This captivating oil on canvas by Antonio DeVity (or Arnone Divity) depicts a lively Parisian street scene, with the Sacre-Coeur basilica in the background. DeVity, renowned for his impressionistic renditions of rain-soaked Paris, employs a rich impasto technique, creating depth and movement through bold palette knife strokes. The wet cobblestone streets reflect the bustling energy of pedestrians and cyclists, while the historic architecture of Paris rises in the misty background. Vibrant reds and greens punctuate the muted tones, adding contrast to the diffused light. Signed in the lower right, the painting also bears a canvas stamp on the verso. DeVity, an internationally recognized artist, lived in Rome and Paris, teaching at the Accademia di Belle Arti. His works remain highly collectible for their atmospheric charm and impressionist aesthetic.Artist: Antonio (Arnone) DeVity (Italian 1901-1993))Issued: c. 1950Dimensions: 17.25"L x 29"HCountry of Origin: ItalyCondition: Age related wear.
We found 534310 price guide item(s) matching your search
There are 534310 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534310 item(s)/page
![Two boxed Clara 5 Light Chandeliers. [2]. [W]](https://cdn.globalauctionplatform.com/0d5dec64-be9e-4295-aa3f-b2a300c3184a/8c0771d7-8346-47d6-8927-b2ab00fd6cd9/468x382.jpg)
![Ercol - A Windsor oval top drop leaf table model 384, 72 cm x 113 cm x 63 (125) cm and six Quaker chairs (4+2). [7]. [W]
Con](https://cdn.globalauctionplatform.com/0d5dec64-be9e-4295-aa3f-b2a300c3184a/f5c73fee-9a59-40b1-b603-b2ad0114a04f/468x382.jpg)
Ercol - A Windsor oval top drop leaf table model 384, 72 cm x 113 cm x 63 (125) cm and six Quaker chairs (4+2). [7]. [W] Condition Report: Appears in good condition overall, chairs are structurally sound, no apparent splitting, some loss of lacquer in areas, table top has a few light surface marks, good useable condition overall.
Luis Berrueco (Puebla, Mexico, early 18th century)"Saint Joseph with Child"Oil on canvas. Relined.63,5 x 49,5 cm.As the ARCA website reports ‘His date of birth is not known with certainty. He is considered to be the last disciple of Juan Correa. The diocese of Puebla commissioned the canvas ‘The apparition of Saint Michael to the Indian Lazaro’, and he is therefore believed to have been a renowned painter in Puebla and Tlaxcala. His work was characterised by complex compositions and large formats, with a use of color in which the blue, red and ochre palette predominates. His date of death is unknown’.He is recognized for his devotional paintings, in which the delicate treatment of golden brocade is outstanding, a characteristic that distinguishes him from the novo-Hispanic baroque that emphasizes the majesty and spirituality of his figures. His work is characterized by complex composition in terms of details, colors, textures and the characters' flesh, with which he expresses the tenderness of Mexican art very well in the characters he paints. He makes great use of large formats, although the painting we have here is smaller, of a devotional nature, for domestic or chapel use. The use and mastery of very vibrant color, in which palettes of blues, reds, ochers and golds predominate, is remarkable. The textures of the fabrics stand out, as in the velvet of the Saint or the rustic striped cloth that supports him, the flesh tones of the skin, very pinkish, which express the tenderness of the moment, the goodness and humility of the Saint. The comparative analysis with known works by Luis Berrueco, such as “The Divine Pilgrim”, located in the Regional Museum of Querétaro, “Our Lady of Refuge”, found in the Museum of the Basilica of Santa María de Guadalupe and “Diego Lázaro”, in the Sanctuary of San Miguel del Milagro, allows us to identify similarities in the style and techniques that reinforce the attribution of this painting.The light is aimed at highlighting the faces and the tenderness of the gesture of Saint Joseph and the Child, a treatment similar to that used in “Diego Lazarus”, where the characters emerge from the half-light with a light that envelops their faces in a mystical halo. The treatment of the gilding in this painting is comparable to that which appears in the Virgin's clothing in “Our Lady of Refuge”, where the decorative gilded motifs follow a meticulous and symmetrical design. We can observe the sensitive communication between the son and his father, the game and language of glances in which the Son, tenderly, tries to move the face of his Father who is looking at the viewer and the Child, to call his attention, tries to move his father's chin with his right hand. The look that St. Joseph has for the viewer is scrutinizing, penetrating, humble and tender, very kind, helping to transform whoever he contemplates.The treatment of the faces in this work follows the tradition of Puebla painting, with figures of soft features, serene gazes and a notable idealization of the sacred characters, a tendency that is also observed in “Our Lady of Refuge”.It is due to these characteristics that we support the attribution of our work to Luis Berrueco. Bibliographical References:- Toussaint, M. (1965). Colonial Art in Mexico. Austin: University of Texas Press.- Tovar de Teresa, G. (1992). Catálogo de pintores y escultores en la Nueva España. México: Instituto de Investigaciones Estéticas, UNAM.- Rincón García, W. (2013). San José en el arte novohispano: Iconografía y devoción. México: Instituto Nacional de Antropología e Historia (INAH).- Kubler, G. (1961). Mexican Architecture of the Sixteenth Century. New Haven: Yale University Press.- Burke, M. (1992). Pintura y escultura en Nueva España: El barroco (Arte Novohispano). México: Fondo de Cultura Económica.
Gregorio Vázquez de Arce (Santa Fe, New Granada, 1638 - 1711)"The Holy Family in Saint Joseph's workshop"Oil on copper.62,5 x 47,5 cm.The lower margin of the copper plate is slightly damaged.The attribution of this work relates to the style and technique that characterize Vázquez: balanced compositions, soft tonalities and detail in the treatment of figures, elements and style that we observe in other paintings that have been signed by the artist and that allow us to affirm that this painting is by Vásquez. We refer, for example, to the paintings in his "Retablo de las Reliquias" or his “Saint Gertrude with the Christ Child” kept in the Santa Clara Church Museum in Bogota, in which similarities with this painting can be observed in the idealized representation of the faces, the delicate handling of light and the tonal palette dominated by warm and earthy colors.The choice of the thick copper support, usual in Vásquez de Arce's small format works, denotes an interest in guaranteeing durability and a luminous finish, something common in works destined for altars or private devotional spaces, as would be the case here.This painting comes from a time when New Granada was experiencing a boom in religious artistic production, driven by orders such as the Jesuits and Dominicans, who promoted artworks that were both didactic and devotional at the same time.Gregorio Vásquez de Arce was an influential Colombian painter, the most important painter from 17th century New Granada. He was endowed with technical and stylistic mastery as reflected in cycles such as the "Retablo de las Reliquias" in the Church of San Ignacio in Bogota. With a prolific career that spanned much of his life, Vasquez left a legacy of religious artworks that significantly influenced the artistic development of the region. His style combines elements of European baroque with a sensitivity and devotion typical of the Latin American context of the 17th century. Vásquez, in fact, through his work, was a central figure in the consolidation of the Baroque in New Granada and his influence extended to later generations of artists in the region. Later painters took his style and adapted it to local needs, making his work a fundamental point of reference in the history of viceregal art. Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of the engravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.” The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work. The scene depicts the Holy Family in an intimate, everyday environment, a typical Christian baroque theme that seeks to emphasize the humanity of sacred figures. Just like any family, the patient Virgin Mary is doing embroidery while “meditating everything in her heart”; the chaste St. Joseph, focusing one of the essential virtues he possesses, is working in silence at carpentry, planing wood. The thrice saintly Jesus, as Son, is learning from his father and imitates him at woodworking, and appears as “building his future destiny”, preparing the stipe of his cross. The painting, with its colors, shows a model of all the virtues: humility, chastity, obedience, poverty, love of work and silence; in a word, the total practice of these virtues reflected and lived through by this family. The theme of the Holy Family became popular in art from the 1490s, but the veneration of the Holy Family formally began in the 17th century due to St. Francis de Laval, the first bishop of New France, who founded a confraternity with this name. The family is depicted as being all on the same level, on the same compositional plane, on the same floor, there is no one that predominates or stands out above the other. It is what is called the earthly Holy Trinity and although Saint Joseph had an almost caricatured secondary role in the iconography, from the Renaissance and the Baroque, he becomes very important, since the progressive humanization of the portrayals of Jesus and Mary would make this adoptive father gain presence, he is given increasingly friendly treatment and is portrayed in art as a loving and attentive father.In this regard, as we read in the fascinating article by Juan Pablo Cruz Medina (2014) “The Painting of the Holy Family: A Manual of Family Relations in the World of 17th Century Santafé”, the family, configured as the nucleus of the social body within the structure devised by Spain for the New World, early on became a concern for both the Church and the bureaucracy established in Latin America. From this, the Church developed a series of discursive structures aimed at establishing models of family life that would serve as examples of ideal behaviour throughout the 17th century. This ensured not only the maintenance of an "ecclesial" order in society but also the submission of society to the civil power established by the Spanish monarch in the new lands.Medina highlights the artistic production developed by the Church in relation to the family. “One of the most significant pictorial sets within the visual corpus of the 17th century is that of the Holy Family,” which would continue to be represented ceaselessly thereafter. This ecclesiastical need also responds to the “emergence of the nuclear family model in Europe, which changed the conception of the extended family typical of the Middle Ages,” while in colonial Latin America it was of interest to “establish examples that would help shape a society governed by religious norms.”Reference bibliography: - Cruz Medina, Juan Pablo. (2014). «La pintura de la Sagrada Familia. Un manual de relaciones familiares en el mundo de la Santafé del siglo XVII». Memoria y sociedad 18, n.° 36: 100-117. https://dx.doi.org/10.11144/Javeriana.MYS18-36.psfm- Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6, Nº 11, 68-125. - Fajardo, Marta. (n.d.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia. https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos - Pizano, Roberto. (1985). "Gregorio Vásquez: Vida y obra". Banco de la República, Bogotá.- Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada". - Tovar, Gil. (1995). "El barroco en la Nueva Granada: Gregorio Vásquez de Arce y Ceballos. Ediciones Nueva América, Bogotá.
Baltasar de Echave Ibia (Mexico City, New Spain, ¿1583-84? - 1644)"Coronation of the Virgin"Oil on copper.24,5 x 18,3 cm.Baltasar de Echave Ibía was a prominent painter of the early Baroque in New Spain. Ibía, heir to the Mannerist style of his father Baltasar de Echave Orio, is distinguished by his use of a palette rich in blue tones, which earned him the nickname “El Echave de los Azules” (Echave of the Blues). This painting shares similarities with other works by Baltasar de Echave Ibía, as well as with the Seville school, from which the Echave family drew references through engravings by artists such as Francisco Pacheco and Murillo. The balanced composition, supernatural lighting, and detailed treatment of faces reinforce the idea that this work can be attributed to Echave Ibía. One of the most distinctive aspects of Echave Ibía’s style is his chromatic palette, dominated by deep blue tones, especially in the garments of the Virgin Mary. In this painting, the choice of a vibrant blue mantle with golden embroidery is one of the keys to its attribution to this artist. The use of blue in Echave Ibía’s work is both symbolic and aesthetic. From a theological perspective, blue has been associated with the Virgin Mary as a symbol of her purity and divinity. In pictorial terms, Echave Ibía used this tone exceptionally to create contrasts with golden backgrounds or the warm tones of angels and celestial figures. This characteristic feature found in the painting can also be observed in *The Immaculate Conception*, dated 1620, kept in the National Museum of Mexico, where the blue of the Virgin’s mantle stands out against a luminous background of golden radiance. Both paintings share other similarities, such as iconographic elements, enveloping light, and the rich ornamentation of the mantle. Moreover, Echave Ibía’s painting *Saint Paul and Saint Anthony the Hermit*, also kept in the aforementioned museum, shares the treatment given to the background landscape with this one, a background dominated by bluish tones that create a mystical and enveloping atmosphere. Finally, the similarity between the palettes of those paintings and the one we have here reinforces the hypothesis of its attribution to Echave Ibía. This marvelous copper piece shows a masterful use of chiaroscuro, with a light source emanating from the Virgin and Child, who are surrounded by a celestial glow. This light technique is characteristic of New Spanish painting of the 17th century and is particularly visible in the work of Echave Ibía. The modeling of the faces is delicate and detailed, with a tendency toward oval and gentle features, especially in the Virgin Mary and the angels, a hallmark of the artist, contrasting with the robustness and drama characteristic of other New Spanish painters such as Sebastián López de Arteaga. The painting represents a classical iconography of the Coronation of the Virgin, where Mary is depicted ascending to heaven, surrounded by angels, holding the Christ Child in her arms, and crowned in glory. This scene not only reinforces Marian doctrine but also emphasizes the Virgin Mary’s celestial hierarchy as intercessor and Queen of Heaven, a theme highly recurrent during the Counter-Reformation. Marian devotion was venerated by the Franciscans since the 13th century, being of great importance to the order. We can identify the iconographic type adopted by the fathers for the portrayal of the Virgin of the Angels, an image that presided over the church of the convent, known as the Convent of the Discalced. The Virgin of the Angels is a variation of a print that was circulating at the time, created by the Dutch engraver Cornelis Cort (1533/1536–1578) and published in Rome in 1574. It depicts the theme of the *Assumption and Coronation of the Virgin*, showing her figure standing, in a prayerful attitude, and surrounded by two pairs of angels who support and crown her. This composition was successively simplified in 16th-century models, focusing attention on the figure of the Virgin Mary. This small and exquisite copper piece varies slightly from the typical portrayal of the Virgin Mary, presenting her with a scepter as Queen and carrying her Son in her arms, thereby giving her greater prominence. Reference Bibliography:- Arellano, F. (1988). "El arte hispanoamericano". Universidad Católica Andrés Bello.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Danes, G. (1942). "Baltasar de Echave Ibía. Some Critical Notes on the Stylistic Character of His Art". Anales del Instituto de Investigaciones Estéticas, 3(9), 15-26.- Kubler, G. (1961). "Mexican Architecture of the Sixteenth Century". Yale University Press.- Portús, J. (2016). "Metapintura. Un viaje a la idea del arte en España". Museo Nacional del Prado.- Ruiz Gomar, R. (2002). "La pintura novohispana del siglo XVII: Temas y variaciones". Museo Nacional de Arte de México.- Toussaint, M. (1965). "Colonial Art in Mexico". University of Texas Press.- Tovar de Teresa, G. (1992). "Catálogo de pintores y escultores en la Nueva España". Instituto de Investigaciones Estéticas, UNAM.- Victoria, J. G. (1994). "Un pintor en su tiempo. Baltasar de Echave Orio". Instituto de Investigaciones Estéticas, UNAM.
Luis Niño (Potosi, Bolivia, active between 1737 and 1750)."The Triumph of the Eucharist" Oil on canvas. 110 x 80 cm. Luis Niño was a prominent Indigenous painter and sculptor active in Potosí during the first half of the 18th century. Chroniclers such as Diego Arzans y Vela described him as an extraordinarily talented artist who blended Baroque influences with Indigenous spirituality to create visually striking and symbolically rich compositions. This painting features a hierarchical structure that includes Christian elements such as the Virgin and the Most Holy Sacrament, surrounded by musical angels framed by lush gold brocade work—a hallmark of Potosí’s viceregal art. Compared to other works by Niño, such as *The Virgin of Sabaya* and *The Virgin of the Rosary* (housed in the Museo de la Moneda in Potosí and the Recoleta in Sucre, respectively), the painting retains the compositional structure and decorative motifs characteristic of his style. The arrangement of musical angels at the top and the inclusion of anthropomorphic architectural elements demonstrate stylistic coherence across his works. In contrast to paintings like *Our Lady of Victory of Malaga* (at the Denver Museum), this painting reveals a more pronounced international influence, adapted to the local context by Niño. They reflect both European traditions and Andean influences. In the lower plane, the Virgin Mary and Marian symbols highlight the spiritual connection between heaven and earth. Her presence, superimposed over the landscape, evokes the symbolic identification between Pachamama (Mother Earth) and the Virgin Mary—a common evangelization strategy to ease the acceptance of Christianity among Indigenous peoples. The color palette relies on warm tones, with golds and reds standing out against a muted background, creating a contrast that draws the viewer’s attention to central elements. The gold brocade technique, meticulously applied to the angels’ and Virgin’s garments, showcases the artist’s technical skill and ability to harmoniously integrate decorative elements. Oil paint combined with gold detailing creates a richly textured surface that reflects light uniquely, enhancing the scene’s spirituality. Historically, Niño’s work emerged during the consolidation of mestizo Baroque in Upper Peru (modern-day Bolivia), where artistic expressions reflected the interplay between European traditions and Indigenous beliefs. Niño worked in a context deeply shaped by Potosí’s mining exploitation, a major source of wealth for the Spanish Empire, where Indigenous mitayos (forced laborers) played a crucial role. Through his art, Niño reclaimed Indigenous artistic capabilities, as noted by Arzans, who compared his creations to those of classical European masters. This painting exemplifies Luis Niño’s technical mastery. By blending Christian iconography with Indigenous traditions and symbols, Niño crafted a visual narrative that resonated with both colonial elites and Indigenous communities. His legacy bridges two worlds, affirming Indigenous cultures’ capacity to dialogue, adapt, and resist through artistic creation. Reference Bibliography:- Chacón Torres, M. (1973). "Arte Virreinal en Potosí". Escuela de Estudios Hispanoamericanos.- Gisbert, T. (1999). “Luis Niño y San Lorenzo de Potosí”, en Revista de la Fundación Cultural del Banco Central de Bolivia (La Paz), n.º 7, págs. 17-25 .- Querejazu, P. (1999). “Luis Niño, el famoso desconocido”, en Revista de la Fundación Cultural del Banco Central de Bolivia (La Paz), n.º 7, págs. 7-16.
Diego Quispe Tito (Cuzco, Perú, 1611 - 1681)"Saint Joseph with the Child in its workshop"Oil on canvas.71 x 63 cm.The painting we present is attributed to Diego Quispe Tito, a master of the 17th-century Cuzco School. In addition to its devotional purpose, this painting of Saint Joseph with the Child Jesus serves as an example of a rolled format painting. This unusual canvas, rich in iconography and symbolism, is presented rolled like a parchment, a format typically created for ease of transport, whether for outdoor masses or services in villages near the main parish, or to display a religious motif that would unify catechesis, homilies, or talks given by missionaries. From a technical perspective, this format required durable materials and painting techniques resistant to wear, as the paintings were repeatedly rolled and unrolled. With a background characteristic of Quispe Tito, and later of the entire Cuzco School, we see a landscape filled with birds, vegetation, and flowers, including native elements such as Andean birds (macaws and parrots) and typical trees of the Andean region. The painting portrays backgrounds with mists and radiant clearings; gardens in intermediate planes with well-defined plants and vegetation, and a bridge. There is an unreal architectural perspective to the right, a wall and a plinth are hinted at, on which the saint has his carpentry tools, as if he were a surgeon. There are also meticulously detailed elements. At the center, we contemplate the chaste Joseph holding the Child in his arms. To his left, as if representing an independent reality, we see Saint Lucy, as a donor, appearing timidly, with independent vanishing points and horizon lines, yet sharing the same pictorial surface without any clear division between them.We have three possible hypotheses: a) It is a religious painting, commissioned by a priest, featuring two primary devotions of the place where he ministers, one larger and more intense at the center, and another on the side; b) The commission was made by a man named José, who places his patron saint at the center, and near the end of the work, requests the artist to include Saint Lucy, who seems to stumble into the composition but integrates perfectly as she shares the same compositional plane; c) The painting was commissioned by a donor, placed to the left, named Lucía, or devoted to the saint, and she is depicted in an unreal plane next to the central saint she wishes to venerate.Whichever of these are true, this is a devotional painting, full of goodness and light, blessed from heaven by the Holy Spirit, which becomes a refreshing window of pure reality, a haven of peace, calm, and tenderness. In the painting, we can observe the mastery in the use of vibrant colors, the richness of meticulous details, and the depth of color, all hallmarks of Quispe Tito’s style. The reds in the garments of Saint Joseph and Saint Lucy, and the whites of the Child Jesus, contrast with the background landscape, which features softer and more natural tones. The textures of the clothing, the carpentry tools, and the natural elements of the landscape are rendered with precision, creating a harmonious composition that guides the viewer's gaze through the scene. With the inclusion of carpentry tools, local landscapes, and native fauna, Quispe Tito not only narrates the sacred story but also documents life in his homeland. It is a work that encapsulates a cultural mix, speaking both of faith and identity, achieving not only its religious and spiritual function but also becoming a reflection of daily life in colonial Andes, creating a visual language that captivated both the Indigenous and Spanish populations.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, he is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's maturity and originality, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters."Bibliographic reference:- Gisbert, Teresa. “Iconografía y mitos indígenas en el arte”. Editorial Gisbert, 1999.- Vargas Ugarte, Rubén. “Historia del Arte en el Perú”. Editorial Studium, 1969.- San Agustín. “Sermones sobre San José”, Biblioteca de Patrística, siglo IV.- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito
Diego de Borgraf (Antwerp, Flanders, 1618 – Puebla, Viceroyalty of New Spain, 1686)"Saint Anthony the Great with Donor"Oil on canvas. 66 x 97 cm. In this horizontally formatted painting, we contemplate various scenes from the life of Saint Anthony the Great, depicted in different planes and perspectives behind a clergyman donor, who appears in prayerful attitude on the left side. The donor is portrayed as rugged and stern, serious and unattractive.During his ascetic retreat in the desert, Saint Anthony endured numerous temptations from the devil. In one instance, the devil disguised himself as a seductive woman to lure him into the sin of lust. In another, the Egyptian monk was violently tormented by a group of demons of various forms and colors. In this painting we can observe the artist’s interest in portraying these episodes in great detail, depicting realistic faces imbued with either a rugged character (the donor) or mystical depth (the saint), giving them great expressiveness.Diego de Borgraf, a Flemish painter active in New Spain during the 17th century, developed a pictorial style that fused the Flemish landscape tradition with the iconographic needs of the viceroyalty. His mastery in portraying the natural environment as a sacred space is evident in several of his works, including the Saint Anthony the Great and the Donor we have here. In this painting, the figure of the saint merges with a detailed landscape, where scenes from his life are integrated into a mystical atmosphere that reinforces the devotional message of the artwork. This treatment of the landscape and the insertion of narrative episodes recall other artworks by Diego de Borgraf, particularly in how he structures space and uses light to emphasize the spirituality of the scene. In our view, this painting must be related to the series of 13 hermit saints created by Diego de Borgraf and his workshop and kept in the Museo Universitario Casa de los Muñecos in Puebla, Mexico. These paintings are based on Flemish engravings by Maarten de Vos and themes derived from the Vita Antonii. These scenes, characterized by wooded settings, depict certain anchorites organized into lavras (monastic communities) and others in the strict penance typical of primitive monasticism. Among all the hermits, we can establish similarities between this painting and Saint Arsenius, Saint Onophrius, and Saint Fulgentius, where the treatment of the landscape and visual narrative play a decisive role in expressing mysticism. In the painting of Saint Arsenius, the relationship between the saint and his natural surroundings is a key element. Borgraf places the saint in a secluded environment, surrounded by twisted trees and with ruins of architecture in the background, reinforcing the idea of abandoning the earthly world. The figure, with a long beard and austere clothing, is analogous to that of Saint Anthony the Great in the painting we are studying here. Additionally, the use of cool tones and the balanced composition between the main figure and the landscape are features present in both pieces. Saint Onophrius also shows saint in an attitude of penance and contemplation, just like this Saint Anthony the Great and the Donor. The figure appears semi-naked with a long beard, characteristic of hermits. The integration of the character into a natural setting where vegetation occupies much of the composition is also observed in the work of Saint Anthony. Moreover, the way the painter uses light to highlight the saint’s figure amidst a shadowy landscape is a constant in his production. In Saint Fulgentius, we again observe the construction of a sacred space within the landscape. The work depicts the saint praying inside a cave, with a small altar inside and a stormy sea in the background. The depth of the composition and the arrangement of elements recall the structure of this Saint Anthony the Great and the Donor, where the environment also frames the spiritual meaning of the scene. In both paintings, Borgraf emphasizes meditation and the isolation of the saint, surrounded by a landscape that conveys a sense of transcendence. As a summary, we find the following stylistic elements in this painting and other comparative works by Borgraf, which allow us to confidently attribute the work under study to the Flemish master: The integration of the landscape into sacred narrative: In all these paintings, the landscape is not merely decorative but plays an active role in representing spiritual retreat and the communion of the saint with nature. The use of secondary episodes: Both in the painting of Saint Anthony the Great and in the others, episodes from the saint’s life are included in the background, expanding the iconographic reading and reinforcing the narrative dimension. Dramatic lighting and tonality: Borgraf employs contrasted lighting, with light and shadow emphasizing the spirituality of the scene. In Saint Anthony the Great and the Donor, the light highlights the donor and the saint, while in Saint Fulgentius and Saint Arsenius, it is used to delineate the depth of the landscape. The balance of composition: Figures are distributed in space in a harmonious order, allowing the landscape to unfold without overshadowing the central scene. In Saint Anthony the Great and the Donor, the figure of the donor and Saint Anthony are balanced with the dynamism of the background, just as in Saint Onophrius and Saint Arsenius. Saint Anthony the Great is the patriarch of the cenobites of Thebaid. His life was described in Greek around 357 by Saint Athanasius and later translated into Latin by Evagrius of Antioch, spreading throughout medieval Western Europe. This text established the most frequent characteristics of monastic literature. He is often depicted as an elderly man with a beard, wearing a hooded habit. His most common attributes include the tau-shaped staff or potent cross, sometimes embroidered on his habit, as well as the book, rosary, bell, flames of Saint Anthony’s fire, and the pig. By the late Middle Ages, devotion to Saint Anthony the Great experienced significant revitalization with the emergence and development of new spiritual currents, which exalted the hermetic life as the ideal of monastic existence, pushing to the extreme the rejection of material goods and, in general, all worldly ways of life. Reference Bibliography:- Albarrán Samaniego, Arturo. “Los santos ermitaños de Puebla, México.Un acercamiento a los grabados flamencos de Maarten de Vos y al discurso iconográfico de la Vida Antonii”. Escuela de Diseño del Instituto Nacional de Bellas Artes, México.- Toussaint, Manuel. (1948). "Arte Colonial en México". Imprenta Universitaria.- Museo Nacional de Arte (MUNAL), Ciudad de México. Exhibitions and permanent collections.
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.
Bernardo de Legarda (Quito, Ecuador, circa 1770 - 1773)‘Martyrdom of Saint Barbara’.Carved, polychromed and gilded wooden relief.35,5 x 27 x 3,5 cm.Wonderful relief, in which Legarda magnificently narrates the dramatic moment in which the saint is about to be beheaded, while a lightning bolt is about to fall on her executioner, killing him. Next to her is the tower in which her father, Dioscorus, had her locked up to protect her from being harassed by suitors. Before entering the tower the saint baptised herself in a pool. She escaped, but was arrested and brought before the judge Martinianus, who condemned her to death. In this relief, the tower, according to tradition, has three windows to recall the words of the saint, who stated that the light had entered her through the three windows of the Father, the Son and the Holy Spirit.The relief is an example of absolute mastery as well as virtuosity in polychromy. The characters are dressed in rich and elaborate robes in vivid colours, with polychrome brushwork of flowers enriched with motifs painted in gold. It is ornamented down to the smallest detail. It is presented in its original carved, wooden, niche type frame, which even has its inner edge decorated with a border of flowers.Bernardo Legada, an enormously talented sculptor and painter, stands out as one of the most important artists of the Viceroyalty of Ecuador.The magnitude, variety and aesthetic quality of his work is unparalleled in the entire viceregal period. Legarda, while consolidating the validity of the Quito School as a differentiated style, is a pioneer in the vision of the artist as an individual.When we speak of this Master we usually think only of his free-standing sculptures, but Legarda is perhaps one of the few artists of the South American region who inherited the multidisciplinary versatility of the first artists who arrived or developed in Latin America, as was the master Bernardo Bitti, one of the three pillars of viceregal art in South America at the end of the XVI century. He was an outstanding and fine sculptor, prolific image maker, skilled painter, painstaking gilder, silversmith and mirror maker.His workshop, large and prosperous, located near San Francisco, was a centre of great activity. There is a large number of artworks by the master Bernardo de Legarda in the different churches in the capital of Ecuador that attest to his genius. Amongst his most important artworks is the main altarpiece of the Church of La Merced in Quito, as well as the altarpiece of the Temple of the Jesuits.This relief is especially remarkable because there are very few artworks by Legarda on the market today, and even fewer with this type of relief carving.Its small size and quality, together with its magnificent polychromy, make this relief a coveted jewel that could certainly be a museum piece. The sweet expressions of the characters, who seem oblivious to the scene depicted where Saint Barbara is about to have her throat slit, are classic Legarda. This type of expression and idealised faces reminiscent of porcelain dolls are repeated over and over again in his sculpture. It is sufficient to see just some of his works to notice that this was undoubtedly the great Master of kind, serene and sweet faces.We take two artworks by the author as typological references of his relief carving. On the one hand, a relief sculptural ensemble conceived within its own niche, representing the Apocalyptic Immaculate Virgin with a choir of angels, in the BEAEP Cultural Center Museum. And on the other hand, an exquisite relief sculpture of a larger size representing the Assumption of Mary, in the Church of San Francisco, in Quito, Ecuador. Furthermore, when analysing the carving, we compared its clothing, polychromy and sweet features with those of the Archangel Saint Gabriel in the same church in Quito; and also with the Archangel Saint Michael of the Primate Cathedral of Quito, whose sweet face is especially reminiscent of that of the Saint Barbara we have here.
Attributed to Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"The Inmaculate Conception and The Holy Trinity"Oil on panel.51 x 35 cm.This small panel reflects one of the painter's continuing and significant interests in Marian subjects, a theme that brought him a great reputation for the quality of his work. His work is related to the technique and stylistic treatment usually found in artists such as Manuel Samaniego. This would have been one of the many commissions Rodriguez received from various religious institutions. And it was that ecclesiastical protection which meant that he was privileged enough to have the advantage of being able to paint canvases that we can currently admire in the Cathedral of Quito and in the Museum of Colonial Art an the Casa de la Cultura Ecuatoriana.In this Immaculate Conception, the artist has staged a perfect two in one by conjoining two devotions in a single painting. Two of the most typical pictorial representations in the viceroyal Hispanic American iconography are concentrated in a single painting: the Immaculate Conception, on the one hand, and the Holy Trinity, on the other. And, together, they form this painting of a Trinitarian Immaculate Conception. Mary is richly attired with the characteristics of viceregal painting, holdng an image her Son, made Eucharist and symbolised by a monstrance, with which she offers to bless those who approach to contemplate her. The scene is watched from heaven by the Holy Trinity: the Son, carrying the Cross (salvation of the world); in the center, the Holy Spirit, who carries his identity, (what he is, Love or the flame of Living Love); and the Father, on the right, as Pantocrator who blesses all.The painting we present, when compared with other works attributed to the artist, such as the “Coronation of the Virgin with heraldry of a Spanish family” found in the Franciscan Museum of Quito, shares similarities in the treatment of colors and decorative details. When analyzing the painting together with the comparative images, a stylistic continuity can be observed in the use of blue and gold, as well as in the idealized and delicate depiction of the faces, showing serene spirituality in the Virgin and solemn hieratism in the figures of the Trinity.Bernardo Rodríguez demonstrates remarkable control of light and color, using a palette that emphasizes deep blues in the cloaks and bright golds in the decorative details. The use of gold in the garments, particularly in the brocades, highlights the artist's technical virtuosity and his ability to integrate European and local influences.Although the panel format limits the scale and detail of the composition, it maintains the symbolic and devotional richness characteristic of the Quito school. The difference in media and dimensions reveals Rodríguez's adaptability to different formats and commissions.By employing an accessible and emotional visual language, Rodríguez reinforces the role of art as a tool for evangelization and devotion, consolidating the religious and cultural identity of the time.This painting comes from a period of intense artistic production in Quito, driven by the religious orders that promoted Marian iconography within the framework of the Counter-Reformation. The Virgin Mary, as a symbol of purity and divine mediation, acquired great relevance in viceregal art, especially in territories where the indigenous population could identify with her maternal figure.Reference bibliography:- Kennedy Troya, Alexandra. (2007). "Arte de la Real Audiencia de Quito, siglos XVII-XIX". Nerea.- Handelsman, Michael. (2000). "Culture and Customs of Ecuador". Greenwood Press.- Escudero Albornoz, Ximena y Vargas Arévalo, José María. (2000). "Historia y crítica del Arte Hispanoamericano, Real Audiencia de Quito: (siglos XVI, XVII y XVIII)". Editorial Abya Yala.
Juan Tinoco (Puebla de los Ángeles, 1641 - 1703)“Saint Gertrude the Great”.Oil on canvas.114 x 85 cm.The painting shows us a magnificent portrayal of Saint Gertrude the Great, Benedictine Cistercian nun, patron saint of Puebla, rescuer of souls from Purgatory, lover of the Child Jesus, abbess of the Sacred Heart and intercessor for a good death. In our opinion, this painting is by the painter Juan Tinoco, who was an outstanding exponent of the novo-Hispanic baroque. This Saint Gertrude would have been painted between 1670 and 1690.In it we can observe the technical virtuosity and spiritual depth characteristic of this painter, active mainly in Puebla, Mexico, where he developed a consolidated career in a cultural context marked by the rise of religious art.The cultural context of this painting is framed in the flourishing of the viceregal baroque, a period of intensification of religious art as a means of catechesis and devotional expression. Puebla, known as the “City of Angels”, was an important artistic center where Spanish, indigenous and mestizo influences converged. Tinoco's work reflects this fusion, evidenced in the exquisiteness of the details and the richness of the materials used, such as the application of gold in the halo and the inscriptions.Stylistically, the painting combines a refined use of chiaroscuro with a sober but warm chromatic palette, dominated by blacks, reds and golds. The folds of the saint's habit are modeled with sculptural precision, while the details of the book and the table demonstrate Tinoco's skill in painting textures. This technical virtuosity, together with the emotional intensity of the scene, places Saint Gertrude the Great among the painter's most outstanding artworks.Comparison with other paintings by Tinoco, such as the Mystical Wedding of Saint Rose of Lima from the Cathedral of Puebla and the Our Lady of Sorrows from the Museo Nacional del Virreinato, reveals similarities in the depiction of sacred figures, especially in the idealization of the faces and the use of halos of light. In this composition, Saint Gertrude is portrayed in a moment of mystical ecstasy, a portrayal that has its roots in the rise of devotion to the Sacred Heart of Jesus, promoted in the 17th century by Jesuit spirituality. The inscription “INVENES ME IN CORDE GERTRVDIS” (“In the heart of Gertrude you shall find Me.”) reaffirms the deep connection between the saint and Christ, symbolizing the spiritual union that defines her life and legacy. The Child Jesus, emerging from her heart, carries an orb as a symbol of her universal sovereignty, while the halo of light reinforces her divinity. The crosier, the attribute of abbess, and the open book, allude to the saint's wisdom and spiritual authority.The saint wears four rings that symbolize her mysticism and spiritual status. Each ring symbolizes a virtue or spiritual gift, and their presence in the painting underscores Gertrude's level of consecration and holiness.Juan Tinoco, considered one of the main representatives of the Puebla school, was a disciple of the master Sebastián de Arteaga, one of the artists who introduced tenebrism to New Spain, influenced by the style of Francisco de Zurbarán. Arteaga transmitted the dramatic use of light and shadow to Tinoco, as well as a predilection for scenes of mysticism and devotion. In turn, Tinoco exerted a notable influence on local artists, leaving a legacy that extended even outside of Puebla. His work is characterized by a balance between Spanish sobriety and a delicate ornamentation typical of American sensibility.Juan Tinoco's legacy extends beyond his pictorial production. His workshop was a formative space for local artists who later took the traditions of the Puebla school to other corners of the viceroyalty. In addition, his paintings, present in important ecclesiastical collections, consolidated his reputation as one of the great masters of the novo-Hispanic baroque.Bibliographical references:- Toussaint, Manuel. (1965). “Pintura Colonial en México”. UNAM.- Vargas Ugarte, Rubén. (1956). “Historia del Arte en el Perú Virreinal”.- Rodríguez Miaja, Fernando E. (2004). "Juan Tinoco: Gloria de pintura poblana". Consejo Nacional para la Cultura y las Artes.
Sebastián López de Arteaga (Seville, 1610 - Mexico City, 1652)"Our Lady of Villaviciosa".Oil on canvas.104,5 x 83 cm.The painting “Our Lady of Villaviciosa” represents the Novo-Hispanic Baroque work attributed to Sebastián López de Arteaga, a painter originally from Seville who worked in Mexico in the 17th century. Arteaga, trained in the Spanish pictorial tradition, had contact with the great Baroque tenebrists such as José de Ribera and Caravaggio, which strongly marked his style and allowed him to bring pictorial sensibility that emphasized realism, theatricality and visual impact to Latin America. This can be appreciated in Our Lady of Villaviciosa, where the chiaroscuro and expressiveness of the violinist evoke the aesthetics of the great Spanish painters of the 17th century.Sebastián López de Arteaga stands out as a key painter in the transition from Mannerist to Baroque painting within New Spain. The comparison with Arteaga's “Doubting Thomas”, preserved in the Museo Nacional de Arte of Mexico, is pertinent, as both paintings share directed light, with faces emerging from the penumbra and a composition centered on the gestures of the figures. Just as in the painting of St. Thomas, where disbelief is manifested in the intense observation of Christ's wound, in Our Lady of Villaviciosa, the violinist shows an expression of admiration directed at the Virgin, reinforcing the mystical dimension of the scene.Since the sixteenth century, the worship of the Virgin Mary was fundamental in the viceroyalty of New Spain for evangelization and the construction of a Catholic identity. Images of the Virgin Mary, especially those associated with specific advocations such as Guadalupe, Remedios or Villaviciosa, were used as symbols of protection and faith for the indigenous and mestizo population, thus facilitating the integration of local beliefs with European Christianity. The invocation of the Virgin of Villaviciosa has its origins in the Iberian Peninsula, where she is venerated both in Portugal and Spain. Worship of this advocation spread to Latin America through the colonizers and missionaries, who brought with them images and miraculous stories of the Virgin of Villaviciosa. However, the adaptation of this devotion to a Novo-Hispanic context is evident in this painting, where clear signs of syncretism and cultural reinterpretation are observed, incorporating elements of indigenous and mestizo iconography.This is reflected, for example on the mestizo features of the Virgin and Child, with clearly darker skin. The chromatic palette, which presents more vibrant and warmer colors than those found in European paintings, reflecting the influence of the local environment and the access to indigenous pigments.Most notably, there are decorative elements that integrate indigenous symbols in an attempt to make the image more accessible to local worshippers.For example, the floral ornaments and jewels that decorate the Virgin's clothing present a mixture of European motifs with indigenous stylistic elements. The flowers used have a design closer to Mexican flowers, such as cempasúchil (Mexican marigold) and other species native to Mexico, suggesting a local reinterpretation. These flowers have a cultural and spiritual significance in indigenous traditions, especially in festivities such as the Day of the Dead.Other curious decorative elements are the two ornaments in the shape of eagles that appear on the upper part of the Virgin's mantle, which seem to have a red plume, a detail that could refer to Mexican traditions, where the eagle was a symbol of power and a sacred figure for the Mexicans, representing the god Huitzilopochtli.Finally, one of the most remarkable details in the painting is the hanging jewel on the lower part of the Virgin's dress, which shows an unusual design related to the tradition of the "flying stick", an indigenous ceremony practiced in the Totonacapan region of Mexico. The design of this jewel is reminiscent of the structure of the flying stick ritual, where participants spin around a pole in a ceremonial dance.In this painting, beyond the technical treatment, the iconography reinforces its devotional function. The presence of the violinist and the bull in the foreground introduces an everyday scene that enriches the pictorial narrative. These elements refer to a pastoral scene, in which the music and the presence of the animals suggest a miraculous manifestation of the Virgin in a humble context.On the other hand, it is worth mentioning the parallelism between this painting and the Virgin of Loreto by Juan Correa, which allows us to contextualize the evolution of this type of iconography in Novo-Hispanic art. Although Correa adopts a more decorative style, the similarity in the chromatic choice and in the structure of the mantle suggests a continuity in the way of portraying the Marian invocations in Mexico.In conclusion, the painting can be dated to the second half of the 17th century, within the period in which Arteaga consolidated his work in Mexico. Its comparison with Doubting Tomas and with Correa's Virgin of Loreto reinforces its importance as one of the paintings that most represents the adaptation of Spanish Baroque in New Spain. Provenance:-House of Albornoz, Extremadura, Spain, and also established in New Spain, Mexico.-By family descent over centuries to Mrs. Blanca Carrillo de Albornoz Muñoz de San Pedro. Spain.-Private collection Spain acquired from the above family through the art trade in 2019. Reference bibliography:- Arroyo Lemus, E. M. (2004). "Pintura novohispana: Conservación y restauración en el INAH: 1961-2004". Instituto Nacional de Antropología e Historia (INAH).- Brading, D., Buxó, J. P., & Lafaye, J. (2004). "El Pegaso o el mundo barroco novohispano en el siglo XVII". Ediciones Turner.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Rodríguez Gutiérrez de Ceballos, A. (1990). "Sebastián López de Arteaga (1610-1656): Un pintor sevillano en Nueva España". Fundación Universitaria Española.- Rodríguez Prampolini, I. (1994). “Sebastián López de Arteaga y la introducción del tenebrismo en Nueva España”. Anales del Instituto de Investigaciones Estéticas, UNAM, 59(17-34).- Sepúlveda, C. (2010). "El arte novohispano. Nueva Escuela Mexicana". Secretaría de Educación Pública.
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 Avitavilli (Peru, late 16th century - early 17th century)“Salus Populi Romani”, also known as ‘Our Lady of the Snows’.Tempera on linen canvas.127 x 95 cm.This *Our Lady of the Snows* is a significant testament to the development of religious art in the Viceroyalty of Peru during the late 16th and early 17th centuries. Its Marian iconography, technique, and composition place it in a transitional phase between the Mannerism introduced by the Society of Jesus and the consolidation of Andean Baroque, influenced by European artistic traditions and local aesthetic particularities.A stylistic and technical analysis of the painting allows us to associate it with the production of the circle of Bernardo Bitti (1548–1610), an Italian Mannerist master whose work had a decisive impact on the development of Peruvian viceregal painting. More specifically, we attribute this piece to José Avitavilli, his disciple and one of the principal exponents of Cuzco Mannerism, based on stylistic and documentary comparisons.José Avitavilli, one of Bernardo Bitti’s closest disciples in the Viceroyalty of Peru, is mentioned in colonial documents as an active collaborator in the restoration and production of Mannerist works in Cuzco and Upper Peru. His work has been documented in the decoration of Jesuit churches and convents, and his style reflects clear influences from Bitti but with a distinctive refinement in the execution of faces and the treatment of color. Historical sources indicate that Avitavilli worked on Marian themes, particularly in Cuzco and Potosí, where he is known to have painted pictures of the Virgin Mary that combine Mannerist elements with a polished technique.The painting we present coincides with his other work in several key aspects, such as the delicate modeling of faces with Italian influences, the use of tempera instead of oil—a distinctive feature in some of his works—and the balance between gilded ornaments and a sober composition, typical of late Mannerism.One of the most significant aspects of this painting is its close iconographic relationship with the "Our Lady of Antigua", preserved in Lima Cathedral and considered to be one of the first Marian images introduced to Latin America. Both paintings share fundamental characteristics, such as the frontal arrangement of the Madonna and Child, the use of the rose as a symbol of purity, the treatment of the face with delicate oval features, and the presence of an ornamental background with geometric and gilded elements.However, "Our Lady of the Snows" introduces Mannerist variations characteristic of the late 16th century, such as the stylization of the figures and a greater softness in contrasts between light and dark. The influence of Bernardo Bitti is evident in the delicate modeling of the faces, with a subtle use of light and shadow to create volume—a technique he learned in Rome before moving to the Americas.The fact that the "Virgin of the Antigua" was one of the first Marian images in the viceroyalty reinforces the idea that *Our Lady of the Snows* represents a more advanced reinterpretation of this model, with technical refinement and an aesthetic more influenced by Mannerism. Perhaps the version by Bitti at the Museo Convento de los Descalzos in Peru is the earliest example of this evolution.All this evidence allows us to propose José Avitavilli as the artist who painted this artwork, consolidating him as a key figure in the transition between Italian Mannerism and early Andean Baroque.One of the most unusual aspects of this painting is the use of tempera on linen canvas, rather than the traditional oil on canvas. The tempera technique, more common in mural painting and European altarpieces, involves mixing pigments with binders such as egg or animal glue, allowing for a more delicate application and a matte finish, less glossy than oil. This method was widely used in European Renaissance art, but its application on canvas is much less frequent.Linen as a support is also a particular choice, as most viceregal production was painted on cotton fabric or wood. This material provides a finer texture and allows for more precise details in drawing, which is reflected in the exquisite execution of the faces of the Madonna and Child. The state of preservation suggests that the tempera technique has contributed to the stability of the painting, avoiding the typical cracking seen in older oil paintings.An elegant and stylized version of the famous *Salus Populi Romani* (Protector of the Roman People), better known as Our Lady of the Snows, a name given in the 19th century to the Byzantine icon of the Virgin with the Child in her arms, traditionally attributed to early Christians.This iconographic composition designates this type of painting as "Theotokos", meaning etymologically “Mother of God,” or more literally, “the one who gave birth to God.” The Virgin Mary is depicted with a light blue mantle edged in gold. In her right hand, she holds a circular flower, the mystical rose with which she seals her covenant with the Roman people. Though she does not wear a crown, the halo of sanctity speaks of her distinction and benevolence, a holy woman full of light, shown as the "Regina Caeli". With her left hand, she tenderly embraces her son, offering him to the world, while the Christ Child rests, appearing as the Pantocrator. With his right arm slightly raised, the Child makes a gesture of blessing and holds in his left hand the orb or globe of the world, which he blesses and supports, unlike the original icon where he carries the Book of Life, the Word.Both Mother and Child appear against a curtained background that emphasizes the importance of the image. They look directly at the viewer, making us participants in their presence, gaze, and transformation. The red curtain in the background reinforces the sacredness of the moment and creates a theatrical frame that recalls the liturgical theater of the Counter-Reformation. This type of composition follows European models of Italian and Flemish influence, adapted to the viceregal context. The use of gilding in the embroidery and trim of the Virgin’s mantle, though restrained compared to 18th-century paintings, anticipates the taste for brilliance and ornamentation that would characterize later Cuzco painting.Bibliographic References:-Mesa, José de, y Gisbert, Teresa. Holguín y la pintura altoperuana del Virreinato. La Paz: Librería Editorial Juventud, 1977. -Gisbert, Teresa, y Mesa, José de. La tradición bíblica en el arte virreinal. La Paz: Librería Editorial Juventud, 1982. -Querejazu, Pedro. “La ‘Madona del pajarito’ de Bernardo Bitti: tratamiento de conservación y restauración”. Conserva, n.º 5, 2001, pp. 85-94. -Coello de la Rosa, Alexandre, y Abejez, Luis J. “Bernardo Bitti y Diego Martínez: dos protagonistas de la pastoral de la imagen en el Virreinato del Perú”. Archivum Historicum Societatis Iesu, vol. 92, n.º 183, 2023, pp. 5-30. - Stratton-Pruitt, Suzanne L. *The Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection*. New Haven: Yale University Press, 2006.- Museo Convento de los Descalzos, Lima, Perú.
Jose de Alcíbar (Mexico City, 1730 - 1803)"Allegory of Africa"Oil on canvas.132 x 96 cm.José de Alcíbar was one of the main exponents of New Spain painting in the second half of the 18th century. Born circa 1730, Alcíbar was remarkable in his ability to portray the ethnic and cultural diversity of New Spain and to accurately depict the physical details and symbolic elements in his characters, something that can be seen in his numerous casta paintings. These artworks, executed in a style that combines European influences with a local sensibility, are a key reference to understanding why we are attributing the painting we are analyzing to him.This is an elegant and striking painting showing one of the personifications of one of the four continents then known (Europe, Asia, Africa and America).Africa is represented here by a standing black character, who turns his head slightly to the left, as if paying attention to a voice calling him. With frizzy, curly hair, richly dressed in the manner of eighteenth-century Europe, showing wealth and abundance, with clothing which is richly brocaded and trimmed on the sleeves and large red cloak. The character also wears a necklace of a string of pearls and other jewelry, in the form of earrings. They hold a sword in their right hand and a bow and arrows with their left.A Novo-Hispanic painting that helps us to gain a little more understanding of the sense that geographical allegories had in Renaissance and Baroque art.It was usually a way of demonstrating the confines of a given empire, and true to the mentality of the time, depicting a monarchy surrounded by continents was a clear expression of power, expressing that their power extended throughout the world.One of Alcíbar's best known paintings is “From Indian and Mestiza, Coyote” and “From Spaniard and Morisca, Albino”, which are in the Philadelphia Museum of Art. These paintings are part of the casta tradition, a pictorial genre that developed in New Spain and was intended to visually classify the different racial mixtures that arose from contact between Europeans, Africans and Indians. These works stand out for their detailed observation of the costumes, textures and gestures of the characters, something that is also evident in the painting of the “Allegory of Africa” that we have here.As in his casta paintings, Alcíbar uses chiaroscuro in “Allegory of Africa” to model the figure using strong contrast between light and shadows, giving it three-dimensional volume and reinforcing its presence in the composition.The depiction of clothing, with its folds, textures and finely worked details, is another characteristic shared with Alcíbar's casta paintings. The precision in the texture of the fabrics, the brilliance of the jewels and the meticulous depiction of the jewelry suggest the expert hand of a painter accustomed to capturing the material and symbolic wealth of his characters.The painting is significant not only for its artistic quality, but also for its ability to reflect colonial-era concerns and ideologies regarding ethnic diversity and the depiction of figures descended from Africa.This connection to Alcíbar's casta paintings, especially those in the Philadelphia Museum of Art, reinforces the attribution of the work and underscores the importance of José de Alcíbar as a key painter in the portrayal of racial diversity in New Spain. As the Museo del Prado states in their biographical factsheet, Alcíbar was ‘One of the most active and representative artists of the painting scene in Mexico City during the second half of the 18th century. He received numerous commissions, especially for religious paintings for various churches and portraits of leading figures in Mexican society, with a personal style that was not unrelated to the artistic processes taking place in the metropolis. Mexico City in the 18th century was a time of special cultural importance, also in artistic terms, with the founding of the Royal Academy of Fine Arts of San Carlos in 1784, of which Alcíbar was one of the founding members and in which he took an active part until his death. Despite the relative success of his teachings, the Academy saw the arrival in Mexico of painters trained and active in Madrid, such as Ginés Andrés de Aguirre, Cosme de Acuña, José Arias and Antonio González Velázquez, who undoubtedly enriched the horizons of the Latin American painters. The two portraits in the Museo del Prado are characteristic of one facet of Alcíbar's production, portraiture, and show the elegance and flamboyance of his brushwork.Reference bibliography:- Magali Carrera, “Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings” (2003).- Ilona Katzew, “Casta Painting: Images of Race in Eighteenth-Century México” (2004).- Museo de Arte de Filadelfia, Colección de Pinturas de Castas.- Museo del Prado. (n.d.). "Alcíbar, José de". https://www.museodelprado.es/aprende/enciclopedia/voz/alcibar-jose-de/858ad8f0-de5b-4a63-921a-49d2d989e660
Attributed to Diego de la Puente (Mechelen, Belgium, 1586 - Lima, Peru, 1663)‘Infant Jesus of Passion’ Oil on canvas.41,5 x 32,5 cm.Diego de la Puente, born in Mechelen (Belgium) in 1586, is a European painter who developed his career in the Viceroyalty of Peru from 1620, after training in the workshop of Flemish masters in Europe, such as Joos van Cleve and Gossart. His arrival in Peru coincided with the expansion of European artistic influence in South America, where the Jesuits and other religious orders were looking for artists to decorate their churches and missions. The artist is a sublime example of the use of great mastery of Flemish art to introduce the evangelizing message to the Andean world.Diego de la Puente worked intensely for the Society of Jesus, producing a series of religious artworks that were distributed throughout various regions of the viceroyalty, including Lima, La Paz and Santiago de Chile. Likewise, explains historian and curator Teresa Villegas de Aneiva, he was “one of the key figures in the training of the local schools in Trujillo, Lima. Ayacucho, Cuzco, La Paz, Potosí and Chuquisaca, cities to which he was assigned by his superiors of the Jesuit Order during the period 1620-1662, the year he died in Lima.”This painting has stylistic and technical characteristics that we find in signed and documented works by Diego de la Puente.The most evident is the treatment of the faces. The Child is depicted with a delicate and serene face, with an elongated and soft structure, typical of the Flemish style that De la Puente brought to Latin America. It is similar to the face of the “Archangel St. Michael”, currently in the National Museum of Art of Bolivia. These paintings, in fact, share “a very personal style, characterized by a rapid brushstroke, rich palette and a choice of shades ranging from cold green to warm brown”, this is how Villegas de Aneiva describes the Archangel and we would use the same words to describe this Child.De la Puente uses light to highlight the central figure of the composition, creating a contrast with the darker background, which emphasizes the spiritual aspect of the scene. This technique is common in the Baroque, and De la Puente handles it with skill, adapting it to Christian iconography in the Peruvian context.As far as iconography is concerned, in this canvas we see the Christ Child carrying the instruments of the Passion, based on an engraving by the Flemish artist Hyeronimus Wierix (1563 - pre 1619). The Christ Child travels along a path full of thorns, holding the Cross and carrying a small basket with the instruments of the Passion. These engravings or prints became famous and possibly one of them fell into the artist's hands, inspiring this small devotional painting. It reflects an apocryphal, unreal and timeless situation of the iconography of the Passion Child, immersed in the crude and terrible reality of a joyless childhood, but theologically founded according to Thomas Aquinas, “the first thought be for the Cross”: a “Pensative Child” whose dream is the Cross. That Child becomes tangibly humanized “descending and walking” at our side, he offers himself to the viewer carrying his inexorable and distant end, he offers himself to a society that, since the Middle Ages and the Baroque, lived preparing for death. The art of that time engendered an attraction for the macabre and morbid that resulted in small and genuine artistic creations, like this one, the image of the Child, presenting his fatal destiny, and that is a fair comparison with the feeling of impotence and frustration of the baroque people before the uncertainty of every day. A small painting that devoutly encloses the thought of the 17th and 18th centuries of anguish, disillusionment, fear and the need for hope that flooded the mood and consciousness of a society with a fetishistic religiosity close to magic. The cross he carries on his right shoulder reads in Latin and gold: “OPUS EIVS, CORĀ ILLO” (“His work, it is / resides in that heart”).Reference bibliography:- Gisbert, Teresa. (1980). “Iconografía y mitos indígenas en el arte”. Editorial Gisbert y Cía.- Mesa, José de y Gisbert, Teresa. (1982). “Historia de la Pintura Cuzqueña”. Fundación Augusto N. Wiese.- Schmidt, Klaus. “Pintura Colonial en Bolivia”. (1978). Editorial Amigos del Libro.- Tauro del Pino, Alberto. (2001). “Enciclopedia Ilustrada del Perú”. PEISA.- Villegas de Aneiva, Teresa. (s.f.). “El retorno de los ángeles”. https://www.bolivian.com/angeles/asmiguel.html
A Belgium Martin action .22 rifle. No makers name, possibly 'Francotte', open sights, s/n. 191128. SECTION-1 LICENSE IS REQUIRED TO PURCHASE THIS LOT. Condition Report: Very clean and light weightAs listed on our website, unfortunately we are unable to offer a postage service for any firearms.
A Single barrel percussion shotgun. No makers name 16 gauge bore in reasonable condition light pitting brass patch box in stock, s/n. 1549. SECTION-58 NO LICENSE REQUIRED TO PURCHASE THIS LOT. Condition Report: As listed on our website, unfortunately we are unable to offer a postage service for any firearms.
A Wembley Stadium Seat Back Numbered 9 This seat was from the old Wembley Stadium and comes with a certificate of authenticity. This is one of the original 2000 Wembley Stadium Seats that were removed on October 6th 2002. These historic seats were installed in advance of the World Cup finals in 1966 and remained in place up to the stadium closure in 2000. Seat 9 comes with a certificate of authenticity from Wembley Stadium.
Panini Mexico 1970 World Cup sticker album This was the first debut album that started the worldwide Panini football sticker collecting craze. The album from 1970 is in good condition and comes complete with all stickers. The 1970 World Cup saw England arrive in Mexico as world champions. However, the magic of 1966 was not to be repeated, with England losing to Germany 3-2 in the quarter finals and not returning to the competition until 1982. The album features legends of English football, including Bobby Moore, Gordon Banks, Bobby and Jack Charlton and international stars such as Germany’s Franz Beckenbauer, Portugal’s Eusébio and Pelé from 1970’s winning team, Brazil. The 1970 World Cup saw England arrive in Mexico as world champions. However, the magic of 1966 was not to be repeated, with England losing to Germany 3-2 in the quarter finals and not returning to the competition until 1982. The album features legends of English football, including Bobby Moore, Gordon Banks, Bobby and Jack Charlton and international stars such as Germany’s Franz Beckenbauer, Portugal’s Eusébio and Pelé from 1970’s winning team, Brazil. Collection features 288 stickers and cards with a 50 page softcover sticker album on Italian language. All 16 teams that played in tournament appear in the sticker book. The combination of self-adhesive peel off stickers and cardboard cards is what makes Panini Mexico 70 quite unique. All the players and teams have been printed on thick cardboard cards which can be put into the album by using glue or a scotch tape. Posters and flags are produced as self adhesive stickers. Stickers and cards are not numbered at the back. To stick them you have to check the name of a player inside the album which can an exhausting process. Collection has been printed in Italy, but has been distributed in the United Kingdom as well. Panini Mexico 70 – 1970 World Cup Album general info Album size : 230 x 240 mm Album : 50 pages Stickers size : 36 x 53 mm Cards size : 53 x 75 mm Language : English Publisher : Panini Modena
Ireland Cap from the collection of football memorabilia-Bill McCracken (1883-1979) Ireland cap from the Collection of football memorabilia-Bill McCracken (1883-1979) Celebrate the extraordinary career of Bill McCracken, a pioneering footballer whose influence shaped the modern game. Known as “the man who changed the offside rule,” McCracken was a stalwart of Newcastle United, making 443 appearances over an illustrious 19-year tenure (1904-1924), during which he won three league championships, an FA Cup medal, and earned 13 Ireland caps. Elected to the Football Hall of Fame in 1971, his legacy endures as one of football’s most innovative and accomplished figures. Ireland Cap (1903-1904 Season): A rare artifact representing McCracken’s international career. Royal blue with gold tassel. The cap has the Irish Football association crest embroidered and was made by Hatters, AP Dalzell, Royal Avenue Belfast also embroidered on the inside of the cap. Further Details Club Ireland National Team Name Bill McCracken Season 1903/04 Condition Excellent condition considering age. Some evidence of minor war and tear on tassel Provenance Vendor is the 3rd Cousin of Bill McCracken and the cap was passed down through family along with other memorabilia included within the Bill McCracken (1883-1979) memorabilia collection. Provenance Available Letter Signed by Vendor
John McGovern Nottingham Forest League Cup Final Match Worn Shirt Date: 15 March, 1980 Location: Wembley Stadium Teams: Nottingham Forest vs Wolverhampton Wanders Final score: 0-1 Description: Match worn shirt in the second half of the final at Wembley worn in the second half by Forest Captain John McGovern Shirt comes signed by the team and with a rare signature manager Brian Clough – “Be Good – Brian Clough’ Shirt is framed and includes photo cards of Forest players and tickets from Wembley. John McGovern is renowned for his significant role as the captain of Nottingham Forest during their most successful period under Brian Clough in the late 1970s and early 1980s. McGovern’s leadership was pivotal as Forest achieved remarkable success, winning the European Cup twice in 1979 and 1980, alongside domestic triumphs in the Football League First Division and the League Cup. Known for his intelligence on the pitch, calm demeanor, and tactical awareness, McGovern’s captaincy exemplified Nottingham Forest’s disciplined and resilient style of play during their golden era under Clough’s management. Further Details Club Nottingham Forest Name John McGovern Shirt Number 4 Season 1979/80 Match League Cup Final Condition Shirt has been inside a frame and is in excellent condition.
Charity Shield Medal 1906/7 from the Collection of football memorabilia-Bill McCracken (1883-1979) Celebrate the extraordinary career of Bill McCracken, a pioneering footballer whose influence shaped the modern game. Known as “the man who changed the offside rule,” McCracken was a stalwart of Newcastle United, making 443 appearances over an illustrious 19-year tenure (1904-1924), during which he won three league championships, an FA Cup medal, and earned 13 Ireland caps. Elected to the Football Hall of Fame in 1971, his legacy endures as one of football’s most innovative and accomplished figures. Charity Shield Medal 1906-07 season Newcastle United played Corinthian as league champions and came out winners 5-2 I what was to be the last Sheriff of London Charity Shirts, the following year the match was to be known as the FA Charity Shield. This medal was awarded to Bill McCracken from this game. Further Details Club Newcastle United Name Bill McCracken Season 1906/07 Match Sheriff of London Charity Shield Provenance Vendor is the 3rd Cousin of Bill McCracken and the cap was passed down through family along with other memorabilia included within the Bill McCracken (1883-1979) memorabilia collection. Provenance Available Letter from Vendor
Historical Collection of Newcastle Chronicle press photos from 1944-1948 predominantly Newcastle United Collection of over 160 original black and white photographs from 1944 to 1948 in an album. Some are still loose. They are predominantly Newcastle United but there is the odd England v France and other team photos included. They are Newcastle Chronicle photos collected by the same gentleman when he was a young man and they have always been in the same family. The photographs come presented in a Newcastle Chronicle album alongside descriptions of the game/ player, as appropriate. The photographs are in excellent condition. The Album shows signs of wear commensurate with age The highlights of the collection include: - 1947/48 games and victory celebrations captured as Newcastle celebrated promotion to the first division - Photos of Newcastle legend Jackie Milburn - Big Newcastle games captured vs Liverpool and Leeds United - England Vs France wartime game at Wembley 1945 in aid of British and French war charities.
Dennis Law Signed Picture – Manchester United montage with certificate of authenticity Signed Framed montage of Dennis Law throughout his career at Manchester United. Denis Law, a Scottish football legend, played as a forward known for his agility and scoring prowess. He notably starred for Manchester United and Manchester City, winning the Ballon d’Or in 1964. His career spanned from the 1950s to the 1970s, leaving a lasting legacy as one of Scotland’s greatest playe
Stanley Pearson Memorabilia – Manchester United 1937-1953 Autograph book including signatures from the FA Cup winning side of 1948 and the autographs of Jack Warner and Jimmy Warner. Also included was the then Manager of Manchester United United , Matt Busby. The autographs were acquired by Stan Pearson and given to the vendor’s family member. Other autographs also included. Also included are articles from Manchester Evening News at the time of Stan Pearson’s passing, the Order of Service from his funeral and a photo of the team from the Manchester Evening News again at the time of Stan’s passing. There is a handwritten note accompanying the photos given to explain who was who in the team which can be linked back to the autographs. Stanley Pearson was an English forward who played for Manchester United from 1937 to 1953. A skillful and reliable goal scorer, he helped United win the FA Cup in 1948 scoring a goal and was a key player in the club’s post-war resurgence. Pearson made over 340 appearances, either side of the war, scoring 148 goals, and earned a single England cap. Provenance: The vendors mother was close friends of Stan Pearson and these items have been passed down through family.
Kelmscott Press.- Sire Degrevaunt, edited by F.S. Ellis, one of 350 copies on Flower paper, printed in red and black in Chaucer type, wood-engraved frontispiece designed by Edward Burne-Jones and borders and initials by William Morris, frontispiece with tissue-guard spotted and working loose, very light spotting to fore-edge, original holland-backed boards, upper cover titled in black, uncut, spine browned with ends little bumped, some very light or faint spotting to spine and upper cover, few faint marks, corners lightly rubbed, [Peterson A47], 8vo, Kelmscott Press, 1896 [issued 1897]. *** A popular story with Morris; Burne-Jones had painted a mural of The Wedding Procession of Sire Degrevaunt in Morris's drawing room at the Red House back in 1860.
Dickens (Charles) Bleak House, first edition in the original 19/20 parts, 40 plates by H.K. Browne ("Phiz"), with the explanation of the accident to plate 17 in part 9, rare 'Village Pastor' insert to part 15, part 1 lacking all rear ads., parts 4 & 12 lacking crotchet slip at rear (though present in other parts), part 4 'Darton's Publications' at rear 4pp. only (of 8), part 8 lacking first f. of advertiser and HW slip, part 16 lacking 'Grace Aguilar' insert, part 19/20 lacking first 2ff. of advertiser and slips (other advertiser ff. chipped at head of inner-margin), part 6 with some staining, foxing and browning to plates, part 19/20 stitching broken with some leaves loose, part 16 contents stitched but loose within wrappers, original printed blue wrappers, part 2 small bookseller's ticket to upper wrapper, part 4 spine repaired, part 15 much loss to spine and longer tear to lower wrapper affecting text, some staining and light surface soiling, some chipping and short tears to extremities, some loss to spines, few covers detached and some working loose, preserved in cloth drop-back box, [Hatton & Cleaver p.273-304], 8vo, 1852-53.
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.
Petter (George) A Learned, Pious, and Practical Commentary upon the Gospel according to St. Mark, 2 vol., titles, ink scribbles to vol. 1 title, slight loss to lower corner of a few leaves touching text towards ends, occasional repairs and tears to margins sometimes affecting text, occasional surface soiling and ink markings, modern calf, spines a little faded, light damp stamp to upper cover, a little rubbed, by Streater, 1661 § Tilotson (John) The Works of the Most Reverend Dr. John Tillotson, seventh edition, engraved frontispiece, occasional light worming and spotting, contemporary calf, rubbed, joints splitting, for T. Goodwin, B. Tooke, and J. Pemberton, 1714, light worming and browning, occasional staining; and 13 others, religion, v.s. (16)
Vitruvius Pollio (Marcus) De Architectura Libri Decem, additional engraved title, woodcuts within text, some full-page, engraved initials, head- and tail-pieces, early ink ownership inscription to engraved and letterpress titles, one or two early ink marginal notes, occasional light finger-soiling, contemporary calf, rebacked and recornered, a little rubbed, [Fowler 417; Berlin Katalog 1817; Cicognara 726; Willems 1097 'Magnifique edition, ornee de nombreuses figures sur bois dans le texte'], folio, Amsterdam, Louis Elzevier, 1649. *** One of the most important editions of Vitruvius. It is a compendium of architecture, and the arts of building embellishment. It also contains a Latin translation of Henry Wotton's 'Elements of Architecture', edited by Joannes De Laet.
Weever (John) Ancient Funerall Monuments within the United Monarchie of Great Britaine, Ireland, and the Islands adjacent, first edition, engraved frontispiece (trimmed to platemark and window mounted), additional engraved title, illustrations, wood engraved initials and headpieces, Q4 & 2R1 with small marginal paper defects, 4B2 with tiny rust hole to top edge, 4D6 with short tear and no loss, ?lacking final blank, occasional light spotting, previous owner's ink signature to title, later calf, rebacked, slight bumping to corners and extremities, folio, by Thomas Harper, 1631.
Eragny Press.- Flaubert (Gustave) Un Coeur Simple, one of 226 copies, wood-engraved illustrations, borders and initials designed by Lucien Pissarro and engraved by him and Esther Pissarro, spotting and light browning to endpapers and imprimatur f., original linen-backed boards, paper label to upper cover, uncut, small mark to upper cover, very light browning to spine, [Genz EP8], Eragny Press, 1901.
Eragny Press.- Flaubert (Gustave) La Legende de Saint Julien l'Hospitalier, one of 226 copies, wood-engraved frontispiece and border designed by Lucien Pissarro and engraved by him and Esther Pissarro, light browning to endpapers, original linen-backed boards, paper label to upper cover (a little browned), uncut, light marking to upper cover, [Genz EP7], 8vo, Eragny Press, 1900.
Sharpe (Tom) Indecent Exposure, first edition, signed by the author on title, light browning to endpapers, jacket with tiny nick to head of flap joint, spine very slightly toned, 1973; The Great Pursuit, review copy with slip loosely inserted, jacket with tiny nick to laminate near head of spine, very subtle toning to spine and panel extremities, 1977; The Wilt Alternative, jacket spine slightly faded, 1979, first editions, original boards, spine ends slightly bumped, dust-jackets, some light creasing and rubbing to extremities, Secker & Warburg; and others by the same (9)
Le Clerc (Sébastien) [Collection of engravings, probably removed from Isaac de Benserade's 'Metamorphoses d'Ovide en Rondeaux'], 2 vol., 212 engravings by Le Clerc & others, with contemporary ink manuscript titles and descriptions to facing numbered plates on verso of preceding plate and indices at end, all in neat hand presumably by Wm. M. Sale with his signature to upper margin of first plate in each volume, some light soiling, a few on thinner paper with letterpress to verso (cropped), bookplates of Wm. Michel Sale, Thos. Pennington of Bledlow, Bucks., and Montagu Pennington Sparrow, contemporary half calf, spines gilt with red morocco labels, rubbed, oblong 8vo, [Paris], [?1676]; sold as a collection of plates, not subject to return*** William Michel Sale was the son of the orientalist George Sale (1697-1736) who translated the Koran into English, and the father-in-law of Thomas Pennington.
Housman (Laurence).- Meredith (George) Jump to Glory Jane, first edition, one of 100 copies on Van Gelder paper signed by the publisher, plates and illustrations by Lawrence Housman, light browning to text and endpapers, original vellum, gilt, covers splayed, small bump to head of spine, very light, 8vo, Swan, Sonnenschein & Co, 1892.
Ruskin (John), editor. Dame Wiggins of Lee, and her Seven Wonderful Cats, woodcut illustrations, some by Kate Greenaway, half-title very lightly toned and with contemporary ownership inscription to head, occasional light finger-soiling, gutter cracked with some gatherings starting to work loose, light browning to endpapers, lacking front free endpaper, original pictorial cloth, gilt, very slight shelf-lean, some wear to corners, light rubbing to joints and extremities, Orpington, George Allen, 1885 § Milne (A.A.) The King's Breakfast, music by H. Fraser-Simpson, illustrations by E.H. Shephard, browning to endpapers, original cloth-backed pictorial boards, lightly faded, some spotting and light surface soiling, Methuen & Co., 1925; and others, most children's, including a small scrap album in decorative binding, v.s. (15)
Ravilious (Eric).- Armstrong (Martin) Desert, a Legend, number 73 of 100 copies signed by the author, original cloth, t.e.g., others uncut, dust-jacket (lightly soiled, spine browned with slight fraying at ends), 1926; 54 Conceits, first edition, light spotting, original cloth-backed boards, uncut, spine and edges a little faded, 1933, both with wood-engravings by Eric Ravilious, 8vo (2)*** The first contains the artist's first book illustrations.
Elzevier.- Bacon (Sir Francis) Sylva Sylvarum, ownership inscription "Geo: Sitwell 1677" to front free endpaper, later ink note tipped onto front free endpaper, title with small early ink reference to lower-margin, the odd spot or small stain, some very light browning to margins, contemporary calf, rebacked preserving backstrip, "Sylva" in ink manuscript to fore-edge, little rubbed, 1661; Historia Regni Henrici Septimi, small pencil purchase record of "R.W.G[ibson]" to foot of rear pastedown, front free endpaper working loose at foot, faint spotting to title, few very small marginal ink-stains, some light browning, damp-staining to lower-margin throughout but generally very light, contemporary calf, rebacked, quite worn, endpapers renewed, 1662, engraved titles, Amsterdam, ex officina Elzeviriana, [Gibson 186 & 127; Willems 1264 & 1278], 12mo (2)
![[Clemens (Samuel Langhorne)], "Mark Twain". The Adventures of Huckleberry Finn, first edition, later issue with 32pp. publish](https://cdn.globalauctionplatform.com/1f866690-87b3-4531-b66d-b2ae00a00296/d9350027-a6ba-4d36-b60f-b2ae00a1b752/468x382.jpg)
[Clemens (Samuel Langhorne)], "Mark Twain". The Adventures of Huckleberry Finn, first edition, later issue with 32pp. publisher's catalogue at rear dated November 1887, half-title, wood-engraved frontispiece and illustrations after E.W. Kemble, half-title with ink ownership stamp to head, occasional light soiling or staining, some light spotting, hinges repaired, original pictorial cloth, rebacked preserving original backstrip (little faded), one corner repaired and others worn, some light rubbing and surface marks, [BAL 3414], Chatto & Windus, 1884; and others by the same, including the first English edition of Tom Sawyer Abroad (1894), 8vo (10) *** The first mentioned first published in England, preceding the American edition by four months.
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)
Chubb (Ralph N.) Songs of Mankind, one of 100 copies signed by the author, illustrations by the author, light foxing to margins, heavier to half-title, original buckram-backed boards, lettered and decorated in gilt, light rubbing to extremities but overall a very sharp example, 4to, Newbury, Privately Printed, 1930.
Flint (Sir William Russell).- Malory (Sir Thomas) Le Morte d'Arthur: The Book of King Arthur and of his Noble Knights of the Round Table, 4 vol., one of 500 copies, titles in blue and black, tipped-in colour plates after watercolours by Sir William Russell Flint, captioned tissue-guards, light foxing to fore-edge, bookplate to front pastedowns, original limp vellum with ties, a little browned with surface marks, t.e.g., others uncut, slip-cases, (edges browned, some joints split or becoming so, one or two tape repairs, worn), excellent copies, 4to, Philip Lee Warner to The Medici Society Ltd., 1910-11.
Simon (Oliver editor) Signature. A Quadrimestrial of Typography and Graphic Arts, New Series, Nos. 1-6 in 2 vol., very occasional light foxing, nos. 1-3 original wrappers, housed within original publisher's cloth-backed portfolios with ties, nos.4-6 bound together in modern cloth without wrappers and preliminary f. for each issue, 1946-48 § The Batsford Gallery Drawings and Paintings by Ronald Searle exhibition pamphlet, signed by Ronald Searle, foxed, 1947 § Harling (Robert editor) Images, nos. 1-4 bound in 1 vol., very light scatter foxing, modern cloth, spine foxed and faded, a little rubbed, 1949-50 § The Fleece Press prospectus for Ian Rogerson's The Graphic Work of Barnett Freedman, tipped-in illustrations, original wrappers, 2006, light foxing to all but last mentioned, and others typography and illustrative, including catalogues and works related to artists: Barnett Freedman, John Piper, Terry Frost, and Augustus John, v.s. (59)*** Included 'English Scottish & Welsh Landscape', 1944, and 'Love' by Walter de la Mare', 1950.
Hardy (Thomas) A Group of Noble Dames, first edition in book form, half-title, light browning to initial blank f. and very lightly to margins, occasional light soiling, gutter cracked at points but holding, upper hinge cracked and lower broken, original whity-brown flecked cloth, shelf-lean, spine slightly darkened and gilt faded, surface soiling, some wear to spine ends, joints and corners, [Purdy pp.61-62], James R. Osgood, McIlvaine & Co., 1891; The Oxen, few spots, original printed grey wrappers, extremities faded, [Purdy p.175], Hove, [Private Circulation Only], 1915; Late Lyrics and Earlier with Many Other Verses, first edition, half-title, some browning to endpapers and very slightly to margins, spotting to fore-edge, original green cloth, front cover with gilt TH monogram, spine ends and corners very lightly rubbed, dust-jacket, spine browned with some chipping to ends, some small ink-marks to head of spine and upper panel, one or two other light marks, few nicks to extremities, [Purdy pp.214-227], Macmillan and Co., 1922; and others by or about Hardy, 8vo (15)
London.- Maitland (William) The History of London, 2 vol., 128 engraved plates and plans (of which 32 folding), one engraved folding map, illustrations, list of subscribers at end vol. 2, occasional faint off-setting, previous owner's ink signatures to titles, 2P1 vol. 1 with small marginal loss to fore-edge, 9G2 vol. 2 with marginal finger-marks in various bright colours, occasional light spotting, nineteenth-century half morocco, cracked joints but holding firm, a little rubbed, bumping to corners and extremities, folio, for T. Osborne and J. Shipton, 1756-72.
Waller (Fats).- Hibbs (Leonard), editor. Swing Music, printed in black and white, few photographic illustrations, previous owner's name to inside lower wrapper, some rusting and staining around staples, original stapled pictorial wrappers, signed presentation inscription "Do me a favor! Marry me. "Fats" Waller" to head of upper wrapper, few small marginal chips or tears to lower wrapper, light toning and surface soiling, light creasing and wear to extremities, heavier to spine, joints split at ends but covers holding, 250 x 185mm., May-June 1936.
Perpetua Press.- Fifteen Old Nursery Rhymes, one of 150 copies, hand-coloured linocut pictorial title, border to Contents and 15 full-page illustrations by Biddy Darlow, light offsetting, original canvas-backed cloth, uncut, paper label on upper cover, a little faded at edges, 4to, Bristol, Perpetua Press, 1935.*** Charming work printed by Vivian Ridler and David Bland which was chosen by the First Edition Club as one of the "50 Best Books of the Year".
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)
Gregynog Press.- Edwards (Owen) Clych Atgof. Penodau yn Hanes fy Addysg, one of 400 copies, wood-engraved illustrations by William MacCance, some spotting or light foxing, mainly to fore-edge and first and last few ff., original Welsh sheepskin ruled and titled in brown, uncut, light browning to spine, spotting, Newtown, Gregynog Press, 1933 § Vaughan (Herbert M.) The Welsh Book-Plates in the Collection of Sir Evan Davies Jones, one of 100 copies on ordinary paper signed by Evan D. Jones, from an edition limited to 150, engraved frontispiece and plates, tissue-guards, some spotting, light browning to endpapers, original buckram-backed boards, uncut, fraying to printed spine label, couple small marks, browning to spine and head of covers, corners bumped and quite worn, A.L. Humphreys, 1920; and others of Welsh interest, a few Gregynog Press, v.s. (14)
Anderson (James) The Constitutions of the Antient and Honourable Fraternity of Free and Accepted Masons... Revised, Continued and Enlarged, with many Additions by John Entick, engraved frontispiece trimmed at foot, title in red and black, very occasional spotting or surface marks, light browning and water-staining, contemporary calf, rebacked with repairs to corners, gilt, covers scuffed and rubbed, for Brother J. Scott, 4to, 1756.
Flint (Sir William Russell) Minxes Admonished, or Beauty Reproved, one of 550 copies, colour frontispiece, spotting to final f. and endpapers, slip-case, (rubbed with splitting to edges), The Golden Cockerel Press, 1955; An Autobiography: In Pursuit, light foxing to covers, slip-case, (small stain to upper board, a little rubbed), privately printed for Sir William Russell Flint by The Medici Society Ltd., 1969, illustrations by Flint, original morocco-backed boards, spines browned, a little bumped and scuffed; and W.S. Gilbert's Savoy Opera and Iolanthe and Other Operas, illustrated by Flint, folio & 4to (4)
Loading...-
534310 item(s)/page