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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Selection of antique and vintage ceramics and glass to include Clarice Cliff 'Charlotte' plate, Wedgwood relief cast blocks, Titian ware hand painted fruit vase, nutmeg jar, two Palissy trios with milk jug and sugar bowl, Majolica sweetcorn jug, Stourbridge blue jug, Torquay udder pot, blue and white door handles, Rothbury crest miniature top hat, John Earl of Dumfries mug, 'The Fright' small mug, Wedgwood green jug, Branksome cat figurine, Farmers Arms 'God Speed The Plough' mug, Northern Scenery blue and white castle mug, Crown Devon handainted gilt ship plate, 'October' blue and white tile, Plichta elephant, W H Goss mini crest mugs, Burleigh ware blue bowl, Morpeth crested small candle holder, frosted glass bust, Lorna Doone vase and bowls examples etc
PIERRE-AUGUSTE RENOIR (1841-1919)Baigneuse signed 'Renoir' (lower right)oil on canvas27.7 x 23cm (10 7/8 x 9 1/16in).Painted in 1916Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceGalerie Durand-Ruel, Paris.Paul Vallotton, Lausanne, no. 7754.Galerie Tanner, Zurich.Private collection, Switzerland (acquired from the above); their sale, Sotheby's, London, 27 June 1990, lot 103.Anon. sale, Sotheby's, London, 4 December 1996, lot 119.Private collection, Europe (acquired at the above sale); their sale, Christie's, London, 21 June 2006, lot 222.Private collection, UK (acquired at the above sale).LiteratureA. Vollard, Pierre-Auguste Renoir, Tableaux, Pastels et Dessins, San Francisco, 1989, no. 1373 (illustrated p. 287).G-P. & M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol. V, 1911-1919 & 1er Supplément, Paris, 2014, no. 4373 (illustrated p. 445).Baigneuse was painted around 1916, at a time when Pierre-Auguste Renoir was deeply invested in exploring the theme of the female nude within a natural environment. The artist sought inspiration from the French and Italian Masters, such as Jean-Auguste-Dominique Ingres (1780-1867) and Raphael (1483-1520), whose paintings captivated him during his 1881 tour of Italy. Renoir's motivation stemmed not only from a desire to cement his legacy in art history alongside his heroes, but also to offer a more expressive alternative to the polished, idealised nudes of academic painters such William-Adolphe Bouguereau (1825-1905). Renoir's devotion to the subject was remarked upon by Berthe Morisot (1841-1895), who wrote in her journal in 1886: '[Renoir] is a draftsman of the first rank [...] He tells me that the nude is absolutely indispensable as an art form' (G. Muehsam (ed.), French Painters and Paintings from the Fourteenth Century to Post-Impressionism: A Library of Art Criticism, New York, 1970, p. 513).Baigneuse depicts a nude woman stepping into an inviting blue stream, her back turned toward the viewer, her arms raised delicately to balance her passage through the reeds. While her posture grants fluidity and movement to the composition, the soft transitions of light and shadow across her skin give it a lifelike texture. The rouge of her left cheek is echoed within the delicate pink accents that appear across her figure, sensuously evoking her youthful vitality and perhaps her reaction to the coolness of the water. These honest and tender details generate a wonderful fusion of spontaneity and intimacy – an evocative framework by which to celebrate the sensuality and grace of the female form. Typical of his mature style, Renoir employs softer, more fluid brushstrokes and a warm, luminous colour palette. The play of light across the bather's skin conjures a golden radiance, while the more loosely worked water and vegetation, with their cooler tones, swathe her within an atmospheric veil. Nude women being enveloped by nature was a key artistic motif for Renoir, who was fascinated with the harmonious relationship between humanity and nature. He took his cue from his more classical forbears, such as Titian (c. 1488-1576) and Peter Paul Rubens (1577-1640), who frequently portrayed nudes within mythological or pastoral contexts. For Renoir, this trope was key to achieving his certain sense of joie de vivre – inviting the viewer into idyllic and pleasurable scenes that offer a retreat from the rapidly industrialising world outside.'Hymns to light and colour, to youth and life', Renoir's female nudes stand among the most celebrated works of Impressionist art (G. Muehsam, op. cit., p. 516). Indeed, the present work boasts an important early pedigree, with its first documented owner being Galerie Durand-Ruel, an institution that played a pivotal role in the promotion and success of Impressionist artists. Paul Durand-Ruel (1831-1922) was a visionary art dealer who recognised the potential of Renoir and his contemporaries at a time when their work was often met with scepticism from critics. His early support and international promotion of the Impressionists was critical in securing their enduring recognition. Baigneuse was subsequently owned by the esteemed Lausanne gallerist, Paul Vallotton (1864-1936). Like Durand-Ruel, his discerning taste and critical influence played a key role in the circulation and appreciation of Impressionist and Modern Art. More recently, the present work has remained in the same private UK collection for almost two decades. As a tender and luminous evocation of Renoir's devotion to nature and the female form, Baigneuse represents a remarkable example of the most pure and expressive work of his mature period.For further information on this lot please visit Bonhams.com
FERNANDO BOTERO (1932-2023)Maternidad signed, stamped with the foundry mark and numbered 'Botero E-A 1/2' (on the back of the chair)bronze with brown patina47 x 19.5 x 32cm (18 1/2 x 7 11/16 x 12 5/8in).Conceived in 1955, this work is from an edition of 6, plus 2 artist's proofs.Footnotes:ProvenanceFoundation Veranneman, Belgium.Private collection, Madrid (acquired from the above in 2000).Thence by descent to the present owner. LiteratureJ.C. Lambert & B. Villegas (eds.), Botero Sculptures, Colombia, 1998 (illustrated p. 205 and n.p.)Renowned for his distinctive style of voluptuous and exaggerated forms, the Columbian artist Fernando Botero has left an indelible mark on the history of art. Acclaimed globally for his instantly recognisable paintings, Botero's venture into sculpture has further enriched his artistic repertoire over course of his career. Under the tutelage of Robert Longhi, a distinguished specialist on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that permeates much of his oeuvre. The canon of art history, especially the European one served as a rich source of inspiration, yet he shifts classical art historical topics into the realm of the everyday and the trivial, infusing them with his own personal experiences and the essence of his native Colombia. Today, Fernando Botero is recognised as one of the most important Colombian modern artists and his works are held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogota. In 1958 and 1992, Botero also participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. Inspired by the great classical masters, from Raphael, Peter Paul Rubens and Titian, to Giotto and Paolo Uccello, Fernando Botero's style is a modern interpretation of the ever-evolving thread of form. After moving to New York in 1990, he continued to develop his trademark style of bulbous and exaggerated figures and animals, drawing inspiration from Rubens' full-figured representations of female beauty. Often profoundly satirical, Botero asserts that his now iconic style - aptly termed 'Boterismo' - allowed him to explore mass and the sensuality of form, as well as to stress notable features in an almost caricature-like manner. 'Sculpture was a natural experience in my evolution because of the obvious sculptural element in my paintings,' Botero acknowledges. 'This was a return to simplicity, to growing indifference to details and to a more geometric awareness of shape.' (the artist quoted in: Botero: Aquarelles, Dessins, Sculptures, Basel: Galerie Beyeler, 1980).Botero first began experimenting with sculpture in 1972, eventually expanding his métier from wood and clay to bronze, the medium in which has best translated the pillowy volumes of his paintings into three dimensions. Since the early 1980s, his summer were dedicated to sculpture, working from a studio in Pietrasanta, a small town on the Tuscan coast that has attracted many famed artist-residents from Michelangelo to Isamu Noguchi and Henry Moore. Botero's sculptures are characterised by the same aesthetic principles that define his paintings – exaggerated volumes, harmonious proportions, and a playful approach to form. Transitioning from canvas to the three-dimensional, Botero has given his iconic subjects a tangible and interactive presence, encouraging viewers to engage on a more physical level. Whilst humour and irony are present in his work, the magnified proportions of Botero's figures can be interpreted as an endearing nod to the pleasure of the tactility of life and beauty explored through the female form.This smooth sensuality and the fertile lyricism of the curvaceous form is palpable in Maternidad. The medium highlights the monumentality of the sculpture and accentuates the enduring timeless quality and solidity of the work. Botero himself recognised the significance of his sculpture within his canon, and the sensorial potential it has on viewers. 'Certainly, in a painting you give the illusion of truth, but with sculpture, you can touch its reality. . . If I paint a knife in my pictures, it's imaginary, but if I sculpt it, then the sensation of having it in your hand is real— it's an object from your spirit, it's a sensual experience even in its execution. It brings a special joy to touch the material with your hands.' (the artist quoted in: 'Botero: A Love Letter to Latin America', operagallery.com, 19 September 2023). Maternidad wonderfully captures the essence of motherhood; the plumpness of the bodies perhaps helps convey this sense of maternal abundance and the fertility associated with motherhood, while her gentle embrace and the placement of her hand on her chest suggestive of a sense of tenderness. Domestic life is a central motif in Botero's body of work, especially women's roles within it. Here, Botero portrays the quintessential woman as both mother and caregiver to her young child combined with the heavy weight of art historical and religious iconography and a sense of shared human experience.Botero's international recognition and ability to transcend geographical and cultural boundaries have boosted the visibility of Latin American artists on the global stage. His contributions to the world of art are substantial and his unwavering commitment to his artistic vision has earned him a notable place in the history of art. Botero's oeuvre serves as a bridge between traditional and contemporary art, developing a melange classical techniques and modern and innovative flair. By embracing diversity and celebrating the inherent charm in each of his subjects, he challenges conventional notions of beauty and representation and forces viewers to reconsider their preconceived notions and stereotypes.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Biography Following in the footsteps of his brother Wouters, also a painter, he moved to Antwerp, where he was appointed apprentice to Pieter Coecke in 1529. According to Carel van Mander, he later studied with Lambert Lombard in Liège, where he would have had Frans Floris as a classmate. In 1542 – shortly after Lombardo's return to Italy – he appears registered as an independent master in the guild of Saint Luke of Antwerp, of which in 1552 he was appointed dean. Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to the portraits and historical paintings of him, painted with a scholarly hand according to the verses of Lamposonio to his portrait. Valued mainly as a portraitist, among those who sat for him were Cardinal Granvela and the Duke of Alba, whose portrait, preserved in the Liria Palace, is possibly the last one he painted and closest to another portrait of the same subject painted by Titian. Van Mander also praised him for his religious paintings, some of them destroyed in the iconoclastic attacks of the beeldenstorm or iconoclastic fury. In a work like The Last Supper from the Dordrecht Museum, the Italian influences, perceptible, for example, in the architectural backgrounds, and the Flemish details coexist satisfactorily with the portrait skills of the painter, who portrays himself as a beggar in the Lower right corner. This ability to incorporate the novelties that came from Italy without having traveled there and combine them with the Flemish tradition may explain why Lamposonio or Van Mander considered him an erudite painter. His disciple and distant relative was Adriaen Thomasz. Key, whose works are sometimes confused.
Pair of 19th century Vienna porcelain portrait plaques, hand-painted with portraits of 'Michel Angelo and 'Tizian',(Titian), within foliate gilded puce borders, blue beehive marks to the bases with scripted titles. 29cm diameter approx. (2) (B.P. 21% + VAT) Very minor wear to gilding in places, no obvious damage noted.
Patin, Charlotte Catherine Pitture scelte et dichiarate Cologne: appresso Pietro Marteau, si vendono in Venezia dall'Hertz, 1691. Folio (37 x 25cm), [8] 13-222, collates a4 A-K4 chi2 L4, contemporary mottled calf, engraved additional allegorical title-page, letterpress title-page printed in red and black and incorporating engraved vignette, 40 engraved plates after Titian, Leonardo da Vinci, Paolo Veronese and others (several double page, a few also folding), engraved armorial bookplate (Frederick Keppel, motto ‘Ne cede malis’), binding scuffed and worn, variable damp-staining chiefly to lower margins, marginal soiling to plate facing p. 40 First edition in Italian of an early example of art criticism written by a woman, published the same year as a Latin edition, printed in Padua and titled Tabellae selectae ac explicitae. The work comprises engravings of some 40 paintings mainly by Italian Old Masters, each with an accompanying essay by Patin; there is also a portrait of the author's family.
Oil on canvas 99 x 73.5 cm The painting shows significant elements of 17th century Spanish portraiture and its greatest representative, Diego Rodríguez de Silva y Velázquez. Our canvas was born in the circle of artists who grew up under his influence, among them the most important students: Juan Bautista Martínez del Mazo, Juan de Pareja and Juan Carreño de Miranda. At the age of twelve he entered Francisco Pacheco's workshop, immediately demonstrating his talent. In 1618 he was already an independent artist, he worked in the city painting with a strong influence of Caravaggio. He moved to Madrid and became official painter to Philip IV. He thus had the opportunity to explore the court collection and cultivate a particular interest in the Venetian school and Titian in particular. Probably following the advice of the Rubens, he traveled twice to Italy, an opportunity to closely study the different schools of painting and the great masters, refining his style and concentrating on the pictorial and environmental interpretation of light. Loved and respected by his colleagues from his time, thanks to Alonso Cano y Zurbarán he was granted the title of Knight of Santiago. His painting of excellent quality and realism was experienced after his death thanks to his students, among them: Juan Bautista Martínez del Mazo, Juan de Pareja and Juan Carreño de Miranda. Diego Velázquez (Seville 1599 - Madrid 1660) circle of Portrait of a leader Oil on canvas 99 x 73.5 cm
Certificate is attached. Oil on canvas. Canvas measurements: 80 X 50, framed measurements: 107 X 72 cm. Born in Guadix but raised in Granada, the city where he spent his childhood and adolescence, and in whose school period he would make friends with Federico García Lorca and Manuel Ángeles Ortiz, and as an adult, with Juan Cristóbal, Falla and Andrés Segovia. In the Prado he practices as a copyist of El Greco, Titian, Hieronymus Bosch and Francisco de Zurbarán. It will be the still lifes of the latter and his visit in 1917 to the exhibition “Great French Impressionist Painters” at the Museum of Modern Art in the capital of Spain, who will later define part of his work. He returns to Granada and makes the cover of Impressions and landscapes by his friend the poet Federico García Lorca. In 1921 he went to Paris, where he settled irregularly, with eventual returns to his country. In Paris he saw his work recognized by Picasso, the publisher Tériade, and the poet, dealer and animator of the magazine Cahiers d'Art, Christian Zervos. In Spain he appeared in 1932, invited by the Society of Iberian Artists; That year he was recruited by Manuel Bartolomé Cossío to participate in the "Circulating Museum" or "People's Museum" of the Pedagogical Missions, together with Blesa, Fernández Mazas or Eduardo Vicente, coordinated by Ramón Gaya in the task of copyists of singular works. On September 28, 1933, he married Susana, Zervos' first wife, in Cannes, with whom he traveled to Spain from Bilbao to Madrid and from here to Granada in 1933. In 1934 he was a witness at the marriage of Georgette and César. Vallejo. In 1937 he participated in the Spanish Pavilion at the Paris International Exhibition. He had his last major exhibition in 1952. He died in Paris at the age of seventy. There is news of two anthological exhibitions after his death, one in 1968 at the Museum of Modern Art in Paris, and another in Spain in 1976, organized by the bank of Granada, a city in which he has a street dedicated to him. Related works: two still lifes by the Andalusian artist preserved in the Raina Sofía Museum. Provenance: old family collection from a mansion in the South of Spain.
Decorative large-scale version of the original painted by the Venetian master representing Venus and Adonis is a painting painted by Titian in 1554 that is exhibited in the Prado Museum in Madrid. Canvas measurements: 172 x 154 cm, framed measurements: 191 x 174 cm. Provenance: Madrid palace, private collection, El Viso.
Prächtiger Meissen Zierteller "Mädchen mit Fruchtschale"Runde, leicht gemuldete Form. Die Fahne mit äußerst fein gemalter Ornamentbordüre. Die Kehlung mit goldradiertem Floralband. Im Spiegel die Darstellung der Halbfigur einer jungen Dame, den Kopf rückwärtig zum Betrachter geneigt, edlen Schmuck tragend und vor einem Vorhang eine Silberschale mit Früchten hochhaltend. Weitläufiges Bergpanorama im Fond. Feine polychrome Malerei mit Goldstaffage. Nach einem um 1555 entstandenen Gemälde von Tizian (um 1488/1490-1576), italienischer Maler der Renaissance. D. 24 cm.A finely painted porcelain plate depicting "Girl with fruit bowl" after Titian, Italian Renaissance painter. Crossed swords mark.Meissen. Ende 19. Jh.
After Tiziano Vecellio, called TitianPortrait of Cardinal Georges d'Armagnac (1501-1585), holding a letterOil on canvas101.9 x 72.5cm; 40 x 28½inThe present work is after the double portrait of Cardinal Georges d'Armagnac (1501-1585) and his secretary G. Philandrier in the Louvre, Paris (no.MNR 959).
Pair of 19th century Vienna porcelain portrait plaques, hand-painted with portraits of 'Michel Angelo and 'Tizian',(Titian), within foliate gilded puce borders, blue beehive marks to the bases with scripted titles. 29cm diameter approx. (2) (B.P. 21% + VAT) NO IN-HOUSE SHIPPING ON THIS LOT. Very minor wear to gilding in places, no obvious damage noted.
A Group of Three Italian Commemorative Medals, comprising; copper medal of Tiziano Vecelli (Titian) by F. Putinati c.1819, 44mm; copper medal of Antonio Canova by F. Putinati c.1823, 34mm; and, an unsigned bronze cast medal, likely Venetian the obverse featuring bust of Moses with rams horns and the reverse features the Hebrew text of Exodus 20.3 (You shall have no other gods before me); all at least good very fine or better (3)
Minerals: A Large Freeform Lapis Lazuli Specimen, a large specimen of this sought after mineral, at the end of the middle ages, Lapis lazuli began to be exported to Europe, where it was ground into powder and made into ultramarine: the finest and most expensive of all blue pigment. It was used by some of the most important artists of the Renaissance and Baroque period, Massaccio, Perugino, Titian, and Vermeer, and was often reserved for the clothing of the central figures of their paintings, especially the Virgin Mary, this example measures 32cm by 3.5cm by 31.5cm
PAIR OF ARTS AND CRAFTS OAK CARVED PANELS DEPICTING RENAISSANCE ARTISTScomprising a profile of Paolo Veronese, with carved inscription 'Paolo Veronese 1528-1588' in relief surrounded by foliate design; and a profile of Titian with carved inscription 'Tiziano Vecellio 1477-1576' in relief surrounded by foliate design, 26 x 30cm each (2)
Folio Society. The Kelmscott Chaucer, London: Folio Society, 2008, illustrations by Edward Burne-Jones, initial letters throughout, some titles and headings printed in red, afterword by William S. Peterson, top edge gilt, original gilt-decorated rust-brown cloth, with slipcase, folio, together with:Shakespeare. The First Folio of Shakespeare, the Norton facsimile, New York: W. W. Norton & Company, 1996, original red faux leather-backed pictorial cloth boards, spine lettered in gilt, folio, contained in original gilt-lettered slipcase, plusOvid. Metamorphoses, with illustrations from Titian, London: Folio Society, 2008, sixteen tipped-in colour plates, publisher's brown morocco gilt, original solander case, folio, 1238 of 2750 copiesQTY: (3)
Henry Bone R.A. (1755-1834)Alessandro Farnese (1468-1549), Pope Paul III (1534-1549), seated three-quarter-length, in papal robes. Enamel on copper, signed on the obverse, 'HBone', inscribed in full on the counter-enamel and dated, Pope Paul the third / London / May 1810 / Pajnted by Henry Bone ARA. Enamel Painter/ in Ordinary to Hjs Majesty and Enamel Painter I to His R.H. the Prince ofWales after Titian, gilt-metal mount engraved Enamel HBone, gilded composition frame with rocaille, scroll and acanthus leaf mouldings. Rectangular, 198mm (7 13/16in) highProvenance: Christie's London, 10 June 2008, lot 117;The Twinight CollectionFootnotes:Richard Walker's Henry Bone's Pencil Drawings in the National Portrait Gallery, (Walpole Society, LXI. 1999, p. 339, no. 398) mentions the preparatory drawing which is in the collection of the National Portrait Gallery no. NPG D17423 and is inscribed, Pope Paul 3rd by- Titian. April 1810. /Original O. Humphry Esq' for George Bowles Esq.. The original portrait of Paul III without cap, painted by Titian in 1543 is in the collection of the Capodimonte Museum, Naples, Italy. It seems likely that Henry Bone worked from an oil copy (possibly by Ozias Humphry) of the original Titian which has been in its current location since 1734.Pope Paul III (1468-1549) was born Alessandro Farnese. He became Pope from 1534 until his death. He called the Council of Trent in 1545. He was one of the few Popes to have fathered children before his election. He was a patron of the arts, commissioning Michelangelo to paint The Last Judgement.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
A documentary Nymphenburg cabinet plate, circa 1821Painted by Louis-Socrate Fouquet with a portrait of a lady after Titian within a burnished gilt border tooled with formal borders around the well and foliate scrollwork around the rim, the reverse inscribed in black 'Copirt nach Georgion./ aus der Königl. Bildergallerie zu/ München./ den 20ten Janner 1821./ v. L. Fouget.', 23.5cm diam., impressed shield mark, VI and XIX (very minor wear)Footnotes:Provenance:The Twinight CollectionLiterature:K. Hantschmann, Nymphenburger Porzellan des Klassizismus 1797-1847 (1996), p. 314;S. Wittwer, Raffinesse & Eleganz Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection New York (2007), p. 77, ill. 88This plate was part of a commission of a dessert service for King Max I of Bavaria, which may have been inspired by the similarly-decorated Sèvres Service 'à marli d'or' for the Emperor Napoleon. The subjects on the Nymphenburg service are mostly after old master paintings and reflected the Bavarian king's preferences; like the Sèvres service, the gilt borders had various patterns. Twenty-seven plates were delivered to the court and were kept in the Silberkammer (now displayed in various museums). Eight plates recorded as having been painted by Fouquet for the service (including the present lot) were either not purchased by the court or have not survived. The explanation may lie in an ongoing dispute over payments between Fouquet, who trained at Sèvres and may have been engaged specifically for this service (possibly at the instigation of the king), and the chief painter, Anton Auer. The latter, who was responsible for evaluating the painters' work, felt that the quality of Fouquet's painting did not justify the price he asked, while Fouquet in turn blamed any deficiencies in his work on the poor quality of the colours supplied by Auer. As a consequence of this dispute Fouquet left the manufactory, and it is possible that the plates painted for him for the dessert service but not acquired by the court were subsequently sold. Others are in the Bäuml Collection (A, Ziffer, Nymphenburger Porzellan Sammlung Bäuml (1997), no. 1333; and in the Württembergisches Landesmuseum, inv. no. 11.255.After a painting depicting an allegory of vanity by Titian of around 1515 - previously attributed to Giorgione - that is now in the Bayerische Staatsgemäldesammlungen - Alte Pinakothek Munich, inv. no. 483.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
A Roman marble bust of a patrician woman Julio-Claudian, circa mid 1st Century A.D.38.7cm high Footnotes:Provenance:Professor Elia Volpi (1858-1938) collection, Florence, prior to 1910.Vente de la Collection Elie Volpi; Hotel de Ventes Jandolo & Tavazzi, Florence, 25 April-3 May 1910, lot 53, pl. XCII (illustrated).Private collection, France, likely Château de Beaumesnil, near Rouen.Provenant du Château de Beaumesnil et du Château de T...Objets d'Art et de Bel Ameublement Principalement du XVIIIe, Palais des Congres, Rouen, 20 February 1983.Anonymous sale; Hindman, Chicago, 25 May 2023, lot 194.Acquired by the present owner at the above sale.Published:Illustrations du Catalogue des Précieuses Collections d'Objets d'Art Appartenant au Prof. Elie Volpi, exhibition catalogue, Florence, 1910, no. 53.La Gazette de L'Hôtel Drouot, edition 5 (Gazette), Paris, 4 February 1983, p. 36 (auction advertisement).B. Varkıvanç, Baki Öğün'e Armağan - Melanges offerts a Baki Öğün - CALBIS, Ankara, 2007, p. 97-108.This portrait of a patrican woman calls to mind portraits of Agrippina Minor, specifically the example in the NY Carlsberg Glyptotek, Copenhagen, acc. no. 755, placing this otherwise unknown sitter in the first half of the 1st Century A.D..Elia Volpi (1858-1938) is acknowledged as one of the greatest Italian antiquarians of the early 20th Century. Beginning his career as a restorer and assistant to fellow Florentine Stefano Bardini, he began selling antiques in the mid-1890s. Initiating such a business in Florence at this time was highly auspicious and lucrative, as the market for antiques was flourishing with new material after the renovation of the historic centre of the city, beginnning in 1866. Innumerable notable works passed through Volpi's ownership, including the Annunciation by Botticelli currently in the Metropolitan Museum in New York, acc. no. 1975.1.74, and the Portrait of Cardinal Pietro Bembo by Titian, in the National Gallery in Washington, acc. no. 1952.5.28 (both originally in the Barberini collection in Rome).For further information on this lot please visit Bonhams.com
After Titian The Venus of Urbinooil on canvas118 x 170cm, unframedAfter the original in the Uffizi Gallery, Florence.Condition ReportWe believe the work to be a late 18th century copy. Relined. Condition issues. Craquelure and discolouration with patches of retouching. Two holes/ rips to the canvas. A large repair and area of restoration above the figure to the upper centre. A further repair to the pillow and red fabric in the lower left. Losses, scuffs and abrasions with some undulations to the canvas. Please see additional condition images.
Registration No: KNT 164E Chassis No: B7126554 MOT: October 2024Brazilian manufactured Kombi Luxo with the rare and desirable '15 window' configurationExtensively restored prior to being first UK registered in April 2018Significantly improved since entering the current ownership via renowned specialist Type 2 DetectivesWell-equipped with a leisure battery (on a separate circuit), sink, gas hob, USB port, stereo and fold-out ‘Z Bed’ etcVisiting Wolfsburg in 1946 to explore the possibility of becoming Volkswagen’s first international concessionaire, Dutch businessman Ben Pon was intrigued by a pared back, Type 1-derived parts-mover ‘plattewagen’ which he saw traversing the factory. Positing that the improvised hack could form the basis of another model line, Pon doodled a van with the driver and engine positioned above the front and rear axles respectively on April 23rd 1947. Although his concept struck a chord with VW’s management, demand for the Type 1 (Beetle) was such that productionising the Type 2 (Bus) was not a priority. A prototype was eventually built and its successors refined via the wind tunnel at the Technical University of Braunschweig with the result that their drag coefficients tumbled from 0.75 to 0.44 (the Beetle / Type 1 was 0.48 by comparison). Greenlit on May 19th 1949, the very first Type 2 rolled off the production line just under six months later. The initial Kombi and Commercial variants were subsequently joined by Microbus, Pick-Up and Ambulance derivatives. Nicknamed the ‘Split Screen’ or ‘Splittie’ on account of its distinctive, two-part, V-windscreen, the first iteration of the T1 lasted until 1967 in Germany. However, production of the Type 2 (T1) continued in Brazil under licence for another eight years. Not available in Europe, the ’15-Window Kombi Luxo’ featured the same basic glazing layout as the revered ’23-Window Samba’ but without the latter’s sunroof or eight skylights. The extravagant ‘wraparound’ rear corner windows common to both models were not only aesthetically pleasing but also gave exceptional all-round visibility. More weathertight and easier to curtain than a 23-Window, the 15-Window ‘Buses make for great Campers. Built during the 1967-model year, chassis B7126554 was imported from Brazil to the UK by its previous keeper a decade ago after a prolonged search using a local agent to find a structurally sound example. Stripped to bare metal the only panels that required replacing were reportedly the side seals and sundry floor sections. Painted in the striking combination of Titian Red over Lotus White by RS Automotive, the Volkswagen was also kitted out as a Camper Van with a ‘rock ‘n’ roll’ bed, twin gas hob, electric sink, multi-speaker stereo, Red / White upholstery, USB ports, 240v plug socket, real oak counter tops and ‘black out’ curtains etc. Uprated with a German gearbox that Peter Englezos of Cogbox had rejuvenated, the Type 2 also benefited from an overhaul of its 1600cc flat-four engine which gained a correct-type replacement Solex carburettor. Twin port manifold and uprated MoFoCo cylinder heads. Boasting a factory-fitted servo, the braking system was enhanced with new drums all round, while Peter Good from Volks Goods provided a replacement wiring loom. Nice touches abound such as a custom-made window wiper motor and yolk with self-park and two-speeds plus an EMPI short shift gear lever, US-specification over rider bumpers and chrome-plated steel wheels / hubcaps. A former airline pilot used to precision machinery, the vendor bought ‘KNT 164E’ from SafWat Cars for £39,449 including GTECHNIQ Platinum paint protection during April 2019. Bowled over by the Camper’s looks but less enamoured with the driving experience, he entrusted it to acknowledged marque specialists Type 2 Detectives last September / October for almost £12,000 worth of fettling. As well as improving the steering, brakes and suspension (new Bilstein shock absorbers etc), the Cambridgeshire firm re-worked the separate leisure battery circuit, tuned the engine and conducted a thorough service. Passing its most recent MOT test on October 12th 2023 with ‘no advisories’, this decidedly handsome ’15-Window’ Splittie will be driven to the auction. Offered for sale with V5C Registration Document, Type 2 Detectives Service Book and history file. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737
A French bronze group of Europa and the Bull, Late 19th century, The Phoenician princess depicted perched upon the kneeling bull, both with floral garlands in their hair, on an oval base with ribbon tied laurel wreath border, 30cm high, 29.3cm wide, 20cm deep Footnotes: Note: The story of the meeting of Europa and Zeus appears in Ovid Metamorphoses (Bk 2, verses 833-875). While strolling on a beach in Sidon, the beautiful Phoenician princess Europa encounters Zeus, who transforms himself into a bull in order not to draw attention to his wife Hera. Europa approaches the impressive animal to stroke it and it kneels and entices her to climb onto its back. The Bull then carries her off to the Island of Crete, where their union results in the birth of Minos, Rhadamanthus and Sarpedon. The iconography was popular in the Ancient world, depicted in wall paintings, mosaics and vases, and was painted by artists such as Titian in 1559-1562, Rubens in 1628 and Rembrandt in 1632.
MATTHEW WILLIAM PETERS RA (1742 - 1814)A Woman in Bed (Lydia)Oil on canvas35.5 x 40cm (14 x 15")Provenance: Private collection Paris The present work, which exists in several versions including one in Tate Britain, relates to Peters' 1777 Royal Academy exhibit, the titillating 'A Woman in Bed.' The work was painted for Lord Grosvenor, and draws on the example of Jean-Baptiste Greuze (1725-1805) whose art Peters had studied in Paris. A review noted the problematic dynamics involved in the display of such an overtly erotic work to the mixed audience at the Royal Academy rather than in the libertine circle of Lord Grosvenor, who kept Peters' painting behind a curtain to heighten the voyeuristic effect as it was unveiled. The subject’s leer, the reviewer wrote, and ‘her still more inviting bosom…prevent the pictures around them from being so much seen and admired as their merits demand, for every man who has either his wife or daughter with him must, for decency sake, hurry them away from that corner of the room’. After a period in Dr Sheridan’s School, in Dublin, Peters embarked on his artistic career, studying under Robert West, whom he portrayed in a fine charcoal double portrait showing the master painting his pupil (1758, National Portrait Gallery, London). Having won a series of prizes at the Schools, and after a period working under Thomas Hudson (1701-79) in London, Peters was dispatched to Italy by the Dublin Society to complete his studies. In Rome, he studied at the Accademia del Nudo and at Pompeo Batoni’s private academy. He moved to Florence in 1763 where he copied Masaccio’s frescoes in the Brancacci Chapel and – with more lasting effect on his art – Titian’s Venus d’Urbino, one of the jewels of the grand ducal collection on display in the Tribuna of the Uffizi. In September of that year Peters was elected to the Florentine Accademia del Disegno. Peters returned briefly to Dublin in 1765, or early the following the year, but, despite flattering press coverage in the Freeman’s Journal, he soon sought the larger stage of London. He exhibited at the Society of Artists in London until 1769, when he showed both with the Society and the newly formed Royal Academy, thereafter transferring allegiance to the latter body. For this, in 1771, he was rewarded with associate status with full membership following – after another sojourn in Italy – in 1777. Despite his success in the metropolis, Peters did not entirely forget Dublin but sent work back to the Society of Artists’ shows on two occasions, in 1768 and 1777. Condition Report: Good overall conditionRe-lined canvas (in the last 10 years probably)Early stages of lifting of paint surface to bottom right hand corner - see photosSpots of overpainting mostly around the shoulder areaFrame is goodPainting has come from a private Irish client who acquired the from a private collection in Paris - nothing further of note beyond thatSee additional images
Österreich - Tyrol - - Album der ausgewähltesten Ansichten von Tyrol. (Rückentitel) Mit 32 aquatintierten Stahlstichen mit Ansichten von Tirol von Martens nach Schweighöfer, Schönherr, Schädler, Ortner, Erler und Martens selbst. Innsbruck, F. Unterberger, um 1840. Quer-Folio (26 x 35 cm). Dunkelgrüner Maroquin mit aufwändiger, goldgeprägter Ornamentik und Titel auf Rücken, Deckel aus montierten handbemalten Holztafeln mit prachtvoller vegetabiler Ornamentik im horror vacui, Vorderdeckel mit Wappen der Familie Ewing. Stehkantenvergoldung und breite Innenkantenvergoldung mit Vorsätzen aus weißer Moirée-Seide mit montierten und gerahmten Tsuso-Malereien, punzierter dreis. Goldschnitt, vier Buckelnieten. (Rücken und Kanten etwas berieben, Holztafeln mit einigen kleinen, unfachmännisch restaurierten Abplatzungen, vordere Tsuso-Malerie mit Defekten.) Eindrucksvolles Exemplar. - Nebehay-Wagner 759 (angeblich ohne Titel ausgegeben und mit zugeschriebenem Titel "Ansichten von Tirol, zumeist in Stahlstichen von Martens"). Andres, Steel-Engraved Views of Towns and Cities, 689. - Jede Tafel mit Titel, Name des Künstlers, Name und Ort des Verlegers versehen. - Inschrift auf dem ersten w. Blatt "Jane T. Ewing, Strathleven 1845". Jane T. Ewing, geborene Jane T(ucker) Crawford (1811-1896), heiratete 1836 den wohlhabenden Kaufmann, Parlamentsabgeordneten und Glasgower Würdenträger James Ewing (1775-1853). Im Jahr 1844 begaben sie sich auf eine dreizehnmonatige Grand Tour und kauften aktiv Kunst und Antiquitäten, darunter einen in Venedig erworbenen Tizian (heute im Los Angeles Museum of Art). Dieses Buch ist offensichtlich ein Andenken an diese Reise. - Eine Tafel stark stockfleckig. Vorder- und Rückseite mit zwei Original-Aquarellen von Vögeln auf rechteckigem Markpapier in blindgeprägtem Spitzenpapierrahmen. Ein schönes Exemplar in einem beeindruckenden zeitgenössischen englischen (oder österreichischen?) Lackeinband, dessen Stil an zeitgenössische persische Lackeinbände erinnert. Album with 32 aquatinted steel-engravings with views of Tyrol by Martens after Schweighöfer, Schönherr, Schädler, Ortner, Erler and Martens himself. Dark green morocco with elaborate gilt ornamentation and title on spine, cover of mounted hand-painted wooden boards with splendid vegetal ornamentation in horror vacui, front cover with coat of arms of the Ewing family. Gilt standing edges and wide gilt inner edges with endpapers of white moirée silk with mounted and framed tsuso paintings, punched gilt edges, four brass knobs. (Spine and edges somewhat rubbed, wooden boards with a few small, unprofessionally restored chips, front tsuso painting with defects). - A spectacular copy. - Each plate captioned with title, artist's name, and publisher's name and place. - Ink inscription on first blank leaf "Jane T. Ewing, Strathleven 1845". Jane T. Ewing née Jane T(ucker) Crawford (1811-1896) married the wealthy merchant, Member of Parliament and Glasgow dignatory James Ewing (1775-1853) in 1836. In 1844 they embarked on a thirteen month Grand Tour to the Continent, actively buying fine art and antiquities, including a Titian acquired in Venice (and now at the Los Angeles Museum of Art). This book is evidently a souvenir of that trip. - One plate heavily foxed. Front and rear paste-down with two original watercolours of birds on rectangular pith paper, within blind embossed lace-paper frames. A fine copy in a stunning contemporary English (or Austrian ?) lacquer binding, its style reminiscent of contemporaneous Persian lacquer bindings.
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
GIORGIO DE CHIRICO (1888-1978)Ponte di Rialto signed 'G. de Chirico' (centre); signed and inscribed 'questa 'Venezia' (Ponte di Rialto) è opera autentica da me eseguita e firmata Giorgio de Chirico.' and further signed and inscribed 'Venezia (Rialto) Giorgio de Chirico' (on the reverse)oil on canvas50.5 x 60cm (19 7/8 x 23 5/8in).Painted in 1956Footnotes:ProvenancePrivate collection, Milan (acquired by 1971).Galleria La Barcaccia, Rome.Anon. sale, Christie's, Milan, 23 November 1998, lot 280.Private collection, Rome.LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. I, Opere dal 1951 al 1970, Milan, 1971, no. 49 (illustrated).An enigmatic maverick in the history of modern art, Giorgio de Chirico forged a unique and long career. Hailed as the master of Metaphysical art, in the 1950s he departed from the elusive imagery that defined his early career and created his most celebrated depictions of Venice as part of his 'late Baroque phase'. These works which are rooted in realism as opposed to the imagination, stand out within his oeuvre, and derive from his desire to reconnect with the history of Venice and the dignity of the old masters which shaped the city's cultural legacy. Beyond the metaphysical elements of much of his corpus, the present work places his brand of genius in close conversation with his forefathers and is an affirmation that he too belonged to the lineage of the great Italian masters.Born in Greece to Italian parents, de Chirico was surrounded by classical mythology, art, history, and architecture during his childhood. He first visited Venice in 1905 and throughout his career exhibited his paintings at the Venice Biennale. These sojourns provided ample opportunity for de Chirico to paint the sites, study the architecture, and to immerse himself amongst the masterpieces that fill the ancient city. For de Chirico, Venice served as an open-air studio from which he could draw endless inspiration.Executed in 1956, Ponte di Rialto is testament to the artist's mastery of paint and use of colour. From its fine architectural lines to the palpable texture of the water and the clouds, the work strikes a wonderfully balanced tone with its compositional symmetry. With the iconic Ponte di Rialto commanding the centre of the scene, the calm canal widens into the foreground as three gondolas glide across the surface, exuding a sense of serenity. The detailed facades of the architecture capture the sunlight, while dramatic shadows are cast into the water. The harmonious colour palette - comprising blues, greens, ochres, and pinks - is skilfully brought together by the bold red banner hanging from the keystone, proudly presenting the artist's signature to the viewer.Ponte di Rialto reveals a central desire of the artist held throughout his career, as described by Stephen McKenna: 'de Chirico saw himself as a man with a mission to fill (...): the preservation, or rather restoration, of the dignity of painting, the reestablishment of a respect and love for the Old Masters and the values they represent' (S. McKenna, Late de Chirico 1940-76, exh. cat., Bristol, 1985, pp. 11-12). De Chirico's relationship with Venice is comparable to Monet's relationship with Giverny – it was his own artistic playground, enabling him to develop his ideas and techniques. Moreover, his depictions of the city's canals, piazzas, and churches placed him in dialogue with the great Italian painters such as Titian, Tintoretto and Canaletto. Paying homage to the tradition of rendering the city's deep colours, teal canals and neoclassical facades, de Chirico also found Venice to be the ideal environment in which to hone his artistic skill and experiment with colour.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Cort (Cornelis) St Jerome reading in a rocky landscape, after Titian, engraving, on laid paper without watermark, sheet 300 x 260 mm (11 3/4 x 10 1/4 in), trimmed to or within the platemark, repairs to sheet loss in the upper edge, minor nicks and tears, some surface dirt, unframed, [New Hollstein 120], 1565; together with 8 other old master prints, including Master of the Die's 'Nymphs assisting Psyche to dress her hair', plate 10 from the 'Story of Cupid and Psyche', an etching after Lodovico Carracci's 'God the Father holding a globe in his left hand, flanked on either side by crowds of putti or angels', an allegory of Time signed in the plate 'Franciscus Ivuanis', and five others, various sizes, between 160 x 120 mm (6 1/4 x 4 3/4 in), all unframed, 16th to 18th century (9)
AFTER MICHIEL JANSZ MIEREVELT (DUTCH 1567-1641) Portrait of John Maurice, Prince of Nassau-Siegen, Portrait of Catherine, Countess of Pallandt, Portrait of Ambrosius Spinola Three, each engraving Largest 43.8 x 31.1cm, Smallest 41.9 x 30.1cm, (sheet)Together with Lucas Vorsterman I (1595-1675) after Peter Paul Rubens (1577-1640) after Titian (1489-1576), Portrait of Emperor Charles V, Engraving, 43.9 x 32.6cm, (plate), Paulus Pontius (1603-1658) after Anthony van Dyck (1599-1641), Count Hendrik van den Bergh, Portrait of Tommaso Francesco of Savoy, Prince of Carignano, Both enngraving, 33.6 x 28.6cm, (image), 35.8 x 28.8c and Pieter van Gunst (1658-c.1731) after Anthony van Dyck, Portrait of Anne, Countess of Chesterfield, Engraving, 45.2 x 29.6cm (7) ProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
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