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19th century romantic-realistic landscape painting, oil on panel Peasant figures at a gate with horseman and mill, Dutch Romanticism, circa 1850–1880 in original gilded frame in neoclassical style, with acanthus leaf edges and fluting19e-eeuwse romantisch-realistische landschapsschilderkunst, olie op paneel Boerenfiguren bij een poort met ruiter en molen, Hollandse romantiek, circa 1850–1880 in originele vergulde lijst in neoclassicistische stijl, met acanthusbladranden en cannelures26.5 x 37 cm

Oil painting on panel, 17th century, depicting the four evangelists at work, surrounded by an angel and heavenly lightOlieverfschilderij op paneel, 17e eeuw, voorstellende de vier evangelisten aan het werk, omringd door een engel en hemels licht70.5 x 107 cm

XIX Century School, room interior with three people studying a document, oil painting on tin, 19.5 x 14.5cm, later framed, 'Our Village Canyon', cricket print.

Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Infant Jesus”Oil on copper. 23,5 x 18,5 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." Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose

Viceregal School. Cuzco. Peru. 17th Century."Isaiah's vision"Oil on canvas. Relined.203,5 x 180 cm. Symbolic and apocalyptic painting about Isaiah's vision of the true God and the seraphim, whose desire is to elevate spirits that are lower in the hierarchy to Him and carry out divine justice.An unusual and curious painting that serves as a biblical and scenographic summary of various texts from the Book of Revelation by John, and others from the prophets Ezekiel or Isaiah. The prophet Isaiah mentions in 6:2: "Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew."In the upper left corner of the painting, we find one of these seraphim, which can only be seen by those who have been elevated to a higher dimension, that is, to a state where heaven opens up to them. Like Isaiah, one of the four Prophets of the Old Testament. The seraphim belong to the highest rank of the angelic hierarchy and are the praisers of God, constantly proclaiming His Holiness.A similar example can be found in Catalonia in the murals of the church of Santa Eulalia at the National Art Museum of Catalonia, where these seraphim, angelic beings that surround God on His throne, are depicted. They can also be found in the art on several Catalan Romanesque apses.Seraphim have the mission of purifying everything around them, so they are destined to protect the holiest places.In the Bible, they are mentioned as a vision of God that Isaiah had in the Temple, where they were singing praise: "Holy, holy, holy is the Lord Almighty; the whole earth is full of his glory."They protect themselves from the light of God by covering their heads with two wings, as they are constantly accompanying the Lord on the throne. For this purpose, and to be able to see the presence of God, they have eyes on their wings and all over their bodies.In the upper right corner, we see Isaiah, who had the vision in which he was taken to the throne of God, where they were (Chapter 6). There, he saw the true King and the seraphim full of ardour and purity, with which they love the divine, desiring to elevate the spirits of lower hierarchy toward God.This seraph with a bull's face (to John, they appear as a lion, a bull, a man, and a flying eagle) "holds a harp" (Revelation 5:8), a symbol of worship and praise in the Old Testament, with which they sing and declare the holiness of God, participating in God's justice, for when He opens the first four seals and unleashes the four horsemen who come to destroy (we see one of these horsemen below in the centre), their voices, powerful as thunder, tell them 'Come' (VENI..., at the beginning of the Latin phylactery lying at the base of the painting) (Revelation 6:1-8). Each rider responds to the call of his seraph, a powerful creature indicating the power he possesses.In summary, this is a painting that symbolically speaks of these beings and Isaiah's vision, an exalted order of angels whose main purpose is worship and who are, in some way, involved in carrying out divine justice.The painting was perhaps created for the refectory or choir of a cloistered religious convent, a place filled with "higher" beings seeking to prostrate and worship the Lamb (Revelation 5:13), beings who cloister their lives to experience the vision of Isaiah up close, to sit on the throne and become the praise, honour, glory, and power of God, forever and ever (Revelation 5:11-12).The painting makes it clear to the beholder that "the Lord is God, and there is no other besides Him.""

Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732)"The First Journey of Saint James the Greater to Hispania"Oil on canvas.99 x 124 cm. Beautiful painting of great historical and religious relevance, as it shows the first of James' journeys to Hispania, which left a lasting legacy in the region. This trip took place in the first century A.D. According to tradition, James was sent to Spain as one of Jesus' apostles to spread Christianity in the region. After the death of Christ, a passionate and impetuous James was part of the initial group of the early church in Jerusalem. In his evangelizing work he was awarded, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, trace his way through the Ebro valley and the Cantabrian Roman road. There are even those who claim that Santiago reached the peninsula by the current Cartagena, from where he started his journey to the western corner of the map.During his stay, it is believed that he performed numerous miracles and converted many people to Christianity.This journey of Santiago was of great importance for the history of Christianity in the Iberian Peninsula. His presence contributed to the expansion of Christianity in the region and laid the foundations for the subsequent evangelization of the peninsula.We say that this was James' first trip to Spain, since the second occurred centuries after his death. According to tradition, after his death in Jerusalem, his remains were taken to Hispania by his disciples. It is believed that they were buried in a place that would later become the city of Santiago de Compostela. That transfer of remains had a great impact on the region. His tomb became an important place of pilgrimage and attracted thousands of the faithful from all over Europe. The Camino de Santiago, a pilgrimage route that runs throughout the Iberian Peninsula, developed around his tomb and became one of the most important pilgrimage routes in the world.In an idyllic landscape, with rich and abundant vegetation, we can contemplate a pilgrimage path that circles the river -perhaps the Ebro River-, with a bridge crossing it. The pilgrims have serene faces, full of devotion, kindness and smiles, marked by the joy of the moment.  They travel on horseback and on foot, and there is a group resting above, contemplating the temple they are approaching, surrounded by cypress trees. One stands out, James, also known in Spain as Santiago, mounted on an imposing black and white horse, the only one who, with his deep and penetrating gaze, looks directly at the viewer. The Saint stops or is stopped by another pilgrim, who rides his donkey, and both experience a spiritual and deep encounter, reflected in their faces and gestures.  Their expressions are serene, with their hands intertwined. The one on the donkey kisses the hand of the saint with reverence and devotion, aware of the spiritual power of this miraculous encounter. Both the Apostle and he have their hats removed, as a sign of respect, humility and spiritual reverence.James' journey to Galicia symbolizes the spiritual connection between East and West, becoming a cultural and religious bridge that would mark the history of Spain. As for the artist, we believe this canvas was painted by Melchor Pérez Holguín, one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans.As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín, as we can see in the work we offer.

Miguel de Herrera (La Laguna, Santa Cruz de Tenerife, 1696 - Mexico, after 1765)“Allegory and exaltation of the purity and virginity of Mary Immaculate, and symbolism of some lauretan litanies”.Oil on canvas. Signed, dated and located: “Fr. Miguel de Herrera, Augustiniano f. Mexico 1743”. In its original carved, polychromed and gilded wooden frame. 102 x 76 cm.Delicate allegorical work by Miguel de Herrera, a painter from the Canary Islands, also known as Fray Miguel de Herrera, as in 1712 he became a monk, entering the Monastery of the Holy Spirit of the order of St. Augustine.  The painting portrays the theological and devotional exaltation of the purity and virginity of Mary Immaculate, with the symbolism of some lauretan litanies. This painter moved to New Spain in 1719, developing most of his artistic career in Mexico, which is why for a time it was believed that Mexico was his birthplace.It should be noted that in 1753 this painter from Tenerife entered the First Academy of Painting in Mexico. The exact date of his death is unknown, but he remained active at least until 1765.Certainly, this mature work by the Augustinian friar reflects the metaphors that appear in the Bible with mastery.  They are already seen in patristics as prefigurations of Christ and are contemplated here totally in a Marian sense.In a background of purity and mystical light, with delicate tones almost of celestial mist, below and in the background, Nazareth appears, pointed out by Saint Anne as the place of the Virgin's birth, as well as the walls of Jerusalem, where the life and death of her Son will take place.From the union of her two holy parents, Joachim and Anne, the Virgin Mary emerges as a white lily (Lilium Candidum), an emblematic species because of its immaculate white flowers and its deep cultural and religious symbolism, being a botanical hermaphrodite and icon of purity and renewal, which exudes a deep, sweet and intense fragrance.This figure is surrounded by immaculist symbolism and some Laurelian litanies, which were born in the Song of Songs, which became part of the landscape and background of many artworks and which enclosed the iconographic model of the “Tota Pulchra”.On the upper right, “the Door”, Mary is symbolized as the door to heaven through which the Savior has come to us, according to Christian theology, as well as the door that leads us to Him.Below, two angels hold “the Tower of David or Tower of ivory”, in clear parallelism to the tower of the Alcazar in which King David settled when he conquered Jerusalem, symbol of his power and of singular dignity and beauty. The Tower of David, alludes to Mary´s spiritual beauty, her firmness in faith and her dignity as Mother of the Messiah. They also hold the lily, which, like the lilies, signifies her virginal being and her conception without stain of sin. That whiteness is an image of the Virgin's spiritual beauty, and the petals opening upwards are a reference to her openness to God the Father. The petals opening to her sides allude to her generous and essentially missionary motherhood. All the petals form a single flower, an image of fraternity. According to the thought of St. Bernard, Mary's lily is not cultivated and pampered in gardens, but the wild lily of the valley, which sprouts and blooms without the intervention and the hand of man.On the left, above, two other angels hold the Mirror, Mary as “Mirror of Justice”. This Lauretan litany expresses that Mary reflects divine holiness, that is, perfection. In Mary “God was reflected and reproduced through his faithful transcript Jesus, without wounding or altering the mirror itself,” as the Holy Fathers say.The mirror is also related to the soul and the reflection it produces. Therefore, it would come to be one of the faces of truth and, because of its complexity, it would allude at the same time to conscience, clarity and divine intelligence.They also hold an olive branch, which symbolizes peace and values of fecundity, victory or purification applied to the Virgin Mary.The palm or “Palm Tree” which, because of its greenness and life, usually has a meaning related to the hope of salvation. Likewise, recalling the events of the Passion of Christ, the inhabitants of Jerusalem acclaimed Jesus at the entrance of the city as a sign of triumph and victory. In that sense, it evokes ascension, regeneration and immortality. Likewise, we cannot forget that the palm tree was one of the trees that existed in paradise. Iconographically, in the expulsion of Adam and Eve from the Garden of Eden, this element usually appears as an allegory of justice.Finally, a basket of roses speaks of the “Mystical Rose”, as a symbol of the passion and charity of Christ, showing Mary as queen of flowers and queen of virtues, as St. Bonaventure reflected in his work “The Mystical Vine”. 

Novohispanic School. Possibly Potosí. Bolivia. Signed Fonceca, 1774."True Portrait of Our Lady of Soterraña"Oil on canvas glued to wood. Signed "fonceca pint." and dated 1774.41,5 x 31 cm. The cartouche at the bottom margin reads: "La Milagrosa Imagen de Nuestra Señora de la Soterraña venerada en Santa María de Nieva, especial defensora de rayos y centellas." (The Miraculous Image of Our Lady of Soterraña venerated in Santa María de Nieva, a special defender against lightning and sparks.)The Virgin of Soterraña is a Marian advocation venerated in the church of the town of Santa María la Real de Nieva in Segovia, where, as reported by Josemi Lorenzo in his interesting research on the church, "ten representations of the Virgin of Soterraña, eight pictorial and two sculptural," are found, indicating the strong devotional weight this image has historically had in the place where it appeared."The image of this Virgin Mary was found at the end of the 14th century buried in a cave on the hill that was then in the municipal district of Nieva. Its name, in fact, means 'subterranean' in old Castilian. As Lorenzo continues to explain, and as we indeed read on the cartouche of this painting, the image was the "special protector against storms and hail [and] was fundamental in an agrarian context which faced adverse weather."Its worship spread to other areas of Spain such as Navarra and Logroño, Lorenzo continues to report, "shepherds and sailors [...], the former through migration, the latter by sailing the sea, spread her virtues and devotion to places such as Argentina, Bolivia, and the Philippines, where a ninth example which has been moved to an unknown location is documented."Of the eight painted depictions in the parish church in Segovia, we would like to highlight the most complex of those preserved, from the first half of the 18th century, where the Virgin of Soterraña with the Child in her left arm is depicted, along with Ensign Alonso del Canto y Ocampo, conqueror of the Philippines in 1563. It is a votive offering made a century after the death of the ensign to whom it is dedicated, which adds additional interest to the painting, as Josemi Lorenzo affirms.Another highlight from amongst these eight is the True Portrait of the Virgin of Soterraña, "exhibited in the northern end" of the church, which, was donated by Alejo Bonifaz and painted in San Luis de Potosí in 1785.With the painting we have in the auction, added to the existing ones, we reach a dozen pictorial representations of this curious Marian advocation. Taking into account the expansion of the worship of the Virgin that we mentioned and that the painting was created in Potosí in 1785, it is reasonable to assume that this painting, from a similar time, came from the same cultural nucleus. Without a doubt, this True Portrait, with the accompanying angels and the liturgical scenery with candlesticks, candelabra, and drapery, is more elaborate than the True Portrait in the church. Reference bibliography:- Lorenzo Arribas, Josemi. (2016). La iglesia de Santa María la Real de Nieva (Segovia). Epigrafía en la portada norte; Lucas el estucador; exvotos pintados; un Niño montañesino, y un lienzo devocional de la Virgen de la Soterraña. Biblioteca. Estudio e investigación", 31, 197-218.

Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632)"Our Lady of Silence" Oil on copper. With a chased and embossed silver 18th century frame.23 x 19 cm.  Frame measurements: 54,5 x 38 cm. Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.In 1587 he moved to Santafé where he painted a Virgin of Antigua for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a Descent from the Cross, inspired by a painting by Pedro Pablo Rubens, and a Lamentation, which belong to the Convent of Santo Domingo de Tunja. He also painted a penitent Mary Magdalene for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a San Antonio de Padua and a sculpture of Nuestra Señora del Socorro.In 1600, he traveled to Lima, where he made several paintings, including a Señor de la Columna and works for the chapel of the Ánimas in the cathedral.He taught in Lima in 1604 and was appointed painter to the Inquisition. In 1617 he painted the Portrait of Isabel Torres de Oliva, known as Santa Rosa de Lima. After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a Santa Margarita which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year. It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.” Reference bibliography:- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro

Viceroyalty school. Peru. 18th century.“Disquisitions of Pope Pius V with Philip II during the Council of Trent.”Oil on canvas.101 x 159 cm. Historical canvas that reflects the conflict between the popes and King Philip II of Spain during the sixteenth century. Philip II, known as “the Prudent King”, ruled Spain from 1556 until his death in 1598. During his reign, the Spanish monarch sought to consolidate the power of his kingdom and defend the Catholic faith against the Protestant Reformation that was spreading throughout Europe. The most relevant pope in this conflict was the Pontiff Pius V, seated on the left under a canopy,  He was head of the Catholic Church from 1566 until his death in 1572. Pius V considered Philip II a natural ally in the fight against Protestantism, but he was also critical of some of the Spanish monarch's policies. One of the main disputes between this pope and Philip II centered on the Spanish Inquisition. The Spanish king used this instrument to persecute heretics and maintain Catholic orthodoxy in his kingdom. However, the popes considered the Spanish Inquisition to be too severe and abusive in its exercise of power. Despite the differences and clashes, the conflict between the popes and Philip II did not reach a point of total rupture. Both sides understood the importance of maintaining a diplomatic relationship and sought solutions to their differences with a more amicable relationship and peaceful solutions to their discrepancies. In the painting we can contemplate Philip II, dressed as a King (with cape and ermine) appearing before the Pope, wearing the Golden Fleece as a symbol of his authority and royalty, and of his defense of the Catholic Church.  This is the scene in which he is called to chapter by Pope Pius V, and appears before him, with all his court, in the middle of the Council of Trent. The attitude of the pope is conciliatory, almost of blessing, and the hieratism of the Prudent Philip II speaks of his submission and acceptance of what the Roman Church imposes on him, in spite of his different ideas. The rest of the ecclesiastical figures and companions of the monarch can be contemplated in a room which has classical architecture, in an attitude of chat, discussion, confrontation, dialogue, making the moment much more active, as if it were captured in a snapshot.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist.  These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb.  The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition.  The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. 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.

Novo-Hispanic school. Possibly Puebla. Mexico. Late seventeenth century.“Viceroy Juan de Palafox y Mendoza next to Saint Paul indoctrinating the Indigenous people.”Oil on canvas.79 x 58 cm. The figure of Juan de Palafox y Mendoza is portrayed in an attitude of blessing indigenous people through the intercession of Saint Paul. The indigenous people are represented with their typical attire, making it iconographically very attractive.  This is also the only painting that we are aware of in which the figure of Palafox appears next to indigenous people in the act of converting them to Christianity. We can define Juan de Palafox y Mendoza as one of the most important characters of the Viceroyalty of New America. He held the positions of Viceroy, bishop, Royal Visitor as Visitor of the ministers and Courts of New Spain, judge of residence of two viceroys, governor and Captain General, president of the Civil and Criminal Royal Court, Visitor of the University of Mexico and of the Court of Accounts. He gathered more civil titles than any other person had ever held before in Latin America.The theological and pastoral dimension of the bishop's work, apart from his political career, which have not received the attention they deserve, are clearly demonstrated in this painting.Palafox, above all, was a great reformer in a time not at all favorable for reformers and he won several battles in his crusade for reform, some as important as his own appointment as viceroy. He left a legacy of great pastoral and cultural work, particularly in Puebla de los Angeles as creator and promoter of the Palafoxiana Library, the Cathedral of Puebla de los Angeles, the Royal Colleges of St. Peter and St. John, among other endeavors. All this led to his beatification in 2010 by Pope Benedict XVI.

Miguel Jeronimo de Zendejas (Puebla de los Angeles, Mexico, 1724 - 1816)"Saint Joseph and Child"Oil on canvas. Signed, dated in 1766 and located in Puebla: "Migl. Germo. de Zendejas. Pinx en la Ciud. de la Puebla de los Angs. en las Yndias Occidentales, año de 1766 en 26 de Julio". ("Miguel Jerónimo de Zendejas. Painted in the City of Puebla de los Ángeles in the West Indies, year 1766 on 26th of July").94 x 67,5 cm.Miguel Jerónimo de Zendejas was a prominent and prolific artist from Puebla in the 18th century. With great creative and allegorical capacity, his paintings situate him as one of the favourites of the elites, especially in the high clergy, who maintained his workshop with their patronage. Having worked as an apprentice for artists such as Gregorio Lara or José Joaquín Magón, he established his own workshop, which had, as we said, ecclesiastical sponsorship.He was known for his confident and imaginative way of painting, with skilled and harmonious use of chiaroscuro.The Church of San Juan Evangelista in Iglesias, near Angelopolis, houses four of his canvases from 1775 depicting moments of the Passion, which are considered to be some of his best paintings, which also include "El Almacén" (The Warehouse) which is now in the National Museum of History at Chapultepec Castle, an allegory of the founding of the Puebla Botanical Garden, paying homage to its founder, Antonio de la Cal y Bracho; and his last oil painting, "The Prayer in the Garden," kept in the Calvary Chapel of the Parish of San José, Puebla.

José Campeche (San Juan, Puerto Rico, 1751 - 1809)“St. Anthony of Padua and the Virgin Mary.”Oil on canvas, protected by water glass. Signed: “Josef Campeche fc.”. Framed in an imposing carved, gilded and polychrome wooden cornucopia.28 x 22 cm.Cornucopia measurements: 71 x 55 cm.Exquisite canvas signed by the Puerto Rican painter José Campeche, an intellectual painter who studied Latin and philosophy at the Royal Convent of the Dominican Fathers. Between 1776 and 1778 he was in contact with the Spanish court painter Luis Paret y Alcazar (1746-1799), who came to the island exiled by King Carlos III and from whom he learned techniques, colors and styles.Campeche was one of the most recognised Puerto-Rican artists. 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."Returning to this painting, it has a dove-necked frame, profusely carved in garlands and scrolls, polychromed in reddish tones and gilded on the corners and curled edges, with a shield plume that tops it with the Virgin Mary's monogram.  The delicate oil painting depicts the Portuguese saint being regarded and blessed by the Virgin Mary from heaven, to whom he dedicated several sermons to praise her and sing her glories, all surrounded by putti and angels.As one of his many religious themes, Campeche depicts a specific saint, here the Franciscan saint of Lisbon, next to the Virgin Mary, like so many other parallel paintings currently in the Museo de Arte de Puerto Rico that we have mentioned. Two stand out there, one of “The Vision of St. Simon Stock” and another of “Sacred Conversation with St. Joseph and St. John Nepomuk”, among others.Among the trades he learned and practiced in the family workshops, one was the design of coats of arms. It is therefore quite probable that he also designed the period frame with the coat of arms in which this devotional work is presented, possibly as a commission from a prominent family.Be that as it may, this work is of rococo character for all its interest in detail and ornamentation of the sky and clothing, colors and movement of fabrics and figures, dominating the palette of bluish grays and reds and pinks that, as reported by the Puerto Rican museum, relates it directly to de Paret and Alcazar.This painting comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909). He was a Peruvian military officer and politician who held the presidency of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle-low phase of the War of the Pacific, an armed conflict between Chile and allies Bolivia and Peru (1879-1884). That is: from his rise to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until his exile to Spain in the Peruvian civil war of 1884-1885.Highlights of his political-military legacy is the "Grito de Montán" (Montán´s call), a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between Montán´s faction and that of the military leader Andrés Avelino Cáceres. The end of that war led to the exile of Iglesias to the south of Spain, where he moved with his descendants and his significant art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in the Presbítero Maestro Cemetery in Lima, were transferred in 2011 to the Crypt of the Heroes, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Collection of Miguel Iglesias, military man and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day.Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose

Flemish School. 16th - 17th century"Vision of Saint Francis of Assisi on Mount Alvernia, before receiving the stigmata."Oil on copper. Presented in an imposing carved, gilded, and polychromes wooden frame.34 x 24,5 cm.The painting depicts the Franciscan saint in seclusion on Mount Alvernia.Around the Feast of the Assumption in 1224, the Saint withdrew to Mount Alvernia and built a small cell there. It was around the day of the Holy Cross in 1224 (symbolised in the painting, flying among cherubs) that the miraculous impression of the stigmata occurred. He is accompanied by Brother Leo, who was acting as his secretary and writing down the annals of the saint's life . Saint Francis died on October 3, 1226, after listening to the reading of the Passion of the Lord according to St. John.

Novo-Hispanic school. Mexico.  18th century.Table-blazon or crowning piece of a reredos, depicting St. Thomas Aquinas”.124 x 93 cm. Blazon or altarpiece painting, profusely carved and gilded, with incised decoration of scrolls, flowers and geometrical designs made in polychrome and estofado technique, with a biretta in black centered above it.  It has a central cartouche with an oil painting on panel of the Saint and Doctor of the Dominican Church (since 1567, proclaimed by Pope St. Pius V), known as the Angelic Doctor, Common Doctor and Doctor of Humanity, whose work is fundamental for the study of philosophy and theology.  He was the main  defender of natural theology.With the characteristic carving style of New Spanish Mexican art, we contemplate “a complex artifact” that encloses St. Thomas Aquinas, a painting with a frame forming part of a coat of arms, or an isolated crowning piece from an altarpiece or the door of a library or a refectory or chapter room, to which it would have been integrated (in the manner of the doors of the Library of Coimbra of the Jesuit Fathers).This is a baroque artwork that shows unity and coherence, having a style which is difficult to include within formal canons.  This clearly baroque piece is not very dogmatic in its artistic execution, because it shows an extraordinary eagerness for novelty and, in the process of its creation, limitless fantasy that makes it exceptional, unique and unrepeatable.In the center, on a plain panel in the middle of this elaborate frame, we contemplate St. Thomas Aquinas, full-length and standing, depicted in a Dominican monk´s habit, wearing a white tunic with a scapular, and a black cloak with its hood thrown back.  With his right hand he holds a pen from which a halo of light or fire emanates, referring to his books and written doctrine.With the left hand he holds a monstrance. This refers to his devotion to the Blessed Sacrament, which manifested itself in particular in his magnificent composition of his Eucharistic Hymn "Adoro Te Devote."On his chest hangs a sun, which is an attribute to show his wisdom, and behind his back two large wings protrude, which allude to the moment when the angels girded the saint with the symbol of chastity.   Above his head is Christ crucified surrounded by putti, who descend from the heavens to inspire him.    The figure of the saint is depicted as a young man, beardless and with a monastic tonsure. He is superimposed on a landscape in which, at his feet, he treads and defeats the Moors and infidels, in the manner of Santiago Matamoros, as defender of “la verae doctrinae”.In the words of St. John Paul II and Benedict XVI, St. Thomas Aquinas is “the model of the correct way of theology”.   He showed that there is harmony between faith and reason, that faith is not contrary to reason. St. Thomas not only dedicated himself to study and teaching, but also preached to the people. He was a theologian who knew how to speak with simplicity and kindness.   His feast day is celebrated on January 28. Provenance:- Large estate. Seville.'

Madrid School. 17th century."View of El Escorial"Oil on canvas.108 x 160 cm.Spectacular painting of an architectural view, which is not just a painting of a building but the relaxed view of a great “architectural complex” that houses several buildings and that forged Spanish history, a living legend that defies the passage of time. On April 23, 1563, the first stone was laid for the construction of this great Monastery, one of the most representative monuments of Spanish architecture. A colossal architectural ensemble consisting of a monastery and a church, a palace and a royal pantheon, it is known as the Monastery of San Lorenzo el Real or, simply, El Escorial. It was designed in the second half of the 16th century by King Philip II and his architect Juan Bautista de Toledo, although it was later completed by Juan de Herrera, and also by Juan de Minjares, Giovanni Batistta Castello “El Bergamasco” and Francisco de Mora. At the time it was the largest building in Europe and is considered to be the Eighth Wonder of the World. Since 1984 it has been a UNESCO World Heritage Site. The architecture of the Escorial is symmetrical and balanced. The building is built in granite and divided into three vertical zones. In the central axis is the courtyard of Monarchs, the Temple and the King's House; to the left is the College and the Palace; and to the right, the monastery and kitchens. The architectural mass is simplified ny using squares, rectangles and circles through  the rule of  “Universal Trace” (or Universal Path). It consists of 15 cloisters, 13 oratories, 86 stairways, 88 forts, and 73 sculptures. The church has a Greek cross plan and in its main chapel are the funerary monuments of Charles V and Philip II. The painting controls space and perspective, showing painted architecture “that rationalizes the gaze”. The painting presents us with a stage of very ordered stones harboring some characters, (carriages that bring and carry ladies and gentlemen of court, characters that walk through the courtyards and that give life “to the theater and scene of so much stone”, the beginning of a procession with altar boys in front...), and that shows us the evolution of the scenography through time. This painting is a metaphor for ideal architecture, ordered, perfect, with inner order being expressed on the exterior ...., and showing the external order that is imposed on the interior.  This is undoubtedly a marvelous painting that “frames and orders” our aesthetic tastes, that idealizes our thoughts, that erases stress with its mere contemplation, as it is designed to delight the viewer's gaze. A painting that serves to perpetuate the grandeur of the past and the memory of so much contained opulence. An exquisite perspective understood as a symbolic way of ordering the world and the gaze.

Viceregal School. Cuzco. Peru. 18th century.“Our Lady of mercy with St. Peter Nolasco and St. Raymond Nonnatus and archangels” Oil on canvas. Relined.88,5 x 72,5 cm. A great devotional representation of Our Lady of Mercy, depicting her fulfilling the task she assigned to three specific followers: James I of Aragon, Saint Raymond of Peñafort, and Saint Peter Nolasco, to whom she appeared. The task entrusted to them was to liberate captives who had fallen into the hands of heretics. This request became reality in the founding of the Order of Mercedarians. Also known as Mater Omnium, in Spain she is the patroness of prisoners and immigrants and also of Penitentiary Institutions. The painting follows the iconography that became clear from the 16th century: the Mercedarian habit, in our work, instead of the usual white, is full of decoration in the Cuzco style with brocading, and arms open, with the Mercedarian shield on the chest, ..."under your protection, Lady, we take refuge, Holy Mother of God." The tender face of the Virgin shelters and protects Christian slaves who kneel before her, already liberated from their chains. It's a simple, humble, loving, and serviceable painting that entrusts us all to her protection and encourages us to remain devoted to her.

Indistinctly signed oil painting , rural stream

Oenone Acheson, (20th century), flamenco dancer, signed. Oils on canvas. 100x75cm approx. Framed. (B.P. 21% + VAT)Painting on canvas - very grubby with paint splashes in places. No obvious  damage.Picture has splashes of paint or similar, not applied by original artist. Oil on canvas.

SLAVERY -- "SLAVE TRADE. Lo! the poor Captive with distraction wild. Views his dear Partner torn from his embrace! A diff'rent Captain buys his Wife and Child. What time can from his Soul such ills erase?" Lond., 1791. Cont. handcoloured mezzotint by J.R. Smith after George Morland. 500 x 685 mm. Laid down on cardboard. (Lower captions partly touched up in black ink, margins a bit stained/soiled (partly due to previous framing), a bit browned).NOTE: In 1788, the popular English artist George Morland (1763-1804) produced an oil painting which he originally titled "The Affectionate Slaves" or "Execrable Human Traffic." The scene of an African man torn from his family by European slavers was engraved by John Raphael Smith for this 1791 print, produced in a large and popular edition, most of which were not colored. Along with the engraving of the slave ship Brookes, it provided an enduring visual image to help promote the abolitionist cause. - Dawe, 'Life of George Morland', p. 152; Frankau, 'John Raphael Smith: His Life and Works', 321. - Sold w.a.f., not subject to return.

A Collection of Four Paintings & print; Scottish scene oil painting signed Robt Bauld, Ron Bitie large watercolour Scottish loch scene 76, Harvey Cook 87 & Vernon ward print.

Barry Leighton-Jones Urchins Framed Oil painting titled "Best mates" with Certificate of authenticity from the art 4 art Company. 85x44cm frame.

Cousland, Oil painting on BoardGreek Goddess head. Signed Cousland Frame-42.5x42cm

Oil painting on Board Countryside public park scene Signed Cousland 43x53cm

Original Abstract Oil Painting Depicting Sunset signed Scott. 61x61cm unframed.

May Hutchison (Fife artist)Oil painting on Board Titled "Kinghorn shore"Signed May Hutchison. Frame- 54x69cm frame.

Signed Pat Wingate Prestwick Artist Oil painting on Board of Boats Docking In fitted framing.64x75cm frame

Antique " A Daughter of Pears annual" Oil painting on Reeves & sons Ltd canvas. Fitted in gilt frame [89x70cm frame]

L. Obseth unframed Oil painting on canvasTitled market cross monument.Signed. 55x46cm.

Large mid century oil painting on board depicting landscape. Signature to the reverse side. Signature illegible. Frame- 61x95cm.

SIR WILLIAM NICHOLSON (BRITISH 1872-1949) NANCY IN A FEATHER HAT (THE ARTIST'S DAUGHTER), 1910 signed and dated (lower left), oil on canvas 75cm x 62.2cm (29 ½in x 24 ½in) with the Goupil Gallery, London, where purchased by the 9th Duke of Marlborough (Charles Spencer-Churchill 1871-1934) and returned;probably with P. & D. Colnaghi Ltd., London;Christie's, London, 7 December 1917, lot 21, as Portrait of the Artist's Daughter (260gns) to Frederick Leverton Harris MP (1864-1926);An unidentified Scottish collection;J. & R. Edmiston Auctioneers, Glasgow, 26 March 1929, lot 36, as The Artist's Daughter (The Feathered Hat) (£100 16s.);with Ian McNicol, Glasgow;Christie's, London, 1940-1 (catalogue untraced);with Piccadilly Gallery, London;J. E. (Jack) Posnansky and by descent to his daughter Gillian Raffles;The Collection of Gillian Raffles. Exhibited:Goupil Gallery Salon, London, October – December 1910, no. 108 (£315);XIV Esposizione Internazionale d’Arte della Città di Venezia, April - October 1924, no. 53, as Ritratto di ragazza con berretto piumato.Literature:Stokes, Hugh, ‘The Goupil Gallery Salon’, Country Life, Vol. XXVIII, no. 722, 5 November 1910, p.635;Ladies' Field, Vol. LII, no. 664, 3 December 1910, p.6;The Art Journal, December 1910, p. 383, illustrated;Baldry, A. L., ‘The Paintings of William Nicholson’, The Studio, vol. LIII, no.219, June 1911, pp.8-9, illustrated;Reed, Patricia, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd., London, 2011, p. 172, cat. no. 178, illustrated.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026. Portrait of the Artist’s Daughter: Nancy in a Feather Hat by William NicholsonFirst exhibited in 1910 to widespread acclaim, the re-appearance in public of Nancy in a Feather Hat, a portrait by William Nicholson of his daughter, is a major event in the current evaluation of the artist’s standing within twentieth-century British art history. Nicholson met the Scottish artist Mabel Pryde (1871-1918) in 1888, when they were students at Hubert von Herkomer’s art school in Bushey, Hertfordshire. They eloped five years later and their children, the artist Benjamin (Ben), the soldier John (Tony), the designer Annie (Nancy) and the architect Christopher (Kit), were born between 1894 and 1904. The children sat for both of their parents and Patricia Reed has stated that ‘as a child, Nancy was Nicholson’s favourite model’ (Patricia Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd, London, 2011, p. 67). His earliest recorded portrait of her dates from 1901 when she was aged about two (Reed, op.cit., no.33), whilst Nancy with Ribbons (Reed, ibid., no.34) of the same year became the first of his works to be acquired for a public collection when it was purchased for the Galleria d’Arte Moderna in Venice in 1905.Nancy in a Feather Hat was painted during a particularly auspicious period in Nicholson’s career. The family were established in homes in Mecklenburgh Square, London and Rottingdean in East Sussex, whilst his prowess as a portraitist was acknowledged by election to the Royal Society of Portrait Painters (1909) and his role as a founding member of the National Portrait Gallery (1910). A successful solo exhibition was staged at the Chenil Gallery in 1910 and William Marchant of the Goupil Gallery had become his main dealer.In her description of the present portrait, Reed has explained:‘The artist’s daughter, Nancy, aged ten, wears a blue shawl and a large feather hat, while the bouquet to her right suggests that she is a flower-seller. The apricot-coloured ostrich feathers and blue shawl were William Nicholson’s starting-point, but it is Nancy’s personality that attracts the viewer’s interest.’ (Reed, ibid., p.172). Indeed, the work encompasses not only the intimate yet unsentimental bond between father and daughter, but also Nicholson’s bravura use of dressing-up and other props to weave a suggested narrative, a deft manipulation of chiaroscuro and the use of contrasting colours to highlight aspects of a rhythmic composition. By presenting his sitter in a shallow, undefined space and in front of a plain, dark background, a palette based as much on monochrome as complimentary colour fields is used to the full, wielded by way of his beautiful handling of oil paint, in which fringe shawl and flower petals are realised with as much attention as tones of complexion and the texture of feathers. Nancy was to bear out the independence suggested at this age in adulthood, not least by applying feminist principles to her marriage to the poet Robert Graves and to her career designing and printing fabrics.When Nancy in a Feathered Hat was exhibited in the Goupil Gallery Salon in 1910, it was singled out for praise in the press from Country Life to The Studio. It was one of twenty-two works by Nicholson to be shown at the Venice Biennale of 1924, a milestone in his international career. Its illustrious provenance involves the 9th Duke of Marlborough (briefly) and includes the British businessman and Member of Parliament Frederick Leverton Harris. It was eventually acquired by Gillian Raffles’ father, J. E. (Jack) Posnansky, from whom she inherited it.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026. 

LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) GOING TO THE MILL, 1925 signed and indistinctly dated (lower left), oil on panel  43.2cm x 53.4 cm (17in x 21in) Acquired directly from the Artist by A.S. Wallace, 1926, and thence by descent to the present owner. Exhibited:On long-term loan to Pallant House Gallery, Chichester, 2013-2024L S Lowry’s early masterpiece Going to the Mill was painted a hundred years ago and, quite remarkably, has been in the same private family collection for all but one of those hundred years. It was acquired directly from Lowry by the journalist A.S. Wallace, an editor at the Manchester Guardian who had illustrated three of Lowry’s works in the special ‘Manchester Civic Week’ supplement published by the paper. Civic Week was held from the 2nd to the 9th of October 1925, ostensibly to celebrate Manchester’s industrial success, but also with an ulterior motive to discourage the city’s disgruntled workers from going on strike. It was the grim nature of  the workers’ lives that, of course, interested Lowry, but which also made it hard for him to find an audience for his  visual elegies of the industrial city – a concept that is perhaps hard to fathom now, for those of us that have grown up knowing Lowry as one of Britain’s most celebrated ‘painters of modern life’. During Civic Week, Lowry’s works were displayed in Lewis’s department store, where they were mostly passed by – despite the favourable reviews the Guardian had given his first solo show in 1921. A.S. Wallace, however, fell for Lowry’s depictions of the ‘lovely, ugly town’ (to borrow from Dylan Thomas’s description of his hometown of Swansea), striking up a friendship with the artist and asking to buy one. Lowry duly obliged: Going to the Mill is marked on the back as being £30 – Lowry let Wallace have it for £10. If not his first ever sale, this has to have been one of his earliest. He also threw in an additional work - The Manufacturing Town. The Wallace family still have Lowry’s letter of 9th November 1926, in which the artist writes: ‘Many thanks for your letter and cheque £10. I am very glad Mrs Wallace likes the picture Going to Work and take the liberty of asking you to please accept The Manufacturing Town as a souvenir of the Civic Week. I can assure you that it will always be with great pleasure that I shall think of that Saturday morning.’   The latter painting was sold by the Wallace family – with Lowry’s blessing, as he understood that a new generation of the family needed help getting set up – and is now in the collection of the Science Museum in London. Going to the Mill was kept – recently being on long term loan to Pallant House Gallery, Chichester, and only comes to market now as a further generation finds themselves in need of a ‘leg up.’Going to the Mill is the epitome of a 1920s Lowry, when he truly becomes a unique voice. In the overall smoky, sooty quality of the sky and buildings – it will be a few years yet before Lowry begins to stage his visions of the city against isolating backgrounds of plain flake-white – we see the influence of his teacher, Alphonse Valette, who had been drawn to Manchester precisely for its grit and the Romantic quality of its dark streets and thick polluted skies, the poetic fallacy of heavy-set architecture shrouded in smog, from which individual stories emerged, lamp-lit for moments, before being swallowed up by the gloom. Yet Lowry holds our attention to these individual lives much longer (and this is eventually the function of those white backdrops, to separate individuals from the mass and to hold them in time). Looking at Going to the Mill, initially all we see is a crowd, drawn inextricably – like water pouring towards a drain – to the gate of the mill on the left. But Lowry invites us to spend time looking, and slowly the painting reveals the men walking away from the mill, the woman standing alone looking out at us, drawing the viewer into the lives of others, or the man carrying what seems like a large portfolio, who could be an avatar of Lowry himself. As such, the crowd is broken down into individuals, each with a story – a story that Lowry himself manages to capture with a flick of the brush, a weighting of the paint, a bend of the knee or turn of the shoulder. Going to the Mill shows us that he is no naif painter of ‘matchstick men and matchstick cats and dogs’ as the old pop song goes – this is an artist of true dexterity who is making a deliberate formal choice, abstracting the figure, in order to express a concept, the sense of a life lived in even the smallest, most incidental figure. His works are as composed and deliberate as Seurat’s A Sunday on La Grande Jatte but imbued with an intensity of feeling more easily found in Van Gogh’s early paintings of Dutch peasants. These comparisons are not over-blown, not least as Lowry, in the early 30s, was one of the very few British artists exhibiting in the Salon in Paris and gaining recognition for the precision and intensity of his vision. And it is important to note that it was T. J. Clark, the great art historian of French painting of the late 19th and early 20th century, who curated Lowry’s 2014 Tate retrospective and presented Lowry deliberately as another of the great ‘painters of modern life’.Lowry’s paintings are never simple renditions of what he saw on the streets of his beloved city (or, more accurately, cities – Salford and Manchester). Works such as Going to the Mill are theatrical in their conception, which is why the ‘backdrop’ of the mill at Pendlebury repeats itself, often in altered configurations, throughout his works – such as the slightly later A Town Square, formerly in the Midland Bank collection, which sold at Sotheby’s in 2024. The city becomes a stage for an exploration of loneliness, isolation, loss, hope, although in Lowry’s hands the buildings themselves function as actors – figuring birth, marriage, death and the tyranny of mill-time, before, in later works, they are enveloped in an all-consuming white of Beckettian structure. Lowry was an inveterate theatre-goer who – intriguingly, instructively – cited both the 1920s ‘kitchen sink’ drama Hindle Wakes and Luigi Pirandello’s absurdist masterpiece Six Characters in Search of an Author as highly influential on his work. The breadth between these two plays indicates the breadth of Lowry’s conceptual framework for his apparently ‘simple’ painting. This conceptual reach, centred on the urban experience, is – as T. J. Clark argues so persuasively - what makes Lowry so relevant today, in our world of megalopolises, many of them growing at the same break-neck speed as Victorian Manchester once did. 

Interesting early, probably 16th century Continental oil on panel, Ecce Homo, 26 x 18cm in wooden frame, indistinctly inscribed to label verso... 'this painting of our Lord which is late fifteenth or early sixteenth century...was discovered...about 1860, having been relegated...it came into my possession about 1950, it has been cleaned and...at the Victoria and Albert Museum, South Kensington'

Naive early-mid 19th-century oil painting on board, full length depiction of a gentleman amputee, 29 x 19cm, in period frame

A Chinese oil painting, 20th century, possibly the Port of Shanghai, oil on canvas, 42 x 52cm, framedCondition ReportFrame 67 x 77cm. Frame with splits, cracks and chips. Dirt and cracks to painting, a/f.

Football - Pele (1940-2022) - autographed limited edition print by C. Michael Dudash, after the original oil painting. Signed by Pele and the artist to the lower margin. No.1195/1282. With certificate of authenticity to rear. Framed and glazed. Total size: 86cm x 65cm.

Patrick Rousseau (French school, b. 1961) - Party - a 20th century Impressionist style oil on canvas painting depicting a party scene. Framed & glazed. Measures approx. 50cm x 50cm.

N. Nordberg (German school) - an early 20th century 1939 oil on canvas painting of a lady reading. The elderly lady modelled wearing shawl, a spindle in front of her, reading a book. Signed lower right hand corner. Framed & glazed. Measures approx. 51cm x 40cm.

Two early 20th century oil on board paintings of continental city bridge scenes. Comprising a painting of the Ponte Medici & another possibly French bridge. One with R A monogram lower left hand corner. Each in ebonised frame.Measures approx. 26cm x 21cm incl. frame.

W. Veitch - an early 20th century oil on board satirical painting. The painting depicting three hooded monks smoking. Signed lower right. Framed. Measures approx. 20cm x 30cm.

GILT FRAMED OIL ON CANVAS PAINTING WINDSOR CASTLE, FRAMED DRIVING THE SHEEP PRINT

OIL ON BOARD FRAMED PAINTING 15" X 18" CLOWN BY SIMON

Bill Burton (W.F. Burton, 1907-1995) oil on board - 'A Crisp Morning', signed, 49cm x 75cm, framed Painting in good condition without defect, however the frame has some losses to top and bottom edges, additional photos available online.

Local interest* George Harrison (British 1840-1910) oil on canvas, lakeland ghyll, signed lower right, within a moulded gilt frame, 44cm x 34cm & 56cm x 46cm overall, re-lined and re-framed with some patches of over-painting, most likely cleaned. some damage to frame lower edge, central.

A 19th century English school oil on canvas, rural scene with figures, cattle and horse crossing a stone bridge towards a Tudor house, initialled J.F and dated 1847 lower right, within a moulded gilt frame 54cm x 75cm & 69cm x 90cm overall, appears re-framed and re-lined with some small patches of over painting, most likely cleaned also. Craquelure.

Thomas J Yarwood (British 1871-1946) early 20th century English school oil on canvas, droving sheep across a bridge, signed lower right within a moulded gilt frame (damage to lower right corner) 39cm x 49cm & 51cm x 61cm overall. Re-lined and re-framed, potentially cleaned with some ssmall patches of over-painting also.

A gilt framed oil on board painting of chrysanthemums signed K M Walker, 1976.

A small oil on board painting of sheep, signed G RoySigned G.Roy in good condition. 12.5 x 17.5cm

Y Property from the Estate of an Edinburgh Collector: Calum McClure (Scottish, b. 1987), Californian Nocturne (2015), signed and titled verso, oil on board. 61cm by 46cm. Provenance: Scottish Gallery, Edinburgh (label verso). Exhib. Calum McClure- Nocturnes and Botanics, April 2016. Note: McClure graduated from the Edinburgh College of Art and in 2011 won the Jolomo Painting Award. He has had exhibtions at The Scottish Gallery in Edinburgh and was an invited artist at the Royal Academy Annual Exhibtion in Lonon in 2012 and has further exhibited at the Royal Academy, London and elsewhere. This lot may be subject to A.R.R.

Y Henry Kondracki R.S.A. (Scottish, b. 1953), Sir Roger, signed lower right, oil on canvas, framed. 24cm by 30cm. Note: the subject of the painting is the life-size elephant nicknamed "Sir Roger" which featured in the exhibition halls of the Kelvingrove Museum in Glasgow. This lot may be subject to A.R.R.

Donald Ayres (British, b.1936), "Looking Towards Exmoor", depicting a huntsman on horseback with hounds, signed, oil on canvas, 29 x 39.5cm, 41.5 x 52cm overall incl. frame, with booklet inscribed "This picture is from the vale between Minehead and Porlock, showing the northen slopes of Exmoor. It is late August.", and the companion painting, "Long Combe", depicting "the view from Stoke Pero Common looking down Long Combe. In the distance is the Bristol Channel", both with original invoices, (framed as a pair). (2)Condition: Long Combe painting - generally in good condition, one small bulge above right of signature, but does not affect the presentation of the painting. Frame with thumb sized chip to lower centre right front edge which has been coloured over to disguise it. Minor chips to top edge of frame and 1 dent. Gilt border to fabric mount with dent on top edge, W.1.5cm approx.Looking Towards Exmoor" - canvas in good condition, very slight arch like ripples in the paint above horizon to the right, 3 other more vertical ripples above the horizon on the left. Not very visible unless moved under light. Frame - small loss to lower central motif on frame, dent on right side of frame and loss to 2 beads on the same side.

A framed and mounted Oil painting of Wentwood Reservoir and Bristol Channel, by Peter Trayler.

A gilt gesso framed Oil painting of a Dutch canal scene by Leon Arie Feyen very ably depicting a barge heavily laden with hay or possibly thatching reeds, moored close to a three-storey building and with the barge's owner in conversation with figures in a rowing boat, one of whom smokes a clay pipe, as smoke rises from the vessel's chimney. A group of ladies carry out their laundry washing on the left bank and a number of figures tend two barges, one with its sails raised, moored on the right hand bank near to a small waterside cottage. In the background are two windmills and a township with a church tower visible over the tiled rooves, whilst in the far distance another church can be seen. The picture has the appearance to the rear of having been relined in recent times and the fine weave of canvas can be faintly detected beneath the paint. 17" x 26" approx., (22" x 31" overall).

A framed and mounted Oil painting by Innocenzo Melani of a young lady by the water fountain, 27" x 31", Certificate of Authenticity on verso.

A framed and mounted Oil painting depicting Sposa al Lido di Venezia e Barchetta by Innocenzo Melani, 20 1/4" x 23", Certificate of Authenticity on verso.

An oil painting of Mount Cook, New Zealand.

Carved wooden figures, including teddy bear, busts, elephants, etc, together with a collection of Indian souvenirs including instruments, boxes, teapot, etc, oil painting, three military caricatures by John Caldecourt and a collection of books, in three boxes

Edith Brearey Dawson (née Robinson) (British 1862-1928): Stream in the Moors, oil on canvas laid onto board signed 17cm x 24cmNotes: Edith was the daughter of a Quaker Schoolmaster living in Scarborough as early as 1881, she studied under Albert Strange at the Scarborough School of Art, exhibiting at the Royal Academy and the RBA between 1889 and 1893. She married fellow artist Nelson Ethelred Dawson in 1893 then moving to London she mostly abandoned painting in favour of metal and enamel work

ANTONIETTA BRANDEIS (Czech/Italian 1848–1926) oil on panel - entitled 'Isola di San Giorgio, Venezia', The Island of San Giorgio, signed with monogram 'AB', ornate giltwood frame, 11 x 20.5cmsProvenance: private collection Carmarthenshire, in same family ownership for approximately 100 yearsComments: some scuffs to perimeter of painting possibly where panel has moved, splits to frame in places, some loose pieces although good for age, viewing recommended