OMEGA - a 9ct gold automatic calendar bracelet watch, ref. 162.5002, circa 1963, silvered dial with applied gilt baton hour markers, sweep centre seconds hand, date aperture and 9ct gatelink bracelet, 24 jewel movement with calibre 562, serial no. 20054353, case no. 254359, case width 32mm, working order, 53g grossMovement Ð currently working Dial - very slightly discoloured with extremely minor surface spottingGlass - a few heavy surface marksHands - goodCase - general surface wear and light surface abrasionsCrown Ð bears Omega logo, hands adjust smoothly, date window advancing correctlyBracelet - unassociated 9ct bracelet, general surface wear and 1 small split on clasp, clasp working but slightly loose, wrist size approx 19cmNotes Ð no box or papers
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BREITLING - a stainless steel Superocean II 42 automatic bracelet watch, ref. A17366021B1A1, black dial with luminous tapered baton and Arabic hour markers, luminous hands, sweep centre seconds hand, date aperture and rotating bezel, serial no. 6216426, circa 2019, case width 42mm, working order, boxed with papersMovement Ð currently workingDial - cleanGlass - cleanHands - goodCase - extremely light wear and abrasionsCrown Ð Screw-down working, Quickset date working, hands adjust smoothlyBracelet - associated steel bracelet, general wear and surface marks, clasp working, wrist size 18cmNotes Ð with inner and outer box, International warranty card, instructions booklet, and chronometre certificate
A George III silver-gilt vinaigrette, Samuel Pemberton, Birmingham 1801, cushion form with ribbed decoration, gilt interior and pierced wirework grille, 3cm x 2cmNo damage or repair, only light surface wear to high points and edges, hinge working perfectly, interior gilding bright, hallmarks clear
ORIS - a stainless steel Big Crown ProPilot Big Day Date automatic wristwatch, ref. 7760 40, grey dial with Arabic numerals, luminous hands, sweep centre seconds hand, day/date aperture and exhibition case back, 26 jewel movement with calibre 752, serial no. 39 54240, case width 44mm, working order, boxed with papersMovement Ð currently working Dial - very cleanGlass - very cleanHands - goodCase - very cleanCrown Ð screw-down working, Quick Set day/date working, hands adjust smoothlyBracelet - associated green canvas topped leather strap and buckle, light wearNotes Ð with inner and outer box, guarantee card and instructions manual
PAUL PICOT - a stainless steel Yachtman Chrono automatic calendar chronograph bracelet watch, ref. 0927.S, circa 2007, blue dial with luminous baton hour markers, 3 subsidiary dials, day/date aperture with blue and silver bezel, serial no. JX260000XM, case width 44mm, working order, boxed with papersMovement Ð currently working, chronograph functions working (tested to 1 minute) Dial - very cleanGlass - cleanHands - good Case - very clean and only a few extremely light abrasions on sides of lugsCrown Ð screw-down working, Quickset day/date working, hands adjust smoothlyBracelet - associated Picot steel bracelet, hardly any wear, clasp working, wrist size approx 20cmNotes Ð with inner and outer box, spare white rubber strap and warranty certificate booklet
VICTORINOX - a stainless steel Swiss Army Officer's automatic calendar bracelet watch, ref. 241372, silvered dial with applied Arabic numerals, luminous hands, blue sweep centre seconds hand, date aperture and sapphire crystal exhibition case back, 25 jewel movement with ETA calibre 2824-2, serial no. 091070043, case width 40mm, working order, boxed with papersMovement Ð currently working Dial - very cleanGlass - very cleanHands - goodCase - only extremely light surface abrasionsCrown Ð screw-down working, Quickset date working, hands adjust smoothlyBracelet - associated steel bracelet, light surface dirt, clasp working, wrist size approx 20cmNotes Ð with inner and outer box, instructions and blank warranty card
An Art Deco George V silver mantel clock, Spurrier & Co, Birmingham 1924, white enamel dial with Roman numeral hour markers, blued steel hands and subsidiary seconds dial, 12cm, not workingBody has a few extremely light dents, otherwise no damage or repair, movement not currently working, dial has 1 large hairline crack and is quite dirty, hallmarks clear
CERTINA - a lady's Swiss 18ct gold mechanical bracelet watch, circa 1960s, silvered dial with applied gilt arrowhead hour markers and 9ct bracelet, 17 jewel movement with calibre 13-10, serial no. 6181 10 109850, case width 15mm, working order, 17.4g grossMovement Ð currently working Dial - slightly discolouredGlass - cleanHands - goodCase - general wear and light abrasions mainly on case backCrown Ð hands adjust smoothlyBracelet - unassociated 9ct strap, light wear, clasp working, wrist size approx 16cm Notes Ð no box or papers
BALL - a stainless steel Fireman Racer automatic calendar bracelet watch, ref. NM2088C, circa 2014, black dial with quarterly Arabic numerals, sweep centre seconds hand, cyclops date aperture and locomotive case back, serial no. 7308098, case width 40mm, working order, boxed with papersMovement Ð currently working Dial - very cleanGlass - very cleanHands - goodCase - extremely light surface abrasionsCrown Ð screw-down working, Quickset date working, hands adjust smoothlyBracelet - associated steel bracelet, general surface abrasions to high points, no stretching to links, clasp working, wrist size approx 20cmNotes Ð with inner and outer box, warranty card and instructions disc
MATHEY-TISSOT & CO - a limited edition stainless steel Deep Sea Lord automatic calendar wristwatch, ref. H81, circa 2018, blue dial with luminous dot and baton hour markers, Mercedes hands, sweep centre seconds hand, date aperture and domed glass, no. 36/81, case width 42mm, working order, boxed with papersMovement Ð currently working Dial - cleanGlass - cleanHands - goodCase - cleanCrown Ð screw-down working, Quickset date working, hands adjust smoothlyBracelet - associated brown leather strap, light wear, with spare blue NATO style strap and black rubber strapNotes Ð with inner and outer box, certificate and instructions booklet
TUDOR - a stainless steel Oyster Prince automatic wristwatch, ref. 7909, circa 1950s, silvered dial with applied gilt Arabic numerals and sweep centre seconds hand, 17 jewel movement, serial no. 162241, case width 34mm, not currently workingMovement Ð not currently working and requires a service Dial - cleanGlass - 1 star crack above 1Hands - goodCase - general wear and light abrasions mainly on case backCrown Ð screw-down working, hands adjust smoothlyBracelet - unassociated black leather strap, near new Notes Ð no box or papers
BULOVA - a stainless steel Accutron automatic calendar chronograph wristwatch, ref C869882, silvered dial with arrowhead hour markers, 3 subsidiary dials, day/date aperture and sapphire crystal exhibition caseback, 25 jewel movement, case width 42mm, working orderMovement Ð currently working, chronograph functions workingDial - cleanGlass - cleanHands - goodCase - general wear and light abrasionsCrown Ð Quickset day/date working, hands adjust smoothlyBracelet - unassociated black NATO style strapNotes Ð no box or papers
ROLEX - an American 10k gold-filled Prince Observatory Precision Doctor's mechanical wristwatch, circa 1930, rectangular silvered dial with applied gilt breguet numerals, subsidiary seconds dial and curved rectangular case, 17 jewel movement, case width 20mm, case length 46mm, working order Movement Ð currently working Dial - discoloured with light wear to wording and a few minor surface abrasions around centre and seconds column Glass - a couple of extremely minor nicks Hands - slightly tarnished Case - general wear and light surface abrasions mainly on caseback and high points Crown Ð no logo, possibly a replacement, hands adjust smoothly Bracelet - unassociated brown leather strap, general wear Notes Ð no box with secondhand sales receipt dated 1990 and service repair receipt dated 2003
HEUER - a Vintage gold plated Carrera mechanical chronograph bracelet watch, ref. 73655, circa 1978, champagne dial with applied narrow block hour markers, pencil hands, 3 subsidiary dials and tachymeter outer scale, serial no. 193940, case width 38mm, working order, boxed with papersMovement Ð currently working, chronograph functions working (tested to 1 minute)Dial - very cleanGlass - very light surface marksHands - goodCase - light wear and surface abrasions mainly on case backCrown Ð signed, hands adjust smoothlyBracelet - associated Heuer gold plated bracelet, light surface wear, no broken links, clasp working, wrist size approx 18cmNotes Ð with inner box, service booklet and original invoice dated 1978
An Italian Vatican City Pope John XXIII (1958 - 1963) Angelo Giuseppe Roncalli gold medal, issued by the International Numismatics Establishment of Vaduz Liechtenstein, in 9ct gold pendant mount, London 1978, height 59.8mm, 18.1gNo damage or repair, general surface wear to high points and light abrasions all over, hallmarks clear, stamped 375
CARTIER - a mid-size 18ct gold Tank Louis quartz wristwatch, ref. 2442, circa 2000s, rectangular silvered dial with black Roman numeral hour markers, blued steel sword hands, secret Cartier signature at 10, cabochon crown and signed 18k gold buckle, serial no. 370684MG, case width 22mm, working orderMovement Ð currently working Dial - cleanGlass - a couple of extremely minor surface abrasions above centre column Hands - goodCase - general light surface abrasions on high points and casebackCrown Ð hands adjust smoothlyBracelet - associated Cartier brown alligator leather strap with Cartier 18k buckle, general wear Notes Ð no box or papers
ROLEX - a stainless steel Air-King Oyster perpetual automatic bracelet watch, ref. 116900, circa 2017, black dial with 3-6-9 steel Arabic numerals, white Arabic minute numerals, luminous Mercedes hands, green sweep centre seconds hand, and steel Oyster bracelet and bi-fold clasp, serial no. 666JV983, case width 40mm, working order, boxed with papersMovement Ð currently working Dial - cleanGlass - cleanHands - good Case - extremely light surface abrasions mainly on bezelCrown Ð Screw-down working, hands adjust smoothlyBracelet - associated steel bracelet, a few extremely minor surface marks, wrist size 18cm, clasp workingNotes Ð with inner and outer box, instructions manual, International guarantee card and original receipt
A 19th century French 18k gold red enamel and split pearl key-wind fob watch, circa 1860, white enamel dial with hand painted Arabic numerals, blued steel breguet hands with split pearl bezel and engine turned guilloche red enamel case back, case width 32mm, working order, 25.6g gross, with ebonised night stand and fitted domed glass cover, overall height 12.5cmMovement Ð currently working Dial - a couple of extremely light surface flake chips around edge of dial, mostly very clean Glass - probably a replacementHands - goodCase - a few small solder repairs on inside of case front, all pearls present, some have been re-glued and others have small surface chips, no damage or loss to enamel only light surface marks
Colonial School. Quito. Ecuador. Attributable to Manuel de Chili "Caspicara" (Quito, 1723 - 1796).Saint Teresa of Avila, as Doctor of the ChurchCarved and polychromed wooden sculpture.Height: 77 cm.Magnificent sculpture with candelieri decoration (to be dressed). Wearing a richly adorned brown Carmelite habit and a toasted chickpea-coloured cloak with flourishes and embroidery. She wears an academic birreta. Missing from her right hand is the "plume of inspiration," and from her left, the "resting dove," as she used to call the Holy Spirit. Adorning her chest is a jewel embroidered in silver thread, with the Infant Jesus inside, symbolising her fervent love for Him, which she followed and pursued throughout her life. This represents the famous engraving by Antonius Wierix (Antwerp, c. 1555/1559 - 1604) that was in her cell, and which provided her with so much peace and love when she contemplated it.Undoubtedly, the sculpture is a marvellous example of Quito imagery. It bears important similarities to the "Dressed Image of the Virgin of Mercy" or "Pilgrim of Quito," circa 1700-1750, kept in the LACMA, Los Angeles County Museum of Art.It retains its original clothing of embroidered silk, silver thread, gemstones, and thread. Adorning her chest is a silk embroidered heart with the inflamed heart of the Infant Jesus, made of painted glass, inside it. Manuel Chili, known by his artistic name, "Caspicara", was one of the most important indigenous sculptors of the so-called Quito School of the 18th century.His teachers were Diego de Robles and Bernardo de Legarda, with whom he collaborated as a young man in their workshops.In fact, he is considered the successor in the art of imagery to Bernardo de Legarda, who created magnificent sculptures, especially in wood or marble.Caspicara began his work making images at a very early age, according to the historian Jaime Aguilar de Paredes, until he achieved a mastery that placed him at the level of European artists.Specializing in religious motifs made of wood and marble, his work was made for the most important altars in churches and convents in the region, although his sculptures also reached Europe to form part of the collections of the nobility and monarchy.The Quito school, led by Caspicara, reached its maximum splendour in the 17th and 18th centuries, being of great prestige among the colonies as well as in the Spanish Court in Madrid. Its production was one of the activities that contributed the most income to the Royal Court of Quito.The phrase attributed to King Charles III, referring to the Quito School, is well known: "I am not worried that Italy has Michaelangelo, in my American colonies I have the master Caspicara".His best-known works are in Quito Cathedral and in San Francisco Church in Quito, as well as in the Hispanic Society of America.Likewise, as the Cervantes Institute website indicates: “Due to the beauty of the way in which they were prepared, the Christ of Bethlehem is outstanding; also, the recumbent Christ and the Virgin of Light that watch over the Museum of the Central Bank of Ecuador; the Assumption of the Virgin that adorns the Church of San Francisco; the Impression of the Wounds, located in La Cantuña; and in particular, the Holy Shroud that visitors to the cathedral of Quito can admire.” Reference bibliography:- Aguilar Paredes, Jaime. "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoco Ricke, p. 104.
Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Virgin and Child"Oil on copper. Signed: "Fco. Clapera".42 x 32 cmFrancisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5
Attributed to Manuel de Chili "Caspicara" (Quito, 1723 - 1796)"Christ tied to the Column"Carved, polychromed wooden sculpture with sculpted bone and glass eyes. Total measurements: 28 x 24 x 14 cm. Christ measurements: 26 x 19 x 12 cm.A magnificent example of Quito imagery, which in our opinion should be attributed to Caspicara, due to the undeniable similarities with other known sculptures by the master.The sculptor conveys to us with all harshness the terror that Jesus had to endure on his way to Calvary. The back is completely flayed, with raw flesh, revealing the sculpted spinal column of Jesus in sculpted bone. The face reflects acceptance and pain, the gaze is of abandonment, and the gesture of the slightly open mouth shows the intricately carved teeth. The body is tied to the column in a slight twist. Everything in this sculpture is of a fascinating quality and mastery.Manuel Chili, known by his artistic name, "Caspicara", was one of the most important indigenous sculptors of the so-called Quito School of the 18th century.His teachers were Diego de Robles and Bernardo de Legarda, with whom he collaborated as a young man in their workshops.In fact, he is considered the successor in the art of imagery to Bernardo de Legarda, who created magnificent sculptures, especially in wood or marble.Caspicara began his work making images at a very early age, according to the historian Jaime Aguilar de Paredes, until he achieved a mastery that placed him at the level of European artists.Specializing in religious motifs made of wood and marble, his work was made for the most important altars in churches and convents in the region, although his sculptures also reached Europe to form part of the collections of the nobility and monarchy.The Quito school, led by Caspicara, reached its maximum splendour in the 17th and 18th centuries, being of great prestige among the colonies as well as in the Spanish Court in Madrid. Its production was one of the activities that contributed the most income to the Royal Court of Quito.The phrase attributed to King Charles III, referring to the Quito School, is well known: "I am not worried that Italy has Michaelangelo, in my American colonies I have the master Caspicara".His best-known works are in Quito Cathedral and in San Francisco Church in Quito, as well as in the Hispanic Society of America.Likewise, as the Cervantes Institute website indicates: “Due to the beauty of the way in which they were prepared, the Christ of Bethlehem is outstanding; also, the recumbent Christ and the Virgin of Light that watch over the Museum of the Central Bank of Ecuador; the Assumption of the Virgin that adorns the Church of San Francisco; the Impression of the Wounds, located in La Cantuña; and in particular, the Holy Shroud that visitors to the cathedral of Quito can admire.”Reference bibliography:- Aguilar Paredes, Jaime. "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoco Ricke, p. 104.
John Russell (Guildford, United Kingdom, 1745 - Kingston Upon Hull, United Kingdom, 1806)"Miss Carolina May and Her Two Aunts"Oil on canvas.118 x 143.5 cm.This painting appears reproduced in "Pintores italianos e ingleses. Franceses, alemanes y suizos. Siglos XVII y XVIII"(Italian and English Painters. French, German, and Swiss. 17th and 18th Centuries), an illustrated catalogue of paintings belonging to Spanish Collections. On page 89 of this catalogue, the painting is described as "one of the most famous of the artist's, depicting Miss Caroline on the right of the painting, accompanied by her two aunts, all dressed in costumes and hats of the period, in light colours and ribbons and with details in blue tones. The central figure is Miss May's aunt, Lady Hollist, the wife of Mr. Hollist, who also posed for one of the painter's most famous paintings."The painting was exhibited at Salón Cano between November 26 and December 6, 1952, in the exhibition "Masterpieces of 18th-Century English and Italian Painting."John Russell was "One of the eighteenth century's leading pastel portraitists," according to the National Portrait Gallery, which houses over 100 portraits by his hand, including his self-portrait (circa 1780, inv. NPG 1788).Francis Cotes, a member of the Royal Academy and a pioneer of pastel painting in England, instructed Russell, who entered the Royal Academy art school in 1770 and was not appointed a Royal Academician until 1788. Two years later, in 1790, he was appointed Pastel Painter to King George III, Queen Charlotte, the Prince of Wales, and the Duke of York, a position that brought him fame and clientele.In addition to the National Portrait Gallery and various British museums, the world's largest public collection of John Russell's pastel portraits can be found at the Guildford House Gallery municipal museum. Provenance:- Dr. Gerard Hollist Collection. It was sold in the auction of his collection on 28th April 1922.- Private collection San Sebastián.- Private collection. Spain. Reference bibliography:- National Portrait Gallery. (s.f.). “John Russell”. https://www.npg.org.uk/collections/search/person/mp03916/john-russell
Colonial School. Peru. 18th century.“Our Lady Immaculate and Pure, with some of the Litanies of Loreto"Oil on canvas.179,5 x 130,5 cm.It has not been possible to attribute this painting to a particular artist, but it is undoubtedly the work of a master. One only has observe the beauty of the Virgin Mary's face and the portraits of the saints at her feet.This is a spectacular Cuzco canvas representing the Immaculate Virgin Mary ascending to the heavens on a half-moon and stamping on evil, amidst a choir of angels that display some of the names, invocations, or honorary titles given by the holy Fathers, extolling her dignity. With them, her person is honoured and her powerful intercession is invoked.Below, Saint Peter and Saint Anthony of Padua are in prayer. These were possibly the saint names of the donors who commissioned the painting.Surrounding Mary are some of the litanies of the Blessed Virgin Mary.On the left, above: MYSTICAL ROSE: ("...like a plant of roses in Jericho," Ecclesiasticus 24:14. Mary is the rose of Jericho that had primacy over the others for its magnificence, its rare form, and its exquisite scent; and the rose bushes grew like trees.) MIRROR OF JUSTICE: ("She is a mirror of the eternal light, a spotless mirror of God's activity, an image of His goodness," Wisdom 7:26. Justice here is almost equivalent to the word holiness, of perfection, and supernatural goodness.)In the arms of an angel, a TREE, a CEDAR, "I have grown as a cedar in Lebanon" (Ecclesiasticus 24:17). The incorruptible cedar is a symbol of chastity. "A shoot will come up from the stump of Jesse; from his roots, a Branch will bear fruit" (Isaiah 11:1).GATE OF HEAVEN ("And he was afraid and said, 'How dreadful is this place! This is none other than the house of God, and this is the gate of heaven!'" Genesis 28:17. Because it was through her that Our Lord Jesus Christ passed from Heaven to earth).On the right, another tree, THE OLIVE: "...like a beautiful olive tree in the fields" (Ecclesiasticus 24:14).Below,TOWER OF DAVID ("Your neck is like the tower of David, built with elegance" Song of Songs 4:4. A strong and beautiful construction that rose above the peak of a mountain built by King David for the defence of the city of Jerusalem. The Blessed Virgin Mary who rises sublime above the summit of all beauty and perfection, for the defence of the holy Church of God, the mystical Jerusalem.) FOUNTAIN: ("Fountain of gardens, a well of living waters, and streams from Lebanon" Song of Songs 4:15).Upper right:LILIES OF THE FIELD ("Like a lily among thorns, so is my love among the daughters" Song of Songs 2:2).Below, the PALM TREE, or patient palm in pain ("I have grown tall like a palm tree") Ecclesiasticus 24:14. Mary evokes the palm branches of Jesus' triumph in Jerusalem (John 12:13), a foreshadowing of his triumph with all the elect ("There was a great multitude that no one could count, from every nation, tribe, people, and language, standing before the throne and before the Lamb" Revelation 7:9). The palm, a sign of a victory achieved through perseverance in the struggle and enduring pain with fortitude, steadfastly, like Mary at the foot of the Cross.HOUSE OF GOLD, (the most beautiful of all metals, the one with the most value, because its virtues and purity have a transcendental brilliance and a dazzling perfection, are like an admirable work made of the purest gold.)And the 4th tree, CYPRESS: "...like a cypress on the mountains of Hermon" (Ecclesiasticus 24:13).Below,THE WELL: "...a well of living waters" Song of Songs 4:15. and TEMPLE OF THE HOLY SPIRIT: "Do you not know that your bodies are temples of the Holy Spirit?" 1 Corinthians 6:19.
Miguel de Santiago (Quito, Ecuador, 1620 - 1706)"María Inmaculada Niña (asumpta al cielo)"Oil on canvas. 165 x 103 cm.Delicate canvas by the principal painter of the Quito colonial school. It portrays the Immaculate Virgin as a child ascending to heaven, surrounded by angels carrying symbolism from the Litany of Loreto, under the blessing of God the Father and the Spirit, hovering over the scene with joy, light, and both interior and exterior veneration.In this painting, as in many others, Miguel de Santiago maintains a central figure that stands out from the composition, almost with an architectural structure, landscapes, and atmospheric distances.Mary, "electa ut sol, clara ut luna" (chosen like the sun, clear as the moon), like "a lily of the field," "mirror of justice," "without blemish," "without wrinkle"... titles from the Song of Songs collected in the Litanies.Clearly, the painter was knowledgeable about the biblical quote from the Apocalypse (Rev. 12:1 and following), "a woman clothed with the sun, with the moon under her feet, and a crown of twelve stars on her head," as the protector of Christians and aiding in the triumph of Christ.Miguel de Santiago is considered to be one of the most important painters of the Quito colonial school.As stated by the Royal Academy of History: "Miguel de Santiago was born in Quito in the early decades of the 17th century, in the traditional neighbourhood of Santa Bárbara, and died in 1706. In 1633, he was adopted by Hernando de Santiago, alderman and faithful executor of the town of Villar de Don Pardo, from whom he took his surname.Santiago's work is distributed between various convents and churches in the city of Quito.For the Convent of San Agustín, he collaborated in the execution of the series of paintings on the life of the patron saint of the Order. Painted in 1656, the canvases were inspired by engravings made by the Flemish artist Schelte Adams Bolswert.Santiago is also the author of the series of paintings on the Christian Doctrine (1670) found in the Fray Pedro Gocial Museum, of the Franciscan Order of Quito.Santiago exported many of his works beyond the geographical limits of the Royal Audience of Quito.Amongst these, it is worth highlighting the uniqueness of different canvases that would have served mnemonic and didactic functions, such as the series of El Alabado or Ave María and the Articles of Faith, both commissioned in 1673, and the Works of Mercy, which are located in the Bogotá Cathedral, Colombia."
A deactivated .303 (British) 'Mk.1 Bren' light machine gun by Inglis, no. B7954Of regulation pattern, the receiver dated 1941, with folding offset ladder sight to the left side, fully-detachable magazine, the butt with steel butt-plate (rear grip removed), folding bi-pod with extending legs, the barrel with foresight and flash hiderWeight 18lb. 4oz., 15in. stock, 25in. barrelWith its deactivation certificate (2)For further information on this lot please visit Bonhams.com
A deactivated .303 (British) 'Mk.3 Bren' light machine gun by Enfield, no. UE57A4883Of regulation pattern, the receiver dated 1957, with folding offset ladder sight to the left side, fully-detachable magazine, the butt with steel butt-plate (rear grip removed), folding bi-pod with extending legs, the barrel with foresight and flash hiderWeight 18lb. 4oz., 15in. stock, 20in. barrelWith its deactivation certificate (2)For further information on this lot please visit Bonhams.com
A 12-bore sidelock non-ejector gun by Joseph Lang & Son, no. 7448Incorporating Lang's safety patent no. 133 of 1879 (safety in need of regulation), push-forward underlever, the action-body with best bouquet & foliate-scroll engraving, fluted fences, the replacement stock (crack at hand) with horn butt-plate, the barrels (light pitting at muzzle) with game-rib engraved 'Joseph Lang & Son, 22 Cockspur St., Pall Mall, London'Weight 6lb. 4oz., 13¾in. pull (13⅜in. stock), 30in. barrels, approx. Cyl. & ¾ chokes, 2½in. chambers, Birmingham nitro reproofThis lot is subject to the following lot symbols: S2S2 Section 2 lots require a valid British Shotgun certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com
The fifth 'Superposed' 12-bore over-and-under ejector pigeon gun by Browning, no. 5The action-body boldly engraved with game-scenes surrounded by oak leaves, matt top detonating, the lower tang engraved '5' in scrolling banner, matching serial numbers, the replacement stock with Browning butt-plate, horseshoe forend-cap, the barrels (slightly loose on the action, light pitting throughout) engraved 'Browning Arms Company Ogden, Utah, 12GA Special Steel' with lightweight flat matt top-rib with intermediate sighting-beadWeight 7lb. 11oz., 14¾in. pull (14½in. stock), 31⅞in. barrels, approx. Full & Full chokes, 2¾in. chambers, Belgium nitro proofIn a leather case (2)This lot is subject to the following lot symbols: S2S2 Section 2 lots require a valid British Shotgun certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com
DAMPFLOKOMOTIVE MIT SCHLEPPTENDER,Hersteller Trix/Nürnberg, Reihe H6, "Steam Locomotive USRA Light Mikado", New York Central Railroad (NYC), Epoche II + III, Spur H0, RP 25-Profil, Nr, 22801, orig Karton, bespielt, leichte Gebrauchsspuren, Anbauteile anbei, (keine Vollständigkeitsprüfung), dazu gelochter Beipackzettel
Ken Nwadiogbu In the Wave Charcoal and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Ken Nwadiogbu (b. 1994, Lagos, Nigeria) is a self-taught multidisciplinary artist, based in Lagos, Nigeria. A trained civil engineer, he soon pivoted to fine art, first embracing hyperrealism and charcoal drawing before expanding his creative horizon to more conceptual works and a wider array of techniques, including acrylic painting, sculpture and installation. His works are inspired by iconic American contemporary art figures such as J.-M. Basquiat, Kehinde Wiley, Toyin Ojih Odutola and Kerry James Marshall. On Ken's large canvases, stories superimpose themselves in multiple layers. Mixing together hyperrealism with contemporary elements, he creates ingenious, politically charged visual illusions that deploy a singular outlook, daring the audience to question their own, for "value lies in the perspective". Defending an art that can be at once smart and fun, he explores grave matters in intense colours and playful cut-outs, addressing altogether black representation and identity, displacement, and socio-political control. Popularly known as KenArt, Ken is credited for introducing the "Contemporealism" movement and was named by Guardian Life as one of the most "Outstanding Personalities" in Nigeria. In 2019, he was awarded the prestigious The Future Awards Africa in recognition of his contributions to the Nigerian arts community. A core focus for him is to inspire and encourage young creatives. He does this through public speaking and mentorship, as well as through his creative companies. He nurtures an art collective called 'Title Deed' and co-found Artists Connect NG, the largest artist gathering in Nigeria, created to foster creativity, collaboration and community. His works have been exhibited in a number of galleries including Omenka Gallery ('Insanity' group show, Lagos, 2016), Retro Africa ('In the making', Abuja, 2018), Bricklane Gallery ('Contemporealism', London, 2019), Bomb Factory Art Foundation ('Journey Mercies', London, 2021) and Thinkspace ('Ubuntu', LA, 2021). His works were showcased at ART X Lagos on several occasions, at 154 London, and Prizm Art Fair, in Miami. He has worked on multiple projects with respected international brands like Martell Cognac, McMillan Publishers, Flight Logistics, and many others. Ken enjoys expanding his perspective -and ours, rarely ever leaving anything to chance, but rather proceeding from a place of joy, and intentional care. He is constantly revitalizing his practice by challenging modes of Black representation. His oeuvres do not just encompass various forms of painting but most recently transcends into photography, sculpture, installation, NFT and video Education MA Painting, Royal College of Art Select Exhibitions/Awards Awards: 2019: The Future Awards Africa Prize for Art Exhibitions: 2022, SCOPE Art Fair Miami, 2020, Prizm International Art Fair Miami, 2020, 1-54 African Art Fair New York, Portrait of a Top boy and Summer exhibition Royal Academy Gallery Representation Retro Africa Gallery and Kristin Hjellegjerde Gallery. Statement about AOAP Submitted Artwork In my artistic endeavours, I explore my personal experiences while also providing a social commentary on the shared experiences of others. For this AOAP project, I have delved into my own encounters in London, using them as a lens to shed light on the collective experiences of African immigrants in the city. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Jackie Almond Brown Chair Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Time spent as a colourist of Antiquarian prints taught Jackie about the subtleties of light and tone and her aim is to communicate the essence of an atmosphere, which evokes stillness and silence. She studied English at university and literature has been a constant inspiration for her painting; places and sensibilities are also major influences. Her work has been exhibited in London galleries and in East Anglia. She has also exhibited, on two occasions, at the Royal Academy Summer Exhibition and twice been shortlisted. For many years Jackie divided her time between London and France and her Interiors reflect that period in her life. She now lives on the Suffolk coast which provides a constant source of inspiration and she is part of the yearly Walberswick Open Studios. Education BA Hons English Select Exhibitions/Awards RA Summer Exhibition twice; Image Gallery London (2nd in public vote); Llewelyn Alexander Gallery London; The Gallery Holt; Norfolk; Norfolk Gallery, Cromer Gallery Representation Hayden Gallery, Marlow, Bucks. Statement about AOAP Submitted Artwork My paintings are an attempt to convey an atmosphere of stillness and silence. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Laurence de Valmy Sisterhood Acrylics on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Laurence de Valmy combines painting and digital mediums, to bring a new light on our collective imagery and make the viewers ponder on our society including the notion of fame, the place of women or the role of social media. Laurence de Valmy is French American and lives in San Diego, USA. Her work is represented by galleries based in New York, UK and France. She is an active member of Artcan.org, a non-profit artist community. Education Laurence de Valmy studied painting in private studios and art history at the Ecole du Louvre. She holds a Master from the University of Paris, and an MBA from the Institute of Business Administration Aix. SELECT EXHIBITIONS/AWARDS SELECT EXHIBITIONS 2023 Pop Color, Artspace Warehouse, Los Angeles Fall exhibition, Range of Arts, Honfleur, France Pop: Summer exhibition, Azart Gallery, NY ArtCan with love, London Opening exhibition, Amber Galleries, Henley on Thames NFT event at Santa Monica Art Museum (California) 2022 Urban Pop, Bountiful Davis Art Center, UT curated by Todd Marshall Feminist connect, Charles Adam Studio Project, in Lubbock, Texas Explore 01, Kroll x ArtCan, New York Eye of the beholder, 508 King Gallery, London 2021 Connected, Summit Public Art, Summit, NJ, USA Monumental, juried by Sergio Gomez, USA A Thousand Words, The Curator's Salon, juried by Gita Joshi Art on a Postcard, London, curated by Gemma Peppe - Invitational Wish You Were Here, The Postal Museum, London Flower Fever, Sorunda, Sweden, curated by Brandy Kraft Women artists, Kahn Gallery, (London) Through her eyes, Singulart, curated by Rania Elafifi and Marion Sailhen Not so classic Classics, Range of Arts, Honfleur Group Show 3, Shrine Gallery, New York, USA 2020 The Watermill Center: Benefit Auction - Invitational Art on a Postcard, London, curated by Gemma Peppe - Invitational Cosmopolis, Azart Gallery, NYC curated by Latifa Metheny USPS Art Project, Ely Center of Contemporary Art, New Haven, USA To Beirut, Range of Arts, Honfleur, France SolidArty, Sothebys Institute of London curated by Amira Gad and Emily Butler Juried Concepts, CICA Museum, Seoul, South Korea 2019 POST, Michele Mariaud Gallery, NYC curated by Michele Mariaud (Solo show) SOLO Azart Gallery & French Wink, NYC (Solo show) Art on a Postcard, London, curated by Gemma Peppe - Invitational Mana Open House, Mana Decentralized, Jersey City, NJ Lost in Abstraction, Kahn Gallery, London 2018 Art on a Postcard, London, curated by Gemma Peppe - Invitational The BUNTE Art, Museum of Urban and Contemporary Art, Munich, curated by Mon Muellerschoen Let's Connect, Barnes Foundation, Philadelphia Stranger than Fiction, BG Gallery, Santa Monica, curated by Om Bleicher 2017 Dialogue, AZART Gallery, New York, curated by Latifa Metheny Wrap Around 13: Laurence de Valmy, George Horner, Karen Lederer, ARENA at Suite 806, New York, curated by Renée Riccardo 2016 French Reflections, FIAF Montclair, NJ, curated by Marie-Catherine Glaser (Solo show) AWARDS 2023 Finalist of the Trophy of French in the USA by Le Petit Journal 2020 St Petersburg Art Residency #VirtualSPAR 2019 Guest Artist Museum Week, Michele Mariaud Gallery, NYC 2017 Artist Residency Fellowship, Eileen Kaminsky Family Foundation ESKFF, Mana Contemporary, Jersey City, NJ 2016 Fall price, Connection Magazine, NJ 2005 Mention, Prix de l'Ebouillante, Paris, France 2004 First Prize, Watercolor competition BHV, Paris, France Gallery Representation Azart Gallery (NY), Artspace Warehouse (LA), Amber Galleries (UK), Range of Arts (France), Singulart (France) Statement about AOAP Submitted Artwork Art is a continuum and a mirror of our society. In the tradition of art appropriation, I bring my own view to existing artworks, pay a tribute to their authors, and play with the concept of originality. My goals are to bring a new light on our collective imagery and to make the viewers ponder on our current society including the notion of fame, the place of women or the role of media. By painting the positive portrayal of women and girls in modern-day comic books like Pokemon, my ambition is to highlight and amplify an empowering narrative. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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