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18th century | height: 18 cm | country: France | provenance: private pharmacy museum | Albarello faience pottery | This jar, probably from late 17th or early 18th century France, is a fine example of French apothecary pottery made in the faience style. It was used to store mint oil (Ol. Menth), which was widely used for its medicinal properties, especially in the treatment of digestive problems and respiratory problems. The jar has a typical bulbous shape with a spout and a handle, suggesting that it was intended for easy dispensing of oil. The decoration of the jar is richly decorated with playful scenes of angels (putti) holding decorative ribbons around the name of the jar. Such decor is typical of the Baroque style, which was very popular in France at the time. The colors are vibrant and include the yellow, green and orange tones typical of French faience from this period. The style of the painting and the shape of the jar refer to pharmacy ceramics, which were not only functional, but also a decorative element of the interior of pharmacies. This specimen is an example of high-quality French ceramics, which stands out for its detailed processing and aesthetics, which served both practical and representative purposes in the pharmacies of the time. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

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’.

Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383 

Novo-Hispanic School. Mexico. Late 17th century. Nicolás Correa Juárez Circle."The Mass of Saint Gregory"Oil on copper. 29,5 x 23,8 cm.An exquisite and very unusual, unique depiction of the well-known Mass of Pope Saint Gregory, as the vision of the Blessed Souls being rescued from Purgatory by angels and taken to heaven also appears in the scene. The composition is designed to save space, as it could have been distributed over two sections of a small diptych. To the right of the scene, as is customary, we see a door with a landscape and figures, and/or members of the papal entourage or donors joining in the main act of the Eucharistic miracle. The ‘pray for the souls, present and absent, and pray for their tribulations’ scene is depicted with a great deal of light in order to attract attention. The painter depicts the apparition of Christ to Pope Saint Gregory the Great while he is celebrating mass on Christmas Day in the Roman Basilica of the Holy Cross in Jerusalem with detail and finesse. His assistants also appear, one carrying the cross to guide them and the other with a halo, who also participate in the miracle. Christ, surrounded by the symbols of his Passion, shows his stigmata to assuage the doubts of some of the people present or the Pope's own doubts about Transubstantiation. In some paintings blood appears to flow from the arma christi and is collected in a chalice, but not in this case.Due to its small format, the painting could have been a devotional copper commissioned by a member of the Church, with the aim of moving his soul to devotion and capturing the essence and depth of the Eucharistic celebration at all times, and, at the same time, the vision of hell/purgatory. With it, following the catholic doctrine, he would not forget the sacrament of forgiveness and mercy and would save all souls from their sins and evils that keep them in a constant purgatory. In short, a small copper that embodies the symbol of the Eucharist as a renewal of Christ's sacrifice to save humanity.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

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). 

French school of the 18th century. D'après Hyacinthe Rigaud (Paris, 1659 - 1743)"Portrait of Samuel Bernard"Oil on canvas.100 x 78 cm.Our painting is an anonymous version of the portrait of Samuel Bernard at the age of 75, by the French artist Hyacinthe Rigaud, painted in 1726 and kept at the Musée National du Château de Versailles (https://www.hyacinthe-rigaud.com/catalogue-raisonne-hyacinthe-rigaud/portraits/843-bernard-samuel).

Viceroyalty of New Granada (Colombia and Venezuela). 17th - 18th century.‘Painting of Souls in Purgatory with Saint Dominic of Guzmán and Saint Francis of Assisi, under the gaze of the Holy Trinity’.Oil on canvas. Relined.133 x 92 cm. Lovely painting of the Blessed Souls in Purgatory, an almost obligatory theme in the 17th - 18th centuries, and throughout the three centuries of Spanish domination, in addition to those referring to the life of the Virgin Mary and the life of Christ, and that of the Saints.From the 17th century onwards, this theme began to take shape in the face of Martin Luther's attacks, who denied the existence of purgatory, and to which the Catholic Church responded at the Council of Trent, declaring purgatory to be dogma. It was the Jesuits who first displayed such a picture in their church in Rome, and it was they who took this image to all the places where they were present with their evangelisation.They arrived in New Spain well into the 16th century, which is why paintings of souls in purgatory did not begin to appear until the following century.With the delicacy and finesse of Neo-Granadine painters, the scene depicts the souls in purgatory between Saint Dominic of Guzmán and Saint Francis of Assisi, patrons of the Dominicans and Franciscans, two other mendicant orders who also went there to baptise and evangelise, and who pray and intercede for them, looking up to heaven, looking at the Holy Trinity itself, which will ultimately receive them into its merciful and heavenly bosom.It is a pedagogical and catechetical painting, whose purpose was to remind Catholics of their obligation to pray for the souls of the deceased, who had to pass through purgatory.The painting has two clearly differentiated planes, above the Triumphant Church, with the Trinity receiving and welcoming, and below the Purging Church, which shows the souls of the dead burning in the purifying fire.Topped by a figurative trompe l'oeil frame that encloses the picture of devotion to which one must pray, that is the message that lies behind many of these paintings in the churches of Latin America, ‘you have one soul and no more, if you lose it what will you do’, which is a message also for the passer-by, parishioner or neighbour who contemplates it, a continuous ‘memento’.

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

Attributed to Bernhard Keil, known as ‘Monsù Bernardo’ (Elsinore, 1624 - Rome, 1687)‘Intimate scene’.Oil on canvas. 97 x 73 cm. On the back of the stretcher there is an old handwritten note ‘Nº124’, which is probably a collection number, as well as a red wax seal. On the front, there are two other red seals, one with the initial ‘M’ engraved into it and another which has fragmented and is illegible, possibly both bore the initials of a former collection.There are other versions of this same scene, which have appeared on the art market in other years. These characters are also depicted in an indoor scene in which the woman washes the man's hands, a painting which is now kept in the Copenhagen Museum of Art. 

Viceroyalty school. Peru. 18th century.‘Portrait of a bishop’.Oil on canvas. 64 x 50 cmAt the foot of the painting is a cartouche with the handwritten inscription: EI YIImo St. Dn Juan Bravo de Rivero, Colegial que fue del Colegio R.l de S.n Martin de Lima, su Patria, fundor de la R.l Avdiencia de Charcas, Maestrescvela, Tesorero y Chantre de aquella Yglesia Metropolitana Obispo de Santiago de Chile y despues de Arequipa, endonde falleció el año de 1752".(Juan Bravo de Rivero, Student of the former College R.l de S.n Martin, Lima, his homeland. Founder of the Audience of Charcas, school teacher, treasurer and precentor of the Metropolitan Church, Bishop of Santiago de Chile and later Arequipa, where he died in 1752).

Italian School. Probably Venice.  17th century.‘Lady playing the lute’.Oil on canvas. 141 x 115 cm.Courtier playing the lute, in an interior scene in which we also see an old woman with coins, perhaps as an allusion to the passing of time, to the vainglory represented by the jewels the lady is wearing and the coins. To her left a humble child holds out a small bag as if begging for alms. This painting can be seen as a Vanitas.Provenance: Private collection Barcelona, acquired in the mid-20th century on the London art market, possibly at a Sotheby's auction. At the time it was considered to be painted by Pietro della Vecchia.

Painter of the Andean viceroyalty. Attributable to Francisco José de Lerma y Villegas (Caracas, Venezuela. 18th century. Active between 1719 and 1753).“Patronage of Our Lady of Mercy over the Order of the Mercedarians”Oil on canvas.The canvas has some damage.52,5 x 39,5 cm. (with frame: 100 x 61 cm.)The painting with the same subject matter as this one, ‘The Patronage of the Virgin of La Merced’, which is kept in the Museo de Arte Colonial de Caracas Quinta de Anauco, is also by Lerma and is based on an engraving by Cavalli. The two have great similarities.As we read in the Royal Academy of History, ‘In his pictorial works we can observe careful drawing, harmonious colouring and an adequate knowledge of light and shade, as well as the combination of various stylistic features resulting from the imitation of prints and engravings from a wide variety of sources’. Our work is based on the engraving by Pieter de Jode I (1565 - 1639) ‘Our Lady of Mercy’ (PI 626A/3935B).Wonderful canvas from New Spain, richly framed, depicting one of the most popular themes in New Spanish art, the so-called "Patrocinio" (Patronage), which shows the Virgin Mary (in this case) or a saint (cf. parallels with the Patronage of Saint Joseph in this same auction, lot 62) protecting communities, religious orders, corporations and authorities under her mantle (with a clientelistic and corporate scheme typical of the Ancien Régime), as the main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by Saint Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims.  The Mercedarians committed themselves with a fourth vow, to liberate others who were weaker in the faith, even if their lives were endangered by it.This Virgin of Mercy, crowned ‘as queen’ of heaven under the Holy Trinity who contemplates and blesses the moment, protects the order of the Mercedarians, the Pope and the King under her wide mantle, raised and supported by two angels.The Pope we see is Gregory IX, who approved this religious order in 1235 with the Papal Bull "Devotionis vestrae"; next to him is Saint Raymond Nonnatus, another of the ‘principals’ of this order; the king, James I of Aragon, known as ‘the conqueror’ and, next to him, its founder Saint Peter Nolasco, and Saint Mary of Cervelló, left, founder of the female branch of this order, with some more of these Mercedarian sisters.All, without exception, are prostrate on a period checkered tiled floor: the king, the Pope and his bishops, and the entire religious order, kneel before the Virgin Mary and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor are scattered shackles, symbols of the redeemed captives.The painting has an imposing period frame, richly carved and gilded, with sections in painted glass (the polychrome is posterior). It is polychromed in blue, with flowery poinsettia, enclosing and completing the beauty and devotion of the painting. Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.

Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Immaculate Conception"Oil on copper. Signed and dated "Clapera fecit 1798".There is a small dent in the upper right corner.63,5 x 41,5 cm.Francisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5

Novo-Hispanic School. 18th century."The vision of Saint Hubert"Oil on canvas.46 x 36 cm.The author, probably having seen the work through a print, was inspired by the theme and composition of “The Vision of St. Hubert” by Rubens with Jan Brueghel the Elder, exhibited in room 83 of the Prado Museum.Provenance: this painting has the same provenance as los 80 y 81 from the auction, "Beauty and Devotion. Picasso between the Old and New World", 25th of April, 2024. The chappel of a palace-house of an Andalusian marquisate, a Spanish noble family whose lineage dates back to the 12th century. 

Novo-Hispanic school. Mexico. 18th century.‘Stabat Mater Dolorosa, iuxta crucem lacrimosa’.Oil on canvas. Measurements: 69,5 x 54,5 cm. Devotional and catechetical canvas, creating the effect of an altarpiece of Our Lady of Sorrows. In a central oval, and as the base of a Christ on the cross, ‘stabat Mater Dolorosa’, mother Mary remains under the cross of her crucified Son. The painting is clearly devoted to Mary.Six angels of the Passion surround the cross: two weeping angels are at his feet, with the symbols of the Passion; two fly with scrolls reading respectively: ‘Christi sub cruce Mater erat’ (The Mother of Christ was under the cross), and ‘Maria pendens fuit in cruce Christi’ (Mary was hanging on the cross of Christ). Both texts are from ‘Epigramatum Libri 3’, a book written by Jacob Biderman, a Jesuit priest, and published in 1620 with ingenious religious epigrams in the manner of the classical writer Martial. Of the two remaining angels, one has the book EPs (a reference to the Epigrams) and the other holds an hourglass, symbol of the inevitable passing of time, of death and the end of time on earth, a clear allusion to the souls in flames.Under the Virgin of Sorrows are the blessed souls in purgatory: as their lives transition, they take the Virgin as their ‘ascent and mediator’ in their sufferings (which they compare with their own and know ‘they are heard’) and look towards the final horizon (clean and close after the cross) to Christ who suffers on the cross and who crowns everything.  In short, the Christian theology of, ‘one must suffer to reach glory’.The presence of a heraldic coat of arms flying in the upper right-hand corner is a clear reference to the person who commissioned the work, the owner or donor of the painting.

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez

Luis Egidio Meléndez (Naples, 1716 – Madrid, 1780)"Still Life with Pears, Peaches, Grapes, and Melon"Oil on canvas. Relined.44 x 63 cm.This painting is an analogous version to the one kept in the Prado Museum, dated 1771 and of almost identical dimensions, 42 x 62 cm (Catalogue No. P000931).As stated in the Prado Museum biography of the artist: "A Spanish painter, born in Italy to a Spanish family of Asturian origin, he was the son of Francisco Antonio, the miniaturist, and nephew of Miguel Jacinto, the portraitist. He began his education in Madrid alongside his father, then attended classes at the Preparatory Board of the Academy of San Fernando and was a pupil of Louis-Michel van Loo, mastering portrait technique, as demonstrated by his magnificent Self-Portrait (Musée du Louvre). His father’s expulsion from the board, and a probable conflict with Van Loo as a result, led to his dismissal from academic studies. He travelled to Italy and later returned to Spain, where he initially worked as a miniaturist, but his most significant contribution was in still life painting, becoming one of the most distinguished still-life painters in the history of the genre. His career belongs to the second half of the 18th century, a period when the century entered a decisive phase, gradually shaped during the reign of Philip V, both by the presence of foreigners at court and by the travels of Spaniards to Italy, along with projects to reorganise artistic education, an era that would reach its peak with Goya. Meléndez's paintings are generally characterised by great sobriety, executed with a solid sense of drawing and perfectionist realism, down to the smallest details. His ordered and clear compositions, with a taste for contrasts of light and shadow, possess an intensity that recalls the best achievements of Sánchez Cotán or Zurbarán."Reference bibliography:https://dbe.rah.es/biografias/16867/luis-egidio-melendez-de-riberahttps://www.museodelprado.es/aprende/enciclopedia/voz/melendez-luis-egidio/e99ecaad-8a11-4614-932f-960df1f833e4https://www.museobbaa.com/obra/bodegon-de-cocina/

Novo-Hispanic school. Mexico. Late 17th century. Nicolás De Correa (1660-1720)‘Adoration of the Ecce Homo, Man of Sorrows, Lord of the Green Reed, Holy Christ of Humility and Patience, or Most Holy Christ of the Cold Stone’. Oil on canvas.118 x 188 cm. A perfect scene enclosed in a painting of large dimensions, which looks like the passage of a suffering and serene Christ in Easter week in any corner of Spanish geography. The large scene, framed in period gilded cane, is completely filled by the central, mystical figure. Seated and serene, resigned and with all the acceptance of the divine will on his face, bearing our sins, he is silent and mute in the face of the executioners who mock, spit on him and insult him, as the Gospels narrate. Seated on a pilaster, or ‘cold stone’, as the text of John 3. 16 reads on its front:‘In hoc apparuit charitas Dei in nobis, qvoniam filivm svvm vnigenitvm misit Devs in mvndvm. Vt vivamvs per tvm.’(For this is why the Love of God appeared in us, because God sent His only begotten Son into the world, so that we might live through Him.)Above Christ, two angels, flying and weeping, carry a wide, almost mournful phylactery, like a banner, with some verses from the Song of Songs 3, 11: ‘EGREDIMINI ET VIDETE FILIAE SION REGEN SALOMONEM/ IN DUADEMATE...., [QUI CORONAVIT ILLUM MATER SUA].... (Go forth, ye daughters of Zion, and behold King Solomon with the crown [with which his mother].... and so ends the verse, though he is not.... [his mother] crowned him on his wedding day, on the day of his heart's joy).The procession is opened by two angels, standing like ceremonial candle holders to the right and left of the central cross, which is Christ himself. One carries the cross which he will be nailed to and die on; the other, the pillar of his scourging and sufferings, with the cock that crowed at Peter's betrayal.On the right and left, all around the crowd that fills the back, are the angels of the Passion, sacredly carrying symbols and instruments of the Lord's Passion, ‘a great cloud of spectators surrounds us’ (Heb 12:1-4; Ps 21; Mk 14).  In the box, on the left, are Mary Magdalene, Mary his mother, and his mother's sister, Mary of Clopas, the mother of James and Joseph; all with the beloved disciple John.  On the right is Mark the Evangelist with the lion, whose gospel described this scene so heartbreakingly, amidst an audience of praying and worshipping saints.  A picture for meditation and contemplation, ‘eyes fixed on Him who endured pain and the cross, who tasted death on behalf of all, tested by what He suffered, and who, suffering, learned obedience’. All perfectly described by the evangelist present in the picture.For all of us who approach this scene, it is a great spectacle in which we take part ‘as if we were present’. As the psalm says, ‘all who seek you, O Lord, and behold you, all who behold you, who behold in us also that wondrous spectacle of your own salvation’.Sadly, on the back of the canvas there is an illegible text, due to the use of bad ink, or the use of very watery watercolours, which the humidity and the passage of time have gradually erased.

Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Possibly portrait of a governor of Puerto Rico.”Oil on canvas. In its original carved and gilded wooden frame from the period.109 x 84 cm.  Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century."Frequent in the style developed by our painter, elongated figures and cherubic angels with round faces can be perceived.

Viceregal School. Peru. 18th century."Our Lady of the Rosary"Oil on canvas. Relined. Accompanied by a cornucopia frame in carved and patinated wood of the period. It has some faults.104 x 82,5 cm. This canvas depicts one of the most outstanding episodes in the legend of Saint Dominic of Guzmán, the saint's presence at the apparition of the Virgin of the Rosary. In this painting, with the added presence of another saint. Tradition, which began in the 15th century, told that the Mother of God herself taught Saint Dominic to pray the rosary in 1208, telling him to propagate this type of worship and to use it as a powerful weapon against those he supposed to be enemies of the faith. During Spanish colonial rule in New Spain, a religious painting of this type was developed, intended to Christianise the indigenous people. This painting, by a local painter, was modelled on other Spanish artworks, which were followed and copied in type and iconography, but always with their own identity. The centre of interest is focused on the female presence with the child in her arms, the Virgin Mary and her Son. The gazes of all the figures, angels and saints, are directed towards her, and she is also placed in the most luminous area of the composition. The Virgin Mary, floating on clouds and crowned, is presented as a dignitary. Her red robe expresses divine love in Christian mysticism. Her blue mantle symbolises heaven and heavenly love. It is also the colour that the Church traditionally associates with the Virgin. The rosary she holds in her right hand points to the type of worship that is practised in reference to this invocation of the Virgin Mary and which is understood ‘as a means of prayer to facilitate salvation’. Three white lilies can be seen, which speak of purity and martyrdom. Two saints, in ecstasy, pray on their knees before her, founders of the two orders that were in almost constant conflict, but which symbolically are united and involved in the same worship, as in the embrace they gave each other at the doors of St. Peter's Basilica, which was so often depicted in art. In the lower margin, there is a sign that reads: "Nra. Sra. del Rosario. A devocn. del Sarg.to Mor. Dn. Joseph Ferimn Ruiz Pino y Dª. Carl [...] AV". The inscription ends with the initials ‘AV’, a clear allusion to the owner, and to the person for whom the work was made.

Attributed to Sebastián López de Arteaga (Seville, 1610 - Mexico, 1656).Carved, wooden "cell cross" painted in oils.61.5 x 31.5 cm.  Powerful, inspiring and devotional oil painting on panel with the image of Christ Crucified at the moment when, according to the Evangelist John or Psalm 22, He says some of his seven last sayings: - to God, his Father: ‘My God, my God, why have you forsaken me?- to all: ‘I thirst’;- to the world: ‘All is fulfilled’;- and finally to God: ‘Father, into your hands I commend my spirit’.The ‘cell cross’ is a type of devotional piece very common in Spanish and Latin-American convents and monasteries in the 17th and 18th centuries, and was placed inside each cell for the personal use and worship of each monk or nun.The cross has rectilinear sections, unadorned, and worked in an illusionist, three-dimensional manner, the amount of light is somewhere halfway between the typically Baroque tenebrist light and expression of pathos and the artificial Mannerist light, that invisible ‘cannon of light’ that makes us look at Him.  Christ appears in the centre, with foreshortened and expressively deformed anatomy, which denotes the continuance of mannerism even into the 17th century. Following this Christ from top to bottom, at his feet we see a depiction of death treading on the devil.  While regarding the pain and death of Jesus on the cross, the skeleton at his feet may seem to be perverse mockery, or nihilistic and macabre irony.This design of a skull (Adam's skull) with two tibias, or scattered bones, and a sitting or standing skeleton originated in the late Middle Ages as a symbol of death and especially as a ‘memento mori’, a visual reflexion on the transience of life (remember that you will die...). In this work, and on the same plane or level, death steps on the devil, on evil, as if they were saying to each other: neither you nor I have the last word, only the resurrection.And horizontally, like two ‘loving’ messages flowing from the blood of his hands, we see two birds: in his right hand, as we look at it, the Phoenix on a burning fire, a symbol of hope, poise, memory and regeneration, a miraculous bird that feels death and prepares it with care and serenity to then rise from its ashes unharmed and vigorous (an impossible dream for a human being who has no faith ...); in his left hand, as a finale, he presents a bird and its chicks, which she feeds with her own flesh and blood.  The pelican, one of the symbols of Christ, of His martyrdom and death as salvation through the ultimate sacrifice and love for others. In Catholicism it is associated with the Eucharist: with the immolation of Jesus, who with His own flesh and blood nourishes and redeems humanity.   A true example of love is the pelican that restores its young with its own blood.  Such is the love of Christ who with His blood restores life and gives us his kingdom on the cross.The composition ends with this pelican which encloses, with a motto, the expression of love of this Christ on the cross: ‘SIC’, ‘HIS QUI DILIGUNT’ (Thus - For those who love). 

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 

John Alfred Arnesby Brown (1866-1955) Oil on canvas  "Wells - Next - The - Sea, Norfolk", sail boats in the harbour, signed, with Mandell's label verso and Mandell's Gallery invoice dated 1989, 63cm x 76cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportIn good decorative order overall. Minor surface wear. The upper edge of the reverse of the canvas with wear and small tear (at reverse, so does not effect front).  Uninspected out of frame. The frame itself is lacking one piece of corner ornament and has some chipping to gilding. 

Mick Rooney RA (b.1944)  Oil on board "The Prodigy", Fosse Gallery label dated 2000, 26cm x 20cm  Original Fosse Gallery receipt dated '9th December 2000 Provenance: artist's studio'. From the collection of the late Maurice CostleyCondition ReportThere is a linear patch of wear running along the top of the painting, having a matt appearance, perhaps where it was framed previously, there appear to be some small patches of retouching to the dark brown ground to the background and possibly to the arms and edges of the figures, although it is possible that this is part of the original paintwork. The panel is sealed at the back and has not been inspected out of the frame. 

Richard Eurich RA (1903-1993) Oil on board Children on the Beach, 1989, with Fosse Gallery receipt dated 2008, from 2008 exhibition and with exhibition leaflet showing the painting, 45cm x 60cm From the collection of the late Maurice Costley Richard Eurich was a British painter who trained at the Bradford School of Arts and Crafts and then the Slade School of Art. During WWII he was an official war artist for the Admiralty. During this time he painted reconstructions of battles, survival stories and commando raids. However Eurich is hard to define as he painted a wide range of subjects, many works being panoramic with a mystical quality and a sense of wonder. However he is mostly known for his seascapes and paintings of boats, having spent much of his life living in small fishing ports on the south coast of England. He had many one man shows and in 1933 the Redfern Gallery in London became his official dealer and then later Arthur Tooth and Sons. He taught part time at the Camberwell School of Art and also the Royal Academy. His work is in many public collections, in England and abroad, including the Government Art Collection, Imperial War Museum, Tate Britain, MoMA, New York, and National Gallery of Canada .

Campbell Archibald Mellon (1878-1955) Oil on board “Beach Scene at Low Tide - The Children's Corner, Gorleston”, figures on beach beside harbour wall, signed, with Mandell's Gallery label verso and Mandell's Gallery invoice dated 1981, 49.5cm x 59cm  From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportIn good order overall. The artist has signed the painting twice and has overpainted his initial signature in the lower foreground and repositioned his signature slightly to the left, it appears to be original, but both signatures are visible, please see additional image. Other than some very minor surface wear this is in good order. The mount is quite dirty, worn and discoloured. There are some repairs and regilding to the giltwood and gesso frame. Uninspected out of the frame.  Inspected under UV there is some restoration  in patches across the sky.  Verso:  Back of the work has a protective covering.

Alberto Morrocco OBE FRSA FRSE RSW (1917-1998) Oil on canvas Beach hut at the lido, signed and dated ’90, with Richard Hagen receipt dated 1997 and inscribed 'Provenance: The Scottish Gallery, Edinburgh', 76cm x 76cm, with Fine Art Society 2007 exhibition catalogue  From the collection of the late Maurice Costley Alberto Morrocco was born in Aberdeen, Scotland to Italian emigre parents. He went to the Gray’s School of Art, followed by travelling and studying throughout Europe. He was known for being a superb draughtsman and spent many years as an art teacher in Dundee. In 1943 he won the Guthrie Award. He was a prolific artist. His work includes portraiture, still life, figure painting, interiors, landscapes and most notably beach scenes. With brilliant use of colour, his paintings are warm and inviting. Much of his work shows the lasting influence of early Picasso and Braque. Morrocco also painted murals for St Columba’s Church, Glenrothes and Liff Hospital Dundee, producing some of his best work later in life. He had over 30 solo exhibitions in London, Scotland and elsewhere and can been seen in numerous public collections. Condition ReportIn good order overall. A very minor linear surface mark to one of the beach hut doors and another towards the top of the beach hut, these are minor, a very small flake to canvas to one of the other beach hut doors. Uninspected out of frame. 

Sir John Alfred Arnesby-Brown (1866-1955) Oil on panel "Haddiscoe Church", initialled and titled verso, with Mandell's Gallery label verso and with Mandell's Gallery receipt dated 1984, 21cm x 26cm From the collection of the late Maurice Costley  John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall in good condition, a little surface dirt, no signs of restoration under UV, including initials lower right. Frame in good order, canvas slip slightly dirty. Verso: Inscribed with pencil and original Mandell's label, panel in good condition, slight signs of wear and tear.

Sir John Alfred Arnesby-Brown (1866-1955) Oil on board The Bend in the River, 1915, with Messum's Gallery label verso and Messum's Gallery invoice dated 2014, initialled, 15.5cm x 23cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall good condition, no sign of restoration under UV - including initials AB lower left. Very slightly dirty upper left sky. Frame and slip also good condition. Verso: Messum's label, very slight chip on edge of the board, upper right hand corner, not visible from the front.

Campbell Archibald Mellon (1878-1955) Oil on board “Gorleston Sands”, figures on beach, signed, with Mandell's Gallery label verso and with Mandell's Gallery invoice dated 1983, 22cm x 29cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportIn good order overall. Minute wear overall, the mount is slightly discoloured and worn, the painting is mounted with a wooden panel at back so has not been fully inspected, but it appears to be in good order. There is some very light wear to gilt frame. 

Arthur James Stark (1831-1902)  Oil on board Duck, unsigned but labelled verso, 13cm x 17cm From the collection of the late Maurice Costley Condition ReportRecto : General condition is good however some signs of restoration under UV. Modern frame - very good condition. No visible signature (painting has not be inspected out of frame) Verso:  Backed with cardboard, original label @Stark - Arthur James 1831 - 1902

Maggi Hambling CBE (b.1945) Oil on panel “August Sunrise” (North Sea painting), inscribed, signed and dated 66 verso, labelled verso, with David Messum Gallery receipt dated 2007, 8cm x 21cm From the collection of the late Maurice Costley Maggi Hambling is a British artist, both a painter and sculptor who was born in Suffolk. She went to the Camberwell School of Art and then the Slade. Her body of work includes many portraits but her love of the Suffolk Coast leads her back time and time again to themes of the sea, waves and scallops, saying that water is the metaphor for life. Also know for her portrayal of friends and family after death, Maggi Hambling has always been a controversial figure, particularly with regard to her public sculpture. She received the Jerwood prize in 1995 and her work appears in many public collections including the Tate, National Gallery and the Victoria and Albert Museum. Condition ReportAll appears in good condition.  Some wear to one corner of the frame please see additional photo

Sonia Lawson RA (1934-2023) Oil  “Pilgrims Way”, signed, Fosse Gallery label, 61cm x 43cm With Fosse Gallery receipt dated '1996 Provenance: acquired from the artist'.  From the collection of the late Maurice Costley Condition ReportThe painting appears to be in good condition, with no apparent issues.

A Chinese modern oil painting, a nude portrait of a lady, in traditional robe in the Qing Dynasty style, signed l.r. and to the back, oil on canvas, 100 x 73cm, framed Condition Reportno obvious faults.

OIL ON CANVAS PAINTING COUNTRYSIDE Condition

Nicola DanesLarge oil painting ''Stained Glass church window'', unsigned.[160x120cm]

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1972, stylised study of combative roosters, signed and dated lower right, oil on canvas, 41cm x 63cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

*MAX BAND (1900-1974) A portrait of a Jewish worker in an interior, depicted three-quarter length, signed lower left, oil on canvas, 98cm x 62cm,Framed dimensions: 113cm x 77cm  Provenance: Private collection, Dorset.Note: Max Band was born in Kudirkos Naumiestis, Lithuania in 1900. This small village offered very little artistic guidance, however the young Band was determined to create. His first oil painting was made with homemade brushes he created from sticks.Band made his way to Berlin to study art where his talents were first recognised by the public. One of his first drawings was selected by his teacher and entered into an open exhibition. Upon seeing the work, a wealthy collector tracked down Band to purchase the drawing. Never considering or putting much care into the financial value his artwork should garner Band could not name a price. Upon being pressed for a figure, Band responded that he valued time over money, so a figure was agreed upon based on two months’ worth of food.The French critic Paul Fierens described the early period of Band’s career stating, “The refinement of his color, this what he owes to France, that that he has taken something of Chardin, Corot or Bonnard, but the Parisian sky, after Lithuania and the Louvre, quite naturally became his third master. Paris, with its pale azure, its inimitable greys, its delightful white, offered itself to Max Band as an example and gave him excellent advice."Max Band’s artistic output was largely made up of still lives, landscapes, and portraits of the sea. These subjects offer a free flow of color and movement. He also created many works of the Jewish religious experience during his life. These paintings offer a deep richness of feeling that could only be reflected by an artist of his skill and above all experience living through WWII.If one label can be attached to Band’s artwork it is Humanism. Whether it be the natural world, or more personal subjects, Band had a unique expression for deeper qualities hidden beneath the surface. This unique vision was best stated by the artist in describing one of his paintings of Jewish Talmudic scholars, “After living in France for nearly twenty years I began to see something strange in the eyes of the people. As the threat of bombing grew ever more menacing, the proud French people, who for centuries had walked in pride and freedom, as befitted a nation universally regarded as the epitome of culture and spirit, began to live in fear. It showed in their eyes and gestures. They listened for threatening sounds in the night.”Max Band left France in 1940 for the United States where he lived and worked for the remainder of his career. He passed away in 1974.

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1977, a stylised study of exotic birds, signed and dated lower left, beside the artist's thumbprint, oil on canvas, 43.5cm x 53.5cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

*ROBERT ORGAN (1933-2023) 'Walnuts and Plums', 2001, still life study of items on a tabletop in an interior, signed and dated verso, oil on canvas, 48.5cm x 71cm,  Framed dimensions: 64cm x 85.5cm Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024), Note: Robert Organ was born in 1933, in Hutton in Somerset. He studied art at The Royal West of England College of Art and in 1952 won a place at the Slade School of Fine Art under the tutelage of George Sweet and Claude Rogers. Contemporaries of his were Francis Hewlett, Philip Sutton and Euan Uglow. In 1958 he married fellow artist Valerie Buston, professionally known as Valerie Barden, and they moved to Cornwall where he taught painting at Falmouth School of Art, alongside Francis Hewlett. After 12 years he moved to Devon to concentrate on his painting, he had also developed an interest in architecture, and he became a drawing tutor at the Architectural Association School of Architecture in London and a visiting tutor in Architecture at Bristol and Cambridge universities.  In 1986 he served as Artist in Residence at the Royal Albert Memorial Museum in Exeter.His work was exhibited widely, including Beaux Arts, Newlyn Orion Gallery, the Royal West of England Academy and Browse and Darby. His paintings are held in numerous public collections, including Royal Albert Memorial Museum, Godolphin House, University of Edinburgh and the Royal West of England Academy.

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1978, a stylised study of a serpent, signed and dated lower right, beside the artist's thumbprint, oil on canvas, 63cm x 43cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

*JOHN HOUSTON (1930-2008) 'The Dance', 1984, figural study, signed lower left, further signed, dated and titled verso, oil on canvas, 45cm x 55cm,  Framed dimensions: 56.5cm x 67cmProvenance: Purchased from Mercury Gallery, Cork Street, St James's, London, October 24th 1984, for £675, Note: Born in Fife, Houston studied and subsequently taught at Edinburgh College of Art. He retired in 1989, after having been departmental head of the painting school and director of the post-graduate department. The style of his early paintings was expressive and semi-abstract, but in the late 1960s his paintings became more atmospheric, influenced by Turner and American Abstract Expressionism. One of Houston's favourite subjects was the sea as he was captivated by its restless energy. He was married to the Scottish artist Dame Elizabeth Blackadder.

Philip Jones (1933-2008) Blue Arc Painting signed and dated 'Philip Jones 07' (lower left); titled oil on paper38 x 48cm

Philip Jones (1933-2008) Garden Painting, Clermont signed and dated 'Philip Jones 99' (lower left)oil on paper52 x 72cm

§ Lionel Bulmer (1919-1992) Golden Morning, Southwoldsigned 'L Bulmer' (lower right)oil on canvas76 x 101cmProvenance: Collection of the late Samuel Alper, OBE (1924-2002)Overall the painting is in good condition. There is a little scuffing around the edges, in particular to the two bottom corners. Two very small arears of discolouration towards the bottom of the painting.

Philip Jones (1933-2008) Painting, Gozosigned and dated 'Philip Jones 06' (lower left); titled oil on paper32 x 32cm

§ Terry Whybrow (1932-) Painting 3112signed, inscribed and dated 84 to the reverseoil on board 23 x 30.5cmProvenance: The Collection of Lord Myners, former Chairman of the Board of Trustees at the TateGood condition, the mount which it is stuck to is a lilttle grubby

Bertram Priestman NEA, RA, RBA, ROI (1868-1951) Suffolk Landscapesigned with initials and dated 10 (lower right)oil on canvas39.5 x 49.5cmProvenance:Lord Pearce, the artist's son in lawWith Louise Kosman Modern British Art, LondonThis painting won the third prize in the Barcelona International Art Exhibition in 1911.

§ John Craxton RA (1922-2009) A Fisherman signed and inscribed 'to my Gigi . June 48 / Craxton' (lower right) oil on canvas, unframed 63 x 43.5cm Provenance: Given by the artist to Gigi Richter in 1948 by whom gifted to the present owner John Craxton was a British artist for whom life and work were steeped in foreign experience, especially in Greece. Although he had begun his career in London with shows alongside the best of his generation, such as Lucian Freud, it was his move to Greece in the late 1940s that transformed both his artistic vision and his sense of personal identity. Craxton first visited Greece in 1946 and was immediately entranced by its brilliant light and rich, complex culture. This was a seismic turning point in his artistic direction. Whereas much of his earlier work, often rooted in English surrealism, had been dark and introspective, the Greek experience hailed an age of vibrant colour, dynamic form, and celebration of the Mediterranean way of life. Perhaps his most iconic subject matter during this period was the Greek fisherman. The simplicity of their lives attracted him, and he recorded them in a series of paintings that framed their rough dignity and affinity with the sea. In the best of these works, Craxton balances figuration and abstraction to extraordinary effect. His fishermen stand solidly before us, yet appear to merge into the surroundings - the lines of their bodies echoing the waves of the sea, fusing man with nature and suggesting the possibility of harmonious coexistence of man and nature. The rest of Craxton's career was spent depicting Greek subjects, from the landscape of the locale to mythological incidents; however, it is in the way he captured local fishermen-quartets that perhaps his most long-lasting legacy lies. His work here in Greece, therefore, represents not only the stylistic evolution of his work but also his personal transformation in becoming more attuned with the elemental forces of nature and timelessness of Greek culture. His art spoke toward the place where past and present combined - human life totally dependent on land and sea. The present work is a wonderful example of this portion of his œuvre, though it was not until recently that the piece was discovered. In the late 1940s, Craxton visited the late Gigi Richter, botanist and art restorer, to have the canvas relined. Upon receiving his £37 invoice, Craxton, who was always famously short of money, suggested to Gigi that she retain the work in lieu of payment, inscribing the lower edge of the canvas "to my Gigi . / June 1948 / Craxton." The painting is executed in oil on a canvas support which has been lined. Some of the original tacking edges have been removed and edges that remain have been folded over the stretcher with some deep cracks to the paint layer. The lining involved a heavy amount of wax which is visible on the reverse of the lining canvas. There are a few small dents to the canvas, notably above the figures proper left hand. The paint layers are stable overall. Old losses have been filled and retouched, these are not extensive. The overpaint appears matte compared to the surrounding area. The surface gloss varies across the picture depending on the paint.

§ John Anthony Park (1880-1962) Hayle Sands, Cornwalloil on panel34.5 x 42cmProvenance:Sale; Christie's, 6 November, 1998, lot 111AThe Collection of Lord Myners, former Chairman of the Board of Trustees at the TateThe painting is behind glass. There is a tiny flake of oil missing to the right hand side.

Edward Elliott - oils on boards Mountain landscape, signed 19" x 36" and one other oil painting by Edward Elliott - coastal scene (2)

Margaret Rowe - oil on canvasA Study of Cape Cornwall with Mermaids, signed 16" x 19" together with letter from the artist relating to the painting

Greta Magnusson-Grossman (1906-1999)'Pathway thru the Trees', signed, oil on canvas, 71 x 54cm, with San Diequito Art Guild third place ribbon; and two further unframed oils by the same hand (3)Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.

Greta Magnusson-Grossman (1906-1999)'Back of the Quail Garden', signed, oil on canvas, 49.5 x 39.5cm, and companion, a pair (2) Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.

P* Koch (19th century)Still life - flowers in a cut glass vase and fruit on a ledge, signed and dated 1828, oil on canvas Dimensions of painting - 31.8cm x 39.2cm Dimensions of painting with frame - 43cm x 50.5cm

Greta Magnusson-Grossman (1906-1999)'My Kitchen Window', signed and inscribed verso, oil on canvas, 44.5 x 60cm Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.

Greta Magnusson-Grossman (1906-1999)'Safe Harbor', signed, oil on canvas, 54 x 71cm, with San Diequito Art Guild second place ribbon Greta Magnusson-Grossman (1906-1999) was a renowned Swedish architect, interior and furniture designer. In 1933 she became the first woman to win the Furniture Design Award from the Swedish Society of Industrial Design, and throughout the 1960's she was a prominent figure in the world of experimental architecture. She moved to Los Angeles in the 1940's where she opened the Magnusson-Grossman studio on Rodeo Drive with stars such as Ingrid Bergman and Greta Garbo becoming her clients. Retiring in 1966 she moved to San Diego, and spent the remaining 30 years of her life painting landscapes. The collection of works in this sale are offered to the market by direct family descent.

Roger Fry (1866-1934)Sous Bois, oil on canvas, 58.5 x 71.5cm. Provenance: Magdalene Street Gallery, Cambridge; The collection of Oliver Carey. Repair work to the reverse of canvas top left corner.Paint losses to painting. The white marks on our photos are where the losses are. Tree trunk, and other specks throughout.Patchy areas of craquelure throughout.Please see new photos.

Attributed to Jan Hermann Barend Koekkoek (1840-1912)Landscape with distant church, oil on panel, 14 x 17.5cm Prov: With Eastbourne Fine Art: Mallams sale 25/2/04 Lot 375 Craquelure to painting noticeable on close inspection and more so in sky area. Light varnish discolouration, otherwise condition appears good.