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’.
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λ Two ivory miniature jewels, a pendant and a locket, comprising: a brooch and a pendant, each set with an ivory miniature in sepia, the brooch depicting a girl with a dove, the other with the three Classical women, possibly three of the Muses, within a gilt metal frame chased with floral scrollwork, largest 3.6cm; an onyx, half pearl and diamond pendant mounted in gold on a later fine gold chain, pearls untested; and a gold locket enamelled with a picture of a horse, length 4.4cm
Framed silk embroidered flower, probably 18th century, the pink and white flower, possibly a carnation mounted on cream silk, within giltwood frame, the silk 19.5cm x 14cm, together with a contemporary needlework picture of deck chairs by Hannah Berridge, 11.5cm x 5cm (2) From the collection of the late Maurice Costley
§ Eliot Hodgkin (1905-1987) Seven Green and White Turnips signed and dated ‘Eliot Hodgkin 18.1.61’ (lower right) tempera on board 13.5 x 38cmExhibited:London, Royal Academy Summer Exhibition 1961, cat. no. 677The present work will be included in the forthcoming catalogue raisonné.The picture is behind glass. The nature of the tempera has meant that is has slightly rubbed in one corner which and sightya round the edges under the frame. The signature has slightly faded.
Circle of Antonio Calza (1653-1725)Ottoman cavalry attacking a fort, oil on canvas, 97 x 114cm Sotheby's Old Master Picture Sale, 12th February 2008, lot 206. The canvas has been relined, and signs of retouching. In need of a clean and some light restoration. The frame with knocks and marks.
Frank Moss Bennett (1874–1952)Elizabethan Interiorwith two men playing dicesigned and dated lower left 1923oil on canvas35.6cm x 25.3cm In a gilt foliate frame. Picture surface is stable and appears unlined. Mild craquelure throughout, with some undulation to the canvas. Paint layer is in good condition, with a thin varnish layer.
Follower of Pieter Bout and Adriaen Frans BoudewynsNorthern European Landscapewith musicians and celebrating villagers to foregroundoil on canvas30cm x 36cm In a gilt frame. The picture is relined and in good overall condition. Picture surface is stable, with both varnish and paint layers in good condition, with some losses towards the edges of the picture surface. Mild craquelure throughout.
Gustave de Breanski (circa 1856-1898)Shipping off the Coastsigned and dated lower right 1892oil on canvas61cm x 92cm Framed. The painting has been relined. Picture surface is stable, with minimal visible damage. Some areas of loss to the frame. The painting would benefit from being cleaned and reframed.
Follower of Jan Both (circa 1615-1652)An Italianate Landscapewith cattle, goats and a cowherd resting beneath a treeoil on canvas80cm x 65cm Private collection, Gloucestershire; purchased in the 19th century and thence by descent. In a damaged gilt frame. The artwork is in generally good condition. The picture surface is stable, with craquelure throughout. There is a noticeable area of damage and loss to the lower right. Canvas appears to have been relined.
Manner of David Teniers the Younger (1610-1690)Tavern Interiorwith two peasants surrounded by pots and pansoil on canvas24.5cm x 34cm In a gilt gesso frame bearing some areas of damage. The painting has been relined. The picture surface is stable and it is in good overall condition, with some craquelure and a thin layer of varnish. The picture surface is taut.
After Jean-Antoine Watteau (1684-1721)Les Coquettesoil on panel21cm x 26.4cm Private collection, Gloucestershire In a damaged gilt foliate frame. The picture surface is stable, with areas of craquelure as well as more general abrasions. There is a thin horizontal crack across the extent of the picture surface, towards the top. The artwork would benefit from restoration.
Robert Burrows (1810-1883)Woodland Landscapewith figures and logs to foregroundoil on panel16cm x 24cm with Eastbourne Fine Art, Sussex. In a gilt gesso frame. The painting is generall in good condition. The picture surface is stable, with craquelure throughout. Some damage to the original varnish surfave.
Circle of Michael Dahl (circa 1659-1742)Portrait of Viscountess Blundell, née Mary Chetwynd (1680-1756)three-quarter length, seated, in a blue dress, holding a sprigwith erroneous identifying inscription 'The Hon.ble Miss Blundell' (lower left)oil on canvas (unlined)125.8cm x 99.6cm Ombersley Court, Worcestershire In a gilt frame (bearing some signs of wear). The painting has been restored and relined. Picture surface is stable, with mild craquelure throughout. The canvas bears prominent stretcher marks, especially across the middle of the picture surface. There is an approx 2cm tall vertical tear to the same area of the canvas, along with some small, matt undulated areas indicating repair work to previous tears. Some other more general areas of unuldation are also present to the canvas.
Enoch Seeman (circa 1694-1744)Portrait of a Gentlemanhalf-length, probably The Hon. Montague Blundellin a white shirt, red waistcoat and blue naval jacketin a feigned ovaloil on canvas76.5cm x 63.3cm Ombersley Court, Worcestershire in an 18th Century Maratta frame. The painting is generally in good overall condition. It has been relined and restored. The picture surface is generally stable, with some slight potential areas of flaking around the middle-right of the composition. There is craquelure throughout, and there are some areas of unevenness, indicating potential losses to the varnish layer in places. There is some slight undulation to the canvas in places.
After Pieter Wouwerman (1623-1682)Troops at Restdepicting soldiers in a landscape with a tent in the distanceoil on panel41cm x 55cm Purchased in 1888 in the Palmer Sale and passed by descent to the current owner. In a gilt frame bearing loss to gesso as well as other damage and wear. The artwork itself bears some issues, including areas of loss, craquelure and abrasion. The panel support consists of three evenly spaced, horizontally divided sections; the corresponding joins show through the picture surface as evenly spaced horizontal lines.
J B Brookes (19th Century)In Chatham Parkmonogrammed lower rightoil on canvas69cm x 89cm In a graduated gilt frame. Picture surface is stable. The artwork itself is generally in good condition, with some fairly small abrasions to the picture surface. The frame is in poor condition, with areas of loss and wear.
Attributed to Caspar Netscher (1639-1684)Portrait of a Gentlemanthree-quarter length, wearing armour with an embroidered red and gold sashby a rocky edge, with a plumed helmetoil on canvas45cm x 38cm Framed. The picture is stable, with craquelure throughout. Some other light surface dirt and abrasions. Canvas has been relined. Some damage and wear to the frame.
Circle of Jonathan Richardson (1667-1745)Portrait of a Ladythree-quarter length, seated, at a pianofortebefore a classical columnoil on canvas126cm x 101.5cm In a period carved giltwood frame. The painting has been restored and relined, most likely at some point in the twentieth century. The artwork is in good overall condition. The picture surface is stable, and there is little further visible damage apart from some mild surface dirt. Some damage and loss to the carved giltwood frame.
After Dosso Dossi (circa 1489-1542)Noli me tangeredepicting Jesus and Mary Magdalene in a landscapeoil on panel44cm x 57.8cm Private collection, Gloucestershire In a gilt foliate frame (the frame bearing damage, craquelure and loss). The picture surface is stable, but bears some signs of damage, including general areas of craquelure throughout. There are also a few more prominent horizontal linear cracks to the picture surface, generally extending across the width of the artwork. Bears Christie's stencil to the reverse. Artwork has not been examined under UV.
A VICTORIAN OVAL GILTWOOD OVERMANTLE MIRROR BY C.NOSOTTI, 19TH CENTURY The rope-twist surround with tied cresting, supported by dolphins with looped tails and a channelled scrolled base, metal label to reverse `C.NOSOTTI, CARVER & GILDER, UPHOLSTER & CABINET MAKER, 398 & 399 OXFORD ST' 170cm high, 180cm wideIt is believed the firm of C. Nosotti began in 1822 as evidenced by an early Victorian mirror sold Christie's, London, 9 December 1992, lot 402 bearing the label 'C. Nosotti, House ... Looking Glass Manufacturer 397.398 Oxford Street 399.399, established 1822.' In 1829, Francis Nosotti, looking glass and picture frame maker, is listed at 298 Oxford St, while Andrea Charles Nosotti is listed at 2 Dean St., Soho, from 1835-40, trading as carver, gilder, upholsterer and cabinet maker. Almost certainly born in Milan, Andrea Charles Nosotti's high standard of workmanship led him to exhibit a giltwood cabinet at the 1862 London Exhibition that he had made for the Countess of Waldegrave's drawing room at Strawberry Hill. The cabinet is illustrated in J. Meyer, Great Exhibitions 1851-1900, London, 2006, p.167. Further commissions came from the millionaire industrialist John Allcroft at Stokesay Court, Shropshire. Nosotti advertised furniture in the Art Journal Catalogue of the International Exhibition, 1867, noting that his firm enjoyed the patronage of the Princess of Wales and he later collaborated with the firm Howard and Sons. Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The mirrors replaced.Condition Report Disclaimer
CHARLES CATTON (BRITISH 1728-1798) THE TRIUMPH OF LOVE Oil on canvas 68 x 90cm (26¾ x 35¼ in.) Exhibited: London, Royal Academy, 1776, as 'The Triumph of Love - an emblematic picture' Condition Report: The canvas has been relined and trimmed at the edge so the lining canvas is visible where the picture has slipped in it's frame. There are also minor abrasions to the edges. There is fine surface cracking, but the paint layer is stable. It has a thick layer of discoloured varnish making it difficult to read under UV light, but there doesn't appear to be any significant retouching. There are minor scuffs and abrasions in the varnish layer. The frame has numerous chips, losses and abrasions. Condition Report Disclaimer
A LATE GEORGE III FOLK ART EMBROIDERED PICTURE OF A FARMYARD SCENE EARLY 19TH CENTURY Needlework, felt and textiles on painted backdrop, later set in glazed frame Panel 36.5cm by 51.5cm, frame 53 by 67cm Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The surround and backboard showing water stains throughout and with scattered spot stains visible throughout main image. Colours have muted from sunlight and are not as bright/vivid as catalogue image suggests. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
ANGELICA KAUFFMANN (BRITISH 1726-1795) PORTRAIT OF JOHN SIMPSON OF CO DURHAM, SEATED FULL LENGTH WEARING A RED VANDYCK COSTUME Oil on canvas Signed 'Angelica Kauffmann Pinx' (lower right) 74 x 61cm (29 x 24 in.) In a carved gilt wood Kentian frame Provenance: The sitter, (probably) thence by descent to his daughter Maria Susannah, Lady Ravensworth (1773-1845) (probably) Thence by descent to her daughter Susan Yorke, Countess of Hardwicke (1810-1845) The Earl of Hardwicke Sale, Christie's, London, 27 June 1924, lot 140 Probably purchased by The Hon. Claude John Yorke from the above sale Thence by descent to the present owner Exhibited: Billingshurst, Sotheby's, Sussex and the Grand Tour : a loan exhibition of paintings and other works of art from collections in Sussex and neighbouring counties, 1986Illustrated: The Connoisseur, May 1965, p.6This picture is one of three versions that the artist painted. One is at National Portrait Gallery, London, and the other (the prime version) in the Belvedere Museum, Vienna. It is a quintessential example of the artist's talent in portraiture. Draped in an elegant red Van Dyck costume, John Simpson is portrayed sitting in a nonchalant posture, crossing his legs and resting his left arm on a classical relief. The calm posture, however, might conceal a hint of melancholy in the eyes, as the relief on the bottom right corner depicting Agrippina and her children mourning over the ashes of Germanicus, seems to suggest - a subject that Kauffmann also painted another time with the painting held at the Kunstpalast of Dusseldorf. This portrait version probably passed from the sitter to the Yorke family when John Simpson's daughter Maria married in 1796 the 1st Baron Ravensworth, and whose 6th daughter married in 1833 the 4th Earl of Hardwicke, Charles Philip Yorke. Condition Report: The canvas has been lined. Craquelure, with some associated blooming throughout. The blooming most noticeable at the lower right quadrant. There is a small spot of loss (approx.. 3mm) at the lower edge of the canvas. Stretcher marks visible in a natural light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals a green cloudy masking varnish which appears to be attempting to conceal some patches of over paint throughout. There is also some very fine, sensitive infilling to the craquelure.Condition Report Disclaimer
AFTER WILLIAM MARLOW THE MONUMENT TO THE GREAT FIRE OF LONDON AT FISH STREET AND GRACECHURCH STREET Oil on canvas 104 x 87cm (40¾ x 34¼ in.) In a carved and pierced giltwood frame After the engraving by Morris of the picture exhibited at the Royal Academy in 1790Provenance: Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descentLiterature: The Connoisseur, May 1965, p.3Illustrated: The Connoisseur, May 1965, p.3
FOLLOWER OF SAMUEL SCOTT THE THAMES AND ST PAUL'S CATHEDRAL FROM THE GARDENS OF SOMERSET HOUSE Oil on canvas 59 x 100.5cm (23 x 39½ in.) In a carved giltwood Kentian frame Provenance: Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descent Illustrated: The Connoisseur, May 1965, p.3 This painting is a copy of one by Canaletto (1697-1768) entitled 'The Thames from Somerset House Terrace towards the City', now in the Royal Collection (RCIN 400504, house-terrace-towards-the-city ). The Canaletto painting is one of a pair, painted by the artist probably when he returned to Venice from London in c. 1750-1. The accompanying picture is 'Thames from Somerset House Terrace towards Westminster' (RCIN 400506). The Canaletto pair of paintings was acquired by his great friend and patron, Joseph Smith, who was British Consul in Venice, and from whom they were later purchased in 1762 by George III. Canaletto became popular in England after his visit in 1746-55, which saw the emergence of a group of English topographical painters. One of the most renowned was Samuel Scott (1710-1772), who evolved from being a marine painter to creating drawings and paintings depicting scenes of the Thames and its environs. Scott, for example, completed a series of at least 62 paintings in oil and all but one use the Thames in the foreground, populated by river craft, together with riverside buildings forming a topographical townscape (M. Ellis, 'River and labour in Samuel Scott's Thames views in the mid-eighteenth century', The London Journal, Vol. 37 No. 3, November 2012, pp. 152-73). On occasion, Scott used artistic license rather than topographical accuracy, adding or deleting spires, and omitting material from the background. Scott's sea and cityscapes were fashionable, and he exhibited in London from 1761 at the Society of Artists, the Free Society, the Royal Academy and the Spring Gardens Rooms. Condition Report: The canvas has been lined. There is an uneven layer of dirty varnish and this has caused some discolouration to the sky (see online images). Over vertical stretcher mark visible, centre left, in a raking light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of restoration or retouching.Condition Report Disclaimer
A 19th Century carved giltwood and gesso framed rectangular wall mirror with gadrooned and foliate decorated swept frame enclosing a plain rectangular plate bearing label verso "Chapman Bros Carvers, Gilders & Frame Makers - Picture Restorers, Kings Road ... London", 115 cm x 149 cm (probably picture frame with later plate)
19TH CENTURY SCHOOL "Study of old woman in lace-trimmed cap in a parlour", watercolour, unsigned, 26.5 cm x 23 cm, 19TH CENTURY SCHOOL "Chronological tables of the English History of the Instruction of Youth", black and white engraving, 40 cm x 57 cm, J FITZGERALD "Elizabeth Fort and Old Saint Finbar's", pencil drawing heightened with colour and white, signed lower right and housed in a verre eglomise frame, 25 cm x 36 cm, a box containing three carved wood and gilt picture frames, each containing miniature portraits / prints, a 19th Century sand picture depicting a "Row of alms type houses", 11 cm x 17.5 cm, together with other various pictures and prints (23)
A Levantine carved hardwood and brass mounted rectangular picture frame, late 19th century; the openwork tracery sides running to foliate marquetry corners, 36 x 31cm; a painted wood frame in Pre-Raphaelite taste, late 19th century, with foliate decoration, 27 x 22cm; and a Continental cast metal photograph frame, circa 1900, the front with insects and foliage in relief, the back indistinctly signed, 27 x 21cm
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26498 item(s)/page