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Manner of Frans Pourbus the YoungerPortrait of a nobleman, bust length, in an embroidered red doublet and large white ruffinscribed 'Portrait of one of the Visconti family...from Parma...' on an old label verso, oil on canvas61 x 45.5cm, unframedCondition report: The painting is executed in oil on a canvas support which has been lined. The dimensions of the painting were probably once larger than it now appears. The small area of curtain now visible extends over the tacking margins and it is likely the painting has been cut down. At the upper edge is a dent with associated paint loss and there are other minor deformations to the surface caused by impact. The paint layer is in a good condition overall with a few small losses, mainly around the edges. The varnish has yellowed and become dull with a layer of surface dirt present. A few localised areas of overpaint are present around the edges of the painting. Wooden battens have been secured to the sides and bottom edges of the painting.

Hendrik Frans van Lint, 1684 Antwerpen – 1763 Rom, zug.GemäldepaarVEDUTE DER VILLA DI SAN CARLO BORROMEO DI SENAGOsowie VEDUTE DES CASTELLO DI PESCHIERA BORROMEOÖl auf Leinwand. 31,5 x 59 cm. Eines der beiden links unten signiert „H. von Lint“.Van Lint war einer der wichtigsten Protagonisten der Landschaftsmalerei in der ersten Hälfte des 18. Jahrhunderts, und als gebürtiger Antwerpener ließ er sich 1700 in Rom nieder, wo er in der Werkstatt von Gaspar van Wittel (1653-1736) arbeitete, der für seine detaillierten Darstellungen der Ewigen Stadt berühmt war. Ein weiterer Künstler, den Lint sehr bewunderte, war Claude Lorrain (1600-1682): Seine idealen, in sanftes Licht gehüllten Ansichten, deren akribische Technik Zeichnungen erforderte, die oft an Ort und Stelle ausgeführt wurden, waren in der Tat unerlässlich für diejenigen, die die klassizistische Ästhetik der römischen Landschaft heraufbeschwören wollten. Es ist daher nicht verwunderlich, dass seine Werke sowohl von den aristokratischen Reisenden auf der Grand Tour als auch von den großen Patrizierfamilien wie den Altoviti, den Pamphili und den Sacchetti mit Begeisterung gesammelt wurden. Don Lorenzo Colonna zum Beispiel besaß nicht weniger als siebzig Landschaften des Künstlers in seiner Sammlung. Erstaunlich ist auch die Darstellungsvielfalt von van Lint, der seine stark charakterisierten und wiedererkennbaren Ansichten, die das Ergebnis wiederholter Aufenthalte in der Stadt sind, nur selten repetierte. Die beiden hier angebotenen Ansichten sind als Sujet recht ungewöhnlich und selten, da van Lints Ansichten von Venedig bekannt sind, nicht aber von der Lombardei. Der Blick auf die Villa San Carlo Borromeo ist von oben aufgenommen, wodurch die architektonische Einbettung in die weite Landschaft deutlich wird: Der Eingang zur Villa erfolgt durch ein großes Portal, durch das eine Kutsche in das Gemälde einfährt, und man kann die Größe des Bauwerks und die Weite der Gärten erkennen. Die Landschaft geht in einer Mischung aus Salbeigrün und kühlen Blautönen in den Horizont über, an die auch der romantische wolkenverhangene Himmel erinnert. Die Villa San Carlo Borromeo, die heute ein Kunstausstellungszentrum ist, steht auf einem künstlichen Hügel, der die Basis einer keltischen Siedlung aus dem 8. Jahrhundert vor Christus. Später bauten die Römer ihre Festung, die bereits von Julius Cäsar genutzt wurde. Dann waren die Langobarden an der Reihe, sie zu ihrer Festung zu machen. Auf seinen Ruinen errichtete die Familie Visconti im 14. Jahrhundert den „Palazzo“, der von allen vier Seiten umschlossen ist. Es war Federico Borromeo (1564-1631), der 1629 die eine Seite abriss. Im Jahr 1630 empfing er die besten Theologen der damaligen Zeit in der Villa, um sie vor der Pest in Mailand zu retten. Weitere Eingriffe wurden von Giberto Borromeo (1671-1740) durchgeführt. Damals war das heutige Erdgeschoss noch das erste Stockwerk. Giberto vervollständigte die Einrichtung, indem er Möbel, Kronleuchter und prächtige Kunstwerke zu all dem hinzufügte, was Federico bereits dort aufgestellt hatte. Im Laufe von sieben Jahrhunderten sollen viele Menschen die Villa besucht haben, von Leonardo da Vinci bis zu den Schriftstellern und Künstlern der Sforza, vom Heiligen Karl Borromäus (1538-1584) bis zu Ippolito Pindemonte (1753-1828), von Denis Diderot (1713-1784) bis Stendhal (1783-1842), von Alessandro Manzoni (1785-1873) bis Benedetto Croce (1866-1952), von Filippo Tommaso Marinetti (1876-1944), bis Giovanni Verga (1840-1922) und Luigi Pirandello (1867- 1936). Die Ansicht des Schlosses von Peschiera Borromeo ist schräg, um die Hauptfassade und die Tiefe hervorzuheben, die sich in einer einfachen landwirtschaftlichen Umgebung abzeichnet: Das Schloss hat einen schlanken zentralen Turm, vier Ecktürme und einen Wassergraben, der das gesamte Gebäude umgibt. Es ist der älteste borromäische Besitz in der Lombardei. Die erste Erwähnung stammt aus dem Jahr 1422, als Filippo Maria Visconti, Herzog von Mailand, Vitaliano Borromeo den Auftrag erteilte, die „Peschiera“ zu befestigen, eine ländliche Anlage, die bereits im Besitz der Frati Negri (Augustinermönche) war. Zehn Jahre später erhielt Borromeos die herzogliche Erlaubnis, „einen Graben, eine Zugbrücke und ein Tor in dem Palast, der Peschiera genannt wird“, zu bauen. So entstand aus einem bereits bestehenden Gebäudekomplex die Burg in der Form, die wir heute noch sehen können, mit Mauern, Türmen, Ravelin und einem großen Wassergraben; ein befestigtes Gebäude, das in seiner Art in der Lombardei einzigartig ist wegen seiner runden Türme, die in dieser Region ungewöhnlich sind und während der spanischen Herrschaft teilweise abgebaut wurden. Zwischen 1448 und 1450, während der militärischen Operationen zur Eroberung des Herzogtums Mailand, war das Schloss der strategische Sitz von Francesco Sforza. Später weilte hier Ludwig XII, König von Frankreich, als Gast der Familie Borromeo, einer der berühmtesten Patrizierfamilien Mailands, die durch das Bankgeschäft reich wurde. (†) Literatur: Vgl. Andrea Busiri Vici, Peter, Hendrik e Giacomo van Lint. Tre pittori di Anversa del‘600 e ’700 lavorano a Roma, Rom 1987. (1291414) (13)Hendrik Frans van Lint,1684 Antwerp – 1763 Rome, attributedA pair of paintingsVEDUTA OF THE VILLA DI SAN CARLO BORROMEO DI SENAGO and CASTELLO DI PESCHIERA BORROMEO Oil on canvas.31.5 x 59 cm.One painting signed “H. van Lint“ lower left.Van Lint was one of the main protagonists of landscape painting in the first half of the 18th century, originally from Antwerp, he settled in Rome in 1700, where he worked in the workshop of Gaspar van Wittel, famous for his detailed depictions of the Eternal City. (†)Literature:cf. Andrea Busiri Vici, Peter, Hendrik e Giacomo van Lint. Tre pittori di Anversa del’600 e ‘700 lavorano a Roma, Rome 1987.

Otto Dix (Gera-Untermhaus 1891 – 1969 Singen). „Puppe“. 1922Bleistift auf Schoellerhammer-Papier (Prägestempel: MONOPOL). 55 × 39 cm (21 ⅝ × 15 ⅜ in.). Am rechten Rand mittig signiert und datiert: DIX 22. Rückseitig betitelt: Puppe.Nicht bei Lorenz. Die Zeichnung ist registriert im Archiv der Otto Dix Stiftung, Vaduz, unter der Nr. EDV 9.2.18.–[3165] Gerahmt. Provenienz: Ehemals Luchino Visconti, RomWir berechnen auf den Hammerpreis 32% Aufgeld.

BERNSTEIN LEONARD: (1918-1990) American conductor, pianist & composer of the Broadway musical West Side Story. A scarce, early vintage signed postcard photograph of Bernstein in a profile head and shoulders pose at Teatro alla Scala in Milan and bearing the opera house's credit stamp to the verso. Signed by Bernstein in blue ink with his name alone to the lower white border. The signature is a little light in places, although reasonably legible. An historic signed image. VG  In 1953 Bernstein became the first American conductor to appear at La Scala, conducting Maria Callas in Cherubini's Medea, directed by Luchino Visconti.

Marble for the Emperor’s tomb 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, two pages, 8vo, n.p., 12th April 1843, to his marble supplier M. Henreaux, in French. At the time of the present letter Visconti is building Napoleon´s monumental tomb, stating in part `J´ai bien pensé à des marbres d´Italie, ce sont certes les plus beaux, mais il est arrété dans tous les rapports que l´on ne devra employer pour le M[onument] de l´Empereur que des marbres français ou des granits..´ (“I have well thought about Italian marbles, they are certainly the most beautiful, but it is stated in all the reports that we should use for the M[onument] of the Emperor only French marbles or granites..´ Visconti also comments that he has considered Corsica and that he has to receive samples, further referring to some granites he has rejected `.. the purplish granite is not rare enough nor has a severe enough tone.. there must be porphyry, isn´t it, or green granite; these are the tones that I would wish ..´ Visconti concludes requesting his correspondent´s detailed information. VG   Visconti wanted to use red porphyry, stone used for the tombs of Roman Emperors, but at that time it was almost impossible to find it. The sarcophagus would finally be done with quartzite with a tone close to porphyry, but got approved the socle in green granite, from the Vosges.

FERDINANDO I DE´MEDICI: (1549-1609) Grand duke of Tuscany. Son of Cosimo I de´Medici. Ferdinando was made a Cardinal in 1562 at the age of 14. He founded the Villa Medici in Rome and acquired the well-known Medici lions. An excellent L.S., `Il Gran Duca di T[oscan]a´, one page, 4to, Florence, 5th August 1595, to Monsignor Visconti, Bishop of Cervia and Apostolic Nuncio, in Italian. Ferdinand explains that his correspondent´s letter dated in June only reached his hands three or four days ago, further stating in part `La Serenissima Sposaa quest'hora dovera esser arrivata et de progressi della guerra in coteste bande vengono qui  buonissime nuove con una gran confermatione del continuato valore di cotesto Principe, et della sua prudenza, et costanza nell' Heroica, et Cristiana sua resolutione´ (“The Most Serene Bride must have arrived at this hour, and about the progress of the war in these locations I come here with very good news with a great confirmation of the continued value of this Prince, and of his prudence, and his constancy in his heroic and Christian resolution”)With address leaf, bearing an attractive Royal paper seal affixed in very fine condition, bearing the Medici coat of arms of the Grand Duke. With address leaf bearing a paper seal affixed. Small overall age wear, otherwise G    Ferdinand I de´Medici, when saying “La Serenissima Sposa a quest´hora dovera esser arrivata” (“The Most Serene Bride must have arrived at this hour”) refers to Maria Christina of Austria (1574-1621) Princess consort of Transylvania. She was married by contract at the very early age of 11, to Prince of Transylvania Sigismund Bathory (1573-1613). The bride travelled on 15th June 1595 for her marriage, accompanied by her mother and 6000 German horsemen, but fell ill in Kaschau with fever, and this delayed the travel. This is why Ferdinand I thinks that `the bride must have arrived´. The wedding took place the day after the present letter was written, at Weissenburg, on 6th August 1595. However, this union proved to be unhappy, and Sigismund after a disastrous wedding night with an eleven years old girl, refused to consummate the marriage and sent his wife to a fortress where Maria Christina was kept as prisoner. Prince of Transylvania Sigismund Bathory (1573-1613) is the prudent, constant, heroic Christian Prince Ferdinand I refers to in the present letter.

Italy, AQUILEIA, Antonio II Panciera (1402-11), Denaro, 0.45g/8h (Biaggi 191); DESANA, Delfino Tizzone, Liard, 1583, 0.69g/10h (MIR 510/1); GENOA, Republic, Denarii (2), 0.76g/6h, 0.47g/12h (Biaggi 835); LUCCA, Henry III-V, Denaro, 0.94g/5h (Biaggi 1058); MILAN, Gian Galeazzo Visconti (1395-1402), Sesino, 0.93g/2h (Biaggi 1480); MODENA, Francesco III d’Este (1737-80), Sesino, 0.98g/6h (MIR 854); SICILY, William II (1166-89), Mezzo-Follaro, Messina, 0.74g/1h (Biaggi 1233), Frederick II (1197-1250), Denaro, Brindisi, 0.69g/10h (Biaggi 466); SIENA, Republic, Quattrino, 0.58g/2h (Biaggi –); TASSAROLO, Livia Centurioni, Luigino, 1666, 2.06g/6h (MIR 995) [11]. Varied state £100-£150

T. REX - LP COLLECTION. Ace instant collection of 13 x LPs plus 2 x limited edition 12" (15 releases in total) from T. Rex (and related) plus a 7" promo from Led Zeppelin. Titles include Dandy In The Underworld (UK BLN 5005 A-1U/B-1U og - Ex lovely clean record/with inner/VG+), Futuristic Dragon (UK BLN 5004 A-1/B-1 - VG+ copy w/inner), Tanx (BLN 5002, including 2 x UK copies), An Exalted Companion, T. Rex (HIFLY 2), In Concert (ABOLAN 1, Zinc Alloy... (BLNA 7751), Get It On (Tony Visconti 87 Remix) (inc. yellow 12 MARCY 10 and blue 12 MARCB 10), The Collection (CCSLP 136), 'Flyback 2 The Best Of' (TON 29), Bolan Boogie and The Unobtainable T. Rex. Also to include a cool promo 8 x 10" photo of Marc Bolan. Also to include Led Zeppelin - Trampled Underfoot (limited edition 'special limited edition' promo UK 7", DC 1 - Ex condition with just a few light surface scuffs/VG+ original die-cut sleeve and also with press cut-out). Condition is generally VG to Ex.

§ § Henry Moore OM, CH, FBA (British 1898-1986) Reclining Mother and Child with Blue Backgroundsigned 'Moore' (lower right); numbered II/XXXV (lower left), one of 35 artist's proofs aside from the edition of 50lithograph printed in colour on wove paper, printed by Curwen Prints Ltd, London for The Henry Moore Foundation in association with Visconti, Vienna, 198354 x 74.5cmProvenance: With William Weston Gallery, LondonCondition report: Not examined out of the frame, appears to be bonded to the backboard at four corners, the surface with slight undulation, otherwise in good order

Pluma estilográfica Visconti Wall Street "Red". Rinde homenaje a uno de los centros financieros por excelencia evocando al Skyline de Manhattan. En celuloide rojo y detalles plateados. Plumín en oro bicolor 18K. Sistema de carga por émbolo integrado de d

DAVID BOWIE - THE MAN WHO SOLD THE WORLD LP (UK ORIGINAL DRESS SLEEVE - 6338 041). Here we have a superb original UK LP pressing of David Bowie's 1971 album The Man Who Sold The World (6338 041, original pressing on black Mercury labels. 1Y//1 / 2Y//1 machine stamped matrix. The labels with correct Tony Visconti spelling are lovely, bright and clean with almost no visual spindle wear. The record has one or two hairline paper surface marks, beautiful strong VG+. The textured sleeve has some edge shelf wear, a couple of small tears on the cover, a split appearing in the middle of the top edge, tape covering a split along the bottom edge and some water damage rippling to the back cover, VG).

CHRISTO (Bulgaria, 1935)"Wrapped Monument Vittorio Emanuele II, 1975.Photograph mounted on cardboard. H.C. copy.Enclosed polygraph certificate.Signed and justified in the lower right corner.Measurements: 76 x 56 cm.The monument to the King of Italy Vittorio Emanuele II, in Piazza del Duomo, and the monument to Leonardo da Vinci, in Piazza della Scala, were wrapped with polypropylene fabric and red polypropylene rope, in the fall of 1970, in Milan, Italy.The fabric had been sewn in advance according to patterns that allowed for wide folds. The two wrapped monuments could be seen from the center of the Galleria, simultaneously, at each end of the large 19th century vaulted pedestrian passageway.Christo together with Jeanne-Claude a renowned artistic couple of the late 20th century, the wrapped objects of are some of the most extreme examples of modern conceptual art. Christo Valdimirov Javacheff, the primary artist and designer of the duo's projects, studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he traveled to Geneva and finally to Paris, settling in the French capital. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money painting portraits, which he compared to prostitution. Visiting the city's galleries and museums, he was inspired by the work of Joan Miró, Nicholas de Stael, Jackson Pollock, Jean Tinguely and mainly Jean Dubuffet. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. He tied it up and colored it with glue, sand and automobile paint. Christo and Jeanne-Claude met in Paris in November 1958, when he was commissioned to paint a portrait of her mother. Although Jeanne-Claude married another man, she became pregnant by Christo and left her husband after their honeymoon. Despite opposition from Jeanne-Claude's family, the couple married in 1962. By 1959, Christo had changed his approach to wrapped objects. Instead of embellishing the wrapped material with glue and sand, he kept it intact. The following year, he stopped painting altogether and completed his "Inventory" series. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the German port of Cologne. In 1962, as a couple, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer" ("Steel Curtain"), as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York, and continued to carry out projects and exhibitions both in the United States and Europe. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, Christo and Jeanne-Claude have undertaken numerous large-scale projects around the world, including "Running fence" and "Wrapped walk".

Watercolour, an Italian village scene with figure and horse, signed Visconti, 19ins x 27ins, framed

A RED LEATHER LADY'S DESIGNER HANDBAG by Visconti

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 sharp Ex condition. There are only a couple of very light and minor surface marks to the playing surfaces, with some rather light 'poly bag residue' noted though a sample of playback produced no problems whatsoever. With some light spindle markings. Matrix/runout: 6338041 1Y//1 ∇ 420 1 1 4 & 2Y//1 ∇ 420 1 1 1. With original British Patent inner '11 0371'. The original textured sleeve is in VG condition. A well kept example, there is some wear around the edges and a few light creases. The striking image of Bowie is in clean order, the reverse image is also nice and clear (no foxing or damage to the textured design). Lovely all-round example of this iconic LP.

STANISLAS FUMET: LES FRESQUES DE FRA ANGELICO AU COUVENT ST-MARC DE FLORENCE, preface Jacques Maritain, Paris, Editions Artistiques, London, The Trianon Press, New York, Grey Falcon Press, 1948, (900) numbered (121), 40 plates including 10 coloured as called for, fo, original boards with splits at head of spine, ribbon ties + MILLARD HEISS AND EDITH W KIRCH: THE VISCONTI HOURS, New York, George Braziller, 1972, 1st edition, original faux leather gilt, slip-case, vgc, from the collection of Derek Cottam (2)

Two calf bound Italian books, including: Museo Pio-Clementino, Tomo V by Visconti, Ennio Quirino, and another (2) Note - majority of engravings absent from each book.

Visconti Kolbenfüller, Italien, 2. H. 20. Jh, aus der Serie Ragtime, 14 kt (585er) Gelbgoldfeder, marmoriertes Gehäuse, vergoldete Applikationen, L. 13,8 cm

S. T. Dupont, a silver gilt coloured fountain pen, the cap with a clip and stamped 925 with a poincoin, the nib stamped 18ct 750, cartridge filling system, inked, with a S. T. Dupont box; Visconti, Rembrandt, a black fountain pen, the cap with a white metal clip and cap band, medium nib, cartridge filling system, with a cartridge convertor; and a Gucci fountain pen Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer

Visconti fountain pen "The Forbidden City" collection, 2005. Limited edition numbered 183/888. It pays tribute to the Forbidden City in Beijing, China, the residence of the Chinese imperial family for more than 500 years. In blue mother-of-pearl resin, silver and tiny figures of mythological beings from Chinese culture in vermeil silver. The design creates a grid pattern reminiscent of the Forbidden City seen from above. 18K two-tone gold nib. Integrated plunger loading system. Display box in the shape of a wooden pagoda and documentation.

Litta (Pompeo). Famiglie Celebri di Italia, 4 volumes, Milan: presso Paolo Emilio Giusti, 1819-c.1844?, numerous genealogical tables representing 43 families, each family with hand-coloured coat of arms, many heightened with gold or silver, numerous line engraved plates, many with partial hand-colouring, numerous engraved (with aquatint) portraits, scenes and views, most richly hand-coloured, several additional hand-coloured armorials, five maps: 3 with contemporary hand-colouring (one double-page), and one hand-coloured in outline (double-page), the families complete except for: Cesi di Roma (lacks all plates), Ferrero di Bella (4 leaves of plates only, of 6), Dal Verme di Firenze (lacking map), volume I title spotted, a few short closed edge tears, infrequent (mainly light) spotting, fore-edges spotted, uniform late 19th century quarter sprinkled calf, worn, most joints cracked, the spines numbered 1 to 4 and lettered A-C, E-G, M-P, R-V, volume I spine covering detached (loosely inserted), original printed blue wrapper for fascicolo LVIII dispensa 99 loosely inserted, folio, together with: Five further families in individual fascicles, numerous genealogical tables, each family with hand-coloured coat of arms, some heightened with gold, Attendolo Sforza di Cotignola with hand-coloured map, but without all uncoloured plates, Colonna Di Roma, D'Este, Medici di Firenze & Visconti di Milano all without plates, Visconti gia Aicardi di Milano complete (tables only, as issued), each loosely contained in contemporary plain blue wrappers, worn with some soiling or spotting, Medici lacking rear cover, Visconti covers separated at spine, folioQty: (9)NOTESThe families contained in the bound volumes comprise: Volume 1: Acquaviva di Napoli, Altemps di Roma, Aldobrandini di Firenze, Appiani di Pisa, Archinto di Milano, Bentivoglio di Bologna, Buonarroti di Firenze, Bonelli di Roma, Boncompagni di Bologna, Borromeo di S. Miniato, Carraresi di Padova, Casali di Cortona, Castiglioni di Milano, Cavalcabo di Cremona, Cesi di Roma, Corraro di Venezia Volume 2: Erizzo di Venezia, Ferrero di Biella, Foscari di Venezia, Ghilini d'Alessandria, Giovio di Como, Giustiniani di Venezia, Gonzaga di Mantova, Gozzadini di Bologna, Guicciardini di Firenze Volume 3: Marescotti di Bologna, Martelli di Firenze, Massimo di Roma, Mauruzi di Tolentino, Marchesi Del Monte S.a Maria Nell'Umbria detti Bourbon del Monte, Pallavicino, Pio di Carpi Volume 4: Rangoni di Modena, Roverella di Ferrara, Sanvitale di Parma, Simonetta di Calabria, Strozzi di Firenze, Tiepolo di Venezia, Torelli di Ferrara, Trivulzio di Milano, Varano di Camerino, Dal Verme di Verona, Vettori di Firenze The complete work, originally issued in 184 parts, covered 150 families. Pompeo Litta began the work in 1819 and had published 113 families before he died in 1852, after which it was completed by others. Litta only included Italian families that were especially notable or famous. The genealogical tables or Tavolas include brief biographies of the most prominent members of each family, and the drawings of family monuments and tombs are recognised as an important art historical record as many had already been destroyed even at the time of publication.

FERDINAND II: (1578-1637) Holy Roman Emperor 1619-37. As a zealous Catholic, Ferdinand wanted to restore the Catholic Church as the only religion in the Empire and to wipe out any form of religious dissent. His acts against Protestantism caused the Thirty Years´ War which left the Holy Roman Empire devastated, its cities in ruins, and its population took a century to recover. Rare L.S., `Ferdinandus´, two pages, folio, Graz, 29th July 1606, to Cardinal Visconti, in Italian. Ferdinand II reports on the excellent work achieved by Pater Marco Antonio Gabiano with the children of the San Francisco order `..in the provinces of my states of Styria and Carinthia, with a good governing, religious behaviour and monastic observance…considering his zeal of his and to my full satisfaction, I pray from deep in my heart your S[ignoria] I[llustrisima] to make me a favour so that the said father is confirmed for another three years…´ Bearing to the adress leaf a five lines annotation in the hand and signed by the Emperor´s correspondent, Archbishop Visconti, and a small red wax seal. Small repair to the Edge, otherwise G

SIGISMUND BATHORY : (1573-1613) Also known as SIGISMOND PRINCE OF TRANSYLVANIA. As a child he succeeded his father as Voivode or ruler of Transylvania. Sigismond abdicated in favour of Holy Roman Emperor Rudolf II, and although he returned to his pillaged territories in 1601 with a Polish army, he could not strengthen his position and settled in Poland. In 1605, Holy Roman Emperor and Spanish King Philip III tried to persuade him to return and claim Transylvania, but he refused. He would later be accused of conspiracy and imprisoned by Rudolf II. Rare L.S., `Sigismundus Princeps´, a bold large and attractive signature with flourish, one page, folio, Timisoara, 10th June 1596, to an Italian Bishop Visconti, in Latin. Sigismund refers to his previous two letters and states in part `..what we have insistently requested and once again request… When we did establish our head-quarters at Tomor, and I tried to hinder the struggle, I managed to do so rushing the move, and I managed to do so in a way that they could not expect the move…´ To the heading “Sigismundus by the Grace of God, Prince of Transylvania, Moldavia, Wallachia, and of the Holy Roman Empire, Lord of part of the Kingdom of Hungary…” With address leaf, bearing paper seal affixed in good condition, and remnants of a former red wax seal. Edges very slightly trimmed with very few minor small holes, only one affecting partially the large signature, otherwise G

VASA ANNA CATHERINE CONSTANCE: (1619-1651) Polish Princess. Rare L.S., `Anna Catharina Constantia´, one page, 4to, Warsaw, 10th July 1637, to Apostolic Nuntio and Archbishop of Larissa Visconti, in Latin. Constance, in her capacity as Crown Princess of Poland and Sweden thanks her correspondent for his letter and Good wishes and referring to the recent wedding of her brother the King of Poland Wladyslaw IV, states in part `The wedding of the Serene and Illustrious Queen and our very dear brother, a so wise marriage with the august Austrian Royal House…´ Further referring to the meaning of this wedding for the Polish and saying `It is reasonable what makes the Kingdom happy, to worry about minions, and for this reason this holy wedding was necessary at this time..´, further again stating `Universal Christianity desires so much peace and tranquility, putting together the dissenting spirits of the presentiment in pristine friendship and mutual society, and uniting in growing in justice.´ Constance died childless at the early age of 32. With address leaf, bearing a paper seal affixed. Small overall age wear, otherwise G Wladyslaw IV Vasa (1595-1648) King of Poland 1632-48, married Cecilia Renata of Austria (1611-1644) daughter of Holy Roman Emperor Ferdinand II. Cecilia Renata died at the very early age of 32 after the childbirth of her stillborn daughter. Cecilia Renata was chosen as bride by the Polish nobility. She married Władysław on 9th August 1637 in Vienna by proxy, and then in Warsaw in person on 12th September 1637, and the same day was crowned at St. John´s Cathedral. This was the first royal coronation outside of Krakow, the historic, former capital of Poland. This greatly angered the Polish nobility. A law was instigated the year after to reserve coronations to Krakow.

VASA JOHN ALBERT: (1612-1634) Polish Cardinal. Son of Sigismund III Vasa and Constance of Austria. Prince Bishop of Warmia and Krakow. Very rare L.S., `Joan Albertus Cardinalis´, one page, folio, Warsaw, 18th August 1633, to Apostolic Nuntio and Archbishop of Larissa Visconti, in Latin. A year before the present letter was written the King of Poland Sigismund III passed away and his elder son Wladyslaw IV, and brother of John Albert, was crowned King of Poland. John Albert thanks his correspondent `Most Illustrious and Reverend and appreciated friend, your singular letters so benevolent towards us..´ and refers to sad news about some individual in Lithuania, to their work to finish and to Lithuanians. With address leaf, bearing a paper seal affixed. Overall age wear and staining. Professionally repaired. F to G John Albert Vasa died at the very early age of 22 in Padua Italy. He was sent by his brother and King of Poland Wladyslaw IV on a diplomatic mission. The cause of his death remains uncertain.

CECILIA QUEEN OF POLAND: (1611-1644) Cecilia Renata of Austria. Queen consort of Poland 1637-44 as spouse of King Wladyslaw IV Vasa. An extremely rare L.S., `Cecilia Regina´, one page, folio, Warsaw, 8th February 1641, to Reverend Monsignor Visconti, Bishop of Larissa, in Italian. The letter states to the heading `Cecilia Renata, by the Grace of God, Queen of Poland and Sweden, Princes of Hungary and Bohemia and Archduchess of Austria´, the Queen thanks her correspondent for the letter received and for the new year´s greetings and sends her best wishes. With address leaf bearing a Royal paper seal affixed. Very small overall creasing. G

VISCONTI LUCHINO: (1906-1976) Italian theatre, opera and film Director. One of the leading figures of Italian neorealism. Best remembered for his films The Leopard (1963) and Death in Venice (1971). A very interesting A.L.S., `Luchino Visconti´, two pages, folio, n.p., 22nd July 1955, to Danilo, in Italian. Visconti refers to a film project, stating in part, `Dear Danilo, the proposal I have to make to you is the following one - I have decided to personally assume the task of staging the crucible of Miller. I mean the scenography and costumes.´ Visconti further explains to his correspondent the assistant post he has been considering for research of documentation and film making, saying `..I have been thinking in you. If you want to accept such task.´ and reminds and requests secrecy `Right now I tell you that I demand an absolute discretion and secrecy at work..´ Visconti further again explains that the work will be in Rome and that he needs a prompt response. Small overall minor creasing. Folded. G

*John Guida (Italian, 1897-1965)A Fashion Design - a lady in a white fur coat with black trimmingsigned 'Jo', mixed media29 x 21cmJohn Guida (1897-1965), born to an Italian father and an American mother, was an important Italian stylist, designer, and illustrator. As a child, he moved to Rome where he attended Visconti High School. In 1914 he participated in the fashion exhibition at the Circolo Degli Artisti together with Sartorio, Grassi, Innocenti, and Angoletta. John Guida was a regular visitor to the Paris fashion shows, coming into contact with famous tailors such as Jean Patou, Jeanne Lanvin, Lucien Lelong, Madeleine Vionnet, and Coco Chanel from whom he drew inspiration to find his own personal style, becoming an official dress designer for some of the most well-known Italian tailors such as Coen, Sanet and La Merveilleuse of Turin.His designs remained characterised by a refined linearity and a constant attention to precious detail. Elongated and slender female figures were often underlined by loose skirts and flowing pants; the sophisticated profiles were highlighted by short or gathered hair, inspired by the typical garçonne model of the time.He was also active as an illustrator for the women's magazines 'La Donna' and 'Cose', and as an advertising designer for the fashion and perfumery sectors.*Artist's Resale Right may apply to this lot.

GIORGIO VISCONTI solitaire ring made of 18 kt white gold with brilliant cut diamonds, G color, VS clarity, for a total of 0.42 cts the central 0.23 cts. US size 6. Weight 3,15 gr. Complete with original certificates

Ⓦ A POMMEL FROM A HAND-AND-A-HALF SWORD^ GERMAN OR SWISS^ LATE 16TH CENTURY¦of plummet-shaped form^ struck on each face with a mark within a shield-shaped recess^ and decorated with vertical ribs (rubbed)¦6.5 cm; 2 ½ in high¦¦Property from the David Jeffcoat Collection (1945-2020)¦¦Part proceeds to benefit The Wallace Collection¦¦The celebrated sword of Estorre Visconti has a pommel of related form^ with alternating shield-shaped recesses filled with silver chased with an alternating design of the arms of Milan and the Visconti arms. See Oakeshott 1964^ plates 21 and 22.

Hübner, Johann: "Genealogische Tabellen", Bände 3 + 4, 1728/1733 "Genealogische Tabellen, Nebst denen darzu gehörigen Genealogischen Fragen, Zur Erläuterung Der Politischen Historie...". Erste Ausgabe der Bände 3 und 4 der „genealogischen Tabellen aller bedeutenden regierenden Häuser und Adelsgeschlechter". Die vierbändige Ausgabe erschien von 1719 bis 1733 bei Joh. Friedr. Gleditsch Sohn in Leipzig. Quer-Folio (24 x 37 cm), Titelblätter in Rot und Schwarz. Ganzledereinbände d. Zt. auf 5 Bünden, mit goldgeprägten Rückenschildern. Etw. berieben, bestoßen und fleckig, mit einigen Fehlstellen am Bezug. Jeweils alte Besitzvermerke von "Augustus Eugenius Comes en Salm Reiffersceid [sic!] et Dyck" am Vorsatz, sowie ein Bibliotheksetikett aus Schloss Dyck jeweils vorne am Einband. Etwas gebräunt und stockfleckig, wenige Knickstellen, einige wenige Blätter am Anfang und Ende mit kleineren Eckausrissen und Randschäden (ohne Textverlust). - Graesse III, 383; Heydenreich I, 19; Dahlmann/W. 838. Band 3 mit den Tabellen 667 bis 1000, Band 4 mit den Tabellen 1001 bis 1333. Dabei so interessante Geschlechter wie die auch heute noch wohlbekannten Fürsten Colloredo, Caunitz, Esterhazy, Herberstein, Kevenhüller, Kinsky, Liechtenstein, Lubomirsky, Schönborn, Wallenstein, Windischgrätz, und Wolkenstein, aus Spanien die Häuser Arellano, Borgia, Cardona, Mendoza, aus Italien Capua, Caraccioli, Conti, Orsini, Sfortia, Visconti, aus Frankreich die Häuser Courtenay, Grimaldi, Mazarin, Richelieu, Rochefoucaud, aus England die Grafen und Herzoge von Buckingham, Derby, Leicestre, Marlborough, Nottingham, Salisbury, Scarborough, und viele andere. Zustand: III +Keywords: Salm-Reifferscheid"Genealogische Tabellen, Nebst denen darzu gehörigen Genealogischen Fragen, Zur Erläuterung Der Politischen Historie...". Erste Ausgabe der Bände 3 und 4 der „genealogischen Tabellen aller bedeutenden regierenden Häuser und Adelsgeschlechter". Die vierbändige Ausgabe erschien von 1719 bis 1733 bei Joh. Friedr. Gleditsch Sohn in Leipzig. Quer-Folio (24 x 37 cm), Titelblätter in Rot und Schwarz. Ganzledereinbände d. Zt. auf 5 Bünden, mit goldgeprägten Rückenschildern. Etw. berieben, bestoßen und fleckig, mit einigen Fehlstellen am Bezug. Jeweils alte Besitzvermerke von "Augustus Eugenius Comes en Salm Reiffersceid [sic!] et Dyck" am Vorsatz, sowie ein Bibliotheksetikett aus Schloss Dyck jeweils vorne am Einband. Etwas gebräunt und stockfleckig, wenige Knickstellen, einige wenige Blätter am Anfang und Ende mit kleineren Eckausrissen und Randschäden (ohne Textverlust). - Graesse III, 383; Heydenreich I, 19; Dahlmann/W. 838. Band 3 mit den Tabellen 667 bis 1000, Band 4 mit den Tabellen 1001 bis 1333. Dabei so interessante Geschlechter wie die auch heute noch wohlbekannten Fürsten Colloredo, Caunitz, Esterhazy, Herberstein, Kevenhüller, Kinsky, Liechtenstein, Lubomirsky, Schönborn, Wallenstein, Windischgrätz, und Wolkenstein, aus Spanien die Häuser Arellano, Borgia, Cardona, Mendoza, aus Italien Capua, Caraccioli, Conti, Orsini, Sfortia, Visconti, aus Frankreich die Häuser Courtenay, Grimaldi, Mazarin, Richelieu, Rochefoucaud, aus England die Grafen und Herzoge von Buckingham, Derby, Leicestre, Marlborough, Nottingham, Salisbury, Scarborough, und viele andere. Condition: III +Keywords: Salm-Reifferscheid

[Milano]. Raccolta milanese dell'anno 1756 -1757. Milano, Antonio Agnelli, 1756-1757. In 4° (230 x 174 mm). 3 tavole ripiegate nel primo volume e 1 tavola fuori testo nel secondo volume (piccoli difetti.) Legatura coeva in mezzo vitellino con angoli, titolo su doppio tassello, entro custodia.  Rara raccolta che contiene in prima edizione i sonetti di Bramante e di Gaspare Visconti. Tutto il pubblicato di questo periodico che precede di dieci anni il Caffè dei Verri e che fu pubblicato a dispense.  (2) - TAGS: Libri, libro, books, Storia locale

[Araldica]. Anfiteatro romano nel quale con le memorie de' grandi si rappilogano in parte l'origine, & le grandezze de' primi potentati di Europa. Milano, Giovanni Battista e Giulio Cesare Malatesta, [circa 1648]. In 2° (325 x 22 mm); [16], 402 [i. e. 406] pagine. Stemma xilografico di Milano al frontespizio, stemma dei Visconti alla pagina 316 (frontespizio foderato, macchia alle prime 3 carte.) Legatura posteriore in pergamena con titolo su tassello, tagli verdi (sguardie nuove).  Prima edizione dell'opera araldica dedicata alle più illustri famiglie nobili milanesi.  - TAGS: Libri, libro, books, Generale

In 2° (485 x 350 mm). Stemmi incisi in rame e colorati da mano coeva, numerose incisioni in rame a piena pagina e nel testo con vedute di città, paesaggi, monumenti, monete e medaglie e carte geografiche, parzialmente incisi all’acquaforte e all’acquatinta (tracce d’umidità, 2 stemmi non colorati, mancano le famiglie Camposanpiero, Condulmero, Bevilacqua, Albizzi, Bossi, Ferrucci, Da Monteverde, Morozzo, Pagani, Rusca, Marchesi di Saluzzo, Savelli, Da Uzzano, Zampeschi, Migliorati, nel fascicolo dedicato alla famiglia Guidi mancano 8 tavole di testo e 1 di illustrazione, in quello dedicato alla famiglia Mocenigo mancano 16 tavole di testo e 4 di illustrazioni, in quello dedicato alla famiglia Malaspina mancano 8 tavole di testo e 2 di illustrazioni, in quello dedicato alla famiglia Giustiniani manca 1 tavola di testo, ifascicoli dedicati alle famiglie Marchesi di Monferrato e Paleologo Marchesi di Monferrato sono doppi.) Legatura coeva in mezza pergamena con angoli, fregi e titolo in oro al dorso (difetti e mancanze). I tredici volumi contengono i fascicoli relativi a 135 famiglie di seguito elencate: Acciaioli di Firenze, Accolti di Arezzo, Acquaviva di Napoli, Adorno di Genova, Aldobrandini di Firenze, Alidosio d’Imola, Alighieri di Firenze, Altemps di Roma, D’Alviano d’Orvieto, Appiani di Pisa, Archinto di Milano, Arcimboldi di Milano, Ariosto di Bologna, Attendolo Sforza,Barbo di Venezia, Bentivoglio di Bologna, Birago di Milano, Bojardo di Reggio, Bonacolsi di Mantova, Boncompagni di Bologna, Bonelli Ghislieri, Borromeo di S. Miniato, Buonarroti di Firenze, Buondelmonte di Firenze, Calcagnini di Ferrara, Da Camino della Marca di Trevigi, Candiano di Venezia, Cantelmi di Napoli, Capponi di Firenze, Conti di Carpegna nel Montefeltro, Casali di Cortona, Castiglioni di Milano, Cavalcabò di Cremona, Canaviglia di Napoli, Cesarini di Roma, Cesi di Roma, Cima di Cingoli, Colonna di Roma, Concini di Arezzo, Contrari di Ferrara, Corraro di Venezia, Da Correggio, Ecelini, Erizzo di Venezia, D’Este, Euffreducci di Fermo, Facchinetti di Bologna, Signori Della Faggiuola nel Montefeltro, Farnesi Duchi di Parma, Ferrero di Biella, Fogliani di Reggio, Foscari di Reggio, Fregoso di Genova, Gaddi di Firenze, Gallio di Como, Gambacorta di Pisa, Gambara di Brescia, Conti della Gherardesca di Pisa, Ghilini d’Alessandria, Giovio di Como, Giustiniani di Venezia, Gonzaga di Mantova, Gozzadini di Bologna, Grassi di Bologna, Guicciardini di Firenze, Guidi di Romagna, Lando di Venezia, Lannoy di Napoli, Ludovisi di Bologna, Lupi Marchesi di Soragna, Macchiavelli di Firenze, Madruzzo di Trento, Malaspina, Malatesta di Rimini, Manfredi di Faenza, Marescotti di Bologna, Martelli di Firenze, Massimo di Roma, Mauruzi di Toentino, Medici di Firenze, Meli di Cremona indi Marchesi Meli-Lupi Principi di Soragna, Marchesi Meli-Lupi Principi di Soragna, Mocenigo di Venezia, Marchesi di Monferrato, Del Monte di Montesansovino, Marchesi Del Monte Santa Maria nell’Umbria detti Bourbon del Monte, Conti del Montefeltro Duchi di Urbino, Navagero di Venezia, Normanni Re di Sicilia, Ordelaffi di Forlì, Orseolo di Venezia, Orsini di Roma, Ottoboni di Venezia, Ottoni di Matelica, Paleologo Marchesi di Monferrato, Pallavicino, Panciatichi di Pistoia, Pazzi di Firenze, Peretti di Montalto, Piccolomini già Todeschini di Siena, Pico della Mirandola, Pio di Carpi, Da Polenta Signori di Ravenna, Pucci di Firenze, Della Pusterla di Milano, Rangoni di Modena, Rossi di Parma, Della Rovere di Savona Duchi d’Urbino, Roverella di Ferrara, Sanvitale di Parma, Savoia, Scaligeri di Verona, Simonetta di Calabria, Sinibuldi di Pistoja, Smeducci di Sanseverino, Smeducci di Sanseverino detti Cima della Scala, Soderini di Firenze, Stampa di Milano, Steno di Venezia, Strozzi di Firenze, Re di Napoli della Casa di Svevia, Tipolo di Venezia, Torelli di Ferrara, Tornabuoni di Firenze, Torriani di Valsassina, Trinci di Foligno, Trivulzio di Milano, Valori di Firenze, Varano di Camerino, Dal Verme di Verona, Vettori di Firenze, Villani di Firenze, Visconti di Milano, Visconti già Aicardi di Milano, Vitelli di Città di Castello. (13) - TAGS: Libri, libro, books, Generale

Kugelschreiber "Rembrandt" von Visconti (Italien), Harz/Edelstahl, Marmoroptik, im orig.Etui.

Füllfederhalter von Visconti (Italien), Harz/Edelstahl, Marmoroptik, im orig. Etui.

An Art pottery plate decorated with a Renaissance figure 'Bianca Visconti' and monogrammed, 22cms (8ins) diameter.Condition ReportThere is a chip and glaze chip to the outer rim.

James (M.R.) & Bernard Berenson. Speculum humanae salvationis being a reproduction of an Italian Manuscript of the Fourteenth Century, contemporary half morocco, t.e.g., others uncut, spine rubbed and faded, Oxford, privately printed, 1926 § Ragusa (Ida, editor & translator) Meditations on the Life of Christ: An Illustrated Manuscript of the Fourteenth Century, Paris, Bibliothèque Nationale MS. Ital.115, second printing, Princeton, NJ, 1977 § Barstow (Kurt) The Gualenghi-d'Este Hours: Art and Devotion in Renaissance Ferrara, Los Angeles, 2000 § Meiss (M.) & Edith W.Kirsch. The Visconti Hours, Bibliotheca Nazionale, Florence, 1972, illustrations, some colour, all but the first original cloth, the last two with slip-cases; and 5 others on Italian illuminated manuscripts, v.s. (9)

Watteeuw (Lieve) & Jan Van der Stock, editors. The Anjou Bible: A Royal Manuscript Revealed Naples 1340, Paris, 2010 § Sciacca (C.) Florence at the Dawn of the Renaissance: Painting and Illumination 1300-1350, Los Angeles, 2012 § Simonetta (M.) Federico da Montefeltro and his Library, original wrappers, New York, 2007 § Kirsch (E.W.) Five Illuminated Manuscripts of Giangaleazzo Visconti, University Park, Pa. & London, 1991 § Alexander (J.J.G.) & A.C. de la Mare. The Italian Manuscripts in the Library of Major J.R.Abbey, 1969 § Wormald (F.) The Miniatures in the Gospels of St Augustine: Corpus Christi College MS.286, Cambridge, 1954, illustrations, some colour, all but the third original cloth, most with dust-jackets; and 8 others on Italian illuminated manuscripts, 4to & 8vo (14)

Visconti - Continental courtyard scene with mule in the foreground, a watercolour, 68cm w x 49cm h, signed lower right hand corner, in a wide mid 20th century frame together with a Voss - Autumnal farm approach, oil on canvas, 76cm w x 49cm h, signed lower left hand corner, in a wide mid 20th century frameLocation: RWF

Christo. Le rideau de fer. Monument temporaire mur d'assemblage. Rue Visconti, Paris. Einladungskarte für die Aktion, organisiert von der Galerie J. in Paris 1962. 23 x 14,5 cm.Auf der Rückseite von Christo signiert und mit eigenhändiger Adressierung in Filzstift. - Sehr seltene Ankündigungskarte für Christos erste große öffentliche Kunstinstallation. Vorne mit Rot markierter Route auf der Stadtansicht, verso mit Text von Pierre Restany. - Sehr gut erhalten.

Girometti (Giuseppe). Gemme incise dal cavaliere Giuseppe Girometti pubblicate con le Illustrazioni del Cavaliere Pietro Ercole Visconti, Rome, Tipografia delle belle arti, 1836, title with wood engraved vignette, 46 pages of text and 10 full-page engraved plates by F. Cartoni and L. Delmedico after drawings by P. Guglielmi of mythological characters, wide margins, a very fine copy, contemporary half calf gilt over orange boards, rubbed and some marks, large folio (45 x 30 cm)Qty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESNot in Sinkankas. One of only 100 copies. A rare work illustrating a series of gems created by Giuseppe Girometti (1750-1851), the most important gem engraver of the first half of the 19th century. Originally published to advertise and sell the gems, the series was eventually purchased by Pope Gregory XVI in 1845 for the Vatican library. An introduction by Pietro Ercole Visconti, curator of the Capitol Museum and director of antiquities in Rome, gives a history of gem engraving including collectors, and a substantial amount of information on Girometti's life, including his commissions for Canova as well as several popes and dukes.

A Visconti 'Homo Sapiens' basaltic lava fountain pen with silver nib and mounts: in an associated black leather case.

VISCONTI (E Q)Iconografia Opera, 4 vols., Museo Pio-Clementino, 7 vols, circa 1820, 4to, numerous outline plates, variable foxing and dust staining, morocco backed boards, rubbed (11)

*John Guida (Italian, 1897-1965)A Fashion Design - a lady in a black evening gown holding a pink feathersigned 'John' and numbered '920', mixed media46 x 32cmJohn Guida (1897-1965), born to an Italian father and an American mother, was an important Italian stylist, designer, and illustrator. As a child, he moved to Rome where he attended Visconti High School. In 1914 he participated in the fashion exhibition at the Circolo Degli Artisti together with Sartorio, Grassi, Innocenti, and Angoletta. John Guida was a regular visitor to the Paris fashion shows, coming into contact with famous tailors such as Jean Patou, Jeanne Lanvin, Lucien Lelong, Madeleine Vionnet, and Coco Chanel from whom he drew inspiration to find his own personal style, becoming an official dress designer for some of the most well-known Italian tailors such as Coen, Sanet and La Merveilleuse of Turin.His designs remained characterised by a refined linearity and a constant attention to precious detail. Elongated and slender female figures were often underlined by loose skirts and flowing pants; the sophisticated profiles were highlighted by short or gathered hair, inspired by the typical garçonne model of the time.He was also active as an illustrator for the women's magazines 'La Donna' and 'Cose', and as an advertising designer for the fashion and perfumery sectors.*Artist's Resale Right may apply to this lot.Condition report: With some minor edgefolds. Some stains to the mount. Overall excellent condition. Additional images uploaded.

*John Guida (Italian, 1897-1965)A Fashion Design - a lady in a long black coat with a yellow chequered dress and a white hatsigned 'John' and numbered '931', mixed media70.5 x 50cmJohn Guida (1897-1965), born to an Italian father and an American mother, was an important Italian stylist, designer, and illustrator. As a child, he moved to Rome where he attended Visconti High School. In 1914 he participated in the fashion exhibition at the Circolo Degli Artisti together with Sartorio, Grassi, Innocenti, and Angoletta. John Guida was a regular visitor to the Paris fashion shows, coming into contact with famous tailors such as Jean Patou, Jeanne Lanvin, Lucien Lelong, Madeleine Vionnet, and Coco Chanel from whom he drew inspiration to find his own personal style, becoming an official dress designer for some of the most well-known Italian tailors such as Coen, Sanet and La Merveilleuse of Turin.His designs remained characterised by a refined linearity and a constant attention to precious detail. Elongated and slender female figures were often underlined by loose skirts and flowing pants; the sophisticated profiles were highlighted by short or gathered hair, inspired by the typical garçonne model of the time.He was also active as an illustrator for the women's magazines 'La Donna' and 'Cose', and as an advertising designer for the fashion and perfumery sectors.*Artist's Resale Right may apply to this lot.

*John Guida (Italian, 1897-1965)A Fashion Design - a lady in a checked two-piece suitsigned and dated, inscribed 'una giacca con effector gi quautetti la blouse nella gonna'paper size 70.5 x 50cmJohn Guida (1897-1965), born to an Italian father and an American mother, was an important Italian stylist, designer and illustrator. As a child he moved to Rome where he attended Visconti High School. In 1914 he participated in the fashion exhibition at the Circolo Degli Artisti together with Sartorio, Grassi, Innocenti and Angoletta. John Guida was a regular visitor to the Paris fashion shows, coming into contact with famous tailors such as Jean Patou, Jeanne Lanvin, Lucien Lelong, Madeleine Vionnet and Coco Chanel from whom he drew inspiration to find his own personal style, becoming an official dress designer for some of the most well-known Italian tailors such as Coen, Sanet and La Merveilleuse of Turin.His designs remained characterised by a refined linearity and a constant attention to precious detail. Elongated and slender female figures were often underlined by loose skirts and flowing pants; the sophisticated profiles were highlighted by short or gathered hair, inspired by the typical garçonne model of the time.He was also active as an illustrator for the women's magazines 'La Donna' and 'Cose', and as an advertising designer for the fashion and perfumery sectors.*Artist's Resale Right may apply to this lot.Condition report: Minor spotting to the lower right corner, browning to the edges - some mark top right.

*John Guida (Italian, 1897-1965)A Fashion Design - a lady in a tuxedo jacket with a long black skirt, waistcoat and gloves.signed 'John' and numbered 931, mixed mediapaper size 70.5 x 50cmJohn Guida (1897-1965), born to an Italian father and an American mother, was an important Italian stylist, designer, and illustrator. As a child, he moved to Rome where he attended Visconti High School. In 1914 he participated in the fashion exhibition at the Circolo Degli Artisti together with Sartorio, Grassi, Innocenti, and Angoletta. John Guida was a regular visitor to the Paris fashion shows, coming into contact with famous tailors such as Jean Patou, Jeanne Lanvin, Lucien Lelong, Madeleine Vionnet, and Coco Chanel from whom he drew inspiration to find his own personal style, becoming an official dress designer for some of the most well-known Italian tailors such as Coen, Sanet and La Merveilleuse of Turin.His designs remained characterised by a refined linearity and a constant attention to precious detail. Elongated and slender female figures were often underlined by loose skirts and flowing pants; the sophisticated profiles were highlighted by short or gathered hair, inspired by the typical garçonne model of the time.He was also active as an illustrator for the women's magazines 'La Donna' and 'Cose', and as an advertising designer for the fashion and perfumery sectors.*Artist's Resale Right may apply to this lot.Condition report: With some minor stains to the paper. Minor crease at the left hand side of the paper. Overall excellent condition. Additional images uploaded.

*John Guida (Italian, 1897-1965)A Fashion Design - a lady in a blue chequered jacket and skirt ensemblesigned 'John' and numbered '914', mixed media 70.5 x 50cmJohn Guida (1897-1965), born to an Italian father and an American mother, was an important Italian stylist, designer, and illustrator. As a child, he moved to Rome, where he attended Visconti High School. In 1914 he participated in the fashion exhibition at the Circolo Degli Artisti together with Sartorio, Grassi, Innocenti, and Angoletta. John Guida was a regular visitor to the Paris fashion shows, coming into contact with famous tailors such as Jean Patou, Jeanne Lanvin, Lucien Lelong, Madeleine Vionnet, and Coco Chanel from whom he drew inspiration to find his own personal style, becoming an official dress designer for some of the most well-known Italian tailors such as Coen, Sanet and La Merveilleuse of Turin.His designs remained characterised by a refined linearity and a constant attention to precious detail. Elongated and slender female figures were often underlined by loose skirts and flowing pants; the sophisticated profiles were highlighted by short or gathered hair, inspired by the typical garçonne model of the time.He was also active as an illustrator for the women's magazines 'La Donna' and 'Cose', and as an advertising designer for the fashion and perfumery sectors.*Artist's Resale Right may apply to this lot.Condition report: Not framed.

James Rosenquist (American, 1933-2017)Ice Point, from 'Art and Sport' Lithograph printed in colours, 1983, on wove, signed, titled, dated and numbered 103/150 in pencil, published by Visconti Fine Art, Milano, Italy, for the 1984 Winter Olympic Games in Sarajevo, Yugoslavia, with margins, 826 x 584mm (32 1/2 x 23in)(I)For further information on this lot please visit Bonhams.com

Approximately 40 albums including Uriah Heap, Union Express, Unicorn, The Velvet Underground, Velvett Fog, The Ventures, The Viceroys, Mike Vickers, Victoria, Vinegar Joe, Tony Visconti, Vanity Fayre, The Vogues, Velvet Glove, Robert Thomas Velline, Vanilla Fudge, Lon and Derrick Van Eaton, Wallace Collection, Jerry Jeff Walker etc

* [South Sea Bubble]. An Autograph Note Signed from the Marquess Visconti, 1 December 1721, to Charles Lockier, 'Accomptant to the Company' asking that Mr John Hamilton be paid 'mein half year divident upon mein subscription due at midsummer last and his recept shal bi a sufficient discharge the stock is .. 1100 [?]', red wax seal beneath the signature, a little soiling, one page with integral blank leaf (numbered '1044' twice in manuscript), 4to, together with an Autograph Letter Signed from the Persian Ambassador to Queen Victoria, 11 Great Cumberland Place, [London], 16 June 1852, sending 'a receipt of 2 Casks Pickles they shipped from Bombay for his use to his address and requests Messrs C R Thompson &c to have the kindness of retiring them and have them sent to him free of Duty...', one page with integral blank, docketed, 8vo, plus Autograph Letters Signed from Anton Reinhard Falck (1777-1843), Netherland's Ambassador at London, 20 May 1825, relating to the readmission of two members to the Travellers Club, and the Count of Vistahermosa, Spanish Ambassador to Queen Victoria, 4 September 1867, thanking David Robertson for the grouse and haunch of venison, one & two pages, 4to/8vo, all tipped onto separate 4to album leaves at upper marginsQty: (4)NOTESVisconti was close with King George I and was acquainted with the composer Handel. Charles Lockier (died 1757), or Lockyer, MP, was chief accountant to the South Sea Company and gave evidence to the Secret Committee of the House of Commons into the South Sea Bubble.

Tamsin Relly I Am Plant I, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 20cm (5¾ x 7¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Plant II, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Stardust I, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Stardust II, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

A group of calligraphy and other pens, to include a Chinese calligraphy pen with two nibs and an ink jar, a Visconti ink case and a Visconti Homo Sapiens fountain pen. (3)

‘Marilyn Monroe’ (Sunday b. Morning) (1980-1989)Original color silkscreen printTotal sheet size: 91 x 91 cm (Framed and behind glass)NOTEPrinted on museum board with high quality archival inks just like the originals.PROVENANCE- Visconti Fine Arts - Scream Gallery, Mayfair, London- Jamie Wood Collection, London(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

Ɵ Legal compendium, drawing on Justinian, Institutiones, and Bartolo da Sassoferrato, Quaestio et Repetitio, in Latin, manuscript on paper [Italy, second half of fifteenth century (c. 1481)]To view a video of this lot, click here. 130 leaves (plus a paper flyleaf), complete, collation: i10, ii-iii14, iv-ix10, x12, xi-xii10, single column, 19 lines in an appealing and legible semi-humanist hand strongly influenced by secretarial and vernacular forms, texts opening in lines of small capitals, titles in ornamental capitals (often with baubles set in their mid-points and with letters run together and set within others, probably emulating Romanesque witnesses), numerous contemporary pointing fingers and other small marginalia, small spots and stains, tears to a few margins, some leaves in first gathering loose, else excellent condition, 222 by 150 mm.; bound in seventeenth- or eighteenth-century card covers, title in ink on spine (mostly rubbed away)  This volume clearly dates to the second half of the fifteenth century, and a note on fol. 25v bears the date 1481. However, its apparent ex libris at the head of fol. 1r ("Domini Dominici de Prato", repeated again in slightly more calligraphic script in the same place on fol. 11r) points instead towards the first half of the century, and to the important and well-known Florentine jurist and poet Domenico da Prato, who was the author of several love sonnets as well as a long laudatory verse narrating the struggle of the Florentines against the cruel and paranoid Filippo Maria Visconti (see Dizionario Bibliografico degli Italiani, XL, 1991). He died at some point in the 1430s or 1440s, making it unlikely that he could have owned this book. It is notable the both notes of ownership appear to be in the same hand (and in the first case, ink hue) as the text they were apparently added to, when such notes were more usually added later once the book had been finished, bound and presented to the new owner. Thus, this may well be a clean copy of a book which was his, even copying across his notes of ownership as the crucial piece of authenticating provenance, and perhaps preserving his marginalia and notes (as well as others made up to the 1480s by a subsequent user).If correct, then this manuscript is of some importance for the history of medieval law. Domenico was associated with the first wave of humanists, such as Coluccio Salutati, and was friends with other Florentine luminaries, such as Antoninus Florentinus, who would later be archbishop of the city and compose his famous confessional. Domenico was also an important legal commentator of his age, although study of this aspect of his life has been held back by the small number of surviving records. A handful of notarial materials survive in the Archivio de Stato in Florence, but here we have a compilation of law apparently assembled and ordered by him.  

Francois Visconti (19th century) French, A Barbizon scene with a figure in the foreground, oil on panel, 21" x 26".