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
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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.
Spanish school, late 16th - early 17th century."Saint John. Based on an engraving by HENDRICK GOLTZIUS (Bracht, 1558 - Haarlem, 1617).Oil on canvas.Needs restoration.Size: 106 x 81,5 cm; 128 x 103,5 cm (frame).Saint John the Apostle has been represented here from the engraving of Hendrick Goltzius included in the series "Christ, the twelve apostles and Saint Paul" (also known as "The short Creed", because each print was accompanied by a verse of the Creed). The half-length figure emerges from a dark background. The figure has been sculpted with intense tenebrist lighting, and can be inscribed in the Mannerist tradition, which draws freely from Renaissance sources. As in Goltzius, the anatomical focus is on the expressiveness of the hands.Hendrick Goltzius was a Dutch draughtsman, engraver and painter. Considered the best Netherlandish engraver of Nordic Mannerism, he is renowned for his sophisticated technique and the "exuberance" of his compositions. Goltzius formed his style in the tastes of Mannerism, of which Haarlem was a stronghold until later. This was influenced by the painter and theorist Karel van Mander, who had moved to Haarlem from Vienna, bringing with him designs by Bartholomeus Spranger, the leading Mannerist painter outside Italy. In Rome Goltzius carefully studied the art of Michelangelo, Raphael Sanzio and lesser-known masters such as Polidoro da Caravaggio. Goltzius engraved six planetary Gods that Polidoro had painted in a palace in the Quirinal. His style evolved towards a more restrained classicism, presenting the figures in larger clothes and with more relaxed expressions. He was a meticulous yet productive printmaker. Among his early series is a series on Christ and the Apostles (1589), called The Creed. Around 1594 he created a series of six large plates on the life of the Virgin, for which he went back almost a century to imitate six different masters, including Dürer, Parmigianino, Titian and Lucas van Leyden. These engravings were so admired that they were nicknamed "Meisterstiche" (masterly engravings).
Spanish school, late 16th century - pps.s.XVII."Saint Philip". Based on an engraving by HENDRICK GOLTZIUS (Bracht, 1558 - Haarlem, 1617).Oil on canvas.Needs restoration.Size: 107 x 85 cm; 129,5 x 102 cm (frame).This painting, of tenebrist lights and mannerist workmanship, follows the model of Hendrick Goltzius in the gestural dramaturgy and the saint's features, as well as in the amplitude of the cape and its deep drapery. Specifically, Saint Philip the Apostle is depicted here based on Goltzius's engraving from the series "Christ, the Twelve Apostles and Saint Paul" (also known as "The Short Creed", because each print was accompanied by a verse from the Creed). The body has been chiselled by means of intense contrasts of light. Goltzius gave special prominence to the hands, furrowed with veins, as well as to the musculature, making tendons visible. A melting pot of influences converged in his painting: Michelangelo, Raphael? but also classical statuary, which the Dutch engraver had studied in depth in the Vatican collection.Hendrick Goltzius was a Dutch draughtsman, engraver and painter. Considered the best Netherlandish engraver of Nordic Mannerism, he is renowned for his sophisticated technique and the "exuberance" of his compositions. Goltzius formed his style in the tastes of Mannerism, of which Haarlem was a stronghold until later. This was influenced by the painter and theorist Karel van Mander, who had moved to Haarlem from Vienna, bringing with him designs by Bartholomeus Spranger, the leading Mannerist painter outside Italy. In Rome Goltzius carefully studied the art of Michelangelo, Raphael Sanzio and lesser-known masters such as Polidoro da Caravaggio. Goltzius engraved six planetary Gods that Polidoro had painted in a palace in the Quirinal. His style evolved towards a more restrained classicism, presenting the figures in larger clothes and with more relaxed expressions. He was a meticulous yet productive printmaker. Among his early series is a series on Christ and the Apostles (1589), called The Creed. Around 1594 he created a series of six large plates on the life of the Virgin, for which he went back almost a century to imitate six different masters, including Dürer, Parmigianino, Titian and Lucas van Leyden. These engravings were so admired that they were nicknamed "Meisterstiche" (masterly engravings).
After Titian (1485-1576), a representation from 'Sacred and Profane Love', 19th-century oil on canvas, 59 cm x 48.5 cm in a gilt frame.Canvas relined, previous horizontal cracking to the surface throughout evident. Some small areas of pigment loss, rubbing and cracking (see additional images), later deposits evident - would benefit from a clean.
A collection of ceramics to include: Ironstone Mandalay graduated jugs and Modern washing jug and bowl, Minton H1350 tazza, Royal Doulton Admiral and American Indian plates; part Adams Titian Ware dinner service (sauce, vegetable tureens & gravy boat), Imperial "Indiana" jugs, Copeland Spode breakfast cups, Victorian style black lustre Sardine dish, cover and stand with turquoise beading, Aesthetic jugs, graduating set of blue and white fish terrine moulds etc (3 boxes)
A W. Goebel Art Deco figure of a lady in an elegant green dress with a Borzoi dog, circa 1935-7, impressed WG' mark, model 'F.F. 73', 28.5cm high; together with a Continental twin-handled red lustrous comport dish, early 20th century, painted with a canted rectangular panel of a girl with a fruit bowl after Titian (16th century), indistinctly signed 'H. Hadley'(?), Vienna-style beehive mark to the base, 11.5cm high and 27cm overall width including handles(2)No damages or repairs to either piece. The figure has some crazing around the base.
Rare Arundel Club London 1906 - Annual subscribers print collection(Part Set 15 of 20). Third Year of Publication. Included Artists and prints are No. 1 - Herri Met De Bles, No. 2 - Unknown Flemish School, No. 3 - Gran Vasco, No. 4 - Memling School, No. 5 - Borgognone, No. 6 - Herri Met De Bles, No.10 - Montagna, No. 11 - Filippino Lippi, No. 12 - Filippino Lippi, No. 15 - Memling, No. 16 - Titian, No. 17 - Sir Joshua Reynolds 'Penelope Bettesworth', No. 18 - Rubens and No. 20 - English School 14th century. CONDITION - Prints are generally very good with some light foxing on some. The paper cover has wear and marks, remnants of the outer card wallet. NOTES - From 1904 The Arundel Club did an annual series of reproductions taken from Old Masters paintings. Paintings mostly from private collections. Each year they produced around fifteen to twenty. Protective paper cover, printed titles and housed in paper folder detailing contents. Distributed to it's members. The Arundel Society Notes - Founded in London in 1849 and named after the Earl of Arundel, the famous collector of the Arundel Marbles. Originally the idea of the lawyer Bellenden Ker. The society was discontinued in 1897 and it would be seven years before the 'Club' was formed. Also known as "Arundel Society for Promoting the Knowledge of Art"
A collection of art reference books. Books are: The paintings of LS Lowry oils & watercolours, Essential Monet, Derek Balmer – A Singular Vision, The Faber Gallery Gauuin (second collection), Picasso & the great painters, Atlantic Edge West Cornwall, Picasso Taschen (plastic wrapped sealed), The World of Picasso, Picasso Hans L.C Jaffe, Mary Fedden – Portland Gallery, R.I.P New York Soray Can Memorials, Patrick Heron – early & late garden paintings, Picasso Ingo F Walther Taschen, The Tate – A History – Frances Spalding, Picasso The Arts Council 1960 (damp staining), Crimes of Passion – Street Art Bristol, Charity on Camera in Edwardian Bristol, Futurism & Dadaism – Jose Pierre, The Fundamentals of Figure Drawings, Maus – A Survivors Tale – Art Spiegelman, Musse Picasso – Visitors Guide, Picasso’s Picassos, The Photo Book – Phaidon, The Silent Studio, Mary Fedden – A Retrospective, Clevedon Photographic Memories, Composition, William Blake – Kataleen Raine, 10000 of Art, Van Gogh – Josephine Cutts & James Smith, Augustus John Drawings, Impressions of the 20th Century, Metropolitan seminars in Art, Stencil Graffiti Tristan Manco, Street Logos Tristan Manco, The Life & Works of Andy Warhol. Also included are Adventures with Shapes, Chichester 10 Portrait of a Decade, Matisse Erotic Sketches, Sketches in Pen & Ink, Anatomy Figure Drawing Handbook, The Royal College of Art – Christopher Frayling, Van Gogh A.M Hammacher, Barbara Hepworth, Barbara Hepworth Sculpture Garden, Positivesverses by Thom Gunn, Henry Moore Penguin Books, The Virgin Mary through the eyes of painters, Tutankhamen – Christiane Desroches-Noblecourt, Barnens Konstbook, Leonardo 80 colour plates – dolphin art book, Barbara Hepworth – Centenary, Munch Grange Books, Passion for Paint the life and work of Barrington Tabb (signed), Kurt Jackson – paintings of Cornwall & the Scillies, Gasworks to Gallery – the story of Tate St Ives, Essential Klimt, Bristol Impressionists, The Peggy Guggenheim Collection, Essential William Morris, Simon Schama’s Power of Art, The Story of Art E.H Gombrich, Titian Norbert Wolf, Gauguin , Pablo Picasso Four Themes, Bacon Luigi Ficacci – Taschen, British Watercolour & Drawings Jessica Feather, Klee Will Grohmann, Stanley Spencer an English Vision, Diana in Art, The Banksy Q, Kandinsky – Taschen, Hopper – Taschen, Schiele – Taschen, Japanese Colour Prints, Henry Moore’s Sheep Sketches book, Holbein to Hockney from the Royal Collection, Frida Kahlo Diego Rivera & Mexican Modernism, In the Shadows of no Towers – Art Spiegelman, Home Sweet Home – Banksy, Ben Nicholson Norbert Lynton, Henri Matisse Cut-Outs – Taschen.
Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666), 18th century."Penitent Magdalene".Oil on canvas.Re-drawn.It presents old restorations.Measurements: 84 x 63 cm; 96 x 75 cm (frame).Devotional painting representing Mary Magdalene penitent. It follows models by Mateo Cerezo, who made several versions of this theme. Specifically, the present one is based on Cerezo's "Penitent Magdalene" in the Rijksmuseum in Amsterdam. The figure, taken half-length, retains the sensuality of the original, with the blouse slipping below her shoulders but modestly covering her bust, which in Cerezo's version was semi-naked. The satiny fabric is folded in naturalistic draperies. The saint, her eyes misty with emotion, gesticulates in repentance before the open book of Scripture. The female canon here is ultimately drawn from Venetian sources, and her silky hair can be compared to that of Titian's women. In contrast to the eroticism that reminds us of her sinful life, the skull and crucifix express the ascetic ideal to which the figure prostrates herself. Intense contrasts of light, typically Baroque, construct the scene and give volume to the young woman's body.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's descendants, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.
NO RESERVE Meason (Gilbert Laing) On the Landscape Architecture of the Great Painters of Italy, first edition, one of 150 copies, half-title, lithographed vignette title and 55 plates, tissue guards, some light foxing, mostly marginal, original green cloth, red roan label, rubbed, lower cover stained, spine faded, 4to, C.Hullmandel, 1828.⁂ Interesting work on the architecture featuring in paintings by Titian, Poussin, Claude, Veronese, Carracci, Raphael and others.
Jacob More (Edinburgh circa 1740-1793 Rome)A view of Lake Nemi, anciently called Speculum Dianae oil on canvas, unlined70.6 x 96cm (27 13/16 x 37 13/16in).Footnotes:ProvenanceDutch private collectionHaving completed his training, firstly under Robert Norie and then later under Alexander Runciman, Jacob More eventually settled in Rome in his thirties, having left his native Edinburgh and worked in London for a time. By the late 1770s he had established a busy studio in Rome specialising principally in Arcadian and topographical landscapes much influenced by the work of Claude Lorrain. More's clientele was largely made up of Grand Tourists who visited his studio above the English coffee house in Rome and he often acted as agent or advisor to those wishing to acquire paintings and statues whilst in Italy. His chief patron was Frederick Augustus Hervey, 4th Earl Bristol, Earl-Bishop of Derry, a frequent visitor to Italy and for whom he regularly acted as agent, even issuing a warning to the bishop about the many forgeries of Raphael, Reni and Titian.By the late 18th century, the Borghese Villa and Gardens had become one of the most visited and admired institutions in Rome with many alterations to the building carried out in the 1780s. More is known to have executed a large painting for the Stanza di Apollo e Dafne, which also housed Bernini's sculpture of the same subject. The Gardens of the villa formed an important part of the life of the English visitors to Rome who were, with the permission of the Borghese family, regularly allowed to hold informal gatherings and also to play football and cricket there. More went on to create the Giardino Inglese in the Borghese Gardens with a lake, a temple and meandering paths.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Francesco Guardi (Venice 1712-1793)A view of Isola di Poveglia, Venice; and Santo Spirito, Venicea pair, oil on panel 17.1 x 24.2cm (6 3/4 x 9 1/2in). (2)Footnotes:Provenance:The Collection of Elizabeth Adelaide Leonard (1892-1984) Her estate sale, Sotheby's, New York, 17 January 1985, lot 15 (as Giacomo Guardi)Sale, Sotheby's, New York, 29 May 2003, lots 60 and 60A (as Property of an Estate)With Adam Williams Fine Art, New York, where purchased by the late ownerLiterature:D. Succi, Guardi. Itinerario artistico. Catalogo dei dipinti e disegni inediti, Milan, 2021, pp. 154-5, cat.nos. 205 and 206, ill. pp. 156-7Dario Succi suggested that the present works date from circa 1780-85, during the artist's mature period. Francesco Guardi's views of Venice from this era differ from those of Antonio Caneletto, his most celebrated and significant predecessor as a painter of Venetian view paintings, in that they are less a detailed description of individual buildings, showing more an attempt to convey the magical atmosphere of the city. The precise chronology of Guardi's mature works is not easily defined, but the compositions of the present view of Poveglia is derived (with extensions and certain modifications to the perspective) from the watercolour of Antonio Visentini, which was known from his series of engravings, Isolario Veneto, published in 1777. By this period Guardi's less meticulous and more generalised approach had become particularly prevalent.Santo Spirito and Poveglia are two small islands in the Venetian Lagoon which lie just to the west of the Lido. The little island of Spirito Santo has a 12th century monastery, in which Titian was hired to paint a series of ceiling frescoes on Old Testament themes. In 1776 the island of Poveglia came under the jurisdiction of the Magistrato alla Sanità and became a check point for all goods and people coming to and going from Venice by ship.For further information on this lot please visit Bonhams.com
Vintage Mattel Barbie and Allan dolls, 1960s, Barbie two Fashion Queen with moulded hair one with titian wig, wearing ‘On the Avenue’ dress, jacket and clutch bag other with brunette wig wearing ‘Suburban Shopper’ dress and Allan with moulded hair and straight legs, (condition: good), (3 items).
Italian school of ca. 1600."Children musicians".Oil on canvas. Re-coloured.Size: 56 x 79 cm; 71 x 84 cm (frame).In this work the artist has represented a group of children musicians, following the sweet and idealized ways typical of the Italian school of the Carracci. At the beginning of the 17th century, at the same time as Caravaggio was breaking with Mannerist and even Renaissance conventions, a new way of understanding painting emerged in Bologna under the guidance of Carracci, commonly known as "eclecticism". It sought to integrate the best of each master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, Annibale Carracci's personality led him to evolve towards a highly personal classicism that did not disdain certain Caravaggiesque achievements.
* DRYSDALE SCOTT (SCOTTISH b. 1963), THE GIFT OF GIVING oil on board image size 91cm x 102cm, overall size 112cm x 122cm Framed. Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor. Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.Condition is good overall.
After Jacopo Negretti, called Palma il Vecchio, Italian c.1480-1528- Portrait of a young woman known as 'La Bella'; oil on canvas, inscribed 'TITIANUS F.' (lower left), 100 x 74.4 cm., (unframed). Provenance: Private Collection. UK. Note: The present work is a 19th-century copy after the original painting by Palma, of similar dimensions, and currently held in the Museo Nacional Thyssen-Bornemisza, Madrid [no.310 (1959.2)]. Palma's oil was painted in c.1518-20, and combines various elements typical of Venetian Renaissance art. Previously attributed to Titian (c.1485/90-1576), and indeed known in the past as 'La Bella de Tiziano', Palma's work has variously been housed in the Sciarra-Colonna collection, Rome; the collection of Baron Edmond de Rothschild in Château Ferrière; and the Villa Favorita, Switzerland. Please refer to department for condition report
A GROUP OF ASSORTED CERAMICS, comprising an Art Deco inspired Shelley lidded butter dish (crazed, tiny area of missing paint to one corner of lid), a small Ruskin blue speckled dish, diameter7cm, marks on base, two Art Deco Adams Royal Ivory Titian Ware 'Sirram' pattern saucers, a hand painted Gouda pottery vase in blue, orange and green, height 15cm, a Royal Worcester Blush Ivory pot pourri (missing lid, tiny paint spots), a boxed Royal Albert 'Old Country Roses' pattern Montrose vase, height 23cm, a Paragon Silver Jubilee souvenir 1935 twin handled mug, a W.H Goss Crested Ware souvenir pot 1887 Queen Victoria's Jubilee, a Royal Vienna porcelain hat pin tray, length 15cm x width 9cm with a green border decorated with pink roses, a pair of Wedgwood blue Jasper ware cylindrical spill vases mid 19th Century, impressed Wedgwood marks, decorated with acanthus, lilies and festoons, height 15cm (both have a small hairline crack inside, one has a small chip to rim), a small wedgwood blue Jasper Ware bud vase, decorated with cherubs and the four seasons, height 13cm, a small urn shaped vase, height 8cm, two Blue Jasper Ware wall plaques, possibly Volkstedt impressed 56 on back (nibbles around edges), a Schierholz figural four flame candelabra (chipped leaves around one candle holder) (18) (Condition report: obvious damage is mentioned in description, wear varies due to age)
* DRYSDALE SCOTT (SCOTTISH b. 1963),THE GIFT OF GIVINGoil on boardimage size 91cm x 102cm, overall size 112cm x 122cmFramed.Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor.Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.Condition is good overall.
Attributed to JUAN ANTONIO FRIAS Y ESCALANTE (Cordoba, 1633 - Madrid, 1669)."Saint Joseph with Child".Oil on canvas. Re-retouched.It presents restorations.Size: 42,5 x 32,5 cm; 48,5 x 38,5 cm (frame).This work shows the same subject and composition as the painting made by Frias y Escalante between 1660 and 1665, currently part of the collection of the Hermitage Museum (St. Petersburg), which it entered in 1814, due to the purchase of the collection of W. Coesvelt (Amsterdam). Although his brushstrokes are more fluid, in the present work the artist depicts the same moment: an interior dominated by a young Joseph cuddling his son, whose posture is close to his father in a tender, childlike manner. Thus showing the viewer an intimate scene that is close to everyday life. With a classical triangular composition, the Child is almost in the centre, with his nudity and the shine of his pearly skin standing out, although it is true that he shares this space with the profile of Saint Joseph, so that the artist makes the two figures the protagonists, without emphasising the figure of one over the other. Although the interior is barely visible, it is conceived following earlier models, with the large window and the large red curtain, although the artist pays greater attention to the foreground, where he shows the viewer a play of textures created by the fabrics. This technical purity, together with the use of earthy colours, is largely reminiscent of the work of Antonio Frías y Escalante, as the composition and chromatic range coincide to a large extent.A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the outset his works reveal his admiration for Venice, especially Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centred on cold colours, a very refined palette of pinks, blues, greys and mauves, which we see in part in this canvas, especially in the drapery and in the flowers that surround the composition, although here the cold tones are offset by the warm tones of the golds and carmines. Also typical of Escalante is the light, delicate, almost transparent brushstroke in which the example of Titian is filtered through the elegant classicism of Cano. This lesson of Escalante's can be seen here especially in the treatment of the flesh tones, executed with enormous delicacy.
A pair of late 19th century Bohemian ruby glass portrait vases of tapering cylindrical form raised on round base. Each vase having is centred with an oval medallion with hand painted profiles within a gilt and enamel border. The vases having a crown shaped rim with gild detailing to edge. The vase having inscriptions to base as "Prima-donna After Correggio" and "Vanitas After Titian". Each measuring 29cm tall.
Kopie nach Tizian "Mädchen mit Fruchtschale" in prunkvoll geschnitztem GoldrahmenÖl/Leinwand. Unsigniert. Ende 19. Jh. 73 x 59 cm. Gerahmt : 96 x 84 cm. Kopie nach dem Original aus dem Jahr 1555, von dem eine Fassung in der Berliner Gemäldegalerie hängt. Leinwand doubliert. Copy after Titian "Girl with fruit bowl" in sumptuously carved gold frameOil / canvas. Unsigned. Late 19th c. 73 x 59 cm. Framed : 96 x 84 cm. Copy after the original from 1555, of which a version hangs in the Berlin Gemäldegalerie. canvas doubled. *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.
Italian school, Circle of GIOVANNI BELLINI (Venice, 1431/ 1436-1516); circa 1516."The Holy Family.Gouache on vellum.Dated in the lower central area.Size: 17 x 13,5 cm; 29 x 24 cm (frame).In this canvas we see a devotional work of great beauty and emotion, classical in its conception, although enriched by a warm illumination, which drinks from the aesthetic influence of the artist Giovanni Bellini. The artist presents us with a well-established and balanced composition, clearly classical, based on a pyramidal scheme with Mary's head at the top. The figures stand out against a neutral background that seems to open up to the blue sky at the sides, which to a certain extent emphasises the corporeality of all the figures in the scene. All the figures are also vividly illuminated by a direct, uniform light. Mary is depicted half-length, wearing a pink tunic and a blue cloak, a colour alluding to the concepts of truth and eternity that would be common in Marian representations. With one of her arms, the Virgin is holding her son, who is standing and offering her a small bouquet of flowers, but with her other hand she is holding tightly that of Saint John Child, which shows the Virgin as the protector of children. Next to them in the background are two men, one of whom, holding a staff, seems to represent Saint Joseph, while the other, wearing a turban, is probably Saint Joachim, the Virgin's father.From its aesthetic characteristics the work can be related to the artistic circle of Giovanni Bellini, an Italian Renaissance painter, probably the best known of the Bellini family. He grew up in the house of Jacopo Bellini, who was previously thought to be his father, although this generational family relationship is now questioned. Giovanni Bellini was considered to have revolutionised Venetian painting, moving it towards a more sensual and colourful style. Using light, slow-drying oil paints, Giovanni created rich, deep tints and detailed shadows. His sumptuous colouring and fluid, atmospheric landscapes had a great effect on the Venetian school of painting, especially on his pupils Giorgione and Titian.
Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Resurrection signed, dated and inscribed 'TRETCHIKOFF/ SA/ 53' (lower left)oil on linen85.5 x 108.5cm (33 11/16 x 42 11/16in).(framed)Footnotes:ProvenanceToronto, Eaton's, American and Canadian Tour Exhibition, September 1954;Private Collection of Jack Hammell (acquired from the above exhibition);Private Collection, Ontario;Waddington's, Toronto, 29 November 1984;A private collection.ExhibitedCape Town; Johannesburg; Durban, Stuttafords Department Store, South African Tour Exhibition, September - November 1952San Jose, CA, Rosicrucian Art Gallery, June 1953USA; Canada, American and Canadian Tour Exhibition, 1953-1954.LiteratureV. Tretchikoff and H. Timmins, Tretchikoff (Cape Town, 1969), n.p (illustrated)Vladimir Tretchikoff and Anthony Hocking, Pigeon's Luck (London, 1973), p. 205 (illustrated, pp. 134 & 136)Andrew Lamprecht, ed., Tretchikoff: The People's Painter (Jeppestown, 2011), p. 166 (illustrated)Boris Gorelik, Incredible Tretchikoff: Life of an Artist and Adventurer (London, 2013), p. 288 (illustrated, p. 138).In 1952, when Tretchikoff was preparing for his first show in America which would launch his international career, a Cape Town director asked him to star in a film. It would be a documentary set in the artist's studio, showing the birth of an artwork from the first sketches to the painted canvas. Tretchikoff accepted the challenge. Although it meant working under the penetrating gaze of the camera, he decided that he could use the colour film to promote his work in the United States. The resultant documentary, Birth of a Painting, traced the creation of Resurrection (1955).At the time, Tretchikoff was fascinated by the idea that, when dying, the old gives way to the new - a theme explored by the artist in Resurrection. 'The painting was to symbolise the emergence of the soul from the body', recounted Tretchikoff. 'I painted a young girl awaking as if from a dream, the reincarnation of the gaunt, black, crooked body that she had been' (V. Tretchikoff and A. Hocking, 1973: p. 205).Cape Town papers reported that the artist's wife, Natalie, acted as a model for the painting. 'I was so cold, it was a wonder I did not get pneumonia', she told the press. However, the existing footage indicates that another nude model sat for Tretchikoff during the filmed sessions.Resurrection was first exhibited during Tretchikoff's tour of South Africa in 1952. The following year, it was taken to California and included in his show at the Rosicrucian Gallery, San Jose. The startling Resurrection was one of the highlights of this exhibition, and reproductions of the work were available for sale. At all of the public talks and lectures to promote the artist's American debut, Tretchikoff showed the Birth of Painting documentary, asserting the significance of Resurrection within his artmaking practice at this time.The commercial success of the San Jose show enabled Tretchikoff to hold a tour of the United States and Canada, which lasted for nearly two years. In September 1954, among the 52,000 visitors who attended his exhibition at Eaton's Toronto, 'Canada's Greatest Store', was the mining magnate Jack Hammell. He became the first owner of Resurrection.Along with Resurrection, Hammell purchased several paintings by Tretchikoff that day, including the iconic Dying Swan (1949). Later, the artist learnt that this prominent collector had only one painting in his private suite: it used to be a Titian, but had been replaced with Resurrection. The 1969 volume of Tretchikoff's works indicates that the painting subsequently belonged to John McKay-Clements of Haileybury in North-eastern Ontario (now part of Temiskaming Shores). Apparently, the new owner purchased the work from Hammell's heirs after 1958. Resurrection first came to auction in 1984, when it was sold by Waddington's in Toronto. For nearly seventy years, this work, highly valued by the artist, has remained in private collections. We are grateful to Boris Gorelik for the composition of the above footnote.BibliographyVladimir Tretchikoff and Anthony Hocking, Pigeon's Luck (London, 1973), p. 205.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Portrait of John Leyden in a white ruff signed 'Hunter' (upper right), inscribed indistinctly to label by another hand 'Painted 1913/ Mr Leyden/ Uddingston' (verso)oil on canvas35.6 x 30.5 cm. (14 x 12 in.)Footnotes:ProvenanceArthur Leyden and thence by descentLiterature Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.68Hunter wanted to do portraits à la Manet and he needed sitters, regardless of their circumstances. The family story to this portrait of Arthur's younger brother, John Leyden (1879-1923) is that because John had broken his back, Hunter put him in a ruff to support his head. Historical records confirm that two years before, John was diagnosed with a neurological disorder that led to spinal cord damage.As to whether any device was worn by John and the ruff stemmed from Hunter's imagination is debatable. Hunter's imagination often transformed objects into something else, such as painting onions as oranges, when they were in short supply during WW1.While Man with White Ruff showcases Hunter playing with opaque paint on a light ground à la Manet, a similar approach can be found in a series of six bust-length portraits, the sitters dressed in historical costume; at least one picture is dated 1914. There is another family story from a young cousin of Hunter's who sat for him around this time. She explained Hunter wanted to paint her long Titian-coloured hair and insisted on dressing her in a purple cloak and for additional effect, a big black hat like one made famous by Lady Emma Hamilton (c.1765-1815), Lord Nelson's mistress. The painting is now lost but it does suggest that Hunter may have studied portraiture by George Romney (1734-1802). Equally, Hunter's portraits in historical costume could have been inspired by his enjoyment of the theatre, a characteristic that surfaced from time to time in his work up until his death in 1931.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Wethey (Harold E.). Titian and his Drawings, with reference to Giorgione and some close contemporaries, 1st edition, New Jersey: Princeton University Press, 1987, numerous monochrome illustrations, original cloth in dust jacket, large 8voThe Paintings of Titian, 3 volumes, Complete Edition, London: Phaidon, 1969-75, numerous colour & monochrome illustrations, original uniform cloth in dust jackets, covers slightly rubbed to head & foot, large 8vo, together with:Offner (Richard). A Discerning Eye, Essays on Early Italian Painting 1st edition, University Park: The Pennsylvania State University Press, 1998, numerous monochrome illustrations, original cloth in dust jacket, repaired tear to the front cover, slightly rubbed to head & foot, 8vo, plusSaxl (Fritz.). Lectures, 2 volumes, 1st edition, London: The Warburg Institution, 1957, numerous monochrome illustrations, uniform original blue cloth, 8vo, and other Italian, other art reference, including Barbizon House, 10 volumes, (1919, 21-22, 26 [2 copies], 29-32, 38), all in original wrappers, 4to, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (5 shelves )
'THE ROTHSCHILD LAPIS LAZULI TAZZE' A PAIR OF FRENCH ORMOLU AND LAPIS LAZULI FIGURALTAZZE THE LAPIS BOWLS EARLY 17TH CENTURY, THE FIGURES IN THE MANNER OF CLODION LATE 18TH / 19TH CENTURY in the form of a satyr and a Bacchante, both with grapevines in their hair, he with a horn and she with a tambourine and an ewer, each supporting a carved lapis lazuli stylized scallop shell shaped bowl, the Bacchante stamped with an inventory number '5236' (2) 36.3cm high, 15.2cm wide (max) Provenance Alfred de Rothschild (1842-1918) the Bronzina Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A pair of bronze gilt figures, of a satyr and bacchante, supporting on their heads shell shaped dishes of lapis lazuli, £35.0.0.' Catalogue Note These impressive lapis lazuli bowls, mounted with ormolu figural stands, follow in the grand tradition of objects made of hardstones for the courts of Europe. Lapis lazuli, is a metamorphic rock of deep-ultramarine colour, mainly composed of lazulite with golden pyrite. Lapis is the Latin word for stone and lazuli from the Medieval Latin, lazulum, which was taken from Arabic and Persian meaning 'sky' or 'heaven', so 'stone of the sky'. It has been prized since antiquity for its intense colour. As early as the 7th millennium BC, lapis lazuli was mined in the Sar-i Sang and other mines in Afghanistan. By the end of the Middle Ages lapis lazuli began to be exported to Europe where it was ground into powder and made into ultramarine blue pigment used by some of th most important painters of the Renaissance including: Masaccio, Titian and Vermeer. Pliny the Elder wrote that lapis lazuli is 'opaque and sprinkled with specks of gold'. Because the stone combines the blue of the heavens and golden glitter of the sun it was emblematic of of success in old Jewish tradition. It was used by Renaissance and Mannerist craftsmen for ornamental vases, for example the 'Lorenzo Vase' in the Museo degli Argenti made by Bernardo Buontalenti and Giovanni Biliverta. For comparable shell shaped bowls or coupes, see the Kunsthistoriches Museum, Vienna, inv. no. Kunstkammer, 1617, the Musee de Louvre, Paris, inv. no. MR270 and the Museo degli Argent, Palazzo Pitti, Florence.
* DRYSDALE SCOTT (SCOTTISH b. 1963),THE GIFT OF GIVINGoil on boardimage size 91cm x 102cm, overall size 112cm x 122cmFramed.Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor.Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.
Sammlung von über 50 Kupferstichen aus dem "Recueil d'Estampes d'après les plus célèbres Tableaux de la Galerie Royale de Dresde". Um 1753. Je Kupferstich auf festem Vergé. Blattmaße von ca. 76 x 54 cm bis ca. 76 x 95,5 cm. Überwiegend mit Wasserzeichen "T. Dupuy Fin, Auvergne 1742". Recto und verso bis auf 1 Bl. im äußeren weißen Blattrand mit diversen Stempeln (alle nicht bei Lugt). Recto je mit schwarzem preussischen Adler und Inventarnummer sowie mit rotem Wappen. Verso je mit späterem roten preussischen Adler, blauem Doublettenstempel "Exm. Dubl." und Inventarnummer. - Enthält eine Vielzahl der monumentalen Kupferstiche nach Gemälden der Sammlung aus dem prachtvollen Galeriewerk, welches ab 1753 in drei Teilen erschien. Darunter Blätter nach Werken von Veronese, del Sarto, Corregio, Tizian, Tintoretto, Reni, A. Carracci, Ribera, van Dyk und Rembrandt. Desweiteren eine Gebäudeansicht "Vue du Batiment de la Galerie Royale de Dresde" ebenfalls aus der Folge. - Teils etwas gebräunt und leicht fleckig. Einige Bll. mit Randläsuren und geglätteten Falzen. Insgesamt wohl erhalten. Collection of over 50 copper engravings from the "Recueil d'Estampes d'après les plus célèbres Tableaux de la Galerie Royale de Dresde". Around 1753. Each copper engraving on strong vergé. - Mostly watermarked "T. Dupuy Fin, Auvergne 1742". Recto and verso except for 1 sheet in the outer white margin with various stamps (all not in Lugt). Recto each with black Prussian eagle and inventory number as well as red coat of arms. Verso each with later red Prussian eagle, blue doublet stamp "Exm. Dubl." and inventory number. - Contains a large number of monumental copper engravings after paintings of the collection from the magnificent gallery work, which was published in three parts from 1753. Among them prints after works by Veronese, del Sarto, Corregio, Titian, Tintoretto, Reni, A. Carracci, Ribera, van Dyk and Rembrandt. Furthermore a building view "Vue du Batiment de la Galerie Royale de Dresde" also from the set. - Partly somewhat browned and slightly stained. Some pages with marginal tears and smoothed folds. Altogether well preserved.
Claudio Coello, um 1632 Madrid – 1693 Bildnis des Heiligen Franz XaverÖl auf Leinwand.98,5 x 75 cm.Original barocker Rahmen.Entstanden um 1680/83.Das Gemälde zeigt den Heiligen im Dreiviertelbildnis. Die dunkle Kleidung, der Hut sowie das schwarze Haar und der Bart lassen das Gesicht heller aufleuchten, entsprechend dem aus sich selbst heraus leuchtenden Nimbus. Kopfhaltung und der Blick nach rechts oben werden kompositorisch begleitet durch den Stab und die Lilienstängel, Attribute des Dargestellten. Das Gemälde ist sowohl in der Malweise als auch in der Qualität durchaus ebenbürtig mit Coellos Altarbild mit der Darstellung des Heiligen Domingo von 1685 im Prado-Museum in Madrid. A.R.Anmerkung:Der Maler gilt als der letzte bedeutende Vertreter der spanischen Barock-Ära des 17. Jahrhunderts. Als Sohn des erfolgreichen portugiesischen Bildhauers Faustino Coello ging er in Madrid in die Lehre bei Francisco Rizi (1614-1685) und schuf noch als dessen Schüler sein erstes Altarblatt für die Kirche San Plácido in Madrid. Der Hofmaler Carreno de Miranda vermittelte ihm die Genehmigung, die königlichen Sammlungen mit Werken von Tizian, Van Dyck und Rubens zu studieren. Es folgten Studien in Rom sowie Aufträge für Fresken in Madrid und Toledo, aber auch für den Triumphbogen für den Eingang der Königin Maria Louisa von Orleans. Durch diese Arbeiten berühmt geworden, erhielt er weitere Aufträge, etwa vom Erzbischof von Saragossa, wie auch von Carlo II für den Escorial. Erst durch die Ankunft des Italieners Luca Giordano, der den Stilwandel herbeiführte, geriet Coello in den Hintergrund, wodurch er – so die Legende – aus Gram verstarb. Als letzter Vertreter der klassischen Spanischen Malerei hinterließ er zahlreiche bedeutende Werke, die sich in San Ildefonso, im Escorial, Salamanca, Valdemoro und anderen Stellen befinden.Literatur:Ausführlicher Artikel zu vorliegendem Gemälde (in Kopie beigegeben): Angel Aterido, Claudio Coello, Madrid, 1642-1693, Saint Francis Xaver. Edward J. Sullivan, Two paintings by Claudio Coello in Valdemoro and his work für the Jesuits in Madrid, in: Homenaje a Humberto Pinera, Madrid 1979.Edward J. Sullivan, Claudio Coello y la pintura barroca madrilena, Madrid, 1989 (dort weitere Literatur).Angel Aterido, „Contexto e idea de una talla sevillana: Lacapilla del Cristo del Colegio Imperial de Madrid, Archivo Hispalense, nr. 246, 1998, S. 201-237. (1330282) (11)Claudio Coello,1642 Madrid – 1693PORTRAIT OF SAINT FRANZ XAVER Oil on canvas.98.5 x 75 cm.Created ca. 1680/83.The painting is equal to Coello’s 1685 altarpiece depicting Saint Dominic of Guzman held at the Museo del Prado, both in style and quality.The painter is considered the last important representative of the Spanish Baroque era of the 17th century. As the son of the successful Portuguese sculptor Faustino Coello, he was apprenticed to Francisco Rizi (1614 – 1685) in Madrid and created his first altarpiece for the church of San Plácido in Madrid while he was still his student. The court painter Juan Carreño de Miranda gave him permission to study the royal collections with works by Titian, Van Dyck and Rubens.Literature:Detailed article regarding the painting on offer for sale in this lot (copy enclosed): Angel Aterido, Claudio Coello, Madrid, 1642 – 1693, Saint Francis Xavier . E. J. Sullivan, Two paintings by Claudio Coello in Valdemoro and his work für the Jesuits in Madrid, in: Homenaje a Humberto Piñera, Madrid 1979.E. J. Sullivan, Claudio Coello y la pintura barroca madrileña, Madrid, Nerea, 1989 (further literature listed there).Angel Aterido, Contexto e idea de una talla sevillana: La Capilla del Cristo del Colegio Imperial de Madrid, Archivo Hispalense, no. 246, 1998, pp. 201-237.
BONASONE, Antonio, 1498-1580: Alte Sammlung von 5 Mytolog. Szenen Ital. Manierismus1: Pan und Nymphe - 27x22cm Rändchen - im Randbereich min. Fehlstellen 2: Grablegung nach Titian - oberer Rand in der Darst. min besch. 29x18cm links montiert, Quetschfalte im Druck, unten i.d.Pl. sign. 3: Das Parisurteil: 43x29cm im Rand Besch. Fehlkanten- etc montiert unten i.d.Pl Sign. 4: Clelie Überquert den Tiber nach P. Caravaggio 43x30cm, im Rand Besch. Fehlkanten- etc Montiert . unten i.d.Pl. sign. und bez. 5: Götterdarstellung mit Ceres und Merkur im Sommer, auf Pappe montiert im Rand Besch., Fehlkanten- unten i.d.Pl. sign., 37x27cm.
Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666), 18th century."Penitent Magdalene".Oil on canvas.Re-drawn.It presents old restorations.Measurements: 84 x 63 cm; 96 x 75 cm (frame).Devotional painting representing Mary Magdalene penitent. It follows models by Mateo Cerezo, who made several versions of this theme. Specifically, the present one is based on Cerezo's "Penitent Magdalene" in the Rijksmuseum in Amsterdam. The figure, taken half-length, retains the sensuality of the original, with the blouse slipping below her shoulders but modestly covering her bust, which in Cerezo's version was semi-naked. The satiny fabric is folded in naturalistic draperies. The saint, her eyes misty with emotion, gesticulates in repentance before the open book of Scripture. The female canon here is ultimately drawn from Venetian sources, and her silky hair can be compared to that of Titian's women. In contrast to the eroticism that reminds us of her sinful life, the skull and crucifix express the ascetic ideal to which the figure prostrates herself. Intense contrasts of light, typically Baroque, construct the scene and give volume to the young woman's body.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's descendants, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.
NO RESERVE Italy.- Barri (Giacomo) The Painters Voyage of Italy. In which all the famous paintings of the most eminent masters are particularised, as they are preserved in the several cities of Italy, first edition in English, directions to binder f. and licence f. at beginning, etched allegorical frontispiece by W.Lodge and portraits of Michelangelo, Titian, Veronese, Cortona & Raphael, engraved map of Italy, trimmed at head, affecting headlines, occasional light foxing or finger-soiling, contemporary sheep, rebacked, chipping and wear, [Cicognara 4132; Wing B916; Pine-Coffin 671], 8vo, printed for Tho. Flesher, at the Angel and Crown in S. Paul's Church-yard, 1679.
Follower of ANTONIO MORO (Utrecht, between 1516 and 1520 - Antwerp?, 1575/1576). "Portrait of a lady", late sixteenth century. Oil on panel. Size: 57 x 40 cm; 64 x 47 cm (frame). In this female portrait, starring a lady of high lineage, elegantly dressed and adorned with rich jewels, captured with a language based on the rigor of the drawing and the meticulous brushstroke, the heritage of the work of Antonio Moro, painter of chamber of Carlos I and Felipe II, whose language determined the development of the court portrait in the Spain of the 16th century, is clearly appreciated. Born Anton van Dashorst Mor, Antonio Moro worked in the Southern Netherlands and also in Spain, Italy, Portugal and England. He trained in his native Utrecht as a disciple of Jan van Scorel, whose assistant he became in 1540. According to Karel van Mander, Moro traveled to Italy during his youth, and there he was able to spend three years before returning to Utrecht in 1544. In 1547 he was admitted as a master in the Guild of St. Luke in Antwerp, although he preferred to reside in his hometown. The following year he would attract the attention of his first important patron, Antonio Perrenot de Granvela, bishop of Arras and member of the court of Charles V. His portraits made between 1549 and 1550 already reveal an innovative style that would replace the oldest portrait traditions, combining Flemish precision with Italian models. Particularly important in his language would be the influence of Titian, which he brought to him through the works of the Venetian that existed in the collections of Granvela and Maria of Hungary, regent of the Netherlands. Moro's mature style will be characterized by the steely precision of Nordic heritage, the muted colors, the detail in the fabrics, folds and qualities, a simplified lighting generally on the left side and a neutral background that enhances the monumental isolation of the figure, which is usually three-quarter or full-length and fills the entire height of the pictorial plane. His career experienced the definitive impulse when he was presented by Granvela to Philip II; since then Moro will work the royal and courtly portrait in the Dutch and Spanish courts, so that his style will exert an important influence throughout Europe and, above all, in 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, and especially Maria of Portugal, the fiancée of Philip II. On the way he painted his first official portrait of Emperor Maximilian II, probably in Augsburg. Probably from there he continued his journey in the retinue of Philip II, who was then in the Netherlands. He arrived in Spain in 1551, and there 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 Lisbon court, and finally in 1553 he returned to Brussels only to go to London, where he was sent to portray Philip II's wife after the wedding. That same year of 1554 he was officially appointed painter to Philip II and moved to the court of Brussels, where he remained until 1559. After a brief stay in Spain Moro returned to Brussels in 1561, after having painted some of his best portraits in Toledo and Madrid. In the following years he continued to work with Granvela and also with the court of Margaret of Parma and the Duke of Alba, governor of the Netherlands. Also, in 1570 he portrayed the fourth wife of Philip II, Anne of Austria. During these years he also painted important aristocrats and bourgeoisie, applying attitudes and compositions of his court portraits.
Spanish school, Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666). 18th century."Penitent Magdalene".Oil on canvas.It preserves its original canvas.It has a Calos IV style frame, end of the 18th century.Measurements: 68 x 51 cm; 80 x 60,5 cm (frame).In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed in a jet tunic, on which the bright tonality of her pearly skin stands out. This characteristic, together with the darkness of the scene and the theatrical gesture of the protagonist, with her right hand on her chest, her left hand pointing to the scriptures and her gaze fixed on the crucifix with her mouth half open, create a scene of restrained, symbolic and intimate emotion. The young woman is depicted next to the Scriptures and the skull. The composition of this work faithfully follows that of the painting executed by Mateo Cerezo in 1661, which is now in the collection of the Rijksmuseum in Amsterdam. Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also painted in other genres. In this respect, the treatise writer and biographer Palomino stated that he painted "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The work of this artist from Valladolid has also been identified as an offshoot of Cerezo's work, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
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