newspapers. Print posters such as Studio Di Portali Michelangelo, Playful Cherubs, The Pupper Show by Victor G. Gilbert, and similar. (This does not constitute a guarantee) (M)
Pennsylvania: Franklin Center, 1977. Hardcover book rich red bound with gilded motif on the cover. Signed by the author. Irving Stone (1903-1989) was an American author known for his biographical novels. The Agony and the Ecstasy, an 844-page novel, is a richly detailed fictional biography of Michelangelo, chronicling his life, artistic achievements, and the challenges he faced in Renaissance Italy. Artist: Irving StoneIssued: 1977Dimensions: 6.5"L x 2.25"W x 9.5"HManufacturer: Franklin Mint CorporationCountry of Origin: United StatesCondition: Very good.
* Style of Michelangelo Maestri (1741-1812). Three original paintings taken from frescoes at Pompeii & Herculaneum, circa 1830s/40s, 3 gouache paintings depicting various classical scenes, wall frescos and animals, some spotting to the margins, each approximately 170 x 195 mm, uniformly framed and glazed, together with Five engraved Fresco Panels, circa 1810, five hand-coloured engravings after V. Campana and others, large margins, each approximately 330 x 240 mm, uniformly framed and glazedQTY: (8)
Very rare limited edition porcelain figure of Michelangelo sculpting David mounted on wooden base. It is marked on the side with the Capodimonte hallmark, Cordesi, Modello Depositato, 991. Dimensions: 17"L x 18.5"W x 27.5"HEdition Number: 469 of 1500Manufacturer: CapodimonteCountry of Origin: ItalyCondition: Age related wear.
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.
Gustave Moreau, 1826 Paris – 1898 ebendaLEDA MIT DEM SCHWAN, UM 1875Öl auf Holz.25,5 x 17 cm.Links unten signiert „Gustave Moreau“, Verso mit Siegellackstempel von Paul Tesse.In plastisch verziertem Rahmen.Das vorliegende Werk, um 1875 entstanden, stellt den Moment in der griechischen Mythologie dar, als Leda, die Gemahlin des Königs von Sparta, von Zeus verführt wird. Zeus, der sich in Gestalt eines Schwans zeigt, ist in ihre Arme geflüchtet, um Schutz vor einem angreifenden Adler zu suchen. Der Mythos inspirierte Michelangelo (1475-1564), Leonardo da Vinci (1452-1519) und viele weitere Künstler. Wie schon bei Salome oder Helena von Troja nahm Moreau eine bekannte Protagonistin und machte das Thema zu seinem eigenen, indem er seinen Kompositionen eine erotische Erzählung und eine charakteristische traumhafte, sinnliche Ästhetik verlieh. Moreau malte den Mythos von Leda und dem Schwan erstmals 1846 in einem unvollendeten, großen Ölgemälde auf Leinwand mit den Maßen 230 x 205 cm, das sich im Musée Gustave Moreau in Paris befindet. Die Inspiration für diese Szene ist eher klassisch und unterscheidet sich deutlich von seinem späteren Stil, da sie auf ungewöhnliche Weise den Leda-Mythos mit christlicher Bildsprache verbindet, indem er den Heiligenschein hinter dem Kopf des Vogels platziert und Putten eine Krone herbeitragen lässt. Neben dem vorliegenden Werk verzeichnet Mathieu zwei weitere unterschiedliche Ansätze zu diesem Thema aus derselben Zeit: eine Aquarellarbeit en Camaieu mit den Maßen 21 x 12 cm in der Sammlung des Musée Gustave Moreau sowie ein Ölgemälde von 32 x 23 cm in einer privaten Sammlung. Eine etwas spätere Version in Aquarell, um 1882 gemalt und 34,2 x 22,2 cm groß, wurde am 4. November 2011 bei Sotheby's in New York versteigert. Sowohl dieses Werk als auch das Vorliegende zeichnen sich durch ihre besonders kraftvolle Komposition aus, in der die Symmetrie zwischen Leda und dem Schwan in einer V-Form nahe der Bildmitte zusammenläuft. Dieser Effekt wird im vorliegenden Werk noch verstärkt durch Moreaus enge Beschneidung der Komposition um die Figuren. Zudem setzt der Künstler die Diagonale der Schwanenflügel fort, indem er einen Putto hinter Leda hinzufügt, der geduckt sitzt und mit seinem Blick nach oben und nach rechts schaut. Die allgemeine Sinnlichkeit der Szene könnte für den Künstler eine persönliche Bedeutung gehabt haben. Neben den Erzählungen von Andromeda, Pasiphaë und Sappho gehörte Leda und der Schwan zu den mythologischen Themen, die Moreau als Geschenke für Adélaide Alexandrine Dureux (1835-1890) schuf. Die Beziehung zwischen Moreau und Dureux, die über dreißig Jahre andauerte, ist zwar etwas geheimnisumwoben, doch war sie von einer tiefen Freundschaft und vermutlich auch von einer privaten Romanze geprägt.Provenienz:Paul Tesse (dessen Siegel PT auf der Rückseite).Dessen Nachlassauktion: Hôtel Drouot, Paris, 11. März 1876, lot 40.John Saulnier, Bordeaux.Dessen Nachlassauktion: Hôtel Drouot, Paris, 5. Juli 1886, Lot 67.Charles Hayem (1889).Louis Mante (um 1906).Dessen Nachlassauktion: Galerie Charpentier, Paris, 28. November 1956, Lot 9.Christie's, Paris, 15. April 2013, Lot 82.Agnews, London.Literatur:Paul Leprieur, Gustave Moreau, et son oeuvre, 1889, S. 446.Paul Flat, Gustave Moreau, in: La Revue de l'Art et les Artistes, Paris 1926, S. 242 mit Abb.Pierre-Louis Mathieu, Gustave Moreau, sa vie, son oeuvre, catalogue raisonnée de l'oeuvre achevé, Paris 1976, S. 313, Nr. 145, mit Abb.Pierre-Louis Mathieu, Gustave Moreau, Monographie et nouveau catalogue de l'ouvre achevé, Paris 1998, Nr. 166, mit Abb. (als Léda, Le Cygne et l'Amour mit unbekanntem Ort).Ausstellungen:Galerie Georges Petit, Paris, Gustave Moreau, 01. Januar - 31. Dezember 1906, (ausgeliehen durch Louis Mante). (1410372) (13) (†)Gustave Moreau,1826 Paris – 1898 ibid.LEDA AND THE SWAN, CA. 1875Oil on panel.25.5 x 17 cm.Signed “Gustave Moreau” lower left. Lacquer seal of “Paul Tesse” on the reverse. The present work, created ca. 1875, depicts the moment in Greek mythology when Leda, the wife of the King of Sparta, is seduced by Zeus. Zeus appears in the shape of a swan and has fled into her arms to seek protection from an attacking eagle. Moreau first painted the myth of Leda and the Swan in 1846 in an unfinished, large oil painting on canvas measuring 230 x 205 cm, which is held at the Musée Gustave Moreau in Paris. The inspiration for this subject is classical and differs markedly from his later style, as it combines the Leda myth with Christian imagery in an unusual way as it depicts the bird with a halo and putti approach carrying a crown. In addition to the present work, Mathieu records two other different approaches to this subject from the same period: a Camaieu watercolour measuring 21 x 12 cm held at the collection of the Musée Gustave Moreau and an oil painting measuring 32 x 23 cm held in a private collection. A slightly later watercolour version painted ca. 1882 and measuring 34.2 x 22.2 cm, was sold at auction at Sotheby’s in New York on 4 November 2011. This work, as the present one, are characterized by their particularly powerful composition, in which the symmetry between Leda and the Swan converges in a V-shape near the centre of the painting.Provenance:Paul Tesse (his seal “PT” on the reverse).His estate auction: Hôtel Drouot, Paris, 11 March 1876, lot 40.John Saulnier, Bordeaux.His estate auction: Hôtel Drouot, Paris, 5 July 1886, lot 67.Charles Hayem, 1889.Louis Mante, ca. 1906.His estate auction: Galerie Charpentier, Paris, 28 November 1956, lot 9.Christie’s, Paris, 15 April 2013, lot 82.Agnews, London.Literature:Paul Leprieur, Gustave Moreau et son oeuvre, 1889, p. 446.Paul Flat, Gustave Moreau, in: La Revue de l’Art et les Artistes, April 1926, p. 242 with ill.Pierre-Louis Mathieu, Gustave Moreau. Sa vie, son oeuvre. Catalogue raisonnée de l’oeuvre achevé, Paris 1976, p. 313, no. 145, with ill.Pierre-Louis Mathieu, Gustave Moreau. Monographie et nouveau catalogue de l’ouvre achevé, Paris 1998, no. 166, with ill. (as Léda, Le Cygne et l’Amour with unknown location).Exhibitions:Paris, Galerie Georges Petit, Gustave Moreau, 1906, no. 79 (on loan by Louis Mante).
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/Valencia – 1652 NeapelDER APOSTEL PAULUSÖl auf Leinwand.130,3 x 104,5 cm.In mit reliefierten Ornamenten verziertem Rahmen.Beigegeben ein Gutachten von Nicola Spinosa, Neapel, 10. Januar 2020.Zudem ein ausführlicher Restaurierungsbericht von 1991 von Dr. Laszlo Cser, Toronto, Kanada, mit einem angegebenen Versicherungswert von 1.200.000,00 USD.Des Weiteren ist eine Korrespondenz von Felice Vicente Garin Llombart, Museo del Prado, Madrid, 7. Oktober 1991 bezüglich einer Ausstellung von 1992 in Neapel mit einem Versicherungswert von 1.500.000 USD sowie eine weitere eine Korrespondenz mit Spinosa vom 23. Januar 1992 beigegeben, aus der hervorgeht, dass eine Ausleihe des vorliegenden Gemäldes alleine aus logistischen Gründen nicht stattgefunden hat.Vor dramatisch abgedunkeltem Fond die Dreiviertelfigur des Apostel Paulus neben einer mit raffiniert, auf Leinwand übersetzten Oberfläche dargestellten Steinbrüstung stehend. Sein Blick dem Betrachter geltend, hält er in seiner Rechten sein ihm attributiv zukommendes Schwert in Händen, in seiner Linken das geschlossene Buch. Dunkel verschwimmt die Haartracht mit dem Hintergrund, während der Bart sich wirkungsvoll von dem in mächtigen Falten liegendem roten Gewand absetzt, das den gesamten Bildraum zu erleuchten im Stande ist. In seinem Gutachten vom 10. Januar 2020 führt Spinosa aus, dass das vorliegende Werk ein autografes Gemälde von Ribera selbst ist und kurz nach 1630 ausgeführt wurde.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz:Sammlung Edward E. LeMay und Laszlo Ferencz Cser.Musée des beaux-arts de l’Ontario.Literatur:Das vorliegende Gemälde wird erwähnt in: Nicola Spinosa, Ribera, L’opera completa, Neapel, 2006, S. 309 in Bezug auf das signierte und 1632 datierte Gemälde in der Hispanic Society of America in New York (A130): „Di questo dipinto si conoscono due copie antiche, rispettivamente nel Museo Regionale di Messina (...) e, nel 1992, in una privata raccolta a Toronto“.Vgl. Nicola Spinosa, Ribera, La obra completa. Madrid, 208, S. 387, Nr. A 151. (1420001) (13) (†)Jusepe de Ribera,known as “lo Spagnoletto”,1588/91 Xàtiva/Valencia – 1652 NaplesTHE APOSTLE PAULOil on canvas.130.3 x 104.5 cm.In a frame decorated with relief ornaments.Accompanied by an expert’s report by Nicola Spinosa, Naples, 10 January 2020 as well as a detailed restoration report from 1991 by Dr Laszlo Cser, Toronto, Canada.Also accompanied by correspondence from Felice Vicente Garin Llombart, Museo del Prado, Madrid, 7 October 1991 regarding an exhibition 1992 in Naples, with an insurance value of $1,500,000, and further correspondence on the subject with Spinosa on 23 January 1992, stating that a loan of the present painting was only declined for logistic reasons (Canada/Italy).The three-quarter figure of the apostle Paul stands before a dramatically darkened background Paul the Apostle, standing next to a stone balustrade with a ingeniously translated surface on the canvas. His gaze fixed on the observer, he holds his attributive sword in his right hand and a closed book in his left. His hair merges with the background, while his beard stands out effectively against the mighty folds of the red robe, which is able to illuminate the entire pictorial space. Provenance:Collection Edward E. LeMay and Laszlo Ferencz Cser.Musée des beaux-arts de l’Ontario.Notes:In the enclosed expert’s report, dated 10 January 2020, Spinosa states that the present work is an autograph painting by Ribera himself and was executed shortly after 1630.Literature: The present painting is mentioned in: Nicola Spinosa, Ribera, L’opera completa, Naples, 2006, p. 309 in reference to the painting in the Hispanic Society of America in New York (A130), which is signed and dated 1632: “Di questo dipinto si conoscono due copie antiche, rispettivamente nel Museo Regionale di Messina (...) e, nel 1992, in una privata raccolta a Toronto”.Cf. Nicola Spinosa, Ribera, La obra complete, Madrid, Fundación Arte Hispánico, 208, p. 387, no. A 151.
Fra Guglielmo della Porta, um 1515 Italien - 1577 ebenda, zug.VERGOLDETER CORPUS CHRISTIHöhe: 42,5.Breite: 35,5 cm.Stark kupferhaltig Bronze, feuervergoldet. Der Corpus im Dreinageltypus zeigt eine so hochrangige Qualität, dass hier nur nach einem prominenten Bildhauer gefragt werden kann. Eine umfangreiche Dokumentation von Michael Riddick liefert etliche Vergleichsbeispiele, die eine Zuordnung an “della Porta and Colleagues” erlauben. Körperformen, Physiognomie, darüber hinaus auch die feine Durcharbeitung im Detail bekräftigen die Einschätzung zudem. Sämtliche in der angegebenen Literatur abgebildeten Vergleichsbeispiele entsprechen dem hier vorliegenden Werk, vor allem was die Gestaltung der Körperhaltung, der Armwinkelung oder der Detailausführung in Lendentuch oder Bartlocken betrifft. Die technische Aufsührung der allseitig gestalteten Figur im Hohlguss bestätigt zudem eine hochrangige Gießerwerkstatt. Die Feuervergoldung ist an den erhabenen Stellen altersbeding berieben, jedoch ohne ästhetische Beeinträchtigung. Giuglielmo della Porta wurde als Schüler von Michelangelo in Rom vielfach für bedeutende Werke beautragt. Dieser Meister einer bedeutenden Werkstatt arbeitete zunächst in Genua, ging jedoch bereits 1537 nach Rom. Anmerkung:Von della Porta hat sich eine Federzeichnung aus den Skizzen mit Darstellung eines Corpus´ Christi erhalten. Aus der Werkstatt des bedeutenden Bildhauers gingen mehrere Kruzifix-Variationen an hochrangige Auftraggeber, z. T. in Silber gegossen und vergoldet, wie das um 1569 datierte Werk, das sich in der Geistlichen Schatzkammer des KH-Museums in Wien befindet. Ein weiteres vergleichbares Werk (1570/75) zählt zu den Sammlungen des Palazzo Apostolico in Loreto, ebenfalls della Porta zugeschrieben. Ein Beispiel nach etwas späterem Entwurf wurde für den Großherzog Ferdinand I. von Bayern (1593-95) geschaffen. Literatur:Vgl. Michael Riddick, Reconstituting a Cruzifix by Giuglielmo della Porta and his Colleagues. - The Great School of Guglielmo della Porta, Part 2. Vgl. W. Gramberg, Die Düsseldorfer Skizzenbücher des Giuglielmo della Porta, 3 Bde. Berlin 1964.Vgl. Carrol Brentano: Della Porta, Guglielmo. In: Massimiliano Pavan (Hrsg.): Dizionario Biografico degli Italiani (DBI). Band 37: Della Fratta-Della Volpaia. Istituto della Enciclopedia Italiana, Rom 1989. (1421811)Fra Guglielmo della Porta, ca. 1515 Italy - 1577 Ibid. attributedGILDED CORPUS CHRISTI Height: 42.5 cm. Width: 35.5 cm Bronze with a high copper content, fire-gilt.
Italienischer Caravaggist des 17. JahrhundertsGemäldepaarKÜCHENSTILLLEBENÖl auf Leinwand. Doubliert.73 x 93 cm.In Prunkrahmen.Das eine Gemälde zeigt vor schwarzem Hintergrund eine von rechts ins Bild ragende Tischplatte, auf der ein geflochtener Korb mit einem Taubenpaar steht. Über diesem liegt ein erlegter Hase und es hängen daran einige kleine Vögel, sowie drei weitere am linken Rand der Platte. Zwei weitere größere Vögel hängen linksseitig von der Decke herab. Das andere Gemälde zeigt erneut auf einer ganz über das Bild hinweggehende Platte mehrere erlegte Vögel und Federvieh, darunter auch eine Ente, sowie erneut zwei von der Decke herabhängende Vögel. Malerei mit starken Hell-Dunkel-Effekten in der Art des Michelangelo Merisi il Caravaggio (1570/71-1610). (1420416) (18)Italian Caravaggist, 17th century A pair of paintings KITCHEN STILL LIFESOil on canvas. Relined.73 x 93 cm.
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/Valencia – 1652 NeapelSAN ROCCOÖl auf Leinwand.86 x 68 cm.Beigegeben Expertisen von Luigi Salerno; Nicola Spinosa, 15. Oktober 2014; Claudio Strinati, März 2015, jeweils in Kopie. Das Gemälde zeigt einen Mann mittleren Alters lebensgroß im Halbbildnis. Vor olivbraunem Hintergrund hebt sich das von links oben beschienene Gesicht ab, gerahmt von schwarzem Haar und halblangem Bart. Eine hell beleuchtete, von der Kleidung unbedeckte Hautpartie korrespondiert als Lichtfleck zum Gesicht, das mit nahezu einnehmendem Blick auf den Betrachter gerichtet ist. Einen großen Teil der Bildfläche nimmt der Oberkörper ein, bekleidet mit schwarzem Schultercape und dem bauschig darübergelegten braunen Mantel. Der nach links geneigte Kopf lässt dem breitkrempeligen schwarzen Hut über der Schulter Raum. Cape und Hut sind hier Attribute, die eine Benennung des Dargestellten als Rochus erlauben. Das Bild zeigt sich jedoch eindeutig als Portrait eines Zeitgenossen, möglicherweise eine Person namens Rochus, an dessen Namenspatron durch die Attribute erinnert werden soll. Dem Gemälde ist eine weitere Rochus Darstellung Riberas danebenzustellen (Museum Prado, 212 x 144 cm.). Es zeigt den nämlichen Mann, identisch in Kopfhaltung und Physiognomie, jedoch in Ganzfigur und mit den weiteren Attributen des Heiligen: dem Stab, dem Hund mit Brot im Maul, der gemäß der Legende den Heiligen während seiner Abgeschiedenheit mit Nahrung versorgt haben soll, sowie dem vorgestellten Oberschenkel. Bezeichnenderweise jedoch fehlt im Prado-Bild eine Pestbeule am Bein. Dies ist nur erklärbar, wenn es sich auch dort nicht um die Darstellung des Heiligen selbst handelt, sondern um ein Portrait eines Herrn mit diesem Namen, der eben keineswegs Krankheitsmerkmale zeigt, womit das Bein auch dort lediglich als Attributverweis auf den Namen zu verstehen ist.In den Jahren 1631-32 schuf Ribera eine Reihe von Portraitbildnissen, die später in andere Bildzusammenhänge – etwa als Philosophen oder Heilige – eingebracht wurden. Der in Spanien geborene Maler verbrachte jedoch die längste Zeit seines Lebens in Italien, wenngleich der Biograf und Maler Antonio Palomino de Castro y Velasco berichtet, Ribera hätte seine erste Ausbildung bei Francisco Ribalta (1565-1628) erhalten. Dessen brauntonige Malweise hat Ribera jedoch weitergeführt und durch italienische Einflüsse zur Steigerung gebracht. Wann er nach Italien kam, ist nicht bekannt, jedenfalls wissen wir, dass er in Parma und Rom gearbeitet und 1616 in Neapel geheiratet hat. 1626 wird er als Mitglied der Akademie genannt, 1631 als Ritter des Päpstlichen Ordens. Stets noch mit Spanien verbunden, erhielt er Aufträge der spanischen Vizekönige. Die tenebrose Farbskala seiner Werke vermochte gerade Märtyrerdarstellungen, Charakterköpfen oder Philosophengestalten unverwechselbaren Ausdruck zu verleihen. Seine Werke gelten als Höhepunkte in den bedeutendsten Museen und Sammlungen weltweit.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Literatur:Vgl. Nicola Spinosa, Ribera, l’opera completa, Neapel 2006.Vgl. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Köln 2000.Vgl. Alfonso E. Perez Sanchez, Nicola Spinosa, Jusepe De Ribera 1591-1652. Katalog der Ausstellung im Metropolitan Museum. New York 1992,Vgl. Jonathan Brown, Jusepe de Ribera: prints and drawings. Katalog zur Ausstellung im Art Museum, Princeton University, Oktober-November 1973, New Jersey 1973. (1401251) (11) (†)Jusepe de Ribera,also known as “lo Spagnoletto”,1588/91 Xàtiva/Valencia – 1652 NaplesSAINT ROCHOil on canvas.86 x 68 cm.Accompanied by expert’s reports by Luigi Salerno; Nicola Spinosa, 15 October 2014; Claudio Strinati, March 2015, each in copy.The painting shows a life-size half-length portrait of a middle-aged man. His face is illuminated from the top left and stands out against an olive-brown background; it is framed by his black hair and medium-long beard. A cloak and hat are attributes identifying the depicted as Saint Roch. The painting is, however, clearly also a portrait of a contemporary, possibly a person named Roch, whose namesake is intended to be commemorated by the attributes. Another depiction of Saint Roch by Ribera compares well to the present painting (Prado Museum, 212 x 144 cm). It shows the same man, identical in head position and physiognomy, but in full-length portrait and with the Saint’s other attributes: the walking staff, a dog with a loaf of bread in its mouth, which, according to legend, is said to have provided the saint with food during his seclusion, and the saint’s presented thigh. Significantly, however, the plague boil on his leg is missing in the Prado painting. This can only be explained if this is not a depiction of the saint himself, but rather a portrait of a gentleman with the same name who does not show any signs of illness, which means that the leg is only to be understood as an attribute reference to the name. In the years 1631-32 Ribera created a series of portraits that were later incorporated into other contexts – for example as philosophers or saints.Literature:cf. Nicola Spinosa, Ribera. l’opera complete, second expanded edition, Napoli 2006.cf. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Cologne 2000.cf. Alfonso E. Pérez Sánchez, Nicola Spinosa, Jusepe De Ribera 1591-1652, exhibition catalogue, Metropolitan Museum, New York 1992.cf. Jonathan Brown, Jusepe de Ribera: Prints and Drawings, exhibition catalogue, Art Museum, Princeton University, October – November 1973. Princeton University, Princeton, New Jersey 1973.
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)
Books. Three shelves of Old Masters art history reference, 19th c and later, Clark (Kenneth, editor) et al, A Commemorative Catalogue of the Exhibition of Italian Art, held in the Galleries of the Royal Academy [...], 1930, two volume set: text and plates, Oxford Univeristy Press, 1931, original cloth, folio; Ganz (Paul), La Peinture Suisse avant la Renaissance, Paris: Éditions Jean Budry & Cie, 1925, illustrated, original cloth, folio; Bernard Berenson; Wilenski's Flemish Painters, dj, hb, 8vo; Humfrey's The Altarpiece in Renaissance Venice, illustrated, dj, hb, 4to; Renaissance Florence; Michelangelo; Goya and Spanish drawings; Watteau; Albrecht Dürer; Rembrandt and further Dutch art; etc., mixed bindings and sizes
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
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".
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