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MILITARIA: A rare German WWI U Boat Chart Magnifying Glass, recovered from SM U-114, probably used by ships officer and later Admiral Hans-Georg von Friedeburg, with circular brass bezel, clear 9.5cm lens, and wooden handle, the bezel later engraved ‘U114 Surrendered at Harwich- 26th Nov. 1918’., also stamped ‘428’ to the edge, 27cm Historical Note: SM UB-114 was a German Type UB III submarine (or U-boat) in the German Kaiserliche Marine.She was crewed usually by 34 men, including 3 officers. It seems likely this magnifying glass was for the use of the navigating officer or ships captain. She sank during sea trials at Kiel Harbour with the loss of seven lives, was raised and ultimately surrendered at Harwich in 1918. This is likely to have been on board and used by Admiral Hans-Georg von Friedeburg, who was an officer on board SM U-114 from June to November 1918, he later became Deputy Commander of U-Boat forces in Germany during World War II.  Von Friedeburg was in Berlin on 8 May 1945 for the second signing of the German Instrument of Surrender. He signed on behalf of the Kriegsmarine.

BOOKS: Rare, POSSEL, JOHANN, THE ELDER, (Posselius, Johannes), Translater, 1572, Greek epistles, ‘EYAFFEAIA KAI, Evangelia et epistolae, quae diebus dominicis et festis sanctorum in ecclesia . . . proponi solent. 62 text woodcuts of Gospel scenes, with illustration. 8vo, small calf bound folio, with gilt letterering ‘Posselivs’ to the spine, 15cm x 10cm x 2cm, Wittenberg: (Johannes Crato), 1572Greek verse translation of the liturgical Gospels and Epistles.Johann Possel (1528-1591) was a German Hellenist who held the chair of Greek literature at the University of Rostock. Author of Greek grammatical works, and Religious epistles.

Music Tour Programmes - AC/DC, Pink Floyd, U2, Joshua Tree, The Who, Rory Gallaher, Marillion (6).

The Who - Roger Daltrey autographs, ink signed on a Magpie magazine and Tommy C.D cover (both unverified).

Attributed to Vicente Escobar (Havana, Cuba, 1762–1834)Portrait of the Military Officer José Pascual de Zayas y Chacón76 x 54 cmThe frame of the painting is typical of those commonly used in 19th-century Cuba.Our painting is comparable to two works, the first is a portrait of the same José Pascual de Zayas that is in the Museum of Fine Arts of Cuba painted by Vicente López and the second is a portrait of the Spanish sailor Juan José Ruiz de Apocada y Elizados painted by Vicente Escobar to whom we logically attribute our painting.In both paintings, the portrayed is in the same scenography: he is located next to a column and next to a pedestal on which rests a marble bust, the same as in our work.This portrait presents José Pascual de Zayas y Chacón adorned with numerous medals awarded by King Ferdinand VII for his participation in various battles during the Peninsular War. He is portrayed holding a command baton, symbolizing his military authority.The medals have been identified in rows, from left to right:Row 1:Cross of the Royal and Military Order of San Hermenegildo, established by Ferdinand VII in 1814 at the end of the Peninsular War.Cross of Distinction of the North, Royal Order of March 23, 1809.Cross of Distinction for the First, Second, and Third Armies, Royal Circular of March 31, 1815.Cross of Distinction of the First Army, Circular of January 26, 1817 (Campaigns of 1813 and 1814).Row 2:Cross of Distinction for the Battle of Talavera, Royal Order of December 8, 1810.Cross of Distinction to the Army of Extremadura (Alburquerque), Circular of June 5, 1815.Possibly the Cross of Distinction of the First Army for the 1811 campaign.Row 3:Plaque of the Royal and Military Order of San Hermenegildo, established by Ferdinand VII in 1814.On his left sleeve, he wears the Shield of Distinction for Medellín, Royal Decree of April 1, 1809.Vicente Escobar was a prominent Cuban painter, born in 1762 into a family of officers of the Pardos y Morenos Regiment. Though registered as black at birth, he took advantage of  the "Real Cédula de Gracias al Sacar" a Royal Decree of Graces that allowed certain privileges to those who paid for it, and reportedly died as a legally recognized white man. A self-taught artist, his early inspiration came from devotional images inherited from his maternal great-grandmother.In the 1780s, Escobar traveled to Spain, and in 1784 he studied at the Royal Academy of Fine Arts of San Fernando in Madrid, where he was a pupil of Mariano Salvador Maella and became acquainted with the works of Goya. In 1827, he was appointed Pintor de Cámara (Court Painter) by Ferdinand VII. At the peak of his success, Escobar died during a cholera epidemic.José Pascual de Zayas y Chacón was born in Havana on June 5, 1772. He pursued a military career in Spain, stemming from his noble lineage and influential connections with the O’Reilly family. He joined the army at fifteen and was named sub-lieutenant. During the War of the Pyrenees (War of the Convention), he distinguished himself and was briefly taken prisoner, and later freed in 1794. In 1800, he took part in the defense of Ferrol against the British. For his role in the Battle of Brione in 1801, he was promoted to Captain of Grenadiers. In 1807, he served as lieutenant to O’Reilly in Etruria. Though he did not partake in the Denmark campaign due to bureaucratic delays, he was in Spain when the Peninsular War broke out. He died in Chiclana on October 27, 1827, while awaiting a ship to return to the Americas.Bibliography:https://historia-hispanica.rah.es/biografias/45774-jose-pascual-de-zayas-chacon 

Viceregal School. Lima. Peru. 18th century. Pedro Díaz Circle (Painter active in Lima around 1770-1810)"Portrait of a nobleman"Oil on canvas.79 x 62 cm.This lot comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909).  He was a Peruvian military officer and politician who was president of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle phase of the War of the Pacific, an armed conflict between Chile and the allies Bolivia and Peru (1879-1884). He rose to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until he was exiled to Spain in the Peruvian civil war of 1884-1885.A high point of his political-military legacy is the "Grito de Montán", a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between the Iglesias faction and that of the military leader Andrés Avelino Cáceres. The end of that war meant the exile of Iglesias to the south of Spain, where he moved with his descendants and his important art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in Lima's Presbítero Maestro Cemetery, were moved to the Crypt of the Heroes in 2011, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Miguel Iglesias collection, military officer and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day. 

Important and large silver home stoup in embossed and punched silver. Viceregal workshop. Peru. 17th - 18th centuries.54 x 36 cm.Magnificent example of viceroyal gold work, with profusely and delicately embossed ornamentation. In the center in a reserve we observe the scene of the baptism of Christ, on both sides two mermaids come out of two horns of plenty and hold the sun with one hand. The rest of the surfaces are decorated with flowers, scrolls, angels, etc. Finally, the holy water basin has a two-headed eagle on its front. This lot comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909).  He was a Peruvian military officer and politician who was president of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle phase of the War of the Pacific, an armed conflict between Chile and the allies Bolivia and Peru (1879-1884). He rose to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until he was exiled to Spain in the Peruvian civil war of 1884-1885.A high point of his political-military legacy is the "Grito de Montán", a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between the Iglesias faction and that of the military leader Andrés Avelino Cáceres. The end of that war meant the exile of Iglesias to the south of Spain, where he moved with his descendants and his important art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in Lima's Presbítero Maestro Cemetery, were moved to the Crypt of the Heroes in 2011, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Miguel Iglesias collection, military officer and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day.

Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Infant Jesus”Oil on copper. 23,5 x 18,5 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." Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose

Carved mother-of-pearl box. Viceroyal workshop. Peru. 18th - 19th centuries.2,7 x 8 x 5 cm.This box, which represents on its lid in bas-relief the scene of the flight to Egypt, was a gift from the Peruvian government to Mr. Miguel Iglesias in 1884, in gratitude to His Excellency the Provisional President.This lot comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909).  He was a Peruvian military officer and politician who was president of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle phase of the War of the Pacific, an armed conflict between Chile and the allies Bolivia and Peru (1879-1884). He rose to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until he was exiled to Spain in the Peruvian civil war of 1884-1885.A high point of his political-military legacy is the "Grito de Montán", a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between the Iglesias faction and that of the military leader Andrés Avelino Cáceres. The end of that war meant the exile of Iglesias to the south of Spain, where he moved with his descendants and his important art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in Lima's Presbítero Maestro Cemetery, were moved to the Crypt of the Heroes in 2011, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111. Provenance:- Miguel Iglesias collection, military officer and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day.

Wenceslas Cifka (Tscheraditz, Bohemia, then Austrian Empire, 1811 - Lisbon, 1884)“Portrait of Queen Mary II of England, in royal attire.”Painted in enamel on copper. Signed and titled on the back.20 x 17 cm.Based on the engraving published circa 1689-1694 by Peter Vanderbank (Vandrebanc) after the painting by Sir Godfrey Kneller Bt, kept in the National Portrait Gallery (reference no. NPG D32780).Wenceslau Cifka, also known as Václav Cífka, a versatile artist, arrived in Portugal in 1836 on the occasion of the marriage of Ferdinand of Saxe-Coburg-Gotha to Queen Maria II. He established himself mainly as a landscape painter at the Portuguese royal court.Gifted in the arts, and under Ferdinand's influence, he became a regular at auctions, acquiring important collections for the king's gallery. However, it was above all as an artist that he made his greatest contribution to Portugal. As a draftsman, lithographer, photographer, painter, ceramist and enameler, he left remarkable ceramic pieces and very special lithographs and enamels. He was one of the pioneers of photography in Portugal. He was also a pioneer of photographic techniques, he started using the daguerreotype in the 1840s and set up his studio at Rua Direita das Necessidades, nº 31 in Lisbon.He is the photographer of the first photographs of members of the royal family, who until then had only been portrayed by painters, starting with Ferdinand II, father of Pedro V.He is considered to be the first publisher of stereoscopic views in Portugal. Among his disciples were Carlos Relvas, Francisco Augusto Gomes and João Paulo Cordeiro Júnior. He was appointed photographer to the Royal Household and traveled around Europe with the King, specifically in 1854, to update and perfect his techniques in London, Paris and Berlin. As a friend and protector, King Ferdinand acquired most of his work and is represented in much of it, whether in photography or ceramics. His love of ceramics led Cifka to devote himself almost exclusively to artistic earthenware. At the end of his career he joined the Constância ceramics factory, where he specialized in glazes and ceramics. He participated in several exhibitions, at the Lisbon Industrial Exhibition in 1849, at the Philanthropic Exhibition of the Arsenal of the Navy in 1851, at the Paris Universal Exhibition in 1867 and 1878, among others. He was awarded the Gold Medal at the Portuguese Exhibition in Rio de Janeiro in 1879. He held several royal posts, among them that of Photographer of the Royal Household in 1855, Reporter of the Royal Chamber in 1859 and was named Knight of the Order of Christ in 1864. After his death, the artist's work was auctioned by his son Fernando Augusto Cifka and dispersed among private collections and institutions. A catalog was published for the occasion “ Leilão das Collecções de Gravuras, Livros ilustrados, Louças de faiança e da China, India, etc., etc., do fallecido Sr. Wenceslau Cifka, na Rua 24 de Julho 460, 1º andar (Aterro) a começar em 26 de Junho de 1884. Lisboa”.In the 20th century, there have been several exhibitions dedicated to Cífka held in Portugal, among which we highlight:“Wenceslau Cifka. Ceramist, Lithographer and Enameller”, 1949, National Palace of Pena in Sintra, Portugal. Edited catalog.“9ª Exposição Temporária. Desenhos do Album Cifka”, 1948, Museu Nacional de Arte Antiga. Lisbon. Edited catalog.“Cifka - Obra Cerâmica”, 1993 -1994, Lisbon, Museu Nacional do Azulejo, - Instituto Português de Museus.Reference bibliography:https://arquivomunicipal3.cm-lisboa.pt/x-arqweb/Result.aspx?id=66220&type=Autoridade

Viceregal School. Cuzco. Peru. 17th Century."Isaiah's vision"Oil on canvas. Relined.203,5 x 180 cm. Symbolic and apocalyptic painting about Isaiah's vision of the true God and the seraphim, whose desire is to elevate spirits that are lower in the hierarchy to Him and carry out divine justice.An unusual and curious painting that serves as a biblical and scenographic summary of various texts from the Book of Revelation by John, and others from the prophets Ezekiel or Isaiah. The prophet Isaiah mentions in 6:2: "Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew."In the upper left corner of the painting, we find one of these seraphim, which can only be seen by those who have been elevated to a higher dimension, that is, to a state where heaven opens up to them. Like Isaiah, one of the four Prophets of the Old Testament. The seraphim belong to the highest rank of the angelic hierarchy and are the praisers of God, constantly proclaiming His Holiness.A similar example can be found in Catalonia in the murals of the church of Santa Eulalia at the National Art Museum of Catalonia, where these seraphim, angelic beings that surround God on His throne, are depicted. They can also be found in the art on several Catalan Romanesque apses.Seraphim have the mission of purifying everything around them, so they are destined to protect the holiest places.In the Bible, they are mentioned as a vision of God that Isaiah had in the Temple, where they were singing praise: "Holy, holy, holy is the Lord Almighty; the whole earth is full of his glory."They protect themselves from the light of God by covering their heads with two wings, as they are constantly accompanying the Lord on the throne. For this purpose, and to be able to see the presence of God, they have eyes on their wings and all over their bodies.In the upper right corner, we see Isaiah, who had the vision in which he was taken to the throne of God, where they were (Chapter 6). There, he saw the true King and the seraphim full of ardour and purity, with which they love the divine, desiring to elevate the spirits of lower hierarchy toward God.This seraph with a bull's face (to John, they appear as a lion, a bull, a man, and a flying eagle) "holds a harp" (Revelation 5:8), a symbol of worship and praise in the Old Testament, with which they sing and declare the holiness of God, participating in God's justice, for when He opens the first four seals and unleashes the four horsemen who come to destroy (we see one of these horsemen below in the centre), their voices, powerful as thunder, tell them 'Come' (VENI..., at the beginning of the Latin phylactery lying at the base of the painting) (Revelation 6:1-8). Each rider responds to the call of his seraph, a powerful creature indicating the power he possesses.In summary, this is a painting that symbolically speaks of these beings and Isaiah's vision, an exalted order of angels whose main purpose is worship and who are, in some way, involved in carrying out divine justice.The painting was perhaps created for the refectory or choir of a cloistered religious convent, a place filled with "higher" beings seeking to prostrate and worship the Lamb (Revelation 5:13), beings who cloister their lives to experience the vision of Isaiah up close, to sit on the throne and become the praise, honour, glory, and power of God, forever and ever (Revelation 5:11-12).The painting makes it clear to the beholder that "the Lord is God, and there is no other besides Him.""

Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732)"The First Journey of Saint James the Greater to Hispania"Oil on canvas.99 x 124 cm. Beautiful painting of great historical and religious relevance, as it shows the first of James' journeys to Hispania, which left a lasting legacy in the region. This trip took place in the first century A.D. According to tradition, James was sent to Spain as one of Jesus' apostles to spread Christianity in the region. After the death of Christ, a passionate and impetuous James was part of the initial group of the early church in Jerusalem. In his evangelizing work he was awarded, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, trace his way through the Ebro valley and the Cantabrian Roman road. There are even those who claim that Santiago reached the peninsula by the current Cartagena, from where he started his journey to the western corner of the map.During his stay, it is believed that he performed numerous miracles and converted many people to Christianity.This journey of Santiago was of great importance for the history of Christianity in the Iberian Peninsula. His presence contributed to the expansion of Christianity in the region and laid the foundations for the subsequent evangelization of the peninsula.We say that this was James' first trip to Spain, since the second occurred centuries after his death. According to tradition, after his death in Jerusalem, his remains were taken to Hispania by his disciples. It is believed that they were buried in a place that would later become the city of Santiago de Compostela. That transfer of remains had a great impact on the region. His tomb became an important place of pilgrimage and attracted thousands of the faithful from all over Europe. The Camino de Santiago, a pilgrimage route that runs throughout the Iberian Peninsula, developed around his tomb and became one of the most important pilgrimage routes in the world.In an idyllic landscape, with rich and abundant vegetation, we can contemplate a pilgrimage path that circles the river -perhaps the Ebro River-, with a bridge crossing it. The pilgrims have serene faces, full of devotion, kindness and smiles, marked by the joy of the moment.  They travel on horseback and on foot, and there is a group resting above, contemplating the temple they are approaching, surrounded by cypress trees. One stands out, James, also known in Spain as Santiago, mounted on an imposing black and white horse, the only one who, with his deep and penetrating gaze, looks directly at the viewer. The Saint stops or is stopped by another pilgrim, who rides his donkey, and both experience a spiritual and deep encounter, reflected in their faces and gestures.  Their expressions are serene, with their hands intertwined. The one on the donkey kisses the hand of the saint with reverence and devotion, aware of the spiritual power of this miraculous encounter. Both the Apostle and he have their hats removed, as a sign of respect, humility and spiritual reverence.James' journey to Galicia symbolizes the spiritual connection between East and West, becoming a cultural and religious bridge that would mark the history of Spain. As for the artist, we believe this canvas was painted by Melchor Pérez Holguín, one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans.As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín, as we can see in the work we offer.

Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632)"Our Lady of Silence" Oil on copper. With a chased and embossed silver 18th century frame.23 x 19 cm.  Frame measurements: 54,5 x 38 cm. Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.In 1587 he moved to Santafé where he painted a Virgin of Antigua for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a Descent from the Cross, inspired by a painting by Pedro Pablo Rubens, and a Lamentation, which belong to the Convent of Santo Domingo de Tunja. He also painted a penitent Mary Magdalene for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a San Antonio de Padua and a sculpture of Nuestra Señora del Socorro.In 1600, he traveled to Lima, where he made several paintings, including a Señor de la Columna and works for the chapel of the Ánimas in the cathedral.He taught in Lima in 1604 and was appointed painter to the Inquisition. In 1617 he painted the Portrait of Isabel Torres de Oliva, known as Santa Rosa de Lima. After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a Santa Margarita which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year. It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.” Reference bibliography:- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro

José de Páez (Mexico City, 1727 - circa 1790)"Parable of the Prodigal Son"Pair of oils on copper. Both signed "Jph. de Paez fecit en Mexico"41 x 55 cm each. José de Páez was a painter who was active mainly between 1750 and 1780. According to Madrid's Museum of the Americas, "he created models of great sweetness, idealised beauty, oval faces, [and] was an excellent portraitist." He developed mainly religious themes with an interest in caste painting as well. He was the preferred painter of religious orders such as the Franciscans, the Bethlehemites, and the Oratorians and carried out numerous commissions for them. Given his very extensive production of universal themes, it is understood that he developed some lines of his work without commissions but in the knowledge that he had a solid market of buyers of his artworks.Amongst his preserved works, we highlight the paintings on copper "Divina Pastora" and "Virgen de Loreto" from the Museum of the Americas; the "Medallion of a friar with the Nativity" and "San Juan de Nepomuceno" from LACMA; the "Virgen de la Merced" from the Blaisten Museum; and the ten paintings from the "Cycle of the Life of the Virgin" from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico.As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, "in recent decades there has been an effort to vindicate 18th-century painting."  Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her Master's thesis and concluded that the Mexican was "a restless artist, with a discursive effectiveness that allowed him to sell paintings inside and even outside of New Spain." Bibliographic reference:-Ramírez, Yana Arantxa. (2021). El proceso pictórico de José de Páez: Ciclo de la vida de la Virgen, santuario de Guadalupe, San Felipe, Chihuahua, México. “Intervención”, 2(24), 250–276. https://doi.org/10.30763/intervencion.256.v2n24.35.2021

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist.  These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb.  The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition.  The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. 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 de Montejo (Salamanca, 1555 - Alba de Tormes, 1601)“The Betrothal of the Virgin Mary” and "The Epiphany"Wonderful pair of carved, gilded, polychrome wooden reliefs, with silver leaf.Reliefs measurements: 92 x 58 cm. With frame: 108 x 74 cm. These two exceptional reliefs, dedicated to the Betrothal of the Virgin Mary and the Adoration of the Magi or Epiphany, must have originally belonged to an unfinished altarpiece dedicated to the Virgin Mary and probably originated in the province of Zamora, Spain. The stylistic characteristics of both reliefs make it clear that they were carved by the skillful gouges of the sculptor Juan de Montejo (1555-1601), who lived and developed his career between his home town and Zamora, making images for other nearby towns such as Alba de Tormes or Medina del Campo. It is not only in the figures that compose both reliefs that the stylistic features of this master can be perceived, but also that both sculptures are almost identical to two reliefs of analogous themes that Montejo himself made for a disappeared altarpiece for the church of San Juan de Puerta in Zamora. The similarity even extends to the measurements. Precisely the similarity between the compositions of the Zamora reliefs and these that we present breaks an axiom: until now in the productive catalog of the Salamanca sculptor no repetitions have been found, in other words, he never made copies of his own compositions, but when he treated a theme on several occasions all of the sculptures were different versions, never identical. This particularity gives these reliefs an even greater value than they already possess intrinsically on the basis of their high technical quality.Both scenes are conceived with clear compositions, without artifice, so that the congregation can understand what is being shown, a characteristic that the Council of Trent considered indispensable when conceiving sculptures. Likewise, these are compositions that tend to symmetry, compensating the volumes from a central motif: Caspar in the case of the Epiphany, and the High Priest in the case of the Presentation. The characters show the corpulence and monumentality characteristic of Romanism, the Renaissance, Mannerist style in which Montejo's production is included.   To this is added the elegance and dynamism characteristic of the influence on his work of the style of the sculptor Juan de Juni´s style, in whose environment he must have been trained. They are figures covered with heavy folded garments and rounded profiles, with tousled curly hair and soft, calm faces. For their part, the men show the usual beards sculpted by Montejo: bulky and with forked ends.The first of the reliefs depicts the Nuptials of the Virgin. It is conceived through rigorous symmetry that places the High Priest in the center and St. Joseph and the Virgin Mary on either side with their hands joined to show how the union between them was sealed. On the upper part, above the heads of both and at the height of the High Priest's head, two heads are distributed on each side. On the right those of two men and on the left those of two women, all of them with varied physical types and different ways of portraying their hair and clothing. The head of the High Priest and the elegance with which the Holy Spouses gather their respective mantles are particularly interesting.On the other hand, the relief of the Epiphany shows the Holy Family on the right side, while the Magi fill the left side, with the exception of Caspar who is placed in the center and shows that the composition was conceived in the shape of an “X”. The Virgin, who serves as a throne, is seated and picks up her Son with both hands.  He is naked and gives blessing to the Kings while being adored by Melchior who affectionately caresses his right foot. The Kings appear with the cups in which they bring their gifts: gold, incense and myrrh. The set is carved in different levels of relief, so while the group of the Virgin, Melchior and Balthazar have some parts of their bodies that are almost freestanding.  There are other cases such as those of Caspar or St. Joseph that are just reliefs in which the heads protrude. Once again we see again the characteristics previously mentioned with regard to the physical types and clothing.As we have already pointed out, both reliefs are fully attributable to Juan de Montejo, who carved them around 1600, perhaps at the end of the 16th century, at a date close to the reliefs of identical subject matter that we have pointed out in the church of San Juan de Puerta Nueva in Zamora. We would like to thank Dr. Javier Baladrón, doctor in History of Art, for the identification and cataloguing of this work.

Morrion in wrought iron. 16th century.It shows an engraved fleur-de-lis.23 x 33 x 23.5 cm.This lot comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909).  He was a Peruvian military officer and politician who was president of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle phase of the War of the Pacific, an armed conflict between Chile and the allies Bolivia and Peru (1879-1884). He rose to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until he was exiled to Spain in the Peruvian civil war of 1884-1885.A high point of his political-military legacy is the "Grito de Montán", a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between the Iglesias faction and that of the military leader Andrés Avelino Cáceres. The end of that war meant the exile of Iglesias to the south of Spain, where he moved with his descendants and his important art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in Lima's Presbítero Maestro Cemetery, were moved to the Crypt of the Heroes in 2011, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Miguel Iglesias collection, military officer and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day.

Mateo Cerezo (Burgos, 1637 - Madrid, 1666)"Immaculate Conception"Oil on canvas.146 x 103 cm. Mateo Cerezo was a renowned Spanish painter, born into a family of local artists. He joined Carreño's workshop when he was barely fifteen years old, becoming one of the artist´s best collaborators, as the Prado Museum confirms.This training marked “the style of the young Cerezo profoundly in the double Flemish-Venetian direction so fashionable at the time,” as Alvaro Piedra reports for the Royal Academy of History. He became in a short time, continues Piedra, “one of the most brilliant and revealing painters of Spanish Baroque, until his death at the tender age of twenty-nine”.He was an artist who was sought after by a wide clientele, especially for his religious paintings, such as the impetuous Immaculate Conception that we present in the auction, although that is not the only genre he painted.“In this regard,“ states the Prado, ‘the treatise writer and biographer Palomino declared the excellence with which he painted ’still lifes, with such superior excellence, that no one surpassed him,” a judgment fully corroborated by contemplating the paintings in the Museo Nacional de San Carlos in Mexico, which are signed and dated.”Mateo Cerezo´s drawings were also remarkable, and “heads, bodies and figures made with black pencil and sanguine in the manner of Carreño” are still preserved (Piedra, RAH). Reference bibliography:- Museo del Prado. (s.f.). "Cerezo, Mateo". https://www.museodelprado.es/en/aprende/enciclopedia/voz/cerezo-mateo/e27cc281-3ed9-4aa3-878a-f1de7cd2ab5a- Piedra Adarves, Álvaro. (s.f.). "Mateo Cerezo Delgado". Historia Hispánica. Real Academia de la Historia. https://historia-hispanica.rah.es/biografias/11694-mateo-cerezo-delgado

Miguel Jeronimo de Zendejas (Puebla de los Angeles, Mexico, 1724 - 1816)"Saint Joseph and Child"Oil on canvas. Signed, dated in 1766 and located in Puebla: "Migl. Germo. de Zendejas. Pinx en la Ciud. de la Puebla de los Angs. en las Yndias Occidentales, año de 1766 en 26 de Julio". ("Miguel Jerónimo de Zendejas. Painted in the City of Puebla de los Ángeles in the West Indies, year 1766 on 26th of July").94 x 67,5 cm.Miguel Jerónimo de Zendejas was a prominent and prolific artist from Puebla in the 18th century. With great creative and allegorical capacity, his paintings situate him as one of the favourites of the elites, especially in the high clergy, who maintained his workshop with their patronage. Having worked as an apprentice for artists such as Gregorio Lara or José Joaquín Magón, he established his own workshop, which had, as we said, ecclesiastical sponsorship.He was known for his confident and imaginative way of painting, with skilled and harmonious use of chiaroscuro.The Church of San Juan Evangelista in Iglesias, near Angelopolis, houses four of his canvases from 1775 depicting moments of the Passion, which are considered to be some of his best paintings, which also include "El Almacén" (The Warehouse) which is now in the National Museum of History at Chapultepec Castle, an allegory of the founding of the Puebla Botanical Garden, paying homage to its founder, Antonio de la Cal y Bracho; and his last oil painting, "The Prayer in the Garden," kept in the Calvary Chapel of the Parish of San José, Puebla.

José Campeche (San Juan, Puerto Rico, 1751 - 1809)“St. Anthony of Padua and the Virgin Mary.”Oil on canvas, protected by water glass. Signed: “Josef Campeche fc.”. Framed in an imposing carved, gilded and polychrome wooden cornucopia.28 x 22 cm.Cornucopia measurements: 71 x 55 cm.Exquisite canvas signed by the Puerto Rican painter José Campeche, an intellectual painter who studied Latin and philosophy at the Royal Convent of the Dominican Fathers. Between 1776 and 1778 he was in contact with the Spanish court painter Luis Paret y Alcazar (1746-1799), who came to the island exiled by King Carlos III and from whom he learned techniques, colors and styles.Campeche was one of the most recognised Puerto-Rican artists. 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."Returning to this painting, it has a dove-necked frame, profusely carved in garlands and scrolls, polychromed in reddish tones and gilded on the corners and curled edges, with a shield plume that tops it with the Virgin Mary's monogram.  The delicate oil painting depicts the Portuguese saint being regarded and blessed by the Virgin Mary from heaven, to whom he dedicated several sermons to praise her and sing her glories, all surrounded by putti and angels.As one of his many religious themes, Campeche depicts a specific saint, here the Franciscan saint of Lisbon, next to the Virgin Mary, like so many other parallel paintings currently in the Museo de Arte de Puerto Rico that we have mentioned. Two stand out there, one of “The Vision of St. Simon Stock” and another of “Sacred Conversation with St. Joseph and St. John Nepomuk”, among others.Among the trades he learned and practiced in the family workshops, one was the design of coats of arms. It is therefore quite probable that he also designed the period frame with the coat of arms in which this devotional work is presented, possibly as a commission from a prominent family.Be that as it may, this work is of rococo character for all its interest in detail and ornamentation of the sky and clothing, colors and movement of fabrics and figures, dominating the palette of bluish grays and reds and pinks that, as reported by the Puerto Rican museum, relates it directly to de Paret and Alcazar.This painting comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909). He was a Peruvian military officer and politician who held the presidency of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle-low phase of the War of the Pacific, an armed conflict between Chile and allies Bolivia and Peru (1879-1884). That is: from his rise to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until his exile to Spain in the Peruvian civil war of 1884-1885.Highlights of his political-military legacy is the "Grito de Montán" (Montán´s call), a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between Montán´s faction and that of the military leader Andrés Avelino Cáceres. The end of that war led to the exile of Iglesias to the south of Spain, where he moved with his descendants and his significant art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in the Presbítero Maestro Cemetery in Lima, were transferred in 2011 to the Crypt of the Heroes, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Collection of Miguel Iglesias, military man and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day.Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose

Flemish School. 16th - 17th century"Vision of Saint Francis of Assisi on Mount Alvernia, before receiving the stigmata."Oil on copper. Presented in an imposing carved, gilded, and polychromes wooden frame.34 x 24,5 cm.The painting depicts the Franciscan saint in seclusion on Mount Alvernia.Around the Feast of the Assumption in 1224, the Saint withdrew to Mount Alvernia and built a small cell there. It was around the day of the Holy Cross in 1224 (symbolised in the painting, flying among cherubs) that the miraculous impression of the stigmata occurred. He is accompanied by Brother Leo, who was acting as his secretary and writing down the annals of the saint's life . Saint Francis died on October 3, 1226, after listening to the reading of the Passion of the Lord according to St. John.

Mudejar cabinet chest in walnut wood with bone inlay. Decorative “Pinyonet” or rice grain technique. Aragonese manufacture from Teruel. Torrellas. 16th century.32 x 48 x 29.5 cm. Magnificent example of Aragonese Mudejar furniture. Structurally, it has two hinged doors and an interior body divided into three sections, the first being a single receptacle without a lid, while the last two house drawers: the central section is divided into two drawers, and the lower one is composed of a single drawer.It retains all its original iron fittings: hinges, handles and the lock, which remains complete but has lost the surround for the keyhole.As is usual in the highest quality examples, this cabinet chest is completely covered with “Pinyonet” decoration. The front of the chest is ornamented with a very architectural design that, in our opinion, creates a sensation of depth on two planes. In the second plane, there is a balustrade with two large arcades decorated on the inside with a border of geometric motifs, which end on both sides with a kind of fountain vase at each end, all supported by amphorae serving as columns, topped by a pomegranate on each side.Superimposed in the foreground of this landscape are two square vases that preside over the decoration. Nine flowers in their maximum splendor are displayed in the vases and there are also two lateral ones that seem to wither towards their pots, with the intention of creating movement in order to, with this format, better combine their forms with the previously mentioned amphorae on each side. A simplified version with some variations of this decoration can be found on the inside of the upper lid.The sides present concentric circles with sinuous garlands. Following the same pattern, we find richer and more elaborate decoration on the inside of the front lid. It should be noted that the lid has old stains, perhaps ink stains, due to the use of the lid as a writing desk.Finally, the decoration on the drawers displays elements that we have already seen adorning the external part of the chest, such as pomegranates, eight-pointed stars typical of the Mudejar style, flowers and sinuous garlands. It is very interesting to read the article recently published in 2023, in “Vegueta. Anuario de la Facultad de Geografía e Historia” by Mª Isabel Álvaro Zamora "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" (Furniture in 16th century Zaragoza homes. Lexicon, functionality, ornament and prestige), because, as she says in her introduction, she ’studies the furniture existing in 16th century houses, of varied social class and different economic position in Zaragoza [,] based on unpublished documentation from the archive of notarial protocols of Zaragoza (which includes, above all, inventories, as well as partitions of goods, sales, wills, marriage contracts, repossessions and work contracts)’. As it is of specific interest to the piece we present here, we quote an excerpt from section 2.7. dedicated to the “Escritorio, Escribanía, Arquimesa”, included in the section “Muebles de guardar y exhibir” (Furniture for storing and exhibiting) which, as the author indicates, groups together “all those pieces of furniture whose main function was to store one or more types of belongings in their interior or exterior, with the intention of keeping them safe, although some of these pieces of furniture, because of their material, shape and coating, could be decorative objects in themselves”. Such would be the case with this desk. Álvaro Zamora explains that “the documentation consulted in Zaragoza shows that they were almost exclusively owned by the wealthier classes. Thus, we find this type of cabinet chest in the living rooms of the houses of several gentleman merchants. As an example, the “pine cabinet chest with its lock and key” owned by Joan de Palomar, with the “the books of the business, study scissors, a lead inkwell and a dustpan”; the “walnut chest with a base”, that both Miguel Piquer and Miguel de Portas had, the first having documents related to Piquer´s trade and the second having numerous delivery notes, cash, some jewels and silver pieces, a mirror, a prayer book and even a gold tooth cleaner, which also had “two writing desks with two knives and scissors”. They were also found in the study of some notaries, such as Francisco Tobeña, who had “a large pine desk with a red cloth cover” (upholstered). And, exceptionally, we find another one in the house of two well-placed Moors from Villafeliche (Zaragoza), in 1609, a year before their expulsion. [...]However, the most refined and expensive examples were owned by nobles, such as Count Sástago II or the Duke of Villahermosa IV. Of the former, two archives were recorded in the study of his house in Pina de Ebro, one “in which there are two large drawers full of writings”, and another “of walnut carved with inlaid wood”, with documents of the county possessions and lineage kept in their drawers, and writing utensils (“silver and lead inkwells, penknives, silver powder compact and tin salver”). The second had “two small desks of plain wood”, “a small writing desk made of inlaid wood covered in black leather with eight drawers”, there was another one “with eight drawers inside and covered in crimson velvet with golden studs” and another one “made of inlaid wood with eight drawers”, as well as “a chest cabinet covered with green velvet with golden studs and six drawers” and another “of inlaid wood with two drawers”, presumably Spanish furniture that joined other German furniture, such as “a wooden desk from Germany with five drawers”, “a chest cabinet with German inlay with gilded trimming and ten drawers” and another, ‘of German wood with seven drawers and gilded studs with six pieces of carved glass rings.’  It is clear that the upper classes treasured the best chest cabinets as luxury objects that they exhibited and which gave them prestige, from the examples with Torrellas inlay to the pieces that were gilded and upholstered with the best leathers and fabrics, or the highly prized German ones, arriving especially from Ausburg.” This lot has been imported, so its export permit from the Ministry of Culture is guaranteed. Reference bibliography:Álvaro Zamora, Mª Isabel. (2023). "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" en "Vegueta. Anuario de la Facultad de Geografía e Historia", 23 (2), 629-659. ULPGC. https://doi.org/10.51349/veg.2023.2.04 

Novo-Hispanic school. Mexico.  18th century.Table-blazon or crowning piece of a reredos, depicting St. Thomas Aquinas”.124 x 93 cm. Blazon or altarpiece painting, profusely carved and gilded, with incised decoration of scrolls, flowers and geometrical designs made in polychrome and estofado technique, with a biretta in black centered above it.  It has a central cartouche with an oil painting on panel of the Saint and Doctor of the Dominican Church (since 1567, proclaimed by Pope St. Pius V), known as the Angelic Doctor, Common Doctor and Doctor of Humanity, whose work is fundamental for the study of philosophy and theology.  He was the main  defender of natural theology.With the characteristic carving style of New Spanish Mexican art, we contemplate “a complex artifact” that encloses St. Thomas Aquinas, a painting with a frame forming part of a coat of arms, or an isolated crowning piece from an altarpiece or the door of a library or a refectory or chapter room, to which it would have been integrated (in the manner of the doors of the Library of Coimbra of the Jesuit Fathers).This is a baroque artwork that shows unity and coherence, having a style which is difficult to include within formal canons.  This clearly baroque piece is not very dogmatic in its artistic execution, because it shows an extraordinary eagerness for novelty and, in the process of its creation, limitless fantasy that makes it exceptional, unique and unrepeatable.In the center, on a plain panel in the middle of this elaborate frame, we contemplate St. Thomas Aquinas, full-length and standing, depicted in a Dominican monk´s habit, wearing a white tunic with a scapular, and a black cloak with its hood thrown back.  With his right hand he holds a pen from which a halo of light or fire emanates, referring to his books and written doctrine.With the left hand he holds a monstrance. This refers to his devotion to the Blessed Sacrament, which manifested itself in particular in his magnificent composition of his Eucharistic Hymn "Adoro Te Devote."On his chest hangs a sun, which is an attribute to show his wisdom, and behind his back two large wings protrude, which allude to the moment when the angels girded the saint with the symbol of chastity.   Above his head is Christ crucified surrounded by putti, who descend from the heavens to inspire him.    The figure of the saint is depicted as a young man, beardless and with a monastic tonsure. He is superimposed on a landscape in which, at his feet, he treads and defeats the Moors and infidels, in the manner of Santiago Matamoros, as defender of “la verae doctrinae”.In the words of St. John Paul II and Benedict XVI, St. Thomas Aquinas is “the model of the correct way of theology”.   He showed that there is harmony between faith and reason, that faith is not contrary to reason. St. Thomas not only dedicated himself to study and teaching, but also preached to the people. He was a theologian who knew how to speak with simplicity and kindness.   His feast day is celebrated on January 28. Provenance:- Large estate. Seville.'

Leonardo Flores (La Paz, Bolivia, p. m. s. XVII – finales s. XVII - principios s. XVIII)"Alegoría de Europa"Óleo sobre tela.131 x 210 cm.El modelo iconográfico empleado en nuestra pintura se basa en la serie de grabados de los cuatro continentes creada por el pintor flamenco de estilo manierista Martin de Vos (Amberes 1532-1603). El artista los representa por primera vez desfilando en carros triunfales.“La imagen de la alegoría de Europa se inspira en el triunfo de la Eternidad de Petrarca, y el carro está tirado por dos caballos y no por los tradicionales leones, que normalmente representan a este continente”, informa el catedrático José Miguel Morales Folguera en su muy interesante estudio para la revista “Quiroga”, en el que analiza el uso de fuentes gráficas en el biombo del Museo de Navarra.Hay que recordar, como informa la doctora en Historia del Arte Mª Margarita Vila da Vila, “que en el Virreinato del Perú hay evidencia del interés por la temática mitológica y la historia antigua desde fines del siglo XVI. Lo mismo sucedió en los Virreinatos de la Nueva España y de la Nueva Granada, como testimonian los murales de la Casa del Deán de Puebla (México) –con hermosas figuras de Sibilas ecuestres y alegorías de los triunfos de las Virtudes, pintadas hacia 1580– y las de los dioses grecorromanos plasmados en la Casa del Escribano de Tunja (Colombia) hacia 1595. Respecto a la pintura histórica romana, J. de Mesa y T. Gisbert ya señalaron que en 1660 «14 lienzos medianos de los emperadores romanos» figuraban en la relación patrimonial cuzqueña de don Francisco de Villagra”.Como informa Vila da Vila respecto del que sería nuestro pintor, activo en La Paz hacia 1684, “sabemos que Flores, vecino de La Paz, fue un pintor itinerante que trabajó en diversos pueblos de lo que hoy son Perú y Bolivia en torno a 1683. Su prestigio parece acreditado por el encargo de 18 lienzos que en 1684 le hizo el obispo de La Paz para las iglesias de Italaque y de Puerto Acosta. Ignoramos si llegó a la ciudad de La Plata o recibió encargos de escenas triunfales, pero se sabe que era pintor acostumbrado a trabajar con grabados y a ejecutar ambiciosas composiciones, repletas de adornadas figuras, referidas a escenas del Antiguo Testamento e inspiradas en la ‘Monarquía Hebrea’ de Vicente Bacallar y Sanna y en otras estampas flamencas”.This lot comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909).  He was a Peruvian military officer and politician who was president of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle phase of the War of the Pacific, an armed conflict between Chile and the allies Bolivia and Peru (1879-1884). He rose to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until he was exiled to Spain in the Peruvian civil war of 1884-1885.A high point of his political-military legacy is the "Grito de Montán", a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between the Iglesias faction and that of the military leader Andrés Avelino Cáceres. The end of that war meant the exile of Iglesias to the south of Spain, where he moved with his descendants and his important art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in Lima's Presbítero Maestro Cemetery, were moved to the Crypt of the Heroes in 2011, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Miguel Iglesias collection, military officer and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day. 

Viceregal School. Cuzco. Peru. 18th century.“Our Lady of mercy with St. Peter Nolasco and St. Raymond Nonnatus and archangels” Oil on canvas. Relined.88,5 x 72,5 cm. A great devotional representation of Our Lady of Mercy, depicting her fulfilling the task she assigned to three specific followers: James I of Aragon, Saint Raymond of Peñafort, and Saint Peter Nolasco, to whom she appeared. The task entrusted to them was to liberate captives who had fallen into the hands of heretics. This request became reality in the founding of the Order of Mercedarians. Also known as Mater Omnium, in Spain she is the patroness of prisoners and immigrants and also of Penitentiary Institutions. The painting follows the iconography that became clear from the 16th century: the Mercedarian habit, in our work, instead of the usual white, is full of decoration in the Cuzco style with brocading, and arms open, with the Mercedarian shield on the chest, ..."under your protection, Lady, we take refuge, Holy Mother of God." The tender face of the Virgin shelters and protects Christian slaves who kneel before her, already liberated from their chains. It's a simple, humble, loving, and serviceable painting that entrusts us all to her protection and encourages us to remain devoted to her.

Large Altoperuvian chest, possibly wedding, in carved cedar wood with inlay of various contrasting woods and wrought iron fittings. Viceroyalty of Peru. Governorate of Moxos (present-day Bolivia) Dated 1737.74 x 106 x 53,5 cm. Authentic museum piece that has reached our days in its original state.The circular wrought iron lock is almost a work of goldsmithing for the detail and quality it presents.Using native woods from the Andes, the craftsman who made this chest beautifully adorned its simple and elegant line.As can be seen, it is completely filled with rich ornamentation in the form of small marquetry elements of contrasting woods, which give color and life to the chest.We find flowers, birds, monkeys, deer, lizards, and other native fauna, thick foliage and vines, arabesques of flowers and leaves. It is curious the facial expression of the monkeys, which seem angry.On the sides there are human figures holding a vase from which birds emerge.

Taxidermy - two fox-head masks on oak shield shaped plaques, one marked CHC February 10th 1938, together with two hare masks on oak shield shaped plaque dated 1964 and 1960. (4) (B.P. 21% + VAT)There is insect damage and hair loss. Poor condition, especially the hares who are losing/lost hair.

COMPUTERS AND AI -- ZUSE, K. Der Computer mein Lebenswerk. (München, 1970). 221, (2) pp. Ocl. w. dust-j.NOTE: Konrad Zuse (1910-1995), German computer pioneer who built the world's first computers. His Z4 computer was the only computer on the European mainland for a long time after the war. - First edition and fine copy. W. ms. dedication and signed by the author.

BIBLES -- BIBLIA LATINA -- BIBLIA. Habes in hoc libro (…). (Old Testament only). (Lyon, Antoine du Ry for Franciscus Turcus, Dominicus Bertus of Lucca and Jacobus de Giuntis), 1528. (30), 303 lvs. W. title printed in red and black within figurative woodcut border & num. woodcut initials. 4°. Later hcf. (Top of spine chipped, corners worn/dam., stained in places, sev. lvs. browned, without 'Apocrypha' and 'New Testament').NOTE: Present here: a-c8, d6; A-Z, AA-PP8 (P8=blank) (without: QQ8-YY4, a-l8, m10, n-v8, x6). First edition of Pagninus' translation of the OT. The Pagnini Bible was the first to divide the biblical text into numbered verses and one of the first revisions of the Latin Vulgate using the original languages. Sante Pagnini was an Italian monk and biblical scholar who eventually settled in Lyon, France. Like other scholars at this time, he became interested in studying the Bible in its original Greek and Hebrew sources. He completed his Latin translation in 1528, dividing his Bible into numbered verses for easier reference. His divisions, however, are different from the system used today, which was developed by Robert Estienne in 1551. Pagnini's translation of the Old Testament was widely known for its literal reading of the Hebrew and remained popular until the end of the 1500s. - Adams B1008; Darlow-Moule 6108; Heitzmann, Lat. Bibeldr., D361.

RAAB, Antonius Gaspar (Rutger) (1726-??). "PHYSICA dictata a doctissimo domino domino (!) Carolo Verlaine professore primario Porci" - "Liber II: De qualitatibus corporum sensibilibus". Louvain (?), 1744(-45). 2 parts in 1 vol. Paginated by hand: 272; 164 pp. Ms. in Latin on paper in a legible hand. W. ms. title within a printed border, 1 full-p. engr. representing Mercury, Venus, etc. and numerous fine astronomical diagrams in text. 4°. Cont. cf. bind. (Bind. a bit worn in places, content a bit browned).NOTE: Lecture notes on physics, probably written by Antonius Gaspar Rutger Raab (born Boxmeer, 1726?) after lectures on astronomy given by Professor Carolus Verlaine (from Porcia Italy?), who at the time possibly worked at the University of Leuven. The lectures include chapters on the Ptolemaic and Copernican systems.

ETHIOPIAN (MAGIC HEALING?) SCROLL on goat skin, consisting of 2 pieces sown together. Length 114 cm., width ± 8 cm. Text and figurative decoration in black and pale orange.NOTE: Scrolls as these were ordered by a dabtara, healer, who would prescribe the sacrifice of a specific animal, and its skin would be used to prepare one or more scrolls. Probably written in Ethiopic, a Semitic language that is no longer spoken. In good condition.

BRAGA. Dichterlijke Mengelingen uitgegeven door Een Dichtlievend Gezelschap, onder de nooit gebruikte Zinspreuk: "Utile Dulci". Utr., v. Paddenburg, 1843-44. 2 vols in 1. iv, 96; iv, 92 pp. Cont. hcl. (Discrete bookplate on paste down: Bibliotheek Robidé van der Aa).NOTE: First edition of the entire run of the satirical periodical Braga. The first year was filled entirely by A.W. Winkler Prins and J.J.L Ten Kate; the second year (which seems to be of lesser, and less good-natured, quality) was mostly from the hands of H. Kretzer and J.G. de Hoop Scheffer. The magazine's one and only goal was to mock the literati of its time, especially the ones taking themselves too seriously. Only in 1863, when Winkler Prins edited a reprint, was it revealed who the authors of the satire where. (Cf.: D. de Lange. Nederlandse nonsens op rijm. Het Spectrum, Utrecht / Antwerpen, [1953]).

(AURELIUS, C.). Die Cronycke van Hollandt, Zeelandt en Vrieslandt beghinnende van Adams tiden (…) voertgaende tot de iare MCCCCC ende XVII. (Leyden, J. Severs, 18 aug. 1517). (2), 436, (4) lvs. W. title printed in red and black and with a large (partly handcold.) woodcut, 241 woodcuts of various (large) sizes. (Without the worldmap as usual, but besides that a complete copy even with the rare 4 index leaves at the end loosely added (margins of this 4 lvs. cut too short, affecting text)). - Bound with: Incomplete copy of: VANDEN ALDER VICTORIEUSTEN, ende onverwinlijcsten Prinche Karolus, Keyser van Romen, Coninck van Spaengien (…). Antw., W. Vorsterman, (1531). W. a large three-quarter portrait of Charles V on ti-p. & sev. woodcuts in the text. (11 lvs. lack). - 2 in 1 vol. Rubricated in red. Fol. Old blind tooled cf. over wooden brds. w. brass clasps and catches, brass bosses on every corner and in the centre. (Skilfully rebacked, 1 clasp missing, margins stained in places, especially lower margin).NOTE: Extremely rare first edition with fabulous woodcuts of the so-called "Divisiekroniek" written by Cornelius Aurelius de Gouda who lived & worked in the monastery Sint Hieronymusdal or Lopsen near Leiden. The work is based on several medieval chronicles, like the "Chronicon Hollandiae" by Joannes a Leydis, the "Cronica van Coellen" (1499), "Fasciculus temporum" by Veldenaer (1480), Richard de Bury's "Philobiblon" and the "Kroniek van Holland" by the Clerc uten Lagen Landen. The woodcuts i.a. by Lucas van Leyden, and copies after Hans Burgkmair. The work is one of the most famous publications of the Leyden printer Jan Severs who started printing ca. 1501. - Nijhoff-Kronenberg 613; Adams A-2253; Haitsma Mulier/v.d. Lem 20a; De Wind 112-13.

LANGUAGE -- COMIDAS de CARBOGNANO, C. Primi principi della gramatica turca ad uso dei missionari apostolici de Constantinopoli. Rome, Nella stamperia della Sac. Congr. di Prop. Fide, 1794. 12, 730 pp. 4°. Hcl. (Bind. a bit warped, half-ti. rep., small stamp on ti., some marg. stains).NOTE: First edition of the first Turkish grammar in Italian. Comidas de Carbognano was an Armenian minister of the Kingdom of the two Sicilies in Constantinople, who also wrote an important Descrizione Topografica di Constantinopoli, published in 1794. - Atabey 266; Blackmer 386.

HABESCI, E. The present state of the Ottoman Empire, containing a more accurate and interesting account of (…) the Turks than any yet extant. Lond., R. Baldwin, 1784. (2), xv, (8), 443 pp. Modern hcf. extra, w. spine ruled in gilt & red letterpiece. (Two small annot. in pen in a modern hand, otherwise a very clean, bright, well-bound copy).NOTE: Very little is known about the author, who goes by Elias Habesci and / or Alexander Ghiga. "The work itself is very interesting, especially the last seven chapters which contain accounts of commerce between Turkey and various European countries" (Blackmer). - Blackmer 770.

PHILOSOPHY -- BURGHERSDYK, F. (Burgersdijck, etc.). Institutio logica, Dat is Reden-konstigh Onder-wys, Be-ghreepen in twe Boecken. Amst., N. v. Ravesteyn voor G. Willemsz., 1646. 2 in 1 vol. (32), 425; (4), 191, (1) pp. Cont. vellum w. overl. sides. (Paste downs detached, but a very good copy).NOTE: First - rare! - translation in Dutch of this work on logic written in commission of the States of Holland ('Schoolordre' of 1625) who wanted to improve the education on Latin schools. Partly printed in civilité-type. - NNBW VII, 229-31.

(AURELIUS, C.). Die Chronycke van Hollant, Zeelant ende van Vrieslandt. Beginnende van Adams tijden tot die gheboorte ons Heeren Jesum/ voortgaende totten Jare M.CCCCC. ende XVII. Met den rechten oorspronc hoe Hollant eerst begrepen ende bewoont is geweest vanden Troyanen. Ende is inhoudende van die Hertogen van Beyeren/ Henegouwen ende Bourgondyen. De tijt dat sy aent Graefschap gheweest hebben. Met die Chronijcke der Bisschoppen van Utrecht seer suyverlijck ghe-extendeert ende int lange verhaelt. Amst/Dordr., C. Claesz/P. Verhaghen, 1595-1597. 4 parts in 1 vol. (12), 483; (12), 272, (2 blank); (2), 229, (5); (4), 131 pp. W. 3 (diff.) full-length woodcut portraits on ti-pp. & 36 full-length woodcut portraits in text. Sm-fol. Old h. vellum. (Lower outer corner faintly stained in places, margins cut).NOTE: Rare edition of the so-called 'Divisiekroniek' by the canon Cornelius Aurelius (Cornelius of Gouda, ±1460 - after 1523), with the separately published 4th part ("Appendix"). He based his work upon the 'Chronicon Hollandiæ' by Johannes à Leydis who died after 1500. The first edition appeared in 1517 and received its name 'Divisiekroniek' because of the division in 32 parts. It remained a popular source for Dutch history up to the first half of the 18th c. The first part, by Aurelius, covers the period from the earliest times up to 1517. The second and third part were written by Ellert de Veer (Haitsma Mulier/ Van der Lem 483); the second part relates the events from 1516 up to 1591; the third part contains a more elaborate description of the period 1566-1590. - Haitsma Mulier/v.d. Lem 20a, 483b & 483c; De Wind, p. 112-113; Moes/Burger III, p. 243-247.

NICASIUS DE VOERDA. Super institutionibus. Lectura insignis, iam noviter correcta, omnibusque mendis et erroribus purgata, super quatuor libros Institutionum, ad explanationem glossarum D. Accursii, mira brevitate congesta, addito indice titulorum et materiarum omnium Lpz., N. Wolrab, 1541. (3), cclxiiii, (27) lvs. W. 4 (fold.) woodcut tree diagrams. Fol. Cont. fine blindtooled pigskin over wooden brds. w. brass clasps/catches, and blue edges. (A few small wormholes at the beginning, old owner's entry on ti-p., lower blank margin of lvs. bbiii-iv rep., a few underl. in an old hand, margins cut).NOTE: One of the first introductory works on Roman law in Germany is this Commentary by Nicasius de Voerda, who died in Cologne in 1492. - Rare, only 1 copy in NCC (Leiden). - VD16 N1429. This ed. not in Adams.

TIRAQUELLUS, A. De poenis legum (…). Lyon, Cl. Senneton, 1559. (28), 285, (39) pp. - Bound with: Id. De privilegiis piae causae tractatus. - And: Id. Tractatus de preascriptionibus. (Both) Lyon, G. Rouillé, 1560. (20), 190, (blank); (16), 118 pp. - 3 in 1 vol. Fol. Cont. blind tooled vellum. (Front side warped and partly stained, ties fail, preliminary lvs. of first work more or less stained, last blank of 3rd part lacks (2q4)).NOTE: Ad 1: Standard work on criminal law by the French lawyer André Tiraqueau (1488-1558), who - while he held the office - released Rabelais from prison. - Baudrier VII, 431; Roberts 304. Ad 2: Baudrier IX, 263. Ad 3: Baudrier IX, 263. Sold w.a.f., not subject to return.

SCRIVERIUS, P., (ed.). Het oude Goutsche chronycxken van Hollandt, Zeelandt, Vrieslandt en Utrecht. Als mede met een byvoeghsel en toet-steen verm. Amst., J.H. Boom, (a.o.), 1663. (6), 280 pp. W. engr. front. & 33 engr. portrs. of the Counts of Holland in the text. 4°. Cont. vellum w. overl. sides. (W. libr. stamp on free endpaper).NOTE: Petrus Scriverius (1576-1660), born in Amsterdam, raised in Haarlem, studied and lived in Leiden. He was an all-round classical and historical scholar, who published many antiquarian and philological works and edited and wrote both (Neo-)Latin and Dutch-language poetry. - Haitsma Mulier/v.d. Lem 436d; De Wind 412; Van Someren I, 100.

BEAUVOISINS, J. Notice sur la Cour du Grand-Seigneur, son sérail, son harem, la famille du sang impérial, sa maison militaire, et ses ministres. 3e éd. Par., G. Warée, 1807. 110 pp. New blank wrps. (A few foxing spots).NOTE: Published in the same year as the first edition (printed in Rome), this is an account of the Ottoman court, written by Beauvoisins who was held as a prisoner-of-war for three years in Greece and Turkey betweeen 1799 and 1801. - Atabey 86 (first edition), Blackmer 107 (fourth edition). - Books from the library of Prof. Dr. A.H. de Groot may contain some annotations in pencil.

MARITIME HISTORY - TRAVELLING -- NIEBUHR, C. Reisebeschreibung nach Arabien un andern umliegenden Ländern. Vols. 1 & 2. Kopenhagen, N. Möller, 1774-78. 2 vols. (1), vxi, (1), 505; (8), 479 pp. W. 2 title-vign., 124 engr., mostly fold., & 1 large map, cold. in outline. 4°. Cont. hcf. w. spine w. raised bands, gilt dec. & (dam.) letterpieces, & marbled sides. (Spine worn, delicate at hinges, wear to extremities; some yellowing & foxing in the text, but a very clean, bright, complete set of this important work).NOTE: First edition of the description of a great expedition mounted by Frederick V. of Denmark in 1761-67. Of the several scientist who participated, Carsten Niebuhr (1733-1815) was the only one to return alive. His maps and charts, copies of cuneiform inscriptions and astronomical studies all contributed greatly to (the start of) several scientific endeavors. NB in 1837 a vol. 3 was published out of Niebuhrs legacy. - Cox I, 238. Graesse IV, 674.

SWINDEN, Jan Hendrik v., (1746-1823). Letter in Dutch to his cousin Caspar Reuvens, Amsterdam 3(0?) July 1819. 1 fold. leaf, r° only, signed.NOTE: Letter by the Dutch mathematician and physicist Van Swinden (addressed to Reuvens who was at the time in London) in which i.a. the death (22 July 1819) of Professor Brugmans in Leiden is reported ("Dit verlies wordt diepgevoeld, en voor onherstelbaar gehouden").

WEST INDIES -- RAINSFORD, M. St. Domingo, of het Land der Zwarten in Hayti en deszelfs Omwenteling. Amst., J. Allart, 1806. 2 vols. xxviii, 410, (2); viii, 46 pp. W. engr. front., 1 fold. map of the island, 1 fold. plan, 8 full-p. engr. plates and 1 fold. facsimile in 2 parts. Cont. brds., uncut. (Spines a bit worn, 1 title label for the greater part gone).NOTE: Rare translation in Dutch of 'An Historical Account of the Black Empire of Hayti: comprehending a view of the principial transactions in the revolution of Saint Domingo' which was published in the previous year. Captain Marcus Rainsford (1758-1817) was a British Army officer who fought in the Battle of Camden in 1780, during the American Revolutionary War. In 1799 he visited St. Domingo, and had an interview with Toussaint L'Ouverture. He was subsequently arrested and condemned to death as a spy, but was reprieved and eventually set at liberty. Very good copy. - Sabin 67535.

SCHMIDT, J., ed. & introd. Dreizehn Jahre Istanbul (1937-1949). Der deutsche Assyriologe Fritz Rudolf Kraus und sein Briefwechsel im türkischen Exil. Leiden, 2014. 2 vols. W. many b&w photographs. Obrds. (A few pencil underscores in the introd., otherwise clean).NOTE: The German Assyriologist Fritz Rudolf Kraus was an academic emigrant who was forced to leave Germany during the Nazi period. During his exile he kept in touch with his family in Germany and with colleagues. The selection of his voluminous correspondence presented in this work is an important source for the history of both Turkey and Germany during the years 1937 to 1950.

CHESNUTT, Ch.W. The Conjure Woman. Lond., Gay and Bird, 1899. (4), 229, (1) pp. Or. pictorial brown cl. with gilt lettering. (Bind. sl. soiled, previous owner's entry in blue pencil on upper paste down).NOTE: First UK edition printed in the same year and at the same press (Riverside Press) as the first American edition. Chesnutt's first book, it contains seven short stories, all set in Patesville, North Carolina within the same framing narrative. The tales are all told by a formerly enslaved man named "Uncle Julius McAdoo", as he relates them to the narrator (a white northern man named John) and the narrator's wife. Chesnutt was an African-American author who frequently wrote about characters dealing with issues of mixed race, "passing", illegitimacy, racial identities, and social place. The Conjure Woman was adapted into a film by film-maker Oscar Micheaux in 1926, but is now believed to be lost.

BRISSONIUS, B. De verborum quae ad ius civile pertinent significatione opus praestantissimum in meliorem commodioremque ordinem redactum (…). Prodit opera studioque J.G. Heinecci. Praemissa praef. nova De interpret. grammat. in iure civili fatis et vario usu nec non huius. Novae ed. praerogatiuis J.H. Böhmeri. Halle/Magdeburg, "Impensis Ortphanotrophei", 1743. (10), xxxviii, 1436 pp. Ti. printed in red & black, w. fine engr. front. depicting a library & 2 small medallion portrs. of the author & editor. Fol. Cont. hcf. w. richly dec. gilt back & orange label, yellow edges. (Front size loose, spine loosening, corners partly dam.).NOTE: Barnabé Brisson (1531-91), famous jurist & philologist. He was appointed first president of the Parliament of Paris by the League, and was hanged in 1591 by the Seize, a committee of 16 factious persons who had possession of Paris. This last & best edition is dedicated to S. v. Cocceius. - Roberts 61-62; Brunet I, 1262. - Copy with handwritten school prize to M. Tydeman. From the library of W. v. Iterson and with his bookplate.

LOW COUNTRIES -- LEIDEN -- "LUGDUNI BATAVOR[UM] Leyden in Hollant". (Leiden), P. Bast, 1600. Engr. plan by Pieter Bast of the city w. large title/dedicatory cartouche, compass rose, coat of arms of the city, and scale indicator. 367 x 440 mm. (Without margins, but w. later added margin extensions in order to 'frame' the plan in a passepartout, tiny holes visible in the image, heavily browned, 2 rep. to central vertical fold on v°).NOTE: Very rare plan of Leyden which - to the best of our knowledge - has not been in auction for a long time. It is claimed that the house where Rembrandt was born can be determined on this plan which became famous for its detailed view of the city. Pieter Jacobsz Bast (1569-1605), son of Jacob Bast and Josyntje Plantin, was a Dutch engraver, publisher, surveyor, and geographer who came from Antwerp where he lived from 1591 to 1598. He most probably lived in Leiden in 1601 where he also died in 1605. - Cf. Groenveld, a.o. Leiden, p. 42-43: "Basts kaart, getekend op schaal 1:3500, vertoont een aantal opvallende kenmerken. Zij is een plattegrond met alle gebouwen en vestingwerken in opstand. (…) Evenals in zijn andere kaarten geeft de tekenaar steeds blijk van buitengewone precisie". - Van Overvoorde 47-48.

WEST INDIES -- SACK, A. v. A Narrative of a Voyage to Surinam; of a Residence there during 1805, 1806, and 1807; and of the Author's Return to Europe by the way of North America. Lond., W. Bulmer, 1810. x, (2), 282 pp. W. steel-engr. front., steel-engr. ti., map of Surinam and 1 full-p. steel-engr. plate dep. "a proposed easy method for the Negroes to sow cotton". 4°. Cont. cf. presentation bind. w. gilt lettered text "To his Excellency Constantine Philip William Jacobi Baron von Kloest from the Author" on the front panel, sides ruled and tooled in gilt, gilt spine, inside dentelles, a.e.g. (Bind. a bit dry and slightly chafed in places, slightly browned/foxed in places, ticket removed from upper paste down (binder's address?), but a good copy).NOTE: Sebastian Albert Freiherr von Sack (1757-1829), German explorer and a chamberlain of Prussian nobility. In June 1821 he was honoured with the title of Graf (count). In 1805 he travelled to Surinam, where he made observations of the fauna, flora and local customs of the population. On his return journey back to Europe, he visited Washington DC, Philadelphia, New York City, Boston, et al. As a result of his travels he published 'Beschreibung einer Reise nach Surinam' as a series of letters to 'My Dear Sir', of which this is the first translation in English. - Presentation copy presented to Baron von Kloest (1745–1817) who was the Prussian ambassador at Vienna in 1790, and at London from 1792 to 1816. W. bookplate by Waldemar Schwalbe. - Sabin 74750.

PSALMS -- MUSCULUS, Wg. In sacrosanctum Davidis psalterium commentarij. Basel, (J. Hervagius, 1551). (12), 1702, (90) pp. Fol. Old vellum w. overl. sides. (Ties fail, sm. defect to bind., vellum soiled/stained, ti-p. dam./laid down, some underl./annot. in an old hand, tiny wormholes at the end, some faint marg. stains, but else a clean copy).NOTE: First edition of this very copious Psalter commentary. With this work Musculus laid the foundation for subsequent Protestant exegesis of the Psalter. Musculus (Meusslin, 1497-1563) was a gifted preacher who studied at Strassburg with Capito and Bucer and played an important role in their efforts to reunite the various Protestant factions in Germany and Switzerland. - Adams M2010; VD 16 ZV1677.

COMPUTERS AND AI -- BERKELY, E.C. Giant Brains, or Machines that think. (2nd printing. 1950). Ocl. w. (a bit dam.) dust-j. Scarce and important publ. -- P. McCORDUCK. Machines who think. A Personal Inquiry into the History and Prospects of Artificial Intelligence. (1979). Ocl. w. dust-j. -- J. WEIZENBAUM. Computer Power and Human Reason from Judgment to Calculation. (1976). Ocl. (Libr. stamps on free endpaper). -- B. SCHEEPMAKER & K.L. ZINN. World Conference on Computer Education 1970. (1970). 4°. Ocl. -- And 1 o. (5).

LITERATURE -- HIKMET, N. 835 Satir. (Istanbul, Muallim Ahmet Halit, 1929). 48 pp. Or. dec. wrps. (Sm. corner of front side gone, spine dam./partly gone, browned/foxed as usual).NOTE: Nazim Hikmet (1902-1963) is considered the founder of modern Turkish poetry, who transcended Ottoman versification and absorbed the influence of Russian futurist writers such as Sergei Esenin, but above all Vladimir Mayakovsky. - Rare first edition.

WEST INDIES -- CURAÇAO -- (PADDENBURGH, G.G. v.). Beschrijving van het eiland Curaçao en onderhoorige eilanden. Uit onderscheidene stukken, bijdragen en opmerkingen opgemaakt, door een bewoner van dat eiland. Haarl., erven F. Bohn, 1819. (4), 90 pp. W. large fold. table. Old limp brds., uncut. (Spine dam.).NOTE: First and only edition of a description of the Dutch colony of Curaçao, by the first Dutch writer who permanently settled on the island. - Rare. Tiele 841.

SURINAM -- SLAVERY -- TEENSTRA, M.D. De negerslaven in de kolonie Suriname en de uitbreiding van het Christendom onder de heidensche bevolking. Dordr., H. Lagerweij, 1842. xviii, 380 pp. W. lithogr. front. & fold. plan of Paramaribo. Hcl. (Spine loosening and rep. w. tape, a few marginal pencil stripes, lower outer corner faintly stained at the beginning, rather foxed in places).NOTE: The frontispiece depicts a small view of the fire of Paramaribo in 1832 and portraits of the three slaves who started the fire: Mentor, Present and Cojo. The author pleads for the abolition of slavery. - Sabin 94587; Tiele 1083; Rouffaer/Muller p. 640.

WIENER KREIS -- WAISMANN, Friedrich (1896-1959). Typescript draughts in German on philosophy, philosophy of language, meaning, names, etc. W. many additions/corrections in ms. N.d., (after 1938 - before 1959). 2 vols., divided in 22 chapters, tog. c. 630 foliated typescript lvs. In 18 original cardboard covers. 4°. (Covers a bit dam. in places).NOTE: Notes that may have led to Waismann's work 'Logik, Sprache, Philosophie' which was posthumously published in 1976 by Philip Reclam. Friedrich Waismann, Austrian mathematician, physicist and philosopher was a member of the Vienna Circle and an important theorist in the field of logical positivism. Born to a Jewish family in Vienna, Austria-Hungary, Waismann was educated in mathematics and physics at the University of Vienna. In 1922, he began to study philosophy under the tutelage of Moritz Schlick, the founder of the Vienna Circle. He emigrated to the United Kingdom in 1938 due to the annexation of Austria by Nazi Germany. Waismann maintained good relations with Wittgenstein after an introduction by Schlick who first met Wittgenstein in 1927 and did so several times before the latter would agree to be introduced to some of his colleagues. From 1927 to 1928 Wittgenstein met with small groups that included Schlick, almost always Waismann, sometimes Carnap, and sometimes Feigl and his future wife Maria Kesper. But is doubtful that Wittgenstein ever attended any meetings of the Vienna Circle proper. And from 1929, Wittgenstein's contact with the Circle would be restricted to meetings with Schlick and Waismann only. - This typescript originates from the estate of W. (Eli) Whitlau (1924-2013), who worked until his retirement at Van Stockum's publishing company. Van Stockum had the intention of publishing the work, but for some reason, they never did and eventually removed it from their archive. Whitlau handed it over to the present consigner.

NABI EFENDI. Conseils a son fils Aboul Khair. Publiés en Turc avec la trad. française et des notes par (A.) Pavet de Courteille. Paris, 1857. (4), iv, 100 pp; (36) lvs. Mod. cl.NOTE: Nabi Efendi (1642–1712 in Aleppo), greatest Turkish poet of his time, especially appreciated by the Sultan Mustafa II, author of a Divan and a collection of letters. Abel Jean Baptiste Michel Pavet de Courteille was a 19th-century French orientalist who specialized in the study of Turkic languages. - Scarce.

Eco Hamper – A Perfect Gift for Nature Lovers This beautifully presented wicker hamper is packed with everything you need to welcome wildlife and pollinators into your garden, including a bug hotel, bird feeder, bird seed, bird bath with two decorative birds, and a packet of wildflower seeds. A perfect gift for anyone who cares about biodiversity and the environment.

Spots and Captaincies for the S Anselm's Hundred - For the cricket auction. Options max of 44 spots available for four teams. We can play with two or three S. Anselm’s Hundred. £500 to Captain, four available, £50 to play in the SA Hundred. Captain(s) from the auction are invited in to school to take part in to draft the players who signed up into their squad. On the night the teams go head to head in either a semi final hundred ball match, with the winners playing a timed match or a super over (TBD).

ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921 stamped with the Nachlass E. L. Kirchner mark and numbered P Da/Ba 5 in ink and K6796 and 6450 in pencil (to reverse), Indian ink and wash on paper  30.2cm x 36cm (11 7/8in x 14 1/8in) Theo Hill Galerie, Cologne, 1968;Anthony Hepworth FIne Art, Bath;The Collection of Gillian Raffles. This work is listed in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern and will be included in any forthcoming catalogue raisonnés of the artist's graphic works,Exhibited:Mercury Gallery, London, Summer Exhibition, 11 June - 15 September 1973, no. 191, illustrated in exhibition catalogue. ‘I learnt to value the first sketch, so that the first sketches and drawings have the greatest worth for me. How often I’ve failed to pull off and consciously complete on the canvas that which I threw off without effort in a trance in my sketch…’ Ernst Ludwig Kirchner, ‘Zebdher Essay’, recorded in his diary, 1927 Ernst Ludwig Kirchner’s Zwei Frauen im Gesprach is the perfect expression of the ‘modernist primitivism’ that defined German Expressionism in the early 20th Century, both that of the Die Brücke group (of which Kirchner was the founder and leading light) and its Munich counterpart, Der Blaue Reiter, led by Kandinsky. Both groups sought to free art – and life – from the shackles of bourgeois ideals and (in art) stifling Academism, alighting upon the cultures of non-European peoples as ciphers of a more direct and intuitive emotional ‘truth’, in particular the art of the Pacific (inspired by Gauguin) and of Africa. Whilst today we would look at the Expressionists’ approach to non-Europan art as a form of cultural appropriation, based on fundamental misconceptions of this art being ‘primitive’ rather than highly sophisticated in its own right, this approach was, at least, wholehearted in its intention: Kirchner and his contemporaries were genuinely looking to the non-European for something lacking in the West, their ‘primitivism’ beyond a mere imitation – rather  a search for authenticity, a direction of travel to express true modernity.  In Zwei Frauen im Gesprach, we see two young women in conversation in what looks like Kirchner’s studio – which itself was a gesamkunstwerk (total art work) of hand-printed batik hangings, dark painted walls, hand-carved furniture and African objects. In the background, we see one of these objects, a small totemic figure, listening in, perhaps, to what these two thoroughly modern women are discussing. The figure on the left, with her bobbed hair and arch hand gesture looks like she has stepped straight out of a Berlin cabaret. Indeed, she could well be the dancer Nina Hard, renowned for her slick black bob, whom Kirchner had met in Zürich in May 1921 and who was to became an important model and muse for him.  And this sculpture in the background could well be African, brought back by the brother of fellow Die Brücke artist Erich Heckel, who held a job in colonial East Africa, but equally it could be a work of Heckel or Kirchner’s own making, as modern as the women themselves. Kirchner’s sculptures of the 1910s are incredible hybrid works, far beyond imitations of African art and distinctly European, that don’t really find their counterpart until Georg Baselitz’s chainsaw carvings of the 1980s. In Zwei Frauen im Gesprach Kirchner shows his mastery of brush and ink, which perhaps could be said to be the medium of German Expressionism. The brush allows for bold, jagging lines and an emphasis on outline over shading, as sculpting the figures on paper as they would with chisels out of wood; and the ink allows for speed – an idea as modern as modern can be. Brush and ink allows spontaneity, a definitiveness of gesture, that Kirchner, Heckel and fellow members of Die Brücke honed in their ‘quarter-hour’ life drawing sessions, where working quickly became analogous to working without premeditation – or as Jill Lloyd puts it, speed of execution becomes an ‘attempt… to catch modernity on the wing’. (Jill Lloyd, German Expressionism: Primitivism and Modernity, Yale University Press, New Haven & London, 1991, p.45)

RHEE SEUNDJA (KOREAN 1918-2009) UNTITLED, 1961 signed (lower right), and inscribed 615F1244, oil on canvas 27cm x 34.8cm (10 5/8in x 13 5/8in) Acquired in Paris by the current owners aunt in the 1960s;Private Collection, London. Rhee Seundja was a pioneering Korean modern artist who seamlessly merged Western abstraction with Eastern philosophies. She began her artistic journey in the early 1950s in France, studying at the Académie de la Grande Chaumière, where Chinese abstract masters Zao Wou-Ki and Chu Teh-Chun had also trained. Immersing herself in the European art scene, she explored Art Informel, which was gaining momentum in Paris, and turned to abstraction in 1956.By the early 1960s, Rhee had developed a distinct style that fused an Eastern mindset with Western materials, creating a unique colour palette and artistic language. She reinterpreted traditional Korean patterns, using each brushstroke as a symbolic act of nurturing - both the land and, metaphorically, the children she had been separated from since 1951. Her work from this period, reflected themes of nature, spirituality, and femininity, often expressed through geometric forms, bold colours, and richly textured surfaces.Through her synthesis of cultural traditions and artistic innovation, Rhee became a significant figure in both Korean and international modern art, leaving behind a rich artistic legacy.