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’.
We found 64257 price guide item(s) matching your search
There are 64257 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
64257 item(s)/page
Two bottles of First Cask Whisky: a Port Brechin Highland Malt Whisky, 24yr, distilled in 1976, 46%, 70cl, Cask no 3903, Bottle no 106, together with a Aberfeldy Highland Single Malt Scotch Whisky, 19yr, distilled in 1993, 46%, 70cl, Cask no 5603, Bottle no 330, Collector in Surrey Good condition
Inscribed 'presented MWG Wenthe..Doric Kilwinning Lodge N68 on the occasion of his leaving Port Glasgow for Dundee 27th June 1882' D. 5 cm L. 6.5 cm gross weight : 48 gr. *In accordance with our General Conditions of Sale, the lot is sold 'as is'. The auction house does not guarantee the accuracy of timekeeping or the condition of the lot. The buyer accepts full responsibility for any repairs, maintenance checks, or works that may be required. The condition or timekeeping state will not justify delayed payments or cancellation of the sale.
A NEAR PAIR OF CARVED TURKISH MEERSCHAUM MINIATURE WATERPIPE BASES (NARGILEH OR SHISHA) Eskişehir, North-Western Turkey, dated 1929, made by the master carver Ali OsmanComprising a near pair of decorative Meerschaum (sepiolite) miniature waterpipe bases, each accompanied by a dark burgundy leather hose and narrow, tapering amber mouthpiece, of rounded cylindrical shape with narrow shoulders, resting on a short circular base, with a tubular stem carved with floral motifs and a hose port on the side, surmounted by a lampshade-like circular tray with tassels, and a slender tapering bowl with floral collars, the style and design influenced by European decorative canons featuring vine trellis and bunches of grapes on the body, the base and foot signed and dated Ali Osman Eskişehir Hamam Sokagi no.5 1929.20.7cm high the tallest 20.7cm high the tallest Qty: 2
Tatlock RR: A Record of the Collections in the Lady Lever Art Gallery, Port Sunlight. Formed by the First Viscount Leverhulme: THREE volumes: 1- English Painting; 2- Chinese Porcelain & Wedgwood Pottery; 3- English Furniture, Tapestry, & Needlework. Batsford, 1928, LIMITED EDITION OF 200 COPIES, with DWs & slipcase. FINE SET. (3)
Steel butt plate, sling attachment, straight grip. forend near to muzzle, mid-barrel band with sling attachment, forward barrel band with integral bayonet lug, post foresight, swept rear sight, loading port. Weight 10lb 4oz OAL 51 1/4" FAA – Sect 58 Obsolete Calibre – can be held as a curio without any certification. Condition ReportM - C, F - C, W - C Much finish remaining - silvering to edges, very little damage to stock
Orrefors glass decanter 'Sussex Stand 1990', glass ships decanter with silver collar 'Graham's Vintage Port', silver decanter label, boxed, French blue glass bowl on pewter stand 'Deauville 2012, Atlantis Gulotta glass vase etched with a racehorse H21cm and other glass with racing connections
Two pieces: 1. A large Nuremburg 17th century style bronze cup weight box, with dark brown patination, probably early 20th century, the hinged lid with mythical beast and female bust mounts and clasp, 21cm high (lacks nested weights from interior) 2. A copper and brass Port and Starboard ships's lantern, with red and green glass and top swing handle, 26.5cm high plus handle
ALEXANDRER NASMYTH (BRITISH 1758-1840) PONT ABERGLASYN, NORTH WALES; AND AUCHINLECK CASTLE, AYRSHIRE The first, oil on panel; the second, oil on canvas, a pair Each 46 x 61cm (18 x 24 in.) (2) Condition Report: PORT ABERGLASLYN: A dirty varnish causing some discolouration which is most noticeable to the sky. Also with one or two brown spots of surface dirt (see online and catalogue images). Rubbing and abrasions to the framing edges. Inspection under UV light reveals some very fine in-filling and retouching scattered throughout. AUCHINLECK CASTLE: The canvas has been lined. There is an uneven, dirty, varnish which has caused some discolouration. Surface cracking to the upper centre of the sky with some associated lifting (see online and catalogue images). Additional craquelure throughout. There is an area above the aforementioned area of lifting with in-filling which can be seen in a natural light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals some light retouching scattered throughout, but most of it is focused on the previously mentioned area in the sky.Condition Report Disclaimer
19th century British School. Watercolour on paper A pair of three-quarter length portraits of Mrs Dalgairns and Lizzie Ornsby, née Dalgairns, circa 1840-1850, the first portraying a seated lady holding a book, the second a pastel on paper, depicting a lady standing in the grounds of a house, wearing a blue dress and holding a book, mount apertures 50cm x 35.5cm and 49cm x 36.5 cm respectively, uniformly gilt window mounted and framed Lizzie Ornsby glazed, both versos with typewritten label The typewritten labels on the frames verso read: Mrs Dalgairns, née Dobrée, of The Rosaire, Guernsey, [and] Lizzie Ornsby, née Dalgairns, daughter of Captain Dalgairns. Elizabeth Dalgairns (1819-1898) was born in St Peter Port, Guernsey to William Dalgairns (1786-1869) and Caroline Dobrée (1798-1852, of an old Guernsey landowning family). Elizabeth married Robert Ornsby (1820-1889) with whom she had one child: Harriet Lowe Ornsby (1848-?). Elizabeth died in Dublin, Ireland. William Dalgairns was an officer in the Scots 7th Fusiliers during the Peninsular War - a Lieutenant rather than a Captain. Robert Ornsby was a Fellow of Trinity College, and later a Professor in the Roman Catholic University of Ireland. Both he and John Dobrée Dalgairns (brother to Elizabeth) were contributors to John Henry Newman's 'Lives of the English Saints'. Condition Report Mrs Dalgairns with some foxing spots to background (slightly affecting headdress), Lizzie Ornsby with some darkening to skin and clothing
Soul / Funk / Disco /House - A collection of approx. one-hundred and sixty 7" singles including Keith Nunnally, Mass Order, Sandy Mercer, Steve Mancha, M People, Joanna Law, Lanier & Co, LaSo, Denise La Salle, David Lasley, Eddie Kendricks, The Brothers Johnson, Rodeo Jones, Incognito, Inner City, The Intruders, Rocky Gil & The Bishops, Eddie Floyd, The Temptations, Shanice, Bobby Nunn, The Miracles, Bettye Lavette, High Inergy, Marvin Gaye, Dennis Edwards, Eve Gallagher, Gap Band, Donna Gardier, The Floaters, Joy Fleming, Fat Larry's Band, The Funk Master, Roberta Flack, Four Tops, The 8th Day, El Coco, Enchantment, En Vogue, Rebecca de Ruvo, Don Downing, Ronnie Dyson, Dynasty, Will Downing, D Train, Sarah Dash, Des'ree, The Drifters, Omar, Alexander O' Neal, O'Jays, New York Port Authority, Brass Construction, Adamski, Donna Allen, Tamsin Archer, Ashford, Atlantic Starr, Gerald Alston, Yoyo Honey, Hollywood Crestas, Steve 'Silk' Hurley, Isaac Hayes Movement, Michael Henderson, Herbie Hancock, Leon Haywood, Eddie Henderson, Al Hudson & The Soul Partners, Gabrielle, Gwen Guthrie, Gary's Gang, Gloria Gaynor, Cashflow, The Creations, Omar Chandler, The Chimes, Colours, Gene Chandler, Crusaders, The Band A.K.A., The Brand New Heavies, Brenda & The Tabulations, Blue Swede, Blaze, Regina Belle, Brooklyn Bronx & Queens, Wes Brooks, Slick, Marilyn McCoo & Billy Davis Jr., Surface, O.R.S., Maze, Sun, Lou Rawls, Bill Paul, O'Jays, People's Choice, Harold Melvin & The Blue Notes, Jocko, The Intruders, The Jones Girls, The Force, Archie Bell & The Drells, Chapter & The Verse, Cameo, Oliver Cheatham, Willie Collins, Carl Carlton, Earth Wind & Fire, The Emotions, Tyrone Davis, Ronnie Dyson, Constellation Orchestra, Champaign, Philip Bailey, Barbara Pennington, Damon Harris, Billy Griffin, Bruce Johnson, Frederick Knight & Fearn Kinney, Ramsey Lewis, Lemon, Cheryl Lynn, Musique, Pockets, Marlena Shaw, Johnnie Taylor, Mica Paris, Ce Ce Penniston, Peaches and Herb, Vicki Sue Robinson, Seawind (approx. 160, vinyl generally VG+, numerous promos)
Group of three 19th Century coloured engravings, ' The Attack of the Stockades at Pagoda Point ', drawn by Moore, engraved by Reeve 1826, ' The Attempt of the Birmans Stockades of Dalla ' after David Cox, and ' The Harbour of Port Corn Wallice ', after Moore, each approximately 25 x 37cm, framed
WILLIAM J. CORAH (British 1842-1922) watercolour - fast flowing stream, signed, 37 x 53cms, framed and glazed, JAMES JACKSON CURNOCK RCA (English 1839-1891) watercolour - entitled 'Llyn Llydaw, Snowdon, North Wales', unsigned, 28 x 46cms, framed and glazed, foxing to the sky area, GWYN BROWN (Welsh. 20th C.) pastel - view of Amlwch Port, Tegfryn Gallery Menai Bridge label, signed, 32 x 53cms, framed and glazed, EMIL ALBERT KRAUSE (1866-1922) watercolour - entitled 'Snowdon, Capel Curig', fully signed, 34 x 51cms, framed and glazed, DAVID COX JR. (English 1805-1885) watercolour - entitled verso 'Snowdon, North Wales', unsigned, 17 x 36cms, framed and glazed (5)Provenance: private collection ConwyComments: in descriptionNotes: Emil Albert Krause was born in Biesdorf, Germany on 8th July 1866 and was the son of Franz Emil Herman Krause 1836-1900. He moved to England with his father and mother Amelia and they all became naturalised British subjects in 1881. They firstly lived at 42 Liverpool Road, Birkdale, Southport, Lancashire, with his father later moving to Conwy in North Wales, where Emil also spent some time, as he exhibited from there. His mother was an Amelia Stock, whose father Johann Stock was also an artist. He officially changed his name to Emil Albert Stock in 1916, although he sometimes signed as A. Stock, presumably to anglicise his name due to the anti-German feeling during the WWI. He died on 18th November, 1922 and was buried in the Duke Street Cemetery in Southport with his mother and brother Richard. His father Francis was buried in Conwy. He exhibited 1891-1914 as Emil A. Krause, 14 paintings at the Walker Art Gallery in Liverpool, 3 at the Manchester City A.G. and 20 at the Royal Cambrian Academy. He exhibited 1 painting at the Walker again in 1921 as E. A. Stock. With thanks to Mr Richard Thomas for assistance in cataloguing this lot.
Four bottles of port, comprising of: Almeida 1966 Ruby Port, matured in wood in the Douro District and bottled in 1977, with red wax grape seal stamp, 75cl, 20%; a Royal Oporto 1977 vintage port, 75cl, 20%; a Dow’s Crusted Port, bottled in 1986, 75cl, 20%; and a Fonseca Bin 37 Port, bottle No 05632, approximately 75cl. (4)
A collection of spirits, comprising of: Mozart Liqueur, 50cl, 20%; Calvados Phillippe Bizouard, 70cl, 40%; Siglo White Spanish Wine, 75cl, 11%; Freezomint de Cusenier Crème de Menthe Liqueur, 70cl, 24%; Pimpeltjens Nassau Orange Liqueur, 70cl, unknown proof; Liquore Strega, number 359, large bottle, 42.3%; Luxardo Liqueur, 17.6fl oz, 50.7%; Liquore Strega Liqueur, large bottle, 40%, 1 litre; Vaccari Sambuca, 70cl, 38%; Harveys Bristol Cream Original Superior Sherry, 75cl, 17.5%; Cockburns Light White Port, 75cl, 20%; Fernet-Branca Liqueur, 75cl, unknown proof. (12)
Loading...-
64257 item(s)/page