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Lot 1091
Audrey Hepburn - Portraits of An Icon, by Pepper & Trompeteler. 'Audrey' by Bob Willoughby, Audrey Hepburn in Hats - June Marsh, Audrey Hepburn Photographs 1953-1966 - Bob Willoughbly, Laura Knight Paperback - A Working Life, Design Classics 1880 - 1930, Royalty In Vogue, Essential Art Deco, Nigella Express, other books:- One Box.
Lot 211
A collection of Lilliput Lane model cottages, together with a collection of glassware and ceramics, to include Caithness paperweights, art glass vases, Wedgewood jasperware, Aynsley cabinet pieces, a pair of Ridgway 'Homemaker' desert bowls , figural teapot & biscuit barrel and animal models. (4)
Lot 2356
Interworlds hand-drawn pre-production drawing (1984). Artwork depicting a woman turning into the Queen of the Cobras, created during the making of this unmade film. Signed and dated by artist David Pulsue.Interworlds was to have been produced by Roger Corman before financing fell through.Provenance: Originally from the collection of Art Director David Pulsue.
Lot 2038
Woodstock Music And Art Fair Poster - Line - up consisting of Arlo Guthrie, Incredible String Band, Canned Heat, Grateful Dead, Jefferson Airplane, The Who, Joe Cocker, Jimi Hendrix, Jeff Beck Group & others, print 22 x 28 inches. Condition Report: Large crease lower left. Some grubby marks and light nicks to edges.
Lot 2229
Assassin's Creed - Two signed books, The Art of Assassin's Creed Unity signed by artists Gilles Beloeil and Ludovic Ribardiere and The Art of Assassin's Creed Syndicate signed by artists Felix Marlo Flor and Tony Zhou Shuo, each limited to 500 copies, both published by Titan Books and still sealed (2).
Lot 45
Attributed to Luis Lagarto (Seville, 1556 - Puebla, 1624)Parchment illumination. 26 x 23 cm.Lagarto was an important painter and illuminator in the late 16th and early 17th century, consided to be, according to the Mexican Museo Nacional de Arte "one of the best representatives of mannerism of New Spain." His artistic development, despite having been born in Seville, took place mainly in New Spain, where he arrived around 1585, year in which, according to the Blaisten Museum, he was appointed “maestro de primeras letras” (literacy teacher) in the Colegio de San Juan de Letran in Mexico.In 1600 he was commissioned by the canonry of Puebla to illuminate choir books in Puebla cathedra, which was one of his biggest projects. It is the central theme of the exhibition "Al canto de las quimeras. Luis Lagarto y la fábrica de la librería de coro de la Catedral de Puebla" that was held at the Museo Amparo from December 2016 to March 2017.His watercolours on paper of “The Annunciation” (c. 1610) and “Our Lady of the Rosary with Saint Catherine of Alexandria and Saint Catherine (1611) are also outstanding. Both of these are in the Mexican Museo Nacional de Arte; there is the miniature "Immaculate Conception" (1619), which can be found in Madrid in the Museo de América; also "The Burial of Christ" (1612), in the Blaisten collection.We must also mention the contribution made by the historian Guillermo Tovar de Teresa (Mexico, 1956 - 2013) with his monographic on the family of illuminators with the surname Lagarto, called "Un rescate de la Fantasía: El arte de los Lagarto, iluminadores novohispanos de los siglos XVI y XVII" (The art of the Lagarto, New Spanish illuminators of the 16th and 17th centuries) published in 1998.Reference bibliography:- Amador, Marrero, P. F. (2016 - 2017). Al canto de las quimeras. Luis Lagarto y la fábrica de la librería de coro de la Catedral de Puebla. Https://museoamparo.com/exposiciones/piezas/77/al-canto-de-las-quimeras-luis-lagarto-y-la-fabrica-de-la-librería-de-coro-de-la-catedral-de-puebla- León Mariscal, B. B. (s.f.). La anunciación. Http://munal.emuseum.com/objects/1777/la-anunciacion?ctx=4e04c7e3-cc80-4bc5-b850-6d1d9594227e&idx=0- Museo Blaisten (s.f.). Luís Lagarto, 1556-1624. https://museoblaisten.com/artista.php?id=253&url=Luis-Lagarto- Museo Amparo (s.f.). Luis Lagarto. Https://museoamparo.com/artistas/perfil/330/luis-lagarto
Lot 48
"Sahumador". Deer-shaped, silver filigree incense burner in chased and embossed cast silver. Colonial School. Peru. Late 18th century. 20,5 x 18 x 15 cm.These examples, as is typical with this type of piece, depict a four-legged animal lying on a tray. The head is made of cast silver and the body is made of silver filigree, with threads that form floral compositions based on radial petals. On the back there is a hinged lid which hides a small pan in its interior, which is used for burning the fragrant substances which are dispersed through the perforation on the body, as the incense burner was a domestic item that was used to perfume rooms. As Cristina Esteras Martín notes in “Platería del Perú Virreinal 1535 – 1825” (Viceroyalty Peruvian silversmithing 1535 – 1825) "These incense burners … are very significant because, although they were not exclusive to this Viceroyalty, this classification of structure and shape is. They were made of cast silver and filigree and they took very varied forms, from spherical recipients to pomegranates, pumpkins, pineapples, lions, roosters, deer, turkeys, doves and llamas. In most cases the recipient rests on a tray or plate known as a mancerina which the ash from the embers drops onto." Incense burners that are comparable to this one are, for example, the one which is currently exhibited in “Tornaviaje Arte Iberoamericano en España”, in the Prado in Madrid, those which are kept in the Museo de América in Madrid, in the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires, the one in the collection at the Museo Pedro de Osma in Lima, and the one that is in the shape of a llama rather than a deer which is in the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires. Reference bibliography: - “Tornaviaje Arte Iberoamericano en España”. Museo Nacional del Prado, 2021 – 2022. Page 249 - Platería del Perú Virreinal 1535 – 1825”. Cristina Esteras Martín. Catalogue of the Exhibition in the Museo Nacional of Lima, 1997. Pages 290 - 295.This lot comes from importation and therefore has the export license from spanish culture guaranteed.
Lot 27
Attributed to José Campeche y Jordán (San Juan, Puerto Rico, 1751 - 1809) "Divine Shepherdess" Oil on canvas glued to cardboard. 56 x 40,5 cm. 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."
Lot 26
Imposing writing cabinet set with its "contador". Lima. Viceroyalty of Peru. 18th century. This piece of furniture is decorated with inlaid shells - a technique known as "enconchado." The interior is made of red cedar covered with marquetry made from contrasting woods, tortoiseshell, stained bone and mother of pearl. Total measurements: 114 x 110,5 x 33 cm. Lower body: 70 x 110,5 x 33 cm. Upper body: 55’5 x 78,8 x 25 cm. Important example of Peruvian “enconchado” furniture. On each of its faces, as well as on the doors of the central body, there is a tortoiseshell and mother of pearl coat of arms of the Order of Our Lady of Mercy in an octagonal compartment in relief. Both bodies of the desk have three sides each and are topped with various pinnacles which give them a marked architectural character. The lower one has two doors at the sides and a double central door, which hides four drawers behind it. The central section has another drawer. The upper body follows the same scheme as the lower, but the sides do not open out with doors. Among old inventories we find a definition for this type of furniture, which was very probably sold accompanied by a gaming table. As the curator Jorge Rivas describes (2007), "the highest strata of Colonial society in Latin America had an excessive taste for luxury. Enormous sums of money were invested in sumptuous items which came from all around the world. The merchandise from Europe and the Far East were in competition with local products, which were often even more luxurious than those which were imported." Rivas adds that this type of luxurious furniture was considered to be indispensable in showing a family’s social status. With regard to the technique used, "inlay was one of the most employed decorative techniques for decorating desks and writing cabinets. Generally, they were inlaid with precious materials such as bone, ivory, mother of pearl, ebony and tortoiseshell.” Jorge Rivas, who we quote, is currently the curator of the Frederick and Jan Mayer Center in the Denver Art Museum, and head of the Latin American Art department. He has correctly identified this furniture set as being originally from Peru, and, as we can read in Professor Gustavo Curiel’s interesting article: “it has been repeated, without any kind of basis, that this type of furniture was made in Mexico City, the Philippines, the Indo-Portuguese coast and continental Asia. Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that these pieces were made in the Viceroyalty of Peru”. There are some comparable examples to this piece of furniture in the Dallas Meadows Museum, the Museo Pedro de Osma in Lima, the Museo Soumaya in Mexico and in the Buenamuerte church and convent in Lima. Finally, there is an example with two body sections which is practically identical to ours which was sold at auction in Sotheby's in New York on the 5th November 1998 for $1690. Reference bibliography: - Campos Carlés de Peña, M. (2013). Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Peru de los siglos XVII y XVIII. (pp. 241-287). Ediciones El Viso. - Curiel, G. (2009). Mostrador limeño. Imágenes, del Instituto de Investigaciones estéticas de Mexico. Http://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html - Rivas, J. F. (2007). Observaciones sobre el origen, desarrollo y manufactura del mobiliario en América Latina. In J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 – 1820. (pp. 498-499). Fondo de Cultura Económica.This lot comes from importation and therefore has the export license from spanish culture guaranteed.
Lot 21
Japanese "Namban" Chest. Momoyama Period (1573 - 1615)Chest in black-lacquered pine, (urushi) with gold and silver powder decoration (maki-e) and mother of Pearl incrustations depicting birds and floral motifs. 27 x 41,5 x 30 cm. With regard to the technique used on this piece, it is very interesting to read the explanations by Professor Yayoi Kawamura, especially his index cards for the different Namban objects kept in the Museo de Artes Decorativas in Madrid: “this is a piece of furniture in which very small-sized decoration of a horror vacui character based on vegetation and floral motifs is developed on a base of black lacquer (urushi). The decoration is made with the technique of drawing with gold and silver powders (maki-e) and mother of pearl incrustations (raden). The furniture belongs to what is known as Namban style, which encompasses a series of furniture made from 1580-1630 in Japan with Japanese urushi lacquer destined to be exported to the European world, mainly Spain and Portugal”. The Japanese made this type of furniture exclusively for exportation, to the taste of Spanish and Portuguese merchants who arrived there and traded through the routes of the galleons that travelled mostly between Japan and Manila and from there to New Mexico, before arriving in Europe. Between 1545 and 1649 lacquer-worked chests arrived in the West and began to form part of the collections of royalty and the nobility, although on occasions they were donated to convents and churches, where they were used as reliquaries or eucharist chests for Maundy Thursday. In Spain, apart from the namban pieces kept in the Museo de Artes Decorativas in Madrid and others, such as the marvellous lectern which is kept in Salamanca, in the Dominican Museum of the Convent of San Esteban, Navarra is the province that has the greatest number of pieces of Namban art, possibly thanks to the relationship between Saint Francis Xavier and the Jesuits with Japan.There are some flaws, particularly the lack of a frontal bar which has resulted in the door being slightly moved. The restoration was probably done in the 18th century.Bibliographic reference:- Kawamura, Yayoi. "La laca japonesa de exportación en España. Del estilo Namban al pictórico." Archivo Español de Arte LXXXII, 325 (209): 87-93.- Kawamura, Yayoi (dir) AA.VV, "Lacas Namban. Huellas de Japón en España: IV centenario de la embajada Keicho", Ministerio de Educación y Cultura, Madrid, 2013, pages.378-381, number. 19 and pages. 388-389, number. 21.This lot comes from importation and therefore has the export license from spanish culture guaranteed.
Lot 57
Colonial School. Probably from the Viceroyalty of Peru. Last quarter of the 18th century.Folding screen. Oil on canvas. Open measurements: 260 x 570 cm. Measurements of each section: 260 x 57 cm.The screen is composed of ten sections, decorated on both sides with descriptive scenes which draw on different influences. On one of the two faces, an urban scene is depicted in which, in the centre of the composition, there is a large and monumental fountain placed in a wide street with gardens in which people dressed in clothes of a Spanish taste are walking. Both sides of the street have architecture of varying types, which show the defining characteristics of Hispanic constructions. The entire scene is framed by a wide border made of scrolls and vegetation motifs which is very similar to the decoration found in pictorial work with a Hispanic origin from Latin America in colonial times.The folding screen was originally an entirely oriental piece of furniture which arrived in Europe via Latin America, where it was adopted, resulting in the creation of workshops that produced them especially in New Spain, where they became essential decorative pieces in the large New Hispanic houses. They are largely characterised by their great size and their painted decoration which covers historical, topographical and costumbrist themes. These characteristics are clearly appreciable on this screen, thus making it much closer to the screens of Hispanic origin.The other side is decorated with a large open landscape with architectural elements in which different scenes take place. The many characters which appear in the scenes, some dressed in courtly wear and others as artisans, undertake different activities, in different scenes with a clear French influence. The perimeter of the scene is edged with a moulded border painted in imitation of marble, making a frame.Within the mixed crowd, there are two highly interesting characters. On one side there is a Chinese high official who rides on the back of a horse with a singular cap and braid from the area and slanting eyes, which could be a hint as to the origin of our anonymous artist. On the other side, a feminine figure dressed typically in a Peruvian cap and cloak, while playing the flute. This can maybe give us another clue about our artist, and help us to work out the origin of this screen.Historians have often highlighted the importance that the Manila Galleon had on New Spanish art and culture. Teresa Castelló was certain that among the Japanese and Chinese people that settled in Latin America after those embassies had been installed, there would have been artisans who began to make folding screens, firstly on wood and then on canvas. It is possible that our screen was created by a Chinese artist who had been Christianised or Hispanicised in the Viceroyalty, or a New Spanish artist of a culturally mixed background.Based on the studies on the notarial inventories of the city of Lima during the 18th century, it is known the importance that the folding screens had among domestic furnishings in the Viceroyalty of Peru, not only in New Spain.During the 18th century, as well as establishing the production of folding screens in New Spain and exporting them to the rest of the Americas and Europe, local manufacturers must have appeared in other parts of Latin America, such as Peru, Guatemala and Colombia, which adapted themselves perfectly to local tastes and the materials commonly used in furniture-making in the area. The assimilation and reinterpretation of screens within Latin American material culture resulted in some original artistic dynamics which can be associated with creole taste and identity.Our folding screen currently forms part of a collection in Madrid. Its original state has been preserved as it has never been restored, although there is some slight damage which does not in any way alter the distinction of the piece.Provenance: - A palatial home in Extremadura. - Private collection, Madrid.
Lot 39
Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772)"Triumphal entrance of Alexander in Babylon"Six-panel folding screen. Oil on canvas. 192 x 312 cm. The first panel is missing.An oil painting on canvas (n.d.) by Juan Patricio Morlete was exhibited in 2015 at the Museo Nacional de San Carlos in Mexico, as part of the permanent exhibition “Neoclasicismo” with the same theme and great compositional similarities to this painting. There is another canvas also by Morlete which is very similar to the former, which forms part of the artistic patrimony of the Fomento Cultural Banamex. It is one of the paintings of the set of battles of Alexander the Great which the artist painted in 1767, inspired, as Ilona Katzew explains (2014), by a monumental series of engravings by Charles Le Brun (Paris, 1619 – 1690) of “The Triumphs of Alexander”, which were commissioned by Louis XIV and sent to European governors as propaganda. One of the engravings by Jean Audran (Lyon, 1667 – Paris, 1756), can be found in the Barcelona Museu Nacional d’Art de Catalunya (MNAC). We find it curious that the scene in our painting is in reverse, compared with the two canvases we mentioned, the engravings and the original picture by Le Brun (1665), which is exhibited in the Louvre Museum. This may also be due to the fact that, as this is a screen and not a fixed painting, the final location of the piece of furniture would have influenced whether the painter would decide to develop the scene in this direction, considering that this would have been a commission, which is most likely. Moreover, the artist moved the scene to an environment with more vegetation and no architectural structures, he varied the treatment of the colour by adding more reddish tones, incorporating some native elements (feathers, cloaks, etc.) and he even draws some faces which, in our opinion, have more indigenous features. It is known that Morlete made variations on the original engraving on occasions, for fun or because the commission he received required it. He would augment the margins or add characters and vegetation, which could explain these modifications. In any case, as well as the obvious similarity in the theme, composition and main elements of the painting, we would like to go deeper with this comparison and point out the treatment that the artist gave to the horses, giving them special expressivity, as if he was painting their portraits or wished to humanise them or give them a certain personality, with some features that are recognisable in the three paintings we are concerned with. With regard to the support of our painting, folding screens arrived in the New World through the route that united the Far East and Spain via Mexico, on vessels known as the China Ship or Manila Galleon. It is not exactly known when the first contact with New-Hispanic society with this and other products of an Asian origin happened, but it is known that they formed part of the embarkations in 1585, when a Japanese ambassador came to Mexico City as part of her voyage to visit Philip II and Pope Gregory XIII. Katzew (2014) also reminds us that screens were also the central items in 1614 in a gift from the Japanese shogun Tokugawa Ieyasu (Okazaki, 1543 – Shizuoka, 1616) to the viceroy Luis de Velasco (1607 – 1611). This growing Exchange between Asian and Colonial Latin American civilisation was not an accident, it happened in the context of the empowerment of the creoles in which, according to Gauvin A. Bailey (2007) “feelings contrary to Spain” began to grow, and “Asian art gave Hispanic-Americans a way of expressing their pride in the indigenous antiquity of their land.” With regard to folding screens, these were extremely popular in New-Spanish houses, becoming an essential piece of furniture in practically all the homes of the period, almost regardless of the household’s economy. In fact, Sofía Sanabrais (2007) tells of the existence of “biombos ordinarios” (ordinary screens) with cheap textiles and no paintings in humble homes. However, this did not mean that screens became unattractive to richer families; it was quite the opposite, they were widespread among the houses of the élite, and their multifunctionality may be a possible reason for this. On the one hand, New-Hispanic screens were used to delimit spaces or hide furniture, in their most practical aspect, as occurred with the “biombos de cama” or bed screens (Sanabrais, 2007). On the other, their decorative use also had many devotees, whether as “backdrops or as central pieces for social meetings, in which they would serve as a subject of conversation,” (Katzew, 2014); we imagine that these conversations would be especially lively when they were referring to screens painted by the best artists of the period: Cabrera, Correa or Morlete himself. In fact, the majority of screens that have survived to the present day are anonymous as they were not normally signed by the artist (Codding, 2007). We know of a screen in the Franz Mayer Museum in Mexico that is signed by Juan Correa: “The four elements and the liberal arts” (c. 1670); and “Folding screen with fête galante and musicians” (c. 1760) can be attributed to Miguel Cabrera.Finally, focussing on the artistic value of the “protection against the wind” (if we refer to folding screens using the literal translation of the Japanese term ‘byôbu’, which the Spanish ‘biombo’ comes from), the suitability of their format with, usually, ten screens around two metres high, for depicting narrative compositions must be highlighted. It is not surprising, therefore, that they made the ideal support for mythological and allegorical subjects which we see in the screen by Correa that was previously mentioned. They are also ideal for views of cities, as we see in one of the first screens that illustrates the Mexican capital (1690 - 1692), in the Franz Mayer Museum, as well as scenes of high-class parties, such as the screen attributed to Cabrera;, or for historical themes, good examples of this being "The Conquest of Mexico" attributed to Miguel González (Mexico, active 1662 - 1698) or the folding screen we have here, which we attribute to Morlete. Bibliographic references: - Bailey, G. A. (2007). Asia en las artes de la América Latina colonial. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 57-71). Fondo de Cultura Económica. - Brown, J. (2014). De la pintura española a la pintura novohispana, 1550-1700. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 103-148). Ediciones El Viso. - Codding, M. A. (2007). Las artes decorativas en América Latina, 1492 - 1820. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 98-145). Fondo de Cultura Económica. - Kagan, R. L. (Ed.). (1998). Imágenes urbanas del mundo hispánico. 1493 - 1780. Ediciones El Viso e Iberdrola. - Katzew, I. (2007). Estrellas en el Mar de la Iglesia: los indios en la pintura novohispana del siglo XVIII. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 337-481). Fondo de Cultura Económica. - Katzew, I. (2014). Pinceles valientes. La pintura novohispana, 1700-1785. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 149-204). Ediciones El Viso. - López Guzmán, R. (Ed.). (2021). Tornaviaje. Arte iberoamericano en España. Museo Nacional del Prado. - Museo Nacional de San Carlos (30 de marzo de 2015). Juan Patricio Morlete Ruiz, Mexico,1713-1772 Entrada triunfal de Alejandro el Grande, s.f. Óleo sobre tela, 83 x 127 [Tweet] [Imagen adjunta]. Twitter. Https://twitter.com/museo_sancarlos/status/582608136462204928
Lot 47
"Sahumador". Deer-shaped, silver filigree incense burner in chased and embossed cast silver. Colonial School. Peru. Late 18th century. 14 x 20 x 15 cm.These examples, as is typical with this type of piece, depict a four-legged animal lying on a tray. The head is made of cast silver and the body is made of silver filigree, with threads that form floral compositions based on radial petals. On the back there is a hinged lid which hides a small pan in its interior, which is used for burning the fragrant substances which are dispersed through the perforation on the body, as the incense burner was a domestic item that was used to perfume rooms. As Cristina Esteras Martín notes in “Platería del Perú Virreinal 1535 – 1825” (Viceroyalty Peruvian silversmithing 1535 – 1825) "These incense burners … are very significant because, although they were not exclusive to this Viceroyalty, this classification of structure and shape is. They were made of cast silver and filigree and they took very varied forms, from spherical recipients to pomegranates, pumpkins, pineapples, lions, roosters, deer, turkeys, doves and llamas. In most cases the recipient rests on a tray or plate known as a mancerina which the ash from the embers drops onto." Incense burners that are comparable to this one are, for example, the one which is currently exhibited in “Tornaviaje Arte Iberoamericano en España”, in the Prado in Madrid, those which are kept in the Museo de América in Madrid, in the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires, the one in the collection at the Museo Pedro de Osma in Lima, and the one that is in the shape of a llama rather than a deer which is in the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires. Reference bibliography: - “Tornaviaje Arte Iberoamericano en España”. Museo Nacional del Prado, 2021 – 2022. Page 249 - Platería del Perú Virreinal 1535 – 1825”. Cristina Esteras Martín. Catalogue of the Exhibition in the Museo Nacional of Lima, 1997. Pages 290 - 295.This lot comes from importation and therefore has the export license from spanish culture guaranteed.
Lot 1
Engraved, chased and partially gilded copper incense burner with champlevé enamel. Limoges. France. Romanesque. 13th century. 6 x 19 x 10 cm. Decorated with scrolls of foliage ornamented in enamel with blue, lapis lazuli, turquoise, red, yellow and green tones. The lid is in the shape of a vesica piscis and folds into two parts with a central hinge. Only one side opens, and it is decorated with foliage designs and two fretworked cabochons in the shape of a curled-up dragon. This decoration of vegetation with fantastical creatures is topped by two curved handles which end in the shape of a reptile’s head. In this respect the index card by Professor José Luis Hernando Garrido describing an incense burner that can be found in the MNAC Barcelona (inv.12903) for the catalogue of the exhibition "De Limoges a Silos" is very interesting as it is very similar to our example: "It is on this cover that the decoration in a compartment on an enamelled background is concentrated, based on vegetation motifs formed by carving which includes canes winding around themselves. There is a copper button sticking out of each of the leaves, which is fretworked and chased, on which a curled-up dragon is depicted, biting its back, a motif and design which can be found in other very similar incense burners such as one also kept in the MNAC museum (inv. 4545) or the two in the Barcelona Frederic Marès Museum (inv. 833 and 827), but also in other pieces, such as the cover of the Bible of Souvigny, which dates from circa 1180." This type of receptacle, which had a liturgical use and was an indispensable compliment of the censer as it contained the incense that was burned in these, appeared in France in the early 13th century. Its name "navire" in French comes from the shape it has of a small ship, also its diminutive "navette", from the original Latin term "navicula". The foot is missing. Similar examples:Two identical incense burners can be found in the Musée des Beaux-Arts in Dijon (inv.1264) http://mba-collections.dijon.fr/ow4/mba/voir.xsp?id=00101-13314&qid=sdx_q0&n=2&e=and at the Fondation Gandur pour l’Art, in Geneva (inv. N° FGA-AD-OBJ-0085) https://www.fg-art.org/fr/loeuvre-du-mois-archives/une-navette-a-encens-en-email-de-limoges As indicated by Dr. Fabienne Fravalo, from the "Fundación Gandur", in the index card of their incense burner, very few examples of this type of liturgical objects have arrived to our time, as they were used frequently. Another feature of these enamelled incense burners is that they formed part of church treasuries from the 13th century in the Limoges area and then spreading to the rest of France and Europe. They had the same level of importance as doves of the eucharist, pyxes or enamelled candlesticks. Another very similar incense burner, but with cabochons, is kept at the MNAC in Barcelona (inv.12903) The lid of a very similar incense burner to this one is kept by the Leicester Arts and Museums Service, since having been found in Leicester Abbey, which is currently in ruins. Https://www.bbc.co.uk/ahistoryoftheworld/objects/gNwyTKf0TUew23FtMwn2Kg A similar piece, but with angel decoration, can be found at the Musée de Cluny in Paris (inv. N° 11157) Finally, there is a similar incense burner in the Museo Lázaro Galdiano in Madrid (inv. 2719) Reference bibliography: - De Limoges a Silos". Catalogue of the exhibition in Madrid - Brussels - Santo Domingo de Silos, from November 2001- Abril 2002. Pages. 158-160. Fig. 37 and 38. - L’Oeuvre de Limoges. Émaux limousins du Moyen Âge, catalogue d’exposition [Paris, Musée du Louvre, 23.10.1995-22.01.1996 ; New York, The Metropolitan Museum of Art, 4.03-16.06.1996], Paris, Éd. De la Réunion des musées nationaux, 1995. - GAUTHIER, Marie-Madeleine (dir.), Émaux méridionaux : catalogue international de l’Oeuvre de Limoges. Tome 2 : L’apogée 1190-1215, Paris, éditions du CTHS, 2011.
Lot 5
"Seat of Wisdom (Sedes Sapientiae)". Carved wooden sculpture. Romanesque. 12th century.65,5 x 25 x 23 cm.This image could have its geographical origins in Catalonia if we compare it, for example, with the Virgin of Santa Maria de Lluçà which is kept in the Episcopal Museum of Vic (inv.1958). Both have the characteristic chubby cheeks, and the central treatment of Mary’s tunic follows the same models. The Child has not been preserved on the Virgin of Santa Maria de Llucà, but would have been placed in the same position as this one, and the clothing would undoubtedly have followed the same symmetrical model. Even so, the provenance is difficult to pin down as the typology of these images had quite a few elements in common. There are similarities with the Xhoris Madonna and Child at Grand Curtius Museum in Liege, and which recent studies have dated circa 1000 to 1100.From the 11th century, with a movement that culminated in the Gregorian Reform (1073), the image of the Virgin in Majesty and its symbolism was developed. The Sedes Sapientiae, or seat of wisdom, became the image of Mary par excellence. In this way Mary is both the means of the incarnation of the Lord and His main support. This important sculpture is a faithful example of the characteristic Romanesque stylistics of the Virgin in Majesty. Mary is seated on her throne of glory, and is also a throne for her son who, following the Romanesque canons, is seated at the center of his mother’s lap. Both are in a forward-facing position, in total symmetry and independent from one another. There is no interaction between Mother and Child. The apparent simplicity of the clothing is made up for by the quantity of soft and fluid folds which once again are perfectly symmetrical and identical in both Mary and the Child’s clothing. The frontal attitude, the throne and the severe and inscrutable look accentuate their majesty and invite devotion and respect from the faithful.Some examples which have similarities to this image are, for example the Vierge de Viévy, dated in the late 11th century, which is kept at the Dijon Musée d’Art Sacrée, (inv. D980.15.1) and catalogued as a Historic Monument of France. Https://art-sacre.dijon.fr/representations-de-vierge-xie-xvie-siecleProvenance:- Private collection Brussels, mid-20th century.- Bought in 1964 by the current owner of the antiquarian Alfredo Noirjean in Barcelona.Accompanied by an original photograph of the sculpture while it formed part of the Belgian collection, by the photographer Robert Kayaert from Brussels, on the back of which the antiquarian Noirjean wrote out a certificate of authenticity.
Lot 49
Attributed to Angelino Medoro (Naples, 1567 - Seville, 1631) "Madonna of the book with Saint Francis of Assisi and Saint Jerome"Oil on copper. 25 x 20 cm. Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was particularly influential in Peru, fundamentally in the painting of Cusco.
Lot 53
Attributed to Bernardo Bitti (Camerino, Italy, 1548 - Lima, 1610) "Saint John in Patmos" Oil on copper. 31 x 22,5 cm. Bitti, who was a Jesuit priest, was the first mannerist painter to arrive in the Viceroyalty of Peru, in 1575, and he worked in the Jesuit churches in Lima, Cuzco and Upper Peru, bringing the art and sculpture of Europe to indigenous artists and assisting in the training in the first painting and sculpture workshops.
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