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Russell Pond (b.1966) Oil on board Beach scene, signed lower right, 39cm x 29cm  Condition Report Good condition. Very light scratch towards top of painting. We do not offer in-house shipping. Please try Mailboxes.com, bidandbox.com or mjmpost458@gmail.com

Michael John Bolan (1939-1995) Mixed media on hessian "River Lake Summer" titled verso, signed lower right and dated 1982, 67cm x 59cm, unframed, together with another by the same hand "Les Fleurs Exotiques", still life flowers in a vase, signed lower left and dated 1982, framed, 97cm x 96cm and a Michael Clifton oil painting on vinyl panel depicting a gardener with watering can, with fruits, birds, bird's nest and canopy above, signed lower left, 98cm x 31.5cm (3)

18th century, Continental school Oil on canvas  Three-quarter length portrait of a lady, wearing a lace-edged red velvet dress applied with pearls, across her forehead are two parchment sheets, one showing an engraving of a traveller in landscape, 70.4cm x 54cm  Provenance  With John Hurst, Pemberton Road, Victoria, British Columbia in circa 1904, where it was probably sold, along with the contents of the house, and acquired by Gottfrey Bjonsfelt in 1922. The painting was known by the family as 'The Mystery Lady', with the puzzling positioning of the engraving, lying across her forehead and what may be a magnifying glass in her right hand.  Condition Report Painting has been extensively restored with large areas of overpainting visible (see images), especially around the edge of the sitter's face, her right arm, around the engraving, to the lace and background, it has also been relined. The engraved parchment appears to be original to the painting, with minimal restoration to the engraved scene. There are two repaired tears/holes to the canvas to the top left and right. Small areas of discolouration to retouching/restoration. Some crazing to paint surface overall. Would benefit from restoration and cleaning. The frame is probably 19th century although has been regilded.With Mackenzie and Co., Toronto, Fine Pictures Restorers and Frame Makers label verso. Please see additional images (supplied by vendor) relating to the 2002 restoration of the picture, with the painting photographed in-situ at Pemberton Road, Victoria, B.C.. See also the report by J. Leger & Son, 1929 where the painting is called 'Dutch Master' and '1720 period'. We do not offer in-house shipping. Please try Mailboxes.com or bidandbox.com

UNATTRIBUTED; a 19th century British School oil on canvas, portrait of seated young lady, 59.5 x 49cm, gilt framed.Condition Report: Unfortunately there is no provenance for this painting, it has been consigned from a local private collection where the vendor has had it on the wall for around 20-30 years. There are a few small areas of flaking and loss to the painting, please see attached images.

UNATTRIBUTED; an oil on board, Venetian scene, with 1920s Christies stencil and indistinguishable pencil writing verso, 26 x 39cm, gilt framed and glazed.Condition Report: There are no signs of any restoration, repairs or overpainting to this image, however some rather heavy craquelure and large cracks, chips and losses to the frame as visible in images.Unfortunately we are unable to trade the history of this painting through Christie's as they closed the archive in 2018.The painting arrived with us with the brown sticky tape attached, however we have removed the image from the frame, please see additional images of the front and reverse of the board now it's removed from its frame.The painting doesn't show any signs of flaking or loss, but does have signs of craquelure.The painting is 26 x 39cm excluding frame and including frame is 40 x 52.5cm.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Still life with a white cabbage, maize and a blue pail on a table oil on board, signed lower right, further signed verso, unframed 24 x 30in (61.5 x 76.2cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Circus characters oil on board, signed lower right, unframed 27 x 33in (68.5 x 83.8cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Denise Arokas (French, b.1931) Study of a young lady oil pastel, signed in pencil lower centre right 13¼ x 10in (33.75 x 25.5cm), distressed, carved wooden frame (48.5 x 40.5cm) * Denise Arokas became Henri Matisse's last muse late in his life. Discovered aged 19 in Paris in 1950 by Matisse's great muse, the Russian refugee Ludia Delectorskya, Arokas was initially recruited as Matisse's night nurse, but commenced modelling for him soon afterwards. They became close companions and she soon moved with him to his studio in the Hotel Regina in Nice, resulting in important works such as the painting for the Pavillion de Marsan and large cut-out gouache works such as 'La Tristesse du Roi'. Matisse also gave Arokas drawing lessons during this period.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Portrait of a black gentleman oil on board, signed lower right, unframed 24 x 24in (61.5 x 61.5cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Magnolia tree oil on board, unsigned, unframed 24 x 20in (61.5 x 50.8cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Fire mountain oil on board, unsigned, unframed 16 x 20in (40.6 x 50.8cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Arran Islands coastal landscape oil on board, unsigned lower right, unframed 24 x 30in (61.5 x 76.2cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Alpine peaks oil on canvas, unsigned, unframed 24 x 20in (61.5 x 50.8cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) 'Sea caves, Aran Islands' oil on board, signed lower right, further signed and titled verso, unframed 24 x 30in (61.5 x 76.2cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Reclining female nude in oranges and greens oil on board, signed lower right, unframed 24 x 24in (61.5 x 61.5cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Alpine landscape oil on canvas, unsigned, unframed 23½ x 32in (59.7 x 81.25cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century) Water lilies oil on board, signed lower left, unframed 24 x 24in (61.5 x 61.5cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Rita Smith (British, 21 Artists Group, 20th / 21st century)  'Three cottages, Inishmore'  oil on board, signed lower right, further signed and titled verso (the title probably from an earlier, overpainted work by the same artist), unframed  20 x 24in (50.8 x 61.5cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.

Karolina Larusdottir (Icelandic, 1944-2019), oil on board large painting of a lady, size 128cm x 67cm.

▲ Winifred Strangman (1874-1955) Flowers and butterflies of Indiaoil on canvas151 x 84cmCondition ReportFramed 101 x 166cmLight surface dirt. Craquelure and stretcher marks. A small repair to the lower left edge of the painting of lilac with a patch verso. Not examined under UV light, for a more detailed report please contact the department.

W.M. HANNAH (XIX) A gilt framed oil on canvas, interior sitting room scene with ladies in conversation. Signed bottom right and dated 1895? Image size 41cm x 54cm (Over cleaned and signs of some over painting)

STANLEY CLIFFORD-SMITH (1906-1968) A framed oil on canvas, portrait of a man, label verso dating 1950 and giving title as 'A Disciple'. CS monogram top left. Written verso in pencil on the frame 'Bardfield'. Image size 64.5cm x 55cm. Comes with a newspaper cutting, on which is written in pen, 'This painting was painted in this mill in the late 1940's by S.Clifford-Smith' with a picture of Wortwell Mill, 13.9.73. Plus a celebration concert for Joan Clifford-Smith. There is some paint loss along the bottom of the painting with what looks to be another painting underneath, please see images.

19th century romantic-realistic landscape painting, oil on panel Peasant figures at a gate with horseman and mill, Dutch Romanticism, circa 1850–1880 in original gilded frame in neoclassical style, with acanthus leaf edges and fluting19e-eeuwse romantisch-realistische landschapsschilderkunst, olie op paneel Boerenfiguren bij een poort met ruiter en molen, Hollandse romantiek, circa 1850–1880 in originele vergulde lijst in neoclassicistische stijl, met acanthusbladranden en cannelures26.5 x 37 cm

Oil painting on panel, 17th century, depicting the four evangelists at work, surrounded by an angel and heavenly lightOlieverfschilderij op paneel, 17e eeuw, voorstellende de vier evangelisten aan het werk, omringd door een engel en hemels licht70.5 x 107 cm

XIX Century School, room interior with three people studying a document, oil painting on tin, 19.5 x 14.5cm, later framed, 'Our Village Canyon', cricket print.

Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Infant Jesus”Oil on copper. 23,5 x 18,5 cm.  Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.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." Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose

Viceregal School. Cuzco. Peru. 17th Century."Isaiah's vision"Oil on canvas. Relined.203,5 x 180 cm. Symbolic and apocalyptic painting about Isaiah's vision of the true God and the seraphim, whose desire is to elevate spirits that are lower in the hierarchy to Him and carry out divine justice.An unusual and curious painting that serves as a biblical and scenographic summary of various texts from the Book of Revelation by John, and others from the prophets Ezekiel or Isaiah. The prophet Isaiah mentions in 6:2: "Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew."In the upper left corner of the painting, we find one of these seraphim, which can only be seen by those who have been elevated to a higher dimension, that is, to a state where heaven opens up to them. Like Isaiah, one of the four Prophets of the Old Testament. The seraphim belong to the highest rank of the angelic hierarchy and are the praisers of God, constantly proclaiming His Holiness.A similar example can be found in Catalonia in the murals of the church of Santa Eulalia at the National Art Museum of Catalonia, where these seraphim, angelic beings that surround God on His throne, are depicted. They can also be found in the art on several Catalan Romanesque apses.Seraphim have the mission of purifying everything around them, so they are destined to protect the holiest places.In the Bible, they are mentioned as a vision of God that Isaiah had in the Temple, where they were singing praise: "Holy, holy, holy is the Lord Almighty; the whole earth is full of his glory."They protect themselves from the light of God by covering their heads with two wings, as they are constantly accompanying the Lord on the throne. For this purpose, and to be able to see the presence of God, they have eyes on their wings and all over their bodies.In the upper right corner, we see Isaiah, who had the vision in which he was taken to the throne of God, where they were (Chapter 6). There, he saw the true King and the seraphim full of ardour and purity, with which they love the divine, desiring to elevate the spirits of lower hierarchy toward God.This seraph with a bull's face (to John, they appear as a lion, a bull, a man, and a flying eagle) "holds a harp" (Revelation 5:8), a symbol of worship and praise in the Old Testament, with which they sing and declare the holiness of God, participating in God's justice, for when He opens the first four seals and unleashes the four horsemen who come to destroy (we see one of these horsemen below in the centre), their voices, powerful as thunder, tell them 'Come' (VENI..., at the beginning of the Latin phylactery lying at the base of the painting) (Revelation 6:1-8). Each rider responds to the call of his seraph, a powerful creature indicating the power he possesses.In summary, this is a painting that symbolically speaks of these beings and Isaiah's vision, an exalted order of angels whose main purpose is worship and who are, in some way, involved in carrying out divine justice.The painting was perhaps created for the refectory or choir of a cloistered religious convent, a place filled with "higher" beings seeking to prostrate and worship the Lamb (Revelation 5:13), beings who cloister their lives to experience the vision of Isaiah up close, to sit on the throne and become the praise, honour, glory, and power of God, forever and ever (Revelation 5:11-12).The painting makes it clear to the beholder that "the Lord is God, and there is no other besides Him.""

Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732)"The First Journey of Saint James the Greater to Hispania"Oil on canvas.99 x 124 cm. Beautiful painting of great historical and religious relevance, as it shows the first of James' journeys to Hispania, which left a lasting legacy in the region. This trip took place in the first century A.D. According to tradition, James was sent to Spain as one of Jesus' apostles to spread Christianity in the region. After the death of Christ, a passionate and impetuous James was part of the initial group of the early church in Jerusalem. In his evangelizing work he was awarded, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, trace his way through the Ebro valley and the Cantabrian Roman road. There are even those who claim that Santiago reached the peninsula by the current Cartagena, from where he started his journey to the western corner of the map.During his stay, it is believed that he performed numerous miracles and converted many people to Christianity.This journey of Santiago was of great importance for the history of Christianity in the Iberian Peninsula. His presence contributed to the expansion of Christianity in the region and laid the foundations for the subsequent evangelization of the peninsula.We say that this was James' first trip to Spain, since the second occurred centuries after his death. According to tradition, after his death in Jerusalem, his remains were taken to Hispania by his disciples. It is believed that they were buried in a place that would later become the city of Santiago de Compostela. That transfer of remains had a great impact on the region. His tomb became an important place of pilgrimage and attracted thousands of the faithful from all over Europe. The Camino de Santiago, a pilgrimage route that runs throughout the Iberian Peninsula, developed around his tomb and became one of the most important pilgrimage routes in the world.In an idyllic landscape, with rich and abundant vegetation, we can contemplate a pilgrimage path that circles the river -perhaps the Ebro River-, with a bridge crossing it. The pilgrims have serene faces, full of devotion, kindness and smiles, marked by the joy of the moment.  They travel on horseback and on foot, and there is a group resting above, contemplating the temple they are approaching, surrounded by cypress trees. One stands out, James, also known in Spain as Santiago, mounted on an imposing black and white horse, the only one who, with his deep and penetrating gaze, looks directly at the viewer. The Saint stops or is stopped by another pilgrim, who rides his donkey, and both experience a spiritual and deep encounter, reflected in their faces and gestures.  Their expressions are serene, with their hands intertwined. The one on the donkey kisses the hand of the saint with reverence and devotion, aware of the spiritual power of this miraculous encounter. Both the Apostle and he have their hats removed, as a sign of respect, humility and spiritual reverence.James' journey to Galicia symbolizes the spiritual connection between East and West, becoming a cultural and religious bridge that would mark the history of Spain. As for the artist, we believe this canvas was painted by Melchor Pérez Holguín, one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans.As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín, as we can see in the work we offer.

Miguel de Herrera (La Laguna, Santa Cruz de Tenerife, 1696 - Mexico, after 1765)“Allegory and exaltation of the purity and virginity of Mary Immaculate, and symbolism of some lauretan litanies”.Oil on canvas. Signed, dated and located: “Fr. Miguel de Herrera, Augustiniano f. Mexico 1743”. In its original carved, polychromed and gilded wooden frame. 102 x 76 cm.Delicate allegorical work by Miguel de Herrera, a painter from the Canary Islands, also known as Fray Miguel de Herrera, as in 1712 he became a monk, entering the Monastery of the Holy Spirit of the order of St. Augustine.  The painting portrays the theological and devotional exaltation of the purity and virginity of Mary Immaculate, with the symbolism of some lauretan litanies. This painter moved to New Spain in 1719, developing most of his artistic career in Mexico, which is why for a time it was believed that Mexico was his birthplace.It should be noted that in 1753 this painter from Tenerife entered the First Academy of Painting in Mexico. The exact date of his death is unknown, but he remained active at least until 1765.Certainly, this mature work by the Augustinian friar reflects the metaphors that appear in the Bible with mastery.  They are already seen in patristics as prefigurations of Christ and are contemplated here totally in a Marian sense.In a background of purity and mystical light, with delicate tones almost of celestial mist, below and in the background, Nazareth appears, pointed out by Saint Anne as the place of the Virgin's birth, as well as the walls of Jerusalem, where the life and death of her Son will take place.From the union of her two holy parents, Joachim and Anne, the Virgin Mary emerges as a white lily (Lilium Candidum), an emblematic species because of its immaculate white flowers and its deep cultural and religious symbolism, being a botanical hermaphrodite and icon of purity and renewal, which exudes a deep, sweet and intense fragrance.This figure is surrounded by immaculist symbolism and some Laurelian litanies, which were born in the Song of Songs, which became part of the landscape and background of many artworks and which enclosed the iconographic model of the “Tota Pulchra”.On the upper right, “the Door”, Mary is symbolized as the door to heaven through which the Savior has come to us, according to Christian theology, as well as the door that leads us to Him.Below, two angels hold “the Tower of David or Tower of ivory”, in clear parallelism to the tower of the Alcazar in which King David settled when he conquered Jerusalem, symbol of his power and of singular dignity and beauty. The Tower of David, alludes to Mary´s spiritual beauty, her firmness in faith and her dignity as Mother of the Messiah. They also hold the lily, which, like the lilies, signifies her virginal being and her conception without stain of sin. That whiteness is an image of the Virgin's spiritual beauty, and the petals opening upwards are a reference to her openness to God the Father. The petals opening to her sides allude to her generous and essentially missionary motherhood. All the petals form a single flower, an image of fraternity. According to the thought of St. Bernard, Mary's lily is not cultivated and pampered in gardens, but the wild lily of the valley, which sprouts and blooms without the intervention and the hand of man.On the left, above, two other angels hold the Mirror, Mary as “Mirror of Justice”. This Lauretan litany expresses that Mary reflects divine holiness, that is, perfection. In Mary “God was reflected and reproduced through his faithful transcript Jesus, without wounding or altering the mirror itself,” as the Holy Fathers say.The mirror is also related to the soul and the reflection it produces. Therefore, it would come to be one of the faces of truth and, because of its complexity, it would allude at the same time to conscience, clarity and divine intelligence.They also hold an olive branch, which symbolizes peace and values of fecundity, victory or purification applied to the Virgin Mary.The palm or “Palm Tree” which, because of its greenness and life, usually has a meaning related to the hope of salvation. Likewise, recalling the events of the Passion of Christ, the inhabitants of Jerusalem acclaimed Jesus at the entrance of the city as a sign of triumph and victory. In that sense, it evokes ascension, regeneration and immortality. Likewise, we cannot forget that the palm tree was one of the trees that existed in paradise. Iconographically, in the expulsion of Adam and Eve from the Garden of Eden, this element usually appears as an allegory of justice.Finally, a basket of roses speaks of the “Mystical Rose”, as a symbol of the passion and charity of Christ, showing Mary as queen of flowers and queen of virtues, as St. Bonaventure reflected in his work “The Mystical Vine”. 

Novohispanic School. Possibly Potosí. Bolivia. Signed Fonceca, 1774."True Portrait of Our Lady of Soterraña"Oil on canvas glued to wood. Signed "fonceca pint." and dated 1774.41,5 x 31 cm. The cartouche at the bottom margin reads: "La Milagrosa Imagen de Nuestra Señora de la Soterraña venerada en Santa María de Nieva, especial defensora de rayos y centellas." (The Miraculous Image of Our Lady of Soterraña venerated in Santa María de Nieva, a special defender against lightning and sparks.)The Virgin of Soterraña is a Marian advocation venerated in the church of the town of Santa María la Real de Nieva in Segovia, where, as reported by Josemi Lorenzo in his interesting research on the church, "ten representations of the Virgin of Soterraña, eight pictorial and two sculptural," are found, indicating the strong devotional weight this image has historically had in the place where it appeared."The image of this Virgin Mary was found at the end of the 14th century buried in a cave on the hill that was then in the municipal district of Nieva. Its name, in fact, means 'subterranean' in old Castilian. As Lorenzo continues to explain, and as we indeed read on the cartouche of this painting, the image was the "special protector against storms and hail [and] was fundamental in an agrarian context which faced adverse weather."Its worship spread to other areas of Spain such as Navarra and Logroño, Lorenzo continues to report, "shepherds and sailors [...], the former through migration, the latter by sailing the sea, spread her virtues and devotion to places such as Argentina, Bolivia, and the Philippines, where a ninth example which has been moved to an unknown location is documented."Of the eight painted depictions in the parish church in Segovia, we would like to highlight the most complex of those preserved, from the first half of the 18th century, where the Virgin of Soterraña with the Child in her left arm is depicted, along with Ensign Alonso del Canto y Ocampo, conqueror of the Philippines in 1563. It is a votive offering made a century after the death of the ensign to whom it is dedicated, which adds additional interest to the painting, as Josemi Lorenzo affirms.Another highlight from amongst these eight is the True Portrait of the Virgin of Soterraña, "exhibited in the northern end" of the church, which, was donated by Alejo Bonifaz and painted in San Luis de Potosí in 1785.With the painting we have in the auction, added to the existing ones, we reach a dozen pictorial representations of this curious Marian advocation. Taking into account the expansion of the worship of the Virgin that we mentioned and that the painting was created in Potosí in 1785, it is reasonable to assume that this painting, from a similar time, came from the same cultural nucleus. Without a doubt, this True Portrait, with the accompanying angels and the liturgical scenery with candlesticks, candelabra, and drapery, is more elaborate than the True Portrait in the church. Reference bibliography:- Lorenzo Arribas, Josemi. (2016). La iglesia de Santa María la Real de Nieva (Segovia). Epigrafía en la portada norte; Lucas el estucador; exvotos pintados; un Niño montañesino, y un lienzo devocional de la Virgen de la Soterraña. Biblioteca. Estudio e investigación", 31, 197-218.

Attributed to Angelino Medoro (Rome, circa 1565 - Seville, 1632)"Our Lady of Silence" Oil on copper. With a chased and embossed silver 18th century frame.23 x 19 cm.  Frame measurements: 54,5 x 38 cm. Italian painter who settled in the Viceroyalty of Peru, via Spain. His art was especially influential in that territory, fundamentally in the painting of Cuzco.In 1587 he moved to Santafé where he painted a Virgin of Antigua for the church of Santo Domingo, which was characterized by having a Sevillian style and being accompanied by figures such as San Francisco and the donors Diego Hernández Hervalle and his wife Polonia de Roa. It is one of the first portraits painted in New Granada, a fact that gives it immense value for the history of Colombian art, as noted by the Royal Academy of History. In addition, other important works are attributed to him, such as a Descent from the Cross, inspired by a painting by Pedro Pablo Rubens, and a Lamentation, which belong to the Convent of Santo Domingo de Tunja. He also painted a penitent Mary Magdalene for the church of San Francisco and was master of Fray Pedro Bedón in Tunja. In 1598 he finished his paintings for the chapel of Mancipe and in 1599 he moved to Cali, where he made works for the Franciscans, such as a San Antonio de Padua and a sculpture of Nuestra Señora del Socorro.In 1600, he traveled to Lima, where he made several paintings, including a Señor de la Columna and works for the chapel of the Ánimas in the cathedral.He taught in Lima in 1604 and was appointed painter to the Inquisition. In 1617 he painted the Portrait of Isabel Torres de Oliva, known as Santa Rosa de Lima. After being widowed, Medoro remarried María de Mesta y Pareja. He made several paintings for the Mercedarian Fathers and the Augustinians, some of which are still preserved. In 1623, he painted a Santa Margarita which is now in Bogotá. In 1629, he returned to Spain and settled in Seville. Despite being around seventy years old, he was still examined as a painter. He made a will in 1631 and died on February 22 of the following year. It also has a significant value another portrait made in Lima in 1617, “Portrait of Isabel Torres de Oliva”, who was the first saint of America, Santa Rosa de Lima. “It was widely disseminated not only in the American continent but even in Europe, through engraving.” Reference bibliography:- Fajardo de Rueda, Marta (n.d.). Real Academia de la Historia. https://dbe.rah.es/biografias/52375/angelino-de-medoro

Viceroyalty school. Peru. 18th century.“Disquisitions of Pope Pius V with Philip II during the Council of Trent.”Oil on canvas.101 x 159 cm. Historical canvas that reflects the conflict between the popes and King Philip II of Spain during the sixteenth century. Philip II, known as “the Prudent King”, ruled Spain from 1556 until his death in 1598. During his reign, the Spanish monarch sought to consolidate the power of his kingdom and defend the Catholic faith against the Protestant Reformation that was spreading throughout Europe. The most relevant pope in this conflict was the Pontiff Pius V, seated on the left under a canopy,  He was head of the Catholic Church from 1566 until his death in 1572. Pius V considered Philip II a natural ally in the fight against Protestantism, but he was also critical of some of the Spanish monarch's policies. One of the main disputes between this pope and Philip II centered on the Spanish Inquisition. The Spanish king used this instrument to persecute heretics and maintain Catholic orthodoxy in his kingdom. However, the popes considered the Spanish Inquisition to be too severe and abusive in its exercise of power. Despite the differences and clashes, the conflict between the popes and Philip II did not reach a point of total rupture. Both sides understood the importance of maintaining a diplomatic relationship and sought solutions to their differences with a more amicable relationship and peaceful solutions to their discrepancies. In the painting we can contemplate Philip II, dressed as a King (with cape and ermine) appearing before the Pope, wearing the Golden Fleece as a symbol of his authority and royalty, and of his defense of the Catholic Church.  This is the scene in which he is called to chapter by Pope Pius V, and appears before him, with all his court, in the middle of the Council of Trent. The attitude of the pope is conciliatory, almost of blessing, and the hieratism of the Prudent Philip II speaks of his submission and acceptance of what the Roman Church imposes on him, in spite of his different ideas. The rest of the ecclesiastical figures and companions of the monarch can be contemplated in a room which has classical architecture, in an attitude of chat, discussion, confrontation, dialogue, making the moment much more active, as if it were captured in a snapshot.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist.  These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb.  The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition.  The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

Novo-Hispanic school. Possibly Puebla. Mexico. Late seventeenth century.“Viceroy Juan de Palafox y Mendoza next to Saint Paul indoctrinating the Indigenous people.”Oil on canvas.79 x 58 cm. The figure of Juan de Palafox y Mendoza is portrayed in an attitude of blessing indigenous people through the intercession of Saint Paul. The indigenous people are represented with their typical attire, making it iconographically very attractive.  This is also the only painting that we are aware of in which the figure of Palafox appears next to indigenous people in the act of converting them to Christianity. We can define Juan de Palafox y Mendoza as one of the most important characters of the Viceroyalty of New America. He held the positions of Viceroy, bishop, Royal Visitor as Visitor of the ministers and Courts of New Spain, judge of residence of two viceroys, governor and Captain General, president of the Civil and Criminal Royal Court, Visitor of the University of Mexico and of the Court of Accounts. He gathered more civil titles than any other person had ever held before in Latin America.The theological and pastoral dimension of the bishop's work, apart from his political career, which have not received the attention they deserve, are clearly demonstrated in this painting.Palafox, above all, was a great reformer in a time not at all favorable for reformers and he won several battles in his crusade for reform, some as important as his own appointment as viceroy. He left a legacy of great pastoral and cultural work, particularly in Puebla de los Angeles as creator and promoter of the Palafoxiana Library, the Cathedral of Puebla de los Angeles, the Royal Colleges of St. Peter and St. John, among other endeavors. All this led to his beatification in 2010 by Pope Benedict XVI.

Miguel Jeronimo de Zendejas (Puebla de los Angeles, Mexico, 1724 - 1816)"Saint Joseph and Child"Oil on canvas. Signed, dated in 1766 and located in Puebla: "Migl. Germo. de Zendejas. Pinx en la Ciud. de la Puebla de los Angs. en las Yndias Occidentales, año de 1766 en 26 de Julio". ("Miguel Jerónimo de Zendejas. Painted in the City of Puebla de los Ángeles in the West Indies, year 1766 on 26th of July").94 x 67,5 cm.Miguel Jerónimo de Zendejas was a prominent and prolific artist from Puebla in the 18th century. With great creative and allegorical capacity, his paintings situate him as one of the favourites of the elites, especially in the high clergy, who maintained his workshop with their patronage. Having worked as an apprentice for artists such as Gregorio Lara or José Joaquín Magón, he established his own workshop, which had, as we said, ecclesiastical sponsorship.He was known for his confident and imaginative way of painting, with skilled and harmonious use of chiaroscuro.The Church of San Juan Evangelista in Iglesias, near Angelopolis, houses four of his canvases from 1775 depicting moments of the Passion, which are considered to be some of his best paintings, which also include "El Almacén" (The Warehouse) which is now in the National Museum of History at Chapultepec Castle, an allegory of the founding of the Puebla Botanical Garden, paying homage to its founder, Antonio de la Cal y Bracho; and his last oil painting, "The Prayer in the Garden," kept in the Calvary Chapel of the Parish of San José, Puebla.

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

Flemish School. 16th - 17th century"Vision of Saint Francis of Assisi on Mount Alvernia, before receiving the stigmata."Oil on copper. Presented in an imposing carved, gilded, and polychromes wooden frame.34 x 24,5 cm.The painting depicts the Franciscan saint in seclusion on Mount Alvernia.Around the Feast of the Assumption in 1224, the Saint withdrew to Mount Alvernia and built a small cell there. It was around the day of the Holy Cross in 1224 (symbolised in the painting, flying among cherubs) that the miraculous impression of the stigmata occurred. He is accompanied by Brother Leo, who was acting as his secretary and writing down the annals of the saint's life . Saint Francis died on October 3, 1226, after listening to the reading of the Passion of the Lord according to St. John.

Novo-Hispanic school. Mexico.  18th century.Table-blazon or crowning piece of a reredos, depicting St. Thomas Aquinas”.124 x 93 cm. Blazon or altarpiece painting, profusely carved and gilded, with incised decoration of scrolls, flowers and geometrical designs made in polychrome and estofado technique, with a biretta in black centered above it.  It has a central cartouche with an oil painting on panel of the Saint and Doctor of the Dominican Church (since 1567, proclaimed by Pope St. Pius V), known as the Angelic Doctor, Common Doctor and Doctor of Humanity, whose work is fundamental for the study of philosophy and theology.  He was the main  defender of natural theology.With the characteristic carving style of New Spanish Mexican art, we contemplate “a complex artifact” that encloses St. Thomas Aquinas, a painting with a frame forming part of a coat of arms, or an isolated crowning piece from an altarpiece or the door of a library or a refectory or chapter room, to which it would have been integrated (in the manner of the doors of the Library of Coimbra of the Jesuit Fathers).This is a baroque artwork that shows unity and coherence, having a style which is difficult to include within formal canons.  This clearly baroque piece is not very dogmatic in its artistic execution, because it shows an extraordinary eagerness for novelty and, in the process of its creation, limitless fantasy that makes it exceptional, unique and unrepeatable.In the center, on a plain panel in the middle of this elaborate frame, we contemplate St. Thomas Aquinas, full-length and standing, depicted in a Dominican monk´s habit, wearing a white tunic with a scapular, and a black cloak with its hood thrown back.  With his right hand he holds a pen from which a halo of light or fire emanates, referring to his books and written doctrine.With the left hand he holds a monstrance. This refers to his devotion to the Blessed Sacrament, which manifested itself in particular in his magnificent composition of his Eucharistic Hymn "Adoro Te Devote."On his chest hangs a sun, which is an attribute to show his wisdom, and behind his back two large wings protrude, which allude to the moment when the angels girded the saint with the symbol of chastity.   Above his head is Christ crucified surrounded by putti, who descend from the heavens to inspire him.    The figure of the saint is depicted as a young man, beardless and with a monastic tonsure. He is superimposed on a landscape in which, at his feet, he treads and defeats the Moors and infidels, in the manner of Santiago Matamoros, as defender of “la verae doctrinae”.In the words of St. John Paul II and Benedict XVI, St. Thomas Aquinas is “the model of the correct way of theology”.   He showed that there is harmony between faith and reason, that faith is not contrary to reason. St. Thomas not only dedicated himself to study and teaching, but also preached to the people. He was a theologian who knew how to speak with simplicity and kindness.   His feast day is celebrated on January 28. Provenance:- Large estate. Seville.'

Madrid School. 17th century."View of El Escorial"Oil on canvas.108 x 160 cm.Spectacular painting of an architectural view, which is not just a painting of a building but the relaxed view of a great “architectural complex” that houses several buildings and that forged Spanish history, a living legend that defies the passage of time. On April 23, 1563, the first stone was laid for the construction of this great Monastery, one of the most representative monuments of Spanish architecture. A colossal architectural ensemble consisting of a monastery and a church, a palace and a royal pantheon, it is known as the Monastery of San Lorenzo el Real or, simply, El Escorial. It was designed in the second half of the 16th century by King Philip II and his architect Juan Bautista de Toledo, although it was later completed by Juan de Herrera, and also by Juan de Minjares, Giovanni Batistta Castello “El Bergamasco” and Francisco de Mora. At the time it was the largest building in Europe and is considered to be the Eighth Wonder of the World. Since 1984 it has been a UNESCO World Heritage Site. The architecture of the Escorial is symmetrical and balanced. The building is built in granite and divided into three vertical zones. In the central axis is the courtyard of Monarchs, the Temple and the King's House; to the left is the College and the Palace; and to the right, the monastery and kitchens. The architectural mass is simplified ny using squares, rectangles and circles through  the rule of  “Universal Trace” (or Universal Path). It consists of 15 cloisters, 13 oratories, 86 stairways, 88 forts, and 73 sculptures. The church has a Greek cross plan and in its main chapel are the funerary monuments of Charles V and Philip II. The painting controls space and perspective, showing painted architecture “that rationalizes the gaze”. The painting presents us with a stage of very ordered stones harboring some characters, (carriages that bring and carry ladies and gentlemen of court, characters that walk through the courtyards and that give life “to the theater and scene of so much stone”, the beginning of a procession with altar boys in front...), and that shows us the evolution of the scenography through time. This painting is a metaphor for ideal architecture, ordered, perfect, with inner order being expressed on the exterior ...., and showing the external order that is imposed on the interior.  This is undoubtedly a marvelous painting that “frames and orders” our aesthetic tastes, that idealizes our thoughts, that erases stress with its mere contemplation, as it is designed to delight the viewer's gaze. A painting that serves to perpetuate the grandeur of the past and the memory of so much contained opulence. An exquisite perspective understood as a symbolic way of ordering the world and the gaze.

Viceregal School. Cuzco. Peru. 18th century.“Our Lady of mercy with St. Peter Nolasco and St. Raymond Nonnatus and archangels” Oil on canvas. Relined.88,5 x 72,5 cm. A great devotional representation of Our Lady of Mercy, depicting her fulfilling the task she assigned to three specific followers: James I of Aragon, Saint Raymond of Peñafort, and Saint Peter Nolasco, to whom she appeared. The task entrusted to them was to liberate captives who had fallen into the hands of heretics. This request became reality in the founding of the Order of Mercedarians. Also known as Mater Omnium, in Spain she is the patroness of prisoners and immigrants and also of Penitentiary Institutions. The painting follows the iconography that became clear from the 16th century: the Mercedarian habit, in our work, instead of the usual white, is full of decoration in the Cuzco style with brocading, and arms open, with the Mercedarian shield on the chest, ..."under your protection, Lady, we take refuge, Holy Mother of God." The tender face of the Virgin shelters and protects Christian slaves who kneel before her, already liberated from their chains. It's a simple, humble, loving, and serviceable painting that entrusts us all to her protection and encourages us to remain devoted to her.

Indistinctly signed oil painting , rural stream

Oenone Acheson, (20th century), flamenco dancer, signed. Oils on canvas. 100x75cm approx. Framed. (B.P. 21% + VAT)Painting on canvas - very grubby with paint splashes in places. No obvious  damage.Picture has splashes of paint or similar, not applied by original artist. Oil on canvas.

A 19th Century painting of a maritime scene, oil on canvas, mounted behind glass, unsigned, with break to glass, framed in an oval frame of the period: 65 x 75 cm

SLAVERY -- "SLAVE TRADE. Lo! the poor Captive with distraction wild. Views his dear Partner torn from his embrace! A diff'rent Captain buys his Wife and Child. What time can from his Soul such ills erase?" Lond., 1791. Cont. handcoloured mezzotint by J.R. Smith after George Morland. 500 x 685 mm. Laid down on cardboard. (Lower captions partly touched up in black ink, margins a bit stained/soiled (partly due to previous framing), a bit browned).NOTE: In 1788, the popular English artist George Morland (1763-1804) produced an oil painting which he originally titled "The Affectionate Slaves" or "Execrable Human Traffic." The scene of an African man torn from his family by European slavers was engraved by John Raphael Smith for this 1791 print, produced in a large and popular edition, most of which were not colored. Along with the engraving of the slave ship Brookes, it provided an enduring visual image to help promote the abolitionist cause. - Dawe, 'Life of George Morland', p. 152; Frankau, 'John Raphael Smith: His Life and Works', 321. - Sold w.a.f., not subject to return.

Oil painting depicts two figures under a blue umbrella, in impressionistic style. It is signed by the artist and framed in gold.

Oil painting of a bustling street scene with figures, signed "Burnier" in the lower right corner, framed in ornate wood.

Large contemporary oil on canvas painting depicting an abstracted row of slender trees with a dense shared canopy, silhouetted against a glowing golden field. Executed in a textured impasto style with subtle script-like markings integrated into the background, the composition evokes both natural and dreamlike qualities. The painting is professionally framed in a black and gold wood frame with a stepped profile, complementing the tonal warmth of the image. Signed in the lower right by the artist. Dimensions: 31"L x 37.25"HCondition: Age related wear.

Oil on canvas still life painting signed by the artist Nargas, depicting a classical arrangement of fruit and objects in a richly detailed setting. The scene includes white and red grapes, peaches, a plum, a pear, and cherries displayed on a table, along with a brass jug and a wine glass, framed by leafy foliage and a red curtain in the background. The artwork is executed in vibrant colors with fine brushwork and dramatic lighting reminiscent of traditional European still life compositions. Elegantly presented in a deeply molded gilt frame with black accents and ornate corner decorations. The painting comes with a Certificate of Authenticity from Prestige Arts, confirming it is a hand-painted original oil on canvas. Signed on lower right. Artist: Nargas (20th-21st century)Issued: 20th centuryDimensions: 27"L x 23.50"HCondition: Age related wear.

Large oil painting on canvas depicting a picturesque landscape with a fortified castle, figures in period attire, and a lush natural setting. The composition showcases a detailed medieval-style castle with crenelated towers, nestled among verdant trees and a gently flowing stream. In the foreground, figures engage in daily activities, including a woman washing clothes, a fisherman casting his line, and travelers on horseback, adding a narrative charm to the scene. The painting exhibits a Romantic landscape style, reminiscent of 19th-century European traditions, with a focus on dramatic natural scenery, rich color contrasts, and an atmospheric sky. The artist's signature appears in the lower right corner. Housed in an ornate gold-tone frame that complements the classical aesthetic.Issued: c. 1940Dimensions: 35"L x 47"HCountry of Origin: Continental EuropeCondition: Age related wear.

Expressive oil on board painting by contemporary artist Ray Simonini, depicting a stylized cow portrait rendered with thick impasto brushstrokes. Simonini employs a bold, gestural technique, layering rich colors and textures to create a dynamic, almost abstract representation of the subject. The cow's white face emerges from a dramatic backdrop of black, red, and earthy green hues, with fluid and highly textured strokes emphasizing movement and depth. The composition is signed in the lower left corner and is housed in an elaborate, deep-set black and gold frame that enhances its visual impact. Simonini's work reflects a modern impressionistic approach, merging abstraction with recognizable subject matter, making this a compelling piece for collectors of contemporary animal portraiture.Artist: Ray Simonini (Chinese-American, b. 1981)Issued: c. 2010Dimensions: 15.25"L x 17.25"HCountry of Origin: China-United StatesCondition: Age related wear.

A picturesque oil on canvas landscape painting attributed to J. Thors, depicting a tranquil countryside scene with a winding path, a rustic thatched-roof cottage, and figures walking toward the horizon. The background features rolling fields, a distant windmill, and a bright, atmospheric sky, rendered with meticulous detail and rich color application. The piece is housed in an ornate, gilded Rococo-style frame, complementing the artwork's traditional aesthetic. Thors, known for his charming rural landscapes, demonstrates a masterful use of light and depth, creating a serene composition evocative of 19th-century European pastoral art.Artist: Joseph Samuel Thors (1835-1884)Issued: 19th centuryDimensions: 17.25"L x 1.75"W x 13.25"HCountry of Origin: NetherlandsCondition: Age related wear. Cracks in the frame.

Striking original oil on canvas painting by Christian Nesvadba, depicting a vibrant bouquet of blue and yellow blossoms rendered in bold, impasto strokes. Known for his expressive floral compositions, Nesvadba's work here is a dynamic interplay of color and texture, with thickly applied paint creating a tactile, three-dimensional effect. The composition bursts with movement and energy, capturing the artist’s signature style of modern floral impressionism. Christian Nesvadba was an acclaimed Austrian artist celebrated for his vivid and emotionally resonant flower paintings. He studied at the Vienna Academy of Fine Arts and gained international recognition in the late 20th and early 21st century for his colorful, textured floral works. Though his career was cut short, his legacy continues through a strong market presence and widespread collector appeal. Signed lower left and housed in a richly textured giltwood frame with linen liner. The reverse bears gallery framing marks and a Robbenson Inc. label indicating dimensions and style number Framed dimensions: 41.5"L x 37.5"H.Artist: Christian Nesvadba (Austrian 1977-2008)Issued: c. 2000Dimensions: See DescriptionCountry of Origin: AustriaCondition: Age related wear.

Original 1976 exhibition poster for the retrospective Benito: Paintings and Drawings 1920-1932, held at Jasper Galleries, 42 East 57th Street, New York. The poster features the painting La Terrasse (1932), a striking oil on canvas executed in the artist's signature Cubist-influenced style, with strong geometric forms and expressive use of color. Benito's work is known for its modernist interpretations of urban life, often featuring stylized figures in cafe and street scenes. This image captures two abstracted figures seated at a cafe table with drinks and newspapers, rendered in vivid shades of blue, violet, and green. Signed in plate on lower left Benito Paris 32, the image reflects the dynamic and experimental energy of early 20th-century Paris. An orange field frames the central artwork, and the poster includes typography characteristic of 1970s graphic design and serves both as documentation of a significant exhibition and a vibrant art object in its own right. Attached to an exhibition board Issued: 1976Dimensions: 24"L x 36"HCountry of Origin: USACondition: Age related wear. Traces of color loss throughout and sporadic paper loss on edges.

Original oil on canvas by American artist Kaethe Hoeltzell depicting a lush, impressionist-style garden with vibrant flowering bushes, climbing roses, and an arched wooden trellis. The composition is richly detailed with dense greenery and radiant blooms in pink, yellow, and white, reflecting Hoeltzell's signature style influenced by the romantic traditions of European landscape painting. The brushwork is textured and expressive, capturing light and shadow with natural fluidity. This painting once hung in the Vatican and is accompanied by a certificate issued in September 1987 by Archbishop Edward A. McCarthy on behalf of Pope John Paul II. The certificate, addressed directly to Kaethe Hoeltzell, honors her personal contribution during the Pope's historic visit to Miami, Florida. Presented in an ornate, carved wooden frame with a linen liner, this piece is a significant example of Hoeltzell's work and carries strong provenance linking it to a notable historical and religious context. Certificate of Authenticity included.Artist: Kaethe Hoeltzell (American 1925-2013)Issued: c. 1980sDimensions: 36.5"L x 30.5"HCountry of Origin: United StatesCondition: Age related wear.

This 1882 oil on canvas painting, titled "A Successful Day's Shooting", is by renowned British artist James Hardy Jr. (1832-1889), celebrated for his masterful depictions of rural sporting life. The scene captures the essence of a countryside hunt, featuring a young boy tending to a white horse, with hunting dogs, game, and two hunters in the background. Hardy’s detailed brushwork and rich, naturalistic color palette bring the landscape to life. The painting is signed "J. Hardy Jr. 1882" in the lower left. It is housed in an elaborate giltwood frame with intricate detailing. Artwork dimensions: 15"L x 11"H. Frame dimensions: 19"L x 2.25"W x 15.25"H.Artist: James Hardy Jnr (English, 1832 - 1889)Issued: 1882Dimensions: See DescriptionCondition: Age related wear.

High Dive by Norman Rockwell captures a moment of hesitation and courage as a young boy peers nervously over the edge of a towering diving board. Originally created as an oil painting for The Saturday Evening Post in 1947, this iconic image showcases Rockwell's signature ability to convey storytelling through realism and humor. This edition was published in 1975 by Circle Gallery Ltd. Measures 24"L x 30"H.Dimensions: See DescriptionCondition: Age related wear.

Original oil painting by Alvaro Guillot, titled Le Jour Se Leve (The Day Rises), dated 1970. This striking surrealist composition features a bold depiction of a rooster in an abstracted rural landscape, employing a dynamic mix of earthy tones and vibrant accents. Guillot's expressive style brings depth and movement to the scene, making this piece a captivating addition to any collection. Guillot was part of the Parisian art movement in the mid-20th century, mingling with major figures of the Surrealist and post-war European art circles. He spent considerable time in France, where he refined his style, drawing influence from both the classical and avant-garde traditions. Over time, his work evolved to reflect a deep preoccupation with symbolism, the subconscious, and dreamlike imagery. In later years, Guillot settled in Santa Fe, New Mexico, where his work took on a new dimension influenced by the stark beauty of the Southwestern landscape. His palette became more arid and earthy, and his subjects began to reflect the quiet mysticism of the desert. Signed in the upper right corner. Title, artist's name, and date inscribed on the verso. Framed in an ornate gilt frame with a linen mat. Artist: Alvaro Guillot (Uruguayan, 1931-2010)Issued: 1970Dimensions: 30.5"L x 36.5"HCountry of Origin: United StatesCondition: Age related wear. Some signs of wear on the canvas, particularly near the edges.

Captivating oil painting by Annette Krauss Rose (20th century), a renowned artist from Palm Beach who studied under Tonalist and Impressionist Frank Vincent DuMond in New York City. This portrait features a young child in a serene pose, masterfully rendered with soft tonalities and delicate brushwork. Measuring 22"L x 24"H, the painting is framed in a vintage wooden frame, enhancing its charm. The artwork's rear showcases the original canvas with a sturdy wire hanging mechanism. A stunning addition for collectors of early 20th-century portraiture or works by Tonalist and Impressionist-trained artists.Artist: Annette Krauss Rose American 20th CenturyDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

A texturised STAR WARS painting of JANGO FETT by MONTE MICHAEL MOORE - American illustrator known for his work on comic books originally sold in the estate sale of Dave Prowse signed and dated to corner by the artist, purportedly gifted to Prowse, canvas on board oil / acrylic and texturised sand, with a certificate of authenticity 46cm x 61cm.

Gilt framed oil painting, approximate frame measurements: Width 14 inches, Height 12 inches