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After Titian, oil on canvas, Woman with a mirror, 71 x 96cm

Folio Society: Ovid's Metamorphoses, with illustration from Titian, 2008, morocco and gilt cover, original case no. 1484/2750; and Folio Society Shakespeare, William: Comedy, Histories, and Tragedies, Norton facsimile of the first folio, maroon morocco spine, 1996. (2)

Early 20th century Hancock & Sons Titian Ware Jardinière, with hand painted fruit decoration by F X Abraham, 21cms high

Thalia Flora-Caravia (Greek, 1871-1960)L'artiste dans son studio huile sur toile103 x 79cm (40 9/16 x 31 1/8in).Peint vers 1903oil on canvasFootnotes:ProvenancePrivate collection, Istanbul. Yannis Perdios collection, Athens.ExposéAthens, National Gallery and Alexandros Soutzos Museum - Mount Sinai Foundation, Treasures of Modern Greek Art, The Yannis Perdios Collection, December 9, 1998 - March 15, 1999, no. 95 (discussed, p. 170, catalogued, p. 308, and illustrated in the exhibition catalogue, p. 171).Washington, D.C., Mariner S. Eccles Federal Reserve Board Building, The Emergence of Modern Greek Painting 1830-1930 from the Bank of Greece Collection [and from several private collections in Athens], September 30 - December 3, 2002, no. 22 (discussed, p. 10, and listed, no. 5, p. 14, in the exhibition brochure; and discussed, pp. 17, 72, catalogued, p. 117, and illustrated in the exhibition catalogue, p. 73).Athens, Megaron - The Athens Concert Hall, The Emergence of Modern Greek Painting 1830-1930, February 18 - March 30, 2003, no. 22 (listed, no. 38, in the exhibition brochure; and discussed, p. 72, catalogued, no. 38, p. 119, and illustrated in the exhibition catalogue, p. 73).Athens, Megaron - The Athens Concert Hall, C.P. Cavafy, his World and the Art Forms of his Time, November 2003 - January 2004, no. 70 (discussed and illustrated in the exhibition catalogue, p. 78). LittératureEthnos newspaper, January 20, 1960 (illustrated).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, p. 164 (listed).D. Tsouryanni, The Painter Thalia Flora Karavia (1871-1960), doctoral dissertation, University of Athens, Athens 2002, pp. 40-41 (discussed), fig. 35 (illustrated).D.M. Tsouryanni, Thalia Flora Karavia 1871-1960, Athens 2005, no. 16, p. 51 (discussed), p.133 (catalogued), p. 52 (illustrated).Griechische Künstler in der Müncherer Akademie im 19. Und 20. Jahrhundert, exhibition catalogue, Tellogleion Art Institute, Thessaloniki 2006, p. 200 (illustrated).D.M. Tsouryanni, Thalia Flora-Karavia, Peak editions, Athens 2018, no. 57, pp. 98-102 (discussed), p.199 (catalogued), p. 99 (illustrated).Istoria tis Technis magazine, no. 6, Summer 2017, pp. 98-100 (discussed), p. 99 (illustrated).A precious jewel in the stellar collection of Yannis Perdios, 'this self-portrait which Thalia-Flora-Karavia painted in 1903, while in Paris, is one of the artist's finest efforts in the field of portraiture. A work of restrained yet excellent technique, is also an outstanding and penetrating psychological portrayal,'1 notes art historian D. Tsouryianni, author of the artist's monograph.Discussing the painting further, the scholar describes it as an almost full-length portrait of the artist, depicted in three-quarter profile, seated in front of her easel and holding her palette and brushes. A second easel suggests that the setting is a painter's studio. In terms of colour scheme, one notices the harmonious distribution of tones—darker at the bottom and increasingly lighter towards the top—culminating in the white lace trimming of her collar and the remarkable chiaroscuro effect on her face. Equally disciplined is the compositional structure, with the strong diagonals of the easels counterbalanced by the inversely inclined diagonal of her palette.D. Tsouryianni continues by noting that the energetic posture, which calls to mind the self-portraits of Titian and Rembrandt, transforms the figure from a passive object into an active subject. Particular emphasis is placed on the sitter's lucid, penetrating gaze, which best describes her disposition. Full of confidence and asserting herself as an artist, she is ready to make her entrance into a male-dominated field. Instead of resorting to sentimentality and idealisation, so evident in the self-portraits of such women artists as Angelika Kauffmann and Elisabeth Vigée-Lebrun, she ventured to depict herself with all her painting equipment, thus emphasizing her view of herself as a fully aware and accomplished artist. Born in Siatista, Northern Greece, and raised in Constantinople, Thalia Flora-Karavia studied art in Munich from 1895 to 1900. Her teachers included Nikolaos Gysis and Nikolaos Vokos. Restless and energetic, she travelled extensively across Europe, and to Asia Minor and Egypt, seeking to expand her thematic repertoire and develop her own style. During the Balkan Wars of 1912-13, she followed the operations of the Greek Army in Macedonia and Epirus, capturing the lives of the soldiers in fine drawings and sketches. 1 The Emergence of Modern Greek Painting 1830-1930, exhibition catalogue, Washington and Athens 2002-2003, p. 73. See also D.M. Tsouryanni, Thalia Flora-Karavia, Peak editions, Athens 2018, pp. 98-102.Précieux joyau dans la superbe collection de Yannis Perdios, « cet autoportrait que Thalia-Flora-Karavia a peint en 1903, pendant son séjour à Paris, est l'une des plus belles œuvres de l'artiste dans le domaine du portrait. Une œuvre procédant d'une technique sobre mais excellente, qui est également un portrait psychologique exceptionnel et pénétrant », note l'historien de l'art D. Tsouryianni, auteur de la monographie de l'artiste.Poursuivant l'analyse de l'œuvre, D. Tsouryianni la décrit comme un portrait presque en pied de l'artiste, représentée de trois quarts, assise face à son chevalet et tenant sa palette et ses brosses. Un second chevalet suggère que la scène se situe dans l'atelier d'un peintre. La palette se distingue par la distribution harmonieuse des couleurs – plus sombres dans le bas de la toile et de plus en plus claires vers le haut – culminant dans le blanc de la dentelle de son col et le remarquable effet de clair-obscur sur son visage. La structure de la composition est parfaitement disciplinée, les puissantes diagonales des chevalets étant contrebalancées par la diagonale inversée de sa palette.D. Tsouryianni poursuit en notant que la posture énergique, qui évoque les autoportraits du Titien et de Rembrandt, a pour vertu de transformer le personnage, lequel n'est plus un objet passif mais devient un sujet actif. Un accent particulier est mis sur le regard lucide et pénétrant du sujet, qui traduit au mieux son état d'esprit. Pleine de confiance et s'affirmant elle-même comme une artiste, elle est prête à faire son entrée dans un domaine dominé par les hommes. Plutôt que de recourir à la sentimentalité et à l'idéalisation, si évidentes dans les autoportraits d'artistes femmes comme Angelika Kauffmann et Elisabeth Vigée-Lebrun, elle ose se peindre elle-même avec tout son matériel de peinture, soulignant ainsi qu'elle se considère pleinement comme une artiste accomplie.Née à Siatista, dans la Grèce du nord, et élevée à Constantinople, Thalia Flora-Karavia a étudié l'art à Munich entre 1895 et 1900. Ses professeurs ont été notamment Nikolaos Gysis et Nikolaos Vokos. Avide de mouvement et débordante d'énergie, elle a voyagé dans toute l'Europe et jusqu'en Asie Mineure et en Égypte, cherchant à enrichir son répertoire thématique et à développer son propre style. Pendant les Guerres des Balkans de 1912-13, elle a suivi les opérations de l'armée grecque en Macédoine et dans l'Épire, saisissant sur le vif l'existence des soldats dans de nombreux dessins et esquisses de grande qualité.... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

S Hancock and Sons of Stoke on Trent 'Titian Ware' ginger jar (no lid) together with a rectangular tray (2). In good condition with no obvious damage or restoration. Some surface wear.

S Hancock and Sons of Stoke on Trent 'Titian Ware' pair of bud vases, 23cm tall. In good condition with no obvious damage or restoration. Age related crazing. One has a chip to the base that has been glued back on.

S Hancock and Sons of Stoke on Trent 'Titian Ware' bulbous vase. In good condition with no obvious damage or restoration. Age related crazing and surface wear. 24cm tall.

Italien - - Sammlung von 32 Original-Photographien von Venedig, Pompeji, Verona, Mailand und Pisa etc. Vintages. Albuminabzüge. Montiert. Um 1870-1890. Bildformate: 16 x 26 cm bis 25,5 x 35 cm. Trägerkartons: Meist ca. 30,5 x 44 cm.Vorhanden sind u.a. acht Aufnahmen aus Venedig von Giovanni Battista Brusa (Blindstempel unten rechts), zwei Photos von Antonio Nessi (Lago Maggiore und Lago di Como)., mehrere Bilder von Pompeji (3 von Fratelli Alinari), Verona (eine Aufname der Piazza delle Erbe von Maurizio Eduard Lotze), Mailand, Pisa sowie ein Photo des Titian-Mausoleums in der Basilica dei Frari in Venedig von Antonio Perini. - Dabei: Porträt-Aufnahmen von Papst Leo XIII. in vollem Ornat und eines Bersagliere Napoletano (wohl von Giorgio Sommer). - Die Photographien im Negativ meist mit einkopierter Nummerierung und Titel. - Die Trägerkartons teils leicht fleckig und gebräunt, teils mit Randläsuren und -fehlstellen, einige mit handschriftlichem Eintrag, die Albuminabzüge meist sehr gut, wenige leicht berieben oder minimal fleckig.

Quantity of Crown Staffordshire tea wares, and Spode 'Titian' dinner wares Condition: Spode plates with varying degrees of crazing and discolouration, please contact the office for a full condition report. **Ceramics & Glass/Oriental - We endeavour to mention any post-production damage we can see, either with the naked eye or a magnifying glass. Where requested, we will place the item under UV light to check for professional restoration. We do not automatically mention such standard occurrences as fine glaze crazing or kiln dust which are by-products of manufacture as opposed to signs of damage. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

Paoletti (Bartolomeo, 1757-1834, and Pietro, 1801-1847). A collection of 300 plaster cameos (or intaglios) presented in seven leather-bound double-sided faux book boxes, Rome, circa 1820, 300 white plaster intaglios, or impronte, being 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 number added), 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, five of the volumes with the manufacturer's address also in brown ink: 'Si fanno in Roma da Bartolomeo Paoletti, e Pietro Figlio, dimoranti di Studio in Piazza di Spagna numo. 49', marbled paper outer edges, with bindings in uniform brown half calf over marbled paper, spines gilt-decorated and each lettered in gilt PAOLETTI, rubbed, and some scuffs and marks (generally in good condition), 8vo (24.5 x 16 cm)Qty: (7)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESA fine collection in matching original bindings 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). The Paoletti firm are also advertised in Count Hawks Le Grice's guide Walks though the Studii of the Sculptors at Rome (1841) as follows: 'Paoletti begs to inform the public that he has arranged a collection of impressions (Impronte in Scajola) of many of the works in sculpture executed by distinguished artists ... Although the Impronte are but miniature copies; yet they exhibit all the fidelity and beauty of the original, and convey to the eye a better idea of sculpted works of art than the most finished engravings'. Designed to form a kind of miniature museum of the history of art and classical mythology, subjects present in this collection range from Greek and Roman monuments and sculptures, portraits of Greek and Roman gods, emperors, warriors, philosophers and poets, masterpeces of the Italian Renaissance, such as Leonardo's Last Supper, Domenichino and Giulio Romano, portraits of famous artists and writers including Raphael, Titian, Michelangelo, Ariosto, Poussin, Maratta, Guercino, Anton Raphael Mengs, Angelika Kauffmann, and Winckelmann, as well as modern works by Antonio Canova (including The Three Graces), Thorwaldsen, Giovanni Pichler, Marchand, Tommaso Cades, and the Paolettis themselves. The contents of each volume are: Museo Vaticano (43), Museo Capitolino (57), Museo di Napoli & Museo di Parigi (42), Uomini illustri nel Museo Capitolino & Villa Albani (49), Monumenti in vari luoghi (42), Opere di Thorwaldsen & Opere di Canova, and one volume untitled, containing modern examples by Pichler, Paoletti, Canova, Marchant, Rega, Luigi Diez, etc.

Strada (Jacopo). Epitome Thesauri Antiquitatum, hoc est, Impp. Rom. Orientalium & Oxenditalium Iconum, ex antiquis Numismatibus quam fidelissime deliniatarum, 1st edition, 1st issue, Lyon, [Jean de Tournes for] Jacobum de Strada, et Thomam Guerinum, 1st September 1553, title with large woodcut device of Thomas Guerin, and with full-page woodcut coat-of-arms of Johann Jacob Fugger (Hans Jakob Fugger, 1516-1575, banker and member or the richest family in the Holy Roman Empire), 488 woodcut medallion illustrations to text, errata leaf (L4) before main text, privilege leaf at end, with final leaf (V4) blank, title and two leaves of dedication with some light soiling (small repair to fore-margin of title), a few early annotations in ink, early ink inscription to final leaf of text (B2) 'Delahaye', and 'Durand emptit anno 1596...', later endpapers, 20th century dark brown roan, with red morocco spine label, rear joint partly cracked, 4to (230 x 155 mm)Qty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: Durand, 1596 (according to inscription to penultimate leaf of text), purchased from Delahaye; Leonard Baskin (1922-2000), American illustrator, print maker and sculptor and founder of the Gehenna Press (inscribed to foot of L1 'L.B. 1964' in ink, incorporating the printed letter L of the signature); Patricia Milne-Henderson (who worked as an assistant for Leonard Baskin in the early 1960s). Mortimer, Harvard French Books, 502; Cartier, De Tournes 260; Dekesel S70. First edition, first issue of this elegantly illustrated work by Jacopo Strada (1507-1588), Mantuan Nnumismatist, dealer and advisor in antiquities, architect and librarian, whose portrait by Titian of 1567-68 (Kunsthistorisches Museum, Vienna) is regarded as one of the artist's greatest late masterpieces. According to Mortimer, Strada's 'Epitome' originated in his own collection of coins and medals. It was printed as part of a projected work on the subject which was to have been the culmination of his extensive research in other European collections as well as his own. Strada particularly notes in his preface to his Epitome 'the assistance received from Guillaume Du Choul and Jean Grolier, adding praise of Grolier's magnificent library'. The illustrations are derived from Strada's own drawings of medallion portraits based on antique coins and medals of emperors from Julius Caesar to Emperor Charles V, which were commissioned by Hans Jakob Fugger, for whom Strada also acted as agent in the acquisition of works of art and antiquities.

MICHELANGELO -- GOFFEN, R. Renaissance Rivals. Michelangelo, Leonardo, Raphael, Titian. (2002). -- M. HIRST. Michelangelo and his drawings. (1988). -- Id. Michelangelo. The achievement of fame. (2011). -- Id. & J. DUNKERTON. Making & Meaning, the Young Michelangelo. (1995). -- A. PERRIG. Michelangelo's drawings. The Science of Attribution. Transl. by M. Joyce. (1991). -- 5 vols. Lge-8°/4°. Or. binds. w. dust-j. -- And 3 o. on M. (8).

TITIAN -- JOANNIDES, P. Titian to 1518. The assumption of genius. (2001). -- J. MANCA, ed. Titian 500. (1993). -- R. GOFFEN. Titian's Women. (1997). -- Ch. HOPE, (a.o.). Titian. (2003). -- Th. PUTTFARKEN. Titian and tragic painting. (2005). -- 5 vols. 4°. Or. binds. w. dust-j. -- And 3 o. on T. (8).

TWO BOXES OF CERAMICS AND SUNDRY ITEMS etc to include three Carlton Ware 2710 tapestry and daisy cups and saucers, two Adams Titian Ware plates, Alfred Meakin 'Harmony' pattern bowls, Royal Tudor Chintz teawares, Crown Devon ceramic water barrel, wooden bookshelf, two Delprado figures on horseback, decorative tin plate train, assorted ceramics etc

AFTER TITIANTHE ENTOMBMENTwith indistinct inscription and date to stretcher Après Titian 1845oil on canvas31.5 x 39 cm/12 1/2 x 15 1/2 inThe original painting by Titian c. 1559 can be found in the Museo del Prado, Madrid.

AEGIDIUS SADELER DER JÜNGERE Antwerpen 1568 - 1629 Prag: Römische Herrscher und Herrscherinnen. Vollständige Folge der zwölf ersten Caesaren und deren Frauen. 26 Bll. Radierungen (Widmungsblatt zweifach), davon 12 Bll. (Caesaren) nach Titian. Hollstein 346 (zweifach); 347, nach III; 348-350, jeweils III; 351, II (von III); 352-353, III; 354-356, jeweils II (von III); 357, III und 358-370, jeweils II (von III). Ramaix (The Illustrated Bartsch) 7201.353 (zweifach); 354, IV; 355-357, III; 358, II (von III); 359-360, III; 361-363, II (von III); 364, III; 365, II (von III); 366, II (von IV) und 367-377, jeweils II (von III). - Sämtlich mit dem Namenszug Sadelers, 12 Bll. mit dem Namenszug Titians, meist mit der Verlegeradresse von Marco Sadeler (17) bzw. F. Chereau (1), sämtlich mit Widmung bzw. Titel, lat. Text und Privileg sowie 24 Bll. mit der röm. Nummer in der Platte. Auf Bütten, teils mit kreisförmigem Wasserzeichen. 34,3 x 23,7 bis 38,5 x 27,5 cm. Sämtlich mit breitem Rändchen. 7 Bll. mit Widmung „à auguste Gandry-Vanlul peintre à Tournay 1830“ in brauner Feder in bzw. unterhalb der Darstellung/des Textes sowie meist mit Numerierung in brauner Feder am Oberrand. Sämtlich (meist nur im Randbereich) gering bis leicht fleckig sowie meist mit (meist kleinen) Randläsuren. In priv. Mappe. [ms]

Eisenguss, schwarz patiniert. Profilierter Rahmen mit feinem Blattrelief. Die Darstellung im Relief nach Tizian. Auf dem Boden ein reliefierter sechsstrahliger Stern im Kreis. H 2,8 D 13 cmErste Hälfte 19. Jh.ProvenienzSammlung C. Lith.Black patinated cast iron. In a moulded frame with foliate reliefs. The depiction based on a work by Titian. The base marked in relief with a six-pointed star in a circle. H 2.8 D 13 cm.1st half 19th C.ProvenanceThe C. Lith collection.

After Titian, 19th C. Painting of a Young Woman holding an arrangement of flowers. Oil on canvas. Appears to be unsigned, has not been examined out of the frame. Housed in a gilt/carved Italian frame. Sight Size: 15.5 x 12 in. Overall Framed Size: 21 x 18 in.

European school, 19th centuryMary Magdalene Oil on carboard Copy of an original by Titian (1490-1576) dated to ca. 154021x17 cm

NORTHERN ITALIAN SCHOOL (17TH CENTURY)Diana after the HuntOil on canvas, 137 x 109.5cm Provenance: The Collection of John Whaley Esq., his sale, on the premises at Newman House, 86 St. Stephen's Green, 21st & 22nd June, 1849, catalogue number 131, as Correggio; Thence by descent to the present owner, and on loan until 2021 to University College Dublin, Newman House, 86 St. Stephen's Green.John Whaley was the younger brother of the infamous adventurer, Thomas "Buck" Whaley. Their father, Richard Chapell Whaley, known as "Burn-Chapel Whaley" for his anti-Catholic views, was a direct descendant of Oliver Cromwell. He married their mother Anne Ward, daughter of the Reverend Bernard Ward, in 1759. Anne was then only eighteen, whilst her husband was already advanced in years. She bore seven children during the following nine years. Richard Chapell Whaley began to build number 86 St. Stephen's Green circa 1765, but did not live to see it finished before his death in 1769. The Whaleys' eldest son, also Richard, died as a youngster and a large part of the family estates passed to Thomas, as eldest surviving son, on his father's death. Thomas "Buck" or "Jerusalem" Whaley, as he came to be known, was educated in Ireland until his 16th birthday when his mother sent him to France in an attempt to curb his wayward behaviour. A stint in Paris only served to encourage his recklessness and in 1788 Buck famously wagered with the Duke of Leinster that he could travel to Jerusalem and back within a year. Having completed the arduous journey, he collected £15,000 from the Duke on his return. The story of Buck's short and fast life is filled with anecdotes of similar outlandish behaviour and is well documented elsewhere. He died at the age of 33 at a Cheshire Inn, on route to London, having been reputedly stabbed by a lover whose sister had also caught his eye. The last member of the Whaley family to live at 86 St. Stephen's Green was John Whaley, former owner of the present painting. John married first Lady Anne Meade, daughter of the Earl of Clanwilliam; and second, Mary Anne, daughter of John Richardson. As executrix, the latter engaged John Littleton, auctioneer, to sell "The Cabinet and Gallery Pictures, the Property of the Late John Whaley Esq., containing the most celebrated and valuable gems of that distinguished collection, embracing the purest specimens of the most esteemed ancient and modern artists, the whole of which will be sold by auction in the mansion house no. 86 St. Stephen's Green South on Thursday and Friday the 21st and 22nd June 1849".The impressive catalogue included works attributed to Titian, Veronese, Rembrandt, Bellini, Rubens and Guido Reni, with a total of 132 pictures listed.

GARY BENFIELD (BRITISH 1965) 'TITIAN STUDY' a head profile monochrome portrait of a horse, signed bottom right, signed verso, oil on canvas laid on board, approximate sizes - image 45cm x 61cm, frame 52cm x 69cm (ARR) (Condition:- small chip and scratch to frame)

* Van Dalen (Cornelis, II, circa 1602-circa 1665). Portrait of the painter Sebastiano del Piombo, after Titian, 1648-1664, engraving on laid paper, proof before letters, a fine rich impression, with margins, plate size 412 x 292 mm (16.25 x 11.5 ins), sheet size 510 x 387 mm (20 x 15.25 ins), hinge-mounted in 20th century card window mount, together with: Pontius (Paulus, 1603-1658). Portrait of Daniel Seghers, after Jan Lievens, circa 1630, fine engraving on laid paper, with partial Strasbourg Lily watermark, a proof before the addition of the engraver's and publisher's names (Maarten van den Enden), trimmed to plate margins, 265 x 202 mm (10.4 x 8 ins), hinge-mounted to 20th century card window mount, plus: Neefs (Jacobus, 1610-1660). Portrait of the painter Martin Ryckaert, after Van Dyck, circa 1630, engraving on laid paper, a very good, dark impression, trimmed just outside the plate mark, plate size 264 x 202 mm (10.4 x 8 ins), sheet size 269 x 206 mm (10.6 x 8.1 ins), hinge-mounted on 20th cardQty: (3)NOTESVan Dalen: Hollstein 111, i/iv. From the series of 34 engraved portraits titled Variarum imaginum a celeberrimis artificibus pictarum Caelaturae, based on the picture collection of Gerard Reynst. Pontius: Hollstein 126, listed by the BM as a copy in reverse, the pencil note added to the mount of the present work claims this version has priority. Neefs: Hollstein 90; Wibiral 113.

Four various pieces of collectable porcelain items. Includes Adams Titian Ware cabinet plate, Austrian mid century vase, Terra Cotta cream jug and floral design vase.

CERAMIC TEA WARES INCLUDING SOME IN THE TITIAN PATTERN BY ADAMS

BOYDELL, John : Titian Pinxit, hand coloured mezzotint, size : 540 x 420mm, in an old frame probably laid down, 1780.

AFTER TITIAN Portrait of Elisabetta Querini, head and shoulders with plaited hair wearing pearl necklace and dress décolleté, oil on canvas laid onto treen panel, 11cm tondo Inscribed in ink verso: 'Titiano Ritratto da? Sen Querini (?) Blabraso da Mons....

An early 20th century Art Deco Titian Ware hand painted Polka Dot dinner service having yellow and green spot decoration. The dinner service comprises of plates, dishes, serving dishes, tureens and more. Makers mark to the underside. 22cm diameter

Various ceramics and silver plate etc inc Wilton ware, West German vase and Titian ware (2 boxes)

Fenton Brothers, Sheffield 1877, of Classical ewer form, after Cellini, the baluster body with all-over embossed shell, foliate and scroll decoration, beaded borders and ram mask border, the lower body with ornate cartouche and Fraser crest surmounted by motto I AM READY, vacant cartouche to the other side, the handle of angular form with scroll terminal, the hinged lid with budding finial, all raised on a stepped domed foot with similar decoration(Height: 35cm, weight: 29.4oz)Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/Footnote: Inspiration can often be found from the past and the Classical period is one which has been emulated throughout the generations. Born in Florence in 1500 Benvenuto Cellini was definitely a product of the polymath culture of the Renaissance. With his father a musician, there was always a natural musical talent of which his father had hoped he would follow in his footsteps, but initially Cellini took an apprenticeship with a goldsmith. His artistic passions overlapped and he was a skilled, draughtsman, artist, sculptor and musician. At a time of political upheaval across the continent, Cellini was recruited as a soldier where with victories, he was able to combine his craftsmanship with medals, with very few remaining, but examples can be found in the Uffizi gallery. Patronage followed with the Medici family and even Francis I of France where he was able to complete one of his most famous and authenticated works, the gold salt in 1540 now in the Kunsthistorisches Museum, Vienna. Although it is always difficult to attribute work or designs to Cellini, his work looked to the past of the Roman Empire with Classical swags and heavy embellishments. We are delighted to offer this Victorian claret jug another period who encouraged the flourishes. The cast shell detail emulating the work of Titian and the frescos of the 16th century. The ram's head masks a very traditional Classical symbol all tie back to the work of this period and possibly the accomplished individual that Cellini was.

After Titian, Girl with a Platter of Fruit, oil on canvas, 75 x 62cm

After Titian Portrait of the artist oil on board 8 x 8cm

19th century, After Titian, A repentant Mary Magdalen, oil on canvas, 34" x 25.5". (Unframed).

* Pound (D. J.). Venus, A. H. Payne, Leipzig & Dresden, circa 1850, uncoloured mixed-method engraving on wove after Titian, water-stained, some creasing but confined to margins, 475 x 600 mm, together with Morghen (Raphael). Les Trois Ages, Paris, circa 1810, uncoloured engraving on wove after Francois Gérard, some spotting but largely confined to the margins, 535 x 610 mm, with Martin (John, after). The Plains of Heaven [and] The Great Day of his Wrath, F. Sala & Co., Unter den Linden, Berlin, circa 1845, pair of lithographs with contemporary hand colouring, titles repeated in German, toned overall, some marginal fraying and closed tears, each approximately 525 x 640 mm, plus Philips (G. H.). The Opening of the Sixth Seal, Booker & Harrison, 1844, uncoloured mezzotint on wove after F. Danby, toned overall, some marginal fraying, some water-staining, 570 x 730 mm, with another eight engravings of portraits, scenes from plays, genre and classical scenes, all large format but various sizes and conditionQty: (13)

Anonymer Altmeisterkopist um 1800, ''Lavinia Vecellio als Pomona'' nach Tizian, Öl auf Lwd., rest.-bed., zwei Risse, Farbabplatzer etc., 100 x 75 cm, ger. 125 x 100 cmAnonymous old master copyist circa 1800, ''Lavinia Vecellio as Pomona'' after Titian, oil on canvas, restored-touched, two tears, paint chipping, etc., 100 x 75 cm, framed 125 x 100 cm

A pair of bisque nodding figures, a contiental figure, a porcelain lady bell, a Titian Ware vase (chipped) and other items Condition Report: Available upon request

David Wilde (British, 1913-1974), Venice Carnival of Fireworks for Renaissance Artist Titian, signed l.r., acrylic, 47 by 72cm, mountedNote: Artist Resale Rights apply 

Reusner,N.Reusner,N. Icones sive imagines virorum literis illustrium, quorum fide et do Reusner,N. Reusner,N. Icones sive imagines virorum literis illustrium, quorum fide et doctrina religionis & bonarum literarum studia, in Germania praesertim, in integrum sunt restituta. Additis eorundem elogiis diversorum auctorum. Straßburg, B.Jobin 1587. 4°. Mit kolor. Holzschn.-Titelbord., Bordüren zu jeder Textseite u. 99 blattgr. Holzschn.-Portr., meist nach +Tobias Stimmer+. 212 nn. Bl. - +Angebunden: Ders.+ Icones sive imagines viuæ, literis cl. virorum, Italiae, Graeciae, Germaniae, Galliae, Angliae, Vngariae. Cum elogiis variis. 2 Tle. in 1 Bd. Basel, K.Wadkirch 1589. Mit 92 Holzschn.-Portraits nach Tobias Stimmer. 176 Bl. (das letzte Textblatt mit Eloge auf Steph. Szegedinus und rücks. Druckermarke). - +Spitzel,G.+ Templum honoris reseratum. In quo L. illustrium aevi hujus orthodoxorum ac beate defunctorum theologorum philologorumque imagines exhibentur et quibus, sive in sacram sive literariam rem, meritis, quibus item monumentis librisque editis vel mss. inclaruerint diserte ostenditur... accessit ... D. Antonii Reiseri ... de claris quibusdam aevi hujus theologis ad authorem epistola. Augsburg, Koppmayer 1673. Mit gest. Titel u. 50 gr. gest. Portraits v. M.Haffner. 5 Bl., 415 S. Prgt. d. Zt. (Stark gebräunt u. fl., Kanten tls. eingerissen, etw. wellig). +I).+ VD 16, R 1427. Adams R 408. Mutter 592, 175. Andresen III, 67, 141 (1). Vgl. Murray 362. - Erste Ausgebe. Bekannte Portraitsammlung von Humanisten, Reformatoren, Ärzten, Dichtern, Malern, Theologen u.a. - Alle Bl. von octav auf kl.4° (ca 19,5 x 16 cm) durch breite w. Blattränder erweitert. Tls. etw. fl. - +II).+ VD 16, R 1430. Basel, Kat. Stimmer 116. - Das erstmals 1587 erschienene beliebte Porträtwerk zeigt Humanisten, Reformatoren, Dichter, Ärzte, Theologen usw. - 'Diese Ausgabe ist aus zwei Gründen wichtig. Im Vorwort überliefert Reusner die Nachricht, daß Tobias Stimmer in Como gewesen sei ... Zudem enthält sie außer den Holzschnittbildnissen von Gelehrten einige Porträts von Künstlern wie Leonardo, Michelangelo, Andrea dell 'Sarto, Titian u. anderen, im ganzen sieben' (Kat. Stimmer). - In dieser zweiten Folge der Icones liegt der Schwerpunkt auf italienischen Gelehrten und Poeten. Dabei Dante, Poggio, Pico della Mirandola, Savonarola, Alciati, Ariost u.a. Der zweite Teil wurde vom Baseler Mediziner Theodor Zwinger verfasst. - Die Holzschnitte etw. flau. - +III).+ VD17 23:654255L. - Es fehlen die S. 245-246. S. 243-44 mit Ausriss. Ecken tls. geknickt. - Vors. gelockert u. etw. randrissig. Mod. Exlibris.

AN ADAMS WARE TITIAN PATTERN DINNER SERVICE, 1930'S Mostly in good condition

The Penitent Magdalene oil on canvas 45 x 38cmFootnote: After the original by Titian dated 1565 now in the Hermitage, Saint Petersburg.Condition report: Oil on canvas which has been lined. The paint layer is stable. There are localised areas of retouching covering small, old damages. There also appears to be some retouching in the sitter's arms. The varnish is yellowed and semi-matte. The frame has areas of loss and wear to the gilding.

Emilie Rouillon (French, 19th century) after TitianSacred and Profane Love ('L'amour Sacre et Profane')inscribed verso with title, artist and dated 'Rome 1888', watercolour on paper laid on canvas80 x 151cm, in an ornate contemporary Florentine carved giltwood frameTitian's original is in the Galleria Borghese, Rome.Condition report: Under glass. The paper has discoloured to a light brown. A couple of very light surface scratches, and light tears close to edges. The gum arabic is crackling lightly in some of the darker areas. Not inspected out of frame. Giltwood frame has a few minor chips and a slight wobble at the bottom.

Louis Vuitton in Kooperation mit Jeff Koons Neverfull MM X Koons 'Titian' Korpus aus Canvas, geprägtes und gold bedrucktes Innenfutter, Taschenanhänger aus Kalbsleder und Metall, innen 1 Reißverschlussfach und 2 kleine Innenfächer, zusätzlich abnehmbares Täschchen mit Reißverschluss. Originalkarton. Sehr gut erhalten. L. 31 x H. 28 x B. 14 cm - Vuitton, Louis in cooperation with Jeff Koons Neverfull MM X Koons 'Titian' Canvas body, embossed and gold printed lining, pocket pendant made of calfskin and metal, inside 1 zipped pocket and 2 small inside pockets, additional removable zipped pocket. Original carton. Very well preserved. L. 31 x h. 28 x w. 14 cm -

Old master prints.- Chatto (William) Gems of Wood Engraving, extra illustrated with over 200 prints, including a small group of old master prints by Albrecht Dürer [further details below], Nicoló Boldrini after Titian, Hans Burgkmair the Elder, and a group of five chiaroscuro woodcuts by John Baptist Jackson and John Skippe, with the remaining extra illustrations mainly being book illustrations, titles, and border decorations from 16th to 19th century, most neatly mounted at edges onto album leaves, some loose, occasional splitting, tears, spotting and surface dirt throughout, contemporary red morocco, gilt, g.e., spine gilt with five raised bands, spine split and coming loose, upper cover coming loose, bound by A.W. Bain, very rubbed and worn, folio, 1849⁂ Extra-illustrated works of note include: Albrecht Dürer's The Martyrdom of Saint Catherine of Alexandria, woodcut, a Meder c impression with small watermark of three mounds and cross within a shield [datable to circa 1560-1580], with restoration, c. 1498; Dürer's The Holy Family in Egypt, from: The Life of the Virgin, woodcut, a Meder f impression, after the Latin text edition with watermark of an eagle [datable to circa 1590-1600], with losses and restoration, c. 1502; a very compromised impression of 'The Assumption of the Virgin'; Nicoló Boldrini's Venus Seated embracing Cupid, circa 1566, and a compromised impression of St Jerome in the Wilderness, circa 1525-1530, both after Titian; two woodcuts by Hans Burgkmair the Elder, from the Triumph of Maximilian, probably 18th century impressions; John Baptist Jackson's Christ on the Mount of Olives, after Franceso Bassano, 1743, Antique Bust of a man, 1754, and Apollo Belvedere; John Skippe's Standing man, after Andrea del Sarto, and Seated man in a cloak, after Bandinelli, 1782; and Simon Watts' Venus Lamenting over Adonis, after Cambiaso, 1763.

Raphael MORGHEN after TITIAN'Parce Somnum Rumpere'Monochrome engraving31.5 x 39cm (sight size)Condition report: Framed size: 45.5 x 53.5cm

Roger Hilton (British, 1911-1975)Painting, October 1959 signed, inscribed and dated 'HILTON/30 X 54/OCT'59' (verso)oil on canvas76.3 x 137.2 cm. (30 x 54 in.)Footnotes:ProvenanceWith New Art Centre, London, circa 1970, where purchased by the present ownerPrivate Collection, U.K.The mid-to-late 1950s saw turbulent times for Roger Hilton. Artistically, he was wrestling with the problem of how an artist develops upon abstraction. Professionally, he chose to cut ties with his long-time dealer, Gimpel Fils, due to perceived pressures to mould his output into a more commercial form, leaving him in a position of financial uncertainty. And personally, his marriage to Ruth David was waning, ultimately ending in divorce. Yet these years bore triumphs. Hilton's first retrospective was held at the ICA in early 1958, which led to the Tate Gallery and the Arts Council both making their first acquisitions of his work, with further purchases made by both the following year along with the Gulbenkian Foundation and Ferens Art Gallery in Hull. He was awarded a prize at the prestigious John Moores Exhibition in Liverpool in 1959 and his work was included in several important mixed exhibitions such as the 1957 Lawrence Alloway organised Metavisual Tachiste Abstract: Painting in England Today.Out of this period, both personally and artistically, several key developments emerge. In the summer of 1956, he took a studio in St Ives and then in Newlyn the following three years, beginning an engagement with the South-West that would later be cemented by a permanent move. In London too he found a new studio in St. John's Wood, in which he would increasingly reside when in the capital. At the end of the decade Hilton joined the stable of Waddington Galleries, who offered the security of a £360-a-year stipend, which enabled him to give up his teaching position at the Central School of Art and led to a series of highly praised and commercially successful exhibitions. And by 1959 he had met fellow painter Rose Phipps, who would spend that summer with him in Newlyn, and who he would later marry.Dating to October of that very year, the present work, and other such examples, display a new bravado from an artist who had already developed a highly confident manner of working. The hardened edges of his earlier neo-plastic forms give way to rolling masses, armatures and details utilised in such a balanced economy of mark-making that they become highly suggestive. An audaciousness enters his technique; charcoal traditionally associated with underpaintings is purposefully laid bare or, as in the current example, unmixed pigment is tubed directly onto the canvas. Whilst his idiom presents initially as abstract, reference points are increasingly identifiable with his most returned to source being the female form. Writing in 1961, Hilton concluded how at least artistically he had resolved the various quandaries this period had presented him with:'Abstraction in itself is nothing. It is only a step towards a new sort of figuration, that is, one which is more true. However beautiful they may be, one can no longer depict women as Titian did. Renoir in his last pictures had already greatly modified her shape... For an abstract painter there are two ways out or on: he must give up painting and take to architecture, or he must reinvent figuration' (ex.cat., Roger Hilton & Alan Bowness, Roger Hilton, Galerie Charles Lienhard, Zurich, 1961)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Boydell (John & Josiah) A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty The Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton in Norfolk; with Plans, Elevations, Sections, Chimney Pieces & Ceilings, 2 vol., first edition, text in English and French, engraved portrait frontispiece of Empress Catherine II by Caroline Watson after Alexander Roslin in vol. 1, vol. 2 lacking portraits frontispiece of Robert Walpole, engraved titles with vignettes, engraved dedication to vol.1, 28 engraved plans, elevations and interiors of Houghton Hall on 19 sheets, and 129 plates on 105 sheets (1 double-page), mostly engravings or mezzotints from paintings by Bartolozzi, Boydell, Farington, Earlom, Green, Fittler, Heath and others, after Rembrandt, Poussin, Claude, Leonardo, Caracci, Rubens, Titian and others, many excellent impressions, well inked with strong contrasts, and including some scratched letter and unlettered proof impressions, titles and dedications with some spotting, chips and repaired tears, vol. 2 with dampstaining to lower corner, heavier at start, mostly to margins but straying into a few images, double-page plate with tape repair to verso, a few plates creased, a few short tears to margins, some repaired, a few plates trimmed within margins, bookplates to pastedowns, modern half morocco, [Brunet I, 1192; Lowndes III, 856], large folio (670 x 495mm.), John and Josiah Boydell, 1788.⁂ Large and finely engraved record of the large collection of paintings formed by Sir Robert Walpole at Houghton Hall sold en bloc to Empress Catherine II of Russia. Provenance: James Archibald Campbell (1807-1879, bookplate with autograph note: "These two volumes... offered to me... by James Archibald Cameron, in apparently good health, Dec. 9, 1879. Mr Campbell died the same evening about 9p.m.").

A PAIR OF ITALIAN MINIATURE BRONZE BUSTS OF TITIAN AND RAPHAEL, C1900, RICH LIGHT BROWN PATINA, 10CM H AND A PAIR OF CONTEMPORARY CLASSICAL STYLE BRONZE VASES, CAST WITH A BACCHANTE AND PIPER (4) The lot in good condition

ARISTOTLE (384-322 B.C.).  De Animalium generatione libri quinque cum Philiponi Commentariis. Venice: Joannes Antonius and Fratres de Sabio, February 1526.Folio (303 x 207 mm). Text opening printed in red and black, text printed in Greek with commentary surround. (Several leaves with lower outer margin slightly gnawed, a few with old repairs, some dampstaining and wrinkling.) Old vellum (endpapers renewed, some minor losses to joints, hinges starting, some soiling). Provenance: A few marginal notes in an early hand; John S. Eells, Jr. (blindstamp). A humanist edition, with commentary by John Philiponus, known as John the Grammarian or John of Alexandria. Adams A-1789; Wellcome p.190.[Bound with:]PHILIPONUS, John (ca 590 - ca 570). Contra Proclum de Mundi Aeternitate. Venice: Bartholomaei Casterzagensis [Bartolomeo Zanetti] and John Francis Trincavelli, 1535.  Folio. Text printed in Greek; woodcut initials and head-pieces. (A few leaves with repairs to upper margin affecting a few letters, a few repairs to lower corners.)THE RARE EDITIO PRINCEPS of Philoiponus' influential scientific work in which he criticizes Proclus' belief in an external world. The work is one of the first published in Venice by Bartolomeo Zanetti from Casterzago, with his device on the title-page reportedly after Titian. Adams P-1060.  Property from the Collection of Edward A. QuattrocchiFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

A collection of Hancock and Sons Titian Ware including jardiniere, vase, ginger jar, pair of spill vases and a tray Condition Report: Available upon request

Zes aardewerk terrines, 19e/20e eeuw, w.o. wit ronde terrine Petrus Regout, Adam " Titian Ware' e. a. h. 27 cm. max [6]

Six large 19th century and earlier monochrome engravings including ‘The Vendramin Family’ after Titian, 40 x 57cm, ‘The Blind Hermit’ after Thomas Stothard, ‘A Midnight Modern Conversation’ after Hogarth, etc, housed in large part marbled folio (af).Additional InformationFolio heavily worn, cover loose, tears, scratches etc throughout, one of the images with small surface tear, others with creasing, marks, discolouration etc, tears to mounts.

NO RESERVE Italian Art.- Agosti (Giovanni) & Dominique Thiébaut. Mantegna 1431-1506, original boards, Paris, 2008 § Furlotti (B.) & Guido Rebecchini. The Art and Architecture of Mantua, original boards, dust-jacket, 2008 § Humfrey (P.) & others. The Age of Titian: Venetian Renaissance Art..., Edinburgh, 2004 § Brown (D.A.) & others. Bellini, Giorgione, Titian and the Renaissance of Venetian Painting, Washington DC, 2006 § Syson (L.) & Dillian Gordon. Pisanello: Painter to the Renaissance Court, 2002 § Motta (F.) Sebastiano del Piombo 1485-1547, Rome, 2008, illustrations, many colour, all but the first two original wrappers; and c.30 others on Italian art, mostly Renaissance and Venetian, 4to & 8vo (c.35)

After Tiziano Vecellio, called Titian, 17th CenturyThe head of a young woman in a pearl headdress oil on canvas46.5 x 36cm (18 5/16 x 14 3/16in).unframedFor further information on this lot please visit Bonhams.com

After Titian, portrait of a girl, bust length, bust length, her head turned, oil on canvas, 49 by 34cm, gilt metal frame

Seven Coloured Glass Candle Holders, lustre bowl with wavy rim, Crescent, Allerton, Minton, Titian and other plates, Von Siebenthal Gtaad ware, etc.

LÉONARD TSUGUHARU FOUJITA (1886-1968)Femme allongée, Youki signed and dated 'Foujita 1923' and further signed in Japanese (lower left); signed 'Foujita' and further signed, inscribed and dated in Japanese (on the stretcher)oil on canvas50 x 61.2cm (19 11/16 x 24 1/8in).Painted in Paris in December 1923Footnotes:ProvenancePrivate collection, ParisPrivate collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Palais à la Porte Maillot, Salon des Tuileries, 1924.Paris, Musée de Montmartre, Léonard Tsuguhuaru Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 14 (later travelled to Tokyo). Dinard, Palais des Arts du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 51.Kawamura, Kawamura Memorial DIC Museum of Art, Léonard Foujita et ses modèles, 17 September 2016 - 15 January 2017, no. 16 (later travelled to Iwaki, Niigata & Akita).Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 79. LiteratureF. de Miomandre, 'Foujita', in L'Art et les artistes, Paris, Vol. XXIII, no. 120, October 1931 (illustrated p. 14; titled 'Femme couchée' and dated '1924').S. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 23.30 (illustrated pp. 29 & 187).In the three decades from the Meiji Restoration until the turn of the century in 1900, Japan had changed in the most profound way. Closed off to the Western world throughout the Tokugawa shogunate, Japan had maintained the purity of its traditions in a way that seemed unimaginable to its contemporaries in the melting pot of central European culture. This was certainly true of the Arts, as painters and craftsmen revived and refined the ancient styles of painting, wood-blocking and porcelain production. When Japan threw off this self-imposed isolation in the 19th Century, a new wave of painting was promoted by the government to reflect the cultural rebirth and global reintegration: yoga, or Western, style. Artists were now encouraged to travel to Europe, seeking an exchange with their French, Dutch and Italian counterparts, returning to Japan well-versed in the aesthetic developments they had encountered there. One young artist who set off on this journey of discovery was Tsuguharu Foujita. However, he did not return to Japan shortly after his training in Paris: he went on to become one of the leading figures of the European avant-garde. By blending both Eastern and Western canonical traditions, and elevating them with a talent entirely of his own, Foujita remains one of the most significant figures to emerge from this period of cultural exchange. Born not long after the reopening of Japan to the West, Foujita trained as a yoga painter at the Tokyo National University of Fine Arts and Music, and shortly thereafter moved to France with the intention of immersing himself in the art and culture of Paris, the epicentre of the international art scene. Perhaps Foujita's intentions were never to return to Japan bringing with him an understanding of the current French practice, but it soon became clear upon his arrival that he would not be satisfied with mere artistic reportage. Within a decade of his arrival in 1910, Foujita had attained critical success, and was a leading light of the Montparnasse scene, alongside his friends and fellow artists Amedeo Modigliani, Chaïm Soutine, Pablo Picasso and Fernand Léger. The end of the First World War in 1918 brought with it a new dawn in Paris. As Fernand Léger described it, 'man could finally lift his head, open his eyes, look around him and enjoy once again a taste for life' (Léger, quoted in S. Buisson, Léonard Tsuguharu Foujita, ACR Edition, Vol. I, Paris, p. 80). The Grand Palais reopened the following year, after spending the war as a barracks, and a Salon d'Automne was organised in which Foujita took part alongside some of the great names of the day: Matisse, Bonnard, Marquet. Foujita became a regular fixture at the annual Salons, and through these occasions he began to gain greater and greater acclaim. After the heartache of losing his close friends Amedeo Modigliani and Jeanne Hébuterne in 1920, Foujita threw himself ever more fervently into the practice of his art. He gained critical success for his serene still-lifes, and portraits embodying both his Eastern traditions and the most thrilling elements of the avant-garde. By the time the current work, Femme allongée, Youki, was exhibited in the Salon des Tuilieries in 1924, Foujita was at the very height of his 'golden-age'. Painted in 1923, the present work is one of the most alluring of Foujita's grands nus: a series of medium and large-scale canvases depicting the odalisque of the European tradition, seen through the prism of the Japanese painter's unique vision. Around 1920 Foujita moved away from the brighter palette he had adopted during the 1910s, and developed a restrained palette of greys, browns, blacks and creamy whites. Foujita even created a technique called nyhakushoku, or 'milky white', that he used to paint the serene tones of his nudes' skin. He employed these almost monochrome hues with devastating effect: in the present work, Foujita has used a smoky black to depict the background of the bedroom, throwing his sitter's alabaster skin into stunning contrast. Upon close study the subtle variations in her skin tone become clear, the shell-pink of her nipples and lips, and the shadows highlighting her breasts. The warm brown of her wavy hair identifies the sitter as Lucie Badoud, or 'Youki' as she was called affectionately by Foujita. The close perspective takes the viewer into the bed itself, enveloped in the soft grey ripples of the bed linens and the darkness of the intimate space Foujita has created. Youki gazes directly at the viewer, as if looking in to the eyes of her lover. The Japanese writer Teiichi Hijikata remarked that 'the skin [of Foujita's nudes] has the smooth and sparkling surface of porcelain, containing all the charm of white with none of the coldness' (Hijikata, quoted in S. Buisson, ibid., p. 96).Foujita had noted that the nude was all but absent from Japanese art, and that he had made a conscious decision to focus on the subject, looking to the greats of the Western canon, for whom the female nude had been a cornerstone since the Italian Renaissance. In 1921 the artist travelled to Italy, and encountered many of the great Western paintings so admired throughout the centuries. Painters like Michelangelo, Titian and Raphael were to become as important for Foujita's artistic development as Picasso and Modigliani had been during the preceding decade. It is likely, for instance, that Foujita would have seen The Venus of Urbino during this formative trip, and one cannot behold Femme allongée, Youki without recalling the direct gaze and gently downward tilting face of Titian's golden-haired beauty. Foujita's obsession with the female nude during the early 1920s can be seen partly as a response to his discovery of the Old Masters, but also as a conceptual choice very much tied to his Japanese heritage. Foujita applied the Japanese concept of Geidō, which means 'the way of art', to his practice. This concept encompassed the idea of an artist only attaining greatness through an apprentice-like devotion to perfecting technique. He believed that only through applying himself with an almost monkish devotion to his practice, could he then introduce an element of individuality and creative greatness to his work. This goes some way to explain Foujita's somewhat repetitive 'self-copying', as Sylvie Buisson refers to it, (S. Buisson, op. cit., p. 92), where the artist returned ... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

* Zdzislaw Ruszkowski [1907-1990]-Climbing The Stairs; Mrs Ash and Katherine,:-signed bottom rightoil on canvas, 108 x 84cm.* Notes Exhibited. Leeds City Art Gallery and Temple Newsam House.* 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 live in 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 stayed in 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 until 1944. 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.

The Holy Family; the Virgin and Child being brought a basket of fruit by the Infant St John the Baptist, St Elizabeth kneeling to the right, a mountainous landscape beyond, St Joseph seated in the left distance in a wood oil on canvas 134 x 131cmFootnote: Provenance: Austrian private collection until sold, London, Christie's, 13th July 2001, lot 236; when acquired by the present owner The figure of the infant Baptist here, derives from a painting by Titian - dated by Wethey (Titian, Catalogue Raisonne , 1969, vol. I, pl. 42) to circa 1535 - now in the Dijon Museum, in which instead of holding a basket of fruit, he is caressing a lamb; the figure of St Elizabeth in the present painting is indebted to Titian's Mater Dolorosa of 1554, now in the Prado, Madrid (Wethey, pl. 97).Condition report: Oil on canvas which has been lined. There is a horizontal seam along the lower edge with fill and retouching. The paint layer has a network of prominent age cracks, there is an area of slightly raised paint at the upper right corner. Some cracks have developed a slight bloom. The paint layer is a very worn in areas. Small damages have been filled and retouched. The most recent areas of retouching are slightly matte compared to the surrounding paint layers. The varnish is semi-matte and even, there are a few light scuffs across the surface. The gilding on the frame is slightly raised and flaking, old losses have been toned.

Large print of board picture of Venus of Urbino by Titian in an ornate gilt frame. Overall dimensions 107 x 79 x 5 cm D. Not available for in-house P&P.

Guyana 1988-1989-500th Anniversary of Birth of Tiziano Christmas issues miniature sheets used showing paintings by Titian and Rubens (6)

(Treviso, 1500 - Venezia, 1571)Caccia al cinghiale di CaledonioOlio su tavola, cm 31X110Provenienza:Roma, Galleria Bonatti (1948)New York, Galleria Wildenstein & C. (1952) Milano, Finarte, 16-25 marzo 1962, lotto 9Bibliografia:Archivio Zeri, n. 38912 (come Paris Bordone)B. Berenson, Italian Pictures of the Renaissance. Venetian School, 1957, vol. I, p. 49/vol. II, n. 1127 (come Paris Bordone)G. Canova, Paris Bordon, Venezia 1964, p. 133 (come attribuito a Paris Bordone)F. E. Dabel, Venetian Paintings from Titian to El Greco, New York, Piero Corsini Inc. 1991, pp. 36 - 41 (come Paris Bordone)A. Donati, Paris Bordon, Soncino 2014, pp. 349 ; 340, n. 140 (come Paris Bordone)Il dipinto non raffigura come erroneamente detto la Morte di Adone, ma descrive la caccia al cinghiale Caledonio, che secondo la mitologia greca era di straordinaria possanza e compare in diversi miti come antagonista di grandi eroi. Nato dalla scrofa di Crommio, Caledonio fu mandato da Ares per uccidere Adone quando costui si innamorò di Afrodite. L'artista evoca al meglio la favola pastorale ambientandola in un paesaggio di gusto tizianesco, in parte ancor memore di Palma il Vecchio, connotato da una vivace colorazione e fusione desunta da Giorgione. Infatti, quanto mai emulo dell'artista di Castelfranco è il sentimento cromatico, aspetto che non mancò di osservare il Vasari, ricordando che Paris si mise in animo di volerne per ogni modo seguitarne la maniera, 'e così datosi a lavorare ed a contraffare dell'opere di colui, si fece tale, che venne in bonissimo credito- onde nella sua età di diciotto anni' (Cfr. G. Vasari, Le vite..., a cura di G. Milanesi, VII, Firenze 1881, pp. 461-466). Ed è su questo assunto che possiamo quindi collocare alla giovinezza la nostra composizione, prossima per analogie di stile 'all'Apollo e Dafne' conservato al Seminario Patriarcale di Venezia (cfr. Bonicatti 1964) e con 'la Diana cacciatrice e una ninfa' della Samuel H. Kress Foundation di New York. Ma se l'influenza giorgionesca in Vasari assume una valenza topica, è indiscutibile che in quegli anni il Bordon fu l'artista più vicino per sentimento e ricerca al Tiziano. A evidenziare ulteriormente l'importanza dell'opera è altresì la sua autorevole storia critica e collezionistica che sulla scia degli studi di Bernard Berenson, giunge alla Galleria Wildenstein di New York quando il celebre studioso è in procinto di passare il testimone di consulente del celebre antiquario a Federico Zeri. Bibliografia di riferimento:M. Bonicatti, Per la Formazione di Paris Bordon, in Bollettino d'Arte, 1964, IV, serie III, pp. 249 ; 251