Attributed to Juan de Montejo (Salamanca, 1555 - Alba de Tormes, 1601)“The Betrothal of the Virgin Mary” and "The Epiphany"Wonderful pair of carved, gilded, polychrome wooden reliefs, with silver leaf.Reliefs measurements: 92 x 58 cm. With frame: 108 x 74 cm. These two exceptional reliefs, dedicated to the Betrothal of the Virgin Mary and the Adoration of the Magi or Epiphany, must have originally belonged to an unfinished altarpiece dedicated to the Virgin Mary and probably originated in the province of Zamora, Spain. The stylistic characteristics of both reliefs make it clear that they were carved by the skillful gouges of the sculptor Juan de Montejo (1555-1601), who lived and developed his career between his home town and Zamora, making images for other nearby towns such as Alba de Tormes or Medina del Campo. It is not only in the figures that compose both reliefs that the stylistic features of this master can be perceived, but also that both sculptures are almost identical to two reliefs of analogous themes that Montejo himself made for a disappeared altarpiece for the church of San Juan de Puerta in Zamora. The similarity even extends to the measurements. Precisely the similarity between the compositions of the Zamora reliefs and these that we present breaks an axiom: until now in the productive catalog of the Salamanca sculptor no repetitions have been found, in other words, he never made copies of his own compositions, but when he treated a theme on several occasions all of the sculptures were different versions, never identical. This particularity gives these reliefs an even greater value than they already possess intrinsically on the basis of their high technical quality.Both scenes are conceived with clear compositions, without artifice, so that the congregation can understand what is being shown, a characteristic that the Council of Trent considered indispensable when conceiving sculptures. Likewise, these are compositions that tend to symmetry, compensating the volumes from a central motif: Caspar in the case of the Epiphany, and the High Priest in the case of the Presentation. The characters show the corpulence and monumentality characteristic of Romanism, the Renaissance, Mannerist style in which Montejo's production is included. To this is added the elegance and dynamism characteristic of the influence on his work of the style of the sculptor Juan de Juni´s style, in whose environment he must have been trained. They are figures covered with heavy folded garments and rounded profiles, with tousled curly hair and soft, calm faces. For their part, the men show the usual beards sculpted by Montejo: bulky and with forked ends.The first of the reliefs depicts the Nuptials of the Virgin. It is conceived through rigorous symmetry that places the High Priest in the center and St. Joseph and the Virgin Mary on either side with their hands joined to show how the union between them was sealed. On the upper part, above the heads of both and at the height of the High Priest's head, two heads are distributed on each side. On the right those of two men and on the left those of two women, all of them with varied physical types and different ways of portraying their hair and clothing. The head of the High Priest and the elegance with which the Holy Spouses gather their respective mantles are particularly interesting.On the other hand, the relief of the Epiphany shows the Holy Family on the right side, while the Magi fill the left side, with the exception of Caspar who is placed in the center and shows that the composition was conceived in the shape of an “X”. The Virgin, who serves as a throne, is seated and picks up her Son with both hands. He is naked and gives blessing to the Kings while being adored by Melchior who affectionately caresses his right foot. The Kings appear with the cups in which they bring their gifts: gold, incense and myrrh. The set is carved in different levels of relief, so while the group of the Virgin, Melchior and Balthazar have some parts of their bodies that are almost freestanding. There are other cases such as those of Caspar or St. Joseph that are just reliefs in which the heads protrude. Once again we see again the characteristics previously mentioned with regard to the physical types and clothing.As we have already pointed out, both reliefs are fully attributable to Juan de Montejo, who carved them around 1600, perhaps at the end of the 16th century, at a date close to the reliefs of identical subject matter that we have pointed out in the church of San Juan de Puerta Nueva in Zamora. We would like to thank Dr. Javier Baladrón, doctor in History of Art, for the identification and cataloguing of this work.
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Morrion in wrought iron. 16th century.It shows an engraved fleur-de-lis.23 x 33 x 23.5 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.
José Campeche (San Juan, Puerto Rico, 1751 - 1809)“St. Anthony of Padua and the Virgin Mary.”Oil on canvas, protected by water glass. Signed: “Josef Campeche fc.”. Framed in an imposing carved, gilded and polychrome wooden cornucopia.28 x 22 cm.Cornucopia measurements: 71 x 55 cm.Exquisite canvas signed by the Puerto Rican painter José Campeche, an intellectual painter who studied Latin and philosophy at the Royal Convent of the Dominican Fathers. Between 1776 and 1778 he was in contact with the Spanish court painter Luis Paret y Alcazar (1746-1799), who came to the island exiled by King Carlos III and from whom he learned techniques, colors and styles.Campeche was one of the most recognised Puerto-Rican artists. The Puerto Rico Art Museum has 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 be one of the most exalted and outstanding Hispanic-American painters of the late 18th century."Returning to this painting, it has a dove-necked frame, profusely carved in garlands and scrolls, polychromed in reddish tones and gilded on the corners and curled edges, with a shield plume that tops it with the Virgin Mary's monogram. The delicate oil painting depicts the Portuguese saint being regarded and blessed by the Virgin Mary from heaven, to whom he dedicated several sermons to praise her and sing her glories, all surrounded by putti and angels.As one of his many religious themes, Campeche depicts a specific saint, here the Franciscan saint of Lisbon, next to the Virgin Mary, like so many other parallel paintings currently in the Museo de Arte de Puerto Rico that we have mentioned. Two stand out there, one of “The Vision of St. Simon Stock” and another of “Sacred Conversation with St. Joseph and St. John Nepomuk”, among others.Among the trades he learned and practiced in the family workshops, one was the design of coats of arms. It is therefore quite probable that he also designed the period frame with the coat of arms in which this devotional work is presented, possibly as a commission from a prominent family.Be that as it may, this work is of rococo character for all its interest in detail and ornamentation of the sky and clothing, colors and movement of fabrics and figures, dominating the palette of bluish grays and reds and pinks that, as reported by the Puerto Rican museum, relates it directly to de Paret and Alcazar.This painting comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909). He was a Peruvian military officer and politician who held the presidency 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-low phase of the War of the Pacific, an armed conflict between Chile and allies Bolivia and Peru (1879-1884). That is: from his rise to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until his exile to Spain in the Peruvian civil war of 1884-1885.Highlights of his political-military legacy is the "Grito de Montán" (Montán´s call), 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 Montán´s faction and that of the military leader Andrés Avelino Cáceres. The end of that war led to the exile of Iglesias to the south of Spain, where he moved with his descendants and his significant 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 the Presbítero Maestro Cemetery in Lima, were transferred in 2011 to the Crypt of the Heroes, 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:- Collection of Miguel Iglesias, military man 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.Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose
Novo-Hispanic school. Mexico. 18th century.Table-blazon or crowning piece of a reredos, depicting St. Thomas Aquinas”.124 x 93 cm. Blazon or altarpiece painting, profusely carved and gilded, with incised decoration of scrolls, flowers and geometrical designs made in polychrome and estofado technique, with a biretta in black centered above it. It has a central cartouche with an oil painting on panel of the Saint and Doctor of the Dominican Church (since 1567, proclaimed by Pope St. Pius V), known as the Angelic Doctor, Common Doctor and Doctor of Humanity, whose work is fundamental for the study of philosophy and theology. He was the main defender of natural theology.With the characteristic carving style of New Spanish Mexican art, we contemplate “a complex artifact” that encloses St. Thomas Aquinas, a painting with a frame forming part of a coat of arms, or an isolated crowning piece from an altarpiece or the door of a library or a refectory or chapter room, to which it would have been integrated (in the manner of the doors of the Library of Coimbra of the Jesuit Fathers).This is a baroque artwork that shows unity and coherence, having a style which is difficult to include within formal canons. This clearly baroque piece is not very dogmatic in its artistic execution, because it shows an extraordinary eagerness for novelty and, in the process of its creation, limitless fantasy that makes it exceptional, unique and unrepeatable.In the center, on a plain panel in the middle of this elaborate frame, we contemplate St. Thomas Aquinas, full-length and standing, depicted in a Dominican monk´s habit, wearing a white tunic with a scapular, and a black cloak with its hood thrown back. With his right hand he holds a pen from which a halo of light or fire emanates, referring to his books and written doctrine.With the left hand he holds a monstrance. This refers to his devotion to the Blessed Sacrament, which manifested itself in particular in his magnificent composition of his Eucharistic Hymn "Adoro Te Devote."On his chest hangs a sun, which is an attribute to show his wisdom, and behind his back two large wings protrude, which allude to the moment when the angels girded the saint with the symbol of chastity. Above his head is Christ crucified surrounded by putti, who descend from the heavens to inspire him. The figure of the saint is depicted as a young man, beardless and with a monastic tonsure. He is superimposed on a landscape in which, at his feet, he treads and defeats the Moors and infidels, in the manner of Santiago Matamoros, as defender of “la verae doctrinae”.In the words of St. John Paul II and Benedict XVI, St. Thomas Aquinas is “the model of the correct way of theology”. He showed that there is harmony between faith and reason, that faith is not contrary to reason. St. Thomas not only dedicated himself to study and teaching, but also preached to the people. He was a theologian who knew how to speak with simplicity and kindness. His feast day is celebrated on January 28. Provenance:- Large estate. Seville.'
Leonardo Flores (La Paz, Bolivia, p. m. s. XVII – finales s. XVII - principios s. XVIII)"Alegoría de Europa"Óleo sobre tela.131 x 210 cm.El modelo iconográfico empleado en nuestra pintura se basa en la serie de grabados de los cuatro continentes creada por el pintor flamenco de estilo manierista Martin de Vos (Amberes 1532-1603). El artista los representa por primera vez desfilando en carros triunfales.“La imagen de la alegoría de Europa se inspira en el triunfo de la Eternidad de Petrarca, y el carro está tirado por dos caballos y no por los tradicionales leones, que normalmente representan a este continente”, informa el catedrático José Miguel Morales Folguera en su muy interesante estudio para la revista “Quiroga”, en el que analiza el uso de fuentes gráficas en el biombo del Museo de Navarra.Hay que recordar, como informa la doctora en Historia del Arte Mª Margarita Vila da Vila, “que en el Virreinato del Perú hay evidencia del interés por la temática mitológica y la historia antigua desde fines del siglo XVI. Lo mismo sucedió en los Virreinatos de la Nueva España y de la Nueva Granada, como testimonian los murales de la Casa del Deán de Puebla (México) –con hermosas figuras de Sibilas ecuestres y alegorías de los triunfos de las Virtudes, pintadas hacia 1580– y las de los dioses grecorromanos plasmados en la Casa del Escribano de Tunja (Colombia) hacia 1595. Respecto a la pintura histórica romana, J. de Mesa y T. Gisbert ya señalaron que en 1660 «14 lienzos medianos de los emperadores romanos» figuraban en la relación patrimonial cuzqueña de don Francisco de Villagra”.Como informa Vila da Vila respecto del que sería nuestro pintor, activo en La Paz hacia 1684, “sabemos que Flores, vecino de La Paz, fue un pintor itinerante que trabajó en diversos pueblos de lo que hoy son Perú y Bolivia en torno a 1683. Su prestigio parece acreditado por el encargo de 18 lienzos que en 1684 le hizo el obispo de La Paz para las iglesias de Italaque y de Puerto Acosta. Ignoramos si llegó a la ciudad de La Plata o recibió encargos de escenas triunfales, pero se sabe que era pintor acostumbrado a trabajar con grabados y a ejecutar ambiciosas composiciones, repletas de adornadas figuras, referidas a escenas del Antiguo Testamento e inspiradas en la ‘Monarquía Hebrea’ de Vicente Bacallar y Sanna y en otras estampas flamencas”.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.
A Vintage Art Deco Style Cigarette Box, of plain rectangular form, the hinged lid enscribed "Presented To Mr. Alan Phillskirk on His Departure From India by Scott & Pickstock Ltd. M/A Hoare Miller & Co. Ltd. Calcutta as a Token of Esteem", raised on four corner feet, stamped indistinctly, approximately 18cm x 11cm.
Admiral; An Art Deco Style Decorative Cased Openface Pocket Watch, the signed patterned dial with gilt Arabic numerals and seconds subsidiary dial, within octagonal case of highly decorative design, inner case stamped "Nawco" "Challenge", movement stamped "Tacy Watch Co" "Admiral Non-Magnetic" "6 Six Jewels", on a fancy link chain; Together with a Pi Damian modern gilt coloured novelty collectors pocket watch, depicting hunter and hound scene, suspended on a gilt coloured snake link chain. (2)
An Art Deco ELO ware black and white bakelite box, decorated to the lid with a knight slaying a lion, the hinged lid opening to reveal a twin division fitted tray, 16.5cm wide, 8.5cm deep, together with a continental copper box, 10cm wide, and a chrome and enamel commemorative dish for RMS Walmer Castle, 12cm wide. (3)
ART LAW -- SCHACK, H. Kunst und Recht. Bildende Kunst, Architektur, Design und Fotografie im deutschen und internat. Recht. (2004). Ocl. w. dust-j. -- A.F.G. RASCHÈR, (a.o.). Cultural property transfer. 2005. Obrds. -- R.C. LIND, (a.o.). Art and Museum Law. (2002). Or. bind. -- S. LEQUETTE-de KERVENOAËL. L'authenticité des œuvres d'art. (2006). Owrps. -- And 7 o. (11).
MAREZ, H. de. Mijn herte weet. (Antwerpen, J.E. Buschmann, 1898). 38, (2) pp. Each page w. woodcut border by Karel Doudelet. 4°. Or. clothbacked wrps. w. decorated and letterpress front side, uncut.NOTE: Beautiful Belgian Art Nouveau publication, printed on handmade paper by Van Gelder, signed by the author and numbered '90' (of 150).
JAPAN -- SCHAAP, R. A brush with animals. Japanese paintings 1700-1950. (2007). 4°. Ocl. w. dust-j. -- H. JOHNSON. Western influences on Japanese art. The Akita Ranga Art School and foreign books. (2005). Ocl. w. dust-j. -- E.P. CONANT. Nihonga. Transcending the past: Japanese-style painting, 1868-1968. (1995). 4°. Owrps. -- Added: K. VOS. Symbolism & simplicity. Korean art from the collection of Won-Kyung Cho. (1997). 4°. Ocl. w. dust-j. -- And 5 o. (9).
JAPAN -- IKEBANA -- CONDER, J. The flowers of Japan and the art of floral arrangement. Tokyo, 1891. xii, 136 pp. W. 54 plates (14 cold.) after Tsukioka Yoshitoshi and Kawanabe Kiosui, (a.o.) & text-ills. Fol. Or. pictorial stiff wrps., cord binding, with silk spine. In custom made blue cloth clamshell box with fasteners. (Spine ends dam., wrps. a bit soiled/worn).NOTE: The first book in English on ikebana or Japanese flower-arranging. - First edition.
NEDERLANDSCH BLOEMWERK. Door een gezelschap geleerden. Amst., J.B. Elwe, 1794. ii, (2), 128, (3) pp. W. cont. handcold. engr. ti-p. by H.L. Myling after P.T. v. Brussel & 53 engr. plates, all in cont. hand colouring. 4°. Cont. hcf. w. marbled paper brds., uncut. (Bind. a bit worn/dam., marbled paper on covers partly gone, inner upper hinge broken, colouring of plate xvii a bit ran out, margins a bit thumbed/soiled in places).NOTE: Hunt, 733: "Nederlandsch Bloemwerk is a symbol and representation of the ascendancy of the Dutch nurseryman, the developer and disperser of tulips, hyacinths, and auriculas at the end of the 18th century. At the same time it takes a backward glance at the art of the gardener and of the flower-painter of a century and a half earlier, the golden age of Tulipomania (...)". The plates are usually assigned to Paul Theodor van Brussel (mainly on the basis of his signature on the title-p.). He closely followed the plates by Robert Nicolas in several of his designs. - Landwehr, Bks. w. cold. plts., 29; Nissen, BBI, 2219.
PLOTINUS. Enneads. Transl. by S. MacKenna. 4th ed. rev. by B.S. Page. W. introd. by P. Henry. (1969). Ocl. w. dust-j. -- ALEXANDER APHRODISIAS. On Aristotle Metaphysics 2 & 3. - On Aristotle Prior Analytics 1.1-7. - Quaestiones 1.1-2.15. (1991-92). 3 vols. Ocl. -- P.A. MEIJER. Plotinus on the good or the one (Enneads VI, 9). 1992. Owrps. -- S.H. BUTCHER. Aristotle's theory of poetry & fine art w. a crit. text & transl. of The Poetics. 4th ed. 1932. Ocl. -- And 10 o. (16).
LAWSON, J. Lectures concerning oratory. Ed. by E.N. Claussen & K.R. Wallace. (Facs. ed. 1758. 1972). Ocl. -- R.W. SMITH. The art of rhetoric in Alexandria. Its theory and practice in the ancient world. 1974. Owrps. -- R. STARK. Rhetorika. Schriften zur aristotelischen und hellenistischen Rhetorik. 1968. Owrps. -- M. FUMAROLI. L'age de l'eloquence. Rhétorique et "res literaria" de la Renaissance au seuil de l'époque classique. 1980. Owrps. -- A.D. LEEMAN. Orationis ratio. The stylistic theories & practice of the Roman orators, historians & philosophers. 1963. 2 vols. Ocl. -- And 8 o. (14).
JAPAN -- (KANEKO, K., a.o.). Art Nouveau in Japan 1900-1923: The New Age of Crafts and Design. (2005). 4°. Owrps. -- J. DEES. Taisho Kimono. Speaking of Past and Present. (2009). Fol. Obrds. w. dust-j. -- And 7 o. works on traditional Japanese arts and crafts, 3 of which publ. in the Japanese language. (9).
McSHINE, K., ed. Information. New York, The Museum of Modern Art, 1970. Prof. ill. Owrps. (Wrps. a bit skimmed by silverfish). -- (P. de VREE, e.a.). Klankteksten, konkrete poëzie, visuele teksten. Sound texts, concrete poetry, visual texts. Akustische Texte, konkrete Poesie, visuelle Texte. Amst., Stedelijk Mus., 1971. Prof. ill. Des. by W. Crouwel. 4°. Owrps. (A few sm. creases, paper browned towards edges (as usual)). -- (2).NOTE: Ad 1: One of the first surveys of conceptual art. Includes entries by more than 150 artists from 15 countries, including Vito Acconci, Art & Language, George Brecht, stanley brouwn, Daniel Buren, Donald Burgy, James Lee Byars, Jorge Luis Caraballa, Hanne Darboven, Group Frontera, Dan Graham, Giorno Poetry Systems, Edward Ruscha, Sol LeWitt, Yoko Ono et al.
JAPAN -- SURIMONO -- KEYES, R. The Art of Surimono. Privately published Japanese woodblock prints and books in the Chester Beatty Library, Dublin. (1985). 2 vols. Prof. ill. Fol. Ocl. w. dust-j. In or. slipcase. -- Id. Surimono. Privately published Japanese prints in the Spencer Mus. of Art. (1984). Ocl. w. dust-j. -- J. MIRVISS. The Frank Lloyd Wright collection of Surimono. (1995). 4°. Ocl. w. dust-j. -- (Ch. v. RAPPARD-BOON & L. BRUSCHKE-JOHNSON). Surimono. Poetry & Image in Japanese Prints. (2000). 4°. Owrps. -- And 1 o. (6).
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