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Click here to subscribeA limited edition Halcyon Days enamels Box, to comprise a limited editions George Stubbs 'Self-Portrait on a Grey Hunter' (6/250), together with three other Halcyon Days of art subjects, comprising 'Still-Life with Blue Roses and Drapery'- Augustus John, another inspired by Monet and one other, all boxed, 'The Carousel' musical Box, two of horse scenes, a replica Bilston Box and one in the form of the Martin Behaim Globe, 9 in total (a lot)
Studio of Miguel Canals (Spanish, 1925-1995), Still life of Mythological Bird perched on a Basket of Cherries, signed with monogram lower left, oil on canvas, stamped "Studio M Canals" to stretchers verso, 36in x 20in (91.5cm x 51cm), the giltwood frame also painted with cherries and inscribed ‘Studium Canals Fecit’, overall 53in x 37in (135cm x 94cm).
Studio of Miguel Canals (Spanish, 1925-1995), Still life of Fruit - with Latin inscription, oil on canvas, stamped "Studio M Canals" to stretchers verso, 40in x 52in (100cm x 132cm), the giltwood frame also painted with fruit and inscribed ‘Studium Canals Fecit Anno MCMXXXVIII’, overall 56in x 68in (142cm x 172cm).
Rita Smith (British, 21 Artists Group, 20th / 21st century) Still life of a vase of flowers and oranges on a table oil on board, unsigned, unframed 24 x 24in (61 x 61cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
This vibrant still life linen on board painting by artist Faveu showcases a beautifully arranged composition of fruits, ceramics, and draped fabric. The artwork is executed in a bold, textured style, with a strong emphasis on form and color. The earthy tones of the background contrast with the vivid yellows, greens, and reds of the fruit, creating a dynamic interplay of elements. The brushstrokes exhibit an expressive quality, lending the piece a unique character. The painting is signed Faveu in the lower right corner, affirming its authenticity. The artist demonstrates a keen understanding of classic still-life techniques while infusing the work with a contemporary and personal touch. The framed artwork is ready for display, adding a sophisticated and timeless appeal to any art collection. Artwork dimensions with frame: 30"L x 24"H x 1.75"W.Artist: FaveuIssued: 20th-21st centuryDimensions: See DescriptionCondition: Age related wear.
This framed botanical still life print features a decorative urn filled with lush fern fronds and cascading berries, rendered in a warm, muted palette of earthy tones. The composition evokes a classical European-inspired aesthetic, with aged patina effects that enhance its vintage charm. The artwork exhibits a textured finish with intentional craquelure, giving it the appearance of an antique fresco. Encased in an ornate, gilded frame with intricate scrollwork, this piece embodies a traditional and timeless appeal, making it a striking addition to any interior space.Issued: c. 2000Dimensions: 24"L x 30"HCountry of Origin: USACondition: Age related wear.
This oil-on-canvas still life painting by Palm Beach artist Annette Krauss Rose features a vibrant composition of a metallic vase and cut fruit against a draped fabric background. Rose, a 20th-century artist, studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMond, whose influence is evident in her use of light and color. The painting measures 20.5”L x 22.5”H and is signed by the artist in the lower right corner. A fine example of Rose's mastery of still life, this work is ideal for collectors of Impressionist and Floridian art.Artist: Annette Krauss Rose American 20th CenturyDimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
Gregorio Vázquez de Arce (Santa Fe, New Granada, 1638 - 1711)"The Holy Family in Saint Joseph's workshop"Oil on copper.62,5 x 47,5 cm.The lower margin of the copper plate is slightly damaged.The attribution of this work relates to the style and technique that characterize Vázquez: balanced compositions, soft tonalities and detail in the treatment of figures, elements and style that we observe in other paintings that have been signed by the artist and that allow us to affirm that this painting is by Vásquez. We refer, for example, to the paintings in his "Retablo de las Reliquias" or his “Saint Gertrude with the Christ Child” kept in the Santa Clara Church Museum in Bogota, in which similarities with this painting can be observed in the idealized representation of the faces, the delicate handling of light and the tonal palette dominated by warm and earthy colors.The choice of the thick copper support, usual in Vásquez de Arce's small format works, denotes an interest in guaranteeing durability and a luminous finish, something common in works destined for altars or private devotional spaces, as would be the case here.This painting comes from a time when New Granada was experiencing a boom in religious artistic production, driven by orders such as the Jesuits and Dominicans, who promoted artworks that were both didactic and devotional at the same time.Gregorio Vásquez de Arce was an influential Colombian painter, the most important painter from 17th century New Granada. He was endowed with technical and stylistic mastery as reflected in cycles such as the "Retablo de las Reliquias" in the Church of San Ignacio in Bogota. With a prolific career that spanned much of his life, Vasquez left a legacy of religious artworks that significantly influenced the artistic development of the region. His style combines elements of European baroque with a sensitivity and devotion typical of the Latin American context of the 17th century. Vásquez, in fact, through his work, was a central figure in the consolidation of the Baroque in New Granada and his influence extended to later generations of artists in the region. Later painters took his style and adapted it to local needs, making his work a fundamental point of reference in the history of viceregal art. Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of the engravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.” The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work. The scene depicts the Holy Family in an intimate, everyday environment, a typical Christian baroque theme that seeks to emphasize the humanity of sacred figures. Just like any family, the patient Virgin Mary is doing embroidery while “meditating everything in her heart”; the chaste St. Joseph, focusing one of the essential virtues he possesses, is working in silence at carpentry, planing wood. The thrice saintly Jesus, as Son, is learning from his father and imitates him at woodworking, and appears as “building his future destiny”, preparing the stipe of his cross. The painting, with its colors, shows a model of all the virtues: humility, chastity, obedience, poverty, love of work and silence; in a word, the total practice of these virtues reflected and lived through by this family. The theme of the Holy Family became popular in art from the 1490s, but the veneration of the Holy Family formally began in the 17th century due to St. Francis de Laval, the first bishop of New France, who founded a confraternity with this name. The family is depicted as being all on the same level, on the same compositional plane, on the same floor, there is no one that predominates or stands out above the other. It is what is called the earthly Holy Trinity and although Saint Joseph had an almost caricatured secondary role in the iconography, from the Renaissance and the Baroque, he becomes very important, since the progressive humanization of the portrayals of Jesus and Mary would make this adoptive father gain presence, he is given increasingly friendly treatment and is portrayed in art as a loving and attentive father.In this regard, as we read in the fascinating article by Juan Pablo Cruz Medina (2014) “The Painting of the Holy Family: A Manual of Family Relations in the World of 17th Century Santafé”, the family, configured as the nucleus of the social body within the structure devised by Spain for the New World, early on became a concern for both the Church and the bureaucracy established in Latin America. From this, the Church developed a series of discursive structures aimed at establishing models of family life that would serve as examples of ideal behaviour throughout the 17th century. This ensured not only the maintenance of an "ecclesial" order in society but also the submission of society to the civil power established by the Spanish monarch in the new lands.Medina highlights the artistic production developed by the Church in relation to the family. “One of the most significant pictorial sets within the visual corpus of the 17th century is that of the Holy Family,” which would continue to be represented ceaselessly thereafter. This ecclesiastical need also responds to the “emergence of the nuclear family model in Europe, which changed the conception of the extended family typical of the Middle Ages,” while in colonial Latin America it was of interest to “establish examples that would help shape a society governed by religious norms.”Reference bibliography: - Cruz Medina, Juan Pablo. (2014). «La pintura de la Sagrada Familia. Un manual de relaciones familiares en el mundo de la Santafé del siglo XVII». Memoria y sociedad 18, n.° 36: 100-117. https://dx.doi.org/10.11144/Javeriana.MYS18-36.psfm- Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6, Nº 11, 68-125. - Fajardo, Marta. (n.d.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia. https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos - Pizano, Roberto. (1985). "Gregorio Vásquez: Vida y obra". Banco de la República, Bogotá.- Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada". - Tovar, Gil. (1995). "El barroco en la Nueva Granada: Gregorio Vásquez de Arce y Ceballos. Ediciones Nueva América, Bogotá.
Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772"Portrait of Manuel López-Pintado y Almonacid"Oil on canvas.111,5 x 97 cm.Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América in Madrid has a still life by his hand (inv. 2021/04/01).He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of the painter.The iconographic themes of his artistic production are varied. Urban views, devotional and allegorical motifs, sacred history and several portraits known to date, including those of several viceroys and a portrait of King Charles III dated 1760.Focusing on the painting we present here - and delving deeper into the identity of the sitter - the clothing and important coat worn by the sitter in our work behove us to mention two paintings on canvas that we can compare stylistically and help us to date and geographically locate the painting to the first half of the 18th century in New Spain. We are talking about the portrait attributed to the painter Juan Rodríguez Juárez of Viceroy Juan Vázquez de Acuña y Bejerano (1658-1734), Viceroy of New Spain between 1722 and 1734; and the portrait of Viceroy Pedro Cebrián y Agustín (1687-1752), Viceroy of New Spain between 1741 and 1746.The attire and accessories of the sitter in our painting are comparable in quality, materials and design to those worn in the portraits of the Viceroys of the 18th century. From this we can deduce that the sitter enjoys a very high social status, possibly among the nobility or great merchants of globalisation.It should also be noted that our noble and illustrious personage holds a magnifying glass in his left hand. This element and the book of cartography resting on the table next to the silver inkwell with its quills relate the sitter to maritime activity. In this sense, moreover, the design of the decorative patterns of the garments reminds us of the waves of the sea and the symbols on the sleeves are related to the four cardinal points.The proposal suggested to satisfy the mystery of the identity of the man portrayed is that of Manuel López-Pintado y Almonacid, Admiral of the Fleet of the Indies, who was born in Toledo in 1677 and died in Seville in 1745.A portrait of Manuel López-Pintado, dated 21 December 1730, is kept in the Naval Museum in Madrid.As the Royal Academy of History informs us, "The great wealth of López-Pintado, a mixture of sailor, soldier and businessman, originated from the title of silver-master granted to him by Sebastián de Talledo in Madrid in 1704. [...] He was a deputy of the royal fleets until he obtained the title of admiral of the Fleet of the Indies in 1715-1716, and in that post he acquired a large fortune that enabled him to invest in land, buying and improving various estates and mills in different towns in the province of Seville. [...] In 1737, Philip V granted him the title of Marquis of Torre Blanca del Aljarafe, with the previous viscountcy of Cabrejas". Reference bibliography:- Caño Ortigosa, José Luis. (n.d.). "Manuel López-Pintado y Almonacid". Real Academia de la Historia. https://dbe.rah.es/biografias/51501/manuel-lopez-pintado-y-almonacid
Ravilious (Eric).- Heath (Ambrose) The Country Life Cookery Book, first edition, illustrations by Eric Ravilious, T.L.s. from the publishers tipped in, original cloth, dust-jacket with vignette, price-clipped, slightly rubbed and soiled, 1937 § Christmas Book Shop (The): The Year's Best Books, 8pp., printed in yellow and black, illustrations by Ravilious and Edward Bawden, spotted, interleaved and stitched into card folder (staples removed), manuscript paper label in shape of Christmas tree to upper cover, [1924] § London Transport. Country Walks, First [-Third] Series, 3 vol., photographic illustrations, some spotting, original wrappers, all with dust-jackets featuring wood-engraving by Ravilious, a little rubbed, 1936-37 § Pope-Hennessy (James) London Fabric, second edition, foxing, original cloth, dust-jacket designed by Ravilious, a little rubbed and frayed, spine browned, New York & London, 1941; and 20 others, illustrated, mostly by Ravilious, and a few loose illustrations by John Nash, 8vo & 4to (26)*** The tipped-in letter in the first is a reply to an enquiry concerning the repetition of the January vignette for December, and whether another engraving was rejected. The publishers are unable to solve the matter as their records were lost during the war. The second item was an advertising insert for the December 1924 edition of the Studio. It includes some of both Ravilious's and Bawden's earliest published designs, executed while they were still students at the Royal College of Art.
Fred YATES (1922-2008) Still Life with Boat Oil on panel (wooden door), signed, 22 x 14cm, 51 x 38cm overall.This utterly charming work is in good condition, with some accretions evident and the original rustic nature of the doorframe panel and its quirky asymmetric nature adding to its appeal.
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