Null Mosca, Giovanni Maria attr.
Around 1493 probably Padua - after 1574 probabl…

Description

Mosca, Giovanni Maria attr. Around 1493 probably Padua - after 1574 probably Krakow. Also known as il Padovano. Fully sculpted female torso in white marble, head raised, hair tied in a plait at the nape of the neck (traces of weathering, rep.). Invoice from Kunsthandel Reinhold Hofstätter Vienna and export permit from the Austrian Federal Monuments Office available, both from 1985. 1st half 16th century. h. 49 cm. L. Planiscig, Venez. Sculptors of the Renaissance, pp. 259-278.

796

Mosca, Giovanni Maria attr. Around 1493 probably Padua - after 1574 probably Krakow. Also known as il Padovano. Fully sculpted female torso in white marble, head raised, hair tied in a plait at the nape of the neck (traces of weathering, rep.). Invoice from Kunsthandel Reinhold Hofstätter Vienna and export permit from the Austrian Federal Monuments Office available, both from 1985. 1st half 16th century. h. 49 cm. L. Planiscig, Venez. Sculptors of the Renaissance, pp. 259-278.

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Estim. 4 000 - 5 000 EUR

After ANDREA DEL VERROCCHIO (Florence, 1435 - Venice, 1488). "The Condottiero Bartolomeo Colleoni". Bronze. Ferdinand Barbedienne Fondeur. Measurements: 16 x 43 x 17 cm. Replica in medium format of the equestrian monument in bronze dedicated to the Condottiero Bartolomeo Colleoni, 395 cm high without the pedestal, realized by Andrea del Verrocchio between 1480 and 1488 and located in Venice, in the square of Saints John and Paul. It is the second equestrian statue of the Renaissance, after the monument to Gattamelata by Donatello in Padua, 1446-53. Its history dates back to 1479, when the Republic of Venice decreed the realization of an equestrian monument dedicated to this Condottiero, who died three years earlier, to be placed in the Piazza dei Santi Giovanni e Paolo. In 1480 Verrocchio was commissioned to execute it, and he began the work in his workshop in Florence. In 1481 the wax model was sent to Venice, where the artist went in 1486 to personally direct the casting of the final model, in lost-wax bronze. Andrea Verrocchio died in 1488 with the work unfinished, although the wax model was to remain, and in his will he determined that Lorenzo di Credi should continue the project. However, the Venetian Signoria preferred the local artist Alessandro Leopardi, a painter and sculptor, multidisciplinary in the modern way, as Verrocchio himself had been. The Florentine artist based the creation of the monument on the equestrian statue of Donatello's Gattamelata, the ancient statues of Marcus Aurelius and the horses of St. Mark (13th century) and of the Regisole (a work of late antiquity in Pavia, lost in the 18th century). There were also frescoes by Giovanni Acuto, Paolo Ucello and Andrea del Castagno. There was, on the other hand, the important technical problem of representing the horse with a raised front leg, in a majestic forward position, which Donatello had prudently solved by placing a sphere under the raised leg. Verrocchio will be the first to succeed in erecting an equestrian statue supported only on three legs.

Character medals Giovanni II Bentivoglio (1443-1508) Undated artistic casting medal (1495) In honor of the Italian nobleman, de facto lord of Bologna from 1463 to 1506 - Opus: Sperandio da Mantova - Hill 391; Kres 128; Pollard 110; Rizzini 93 - AE (g.212 - Ø92.5 mm) Posterior antique casting probably 19th century, with portative hole. R - BB-SPL

Starting price 3800 EUR

Castello, il Genovese, Giovanni BattistaDie Anbetung der Hirten. Frühes 17. Jahrhundert. Tempera und Gouache auf Pergament. 12 x 9 cm. In umlaufender Brokatbordüre und vergoldetem Schnitzrahmen der Zeit unter Glas gerahmt (Rahmen mit Defekten). - Unten rechts mit zwei kurzen, unscheinbaren Einrissen. Insgesamt überaus wohlerhalten. Alte Kunst - Zeichnungen Castello, il Genovese, Giovanni Battista Die Anbetung der Hirten. Frühes 17. Jahrhundert. Tempera und Gouache auf Pergament. 12 x 9 cm. In umlaufender Brokatbordüre und vergoldetem Schnitzrahmen der Zeit unter Glas gerahmt (Rahmen mit Defekten). - Unten rechts mit zwei kurzen, unscheinbaren Einrissen. Insgesamt überaus wohlerhalten. Provenienz: Claridge Gallery, London (Etikett verso). - Sammlung Wilhelm Hack (1899-1985), Köln. - Giovanni Battista Castello (1547-1637), der "il Genovese" genannt wird, um ihn von seinem zeitgenössischen Namensvetter, dem Architekten und Maler "il Bergamasco", zu unterscheiden, begann seine Tätigkeit im Bereich der religiösen Goldschmiedearbeit, widmete sich jedoch bald vollständig der Miniaturkunst, welcher er zu einem Erfolg und einer Popularisierung verhalf, die sie seit dem Mittelalter nicht mehr gekannt hatte. Im Gefolge seines Lehrers Luca Cambiaso wurde Castello von Philipp II. nach Spanien gerufen, wo er 1584 für den König ein wichtiges Antiphonar illuminierte. Dieser Auftrag verschaffte ihm in seiner Heimat einen sofortigen Ruhm. Das vorliegende Werk diente wohl dem Genueser Patriziat im Rahmen privater Gottesverehrung. The Adoration of the Shepherds. Early 17th century. Tempera and gouache on vellum. Framed in brocade border and gilded carved frame of the period under glass (frame with defects). - Lower right with two short, inconspicuous tears. Overall extremely well preserved. - Provenance: Claridge Gallery, London (label verso). - Collection of Wilhelm Hack (1899-1985), Cologne. - Giovanni Battista Castello (1547-1637), known as "il Genovese" to distinguish him from his contemporary namesake, the architect and painter "il Bergamasco", began his career in the field of religious goldsmithing, but soon devoted himself entirely to miniature art, which he helped to achieve a success and popularisation that had not been seen since the Middle Ages. Along with his teacher Luca Cambiaso, Castello was summoned to Spain by Philip II, where he illuminated an important antiphonary for the king in 1584. This commission brought him instant fame in his homeland. The present work was probably intended for the Genoese patriciate for private religious devotion. Dieses Werk ist regelbesteuert. Auf den Zuschlagspreis fallen 23,95% Aufgeld sowie auf den Rechnungsendbetrag 7% (Bücher) bzw. 19% Mehrwertsteuer in der Europäischen Union an. This work is subject to the regular margin scheme. There is a 23.95% buyer's premium on the hammer price and 7% (Books) or 19% VAT on the final invoice amount in the European Union.

Estim. 180 - 360 EUR

Bildnis einer jungen Adeligen — Um 1800 — Öl/Lwd., doubl. Verso auf dem Keilrahmen betitelt "Fürstin Lubomirska, Geliebte August III. von Polen" (gemeint ist wohl Maria Magdalena Bielinska, 1685-1730, eine Mätresse von August dem Starken). 59 x 50 cm.

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