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Preisdatenbank abonnierenRowland Henry Hill (Staithes Group 1873-1952): 'Leonard Mallinson' bust portrait as a young man, watercolour signed and dated 1936, 26cm x 20cmProvenance: Mallinson was a family friend of the Hills. The portrait was painted whilst he was a trainee in the RAF, later becoming a a pilot in WWII attaining the rank of Squadron Leader
Gold-Anhänger mit römischer Münze 'Julia Mamaea'. 21,6 kt. GG, ungest. Profilbildnis nach links bez. Julia Mamaea, Mutter des Severus Alexander röm. Kaiser ab 222, Rückseite Reiter zu Pferd. Mit Öse 26 x 22 mm, Gew. ca. 7,6 g. - A Gold Pendant with Roman Coin 'Julia Mamaea'. 21,6 ct. yellow gold, unmarked. Profile portrait of the mother of Severus Alexander Emporer from 222, reverse side rider on horse. With eyelet 26 x 22 mm, weight apprx. 7,6 g. -
Richard Arlen signed vintage 10 x 8 inch b/w portrait photo fixed to black card, surname in slightly darker area. Condition 6/10. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Spanish or Colonial School. 17th - 18th century. "True Portrait of Our Lady of the Tabernacle of Toledo Cathedral" Oil on canvas. Relined. 100 x 81 cm. With a carved and gilded period wooden frame. Frame measurements: 110 x 89 cm. A comparable painting to this one can be found in the collection at the Museo Soumaya in Mexico.
"Saint James". Wrought silver reliquary bust. Colonial. 18th - 19th century. Large figure of the apostle, completely covered with thick plates of embossed and wrought silver on a wooden base. The body’s upper part is covered by a short cloak continuing to the beginning of the saint’s cape. All of this is worked in silver that has been embossed and chased all over its surface with vegetation motifs, pilgrim’s shells, leaves and the letters C facing each other and joined by small crowns. In the centre of the front part is the space for the relic. The hat is separate. It is made from a separate piece, and under it, the saint’s head is completely worked. The apostle’s face is magnificently chased, it looks as if it is a portrait. 55 x 40 x 28 cm
Viceroyalty School. End of 18th century."Genealogy of the fourteen Inca kings and the conqueror Francisco Pizarro"Fifteen oil paintings on canvas. Relined. 84 x 63 cm each. With export license granted.Complete series comprising the fourteen Inca Emperors: Mancco Ccapac, Sinchi Rocca, Lloqque Yupanqui, Maita Ccapac, Ccapac Yupanqui, Inca Rocca Yahuar- Huaccac, Viracocha, Pachacutec, Inca Yupanqui, Tupac-Yupanqui, Huaina Ccapac, Huascar-Inca and Atahuallpa, and the portrait of Francisco Pizarro.Accompanied by an X-ray fluorescence spectrometry (EDXRF) which was applied to the study of the pictorial technique, dating the paintings to the 18th century.An important collection which comprises all of the 14 Inca sovereigns. It begins with the founder of Cuzco, Mancco Ccapac, and goes through to the last of the emperors, Atahualpa and ends with a portrait of Francisco Pizarro. This is a chronological depiction of the portraits of those who governed the Inca Empire before the Spanish Conquest.They are depicted as dressed in the uncu, an exquisitely woven tunic, the mascaipacha (symbol of power as governor of Cusco and Tahuantinsuyo) and a version of the llautu, the traditional royal headdress, complete with red forehead fringe.The geometric textile patterns in all the paintings are reminiscent of tocapu designs on traditional Inca noble clothing, signifying rank and status.The imperial attire is completed with the gold topayauiri or sceptre, topped with a type of plume as a continuation in an axe shape on one side and an awl on the other.Francisco Pizarro is shown in his European armour.The iconic genealogy if the Incas is associated with an engraving made by the clergyman Alonso de la Cueva Ponce de León (1684-1754) in 1725, approximately.This series of genealogies was at its peak after Independence, due to the desire of the indigenous elites in Cuzco to return to their position.The Denver Museum has a series of sixteen portraits in its collection which reflect our fifteen, with an additional portrait of Mama Occollo, the principal wife of the Inca Manco Cápac, both founding heroes of the Inca Empire.As the Denver Museum notes in its index cards on these portraits: This series of genealogies that show the former governors of the Inca Empire “is not only a family tree but a political tool. Since proof of aristocratic Inca blood entitled people to special privileges and freed them from paying taxes in the Spanish Colonial period, paintings were used to document and assert this heritage.” (https://www.denverartmuseum.org/en/object/1977.45.1)As stated in the Cervantes Institute’s biography of the Inca Garcilaso de la Vega:“According to the traditional account determined by the Inca Garcilaso in his Royal Commentaries of Peru, the founding fathers Manco Cápac and Mama Ocllo, were born in the waters of Lake Titicaca, and founded the city of Cuzco, the centre of Inca development, in the place revealed by the sun god (Inti) after a pilgrimage that began in the south of the Sacred Valley of the Incas. Another version of the origin myth, collected in the 16th century by Juan de Betanzos (Narrative of the Incas, 1551), attributes it to the four Ayar brothers and their respective partners. (http://www.cervantesvirtual.com/portales/inca_garcilaso_de_la_vega/autor_cronologia/) There are differences in the dates attributed to the different Inca kingdoms.Taking the chronology published in the Cervantes Institute’s website as a base, which is taken from Inca Garcilaso de la Vega (Cuzco, Governorate of New Castile, 1539 – Cordoba, 1616) the 14 incas and their periods of governance, all represented in these genealogical portraits, were:From the period 1200-1438, before the Inca state was established, was the founderI-Mancco Ccapac (1200-1230) and those who succeded him, II-Sinchi Rocca (1230-1260)III-Lloqque Yupanqui (1260-1290), IV-Maita Ccapac (1290-1320), V-Ccapac Yupanqui (1320-1350), VI- Inca Rocca (1350-1380), VII- Yahuar- Huaccac (1380-1400), VIII-Viracocha (1400-1438),IX- Pachacutec, (1438-1471) marked the beginning of the Historical Inca Empire with the Kingdom of the Inca Pachacutec, conqueror of the Chanca states.X- Inca Yupanqui (Modern historians have removed his reign from the official list of Inca rulers).XI- Tupac-Yupanqui, XII- Huaina Ccapac (1481-1523) on his death, the Inca Empire was divided between his two sons, Huascar-Inca (1523-1532), Sovereign of the northern region, and Atahualpa (1532-1533), Inca of the southern territories.The period from 1528-1532 saw a civil war between Huascar and Atahualpa over control of the Inca Empire, which ended in August 1532 in Atahualpa’s definitive victory over Huascar in the Battle of Cotabamba. Atahualpa was crowned Inca in Cajamarca.In 1533, the trial and execution of Atahualpa took place. Francisco Pizarro conquered Peru in 1534 and was governor of Peru / New Castile from 1534 to 1540.The Inca Empire passed into Spanish hands, although Tupac Hualpa (1533), Manco Inca (1533-1536) and Paullu Inca (1537-1549) reigned nominally and were crowned by the conquistadors.Examples of this genealogy in individual portraits that are similar to these, as well as those already mentioned in the Denver Museum can be found in:- Lilly Library, Indiana University, Bloomington, Indiana.- The individual portrait of Atahuallpa is kept at the Ethnological Museum of BerlinAs well as these series of genealogies in sets of individual portraits, genealogies were also painted in one sole picture in which, depending on the period in which they were executed, the series of governors of the Inca Empire previous to the Spanish conquest was followed chronologically by portraits of the Spanish monarchs.There are magnificent examples of this type of painting, such as those kept in:- Lima Cathedral Museum, dated circa 1725.- The Pedro de Osma Museum in Lima, dating from the late 18th century / early 19th century.- The Carmen de Maipu Museum in Chile, which describes the intention of these types of pictures in the painting’s index card: “the inclusion of the Spanish monarchs responds to the necessity for uniting power, as a strategy of legitimisation and control in colonial society, given that, through these portraits the Spanish monarchs would assimilate the power and the deity that the Inca represented. And, on the contrary, the Incas were considered to be the equals of Spanish royalty, in that way being accepted and acknowledged in their role as former heads of state. The social function of these pictures varied depending on how the historical and political facts were presented.”- The Lima Museum of Art, has an interesting set mounted as a screen, described in their catalogue in this way: “This emblematic piece condenses different stages of art in Peru, it evokes the pre-Colombian past in the shape of a genealogy of the Incas, a theme which came up in the Colonial period to affirm the idea of legitimate continuity between the former Inca Empire and the Spanish Empire. In this case, however, the absence of the Spanish monarchs responds to a clear republican vindication. The coats of arms of Cuzco and of the Peruvian Republic preside over a sequence of Inca governors beginning with Manco Capac, the legendary founder of the empire, and closes with a figure on horseback identified as the "Liberator of Peru"- Convent of Saint Francis in Huamanga, Peru.- Beguinage of the Convent of Our Lady of Copacabana, Lima.Provenance: - Private collection, Florence. - Private collection, Portugal.
Colonial School. 18th century. "True portrait of Our Lady of Valvanera" Oil on canvas. 142 x 106 cm. The iconography is based on the anonymous engraving dedicated to the General of Earth and Sea, Iñigo de la Cruz Manrique de Lara Ramírez de Arellano (1673-1733). In it, the clothing of the Virgin Mary, the position of the tree, the chest in the foreground and the eagle of the throne can be seen, as well as other details. In front of a large tree trunk rests Our Lady of Valvanera —patron of La Rioja— richly dressed with the Christ Child on her lap and a fruit and a flower in her left hand as bees fly around them, an iconographic symbol. According to legend, the image of Our Lady of Valvanera, which had been carved by Saint Luke and brought to Spain by Saint Peter’s disciples, was discovered by a repentant bandit named Nuño Oñez who had become a hermit. After an angel appeared to him in his cave in the mountains of La Rioja to show him the way, he did not hesitate to make the journey. A priest named Domingo from the Segovian village of Brieva was willing to help him, and their quest came to a successful end in the hollow of an enormous oak tree marked by a honeycomb and a spring which emanated from its roots; three elements which currently identify the patron of La Rioja. Scholars who studied this miracle later linked it to the iconography of Heaven, identifying the tree, fountain of grace, with Christ and linking the bee hive with the faithful congregation and the brightly coloured flowers and birds with Heaven. On discovering the image of the Madonna, the pair formed by Nuño and Domingo moved her to the Hermitage of Santo Cristo, the first place where it was worshiped and where more than a hundred hermits had care over it. It is not made clear in the legend from La Rioja why the Montenegrin Nuño Oñez converted to Christianity. It was attributed to the piety shown by a worker who he was planning to ambush, as the curator Ronda Kasl suggests in his description of the “True portrait of Our Lady of Valvanera” (1770-1780), in the Metropolitan Museum collection. Another story tells that his repentance was caused by the accidental death of his son while trying to get water from the opening of the cave by the river Najerilla (near Anguiano, La Rioja), where father and son lived. This painting can be linked with the similar painting of Our Lady of Valvanera which presides over the main reredos in Saint Maron’s Cathedral, which is currently a Maronite church following Syriac orientation, but until 1922 was the Parish church of Our Lady of Valvanera and, before that, the "Combento de Balvanera". The Franz Mayer museum has a painting by Juan Correa which depicts Our Lady of Valvanera, dated circa. 1665, which has very similar iconography to this one, Also, at the Metropolitan Museum in New York, there is another version by an anonymous artist from Cuzco, dated circa 1770-1780, which was donated by James Kung Wei Li, in memory of the Ambassador and Mrs. Ti-Tsun Li, of the Republic of China, in 2018.
Spanish School; XVII century."St. Vincent Ferrer".Oil on canvas. Relined.Presents perforations, missing a cleaning test and repainting.It has a frame with faults.Measurements: 57,5 x 45,5 cm; 71,5 x 58 cm (frame).San Vicente Ferrer was a Spanish Dominican of the late fourteenth and early fifteenth century, thaumaturge, preacher, logician and philosopher. He preached in Spain and in various cities of Europe, especially in Italy, following the famous vision he had in the city of Avignon in 1398. He was followed by multitudes, and performed numerous miracles. Very important was his active and decisive participation in the Compromise of Caspe, where Fernando de Antequera was elected king of Aragon. Moreover, it is said of him that all those who listened to him understood him, whether they were Castilians, French, Basques, Italians from Piedmont and Lombardy, etc., despite the fact that he always preached "in his Valencian language". To this gift of languages alludes precisely the flame that is usually represented above his head. Called the Dominican thaumaturge saint, St. Vincent Ferrer enjoys a very widespread cult, which led already at an early date to a wide development of his iconography, which is very diverse. Traditionally he is represented with the habit of the Dominican order, with the tonsure, an arm raised pointing to heaven and a parchment on which is read "Timete Deum et date Illia honorem quia venit hora iudicius eius" ("Fear God and give him glory, because it is already the hour of his judgment", AP. 14, 7). He can also appear with a flame on his head, wings on his back, an angel playing the trumpet, a book and a lily.In the work that stands out for its sobriety, the author presents us with a half-length portrait with the saint's face turned to the right and his hands raised in an attitude of prayer. Only the legends that are arranged in the upper part of the composition indicate the identity of the protagonist.
WALTER STEPHENS LETHBRIDGE, (United Kingdom, 1771-1831)."Portrait of a boy with a dog", ca. 1800.Watercolor on ivory.Signed on the back.Measurements: 6.5 x 9 cm; 15.5 x 13.5 cm (frame).Miniaturist trained at the Royal Academy in London, where he began to exhibit annually his works in which appeared characters and theatrical celebrities of the time.In this work, a child wearing a white dress with a low neckline and a blue ribbon is shown seated in the middle of an intimate scene in which a natural landscape can be glimpsed on the left. The infant is accompanied by a dog that stands on his legs as a symbol of fidelity and trust. Miniature painting, especially portraits, developed in Europe from the 16th century onwards. They were mainly paintings embedded in objects such as medallions, table clocks, or small boxes used as a coat of arms. They were made in a variety of techniques, such as oil on copper, tin or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolor on ivory. This delicate art will be lost from the second half of the nineteenth century as the art of photography begins to develop.
Italian school; XVII century."The Sibyl of Cumae".Oil on canvas.Presents repainting and perforation on the canvas.Measurements: 65 x 49 cm; 76 x 58 cm (frame).The Sibyl of Cumae was the priestess who presided over the oracle of Apollonius in Cumae, a Greek colony located near Naples, Italy. Because of the importance of the Cumaean Sibyl in the legends of early Rome codified in Virgil's Aeneid VI, and because of her proximity to Rome, the Cumaean Sibyl became the most famous among the Romans. Within the Italian school it was common, since the Renaissance, to depict Sibyls in compositions similar to those of contemporary portraiture, as ladies richly attired in the fashion of the time. In fact, there are known examples of works in which important aristocrats are portrayed as sibyls, both in Italy and in other countries. In fact, Velázquez himself portrayed his wife, Juana Pacheco, as a sibyl (1632, Museo del Prado). We can also find more recent examples, such as "La sibila de la Alpujarra", a portrait of the singer Carmen Casena made in 1911 by Julio Romero de Torres, currently kept in his museum. At a formal level it is also noteworthy that it is a work where you can appreciate a pictorial influence of the Roman school, the chromatism, warm and around a palette and the perfection of the drawing, as well as the regularity and balance of the ideal face of the figure, which refers to a sensitivity close to a language of classical character.In ancient Greek mythology, the Sibyl was a prophetess, sometimes inspired by Apollo and whose powers had a divine origin. However, the number of these women soon increased from three to twelve, in all cases without knowing their names, but knowing them only by the name of the place where they lived. It was the Renaissance who recovered this figure, considering them heralds of Christ in the pagan tradition in order to give value to it and "Christianize" it. Of all the works in which they appear, the best known is probably Michelangelo's Sistine Chapel Vault, which shows the five most representative of the time (Eritrea, Persian, Libyan, Cuman and Delphic).
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