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Small stage lighting set-up to include an NJD MJ161 control pedal and eight spotlights

17th century Spanish school."Saint Jerome".Oil on canvas.Measurements: 62 x 47 cm.In this work the painter offers us an image full of mystic emotion, very typical of the Spanish art of the Counter-Reformation. Thus, we see a work with a clear composition, with the half-length Saint in the foreground, highlighted by the direct, tenebrist lighting, on a neutral and dark background. As was also common at this time in the Spanish School, Saint Jerome is shown writing and meditating, usually next to a human skull, although in this case it is not visible. Other iconographic attributes that define the figure of the saint can be seen next to him, such as the lion that has accompanied him since he removed the thorn from his paw.Saint Jerome is one of the four great Doctors of the Latin Church, born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's cape (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story in the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from its paw, and from then on kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal.

Early 18th century Dutch school."Still life of flowers".Oil on canvas.Measurements: 68 x 52 cm; 87 x 70 cm (frame).On a background with baroque draperies there is a gilded bronze vase that contains a bouquet of varied flowers, of different colours, accompanied by some stems. Due to its stylistic characteristics, it is possible to observe the artist's taste for capturing naturalism, describing in detail the details of the elements that make up the ensemble with a great interest in capturing the qualities of each of them. The flowers appear full, almost on the point of wilting, in contrast to the Rococo period, in which he preferred to show the flowers half-opened, without that fullness already achieved. The vase is in the centre of the painting, with the usual diagonals of Baroque compositions drawn by the flowers and their stems. The lighting aspect, on the other hand, is key in this work, and reveals the direct influence of the Tenebrist Baroque, which reached these still-life painters of the time.A still life or still life usually depicts inanimate objects, and this pictorial genre can be found in Ancient Egypt and in Greece and Rome. They would make a strong comeback in the Renaissance, thanks, above all, to Northern European painting and its use of oil paint. This technique allowed a much more realistic painting. In these early times, still lifes had a strong religious symbolic content, expressed by the objects they depicted. From the 15th century, with Leonardo da Vinci, Albrecht Dürer, etc., this Christian meaning began to be abandoned, and from the 16th century, interest in still life painting increased until it became a genre in its own right.

A Wisteria Lighting Tiffany style coloured and opalescent glass ceiling light, 41cm diameter.

A silver plated brass Protector Lamp & Lighting Co Ltd miner's lamp, height 23cm

A COLLECTION OF MINER'S LAMPS 'The Protector Lamp & Lighting Co Type CT33A' , 'Hailwood's Improved Lamp' and others, with two other lamps, and a Kenrick's Patent pepper mill

A Brass Miner's Safety Lamp by the Protector Lamp & Lighting Company, 25cm high

A French bronze statuette of a gardener lighting his pipe, c1900, cast from a model by Maurice Constant, even light brown patina, on conforming socle with gilt label JARDINIERE par Mce CONSTANT (Mon au SALON), 31.5cm h, stamped 686 Good original condition

A rare Chinese ruby ground medallion vase, Huairentang mark, early Republic period,finely painted to three oval medallions with two quails below chrysanthemums, two black birds amid Prunus and fungus and a Cockrell by rockwork and flowers, on a ruby pink ground, the base with ‘Huai ren tang zhi’ blue enamelled seal mark to base.Provenance - the vase has been in the owner’s family prior to 1985.The Huairen Hall or Huairentang (Hall of Cherished Compassion) is a building inside Zhongnanhai, the Chinese government's leadership compound in Beijing. It has been the site of several major events in Chinese history. Construction of the hall began in 1885 and was overseen by Yixuan, Prince Chun. In 1888 the hall became the daily workplace of Dowager Empress Cixi, replacing the Hall of Mental Cultivation in the nearby Forbidden City. After the Boxer rebellion, Huairentang became the headquarters of occupying Eight Nation Alliance's commander Alfred von Waldersee. In 1902 Empress Cixi rebuilt Huairentang at a cost of five million taels of silver and in 1908 she died there. After the founding of the Republic of China in 1911, President Yuan Shikai used the building to meet with foreign guests and to accept New Year's day greetings. After Yuan's death, it was the site of his funeral. When Cao Kun became president, he used Huairentang as his residence. See Gerald Davison, The new and revised handbook of marks on Chinese ceramics, 2010, number 3195 for a version of this mark.24cm highThe porcelain thin and well potted as light can be seen through the vase when held up to our interior lighting. There is wear to the gilding around the edge of the rim, a few small scratches to the shoulder between two of the oval medallions and some occasional dirt which will remove with a thumb nail. Otherwise in good condition with no restoration chips or cracks detected.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 24cm high

A BOX AND LOOSE METALWARES, KITCHENALIA, PAINTINGS AND SUNDRY ITEMS, to include two oil paintings on board in gilt frames: a landscape signed Thomas Williams 1989, and a painting of chickens by Daphne Hughes, letter from the artist, biography and receipt to verso, largest frame size 49.5cm x 69cm, a Protector Lamp & Lighting Co Ltd miner's safety lamp, type 6 stamped 1980, a shooting stick, a pair of brass vases height 25cm, a Salter's Pocket Balance No 3, a brass ejector candlestick, bells including one with a horn handle, decorative brasswares, a vintage cast steel wooden handled herb cutter, a SIF cast iron mincer, a boxed 'The Royal Game of Bezique' set (sd) (1 BOX + LOOSE)

Attributed to Alessandro Sani (1856-1927), oil on board, Cavalier lighting a clay pipe, signed, 18 x 12.5cm

Wall lighting in bronze H34x38

A box containing a selection of domestic lighting and glass dropper shades

A box of assorted lighting including hanging lanterns on stand and table lamps

A modern stained pine cabinet with internal lighting and two glazed upper cupboards, 196cm x 176cm x 47cm

A Miners Lamp by Proctor Lamp and Lighting Co, 24.5cm high with handle down.

A collection of modern glass & ceramic planters, together with ceramic jugs, bowls and glass lighting droplets. (4)

A large wall hanging mirrored display cabinet, with LED lighting and glass shelves, 104x139cmH

Chalkie Davies (Welsh, born 1955)John Lydon, The Lydon King, 1980, printed laterblack and white archival print, signed and numbered HC 1/5 by the photographer in blue ink to the lower border 81 x 87.5cm (32 x 34 1/2in)Footnotes:'I call this 'The Lydon King'. The picture was done because Public Image had formed and their first record was coming out. John couldn't have been more bored, and was being very uncooperative. This is me pretty much giving up. I'd said 'you don't want to be here, and neither do I. Let's go home'. So I'd unplugged the strobe light, and he was just about to get off the stool. The only lighting was a small bulb that we used in the strobe to see by, and not light by, it's got moodiness though, and that totally reflected the way he was that day'.- Chalkie DaviesThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

An old brass and steel bonnetted miner's lamp by the Protector Lamp & Lighting Co.

Light fittings - Halo lighting & Thorn Master Spot lighting etc

Photographic lighting equipment - Interfit Super 5 Cool-Lite lamp

Box of camera equipment - lighting etc

A FINE GILT BRASS REPEATING CARRIAGE CLOCK INSET WITH LIMOGES ENAMEL PANELSGAY, LAMAILLE AND COMPANY, PARIS, FOR RETAIL BY HARDY BROTHERS, SYDNEY, LATE 19th CENTURYThe eight-day two train gong striking movement with silvered platform lever escapement regulated by sprung split bimetallic balance and stamped with oval PATENT SURETY ROLLER to centre of the backplate over further oval G.L trademark and serial number 235 to lower left, the rectangular frosted gilt dial with recessed Roman numeral hour disc, blued steel spade hands and inscribed HARDY BROS., SYDNEY to lower margin set within a canted surround, the frosted gilt case with ring decorated hinged baton carrying handle over bevelled top glass, architectural cornice and scribed line panel decorated corner uprights, the sides intricately decorated with full length portraits of a Renaissance nobleman and opposing female companion in ornate robes with details picked-out in translucent enamel on a deep maroon almost black ground, the rear with bevel-glazed door, on skirt base with ovolo over canted top mouldings and pad feet.16.5cm (6.5ins) high with handle down, 10cm (4ins) wide, 9.5cm (3.75ins) wide. Provenance: Private collection, East Midlands. The firm of Gay, Lamaille and Company and their patent for the 'surety roller' is discussed by Thomas R. Wotruba in his article The story behind PATENT SURETY ROLLER stamped on carriage clocks published in ANTIQUARIAN HOROLOGY June 2017 2019 (pages 239-47). Moritz describes how the Patent Surety Roller (a mechanism which prevents the strike star wheel from accidentally jumping out-of-sync whilst the clock is being transport) was invented by Moritz Immisch for which he received a brevet in 1979. The patent was subsequently secured by Messrs Gay, Lamaille and Company of Paris and London. One of the firm's founders, Emile Gay(e), is recorded as working at 20 Red Lion Square, London in 1861before going into partnership with a clockmaker named Vicarino and setting up operations at 5 rue Beranger, Paris. In around 1877-78 George Lamaille replaced Vicarino forming Gay, Lamaille and Company who through their strong connections with London supplied many of the leading English retailers such as Dent, Frodsham and Lund & Blockley during the latter years of the 19th century. Hardy Brothers were founded in 1853 and are one of Sydney's premier jewellers and retailers of luxury goods and watches. They have also served and held Royal Warrants for all Monarchs since King George V. The exquisite side panels of the current lot are textbook examples of the finest enamel-work produced in the Limoges workshops during the second half of the 19th century. The Renaissance subject matter along with the colour palette (in particular the dark ground) revives the style for which the region became particularly well-known for during the 16th Century. Indeed the popularity and re-establishment of the Limoges enamel workshops during the second half of the 19th century was born out of a deep appreciation for the Renaissance originals which had become highly prized by connoisseurs earlier in the century. As often the case with French revivalist art the intention was to match (or even if possible exceed) the quality of the originals hence there was generally a 'no expense spared' approach to execution in order to achieve this objective.The panels of the current lot carefully and cleverly employ a mixture of opaque and translucent enamels to create depth, texture and lustre which varies under different lighting conditions. Some areas in particular, such as the areas representing silk within the garments of the figures, use the finished ground of the metal plate to great effect by allowing reflected to pass through vibrant pigmented transparent enamel surface layers.Condition Report: The movement appears complete, all original and is in full working order although is prone to stopping most likely due to lack of use hence requires a gentle clean and service (movement is a little tarnished/discoloured). The dial is generally in fine condition only having very slight overall rubbing and a very minor scuff to centre of the lower edge. The case is in fine condition, the front glass appears free from damage including corner chips; the rear door glass has a small chip to the lower right-hand corner and another tiny chip to the upper right. Both enamel panels are free from any visible damage and are very fine in their execution, the gilt highlighting however is a little rubbed/worn in places. The gilding of the case is in fine condition with minimal wear/discolouration.There is no winding key present. Condition Report Disclaimer

A FINE FRENCH GILT BRASS REPEATING CARRIAGE CLOCK INSET WITH LIMOGES ENAMEL PANELSACHILLE BROCOT, PARIS, CIRCA 1880The eight-day two train gong striking movement with silvered platform lever escapement regulated by sprung split bimetallic balance and stamped with central AB within a star trademark over serial number 1225 to lower left hand corner of the backplate, the rectangular frosted gilt dial with recessed light blue enamelled hour disc decorated with gilt rosette to centre within Roman numeral cartouche chapter ring and with blued steel hands, the satin-gilt case with hinged reeded baton carrying handle and thick bevelled top glass to the canted-edge projecting top over caddy moulded cornice and elaborate ring-turned free-standing slender baluster columns to angles, the sides inset with intricately executed Limoges porcelain panels painted in the Renaissance style with portraits of a nobleman opposing female companion each within an oval reserve incorporating strapwork scroll border decoration onto a deep maroon almost black ground, the rear with bevel-glazed door over cavetto moulded skirt base with slender squab feet.17cm (6.75ins) high with handle down, 11.5cm (4.5ins) wide, 9cm (3.5ins) deep. Provenance: Private collection, East Midlands. Achille Brocot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as born in 1817 and died in 1878. The Museums Victoria (Australia) website notes that Achille patented several improvements in clock mechanism escapements, and invented the 'Brocot Suspension', an adjustable pendulum spring which enabled time keeping to be regulated by altering the length of the pendulum suspension spring by a key turned in the dial. He also introduced a jewelled deadbeat escapement, sometimes called a visible escapement as it was often mounted in the middle of the dial. Achille was awarded a first class medal at the Paris Exhibition in 1855, and in 1856 was appointed Treasurer to La Société des Horlogers in Paris. He published a 'Calculation of the Wheels by Approximation' in 1862. His sons Achille and Paul continued the business following Achille senior's death 1878. The firm was taken over by rival clock maker Gustave Gibaudet in 1889.  The exquisite side panels of the current lot are textbook examples of the finest enamel-work produced in the Limoges workshops during the second half of the 19th century. The Renaissance subject matter along with the colour palette (in particular the dark ground) revives the style for which the region became particularly well-known for during the 16th Century. Indeed the popularity and re-establishment of the Limoges enamel workshops during the second half of the 19th century was born out of a deep appreciation for the Renaissance originals which had become highly prized by connoisseurs earlier in the century. As often the case with French revivalist art the intention was to match (or even if possible exceed) the quality of the originals hence there was generally a 'no expense spared' approach to execution in order to achieve this objective.The panels of the current lot carefully and cleverly employ a mixture of opaque and translucent enamels to create depth, texture and lustre which varies under different lighting conditions. Some areas in particular, such as the areas representing silk within the garments of the figures, use the finished ground of the metal plate to great effect by allowing reflected to pass through vibrant pigmented transparent enamel surface layers.Condition Report: Movement appears complete, all-original and is in full working condition however the mechanism is a little dirty/discoloured hence a gentle clean/service is advised. The dial has a very light hairline crack across the centre of the disc (only visible on very close examination) otherwise dial is in fine condition. The case is in fine condition with good strong satin gilt finish only having minor localised oxidation/discolouration in places. The enamel side panels are free from obvious on close examination some restoration to the brim of the hat in front of the female figure's face can be seen. The rear door glass has a very small chip to the upper right hand corner otherwise glasses appear free form any visible damage.Clock does not have a winding key.  Condition Report Disclaimer

AN ALUMINIUM 60 DEGREE CORNER LIGHTING RIG FRAME

Blakeston (Oswell & Bruguière, Francis). Few Are Chosen: Studies in the Theatrical Lighting of Life's Theatre, 1st edition, privately subscribed by Eric Partridge Ltd at the Scholartis Press, 1931, 12 black & white photographic reproductions of Brugière's Surrealist images, signed by Blakeston and Brugière to half-title verso, top edge gilt, remainder untrimmed, original blue buckram lettered in gilt, rubbed and soiled, 8voQty: (1)

Small box containing pair of wooden butter pats, brass Protector Lamp & Lighting co. miner's lamps, large brass teapot with conical lid, Kienzle Automatic brass mantle clock, brass retriever, brass Phoenix Insurance mascot, bell and table lighter, possibly embossed leather clad pitcher with stopper and matador images, possibly Spanish.(B.P. 21% + VAT)

Miscellaneous lot to include a cased canteen of Wedgwood plated flatware, a laminated wine rack, an electric shoe polisher, a carved African hardwood study of a standing giraffe mounted on a perspex platform base and a selection of modern lighting

Pair of Patterson and pair of Protector Lamp and Lighting Co. miners lamps and another lamp.

Hornby OO gauge, three boxed Pullman coaches with lighting: R4143 "Leona", R4145A "Sapho" and R4420 "Neptune", (3).

Hornby OO gauge, three boxed Pullman coaches with lighting: R4144, R4144A and R4166, (3).

Hornby OO gauge, four boxed GWR chocolate/cream coaches: R436, R454, R456 and R479, with lighting, (box a/f), (4).

Three Anglepoise Lighting Ltd desk lamps, model 99, black shades on silvered metal bases.

Assorted dolls house furniture to include chairs and various dolls house dolls in vintage costume, and lighting (1 tray) 

L. Schmitz, deutscher Maler der 2. Hälfte des 19. Jh., Vollmond über einer Küstenlandschaft mit Fischerboot und beleuchtetem Haus, Öl/Lwd, links unten signiert, feine lasierende Malerei mit gekonnte Lichtführung der dämmrigen Stimmung, ca. 70x95cm, R. ca. 96x121cmL. Schmitz, German painter of the 2nd half of the 19th century, full moon over a coastal landscape with boat and illuminated house, oil/ canvas, signed lower left, fine glazed painting with skillful lighting the dim mood, approx. 70x95cm, frame approx. 96x121cm

Tiffany-Stil-Lampe, nach Jugendstilvorbild, bunte Glaseinsätze und Glascabochons mit Libellendekor, beleuchtbarer Fuß und 2 Brennstellen, Funktion nicht geprüft, D. ca. 45cm, H. ca. 62 cmTiffany-style-lamp, after art Nouveau model, colorful glass inserts and Glass cabochons with dragonfly decor, foot with lighting and 2 focal points, function not examined, D. approx. 45cm, H. approx. 62 cm

Vintage LG HTF MILLER beer bottle in ice block lighting / advertising sign material hard plastic. Vintage LG HTF MILLER bierfles in ijsblok verlichting/reclamebord materiaal hard plastic. H 117 cm

A Hornby 0 gauge tinplate Windsor Station 2E fitted for electric lighting with box, other buildings, figures, and rolling stock

Selection (12) of London Underground enamel, plastic & glass SIGNS (various sizes. all fairly small) including Moor Park station platform & signal layout, 3 x switch cabinet plates, 3 x destination indicator plates, glass plates for back-lighting 'Assistance' and 'Tickets & Assistance', Emergency Button (Victoria Line), '4' (platform number sign), and Compulsory Ticket Area (mostly in very good, ex-use condition) plus a double-sided Lyons Cakes ADVERTISING SIGN (19" x 16" - 48cm x 40cm) in well-worn condition. [13]

Selection (11) of London Underground enamel, alloy, plastic & glass SIGNS (various sizes. all fairly small) including Northern Line, Stairs to Northern Line, glass plate for back-lighting 'Assistance & Tickets', Mezzanine Level - Jubilee Place etc, Card Users - please touch..., London Underground Property, roundel sign, Exit only in Emergency, 'Underground' bullseye (souvenir sign), LTE legal lettering and Olympia. Mostly in very good, ex-use condition. [11]

LIGHTING: TABLE LAMPS, GLASS SHADES, BRASS AND OTHER CHANDELIERS

A QUANTITY OF MODERN TOOLSTo include an electric chainsaw, handsaws, outdoor lighting and sundry

A QUANTITY OF VICTORIAN AND LATER GLASS LIGHTING COMPRISINGA pair of two branch wall lights, glass bag chandelier, and a quantity of assorted glass drops

Unused Retail Stock - Two boxes of lighting. [2]

Mixed cables, tools, lighting and other, two boxes. [2]

BRONCOLOR LIGHTING SET,in pale blue enamel finish

Miners safety lamp by Protector Lamp Lighting Co. in brass and steel H23cm and another

Black lacquer panel with gilt chinoiserie floral and bird motif. Maison Bagues or Maison Jansen. Mid-20th century (of that period) coffee table with 18th-century Chinese gilt lacquer panel set within gilt-brass frame styled as bamboo with x-shaped stretcher intersecting in a ring. The exquisite gilded bronze mount frame is of the highest casting quality. Such exceptional condition of the panel is extremely rare. Condylis Collection  Dimensions:18 in (H) x 43 in (W) x 19 in (D) The world-famous Parisian company Maison Baguès has created lighting and furniture works famous all over the world and is now recognized as synonymous with elegance and refinement. Baguès was born in Auvergne around 1840 and specialized in bronze works. The society developed considerably at the end of the nineteenth century, with the advent of electricity, with objects for lighting.

Red lacquer panel with gilt chinoiserie landscape containing pagodas, fauna and flora. Maison Bagues or Maison Jansen. Mid-20th century (of that period) coffee table with 18th-century Chinese gilt lacquer panel set within gilt-brass frame styled as bamboo with x-shaped stretcher intersecting in a ring. The exquisite gilded bronze mount frame is of the highest casting quality. Such exceptional condition of the panel is extremely rare. Condylis Collection  Dimensions:18 in (H) x 43 in (W) x 19 in (D) The world-famous Parisian company Maison Baguès has created lighting and furniture works famous all over the world and is now recognized as synonymous with elegance and refinement. Baguès was born in Auvergne around 1840 and specialized in bronze works. The society developed considerably at the end of the nineteenth century, with the advent of electricity, with objects for lighting.

Cell Cross. Spain, 17th century.Oil on panel. With back pedestal.Measurements: 88 x 43 x 14 cm. (with pedestal).This representation of the Crucified Christ is a cell cross of excellent quality, of the type that was placed inside the monks' cells. As is usual for this type and time, the cross is of rectilinear sections, unadorned and worked in an illusionist manner, with a typically Baroque painting of tenebrist light and pathetic expression. Christ appears in the centre, with an expressively deformed anatomy that denotes the survival of Mannerism even in the 17th century. The lighting is halfway between Baroque tenebrism and the artificial light of Mannerism, and in any case creates an illusionist play that is very much in keeping with Baroque sensibility. At his feet we see a representation of Adam's skull, and at his sides, near his hands, we see cherubs emerging from the sky among the clouds. Cell crosses are a very common type of devotional work in Spanish and Latin American convents and monasteries in the 17th and 18th centuries. However, it is not common for these crosses to be of such a superior quality in the way the painting is handled, nor in such a large size.The crucifixion of Christ is the central theme of Christian and especially Catholic iconography. Christ was subjected to the suffering that befell slaves who were fugitives or in rebellion, a condemnation that was essentially Roman but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, on many occasions, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the passion, provoking commiseration, as is referred to in Psalm 22 when he says: "My God, my God, why have you forsaken me? (...) a mob of the wicked is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic".

Circle of IL GUERCINO (Cento, Italy, 1591-Bologna, 1666); second half of the 18th century."Penitent Saint Jerome.Oil on canvas. The original canvas is preserved.It has repainting and restorations.It has a 20th century frame.Measurements: 114 x 91 cm; 119 x 96 cm (frame).In this canvas the theme of penitent Saint Jerome is approached through a classical composition, in which the author arranges the saint in a sober interior, in which any anecdotal detail that could cloud the message of transmission of the Christian faith and devotion is eliminated. One of the four great Doctors of the Latin Church, Saint Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's cape (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story in the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from its paw, and from then on kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal.Given its technical characteristics, it is possible to relate this piece to the artistic circle of Guercino, who was one of the most acclaimed Italian artists of the first half of the 17th century. He was born in Cento, in the province of Ferrara. The principal influences that shaped his style were the Bolognese Ludovico Carracci, his cousin Hannibal Carracci and the Ferrara-born Ippolito Scarsella. Apart from a two-year stay in Rome during the papacy of the Bolognese Gregorio XV Ludovisi, he was active in his native town until 1642 when he moved to neighbouring Bologna. He was about twenty-five years old when he came to the attention of his first important clients, among them Cardinal Alessandro Ludovisi, Archbishop of Bologna; Cardinal Jacopo Serra, papal legate in Ferrara; Grand Duke Cosimo II of Tuscany and Duke Ferdinand Gonzaga of Mantua. By the mid-1620s he had turned down invitations to work outside Italy, from Charles I of England among others. He seems to have been reluctant to enter into direct competition with his Bolognese rivals, especially Guido Reni, who from around 1610 was the most celebrated painter in Italy. Most of his abundant output consists of altarpieces and easel paintings, but in the first half of his career he also painted frescoes in Cento, Bologna, Rome (the Aurora on the ceiling of the Casino Ludovisi) and the cathedral of Piacenza (1626-1627). His early "Tenebrist" style is characterised by dramatic lighting, saturated colours and agitated compositions. His stay in Rome led him to gradually modify his style towards a much more idealised and classical language, with calmer and more structured compositions, more elegant contours, a generally lighter palette and richer pastel tones.

Spanish school; early 17th century."Crucifixion".Oil on canvas. Re-coloured.It presents damages in the frame.Measurements: 49 x 36,5 cm; 63 x 51 cm (frame).In this representation of the expiring Christ that shows us a torso resolved through a naturalistic language, the cloth of purity and the extremities turned following classical models. Nails and thorns make the blood gush out, the intense red of which stands out against the sallow tone of the flesh tones, in the case of the feet. The tenebrist lighting and chromatic transitions model the body, giving the illusion of perfect volumetry, which testifies to an in-depth anatomical study. The composition, the bold iridescence of light and the rapid brushstrokes are very close in composition and language to Murillo's Christ Crucified in the Museo del Prado. Specialists have pointed to the influence of the Christ that Van Dyck painted for the church of Dendermonde. Dated around 1667 and possibly purchased by the wife of Philip V, Isabella of Farnese, it entered her collection in 1746 and was documented three years later in the Palace of Aranjuez, from where it was transferred to the Prado in 1818. Here, too, the cross is a vertical part of the composition, and the body acquires sculptural volume thanks to the masterly handling of the light. The landscape of Golgotha is reduced to an atmospheric impression, establishing a chiaroscuro dialogue with the suffering flesh tones. Here too, the skull and some of the instruments of the Passion are depicted at the foot of the cross. The stylistic and formal correspondences between these two paintings and others from Murillo's mature period lead specialists to believe that they share the same authorship.Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court.

Italian school; second half of the 17th century."Penitent Saint Jerome".Oil on canvas.The original canvas is preserved.It has repainting and restorations.Measurements: 122 x 86 cm.The present canvas presents a typical iconography of the 17th century, in which Saint Jerome is shown. He reached a great popularity during the Counter-Reformation, due to his repentance and contemplative life, useful values to move the faithful. Saint Jerome is one of the four great Doctors of the Latin Church. He was born near Aquileia (Italy) in 347. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. In the second half of the 16th century a new iconography emerged in which the saint listens to the trumpet of the Apocalypse, an iconography widely used by the Counter-Reformation Church. The distinguished saint is usually depicted inside a cave or in the middle of the desert, and is usually, though not always, accompanied by his characteristic attributes: the stone symbolising the rigour of penance, with which he beats his chest; the skull, symbolising death; and the red cloak, which reflects the tradition that made him a cardinal. The accumulation of books and parchments next to the saint alludes to the saint's translation of the Bible into Latin, which since the Council of Trent has been considered the only official translation. Finally, the theme of Saint Jerome hearing the trumpet of the Last Judgement became fashionable in Counter-Reformation Europe and gradually became established, displacing previous interpretations of the saint as a sage or penitent.The present canvas depicts Saint Jerome penitent in the desert through a classical, clear and open composition. The saint is depicted full-length, emphasised by the lighting and also by the intense crimson of his cloak. He is located in a rocky setting, enclosed on the left side and open to the landscape (to a grey, leaden sky) on the opposite side, a composition directly derived from the teachings of the Italian classicist Baroque. Next to it we see the lion, lying at his feet, the skull and the writings.

A Mixed Selection of Lighting Stands & Camera Supports, as seen, including a monopod, three tripods, and a selection of lighting stands,

A Selection of Focal Press Books, including LIghting for Photography, Motion Picture & Television Film, Electrophotography, Image Evaluation for Aerial Photography and Xerography & Related Processes (5)

A Elinchrom Softbox, complete with soft carry case and two Elinchrom lighting stands (a lot)

A Mixed Selection of Studio Lighting Modifiers, including umbrellas & more,

LIGHTING, bronzed classical ewer design marble based table lamp, 29" height

Lorraine Nancy; a set of Art Deco glass lighting panels, signed Lorraine France to centre