- JEWELRY. ASSORTED GROUPING OF GOLD AND
JEWELRY. ASSORTED GROUPING OF GOLD AND DIAMOND Jewelry. Including an Italian Giovanni Balestra & Figli 14kt yellow gold Venetian link necklace with an unsigned yellow gold pendant with a central row of (5) prong set diamonds in white gold - necklace stamped, "585 Balestra", with a pictorial makers mark; a 14kt yellow gold band with (9) prong set diamonds - stamped, "DJM 14K, approx. size - 6; a 10kt yellow gold band with (3) central rows of (11) channel set diamonds - stamped, "JCR 10K", approx. size - 6; and an 18kt white gold and diamond band stamped, "750 18K SBT", approx. size - 7. Total approx weight of 14kt gold is 5.4 dwt (gross); total approx. weight of 10kt gold is 3.2 dwt (gross); and the total approx weight of 18kt gold is 2.3 dwt (gross). From a Yonkers, NY estate. Dimensions: necklace measures approx. 15.50" in length. Condition: Good, with light surface scratches and minor dings/dents.
- GIORGIO DE CHIRICO (ITALIAN, 1888-1978).
GIORGIO DE CHIRICO (ITALIAN, 1888-1978). Lithograph. "Il ritorno del figlioul prodigo II". 1969. Signed lower right. No. 84 from an edition of 84. Paintings and Drawings, Ltd label affixed verso. From a Bronx, NY collection. Dimensions: 26" high x 20" wide Condition: Staining at lower left.
- [MAPS] GIO. ANT. MAGNINI, ITALIA, 1620
[MAPS] GIO. ANT. MAGNINI, ITALIA, 1620 Giovanni Antonio Magnini. Italia, data in luce da Fabio suo figliuolo al Serenissimo Ferdinado Gonzaga Duca di Matoua edi Monserrato etc. Bologna, for Sebastiano Bonomi, bound in vellum or parchment, armorial bookplate inside front cover, woodblock engraved title page, 60 maps (of 61 called for), with all but 3 being double page spreads, 16.5"h x 11.75"w
- ITALIAN GRAND TOUR BRONZE URN, EX-ROSENBACH
ITALIAN GRAND TOUR BRONZE URN, EX-ROSENBACH Dated 1524 but likely 19th c., Italy, naturally verdigris patinated cast bronze, cast in the Renaissance style with triple reeding at the top, the sides decorated with swags of flowers, one side bears the name "GIROLAMO FLORA" on a banner between two horses, the other side has a sunburst-topped cartouche containing the text "FECE/IN TREVISO/GIO. BATISTA/ E FIGLI/SOLETTI", 16"h x12"dia
- ANGELO MINGHETTI MAIOLICA BUST OF LAURAA
ANGELO MINGHETTI MAIOLICA BUST OF LAURAA maiolica bust after Angelo Minghetti (Bolognese, 1822-1885), depicting Laura, the beloved muse of the poet Petrarch. Marked AMF to the back base (Angelo Minghetti & Figli). Early 20th century.
Measures 12 1/4" x 11 1/2" x 5 1/2".
Provenance: The collection of Shirley Bush Helzberg.
Condition
Very good condition.
- VERY GOOD ITALIAN SILVER COCKTAIL SHAKERA
VERY GOOD ITALIAN SILVER COCKTAIL SHAKERA very good mid 20th century Italian silver (.800 fine) cocktail shaker, the detachable top & conforming cap decorated with gadroon detail, the underside with marks noting silver fineness & maker's marks for MIRACOLI & FIGLIO. Height, 8", weight, 389 grams. Miracoli is Italy's oldest silversmith firm, established in 1912 in Milano.
- Francesco Ferro e Figlio. Screziato
Francesco Ferro e Figlio. Screziato vases, pair. c. 1880, glass. 10¼ h × 3¼ w × 2½ d in. result: $2,750. estimate: $3,000–5,000. Provenance: Collection of Gardner & Barr, New York | Wright, Important Italian Glass, 13 June 2015, Lot 110
- ITALIAN LARGE PORCELAIN "LEDA AND SWAN"
ITALIAN LARGE PORCELAIN "LEDA AND SWAN" VASEDESCRIPTION: Italian Large Sculptural Porcelain "Leda and Swan" Vase. The vase handcrafted in the shape of a conch shell over a rounded pedestal, further decorated with a large handle in the shape of a fish. Heavily textured and hand painted in pastel colors such as powdered pink, green, blue and light purple , the shell exhibits a central aperture showcasing a hand painted mythological motif with Leda and the Swan. Vase is signed "Fca. Mollica e Figli". CIRCA: 19th Century. ORIGIN: Italy. DIMENSIONS: H: 34 1/2" W: 12". CONDITION: Antique condition. Major repair and porcelain cracks and missing porcelain pieces. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- AN IMPORTANT PORTRAIT OF ROBERTO D'ALTEMPS,
AN IMPORTANT PORTRAIT OF ROBERTO D'ALTEMPS, 1ST DUKE OF...AN IMPORTANT PORTRAIT OF ROBERTO D'ALTEMPS, 1ST DUKE OF GALLESE (ITALIAN SCHOOL, LATE 16TH CENTURY)
Oil on canvas, unsigned. The subject in lace ruff above silver collar with the crowned heraldic crest of a ram with shield above an armored vest with red cross; holding a scroll in his right hand.
The Latin phrase "RVBERTVS DVX ABALTAEMPS BVRGI GVBERNATOR CVSTODIAE PONTIFICIAE ET AVENIONEN GENERALIS PRAEFECTUS" painted above the whole.
The sitter, Roberto d'Altemps, was the illegitimate son of Marco Sittico Altemps and of the woman he loved, the Genoese Camilla Bonfiglio, to whom Marco Sittico privately sent (as stated in the ledger of 1577) a monthly pension. His father, who was embarking on an ecclesiastical career, subsequently recognized and legitimized his son, but nevertheless decided to continue his ecclesiastical career which led him to the rank of cardinal, also sponsored by his cousin Carlo Borromeo .
He grew up under the protection of his father and above all of Gregory XIII with whom the Altemps family had excellent relations, and like other young nobles of his time he had a decisive and strong-willed character, but at the same time his father tried to root his family in the Roman nobility through a prestigious marriage and for this reason Roberto was married to Cornelia Orsini (December 1576), daughter of Virginio, 1st Duke of San Gemini, exponent of the ancient and powerful Orsini dynasty of Rome. In the same year of his marriage, Roberto would be created Duke of Gallese by Pope Gregory XIII. In 1579, Roberto was also appointed prefect of the papal armies in Avignon and his father had provided him with the fiefdoms of Soriano, Rocchette, Tassignano and Mesuraca from the Madruzzos.
In 1585 with the death of Gregory XIII, a new pope, Sixtus V, ascended the throne of Peter, who immediately tried to put a stop to the power of the noble Roman families over the papal curia and to moralize customs. The new pontiff was well aware of the delicate situation involving Roberto's father, as well as the character of the young man, whose hasty ways he certainly did not appreciate. Furthermore, the Altemps had been one of his opponents during the last conclave that had led to his accession to pontiff and had opposed him with a group of traditionalists who wanted to maintain the status quo of the curia.
With an ad hoc trial, Roberto was accused of adultery at the age of twenty and sentenced to death by decapitation at the behest of Sixtus V in 1586. The pleas of his cardinal father were useless to which the pontiff replied contemptuously: "there can be no clemency for those who break the laws, even if they are young, noble or prelate". Before Roberto's execution, he also wrote to the pontiff Cornelia, the young man's wife, who was carrying the couple's child, but always without success.
Marco never recovered from the death of his son and, although not knowing that he could not be personally accused of crimes, he temporarily decided to leave his posts, while Sixtus V still raged against him and his family by publishing the apostolic constitution Postquam verus of 1586, Sixtus V had established that anyone who had offspring could not become a cardinal, which would have led Marcus to be excluded from the college of cardinals.
He retired to Palazzo Altemps in Rome where he dedicated himself to modernizing the building, having the large loggia of the structure and the interior frescoed with a series of metaphors, allegories and typical symbols of esotericism, to recall the unfair trial suffered by his son. Pope Clement VIII , who still as a cardinal had discreetly supported the Altemps and who, in private, had always criticized the death of his cardinal friend's son, decided to "repay" the offense suffered by his family by donating in 1602 to the son of Roberto, Giovanni Angelo, the body of Pope Sant'Aniceto, martyred by decapitation.
Stretcher: 26 x 20 3/4 in. (66 x 52.7 cm.), frame: 30 3/4 x 25 1/4 in. (78.1 x 64.1 cm.)
- AFTER MATTEO DI GIOVANNI, (19TH CENTURY),
AFTER MATTEO DI GIOVANNI, (19TH CENTURY), MADONNA AND CHILD, OIL ON PREPARED PANEL, 15 X 9 3/4 IN.After MATTEO DI GIOVANNI (19th century) Madonna and Child oil on prepared panel 15 x 9 3/4 in. oil on prepared panel Dimensions: 15 x 9 3/4 in. Provenance: By descent within a Marblehead, Massachusetts Family. Other notes: with labels inscribed Madonna con Figlio (Matteo di Giovanni) and R.2005 cm. 38 x 24 verso. Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
- ISTORIA D'ITALIA, (16) VOLS., 1809,
ISTORIA D'ITALIA, (16) VOLS., 1809, 1819, 1826 Luigi Lanzi. Storia Pittorica della Italia. Giuseppe Remondini e Figli, 1809, vols. II-V and Index as v.6, 1818, 9"h x 6"w; with, Francesco Guicciardini & Giovanni Rosini. Istoria d'Italia. Niccolo Capurro, Pisa, 1819-1820, vols. 1-10, 8.25"h x 5"w; and with, Carlo Botta. Storia d'Italia dal 1789 al 1814. 1826, vol. I only, 8.75"h x 5.75"w
- ITALIAN MID-CENTURY MODERN FRUITWOOD
ITALIAN MID-CENTURY MODERN FRUITWOOD SIDEBOARDItalian mid-century fruitwood sideboard, A. Brizzolara & Figli, Chiavari, c.1950s, rectangular case with radiused ends, three cabinet doors, rising on angled tapered legs, lacking interior shelves, approx 37"h, 90.5"w, 20.5"d