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Click here to subscribeClaudio Mazzi for Visconti, Firenze "Blue Symphony" Limited Edition Fountain Pen No. 006/206, "Venice Carnival" theme from the "Mazzi 2006" series, code 56702, 14K and platinum plated B nib, in leather case with Identity Card and ink, with outer box.Private collection, North-West of England.The pen excellent, some very light wear to case, outer box worn.
Claudio Mazzi for Visconti, Firenze "Running in the Space" Limited Edition Fountain Pen One of 205 of this theme produced, from "The Mazzi Collection" series of 2005, white 14K M nib, with ink and booklet in leather case and branded outer box.Private collection, North-West of England.Excellent, small stain to case interior, wear to outer box.
Visconti, Firenze "The Fortune Dragon" Limited Edition Fountain Pen No. 107/888 worldwide in Vermeil finish, two-tone 18K F nib, in red lacquered case with booklet and Certificate of Control, with outer box.Private collection, North-West of England.The pen excellent, some natural tarnish to the dragon clip, case also appears as new, wear to outer box.
Claudio Mazzi for Visconti, Firenze "Red Symphony" Limited Edition Fountain Pen No. 31/205, from "The Mazzi Collection 2005" series, yellow 14K M nib, in leather case with and booklet, with outer box.Private collection, North-West of England.The pen excellent, there is a miniscule gap in the surface decoration beneath the "Red" of the inscription to the base of the barrel but this is from production, some very light wear to case, outer box worn.
An excellent selection of 20 signatures from notable (mostly) French writers, artists and directors of the 20th century. Mostly smaller pages affixed lightly to larger pages. To inc: Rene Clair, Andre Maurois, Marcel Achard, Bernard Buffet and Annabel Buffet, Joseph Kessel, Francoise Sagan, Armand Lanoux, Anatole Litvak, Henri Verneuil, Georges Lautner, Michel Cacoyanis, Yves Ciampi, Jacques Demi and Agnes Varda, Vittorio De Sica, Luchino Visconti, William Wyler, Robert Hossein, Andre Hunnebelle, Rene Clement.Signatures obtained in person by our vendor, a keen autograph hunter during his youth in Paris in the 60s/70s.
ZAEHNSDORF FINE BINDING: The VISCONTI Hours. Thames & Hudson, 1973. LIMITED EDITION. This edition has been specially bound by Zaehnsdorf’s of London at the request of Il Duca Visconti Di Modrone, to be presented to: (no name). Illuminated throughout. Bound in full vellum with gilt and colour decoration, silk endpapers and all edges gilt. VG+
Three vintage ladies handbags. Comprising a Mappin & Webb Ltd faux lizard skin handbag, with a brown suede interior and zip locked compartment, H18cm x W28cm x D7cm, a Visconti brown leather handbag with two adjustable rolled handles and a zip locked interior, H18cm x W30cm x D13.5cm and a black faux crocodile skin black handbag with a brass clasp and a tan suede interior, H18.5cm x W26.5cm x D8cm
DAVID BOWIE - THE MAN WHO SOLD THE WORLD LP (ORIGINAL UK DRESS SLEEVE COPY - MERCURY 6338 041). Ever sought-after original UK dress sleeve copy of The Man Who Sold The World. The record (Mercury 6338 041, Titanic Music Ltd credits both sides, correct 'Tony Visconti' spelling) is in VG condition with surface marks to the playing surfaces (which are still glossy) though no heavier scratches. Matrix/runout (machine stamped): 6338041 1Y//1 ∇ 420 1 1 4 & 6338041 2Y//1 ∇ 420 1 1 1. The sleeve is in G+ condition - with the striking image of Bowie clear to the front, there is some pen marking in green to the reverse, some creasing, and partial splits to the top, bottom and roughly 1/3 of the spine split.
DAVID BOWIE - THE MAN WHO SOLD THE WORLD LP (UK ORIGINAL 'DRESS SLEEVE' - 'TONNY' CREDIT - MERCURY 6338 041). Superb to see very well presented original UK stereo pressing of the legendary 'dress sleeve' LP of David Bowie's 1971 album The Man Who Sold The World. With original misprinted label credits as 'Tonny Visconti' on both sides. The record (6338 041 1Y//1 ▽420 1 1 2 & 2Y//1 ▽420 1 1 1 machine stamped matrix/runouts) is in Ex condition showing only a couple of very light and minor surface hairline marks, none of which are ever heavier in nature without any feelable scratches. Sharp labels with some light spindle marks. The original textured sleeve is in very neat VG+ condition showing some of the usual edgewear which is commonplace with this release, the spine is almost entirely legible. The main image of Bowie on the front is in sharp and clean order with a small light scuff roughly half way down the sleeve. The reverse is also in sharp order with a little foxing. Lovely copy.
Leopoldo Ansiglioni, 1832 – 1894GALATEA (GALATÈE), 1882Basis: 30 x 73 x 52 cm.Skulptur: 50 x 80 x 38 cm.Signiert in einer der Bronzen „GALATEA LEOPOLDO ANSIGLIONI ROMA 1882“.Die sinnliche Darstellung der Nymphe Galatea, die auf einem Delphin liegt, ist das beliebteste Werk des italienischen Bildhauers Leopoldo Ansiglioni. Der Künstler fertigte drei monumentale Werke an, aber auch diese reduzierte Fassung, deren Marmor mit vergoldeter Bronze verziert ist.Der in Rom tätige piemontesische Bildhauer Leopoldo Ansiglioni fertigte Marmorarbeiten mit feiner Verarbeitung mit allegorischen oder mythologischen Figuren in einem neobarocken Stil. Erfolgreich war er in der zweiten Hälfte der 1860er-Jahre auf den nationalen Kunstausstellungen in Rom und dann auch auf internationalen Veranstaltungen und verbreitete sein Werk auf der ganzen Welt. Zu seinen Erfolgen zählen u.a. „La Notte“ (Die Nacht), „La Fiora del dolor“, auch „Flora“ genannt, eine nackte Frau mit einem Trauerschleier, die auf die Erde herabsteigt und die Blumen der Trauer streut. Diese beiden Skulpturen zeigen das Talent des Künstlers für die sinnliche Darstellung junger Frauen.Beide Werke wurden auf der Wiener Weltausstellung 1873 ausgestellt und dort auf Fotografien reproduziert. Um dem Erfolg gerecht zu werden, stellte Ansiglioni mehrere Exemplare aus. So fertigte er beispielsweise drei Exemplare von „La Notte“, von denen eines nach London ging.Ansiglioni schuf auch einige Kinderfiguren, darunter einen Jungen mit Schwan. Eine wurde 1917 der Public Library in Boston geschenkt, die es am Eingang einer Abteilung aufstellte. Ansiglioni schuf auch einige religiöse Themen, wie „Ismael in der Wüste“ und einen Schutzengel für ein Grab auf einem Berliner Friedhof. Sein berühmtestes Werk dieser Art ist jedoch der auferstandene Christus, der in der Mitte der Säulenhallen des Friedhofs Campo Verano in Rom steht. Schließlich ist Ansiglioni auch der Autor von Brustportraits und kleinen Terrakotten.Neben „La Notte“ und „Flora“ war „Galatea“ das am meisten bewunderte Werk von Leopoldo Ansiglioni. Sie wurde 1882 auf der Nationalen Kunstausstellung in Rom unter der Nummer 56 des Katalogs gezeigt, wo sie zu den am meisten gefeierten Werken gehörte. Ansiglioni fertigte von da an drei große Marmorversionen an. Eine davon, wahrscheinlich das erste Exemplar, schmückt das zentrale Becken des Wintergartens der Universität von Greenwich, London. Eine andere schmückt die Hauptterrasse des berühmten Schlosses San Simeon in Kalifornien, dem Wohnsitz des Zeitungsmagnaten William Randolph Hearst (1863-1951). Im Jahr 1889 wunderte sich W.R. Hearst in einem Brief an seine Mutter Phoebe Apperson Hearst (1842-1919), dass sie nicht die „Galatea“ von Ansiglioni gekauft habe, die er als "einen der schönsten modernen Marmore" bezeichnete und die er selbst gekauft hätte, wenn er damals über das nötige Geld verfügt hätte. Schließlich kaufte Phoebe die Skulptur und stellte sie bei sich zu Hause auf der Hacienda del Pozo de Verona in Pleasanton, Kalifornien, auf. Nach dem Tod von Phoebe wird die Skulptur nach San Simeon geschickt, wo sie 1923 in der Mitte der Hauptterrasse aufgestellt wird. Schließlich wird ein drittes Exemplar im Chi Mei Museum in Taiwan gezeigt. Diese letzte Version unterscheidet sich von den beiden anderen durch eine einfachere Basis aus weißem geädertem Marmor statt aus grauem Marmor und patinierter Bronze. Neben diesen drei Exemplaren fertigte Ansiglioni auch mehrere Reduktionen an, von denen unsere aufgrund der Qualität ihrer Darstellung und ihres Reichtums der dekorativen Elemente aus vergoldeter Bronze hervorsticht. In dieser Skulptur illustriert Ansiglioni ein mythologisches Thema, das zu den klassischen Themen der Kunst seit der Renaissance gehört: der Triumph der Galatea. Die Geschichte der Galatea findet sich ein erstes Mal bei Theokrit und wird später in Ovids Metamorphosen (Buch XIII) wieder aufgegriffen. Galatea, die Tochter des Nereus und der Doride, ist eine der glitzernden Nereiden, der Meeresnymphen. Ihr griechischer Name bezieht sich auf ihre weiße Haut, die an Milch und den Schaum der Wellen erinnert, mit denen sie in Verbindung gebracht wird. Dieses Weiß wurde von den Bildhauern durch den Carrara-Marmor vermittelt. Laut Ovid war Galatea verliebt in einen jungen Hirten namens Acis. Aus Neid und Eifersucht auf diese Liebe verletzte der Riese Polyphem den Hirten, indem er ihn mit einem Felsen zerquetschte. Doch Galatea betete zu den Göttern, dass die Wunde zur Quelle eines Flusses wurde und der Hirte so zu einer Flussgottheit wurde. Galatea wird von da an ein Bild für den Triumph der Liebe, und so wird sie oft – auf einer Muschel sitzend oder auf einem Meerestier reitend, umgeben von Amoretten - seit der Renaissance dargestellt, man denke an das berühmte Fresko, das Raffael 1513 für die Villa Farnesina malte. Ansiglionis Hauptinspiration war eine der Skulpturen, die den Garten der Villa Litta in Lainate in der Nähe von Mailand ziert und um 1585 von Pirro I Visconti Borromeo (1560-1604) entworfen wurde. Der Komplex ist berühmt für seine Springbrunnen und von Skulpturen geschmückten Gärten, darunter auch ein Brunnen mit dem „Triumph der Galatea“ von Carlo Beretta und Donato Carabelli.Anmerkung:Eine größere Version wird in der University of Greenwich, London aufbewahrt. Eine im Chi Mei Museum, Taiwan; eine weitere im Hearst Castle in San Simeon, Kalifornien.Literatur:Vgl. Thomas Allen, Annual report of the Art Department for the year ending January 31, 1918, Boston, Public Library, 1918.Vgl. Karl Baedeker, Italie. Manuel du voyageur, Leipzig 1890.Vgl. Stefano Causa, Luca Giordano. Polyphème et Galatée, in: Luca Giordano. Le triomphe de la peinture napolitaine, Ausstellungskatalog, Petit palais – Musée des beaux-arts de la Ville de Paris, Paris, 14. November 2019 - 23. Februar 2020, Museo e real bosco di Capodimonte, Neapel, 20. April 2020 - 26. Juli 2020, Paris 2019, S. 206-27.Vgl. Alfonso Panzetta, Dizionario degli Scultori italiani dell‘Ottocento, Turin 1989.Vgl. Maria Saveria Ruga, „Opera d´arte destinata a figurare in terra straniera“. Notizie di esportazioni nella pubblicistica romana tra 1846 e 1870, in: Roma fuori di Roma, hrsg. von Giovanna Capitelli, Stefano Grandesso, Carla Mazzarelli, Rom 2012, S. 69-86.Vgl. Isabella Valente, Sulle ali del Simbolismo. Di alcune opere dello scultore Luigi de Luca (1855-1938), in: Napoli nobilissima, 2017, Bd. III, S. 100-115.Vgl. Attualità artistiche, in: Roma artistica, Rom 1871, Bd. 1, Nr. 6, S. 46. (1390979) (13)Leopoldo Ansiglioni,1832 – 1894GALATEA (GALATÉE), 1882Base: 30 x 73 x 52 cm.Sculpture: 50 x 80 x 38 cm.Signed on one of the bronzes “GALATEA LEOPOLDO ANSIGLIONI ROMA 1882“.The sensual depiction of the nymph Galatea reclining on a dolphin is the most popular work by Italian sculptor Leopoldo Ansiglioni. The artist made three monumental works, but also this smaller version, in which the marble is decorated with gilt bronze.Notes:A larger version is held at the University of Greenwich, London and in the Chi Mei Museum, Taiwan; another at Hearst Castle in San Simeon, California.
David Bowie - The Man Who Sold The World, 1971 1st UK pressing, Mercury 6338 041 1Y//1∇420 / 2Y//1∇420, the labels with the misspelling of Tony Visconti on both sides, in British Patent No. 800513 & 973939 inner and iconic textured "dress" sleeve. (1)Lots 501-518 have been consigned by Steve Harley, singer and frontman of 1970s group Cockney Rebel, whose number one hit ‘Make Me Smile (Come Up and See Me)’ has been covered at least 120 times and appears on soundtracks as diverse as The Full Monty, Lego Rock Band, and a Marks & Spencer’s advert. Vinyl, light spindle wear to both labels, side 2 a very light scratch approx. 6cm at 6 o'clock from outside edge which certainly would not affect play, inner and sleeve with water mark to bottom corner (see images) otherwise good, spine good, light wear to corners, both vinyl and sleeve V/G +
SIGISMUND BATHORY: (1573-1613) Also known as SIGISMOND PRINCE OF TRANSYLVANIA. As a child he succeeded his father as Voivode or ruler of Transylvania. Sigismond abdicated in favour of Holy Roman Emperor Rudolf II, and although he returned to his pillaged territories in 1601 with a Polish army, he could not strengthen his position and settled in Poland. In 1605, Holy Roman Emperor and Spanish King Philip III tried to persuade him to return and claim Transylvania, but he refused. He would later be accused of conspiracy and imprisoned by Rudolf II. Rare L.S., `Affettionatissimo Servitore - Sigismondo´, a bold large and attractive signature with flourish, one page, folio, Kisvarda, city in the north of Hungary, 28th April 1598, to Italian Bishop Alphonso Visconti, in Italian. Sigismund annouces his return `...tutti arrivati sani e salvi..´ (Translation: "...All arrived, healthy and safely...´, and expresses his satisfaction to his correspondent referring to the good words expressed by Pope Clement VII about him, stating in part `...con li commandi benignissimi di sua Santitá spettavo, resta solo che mi raccomandi, per mezzo di V.[ostra] S.[ignoria] Ill.[ustrissi]ma alla Santitá di n[ost]ro signor. Pregando la V. S. Ill.ma et R[everendissi]ma con maggior affetto di cuore che posso...´ (Translation: "...with the most benign commands of His Holiness, it remains only for you to recommend me, through Your S.[ignoria] Ill.[ustrissi] to the Holiness of our Lord. Praying for Your S.[ignoria] Ill.[ustrissi] et R[everendissi]ma but with my heartfelt affection...") With address leaf to Monsignor Alphonso Visconti, bearing also a small red wax seal in good condition. The lower part, small part, of the address leaf is cleanly clipped to the fold. Small overall age wear, with slightly uneven right and bottom edges, otherwise G
Y VISCONTI, SUPERNATURAL CREATURES, MAYA A LIMITED EDITION FOUNTAIN PEN, NO. 003/188Cap and Barrel: The Maki-e taka-Hira-Raden cap and barrel decorated with various Mayan deities, the cap with a gilt clip, numbered end piece, uninked Nib and Filling System: Medium two tone nib, stamped VISCONTI 23K pD950 Firenze, Double Reservoir Power Filler Accessories: With a Visconti box, information booklet, identity card, fabric box pouch and outer card packaging Condition Report: The Identity Card has a typo, it says limited edition no 03/88, but we believe the number on the pen to be correct. Condition Report Disclaimer
Girometti, Pietro (Italian, 1811-1859); b. Rome ITALY, La dottrina della poesia antica, Roma [The Doctrine of Antique Poetry, Rome], 1840, a copper medal by P. Girometti, busts of Pietro Metastasio, Ennio Visconti and Bartolomeo Pinellio in wreathed medallions, rev. legend in 5 lines, 49mm, 58.74g (Johnson 230; cf. Inasta 66, 3069; cf. DNW 64, 1304). Extremely fine £30-£40 --- Pietro Metastasio (1698-1782) was a poet and librettist; Ennio Quirino Visconti (1751-1818), a politician and antiquarian; and Bartolomeo Pinellio (1781-1835), an illustrator and engraver.
Visconti (Giambattista). Il Museo Pio-Clementino..., volume 4 (only), Da Luigi E Guiseppe Mirri, Rome, 1788, additional half-title, engraved portrait frontispiece, 50 uncoloured engraved plates of classical scenes, reliefs and statues, contemporary half morocco gilt, bumped, worn and frayed, large folio, together with Aubin (Louis Millin de Grandmaison). Peintures de Vases Antiques vulgairement appelés étrusques..., volume 2 (only), Paris, P. Didot l'ainé, 1810, title page trimmed and detached, 78 (only) uncoloured engraved plates, some water staining to last few leaves, contemporary half calf, lacking upper board, rear board detached, folioQTY: (2)NOTE:Sold as a collection of prints, not subject to return.
Visconti Kakadu limited edition fountain pen, new in original box with outer box and papers. The pen was done in a small limited edition run of just 100 pens (88/100) and was done as a tribute to the Australian outback with deep navy blue, orange veining and palladium trim. The pen has a fine 18k two-tone nib. Overall near mint, the pen is unused, box and outer box show only very slight wear.
Visconti Novelli Augusta 50th anniversary limited edition fountain pen in blue/bronze, new with original box and outer box.The pen was done as a 50th anniversary for the Novelli pen and pipe shop, as a cross between the multisided Montegrappa pens and the beauty of the Waterman Patrician in blue/bronze. The pen was done in a limited edition of just 300 pens (281/300), this example comes with a broad 18k two tone nib and solid gold trim. Overall near mint, the pen is unused with original cellophane and the wood box is pristine. Outer box has some creasing to one end and bending to one flap.
Visconti Millennium Arc One transparent blue limited edition fountain pen, new with original box, ink bottle, outer box and papers. The pen is part of a limited edition of 1000 (951/1000) and has a fine two-tone 18k nib. The transparent case with blue veining and crescent filling system exhibit classic Visconti design. Overall near mint, pen and ink bottle are unused with the clear casing showing no wear. Box and outer box show slight wear.
Visconti Voyager Demo fountain pen with box and papers. This limited edition pen had 888 produced and this early example, (46/888), with medium 18k two-tone Visconti 750 nib and silver trim makes for a stunning pen. Overall near mint, the pen appears unfilled, with a decorative box that shows minor wear.
Visconti Belgica limited edition fountain pen in vermeil, new with original box, outer box and papers. The Belgica was produced in 2005 to celebrate the secession of the Kingdom of Belgium from the Netherlands (1830 Revolution) and was limited to just 175 pens (41/175). This example is in vermeil, they were also available in sterling. It has a medium 18k two-tone nib and comes in a large burl wood box furnished with decorative plate. Overall near mint, the pen is unused but shows light tarnish to the vermeil finish, the corners and near the hinge of the box show some spots of wear as do the corners of the cardboard outer box.
A Visconti Van Gogh ' Irises' converter fill fountain pen having Visconti B nib.The 2011 Van Gogh collection is made from natural resin uniquely mixed to represent palettes of oil paint as used by Van Gogh. This collection is not only inspired by the artist's colour and technique, but each pen also represents a specific Van Gogh painting. Boxed, no outer cover for box
A Visconti Van Gogh ' Orchard in Blossom' converter fill fountain pen with bottle of Visconti ink having Visconti Firenze M nib The 2011 Van Gogh collection is made from natural resin uniquely mixed to represent palettes of oil paint as used by Van Gogh. This collection is not only inspired by the artist's color and technique, but each pen also represents a specific Van Gogh painting.
A Visconti Van Gogh ' Starry Night' converter fill fountain pen having Visconti B nib.The 2011 Van Gogh collection is made from natural resin uniquely mixed to represent palettes of oil paint as used by Van Gogh. This collection is not only inspired by the artist's colour and technique, but each pen also represents a specific Van Gogh painting. Boxed, slight damage to the box
A Visconti Van Gogh ' The Novel Reader' converter fill fountain pen No0322 with bottle of Visconti ink having Visconti Van Gogh M nib.The 2011 Van Gogh collection is made from natural resin uniquely mixed to represent palettes of oil paint as used by Van Gogh. This collection is not only inspired by the artist's colour and technique, but each pen also represents a specific Van Gogh painting. Boxed
A pair of George IV silver wine coolersJohn Edward Terrey, London 1827 Each of campana form, with detachable liner and collar, with tongue and dart flared rim, with a leaf and berry band above an applied narrow bead band, below cast with Bacchic frieze of chariots and drunken Silenus and neo classical figures over a stippled ground, the lower body with applied fruiting vine band with integral upright vine branch handles, fluted pedestal above a band of fruiting vine to the circular foot, height 33.5cm, length over handles 23.5cm, weight 288oz. (2)Footnotes:ProvenanceProperty from the Estate of Jasper Moore, Birmingham, Michigan;Sale, Bonhams, New York, Fine American & European Furniture, Decorative Arts & Silver, 25 September 2013, Lot 1088.A reverence for the Greco-Roman taste coincided with the Age of Enlightenment, when artists and intellectuals attempted to reform society's aesthetics and beliefs using reason, scientific fact and history. Through this movement, individuals of means gained exposure to Europe's cultural legacy of Classical antiquity. Architects, artisans and designers of that era naturally applied these design influences to their contemporary visions.Silversmiths like Terrey extrapolated on the ideas of Giovanni Piranesi, John Flaxman, William Theed and others to create their own unique pieces. Similar sets of coolers were produced by Paul Storr, Benjamin Smith II, Rundell, Bridge and Rundell. The design has been attributed to William Theed (1764-1817), a painter and sculptor, he was also head of the design department at Rundell's until his death in 1817.An appropriate subject to use as relief decoration on this pair of wine coolers, which themselves are styled in the antique campana form, derived directly from the celebrated Medici Vase, a 1st-century AD, neo-Attic marble, now in the Louvre, Paris, an illustration of which was published by the Venetian engraver G.B. Piranesi (1720-1778). The Triumph of Bacchus frieze is derived from a late 2nd-century Roman sarcophagus in the Vatican Museum, engravings of which were published by E. Q. Visconti in Museo Pio-Clementio, between 1782 and 1802 (see D. Udy, 'Piranesi's 'Vasi,' the English Silversmith and his Patrons,' Burlington Magazine, December 1978, pp. 828-29).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Black (Jane). Absolutism in Renaissance Milan, plenitude of power under the Visconti and the Sforza 1329-1535, 1st edition, Oxford: University Press, 2009, original cloth in dust jacket, 8vo, together with:Ianziti (Gary), Humanistic Historiography under the Sforzas, politics and propaganda in fifteenth-century Milan, 1sst edition, Oxford: Clarendon Press, 1988, original cloth in dust jacket, covers very lightly rubbed to head & foot, 8vo, plusMarr (Alexander), Between Raphael and Galileo, Mutio Oddi and the mathematical culture of late Renaissance Italy, 1st edition, Chicago: University Press, 2011, colour illustrations, original cloth in dust jacket, minor rubbing to head & foot, 8vo, and other scholarly Renaissance & medieval history reference & related, including Dispatches with related documents of Milanese Ambassadors in France and Burgundy..., 3 volumes, edited by Paul Murray Kendall & Vincent Ilardi, 1st editions, Athens/Dekalb: Ohio University Press/Northern Illinois University Press, 1970-81, al original cloth in dust jackets, 8vo, mostly original cloth in dust jackets, some paperback editions, G/VG, 8voQTY: (6 shelves)
DAVID BOWIE - THE MAN WHO SOLD THE WORLD LP (UK 'TONNY' ORIGINAL DRESS SLEEVE - MERCURY - 6338 041). A scarce, original UK stereo LP pressing of The Man Who Sold The World by David Bowie. Features the iconic original 'dress sleeve' and misspelt Tony Visconti label credit, his first name incorrectly printed as 'Tonny' (6338 041, 1971 UK stereo pressing on Mercury. Black/ silver text labels with 'Tonny' misspelling has BBC Gramophone sticker on each side, some minor spindle wear around the centre holes. The record is in nice VG+ condition, each side displays a small number of light paper marks, nothing feelable. The sleeve has been laminated into a PVC wallet, displays numerous BBC Library stickers to both covers, G condition).
Original vintage movie poster for a Polish release of an Italian drama film Gruppo di famiglia in un interno under a title Portret rodzinny we wnetrzu. Fun image of an old man with a moustache and glasses that has a sofa embedded in the top of his head. Conversation Piece (Italian: Gruppo di famiglia in un interno) is a 1974 Italian drama film by director Luchino Visconti. The film name refers to an informal group portrait, especially those painted in Britain in the 18th century, beginning in the 1720s. The film explores such themes as the collision between old and new, imminence of death, existential crisis and social gap between generations. Excellent condition. Country of issue: Poland, designer: Jerzy Flisak, size (cm): 82.5x57.5, year of printing: 1974.
CHRISTO (eigentlich Christo Wladimirow Jawaschew, Gabrowo / Bulgarien 1935-2020 New York City) und JEANNE-CLAUDE (Casablanca / Französisch-Marokko 1935-2009 New York City), Farboffsetlithografie: "Mauer aus Ölfässern" - WALL OF OIL BARRELS - IRON CURTAIN, Rue Visconti, Paris, 1962, von den Künstlern mit Bleistift handsigniert "Christo / Jeanne-Claude" und limitiert 39/150. 22x 15 cm; Gesamtmaße mit Rahmen 49 x 41 cm. Provenienz: Privatsammlung.
Girocollo in oro rosa con ciondolo con diamante centrale e 5 diamanti taglio baguette. Catenina multimisura Lunghezza cm 35-42 Oro: 18 kt Peso: g 4,15 Diamante centrale: ct 0,50 Colore G Purezza VVSI Diamanti taglio baguette: ct 0,14 Certificato di analisi gemmologica del Prof. Pio Visconti su microfilm Con scatola e certificato originali, firmato e punzonato, inusato.
Faksimile "Das Gebetbuch des Michelino da Besozzo" - reich illustriertes Gebetbuch entstanden um etwa 1410, Miniaturen als Werk Michelinos da Besozzo, Auftragsarbeit wahrscheinlich aus dem Umkreis des Mailänder Herzogshauses Visconti. In goldgeprägtem, grünen Samteinband, mit Pappschuber. Die Besonderheit der im gesamten Buch auftretenden Blumenbordüren zeichnet diese Handschrift aus. Faksimile mit Kommentar in einem Band. Das Original befindet sich in der Pierpont Morgan Library in New York. Mit Alters- und Gebrauchsspuren.| Facsimile "The Gebtbuch of Michelino da Besozzo" - richly illustrated prayer book made around 1410, miniatures as the work of Michelino da Besozzo, commissioned work probably from the circle of the Milanese ducal house Visconti. In gold embossed green velvet binding, with cardboard slipcase. The peculiarity of the floral borders appearing in the whole book distinguishes this manuscript. Facsimile with commentary in one volume. The original is in the Pierpont Morgan Library in New York. With signs of age and use.
Zwölf SilbertellerDurchmesser: 28 cm. Gesamtgewicht: ca. 5000 g.Fahne verso punziert 800er Feingehalt, Lavorato a mano, sowie Beschau für Alessandria und Meistermarke Visconti & Baldi (229).Alessandria, zweite Hälfte 20. Jahrhundert.Silber, gedrückt, ziseliert. Weiter Spiegel mit steilem Bord und getreppter mit Lanzettblattfries verzierter Fahne. (1381584) (13))
Konvolut zum 100. Geburtstag von Maria Callas (2.12.1923 New York -16. 9.1977 Paris) - 3 s/w Fotografien von Maria Callas, verso diverse Fotoatelier-Stempel (2x Copyright by E.Piccagliani Teatro alla Scala/ 1x griechischer Stempel), handschriftlich bezeichnet "Callas Medea (Epidaure 61) Grece" / "Gasparo Spontni "La Vestale" Scala di Milano, Déc. 1954. Regie L. Visconti" / "Norma, Scala 1955", Maße jeweils ca. 24x18cm, verso teils fleckig, Alters- bzw. Gebrauchsspuren, Knitterspuren
Giuseppe Rusnati (Italian, 1647-1713): A monumental carved white marble bust depicting Cesare II Visconti, 3rd Marquis of CislagoThe noble sitter wearing armour, an embroidered jabot, elaborate curling long wig and flowing vest, draped on the shoulders, raised on a contemporary coloured marble tapering rectangular pedestal, the bust, 99cm high, 210cm high overall including pedestal (2)Footnotes:ProvenanceCollection of Count Francesco Castelbarco Albani, Italy,Sotheby's, Palazzo Capponi, Florence, May 22, 1973, Sale of the Collection of Count Francesco Castelbarco Albani,Sotheby's London, Dec 10, 2002 Lot 126Private Collection Milan, ItalyBotticelli Antichita, Florence, Italy,Acquired from the above by the present ownerIn 1973 at the Sotheby's sale in Florence, the catalogue entry for the present lot read as follows: 'Exquisite Baroque bust in marble of an unknown Nobleman...probably Roman, late seventeenth century.' That same year in the bi-monthly magazine Antichita Viva, the present lot featured in the section which highlighted the most important artworks to have been offered at auctions in Florence. The footnote on this occasion mentioned that the bust was one of the 'last Viscounts of Cislago.'Cesare II, third Marquis of Cislago was son of Tebaldo (Milan, 1601-1674). When Cesare II died in 1716 the Cislago banch of the Visconti family died out too and the title was inherited by Carlo Francesco Ercole Castelbarco Visconti. This would possibly therefore explain why in 1973 in the Sotheby's sale in Florence, Count Francesco Castelbarco Albani did not know the identity of the subject. Cesare II succeeded his father in 1674 and it is possible that he commissioned a marble bust to commemorate his rise to power. He was born in 1643 meaning that he would have been in his mid thirties when the bust was completed.Rusnati was born in 1647, probably in Gallarte and completed his training in Rome between 1671 and 1673. When he returned to Milan he faced the financial crisis that affected the Fabbrica del Duomo. As such it was only in 1678 that he completed his first statue for the prominent Cathedral of Florence. If Rusnati worked outside of Milan it is very possible that Cesare Visconti would have chosen him to carry out the commission of the self portrait. In fact, the Viscounts of Cislago were lords of Gallarte, the place thought to be where Rusnati was born. In addition when one considers that Rusnati would have just returned from his training in Rome, he must have been an attractive candidate since he would have been well versed in the latest portrait artists such as Bernini. Although no portraits created by Rusnati were initially thought to have survived, closer examination of the sculptors works of a sacred nature mean that stylistic parallels can be drawn. The drapery, for example, can be seen in the terracotta model for a statue of David which was intended for the Cathedral in Milan. There are also two works which date later than the present lot in the Assunta Collegiate church of Gallarte which demonstrate Rusnati's distinctive treatment and inventiveness.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
WLADYSLAW IV VASA: (1595-1648) King of Poland, Grand Duke of Lithuania 1632-48 and the disputed Tsar of Russia 1610-13. L.S., Vladislaus Rex, one page, folio, Warsaw, 27th December 1642, to Onorato Visconti, in Latin. The King sends his compliments and good wishes on the elevation of his correspondent to an honorary title, in part, 'Rev[erendissi]mo signor, Quando finance Vs. non ci havesse certificate il suo affetto sicome abbondanta[men]te ha fatto nell'uff[icio] che con Noi ha passato per le Feste del santo Natale, l'haveressimo nulladimento molto ben compreso dalla sua amorevolezza……L'accertiamo di haverlo aggradito pienam[en]te e di corrisponderle con ogni volonta in desiderar all'incontro a Lei ogni maggior bene' (Partial translation: 'We assure you that we have fully accepted it and that we correspond to it with every will in desiring every greater good for you'). With integral address leaf and affixed seal (causing a small oval area of light discolouration to the body of text). Loosely contained in the original paper wrappers bearing a contemporary annotation. About VG Onorato Visconti (1585-1645) Italian Roman Catholic cleric and papal diplomat who was appointed inquisitor for Malta by Pope Urban VIII in 1624 and as apostolic nuncio in Warsaw in 1630. Visconti was recalled to Rome in 1636 and although Urban VIII did not consider Visconti's performance satisfactory, Wladyslaw IV took the opposite view and proposed him for elevation to the cardinal's dignity because of his imperial privilege. However, the Pope found Poland's demand unacceptable, referring to a decree of the Council of Trent which said that only those candidates who belonged to the respective nation would be admitted, and to a bull of Pius IV that only Princes could make a recommendation in whose jurisdiction the candidate lived. The dispute over this continued for four years without reaching a conclusion. Despite repeated requests from Wladyslaw IV, the Barberini Pope never considered Visconti for the cardinalate and even ignored him at his last cardinal elevation on 13th July 1643.
ITALIAN COMPOSERS & MUSICIANS: A very fine small selection of two Autograph Letters signed, one to a visiting card with small autograph musical quotation, two signed and inscribed photographs and an autograph note signed by three renowned Italian Composers and musicians of the early 1900´s, comprising MONTEMEZZI ITALO (1875-1952) Italian Composer. Best known for his opera L´Amore dei Tre Re (“The Love of the Three Kings”), 1913. Signed and inscribed postcard photograph, the image showing Montemezzi in a formal head and shoulders profile pose. Signed and inscribed in bold black ink `Omaggio di Montemezzi´, also dated in his hand `Roma, December 1938´. Together with an A.L.S., Montemezzi, to both sides of his personal printed visiting card, June 1919, stating in part `Prego mettere nell´edizione che in partiture una corona… prima della fine: una corona al canto, e una nella stanghetta, cosi…´ (Translation: “Please include in the edition and in the scores a crown sign above... before the end: a crown sign above the singing, and one in the bar line, like this...”), and bearing to the front as a continuation to the autograph letter, a small and attractive autograph musical quotation; PIZZETTI ILDEBRANDO (1880-1968) Italian Composer and Musicologist. Vintage signed and inscribed 3.5 x 5.5 photograph, the image showing Montemezzi in a half-length pose. Signed and inscribed in bold black ink `Ildebrando Pizzetti´, to the lower white border of the image, also dated in his hand `Roma, 1951´. Together with an A.L.S., `I.Pizzetti´, one page, 8vo, Milan, 8th June 1930, on the printed stationery of the Giuseppe Verdi Conservatory of Music in Milan, in Italian. Pizzetti asks his correspondent to send him a manuscript `Prego di mandarmi…di quella lettera il manoscritto …´ & ROTA NINO (1911-1979) Italian Composer, Pianist and Conductor. Rota is best known for his film scores, over 150, notably for films of Fellini and Visconti. The relationship between Fellini and Rota was so strong that at Fellini's funeral Giulietta Massina, Fellini's wife, asked trumpeter Mauro Maur to play Rota's Improvviso dell'Angelo in the Basilica in Rome. Rota finally got in 1974 the Academy Award for his score for The Godfather Part II. A.N.S., `Rota´, one page, 4to, November 1955, in Italian. Rota responds at the base of a letter addressed to him by a student, stating in part `Provvisoriamente si concede di fare lezioni in due giorni consecutive, che non siano ne il giovedi ne il venerdi´ (Translation: “Temporarily you are allowed to have lessons on two consecutive days, which are neither Thursday nor Friday”) G to VG, 5
MERIMEE PROSPER: (1803-1870) French writer of the Romantic movement, one of the pioneers of the novella. A.L.S., Pr. Merimee, one page, 8vo, n.p., n.d. (April 1838), to [Felix or Florestan] Bonnaire (‘Mon cher Monsieur’), in French. Merimee writes, in full, ‘Il y a un appartement a louer dans votre maison que je suis tente de prendre. Connaitriez-vous quelque vive redhibition a la dite maison? Vous m'obligeriez beaucoup en me donnant un mot de reponse’ (Translation: ‘There is an apartment to rent in your house that I am tempted to take. Do you know of any strong redhibition at the said house? You would oblige me greatly by giving me a word of reply’). With integral address leaf in Merimee’s hand. VG Merimee’s correspondent was either Felix Bonnaire, or his brother Florestan, co-owners of the monthly French literary, cultural and current affairs magazine Revue des deux Mondes with Charles Buloz. At the time their headquarters were at 10 Rue des Beaux-Arts and Merimee, leaving the nearby Rue des Marais-Saint-Germain (today Rue Visconti) planned to take an apartment in the building. The response that he received was negative as he instead settled a stone’s throw away at Rue Jacob, living there until 1847.
HUGO VICTOR: (1802-1885) French Poet & Novelist of the Romantic Movement. A.L.S., Victor Hugo, a very bold ink signature, one page, 8vo, n.p. [Paris], 1st of March, n.y. [circa 1876], to Marie-Louise Arconati-Visconti, in French. Hugo states `Vos bontés me comblent. J´ai été profondément touché de votre précieux et gracieux envoi. Je prie mon éminent et cher collègue Peyrat de me mettre à vos pieds´ (Translation: “Your kindness fully give me satisfaction. I was deeply touched by your precious and gracious shipment. I beg my eminent and dear colleague Peyrat to put me at your feet”) With blank leaf bearing to the heading and verso the printed stationery of the French Senate. VG Marie-Louise Arconati-Visconti (1840-1923) French Marquise, Philanthropist, Patron and Collector. The Marquise, an anti-clerical republican, was the widow of Gianmartino Arconati-Visconti, a catholic and Royalist, aide de camp to the King Vittorio-Emanuele II. Alphonse Peyrat (1812-1890) French Politician and father of Marie-Louise Peyrat, later called Marie-Louise Arconati-Visconti.
- Simetta - Incanto by Simonetta Visconti, Donna Simonetta Fabiani 1955. Black art deco crown molded bottle. - Zen by Shiseifo, circa 1965. - Christian Dior - Dior Essance .25 oz, mini. - Misc. Quelques Violettes - Houbigant glass bottle. - 1920 Depinoix for Babani Ambre de Delhi gilded glass perfume bottle and stopper, black enameled decoration and labeling. (Misc - 45, 1241, 1108, 1082, 56) Provenance: single owner lifetime collection from Jacksonville, FL - Entire collection has been donated to St. Elizabeth Ann Seton Catholic Church where the proceeds will be used to install a new roof for St. Elizabeth Ann Seton Catholic Church, Palm Coast, FL 32164, which will cost approximately $2 million. - The descriptions for these lots have been comprised from the collectors notes along with extensive research that was done by an associate of the church. We used these notes to help reference and list these items. Please be aware that the descriptions are only guides and the items are being sold as photographed and we are not held liable for any inaccuracies. ALL SALES WILL BE FINAL. - If there were any noticeable condition issues on the bottles or removable stoppers, we tried our best to photograph and show said damage. Please check all images as even if no issues are listed in the description this does not indicate lack of wear and tear. - We cannot guarentee the contents of the bottles, these pieces have been collected over a lifetime and some have liquid inside of them. Just because there is liquid inside does not guarentee that it is the correct perfume for the bottle itself. Pleasase also be aware that bottles may have to be emptied for shipping purposes which will be dictated by your location and shipping restrictions. We are not held liable for the contents of the bottles as they are being sold AS-IS
A boxed reel of 1/4" Emitape (on 7" plastic reel) in 'Advision Sound Studios' printed box. Handwritten info to box details contents as being five songs recorded by David Bowie at Advision on 17th May 1970 with Tony Visconti producing. Tracks are 'After All' (vendor notes alternate mix with less reverb), 'The Width of A Circle' (a loud, alternate mix with slight l/r separation), 'All The Madmen' (a rough mix), 'Black Country Rock' (more adlibs, longer fade), 'The Man Who Sold The World' (alternate mix).Black Country Rock in particular features some never before heard Bolanesque vocals near the end of the track in which Bowie sings what sounds like "Rubber Dubber" and "Rubber Dick". See Youtube link for a sound sample.This item is sold as an artefact only, without copyright. Any reproduction is strictly prohibited.
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