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Lot 131
A bronze signal cannon, 18th century, Dutch, the ring-turned barrel cast with dolphin lug mounts and a coat of arms, raised on a later display stand,86cm wide17cm deep27cm highinternal barrel diameter 3.5cm Condition ReportEstimated weight The length of the bronze overall is 86cm, from the fuse hole to the tip of the barrel is 71.5cm , The interior bore is 3.3cm diameter, overall the cannon is marked, dented and scored, there are numerous dinks and knocks throughout, one side of the barrel is flattened, weighs 35.2kg
Lot 105
José Campeche (San Juan, Puerto Rico, 1751 - 1809)“St. Anthony of Padua and the Virgin Mary.”Oil on canvas, protected by water glass. Signed: “Josef Campeche fc.”. Framed in an imposing carved, gilded and polychrome wooden cornucopia.28 x 22 cm.Cornucopia measurements: 71 x 55 cm.Exquisite canvas signed by the Puerto Rican painter José Campeche, an intellectual painter who studied Latin and philosophy at the Royal Convent of the Dominican Fathers. Between 1776 and 1778 he was in contact with the Spanish court painter Luis Paret y Alcazar (1746-1799), who came to the island exiled by King Carlos III and from whom he learned techniques, colors and styles.Campeche was one of the most recognised Puerto-Rican artists. The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century."Returning to this painting, it has a dove-necked frame, profusely carved in garlands and scrolls, polychromed in reddish tones and gilded on the corners and curled edges, with a shield plume that tops it with the Virgin Mary's monogram. The delicate oil painting depicts the Portuguese saint being regarded and blessed by the Virgin Mary from heaven, to whom he dedicated several sermons to praise her and sing her glories, all surrounded by putti and angels.As one of his many religious themes, Campeche depicts a specific saint, here the Franciscan saint of Lisbon, next to the Virgin Mary, like so many other parallel paintings currently in the Museo de Arte de Puerto Rico that we have mentioned. Two stand out there, one of “The Vision of St. Simon Stock” and another of “Sacred Conversation with St. Joseph and St. John Nepomuk”, among others.Among the trades he learned and practiced in the family workshops, one was the design of coats of arms. It is therefore quite probable that he also designed the period frame with the coat of arms in which this devotional work is presented, possibly as a commission from a prominent family.Be that as it may, this work is of rococo character for all its interest in detail and ornamentation of the sky and clothing, colors and movement of fabrics and figures, dominating the palette of bluish grays and reds and pinks that, as reported by the Puerto Rican museum, relates it directly to de Paret and Alcazar.This painting comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909). He was a Peruvian military officer and politician who held the presidency of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle-low phase of the War of the Pacific, an armed conflict between Chile and allies Bolivia and Peru (1879-1884). That is: from his rise to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until his exile to Spain in the Peruvian civil war of 1884-1885.Highlights of his political-military legacy is the "Grito de Montán" (Montán´s call), a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between Montán´s faction and that of the military leader Andrés Avelino Cáceres. The end of that war led to the exile of Iglesias to the south of Spain, where he moved with his descendants and his significant art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in the Presbítero Maestro Cemetery in Lima, were transferred in 2011 to the Crypt of the Heroes, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Collection of Miguel Iglesias, military man and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day.Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose
Lot 612
A Victorian male pedlar doll, late 19th century, the beeswax head with painted eyes and spectacles, the doll dressed in checked trousers and black tail coat, modelled holding a doll in his right hand with another strapped to his arm, a cane in his left hand, and a haberdashery basket around his neck, 30.5cm high, on later ebonised stand
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