Null A crossbow in the style of the Renaissance, 20th century
Bright steel bow …

Description

A crossbow in the style of the Renaissance, 20th century Bright steel bow with green woolen finial and lanyard. One collar with attached iron ring, hemp string. Column of slightly darkened wood with richly engraved bone inlays on top and on the cheek rest, bone butt cap. The blackened engravings show scrolls, masks and foliage in the late Renaissance style. Bone nut running in a thread, multi-axis movable lock mechanism (partially jammed, must be readjusted), simple, unsprung folding trigger, sturdy trigger guard. Signs of use and age. Bow width 57 cm, length 69 cm. Very decorative, lovingly reproduced crossbow in good condition. Condition: II

9330

A crossbow in the style of the Renaissance, 20th century Bright steel bow with green woolen finial and lanyard. One collar with attached iron ring, hemp string. Column of slightly darkened wood with richly engraved bone inlays on top and on the cheek rest, bone butt cap. The blackened engravings show scrolls, masks and foliage in the late Renaissance style. Bone nut running in a thread, multi-axis movable lock mechanism (partially jammed, must be readjusted), simple, unsprung folding trigger, sturdy trigger guard. Signs of use and age. Bow width 57 cm, length 69 cm. Very decorative, lovingly reproduced crossbow in good condition. Condition: II

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Starting price 350 EUR

Fuchs, ErnstArchitectura Caelestis: Images of the Hidden Prime of Styles. Vorzugsausgabe mit zwei signierten Original-Radierungen. Salzburg, Residenz, 1970. 210 S., 1 Bl. 4°. OLwd. mit Deckel-Illustration in Golddruck und goldgepr. RTitel, in ill. OUmschlag und ill. Lwd.-Schuber in Golddruck. Fuchs, Ernst Architectura Caelestis: Images of the Hidden Prime of Styles. Vorzugsausgabe mit zwei signierten Original-Radierungen. Salzburg, Residenz, 1970. 210 S., 1 Bl. 4°. OLwd. mit Deckel-Illustration in Golddruck und goldgepr. RTitel, in ill. OUmschlag und ill. Lwd.-Schuber in Golddruck. Eines von 200 nummerierten Exemplaren der Vorzugsausgabe mit den beiden signierten und nummerierten Original-Radierungen. - Gutes Exemplar. Die beiden eingebundenen Radierungen sehr sauber. Special edition with two signed original etchings. - One of 200 numbered copies of the special edition with the two signed and numbered original etchings. - Good copy. The two bound etchings very clean.

Starting price 2000 EUR

Umkreis Niccolò RoccatagliataPutto mit Palmzweig. 1. Hälfte 17. Jh. Hohlbronze mit braun-schwarzer Patina auf dekorativer Bronzeplinthe und montiert auf Marmorsockel. 15 x 4 x 5 cm (Maße mit Plinthe). Auf hellbraunem Marmorsockel. - In den Vertiefungen etwas angestaubt. Punktuell im Bereich der Lenden die Kupferpatina etwas oxidiert. Insgesamt sehr gut. Ausgezeichneter Guss mit lebendig gestalteter Patina. Alte Kunst - Plastik Umkreis Niccolò Roccatagliata Putto mit Palmzweig. 1. Hälfte 17. Jh. Hohlbronze mit braun-schwarzer Patina auf dekorativer Bronzeplinthe und montiert auf Marmorsockel. 15 x 4 x 5 cm (Maße mit Plinthe). Auf hellbraunem Marmorsockel. - In den Vertiefungen etwas angestaubt. Punktuell im Bereich der Lenden die Kupferpatina etwas oxidiert. Insgesamt sehr gut. Ausgezeichneter Guss mit lebendig gestalteter Patina. Dem Umkreis des in Venedig aktiven Bildhauers Niccolò Roccatagliata zuzuschreiben, zeichnet sich unser Putto durch das charmant gelockte Haar aus, spielerisch im Kontrapost stehend und in der linken Hand einen Palmzweig haltend. Die besonders hoch über der Stirn gelockten Haare und die schweren Augenlieder, die bei unserer Bronze vorhanden sind, zeigen sich als ein für die Roccatagliata-Werkstatt personaltypisches Merkmal. Die Werkstatt, die sich in Venedig befand, wurde zunächst von Nicolò Roccatagliata und nach seinem Tod im Jahr 1629 von seinem Sohn Sebastiano Nicolini geleitet. Die Roccatagliatas trugen maßgeblich zur Weiterentwicklung und bedeutenden Stellung der venezianischen Bildhauerei im 17. Jh. bei - insbesondere im Bereich der Ausstattung sakraler Räume. Niccolò Roccatagliata fertigte vor allem Reliefs, Engel und andere Objekte aus Bronze für Kirchen an. In seiner konzeptuellen Ausrichtung war er noch immer wesentlich geprägt von der vorhergehenden Renaissance und konzentrierte sich auf den sog. "Stil all'antica", welcher den antiken Idealtypus als Vorbild nahm, wenngleich dem Barock entsprechend, die Figuren üppiger und ausladender als in der Renaissance gestaltet wurden. Insbesondere die Putti der Roccatagliatas, die sich als beliebtes Motiv ausweisen, stechen in ihrem bewegten, verspielten und malerischen Charakter überaus hervor. Hollow bronze with golden patina. On a light brown marble base. - Slightly dusted in deepenings. The copper patina slightly oxidized in spots in the loin area. Overall very good. Excellent cast with lively patina. - Attributable to the circle of the sculptor Niccolò Roccatagliata who was active in Venice, our putto is characterised by the charmingly curled hair, playfully standing in a contrapposto and holding a palm branch in his left hand. The hair curled particularly high above the forehead and the heavy eyelids, which are present in our bronze, are typical features of the Roccatagliata workshop. The workshop, which was located in Venice, was initially run by Nicolò Roccatagliata and after his death in 1629 by his son Sebastiano Nicolini. The Roccatagliatas made a significant contribution to the further development and important position of Venetian sculpture in the 17th century - especially in the area of decorating sacred spaces. Niccolò Roccatagliata mainly produced reliefs, angels and other bronze objects for churches. His conceptual orientation was still largely influenced by the preceding Renaissance and focussed on the so-called "style all'antica", which took the ancient ideal type as a model, although in keeping with the Baroque, the figures were designed to be more opulent and expansive than in the Renaissance. The putti of the roccatagliatas in particular, which are a favourite motif, stand out for their animated, playful and painterly character.

Starting price 5 EUR

[LITERATURE] CHAMPNEY - LENOTRE - MILLER - D'ESTE. Romance of the Bourbon Chateaux (1910) - The Dauphin (Louis XVII) the Riddle of the Temple (1922) - Rasputin the Holy Devil (1928) - A Study of the Renaissance (1904). In-8 format, publisher's boards / dust jacket, gilt-edged head boards. Numerous black illustrations in / out of text. Good condition.

Estim. 1 200 - 1 500 EUR

[South America]. The Costume of the inhabitants of Peru. London, Edington, sd [c. 1805]. In-4 with [1] f. engraved title and 19 plates of costumes stippled and carefully watercolored at the time. Contemporary vellum-style ivory paper spine boards, engraved title label glued to front board. A few minor flaws to the boards, a few small freckles. Some plates show a very slight trace of numbering. Indian representation of the costumes of the Ynca and his Queen ; A Lady of Lima in fer full dress ; Male inhabitant of Lima in the middle class of society ; A Female of Lima of the middle class of society ; Indians Male and Female in Costumes of Festivity ; Female Domestic of Lima of the Class of Quarterons ; Two Female Domestics of Lima, Natives,who have adopted the Spanish dress ; Civilized Indian wearing the Poncho ; Virgin of the Sun ; A Mestizo of Quito professing a liberal art accompanied by his pupil ; Mulattoes of Quito ; Female Indian, habited as the Minerva of Peru ; Female warrior of the Yurimagua Tribe ; Indian Warrior belonging to a barbarous Tribe ; Fighter at a Bull Feast ; Bozal, or Raw-Negro, residing in the district of Lima ; Indian woman of a village, near Lima ; Overseer of a Royal Peruvian Mine ; Llamas or Peruvian sheep. Very rare suite of plates of Peruvian costumes, reprinted from Joseph Skinner's "The present state of Peru...", London, Richard Philipps, 1805. An identical suite was published for Wallis and Edington, dated 1816 (6 copies in public collections, mainly in the United States). (Colas 2751.)

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