1930 Chevrolet PhaetonMake: Chevrolet Model: Phaeton Year: 1930Mileage: 96957VIN: NRR216Y121Configuration: Right Hand DriveRegistration: BF8303Transmission: manualThis 1930 Chevrolet is a very well-travelled car. According to a 2017 inspection by the American Automobile Club of Great Britain, it was built at General Motors' Oshawa plant in Canada for export to Uruguay in right-hand drive Phaeton (touring body) form. As this body style was in decline, only 1713 were produced during 1930, costing $495. The 50bhp 3.2-litre six-cylinder car seems to have stayed in South America until around 1990, when it travelled to Germany. It came to the UK in 2017 and was allocated the numberplate BF8303 by the DVLA in July of that year. The engine number of R2167191 corresponds to a right-hand drive unit, with a casting date of November 1930, so is believed to be the car's original motor. The history folder includes the V5C, some documentation from Uruguay regarding the shipment to Germany, some German paperwork, some British bills, a copy of the dating letter from the American Automobile Club of Great Britain, HRMC correspondence regarding the car's import into the UK and a photocopy of a book chapter chronicling the 1930 Chevrolet Universal AD Series. The recent invoices include four 19in Waymaster WM30 tyres fitted in 2017 (£460.80), a rebuilt brake master cylinder in 2017 (£111.90) and some engine parts during 2020 ($318.50, from the USA). The charming old Chevrolet looks to still be in original and solid, albeit patinated condition. While the speedometer has been disconnected and removed, it is present with the car and records 96,957 miles.
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WIKING 4-tlg Konvolut verglaste Fahrzeuge der Feuerwehr, 1960er Jahre, bestehend aus VW Feuwerwehr Kastenwagen T1, große Heckscheibe, Bodenprägung "Wiking Germany", 1968-1971, GK 603/6, Alter Magirus Spritzenwagen mit 2 hellbraunen Leitern, Bodenprägung "WM", GK 610/18, 1959/60 sowie MB Brandmeister, Bodenprägung "WM Germany", GK 600/10, dazu ein FW-Kranwagen, Krupp Titan (?), überlackiert, Dachscheinwerfer fehlen (1x lose anbei), Bodenprägung "WM im Kreis", GK-Eintrag: unbekannt.| WIKING 4 fire vehicles, 1960s, consists of VW fire brigade panel van T1, large rear window, bottom embossing "Wiking Germany", 1968-1971, yc. 603/6, old Magirus syringe truck with 2 light brown ladders, bottom embossing "WM", yc. 610/18, 1959/60 and MB fire master, bottom embossing "WM Germany", yc. 600/10, with a FW crane truck, Krupp Titan (?), painted over, roof lights are missing (1x loose), bottom embossing "WM im Kreis", yc. entry: unknown.
SHOOSAI: A WOOD OKIMONO OF AN EGG TESTERBy Shoosai, signed ShoosaiJapan, 19th century, Edo period (1615-1868)The egg tester standing in a typical pose with one hand lowered to his side and the other holding an egg and raised to his eye, the other eye closed as he inspects the produce, his face well detailed with dense wrinkles and the mouth contorted, his long hair elegantly falling in curls over the shoulders, the bare chest with slightly sagging breasts and emaciated rib cage. Signed underneath on one foot in seal script SHOOSAI.Shoosai 松翁斎 literally means "Pine- an old man- a studio"; Nonoguchi Ryuho (1599-1669) used the art name Shoo 松翁. This okimono was possibly carved as a homage to the this master, who was mentioned in the Soken Kisho (the first publication on netsuke published in 1781). HEIGHT 14.8 cmCondition: One arm and both feet partly re-attached, otherwise in good condition with minor wear and few small nicks.Provenance: From a northern German private collection, acquired before 2007.
UTAGAWA HIROSHIGE (1797 - 1858), BAY AT KOMINATOJapan, c. 1850sWoodblock print, ink and color on paper. Vertical Oban. Signed Hiroshige ga and published by Koshishei. Entitled Awa, Kominato no ura (Kominato Bay, Awa Province), from the series Rokujuyoshu meisho zue (Pictures of famous places in the sixty-odd provinces). Framed (no glass).SIZE of the sheet 24.5 x 36 cm, framed 37.5 x 50 cmCondition: overall fine condition - colors slightly faded, very minor material loss along the margin. Mounted at the upper margin to a passepartout, old and used frame.Provenance: German private collection.Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige's work focuses on landscape. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Auction comparison: Compare with another edition of this print sold at Christie's New York, An Important Collection of Japanese Prints, 25 March 2003, lot 220 (sold for 5,975 USD).
A 'CRAB AND CABBAGE' SCROLL PAINTING BY IMPORTANT ARTISTSChina, 1935. Ink and watercolor on paper. Depicting a basket on the upper side with two crabs attracted by its contents, three abalones on the left of the basket. The lower part depicting two carrots and a cabbage. Mounted to a scroll with a fabric coated passepartout and wooden handle. Calligraphy and four seal marks on the top left, a seal mark on the bottom right corner. Calligraphy on the exterior.Inscriptions: Text on the painting 'A collaboration of Wang Caibai, Zheng Wuchang, Fang Jiekan and Zheng Yue who met in Moling An theme park during winter of the year of Yihai (1935), calligraphy written by Zheng Yue'. Four seals on the left 'Wang Caibai' 'Wuchang', 'Fang Zhiyi' and '(translated) Lotus'. Seal on the bottom right 'Moling'. Text on the exterior 'Wang Caibai and Zheng Wuchang painted in the old style'.Condition: Overall good condition with some moldy spots, creases, soiling, the lower and upper end of the passepartout with material loss and tears.Provenance: Spanish private collection. Dimensions: 234 x 48 cm (incl. frame), 132 x 33.1 cm(image) Wang Caibai (1887-1940) was a student of Huang Bihong. He worked as professor at the Beiping Art College and later became the director of the art department at the College of Education of the National Central University.Zheng Wuchang (1894-1952) was a painter, teacher, art historian and prolific author. His most well-known treatise is Zhongguo Huaxue quanshi (A Complete History of Chinese Paintings), an extensive overview of Chinese artists and their practice. Fang Jiekan (1901-1987) was painter, calligrapher, and seal engraver. He worked as the editor for the magazine of the National Palace Museum and was also the professor at Shanghai Meizhuan and the China Art School.Zheng Yue (1902-1975), also known as Zhen Manqing, was a notable Chinese calligrapher, painter, poet, and had expertise in taiqi and Chinese medicine. Due to his skills, he was often referred to as the 'Master of Five Excellences'.
Workshop by FRANCISCO BAYEU (Zaragoza, 1734 - Madrid, 1795).Providence presiding over the virtues and faculties of man".Oil on canvas. Relined.It conserves old frame of Carlos IV style.Measurements: 74.5 x 65.5 cm; 88 x 79 cm (frame).The conception of this scene, thought to be contemplated from below, and its figures indicate a great aesthetic relation with the fresco that is in the Royal Palace of Madrid titled "The Providence presiding over the virtues and the faculties of the man", which was concluded in 1771, by the artist Francisco Bayeu.Francisco Bayeu began his training in his native Saragossa, attending the workshop of Juan Andrés Merklein, a painter of Bohemian origin, and the drawing classes of José Luzán Martínez. In 1756 he was awarded the Extraordinary Prize at the San Fernando Academy, which earned him a scholarship in 1758 to study for two years at the San Fernando Academy in Madrid. However, Bayeu left the academy only two months later because of his disagreements with one of the professors, Antonio González Velázquez. He then returned to Saragossa and his financial situation became complicated, as the death of his parents forced him to take charge of his family. He then began his career as a painter, carrying out commissions for churches and convents in the city. Around this time, in 1759, he married Sebastiana Merklein, the daughter of his master. During these years he developed the language of his youth, influenced by Lucas Jordán and Corrado Giaquinto. However, in 1762 Anton Raphael Mengs, the leading court painter, visited Saragossa and asked him to work with him on the decoration of the new Royal Palace. Thanks to Mengs's protection, Bayeu carried out various decorative commissions for the Royal Sites, thus establishing himself as one of the most outstanding painters of the day. These early works for the court included the fresco decoration of the vaults of the dining room in the queen's bedroom ("The Surrender of Granada") and the antechamber of the Princes of Asturias ("The Fall of the Giants"). His Baroque training is still evident in these works, but elements of his mature language can already be glimpsed, such as the elegance of the positions, the meticulousness, the neoclassical lighting effects and the perfect anatomical study. By the 1760s his neoclassical aesthetic was fully formed, marked by a clean, precise drawing and a palette that played with the contrast of reds and yellows over a tonality based on blues and greys, as can be seen in "Hercules on Olympus" (conversation room of the Princes of Asturias in the Royal Palace), "Apollo remunerating the Arts" (El Pardo) or "Providence presiding over the virtues and faculties of man" (room next to the gala dining room of the Royal Palace). Within his religious production of these years, the eleven fresco scenes illustrating the lives and miracles of Toledo saints in Toledo cathedral, works that were already completely indebted to Mengs, are particularly noteworthy. After the latter's departure for Rome in 1777, the Aragonese painter took on all the duties left by Mengs as his first painter, although he did not obtain this appointment. These tasks included designing cartoons for the Royal Tapestry Factory, where he supervised the work of Goya, his brother-in-law from 1773. In 1785 he was commissioned by Charles III to restore the paintings in the royal collections. In 1786 he was appointed director of the San Fernando Academy. Influenced by the painting of Corrado Giaquinto and González Vázquez, Bayeu's first period was one of the most outstanding exponents of Spanish late Baroque painting. He later became the most faithful follower of Mengs, assimilating neoclassical principles. His figures would appear in restrained positions, his colouring would be local and his lighting balanced, leaving behind the strong contrasts of his first period.
Spanish master, ca. 1560."Christ Carrying the Cross.Oil on pine panel.Provenance: Milá Collection Barcelona with old attribution to Sebastiano del Piombo.Measurements: 66 x 49 cm; 83,5 x 66 cm (frame).The wood on the shoulders, the visible marks of torment, the thorns breaking through the flesh or the tension of a body that seems to carry the weight of all humanity, remain in the background before the penetrating gaze of Him. The profoundly human eyes dialogue with us in such a clear and truthful way that it is impossible not to be moved by them. Jesus' calm expression makes us witnesses to the road to Calvary and to his having stopped for us. Surely the hand of a master was able to make a work with such a transcendent message with such clarity. The most divine face manifests such humanity that anyone who looks at it ends up seeing inside himself.The work shows Jesus Christ half-length, carrying the heavy cross on his left shoulder, while he fixes his gaze on the spectator, entering into a silent dialogue with him. This is a serene and restrained Christ, despite the fact that he is enduring an indescribable degree of pain. This pain is reflected in the drops of blood that are falling from his head and running down his half-naked body. The drops take on a realistic feel to the point where if we see them up close they are capable of acquiring volume and escaping into the frame itself. The thorns of the crown are inserted into Jesus' flesh, piercing it so aggressively that when they sink into it they mark the relief under the skin and even tear it, as in the case of the eyebrow. The cross, of which we can only see part of two logs, is presented with an almost architectural rotundity, showing the heavy burden it carries. We must realise that the message of this passage is the acceptance of the Passion itself. Christ's suffering has an end and he himself, in full awareness of it, does not flee from it or revel in the pain, but embraces it. The deep, tear-filled gaze that wells up in his eyes is directed at the spectator with such severity that it seems to inculcate the proposed message. Although it is a work full of serenity despite its rigour and meticulousness, the painter faithfully represents an instant. As if we were on the Via Dolorosa itself on the road to Calvary, Christ carrying the cross stops his eyes on us and stares at us.The silhouette of the Christ appears so clearly delimited in some parts that it becomes tangible, while in others it seems to merge with the contours amidst the darkness. This interplay directs our gaze to the points where the artist has sought to focus our attention. The precision with which he has executed many of the details gives them a high degree of realism, such as the almost individually painted hair of the beard or the grain of the wood of the cross.
A fine and rare Great War ‘Ledeghem, October 1918’ operations D.C.M. group of five awarded to Sergeant C. Hayes, 1st/2nd Battalion, Monmouthshire Regiment Distinguished Conduct Medal, G.V.R. (265302 Sjt. C. Hayes, 1/2 Mon: R.); 1914 Star, with slide-on clasp (1774 Pte. C. Hayes. 1/2 Mon: R.); British War and Victory Medals (1774 Sjt. C. Hayes. Monmouth. R.); Army Meritorious Service Medal, G.V.R. (265302 Sjt. C. Hayes. 1/2 Mon: R.) edge bruising, contact marks and polished, thus good fine or better and a unique combination to the Regiment (5) £1,600-£2,000 --- Provenance: The Collection of Medals to the Monmouthshire Regiment formed by Lt. Col. P. A. Blagojevic, Dix Noonan Webb, June 2006. The only D.C.M., M.S.M. combination to the Monmouthshires for the Great War. D.C.M. London Gazette 11 March 1920: ‘For marked gallantry and devotion to duty during continuous service with the Battalion, particularly during the operations east of Ledeghem on 14 October 1918. He was in charge of two sections detailed to advance with the leading wave of infantry and secure the crossing of the Heulebeek by laying infantry foot-bridges. Under very heavy shell fire he succeeded in getting to his objective.’ M.S.M. London Gazette 17 June 1918: ‘In recognition of valuable services rendered with the forces in France during the present war.’ Clifford Hayes, a native of Pontnewynydd, was a pre-war Territorial who was called up on the outbreak of hostilities in August 1914 and embarked for France that November, where, no doubt, he witnessed incidents from the famous “Christmas Truce”. Nor was he the only member of his family to answer the call for King and Country, The Free Press of Monmouthshire reporting that: ‘Mr. John Hayes, late Master Tailor, 2nd Battalion, Monmouthshire Regiment, who resides at 24 Machine Meadow, Pontnewynydd, has five sons serving their King and Country ... four in the Territorials and one (Ivor) in the New Army (4th Battalion, South Wales Borderers). Two of their sons, Francis John Hayes and Herbert Hayes, served through the South African War in the 2nd Battalion of the famous 24th (South Wales Borderers) Regiment. Francis John holds the Queen’s and King’s Medals for the South African campaign. Herbert is still serving his old regiment at the depot in Brecon [Ivor was subsequently killed in action in Gallipoli on 7 August 1915].’ Then in June 1918 The Free Press of Monmouthshire reported that Hayes’ parents had received a copy of their son Clifford’s G.O.C., 29th Division Commendation Certificate: ‘I have read with much pleasure the reports of your regimental commander regarding your gallant conduct during the past three years and at Cambrai: I have ordered your name and deed to be entered in the record of the 29th Division.’ And in the following month another feature reported on the award of his Meritorious Service Medal: ‘On the recommendation of Lieutenant-Colonel J. Evans, commanding the Monmouthshire Regiment, Sergeant Clifford Hayes has been awarded the M.S.M., and was decorated with the ribbon by the General before his comrades in France on 3 July 1918, when his record was read out: He has rendered most valuable service with the Battalion in France since 5 November 1914. He has always undertaken difficult and dangerous tasks with cheerfulness under heavy shell fire, which has served as a fine example to the men working under him. He set an excellent example of coolness and courageous conduct during the operations near Cambrai 20 November to 6 December 1917.’ As cited above, it was following further gallantry enacted in the operations at Ledeghem in October 1918, that Hayes was awarded his D.C.M. He had, however, one final duty to perform prior to being demobilised: ‘On 19 July, a Colour Party consisting of Lieutenant H. T. Nelmes, M.C., Lieutenant H. L. I. Hughes, Sergeant W. Williams, D.C.M., M.M., and Sergeant C. Hayes, D.C.M., representing the Battalion, marched in the Great Peace Demonstration in London’ (Battalion history refers).
Bowron (Edgar Peters & Peter Björn Kerber). Pompeo Batoni, Prince of Painters in Eighteenth-Century Rome, New Haven; Yale University Press, 2008, numerous colour illustrations, original cloth in dust jacket, spine lightly rubbed, large 4to, together with; Liedtke (Walter), Vermeer and The Delft School, New York: The Metropolitan Museum of Art, 2001, numerous colour & monochrome illustrations, original cloth in dust jackets, large 4to, plus, Pignatti (Terisio), Longhi, 1st edition, London: Phaidon, 1969, numerous colour & monochrome illustrations, 'H. Sonnabend' bookplate to the front pastedown, original cloth in dust jacket, covers lightly rubbed to head & foot, large 4to, and other Old Master art reference & related, including The Devonshire Collection of Italian Drawings, 4 volumes, by Michael Jaffé, London: Phaidon, 1994, large 4to, mostly original cloth in dust jackets, some paperback editions, 4to/folioQty: (60)
A collection of silver reference books on Foreign silver, comprising: L'Orfevrerie Des Ardennes, Poincons de Fabricants Lyon 1798-1940, Australian Gold and Silver, Gold and Silversmithing in Nineteenth and Twentieth Century New Zealand, Elegant Plate, Three centuries of Precious metals in New York City, (2 Vols.), The Old Silver of Quebec, Master Goldsmiths and Silversmiths of Nova Scotia and other volumes. (11)
NO RESERVE Secrétan (E.) Catalogue of the Celebrated Collection of Painting by Modern and Old Master and of Water-Colours and Drawings ... to be sold by auction at Charles Sedelmeyer's Galleries, 3 vol., 125 plates, annotated catalogue tipped-in vol. 3, contemporary newspaper articles pasted to blanks, scattered faint spotting, bookplate, contemporary half-crushed morocco by Zaehnsdorf, lightly sunned spine, slight rubbing to corners, folio, Paris, 1889.
NO RESERVE Old master prints.- Collection of facsimiles and book illustrations, including photo-facsimiles after woodcuts by Albrecht Dürer from the mid-19th century, and over 100 original woodcut book illustrations, some by Jost Amman and his contemporaries, trimmed to images, various sizes, many laid onto paper support, all loose, unframed, 16th to 19th century (Sm. Qty.)
NO RESERVE Old master prints.- Vaillant (Wallerant) Portrait of the artist, Jacob van der Does (1623-1673), mezzotint, proof impression before letters in published state, brown ink inscription 'Le Piper' over pencil, on laid paper without watermark, sheet 170 x 135 mm (6 3/4 x 5 1/4 in), thread margins, some spotting and browning, some minor re-touching to rubbing and surface loss in the plate, unframed, [circa 1660-1675]; together with 7 others, including two engravings by Jan Sadeler, Italia and Germania, after Hans von Aachen, from the series 'Four European Countries', [cf. New Hollstein 48-51], Munich, [c. 1594], two engravings of Biblical subjects by other members of the Sadeler family after de Vos, an etching by Van Ostade of 'Peasants dancing outside an Inn' [Hollstein 47], all unframed, 16th to 19th century (6)
TWO BOXES OF PHOTOGRAPHIC EQUIPMENT AND A BOXED TEVION SOUND USB TURNTABLE, the photographic equipment to include a Zenit 12XP film camera fitted with a Helios 44m-4 2/58 lens, a Mamiya Rank film camera, an Olympus Trip 35 film camera, a Kodak 'Bantam Colorsnap film camera, a Weston Master V light meter, a Mansfield Holiday Automatic movie camera, assorted books, slide viewers, a quantity of slides of holiday snaps, Stoke on Trent 'Old & New', a box of slides of castles and abbeys, etc (2 boxes and boxed USB turntable)
16th/17th Century Italian School. Design for a facade with a Loggia. Pen, brown ink and gray wash on paper. Provenance Luigi Grassi, Florence, Italy, stamped with his collector stamp (L. 1171b), lower left. Possibly Sotheby's, London, The Luigi Grassi Sale of Old Master Drawings, May 13, 1924. Private Collection, New York, Ny. Private Collection, Chicago, IL Sight Size: 11 7/8 x 8.25 in.
Dennis Lyall (American, B. 1946) "Flag First Praised As "Old Glory"" Signed lower center. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was is the original painting which was published on the Fleetwood Commerative Cover for Old Glory's Proudest Moments postmarked on the anniversary March 17, 2002. The legend of "Old Glory" begins with the War of 1812. The exploits of fast, new naval frigates such as the U.S.S. Constitution or "Old Ironsides", impressed the world, especially residents along America's coastlines. The memory of these magic ships and America's triumphant flag must have been strong in William Driver, a ship's cabin boy born in Salem, Massachusetts in 1803. At the age of 21, Driver was experienced enough to become master of the merchant ship, Charles Doggett. For his birthday on March 17, 1824, his mother and a group of Salem girls presented him with a fine new flag for his ship. There were speeches, and a crowd watched as Captain Driver hoisted his new colors to the masthead. The ship's salute gun banged. Against an azure sky the brilliant, 24-star flag unfurled magnificently. Moved by the poetry of the moment, Driver nicknamed his flag "Old Glory." In 1834, after years of sailing, he retired to Nashville, Tennessee where he proudly displayed the flag at his home. During the Civil War, Confederate sympathizers tried unsuccessfully to confiscate the flag, but Driver and his friends had sewn it into a comforter. Shortly before he died in 1886, the old sea captain reportedly placed a bundle into his daughter's arms, saying "This is my ship flag, Old Glory..." The flag was kept as a family treasure until 1922 when it was placed in the Smithsonian Institution. Carefully preserved, the original "Old Glory" remains an important piece of Americana. Image Size: 15 x 12.75 in. Overall Size: 18.5 x 16 in. Unframed. (B16967)
Dickens (Charles), 1st Editions, Master Humphrey's Clock, the Old Curiosity Shop, Barnaby Rudge, two vols, illus by George Cattermole Hablot Browne, 1841, leather, Ibid Bleak House, 1853, half-calf, binding poor, some foxing, and Ibid Our Mutual Friend, two vols in one, 1865, half-calf, spine poor, some repairs (4)
Andalusian School; second half of the XVII century."The Good Shepherd.Oil on canvas.Relined in the nineteenth century.Repainting: 5%.Measurements: 125 x 100 cm; 150 x 127 cm (frame).This composition testifies the hand of a skilled painter of Andalusian school. It presents a theme that became popular in the Andalusian religious painting of the Baroque period. Following the iconography that identifies Jesus with the Good Shepherd, and the sheep with humanity, the flock is here crowded around the representation of Christ in full body. A faint celestial light falls on his shoulders, emphasizing the central axis occupied by his figure. Jesus extends a bundle of grass to those closest to him, and the rest of the flock is distributed around him in peaceful attitudes. In the distance, and in contrast with the calm tone of this first scene, a confrontation is taking place: a character (possibly St. Michael) defends himself from a serpent, the incarnation of evil. Due to its formal and compositional characteristics, we can relate this work to the Sevillian school of the Baroque period, belonging to the Murillo circle. Although Murillo favored the characterization of the Good Shepherd as an infant of young age, the way of resolving the landscape, veiled by faint atornasoladas ranges, and also the fluffy and cottony fur of the sheep, denote the influence of the Sevillian master. We can also relate the present canvas to a painting by a Sevillian painter of a later generation, Alonso Miguel de Tovar. We refer to La Divina Pastora (Carmen Thyssen-Bornemisza Collection), where two scenes also coexist: the main one, with the Virgin as the Shepherdess and a distant scene of St. Michael the Archangel fighting against a wolf that tries to attack a lamb. The bucolic tone of the landscape and the tenderness of the gestures is also similar to the present painting.The theme of the good shepherd is very old in Christian art, and has its roots in ancient Western art, specifically in the Muscophores of Ancient Greece. Christians will follow these iconographic models for their first representations, as we see in examples such as the catacombs of St. Callixtus. As for its meaning, the good shepherd is a biblical allegory, originally referring to Yahweh and later to Jesus Christ. The good shepherd is interpreted as God, who saves the lost sheep (the sinner). The theme appears in the Old Testament, and in the Gospels the same allegory is applied to Jesus as the Son of God. This iconography shows the Parable of the Good Shepherd that appears in the Gospels (John 10:1-6; Luke 15:3-7), which speaks of the shepherd who goes in search of the lost sheep, and which was prefigured in Psalm 23 and in the Book of Ezekiel (34:12), uniting God with the figure of the shepherd who takes care of the sheep, of his flock. In art, the theme is the most represented in Paleochristian iconography, and testimonies can be found from the 2nd century onwards. From the 4th century onwards, its representation declined until it disappeared completely in the Middle Ages, but it finally recovered between the 15th and 16th centuries. In the 17th century, it will share the limelight with the Divina Pastora, a theme that became popular during the Baroque period.
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Allegory of winter". Oil on canvas. It has repainting and restorations. Presents frame following ancient models. Size: 144 x 162 cm; 156 x 174 cm (frame). In a first plane, the author structures two groups of personages; in the right zone a young man climbed to a ladder gathers firewood, while in the inferior zone another one seems to transport a bundle with the branches that his companion provides him. At the other end of the image several characters gather around a bonfire, two children, a woman and a man, all of them trying to get warm. In the background, a couple distributes the food and finally we can appreciate three characters that seem to be going hunting, one with his shotgun and two with falcons that facilitate this practice. Finally, the scene is completed with a landscape and a large mountain in the background. The figures stand out for their large dimensions and the rotundity of the forms, thus showing a great prominence with respect to the landscape. Due to the technical characteristics of the work, it should be mentioned that it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was an artist of great success in his time, admired as a follower of the formulas of the famous family of artists of Venice, especially in the realization of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving at a very young age from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive to his painting, as evidenced by the works of the best masters who worked there. It is not surprising, therefore, that Orrente, who shortly afterwards would travel to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez catalogued as his master. In 1607 he is already back in Spain, installed in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must have also spent time in Madrid. During his stay in Venice, he must not only have learned the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. In this sense, the treatment of sacred themes as genre scenes will be fundamental. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes, and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we deduce that in order to produce such a large output, the painter must have had a very well-constituted workshop, which repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. But, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he knew how to adopt the teachings of Titian, Tintoretto and Veronese for his works. In addition, his more than possible passage through Rome would place him in a privileged situation to know in all its apogee the development of the Caravaggist painting and the interest for naturalism, characteristics that he knew how to add to his own works. Works by Pedro Orrente are currently preserved in the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan in New York, etc.
ATTRIBUE A GIOVANNI LARCIANI, DIT LE MAITRE DES PAYSAGES KRESS (1487-1527)VIERGE A L’ENFANT LISANT AVEC UNE COUPE DE FRUITSPanneau doubléRestaurations anciennesAttr. to G. Larciani, called Master of the Kress landscapes, Virgin with Child reading with a fruit bowl, doubled panel, old restorations81,5 x 61,5 cm – 321/8 x 241/4 in.
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