Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist. This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181).
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Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven. As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work.
Diego Quispe Tito (Cuzco, Peru, 1611 - 1681)"The Annunciation"Oil on canvas. It has lacks of painting.157 x 218,5 cm.Provenance: this lot is the couple of lot 81 from the auction, "Beauty and Devotion. Picasso between the Old and New World", 25th of April, 2024. A palace-house of an Andalusian marquisate, a Spanish noble family whose lineage dates back to the 12th century.Specifically, our painting was placed next to its partner, "The Holy Family in the workshop of Nazareth".It is obvious that these two pieces were a pair, because the model used to portray Mary is the same in both paintings, as well as the basket with clothes that we find centering the scene is the same in both paintings.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission.It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context.In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter.Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito
A Selection of Soviet 35mm Cameras, comprising a Zorki C, body F-G, shutter works, advance is stiff to operate, with an Industar-22 f/3.5 5cm lens, barrel F, optics F, a FED-4, body G, shutter works but speed inaccurate, with a FED f/2.8 53mm lens. barrel G, optics G, a Kiev 4a, body F, some lifting of leatherette, shutter works but speeds uncertain, rangefinder works, with a Mentor-8 f/2 50mm lens, barrel G, optics G, a Zenit E, body G, black line in viewfinder, shutter works, with a Helios 44-2 lens, barrel G, optics F, and a Zenit EM, black, body F, some leatherette missing, Moscow 1980 Olympics model, with a Helios 44M lens, barrel G, optics G.
Classic Microscopy - Beck London Model, English, c.1960, engraved to the limb 'BECK LONDON, LONDON MODEL 34758' the microscope finished in grey with all chromed fittings, plano-concave mirror focusing substage, large full circuit stage, tripple nosepiece objectives & eyepiece. Provenance: from a member of the Quekett microscope club and kept as a working instrument
A Fredrik A Kayser model 807 three-seat sofa for Vatne Lenestolfabrikk, 1970s, upholstered in tan-coloured hide, with extending underslung rosewood sledge feet. 190 cm overall width x 76 cm deep x 83 cm overall height, 44 cm height to the top of the squab cushions. CITES Article 10 Certificatee No. 24GBA10VORDIR Structurally sound, with no apparent damage. Some light surface scratches in places, and staining to the upholstery.
Film Memorabilia: includes press stills, lobby cards and merchandise -Press stills include: High Heels and Low Lives (x2), Coyote Ugly, Scary Movie One, Little Voice, Mansfield Park, Very Annie Mary, High Fidelity, The Next Best Thing, Metro, End of Days, Hotel Splendide, Leon, The Rock, Deception, Gangster Number One, Sex, Instinct, Power, The Hurricane, Come in 60 Seconds, Cop-Land, Dracula and Brother;Lobby cards include: Operation Dumbo Drop, The Count of Monte Cristo (x2), Royal Tennabaums (x2), Instinct, Coyote Ugly, End of Days, House Guest, Holy Man, Keeping Faith, While You Were Sleeping, Bad Company, The Next Best Thing, The Rock, Signs, Insomnia, Sixth Sense, Snake Eyes, and Metro;together with, two Recruit men's grooming kits; two End of Days watches; two A Good Year wine bags; Lord of the Rings Two Towers watch; Starsky and Hutch Ford Grand Torino 1:18 scale model car with COA, and a Borat bathing suit. (53) From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.
Fabergé, a dendritic agate miniature animal study, early 20th century, realistically modelled as a reclining Gloucester Old Spot pig, finely carved in dendritic agate, its eyes set with cabochons of red paste, measuring 8.0 x 3.0 x 2.1cm, eyes later replacements The quality of this carving and the sensitive treatment of its subject compare favourably with a number of hardstone animal studies produced by the workshops of the Russian imperial jeweller Fabergé. Animal carvings are among the jeweller's most celebrated creations, adored and collected by some of the most prominent figures of the early 20th century. Russia's stone carving industry centred on the city of Yekaterinburg, where Fabergé acquired the workshop of lapidary Karl Woerffels around 1884, and it was this workshop that produced the majority of them - the carvers Kremlev, Derbyshev and Svetchnikov, managed by the German Alexander Meier. The stones were carefully selected by Carl Fabergé's son Agathon, and were mostly of Russian origin, taking advantage of the rich mineral resources of the Ural mountains and Siberia. The animal carvings found immense popularity with a number of the firm's key patrons, most notably the British Royal Family, whose collection boasts more than 350 animals, and Léopold de Rothschild, who had his racehorses similarly immortalised by Fabergé's sculptors. The dendritic or 'moss' agate used here is an unusual choice for an animal study, its distinctive patterning more commonly employed by Fabergé for inlays and panels in its jewels and objets de vertu. Traditionally found in India but eventually sourced by Fabergé from Siberia, its use here is likely a clever attempt to mimic the distinct patternings of a particular breed of pig known as the Gloucester Old Spot, whose 'lop' ears are also distinctively forward folding as in the present carving, partially shielding its eyes. A number of realistically modelled farm animals including pigs were produced from life at the Sandringham estate in 1907, following a suggestion made to King Edward VII by Fabergé's London agent Henry Bainbridge that the firm recreate a number of the animals across the estate. With subjects ranging from the King's own terrier dog Caesar, to the cows, pigs, ducks and chickens that populated the farmland around them, the animals of this 'Sandringham Commission' were reproduced in wax sculptures by the carver Boris Frödman-Cluzel, before being sent back to the Russian workshops to be immortalised in hardstone. They were then sent back to Fabergé's London branch for purchase, mostly, but not exclusively, by those who wished to gift them back to the Royal Family. Such was the appeal that some were even acquired by members of the family themselves, such as Princess Victoria, who bought a model of a recumbent white sow in pale pink aventurine quartz in 1912 (RCIN 40041). It is not known whether the present study would have been part of the Sandringham commission, but the close attention to detail and the choice of this lesser known breed of pig reflect a close observation of the animal, likely in its agricultural setting, and a desire by the sculptor to capture the distinctive characteristics of this specific breed. King Edward VII was particularly proud of his pigs and sent the best of his herd to The Royal Society Show in June 1911. Pigs were one of Fabergé's more popular animal studies in their native Russia, with several examples recorded in the collection of Empress Maria Feodorovna, and are also among the most humorous and varied of their miniature sculptures. Cf.: a series of carved hardstone pigs by Fabergé in the Royal Collection, collection nos. RCIN 40041, 40038, 40421 and 40422, commissioned by the Royal Family and studied by Fabergé's sculptor Boris Frödman-Cluzel from life at the Sandringham estate in 1907. Cf.: The Robert Strauss Collection of Works of Art by Fabergé, Christie's, 9th March 1976, lot 28, and A. Kenneth Snowman, The Art of Carl Fabergé, 1972, no.237, for studies of dalmatians, their spotted coat also depicted in dendritic agate Cf.: A La Vieille Russie, Fabergé exhibition catalogue, New York April-May 1983, no. 445, for a dendritic agate model of a spaniel with an enamelled gold collar by the chief workmaster Henrik Wigström. An English private family collection
Pastel blue meets a bright white VELCRO® strap on this non-limited model. All the hands are in white. A black tachymeter scale adorns a white-colored bezel. All dials in the collection carry the OMEGA X Swatch branding, the iconic Speedmaster logo and the MoonSwatch logo. The biosourced glass construction, the etched ‘S’ integrated in the center of the glass, the fine and sophisticated circular pattern on the dial outer ring and the recessed subdials, the angular and smooth lugs construction, the iconic ‘dot over 90’ detail on the tachymeter scale, and of course the unique Bioceramic feel are common to all models. The hour, minute, and chronograph seconds hands as well as the hour markers sport Super-LumiNova® for a perfect glow in the dark. *In accordance with our General Conditions of Sale, the lot is sold 'as is'. The auction house does not guarantee the accuracy of timekeeping or the condition of the lot. The buyer accepts full responsibility for any repairs, maintenance checks, or works that may be required. The condition or timekeeping state will not justify delayed payments or cancellation of the sale.
Stephanie Cunningham stoneware model, dog in the wind, 8cm high x 21cm long (the tail has now broken), with receipt from Stephanie Cunningham dated 6th October 2014 From the collection of the late Maurice Costley Condition ReportThere is a chip to the tip of the tail, some light fritting to glaze, otherwise ok.
Tessa Fuchs (1936-2012) earthenware model of two figures in sailing boat on waves, impressed mark to front of boat 'TF', 28cm high (damaged, one of the seagulls has head broken off) From the collection of the late Maurice Costley Condition ReportAs described, one seagull's head has been cracked off and restuck through neck, overall in good order otherwise.
René Lalique 'Moineau Fier' clear and frosted glass model of a seated bird (a/f), etched "R Lalique France" and moulded R. Lalique to base, 8cm high, together with a Lalique glass model of an owl (a/f), 9cm high (2)Condition ReportThe owl has a bruise to the top of its head and a minute chip above one eye. 'Moineau Fier' has some noticeable chipping to the front edge of footrim and beside one claw, and slight chipping to the tip of its tail feather and to edge of wings.
A Royal Worcester porcelain twin-handled vase and cover, early 20th century, model 1572, painted with floral sprays, printed marks,26cm highCondition ReportWear and rubbing to the gilding. No obvious signs of restoration to the body, wear to some the matte turquoise ground, dirty within areas of low relief, body rings as expected. Possible very high quality restoration to the finial of the cover, but inconclusive to the naked eye. See photos overall good order
Two model canons, comprising; a bronze example, early 19th century, with a tapered barrel and integral lug, with a later carriage, barrel 18cm longtotal 21cm long, and a brass example, late 19th century, fixed to its carriage, 24cm long (2)Condition ReportBoth with age related wear, knocks and rubbing.
A WWI Model Remington bayonet, with scabbard, 58cm overalltogether with a British 1888 pattern Lee Metford bayonet,57.5cm long (2)Shipping 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.
A bronze model of a dog, late 19th to early 20th century, modelled on a faux hardstone bronze plinth, 10.5cm high together with an Art Nouveau bronze bust, in the manner of Emmanuel Villanis, depicting a shoulder-length female, 21.2cm high (2) Condition ReportWear and losses to the finished in places. Knocks, scuffs and imperfections more noticeably to the bust.
Attributed to Rene Lalique a 'Lotus' pattern bowl, model 3103, c.1923, with black staining, unsigned, 12cm diameter 6.3cm high and a matched cup, with conforming decoration, unsigned, 7.5cm highProvenance: The property of the late Baron John Mauger Langin. Condition ReportBoth with small nibbles to the rim.
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