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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)

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

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

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

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)

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

"David" nach Michelangelo, Bronze, 20.Jh. auf Felssockel stehender Akt, Marmorsockel HxBxT 38x12,5x11cm

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".

Davent, Leon -- Michelangelo im Alter von 23 Jahren. Radierung. 14,4 x 9,3 cm. Herbet 224 (Appendice), Kat. The French Renaissance in Prints, Los Angeles 1994, Nr. 53, nicht in Jenkins. Die sehr seltene Darstellung des jugendlichen, gedankenversunkenen Michelangelo wurde, trotz fehlendem Monogramm, schon von Renouvier dem Meister L.D. zugeschrieben und geht wohl auf Marcantonio Raimondis Komposition von der "Vision der hl. Helena (gedankenversunkene Frau)" zurück (B. 460). Ganz ausgezeichneter, gleichmäßiger Druck, bis auf die stellenweise gratige Plattenkante beschnitten. Vorzüglich erhalten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Lucchese, Michele -- Der Traum. Kupferstich nach Michelangelo Buonarroti. 44,3 x 29,9 cm. Vor 1545. Nagler, Die Monogrammisten, IV, 1977, 14; Kat. Michelangelo’s Dream, hrsg. v. Stephanie Buck, Courtauld Gallery, London 2010, Kat. Nr. 14., S. 167 ff; A. Alberti (La fortuna di Michelangelo nelle stampe del cinquecento, Mailand 2015) 243 II. Wz. Tulpen in Wappenschild mit Stern (Woodward 124 A).Michelangelos Zeichnung, die der vorliegende Kupferstich wiedergibt, wurde seit dem 16. Jahrhundert als Der Traum bezeichnet (Courtauld Gallery, Inv. D.1978.PG.424). Sie steht im zeitlichen Kontext einer Werkgruppe mit allegorischen Inhalten, den sogenannten "Präsentationszeichnungen", die der berühmte Künstler seinem Schüler und Freund aus römischem Adel Tommaso de‘ Cavalieri schenkte. Die Arbeiten erregten schon zur Zeit ihrer Entstehung und Schenkung Aufsehen, wurden vielfach kopiert und nachgestochen. Das geschah zu Beginn in einzelnen Initiativen ganz unterschiedlicher Verleger und Künstler, entgegen der früheren Auffassung, Antonio Lafreri hätte diese Zeichnungsgruppe als ganze und als erster nachstechen lassen (Michel Bury, "The Dream, after Michelangelo", in: Kat. 2010, S. 66 ff.). Die erste, hier vorliegende graphische Nachbildung desTraumes ließ hingegen Michele Lucchese, der in diesem Fall als Verleger auftrat, durch einen heute nicht identifizierten Künstler anfertigen, außerdem weitere Blätter nach Michelangelo, von denen Lafreri anschließend mehrere übernahm. Eine Nicolas Beatrizet zugeschriebene Kopie nach unserem Blatt wurde früher fälschlich als erster Stich nach dem Traum eingeordnet.In einer traumartigen Umgebung, in der aus wolkigen Schleiern Figuren hervortreten, liegt ein nackter Mann auf einem Kasten, in dem unten Masken mit verzerrter Mimik zu sehen sind. Er stützt sich auf eine Sphäre, während ein Genius oder Engel mit einer Trompete direkt an seine Stirn bläst. Die kleinen, halbkreisförmig um die Hauptfigur angeordneten Szenen werden als allegorische Bilder der Todsünden interpretiert (vgl. Matthias Vollmer: "The Vices in Michelangelos Dream", in: Kat. 2010, S. 27-37): von links nach rechts die Völlerei (Gula), die Wollust (Luxuria), der Geiz (avaritia), der Zorn (ira) und die Trägheit (acedia); der Neid (invidia) ist implizit in avaritia und ira vertreten. Die Hauptfigur verkörpert nach dieser Interpretation mit der Weltkugel die siebte und höchste Sünde des Geistes, den Hochmut (superbia), den der Protagonist im Begriff ist, zuletzt zu überwinden. Die überwundenen Sünden werden sinnbildlich in den abgelegten Masken unten gesehen. Michelangelo verwendete in seinen Sündenszenen kaum gängige allegorische Elemente der Todsünden, sondern entwickelte eine ganz eigene Ikonographie, die vor allem in ihrer expliziten Erotik zum Thema der Luxuria mit mehreren Phallusdarstellungen ungewöhnlich ist. Die erotischen Elemente hier und in einigen der "Präsentationszeichnungen" werden als Ausdruck seiner unterdrückten Gefühle und seiner Neigung zu dem Adressaten Cavalieri verstanden. Ganz ausgezeichneter, fein zeichnender Frühdruck mit Plattenton und Wischkritzeln, mit Rand um die teils gratig druckende Plattenkante. Unmerkliche geglättete Mittelfalte, unten eine horizontale Quetschfalte vom Druck, an den Rändern leicht gebräunt und rechts mit einer Kreideannotation, ansonsten in unberührter Erhaltung. Selten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Michelangelo MaestriRom 1741 – 1812 Rom, NachfolgeWeiblicher AktÖl auf Papier auf Karton34 x 25 cm, mit Rahmen 38 x 30 cmRückseitig Etikett

Joseph Nollekens (British, 1737-1823): A carved marble portrait bust of William Pitt the Younger (British, 1759-1806)The sitter looking slightly to dexter, signed and dated to the rear Nollekens Ft. 1810, the waisted circular socle inscribed to the front R.T HON. BLE WILLIAM PITT, BORN MAY 28.TH 1759, DIED JAN.Y 23. D 1806, 71cm high overall, 43.5cm wide, 28cm deep approximatelyFootnotes:ProvenanceChristie's, South Kensington, London, 9 April 2003, Lot 492.Private collection.Sotheby's, London, Old Master Sculpture & Works Of Art, 4 December 2018, Lot 113. William Pitt the Younger (1759-1806) became Prime Minister at the age of 24 in 1783. Critical of King George III's influence on Parliament, he sought to limit the monarchy's authority. His greatest opponent was Charles James Fox, with whom he shared a common goal of promoting parliamentary reforms that would enhance freedom. He served in office for nearly half his life and led the nation through the most tumultuous years of the Napoleonic Wars, dying at the age of 46. However the constant stress of his years in power exacerbated by copious amounts of port (ironically recommended by his own doctor for ill health) left him utterly drained. Those who saw him in his final weeks described him as a frail and worn-out man with lifeless eyes and a hollow voice. This was undoubtedly because although Lord Nelson's triumph at Trafalgar had averted an imminent invasion, Napoleon's decisive victory at the Battle of Austerlitz made him supreme ruler of continental Europe. This devastating defeat shattered the fragile alliance that Pitt had spent years carefully crafting. The news of Austerlitz was widely perceived as the final fatal blow to Pitt's political career and he reputedly uttered the immortal words, 'Oh my country! How I leave my country...' just prior to his untimely death in early 1806..Nollekens's sculpture of Pitt, who became Britain's youngest prime minister, remains one of his most renowned works, despite being created during an unflattering period in Pitt's life. During the Premier's lifetime, Pitt and Nollekens had a disagreement over the inscription on a sculpture commemorating three naval captains: William Bayne, William Blair and Lord Robert Manners. The monument remained unveiled for several years after its completion because Pitt refused to supply the eulogy. In frustration, Nollekens turned to the monarch for help, enraging Pitt, who refused to pose for the artist. As a result, Nollekens's portrait of Pitt, which was ultimately created using a death mask, was completed posthumously. The original sculpture, created in 1806, can be found in the possession of the Earl and Countess of Rosebery at their residence, Dalmeny House, located just outside Edinburgh. The offered bust exhibits similar characteristics to this bust, including finely carved locks of hair to the sitters' head. Nollekens and his workshop are thought to have produced over seventy replicas of this celebrated bust, providing the sculptor with a steady income in the later part of his life.A comparable bust of William Pitt was sold Christie's London, 7 December 1993, lot 88, signed and dated 'Nollekens Ft. 1807'. Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233).Related LiteratureAileen Dawson, Portrait Sculpture, A catalogue of the British Museum Collection c.1675-1975, British Museum Press, 1999.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Joseph Nollekens (British, 1737-1823) A carved white marble bust of Samuel Bateman DashwoodThe sitter with curling hair looking to dexter, his shoulders clad in classical folded drapery, signed and dated to the rear Nollekens Ft./1812, raised on turned circular socle, 68cm high overall, 45cm wide, 27cm deep approximatelyFootnotes:ProvenanceChristie's South Kensington, 18 September 2002, lot 568;Private UK collection.Sothebys London, Old Master Sculpture & Works Of Art, 4th December 2018, lot 110.Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233).LiteratureI. Roscoe, E. Hardy and M. G. Sullivan, 'A Biographical Dictionary of Sculptors in Britain, 1660-1851', London, 2009, p. 909, no. 306This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Joseph Nollekens (British, 1737-1823) A carved white marble bust of Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834)The sitter looking slightly dexter, his shoulders clad in folded classical drapery, raised on a turned circular socle, 67cm high overall, 47cm wide, 23.5cm deep approximatelyFootnotes:ProvenanceProbably commissioned by the sitter Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834), 1812;Then by descent to his son William Cavendish, 7th Duke of Devonshire (1808-1891);Then by descent to Peregrine Andrew Morny Cavendish, 12th Duke of Devonshire (b. 1944), Chatsworth House, Derbyshire;Sold Sotheby's, Chatsworth: The Attic Sale, 5-7 October 2010, lot 364.Sothebys London, Old Master Sculpture & Works Of Art, 4th December 2018, lot 109. ExhibitedLondon, Royal Academy of Arts, 1813, no. 925.LiteratureDevonshire House Inventory, 1892, possibly p. 37, in the South Sitting Room 'Bust of Cavendish';Chatsworth Handlist of Paintings and Sculpture, nd, 28;A. Graves, The Royal Academy of Arts, A Complete Dictionary of Contributors and their work from its foundation in 1769 to 1904, London, 1905, p. 382;S. Upton, 'Private Chatsworth', The World of Interiors, October 2001, p. 248;I. Roscoe, E. Hardy and M. G. Sullivan, A Biographical Dictionary of Sculptors in Britain, 1660-1851, London, 2009, p. 909, no. 314George Cavendish was the third son of William Cavendish, 4th Duke of Devonshire and his wife the former Lady Charlotte Boyle, daughter of Richard Boyle, 3rd Earl of Burlington. He later became Earl of Burlington of the second creation, a title held by his maternal forebears. Famously wealthy, Burlington purchased Burlington House from his nephew, the 6th Duke of Devonshire, and constructed London's Burlington Arcade along the west side of his residence, which itself was significantly elaborated.Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233)This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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.

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)

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

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