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 1871 Pattern Full Dress Helmet of an Officer in The Life Guards with plumage and chin strap 43cm highShipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportThe condition is considered to be very good with no noticeable dents Slight kink to the tail of the helmet behind the left ear
A collection of Chinese export famille rose, 18th century, comprising:a cream jug,in the helmet shape, painted with sprigs of florets, 13cm highand a pair of sauceboats, similarly decorated, 21.5cm long (3)Provenance: The property of the late Baron John Mauger Langin.Condition ReportJug - chipped to handle and rim.Sauceboats - one with a firing crack to spout.
A Queen Elizabeth II's Household Cavalry Life Guard Officer’s full dress uniform, red tunic, leather breeches, sabre, cuirass, shoulder straps, gloves, shabraque with gilt thread and knee length boots and helmet, mounted on a display mannequinShipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportThe back of the boots appear to be fastened by black tape. The Shabraque has loose gold threads to the centre badge. The leather breeches have been whitened.
GHISÒ FOR AUDEMARS PIGUET, A BROWN LEATHER HELMET BAG The bag with twin handles, two outer pouch pockets, green canvas lining, with two slip pockets and a zipper pocket, with removable leather shoulder strap, micro fibre polishing cloth and fabric dust bag Dimensions: 46 x 43cm Condition Report: The bag has a few small scratches, light use. Condition Report Disclaimer
A Georgian Plated Inkstand, with original blue glass (incomplete), on reeded pad feet; together with a Georgian plated on copper helmet shape cream jug, a plated swing handled sugar basket with blue glass liner; pair of navette shape plated on copper salts, each of pierced design with blue glass liners, etc.
An interesting collection of mostly military and civilian badges, early to mid-20th century - including two Kings Shropshire Light Infantry cap badges (one in silver, the other plated); a Duke of Cornwall's Light Infantry cap badge; a British Army Marksman's sleeve badge; a 'The Metropolitan' police whistle; a plated metal Oxfordshire Constabulary helmet badge and two O.C. coat buttons; a handmade WW2 machined aluminium toy Hawker Hurricane; a painted, cast lead African 'Nomori' figure etc.
Sheila Casson (British, b.1930): a stoneware studio pottery jug - of helmet form with scoop-style spout and C-shaped handle, in a mottled blue salt glaze, impressed potter's seal mark to base, 11.5cm high, in good condition; together with a similarly salt glazed teapot by Michael (Mick) Casson, of domed form with two handles and disc cover, on three bracket feet, impressed potter's mark just above base, 13.8cm high, glued repair to tip of spout. (2)
Pedigree vintage Tommy Gunn uniforms & equipment including Paratrooper kit, Operations Map, Radio, Boots & Gaters, Trench Spade, Kit Bag, Helmet, First Aid Bag only, Mines, webbing & Weapons (1 box)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.Badge is missing from red beret
A George V silver helmet shaped cream jug in the Georgian style raised on three hoof feet together with matching sugar basin and plain tongs (by David and George Edward for George Edward & Sons, London 1910) 4.91 oz housed in a gilt lined red leather case inscribed "Edward Jewellers and Silversmiths 92 Buchanan Street Glasgow"
A Victorian brass fireman's helmet with leather interior and strap.The crest is dented all the way along, leather chin strap worn and falling apart, left hand side of visor has slight crease.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.
Palitoy - Action Force - A group of unboxed figures, Mission Pilot with ammo case, Q Force Deep Sea Defender with backpack and spear, Q Force Aqua Trooper with backpack and helmet and Q Force Senior Officer with backpack and gun. They appear in Excellent condition overall. (This does not constitute a guarantee) [ba]
A JAPANESE COSTUME DOLL IN A GLAZED CASE, the vintage female doll wearing a kimono and holding a samurai style helmet, inside a glazed ebonised wooden case, case measures approximately 20cm x 16cm x 12cm (Condition Report: generally appears ok, something was glued to her left hand with visible glue residue and a small piece of paper remaining, her hair is loose, some fading to fabric, the case has loose glass and frame, and a glued repair, a little dusty, wear commensurate with age)
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