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English School, Follower of Michelangelo Merisi da Caravaggio (Italian, 1573-1609) Lamentation over the body of Christ Oil on canvas, laid onto board, restorations 19½ x 24¼in (49.5 x 61.7cm), late 19th century gilt and composition frame

After Pier Francesco Mola, Holy Family with Saints Anne and John The Baptist, 18th or 19th century oil on canvas, 58cm x 43cm, in very good quality carved giltwood frame with Caravaggio plaqueCanvas appears to have a very old lining, Christie's stencil on stretcher, 464BX, frame is in very good condition with some gilt flaking and rubbing, from a local private house

* DRYSDALE SCOTT (SCOTTISH b. 1963), SHARONS & PEARS oil on canvas, signed and titled verso framed and under glass image size 44cm x 49cm, overall size 65cm x 69cm Note: Drysdale A H Scott is a figurative artist who lives and works in Bearsden, in the north of Glasgow. He graduated from Glasgow School of Art in 1987. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.

Sebastián López de Arteaga (Seville, 1610 - Mexico City, 1652)"Our Lady of Villaviciosa".Oil on canvas.104,5 x 83 cm.The painting “Our Lady of Villaviciosa” represents the Novo-Hispanic Baroque work attributed to Sebastián López de Arteaga, a painter originally from Seville who worked in Mexico in the 17th century. Arteaga, trained in the Spanish pictorial tradition, had contact with the great Baroque tenebrists such as José de Ribera and Caravaggio, which strongly marked his style and allowed him to bring pictorial sensibility that emphasized realism, theatricality and visual impact to Latin America. This can be appreciated in Our Lady of Villaviciosa, where the chiaroscuro and expressiveness of the violinist evoke the aesthetics of the great Spanish painters of the 17th century.Sebastián López de Arteaga stands out as a key painter in the transition from Mannerist to Baroque painting within New Spain. The comparison with Arteaga's “Doubting Thomas”, preserved in the Museo Nacional de Arte of Mexico, is pertinent, as both paintings share directed light, with faces emerging from the penumbra and a composition centered on the gestures of the figures. Just as in the painting of St. Thomas, where disbelief is manifested in the intense observation of Christ's wound, in Our Lady of Villaviciosa, the violinist shows an expression of admiration directed at the Virgin, reinforcing the mystical dimension of the scene.Since the sixteenth century, the worship of the Virgin Mary was fundamental in the viceroyalty of New Spain for evangelization and the construction of a Catholic identity. Images of the Virgin Mary, especially those associated with specific advocations such as Guadalupe, Remedios or Villaviciosa, were used as symbols of protection and faith for the indigenous and mestizo population, thus facilitating the integration of local beliefs with European Christianity. The invocation of the Virgin of Villaviciosa has its origins in the Iberian Peninsula, where she is venerated both in Portugal and Spain. Worship of this advocation spread to Latin America through the colonizers and missionaries, who brought with them images and miraculous stories of the Virgin of Villaviciosa. However, the adaptation of this devotion to a Novo-Hispanic context is evident in this painting, where clear signs of syncretism and cultural reinterpretation are observed, incorporating elements of indigenous and mestizo iconography.This is reflected, for example on the mestizo features of the Virgin and Child, with clearly darker skin. The chromatic palette, which presents more vibrant and warmer colors than those found in European paintings, reflecting the influence of the local environment and the access to indigenous pigments.Most notably, there are decorative elements that integrate indigenous symbols in an attempt to make the image more accessible to local worshippers.For example, the floral ornaments and jewels that decorate the Virgin's clothing present a mixture of European motifs with indigenous stylistic elements. The flowers used have a design closer to Mexican flowers, such as cempasúchil (Mexican marigold) and other species native to Mexico, suggesting a local reinterpretation. These flowers have a cultural and spiritual significance in indigenous traditions, especially in festivities such as the Day of the Dead.Other curious decorative elements are the two ornaments in the shape of eagles that appear on the upper part of the Virgin's mantle, which seem to have a red plume, a detail that could refer to Mexican traditions, where the eagle was a symbol of power and a sacred figure for the Mexicans, representing the god Huitzilopochtli.Finally, one of the most remarkable details in the painting is the hanging jewel on the lower part of the Virgin's dress, which shows an unusual design related to the tradition of the "flying stick", an indigenous ceremony practiced in the Totonacapan region of Mexico. The design of this jewel is reminiscent of the structure of the flying stick ritual, where participants spin around a pole in a ceremonial dance.In this painting, beyond the technical treatment, the iconography reinforces its devotional function. The presence of the violinist and the bull in the foreground introduces an everyday scene that enriches the pictorial narrative. These elements refer to a pastoral scene, in which the music and the presence of the animals suggest a miraculous manifestation of the Virgin in a humble context.On the other hand, it is worth mentioning the parallelism between this painting and the Virgin of Loreto by Juan Correa, which allows us to contextualize the evolution of this type of iconography in Novo-Hispanic art. Although Correa adopts a more decorative style, the similarity in the chromatic choice and in the structure of the mantle suggests a continuity in the way of portraying the Marian invocations in Mexico.In conclusion, the painting can be dated to the second half of the 17th century, within the period in which Arteaga consolidated his work in Mexico. Its comparison with Doubting Tomas and with Correa's Virgin of Loreto reinforces its importance as one of the paintings that most represents the adaptation of Spanish Baroque in New Spain. Provenance:-House of Albornoz, Extremadura, Spain, and also established in New Spain, Mexico.-By family descent over centuries to Mrs. Blanca Carrillo de Albornoz Muñoz de San Pedro. Spain.-Private collection Spain acquired from the above family through the art trade in 2019. Reference bibliography:- Arroyo Lemus, E. M. (2004). "Pintura novohispana: Conservación y restauración en el INAH: 1961-2004". Instituto Nacional de Antropología e Historia (INAH).- Brading, D., Buxó, J. P., & Lafaye, J. (2004). "El Pegaso o el mundo barroco novohispano en el siglo XVII". Ediciones Turner.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Rodríguez Gutiérrez de Ceballos, A. (1990). "Sebastián López de Arteaga (1610-1656): Un pintor sevillano en Nueva España". Fundación Universitaria Española.- Rodríguez Prampolini, I. (1994). “Sebastián López de Arteaga y la introducción del tenebrismo en Nueva España”. Anales del Instituto de Investigaciones Estéticas, UNAM, 59(17-34).- Sepúlveda, C. (2010). "El arte novohispano. Nueva Escuela Mexicana". Secretaría de Educación Pública.

After Caravaggio (1571-1610) - The Feast, oil on canvas, framed, 75cm x 100cm, frame size 89cm x 113cm.  NB - In our opinion this is a 19th Century work.

Caravaggio 1571-1610 by Giles Lambert. Softback book. Charity book auction. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

After Michelangelo Merisi da Caravaggio (Italian 1573-1609) An 18th century oil on board depicting 'The Supper at Emmaus', 43cm x 31.5cm, the frame 51.5cm x 39.5cmIf there is no condition report shown, please request

Guido Reni, 1575 Bologna – 1642 ebenda JOSEF MIT DEM CHRISTUSKINDÖl auf Leinwand. Doubliert.110 x 90,5 cm.Verso mit mehreren alten Etiketten.In repräsentativem Rahmen mit Lorbeerblattrelief.Beigegeben ein Gutachten von Massimo Pirondini, ohne Ort und Datum, in Kopie.Vor einem schroff felsigen Hintergrund mit spärlichem Laubbaumbewuchs ist die Hüftfigur des nach links gewandten, bärtigen Josef zu sehen, der das Christuskind hält, dessen Blick ihn trifft. Eine weitere Version des hier angebotenen Gemäldes, die rechts keinen harmonisierenden Felsaufbau zeigt, wird im Erzbistum Mailand aufbewahrt. Weitere Gemälde Renis, die das gleiche Thema jedoch anders komponiert zeigen, werden in einer Privatsammlung in Houston und in der Fondazione Cassa di Risparmio in Rimini verwahrt. Auch ein Josef mit dem Christuskind in der Hermitage in St. Petersburg, ebenfalls von Guido Renis, ist gut vergleichbar: im vorliegenden Werk hält Josef das Kind höher und neigt seinen Kopf tiefer, ein Waldstück hinterfängt die Gruppe während sich rechts eine hügelige Landschaft öffnet.Der im lombardischen Calvenzano geborene Künstler beeinflusste die Malerei seiner Epoche wie kaum ein anderer. Dies auch deshalb, weil er sich nach seinem Studium in Bologna bei Lodovico Carracci (1555-1619) und Denys Calvaert (1540-1613) ab 1600 in Rom sehr bald deutlich von allen Vorbildern zu unterscheiden suchte. Gegenüber den berühmten Meistern wie Caravaggio und Annibale Carracci vermochte er sich mit seiner völlig neuen Malweise sehr bald durchzusetzen. 1622 in Neapel, 1625 wieder in Rom, erhielt er bereits höchstrangige Aufträge, wie etwa von Kardinal Ludovisi für das Altarblatt der Kirche Santissima Tinitá die Pellegrini. Aber auch das Deckenbild im ehemaligen. Casino Borghese in Rom stärkte seinen Ruhm zusätzlich. Reni entwickelte eine weit geschmeidigere, hellerleuchtete Bildsprache und war wohl der Erste, der seinen Hauptfiguren den nach oben gerichteten Blick verlieh - ein Ausdruck einer ekstatisch zu verstehenden seelischen Verinnerlichung, die einer inneren Sicht für Heilige wie auch für antike Göttergestalten entsprach.Provenienz gemäß der Vorbesitzertradition:Johann Baptist von Hirscher (1788-1865), Freiburg im Breisgau als Guido Reni.Otto Wesendonck (1815-1896) und Mathilde Wesendonck (1828-1902), Bonn.Im Erbgang an deren Sohn Karl Wesendonck (1857-1934), Cureglia.1909 als Leihgabe im Provinzialmuseum Bonn, heutiges Rheinisches Landesmuseum Bonn als Sassoferrato.1925 durch die Stadt Bonn erworben.Auktion Lempertz, Köln, 27. November 1935, Lot 90 als Schule des Guido Reni.Privatsammlung, Deutschland.Privatsammlung Österreich, seit 2020.Literatur:Vgl. Stephen Pepper, Guido Reni, l‘opera completa, Novara 1988, S. 340-341, Abb. 35-36. (1430962) (2) (13)Guido Reni,1575 Bologna – 1642 ibid.JOSEPH AND THE CHRIST CHILD Oil on canvas. Relined. 110 x 90.5 cm.Several old labels on the back. Accompanied by an expert’s report by Massimo Pirondini, no location and n.d., in copy. Provenance according to the previous owner’s tradition:Johann Baptist von Hirscher (1788-1865), Freiburg im Breisgau as Guido Reni.Otto Wesendonck (1815-1896) and Mathilde Wesendonck (1828-1902), Bonn.Inherited by their son Karl Wesendonck (1857-1934), Cureglia.1909 on loan to the Provinzialmuseum Bonn, now the Rheinisches Landesmuseum Bonn as Sassoferrato.Acquired by the city of Bonn in 1925.Auction Lempertz, Cologne, November 27, 1935, lot 90, as School of Guido Reni.Private collection, Germany.Private collection, Austria, since 2020.Literature: cf. Stephen Pepper, Guido Reni, l’opera completa, Novara 1988, pp. 340 - 341, ill. 35-36..

Meister der Flagellazione di Cesena, tätig im zweiten Jahrzehnt des 17. JahrhundertsDIE MORRA-SPIELER, UM 1620Öl auf Leinwand. Doubliert.115 x 172 cm.In ornamental reliefiertem Rahmen.Beigegeben ein Gutachten von Gianni Papi, Florenz, 13. April 2021, in Kopie.Des Weiteren ein Auszug aus dem genannten Ausstellungskatalog Caravaggio e il Suo tempo.An einem umgekehrten Fass, das als Tisch dient, stehen und sitzen mehrere Männer in ärmlicher Bekleidung, die im Begriff sind, Morra zu spielen. Morra wurde und wird vor allem in den Mittelmeerregion gespielt und ist wesensverwandt mit unserem Schere, Stein, Papier. Eine weitere Version dieses Gemäldes wird in der Pinacoteca Nazionale in Siena verwahrt.Literatur:Fabio Obertelli, in: Caravaggio e il suo tempo tra naturalismo e classicismo, Ausstellung durch Pierluigi Carofano, Schloss von Mesagne, 16. Juli-8. Dezember 2023, Mesagne 2023, S. 102-103.Vgl. Oscar De Bertoldi, De morra. Ricerca etnografica sul gioco della morra in val di Non e val di Sole. Padova 2005.Vgl. G. Papi, Note al Gramatica e al suo ambiente, in: Paradigma, 9, 1990, S. 119.Vgl. G. Papi, Antiveduto Gramatica, Soncino 1995, S. 227. (1430457) (13)Maestro della Flagellazione di Cesena,active in the second decade of the 17th centuryTHE MORRA PLAYERS, CA. 1620Oil on canvas. Relined.115 x 172 cm.Accompanied by an expert’s report by Gianni Papi, Florence, 13 April 2021, in copy. Furthermore, extract from the exhibition catalogue: Caravaggio e il Suo tempo.Literature: cf. Oscar de Bertoldi, De morra. Ricerca etnografica sul gioco della morra in Val di Non e Val di Sole, Tesi, Università di Padova, 2005. cf. Fabio Obertelli, in: Caravaggio e il suo tempo tra naturalismo e classicismo, exhibition by Pierluigi Carofano, Mesagne 2023, pp. 102- 103. cf. Gianni Papi, Note al Gramatica e al suo ambiente, in: Paradigma, 9, 1990, p. 119. cf. Gianni Papi, Antiveduto Gramatica, Soncino 1995, p. 227.

Theodor Rombouts, 1597 – 1637KARTENSPIELER AM TISCH MIT EINEM KIEBITZÖl auf Leinwand. Doubliert.145 x 200 cm.Beigegeben eine Expertise von Gianni Papi, Florenz, 11. April 2022, in Kopie.Wie nicht wenige Werke des Malers zeigt sich auch dieses in betontem Großformat. In abgedunkeltem Raum sitzen sich zwei Kartenspieler an einem Tisch gegenüber, zwei weitere Figuren, eine alte Wirtin und ein Jüngling vor seinem Glas und Teller sind rechts am Tischende zu sehen. Links dagegen beugt sich ein grauhaariger Alter weit vor, um in die Karten seines Tischnachbarn zu blicken. Die Figuren sind schlaglichtartig von links beleuchtet, aus einer Lichtquelle, die im Bild nicht zu sehen ist. Die Hell-Dunkel-Malerei des Caravaggismus lässt die Figuren umso plastischer erscheinen. Die Hauptfigur, ein Mann im noblen Landsknechtskostüm mit breitrandigem Hut und roter Feder und umgegürteter Stichwaffe im Halfter, sitzt einzig an der Frontseite des Tisches. Er hält seine Karten in der Linken und ist dabei eine rote Karte zu ziehen. Sein Gegenüber zeigt sich noch unentschlossen. Die Darstellung lässt mehrere Deutungsmöglichkeiten des Spielgeschehens offen. Klar jedoch scheint, dass der Alte als Kibietz fungiert. Möglicherweise ist die Szene rechts dahingegen zu deuten, dass hier der Knappe des Landsknechts von der alten Wirtin ermahnt wird, von der Zusammenarbeit mit dem Betrüger abzulassen, was dieser nur mit einem Lächeln kommentiert.Papi sieht in dem vorliegenden Werk eine zweite eigenhändige Arbeit Theodor Rombouts, das sich im Museo di Belle Arti, Antwerpen, befindet. Bildaufbau und die Inszenierung der Darstellung stehen den Werken Caravaggios sehr nahe. So gilt Rombouts als der primäre Caravaggist dieser flämischen Stilrichtung. Zunächst studierte er unter anderem bei Abraham Janssens, vielleicht auch bei Nicolas Régnier in Antwerpen, bevor er sich 1616 nach Rom begab, um dort fast 10 Jahre zu bleiben. Es wird auch allgemein angenommen, dass er anlässlich eines Aufenthaltes in Florenz für Cosimo II de Medici arbeitete und damit auch mit Bartolomeo Manfredi in nahen Kontakt kam. 1625 wurde er Meister der Lukasgilde in Antwerpen.Auch in seinem bekannten Werk „Verleugnung Petri“ (Liechtenstein Museum) ist das Kartenspiel ein Begleitthema. Es erübrigt sich die Feststellung, dass Werke des Künstlers in weiteren bedeutenden Sammlungen zu finden sind. A.R.Literatur:Benedict Nicolson, Caravaggism in Europe, Bd. III, Turin 1990, S. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l‘Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, Ausst.-Kat., Palazzo Reale, Mailand 15.10.2005-6.2.2006, Mailand 2005. (1381861) (11) (†)Theodor Rombouts,1597 – 1637CARD PLAYERS AT A TABLE WITH LAPWINGOil on canvas. Relined.145 x 200 cm.Accompanied by an expert’s report by Gianni Papi, Florence, 11 April 2022, in copy.Literature:Benedict Nicolson, Caravaggism in Europe, vol. III, Turin 1990, p. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l’Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, exhibiton cat., Palazzo Reale, Mailand 15 October 2005-6 February 2006, Milan 2005.

Godfried Schalcken, 1643 Made – 1706 Den HaagKARTENSPIEL IM KERZENLICHTÖl auf Leinwand.99,9 x 135 cm.Rechts unten signiert „G. Schalcken“.In vergoldetem Régence-Rahmen.Um einen runden Tisch haben sich eine Frau und zwei Männer versammelt, die mit Hilfe des raumfüllenden, warmen Kerzenlichts, das Schalckens Kunst so besonders macht, im Begriff sind, dem Kartenspiel zu fröhnen. Das Thema ist jedoch nicht nur ein einfaches Kartenspiel, sondern vielmehr eine Allegorie der Unschuld und des Lasters. Die Figur auf der rechten Seite erinnert an den verlorenen Sohn, verführt vom Charme der jungen Frau mit tiefem Ausschnitt, die gemeinsam mit dem Betrüger auf der linken Seite, der das Pik-Ass enthüllt und seinen sicheren Sieg garantiert, in das Betrugsspiel verwickelt ist. Das Motiv der Kartenspieler ist im Oeuvre des Künstlers einzigartig. Die beiden männlichen Figuren, die das Hauptthema des Gemäldes bilden, sind von besonderer Qualität und Finesse in der Ausführung. Die Komposition erinnert an „Die Kartenspieler“ von Caravaggio (1570/71-1610), aber noch stärker an die Werke von Georges de La Tour (1593-1652), in denen das gleiche Spiel von Blicken zwischen dem Betrüger und dem Betrachter uns als ahnungslose Komplizen in den Betrug hineinzieht.Dieses Gemälde wurde von Wilhelm VIII. (1682-1760), Landgraf von Hessen-Kassel und begeisterter Sammler, als eines von etwa zehn Werken des Künstlers erworben. Es wurde in der Sammlung der Kasseler Akademie aufbewahrt (erwähnt im Inventar von 1783), bis es nach der Bildung des Königreichs Westphalen im Jahr 1807 nach dem Sieg Napoleons über Preußen verloren ging.Dieses sowohl von der Größe als auch von der Qualität her sehr bedeutende Werk wurde 2019 im Rahmen einer Nachlasses in Frankreich wiederentdeckt.Viele Werke dieses großen Künstlers befinden sich in internationalen Museen wie der National Gallery in London, dem Rijksmuseum in Amsterdam oder den Uffizien in Florenz.Literatur:Cornelis Hofstede de Groot, A Catalogue Raisonné of the works of the Most Eminent Dutch Painters of the Seventeenth Century, Bd. 5, London 1913, S. 382, Nr. 245, als Verlust.Therry Beheman, Godfried Schalcken, Paris 1988, S. 403, Nr. 245. (1432321) (13)Godfried Schalcken, 1643 Made – 1706 The HagueCARD GAME BY CANDLELIGHT Oil on canvas.99.9 x 135 cm.Signed “G. Schalcken” lower right.This painting was acquired by William VIII (1682-1760), Landgrave of Hesse-Kassel and an avid collector as one of about ten works by the artist. It was preserved in the collection of the Kassel Academy (mentioned in the 1783 inventory) until its dispersion following the formation of the Kingdom of Westphalia in 1807 after Napoleons victory over Prussia.This important wotk, both in size and quality was rediscovered during an estate succession in France in 2019.Many works of this great artist are found in international Museums as the National Gallery in London, the Rijksmuseum in Amsterdam or the Uffizi Gallery in Florence.Literature:Cornelis Hofstede de Groot, A Catalogue Raisonné of the works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. 5, London 1913, p. 382, no. 245, as lost.Thierry Beheman, Godfried Schalcken, Paris 1988, p. 403, no. 245.

Viviano Codazzi (1603/1604 – 1670) und Micco Spadaro (1609 – 1675)KLASSISCHES ARCHITEKTURCAPRICCIOÖl auf Leinwand. Doubliert.75,5 x 100 cm.In vergoldetem Profilrahmen.Beigegeben ein Gutachten von Prof. Giancarlo Sestieri, Rom, 5. Dezember 2018, in Kopie.Eindrucksvolles Gefüge von unterschiedlich beleuchteten, kontrastreich in Erscheinung tretenden Architekturelementen, deren Monumentalität durch die Figurenstaffage noch gesteigert wird. Wie häufig in der Malerei der Zeit und in den entsprechenden Themen, handelt es sich auch hier um eine Zusammenarbeit zweier Maler, wobei Codazzi hier Architektur und Hintergrund und Micco Spadaro die Figurenstaffage geschaffen hat. Sestieri datiert das vorliegende Gemälde in die 1640er Jahre wie auch die Batseba im Bade im Ringling Museum in Sarasota, die Nozze della Vergine in einer neapolitanischen Privatsammlung oder das Gemälde Portico con l‘adorazione dei pastori, dessen Standort momentan nicht zu ermitteln ist. Viviano Codazzi ist wohl der bedeutendste Veduten- und Architekturmaler des 17. Jahrhunderts in Italien, noch lange vor den späteren Vedutisten wie Canaletto u.a. Das Oeuvre des Freskanten und Barockmalers zeigt, dass sich dieser Künstler überwiegend der Darstellung antiker Tempelansichten, Veduten und fantastischer Architekturen gewidmet hat. Als Spezialist auf diesem Gebiet erfuhr Codazzi lange Zeit nur wenig Beachtung, obgleich er in seinen Wirkungsjahren bereits als der vielleicht Größte unter den Malern der perspektivischen Architekturmalerei, ja sogar als „quasi il Vitruvio die questa classe di pittori“ (Luigi Lanzi, 1732-1810) gewürdigt wurde. Der bedeutende Kunstwissenschaftler Roberto Longhi (1890-1970) erkannte in Codazzi einen „Caravaggio und Canaletto zugleich“. Inzwischen gilt es als gesichert, dass Codazzi der eigentliche Begründer der realistischen Vedute war, wie sie erst eine Generation später durch Vedutisten wie A. Canale, Marieschi oder Bellotto, aber auch Claude Lorrain, als neue Gattung voll etablierten. Die Staffagefiguren in seinen Bildern sind oft von Kollegen geschaffen. Es wird vermutet, dass der Einfluss nordeuropäischer Maler wie Bartholomeus Breenbergh oder Van Poelenburg für die klassizistische Auffassung der Architekturen bei Codazzi mitverantwortlich war.Provenienz:Sotheby‘s Auktion, London, 7. Juli 2011, Lot 357 als Viviano Codazzi.Literatur:Vgl. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rom 1993.Vgl. Giuliano Briganti, Ludovica Trezzani, Laura Laureati, Viviano Codazzi, in: I Pittori Bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983.Vgl. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rom 2015. (14304511) (13)Viviano Codazzi (1603/1604 – 1670) andMicco Spadaro (1609 – 1675)CLASSICAL ARCHITECTURAL CAPRICCIO Oil on canvas. Relined.75.5 x 100 cm.Accompanied by an expert’s report by Professor Giancarlo Sestieri, Rome, 5 December 2018 (in copy). As is often the case in paintings of the time with corresponding subjects, this is a collaboration between two painters, with Codazzi creating the architecture and background and Spadaro the figures. Sestieri dates the present painting to the 1640s.Provenance: Sotheby’s, London, 7 July 2011, lot 357 as Viviano Codazzi. Literature:cf. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rome 1993.cf. Giuliano Briganti, Ludovica Trezzani, Laura Laureati, Viviano Codazzi, in: I pittori bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983.cf. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rome 2015.

Elisabetta Sirani, 1638 Bologna – 1665 ebenda, zug.BILDNIS EINER JUNGEN FRAUÖl auf Leinwand.77 x 62 cm.In vergoldetem Prunkrahmen.Halbbildnis einer jungen schönen Frau, leicht nach rechts geneigt in einem edlen Gewand mit entblößter rechter Schulterpartie. Vor sich hält sie mit ihren kräftigen Händen ein kleines Blumengebinde mit einer roten Nelke, einer Rose und gelben Narzissen. Sie hat ein feines zartes Inkarnat, gerötete Wangen und Kinnpartie, und blickt mit ihren rehbraunen Augen den Betrachter direkt an. Vor dem dunklen Hintergrund werden ihr Kopf, die Schulterpartie und die Hände effektvoll durch die Beleuchtung hervorgehoben. Anmerkung:Elisabetta Sirani war eine italienische Malerin und Kupferstecherin. Sie gründete in Bologna eine Kunstakademie nur für Mädchen und Frauen und war eine der ersten Frauen überhaupt, die in die renommierte Accademia di San Luca in Rom als Mitglied aufgenommen wurde. Viele ihrer Werke zeigen ihre Bewunderung für Guido Reni, aber auch Hinweise auf Caravaggio, wie sich auch auf dem vorliegenden Werk erkennen lässt. (1431609) (18)Elisabetta Sirani,1638 Bologna – 1665 ibid., attributedPORTRAIT OF A YOUNG WOMAN Oil on canvas.77 x 62 cm.

José de Ribera, 1588/91 Játiva, Valencia – 1652 Neapel, Werkstatt desBILDNIS EINES PHILOSOPHENÖl auf Leinwand. Doubliert.75 x 62 cm.In teilvergoldetem bemalten Rahmen.Vor dunkelbraunem Hintergrund das frontale Halbbildnis eines älteren Mannes mit Bart und dunklen, teils grauen Haaren, ein rötliches Untergewand mit tiefem Brustausschnitt und darüber einen braunen Mantel tragend. In seinen knochigen Händen hält er ein großes Buch oder eine große bräunliche Mappe, aus der oben weiße Papierstücke herausragen. Er hat ein braunes Gesicht mit tiefen Stirnfalten, den Mund geschlossen und mit seinen starren Augen blickt er, in sich gekehrt, aus dem Bild heraus. Durch den Lichteinfall aus unbekannter Quelle werden schlagartig einige Teile des Gesichts, insbesondere Stirn- und Wangenpartie, sowie der Brustbereich und die Hände hervorgehoben. Die Darstellung ist typisch für den Künstler, der bei Francisco Ribalta (1565-1628) in Valencia studierte. Später stand er unter dem Einfluss von Caravaggio (1570/71-1610), was das Hell-Dunkel seiner Malerei und auch des vorliegenden Gemäldes erklärt. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knorrig schlanken Gestalten, wie Einsiedlern oder Philosophen. (14304510) (18)José de Ribera, 1588/91 Játiva, Valencia – 1652 Naples, workshop ofPORTRAIT OF A PHILOSOPHER Oil on canvas. Relined.75 x 62 cm.

Norditalienischer Meister 1560/ 1570BILDNIS EINES JUNGEN MANNES MIT RÖTLICHEM BARTÖl auf Karton, auf Holz.39,5 x 29,7 cm.Das Bildnis zeigt den jungen Mann vor olivgrünem Hintergrund nach links gewandt, der lebendige Blick auf den Betrachter gerichtet. Das naturalistisch gemalte Gesicht in feinen Inkarnatabstufungen gehalten, betont durch den Kontrast von Schwarz und Weiß in Kleid und Kragen. Stilistisch lässt sich das Werk in eine Gruppe von Malern Norditaliens einordnen, wobei hier die überzeugende Verwandtschaft zur Malerei des in Brescia 1498 geborenen Alessandro Moretto besteht. Darüber hinaus kann auch Giovanni Girolamo Savoldo (um 1480-um 1548) genannt werden.Das Bildnis ist auf Papierkarton gemalt und wurde erst später auf Holz gebracht. Das lässt vermuten, dass es sich hier um eine erste Version für ein Werk in Ölmalerei handelt, wie dies häufig Praxis der Portraitmalerei der Zeit war, wobei der Portraitierte später nicht nochmals zur Sitzung erforderlich war. Die hohe Qualität des Bildnisses erlaubt die Zuweisung an einen der genannten bzw. weiteren Künstler von Rang. Literatur: Vgl. Pier Virgilio Begni Redona, Alessandro Bonvicino il Moretto da Brescia, Editrice La Scuola, Brescia 1988.Vgl. Sybille Ebert-Schifferer (Hrsg.), Giovanni Gerolamo Savoldo und die Renaissance zwischen Lombardei und Venetien. Von Foppa und Giorgione bis Caravaggio. Frankfurt/ Mailand 1990.Vgl. Alexander Rauch, Die Kunst der italienischen Renaissance, Teil Malerei, Köln 1994. A.R. (1430741) (11)North Italian School, 1560/ 1570PORTRAIT OF A YOUNG MAN WITH REDDISH BEARD Oil on card, laid on panel.39.5 x 29.7 cm.Literature: cf. Pier Virgilio Begni Redona, Alessandro Bonvicino il Moretto da Brescia, Brescia 1988.cf. Sybille Ebert-Schifferer (ed.), Giovanni Gerolamo Savoldo und die Renaissance zwischen Lombardei und Venetien. Von Foppa und Giorgione bis Caravaggio, Frankfurt/ Milan 1990.cf. Alexander Rauch, Die Kunst der italienischen Renaissance, Teil Malerei, Cologne 1994.

European School,  early 19th century- The conversion of St Paul; oil on canvas, 47.6 x 52.3 cm. Provenance:  Private Collection, UK. Note:  This painting records the moment when Saul of Tarsus, on his way to Damascus to annihilate the Christian community there, is struck blind by a brilliant light and hears the voice of Christ saying, 'Saul, Saul, why persecutest thou me?...And they that were with me saw indeed the light, and were afraid, but they heard not the voice...'(Acts 22:6-11).  The subject was treated, famously, by Caravaggio (1571-1610) in his large oil on panel which is housed in the Odescalchi Balbi Collection, Rome. 

Jan Saenredam, after Polidoro da Caravaggio,  Dutch c.1565-1607, and Italian c.1499-c.1543- The wounded Scipio carried from a battle by his sons; engraving on laid paper, signed and dated 'J. Sanredam. Ao. 1593' (within the plate, lower right), inscribed 'Per Polidorum dilucide et subobscure depictum Romae, extra portam, iuxta castrum S. Angeli, et per HGoltzium evulgatum' (within the plate, lower margin), with watermark of a fleur-de-lys below a crown, bears various later indistinct inscriptions in pencil verso, 25.4 x 34.5 cm. (unframed / mounted). Provenance:  Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley). 

* Baglione (Giovanni, 1566/71-1643/44). Young couple in contemporary dress, black chalk on pale grey-brown laid paper, with touches of white chalk, early manuscript number 174 in brown ink to centre of top margin, and ‘l 225’ in brown ink to lower right corner, inscribed in pencil to verso (in a later hand) ‘Del Cavalier Baglione’, sheet size 298 x 224 mm (11 3/4 x 8 7/8 ins), hinge-mounted to a larger sheet of 18th century laid backing paper, with elaborate presentation title and inscription in Italian in brown ink above and below the drawing, giving the artist’s name above, and a long biographical note below, old inscribed number in brown ink to upper left corner: 161, some marks and soiling to the backing sheet with a few short closed marginal tears to margins (not affecting the drawing itself), the backing sheet with ruled framing lines around the drawing, backing sheet 49 x 34 cmQTY: (1)NOTE:Provenance: Private Collection.Giovanni Baglione worked mainly in Rome, his mature style typical of the early Roman Baroque, whilst also retaining elements of his early training in the Central Italian tradition of disegno. Between 1621 and 1622 he was in Mantua as the court artist to Duke Ferdinando Gonzaga. Baglione is best known as the author of the Vite de’ Pittori, Scultori, Architetti, ed Intagliatori (Lives of Painters, Sculptors, Architects and Engravers), first published in 1642, one of the most important contemporary sources for artists in Rome at this time. The artist is also famous due to his suit for libel in August 1603 against Caravaggio, Orazio Gentileschi and other painters in connection with some unflattering poems then circulating in Rome the previous summer. Caravaggio’s testimony during the trial is one of the few documented records of his opinions on art and his contemporaries.The present drawing, in which the chalk has been applied lightly and with shaded areas creating a sfumato effect, depicts an elegant young couple in contemporary dress, with two other figures behind, and may be a study for a wedding procession or similar subject.

Books. Musallam (B.F.), Sex and Society in Islam, first edition, Cambridge University Press, 1983, dustjacket over cloth boards, 8vo; Rosenthal (Franz), Gambling in Islam, first edition, Leiden: E.J. Brill, 1975, original green cloth, 8vo; art books, including Banksy Cut it Out, Monet, Caravaggio, the American artist Kitaj, etc., mixed bindings and sizes, (12)

Attributed to Polidoro da Caravaggio (1499-1543)Dacian prisoners, from Trajan's Column, pen and brown ink, 20 x 17.5cm (unframed) The sheet is backed/lined, with several creases and some old tape residue.  There is some patchy brown staining, and a tiny corner cut off the lower right corner.

Caravaggio (1986). Two signed stills, one by director Derek Jarman and one Tilda Swinton dated '86. Provenance: from the personal collection of former International film festival organisers, including many items gifted by participating filmmakers, visiting personalities and industry representatives

A 17TH CENTURY ENGRAVING, 'ENTOURAGE POLIDORO DA CARAVAGGIO'33cm x 21cmFramed and glazed 48cm x 36cmProvenance: Private collection, South West London.

AFTER CARAVAGGIOThe Calling of St MatthewOil on canvas, 96.5 x 129.5cm

AFTER CARAVAGGIO St Matthew and the Angel Oil on canvas, 48 x 38cm

AFTER CARAVAGGIO Study of a head Oil on canvas, 48.5 x 42cm

Honthorst, Gerrit van (1592 Utrecht - 1656 ebenda, Schüler des Abraham Bloemaerts, Aufenthalte in Italien und England, stark von Caravaggio beeinflusst, zentrale Figur des Utrechter Caravaggismus, erhielt Aufträge prominenter Mäzene wie dem Winterkönig Friedrich V. von der Pfalz, Karl I. von England und Mitglieder des Hauses Oranien-Nassau sowie von zahlreichen kirchlichen und bürgerlichen Auftraggebern),"Porträt des Jongheer Roelof van..., der eine Rüstung, einen weißen Kragen und eine rote Schärpe trägt", Öl auf Holz, signiert und datiert links G. Honthorst 1637, rückseitig bezeichnet Joncheer Roelof van ... 1637, 45.5 x 38 cm.Provenienz: Aus dem Nachlass eines Kunstsammlers aus Lübeck außerfamiliär an eine ihm nahestehende Person vererbt, seither Privatbesitz.Der Porträtierte ähnelt einem weiteren Herrenporträt von Gerrit van Honthorst, das sich in der Sammlung des Friesmuseums in Leeuwarden in den Niederlanden befindet (Objekt-Nr. S1995-042). Der hier Dargestellte wird dem friesischen Adelsgeschlecht der Burmania zugeordnet.Das vorliegende Porträt, geschaffen von Gerrit van Honthorst im Jahr 1637, stellt einen faszinierenden Vertreter der niederländischen Porträtkunst des Goldenen Zeitalters dar. Honthorst, als Schüler Abraham Bloemaerts ausgebildet und maßgeblich von den dramatischen Licht- und Schattenwirkungen Caravaggios inspiriert, war eine zentrale Figur des Utrechter Caravaggismus. Neben seinen Aufenthalten in Italien und England prägten prestigeträchtige Aufträge prominenter Auftraggeber, wie Friedrich V. von der Pfalz, Karl I. von England und Mitglieder des Hauses Oranien-Nassau, seinen künstlerischen Werdegang.

KPM Berlin Bildplatte "Die Falschspieler" um 1905, links unten signiert GNußmann, Potsdamer Porzellanmaler Georg Nußmann (um 1900 für KPM tätig), rückseitig Pressmarke ab 1825, Präge- und Jahreszeichen für 1901, Ritznummer 237-158. sowie auf Klebezettel handschriftlich bezeichnet, querrechteckige Porzellanplatte mit feiner polychromer Bemalung, Darstellung zweier an einem Tisch sitzender Herren, beim Kartenspiel mit Münzen, vor dunklem Grund, einer mit versteckt gehaltener Karte, der andere mit hinter ihm stehendem Mann als Souffleur, nach Gemäldevorlage des französischen Malers Valentin de Boulogne (1591-1632), unterer Rand mit kleinem Chip (nicht das Motiv tangierend), sonst guter Zustand, Maße Platte 16 x 23,5 cm. Quelle: Bergmann, 1350 Gemälde auf Porzellanplatten, S. 32, Abb. 90. Info: Bis in das 20. Jh. hinein wurde das Originalgemälde fälschlicherweise dem Maler Michelangelo Merisi da Caravaggio zugeschrieben.

limited edition digital print on paper, signed in silver ink and numbered 58/100, from the Revelations : A Portrait of Magic series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

(Art interest) Nine good works Gauddenz Freuler. 'Bartolo di Fredi Cini. ein Beitrag Zur Sienischen Malerei Des 14. Jahrhunderts,' original cloth, unclipped dj, colour illustrations throughout, vg to fine, Desertina Verlag, Switzerland, 1994; Andrew Wilton and Tim Barringer. 'American Sublime. Landscape Painting in the United States 1820-1880,' card wraps, illustrations throughout, vg, Tate Publishing, 2002; Giuseppe Beretti. 'Giuseppe e Carlo Francesco Maggiolini L'Officina del Neoclassiciso,' original cloth, unclipped dj, card slip, vg, Edizioni Libreria Malavasi, Milano, 1994; Edwin Becker (ed) et al and Michael Huig et al. 'Prague 1900,' original cloth, unclipped dj, illustrations throughout, vg, Van Gough Museum, Amsterdam, Museum of Applied Art, Frankfurt, Waanders Uitgevers, Zwolle, 1999-2000; With five other works including Caravaggio, Art Deco, the Handbook of Painted Decoration, Francesco Salvati and Alphonse Mucha. (9)

Perlen älterer romanischer Prosa.: Hrsg. v. H. Floerke u. A. Wesselski. 31 Bde. (= alles Ersch.). Mchn., G.Müller (1907-21). Tls. illustr. Orig.-Einbde. (17 Ohprgtbde., 12 Ohldrbde., 2 Oldrbde.). Die vollständige Reihe. Meist 1/800 bzw. 850 Ex. - I-III: Saccetti,F. Die Novellen. - IV: Cornazano,A. Die Sprichwort-Novellen. - V-VI: de la Sale,A. Die hundert neuen Novellen. - VII: Morlines,G. Die Novellen. - VIII-IX: Caravaggio. Die ergötzlichen Nächte. - X: Firenzuola,A. Novellen und Gespräche. - XI-XII: Margareta von Navarra. Das Heptameron. - XIII-XIV: Basile,G. Das Pentameron. - XV: Fernando de Rojas. Celestina. - XVI-XVII: des Periers,B. Die neuen Schwänke. - XVIII: Grazzini,A.F. Die Nachtmähler. - XIX-XX: Perez de Hita,G. Die Geschichte der Bürgerkriege von Granada. 1/50 Ex. in Ganzleder. - XXI: des Troyes,N. Der grosse Prüfstein. - XXII-XXIII: Fortinis,P. Novellen. - XXIV: Marcello,B. Das Theater nach der Mode. - XXV-XXVI: von Salerno,M. Der Novellino. - XXVII-XXIX: Bandello,M. Die Novellen. - XXX-XXXI: Fiorentino,G. Die fünfzig Novellen des Pecorone. - Insgesamt schön erhaltene Reihe.

Polidoro da Caravaggio (c.1499-1543) Schediasmata selecta ex archetypis di Musaeo Honi. viris A. Hume Bart. Conservatis, fideliter imitata, auctore C. M. Metz. [London: no publisher], 1789. Oblong folio (30.5 x 47cm), allegorical title-page and 61 plates by Conrad Martin Metz (all but the title-page after Polidoro da Caravaggio), sepia etchings with aquatint in imitation of chiaroscuro woodcuts, most numbered in the plate (erratically towards rear), disbound (retaining front board), title-page creased and dust-soiled, occasional spotting, pencilled foliation and a few damp-stains to upper outer corners not affecting images, collation not established and the lot sold as a collection of plates From the library of the Murrays of Dollerie, Crieff, Perthshire.

ALBERT SKIRA, ITALIAN PAINTING; three volumes comprising 'From Caravaggio to Modigliani', 'The Creators of the Renaissance' and 'The Renaissance: Critical Studies' by Lionello Vinturi, also three volumes of 'The History of Modern Painting' comprising 'From Baudelaire to Bonnard', 'Matisse Munch Rouault', and 'From Picasso to Surrealism' (6).

* STUART MCALPINE MILLER (SCOTTISH b. 1964), FROM THE EVIL WITHIN limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPELLBOUND IN MOTION limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), HYPNOTIC REVEAL limited edition digital print on paper, signed in silver ink and numbered 58/100, from the Revelations : A Portrait of Magic seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

Donald Watson after Caravaggio (1571-1610)Phyllis, the CourtesanOil on board, 58.5cm by 49cm

Ted Jones (Irish, 1952)Coel, Craic angus Rince, 2000 Limited edition No. 148 / 500Signed & numbered in pencilPublished by Killarney Art Gallery, IrelandFramed & glazedTed Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style unmistakably his own. His unique style probably owes a lot to the fact that he never attended Art College, left to his own devices his style was able to evolve without influence, save his admiration for great artists such as Klimt, Rossetti & Caravaggio. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.Measures approx. 40 x 31cm (16" x 11").

An album containing early book plates, mostly 16th & 1`7th century, engraved portraits of famous and infamous personalities, Elizabethan and English Civil War era to include artists such as Caravaggio and Domenichino.

limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

After Michelangelo Merisi da Caravaggio (Italian, 1571-1610) - 'The Calling of Saints Peter and Andrew', unsigned, inscribed 'Peter Paul & John by ...RE Windsor[?] Castle July 5th 1769' verso, chalk on laid paper, 40 x 43 cm, glazed in gilt frame

BLEK LE RAT (Né en 1951) Death of Caravaggio, 2008. Lithographie sur papier, signé et numéroté 60/75 exemplaires. 70 x 88 cm (Avec le cadre 105 x 105 cm). En très bon état. Le thème de La Traviata est magnifiquement mis en avant sous des couleurs "bleu Klein".

* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPELLBOUND IN MOTION limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), A COMPLEX NATURE limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), HYPNOTIC REVEAL limited edition digital print on paper, signed in silver ink and numbered 58/100, from the Revelations : A Portrait of Magic seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), FROM THE EVIL WITHIN limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPLIT PERSONALITY limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glassimage size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

Orazio Gentileschi, 1563 Pisa – 1639RUHE AUF DER FLUCHT NACH ÄGYPTENÖl auf Leinwand.148 x 267 cm.Beigegeben ein Gutachten von Nicholas Turner, 10. August 2012 und eine Stellungnahme von Claudio Strinati, der es für möglich hält, dass das hier angebotene Gemälde der Prototyp für die anderen bekannten Versionen Gentileschis sein könnte.Diese Version von Gentileschis Die Rast auf der Flucht nach Ägypten existiert in mehreren Fassungen, wobei jedoch nicht alle eindeutig dem Maler zugeschrieben werden können. In Abwesenheit von Archivdokumentationen sind die Wissenschaftler nur in der Lage, sich auf stilistische Analysen zu stützen, um die Autorschaft und Datierung dieser Werke zu bestätigen. Das Vorhandensein zahlreicher Versionen zeugt von dem anziehenden Charme von Gentileschis Wahl der Ikonographie, insbesondere von der emotionalen Aufladung, die durch die thematische Spannung zwischen dem tief schlafenden Joseph und der Jungfrau, die das Jesuskind stillt, hervorgerufen wird. Hinter diesem Gemälde und allen anderen Versionen steckt ein kraftvolles theologisches Konzept: eine Ausarbeitung des Skeptizismus, den Joseph gegenüber der künftigen Erlösung Christi zeigt, der jedoch durch die Vorrangstellung der mütterlichen Liebe in der Kindheit Christi überwunden wird. Wenn man sich Caravaggios Rast ansieht, wird schnell klar, dass diese Art der Ikonographie vollständig die Erfindung von Gentileschi ist: Im Meisterwerk in der Galleria Doria-Pamphilj ist Joseph tatsächlich wach und sehr aufmerksam dargestellt, während seine Gegenstücke ruhen. Um das vorliegende Werk zu datieren, muss man eine wohl feinere Version aus dem Jahr 1625 berücksichtigen, die früher in der Sammlung des Herzogs von Buckingham war und sich heute im Kunsthistorischen Museum in Wien befindet. Die stilistischen Unterschiede zwischen diesem Werk (das wahrscheinlich von Gentileschi selbst während seines Aufenthalts in Paris an den Herzog geschickt wurde) und unserer Version setzen einen terminus ante quem für letztere. Zur Unterstützung einer festen Zuschreibung genügt es, stilistische Vergleiche mit der Version im Louvre zu ziehen, die 1671 vom Banker Jabach an König Ludwig XIV. verkauft wurde, und einer anderen im Museum von Birmingham, die beide dem Künstler zugeschrieben werden. Letztere, die als einzige das Eselchen zeigt, wird allgemein als das Prototyp für eine große Anzahl von Versionen angesehen, von denen die meisten von der Werkstatt des Malers stammen. Die dunkle Farbpalette und die Ausführung des vorliegenden Gemäldes könnten auf eine reifere Phase im Künstlerleben hindeuten und somit nahe am Prototyp liegen. Zudem weisen bestimmte stilistische Ähnlichkeiten, wie die dichte Anwendung von Pinselstrichen und die Vereinfachung geometrischer Formen, sowohl im Prototyp als auch im vorliegenden Gemälde auf. Dennoch gibt es einige auffällige Unterschiede zwischen diesen beiden Versionen, insbesondere der prunkvolle und groß angelegte Ton des Prototyps im Gegensatz zur Strenge von unserer Version, was bei Wissenschaftlern zu einiger Unsicherheit geführt hat. Um zu erklären, wie ein Werk wie das hier angebotene neben den prunkvollen Versionen aus Gentileschis reiferer Phase (Wien, Louvre und Birmingham) entstehen konnte, muss man Gentileschis Versuch berücksichtigen, seine künstlerische Tätigkeit in England für kommerzielle Zwecke mit Unterstützung seiner beiden Söhne, Giulio und Francesco, auszubauen. Es ist durchaus plausibel, dass die beiden Söhne als Kunstberater des Herzogs von Buckingham tätig waren und damit beauftragt wurden, Kunstwerke aus Italien nach England zu beschaffen, die den Anforderungen des Mäzens entsprachen. In diesem wahrscheinlichen Szenario könnten die Brüder Werke aus Gentileschis italienischer Werkstatt nach England gebracht haben, die entweder unvollständig waren oder von seinen Assistenten stammten, um sie auf dem englischen Markt zu verkaufen. In diesem Zusammenhang ist es vernünftig anzunehmen, dass das Gemälde hier zu einer Gruppe von Werken gehörte, die in einem frühen Stadium von Gentileschis Karriere entstanden, aber zu einem späteren Zeitpunkt von seinen Söhnen verkauft wurden. Es passt tatsächlich besser zu Gentileschis früheren Werken als zu denen, die in seiner reifen Phase ab den 1620er Jahren entstanden, wie man an den Figuren von der Jungfrau und Joseph erkennen kann, die eng mit Orazios früheren Gemälden wie der Heiligen Familie in der Galerie der Cassa di Risparmio in Pisa verwandt sind.Provenienz:Kunsthandel, Rom.Privatsammlung, Österreich.Literatur:R. Vodret and G. Leone, Caravaggio en Cuba, Ausstellungskatalog, Kuba, Havanna 2011, S. 100 - 103, Kat. Nr. 9.C. Strinati in: Lights and Shadows, Caravaggism in Europe, Ausstellungskatalog, kuratiert von M. di Martino and V.Rossi, Lampronti Gallery London, Rom 2015, Kat. Nr. 9, S. 32-35.Vgl. Benedict Nicolson, Luisa Vertova, Caravaggism in Europe, Bd. I, Turin 1990, S. 113.Vgl. Benedict Nicolson, The International Caravaggesque movement, Oxford 1979, S. 52.Vgl. Raymond Ward Bissell, Orazio Gentileschi, University Park u.a. 1981.Vgl. Hermann Voss, Orazio Gentileschi. Four versions of his „Rest on the Flight into Egypt“, The connoisseur, November 1959, S. 163-165.Vgl. Orazio and Artemisia Gentileschi, Ausstellungskatalog, Metropolitan Museum of Art, New York, 14. Februar 2002-12. Mai 2002, Museo Nazionale del Palazzo di Venezia, Rom, 20. Oktober 2001-20. Januar 2002, Saint Louis Art Museum, Saint Louis, MO, 15. Juni 2002-15. September 2002, hrsg. v. Keith Christiansen und Judith Walker Mann, New Haven u. a. 2001. (1421001) (†)Orazio Gentileschi,1563 – 1639 THE REST ON THE FLIGHT INTO EGYPT  Oil on canvas.148 x 267 cm. Attached is an expert’s report by Nicholas Turner, 10 August 2012, and a statement by Claudio Strinati, who considers it possible that the painting on offer for sale in this lot could be the prototype for Gentileschi’s other known versions. There are several versions of Gentileschi’s Rest on the Flight into Egypt, although not all of them can be clearly attributed to the painter. In the absence of archival sources, scholars can only rely on stylistic analyses to confirm the authorship and dating of these works. To date the painting on offer for sale in this lot, a finer version dating to 1625 must be considered. It was formerly held in the collection of the Duke of Buckingham and is now located at the Kunsthistorisches Museum in Vienna. The stylistic differences between this painting, which was probably sent to the Duke by Gentileschi himself during his stay in Paris, and the present version set a “terminus ante quem” for the latter. To support a firm attribution, it is sufficient to draw stylistic comparisons with the version held at the Louvre, sold by the banker Jabach[AU1]  to King Louis XIV in 1671, and another held at the Museum of Birmingham, both attributed to the artist. The latter, which shows a donkey, is generally considered to be the prototype for many versions, most of which originating from the painter’s workshop. To explain how a work such as the one offered here could have been created alongside the lavish versions from Gentileschi’s more mature period (Vienna, Louvre, and Birmingham), it must be considered that Gentileschi’s attempted to expand his artistic activity in England for commercial purposes with the support of his two sons, Giulio, and Francesco. In this context, it is reasonable to assume that the present painting is part of a group of works created at an early stage of Gentileschi’s career but sold later by his sons. It is in fact more in keeping with Gentileschi’s earlier works than with those produced in his mature period from the 1620s onwards, as can be seen in the figures of the Virgin and Jos...

Louis Finson, 1580 Brügge – 1617 Amsterdam, zug.ADONISÖl auf Leinwand. Altdoubliert.113 x 160 cm.Ungerahmt.Das großformatige, thematisch äußerst seltene Thema zeigt den nackten Adonis nur mit einem Ziegenfell dürftig bekleidet, in abendlich abgedunkelter Landschaft, auf einem Waldboden liegend. Der Oberkörper leicht aufgestützt, mit müdem Gesichtsausdruck, die Augen nur leicht träumerisch geöffnet. Das helle, blasse Inkarnat hebt sich vom dunkleren Hintergrund ab, links hinter dem Oberkörper ziehen Baumstämme hoch, im oberen Teil zeigen sich die Äste in X-förmiger Überkreuzung. Im Vordergrund Blattwerk von Lattichgewächsen sowie ein abgebrochener Ast neben einem blau wiedergegebenen Gegenstand, der einer Keule ähnelt. Im Hintergrund hügelige Landschaft unter dunklen Wolken mit zentral leicht erhelltem Wolkengebilde. Das Gemälde ist insofern von hoher kunsthistorischer Bedeutung als hier in seltener Weise der Ursprung und Vertreter des Menschengeschlechtes in melancholischer, nahezu visionärer Weise wiedergegeben wird, das Schicksal der Menschheit insgesamt bedenkend. Die Zuweisung an den Maler rechtfertigt sich aus Vergleichen mit anderen, gesicherten Werken, wobei hier auffällt, dass die betonte, über das Bild hinwegziehende, diagonale Komposition ein auffallendes Hauptmerkmal des künstlerischen Schaffens Finsons ist. Auch die bereits erwähnten, sich übereinander kreuzenden Äste in der linken oberen Ecke lassen sich in der manieristischen Stilistik durchaus vergleichen mit dem Gemälde „Allegorie der vier Elemente“ von 1611. Finsons Malstil resultiert vor allem aus seiner ersten Italienreise, in der er den Caravaggismus in seine flämische Malart eingeführt hat. Auch die Reisen nach Spanien und Frankreich, speziell in die Provence, haben den Malstil nachhaltig beeinflusst. Der seinerseits sehr erfolgreiche Maler, der auch als Gemäldevermittler tätig war, besaß selbst ein Werk von Caravaggio, das sich heute im Kunsthistorischen Museum in Wien befindet. (1421977) (13))

Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/Valencia – 1652 NeapelDER APOSTEL PAULUSÖl auf Leinwand.130,3 x 104,5 cm.In mit reliefierten Ornamenten verziertem Rahmen.Beigegeben ein Gutachten von Nicola Spinosa, Neapel, 10. Januar 2020.Zudem ein ausführlicher Restaurierungsbericht von 1991 von Dr. Laszlo Cser, Toronto, Kanada, mit einem angegebenen Versicherungswert von 1.200.000,00 USD.Des Weiteren ist eine Korrespondenz von Felice Vicente Garin Llombart, Museo del Prado, Madrid, 7. Oktober 1991 bezüglich einer Ausstellung von 1992 in Neapel mit einem Versicherungswert von 1.500.000 USD sowie eine weitere eine Korrespondenz mit Spinosa vom 23. Januar 1992 beigegeben, aus der hervorgeht, dass eine Ausleihe des vorliegenden Gemäldes alleine aus logistischen Gründen nicht stattgefunden hat.Vor dramatisch abgedunkeltem Fond die Dreiviertelfigur des Apostel Paulus neben einer mit raffiniert, auf Leinwand übersetzten Oberfläche dargestellten Steinbrüstung stehend. Sein Blick dem Betrachter geltend, hält er in seiner Rechten sein ihm attributiv zukommendes Schwert in Händen, in seiner Linken das geschlossene Buch. Dunkel verschwimmt die Haartracht mit dem Hintergrund, während der Bart sich wirkungsvoll von dem in mächtigen Falten liegendem roten Gewand absetzt, das den gesamten Bildraum zu erleuchten im Stande ist. In seinem Gutachten vom 10. Januar 2020 führt Spinosa aus, dass das vorliegende Werk ein autografes Gemälde von Ribera selbst ist und kurz nach 1630 ausgeführt wurde.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz:Sammlung Edward E. LeMay und Laszlo Ferencz Cser.Musée des beaux-arts de l’Ontario.Literatur:Das vorliegende Gemälde wird erwähnt in: Nicola Spinosa, Ribera, L’opera completa, Neapel, 2006, S. 309 in Bezug auf das signierte und 1632 datierte Gemälde in der Hispanic Society of America in New York (A130): „Di questo dipinto si conoscono due copie antiche, rispettivamente nel Museo Regionale di Messina (...) e, nel 1992, in una privata raccolta a Toronto“.Vgl. Nicola Spinosa, Ribera, La obra completa. Madrid, 208, S. 387, Nr. A 151. (1420001) (13) (†)Jusepe de Ribera,known as “lo Spagnoletto”,1588/91 Xàtiva/Valencia – 1652 NaplesTHE APOSTLE PAULOil on canvas.130.3 x 104.5 cm.In a frame decorated with relief ornaments.Accompanied by an expert’s report by Nicola Spinosa, Naples, 10 January 2020 as well as a detailed restoration report from 1991 by Dr Laszlo Cser, Toronto, Canada.Also accompanied by correspondence from Felice Vicente Garin Llombart, Museo del Prado, Madrid, 7 October 1991 regarding an exhibition 1992 in Naples, with an insurance value of $1,500,000, and further correspondence on the subject with Spinosa on 23 January 1992, stating that a loan of the present painting was only declined for logistic reasons (Canada/Italy).The three-quarter figure of the apostle Paul stands before a dramatically darkened background Paul the Apostle, standing next to a stone balustrade with a ingeniously translated surface on the canvas. His gaze fixed on the observer, he holds his attributive sword in his right hand and a closed book in his left. His hair merges with the background, while his beard stands out effectively against the mighty folds of the red robe, which is able to illuminate the entire pictorial space. Provenance:Collection Edward E. LeMay and Laszlo Ferencz Cser.Musée des beaux-arts de l’Ontario.Notes:In the enclosed expert’s report, dated 10 January 2020, Spinosa states that the present work is an autograph painting by Ribera himself and was executed shortly after 1630.Literature: The present painting is mentioned in: Nicola Spinosa, Ribera, L’opera completa, Naples, 2006, p. 309 in reference to the painting in the Hispanic Society of America in New York (A130), which is signed and dated 1632: “Di questo dipinto si conoscono due copie antiche, rispettivamente nel Museo Regionale di Messina (...) e, nel 1992, in una privata raccolta a Toronto”.Cf. Nicola Spinosa, Ribera, La obra complete, Madrid, Fundación Arte Hispánico, 208, p. 387, no. A 151.

Italienischer Caravaggist des 17. JahrhundertsGemäldepaarKÜCHENSTILLLEBENÖl auf Leinwand. Doubliert.73 x 93 cm.In Prunkrahmen.Das eine Gemälde zeigt vor schwarzem Hintergrund eine von rechts ins Bild ragende Tischplatte, auf der ein geflochtener Korb mit einem Taubenpaar steht. Über diesem liegt ein erlegter Hase und es hängen daran einige kleine Vögel, sowie drei weitere am linken Rand der Platte. Zwei weitere größere Vögel hängen linksseitig von der Decke herab. Das andere Gemälde zeigt erneut auf einer ganz über das Bild hinweggehende Platte mehrere erlegte Vögel und Federvieh, darunter auch eine Ente, sowie erneut zwei von der Decke herabhängende Vögel. Malerei mit starken Hell-Dunkel-Effekten in der Art des Michelangelo Merisi il Caravaggio (1570/71-1610). (1420416) (18)Italian Caravaggist, 17th century A pair of paintings KITCHEN STILL LIFESOil on canvas. Relined.73 x 93 cm.

Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/Valencia – 1652 NeapelSAN ROCCOÖl auf Leinwand.86 x 68 cm.Beigegeben Expertisen von Luigi Salerno; Nicola Spinosa, 15. Oktober 2014; Claudio Strinati, März 2015, jeweils in Kopie. Das Gemälde zeigt einen Mann mittleren Alters lebensgroß im Halbbildnis. Vor olivbraunem Hintergrund hebt sich das von links oben beschienene Gesicht ab, gerahmt von schwarzem Haar und halblangem Bart. Eine hell beleuchtete, von der Kleidung unbedeckte Hautpartie korrespondiert als Lichtfleck zum Gesicht, das mit nahezu einnehmendem Blick auf den Betrachter gerichtet ist. Einen großen Teil der Bildfläche nimmt der Oberkörper ein, bekleidet mit schwarzem Schultercape und dem bauschig darübergelegten braunen Mantel. Der nach links geneigte Kopf lässt dem breitkrempeligen schwarzen Hut über der Schulter Raum. Cape und Hut sind hier Attribute, die eine Benennung des Dargestellten als Rochus erlauben. Das Bild zeigt sich jedoch eindeutig als Portrait eines Zeitgenossen, möglicherweise eine Person namens Rochus, an dessen Namenspatron durch die Attribute erinnert werden soll. Dem Gemälde ist eine weitere Rochus Darstellung Riberas danebenzustellen (Museum Prado, 212 x 144 cm.). Es zeigt den nämlichen Mann, identisch in Kopfhaltung und Physiognomie, jedoch in Ganzfigur und mit den weiteren Attributen des Heiligen: dem Stab, dem Hund mit Brot im Maul, der gemäß der Legende den Heiligen während seiner Abgeschiedenheit mit Nahrung versorgt haben soll, sowie dem vorgestellten Oberschenkel. Bezeichnenderweise jedoch fehlt im Prado-Bild eine Pestbeule am Bein. Dies ist nur erklärbar, wenn es sich auch dort nicht um die Darstellung des Heiligen selbst handelt, sondern um ein Portrait eines Herrn mit diesem Namen, der eben keineswegs Krankheitsmerkmale zeigt, womit das Bein auch dort lediglich als Attributverweis auf den Namen zu verstehen ist.In den Jahren 1631-32 schuf Ribera eine Reihe von Portraitbildnissen, die später in andere Bildzusammenhänge – etwa als Philosophen oder Heilige – eingebracht wurden. Der in Spanien geborene Maler verbrachte jedoch die längste Zeit seines Lebens in Italien, wenngleich der Biograf und Maler Antonio Palomino de Castro y Velasco berichtet, Ribera hätte seine erste Ausbildung bei Francisco Ribalta (1565-1628) erhalten. Dessen brauntonige Malweise hat Ribera jedoch weitergeführt und durch italienische Einflüsse zur Steigerung gebracht. Wann er nach Italien kam, ist nicht bekannt, jedenfalls wissen wir, dass er in Parma und Rom gearbeitet und 1616 in Neapel geheiratet hat. 1626 wird er als Mitglied der Akademie genannt, 1631 als Ritter des Päpstlichen Ordens. Stets noch mit Spanien verbunden, erhielt er Aufträge der spanischen Vizekönige. Die tenebrose Farbskala seiner Werke vermochte gerade Märtyrerdarstellungen, Charakterköpfen oder Philosophengestalten unverwechselbaren Ausdruck zu verleihen. Seine Werke gelten als Höhepunkte in den bedeutendsten Museen und Sammlungen weltweit.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Literatur:Vgl. Nicola Spinosa, Ribera, l’opera completa, Neapel 2006.Vgl. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Köln 2000.Vgl. Alfonso E. Perez Sanchez, Nicola Spinosa, Jusepe De Ribera 1591-1652. Katalog der Ausstellung im Metropolitan Museum. New York 1992,Vgl. Jonathan Brown, Jusepe de Ribera: prints and drawings. Katalog zur Ausstellung im Art Museum, Princeton University, Oktober-November 1973, New Jersey 1973. (1401251) (11) (†)Jusepe de Ribera,also known as “lo Spagnoletto”,1588/91 Xàtiva/Valencia – 1652 NaplesSAINT ROCHOil on canvas.86 x 68 cm.Accompanied by expert’s reports by Luigi Salerno; Nicola Spinosa, 15 October 2014; Claudio Strinati, March 2015, each in copy.The painting shows a life-size half-length portrait of a middle-aged man. His face is illuminated from the top left and stands out against an olive-brown background; it is framed by his black hair and medium-long beard. A cloak and hat are attributes identifying the depicted as Saint Roch. The painting is, however, clearly also a portrait of a contemporary, possibly a person named Roch, whose namesake is intended to be commemorated by the attributes. Another depiction of Saint Roch by Ribera compares well to the present painting (Prado Museum, 212 x 144 cm). It shows the same man, identical in head position and physiognomy, but in full-length portrait and with the Saint’s other attributes: the walking staff, a dog with a loaf of bread in its mouth, which, according to legend, is said to have provided the saint with food during his seclusion, and the saint’s presented thigh. Significantly, however, the plague boil on his leg is missing in the Prado painting. This can only be explained if this is not a depiction of the saint himself, but rather a portrait of a gentleman with the same name who does not show any signs of illness, which means that the leg is only to be understood as an attribute reference to the name. In the years 1631-32 Ribera created a series of portraits that were later incorporated into other contexts – for example as philosophers or saints.Literature:cf. Nicola Spinosa, Ribera. l’opera complete, second expanded edition, Napoli 2006.cf. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Cologne 2000.cf. Alfonso E. Pérez Sánchez, Nicola Spinosa, Jusepe De Ribera 1591-1652, exhibition catalogue, Metropolitan Museum, New York 1992.cf. Jonathan Brown, Jusepe de Ribera: Prints and Drawings, exhibition catalogue, Art Museum, Princeton University, October – November 1973. Princeton University, Princeton, New Jersey 1973.

Caravaggio Chardonnay 2017, 1 bottle Bardolino Chiaretto Classico, 1 bottle Krstac Crnogorski Plantaze 2010, 1 bottle DucaEnrico Corvo, 1 bottle Citra Trebbiano D'Abruzzo 2002, 1 bottle Il Santo Flli Nistri, 1 bottle (6)

Suyderhoef, Jonas -- Die Grablegung. Kupferstich nach Caravaggio. 32,2 x 20 cm. Hollstein 1 I (von IV). Wz. Bekröntes Lilienwappen.Prachtvoller, klarer und kontrastreicher Frühdruck mit schmalem Rand um die teils gratig druckende Plattenkante, vor allen Adressen und den Überarbeitungen. Die Hilfslinien für die Schrift deutlich erkennbar. Minimale Altersspuren, sonst in ausnehmend schöner Erhaltung. Im ersten Zustand und in dieser Druckqualität selten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Goltzius, Hendrick -- Zwei Sibyllen. Kupferstich nach Polidoro da Caravaggio. 24,1 x 17,2 cm. Um 1592. B. 248, Hollstein 304 II, Leesberg (New Hollstein) 323 II (von III). Wz. Kreis.Während seiner Italienreise (1590-1591) setzte sich Goltzius intensiv mit dem Werk des Polidoro da Caravaggio auseinander. Polidoro verwendete in seinen Werken die neue Technik des Chiaroscuro, sie waren somit besonders zur Reproduktion in Stichen geeignet. Die Schriftzeile auf dem Blatt teilt uns mit, dass die Darstellung nach einem (heute verlorenem) Fresko Polidoros nahe der Porta di S. Angelo in Rom entstanden ist. - Prachtvoller, kräftiger Druck vor der Adresse Hendrick Hondius', meist mit der Facette, teils an diese geschnitten. Insgesamt leicht fleckig, rechts winziges Rostfleckchen, sonst in sehr schöner Erhaltung. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Goltzius, Hendrick -- Die Folge der antiken Götter: Saturn, Neptun, Pluto, Vulcan, Sol, Jupiter, Bacchus, Merkur. 8 Kupferstiche nach Polidoro da Caravaggio. Je ca. 35,5 x 21,7 cm. 1592. B. 249-256, Hollstein 296-303, je letzter Zustand.Nach den Fresken Polidoros auf dem Monte Cavallo in Rom. Mit den Nummern. Die vollständige Folge in ausgezeichneten, teils prägnanten Drucken überwiegend mit schmalem bzw. sehr feinem Rändchen zu den Seiten um die Facette, unten und vor allem oben teils knapp an die Einfassungslinie. Etwas fleckig vor allem zu den Rändern hin und vereinzelt etwas angeschmutzt, verschiedene Randläsuren und Randeinrisse, weitere Altersspuren, sämtlich auf ein Untersatzpapier montiert, sonst einheitlich und gut. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Luigi Amidani (Parma, 1591 - after 1629)“Martyrdom of St. Matthias”Oil on canvas. 206 x 125 cm.This is a painting that was previously unknown to the art market. This large format picture was already mentioned and reproduced in 1965, in an art magazine in Jerez de la Frontera, Spain. The private collection where this canvas was found, together with another (“Martyrdom of St. Andrew”), with which it was paired, is also located in the same town. It was then considered a Luigi Miradori, according to another scholar (Pérez Sánchez). And previously, in the 19th century, it had other and varied attributions. Professor Massimo Pullin made a study on Amidani (1591-1629) and an attribution to this Italian Baroque painter. He used the method of viewing and comparing as many paintings by the artist as possible from many world art galleries, cathedrals and private collections, as well as compiling all the writings and studies related to this Italian painter written until then, with opinions of scholars and curators of art galleries such as the Louvre itself.For his rigorous study, he observed and contemplated in depth all the work by Amidani that existed in Spain (the so-called “Iberian stage” of the painter in which he broke loose from being a mere copyist): on the one hand, a series of ten small paintings (0.43 x 0.35 cm) depicting the “Martyrdoms of the Apostles”, which were in the Royal Academy of San Fernando belonging to the novitiate of the Jesuits in Seville, (then attributed to Tintoretto) and which were in the Academy before 1796 (brought by Ponz); This attribution changed in 1804, in the "Inventario de Alhajas" (Inventory of Treasures), and the new attribution was to Pablo de Céspedes - a painter from Cordoba, as was then noted in ink on the back of the frames. This mistaken attribution was maintained throughout the 19th century, until it was modified by Alfonso Pérez Sánchez in the 1963/64 inventory in which, he proposed Luigi Miradori as the artist. Massimo Pullini in the 21st century (2020) disputed the previous authorship as he recognized the style of the Italian Baroque painter who accompanied Velázquez on his first trip to Italy, in most of this small series. In addition, Luigi Amidani was a favorite disciple of Bartolomé Schedoni, a painter linked to the Farnese family who, in turn, had a close relationship with Velázquez on the occasion of that first trip to Italy. Some of these small-format paintings, which were always on view to students and teachers at the Academy, served as inspiration for later paintings. Massimo, on the other hand, also studied the remains of what could have been another series of the same subject (martyrdoms of apostles) in a larger format, in Spain and in other art galleries around the world, which house the martyrdoms of St. Peter and St. Paul in the Museum of Fine Arts in Valencia, and those of St. Andrew and St. Matthias in a private collection in Jerez de la Frontera, (one of them, the painting we are commenting on).In the small format painting “The Martyrdom of St. Matthias”, the saint is shown lying down and dressed, being viciously stoned by his executioners. In the large format work we have here in our catalog, he appears half-naked, in the style of St. Andrew, St. John, St. Jude Thaddeus, St. Bartholomew..., the torsos are exposed and covered by peplos or remains of tunics or torn and hanging clothes. Professor M. Pullini observes the figures' morphology and expressions as being similar to those of the large format painting from Jerez de la Frontera, faces “that can well be defined as neo-Gothic, full of a hardness that at times borders on the grotesque”. In this large canvas the saint is depicted as being stripped between two soldiers, and in the foreground, kneeling, is the one who announces the method of martyrdom, carrying a basket full of stones. According to tradition, the saint was stoned in Judea around the year 80, after being condemned to death by the High Priest, and later beheaded with an axe for having opposed Caesar.His face does not lose courage or strength, and despite the intuition that he is going to die, he looks on with the strength of the One who fills him with his truth. The large vertical format of the painting must certainly have been chosen to complete the pictorial collection of some chapel or church. Crudeness in the images, pronounced foreshortenings, and violent effects of light are very reminiscent of the influences exerted by the master Caravaggio, and his mature style and the abrupt chromatic contrasts are very much influenced by Ribera.Two other canvases also studied by Massimo could come from this same large-format series.  No longer in Spain, the so-called “Stoning of an Apostle” which appeared on the London antique market and the “Martyrdom of St. Paul” that can be found in the Schloss Weißenstein in Pommersfelden (Germany). Reference bibliography:Bibliografía de referencia:- Luzón Nogué, José María (ed.) (2022). "Velázquez en Italia. Entre Luigi Amidani y Juan de Córdoba". Madrid: Real Academia de Bellas Artes de San Fernando.- Pulini, Massimo (Noviembre de 2020). “Luigi Amidani da Parma a Madrid, da pittore dei Farnese a ‘confidente’ di Velázquez”. About Art On Line.- VV. AA. (2000). Corpus velazqueño. Documentos y textos, 2 vols., bajo la dirección de J. M. Pita Andrade. Madrid. 

JIRI ANDERLE (Czech / Bohemian 1936) - Lutenist (after Caravaggio) | 1982 | technique: etching and drawing on paper | 660 x 490 mm | signature: down the middle | note: Sheet 34/70 | framed under glass | Lot description | This graphic sheet by the Czech artist Jiri Anderle is inspired by the work of the Italian Baroque painter Caravaggio. Here, Anderle reinterpreted the motif of a musician with a lute, which symbolizes the harmony between art, music and nature. In typical fashion, Anderle uses fine linework and detailed shading to emphasize the emotional depth of the scene. The combination of realistic and surreal elements gives the work a timelessness that is characteristic of Anderle's work and refers to his fascination with classical art in a modern expression. | condition report*In case of missing photos, please feel free to contact us.