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Lot 343
Assorted early 20th century and later lighting including an Edwardian brass rise and fall ceiling light, five hanging oil lamps converted to electricity, a Grays pottery Art Deco table lamp, a four branch gilt metal hanging lamp, a brass scrolling wall light with iridescent glass shade, various other glass shades and a brass twin branch twist pedestal lamp with pleated glass shades (qty)
Lot 447
Casella Lighting, United States. Pair of brass reading floor lamps. The lamps feature an L-shaped base with a long, curved stem, which can be adjusted to different heights.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.(Each, without shade); Height: 49 1/2 in x width: 13 in x depth: 13 in.
Lot 50
A large Pelham Puppet electric driven Shop display animated unit, early 1970s, the wooden corner display unit with painted scenic background depicting the interior of a theatre, lighting to sides with puppets to stage, upper stage and boxes to sides including Animal with drums, Frog, Nurse and Cat to stage, Hansel, Gretel and 70s girl with hinged mouth to upper stage, three girls and boy to boxes, the electric motor mounted above the display operating twin bars with stringing to puppets, in good working order, 51” (129.5cm) high, 37” (94cm) wide and 18 ¾” (47cm) deep. For viewing, shipping and collection of this lot please contact Leigh Gotch at C&T Auctioneers direct.
Lot 258
{ Option of lots: 258, 259, 260, 261 } 2 x New and Boxed Searchlight 1055-500GY Michigan Led Outdoor Post IP54 500mm Height - Dark Grey This Dark Grey Led Outdoor Post Light With Clear Diffuser Uses The Latest Led Technology To Light Your Outdoor Areas. The Post Light Is Made From Cast Aluminium And Finished In Dark Grey For A Stylish, Modern Look, And Has 30 Energy Saving LED In A Stylish Cutaway, Providing A Bright Cylinder Of "Cool White" Light Perfect For Lighting Any Contemporary Garden. The Fixture Is Ip54 Rated And Fully Splashproof To Protect It Against The Elements. Opaque Pc Vanal Resistant Diffuser 540 Lumes New And Boxed (5053423044514)
Lot 260
{ Option of lots: 258, 259, 260, 261 } 2 x New and Boxed Searchlight 1055-500GY Michigan Led Outdoor Post IP54 500mm Height - Dark Grey This Dark Grey Led Outdoor Post Light With Clear Diffuser Uses The Latest Led Technology To Light Your Outdoor Areas. The Post Light Is Made From Cast Aluminium And Finished In Dark Grey For A Stylish, Modern Look, And Has 30 Energy Saving LED In A Stylish Cutaway, Providing A Bright Cylinder Of "Cool White" Light Perfect For Lighting Any Contemporary Garden. The Fixture Is Ip54 Rated And Fully Splashproof To Protect It Against The Elements. Opaque Pc Vanal Resistant Diffuser 540 Lumes New And Boxed (5053423044514)
Lot 261
{ Option of lots: 258, 259, 260, 261 } 2 x New and Boxed Searchlight 1055-500GY Michigan Led Outdoor Post IP54 500mm Height - Dark Grey This Dark Grey Led Outdoor Post Light With Clear Diffuser Uses The Latest Led Technology To Light Your Outdoor Areas. The Post Light Is Made From Cast Aluminium And Finished In Dark Grey For A Stylish, Modern Look, And Has 30 Energy Saving LED In A Stylish Cutaway, Providing A Bright Cylinder Of "Cool White" Light Perfect For Lighting Any Contemporary Garden. The Fixture Is Ip54 Rated And Fully Splashproof To Protect It Against The Elements. Opaque Pc Vanal Resistant Diffuser 540 Lumes New And Boxed (5053423044514)
Lot 259
{ Option of lots: 258, 259, 260, 261 } 2 x New and Boxed Searchlight 1055-500GY Michigan Led Outdoor Post IP54 500mm Height - Dark Grey This Dark Grey Led Outdoor Post Light With Clear Diffuser Uses The Latest Led Technology To Light Your Outdoor Areas. The Post Light Is Made From Cast Aluminium And Finished In Dark Grey For A Stylish, Modern Look, And Has 30 Energy Saving LED In A Stylish Cutaway, Providing A Bright Cylinder Of "Cool White" Light Perfect For Lighting Any Contemporary Garden. The Fixture Is Ip54 Rated And Fully Splashproof To Protect It Against The Elements. Opaque Pc Vanal Resistant Diffuser 540 Lumes New And Boxed (5053423044514)
Lot 263
{ Option of lots: 262, 263 } 2 x New and Boxed Searchlight 1055-500GY Michigan Led Outdoor Post IP54 500mm Height - Dark Grey This Dark Grey Led Outdoor Post Light With Clear Diffuser Uses The Latest Led Technology To Light Your Outdoor Areas. The Post Light Is Made From Cast Aluminium And Finished In Dark Grey For A Stylish, Modern Look, And Has 30 Energy Saving LED In A Stylish Cutaway, Providing A Bright Cylinder Of "Cool White" Light Perfect For Lighting Any Contemporary Garden. The Fixture Is Ip54 Rated And Fully Splashproof To Protect It Against The Elements. Opaque Pc Vanal Resistant Diffuser 540 Lumes New And Boxed (5053423044521)
Lot 262
{ Option of lots: 262, 263 } 2 x New and Boxed Searchlight 1055-500GY Michigan Led Outdoor Post IP54 500mm Height - Dark Grey This Dark Grey Led Outdoor Post Light With Clear Diffuser Uses The Latest Led Technology To Light Your Outdoor Areas. The Post Light Is Made From Cast Aluminium And Finished In Dark Grey For A Stylish, Modern Look, And Has 30 Energy Saving LED In A Stylish Cutaway, Providing A Bright Cylinder Of "Cool White" Light Perfect For Lighting Any Contemporary Garden. The Fixture Is Ip54 Rated And Fully Splashproof To Protect It Against The Elements. Opaque Pc Vanal Resistant Diffuser 540 Lumes New And Boxed (5053423044514)
Lot 35
Spanish School of XVII century "Portrait of Admiral Christopher Columbus". Oil on canvas, glued to cardboard. Frame of the XVIII century. Measurements: 58 x 48 cm; 69 x 59 cm (frame). Portrait of gentleman of long bust, of great sobriety, with a neutral background plunged in the half-light on which the face stands out, directly illuminated by a warm light, that molds the soft features of the young face. The portrait is accompanied by a Latin caption at the top: "COLOMBVS LICVR NOVI ORBIS REPTOR". In the 16th century the birth of the modern portrait took place; the genre became autonomous in Spain during the reign of the Catholic Monarchs, through Italian and Flemish influence, but it was under the governments of Charles V and Philip II when the modern court portrait was established. A portrait based on formal austerity and the symbolic weight of objects, attire and expressions, which should reflect the nobility, status and importance of the sitter, was then developed. In the formative years of court portraiture, Titian and Antonio Moro were of special importance. The latter, Flemish by origin, contributed the meticulous execution and attention to detail, as well as the effective lighting, which enhances the physical presence of the character. Titian contributed not only a modern style of Venetian origin, but also a new iconography of power. Already with Philip II, this work of construction of the genre and, with it, of the official image of the ruler, will remain in the hands of Alonso Sanchez Coello and Juan Pantoja de la Cruz, his disciple.
Lot 224
A RARE YELLOW-GROUND SILK KESI ROBE 'DRAGON' PANELWanliThe panel finely woven with a lively side-facing five-clawed horned dragon chasing a flaming pearl beneath an oval canopied lantern decorated with a rabbit and striding amidst wispy ruyi clouds interspersed with the Auspicious Emblems, all on a rich yellow-ground above the terrestrial diagram rising above rolling waves and ruyi clouds, mounted.122cm (48in) long x 61cm (24in) wide.Footnotes:明萬曆 黃地緙絲龍紋袍料Provenance: Jacqueline Simcox Ltd., London, 2007An English private collection來源：倫敦古董商Jacqueline Simcox Ltd.，2007年英國私人收藏Finely woven in gold and multi-coloured threads with elegant designs of a side-facing five-clawed dragon, writhing amidst clouds and a lantern decorated with a rabbit, the present panel would have formed the front right half of an Imperial robe which would have been worn by the Emperor on the occasion of the Lantern Festival celebrations. The Lantern Festival was held over a period of ten days centering on the 15th day after the New Year Festival, which was the time of the first full moon of the new year. It appears to have been introduced during the Han dynasty, probably in relation with the spread of Buddhism in China. Emperor Ming of the Eastern Han dynasty (25-220 AD) had heard that Buddhist monks prayed to Buddhist relics on the 15th day of first lunar month, lighting lanterns to pay respect to the Buddha. Taking a liking to the custom, he ordered that lanterns be lit throughout the Imperial palace and all the temples on the same day. The custom of hanging lanterns quickly became widespread among the population; see G.J.Melton, Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn Observances, and Spiritual Commemorations, Goleta, CA, 2011, pp.514–515. A colourful scroll painting titled 'Xianzong Enjoying Pleasures', in the History Museum, Beijing, depicts the ruler at several moments in time including his tour of the palace surveying the elaborate festivities he ordered for the Lantern Festival, which included several rows of brilliantly-blazing lanterns lining the archway leading up to the Imperial palace; see J.Stuart, 'Timely Images: Chinese Art and Festival Display', in Proceedings of the British Academy, vol.167, 2009, pp. 295–348.The Emperor, Imperial family and high-ranking wealthy courtiers wore costumes woven or embroidered with themed decoration for the festive event. While the Ming dynasty official colour was red, the Emperor wore yellow for his official Court dress. Robes made to be worn for the occasion were probably restricted for use by the upper ranks at the Court of the Wanli Emperor, known for its demand for luxurious silks. Compare with a silk gauze embroidered panel from a dragon robe made for the Lantern Festival, Wanli, depicting a side-facing dragon riding amidst clouds and lanterns, illustrated by J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, pp.50-51.For further information on this lot please visit Bonhams.com
Lot 106
A LACQUERED DISPLAY CABINET COMMISSIONED FOR THE PARRY COLLECTIONCirca 1930sThe central part comprising three sections, each enclosing three glass shelves behind four glazed doors and within a black lacquered and gilt frame decorated with floral designs within cartouches reserved on diaper ground, all above a hardwood stand and frieze, with electrical lighting fixtures. 200cm (78 6/8in) wide x 208cm (8 7/8in) high x 31cm (12 2/8in) deep.Footnotes:約二十世紀三十年代 褐漆描金立櫃This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 334
A VERY RARE WWII RAF-ISSUE PORTABLE ALTIMETER CALIBRATOR BY R.W. MUNRO, NO.130 CIRCA 1939 constructed in brass with japanned finish, the cylindrical pressure chamber with three circular viewing ports, external electrical contacts supplying internal lighting, circular access hatch with wheel operated 'O' seal, the endplate with valve assemblies for the application of positive and negative pressure feed, pressure relief valve, impressed Air Ministry property mark 'AM' surmounted by a crown, internally, white painted with lamp fittings, removable instrument holder, supported on twin cradles affixed to a mahogany plinth with maker’s plate and mahogany lid with screw fixings -- 9½ x 19½ x 9½in. (24 x 49.5 x 24cm.)Footnote: These instruments were ordered by the RAF from Munro to meet the substantially increased demands made upon testing facilities brought about by the rapidly increasing number of operational airfields. Very few of these are known and it is estimated that total production did not exceed 500. It is likely some were sent to allied countries -- one example has been found in Australia and another in the USA. In all, five are currently thought to exist.
Lot 1662
A QUANTITY OF TEAK FURNITURE comprising a teak display case, with four glass shelves and internal lighting, width 56cm x depth 28cm x height 112cm, tv cabinet with a shelf, a tv stand with two divisions, width 112cm x depth 53cm x height 36cm, three drawer file cabinet (no keys) and a glass double sliding door bookcase flanked by a single cupboard, width 112cm x depth 30cm x height 84cm (5)
Lot 1666
A MAHOGANY BOOKCASE, with a bevel edged double door unit top enclosing two glass shelves and another, internal lighting above double cupboard doors, width 83cm x depth 29cm x height 152cm a matching fall front hanging cupboard with a mirror back, nest of three tile top tables and a mahogany plank coffee table (4)
Lot 859
A WOODEN DOLLS HOUSE, in the Tri-ang Tudorbethan style, front opening to reveal three rooms and an entrance hallway over two floors, two main rooms are fitted for electric lighting (not tested), glazed tinplate 'leaded' windows, no makers mark, appears largely complete but in playworn condition and in need of some minor attention, size including baseboard approximately 38cm wide x height 45cm x depth 28cm, with a small quantity of assorted 1950's Dol-Toi and other wooden and plastic furniture and accessories and a larger size scratchbuilt wooden dolls wardrobe containing a small quantity of Amanda Jane and other plastic hangers, size approximately 49cm high x width 25cm x depth 13.5cm
Lot 265
Selection (8) of WW1 South Metropolitan Electric Tramways and Lighting Ltd FARES LISTS & FLYERS, mostly dated 1916 or 1917 and comprising 6 Fares Lists for various sections, as placed in the tramcars, and 2 small flyers re Workpeople Fares and Reduced Return Tickets. Some apparently official annotations, folds and storage marks and blemishes but generally in good condition. [8]
Lot 356
aluminium and glass bulbsapproximately 93cm diameter (36.5in diameter)Footnote:The Taraxacum 88 hanging lamp was designed for the Euroluce international lighting show in Milan. The lamp was manufactured in three sizes. The smallest version has three bulbs per triangular facet, the medium-sized lamp has six bulbs per facet (offered here) and the largest lamp has ten bulbs on each side. Being sold with 50 light bulbs which fills approximately half the light.
Lot 137
ASSORTED OCCASIONAL FURNITURE & LIGHTING, comprising Victorian commode, walnut bedside cabinet, oak corner table, modern Swedish Swan 'Signet' high chair, Edwardian shaped circular table and a modern painted cherrywood desk/dressing table, pair two-branch wall lights, small hexagonal hall lantern, opaque glass shaded wall light (10) Comments: Two of four frosted glass bell shades damaged
Lot 466
§ § Théo Kerg (Luxembourgian 1909-1993) Blue abstract signed 'Théo Kerg' (lower right) oil on canvas54 x 45cmFootnote: A diminutive wedge of land, cradled between France and Germany, Théo Kerg’s native Luxembourg was instrumental in shaping the character of his work, which demonstrates a confluence of both French and German contemporary art and culture. Born in 1909, Kerg left Luxembourg in 1929 to study at the École nationale supérieure des Beaux-Arts, the Sorbonne and the Institut d'art et d'archéologie, before moving to Düsseldorf to study under Paul Klee and Oskar Moll at the Kunstakademie. In addition to having held in excess of 150 solo exhibitions and participating in over 350 group exhibitions, Kerg is also credited with pioneering the Tactilism movement. With unsettling sentience, Kerg’s tactilist canvases are in dialogue with environmental variables, such as lighting and atmospheric changes; expanding, contracting, and devouring themselves. These works, dating from the 1960s and 1970s, are in a constant state of flux. Rendered in a patchwork palette of blues and greens, the present lot is likely to date from the early 1950s.Condition report: With an overall light layer of dirt, most evident to the paler passages of paint on the lower right hand side. There appears to be a small abrasion in the top right corner with resultant loss, and a similar abrasion at the centre of the right hand edge. There are a few small accretions on the right hand side and some very minor fine cracks to the paint layer. The varnish appears to have been applied unevenly, leaving some areas glossy and other areas matte, in some very small areas the varnish has yellowed. Otherwise in good, presentable condition.
Lot 123
Claude Francis BARRY (1883-1970)View of St Ives from Skidden Hill (Circa 1912)Oil on canvasSigned180 x 230cmIMPORTANT NOTICE - This painting is to be sold where it hangs, at the Treloyhan Manor Hotel, St Ives, if you would like to view the painting please contact the hotel to arrange an appointment, tel 01736 796240. It is the purchaser's responsibility to arrange for this large and important piece to be removed. Viewing is advised - if it is not possible to arrange a viewing then please see our additional images showing the location of the picture.Condition report: This huge and magnificent painting is in desperate need of a clean. Because of where it is hanging and the limited lighting it is hard to make a proper assessment, but we saw no sign of flaking and no tears. we did see that the canvas was bulging particularly to the lower right quadrant.
Lot 321
A scarce unboxed Tri-ang Pressed Steel 'Diesel Electric' Locomotive model in red, blue and white, with 'Diesel Electric Loco' decals to both sides approximately 61cm long. Whilst the model retains its original headlamp bulb and holder, the model has been retro-fitted with a new headlamp, cab lighting and a Diesel engine sound card with horn, controlled from two 9v battery boxes with additional controls for the engine sound and horn accessible through the aperture which would have originally housed the rubber horn bulb. Overall G, retaining the original driver figure, but with some repainting to the roof..
Lot 210
Large collection of 00 H0 Gauge Lighting Sets, including various LED lights, in original non branded bags, Hornby Buffers with lights, several types of Street Lights, Layouts4U Lights, Kytes LED Strip lighting ( 2 rolls), Welding unit, Street Lamps, various CPC lights, Kemo lights, All components, Railroom, Grain of Wheat, five Colour Light Signals, Beli lamp, Hornby Skaledale Lighting (6), Express Single blue flashing light, Train Tech Coach Lighting, Brawa Street Lights, Rotafast Lights, Gaugemaster orange and yellow packs, DCC Coach lighting set, all appear unused, most in original packaging, VG (50+)
Lot 180
EFE London Underground Sets part modified to electric operation with lighting and additional detailing, two sets of 1938 Metropolitan East London Line stock (4 coaches per set), two power cars have Tenshodo bogies, majority have strip lighting fitted with spare lighting, majority of wheels loose from bogies, together with original boxes, F-G, sold as a part completed project, boxes G (quantity)
Lot 144
Hornby-Dublo 00 Gauge 2-Rail boxed Accessories, 5050 Signals Single Arm Home, 5060 Junction Signals Home, 5061 Junction Signals Distant, all two in each box, 5090 Telegraph Poles (12 in two boxes, one box poor), 5095 Water Cranes (3 in two boxes), 5035 Loading Gauge (3), 5025 Gradient and Mile Posts (2, one box repaired), 1613 and 1614 Switches and D1 maroon switch, 5010 Footbridge, 5040 Platelayers Huts (6 in trade box), 2451 Buffer Stops Illuminated (10 in five boxes) , non Illuminated (1) and 1577 14v Lamps for 1575 Lighting Kit (6 in original red box with plain yellow label), VG-E, boxes P-VG (24)
Lot 372
Four unboxed Hornby 0 Gauge No 2 Special Pullman Cars, all in the later grey-roof style, comprising brake coaches 'Montana' and 'Verona', G and G-VG respectively, Montana with some modifications for internal lighting, together with saloons 'Iolanthe' and 'Loraine', both G-VG, all wheels appear serviceable, all with moderate playwear and some minor damages (4)
Lot 196
A collection of brass lighting, to include an Edwardian three branch ceiling light, in the Arts & Crafts taste, with a triangular column, and three frosted glass shades with opaque glass trailing, 40cm high, a pair of wall lights, formed as a pair of crossed torches, each united by a ribbon, having moulded leaf shades, 30.5cm wide, 23.5cm high, and a pair of scrolled wall lights, each with a wrythen moulded glass shade, 33cm wide (5)Condition report: One shade chipped to the three branch ceiling light. Paint marks to shades of torch wall lights. General wear, knocks and loss of finish to the frames.
Lot 317
GOOD SELECTION OF VINTAGE BADGES AND MEDALS RELATING TO GLASGOW AND OTHER SCOTTISH CITIESsome with enamel detail, including Glasgow Civic and Empire Week 1931; Glasgoe Lighting department; Glasgow and West of Scotland Horticultural Soctiety; Royal Burgh of Rutherglen Octocentenary; World's ninth Sunday School Convention Glasgow 1924; Lyceum Edinburgh, numbered 19; a Dundee ship's wheel badge; The Forth Bridge; a Queen's Park School badge, 1873, etc.
Lot 148
School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Head of Saint John the Baptist". Oil on canvas. Relined. Measurements: 46 x 63,5 cm. In this canvas the author deals with a theme of great dramatism, very much in accordance with the popular sensibility of the Spain of the time, strongly influenced by the Counter-Reformation, which demanded from the art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Thus we see the decapitated head of the Baptist, placed on the silver tray on which it was given to Salome. However, there are no narrative elements to tell the story; it is a static, devotional composition in which we see only the severed head on the tray placed on a table dressed in a rich red cloth. The space is undefined and closed, with a dark background worked in neutral tones against which the saint's head stands out, strongly illuminated by a light of Tenebrist heritage, directed and contrasted, which leaves the secondary areas of the composition in semi-darkness, focusing the viewer's attention on the saint's dead face. From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the figure of José de Ribera, a key painter belonging to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before it arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also influenced the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushstroke that the artist learned directly from Ribera's work.
Lot 67
Spanish school; XVII century."Crucifixion".Oil on canvas. Relined.Presents repainting, restorations and missing in the frame.Size: 126 x 86 cm; 136 x 98 cm (frame).In this work the author captures a work full of great drama that shows the moment in which Christ is already dead on the cross, being accompanied by the Virgin Mary and St. John. It is an Iconographic evolved from the original Byzantine Déesis, which represented Christ in Majesty accompanied by Mary and St. John the Baptist. In Western art, the representation of Christ on the cross will be preferred, as a narrative scene, and the figure of St. John the Baptist will be replaced by that of John the Evangelist. However, as in the Byzantine Déesis, in the western model both the Virgin and St. John have their faces raised or oriented towards Christ, with their hands in a position of supplication on behalf of humanity. In this composition we also see, at the foot of the cross, the skull and Adam's tibia, a symbol that alludes to the figure of Christ as the new Adam, as redeemer of man's sin. The three figures are placed in the foreground, in front of a low stone wall behind which the landscape develops in depth, with the city of Jerusalem in the background, under a turbulent and ominous sky. In order to emphasize the drama of the composition, the author has played with the lighting and creates a much darker atmosphere in the foreground, while the background appears more illuminated, worked in tones of the same range, mainly earthy and reddish, tinged with bluish and green touches, but much lighter than those of the foreground. This marked effect in the illumination is a typical plastic resource of mannerism, which breaks with classical norms in its search for a more conceptual, symbolic and above all expressive art. Another clearly mannerist resource, which can be appreciated here at first sight, is the marked spatial tension derived from the large size of the figures of the Virgin and St. John, which occupy a large part of the pictorial surface. Their monumentality, enhanced by their ample vestments, contrasts with the thinness of Christ, in a way that emphasizes his defenselessness and physical suffering. Next to his mother and his disciple, Jesus appears small, his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. Nevertheless, apart from these clearly mannerist elements we see features that remain faithful to classicism, especially in the chromatic aspect of the foreground. Further out, in the background landscape, we do see anti-classical colors, undefined and strangely bleached by the artificial light, but in the foreground the carmine and green of the cloaks of St. John and the Virgin dominate, large planes of color that are echoed in the space around them, and which appear magnificently toned and balanced. Nevertheless, we see a somewhat more dramatic work of light than was usual in the previous century, with lighter colors and more complex shades. Another feature that remains faithful to classicism is the composition, orderly and clearly pyramidal, determined by the heads of the three characters. It is a rational scheme, balanced and centered not only by its form, but also by the looks of the lateral characters, which converge in the face of Christ.
Lot 75
Workshop of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."St. Francis of Paula" ca.1630.Oil on canvas.Size: 120 x 103 cm; 128 x 112 cm (frame).In this canvas is represented San Francisco de Paula of half body, in pensive position, with the glance directed upwards, in the direction of a halo of light that emanates from the top right part of the composition and in which the word "Caritas" can be read. He appears dressed in dark sackcloth, typical of his hermit character, accompanied by the staff, his main iconographic attribute, and with the Holy Scriptures in front of him, also illuminated by a spotlight that falls directly on them. It is a work perfectly framed within the naturalistic baroque, heir of José de Ribera, starring a totally earthly man, with a face far from any idealization. San Francisco de Paula is presented as a real person, with personalized features typical of the individualized study, furrowed by deep wrinkles. As usual within the naturalistic baroque, the composition is simple and clear, with the character in the foreground against a neutral and dark background that enhances his physical presence. Apart from the human model and this composition, the lighting is also clearly naturalistic, a tenebrism derived directly from Ribera that is based on an artificial, directed spotlight that penetrates the painting through the lower left corner and falls on the face and hands of the saint, also illuminating the writings and the table in the foreground, leaving the rest in a nuanced penumbra, very worked, as we can see in the perfectly achieved mantle, characterized by its realism, despite being enveloped in shadows. The chromatism is also typical of this school, very limited around the ochers, earthy, reflecting the warm and naturalistic atmosphere.Regarding the subject, it represents Saint Francis of Paola (Calabria, Italy, 1416-Tours, France, 1507), hermit founder of the Order of the Minims and saint of the Catholic Church in the Italian region of Calabria. Legend has it that St. Francis became seriously ill of the eyes, reason for which his parents entrusted themselves to St. Francis, curing their son's eyes. To be grateful for the miracle, at the age of fourteen he went on pilgrimage to Assisi, thus becoming a hermit. For five years he withdrew to the mountain, feeding only on water and wild herbs, sleeping on the hard ground, with a stone as a pillow. He was canonized in 1519, only twelve years after his death, during the pontificate of Pope Leo X. In the early years of the 16th century, the Order of the Minims entered Spain, acquiring great diffusion due to the values of Franciscan preaching that they spread, which, linked to the recent canonization of the saint and his way of life and poverty, strongly influenced the Spanish Christian population.Due to the aforementioned formal characteristics, this painting can be related to the circle of José de Ribera, a key painter for the development of the naturalistic baroque not only in Spain, but also in Italy and in other national schools, given the great diffusion of his work. Called the Españoleto, he was a key master of the Spanish Baroque, and in general of the history of art at the European level. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the Caravaggesque tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings.
Lot 3147
Camera and projector equipment to include a Canon 105 film camera, Lubitel 166B film camera, camera tripods, camera cases, various flashes, lighting tripod, lens hoods, IBM flat bed scanner, Reflecta Projector with slide holders, Projector screen, a telephone in the form of a stiletto heel model SH910 etc
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