There are 652 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeANDRESEN BJORN: (1955- ) Swedish Actor and Musician. Best known for his fourteen years old role, Tadzio, in Luchino Visconti´s film, adaptation of the Thomas Mann novel, Death in Venice (1971). A good signed 8 x 11 photograph, the image showing the teenager Andresen standing in a half-length pose, in a scene of Death in Venice (1971). Signed `B. Andresen´ in dark ink across the image. VG
THE MOODY BLUES VINYL (9): In Search of the Lost Cord, plus Long Distance Voyage, plus Days of Future Passed, Seventh Sojourn, On the Threshold of a Dream, Every Good Boy Deserves Favour, To Our Children's Children's children, A Question of Balance (all Signed: Justin Hayward, John Lodge, Ray Thomas, Graeme Edge); plus Sur La Mer (Signed by the producer: Tony Visconti). (9)
VERA LYNN VINYL: The world of; GALLAGHER & LYLE: The Best Of (Gallagher); ROBERT HOWES & ROD ARGENT: Rescue (Argent); BOB MARLEY & THE WAILERS: Babylon by Bus (Marcia Griffiths); MALCOLM McLAREN & the world..: Buffalo Gals (Trevor Horn); RALPH McTELL: Easy (McTell & Tony Visconti); THE MERCEY BROTHERS: Comin’ on Stronger (Signed all three); MONTY PYTHON & THE HOLY GRAIL: Album of soundtrack (Michael Palin, Terry Jones, John Gleese, Terry Gilliam); Plus: Monty Python live at the O2: Flyer (Palin), Plus: The Shameless Book (Palin & Gillian); JUSTIN HAYWARD & JOHN LODGE: Blue Days (signed both); JUSTIN HAYWARD with MIKE BATT: Classic Blue (signed by both); JOHN HIATT: Slow Turning (sleeve only), Signed. (12)
ELAINE PAIGE VINYL (4): Love Hurts; Stages; Cinema (All 3 signed Elaine Paige and Tony Visconti) and The best Memories; MIKE OLDFIELD (2): Tubular Bells plus Take 4; IAN DURY: New Boots and Panties (Ian & Baxter Dury and Chaz Jankel); HARRY SECOMBE: The Four Musketeers; GILBERT O’SULLIVAN: Greatest Hits. (9)
(Milano 1819 - 1886)Cm 45x55 | In 17.72x21.65Oil on canvasThe son of Carlo, an accountant employed by Marquis Giuseppe Arconati Visconti in 1840, he graduated in law from the University of Pavia. He soon abandoned the idea of a career as a lawyer and in 1842 he presented a series of genre paintings at the Brera exhibition. Following in the footsteps of Domenico Induno, Salvatore Mazza later chose to focus on realistic painting, as opposed to the dominant Romantic current that preferred courtly and historical painting. In 1844 he presented at Brera two canvases with episodes from the Greek War of Independence and genre paintings of popular settings. He undertook long study trips to the Papal States and the Kingdom of the Two Sicilies, taking new insights from life in the cities and villages and filling his albums with sketches of landscapes and figures. Back in Milan he painted Funerale nella Campagna romana, Briganti calabresi, La maliarda (1845) and Predica al santuario nelle vicinanze di Sora (1847). With his father Carlo and older brother Giuseppe he distinguished himself in March 1848 during the defense of Milan from Austrian troops. Many years later he collected his memories in the autobiographical book The Five Days of Milan (1885), in which he described his experience among Carlo Cattaneo's supporters. On the same theme he painted in 1850: Scene of the Five Days in Via Santa Radegonda, Scene of the Five Days at Porta Tosa, Milanese Nocturne and Milan March 18, 1848 the beginning of the Five Days Revolution. With his brother Giuseppe he militated in the ranks of the Piedmontese army during the Campaign of 1859. A versatile artist, he devoted himself to writing historical novels, such as Il memoriale di frà Luca d'Avellino-set in 18th-century Naples and embellished with some 800 of his illustrations, including genre scenes and landscapes, done with a quick and sure touch-and Fantasie artistiche e letterarie. Between 1850 and 1854 he presented 28 paintings at Brera, including I bravi alla Malanotte, a subject from The Betrothed. Two of his mountain landscapes-A Hurricane on the Apennines and The Fall of the Sun-were published. In 1856, he was awarded the Mylius Prize with the painting A Herd at Rest. He also made medium or small canvases, with landscapes and with animals, to please the tastes of the Milanese bourgeoisie. He often painted en plein air, as he recounted in Gite d'artista e studii dal vero: descrizioni e racconti. He worked particularly on the pre-Alpine and Apennine hills, following the method favored by other Lombard landscape painters, such as Giovanni Battista Lelli and Gaetano Fasanotti (1831-1882). As a draftsman, caricaturist, and cartoonist, he collaborated on satirical newspapers, including Lo Spirito Folletto and Leone Fortis's two Milanese magazines Il Pungolo and Panorama, in which Cletto Arrighi, Ippolito Nievo, Venetian playwrights Paulo Fambri and Vittorio Salmini, and Giuseppe Rovani wrote. As an illustrator he collaborated on Franco Mistrali's I misteri del Vaticano o La Roma dei papi (1861-62), published in four volumes? a curious and anticlerical reinterpretation of Church history. His painting La stalla di un albergo was awarded a prize at the 1861 National Exhibition in Florence, while his canvases Il pensieroso, Il maniscalco, and Stalla rustica were presented at the 1867 Universal Exhibition in Paris. He was elected a member of the council of the Brera Academy; he reviewed exhibitions in the Milanese newspapers Il Pungolo and La Lombardia, then in L'Illustrazione Italiana. He was an honorary member of the art academies of Mantua and Urbino. A portrait of him as a young man, painted by his brother Giuseppe, is in Milan at the National Center for Manzonian Studies, Casa Manzoni. He died in Milan on October 24, 1886. An early portrait of him, autographed by his brother Giuseppe, is in Milan, Centro nazionale di studi manzoniani. The Milanese Mazza family gave three artists: Salvatore Mazza - who as a cartoonist signed himself Salvatore - his brother Giuseppe (Milan, 1817 - Milan, 1884), a painter of historical and genre subjects, and Aldo (Milan, 1880-Gavirate, 1964) - Giuseppe's son - who was a painter, publicist, cartoonist and caricaturist.
DAVID BOWIE - THE MAN WHO SOLD THE WORLD LP - ORIGINAL UK 'DRESS SLEEVE' COPY - 'TONNY' (MERCURY 6338 041). Fantastic to see very first UK pressing of the iconic 1971 LP from Mr Jones. This copy features the controversial and quickly withdrawn 'dress' sleeve and contains the misspelling of Tony Visconti on the labels showing 'Tonny' on both sides. The record is in smart Ex condition showing a few light and minor paper scuff marks, these never at all heavier feelable scratches. With a fantastic glossy lustre to the playing surfaces. Matrix/runout: 6338041 1Y//1 ∇ 420 1 1 4 & 2Y//1 ∇ 420 1 1 1. With original British Patent inner '11 0371'. The iconic original textured 'dress' sleeve is in great Ex condition. A lovely clean example, there is a little edgewear and a small staining 'spot' to the bottom reverse right section. Elsewhere in fantastic shape without any rips, tears or seam splits and with the spine fully legible.
DAVID BOWIE - SPACE ODDITY LP - 2019 GOLD VINYL PRESSING - ONE OF 50 COPIES (DBSOLP50). A phenomenal contemporary David Bowie rarity with this exclusive '50th Anniversary Tony Visconti Mix' gold vinyl pressing of the iconic 1969 LP. This gold vinyl pressing was limited to just 50 copies with this copy hand numbered on the label '1990' (the records were hand numbered on the labels '1970' to '2019'). The record is in 'as new' condition showing few discernible marks. The gatefold and outer slipcase sleeves are in 'as new' condition showing very little wear. Housed with the original hype sticker on the outer sleeve which is still with the original shrink.
Graceful, golden bracelet, fine workmanship, with diamonds. Giorgio Visconti. 0.32 carats of diamonds. Weight: 10.40 gr. With manufacturer's certificate and case.Condition: ExcellentMaterial: Gold 750, DiamondsProduct sizes: Height - 8.5cmwidth - 7.5cmLocation: Gallery "Antiqon", Brivibas street 52, Riga, Latvia Warranty: Seller WarrantyCountry: ItalyPeriod: 21th century
Lombardischer Maler des 18. JahrhundertsSTADTVEDUTE MIT DEM MAILÄNDER DOMÖl auf Leinwand.74 x 97,5 cm.Seltenes Dokument des ehemaligen Zustands des Domes zu Mailand, mit dem davor liegenden Platz und den angrenzenden Gebäuden. Die Bauzeit zog sich – wie bei allen Kathedralen Europas - über Jahrhunderte hin. Von Gian Galeazzo Visconti 1388 begonnen, stand der Baustil unter dem Einfluss der französischen und deutschen Gotik. Der hier sichtbare Vierungsturm wurde im Jahr 1500 vollendet. Die Domfassade war zur Zeit des Gemäldes noch weitgehend unfertig, die Pilaster nur in Dreiviertelhöhe fertiggestellt, darüber die Bossen sichtbar. Erst im Auftrag Napoleons, der sich 1805 zum König von Italien krönen ließ, baute Giuseppe Zanola an der Fassade im neogotischen Stil weiter, die 1813 von Amati fertiggestellt wurde. Diese Baudaten lassen die Entstehungszeit des Gemäldes genau feststellen. Demnach ist hier der Zustand von etwa ab 1805 und vor 1813 zu sehen. Dies entspricht auch der Kleidermode der Staffagefiguren, darunter ein Herr bereits im Zylinder. Zudem ist hier im Bild der Bauzustand des im Licht stehenden Arkadengebäudes zu sehen, das erst unter König Vittorio Emanuele II durch die „Galleria“ ersetzt und 1867 eingeweiht wurde. Links im Bild ein Gebäude mit zeitentsprechendem Eingang wohl zu einem Kaffeehaus. Die bisherige frühere Datierung des Gemäldes muss also zwingend revidiert werden.A.R. (1341146) (11)School of Lombardy, 18th centuryVEDUTA OF THE CITY WITH MILAN CATHEDRAL Oil on canvas.74 x 97.5 cm.Rare document of the former condition of Milan Cathedral with the square in front of it and adjacent buildings. The construction dates allow to exactly pinpoint the creation date of the painting, namely the condition of ca. 1805 and before 1813. This also corresponds to the fashion of the staffage figures, including a gentleman already wearing a top hat.
WLADYSLAW IV VASA: (1595-1648) King of Poland 1632-48. A renowned Patron of the Arts. Wladyslaw gained fame when he defeated the Ottoman Empire and was elected Tsar of Russia by the Seven Boyars in 1610, although he did not accept the Russian throne. Rare L.S., `Vladislaus Rex´, one page, 4to, Smolensk, 4th January 1634, to Monsignor Visconti, Archbishop of Larissa and Apostolic Nuncio, in Italian. Wladyslaw sends a kind and affectionate letter to Reverend Visconti on the occasion of the New Year festivities, sending his best wishes and stating in part `…che abbiamo del buen animo de V.S verso di noi coll´ augurio di felicita che ci ha fatto … del Santo Natale…´ The letter describes the location where the King is as `Dal Campo sopra Smolensco´ (“From the fields above Smolensk”) With address leaf, bearing an attractive Royal paper seal affixed in fine condition. The letter has been professionally repaired reinforcing the pages. Overall age wear, otherwise about G Nuncio Honorato Visconti (?-1645) Archbishop of Larissa
HENRY IV: (1553-1610) King of France 1589-1610. A fine L.S., Henry, one page, folio, Saint-Germain-en-Laye, 14th August 1603, to Cardinal Visconti ('Mon Cousin'), in Middle French. The King announces the baptism of his eldest son, the future Louis XIII, and states that his letter will be delivered by Cardinal de Joyeuse who 'rendra aussi tesmoignage de laffeon que Je Vous porte et du desir que Jay de vous voir continuer en la bonne volonté que vous me portez' (Translation: 'will also testify to the affection I have for you and the desire I have to see you continue in the good will you have for me') and further adding 'Il vous dira lesperance que Jay de fe baptiser lannee prochaine mon filz et de vous voir aussy par mesme moyen dont Je me resiouis' (Translation: 'He will tell you of the hope I have of having my son baptised next year and of seeing you also by the same means, which I rejoice over'). Countersigned at the foot by Deneuthille (?) and with a manuscript address panel and contemporary docket to the verso. One light, minor stain, just affecting a few words of text, and with some light age wear to the edges, otherwise VG Alfonso Visconti (1552-1608) Italian Roman Catholic cardinal and diplomat, Bishop of Spoleto 1601-08. Louis XIII (1601-1643) King of France 1610-43. The eldest son of King Henry IV and his second wife Marie de' Medici, Louis XIII became King of France shortly before his ninth birthday, following the assassination of his father. The Fils de France was baptised on 14th September 1606.
VISCONTI LOUIS: (1791-1853) Italian-born French Architect. Visconti designed many Parisian public major buildings including the Pace Saint Sulpice, the Fontaine Moliere, and is most remembered and famed for designing the 1842 tomb of napoleon at Les Invalides. An excellent content A.L.S., Visconti, three pages, 8vo, n.p., 29th April, n.y., in French. At the time of the present letter Visconti is building Napoleon´s monumental tomb. Visconti comments to the beginning of the letter how spoiled are his friend´s children and predicts a difficult future, further reporting about his work, and refers to the Louvre museum and to some projects, saying `… tout est dit dans ce siècle de progress..´ ("Everything has been said in this century of progress") Further again and to a post-scriptum, Visconti refers to Napoleon´s tomb, stating ` At the time of the present letter Visconti is building Napoleon´s monumental tomb, stating in part `Le Sarcophage avance. Les pieds sont terminés, le corps est assemblé. Le couvercle est tout ébauché, mais il n'est pas taillé ni poli. Il y a dessus 8 personnes´ ("The Sarcophagus advances. The supports are finished, the body is assembled. The lid is all designed, but it is not cut or polished yet. There are 8 people working on it") Very small minor staining, otherwise G
Collection of seven facsimile Books of Hours, comprising: The Hours of Etienne Chevalier, London: Thames & Hudson, 1972, small quarto, cloth, in slipcase; The Rohan Book of Hours, T&H, 1973, large octavo, cloth, in slipcase; The Visconti Hours, T&H, 1972, large octavo, cloth, in slipcase; Les Belles Heures de Jean Duc de Berry, T&H, 1974, large octavo, cloth, in slipcase; The Tres Riches Heures of Jean, Duke of Berry, New York: George Braziller, 1969, large octavo, cloth, in slipcase; The Wharncliffe Hours, T&H, 1981, octavo, cloth, in slipcase; Le Livre du Cueur d'Amours Espris, T&H, 1975, large octavo, cloth, in slipcase. All in fine or near-fine condition. Together with two reference books on manuscript painting and Books of Hours (9)
David Bowie LP, The Man Who Sold The World LP - Original UK Release 1971 on Mercury (6338 041) - Textured Non Flipback 'Dress' Sleeve with 'SBL Price Code' and 'Published by Titanic Music Ltd./Chrysalis Music Ltd' on rear - Black / Silver labels with correct 'Tony Visconti' spelling and Titanic Music credit for all tracks - Original 'British Patent' Inner Sleeve - Sleeve VG+ (light ringwear to front, light wear to edges and original owner's name written on rear under the track listing), Vinyl EX-
VISCONTI "ARTE MUDEJAR" FOUNTAIN PEN.Beige resin barrel screen-printed with Mudejar art.Limited edition. Exemplary 090/600.Two-tone 18 kts gold nib. Point F.Screw cap. Piston loading.No box. It presents slight deterioration little appreciable in some metallic parts.Measurements: 15 cm. in length, 17 mm. in diameter.The Mudejar Art, the pen is created with finely carved cut engraved ivory resin in the Mudejar art style, a method where the intricate design is cut by hand, in the resin when the engraving is complete the engraving is filled with copperplate printing ink and left to dry for at least three days. After drying the excess ink is removed to reveal the beautiful design below.The Visconti Arte Mudéjar Aragonés Limited Edition is made of ivory-coloured resin, which is then decorated using the scrimshaw carving technique and then the carving is stained with colour to make the design visible.In this piece, as its name indicates, we can see different motifs from the Aragonese Mudejar art that was prevalent between the 12th and 17th centuries, taken from the Aljaferia Palace in Zaragoza.On the crown is the classic anagram of the house made of metal and on the clip we can see the name of the brand.
VISCONTI FOUNTAIN PEN "DIVINA COMEDIA".Vanilla-coloured celluloid barrel with black carvings and silver details and ornamentation.Limited edition. Exemplary 244/388.Two-tone gold nib 18 kts. M point.Screw cap. Piston loading.No box.Measures: 14,1 cm. length, 13 mm. diameter.For Visconti, the origin of Dante's birth and work "The Divine Comedy", deepens the motivation and connection of Visconti's production of this artistic masterpiece. The body of the pen is made using the Scrimshaw carving technique, which traditionally involves manually carving the pattern of the ornaments in ivory and finally applying ink. The top of the cap features a silver angel, which dominates this fountain pen. It is a rather unusual limited edition.
VISCONTI "SKELETON" FOUNTAIN PEN, 2000.Titanium barrel.Limited edition. Exemplary 668/888Two-tone 18 kts gold nib. M point.Screw cap. Piston loading.No box.Measurements: 14 cm. length, 17 mm. diameter.The Limited Edition Visconti Skeleton Titanium, as is logical, is made of titanium which is worked by making the necessary cuts to reveal a kind of skeleton formed by the letters "V", corresponding to Visconti and which is superimposed on the transparent acrylic material, which allows us to appreciate both the nib and the charging system.On the cap we find a crown with a metal button with the anagram of the brand, and placed on titanium; the clip is the normal and usual of the house also made of titanium and the surface of the cap worked as we have explained; at the bottom, below the clip, we find the engravings "TITANIUM" and "SKELETON" and on the back, "VISCONTI" and the number of nibs on the total of the edition.On the barrel we have another titanium sleeve with the same decoration mentioned above, on a transparent acrylic bar, which when loaded with ink reveals the amount of ink available for writing; a solid titanium butt and on the nozzle, again made of titanium, we have a small translucent window crossed by several "V"; the nib is made of 18K gold, The nib is made of the brand's customary 18K gold, two-tone, by selective application of a platinum plating, where in addition to the decoration we find "VISCONTI", "18K - 750" and "FIRENZE"; the loading system is the so-called Double Reservoir Power Filler, which according to Visconti, provides a charge seven times greater than that of a cartridge.
VISCONTI "WALL STREET" FOUNTAIN PEN.Blue and silver striped celluloid barrel with silver ornamentation and details.Limited edition. Exemplary 0919/4000.Two-tone 18 kts gold nib. F point.Screw cap. Loading by cartridge.No box. It presents deterioration in the metallic zones.Measurements: 14.4 cm. length, 12 mm. diameter.This fountain pen is highly symbolic not only in its shape (circle/square) or in the number 4 (the 4 elements), but also in its material, reminiscent of the wall and the Manhattan skyline at night, from which its name is inspired: Wall Street, another symbol, the centre of world finance in modern globalisation. Visconti claims that in fact it is not round like any other pen and it is not square, which would make it unergonomic. It is simply unique like all things that yearn for perfection. The perfect proportion of the volumes of the body cap and the essential and elegant shape of the clip and its perfect mechanism complete this three-dimensional masterpiece. The Wall Street model, inspired by the financial capital of the world, features an innovative square profile design, with beautiful striped celluloid colours reminiscent of the famous Parker Vacumatic. A pen that you can stare at for hours without getting bored, this one comes equipped with a 14K M gold point that offers plenty of flexibility when writing.
VISCONTI "THE DRAGON" FOUNTAIN PEN.Celluloid barrel with sgraffito by Claudio Mazzi and silver details and ornamentation.Limited edition. Exemplary 307/888.Two-tone 18 kts gold nib. M point.Screw cap. Piston loading.No box. It presents slight deterioration little appreciable in some metallic parts.Measurements: 14.5 cm. length, 12 mm. diameter.Limited production of 888 pieces, "The Dragon" by Visconti in 2000, with a fine-tipped nib in 18 carat gold. The fountain pens are hand-painted with an airbrush by Claudio Mazzi. Claudio Mazzi's style is reminiscent of 1980s posters and heavy metal album covers. In the shape of the Visconti clip, but with the difference that it is not engraved with the brand name, it has a bridge with a hole in the middle.The central ring is rhodium-plated and cam engraved "Visconti - The Dragon". The letters of this engraving are engraved in gothic style.
VISCONTI AMIGDALA "YOU AND ME" FOUNTAIN PEN.Bright reddish orange resin barrel and silver ornamentation and details.Limited edition. Exemplary 060/500.Two-tone 18 kts gold nib.Screw cap. Cartridge charge.No box.Measures: 14,6 cm. length, 12 mm. diameter. Orange fountain pen with swirls on the barrel and a more colourful cap, including golden sparkles. Silver trim. The cap also has a screw on the back of the cap to adjust how much the clip can be moved. Underneath the screw is an imprint, Visconti Amigdala. The numbering of the limited edition is below the clip. "You & Me" is printed just above the band of the three-ring cap, with an arrow through it.
VISCONTI "VERSAILLES" FOUNTAIN PENBlue acryloid barrel and sterling silver fittings and ornamentation.Limited edition.Nib in 18kt two-tone gold. M point.Screw cap. Cartridge charge.No box. It presents deterioration in the metallic zones of the upper part of the cartridge and in the lower part of the body.Measurements: 14.4 cm. length; 13 mm. diameter.The Regency of Versailles and Cardinal Richelieu are historically recognised symbols of the French state, the expression of power, refinement and intrigue. In his creation Visconti expresses the spiritual values of the French aristocracy in these two fountain pens through the colours, the filigree and the design of both pens.The simple profile of the fountain pen is confirmed by linear, rounded contours. The barrel and cap are made of a blue-coloured acryloid resin that gives the pen an elegant yet timeless look. Sterling silver plating surrounds the barrel in a unique design. It is completed with three sapphires, two adorning the clip and one on the end cap.
Collection of seven facsimile Books of Hours, comprising: The Hours of Etienne Chevalier, London: Thames & Hudson, 1972, small quarto, cloth, in slipcase; The Rohan Book of Hours, T&H, 1973, large octavo, cloth, in slipcase; The Visconti Hours, T&H, 1972, large octavo, cloth, in slipcase; Les Belles Heures de Jean Duc de Berry, T&H, 1974, large octavo, cloth, in slipcase; The Tres Riches Heures of Jean, Duke of Berry, New York: George Braziller, 1969, large octavo, cloth, in slipcase; The Wharncliffe Hours, T&H, 1981, octavo, cloth, in slipcase; Le Livre du Cueur d'Amours Espris, T&H, 1975, large octavo, cloth, in slipcase. All in fine or near-fine condition. Together with two reference books on manuscript painting and Books of Hours (9)
Astronomie - - Sigismund Visconti. Tableaux du systeme planetaire par Sigismond Visconti et. Adolphe Auguste Dufour. Mit 7 farbig in Punktierstich gestochenen Karten. (Paris: Charles Simonneau, 1830). 12° u. Folio. Hldr. mit gold RTitel u. Hldr. d. Zt. mit goldenen RTitel und blauem Deckelschild (etwas berieben). Houzeau & Lancaster 8172 (Nur der Textband). - Prachtvoller und seltener Atlasband mit dem meist fehlenden Textband. - Die eindrucksvollen 7 wunderschönen doppelseitigen Farbtafeln, die von A. Gianni nach den Zeichnungen von Sigismond Visconti für die ersten 5, von Visconti überarbeitet von Auguste-Henri Dufour für die 6 und von Dufour für die letzte Seite gestochen wurden, zeigen das Sonnensystem, den Orbit der jährlichen Umdrehung der Erde um die Sonne mit Angabe der Jahreszeiten, die Phasen des Mondes, die Eklipsen der Sonne und des Mondesm Fluss und der Rückfluss. Querschnitt durch die Erde, aufgenommen am Äquator und von der Seite des Arktischen Pols aus gesehen. - sowie die Planisphäre. Minimal vor allem an Rand seltener fleckig, wenige Knickspuren. Insgesamt gutes Exemplar in kraftvollen farbigen Abzügen. Selten. Astronomy. - Splendid and rare atlas volume with the text volume mostly missing. - The impressive 7 beautiful double-page color plates engraved by A. Gianni from the drawings of Sigismond Visconti for the first 5, Visconti revised by Auguste-Henri Dufour for the 6 and by Dufour for the last page, show the solar system, the orbit of the annual revolution of the Earth around the Sun with indication of the seasons, the phases of the Moon, the eclipses of the Sun and the Moonm flow and reflux. Cross section of the Earth taken at the equator and seen from the side of the Arctic Pole. - and the planisphere. Minimally spotted especially at margins rare, few traces of creases. Overall good copy in powerful colorful prints. Rare.
Mongez,A.: Iconographie ancienne, ou recueil des portraits authentiques des empereurs, rois et hommes illustrés de l'antiquité. 6 Tle. in 7 Bdn. Paris, Didot l'ainé, 1808-26. Imp.Fol. Mit 5 gest. Titelvignetten und 127 Kupfertafeln. Rote Hldrbde. d. Zt. mit etw. Rverg. Brunet V, 1313-14; Monglond VII, 1064 ff. (nur Iconographie grecque); UCBA II, 2074; vgl. Cicognara 2717 (Normalausg. in Quarto) und 3917. Erste Ausgabe. Die vom Staat finanzierte große Prachtedition war nur für Repräsentationszwecke, nicht für den Handel bestimmt; eine Normalausgabe mit dem Text in Quartformat und zwei Atlasbänden erschien 1811-29. Die sorgfältig gestochenen Tafeln zeigen Porträts bedeutender griechischer und römischer Staatsmänner und Philosophen sowie Münzdarstellungen. Das Werk wurde von dem als politischen Flüchtling nach Paris gekommenen italienischen Archäologen und Numismatiker Ennio Quirino Visconti (1751-1818) begonnen und von Antoine Mongez (1747-1835) vollendet. "Questa è la piu grande opera che abbiamo per riconoscere le vere dalle apocrife imagini deglie antichi" (Cicognara). - Umfasst: Iconographie grecque (2 Tle. in 3 Bdn.) und Iconographie romaine (4 Bde). - Exlibris des österr. Diplomaten Alexander Graf von Hübner (1811-1892).
A 'shelfscape' collected by Sir Terence Conran, to include works by Sir Eduardo Paolozzi (b. 1924) and Stephen Buckley (b. 1944)Comprising: a framed plaster relief, made by Eduardo Paolozzi and given to Sir Terence Conran in December 1984; Stephen Buckley, A Sketch From A Painting, oil on canvas on board, signed, dated and titled verso, 28cm x 28.5cm; a ceramic glazed bowl; a naive picture of a sailing boat, oil on old advertising board, 28cm x 27cm; an Edmund de Waal Lidded Jar (missing lid); a modern plaster panel of an Egyptian relief; a ceramic leaf; a cigar cutter modelled as a guillotine; a green crackle-glazed bowl, with flared rim; a wicker draining rack by Jenny Crisp; a white ceramic glazed bowl, marked to base 'RS'; an oval ceramic meat draining plate commemorating Waterloo; a small rabbit skull; a crystalised salt tower; a fossilised sea urchin; three ceramic pomegranates; and a ceramic bowl in the shape of a cowry shell, the Paolozzi: 12cm x 14cm (20)Footnotes:Provenance: The Stephen Buckley with Knoedler Gallery (according to label on reverse).Paper inscription to back of Paolozzi relief frame reads:Barton Court Dec 1984 / Terence & Caroline / This relief was made in the summer of 1947 / in the small studio, 16 Rue Visconti Paris / a narrow street between Rue de Seine & the / Rue Bonoparte: Direct casting from a flattened... of clay marked with / bits of shaped wood and a cockle shell / picked up from the nearby street market: / I worked in that studio until returning / to London in 1950 to teach at the Central / Eduardo PaolozziThis lot is subject to the following lot symbols: AR YAR Goods subject to Artists Resale Right Additional Premium.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
* Playing cards. A collection of 20th century playing cards, including: Playing Politics, V&A, 1983, double deck with caricatures by Gerald Scarfe and others, each cellophane wrapped, with rules and in original box (base adrift); The Kiss & The Lace Shawl, De La Rue, 1940, tax-wrapped double deck in original box; a boxed Goodall deck of 1920 with reduced size images of playing cards in the centre of each card; a boxed 1st edition of Kan-U-Go with rules, 1934; London Post, Jacques, 1st edition, 1880; London Underground game entitled Lobo, De La Rue, 1930, in original box with slide down band intact, and others, e.g. advertising, Art Nouveau and Art Deco backs, children's games (some by Pepys), Patience cards, tarot, etc., various sizes and condition, together with:Facsimile decks. A collection of facsimile playing card decks, comprising: Visconti-Sforza 15th century tarot, Italy, Bergamo: Accademia Carrara; Metastasis, English Playing Card Society, 2009; 2 Vito Arienti decks, 1977 (Jeu Drapeaux, 756/999 copies, and Jeu Grotesque, 477/999 copies); 6 decks by Harry Margary of Kent, all facsimiles of 16th and 17th century decks, 1970s; Bruce Bairnsfather "Old Bill" deck, English Playing Card Society, 2014; a pack celebrating the marriage of Queen Victoria's second son, Alfred the Duke of Edinburgh, to Grand Duchess Marie Alexandrovina, John Berry, 2003; and a replica deck of 17th century English playing cards in the British Museum, Simon Wintle, 1987, plus a ring-binder album containing clear-faced pocketed leaves displaying 100+ joker playing cards, 20th century, including Australian interest (Aborigines, wildlife, etc.) and advertising (e.g. Jack Daniel's, Wills's Woodbines, Player's Sun Valley Light Tobacco), plus 17 related sales catalogues, and approximately 170 copies of The Playing-card QTY: (2 cartons)
A COLLECTION OF 1:43 SCALE ALFA-ROMEO MODELS BY METRO, MINICHAMPS, RIO, VEREM, BONINI, AND RECORD MINIATURES From the Alfa Paradiso collection, offered without reserve. ALFA-ROMEO ALFETTA 1972 RAID CAPO NORD-CAPO SUD BY METRO 1938 ALFA-ROMEO 8C 2900B BY MINICHAMPS Diecast metal with plastic components. 1935 ALFA-ROMEO TYPO B SCUDERIA FERRARI TAZIO NUVOLARI (FORTAZIO INCLUDED) BY RIO Diecast metal with plastic components. ALFA-ROMEO TZ1 BY VEREM Diecast metal with plastic components. 2004 ALFA-ROMEO VISCONTI (871 700.1 47300174) BY BONINI MODELS Numbered 247/299 Resin-cast model, hand assembled. ALFA-ROMEO 6C 2500 SS TOURING COUPE STREET - PEARL GREY BY RECORD MINIATURES / FB AUTOMOBILES 1986 ALFA-ROMEO SPYDER QUADRIOFOGLIO VERDE BY RECORD MINIATURES AUTOMOBILES
Leopoldo Ansiglioni, 1832 – 1894Galatea (Galatèe), 1882Basis: 30 x 73 x 52 cm.Skulptur: 50 x 80 x 38 cm.Signiert in einer der Bronzen „GALATEA LEOPOLDO ANSIGLIONI ROMA 1882“.Die sinnliche Darstellung der Nymphe Galatea, die auf einem Delphin liegt, ist das beliebteste Werk des italienischen Bildhauers Leopoldo Ansiglioni. Der Künstler fertigte drei monumentale Werke an, aber auch diese reduzierte Fassung, deren Marmor mit vergoldeter Bronze verziert ist.Der in Rom tätige piemontesische Bildhauer Leopoldo Ansiglioni fertigte Marmorarbeiten mit feiner Verarbeitung mit allegorischen oder mythologischen Figuren in einem neobarocken Stil. Erfolgreich war er in der zweiten Hälfte der 1860er-Jahre auf den nationalen Kunstausstellungen in Rom und dann auch auf internationalen Veranstaltungen und verbreitete sein Werk auf der ganzen Welt. Zu seinen Erfolgen zählen u.a. „La Notte“ (Die Nacht), „La Fiora del dolor“, auch „Flora“ genannt, eine nackte Frau mit einem Trauerschleier, die auf die Erde herabsteigt und die Blumen der Trauer streut. Diese beiden Skulpturen zeigen das Talent des Künstlers für die sinnliche Darstellung junger Frauen.Beide Werke wurden auf der Wiener Weltausstellung 1873 ausgestellt und dort auf Fotografien reproduziert. Um dem Erfolg gerecht zu werden, stellte Ansiglioni mehrere Exemplare aus. So fertigte er beispielsweise drei Exemplare von „La Notte“, von denen eines nach London ging. Ansiglioni schuf auch einige Kinderfiguren, darunter einen Jungen mit Schwan. Eine wurde 1917 der Public Library in Boston geschenkt, die es am Eingang einer Abteilung aufstellte. Ansiglioni schuf auch einige religiöse Themen, wie „Ismael in der Wüste“ und einen Schutzengel für ein Grab auf einem Berliner Friedhof. Sein berühmtestes Werk dieser Art ist jedoch der auferstandene Christus, der in der Mitte der Säulenhallen des Friedhofs Campo Verano in Rom steht. Schließlich ist Ansiglioni auch der Autor von Brustportraits und kleinen Terrakotten.Neben „La Notte“ und „Flora“ war „Galatea“ das am meisten bewunderte Werk von Leopoldo Ansiglioni. Sie wurde 1882 auf der Nationalen Kunstausstellung in Rom unter der Nummer 56 des Katalogs gezeigt, wo sie zu den am meisten gefeierten Werken gehörte. Ansiglioni fertigte von da an drei große Marmorversionen an. Eine davon, wahrscheinlich das erste Exemplar, schmückt das zentrale Becken des Wintergartens der Universität von Greenwich, London. Eine andere schmückt die Hauptterrasse des berühmten Schlosses San Simeon in Kalifornien, dem Wohnsitz des Zeitungsmagnaten William Randolph Hearst (1863-1951). Im Jahr 1889 wunderte sich W.R. Hearst in einem Brief an seine Mutter Phoebe Apperson Hearst (1842-1919), dass sie nicht die „Galatea“ von Ansiglioni gekauft habe, die er als „einen der schönsten modernen Marmore“ bezeichnete und die er selbst gekauft hätte, wenn er damals über das nötige Geld verfügt hätte. Schließlich kaufte Phoebe die Skulptur und stellte sie bei sich zu Hause auf der Hacienda del Pozo de Verona in Pleasanton, Kalifornien, auf. Nach dem Tod von Phoebe wird die Skulptur nach San Simeon geschickt, wo sie 1923 in der Mitte der Hauptterrasse aufgestellt wird. Schließlich wird ein drittes Exemplar im Chi Mei Museum in Taiwan gezeigt. Diese letzte Version unterscheidet sich von den beiden anderen durch eine einfachere Basis aus weißem geädertem Marmor statt aus grauem Marmor und patinierter Bronze. Neben diesen drei Exemplaren fertigte Ansiglioni auch mehrere Reduktionen an, von denen unsere aufgrund der Qualität ihrer Darstellung und ihres Reichtums der dekorativen Elemente aus vergoldeter Bronze hervorsticht. In dieser Skulptur illustriert Ansiglioni ein mythologisches Thema, das zu den klassischen Themen der Kunst seit der Renaissance gehört: der Triumph der Galatea. Die Geschichte der Galatea findet sich ein erstes Mal bei Theokrit und wird später in Ovids Metamorphosen (Buch XIII) wieder aufgegriffen. Galatea, die Tochter des Nereus und der Doride, ist eine der glitzernden Nereiden, der Meeresnymphen. Ihr griechischer Name bezieht sich auf ihre weiße Haut, die an Milch und den Schaum der Wellen erinnert, mit denen sie in Verbindung gebracht wird. Dieses Weiß wurde von den Bildhauern durch den Carrara-Marmor vermittelt. Laut Ovid war Galatea verliebt in einen jungen Hirten namens Acis. Aus Neid und Eifersucht auf diese Liebe verletzte der Riese Polyphem den Hirten, indem er ihn mit einem Felsen zerquetschte. Doch Galatea betete zu den Göttern, dass die Wunde zur Quelle eines Flusses wurde und der Hirte so zu einer Flussgottheit wurde. Galatea wird von da an ein Bild für den Triumph der Liebe, und so wird sie oft - auf einer Muschel sitzend oder auf einem Meerestier reitend, umgeben von Amoretten - seit der Renaissance dargestellt, man denke an das berühmte Fresko, das Raffael 1513 für die Villa Farnesina malte. Ansiglionis Hauptinspiration war eine der Skulpturen, die den Garten der Villa Litta in Lainate in der Nähe von Mailand ziert und um 1585 von Pirro I Visconti Borromeo (1560-1604) entworfen wurde. Der Komplex ist berühmt für seine Springbrunnen und von Skulpturen geschmückten Gärten, darunter auch ein Brunnen mit dem „Triumph der Galatea“ von Carlo Beretta und Donato Carabelli.Anmerkung:Eine größere Version wird in der University of Greenwich, London aufbewahrt. Eine im Chi Mei Museum, Taiwan; eine weitere im Hearst Castle in San Simeon, Kalifornien.Literatur:Vgl. Thomas Allen, Annual report of the Art Department for the year ending January 31, 1918, Boston, Public Library, 1918.Vgl. Karl Baedeker, Italie. Manuel du voyageur, Leipzig 1890.Vgl. Stefano Causa, Luca Giordano. Polyphème et Galatée, in: Luca Giordano. Le triomphe de la peinture napolitaine, Ausstellungskatalog, Petit palais - Musée des beaux-arts de la Ville de Paris, Paris, 14. November 2019 – 23. Februar 2020, Museo e real bosco di Capodimonte, Neapel, 20. April 2020 – 26. Juli 2020, Paris 2019, S. 206-27.Vgl. Alfonso Panzetta, Dizionario degli Scultori italiani dell´Ottocento, Turin 1989.Vgl. Maria Saveria Ruga, „Opera d´arte destinata a figurare in terra straniera“. Notizie di esportazioni nella pubblicistica romana tra 1846 e 1870, in: Roma fuori di Roma, hrsg. von Giovanna Capitelli, Stefano Grandesso, Carla Mazzarelli, Rom 2012, S. 69-86.Vgl. Isabella Valente, Sulle ali del Simbolismo. Di alcune opere dello scultore Luigi de Luca (1855-1938), in: Napoli nobilissima, 2017, Bd. III, S. 100-115.Vgl. Attualità artistiche, in: Roma artistica, Rom 1871, Bd. 1, Nr. 6, S. 46. (1341211) (13)Leopoldo Ansiglioni,1832 – 1894GALATEA (GALATÉE), 1882Base: 30 x 73 x 52 cm. Sculpture: 50 x 80 x 38 cm.Signed on one of the bronzes “GALATEA LEOPOLDO ANSIGLIONI ROMA 1882”.The sensual depiction of the nymph Galatea reclining on a dolphin is the most popular work by Italian sculptor Leopoldo Ansiglioni. The artist made three monumental works, but also this smaller version, in which the marble is decorated with gilt bronze.Notes:A larger version is held at the University of Greenwich, London and in the Chi Mei Museum, Taiwan; another at Hearst Castle in San Simeon, California.
HENRY IV: (1553-1610) King of France 1589-1610 and King of Navarre 1572-1610. First French Monarch of the House of Bourbon. Assassinated. A good and clean L.S., `Henry', one page, folio, Fontainebleau, 6th April 1599, to Cardinal Visconti, in old French. The King congratulates his correspondent for his appointment by the Pope which he has supported to, stating `Mon cousin, entre ceux qu´il a plu à notre très saint père le Pape élever à la dignité de Cardinal, je me suis réjoui de votre promotion tant pour la reputation de votre vertu que pour l´opinion que j´ai conçue de votre affection au bien de cette couronne. De quoi f´ai bien commandé au Sieur de Sillery, conseiller de mon Conseil d´Etat et mon ambassadeur par de là, de faire avec vous en mon nom l´office ainsi qi´il est accoutumé…´ (Translation: “My cousin, among those whom it pleased our most Holy Father the Pope to raise to the dignity of Cardinal, I rejoiced at your promotion both for the reputation of your virtue and for the opinion I have formed of your affection for the good of this crown. For all this I have ordered the Sieur de Sillery, adviser to my Council of State and my ambassador, to do the office to you, in my name as he is accustomed...”) Countersigned. Addressed to the verso, also bearing a receipt annotation in Italian. Paper bearing a Nicola watermark with a crowned monogramme. Small overall minor age wear, mostly to borders, with a small professional repair to the left edge. G Cardinal Alfonso Visconti (1562-1608) he was appointed Cardinal by Pope Clement VIII the 3rd of March 1599, a month before the present letter was signed.
WLADYSLAW IV VASA: (1595-1648) King of Poland 1632-48. A renowned Patron of the Arts. Wladyslaw gained fame when he defeated the Ottoman Empire and was elected Tsar of Russia by the Seven Boyars in 1610, although he did not accept the Russian throne. Rare L.S., `Vladislaus Rex´, one page, 4to, Vilnius, 12th February 1639, to Monsignor Visconti, Archbishop of Larissa and Apostolic Nuncio, in Italian. To the heading, `Vladislao Quarto per gratia di Dio, Re di Polonia e Suetia´ ("Wladyslaw Fourth by the Grace of God, King of Poland and Sweden´ Wladyslaw sends a kind and affectionate letter to Reverend Visconti, and states in part `…in noi desiderio di rimostrarle con effetti il grado in che l´habbiamo ricevuto e la stima che facciamo del suo affetto…´ With address leaf, bearing an attractive Royal paper seal affixed in very fine condition. Very lightly affixed to a slightly larger folding page. Small overall age wear, otherwise G
DAVID BOWIE - THE MAN WHO SOLD THE WORLD LP (UK ORIGINAL 'DRESS SLEEVE' - 'TONNY' CREDIT - MERCURY 6338 041). Superb to see very well presented original UK stereo pressing of the legendary 'dress sleeve' LP of David Bowie's 1971 album The Man Who Sold The World. With original misprinted label credits as 'Tonny Visconti' on both sides. The record (6338 041 1Y//1 ▽420 1 1 2 & 2Y//1 ▽420 1 1 1 machine stamped matrix/runouts) is in great Ex condition showing only a couple of very light and minor surface hairline marks, none of which are ever heavier in nature without any feelable scratches. Sharp labels with some light spindle marks. The original textured sleeve is in very neat VG+ condition showing some of the usual edgewear which is commonplace with this release, the spine is almost entirely legible. The main image of Bowie on the front is in sharp and clean order with a small light scuff roughly half way down the sleeve. The reverse is also in sharp order with a little foxing. Lovely copy.
VISCONTI FOUNTAIN PEN, "LA BIBLIA LIMITED EDITION".Barrel made of whale bone engraved with drypoint and hand filled in colour.Limited edition. Exemplary 058/999.Two-tone 18Kts gold nib. 18Kts gold nib.Screw cap. Piston loading.No box. It presents small wear in the superior zone of the cap.Measures: 15,70 cm. length, 19,4 mm. diameter.Visconti produces limited editions with themes that impact, change or describe our lives. His new collection is dedicated to the religions of the world. The first in the series focuses on the Bible, the most widely read and printed book on religions, and the world linked to it: Christianity and Judaism. The large pens are made from ivory-coloured resins using a design technique with whalebone, dry-point engraving, and filled with India ink. The intricate drawings depict scenes from the Old Testament on the barrel: Adam and Eve, Noah's Ark, David and Goliath, and the Ten Commandments. The Jewish version has a classic, antique look in natural ivory and unadorned. The cap depicts a spiritual moment of prayer at the Western Wall. Hidden in the blind cap is an engraving of a temple. Its cover presents the story of Jesus: his birth, baptism, the Last Supper and his Ascension into Heaven. An image of the shutter of the Holy Grail is hidden inside the cover. Both pens have a decagonal crown and end cap, the latter engraved with the Ten Commandments in Hebrew. The pen is fitted with a Visconti two-tone 18-karat gold nib and features a piston-filled shaft. Limited to 999 nibs and 199 Rollerballs worldwide.
DIVINA PROPORZIONE" VISCONTI FOUNTAIN PEN.Body in brown celluloid and silver plated details.Limited edition. Exemplary 0402/1618.Two-tone 18kt gold nib. M point.Screw cap. Loading by cartridge.It does not present box.Measures: 15 cm. length, 21 mm. diameter.The Proporzione fountain pen, which belongs to Divina, one of Visconti's most special series, exhibits a noble and charismatic stance with its dynamic barrel surrounded by golden spirals that create a marvellous visual feast and its impeccable brown surface. One of the Florentine pencil master's limited editions, Proporzione combines elegance with luxury.The Proporzione was the first of Visconti's Divina series, launched in 2007. A pentagonal pen with swirling facets lined with sterling silver inlays, the Proporzione was built around the principles of the Divine Proportion of 1:1.618. (Also known as the golden ratio). It is a mathematical representation of proportion that is very pleasing to our aesthetic sense and is found everywhere in nature.
DELTA "DOLCE VITA" FOUNTAIN PEN, 1996.Black and orange resin barrel with gold details.Two-tone 18 Kts gold nib, M-point.Limited edition. Exemplary 21/70.Screw cap. Cartridge loading.No box.Measurements: 14 cm length; 18,77 mm diameter.Delta is a small Italian company founded in Naples in 1982. It was, along with Stipula and Visconti, an attempt to revive the old glories of the classic Italian fountain pen. None of the three had the history of Omas, Aurora, Montegrappa or Ancora, but their model was the great successes of the turn of the century and, above all, the use of absolutely classic materials and systems.On the mechanical side, Delta's hallmark was the use of the side lever and the rubber inner tank as the standard loading system for its limited editions. His models evoked great cultural moments in the history of Italy, which is like saying the history of art. He soon opted for the production of special commemorative editions that not only referred to cultural or historical aspects but also to current events such as the models produced to commemorate the G7 in 1994 or the Jubilaeum to commemorate the year 2000.La Dolce Vita has become Delta's main hallmark. The initial collection has grown to become the backbone of the Neapolitan company's production, which continues to produce limited editions, but in the background.
VISCONTI FOUNTAIN PEN "OPERA MASTER".Black resin barrel and silver appointments.Limited edition.Nib in 14kts white gold. M point.Screw cap. Fixed converter loading.No case.Measurements: 15.5 cm. length, 20 mm. diameter.This Opera Master fountain pen features Visconti's design strategy of "Squaring the Circle". It is the simplest pen in this collection, featuring black guilloché resin with platinum accents. Its rich black acrylic barrel is engraved with elegant guilloché lines to make it a perfectly proportioned volume.
VISCONTI FOUNTAIN PEN "ÚLTIMA LIRA", 2001.Black resin and palladium barrel.Limited edition. Exemplary 139/975.Two-tone 14 kts gold nib. Tip M.Screw cap. Piston loading.No box.Measurements: 14.5 cm length, 20 mm. diameter.Black resin fountain pen with Ultima Lira 2001 palladium plated pattern and medium sized stainless steel tip with Visconti Firenze printed on the barrel.Visconti is a well known brand of fountain pens, each Visconti fountain pen tells a different story: about art, archaeology, philosophy etc. These pens are a tribute to culture, they are no longer a simple writing instrument but a canvas on which new artistic expressions can be captured. Visconti uses the highest quality materials and are experts in the use of celluloid, a material that was widely used in the past but which, due to its high cost, is nowadays reserved for high-end products.
LABAN FOUNTAIN PEN "VATICAN MUSEUMS, THE GROTESQUES".Black resin barrel and gold plated appointments.Limited edition. Exemplary 0000/2000.Two-tone 18kts gold nib. M point.Screw cap. Loading by cartridge.No box.Measures: 15 cm. length, 20 mm. diameter.Limited Edition "The Vatican Museums Pen Le Grottesche (The Grotesques)" made in 1998 by Visconti, Italy. Black hard rubber with Vermeille (gold-plated silver) coating.The serial number is hand-engraved on the cap ring.The overlay pattern is made from a Raphael original.The beauty of this fountain pen with its linear design lies in its Raphael-inspired decorations. These geometric and floral designs in precious metals adorn both the cap and the barrel. Beneath the decorative work, the barrel is made of hand-turned and polished black hard rubber. The coatings are available in rhodium-plated and platinum-plated sterling silver, or vermeil (three-micron gold-plated silver) in yellow or rose gold.The cap features the same decorative work as the barrel and is also made of black hard rubber. The coating is available in silver, yellow gold vermeil or rose gold vermeil. Shorten. The smooth clip incorporates a practical press-stud system.The 18-karat gold nib features finely chiselled decorative work and the logo of the Vatican Museums, two stylised keys. Its air hole has an original half-moon shape. The pen is available with a medium nib only.The pen takes a standard cartridge or a converter. The cap on the blind end can be removed to access the converter or to fill the pen without removing the section seal.
Pendant with a chain of white and black diamonds. Giorgio Visconti. Black diamonds 0.37 ct. Central stones 0.32 and 0.61 carats. Sprinkled 0.93 carats. Total weight: 8.39 gr. Original certificate and box included. March 2018. Width: 1.5cm, Height: 2.2cm, Depth: 0.5cm, Weight: 0.08kg, Condition: Good, Material: 467
Original gold ring with diamonds. GIORGIO VISCONTI. Original, gold ring with diamonds GIORGIO VISCONTI, in original case and with papers. Spiral shape with off center. 0.66 carats of diamonds on 18-carat yellow gold. Latvian proof of gold. Ring size: 17. Ring weight: 6 gr.Condition: Excellent Material: Gold 750, Diamonds Product sizes: Height - 9cm width - 7.5cm Location: Gallery "Antiqon", Brivibas street 52, Riga, Latvia Warranty: Seller Warranty Country: Italy Period: 21th century
Giorgio Visconti white gold earrings with diamonds. 18k white gold earrings with Giorgio Visconti diamonds in original box and Grenardi shop documents. Only 0.56 carats of diamonds. Total weight: 8 gr.Condition: Excellent Material: Gold 750, Diamonds Product sizes: Height - 8cm width - 7.5cm Location: Gallery "Antiqon", Brivibas street 52, Riga, Latvia Warranty: Seller Warranty Country: Italy Period: 21th century
Giorgio Visconti gold ring, with black and white diamonds. Ring in white gold, 750, Giorgio Visconti, with a central black diamond (0.95 carats) and white diamonds surrounded, totaling 0.86 carats. Ring weight: 5.35 gr. Original box and certificate included. Grenardi. September 2019.Condition: Excellent Material: Gold 750, Diamonds Product sizes: Height - 2.5cm width - 2cm Location: Gallery "Antiqon", Brivibas street 52, Riga, Latvia Warranty: Seller Warranty Country: Italy Period: 21th century
Boo Saville Untitled Study (Series) (1), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Boo Saville Untitled Study (Series) (2), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Boo Saville Untitled Study (Series) (3), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Signed by Tony Visconti T.Rex Telegram Sam/Metal Guru 7 on blue vinyl for RSD 2012, Marc Bolan & T.Rex bumpngrind vinyl album Sealed, Sunken Rags (home demo) 7 Single Sealed, T.Rex Remixes 2CD set Sealed, The Man Who Sold The World LIVE 22.09.14 Promo CD plus a 'Holy Holy single CD both featuring Tony Visconti & Woody Woodmansey, Kristeen Young Live At The Witch's Tit CD album produced by Tony Visconti.
VISCONTI "GIACOMO LEOPARI IVORY" FOUNTAIN PEN.Ivory and gold-plated barrel.Limited edition. Exemplary 064/20.Nib 18Kts yellow gold. F nib.Screw cap. Loading by cartridge.No box. It presents small spots of oxidation in the clip of the cap.Measurements: 12.50 cm in length; 15 mm in diameter.The Visconti Giacomo Leopardi Limited Edition is being launched to commemorate the 200th anniversary of the birth of Count Giacomo Taldegardo Francesco di Sales Saverio Pietro Leopardi (1798-1837), the Italian philosopher, philologist, scholar and poet of Romanticism, known as Giacomo Leopardi.The cap is adorned with 19th-century decorative motifs and the body is engraved with the author's most famous poem; this edition was produced in three different finishes, this pen being the most valuable.Made of 1940s ivory covered with 18K rose gold liners, with a nib of the same quality, and a cartridge-loading system to prevent the ivory from staining with ink.
VISCONTI "TITANIC LIMITED EDITION" FOUNTAIN PEN.Brown and blue celluloid barrel and gold plated appointments.Limited edition. Exemplary 1014/1912.Two-tone 18 kts. gold nib. F point.Screw cap. Loading by cartridge.No box.Measures: 16 cm. length, 20 mm. diameter.Visconti fountain pen named R.M.S. Titanic and inspired by the iconic ship Titanic.Large fountain pen made of a spectacular dark blue marbled celluloid with brown touches resembling the sea. It is completed by a two-tone 18 carat gold nib.Slightly flexible and beautifully engraved two-tone 18ct gold nib available in M point.Made of spectacular dark blue marbled celluloid with brown accents. The body is engraved with the flag of the Star shipping company that owned the Titanic and the lettering R.M.S. Titanic - Visconti. FirenzeCartridge or converter loading systemScrew cap with a clip symbolising a ship approaching its fatal destination: the iceberg represented by a round crystal at the tip of the clip.
MONTEGRAPPA "ALFA ROMEO" FOUNTAIN PEN.Barrel in red celluloid and silver in bas-relief.Limited edition. Exemplary 184/246.Two-tone gold nib with clover.Cartridge charge.No box.Measures: 13 cm in length, 16,50 mm in diameter.The date of foundation of Anonima Lombarda Fabbrica Automobili, 24 June 1910, refers to the number of fountain pens produced in this limited edition series. The exquisite artistic designs engraved in bas-relief on the barrel of the collection are inspired by the stylistic elements of the evocative Alfa Romeo logo (the Visconti snake, the insignia and the vintage logo). The brand name is also embossed on the top of the cap, while the classic Alfa four-leaf clover is engraved on the fountain pen's 18-karat two-tone gold nib, which is partially rhodium-plated. The nib feeder is made of ebonite, proving that even the parts hidden from view are selected and crafted with the utmost attention to detail. Even the packaging confirms the elegance and sophistication of these unique writing instruments, which have such a refined and distinctive design.
A Visconti Rembrandt fountain pen, red marbled body with silvered detailing, inscribed Rembrandt to the ring; another blue marble Rembrandt fountain pen; and a Michelangelo black fountain pen (3)Further information: blue pen has been inked, black and red appear not to have been inked but we can't guarantee this
Loading...
