Auktionskataloge - - Catalogue of the Collection of Pictures, works of art, and decorative objects, the property of His Grace the Duke of Hamilton, K.T. 5 Teile in 1 Bd. (so komplett). Mit 77 photographischen Pigmentdrucktafeln von James Craig Annan. London, Christie, Manson & Woods, 1882. 234 S. Gr.-8°. HLdr. d. Zt. mit goldgepr. Titel, Lederecken, Marmordeckeln u. dreiseitig gesprenkeltem Schnitt und Buntpapiervorsätzen (etw. berieben u. bestoßen, der Rücken leicht verfärbt). Von diesem Auktionskatalog erschienen zwei Versionen, eine ohne Tafeln und eine illustrierte Ausgabe mit Pigmentdrucken von James Craig Annan wie die vorliegende. Der schottische Pionier der Photographie Annan war erst 18 Jahre alt, als er die Photographien für den spektakulären Verkauf der Sammlung des Duke of Hamilton anfertigte. Innerhalb von fünfzehn Tagen wurden in fünf Abschnitten 2.213 Lose versteigert, darunter Gemälde von Botticelli, Breugel, Da Vinci, Dürer, Fra Angelico, Giorgione, Holbein, Rembrandt, Rubens, Tizian, Veronese u.a., aber auch Möbel, Porzellan sowie weitere dekorative Objekte. - Nur vereinzelt im Blattrand etw. fleckig. Insgesamt äußerst wohlerhaltenes und sauberes Exemplar, die Tafeln satt im Abzug mit tiefen Schwärzen. Auction Catalogues - 5 parts in 1 vol. (complete) With 77 carbon print plates by James Craig Annan. Half leather binding of the time with leather corners, marbled covers, three-sided speckled edges and coloured paper endpapers (somewhat rubbed and bumped, the spine slightly discolored). - Two versions of this auction catalogue were published, one without plates and an illustrated edition with carbon prints by James Craig Annan like the present one. The Scottish pioneer of photography Annan was only 18 years old when he made the photographs for the spectacular sale of the Duke of Hamilton's collection. Within fifteen days, 2,213 lots were auctioned in five sections, including paintings by Botticelli, Breugel, Da Vinci, Dürer, Fra Angelico, Giorgione, Holbein, Rembrandt, Rubens, Titian, Veronese and others, as well as furniture, porcelain and other decorative objects. - Only a few spots in the margins. Altogether an excellent and clean copy.
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Ian Norris (British 1960-) "After Titian, Death of Actaeon" Signed, titled on verso, oil on board.44 x 49cm (framed 56 x 61cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Pair of armigers Padua? Probably 17th-18th century Bronze, dark brown patina Wears Overall 19,5x5,5x4,5 cm Bronze 15,5x6,5x4,5 cm The two armigers recall in their spiral movement the Mars attributed to Gerolamo Campagna or Titian Aspetti. However, they should be considered less ancient castings, probably from the 18th century. Bibliography Sergej Androsov, State Museum of the Issuer, Italian Sculpture from the 14th to the 16th Century, Skira, Geneva-Milan, 2008, pp.150-151, 158-160.
John Keyse Sherwin, after Sir Joshua Reynolds'The Fortune Teller'engravingimage 35 x 42cm, andfour other engravingsVenus and Adonis, after Titian;A fête champêtre, after Watteau;and two landscapes (5)Condition Reportoverall: 'The Fortune Teller', 52 x 56.5cm; Venus and Adonis, after Titian, 58 x 67cm; A fête champêtre, after Watteau, landscape with a wagon, 50.5 x 65cm; landscape with figures 53 x 64cm.Paper discolouration with foxing and staining to all. Cockling and creasing to 'The Fortune Teller' and 'A fête champêtre, after Watteau'. 'Venus and Adonis' has two vertical folds to the centre. The landscape with figures has been laid down. Not viewed out of glazed frames.
Follower of Tiziano Vecellio, called Titian (Pieve-di-Cadore 1485-1576 Venice)Portrait of an elderly man in senator's robes indistinctly inscribed and dated 'MA***/CANC/MD*' (upper right)oil on canvas70.7 x 55.2cm (27 13/16 x 21 3/4in).Footnotes:ProvenanceCollection of Charles Sligo de Pothonier, London (according to a label on the reverse)For further information on this lot please visit Bonhams.com
(Art History, Sculpture, Architecture), J.B.L.G. Seroux D'Agincourt: 'Histoire de l'art par les monumens : depuis sa decadence au IVe siecle jusqu'a son renouvellement au XVIe', Paris, Treuttel et Würtz, 1823, vols 1-4, 6 (of 6), 212 engraved plates (of 325), volume 4 with 121 engraved plates (73 architecture, 48 sculpture, mainly Italian), volume 6 with 91 engraved plates Art History including Titian, Raphael, Durer, Da Vinci etc, folio, uniform old half calf worn (5)
An early miniature portrait of Philip II of Spain, watercolour and gouache on paper, probably 17th century, in an antique beaded gilded frame with old laid paper backing unopened in recent times; this miniature is after the original by Titian in the Prado (accession number P000452), 7" x 5 1/4".
Manner of Tiziano Vecellio, called Titian, early 19th century- Madonna and Child with Saint Louis of Toulouse and a female saint; pencil, pen and black ink on laid paper watermarked 'FAUSTINO', inscribed 'Titiano' and 'Antonio... [?]' on the reverse, 33 x 47 cm. (mounted / unframed). Provenance: Private Collection, UK.
Circle of William Etty RA (1787-1849) Venus and Adonis Oil on board, laid onto panel, 72.5cm by 62cm, unframedThe present painting shows the beginning of the relationship of Venus with Adonis, as recounted in Ovid’s Metamorphoses. Venus has been accidently wounded by one of Cupid’s arrows while playing with him and Cupid cowers behind her back in embarrassment or shame. It is at this moment that Venus first glimpses the huntsman Adonis and, thanks to Cupid’s arrow, immediately falls in love with him.William Etty was certainly familiar with the Metamorphoses. Although he did not exhibit any work specifically titled Venus and Adonis, he knew and copied Titian’s version of the subject, which was part of the founding collection of the National Gallery, opening in 1824 (now catalogued as workshop of Titian). However this illustrates a subsequent development in the story, where Venus is attempting to restrain Adonis from going to the hunt, which will prove fateful for him. At the British Institution of 1829 Etty showed 'A subject from Ovid’s Metamorphoses’ (no.232), measuring 3ft 11in. square in its frame. This, though, represented ‘a pair of lovely figures standing in the water embracing', according to a review in the Gentleman's Magazine, as quoted by Dennis Farr, and cannot have been the present work.Though the painting here is close to Etty is certain ways - for example, the landscape background could pass for Etty and the obvious derivation of the figure of Venus from a life-room study of a female nude, without any attempt at modification, is typical of him. It is curious, however, that the shadowed parts of the goddess's body are scarcely, if at all, modulated by paint applied over the brownish ground, the latter thus fully exposed. In the light-catching parts of Venus’s body the paint is applied very smoothly leaving no evidence of individual brushstrokes. In contrast, bold brushwork is much more apparent in the figures of Adonis and Cupid. Neither the face of Adonis nor the attempt to imbue the figure of Cupid with an expression of emotion seem right for Etty.It has been suggested therefore that this might be a collaborative work between Etty and another from his circle, or indeed an example entirely by another hand, but by an individual in the orbit of William Etty.We are grateful to Richard Green for his assistance with the cataloguing of this lot.
Anania (Giovanni Lorenzo d') L'Universale Fabrica del Mondo, overo Cosmografia, collation: Ϯ8 ϮϮ4 a-d4 A-Z Aa-Zz Aaa-Ccc4 Ddd6 (lacking final blank leaf Ddd6), woodcut printer's device on title, 5 engraved maps (one double-page, the rest folding), woodcut head-pieces and initials, damp-staining, some repairs to worming in first few leaves slightly affecting a few letters (including title), contemporary limp vellum decorated by Cesare Vecellio with original drawings in pen and ink, depicting map of Europe and Asia on upper cover and map of Americas "Mondo novo" on lower cover, spine lettered vertically and with scroll design, marbled edges, leather ties renewed, 4to (220 x 160mm.; binding 225 x 170mm.), Venice, Presso il Muschio, 1582.⁂ A stunning copy of Anania's important cosmography, with an exceptional provenance. The maps depict Europe, Asia, Africa and the Americas plus a twin-hemisphere world map.Originally owned by the great bibliophile Odorico Pillone (1503-1593) , of Belluno. In 1580 Pillone famously commissioned the painter Cesare Vecellio (1521-1601) to decorate, with drawings or painted fore-edges, the bindings of 172 volumes preserved in his Villa Casteldardo in the Dolomites, in which he had established his studio. Vecellio, was a cousin and pupil of Titian, and worked in his atelier until his death. The present example represents one of only 21 volumes that Vecellio adorned with drawings on the covers.Provenance: Odorico Pillone (1503-1593; cover drawings); Sir Thomas Brooke (1830-1908; bookplate; sold by his heirs in 1957 to Pierre Beres); J.R. Abbey (bookplate; sale Sotheby's 21 June 1967, lot 2091).Literature: Bibliotheque Pillone 132; Sabin 1364; Cordier, Bib. Sinica, I:5.
Published 1982 by Bonanza Books, Compiled by J.B. DeC.M. Saunders and Charles D. O’MalleyDynamic and dramatic postures emanated from the master painter Titian. Precision illustration that will definitely appeal to anyone pursuing the arts or sciences. This item has no reserve. Issued: 1982Dimensions: 8.5"L x .75"W x 11.25"HCondition: Age related wear.
Jacopo Bassano (1510 - 1592)A portrait of a ProcuratoreOil on canvasProvenance:Lucien Bonaparte's Collection (as Portrait of Doge Priuli, Tiziano);Virginia Museum, Richmond (as Portrait of Doge Lorenzo Priuli).Dimensions:(Canvas) 24 in. (H) x 19 in. (W)(Frame) 30.25 in. (H) x 26 in. (W)The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in the sixteenth century. The man is wearing a decorated dark red velvet jacket, lined with ermine on the front. There can also be seen a dark stole draped over the sitter’s right shoulder and a black cap. The face is fully illuminated, and framed by a long, bushy gray beard. The beard is darker on the cheeks and almost white on the front. The sitter’s crimson jacket is in velvet, decorated with large floral motifs - concentric corollas of flowers – and it is edged with ermine.In the catalogue of the collection of paintings of Prince of Canino Lucien Bonaparte (1775-1840), we can read that the painting was known as “Portrait of Doge Priuli†and attributed to Titian. The attribution to Titian, however, is no longer sustainable. Already in 1972, Federico Zeri, in his census of Italian paintings from America collections, and reporting the painting in the collection of the Museum of Richmond, Virginia, he did not confirm the name of Vecellio, preferring the term “Venice school, 16th centuryâ€.The portrait has recently been confirmed as the work of Jacopo Bassano, by the Bassano academic Dr. Bernard Aikema, and is a significant addition to the corpus of that artist. The masterful handling of paint and the absolute naturalism are signatures of the work of Jacopo. The skill of the naturalistic rendering of the face (thin shadows in the area of the eyes, the light on one temple and the blue vein that is visible under the left eye) can be attributed to Bassano’s paintings of the late period. There are also features that you can find in his other portraits. The half-length in three-quarter pose is one that identifies almost all Bassano’s portraits, just as the dark background and the lack of contextual details (no objects, even the hands are excluded) that isolate the face and bring it to the fore.The role of Jacopo Bassano as a portraitist has been the subject of considerable academic discussion. Just one signed portrait exists, and the attribution of the other portraits included in the artist’s catalogue raisonne is based exclusively on stylistic evidence. The account book that records all commissions for Jacopo and his father up to the 1550s, registers little more than a dozen portraits over two decades. The number of those works was increased gradually by critics, basing their attributions on the analysis of touch, colors and on the identification of his basic naturalism. In more than one of these portraits, for example in the Portrait of a Man at the Getty Museum in California, all the attention is concentrated on the face, without the insertion of the arms and hands and environmental details, and with the help of contrasting dark clothes.The approach of these portraits is internalized, staking everything on the sitter and the expressiveness of his presence. A methodology that derives directly from Lorenzo Lotto and, more obviously, from Titian. A deep interpretation of a single personality and subject, supported by superb observation skills and the rendering of naturalistic reality.A formal analysis of the painting allows us to date the work to the fifth decade of the sixteenth century. This was a period during which the work of Jacopo Bassano is faithful to a certain realism, and doesn’t yet display the gradual disintegration of form of the following decades. In comparison, it is appropriate to look at parts of other contemporary works by the artist, such as the hyper-realism in the rendering of the faces (especially San Giuseppe) in the different versions of the Flight into Egypt (the one in the Civic Museum at Bassano del Grappa, and that in Toledo. The comparison with the Adoration of the Magi in the National Gallery in Edinburgh is also interesting, with the male faces in the foreground, the old man and the kneeling person behind. Also, the heads of the old men in the Last Supper of the Galleria Borghese in Rome and in the Miraculous Draught of Fishes, now in Washington.More striking is the comparison with the portraits. In addition to that of the podesta Bernardo Morosini, in the Staatliche Museen of Kassel, recognized by Rearick in 1980 (the portrait of the mayor, who held the city of Bassano from 1541 to '42, is documented in Libro secondo) One might sensibly suggest the Portrait of Cardinal, now in Szépm?vészeti Múzeum in Budapest (also present in Bonaparte collection): the same black background, the same refined attention to details in the face, the same half-length, and the same lack of descriptive elements.The painting is initially registered as Portrait of Doge Priuli (and assigned to Titian); Federico Zeri finds it cataloged with the same words in the inventory of the Museum of Richmond, even with the clarification that this is the Doge Lorenzo Priuli. In the sixteenth Century, there are two Doges from the Priuli family, the brothers Lorenzo (1489-1559), elected doge in 1556, and Girolamo (1486-1567), elected after him.What prevents us from identifying this painting as a portrait of a Doge is the dress worn by the subject, the crimson red decorated velvet jacket. This type of garment, with the stole, also velvet but darker in color, and the cap, allows us to make some considerations that may affect the social status of this man. The color of this velvet, decorated with giant caper flowers, was the exclusive prerogative of members of certain social categories and specifically of precise political offices. This dress, therefore, including the scarf on the shoulder, also velvet decorated with plant motifs, and the hat, appears to be the traditional "vesta" or "toga" worn by procurators and senators.There are a number of portraits of procurators and senators portrayed by Tintoretto, which are wearing this type of garment, and in the catalogue of Jacopo Bassano, there are two portraits of senators of the same type: one now in Berlin, Portrait of senator, Staatliche Museen, Gemäldegalerie, and the Portrait Bernardo Morosini. The Doge, in his official portrait, was always represented with the robe, which identified him as such, which was different from that worn by our sitter, and above all wearing distinctive headgear, the “corno ducaleâ€. This cannot, therefore, be a portrait of Doge. It is instead certainly a portrait of a senator, or procurator, and is likely to date from the mid-1540s. *We are grateful to Dr. Bernard Aikema for confirming the attribution of this painting to Jacopo Bassano.? (delta)
A late 19th century framed oval porcelain plaque, probably KPM, painted after Titian, 'Girl with a Basket of Fruits (Lavinia)', 18.5 cm x 13.5 cm in a carved giltwood frame, together with a 19th century Continental school circular oil on board, boats on a shore, indistinctly signed, 13 cm diameter, in a gilt frame.Qty: 2Very small chip to the painted surface on the figure's bodice (see image). No other damage found to the porcelain plaque. Parts of the back of the plaque are obscured by vertical fixing batons.Craquelure throughout the painted oil on board. Some overpainting around the top right edge.
Giovanni Britto (circa 1500-1550) after Titian/Adoration of the Shepherds/woodcut, circa 1535, 40cm x 51cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A continental silver gilt enamel box, the hinged cover centred with a rectangular enamel panel depicting a landscape scene of "Sacred and Profane Love" after Titian, with Venus, Cupid and a maiden, framed by blue and white enamel borders with engraving details, base and sides with translucent blue and opaque white guilloche enamel, bearing an engraved scrollwork motif at the centre of the base, raised thumb piece open to reveal a gilt interior, unmarked, 9.4 x 6.5 x 1.3 cm, total weight of item 167.5 grams.
Seltene Barock-Figurengruppe: Jupiter (Satyr) und Antiope mit Eros Höhe: 21 cm. Antiope, die schöne Tochter des Königs Nykteus von Theben, wird von Zeus (in der römischen Mythologie Jupiter genannt) in Gestalt eines Satyr im Schlaf überrascht und verführt. Die Gruppe mit ihren zierlichen Figuren repräsentiert ein sinnliches Lebensgefühl, die Liebe mythologischer Gottheiten. Farbig bemalt. Undeutliche Blaumarke Einige Brandrisse im Sockel, Sockelrand, Blätter, Stab bestoßen, Flügel, Amor-Rücken, eine Satyr-Hand, ein Tuchzipfel, Schilf restauriert. Motiv nach der Gemälde-Vorlage von Tizian (Tiziano Vecollio, 1490 Pieve di Cadore - 1576 Venedig) im Louvre, Paris. * Partnerauktion Bergmann. Provenienz : Hessische Privatsammlung. Rare Baroque figural group: Jupiter (satyr) and Antiope with Eros Height: 21 cm. Antiope, the beautiful daughter of King Nykteus of Thebes, is surprised and seduced by Zeus (called Jupiter in Roman mythology) in the form of a satyr in his sleep. The group with its delicate figures represents a sensual attitude to life, the love of mythological deities. Painted in color. Indistinct blue mark Some burn cracks in the base, base edge, leaves, staff bumped, wings, Cupid's back, a satyr's hand, a cloth tail, reed restored. Motif after the painting template of Titian (Titiano Vecollio, 1490 Pieve di Cadore - 1576 Venice) in the Louvre, Paris. * Partner auction Bergmann. Provenance : Hessian private collection. *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.
Bildplatte: Der ZinsgroschenKPM Berlin. 17,5 x 12,5 cm, Rahmen: 28 x 23,5 cm. Nach dem Gemälde von Tizian (Tiziano Vecellio, 1490 Pieve di Cadore - 1576 Venedig). Das Ölgemälde befindet sich in der Gemäldegalerie Alte Meister, Dresden. Farbige Bemalung, unsigniert. Unglasierter Boden, Pressmarke. Neuwertiger Goldrahmen Mehrere Sprünge restauriert. Tizian, Bildnis- und Historienmaler, 1513 eigene Werkstatt, 1533 Hofmaler von Kaiser Karl V. Einer der Hauptmeister der italienischen Renaissance. Porcelain plaque * Partnerauktion Bergmann. Literatur : Bergmann (2021) Katalog-Nr. 380. Provenienz : Fränkischer Sammlungsnachlass. Picture plate: The interest groschenKPM Berlin. 17.5 x 12.5 cm, frame: 28 x 23.5 cm. After the painting by Titian (Titiano Vecellio, 1490 Pieve di Cadore - 1576 Venice). The oil painting is in the Gemäldegalerie Alte Meister, Dresden. Colored painting, unsigned. Unglazed bottom, press mark. As new gold frame Multiple cracks restored. Tizian, portrait and history painter, 1513 own workshop, 1533 court painter of Emperor Charles V. One of the main masters of the Italian Renaissance. Porcelain plaque * Partner auction Bergmann. Literature : Bergmann (2021) catalog no. 380. Provenance : Franconian collection estate. *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.
A collection of early 20th Century Magic Lantern Slides comprising: The Old Masters, to include: Rembrandt, Titian, Gainsborough, Leonardo Da Vinci, Van Dyck, Raphael, Giotto; together with The Life of David Livingstone, American Lecture Paintings: City Hall, Canal Street, Birdseye view of New York, view of Broadway, Central Park, Profile Rock on the Mohawk, and more.
After Tiziano Vecellio (1485-1576, called Titian) A framed and glazed engraving, The Martyrdom of St Lawrence, printed by Cornelius Cort. Mounted in green, image size 47.5cm x 33cm. (Previously folded, there is a crease half way right across with tears to edges. Paper has waved throughout and has some staining to the edges, fox spot to the flag.)
Anselm Feuerbach, Der Triumph des BacchusÖl auf Leinwand. 57 x 84 cm.Signiert unten links: A. Feuerbach.ProvenienzGalerie Walter Westfeld, Wuppertal. - 404. Lempertz-Auktion, Köln, 12.-13.12.1939, Lot 93. - Slg. Wilhelm Kreis, Bad Honnef. - 2010 im Rahmen eines Restitutionsbegehrens gütliche Einigung mit den Erben nach Walter Westfeld. - 957. Lempertz-Auktion, 15.5.2010, Lot 1955. - Deutsche Privatsammlung.LiteraturEkkehard Mai: Feuerbach und die alten Meister. Aus Anlaß einer wiedergefundenen Ölskizze in Privatbesitz, in: Pantheon XLII (1984), S. 131-139. – Jürgen Ecker: Anselm Feuerbach, Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, München 1991, S. 106-107, Nr. 110, m. Abb.Paris, daran konnte es Mitte des 19. Jahrhunderts keinen Zweifel geben, war die unangefochtene Kunstmetropole Europas. Einem Kunststudenten aus der Fremde, aus der deutschen Provinz zumal, mussten die Augen übergehen angesichts der Fülle an Kunst, die ihm die Stadt bot. So verwundert es nicht, dass Anselm Feuerbach seinen dortigen Aufenthalt von 1851 bis 1853 (mit Unterbrechungen) als entscheidend betrachtete für seine künstlerische Entwicklung, nach Stationen in Düsseldorf, München und Antwerpen: „Paris ist der Wendepunkt meines Künstlerlebens, das Fundament meiner künstlerischen Bildung geworden.“ Mit diesen Worten sollte er sich später des Aufenthalts an der Seine erinnern. Er studierte im Atelier Thomas Coutures, lernte die jungen Edouard Manet und Gustave Courbet kennen, begeisterte sich für das Werk Eugène Delacroix´ und studierte im Louvre die alten Meister, die Werke von Rubens, Tizian, Giorgione und Poussin. Er finanzierte seinen Parisaufenthalt durch Portraitaufträge, die ihm seine Mutter in der badischen Heimat besorgte. Er trachtete jedoch nach Größerem, der Grande Peinture; der Aufenthalt in Paris sollten ihn „von der akademischen Schablonenkomposition zu großer Anschauung und Auffassung“ führen. Feuerbachs vor Selbstbewusstsein und Tatendrang erfülltes Selbstbildnis (Abb. 1) ist ein Zeugnis dieses in Paris entflammten künstlerischen Strebens, ebenso die vorliegende Kompositionsstudie „Der Triumph des Bacchus“, die wie das Selbstportrait um 1852/1853 in Paris entstanden ist. Die Komposition zeigt ein Bacchanal in einer Landschaft, zur Linken lagert Bacchus, von einem roten Tuch hinterfangen, von aufgetürmten Früchten flankiert. Zu Füßen des Weingottes liegen weibliche und männliche Figuren, teils nackt, teils halbbekleidet. Sie schlafen im Rausch oder erwachen gerade, pflücken Früchte von den Bäumen oder schenken sich Wein ein. Zwei dunkle Gestalten, vielleicht Satyrn, schleichen sich aus dem Gebüsch, um die im Zentrum lagernde Nackte zu begaffen. Die komplexe Komposition, das dramatische Bildlicht, das ausgewogene, zugleich aber kraftvolle Kolorit, aber auch die Gestaltung jeder einzelnen Figur ist das Produkt von Feuerbachs Studien in Paris, seine Beschäftigung mit den alten und neuen Meistern wie auch der klassischen Antike. Feuerbach verarbeitet in diesem Gemälde die Tradition des Bacchanals, die über Nicolas Poussin bis zu Tizian zurückreicht (Abb. 2) ebenso wie die Plastik der Antike, etwa den Sterbenden Gallier oder die Vatikanische Ariadne. Nicht minder wichtig waren für Feuerbach die neuen Meister: Sein Lehrer Thomas Couture bot mit seinem Monumentalgemälde „Die Römer der Verfallszeit“ (1847), das Feuerbach kopierte, ein Muster für die Darstellung eines rauschhaften Festes (Abb. 3), Delacroix´ Kolorismus lehrte ihn, kraftvolle Farben einzusetzen wie das leuchtende Rot, mit dem Bacchus als Protagonist dieses Bacchanals markiert wird. Der „Triumph des Bacchus“ ist ein Parforceritt durch die Geschichte der westlichen Kunst, all das, von dem sich Feuerbach in Paris überwältigen ließ.Mit dem Thema des Bacchanals hatte sich Feuerbach bereits in seiner Düsseldorfer Zeit befasst (Ecker, op. cit., Nr. 29, 30). Der Vergleich zwischen diesen frühen Versuchen und dem „Triumph des Bacchus“ ist frappierend und zeigt die künstlerische Reife, die Feuerbach in Paris erlangte. Wichtig war der Aufenthalt nicht nur, weil er in Paris die größten Werke der alten und neuen Meister studieren konnte. Er entwickelte in deren Angesicht ein neues Verständnis von Kunst und ein neues Selbstverständnis als Künstler – die „große Anschauung und Auffassung“, von der Feuerbach spricht und die in diesem „Triumph des Bacchus“ aus seiner Pariser Zeit ihren Ausdruck findet.Abb. 1/ Ill. 1: Anselm Feuerbach, Selbstbildnis / Self-Portrait, 1852/1853, Staatliche Kunsthalle Karlsruhe.Abb. 2/Ill. 2: Tizian, Das Bacchanal der Andrier / Titian, The Bacchanal of the Andrians, 1523-26, Madrid, Museo Nacional del Prado.Abb. 3/Ill. 3: Thomas Couture, Die Römer der Verfallszeit / The Romans of the Decadence, 1847, Paris, Musée d´Orsay.
An elegant silver snuffbox with an enamel miniature after Titian: Venus and the lute player. Sterling. Made in Austria. 925 sterling silver. Probably mid 20th century. Dimensions: 9x6 cm. Weight: 130 gr. Width: 6cm, Height: 9cm, Depth: 1.5cm, Weight: 0.130kg, Condition: Good, with traces of use, Material: Enamel
Nicolò Boldrini - The stigmatisation of St Francis - C.1530 / Description: Very rare woodcut after the Titian drawing. St. Francis from Assisi and his brother Leo in a wood with mountains, buildings, a roe deer and a small cross within a halo of light. Unsigned, attributed to Boldrini. Stylistically, the print is close to the destroyed altarpiece of S. Pietro martyr (formerly Venice, Saints John and Paul) executed in the years 1526-1530. According the Giorgio Fini Foundation: The woodcut is cited both by Vasari (1568) and by Ridolfi (1648). Mariette believed that Titian had drawn directly on the matrix. The print according to Muraro and Rosand dates back to the end of the third decade, as evidenced by the connections with the altarpiece of San Pietro Martyr, formerly in the church of SS. Giovanni e Paolo, commissioned in 1526 and delivered in 1530. / Dimensions: 29,00 x 43,10 cm / Condition: The impression is good and it has full border line and one centimeter margins on laid paper from the period. Small defects to the margins has been enforced with some paper strips on the backside, as is the vertical middle fold that has teared in a bit. Overall with the acid free passe-partout covering the marginal defects an enjoyable example of this rare work. / Literature: Passavant 1860-64 / Le Peintre-Graveur (VI.235.59) --- D. Rosand and M. Muraro, 'Titian and the Venetian Woodcut', 1976-1977, n.23. --- Mauroner, 19 --- Dreyer, 18 --- Fondazione Giorgio Fini, ALU.0190.1. ---El Greco was inspired by this woodcut in two small paintings preserved at the Carrara Academy in Bergamo and at the Capodimonte Museum in Naples. / Medium: Woodcut /Circa: 1530-1535
Guiseppe Salviati (1520-1570) - Disciples of Astronomy - Fortune telling / Description: The Disciples of Astronomy and the Mathematics of Chance. A rare woodcut by Porta published in Venice 1540.The subject based on an earlier engraving by Marco Dente is here altered with the open book showing two pages from Marcolini's Le Sorti and a adding of a pack of playing cards shifting the subject from a gathering of scientists to a group of fortune-telling enthusiasts. Woodcut by Guiseppe Della Porta (1520-1570) called Guiseppe Salviati, as a painter he was a pupil of Salviati and worked in Venice and Rome as one of the great masters of his time. He also engraved a couple of pieces but his engraved work is extremely rare. Signed on the tablet bottom right corner. / Dimensions: 24,30 x 19,80 cm / Condition: Impression from a woodblock with already some cracks in it. On a bit used sheet of paper with restorations to the margins and especially top left corner. / Literature: Guiseppe Della Porta or Joseph Porta, also named Salviati the younger. Painter and engraver fromCastel-Novo di Garfagnana who died in Venice. Trained in Rome in the painters studio of Francesco Salviati. He called himself Salviati the younger and followed his master to Venice and made some marvelous wall paintings combining the Florentine style with the Venetian colourit.He was called to Rome by Pope Pius IV to decorate the royal room at the Vatican. He had to go trough the competition with Taddeo and Federico Zuccarro who where preferred by Vasari but at some point it was considered to wipe their work out and to let Porta repaint the complete room. At his time Porta got the highest recommendations by Titian and Veronese. He has engraved a couple of pieces but his engraved work is extremely rare. / Medium: Woodcut /Circa: 1540
A late 19th century framed oval porcelain plaque, probably KPM, painted after Titian, 'Girl with a Basket of Fruits (Lavinia)', 18.5 cm x 13.5 cm in a carved giltwood frame, together with a 19th century Continental school circular oil on board, boats on a shore, indistinctly signed, 13 cm diameter, in a gilt frame.Qty: 2
Ruggieri (Francesco). Scelta di Architetture Antiche e Moderne della Citta di Firenze, Opera gia date in luce, misurata, disegnata, ed intagliata dal celebre Ferdinando Ruggiero, Architetto Fiorentino, Edizione Seconda, pubblicata, ed ampliata in quattro volumi da Giuseppe Bouchard, 4 volumes bound in two, Florence, Appresso l'Editore, 1755, four additional engraved titles, four printed titles in red and black, with engraved vignette to each, large folding engraved map of Florence, three unnumbered engraved portraits of Nelli, Michelangelo and Rossi, and 279 fine copper engraved plates, including many double-page, engraved head-pieces, etc., engraved bookplate of Joseph Augustin Brentano to front pastedown of each volume, and later printed bookplate of Leo S. Olschki, Firenze to upper outer corner of front pastedown of first volume, short closed tear to lower margin of engraved title to first volume, fine contemporary marbled full calf, gilt-decorated spines, rubbed and joints partly cracked at head and foot, with minor wear to extremities, large folio (49 x 37 cm)QTY: (2)NOTE:Provenance: (1) Joseph Augustin Brentano (1753-1821), Dutch merchant and art collector of Italian descent, who traded with both the Dutch East India Company and Dutch West India Company. His large art collection included paintings by Rembrandt, Rubens and Hals, as well as Italian painters including Titian, Raphael and Annibale Carracci. He founded an old people's home (Brentano's Steun des Ouderdoms), funded by the posthumous sale of his collection of 400 paintings, as well as books and other rarities, in 1824. (2) Leo Olschki (1861-1940), bookseller and publisher, who founded the Leo S. Olschki publishing house in Verona (later Venice and Florence) in 1886.Millard Architectural Collection (Italian and Spanish Books) 118. Berlin Katalog 2690. Cicognara 639.A fine copy, lavishly printed on thick paper, of this monumental work on the architecture of Florence. The second edition was published by the Frenchman Joseph Bouchard, using the original copper plates from the first edition of 1722-28. This edition is the first to combine three separately published works by Ruggieri: the three volumes of Studio d'architettura civile sopra gli ornamenti di porte, e finestre... (1722-1778), V descrizione e studi della insigne fabbrica di S. Maria del Fiore... (1733), and La Libreria Mediceo-Laurenzinia Architecttura di Michelagnolo Buonarroti... (1739).Ruggieri's map of Florence included in this work, was the first original plan of the city since Buonsignori's Plan of 1584.Born in 1687, Ruggieri studied under Giovanni Battista Forggini in Florence and became a member of the Florentine Accademia del Disegno in 1718. The most distinguished architect of Florence of his day Ruggieri, best known for his facade of the Church of San Firenze.
Giovanni Cariani, um 1485 San Giovanni/ Bianco – 1547 Venedig, zug.Eigentlich Giovanni Busi, venezianischer Maler, erstmals 1509 erwähnt, dessen Werk eindeutig Einfluss von Giovanni Bellini, Palma il Vecchio und Lorenzo Lotto zeigt. Später Hinwendung zu Giorgione, Tizian und Dosso Dossi.DAS WUNDER DES EIFERSÜCHTIGEN EHEMANNSÖl auf Leinwand. Doubliert.69 x 58 cm.In Prunkrahmen.Das vorliegende Gemälde geht auf ein gleichnamiges Fresko von Tizian zurück, datierbar auf 1511 und Teil des Zyklus der „Wunder des Heiligen Antonius von Padua“ in der Scuola del Santo in Padua. Das Gemälde zeigt die Geschichte einer Frau, die zu Unrecht des Ehebruchs beschuldigt und von ihrem eifersüchtigen Ehemann erstochen wird. Im Zentrum der Ehemann in wertvollem, glänzendem, rot-weiß gestreiftem Gewand mit roten Schuhen hat seinen rechten Arm mit dem Dolch erhoben, um auf die am Boden zusammengesunkene und bereits verwundete Frau erneut einzustechen. Die am Boden Liegende, in einem gelbgold und weiß glänzendem Kleid mit langen blonden Haaren hat voller Dramatik ihren rechten Arm erhoben, um den Stich abzuwehren. Eine weitere kleinere Darstellung zeigt sich im rechten Hintergrund in der Nähe eines Hauses: Der durch seine rot-weiße Kleidung gekennzeichnete Ehemann kniend vor dem Heiligen Antonius und seinen zwei Begleitern, als er die Wahrheit herausgefunden hat und den Heiligen um Vergebung bittet, welcher die Frau daraufhin auferweckt.Die Darstellung ist höchst realistisch und glaubwürdig, frei von Hinweisen auf das wundersame Ereignis wie göttliche oder übernatürliche Erscheinungen. Erzählerische Darstellung in harmonischer Landschaft, sodass der Schwerpunkt auf dem drastischen Geschehen liegt, nicht zuletzt besonders betont durch die Kleidung der beiden Hauptfiguren. Literatur: Rodolfo Pallucchini, Francesco Rossi, Giovanni Cariani, Bergamo 1983, Text und Abbildung A62.Gian Alberto Dell'Acqua, I pittori bergamaschi dal XIII al XIX secolo. Il Cinquecento, Bd. 1, Bergamo 1975, S. 292, Nr. 54, S. 302, Abb. Nr. 3. (1341142) (18)Giovanni Cariani,ca. 1485 San Giovanni / Bianco - 1547 Venice, attributedTHE MIRACLE OF THE JEALOUS HUSBAND Oil on canvas. Relined.69 x 58 cm.The present painting is based on a fresco of the same name by Titian, datable to 1511 and part of the cycle of The Miracles of Saint Anthony of Padua in the Scuola del Santo in Padua.Literature: Rudolfo Aluccini, F. Rossi, Giovanni Cariani, Editione Promossa dal Credito Bergamasco 1983, text and ill. A62.Gian Alberto Dell’Acqua, I pittori bergamaschi dal XIII al XIX secolo. Il Cinquecento, vol. 1, Bergamo 1980, p. 292, no. 54, p. 302, ill. no. 3.
Pietro Antonio Rotari, 1707 Verona – 1762 Sankt Petersburg, zug.MAGDALENA IN MEDITATION ÜBER DIE DORNENKRONEÖl auf Leinwand.65 x 50 cm.Beigegeben ein Gutachten von Dr. Federica Spadotto, Padua, Dezember 2022, in Kopie.Die Zuweisung an den Künstler durch Expertise fußt auf Bildvergleichen mit Werken Rotaris.Die heilige Büßerin ist hier im Halbbildnis gezeigt, mit weit nach oben gerichtetem Blick, in hellblauem Kleid vor einem Podest, auf dem die Dornenkrone Christi liegt. Sie greift mit der linken Hand in die Strähneihres lockeren Haares, was zur Zeit der Entstehung des Bildes als deutliches Zeichen ihrer ehemaligen Sündhaftigkeit gedeutet wurde. Die Kopfhaltung mit zum Himmel gerichtetem Blick geht erkennbar auf Werke des Guido Reni zurück. Rotari war Schüler des Antonio Balestra (1666-1740) und ging zwei Jahre nach Venedig, um Werke von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588) zu kopieren, ab 1728 widmete er sich dem Studium der Antike in Rom bei Francesco Trevisani (1656-1746). Zu seinen Aufenthalten gehört auch die Werkstatt des Francesco Solimena (1657-1747), wo er bis 1734 blieb. Seine Versuche sich am französischen Hof zu bewerben waren vergeblich, umso erfolgreicher jedoch sein Wirken als Hofmaler des sächsischen Kurfürsten und polnischen Königs August III in Dresden. Auch in Sankt Petersburg erhielt er den Titel des Hofmalers unter Peter III und Katharina II. 50 seiner russischen Frauenbildnisse stiftete die Zarin Elisabeth der russischen Akademie der Künste, über 350 solcher Gemälde kamen ins Kabinett der Moden und Grazien im Peterhof. (1351501) (11)Pietro Antonio Rotari,1707 Verona – 1762 Sankt Petersburg, atributedMARY MAGDALENE MEDITATING WITH CROWN OF THORNSOil on canvas.65 x 50 cm.Accompanied by a report by Dr Federica Spadotto, Padua, December 2022. The expert’s report attributes the painting to the artist based on image comparisons with works by Rotari.Rotari was a student of Antonio Balestra (1666 - 1740) and went to Venice for two years, to copy works by Titian (1485/89 - 1576) and Veronese (1528 - 1588).
"Saint Benedict Receiving Gifts from the Peasants" Italian school, 18th centuryOil on canvas227x132 cm Note:Note:The painting we are now offering for auction is based on a lost fresco by Guido Reni (1575-1642) for the Church of San Michele in Bosco in Bologna.When speaking of Guido Reni life in his work “Felsina Pittrice: vite de' pittori bolognesi”, the art historian Carlo Cesare Malvasia (1616–1693) describes this fresco with the following words:“In this painting Guido represented Saint Benedict at the top of a mountain, stepping out of a grotto with a certain affability that does non diminish his gravitas, receiving the various gifts brought to him by the rustic inhabitants of different genders, ages, and complexions, and diverse in proportion, attitudes, and costumes. A graceful young girl, girdled with the finest veils and carrying a basket of eggs, is in the style of Raphael; in the style of Correggio, an older girl, her companion, with a smiling face rests a hand upon her shoulder. Both look out toward the viewers with so much liveliness and spirit they seem to breathe. In the style of Titian there is a little sheperd playing a flute with hands of a living and tender flesh; another sheperd, of not inferior beauty, listens intently to his music. In the style of Annibale is a woman with a nursing baby at her breast, and another older child whom she prods with her right hand into offering a basket of apples on which he fixes greedy eyes. Passing over many other figures, I shall mention a full-length nude in the foreground who pulls forcefully at a donkey's reins, and who is so vigorously and furiously drawn that it would seem that Michelangelo himself had traced his contours, leaving to the school of Lombardy the task of covering his body with living flesh in a more tender manner”.Currently on that place, we find a copy of this representation made by the painter Giovanni Maria Viani (1636-1700).Giacomo Maria Giovannini (1667–1717), engraved it and we find examples in the most diverse private and public collections, such as the collection of the Philadelphia Museum of Art with inventory number 1985-52-22095, and that of Victoria and Albert Museum with inventory number DYCE.1528.
FRANK AUERBACH (B. 1931)J.Y.M. Seated V 1989 oil on canvas 50.8 by 40.6 cm. 20 by 16 in. This work was executed in 1989. Footnotes:ProvenanceMarlborough Fine Art Ltd., London (39475.6) Marlborough Fine Art Ltd., New York (NOL 31.388) Campbell-Thiebaud Gallery, San Francisco (FA-108) Acquired directly from the above by the previous owner in 1995Thence by descent to the present owner in 2003Exhibited Campbell-Thiebaud Gallery, San Francisco, Frank Auerbach Recent Work, 1995, n.p., illustrated in colourLiterature William Feaver, Frank Auerbach, New York 2009, p. 311, no. 638, illustrated in colourExecuted in 1989 J.Y.M. Seated V is a strikingly fresh and beautiful portrait of one of Frank Auerbach's most celebrated and recognised sitters. Rendered in a majestic and jewel-like palette of green, purple and red pigment, the intensity of the artist's response to sitter and subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. His subject, Juliet Yardley Mills, referred to by her friends simply as J.Y.M. or Jym, is from a small group of subjects alongside Estella (Stella), Olive West (E.O.W.), his wife Julia, son Jake, and art historian Catherine Lampert among only a handful of others. Of this intimate group, J.Y.M.'s likeness presides over a host of the artist's most iconic paintings. She first posed for him in 1956 when she was a professional model at Sidcup College of Art and continued to do so for over forty years until 1997. Auerbach completed over seventy portraits and studies of J.Y.M., and this present work was executed over twenty years into their friendship. 'She was brought into the world to be a model, she came and sat, and it was not quite like anything else. It wasn't like painting Stella or painting Julia because it was just that... She took poses that were natural to her, and then I sometimes suggested things and one would go on. It became like a central spine of what one was doing' (the artist in: Catherine Lampert, Frank Auerbach Speaking and Painting, London 2015, p. 184). In this present work, out of the forms and brushstrokes emerges a face, a presence. There is an intense substantiality both to the painting and more particularly to the head itself. Auerbach has scraped at the surface of the painting, in a process where he starts again and again, erasing one day's efforts and beginning with another's. Yet the ghost of the previous forms remains in spirit, making J.Y.M. Seated V an accumulation not only of paint, but of paintings. The contrast between the lush, glistening oil of the head and the softer but rich olive background accentuates this, while also revealing a key part of Auerbach's artistic process that is more recognisable in his portraits painted in the late 80s. The background passages of this work have been applied with a more fluid oil paint, drying relatively matte; the artist employs a sgraffito technique, possibly with the upper end of the brush, scraping wet paint to form features of the face, with other areas partly scraped back more broadly. These swathes of impasto and flurried mark-making result in his subject being brought more powerfully into the foreground, engaging the viewer more intently with her presence. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin 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, 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.Auerbach's distortions in his portraits have been likened to Francis Bacon's figures, however perhaps unlike Bacon, a certain warmth emanates from an Auerbach portrait. As seen in J.Y.M. Seated V, his model is perhaps more understood than recognisable, arguably because Auerbach only paints those known closely to him. Still, although she may be somewhat incomprehensible, his prolonged engagement with her throughout the course of her sittings brings out its details, indeed the rapid and vivid strokes as seen here, the individuality of essence awaits, something that is more than a representation. J.Y.M. Seated V is the portrayal of an individual life, there is a contemplative personal eminence that captures the sincerity of Auerbach's long-standing relationship with Mills. Of this dialogue between artist and sitter, Mills has said: 'we had a wonderful relationship because I thought the world of him, and he was very fond of me. There was no sort of romance, but we were close. Real friends'. (Juliet Yardley Mills in Norman Rosenthal and Catherine Lampert (Eds.), Frank Auerbach: Paintings and Drawings 1954-2001, London 2001, p. 26).Frank Auerbach is widely recognised as one of the most inventive and influential painters of the post-World War II era. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, J.Y.M. Seated V carries a powerful and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly inimitable and compelling portraiture, and is excitingly 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.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. 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* Caylus (Anne Claude de Tubieres, Comte de, 1692-1765). Des pêcheurs retirant leurs filets (Fishermen hauling in a catch), after Giulio Romano, circa 1729-40, chiaroscuro woodcut from two blocks, printed in two shades of brown, as published in the Recueil Crozat (Recueil d’estampes d’après les plus beaux tableaux et d’après les plus beaux desseins qui sont en France, plate 65), S. 10 1/2 x 16 1/2 ins, together with Zanetti (Antonio Maria, 1706-1778). Group of five engravings after Giorgione and Titian (from Varie pitture a fresco de' principali maestri Veneziani), circa 1760, together five engravings on laid paper, plate size 22 x 14 cm, matching gilt frames, glazed, plus Perelle (Adam, 1638-1695). Le Bassin d'Apollon, circa 1680, engraving on laid paper, published by N. Langlois, Paris, plate size 200 x 290 mm, framed and glazed, and other various prints including 9 lithographs by Daumier (les Parisiens en 1852), Les Bons Bourgeois (3), Professeurs et Moutards (2), Les Beaux Jours de la Vie (4), two sepia aquatint engravings from Turner's Liber Studiorum, by Thomas Lupton (Solway Moss,1816 & Watercress Gatherers, 1819), and a 20th-century reproduction of a touched proof of Hogarth's Tom Rakewell Arrested (from the Rake's Progress), all framed and glazedQTY: (20)NOTE:Provenance: Colonel George Ambrose Cardew (1865-1942), his mark to lower right (Lugt 1134);
Property of a Gentleman 16th Century A pair of portraits of Margaret Roper and William Roper Margaret Roper with inscription 'AETATIS SU[A]E 32' (lit: In her 32nd year) William Roper with inscription 'ANNO 1537' (lit: In the year 1537) Oil on panel On the portrait of Margaret Roper there is an inscription, verso 'Titian pinxt 1547'. On the portrait of William Roper there is an inscription, verso 'Titian pinxt'. In the portrait of Margaret Roper there is a plaque with an inscription painted above her head on the right wall. It reads 'AETATIS SU[A]E 32' (lit: In her 32nd year). In the portrait of her husband, William Roper, there is an inscription painted above his head on the left wall which reads 'ANNO 1537' (lit: In the year 1537). Margaret Roper (1505–1544) was the eldest daughter of Sir Thomas More. She is considered to have been one of the most learned women in sixteenth-century England and was a scholar as revered as those male scholars in her society, in spite of the prejudices of her time. Roper's best known publication is a Latin-to-English translation of Erasmus' Precatio Dominica. It is a testament to her rare and unusual abilities, that Erasmus entrusted her with this task. In addition, she wrote many Latin epistles and English letters, as well as an original treatise entitled The Four Last Things. She also translated the Ecclesiastical History of Eusebius from the Greek into the Latin language. William Roper the second was the eldest son of John Roper (d. 1524), Attorney-General to Henry VIII, and his wife Jane (died c.1544), daughter and coheir of Sir John Fyneux, Chief Justice of King's Bench. His biography of his father-in-law, Sir Thomas More, is still held in high-regard for its accuracy and clear sense of devotion.  He was educated at one of the English universities and the studied law at Lincoln's Inn, being called to the bar in 1525. Aged about twenty-three it is thought he joined the household of Sir Thomas More, marrying Margaret, More's eldest daughter, in 1521. Erasmus, who knew More and his family well, described Roper as a young man "who is wealthy, of excellent and modest character and not unacquainted with literature". Roper became a convert to the Lutheran doctrine of Justification by Faith and spoke so freely of his belief that he was summoned to appear before Cardinal Wolsey on an accusation of heresy. Provenance: Margaret and William Roper;By descent to Hon. Anne Maria Roper (1719 - 1782), mother of Admiral Sir Charles Tyler (1760 - 1835);By direct descent through the Tyler family to the current owner. Dimensions: (Panel) 6 in. (H) x 4 in. (W)
Circle of ANTONIO MORO (Utrecht, between 1516 and 1520 - Antwerp?, 1575/1576)."Philip II.Oil on canvas. Re-engraved.Attached export permit.Provenance: private collection conceived from the 70s between London and Madrid.Measurements: 59 x 52 cm.Portrait of bust that presents the figure of the Monarch Felipe II. The way in which his face has been captured and the clothes indicate that the work is inspired by the portrait that Antonio Moro made of the Monarch around 1557. In that work, however, the king was shown standing. The original work was conceived to commemorate the battle of San Quintín, which is why he is shown in the same clothes he wore at the time of the victory. Philip II wears the harness of the armour of the Burgundy crosses, made by Grosschedel around 1551, on a coat of mail, wearing armour that is still preserved in the Royal Armoury, and above it the golden fleece hanging over a red citation. The work, which aesthetically follows the portrait models of the period, shows a delicate sense of detail in both the clothing and the face. The face is captured from a psychological perspective and shows a king whose gaze marks a certain distance from the viewer, making his absolutist position clear. These aesthetic characteristics suggest the circle of Antonio Moro. Antonio Moro worked in the Southern Netherlands and also in Spain, Italy, Portugal and England. He trained in his native Utrecht as a pupil of Jan van Scorel, whose assistant he became in 1540. According to Karel van Mander, Moro travelled to Italy during his youth and was able to spend three years there before returning to Utrecht in 1544. In 1547 he was admitted as a master to the Guild of Saint Luke in Antwerp, although he preferred to reside in his native city. The following year he attracted the attention of his first important patron, Antonio Perrenot de Granvela, Bishop of Arras and a member of the court of Charles V. His portraits painted between 1549 and 1550 already reveal an innovative style that would replace older portrait painting traditions, combining Flemish precision with Italian models. Particularly important in his language was the influence of Titian, which he brought to him through the works by the Venetian in the collections of Granvela and Maria of Hungary, regent of the Low Countries. Moro's mature style was characterised by the steely precision of his Nordic heritage, the muted colours, the detail in the draperies, folds and qualities, the simplified lighting generally on the left side and a neutral background that emphasises the monumental isolation of the figure, which is usually three-quarter or full-length and fills the entire height of the picture plane. His career received a definitive boost when he was presented by Granvela to Philip II; from then on Moro worked on royal and courtly portraiture in the Dutch and Spanish courts, and his style exerted an important influence throughout Europe, particularly on the Iberian Peninsula, where he had numerous disciples and followers. Among them were Alonso Sánchez Coello, Jorge de la Rúa, Manuel Denis, Cristóbal de Morales and Sofonisba Anguissola. In 1550 he was sent by Maria of Hungary to Lisbon to paint the Portuguese royal family, especially Maria of Portugal, the fiancée of Philip II. On the way he painted his first official portrait of the Emperor Maximilian II, probably in Augsburg. From there he probably continued his journey in the entourage of Philip II, who was then in the Low Countries. He arrived in Spain in 1551, where he painted Philip II's sister and her first daughter, Maria of Austria, with her husband Maximilian II. The following year he worked at the court in Lisbon and finally returned to Brussels in 1553 only to go to London, where he was sent to portray Philip II's wife after her wedding. That same year, 1554, he was officially appointed painter of
The New Testament of Our Lord and Saviour Jesus Christ. With engravings on wood from the designs of Fra Angelico, Pietro Perugino, Francesco Francia, Lorenzo di Credi, Fra Bartolomeo, Titian, Raphael, Gaudenzio Ferrari, Daniel Di Volterra and others. Published by Longman, Green, Longman, Roberts and Green, London 1865. 540 pages. Publisher's royal blue boards, highly decorated and titled in gilt, all edges gilt. Excellent condition. 1865. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Oil on copper10 1/8 x 7 7/8 in. (25.7 x 20cm)Unframed.ProvenancePrivate Collection, New York.NoteWe wish to thank Prof. Sandro Bellesi for his kind assistance in cataloguing the present lot.The present painting derives from the famous type of the Mater Dolorosa, which Dolci adopted around 1655 to great success along other Italian artists from the Seicento like Titian, whose version features a Madonna with clasped hands, now in the Prado Museum. Our version features a sad Madonna in profile, wrapped in a long mantle which covers much of her head. It seems to directly compare to the autograph version of Dolci (Mater Dolorosa, circa 1655, oil on canvas) in the National Museum of Western Art Tokyo, with the difference that it adopts a more closely cropped format, with the Virgin’s figure is truncated just below the hands. In the present work, the Virgin appears somehow troubled, her eyes lowered in sorrow and discretely shedding a tear. Yet, her face appears smooth and beautiful, which contributes to the idealization of the holy figure. Her cherry lips and the soft pink of her cloak's lining (other versions highlight a paler blue) contrast with the deep blue of the rest of the composition. The subtly radiant halo behing her head enables the figure to detach herself from the dark background, and stand out before the viewer.The modest size of the oil suggests a work of private devotion, in which Dolci specialized at the time especially when he was at the service of the Medici family. The number of existing copies and variants also confirm its success. The present work particularly demonstrates the artist's talent at depicting, with great naturalism and sensitivity, the Virgin's humanity and modesty.In overall good condition. With minor abrasions at bottom right corner, as well as intermitently along the outer edges of the work. Examination under UV light reveals older restoration around the halo surrounding the figure, in the dark background from the upper left quadrant to the upper right one. Some more pinpoint inpainting along the left outer edge of the painting, to the direct left of the figure. Some more localized areas of restoration at center left, on the inside of the Virgin's veil, as well as at center right, on her blue cloak. Her face appears intact. With remnants of old greenish varnish throughout, which seem to be indicative of a selective cleaning. See Specialist's pictures for more details. Unframed.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
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