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Click here to subscribeAfter Titian (1506-1576), La Bella de Tiziano, oil on canvas, 73cm x 98cm, unsigned, title plate titled "La Bella Di Tiziano" circa 1536 after Titian", (18th/19th century 'Grand Tour' copy), In gilt Florentine frame. Further details: some craquelure; overpainting; wear; frame with some loss to gilding, cracks and loss.
Gaspare Diomede Carlo Della Bruna (Italian, 1839-1915) after Titian (Italian, ca. 1488-1576). Oil on canvas painting after Titian's "La Bella" (ca. 1536-1538). Signed D. Della Bruna along the verso and with a wax seal.Unframed; height: 39 1/2 in x width: 29 1/2 in. Framed; height: 45 in x width: 35 1/4 in x depth: 2 in.Condition: The colors are somewhat faded. There is craquelure throughout and some areas where the painting is unstable and has flaked, particularly along the woman's hair, neck, and right shoulder. Signs of inpainting throughout the background that fluoresce under UV light. There are three regions of spiral craquelure along the upper third of the painting that correspond with soiling along the verso. There are stretcher bar marks along the perimeter of the painting and signs of wear along the extreme edges, where the painting is in contact with the frame. Housed within a wooden frame. Some wear to the frame. Dust gathered throughout the recessed areas, particularly along the verso.
RINALDO RINALDI (1793-1873), A GOOD PAIR OF WHITE MARBLE ALLEGORICAL FIGURES OF WOMEN ITALIAN, THIRD QUARTER 19TH CENTURY Emblematic of agriculture and sea-faring, each on a naturalistic base, signed Rinaldo Rinaldi F. Roma. 101cm and 99cm high Provenance: Sold Christie's London, 31st October 1996, Lot 420 (£16,100 incl. BP). Acquired From Anthony Outred Born in Padua in 1793, Rinaldo Rinaldi studied at the Academy of Arts in Venice under the direction of Pietrò Zandomeneghi (d.1866) and in 1812 went on to study under Canova, before becoming an academician of San Luca in 1830. A portraitist and monument sculptor, Rinaldi received many public commissions, including figures of Adonis and Titian for the vestibule of the Academy of Venice. He exhibited regularly in Rome and at the Turin exhibition of 1854. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both with fairly dirty surface with some engrained surface dirt, scattered natural inclusions throughout to both- some darker- some small holes (agriculture face notably) and sections of veining (notably to left elbow agriculture) Agriculture- generally good- some mild nibbles and losses (peak of hat, grape section, tip of billhook, larger inclusion loss to shovel blade) old crack to right ankle but this may be from natural flaws Seafaring- under UV the whole showing signs of later applied wash- front of plinth and neck restored with thin crack still visible to neck and larger gap to base under natural light- wash possibly hiding further work including hands, nose rubbed and worn and with further small areas of contact loss 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
AFTER TITIAN oil on canvas – portrait of Ranuccio Farnese in the robes of a Knight of Malta, signed L. Redburn, 64 x 59cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas – reproduction of ‘The Rape of Europa’, after Titian, signed, 182 x 243cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas – reproduction of ‘Religion Saved by Spain’ by Titian, signed, 184 x 245cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas - reproduction of 'Perseus and Andromeda' after Titian, signed, 180 x 240cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas - reproduction of 'Danae' after Titian, signed, 182 x 242cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas - reproduction of 'Venus and Adonis' by Titian, signed, 182 x 243cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), WHITE SANDS OF THE WESTERN ISLES oil on canvas, signedframedimage size 67cm x 67cm, overall size 78cm x 78cm Note 1: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Note 2: Having lectured part-time for many years at Falkirk College, Pam retired and painted full-time from her studio in Torrance until her death in 2022. She was mostly influenced by the bright colours of the Scottish landscape. The white sands of the west coast are set against dramatic skies and the silhouettes of outlying islands stand like sentinels. Her interest in the use of strong colours may come from her origins in Africa. However, art school also taught her to see the colour and the work of the great colourists, from Titian to the Impressionists and has influenced her painting style over the years since graduation. Pam once said “Walking on empty beaches, alone with your thoughts, embracing the elements and hearing the sounds of the rhythm of nature can touch our souls. These are deeply spiritual moments when we often stop to consider the grand design of life itself. At these times it is easy to believe that there is a God and that the intention of life was to be all good. I love the Scottish landscape - it has all the form and textures that visually stimulate the senses. I am inspired not only by the scene but search out that "divine proportion"- aptly called and indeed the most pleasing to the eye. These thoughts follow me to the studio where I try to recreate not only the landscape but that spiritual moment. I take a long time to consider the design of my paintings and through the different stages correct and re-correct until, if not the "golden section" is reached, it has at least that same effect on my deep inner being. In my paintings you can feel the presence of mankind but rarely see them - the washing is hung, the lum is reeking, and the telegraph poles are talking. I pay tribute to the cultural past through the ancient dyke wall, the little harbours and the quaint crofts which are happily standing side by side with the grazing sheep. I use strong colour to interpret the drama of light in the landscape. I am inspired by the changing light sequences of the Western Isles and I have often been awestruck at witnessing what feels like a heavenly scene. Light features strongly in my work. Whether it be light bouncing off the waters of the Hebrides or the sunlit sands before an encroaching storm or sunlight moving across the landscape. It is ever changing, ever travelling. Light is synonymous with hope, a feeling of well being, joy and with God. I find myself always being drawn to the light in both my paintings and my life. That is my strength and my inspiration.
GLYN PHILPOT (BRITISH 1884-1937) PORTRAIT OF ARTHUR CHRISTIE (1895-1975) Oil on canvas Variously inscribed to labels attached to stretcher (verso) 64 x 50cm (25 x 19½ in.)Provenance: Sir Edmund Davis, Australian-South African mining magnate and art collector, who resided at 13 Lansdowne Road and most notably Chilham Castle, Kent Sale, Christie's, 7 July 1939, lot 84 S. Gibbs, Private Collection, purchased from the above for 15gns. Daisy Philpot, the artist's sister Thence by descent to Gabrielle Cross, the artist's niece Henry Christie, Private Collection, UK Thence by descent, to be sold on behalf of the executors of the estate Exhibited: London, Grosvenor Galleries, Glyn Philpot R.A., 1923, no. 32, as ' Portrait study for the Three Kings' London, Tate Gallery, Paintings and Sculpture by the late Glyn Philpot R.A. (1884-1937), 14 July - 28 August 1938, no. 22, as 'Study for the Three Kings' Literature: Daisy Philpot, Manuscript Catalogue of Paintings by Glyn Philpot, c. 1938-57, p. 28 (unseen)This striking portrait by Glyn Philpot depicts Arthur Christie (1895-1975), friend and model of the artist. Philpot was renowned for his skill in capturing character and intimacy through portraiture, making him one of the most sought-after and highly paid society portraitists of his time. However, his most successful works were those created in relaxed, informal settings, where he established a genuine connection with his sitters. In this portrait, Philpot skilfully captures Christie's prominent features including his angular jawline, vivid red hair, intense gaze, defined lips, and prominent brow. The viewer is immediately struck by the intensity of the sitter's gaze, a motif Philpot repeated throughout his works influenced by the great Venetian master, Titian. Philpot greatly admired the work of Titian and actively practiced and taught his techniques at the Royal Academy Schools. Despite the beautiful interplay of light and shadow across the sitter which illuminates Christie the portrait is set against a dramatic dark backdrop which creates a stunning contrast reminiscent in the work of artists such as John Singer Sargent and James McNeill Whistler. Lot 93 was first exhibited in 1923 at Philpot's solo exhibition at the Grosvenor Galleries under the title Portrait Study for the Three Kings. It is believed that the present portrait was a study for The Adoration of the Three Kings (1918), a work exhibited at the Royal Academy that same year and later sold by the Baltimore Museum of Art at Christie's in 1990 to a British private collector. (See Figure 1.)The Adoration of the Three Kings depicts three sumptuously cloaked figures bearing gifts as they arrive at the stable door. The viewer takes the perspective of Mary, Joseph, and the infant Jesus, as the Magi cross the threshold bathed in a golden light. Raised in a devout Baptist family, Philpot's early religious teachings profoundly shaped his life and artistic vision. His interest in biblical themes was evident as early as 1903 when, at just 19, his painting The Elevation of the Host was accepted at the Royal Academy of Arts. This work, depicting the raising of Christ during the Eucharist, reflected his early engagement with Christian iconography from a distinctive and modern perspective.In 1906, Philpot converted to Roman Catholicism, a decision that created significant tension within his family. His subsequent travels through Spain, Portugal, and Morocco deepened his study of Catholic imagery and the works of the Old Masters. These experiences significantly influenced his art, inspiring some of his most powerful religious-themed paintings. By 1929, Philpot had become the first president of the Guild of Catholic Artists and Craftsmen, solidifying his commitment to his faith. However, his devout Catholic beliefs often conflicted with his identity as a queer man-a tension that permeates his body of work. This portrait of Arthur Christie was acquired by Sir Edmund Davis, the Australian-born mining financier and prominent art collector. Sir Edmund Davis was advised by Charles Ricketts and Charles Shannon and built an impressive collection that included works by James McNeill Whistler, William Orpen, and Edward Burne-Jones, some of which were later bequeathed to the Musée du Luxembourg. It is likely that Sir Edmund Davis purchased this portrait from the 1923 Grosvenor Gallery exhibition. The work was later lent by Davis to the Tate Gallery's Paintings and Sculpture by the Late Glyn Philpot exhibition in the summer of 1938.Following Sir Edmund Davis' death, the portrait was sold at Christie's alongside other notable works from Davis' collection, including Rodin sculptures, a lead figure by Philpot, and paintings by James Pryde and James McNeill Whistler. The work was eventually acquire by Philpot's sister, Daisy Philpot and thence by descent to Gabrielle Cross, the artist's niece. Philpot frequently returned to certain models, portraying them in various roles and guises throughout his career. Among his most notable muses was Henry Thomas, whom he met in 1929. It has been suggested that Arthur Christie may have also been the model used for the Angel Gabriel in The Angel of Annunciation (1925) and for The Transfiguration of Dionysus before the Tyrrhenian Pirates (1924). Condition Report: Please contact pictures@dreweatts.com for a full condition report. 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* After Titian (Tiziano Vecellio, 1485/89-1576). Satyrs in a Landscape, after Titian, circa 1515-1560, etching on laid paper, with watermark, with publisher's name above the pond: 'Nicolai Onlegii formis', trimmed to plate margin, sheet size 255 x 415 mm, corner mounted to an 18th-century sheet of cream backing paper, with old numeral '72' inscribed in ink to verso, and price of '2s 6d', together withBoldrini (Nicolo, active 1540-1566). Three Monkeys imitating the Statue of Laocoön, after Titian, circa 1545, woodcut on laid paper, trimmed to image, with some tears and losses to edges of the sheet (upper and lower corners, to right margin, and several small holes or fissures across the image), sheet size 270 x 402 mmQTY: (2)NOTE:For the first work see M. Catelli Isola, Immagini da Tiziano, 51 (attributed to Marco Angelo del Moro); M. Agnesi Chiari, Incisioni da Tiziano, 28 (as Battista del Moro).Boldrini: Rosand and Muraro, Titian and The Venetian Woodcut (1976), 40.
* Testa (Giovanni Cesare, active 1630-1655). The Last Communion of Saint Jerome, after Domenichino, circa 1650-55, etching on laid paper, published by Francois Collignon, Rome, trimmed to platemark, sheet size 548 x 360 mm (21 1/2 x 14 1/8 ins), together with other various Italian and French Old Master prints, mostly 17th and 18th century, including several plates from Valentin Lefebvre (circa 1642-1682), Opera Selectiora after Titian and Veronese (1682), Francois Joullain (1697-1778), Apollon Ecorchant Marsyas, after Veronese, Salvator Rosa (Apollo and The Cumaean Cibyl, a copy in reverse), Panini, Nicolo della Casa, Detail from the Last Judgement, after Michelangelo (damaged), etc. QTY: (50)
TITIAN (SCHULE ODER NACHFOLGE)('Eigentlich: Titiano Vecellio')Um 1488 Pieve di Cadore - 1576 VenedigDAS CHRISTUSKIND AUF EINEM BETTE LIEGEND Öl auf Leinwand (altdoubl.). 57,5 x 76,5 cm (R. 70 x 88 cm). Verso: Auf der Leinwand alter Zolleinfuhrstempel. Part. min. altrest., leichte Altretuschen, part. min. besch. Rahmen. Das hier vorliegende Gemälde ist mit großer Wahrscheinlichkeit identisch mit dem bei Max Jordan erwähnten Gemälde 'Das Christkind auf einem Bette liegend' (Stich von Lindemann, 1746; Titianus inv.'). Vgl. hierzu: Jordan, Max: Tizian Leben und Werk. Erster Band, Leipzig, 1877, S. 794. Provenienz: Rheinische Privatsammlung.
Andre Durand (b.1947) Canadian "Androles and the Lion" Signed and dated 1980, oil on canvas, 73cm by 108cmCanadian-born Durand draws influence from the Old Masters such as Titian, Michelangelo, Velázquez and Rubens.Spending the majority of his time between London and Italy, Durand is most celebrated for his classical and allegorical portraits, including a series of works depicting Princess Diana. However, he has painted many official portraits including those of Pope John Paul II, the 14th Dalai Lama and the Irish novelist Elizabeth Bowen, which is housed in the National Portrait Gallery in London.
A BOXED MATTEL MIDGE DOLL, No.860, with freckles, straight leg titian flip version, with Midge label to left wrist, wearing yellow and orange two piece swimsuit, with white open toe heeled shoes, stand and Barbie, Ken & Midge booklet, appears complete and in very good condition, box marked 'Imported from Japan', complete with packing pieces and in good condition with minor damage and wear
MATTEL Konvolut aus der Puppe 'Midge' und Barbiezubehörteilen, 1962-1963, brünette Puppe 'Midge', bekleidet im Original- zweifarbigen Bikini, Rückseite gestempelt: 'Midge1962 Barbie 1958 by Mattel.Inc. patented', H 30 cm, im Orig.-Karton (besch., beklebt), dazu ein Barbie Puppenkopf (Haarband fehlt) mit blauen Augen und einem Perückenständer mit 3 Perücken in den Farben Blond, Braun und Tizian (Orig.-Verpackung 'Barbie's Wig Wardrobe' von 1963 ist nicht mehr vorhanden). Den Kopf mit den 3 Perücken konnte man separat kaufen und war eine preiswerte Möglichkeit um eine 'neue' Barbiepuppe zu kreieren. Dazu 2 Kleider, 2 Hüte und eine weitere Puppe aus den 1960er Jahren (nicht Mattel), Altersspuren, bespielt.| MATTEL collection of the doll 'Midge' and Barbie accessories, 1962-1963, brunette doll 'Midge', dressed in the original two-tone bikini, stamped on the back: 'Midge1962 Barbie 1958 by Mattel.Inc. patented', H 30 cm, in the original box (damaged, glued), with a Barbie doll head (hair band missing) with blue eyes and a wig stand with 3 wigs in the colors blonde, brown and Titian (original packaging "Barbie's Wig Wardrobe" from 1963 is not attached). The head with the 3 wigs could be purchased separately and was an inexpensive way to create a 'new' Barbie doll. Also includes 2 dresses, 2 hats and another doll from the 1960s (not Mattel), signs of age, used.
A quantity of 19thC and 20thC ceramics to include 5 x Royal Worcester cups and saucers marked B750 to base, Grays Pottery jug, various other plates to include Titian Ware, Mason's others unmarked. 2 x miniture plates on marked Henriot Quimper France to base, Belleek Neptune sugar bowl, Spode plates etc.
Oil on canvas depicting a girl with a basket of fruit, copy of the original by Titian. Italy, 19th century. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUEST BY SENDING AN EMAIL TO: info@unicartauctions.com Tags: Dipinto ragazza con cesto di frutta. Pintura niña con cesta de frutas.. Peinture fille avec corbeille de fruits. Malendes Mädchen mit Obstkorb.134x113x12cm
* STEVEN HIGGINSON, ELAINE WITH BLACK BERET oil on canvas, titled label versounframed (as intended)overall size 31cm x 31cm Note: Scottish portrait painter Steven Higginson’s distinctive use of light and shadow and honest approach to realist art has won him international acclaim, an engaged global audience of over 50k social media followers, and hundreds of delighted clients. His paintings feature in private collections around the world, spanning America, Europe and beyond. Steven’s portraits were part of the BP Portrait Award in 2019 and 2020, during which his work was exhibited in the National Portrait Galleries in London and Edinburgh. Steven was also awarded The Aiden Threlfall Traveling Scholarship from the Goldsmith’s Company in London after graduating from Duncan of Jordanstone, Dundee, in 2004. He used the scholarship to travel Europe, studying the work of the Old Masters, which has remained a core influence in his work to this day.
A collection of Art Historic al and Culture reference books including Matisse, Constable, Titian, 'Leonardo's Notebooks', 'The Oxford Companion to Art', Eric Ravilious, 'Neue Sachlichkeit and German realism of the Twenties': Arts Council 1978, Jan Van Eyck, Byzantine Art, Fine Art Auction compilations: Philips, Sotheby Parke Bernet etc. (3 trays)
A bronze Grand Tour model of a tazza, a small silvered bust of classical god, a spelter model of a seated god, a Grand tour miniature bust of Titian, a bronze campana urn and a spelter bust of a cherubSilvered bust - initials 'L M' and another star shaped stamp on the reverse, surface scratches and some bruises, silver rubbing through to the base metalTiziano or Titian - bust in good condition, but repaired break to marble, surface dirtplease see further images
Molly Hancock for S.Hancock & Sons, an 'Indus' pattern plate, diameter 13cm, a 'Waterlily' plate and two 'Cherry Ripe' examples, together with a Titian Ware bowl by F X Abraham, of octagonal form, decorated with fruit studies over blue ground with sponged interior, diameter 19cm, and a similar plate.
Barbie - Three boxed original Mattel Barbie Fashion Dolls to include No. 850 Bubble Cut Titian / Redhead in red swimsuit with 1 x pink high heel and display stand, No. 850 Ponytail Brunette in flowery jumper and dark blue long skirt and No. 7192 Funtime Barbie Twist 'N Turn Waist Bendable Legs, all contained within original boxes, boxes showing signs of wear throughout but gd overall
Nine 1960's onwards Fashion dolls to include 3 x Midge Hadley dolls including 1 x blonde haired doll in blue and white striped dress, 1 x brunette doll in red and white polka dot dress and 1 x auburn / titian with no outfit, 2 x Barbie dolls including No. 850 Reproduction Barbie doll in red one piece swimsuit (Complete with booklet, accessories and stand) and 1 x blonde Barbie in Studio Tour dress, 2 x Francie dolls including 1 x blonde doll in Floating-In dress and 1 x blonde doll in Night Blooms outfit and 2 x Skipper dolls featuring 1 x blonde haired Skipper in Silk N' Fancy outfit and 1 x blonde Tammy doll in yellow dress, all contained within No. 850 Special Edition Reproduction boxes
Barbie - Two boxed original Mattel Midge Hadley (Barbie's Best Friend) Fashion Dolls to include No. 860 Midge Doll with straight legs 1963-1967 with titian saran short hair and yellow and orange two-piece swimsuit and No. 860 Midge Doll with straight legs 1963-1967 with titian saran short hair and light and dark blue two-piece swimsuit, both figures in vg condition overall, boxes showing edge and storage wear, but gd overall
Italian School, 19th CenturyPair of frames with five oval portraits eachOne frame features portraits of Titian, Leonardo da Vinci, Raphael, Andrea del Sarto, and Giorgio Vasari, while the other includes Fra Angelico, Filippino Lippi, Ercole de' Roberti, Antonello da Messina, and Giovanni Bellini.All portraits are painted on wood, except Raphael’s, which is on copper Gilded wooden frames profusely carved with scrolls and vegetal motifs(frames restored and with lacks)84x99 cm (total)
Piece Signed by J Paul Getty American industrialist and founder of The Getty Oil Company. Piece Picture of The Death of Actaeon by Tiziano Vecellio, Called Titian. Personally Signed by J Paul Getty American industrialist and founder of The Getty Oil Company and who lived his final 24 years in the UK. Died in 1976. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
* STEVEN HIGGINSON, ELAINE WITH BLACK BE'RET oil on canvas, titled label versounframed (as intended)overall size 31cm x 31cm Note: Scottish portrait painter Steven Higginson’s distinctive use of light and shadow and honest approach to realist art has won him international acclaim, an engaged global audience of over 50k social media followers, and hundreds of delighted clients. His paintings feature in private collections around the world, spanning America, Europe and beyond. Steven’s portraits were part of the BP Portrait Award in 2019 and 2020, during which his work was exhibited in the National Portrait Galleries in London and Edinburgh. Steven was also awarded The Aiden Threlfall Traveling Scholarship from the Goldsmith’s Company in London after graduating from Duncan of Jordanstone, Dundee, in 2004. He used the scholarship to travel Europe, studying the work of the Old Masters, which has remained a core influence in his work to this day.
ART & ANTIQUE REFERENCE. – Harold E. WETHEY. Titian. London: Phaidon Press, 1969-1971. 3 vols., first editions, large 8vo (303 x 227mm.) Numerous colour illustrations. (Mild toning, stamps, label remains to pastedowns.) Original cloth, dust-jackets. Provenance: West Sussex County Council (labels to pastedowns, stamps). – And a further nineteen volumes related to art and antique reference (including Guy Atkins’ ‘Asger Jorn, The Crucial Years: 1954-1964’, 1977, large 8vo, and Susan E. Stuart’s ‘Gillows of Lancaster and London 1730-1840’, 2 vols., 2008, large 8vo) (22).
Adalnisa Parrini (Italian, 19th century) after Titian Venus of Urbinosigned lower right 'Adalnisa Parrini / copio da Tiziano / 1892 Firenze'oil on canvas, unframed106 x 168cmAfter Titian's famous original of 1538 in the Uffizi Gallery, Florence.The painting is executed in a fine weave linen canvas which is unlined. The canvas is attached to the wooden stretcher with metal tacks as well as sprigs. The canvas tension is slack with undulations across the picture. There are tears in the tacking edges and numerous small tears and damages. There are losses to the paint layers associated with areas of damage. The paint layers are thinly applied and generally stable overall. At the centre of the picture, around the main figures hand there is a large area of wear and abrasion. This appears to have been caused by an attempt at cleaning the painting which has resulted in damage which has then been overpainted. There are other areas of localised overpaint. The painting has several varnish layers which are uneven, patchy and dull. In areas the varnish is yellowed and no longer adequately saturating the paint layers. There is a thick layer of surface dirt.
A Vienna porcelain plaque of Violante, circa 1857In a gilt wooden frame, half-length portrait of a woman in three-quarter profile wearing a crimson dress, pearl necklace, and holding an ostrich feather fan with one hand bent at the hip, dated and signed 'T.LA' in the bottom right corner, 29.0 x 22.2 cmFootnotes:Provenance:With Diana Huntley;After the eponymous oil painting, circa 1530, by Paris Bordone (1500-1571) now in the Alte Pinakothek, Munich (inv. 12502). Bordone is most known for his successful integration of the Venetian colore pictorial tradition, learned from his teacher Titian, with the contemporary Mannerist style. While the subject was once thought to be Violante, the daughter of Titian's friend and fellow painter Palma Vecchio, her true identity remains unknown although her dress and accoutrements, such as the ostrich feather fan and pearl necklace, hint at her high social standing.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
Henry Bone R.A. (British, 1755-1834)An Allegory showing the Effects of War, dramatically painted with the naked bejewelled Venus pleading with Mars and surrounded by putti and martial victims. Enamel on copper, signed, dated and inscribed on the counter-enamel Painted by Henry Bone RA Enamel painter in Ordinary to His Majesty, and Enamel painter to His Royal Highnefs the Prince Regent after the Original by Rubens in the/ Collection of Arthur Champernowne Esquire/ size of the Original picture/ 305/s inches by 20 inches' and 'Purchased by George Bowles Esquire/ May 28 1813. The possessor of the Enamel/ *(18 inches by 16) * Bacchus & Ariadne after Titian 1811, gilt-metal mount, giltwood frame . Rectangular, 279mm (11in) highFootnotes:Provenance:George Bowles, of Cavendish Square;Sotheby's, London, 27 May 2005, lot 62 George Bowles, of Cavendish Square, London, was an enthusiastic collector of Henry Bone enamels. Inscriptions on the artist's extant preparatory drawings show that between 1803 and 1813 Bowles acquired eight works. Seven of these were after Old Masters, whilst one was a copy of Andrew Plimer's The Rushout Sisters, themselves nieces of Bowles. The most celebrated was the copy of Bacchus and Ariadne, referred to by Bone in the inscription on the present enamel, for which Bowles paid a record price of 2200 gns in 1811 (sold Sotheby's London, 6 November 1986, lot 124 (£13,500). The price is an indication of the high esteem in which Bone's contemporaries held his work. George, Prince of Wales, later King George IV, was one of the most avid collectors, often directly commissioning works that were then mounted in ormolu or gilt-wood frames for the decoration of Carlton House. Interestingly both the King and Bowles owned copies by Bone of Cantarini's Holy Family with an angel (1803). The original version of An Allegory showing the Effects of War, painted by Sir Peter Paul Rubens, circa 1637/8, is in the collection of the Palazzo Pitti, Florence. Bone based the present enamel on a reduced copy of the composition from the Champernowne collection which was later acquired by the National Gallery, London, in 1859 (inv. no. 279). Henry Bone's squared preparatory drawing, dated 'Jany 1813,' is in the National Portrait Gallery Library (Bone Drawings, vol. II, 35, see R. Walker, Henry Bone's Pencil Drawings, Walpole Society, vol. LXI, 1999, cat no.664, fig. 185).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
Mattel titian Bubble cut vintage doll 1964 and # 1645 Golden Glory dress and coat , black magic sheath and net cape and bag and a midnight blue #1617 ballgown dress , included with the doll-please see all photographs. ( doll and clothing( selection) You are personally invited to Bishton Hall for the Viewing day 11-3pm on Sunday 1st December , the day prior to the sale and view and see the dolls toys and teddy bears and fashion and textiles for yourself in person
Circle of Jean-François de Troy, French 1679-1752- Diana and Callisto; oil on canvas, bears partial old label inscribed '16..5 / Annibale [Cara]cci' attached to the upper stretcher bar, 80 x 64.4 cm. Provenance: Private Collection, UK. Note: Although perhaps best-known for his paintings of elegant figures in fashionable contemporary dress seated in ornamental gardens or elaborate interiors, De Troy was also celebrated for his mythological scenes. These include his depiction of Diana and Actaeon in the Kunstmuseum Basel [618], his 'Judgement of Paris' which sold at Sotheby's, New York, on 8 June 2007 (lot 260), and 'Acis and Galatea' which sold at Christie's, New York, on 6 April 2006 (lot 276). The present scene appears to depict the moment in which the goddess Diana, identified by her crescent moon headdress and quiver of arrows, discovers that her maid Callisto has become pregnant by Jupiter. This was a popular subject for artists, having been treated by Titian (c.1488/90-1576) in the mid 16th century.
A late seventeenth-century English silver spice or comfit box, of circular form, the detachable pull-off cover decorated with an allegorical scene depicting Cupid and a lion, with banner and motto above, "Amour Trion(m)phe de Tout", (love conquers all / love is more than everything), possibly after the painting Triumph of Love by Titian, within a border of stiff acanthus, and scalloped moulded rim, the base profusely decorated with foliate scrolls, apparently unmarked, c.1690, diameter 4.9cm, weight 34g/1.09ozt approxProvenance: E. P. Mallory & Son Ltd., Bath, November 1998
A folio of 16th century and later Old Master prints and engravings to include after Palma Vecchio (Italian, 1479-1528), engraving, 'The rich man in hell tormented by demons, 1595', after Titian (1489/90-1576), 'St Jerome in the wilderness', after Raphael, 'Battle between the Romans and Barbarians' and a later print after Albrecht Durer (1471-1528), 'The four horsemen of the apocalypse', largest 53 x 38cm, all unframed. Condition - varies, mostly fair considering age There are 11 pages
KALIN THOMAS (AMERICAN B.1986) THE ASSASSINATION OF DIRCE, 2017 Oil on panel 152.5 x 248cm (60 x 97½ in.) Provenance: Purchased directly from the artist Kalin Thomas's work bridges the gap between Renaissance art and contemporary ideas, using the rich visual language of iconic painters such as Bronzino, Titian, and Pontormo. By invoking their style and techniques, he crafts what he describes as "history paintings," wherein he freely manipulates classical content and symbols to express modern values. In this painting, Thomas draws clear references to the ancient sculpture The Farnese Bull, housed at the National Archaeological Museum of Naples. This renowned piece of antique art, possibly the earliest depiction of the same mythological subject, serves as an inspiration for Thomas, reflecting his practice of reinterpreting classical works. Additionally, the painting's structure and leftward movement strongly evoke Titian's Bacchus and Ariadne from the National Gallery, reinforcing Thomas's blend of Renaissance composition and contemporary reinterpretation of mythological themes Condition Report: λThe painting is in good original condition. Condition Report Disclaimer
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