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19th century | height: 17 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 19th century albarello comes from a Neapolitan ceramic workshop and is decorated with colorful polychrome painting with floral motifs. The floral decor combined with fine blue lines on the upper and lower edges of the jar is a typical example of Neapolitan faience production of the period. The jar was used in pharmacies to store medicines, but thanks to its decorative design, it also fulfilled an aesthetic function. This artifact exemplifies the masterwork of Italian potters who combined practicality with artistic expression and is sought after by collectors of historic ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1740 | height: 26 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Dating from Savona in 1740, this albarello is a typical example of 18th century Italian faience pottery. The front of the jar is decorated with a coat of arms with the inscription "Charitas" and a landscape with architectural motifs, which refers to the moral value of charity and love. This type of decor was often used on apothecary jars, which were intended to serve not only as functional objects, but also as aesthetic artefacts in pharmacies. The back of the jar bears the date "1740", confirming its origin in the first half of the 18th century. This piece is not only historically valuable, but also an excellent example of the savoir-faire of Savon ceramic masters, who were famous for their blue-decorated products. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1RguPUzCIJ0xX9xh1w-3Q68rWUhzbo6_7?usp=sharing

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’.

Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383 

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.

Novo-Hispanic School. Mexico. Late 17th century. Nicolás Correa Juárez Circle."The Mass of Saint Gregory"Oil on copper. 29,5 x 23,8 cm.An exquisite and very unusual, unique depiction of the well-known Mass of Pope Saint Gregory, as the vision of the Blessed Souls being rescued from Purgatory by angels and taken to heaven also appears in the scene. The composition is designed to save space, as it could have been distributed over two sections of a small diptych. To the right of the scene, as is customary, we see a door with a landscape and figures, and/or members of the papal entourage or donors joining in the main act of the Eucharistic miracle. The ‘pray for the souls, present and absent, and pray for their tribulations’ scene is depicted with a great deal of light in order to attract attention. The painter depicts the apparition of Christ to Pope Saint Gregory the Great while he is celebrating mass on Christmas Day in the Roman Basilica of the Holy Cross in Jerusalem with detail and finesse. His assistants also appear, one carrying the cross to guide them and the other with a halo, who also participate in the miracle. Christ, surrounded by the symbols of his Passion, shows his stigmata to assuage the doubts of some of the people present or the Pope's own doubts about Transubstantiation. In some paintings blood appears to flow from the arma christi and is collected in a chalice, but not in this case.Due to its small format, the painting could have been a devotional copper commissioned by a member of the Church, with the aim of moving his soul to devotion and capturing the essence and depth of the Eucharistic celebration at all times, and, at the same time, the vision of hell/purgatory. With it, following the catholic doctrine, he would not forget the sacrament of forgiveness and mercy and would save all souls from their sins and evils that keep them in a constant purgatory. In short, a small copper that embodies the symbol of the Eucharist as a renewal of Christ's sacrifice to save humanity.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who  mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist.  This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181). 

Viceroyalty of New Granada (Colombia and Venezuela). 17th - 18th century.‘Painting of Souls in Purgatory with Saint Dominic of Guzmán and Saint Francis of Assisi, under the gaze of the Holy Trinity’.Oil on canvas. Relined.133 x 92 cm. Lovely painting of the Blessed Souls in Purgatory, an almost obligatory theme in the 17th - 18th centuries, and throughout the three centuries of Spanish domination, in addition to those referring to the life of the Virgin Mary and the life of Christ, and that of the Saints.From the 17th century onwards, this theme began to take shape in the face of Martin Luther's attacks, who denied the existence of purgatory, and to which the Catholic Church responded at the Council of Trent, declaring purgatory to be dogma. It was the Jesuits who first displayed such a picture in their church in Rome, and it was they who took this image to all the places where they were present with their evangelisation.They arrived in New Spain well into the 16th century, which is why paintings of souls in purgatory did not begin to appear until the following century.With the delicacy and finesse of Neo-Granadine painters, the scene depicts the souls in purgatory between Saint Dominic of Guzmán and Saint Francis of Assisi, patrons of the Dominicans and Franciscans, two other mendicant orders who also went there to baptise and evangelise, and who pray and intercede for them, looking up to heaven, looking at the Holy Trinity itself, which will ultimately receive them into its merciful and heavenly bosom.It is a pedagogical and catechetical painting, whose purpose was to remind Catholics of their obligation to pray for the souls of the deceased, who had to pass through purgatory.The painting has two clearly differentiated planes, above the Triumphant Church, with the Trinity receiving and welcoming, and below the Purging Church, which shows the souls of the dead burning in the purifying fire.Topped by a figurative trompe l'oeil frame that encloses the picture of devotion to which one must pray, that is the message that lies behind many of these paintings in the churches of Latin America, ‘you have one soul and no more, if you lose it what will you do’, which is a message also for the passer-by, parishioner or neighbour who contemplates it, a continuous ‘memento’.

Small engraved silver snuff box. Novo-Hispanic workshop. Mexico, Guanajuato. Dated 1768.5.8 x 7.5 x 1.5 cm.Dated and inscribed: "Guanaxuato. Aº 1768."Inside the lid, within a border, the name of the owner is engraved: "Soi de mi Señor Joseph de Areche" (I belong to my Lord Joseph de Areche.) In the centre, two eagles face each other.Thanks to the details provided by this box—name, year, and place—it can be confirmed with certainty that it belonged to José Antonio de Areche y Sornoza (Balmaseda, Vizcaya, 1728 – Bilbao, 1798), who was "Oidor" (judge) of Manila, Criminal Prosecutor of Mexico, Civil Prosecutor of Mexico, General Inspector of Peru, and a robed minister of the Council of the Indies.It is interesting to read about his career in the biographical reference from the Royal Academy of History:"Graduating with a degree and doctorate in Canon Law in 1756, he was a member of the Academia de Profesores of Santa María de Regla. Since 1752, he held a scholarship at the Colegio de Santa Catalina Mártir de los Verdes, where he later became rector.In 1759, Areche applied for the chair of Canon Law at Alcalá and was a substitute for others.Charles III appointed Areche to replace Pedro Calderón Enríquez as Oidor of the Audiencia of Manila by consultation on 5 June and by decree on 14 July 1765, a position he never occupied. He requested a loan of 5,390 pesos in Cádiz in 1767 (which had not yet been repaid twenty years later, according to his creditors). Areche departed for Manila with a licence on 14 April 1766. However, while passing through Mexico, Areche was appointed by the viceroy to fill the vacant position of Criminal Prosecutor of the Audiencia of Mexico, despite the court’s protests over the legality of the appointment. Areche’s work quickly earned him praise, and a year later, the ministers petitioned the King to make the appointment permanent, which was granted on 13 November 1767. (This snuff box is dated one year later.) Areche was promoted to the Civil Prosecutor's office on 17 January 1774, and impressed José de Gálvez during his visit to Mexico.While serving as Prosecutor, Areche supported the Court of the Acordada, seeking funds to improve the building.He was reported twice for possessing prohibited books, including Diderot’s Encyclopaedia and Voltaire's Thoughts. Notable for his severe and biting opinion of the Mexican population, he supported the military reforms of the General Inspector. When Gálvez became Secretary of State for the Indies in 1776, he appointed Areche General Inspector of the Kingdom of Peru on 25 March 1776, and simultaneously made him a member of the Council of the Indies so that he could "perform his duties with more dignity and authority". Shortly thereafter, Areche was also granted a pensioned knighthood in the Order of Charles III.Areche undertook a stormy and controversial inspection in Peru during the late 1770s and early 1780s, clashing with nearly all authorities there. He arrived to examine both the financial and judicial bureaucracies, root out corruption, investigate forced distribution, consider implementing a system of intendants, and reform the method of tax collection. Areche arrived in Lima on 14 June 1777. His disputes, first with Viceroy Manuel de Guirior and then with Viceroy Agustín Jáuregui, led to the replacement of both. With Jáuregui’s appointment in 1780, Areche was given the responsibility of Superintendent for Financial and Economic Affairs. His efforts to reform the Court of Audits and the treasury system were unsuccessful. Jorge Escobedo Ocaña y Alarcón restored the previous system of royal treasuries. Areche’s attempts to reform municipal finances in Lima also failed.His introduction of a “military contribution” or tax on free people of colour, although supposedly voluntary, faced opposition from those affected.He was ordered to return to Spain in 1781.

Mariano Salvador Maella (Valencia, 1739 - Madrid, 1819)‘Immaculate ConceptionOil on canvas.79 x 49 cm.This is most certainly a preparatory painting, finished in detail, for the large canvas for the altar of the chapel of San Antonio in the church of San Francisco el Grande in Madrid. Another preparatory work, ‘The Immaculate Conception’ (P007602) by Maella, circa 1787, is on display in the Museo del Prado in room 89. With the exception of the dimensions (142 x 74 cm), everything else is identical.Consequently we have referred to the description given by the Prado on its website:‘The composition is configured in three interdependent registers in order to highlight the main image of the painting. The upper space is occupied by the Eternal Father, surrounded by angels who appear to support him, accentuating his marked foreshortening and constituting a kind of canopy of figures in the manner of a determining apex of Divine Grace. Below, the Virgin, dressed in the traditional attire - a blue mantle billowing behind her and a white tunic - raises her eyes to heaven and crosses her hands over her breast. The angels in the lower area carry some traditional symbolic elements such as lilies, a mirror and a rose, and partly conceal a terrestrial sphere on which an ophidian glides, almost segmented by the emerging horn of a lunar crescent. It bites into the apple of original sin and seems to be strangely chased away by an angel in the lower right corner, who holds the necklace of the royal order in his hands.Maella perfectly combines the two tonal ranges, relying on cold or warm use of colour, depending which is most useful for his particular vision, while distributing the details by harmonising them through successions of parallel or zigzag diagonals, in order to obtain the impression of dynamism, underlined by the attitudes of all the figures, except for the Virgin, who provides the calm note in the midst of a formulation that is little less than centrifugal on the whole.’Reference bibliography:- Museo del Prado. (s.f.). "La Inmaculada Concepción". https://www.museodelprado.es/coleccion/obra-de-arte/la-inmaculada-concepcion/61db14cb-c75f-4904-8e15-9eed097917e2

Attributed to Luis Juarez (Mexico, circa 1585 - 1639)"Saint Augustine of Hippo and Saint Gregory the Great, Fathers of the Church, and The Four Evangelists"Set of six oils on copper.22.5 x 17 cm (2) each, and 21 x 16 cm (4) each.A magnificent collection of 6 paintings on copper depicting the Evangelists with their iconic symbols and two of the four Fathers of the Church. Matthew with the angel, a man with wings highlighting the humanity of the Son of God; Mark with the lion, a symbol of strength, courage, and royalty; Luke with the bull, a beast of burden, calm and humble, and John with the eagle, the mystic who sees the world from the heights.The two Fathers of the Church depicted are Saint Gregory the Great and Saint Augustine of Hippo. (Possibly the other two, Saint Jerome of Stridon and Saint Ambrose of Milan are missing to complete the octet).Faux ovals contain phrases from their writings, representative of the Gospels or Roman liturgy: "Book of the Genealogy of Jesus, Son of David"; "Behold, I send an angel before you"; "who is famous among all the churches for his preaching of the gospel"; "In the beginning was the Word, and the Word was with God"; "Order our days in Your peace"; and "No one should pass without penance."With vibrant and lively colours, creating a cheerful and dynamic rhythm, the paintings display meticulous attention to detail, as well as soft light and shadows. The figures exhibit an idealised yet "almost real" beauty, balanced and serene, capturing the viewer as a contemplative observer of the saints of the church to imitate and follow.

Philippine school. Northern Luzon. Mid-20th century.‘Anitos - Man and Woman’.Pair of carved wooden sculptures.83 x 18 x 15 cm and 83 x 17,5 x 13 cm. ‘Anitos’ is the general name for the spirit of the deceased. Depictions of the ‘Anitos’ are found amongst the Igorot peoples, mainly in the Ifugao and Kankanaey tribes. They influenced life, either for good or for evil. By making sacrifices to these figures, the spirit of the ancestor, who is wandering and tormenting his own relatives, can find peace. 

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.

Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Immaculate Conception"Oil on copper. Signed and dated "Clapera fecit 1798".There is a small dent in the upper right corner.63,5 x 41,5 cm.Francisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5

Novo-Hispanic school. Mexico. 18th century.‘Stabat Mater Dolorosa, iuxta crucem lacrimosa’.Oil on canvas. Measurements: 69,5 x 54,5 cm. Devotional and catechetical canvas, creating the effect of an altarpiece of Our Lady of Sorrows. In a central oval, and as the base of a Christ on the cross, ‘stabat Mater Dolorosa’, mother Mary remains under the cross of her crucified Son. The painting is clearly devoted to Mary.Six angels of the Passion surround the cross: two weeping angels are at his feet, with the symbols of the Passion; two fly with scrolls reading respectively: ‘Christi sub cruce Mater erat’ (The Mother of Christ was under the cross), and ‘Maria pendens fuit in cruce Christi’ (Mary was hanging on the cross of Christ). Both texts are from ‘Epigramatum Libri 3’, a book written by Jacob Biderman, a Jesuit priest, and published in 1620 with ingenious religious epigrams in the manner of the classical writer Martial. Of the two remaining angels, one has the book EPs (a reference to the Epigrams) and the other holds an hourglass, symbol of the inevitable passing of time, of death and the end of time on earth, a clear allusion to the souls in flames.Under the Virgin of Sorrows are the blessed souls in purgatory: as their lives transition, they take the Virgin as their ‘ascent and mediator’ in their sufferings (which they compare with their own and know ‘they are heard’) and look towards the final horizon (clean and close after the cross) to Christ who suffers on the cross and who crowns everything.  In short, the Christian theology of, ‘one must suffer to reach glory’.The presence of a heraldic coat of arms flying in the upper right-hand corner is a clear reference to the person who commissioned the work, the owner or donor of the painting.

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez

Novo-Hispanic school. Mexico. Late 17th century. Nicolás De Correa (1660-1720)‘Adoration of the Ecce Homo, Man of Sorrows, Lord of the Green Reed, Holy Christ of Humility and Patience, or Most Holy Christ of the Cold Stone’. Oil on canvas.118 x 188 cm. A perfect scene enclosed in a painting of large dimensions, which looks like the passage of a suffering and serene Christ in Easter week in any corner of Spanish geography. The large scene, framed in period gilded cane, is completely filled by the central, mystical figure. Seated and serene, resigned and with all the acceptance of the divine will on his face, bearing our sins, he is silent and mute in the face of the executioners who mock, spit on him and insult him, as the Gospels narrate. Seated on a pilaster, or ‘cold stone’, as the text of John 3. 16 reads on its front:‘In hoc apparuit charitas Dei in nobis, qvoniam filivm svvm vnigenitvm misit Devs in mvndvm. Vt vivamvs per tvm.’(For this is why the Love of God appeared in us, because God sent His only begotten Son into the world, so that we might live through Him.)Above Christ, two angels, flying and weeping, carry a wide, almost mournful phylactery, like a banner, with some verses from the Song of Songs 3, 11: ‘EGREDIMINI ET VIDETE FILIAE SION REGEN SALOMONEM/ IN DUADEMATE...., [QUI CORONAVIT ILLUM MATER SUA].... (Go forth, ye daughters of Zion, and behold King Solomon with the crown [with which his mother].... and so ends the verse, though he is not.... [his mother] crowned him on his wedding day, on the day of his heart's joy).The procession is opened by two angels, standing like ceremonial candle holders to the right and left of the central cross, which is Christ himself. One carries the cross which he will be nailed to and die on; the other, the pillar of his scourging and sufferings, with the cock that crowed at Peter's betrayal.On the right and left, all around the crowd that fills the back, are the angels of the Passion, sacredly carrying symbols and instruments of the Lord's Passion, ‘a great cloud of spectators surrounds us’ (Heb 12:1-4; Ps 21; Mk 14).  In the box, on the left, are Mary Magdalene, Mary his mother, and his mother's sister, Mary of Clopas, the mother of James and Joseph; all with the beloved disciple John.  On the right is Mark the Evangelist with the lion, whose gospel described this scene so heartbreakingly, amidst an audience of praying and worshipping saints.  A picture for meditation and contemplation, ‘eyes fixed on Him who endured pain and the cross, who tasted death on behalf of all, tested by what He suffered, and who, suffering, learned obedience’. All perfectly described by the evangelist present in the picture.For all of us who approach this scene, it is a great spectacle in which we take part ‘as if we were present’. As the psalm says, ‘all who seek you, O Lord, and behold you, all who behold you, who behold in us also that wondrous spectacle of your own salvation’.Sadly, on the back of the canvas there is an illegible text, due to the use of bad ink, or the use of very watery watercolours, which the humidity and the passage of time have gradually erased.

Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Possibly portrait of a governor of Puerto Rico.”Oil on canvas. In its original carved and gilded wooden frame from the period.109 x 84 cm.  Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century."Frequent in the style developed by our painter, elongated figures and cherubic angels with round faces can be perceived.

Attributed to Sebastián López de Arteaga (Seville, 1610 - Mexico, 1656).Carved, wooden "cell cross" painted in oils.61.5 x 31.5 cm.  Powerful, inspiring and devotional oil painting on panel with the image of Christ Crucified at the moment when, according to the Evangelist John or Psalm 22, He says some of his seven last sayings: - to God, his Father: ‘My God, my God, why have you forsaken me?- to all: ‘I thirst’;- to the world: ‘All is fulfilled’;- and finally to God: ‘Father, into your hands I commend my spirit’.The ‘cell cross’ is a type of devotional piece very common in Spanish and Latin-American convents and monasteries in the 17th and 18th centuries, and was placed inside each cell for the personal use and worship of each monk or nun.The cross has rectilinear sections, unadorned, and worked in an illusionist, three-dimensional manner, the amount of light is somewhere halfway between the typically Baroque tenebrist light and expression of pathos and the artificial Mannerist light, that invisible ‘cannon of light’ that makes us look at Him.  Christ appears in the centre, with foreshortened and expressively deformed anatomy, which denotes the continuance of mannerism even into the 17th century. Following this Christ from top to bottom, at his feet we see a depiction of death treading on the devil.  While regarding the pain and death of Jesus on the cross, the skeleton at his feet may seem to be perverse mockery, or nihilistic and macabre irony.This design of a skull (Adam's skull) with two tibias, or scattered bones, and a sitting or standing skeleton originated in the late Middle Ages as a symbol of death and especially as a ‘memento mori’, a visual reflexion on the transience of life (remember that you will die...). In this work, and on the same plane or level, death steps on the devil, on evil, as if they were saying to each other: neither you nor I have the last word, only the resurrection.And horizontally, like two ‘loving’ messages flowing from the blood of his hands, we see two birds: in his right hand, as we look at it, the Phoenix on a burning fire, a symbol of hope, poise, memory and regeneration, a miraculous bird that feels death and prepares it with care and serenity to then rise from its ashes unharmed and vigorous (an impossible dream for a human being who has no faith ...); in his left hand, as a finale, he presents a bird and its chicks, which she feeds with her own flesh and blood.  The pelican, one of the symbols of Christ, of His martyrdom and death as salvation through the ultimate sacrifice and love for others. In Catholicism it is associated with the Eucharist: with the immolation of Jesus, who with His own flesh and blood nourishes and redeems humanity.   A true example of love is the pelican that restores its young with its own blood.  Such is the love of Christ who with His blood restores life and gives us his kingdom on the cross.The composition ends with this pelican which encloses, with a motto, the expression of love of this Christ on the cross: ‘SIC’, ‘HIS QUI DILIGUNT’ (Thus - For those who love). 

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 

Pierce (Michael) and others. '...So Few: a folio dedicated to all who fought and won the Battle of Britain 10th July - 31st October 1940', number 43 of 401 copies, signed by the creative team with 25 tipped-in silhouette portraits of surviving pilots by Michael Pierce, all signed in pencil by the artist and subjects and with photographic plates of them & their related memorabilia and facsimile accounts, in original RAF blue morocco upper cover inlaid with pilot`s wings and blocked in gilt, with accompanying leaflet in original cloth drop-back box, 4to Royal Air Force Benevolent Fund 1990.Some minor dents to the edges of the outer slipcase, with surface wear - the book itself has no apparent damage.

Nineteen British Quad film posters – includes: Harry Potter and the Philosopher Stone, Bend It Like Beckham, The Eternal Sunshine of the Spotless Mind, McFarland, Beauty and the Beast (IMAX style), Atlantis, Just Visiting, Howls Moving Castle, Santa Clause 2, Doctor Who: The Day of The Doctor (x3), Lord of The Rings: Return of the King, Lord of the Rings: Two Towers, Chicago, High Heels and Low Lives, Sweet Home Alabama, K-Pax, and Late Night Shopping, all rolled, 30 x 40 inches. (19) From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.

A collection of original film scripts, as used by actor and puppeteer Tim Rose, comprising: 'The Dark Crystal', 'Death Fish' (released as 'Fierce Creatures'), 'The Muppets...Again', 'Doctor Who', Series 8 Episode 1 (the first Peter Capaldi episode), and 'Dinosuars - Endangered Species', together with a photocopied set of storyboards from The Dark Crystal. From the personal collection of Tim Rose, Animatronic Designer, Performer & Puppeteer, best known for his role as Admiral Ackbar in Star Wars Episode VI: Return of the Jedi (1983). Tim also puppeteered the characters of Sy Snoodles and Salacious B. Crumb, and worked on other projects with George Lucas and Jim Henson.Tim Rose's iMDb profile

Star Wars - eight assorted Star Wars Convention (Europe and North America) laminated passes, issued to Tim Rose, who appeared after his roles in Return of the Jedi (and later episodes) together with six 'Official Pix' pencil cases, all signed by Tim Rose, with Admiral Ackbar's famous line 'It's a Trap'. From the personal collection of Tim Rose, Animatronic Designer, Performer & Puppeteer, best known for his role as Admiral Ackbar in Star Wars Episode VI: Return of the Jedi (1983). Tim also puppeteered the characters of Sy Snoodles and Salacious B. Crumb, and worked on other projects with George Lucas and Jim Henson.Tim Rose's iMDb profile

Peter Cushing (1913-1994) and Peter Ustinov (1921-2004) – a small selection of four original and one copy correspondence between the two actors. In 1955, whilst Cushing was appearing in a BBC drama based upon a play written by Ustinov, they commenced an exchange of humorous correspondence by fictional characters they created. Although their correspondence ended shortly after the play was broadcast, they remained great friends and occasionally reprised their characters’ correspondence in later years, usually with deliberate mis-spellings of names and events.Included in this lot is:1. A Comical handwritten telegram from Peter Ustinov (of Houltworthy, Riller, Riller, Spraffe & Bullim, Solicitor-at-law) being a summons (to Peter Cushing) for non-payment of monies. Laid down to a single, plain sheet of A4 paper;2. A photocopy of Peter Cushing's reply, an autographed letter, dated 23. Feb. 1955, 'mie veree dere Morrie' . . . Cushing has acknowledged the receipt of the telegram which has left him 'hart-broken', appeals to Ustinov to 'retrackt your ackshun’, and suggests they ‘meat at a mewtually conveneant tyme and playce’ to sort it out ‘frend too frend’, signed Peter;3. Orginal autographed letter signed from Peter Cushing, to Messrs. M. & D. Grosvenor, also dated 23. Feb. 1955, hand-written on the reverse of the page of an unknown play or film script. Cushing states . . . 'I am in receet of yore a/c receeved of toodai’s dayt and franklee, sirs, I am horryfyed – I never – repeet NEVVER – had me nipples done and me switch’s arr spynsters tew thys veree dai – further moor – yore pryces arr Xorbeedant. Reelucktantlee I am refurring thee whole soordyd ayefare too mi solelissiturs – Messurs Renfrick, Renfrick & Renfrick & Sons Ltd who no dout wil bea getting in touch wiv yew (?) Moyst unfaythfooly Yrs Peter Cushing';4. A further original autographed letter signed from Peter Cushing, also dated 23. Feb. 1955, sent to Mie Veree dere Morris (Ustinov) in which he states 'as old frends and busyness assosheates . . . he was ‘hart-broken' to have received the letter from his solicitors, Howuntrusty, Riller, Riporf, Swagge and Bullion, and asks how he (Morris/Ustinov) could have done it knowing his (Cushing’s) ‘sirkumstanzez’ with a wife, several children and his mother-in-law to feed, Cushing pleads with him to ‘retrackt yore ackshun’ and to meet at a ‘moochully conveneant tyme and playce and diskuss this busyness in a atmossfear of konvivealitty’ signing ‘Yrs Sinceerley, Peter’;5. A further autographed letter signed from Peter Cushing to Morris Grsovenor, dated '24 of Feb 1955', written from Hotel D’Or, Place de la Konkord, Paris, France, in which he says he has gone for a ‘breff vaykayshun wiv the family. I cannot nor I will not be kowtow’d by yore attitood which I do not lyke. I am on too a good busyness deel hear (tyres and sundries) and if yew dew rite by me, I mite be abel to kut yew inn on a gude thing. I shal be a abzentea from the Kalleydonian Road for sum tyme and wil deam it only write if you wil cease yore insessant korrespondence until such tyme as I am abel too meet yew harf way. Yrs without ackrinimy, Peter Cushing’; Provenance: ex- Peter Cushing Collection: Canterbury Auctions, 2023.

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.

Fabergé, a dendritic agate miniature animal study, early 20th century, realistically modelled as a reclining Gloucester Old Spot pig, finely carved in dendritic agate, its eyes set with cabochons of red paste, measuring 8.0 x 3.0 x 2.1cm, eyes later replacements The quality of this carving and the sensitive treatment of its subject compare favourably with a number of hardstone animal studies produced by the workshops of the Russian imperial jeweller Fabergé. Animal carvings are among the jeweller's most celebrated creations, adored and collected by some of the most prominent figures of the early 20th century. Russia's stone carving industry centred on the city of Yekaterinburg, where Fabergé acquired the workshop of lapidary Karl Woerffels around 1884, and it was this workshop that produced the majority of them - the carvers Kremlev, Derbyshev and Svetchnikov, managed by the German Alexander Meier. The stones were carefully selected by Carl Fabergé's son Agathon, and were mostly of Russian origin, taking advantage of the rich mineral resources of the Ural mountains and Siberia. The animal carvings found immense popularity with a number of the firm's key patrons, most notably the British Royal Family, whose collection boasts more than 350 animals, and Léopold de Rothschild, who had his racehorses similarly immortalised by Fabergé's sculptors. The dendritic or 'moss' agate used here is an unusual choice for an animal study, its distinctive patterning more commonly employed by Fabergé for inlays and panels in its jewels and objets de vertu. Traditionally found in India but eventually sourced by Fabergé from Siberia, its use here is likely a clever attempt to mimic the distinct patternings of a particular breed of pig known as the Gloucester Old Spot, whose 'lop' ears are also distinctively forward folding as in the present carving, partially shielding its eyes. A number of realistically modelled farm animals including pigs were produced from life at the Sandringham estate in 1907, following a suggestion made to King Edward VII by Fabergé's London agent Henry Bainbridge that the firm recreate a number of the animals across the estate. With subjects ranging from the King's own terrier dog Caesar, to the cows, pigs, ducks and chickens that populated the farmland around them, the animals of this 'Sandringham Commission' were reproduced in wax sculptures by the carver Boris Frödman-Cluzel, before being sent back to the Russian workshops to be immortalised in hardstone. They were then sent back to Fabergé's London branch for purchase, mostly, but not exclusively, by those who wished to gift them back to the Royal Family. Such was the appeal that some were even acquired by members of the family themselves, such as Princess Victoria, who bought a model of a recumbent white sow in pale pink aventurine quartz in 1912 (RCIN 40041). It is not known whether the present study would have been part of the Sandringham commission, but the close attention to detail and the choice of this lesser known breed of pig reflect a close observation of the animal, likely in its agricultural setting, and a desire by the sculptor to capture the distinctive characteristics of this specific breed. King Edward VII was particularly proud of his pigs and sent the best of his herd to The Royal Society Show in June 1911. Pigs were one of Fabergé's more popular animal studies in their native Russia, with several examples recorded in the collection of Empress Maria Feodorovna, and are also among the most humorous and varied of their miniature sculptures. Cf.: a series of carved hardstone pigs by Fabergé in the Royal Collection, collection nos. RCIN 40041, 40038, 40421 and 40422, commissioned by the Royal Family and studied by Fabergé's sculptor Boris Frödman-Cluzel from life at the Sandringham estate in 1907. Cf.: The Robert Strauss Collection of Works of Art by Fabergé, Christie's, 9th March 1976, lot 28, and A. Kenneth Snowman, The Art of Carl Fabergé, 1972, no.237, for studies of dalmatians, their spotted coat also depicted in dendritic agate Cf.: A La Vieille Russie, Fabergé exhibition catalogue, New York April-May 1983, no. 445, for a dendritic agate model of a spaniel with an enamelled gold collar by the chief workmaster Henrik Wigström. An English private family collection

Asprey & Co., a ruby and diamond demi-parure, circa 1977, comprising: a necklace and bracelet, each composed of oval linking, set with oval rubies and brilliant-cut diamonds, mounted in 18ct gold, necklace length 36.5cm, bracelet length 17.5cm, each with French assay marks and British import hallmarks for 18ct gold, sponsor's mark A&Co. Ltd for Asprey & Co., date letter for 1977, French maker's marks for Pierre Brun, combined gross weight 99 grams, caseThe workshop of Pierre Brun was established in 1935 and for much of the 20th century was one of the leading manufacturers of high jewellery in Paris, who made for Cartier, Van Cleef & Arpels and Boucheron amongst others, before being bought by Cartier in 2000.

λ A rare Williamite ivory miniature ring, 18th century, centring on a glazed compartment containing an oval ivory miniature of the laureated King William III (William of Orange), within a border of rose-cut diamonds, the reverse inscribed '1690 Juli 1st', to a tapering gold band, size M1/2, one diamond replaced with a simulant, later caseThis date on this rare portrait miniature ring commemorates the decisive victory of William III of Orange against the Jacobite forces in Ireland, fought across the Boyne river on 1st July 1690, near the town of Drogheda in the modern day Republic of Ireland. Known as the 'Battle of the Boyne', this marked a turning point in William's struggles against the Catholic King James II of England and VII of Scotland, who had been deposed in the 'Glorious Revolution' of 1688 in favour of a joint monarchy shared between the Protestants Mary II and William III.

Josef Herman (1911-2000) Watercolour on paper “Man on the Shore”, with copy of the Albany Gallery postcard receipt, 19cm x 23cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist.  Herman was one of the last European expressionists.  He was a figurative artist who painted working people.  He came to Great Britain in 1940 and had his first exhibition in Scotland.  In 1943 he moved to London and had his first London exhibition with L S Lowry.  In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. 

Josef Herman (1911-2000) Watercolour on paper "Conversation II"  Albany Gallery label verso, 19.5cm x 24.5cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.  Condition ReportPossibly a small mark between the legs of the foreground figures. Some dirty marks to mount.

Josef Herman (1911-2000) Watercolour on paper “Miners”, 20cm x 25cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist.  Herman was one of the last European expressionists.  He was a figurative artist who painted working people.  He came to Great Britain in 1940 and had his first exhibition in Scotland.  In 1943 he moved to London and had his first London exhibition with L S Lowry.  In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.    Condition ReportCrease to lower left corner. Crinkle to left of foreground figures. Slight crease/warp to top left corner. Another slight crease/crinkle to lower centre left. Faint line to lower left corner, maybe a mark.

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. 

Josef Herman (1911-2000) Watercolour on paper “Walking”, Albany Gallery label verso and with a copy of the Albany Gallery receipt dated 1998, 21cm x 14cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist.  Herman was one of the last European expressionists.  He was a figurative artist who painted working people.  He came to Great Britain in 1940 and had his first exhibition in Scotland.  In 1943 he moved to London and had his first London exhibition with L S Lowry.  In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. 

Richard Eurich RA (1903-1993) Oil on board Children on the Beach, 1989, with Fosse Gallery receipt dated 2008, from 2008 exhibition and with exhibition leaflet showing the painting, 45cm x 60cm From the collection of the late Maurice Costley Richard Eurich was a British painter who trained at the Bradford School of Arts and Crafts and then the Slade School of Art. During WWII he was an official war artist for the Admiralty. During this time he painted reconstructions of battles, survival stories and commando raids. However Eurich is hard to define as he painted a wide range of subjects, many works being panoramic with a mystical quality and a sense of wonder. However he is mostly known for his seascapes and paintings of boats, having spent much of his life living in small fishing ports on the south coast of England. He had many one man shows and in 1933 the Redfern Gallery in London became his official dealer and then later Arthur Tooth and Sons. He taught part time at the Camberwell School of Art and also the Royal Academy. His work is in many public collections, in England and abroad, including the Government Art Collection, Imperial War Museum, Tate Britain, MoMA, New York, and National Gallery of Canada .

Josef Herman (1911-2000) Watercolour on paper “Two figures”, Albany Gallery label verso, with an Albany Gallery postcard receipt, 23cm x 16cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist.  Herman was one of the last European expressionists.  He was a figurative artist who painted working people.  He came to Great Britain in 1940 and had his first exhibition in Scotland.  In 1943 he moved to London and had his first London exhibition with L S Lowry.  In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. 

George Rowlett (b.1941)  Oil  “Walmer Beach, Bathers”, 2000, signed, labelled and dated verso, purchased from Art Space Gallery by Craigie Aitchison, Art Space Gallery label verso, 11cm x 16cm From the collection of the late Maurice Costley George Rowlett was born in Scotland, studied in Grimsby and the Camberwell School of Art and also the Royal Academy. He studied under Frank Auerbach, who’s influence is seen in Rowlett’s work. He uses a plate knife with bold strokes with thick layers of paint creating a textural work. He is known for his landscapes and seascapes. George Rowlett exhibits internationally and can be found in many well known collections including the Hiscox Collection and the Nuffield Foundation.

Josef Herman (1911-2000) Watercolour on paper “Standing female nude”, with Flowers East gallery label, 28cm x 18cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist.  Herman was one of the last European expressionists.  He was a figurative artist who painted working people.  He came to Great Britain in 1940 and had his first exhibition in Scotland.  In 1943 he moved to London and had his first London exhibition with L S Lowry.  In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. 

Craigie Aitchison CBA RSA (1926-2009) Limited edition artist's proof screenprint “Candy Dead”, signed verso 2002, 30cm x 25cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health (following an operation) is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Craigie Aitchison CBA RSA (1926-2009) Oil on canvas “Arum Lily”, 2004, with Timothy Taylor Gallery label verso and with Timothy Taylor Gallery receipt dated 2005, 39cm x 30cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland. Condition ReportRecto: Very good condition, no signs of dirt/wear and tear. Free mounted. Under UV - Artist's over paint upper right corner.  Frame: Very good condition. Verso:  Back board cut out to reveal canvas and stretcher, both in very good order. Tim Taylor Gallery label lower centre.  

Royal Academy of Art postcard "Craigie Aitchison CBRA", lamb in green field, written and sent to Maurice Costley 'Dear Maurice it is good to hear you are fine after the operation, hope to see you soon if you come to London ..., all best wishes Craigie'  William, Andrew Gibbon "Craigie, the Art of Craigie Aitchison", with inscription for Maurice, best wishes Craigie Aitchison, with dust jacket Haste, Cate "Craigie Aitchison, a Life in Colour", with inscription best wishes, Cate Haste, with dust jacket  Lambirth, Andrew "Craigie Aitchison Out of the Ordinary", Royal Academy of Arts book with dust jacket  "Craigie Aitchison A Private Collection", Waddington Totnes Galleries 2013 catalogue  Craigie Aitchison in Memorium folding programme, private view invitation to Tim Taylor Gallery Exhibition 2006 and another postcard  From the collection of the late Maurice Costley Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Josef Herman (1911-2000) Watercolour on paper “Tree” with path and figure, with Flowers East, London, Gallery receipt dated 2004, 25cm x 18cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists.  He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. 

Josef Herman (1911-2000) Watercolour and ink on paper “Ballerina”, with Flowers East gallery label, 19cm x 24cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists.  He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. 

Craigie Aitchison CBE RSA (1926-2009) Limited edition print Daffodils in vase, 34/75, signed and dated 2001 verso, 29cm x 23.5cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Craigie Aitchison CBA RSA (1926-2009) Oil on canvas "Tree with Mountain", 2008, signed verso, Tim Taylor Gallery label verso, 15cm x 12cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Josef Herman (1911-2000) “Daffodils”, Albany Gallery label, 20cm x 25cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist.  Herman was one of the last European expressionists.  He was a figurative artist who painted working people.  He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. 

Richard Eurich OBE RA (1903-1992)  "Yorkshire Reservoir", 1970, sailing vessels on the reservoir, signed, with Fosse Gallery label verso and copy receipt dated 2008 and gallery exhibition leaflet showing the painting, 11cm x 21.5cm From the collection of the late Maurice Costley Richard Eurich was a British painter who trained at the Bradford School of Arts and Crafts and then the Slade School of Art. During WWII he was an official war artist for the Admiralty. During this time he painted reconstructions of battles, survival stories and commando raids. However Eurich is hard to define as he painted a wide range of subjects, many works being panoramic with a mystical quality and a sense of wonder. However he is mostly known for his seascapes and paintings of boats, having spent much of his life living in small fishing ports on the south coast of England. He had many one man shows and in 1933 the Redfern Gallery in London became his official dealer and then later Arthur Tooth and Sons. He taught part time at the Camberwell School of Art and also the Royal Academy. His work is in many public collections, in England and abroad, including the Government Art Collection, Imperial War Museum, Tate Britain, MoMA, New York, and National Gallery of Canada . Condition ReportRecto: Overall good condition, no sign of restoration under UV, including signature lower left. Frame and slip in good order. Verso: original label Fosse Gallery. Yorkshire reservoir 1970

Maggi Hambling CBE (b.1945) Oil on panel “August Sunrise” (North Sea painting), inscribed, signed and dated 66 verso, labelled verso, with David Messum Gallery receipt dated 2007, 8cm x 21cm From the collection of the late Maurice Costley Maggi Hambling is a British artist, both a painter and sculptor who was born in Suffolk. She went to the Camberwell School of Art and then the Slade. Her body of work includes many portraits but her love of the Suffolk Coast leads her back time and time again to themes of the sea, waves and scallops, saying that water is the metaphor for life. Also know for her portrayal of friends and family after death, Maggi Hambling has always been a controversial figure, particularly with regard to her public sculpture. She received the Jerwood prize in 1995 and her work appears in many public collections including the Tate, National Gallery and the Victoria and Albert Museum. Condition ReportAll appears in good condition.  Some wear to one corner of the frame please see additional photo

Josef Herman (1911-2000) Watercolour on paper “On the Road”, Albany Gallery label and with copy of Albany Gallery receipt dated 1998, 20cm x 25cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.  Condition ReportSome dirty marks to mount.

Josef Herman (1911-2000) Watercolour on paper “Tree”, Albany Gallery label verso and with the Albany Gallery receipt, 21cm x 14cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist.  Herman was one of the last European expressionists.  He was a figurative artist who painted working people.  He came to Great Britain in 1940 and had his first exhibition in Scotland.  In 1943 he moved to London and had his first London exhibition with L S Lowry.  In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. 

Josef Herman (1911-2000) Watercolour “Nude reclining”, labelled verso, dated 65, with Fosse Gallery John Lindsey Fine Art Limited receipt dated 1999, 23cm x 17cm From the collection of the late Maurice Costley  Josef Herman was a Polish/British contemporary artist, he was an Eastern European Jewish refugee who emigrated to Great Britain to escape Nazi persecution in 1940. He lived firstly in Scotland and then moved to London in 1943, where he held his first London exhibition along with LS Lowry. He is best known for his paintings of working people, including peasants, fishermen and coal miners. In 1981 he was awarded an OBE for services to British art and was elected to the Royal Academy of Arts in 1990 

A Victorian Royal Artillery officer's dress pouch, the face edged with gold lace of regimental pattern. To the centre, heavily gold embroidered Royal Arms and crimson velvet cushion scroll 'UBIQUE' between embroidered oak leaves and acorns; an applied gilt metal gun to the base of the wreath which rests on a padded tri-part crimson velvet cushion scroll inscribed 'QUO FAS ET GLORIA DUCUNT'. Reverse complete with leather lined wallet, with brass belt loops to the sides, complete with foul weather cover for the pouch, 17.5cm wide Shipping 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 ReportWear commensurate with age and use. The leather dry and a little worn. The embroidery and gold a little dull and dirty.

An Indian army 1821 pattern sabre, early 19th century, with a leather and wood handle, swept hilt, with a single edge fullered blade, stamped '258', with a leather and brass scabbard, blade 83cmShipping 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 ReportBlade pitted and worn. Lether missing to handle and scabbard. Pitting to hilt.

A Leicestershire Yeomany Cavalry Officer’s silver shoulder belt and pouch Birmingham 1872, mounted with a crowned LYC Cypher 'Prince Albert's Own', the silver braided strap with silver mounts backed with red morocco the pouch 18cm wide (2)Shipping 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 ReportWear to red morocco strap very minor dents to front panel of silver pouch

An Indian army 14-bore two-band percussion musket, with a fixed rear sight, the breech stamped, full stocked with brass mounts, two sling swivels, 67.5cm barrel 107cm overall, approxShipping 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 ReportAction broken.

A Royal Naval 1804 pattern boarding cutlass with 28'' blade and double disc hilt, 84cm overallShipping 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 ReportSurface patina commensurate with age

A replica sword from the 1981 film 'Excalibur', reputedly the sword carried by Nigel Terry who played 'king Arthur', with gilt metal ornate hilt, on a mahogany wall mount with plaque ' The Sword of Charlamagne', blade 80cm long and another smaller sword with an ornate gilt metal hilt, mounted on a mahogany wall mount, blade 68cm long (2)Shipping 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 condition of the large sword is considered to be good overall The smaller sword with some lacquer loss from the decoration on the blade. Knocks to the wood mounts. Please see the additional images. 

Captain Charles Bruce Bairnsfather (British, 1887-1959) a car mascot of “Old Bill”, bearing a copyright stamp, mounted on a marble column, 9.75cm high a novelty money box Tank, 'Where's that Blinking Kaiser', 9.5cm high two plates by Grimwades, 25cm diameter, a Great War Souvenir octagonal plate 21.5cm wide and a tea caddy, 12cm high (8)Shipping 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 ReportSome wear to the gilded borders of the plates

An Indo-Persian armour armshield, 18th century, decorated with warring figures, inlaid in gold and silver metals 30cm longShipping 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 ReportSome losses of silver metal inlays