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In the manner of Ludwig Mies van de Rohe a pair of Barcelona-type lounge chairs, having tan brown buttoned leather-effect cushioned seat and back rest, held on a chrome-effect frame, 78cm high x 75cm wide x 80cm deep (2) Condition ReportSeats are real leather.

SPAIN. Isabel II. Bronze 2 1/2 Centimos de Escudo, 1868 OM. Barcelona. Obv: ISABEL II POR LA GRACIA DE DIOS Y LA CONST., laureate head right, date below. Rev: REINA DE LAS ESPAÑAS., crowned coat of arms of Spain, denomination below.Reference: KM-634, Cal-638Diameter: 25 mm.Weight: 6.11 g.Composition: Bronze.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

TIFFANY & CO. DESIGNED BY ELSA PERETTI: A PAIR OF JADE 'BEAN' CUFFLINKSEach polished jade bean front and back, mounted in 925 silver, signed Tiffany & Co. & Elsa PerettiBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her.  Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design.  Condition Report: Normal signs of wear, overall in good conditionTotal gross weight approx. 11.4g

TIFFANY & CO., DESIGNED BY ELSA PERETTI: A GOLD 'MESH SCARF' NECKLACEOf woven mesh-linking, in 18K gold, signed Peretti and T&Co., with maker's pouch and outer box, length approximately 96.2cmBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her.  Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design.  Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 90gRetail price on Tiffany & Co.'s website: €29,400 (currently out of stock)https://www.tiffany.ie/jewelry/necklaces-pendants/ep-mesh-18k-rose-gold-necklaces-pendants-60145954.html?queryID=233b5787aee6a0c495c4437336c5f578&objectID=60145954&indexName=ecommerce_eu_products__en_IE&searchQuery=MESH&variantId=1415168429According to client: bought in the 1990s, worn once

TIFFANY & CO., DESIGNED BY ELSA PERETTI: A GOLD 'SNAKE' NECKLACEThe articulating graduated 'bean' links, finishing with a polished gold snake head clasp, mounted in 18K gold, signed Tiffany & Co. and Elsa Peretti, with maker's pouch and outer box, length 50.4cmBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her.  Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design.  Condition Report: Normal signs of wear, overall in good conditionWith maker's pouch and outer boxRetail price on Tiffany's website: €27,200https://www.tiffany.ie/jewelry/necklaces-pendants/18k-yellow-gold-necklaces-pendants-60116249.html?queryID=52817da0174899a6e7b063789b6a43b6&objectID=60116249&indexName=ecommerce_eu_products__en_IE&searchQuery=snake%20peretti&variantId=1415134711Total gross weight approx. 76.6g

A linoleum and metal-mounted upright trunk, the hinged top with double latches, opening to reveal two leather straps, the interior now with printed floral panels, with leather carrying handle, mounted with an enamelled plaque 'I.F.', labelled 'ESPECIALIDAD EN CAJAS Y CUBETAS DE FIBRA BAYER SA Consulado 31 Barcelona',72cm wide46.5cm deep90cm highCondition Reportknocks and dents, chipped paint, knocks and pitting to the metal elements

DALI -- CERVANTES SAAVEDRA, M. Don Quijote de la Mancha. Barcelona, (1965). 2 vols. W. num. cold. fold-out ill. by Dali. 4°. Or. padded simili leather binds. (1 spine faded and with upper joint split). -- JERUSALEM BIBLE. Ed. A. Jones. N.Y., 1970. W. num. cold. ill. by S. Dali. 4°. Or. padded cl. bind., a.e.g. -- (3).

TÀPIES -- GIMFERRER, P. La clau del foc. Barcelona, Polígrafa, 1973, 74, (3) pp. W. 16 (double-p.) cold. lithogr. plates by A. Tàpies. Fol. Or. dec. cl. w. mounted piece of cloth by A. Tàpies.NOTE: Printed in a limited and numbered edition of 500 copies. Our copy one of 425 (#181).

Gourmet Sunday Lunch for Two at Barlow Woodseats Hall with Chef Lee Hawksworth Sunday lunch for 2 with a bottle of wine at this beautiful 16th century wedding and events venue in the heart of the Peak District where peacocks roam with the amazing Barcelona trained chef Lee Hawksworth

• Restored to an excellent standard • Over £20,000 of receipts on file detailing the restoration • Desirable 150bhp ‘CP’ engine and overdrive The Triumph TR6 was manufactured for seven years, starting in 1969, and by the time production came to an end in July 1976, it was the best-seller of the TR range. The bodywork closely resembled that of the previous model, the Triumph TR5, but the front and rear were squared off and all TR6s featured inline six-cylinder engines. For the US market, the engine was fitted with carburettors whilst, for other world markets including the UK, the TR6 was fitted with fuel-injection. It featured a four-speed manual gearbox, independent rear suspension, rack and pinion steering, 15" wheels and tyres, pile carpet on the floors and boot, bucket seats and a full complement of instruments. In total, 94,619 TR6s were built of which 86,249 were sold overseas and only 8,370 were sold in the UK. This is an exceptional example of a UK supplied TR6 CP, extensively restored and tastefully modernised. The exterior is now painted in a highly attractive metallic red (Barcelona Red) which really brings the look of the car into the modern day and suits the lines of the TR6 perfectly. The car was full stripped to bare metal in 2019 and resprayed to a very impressive standard which still looks superb today, thanks to a full ceramic coating. The restoration of the car was extremely comprehensive, virtually no stone was left unturned. The interior has been upgraded with a pair of Mazda MX5 seats, a very popular upgrade for additional comfort and they don’t look out of place in the TR6 at all. The dashboard has been changed to a beautiful walnut veneer dashboard, which really lifts the interior. Other additions are a classic looking Bluetooth stereo and inertia reel seatbelts. Our vendor has owned the car since 2007 and possesses the skills to carry out a vast majority of the restoration work himself, with the invoices on file coming to a total of around £20,000 for parts and the paintwork. The engine was fully stripped down and had some machining work at Classic & Modern Engine Services in Bracknell, then it was fully rebuilt. This is a TR6 which is ready to be enjoyed this summer and wouldn’t look out of place at any classic car show. The history file is extensive and documents everything carried out during the restoration and it’s supplied with an MoT test certificate valid until Jun 2025 and a V5C registration document. Consigned by Fraser Smith DESIRABLE 150BHP ‘CP’ ENGINE AND OVERDRIVERESTORED TO AN EXCELLENT STANDARDOVER £20,000 OF RECEIPTS ON FILE DETAILING THE RESTORATION

Malekeh Nayiny, Iranian b.1955-My Mother and Her Family, 2015;Digital print,105 x 72 cm (framed)Note:Malekeh Nayiny is an Iranian born artist who now lives and works in Paris, France. She graduated from Syracuse University in 1978 with a degree in fine arts and photography, and has exhibited works in London, New York, Paris, Dubai, Tehran, Barcelona and Madrid.  

A pair of Barcelona-style chrome-framed stools. 

DANSEUSE NAINE (CZWIKLITZER 234)Color offset lithograph, 1966, on Arches paper, signed and numbered XL/LX in pencil, from Barcelona Suite, published by Museo Picasso, Barcelona, and with their blindstamp, with full(?) margins, framed.Image 22 9/16 x 12 9/16 inches; 573 x 319 mm.Sheet 29 5/8 x 21 5/8 inches; 752 x 549 mm.Frame 40 1/4 x 28 3/8 inches; 1022 x 721 mm.

TRIPTYCH (LEFT PANEL) (SEE SABATIER 4) Color etching and aquatint, 1981, on Guarro paper, signed and numbered 80/99 in pencil, printed and published by Ediciones Polígrafa, Barcelona, with full margins, framed.Plate 15 3/8 x 11 5/8 inches; 391 x 295 mm.Sheet 25 3/8 x 19 5/8 inches; 645 x 498 mm.Frame 27 1/4 x 21 1/4 inches; 692 x 540 mm.

EL ENTIERRO DEL CONDE DEL ORGAZ (BLOCH 1465-1477; BAER 1377-1391; CRAMER BKS. 146)Complete set of 12 etchings and one drypoint, 1969, with an additional on Romani wove paper, with title, justification page and text in Spanish, the drypoint signed and numbered 60/263 in pencil, the justification page signed in pencil and numbered 60 in ink, published by Gustavo Gili, Ediciones de la Cometa, Barcelona, in the original olive green paper wrappers and vellum-covered box.Sheets approximately 18 1/4 x 14 1/8 inches; 464 x 359 mm.Overall 15 1/8 x 19 3/8 x 2 3/4 inches; 384 x 492 x 70 mm.

A Numismatica Iberica ‘Diego De Almagro’ commemorative medallion, presented with certificate and original pouch, marked 917 with Barcelona maker’s stamp, 31mm diameter, 17.5g

After Ludwig Mies van der Rohe, a pair of 'Barcelona' chairs, designed in 1929, of recent manufacture, each with tan leather upholstery,78cm wide76cm deep77cm high, seat 46cm high (2)Condition ReportWith scuffs and scrapes to the leather, particularly to the piping commensurate with use. One example with two buttons missing causing the wire piping to stick out. With scratches and marks to the metal frame. The leather strung seats under the seat pads with stains and marks.

Spain, Isabella II, 20 Reales, 1852, Barcelona (KM 593.3). Lightly cleaned with some residual lustre, good very fine £150-£200

Autographed Covers - Steve Backley on a Barcelona '82' 1990 Grenadiers First Day Cover

QUEEN - LP / 12" ARCHIVE. A collection of approx 41 x LPs/ 12". Artists/ Titles include Queen (EMC3006, x 2), Queen II, The Miracle (x 2), Greatest Hits II, Made In Heaven, Barcelona, Love Me Like There's No Tomorrow (promo), Mr Bad Guy, Sheer Heart Attack (x 2), News Of The World (x 3), Jazz (poster loose), A Day At The Races (x 3), A Night At The Opera (x 2), A Kind Of Magic (x 2), Greatest Hits (x 3), The Works, The Game and Livce Killers. The condition is generally VG+ to Ex+.

A copy of Freddie Mercury & Montserrat Caballe - Barcelona signed to front of sleeve with an inscription by Freddie Mercury. Authenticated by Roger Epperson prior to this sale.

Manchester United European Home Football Tickets: Late 60s semi finals v Real Madrid and AC Milan plus 83/84 Barcelona, 77/78 St Etienne beam back 6 10 77 and Old Trafford 28 9 77. (5)

1979 Chelsea Youth Tour Competition Football Programme: Rare large tour programme held in Lloret De Mar with entrants including Real Madrid Real Betis Feyenoord Barcelona Bayern Munich and Espanyol. Creasing but very rare with no writing.

Champions League Replica Trophy: Small trophy with what could be Barcelona ribbons attached. Wooden plinth that it sits on could be original. Approximately 7 inches high.

20TH CENTURY SPANISH SCHOOL. BARCELONA SETENARE 1988. mixed media, indistinctly signed and dated, 80cm x 57cm, framed.

Antoni Tàpies - El pa a la Barca, 1963Original lithograph & collage on Guarro paper, not signed, not numbered. Limited edition of 110. Publisher: Sala Gaspar, Barcelona, 1963. Very good condition (central fold as published), 28.5 x 55 cm.Lithographie originale et collage sur papier Guarro, non signée, non numérotée. Édition limitée à 110 exemplaires. Éditeur : Sala Gaspar, Barcelone, 1963. Très bon état (pliure centrale telle que publiée), 28,5 x 55 cm.

Antoni Tàpies - Prometo ne enraonar més a la classe (El pa a la Barca), 1963Original lithograph on Guarro paper, not signed, not numbered. Limited edition of 110. Publisher: Sala Gaspar, Barcelona, 1963. Very good condition, 39 x 27.5 cm.Lithographie originale sur papier Guarro, non signée, non numérotée. Édition limitée à 110 exemplaires. Éditeur : Sala Gaspar, Barcelone, 1963. Très bon état, 39 x 27,5 cm.

Alexander Calder - Sala Gaspar, 1973Original lithograph on Arches paper, signed in pencil and justified "A.P." (Artist's Proof). Publisher: Galeria Joan Gaspar, Barcelona, 1973. Ref.: Obra gráfica, fig. 1 (Barcelona; Sala Gaspar, 1975). Good condition, 65 x 50.5 cm.Lithographie originale sur vélin d'Arches, signée au crayon et justifiée "A.P." (épreuve d'artiste). Éditeur : Galeria Joan Gaspar, Barcelone, 1973. Réf. : Obra gráfica, fig. 1 (Barcelone ; Sala Gaspar, 1975). Bon état, 65 x 50,5 cm.

Antoni Tàpies - El pa a la Barca, 1963Original lithograph & collage on Guarro paper, not signed, not numbered. Limited edition of 110. Publisher: Sala Gaspar, Barcelona, 1963. Very good condition (central fold as published), 39 x 49.5 cm.Lithographie originale et collage sur papier Guarro, non signée, non numérotée. Édition limitée à 110 exemplaires. Éditeur : Sala Gaspar, Barcelone, 1963. Très bon état (pliure centrale telle que publiée), 39 x 49,5 cm.

Antoni Tàpies - Nadal (El pa a la Barca), 1963Original lithograph on Guarro paper, not signed, not numbered. Limited edition of 110. Publisher: Sala Gaspar, Barcelona, 1963. Very good condition (central fold as published), 39 x 55 cm.Lithographie originale sur papier Guarro, non signée, non numérotée. Édition limitée à 110 exemplaires. Éditeur : Sala Gaspar, Barcelone, 1963. Très bon état (pliure centrale telle que publiée), 39 x 55 cm.

Antoni Tàpies - A Tots (El pa a la Barca), 1963Original lithograph on Guarro paper, not signed, not numbered. Limited edition of 110. Publisher: Sala Gaspar, Barcelona, 1963. Very good condition, 39 x 27.5 cm.Lithographie originale sur papier Guarro, non signée, non numérotée. Édition limitée à 110 exemplaires. Éditeur : Sala Gaspar, Barcelone, 1963. Très bon état, 39 x 27,5 cm.

Joan Miró - Gat i ma, 1970Color lithograph on paper, plate signed, not numbered (from the limited edition of 1000). Publisher: Sala Gaspar, Barcelona, 1970. Good condition, 83.5 x 60 cm.Lithographie en couleurs sur papier, signée dans la planche, non numérotée (édition limitée à 1000 exemplaires). Editeur : Sala Gaspar, Barcelone, 1970. Bon état, 83,5 x 60 cm.

Buddig Anwylini Pughe (1857–1939) - Autumn, watercolour, 18 x 30cm; together with C.C. Sanders - Barcelona, watercolour; and one other (3)

Südamerika - - Joseph Gumilla. Historia natural, civil y geografica de las naciones situadas en las riveras del Rio Orinoco. Nueva impresion: Mucho mas correcta que las anteriores, y adornada con ocho láminas finas, que manifiestan las costumbres y ritos de aquellos Americanos. 2 Bände. Mit gestoch. Front., gefalt. Kupferstichkarte, 6 Kupfertaf. sowie 2 Vign. im Kupferstich. Barcelona, Gilbert y Tuto, 1791. XVI, 360 S. (es fehlen S. 129-136); 2 Bl., 351 S. Kl.-4°. Gesprenk. Ldr. d. Zt. mit goldgepr. filet. Rtit. auf Lederschildchen, blindgepr. DFileten, Vors. aus gezogenem Steinmarmor-Papier und umseitig marmor. Schnitt. Maßgeblich revidierte, frühe Ausgabe von Gumillas Pionierwerk über die Naturgeschichte des Orinoco. - Sabin, J. Dictionary of books relating to America from its discovery to the present time, Bd. VII, 29277. - Palau y Dulcet, A. Manual del librero hispano-americano, Bd. 3, S. 433 (kennt nur eine franz. Ausg. von 1758). - Posthum erschienene, revidierte und korrigierte Ausgabe des zuerst 1741 in Madrid erschienenen Werks über den südamerikanischen Strom. Der Jesuit Joseph Gumilla verbrachte als Missionar über dreißig Jahre im heutigen Kolumbien und in Venezuela, wo er 1735 auch den Kaffee einführte. Sein Werk über den Orinoco galt lange Zeit als unabdingbares Referenzwerk für Naturforscher, darunter auch für Alexander von Humboldt. "The work of Father Gumilla is one of the most curious and interesting hitherto published upon the country of the Orinoco" (Sabin). Enthält neben Artikeln über Bevölkerung, Verwaltung, Sitten (z.B. Polygamie) und Gebräuchen der Eingeborenen auch zahlr. Anmerkungen über Flora und Fauna, sowie ein Kapital über die von den Indigenen verwendeten Gifte. - Die von Gumilla selbst detailreich gezeichnete Karte zeigt die Missionen der Jesuiten entlang des Flussverlaufs. - Es fehlt eine Lage mit den Textseiten 129-136. - Einbandrücken mit Fehlstellen, die Vordergelenke im oberen Drittel angebrochen, Vorderdecke von Bd. 2 mit Schadstelle, Ecken, Kanten und Gelenke berieben. Textseiten sauber, die Tafeln vollständig und wie im Tafelverz. angegeben gebunden, mit kräftigen Kupfern und frisch. South America. - With frontispiece, folding map, 6 plates as well as 2 vignettes, all copper engraved. - Posthumously published, revised and corrected edition of this core work on the South American river, first published in Madrid in 1741. The Jesuit Joseph Gumilla spent over thirty years as a missionary in what is now Colombia and Venezuela, where he also introduced coffee in 1735. His work on the Orinoco was long regarded as an indispensable reference work for scholars, including Alexander von Humboldt. 'The work of Father Gumilla is one of the most curious and interesting hitherto published upon the country of the Orinoco' (Sabin). In addition to accounts on population, administration, customs (e.g. polygamy) and habits of the natives, it also contains numerous notes on flora and fauna, as well as a chapter on poisons used by the indigenous people. - The map, drawn in great detail by Gumilla himself, shows the Jesuit missions along the course of the river. - One sheet with text pages 129-136 missing. - Spine with faults at top, front joints of both volumes cracked in upper third, front cover of vol. 2 with fault, corners, edges and joints worn. Text pages clean, the plates complete and bound as stated in the text, with strong engravings and fresh.

Pressendrucke - - Charles Baudelaire. Flors del Mal. Traducció Rossend Llates. Mit 19 ganzseitigen Illustrationen, illustriertem Titelblatt, 3 Vignetten (davon 1 wiederholt) u. dekorative Seitenrahmung unter Einschluss von figürlichen u. floralen Elementen, alles in Lithographie, tails getönt, nach Tuschfederzeichnungen von Xavier Güell. Barcelona, Llibreria Catalònia (Antoni Lòpez Llausás), 1926. 28 nn. Bll. 4°. OBr. mit roter DVign. u. rot-schwarzem Titeldruck. Erste katalanische Ausgabe von Baudelaires "Fleurs du Mal". - Palau 24.95639. - Die sinnlich-düsteren Illustrationen von Xavier Guell im Stil des Art déco als kongeniale Ergänzung von Baudelaires Lyrik des Verdrusses und der Dekadenz. - Umschlag mit leichtem Lichtrand, stellenweise finger- und schmutzfleckig, der Rücken teils eingrissen und mit minimalen Fehlstellen an den Enden, innen sauberes Exemplar dieses Meisterwerks der katalanischen Art déco-Buchillustration. First Catalan edition of Baudelaire's 'Fleurs du Mal'. - Palau 24.95639. - The sensual, dark illustrations by Xavier Güell in Art Deco-style are a congenial complement to Baudelaire's poetry of exasperation and decadence. - Cover with slight shelf-wear, stained in places, spine partially with small tears and with minimal faults at the ends, internally clean copy of this masterpiece of Catalan Art Deco book illustration.

Ramon Casas and Pere Romeu on a Tandem is a color print poster on paper after Casas' 1897 original oil on canvas painted for the interior of the progressist Barcelona bar Els Quatre Gats (The Four Cats) that Pablo Picasso frequented. Includes card from the 4 Gats on verso. Housed in a metallic frame. Sight size: 14.75"L x 11.25"H. Frame dimensions: 15.50"L x 12.25"H x 1"W. Artwork can be unframed and rolled for shipment.Artist: After Ramon Casas i Carbo (Spaniard 1866-1932)Issued: c. 1980Dimensions: See DescriptionCountry of Origin: SpainCondition: Age related wear.

Autographed LEE SHARPE 16 x 12 Edition : LEE SHARPE scores Manchester United's second goal in a 2-2 draw with Barcelona in a Champions League tie at Old Trafford in 1994, signed in black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Autographed LEE SHARPE 16 x 12 Edition : Manchester United winger LEE SHARPE holds aloft the European Cup Winners Cup during pitch side celebration scenes in Rotterdam following a memorable 2-1 victory over Barcelona in the 1991 Final, signed in black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Autographed ANDY COLE 16 x 12 Edition : ANDY COLE scores Manchester United's second goal in a memorable 3-3 draw with Barcelona in a Champions League tie at the Nou Camp in 1998, following a superb move with strike partner Dwight Yorke, signed in blue marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

This framed and autographed FC Barcelona captain's armband display features the signatures of Lionel Messi and Andres Iniesta, two of the club's greatest legends. The armband, bearing the iconic Blaugrana stripes and FCB crest, is boldly signed by both players and professionally framed alongside a celebratory action photo of Messi and Iniesta in Barcelona colors. This collectible piece includes an Official FC Barcelona Licensed Product Certificate of Authenticity, verifying its authenticity. A must-have for Barcelona fans, soccer memorabilia collectors, and Messi-Iniesta enthusiasts.Issued: c.2017Dimensions: 23"L x 18.5"HCountry of Origin: SpainCondition: Age related wear. Scratch on frame.

Sheffield Wednesday Programmes, 53-4 v. Everton - F.A Cup, Preston. 54-5 v. Manchester City. County Cup games v. Rotherham 56-7, Sheffield United 57-8. Doncaster 58-9 and 60-1. 61-2 v. Barcelona, 1966 F.A Cup Final. Testimonials, 56-7 yearbook. 60s homes, approximately eighty six.

1968-9 Burnley v. Swindon - League Cup Semi Programme and Replay at West Brom, 69 Final and newspapers, 1960 Wolves v. Barcelona. fifty five other 1960s issues including Millwall, Fulham, Leicester, Bradford.

Sheffield Wednesday Home Programmes, 1960-76 including 60-61 V Tbilisi, Tottenham, Doncaster County Cup 61-2 v Barcelona, 62-3 Vs Ajax, Santos, 64-5 Vs Bremen, 67-8 Vs Barrow, Testimonials, Anglo Italian, single sheets, etc:- large quantity.

Barcelona - Book Barca Mes Que Un Club 1899-2019, Skira Publishing - The Last Numberd Page 493.

* JACKI PARRY RSA (AUSTRALIAN/SCOTTISH b. 1941), SUMMERTIME BURN limited edition artist's proof etching, signed, titled and numbered A/Pmounted, framed and under glassimage size 19cm x 23cm, overall size 56cm x 64cm Note: Jacki Parry RSA was born in Australia in 1941 and after a period of teaching and travelling she studied at Glasgow School of Art (1970-1975) before her appointment as Head of Printmaking in the School of Fine Art in 1991, a post she held for eleven years. Having established her studio The Paper Workshop at the Barras in 1985 she returned there full-time after retiring from teaching. In Barcelona she studied papermaking with Laurence Barker and in Shiroishi, Japan with Tadao Endo. She has exhibited and lectured throughout the UK and internationally and her work is represented in private and public collections in Scotland and elsewhere in Europe, Japan, Australia and the USA. Parry: ‘For most of the last forty years my investigations have been based on developing ideas in paper using it variously as substrate, as independent medium, and in combination with other materials. My work draws on two areas of subject-matter which separately and together continue to sustain me : a response on the one hand to changes in landscape and the elements, and on the other to information, its containment and manipulation.’

* DAVID REDPATH MICHIE OBE RSA RWA FRSA RGI (SCOTTISH 1928 - 2015), FIVE DARK FISH ON HEAD oil on board, signed and dated '64framed and under glassimage size 29cm x 36cm, overall size 38cm x 45cm Note: David Michie was born at Saint-Raphaël in the south of France. His father, James Michie, was an architect and painter who had been an apprentice to Edwin Lutyens at the War Graves Commission, helping to lay out cemeteries in northern France after the First World War. His mother was the celebrated artist Anne Redpath OBE RSA. David’s early years were spent living in St-Jean-Cap-Ferrat where his father was private architect to American tycoon Charles Thompson. Later, the vibrant colour schemes of the Côte d’Azur would infuse his work. In 1934, David returned to Scotland with his family and settled in the Scottish Borders where David attended school in Hawick. In 1946, he enrolled at the Edinburgh College of Art but his time there was interrupted in 1947 with the introduction of National Service. He completed his service in the Signal Corps, qualifying as an instructor with the Royal Artillery Signals in 1949 and returned to Edinburgh College of Art where he was taught by William Gillies RSA. In 1953 he received a travelling scholarship to Italy, accompanied by his friend, the painter John Houston. They toured the Renaissance sites of Tuscany, and stayed in the hilltop towns of Anticoli Corrado and Orvieto in Umbria. John Houston RSA and his wife Elizabeth Blackadder RSA were to remain life-long friends. Colour was central to David’s painting. Working in both oils and watercolour, David’s subjects ranged from nature, garden compositions and his observance of people going about their everyday activities. His work was regularly inspired by his travels to far-flung places such as Australia, the USA and across Europe and is very effectively seen in his RSA Diploma painting On the Ramblas (1976) which invokes a colourful and busy Barcelona street scene. David taught widely, lecturing at James Clarke’s School in Edinburgh and Gray’s School of Art in Aberdeen. He was a visiting professor at the Academy of Fine Art in Belgrade and the University of California. He returned to Edinburgh College of Art to teach painting during the 1960s and 1970s, and was Vice Principal there from1974-77. Between 1982 and 1990 he was Head of the School of Drawing and Painting. In 2009, he received an Honorary Fellowship from the College “in recognition of his outstanding contribution to the life of the college and the education of its students”. David was a prominent member of the Royal Scottish Academy, a former President of the Society of Scottish Artists and a member of the Royal Glasgow Institute of the Fine Arts. He was also a Fellow of the Royal Society of Arts and a Founding Fellow of the Institute of Contemporary Scotland. He served on a number of professional panels including those of the Scottish Arts Council and the Scottish Education Trust. Sixty-seven of his paintings are included in many significant public collections such as Aberdeen Art Gallery, Glasgow Museums, the National Galleries of Scotland, the City of Edinburgh Museums, The Fleming Collection and the Tate. David was elected an Associate of the Royal Scottish Academy in 1964 and Royal Scottish Academician in 1972. He was appointed OBE in 1997. Was a regular exhibitor in one-man shows at Mercury Gallery and later ones including The Scottish Gallery, Edinburgh. Work held by HM Queen Elizabeth II.

* SHONA BARR (SCOTTISH b. 1965), TOWARDS EVENING, BUTE oil on canvas, signed, titled labels versoframedimage size 71cm x 92cm, overall size 88cm x 108cmNote: Shona Barr was born in 1965 in Glasgow. After graduating from the Glasgow School of Art in 1988, where she won the Landscape Prize and the Armour Prize for Still Life, she continued her training at the Kunstakedimi in Oslo, Winchester School of Art, in Barcelona and at the University of Southampton. Drawing her inspiration from nature, Barr's paintings reflect her continued interest in capturing the vitality of the British landscape. Shona Barr has been successfully exhibiting widely since 1989. Her work has been critically acclaimed over the years and can be found in many public, corporate and private collections in Hong Kong, Australia, South Africa, Canada, the USA and throughout the UK.

After Josep Bofill (b.1942, Barcelona), two cast resin figuresThe first in polychrome, of two fishermen hauling a catch, 32cm; the second of an embracing couple, gilded bronze effect, 40cm high; each signed and with plaques to the base. (2)

HERALDRY: JOHN ASHTON: ROMANCES OF CHIVALRY TOLD AND ILLUSTRATE IN FAC-SIMILE, New York, G P Putnam's Sons, 1887. Bound in half calf with gilt title to spine, slight split from head of spine. illustrative frontispiece and pictorial bordered title page.; A C FOX-DAVIES, REVISED AND ANNOTATED BY J P BROOKE-LITTLE: A COMPLETE GUIDE TO HERALDRY, London, Thomas Nelson, 1969. Bound in purple cloth with original slipcase; [FRENCH LANGUAGE]: 6 Titles: ALMANACH HERALDIQUE ET DROLATIQUE POUR L'ANNEE 1884 PAR LE CHEVALIER DE CROLLALANZA FILS, Paris, E Plon Nourit et Cie, 1883; HENRI VRIGNAULT: LES ENFANTS DE LOUIS XV - DESCENDANCE ILLEGITIME, Paris, Librairie Academique Perrin, 1954; CHTONIA - RECUEIL PERIODIQUE DE TRAVAUX SUR L'IMMANENCE DES NOTIONS RELIGIEUSES PRIMITIVES ET LEURS MANIFESTATIONS MATERIELLES DANS L'OCCIDENT HISTORIQUE, Barcelona, Editorial Herder, ND; M BACHELIN-DEFLORENNE: LA SCIENCE DES ARMOIRES, Paris, Librairie des Bibliophiles, 1880; DRS J A DE BOO: HERALDIEK, Bussom, De Haan, 1973 [Dutch]; M LE DR BOULAND: LIVRES DE LA BIBLIOTHEQUE, Paris, L Giraud-Badin, 1928; JONATHAN ALEXANDER AND PAUL BINSKI: AGE OF CHIVALRY - ART IN PLANTAGENET ENGLAND 1200-1400, London, Royal Academy or Arts / Weidenfeld and nicolson, 1987. First editionEx libris

Portuguese & Spanish Colonies. Old to modern mixed mint and used collection housed in assorted volumes, including Angola 1875-77 values with 300r pale-brown, 1886 24r bright violet, 200r lavender, 300r orange, 1891-1901 set, 1911 Postage Dues set, 1913 New Currency opts on general issues, Republican opts and surcharges, Azores 1894 Prince Henry the Navigator issues to 100r, some later issues, Funchal, Horta 100r brown on yellow (perf 13½ SG 23), 1897-1901 set to 500r, Cape Verde with reprinted 40r in imperf pair, 1894-95 values to 300r, Mozambique ranges, Portuguese Guinea, Nyasa, Spanish colonies with Cape Juby 1929 Seville & Barcelona Exhibition set, Morocco, 1935-36 pictorials, 1937 miniature sheets, 1937 Anniversary of the Spanish Civil War, Fernando Poo with early Alfonso XII and XIII issues with 1900 2p orange-vermilion and 1929 Seville & Barcelona Exhibition set, mixed condition with fine. (hundreds)

AFTER MIES VAN DER ROHE; a modern contemporary black leather upholstered chrome framed 'Barcelona' type chair, width 76cm, depth approx 75cm, height 71cm.

Football Items, A box containing a boxed Glasgow Rangers medal celebrating 50 league championships, 8 Wee red Books, A Caxton volume, sporting tickets, a Real Madrid medal and a FC Barcelona shot glass from the 1980s (1 Box) Good

Mid 20th century 'Barcelona' style chrome and black leather armchair and footstool with button detailing, Chair H 76cm, Footstool H 38cm

SHAKESPEARE, WILLIAMHamlet. Prince of Denmark. A New bibliophile edition printed on sheets of pure cork with the Spanish version... Barcelona: Reinhold Wetzig, 1930. One of 100 printed on cork, this copy 24. Publisher's gilt-stamped brown leather, in publisher's felt-lined hinged case. 10 1/2 x 8 1/4 inches (27 x 21 cm); [vi], 95, [iii], 78, [1] ll. text in English and Spanish; illustrations and colored borders and decorations by Anthony Saló. Several of the leaves at the beginning are damaged and split, but apparently complete, with one small taped repair. Case lacking clasps. Sold as-is, not subject to return.So far as we are aware, this is the only substantial book printed on cork, though its fragility demonstrated why this was not something undertaken more frequently! See https://www.folger.edu/blogs/shakespeare-and-beyond/cork-hamlet-folger-finds/ for an article on this work.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

[SPANISH CIVIL WAR]The Spanish Civil War archive of Jan Winter (1907-1991), a Polish-born Jewish journalist who worked as a war correspondent for the Spanish Republic's press agency and as a reporter for various communist and anti-fascist French, Polish, and German-language publications throughout the conflict. Spain: circa 1936-1939. This large, compelling, and, until now, unseen journalistic archive includes contemporary photographs, typed dispatches for news articles, a notebook, various documents, correspondence, and more. It provides a fascinating eyewitness account of the Spanish Republican war effort, the war's atrocities, and civilian life in wartime, as well as a view into the important role that reporters, armed with the powerful and relatively new medium of photo-journalism, played in the fight against fascist propaganda, furthering anti-fascist sentiment among their international audiences. The archive comprises:Photographs of the Spanish Civil War. A group of approximately 306 contemporary photographs, consisting of originals, some likely unpublished and taken by Winter, as well as press photos, and a small group of related photographic postcards. Many have captions and official press agency or news publication ink stamps on their versos. The photographs show wartime atrocities, urban destruction, battles, protests, and celebrations; also pictured are soldiers at the front, in training, and at rest, officers, politicians, public figures, and civilians, as well as Jan Winter himself in various settings, and more. Of special note are the photographs of the aftermath of a particularly bloody and destructive bombardment in Barcelona, as well as bombardments in Madrid (showing the destroyed Hospital de San Carlos), Guernica, and San Sebastian, urban fighting during the siege of Madrid, the front lines of the Battles of Irun and Ebro, images of the various battalions, including the skiing "Fuerzas alpinas," protests Madrid, Valencia, and Barcelona after the February 16, 1936 general election, as well as public figures such as Gabriel Garcia Lorca. The largest print measures 9 3/4 x 9 3/4 inches, though most are around 4 1/4 x 6 1/4 inches. The condition varies, the prints curling, minor edgewear from handling, a few with stains, creases, tears, or small losses, some remnants of adhesives, labels, and album leaves. Jan Winter's dispatches from the Spanish Civil War. Housed in a contemporary store-bought stiff card folder, marked "Winter" on the front cover in red crayon. Sheet sizes vary but are generally around 10 3/4 x 8 1/2 inches; Approximately 99 leaves of typewritten journalistic dispatches, written in Spanish, German, Polish, and French, mostly dated and with the name of the intended publication, typed on one side only of onionskin paper, a few on thicker stock, or smaller-sized paper for telegraphs, occasionally with manuscript annotations or corrections, some of the multi-page texts with staples or paperclips in corners, some with official ink stamps from censors or press agencies. The articles cover the siege of Madrid, bombings in Almeria, reports from a hospital in Valencia, the Battle of Malaga, interviews with Republican soldiers and partisans, transcripts of soldiers' letters to and from home, reports of prison life in Valencia, the siege of the Santuario de Nuestra Señora de la Cabeza, and more. Together with a copy of the newspaper "Diari Official de la Generalitat de Catalunya," dated November 22, 1938. Varying amounts of wear from handling, some leaves with stains, tears, folds, losses, toning, and some of the leaves are insect-damaged to varying degrees. Notebook from the Spanish Civil War years. Orange card covers with two metal rings through hole punches.8 1/4 x 5 1/4 inches; 44 leaves of notes in Polish, mostly handwritten in ink, but with two typewritten leaves. The boards are lightly soiled, the rings oxidizing, the contents generally fine but with light toning, a few short marginal tears, and some minor staining.A group of correspondence, documents, pamphlets, ephemera, and more. The correspondence comprises about 20 letters to Jan Winter, many from various left-wing news publications regarding his work as a journalist, some from the Spanish Ministry of State providing press authorization, and a few personal letters. The publications include El Socialista, Barcelona, Naje Folkscatjung, Warsaw, Federation Syndicale Internationale, Paris, and more. Together with a group of Winter's official documents and passports, including his Spanish Passport, his Portuguese and his French identity cards, various press passes, a Russian bank book, and a $10 check from Esquire-Coronet, Inc. marked for "Faked Spanish War Pix." And with, a group of four left-wing pamphlets; a folding regional map of Spain; a group of postcards with Republican propagandist illustrations; a later copy of "The Atlantic" magazine featuring a painting belonging to Winter on the cover; an extensive group of official U.S. documents and correspondence recording Winter's 1940 emigration and eventual naturalization as a U.S. citizen; and a 106 pp. photocopied transcript of a memoir by Winter mostly about his youth in Poland. Varying degrees of wear, letters with old folds, some separating or detached along the folds, the documents and pamphlets with general soiling and wear from handling. No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Football Autograph Paul Scholes 16 X 12 Photo : Colorized, Depicting Manchester United's Paul Scholes Scoring A Stunning Goal Against Barcelona In The 2008 Champions League Semi-Final Second Leg At Old Trafford, The Goal Was The Only Goal Of The Game And Secured United's Place In The Final, Signed In Silver Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Minichamps 1/12th scale Valentino Rossi Collection Limited edition MotoGP Racing Motorcycles Yamaha YZR M1 Fiat Yamaha Team MotoGP 2009, one of 5999, Yamaha YZR 1 Fiat Yamaha Team MotoGP 2008 Barcelona, one of 5999, and Yamaha YZR M1 Fiat Yamaha Team MotoGP 2007 GPA Australia, one of 10999, all boxed (3).

A striking framed bullfighting poster from the Plaza de Toros Monumental de Barcelona, advertising the Extraordinarios Festejos Taurinos of July 2001. The lithographic print features a dramatic illustration of a matador in traditional traje de luces controlling a charging black bull with a red cape. The design conveys the intensity of the Spanish corrida through expressive brushwork and bold color contrasts. The typography highlights celebrated toreros such as Enrique Ponce, Finito de Cordoba, Jose Tomas, and Jose Ortega Cano. This poster is a piece of Spanish bullfighting history, marking an event in one of Barcelona's most renowned arenas before the region banned the practice in 2012. The piece is professionally framed with a red mat and black frame, enhancing its visual impact and collectible appeal.Issued: 1981Dimensions: 30"L x 47"HCountry of Origin: SpainCondition: Age related wear.

A collection of vintage football and RFU programmes. Primarily First division fixtures and international games, including 1985 Final Bath vs London Welsh, 1984 Scotland vs England, 1994 Manchester United vs FC Barcelona, etc.

Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"Saint Raymond of Penyafort"Oil on copper.21 x 16,5 cm.Attributed to the renowned painter Bernardo Rodríguez, an emblematic figure of the 18th-century Quito School, this work reflects his technical and artistic mastery and is executed in oil on copper. The precision of details and delicacy of brushwork suggest the piece probably dates to the mid-18th century.The artist’s draftsmanship is exceptional, evident in the composition’s impeccable organization and meticulous treatment of details.We compare this copper painting to other depictions of saints like Jerome and Augustine, also attributed to Rodríguez, which, alongside works of Saints Ambrose and Gregory the Great, form the series of the Four Fathers of the Church at the Museo de San Agustín in Quito (Ecuador). Such comparisons highlight Rodríguez’s skill in gilding and his ability to infuse artistic grandeur into even small-format compositions, as seen here. The portrayal of Saint Raymond of Peñafort adds unique dynamism through its maritime narrative and subtle landscape details.Similarly, the painting “Saint Anthony of Padua and the Miracle of the Resurrection” at Quito’s Museo Convento de San Francisco enriches this comparative analysis due to stylistic and compositional parallels with the depiction of Saint Raymond we have here. Though Saint Anthony is painted on canvas and lacks gilding, both works share remarkable precision in rendering the saint’s figure and a focus on spiritual depth. The treatment of facial features, posture, and drapery reveals evident similarities, pointing to stylistic coherence within the Quito artistic context.This context was deeply shaped by the expansion of Christian faith in Latin America and the use of art as an evangelizing tool. Such narratives were especially relevant in viceregal territories, where missionaries faced similar challenges. The Quito School, in this regard, adeptly adapted European influences into a visual language that responded to local spiritual and cultural needs.As noted by the Cervantes Virtual Center, “Bernardo Rodríguez, a muralist and painter, was a highly distinguished master among religious motif practitioners in viceregal Quito.” Supported by the Church throughout his career, he “enjoyed privileged opportunities to create canvases now admired in Quito Cathedral, the Museo de Arte Colonial, and the Casa de la Cultura Ecuatoriana.” His impeccable craftsmanship was inherited by disciples like Quito’s Antonio Salas (1795–1860).Saint Raymond, clad in a Dominican habit brought to life through dynamic fabric folds, dominates the center of the composition. The marine backdrop, rendered in subtle blue and white brushstrokes, evokes serenity and depth. Distant ships reinforce the narrative of the miracle, while the gilded halo and reflections on the saint’s cloak showcase the painter’s flawless mastery of materials, achieving a luminosity that elevates the painting’s spirituality—a radiant “small window to heaven” brimming with vibrant color and light.The artwork depicts Saint Raymond of Penyafort (Vilafranca del Penedès, 1176–Barcelona, 1275), a 12th-century Dominican friar and canon lawyer, experiencing the miraculous event that occured in his life. King James I, who sought his counsel, once took him on a journey to Majorca, secretly accompanied by a woman with whom the king had an illicit relationship. Upon learning this, Raymond urged the king to dismiss her, threatening to leave otherwise. The king failed to comply, and responded by ordering that no ship carry Raymond home. Undeterred, the saint spread his cloak upon the water, transforming it into an improvised vessel to cross the Mediterranean to Barcelona—a testament to how true faith can calm even the stormiest waters.A Doctor of Canon and Civil Law, Raymond was acclaimed and chosen to teach at the University of Bologna, where his students were primarily nobles and scholars. After experiencing a vision of the Virgin Mary, he co-founded the Mercedarian Order with Saint Peter Nolasco to redeem captives from Muslim rule. Summoned to Rome by Pope Gregory IX, he served as confessor, chaplain, and penitentiary. He played a role in establishing the Inquisition in Aragon and compiled five volumes that became the most organized collection of church law until the 1917 Code of Canon Law. After a decade of writing, he was elected head of the Dominican Order, succeeding Saint Dominic, and retired at nearly 100 years old. He is the patron saint of canon lawyers, jurists, and legal institutions. He died on the 6th January 1275 and was canonized in 1601 by Pope Clement VIII. Iconographically, the elements in the painting hold profound symbolism. The outstretched black cloak alludes to the miracle, while the maritime landscape, with its expansive horizon and traversing ships, adds narrative depth, situating the saint within a context of triumph and hope.Though rare, other depictions of Saint Raymond in Latin America include the portrait at Tlacochahuaya’s San Jerónimo Church in Mexico and the Convent of Santa Rosa de Lima in Santiago de Chile. In essence, this small copper painting brims with life, movement, and perspective, its lapis lazuli blues and mastery of gilding and pointillism perfecting the saint’s figure. An 18th-century scalloped and gilded frame rounds off the composition,  Bibliographic References:- Centro Virtual Cervantes. (s.f.). “Bernardo Rodríguez”. https://cvc.cervantes.es/artes/ciudades_patrimonio/quito/personalidades/brodriguez.htm- Herrera, Lizardo. (2010). “La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603)”. Procesos, 32, II semestre 2010, pp. 5-32. - Stratton-Pruitt, Suzanne. (2011). “El arte de la pintura en Quito colonial”. Saint Joseph’s University Press, Filadelfia.