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Lot 336
A Silver Plated Corinthian Columnar Table Lamp, on stepped square plinth base, 56cm including fittings, together with a Brass oil lamp example, converted to electricity (2)Plated example, has lost some of its plating but otherwise ok.Brass example, appears ok, the burner has been drilled for electricity but nothing below affected.Both electrical componants are untested
Lot 331
A Hungarian Zsolnay Pecs Pottery Oil Lamp, on four scrolling feet, together with a brass based oil lamp, a similar, a pair of glass shades and two similar amber glass shades (qty)Cranberry glass lamp - resovoir appears ok, brass base is solid with a few small dents, no apparent matching shade
Lot 334
A Benson Style Brass and Cut Glass Oil Lamp Base, 49cm highReservoir in good order, free from cracks and notable chips. The collar (later and poorly fitted) with dents and a split, also cut down to fit. Burner lackingStand with one scroll broken at two fixing points but is firmly held by the screws (see images).
Lot 317
After Antonio Canova, a Continental parian group modelled as Theseus slaying the Centaur, mounted as a table lamp, with gilt metal and glass drop shade, twin lights and gadrooned plinth, underglaze blue R mark, 36cm highFirst half of the 20th century. Porcelain base approx 27cm by 14cm, 26cm highThere is nothing invasive about the lamp fitting and the porcelain is easily removedPorcelain with some repair to the Centaurs left hand, no other damage. Mounts in good order. No wiring existing
Lot 37
Agustin Arrieta (Santa Ana Chiautempan, Tlaxcala, Mexico, 1803 - Puebla, Mexico, 1874)"Still Life with Prickly Pears"Oil on canvas.80 x 106 cm.As indicated in the report by art historian José Gómez Frechina:"The 19th-century painter José Agustín Arrieta, son of the Basque Tomás Arrieta and María Rita Fernández, lived in the Mexican city of Puebla from an early age, where he began his artistic training at the Academy of Fine Arts under the supervision of painters such as Julián Ordóñez and Lorenzo Zandejas at the time of the recent independence of Mexico.Arrieta painted portraits (Portrait of General Don Felipe Codallos's Family, Soumaya Museum) and religious paintings in the early years of his artistic career. Later, distancing himself from academic influences, he captured passages of sociological value on his canvases, reflecting the reality of the society of Puebla, especially the lower classes (Pulquería Gathering). He became famous for his paintings of "chinas poblanas" (women from Puebla) and especially for his still life paintings, known at the time as "dining room paintings."Examples of his still life work and social-themed paintings were shown in exhibitions at the Academy of San Carlos in Mexico in 1850 and at the Academy of Fine Arts in Puebla in 1851, 1853, and 1855. Despite being one of the principal artists working in Angelópolis, as stated by his biographer Francisco Pérez Salazar, he faced certain difficulties: "However, his talent and skill were not enough to secure him a comfortable position, and around 1852, he had to take on the role of caretaker at the Congress to make a living."The importance of the culinary world and the inclusion of fruits and crafts typical of Puebla and Tlaxcala are reflected in José Agustín Arrieta's still life paintings, as in this unique "Still Life with Prickly Pears," the symbolic nature of which is quite clear due to the presence of the nopal (prickly pear cactus) and its fruits. This sacred cactus, related to an Aztec legend identifying it with the founding of Mexico-Tenochtitlan, appears on the National Coat of Arms of Mexico. This native species of cactus, also known by other names such as xoconostle or chumbera, found in dry and semi-desert environments, was introduced to many areas of the Mediterranean by the Spanish in the 16th century.The presence of fruits native to Mexico, such as limes, papayas, pitahayas, mameyes, and prickly pears, is often accompanied by other elements such as bottles, crystal glasses, pots, or baskets in Arrieta's still life work.The still life in question features a jug in the central axis of the composition and two wicker baskets full of prickly pears (also known in the Hispanic world as higos chumbos) - one of them overturned. The popularity of the nopal and its edible fruit in Mexico is well-known, as are the fleshy paddles of the plant, highly appreciated for their healing properties.In the foreground are two clay pots, common ceramic plates with floral decoration, a polychromed clay oil bottle and an oil lamp with glass sections. Various types of prickly pears with white or orange-reddish peel are depicted. It is also worth mentioning the scissors, the prickly pear sliced at both ends, and sectioned to show the edible part, and the presence of two snails (Helix aspersa Maxima).As is customary in Arrieta's paintings, there is special attention to the depiction of objects and textures, observed in the glass, the clever arrangement of scissors with their shadows, and in the clay pots with water droplets." Reference bibliography:Castro Morales, Efraín, Homenaje Nacional a José Agustín Arrieta (1803-1874), Museo Nacional de Arte (México) INBA 1994; Fraile Martín, Isabel, "Pintura y pintores en Puebla: Una revisión a los modelos y tendencias del siglo XIX" Estudio, 2015, n. 20, p.17-31. The study by José Gómez Frechina is included with the lot.
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