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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FRANK AUERBACH (B. 1931)From the Studios II 1992 oil on board43.2 by 40.6 cm. 17 by 16 in. This work was executed in 1992.Footnotes:Provenance Marlborough Fine Art Ltd., London Acquired directly from the above by the present owner Exhibited London, Marlborough Fine Art Ltd., Frank Auerbach: Recent Works, 1997, n.p., no. 36, illustrated in colour Literature William Feaver, Frank Auerbach, New York 2009, p. 318, no. 704, illustrated in colourWilliam Feaver, Frank Auerbach, New York 2022, p. 360, no. 704, illustrated in colourFrom the Studios II is a strikingly fresh and beautiful example of Auerbach's inimitably personal and deeply emotive body of North London cityscapes. Rendered in a majestic and jewel-like palette of green, red, yellow and ochre pigment, the intensity of the artist's response to the subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. Executed in 1992 as part of a suite of paintings on the same subject, the composition focuses on a view of Auerbach's studio that the artist encountered day in, day out. He journeyed to the studio every day since he first took up residence in a Victorian building in Camden over sixty years ago. It is a place with a long history of art: before Auerbach, the building had been used by painters Frances Hodgkins and Leon Kossoff. This painting shows us a place that is obviously dear to Auerbach's heart, the approach along a narrow, unassuming alleyway to his cluttered, paint-flecked studio space. First capturing its image in 1977, this is a subject that the artist has repeatedly returned to throughout his oeuvre. And yet each version has its own unique qualities, its own distinct methods and manners. While hardly a picturesque spot in any conventional sense, the artist locates beauty in this messy corner of a busy city.The considerable complexities of colour and composition apparent in this present work distinguish the painting from previous paintings of this scene. Compared to the predominantly dark hues of the earlier To the Studios series executed between 1979-80 where, principally, blues are set against strokes of purple and sombre hues, the palette seen here is particularly bold, ranging from the liberal use of an acid yellow sky, to arresting juxtapositions of red and green pigments. Space and form emerge from a dense lattice of lines and patches of colour are built up and scraped back in rich layers of impasto. The tension between Auerbach's treatment of the surface as a material object and the image's illusion of three-dimensional depth invigorates the entire composition.With two works from the series owned by Tate, London, the The Studios series is unanimously considered one of the finest series in Auerbach's oeuvre: these works herald the unmistakable 'all-at-onceness' of Auerbach's vision across an exquisite range of captured moments. The present work draws upon Walter Sickert's cityscapes of North London, as well as the quality of 'individuality, independence, fullness and perpetual motion' within the landscapes of Auerbach's mentor and teacher David Bomberg (the artist in: Frank Auerbach, 'Frank Auerbach in conversation with Catherine Lampert', Frank Auerbach, London 1978, p. 8). Hailed as one of the most influential painters of the 20th century, Frank Auerbach was born in Berlin, Germany in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists and comparisons to Francis Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and today his works have become some of the most internationally collected of a living artist. Indeed, his career-defining 2015-2016 retrospective at London's Tate Britain demonstrated not only the variety of the artist's works, but also his global following, and included works gathered from private collections across the world. From the Studios II presents a unity of architectonic structure, organic brushwork and luscious combinations of vibrant, rich hues. Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, this present work carries a powerful, personal and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly compelling Studio series, that is completely fresh to the market having remained in the same Private Collection since the early 1990s.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
Attributed to William Etty RA (1787-1849) after Titian The figure of Bacchus from Titian's Bacchus and Ariadneoil on canvas76 x 55cmProvenance:Consigned by the granddaughter of the artist Warren Williams (1863-1941)This work derives from Titian's famous picture in The National Gallery, London. The original entered the collection in 1826, thenceforth being easily available to both the general public and copyists. Etty certainly knew and admired the work and his posthumous studio sale at Christie’s, 6-14th May 1850, included, as lot 631, a copy by him catalogued as 'Bacchus and Ariadne, after Titian’. In the late 1820s, the likely date of the present work, Etty was particularly interested in Bacchanalian subjects and greatly inspired by the prototypes of both Titian and Poussin. Around 1827, he himself acquired, from Lord Northwick, a copy of Titian’s Bacchanal of the Andrians which became one of his prized possessions.We are grateful to Richard Green for his assistance in cataloguing this lot.The painting is executed in oil on a canvas support. The edges of the canvas have been reinforced and the canvas tension is stiff and in plane. The paint layers are in a stable condition overall. An old damage near the centre of the picture has been filled and retouched. The varnish layer is even but slightly yellowed with surface dirt and white accretions present.
* Boldrini (Nicolo, active 1540-1566). Landscape with a milkmaid at right and a boy at left, after Titian, circa 1535-40, woodcut on laid paper, some light overall spotting, trimmed to black outer borderline (occasionally with some encroachment to lower left margin, sheet size 373 x 524 mm (14 3/4 x 20 5/8 ins), mounted to modern card at upper left and lower right corners only, window-mounted, 20 th century black and gilt frame, glazedQTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Muraro & Rosand 21.
After Titian (Tiziano Vecelli) (Italian, c.1485/1490 – 1576). Adoration of the Magi, oil on panel, inscribed on label on reverse “School of Jacob Jordaens”, framed, 13¼ x 9 ½in. (33.7 x 24.1cm.). Early 19th century copy after the original painting by Titian in the Kunsthistorisches Museum, Vienna. *Panel is sound and paint surface generally in good condition.
A VICTORIAN STAINED GLASS WINDOW PANEL PROBABLY BY DANIEL COTTIER, LATE 19TH CENTURY The central circular panel depicting a profile portrait, of a god with wings to the head, possibly Hermes of Hypnos, flowing Titian hair, within borders of flowerheads and meandering branches, within a panel with two further ring design panels 51cm high, 110.5cm wide
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)
After Tiziano Vecellio, called Titian, Italian c.1485/90-1576- Sacred and Profane Love; pencil and watercolour on paper, 34.5 x 82.5 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Titian's 'Sacred and Profane Love', which is believed to have been painted in 1514, early in his career, and is now held at the Galleria Borghese in Rome [no.147]. The original composition has been subject to a variety of interpretations, with the title of 'Divine love and Profane love' first recorded in 1693, and may well not be representative of Titian's initial intention.
Georg Andreas Wolfgang, German 1631-1716- Caesar and five emperors from 'The Eleven Caesars', after Titian; mezzotints, two signed 'G.A. Wolfgang' (within the plate, lower right) and 'Titian' (within the plate, lower left), each 28.8 x 18.7 cm., six, (6). Provenance: Private Collection, UK. Note: These mezzotints were produced after Titian's (c.1485/90-1576) series of paintings entitled the 'Eleven Caesars', painted for Federico II, Duke of Mantua, in 1536-40. These works were widely engraved before they were destroyed in a fire at the Royal Alcazar of Madrid in 1734, having passed into the collection of Philip IV of Spain in 1651, and as such are known only from copies. The present prints depict Julius Caesar, Augustus, Caligula, Galba, Titus, and Domitian.
Titian (After). Woman with a Mirror, an early-19th century rendering of the work now in the Musée du Louvre, unsigned, oil on tin, titled verso in an early hand, 'Titian's Mistress', something removed from above & below this inscription (presumably the copyist's name and date), 35.5 x 28.5cm, some craquelure and bitumen blistering with slight loss in places Provenance: By descent of Sir Joseph Noel-Paton FRSA (Scottish, 1821-1901), our vendor's great-great-grandfather
AFTER TITIAN SACRED AND PROFANE LOVE Oil on canvas 75 x 35cm (29½ x 13¾ in.)After the original painting commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto. The work was completed in 1514, and is now housed in the Borghese Gallery, Rome. Condition Report: The canvas is relined and presents a thick varnish across the whole surface. The canvas has a few small, and hardly visible holes, of which the most visible on the pink sleeve of the woman on the left; the latter is about 1mm long. UV light reveals various retouches, most noticeable on the borders, where on each part there is a thick layer of paint, some of which up to 7 cm of width. Other smaller retouches are present in the greenery in the background, while a another retouch of about 4 cm of width is present in the sky near the right border. Condition Report Disclaimer
Bleiglas-Einhängefenster: Venus und der Lautenspieler. Anfang 20. Jh. Farbloses und farbiges Glas, teils Ornamentglas, teils mit Emailfarben und Schwarzlot bemalt, Bleiruten. Gesamt 68 x 85 cm. Großes Bleiglasfenster mit einer Rahmung aus farblosem Glas. In einer Friesrahmung lagernde nackte Venus mit Cupido und Musiker nach einem Gemälde von Tizian. 4 Scheiben im Bild gesprungen, 2 eventuell ergänzt. Aufrufzeit 22. | Feb 2024 | voraussichtlich 15:47 Uhr (CET)Leaded glass hanging window: Venus and the lute player. Early 20th century Clear and colored glass, partly ornamental glass, partly painted with enamel colors and black solder, lead rods. In total 68 x 85 cm. Large leaded glass window with a frame of clear glass. Naked Venus reclining in a frieze frame with Cupid and musician after a painting by Titian. 4 panes in the picture cracked, 2 possibly replaced. Call time 22 Feb 2024 | probably 15:47 (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.
Attributed to Paolo Veronese Possibly a portrait of Isabella Andreini (1562 - 1604) Oil on canvas Provenance: By descent to the 7th Earl of Warwick, Warwick Castle; Christie’s, 21 June 1968, Lot 72, as Veronese (750 guineas); Hackwood Park, Christie’s sale, 22 April 1998 Exhibition History: 'Fair Women', London, Grafton Gallery, 1894, No. 28, as Veronese Literature: W. Field, ‘An Historic and Descriptive Account of the Town and Castle of Warwick’, Warwick, 1815, page 194, as Titian (the painting hung in the State Bedroom, over the chimneypiece); Henry T. Cooke, ‘An Historic and Descriptive Guide To Warwick Castle’, Warwick, 1847, page 46, as by Veronese (hung in the red drawing room, opposite the window to the left); Gustav F. Waagen, ‘Treasures of Art in Great Britain’, London, 1854, page 215, No. 3, as by Titian (‘the conception and colouring rather indicate a fine work by Veronese’) Dimensions: (Canvas) 75 in. (H) x 45 in. (W) (Frame) 85.25 in. (H) x 56 in. (W)
CONTINENTAL SCHOOL, CIRCA 1700, AFTER TITIAN, GIRL WITH PLATTER OF FRUITS, oil on canvas, 101cm x 86cm, in a gilt frame 129cm x 114cm (Condition Report: patched repair to the area at the back of her head and top right corner, tears in canvas upper left, scratching and losses along the bottom edge, bears inscription verso and indistinct address which is partially covered by a patch repair, could be Rue du Babuina?, various numbers in black)
Raggio (Olga). The Gubbio Studiolo and it Conversation , 2 volumes, 1st edition, New York: The Metropolitan Museum of Art, 1999, numerous colour & monochrome illustrations, original uniform cloth in dust jackets & slipcase, large 8vo, together with:Battisti (Eugenio), Piero della Francesca, 2 volumes, 1st edition, Milan: Electa, 1992, numerous colour & monochrome illustrations, original uniform cloth in dust jackets & slipcase, large 4to, plusAikema (Bernard & Beverly Louise Brown, editors), Renaissance Venice and the North, crosscurrents in the time of Dürer, Bellini and Titian, 1st edition, London: Thames & Hudson, 1999, numerous colour & monochrome illustrations, original cloth in dust jacket, some minor rubbing to the head & foot of the covers, large 8vo, and Welch (Evelyn S.), Art and Authority in Renaissance Milan, 1st edition, New Haven: Yale University Press, 1995, colour & monochrome illustrations, original cloth in dust jacket, 8vo, plus other Italian & Renaissance art reference & related, many original cloth in dust jackets, some paperback editions, some Italian language, G/VG, 8vo/4toQTY: (4 shelves)
Unbekannter Künstler, nach Tiziano Vecellio, gen. Tizian (und Werkstatt), Maria mit Kind, Johannes dem Täufer und einem Stifter, Öl/Lwd, 70 x 90 cm. Unknown artist, after Tiziano Vecellio, gen. Titian (and workshop), Mary with Child, St John the Baptist and a Donor, oil on canvas, 70 x 90 cm.
Konvolut von drei Broschen: Miniatur, Frauenbildnis nach Tizian, 5,5 x 4,5 cm, Brosche in Silber, Kameo mit Mädchenbild, rücks. bez. Parfum la Gatierre Paris 1832, 7 x 5,8 cm, und ähnlich, 6,7 x 4,2 cm. A group of three brooches: Miniature, portrait of a woman after Titian, 5.5 x 4.5 cm, brooch in silver, cameo with portrait of a girl, marked Parfum la Gatierre Paris 1832 on the reverse, 7 x 5.8 cm, and similar, 6.7 x 4.2 cm.
A Matchbox Models of Yesteryear Leyland Titian TDI diecast model, displayed in a box frame, together with a Meccano Tuning Radio model, an Oxford Military Force Cobra Military II ship set NCM 3211, Haynes Internal Combustion Engine model kit and a Pilgrim Observer space station 1/100 plastic model kit. (5)
A LARGE QUANTITY OF ADAM'S HANDPAINTED TITIAN WARE, comprising two covered tureens, gravy jug (cracked and reglued), stand, egg cups, two covered tureens, two preserve pots, two teapots(both cracked handles), coffee pot (cracked handle), sugar bowls, tea cups, saucers, mugs, large breakfast cups, saucers, hot water jug, meat plate, dinner plates, side plates, tea plates, tankard, etc. (Qty) (Condition Report: crazing in varying degrees, signs of medium to heavy wear, damage to some pieces)
Cornelis Galle (1576-1650) - Portrait of Carolus Quintus after Titian Portrait of Emperor Charles V (1500-1558). Charles was the eldest son of Philip the Handsome and Joan of Castile, who would enter history as Joan the Mad. The countries he ruled, the Spanish Empire, together formed the largest European empire since that of Charlemagne. In fact, his entire empire, so including the American and Asian territories, was even larger than the earlier Roman Empire and it can rightly be called one of the first world empires of the New Age. In this bust portrait, he is shown in profile. The light reflects on his shining armor. We also recognize the chain of the Order of the Golden Fleece. The Subscript "En fulminanti similis inuic ta Herculis, Ultra labores arma sic Carolis tulit" links to the motto of arms 'Plus Ultra' chosen by Emperor Charles V. It was a variation on 'Non plus ultra', the text Hercules is said to have chiselled on the Pillars of Hercules on either side of the Strait of Gibraltar to mark the end of the world in classical antiquity. Under Charles's reign, Spain experienced tremendous colonial expansion and with the new motto, he wanted to indicate that the Strait of Gibraltar was no longer the end of the world and that Spain's ambitions extended further. 22,00 x 17,00 cm Excellent condition, nice dark sharp print, clearly defined plate edges. With full plate border and wide margins in the full sheet of watermarked laid paper (Weapon of Amsterdam) Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (133) Engraving 1630-1650 220
A LOUIS VUITTON X JEFF KOONS TITIAN FRAMED SCARF Silk, gold thread embroidery, depicting Titian's 'Mars, Venus and Amor,' has Louis Vuitton monogram to lower left, Jeff Koons to lower right, in gilt timber frame. From a collaboration between Louis Vuitton and American artist Jeff Koons, re-interpreting the work of European Old Masters. 84 x 84cm; 88 x 88cm (including frame) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
AFTER GUERCINO (Italian 1591-1666) A Caricature of a Youth, 18th century, pen and brown and black ink with grey wash, inscribed “Tiepolo”, 9 1/4" x 7 1/2", together with a pair of similar drawings after Titian, "Diana and Callisto" and "Diana and Actaeon", 4” x 4 ¼”, all unsigned and framed, with original Sotheby’s catalogues and receipts (Qty) (Est. plus 24% premium inc. VAT)Condition Report: Some browning and staining to all three.
Full title: European school, follower of Titian (ca. 1488-1576): Portrait of a man, oil on canvas, 19th C.Description:Work: 70 x 57 cm Frame: 91,5 x 80,5 cm Our representation follows the painting by Titian in the collection of the Louvre, inv. 756, MR 508 (link).Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com
Biblia germanica Biblia, das ist: Die gantze Heilige Schrifft, Alten und neuen Testaments. 3 Teile in 1 Band. Schwabach und Nürnberg, M. Hagen für J. L. Buggel 1702. Dekoratives Exemplar mit prachtvollen Kupferstichen von Melchior Küsel. Erste Ausgabe mit diesen Illustrationen; Küsels Kupferstiche erschienen erstmals 1679 als reine Bilderbibel und wurden in der vorliegendes Ausgabe das zweite Mal verwendet. Faber du Faur lobt die Kupfer, die teilweise auf bekannte Motive von u. a. Rembrandt, Brueghel, Titian, Raphael und Veronese zurückgehen. 'Küsel worked with great neatness and accuracy, yet without pettiness, for he was a master of the great baroque line' (Faber du Faur). EINBAND: Blindgeprägter Schweinsledereinband d. Zt. über starken abgeschrägten Holzdeckeln mit 8 großen ziselierten Messingbuckeln und 2 Messing-Schließen. 28 : 22 cm. - ILLUSTRATION: Mit 2 gestochenen Frontispizen, 1 gestochenen Schlußvignette und 236 Textkupfern von Melchior Küsel. - KOLLATION: 53 Bll., 828, 516, 388 S. - ZUSTAND: Auf Anfrage. - A decorative copy with magnificent engravings by Melchior Küsel. First edition with these illustrations, which were first used in a picture bible from 1679. With 2 engr. frontisp., 1 engr. vignette at the end and 236 engr. text illustrations by Melchior Küsel. Additionally bound in 4 copper engravings (all mounted, of which 1 verso frontispiece and colored). Contemp. blindstamped pigskin over strong bevelled wooden boards with 8 large engraved brass bosses and 2 brass clasps. 28 : 22 cm. - Slightly fingerstained and soiled, a few leaves with marginal tears (2 reaching into the text, 1 restored), flying endpapers removed. Edges slightly rubbed. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Yiannis Tsarouchis (Greek, 1910-1989)Dominique jouant le bouzouki signé en grec et daté '73' (en bas à droite)pastel et fusain sur papier marouflé sur toile70.5 x 118.5cm (27 3/4 x 46 5/8in).Peint en 1973.signed in Greek and dated (lower right)pastel and charcoal on paper laid on canvasFootnotes:ProvenancePrivate collection, London. ExpositionsRome, Il Gabbiano Art Gallery, Yannis Tsarouchis, May 29 -June 30, 1974, no.34 (illustrated in the exhibition catalogue).Bologna, Forni Gallery, Yannis Tsarouchis, 1975.Athens, Kalfayan Galleries, Yannis Tsarouchis (1910-1989), December 14, 2007 - January 26, 2008 (illustrated in the exhibition catalogue, p. 42).When I feel like a westerner,Vermeer is to me the greatest painter.Y. Tsarouchis1Inspired by Jan Vermeer's Love letter, c. 1669-1670 (Ritzmuseum, Amsterdam), this captivating work features Dominique, Tsarouchis's most characteristic sitter. 'The model I chose was a youngster from Chartres, Dominique, who showed skills in painting, poetry and music. At that time [1973], I was engrossed in that new type of youth with long hair and clothes usually bought in flea markets, embodying the traditional French with a touch of revolution.'2 As noted by A. Szymczyk who co-cutated the artist's 2021 retrospective in Chicago, 'the negotiation and transgression of limits between art and the everyday were central to Tsarouchis's work and philosophy. Many of his later works enter into erudite dialogue with the old masters revered and studied by Tsarouchis. Appropriating compositional schemes from Vermeer van Delft and other Dutch Golden Age painters (The letter, The painter and the model) or portraying himself copying Titian, Tsarouchis ignored artistic fashions of his day, keeping at a distance from his contemporaries and instead creating a world of thoughts, emotions, and imagery that was unmistakably his own. He dodged expectations and was a true postmodern artist avant la lettre, constantly brushing up against the grain of his time, fully aware of the fact that his work would only be appreciated in the future.'3 1 Yannis Tsarouchis Painting, Comments [in Greek], Yannis Tsarouchis Foundation, Athens 1990, p. viii.2 Y. Tsarouchis, 'The Four Seasons' [in Greek] in Stone Rejected by the Builders, Kastaniotis editions, Athens 1989, p. 151.3A. Szymczyk, 'The Entrance for Yannis Tsarouchis' in N. Gripari and A. Szymczyk ed., Yannis Tsarouchis, Dancing in Real Life, exhibition catalogue, Wrightwood 659, Chicago 2021, pp. 302-303. This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Tiziano Vecellio, gen. Tizian, Werkstatt oder Umkreis, Heilige Maria MagdalenaÖl auf Leinwand (doubliert). 130 x 102 cm.Bezeichnet unten links: TITIANVSP..ProvenienzSeit mehreren Generationen in süddeutscher Privatsammlung.„Sie erhebt ihre Augen zum Himmel und zeigt ihre Reue durch die Röte ihrer Augen und ihre Tränen für ihre Sünden. So rührt dieses Bild die Betrachter, und obwohl es sehr schön ist, regt es nicht zur Lust an, sondern zum Mitleid.“ So beschreibt Giorgio Vasari Tizians Darstellung der Maria Magdalena, die er in dessen Werkstatt gesehen hat. Angesichts der zahlreichen Versionen, Repliken und Kopien kann sie als eine der erfolgreichsten Kompositionen des Künstlers bezeichnet werden. Tizian befasste sich zum ersten Mal mit dem Thema der reuigen Sünderin in den frühen 1530er Jahren. Das Gemälde, heute im Palazzo Pitti, zeigt Maria Magdalena als Halbfigur, den Blick gen Himmel gerichtet (Florenz, Galleria Palatina, Inv.-Nr. 1912.67). Nur ihre langen Haare, blond und lockig, bedecken ihren Körper, neben ihr befindet sich ihr Attribut, das Salbgefäß. Die Ambivalenz dieser Darstellung zwischen Andacht und Erotik ist offensichtlich, denn die Haare Magdalenas bedecken zwar ihren Körper, lassen ihre Brüste jedoch sichtbar. In den 1550er Jahren, knapp 20 Jahre später, konzipierte Tizian die Darstellung der Magdalena neu – den Vorgaben der Gegenreformation entsprechend handelt es sich nun um eine Darstellung, die zum Mitleiden anregt, nicht zur Lust, wie Vasari schreibt. Die Körperhaltung der Heiligen – der antiken Statue der Venus Pudica nachgebildet – ist gleichgeblieben. Sie ist jedoch nunmehr in ein weißes Hemd und ein kostbares gestreiftes Tuch gekleidet, allein die entblößte Schulter erinnert an ihr sündhaftes Vorleben. Das Format des Gemäldes – und mit ihm der Bildausschnitt – ist nun größer, er lässt Raum für einen Ausblick in eine Landschaft und zeigt einen Totenschädel sowie ein aufgeschlagenes Buch, das der Heiligen zur Meditation dient. Die Komposition wurde, wie bereits Giorgio Vasari und später Carlo Dolci berichten, mehrmals von Tizian und seiner Werkstatt wiederholt. Unter anderem erhielten Philipp II. von Spanien und Kardinal Alessandro Farnese, zwei der bedeutendsten Mäzene Tizians, eine Version. Die nach einhelliger Meinung beste Version verblieb in Tizians Werkstatt und befindet sich heute in der Eremitage in Sankt Petersburg (Inv.-Nr. GE-117). Das vorliegende Gemälde, bei dem es sich um eine Arbeit aus der Werkstatt oder dem Umkreis Tizians handeln dürfte, folgt der Neapolitaner Version für Kardinal Alessandro Farnese. Es unterscheidet sich von der Sankt Petersburger Version insbesondere in der Darstellung des Salbgefäßes, das aus Alabaster besteht und nicht aus Glas; zudem im Hintergrund, der eine herbstliche Landschaft zeigt; außerdem im flatternden Schleier, der links zu sehen ist und in der Sankt Petersburger Version fehlt (zu den verschiedenen Versionen vgl. Harold Wethey, The Paintings of Titian, Complete Edition, Bd. 1, London 1969, S. 144-151.).
Original vintage advertising poster for artwork exhibition at the Museum zu Allerheiligen Schaffhausen - Masterpieces of European Painting - Durer, Holbein, Raphael, Titian, Van Eyck - Main works of the Kaiser Friedrich Museum Berlin - The poster features a Portrait of a Young Girl, a small oil-on-oak panel painting by the Early Netherlandish painter Petrus Christus (1410/1420-1475/1476). Printed by Meier & Cie, Schaffhausen. Large size. Good condition, restored tears, restored creasing, staining, backed on Japanese paper. Country of issue: Germany, designer: Unknown, size (cm): 126x91, year of printing: 1951.
FÖRG, GÜNTHER1952 Füssen - 2013 Freiburg i. BrsgTitel: Four Bronze Reliefs (für Parkett 26). Datierung: 1990. Technik: Bronze, braun patiniert. Maße: 25,5 x 22 x 4cm. Bezeichnung: Signiert und nummeriert (gestempelt). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 12/20. Zustand:Verso Gipsreste in den Vertiefungen (herstellungsbedingt). Das Multiple befindet sich in sehr gutem Zustand.Mit Parkett-Magazin."Förg redirects painting by painting picture surfaces like a house painter, by composing rooms like a workman, by taking photographs à la Titian and painting photographs à la Godard. Förg opens a space and invites us to take a walk in it, with his eyes." Wilfried Dickhoff, Parkett Nr. 26, 1990.Artikel zu Werk und Künstler aus Parkett Edition Nr. 26. Günther Förg Deutschland Abstraktion Nachkriegskunst Multiples 1990er Abstrakt Plastik Bronze FormenErläuterungen zum Katalog
§ Zdzislaw Ruszkowski (1907-1991) Landscape from Ireland signed 'Ruszkowski' (lower right) oil on canvas 76 x 50cm Provenance: Sale; Christie's South Kensington, Thursday 11 May 2004, lot 93 Born on July 12, 1907, in Tomaszow, Poland, Zdzislaw Ruszkowski displayed an early affinity for art, no doubt influenced by his father - a painter, who took delight in bringing his son with him on painting expeditions. His formative years were marked by a deep curiosity and passion for painting, leading him to pursue formal education in the field of fine arts. Ruszkowski's academic journey took him to the Cracow Art Academy, where he honed his skills under the guidance of renowned Polish artists. In 1935, he travelled to Paris, where his work would take on a different character and became more explicitly influenced by masters including Titian, Van Gogh, Cezanne and Rembrandt – stylistically disparate, though linked by their dexterous handling of light and colour. It was during this period that Ruszkowski began to develop his unique artistic approach, characterized by a fusion of classical techniques with modern sensibilities.In 1939, interrupted by the outbreak of war, Ruszkowski joined the Polish army in France. Travelling across Europe by foot, Ruszkowski ultimately found himself in Scotland, where he met and married his wife, Jennifer McCormack. Following the war, Ruszkowski and his wife divided their time between London, Cornwall and his studio in Lyme Regis. Whilst he is, perhaps, not a well-known name today, during his lifetime Ruszkowski was able to support his family through his work as an artist, exhibiting alongside the London Group and being represented by galleries including the Leicester Galleries, Roland, Browse & Delbanco and Jablonsky Gallery.Ruszkowski's body of work is a testament to his mastery of various artistic genres. He was a versatile artist, equally adept at portraiture, landscape and still life painting. His signature style combined meticulous attention to detail with a profound emotional depth. Ruszkowski's use of colour and light was particularly noteworthy, as he skilfully captured the nuances of the human form, the grandeur of nature and the subtleties of everyday objects.
SEVEN PIECES OF S HANCOCK & SONS CERAMICS, comprising a Corona Ware multicoloured lustre vase, height 24cm, and plate, a footed bowl in Kensington pattern, a Woodland pattern candlestick, a Titian Ware vase and plate, each decorated with fruit, and an Ivory Ware ginger jar painted with pink and purple flowers (7) (Condition Report: generally ok, some pieces sound dull when tapped, crazing, dusty)
SIX PIECES OF S HANCOCK & SONS TITIAN AND RUBENS WARE IN 'POMEGRANATE' PATTERN, comprising three jugs, tallest 14.5cm, two footed bowls, and a plate diameter 22cm (6) (Condition Report: generally ok, smaller bowl having a tiny chip to rim, larger bowl has an area of restoration, crazing, scratches and wear, pieces sound dull when tapped)
Guarinoni, Lucca, Nachgewiesen 1560-68 in Venedig: 2 Kupfer: 3 Engel nach Raphael und Zinsgroschen nach TitianGuarinoni, Luca.: Tres Vidit et Unum Adoravit. (He sees three and worships one). Nach Raphaels Fresco im Vatican. Ca. 1560-70. Based on Raphael's Fresco in the Vatican Loggia.Italy, 1560-70. Breitrandig, min. knickfaltig, in der linken Ecke mit entfernter Bezeichnung. 31x24,8cm. Und Zinsgroschen nach Titian, In der Legende lateinisch bez. Marino Ruota Sebenzam ( Hrsg.). Ex Typis Lucca Guanonny. Rand und eine Kante hinterlegt, Montagespuren, rückseitig alt beschr. 28x22,5cm ca. 1560-68.
AGALIS MANESSI (born 1952); 'Diana's Hound with Red Collar', a tin-glazed Maiolica terracotta sculpture of a resting dog, painted signature dated 2018, length 19.5cm, height 7.5cm.“Diana's hound continues my fascination with modelling inspired by classical paintings. This version refers to the goddess of the hunt, Diana/Artemis, depicted in 'Artemis and Callisto' by Titian in which the dog can be seen resting. Having worked as a ceramic artist for 50 years as a maker and a teacher across all ages, I have seen just how wonderful working in clay can be in discovering a sense of personal expression and creativity.” Condition Report: Appears good with no obvious signs of faults, damage or restoration.
A group of six lacquer and papier-mâché boxes, 19th century, to include a rectangular box with painted scene to hinged lid of two ladies in intimate conversation, the sides and underside with gilt lacquer fern motif decoration, 10.2 x 7.6 x 2.4cm; a circular box with painted scene to the lid of four Dutch peasants, 9.8cm diameter; a brass mounted oval box with painted vignettes of a landscape and domestic scene to hinged lid and box, surrounded by gilt floral borders, 9.5cm long; a rectangular hinged box with painted decoration to the lid of the Venus of Urbino after Titian, 8.7 x 5.8 x 2cm; a circular box and lid with painted hunting scene of a rifleman and his dog shooting game, 8.5cm diameter, and a circular box with heavily craquelured scene of peasants in a horse and carriage, the underside fitted with a medallion of the Shipwrecked Fishermen & Mariners Benevolent Society dated 1839, approx. 7.5cm diameter (6)
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