![Ferrerio (Pietro) Palazzi di Roma de piu Celebri Architetti, [&] Nuovi Disegni dell'Architetture, e Piante de Palazzi di Roma](https://cdn.globalauctionplatform.com/e2830e18-1c28-4df1-b257-b16a00f522c2/c842d728-9460-4f4d-8cda-b16a01166480/468x382.jpg)
Ferrerio (Pietro) Palazzi di Roma de piu Celebri Architetti, [&] Nuovi Disegni dell'Architetture, e Piante de Palazzi di Roma, 2 vol. in 1, 44 and 61 engraved plates respectively (including titles), vol.2 plates 22 and 23 conjoined, some foxing and marginal browning, later calf-backed boards, backstrip loose, [Berlin Kat. 2665; Millard Italian 37], oblong folio, Rome, Gio. Giacomo Rossi, 1655.*** "This is the first publication to provide systematic, measured, and uniformly scaled illustrations of Roman palaces built in the fifteenth, sixteenth, and seventeenth centuries". (Millard). It features the work of architects such as Michelangelo, Vignola, Fontana, Bramante, Raphael, Borromini and others. The number of plates appears to vary according to which issue it is, itself difficult to determine.
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Franco, Giovanni Battista -- Christus am Kreuz. Kupferstich nach Michelangelo. 38,7 x 28 cm. B. 13, vgl. Bury (Giulio Sanuto, Rejected Attributions) R1, A. Alberti (La fortuna di Michelangelo nelle stampe del cinquecento, Mailand 2015) 249 II. Wz. Krone mit Fleur-de-lis.Mit der Schrift und der geöffneten linken Hand. Ganz ausgezeichneter und markanter Druck mit der Plattenkante, teils auf dieselbe geschnitten, teils mit feinem Rändchen um die Einfassungslinie. Geringfügig fleckig, blasser Wasserrand links, kleine hinterlegte Fehlstelle im unteren Rand rechts, ausgebesserte brüchige Stellen in Ecke oben rechts, weitere kleine und sorgfältig ausgebesserte Erhaltungsmängel überwiegend im Rand, sonst gutes und originales Exemplar. Selten. Anliegend der originale Untersatzkarton mit dem Sammlerstempel Sir Joshua Reynolds (Lugt 2364). Beigegeben von Elisabetta Sirani die Radierung "Mater dolorosa - Die schmerzensreiche Mutter" (B. 7). - 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.
Greuter, Matthäus - zugeschrieben -- zugeschrieben. Das jüngste Gericht. Kupferstich nach Michelangelo Buonarroti. 31,2 x 22,7 cm. Hollstein (Greuter) 20, A. Alberti (La fortuna di Michelangelo nelle stampe del cinquecento, Mailand 2015) 182 V (von VI) .Wie der fast maßgleiche Stich von Martino Rota (B. 28), dessen Signatur hier unten links später hinzugefügt wurde, geht diese Version des Jüngsten Gerichts mit dem Bildnis Michelangelos wohl auf eine gedruckte oder gezeichnete Vorlage aus der Mitte des 16. Jhs. zurück (vgl. Alberti 180). Die Zuschreibung an Matthäus Greuter basiert auf die Initialen MG auf früheren Zuständen dieses Druckes. - Ausgezeichneter, gleichmäßiger Druck mit feinem Rändchen um die Plattenkante. Leicht gegilbt und stockfleckig, winzige Randeinrisschen oben, zwei Löchlein unten links, die oberen Ecken dünn, Montierungsreste verso, weitere geringe Gebrauchsspuren, sonst gutes Exemplar. 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.
Ghisi, Giorgio -- Propheten und Sibyllen. 6 Kupferstiche auf Velin, nach Michelangelo. Je ca. 57 x 44 cm. 1540. B. 17-22, Lewis/Lewis 44-49, je V.Die vollständige Folge nach den von Michelangelo zwischen 1508 und 1512 in der Cappella Sistina geschaffenen Fresken. Mit den Feigenblättern. Ausgezeichnete, prägnante Drucke meist mit feinen Rändchen um die Facette. Geringefügige Alters- und Gebrauchsspuren, kleine teils ausgebesserte Randläsuren, minimal angestaubt und fleckig, weitere geringe Erhaltungsmängel, sonst sehr gut 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.
Earlom, Richard -- A fruit piece. Schabkunstblatt, handkoloriert nach Michelangelo di Campidoglio. 30,5 x 35,4 cm. 1776. Wessely 148. Ganz ausgezeichneter Druck mit schmalem Rand. Etwas angeschmutzt und mit leichtem Lichtrand im Passepartout-Ausschnitt, hinterlegte Randeinrisse sowie weitere kleine Randläsuren, weitere Gebrauchsspuren, sonst noch gut. Beigegeben von John Boydell "A Fruit Piece" ebenfalls nach Michelangelo di Campidoglio von 1779. - 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.
THE FOLIO SOCIETY, FORTY-EIGHT BOOKS, miscellaneous titles comprising Leonowens; Anna Harriette, The English Governess at the Siamese Court, A Man Of Singular Virtue being A Life of Sir Thomas More by his son-in-law William Roper, Fuller; Thomas, Fuller's Worthies, The Grand Tour 1592-1796, Allingham; The Diaries, The Worlds of John Aubrey, Aubrey; John, Brief Lives, The Goodman Of Paris, (Le Managier de Paris), Painter Of Passion The Jornal of Eugene Delacroix, Boswell's London Journal 1762-63, Geoffrey of Monmouth; The History Of The Kings Of Britain, Memoirs Of A Mercenary Being the Memoirs of Master Johann Dietz, Thurber; James, My Life and Hard Times & Other Observations, Thackeray; William, Drawn From Life, St John de Crevecoeur; Hector, The Divided Loyalist, Southey; Life Of Nelson, Vasari; Giorgio, The Life Of Michelangelo, Cobbett's America, Byng; John, Rides Round Britain, Woodforde; James, The Diary Of A Country Parson, Friele; The Conquest of New Granada, Verne; Jules, Around The World In Eighty Days, Russell Mitford; Mary, Our Village and Hickey; William, Memoirs of A Georgian Rake, Tannahill; Reay, The Fine Art of Food (no slipcase) The Song Of Songs, Priestley; J.B, English Journey, Travels of a Victorian Photographer The photographs of Francis Frith, Betjeman's Britain, Blunden: Edmund, Undertones Of War, Ward; Colin, Chartres The Making Of A Miracle, The First Colonists Hakluyt's Voyages To North America, The Jubilee Years 1887-1897, The Hundred Years War (damaged slipcase and book) Dostoyevsky; The Idiot, Dostoyevsky; The Brothers Karamazov, Macauley; Thomas Babbington, The History Of England, Greville's England 1818-1860, Hillaby; John, Journey through Britain, De Commynes; Philippe, The Universal Spider (damaged slipcase and book) Dickens' London & Dickens In Europe, Boccacio; The Decameron First Five Days & Second Five Days (no slipcases) Byron & Bulkeley; The Wreck of the Wager and Vasari; Giorgio, Lives Of The Artists in three volumes, all in slipcases unless stated, all titles in generally good condition, some slipcases stained or damaged
Lucas Kilian Herkules erschlägt Cacus, nach Michelangelo. 3 Orig.-Kupferstiche, im Druck bezeichnet. Um 1610. Auf Bütten, 2 Bll. mit WZ (Doppeladler). Plattengröße 20,2 : 11,7 cm. Blattformat 20,6-20,8 : 11,7-12 cm. Vollständige, drei Blatt umfassende Folge mit verschiedenen Ansichten der Michelangelo-Skulptur. - ZUSTAND: Auf Anfrage. - LITERATUR: Hollstein 528-530. Complete series of 3 orig. copperplates with various views of the Michelangelo sculpture. Around 1610. On laid paper, 2 leaves with watermark (double eagle). Plate size 20.2 : 11.7 cm. Sheet size 20.6-20.8 : 11.7-12 cm. - Magnificent, strong print with small margins. 1 plate with a faint crease. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Tuscany, located in central Italy, is a region renowned for its stunning landscapes, rich cultural heritage, historic cities, and world-class cuisine. It is often considered one of Italy's most beautiful and culturally significant regions. Here are some key points about Tuscany:1. **Geography**: Tuscany is characterized by diverse geography, including rolling hills, vineyards, olive groves, coastal areas along the Tyrrhenian Sea, and the Apennine Mountains in the east.2. **Cities**: The region is home to several historically and culturally significant cities, including Florence (Firenze), Siena, Pisa, Lucca, and Arezzo. Florence, the capital of Tuscany, is often considered the birthplace of the Renaissance and is renowned for its art, architecture, and museums.3. **Art and Culture**: Tuscany has played a pivotal role in the history of art and culture. It was home to renowned artists such as Leonardo da Vinci, Michelangelo, and Dante Alighieri. Florence's Uffizi Gallery and Accademia Gallery house some of the world's most famous artworks.4. **Cuisine**: Tuscan cuisine is celebrated worldwide for its simplicity and use of fresh, high-quality ingredients. Traditional dishes include ribollita (a hearty soup), pappa al pomodoro (tomato soup), and bistecca alla fiorentina (Florentine steak). The region is also known for its wine, including Chianti and Brunello di Montalcino.5. **Wine Regions**: Tuscany is a wine lover's paradise, with famous wine regions such as Chianti, Montalcino (home to Brunello wine), and Montepulciano. The rolling vineyards and wineries offer picturesque settings for wine tasting.6. **Historic Villages**: Tuscany is dotted with charming medieval villages and towns, each with its own unique character. Examples include San Gimignano, Volterra, and Pienza.7. **Countryside**: The Tuscan countryside, with its cypress-lined roads and rolling hills, is often depicted in art and photography. The region's beauty has inspired artists and travelers for centuries.8. **Architecture**: Tuscany boasts a rich architectural heritage, with examples of Gothic, Renaissance, and Romanesque architecture. The cathedrals of Florence, Siena, and Pisa are architectural marvels.9. **Festivals**: Tuscany hosts various festivals throughout the year, celebrating traditions, art, and cuisine. The Palio di Siena, a historic horse race in Siena's Piazza del Campo, is a famous event.10. **Outdoor Activities**: The region offers ample opportunities for outdoor activities, including hiking, cycling, and horseback riding in its picturesque countryside.11. **Hot Springs**: Tuscany has natural hot springs known as "termes." The town of Saturnia is particularly famous for its thermal baths.12. **Historical Sites**: Tuscany is rich in historical sites, including Etruscan ruins, medieval fortresses, and Renaissance palaces.Tuscany's combination of natural beauty, artistic heritage, culinary delights, and historic significance makes it a beloved destination for travelers seeking a taste of Italy's cultural richness and picturesque landscapes. Whether you're exploring Florence's art treasures, savoring Tuscan cuisine, or wandering through the charming villages, Tuscany offers a memorable experience.Measures 33 x 24.Mounted to linen.
Hommage à Picasso (Roy Lichtenstein und weitere Künstler) (F)Mappenwerk 'Hommage à Picasso', 56 Bll. von 54 Künstlern, in 5 Orig.-Lwd.-Mappen, jeweils mit Titelblättern, Impressum und einem Textblatt, erschienen als Gemeinschaftswerk der Pantheon Presse, Rom und des Propyläen Verlages, Berlin, verschiedene Drucktechniken auf unterschiedlichen Papieren, unterschiedliche Blattmaße bis zu 112 cm x 70 cm, teilweise gerahmt, alle Blätter signiert, 14/90 nummeriert, teils datiert und betitelt, teils mit Trockenstempel, im Impressum ebenfalls 14/90 nummeriert, Mappenmaße 60 cm x 82 cm, enthalten sind: Mappe 1: Pol Bury, Jorge Castillo, Corneille, Jacques Lipchitz, Roberto Matta, Eduardo Paolozzi, Robert Rauschenberg, Fritz Wortuba, Mappe 2 (vollständig): Shusaku Arakawa, Enrico Baj, Hans Bellmer, Richard Hamilton, David Hockney, R. B. Kitaj, Nicholas Krushenick, Heinz Mack, Niki de Saint Phalle, Jean Tinguely, Cy Twombly, Jan Voss, Mappe 3 (vollständig): Pierre Alechinsky, Joseph Beuys, Lynn Chadwick, Eduardo Chillida, Christo, Alan Davie, HAP Grieshaber, Jiri Kolar (3-tlg.), André Masson, Frank Stella, Stefan Wewerka, Mappe 4: Max Bill, Jim Dine, Allen Jones, Roy Lichtenstein, Robert Motherwell, Édouard Pignon, Emil Schumacher, Hervé Télémaque, Joe Tilson, Walasse Ting, Mappe 5: Gerhard Altenbourg, Arman, Öyvind Fahlström, Renato Guttuso, Hans Hartung, Alfred Hrdlicka, Donald Judd, Wifredo Lam, Michelangelo Pistoletto, Kumi Sugai, Antoni Tàpies, Günther Uecker, Victor Vasarely, es fehlen: Giacomo Manzù (Mappe 1), Joan Miró (Mappe 1), Henry Moore (Mappe 4), Bernard Schultze (Mappe 5)Roy Lichtenstein (1923 New York - 1997 ibid) and other artists (F)Portfolio 'Hommage à Picasso', 56 sheets by 54 artists, in 5 original canvas portfolios, each with title pages, imprint and a text sheet, published as a collaboration between Pantheon Presse Rome and Propyläen Verlag, Berlin, various printing techniques on different papers, different sheet dimensions up to 112 cm x 70 cm, some framed, all sheets signed, 14/90 numbered, some dated and titled, some with dry stamp, also numbered 14/90 in the imprint, portfolio dimensions 60 cm x 82 cm, included are: Portfolio 1: Pol Bury, Jorge Castillo, Corneille, Jacques Lipchitz, Roberto Matta, Eduardo Paolozzi, Robert Rauschenberg, Fritz Wortuba, Portfolio 2 (complete): Shusaku Arakawa, Enrico Baj, Hans Bellmer, Richard Hamilton, David Hockney, R. B. Kitaj, Nicholas Krushenick, Heinz Mack, Niki de Saint Phalle, Jean Tinguely, Cy Twombly, Jan Voss, Portfolio 3 (complete): Pierre Alechinsky, Joseph Beuys, Lynn Chadwick, Eduardo Chillida, Christo, Alan Davie, HAP Grieshaber, Jiri Kolar (3-pc. ), André Masson, Frank Stella, Stefan Wewerka, Portfolio 4: Max Bill, Jim Dine, Allen Jones, Roy Lichtenstein, Robert Motherwell, Édouard Pignon, Emil Schumacher, Hervé Télémaque, Joe Tilson, Walasse Ting, Portfolio 5: Gerhard Altenbourg, Arman, Öyvind Fahlström, Renato Guttuso, Hans Hartung, Alfred Hrdlicka, Donald Judd, Wifredo Lam, Michelangelo Pistoletto, Kumi Sugai, Antoni Tàpies, Günther Uecker, Victor Vasarely, missing: Giacomo Manzù (portfolio 1), Joan Miró (portfolio 1), Henry Moore (portfolio 4), Bernard Schultze (portfolio 5)
Otto Piene (1928 Bad Laasphe - 2014 Berlin) (F)'Michelangelo', Farbserigrafie auf Karton, 98 cm x 70 cm Werkmaß, signiert, 76 datiert, 24/100 nummeriert, an den Blatträndern partiell bestoßen, partiell kleine Farbverluste im Bildbereich, leichte Griffspuren, verso minimal fleckig, Literatur: Wvz. Rottloff 214Otto Piene (1928 Bad Laasphe - 2014 Berlin) (F)'Michelangelo', colour silkscreen on cardboard, 98 cm x 70 cm object dimensions, signed, dated 76, numbered 24/100, partially bumped at the sheet edges, partially small losses of colour, slight traces of handling, verso minimally stained, literature: Cat. rais. Rottloff 214
A Collection of Art & Architecture Books, mainly reference works, including: Schütze (Sebastian), Caravaggio: The Complete Works, Taschen, dust jacket; Cecil Beaton: Theatre of War, Cape, dust jacket; Muraro (Michelangelo) and Paolo Marton, Ventian Villas, Konemannm, dust jacket; and others including several Taschen published books, Country Houses, interior design, etc. (19 boxes)
Medallic First Day Covers with July 17 1975 Apollo Soyuz Link-Up, 18 April 1974 Michelangelo 500th Anniversary, Official United Nations Commemorative Medals various dates in 1975 (5), 15 August 1975 The Railway Sesquicentennial together with the British Virgin Islands, 1977 Royal Silver Jubilee six coin set, boxed with COA Condition Report:Available upon request
Konvolut von drei Medaillen der Königlichen Akademie der Künste DresdenJeweils Silber, a) Prämie der Akademie der bildenden Künste in Dresden "Für erfolgreiches Streben", avers Köpfe von Michelangelo und Raphael nebeneinander nach links mit Umschrift, revers zwei griechische Wettläufer an einer Säule mit Umschrift "FÜR ERFOLGREICHES STREBEN", Ø 40 mm, Gewicht 35,6 gr., Stempel Carl Reinhard Krüger (1794 - 1879) 1837, Stempelglanz mit feiner Tönung, b) und c) jeweils Prämie der Akademie der bildenden Künste in Dresden "Für Fleiss und Fortschritt", avers sitzender griechischer Bildhauer mit Figuren, revers Lorbeerkranz mit Schriftzeilen und Umschrift, Ø jeweils 31,3 mm, Gewicht 15,8 bzw. 15,9 gr., Stempel Friedrich Anton König (1794 - 1844) 1837, jeweils Stempelglanz mit feiner Tönung, alle Mitte 19. Jhd., jeweils Prachtstücke in originalen Kästen mit Goldschnitt 7010 Prov.: Prof Hans Richard Hartmann - McLean (1862 - 1946), Besitz der Nachfahren
ITALY, Michelangelo, 1673, a silver medal by G.L. Hérard, bare-headed bearded bust of Michelangelo right, m angelvs bonarotvs patritivs florentinvs, rev. fæliciter ivnxit, attributes of painting, sculpture, architecture and poetry in landscape, 56mm, 64.15g (Jones II, 285). Extremely fine, toned, extremely rare in silver £1,000-£1,200
Ivan Andrasic(Geb. 1959 in Molva/Kroatien. Lebt und arbeitet seit 1988 in Koprivnica)Männliches Liebespaar in surrealistischer Landschaft mit Skulptur und TriumphbogenFrühes Werk des kroatischen Malers mit homoerotischer Darstellung, die Aktskulptur im Hintergrund nach dem Gefesselten Sklaven von Michelangelo. R. u. sign., l. u. dat. (19)85. 45 cm x 37 cm. Rahmen.Reverse painting on glass. Signed and dated (19)85.
Michelangelo Buonarroti: (1474 Caprese - Rom 1564) nach. 3 Bl. mit 2 versch. Motiven aus dem Jüngsten Gericht n. den Fresken in der Sixtinische Kapelle. Kupferstiche, 16./17. Jh. 43 x 42 bzw. 41,5 x 46 cm. Auf Darst. beschnitten u. auf Papier bzw. Karton geklebt. 1 Bl. mit "CC" i.d. Platte. - 1 Bl. etw. gebr., knittrig u. mit Einrissen, 1 Bl. mit blauen Farbsp. R
Paris, the capital city of France, is renowned worldwide for its timeless elegance, rich history, and unparalleled cultural offerings. Often referred to as the "City of Light" (La Ville Lumière), Paris is celebrated for its iconic landmarks, artistic treasures, and romantic ambiance.At the heart of Paris lies the majestic Eiffel Tower, an enduring symbol of the city and one of the most visited monuments in the world. Visitors flock to the tower to admire its stunning architecture, ascend to its observation decks for panoramic views of the city, and experience the magic of its twinkling lights at night.Paris is also home to an array of world-class museums and art galleries, including the Louvre, the Musée d'Orsay, and the Centre Pompidou, which showcase masterpieces by some of history's greatest artists, from Leonardo da Vinci and Michelangelo to Monet, Van Gogh, and Picasso.The city's historic neighborhoods, such as the Marais, Montmartre, and Saint-Germain-des-Prés, exude charm and character, with their cobblestone streets, quaint cafes, and vibrant street markets. Visitors can stroll along the Seine River, explore hidden courtyards and gardens, and soak up the atmosphere of Parisian life.Paris is also renowned for its culinary delights, with an abundance of bistros, brasseries, and Michelin-starred restaurants offering exquisite French cuisine. From croissants and baguettes to escargot and foie gras, Paris tantalizes the taste buds with its delectable dishes and culinary traditions.Beyond its iconic landmarks and cultural attractions, Paris offers endless opportunities for shopping, entertainment, and leisure. The city's boutiques, department stores, and flea markets cater to every style and budget, while its theaters, cabarets, and music venues provide a rich tapestry of entertainment options for visitors of all interests.With its timeless beauty, cultural richness, and romantic allure, Paris continues to captivate travelers from around the globe, offering an unforgettable experience that celebrates the art, history, and joie de vivre of the French capital.Backed by canvas.Measures 33 x 24.
SOUNDTRACKS / STAGE / SCREEN / SPOKENWORD / COMEDY - LP COLLECTION. A collection of approx 77 x LPs. Titles include Bruce Lee's Game Of Death (YX-7037), Bruce Lee - Enter The Dragon (P-10016W), Vanessa Redgrave - Red& Blue (SULP1184), Luis E. Bacalov - We Still Kill The Old Way, Lalo Schifrin - More Mission: Impossible, John Hawksworth - The Penthouse, David Bowie - The Hunger (picture disk), The Hanged Man, Harold Robbins' Stiletto, Michelangelo Antonioni - Blow-Up, Ray Baretto With Brock Peters - Mysterious Instinct, Quincy Jones - In The Heat Of The Night, One From The Heart and Sacrifice - Mandingo. The records are generally VG+ to Ex+ and the sleeves are generally VG to Ex with some dropping below.
Vintage reproduction movie poster for Blow-Up, a 1966 mystery thriller film directed by Michelangelo Antonioni, starring David Hemmings, Vanessa Redgrave, and Sarah Miles, featuring a still from the movie of the characters posing and taking a photograph set over a red background. Large size. Good condition, folds, creasing, small tears, staining. Country of issue: Italy, designer: Unknown, size (cm): 140x100, year of printing: Unknown.
Reinhold Begas, Kaiser Wilhelm I. zu Pferd, geführt von der Allegorie des SiegesBronze, fein ziseliert, goldbraun patiniert. Runde Gießermarke Gladenbeck. H 40, B ca. 22, T ca. 32 cm.Berlin, Gießerei Gladenbeck, um 1900.Es handelt sich um eine der seltenen Reduktionen des zentralen Reitermotivs vom Kaiser-Wilhelm-Nationaldenkmal. Der Bildhauer Reinhold Begas und der Architekt Gustav Halmhuber errichteten das 21 Meter hohe Monument zwischen 1895 und 1897 an der Berliner Schlossfreiheit. Reinhold Begas wurde am 15. Juli 1831 in Schöneberg geboren. Als Sohn des deutschen Malers Carl Joseph Begas war er Spross einer mehrere Generationen umspannenden Künstlerdynastie und kam demzufolge früh mit den bildenden Künsten in Berührung. Anders als sein berühmter Vater begeisterte sich Reinhold Begas jedoch von Anfang an mehr für die Bildhauerei, sodass er eine grundlegende Ausbildung nicht in der väterlichen Werkstatt, sondern bei dem Bildhauer Ludwig Wilhelm Wichmann in Berlin erhielt. 1846 begann er sein Studium bei Christian Daniel Rauch an der Berliner Kunstakademie, die in diesen Tagen mit Johann Gottfried Schadow einen der größten Bildhauer der deutschen Kunstgeschichte zum Leiter hatte. Reinhold Begas selbst konnte mit seiner Gipsgruppe Hagar und Ismael einen ersten Erfolg verbuchen und durfte infolge eines Stipendiums von 1856 bis 1858 Rom besuchen. In der traditions- wie kunstreichen Weltstadt machte er die Bekanntschaft von Künstlerpersönlichkeiten wie Arnold Böcklin, Heinrich Dreber und Anselm Feuerbach und schuf in Anlehnung an den Schweizer Bildhauer Ferdinand Schlöth seine Marmorgruppe Amor und Psyche.Reinhold Begas neigte sich unter dem Einfluss seiner in Rom gemachten Erfahrungen, nicht zuletzt auch durch das Studium der Werke von Gian Lorenzo Bernini und Michelangelo, einem barocken Stil zu, der dem noch vorherrschenden strengen Klassizismus zuwiderlief. 1861 ereilte ihn ein Ruf aus der noch jungen Großherzoglich-Sächsischen Kunstschule Weimar, wo er als Lehrer wieder auf seine Rom-Bekanntschaft Böcklin traf und außerdem Franz von Lenbach kennenlernte. Reinhold Begas nahm seinen Lehrauftrag bis 1863 wahr und kehrte dann nach Berlin zurück. Zwar kam es zu wiederholten kurzen Aufenthalten in Rom und Paris, doch blieb das preußische Berlin die Heimat des Künstlers, der mit seinem unverhohlenen Pathos das Wohlwollen der Hohenzollern erwarb und von Kaiser Wilhelm II. zahlreiche prestigeträchtige Aufträge erhielt. Das 1897 enthüllte Kaiser-Wilhelm-Nationaldenkmal hatte Reinhold Begas gemeinsam mit Gustav Halmhuber im Stil des Neobarock entworfen; es überdauerte zwei Weltkriege, wurde aber 1950 in der DDR zerstört; lediglich drei Figuren blieben erhalten.
Etienne Duperac - Pyramide Cestio / Description: Vestigi dell'Antichitá di Roma Raccolti et Ritratti in Perspettiva con Ogni Diligentia da Stefano Du Perac - 1575 Piramide CistioFrom the first edition of the series of prints etched by Etienne Du Pérac and published in Rome in 1575Publisher: Lorenzo Vaccari (Italian, active Rome, ca. 1575–1608).Du Pérac (1525-1604) was a French architect and garden designer who had studied engraving under Antonia Lafreri, to who's Speculum Magnificentiae he contributed. The prints were published in the same year as the set by Battista Pittoni. While Pittoni works closely to the work of Hieronymus Cock, Du Pérac shows his own designs. Du Pérac represents as no other the lively renewal and interest in sixteenth century Rome, his prints form a a key source for the state of the Roman monuments at that time. / Dimensions: 21,00 x 38,50 cm / Condition: Superb good inked impression with good plate tone. Full plate border and margins on laid paper. Excellent condition. / Literature: Etienne Dupérac (Etcher, engraver, painter, draughtsman, architect, garden designer, French c.1535? - 1604) He had studied engraving under Antonio Lafreri, to whose Speculum Romanae Magnificentiae he contributed.Etienne Duperac, a native of Bordeaux or Paris, he soon moved to Venice, where he learned the art of making various subjects by Titian, mainly for the publisher Giovanni Francesco Camocio.He arrived in Rome in 1559 where he devoted himself to the study of architecture and antiquities, with special attention to the works of Michelangelo. In Rome knows Onofrio Panvinio, archaeologist and antiquarian who influences him and introduced him to the study of Roman antiquities. Like all artists from Northern Europe, was fascinated by the majesty of the Roman ruins and decided to study them. The above representations of the monuments of Rome, such as those performed by Hieronymus Cock in 1550, were painted and embellished with elements of fantasy.The great importance of the views of Rome Duperac lies in the fact that they were represented with absolute precision archaeological and topographical, as to be now studied with great attention by scholars of archeology, monuments and sites as they often are now lost." Roma Rome Robert Dusmenil, Peintre Graveur Francais, vol. VIII, pp. 92 - 99, 1 - 40; Reed & Wallace, Italian Etchers of the Renaissance & Barocque, p. 83,84. 380 210He specialized in antiquities, maps and views and published his own work..""I vestigi dell'antichità di Roma raccolti et ritratti in perspettiva da Stefano Du Perac parisino"", first published in Rome in 1575 by Lorenzo Vaccari. The set, composed by 39 plates and 2 title. Etching with engraving, very good condition. Etienne Duperac, a native of Bordeaux or Paris, he soon moved to Venice, where he learned the art of making various subjects by Titian, mainly for the publisher Giovanni Francesco Camocio. He arrived in Rome in 1559 where he devoted himself to the study of architecture and antiquities, with special attention to the works of Michelangelo. In Rome knows Onofrio Panvinio, archaeologist and antiquarian who influences him and introduced him to the study of Roman antiquities. Like all artists from Northern Europe, was fascinated by the majesty of the Roman ruins and decided to study them. The above representations of the monuments of Rome, such as those performed by Hieronymus Cock in 1550, were painted and embellished with elements of fantasy. The great importance of the views of Rome Duperac lies in the fact that they were represented with absolute precision archaeological and topographical, as to be now studied with great attention by scholars of archeology, monuments and sites as they often are now lost." Roma Rome Robert Dusmenil, Peintre Graveur Francais, vol. VIII, pp. 92 - 99, 1 - 40; Reed & Wallace, Italian Etchers of the Renaissance & Barocque, p. 83,84. 376 215In 1574 URBIS ROMAE SCIOGRAPHIA EX ANTIQUIS MONVMENTIS ACCVRATISSIn 1575 he published VESTIGI DELL’ ANTICHITA DI ROMA. / Medium: Etching /Circa: 1575 180
Cherubino Alberti, after Michelangelo - St John Baptist - 1591 / Description: St John the Baptist after Michelangelo's figure in the Last Judgement. St Johnis shown in an elaborate cartouche with angels, one of whom proclaims its fame. Engraving made by: Cherubino Alberti in 1591. / Dimensions: 43,10 x 23,10 cm / Condition: A good impression in very good condition on a bit sturdy laid paper. Collection stamp on the backside. im / Literature: Bartsch / Le Peintre graveur (XVII.74.67) --- Michael Bury, 'The Print in Italy 1550-1620', London, 2001, cat.no.94; The figure, here shown in reverse, stands on Christ's right in Michelangelo's fresco of the Last Judgement. ---- Massari, 1983, p.72, no.81.:Bonasone has isolated a figure from the Last Judgement and presented it in reverse as a self-standing invention / Medium: Engraving /Circa: 1591 320
HONORÉ DAUMIER (1808-1879)Avocat et client (L'avocat et le paysan – Défenseur et accusé) signed with the artist's initials 'H.D.' (lower left)brush and India ink, wash and black pencil on paper15.1 x 15.8cm (5 15/16 x 6 1/4in).Footnotes:ProvenanceHenri Rouart Collection, Paris.Alexis Rouart Collection, Paris (acquired by 1901).Ernest Rouart Collection, Paris (acquired by 1923).Galerie Marcel Guiot, Paris.Matthiesen Gallery, London (acquired by 1938). Otto Wertheimer, Paris. Dr. Max Schmidheiny Collection, Heerbrugg (acquired from the above, probably through Galerie Feilchenfeldt, Zurich, in 1947).Private collection, Switzerland (by descent from the above); their sale, Christie's, London, 7 February 2002, lot 302.Private collection, London (acquired at the above sale).ExhibitedParis, Palais de École des Beaux-Arts, Exposition Daumier, May 1901, no. 268.Paris, Maison de Victor Hugo, Exposition Daumier et Gavarni, May – July 1923, no. 62.Paris, Galerie L. Dru, Aquarelles et dessins de Daumier, 18 May – 11 June 1927, no. 28.Paris, Musée de l'Orangerie, Daumier, Peintures, aquarelles, dessins, 1934, no. 137.London, Matthiesen Gallery, A Century of French Drawings, from Prud'hon to Picasso, 3 – 21 May 1938, no. 38.Gothenburg, Göteborgs Konstmuseum in association with Matthiesen Gallery, London and Christian Faerber, Gothenburg, Franska Handteckningar, Från 1800-Talet, 27 March – 19 April 1939, no. 6.Copenhagen, Statens Museum for Kunst in association with the Foreningen Fransk Kunst, Copenhagen; Matthiesen Gallery, London and Christian Faerber, Gothenburg, Udstilling af Franske Haandtegninger, Fra det 19. og 20. Aarhundrede, May 1939, no. 20.London, Tate Gallery, Daumier, Paintings and Drawings, 14 June – 30 July 1961, no. 198.Bern, Kunstmuseum Bern, 'Zeichnen ist Sehen', Meisterwerke von Ingres bis Cézanne aus dem Museum der Bildenden Künste Budapest und aus Schweizer Sammlungen, 29 March – 2 June 1996, no. 56 (later travelled to Hamburg).LiteratureR. Escholier, Daumier, Peintre et Lithographe, Paris, 1923 (illustrated p. 128).C. Martine, Dessins de maîtres français, Vol. IV, Honoré Daumier, Paris, 1924, no. 26.E. Fuchs, Der Maler Daumier, Munich, 1927, no. 196b (illustrated pl. 196).F. Davis, 'A Page for Collectors. Nineteenth-Century French Drawings.', in The Illustrated London News, Vol. 192, no. 5171, 28 May 1938, p. 971 (illustrated).K.E. Maison, Honoré Daumier, Catalogue Raisonné of the Paintings, Watercolours and Drawings, Vol. II, The Watercolours and Drawings, London, 1968, no. 612 (illustrated pl. 231).R. Passeron, Daumier, Témoin de son temps, Fribourg, 1979, no. 168, p. 233 (illustrated p. 232).Honoré Daumier was not only a keen observer of the French legal system – he was also a reluctant participant. In 1832, he stood trial for a caricature drawing of King Louis-Philippe published in the left-wing satirist magazine La Caricature. Attacking corruption and licentiousness in the King's government, Daumier depicted him as Gargantua – the insatiable giant from François Rabelais's popular story – devouring citizen's tax money, in the form of barrels of coins carted up into his gaping maw. In a barbed follow-up, the magazine published an unflattering drawing by Daumier of the King's Chief Prosecutor, Jean-Charles Persil, in women's attire. Along with his editor, Daumier was sentenced to six months of confinement in the Sainte-Pélagie prison in Paris.This experience – and his many hours observing lawyers gathering around the Palais de Justice from his nearby apartment – aroused Daumier's artistic focus on the comedy and tragedy of urban life. With the zealous flourish of a playwright's son, Daumier focused his art on the theatrical, the legal system providing him with a cast of characters locked into a wider power struggle coloured by jargon, performance and narrative. With his trademark frankness and informality, Daumier staged artworks evoking the sins of greed, vanity, deception and sloth, playing out upon the stage of the Palais de Justice. Daumier's legal works often comprised genre-style vignettes depicting one or two figures who signified the justice system without being hampered by a specific narrative. As such, physical gestures and facial expressions were central to these scenes, as his characters encompassed personifications of a society beset by inequality. His lawyers are often depicted huddled, confiding and whispering, while their clients exhibit dumbfounded expressions, as they suffer unexpected outcomes delivered by a complex and mysterious system. This conceit of deceit plays out poignantly in the present work, as the lawyer - clutching his documents and seemingly at ease in his environment - turns toward his client, who displays an expression of horror. The deep blacks of the lawyer's costume are stark against the colourless ruffled garb of the defendant, evoking a binary between them of knowledge, class and power.Daumier produced thousands of satirical drawings for French periodicals that made biting and wryly humorous statements about French society, drawing upon close observation of Parisian folk as well as his vibrant imagination. This took place at a time of unprecedented growth in Paris, as the city's sprawling diversity and increasingly cosmopolitan outlook led to a demand for urban portraiture. The vitality of Daumier's linework conjured the action and emotion of these subjects with vigorous clarity. With few strokes of pencil, charcoal, chalk and ink, the resulting scenes appear unflinchingly spontaneous and yet deftly constructed. This quality led Charles Baudelaire to dub Daumier the 'Michelangelo of Caricature,' and later critics to credit him with emancipating drawing from the constraints of the prevailing French academic style, redefining it as a forthright and expressive mode of art. Influencing these shifts was the French Revolution's emphases on liberty and individualism, resulting in a greater focus on artistic autonomy, as well as a profound aversion to abuses of power.The present work thereby forms a core emanation of Daumier's resounding influence, leading to its inclusion in some of the most significant historical exhibitions on the artist. Of these, the 1901 retrospective at the Palais de École des Beaux-Arts was the largest exhibition of Daumier's works ever assembled, solidifying his posthumous fame as a draughtsman and painter, not just as a caricaturist. Following this, the exhibition Daumier et Gavarni at the Maison de Victor Hugo in 1923 was the first significant Daumier exhibition after World War I, while the 1934 retrospective at the Musée de l'Orangerie was arguably the most important Daumier exhibition ever held. In addition, the present work was included in the 1961 Daumier retrospective at the Tate Gallery in London, which was organised by leading Daumier expert K.E. Maison and became of critical importance to Daumier scholarship. For some decades the present work formed part of the collection of the artist Henri Rouart and his sons, alongside twelve paintings and thirty-three drawings by the artist – including several masterpieces. It comes to us now from a distinguished private London collection, alongside two other remarkable drawings that showcase Daumier's master as a draughtsman and as a vigorous critic of humankind.For further information on this lot please visit Bonhams.com
Michele Lucchesi (active 1534-1564)Bathers from the Battle of Cascina, or "The Climbers", after MichelangeloEngraving, circa 1535-1560, on laid paper, a good impression but printing slightly dryly to the centre left, platemark 330 x 440 mm (13 x 17 1/4 in), sheet 332 x 450 mm (13 1/8 x 17 3/4 in), some red chalk to the genitals of two of the figures, minor surface dirt and browning (unframed)Provenance:Sir William Stirling-Maxwell (1818-1878); then by descent to the present owners*** Together with a large miscellaneous group of over 40 old master and later prints from the Stirling-Maxwell collection, all unframed (qty.)
A large Capodimonte group of Michelangelo designed by Germano Cortese, seated by a sculpture titled 'Pieta Di Michelangelo Buonarroti', with a plaque on one side and numbered 198 of 400 made, and also signed on the back. Mounted on a wooden plinth. 65cms high overall including plinth *With it's certificate, see image. *CR The sculpture has a small damaged section between the male figure and pillar, there are discoloured/possible restored areas to the thighs and foot of the male sculpture. The scroll under the figure of Michelangelo has a chip.
![Folio Society nine cased modern volumes, to include; The Gastronomical Me by M.F.K. Fisher [2017], The Diary of a Country Par](https://cdn.globalauctionplatform.com/475a4e8b-c3b5-41b7-8b3b-b1290097f727/58d073bc-1b00-40ed-8784-b149011d7556/468x382.jpg)
Folio Society nine cased modern volumes, to include; The Gastronomical Me by M.F.K. Fisher [2017], The Diary of a Country Parson by James Woodforde [2015], Essays by Charles Lamb, The Hobbit by J.R.R. Tolkien [2013], The Surgeon of Crowthorne by Simon Winchester [2014], Poems of Coleridge, Crotchet Castle by Thomas Love Peacock, The Sonnets of Michelangelo [1962] & Rubáiyát of Omar Khayyám – The First Version of Edward Fitzgerald [1960]. Total nine. (9)
A LARGE ITALIAN CARVED CARRARA MARBLE PLAQUE DEPICTING THE LAST SUPPER AFTER MICHELANGELO 19TH CENTURY 136.5cm wide, 51.5cm high, 14cm deep Provenance: Private Collection, Channel Isles Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Repaired to vertical break through middle, other cracks notably both upper corners- weathering with greening, loss to raised details and denaturing of surface- edge chips and losses Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
JOHN WARRINGTON WOOD (1839-1886) A CARVED MARBLE GROUP 'SISTERS OF BETHANY' DATED 1876 Depicting the scene as told in the Gospel of John, chapter 11, with Martha entreating her sister to meet with Christ and with the imminent resurrection of their brother Lazarus to follow, signed, inscribed and dated in cursive script on rear of chair J. WARRINGTON WOOD Sculpt Rome 1876, plinth inscribed: "SISTERS OF BETHANY, THE MASTER IS COME AND CALLETH FOR THEE" approximately 109cm high, base 49 by 33.5cm John Wood was a sculptor mainly of mythological and biblical subjects, and also portrait busts. Born in Warrington, Lancashire in 1839, he adopted Warrington as his middle name to distinguish himself from the older sculptor John Wood (1801-70). After training as a stonemason, he moved to Rome in 1865 where he studied under John Gibson. His success afforded him the wealth to purchase the Villa Campana. He exhibited works at the Royal Academy of Arts from 1868 to 1884 including a version of this sculpture in the 1879 Royal Academy Exhibition, catalogue No. 1509, which was displayed in the Central Hall.In 1877 he was elected to the Guild of St. Luke in Rome and his statues of Raphael and Michelangelo stand at the entrance to the Walker Art Gallery in Liverpool with further work in Manchester Town Hall and in the museum and art gallery in Warrington. Another version of this work, dated 1871, is currently exhibited at the Kibble Palace, Glasgow Botanic Gardens, Glasgow, Scotland. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with surface dirt- some of which is engrained leading to a yellowish tint in some areas. With some wear and minor losses including but not limited to: Seated figure: left hand's fingers- loss and repair Standing figure- repair to thumb of her right hand Natural flaws and veining to stone, with some remedial infill- mostly probably at time of carving including but limited to: sections of raised edges of drapery to reverse. Hairline faults including to seated figure left forearm, stains to standing figure right forearm and small scattered spot stains throughout Some edge wear and nibbles including to raised areas of drapery to reverse, bottom edge of plinth including larger loss to front corner Approx 200kg- requires careful lifting and transit Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Francesco Primaticcio (1504–1570) was an Italian Mannerist painter, sculptor, and architect who spent a significant portion of his career working in France. Born in Bologna, Italy, Primaticcio played a key role in the development of the Fontainebleau School and contributed to the spread of Italian Mannerism in France.Primaticcio's early career in Italy included work in Bologna and Rome, where he absorbed influences from the Renaissance and the art of Michelangelo. In 1532, he traveled to France, initially commissioned to create frescoes for the Château d'Ancy-le-Franc. However, he soon became associated with the court of King Francis I and played a major role in the decoration of the Château de Fontainebleau.Key aspects of Francesco Primaticcio's career include:1. **Fontainebleau School:** Primaticcio became a central figure in the Fontainebleau School, a group of artists who worked on the decoration of the royal palace at Fontainebleau. Alongside Rosso Fiorentino, he played a crucial role in developing the Mannerist style in France.2. **Decoration of Fontainebleau:** Primaticcio was responsible for numerous frescoes, stuccos, and decorative schemes at Fontainebleau. His work included mythological and allegorical themes, showcasing a sophisticated and refined Mannerist aesthetic.3. **Collaborations:** Primaticcio collaborated with other artists, including Rosso Fiorentino and Niccolò dell'Abbate, to create a cohesive and harmonious decorative ensemble at Fontainebleau.4. **Sculpture and Architecture:** In addition to painting, Primaticcio was involved in sculpture and architecture. He contributed to the design of the palace and created sculptural works, including a famous series of terracotta caryatids.After Francis I's death in 1547, Primaticcio continued to work for subsequent French monarchs, including Henry II and Catherine de' Medici. His influence persisted through the 16th century, and his Mannerist style left a lasting impact on French Renaissance art. Francesco Primaticcio's legacy is particularly tied to the artistic achievements at Fontainebleau and the dissemination of Italian Mannerism in France.Measures 3.7 x 1.5 x 1.5.Brass and black marble.
Collection of nine 1/1250 scale Mercator Marine Miniature diecast model ships to include M512 Bremen, M402 A Vaterland, M912B Schwabenstoin, M548 E.O Britain, M404 Titanic, M926 Ille De France, M907 Michelangelo Raffarello, M568 Rex Passenger Ship and M928 Georgic 1933, all diecast vg overall, boxes vg with names in pen / pencil to side of boxes
Collection of Playmates Teenage Mutant Ninja Turtles TMNT figures / vehicles to include 12 x carded figures (Michelangelo, Donatello, Ooze Tossin Raph, Baxter Stockman, etc), 4 x carded Playmates Flingers (in shop box), 2 x boxed Playmates vehicles sets (Shelleaiser & Sewer Cruiser), 1 x Boxed Water Tower Washout, etc (3 boxes)
Mario Salmi & others. The Complete Work of Michelangelo, over 1000 colour and b/w plates and illustrations in text, original publishers cloth, dust jacket, folio, New York; Reynal and Company in association with William Morrow and Company, n.d.; Redig De Campos Deoclecio. Reffaello Nelle Stanze, numerous coloured plates, original publishers cloth, dust jacket and slipcase, 4to, Firenze: Giunti Martello, 1983; Ronald Lightbown. Piero Della Francesca, numerous coloured and b/w plates and illustrations in text, original publishers cloth, dust jacket, 4to, New York: Abbeville Press Publishers, 1992; and 34 others, similar, mostly relating to Italian Renaissance Art, v.s. (37) Provenance: Ex-Libris Robert Lenkiewicz Foundation.Mixed condition.
Kleine Pietà in Carrara-MarmorHöhe: 21 cm.Rom, 17. Jahrhundert.Maria mit dem Leichnam des Sohnes auf einem mitgearbeiteten Rechtecksockel mit Bodenprofilen. Der Kopf Mariens dem Haupt Christi zugewandt, ihre linke Hand – mit fein gearbeiteten Fingern – hält die Hüfte des Sohnes. Reiche Bildung der Gewandfalten, die am linken Mantelarm einen großen Bausch bilden. Der rechte Arm Jesu ist senkrecht nach unten geführt, ein Motiv, das seit der berühmten Pietà des Michelangelo zur Norm des Bildtypus geworden ist, wie insgesamt auch diese kleine Pietà auf dieses Vorbild zurückgreift. Die Kopfoberseite der Maria abgeflacht, was auf eine ehemalige Krone in anderem Material hinweist.Rechter Arm der Maria, rechter Unterarm Christi und dessen linke Hand fehlen. Kleine Abbrüche an den Sockelecken. A.R. (1351232) (11))
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NeapelHEILIGER PETRUSÖl auf Leinwand. Doubliert.126,5 x 99 cm.In breitem ornamental verzierten Rahmen.Beigegeben eine Expertise von Prof. Nicola Spinosa, in Kopie.Das Bildthema geht auf die Stelle des Neuen Testaments zurück, wonach der Heilige Petrus in schuldhafter Reue seines Verrats an Jesus gedenkt. Diese Bibelstelle wurde von mehreren bedeutenden Malern aufgegriffen. Der Blick ist, wie auch hier, zumeist nach oben gerichtet. Hier sitzt der Heilige an einem Tisch, den Kopf auf seinen linken Arm gestützt. Die Qualität der Bildoberfläche im Bereich des Heiligen lässt keinen Zweifel an der vollen eigenständigen Schaffung des Gemäldes durch Ribera, in dem die charakteristische Rauheit der Hände und die Falten der Stirn, die verwelkte Haut und die Rötung um die Augen, verursacht durch Weinen und Alter, deutlich wahrnehmbar sind. Das Motiv finden wir auch in Darstellungen des Guido Reni oder Diego Velasquez. Für das Gemälde gibt es einige Vergleichsbeispiele, wie etwa ein Werk in einer Londoner Privatsammlung, signiert „Jusepe R“ (Spinosa, 2003, S. 272, Nr. A. 67), ebenfalls dargestellt in einem intimen und bußfertigen Gespräch mit der Gottheit, sowie die halbfigurige Interpretation desselben Modells, dargestellt in der identischen physiognomischen Haltung, aufbewahrt in der Eremitage von Sankt Petersburg (Spinosa, 2003, S. 276, Nr. A80). Auch im Giustiniani-Inventar von 1638 von Spagnoletto wird ein Gemälde erwähnt, das dem vorliegenden Werk nahe steht (Danesi Squarzina, 2003, S. 325). Ebenso ist ein Gemälde, das im Art Institute of Chicago (Inv. Nr. 1993:60) verwahrt wird, thematisch vergleichbar.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz:Christie‘s, 08. Dezember 2017, Lot 165 als aus der Werkstatt Riberas stammend. Literatur:Vgl. Nicola Spinosa, L‘opera completa di Ribera, Mailand 1979.Vgl. Silvia Danesi Squarzina, La collezione Giustiniani, 3 Bde., Turin 2003.Vgl. James Hall, Dizionario dei soggetti e dei simboli nell‘arte, Mailand 2003.Vgl. Nicola Spinosa, Ribera, L‘opera completa, Neapel 2003.Vgl. Nicola Spinosa, Ribera. La obra completa, Madrid 2008, S. 501. (1381871) (13) (†)Jusepe de Ribera,also known as „lo Spagnoletto“,1588/91 Xàtiva/ Valencia – 1652 NaplesSAINT PETEROil on canvas. Relined.126.5 x 99 cm.Accompanied by an expert’s report by Prof Nicola Spinosa, in copy.Provenance: Christie’s, 8 December 2017, lot 165 as a work by the workshop of Ribera.
Hendricx de Clerck, um 1570 Brüssel – 1629MARIA MIT DEM JESUSKIND UND DEM JOHANNESKNABENÖl auf Holz. Parkettiert.138 x 157 cm.In breitem ebonisierten Holzrahmen.Beigegeben eine Expertise von Ferdinando Arisi, in Kopie.Die Figurengruppe in einer Waldlandschaft wiedergegeben, im Schatten von Eichenbäumen mit mächtigen Stämmen. Rechts hinten Ausblick in Landschaft mit dunklen Wolken und einer tiefer stehenden Burg auf einem Felsen. Maria nach links sitzend, hält in ihren Armen das stehende Jesuskind, das sich an ihren Körper schmiegt, etwas furchtsam auf das hochspringende Lämmchen blickend, das der Johannesknabe in Händen hält. Das Laubwerk des abgedunkelten Hintergrundes fein gemalt, die Konturen des Inkarnats in leichtem Sfumato ausgeführt, die Figuren in bewegter Haltung. Die Farbkomposition betont die Verwendung von Rot im Dreiecksaufbau, wobei das blaue Kleid der Maria, um diesen Farbeffekt nicht zu beeinträchtigen, ins Violett abgeschwächt ist. Der Stab des Johannesknaben auf dem Boden abgelegt, umwickelt von schmalem Rotulus. Die Burg rechts hinten ist symbolisch als die Festung der göttlichen Zuversicht zu verstehen.Anmerkung:Arisi verweist auf eine gewisse Stilanlehnung an die Madonna von Michelangelo, welche sich in der Kirche Notre Dame in Brüssel befand. Ferner wird Bezug genommen auf ein Gemälde „Sacra Famiglia con un angelo“ in einer Privatsammlung, signiert und datiert 1607, abgebildet in: J. de Maere, M. Wabbes, Illustrated dictionary of 17th century Flemish painters, Brüssel 1994, S. 252. (1391121) (13)Hendricx de Clerck, ca. 1570 Brussels – 1629THE VIRGIN AND CHRIST CHILD WITH THE INFANT SAINT JOHN THE BAPTIST Oil on panel. Parquetted.138 x 157 cm.Accompanied by an expert’s report by Ferdinando Arisi, in copy. Notes:Arisi points out a similar style to Michelangelo’s Madonna, which was in the Notre Dame church in Brussels. Furthermore, he also refers to a painting titled Sacra Famiglia con un Angelo held in a private collection, signed and dated “1607“, illustrated in J. de Maere and M. Wabbes, Illustrated dictionary of 17th century Flemish painters, Brussels 1994, p. 252.
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