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Lot 359
WW2 ace Air Cdre Gordon Steege DSO DFC signed Gloster Gladiator Biography Card. 7 x 5 inch limited edition Printed card with border, perfect for matting or use as bookplate. Air Commodore Gordon Henry Steege, DSO, DFC (31 October 1917 - 1 September 2013) was a senior officer and pilot in the Royal Australian Air Force (RAAF). He became a fighter ace in World War II, credited with eight aerial victories, and led combat formations at squadron and wing level. Born in Sydney, Steege joined the RAAF in July 1937. He first saw action in late 1940 with No. 3 (Army Cooperation) Squadron in the Middle East, where he flew Gloster Gladiator, Hawker Hurricane and P-40 Kittyhawk fighters. Achieving victories in all three types, he was awarded the Distinguished Flying Cross after shooting down three German aircraft during a single sortie in February 1941. He rose to command No. 450 Squadron in the Desert Air Force, before returning to Australia in December 1942. Posted to the South West Pacific, he commanded No. 14 Mobile Fighter Sector and, later, Nos. 73 and 81 (Fighter) Wings. He earned the Distinguished Service Order in April 1944 for his "outstanding leadership", and finished the war a group captain. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 310
Battle of Trafalgar interest; Four medals awarded to members of the Robertson family. A Victorian naval General Service Medal to Thomas Robertson, Surgeon, with three bars for;Sirius 17 April 1806, Trafalgar and Egypt, together with an Egypt Medal to Lieut. T.R.S. Robertson R.N., H.M.S. Orontes, and an Egypt Star, plus a First World War British War Medal awarded to Lt. R. Robertson-Shersey-Harvie R.N.V.R. (4).Thomas Robertson (d. 1851), served in the Royal Navy from 1793 to 1828. He saw action aboard the frigate HMS Sirius at the Battle of Trafalgar and also the attack on the French navy near the mouth of the Tiber River on the 17th April 1806.Condition - fair to good. It is understood that only ten of these NGSM medals are known to exist where the recipient has been awarded both the Trafalgar and Sirius bars.
Lot 68
A SELECTION OF POWER TOOLS including a Power Devil circular saw in original box, a Power Craft drill, a Parkside die grinder, a Power Craft multi saw, a cordless Powerbase 18v drill (battery integrity unknown), a McKeller 18v drill (battery integrity unknown) (all PAT pass and working unless stated) and a drill bit set (7)
Lot 29
1910 SIGNED DINNER MENU CARD TO COMMEMORATE THE BRITISH ANTARCTIC EXPEDITION & THE DEPARTURE OF THE TERRA NOVA the cover printed with 'Complimentary Dinner, Capt. Scott CVO RN and officers of the 'Terra Nova'. To be held at the Royal Hotel on Monday 13th June, 1910 at 6.30pm sharp, given by members of the commercial community of Cardiff, Chairman: Trevor S Jones, President of the Cardiff Chamber of Commerce'. The front then signed by Capt. Scott and fellow expedition crew members including Teddy Evans, Edgar Evans, Herbert Ponting, Robert Forde etc. The interior with the banqueting details and verso with toasts.Two days after this dinner a large, excited crowd cheered the Terra Nova as she departed Roath Basin in Cardiff's 'Tiger Bay' with the doomed British Antarctic Expedition starting its race for the South Pole. TheTerra Novahad arrived in Cardiff five days earlier to finish preparations for the voyage and to take on fuel. 300 tons of Crown Patent Fuel, 100 tons of steam coal and 500 gallons of engine and lamp oil were donated by Welsh coal companies. All the cooking utensils were given by the Welsh Tin Plate Company of Llanelli and even Scott's sleeping bag was bought with funds raised by the County School in Cardigan. In addition to support in kind, a further £2,500 was raised in Cardiff, more than from any other city.The dinner at the Royal Hotel in St Mary's Street, Cardiff, will have been as much a thank you to the business people of the city as it was a commemoration for the imminent departure. The Cardiff business community played a crucial role in fund-raising and raising sponsorship and in the provision of dock facilities. In recognition of the Welsh support for the expedition, Cardiff was designated the Terra Nova's home port, and it was to Bute Dock that she returned at the end of the expedition on 14 June 1913. In June 1909 William Davies, editor of theWestern Mail, met with the young naval officer Lieutenant E.R.G.R. Evans, who was planning his own Antarctic expedition. Davies was very keen on supporting what he initially saw as a Welsh National Antarctic Expedition — Evans's grandfather was probably from Cardiff — and thought that there would be support for such a project from Cardiff businesses.Soon afterwards, Evans learned of Scott's planned expedition and joined him as second-in-command, bringing with him the support of the editor of theWestern Mailand the prospect of Welsh sponsorship. Davies was instrumental not only in rallying business and public support in Wales for Scott's expedition, but in persuading his compatriot, the Chancellor of the Exchequer, David Lloyd George, to provide a government grant of £20,000. Arguably, without the influence of Davies, the support of theWestern Mailand the Welsh shipowners, Scott's expedition would not have left in time to reach the Pole in 1912. There was another Evans in theTerra Nova's crew, Petty Officer Edgar Evans from Rhossili, Gower. He had been to Antarctica with Scott on hisDiscoveryexpedition of 1901-4 and was chosen by Scott to be a member of his polar party on the 1910-12 expedition. Evans was the first to die on the return march from the South Pole. Captain Scott's links with Cardiff are commemorated by the lighthouse erected in 1915 in Roath Park Lake and the bronze plaque of 1916 on the staircase in City Hall. In June 2003 a commemorative sculpture was unveiled in Cardiff Bay.The farewell dinner was hosted within the ‘Alexandra Room’ of the Royal Hotel in Cardiff, and a memorial dinner for Captain Scott was held at the hotel three years later. The room is now named the ‘Captain Scott Room’ in his honour and an annual dinner of commemoration is held by the Captain Scott Society on the anniversary of his farewell meal.Provenance: obtained by Colonel Joseph Edward Crawshay Partridge who will have been in attendance, bears his signature, by descent
Lot 159
TOLKIEN, J.R.R. The Hobbit of There and Back Again. London: George, Allen and Unwin, (1946). First edition, stated fourth impression. Publisher's pale green pictorial cloth, in the original jacket (marked fourth impression on the front flap), map endpapers. 7 1/4 x 4 3/4 inches (18.5 x 12 cm); 310, [2] pp. ads, color frontispiece, illustrations in text throughout. Losses to the head and toe of the spine of the jacket extending slightly into the panels, price-clipped, various other tears and minor losses, pencilled name at upper right of the front panel, but a respectable, unrestored example; the cloth beneath with fairly minimal wear, minor crease to the first few leaves, generally a clean copy. Printed under wartime conditions, this impression saw heavy use and thus few copies survive in the jacket. The cloth of this example is brighter than is generally found. This is the last impression with the original text; subsequently, changes to the text were made by Tolkien to bring some aspects of the narrative closer to The Lord of the Rings, then nearing completion.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 128
DICKENS, CHARLESAutograph letter signed with holograph envelope. Single page on bifolium of Gad's Hill Place stationery, dated December 20th, 1869, a third-person letter to the Secretary of the School for the Indigent Blind (near the Obelisk, St. Georges Fields London), signed twice in the body of the text. 7 x 4 1/2 inches (17.75 x 11.5 cm); Dickense sends two copies of The Old Curiosity Shop printed in raised letters for the use of the blind as made by the husband of Julia Ward Howe. Smudging to the envelope, but the letter generally clean; usual folds.During his visit to America, Dickens visited the Perkins School for the Blind in Massachusetts, then at the forefront of the printing of works for the use of the blind. He saw Howe's process for creating books with an embossed alphabet and arranged to have a quantity of books especially made. These bear the statement on the title that they are "Presented by the Author to the Blind."No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 160
TWAIN, MARK (=CLEMENS, SAMUEL LANGHORNE)Two autograph notes signed, framed together with a portrait. The first, addressed to Edward William Bok, is written on Twain's monogrammed notecard, 5 1/4 x 3 inches (7.5 x 13 cm) and is dated Hartford, November 20, 1880. It reads: "Dear Sir, You must pardon me, but I was so busy with the election, & I forgot all about this & a lot of other things. Truly Yours, S.L. Clemens, Mark Twain." The second, recipient unstated, is written on card stock, 3 1/2 x 4 1/2 inches (8.75 x 11.25 cm), and is dated October 5, 1897. It reads "'The proverb says, let a sleeping dog lie.' This is well - usually; but if it is a matter of large importance it is better to get a newspaper to do it for you. Truly yours, Mark Twain." The cards with minor soiling and toning, the right corner of the second creased, attractively matted and framed.The twice-signed note is to the young Edward William Bok (who would later become the noted editor of the Ladies Home Journal and the author of The Americanization of Edward Bok). He had just started an autograph collection with a letter from Garfield. The recipient of the second notecard is not known, but the quotation is from Twain's 1897 work, Following the Equator, where it appears with a slight variation as an epigraph to Chapter VIII: "The old saw says, Let a sleeping dog lie. Right. Still, when there is much at stake it is better to get a newspaper to do it. - Pudd'nhead Wilson's New Calendar."No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 307
RICHARDSON, ISRAEL BUSH "FIGHTING DICK"The important career spanning archive of letters, documents, and memoir of the notable Union General Israel "Fighting Dick" Richardson, offering hundreds of pages from his time at West Point, Texas, Florida, various Territories, and the Civil War through his death at Antietam in 1862. Various places, 1834-1862 and later, comprising approximately 120 letters and documents, and the prepared memoir of General Israel Bush Richardson (1815-1862). Housed in six binders and a few loose folders, the archive comprises hundreds of autograph pages in Richardson's and various clerical hands, includes some fair copies of letters made by family members, and features several criss-cross letters, almost all with modern typed transcriptions. Present are also some ancillary materials relating to family members and a contemporary book on the subject. Very well preserved and organized overall but with usual wear including folds, stains, rough openings, a few signatures excised, etc. Provenance: The D. Duffy Lane CollectionAn important archive of a Civil War Major General, spanning his career from West Point to Florida to Mexico to the Civil War. A soldier's soldier, Richardson's letters are full of detail, written with precision and clarity, and offer meaningful insights to the action he saw and military life he lived. Such archives are rare at auction.The archive comprises:West Point, 1834-1841The archive opens with a letter dated January 1834 signed by Lewis Cass regarding Richardson's application to the Military Academy at West Point. Born near Burlington, Vermont, and named for his Revolutionary ancestor Israel Putnam, upon acceptance to the Academy, between 1834 and 1841, Richardson wrote approximately 30 autograph letters of some length to his family about his time at West Point. He offers much on the daily life of cadets and the officers who educated them. But even in this early phase, Richardson's letters are serious and point to his future as a soldier, as evidenced by this portion of a February 1837 letter: "The Regt. of 2nd Dragoons is to make a tour of the Rocky Mountains in the spring and to go farther west than any other troops have gone before ... There was an oration delivered here last month by Lieut. Atwood upon the subject of the battle at the Wythlacoochee. He says there have been more Cadets killed in the Florida War than in all since the institution was established..." Richardson also notes in November of 1839 that "There is no news except the trouble existing between the Governors of Iowa and Missouri. They say there will be trouble with the Cherokee Indians. The tribe of Cherokee consists of 30 thousand men."Second Seminole War, 1841-1844About the time of his graduation from West Point, by mid-1841, much of Richardson's family had migrated west to Pontiac, Michigan. In September 1841, Richardson writes his sister that "I have received a lieutenant appointment in the 3rd infantry and am ordered to Col. Bankhead at the Fort Columbus on Governor's Island, N.Y. Harbor, and to go from there to Fort Stansbury in Florida by the way of Tallahassee." This represents Richardson's entry to life as a soldier in the field in the Second Seminole War. The next letter, dated New Year's Eve 1841 from Fort Stansbury, Richardson writes a partially criss-cross letter offering much description of the fort and movements during this late period of the Seminole War and in particular notes that "I am very severe with drunken soldiers" and relays the story of a drunken soldier whose whiskey he poured on the ground and "kept in the stocks" for a month as "there is no use in punishing soldiers lightly. If so, they only laugh at it afterwards, as for lying, they will lie as far as a dog can trot..." Relocated to Charles Ferry in July 1842, Richardson describes concerns over the Charles family's supply of the Indians with provisions and ammunition. 1843 opens with a long 4-page criss-cross letter where Richardson describes his scouting mission along Apalachicola River and offers a description of the town and Fort Preston before a long and important description of the removal of Pascofa and his Band from Florida. Richardson describes the "old Chief of the hostiles, named Pas-co-fa" who related himself to messengers ("two friendly Creek Indians") as "very willing to give himself up with his people, that the war had continued long enough, that he was heartily tired of it; that he was a man of but few words, that he had but one talk to make. That he would hold this talk at Tampa whether he would go south of the line in East Fla., or go to Arkansas with all his people." After negotiations, it was decided that Pascofa and fifty of his men would soon depart and they were provided provisions, the Native Americans even named several of the Americans, including Richardson who was named "The Tall Chief." After this episode, Richardson writes "Thus has ended this short and fortunate expedition ... When it is remembered how that this band of Creek Indians has stood out against the troops and volunteer militia for the whole seven years of the Florida wars, and has kept the whole in a state of alarm by murdering and plundering the inhabitants, its result will not be considered among the least fortunate achievements of the Florida Campaigns."Mexican War, 1845-1848Following a visit to Michigan and Vermont in late 1844 and early 1845, the archive continues with Richardson arriving at New Orleans in July 1845 destined for Corpus Christi Bay as the period of his Mexican War service begins: "This bay is the mouth of the river Nueces - which river is the first one east and north of the Rio Grande. The country between the rivers is the disputed territory and the Mexicans are said to be occupying it in force." By September, writing from Corpus Christi Bay, Richardson is aware that Mexico has declared war on the United States. For this, fortifications were ordered erected, additional troops were expected to arrive, and Richardson describes the necessary protections for the army to move between the Rio Grande and Nueces rivers. Luckily, as Richardson found more time to write before the dispatch ship departed, this letter is extended and features a large-two, page manuscript map showing the islands and coast from Corpus Christi Bay to Matagorda Island, and Richardson informs his family that "the whole of the troops intended for the present occupation are now here..." On October 10th, 1845, Richardson offers "some account of Texas" and proceeds to give an account of the border disputes, cotton and sugar plantations, etc., but notes that settlement in the islands would have been sooner "but being so near to Mexico, its people would have to continually fear attack from that country, and the neighboring Comanche Indians, who live in the prairies of the mountains and number in this southwestern half of Texas alone, some 20,000 mounted warriors." A true rarity present in this period is a long printed broadside for a February 1846 performance of the Army Theatre Corpus Christi, promising an appearance of the "unrivaled band of Ethiopian Serenaders."War preparations continued throughout early 1846, and detailed news of arriving ships...
![[MANUSCRIPT ALBUM - ST. LOUIS WORLD'S FAIR]ANDERSON, GILES R. Some scraps of rhyme for my dear Valentine. To Alice W. from Gi](https://cdn.globalauctionplatform.com/034cdc41-5223-4edc-9728-b2ae01052634/fc3478e4-0e56-4268-b57f-b2ae014ebf82/468x382.jpg)
Lot 30
[MANUSCRIPT ALBUM - ST. LOUIS WORLD'S FAIR]ANDERSON, GILES R. Some scraps of rhyme for my dear Valentine. To Alice W. from Giles R. Anderson. February 14th, 1907. Original oblong album of leather-backed patterned paper boards, with a hand-lettered and painted heart-shaped birch wood overlay to the upper cover. 10 1/2 x 13 inches (26.5 x 33 cm); Contents include manuscript poetry, a variety of cuttings, ephemera, and photographic material. The narrative poem describes a delayed honeymoon trip to the 1904 St. Louis World's Fair. 26 leaves, with manuscript verse written in ink, and a variety of cuttings, original photographs, printed illustrations, many in color, and various other pieces of ephemera pasted to the album leaves. Some wear to the boards and spine at corners, edges, and spine ends, a small loss to the surface of the patterned paper, and a vertical crack along the front edge of the upper board, the contents are generally in excellent condition, with expected occasional offsetting and a few very short edge tears, the binding is sound and all pasted-in parts are present. This handmade album is both a charming Valentine's Day gift from a devoted husband to his wife, as well as an extraordinary memento of a honeymoon trip to the 1904 St. Louis Worlds Fair. The album includes a long narrative poem, written in rhyming stanzas, that tells the story of their wedding, what they saw at the World's Fair, and the circumstances behind the poem and scrap book's creation. The poem is carefully handwritten into a scrapbook of documentary evidence from their trip, including original photographs of and by the couple, various cuttings and prints from newspapers and pamphlets, and other related ephemera like admissions tickets, postcards, samples of the silk fabrics that Alice used to sew her husband's ties, a printed Valentine's Day card (as if the book wasn't enough), and more.As Giles apologetically explains to his wife in rhyme, he wanted to compose the poem as a Christmas gift but was unable to finish it soon enough: 'Tis true I really did intend, / you should have this by Christmas time, / But as I had no time to spend, / Now we'll call it your Valentine."No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
![[JONES, OWEN]Book of Common Prayer. London: John Murray, 1845. Publisher's decorative English Gothic Revival binding of black](https://cdn.globalauctionplatform.com/034cdc41-5223-4edc-9728-b2ae01052634/15dea352-d043-4a37-9328-b2ae014f9aa5/468x382.jpg)
Lot 270
[JONES, OWEN]Book of Common Prayer. London: John Murray, 1845. Publisher's decorative English Gothic Revival binding of black straight-grained morocco, the covers with a blind-stamped border and gilt-stamped "IHS" with cross-shaped "I" at the center, the spine blind stamped and gilt lettered, the board edges and turn-ins with gilt roll, all edges gilt, black cloth slipcase. 9 x 6 inches (23 x 15 cm); xl, 484 pp., with chromolithographed additional title page and 7 plates, 4 wood-engraved plates, and decorative borders, initials, illustrations, and ornaments printed in black and in various colors throughout the text. Light wear, the binding's extremities skillfully restored, top headcap coming loose at front, new endpapers, intermittent pale spotting, bookplate of Paul Edward Chevalier. Owen Jones was an innovative British architect and designer, whose theories on color and ornament were influenced by studying the Islamic decorations he saw in Spain. This Book of Common Prayer is considered one of the finest examples of Owen Jones' work in book and ornament design, and it is scarcer when found in its original publisher's binding.Provenance: Christie's, New York, The Chevalier Collection of English Twentieth-Century Bookbindings, 9 November 1990. No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 27
A Black and Decker FPCS1800A 240v 1800w chain saw, two Carver heavy duty clamps, boxed Clarke punch and flange tool, a boxed Roebuck ballpoint Allen key set, a Britool socket set, masonry drill bit and a collection of engineering tools to include cold chisels, adjustable grips, adjustable spanners, hacksaws and hammers.
Lot 161
President Franklin D. Roosevelt signed 15x12inch overall framed and matted vintage black and white photo. Franklin Delano Roosevelt (January 30, 1882 - April 12, 1945), also known as FDR, was the 32nd president of the United States, serving from 1933 until his death in 1945. He is the longest-serving U.S. president, and the only one to have served more than two terms. His initial two terms were centred on combating the Great Depression, while his third and fourth saw him shift his focus to America's involvement in World War II. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 12
Viceregal School. Cuzco. Peru. 18th century."Our Lady of Mount Carmel giving her scapular to St. Augustine and St. Thomas Aquinas"Oil on canvas.128,5 x 104 cm.Magnificent painting of Our Lady of Mount Carmel, patroness of South America, giving her scapular to the patrons of two of the great orders that went to preach in the continent: St. Augustine, on the left, and St. Thomas Aquinas on the right, both Doctors of the Church.This Peruvian painting represents the Virgin of Carmel with extreme delicacy, as a crowned Queen, creating figures of remarkable beauty in a limited space, a beauty understood through the ideological assumptions of worship during the period. This is a refined painting of well arranged chromatic richness, in a triangular composition, with quality in the composition and distribution of two subtle and expressive angels in the sky, .Crowned as Queen, and without her Son in her arms, she gives St. Augustine his scapular, a symbol of that yoke that Jesus invites us to carry, and that Mary helps to carry, a sign of Christian identity. The saint holds a book on which rests the model of a Church, objects that refer to the life of St. Augustine, as writer and philosopher, and pillar and defender of the Church. He considered the Church holy in its doctrine and sacraments, and saw the body of Christ in the work and virtues of its members. We see, on the other side, St. Thomas Aquinas, with a pen in his hand, symbol of his work as a teacher, philosopher and theologian, writer of the Summa Theologica, the Summa contra Gentiles and a great introducer of Aristotelian philosophy.Let us not forget that the Virgin of Mount Carmel is one of the most important Marian devotions in Latin America, as mother, mediator, symbol of defense against invasions and patroness of the emancipation process.The artist is extremely detailed in their brushstrokes, painting the Virgin with an empathetic and serene expression, slightly bent, bringing the mother of God closer, as she rests her eyes on the patrons of two religious orders who kneel at her feet; the saints contemplate her humbly.In short, this is a painting full of details in its figures, attributes and clothing, as well as psychology in the faces, which made them more appealing to the parishioners. It is topped with a carved and gilded period frame that echoes the stripes on the Virgin's habit and closes the scene very well.
Lot 33
Jose de Alcíbar (Mexico City, 1730 - 1803)"Allegory of Africa"Oil on canvas.132 x 96 cm.José de Alcíbar was one of the main exponents of New Spain painting in the second half of the 18th century. Born circa 1730, Alcíbar was remarkable in his ability to portray the ethnic and cultural diversity of New Spain and to accurately depict the physical details and symbolic elements in his characters, something that can be seen in his numerous casta paintings. These artworks, executed in a style that combines European influences with a local sensibility, are a key reference to understanding why we are attributing the painting we are analyzing to him.This is an elegant and striking painting showing one of the personifications of one of the four continents then known (Europe, Asia, Africa and America).Africa is represented here by a standing black character, who turns his head slightly to the left, as if paying attention to a voice calling him. With frizzy, curly hair, richly dressed in the manner of eighteenth-century Europe, showing wealth and abundance, with clothing which is richly brocaded and trimmed on the sleeves and large red cloak. The character also wears a necklace of a string of pearls and other jewelry, in the form of earrings. They hold a sword in their right hand and a bow and arrows with their left.A Novo-Hispanic painting that helps us to gain a little more understanding of the sense that geographical allegories had in Renaissance and Baroque art.It was usually a way of demonstrating the confines of a given empire, and true to the mentality of the time, depicting a monarchy surrounded by continents was a clear expression of power, expressing that their power extended throughout the world.One of Alcíbar's best known paintings is “From Indian and Mestiza, Coyote” and “From Spaniard and Morisca, Albino”, which are in the Philadelphia Museum of Art. These paintings are part of the casta tradition, a pictorial genre that developed in New Spain and was intended to visually classify the different racial mixtures that arose from contact between Europeans, Africans and Indians. These works stand out for their detailed observation of the costumes, textures and gestures of the characters, something that is also evident in the painting of the “Allegory of Africa” that we have here.As in his casta paintings, Alcíbar uses chiaroscuro in “Allegory of Africa” to model the figure using strong contrast between light and shadows, giving it three-dimensional volume and reinforcing its presence in the composition.The depiction of clothing, with its folds, textures and finely worked details, is another characteristic shared with Alcíbar's casta paintings. The precision in the texture of the fabrics, the brilliance of the jewels and the meticulous depiction of the jewelry suggest the expert hand of a painter accustomed to capturing the material and symbolic wealth of his characters.The painting is significant not only for its artistic quality, but also for its ability to reflect colonial-era concerns and ideologies regarding ethnic diversity and the depiction of figures descended from Africa.This connection to Alcíbar's casta paintings, especially those in the Philadelphia Museum of Art, reinforces the attribution of the work and underscores the importance of José de Alcíbar as a key painter in the portrayal of racial diversity in New Spain. As the Museo del Prado states in their biographical factsheet, Alcíbar was ‘One of the most active and representative artists of the painting scene in Mexico City during the second half of the 18th century. He received numerous commissions, especially for religious paintings for various churches and portraits of leading figures in Mexican society, with a personal style that was not unrelated to the artistic processes taking place in the metropolis. Mexico City in the 18th century was a time of special cultural importance, also in artistic terms, with the founding of the Royal Academy of Fine Arts of San Carlos in 1784, of which Alcíbar was one of the founding members and in which he took an active part until his death. Despite the relative success of his teachings, the Academy saw the arrival in Mexico of painters trained and active in Madrid, such as Ginés Andrés de Aguirre, Cosme de Acuña, José Arias and Antonio González Velázquez, who undoubtedly enriched the horizons of the Latin American painters. The two portraits in the Museo del Prado are characteristic of one facet of Alcíbar's production, portraiture, and show the elegance and flamboyance of his brushwork.Reference bibliography:- Magali Carrera, “Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings” (2003).- Ilona Katzew, “Casta Painting: Images of Race in Eighteenth-Century México” (2004).- Museo de Arte de Filadelfia, Colección de Pinturas de Castas.- Museo del Prado. (n.d.). "Alcíbar, José de". https://www.museodelprado.es/aprende/enciclopedia/voz/alcibar-jose-de/858ad8f0-de5b-4a63-921a-49d2d989e660
Lot 17
Panini Mexico 1970 World Cup sticker album This was the first debut album that started the worldwide Panini football sticker collecting craze. The album from 1970 is in good condition and comes complete with all stickers. The 1970 World Cup saw England arrive in Mexico as world champions. However, the magic of 1966 was not to be repeated, with England losing to Germany 3-2 in the quarter finals and not returning to the competition until 1982. The album features legends of English football, including Bobby Moore, Gordon Banks, Bobby and Jack Charlton and international stars such as Germany’s Franz Beckenbauer, Portugal’s Eusébio and Pelé from 1970’s winning team, Brazil. The 1970 World Cup saw England arrive in Mexico as world champions. However, the magic of 1966 was not to be repeated, with England losing to Germany 3-2 in the quarter finals and not returning to the competition until 1982. The album features legends of English football, including Bobby Moore, Gordon Banks, Bobby and Jack Charlton and international stars such as Germany’s Franz Beckenbauer, Portugal’s Eusébio and Pelé from 1970’s winning team, Brazil. Collection features 288 stickers and cards with a 50 page softcover sticker album on Italian language. All 16 teams that played in tournament appear in the sticker book. The combination of self-adhesive peel off stickers and cardboard cards is what makes Panini Mexico 70 quite unique. All the players and teams have been printed on thick cardboard cards which can be put into the album by using glue or a scotch tape. Posters and flags are produced as self adhesive stickers. Stickers and cards are not numbered at the back. To stick them you have to check the name of a player inside the album which can an exhausting process. Collection has been printed in Italy, but has been distributed in the United Kingdom as well. Panini Mexico 70 – 1970 World Cup Album general info Album size : 230 x 240 mm Album : 50 pages Stickers size : 36 x 53 mm Cards size : 53 x 75 mm Language : English Publisher : Panini Modena
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