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’.
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Flemish School. 16th century.‘Mary as the Gateway to Heaven. Allegory of the examination of conscience to achieve a Good Death’.Oil on panel. Accompanied by an imposing carved and gilded wooden frame.92 x 70 cm.Magnificent panel depicting the final moment of a human being lying in the centre of the bottom of the composition, taking stock of his good and bad deeds, the examination of conscience of his life; a prayerful reflection on his thoughts, words and actions in the light of the Gospel to determine how he may have sinned against God and others. The artist must have been familiar with the theology of the time, as taught by St. Ignatius of Loyola in his Spiritual Exercises, which taught: ‘at the end of the day, at the time of going to rest’ ‘to make a daily peaceful reflection on all that has happened [...] to find God in all things [...] even in those where God had apparently hidden himself’. 'The human conscience imagines its life at the ‘hour of eternal rest’. The painter places Mary, the Gate of Heaven, at the centre, as the Mother of Mercy who always awaits with open hands on her heart. In Glory, the Holy Trinity awaits, God the reigning Father, the Suffering Son and the Holy Spirit who flies over everything and everyone. When contemplating this work, we see three differentiated levels, in which numbered phylacteries fly, like speech bubbles, which arrange the conversation. Above in the sky: Son (11) ‘PATER RESPICE VULNERA MEA...’ (‘Father, remember my wounds...’). And he also addresses his mother (14): ‘MATER MEA, FIAT TIBI SICUT VIS’ (‘My mother, let it be done as you will’). God the Father (12) ‘VENIT TEMPUS MISEREN DIEORUM’ (‘The hour has come for the miserable days’).The Father, who addresses the Virgin and calls her Daughter: ‘FILIA FIAT TIBI SICUT VIS’ (‘Daughter, be it done as you will’). And the third from heaven is the Dove or Holy Spirit (1) ‘SPONSA FIAT TIBI SICUT VIS’ (‘Bride, be it as thou wilt’). On the second level, horizontally speaking, and in the centre, the Virgin responds with three phylacteries (8): ‘PATER RESPICIE IN FACIEM CHRISTI’ (‘Father receive and look at the face of Christ’), (9) ‘FILI ASPICE UBERA QUAE TE LACTAVERUNT’ (‘Son, look at the breasts that suckled you’), and (10) ‘S. Se. DEUS ECCE QUOS AMAS INFIRMANTUR‘ (’God, Holy among the Saints, strengthen those you love"). The angels on the left, over which he prays: ‘PER HANC NOS AD DEUM’ (‘Through these, we go to God’), ask their Queen (7): ‘IUUA PUSILLANIMES, MARIA ANGELORUM REGINA’ (‘Mary, Queen of Angels, look upon the fainthearted youth’). On the right are saints and the Church: Saints Peter and Paul, Popes and Holy Fathers, and Saint Peter the Martyr, among others. Above them: ‘PER HANC DEUS AD NOS’ (‘Through these, God goes to us’), and they respond to their Mother: ‘SU COURE MISERIS SANCTORUM MATER’ (‘Merciful Mother of Saints, attend this tribunal with your heart’). On the earthly level, rests the conscience, lying in the form of a sick human being, who speaks to the Virgin (2): ‘MARIA, TU AB HOSTES PROTEGE ET HORA MORTIS SUSCIPE’ (‘Mary, protect yourself from the enemy and listen to the hour of death’). To which she replies from heaven (16): ‘CONFIDITE FILII, EXAUDITE EST ORATIO NOSTRA’. (‘Son of trust, hear our prayer’). And St. Michael the Archangel, who is named, brandishes his sword over the devil, and says to him (17): ‘IMPERET TIBI DEUS’ (‘God will annihilate you’). And that devil, who is leaning over the recumbent, says (1): ‘PECCAMUSTIS NON SPERETIS VENIAM’ (‘You must sin, do not expect forgiveness’). To the left of the couch, is an angel looking up and praying (5): ‘OCURRITE ANGELI DOMINI’ (‘Angels of the Lord, come’). To the left of his wing we read ‘STOS’ (‘he who remains standing’). To the right of the sick man Saint John the Evangelist (‘PROTECTOR’, behind him, above the shield) cries out: ‘SUB VENITE SANCTI DEI’ (‘Saints of God, come to him’). Two saints pray with the sick man, a Carmelite and an Augustinian, behind whom ‘death breathes, symbolised by the caravel waiting patiently with its shining dart’. The sick man communicates that he has had only one thought, of the fear of God (‘TIMOR DEI’), his whole life rests on the theological virtues, Faith, Hope and Charity (pillows), rests on his good works, thoughts and words (‘BONAE OPERA, BONAE COGITATIONIS, BONAE LOQUTIONES’), and rests on the cardinal virtues (legs of the bed) Prudence, Justice, Fortitude and Temperance. The devil, who stalks the dying man, sticks out from under his bed, which raised on a platform covered with a valance: ‘CONFUNDANTUR QUI ME PERSEQUNTUR ET NON CONFUNDAR’ (‘Those who persecute me will be confused, and they will not confuse me’); while the dying man prays and speaks to all: ‘MISEREMINI NOSTRI SALTEM VOS, AMICI NOSTRI’ (‘At least, you, our friends, have mercy on us’). All this theological life ‘has a face, an owner, a face, a family’, represented by the heraldic shield on the right of the evangelist and beloved disciple, either the person who commissioned the work or its painter. A shield in gold, gules and black with a heart surmounted by the Holy Cross of Jerusalem with initials B, E, P, O.Finally, we should note that an almost exactly similar panel, although not so dark in the background colour, with more light, with the same iconography, perhaps also by the same artist, is in the Pilgrimage Museum in Santiago de Compostela.
Painter of the Andean viceroyalty. Attributable to Francisco José de Lerma y Villegas (Caracas, Venezuela. 18th century. Active between 1719 and 1753).“Patronage of Our Lady of Mercy over the Order of the Mercedarians”Oil on canvas.The canvas has some damage.52,5 x 39,5 cm. (with frame: 100 x 61 cm.)The painting with the same subject matter as this one, ‘The Patronage of the Virgin of La Merced’, which is kept in the Museo de Arte Colonial de Caracas Quinta de Anauco, is also by Lerma and is based on an engraving by Cavalli. The two have great similarities.As we read in the Royal Academy of History, ‘In his pictorial works we can observe careful drawing, harmonious colouring and an adequate knowledge of light and shade, as well as the combination of various stylistic features resulting from the imitation of prints and engravings from a wide variety of sources’. Our work is based on the engraving by Pieter de Jode I (1565 - 1639) ‘Our Lady of Mercy’ (PI 626A/3935B).Wonderful canvas from New Spain, richly framed, depicting one of the most popular themes in New Spanish art, the so-called "Patrocinio" (Patronage), which shows the Virgin Mary (in this case) or a saint (cf. parallels with the Patronage of Saint Joseph in this same auction, lot 62) protecting communities, religious orders, corporations and authorities under her mantle (with a clientelistic and corporate scheme typical of the Ancien Régime), as the main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by Saint Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims. The Mercedarians committed themselves with a fourth vow, to liberate others who were weaker in the faith, even if their lives were endangered by it.This Virgin of Mercy, crowned ‘as queen’ of heaven under the Holy Trinity who contemplates and blesses the moment, protects the order of the Mercedarians, the Pope and the King under her wide mantle, raised and supported by two angels.The Pope we see is Gregory IX, who approved this religious order in 1235 with the Papal Bull "Devotionis vestrae"; next to him is Saint Raymond Nonnatus, another of the ‘principals’ of this order; the king, James I of Aragon, known as ‘the conqueror’ and, next to him, its founder Saint Peter Nolasco, and Saint Mary of Cervelló, left, founder of the female branch of this order, with some more of these Mercedarian sisters.All, without exception, are prostrate on a period checkered tiled floor: the king, the Pope and his bishops, and the entire religious order, kneel before the Virgin Mary and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor are scattered shackles, symbols of the redeemed captives.The painting has an imposing period frame, richly carved and gilded, with sections in painted glass (the polychrome is posterior). It is polychromed in blue, with flowery poinsettia, enclosing and completing the beauty and devotion of the painting. Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.
Diego de Aliaga (Andean Viceroyalty, Active between 1770 - 1780)‘Patronage of Saint Joseph’.Oil on canvas. Signed ‘Didacus ab Aliaga mi P...’ and dated in Jujuy, 1774.90 x 71 cm. A work comparable to this one, although smaller in size and depicting Our Lady of Mercy with the Holy Trinity, also dated in Jujuy a year earlier, 1773, was auctioned at Christie's on 19 May 2019, fetching $52,000 (auction no. 15922 Latin American Art).As noted by Arca (Colonial art project at the University of the Andes): ‘Aliaga was an artist active in the region of Jujuy, Argentina. He is best known for ‘The Way of the Cross,’ painted in the church of San Francisco in Jujuy, Argentina, between 1772 and 1776’.This is a wonderful canvas from New Spain with one of the most popular images in New Spanish art, showing a saint (in this case) or the Virgin Mary protecting communities, religious orders, corporations and authorities under her mantle (appealing to clientelism and corporations in a way typical of the Ancient Regime), the main recipients of her heavenly benefits. Saint Joseph is crowned ‘as King’ of heaven by two flying angels, with Mary his wife portrayed in the flaming sun of his tunic, who is also protector and mediator. Under his broad mantle, raised and supported by two other figures who serve and adore, the saint protects the King and the Pope, in short, the rulers and the faithful (almost always nobles) and the bishops and clerics of the pilgrim church, including religious orders. Clement XIV and Charles III, King by the Grace of God of Spain and the Indies, the Pope who suppressed the Society of Jesus in 1773, and the sovereign who pointed out ‘their good deeds’, since he had already expelled them from Spain in 1767, are named. They all wear a special gala costume, and the two orders are distinguished by the colour of their habit, brown on the left and black in the background. The common folk are distinguished by their colourful coats, all of them thus demanding respect for this convention.Clientelism, the link between courtiers and the king, or lower-ranking nobles and relatives, established a relationship of submission and dependence. This clientelistic scheme ‘extended to heaven’, and the saints were seen as patrons of their faithful, and from there ‘their patronage’ descended to the court, where the monarch was compared to God, as he protected and preserved his officials, who were considered ‘his creatures and his workmanship’. However, the great distance that separated earthly sovereigns (civil or religious) from the heavenly sovereign is emphasised by these signs: before the king, the subject puts only one knee on the ground, but before God, present in the Eucharist, or before the Virgin Queen, getting down on both knees was the greatest sign of submission, as we see in this painting.A low, centred cartouche gives the location as Jujuy, a province in Argentina, and the date 1774, and those who commissioned the painting appear, ‘as humble slaves of Saint Joseph’: ‘Devajo del Poderozo Nsanto de tu Soberano Patrosino Señor Patriarca Sn Joseph, viven, y morirán Voestros humildes esclavos Dn Francisco Joseph Dias y su esposa Da Maria Petrona Araoz: Jujuy, año 1774.Didacus (Diego) ab Aliaga mi p...(pingebat)’. (Under the powerful sanctity of your sovereignty, Lord Patriarch Saint Joseph, live and die your slaves Francisco Joseph Dias and his wife Maria Petrona Araoz: Jujuy, in the year 1774, followed by the painter's name).Its imposingt period frame is outstanding, the openwork basketry and scrolls of vegetation decoration, similar to those seen in lace are finely carved and gilded. It draws attention to the nobility and quality of this work, not only from the historical point of view, but also from the artistic point of view. Bibliographic reference: - https://arcav1.uniandes.edu.co/artworks/8694
R. Taylor, an early 19th-century 8-day oak long-case clock, the painted broken arch dial bearing the portrait of Queen Caroline, the hood with swan neck pediment, 47 cm wide x 25 cm deep x 220 cm overall height.Formerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury, Berkshire The glass of the hood is cracked. There are no weights or pendulum, so not in working order.Updated:The movement looks very clean and looks as if it has been recently restored and re-gutted.The cheeks that support the movement are uneven. It would seem that a packing block is missing from the right-hand side. This causes the dial to sit awkwardly in the hood/mask. It is common for these to be replaced.The hood door has a cracked glass panel, the clock has some patches to the veneers.The trunk door does not have a key.The clock does not have either weights or a pendulum.In short this clock would need some work to make good but it looks as if most of the horological work has been done, but sadly it will require a pendulum and weights.
Autographs: Ballet interest - Rudolf Nureyev (1938-1993) Soviet-born ballet dancer and choreographer, black and white photograph, Signed in black ink to lower margin, 8x 10 inches; together with, Dame Beryl Grey (1927-2022) British ballet dancer, black and white photograph depicted Beryl Grey as The Black Queen and Harold Turner as First Red Knight in the Sadler’s Wells Ballet production ‘Checkmate (1937), Signed in blue ink by Beryl Grey top right, 6 ¼ x 8 ½ inches. (2)This item has not been authenticated, please satisfy yourself as to the veracity of this item prior to bidding.
The Smiths: Four Gold Discs for the albums The Smiths,1984; Hatful of Hollow, 1984; Meat is Murder, 1985 and The Queen is Dead 1986, all 'Presented to All Trade Booking to recognise sales in the United Kingdom of more than 100,000 copies of the Rough Trade Album . . . ', Meat is Murder plaque with BPI certified sales award logo, all framed and glazed 20 ¾ x 16 ½ inches overall. (4)The Smiths (1982-1987) were a British rock band formed in Manchester, composed of Morrissey (vocals), Johnny Marr (guitar), Andy Rourke (bass), and Mike Joyce (drums). The band is widely regarded as one of the most important acts to emerge from the 1980s British independent music scene and is best known for the songs 'This Charming Man', 'Heaven Knows I'm Miserable Now', and 'There is a Light That Never Goes Out'. From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. Very good condition. Scratching and mold to Meat is Murder gold disc. A loose piece of glass within the frame of The Queen Is Dead. All unexamined out of glazed frames.
Political & Cricketing interest: two framed signed Surrey Cricket Club bats (full sized), each signed by prominent Conservative and Labour MPs, to include former Prime Ministers John Major, Gordon Brown and Tony Blair, as well as Douglas Hurd, Michael Howard, Jonathan Aitken, John Redwood, Michael Portillo, Malcolm Rifkind, Virginia Bottomley, John Prescott, Robin Cook, Mo Mowlam, Harriet Harman, Jack Straw and others, together with, 'The Bradman Albums': Volumes One and Two, published by Queen Anne Press, within slipcase.Qty: 3From the estate of the late Tony Berry, former Deputy Chairman of Tottenham Hotspur FC
Φ Φ Mosheh Oved, a silver ring, circa 1940, tenderly modelled as a young lamb in hammered silver, engraved to the base with a Hebrew inscription translating to 'Where is the house of my father?', size N1/2, unsignedMosheh Oved (1885–1958) was a Polish watchmaker who moved to London in the early 20th century, eventually becoming an authority on ancient glyptic gems, as well as an author, poet and jeweller in his own right. As owner of the shop Cameo Corner, firstly on New Oxford Street and then on Museum Street in Bloomsbury, Oved was a prominent dealer in antique jewels and counted many prominent collectors among his clientele, including Queen Mary. His famed series of animal-themed rings originated with the present design of a lamb, which Oved is said to have carved from wax in the basement of his shop to calm his nerves during the Blitz. The lamb was chosen for its symbolism of sacrifice, after Oved learned of the death of the son of one of his clients in the war.
A rare paste and garnet 'Order of Christ' brooch, Portugal, 19th century, designed as a cross within a foliate border suspended from a ribbon bow, set with foiled calibré-cut garnets and cushion-shaped pastes, in closed-back silver settings, length 5.5cm, case stamped Franklin, 37 Duke Street, St James'sThe Order of Christ was a religious and military order founded in Portugal as a continuation of the Knights Templar, following their persecution and disbandment in the early 14th century. Secularised by Queen Maria I of Portugal in 1789, it was one of the three 'Ancient Military Orders' conferred upon prominent political, cultural and military figures by the Portuguese monarchs. With the fall of the Portuguese monarchy in 1910 it was discontinued, but was revived shortly afterwards in 1917 and still continues, presided over by the President of the Republic as its Grand Master. Cf.: Leonor d'Orey, Five Centuries of Jewellery, National Museum of Ancient Art, Lisbon, 1995, p.112 and Diana Scarisbrick, Brilliant Impressions: An Exhibition of Antique Paste and Other Jewellery, SJ Phillips, 2010, p.97-8, for similar examples of these distinctive jewels.
λ λ A collection of jewellery including two Royal gifts, comprising: an 18ct gold open faced pocket watch, the gilt dial with a subsidiary seconds dial at 6 o'clock, the back cover centred with a crest, the signed inner plate engraved Finer & Nowland, London No 4558, 4.4cm wide, back cover with London hallmarks, maker's mark WR, accompanying note presenting it as a Christmas gift from Louise, Princess Royal and Duchess of Fife, and her husband the Duke of Fife, likely in the Princess's own handwriting; a gold bar brooch, centred with the Royal cipher of HM Queen Alexandra decorated with rose-cut diamonds below an enamelled crown, length 4cm, accompanied by a note stating that the brooch was received as a gift from Queen Alexandra on the occasion of her visit to Gibraltar, circa 1907; a pair of 9ct gold cufflinks, the ends of tapering form connected by chain links, each terminal 2.3 x 0.5cm, Chester hallmarks, sponsor's mark CS ES, case with gilded inscription 'From HRH The Duke of Kent 20th Nov. 1934'; and an Indian gold necklace, set with miniature portraits on ivory of gentlemen and ladies in Indian attire, length 32cm
Edward Brian Seago RBA, ARWS, RWS (1910-1974) Watercolour drawing “Cattle on a Marsh”, signed, with Mandell's Gallery label verso and receipt dated 1986, 27cm x 36cm From the collection of the late Maurice Costley Edward Seago was born in Norwich, a self taught artist who is renowned for his portrayal of East Anglian scenes. Working in both watercolour and oil, his paintings are atmospheric and moody in an impressionistic and post-impressionistic style. During WWII he joined the army and worked on developing camouflage. He was extremely popular during his life time, exhibiting at some of London’s top galleries which included P & D Colnaghi where a queue would form along Bond Street to purchase one of his pictures. During his later career he travelled to paint with various patrons, to Venice, Gambia and to remote areas such as the Antarctic. His most famous patron was Queen Elizabeth, the Queen Mother, and many of his works are in the Royal Collection. Condition ReportOverall in good order. The paper is undulating slightly and does not sit flat, there are some small areas of faint brown discolouration to the sky, the mount has discoloured slightly. Uninspected out of frame.
A Chinese gilt-lacquered games box, 19th century, of lobed octagonal form, painted in gilt with scrolling florets and figures in a garden, the interior with seven lidded compartments and ten games trays for the popular parlour game 'Pope Joan', painted with ace, king, queen, jack and diamonds, 41cm long Condition ReportCracks, surface scratches, knocks and losses to gilt and lacquer work. Chips to edges and corners. Feet missing with nail holes to base. a/f.
A porcelain portrait of Mary Queen of Scots 19th century, incribed 'Maria Regina Scototum' signed J. Liénard in a gilt frame with tied ribbon surmount, 18 x 14cmProvenance: The property of the late Baron John Mauger Langin Condition ReportDetached from frame. Surface dirt to porcelain plaque.
A Chinese gilt-lacquered games box, 19th century, of lobed rectangular form, painted in gilt with figures in a garden in shaped panels, the interior with one lidded compartment, similarly decorated, and eight games trays for the popular parlour game 'Pope Joan', painted with ace, king, queen, jack and diamonds, 31.5cm long Condition ReportSurface scratches, knocks and losses to gilt and lacquer work. Chips to corners and edges. Key missing.
A group of eight Whitefriars glass paperweights, mid-20th century, comprising a pair of Queen Elizabeth II commemorative examples, with crowns to a blue ground, a pair of printie cut paperweights, each centered with a bell cane, a similar concentric millefiori cane, a tall millefiori paperweight, and a near pair of facet cut concentric millefiori paperweights, largest 8.8cm diameter (8)Provenance: The property of the late Baron John Mauger Langin Condition ReportVery minor wear and the odd frit to the cutting which appears to be more manufacturing related. Overall, good order.
A Queen Elizabeth II's Household Cavalry Life Guard Officer’s full dress uniform, red tunic, leather breeches, sabre, cuirass, shoulder straps, gloves, shabraque with gilt thread and knee length boots and helmet, mounted on a display mannequinShipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportThe back of the boots appear to be fastened by black tape. The Shabraque has loose gold threads to the centre badge. The leather breeches have been whitened.
A collection of Wedgwood commentative glass goblets, 20th century, each with applied Jasperware plaques, to include, Queen Elizabeth II & Prince Philip, Princess Anne, 13cm high together with a tricolour Jasperware goblet, to commemorate the Silver Jubilee of H.M. Queen Elizabeth II, 1952-197712.5cm high (9)Condition ReportThe glass examples with surface scratches. Two with loose plaques and one missing. All in original boxes, boxes all with wear.
Two Chinese gilt-lacquered games boxes, 19th century, each of lobed rectangular form, painted in gilt with figures in a garden in shaped panels, the interior with one lidded compartment, similarly decorated, and eight games trays for the popular parlour game 'Pope Joan', painted with ace, king, queen, jack and diamonds, 33.5cm long (2)Condition ReportBoth with surface scratches, knocks and losses to gilt and lacquer work. Chips to corners and edges. One box with a large crack to the interior of cover, and two additional compartment covers. Ball feet later.Both with keys.
A Queen Anne style settee upholstered in cream damask, with scrolled arms over carved cabriole supports, inlaid with feather banding, united by a stretcher, 164cm wide, 65cm deep, 94cm high, seat 46cmCondition ReportWorn upholstery. Stretchers worn. Satins, some knocks and wear to the legs and stretchers.
A SET OF POLYCHROME-PAINTED, GILT AND LACQUERED NINETY-SIX MUGHAL GANJIFA PLAYING CARDS WITH LIDDED BOX Possibly Maharashtra, Central - Western India, 19th centuryComprising ninety-six (8 suits with 12 cards each) polychrome-painted, gilt and lacquered playing cards (ganjifa), each of rounded shape, illustrated with a variety of Indian subjects including enthroned Maharajas, riders on their steeds, acrobats, musicians, dancers, large celebrations, interiors, and banqueting scenes, as well as animals, set against alternating red, yellow, green and blue grounds, the reverse with a chequered grid with clusters of red dots filling the squares, fitted in a rectangular box with sliding lid, polychrome-painted, heightened with gold and lacquered, featuring courtly processions and hunting scenes on the sides, and a courtly interior scene with a crowned princess or queen standing in a white pavilion, in conversation with two male attendants, sprays of white flowers decorating the outer borders and edges of the box.each token 4.5cm diameterthe box 9.3cm x 18cm x 7.8cm The South Asian card game known as Ganjifa first reached India from Iran in the early 16th century and it has remained very popular in India, Pakistan, as well as Iran and Turkey until now. In Mughal times, each complete pack of ganjifa cards had to be eight-suited (Mughal ganjifa). These sets were then later replaced by the Dashavatara ganjifa set, in which each suit represents one of Vishnu's avatars. A complete example of ganjifa pack can be seen in the Ashmolean Museum Collection, Oxford (inv. no. EAX.2078). Qty: 1
State Trials- A Compleat collection of state-tryals and proceedings upon impeachments for high treason and other crimes and misdemeanours : from the reign of King Henry the fourth, to the end of the reign of Queen Anne. 2 vols. T Goodwin, 1719. Folio, Cont. full panelled calf, rubbed & with tears (2)
A very collectable, hammered Silver Shilling of Queen Elizabeth I - struck between the years of 1584 to 1586. The obverse features the crowned bust, facing left, without a rose behind or a date. The reverse shows the square-topped Royal shield of arms, with the cross Fourchee through. The mint mark of "Escallop" is featured on both the obverse and reverse. This coin is of good detail and even tone, and was struck at the time when Mary Queen of Scots was imprisoned by Queen Elizabeth the First, and sent to trial for reasons of treason.
A QUEEN ELIZABETH II CORONATION CHAIR, 1953, produced by W. Hands & Son Ltd., numbered 375, covered with blue velvet bearing the monogram ER II beneath a crown, stamped and branded to the underside, one rail stamped "W.T" beneath a crown, 85cm high x 49.5cm x 43cm deepProvenance: Lady Nellie Holmes (1890-1974) and thence by descent.Born Nellie Florence Marshall in Barnsley, Yorkshire, in 1890, she married Horace Holmes in 1912. During the nearly 60 years of their marriage Nellie and Horace were active in the Salvation Army, both rising to the rank of general. She died in Bridlington, Yorkshire, in 1974. Lady Nellie Holmes attended The Coronation of Her Majesty Queen Elizabeth II along with her husband Sir Horace Holmes, in seat numbers 375 and 31 respectively. Sir Horace Holmes's chair is offered in the previous lot (259).The Coronation of Her Majesty Queen Elizabeth II was held on 2nd June 1953 at Westminster Abbey.The ceremony was a very large celebration with several thousand distinguished guests in attendance. The numbers of guests were fewer than George VI coronation, due to the reduction in seating behind the alter. Planning for such an important event took over 12 months. The design of the chairs and stools produced for the ceremony was taken from those created for the King George VI Coronation in 1937. The Ministry of Works were responsible for commissioning all furnishings for the coronation. As had been the case for George VI coronation furniture manufacturers based in High Wycombe, the centre of English chair making during this period, produced all of the chairs and stools. A range of companies manufactured the furniture including; B. North & Sons; W. Hands & Sons; Thomas Glenister Ltd.; Castle Bros. (all firms in High Wycombe); Maple & Co., and Waring & Gillow. The blue velvet coverings were made at Listers Mills in Bradford, Yorkshire.
A QUEEN ELIZABETH II CORONATION CHAIR, 1953, produced by North & Sons, West Wycombe, numbered 31, covered with blue velvet bearing the monogram ER II beneath a crown, stamped and branded to the underside, one corner block stamped "P.S" beneath a crown, 85cm high x 49.5cm x 43cm deep, Provenance: Sir Horace Holmes (1888-1971) and thence by descentBorn in Weston, Notts., Holmes received an elementary education before becoming a coal miner. During World War I, he served as a sergeant in the Leeds Rifles, and received the Distinguished Conduct Medal. After the war, he returned to mining, and from 1923 was secretary of his branch of the Yorkshire Miners' Association. From 1923 until 1946, he also served on Royston Urban District Council, and for eleven years, he additionally served on the West Riding County Council. Sponsored by his union, Holmes was elected unopposed as Member of Parliament for Hemsworth at a by-election in 1946 following the death of the sitting MP George Griffiths. Holmes held the seat at the next three general elections, each time with the largest Labour majority in the election. From 1947 until 1951, he was Parliamentary Private Secretary to the successive Ministers of Fuel and Power, Hugh Gaitskell and Philip Noel-Baker. He then became the Labour Whip for the Yorkshire members. Holmes stood down at the 1959 general election. He was knighted in 1966, and died in 1971. Sir Horace Holmes attended The Coronation of Her Majesty Queen Elizabeth II along with his wife Lady Nellie Holmes, in seat numbers 31 and 375 respectively. Lady Nellie Holmes's chair is offered in the following lot (260). The Coronation of Her Majesty Queen Elizabeth II was held on 2nd June 1953 at Westminster Abbey.The ceremony was a very large celebration with several thousand distinguished guests in attendance. The numbers of guests were fewer than George VI coronation, due to the reduction in seating behind the alter. Planning for such an important event took over 12 months. The design of the chairs and stools produced for the ceremony was taken from those created for the King George VI Coronation in 1937. The Ministry of Works were responsible for commissioning all furnishings for the coronation. As had been the case for George VI coronation furniture manufacturers based in High Wycombe, the centre of English chair making during this period, produced all of the chairs and stools. A range of companies manufactured the furniture including; B. North & Sons; W. Hands & Sons; Thomas Glenister Ltd.; Castle Bros. (all firms in High Wycombe); Maple & Co., and Waring & Gillow. The blue velvet coverings were made at Listers Mills in Bradford, Yorkshire.
A pair of Elizabeth II limed oak Silver Jubilee chairs, 1977, upholstered in blue velvet, with plaque inscribed 'Replica of Peers chairs as used in Westminster Abbey for the Coronation of Her Majesty Queen Elizabeth II Manufactured by Hands of High Wycombe 1977, chair number 1566 and 1570 (2)83 x 48 x 40cm
Eric Ravilious for Wedgwood, a Queen Elizabeth II commemorative coronation mug, 1953, printed in black over pink banding with the date and 'ER' monogram flanking the Royal Coat of Arms, printed marks to underside, further hand-painted 'CL6485 / IR to the underside10.5 x 11cmIn good condition, very lightly faded and a couple of minor scrathes around the lower 1/4.
A QUEEN ANNE WALNUT AND BURR-ELM KNEEHOLE DESK early 18th century and later, the rectangular herringbone banded top over an arrangement of seven drawers and a concealed apron drawer surrounding a recessed cupboard, on shaped bracket feet, 78.5cm high x 76cm wide x 49cm deepProvenance: The Grey-Egerton Family, formerly of Oulton Hall.
A QUEEN ANNE WALNUT BACHELOR'S CHEST early 18th century and later, the folding rectangular top inlaid with herringbone and crossbanding over two short and three long drawers, on shaped bracket feet, 77.5cm high x 80cm wide x 35cm deepProvenance: The Grey-Egerton Family, formerly of Oulton Hall.
A QUEEN ANNE BURR-YEW AND WALNUT KNEEHOLE DESK early 18th century and later, the cross-banded rectangular top over an arrangement of seven drawers and a fitted drawer with an undulating front surrounding a recessed cupboard, on ogee bracket feet, 72cm high x 83cm wide x 50.5cm deepProvenance: The Grey-Egerton Family, formerly of Oulton Hall.
A VICTORIAN PAPIER MACHÉ OCCASIONAL TABLE attributed to Jennens and Bettridge, the hinged top with a shaped edge and apron, decorated with a royal portrait apparently depicting the children of Queen Victoria, on a baluster turned stem to a tripod base with brass castors, 70.5cm high x 65cm diameterNote: A label to the underneath suggests that this table came from a Royal Palace and then the collection of The Baron de Malama.
A QUEEN ANNE WALNUT DOUBLE DOME BUREAU BOOKCASE early 18th century and later, the upper section with turned finials above cupboard doors opening to an interior fitted with small drawers and pigeon holes, the base with a fall front opening to a fitted interior with a gilt tooled leather writing surface, two short and two long graduated drawers beneath, on turned bun feet, 216cm high x 106cm high x 59cm deepProvenance: The Les Watts Collection.
A QUEEN ANNE WALNUT SECRETAIRE CHEST ON CHEST early 18th century and later, the upper section with a moulded cornice over three short and three long graduated drawers inlaid with herringbone banding, the lower section with a narrow drawer opening to a gilt tooled leather writing slope and further short drawers and pigeon holes, three long drawers beneath, on shaped bracket feet, 172cm high x 103cm wide x 56cm deepProvenance: The Grey-Egerton Family, formerly of Oulton Hall.
λ OLIVER MESSEL (BRITISH 1904-1978) STUDY OF MICA ERTEGUN Oil on canvas, laid to board 74 x 61cm (29 x 24 in.) Unframed Provenance: Direct from the artist By descent to Thomas Messel, the artist's nephewMica Ertegun was a Romanian-American philanthropist and, like Messel, an accomplished interior designer, co-founding the extant firm MAC II in 1967. She donated widely to cultural causes, including humanities teaching at the University of Oxford, restoration efforts in the Church of the Holy Sepulchre, and the Lincoln Center for the Performing Arts, New York. In 1993, Ertegun was inducted into the Interior Design Hall of Fame; in 2011, Ertegun was appointed CBE by Queen Elizabeth II. In the 1970s, Ertegun visited Messel in Barbados, where she sat for this portrait (see University of Bristol Theatre Collection OHM/2/5/8). It is a testament to Messel's taste that Ahmet Ertegun, Mica's husband and the co-founder of Atlantic Records, chose the Oliver Messel Suite at the Dorchester Hotel as his London base (Robert Greenfield, The Last Sultan: The Life and Times of Ahmet Ertegun (2012), p. 208).
λ PIETRO ANNIGONI (ITALIAN 1910-1988) PORTRAIT OF JUANITA FORBES Tempera grassa on panel Signed with monogram, dated and inscribed Paris LIII/To J (verso) 68 x 48cm (26¾ x 18¾ in.)Painted in 1953. Provenance: Juanita Forbes and thence by descentExhibited: Paris, Galerie de Beaux Arts, Peintures et Dessins de Pietro Annigoni, 3-23 December 1953.London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.11 Florence, Galleria d'Arte Internazionale, Pietro Annigoni, 19-23 January 1963 Milan, Galleria Cortina, Antologica di Pietro Annigoni, 25 October - 25 November 1968New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969 San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977 Literature: R.C. Cammell, Pietro Annigoni, London,1954.G. Solari Bozzi, Con il preziozo manto turchino della Giarrettiera la Regina Elisabetta"posa" per Pietro Annigoni, in Il Giornale d'Italia, Rome, 28 November 1954.H. Kanis, This is Annigoni, in News Page, London, July 1955, p.42.D. Wynne-Morgan, Annigoni...and a Duchess he refused to paint. In Daily Express, 8 May 1956, p.10.R.C. Cammell, Memoirs of Annigoni, London, 1956, p.80.M. Garland, The Changing Face of Beauty. Four thousand years of beautiful Women, London, 1957, p.206.N. Rasmo, Pietro Annigoni, Florence, 1961, p.69U. Longo, Pieta e amore nell'arte di Pietro Annigoni, Milan, 1968, p.88D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969A.D.F. Jenkins, Pietro Annigoni, Cardiff, 1977L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, pp.140, 188, no.153, fig.179 (detail), fig. 242 Born in Milan on 7 June 1910, Pietro Annigoni was the son of Ricciardo Annigoni, a mechanical engineer. In 1925 the family moved to Florence and Pietro attended life drawing classes at the Circolo degli Artisti and at the Accademia di Belle Arti. In 1927, he entered the Accademia as a full-time student, taking courses in painting, sculpture, and engraving. Annigoni was heavily influenced by the Accademia's classical teaching, finding inspiration in the subject matter and techniques of the great Italian old masters. During the 1930s he found critical acclaim in Italy, exhibiting widely and receiving numerous commissions, the most notable being a series of frescoes in the Convent of San Marco, Florence. However, his open opposition to Mussolini led to his ostracism from the Italian artistic establishment and he struggled as an artist until the collapse of Mussolini's fascist dictatorship and the ending of World War II in 1945. Looking for new audiences for his work he entered three paintings, including Portrait of the Artist, into the Summer Exhibition at the Royal Academy in London in 1949. These were duly accepted into the show and as Annigoni had hoped, were discovered by collectors and dealers alike. This recognition and acclaim lead to subsequent exhibitions at the Wildenstein Gallery and Agnews in London. Building on this new audience Annigoni started to live in London for six months a year, undertaking an increasing number of commissions, particularly for portraits. This includes the present work, painted in 1953, just a year before he famously painted the portrait of the young Queen Elizabeth II. Commissioned by the Worshipful Company of Fishmongers in 1954, the work was unveiled at the Royal Academy in 1955. Crowds flocked to view the painting and attendance was recorded at almost 300,000, making it the most popular Summer Exhibition for over 50 years. The Times produced a limited edition print which instantly sold out and Sir Alfred Munnings, former President of the Royal Academy proclaimed Annigoni to be "The Greatest Painter of the age." The publicity and popularity that this portrait received led to many other commissions including a second portrait of Queen Elizabeth II for the National Portrait Gallery, the Duke of Edinburgh and Princess Margaret. He continued to be in demand throughout his life, with requests coming from all walks of life, and he completed portraits of Pope John XIII, John F. Kennedy, the Shah and Empress of Iran, Julie Andrews, Margot Fontane, Rudolph Nureyev and Salvatore Ferragamo to name but a few. His work is represented in numerous public collections, including the National Portrait Gallery, London, Metropolitan Museum of Art, New York, The Uffizi Gallery, Florence, The Vatican, Rome, Indianapolis Museum of Art, and the Fine Arts Museum, San Francisco. Condition Report: Crazing to the varnish throughout which has created an uneven effect across the surface. Tempera grassa pigment is in good condition. Light surface dirt throughout. Some discolouration caused by yellowing varnish. A diagonal line running across the lower right quadrant approx. 20cm. Condition Report Disclaimer
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