Diego de Aliaga (Andean Viceroyalty, Active between 1770 - 1780)‘Patronage of Saint Joseph’.Oil on canvas. Signed ‘Didacus ab Aliaga mi P...’ and dated in Jujuy, 1774.90 x 71 cm. A work comparable to this one, although smaller in size and depicting Our Lady of Mercy with the Holy Trinity, also dated in Jujuy a year earlier, 1773, was auctioned at Christie's on 19 May 2019, fetching $52,000 (auction no. 15922 Latin American Art).As noted by Arca (Colonial art project at the University of the Andes): ‘Aliaga was an artist active in the region of Jujuy, Argentina. He is best known for ‘The Way of the Cross,’ painted in the church of San Francisco in Jujuy, Argentina, between 1772 and 1776’.This is a wonderful canvas from New Spain with one of the most popular images in New Spanish art, showing a saint (in this case) or the Virgin Mary protecting communities, religious orders, corporations and authorities under her mantle (appealing to clientelism and corporations in a way typical of the Ancient Regime), the main recipients of her heavenly benefits. Saint Joseph is crowned ‘as King’ of heaven by two flying angels, with Mary his wife portrayed in the flaming sun of his tunic, who is also protector and mediator. Under his broad mantle, raised and supported by two other figures who serve and adore, the saint protects the King and the Pope, in short, the rulers and the faithful (almost always nobles) and the bishops and clerics of the pilgrim church, including religious orders. Clement XIV and Charles III, King by the Grace of God of Spain and the Indies, the Pope who suppressed the Society of Jesus in 1773, and the sovereign who pointed out ‘their good deeds’, since he had already expelled them from Spain in 1767, are named. They all wear a special gala costume, and the two orders are distinguished by the colour of their habit, brown on the left and black in the background. The common folk are distinguished by their colourful coats, all of them thus demanding respect for this convention.Clientelism, the link between courtiers and the king, or lower-ranking nobles and relatives, established a relationship of submission and dependence. This clientelistic scheme ‘extended to heaven’, and the saints were seen as patrons of their faithful, and from there ‘their patronage’ descended to the court, where the monarch was compared to God, as he protected and preserved his officials, who were considered ‘his creatures and his workmanship’. However, the great distance that separated earthly sovereigns (civil or religious) from the heavenly sovereign is emphasised by these signs: before the king, the subject puts only one knee on the ground, but before God, present in the Eucharist, or before the Virgin Queen, getting down on both knees was the greatest sign of submission, as we see in this painting.A low, centred cartouche gives the location as Jujuy, a province in Argentina, and the date 1774, and those who commissioned the painting appear, ‘as humble slaves of Saint Joseph’: ‘Devajo del Poderozo Nsanto de tu Soberano Patrosino Señor Patriarca Sn Joseph, viven, y morirán Voestros humildes esclavos Dn Francisco Joseph Dias y su esposa Da Maria Petrona Araoz: Jujuy, año 1774.Didacus (Diego) ab Aliaga mi p...(pingebat)’. (Under the powerful sanctity of your sovereignty, Lord Patriarch Saint Joseph, live and die your slaves Francisco Joseph Dias and his wife Maria Petrona Araoz: Jujuy, in the year 1774, followed by the painter's name).Its imposingt period frame is outstanding, the openwork basketry and scrolls of vegetation decoration, similar to those seen in lace are finely carved and gilded. It draws attention to the nobility and quality of this work, not only from the historical point of view, but also from the artistic point of view. Bibliographic reference: - https://arcav1.uniandes.edu.co/artworks/8694
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American Naïve school (20th century), a pair of half-length portraits of a 17th-century couple, initialed 'A J H' (on woman's brooch), oil on panel, 45 x 38 cm, both framed, overall 59.5 x 52.5 cm; together with two dog portraits of similar American Folk Art style, the largest measuring 41 x 47.5 cm overall.Qty: 4
A LATE GEORGE III FOLK ART EMBROIDERED PICTURE OF A FARMYARD SCENE EARLY 19TH CENTURY Needlework, felt and textiles on painted backdrop, later set in glazed frame Panel 36.5cm by 51.5cm, frame 53 by 67cm Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The surround and backboard showing water stains throughout and with scattered spot stains visible throughout main image. Colours have muted from sunlight and are not as bright/vivid as catalogue image suggests. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Folk Art - Vernacular Architecture - an early 20th century diorama, inscribed to verso Kentish Yeoman type Cottage with recessed centre at Bignor Sussex, now the shop of the village grocer, it is somewhat restored with brick & flint fittings, 15th century, modelled by S Mayo, the glazed case 19cm wide
A Chinese blanc de Chine figure of Guanyin, KangxiH 22,5 cm Provenance: - Ex-collection Robert Mc Pherson (no. 26592, link). A Kangxi (1662-1722) Blanc de Chine Porcelain, Dehua Kilns, Fujian Province, late 17th. This Blanc de Chine porcelain group depicts Guanyin holding a child, with her acolytes either side and a dragon below. The mould-made construction which is rather lightly potted, combined with a small amount of hand-work indicates that this model was made towards the end of the 17th century rather than earlier. Figures of Guanyin are by far the most common of all Blanc de Chine figures and indeed one of the most common images in Chinese figurative art. Guanyin was the goddess of mercy, She was especially revered in the area where this figure was produced ; Dehua in Fujian Province. But her origins stem from Tibetan Buddhism, she was originally the patron saint of Tibetan Buddhism `Avalokitesvara`. Guanyin is actually the shorter form of the name Guan shi yin, which means 'one who observes the voices of the world.' True to her name, Guanyin listens to and understands the worries that plague man's existence. Because of her mercy and generosity, Guanyin is the most-loved of China`s divinities, she is the one people turn to for assistance in their everyday lives. Guanyin is specially venerated by those who are hoping to have children or those who are about to set out for sea. Guanyin is usually portrayed wearing a white cape. On her head is a crown in the style of the Amitabha-buddha. She is shown with a child on her lap, flanked by her two attendants, Longnu (girl) and Shancai (boy). She is flanked by two rocky pedestals, one supporting a book, the other a vase. Guanyin has been given the same qualities as the Virgin Mary of Catholic theology, which is why she is sometimes portrayed holding a child in her arms. Indeed some Blanc de Chine figures are of the the Virgin Mary with child, an interesting mix of East and West. While the worship of Guanyin could be traced historically from India, she is the star of countless legends and folk tales in China. Guanyin`s home on earth was the Putuo mountains, located on an island on China's eastern coast to the south of Shanghai. In China, Putuo-shan is one of the most sacred places in Buddhism and the temple dedicated to Guanyin on the mountain is one of the most important pilgrimage sites for Buddhists and non-Buddhists alike. Guanyin`s birth is celebrated on the 19th day of February, and her enlightenment is celebrated on the 19th of September. On those days, the pilgrims flock to Putuo mountain.
Artist: Mexican School (Ex-Voto Artist) 20th Century. Title: "Vintage Ex-Voto/Retablo: Tengo mucho que agradecer al Niño de Atocha". Medium: Oil on tin. Date: Composed c1940. Dimensions: Overall size: 8 3/8 x 12 1/4 in. (213 x 311 mm).Pricing: Starting Price: $400 Reserve Price: N.A. Auction Sale Price Estimate: $600/700Lot Note(s): Good condition. Provenance: Private collection, Mexico City, from a noted and scholarly collector of ex-votos/retablos. Comment(s): An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow or gratitude or devotion. A retablo is a devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. [30304-0-400-NA]
Maud Lewis (1903-1970) Canadian The bride Signed, oil on beaverboard, 23cm by 30cmWe are grateful to Alan Deacon and Ian Muncaster for their assistance in authenticating this work. Maud Lewis (1903-1970) was a Canadian folk artist and remains one of Canada’s best-loved artistic figures. Living in poverty for most of her adult life, she painted joyous, nostalgic and vibrant pictures of rural life in her Nova Scotia home. Maud Lewis, nee Dowley, was born into a middleclass family in Yarmouth, Nova Scotia. Her father was a blacksmith and owned a harness shop, but despite relative affluence Maud’s childhood was not easy. She suffered from Juvenile rheumatoid arthritis, resulting in severely sloping shoulders, curvature of the spine and a recessed chin; Lewis spent much of her life in pain. Her mother, however, had an artistic nature, and taught Maud to paint Christmas cards which they would sell. After her parents died in the mid-1930s, Maud had no resources and went to live with her aunt in Digby, Nova Scotia. After seeing an advert for a live-in housekeeper 40-year-old bachelor Everett Lewis had placed, Maud turned up on his doorstep in nearby Marshalltown. Whilst apparently the pair did not hit it off immediately, a few days later Maud returned to his house and stated that she would not be his housekeeper but would be his wife. The pair married in 1938, and Maud moved into the tiny 4.2m x 3.8m house, with one-room and sleeping loft, where they would live for the rest of their lives, with no running water or electricity. Everett was a fish peddler, and Maud began accompanying him on his rounds, selling the Christmas cards she painted. Soon, Everett gave Maud her first set of oil paints, and they began selling her paintings too, all for very modest prices. Due to her ailments, Maud could not find employment, and indeed Everett even took over all domestic duties whilst Maud turned their little house into her studio and painted industriously – including every surface in their home. When Everett gained more stable employment, Maud put up a sign and sold her paintings from their home, which was on the side of the highway. Neighbours and tourists soon began flocking to purchase her colourful work but determined not to raise prices and put off buyers, the pair continued to live in poverty. Working on a small scale due to her limited mobility, Maud painted on cheap materials, such as a pulpboard used in the building trade known as beaverboard, and later ready-cut Masonite. After painting the board with a white ground, she would draw on an outline and then apply paint straight from the tube without mixing or blending. Maud focussed on a set range of subjects, mostly derived from memories of childhood and her surroundings in Nova Scotia before the onset of modernity; cats, deer and oxen, landscapes and depictions of harbour scenes, horse-drawn carts and sleighs. Nostalgic, yet optimistic, her works a happy simplicity with a touch of humour. Her most popular subjects were painted again and again, with minor variations, such as the present example Sandy Cove. This was one of only a select few subjects she painted across three decades. Sandy Cove is located on a long peninsular in the Bay of Fundy, not far from the Lewis’ home in Marshalltown. The other work up for sale, The Bride, is a more unusual subject for the artist, with far fewer variations known. Coming to the attention of a journalist, Maud became the subject of a radio documentary and subsequently a newspaper article in the mid-1960s. Her work captured the attention of the nation, and she achieved widespread recognition. However, with only limited ability to paint, she struggled to keep up with orders, and resolutely refused to charge more for her paintings, despite the likes of a staff member at the Whitehouse during Nixon’s presidency requesting more of Lewis's works to add to his collection. Today, her work is represented in museums and galleries around the world, with a large collection being found in the Art Gallery of Nova Scotia. Following her death from pneumonia in 1970s and Everett’s death in 1979, a permanent memorial was erected on the site of their home. Having captured the nations hearts, Maud’s life would become the subject of books, plays, and three films. Covered in a layer of surface dirt. Tiny loss to the left of the bottom edge within a lily pad and a slight indentation to the right of this to the lily pad centre of bottom edge. Slight scratch/indent approx 2cm within the green of the tree upper left corner. Minor scratch between the man's legs and a minor scratch within the rope he is pulling. Tiny white areas in places, for example to the right of the second tree trunk upper right corner, above the dog's nose to the blue, by design? See images.
Artist: Mexican School (Ex-Voto Artist) 20th Century. Title: "Vintage Ex-Voto/Retablo: Lucrecia Perez". Medium: Oil on tin. Date: Composed c1940. Dimensions: Overall size: 8 x 12 1/2 in. (203 x 317 mm).Pricing: Starting Price: $300 Reserve Price: N.A. Auction Sale Price Estimate: $400/600Lot Note(s): Extensive explanatory annotations as part of the image. Good condition. Provenance: Private collection, Mexico City, from a noted and scholarly collector of ex-votos/retablos. Comment(s): An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow or gratitude or devotion. A retablo is a devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. [30303-2-300-NA]
A PAINTED PINE AND PARCEL-GILT STANDING CORNER CUPBOARD18TH CENTURY AND LATERwith carved naive folk art decoration of figures and birds and the date '1740' with a shell apse interior with three shelves, the base with a pair of panel doors enclosing a shelf211.7cm high, 93cm wide, 42cm deepProvenanceGlen House, Bruton.
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