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Preisdatenbank abonnierenWilliam Mineard Bennett (1778-1858); Portrait of William Routley, Hotel Keeper in Manchester and London (1817-?), oil on canvas, signed 'WM Bennett, 1852', H-86cm x 76.Bennett was a pupil and imitator of Sir Thomas Lawrence (1769-1830) and established a career as a painter of portraits and miniatures. He exhibited on multiple occasions at the Royal Academy.
Collection of Silver proof coins to inc. The Pietro Annigoni Queens Portrait Silver Proof Coin & The Queen Elizabeth II Coronation coin (both 28.28g), 2018 Royal Mail Centenary of World War One Silver Proof Coin cover with Harrington & Byrne COA (12g), The London Mint Office World War I Silver Commemorative coin encapsulated with COA (28.28g) 4 Royal Mint £20 Fine Silver Coins and Westminster Red Arrows Silver Presentation Cover (1oz)Shipping £33.00 plus vat (UK Only)
York Racecourse Collection - Collection of prints to inc. print from a portrait sketch of Fred Archer by Leon Richeton, unframed print of Sir Tatton Sykes, unframed print of James Walker, c19th Print of Blink Bonny winner of the Derby and Oaks Stakes at Epsom 1857, c19th print of Blair Atholl Winner of the Derby Stakes at Epsom 1864, c19th Print of Anvil, c18th print of Mr. Tattersall, c20th print of King Edward VII with Minoru winner of the 2000 Guineas and the Derby 1909 & framed coloured print of Eclipse by Stubbs (9) Shipping POA https://www.bradleys.ltd/quotation-request-form
Manner of David Tenniers, 'The Pipe Smoker', oil on oak panel, 14.2 x 12.3cm; together with a bust length portrait of Henry VIII, oil on pine panel, 18 x 17.5cm; and a study of a bearded gentleman counting money, oil on mahogany panel, 26.5 x 21.5cm, each unframed, (latter broken in two). (3)
Charles Hubert Umbert Megabyte Primrose (1801-1902). Repousser copper portrait plaque in oval frame. Note to rear: 'Our Founder Charles Hubert Umbert Megabyte Primrose 1801-1902 Friend of Charles Babbage and self-proclaimed lover of Lady Ada Lovelace without him, the Analytical Engine would never have been completed”. Height: 55cm
A United States of America Ten Dollar Gold Eagle Liberty Head, 1887, 16.7g, fineOn the surface of the obverse and the reverse there are numerous scratches and areas of pitting, on the reverse where the eagle clutches the arrows there is a reddish hue, some dirt build up between the letter E, minor edge knocks all the way around, on the obverse and reverse the portrait and legends show minimal signs of wear and are still very clear and defined. Overall the coin is in a fine to very fine condition.
An early portrait on oak panel depicting a gentleman, overall 15 by 14cms.Condition ReportThere is a loss to the top right corner to the border, it is very grubby and has some flaked paint losses, mostly to the edges, some of the oak panel has broken, mostly at the corner areas, there are some deep scores through the painting and a few areas of minor loss to the centre of the painting itself, otherwise looks to be in good overall condition
A 19th century burr wood trencher salt, 11cms diameter; together with a silver topped miniature scent bottle; a miniature Bohemian flashed glass mug; a papier-mâché snuff box; and an overpainted portrait miniature photograph of a young lady (5). Provenance: property of the late actor Michael Gough
A 19th century Sheraton revival satinwood and painted work table, the square lift-up lid decorated with a central oval portrait miniature of a young lady enclosing a fitted interior with pin cushion, the body decorated with foliate swages to all sides, with pleated silk well, on square tapering legs joined by an under-tier, 32cms wide. Provenance: property of the late actor Michael Gough.
This finely executed engraving by Augustin de Saint Aubin depicts Henri Louis Cain, known as Le Kain, a prominent French actor of the 18th century. The portrait presents Le Kain in an elaborate theatrical costume, adorned with a richly decorated turban and luxurious robes, emphasizing his dramatic presence. Set within an ornate oval frame, the composition reflects the refined engraving techniques characteristic of Saint Aubin work, known for his precision and delicate linework. The engraving captures the essence of 18th century portraiture, blending theatrical grandeur with neoclassical elegance. Framed.Artist: Augustin de Saint Aubin (French, 1736-1807)Dimensions: 18.5"W x 24.5"HCondition: Age related wear.
Vintage sheet music for Mr. Success, written by Edwin Greines, Hank Sanicola, and Frank Sinatra. Published in 1958 by Barton Music Corp., this piece captures Sinatra’s signature style during his late '50s resurgence. The cover features a bold red design with a striking portrait of Sinatra in a suit, reinforcing his polished, charismatic persona. Mr. Success was a notable hit, further establishing Sinatra’s dominance in the music industry. A must-have for collectors of mid-century American music and Sinatra memorabilia.Issued: 1958Dimensions: 12"HCountry of Origin: United StatesCondition: Age related wear.
This compelling oil on canvas painting, created by Palm Beach artist Annette Krauss Rose, features a captivating portrait of a young woman. Rendered in soft, muted tones with a blend of realism and artistic expression, the composition draws the viewer into the subject's pensive gaze. Krauss Rose's mastery of light and shadow is evident in the atmospheric background, lending depth and intrigue to the piece. The sitter's thoughtful expression and poised posture reflect the artist's skill in capturing human emotion. Annette Krauss Rose, a student of Tonalist and Impressionist Frank Vincent DuMont in New York City, is celebrated for her evocative portraiture and nuanced brushwork, which distinguish her works as timeless. This painting is housed in a textured white wood frame, enhancing its elegance and ensuring it will complement a variety of settings. Artwork dimensions with frame: 27"L x 32"H.Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
This is an expressive and poignant portrait by Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, showcasing her remarkable talent in capturing human emotion and individuality. The piece features a young girl with a reflective expression, accentuated by delicate brushstrokes and soft, naturalistic tones. Her white blouse, adorned with a playful plaid design, is complemented by a striking orange bow, adding a vibrant focal point to the composition. The background's muted gray hues contrast beautifully with the subject, further drawing the viewer's attention to her introspective gaze. Annette Krauss Rose, known for her sensitive portrayals and skillful rendering of light and texture, imbues this painting with a timeless quality. This work is executed on canvas and displays evident age-related wear, including surface stains and minor edge fraying, which add to its charm and authenticity.Artist: Annette Krauss Rose (American 20th Century)Dimensions: 22"L x 26"HCountry of Origin: USACondition: Age related wear.
A striking black-and-white etching by Leonard Baskin depicting a portrait of the influential British designer, poet, and socialist William Morris. Rendered in Baskin's signature linear and expressive style, the piece captures Morris with his distinctive full beard and flowing hair, created through an intricate network of interwoven lines. The etching is signed in pencil by Baskin, accompanied by his characteristic monogram, and numbered 146/175, indicating its place in a limited edition. Baskin, known for his powerful depictions of historical and literary figures, brings a sense of gravitas to the subject, emphasizing both Morris's intellectual presence and artistic legacy. A compelling work for collectors of 20th-century printmaking, literary portraiture, or those with an appreciation for the Arts and Crafts movement. Artwork can be unframed and rolled for shipment.Artist: Leonard Baskin (American, 1922-2000)Issued: 1969Dimensions: 11.25"L x 14.25"HCountry of Origin: USACondition: Age related wear. Glass missing from frame.
A sealed 750ml bottle of Diplomatico Reserva Exclusiva Rum, produced in Venezuela and bottled at 40% alcohol by volume. This rum is part of a gift set that includes the original presentation box along with two clear glasses. The rum is a blend of selected aged reserves, identified by the manufacturer as having aromatic characteristics of orange peel, toffee, and licorice. The bottle features embossed and printed labeling, including the portrait design associated with the Reserva Exclusiva line. The gift box is marked with product and brand details and includes a fitted window display for the bottle and accompanying glasses.Dimensions: 10"HCountry of Origin: Venezuela In-house shipping from Lion and Unicorn is not available for this lot. Winning Bidders will have to arrange to pick up their purchases at the Lion and Unicorn Auction Studios at 200 Oakwood Ln. Suite 200 Hollywood, Florida 33020, or make arrangements with their own third-party shipper. A local third-party shipper that can be contacted directly for a domestic shipping quote is: First Class Shipping Center 7826 NW 44th Street Sunrise, FL 33351 Tel: 754-800-7674 Fax : 954-999-5166 Email: 1shippingcenter@gmail.com https://www.1shippingcenter.comCondition: Age related wear.
This limited edition black-and-white portrait of Gilbert Roland was captured by legendary Hollywood photographer George Hurrell (1904-1992), renowned for his glamorous portraits of Golden Age film stars. The striking image showcases Roland in a classic, debonair pose, emphasizing Hurrell's mastery of light and shadow. Numbered 89/110, this piece is hand-signed by Hurrell in the lower right margin, adding to its authenticity and collectible value. The photograph is elegantly framed with a black border and white matting, making it an excellent addition for collectors of classic Hollywood photography and fine art portraiture. Artwork can be unframed and rolled for shipment.Artist: George Hurrell (American, 1904-1992)Issued: 20th centuryDimensions: 16.5"L x 20.5"HCountry of Origin: United StatesCondition: Age related wear.
Released by Reprise Records, That's Life (F-1020) is a mono pressing featuring Frank Sinatra’s powerful vocal performances arranged and conducted by Ernie Freeman. This album includes standout tracks such as "That's Life," "Winchester Cathedral," and "The Impossible Dream." The cover features a vibrant painted portrait of Sinatra, smiling in his signature fedora, while the back cover provides liner notes and track details. Pressed on a 12" LP (12.5"L x 12.5"W) with Reprise’s classic label design, this record is an essential addition for fans of Sinatra’s bold and expressive mid-1960s recordings.Dimensions: See DescriptionCondition: Age related wear.
Original 1957 Liberty Records pressing of My Foolish Heart by jazz vocalist Donna Fuller, featuring arrangements by Pete Rugolo and his orchestra. Showcasing her smooth, expressive vocal style, the album includes classic standards such as I'm Getting Sentimental Over You, Love Spells Fool, and All or Nothing at All. Released in Liberty’s high-fidelity “Spectra-Sonic-Sound,” the record captures the lush orchestration and atmospheric quality of Fuller’s vocal interpretations. The album cover features a striking, moody portrait, adding to its mid-century collectible appeal.Issued: c. 1950sDimensions: 12.5"LCountry of Origin: United StatesCondition: Age related wear.
Portrait painting by Palm Beach artist Annette Krauss Rose, a 20th-century artist who studied in New York City under Tonalist and Impressionist Frank Vincent DuMond. This unsigned painting features a detailed depiction of a woman with a serene expression, adorned in layered necklaces against a soft, neutral-toned background. Measuring 24”L x 30”H, the artwork is unframed, showcasing Rose's delicate and impressionistic style, reflecting her artistic training and influences.Artist: Annette Krauss Rose American 20th CenturyIssued: 20th centuryDimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772"Portrait of Manuel López-Pintado y Almonacid"Oil on canvas.111,5 x 97 cm.Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América in Madrid has a still life by his hand (inv. 2021/04/01).He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of the painter.The iconographic themes of his artistic production are varied. Urban views, devotional and allegorical motifs, sacred history and several portraits known to date, including those of several viceroys and a portrait of King Charles III dated 1760.Focusing on the painting we present here - and delving deeper into the identity of the sitter - the clothing and important coat worn by the sitter in our work behove us to mention two paintings on canvas that we can compare stylistically and help us to date and geographically locate the painting to the first half of the 18th century in New Spain. We are talking about the portrait attributed to the painter Juan Rodríguez Juárez of Viceroy Juan Vázquez de Acuña y Bejerano (1658-1734), Viceroy of New Spain between 1722 and 1734; and the portrait of Viceroy Pedro Cebrián y Agustín (1687-1752), Viceroy of New Spain between 1741 and 1746.The attire and accessories of the sitter in our painting are comparable in quality, materials and design to those worn in the portraits of the Viceroys of the 18th century. From this we can deduce that the sitter enjoys a very high social status, possibly among the nobility or great merchants of globalisation.It should also be noted that our noble and illustrious personage holds a magnifying glass in his left hand. This element and the book of cartography resting on the table next to the silver inkwell with its quills relate the sitter to maritime activity. In this sense, moreover, the design of the decorative patterns of the garments reminds us of the waves of the sea and the symbols on the sleeves are related to the four cardinal points.The proposal suggested to satisfy the mystery of the identity of the man portrayed is that of Manuel López-Pintado y Almonacid, Admiral of the Fleet of the Indies, who was born in Toledo in 1677 and died in Seville in 1745.A portrait of Manuel López-Pintado, dated 21 December 1730, is kept in the Naval Museum in Madrid.As the Royal Academy of History informs us, "The great wealth of López-Pintado, a mixture of sailor, soldier and businessman, originated from the title of silver-master granted to him by Sebastián de Talledo in Madrid in 1704. [...] He was a deputy of the royal fleets until he obtained the title of admiral of the Fleet of the Indies in 1715-1716, and in that post he acquired a large fortune that enabled him to invest in land, buying and improving various estates and mills in different towns in the province of Seville. [...] In 1737, Philip V granted him the title of Marquis of Torre Blanca del Aljarafe, with the previous viscountcy of Cabrejas". Reference bibliography:- Caño Ortigosa, José Luis. (n.d.). "Manuel López-Pintado y Almonacid". Real Academia de la Historia. https://dbe.rah.es/biografias/51501/manuel-lopez-pintado-y-almonacid
Novo-Hispanic school. Mexico. 17th century.“Portraits of Alexander the Great and El Çid Campeador”Pair of oil paintings o canvas.180 x 102 cm each.An unusual pair of portraits of historical personages, that possibly belonged to a Castilian military emigrant, who admired the artist and commissioned them for his villa, mansion or palace.With rigid brushstrokes, each of which is at the same time detailed and personal, this artist of the Mexican School has painted faces with more indigenous features than those the portrayed characters would have had. And their breastplates are more typical of the time of the portrait than of the real attire that both would have worn. In both large-format canvases they are designated with their names, Alexander the Great and Osid (abbreviation of the time for El Çid), they reflect the hieratic and imposing triumphalism of both warriors, who were generals and conquerors.The portraits correspond to the viceregal pictorial tradition developed in New Spain during the seventeenth century which is linked to the production of official portraits and heroic representations, mixing European influences with a local reinterpretation of the symbols of power, as well as the need to legitimize the power and story of the Hispanic monarchy in Latin America.A portrait of Hernán Cortés, by an anonymous artist, kept in the Museo de las Culturas de Oaxaca, depicts the conquistador in richly decorated armor, holding a command staff, in a format that links him to the royal portraits of the House of Austria. This portrait shares technical and stylistic similarities with the two portraits we present here, which are possibly based on a larger series of historical and mythological characters, and which show Alexander the Great and El Çid, an emblematic figure in the history of Spain.The three paintings - the one in the museum and these ones in the auction - have solemn composition, with the figures standing, dressed in armor that evokes power and authority. The light comes from a main focus that accentuates the metallic gleam of the armor and facial features, generating a dramatism characteristic of the Baroque and suggesting the influence of 17th century Spanish courtly portraiture, where power was represented and manifested through rich clothing and military ostentation. Alexander the Great is depicted in golden armor ornamented with lion heads on the greaves, a symbol of his strength and connection to divine power. El Çid, with his sword drawn and a defiant gesture, emphasizes the heroic representation with epic overtones. The density of the brushstrokes on the faces refers to European models such as the portraits of Philip II and Philip III, adapted to a Novohispanic context.The visual elements that can be appreciated in the paintings reinforce the heroic condition of the characters: the richly decorated armor indicates nobility and military valor, while the attributes such as weapons, banners and shields refer to their warlike exploits. Alexander the Great appears with iconography reflecting the Renaissance tradition, underlining his image as a strategist and conqueror of empires. Born in 356 B.C., he was a conqueror who formed one of the greatest empires in history. Born in Macedonia, when it was a kingdom in the north of Greece, son of King Philip II of Macedonia, he inherited his father's throne after his death and expanded the territory as far as northern India. He defeated the Persian Empire and conquered a vast territory stretching from his native Greece to northern India. He spread Greek culture, which he would fuse with the cultures of the subjugated regions, language, politics, art, literature and religion.El Çid Campeador represents the idealization of the Christian knight, a model of virtue and bravery. Rodrigo Díaz de Vivar (Vivar?, 1048 - Valencia?, 1099), known as El Çid Campeador, was a Castilian military leader who came to dominate the Levant of the Iberian Peninsula at the end of the 11th century at the head of his own army. He conquered Valencia and established an independent lordship in the city from June 18, 1094 until his death. His wife, Jimena Díaz, inherited and maintained it until 1102, when it passed back to Muslim rule. Hero of Castile and crusader for the Reconquest, throughout his life, he placed himself at the orders of different warlords, both Christian and Muslim, fighting as his own master and for his own benefit. His deeds and actions were sung and recounted in Spanish literature in the so-called “Cantar de mío Cid” (Song of El Çid). His name, el Campeador, means expert in pitched battles and his name, El Çid, from the dialectal Arabic (-sidi-), means lord.Representations of Greco-Roman and medieval heroes in viceregal painting also served to consolidate the Creole identity, exalting models of bravery and leadership in a context of growing vindication of the local elites.Reference bibliography:- Burke, Marcus. (2004). "Retratos de poder en la Nueva España". México, INAH.- Gruzinski, Serge. (1993). "El águila y la Sibila: México barroco". FCE.- Museo Nacional de Historia, Castillo de Chapultepec. Inventario de pintura virreinal.- Toussaint, Manuel. (1965). "Pintura colonial en México". UNAM.
Isabel de Santiago (Real audiencia de Quito, circa 1660/1670 - 1714)“Tota Pulchra”.Oil on canvas.77 x 69 cm.Exquisite portrayal of the Immaculate Virgin Mary ascending to heaven, surrounded by a crown of flowers, painted with the perfection of a renowned female painter from Quito, with the sensitivity of a woman with great taste in painting, Isabel De Santiago. This painting reflects the “Tota Pulchra es María” (All Beautiful) very well .Tota Pulchra is an ancient catholic prayer thought to have been written in the 4th century. It is one of the five antiphons for the psalms of the second vespers of the feast of the Immaculate Conception, December 8th. The text is taken partly from the Book of Judith and partly from the Song of Songs.With a golden background that speaks of the divinity of Mary, the artist decorates the scene in seventeenth-century taste with flowers, giving cheer to the image. She Who Ascends, Enlightened and All Beautiful is the faithful reflection of the text of Revelation, 12: u1-6, “a great sign appeared in heaven, a woman wrapped in the sun with the moon under her feet, and on her head, a crown of twelve stars”.This painting shows exquisite taste for art reflected in each brushstroke, as Isabel de Santiago was the daughter of the famous painter Miguel de Santiago, from whom she would inherit her gifts and qualities for art, besides being one of the very few women who achieved recognition in the era of development of Spanish-American viceroyalty art. The artist was attracted to painting from a very young age, a passion she shared also with her second husband. She began to train and work in Santiago's workshop as a teenager. She would later become its the owner and worked there with her husband. She was widowed in the early 1700s and in 1706 she continued painting until the day of her death, which occurred in Quito in 1714. She was buried in the Convent of La Merced, near her home. This convent is where her best known painting is found, the postumous portrait she painted of Sister Juana de Jesús, a Poor Clare nun, to whom they attributed the saintly behavior.This episode, recounted by biographer Francisco Javier Antonio de Santa María, reinforces Isabel's singular talent. After the nun's death, her husband Antonio Egas, unable to paint the portrait, delegated the task to Isabel, who managed to capture the essence of Sor Juana based solely on her memory. This fact evidences not only Isabel's technical skill, but also her capacity for empathy and spiritual understanding, qualities that are also reflected in our Tota Pulchra, where the figure of the Virgin exudes unequaled serenity and majesty.In the painting that we describe we see her personal stylistic marks, floral beauty, the luminosity conveyed in each brushstroke and the presence of minuscule details, almost like those seen under a magnifying glass, which are always present in all her artworks. This painting is very reminiscent of two others of hers: “Our Lady of Roses”, which she painted for the convent of Santo Domingo, and “Our Lady of Flowers”, which is in the Colonial Art Museum of Quito. There is also a painting of the Archangel Saint Gabriel in which the flowers and gilded decoration underline the celestion majesty of the subject, just like the painting we have here. This painting is also a canvas worthy to be placed in any museum.The use of gold by Isabel de Santiago, applied on large surfaces and in minute detail, gives her works an unusual brilliance even within the context of the Quito School, where gold was common but rarely used with such delicacy.Her life, marked by humility and devotion, reflects the silent but constant struggle of the women artists of her time, who managed to transcend gender barriers and leave a lasting legacy. In Tota Pulchra, Isabel de Santiago not only depicts the Virgin as Queen of Heaven, but also reveals herself as a visionary artist, capable of capturing a deeply spiritual vision of art.Reference bibliography: - Martín Martín, Inmaculada. (2010). “El pintor quiteño Miguel de Santiago (1633-1706)”: Universidad de Sevilla.- Martín Martín, Inmaculada. (2007). “Leyendas de un artista. A propósito del pintor quiteño Miguel de Santiago”. Publicado en: “De Arte” N.º 6.“Isabel de Santiago: una pintora quiteña del siglo XVII” Inmaculada Martín Martín.Publicado en: “De Arte” N.º 7, 2008.- Escudero-Albornoz, Ximena y Escudero de Teránz, Ximena. (1992). “América y España en la escultura colonial quiteña: historia de un sincretismo”. Ediciones del Banco de los Andes.- Borchart de Morenoz, Christiana Renate. (1998). “La Audiencia de Quito: aspectos económicos y sociales (siglos XVI-XVIII)”. Editorial Abya Yala.
Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"Saint Raymond of Penyafort"Oil on copper.21 x 16,5 cm.Attributed to the renowned painter Bernardo Rodríguez, an emblematic figure of the 18th-century Quito School, this work reflects his technical and artistic mastery and is executed in oil on copper. The precision of details and delicacy of brushwork suggest the piece probably dates to the mid-18th century.The artist’s draftsmanship is exceptional, evident in the composition’s impeccable organization and meticulous treatment of details.We compare this copper painting to other depictions of saints like Jerome and Augustine, also attributed to Rodríguez, which, alongside works of Saints Ambrose and Gregory the Great, form the series of the Four Fathers of the Church at the Museo de San Agustín in Quito (Ecuador). Such comparisons highlight Rodríguez’s skill in gilding and his ability to infuse artistic grandeur into even small-format compositions, as seen here. The portrayal of Saint Raymond of Peñafort adds unique dynamism through its maritime narrative and subtle landscape details.Similarly, the painting “Saint Anthony of Padua and the Miracle of the Resurrection” at Quito’s Museo Convento de San Francisco enriches this comparative analysis due to stylistic and compositional parallels with the depiction of Saint Raymond we have here. Though Saint Anthony is painted on canvas and lacks gilding, both works share remarkable precision in rendering the saint’s figure and a focus on spiritual depth. The treatment of facial features, posture, and drapery reveals evident similarities, pointing to stylistic coherence within the Quito artistic context.This context was deeply shaped by the expansion of Christian faith in Latin America and the use of art as an evangelizing tool. Such narratives were especially relevant in viceregal territories, where missionaries faced similar challenges. The Quito School, in this regard, adeptly adapted European influences into a visual language that responded to local spiritual and cultural needs.As noted by the Cervantes Virtual Center, “Bernardo Rodríguez, a muralist and painter, was a highly distinguished master among religious motif practitioners in viceregal Quito.” Supported by the Church throughout his career, he “enjoyed privileged opportunities to create canvases now admired in Quito Cathedral, the Museo de Arte Colonial, and the Casa de la Cultura Ecuatoriana.” His impeccable craftsmanship was inherited by disciples like Quito’s Antonio Salas (1795–1860).Saint Raymond, clad in a Dominican habit brought to life through dynamic fabric folds, dominates the center of the composition. The marine backdrop, rendered in subtle blue and white brushstrokes, evokes serenity and depth. Distant ships reinforce the narrative of the miracle, while the gilded halo and reflections on the saint’s cloak showcase the painter’s flawless mastery of materials, achieving a luminosity that elevates the painting’s spirituality—a radiant “small window to heaven” brimming with vibrant color and light.The artwork depicts Saint Raymond of Penyafort (Vilafranca del Penedès, 1176–Barcelona, 1275), a 12th-century Dominican friar and canon lawyer, experiencing the miraculous event that occured in his life. King James I, who sought his counsel, once took him on a journey to Majorca, secretly accompanied by a woman with whom the king had an illicit relationship. Upon learning this, Raymond urged the king to dismiss her, threatening to leave otherwise. The king failed to comply, and responded by ordering that no ship carry Raymond home. Undeterred, the saint spread his cloak upon the water, transforming it into an improvised vessel to cross the Mediterranean to Barcelona—a testament to how true faith can calm even the stormiest waters.A Doctor of Canon and Civil Law, Raymond was acclaimed and chosen to teach at the University of Bologna, where his students were primarily nobles and scholars. After experiencing a vision of the Virgin Mary, he co-founded the Mercedarian Order with Saint Peter Nolasco to redeem captives from Muslim rule. Summoned to Rome by Pope Gregory IX, he served as confessor, chaplain, and penitentiary. He played a role in establishing the Inquisition in Aragon and compiled five volumes that became the most organized collection of church law until the 1917 Code of Canon Law. After a decade of writing, he was elected head of the Dominican Order, succeeding Saint Dominic, and retired at nearly 100 years old. He is the patron saint of canon lawyers, jurists, and legal institutions. He died on the 6th January 1275 and was canonized in 1601 by Pope Clement VIII. Iconographically, the elements in the painting hold profound symbolism. The outstretched black cloak alludes to the miracle, while the maritime landscape, with its expansive horizon and traversing ships, adds narrative depth, situating the saint within a context of triumph and hope.Though rare, other depictions of Saint Raymond in Latin America include the portrait at Tlacochahuaya’s San Jerónimo Church in Mexico and the Convent of Santa Rosa de Lima in Santiago de Chile. In essence, this small copper painting brims with life, movement, and perspective, its lapis lazuli blues and mastery of gilding and pointillism perfecting the saint’s figure. An 18th-century scalloped and gilded frame rounds off the composition, Bibliographic References:- Centro Virtual Cervantes. (s.f.). “Bernardo Rodríguez”. https://cvc.cervantes.es/artes/ciudades_patrimonio/quito/personalidades/brodriguez.htm- Herrera, Lizardo. (2010). “La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603)”. Procesos, 32, II semestre 2010, pp. 5-32. - Stratton-Pruitt, Suzanne. (2011). “El arte de la pintura en Quito colonial”. Saint Joseph’s University Press, Filadelfia.
Jose Campeche (San Juan, Puerto Rico, 1751 - 1809)"Possible Portrait of Mrs. Catalina de Urrutia"Oil on canvas. 102 x 77 cm.Campeche portrayed María de Urrutia on various occasions and at different ages. Our hypothesis is that this portrait would be the one in which she appears at the oldest age.As the website of the Hispanic Society of New York indicates, "María Catalina de Urrutia belonged to a prominent Creole family of landowners in Cuba, where she was born (in 1749); her father, Bernardo de Urrutia y Matos, was mayor of Havana. In 1766 María Catalina married Colonel Juan Andrés Dabán y Busterino (1724-1793), a Spanish military officer of Aragonese descent who would become governor and captain general of Puerto Rico from 1783 to 1789. He had been military inspector of Cuba in the mid-1760s, and it was apparently there that they became engaged. In Puerto Rico he led hurricane reconstruction campaigns, established a postal system, began paving streets and pavements with blue volcanic ballast from the Canary Islands, and founded a cigar factory that exported to the Netherlands. He was promoted to field marshal, and back in Spain he was governor of Badajoz from 1792. The date on which Don Juan and Doña María moved to Spain is uncertain.The iconography of the painting reveals elements of deep personal significance. Her attire includes sumptuous lace and an exceptional jewel: a pendant with a hair locket, a common practice at the time, often associated with the memory of a deceased loved one. The Dabán-Urrutia family had nine children, some of whom are known to have died in infancy, including Juan Bernardo and Francisco Dabán Urrutia, whose records disappear prematurely. It is plausible that the pendant with hair represents the mother's mourning for one of them.The material history of the portrait suggests that it may have been taken to Spain by one of their sons after the death of Juan Andrés Dabán in 1793. By that time, several of their descendants were already in the Iberian Peninsula holding military and administrative positions. Antonio Dabán Urrutia (1777-1848), a prominent naval captain and counselor of the Indies, and Manuel Dabán Urrutia (1771-1849), a brigadier and military governor, were key figures in 19th century Spain, and it is possible that the portrait was transferred by them as a family heirloom. Since there are no precise records of María Catalina's death, it is uncertain whether she was still alive when the work was moved, although her presence in sources after 1793 is scarce.This painting, an exceptional testimony of the Puerto Rican colonial elite and of Campeche's mastery, has resurfaced in the academic field as a visual document of the Dabán-Urrutia family, connecting the Spanish Caribbean with peninsular Spain across generations.Campeche was one of the most renowned Puerto Rican artists. He was the only disciple of Luis Paret y Alcázar (1746-1799), who arrived on the island as he was banished by King Charles III between 1775 and 1778. Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum keeps some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."
A Chinese export porcelain soup plate, late Qianlong period style but later, painted with a half-length portrait of a standing maiden grooming the beard of a seated gentleman, within a trellis rim divided by four bird and grass vignettes, diameter 22.2cm, together with a Chinese blue and white octagonal plate, painted with a maiden in a fenced garden, width 22.2cm (rim chips).
Bacon (Sir Francis) Operum Moralium et Civilium, first edition, second issue title, engraved portrait frontispiece, woodcut head-pieces and decorative initials, blank leaves A4 & 2E6, armorial bookplate of Richard Benyon, ?17th century ink inscription "Ex dono Societae: Mercator: Ad vent: Hamburg" ["The Merchant Adventurers of Hamburg"] to front free endpaper, title with small early Greek inscription to head and tiny rust-hole affecting letter of imprint, couple small ink spots within frontispiece, first few ff. and final f. with fore-margin browned and very slightly frayed, tiny worming to lower outer corner of first c.12 leaves, some light damp-staining to foot, some browning, generally light, lacking rear free endpapers, contemporary calf, rebacked and recornered, spine with morocco label, some wear to covers, housed in cloth drop-front box (morocco spine labels slightly worn, small sticker residue to spine), [Gibson 197; Wing B1110], folio, Excusum typis Edwardi Griffini [and John Haviland]; prostant ad Insignia Regia in Coemeterio D. Pauli, apud Richardum Whitakerum [and John Norton], 1638. *** The first collected works in Latin. "In the former edition of the work the 'Libri duo Instaurationis Magnae' was not included: but later unsold quires of the first edition of the Novum Organum, 1620 were appended to the book, and a new general title page was issued, in which the addition was recorded" (Gibson). In this copy, the title page includes the Novum Organum (second issue), but it was never added to the work.
Lewis (Wyndham) Thirty Personalities and a Self-Portrait, out-of-series copy, unsigned from an edition limited to 200 copies, 27 plates only (of 31), each with captioned tissue guard (edges a little creased), some finger-soiling, loose as issued in original cloth-backed glazed board portfolio with ties, rubbed, small previous sale sticker on upper board, title label chipped, [Murrow & Lafourcade A19], folio, 1932.
Enitharmon Press.- Manning (Hugo) Dylan Thomas. A Poem, one of 50 copies on Chariot Cream Cartridge signed by the author and artist, from an edition limited to 550, colour linocut illustrations by Peter Paul Piech, original cloth-backed patterned boards, dust-jacket, spine slightly faded, some minor surface soiling, extremities very lightly rubbed, 1977 § Skelton (Robin) Answers, one of 200 copies signed by the author, original boards, spine very slightly faded with ends little bumped, glacine dust-jacket (some creasing, few small nicks), 1969 § Chiari (Joseph) Collected Poems, [one of 30 copies signed by the author], portrait frontispiece, signed by the author and numbered beneath, original red morocco-backed boards, faint strip of fading to head of lower cover, one or two faint scratches, corners very slightly bumped, unprinted mylar dust-jacket with loss to head, 1978, Enitharmon Press; and others from the press, v.s. (c.85)
World.- Wilson (Robert Thomas) History of the British Expedition to Egypt, first American edition, half-title, portrait frontispiece, 2 engraved maps (1 folding), 2 folding tables, previous owner's ink signature to title, ex-Mount Hermon School Library with usual label and shelfmarks to title, abrasion mark to final pastedown where label removed, scattered spotting and occasional marginal water-staining, slight chipping to edges, near contemporary half-morocco, rubbed, bumping to corners and extremities, Philadelphia, 1803 § Kingsley (Mary H.) Travels in West Africa, second thousand, frontispiece, 2 lithographs, full-page illustrations, short marginal tear to one or two leaves, scattered spotting, advertisements at end, bookplate, original cloth, split to upper joint but holding firm, bumping to corners and extremities, 1897; and others military, 8vo (7)
Smart (Christopher) The Poems..., 2 vol., portrait frontispiece (lightly offset), vol. 2 with 4pp. advertisements at end, armorial bookplate of John Keate DD., occasional light browning or faint spotting, attractive contemporary tree calf, spines gilt and with red and black morocco labels, vol. 2 one label sympathetically renewed, some wear to joints and extremities, joints cracked but holding, Reading, Printed and Sold by Smart and Cowslade, 1791 § [Edwards (Thomas)] The Canons of Criticism, and Glossary, Being a Supplement to Mr. Warburton's Edition of Shakespear, sixth edition with additions, additional printed title with advertisement leaf bound after, engraved armorial bookplate of James Leigh of Adlestrop, book-label of J.O. Edwards, some spotting and light browning, front free endpaper loose, contemporary calf, lacking spine label, some wear to spine ends and corners, rubbed, upper joint split but holding, for C. Bathurst, 1758; and others 18th century, poetry or literary related, including Davies' 3 vol. Dramatic Micellanies: Consiting of Critical Observations on Several Plays of Shakespeare, 8vo (11)
Naval & military.- Napier (Major-General Sir W. F. P.) History of the War in the Peninsula and in the South of France, 6 vol., first edition, half-titles to vol. 1, 2 & 3, 55 engraved plans, all but vol. 1 with publisher's advertisements at end, some foxing, some damp-staining, to varying degrees but sometimes heavy, particularly to plates, original boards, printed paper spine labels (some chipped), couple marks, some faint damp-staining, quite worn with some loss to spine ends, vol. 6 joints cracked, vol. 1 John Murray, vol. 2-6 Thomas & William Boone, 1828-40 § Southey (Robert) The Life of Nelson, 2 vol., first edition, second impression with p.258 (vol. 2) numbered correctly, vol. 1 with engraved portrait frontispiece, vol. 2 with frontispiece of facsimile signatures, publisher's advertisements at end, half-title to vol. 2 only, vol. 1 with 19th century ink gift inscription to front free endpaper, vol. 2 with small wax residue to front free endpaper, offsetting to titles, some very light browning, contemporary half calf over marbled boards, rebacked preserving original backstrips, corners quite worn, covers lightly rubbed, for John Murray, 1813; and others naval or military, including 7 vol. of Nicolas' The Dispatches and Letters of Vice Admiral Lord Viscount Nelson, some vol. with bookplate of Commander T. Suckling, v.s. (c.65)
Kent.- Kilburne (Richard) A Topographie or Survey of the County of Kent, first edition, engraved portrait frontispiece, woodcut initials and headpieces, ink inscriptions and signatures in several hands to blank and title, one or two marginal notes, M4 and 2Z1 with marginal tears and old tape repairs, occasional water-staining, near contemporary calf, later typescript label to spine, a little rubbed, bumping to corners and extremities, 4to, by Thomas Mabb for Henry Atkinson, 1659.
India and China.- Wathen (James) Journal of a Voyage in 1811 and 1812, to Madras and China; Returning by the Cape of Good Hope and St. Helena; in the H.C.S. The Hope, Capt. James Pendergrass, first edition, portrait frontispiece, 24 hand-coloured plates, title offset, some spotting and foxing, mostly to text, one plate nearly detached, 20th century morocco-backed cloth, corners bumped, a little scuffed and marked, [Abbey Travel 517], for J. Nichols et al., 1814; and 2 others, India, 4to & 8vo (3) *** Views include India, Malaysia, Macao, Canton and St Helena.
Daniel Press.- Pater (Walter) An Imaginary Portrait, number 11 of 250 copies, bound in green morocco, [by ?Morrell], covers tooled in gilt with rows of alternating letter "N" and small floral ornament interspersed with small dot, title in gilt in ruled frame to upper cover, spine gilt with small floral motifs (repeated on turn-ins), t.e.g., others uncut, spine a little rubbed and faded, spine ends neatly repaired, 1894 § Milton (John) Ode on the Morning of Christs's Nativity, number 3 of 200 copies, neat ink inscription to "Dodo...Christmas 1894" on front free endpaper, contemporary olive green morocco, by Morley of Oxford, tooled in gilt with wavy line border and small ornaments of stylised leaf and butterfly to corners, spine gilt in compartments and five raised bands, t.e.g., others uncut, a little rubbed and faded, some light staining, 1894, 12mo, Oxford, Daniel Press (2)
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