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).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.ExhibitionCape 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
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Spanish school of the 16th century. Circle of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645)."The Adoration of the Shepherds.Oil on canvas.With repainting. Frame of the 19th century.Measurements: 160 x 118 cm; 183 x 142 cm (frame).This work shows us the scene of the adoration of the shepherds through a costumbrist approach, according to the naturalistic taste of the baroque, something that, together with the warm, well toned chromatism, the veristic treatment of characters and animals and the tenebrist and scenographic illumination, allows us to place the painter in the orbit of Pedro Orrente (Murcia, 1580 Valencia, 145), the so-called "Spanish Bassano". It is a scene that lends itself to being interpreted as a large composition with numerous characters, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was depicted on the canvas, to the sacred story. Thus, the divine elements are reduced to a minimum, only a Glory breaking in the upper part, with a child angel attending the event and watching over the image.During his stay in Italy, Pedro de Orrente visited Venice, where he spent some time in the workshop of Leandro Bassano himself. In 1607 he returned to Spain and settled in Murcia, although he also visited Toledo, Madrid and Valencia. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes, as we can see here, would be fundamental in this respect. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such an extensive output, the painter must have had a very well-established workshop which repeated the models established by the master. Having had first-hand knowledge of the creations of the great Venetian masters, Orrente was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Paoletti (Bartolome, 1757-1834, & Pietro, 1801-1847). A collection of 52 plaster cameos (or intaglios), presented in a leather-bound double-sided faux book box, Rome, circa 1820, 52 white plaster intaglios, or impronte (miniature impressions in relief of ancient gems, cameos, coins and medals, as well as modern sculptures and portraits), each bordered with pale yellow paper (with manuscript numbers added in ink), and edged in gilt, generally between 2 and 5 cm in diameter, (but some between 6 and 9 cm), carefully arranged and mounted in recessed double-sided book-boxes, lined with dark blue paper, manuscript list of contents in brown ink to front and rear pastedowns of each volume, giving the subject, artist or location, with the address of the manufacturer added at foot of front pastedown 'Si fanno in Roma da Bartomomeo Paoletti, e Pietro Figlio, dimoranti di Studio in Piazza di Spagna numo. 49', marbled paper outer edges, original brown half calf over marbled paper boards, spines gilt, and lettered PAOLETTI, 3 and 'Uomini Illustri, Villa Albani, Museo di Firenze', rubbed and scuffed with a little wear to extremities, 8vo (24.5 x 15.5 cm)Qty: (1)Footnote: A collection of early 19th century plaster intaglios, known in Italian as 'impronte', manufactured by the Paoletti family, which became highly popular amongst aristocratic and fashionable travellers on the Grand Tour during the early part of the 19th century, especially from England. The Paolettis numbered amongst their clients Catherine the Great of Russia, Ferdinand III, Grand Duke of Tuscany, and Lord Elgin, and are listed in Heinrich Keller's contemporary directory of artists and craftsmen working in Rome in 1824 (Elenco di tutti i pittori, scultori, architetti miniatori...di Roma) at the same address as given in the present examples (page 70).Designed to form a kind of miniature museum of the history of art and classical mythology, this collection covers the collections of three museums in Rome: Uomini Illustri nel Museo Capitolino, Villa Albani, and the Museo de Firenze. Individual subjects include: Dante, Ariosto, Tasso, Petrarch, Correggio, Michelangelo, Galileo, Leonardo, Palladio, Titian, Poussin, Angelica Kauffmann, Winkelman; from the Villa Albani: Bacchante, Antinous, Agrippina, Aesop and Cupid; and from the Museo di Firenze: Venus, Minerva, Three Graces, Medici Venus, Raphael's Madonna della Sedia, Titian's Venus, Hercules defeating the Centaur, Mercury by Giambologna, Machiavelli, Niobe, and her four daughters.
TITIAN (ACTUALLY: TIZIANO VECELLIO) FOLLOWER OF THE 19TH CENTURY c. 1488 Pieve di Cadore - 1576 Venice GIRL IN A FUR COAT Oil on canvas (relined), at the top c. 8 cm later added and set. 111 x 63 cm (F. 130 x 82 cm). Verso: Inscribed on the stretcher with old provenance. Part. min. old rest. Frame. altrest. Rahmen. The painting was made after the picture 'Girl in a Fur Coat' in the Kunsthistorisches Museum in Vienna. in a Fur Coat'. Provenance: Rhenish private collection.TIZIAN (EIGENTLICH: TIZIANO VECELLIO) (NACHFOLGER DES 19.JH.) Um 1488 Pieve di Cadore - 1576 Venedig MÄDCHEN IM PELZMANTEL Öl auf Leinwand (doubl.), oben ca. 8 cm später ergänzt und angesetzt. 111 x 63 cm (R. 130 x 82 cm). Verso: Auf dem Keilrahmen bezeichnet mit alter Provenienzangabe. Part. min. altrest. Rahmen. Das Gemälde entstand nach dem im Kunsthistorischen Museum in Wien aufbewahrten Bild 'Girl in a Fur Coat'. Provenienz: Rheinische Privatsammlung.
RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999).Untitled, 1980s.Four ink drawings on paper.All of them signed, two dated (1983 and 1989).Size: 54 x 38 cm; 63 x 46 cm (frame).In parallel to his brilliant poetic career, Rafael Alberti entered the world of painting and drawing, with an avant-garde vocation, exhibiting already in early times in the Salón de Otoño and the Ateneo de Madrid. He was a writer and poet belonging to the Generation of '27, considered one of the greatest writers of the so-called Silver Age of Spanish literature. He received numerous prizes and awards, including the National Poetry Prize (1925), the Lenin de la Paz (1965), the National Theatre Prize (1980), the Cervantes Prize (1983) and the Roma Prize for Literature (1991). He renounced the other great Spanish literary award, the Prince of Asturias, because of his strong republican convictions. Rafael Alberti's first vocation was painting, but his real discovery of this art came in 1917, when he moved to Madrid with his family and visited the Prado Museum for the first time. He first exhibited his plastic work in 1920 at the Salón de Otoño in Madrid, and two years later he exhibited at the Athenaeum in the same city. His painting was characterised by the fact that it was not his definitive path, since after the death of his father, he began to write his first verses. As a writer, Alberti enjoyed great success from the beginning of his career, but at first his success was linked to artistic prestige, as he was still financially dependent on his family. The new literary magazines accepted and wanted to publish his works. He was also beginning to make friends within the circle known today as the Generation of '27. He began to write in a style that was not only more formally demanding, but also allowed him to be more satirical and dramatic. From then on, his life gradually opened up to what would become the centre of his inspiration, poetry, without ever completely abandoning his vocation as a painter. Among his last works is A la pintura ('On Painting') (1945). These reflect his intellectual activity during his exile, as Alberti returned to painting and began a series of poems to bring together his thoughts on painting. A subject to which he continued to devote himself for many years. Among these poems dedicated to painting he wrote a series of sonnets on the retina, the hand, the canvas, the brush, etc.; a series of short poems in free verse on colours; and finally a series of poems in homage to various painters such as Titian, El Greco and others.
Prof. Pietro Anderloni, Anbetung nach TizianMaria thront vor weiter sommerlicher Landschaft mit Berg- und Stadtkulisse, in ihrem Schoß birgt sie das schlummernde Jesuskind und hat ihre Hände zum Gebet gefaltet, links und rechts wird die Szene von betenden Engeln flankiert, der Stich entstand 1825 nach einem Ölgemälde Tizians (ca. 1490 Pieve di Cadore bis 1576 Venedig), hierzu bemerkt das "Morgenblatt für gebildete Stände" vom 29.9.1825 in der Rubrik "Neue Kupferstiche": "Adorent eum Angeli Dei, nach Tizian, gest. von Pietro Anderloni, Mannheim bey Artaria. ... Dieses neueste Blatt von Anderloni´s Hand gibt einen erfreulichen Beweis von seiner zunehmenden Gewandtheit, sich in den Geist des nachzubildenden Meisters zu versetzen. Er beherrscht in hohem Grade die Mittel, durch die es gelingen kann, das Eigenthümliche des Gemäldes wiederzugeben. ...", auch das Künstlerlexikon Nagler würdigt 1835 den Künstler "... berühmter Kupferstecher ... Ein Meisterstück seiner Art ist »Die Ehebrecherin« nach Titian, worin Anderloni alles geleistet hat, was man vom Kupferstecher billiger Weise erwarten kann. Man findet hier Köpfe voller Geist und Ausdruck, treue Nachbildung der Formen des Originals, treffliche Rundungen, Haltung und Uebereinstimmung im Ganzen, Kraft und Klarheit in den Schatten, das Zarte und das Glänzende des Grabstichels auf die geschickteste Art verbunden. ...", das hier vorliegende Blatt hebt Nagler wie folgt hervor "... Durch die von Engeln verehrte Maria nach Titian hat sich A. [Anderloni] als wahrhaft großer Meister gezeigt, der Schönheit der Zeichnung als erste Forderung an den Stecher anerkennt und in Formen höchste Anmuth und Würde zu vereinigen versteht. Der Glanz des Stiches ist zu bewundern. ...", der Reproduktionsstecher fand schon früh breiteste Anerkennung, so schreibt Johann Wolfgang von Goethe (der selbst Anderlonis »Ehebrecherin« besaß) am 3.07.1830 an den Kunstsammler und Historiker Sulpiz Boisserée "... 1830 wird gefordert, was Longhi, Anderloni und Toschi leisten. Haben Sie, mein Freund, die Probedrücke vom Spasimo di Sicilia gesehen? Mehr kann ich nicht sagen, ist das vielleicht zu viel. Secretiren Sie es und brauchen es zum allgemeinen Frieden. ...", Kupferstich, unter der Darstellung mittig lateinisch mit einem Zitat aus den neutestamentarischen Hebräerbrief (Kapitel 1, Vers 6) "Adorent eum [omnes] Angeli Dei [dt.: Und es sollen ihn [alle] Engel Gottes anbeten.]" betitelt, links unter der Darstellung bezeichnet "Tiziano dipnse [von Tizian gemalt]", rechts in der Platte signiert "Pietro Anderloni inc. dal Quadro orig. [Pietro Anderloni gestochen nach dem Originalgemälde]", darunter Druckerangabe "Luigi Bardi impresse" und mittig Verlagsangabe "Mannheim presso Artaria e Fontaine", Altersspuren, original im versilberten und im Goldton schellackpatinierten Biedermeierrahmen (etwas rest.bed.), Abbildung ca. 37 x 51 cm, Falzmaße ca. 45,5 x 57 cm.
ISMAEL DE LA SERNA GONZÁLEZ (Guadix, Granada, 1898 - Paris, 1968)."Saint George slaying the dragon". Oil on serge.It has holes in the canvas and restorations.Signed in the lower left corner.Measurements: 237 x 193 cm.This work reproduces the painting by Rubens "Fight between St. George and the dragon", painted between 1606-1608, which currently belongs to the collection of the Prado Museum. According to the specialist H. Vlieghe, Rubens' painting appears to be based on a work by Titian in the Graphische Sammlung in Munich. In the foreground we see the figure of Saint George on his horse, striking the dragon with his lance, while in the background on the left, the princess can be seen still holding the lamb that was to feed the beast.Ismael González de la Serna began his art studies in Granada and completed them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.
After Titian - La Bella, 18th century oil on canvas, stencils verso, 97cm x 75cm, within a gilt composition frame of wide section.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Circle of DOMENICO FETTI (Rome, 1589 - Venice, 16 April 1623)"Jacob's Dream.Oil on canvas. Re-tinted.It has repainting, restorations on the pictorial layer and missing parts in the frame.It has a 19th century frame.Measurements: 78 x 51 cm; 92 x 65 cm (frame).Aesthetically the work follows the compositional and stylistic precepts of the painting by Dominico Fetti, which belongs to the collection of Domenico Fetti, and has the same title. The canvas narrates the mysterious dream of the patriarch Jacob who, according to Genesis, dreamt on the road to Haran of a heavenly ladder on which angels ascended and descended. This vision of Jacob narrated by the sacred text is usually interpreted as a symbol of the contemplative life, according to Benedictine interpretation. The Genesis account tells us that Jacob set out from Beer-sheba in the direction of Haran. By chance he came to a place and stayed there to spend the night, because the sun had already set. He took a stone from there, put it on as a pillow, and lay down to sleep in that place. And he had a dream: a stairway was leaning against the earth, with its top touching the sky. Angels of God were ascending and descending it. The Lord stood on it and said, "I am the Lord, the God of your father Abraham and the God of Isaac. The land on which you are lying, I will give it to you and your descendants. Your descendants will multiply like the dust of the earth, and you will occupy the east and the west, the north and the south; and all the nations of the world will be called blessed because of you and your descendants. I am with you; I will keep you wherever you go, and I will return you to this land and will not forsake you until I have fulfilled what I have promised." When Jacob awoke, he said, "Truly the Lord is in this place, and I did not know it." And, in awe, he added, "How terrible is this place; it is but the house of God and the gate of heaven."Domenico Fetti was a Roman-born artist who began his artistic education at the hands of his father, the renowned painter Pietro Fetti. He later continued his studies with Andrea Commodi and Lodovico Cigoli. His career took off thanks to the patronage of Ferdinando Gonzaga, who, following his appointment as Duke of Mantua, made the painter move to that city. His stay there brought him into contact with the paintings of great artists such as Rubens and Titian. In 1622 he moved to Venice with the support of important patrons. Fetti's painting was characterised by his experimentation with various genres such as portraiture, allegory, history and religion.
Italian school of the early seventeenth century. Follower of FEDERICO BAROCCI (Urbino, 1528-1612)."The Virgin of the cherries".Oil on canvas. Re-drawn in the XVIII century.Size: 123 x 87,5 cm; 142 x 96 cm. (frame).In this painting, of important dimensions and remarkable workmanship, the biblical episode of the return to Israel after the Flight to Egypt is represented: the Holy Family rests in a forest clearing, sheltered by bushes and holly trees of red fruits. The Child Jesus offers Joseph a bouquet of cherries, whose fruit symbolically alludes to the blood of Christ's passion and the sweetness of Paradise, while Mary remains pensive, withdrawn in her thoughts. The donkey occupies the background, and in the distance the horizon is tinged with glaucous lights. The work follows the model of the one created by Federico Barocci for his friend and art collector Simonetto Anastagi of Perugia around 1573, now in the Pinacoteca Vaticana. The thematic treatment shows several influences, especially from Correggio, although softened by the gentle gestures and harmonious simplicity that characterized Barocci's painting. Joseph's red cloak, with its broken folds, undulating between soft shadings, lets us guess affinities with the Venetian school, especially with Titian. The expressive, gray-bearded face of the male figure contrasts with the Marian idealization, of clear Raffaelean roots. The softness of the Virgin's face, modeled with a nuanced illumination, is also applied in the idealization of the Christ Child, with a volumetric body, sculpted by the skillful use of cold lights. The vegetation that embraces them absorbs rich emerald shades, which in turn enhance the sensual work of the feminine tunic and mantle, in its canonical combination of red and blue, with satin reflections. The proportions of the bodies, almost monumental but without losing their graceful tenderness, is typical of Mannerist art.
A collection of B. D.V. silk cigarette cards featuring Royal portraits of Queen Mary, King George V, Tsar Nicholas II. Alongside a Gainsborough portrait of the Duchess of Devonshire, a portrait of Isaac Butt, Lavinia by Titian, General Botha and a selection of flag Vexillology and football silk cards. All held within a black album. Approximately 35 total.
A Wemyss chrysanthemum pattern pot and cover, a small Maling dish, a Moorcroft Magnolia vase and a Titian Ware vase Condition report: "Wemyss: crazed and losses to green paint around the rimMoorcroft: good condition but needs a cleanMaling: crazedTitianware: some surface scratches, lightly crazed"
A SET OF FOUR EARLY 18th century MEZZOTINT ENGRAVINGS, After TITIAN: “Mars & Venus (1708), “Hercules & Dejanira” (1709), “Jupiter, Juno, & Jo.” (1709), & “Vulcanus & Ceres” (1708); each inscribed “Ex Tabula Titiani, J. Smith fecit Londini”, 16¾” x 11½”, mounted in matching glazed frames (23” x 17” over-all).
![* Zdzislaw Ruszkowski [1907-1990] - View over Charmouth Bay,:- signed bottom right, oil on canvas, 44 x 34cm. * Provenance. T](https://cdn.globalauctionplatform.com/90840369-e9b8-41cb-a134-ae00016422ae/919ef104-f37a-4b2c-a30b-ae050105e61e/468x382.jpg)
* Zdzislaw Ruszkowski [1907-1990] - View over Charmouth Bay,:- signed bottom right, oil on canvas, 44 x 34cm. * Provenance. The Leicester Galleries, Cork St, London, where bought by The Rt. Hon Lord Croft. * Biography Ruszkowski was born in 1907 in Tomaszow, Poland and grew-up influenced by his father, also a painter. Later influences were Van Gogh, Cezanne and the Old Masters such as Titian and Rembrandt. In 1935 Ruszkowski went to Paris, where he became closer to the work of Cezanne and the countryside around Aix-en-Provence in the south of France. In 1939 he visited Versailles, but the threat of war in Europe affected his enthusiasm to paint and in 1940 he left France for England to serve with the Polish army based in Scotland. Ruszkowski's preoccupation with light assumed a major influence in his work from the mid-50s and large areas of dark shadow are used to achieve contrast, form and expression. Light also plays a constructional role in his paintings and transitions from shadow to light have defined shape and colour. There is an artist's Catalogue Raisonne produced by Michael Simonow.
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Allegory of winter". Oil on canvas. It has repainting and restorations. Presents frame following ancient models. Size: 144 x 162 cm; 156 x 174 cm (frame). In a first plane, the author structures two groups of personages; in the right zone a young man climbed to a ladder gathers firewood, while in the inferior zone another one seems to transport a bundle with the branches that his companion provides him. At the other end of the image several characters gather around a bonfire, two children, a woman and a man, all of them trying to get warm. In the background, a couple distributes the food and finally we can appreciate three characters that seem to be going hunting, one with his shotgun and two with falcons that facilitate this practice. Finally, the scene is completed with a landscape and a large mountain in the background. The figures stand out for their large dimensions and the rotundity of the forms, thus showing a great prominence with respect to the landscape. Due to the technical characteristics of the work, it should be mentioned that it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was an artist of great success in his time, admired as a follower of the formulas of the famous family of artists of Venice, especially in the realization of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving at a very young age from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive to his painting, as evidenced by the works of the best masters who worked there. It is not surprising, therefore, that Orrente, who shortly afterwards would travel to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez catalogued as his master. In 1607 he is already back in Spain, installed in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must have also spent time in Madrid. During his stay in Venice, he must not only have learned the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. In this sense, the treatment of sacred themes as genre scenes will be fundamental. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes, and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we deduce that in order to produce such a large output, the painter must have had a very well-constituted workshop, which repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. But, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he knew how to adopt the teachings of Titian, Tintoretto and Veronese for his works. In addition, his more than possible passage through Rome would place him in a privileged situation to know in all its apogee the development of the Caravaggist painting and the interest for naturalism, characteristics that he knew how to add to his own works. Works by Pedro Orrente are currently preserved in the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan in New York, etc.
ITALIAN SCHOOL (19TH CENTURY) AFTER TITIAN (ITALIAN, 1490-1576), GIRL WITH A PLATTER OF FRUITS, oil on canvas, framed. 104cm by 79cm An attribution to Giovanni Battista Canevari (1789-1876) has been suggested.CONDITION REPORTCleaned, re-lined and re-varnished. General surface dirt and discoloured varnish. Strong stretcher shadow. Heavy, mostly stable craquelure throughout. Flaking paint to upper left corner (see images), other sporadic areas of paint loss, scuffs and damage. Further images can be supplied. In need of restoration.
Mike Knowles (British 20th/21st century) "Danae receiving the Golden Rain" after Titian, titled and dated 2013 on verso, oil on board.41cm x 54.5cm (16.25in x 21.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: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.
Don McKinlay (British 1929-2017) "The Venus of Urbino" after Titian, initialled, signed and dated 2013 on verso, oil on canvas.59.5cm x 75cm (23.5in x 29.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: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.
Don McKinlay (British 1929-2017) Dog study from "The Venus of Urbino" after Titian, initialled, oil on canvas.38cm x 38cm (15in x 15in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: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.
Ɵ Leaf from a gargantuan Augustine, Tractatus in Iohannem, in Latin, decorated Romanesque manuscript on parchment[Italy (probably the Veneto, perhaps vicinity of Vicenza), mid-eleventh century] Single very large leaf, with double columns of 52 lines of a small but good Romanesque bookhand (with CXXIV, 26:13-27:5), with residual use of et-ligature integrally at end of a few words, a distinctive 3-shaped 'z' whose mid-bar sits on the baseline, marks in margin of a 'clover' symbol but with two (not three) dots at its head and a double 's', red rubrics, one-line red initials set off in margin, one large red initial 'V' (opening "Verba domini in evangelio quae sermonem pristinum ...", opening Tractatus in Iohannem CXXIV, 27) followed by opening words in capitals touched in red (these and the initial oxidised to silver in places), recovered from a binding and hence with folds, scuffs and small holes, and some seventeenth-century scrawls (that once on the spine with inscription: "Informationum / MDCVIII III", see also below), but still in presentable condition, 454 by 334mm.; in cloth-covered card binding Provenance: 1. The parent manuscript was doubtless written and illuminated for use in lectern reading in a monastic or ecclesiastical community, probably in the vicinity of Vicenza. It was reused in the seventeenth century as binding material for account books, with this leaf with inscriptions with the dates '1660-1677' and naming the owner then of these estates as "Sr Alessandro Boldrini" probably followed by "Vicenza". This name reoccurrs on what would have been the spine of the account book, with "Boldrini / vol. 1" there. The Boldrini/Baldrini family were based in north eastern Italy, with significant presences in the Veneto and especially Vicenza, and the Alessandro named here was most probably a close relative of the celebrated engraver and probable student of Titian, Niccolo Boldrini of Vicenza (d. c. 1566).2. Bernard Rosenthal (1920-2017), of San Francisco, California, his 'I/150', probably acquired around 1961.3. Quaritch of London, their cat. 1088, Bookhands of the Middle Ages (1988), no. 14.4. Schøyen Collection of London and Oslo, their MS. 92. Script:The thin and precise hand here, reminiscent in places of early Carolingian hands, and with frequent use of wedges to terminate ascenders as well as a rapid ductus conveyed by the numerous casual ligatures (note the way that capital 'E' attaches itself to the following letter, and longer words such as "putatis" are written with all letters joined together) is probably explained by the origin of the parent manuscript in the far north-east of Italy. Manuscripts from this region, especially early examples, are far rarer than those of Central Italy.
A BRONZE PLAQUETTE OF THE DEATH OF ST PETER MARTYR, AFTER TITIAN, FLEMISH, MID 17TH CENTURY arched rectangular, Peter, having stumbled in the forest vainly defends himself against the assassin who is about to strike with his sword, his companion flees to the left, two angels in the canopy hold the martyr"s palm 18.5 x 11.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Titian (Tiziano Vecellio c.1488-1576) painted an altarpiece of The Death of St. Peter Martyr around 1528 for the Basilica dei Santi Giovanni e Paolo in Venice. It was immediately acclaimed and prints widely circulated. A number of oil copies remain, but the original was destroyed by fire in 1867. Weber 1010
A BRONZE PORTRAIT MEDAL OF ANTOINE PERRENOT DE GRANVELLE (1517-1586), AFTER LEONE LEONI (C.1509-1590), PROBABLY SECOND HALF 16TH CENTURY bust to dexter, holding his crozier below the inscription ANTON PERRENOT EPI A TREBATEN, the reverse with The Earthly Paradise, a unicorn at a mountain spring surrounded by wild animals under the inscription CAETERIS·AEQVE·AC·SIBI· (For others as for him) 9.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Cardinal Antoine Perrenot de Granvelle, (1517-1586), according to Hugh Trevor Roper, was "the dominating Imperial statesman of the whole century… the greatest private collector of his time, the friend and patron of Titian and Leoni and many other artists" ("Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517-1633", London, 1976, p.112). The illustration on the reverse refers to Granvelle"s ambition to clean the Christian church from |Protestant contamination| (Attwood, p.103). Attwood 31; Toderi Vannel 61
18th Century Italian School after Titian/Mary Magdalene/a skull and open book in the foreground/oil on canvas, 76cm x 64cm, unframed CONDITION REPORT: Unframed. Re-lined and cleaned. The surface is very flat and paint thin in places. Under UV light, there are signs of overpainting in small areas.
NO RESERVE Ex-collection of Minto Wilson.- Pichler (Johann Peter) Venus with an Organist and Cupid, after Titian, mezzotint, on thick wove paper, platemark 600 x 840 mm (23 3/4 x 33 in), small margins but trimmed to or just within the lower edge of platemark, some minor creases and areas of careful restoration, small ink stain to upper centre, spotting and browning, framed, [circa 1800]; together with another large mezzotint by Pichler after Rubens, Double portrait of Albert and Nikolas Rubens, some creasing in the lower right corner, splits and tears to platemark and edges, framed, [1802] (2) Provenance:[Venus] Cabinet Brentano - Birkenstock/ Johann Melchior von Birckenstock (1738-1809) [L. 345][Venus] Fritz Reiss [L. 2178][Venus] Probably his sale, Christie's, London, 18th and 19th December, 1923Humphrey Minto Wilson (fl. 1938-1951)Thence by descent to the present owner
Sale Item: 2 HANCOCKS TITIAN WARE SMALL VASES & TEA CADDY Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Sale Item: 2 HANCOCKS TITIAN WARE CYLINDER VASES & FRUIT BOWL (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Ovid. Metamorphoses, translated by Arthur Golding, limited facsimile edition, tipped-in colour frontispiece and 15 tipped-in colour plates from Titian, original Nigerian goatskin by Lachenmaier, Reutlingen, Germany and blocked with a design by Simon Brett, based on Bernini's 'Apollo and Daphne', housed as issued in original dropback box, folio, The Folio Society, 2008.
Spanish School of XVII century "Portrait of Admiral Christopher Columbus". Oil on canvas, glued to cardboard. Frame of the XVIII century. Measurements: 58 x 48 cm; 69 x 59 cm (frame). Portrait of gentleman of long bust, of great sobriety, with a neutral background plunged in the half-light on which the face stands out, directly illuminated by a warm light, that molds the soft features of the young face. The portrait is accompanied by a Latin caption at the top: "COLOMBVS LICVR NOVI ORBIS REPTOR". In the 16th century the birth of the modern portrait took place; the genre became autonomous in Spain during the reign of the Catholic Monarchs, through Italian and Flemish influence, but it was under the governments of Charles V and Philip II when the modern court portrait was established. A portrait based on formal austerity and the symbolic weight of objects, attire and expressions, which should reflect the nobility, status and importance of the sitter, was then developed. In the formative years of court portraiture, Titian and Antonio Moro were of special importance. The latter, Flemish by origin, contributed the meticulous execution and attention to detail, as well as the effective lighting, which enhances the physical presence of the character. Titian contributed not only a modern style of Venetian origin, but also a new iconography of power. Already with Philip II, this work of construction of the genre and, with it, of the official image of the ruler, will remain in the hands of Alonso Sanchez Coello and Juan Pantoja de la Cruz, his disciple.
Circle of ANTON VAN DYCK (Antwerp, 1599-London, 1641)."Portrait of Charles I of England."Oil on canvas. Relined.Size: 71 x 61,5 cm.On a neutral background is defined the royal portrait of the monarch Charles I of England. Sober in the composition and the chromatic range used by the author, since on the portrayed only stands out the indigo band that hangs under the great ruff, which indicates his belonging to the order of the Jarreta. With broad shoulders and an elongated face, the author presents us with a psychological portrait where austerity and authority come together. The monarch fixes his gaze on the viewer, in an unperturbed and imperturbable way, thus transmitting all his power. The work is somewhat reminiscent of the "triple portrait of Charles I", painted by Van Dyck in 1635, and kept in the collection of the Prado Museum in Madrid. This portrait was painted with the intention of sending it to Rome, so that Bernini could create a bust.Anton van Dyck, key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. Anton Van Dyck began his training with Van Balen, a Romanist painter, in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I, when he was only twenty-one years old. In London he enjoyed greater freedom and left aside religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training with a trip to Italy, being particularly impressed by Bolognese painting and the works of Titian. It was in Italy where he achieved his mature, refined and elegant style, as well as configuring his type of portrait, which became a model for Western painting. In Italy his fame as a portraitist was also established, and he enjoyed immediate success wherever he worked, painting portraits of the most important noble families of Italy, as well as the Pope and various members of the Roman Curia. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. Thus, he dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, where he painted the wedding portrait of King William II and Princess Mary. That same year he returned hastily to London for health reasons, dying shortly thereafter at his home in the English capital. Anton Van Dyck is represented in major museums around the world, such as the Louvre, the Prado, the Kunsthistorisches in Vienna, the National Gallery and the British Museum in London, the Hermitage in St. Petersburg and the Metropolitan in New York.
ART INTEREST. Thirty-one books including 'Kadinsky,' by Urlike Becks-Malorney, 'Titian: Paintings and Drawings,' and numerous other artists in one box. (31) Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £No estimate Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.
COLLECTION OF SCOTTISH POTTERY VASES,along with a Titian Ware bowlCondition report: The Withernsea Eastgate pot has a large chip to the rim at the top, the yellow vase also has some small chips around the rim to the top. Rest of the lot appears to be in relatively good condition with no signs of damage or repair present.
Depicting the treacherous Delilah, with scissors and holding to one side the locks of hair she has cut from the kneeling Samson, inscribed on the bench and the wall behind ‘DALIDA’ and ‘SANSON’, the single large shoe in the foreground referring to Samson’s now lost physical strength and size, or it could be the jaw of an ass, a symbol of his previous victories.27.2cm diameter, 5.3cm highFootnote: Note: Nicola di Gabriele Sbraghe, potter and workshop owner (active 1520-1537-8), is acknowledged as the master of the ‘istoriato’ style of maiolica decoration in early 16th century Italy. Consensus describes him as the “Raphael of maiolica painting”.[1] His graceful fluid draftsmanship, lyrical figure drawing, understanding of recessional space, and use of contemporary classically inspired Renaissance architectural views are all characteristic of his style and are well illustrated here. Overall, his knowledge of the work of his contemporary Raphael, who died in 1520, and his circle in Rome, is evidenced by a print by Giovanni Antonio da Brescia, who also worked in Rome at this time [see figure 1]. The print, from 1510-20, is a circular engraved composition in reverse of this subject.[2] Both potter and printmaker appear to have knowledge of an unknown original narrative image of this subject matter, now lost. As is sometimes the case with Nicola, some of the figures in this piece hint of an even more direct knowledge of Raphael’s early work.[3]This dish and other early work by Nicola are related very closely to a monogrammed and dated dish of 1521 with the figure of a seated sovereign, now in the Hermitage Museum, St Petersburg,[4] to a dish illustrating the Calumny of Apelles in the Ashmolean Museum Oxford (dated by Wilson to 1522-3),[5] and to a plate of Venus, Mars, Apollo, and Vulcan now in the Kunstgewerbemuseum Berlin.[6] Above all, however, it relates to an acclaimed service or credenza encapsulating Nicola’s early poetical style made for an unknown client consisting of seventeen surviving pieces donated to the city of Venice by the patrician Teodoro Correr after his death in 1830.[7] This is the largest surviving set of 16th Century ‘istoriato’ maiolica in the world in a single collection. The service, even quite recently, has been described as “one the loveliest achievements of all maiolica-painting”.[8] There may be reasons on grounds of subject matter and style to speculate that this plate may originally have been part of this service.In the 19th century the Correr maiolica service was thought by scholars to have been painted by the Urbino painter Timoteo Viti (1469-1523) and was seen as the jewel in the crown of the Correr collection. The painting style of Nicola’s early work that we have here seems to stylistically reference his work in the broadest sense. Viti, trained in the dynamic humanist artistic background of Bologna under Francesco Francia, is known to have worked with Raphael in the Chigi Chapel in Santa Maria della Pace in Rome circa 1511. As a friend of Raphael, Viti is reputed to have obtained or inherited the most important group of Raphael’s studio drawings and to have brought them back to Urbino after Raphael’s death. He himself died in 1523. Nicola’s knowledge of Raphael’s style of work may in part be due to links with Viti whose workshop in Urbino he may have frequented or where he may have even trained.[9] Giovanni Antonio da Brescia copied and produced his own versions of the work of the Bolognese printmaker Marcantonio Raimondi (1480-before 1538). Raimondi had also trained under Francesco Francia and did more than anything to disseminate Raphael’s ideas in Italy and abroad from about 1510.It is unprecedented for maiolica from this early period of Nicola’s maiolica production to come on the market. [1] A description first coined by Wilson, 1987, p44. For a full catalogue raisonné of Nicola’s output see Mallet 2007, p199-250[2] Bartsch, vol XIII, p70,n.2 (BM reg. 1925,1215.104). We are grateful to the late Michael Bury for suggestions that led to the identification of this source.[3] For example the central figure of the armed philistine echoes in gesture and expression similar to figures round the tomb in Raphael’s early painting of The Resurrection of 1501-2, now in the Museo de Arte de Sao Paulo, Chapman, Henry and Plazzotta, 2004,Cat 21, p110[4] Wilson in Écouen, 2011, p158-9[5] Wilson, 2017, Cat 54, p158-9[6] See Hausmann, 1972, Cat 170, p230[7] All pieces from the Correr service are illustrated in Écouen, 2011 p 164-167[8] Wilson, 2017, p133.[9] Wilson in Écouen 2011, p160 Literature:Bartsch, Adam. Le peintre graveur, Degen, Vienna, 1808-21Chapman, Hugo, Henry, Tom and Plazzotta, Carol. Raphael from Urbino to Rome, exh. cat., National Gallery, London, 2004Écouen 2011. Majolique. La faïence italienne au temps des humanistes, 1480-1530. Exb cat., Musée national de la Renaissance, Écouen, 2011Hausmann, Tjark. Majolika spanische und italienische Keramik vom 14. is zum 18.Jahrhundert (Katalogue des Kunstgewerbemuseum Berlin V1) Berlin, 1972Humfrey, Peter, Clifford, Timothy, Weston-Lewis, Aiden, and Bury, Michael. The Age of Titian – Venetian Renaissance Art from Scottish Collections, National Galleries of Scotland, 2004Mallet, J.V.G. ‘Nicola da Urbino and Francesco Xanto Avelli’, Faenza, 93, no 4-6 2007, p199-250Rev Macintosh Mackay, LL.D. Memoir of James Ewing Esq. of Strathleven, formerly Lord Provost of Glasgow and M.P for that city, LL.D of the University of Glasgow with a series of letters written while on a tour in Italy, Switzerland, &C., &C. Glasgow, 1866.Wilson, Timothy (with the collaboration of Patricia Collins and an essay by Hugo Blake). Ceramic Art of the Italian Renaissance, exh. cat., British Museum, 1987, p44Wilson, Timothy. Italian Maiolica and Europe, Oxford, 2017 With thanks to Celia Curnow for the extensive research and footnote on this lot.
El Escorial:ÿÿRepresentacion del Monasterio de S. Lorenzo el Real del Escorial,ÿFabrica del Prudentismo Rey. Philippo II, Coronada Con la Magestuofa Obra de la Campilla Insigne del Pantheon. Par El Rey Catholicis Philippo IV El Grande. Dedicada al Invicto Martir Esq. S. Lorenzo. Lg. Atlas folio. title lg. oval m/ss title within a fine engraved border, a lg. full page Portrait of Philip II, 8 lg. double page & 6 full page engd. views, plans & designs, mostly signed P.P or P. Perret, Antwerp, Sculp. Regis fe. 1598, together with 4 lg. cont. engravings by Titian & others, one dated 1569. As a collection, a contemporary compilation, in an early full vellum binding, w.a.f. (1)
A comprehensive Royal Adam Titian ware part service, to include lidded tureen, 30cm wide, various serving dishes, cheese dish, jugs, gravy boat and stands, sectional serving dish, other jug, cheese dish, cups, plates, side plates, etc., each in a floral design, printed marks beneath. (a large quantity)
After TitianThe Mystic Marriage of Saint Catherineoil on canvas38 x 52cm, unframedThe original composition, which is in the Royal Collection, is now thought to be by Titian’s younger brother Francesco di Gregorio Vecellio.Condition report: Oil on canvas which has been lined. There is a small tear at the right side of the painting and a few localised deformations, possibly caused by the adhesive failing between the lining and original canvas. At the lower right corner is an area of fine flaking with small losses. Across the painting there are some raised, vertical lines of craquelure. The paint layer is worn and abraded in some areas. Overpaint is present across the surface which has darkened overtime. The varnish is degraded and no longer adequately saturating the paint layers below. It has become matte and yellowed with age. There is a layer of surface dirt present.
After TitianFloraoil on canvas78 x 63cm A copy of the painting in the Uffizi Galleries, Florence.Condition report: Oil on canvas which is unlined. The canvas tension is adequate, there are minor undulations across the surface. An old damage has been repaired from the reverse with a canvas patch at the upper edge. There are localised areas of vertical cracks in the paint layer, some of which is slightly raised. In localised areas of the flesh paint there is a slightly raised and lumpy surface, it is unclear what has caused this. These areas have localised areas of overpaint, particularly on the sitter’s chest. The overpaint is thick and slightly mismatched to the original. The varnish is even and semi-matte with a thick layer of surface dirt present.
AFTER TITIAN ASSASSINATION OF ST PETER MARTYR oil, 27 x 17cm Condition Report:On close inspection there is a small area of damage bottom left corner, a larger area bottom edge at middle and another smaller to the right of that each with pigment loss. A slightly noticeable horizontal line where canvas appearing undulated as if may have been partially folded at some point running across the surface lower middle. Two white tiny specs upper area perhaps pigment loss.
Nicolò Boldrini (ca. 1500-1566)Landscape with a milkmaid at right and a boy at left, after TitianWoodcut, circa 1535-1540, a bold, well inked impression printing with gaufrage, on laid paper with indistinct watermark, probably 16th century, sheet 410 x 555 mm (16 1/8 x 21 7/8 in), laid onto late 18th century buff laid paper support with pencil study of an antique bust verso, signed A. Adolphe, numerous areas of small sheet loss, rough edges, printers' creases, spotting and surface dirt (framed)Together with a slightly later impression of the woodcut 'St. Jerome in the Wilderness', attributed to Boldrini, circa 1535-1540, 395 x 540 mm (15 1/2 x 21 1/4 in) (framed)Provenance:(Landscape with milkmaid) Antoine-Joseph Dezallier d'Argenville (1680-1765) [L. 2952]Literature:Passavant 96; 58
Ten reverse glass prints,19th century, including:Death of Nelson,Lord Nelson's funeral barge,Napoleon Bonaparte,Africa and America,Europe and Asia,the main ones titled,largest 41 x 31cm overall, framed (10)Condition report: Six are cracked, not eight, most with air bubbles and partially detached from back of glass. Four are not cracked, but they were very dirty and looked as if they were.The four that are not cracked are; 'Our Saviour and Mary Magdelene', 'Juno, the Queen of the Gods', 'Europe-Asia' and the smallest one after Rubens or Titian.
2 x Iain Pears hardback books published Victor Gollancz Ltd. 1-The Raphael Affair 191 pages 1st Edition 1990 ISBN 0 575 04727 5. Good sound condition dust cover in good condition some discolouration. 2-The Titian Committee 189 pages 1st Edition 1991 ISBN 0 575 05033 0. Good sound condition dust cover has creases to edges some discolouration. Sold on behalf of the Michael Sobell Cancer Charity. Shipping at cost from £4. 99 in UK, we can ship a 30kg box for £10 so up to 10 books. Overseas shipping at cost from £7. 99
Julian Opie - - 1958 London - lebt und arbeitet in London IKA 4.2011. 2011. Inkjet auf Leinwand. Auf der umgeschlagenen Leinwand signiert. Unikat. 192 x 119 cm (75,5 x 46,8 in). • Großformatiges Anti-Porträt des britischen Meisters der Entindividualisierung. • Julian Opie war u. a. 2000 in der legendären ersten Ausstellung der Reihe 'New British Art' in der Tate Britain, London, vertreten. • Opie wird u. a. von der Lisson Gallery, London/New York, und der Opera Gallery, London, vertreten. • Arbeiten Opies befinden sich u. a. in den Sammlungen des Museum of Modern Art, New York, dem Victoria and Albert Museum, London, und dem Stedelijk Museum, Amsterdam. PROVENIENZ: Lisson Gallery, London/New York (auf dem Keilrahmen mit dem Etikett). Privatsammlung Rheinland (vom Vorgenannten erworben). 'Looking at older art led to collecting it. Not just to contemplate but to learn from, I think learning from art is an essential part of making it. Reynolds said he’d give up everything to own a good Titian.' Julian Opie, zit. nach: Julian Opie, Ausst.-Kat. Lisson Gallery, London, 15.10.–15.11.2008, o. S. Für seine stark stilisierten Werke nutzt Julian Opie, bedeutender Vertreter der New British Art, Fotografien als Grundlage, die er digital bearbeitet. Durch die Eliminierung aller überflüssigen Details vereinfacht er seine Motive auf das Wesentliche und entwickelt auf diese Weise die für ihn charakteristische, reduzierte und sehr präzise Formensprache. Opie bedient sich dabei verschiedenster Medien: Neben Serigrafien und Gemälden erstellt er auch animierte LCD- und LED-Arbeiten, die auf Flachbildschirmen oder Displays präsentiert werden. Wunderbar ist im vorliegenden Gemälde Opies radikale Auseinandersetzung mit der kunstgeschichtlichen Tradition der Porträtmalerei zu erkennen. Indem Opie uns die Dargestellte in der klassischen Pose eines Brustbildes gegenüberstellt und lediglich Schmuck und Kleidung in wiedererkennbarer Detailgenauigkeit wiedergibt, während er die individuellen Züge der dargestellten Person konsequent ausklammert und das Gesicht als leere Kreisform wiedergibt, thematisiert der Künstler elementare Fragestellungen: Was macht uns und unsere, gerade in der zeitgenössischen kapitalistischen Gesellschaft, vielbeschworene Individualität letztlich aus? Was ist besonders, was austauschbar? Opie ist mit dem vorliegenden Gemälde ein meisterhaftes Paradoxon gelungen, ein Porträt, das von der Dargestellten nur eine zeichenhaft entindividualisierte Hülle zeigt und sich damit dem zentralen Charakteristikum des traditionsreichen malerischen Genres radikal verweigert. In besonderer Weise irritierend ist darüber hinaus der fehlende Hals, der eine Art Durchblick durch den transparenten Menschen auf das eigentlich dahinter verborgene Sofa freigibt und durch diesen Verfremdungseffekt spielerisch thematisiert, dass wir hier keinen Menschen, sondern eben nur eine leere und damit austauschbare Hülle vor uns haben. Opie hat mit seinen berühmten Comic-artigen und oftmals gesichtslosen Darstellungen Tendenzen weiterentwickelt, die bereits in der Kunst der amerikanischen Pop-Art, vor allem in den augenlosen Wesselmann-Akten angelegt waren, und damit zu seiner ganz eigenen, charakteristischen künstlerischen Handschrift gefunden. Opie war u. a. im Jahr 2000 auf der legendären ersten Ausstellung der dreiteiligen Ausstellungs-Folge 'New British Art' in der Tate Britain, London, vertreten. 1995 wird Opie zum Ehrenmitglied der 'British School at Rome' ernannt. Im Jahr 2001 wird er mit dem 'Best illustration award' der Music Week CADS für die Gestaltung eines Albumcovers der britischen Band Blur ausgezeichnet. Julian Opie ist mit seinen Arbeiten weltweit in zahlreichen renommierten Museen vertreten, darunter die Tate Gallery, London, das Museum of Modern Art, New York, und das Stedelijk Museum, Amsterdam. [JS] Aufrufzeit: 18.06.2021 - ca. 20.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJulian Opie -1958 London - lebt und arbeitet in London IKA 4.2011. 2011. Inkjet on canvas. Signed on the reverse. Unique work. 192 x 119 cm (75.5 x 46.8 in). • Large-size anti-portrait by the British master of de-individualization. • Julian Opie was part of the legendary first show of 'New British Art' at Tate Britain, London in 2000. • Opie is represented by, among others, Lisson Gallery, London/New York and Opera Gallery, London. • Works by Opie are part of, among others, the collections of the Museum of Modern Art, New York, the Victoria and Albert Museum, London, and the Stedelijk Museum, Amsterdam. PROVENANCE: Lisson Gallery, London/New York (with the label on the stretcher). Private collection Rhineland (acquired from above). 'Looking at older art led to collecting it. Not just to contemplate but to learn from, I think learning from art is an essential part of making it. Reynolds said he`d give up everything to own a good Titian.' Julian Opie, quote from: Julian Opie, ex. cat. Lisson Gallery, London, October 15 - November 15, 2008, no p. Julian Opie, an important representative of New British Art, uses photographs as a basis for his highly stylized works, which he processes digitally. By eliminating all unnecessary details he simplifies his motifs to the essentials and thus develops the reduced and very precise formal language characteristic of him. Opie uses a wide variety of media: In addition to serigraphs and paintings, he also creates animated LCD and LED works that are presented on flat-screen TV or on displays. In the present painting Opie's radical examination of the art-historical genre of portrait painting becomes quite obvious. By contrasting us with the sitter in the classic pose of a half length portrait and at the same time only rendering jewelry and clothing in recognizable detail, while excluding any individual traits of the depicted person and showing the face only as an empty circular shape, the artist addresses elementary issues: What ultimately defines us and our individuality, which is so strongly emphasized in today‘s capitalist society? What is special, what is interchangeable? With this painting offered here Opie has succeeded in creating a masterful paradox, a portrait that only shows a symbolically de-individualized shell of the sitter and thus radically rejects the central characteristic of the traditional painterly genre. What is particularly irritating is the missing neck, which allows a view through the transparent person onto the sofa that is actually hidden behind it and, through this alienation effect, playfully shows us that we are not dealing with a real person here, but just an empty and thus replaceable shell. With his famous comic-like and often faceless depictions Opie develops tendencies that we already find in American Pop Art, especially in Wesselmann‘s eyeless nudes, and thus he attained his very own signature style. Opie was represented, among others, in the legendary first exhibition of the three-part exhibition series 'New British Art' at Tate Britain, London in 2000. In 1995 Opie became honorary member of the “British School at Rome“. In 2001 he received the 'Best Illustration Award' from Music Week CADS for designing an album cover for the British band Blur. Julian Opie's work is represented in numerous renowned museums around the world, including the Tate Gallery London, the Museum of Modern Art, New York, and the Stedelijk Museum, Amsterdam. [JS] Called up: June 18, 2021 - ca. 20.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
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