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534325 Los(e)/Seite
Los 1007
Art Deco Vases, Wall Pockets by Radford, Myott etc, plus other ceramics including coronation cups, Stelio dish etc:- One Box.Crown Devon pot with crazing, commemorative cups with crazing, one with chips to rim wool pockets with crazing to inside and chips to paint launch studio bowl with some chips to edge and marks to inside. Arthur Wood jug with chip repair to rim other jugs with light crazing no chips.
Los 1184
Walt Disney Classics Collection: Snow White and The Seven Dwarfs ornament set limited edition No 3311, 'Won't You Smile For Me? and Bring Back Her Heart' all boxed with certificates (3).One dwarfs musical instrument flute be chipped off, light crazing to arms of large Snow White and color of Queen.
Los 1151
Delphinium Grimwades Ltd vase hand painted with flowers, Royal Albert violets pattern February teacup and saucer, Royal Albert Old English Rose dish, rectangular dish with hand painted flowers and pierced edge marked Herend Hungary, Royal Doulton Sweet Anne miniature figurine another similar etc. One TrayOne very light crack mark to centre of large plate. Some rub to gilt and scratching to paint to long rectangular dish. Others appear good condition.
Los 1264e
Walt Disney Classics Collection Who Framed Roger Rabbit Figures - 'Dear Jessica How Do I Love Thee' (Roger and Jessica Rabbit) Certificate No 7270 and 'Im Not Bad I'm Just Drawn That Way' (Jessica) no certificate, both boxed (2).Roger and Jessica figure with light crazing to back of letter and some polystyrene residue stuck to dress.
Los 284
A tropical landscape print after the original oil painting by Albert Bierstadt. This lush scene captures a serene Caribbean coastal view framed by towering palm trees, verdant foliage, and vibrant tropical flowers, evoking a sense of tranquility and natural grandeur. The work is characterized by rich detailing and luminous atmospheric effects, reminiscent of Bierstadt's mastery of light and landscape composition. Signed Bierstadt in the plate, this piece is housed in a heavy bamboo-style frame that complements its tropical theme. While not an original work by Bierstadt, this piece reflects the influence of the renowned Hudson River School artist, known for his grand and romanticized depictions of nature. The print appears to have been varnished. Artist: After Albert Bierstadt (German-American, 1830-1902)Issued: c. 1950Dimensions: 30.50"L x 37"HCountry of Origin: USACondition: Age related wear.
Los 178
A bottle of Glenmorangie The Original, a 10-year-old Highland Single Malt Scotch Whisky celebrated for its smooth and delicate profile. Aged in American white oak ex-bourbon casks, this whisky is known for its notes of citrus, vanilla, and almond, with a light floral character. The bottle remains sealed, preserving its exceptional quality. 1.75L.Issued: 21st centuryDimensions: 16.5"HCountry of Origin: Scotland In-house shipping from Lion and Unicorn is not available for this lot. Winning Bidders will have to arrange to pick up their purchases at the Lion and Unicorn Auction Studios at 200 Oakwood Ln. Suite 200 Hollywood, Florida 33020, or make arrangements with their own third-party shipper. A local third-party shipper that can be contacted directly for a domestic shipping quote is: First Class Shipping Center 7826 NW 44th Street Sunrise, FL 33351 Tel: 754-800-7674 Fax : 954-999-5166 Email: 1shippingcenter@gmail.com https://www.1shippingcenter.comCondition: Age related wear.
Los 274
A striking Swarovski crystal falcon head figurine, exquisitely crafted with faceted precision to reflect light beautifully. This sculptural piece captures the regal presence of the falcon, featuring intricate detailing in the beak and eyes. The clarity of the crystal enhances its lifelike quality, making it a sophisticated addition to any collection. Marked with the Swarovski swan logo.Artist: Max SchreckIssued: 1986 - 1991Dimensions: 2"HCountry of Origin: AustriaCondition: Age related wear.
Los 79
This framed art print, titled Meditation, is by Boris E. Skvirsky (1887-1941, Russia/Ukraine), an artist and photographer known for his evocative and cinematic imagery. This monochromatic composition presents a mysterious female figure bathed in dramatic light, seated in an ethereal pose that exudes both elegance and intrigue. The artwork is encased in a decorative gold and patterned frame, with a nameplate affixed to the bottom, enhancing its presentation. A compelling piece for collectors of vintage photography, surrealist compositions, and classic European art.Artist: Boris E. Skvirsky (Russian, 1887-1941)Issued: 20th centuryDimensions: 20"L x 24"HCondition: Age related wear.
Los 190
Sealed 750ml bottle of W.L. Weller Wheated Bourbon Special Reserve, Kentucky Straight Bourbon Whiskey, with an alcohol content of 45% by volume. This bourbon is known for its wheated mash bill, which replaces rye with wheat for a milder profile. The aroma presents sweet caramel notes with hints of vanilla and light oak. The palate offers flavors of honey, butterscotch, and soft wood, with a balanced body and smooth texture. The finish lingers with notes of honeysuckle and a mild warmth. W.L. Weller Special Reserve is a non-age-stated bourbon but is crafted using time-honored distilling methods. The bottle features the signature green label with gold lettering, a hallmark of the Weller series.Dimensions: 11.25"HCountry of Origin: United States In-house shipping from Lion and Unicorn is not available for this lot. Winning Bidders will have to arrange to pick up their purchases at the Lion and Unicorn Auction Studios at 200 Oakwood Ln. Suite 200 Hollywood, Florida 33020, or make arrangements with their own third-party shipper. A local third-party shipper that can be contacted directly for a domestic shipping quote is: First Class Shipping Center 7826 NW 44th Street Sunrise, FL 33351 Tel: 754-800-7674 Fax : 954-999-5166 Email: 1shippingcenter@gmail.com https://www.1shippingcenter.comCondition: Age related wear.
Los 365
Sealed bottle. This is a 750ml bottle of Creyente Mezcal Artesanal Joven, featuring an alcohol content of 40% ALC. by VOL. The bottle includes a Mezcal hologram sticker for authenticity. Creyente Mezcal Artesanal Joven is crafted with a profile that presents a balance of sweet cooked agave notes, subtle smoke, and hints of fruit. The aroma offers elegant and lingering smoky notes that blend with traces of fresh oak wood, mesquite, and light herbal undertones. The finish is rich and smooth, with a dominant smoky mesquite wood character.Dimensions: 7.75"HCountry of Origin: Mexico In-house shipping from Lion and Unicorn is not available for this lot. Winning Bidders will have to arrange to pick up their purchases at the Lion and Unicorn Auction Studios at 200 Oakwood Ln. Suite 200 Hollywood, Florida 33020, or make arrangements with their own third-party shipper. A local third-party shipper that can be contacted directly for a domestic shipping quote is: First Class Shipping Center 7826 NW 44th Street Sunrise, FL 33351 Tel: 754-800-7674 Fax : 954-999-5166 Email: 1shippingcenter@gmail.com https://www.1shippingcenter.comCondition: Age related wear.
Los 193
This exquisite Optima Pendant Light by the renowned Danish design brand is a stunning example of mid-century modern lighting. The pendant's sleek, minimalist form is perfect for enhancing both contemporary and classic interiors, offering a warm, inviting glow that complements any space.Artist: Hans DueIssued: 20th centuryDimensions: 10"H x 20" dia. Country of Origin: DenmarkCondition: Age related wear. As is. Functionality not guaranteed.
Los 285
Impressionist oil on canvas painting by British artist John Bampfield, depicting a nostalgic European street scene in autumn. Executed with rich impasto brushwork, the composition captures a rainy evening with figures navigating a cobblestone street lined with historic buildings and a warmly lit storefront. A woman and child, dressed in period attire, are seen braving the wind as golden leaves swirl around them, while distant figures and a horse-drawn carriage recede into the misty background. Bampfield's signature use of vibrant color contrasts and atmospheric light effects enhances the painting's dynamic and romantic quality. Signed on lower left. Presented in an ornate gilt frame.Artist: John Bampfield (British b.1947)Issued: c. 1980Dimensions: 33.75"L x 23.25"HCountry of Origin: EnglandCondition: Age related wear.
Los 289
This compelling oil on canvas painting, created by Palm Beach artist Annette Krauss Rose, features a captivating portrait of a young woman. Rendered in soft, muted tones with a blend of realism and artistic expression, the composition draws the viewer into the subject's pensive gaze. Krauss Rose's mastery of light and shadow is evident in the atmospheric background, lending depth and intrigue to the piece. The sitter's thoughtful expression and poised posture reflect the artist's skill in capturing human emotion. Annette Krauss Rose, a student of Tonalist and Impressionist Frank Vincent DuMont in New York City, is celebrated for her evocative portraiture and nuanced brushwork, which distinguish her works as timeless. This painting is housed in a textured white wood frame, enhancing its elegance and ensuring it will complement a variety of settings. Artwork dimensions with frame: 27"L x 32"H.Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
Los 288
This is an expressive and poignant portrait by Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, showcasing her remarkable talent in capturing human emotion and individuality. The piece features a young girl with a reflective expression, accentuated by delicate brushstrokes and soft, naturalistic tones. Her white blouse, adorned with a playful plaid design, is complemented by a striking orange bow, adding a vibrant focal point to the composition. The background's muted gray hues contrast beautifully with the subject, further drawing the viewer's attention to her introspective gaze. Annette Krauss Rose, known for her sensitive portrayals and skillful rendering of light and texture, imbues this painting with a timeless quality. This work is executed on canvas and displays evident age-related wear, including surface stains and minor edge fraying, which add to its charm and authenticity.Artist: Annette Krauss Rose (American 20th Century)Dimensions: 22"L x 26"HCountry of Origin: USACondition: Age related wear.
Los 302
A captivating oil painting by G. Navarro, dated 1967, showcasing an abstract figurative composition. The artwork features two stylized figures rendered in bold, expressive brushstrokes with a moody palette of deep blues, purples, and earthy tones. The dynamic use of light and shadow creates a sense of movement and emotion. Signed lower right G. Navarro 67. Presented in a dark wood frame. Dimensions: 43.25"L x 31.5"H framed.Dimensions: See DescriptionCondition: Age related wear.
Los 295
Encased in an ornate golden frame with intricate carvings, this beautifully framed painting signed by artist C. Jaffey depicts a serene cottage nestled within a lush, colorful garden. The tranquil scene is brought to life with vibrant florals, a charming stone pathway, and a reflective stream winding gracefully through the foreground. The artist's masterful use of light creates a warm, inviting glow from the cottage windows, evoking a sense of comfort and harmony. The detailed artwork, paired with the elaborate frame, makes this piece a perfect addition to any traditional or cottage inspired decor. The artist signature is lower left corner of the front. Artist: C. JaffeyDimensions: 17.5"L x 15.5"W x 2"DCondition: Age related wear.
Los 315
This vibrant watercolor on paper by Jack Laycox captures the essence of a bustling Parisian street scene, depicting figures leisurely enjoying a cafe-lined avenue. The atmospheric composition is infused with warm, diffused light, reflecting the movement and energy of the urban environment. The artist employs loose, expressive brushstrokes and a rich, layered color palette to create an impressionistic feel, with washes of blues, reds, and yellows blending harmoniously. The cafe signage and architectural elements in the background anchor the composition, providing a sense of place while maintaining a dreamlike quality. Signed by the artist in the lower right corner, this piece exemplifies Laycox's dynamic approach to cityscapes and his ability to evoke the ambiance of Parisian life.Artist: William (Jack) Laycox (American 1921-1984)Issued: c. 1970Dimensions: 38.50"L x 31"HCountry of Origin: USACondition: Age related wear.
Los 6
This lovely oil painting on wood board by artist Chang depicts a tranquil architectural scene framed by an arched colonnade. The composition leads the viewer's eye through a sunlit courtyard, where a figure in traditional Asian attire walks hand in hand with a child, evoking a sense of nostalgia and cultural heritage. Lush vegetation drapes over the structure, adding depth and contrast to the weathered stone. The artist employs a warm, earthy palette with expressive brushwork, capturing the interplay of light and shadow across the textured surfaces. Signed in the lower right, the painting is presented in an ornate, carved frame that complements its classical aesthetic.Artist: ChangIssued: c. 1970Dimensions: 28.25"L x 25.50"HCondition: Age related wear.
Los 108
A Warner Bros. limited edition color poster titled Sluggers, featuring iconic Looney Tunes characters dressed in Major League Baseball uniforms, each representing a famous team. The artwork captures the humor and personality of classic animated figures such as Bugs Bunny, Daffy Duck, Porky Pig, and the Tasmanian Devil in a lively dugout setting under stadium lights. Issued in 1994 to commemorate the 125th anniversary of professional baseball, this piece is hand-signed in light green marker by Charles McKimson and Tom McKimson and numbered 1433 of 2500. The lithograph bears the Warner Bros. seal and is published by Toon Art, Inc.Artist: Charles McKimson (American, 1914-1999) & Tom McKimson (American, 1907-1998)Issued: 1994Dimensions: 46"L x 36.50"HCountry of Origin: USACondition: Age related wear.
Los 68
A captivating limited edition color lithograph depicting a European market scene with a blend of architectural realism and loosely sketched foreground elements. The composition features historic stone and timber buildings, their textured facades rendered in meticulous watercolor detail, juxtaposed against a lively marketplace with vendor umbrellas and stalls that fade into light ink sketches. This technique creates a dynamic interplay between structured precision and artistic suggestion, evoking the vibrancy of an old-world European town square. The piece is hand-signed by the artist in pencil in the lower right and numbered 8/300, indicating its place within the limited edition series. Artwork can be unframed and rolled for shipment.Issued: 20th centuryDimensions: 43"L x 31"HCondition: Age related wear.
Los 332
A striking pastel drawing by artist Kent, depicting a contemplative nude figure in a seated position. Executed in a soft yet dramatic palette, the artwork captures the interplay of light and shadow on the human form, emphasizing the contours and musculature with delicate gradations of tone. The subject introspective pose conveys a sense of quiet reflection, while the dark background enhances the figure luminous presence. Rendered in pastels on paper, the piece shows the artist's skillful blending and layering techniques with mixed media, creating a smooth, almost ethereal finish. Framed, with the artist and the date on the lower right corner.Artist: KentIssued: 1986Dimensions: 26.25"W x 34.25"HCondition: Age related wear.
Los 101
This limited edition black-and-white portrait of Gilbert Roland was captured by legendary Hollywood photographer George Hurrell (1904-1992), renowned for his glamorous portraits of Golden Age film stars. The striking image showcases Roland in a classic, debonair pose, emphasizing Hurrell's mastery of light and shadow. Numbered 89/110, this piece is hand-signed by Hurrell in the lower right margin, adding to its authenticity and collectible value. The photograph is elegantly framed with a black border and white matting, making it an excellent addition for collectors of classic Hollywood photography and fine art portraiture. Artwork can be unframed and rolled for shipment.Artist: George Hurrell (American, 1904-1992)Issued: 20th centuryDimensions: 16.5"L x 20.5"HCountry of Origin: United StatesCondition: Age related wear.
Los 305
This oil-on-canvas still life painting by Palm Beach artist Annette Krauss Rose features a vibrant composition of a metallic vase and cut fruit against a draped fabric background. Rose, a 20th-century artist, studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMond, whose influence is evident in her use of light and color. The painting measures 20.5”L x 22.5”H and is signed by the artist in the lower right corner. A fine example of Rose's mastery of still life, this work is ideal for collectors of Impressionist and Floridian art.Artist: Annette Krauss Rose American 20th CenturyDimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
Los 188
Sealed bottle of Talisker Aged 11 Years Single Malt Scotch Whisky from the Special Release 2022, presented in its original box. This 750ml bottle contains whisky with an alcohol content of 55.1% by volume. The nose carries maritime characteristics with a light spice-prickle, reminiscent of a beach bonfire with dry seaweed, leading to deeper maritime saltiness and marine notes on a fresh linen backdrop. The palate is smoothly oily, offering a combination of sweet, smoky, and spicy flavors with hints of fruit, evoking an orchard surrounded by smoke and sea mist. A fine balance of saltiness leads into a warming chili pepper finish. With water, the sweet fruitiness and saltiness become more pronounced. The finish is long, lightly smoky, and sustained with lingering warming spice.Issued: 2022Dimensions: 12.25"HCountry of Origin: Scotland In-house shipping from Lion and Unicorn is not available for this lot. Winning Bidders will have to arrange to pick up their purchases at the Lion and Unicorn Auction Studios at 200 Oakwood Ln. Suite 200 Hollywood, Florida 33020, or make arrangements with their own third-party shipper. A local third-party shipper that can be contacted directly for a domestic shipping quote is: First Class Shipping Center 7826 NW 44th Street Sunrise, FL 33351 Tel: 754-800-7674 Fax : 954-999-5166 Email: 1shippingcenter@gmail.com https://www.1shippingcenter.comCondition: Age related wear.
Los 282
This framed oil painting by D. Epple captures a dramatic Western-themed scene depicting two Native American figures seated on a rocky outcrop, gazing over an expansive mountainous landscape. One figure, adorned with a traditional headdress, holds a peace pipe, symbolizing contemplation and wisdom. The painting showcases rich earth tones, expressive brushwork, and a compelling use of light and shadow. Signed D. Epple in the lower right, the artwork is matted with a red border and framed in a classic wooden frame with glass. A significant piece for collectors of Western art, Native American-inspired works, and fine oil paintings.Artist: D. EppleDimensions: 32"L x 28"HCondition: Age related wear.
Los 194
Vintage Lucite table lamp featuring a faceted circular base and a vertically oriented oval Lucite body. The lamp is constructed with a central Lucite rod running through the center, connecting the base to a faceted Lucite orb situated below the socket. The hardware is chrome-finished, including a harp with a faceted Lucite finial. The transparent Lucite components are shaped to reflect and refract light. The lamp is wired with a clear cord exiting through the base.Issued: 20th centuryDimensions: 22.5"HCondition: Age related wear. Tested. Functionality not guaranteed.
Los 317
This vibrant watercolor painting by Rose Edin features a stunning arrangement of blooming hydrangeas in shades of blue and purple, framed by lush green foliage. Known for her mastery of watercolors, Edin captures the play of light and color with exceptional skill, creating a sense of depth and vibrancy. The artwork showcases her signature loose, expressive brushstrokes and ability to infuse life into floral subjects. Rose Edin is a renowned watercolor artist celebrated for her exceptional use of light and color. A native of Minnesota, Edin holds a master's degree in art education and has devoted her career to teaching, inspiring, and creating. She has exhibited her work extensively in the United States and abroad and is a signature member of the American Watercolor Society and the National Watercolor Society. Edin's works often focus on landscapes, florals, and architectural subjects, reflecting her passion for travel and nature. Artwork dimensions with frame: 39.75"L x 32"H x 1.50"W. Artwork can be unframed and rolled for shipment.Artist: Rose Edin (American 20th-21st century)Issued: 20th centuryDimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
Los 160
Sealed bottle of Kentucky Owl Takumi Edition Bourbon Whiskey. This limited-release bourbon is a collaboration between Kentucky Owl and a Japanese whiskey master blender, showcasing a unique fusion of American and Japanese whiskey-making techniques. Bottled at 50% ALC. by VOL. (100 proof) and presented in a 750ml bottle, this bourbon is crafted to highlight a balanced complexity. The nose offers a savory mix of light rye bread with sweet caramel richness and hints of tangy fruit. The palate presents a full-bodied experience, beginning with buttery rye bread, followed by a combination of rye and caramel that evolves into cinnamon and caramel sauce, enhancing fruity notes of apple and pear. The finish is flavorful and lasting, with a smooth yet bold profile.Dimensions: 13.5"H In-house shipping from Lion and Unicorn is not available for this lot. Winning Bidders will have to arrange to pick up their purchases at the Lion and Unicorn Auction Studios at 200 Oakwood Ln. Suite 200 Hollywood, Florida 33020, or make arrangements with their own third-party shipper. A local third-party shipper that can be contacted directly for a domestic shipping quote is: First Class Shipping Center 7826 NW 44th Street Sunrise, FL 33351 Tel: 754-800-7674 Fax : 954-999-5166 Email: 1shippingcenter@gmail.com https://www.1shippingcenter.comCondition: Age related wear.
Los 292
This captivating oil on canvas by Antonio DeVity (or Arnone Divity) depicts a lively Parisian street scene, with the Sacre-Coeur basilica in the background. DeVity, renowned for his impressionistic renditions of rain-soaked Paris, employs a rich impasto technique, creating depth and movement through bold palette knife strokes. The wet cobblestone streets reflect the bustling energy of pedestrians and cyclists, while the historic architecture of Paris rises in the misty background. Vibrant reds and greens punctuate the muted tones, adding contrast to the diffused light. Signed in the lower right, the painting also bears a canvas stamp on the verso. DeVity, an internationally recognized artist, lived in Rome and Paris, teaching at the Accademia di Belle Arti. His works remain highly collectible for their atmospheric charm and impressionist aesthetic.Artist: Antonio (Arnone) DeVity (Italian 1901-1993))Issued: c. 1950Dimensions: 17.25"L x 29"HCountry of Origin: ItalyCondition: Age related wear.
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![Ercol - A Windsor oval top drop leaf table model 384, 72 cm x 113 cm x 63 (125) cm and six Quaker chairs (4+2). [7]. [W]
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Los 285
Ercol - A Windsor oval top drop leaf table model 384, 72 cm x 113 cm x 63 (125) cm and six Quaker chairs (4+2). [7]. [W] Condition Report: Appears in good condition overall, chairs are structurally sound, no apparent splitting, some loss of lacquer in areas, table top has a few light surface marks, good useable condition overall.
Los 6
Luis Berrueco (Puebla, Mexico, early 18th century)"Saint Joseph with Child"Oil on canvas. Relined.63,5 x 49,5 cm.As the ARCA website reports ‘His date of birth is not known with certainty. He is considered to be the last disciple of Juan Correa. The diocese of Puebla commissioned the canvas ‘The apparition of Saint Michael to the Indian Lazaro’, and he is therefore believed to have been a renowned painter in Puebla and Tlaxcala. His work was characterised by complex compositions and large formats, with a use of color in which the blue, red and ochre palette predominates. His date of death is unknown’.He is recognized for his devotional paintings, in which the delicate treatment of golden brocade is outstanding, a characteristic that distinguishes him from the novo-Hispanic baroque that emphasizes the majesty and spirituality of his figures. His work is characterized by complex composition in terms of details, colors, textures and the characters' flesh, with which he expresses the tenderness of Mexican art very well in the characters he paints. He makes great use of large formats, although the painting we have here is smaller, of a devotional nature, for domestic or chapel use. The use and mastery of very vibrant color, in which palettes of blues, reds, ochers and golds predominate, is remarkable. The textures of the fabrics stand out, as in the velvet of the Saint or the rustic striped cloth that supports him, the flesh tones of the skin, very pinkish, which express the tenderness of the moment, the goodness and humility of the Saint. The comparative analysis with known works by Luis Berrueco, such as “The Divine Pilgrim”, located in the Regional Museum of Querétaro, “Our Lady of Refuge”, found in the Museum of the Basilica of Santa María de Guadalupe and “Diego Lázaro”, in the Sanctuary of San Miguel del Milagro, allows us to identify similarities in the style and techniques that reinforce the attribution of this painting.The light is aimed at highlighting the faces and the tenderness of the gesture of Saint Joseph and the Child, a treatment similar to that used in “Diego Lazarus”, where the characters emerge from the half-light with a light that envelops their faces in a mystical halo. The treatment of the gilding in this painting is comparable to that which appears in the Virgin's clothing in “Our Lady of Refuge”, where the decorative gilded motifs follow a meticulous and symmetrical design. We can observe the sensitive communication between the son and his father, the game and language of glances in which the Son, tenderly, tries to move the face of his Father who is looking at the viewer and the Child, to call his attention, tries to move his father's chin with his right hand. The look that St. Joseph has for the viewer is scrutinizing, penetrating, humble and tender, very kind, helping to transform whoever he contemplates.The treatment of the faces in this work follows the tradition of Puebla painting, with figures of soft features, serene gazes and a notable idealization of the sacred characters, a tendency that is also observed in “Our Lady of Refuge”.It is due to these characteristics that we support the attribution of our work to Luis Berrueco. Bibliographical References:- Toussaint, M. (1965). Colonial Art in Mexico. Austin: University of Texas Press.- Tovar de Teresa, G. (1992). Catálogo de pintores y escultores en la Nueva España. México: Instituto de Investigaciones Estéticas, UNAM.- Rincón García, W. (2013). San José en el arte novohispano: Iconografía y devoción. México: Instituto Nacional de Antropología e Historia (INAH).- Kubler, G. (1961). Mexican Architecture of the Sixteenth Century. New Haven: Yale University Press.- Burke, M. (1992). Pintura y escultura en Nueva España: El barroco (Arte Novohispano). México: Fondo de Cultura Económica.
Los 1
Gregorio Vázquez de Arce (Santa Fe, New Granada, 1638 - 1711)"The Holy Family in Saint Joseph's workshop"Oil on copper.62,5 x 47,5 cm.The lower margin of the copper plate is slightly damaged.The attribution of this work relates to the style and technique that characterize Vázquez: balanced compositions, soft tonalities and detail in the treatment of figures, elements and style that we observe in other paintings that have been signed by the artist and that allow us to affirm that this painting is by Vásquez. We refer, for example, to the paintings in his "Retablo de las Reliquias" or his “Saint Gertrude with the Christ Child” kept in the Santa Clara Church Museum in Bogota, in which similarities with this painting can be observed in the idealized representation of the faces, the delicate handling of light and the tonal palette dominated by warm and earthy colors.The choice of the thick copper support, usual in Vásquez de Arce's small format works, denotes an interest in guaranteeing durability and a luminous finish, something common in works destined for altars or private devotional spaces, as would be the case here.This painting comes from a time when New Granada was experiencing a boom in religious artistic production, driven by orders such as the Jesuits and Dominicans, who promoted artworks that were both didactic and devotional at the same time.Gregorio Vásquez de Arce was an influential Colombian painter, the most important painter from 17th century New Granada. He was endowed with technical and stylistic mastery as reflected in cycles such as the "Retablo de las Reliquias" in the Church of San Ignacio in Bogota. With a prolific career that spanned much of his life, Vasquez left a legacy of religious artworks that significantly influenced the artistic development of the region. His style combines elements of European baroque with a sensitivity and devotion typical of the Latin American context of the 17th century. Vásquez, in fact, through his work, was a central figure in the consolidation of the Baroque in New Granada and his influence extended to later generations of artists in the region. Later painters took his style and adapted it to local needs, making his work a fundamental point of reference in the history of viceregal art. Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of the engravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.” The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work. The scene depicts the Holy Family in an intimate, everyday environment, a typical Christian baroque theme that seeks to emphasize the humanity of sacred figures. Just like any family, the patient Virgin Mary is doing embroidery while “meditating everything in her heart”; the chaste St. Joseph, focusing one of the essential virtues he possesses, is working in silence at carpentry, planing wood. The thrice saintly Jesus, as Son, is learning from his father and imitates him at woodworking, and appears as “building his future destiny”, preparing the stipe of his cross. The painting, with its colors, shows a model of all the virtues: humility, chastity, obedience, poverty, love of work and silence; in a word, the total practice of these virtues reflected and lived through by this family. The theme of the Holy Family became popular in art from the 1490s, but the veneration of the Holy Family formally began in the 17th century due to St. Francis de Laval, the first bishop of New France, who founded a confraternity with this name. The family is depicted as being all on the same level, on the same compositional plane, on the same floor, there is no one that predominates or stands out above the other. It is what is called the earthly Holy Trinity and although Saint Joseph had an almost caricatured secondary role in the iconography, from the Renaissance and the Baroque, he becomes very important, since the progressive humanization of the portrayals of Jesus and Mary would make this adoptive father gain presence, he is given increasingly friendly treatment and is portrayed in art as a loving and attentive father.In this regard, as we read in the fascinating article by Juan Pablo Cruz Medina (2014) “The Painting of the Holy Family: A Manual of Family Relations in the World of 17th Century Santafé”, the family, configured as the nucleus of the social body within the structure devised by Spain for the New World, early on became a concern for both the Church and the bureaucracy established in Latin America. From this, the Church developed a series of discursive structures aimed at establishing models of family life that would serve as examples of ideal behaviour throughout the 17th century. This ensured not only the maintenance of an "ecclesial" order in society but also the submission of society to the civil power established by the Spanish monarch in the new lands.Medina highlights the artistic production developed by the Church in relation to the family. “One of the most significant pictorial sets within the visual corpus of the 17th century is that of the Holy Family,” which would continue to be represented ceaselessly thereafter. This ecclesiastical need also responds to the “emergence of the nuclear family model in Europe, which changed the conception of the extended family typical of the Middle Ages,” while in colonial Latin America it was of interest to “establish examples that would help shape a society governed by religious norms.”Reference bibliography: - Cruz Medina, Juan Pablo. (2014). «La pintura de la Sagrada Familia. Un manual de relaciones familiares en el mundo de la Santafé del siglo XVII». Memoria y sociedad 18, n.° 36: 100-117. https://dx.doi.org/10.11144/Javeriana.MYS18-36.psfm- Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6, Nº 11, 68-125. - Fajardo, Marta. (n.d.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia. https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos - Pizano, Roberto. (1985). "Gregorio Vásquez: Vida y obra". Banco de la República, Bogotá.- Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada". - Tovar, Gil. (1995). "El barroco en la Nueva Granada: Gregorio Vásquez de Arce y Ceballos. Ediciones Nueva América, Bogotá.
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Baltasar de Echave Ibia (Mexico City, New Spain, ¿1583-84? - 1644)"Coronation of the Virgin"Oil on copper.24,5 x 18,3 cm.Baltasar de Echave Ibía was a prominent painter of the early Baroque in New Spain. Ibía, heir to the Mannerist style of his father Baltasar de Echave Orio, is distinguished by his use of a palette rich in blue tones, which earned him the nickname “El Echave de los Azules” (Echave of the Blues). This painting shares similarities with other works by Baltasar de Echave Ibía, as well as with the Seville school, from which the Echave family drew references through engravings by artists such as Francisco Pacheco and Murillo. The balanced composition, supernatural lighting, and detailed treatment of faces reinforce the idea that this work can be attributed to Echave Ibía. One of the most distinctive aspects of Echave Ibía’s style is his chromatic palette, dominated by deep blue tones, especially in the garments of the Virgin Mary. In this painting, the choice of a vibrant blue mantle with golden embroidery is one of the keys to its attribution to this artist. The use of blue in Echave Ibía’s work is both symbolic and aesthetic. From a theological perspective, blue has been associated with the Virgin Mary as a symbol of her purity and divinity. In pictorial terms, Echave Ibía used this tone exceptionally to create contrasts with golden backgrounds or the warm tones of angels and celestial figures. This characteristic feature found in the painting can also be observed in *The Immaculate Conception*, dated 1620, kept in the National Museum of Mexico, where the blue of the Virgin’s mantle stands out against a luminous background of golden radiance. Both paintings share other similarities, such as iconographic elements, enveloping light, and the rich ornamentation of the mantle. Moreover, Echave Ibía’s painting *Saint Paul and Saint Anthony the Hermit*, also kept in the aforementioned museum, shares the treatment given to the background landscape with this one, a background dominated by bluish tones that create a mystical and enveloping atmosphere. Finally, the similarity between the palettes of those paintings and the one we have here reinforces the hypothesis of its attribution to Echave Ibía. This marvelous copper piece shows a masterful use of chiaroscuro, with a light source emanating from the Virgin and Child, who are surrounded by a celestial glow. This light technique is characteristic of New Spanish painting of the 17th century and is particularly visible in the work of Echave Ibía. The modeling of the faces is delicate and detailed, with a tendency toward oval and gentle features, especially in the Virgin Mary and the angels, a hallmark of the artist, contrasting with the robustness and drama characteristic of other New Spanish painters such as Sebastián López de Arteaga. The painting represents a classical iconography of the Coronation of the Virgin, where Mary is depicted ascending to heaven, surrounded by angels, holding the Christ Child in her arms, and crowned in glory. This scene not only reinforces Marian doctrine but also emphasizes the Virgin Mary’s celestial hierarchy as intercessor and Queen of Heaven, a theme highly recurrent during the Counter-Reformation. Marian devotion was venerated by the Franciscans since the 13th century, being of great importance to the order. We can identify the iconographic type adopted by the fathers for the portrayal of the Virgin of the Angels, an image that presided over the church of the convent, known as the Convent of the Discalced. The Virgin of the Angels is a variation of a print that was circulating at the time, created by the Dutch engraver Cornelis Cort (1533/1536–1578) and published in Rome in 1574. It depicts the theme of the *Assumption and Coronation of the Virgin*, showing her figure standing, in a prayerful attitude, and surrounded by two pairs of angels who support and crown her. This composition was successively simplified in 16th-century models, focusing attention on the figure of the Virgin Mary. This small and exquisite copper piece varies slightly from the typical portrayal of the Virgin Mary, presenting her with a scepter as Queen and carrying her Son in her arms, thereby giving her greater prominence. Reference Bibliography:- Arellano, F. (1988). "El arte hispanoamericano". Universidad Católica Andrés Bello.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Danes, G. (1942). "Baltasar de Echave Ibía. Some Critical Notes on the Stylistic Character of His Art". Anales del Instituto de Investigaciones Estéticas, 3(9), 15-26.- Kubler, G. (1961). "Mexican Architecture of the Sixteenth Century". Yale University Press.- Portús, J. (2016). "Metapintura. Un viaje a la idea del arte en España". Museo Nacional del Prado.- Ruiz Gomar, R. (2002). "La pintura novohispana del siglo XVII: Temas y variaciones". Museo Nacional de Arte de México.- Toussaint, M. (1965). "Colonial Art in Mexico". University of Texas Press.- Tovar de Teresa, G. (1992). "Catálogo de pintores y escultores en la Nueva España". Instituto de Investigaciones Estéticas, UNAM.- Victoria, J. G. (1994). "Un pintor en su tiempo. Baltasar de Echave Orio". Instituto de Investigaciones Estéticas, UNAM.
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Luis Niño (Potosi, Bolivia, active between 1737 and 1750)."The Triumph of the Eucharist" Oil on canvas. 110 x 80 cm. Luis Niño was a prominent Indigenous painter and sculptor active in Potosí during the first half of the 18th century. Chroniclers such as Diego Arzans y Vela described him as an extraordinarily talented artist who blended Baroque influences with Indigenous spirituality to create visually striking and symbolically rich compositions. This painting features a hierarchical structure that includes Christian elements such as the Virgin and the Most Holy Sacrament, surrounded by musical angels framed by lush gold brocade work—a hallmark of Potosí’s viceregal art. Compared to other works by Niño, such as *The Virgin of Sabaya* and *The Virgin of the Rosary* (housed in the Museo de la Moneda in Potosí and the Recoleta in Sucre, respectively), the painting retains the compositional structure and decorative motifs characteristic of his style. The arrangement of musical angels at the top and the inclusion of anthropomorphic architectural elements demonstrate stylistic coherence across his works. In contrast to paintings like *Our Lady of Victory of Malaga* (at the Denver Museum), this painting reveals a more pronounced international influence, adapted to the local context by Niño. They reflect both European traditions and Andean influences. In the lower plane, the Virgin Mary and Marian symbols highlight the spiritual connection between heaven and earth. Her presence, superimposed over the landscape, evokes the symbolic identification between Pachamama (Mother Earth) and the Virgin Mary—a common evangelization strategy to ease the acceptance of Christianity among Indigenous peoples. The color palette relies on warm tones, with golds and reds standing out against a muted background, creating a contrast that draws the viewer’s attention to central elements. The gold brocade technique, meticulously applied to the angels’ and Virgin’s garments, showcases the artist’s technical skill and ability to harmoniously integrate decorative elements. Oil paint combined with gold detailing creates a richly textured surface that reflects light uniquely, enhancing the scene’s spirituality. Historically, Niño’s work emerged during the consolidation of mestizo Baroque in Upper Peru (modern-day Bolivia), where artistic expressions reflected the interplay between European traditions and Indigenous beliefs. Niño worked in a context deeply shaped by Potosí’s mining exploitation, a major source of wealth for the Spanish Empire, where Indigenous mitayos (forced laborers) played a crucial role. Through his art, Niño reclaimed Indigenous artistic capabilities, as noted by Arzans, who compared his creations to those of classical European masters. This painting exemplifies Luis Niño’s technical mastery. By blending Christian iconography with Indigenous traditions and symbols, Niño crafted a visual narrative that resonated with both colonial elites and Indigenous communities. His legacy bridges two worlds, affirming Indigenous cultures’ capacity to dialogue, adapt, and resist through artistic creation. Reference Bibliography:- Chacón Torres, M. (1973). "Arte Virreinal en Potosí". Escuela de Estudios Hispanoamericanos.- Gisbert, T. (1999). “Luis Niño y San Lorenzo de Potosí”, en Revista de la Fundación Cultural del Banco Central de Bolivia (La Paz), n.º 7, págs. 17-25 .- Querejazu, P. (1999). “Luis Niño, el famoso desconocido”, en Revista de la Fundación Cultural del Banco Central de Bolivia (La Paz), n.º 7, págs. 7-16.
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Diego Quispe Tito (Cuzco, Perú, 1611 - 1681)"Saint Joseph with the Child in its workshop"Oil on canvas.71 x 63 cm.The painting we present is attributed to Diego Quispe Tito, a master of the 17th-century Cuzco School. In addition to its devotional purpose, this painting of Saint Joseph with the Child Jesus serves as an example of a rolled format painting. This unusual canvas, rich in iconography and symbolism, is presented rolled like a parchment, a format typically created for ease of transport, whether for outdoor masses or services in villages near the main parish, or to display a religious motif that would unify catechesis, homilies, or talks given by missionaries. From a technical perspective, this format required durable materials and painting techniques resistant to wear, as the paintings were repeatedly rolled and unrolled. With a background characteristic of Quispe Tito, and later of the entire Cuzco School, we see a landscape filled with birds, vegetation, and flowers, including native elements such as Andean birds (macaws and parrots) and typical trees of the Andean region. The painting portrays backgrounds with mists and radiant clearings; gardens in intermediate planes with well-defined plants and vegetation, and a bridge. There is an unreal architectural perspective to the right, a wall and a plinth are hinted at, on which the saint has his carpentry tools, as if he were a surgeon. There are also meticulously detailed elements. At the center, we contemplate the chaste Joseph holding the Child in his arms. To his left, as if representing an independent reality, we see Saint Lucy, as a donor, appearing timidly, with independent vanishing points and horizon lines, yet sharing the same pictorial surface without any clear division between them.We have three possible hypotheses: a) It is a religious painting, commissioned by a priest, featuring two primary devotions of the place where he ministers, one larger and more intense at the center, and another on the side; b) The commission was made by a man named José, who places his patron saint at the center, and near the end of the work, requests the artist to include Saint Lucy, who seems to stumble into the composition but integrates perfectly as she shares the same compositional plane; c) The painting was commissioned by a donor, placed to the left, named Lucía, or devoted to the saint, and she is depicted in an unreal plane next to the central saint she wishes to venerate.Whichever of these are true, this is a devotional painting, full of goodness and light, blessed from heaven by the Holy Spirit, which becomes a refreshing window of pure reality, a haven of peace, calm, and tenderness. In the painting, we can observe the mastery in the use of vibrant colors, the richness of meticulous details, and the depth of color, all hallmarks of Quispe Tito’s style. The reds in the garments of Saint Joseph and Saint Lucy, and the whites of the Child Jesus, contrast with the background landscape, which features softer and more natural tones. The textures of the clothing, the carpentry tools, and the natural elements of the landscape are rendered with precision, creating a harmonious composition that guides the viewer's gaze through the scene. With the inclusion of carpentry tools, local landscapes, and native fauna, Quispe Tito not only narrates the sacred story but also documents life in his homeland. It is a work that encapsulates a cultural mix, speaking both of faith and identity, achieving not only its religious and spiritual function but also becoming a reflection of daily life in colonial Andes, creating a visual language that captivated both the Indigenous and Spanish populations.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, he is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's maturity and originality, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters."Bibliographic reference:- Gisbert, Teresa. “Iconografía y mitos indígenas en el arte”. Editorial Gisbert, 1999.- Vargas Ugarte, Rubén. “Historia del Arte en el Perú”. Editorial Studium, 1969.- San Agustín. “Sermones sobre San José”, Biblioteca de Patrística, siglo IV.- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito
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Diego de Borgraf (Antwerp, Flanders, 1618 – Puebla, Viceroyalty of New Spain, 1686)"Saint Anthony the Great with Donor"Oil on canvas. 66 x 97 cm. In this horizontally formatted painting, we contemplate various scenes from the life of Saint Anthony the Great, depicted in different planes and perspectives behind a clergyman donor, who appears in prayerful attitude on the left side. The donor is portrayed as rugged and stern, serious and unattractive.During his ascetic retreat in the desert, Saint Anthony endured numerous temptations from the devil. In one instance, the devil disguised himself as a seductive woman to lure him into the sin of lust. In another, the Egyptian monk was violently tormented by a group of demons of various forms and colors. In this painting we can observe the artist’s interest in portraying these episodes in great detail, depicting realistic faces imbued with either a rugged character (the donor) or mystical depth (the saint), giving them great expressiveness.Diego de Borgraf, a Flemish painter active in New Spain during the 17th century, developed a pictorial style that fused the Flemish landscape tradition with the iconographic needs of the viceroyalty. His mastery in portraying the natural environment as a sacred space is evident in several of his works, including the Saint Anthony the Great and the Donor we have here. In this painting, the figure of the saint merges with a detailed landscape, where scenes from his life are integrated into a mystical atmosphere that reinforces the devotional message of the artwork. This treatment of the landscape and the insertion of narrative episodes recall other artworks by Diego de Borgraf, particularly in how he structures space and uses light to emphasize the spirituality of the scene. In our view, this painting must be related to the series of 13 hermit saints created by Diego de Borgraf and his workshop and kept in the Museo Universitario Casa de los Muñecos in Puebla, Mexico. These paintings are based on Flemish engravings by Maarten de Vos and themes derived from the Vita Antonii. These scenes, characterized by wooded settings, depict certain anchorites organized into lavras (monastic communities) and others in the strict penance typical of primitive monasticism. Among all the hermits, we can establish similarities between this painting and Saint Arsenius, Saint Onophrius, and Saint Fulgentius, where the treatment of the landscape and visual narrative play a decisive role in expressing mysticism. In the painting of Saint Arsenius, the relationship between the saint and his natural surroundings is a key element. Borgraf places the saint in a secluded environment, surrounded by twisted trees and with ruins of architecture in the background, reinforcing the idea of abandoning the earthly world. The figure, with a long beard and austere clothing, is analogous to that of Saint Anthony the Great in the painting we are studying here. Additionally, the use of cool tones and the balanced composition between the main figure and the landscape are features present in both pieces. Saint Onophrius also shows saint in an attitude of penance and contemplation, just like this Saint Anthony the Great and the Donor. The figure appears semi-naked with a long beard, characteristic of hermits. The integration of the character into a natural setting where vegetation occupies much of the composition is also observed in the work of Saint Anthony. Moreover, the way the painter uses light to highlight the saint’s figure amidst a shadowy landscape is a constant in his production. In Saint Fulgentius, we again observe the construction of a sacred space within the landscape. The work depicts the saint praying inside a cave, with a small altar inside and a stormy sea in the background. The depth of the composition and the arrangement of elements recall the structure of this Saint Anthony the Great and the Donor, where the environment also frames the spiritual meaning of the scene. In both paintings, Borgraf emphasizes meditation and the isolation of the saint, surrounded by a landscape that conveys a sense of transcendence. As a summary, we find the following stylistic elements in this painting and other comparative works by Borgraf, which allow us to confidently attribute the work under study to the Flemish master: The integration of the landscape into sacred narrative: In all these paintings, the landscape is not merely decorative but plays an active role in representing spiritual retreat and the communion of the saint with nature. The use of secondary episodes: Both in the painting of Saint Anthony the Great and in the others, episodes from the saint’s life are included in the background, expanding the iconographic reading and reinforcing the narrative dimension. Dramatic lighting and tonality: Borgraf employs contrasted lighting, with light and shadow emphasizing the spirituality of the scene. In Saint Anthony the Great and the Donor, the light highlights the donor and the saint, while in Saint Fulgentius and Saint Arsenius, it is used to delineate the depth of the landscape. The balance of composition: Figures are distributed in space in a harmonious order, allowing the landscape to unfold without overshadowing the central scene. In Saint Anthony the Great and the Donor, the figure of the donor and Saint Anthony are balanced with the dynamism of the background, just as in Saint Onophrius and Saint Arsenius. Saint Anthony the Great is the patriarch of the cenobites of Thebaid. His life was described in Greek around 357 by Saint Athanasius and later translated into Latin by Evagrius of Antioch, spreading throughout medieval Western Europe. This text established the most frequent characteristics of monastic literature. He is often depicted as an elderly man with a beard, wearing a hooded habit. His most common attributes include the tau-shaped staff or potent cross, sometimes embroidered on his habit, as well as the book, rosary, bell, flames of Saint Anthony’s fire, and the pig. By the late Middle Ages, devotion to Saint Anthony the Great experienced significant revitalization with the emergence and development of new spiritual currents, which exalted the hermetic life as the ideal of monastic existence, pushing to the extreme the rejection of material goods and, in general, all worldly ways of life. Reference Bibliography:- Albarrán Samaniego, Arturo. “Los santos ermitaños de Puebla, México.Un acercamiento a los grabados flamencos de Maarten de Vos y al discurso iconográfico de la Vida Antonii”. Escuela de Diseño del Instituto Nacional de Bellas Artes, México.- Toussaint, Manuel. (1948). "Arte Colonial en México". Imprenta Universitaria.- Museo Nacional de Arte (MUNAL), Ciudad de México. Exhibitions and permanent collections.
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Novo-Hispanic school. Mexico. 17th century.“Portraits of Alexander the Great and El Çid Campeador”Pair of oil paintings o canvas.180 x 102 cm each.An unusual pair of portraits of historical personages, that possibly belonged to a Castilian military emigrant, who admired the artist and commissioned them for his villa, mansion or palace.With rigid brushstrokes, each of which is at the same time detailed and personal, this artist of the Mexican School has painted faces with more indigenous features than those the portrayed characters would have had. And their breastplates are more typical of the time of the portrait than of the real attire that both would have worn. In both large-format canvases they are designated with their names, Alexander the Great and Osid (abbreviation of the time for El Çid), they reflect the hieratic and imposing triumphalism of both warriors, who were generals and conquerors.The portraits correspond to the viceregal pictorial tradition developed in New Spain during the seventeenth century which is linked to the production of official portraits and heroic representations, mixing European influences with a local reinterpretation of the symbols of power, as well as the need to legitimize the power and story of the Hispanic monarchy in Latin America.A portrait of Hernán Cortés, by an anonymous artist, kept in the Museo de las Culturas de Oaxaca, depicts the conquistador in richly decorated armor, holding a command staff, in a format that links him to the royal portraits of the House of Austria. This portrait shares technical and stylistic similarities with the two portraits we present here, which are possibly based on a larger series of historical and mythological characters, and which show Alexander the Great and El Çid, an emblematic figure in the history of Spain.The three paintings - the one in the museum and these ones in the auction - have solemn composition, with the figures standing, dressed in armor that evokes power and authority. The light comes from a main focus that accentuates the metallic gleam of the armor and facial features, generating a dramatism characteristic of the Baroque and suggesting the influence of 17th century Spanish courtly portraiture, where power was represented and manifested through rich clothing and military ostentation. Alexander the Great is depicted in golden armor ornamented with lion heads on the greaves, a symbol of his strength and connection to divine power. El Çid, with his sword drawn and a defiant gesture, emphasizes the heroic representation with epic overtones. The density of the brushstrokes on the faces refers to European models such as the portraits of Philip II and Philip III, adapted to a Novohispanic context.The visual elements that can be appreciated in the paintings reinforce the heroic condition of the characters: the richly decorated armor indicates nobility and military valor, while the attributes such as weapons, banners and shields refer to their warlike exploits. Alexander the Great appears with iconography reflecting the Renaissance tradition, underlining his image as a strategist and conqueror of empires. Born in 356 B.C., he was a conqueror who formed one of the greatest empires in history. Born in Macedonia, when it was a kingdom in the north of Greece, son of King Philip II of Macedonia, he inherited his father's throne after his death and expanded the territory as far as northern India. He defeated the Persian Empire and conquered a vast territory stretching from his native Greece to northern India. He spread Greek culture, which he would fuse with the cultures of the subjugated regions, language, politics, art, literature and religion.El Çid Campeador represents the idealization of the Christian knight, a model of virtue and bravery. Rodrigo Díaz de Vivar (Vivar?, 1048 - Valencia?, 1099), known as El Çid Campeador, was a Castilian military leader who came to dominate the Levant of the Iberian Peninsula at the end of the 11th century at the head of his own army. He conquered Valencia and established an independent lordship in the city from June 18, 1094 until his death. His wife, Jimena Díaz, inherited and maintained it until 1102, when it passed back to Muslim rule. Hero of Castile and crusader for the Reconquest, throughout his life, he placed himself at the orders of different warlords, both Christian and Muslim, fighting as his own master and for his own benefit. His deeds and actions were sung and recounted in Spanish literature in the so-called “Cantar de mío Cid” (Song of El Çid). His name, el Campeador, means expert in pitched battles and his name, El Çid, from the dialectal Arabic (-sidi-), means lord.Representations of Greco-Roman and medieval heroes in viceregal painting also served to consolidate the Creole identity, exalting models of bravery and leadership in a context of growing vindication of the local elites.Reference bibliography:- Burke, Marcus. (2004). "Retratos de poder en la Nueva España". México, INAH.- Gruzinski, Serge. (1993). "El águila y la Sibila: México barroco". FCE.- Museo Nacional de Historia, Castillo de Chapultepec. Inventario de pintura virreinal.- Toussaint, Manuel. (1965). "Pintura colonial en México". UNAM.
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Bernardo de Legarda (Quito, Ecuador, circa 1770 - 1773)‘Martyrdom of Saint Barbara’.Carved, polychromed and gilded wooden relief.35,5 x 27 x 3,5 cm.Wonderful relief, in which Legarda magnificently narrates the dramatic moment in which the saint is about to be beheaded, while a lightning bolt is about to fall on her executioner, killing him. Next to her is the tower in which her father, Dioscorus, had her locked up to protect her from being harassed by suitors. Before entering the tower the saint baptised herself in a pool. She escaped, but was arrested and brought before the judge Martinianus, who condemned her to death. In this relief, the tower, according to tradition, has three windows to recall the words of the saint, who stated that the light had entered her through the three windows of the Father, the Son and the Holy Spirit.The relief is an example of absolute mastery as well as virtuosity in polychromy. The characters are dressed in rich and elaborate robes in vivid colours, with polychrome brushwork of flowers enriched with motifs painted in gold. It is ornamented down to the smallest detail. It is presented in its original carved, wooden, niche type frame, which even has its inner edge decorated with a border of flowers.Bernardo Legada, an enormously talented sculptor and painter, stands out as one of the most important artists of the Viceroyalty of Ecuador.The magnitude, variety and aesthetic quality of his work is unparalleled in the entire viceregal period. Legarda, while consolidating the validity of the Quito School as a differentiated style, is a pioneer in the vision of the artist as an individual.When we speak of this Master we usually think only of his free-standing sculptures, but Legarda is perhaps one of the few artists of the South American region who inherited the multidisciplinary versatility of the first artists who arrived or developed in Latin America, as was the master Bernardo Bitti, one of the three pillars of viceregal art in South America at the end of the XVI century. He was an outstanding and fine sculptor, prolific image maker, skilled painter, painstaking gilder, silversmith and mirror maker.His workshop, large and prosperous, located near San Francisco, was a centre of great activity. There is a large number of artworks by the master Bernardo de Legarda in the different churches in the capital of Ecuador that attest to his genius. Amongst his most important artworks is the main altarpiece of the Church of La Merced in Quito, as well as the altarpiece of the Temple of the Jesuits.This relief is especially remarkable because there are very few artworks by Legarda on the market today, and even fewer with this type of relief carving.Its small size and quality, together with its magnificent polychromy, make this relief a coveted jewel that could certainly be a museum piece. The sweet expressions of the characters, who seem oblivious to the scene depicted where Saint Barbara is about to have her throat slit, are classic Legarda. This type of expression and idealised faces reminiscent of porcelain dolls are repeated over and over again in his sculpture. It is sufficient to see just some of his works to notice that this was undoubtedly the great Master of kind, serene and sweet faces.We take two artworks by the author as typological references of his relief carving. On the one hand, a relief sculptural ensemble conceived within its own niche, representing the Apocalyptic Immaculate Virgin with a choir of angels, in the BEAEP Cultural Center Museum. And on the other hand, an exquisite relief sculpture of a larger size representing the Assumption of Mary, in the Church of San Francisco, in Quito, Ecuador. Furthermore, when analysing the carving, we compared its clothing, polychromy and sweet features with those of the Archangel Saint Gabriel in the same church in Quito; and also with the Archangel Saint Michael of the Primate Cathedral of Quito, whose sweet face is especially reminiscent of that of the Saint Barbara we have here.
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Attributed to Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"The Inmaculate Conception and The Holy Trinity"Oil on panel.51 x 35 cm.This small panel reflects one of the painter's continuing and significant interests in Marian subjects, a theme that brought him a great reputation for the quality of his work. His work is related to the technique and stylistic treatment usually found in artists such as Manuel Samaniego. This would have been one of the many commissions Rodriguez received from various religious institutions. And it was that ecclesiastical protection which meant that he was privileged enough to have the advantage of being able to paint canvases that we can currently admire in the Cathedral of Quito and in the Museum of Colonial Art an the Casa de la Cultura Ecuatoriana.In this Immaculate Conception, the artist has staged a perfect two in one by conjoining two devotions in a single painting. Two of the most typical pictorial representations in the viceroyal Hispanic American iconography are concentrated in a single painting: the Immaculate Conception, on the one hand, and the Holy Trinity, on the other. And, together, they form this painting of a Trinitarian Immaculate Conception. Mary is richly attired with the characteristics of viceregal painting, holdng an image her Son, made Eucharist and symbolised by a monstrance, with which she offers to bless those who approach to contemplate her. The scene is watched from heaven by the Holy Trinity: the Son, carrying the Cross (salvation of the world); in the center, the Holy Spirit, who carries his identity, (what he is, Love or the flame of Living Love); and the Father, on the right, as Pantocrator who blesses all.The painting we present, when compared with other works attributed to the artist, such as the “Coronation of the Virgin with heraldry of a Spanish family” found in the Franciscan Museum of Quito, shares similarities in the treatment of colors and decorative details. When analyzing the painting together with the comparative images, a stylistic continuity can be observed in the use of blue and gold, as well as in the idealized and delicate depiction of the faces, showing serene spirituality in the Virgin and solemn hieratism in the figures of the Trinity.Bernardo Rodríguez demonstrates remarkable control of light and color, using a palette that emphasizes deep blues in the cloaks and bright golds in the decorative details. The use of gold in the garments, particularly in the brocades, highlights the artist's technical virtuosity and his ability to integrate European and local influences.Although the panel format limits the scale and detail of the composition, it maintains the symbolic and devotional richness characteristic of the Quito school. The difference in media and dimensions reveals Rodríguez's adaptability to different formats and commissions.By employing an accessible and emotional visual language, Rodríguez reinforces the role of art as a tool for evangelization and devotion, consolidating the religious and cultural identity of the time.This painting comes from a period of intense artistic production in Quito, driven by the religious orders that promoted Marian iconography within the framework of the Counter-Reformation. The Virgin Mary, as a symbol of purity and divine mediation, acquired great relevance in viceregal art, especially in territories where the indigenous population could identify with her maternal figure.Reference bibliography:- Kennedy Troya, Alexandra. (2007). "Arte de la Real Audiencia de Quito, siglos XVII-XIX". Nerea.- Handelsman, Michael. (2000). "Culture and Customs of Ecuador". Greenwood Press.- Escudero Albornoz, Ximena y Vargas Arévalo, José María. (2000). "Historia y crítica del Arte Hispanoamericano, Real Audiencia de Quito: (siglos XVI, XVII y XVIII)". Editorial Abya Yala.
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Juan Tinoco (Puebla de los Ángeles, 1641 - 1703)“Saint Gertrude the Great”.Oil on canvas.114 x 85 cm.The painting shows us a magnificent portrayal of Saint Gertrude the Great, Benedictine Cistercian nun, patron saint of Puebla, rescuer of souls from Purgatory, lover of the Child Jesus, abbess of the Sacred Heart and intercessor for a good death. In our opinion, this painting is by the painter Juan Tinoco, who was an outstanding exponent of the novo-Hispanic baroque. This Saint Gertrude would have been painted between 1670 and 1690.In it we can observe the technical virtuosity and spiritual depth characteristic of this painter, active mainly in Puebla, Mexico, where he developed a consolidated career in a cultural context marked by the rise of religious art.The cultural context of this painting is framed in the flourishing of the viceregal baroque, a period of intensification of religious art as a means of catechesis and devotional expression. Puebla, known as the “City of Angels”, was an important artistic center where Spanish, indigenous and mestizo influences converged. Tinoco's work reflects this fusion, evidenced in the exquisiteness of the details and the richness of the materials used, such as the application of gold in the halo and the inscriptions.Stylistically, the painting combines a refined use of chiaroscuro with a sober but warm chromatic palette, dominated by blacks, reds and golds. The folds of the saint's habit are modeled with sculptural precision, while the details of the book and the table demonstrate Tinoco's skill in painting textures. This technical virtuosity, together with the emotional intensity of the scene, places Saint Gertrude the Great among the painter's most outstanding artworks.Comparison with other paintings by Tinoco, such as the Mystical Wedding of Saint Rose of Lima from the Cathedral of Puebla and the Our Lady of Sorrows from the Museo Nacional del Virreinato, reveals similarities in the depiction of sacred figures, especially in the idealization of the faces and the use of halos of light. In this composition, Saint Gertrude is portrayed in a moment of mystical ecstasy, a portrayal that has its roots in the rise of devotion to the Sacred Heart of Jesus, promoted in the 17th century by Jesuit spirituality. The inscription “INVENES ME IN CORDE GERTRVDIS” (“In the heart of Gertrude you shall find Me.”) reaffirms the deep connection between the saint and Christ, symbolizing the spiritual union that defines her life and legacy. The Child Jesus, emerging from her heart, carries an orb as a symbol of her universal sovereignty, while the halo of light reinforces her divinity. The crosier, the attribute of abbess, and the open book, allude to the saint's wisdom and spiritual authority.The saint wears four rings that symbolize her mysticism and spiritual status. Each ring symbolizes a virtue or spiritual gift, and their presence in the painting underscores Gertrude's level of consecration and holiness.Juan Tinoco, considered one of the main representatives of the Puebla school, was a disciple of the master Sebastián de Arteaga, one of the artists who introduced tenebrism to New Spain, influenced by the style of Francisco de Zurbarán. Arteaga transmitted the dramatic use of light and shadow to Tinoco, as well as a predilection for scenes of mysticism and devotion. In turn, Tinoco exerted a notable influence on local artists, leaving a legacy that extended even outside of Puebla. His work is characterized by a balance between Spanish sobriety and a delicate ornamentation typical of American sensibility.Juan Tinoco's legacy extends beyond his pictorial production. His workshop was a formative space for local artists who later took the traditions of the Puebla school to other corners of the viceroyalty. In addition, his paintings, present in important ecclesiastical collections, consolidated his reputation as one of the great masters of the novo-Hispanic baroque.Bibliographical references:- Toussaint, Manuel. (1965). “Pintura Colonial en México”. UNAM.- Vargas Ugarte, Rubén. (1956). “Historia del Arte en el Perú Virreinal”.- Rodríguez Miaja, Fernando E. (2004). "Juan Tinoco: Gloria de pintura poblana". Consejo Nacional para la Cultura y las Artes.
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