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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A pearlware figural stem vase, modelled as Atlas, circa 1795, 28 cm high.The figure has a small chip on the middle toe of the back foot. the globe has a few tiny firing cracks around the globe where it joins the head of AtlasNo signs of restoration, other than the above the figure is in good order.
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 sixteen Swatch watches, to include: Asetra (GK137/8); Golden Waltz (GK142/3); Goldsmile (GN123/4); Blue Segment (GK148/9); Steel Lite (GG403/4); Black Jade (GK158/9); White Onyx (GK160/1); Drop (GK708/9); Flake (GK165/6); Screw Driver (GM114/5); Big Rock (GM126/7); Little Rock (LM109); Godefroi (GK174/5); Serti Misterieux (SAK113/4); Charms (SAM401/2); and Golden Globe (SCG100/1)
ATTRIBUTED TO THE WORKSHOP OF SEVERO CALZETTA DA RAVENNA (active c.1496-c.1543) AN ITALIAN BRONZE FIGURAL INKWELL circa 1500, probably Padua, with three cherubs supporting a shell-shaped bowl on figured dolphin supports, the triangular base with moulded frieze on lions paw feet, 19cm high x 23cm wideProvenance: The Schubert Antichita Gallery, Milan, The Giorgio Corsi Collection, Italy, A private collection, Italy.Note: A comparison, with similar base and feet, can be seen in 'Atlas Supporting the Globe of Heaven', at the Frick Collection, 1915.2.24. The shell-shaped bowl utilised again in the figure of a Sea Monster, in the Metropolitan Museum, 25.142.7.
A pair of mahogany Globe Wernicke style bookcasesEach having three sections, the top being recessed, on shaped plinth bases.86cm wide x 38cm deep x 142cm high (2)Condition:Visible marks to the surface at the top, scratches and marks throughout, including within the bookcase. All doors slide open, but the sliding does tend to 'catch'. On both bookcase the bottom door has one loose knob. Please refer to the photographs added to the lot description.
Émile Gallé (French, 1846-1904), a cameo glass vase, early 20th century, of compressed globe and shaft form, cased and cut with flowers, cameo 'Gallé' signature,22cm highCondition ReportWith some minor wear marks commensurate with age. Some fine pitting to the underside but is due to manufacture. A small pinhead frit to the foot rim. Otherwise, in good order. Please additional photos.
A GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE OR GARNITURE DE CHEMINEE IN LOUIS XVI-STYLE LATE 19TH CENTURY, ETIENNE MAXANT, PARIS The eight-day bell striking movement with maker's roundel to the backplate and numbered 20332, the white enamel Roman numeral dial with Arabic five minutes to the outer track inscribed Boin Taburet A Paris, the case mounted with a putto examining a scroll, the drum movement further flanked by laurel leaves, book, and globe, on a white marble plinth base and gilt metal feet, the case serial numbered 44576 34.5cm high The garniture formed of further putti holding twin candle sconces with fruiting laurel stems above conforming bases and feet, serial numbered 44577 and 44578 respectively, 36cm high Condition Report: Movement is in relatively clean working condition however a gentle clean/service is probably advisable. The dial is free from visible damage/defects. The case is in very good original condition with faults limited to a few small historic edge chips to the marble and overall light to moderate oxidation/mellowing to the gilding. The garniture side pieces (candelabra) are in same condition as the clock case.Clock has pendulum but no winding key. Condition Report Disclaimer
A FRENCH WHITE MARBLE AND GILT METAL TIMEPIECE LATE 19TH CENTURY The movement with balance wheel escapement serial numbered 3475, the globe case surmounted by a putto and held aloft by further two further putti, and mounted on a white metal and gilt metal mounted plinth 21cm high Condition Report: Movement is in relatively clean working condition. The sphere has dull finish with some chipping to the blue paint to the rear as well as oxidation to the numeral and hands. The cherub surmount is missing something from his right-hand otherwise case in in good original condition with relatively light oxidation/discolouration to the mounts and minimal edge wear to the marble.There is no winding key present. Condition Report Disclaimer
FRANCE, Télégraphie sans Fil, 1927, a bronze Art Déco medal by P.-M. Dammann, standing figure of Iris with signs of the Zodiac behind, rev. globe encircled by an antenna emitting radio waves, tsf around tablet below, 68mm (CGMP p.116; Jones, Art of the Medal, 423; cf. DNW 132, 1683). One of the classic Art Déco medallic images, very fine £140-£180
Peace of Amiens, 1802, a copper medal by J.-P. Droz, bare-headed bust of Napoleon left, rev. Astræa advancing over globe, holding caduceus and balance, 40mm (Bramsen 199; Julius 1057). About extremely fine, scarce £90-£120 --- Celebrating the Return of Astraea, goddess of innocence and justice
FRANCE, Exposition Universelle, Paris, 1867, a copper award medal by H. Ponscarme, bust of Napoleon III left, rev. robed figure of La République holding plan of the Expo over a globe, un-named, 37mm (Divo 545). Practically as struck with proof-like fields [certified and graded NGC MS 64 BN] £70-£90
Early 20th century Globe Wernicke oak sectional stacking bookcase comprising four up and over glazed doors and raised on short square tapering legs, one section stamped 'Globe Wernicke', 87cm wide x 29cm deep x 143cm high Condition ReportOverall good condition with some surface scratches, scuffs and knocks. Some fading/discolouration. Accretions and a couple of areas of white paint on one side. No woodworm. General wear and tear.
Early 20th century Globe Wernicke oak sectional stacking bookcase comprising four up and over glazed doors and raised on short square tapering legs, one section stamped 'Globe Wernicke', 87cm wide x 29cm deep x 152cm high Condition ReportOverall good condition with some surface scratches, scuffs and knocks. Some fading/discolouration. Accretions and a couple of areas of white paint on one side. No woodworm. General wear and tear.
Collection of Coalport bone china cottages including a Masters House, Village Cricket Pavilion, Tyrolean Castle, Village Church, the Windmill and others, a Staffordshire pottery Gothic cottage pastille burner, a Melba bone china Edward VIII coronation globe, a Royal Doulton miniature figure of Jennifer, two Coalport miniature flower encrusted vases and other items
A J. FOREST GLOBE TERRESTRE, early 20th Century, marked 'Globe Terrestre, Echelle de 40.000.000, Dresse par J. Forest Geographe, Officier de l'Instruction Publique', with brass armature and turned ebonised stand, height approx. 60cm, diameter of globe approx. 50cm, globe, armature and stand have some minor damage, marking and wear, stand looks to have been partially painted
![A Globemaster 12" terrestrial globe. [W]](https://cdn.globalauctionplatform.com/effd5478-7fbc-4ed7-b81d-b1e200d7089f/c139a2e4-8ff7-4cda-b2cd-b2050113fc36/468x382.jpg)
Ca. AD 1800 - 1900.A large Ottoman celestial globe made predominantly of brass and inlaid with silver. The centre of the globe is crossed with graduated equatorial and ecliptic bands detailing the 48 constellations and inscribed alongside with their names in Arabic, the globe is marked with five stars and dots that represent the constellations. For similar see: Islamicate Celestial globes, their history, construction and use, 1985, fig.85. Size: 190mm x 150mm; Weight: 1.5kgProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s.
A giltwood framed wall Mirror in George III style, the frame decorated with foliate swags and bows, W 55 cm x H 105 cm, together with a pair of complimentary gilt metal wall Lustres, with decorative bow decoration, W 28 cm x H 20 cm x D 13 cm, and a large antique marble and gilt metal chandeliers Globe / Shade(4)
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