Viceregal school. Perú. Central decades of the 18th century (reign of King Ferdinand VI, 1746-1749)“Inauguration of the office of alderman of Lima, of the viceroyalty of Peru, Don Fernando de Rojas Marres” and ”The Exaltation of the House of Nobility of the alderman of Lima, Don Fernando de Rojas Marres”Pair of oil paintings on canvas. 100 x 73 cm. each.The first painting is divided into two parts, the upper part possibly showing the swearing-in or oath of office of the new alderman of Lima, Don Fernando de Rojas Marres of the viceroyalty of Peru, as he climbs the semicircular stairs to the throne from which he will make government decisions. The golden throne is topped by a red curtain and an open crown, clear symbols of power. Behind it, the two Tuscan columns symbolise the strength and fortitude that every ruler must have in order to lead their people. Above the crown, apart from the word ‘fortune’, an allusion to this virtue, the scene is accompanied by two other virtues linked to power and dignitaries, science on the left and fame on the right. The two female figures who bestow symbols of power, the ruler's sceptre and the crown are the ruler's acolytes and witnesses to the scene.The central figure is dressed in the fashion of Ferdinand VI's reign, which dates the painting and its companion piece to the middle decades of the 18th century. To complete the parallelism of the central scene at the top, two noble coats of arms are placed at either end. The one on the right, topped by the helmet of a warrior, indicates the rank of knight or order of nobility of the person, who would in turn belonged to the order of knighthood of Santiago, one of the four most important orders of knighthood in Spain along with those of Calatrava, Montesa and Alcántara. During the restoration of the painting, the change in the iconography of the area of the coat of arms where the eagle is located came to light. Initially there were three vertical golden bands which were covered by the bird, although it is not clear whether this change was made while the painting was being executed or after the work was completed. The other coat of arms, this time with the crown of government, shows very different heraldry with no distinction of knighthood.The change the coat of arms underwent in this painting also affected its counterpart in the other painting.The noble coats of arms could have belonged to Rojas Marres' paternal branch, that of Don Feliciano de Rojas Ponce de León, and to his maternal branch, that of Doña Juana de Marres, or it is also possible that the one on the left could have been his own, that of the alderman, and the one on the right that of his wife, Doña María María Ana Concepción del Castillo Castañeda.Whilst the upper part of the painting represents political power and command over the people and the virtues that accompany the governor in order to govern well, the lower part, the most didactic part of the canvas, shows the values and qualities of the new government through the representation of 32 squares with elements divided into two panels of 16 squares each.The panel on the left represents objects that have explanatory symbolism linked to elements of power, while the panel on the right shows scenes with a written phylactery above them. These panels would have helped to explain the iconological programme, which symbolised the political programme of the new ruler, to the illiterate population, who made up the majority of the indigenous or native peoples at the time.The second painting shows that the importance of the family and its service to the empire rests on the Spanish monarchy and the Catholic faith.As if it were a ‘Tree of Jesse’, the distribution of the different elements that make up the rich and varied composition of the painting are arranged in a highly symmetrical and rational order.The base of the tree rises above the strong figure of the Child Virgin Mary on her throne, iconography that was very popular during the 17th and 18th centuries throughout Latin America, partly due to Zurbarán's paintings that came from the old continent to the ‘New World’. The feather below could refer to the feather of the archangel Saint Gabriel in the Annunciation. Given that the dogma of the Immaculate Conception was a matter of State and of protection by the Hispanic monarchy, the weight of the Crown rests on it and rests on the figure of the Virgin Mary; as one of the columns of Hercules in the coat of arms of Spain, legendary founder of the Hapsburg dynasty, acts as the trunk of the tree with the phylactery bearing the motto ‘NON PLUS ULTRA’, before Charles V and the anagram ‘Victor’ in golden letters.This anagram is flanked by the lion of Spain and the eagle of Saint John, protector of the Spanish monarchy, both also with golden crowns. On this rests the royal crown of the Bourbons, thus constructing the trunk of the compositional tree, where monarchy and religion are the pillars on which the family's noble coat of arms rests, which in turn is crowned by a laurel wreath bearing an angel and a scroll with golden symbols.The different branches of the ‘tree’ are divided according to the symbols and their distribution.In the upper part, the elements depicted are linked to the litanies of the Immaculate Conception, symbols related to the Virgin Mary. At the top is the sun, the eight-pointed star which has been linked to the Virgin Mary since antiquity, and the moon. The king of the day and the queen of the night contemplate the scene. Between there and the middle of the painting are a rose bush and an olive tree on the left, and a bunch of lilies and a cypress on the right, flowers and plants associated with Mary. All the iconographic repertoire, together with the symbols of the Marian litanies in the upper part of the painting, the elements of science (the book, the compass, the globe and the candle that is not extinguished by the four winds, also depicted) and the six virtues in the lower part, justify the service and work of this noble house to the royal house and the Catholic religion, the foundations of the Spanish empire in the Latin American colonies.In conclusion, these two paintings present a political programme for the government of the new ruler of Lima in the 18th century. The importance of this pair of canvases lies precisely in the way they represent this political programme by justifying the noble house as being in the service of the King of Spain and the Catholic faith. To this end, it also makes use of a graceful play of symbols, something rare to see in paintings from Spain itself, but common in the Americas, to educate and explain to the people how their new rulers will exercise their power.We are grateful to the art historian and restorer Ignacio Panicello for cataloguing and identifying these paintings.Provenance: Former collection belonging to Adrián de Rojas Maestre (descendant of the regent of Lima, Don Fernando de Rojas Marres).This family, or part of it, with important historical links, settled in Spain before 1950 at the Finca El Maestre in Seville. The paintings have always belonged to the family.The subject of our paintings, Fernando de Rojas Marrés, was born in Ceuta and died circa 1800 in Madrid.There is a record in the Spanish Historical Archive of his transfer to the Americas as a ‘Merchant of textiles, he went to South America on the ship Aquiles under the charge of Captain Martin Joseph de Echenique, bringing cargo directly to the port of Callao Lima. Record of information and passenger licence to the Indies of Fernando de Rojas y Marres’.
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An early 19th century Cary’s New Terrestrial library Globe, bearing the legend to the gores with brass register and in a mahogany tripod stand with a compass set base. terminating in castors, 51 cm diameter x 100 cm overall height.John Cary, Credit Wikepedia Impact damage to South America. There is some staining to the surface and narrow splits to the globe, as shown. The frame is structurally sound.
A group of gold accessories, comprising: a gold half hunter pocket watch, the reverse with crest of a hand engraved with the cross of St James, holding a dagger, over the motto 'Spe Vivimus' ('we live in hope'), length 5.3cm including gilt metal suspension hoop, interior numbered 398901, stamped 18CT, Swiss assay marks, movement cover plate signed JW Benson; a compass mounted in gold, length 3.6cm including bail, stamped 18CT; both suspended from a gold watch chain with a T-bar pendant, length 54.5 grams; and a pair of gold cufflinks, each end of oval outline engraved with the same crest, each end 1.5cm, combined gross weight 81.6 grams
Two masonic jewels, comprising: a stick pin designed as a square and compass set with brilliant-cut diamonds, mounted in gold, length 6.5cm, gilt metal stopper; a gold and gilt silver pendant opening to reveal a star engraved with masonic symbols, length 3cm, stamped REG682301, and an Edwardian pink tourmaline and seed pearl pendant, length 41cm
A COLLECTION OF JEWELLERY ITEMS Comprising an 18 carat gold curb link bracelet, with associated ring bolt clasp stamped 9ct, suspending a compass; a 22 carat gold band ring, London 1965; a pierced Austro-Hungarian ring, stamped with an 1872-1922 minor gold control mark; a half pearl set bar brooch, stamped 9ct; a turquoise and half pearl set scrolled floral brooch, stamped 9ct; a Victorian curb link brooch; a 9 carat gold swivel bloodstone and cornelian fob, rubbed Birmingham hallmark possibly 1911, on a figaro link chain, stamped 375; an 1830s polished moss agate brooch, within a chased gold setting; a hairwork clasp, in a gold setting; a 9 carat gold set Longines lady's watch head; a locket on chain, the ring bolt stamped Sterling; a cultured pearl necklace to a base metal clasp; a costume fob watch; and a chain stamped Rolled Gold Size/dimensions: bracelet 19cm long Gross weight: 114 grams Condition Report: The bracelet with compass weighs 17.2 grams gross Various wear and some losses to items, collection as found Condition Report Disclaimer
An interesting 19th century pocket sundial compass pantochronometer: 'The magnetic time indicator and compass' - after an original patented by Samuel Porter in 1824, in a circular turned boxwood box with printed paper instruction label to base and printed calendar label inside the cover, 5.4cm diameter.
A SMALL GROUP OF 19TH CENTURY JEWELS Comprising: a facetted glass vinaigrette with floral openwork lid accented with turquoise to a ropetwist handle; a ropetwist basket of flowers with painted shell flower heads and a bloodstone panel base, suspended from a chain; a small French compass, in a sky blue enamel frame with star motifs, the reverse painted with a harbour scene, French poinçon; an enamelled chalice charm, with floral motifs on a sky blue ground, French poinçon; and a small miniature brooch depicting Cupid fishing, in a split pearl frame Size/dimensions: 2.0cm, 1.8cm, 1.5cm, 1.6cm and 2.6cm Gross weight: 18.3 grams Condition Report: Flower basket - Fair condition, one flower with glue residue to base, small lossesVinaigrette - Slight play to the hinge, all turquoise present, minor nibbling to the glassChalice - Possible repair to the stem, does not appear straightCompass - Not functioning, various chipsBrooch - Some dust under the glass, all pearls presentAll with light scratches and wear commensurate with age and useCondition Report Disclaimer
TWO CONTINENTAL PEARWOOD AND PAPER POCKET COMPASS-SUNDIALS (3)Late 18th Century With colour heightened lithographic printed details, the larger example with thread gnomon set at 50 degrees, 10cm and 7cm wide respectively; Together with an brass equinoctial travelling sundial/compass, 19th Century with latitude arc, engraved 'L.Casella Maker to the Admiralty LONDON', presented in the base of a leather case (top half missing), 6.5cm diameterCondition: Both Pearwood examples have substantial losses to the outer paper decoration, brass compass in good antique condition, appears working, only half leather case is present.
FOUR WALT DISNEY WATCHES AND A CITROEN WATCH, including two Mickey Mouse wristwatches and two Minnie Mouse wristwatches, all with leather straps, and a Citroen quartz watch on a clip attachment with compass design to the edge and sprung front cover (Condition report: none currently ticking, light to moderate general wear, brown strap shows wear, we do no guarantee the working condition of any watch)
Mixed lot of collectables including a diecast Burago model of Alfa Romeo, boxed, a boxed military type aircraft P.12 compass dated 1965, a large brass lion mask door knocker, a set of David Clark Company headphones, model H10-40, an early 20th century French black bakelite telephone and a copper coal scuttle
Selection of Oriental pieces to include assortment of ornate hand painted ceramic eggs in varying sizes, large hand decorated Satsuma vase, butterflies and floral teapot with characters to base, Feng Shui compass, boxed, small boxed abacus with thirteen rows, three decorative plates, panelled scene vase and an assortment of tea cups and saucers.
Herschelle Gibbs signed limited edition print with signing photo. Herschelle Gibbs was summoned from the school classroom as a 16-year-old to make his first-class debut in 1990 and at the crease Gibbs can be invincible. There is no shot beyond his compass, while Test-match opening has not tempered his desire for explosive entertainment The speed of his hands is hypnotic, frequently allowing him to hook off the front foot and keep out surprise lifters. With a career Test average at nearly 50 runs he has developed a terrific opening partnership with Graeme Smith This stunning print displays 3 action shots and the centre one with Smith as they celebrate another opening partnership of 300 runs. He has personally signed each print and you will receive a separate photo of the signing (as shown in the inset image)Actual Size 560mm x 410mm - limited edition of 250 and part of the Sporting Masters editions – Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. Est. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
An unusual gilt metal patent combination inkwell and desk compass, after a design by Benjamin Waterhouse Hawkins (1807 - 1894), hinged cover cast as a coiled cobra, set with a compass and crested by a scantily clad putto, rocky base, opaque glass liner, 18cm high, the design originally published February 5th 1850
![Navigation.- Wakely (Andrew, Mathematician) The Mariner's compass rectified, edited by J[ames] Atkinson, 'Teacher of the Math](https://cdn.globalauctionplatform.com/39360469-0db9-4271-8365-b1fc00cb3067/eb3fb264-99db-479e-b3a7-b1fc00ceb78f/468x382.jpg)
Navigation.- Wakely (Andrew, Mathematician) The Mariner's compass rectified, edited by J[ames] Atkinson, 'Teacher of the Mathematics', half-title with advertisements for navigation books verso, woodcut illustrations, closely trimmed at head, stained, spotting or foxing, mostly lightly browned throughout, contemporary panelled calf, covers detached, worn, 8vo, Printed for W. and J. Mount and T. Page, 1749.
French literature – bindings. HUYSMANS (J-K) En Menage, 1923, 8vo, illustrated by Jodelet, copy no.36 on Holland paper, dark blue morocco binding (spine faded), signed in compass form to rear turn-in ‘J T N S’; MAUPASSANT (G de) La Vie Errante, 1895, small 8vo, 11 pen ink and watercolour text illustrations by J Ernest Boilvin, 5 other drawings including 2 mounted, some foxing, blue patterned calf; DAUDET (A) Tartarin de Tarascon, circa 1900, small 8vo, some spotting, half blue morocco; Port Tarascon, no date, 8vo, light foxing, morocco gilt, spine slightly faded; MUSSET (A De) Le Fils du Titien / Croisilles, 1894, 12mo, illustrated, morocco gilt; (5)
No.612 Squadron Auxiliary Air Force, 1940s A collection of photographs and ephemera relating to the Crichton family of Garrowhill, Lanarkshire, to include images of Albert Crichton and RAF personnel in Iceland (1943), squadron group photograph with aeroplane, 612 Third Anniversary Dinner menu (1940), earlier images of family members during WW1, together with various used aircraft parts retained by Albert Crichton, to include an AM Mark II Cockpit Lamp ref. 5C/366 and a compass
2 Boxwood Rules, The Barrel Guage English, 19th Century, stamped ‘T. O. BLAKE (SIKES HYDROMETERS) Ltd’, with scales stamped ½ PIN ST & ½ PIN LY; FERKIN ST & FERKIN LY; KILDERKIN ST & KILDERKIN LY; BSRREL ST & BARREL LY; HOGSHD ST & HOGSHD LY, with brass tip and brass compass type joints, 91.6cm long The other, a bottle gauge, English, 19th Century, stamped ‘L. LUMLEY LTD MAKERS 1 AMERICA SQUARE LONDON’, the scales stamped for CYLINDER BOTTLES & BOUGE BOTTLES, with brass tip and brass compass type joints, 60.6cm long
Mahogany & Brass Beam Compass, by W & S Jones, English, c.1800, impressed to the boxwood scale 'W & S Jones, 30 Holborn London' with printed trade label to the inside of the lid, the beam compass with boxwood scale, lacquered brass holders, one with screw adjustment, with 2 spikes and a pen attachment, in original fitted case case 81cm Note: from the collection of Max Edgar Ott, Well Known craftsman and tool collector.
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34920 item(s)/page