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Live
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Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
From Florence to Fitzrovia: The Discerning Eye of Ian Rosenfeld
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Viewing at The Clock House, 11 John Street, London WC1N 2EB (highlights):
13 Jan 2026 11:00 - 15:00 GMT
14 Jan 2026 11:00 - 15:00 GMT
15 Jan 2026 11:00 - 15:00 GMT
Viewing at Dreweatts Newbury (full sale): see below
Auction dates
Jan 28, 2026 10:30 AM GMT
Viewing dates
Jan 25, 2026 10:00 AM - 03:00 PM GMT
Jan 26, 2026 10:00 AM - 04:00 PM GMT
Jan 27, 2026 10:00 AM - 04:00 PM GMT
Jan 28, 2026 09:00 AM - 04:00 PM GMT
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27 % (exc. Sales tax) |
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Featured lots
AN IGALA HELMET MASK
Lot 42
We found 103 items matching your search
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ITALIAN SCHOOL (LATE 17TH CENTURY)
HEAD OF AN APOSTLE
Oil on canvas, unframed
55 x 47cm (21½ x 18½ in.)
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FOLLOWER OF GIOVANNI BATTISTA CARLONE
THE SACRIFICE OF ISAAC
Oil on canvas
172 x 122cm (67½ x 48 in.)
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6,000 - 8,000 GBP
λ BRAM BOGART (DUTCH/BELGIAN 1921-2012)
NYLON BAROQUE
Mixed media on canvas laid on wood
Signed, titled, numbered 98 and dated Aout 59 (verso)
122 x 93.5cm (48 x 36¾ in.)
Born in Delft, Bogart initially trained as a house painter before embarking on a career as an artist. He became one of the leading exponents of abstract expressionism. He was closely associated with the short-lived post-war collective CoBrA but his work can be best understood through the Art Informel movement, which embraced intuition and irrationality through different forms of abstract art. Bogart mixed with many of the leading exponents including Fontana, Appel, and De Kooning amongst others. During the Second World War, he enrolled at the Hague's Fine Arts Academy, in order to avoid forced deportation to a labour camp. Bogart was fascinated with pushing the boundaries of paint and stretching the limitations of 2-D painting, creating dynamic, paint laden, sculptural works and from the late 1950s he adopted an increasingly monochrome palette. Bogart moved to Belgium in 1959 and in 1970 he represented Belgium at the 35th Venice Biennale.
By his death Bogart had fallen into relative obscurity, however, a series of major, international retrospectives have signalled a resurgence in his reputation.
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HOUSTON MALUDI (CONGOLESE B. 1978)
AFRICAN DANCE, 2016
Acrylic on canvas
Signed, titled and dimensioned (verso)
132.5 x 199cm (52 x 78¼ in.)
Unframed
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3,000 - 5,000 GBP
EDUARDO STUPIA (ARGENTINIAN B. 1951)
UNTITLED, 2013
Mixed media on canvas
Signed (lower right)
201.5 x 201cm (79¼ x 79 in.)
Unframed
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3,000 - 5,000 GBP
λ ANTONIS DONEF (GREEK B. 1978)
UNTITLED, 2017
Paper collage and ink on canvas
Signed and dated 2017 (verso)
220 x 220cm (86½ x 86½ in.)
Unframed
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4,000 - 6,000 GBP
CIRCLE OF FRANCESCO VANNI (ITALIAN 1563/65-1610)
LA PIETA
oil on panel
23 x 17cm (9 x 6½ in.)
Provenance:
Sale Sotheby's, London, 6 July 2000 lot 264
The picture derives from the Michelangelesque drawing by Giulio Clovio (1498-1578) in the British Museum
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AFTER FRANCESCO GESSI, 19TH CENTURY
HOLY FAMILY WITH SAINT CATHERINE
Oil on copper
25.5 x 30.5cm (10 x 12 in.)
The picture derives from the painting in the possession of the Duke of Westminster at Grosvenor House, one of the most celebrated private art collections in England, and which was previously thought to be by Guido Reni (1575-1642).
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3,000 - 5,000 GBP
ATTRIBUTED TO CORRADO GIAQUINTO (1703-1766)
THE MARTYRDOM OF SAINT LAWRENCE
Oil on canvas, oval
59 x 50cm (23 x 19½ in.)
Provenance:
Sale Sotheby's, New York, 22 January 2004, lot 199
The present painting may be an early work by the artist, when he was under the influence of Francesco Solimena.
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20,000 - 30,000 GBP
PAOLO PORPORA (ITALIAN 1617-1673)
STILL LIFE OF SHELLS AND CORAL
Oil on canvas
45 x 32cm (17½ x 12½ in.)
Provenance:
Sale Sotheby's, London, 12 December 2008, lot 225 as Attributed to Bartolomeo Bimbi
Exhibited:
Naples, Museo Principe Diego Aragona Pignatelli Cortes, 12 December 2009-11 April 2010.
Literature:
D. Maria Pagano, in N. Spinosa (ed.) Ritorno al Barocco. Da Caravaggion a Vanvitelli , exhibition catalogue, Naples 2009, vo. I, p. 373, cat. no. 1.216.
Saleroom Notice:
Please note that the attribution to Paolo Porpora has also been confirmed by Giuseppe Porzio and dateable to 1660s. For a key of the work see fig. 1. For further details please speak to a member of the department.
Porpora started his career in Naples, but moved to Rome in 1656 where he was a member of the Accademia de San Luca. He was a key figure in the Neopolitan School of still life. The coral and shells included in the present work were often collected and displayed in cabinet of curiosities and were a popular subject matter for artists in the 17 th Century.
This still life depicts lambis lambis, cypraea, cymnatide, cenithium, galaodea amongst others
We are grateful to Dr Di Fratta for confirming the attribution to Paolo Porpora on the basis of a photograph.
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8,000 - 12,000 GBP
λ BRAM BOGART (DUTCH/BELGIAN 1921-2012)
LES OCRES
Oil and mixed media on canvas
Signed and dated 55 (lower right), further signed, titled and dated avril 1955 (verso)
86 x 112cm (33¾ x 44 in.)
Provenance:
Sale, Lempertz, Cologne, 29 May 2008, lot 453
Born in Delft, Bogart initially trained as a house painter before embarking on a career as an artist. He became one of the leading exponents of abstract expressionism. He was closely associated with the short-lived post-war collective CoBrA but his work can be best understood through the Art Informel movement, which embraced intuition and irrationality through different forms of abstract art. Bogart mixed with many of the leading exponents including Fontana, Appel, and De Kooning amongst others. During the Second World War, he enrolled at the Hague's Fine Arts Academy, in order to avoid forced deportation to a labour camp. Bogart was fascinated with pushing the boundaries of paint and stretching the limitations of 2-D painting, creating dynamic, paint laden, sculptural works and from the late 1950s he adopted an increasingly monochrome palette. Bogart moved to Belgium in 1959 and in 1970, he represented Belgium at the 35th Venice Biennale.
By his death Bogart had fallen into relative obscurity, however, a series of major international retrospectives have signalled a resurgence in his reputation.
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λ RENZO VESPIGNANI (ITALIAN 1924-2001)
NATURA MORTA CON PESCARE
Oil on canvas
Signed and dated 1963 (lower right)
102 x 70.5cm (40 x 27¾ in.)
Provenance:
Sale, Asta Finarte, Milan, 17 April 1989, lot 207
Private Collection (acquired from the above)
Sale, Christie's, Italy, 24 May - 7 June 2023, lot 157
Literature:
Valerio Rivosecchi, Renzo Vespignani, Catalogo regionato dei dipinti 1943-2001 , Milan, 2011, p. 188, no. 284 (illustrated with incorrect date and orientation)
The painter, printmaker, illustrator and set designer, Renzo Vespignani's art was formed during the Second World War and especially the bombing of his native Rome, the fall of fascism and the occupation of Rome by Germany in 1943. His early work is both a record of and a comment on the ravages and depravations caused by war, contrasting with post-war reconstruction and economic boom.
After the war, Vespignani worked as a writer and illustrator for various political and literary magazines and in 1956, he co-founded Citta Aperta , a magazine exploring the city's cultural issues. He became part of the wave of Neo-Realists working in Italy and was particularly engaged in capturing life in the poorer areas of Rome. By the late 1950s, however, he began to develop a more existentialist imagery. In 1963, along with other leading contemporary Italian artists he founded the group Il Pro e Il Contro , which sought to develop new critically and intellectually engaged figurative art. Vespignani also worked with several of the leading artistic directors of the period, designing stage sets for theatre, dance and opera. His work was exhibited at the Venice Biennale on four occasions in 1950, 1954, 1960 and 1984. In 1999, he was appointed President of the National Academy of St Luke and Grand Officer of Merit of the Italian Republic, publicly recognizing Vespignani's contribution to Italian culture and art.
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10,000 - 15,000 GBP
CIRCLE OF CARLO BONONI (ITALIAN 1569-1632)
ST SEBASTIAN RECEIVING THE CROWN OF MARTYRDOM
Oil on canvas
240 x 158cm (94¼ x 62 in.)
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SPANISH SCHOOL (17TH CENTURY)
HEAD OF ST AGNES
Oil on canvas, unframed
Inscribed S. INES. (lower left)
35 x 54cm (13¾ x 21¼ in.)
After Agnes was sentenced to death, she was led out and bound to a stake to be burned, but the bundle of wood would not burn, or the flames parted away from her. The officer in charge of the troops drew his sword and beheaded her-or, in other texts, stabbed her in the throat. It is said that when Agnes' blood poured to the stadium floor, other Christians soaked it up with cloths
Condition Report:
Condition Report Disclaimer
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1
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1,500 - 2,000 GBP
AFTER ANDREA SOLARIO, LOMBARD SCHOOL (17TH CENTURY)
HEAD OF JOHN THE BAPTIST
Oil on canvas
38 x 52cm (14¾ x 20¼ in.)
The original painting to which this work relates is in the Louvre, Paris, Solario's painting, created around ca. 1507 entered the Paris Museum in 1868. Prior to its accession it enjoyed great success and was often copied or reinterpreted by Italian, French and Flemish painters.
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1
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3,000 - 5,000 GBP
CIRCLE OF DOMENICO PIOLA (ITALIAN 1627-1703)
SALOME WITH THE HEAD OF JOHN THE BAPTIST
Oil on canvas
131 x 175cm (51½ x 68¾ in.)
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1
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20,000 - 30,000 GBP
λ DOMENICO GNOLI (ITALIAN 1933-1970)
UNTITLED
Oil and sand on masonite
Signed and dated 63 (lower right)
65 x 54cm (25½ x 21¼ in.)
Provenance:
Private Collection, Murat, Paris
Private Collection, Henri Samuel, Paris
Gallery Beadleston, New York
Sale, Christie's, Milan, 25 November 2008, lot 311
Exhibited:
Rotterdam, Museum Boijmans van Beuningen, Domenico Gnoli , September-November 1973
Gnoli was an extraordinarily charismatic figure, whose talent and committed work ethic propelled him to being one of the key figures in Italian art until his untimely death. By 20, he was working as a set designer at The Old Vic, London. In 1954, he moved to Paris and by the end of the decade he was living between Paris, London, Rome and New York.
In his paintings he explored different ways of capturing the sensuality of his surroundings, through hyper-realistic still-life works, which honed in on obscure, everyday details such as buttonholes, the curl of a sitter's hair, or part of a shoe. The way he blew up these details, often on a large scale, helps distort the reality of what the viewer is seeing and turning the extreme realism into a form of abstraction. He often mixed sand or marble debris in with his pigments, giving a textured contrast to the hyper realism of the image itself.
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1
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2,000 - 4,000 GBP
CIRCLE OF FRANCESCO RIZZI (SPANISH 1608-1685)
SAINT PETER IN CONTEMPLATION, A VISION OF HIS CALLING BEYOND
Oil on canvas
131.5 x 141cm (51¾ x 55½ in.)
Provenance:
Sale Sotheby's, New York, 11 April 1999, lot 184 as Spanish School, 17th Century
Sale Dorotheum, 6 October 1999, lot 92
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FOLLOWER OF MARCO RICCI
LANDSCAPE WITH PEASANTS
Oil on canvas
72 x 91cm (28¼ x 35¾ in.)
Provenance:
Sale Christie's, London, 26 September 1996, lot 151 (unsold)
Sale Christie's, South Kensington, 12 October 1996, lot 158
Condition Report:
Condition Report Disclaimer
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PARMA SCHOOL (LATE 17TH/ EARLY 18TH CENTURY)
ST CATHERINE
Oil on canvas
26 x 18.5cm (10 x 7¼ in.)
Condition Report:
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FOLLOWER OF JACOPO ROMBUSTI, IL TINTORETTO
CHRIST ON THE ROAD TO CALVARY
Oil on canvas
49.5 x 61.5cm (19¼ x 24 in.)
Provenance:
Sale Sotheby's, Amsterdam, 8 May 2000, lot 115
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1
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3,000 - 5,000 GBP
JOHANN PETRUS VON ESCH (1666-1731) AFTER DIRCK BARENDSZ MANKIND AWAITING THE DELUGE Reverse painting on glass, gilt and black frame Signed with initials JPVE lower right 25.5 x 32cm (10 x 12½ in.) frame 31 by 37cm Provenance : Dorotheum Vienna, Austria 03 October 2001, lot 344 - catalogued as Johann Paul VON EYB (1628-1685) "Liebespaare bei einem Mahl mit Musik" (£8,136 inc. premium). The composition derives from an engraving of circa 1580 by Jan Sadeler I after a design by Dirck Barendsz, Mankind Awaiting the Deluge (see J.R. Judson, Dirck Barendsz, 1970, pp. 126-31, nos. 71-2). In this instance the image has been reversed by Von Esch.
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1
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2,500 - 3,500 GBP
CIRCLE OF ALESSANDRO MAGNASCO, CALLED IL LISSANDRINO (ITALIAN 1667-1749)
LANDSCAPE WITH MONKS RESTING BY A SHRINE
Oil on canvas
80 x 65cm (31¼ x 25½ in.)
Provenance:
Sale Sotheby's, London, 12 July 2001, lot 446
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92
Quantity
1
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Estimate
1,500 - 2,500 GBP
ATTRIBUTED TO PIER LEONE GHEZZI (ITALIAN 1674-1755)
SAINT CARLO BORROMEO COMTEMPLATING THE CROSS
Oil on copper
55 x 40cm (21½ x 15½ in.)
Provenance:
Sale Sotheby's, New York, 23 May 2001, lot 83
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1
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3,000 - 5,000 GBP
λ CIRCLE OF DANIELE RICCIARELLI, CALLED DANIELE VOLTERRA (ITALIAN 1509-1566)
SAINT JEROME
Oil on panel
80 x 69cm (31¼ x 27 in.)
Provenance:
Sale Christie's, London, 14 July 1997, lot 352
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ATTRIBUTED TO ERNST VAN SCHAYCK (FL. CIRCA 1567-1631)
HEAD OF ST FRANCIS
Oil on paper laid on panel
48 x 29cm (18¾ x 11¼ in.)
Provenance:
Sale Stockholm, Sweden, 5 June 2003, lot 2535
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λ DAMIEN MEADE (IRISH B. 1969)
FLUSH, 2013
Oil on canvas laid to board
Signed, titled and dated 2013 (to canvas overlap verso)
78 x 47cm (30½ x 18½ in.)
Unframed
Provenance:
Scheublein Fine Art, Z ürich, Switzerland
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LU CHAO (CHINESE B. 1988)
BALANCE NO. 1
Oil on canvas
Signed and dated 2017 (verso)
45 x 60cm (17½ x 23½ in.)
Unframed
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1
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Estimate
2,000 - 3,000 GBP
ROBERT MALLARY (AMERICAN 1917-1997)
UNTITLED PAINTING NO. 5
Mixed media on board in artist's frame
Signed and dated 55 (upper left)
121 x 91cm (47½ x 35¾ in.)
Provenance:
The Box, Los Angeles, 2014
Private Collection, Peter Petrou, London
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1
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2,000 - 4,000 GBP
CIRCLE OF MICHELE ROCCA (ITALIAN 1675-C.1751)
AN ALLEGORY OF THE HARVEST, TWO SHEPHERDESSES AND A SHEPHERD
Oil on canvas, unframed
39 x 49.5cm (15¼ x 19¼ in.)
Provenance:
Sale Sotheby's, New York, 22 May 1992, lot 223
Condition Report:
Condition Report Disclaimer
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SCHOOL OF FERRARA (17TH CENTURY)
ST. SEBASTIAN
Oil on canvas laid on panel
14 x 15cm (5½ x 5¾ in.)
Condition Report:
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Leading
111
Quantity
1
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Estimate
8,000 - 12,000 GBP
ATTRIBUTED TO BARTOLOMEO PEDON (ITALIAN 1665-1732)
RIVER LANDSCAPE WITH FIGURES FISHING AND RESTING IN THE FOREGROUND
oil on canvas
120 x 160cm (47 x 62 in.)
Provenance:
Sale Sotheby's, London, Old Master Pictures Part II, 13 December 2001, lot 181
Condition Report:
Condition Report Disclaimer
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1
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Estimate
4,000 - 6,000 GBP
λ BRAM BOGART (DUTCH/BELGIUM 1921-2012)
LA TERRE
Mixed media on burlap
Signed and dated 54 (lower left); further signed, titled and dated Dec 54 (verso)
78.5 x 105cm (30¾ x 41¼ in.)
Provenance:
Sale, Christie's, Amsterdam, 29 November 2011, lot 32
Exhibited:
London, Gallery Rosenfeld, 2012/13 (illustrated in the exhibition catalogue p. 52f)
The painting is listed at the Bram Bogart Foundation, Brussels.
Born in Delft, Bogart initially trained as a house painter before embarking on a career as an artist. He became one of the leading exponents of abstract expressionism. He was closely associated with the short-lived post-war collective CoBrA but his work can be best understood through the Art Informel movement, which embraced intuition and irrationality through different forms of abstract art. Bogart mixed with many of the leading exponents including Fontana, Appel, and De Kooning amongst others. During the Second World War, he enrolled at the Hague's Fine Arts Academy, in order to avoid forced deportation to a labour camp. Bogart was fascinated with pushing the boundaries of paint and stretching the limitations of 2-D painting, creating dynamic, paint laden, sculptural works and from the late 1950s he adopted an increasingly monochrome palette. Bogart moved to Belgium in 1959 and in 1970, he represented Belgium at the 35th Venice Biennale.
By his death Bogart had fallen into relative obscurity, however, a series of major, international retrospectives have signalled a resurgence in his reputation.
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1
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Estimate
3,000 - 5,000 GBP
λ ZSOLT BODONI (HUNGARIAN B. 1975)
IGNIS FATUUS
Acrylic and oil on canvas
Signed and dated 2011 (verso)
180 x 245cm (70¾ x 96¼ in.)
Unframed
Born in Romania, Bodoni obtained his MFA at the Hungarian Academy of Fine Arts, Budapest. He spent several years living in Hungary, before returning to his native country. Bodoni's work explores the history of Transylvania and its religious and cultural diversity. In 2009, he was numbered amongst the 100 top emerging artists by Flash Art International . As well as numerous solo and group exhibitions in Hungary and Romania, he has exhibited widely internationally, in the USA, Dubai and Italy and London.
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1
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3,000 - 5,000 GBP
λ ZSOLT BODONI (HUNGARIAN B. 1975)
UNTITLED
Oil and acrylic on canvas
Signed and dated 2016 (verso)
209 x 195.5cm (82¼ x 76¾ in.)
Unframed
Born in Romania, Bodoni obtained his MFA at the Hungarian Academy of Fine Arts, Budapest. He spent several years living in Hungary, before returning to his native country. Bodoni's work explores the history of Transylvania and its religious and cultural diversity. In 2009, he was numbered amongst the 100 top emerging artists by Flash Art International . As well as numerous solo and group exhibitions in Hungary and Romania, he has exhibited widely internationally, in the USA, Dubai and Italy and London.
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λ GEORGES NOEL (FRENCH 1924-2010)
LA ROSE
Mixed media with collage on canvas
Dated 65 (lower left); titled (to stretcher verso), further signed, titled and dated 1965 (to label verso)
53.5 x 54cm (21 x 21¼ in.)
Provenance:
Sale, Sotheby's, London, 7 February 2005, lot 304
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1
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4,000 - 6,000 GBP
λ LUCIO MUÑOZ (SPANISH 1929-1998)
TABLA 22
Mixed media on panel
Signed (lower right); further signed, titled and dated 1959 (verso)
73 x 92cm (28½ x 36 in.)
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1
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5,000 - 8,000 GBP
λ CARLO MATTIOLI (ITALIAN 1911-1994)
PAESAGGIO
Oil on canvas
Signed, titled and dated 1983 (verso)
90 x 80cm (35¼ x 31¼ in.)
Provenance:
Serge Sorokko Gallery, San Francisco
Private Collection
Sale, Sotheby's, Milan, 26 November 2009, lot 262
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λ AMAYA BOZAL (SPANISH B. 1972)
SIN TITULO
Oil, pigment and gold leaf on canvas
Signed, titled and dated 2001 (verso)
120 x 158cm (47 x 62 in.)
Unframed
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ROMAN SCHOOL (17TH CENTURY)
THE APOTHEOSIS OF ST ROSE
Oil on alabaster laid to slate, unframed
39.5 x 30cm (15½ x 11¾ in.)
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3,000 - 5,000 GBP
CIRCLE OF FRANCESCO MONTELATICCI CECCO BRAVO (ITALIAN 1607-1661)
IRENE CURING ST SEBASTIAN
Oil on canvas
100 x 135cm (39¼ x 53 in.)
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1
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2,500 - 3,500 GBP
ITALIAN SCHOOL (17TH CENTURY)
THE RETURN OF THE PRODIGAL SON
Oil on canvas
96 x 145cm (37¾ x 57 in.)
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1
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30,000 - 50,000 GBP
λ DOMENICO GNOLI (ITALIAN 1933-1970)
MAN READING NEWSPAPER
Acrylic and sand on canvas
Signed and dated 63 (lower right)
65 x 40cm (25½ x 15½ in.)
Provenance:
Galleria l'88, Rome
Private Collection, Cambridge, Massachusetts
Sale, Christie's, New York, 26 September 2013, lot 148
Gnoli was an extraordinarily charismatic figure, whose talent and committed work ethic propelled him to being one of the key figures in Italian art until his untimely death. By 20, he was working as a set designer at The Old Vic, London. In 1954, he moved to Paris and by the end of the decade he was living between Paris, London, Rome and New York.
In his paintings he explored different ways of capturing the sensuality of his surroundings, through hyper-realistic still-life works, which honed in on obscure, everyday details such as buttonholes, the curl of a sitter's hair, or part of a shoe. The way he blew up these details, often on a large scale, helps distort the reality of what the viewer is seeing and turning the extreme realism into a form of abstraction. He often mixed sand or marble debris in with his pigments, giving a textured contrast to the hyper realism of the image itself.
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λ MARIO DUBSKY (BRITISH 1939-1985)
SALOME
Oil on canvas
Signed and dated 61 (lower right); further signed and titled (verso)
124 x 93cm (48¾ x 36½ in.)
Provenance:
Sale, Christie's, London, 20 October 2005, lot 251
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1
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Estimate
5,000 - 8,000 GBP
λ CARLO MATTIOLI (ITALIAN 1911-1994)
CAMPO DI PAPAVERI
Oil and sand on canvas
Signed (lower left); further signed, titled and dated 1990 (verso)
113 x 100cm (44¼ x 39¼ in.)
Provenance:
Galleria Poleschi Arte, Lucca
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1
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3,000 - 5,000 GBP
λ RENZO VESPIGNANI (ITALIAN 1924-2001)
NUDO DISTESO
Oil on canvas
Signed and dated 1962 (lower centre)
97 x 139cm (38 x 54½ in.)
Provenance:
Galleria Mutina, Modena, 1962
Sale, Finarte, Milan, 11 October 2005, lot 401
Sale, Cambi Casa d'Aste, Genoa, 9 June 2010, lot 745
The painter, printmaker, illustrator and set designer, Renzo Vespignani's art was formed during the Second World War and especially the bombing of his native Rome, the fall of fascism and the occupation of Rome by Germany in 1943. His early work is both a record of and a comment on the ravages and depravations caused by war, contrasting with post-war reconstruction and economic boom.
After the war, Vespignani worked as a writer and illustrator for various political and literary magazines and in 1956, he co-founded Citta Aperta , a magazine exploring the city's cultural issues. He became part of the wave of Neo-Realists working in Italy and became particularly engaged in capturing life in the poorer areas of Rome. By the late 1950s, however, he began to develop a more existentialist imagery. In 1963, along with other leading contemporary Italian artists he founded the group Il Pro e Il Contro , which sought to develop new critically and intellectually engaged figurative art. Vespignani also worked with several of the leading artistic directors of the period, designing stage sets for theatre, dance and opera. His work was exhibited at the Venice Biennale on four occasions in 1950, 1954, 1960 and 1984. In 1999, he was appointed President of the National Academy of St Luke and Grand Officer of Merit of the Italian Republic, publicly recognizing Vespignani's contribution to Italian culture and art.
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1
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Estimate
3,000 - 5,000 GBP
λ RENZO VESPIGNANI (ITALIAN 1924-2001)
FIGURA E GIORNALI
Oil on canvas
Signed and dated 1963 (upper right)
140 x 152cm (55 x 59¾ in.)
Unframed
Provenance:
Sale, Minerva Auctions, Rome, 25 October 2012, lot 183
Literature:
Valerio Rivosecchi, Renzo Vespignani, Catalogo regionato dei dipinti 1943-2001 , Milan, 2011, no. 338
The painter, printmaker, illustrator and set designer, Renzo Vespignani's art was formed during the Second World War and especially the bombing of his native Rome, the fall of fascism and the occupation of Rome by Germany in 1943. His early work is both a record of and a comment on the ravages and depravations caused by war, contrasting with post-war reconstruction and economic boom.
After the war, Vespignani worked as a writer and illustrator for various political and literary magazines and in 1956, he co-founded Citta Aperta , a magazine exploring the city's cultural issues. He became part of the wave of Neo-Realists working in Italy and became particularly engaged in capturing life in the poorer areas of Rome. By the late 1950s, however, he began to develop a more existentialist imagery. In 1963, along with other leading contemporary Italian artists he founded the group Il Pro e Il Contro , which sought to develop new critically and intellectually engaged figurative art. Vespignani also worked with several of the leading artistic directors of the period, designing stage sets for theatre, dance and opera. His work was exhibited at the Venice Biennale on four occasions in 1950, 1954, 1960 and 1984. In 1999, he was appointed President of the National Academy of St Luke and Grand Officer of Merit of the Italian Republic, publicly recognizing Vespignani's contribution to Italian culture and art.
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1
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8,000 - 12,000 GBP
λ GREGOR HILDEBRANDT (GERMAN B. 1974) ZIEH MICH AUS DEM MEER_MARIAN (SISTERS OF MERCY), 2010 Cassette tape on canvas Signed, titled and dated 2010 (verso) 192 x 292cm (75½ x 114¾ in.) Unframed
Provenance: Wentrup Gallery, Berlin Acquired from the above
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2,000 - 3,000 GBP
λ THERESE OULTON (BRITISH B. 1953)
TRANSPARENCE NO. 6
Oil on canvas
Signed, titled and dated New York, Feb 1991 (verso)
196 x 178cm (77 x 70 in.)
Provenance:
Sale, Rosebery's, London, 18 September 2012, lot 562
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1
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10,000 - 15,000 GBP
POLIDORO CALDARA, CALLED POLIDORO DA CARAVAGGIO (ITALIAN C.1500-1535)
THE ADORATION OF THE SHERHERDS
Oil on panel, arched top
156.8 x 86.7cm (61½ x 34 in.)
Provenance:
A religious institution, Dublin
Sale Christies, London, 9 April 2003, lot 90
Polidoro is first recorded in the second decade of the sixteenth century in Rome where he began his career in the workshop of Raphael, assisting in his frescoes for the Vatican Loggia. After Raphael's death, he painted decorations in the Sala di Costantio under the supervision of Giulio Romano and by the early 1520s he was receiving commissions, particularly for frescoes, as an independent artist. The sack of Rome in 1527 precipitated Polidoro's flight to Southern Italy, first to Naples and then on to Messina where he had arrived by 1528.
The present picture has been dated to circa 1540, painted in Messina, where Polidoro lived from 1528 until his death. There are stylistic and iconographic similarities to his work of the late 1530s when Polidoro began to employ the monochromatic, spontaneous technique that had previously been confined to his small works and sketches, in his large-scale finished compositions including, Saint Christopher and David and Goliath (Christ Church, Oxford), and the huge Immaculate Conception (Museo Regionale, Messina). The faces of the shepherds in the present panel relate closely to the face of Saint Christopher at Oxford, and to one of the thieves in the Crucifixion . The face of the Virgin, shown raising a veil over the Christ Child, connects the picture to the larger Adoration of the Shepherds in the Museo Regionale, Messina, painted in 1535/6.
The circumstances surrounding the commission of the present picture are uncertain, but the size of the panel indicates that it was painted for a chapel or a church rather than for private devotion. Pierluigi Leone de Castris in his previous catalogue entry when this work first appeared on the market, has suggested that the present panel may be identifiable as either the picture recorded in the chapel of Canonico Sardo (F. Susinno, Le vite de' pittori messinesi , 1724), said to be only 100 cm. high, or one of the Nativities in the Capuchin church in Messina, and in the collection of the Duke of Cesarò, neither of which are described in any detail (see F. Hackert and G. Grano, Memorie dei Pittore Messinesi , Napoli, 1792). Typical for Polidoro's late paintings is the unusual structure of the present panel which is comprised of two large vertical poplar planks with additions at top and bottom. It has been suggested that Polidoro was using the doors of cupboards or shutters to make up his panels in this way, as is the case in his Deposition in the Galleria Regionale, Palermo. This notion is supported here by what appear to be marks from metal hinges on the left side of the panel.
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λ DAMIEN MEADE (IRISH B. 1969)
LUCID MEDULLA
Oil on canvas laid to board
Signed, titled and dated 2013 (to canvas overlap verso)
47 x 46cm (18½ x 18 in.)
Unframed
Provenance:
Scheublein & Bak, Z ürich, Switzerland
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1
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3,000 - 5,000 GBP
λ RENZO VESPIGNANI (ITALIAN 1924-2001)
DONNA AL BAGNO
Oil on canvas
Signed and dated 63 (lower right)
114 x 179cm (44¾ x 70¼ in.)
Provenance:
Sale, Galleria Pananti Casa d'Aste, Florence, 19 February 2011, lot 1056/bis
Exhibited:
Lucca, Mostra Nazionale di Pittura e Grafica, September 1963
The painter, printmaker, illustrator and set designer, Renzo Vespignani's art was formed during the Second World War and especially the bombing of his native Rome, the fall of fascism and the occupation of Rome by Germany in 1943. His early work is both a record of and a comment on the ravages and depravations caused by war, contrasting with post-war reconstruction and economic boom.
After the war, Vespignani worked as a writer and illustrator for various political and literary magazines and in 1956, he co-founded Citta Aperta , a magazine exploring the city's cultural issues. He became part of the wave of Neo-Realists working in Italy and became particularly engaged in capturing life in the poorer areas of Rome. By the late 1950s, however, he began to develop a more existentialist imagery. In 1963, along with other leading contemporary Italian artists he founded the group Il Pro e Il Contro , which sought to develop new critically and intellectually engaged figurative art. Vespignani also worked with several of the leading artistic directors of the period, designing stage sets for theatre, dance and opera. His work was exhibited at the Venice Biennale on four occasions in 1950, 1954, 1960 and 1984. In 1999, he was appointed President of the National Academy of St Luke and Grand Officer of Merit of the Italian Republic, publicly recognizing Vespignani's contribution to Italian culture and art.
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1
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4,000 - 6,000 GBP
NDIDI EMEFIELE (NIGERIAN B. 1987)
SUNNY BLOW
Acrylic, compact disk, plastic trim, paper collage, watercolour and pencil on canvas
96.5 x 96.5cm (37 x 37 in.)
Executed in 2025.
Born in Abuja, Nigeria, in 1987, Ndidi Emefiele's early artistic journey was primarily shaped by books, rather than by seeing art in museums and galleries. Amongst the books which shaped her, was a monograph on Ben Enwonwu, the renowned Nigerian sculptor and Slade School of Fine Art graduate, which ignited her ambition to pursue an artistic career in Britain. After reading Fine Art at university in Abraka, Nigeria, Emefiele, moved to the UK in 2014, to enrol in an MA at the Slade School of Fine Art. In 2016 she was awarded the Olive Prize for Excellence in Painting from the Slade.
Emefiele's work has been widely exhibited in galleries and institutions in Nigeria, South Africa, the USA, UK, and Germany, where she has emerged as an internationally recognised and increasingly significant voice in contemporary figurative painting. Her work reflects a world where women dominate their environment; where they are allowed to thrive and explore their true natures, away from the male gaze. Indeed, the male figure is only recognised by a complete absence.
Emefiele was one of Gallery Rosenfeld's key artists and Ian Rosenfeld and Emefiele developed a close working relationship, based on shared artistic values. The gallery held four solo exhibitions between 2017 and 2022. These shows charted a significant evolution in her work, from the celebratory defiance of 'Loud' (2017) and 'Pets, Parties and a Cuddle' (2018) to the profound introspection of 'Here as in Heaven' (2020) and 'The Gift of Fellowship' (2022), the latter two dealing with themes of grief and healing.
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15,000 - 25,000 GBP
λ TOTI SCIALOJA (ITALIAN 1914-1998)
UNTITLED, 1959
Oil and sand on canvas
Signed and dated 59 , further signed and dated maggio 1959 (verso)
146.5 x 190.5cm (57½ x 75 in.)
Provenance:
Sale, Bonhams, London, 2 July 2014, lot 29
Antonio 'Toti' Scialoja was born in Rome in 1914. Initially he embarked on a legal career, but by 1937, he gave that up in order to devote himself entirely to his art. He became part of the artistic and literary circles around the Galleria della Cometa. During World War II, he was actively involved in the Italian Resistance movement and produced theatre designs, something he continued until the mid-1950s.
After the war Scialoja along with three contemporaries, formed I quattro fuori strada , a movement which played a key role in the development of Italian abstract art, through its exploration of colour, texture and gestural painting. In the late 1940s, he began to look towards Analytical Cubism, following his move to Paris, where he was inspired by the work of the Neo-Cubists. During a trip to America in 1956, he met many of the leading figures of American Abstract Expressionism, including Rothko, de Kooning and Motherwell. On his return he began to experiment increasingly with technique, abandoning brushes and painting with rags soaked in colour, as well as imprinting colour from one surface onto another surface, creating his series of Impronte or imprints. He briefly moved to New York in 1960, before returning to Paris in 1961 and Italy in 1964. In 1982, Scialoja accepted the appointment as director of Accademia di Belle Arti in Rome, an institution where he had been teaching for a number of years.
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3,000 - 5,000 GBP
λ TOTI SCIALOJA (ITALIAN 1914-1998)
VERDE
Oil on canvas
Signed twice, titled and dated 1995 and 95 (verso)
98.5 x 93cm (38¾ x 36½ in.)
Provenance:
Sale, Farsetti Arte, Rome, 2 December 2011, lot 556
Antonio 'Toti' Scialoja was born in Rome in 1914. Initially he embarked on a legal career, but by 1937, he gave that up in order to devote himself entirely to his art. He became part of the artistic and literary circles around the Galleria della Cometa. During World War II, he was actively involved in the Italian Resistance movement and produced theatre designs, something he continued until the mid-1950s.
After the war Scialoja along with three contemporaries, formed I quattro fuori strada , a movement which played a key role in the development of Italian abstract art, through its exploration of colour, texture and gestural painting. In the late 1940s, he began to look towards Analytical Cubism, following his move to Paris, where he was inspired by the work of the Neo-Cubists. During a trip to America in 1956, he met many of the leading figures of American Abstract Expressionism, including Rothko, de Kooning and Motherwell. On his return he began to experiment increasingly with technique, abandoning brushes and painting with rags soaked in colour, as well as imprinting colour from one surface onto another surface, creating his series of Impronte or imprints. He briefly moved to New York in 1960, before returning to Paris in 1961 and Italy in 1964. In 1982, Scialoja accepted the appointment as director of Accademia di Belle Arti in Rome, an institution where he had been teaching for a number of years.
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1
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8,000 - 12,000 GBP
λ TOTI SCIALOJA (ITALIAN 1914-1998)
RACCONTO D'INVERNO
Oil on canvas
Signed, titled and dated 1990 (verso)
170 x 199.5cm (66¾ x 78½ in.)
Unframed
Antonio 'Toti' Scialoja was born in Rome in 1914. Initially he embarked on a legal career, but by 1937, he gave that up in order to devote himself entirely to his art. He became part of the artistic and literary circles around the Galleria della Cometa. During World War II, he was actively involved in the Italian Resistance movement and produced theatre designs, something he continued until the mid-1950s.
After the war Scialoja along with three contemporaries, formed I quattro fuori strada , a movement which played a key role in the development of Italian abstract art, through its exploration of colour, texture and gestural painting. In the late 1940s, he began to look towards Analytical Cubism, following his move to Paris, where he was inspired by the work of the Neo-Cubists. During a trip to America in 1956, he met many of the leading figures of American Abstract Expressionism, including Rothko, de Kooning and Motherwell. On his return he began to experiment increasingly with technique, abandoning brushes and painting with rags soaked in colour, as well as imprinting colour from one surface onto another surface, creating his series of Impronte or imprints. He briefly moved to New York in 1960, before returning to Paris in 1961 and Italy in 1964. In 1982, Scialoja accepted the appointment as director of Accademia di Belle Arti in Rome, an institution where he had been teaching for a number of years.
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1
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8,000 - 12,000 GBP
λ TOTI SCIALOJA (ITALIAN 1914-1998)
FALSO NORD
Oil and sand on canvas
Signed and dated 58 (lower left); further signed, titled and dated febbraio 1958 (to stretcher verso)
84 x 122cm (33 x 48 in.)
Provenance:
Sale, Minerva Auctions, Rome, 28 April 2016, lot 438
Antonio 'Toti' Scialoja was born in Rome in 1914. Initially he embarked on a legal career, but by 1937, he gave that up in order to devote himself entirely to his art. He became part of the artistic and literary circles around the Galleria della Cometa. During World War II, he was actively involved in the Italian Resistance movement and produced theatre designs, something he continued until the mid-1950s.
After the war Scialoja along with three contemporaries, formed I quattro fuori strada , a movement which played a key role in the development of Italian abstract art, through its exploration of colour, texture and gestural painting. In the late 1940s, he began to look towards Analytical Cubism, following his move to Paris, where he was inspired by the work of the Neo-Cubists. During a trip to America in 1956, he met many of the leading figures of American Abstract Expressionism, including Rothko, de Kooning and Motherwell. On his return he began to experiment increasingly with technique, abandoning brushes and painting with rags soaked in colour, as well as imprinting colour from one surface onto another surface, creating his series of Impronte or imprints. He briefly moved to New York in 1960, before returning to Paris in 1961 and Italy in 1964. In 1982, Scialoja accepted the appointment as director of Accademia di Belle Arti in Rome, an institution where he had been teaching for a number of years.
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FOLLOWER OF JEAN JOUVENET
CHRIST BEFORE PONTIUS PILATE
Oil on canvas, unframed
76.2 x 58.5cm (30 x 23 in.)
Provenance:
Sale Christie's, South Kensington, 17 September 2004, lot 194
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AFTER JACOPO NEGRETTI, CALLED PALMA IL GIOVANE
BODY OF CHRIST SUPPORTED BY AN ANGEL
Oil on panel
28 x 20cm (11 x 7¾ in.)
The present work derives from the engravings after the small copies, prepared by David Teniers (c. 1610-1660) of 243 of the paintings in the collection of his employer, the Archduke Leopold Wilhelm of Austria. Leopold Wilhelm was one of the greatest art collectors of his age, who owned over 1300 works. The engravings were published in 1660 and a second edition in 1673.
Condition Report:
Condition Report Disclaimer
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CIRCLE OF PAOLO GIROLAMO PIOLA (ITALIAN 1666-1724)
JOSEPH INTERPRETING THE DREAMS OF PHAROAH'S BUTCHER AND BAKER
Oil on canvas, unframed
101 x 117.5cm (39¾ x 46¼ in.)
Provenance:
Sale Christie's, South Kensington, 13 December 2002, lot 253
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