Maler des 18. Jahrhunderts,ehemals Michelangelo Unterberger, zug.MOSES SCHLÄGT DAS WASSER AUS DEM STEINÖl auf Leinwand. Doubliert.118 x 141 cm.In Rahmen mit Wellenleistenprofil.Zentraler, mächtiger Fels von spärlicher Vegetation überfangen mit davor stehender Figur des Moses mit Stab, welcher soeben Wasser dem Fels entlockt hat. Um ihn herum zahlreiche Figuren, links auf einem Fels eine angedeutete Festungsarchitektur. Dargestellt wird eine Erzählung des Alten Testaments mit dem Auszug der Israeliten aus Ägypten, diese sind mit Moses an der Spitze noch immer in der Wüste unterwegs. Die Israeliten sind unzufrieden, da sie kein Wasser finden und haben. Als Moses und Aron zu Stiftshütte gehen um zu beten, sagt Jehova zu Moses, er möge alle zusammenrufen und er solle vor dem Volk zu diesem Felsen reden, dann würde genug Wasser für alle Leute und ihre Tiere aus dem Felsen sprudeln. Daraufhin ruft Moses das Volk zusammen und schlägt zweimal mit einem Stab gegen den Felsen, worauf ein großer Wasserstrahl hervorbricht. (13803117) (13))
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Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel BILDNIS EINES LESENDEN PHILOSOPHENÖl auf Leinwand. Altdoubliert.91 x 112 cm.Unten mittig signiert.In teilebonisiertem breitem Rahmen.Beigegeben eine Bestätigung von Prof. Riccardo Lattuada.Ganz in der Auffassung Riberas geschaffenes Dreiviertelbild eines älteren Mannes mit grauen Bartstoppeln in einem Innenraum, der vom schwarzen Hintergrund links zur rechten Seite aufhellt. Der sitzende Gelehrte in dunklem Gewand unter dem der helle Hemdkragen hervorschaut und mit einer schwarzen Kopfbedeckung. Er hält in seinen leicht angehobenen Händen einen handgeschriebenen Brief, den er aufmerksam mit gesenkten Augen liest. Links von ihm auf einer Tischplatte mehrere große alte, wohl wertvolle ledergebundene Bücher, die ihn als Gelehrten ausweisen. Besonders auffällig, wie bei Ribera sehr häufig, der betonte Hell-Dunkel-Kontrast: das von links oben aus nicht sichtbarer Quelle einfallende Licht beleuchtet die linke Gesichtshälfte vor schwarzem Hintergrund, während die Kopfbedeckung vor hellem beigen Hintergrund wiedergegeben wird. Das Gemälde von hoher Qualität. 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. (1390115) (13) (†)Jusepe de Ribera, also known as „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NaplesPORTRAIT OF A READING PHILOSOPHEROil on canvas. Old relining.91 x 112 cm.Accompanied by a confirmation by Prof Riccardo Lattuada.
Willem van den Broeck, zug.1530 – 1579/80ANATOMISCHE BRONZE-STANDFIGUR DES HERKULESHöhe: 45 cm. Gesamthöhe inkl. Holzsockel: 53 cm.Bronzeguss, dunkle Patina. Auf runder, mitgegossener Plinthe, mit angewinkeltem rechten Bein an einem Baumstumpf, über den das Fell des Nemeischen Löwen, den er besiegt hatte, mit Löwenhaupt gelegt ist. Ein Teil des Fells mit Pfote zieht am linken Bein zum Boden. Der Kopf gesenkt, der Körper zeigt die Muskulatur offen, ein manieristischer Effekt, der dem Interesse an medizinisch-biologischen Erkenntnissen des 15. und 16. Jahrhunderts entspricht, seit Künstler wie Michelangelo oder Leonardo sich heimlich in Leichenhäusern der Anatomie gewidmet hatten. Die Figur entspricht weiteren Ausführungen, so etwa in Terrakotta, wie ein Exemplar im Kunsthistorischen Museum, Wien zeigt. Der Bildhauer ist zudem bekannt u. a. für drei Statuen in der Liebfrauenkathedrale in Antwerpen, wo er 1557 bereits Freimeister der Lukasgilde wurde. Ein Alabaster-Relief, „Kalvarienberg“, befindet sich im Louvre, ein „Garten Eden“ in Brüssel.Literatur: Vgl. Broeck, Guillaume van den, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL). Bd 14, München u. a. 1996. (1390213) (11)Willem van den Broeck, 1530 – 1579/80, attributedANATOMICAL STANDING BRONZE SCULPTURE OF HERCULESHeight: 45 cm. Total height incl. wooden base: 53 cm.Bronze casting with dark patina. On a round, cast-in plinth. Hercules´ right leg bent on a tree stump, over which the skin of the “Nemean lion”, which he had defeated, is laid with the lion´s head. The figure corresponds to other versions, for example in terracotta, as an example held at the Kunsthistorisches Museum in Vienna shows. Among other things, the sculptor is also known for three statues in the Cathedral of Our Lady in Antwerp, where he became a free master of the Guild of Saint Luke in 1557. An alabaster relief, Calvary, is held at the Louvre and a Garden of Eden in Brussels.
Neapolitanischer Maler des 17. Jahrhunderts, Kreis des Jusepe de Ribera (1588/91 – 1652)GRABLEGUNG CHRISTIÖl auf Leinwand. Doubliert.178 x 245 cm.In vergoldetem Profilrahmen.Hell leuchtet der fahle Leichnam Christi, dessen Farbe sich kaum von dem Leichentuch abhebt und dessen blutrote Wunde dadurch umso eindrucksvoller ins Auge sticht, um ihn herum sind Nikodemus, Josef von Arimathäa, Maria, Johannes und Maria Magdalena dargestellt. Der Körper liegt auf einer gestuften Grabplatte, im Hintergrund wird ein Architekturfragment sichtbar. Das vorliegende Gemälde nimmt Bezug auf ein bisher unbekanntes Gemälde Jusepe de Riberas, das jedoch durch mehrere Kopien oder Varianten überliefert ist. Der Maler unseres Gemäldes, das von einer hochfeinen Ausführung und Auffassung zeugt, wird sicherlich dem unmittelbaren Kreis Riberas zuzuschreiben sein, wobei die Farbwahl auf eine Entstehung auf um 1640-1650 schließen lässt. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raffaelo Santis (1483-1520) und Agostinos (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 erhoben ihn zum Hofmaler des Herzogs von Ossuna sowie des Königs von Neapel. Im Jahr 1644 wurde er zum Ritter des Christusordens durch den Papst. 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.Provenienz:Adelsbesitz, Marken, bis 2019.Literatur:Vgl. Nicola Spinosa, Ribera. L‘opera completa, Madrid 2008, S. 521. (1391951) (3) (13)Neapolitan School of the 17th century,circle of Jusepe de Ribera (1588/91 – 1652)THE ENTOMBMENT OF CHRIST Oil on canvas. Relined.178 x 245 cm.The painting on offer for sale in this lot refers to a previously unknown work by Jusepe de Ribera, which has, however, been passed down in several copies or variants. The artist of the present painting, which demonstrates a very fine execution and composition can certainly be attributed to Ribera’s immediate circle, but the choice of colours suggests its creation around 1640 - 1650.Literature:cf. Nicola Spinosa, Ribera. L’opera completa, Madrid, 2008, p. 521.
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NeapelAARONÖl auf Leinwand. Doubliert.130 x 95 cm.In ornamental reliefiertem Rahmen.Beigegeben ein Gutachten von Nicola Spinosa, Neapel, 22. Mai 2023, in Kopie.Vom rechten Bildrand ragt eine Tischecke in den Bildraum hinein, über die sich eine Figur in dem Gewand eines Hohepriesters zu beugen im Begriff ist. Seine Kopfbedeckung verweist auf das Alte Testament, in seiner Hand hält er mehrere sich windende Schlangen, seine andere Hand weist auf ein metallisch schimmerndes Weihrauchgefäß in barocker Form. In der Erzählung von der Berufung Mose soll er dessen Auftrag, die Israeliten aus der Knechtschaft Ägyptens zu führen, durch seine Sprachgewandtheit unterstützen. Gegenüber dem ägyptischen Pharao tut sich Aaron als Wundertäter vor, um die Überlegenheit Jahwes darzulegen: Sein Stab wird zu einer Schlange, die die ebenso zu Schlangen gewordenen Stäbe der ägyptischen Weisen verschlingt (Ex 7,8-13). Spinosa setzt die Entstehung des hier angebotenen Gemäldes auf um 1616 oder kurze Zeit später fest, in Riberas Zeit zwischen Rom und Neapel.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Literatur:Das hier angebotene Gemälde ist publiziert in: Nicola Spinosa, Aniello Falcone e i pittori della sua cerchia, Cinisello Balsamo 2023, S. 19.Vgl. Nicola Spinosa, L‘opera completa, Neapel 2006.Vgl. José Milicua, Javier Portús, El joven Ribera, Ausstellungskatalog, Museo Nacional del Prado, 4. April -28. August 2011, Madrid 2011.Vgl. José Milicua, Javier Portús, Ribera tra Parma, Roma e Napoli (1608 - 1624), Ausstellungskatalog, Museo di Capodimonte, 23. September 2011-08. Januar 2012, Neapel 2011.Vgl. Benedikt J. Collinet, Aaron, Bruder des Mose, in: Biographisch-Bibliographisches Kirchenlexikon, Bd. 42, Nordhausen 2021. (1390021) (13)Jusepe de Ribera,also known as “lo Spagnoletto”,1588/91 Xàtiva/ Valencia – 1652 NaplesAARONOil on canvas. Relined.130 x 95 cm.Accompanied by an expert’s report by Nicola Spinosa, Naples, dated 22 May 2023, in copy. Spinosa dates the painting to ca. 1616 or shortly thereafter, a period in the artist’s life when he was active in Rome and Naples. He was appointed as court painter to the Duke of Osuna and the King of Naples due to the quality of his paintings. In 1644 he was awarded The Supreme Order of Christ by the Pope. He was already a member of the Accademia di San Luca in Rome in 1630. Alongside Caravaggio, he is the most important naturalist of Neapolitan painting with an emphasis on chiaroscuro. A main feature of his oeuvre is the deliberate depiction of mostly old, ascetic, bony and slim figures such as hermits or philosophers.Literature:The painting on offer for sale here is published in: Nicola Spinosa, Aniello Falcone e i pittori della sua cerchia, p. 19.
After Michelangelo, a bronze model of The Young Slave, 20th century, 17cm highProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Footnotes: Note: The present lot is after Michelangelo's original marble sculpture dateable to around 1525-30 and is part of the "unfinished" Prigioni, along with The Awakening Slave, Bearded Slave and Atlas Slave, intended for the tomb of Julius II.
* Skippe (John, 1742-1811). Five chiaroscuro woodcuts from Amicis suis necnon unicuique Artium elegantiorum Amatori, Tabulas insequentes Ludentis Otii temporibus ligno incisas, 1781, including A Group of Monks and a Woman, after Rubens, chiaroscuro woodcut from four blocks on cream laid paper, 'P: P: Rubbens inv. / Joan: Skipp scul.' to top right, with narrow margins, research notes to verso of frame in ink, small closed tear to left edge, handling creases to lower margin, tipped onto backing board at each corner, image size 37.7 x 23.4 cm (14 3/4 x 9 1/4 ins), sheet size 39 x 34.4 cm, framed and glazed, and Seated Young Man, after Michelangelo, chiaroscuro woodcut from four blocks in maroon on laid paper, 'Typum hunc / a M. Angelo / Scheda [...] Joan Skippe / D 1781' to lower right, trimmed to image, sheet size 18.7 x 15.8 cm (7 1/4 x 6 1/4 ins), framed and glazed, with Male and Female Caryatid, after Raphael, two chiaroscuro woodcuts printed in pale green and black, both trimmed to image, image size 6.8 x 8 (6 3/4 x 3 1/4 ins) respectively, framed and glazed, together with the Frontispiece to the collectionQTY: (6)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.
* Fuseli (Henry, 1741-1825). Study after Michelangelo's Last Judgement, circa 1775, pen and brown ink on antique laid paper, with watermark of a crossbow (probably late 16th century, similar to Briquet 729), slight loss to extreme lower left margin and to lower right corner, edges restrengthened to verso, inscribed in pencil in a later hand to verso 'Henry Fuseli i/ Rome after Michelangelo £ 9. 10. 0' and in another hand 'Michel Angelo', sheet size 205 x 315 mm (8.1 x 12.4 ins), window-mountedQTY: (1)NOTE:Provenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge.Fuseli travelled to Italy in 1770 and settled in Rome, where he remained until 1778. There he studied classical sculpture and especially Michelangelo’s frescoes in the Sistine Chapel. According to Allan Cunningham in his Lives of the Most Eminent British Painters, 1830, 'It was a story he loved to repeat, how he lay on is back day after day, and week succeeding week, with upturned and wondering eyes, musing at the splendid ceiling of the Sistine Chapel - on the unattainable grandeur of the Florentine…He fulfilled the injunction of Reynolds - he ate and drank and slept and waked upon Michelangelo’.The present work is a sketch of the lower right portion of Michelangelo's famous Last Judgement in the Sistine Chapel, depicting the arrival of tormented souls across the River Styx in Charon's boat to the land of the dead (as described in Dante's Divine Comedy), where they are received by demons.
Marco Dente, called Marco da Ravenna (c.1486-1527) Laocoön Engraving, circa 1520, a slightly worn impression on laid paper with watermark of six-pointed star within a circle surmounted by an additional smaller six-pointed star [apparently not in Briquet], sheet 471 x 324 mm (18 1/2 x 12 3/4 in), trimmed within the platemark, some spotting, surface dirt and handling creases, with drying crease with repairs to splitting, tipped at edges onto Stirling-Maxwell's mount (unframed)Provenance: Sir William Stirling-Maxwell (1818-1878); then by descent to the present owners.Together with a group of 4 other Italian old master prints: Marcantonio Raimondi (1480–1527) The Judgement of Paris, after Raphael [B.245] and Parnasuss, after Raphael [B. 247]; Domenico Barbiere (1506-1565) The Brazen Serpent, after Michelangelo; and Cherubino Alberti (1553-1615) Mary Magdalen standing on clouds, being transported to heaven by angels, [B. 63] (5)
Juan Baptista Franconio. Late 16th century, based on the casting of Michelangelo Buonarroti's model."Christ"Gilded bronze sculpture.22.5 x 21 cm.Magnificent gilded bronze Christ. This is one of the pieces obtained by casting bronze from the model by Michelangelo, which Juan Baptista Franconio, an Italian silversmith, brought to Seville in 1597 from Rome, where he settled.The significance of the Christ by Michelangelo was such that it was one of the inspirational works of art that led Juan Martínez Montañés to create his Christ of the Chalices. Francisco Pacheco recounts this in his posthumously published "Art of Painting" in Seville in 1649.He mentions that Martínez Montañés made this sculpture following the posture of another Christ, describing it as follows: "Michaelangelo, the illustrious light of painting and sculpture, made a crucifix with four nails for a model, which we can now enjoy. Juan Baptista Franconio, a brave silversmith, brought it to this city, cast in bronze, in 1597, and after enriching all painters and sculptors with it, he gave the original to Pablo de Céspedes, a canon of the Holy Church of Córdoba, who held it with great esteem around his neck." It is now known that the original is, for the moment, unaccounted for.Pacheco also specifies in his writing that he applied on January 17th (1600) a matte polychrome to the first of these four-nail crucifixes he cast. One of the painters whose work was enriched by being able to capture such a sculptural marvel on canvas, was Diego Velázquez, due to family ties, as he was Pacheco's son-in-law. In Anselmo López Morais' article “Crucifijo de Miguel Ángel (Un ejemplar en colección particular de Orense)” (Crucifix by Michelangelo (A specimen in a private collection in Ourense))' the 'two portraits he made in 1620 in Seville of Mother Jerónima de la Fuente (one in the Prado Museum in Madrid and another, where [the crucifix] can be seen clearly, in the Fernández Araoz Collection, also in Madrid)' are mentioned. Precisely this article is very useful in order to contrast similarities between this sculpture and the one mentioned by Michelangelo cast by Franconio. Among other things, it states: "The news from Pacheco was collected by Manuel Gómez-Moreno who, intrigued for a long time by a series of metal images obtained by casting, attributes them, with many doubts, to the Granada sculptor Alonso Cano, but later identifies them as those obtained from the Crucifix by Michelangelo mentioned in the 'Art of Painting'."López Morais continues quoting Gómez-Moreno to define the detailed characteristics of the 22 cm Crucifix: "it imposes by its very sobriety of resources, an imposing start that enlarges such a small work, [and] the body hangs limp, with absolute mass symmetry, as in real life; the head, which is small, falls on the chest and leans slightly to the right; the hands contract, clenched; the left leg crosses over the right, as revealed by Saint Brigid, flattening the calf upon contact, and the foot is deformed by the pressure of the nail; the almost embryonic nature of his virile organs matches a narrowness of hips that gives predominance to the chest over the other members; the belly sinks, and the complexion, emaciated, accentuates bony reliefs rather than muscles, except in the arms where tension makes even the arteries visible, but it is all modelled with unsurpassed delicacy and art." In Spain, there are several known silver or bronze specimens considered to be original castings from Franconio. Originals are found in the Museum of Caminos in Astorga, Palacio de Oriente in Madrid, the Gómez-Moreno Museum in Granada, the Caja de Ahorros de Segovia, the Cathedral of Seville, and the Ducal Palace of Gandía, among others. Some others are unsure whether they were cast from the original or even at that time.The Metropolitan Museum of Art in New York has a Christ and the two thieves in its collection with the registration number 37.28a–d, and currently attributes authorship for this figure of Christ as based on a model by Michelangelo Buonarroti. The question arises as to whether it was a casting made in Rome, a hypothesis supported by the context of the set, or whether, like ours, it is one of the examples made from Franconio, which is based, according to the MET, on "the quality of modeling and casting, both crisp and fluid, [which] brings it closer to numerous surviving silver copies in Spain". Provenance: Fernández Araoz Collection. Reference bibliography:- López Morais, Anselmo. (1988). Crucifijo de Miguel Ángel (Un ejemplar en colección particular de Orense). "Porta da aira: revista de historia del arte orensano", Nº 1, 97-107.- Metropolitan Museum of Art. (s.f.). "Christ and the Two Thieves Crucified". https://www.metmuseum.org/art/collection/search/197995
Fattorini, Thomas (Skipton, later Bradford, 1827-present) ENGLAND, Royal Academy of Arts, 1979, a silver medal by T. Fattorini, Virgin and child being presented with a goldfinch by the infant St John, being a representation of the marble Taddei Tondo by Michelangelo, rev. initials of Michelangelo being worked by two cherubs, cornucopia above, hallmarked tf Birmingham 1979, 64mm, 99.30g (cf. Royal Collection Trust 444089). Brilliant mint state; in black case of issue by Thomas Fattorini, Regent St, Birmingham B1 3HQ £50-£70 --- The marble, believed carved in 1504-5 during Michelangelo’s first period in Florence, was commissioned by the wealthy cloth merchant and connoisseur Taddeo Taddei (1470-1529); it was acquired by the Royal Academy in 1829.
A Wedgwood Masterpieces Collection jasperware Michelangelo pedestal bowl, after the 1880 model, 1980, limited edition 61/100, the circular bowl with white rosettes and foliate scrolls sitting on a tripartite base with three classical male figures, with gilt inscription and impressed factory marks to underside, 23.5 cm high x 22 cm diameter
Ulysse Nardin MicheLangeLo UTC Dual Time GMT Big Date gentleman's automatic wristwatch ref. 223-48 with digital jump hour and date apertures, luminous blued hands, silver dial, Arabic numerals, stainless steel case and 23 jewel movement, on brown crocodile leather strap, case size 35x37mm, serial number 1483, in original fitted wooden box with certificate card, related paperwork and outer card box.
Art interest to include reference volumes on Faberge, Titian, Tissot, Michelangelo, Chanel, Caravaggio, Bridget Riley and many others. Together with The Works of William Hogarth (1833), bound copies of Colour magazine from 1914/5 and Original Views of London by Thomas Shotter Boys, 1842 (1926)
Folio Society. A collection of twelve works of non-fiction, relating to history and art. Comprising 2015 Great Contemporaries by Winston Churchill, 2015 The Age of Illusion - England in the Twenties and Thirties by Ronald Blythe, 1989 Undertones of War by Edmund Blunden, 1978 Memoirs of a Revolutionist by Peter Kropotkin, 2011 On The Eve by Ivan Turgenev, 1999 Civilisation by Kenneth Clark, 2007 Michelangelo, 2005 Leonardo da Vinci, 2009 Colour by Victoria Finlay, 2001 The Folio Society Book of the 100 Greatest Paintings, 2010 The Nude by Kenneth Clark, and 2013 Landscape into Art by Kenneth Clark. All first printings. Each in the publisher's original pictorial boards, and housed in a slipcase. Excellent condition.
Florentine School, 16th century- Study of a standing male nude, viewed from behind; red chalk on laid paper with encircled six-pointed star watermark, with a red chalk sketch of St John the Baptist with a lamb verso, 27 x 12.7 cm. (unframed). Provenance: Formerly the collection of J. Gallagher, Modena, Italy, as by Francesco Morandini; Private Collection, Germany. Note: While the artist of the present study remains unidentified, the sharply observed and sculptural treatment of the figure points to a draughtsman of the Florentine school, who was likely influenced by the muscular nudes of Michelangelo (1475-1564), Baccio Bandinelli (1493-1560) and Francesco Salviati (1443-1478), as well as the refined drawings of Francesco Morandini (1594-1597), to whom the present drawing was formerly attributed.
Michelangelo Pacetti, Italian 1793-1855- An Italianate lakeside landscape with figures and horses on the shore; oil on canvas, signed, inscribed, and dated 'M. Pacetti Roma 1826.' (lower left), 52 x 69 cm. Provenance: Private Collection, UK. Note: Pacetti was born into an artistic household, as the son of the sculptor Vincenzo Pacetti (1746-1820). He worked as a landscape painter, producing idyllic views of somewhat fanciful Italianate landscapes, of which the present work is a particularly charming example. Pacetti has imparted this work with an overall feeling of pastoral simplicity, particularly in his depiction of the cattle watering placidly in the lake to the left, whilst figures carrying baskets go about their chores further along the banks of the lake.
FAKSIMILE "Michelangelo - Die Sixtinische Kapelle", Hartt, Frederick, Schlesak, Dieter (Hgg.), Die Sixtinische Kapelle, 3 Bd., Augsburg 2004. 1.) Band I: Die Deckenfresken vom Propheten Zacharias über dem Eingangsportal bis zum Sündenfall. Die Lünetten von Eleazar / Mathan / bis Ezechias / Manesses / Amon. 2.) Band II: Die Deckenfresken von der Erschaffung Evas bis zum Propheten Jonas über der Altarwand. Die Lünetten von Ozias / Joathan / Achaz bis Aminadab. 3.) Band III: Das Jüngste Gericht. Je Alters- und Gebrauchsspuren. In originaler Kartonage.| FAKSIMILE "Michelangelo - The Sistine Chapel", Hartt, Frederick, Schlesak, Dieter (eds.), Die Sixtinische Kapelle, 3 vols., Augsburg 2004. 1) Volume I: The ceiling frescoes from the Prophet Zechariah above the entrance portal to the Fall of Man. The lunettes from Eleazar / Mathan / to Ezechias / Manesses / Amon. 2) Volume II: The ceiling frescoes from the Creation of Eve to the Prophet Jonah above the altar wall. The lunettes from Ozias / Joathan / Achaz to Aminadab. 3) Volume III: The Last Judgement. Traces of age and use. In original cardboard box.
Lenzkirch-Tag und Nacht Kaminuhr nach Michelangelo BuonarrottiGrüner Marmorgehäuse weiss geädert, massiver Bronzebesatz Figuren Tag und Nacht nach den Suppraporten von Michelangelos Sagrestia nuova (Neue Sakristei) in der Basilika San Lorenzo in Florenz, Italien für Lorenzo de Medici. Lenzkirch Werk mit Marke "1 Millionen und Seriennummer 935035, 1 Woche Gangdauer ohne Schlag. Rückseitiger Standfuß fehlt. Kein Postversand, 77x36x14cm, Z2-
Tischlampe, "Rebellischer Sklave", Frankreich, 19. Jh., Bronze-Schaft, patiniert, bezeichnet F. Barbedienne Fondeur sowie Rundstempel "Reduction Mecanique A. Collas Brevete", Figur nach dem Original von Michelangelo, Holzsockel, 71 cm hoch, elektrifizierter Lampenaufsatz ergänzt, Lichtglas mit kleinem Sprung
Giochi Preziosi and Playmates Nickelodeon Teenage Mutant Ninja Turtles boxed group of modern release collectables, with specific examples including Leo and Donnie's Patrol Buggies, a Mutations Quad Rotor Turtles multi-mode mutating machine motorcycle, a Battle Shell Michelangelo action figure, and others, all in their original packaging
Box of reference and non-fiction books to include: 'Discovering Royal Doulton', 'The Readers Digest World Atlas', 'The Monument Guide to England and Wales' Jo Darke, 'A History of the Royal Cork Yacht Club', 'Samuel Walters Marine Artist', 'The World of Michelangelo' ,'Essential Michelangelo', 'Making Waves, a history of the Royal Yacht Squadron 1815-2015', 'Prehistoric Animals' etc.(B.P. 21% + VAT)
Armbanduhr: Modell Michelangelo in Gold. ULYSSE NARDIN. Referenz-Nr. 161-42. 750er Gelbgold (18 kt). Länge: 34 mm. 64,5 Gramm. Automatikwerk, 19 Steine, Kaliber 16-5, water-resistant. Verglaster Boden, 4-fach verschraubt, seitlich Korrekturdrücker, Saphirglas, weißes Zifferblatt mit Perlmutt-Einlagen, Hilfszifferblätter für Datum, Wochentag, Monat, Mondphase. Bewegliche Bandanstöße, Krokodillederband (Alligator) mit Dornschließe, Korrekturstift. Im Kurzeit-Test funktionstüchtig.Léonrad Frédéric Nardin (* 1792) war der erste Uhrmacher der Familie, sein Sohn Ulysse Nardin gründete 1846 in Le Locle die Uhrenfabrik. Die Uhr ist über einen langen Zeitraum nicht bewegt worden, für Funktion und Gangenauigkeit können wir keine Garantie übernehmen * Partnerauktion Bergmann.Provenienz : Süddeutsche Privatsammlung.Kein Versand außerhalb der EU!Aufrufzeit 23. | Feb 2024 | voraussichtlich 20:18 Uhr (CET) Wristwatch: Michelangelo model in gold. ULYSSE NARDIN. Reference No. 161-42. 750 yellow gold (18 ct). Length: 34 mm. 64.5 grams.Automatic movement, 19 jewels, caliber 16-5, water-resistant. Glazed back, 4 screws, correction pushers on the sides, sapphire crystal, white dial with mother-of-pearl inlays, sub-dials for date, day of the week, month, moon phase. Movable lugs, original leather strap with pin buckle, correction pin. Functioning in the short time test.Léonrad Frédéric Nardin (*1792) was the first watchmaker in the family; his son Ulysse Nardin founded the watch factory in Le Locle in 1846. The watch has not been moved for a long period of time, we cannot guarantee its function and accuracy * Partner auction Bergmann.Provenance : South German private collection.Call time 23. | Feb 2024 | presumably 20:18 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
THE FOLIO SOCIETY, Eleven Titles including three volumes of Vasari; Giorgio, Lives Of The Artists, Gaunt; William, The Pre-Raphaelite Tragedy, Holmes; Edward, The Life of Mozart, Brief Lives by John Aubrey, Finlay; Victoria, Colour, Clark; Kenneth, The Nude, Clark; Kenneth, Leonardo Da Vinci, Hibbard; Howard, Michelangelo & The Folio Society Book of The 100 Greatest Paintings, all titles in slip cases, some scuffing or dust marks to cases and biro handwriting to one case (1 BOX) (PLEASE BE AWARE THAT THE LOT MAY HAVE SIGNS OF MOULD/DAMP DAMAGE, SMELLS FUSTY)
FOUR BOXES & LOOSE BOOKS containing over 130 miscellaneous titles in hardback and paperback formats to include fifteen volumes of Chamber's Encyclopaedia, four volumes of The International Encyclopaedia of Science, two volumes of The Complete Works of Michelangelo, a Times Atlas of the World, other subjects include Penguin, Puffin and Pelican publications, religion, birds, cookery and classic or contemporary fiction
Outstanding watercolor and gouache hand-painted engraving on paper in the style of Michelangelo Maestri that depicts four Neo-Classical allegories set on a black background. They are reminiscent to Roman frescoes in Pompeii and Herculaneum and to Raffaello Sanzio's Allegorical Hours of the Day and Night. Set in an antique gilded frame. Artwork dimensions: 9"L x 11.75"H. Frame size: 11"L x 13.25"H x 0.75"W. Artist: Michelangelo MaestriIssued: Early 19th centuryCountry of Origin: ItalyCondition: Age related wear.
Buonarotti, Michelangelo: (1475-1564) nach. La Sibilla Persica. Persische Sibylle. Kupferstich von CherubinoKupferstich von Cherubino Alberti (1553-1615). Blgr. 43,5 x 29,5 cm. Mit "Cum privilegio summi Pontificis" i.d. Platte. Bartsch 74. - Etw. gebr. u. wasserrandig, 2 unterl. Wurmsp. im li. Zwickel. - ╔Dabei:╗ "Schola Italica Picturae... 1773". Titelbl. Kupferstich v. Joseph Perini n. Michelangelo, Rom 1771. Blgr. 57,5 x 36,5 cm. - 2 Kupferstiche n. ╔Raffael,╗ 1 aus der Folge "Triumph des Cäsar" nach ╔Mantegna╗ u. 1 ein weiterer, 18. Jh. Qu.4° bis Qu.Fol. 1 Bl. aufgezogen. - Versch. starke Alters- u. Gebrauchssp. Zus. 7 Bl. D
Galliani, Omar u. Michelangelo: (1954 Montecchio Emilia u. 1957 ebda.). Il sogno di un padre. Bronzerelief mit 999 Silberauflage von Michelangelo Galliani, rund, Dm. 25 cm, Sign. u. num., Editionsstempel "FMR" in Acrylkasten, 2 sign. u. num. Serigraphien "Nuovi Santi" - "Nuovi Fiori: Opera 1/2 Rosso" von Omar Galliani, Blgr. je 76 x 58 cm, mit Zertifikaten und Begleitbuch ╔Amor Sacro,╗ 112, S., 3 Bl, im Impr. sign. u. num., illustr. Olwd. (etw. fingerfl.). u. Katalog "FMR" ventisinquesimo anno. Speciale", Okart. Zus. in schwarzer, illustr. Olwd.-Kassette (angestaubt, etw. schmutzfl., Deckel gelöst). - Jwls. Ex. 188/225 (GA: 250). - Neupreis 2008: 12.000 Euro. D
Raphael Sanzio d'Urbino.: Oeuvres completes. 4 Bde. Paris, Didot 1844. 4°. Mit 475 Umrißradierungen auf Taf. Hldrbde. d. Zt. (Berieb. u. best.). Tls. leichte Gebrauchsspuren. - ╔Dabei: Michelangelo╗ Oeuvres completes et choix de Baccio Bandinelli et de Daniel de Volterre. Ebda. 1844. 4°. Mit 82 (von 83) Taf. - Ohne Taf. 71. - Zus. 5 Bde.
A late 19th century Belgium patinated bronze figure of Mosesafter Michelangelo (Italian, 1475-1564) raised on shallow square plinth base, with indistinct H. Luppens & Cie., Bruxelles pastille mark, 40.5cm high overallThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A FISTFUL OF DOLLARS (1964) - David Frangioni Collection: Italian One Panel (2-Fogli) - Linen-Backed, 1965Bidding for this lot will end on Thursday 8th February. The auction will begin at 2:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. This eye-catching and stylish re-release country of origin Italian poster by Michelangelo Papuzza has Eastwood's "Man With No Name" smoking his trademark cigar and holding a literal fistful of dollars. We can see the bounty hunter has earned his money as he walks away from five corpses strewn across the background. Papuzza's brilliant use of colour makes this poster a truly stunning display piece. Provenance: David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.39.5" x 55" (100 x 140 cm)Condition: Very FineConservation linen-backed with fold line and border restoration as well as the yellow in the top-right corner. Displays to stunning effect.Artist: Michelangelo Papuzza£3000 - 6000VAT Status: ΩClick here for our Poster Auction Grading Guide
After Michelangelo, Lorenzo de Medici bronze sculpture in the manner of Barbedienne Fondeur (1810-1892) 9.5cm wide 27cm high excluding the plinth. Provenance: Enid Boulting (1928-2021), fashion model; former wife of Roy Boulting, film director (1913-2001) and later wife of the 9th Earl of Hardwicke, thence by descent. Good, Not signed.
Playmates Teenage Mutant Hero Turtles Vehicle play sets x3 Includes Grapplor (complete), Knucklehead (with instructions, unused decal stickers and jokebook #25), Footski (with jokebook #6) with loose Action Figures. Includes Michelangelo, Raphael, Leonardo, Splinter with others. Good to Good Plus with Fair to Good packaging.
Italy.- Sculpture.- Rossi (Domenico de) Raccolta di Statue Antiche e Moderne, first edition, plate vol. only (of 3), engraved letterpress title, engraved dedication leaf, 163 engraved plates by Dorigny, Francesco Aquila, Pailly and others, eighteenth century half sheep, spine gilt with black morocco label, corners a little worn, [Brunet IV, 1406], folio, Roma, [Gaetano Zenobi], 1704*** First edition (plates only) of this magnificent collection of classical, Renaissance and Baroque sculpture; most of the statues depicted are ancient, but around 30 show 'modern' statues by famous sculptors such as Bernini, Giambologna, Michelangelo and others. Brunet notes, ‘le texte manque quelquefois’, while others suggest that the plates of Pope Paul IV (dated 1708) and Hercules and the Hydra are later additions.
A BRONZE FIGURE AND TWO OTHER FIGURES, comprising a bronze figure of David after Michelangelo, on a marble plinth, height 37.5cm, together with a bronzed Nemesis Now nude male figure climbing a pedestal, height 21cm, and a bronzed resin figure of a man with his gundog (3) (Condition Report: the latter resin figure has chips to his nose and hat, the other two figures appear in good condition)
AN ITALIAN WATERCOLOUR GRAND TOUR FAN LEAFIN THE MANNER OF MICHELANGELO MAESTRI, NEAPOLITAN, LATE 18TH / EARLY 19TH CENTURYdepicting a central scene of three maidens and cherubs at play, probably from Pompeii, flanked by trophies ,classical ruins and musical instruments, in a glazed giltwood frame50.5cm wide
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