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283287 Los(e)/Seite
![A group of three 19th century carved giltwood small frames each with a miniature portrait[9x9cm]](https://cdn.globalauctionplatform.com/0f1a65d1-fbdd-43db-81b6-b2d100dd5302/661c4d5a-88b8-4d7c-bb42-b2d4010259b6/468x382.jpg)
![Italian schoolHalf-length portrait of Thomas Aquinas reading the scripturesOil on panel [11x8cm]](https://cdn.globalauctionplatform.com/0f1a65d1-fbdd-43db-81b6-b2d100dd5302/329fb23f-d5ca-42cb-a3a8-b2d4010211b7/468x382.jpg)
![After Rembrandt van RijnHead and shoulders self portrait Oil on panel[43x30cm]](https://cdn.globalauctionplatform.com/0f1a65d1-fbdd-43db-81b6-b2d100dd5302/1af8540d-dc56-4fb3-bb43-b2d40101f20a/468x382.jpg)
![English schoolHalf bust portrait of 17th century gentleman OilOval[10x9cm]](https://cdn.globalauctionplatform.com/0f1a65d1-fbdd-43db-81b6-b2d100dd5302/1d2c14ea-675d-47d5-b1a2-b2d40102404f/468x382.jpg)
![Scottish school 19th century Half-length portrait sketch young piperOil on mahogany panel[20x11cm]](https://cdn.globalauctionplatform.com/0f1a65d1-fbdd-43db-81b6-b2d100dd5302/e2a4c5a0-7154-4c8b-ab30-b2d4010214f2/468x382.jpg)
Los 160
Attributed to Vicente Escobar (Havana, Cuba, 1762–1834)Portrait of the Military Officer José Pascual de Zayas y Chacón76 x 54 cmThe frame of the painting is typical of those commonly used in 19th-century Cuba.Our painting is comparable to two works, the first is a portrait of the same José Pascual de Zayas that is in the Museum of Fine Arts of Cuba painted by Vicente López and the second is a portrait of the Spanish sailor Juan José Ruiz de Apocada y Elizados painted by Vicente Escobar to whom we logically attribute our painting.In both paintings, the portrayed is in the same scenography: he is located next to a column and next to a pedestal on which rests a marble bust, the same as in our work.This portrait presents José Pascual de Zayas y Chacón adorned with numerous medals awarded by King Ferdinand VII for his participation in various battles during the Peninsular War. He is portrayed holding a command baton, symbolizing his military authority.The medals have been identified in rows, from left to right:Row 1:Cross of the Royal and Military Order of San Hermenegildo, established by Ferdinand VII in 1814 at the end of the Peninsular War.Cross of Distinction of the North, Royal Order of March 23, 1809.Cross of Distinction for the First, Second, and Third Armies, Royal Circular of March 31, 1815.Cross of Distinction of the First Army, Circular of January 26, 1817 (Campaigns of 1813 and 1814).Row 2:Cross of Distinction for the Battle of Talavera, Royal Order of December 8, 1810.Cross of Distinction to the Army of Extremadura (Alburquerque), Circular of June 5, 1815.Possibly the Cross of Distinction of the First Army for the 1811 campaign.Row 3:Plaque of the Royal and Military Order of San Hermenegildo, established by Ferdinand VII in 1814.On his left sleeve, he wears the Shield of Distinction for Medellín, Royal Decree of April 1, 1809.Vicente Escobar was a prominent Cuban painter, born in 1762 into a family of officers of the Pardos y Morenos Regiment. Though registered as black at birth, he took advantage of the "Real Cédula de Gracias al Sacar" a Royal Decree of Graces that allowed certain privileges to those who paid for it, and reportedly died as a legally recognized white man. A self-taught artist, his early inspiration came from devotional images inherited from his maternal great-grandmother.In the 1780s, Escobar traveled to Spain, and in 1784 he studied at the Royal Academy of Fine Arts of San Fernando in Madrid, where he was a pupil of Mariano Salvador Maella and became acquainted with the works of Goya. In 1827, he was appointed Pintor de Cámara (Court Painter) by Ferdinand VII. At the peak of his success, Escobar died during a cholera epidemic.José Pascual de Zayas y Chacón was born in Havana on June 5, 1772. He pursued a military career in Spain, stemming from his noble lineage and influential connections with the O’Reilly family. He joined the army at fifteen and was named sub-lieutenant. During the War of the Pyrenees (War of the Convention), he distinguished himself and was briefly taken prisoner, and later freed in 1794. In 1800, he took part in the defense of Ferrol against the British. For his role in the Battle of Brione in 1801, he was promoted to Captain of Grenadiers. In 1807, he served as lieutenant to O’Reilly in Etruria. Though he did not partake in the Denmark campaign due to bureaucratic delays, he was in Spain when the Peninsular War broke out. He died in Chiclana on October 27, 1827, while awaiting a ship to return to the Americas.Bibliography:https://historia-hispanica.rah.es/biografias/45774-jose-pascual-de-zayas-chacon
Los 103
Viceregal School. Lima. Peru. 18th century. Pedro Díaz Circle (Painter active in Lima around 1770-1810)"Portrait of a nobleman"Oil on canvas.79 x 62 cm.This lot comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909). He was a Peruvian military officer and politician who was president of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle phase of the War of the Pacific, an armed conflict between Chile and the allies Bolivia and Peru (1879-1884). He rose to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until he was exiled to Spain in the Peruvian civil war of 1884-1885.A high point of his political-military legacy is the "Grito de Montán", a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between the Iglesias faction and that of the military leader Andrés Avelino Cáceres. The end of that war meant the exile of Iglesias to the south of Spain, where he moved with his descendants and his important art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in Lima's Presbítero Maestro Cemetery, were moved to the Crypt of the Heroes in 2011, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Miguel Iglesias collection, military officer and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day.
Los 75
Wenceslas Cifka (Tscheraditz, Bohemia, then Austrian Empire, 1811 - Lisbon, 1884)“Portrait of Queen Mary II of England, in royal attire.”Painted in enamel on copper. Signed and titled on the back.20 x 17 cm.Based on the engraving published circa 1689-1694 by Peter Vanderbank (Vandrebanc) after the painting by Sir Godfrey Kneller Bt, kept in the National Portrait Gallery (reference no. NPG D32780).Wenceslau Cifka, also known as Václav Cífka, a versatile artist, arrived in Portugal in 1836 on the occasion of the marriage of Ferdinand of Saxe-Coburg-Gotha to Queen Maria II. He established himself mainly as a landscape painter at the Portuguese royal court.Gifted in the arts, and under Ferdinand's influence, he became a regular at auctions, acquiring important collections for the king's gallery. However, it was above all as an artist that he made his greatest contribution to Portugal. As a draftsman, lithographer, photographer, painter, ceramist and enameler, he left remarkable ceramic pieces and very special lithographs and enamels. He was one of the pioneers of photography in Portugal. He was also a pioneer of photographic techniques, he started using the daguerreotype in the 1840s and set up his studio at Rua Direita das Necessidades, nº 31 in Lisbon.He is the photographer of the first photographs of members of the royal family, who until then had only been portrayed by painters, starting with Ferdinand II, father of Pedro V.He is considered to be the first publisher of stereoscopic views in Portugal. Among his disciples were Carlos Relvas, Francisco Augusto Gomes and João Paulo Cordeiro Júnior. He was appointed photographer to the Royal Household and traveled around Europe with the King, specifically in 1854, to update and perfect his techniques in London, Paris and Berlin. As a friend and protector, King Ferdinand acquired most of his work and is represented in much of it, whether in photography or ceramics. His love of ceramics led Cifka to devote himself almost exclusively to artistic earthenware. At the end of his career he joined the Constância ceramics factory, where he specialized in glazes and ceramics. He participated in several exhibitions, at the Lisbon Industrial Exhibition in 1849, at the Philanthropic Exhibition of the Arsenal of the Navy in 1851, at the Paris Universal Exhibition in 1867 and 1878, among others. He was awarded the Gold Medal at the Portuguese Exhibition in Rio de Janeiro in 1879. He held several royal posts, among them that of Photographer of the Royal Household in 1855, Reporter of the Royal Chamber in 1859 and was named Knight of the Order of Christ in 1864. After his death, the artist's work was auctioned by his son Fernando Augusto Cifka and dispersed among private collections and institutions. A catalog was published for the occasion “ Leilão das Collecções de Gravuras, Livros ilustrados, Louças de faiança e da China, India, etc., etc., do fallecido Sr. Wenceslau Cifka, na Rua 24 de Julho 460, 1º andar (Aterro) a começar em 26 de Junho de 1884. Lisboa”.In the 20th century, there have been several exhibitions dedicated to Cífka held in Portugal, among which we highlight:“Wenceslau Cifka. Ceramist, Lithographer and Enameller”, 1949, National Palace of Pena in Sintra, Portugal. Edited catalog.“9ª Exposição Temporária. Desenhos do Album Cifka”, 1948, Museu Nacional de Arte Antiga. Lisbon. Edited catalog.“Cifka - Obra Cerâmica”, 1993 -1994, Lisbon, Museu Nacional do Azulejo, - Instituto Português de Museus.Reference bibliography:https://arquivomunicipal3.cm-lisboa.pt/x-arqweb/Result.aspx?id=66220&type=Autoridade
Los 164
Novohispanic School. Possibly Potosí. Bolivia. Signed Fonceca, 1774."True Portrait of Our Lady of Soterraña"Oil on canvas glued to wood. Signed "fonceca pint." and dated 1774.41,5 x 31 cm. The cartouche at the bottom margin reads: "La Milagrosa Imagen de Nuestra Señora de la Soterraña venerada en Santa María de Nieva, especial defensora de rayos y centellas." (The Miraculous Image of Our Lady of Soterraña venerated in Santa María de Nieva, a special defender against lightning and sparks.)The Virgin of Soterraña is a Marian advocation venerated in the church of the town of Santa María la Real de Nieva in Segovia, where, as reported by Josemi Lorenzo in his interesting research on the church, "ten representations of the Virgin of Soterraña, eight pictorial and two sculptural," are found, indicating the strong devotional weight this image has historically had in the place where it appeared."The image of this Virgin Mary was found at the end of the 14th century buried in a cave on the hill that was then in the municipal district of Nieva. Its name, in fact, means 'subterranean' in old Castilian. As Lorenzo continues to explain, and as we indeed read on the cartouche of this painting, the image was the "special protector against storms and hail [and] was fundamental in an agrarian context which faced adverse weather."Its worship spread to other areas of Spain such as Navarra and Logroño, Lorenzo continues to report, "shepherds and sailors [...], the former through migration, the latter by sailing the sea, spread her virtues and devotion to places such as Argentina, Bolivia, and the Philippines, where a ninth example which has been moved to an unknown location is documented."Of the eight painted depictions in the parish church in Segovia, we would like to highlight the most complex of those preserved, from the first half of the 18th century, where the Virgin of Soterraña with the Child in her left arm is depicted, along with Ensign Alonso del Canto y Ocampo, conqueror of the Philippines in 1563. It is a votive offering made a century after the death of the ensign to whom it is dedicated, which adds additional interest to the painting, as Josemi Lorenzo affirms.Another highlight from amongst these eight is the True Portrait of the Virgin of Soterraña, "exhibited in the northern end" of the church, which, was donated by Alejo Bonifaz and painted in San Luis de Potosí in 1785.With the painting we have in the auction, added to the existing ones, we reach a dozen pictorial representations of this curious Marian advocation. Taking into account the expansion of the worship of the Virgin that we mentioned and that the painting was created in Potosí in 1785, it is reasonable to assume that this painting, from a similar time, came from the same cultural nucleus. Without a doubt, this True Portrait, with the accompanying angels and the liturgical scenery with candlesticks, candelabra, and drapery, is more elaborate than the True Portrait in the church. Reference bibliography:- Lorenzo Arribas, Josemi. (2016). La iglesia de Santa María la Real de Nieva (Segovia). Epigrafía en la portada norte; Lucas el estucador; exvotos pintados; un Niño montañesino, y un lienzo devocional de la Virgen de la Soterraña. Biblioteca. Estudio e investigación", 31, 197-218.
Los 165
Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632)"Our Lady of Silence" Oil on copper. With a chased and embossed silver 18th century frame.23 x 19 cm. Frame measurements: 54,5 x 38 cm. Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.In 1587 he moved to Santafé where he painted a Virgin of Antigua for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a Descent from the Cross, inspired by a painting by Pedro Pablo Rubens, and a Lamentation, which belong to the Convent of Santo Domingo de Tunja. He also painted a penitent Mary Magdalene for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a San Antonio de Padua and a sculpture of Nuestra Señora del Socorro.In 1600, he traveled to Lima, where he made several paintings, including a Señor de la Columna and works for the chapel of the Ánimas in the cathedral.He taught in Lima in 1604 and was appointed painter to the Inquisition. In 1617 he painted the Portrait of Isabel Torres de Oliva, known as Santa Rosa de Lima. After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a Santa Margarita which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year. It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.” Reference bibliography:- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro
Los 143
Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist. These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb. The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition. The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings. He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.
Los 26
Three Lacquer Portrait Medallions. Japan, Sasaya or Kyoto, EDO period (1600-1868). Late 18th. century. Manufactured to be exported to the European market.14 x 9,2 cm. each. Oval copper medallion with gold maki-e decoration (takamakie) on a black lacquered background (roironuri).With effigies of René of Anjou (also known as King René I of Naples (1409-1480), the English poet and essayist John Milton (London, 1608 - 1674) and King Louis XI of France, nicknamed the Prudent (Bourges, 1423 - Plessis-les-Tours, 1483).14 x 9.2 cm. each. The fashion in Europe for this type of oval medallions emerged around 1780. Each consists of a copper panel covered with black lacquer and decorated with gilt hiramakie with portraits in bas-relief, and constitute the first evidence of European decoration in Japanese lacquer.It is believed that their creator may have been Johan Fredrik Baron van Reede tot de Parkeler, head of the Dutch trade mission to Deshima in 1786 and between 1788 and 1789.Several series were produced, made for export, including one depicting famous European kings and queens, generals, scholars and artists. The subjects were copied from l'Europe illustré, a six-volume work published in Paris between 1755 and 1756 and compiled by Dreux du Radier that contained 593 depictions of famous people from the Middle Ages to the mid-18th century.Some examples of such medallions are kept in museums: the Herbig-Haarhaus Lackmuseum in Cologne has three emperors, the Rijksmuseum in Amsterdam keeps a collection of nineteen medallions, acquired before 1829 as part of the Royal Cabinet of Curiosities of King William I of The Hague. Reference Bibliography:O. Impey, Japanese Export Lacquer 1580-1850, Ámsterdam, 2005, pp. 48-52 y 216-217.
Los 1061
Attributed to Honora M Rigby, a carved marble bust portrait of a young lady, on a socle base, 48 cm high, with a period monochrome photograph of the bust, and a matching monochrome photograph, the reverse inscribed 'a portrait of the sculptor Honora M Rigby working on Rusticity, exhibited at The Royal Academy 1904 ' (3) The bust is a little dirty, it is in two part on the socle base, various slight chips to the extremities
Los 126
M Hunter (mid 20th century), portrait of Dewi a WWII RAF Sargent Observer, signed and dated '43. Together with brass plaque of Welsh interest, 'In Esteemed Remembrance of Dewi, from friends and fellow workmates of Tereni Colliery, Godre-Graig, 11th October 1942'. 64x54cm approx. Glazed oak frame. (B.P. 21% + VAT) Appearing in good original condition, care required, picture is loose within frame and under glass.
Los 167A
A superb WWI and WWII Family Medal Group awarded to Sergeant Major Arthur Ernest Gray (Coldstream Guards), his son Lieutenant Stanley Arthur Gordon Gray (Royal Artillery), and Daughter Dorothy Gray.Medals Awarded to Sergeant Major Arthur Ernest Gray (Coldstream Guards):The Most Excellent Order of the British Empire, MBE (Military 2nd type), with miniature, cased. Military Cross (George V, un-named), 1914 Star (1922, C.S.M. MJR. DR. SJT. A. GRAY C. GDS), British War Medal 1914-20 (1922 W. O. C. I. A. GRAY. C. GDS.), Victory Medal (1922 W. O. C. L. 1. A. GRAY. C. GDS), with leaf, Jubilee Medal 1935, Army Long Service and Good Conduct (George V, post 1917 ribbon - "1922 S.MJR A.GRAY C.GDS"), Army Meritorious Service Medal (George V - "1922 S.MJR A.GRAY M.C 3/C.GDS"). Defence Medal (1945), War Medal 1939-45, 1911 Army Rifle Association - Roberts Cup (hallmarked silver) and 1912 Army Rifle Association Medal (cased).Son, Lieutenant S.A.G. Gray (Royal Artillery), War Medal 1939-45, 1939-45 Star, Pacific Star (all un-named).Daughter, Dorothy Ethel Gray - Imperial Service Medal (cased).Together with a large collection of ephemera, military certificates, pictures and framed portrait of Serg. Major A. Gray. One document dated 30th April 1916 from the War Office 'Mentioned in Dispatches', signed by Winston Churchill. Documents regarding the death and burial of Lieutenant S.A.G. Gray in Singapore, Feb 1942. (B.P. 21% + VAT)Sergeant Major Arthur Ernest Gray (Coldstream Guards) - Record of Service:Enlisted in Bath, 17th August 1898.22 years Coldstream Gds 1898 to 1920. 6 Years R.S. Major awarded M.C. and M.S.M.12 years Leicester Yeomanry 1926 to 1938 Captain and Quartermaster. Awarded M.B.E. (Mil Div)4 years & 4 months Gen List Infty 1941 to 1945. Adjt & Quartermaster. 10th Bn, Leics Home Guard. Rank of Captain.Son, Lieutenant Stanley Arthur Gordon Gray (R.A.) - Buried in Singapore (Kranji War Cemetery)
Los 201
A box containing British WWI Medals awarded to Pte W. W. Jones (Royal Welsh Fusiliers), together with 'The Welch' cap badge, Fusilier badges, medal ribbons, 1951 George VI Festival of Britain Crown (in box), small metal trophy and un-named black and white portrait photograph.British War Medal 1914-20 (74974 Pte W. W. Jones R. W. Fus), Victory Medal (74974 Pte T. W. Jones R. W. Fus). Together with, letter returning 'Prisoner of War' (POWs) from George V, Portrait photographs and postcards and Employment, Demobilization, Transfer and Identification papers for T.W. Jones.(B.P. 21% + VAT)
Los 331
19th century porcelain oval portrait brooch, probably German, together with a 20th century portrait miniature of a young girl, in a shield shaped velvet tassel frame. 5.25x4cm approx. and 8.5x6.5cm approx. (2) (B.P. 21% + VAT) the porcelain brooch appears to be cracked above the gentleman's hat. The portrait miniature of a young girl is in good condition.
Los 267
G Gwilim, cartoon portrait study annotated 'To my Friend Frank Hinton', to remember 'Good Hope-Castle and Genoa City, City of Superbia from your old amigo Artist G Gwilim'. Watercolours and pastels. 32.5x20cm approx. Together with an original Spy print Navy Control and another portrait study in watercolours an ink, W John Walker '35. Framed (3) (B.P. 21% + VAT)
Los 70
A late 19thC continental pottery wall plaque, of circular form, decorated in relief with the bust portrait of a lady, 22cm wide, together with a pair of Wedgwood blue and white pottery plates, printed with Sweet Briar House, Sweet Briar College, printed marks, and a Lingard pink pottery teapot, modelled as The Old Woman Who Lived in a Shoe. (4)
Los 993
WELSER, G. Opera historica et philologica, sacra et profana (…). Nuremberg, W. Möritz & J.A. Endter Sons, 1682. (18), 68, (40), 908, (26), (1 blank leaf), (64) pp. W. engr. front., engr. portr., 51 text-engrs. (some double-p.; of which 14 maps) and 2 double-p./fold. engr. maps as well as 16 engr. head- & tailpieces and 1 engr. initial. Fol. Cont. vellum. (Part of vellum of lower spine gone, browned/foxed in places).NOTE: First complete edition. Lavishly printed and illustratively decorated collection. Comprises the famous Tabula Peutingeriana (copy of a Roman world map, made in the 12th century and first released by Welser in 1591), rendered in 12 nice copper maps. Also comprising writings about the history of Augsburg, the history of Bavaria and accounts of saints, among them Welser’s Rerum Boicarum libri quinque (pp. 1-176), which was first published in 1602, counting among the first critical works on the history of Bavaria. – The maps show Venezuela, Würtemberg-southern Bavaria, France, Spain and Italy. - "The American interest lies in the Vita of the author which includes an account of his family, the merchant house of Welser. Under authority from Charles V. they governed Venezuela for their own profit from 1528-1555" (Sabin). - With 26 pages with typographic figures printed in red and black. - This copy is a print variant (of two) with the portrait on verso (see VD 17). - VD 17, 12:130131B; Graesse V, 246 & VII 275; Sabin 102615.
Los 895
MARNIX van St. ALDEGONDE, Ph. v. De Byen-corf der H. Roomscher Kercke. Amst., J. v. Ravesteyn, 1657. (8), 234, (6) lvs. W. engr. title containing a portrait of the author. Sm-8°. Cont. vellum. (Annot. on free endpaper, sl. browned).NOTE: Most famous satire produced by the Reformation against the Roman Catholic Church, written by the famous Philips Marnix van Sint Aldegonde (1538-1598), the soul and genius of the Dutch Reformation and rebellion against Spain. First published in 1569 the work became immensily popular, was translated into German, English and French, and was continuously re-published until far into the 19th century.
Los 852
PORTRAITS -- "JACOBUS ELISA JOANNES CAPITEIN, Africaansche Moor, beroepen Predikant aan het Kasteel st. George op d'Elmina". First h. 18th c. Engr. portr. by F. v. Bleyswyck. 227 x 172 mm. (Margins trimmed close to image, but in v.g. condition). -- Added: "MAGNANIMUS VIR, D. Henricus Cornelius Longkius, (…), Societatis Indiae Occidentalis permissae, (…)". The Hague, 1630. Engr. portr. by W. Hondius (c. 1599 - c. 1659) after I. Mijtens. 425 x 301 mm. (Trimmed close to image and remargined unprofessionally, a bit browned). Impressive portrait of admiral Longkius of the W.I.C. at the age of 62. -- And 17 o. portraits (incl. duplicates), incl. 11 portraits of indigenous South American rulers (i.a. of Athabaliba and Muteczuma). -- (19).
Los 840
CRANACH, Lucas (1472-1553), after. ("Christ and the Apostles"). N.d. (c. 1550?). Series of 13 woodcuts of Christ and the Apostles portrayed in full, all v°'s blank. Each c. 315 x 180 mm. All hinged to cardboard mounts, divided over three separate 19th c. gilded oak wooden frames w. red velvet striping, each 'portrait' having its own glass window. (Margins trimmed/cut close to/on/over border line, some foxing/browning, and slight staining in places).NOTE: Very rare series, strongly resembling the series by Cranach, but with considerable differences (i.a. the adding of 'landscapes' at the foot of each print). Despite our efforts we have not been able to detect a similar series, neither in a collection, nor in auction. Our series does not include St. Peter. Each woodcut carries in the left outer section a 'stamp' which could be seen as a monogram? Thanks to the kind assistance of Frans Laurentius we could identify a watermark in 1 woodcut (most likely - as a coat of arms together with a rooster). This type of paper originates from Troyes in Champagne and was probably produced by the Nivelle family of papermakers, dates range between 1546 and 1557. - Cf. Dodgson, Early German & Flemish woodcuts, 103-116; Hollstein, German, 31-44.
Los 949
DIT IS DIE AFCOEMSTE en de Gena(!)logie der Hertoghen ende Hertoginnen van Brabandt, vande welcke de eerste was Salvius Brabon (…). Antwerp, J. Mollijns, 1565. 38 lvs. W. 71 full-p. woodcut portraits in the text with broad woodcut border on the outer margin. - Bound with: DIE NIEUWE CHRONIJCKE van Brabandt oft vervolch vande oude. Midtsgaders Vlaenderen, Hollandt en Zeelant, (…). Antwerp, (etc.), J. Mollijns, 1565. (4), 457, (3) pp. W. large woodcut portr. of Charles V on the ti-p. and 8 woodcuts in the text. (As often, lacking the fold. representation of the canal between Brussels and Antwerp (= leaf 1A1)). - 2 in 1 vol. Fol. Cont. vellum. (Lower spine repaired w. vellum, light waterstains in places).NOTE: Ad 1: Complete series of very nice portraits of the dukes and duchesses of Brabant, depicted together with their coats of arms. Belg. Typ. 47 (&5009!). Ad 2: Rare chronicle, dealing with the period 1516 to 1565. The woodcuts include a very fine woodcut of Antwerp w. people skating on the river Schelde and a large portrait of Phillip II. Belg. Typ. 2211; Moes & Burger 155; Typ. Batava 3639.
Los 944
(AURELIUS, C.). Die Cronycke van Hollandt, Zeelandt en Vrieslandt beghinnende van Adams tiden (…) voertgaende tot de iare MCCCCC ende XVII. (Leyden, J. Severs, 18 aug. 1517). (2), 436, (4) lvs. W. title printed in red and black and with a large (partly handcold.) woodcut, 241 woodcuts of various (large) sizes. (Without the worldmap as usual, but besides that a complete copy even with the rare 4 index leaves at the end loosely added (margins of this 4 lvs. cut too short, affecting text)). - Bound with: Incomplete copy of: VANDEN ALDER VICTORIEUSTEN, ende onverwinlijcsten Prinche Karolus, Keyser van Romen, Coninck van Spaengien (…). Antw., W. Vorsterman, (1531). W. a large three-quarter portrait of Charles V on ti-p. & sev. woodcuts in the text. (11 lvs. lack). - 2 in 1 vol. Rubricated in red. Fol. Old blind tooled cf. over wooden brds. w. brass clasps and catches, brass bosses on every corner and in the centre. (Skilfully rebacked, 1 clasp missing, margins stained in places, especially lower margin).NOTE: Extremely rare first edition with fabulous woodcuts of the so-called "Divisiekroniek" written by Cornelius Aurelius de Gouda who lived & worked in the monastery Sint Hieronymusdal or Lopsen near Leiden. The work is based on several medieval chronicles, like the "Chronicon Hollandiae" by Joannes a Leydis, the "Cronica van Coellen" (1499), "Fasciculus temporum" by Veldenaer (1480), Richard de Bury's "Philobiblon" and the "Kroniek van Holland" by the Clerc uten Lagen Landen. The woodcuts i.a. by Lucas van Leyden, and copies after Hans Burgkmair. The work is one of the most famous publications of the Leyden printer Jan Severs who started printing ca. 1501. - Nijhoff-Kronenberg 613; Adams A-2253; Haitsma Mulier/v.d. Lem 20a; De Wind 112-13.
![DITS DIE EXCELLENTE CRONIKE va[n] Vlaendere[n], beghinnende va[n] Liederick Buc den eersten forestier tot de[n] laetste[n] (…](https://cdn.globalauctionplatform.com/8e6e8cbe-38a1-4db3-85fa-b2b100d7b4cf/d5fcc7bb-4595-40b7-ad07-b2b100efb21a/468x382.jpg)
Los 950
DITS DIE EXCELLENTE CRONIKE va[n] Vlaendere[n], beghinnende va[n] Liederick Buc den eersten forestier tot de[n] laetste[n] (…) tot desen onsen doorluchtichste[n] hoochghebore[n] Keyser Karolo (…). - Followed by: VANDEN ALDER VICTORIEUSTEN, ende onverwinlijcsten Prinche Karolus, Keyser van Romen, Coninck van Spaengien (…). Antw., W. Vorsterman, (1531). 2 in 1 vol. (6), CCC; lix (= lx), (5) lvs. Title printed in red & black, illustrated with numerous woodcuts: large ill. on title showing equestrian portrait of Charles V, a large three-quarter portrait of Charles V on second title, circa 195 woodcuts in text (with repetitions), with the rare double-page view of the Siege of Vienna by the Turcs. Sm-fol. Mod. full calf blind tooled binding in antique style w. dust-jacket and matching slipcase, margins cut, but red-sprinkled. (A few marginal annot. in an old hand at the beginning, small marg. waterstain in lower margin of sev. lvs., some lvs. misbound (see note), but an extremely clean and complete copy).NOTE: First and only edition of this renowned medieval history of Flanders from the mythical beginnings up to the first years of the Habsburg period; the latter part probably written by the Bruges poet Anthonis de Roovere. - Bibl. Belgica I p. 998/1004; Nijhoff-Kronenberg 659; STC Dutch p. 76; Adams F285; Machiels K301; Funck p. 293: "Un beau spécimen de la typographie néerlandais du XVIe siècle". Misbound: leaf g5 (=41) bound between g2 & g3 (=38-39); second part: A-E6, H1-4, I-K6, F6-G8, L6 (complete, but F6-G8 bound after K6).
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