AUGUSTE RODIN (1840-1917)Cariatide tombée portant sa pierre, petit modèle signed 'A. Rodin' (on the left side of the base), inscribed with the foundry mark 'Alexis Rudier. Fondeur. Paris.' (on the back of the base) and stamped with the raised artist's signature 'A. Rodin' (on the inside of the base)bronze with dark brown patina44.3 x 28.9cm (17 7/16 x 11 3/8in).Conceived circa 1881, this bronze version cast by the Alexis Rudier foundry in an edition of over 12 between 1902 and 1951.Footnotes:This work will be included in the forthcoming Auguste Rodin Catalogue critique de l'oeuvre sculpté, currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceWalter A. May Collection, Pittsburgh.Florence & Walter A. May, Jr. Collection, Pittsburgh (by descent from the above).Private collection, US (by descent from the above).Private collection, US (by descent from the above).LiteratureG. Grappe, Catalogue du Musée Rodin, Paris, 1944, no. 63 (another cast illustrated p. 27).G. Grappe, Le Musée Rodin, Monaco, 1947, p. 141 (another cast illustrated pl. 43).J-F. Chabrun & R. Descharnes, Auguste Rodin, London, 1967, p. 80 (another cast illustrated).B. Champigneulle, Rodin, London, 1967, no. 56 (another cast illustrated p. 134).L. Goldscheider, Rodin Sculptures, London, 1970, p. 117 (another cast illustrated pl. 20).J.L. Tancock, The Sculpture of Auguste Rodin, The Collection of the Rodin Museum, Philadelphia, Philadelphia, 1976 (other cast illustrated pl. 25).M. Busco, Rodin and His Contemporaries, The Iris & B. Gerald Cantor Collection, New York, 1991 (another cast illustrated pl. 25; marble and stone versions illustrated pls. 22-24 & 26).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Vol. I, Paris, 2007, no. S.477 (another cast illustrated p. 245).Auguste Rodin's Cariatide tombée portant sa pierre, petit modèle is a poignant example of the master sculptor's ability to imbue classical forms with deep emotional resonance. Conceived in 1881-1882 as part of Rodin's monumental project La Porte de l'Enfer ('The Gates of Hell'), this work demonstrates both his innovation in representing human struggle and his shift towards a more personal and expressive approach to sculpture.Rodin's La Porte de l'Enfer was inspired by Dante Alighieri's (c. 1265-1321) La Divina Commedia ('Divine Comedy', c. 1308-1321), particularly the first of the three major sections, Inferno. It was commissioned in 1880 as the entrance to a proposed Musée des Arts Décoratifs in Paris. Although the museum was never built, the monumental portal occupied Rodin for decades, providing the source material for some of his most iconic sculptures, including Le Penseur ('The Thinker') and Le Baiser ('The Kiss') (see, for example, lots 110 and 141). Cariatide tombée portant sa pierre was originally positioned at the top of the left pilaster of the gates, her form bent and crushed by the stone she bears, a metaphor for the weight of human suffering and destiny.A caryatid traditionally refers to an architectural figure, often a female, used as a supportive column or structure in place of a pillar. The origins of caryatids trace back to Ancient Greece, particularly the Erechtheion on the Athenian Acropolis (421-406 B.C.), where six serene women uphold the structure of the temple. However, in Cariatide tombée portant sa pierre, Rodin transforms this classical figure into something far more human and tragic. Rather than a stately, strong column, Rodin's caryatid is crushed under the weight of her stone, a symbol of human suffering and perseverance. This particular version, where she bears a large stone rather than an urn, carries a greater emphasis on the sense of physical as well as emotional burden. The substitution of the stone for the urn in fact came to Rodin at the suggestion of a client.Rodin's interpretation of the fallen caryatid is not merely an architectural ornament but an exploration of the psychological toll of existence. The twisting form, with its hunched shoulders and bent knees, draws the viewer's attention to the weight the figure bears, while her downward gaze and bowed posture suggest a deeper internal struggle. Rodin was influenced by Michelangelo (1475-1564), and, like the Renaissance master, he imbued his figures with a sense of inner turmoil, using their physicality to express emotional states. The art historian Albert E. Elsen described Cariatide tombée portant sa pierre as: 'crucial in Rodin's development, for it was made when he began to move away from Michelangelo's influence as seen in Adam, Eve, and The Thinker. Rodin began to ask himself, 'Why not work directly from life?' The results contributed greatly to his reputation for originality, an explosive productivity in the early years of working on The Gates and an expansion of body language in sculpture' (A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2003, p. 232).The petit modèle of Cariatide tombée portant sa pierre, standing at 44 cm, reflects Rodin's meticulous attention to detail and his ability to translate grand, monumental ideas into smaller, intimate works. The fluidity of the figure's form encourages viewing from multiple angles, each revealing new aspects of the sculpture's shadowing and surface texture. In this model, Rodin juxtaposes smooth, modelled flesh with the rough, craggy surface of the stone, heightening the visual drama and tension.The provenance of this particular sculpture adds to its significance as a work of art. As with Anto Carte's stunning Maternité (see lot 111) it comes to auction for the first time from the esteemed collection of Walter A. May, a renowned Pittsburgh collector, whose discerning eye and passion for art led to the creation of a superb collection in the early 20th century. His name was a staple in the Carnegie Institute's publications and exhibitions of the time, having regularly loaned many works for exhibition when called on to do so.The work stands as a testament to Rodin's mastery, with variations of this model housed in some of the world's most prestigious institutions, including the Musée Rodin in Paris, the Metropolitan Museum of Art in New York, the Musées Royaux des Beaux-Arts in Brussels, the National Gallery of Art in Washington, D.C., and the Victoria and Albert Museum in London. The presence of this sculpture in such distinguished collections underscores its enduring importance and influence in the history of modern sculpture.Cariatide tombée portant sa pierre, petit modèle is a rare jewel at auction, particularly with such concise and illustrious provenance. It is not only a superb example of Rodin's artistic genius but also a work with profound emotional and symbolic depth. Its rarity at auction, combined with its prestigious provenance, makes it a remarkable opportunity for collectors.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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FERNANDO BOTERO (1932-2023)Maternidad signed, stamped with the foundry mark and numbered 'Botero E-A 1/2' (on the back of the chair)bronze with brown patina47 x 19.5 x 32cm (18 1/2 x 7 11/16 x 12 5/8in).Conceived in 1955, this work is from an edition of 6, plus 2 artist's proofs.Footnotes:ProvenanceFoundation Veranneman, Belgium.Private collection, Madrid (acquired from the above in 2000).Thence by descent to the present owner. LiteratureJ.C. Lambert & B. Villegas (eds.), Botero Sculptures, Colombia, 1998 (illustrated p. 205 and n.p.)Renowned for his distinctive style of voluptuous and exaggerated forms, the Columbian artist Fernando Botero has left an indelible mark on the history of art. Acclaimed globally for his instantly recognisable paintings, Botero's venture into sculpture has further enriched his artistic repertoire over course of his career. Under the tutelage of Robert Longhi, a distinguished specialist on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that permeates much of his oeuvre. The canon of art history, especially the European one served as a rich source of inspiration, yet he shifts classical art historical topics into the realm of the everyday and the trivial, infusing them with his own personal experiences and the essence of his native Colombia. Today, Fernando Botero is recognised as one of the most important Colombian modern artists and his works are held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogota. In 1958 and 1992, Botero also participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. Inspired by the great classical masters, from Raphael, Peter Paul Rubens and Titian, to Giotto and Paolo Uccello, Fernando Botero's style is a modern interpretation of the ever-evolving thread of form. After moving to New York in 1990, he continued to develop his trademark style of bulbous and exaggerated figures and animals, drawing inspiration from Rubens' full-figured representations of female beauty. Often profoundly satirical, Botero asserts that his now iconic style - aptly termed 'Boterismo' - allowed him to explore mass and the sensuality of form, as well as to stress notable features in an almost caricature-like manner. 'Sculpture was a natural experience in my evolution because of the obvious sculptural element in my paintings,' Botero acknowledges. 'This was a return to simplicity, to growing indifference to details and to a more geometric awareness of shape.' (the artist quoted in: Botero: Aquarelles, Dessins, Sculptures, Basel: Galerie Beyeler, 1980).Botero first began experimenting with sculpture in 1972, eventually expanding his métier from wood and clay to bronze, the medium in which has best translated the pillowy volumes of his paintings into three dimensions. Since the early 1980s, his summer were dedicated to sculpture, working from a studio in Pietrasanta, a small town on the Tuscan coast that has attracted many famed artist-residents from Michelangelo to Isamu Noguchi and Henry Moore. Botero's sculptures are characterised by the same aesthetic principles that define his paintings – exaggerated volumes, harmonious proportions, and a playful approach to form. Transitioning from canvas to the three-dimensional, Botero has given his iconic subjects a tangible and interactive presence, encouraging viewers to engage on a more physical level. Whilst humour and irony are present in his work, the magnified proportions of Botero's figures can be interpreted as an endearing nod to the pleasure of the tactility of life and beauty explored through the female form.This smooth sensuality and the fertile lyricism of the curvaceous form is palpable in Maternidad. The medium highlights the monumentality of the sculpture and accentuates the enduring timeless quality and solidity of the work. Botero himself recognised the significance of his sculpture within his canon, and the sensorial potential it has on viewers. 'Certainly, in a painting you give the illusion of truth, but with sculpture, you can touch its reality. . . If I paint a knife in my pictures, it's imaginary, but if I sculpt it, then the sensation of having it in your hand is real— it's an object from your spirit, it's a sensual experience even in its execution. It brings a special joy to touch the material with your hands.' (the artist quoted in: 'Botero: A Love Letter to Latin America', operagallery.com, 19 September 2023). Maternidad wonderfully captures the essence of motherhood; the plumpness of the bodies perhaps helps convey this sense of maternal abundance and the fertility associated with motherhood, while her gentle embrace and the placement of her hand on her chest suggestive of a sense of tenderness. Domestic life is a central motif in Botero's body of work, especially women's roles within it. Here, Botero portrays the quintessential woman as both mother and caregiver to her young child combined with the heavy weight of art historical and religious iconography and a sense of shared human experience.Botero's international recognition and ability to transcend geographical and cultural boundaries have boosted the visibility of Latin American artists on the global stage. His contributions to the world of art are substantial and his unwavering commitment to his artistic vision has earned him a notable place in the history of art. Botero's oeuvre serves as a bridge between traditional and contemporary art, developing a melange classical techniques and modern and innovative flair. By embracing diversity and celebrating the inherent charm in each of his subjects, he challenges conventional notions of beauty and representation and forces viewers to reconsider their preconceived notions and stereotypes.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ATTRIBUTED TO THE MASTER OF THE LANGMATT FOUNDATION VIEWS (ITALIAN FL. 1740-1770) THE GRAND CANAL, VENICE, WITH THE PALAZZO BALBI Oil on canvas 52 x 88cm (20¼ x 34½ in.) Provenance: Leonard Koetser, London, 1915 Sale, Christie's, South Kensington, 9 July 2004, lot 205 The attribution takes it's name from the eponymous works in the Langmatt Foundation, Baden, comprise a set thirteen venetian views. (See the exhibition catalogue, Mythos Venedig, Baden, June-October 1994, pp. 62-117).Palazzo Balbi is situated on the Grand Canal. It was built in1582, under design by Alessandro Vittoria as the residence of the Venetian patrician family of the Balbi. In the 19th century it was acquired by Michelangelo Guggenheim. It is now the seat of the President of the Veneto region and of the regional council. Condition Report: The canvas has been lined and cleaned. Rubbing and abrasions to the framing edges. Fine craquelure throughout however the paint surface appears stable. Stretcher marks partially visible, together with some associated in-filling along the upper and right edges. This is visible in a natural light. Some other in-filling scattered throughout but mainly to the sky, is also visible in daylight. Inspection under UV light reveals light retouching scattered throughout.Condition Report Disclaimer
MICHELANGELO MEUCCI (ITALIAN 1840 - 1901) ROBINS; GOLDFINCHES; BLUEBIRDS Oil on canvas, a set of three Each signed, inscribed and dated 'Firenze 1901' (lower right) Each 45 x 27cm (17½ x 10½ in.) (3) Condition Report: The works have not been lined. Stretcher marks visible. Some superficial surface scratches and craquelure. Overall the works appear to be in good original conditionPlease note Dreweatts is not responsible for any damage to framesCondition Report Disclaimer
Numismatics – A collection of modern commemoratives and special editions including: 1970 Royal mint decimal 5 coin set unc. in blue folder of issue; 1975 Michelangelo 500th Anniversary silver token and first day cover on folder of issue; 1975 USA & Russia Soyuz/Apollo sterling silver medallion and first Day cover in card mount of issue; 1977 Silver Jubilee Danbury mint silver stamp replica (75.1gr) with first day cover in Danbury Mint presentation case with certificate; 1979 USA Susan B Anthony dollar BU in plastic case of issue; 1981 Isle of Man £5 BU on card mount of issue; 1982 Isle of Man 20p first issue BU in card mount in folder of issue with certificate; 1994 Royal Mint £2 in special folder illustrating stages of production in folder of issue (qty)
FROM THE LIBRARY OF WILLI SOUKOP RA A collection of volumes on art history and decorative artistic practice, to include Memoirs of the Colombo Museum: Bronzes From Ceylon by Amanda Coomaraswamy (inscribed to Soucop); titles on Goya, Michelangelo and Picasso etc.; together with The Philosophy of Astrology by Manly Palmer Hall (first edition pub. 1943) etc. Provenance: Willi Soucop RA (1907-1995), Austrian sculptor and early teacher of Dame Elizabeth Frink. Condition Report:Available upon request
▲ Henry Moore OM CH FBA (1898-1986) 'Four Reclining Figures', from 'Omaggio a Michelangelo' (Cramer 333)lithograph in colours, 1974-75, printer's proof, signed 'Moore' in pencil l.r., inscribed and numbered 'P./P.I', with Archive of Stanley Jones blind stampsheet 59 x 71cm, unframedProvenance: The Estate of Stanley Jones MBE RE.There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase.Condition ReportLight creasing. A little foxing starting to emerge to the margin in the upper left corner. A couple of small yellow spots and a faint dirty smudge to the lower left corner. The signature is a little smudged. The colour is strong.
SIR JOSEPH NOEL PATON R.S.A. (SCOTTISH 1821-1901) MICHELANGELO SCULPTING THE STATUE OF 'NIGHT' Oil on canvas, arched top 61cm x 76cm (24in x 36in) Presented by A. M. McDougall, Esq., 1932. How is a masterpiece conceived? Sir Joseph Noël Paton invites us to ponder the very alchemy of genius by welcoming us into Michelangelo Buonarotti’s studio as he finishes carving ‘Night’. In a shadowy loggia the Renaissance artist crouches in front of his monumental marble, pausing after a campaign of chiselling to appraise his work. A spent hourglass sits on a nearby table, and a toolbox and sketchbook lie at the artist’s feet, while the view through the arch suggests that Michelangelo has taken the silhouette of Florence as his muse. The city glows blue under the light of the moon, which crests around the arch, illuminating the artist upon the completion of his masterwork.Paton’s use of breaking light to represent ‘divine inspiration’ can be connected to the Pre-Raphaelite artist William Holman Hunt’s seminal 1853 painting ‘The Awakening Conscience’ (Tate Britain). Paton had declined an invitation to join the Pre-Raphaelite Brotherhood, electing instead to return to Scotland, but he continued to paint in a Pre-Raphaelite style and remained familiar with the Brotherhood and their output. So moved was Paton by ‘The Awakening Conscience’ that he was impelled to produce several of his own works exploring the enigma of creation and enlightenment. These include an 1861 painting of Luther who, after a sleepless night induced by a crisis of faith, is suddenly granted spiritual clarity as a ray of dawn sun touches his brow (National Galleries of Scotland), as well as a painting of Dante meditating on the nature of sin beneath an apparition of two adulterous lovers from his Divine Comedy (Bury Art Museum). In the 1860s Paton produced a further painting of Michelangelo in contemplation, which was gifted to the William Morris Gallery in 1935 from the collection of Sir Frank Brangwyn. It might be conjectured that Paton’s interest in the nature of creative conception has something to do with the fact that he received little formal artistic training. At the age of seventeen he took his first job as Head Designer at a muslin manufacturer in Paisley, and after working in this capacity for three years, he briefly studied at the Royal Academy Schools in London, where he formed a lifelong friendship with John Everett Millais. (Rodger, Robin. “The Patons of Dunfermline: Bi-Centenary of Sir Joseph Noël Paton RSA (1821-1901).” Royal Scottish Academy, December 10 2021. [accessed 24th July 2024]). By all accounts, Paton was an expert on folklore and fairytale, themes which inspired many of his paintings and brought him considerable success and renown. In 1861 Paton travelled to Italy, where he likely beheld Michelangelo’s ‘Night’ in the Medici Chapel in San Lorenzo, Florence. Upon his return, Paton published a book of poetry which included ‘A Confession’, a tongue-in-cheek reflection on Michelangelo’s art, so majestic as to drive the viewer to distraction:No, Buonarotti, thou shalt not subdueMy mind with thy Thor-hammer! All that playOf ponderous science with Titanic thewAnd spastic tendon - marvellous, ‘tis true! -Says nothing to my soul. Thy “terrible way”Has led enow of worshippers astray;I will not walk therein!(Sir Joseph Noël Paton, Poems by a Painter, William Blackwood, Edinburgh, 1861, p.156)
MONTBLANC, PATRON OF ARTS, LORENZO DE MEDICI, 4810 A LIMITED EDITION FOUNTAIN PEN, NO. 1952/4810, 1992 Cap and Barrel: Octagonal silver cap and barrel engine turned and engraved with Renaissance motifs, stamped 925 with common control marks, the barrel with engraver's initials Z. He Nib and Filling System: Two tone gold coloured nib, stamped 18K and 750, piston filling system, inked Accessories: Original Montblanc lacquered wood box, Lorenzo de Medici International Warranty card, Lorenzo de Medici International Service Certificate and Lorenzo de Medici booklet, and Lorenzo de Medici outer card box The Lorenzo De Medici was the very first Patron of the Arts pen from Montblanc, issued in 1992, and pays tribute to one of the most important figures of 15th century Italian Renaissance culture and politics. Lorenzo 'il Magnifico' (1449-1492), ruler of Florence in all but name, was a patron of major Renaissance artist talents such as Leonardo da Vinci, Michelangelo, Botticelli, Verrocchio and Ghirlandaio, who were all resident at his court.Provenance: A Single Owner Collection of Fine and Limited Edition Montblanc Pens and Accessories Condition Report: Inked with light use. Some scuffs and wear to the outer card packaging.Condition Report Disclaimer
Antonietta Brandeis, 1849 Miscocon, Galizien – 1910 VenedigGemäldepaarVENEDIGVEDUTENÖl auf Holz.22 x 32 cm.Rechts unten signiert „ABrandeis“ (in Ligatur).In gekehltem Rahmen.Blick auf die Kirche Santa Maria della Salute über den Canal Grande auf die Punta della Dogana, die sich an der Spitze der Insel Dorsoduro befindet. Gut zu erkennen der Turm, an dessen Spitze die Skulptur der Erdkugel steht. Dahinter die Kirche Santa Maria della Salute mit ihrer mächtigen Kuppel. An der Anlage selbst haben, auf dem ruhigen Wasser mit zahlreichen Spiegelungen, einige Boote und eine Gondel angelegt. Harmonische Malerei in weicher Farbgebung unter hohem, sommerlich blauen Horizont. Das andere Gemälde führt den Blick über das ruhige Wasser des Canal Grande mit einer Gondel auf die Chiesa di San Giorgio mit dem hohen, rötlichen Glockenturm. Antonietta Brandeis studierte in Prag und ab 1867 als erste Frau an der Akademie in Venedig bei Michelangelo Grigoletti (1801-1870). Sie blieb in Italien wohnen und malte überwiegend Veduten verschiedener italienischer Städte. (1410211) (13))
Giovanni Migliara, 1785 Alessandria – 1837 Mailand, zug.VENEZIANISCHES CAPRICCIO MIT BAUWERKEN DES ANDREA PALLADIOÖl auf Leinwand. Doubliert.60 x 73 cm.Verso mit alten Etiketten.In imposantem vergoldeten Louis XV-Rahmen.Beigegeben ein Gutachten von Xavier Goyet, Spezialist für Altmeister der venezianischen Schule des 18. Jahrhunderts, Marseille, 10. Dezember 2002 in Kopie, in dem Goyet das angebotene Werk der Hand des Giovanni Migliara zuschreibt.Die bedeutende Komposition zeigt gleich mehrere Besonderheiten: dem Canal Grande mit seinen Gondeln und der Figurenstaffage, die einen Rückgriff in das 18. Jahrhundert verrät, wird eine Brücke zugedacht, die so nie ausgeführt wurde. Es handelt sich um die Rialtobrücke, für deren Ausführung Andrea Palladio (1508-1580) nicht den Zuschlag erhielt. Neben Antonio da Ponte nach dessen Plänen die heute uns gut bekannte Brücke 1588 gebaut wurde, reichten nämlich auch Michelangelo und Andrea Palladio Entwürfe ein. In seinem Buch Quattro libri dell ‘architettura befindet sich auf einer Doppelseite die hier dargestellte Brücke; Palladio beschreibt auf S. 239: „Sie hätte ausgezeichnet an den Ort gepasst, an dem sie hätte errichtet werden sollen, nämlich die Mitte einer Stadt, die zu den größten und edelsten in Italien zählt und die das Zentrum vieler anderer Städte ist. Aus allen Teilen der Welt kommen die Menschen dorthin, um Handel zu treiben. [...] Um der Größe und Würde jener Stadt zu dienen, entwarf ich auf der Brücke drei Straßen, jene in der Mitte breit und schön, jene an den Seiten etwas schmaler. Auf der einen wie der anderen Seite der besagten Straßen ordnete ich Läden an, sodass sechs Reihen entstanden wären. Darüber hinaus errichtete ich an den Brückenenden und in der Mitte - also über dem Hauptbogen – Loggien, die den Händlern dazu gedient hätten, einander zu treffen und Geschäfte zu machen, und die dem Ganzen größere Zweckmäßigkeit und Schönheit verliehen hätten. [...] Es sollte nicht als Neuerung angesehen werden, auf Brücken Loggien zu errichten, denn auch die Aelius-Brücke in Rom [...] war in der Antike mit Loggien bestückt, die mit bronzenen Säulen und anderem wunderbaren Schmuck verziert waren.“ Neben der nicht ausgeführten Rialtobrücke malte Migliara auch zwei existierende Palladiobauten aus Vicenza, sodass Palladios architektonisches ausgeführtes und nicht ausgeführtes Erbe in einem Gemälde kulminiert: Es handelt sich um den Palazzo Chiericati links und die sogenannte Basilica Palladiana rechts. In dem angebotenen Gemälde bezieht sich Migliara eng auf das Gemälde von Canaletto von ca. 1755 mit den Maßen 58 x 82 cm, das in der Galleria Nazionale Di Parma verwahrt wird. So wird in unserem Werk nicht nur der große Architekt Palladio und sein Rückbezug auf die Antike, sondern auch der bedeutende Maler Canaletto gewürdigt, zwei Künstler, die Migliara sicherlich vorbildhaft schätzte.Italienischer Architektur- und Historienmaler. Studium an der Accademia di Belle Arti di Brera Mailand. 1804 für das Teatro Carcano tätig und für die Scala. 1822 Professur an der Brera Akademie. 1833 Hofmaler für König Albert von Sardinien. Sein Werk dokumentiert, dass er vor allem auch in Rom und Venedig gewirkt hat.Provenienz:Sammlung Granier, Toulouse.Galerie Christian Dumartin, Manoir de Beauvais, Ligré, Centre-Val de Loire, 2002.Anmerkung:Le Manoir de Beauvais wurde im 16. und 17. Jahrhundert errichtet und befindet sich in Ligré im Centre-Val de Loire (siehe Abb.).Literatur:Zu der dargestellten nicht ausgeführten Rialto-Brücke über den Canal Grande siehe den Entwurf, in: Andrea Palladio, Die vier Bücher zur Architektur. Nach der Ausgabe Venedig 1570, Basel 1993, 13. Kapitel.Vgl. Mary Pittaluga, Le „vedute veneziane“ di Giovanni Migliara, in: Arte veneta, 1954, S. 334-337.Vgl. Lucia Fornari Schianchi, Galleria Nazionale di Parma – Catalogo delle opere, Mailand 2000.Vgl. Hubert Huse, Palladio am Canal Grande, in: Städel Jahrbuch NF. VII, 1979, S. 61-99.Vgl. Arturo Mensi, Giovanni Migliara: 1785-1837, Alessandria 1935.Vgl. Cinisello Balsamo, Giovanni Migliara: viaggio in Italia, Mailand 2019.Vgl. Daniela Causa, Giovanni Migliara, Alessandria 2006.Vgl. Sandra Pinto, L‘Ottocento: Ciovanni Migliara e Antonio Maria Viecha – un artista e un mecenate alessandrini alle origini della Pinacoeteca, Alessandria 1986. (1410071) (13)Giovanni Migliara,1785 Alessandria – 1837 Milan, attributtedVENETIAN CAPRICCIO WITH BUILDINGS BY ANDREA PALLADIO Oil on canvas. Relined.60 x 73 cm.Old labels on the reverse. In impressive gilt Louis XV frame. Accompanied by an expert‘s report by Xavier Goyet, Old Masters specialist of the Venetian School of the 18th century, Marseille, 10 December 2002, in copy. He identifies Giovanni Migliara as the creator of the painting on offer for sale in this lot. The important composition shows several special features: The Grand Canal, with its gondolas and the figural staffage hinting at a return to the 18th century and is dedicated to a bridge that was never constructed in this design. It is a design for the Rialto Bridge by Andrea Palladio (1508 - 1580) for which he was not awarded the contract. In addition to the unbuilt Rialto Bridge, Migliara also painted two existing Palladio buildings from Vicenza, so that Palladio‘s architectural legacy, both built and unbuilt, culminates in one painting: namely the Palazzo Chiericati on the left and the Basilica Palladiana on the right.Provenance: Granier collection, Toulouse. Galerie Christian Dumartin, Manoir de Beauvais, Ligré, Centre-Val de Loire, 2002.
Italienischer Caravaggist des 17. JahrhundertsJÜNGLING VON EINER MAUS GEBISSENÖl auf Leinwand.65,1 x 51,1 cm.Das Bildmotiv lässt sich in eine Reihe ähnlicher Themen stellen, bei denen spontane Effekte zur Darstellung gebracht werden sollten. Schreck oder Entsetzen im Bild zu zeigen, war besonders bei Caravaggio zu einer neuen Aufgabe in der Malerei geworden. Sein exaltiert dargestellter „Jüngling von einer Eidechse gebissen“ steht am Anfang dieser Bildideen. Bartolomeo Cavarozzi (1590-1625) etwa schuf das Bild „Jüngling, von einer Krabbe gebissen“, welches in dieser Auktion auch angeboten wird. Ganz ähnlich hat der Maler das vorliegenden Gemälde den Augenblick des Schreckens beim Biss einer Maus in den Finger festgehalten. Zwar kommt hier das caravaggeske Hell-Dunkel noch nicht zum Tragen, umso mehr der Effekt des Augenblicks.Provenienz: Europäische Privatsammlung, 2017.Anmerkung:Zwei weitere Versionen dieser Darstellung sind in der Sammlung Borromeo, Isola Bella, sowie in der ehemaligen Mameli-Sammlung Rom zu finden. Das letzte Gemälde wurde im Dorotheum Wien, im November 2020 unter Lot 86 angeboten. Literatur: Vgl. Eberhard König, Michelangelo Merisi da Caravaggio, Köln 1997.Vgl. Sybille Ebert-Schifferer, Caravaggio. Sehen – Staunen – Glauben. Der Maler und sein Werk, München 2009.Vgl. Michael Fried, The Moment of Caravaggio, Princeton 2010.Vgl. F. Scaletti, Caravaggio, Catalogo ragionato delle opere autografe, attribuite e controverse, Bd. II, Napoli 2017, S. 65. (1410711) (3) (11)Italian Caravaggist, 17th centuryBOY BITTEN BY A MOUSE Oil on canvas.65.1 x 51.1 cm.The subject of the painting can be associated with a series of similar subjects portraying spontaneous effects. Depicting shock or horror in a painting had become a new task, especially for Caravaggio. His exalted depiction of Boy Bitten by a Lizard marks the start of these image ideas. Bartolomeo Cavarozzi (1590 -1625), for example, created the painting Youth Bitten by a Crab (also on offer for sale in this auction). Although the Caravaggesque chiaroscuro does not yet take effect here, the impact of the moment is even more noticeable. Two other versions of this depiction have become known held at the Borromeo Collection, Isola Bella, and formerly at the Mameli Collection, Rome (sold at auction, Dorotheum Vienna, November 2020 lot 86).Provenance: European private collection, Florence, 2017.
Sebastiano Luciani, bekannt als „del Piombo“, 1485 Venedig – 1547 RomDIE HEILIGE BARBARAÖl auf Leinwand.54 x 71 cm.In dekorativem Rahmen.Beigegeben eine Expertise von Prof. Giuseppe Maria Pilo vom 20. Oktober 1957, in Kopie.Im Zentrum vor blauem Himmel das Halbportrait der Heiligen in edlem, mit Schmuck verzierten Gewand, die von Soldaten gefangen genommen wird. Laut Pilo stellt der Künstler hier die Monumentalität der Figuren heraus; auch lässt sich in den Werken des Künstlers der Einfluss von Michelangelo erkennen. Die dezent gehaltene kühle Farbigkeit lässt das Werk in einer relativ späten Phase der Tätigkeit des Künstlers zuordnen. (14007611) (18))
SIR EDWARD JOHN POYNTER (BRITISH 1836 - 1919), PORTRAIT STUDY OF A LADY pencil on paper, monogrammed and dated 1864mounted, framed and under glassimage size 26cm x 21.5cm, overall size 41cm x 36cm Note: (b Paris, 20 Mar. 1836; d London, 26 July 1919). English painter and administrator, son of the architect Ambrose Poynter, and great-grandson of the sculptor Thomas Banks. He formed his academic style in Italy (1853–4), where he met Frederic Leighton and admired Michelangelo above all other artists, and in Paris (1856–9), where he studied with Gleyre. His reputation was made with the huge Israel in Egypt (1867, Guildhall AG, London) and he became one of the most popular painters of the day with similar elaborate historical tableaux in which he displayed his great prowess as a draughtsman (The Catapult, 1868, Laing AG, Newcastle upon Tyne). In his later career, however, he confined himself to smaller works, similar to Alma-Tadema's classical genre scenes, devoting his time mainly to administration: he was the first Slade professor at University College London, 1871–5; principal of the National Art Training School (now the Royal College of Art); director of the National Gallery, 1894–1904; and president of the Royal Academy, 1896–1918. At the Slade he established an emphasis on draughtsmanship that became characteristic of the school and at South Kensington he revived a stagnant curriculum (by virtue of this office he was also supervisor of the chief provincial art schools, and in these too he raised standards). However, he was hostile towards recent developments in art, castigating the Impressionists for ‘their incompetency in drawing and slovenliness in execution’ (preface to the 4th edition of his Lectures on Art, 1897).
λ PIA STADTBAUMER (GERMAN B. 1959) ANDROGYNE, TWO FIGURES Mixed media sculpture Each 185cm (72¾in.) High (2)Executed in 1993. Provenance: Sale, Christie's, Post-War & Contemporary Art, 6 April 2005, lot 193 Acquired from the above by the present owner The German artist Pia Stadtbäumer is known for her figurative sculptures and installations. A student of the Kunstakademie Düsseldorf and a professor at the Hamburg University of Fine Arts, Stadtbäumer's style and subject emerged early in her career. Though they are grounded in sound anatomical study and compelling detail, there is a certain strangeness to Stadtbäumer's life-size sculpted figures. Whether these are adults with childlike features or, as in this case, hermaphroditic composites, the artist challenges preconceived notions of human representation. The defiant posture of this pair is a testament to Stadtbäumer's assertive, single-minded practice. In a sense, Stadtbäumer reverses the Renaissance paradigm according to which artists 'considered the female [physique] inferior to the male' (Kenneth Clark, The Nude, 330). Where Michelangelo endows masculine physiques with female markers of sex, Stadtbäumer does the opposite. Her rendering of the human body updates this figurative tradition in line with contemporary revisions of gender norms.
A small group of Continental items, including a silver dish from San Marino. Stamped G. Arzilli, 925 standard. The circular body with a planished finish and embossed to base with San Marino crest, 23.2cm dia., together with: a gilded oval entrée dish with cover, stamped with unidentified marks, the shell-shaped handles decorated with floral motifs, the cover with finial modelled as two birds amongst branches, 32.5cm wide (inc. handles); a 20th century silver dish, 925 standard, Bologna, Michelangelo Clementi (stamped Bucellati), the fluted body of shaped circular form and with scalloped rim, embossed with flower to base, 18cm dia.; and a swing-handled basket, possibly German, stamped 800, the pierced body decorated with garlands of roses, foliate motifs and two oval vacant cartouches, liner deficient, 17.5cm wide, total weighable silver approx. 34.4ozt (4) Condition Report: The weighable silver doesn't include the gilded entrée dish with cover. Entrée dish with cover gross weight approx. 29.7ozt (includes finial, possibly silver plated or metal)
A George III mahogany and satinwood inlaid demi-lune table The top inset with a painted Neoclassical scene in the manner of Michelangelo Maestri (act.c.1802-1812), gouache on paper.The table 101cm wide x 46cm deep x 85cm high.Qty: 1The painting with extensive water marks and paper tears to the top. The table with minor marks.
Kathleen Muriel Scale (Muriel Harding-Newman) (British, 1913-2006). Four Nudes with Two Herons signed and dated 1935 (lower left), oil on board 108 x 93cm (42.5in x 36.5in) Footnote: Born in Jersey in 1913, the daughter of Lieutenant Colonel John Dymoke Scale, she married in Cairo Cathedral Brigadier Rupert Norton Harding-Newman in November 1939, he was awarded an MC in 1942 and served in the Secret Intelligence Service. Scale attended Farnham School of Art where she was taught by Otway Maconnell FRSA RBA, later going onto Goldsmiths College where she was taught under the guidance of James Bateman RA. She studied Early Renaissance painting and was greatly influenced by the work and palette of Michelangelo, Botticelli, Piero della Francesca, as well as El Greco. Rowland Hilder taught her line drawing, but she was much more interested in producing large scale mythological and biblically based subjects, such as the work offered here, which provided Scale with much more scope for adventure and fantasy. Her large-scale compositions were initially worked up in sketchbooks, she would then produce a working watercolour or drawing which would be squared up ready to place onto the gesso prepared board. In 1933 at the age of nineteen she had her first painting exhibited at the Royal Academy and between 1933-38 Scale had seven paintings accepted and hung. Later in 1936 she was invited by the National Gallery of Canada to exhibit at an exhibition of Contemporary British artists such as George Spencer Watson, Duncan Grant, Vanessa Bell and Stanley Spencer amongst others. She also exhibited at the RBA and for many years with the Society of Women Artists. She later settled in Somerset and then Dorset after her husband retired. In 1995 Kathleen Muriel Harding-Newman as she was now known had a retrospective of her work held at the Dorset Museum in Dorchester. 'Artist’s Resale Rights (ARR) may apply to this lot'.
Playmates - Mirage - Teenage Mutant Ninja Turtles - A loose group of 13 TNMT predominately 5" action figures. Lot includes Talkin' Michelangelo; Leo the Sewer Samurai; Michelangelo and similar. Figures show some age and play wear signs overall appearing to range Fair Plus - Good. All items are unchecked for completeness. (This does not constitute a guarantee) (K)
Mirage - TMNT - Four Giant 14" TMNT action figures consisting of Leonardo, Donatello, Michelangelo, and Raphael. Figures come with some accessories and show some signs of play and age, appearing to be in Fair Plus - Good condition on the whole. All items are unchecked for completeness. Lot is accompanied with some TMNT themed VHS tapes. (This does not constitute a guarantee) (K)
Baccarat, Gläserservice "Michelangelo"Anfang 20.Jh. Farbloses Kristallglas. Geschnittener Rankendekor. Bestand: 10 Weissweingläser (H 9 cm), 10 Süssweingläser (H 8,5 cm), 14 Schnapsgläser (H 5,5 cm), 12 Bechergläser (H 10 cm), 12 Likörgläser (H 6,5 cm), 12 Champagner/Dessertschalen. Total 70 Teile.- Gebrauchsspuren.
BLOW-UPItalian 4-Fogli (55" x 78")Very Fine+ on Linen; Artwork by Ercole Brini MGM, 1967Printed on two panels, this attractive poster shows minimal to no wear before being placed on linen. It's highly reminiscent of the "Swinging Sixties."In the iconic 1960s murder/mystery thriller, Italian director Michelangelo Antonioni casts a young Vanessa Redgrave and David Hemmings. The plot centers around a prosperous fashion photographer in "mod" London who suspects he has inadvertently captured a murder on film.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
A FISTFUL OF DOLLARSItalian 4-Fogli (55" x 77"); Country-of-OriginVery Fine on Linen; Artwork by Michelangelo Papuzza Unidis, R-1968The paper is slightly tanned with age. Intermittent airbrushing along the border. Overall fold restoration with light airbrushing to the upper right fold area. Previously folded and printed in two pieces; mounted on linen, offering a wonderful presentation. With an Italian director (Sergio Leone), an American star (Clint Eastwood), Japanese source material (Kurosawa's Yojimbo), and a Spanish location collide, the result is this spaghetti Western, which confounded expectations by becoming a worldwide success. Though he is now a revered director and actor, Eastwood was a little-known television actor in a popular Western television series when Leone selected him for the film.This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.
FRANZÖSISCHER BILDPLASTIKERTätig Anfang 20. Jh.'LORENZO DE' MEDICI' Bronze, dunkel patiniert. H. 47, B. 19, T. 20 cm, Gew. ca. 18,36 kg. Vorderseitig bez., seitlich Gießereimarke 'Rolland Fondeur Paris', nach dem Original von Michelangelo in der Basilica di San Lorenzo. Part. Verlust der Patina und best., Kopf min. lose..
RÖMISCHE CARAVAGGIO-SCHULE DES 17. JH.('Michelangelo Merisi, auch Michael Angelo Merigi, genannt Caravaggio')29. September 1571 Mailand - 18. Juli 1610 Porto ErcoleDER BÜSSENDE HIERONIMUS Öl auf Leinwand (altdoubl.). 70 x 59 cm (R. 85 x 72 cm). Part. besch., altrest. und Altretuschen, Farbverluste. Polimentvergoldeter Rahmen des wohl 17. Jh. Provenienz: Ostdeutsche Privatsammlung.
MAESTRI, MICHELANGELO (ATRIBUTIERT), Zwei Gouachen mit allegorischen Szenen nach Giulio Romano "Medea und Anfitrite", 19.Jh. Jeweils Gouache auf Papier, unsig. HxB: ca. 34/49 und ca. 32/47 cm. Papier leicht wellig. Rahmen, HxB: 42/57 cm.| MAESTRI, MICHELANGELO (ATRIBUTIERT), Two gouaches with allegorical scenes after Giulio Romano ‘Medea and Anfitrite’, 19th cent.Each gouache on paper, unsigned. HxW: approx. 34/49 and approx. 32/47 cm. Paper slightly wavy. Frame, hxw: 42/57 cm.
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. Ca. 45 cm x 60,5 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.
Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Zwei tanzende MänadenVor schwarzem Grund schwebende Mänaden in graziöser Tanzpose mit wehenden, leichten Gewändern; in der Sockelpartie zwei Raubkatzen und Zimbeln auf Landschaftssockel. 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 Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in Anlehnung an Radierungen Tommaso Pirolis aus der 1757-1792 in Neapel und später in Rom erschienenen, mehrbändigen Publikation "Le pitture antiche d'Ercolano". Gouache (über Umrissradierung?)/Papier. 46 cm x 36 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.
Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Römische TänzerinVor schwarzem Grund schwebende Tänzerin als Halbakt, eine Silberplatte in der Hand haltend und ihr goldgelbes, wehendes Gewand emporhaltend; in der Sockelpartie der Kopf einer Bacchantin und ein Taubenpaar auf einem Lorbeerfeston. 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 Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in Anlehnung an Radierungen Tommaso Pirolis aus der 1757-1792 in Neapel und später in Rom erschienenen, mehrbändigen Publikation "Le pitture antiche d'Ercolano", welche auch die Vorlage für eine um 1790 entstandene Wandmalerei in der Villa Hamilton in den Wörlitzer Parkanlagen war. Dasselbe Motiv der Tänzerin zeigt auch ein Maestri zugeschriebenes Blatt in der Sammlung des Belvedere in Wien (Inv.-Nr. SLM 401). Gouache (über Umrissradierung?)/Papier. 46 cm x 36 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.
Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Medea in einem StreitwagenDarstellung vor schwarzem Grund mit Medea in einem von zwei Pferden gezogenem Streitwagen, hinter ihr ein Gefäß mit brennendem Feuer und einer Rauchwolke sowie die schwebende Figur des Göttervaters Zeus mit Schlangen in der erhobenen rechten Hand. 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 ein um 1520 geschaffenes Fresko von Giulio Romano das sich einst in der Villa Lante in Rom befand. Im Unterschied hierzu erhielt die weibliche Figur jedoch ein Gewand und wurde durch Hinzufügung des Zeus mit den Schlangen in eine Medea verwandelt. Gouache (über Umrissradierung?)/Papier. Ca. 45 cm x 60,5 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.
Michelangelo Maestri(Tätig um 1800 - 1812 in Rom) attr.; Römische Dienerin mit Tablett und SchenkkanneVor schwarzem Grund schwebende Figur in wehendem, leichtem Gewand; in der Sockelpartie ein Festonfries aus Weintrauben und vollbärtigen Männerköpfen. 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 Adelige während ihrer Grand Tour. Das vorliegende Blatt entstand in Anlehnung an Radierungen Tommaso Pirolis aus der 1757-1792 in Neapel und später in Rom erschienenen, mehrbändigen Publikation "Le pitture antiche d'Ercolano". Gouache (über Umrissradierung?)/Papier. 45 cm x 35 cm. Rahmen.Attributed to Michelangelo Maestri (active circa 1800-1812 in Rome). Gouache (over etching?) on paper.
48 Bändchen der Insel-Bücherei Konvolut mit 404/1 Gorki, 405 Huch, 408/1C Zweig, 419 Lawrence, 420 Timmermanns, 423 Gracian, 426 Wiesenbuch, 427/1 Ponten, 427/2 Hoerner, 429 Claes, 433 Masereel, 436/1B Trakl, 437 M”rike, 439 Wunderhorn, 442/1A Grimm, 443 Grimm, 444/2 Michelangelo, 445/1 Germanische, 447/1 Kortwich, 447/2 Suhle, 449 Stifter, 450/1B Minne, 451 Groth, 452 Haubuch, 455 H”lderlin, 456 Nebelthau, 457 Schellenkappe, 456/2 Wolf, 461/1B Hofmannsthal, 462/2 Maya, 465/1A Chinesische, 467 von Scholz, 469 Huch, 475/1 Binding, 478 Busch, 479 Hauff, 481/1B Kleist, 489 Mommsen, 480/1B Rilke, 487/1B Goethe, 499/1A Tschuang, 500/1A Carossa, 502/1 Wagnr, 502/2 Hesse, 525/1A Schiller, 529/1A Latinische, 572/1 Schnack, 595/1 Marcks, ges. 48 Stk.
Coleridge, Samuel Taylor The Rime of the Ancient Mariner Willy Pogany (illus.), George Harrap & Co., London Kipling, Rudyard A Song of the English W. Heath Robinson (illus.), Hodder & Stoughton, London, no date Venturi, Adolfo Michelangelo Frederick Warne & Co., London, 1928 Together with two Edwardian photograph albums, with views to include Rugby School, the yacht Alamo at Roundhay Park, Gloucester, Tredegar Park near Newport, paddle steamers at Scarborough, storm damage at Ilkley in 1901, the Manor House at Moor Allerton etc. Condition Report:Available upon request
Andre Masson (1896-1987)Omaggio a Michelangelo Lithograph printed in colours, 1975, signed in pencil, numbered in roman numerals from the edition of 20 artist's proofs, aside from the edition of 200, printed by Mourlot, Paris, published by Stufio Bruckmann, Munich, on Arches paper, with full margins, sheet 795 x 598mm (31 1/4 x 23 1/2in)
![Michelangelo Meucci (1840-1890)Oil on boardTrompe L'oeil of Kingfisher and FinchSigned[20x16cm]](https://cdn.globalauctionplatform.com/0410baba-3352-48d3-b159-b1ce0106db89/13f6ad22-84b4-4357-bbe2-b1d100cb77c1/468x382.jpg)
A collection of Folio Society books, most in their slipcases, primarily biography and social commentary, titles including: A Dance to the Music of Time, 4 vols, by Anthony Powell; (only 3 volumes are in their associated slipcase); English Eccentrics, by Edith Sitwell; The Age of Scandal, by T. H. White; Aristocrats, by Stella Tillyard; Michelangelo, by Howard Hibbard; and others, one box.
TEENAGE MUTANT NINJA TURTLES II: THE SECRET OF THE OOZE (1991) - Unfinished Stunt Turtle Mask - An unfinished stunt Turtle mask from the production of Michael Pressman's Teenage Mutant Ninja Turtles II: The Secret of the Ooze. The teenage mutant ninja turtles, Leonardo (Brian Tochi), Donatello (Adam Carl), Raphael (Laurie Faso), and Michelangelo (Robbie Rist) fought their archnemesis, the Shredder (Francois Chau), after he was irradiated by toxic ooze.Designed by Jim Henson's Creature Shop for an unidentified Turtle and ultimately unfinished, this foam rubber mask's entire exterior is painted green while its interior remains unpainted. Also included is a metal stand for display and to help the mask maintain its structure. The foam exhibits tearing along its left side, red and black paint smudges, and cracking throughout from production use and age.Estimate: $600 - 1,200Bidding for this lot will end on Sunday, August 18th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, August 15th, Friday, August 16th, or Saturday, August 17th.
FOLIO SOCIETY: 11 Titles: AUTUMN: A FOLIO ANTHOLOGY; THE DIARY OF A NOBODY; WALDEN; LE GRAND MEAULNES; AT THE COURT OF THE BORGIA; EXPERIENCES OF AN IRISH RM; WHAT ARE THE SEVEN WONDERS OF THE WORLD?; THE LIFE OF MICHELANGELO (x2); VOYAGE TO THE MOON AND THE SUN. All held within original slipcases (11)
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